\n \n MUD \n by \n Jeff Nichols Shooting Script © August 22, 2011 - draft September 16, 2011 WGA#: 1319361 All Rights Reserved \n \n \n INT. ELLIS' ROOM - PREDAWN \n ELLIS(14) sits fully-clothed on top of his made bed. He is a wiry young man with a few blonde hairs on his upper lip struggling desperately to be a mustache. His room, cluttered with junk, is dark, quiet and tiny. A backpack and an oversized Walkie-Talkie sit next to him. The silence is cut by a SQUAWK from the Walkie. Ellis quickly grabs it. \n ELLIS \n I'm comin' out now. \n He crams the Walkie into his backpack and slings it over his shoulder. On his feet, he slides open a window at the foot of his bed. He's out in one motion. \n \n \n EXT. HOUSEBOAT - PREDAWN \n Ellis skirts alongside the exterior wall of his room on a two- foot-wide section of decking. He lives on a HOUSEBOAT anchored just off the bank of the Arkansas River. The \"boat\" is really the combination of a double wide trailer and a vinyl-sided shack fused together atop large flotilla. Ellis scurries to the mobile home section of the boat. He slips past a barbecue grill and settles underneath a lighted window. VOICES come from inside. Slowly, Ellis gets on his toes to peer through the window. \n \n \n INT. ELLIS' KITCHEN - CONTINUOUS \n MARY LEE(41) takes a jug of milk out of the refrigerator. SENIOR(52) sits at a small table reading a newspaper. The mobile home kitchenette is no larger than Ellis' room. \n MARY LEE \n I just want to have a conversation. I just want to talk about it. \n Mary Lee sits down across from Senior, who doesn't look up from his paper. Her eyes narrow and she extends a finger toward him. \n MARY LEE \n If you don't look up from that goddamn paper... \n She stops before completing the thought. After a moment, Senior lowers his paper. He stares across the table at his wife. He looks at her with true disdain. His eyes trace down her face and robe before finally settling on his cup of coffee. He picks up the cup, takes a sip, and sets it back on the table. He raises the paper up. Mary Lee's eyes soften. She bites the inside of her cheek to keep from crying. Her eyes move to the kitchen window. \n \n \n EXT. ELLIS' HOUSEBOAT - CONTINUOUS \n Ellis quickly ducks and mouths the word \"shit.\" He slips under the window toward a metal carport that covers a boat, fish cleaning station, and industrial ice machine. The entire houseboat is anchored to the shore by two thick ropes tied to opposite ends of the flotilla. The ropes extend upward into the tops of enormous pine trees. Ellis sprints across a simple, wood-planked bridge to shore. His houseboat is one of several in a row along the riverbank. \n \n \n EXT. ELLIS' RIVERBANK - CONTINUOUS \n Ellis scurries into the treeline and arrives at a dirt path. Waiting for him there is NECKBONE(14), a scrawny kid with slicked back blonde hair wearing a FUGAZI T-shirt. He sits atop a smallish dirt bike. Ellis hops on the back. \n NECKBONE \n What the shit man? \n ELLIS \n Suck it. Drive. \n The bike spits up mud as they peel out down the trail. \n \n \n EXT. RIVERBANK - PREDAWN \n From a distance, the single headlight of the dirt bike snakes up and down, in and out of trees along the riverbank. ON THE BIKE, The sound of the engine rips through fog and trees illuminated by the straining headlight. \n \n \n EXT. RIVERBANK - DAWN \n The boys emerge from behind a sand covered hill. Now on foot, they are silhouetted against a light blue, morning sky. \n NECKBONE \n How old is she? \n ELLIS \n A Junior. \n At a collection of trees growing out of the water, the boys move branches away from a tarp covered boat. \n NECKBONE \n She's got nice titties. You talk to her? \n ELLIS \n Nah. \n NECKBONE \n You're gonna have to talk to her. \n ELLIS \n I know. \n NECKBONE \n Remind me when we get back to my house, Galen's got a book on that. \n Neckbone takes a spot up front in the small, flat-bottom boat. Ellis, a foot on the bank and one in the boat, launches them out into the water. \n \n \n EXT. RIVER - MORNING \n A chunk of Neckbone's greased back hair bobs in the wind as they cruise down river. Ellis steers a small 15 horsepower motor. An orange sun is coming up now. Neckbone's eyes lock on what's in front of them. Ellis kills the motor. Neckbone stands up, a serious look on his face. \n NECKBONE \n Shit. \n Ellis raises up behind him. He takes a deep breath, nods. \n NECKBONE \n Your dad'd kill us he knew we went out there. \n ELLIS \n I'm not worried about my dad killin' us. \n THE MISSISSIPPI RIVER sprawls out in front of them. It's enormous. Their boat drifts at the mouth of the Arkansas, a small river by comparison. The Mississippi is a swirling mess of brown water and yellow foam six football fields wide. \n NECKBONE \n What if it sinks? \n ELLIS \n It ain't gonna sink. We gotta move if we're gonna make it back. Set your watch. We'll need a good fifteen minutes. \n Neckbone sets an alarm on his fat plastic wristwatch. They take their seats. Ellis cranks the motor. The small boat slowly chugs out onto the massive river. \n \n \n EXT. MISSISSIPPI RIVER - MORNING \n The boat lurches through the murky, rushing water. Neckbone has both hands firmly planted on the boat's edges. Ellis tries to handle the motor which has little impact against this current. The tail end of the boat swings to the right. Ellis flinches and grabs an edge to steady himself. The front of the boat bobs toward an ISLAND in the middle of the river. Neck turns to Ellis and points. \n NECKBONE \n \n \n EXT. ISLAND SHORE - DAY \n The boys splash down in ankle deep water. They take hold of the front of the boat and drag it onto the muddy shore. Neckbone jogs to a tree line in the center of the island. Ellis snatches up his backpack and follows. \n \n \n EXT. ISLAND WOODS - CONTINUOUS \n The island, only 60 some yards in diameter, is separated by a clump of tall trees that form a wooded area in its center. The trees make it so you can't see from one side of the island to the other. \n NECKBONE \n Galen thinks it's been here awhile. Thinks the last flood did it. \n Ellis follows as Neckbone winds through the trees. They stop at a deep creek that cuts across the island. Neckbone looks to his right, then his left. Sees what he's looking for. \n NECKBONE \n It's down there. \n A fallen tree trunk that straddles the creek. Ellis starts across. \n NECKBONE \n Hold it. \n Neckbone picks a large stone up off the ground. \n NECKBONE \n Look. \n Eight feet below the tree trunk, a nest of water moccasins curl around in the creek. Neckbone drops the stone on top of them. The snakes fan out. \n NECKBONE \n Little shits. \n Their mud-caked high-tops stomp across the trunk. \n \n \n EXT. ISLAND WOODS - DAY \n The boys stop near the base of a large tree and stare up. Ellis cranes his neck back. Awestruck. \n NECKBONE \n So there it is. \n ELLIS \n Yeah, there it is. \n A 26 Foot Long BOAT sits nestled in the tree limbs above. \n \n \n EXT. BOAT IN TREE - MOMENTS LATER \n The boys scale up the tree from low lying branches. Ellis, hands on the edge of the boat, gets a leg over the side and pulls himself onto the deck. He reaches down and helps to drag Neckbone on board. They get to their feet, steadying themselves on the wooden deck. It's solid. They take in their new vantage point. \n ELLIS \n It came down from up there. \n Ellis points to higher limbs that have long been broken off. Neckbone walks to the back of the boat and hangs his head over. He finds a gaping hole of gutted wood. \n NECKBONE \n Motor broke off. \n Ellis isn't concerned with the motor. His eyes are locked on a covered cabin at the front of the boat. \n ELLIS \n Who else knows about this? \n NECKBONE \n Just me and Galen. \n ELLIS \n What's he think? \n NECKBONE \n He don't care about it. \n ELLIS \n Good. \n Ellis walks to the cabin. He pushes a vinyl door open. \n ELLIS \n 'Cause this boat's ours. \n Ellis has to duck down to go inside. Neckbone follows. \n \n \n INT. BOAT CABIN - CONTINUOUS \n Ellis, stooping over, makes his way into the tiny cabin room. Yellow floral curtains, stained with age, cover a row of windows that wrap around the top of the cabin. These provide an odd glow in an otherwise dark, wood paneled space. There is a bench with rotted out cushions to the left. To the right, a mold-covered sink and mirror. Neckbone peers over Ellis' shoulder at the front of the cabin room. A small booth sits to the right across from a miniature toilet partially shielded by an open door. \n NECKBONE \n It's got its own shitbox \n Neckbone slides back a portion of floral curtain and light streams in. He starts opening small closets and drawers. Ellis plops down on the rotted bench cushions. \n ELLIS \n This is perfect. \n NECKBONE \n Ho-Lee-Shit. \n Neckbone stares in an open drawer. He removes a stack of Playboys from the 1980's. Ellis smiles at him. He leans back and props his foot against the sink cabinet across from him. This is home. Neckbone opens the first Playboy. It disintegrates. \n NECKBONE \n Aw shit. \n As he scrambles to gather the fallen pages, Ellis notices a dried BOOT PRINT next to his foot. He lowers his shoe from the cabinet leaving a smaller, muddy print of his own. He leans in to examine the larger print. The impression of a CROSS has been left in the heel. \n NECKBONE \n Her tits are so small. \n Ellis reaches out and traces his finger in the groove of the cross marking. His eyes narrow as he re-surveys the cabin. On the table across from the toilet, he notices several empty cans of Beanie Weenie. In the booth, he sees a grocery bag. Ellis slowly raises up and goes over to it. \n ELLIS \n Neck. \n NECKBONE \n Look at that beave. You gotta see this. \n Ellis reaches out for the plastic bag. His fingers pull back the edges to reveal its contents: one can of unopened Beanie Weenie and half a loaf of BREAD. \n ELLIS \n Neck. \n Ellis reaches for the bread and gives it a squeeze. It's FRESH. Ellis freezes. \n NECKBONE \n What? \n ELLIS \n Someone's here. \n NECKBONE \n What? \n Ellis holds the loaf of bread up to Neckbone. \n ELLIS \n Someone's livin' here. \n Neckbone sees the grocery bag. His eyes widen. The boys are stone frozen. They listen for other sounds. Silence. BEEP! BEEP! BEEP! Both boys flinch at the sharp sounds. Neckbone's hand flies to cover the alarm on his wristwatch. \n NECKBONE \n Shit. \n ELLIS \n We gotta go. I can't be late. \n \n \n EXT. BASE OF BOAT TREE - MOMENTS LATER \n They drop out of the tree and hit the ground running. \n \n \n EXT. ISLAND WOODS/CREEK - MOMENTS LATER \n The boys' feet rush across the tree trunk bridging the creek. \n \n \n EXT. ISLAND SHORE - MOMENTS LATER \n They launch out of the treeline and sprint to their boat. Neckbone grabs the side and starts pushing the boat to the water. Ellis slings his backpack in and joins him. Suddenly, Ellis straightens up, leaving Neckbone to struggle. \n NECKBONE \n What are you doing? \n Ellis stares at a muddy boot print, cross in the heel, stamped in the center of their boat. He looks back to the treeline, then down the shore. He looks to his feet. The boys' shoe prints make chaotic patterns in the mud. Larger boot prints lead off down the shoreline. \n NECKBONE \n What is it? \n ELLIS \n (pointing) \n I saw that same boot print up in the tree. It has a cross in the heel. Somebody's been in our boat. \n NECKBONE \n Shit. Let's go. \n Ellis begins following the boot prints around the shoreline. \n NECKBONE \n We gotta go if you wanna make it back. \n (no response) \n Your dad's gonna kick our ass. It'll take twice as long goin' up river. \n ELLIS \n Hold it. \n Ellis stops and points ahead of them. \n ELLIS \n Up there. They stop. \n Neckbone takes the lead, walking up to the last boot print. They appear to vanish. \n NECKBONE \n Where the hell'd he go? \n ELLIS \n I don't know. \n Neckbone turns and freezes. A MAN has appeared in the distance behind Ellis. He stands between the boys and their boat. Ellis notices the look on Neckbone's face and turns. He flinches at the sight of the Man. MUD(38) stands near the boys' boat holding a pink, child's fishing pole with cartoon characters on it. He stares back at them and casts his fishing line into the water. \n NECKBONE \n Shit. You know that guy? \n ELLIS \n I've never seen him before. \n NECKBONE \n Shit. \n Mud, not taking his eyes off the boys, slowly reels in his line. His hair is a wild mop that leads to two weeks of growth on his face. With a cigarette clinched, he cracks a smile revealing a MISSING CANINE. He holds a hand in the air as if to wave. \n NECKBONE \n Shit. \n Neckbone slowly raises his hand up to wave back. Mud wears jeans and cowboy boots. His filthy button-up shirt looks like it hasn't left his body in years. He breaks his stare with the boys. Continuing to reel in his line, he walks over to them. \n MUD \n What you say? \n The boys don't respond. Mud walks past them and casts again. \n MUD \n Helluva thing. \n ELLIS \n What's that? \n Mud takes the cigarette from his mouth. A tattoo of a snake's head covers the top of his right hand. Two large cotton blossoms spill out of its jaws. \n MUD \n Boat in the trees. It's a helluva thing. \n Mud continues walking down the shoreline, reeling in his bait. The boys follow, tentatively. \n ELLIS \n You talkin' 'bout our boat? \n MUD \n I'm talkin' about my boat. \n NECKBONE \n We found it. \n MUD \n You found it with me livin' in it. Possession is nine tenths of the law. \n NECKBONE \n So? \n MUD \n Don't tell me you boys are from Mississippi? \n ELLIS \n No. \n They watch as he grabs the bait at the end of his line and spits on it. Then, tucking the pole under his arm, he ties a lock of his hair into a knot. He finishes this process with another cast. \n ELLIS \n You got crosses in your heels. \n MUD \n Nails. Shaped liked crosses. \n ELLIS \n What for? \n MUD \n Ward off evil spirits. A man I called an Indian but was Meskin said they were Seven-league boots worn by the seventh son of a seventh son. Told me it'd turn me into a werewolf but that's a lie. I don't know nothin' about that. \n Ellis, confused, won't take his eyes off the man. \n MUD \n They just good luck, but so far they ain't been workin' too well. \n (missing tooth smile) \n What's your name? \n Mud seems easy to smile, which softens his otherwise coarse look. His words spill from the mouth rapidly, without much thought for punctuation. Neckbone, emboldened by these facts, steps forward to answer. \n NECKBONE \n I'm Neckbone, he's Ellis, and mister you may be stone ass crazy but I know you're not the owner of that boat, not for nine tenths of nothin'. \n MUD \n Neckbone? That's a real handle son. Where ya'll from? \n NECKBONE \n What do you care where we're from? \n ELLIS \n DeWitt. \n Neckbone looks at Ellis, frustrated by his friend. \n MUD \n Arkansas boys. Ya'll had me worried for a second. \n Mud, pleased by this news, tucks the fishing pole under his arm and holds out a hand to shake. Ellis stares at the hand, unsure. He takes it reluctantly. \n ELLIS \n We s'posed to know you? \n MUD \n I doubt it. I grew up 'round here, but I've been gone awhile. \n ELLIS \n Where around here? \n MUD \n Different places. Spent a lot of time back up near the White. \n ELLIS \n You know Shelly's Oxbow? \n Neckbone can't believe his friend is offering this up. \n NECKBONE \n Ellis. We gotta go. \n MUD \n I know it. Guy named Tom Blankenship used to live back in there. \n ELLIS \n He still does. His boat's cross from mine. \n Mud smiles. \n MUD \n Ain't that somethin'. \n In one motion, Mud flicks his cigarette away and grabs a pack out of his shirt pocket. \n MUD \n I like you two. You remind me of me. And seeing how you boys are from Arkansas and we know some people and sounds like we all from the same place I'd say we can make a deal here about somethin'. \n ELLIS \n A deal for what? \n MUD \n Food. Food for a boat. \n NECKBONE \n This guy's a bum Ellis. Come on. \n Mud's smile vanishes. Neckbone begins to walk off but begrudgingly stops when Ellis starts back in. \n ELLIS \n Why don't you go get your own food? \n MUD \n I would if I could, but I told somebody I'd meet 'em here. So I'm stuck for now and what I got's runnin' low. \n Neckbone walks back and pulls Ellis by the arm. \n NECKBONE \n He's a bum Ellis, let's go. \n Mud lays a serious look down on Neckbone. \n MUD \n I'm no bum. I got money. You can call me a hobo 'cause a hobo'll work for his living and you can call me homeless 'cause that's true for now, but if you call me a bum again I'll have to teach you somethin' about respect that your daddy never did. \n Neckbone's confidence recedes. Ellis stands his ground. \n ELLIS \n When they show up, you'll leave? \n Mud begins fishing again. \n MUD \n Yeah. \n ELLIS \n And when you leave, that boat's ours? \n MUD \n Yeah. \n Ellis studies Mud's face, clothes, tattoos. He's thinking about it. Mud pauses from fishing to make eye contact. \n MUD \n I'm in a tight spot. I just need a little help. \n ELLIS \n We gotta go. \n With that, Ellis turns to leave. The boys walk briskly back to their boat. Ellis looks over his shoulder to see Mud making another cast with his fishing pole. \n \n \n EXT. MISSISSIPPI RIVER - MOMENTS LATER \n Ellis motors them away from the island. \n ELLIS \n You get his name?! \n NECKBONE \n No! \n Ellis looks back. Mud has disappeared. \n \n \n EXT. ELLIS' HOUSEBOAT - DAY \n Senior heaves an enormous, white cooler into the bed of his weathered pick-up truck. The truck is parked at an angle on a concrete boat ramp next to their houseboat. The bed of the truck is jam-packed with six of the big, white coolers. The SOUND of a dirt bike rattles through the trees. Senior looks up, wiping his brow with a handkerchief. Ellis leaps out of the treeline and runs to the pick-up. His hands hit his knees, out of breath. \n ELLIS \n I'm sorry. \n SENIOR \n Where you been? \n ELLIS \n Neck and I got caught up helpin' Galen. \n SENIOR \n You're s'posed to be helpin' me. I had to load this myself. \n ELLIS \n I know, I'm sorry. \n SENIOR \n Just get in the back. Can't be later than we are. \n ELLIS \n Yessir. \n Senior flips up the tailgate. Ellis hops up the wheel well and into the bed of the truck. He steadies himself on one of the coolers as his father pulls away. \n \n \n EXT. DEWITT/MONTAGE - DAY \n SERIES OF IMAGES: -Ellis looks around as he rides in the bed of the pick-up truck. He's propped up on a cooler against the back window. The truck works its way down a two-lane highway. A20 -Driving, they pass a marina junkyard filled with old boats A20 and sailing paraphernalia. B20 -Downtown Dewitt. A gas station. A Clinic. Rows of red B20 brick buildings, some abandoned, a small furniture store. C20 -Parked, Ellis fills a grocery sack up with Ziplock bags fullC20 of white fish and ice out of the coolers. -He hops out of the truck and runs the sack of fish to the front door of a house. An elderly black man waits there. \n \n \n EXT. SONIC DRIVE-IN - DAY \n Ellis sits in the bed of the truck eating a chili dog. Senior is up front wolfing down a cheeseburger. A GROUP of TEENAGERS are gathered around a CLUSTER of parked cars in the corner of the lot. They meander between the vehicles, smoking, gossiping, passing around a bottle of Boone's Farm. Ellis watches them. MAY PEARL(16) appears in the middle of the Group laughing with her GIRLFRIENDS. She's pretty and physically more mature looking than Ellis. He watches as a SKINNY KID takes his ballcap off and puts it on May Pearl's head. She sniffs the cap, gags and tosses it back at him. Her friends laugh. \n SENIOR \n Let's go son. \n Ellis crumples the wrapper to his finished hotdog and jumps down from the bed of the truck. \n \n \n I/E. SENIOR'S TRUCK/TWO-LANE ROAD - MOVING - DAY \n Ellis rides up front with his father. Senior is a reserved man, older than Ellis' mother by several years. He's got thinning hair under the cap that only leaves his head when he sleeps. He reaches into his shirt pocket and fishes out a fold of cash. He slips out a five dollar bill and hands it to Ellis. \n ELLIS \n It's s'posed to be ten. \n SENIOR \n It's ten you do your share. I loaded this mornin'. That makes it five. \n Ellis begrudgingly stuffs the five in his jeans. \n ELLIS \n You drop me at Neck's? \n Senior checks his pants pockets, feels around under his seat. \n SENIOR \n Hadn't you seen enougha him today? \n ELLIS \n Said he had something for me. \n SENIOR \n You see anymore Ding Dongs over there? \n Ellis checks under his seat and pulls out a half-empty box of Ding Dongs. Hands one over to his father who rips the package with his teeth. \n ELLIS \n What'd Momma wanna talk to you about? \n SENIOR \n What? \n ELLIS \n This mornin', what'd she wanna talk with you about? \n SENIOR \n You spy on me in my own house? \n ELLIS \n I wasn't spyin', just heard ya'll. \n SENIOR \n That's your mother's business. \n Senior makes this his answer, eats the Ding Dong. \n \n \n EXT. NECKBONE'S TRAILER - DAY \n Neckbone sits on the front steps of his trailer reading a comic book. The muffled sound of the Beach Boys' \"Help Me Rhonda\" plays off a record inside. Senior's truck pulls away as Ellis walks up the entrance to the trailer park. \n ELLIS \n I came by for that book. \n NECKBONE \n What book? \n ELLIS \n You said Galen had a book might help me out. \n NECKBONE \n Aw, yeah. We gotta give it a minute. You hear that music? \n ELLIS \n Yeah. \n NECKBONE \n That means he's doin' it. That's his doin' it song. \n Ellis takes a seat next to Neckbone. They listen to the song, slightly craning their necks to pick up on any other sounds. There are none. \n ELLIS \n You know who it is? \n NECKBONE \n Whoever's drivin' that white Dodge. \n Neckbone motions to a beat up Dodge Shadow in the yard. \n ELLIS \n You tell Galen 'bout this morning? \n NECKBONE \n Nah. You tell anybody? \n ELLIS \n No. \n NECKBONE \n That guy was crazy. \n ELLIS \n Maybe. I don't know. I think he just needed some help. \n NECKBONE \n Well he can swim his ass off that island and get some. \n ELLIS \n I think I'm gonna go back, take him some food. \n NECKBONE \n Why? \n Suddenly, the music from inside stops. Footsteps approaching and the trailer door flies open, almost hitting the boys. A GIRL(28) bursts out down the steps, straight to her car. She wears tight jean-shorts and is buttoning a white shirt. She stops and turns back to the boys. \n GIRL \n You're Neckbone right? \n NECKBONE \n Yeah. \n GIRL \n You look like a good enough kid. A word of advice, don't grow up to be like your shit heel uncle. \n The boys can't take their eyes off her cleavage revealed under her half-buttoned shirt. A necklace with three misshapen pearls hangs from her neck. \n GIRL \n Hey! \n She snaps the boys' attention up to her eyes. \n GIRL \n You hear me? You treat a woman like a princess. Got it?! \n NECKBONE \n Yeah. \n The trailer door opens and GALEN(36) emerges. He's a big, lumbering guy wearing a full-body wet suit pulled halfway down. A faded mermaid tattooed in the middle of his chest. \n GALEN \n Come on baby. \n GIRL \n I'M A GODDAMN PRINCESS!!! \n The Girl yanks off the necklace and hurls it at Galen. He brushes fingers through his thick mustache. \n GALEN \n That's uncalled for. \n He walks out to her. She heads for the Dodge Shadow. \n GALEN \n (trailing off) \n A lot of people are comfortable with that kind of thing in the bedroom. Some people aren't. We know that about you now... \n Ellis sees one of the misshapen pearls at his feet. He picks it up and holds it to the sun. \n NECKBONE \n Pearls. Galen finds 'em in some of the mussel shells. Most of 'em ain't worth dick, but he likes to make necklaces for the girls. Come on, let's get that book. \n Neckbone walks into the trailer. Ellis stands up and retrieves the other two pearls out of the dirt. He crams them in his pocket and follows Neckbone inside. \n \n \n INT. NECKBONE'S TRAILER - CONTINUOUS \n The trailer is decorated in the filth of a true bachelor pad. Neckbone makes his way to a bedroom. He tosses clothes and trash around to get to what he's looking for. A cardboard box. He pulls the box onto the bed and sifts through. \n NECKBONE \n I don't want you goin' back out there by yourself. That river's scary enough with two people, and I don't trust that guy. \n (finds something) \n Here it is. \n He takes out a hardback book. The slip reads, \"The Confident Confidant, communicating with the opposite sex.\" \n NECKBONE \n Galen said this really turned things around for him. \n ELLIS \n Thanks. \n Ellis flips delicately through the manual. \n \n \n EXT. NECKBONE'S TRAILER - CONTINUOUS \n Galen watches as the Girl's Dodge Shadow pulls away. The boys step out of the trailer. \n NECKBONE \n You really going back out there? \n ELLIS \n I think it's the right thing to do. \n NECKBONE \n Well...I'll be over in the mornin' then. \n Galen, his thumbs tucked under his armpits, walks back to the trailer. He passes the boys and notices the self-help book in Ellis' hands. \n GALEN \n (without stopping) \n That's a good book. Be sure you do the worksheets in the back. Let's get some dinner Neck. \n Galen's gone inside. \n NECKBONE \n I'll call 'fore I come. \n ELLIS \n All right. \n Neckbone follows his uncle into the trailer. Ellis flips through his new book as he heads out of the trailer park. \n \n \n EXT. ELLIS' HOUSEBOAT - NIGHT \n By the time Ellis makes it to his houseboat, the sun has disappeared behind the horizon. He crosses the make-shift plank and enters through a screen door by the carport. \n \n \n INT. ELLIS' HOUSEBOAT - DEN - NIGHT - CONTINUOUS \n Mary Lee flinches when she sees Ellis come through the door. Her face is flushed. Senior stands toe to toe with her. They stare at Ellis, who has paused in the doorway. He doesn't say anything, just looks curiously at his parents. Senior storms past Ellis and is out the door. Ellis steps further into the den. Mary Lee tries to straighten herself, patting down her hair and dabbing at her eyes with the back of her hand. \n ELLIS \n You okay momma? \n MARY LEE \n Yes. \n She walks into the kitchen keeping Ellis at her back. She turns on the sink and begins scrubbing at a dish. \n MARY LEE \n Do you need me to fix you somethin'? Have you eaten? \n ELLIS \n I'm all right. \n Mary Lee shuts off the water and lets the dish rest in the sink. She turns to Ellis. \n MARY LEE \n I'm gonna turn in. \n ELLIS \n Okay momma. \n Mary Lee slips past him and enters her bedroom. The door closes and Ellis is left alone in the den. It's quiet. He waits, looking at the door his mother just closed. Ellis walks into the kitchen and eases open a cabinet door. Checking over his shoulder, he zips his backpack open and fills it with CANNED FOOD. \n \n \n EXT. TOM BLANKENSHIP'S HOUSEBOAT - DAY \n Hands pump the stock of a high-powered pellet gun. TOM BLANKENSHIP(67), white hair cut high and tight wearing a short-sleeve button up, takes careful aim with the pellet gun. Tom sits in a lawn chair atop the roof of his houseboat. He squeezes his left eye shut. A snake's head pokes out of the water about 15 yards off his boat. The head makes for a target no bigger than a thumb. Tom's left eye snaps open and he fires. The pellet rips through the snake's head. Its body floats to the surface. Tom takes account of his shot as he pumps the air rifle. He scans the water for more targets. \n \n \n EXT. ELLIS' HOUSEBOAT - CONTINUOUS \n Ellis watches Tom Blankenship from across the bayou. Tom's boat sits directly opposite Ellis', separated by 30 yards of muddy brown water. Ellis leans against a post under the carport. His backpack resting at his feet, he holds the Walkie-Talkie in his hand. Senior works behind him washing utensils in the outdoor sink. \n ELLIS \n What do you know about Tom Blankenship? \n SENIOR \n What? \n Senior doesn't turn around from his work at the sink. \n ELLIS \n Mr. Blankenship, what do you know about him? \n SENIOR \n Why? \n ELLIS \n I don't know. He looks lonely over there. \n SENIOR \n Some people move to this river to work on it, and some move here to be left alone. \n Senior makes his way to the ice machine and begins scooping ice into a large white cooler. Mary Lee emerges from the houseboat dressed for work, a secretarial job. Senior stops what he's doing to watch her. She walks over to Ellis. \n MARY LEE \n Let's sit down for dinner tonight okay? Will you make it home by seven? \n ELLIS \n Yes ma'am. \n She walks off the boat without a glance in Senior's direction. He trails her with his eyes before going back to digging in the ice. A29 Ellis looks back at Tom. The Walkie SQUAWKS out several A29 loud BEEPS. Ellis crams it in his backpack and runs off the boat. \n ELLIS \n Bye Dad. \n Senior holds a hand up but never looks up from his work. \n \n \n EXT. ISLAND SHORE - DAY \n Water laps at the shore of the island. Ellis and Neckbone drag their boat onto the muddy bank. \n NECKBONE \n Where you think he's at? \n ELLIS \n I guess we should try the boat. \n They head for the treeline. \n \n \n EXT. BASE OF BOAT TREE - DAY \n The boys emerge from the woods, their attention focused up to the boat hovering in the tree some twenty feet above them. Ellis notices the remnants of a fire on the ground. A log pushed up next to it for a seat. Ellis kicks at the ash. \n ELLIS \n Looks like he made camp. \n NECKBONE \n (looking up to the boat) \n You think he's up there? \n MUD (O.S.) \n I didn't know if ya'll'd come back. \n The boys spin around. They survey the woods but no one's there. Their eyes drift up to find Mud sitting in a tree, his legs dangle off a branch. \n ELLIS \n What're you doin'? \n Mud bounds down, stepping from limb to trunk to the ground. It's an agile move. \n MUD \n I try to never sleep in the same place twice. What you got there? \n Mud motions with his head to the backpack in Ellis' hand. Ellis holds it out to him. \n ELLIS \n I brought you some food. \n Mud looks at the backpack, but doesn't move. \n ELLIS \n Go on. \n Mud takes the backpack and walks over to the ashes of his campfire. He squats with his back to the boys and unzips the bag. Hunkered down, Mud's shirttail rides up over the lip of his jeans revealing a PISTOL at his backside. Ellis sees this and motions to Neckbone. The boys stand their ground, cautious. \n MUD \n I owe you boys. \n Keeping the bag in hand, Mud takes a seat on the stump behind him. He pulls out a selection of canned food; pumpkin pie filling, evaporated milk, green beans. He grabs the beans. \n MUD \n I was gonna try runnin' a trot line today. See how far that'd get me. \n Mud removes a good-sized folding knife from his pocket and makes short order of the can lid. He tips the can up letting the beans fall into his mouth. Juice flows down his cheeks. \n MUD \n (a mouthful) \n I'd been rationin' what I had...green bean never tasted so good. \n The can is quickly emptied, juice running down Mud's chin. He straightens his back, choking down the final swallow. He sees the boys staring at him and catches himself. \n MUD \n I appreciate it. \n ELLIS \n Yeah. \n NECKBONE \n What you got that pistol for? \n Mud wipes off his chin, realizing the boys have been studying him. He closes the knife and tucks it in his pocket. \n MUD \n For protection. \n Mud gets up, heads for a duffel bag tucked under a nearby tree. The boys pivot, keeping Mud in front of them. Mud notices. \n MUD \n Ya'll don't have to be afraid of me. I have two ways to protect myself out here. This shirt, and this pistol. \n MUD \n There are fierce powers at work in the world boys. Good, evil, poor luck, best luck. Men have to take advantage where they can. \n Mud removes a spool of fishing line and a small plastic tackle box. He scoops up the duffel bag and heads into the woods. \n MUD \n Ya'll comin'? \n Neckbone looks to Ellis, who walks after Mud into the trees. \n ELLIS \n Who's this guy you're waitin' on? \n MUD \n I'm not waitin' for a guy. I'm waitin' on my girlfriend. Juniper. \n NECKBONE \n Is she hot? \n MUD \n She's beautiful. \n NECKBONE \n (coughing) \n Bullshit. \n MUD \n Best lookin' girl I've ever seen. Hands down. Blonde hair. Long legs. She's like a dream you don't want to wake up from. She's got birds tattooed on her hands, here. \n Mud stops, points to the area on the top of his right hand, between his thumb and pointer finger. \n MUD \n Nightingales. Good luck birds. \n NECKBONE \n That a good luck snake? \n MUD \n No it is not. \n NECKBONE \n I hate snakes. \n MUD \n That's because God made them for us to fear. \n MUD \n It's a thing we knew to be afraid of before we even got into this world. \n They emerge from the woods onto the downstream coast of the island. It looks different than the other shoreline. A large swath of red clay angles sharply into the water. \n MUD \n Cherokee would wrap snake skin around their pregnant women's bellies. Induce labor, scare the child out. Here. \n He fetches a length of rope out of the duffel bag and tosses it to Neckbone. \n MUD \n Set that 'round your bed at night. Snake won't cross braided rope. \n NECKBONE \n Thanks. \n (nods to Mud's tattoo) \n So what's that for then? \n Mud walks to a tree branch that has grown out over the bank, nearly resting in the water. He sets a trot line from it. \n MUD \n A reminder. Don't get bit. I was 10, swimmin' 'bout a mile up from here. Me and Juniper. Sonofabitch swam right up under me, bit me just below the armpit. June got me out, got me to a clinic. Doctor said I shoulda been dead in twenty minutes. Took us an hour just to get back to town. \n NECKBONE \n What'd they do? \n MUD \n Gave me antivenom. For a cotton mouth. See here. \n Mud shows the tattoo on top of his right hand. He points out the two cotton blossoms bulging from the snake's mouth. \n MUD \n Problem with antivenom is they can only give it to you once. It's made from horse blood. Your body would reject it a second time. The cure ends up being more dangerous than the poison. \n ELLIS \n What happens if you get bit again? \n MUD \n I die, or just sweat it out. \n Neckbone, not buying it, looks at Ellis and taps his watch. \n ELLIS \n We gotta go help Neck's uncle. \n MUD \n All right. \n ELLIS \n You never said your name. \n MUD \n Mud. You can call me Mud. \n ELLIS \n Mud? \n MUD \n M-U-D. \n Neckbone tosses the braided rope back. It lands at his feet. \n NECKBONE \n Here you go, Mud. I think you need that worse than I do. \n MUD \n (smiling) \n I'll be all right. \n The boys disappear back into the trees. \n \n \n INT. GARY'S ELECTRIC SHOP - DAY \n A switch clicks \"ON\". BLINDING LIGHT emits from two FLOOD LAMPS encased in plastic shells. The switch clicks \"OFF\" and the lights dim to the dull orange glow of their filaments. \n GALEN \n They look bright enough. \n The owner of the shop, an ELECTRICIAN(62), holds up a metal bar with the lamps affixed by bolts at either end. \n ELECTRICIAN \n Should be. I rigged DC power up through marine batteries. Makes it portable. Gave you a rigging bar to set on your shoulder. \n GALEN \n So you really think these'll work under water? \n ELECTRICIAN \n In theory. \n \n \n EXT. GARY'S ELECTRIC/PIGGLY WIGGLY PARKING LOT - CONTINUOUS \n Ellis and Neckbone sit on the tailgate of Galen's truck. The Gary's Electric sign hangs behind them. Neckbone focuses on a carburetor in his hand. Ellis stares across the street at the Piggly Wiggly parking lot where the roving GROUP of TEENAGERS have collected for the afternoon. The Teenagers are up to their typical gossip and minor offenses. Ellis has zeroed in on May Pearl again. \n NECKBONE \n You start datin' I bet her dad'll give you a free pick-up truck. \n ELLIS \n I don't care about that. \n Ellis watches as the same Skinny Kid from before tries to flirt with her. She's not having it. He pops her bra strap before landing the final straw, a smack on her ass. She turns and swats at him. Seeing this, Ellis is on his feet and crossing the street. \n NECKBONE \n What's goin' on? \n Ellis doesn't turn back. Neckbone reluctantly sets the carburetor down and follows. \n \n \n EXT. PIGGLY WIGGLY PARKING LOT - CONTINUOUS \n MAY PEARL \n Stop it! \n She shoves the Skinny Kid, but he continues laughing. \n ELLIS (O.S.) \n Hey. \n Ellis taps the Kid on the shoulder. As he turns, Ellis PUNCHES him in the face. The Kid, completely taken off guard, stumbles and trips to the ground. Some older, tougher looking GUYS see this and begin laughing at him. \n OLDER KID \n Holy shit Pryor, get off your ass. \n Pryor collects himself and gets off the ground. Ego bruised, he walks off mumbling. The Older Kids keep riding him. May Pearl sizes up Ellis. \n MAY PEARL \n You didn't have to do that. \n ELLIS \n He was messin' with you. \n MAY PEARL \n Do I know you? \n ELLIS \n I'm Ellis. That's Neck. \n Neckbone waves by wagging a finger in the air. \n ELLIS \n We went to Junior High with you, before you went to High School. \n MAY PEARL \n How old are you? \n ELLIS \n Fourteen. \n MAY PEARL \n Fourteen? You know you just punched a Senior? \n ELLIS \n So? \n MAY PEARL \n You think you're pretty tough. \n Ellis shrugs, not wanting to deny it. \n MAY PEARL \n I'm May Pearl. \n ELLIS \n I know. \n MAY PEARL \n What else do you know? \n ELLIS \n Nothin'. \n She smiles. Something catches Neckbone's attention. He cranes his neck forward to get a better look. \n NECKBONE \n Son of a bitch...Ellis? \n Ellis breaks away from his conversation with May Pearl. \n ELLIS \n What? \n NECKBONE \n Look. \n Neckbone nods to a cheap motel called the EXECUTIVE INN located on the opposite side of the Piggly Wiggly parking lot. JUNIPER(35), a truly beautiful woman squeezed into tight jeans and a low cut top, makes her way from the motel parking lot to the Piggly Wiggly. She passes in front of the cluster of Teenagers. All of the boys have taken note. Some cat calls from the crowd. Juniper, without facing the Teenagers, gives them the finger. \n NECKBONE \n You ever seen that girl before? \n ELLIS \n No. Did you see her hands? \n MAY PEARL \n Hello? \n Ellis catches himself and turns back to May Pearl. \n ELLIS \n Sorry. We know a guy we think might know that girl. \n MAY PEARL \n Oh. \n A GIRLFRIEND(17) of May Pearl's calls out to her. \n GIRLFRIEND \n May Pearl! Let's go! \n MAY PEARL \n Okay! \n ELLIS \n I guess I'll see you. \n MAY PEARL \n If you can find my phone number, you should call it. \n ELLIS \n I can find it. \n May Pearl walks over to her friend. Ellis watches her go, but then remembers Juniper. He turns to Neckbone. \n ELLIS \n Where'd she go? \n NECKBONE \n Into the Piggly Wiggly. She came from the motel. \n ELLIS \n I'm gonna go see if it's her. \n NECKBONE \n I gotta go check on Galen. We'll pick you up out front. \n Ellis heads for the Piggly Wiggly. Neckbone calls after him. \n NECKBONE \n What'd she say? \n ELLIS \n Wants me to call her. \n NECKBONE \n Shit. \n \n \n INT. PIGGLY WIGGLY - DAY \n Ellis walks past the grocery aisles looking for the girl. He spots her by the potato chips. He tucks behind a display of stacked cans and watches. Juniper reaches for a bag of chips, birds tattooed on her hand. Ellis smiles. It's her, and she really is beautiful. She turns down the aisle, coming right for him. He pretends to peruse the canned food and notices that it's a big display of Beanie Weenie. He grabs two handfuls as she passes. Ellis takes the cans to an open register. As a CASHIER scans and bags his items, he cranes his neck looking for her. She's disappeared into another section of the store. Ellis pays in crumpled cash. A horn HONKS. He sees Galen's truck idling out front. He grabs the bag and runs out. \n \n \n EXT. GALEN'S TRUCK/PIGGLY WIGGLY PARKING LOT - CONTINUOUS \n Neckbone waits at the open passenger door. \n NECKBONE \n Was it her? \n ELLIS \n It's her. I saw the tattoos. He wasn't lyin'. \n NECKBONE \n (looking back) \n No he wasn't. \n \n \n EXT. ELLIS' HOUSEBOAT - NIGHT \n By the time Ellis makes it back home, the sun has gone from the sky. He crosses the makeshift plank to board his house. \n SENIOR (O.S.) \n Home for dinner? \n Ellis is startled by his father's voice. Senior sits in a lawn chair under the eaves of the carport. He's hidden in shadow, save for a red glow from the tip of his cigarette. \n ELLIS \n What you hidin' for? \n SENIOR \n I ain't hidin'. \n He notices Senior tip back a pint of liquor and set it at his feet. Ellis opens the screen door leading inside. \n SENIOR \n Come over here. \n Ellis lets the door fall shut and skulks over to a beam that supports the carport. He leans into it. \n SENIOR \n You know I love you? \n ELLIS \n Yessir. I know. \n SENIOR \n I work you hard 'cause life is work. You know that? \n ELLIS \n Yessir. \n SENIOR \n Your Mamma's been talkin' 'bout movin' in town. \n ELLIS \n What's that mean? \n SENIOR \n She seems set on it. Wants to separate. She may ask me for a divorce. \n This hits Ellis like a ton of bricks. He rights himself. \n ELLIS \n What's that mean for me? \n SENIOR \n It means enjoy the river son. Enjoy it while you live on it, 'cause this way a life isn't long for this world. Game and fish's 'bout made certain of that. \n ELLIS \n But you and me can still live out here. Game and fish can't take your boat. Not while you're still in it. \n SENIOR \n The houseboat's in your mother's name. Her daddy give it to her not me. If she wants to leave it, Game and Fish has ever' right to take this boat apart board by board. \n ELLIS \n But that ain't right. You work outta here. We got the ice machine, the traps. What are we supposed to do? \n SENIOR \n Like I said, this is your mother's business. \n ELLIS \n I ain't no townie. I ain't livin' like that. \n Senior takes a slow pull off the bottle. Ellis' mind races. \n SENIOR \n I've let you down. A man should be in charge of his own affairs, but I haven't worked it like that. \n ELLIS \n But ya'll are married. Ya'll are s'posed to love each other. \n SENIOR \n I don't know about that anymore. \n Ellis is speechless. After a moment, he turns to go inside. \n SENIOR \n Ellis? \n He stops and turns back to his father. Senior tries to express a sentiment he doesn't have the words for. Ellis continues inside. \n \n \n INT. ELLIS' HOUSEBOAT - DEN - CONTINUOUS \n Mary Lee sits hunched at the made dinner table. She runs her finger around the rim of a half empty glass of iced tea. It's a full spread with fried chicken, mashed potatoes, and a salad. The table is set for two. She's been waiting. Ellis lets the front door slam shut behind him. She sits up. \n MARY LEE \n You're late. \n Ellis doesn't speak, he doesn't look at her. He enters his room and shuts the door. He's heard the news and she knows it. Mary Lee's face drops. \n \n \n INT. ELLIS' ROOM - CONTINUOUS \n Ellis slings his backpack down, pacing the small room. He stops and leans his forehead against the door. The sound of his Mother clearing the table seeps through. He kicks the door, cracking its shitty composite wood. His face flushed and his breathing heavy, he slides to a seat. On the verge of hyperventilating, he stares out the dark bedroom window trying to get control of his breathing. Ellis looks at his backpack. It has spilled open revealing a can of Beanie Weenie. Ellis studies the can. He looks back to the window. His breathing settles. Quickly, he scoops up the backpack and heads out the window. \n \n \n EXT. MISSISSIPPI RIVER - NIGHT \n It's pitch black. The only light comes from the moon's reflection off the surface of the water. Ellis, eyes wide, navigates the small boat through choppy black water. \n \n \n EXT. ISLAND SHORE - NIGHT \n Ellis struggles to pull the boat onto shore. Leaving it half in the water, Ellis looks around. No sign of Mud. He sizes up the dark woods. He removes a flashlight from his backpack and shines it down the shorelines. Still nothing. Ellis follows the beam of light into the woods. \n \n \n EXT. ISLAND WOODS - NIGHT \n Ellis stands at the creek that cuts through the island. He can make out a campfire glowing through trees in the distance. A RUSTLING behind him. He swings the light around. Nothing but trees. Ellis takes a deep breath. Finding the log to cross, he shines his light down into the creek. The nest of snakes show their backs. \n \n \n EXT. BASE OF BOAT TREE - NIGHT \n A campfire burns at the base of the tree. The firelight illuminates the belly of the boat that rests 20 feet above. Ellis, his flashlight off, crouches behind a tree and watches the campsite. There is no one there. He looks into the black forest behind him, thinks of going back. A twig snaps in the distance and he's back on guard. Ellis nervously scans the woods before finally stepping into the light of the campfire. The SOUND of a gun's hammer drawing back CLICKS behind him. Ellis freezes. Mud emerges from the trees, a .45 extended toward Ellis' back. \n MUD \n Ellis? \n Ellis, still frozen, slowly turns to him. Mud huffs out a laugh and drops the pistol to his side. \n MUD \n What're you doin' out here? \n Ellis slowly raises the backpack in his hand. \n ELLIS \n I got you some Beanie Weenie. \n Mud tucks the pistol into his jeans and accepts the backpack. \n MUD \n I appreciate that, but I didn't expect you out here at night. \n Mud takes a seat on the log and transfers the cans into his own duffel bag. He holds up a can of the Beanie Weenie. \n MUD \n Look at that. You really know how to do somebody right. I didn't wanna say anything before, but it's hard to make a meal out of pumpkin pie filling. \n ELLIS \n That's all my mom had. \n MUD \n I'm not complainin'. \n ELLIS \n Can I get one of those? \n MUD \n They're yours to begin with. \n Ellis sits as Mud hands him a can. They eat. \n ELLIS \n I missed my dinner. \n MUD \n That's good right? \n ELLIS \n (mouth full) \n You been out here too long. \n Mud laughs. Finishing the can, he takes a half-smoked cigarette from his shirt pocket. He pulls a twig from the fire for a light. \n ELLIS \n The girl you're waitin' on, she's your girlfriend? \n MUD \n Juniper. Yeah. \n ELLIS \n How'd you meet her? \n MUD \n We grew up together. \n ELLIS \n Do you love her? \n MUD \n I do. The first time I saw her was on this river. Just up from here. She saved my life. \n ELLIS \n From the snake bite. \n MUD \n That's right. I was younger than you are now, but when I came to in the hospital and she was there, it was like the world split open, came back together new. Everything changed. I knew from then on I'd do anything for her. \n ELLIS \n Why aren't ya'll married? \n MUD \n I've asked. Several times. Marriage just doesn't work for some people. \n Ellis thinks on this. \n ELLIS \n My dad says my parents may be gettin' a divorce. \n MUD \n I'm sorry to hear that. \n ELLIS \n If it happens, and my mom moves us off the river, they say the government can come take our boat away. \n MUD \n Who says that? \n ELLIS \n Everybody. They passed a law so you can't sell your boat. Can't rent it. If the owner leaves, they got you. Game and Fish want 'em off the river. \n MUD \n I've never been one to trust the government on matters of personal property, but if your parents love each other, there's always a chance. \n MUD \n People just sometimes forget why they fell in love in the first place. \n Ellis watches Mud toke the cigarette nub. He's really getting all he can from it. \n ELLIS \n I saw Juniper today. \n MUD \n What? \n ELLIS \n I didn't talk to her, but she had the birds tattooed on her hand like you said. You were right. She's pretty. \n Mud stands, surprised by the news. He walks to the other side of the fire so his back is to the boy. \n MUD \n Where'd you see her? \n ELLIS \n At the Piggly Wiggly. I think she's stayin' at a motel by there. The Executive Inn. \n Mud looks at Ellis through the fire. He takes a drag and smiles at the boy. The hole from his missing tooth shows. \n MUD \n That's good news. Real good news. \n Mud paces, slowly. He's thinking. \n ELLIS \n Does she know you're out here? \n MUD \n No. We picked another place to meet. Couple days from now. \n Mud walks back to the log and sits. \n ELLIS \n You wanna go tonight? I can give you a ride up river. \n Mud looks at Ellis, nodding. \n MUD \n Tomorrow. I'll go tomorrow. \n ELLIS \n You need me to come get you? \n MUD \n Naw. I can manage. Hell I got out here didn't I? \n Ellis smiles. They sit in silence. Ellis stares up at the boat hanging over them, its peeling hull lit by the firelight. Mud pinches the ash from the end of his cigarette, places the stub back in his shirt pocket. Noticing Ellis, Mud tilts his head back to take in the boat. \n MUD \n It's a helluva thing. \n Mud pauses, his mind working on something. \n MUD \n Helluva thing. \n The two sit by the campfire staring up at the suspended boat. \n \n \n INT. ELLIS' ROOM - MORNING \n Mary Lee knocks on her way into the bedroom. \n MARY LEE \n Time to get up. \n She begins picking clothes off the floor. Ellis, in bed, raises up on his elbows. He's tired from a late night. \n ELLIS \n It's Saturday. \n MARY LEE \n I'm going to Wal-Mart. I need you to come with me. \n ELLIS \n (moaning) \n Mom. \n MARY LEE \n Come on. \n She pulls the covers off of him. \n \n \n I/E. MARY LEE'S CAR/INTERSTATE - DAY \n The two ride in an awkward silence. Ellis stares at the farmland passing by outside as Mary Lee steers the compact Toyota down a four-lane interstate. \n MARY LEE \n Ellis I know what your father told you last night. That's not what I wanted. I wanted to sit you down and talk about it. \n ELLIS \n What do you wanna talk about? You want to leave and that means they can tear up our house. \n MARY LEE \n I've spent my whole life on that boat. I don't think it's too much to ask for your... \n Mary Lee is interrupted by a line of traffic backed up in front of her. She slows to a stop. \n MARY LEE \n Oh no. I hope no one's hurt. \n There are flashing police lights up ahead. Ellis tries to see what's going on but can't make anything out past the line of cars. They inch forward. \n MARY LEE \n I'm just saying there are two sides to this. I haven't made up my mind about anything because I want you to be involved in my decision, but I need a change Ellis. I deserve one. \n As they approach the flashing lights, they see three State Trooper vehicles parked to funnel traffic down to one lane. The STATE TROOPERS stop each car, checking the trunks. \n MARY LEE \n I think they're searching people. \n A Trooper signals Mary Lee to pull up to a stop. Two other Troopers approach her vehicle. The first begins looking in her back windows as the second leans down to speak to her. She lowers her window. \n TROOPER \n Can you open the trunk please ma'am? \n MARY LEE \n Of course. \n Mary Lee pulls the lever by her knee, and the second Trooper walks around the back of the car. \n TROOPER \n Have you picked up or seen any hitchhikers today ma'am? \n MARY LEE \n No sir. \n The Trooper produces a flier with a color photo on it. \n TROOPER \n Have you seen this man? \n MARY LEE \n No sir. \n The Trooper leans over and holds the paper out to Ellis. \n TROOPER \n Son, have you seen this man? \n Ellis looks at the photo. It's of Mud. He looks exactly the same as he did last night, down to the shirt. In the photo, Mud's smiling, revealing his missing tooth. \n ELLIS \n No. \n TROOPER \n We've had reports that he's in this area. If you see him, call 9-1-1 immediately. \n MARY LEE \n We will officer. \n The Trooper pulls his head from the window. \n ELLIS \n What'd he do?! \n The Trooper bends back down and looks at Ellis. \n ELLIS \n (more calm) \n What'd he do? \n TROOPER \n Move along please. \n Mary Lee pulls forward and speeds back up on the interstate. \n MARY LEE \n My lord. \n (rolls up her window) \n MARY LEE \n How would you feel about moving into town with me? \n (no answer) \n Please don't tell your father this, but I've been looking at a couple of places. I know it would be a big adjustment for you, but it might end up being something you like. You know living on the river isn't exactly everyone's idea of the good life. Ellis? \n He looks at her. \n MARY LEE \n Are you even listening to me? \n \n \n INT. ELLIS' ROOM - DAY \n Ellis busts through the door, grabs his backpack and is gone. \n \n \n EXT. HOUSEBOAT - CONTINUOUS \n Ellis is off the houseboat and running up the bank. He heads down the dirt path, grabbing the Walkie Talkie out of his backpack. \n ELLIS \n (into the Walkie) \n Neck! Neck, pick up! \n \n \n EXT. RIVERBANK - DAY \n Ellis removes branches and readies the flat bottom boat to launch. The sound of Neckbone's bike arrives before he does. Neckbone crests the sand covered slope. He dismounts and starts to chain the bike up to a tree trunk. \n NECKBONE \n So what's the big deal? \n ELLIS \n My mom and I were headed to Wal- Mart on 165. There was a roadblock with state troopers. They searched our car and showed us a picture of Mud. They're lookin' for him. \n NECKBONE \n I knew it! I told you that crazy sonofabitch was trouble. Did they say what he did? \n ELLIS \n No. \n NECKBONE \n So'd you tell 'em where he is? \n ELLIS \n No. That's why I called you. We gotta warn him. \n NECKBONE \n What? \n ELLIS \n He's goin' to get Juniper today. I went out there last night and told him where we saw her. He needs to know people are lookin' for him. \n NECKBONE \n You think he doesn't know that already? Jesus Ellis, why do you think he's on that island? You don't even know what he's wanted for. \n Ellis climbs in the boat and Neckbone yanks his shoulder. \n NECKBONE \n Ellis! I'm serious. We don't know who this guy is. \n ELLIS \n He loves her Neck. He told me. \n NECKBONE \n I don't give a shit who he loves. \n Ellis starts the motor and waits for his friend. \n ELLIS \n He's not dangerous. \n Reluctantly, Neckbone throws his leg into the boat. \n NECKBONE \n It sounds like a shitload of state troopers think different. \n \n \n EXT. BASE OF BOAT TREE - DAY \n Ellis and Neckbone emerge from the woods at Mud's campsite. They scan nearby tree limbs. \n NECKBONE \n No tellin' where the hell he's been sleepin'. \n ELLIS \n He may already be gone. \n MUD (O.S.) \n Hey! \n The boys look straight up. Mud leans over the edge of the boat above them. \n MUD \n Up here! \n Mud drops them a rope with knots tied in it. Ellis starts inching his way up. Neckbone begrudgingly follows. \n \n \n EXT. BOAT IN TREE - CONTINUOUS \n Ellis pulls himself over the edge of the boat. He finds Mud sitting in the swivel chair behind the steering wheel. He writes in an open spiral notebook with a black Sharpie. \n ELLIS \n What are you doin'? \n MUD \n I'm gonna have to go back on our deal for the boat. I don't feel good about it, but I don't see any other way outta what I'm into. \n Neckbone makes his way on board. Mud has pulled a panel off the steering column. Exposed wires dangle. \n ELLIS \n So you know about the state troopers? \n He looks up from his notebook. \n MUD \n What state troopers? \n NECKBONE \n The ones spreadin' your picture all over the place. Stoppin' cars on 165 searchin' for your ass. \n Mud factors this in and then goes back to writing. \n MUD \n I didn't know about that, but it doesn't surprise me. There plenty of folks lookin' for me right now. \n ELLIS \n Why? \n MUD \n I shot a man. Killed him. \n Mud stands and walks to the back of the boat. The boys' eyes follow him cautiously. Mud lifts a hatch at the back that would typically house the batteries and engine wiring. There's nothing left but a hole into the trees. He makes a note. \n MUD \n I'm sorry I didn't tell ya'll sooner, but I was hopin' to be gone before anything came of it. Didn't want you involved. \n Mud turns to really face them for the first time. \n MUD \n Ya'll have been real good to me. You're the only friends I got out here. If the state troopers have 165 blocked, they'll have others blocked too. I won't get anywhere in a car. I want to try takin' this boat down, see if we can get it in the water. \n Ellis and Neckbone stand their ground. They don't say anything. Mud walks back to the steering column. He drops to his knees and fiddles with the wires. \n MUD \n With a boat like this I can make it to the gulf in two days. I could get anywhere from there. But I'd need a boat at least this big to make it on open water. It's got no title, no owner, nobody lookin' for it. It's my best shot. \n NECKBONE \n Who'd you kill? \n MUD \n It was a bad piece of business. Ya'll don't need to hear about it. \n ELLIS \n I need to hear about it. \n Mud sits up. He looks at Ellis, deciding how much to tell. \n MUD \n Juniper made a mistake. She hooked up with a guy. He was no good. His name was Hutchins. Family owns a chain of restaurants down in Texas. \n ELLIS \n Where were you? \n MUD \n I was around, but me and Juniper were on the outs. She met this Hutchins, he sold her on some lies. Got her pregnant. That's when he started showin' who he really was. He dropped June down a flight of stairs after whoopin' her half to death. She lost the baby. He made it so the doctors think she can't have children anymore. There're things you can get away with in this world and things you can't. I tracked him down at a motel just outside of San Antonio. He was there with another woman. That's where it happened. \n Mud's done with his story. He goes back to the wiring. \n MUD \n I understand if you can't help me anymore, but I need this boat. And I need to get it in the water fast. \n After a moment, he sits up and wipes sweat from his forehead. \n MUD \n I've made a list. Things we'll need. What do ya'll think? \n Ellis takes time to consider everything. He looks at Neckbone, who has a disgruntled look on his face. \n ELLIS \n You did it for her? To protect her? \n MUD \n Yeah. \n Ellis nods. Mud looks over at Neckbone, who still has the disgruntled look on his face. \n MUD \n What do you think? \n NECKBONE \n I think you want us to run around, stickin' our necks out, gettin' everything you need, just so you can take our boat. \n MUD \n That's about it. \n Mud removes a cigarette butt and sparks it with a lighter. \n NECKBONE \n What do we get out of it? \n MUD \n What do you want? \n Neckbone looks to Ellis, judging his bargaining position. \n NECKBONE \n What about that pistol? \n Mud eyes the boy, pulling on the nub of cigarette. \n MUD \n I only got two things out here worth anything. This shirt... \n Mud pulls the pistol from the back of his jeans. Neckbone tenses, but relaxes when Mud splays it out on an open palm. \n MUD \n And this pistol. I can't give you the shirt 'cause I need it for protection, but if you help me get this boat in the water, the pistol's yours. \n Neckbone squinches his face in thought, sizing up this trade. \n NECKBONE \n What kind is it? \n MUD \n A forty five. \n NECKBONE \n I guess we could work a deal like that. \n Neckbone steps forward to grab the pistol, but Mud puts it back in his jeans. \n MUD \n We get this thing floatin' first. \n Neckbone looks over at Ellis, who shrugs. \n NECKBONE \n All right then. \n Mud smiles, flashing his missing tooth. He spits in his palm and holds it out to Neckbone. Neckbone, not sure about taking the spit hand, reluctantly shakes. Mud rips a page from the notebook and hands it to Ellis. \n MUD \n Ya'll scrounge what you can off this list, but if we're gonna get this done right we'll need more help. Can you fetch Tom for me? \n ELLIS \n Tom Blankenship? \n Mud has smoked down to the filter. He crushes the butt into his palm and puts it back in his shirt pocket. \n MUD \n I was hopin' to let that old assassin stay put, but we'll need him to get things ya'll can't. Can you find him? \n ELLIS \n I know where he lives, but I've never spoke to him. \n MUD \n Just tell him my name. He'll know you're serious. \n Ellis folds the list up. He and Neckbone start down the rope as Mud goes back to the wiring. \n MUD \n Boys? \n (they pause) \n Thanks. \n Ellis nods. \n NECKBONE \n Don't lose my pistol. \n They continue down the rope. Mud continues his work. \n \n \n EXT. SHELLY'S OXBOW - DAY \n Ellis steers to the southern mouth of Shelly's Oxbow, the bend in the river that holds he and Tom Blankenship's houseboats, among others. He grounds the boat just shy of entering the Oxbow and steps over Neckbone to hop onto the bank. \n ELLIS \n You comin'? \n NECKBONE \n I'll watch the boat. \n Ellis scans the woods that populate the patch of land wedged between the river and this short tributary. \n NECKBONE \n Ellis? \n ELLIS \n What? \n NECKBONE \n Be careful. Galen always said that old man's crazy. \n Neckbone keeps his seat as Ellis darts into the woods \n \n \n EXT. TOM'S WOODS - DAY \n Ellis prowls around the small pine trees and bushes. He pauses, seeing the entrance to Tom Blankenship's boat. Something moves on the houseboat. Ellis hunkers down behind a bush. He sees Tom wrapping cable onto a metal spool. Ellis is nervous. He checks over his shoulder, nothing but woods. When he looks back to the boat, Tom is gone. In a crouch, Ellis moves closer. Taking a deep breath, Ellis steps out from the cover of the pine trees and heads up a walkway that leads onboard. \n TOM (O.S.) \n Why you huntin' me? \n Ellis flinches. He turns to find Tom Blankenship standing at the edge of the boat. \n TOM \n You deaf boy? I said why're you huntin' me? \n ELLIS \n I ain't huntin you. \n TOM \n What's your business here? \n ELLIS \n I came to find you. I got a message for you. \n TOM \n You're Senior's boy. \n ELLIS \n Yessir. \n TOM \n What you got to say he can't tell me himself? \n Tom, rusty on pleasantries, brushes past Ellis as he heads inside the boat. \n ELLIS \n It ain't from him. \n Ellis, not wanting to follow further, shouts from the planks. \n ELLIS \n MUD SENT ME! \n There is a silence. Then footsteps. Tom reappears. \n TOM \n Mud sent you. \n ELLIS \n Yessir. \n TOM \n What do you know about it? \n ELLIS \n He asked me to come get you. \n Tom straightens his back. He looks into the woods, searching for something he may have missed. \n TOM \n Your daddy know this? \n ELLIS \n No sir. Mud needs your help. \n Tom's mind churns on a series of facts unknown to the boy. \n TOM \n Where is he? \n \n \n EXT. RIVER - DAY \n Neckbone bounces in the boat as it shifts in the choppy Mississippi water. His eyes are locked on the back of Tom's head. Tom rides stone faced in the front. Neckbone turns back to Ellis and raises his eyebrows as if to ask, \"What's going on?\". Ellis shrugs. \n \n \n EXT. ISLAND SHORE - DAY \n Ellis runs the boat on shore. Tom splashes into the ankle deep water and helps the boys drag it onto the bank. Ellis takes the lead, walking ahead and scanning the treeline. Mud steps out, just past the shadow of the woods. Ellis turns to Tom and points. \n ELLIS \n There he is. \n Tom spits onto the muddy bank and makes his way toward Mud. Ellis and Neckbone stay by the boat and watch. BY THE TREELINE, Mud watches Tom approaching. He corrects his posture and feebly attempts to smooth some wrinkles from his shirt. Tom stops in front of him, his eyes pinched in the sun. \n TOM \n Mud. \n MUD \n Sir. \n They stare at each other for a long moment. Neither one flinching. BY THE BOAT, At this distance, the boys can't hear what is being said, but they try and size up the situation through body language. \n NECKBONE \n You think that's his dad? \n ELLIS \n I don't know. \n BY THE TREELINE, \n TOM \n Where is she? \n MUD \n In town. Got here yesterday. \n Tom lowers his head. Frustrated. \n TOM \n Why you out here like this? \n BY THE BOAT, The boys see Mud take a seat on a nearby stump. He's explaining something. Tom listens, standing over him. \n NECKBONE \n They don't look like family. \n Ellis watches Mud as he gestures and speaks. He seems different. Younger. Mud stops talking. Tom scratches a hand through his white crew cut. He begins pointing a finger at Mud. His face is flushed and the sound of his voice carries to the boys, though still unintelligible. \n NECKBONE \n He's really givin' it to him. \n AT THE TREELINE, Mud's head hangs as Tom shouts at him. \n TOM \n You've spent your whole life followin' that girl! She's run you halfway cross the country and back, and for what? For this, left out on an island beggin' for help. A murderer. A thief. \n MUD \n I ain't no thief. \n TOM \n What would you call it then? Don't even mention draggin' those boys into this. Do you have any idea what you're doin'? \n Waits for a response, but Mud gives none. \n TOM \n I'm ashamed of you. \n Mud looks up at him. \n TOM \n Don't expect help from me. There's none to be given. \n AT THE BOAT, They see Tom turn his back on Mud and head toward the boat. Mud doesn't protest; he doesn't move. Tom brushes past Ellis. \n TOM \n I'm ready. \n Tom shoves the boat back into the water. Neckbone helps him. Ellis looks back at Mud, who still hasn't moved from his stump. He goes to him. Tom sees this and stops pushing. \n TOM \n (to himself) \n Dammit. \n AT THE TREELINE, Ellis stops a good six feet back from where Mud sits. \n ELLIS \n You all right? \n Mud raises his head. \n MUD \n Looks like we're on our own. \n He stands and takes a folded piece of paper from his shirt. \n MUD \n I didn't want you bein' the one to do this, but I can't see a way around it. I need to get this letter to Juniper. Could you take it to her for me? \n ELLIS \n Yeah. \n MUD \n You have to be careful. You can't just walk up and knock on her door, you hear me? You have to watch yourself. \n ELLIS \n I can handle it. \n Ellis steps forward and Mud hands over the note. Ellis takes it and walks back to the others. AT THE BOAT, Tom stares at Ellis as he climbs on board. Tom looks back at Mud, who is watching him. He gives the boat a final shove before pulling himself in. They motor away. Tom doesn't look back. \n \n \n EXT. RIVER/SHELLY'S OXBOW - MOVING - DAY \n NECKBONE \n You Mud's daddy? \n TOM \n Mud didn't have no daddy. No mother I ever knew of. He was livin' in the woods when I met him. Younger than you are now. \n Tom doesn't offer anymore. Neckbone thinks on his answer. Ellis kills the engine near the mouth of Shelly's Oxbow. Tom jumps down into the knee deep river and wades onto shore. He turns back to the boys. \n TOM \n Ya'll need to watch yourselves. Don't go gettin' into something you don't have any business in. Mud's into something you don't want any part of. I suggest you forget about him. \n Ellis and Neckbone don't respond. Tom, with a final admonishing look, disappears into the woods. Ellis cranks the motor and points the boat up river. \n \n \n EXT. RIVER - MOVING - MOMENTS LATER \n Edges of the notebook paper flap in the wind. Neckbone reads Mud's letter to Juniper. Ellis reaches the bank where they stash their boat. He shuts off the motor and let's them drift. Neckbone folds the letter back up and turns to face Ellis. \n ELLIS \n What do you think? \n NECKBONE \n He loves her. You can tell that much. You gonna take it to her? \n ELLIS \n I told him I would. \n Neckbone thinks about this seriously, shakes his head. \n NECKBONE \n I don't know. Could be a lot of trouble. \n ELLIS \n You still got that trailer you made for your bike? \n \n \n EXT. DEWITT STREET - LATE AFTERNOON \n Neckbone rides with Ellis on the back of his dirt bike. Cars and Trucks HONK and zip by them. Their speed is topped out at about 15 miles per hour. Mostly a result of the small 3X4 metal trailer they are towing behind the bike. One of Senior's white fish coolers sits in the trailer. \n \n \n EXT. EXECUTIVE INN/PARKING LOT - LATE AFTERNOON \n Parked in the far corner of the lot, Ellis sits on top of the white cooler eyeing the Executive Inn. Neckbone straddles the dirt bike. A handful of cars are parked at the motel; an old Honda, a pick-up, and a BLACK LINCOLN. \n ELLIS \n I say we start at the top, work our way down. \n NECKBONE \n All right. \n They each grab an end of the cooler and carry it across the lot toward a flight of stairs. ON THE SECOND FLOOR, The boys set the cooler down in front of the first room on the corner. Ellis checks over his shoulder, nothing strange. Ellis knocks. They wait. No answer. They pick the cooler up and walk to the next door. Knock. After a moment, a BLACK MAN in his late sixties opens the door wearing boxers and an undershirt. \n BLACK MAN \n What you want? \n ELLIS \n We're sellin' fish. You wanna buy some? \n BLACK MAN \n Fish? \n He looks at the two boys like they are insane. \n BLACK MAN \n I don't want no damn fish. \n He slams the door. They drag the cooler to the next door. As Ellis holds up his fist to knock, they hear a woman shouting a few doors down. \n STOP IT! \n Ellis heads for the room. Neckbone drags the cooler after \n STOP! \n him. Ellis reaches the motel room door, which has been left ajar. He places his hand on it and lets it fall open. \n \n \n INT. EXECUTIVE INN/JUNIPER'S ROOM - CONTINUOUS \n CARVER (O.S.) \n KEEP LYIN'! KEEP LYIN' AND I'LL \n CRACK YOUR NOSE OPEN! \n The door opens to CARVER(47), a tall, slender man in a dark Western cut suit, standing over Juniper. She's crumpled up in a ball at the end of the bed. Carver swats open-handed at her head. Grabs the top of her hair. \n CARVER \n You hear me bitch? Tell me another lie. \n Ellis rushes Carver with his shoulder as if he were breaking down a door. Carver is knocked off balance. He trips over the edge of the bed and crashes into the motel room wall. Carver, slightly stunned, gets to his feet and in two broad steps lands a man-sized punch across Ellis' face. It's hard. Ellis melts. He grabs the boy up by the scruff of his shirt. \n CARVER \n Who are you!? Who the hell are you!? Did he send you!? \n Carver removes a piece of paper from his pocket. It's a photo copied picture of Mud, different than the State Trooper's. Carver crams the photo in the boy's face. \n CARVER \n You know this man!? Look at him! Do you know him!? \n Blood trickles from a cut under Ellis' eye. He stutters under the shaking force of Carver's hands. \n ELLIS \n I don't...I... \n FISH!!! \n Neckbone is yelling at the top of his lungs, almost in a \n IT'S FISH!!! \n girl's pitch. Carver turns to him. The cooler is open behind them and Neckbone holds up two Ziplock bags of fish. \n NECKBONE \n We're just selling fish! \n Carver sizes things up. It takes a moment, but he settles. He snorts out a laugh and drops Ellis on the ground. Carver turns his attention back to Juniper, who is huddled up in the corner of the motel. Carver walks over to her. Opening a good-sized knife, he gets down in her face and holds the blade uncomfortably close to her cheek. \n CARVER \n I know you know where he is. And I swear to God I'll cut through every one a you to find him. \n She flinches. Standing, Carver folds up his knife. \n CARVER \n We know you came here for him, and we know he's too stupid to leave you behind. So when he pops his head out of whatever shithole he's staying in, I'll be there. You tell him that. \n Carver turns, stepping over Ellis on his way out. \n CARVER \n And you need to mind your business boy. \n Neckbone moves from the doorway to let him pass. Carver is gone. Neckbone shuts the door and fastens the security latch. He kneels down to check on his friend. \n NECKBONE \n You all right? \n ELLIS \n Yeah. \n NECKBONE \n He popped your eye. \n Ellis holds the back of his hand up to his eye which has begun to swell. The cut trickles blood over his cheekbone. Juniper moves to the sink. Ellis sits up, staring at her back. She opens an ice bucket and wraps a handful of cubes in a towel. She turns and walks over to them, her eyes cast down. She kneels in front of Ellis, making eye contact for the first time. She touches his chin, gently pivoting it to see the wound. Her eyes are glassy. \n JUNIPER \n Thank you. \n He stares back at her. He can't take his eyes off her. She holds the iced towel to his cheek. He doesn't even flinch. \n JUNIPER \n I'm so sorry. \n Tears form and run down her cheeks. \n JUNIPER \n Here. \n She takes his hand and places it against the towel. She gets to her feet and pulls a pocket book from a bag in the corner. \n JUNIPER \n How much is your fish? I'll buy the cooler full. \n Ellis motions Neckbone to the cooler. Neckbone goes over and crams his hand into the ice. He removes a Ziplock bag containing the note that Mud sent. Neckbone hands it to Ellis. Taking the note, he sets his ice down and walks over to Juniper. \n ELLIS \n Mud sent us to give this to you. \n Juniper is stunned. She looks at the bag, then at the boys. \n JUNIPER \n You've met Mud? \n Ellis nods. Neckbone speaks up from the back. \n NECKBONE \n Yeah we met him. \n Juniper takes the bag. She removes the letter and takes a seat on the edge of the bed to read it. Ellis watches her eyes move along the paper. She smiles, which makes Ellis smile. After a moment, she folds it up. \n JUNIPER \n He tells me to hold tight. \n NECKBONE \n Yeah, we read it. \n Juniper raises her eyebrows at Neckbone. \n JUNIPER \n Well do you know how long 'hold tight' is? \n ELLIS \n I think it's a couple days. He wants to get a boat for ya'll. \n JUNIPER \n God. \n Juniper shakes her head and goes to the sink. She pulls a lighter from her jeans pocket and torches Mud's note. \n JUNIPER \n Tell him I'll wait. \n Running water over the ashes, she turns back to them. \n JUNIPER \n But I don't want ya'll involved. Tell him what I said and make that it. I don't want you gettin' in any trouble. \n ELLIS \n We won't. \n JUNIPER \n What do you call that? \n She motions to his swelling eye. Ellis shrugs. \n ELLIS \n We'll be all right. Keep your door locked. We'll be in touch. \n Ellis heads to the door as Neckbone gathers up the cooler. \n JUNIPER \n Wait. \n Ellis turns back. \n JUNIPER \n What's your name? \n ELLIS \n I'm Ellis. That's Neckbone. \n Juniper walks up to Ellis and puts her hands on his shoulders. She has to bend slightly to do it, but she kisses him just above his swollen eye. \n JUNIPER \n Thank you Ellis. \n Ellis stares at her, infatuated. \n NECKBONE \n We gotta go. \n Ellis turns and grabs one end of the cooler. Neckbone slaps back the security latch and opens the door with his free hand. They walk out. \n \n \n EXT. EXECUTIVE INN/JUNIPER'S ROOM - CONTINUOUS - DUSK \n Ellis, his foot on the door, looks back at Juniper. \n ELLIS \n Lock the door. \n She smiles. The door slams shut. The room number, 212, stares Ellis in the face. He takes a deep breath. \n NECKBONE \n Let's go hard on. \n He and Ellis wrangle the cooler down the steps. The sun set while they were inside. A blue hue hangs over everything. \n \n \n I/E. CARVER'S LINCOLN/PIGGLY WIGGLY PARKING LOT - CONTINUOUS \n Carver takes a drag off a cigarette from behind the steering wheel of his black Lincoln town car, conscious to blow any smoke out the open driver's window. His car, wedged between two others in the Piggly Wiggly parking lot, is pointed toward the Executive Inn. He watches as Ellis and Neckbone load the cooler onto Neckbone's bike. \n \n \n INT. ELLIS' HOUSEBOAT - NIGHT \n Ellis enters his houseboat. It's quiet. He sees a note on the counter next to a can of soup. It reads, \"I've gone to a movie. Warm up some soup for dinner. Love, Mom\". Ellis picks up the can, not thrilled. He goes to the fridge and grabs a sack of peas from the freezer. Holding the peas against his eye he takes a seat at the counter and flips through a phone book. He finds what he needs and dials a corded phone. He waits. \n ELLIS \n Hello? Is May Pearl there?...This is Ellis...Hey, it's Ellis. Hey... What?...In the phone book... from his car commercials...I think they're all right...Tomorrow? Yeah, I can meet you... Okay. Bye. \n Ellis hangs up the phone. With the peas pressed firmly against his face, he smirks. CUT TO: SERIES OF IMAGES: -Neckbone's sneaker busts through a rotten plank of wood. -Inside a decrepit wooden shack, Ellis gives Neckbone a look like he's a dumbass as they proceed to take the shack apart board by board. Ellis now has a full-on BLACK EYE. A66 -Neckbone stands lookout under the carport section of Ellis' A66 houseboat. The coast clear, he gives Ellis a nod. Ellis pops open a metal locker and removes a small chainsaw and container of gas. He loads these into an empty fish cooler. B66 -Tom, sitting atop his houseboat with his pellet gun, watchesB66 as the two boys sneak the tools away. He's displeased. C66 -At Neckbone's mobile home park, Ellis heaves loops of thick C66 rope onto their mini dirt bike trailer. Neckbone stands nearby laughing with the rope's OWNER, a lanky guy with brown teeth and a Tasmanian Devil tattoo on his neck. AC66 -Ellis hoists Neckbone up by the foot allowing him to AC66 unscrew a road sign. D66 -A mop soaked in black tar slops across the flat roof of the D66 furniture store in downtown Dewitt. Neckbone and Ellis stand in the store's parking lot yelling up to the ROOFERS. -They get one's attention, and Neckbone points to a dried pile of leftover tar that has been dumped at the back of the building. The ROOFER swats a hand at the boys. They proceed to load the dried hunk onto the small trailer. E66 -From a distance, Neckbone and Ellis stand on a sailboat in E66 the middle of a fenced-in marine junkyard. Surrounded by old boat parts, the boys begin shuttling several large metal pulleys off the sailboat. \n \n \n EXT. ISLAND SHORE - DAY \n Mud smiles, showing his missing tooth, as he looks over the load of items the boys have stacked in their boat. Neckbone tosses a loop of rope to him. \n NECKBONE \n We've got more, but no motor. \n MUD \n This'll work for now. You get her my note? \n ELLIS \n Yeah. \n Ellis turns and Mud sees his black eye for the first time. \n MUD \n Where'd you get that from? \n ELLIS \n We came up on Juniper's room. A guy was in there beatin' up on her. \n Mud's face turns dark. \n NECKBONE \n Ellis rushed him. Got smacked for it. \n MUD \n What'd he look like? \n ELLIS \n I don't know. Tall. Looked like a cowboy. \n MUD \n Dark hair? \n ELLIS \n Yeah. \n MUD \n DAMMIT! \n Mud slings the rope to the ground and kicks it. His face is flushed. It's the first time the boys have seen him angry. \n MUD \n GOD DAMMIT! \n The boys back up. Mud takes a deep breath, tries to cool down. It takes a moment, then something occurs to him. He eyes Ellis with a look of genuine gratitude. \n MUD \n Thanks for lookin' after her. \n Ellis nods. Mud picks up the rope. \n MUD \n His name's Carver. Brother of the man I shot. If he's here, then more are comin'. \n NECKBONE \n More what? \n Mud gathers the supplies and heads to the treeline. The boys, with their hands full, follow him. \n MUD \n Bounty hunters. Carver's rotten, but his daddy's the one to be scared of. He'll spend all the money he has to see me dead. If it was up to me I'd put the whole family down same as the other. Not a decent man between 'em. \n Mud stops and turns to lay a serious look on them. \n MUD \n Ya'll listen to me now. If you see that old man, don't get near him. He's the triple six real deal scratch you hear me? \n Mud waits for nods from them both. \n MUD \n All right. \n \n \n EXT. MISSISSIPPI RIVER/ISLAND - CONTINUOUS \n Galen drifts in his own boat out on the Mississippi River. He stares at something in the distance. A68 FROM ACROSS THE RIVER, A68 He sees Neckbone and Ellis on the island walking with Mud. Galen, a concerned look on his face, keeps one hand on his motor and the other on a bulging net of mussel shells. His HELPER, a salty looking man in his fifties, sits at the front of the boat sipping Budweiser from the can. \n HELPER \n What you waitin' for? \n GALEN \n Shut up. \n After a moment, Galen cranks the motor and speeds away. \n \n \n EXT. BOAT IN TREE - DAY - LATER \n Mud stands with Ellis and Neckbone on the deck of the boat. He holds a pulley in one hand and a length of rope in the other. He stares up into the trees. \n MUD \n Ellis, can you climb up that trunk and get these hung? \n ELLIS \n Yeah. \n MUD \n Take a foot of line and tie 'em off with a bowline knot. You know it? \n ELLIS \n I'm not stupid. \n Ellis takes the pulley and scales the trunk without hesitation. Mud tosses his pocket knife to Neckbone. \n MUD \n Neck, start cuttin' line. Three fifteen foot sections. Count a foot long as your arm. \n Mud begins threading the pulleys with rope. As Neckbone cuts rope, he sees the pistol stuck in the back of Mud's pants. \n NECKBONE \n What's so special 'bout that shirt you'd lose your pistol for it? \n MUD \n It's got a wolf's eye sewn in the sleeve. More protection than a bullet ever gave. Tom swears by it. \n NECKBONE \n He said he wasn't your daddy. \n MUD \n Tom's the closest thing I ever knew to a father. \n NECKBONE \n I never met my parents. \n MUD \n It's hard not knowin' the ones you came from. \n NECKBONE \n My uncle Galen tells me things about 'em. He's the one that takes care of me. \n MUD \n Tom did that for me. \n Ellis drops down to the deck and grabs another pulley. \n ELLIS \n What'd you mean when you called Tom an assassin? \n MUD \n Tom's had lives you'd never know about. Grew up up North. Went to Yale. For a long time he was a paid killer for the C.I.A. Lived in Cuba in '63. He's probably killed more people than you've met. \n (to Neckbone) \n Hand me that line. \n Neckbone tosses him an end of rope, looks to Ellis. Ellis gives a shrug before heading back up the trunk. \n \n \n EXT. BASE OF BOAT TREE - DAY - LATER \n Mud hangs off the tree fifteen feet up by a piece of rope tied around his waist. A series of ropes and pulleys crisscross from the boat to the trees. Neckbone and Ellis stand on the ground staring up at him. Mud holds a chainsaw and seems to be hesitating. \n NECKBONE \n Well if you're gonna do it do it! \n Mud takes a deep breath and yanks the cord. Angled on one of the main branches holding up the boat, Mud begins cutting. Ellis and Neckbone step further and further back as they watch the chainsaw work through the thick limb. Suddenly, the chainsaw stops. A deep CRACKING sound. The huge branch SNAPS, tumbling off lower limbs before crashing to the ground. Mud holds onto the trunk for dear life. The branch now rests on the ground, SILENCE. The ropes and pulleys hang taught, squeaking from the weight of the boat. Mud slowly lifts his head up. He smiles at what he sees. The rigging has held. \n MUD \n One down! \n Neckbone and Ellis watch as Mud scampers around the trunk to the next branch. The chainsaw cranks back on. \n NECKBONE \n This shit is crazy. \n \n \n I/E. MARY LEE'S CAR/PIGGLY WIGGLY PARKING LOT - LATE \n AFTERNOON Ellis looks out the car window at HIGH SCHOOL KIDS that have gathered in the Piggly Wiggly parking lot. His hair is slicked to one side, and he's wearing a collared shirt. \n MARY LEE \n You look nice. \n ELLIS \n Thanks. \n MARY LEE \n What time are you gonna be home? \n Ellis shrugs. She looks at him as the car radio rambles. \n MARY LEE \n No later than eleven? \n Ellis nods. \n ELLIS \n You make up your mind? \n MARY LEE \n About moving in town? \n ELLIS \n About leavin' dad. \n Mary Lee thinks about how to answer, shuts off the radio. \n MARY \n You can't make Ellis. If I'm have to be the \n LEE \n other people change unhappy then I'll one to change \n something. Ellis chews on the inside of his cheek and watches her avoid eye contact. He shoulders his way out of the car. Mary Lee takes a moment before driving off. As Mary Lee pulls away, Ellis takes in the scene. \n \n \n EXT. EXECUTIVE INN - LATE AFTERNOON - ELLIS POV \n He looks up at Juniper's motel room and sees her leaning on the railing smoking a cigarette. She doesn't see him. \n \n \n EXT. PIGGLY WIGGLY PARKING LOT - LATE AFTERNOON - CONTINUOUS \n He pauses, noticing a MAN to his left who ALSO stares up at Juniper. The man, early thirties with a thick mustache, is JAMES. He leans against the grill of a black Lincoln. Carver appears from inside the Piggly Wiggly. He holds a cup of coffee and is closely trailed by a fat little man, NELSON(56). They're all dressed in a similar fashion, a cross between rural farmers and rodeo stars. As Carver approaches the Lincoln, he scolds James for leaning on the grill. Carver rubs the hood with his coat sleeve and gives orders to the men. \n MAY PEARL (O.S.) \n Ellis! \n Ellis turns to see May Pearl hopping down from a Ford Bronco. She leans on the door and waves Ellis into the back. \n MAY PEARL \n Come on! \n Ellis takes another look at Carver and his men before running over to the Bronco. \n \n \n EXT. FIELD/BONFIRE - NIGHT \n A bonfire rages in the middle of an open field. A FEW DOZEN KIDS mingle between vehicles and the fire. Drinking, yelling, music blasting from car speakers. Ellis stands by himself next to the blaze with his hands in his pockets. May Pearl has vanished. Pryor, the skinny kid Ellis punched to get this date, wanders past. He makes eye contact. Ellis stares him down. Pryor glares back but then just skulks over to another group. \n MAY PEARL (O.S.) \n Try this. \n A Styrofoam Sonic Cup is thrust into Ellis' hand. He turns to find May Pearl standing next to him. \n MAY PEARL \n Come on. \n She leads Ellis behind one of the trucks parked nearby. May Pearl climbs onto the tailgate, a red glow across her face. No one else is around. Ellis hesitates. \n MAY PEARL \n You wanna sit down? \n Ellis takes a seat next to her. She looks at him, smiling, and gestures to his black eye. \n MAY PEARL \n You must really like to fight? \n ELLIS \n Not really. \n Ellis takes a sip from the Sonic cup. His face puckers. \n MAY PEARL \n But you're not scared if you have to. \n ELLIS \n I guess. You got a lot of friends. \n MAY PEARL \n They're all right. I don't know all of 'em. \n ELLIS \n I bet you're pretty popular. \n MAY PEARL \n Why do you say that? \n ELLIS \n I don't know. 'Cause you're nice to people. \n MAY PEARL \n How do you know that? \n ELLIS \n You're nice to me. \n MAY PEARL \n But I like you. \n Ellis digs into his jeans pocket. \n ELLIS \n I got this for you. \n He removes a bracelet made from the pearls he collected off Galen's porch. May Pearl takes it, begins putting it on. \n MAY PEARL \n A bracelet? \n ELLIS \n Neckbone's uncle caught the pearls. I thought with your name and everything... \n MAY PEARL \n Thank you. \n She leans over, hugging him with a kiss on the cheek. She stays close. \n ELLIS \n You wanna be my girlfriend? \n She smiles, then kisses him. \n \n \n EXT. ELLIS' AND TOM'S HOUSEBOATS - MORNING \n Morning fog sits on top of the water around Ellis' houseboat. Ellis steps outside and makes his way to the ice machine. A loud WHISTLE comes from across the oxbow. Ellis walks to the edge of the garage. A75 He sees Tom Blankenship seated on the roof of his houseboat. A75 He motions Ellis over. Ellis watches him, unsure of what to do. Another WHISTLE. Tom motions to him again. Ellis looks back at the house. No sign of his parents. He shoots a glance back at Tom. \n \n \n EXT. TOM BLANKENSHIP'S HOUSEBOAT - MOMENTS LATER \n Ellis bumps his father's boat against the side of Tom's houseboat. He steps up onto the deck and ties off. Tom, down from the roof, stands by his front door. \n TOM \n You want some coffee? \n Tom disappears inside. \n ELLIS \n I don't drink coffee. \n Ellis waits for a moment, but realizes this is Tom's way of inviting him inside. He enters. \n \n \n INT. TOM BLANKENSHIP'S HOUSEBOAT - CONTINUOUS \n This houseboat, although similar in size, is different than Ellis'. It's an actual wood shack that has been constructed atop a barge. Ellis looks at photos, books and memorabilia that cram the walls and shelves. It feels homey. Tom, his back to the boy, stands in the kitchen area pouring a cup of coffee. \n TOM \n You been seein' Mud? \n ELLIS \n No. \n A collection of framed photos on a desk catches Ellis' attention. A young Tom with a pretty dark skinned girl. They seem happy. Another photo, late 60's, of Tom standing alone in a suit. He holds a LONG SUITCASE. Tom enters holding two cups of coffee. \n TOM \n You don't have to lie to me boy. \n He hands Ellis a cup of coffee with a cartoon image of a dog on it. It reads, \"I'm a real bitch in the morning!\" Tom sits in a LazyBoy that he gently rocks in. \n TOM \n I've seen you runnin' around. Takin' things. He all right? \n ELLIS \n He's okay. \n TOM \n He get that boat down? \n Ellis nods. There is an awkward moment. \n ELLIS \n He called you an assassin. \n Tom snorts out a laugh, sips his coffee. \n ELLIS \n Is it true? \n TOM \n How long have you known Mud? \n ELLIS \n Few days. \n TOM \n Well that's long enough to know he's full of shit. \n ELLIS \n So it's not true. \n TOM \n I was a sharpshooter in the army. In Mud's world, that makes me an assassin. Not exactly true, right? \n ELLIS \n Yeah I guess. \n Tom notices the boy's disappointment. \n TOM \n You think he's a bad ass don't you? \n ELLIS \n I don't know. \n TOM \n You know why he's stuck out on that island? \n ELLIS \n Yeah. \n (hesitates) \n He shot somebody. \n TOM \n He tell you why he shot that man? \n ELLIS \n Because he hurt Juniper. \n TOM \n Right. The real reason Mud's in the trouble he's got is because of her. He's been in love with that girl since he was your age. They used to run all around here and it was the same back then. He'd follow that girl wherever she led him. Problem is she don't care about nobody but herself. I've told him as much. She'd bed down with the meanest snake she could find, then when things went bad she'd go runnin' to Mud. Mud would take her back, then go find whatever unlucky sonofabitch last put a hand on her and beat 'em 'til they knew to never touch her again. And this time I guess he thought a beating wasn't good enough. Had to shoot that fella. I don't know for sure, but I'd put money on Juniper knowin' he'd do it. And I have a suspicion she might of even told him to. Either way, those two are set for failure. Only chance Mud has is to cut her loose. Cause I'll tell you what, Mud's no bad ass. He's runnin' scared. \n Ellis can't look Tom in the eye, he's offended by the old man's remarks. Ellis sets the coffee cup on the desk. \n ELLIS \n I gotta go. \n Ellis heads for the door, but stops short. \n ELLIS \n You're wrong about Juniper. They love each other and they're gonna make it. If you weren't a wore out old man you'd know it was true. \n Tom eyes the boy, taking a sip from his cup. He nods a goodbye to Ellis who is already out the door. \n \n \n EXT. ISLAND/BASE OF BOAT TREE - DAY \n Ellis stomps out of the trees and is struck by the new position of the boat. It hangs three feet off the ground; SUSPENDED in dry dock. A clear-cut path of trees leads off toward the island's southern shore. Beside the boat, remnants of a giant fire smolder. Ellis surveys the MOUND OF ASH. \n MUD (O.S.) \n What you say Ellis? \n Ellis turns to find Mud standing on the deck of the boat holding a fistful of wires. He jumps down. \n ELLIS \n I got more stuff. \n MUD \n You find a motor? \n ELLIS \n Not yet. \n (points to the ash) \n What's that? \n MUD \n I made a bonfire. \n Mud enters the woods. Ellis follows. \n ELLIS \n Why? \n MUD \n Bonfire's an all purpose cure all for bad luck. I don't know where this boat's been or what kind of person had it before me. For all I know it could have some serious bad business left on it. We got too much ridin' on this thing to leave to chance. Where's Neckbone? \n ELLIS \n Helpin' his uncle with a dive. \n \n \n EXT. ISLAND SHORE - MOMENTS LATER \n Mud and Ellis exit the treeline heading to Ellis' boat. \n ELLIS \n Tom called me over to his place this mornin'. \n MUD \n What he say? \n ELLIS \n He was runnin' down Juniper. \n Ellis looks for a response, but Mud just jumps up into the boat and starts throwing pieces of wood on shore. \n ELLIS \n I told him he was a wore out old man. Told him he couldn't know how much you loved Juniper. \n MUD \n You don't know his story. \n ELLIS \n I don't care. \n MUD \n You should. Tom loved a woman more than most men could in two lifetimes. They had a good life started together. \n Mud hops down and scoops a load of wood into his arms. \n MUD \n She was pregnant with a little boy, but the birth got the better of 'em. They didn't make it. Tom's been alone ever since. Lone wolf. \n Mud has begun walking back to the treeline. Ellis stays. \n ELLIS \n I gotta go help my dad. \n Mud turns back but doesn't stop moving. \n MUD \n Thanks for the wood Ellis. \n Ellis watches him go, thinking on what he said. \n \n \n EXT. UNDERWATER - RIVER - DAY \n Fully suited in diving gear, Galen toils in the murky brown water at the bottom of the river. His gear consists of a typical wet-suit, wet-socks but no gloves. His metal helmet is not typical. It's welded from half a hot water heater that's been fitted with barbell weights. A hose connected to the top runs to the surface. Galen ties off a netted sack and yanks on its line. \n \n \n EXT. RIVER - CONTINUOUS \n A small air compressor chugs as Neckbone stands in the middle of Galen's boat pulling in the heavy rope. At the end, the net bulging with mussel shells appears. He manages to roll the heavy load into the boat before moving over to a crank handle that feeds another line. After several cranks, Galen's steel helmet breaches the surface. He places his hands on the edge of the boat as Neckbone removes the barbell weights. The weight removed, Neckbone takes off the helmet. Galen pulls himself into the boat, out of breath. \n GALEN \n This shit never gets easy. \n NECKBONE \n That's a good haul. \n GALEN \n I've had worse. \n Galen reclines as Neckbone kills the air compressor and begins organizing the gear. He watches his little nephew. \n GALEN \n You doin' all right? \n NECKBONE \n Yeah. \n GALEN \n You don't need to tell me anything? \n NECKBONE \n Tell you what? \n GALEN \n I know I'm just your uncle, not much of a parent. But you can tell me things if you need to. \n NECKBONE \n I can tell you this helmet smells like my duck butter. \n \n \n EXT. ELDERLY WOMAN'S HOUSE - DAY \n Ellis holds a wrought iron door open with his backside as an ELDERLY WOMAN takes the paper bag of fish from his hands. Ellis walks back to the truck. Senior watches him, looking at the black eye. \n \n \n I/E. SENIOR'S TRUCK/CATFISH PARLOUR - MOVING - DAY \n Ellis rides up front with Senior. Windows down, no radio. \n SENIOR \n Where'd you get that black eye? \n ELLIS \n A kid in town. He got his too. \n SENIOR \n What you fightin' for? \n ELLIS \n 'Bout a girl. \n SENIOR \n What girl? \n ELLIS \n My girlfriend. \n SENIOR \n You got a girlfriend? \n ELLIS \n Yes sir. \n SENIOR \n When'd that happen? \n ELLIS \n Other day. \n Senior pats his shirt pocket and finds a smoke. Lights it. \n SENIOR \n You seen your mother today? \n ELLIS \n No. \n SENIOR \n You not talkin' to me? \n ELLIS \n I'm talkin'. I'm talkin' to both of you. That's all ya'll want to do is talk. \n SENIOR \n Well, that's your mother. Would rather tongue lash a problem than step up and handle it. You'll see one day. Women are tough. They'll set you up for things. You can't trust love, Ellis. If you're not careful, it'll run out on you. You just gotta pick a woman and roll the dice. Hope you don't wake up in fifteen years hatin' each other. \n Ellis keeps staring out the window as they pull into the parking lot of the Catfish Parlour Restaurant. \n \n \n EXT. THE CATFISH PARLOUR/THE PINES MOTEL - LATE AFTERNOON- \n CONTINUOUS Senior climbs out of the truck and enters the restaurant. Ellis pops open the tailgate and reaches for a cooler. The Catfish Parlour is one business in a strip center row. There is nothing else around save for farmland and a motel across the road. Ellis notices Carver's black LINCOLN parked in the motel lot. He walks away from the truck to get a better look. Ellis scans the FOUR OTHER VEHICLES in the lot. All Texas plates. A maroon Cadillac sails past and turns into the motel. Ellis recedes to the rear of his truck. He watches as KING(76), a fireplug of a man, emerges from the Cadillac. Cramped from a long drive, he stretches and eyes the sign for the Pines Motel. A motel room door opens and Carver walks out. He's smiling and calls out to King. They hug as a green PICK-UP pulls up. MILLER, a slick dressed man in black boots, climbs out. \n SENIOR (O.S.) \n Ellis! Let's go! \n Ellis snaps around to find Senior leaning out the restaurant door. Ellis yanks the cooler down and drags it inside. He looks back over his shoulder for a final glance at the men. AT THE MOTEL, \n CARVER \n Daddy this is Miller. He's one of ours. \n KING \n (shaking) \n How do you do? Appreciate your help. \n MILLER \n Yes sir. \n CARVER \n We'll be in in a minute. \n Miller nods and enters the motel room. King turns to Carver. \n KING \n Catch me up. \n CARVER \n They work in shifts. Two outside her motel, the others either out searching or sleepin' here. I met with the county sheriff but he wasn't much help. Said they'd handle their own business, but I got two of their people on payroll and a person on the inside at the state police. \n KING \n Good. Doin' good. Who all's here? \n CARVER \n All but two now. Nelson and James are watchin' her place. I called the rest in. \n KING \n Okay. Let's meet the men. \n Carver leads his father to the motel room. \n \n \n INT. PINES MOTEL ROOM - LATE AFTERNOON - CONTINUOUS \n Carver holds the door open as King steps inside. A door to his left connects another room which is empty. An episode of the Smurfs plays on the television. There's a MAN on each of the queen beds. Another THREE playing cards at a small table by the window. MILLER stands in the corner smoking. Empty Budweiser cans litter the room. King, unimpressed by the scene, looks at his son. Carver quickly moves in front of the television and turns it off. He stares down the men on the beds. \n CARVER \n Get up. \n (to the others) \n Ya'll pay attention. \n The men get up from the beds and the others put down their cards. Everyone slowly gathers into an audience. \n CARVER \n This is my father, King. He runs the show. \n Carver recedes as King steps forward. He speaks like a high school football coach. \n KING \n Men. I wanna thank you for the work you're doin'. It's important work, and I want you to know what it means to me personally. I'm grateful for it. No man should have to bury his son. It's not natural, and it's a pain I hope none of you ever have to endure. \n King removes a photocopied picture of Mud from his pocket. He unfolds it, stares at it, then raises it to the men. \n KING \n This man did that to me. He took my youngest boy. And now, you're gonna help me get him. \n King stares at the men, keeping the photo held high. \n KING \n Now gather 'round. Come on now, in a circle. I want ya'll to join hands. \n They do it reluctantly. \n KING \n Everybody take a knee. \n They do. King joins them on his knee and grabs Carver and another Man's hands. \n KING \n Bow your heads. I need you to help me pray for the death of the man that killed my son. \n They all bow their heads. \n \n \n A85 EXT. NECKBONE'S TRAILER - MORNING A85 \n A tarp is thrown back from a rusting boat trailer. Ellis and Neckbone stand by the trailer looking less than thrilled. It's covered in junk and debris. \n NECKBONE \n You touch her breast? \n ELLIS \n A little. \n NECKBONE \n That's great man. \n ELLIS \n Thanks. \n Ellis walks up and knocks a stack of bricks off the trailer. \n ELLIS \n We could take it apart. Bring it out piece by piece. \n NECKBONE \n It's welded. We'd just tear it up. What if we float it out? \n ELLIS \n With what? \n NECKBONE \n Come on. \n Neckbone walks to the trailer. Ellis follows. \n \n \n B85 INT. NECKBONE'S TRAILER - CONTINUOUS B85 \n The boys open the front door and are met by a BLINDING LIGHT. \n NECKBONE \n Jesus! \n They squint and shield their eyes. The light shuts off as quickly as it came on. Galen stands in front of them wearing his wet suit. The bar with the flood lights attached sits across his shoulders. The boys rub their eyeballs, seeing spots. Galen shuffles over to the couch holding a marine battery connected to the lights. He labors to take a seat. \n GALEN \n What do you think? \n NECKBONE \n That's real good Galen. \n (to Ellis) \n Gimme a minute. \n Neckbone, still blinking, goes back to his room. Ellis notices Galen staring at him. Galen pats the couch. \n GALEN \n Come 'ere Ellis. \n Ellis takes a seat on the other end of the couch. Galen pats the spot next to him. Ellis scoots over, uncomfortable. \n GALEN \n (pointing up) \n You see that ceiling fan? \n ELLIS \n Yeah. \n GALEN \n I found it in the river. Works great. Best ceiling fan I've ever owned. This river brings a lotta trash down it. Some a that trash is worth a lotta money, some of it's not. You gotta know what's worth keepin' and what's worth lettin' go. You know the difference? \n ELLIS \n I think so. \n GALEN \n Neck looks up to you. Don't get my nephew into anything you can't get him out of. \n Galen forces a stare with Ellis, who nods. Neckbone enters as Galen begins to remove his light rig. \n GALEN \n Help Me Rhonda's just about a guy needing to get a piece to get over a girl that put one over on him. So you get your heart broke, don't walk around with a shit look on your face. Get back in there. Get your tip wet. You hear me? \n ELLIS \n What? \n GALEN \n You know what I'm sayin'. \n Ellis doesn't. Galen moves to an electric guitar leaning by a small amp in the corner. \n GALEN \n Ya'll wanna hang out? Alan's comin' over. We're gonna pump it up. \n NECKBONE \n We got stuff to do. \n GALEN \n Whatever. \n The boys exit as Galen turns on the amp. \n \n \n C85 EXT. NECKBONE'S TRAILER - CONTINUOUS C85 \n Galen pumps it up inside as Neckbone and Ellis walk to the boat trailer. Neckbone pulls a handful of long zip ties from his back pocket. \n NECKBONE \n What were ya'll talkin' about? \n ELLIS \n I don't know. \n \n \n EXT. ISLAND NORTHERN SHORE - DAY \n Mud's knife slices through a plastic zip tie. \n MUD \n King. That's what they call him. \n A BOAT TRAILER rests atop FOUR, 55-GALLON BRIGHT YELLOW BARRELS affixed with plastic zip ties. The make-shift raft is half on shore with the back still floating in the water. The boys watch as Mud walks around the trailer cutting off the zip ties. The barrels kick out from underneath the trailer as this happens. \n MUD \n He's their father. You didn't go near him did you? \n ELLIS \n No. \n MUD \n Good. That left-handed sonofabitch is the devil himself. If he's here, then it's time. We need to get Juniper out here. \n ELLIS \n We still need a motor. \n NECKBONE \n There's a motor in the scrap yard might work. \n MUD \n I need one that runs. \n Mud moves to the front of the boat trailer and begins dragging it fully onto the bank. It's heavy. \n NECKBONE \n I can get it runnin'. Tell him Ellis. \n ELLIS \n It's true. He built his own dirt bike. \n MUD \n All right then. Give it a shot. \n ELLIS \n I don't know. That motor's worth somethin'. It's not like this other junk. \n NECKBONE \n It's been there for months. Nobody's even gonna know it's gone. \n Ellis hesitates. He looks to Mud. \n MUD \n We do need a motor. \n Ellis thinks on it as Mud takes a deep breath and grabs the trailer again. \n \n \n EXT. PIGGLY WIGGLY PARKING LOT - DAY \n The supermarket is busy. Ellis stands at a pay phone out front as Neckbone kicks a vending machine nearby. Ellis looks at Juniper's motel. He scans the Piggly Wiggly parking lot and spots Carver's black Lincoln. Ellis picks up the phone and deposits some change. He dials. \n ELLIS \n I wanna talk to room 212. \n \n \n I/E. JUNIPER'S MOTEL ROOM/PIGGLY WIGGLY - CONTINUOUS \n Juniper watches TV (o.s) at the foot of the bed. The phone rings. She snaps up, hits mute and grabs it. \n JUNIPER \n Hello? \n INTERCUT WITH ELLIS, \n ELLIS \n Juniper? \n JUNIPER \n Ellis? \n ELLIS \n It's me. \n JUNIPER \n Thank god. I've been goin' crazy in this room. Is Mud okay? \n ELLIS \n Yeah. It's time to take you out to him. \n JUNIPER \n Now? \n ELLIS \n Tomorrow. We'll come get you. \n JUNIPER \n What's goin' on? \n ELLIS \n He's got a plan for ya'll to get away. Be ready tomorrow at five. Neckbone'll be waitin' at the back of the motel with a dirt bike. \n JUNIPER \n They're watching my room. \n ELLIS \n I'll take care of that. Just be ready at five. \n JUNIPER \n Wait. Just wait. I don't know about alla this. I don't even know what he thinks we're gonna do. Where are we even gonna go? This is Mud. This is what Mud does. \n Ellis hears her crying through the phone. \n ELLIS \n It's okay. He's got the boat. We helped him fix it up. It's a good plan. Just be ready. \n JUNIPER \n Why are you even doing this? \n ELLIS \n What do you mean? \n JUNIPER \n Why are you helping us? \n ELLIS \n Cause ya'll love each other. \n Juniper searches for a comment. Ellis, looking out over the parking lot, sees May Pearl getting out of a car with her MOTHER and SISTER. \n ELLIS \n I'll see you tomorrow. \n JUNIPER \n Wait. \n Dial Tone. Juniper holds the phone, worried. \n \n \n EXT. PIGGLY WIGGLY PARKING LOT - CONTINUOUS \n Ellis turns and watches May Pearl push a cart in the parking lot with her family. Neckbone bangs at the Coke machine. \n NECKBONE \n How'd it go? \n ELLIS \n We're good. \n \n \n I/E. CARVER'S LINCOLN/PIGGLY WIGGLY PARKING LOT - DAY \n Carver sits behind the wheel of his Lincoln. The man with the mustache, James, sits in the passenger seat next to him. Carver notices Ellis and Neckbone standing in front of the Piggly Wiggly. He climbs out. AT THE VENDING MACHINES, \n NECKBONE \n Gimme a quarter. This shit took mine. \n Ellis watches May Pearl entering the grocery store. He calls out with a wave. \n ELLIS \n MAY PEARL! \n Without stopping, May Pearl, along with her Sister and Mother, all turn. May Pearl sees him, but doesn't wave back. She continues inside. Ellis looks confused, then embarrassed. Neckbone notices. \n NECKBONE \n It's all right man. She's with her family. Come on. I wanna get that motor before dark. \n They head to the dirt bike. \n CARVER (O.S.) \n Hey there! \n Ellis turns to see Carver approaching. \n CARVER \n You remember me don't you? \n Ellis nods. Carver notes the healing bruise on Ellis' face. \n CARVER \n I'm sure sorry about that. Ya'll caught me at a real bad time. \n Ellis climbs on the bike. Carver walks over to them. \n CARVER \n Hold on now. One second. I don't want ya'll thinkin' I'm a bad guy. Ya'll were just trying to do a job, and I got in your way. \n Carver removes a roll of twenties and peels off two. \n CARVER \n Let's just say I bought that whole batch of fish ya'll were sellin'. Would forty cover it? \n NECKBONE \n That'd bout do it. \n ELLIS \n We don't want your money. \n Carver steps in close to the boys. \n CARVER \n I bet ya'll really get around this town. Probably know every hole and ditch. Have ya'll come across the man whose picture I showed you? \n ELLIS \n No. \n Carver removes a flier with Mud's picture and holds it out. \n CARVER \n You sure about that? Take a look with your good eye. \n ELLIS \n I'm sure. \n CARVER \n What about that girl in the motel? The pretty one. Ya'll talk to her some more? \n ELLIS \n No. \n Carver smiles. He tucks the flier and the forty dollars into Ellis' hand. \n CARVER \n There's a number on there. Ya'll let me know if you do. \n Neckbone cranks the engine and backs the bike up with his feet. They pull away. Moving, Ellis looks back to see Carver watching them. \n \n \n EXT. CRAWFORD'S JUNKYARD - DUSK \n Neckbone pulls back a loose section of chain-link fence surrounding the marine junkyard. Ellis crouches through. INSIDE THE JUNKYARD, Ellis and Neckbone creep through piles of starboard and boat parts. They stop at a party barge with only one pontoon. At its rear hangs a big rusted motor, 200 horsepower. Neckbone quickly disassembles its attachment. The motor pops loose leaving the boys to strain against its heavy weight. They ease it to the ground. \n NECKBONE \n Jesus that's heavy. \n The boys get on either side of the motor and begin half- dragging it back to the fence line. ACROSS THE YARD, A LITTLE GIRL(10) dangles her feet off a loading platform and bites at an ice cream sandwich. She watches Neckbone and Ellis from a distance. \n \n \n EXT. ELLIS' HOUSEBOAT - NIGHT \n Ellis walks onto the houseboat as the sound of Neckbone's bike fades in the trees. He stops, noticing a PAPER BAG sitting on the water's edge of the boat. He goes over to it. He opens the sack and takes a quick inventory. A loaf of bread, potted meats, a bottle of Jack Daniels, a roll of cash, and an Arkansas boat tag. Ellis looks around, no one. He looks over to Tom's boat. It's dark. Ellis scoops up the sack and heads inside. \n \n \n EXT. PIGGLY WIGGLY PARKING LOT - LATE AFTERNOON \n The digital wristwatch changes from \"4:59\" to \"5:00\". Neckbone sits on his bike parked near the vending machines at the Piggly Wiggly. Ellis, on the payphone, scans the parking lot. No sign of Carver's Lincoln. No other Bounty Hunters. \n NECKBONE \n Where are those bastards? \n ELLIS \n I don't know. \n (hangs up) \n She's not answerin'. \n NECKBONE \n What do you wanna do? \n ELLIS \n Take your bike around the side. I'll check her room. We'll just have to hope no one sees us. \n Neckbone cranks the bike and speeds toward the motel. Ellis looks to the motel, then the parking lot. \n \n \n EXT. EXECUTIVE INN - MOMENTS LATER \n ON THE SECOND FLOOR, Ellis cautiously heads up the stairs. He eyes the parking lot at the Piggly Wiggly but still sees no sign of Carver's men. He moves quickly toward Juniper's door. Checking over his shoulder, he knocks. No answer. He knocks again. Nothing. He peeks through the window. No lights. No movement. BY THE DIRT BIKE, Neckbone gets off his bike and slips to the corner of the building. As he peeks his head out, Ellis nearly knocks him over on his way downstairs. They both flinch. \n NECKBONE \n Shit. Was she there? \n ELLIS \n Nothin'. \n Ellis notices the front office \n ELLIS \n Come on. \n \n \n INT. EXECUTIVE INN/FRONT OFFICE - CONTINUOUS \n The MOTEL CLERK(29) doesn't look up from his issue of Lowrider as Ellis and Neckbone enter. \n ELLIS \n Scuse me, sir? \n MOTEL CLERK \n Yeah. \n ELLIS \n We're lookin' for the girl in room 212. You seen her? \n MOTEL CLERK \n I've seen her. \n ELLIS \n You see her today. \n MOTEL CLERK \n Yeah, she came down askin' for directions to the nearest bar. I told her to head out to a place on 61. \n Ellis digests this. They turn to leave. \n MOTEL CLERK \n Wait a second, are ya'll the little bastards tryin' to sell fish to the guests? \n They're already out the door. \n \n \n EXT. ROADSIDE BAR - DUSK \n Ellis and Neckbone pull into the gravel lot in front of a roadside bar. The cinder block building sits by itself just off the highway. Cars and motorcycles fill the lot. \n NECKBONE \n You think this is it? \n ELLIS \n It's gotta be. \n \n \n INT. ROADSIDE BAR - CONTINUOUS \n The small bar is loud and crowded. Shoulder to shoulder PATRONS bump against one another as MUSIC blares. Neckbone and Ellis press through the crowd searching for Juniper. They are a good foot shorter than anyone else. Ellis notices a man at the bar. It's Miller, the bounty hunter from King's motel. He's staring at something across the room. Ellis follows his line of sight. The crowd weaves in front of him, but then he sees her. Juniper leans against a pool table at the far end of the bar. A GUY(32) whispers in her ear and kisses her neck. She throws her head back, laughing. Ellis watches in disbelief. Nearby, the BARTENDER(46) fills a customer's shot glass. The two underage kids catch his attention. Ellis' face is frozen, locked on Juniper. Neckbone places a hand on his shoulder. Juniper's eyes drift toward the boys. She makes eye contact with Ellis, and her smile vanishes. The Guy keeps whispering in her ear. Juniper straightens her back slightly. Ellis can't take his eyes off her. Juniper stares back at him, but doesn't make a move. After a moment, Juniper's eyes fall to the floor. She turns her head back to the Guy. The crowd fills back in and the image is out of Ellis' reach. \n BARTENDER (O.S.) \n What the hell are ya'll doin'?! \n The Bartender swoops in, grabbing them both by the backs of their necks and shoving them toward the door. Ellis strains against the thick hand. He tries to get another look at Juniper, but it's too crowded. \n \n \n EXT. ROADSIDE BAR - DUSK - CONTINUOUS \n The Bartender flings Ellis and Neckbone into the parking lot. Neckbone slides on the loose gravel. \n BARTENDER \n Ya'll stay outta here! \n Ellis just stands staring at the front door. The Bartender makes a swatting motion toward them. \n BARTENDER \n I SAID GET OUTTA HERE!!! \n Neckbone gathers his friend and leads him away. \n NECKBONE \n Thanks a lot asshole! \n (to Ellis) \n Come on man. \n They head over to Neckbone's dirt bike. He pulls out the key and climbs on. Ellis hesitates. \n NECKBONE \n I'll take you home. \n ELLIS \n We're gonna have to tell Mud. \n Neckbone drops his head, nods reluctantly. \n \n \n EXT. ISLAND SHORE - NIGHT \n The boys struggle to pull the heavy motor out of their boat. It hits the shoreline with a thud. They lean over it, sucking air. \n ELLIS \n Just leave it. Mud'll have to help get it. \n NECKBONE \n What're you gonna tell him? \n ELLIS \n I'll just tell him the truth. \n \n \n EXT. ISLAND/SOUTHERN SHORE - NIGHT \n Mud stands at the back of the boat, which now rests on the boat trailer near the water. His face is clean shaven and his hair is wetted back. His shirt, still filthy, is tucked into his pants. He whistles and works by the light of a small fire nearby. Ellis steps out from behind a tree. He's holding the grocery sack that was left on his houseboat. \n ELLIS \n MUD! \n Mud, hearing the voice, quickly puts down his tools and turns to the woods. He smooths his clothes down. \n MUD \n What you say there?! \n Ellis appears out of the dark, followed by Neckbone. Mud's eyes search the treeline for Juniper. \n MUD \n What you say Ellis? \n Ellis can't look him in the eye. \n ELLIS \n We got that motor. \n MUD \n Is Juniper okay? \n ELLIS \n Yeah. \n MUD \n Where is she? \n ELLIS \n She didn't meet up with us. \n MUD \n What happened? Was it Carver? \n ELLIS \n It wasn't Carver. \n Mud straightens up, prepares for the news. \n MUD \n What's goin' on Ellis? \n ELLIS \n She was supposed to meet us on the side of the motel. She never showed up. We went asking for her. The motel clerk told us she went to a bar out on 61. \n MUD \n What? \n ELLIS \n We tracked her down. She was there with another guy. \n (hesitates) \n They were together. \n Mud's face drops. He walks to the fire and shakes a cooking pot resting in the coals. The pot bubbles with roof tar. \n MUD \n She probably thought Carver was on to her. \n ELLIS \n She knew the plan Mud. She just didn't show up. \n MUD \n What was she doin' with the other guy? \n Ellis hesitates, not wanting to say. Mud pushes. \n MUD \n What were they doin' Ellis? \n ELLIS \n They were playin' pool. Drinkin'. He was close up on her. They were laughin'. He kissed her on the neck. \n Mud nods. \n MUD \n And that's how it is. \n He takes the pot of roofing tar over to the boat and begins pasting some of the newly replaced boards with a flat stick. \n ELLIS \n What do you want us to do? \n MUD \n Just go home Ellis. \n Ellis looks at Neckbone, then sets the grocery sack on the ground. \n ELLIS \n Tom left this for you. \n They slowly retreat into the woods and disappear. Mud turns back to the campfire and shoves the pot into the ashes. His eyes, soft and red, reflect the flame. \n \n \n EXT. MISSISSIPPI RIVER - NIGHT \n Ellis and Neckbone motor away from the island in the flat bottom boat. They look back at the shore. \n ELLIS \n You think it's all right to leave him alone?! \n NECKBONE \n I doubt it! \n Neckbone sees Ellis' concern. \n NECKBONE \n I'll sleep over at your house tonight! We can check on him first thing tomorrow! \n Ellis nods. As they head further up river, the island grows smaller, silhouetted by the moonlight. \n \n \n INT. ELLIS' ROOM - MORNING \n Neckbone snores, sprawled out on top of a sleeping bag on the floor. Ellis sits up in bed with something on his mind. He gets up and steps gingerly over Neckbone to exit the room. \n \n \n INT. ELLIS' HOUSEBOAT - DEN - CONTINUOUS \n The house is silent. Ellis slips into the kitchen and picks up the phone receiver mounted on the cabinet. He pulls the cord out to stand with his face in the corner. He dials, waits, and speaks softly into the receiver. \n ELLIS \n Hello? Is May Pearl there...This is Ellis...I called yesterday, you give her my message?...My name is Ellis. I'm her boyfriend...Oh, she's asleep...I said she's asleep? \n The front door flies open. Senior storms headlong toward Ellis. He shouts. \n SENIOR \n MARY LEE! \n Ellis turns as Senior yanks the phone by the cord. It snaps out of Ellis' hand and smashes apart on the floor. Ellis flinches at the sight of his father flying at him. \n SENIOR \n What the hell have you been doing? WHAT HAVE YOU BEEN DOIN'?!! \n Senior grabs Ellis by the arms and shoves him against the den wall. Mary Lee comes running from her room. \n SENIOR! \n She slaps at her husband's arms and back. \n SENIOR DAMMIT! \n He swats her away. \n SENIOR \n You tell her. You tell her what you've been up to. \n ELLIS \n I don't know what you're sayin'. \n MARY LEE \n Take your hands off him Senior! \n Senior keeps Ellis pinned to the wall with his left hand. He opens up and addresses Mary Lee with his right. \n SENIOR \n J.J. Crawford said a boat motor went missin' from his stock yard. Said his daughter saw this one and his friend haulin' it off. \n This makes Mary Lee pause. \n SENIOR \n Now you tell me right now, did you steal that motor? \n ELLIS \n We didn't steal it. \n SENIOR \n Lie to me again. \n ELLIS \n We thought it was junk. We didn't think it was worth anything. \n MARY LEE \n Ellis? \n A cool anger rushes over Senior's face. He releases Ellis and takes a step back. \n SENIOR \n You tell me I raised a thief? \n ELLIS \n I'm not a thief. \n SENIOR \n You take property that's not yours. Property that belongs to another man. That junk is his livelihood. I'm ashamed of you. \n Ellis drops his head. His face flushed. \n MARY LEE \n Senior. \n SENIOR \n (to Mary Lee) \n Shut your mouth. You think you can take things and not have him see it? Neither one of you has any respect for a man's livelihood. A life that puts clothes on your back and food in your stomach. \n MARY LEE \n Don't you blame this on me. One doesn't have a thing to do with the other and you know it. \n SENIOR \n Don't tell me what I know. If you can steal a man's life out from under him in front of your son and think he won't take a lesson from it than you're even dumber than you look. \n ELLIS \n Stop it dad. \n Senior volleys a finger at Ellis. \n SENIOR \n She's raisin' you a snake like herself, and you can curl up with her 'fore I give a damn. You just remember this when you watch them rip this house apart board by board. You Hear Me! \n Mary Lee slaps Senior hard. He turns to her, saying nothing. \n MARY LEE \n You're a man who's never had the strength to support his own life. I never asked you for a thing, and I've never took a thing from you that I couldn't provide for on my own. If they do tear my home apart the only joy I'll have in my heart is knowin' that they'll be tearing you out of my life for good. \n She wipes her eyes and turns her attention to Ellis. \n MARY LEE \n Ellis. You'll return that motor from where you found it and you'll apologize in person to the man you took it from. I won't hear about anything like this again. \n Mary Lee walks to the front door. She collects her purse and keys and exits quietly. Senior and Ellis stand in silence, which feels even more uncomfortable than the shouting. Ellis finally speaks. \n ELLIS \n I can't take that motor back. But I'll pay him for it. I'll pay him what he wants for it. \n Senior, stoic, pivots his body away from the boy. \n SENIOR \n I don't care what you do Ellis. \n Senior retreats to the bedroom. Ellis is left alone in the wake. He looks to his room. The door opens slightly and Neckbone takes a step out. Neckbone doesn't say anything. He just bites at his lip, sympathy for his friend. \n \n \n EXT. ISLAND SHORE LANDING - DAY \n Charred hunks of driftwood smolder in a ruined pile on the sand. They constitute the remains of a large bonfire. Neckbone and Ellis stare at the ash. \n NECKBONE \n What the hell's all this? \n ELLIS \n It's a bonfire. \n NECKBONE \n I guess he didn't care about bein' seen. \n Ellis kicks at one of the burned logs. He bends down and finds the bottle of Jack Daniels, smashed. \n ELLIS \n He had something else on his mind. Come on. \n Ellis leads Neckbone into the treeline. \n \n \n EXT. ISLAND WOODS/CREEK - DAY \n Mud's yellow shirt hangs, partially ripped, from a tree branch. Ellis pulls it off the limb. Concerned, they head deeper into the woods, over the fallen tree trunk that bridges the creek. \n \n \n EXT. ISLAND WOODS AND SOUTHERN SHORE - DAY \n The boys watch Mud through the trees at a distance. He's crouched on the deck of the boat fiddling with wiring. Mud, giving no sign he sees the boys, yells out to them. \n MUD \n What are ya'll hidin' for? \n Mud drops the wiring and scales down to the bank. They emerge from the woods. Ellis carries the yellow shirt. \n ELLIS \n We found your shirt. \n Ellis tosses it to him. Mud tosses it back. \n MUD \n Keep it. I don't need it anymore. \n Mud goes to the motor at the rear to tinker with more wires. \n ELLIS \n We saw what's left of your bonfire. \n (no response) \n Somebody could've seen you. \n MUD \n I guess. \n ELLIS \n You do some drinkin' last night? \n MUD \n I did a lot of drinkin' last night. \n Mud stops and walks over to address the boys. His face is pale and his manner is curt. \n MUD \n Neck I'm gonna need you here to get the motor runnin'. Ellis I need you to do something else for me. \n Mud removes a folded note from his back pocket. \n MUD \n I need you to take this to Juniper. \n ELLIS \n Okay Mud. \n Ellis takes the letter. Mud goes back to the boat motor. He motions to Neckbone to join him. \n MUD \n Let's go. \n ELLIS \n You still takin' Juniper? \n MUD \n I had a dream last night. I saw Juniper laying in a field with another man. They were making love. I walked out into the field. Walked toward 'em. I was so angry the tips of my ears were burnin'. That's how I knew I was gonna kill this man. But when I got up close enough, I saw that the man she was with had tattoos on his back, just like mine. I moved in closer and the guy turns his head back toward me. Hair for hair, dead truth, the guy she was with was me. \n Mud ducks back under the motor. Ellis looks at Neckbone, worried. \n MUD \n I'll finish the boat, but I'd be surprised if I live long enough to sail on it. A vision of yourself is a sure sign of death. Neck can you grab me a socket wrench? \n Neckbone and Ellis walk to the toolbox sitting nearby. They crouch by it, speaking quietly. \n NECKBONE \n You be all right? \n ELLIS \n Yeah. What about you? \n NECKBONE \n He'll be okay. \n ELLIS \n Can I borrow your bike? \n Neckbone fishes the key out of his pocket. Hesitates. \n NECKBONE \n Don't tump it. \n Ellis nods. Neckbone walks over to Mud with the toolbox. Letter in hand, Ellis gives a final look toward Mud's labor and walks back into the woods. On his way, he stops to hang Mud's shirt on a tree branch. \n \n \n EXT. MISSISSIPPI RIVER - DAY \n Ellis rides in the flat bottom boat alone. He stares at the letter in his hand. \n \n \n EXT. PIGGLY WIGGLY - DAY \n Ellis sits on the dirt bike. He scans the parking lot. No black Lincoln. His eyes stop on a green pick-up. Miller, sits inside. Ellis looks around and finds a pay phone nearby. He gets off the bike and walks toward it. Ellis removes the flier Carver gave him. He dials a phone number copied at the bottom. \n ELLIS \n (into the phone) \n Hello. I saw the guy you're lookin' for...Yeah, he's crazy lookin'. Saw him at the Wal-mart outside of Gillet. He was buyin' some beanie weenie...'bout five minutes ago. \n Ellis hangs up the phone. He walks back over to the bike, climbs on and waits. After a moment, he watches as Miller's green pick-up pulls out of the Piggly Wiggly parking lot and races away. Ellis cranks the bike. \n \n \n EXT. EXECUTIVE INN/JUNIPER'S ROOM - CONTINUOUS \n Ellis, at a slight crouch, keeps his eyes on the Piggly Wiggly parking lot. The green pick-up is nowhere in sight. At Juniper's door, he knocks twice, softly. The door swings opens. Juniper stands there, holding a lit cigarette. \n JUNIPER \n I was wonderin' when I'd see you. \n Ellis checks over his shoulder and walks inside \n \n \n INT. EXECUTIVE INN/JUNIPER'S ROOM - CONTINUOUS \n The bed is unmade and the room is a bit of a mess. Ellis keeps his head down. Juniper closes the door and takes a seat on the edge of the bed. She grabs the remote control and mutes the television. \n JUNIPER \n I'm sorry about last night. I didn't plan on... \n Before she can finish Ellis has fished the letter out of his pocket and holds it out to her. \n ELLIS \n I'm supposed to give this to you. \n Juniper takes the letter. \n JUNIPER \n Okay. \n Ellis goes to the door. He pulls the bedroom curtain back slightly to check the parking lot. The coast is clear. \n JUNIPER \n Did you read it? \n ELLIS \n No. I gotta go. \n JUNIPER \n Ellis? \n He turns to her. \n JUNIPER \n I'm sorry. \n ELLIS \n All you had to do was be there. \n JUNIPER \n I couldn't. \n ELLIS \n Then why'd you even come here? \n JUNIPER \n I came here to leave with him. I really did. But now...now I guess I just came to say goodbye. \n His eyes fall to the floor. \n JUNIPER \n You don't know us Ellis. We've been headin' this way for a long time. \n ELLIS \n I know he'd do anything for you. \n She puts her cigarette out in a Coke can on the floor. \n JUNIPER \n You really believe that? \n Ellis nods. Juniper speaks to him gently, almost smiling. It's a look of resignation. \n JUNIPER \n Mud's a born liar. That's what makes him so likable. He makes people feel good about themselves. He's a romantic. I don't think he means to hurt people. But when people get close to him, that's what happens. \n Ellis watches her as she goes to the sink and wets the end of a towel. She dabs her eyes at the mirror. \n JUNIPER \n I do love him Ellis. But I can't spend the rest of my life runnin' with him. I may not know what kind of life I want, but I know that's not it. \n Her back to him, Ellis watches as she unfolds the letter and begins reading. He angles himself to see her face in the mirror. He watches her eyes scanning the words. No emotion. She finishes, folds the letter back up, then turns to him. \n JUNIPER \n Tell him I understand. \n ELLIS \n What's it say? \n JUNIPER \n It says it's over. Tell him I've packed my things. Tell him I've gone. \n She takes a deep breath and smiles at him. \n JUNIPER \n Bye Ellis. \n Ellis turns and walks out. \n \n \n EXT. EXECUTIVE INN/JUNIPER'S ROOM - CONTINUOUS \n Ellis, dejected, no longer bothers to look over his shoulder. He walks to the staircase but stops there. Feeling the need to say something more, he goes back to her room. He puts his knuckle flat on the door but hesitates. He leans over and looks through the window. The sliver in the curtain gives him a glimpse. Juniper is curled up on the end of the bed. She is sobbing. Ellis watches longer than he should before pulling his head away from the window. Ellis heads back downstairs. \n \n \n EXT. INTERSECTION/SONIC DRIVE-IN - DAY \n Ellis, riding the dirtbike, looks to his left into the Sonic Drive-In parking lot. The high school kids have gathered there again. He notices a rust colored Ford coup. The driver, an older kid named KYLE(18), sits beside May Pearl laughing. Ellis steers into traffic and crosses the street. He pulls onto a patch of grass at the edge of the Sonic parking lot. In one motion, Ellis tumps the bike on its side and makes a b- line for the coup. INSIDE THE CAR, Kyle's hand is on May Pearl's knee. \n KYLE \n So what'd she say? \n MAY PEARL \n She said she didn't like him that much. I told her I thought he was all right. \n Ellis appears with his elbows in the driver's side window. He sticks his head so far in the door that Kyle has to lean back in his seat to make room. May Pearl is surprised. Kyle snorts out a laugh. \n ELLIS \n You get my phone calls? \n MAY PEARL \n What? \n ELLIS \n I've been callin' you. \n (motions with his head) \n Who's this guy? \n KYLE \n Get your head outta my car kid. \n Ellis takes his right elbow and quickly knocks Kyle in the mouth. It splits his upper lip. Kyle grabs his face. \n KYLE \n Shit! \n MAY PEARL \n Ellis! \n ELLIS \n I called you twice yesterday. Your sister didn't tell you? \n Kyle slings the door open knocking Ellis to the pavement. From the ground, Ellis can see that Kyle is big and considerably tougher than the skinny kid he punched before. Kyle's friends from other cars take notice and begin to converge on them. Ellis makes a move for Kyle's legs but is kicked back to the pavement. Kyle straddles him on the ground and punches him. Another punch to Ellis' face. May Pearl is out of the car and yelling. \n MAY PEARL \n Kyle! Stop it Kyle! \n May Pearl pulls Kyle by the collar. By his own will, he raises off of Ellis, keeping an eye on him. A streak of blood stretches from Ellis' nose to his ear. He gets to his feet, dazed. Ellis wipes at his nose and sees May Pearl shove Kyle. Kyle smiles and turns to his friends, who laugh. The CROWD that has collected consists of older high school guys and girls. Ellis steps toward May Pearl and is met with a shove too. \n MAY PEARL \n What the hell are you doin' here Ellis?! \n ELLIS \n What? \n MAY PEARL \n You can't just run up and punch people I'm with! \n ELLIS \n I'm sorry, I just wanted to know why you hadn't called me back. I... \n MAY PEARL \n Why would I call you back Ellis? \n ELLIS \n Because you're my girlfriend. \n The crowd is watching. \n MAY PEARL \n I'm not your girlfriend! We went on one date. One! \n ELLIS \n We kissed. \n MAY PEARL \n That doesn't matter! \n ELLIS \n Yeah but... \n MAY PEARL \n But what Ellis?! What did you expect?! \n ELLIS \n I love you. \n MAY PEARL \n You're fourteen! \n ELLIS \n Don't. Wait. We can make this work. We can figure it out. I love you. \n MAY PEARL \n What? \n Ellis is losing it. His eyes are red. He looks at the crowd of kids. There are smiles and some snickering. May Pearl is speechless. She just stares at him. Ellis turns and walks back to the dirt bike. May Pearl's girlfriends gather around her. She shakes her head, dumbstruck. Ellis lifts the bike off the ground. He looks back at May Pearl who appears to be shrugging off the whole affair in front of her friends. Ellis speeds off. \n \n \n EXT. ELLIS' HOUSEBOAT/RIVERBANK - DAY \n A fire snaps and pops on the riverbank next to Ellis' houseboat. Ellis drags a piece of particle board from a trash pile nearby. He drops the board onto the fire and stands back to watch the blaze. Neckbone's bike leans on a tree behind him. Senior's truck rattles to a stop in the gravel just down the bank. He jumps out of the cab exasperated by the fire his son has started by their home. \n SENIOR \n What the hell are you doin'?! \n Ellis says nothing. He doesn't move. Senior, continuing to yell, runs and drags a hose up from the houseboat. \n SENIOR \n Ellis dammit! What the hell's wrong with you?! \n The fire hisses as Senior turns the hose on it. \n SENIOR \n Ellis? Look at me. \n Ellis finally looks up at his father. A phone RINGS from inside the houseboat. Senior holds the hose in front of him. \n SENIOR \n Take it. Put this damn thing out. \n Ellis takes the hose as Senior stomps on board to catch the phone. Ellis drops the hose. Senior's voice, speaking into the telephone, faintly carries outside. He's yelling. Ellis turns his head to listen. \n SENIOR (O.S.) \n I don't give a shit! Fine! I don't care what you do! I'm done with it! \n Ellis moves around the fire so he can see the houseboat through the flames. He hears the phone SLAM down. Senior appears at the back door. He stares at Ellis through the fire. Ellis moves to the side but realizes Senior isn't staring at him. He's staring at the fire. Senior disappears back into the house. There is a commotion. Ellis watches as Senior bursts out of the house holding an armful of woman's clothes. Senior walks up to the bonfire and begins tossing clothes on top piece by piece. \n ELLIS \n What are you doing? \n Ellis watches as dresses and blouses begin to shrivel up in the flames. \n ELLIS \n Stop it! That's mom's stuff! STOP IT! \n Ellis shoves at Senior. He easily counters the boy with his arm and continues tossing the clothes into the fire. Ellis is screaming and crying. \n STOP IT! \n Ellis tries yanking the remaining clothes out of his father's \n STOP! \n hands but Senior shakes him off. Ellis stumbles. He watches with tears as Senior tosses all of the clothes on. Senior watches his wife's clothes burn. Ellis backs away to the bike. He climbs on, cranks the engine and speeds off. \n \n \n EXT. ISLAND SHORE - DAY \n Ellis grounds the flat-bottom on shore and jumps out. \n \n \n EXT. ISLAND WOODS/CREEK - DAY \n Ellis thrashes through the woods. His muddy feet stomp across the fallen tree trunk that bridges the creek. \n \n \n EXT. ISLAND/SOUTHERN SHORE - DAY \n The boat rests on its trailer on the edge of the bank. Mud stands on board looking down at the motor. Neckbone, tools in hand, has his head buried in the motor. \n NECKBONE \n Try it now. \n Mud turns a switch. No result. \n MUD \n Nothin'. \n NECKBONE \n Sonofabitch. \n Ellis emerges from the treeline. Mud sees him and hops down from the boat. He walks up to him. \n MUD \n What'd she... \n Ellis punches Mud with as much force as he can muster. It's barely enough to turn Mud's face, but it stuns him. \n ELLIS \n You're a liar. Makin' two kids run around doin' work you're too scared to do yourself. Makin' me tell her it's over 'cause you're too scared to do it yourself. \n Mud steps back and gives the boy his space. Neckbone has made his way over and watches from behind Mud. \n ELLIS \n You said you loved her and you lied. You gave up on her and she gave up on you just like everybody else. I trusted you. Bonfires and crosses. Wolf's eye bullshit. \n Mud tries to approach him but the boy explodes, shoving him. \n ELLIS \n EVERYTHING YOU'VE TOLD ME WAS A \n LIE! You never cared about her. You never cared about us. Not like you said. Not enough to matter. You used us. \n MUD \n Come on Ellis. \n Mud holds a hand out to him. Ellis slaps it away. \n ELLIS \n You made me a thief! \n Ellis walks back into the woods. Mud exhales and turns back to Neckbone. \n NECKBONE \n Let me talk to him. \n \n \n EXT. ISLAND WOODS/CREEK - DAY \n Ellis walks through the woods. Neckbone follows. \n NECKBONE \n Ellis! Ellis, stop for a second! \n Neckbone watches as Ellis reaches the tree trunk that bridges the creek. Ellis steps onto the log, but his muddy shoes miss a step. He SLIPS. Neckbone sees Ellis disappear down into the creek bed. \n NECKBONE \n ELLIS! \n Neckbone rushes over. He cranes his neck out to peer over the edge, a solid eight foot drop into the creek. Ellis floats face up in the shallow water. He's unconscious. A wound on his head from a nearby rock. The nest of WATER MOCCASINS has been disturbed; SNAKES WRITHE AROUND ELLIS' BODY. Neckbone's eyes widen. He darts back toward the shore. \n \n \n EXT. ISLAND/SOUTHERN SHORE - DAY \n Mud stands at the rear of the boat massaging his jaw. \n MUD! \n Mud hears the yelling. \n MUD! \n Neckbone explodes from the trees. \n NECKBONE \n MUD! ELLIS FELL! HE FELL IN THE \n CREEK! \n Mud rushes forward. \n NECKBONE \n HE FELL INTO SNAKES! THE SNAKES! \n Mud stops. \n NECKBONE \n MUD PLEASE! \n Mud looks around. His shirt hangs from a tree limb nearby. He snags it and darts into the woods. \n \n \n EXT. ISLAND WOODS/CREEK - DAY \n Mud streaks through the woods as he gets his other arm through the shirt sleeve. He reaches the creek. Without hesitating, Mud leaps down into the water, scoops Ellis into his arms and scales up the opposite side of the creek bed. Mud sprints for the north side of the island. Neckbone chases after them. \n \n \n EXT. NORTHERN SHORE AND RIVER - DAY \n Mud cradles Ellis in his arms as he rushes to the flat-bottom boat. He sets Ellis gently inside. Neckbone on his heels. Mud shoves the boat into the water and hops in. Neckbone wades out and crawls up the side of the boat. \n MUD \n Get the motor started. \n Neckbone cranks the motor. As they move up river, Mud searches Ellis' body. He looks at his neck, his arms, he pulls up his shirt. \n NECKBONE \n IS HE OKAY?! Is he bit?! \n Mud notices Ellis' jeans leg riding up. He pulls the jeans back. A BITE in the middle of his calf. It's a bluish bruise with two distinct red dots. The skin around the bite has already begun to swell. \n MUD \n Shit. \n He rips the jeans up to the thigh. Mud tears a section of cloth from the bottom of his own shirt and creates a tourniquet just below Ellis' knee. \n MUD \n What time is it? \n Mud pulls a black Sharpie out of his pocket. Neckbone doesn't answer, just stares. \n MUD \n WHAT TIME IS IT?! \n Neckbone checks his watch. \n NECKBONE \n It's four eighteen! \n Mud draws a line on Ellis' leg just above the swollen bite. He writes, \"418\". \n MUD \n Yell out every 10 minutes! \n Mud elevates Ellis' leg then gently cups his head. He dabs the gash on Ellis' forehead. \n NECKBONE \n Is he gonna be okay?! \n MUD \n We just need to get him to a clinic! Is there still one in town?! \n NECKBONE \n Yeah! \n MUD \n It's the closest?! \n NECKBONE \n Yeah! \n MUD \n I'm gonna need your bike! \n NECKBONE \n Are you bit?! \n Mud shakes his head. \n MUD \n No. \n He holds Ellis as they move steadily up river. \n \n \n EXT. RIVERBANK - DAY \n The flat bottom boat approaches the riverbank. Neckbone points to the sandy ridge and yells up to Mud. \n NECKBONE \n My bike should be just over that ridge! \n Mud looks at Ellis' leg. The swelling has crept up his thigh. Black lines with numbers mark its progress: \"428, 438, 448\". Ellis' face has taken on a blue tint. The boat hasn't reached the shore, but Mud takes Ellis in his arms and jumps into the water. He wades onto the bank. AT THE BIKE, Mud straddles it, turning Ellis' body so they are face to face. He cranks the bike and speeds away. Neckbone makes it to the top of the ridge in time to see Mud disappear into the trees. \n \n \n EXT. TWO-LANE HIGHWAY - DAY \n Mud speeds the dirt bike down the two-lane highway. He's far too big for the bike and it's even trickier balancing Ellis. Coming up on a slow moving pick-up overloaded with junk, Mud veers into the opposing lane. ONCOMING TRAFFIC. Mud darts back to his lane in time to miss a semi. \n \n \n EXT. CLINIC - DAY \n A MALE NURSE(36) wheels an ELDERLY MAN through the sliding double front doors of a small clinic. Mud appears around the corner. The bike speeding toward the entrance. In a fluid motion, Mud takes Ellis in his arms and lifts his leg over the bike. The bike tilts and slides across the pavement, smacking solidly into the curb. Mud has managed to stay on his feet with the boy in his arms and rushes through the automatic front doors. \n \n \n INT. CLINIC - CONTINUOUS \n The reception area has a DOZEN PATIENTS sitting in it. A check-in desk to the left. Mud holds Ellis out in his arms. \n MUD \n I NEED HELP HERE! \n A FEMALE NURSE rushes out of the check-in area. \n FEMALE NURSE \n Just stay calm. What's going on? \n MUD \n He's been snake bit. \n ANOTHER NURSE rushes off calling for a doctor. The room becomes more frenzied. Patients talking. Nurses shouting. \n MUD \n He's snake bit. A cotton mouth. On his calf. Just under an hour. \n As quickly as Mud gets this out, a GROUP of NURSES rush out of a door at the end of the room pushing a gurney. They take Ellis from Mud's arm, place him on the gurney, and speed him into the back of the clinic. The commotion gone, the reception area feels oddly still. Mud takes a deep breath. He looks to his right. Patients stare at him. He's beyond disheveled. He's crazy looking. Mud turns to his left. The Male Nurse stares at him. For the first time, Mud realizes he's out in the open. \n MALE NURSE \n Sir? \n Mud slowly backs up. \n MALE NURSE \n Sir? We're gonna need some information? \n Mud backs out of the automatic doors. The entire room stares at him. \n \n \n EXT. CLINIC - CONTINUOUS \n Mud is outside. The glass doors close. He nervously checks over his shoulders. He spots a bank of trees just down from the clinic. He heads for them. The front doors slide open and the Male Nurse walks out. \n MALE NURSE \n Sir?! \n Mud hops into the bank of trees and disappears. \n \n \n INT. CLINIC - CONTINUOUS \n The Patients in the reception area settle back into their seats and discuss the commotion. The Male Nurse enters and walks behind the check-in window. IN THE WINDOW, The Male Nurse fingers through a pile of papers. He removes one of the fliers that Carver and his men have been showing. The Nurse studies the photo, looking back at the front doors. He picks up the phone and dials the number at the bottom. \n \n \n INT. PINES MOTEL - CONTINUOUS \n In the adjoining room, the phone rings. King steps through the doorway, takes a seat on the bed, and answers. \n KING \n Hello...Yes...Yessir we are...Uh huh. \n King takes a pen from his shirt pocket and scribbles on a pad on the nightstand. \n KING \n Now where'd you say you were?...Okay...He's gone. Okay...But you say he left the boy?...And your name sir? \n \n \n EXT. EXECUTIVE INN - EVENING \n The sun has been down for awhile. Juniper leans on the railing outside her room taking long drags from a cigarette. She sees Miller's green pick-up parked below. Suddenly the headlights pop on and the truck pulls away. She watches, curious, as it speeds out of sight. A train whistle blows in the distance but is overtaken by a semi rumbling down the street. She watches the semi pass revealing the DAY/NITE Gas Station's parking lot. A130 MUD STANDS IN THE CORNER OF THE LOT. Half lit by a sodium A130 lamp, he stares up at her. Juniper raises up. Even in the dim light she knows it's him. She doesn't move. Mud holds up a hand, waves. Juniper slowly waves back. She tries to smile at him, but she's about to cry and it's hard to muster. Mud smiles. After a long moment, he turns his back and disappears in the shadows at the side of the gas station. Juniper watches after him. \n \n \n EXT. BLACK BAYOU - NIGHT \n The night sky is dark purple. An unnatural color. Ellis is on his back. Eyes closed. His head jostles at the SOUND of THUMPING. More THUMPING. It sounds like the hood of a car denting in. His eyes open. He stares up at an absurdly full moon. It's so bright it totally silhouettes the tree branches overhead. The THUMPING continues. Ellis puts his hands on the edge of the flat-bottom boat he's floating in and pulls himself up. He leans over the side to see what's causing the noise. The water is jet black. The entire bayou pulsates. Ellis' eyes grow wide as the THUMPING reveals itself. THE BAYOU IS FILLED TO THE BRIM WITH SNAKES. The moonlight illuminates their shiny black backs as they twist and churn in what seems like one giant ball of snakes. Ellis lies back in the boat bringing his arms close to his chest. He flinches at each THUMP. His eyes squeeze shut. \n \n \n INT. ELLIS' ROOM - NIGHT \n His eyes open. Ellis bolts up in bed covered in a cold sweat. Mary Lee places a palm on his chest. \n MARY LEE \n It's okay. You're okay. Just set back. \n Mary Lee guides Ellis back down on the pillow. Senior stands with his arm on her shoulder. They look down at their son. \n ELLIS \n Where am I? \n MARY LEE \n You're home. We got you home. \n Ellis takes a second to get his bearings. His mother lifts a glass of Sprite up to his mouth. He takes a sip. \n SENIOR \n You had us scared son. \n Senior steps forward and kisses Ellis on the forehead. Staying close to his face. \n SENIOR \n (whispers) \n I'm so glad you're okay. \n MARY LEE \n The doctors gave you some medicine. You had a snake bite. \n ELLIS \n How'd I get to the doctor? \n MARY LEE \n A man brought you in. No one knew him. \n Ellis tries to sit up in bed, but his mother stops him. \n MARY LEE \n It's okay. You just need to rest up now. We can talk all about it later. Do you need anything? Are you hungry? \n ELLIS \n No. \n Senior gently pats her shoulders. \n SENIOR \n Come on. Let's let him rest. \n Mary Lee touches Senior's hand on her shoulder. She stands. \n MARY LEE \n I'll be back in to check on you but just try and sleep if you can. \n ELLIS \n Okay. \n Senior leads Mary Lee to the door. \n ELLIS \n Mom? Dad? \n They turn back. \n ELLIS \n I love ya'll. \n MARY LEE \n We love you too Ellis. \n They exit the room. Ellis rests his head back on the pillow and takes a deep breath. \n \n \n EXT. ISLAND/SOUTHERN SHORE - NIGHT \n Mud and Neckbone shove against the back of the boat trailer. The wheels of the trailer rock at the edge of the bank's incline. Sheets of metal roofing taken from the shack Ellis and Neckbone dismantled line a runway into the water. \n MUD \n (straining) \n Almost there. \n The wheels finally turn over. The trailer rolls down the bank and splashes into the water. The boat shimmies. Mud and Neckbone follow the trailer into knee deep water and shove on the boat. A final push jettisons it into the river. They step back as the boat drifts out. A rope tied to its back becomes taught as it stretches from a tree on shore. \n MUD \n The sun does shine on a dog's ass some days. \n NECKBONE \n It ain't sunk yet. \n Mud smiles. He holds out his hand, which Neckbone slaps. \n NECKBONE \n I wish Ellis could see it. \n MUD \n I know. \n Mud walks back on shore and collects his duffel bag. \n MUD \n I owe you your end of the deal. \n Mud removes the pistol from the back of his jeans. Neckbone's eyes light up. Mud hands it over and Neckbone immediately notices a hole where the clip is missing. \n NECKBONE \n Where the bullets? \n MUD \n The deal was for the gun, not the bullets. \n NECKBONE \n Shit. \n Neckbone begrudgingly crams the pistol into the back of his pants. \n MUD \n I got one last favor to ask you. \n Neckbone sucks his teeth. \n \n \n EXT. ELLIS' HOUSEBOAT - NIGHT \n Water gently laps at the side of Ellis' houseboat. The bayou is quiet. From the darkness, Neckbone and Mud appear in the flat-bottom boat. They paddle with their hands. Approaching in silence. \n \n \n INT. ELLIS' ROOM - NIGHT \n Ellis stares at the ceiling, unable to sleep. A TAP comes from the window. Ellis sits up in bed. Mud pokes his head in. He whispers. \n MUD \n Ellis? \n ELLIS \n Mud? \n MUD \n Yeah. \n Mud pulls his body through the window. It's tight but he manages to make it look somewhat graceful. Mud takes a quick survey of the dark room. Ellis begins to get out of bed. \n MUD \n No, don't get up. \n Mud motions him back down and pulls the chair from the desk over to the bed. They speak in hushed voices. \n ELLIS \n How'd you get here? \n MUD \n Neck brought me. \n \n \n EXT. ELLIS' HOUSEBOAT - CONTINUOUS \n Neckbone sits in the flat-bottom tied off at the corner. FROM THE TREELINE ON SHORE, All EIGHT of the Bounty Hunters sit hunkered in the trees. Carver squats next to a stump. He loads shotgun shells into a 12 gauge pump and motions for the others to fan out along the bank. \n \n \n INT. ELLIS' ROOM - CONTINUOUS \n MUD \n We got the boat in the water. \n ELLIS \n You did? \n MUD \n Just now. Smooth sailin' from here on out. \n ELLIS \n Good. \n MUD \n Wish you coulda seen it. \n ELLIS \n Me too. \n MUD \n Didn't feel right leavin' town without sayin' goodbye. \n There is an awkward moment. \n ELLIS \n I'm sorry 'bout what I said. \n MUD \n No. No. You were right to be mad. You were right about a lot of things. I'm the one that's sorry. I shoulda never gotten ya'll into all this. I just didn't see any other way around it. But I couldn't leave without you knowin' I never lied about being your friend. I never lied about that. \n ELLIS \n I know. \n MUD \n I don't traffic in the truth too often. But I did love her. I do love her. \n ELLIS \n She loves you too. She said it. \n This fact still strikes Mud. He nods. \n MUD \n I just made mistakes. We both did. This is a hard life to keep up with. You can't blame her for gettin' tired of tryin'. \n ELLIS \n My dad says you can't count on women lovin' you. He says you can't trust it. \n MUD \n That's not true. Don't judge your life on all of our mistakes. You'll make plenty mistakes of your own, no need takin' on everybody else's. You're a good man Ellis. If you find a girl half as good, you'll be all right. \n ELLIS \n You're a good man too Mud. \n Mud smiles. \n MUD \n No. I'm not. But maybe from here on out I can be... \n A SHOTGUN BLAST rips a fist-sized hole in the flimsy interior wall. Mud, as if by reflex, yanks Ellis from the sheets and shoves him under the bed. BOOM. BOOM. Bits of sheetrock fall like snow flakes as more holes blast through the bedroom wall. Mud flinches with each shot. He covers his own head with one hand and the boy with the other. \n ELLIS \n Mud?! \n MUD \n Stay put! JUST STAY UNDER THERE! \n The SOUND of shotgun shells being slipped into the chamber. Mud gets to a crouch. Through the holes in the wall, Mud makes out Nelson, the fat bounty hunter, reloading his gun. IN THE DEN, Nelson finishes reloading. The riddled bedroom wall hangs in front of him. A door opens behind him. He swivels around. Senior, in a robe, rushes from his bedroom with a pistol leveled. He's met with a shotgun blast just above his head. Pellets nick his face. Senior hits the ground and elbows his way back inside his bedroom door. \n ELLIS! \n Senior screams, his voice cracking. \n ELLIS! \n IN ELLIS' ROOM, \n SENIOR (O.S.) \n (muffled through the wall) \n ELLIS! \n MUD \n (whispering) \n Don't move Ellis. Just stay put. They just want me. \n Through the holes Mud sees Nelson approaching Ellis' bedroom. He runs for the window at the foot of the bed. Another shotgun BLAST throws open the door as Mud leaps out. \n \n \n EXT. ELLIS' HOUSEBOAT - CONTINUOUS \n Mud crashes headfirst onto the edge of the houseboat grasping for anything to keep from sliding off. His hand catches a metal deck cleat. It bends under his weight but holds. Mud gets to his feet and is met by the tip of a rifle. Miller, the man from the cafe, stands poised to fire. Mud's hand slips to the back of his pants for his pistol. NOTHING. He looks to the flat-bottom tied at the far edge of the boat. No sign of Neckbone. Miller's finger curls around the trigger. SUDDENLY, a BULLET snicks through Miller's neck. Mud flinches. Miller's hand comes up to his neck but can't hold the blood running from it. He topples into the water. \n \n \n EXT. TOM BLANKENSHIP'S HOUSEBOAT - CONTINUOUS \n Tom Blankenship sits in the folding chair on the roof of his houseboat. He shucks an empty shell from a HIGH-POWERED RIFLE complete with scope. The long suitcase from the photo in Tom's house sits open at his feet. It has compartments for the disassembled rifle. Tom quickly raises to a new firing position. He squints an eye, searching for another target. A141 From this vantage point, Ellis' houseboat is clearly visible; \n A141 \n partially lit by the two flood lights. FOUR other BOUNTY HUNTERS swarm the boat. \n \n \n INT. ELLIS' ROOM - CONTINUOUS \n Still under the bed, Ellis tries to hold his breath as Nelson's boots step into the room. They pause for a moment, before sluggishly struggling through the bedroom window. \n \n \n EXT. ELLIS' HOUSEBOAT - CONTINUOUS \n Mud rushes to untie the flat-bottom. A BULLET splinters the corner of the dock sending shards of wood into Mud's hand. He sees TWO more GUNMEN skirting toward him on the deck of the houseboat. Mud takes cover against the wall and finds the muzzle of Nelson's gun teetering out Ellis' window. He grabs the muzzle and yanks the shotgun free. Nelson, stuck in the window, looks up in time to take a rifle butt in the face. He falls back into the room unconscious. \n NECKBONE (O.S.) \n ON THE RIVERBANK, James, the man with the mustache, holds Neckbone in a headlock trying to cover his mouth. Carver stands with his shotgun leveled and fires at Mud. ON THE BOAT, Mud ducks as Carver's shot takes out a chunk of siding. The SOUND of boots rush up the side of the boat. Mud, gun in hand, jumps back through Ellis' window. ON THE RIVERBANK, Carver turns to Neckbone. \n CARVER \n Let him go. \n James unhands the boy. Neckbone sprints into the woods. \n CARVER \n Come on. \n They move toward the houseboat. \n \n \n INT. ELLIS' ROOM/HOUSEBOAT - CONTINUOUS \n Mud gets to his feet, stepping over an unconscious Nelson on his way to the bedroom door. \n MUD \n You still down there bud? \n ELLIS \n Yeah. \n MUD \n Stay put. \n Mud pops out of the bedroom into the den. IN SENIOR'S BEDROOM, Mary Lee, curled under the bed, frantically dials the phone. Senior, propped against the closed door, uses his undershirt to dab the pellet wounds around his neck. Hearing footsteps, he cracks the door open. He sees Mud standing in the den. Senior cocks his pistol IN THE DEN, The front door is KICKED open. Mud dives behind a Lazy Boy as a Bounty Hunter fires through the doorway. The back of the Lazy Boy explodes in fluff and fabric. Mud raises up to return fire, forcing the Man back out the door. Mud crouches back behind the Lazy Boy. Unbeknownst to him, another MAN appears outside two sliding glass doors. The Man raises his rifle at Mud. One of Tom's bullets rips through the Man's chest and shatters the glass door. Mud flinches. Another Hunter steps into the now broken door frame. Mud FIRES the shotgun, blowing the man into the patio grill. A149 Mud can see Tom's houseboat silhouetted across the A149 bayou. A muzzle FLASH sparks from the top of Tom's boat. This makes Mud smile. The Front Door kicks open again and more pellets shatter through the den. Mud raises to return fire. ONE SHOT, TWO, the third is a dead CLICK. He drops back behind the chair, out of shells. \n \n \n EXT. ELLIS' HOUSEBOAT - CONTINUOUS \n Carver steps across the plank onto the houseboat followed by James. Carver motions him around back toward Ellis' window. \n CARVER \n Flush him out this way. \n Carver walks to the covered carport. \n \n \n INT. ELLIS' HOUSEBOAT - CONTINUOUS \n IN THE DEN, \n The Hunters at the front door continue taking pot shots at the furniture. Mud flinches at each new round fired. \n IN ELLIS' ROOM, Ellis cautiously slides out from under his bed and crouches next to the bedroom door. He peeks through a crack. He sees Mud pinned behind the Lazy Boy. They make eye contact. Mud's eyes move to something behind Ellis. Ellis turns to see James passing by his bedroom window. \n \n \n EXT. TOM BLANKENSHIP'S HOUSEBOAT - CONTINUOUS \n Tom scans Ellis' boat through the scope on his rifle. He sees Carver creeping around the carport. He pans right to find James taking a position near the patio doors. Tom pauses, seeing Ellis appear at the corner of the boat just behind James. \n \n \n INT. ELLIS' HOUSEBOAT - DEN - CONTINUOUS \n The firing from the front door has stopped. Mud takes a deep breath, sets the empty shotgun on the ground, then rushes out the sliding glass doors as the men out front reload. \n \n \n EXT. ELLIS' HOUSEBOAT/TOM'S HOUSEBOAT - CONTINUOUS \n Mud makes it outside, his back to James' leveled rifle. \n ELLIS \n MUD! \n James and Mud both turn at the sound of Ellis' voice. One of Tom's bullets drops James dead. Carver appears at the carport end of the boat. He raises his shotgun toward Mud. A156 ON TOM, A156 He snaps the bolt open and closed, but it jams. He jerks at the lever, looking up he sees Carver taking aim. ON MUD, Mud takes a running leap off the side of the boat. Carver FIRES. Mud is struck in the back by the shotgun blast. The force of the shot spins him in the air. He crashes into the water. Ellis screams. \n ELLIS \n MUD! \n Carver approaches the edge of the boat. He stares down into the swirling dark water. No sign of Mud. A157 ON TOM, A157 Tom slaps open the bolt and yanks the spent cartridge out with his fingers. It BURNS. \n TOM \n DAMMIT! \n ON CARVER, \n He pumps the shotgun and fires into the murky water. The pellets pepper the surface. Still no sign of Mud. Carver pumps the shotgun a final time, but before he can get another shot off Tom's bullet rips open Carver's chest sending him sprawling through the broken patio doors. ON TOM, He exhales, shucks the bolt once more. His eyes scan the dark water. \n ON THE HOUSEBOAT, Ellis runs to the edge of the boat. \n MUD! \n Senior exits the houseboat, pistol pointed. \n MUD! \n He sees Ellis \n and runs to him. \n SENIOR \n ELLIS! \n Senior grabs the boy, keeping his pistol up. Ellis drops to his knees and Senior crouches with him, holding him tight in his arms. Ellis cries. \n SENIOR \n It's okay. It's okay. \n The two sit alone on the edge of the houseboat. The river seems especially quiet now. \n \n \n I/E. ELLIS' HOUSEBOAT/RIVERBANK - PREDAWN \n The sky shows faint signs of morning, a few streaks of light. ON THE RIVERBANK, The blue, red, and white lights from police cruisers and ambulances bounce up into the trees. A frenzy of Police activity swarms from the aftermath left on Ellis' houseboat. Men in wetsuits prepare a dive. Blanket covered bodies are wheeled off on gurneys. Two of the Bounty Hunters, unharmed, sit locked in the back of a state trooper vehicle. ON THE HOUSEBOAT, Ellis, Senior and Mary Lee sit huddled together under the carport. They watch the emergency workers stream past. Senior wraps his arms around them. Ellis looks across the bayou to Tom's boat. Police flashlights bob and weave throughout. No sign of Tom. INSIDE ELLIS' HOUSEBOAT, A LOCAL OFFICER strings caution tape across the broken patio doors. TWO STATE TROOPERS hover over Carver's body. The Troopers step away and the Local Officer cranes toward the body. He studies Carver's face. Stepping aside, the Officer takes a cell phone from his pocket and dials. He turns his back away from the Troopers. \n \n \n INT. PINES MOTEL ROOM - NIGHT \n The phone rings in the Pines Motel. King enters from the adjoining room and takes a seat on the bed. He answers. \n KING \n Hello...You're speaking to him... \n King listens. His face taut. \n KING \n He's dead? \n (a long pause) \n Okay. \n King hangs up the phone. He sits at the edge of the bed, overwhelmed by the news. \n \n \n EXT. RIVER - NIGHT \n It's dark on the river. Moonlight barely shows the ripples in the slow moving current. MUSIC from a country station slips out across the surface of the water. Galen's jambox sits next to a small lantern in his flat- bottom boat. His Helper snores, fully reclined, with an empty can of Budweiser resting on his gut. His feet are propped next to a tiny bell rigged to a line that disappears into the water. The bell RINGS. \n \n \n EXT. UNDERWATER - RIVER - NIGHT \n The river bed swirls inside two, distinct spots of light. Galen, using his new diving lights, scoops a final mussel shell into the net before tying it off. He tugs at the line. It's pitch black save for the shafts of light projected from Galen's shoulders. He tilts the lights toward the surface. The line leading up to the bottom of the boat dances in and out of the high beams. Then... MUD'S BODY FLOATS BY OVERHEAD. Only his backside is visible. A cloud of blood trails from the holes there. FADE TO BLACK.: \n \n \n EXT. ELLIS' HOUSEBOAT - DAY \n A WORKER cinches a thick strap across the deck of Ellis' houseboat. ON THE RIVERBANK, Ellis watches as WORKERS affix straps from his houseboat to a crane resting in the bed of a large truck on the bank. The SOUND of Neckbone's dirt bike rattles through the trees. He appears behind Ellis and parks. \n NECKBONE \n Hey. \n ELLIS \n You got your bike back. \n NECKBONE \n Mud dinged the shit out of it. \n Neckbone takes a seat next to Ellis. They watch the workers. \n NECKBONE \n They're really doin' it. \n ELLIS \n It's the law. \n NECKBONE \n It's bullshit. They ever find Tom? \n The boys focus on Tom Blankenship's boat across the bayou. It sits vacant, covered in police tape. \n ELLIS \n No. He's gone. \n NECKBONE \n Your dad not here? \n ELLIS \n Said he couldn't watch it. He's pickin' me up in a minute. Got deliveries today. \n They sit in silence as the Workers exit off the houseboat. \n NECKBONE \n Heard on the news. They still hadn't found Mud's body. \n Ellis nods. \n NECKBONE \n You think he's dead? \n ELLIS \n I don't know. I hope not. \n The crane begins lifting up the houseboat. The metal wires tighten and the entire structure creaks. A sucking sound as the flotilla separate from the water. The boat hangs, suspended in the air. A HORN HONKS behind the boys. Ellis turns to see Senior's truck. \n ELLIS \n I gotta go. Come by the apartment. Help me set my room up. \n NECKBONE \n All right. \n Neckbone watches Ellis climb into the bed of the pick-up and take his spot on the coolers. The sound of twisting metal shifts his attention back to the houseboat being swung over a flatbed semi. \n \n \n I/E. SENIOR'S TRUCK/RIVERBANK - CONTINUOUS \n IN THE CAB, \n Senior glances at the houseboat being set on the flatbed. He puts the truck in reverse and pulls away. Not looking back. \n \n \n EXT. SENIOR'S TRUCK/IMAGES OF DEWITT - DAY \n Ellis rides in the back of the truck on top of the coolers. He watches the town pass by. A168 The marina junkyard. The Sonic. Downtown. A168 \n \n \n B168 EXT. FLEA MARKET - DAY B168 \n Ellis and his father unload a cooler at the back of a tented flea market. A WOMAN comes out to greet them. \n \n \n I/E. SENIOR'S TRUCK/NEW APARTMENTS - DAY \n Senior's truck pulls into the parking lot of a newly finished apartment complex. The two-story buildings are modest. The truck idles out front. INSIDE THE CAB, Ellis grabs the door handle. He turns to Senior. \n ELLIS \n I'll see you next week? \n SENIOR \n Yeah. \n Ellis begins to get out but stops when Senior speaks. \n SENIOR \n Ellis? You mind your mother okay? This is a big change for her. She needs your support. \n ELLIS \n Yessir. \n SENIOR \n All right. I love you. \n ELLIS \n Love you too. \n Ellis climbs out. He watches as Senior pulls away. He stands alone in front of the apartments, studying the surroundings. A busy road out front. A gas station and collection of stores. A lot of people and commotion. A compact car pulls into a parking spot one building down. Ellis watches as three COLLEGE AGE GIRLS climb out dressed in running shorts and t-shirts. Two are heavy set, the other is petite. They joke and laugh. One sees Ellis and waves. Ellis nods to her. He tracks them as they walk inside. Ellis smirks. \n \n \n EXT. MISSISSIPPI RIVER - DAY \n The river rushes past. A large motor churns the water. Tom stands steering Mud's salvaged boat down river. He cranes his neck, seeing something up ahead. Tom kills the motor. Looking out over the bow, he's pleased by what he sees. His eyes glint, almost a smile. He walks to the small cabin and enters. INSIDE THE CABIN, Mud rests flat on his stomach on the cushioned bench. Shirtless, gauze bandages wrap around his chest and back. He's sleeping. Tom walks in and kneels next to him. Touches his shoulder. Mud's eyes open. \n TOM \n Come on son. You need to see this. \n Mud, groggy, raises up. Tom helps him to his feet, putting an arm over his shoulders. Tom practically carries Mud outside. ON DECK, Tom and Mud slowly maneuver out the door and take a place near the front of the boat. Mud pulls his head up. Looks out ahead. The sight in front of him grabs his attention. He perks up. A tributary from the Mississippi river opens up into a vast stretch of ocean. Mud smiles, showing the missing tooth. Tom and Mud stand on deck as their boat drifts slowly into the open waters of the Gulf of Mexico. The End. \n \n"},"script_plain":{"kind":"string","value":" \n \n MUD \n by \n Jeff Nichols Shooting Script © August 22, 2011 - draft September 16, 2011 WGA#: 1319361 All Rights Reserved \n \n \n INT. ELLIS' ROOM - PREDAWN \n ELLIS(14) sits fully-clothed on top of his made bed. He is a wiry young man with a few blonde hairs on his upper lip struggling desperately to be a mustache. His room, cluttered with junk, is dark, quiet and tiny. A backpack and an oversized Walkie-Talkie sit next to him. The silence is cut by a SQUAWK from the Walkie. Ellis quickly grabs it. \n ELLIS \n I'm comin' out now. \n He crams the Walkie into his backpack and slings it over his shoulder. On his feet, he slides open a window at the foot of his bed. He's out in one motion. \n \n \n EXT. HOUSEBOAT - PREDAWN \n Ellis skirts alongside the exterior wall of his room on a two- foot-wide section of decking. He lives on a HOUSEBOAT anchored just off the bank of the Arkansas River. The \"boat\" is really the combination of a double wide trailer and a vinyl-sided shack fused together atop large flotilla. Ellis scurries to the mobile home section of the boat. He slips past a barbecue grill and settles underneath a lighted window. VOICES come from inside. Slowly, Ellis gets on his toes to peer through the window. \n \n \n INT. ELLIS' KITCHEN - CONTINUOUS \n MARY LEE(41) takes a jug of milk out of the refrigerator. SENIOR(52) sits at a small table reading a newspaper. The mobile home kitchenette is no larger than Ellis' room. \n MARY LEE \n I just want to have a conversation. I just want to talk about it. \n Mary Lee sits down across from Senior, who doesn't look up from his paper. Her eyes narrow and she extends a finger toward him. \n MARY LEE \n If you don't look up from that goddamn paper... \n She stops before completing the thought. After a moment, Senior lowers his paper. He stares across the table at his wife. He looks at her with true disdain. His eyes trace down her face and robe before finally settling on his cup of coffee. He picks up the cup, takes a sip, and sets it back on the table. He raises the paper up. Mary Lee's eyes soften. She bites the inside of her cheek to keep from crying. Her eyes move to the kitchen window. \n \n \n EXT. ELLIS' HOUSEBOAT - CONTINUOUS \n Ellis quickly ducks and mouths the word \"shit.\" He slips under the window toward a metal carport that covers a boat, fish cleaning station, and industrial ice machine. The entire houseboat is anchored to the shore by two thick ropes tied to opposite ends of the flotilla. The ropes extend upward into the tops of enormous pine trees. Ellis sprints across a simple, wood-planked bridge to shore. His houseboat is one of several in a row along the riverbank. \n \n \n EXT. ELLIS' RIVERBANK - CONTINUOUS \n Ellis scurries into the treeline and arrives at a dirt path. Waiting for him there is NECKBONE(14), a scrawny kid with slicked back blonde hair wearing a FUGAZI T-shirt. He sits atop a smallish dirt bike. Ellis hops on the back. \n NECKBONE \n What the shit man? \n ELLIS \n Suck it. Drive. \n The bike spits up mud as they peel out down the trail. \n \n \n EXT. RIVERBANK - PREDAWN \n From a distance, the single headlight of the dirt bike snakes up and down, in and out of trees along the riverbank. ON THE BIKE, The sound of the engine rips through fog and trees illuminated by the straining headlight. \n \n \n EXT. RIVERBANK - DAWN \n The boys emerge from behind a sand covered hill. Now on foot, they are silhouetted against a light blue, morning sky. \n NECKBONE \n How old is she? \n ELLIS \n A Junior. \n At a collection of trees growing out of the water, the boys move branches away from a tarp covered boat. \n NECKBONE \n She's got nice titties. You talk to her? \n ELLIS \n Nah. \n NECKBONE \n You're gonna have to talk to her. \n ELLIS \n I know. \n NECKBONE \n Remind me when we get back to my house, Galen's got a book on that. \n Neckbone takes a spot up front in the small, flat-bottom boat. Ellis, a foot on the bank and one in the boat, launches them out into the water. \n \n \n EXT. RIVER - MORNING \n A chunk of Neckbone's greased back hair bobs in the wind as they cruise down river. Ellis steers a small 15 horsepower motor. An orange sun is coming up now. Neckbone's eyes lock on what's in front of them. Ellis kills the motor. Neckbone stands up, a serious look on his face. \n NECKBONE \n Shit. \n Ellis raises up behind him. He takes a deep breath, nods. \n NECKBONE \n Your dad'd kill us he knew we went out there. \n ELLIS \n I'm not worried about my dad killin' us. \n THE MISSISSIPPI RIVER sprawls out in front of them. It's enormous. Their boat drifts at the mouth of the Arkansas, a small river by comparison. The Mississippi is a swirling mess of brown water and yellow foam six football fields wide. \n NECKBONE \n What if it sinks? \n ELLIS \n It ain't gonna sink. We gotta move if we're gonna make it back. Set your watch. We'll need a good fifteen minutes. \n Neckbone sets an alarm on his fat plastic wristwatch. They take their seats. Ellis cranks the motor. The small boat slowly chugs out onto the massive river. \n \n \n EXT. MISSISSIPPI RIVER - MORNING \n The boat lurches through the murky, rushing water. Neckbone has both hands firmly planted on the boat's edges. Ellis tries to handle the motor which has little impact against this current. The tail end of the boat swings to the right. Ellis flinches and grabs an edge to steady himself. The front of the boat bobs toward an ISLAND in the middle of the river. Neck turns to Ellis and points. \n NECKBONE \n \n \n EXT. ISLAND SHORE - DAY \n The boys splash down in ankle deep water. They take hold of the front of the boat and drag it onto the muddy shore. Neckbone jogs to a tree line in the center of the island. Ellis snatches up his backpack and follows. \n \n \n EXT. ISLAND WOODS - CONTINUOUS \n The island, only 60 some yards in diameter, is separated by a clump of tall trees that form a wooded area in its center. The trees make it so you can't see from one side of the island to the other. \n NECKBONE \n Galen thinks it's been here awhile. Thinks the last flood did it. \n Ellis follows as Neckbone winds through the trees. They stop at a deep creek that cuts across the island. Neckbone looks to his right, then his left. Sees what he's looking for. \n NECKBONE \n It's down there. \n A fallen tree trunk that straddles the creek. Ellis starts across. \n NECKBONE \n Hold it. \n Neckbone picks a large stone up off the ground. \n NECKBONE \n Look. \n Eight feet below the tree trunk, a nest of water moccasins curl around in the creek. Neckbone drops the stone on top of them. The snakes fan out. \n NECKBONE \n Little shits. \n Their mud-caked high-tops stomp across the trunk. \n \n \n EXT. ISLAND WOODS - DAY \n The boys stop near the base of a large tree and stare up. Ellis cranes his neck back. Awestruck. \n NECKBONE \n So there it is. \n ELLIS \n Yeah, there it is. \n A 26 Foot Long BOAT sits nestled in the tree limbs above. \n \n \n EXT. BOAT IN TREE - MOMENTS LATER \n The boys scale up the tree from low lying branches. Ellis, hands on the edge of the boat, gets a leg over the side and pulls himself onto the deck. He reaches down and helps to drag Neckbone on board. They get to their feet, steadying themselves on the wooden deck. It's solid. They take in their new vantage point. \n ELLIS \n It came down from up there. \n Ellis points to higher limbs that have long been broken off. Neckbone walks to the back of the boat and hangs his head over. He finds a gaping hole of gutted wood. \n NECKBONE \n Motor broke off. \n Ellis isn't concerned with the motor. His eyes are locked on a covered cabin at the front of the boat. \n ELLIS \n Who else knows about this? \n NECKBONE \n Just me and Galen. \n ELLIS \n What's he think? \n NECKBONE \n He don't care about it. \n ELLIS \n Good. \n Ellis walks to the cabin. He pushes a vinyl door open. \n ELLIS \n 'Cause this boat's ours. \n Ellis has to duck down to go inside. Neckbone follows. \n \n \n INT. BOAT CABIN - CONTINUOUS \n Ellis, stooping over, makes his way into the tiny cabin room. Yellow floral curtains, stained with age, cover a row of windows that wrap around the top of the cabin. These provide an odd glow in an otherwise dark, wood paneled space. There is a bench with rotted out cushions to the left. To the right, a mold-covered sink and mirror. Neckbone peers over Ellis' shoulder at the front of the cabin room. A small booth sits to the right across from a miniature toilet partially shielded by an open door. \n NECKBONE \n It's got its own shitbox \n Neckbone slides back a portion of floral curtain and light streams in. He starts opening small closets and drawers. Ellis plops down on the rotted bench cushions. \n ELLIS \n This is perfect. \n NECKBONE \n Ho-Lee-Shit. \n Neckbone stares in an open drawer. He removes a stack of Playboys from the 1980's. Ellis smiles at him. He leans back and props his foot against the sink cabinet across from him. This is home. Neckbone opens the first Playboy. It disintegrates. \n NECKBONE \n Aw shit. \n As he scrambles to gather the fallen pages, Ellis notices a dried BOOT PRINT next to his foot. He lowers his shoe from the cabinet leaving a smaller, muddy print of his own. He leans in to examine the larger print. The impression of a CROSS has been left in the heel. \n NECKBONE \n Her tits are so small. \n Ellis reaches out and traces his finger in the groove of the cross marking. His eyes narrow as he re-surveys the cabin. On the table across from the toilet, he notices several empty cans of Beanie Weenie. In the booth, he sees a grocery bag. Ellis slowly raises up and goes over to it. \n ELLIS \n Neck. \n NECKBONE \n Look at that beave. You gotta see this. \n Ellis reaches out for the plastic bag. His fingers pull back the edges to reveal its contents: one can of unopened Beanie Weenie and half a loaf of BREAD. \n ELLIS \n Neck. \n Ellis reaches for the bread and gives it a squeeze. It's FRESH. Ellis freezes. \n NECKBONE \n What? \n ELLIS \n Someone's here. \n NECKBONE \n What? \n Ellis holds the loaf of bread up to Neckbone. \n ELLIS \n Someone's livin' here. \n Neckbone sees the grocery bag. His eyes widen. The boys are stone frozen. They listen for other sounds. Silence. BEEP! BEEP! BEEP! Both boys flinch at the sharp sounds. Neckbone's hand flies to cover the alarm on his wristwatch. \n NECKBONE \n Shit. \n ELLIS \n We gotta go. I can't be late. \n \n \n EXT. BASE OF BOAT TREE - MOMENTS LATER \n They drop out of the tree and hit the ground running. \n \n \n EXT. ISLAND WOODS/CREEK - MOMENTS LATER \n The boys' feet rush across the tree trunk bridging the creek. \n \n \n EXT. ISLAND SHORE - MOMENTS LATER \n They launch out of the treeline and sprint to their boat. Neckbone grabs the side and starts pushing the boat to the water. Ellis slings his backpack in and joins him. Suddenly, Ellis straightens up, leaving Neckbone to struggle. \n NECKBONE \n What are you doing? \n Ellis stares at a muddy boot print, cross in the heel, stamped in the center of their boat. He looks back to the treeline, then down the shore. He looks to his feet. The boys' shoe prints make chaotic patterns in the mud. Larger boot prints lead off down the shoreline. \n NECKBONE \n What is it? \n ELLIS \n (pointing) \n I saw that same boot print up in the tree. It has a cross in the heel. Somebody's been in our boat. \n NECKBONE \n Shit. Let's go. \n Ellis begins following the boot prints around the shoreline. \n NECKBONE \n We gotta go if you wanna make it back. \n (no response) \n Your dad's gonna kick our ass. It'll take twice as long goin' up river. \n ELLIS \n Hold it. \n Ellis stops and points ahead of them. \n ELLIS \n Up there. They stop. \n Neckbone takes the lead, walking up to the last boot print. They appear to vanish. \n NECKBONE \n Where the hell'd he go? \n ELLIS \n I don't know. \n Neckbone turns and freezes. A MAN has appeared in the distance behind Ellis. He stands between the boys and their boat. Ellis notices the look on Neckbone's face and turns. He flinches at the sight of the Man. MUD(38) stands near the boys' boat holding a pink, child's fishing pole with cartoon characters on it. He stares back at them and casts his fishing line into the water. \n NECKBONE \n Shit. You know that guy? \n ELLIS \n I've never seen him before. \n NECKBONE \n Shit. \n Mud, not taking his eyes off the boys, slowly reels in his line. His hair is a wild mop that leads to two weeks of growth on his face. With a cigarette clinched, he cracks a smile revealing a MISSING CANINE. He holds a hand in the air as if to wave. \n NECKBONE \n Shit. \n Neckbone slowly raises his hand up to wave back. Mud wears jeans and cowboy boots. His filthy button-up shirt looks like it hasn't left his body in years. He breaks his stare with the boys. Continuing to reel in his line, he walks over to them. \n MUD \n What you say? \n The boys don't respond. Mud walks past them and casts again. \n MUD \n Helluva thing. \n ELLIS \n What's that? \n Mud takes the cigarette from his mouth. A tattoo of a snake's head covers the top of his right hand. Two large cotton blossoms spill out of its jaws. \n MUD \n Boat in the trees. It's a helluva thing. \n Mud continues walking down the shoreline, reeling in his bait. The boys follow, tentatively. \n ELLIS \n You talkin' 'bout our boat? \n MUD \n I'm talkin' about my boat. \n NECKBONE \n We found it. \n MUD \n You found it with me livin' in it. Possession is nine tenths of the law. \n NECKBONE \n So? \n MUD \n Don't tell me you boys are from Mississippi? \n ELLIS \n No. \n They watch as he grabs the bait at the end of his line and spits on it. Then, tucking the pole under his arm, he ties a lock of his hair into a knot. He finishes this process with another cast. \n ELLIS \n You got crosses in your heels. \n MUD \n Nails. Shaped liked crosses. \n ELLIS \n What for? \n MUD \n Ward off evil spirits. A man I called an Indian but was Meskin said they were Seven-league boots worn by the seventh son of a seventh son. Told me it'd turn me into a werewolf but that's a lie. I don't know nothin' about that. \n Ellis, confused, won't take his eyes off the man. \n MUD \n They just good luck, but so far they ain't been workin' too well. \n (missing tooth smile) \n What's your name? \n Mud seems easy to smile, which softens his otherwise coarse look. His words spill from the mouth rapidly, without much thought for punctuation. Neckbone, emboldened by these facts, steps forward to answer. \n NECKBONE \n I'm Neckbone, he's Ellis, and mister you may be stone ass crazy but I know you're not the owner of that boat, not for nine tenths of nothin'. \n MUD \n Neckbone? That's a real handle son. Where ya'll from? \n NECKBONE \n What do you care where we're from? \n ELLIS \n DeWitt. \n Neckbone looks at Ellis, frustrated by his friend. \n MUD \n Arkansas boys. Ya'll had me worried for a second. \n Mud, pleased by this news, tucks the fishing pole under his arm and holds out a hand to shake. Ellis stares at the hand, unsure. He takes it reluctantly. \n ELLIS \n We s'posed to know you? \n MUD \n I doubt it. I grew up 'round here, but I've been gone awhile. \n ELLIS \n Where around here? \n MUD \n Different places. Spent a lot of time back up near the White. \n ELLIS \n You know Shelly's Oxbow? \n Neckbone can't believe his friend is offering this up. \n NECKBONE \n Ellis. We gotta go. \n MUD \n I know it. Guy named Tom Blankenship used to live back in there. \n ELLIS \n He still does. His boat's cross from mine. \n Mud smiles. \n MUD \n Ain't that somethin'. \n In one motion, Mud flicks his cigarette away and grabs a pack out of his shirt pocket. \n MUD \n I like you two. You remind me of me. And seeing how you boys are from Arkansas and we know some people and sounds like we all from the same place I'd say we can make a deal here about somethin'. \n ELLIS \n A deal for what? \n MUD \n Food. Food for a boat. \n NECKBONE \n This guy's a bum Ellis. Come on. \n Mud's smile vanishes. Neckbone begins to walk off but begrudgingly stops when Ellis starts back in. \n ELLIS \n Why don't you go get your own food? \n MUD \n I would if I could, but I told somebody I'd meet 'em here. So I'm stuck for now and what I got's runnin' low. \n Neckbone walks back and pulls Ellis by the arm. \n NECKBONE \n He's a bum Ellis, let's go. \n Mud lays a serious look down on Neckbone. \n MUD \n I'm no bum. I got money. You can call me a hobo 'cause a hobo'll work for his living and you can call me homeless 'cause that's true for now, but if you call me a bum again I'll have to teach you somethin' about respect that your daddy never did. \n Neckbone's confidence recedes. Ellis stands his ground. \n ELLIS \n When they show up, you'll leave? \n Mud begins fishing again. \n MUD \n Yeah. \n ELLIS \n And when you leave, that boat's ours? \n MUD \n Yeah. \n Ellis studies Mud's face, clothes, tattoos. He's thinking about it. Mud pauses from fishing to make eye contact. \n MUD \n I'm in a tight spot. I just need a little help. \n ELLIS \n We gotta go. \n With that, Ellis turns to leave. The boys walk briskly back to their boat. Ellis looks over his shoulder to see Mud making another cast with his fishing pole. \n \n \n EXT. MISSISSIPPI RIVER - MOMENTS LATER \n Ellis motors them away from the island. \n ELLIS \n You get his name?! \n NECKBONE \n No! \n Ellis looks back. Mud has disappeared. \n \n \n EXT. ELLIS' HOUSEBOAT - DAY \n Senior heaves an enormous, white cooler into the bed of his weathered pick-up truck. The truck is parked at an angle on a concrete boat ramp next to their houseboat. The bed of the truck is jam-packed with six of the big, white coolers. The SOUND of a dirt bike rattles through the trees. Senior looks up, wiping his brow with a handkerchief. Ellis leaps out of the treeline and runs to the pick-up. His hands hit his knees, out of breath. \n ELLIS \n I'm sorry. \n SENIOR \n Where you been? \n ELLIS \n Neck and I got caught up helpin' Galen. \n SENIOR \n You're s'posed to be helpin' me. I had to load this myself. \n ELLIS \n I know, I'm sorry. \n SENIOR \n Just get in the back. Can't be later than we are. \n ELLIS \n Yessir. \n Senior flips up the tailgate. Ellis hops up the wheel well and into the bed of the truck. He steadies himself on one of the coolers as his father pulls away. \n \n \n EXT. DEWITT/MONTAGE - DAY \n SERIES OF IMAGES: -Ellis looks around as he rides in the bed of the pick-up truck. He's propped up on a cooler against the back window. The truck works its way down a two-lane highway. A20 -Driving, they pass a marina junkyard filled with old boats A20 and sailing paraphernalia. B20 -Downtown Dewitt. A gas station. A Clinic. Rows of red B20 brick buildings, some abandoned, a small furniture store. C20 -Parked, Ellis fills a grocery sack up with Ziplock bags fullC20 of white fish and ice out of the coolers. -He hops out of the truck and runs the sack of fish to the front door of a house. An elderly black man waits there. \n \n \n EXT. SONIC DRIVE-IN - DAY \n Ellis sits in the bed of the truck eating a chili dog. Senior is up front wolfing down a cheeseburger. A GROUP of TEENAGERS are gathered around a CLUSTER of parked cars in the corner of the lot. They meander between the vehicles, smoking, gossiping, passing around a bottle of Boone's Farm. Ellis watches them. MAY PEARL(16) appears in the middle of the Group laughing with her GIRLFRIENDS. She's pretty and physically more mature looking than Ellis. He watches as a SKINNY KID takes his ballcap off and puts it on May Pearl's head. She sniffs the cap, gags and tosses it back at him. Her friends laugh. \n SENIOR \n Let's go son. \n Ellis crumples the wrapper to his finished hotdog and jumps down from the bed of the truck. \n \n \n I/E. SENIOR'S TRUCK/TWO-LANE ROAD - MOVING - DAY \n Ellis rides up front with his father. Senior is a reserved man, older than Ellis' mother by several years. He's got thinning hair under the cap that only leaves his head when he sleeps. He reaches into his shirt pocket and fishes out a fold of cash. He slips out a five dollar bill and hands it to Ellis. \n ELLIS \n It's s'posed to be ten. \n SENIOR \n It's ten you do your share. I loaded this mornin'. That makes it five. \n Ellis begrudgingly stuffs the five in his jeans. \n ELLIS \n You drop me at Neck's? \n Senior checks his pants pockets, feels around under his seat. \n SENIOR \n Hadn't you seen enougha him today? \n ELLIS \n Said he had something for me. \n SENIOR \n You see anymore Ding Dongs over there? \n Ellis checks under his seat and pulls out a half-empty box of Ding Dongs. Hands one over to his father who rips the package with his teeth. \n ELLIS \n What'd Momma wanna talk to you about? \n SENIOR \n What? \n ELLIS \n This mornin', what'd she wanna talk with you about? \n SENIOR \n You spy on me in my own house? \n ELLIS \n I wasn't spyin', just heard ya'll. \n SENIOR \n That's your mother's business. \n Senior makes this his answer, eats the Ding Dong. \n \n \n EXT. NECKBONE'S TRAILER - DAY \n Neckbone sits on the front steps of his trailer reading a comic book. The muffled sound of the Beach Boys' \"Help Me Rhonda\" plays off a record inside. Senior's truck pulls away as Ellis walks up the entrance to the trailer park. \n ELLIS \n I came by for that book. \n NECKBONE \n What book? \n ELLIS \n You said Galen had a book might help me out. \n NECKBONE \n Aw, yeah. We gotta give it a minute. You hear that music? \n ELLIS \n Yeah. \n NECKBONE \n That means he's doin' it. That's his doin' it song. \n Ellis takes a seat next to Neckbone. They listen to the song, slightly craning their necks to pick up on any other sounds. There are none. \n ELLIS \n You know who it is? \n NECKBONE \n Whoever's drivin' that white Dodge. \n Neckbone motions to a beat up Dodge Shadow in the yard. \n ELLIS \n You tell Galen 'bout this morning? \n NECKBONE \n Nah. You tell anybody? \n ELLIS \n No. \n NECKBONE \n That guy was crazy. \n ELLIS \n Maybe. I don't know. I think he just needed some help. \n NECKBONE \n Well he can swim his ass off that island and get some. \n ELLIS \n I think I'm gonna go back, take him some food. \n NECKBONE \n Why? \n Suddenly, the music from inside stops. Footsteps approaching and the trailer door flies open, almost hitting the boys. A GIRL(28) bursts out down the steps, straight to her car. She wears tight jean-shorts and is buttoning a white shirt. She stops and turns back to the boys. \n GIRL \n You're Neckbone right? \n NECKBONE \n Yeah. \n GIRL \n You look like a good enough kid. A word of advice, don't grow up to be like your shit heel uncle. \n The boys can't take their eyes off her cleavage revealed under her half-buttoned shirt. A necklace with three misshapen pearls hangs from her neck. \n GIRL \n Hey! \n She snaps the boys' attention up to her eyes. \n GIRL \n You hear me? You treat a woman like a princess. Got it?! \n NECKBONE \n Yeah. \n The trailer door opens and GALEN(36) emerges. He's a big, lumbering guy wearing a full-body wet suit pulled halfway down. A faded mermaid tattooed in the middle of his chest. \n GALEN \n Come on baby. \n GIRL \n I'M A GODDAMN PRINCESS!!! \n The Girl yanks off the necklace and hurls it at Galen. He brushes fingers through his thick mustache. \n GALEN \n That's uncalled for. \n He walks out to her. She heads for the Dodge Shadow. \n GALEN \n (trailing off) \n A lot of people are comfortable with that kind of thing in the bedroom. Some people aren't. We know that about you now... \n Ellis sees one of the misshapen pearls at his feet. He picks it up and holds it to the sun. \n NECKBONE \n Pearls. Galen finds 'em in some of the mussel shells. Most of 'em ain't worth dick, but he likes to make necklaces for the girls. Come on, let's get that book. \n Neckbone walks into the trailer. Ellis stands up and retrieves the other two pearls out of the dirt. He crams them in his pocket and follows Neckbone inside. \n \n \n INT. NECKBONE'S TRAILER - CONTINUOUS \n The trailer is decorated in the filth of a true bachelor pad. Neckbone makes his way to a bedroom. He tosses clothes and trash around to get to what he's looking for. A cardboard box. He pulls the box onto the bed and sifts through. \n NECKBONE \n I don't want you goin' back out there by yourself. That river's scary enough with two people, and I don't trust that guy. \n (finds something) \n Here it is. \n He takes out a hardback book. The slip reads, \"The Confident Confidant, communicating with the opposite sex.\" \n NECKBONE \n Galen said this really turned things around for him. \n ELLIS \n Thanks. \n Ellis flips delicately through the manual. \n \n \n EXT. NECKBONE'S TRAILER - CONTINUOUS \n Galen watches as the Girl's Dodge Shadow pulls away. The boys step out of the trailer. \n NECKBONE \n You really going back out there? \n ELLIS \n I think it's the right thing to do. \n NECKBONE \n Well...I'll be over in the mornin' then. \n Galen, his thumbs tucked under his armpits, walks back to the trailer. He passes the boys and notices the self-help book in Ellis' hands. \n GALEN \n (without stopping) \n That's a good book. Be sure you do the worksheets in the back. Let's get some dinner Neck. \n Galen's gone inside. \n NECKBONE \n I'll call 'fore I come. \n ELLIS \n All right. \n Neckbone follows his uncle into the trailer. Ellis flips through his new book as he heads out of the trailer park. \n \n \n EXT. ELLIS' HOUSEBOAT - NIGHT \n By the time Ellis makes it to his houseboat, the sun has disappeared behind the horizon. He crosses the make-shift plank and enters through a screen door by the carport. \n \n \n INT. ELLIS' HOUSEBOAT - DEN - NIGHT - CONTINUOUS \n Mary Lee flinches when she sees Ellis come through the door. Her face is flushed. Senior stands toe to toe with her. They stare at Ellis, who has paused in the doorway. He doesn't say anything, just looks curiously at his parents. Senior storms past Ellis and is out the door. Ellis steps further into the den. Mary Lee tries to straighten herself, patting down her hair and dabbing at her eyes with the back of her hand. \n ELLIS \n You okay momma? \n MARY LEE \n Yes. \n She walks into the kitchen keeping Ellis at her back. She turns on the sink and begins scrubbing at a dish. \n MARY LEE \n Do you need me to fix you somethin'? Have you eaten? \n ELLIS \n I'm all right. \n Mary Lee shuts off the water and lets the dish rest in the sink. She turns to Ellis. \n MARY LEE \n I'm gonna turn in. \n ELLIS \n Okay momma. \n Mary Lee slips past him and enters her bedroom. The door closes and Ellis is left alone in the den. It's quiet. He waits, looking at the door his mother just closed. Ellis walks into the kitchen and eases open a cabinet door. Checking over his shoulder, he zips his backpack open and fills it with CANNED FOOD. \n \n \n EXT. TOM BLANKENSHIP'S HOUSEBOAT - DAY \n Hands pump the stock of a high-powered pellet gun. TOM BLANKENSHIP(67), white hair cut high and tight wearing a short-sleeve button up, takes careful aim with the pellet gun. Tom sits in a lawn chair atop the roof of his houseboat. He squeezes his left eye shut. A snake's head pokes out of the water about 15 yards off his boat. The head makes for a target no bigger than a thumb. Tom's left eye snaps open and he fires. The pellet rips through the snake's head. Its body floats to the surface. Tom takes account of his shot as he pumps the air rifle. He scans the water for more targets. \n \n \n EXT. ELLIS' HOUSEBOAT - CONTINUOUS \n Ellis watches Tom Blankenship from across the bayou. Tom's boat sits directly opposite Ellis', separated by 30 yards of muddy brown water. Ellis leans against a post under the carport. His backpack resting at his feet, he holds the Walkie-Talkie in his hand. Senior works behind him washing utensils in the outdoor sink. \n ELLIS \n What do you know about Tom Blankenship? \n SENIOR \n What? \n Senior doesn't turn around from his work at the sink. \n ELLIS \n Mr. Blankenship, what do you know about him? \n SENIOR \n Why? \n ELLIS \n I don't know. He looks lonely over there. \n SENIOR \n Some people move to this river to work on it, and some move here to be left alone. \n Senior makes his way to the ice machine and begins scooping ice into a large white cooler. Mary Lee emerges from the houseboat dressed for work, a secretarial job. Senior stops what he's doing to watch her. She walks over to Ellis. \n MARY LEE \n Let's sit down for dinner tonight okay? Will you make it home by seven? \n ELLIS \n Yes ma'am. \n She walks off the boat without a glance in Senior's direction. He trails her with his eyes before going back to digging in the ice. A29 Ellis looks back at Tom. The Walkie SQUAWKS out several A29 loud BEEPS. Ellis crams it in his backpack and runs off the boat. \n ELLIS \n Bye Dad. \n Senior holds a hand up but never looks up from his work. \n \n \n EXT. ISLAND SHORE - DAY \n Water laps at the shore of the island. Ellis and Neckbone drag their boat onto the muddy bank. \n NECKBONE \n Where you think he's at? \n ELLIS \n I guess we should try the boat. \n They head for the treeline. \n \n \n EXT. BASE OF BOAT TREE - DAY \n The boys emerge from the woods, their attention focused up to the boat hovering in the tree some twenty feet above them. Ellis notices the remnants of a fire on the ground. A log pushed up next to it for a seat. Ellis kicks at the ash. \n ELLIS \n Looks like he made camp. \n NECKBONE \n (looking up to the boat) \n You think he's up there? \n MUD (O.S.) \n I didn't know if ya'll'd come back. \n The boys spin around. They survey the woods but no one's there. Their eyes drift up to find Mud sitting in a tree, his legs dangle off a branch. \n ELLIS \n What're you doin'? \n Mud bounds down, stepping from limb to trunk to the ground. It's an agile move. \n MUD \n I try to never sleep in the same place twice. What you got there? \n Mud motions with his head to the backpack in Ellis' hand. Ellis holds it out to him. \n ELLIS \n I brought you some food. \n Mud looks at the backpack, but doesn't move. \n ELLIS \n Go on. \n Mud takes the backpack and walks over to the ashes of his campfire. He squats with his back to the boys and unzips the bag. Hunkered down, Mud's shirttail rides up over the lip of his jeans revealing a PISTOL at his backside. Ellis sees this and motions to Neckbone. The boys stand their ground, cautious. \n MUD \n I owe you boys. \n Keeping the bag in hand, Mud takes a seat on the stump behind him. He pulls out a selection of canned food; pumpkin pie filling, evaporated milk, green beans. He grabs the beans. \n MUD \n I was gonna try runnin' a trot line today. See how far that'd get me. \n Mud removes a good-sized folding knife from his pocket and makes short order of the can lid. He tips the can up letting the beans fall into his mouth. Juice flows down his cheeks. \n MUD \n (a mouthful) \n I'd been rationin' what I had...green bean never tasted so good. \n The can is quickly emptied, juice running down Mud's chin. He straightens his back, choking down the final swallow. He sees the boys staring at him and catches himself. \n MUD \n I appreciate it. \n ELLIS \n Yeah. \n NECKBONE \n What you got that pistol for? \n Mud wipes off his chin, realizing the boys have been studying him. He closes the knife and tucks it in his pocket. \n MUD \n For protection. \n Mud gets up, heads for a duffel bag tucked under a nearby tree. The boys pivot, keeping Mud in front of them. Mud notices. \n MUD \n Ya'll don't have to be afraid of me. I have two ways to protect myself out here. This shirt, and this pistol. \n MUD \n There are fierce powers at work in the world boys. Good, evil, poor luck, best luck. Men have to take advantage where they can. \n Mud removes a spool of fishing line and a small plastic tackle box. He scoops up the duffel bag and heads into the woods. \n MUD \n Ya'll comin'? \n Neckbone looks to Ellis, who walks after Mud into the trees. \n ELLIS \n Who's this guy you're waitin' on? \n MUD \n I'm not waitin' for a guy. I'm waitin' on my girlfriend. Juniper. \n NECKBONE \n Is she hot? \n MUD \n She's beautiful. \n NECKBONE \n (coughing) \n Bullshit. \n MUD \n Best lookin' girl I've ever seen. Hands down. Blonde hair. Long legs. She's like a dream you don't want to wake up from. She's got birds tattooed on her hands, here. \n Mud stops, points to the area on the top of his right hand, between his thumb and pointer finger. \n MUD \n Nightingales. Good luck birds. \n NECKBONE \n That a good luck snake? \n MUD \n No it is not. \n NECKBONE \n I hate snakes. \n MUD \n That's because God made them for us to fear. \n MUD \n It's a thing we knew to be afraid of before we even got into this world. \n They emerge from the woods onto the downstream coast of the island. It looks different than the other shoreline. A large swath of red clay angles sharply into the water. \n MUD \n Cherokee would wrap snake skin around their pregnant women's bellies. Induce labor, scare the child out. Here. \n He fetches a length of rope out of the duffel bag and tosses it to Neckbone. \n MUD \n Set that 'round your bed at night. Snake won't cross braided rope. \n NECKBONE \n Thanks. \n (nods to Mud's tattoo) \n So what's that for then? \n Mud walks to a tree branch that has grown out over the bank, nearly resting in the water. He sets a trot line from it. \n MUD \n A reminder. Don't get bit. I was 10, swimmin' 'bout a mile up from here. Me and Juniper. Sonofabitch swam right up under me, bit me just below the armpit. June got me out, got me to a clinic. Doctor said I shoulda been dead in twenty minutes. Took us an hour just to get back to town. \n NECKBONE \n What'd they do? \n MUD \n Gave me antivenom. For a cotton mouth. See here. \n Mud shows the tattoo on top of his right hand. He points out the two cotton blossoms bulging from the snake's mouth. \n MUD \n Problem with antivenom is they can only give it to you once. It's made from horse blood. Your body would reject it a second time. The cure ends up being more dangerous than the poison. \n ELLIS \n What happens if you get bit again? \n MUD \n I die, or just sweat it out. \n Neckbone, not buying it, looks at Ellis and taps his watch. \n ELLIS \n We gotta go help Neck's uncle. \n MUD \n All right. \n ELLIS \n You never said your name. \n MUD \n Mud. You can call me Mud. \n ELLIS \n Mud? \n MUD \n M-U-D. \n Neckbone tosses the braided rope back. It lands at his feet. \n NECKBONE \n Here you go, Mud. I think you need that worse than I do. \n MUD \n (smiling) \n I'll be all right. \n The boys disappear back into the trees. \n \n \n INT. GARY'S ELECTRIC SHOP - DAY \n A switch clicks \"ON\". BLINDING LIGHT emits from two FLOOD LAMPS encased in plastic shells. The switch clicks \"OFF\" and the lights dim to the dull orange glow of their filaments. \n GALEN \n They look bright enough. \n The owner of the shop, an ELECTRICIAN(62), holds up a metal bar with the lamps affixed by bolts at either end. \n ELECTRICIAN \n Should be. I rigged DC power up through marine batteries. Makes it portable. Gave you a rigging bar to set on your shoulder. \n GALEN \n So you really think these'll work under water? \n ELECTRICIAN \n In theory. \n \n \n EXT. GARY'S ELECTRIC/PIGGLY WIGGLY PARKING LOT - CONTINUOUS \n Ellis and Neckbone sit on the tailgate of Galen's truck. The Gary's Electric sign hangs behind them. Neckbone focuses on a carburetor in his hand. Ellis stares across the street at the Piggly Wiggly parking lot where the roving GROUP of TEENAGERS have collected for the afternoon. The Teenagers are up to their typical gossip and minor offenses. Ellis has zeroed in on May Pearl again. \n NECKBONE \n You start datin' I bet her dad'll give you a free pick-up truck. \n ELLIS \n I don't care about that. \n Ellis watches as the same Skinny Kid from before tries to flirt with her. She's not having it. He pops her bra strap before landing the final straw, a smack on her ass. She turns and swats at him. Seeing this, Ellis is on his feet and crossing the street. \n NECKBONE \n What's goin' on? \n Ellis doesn't turn back. Neckbone reluctantly sets the carburetor down and follows. \n \n \n EXT. PIGGLY WIGGLY PARKING LOT - CONTINUOUS \n MAY PEARL \n Stop it! \n She shoves the Skinny Kid, but he continues laughing. \n ELLIS (O.S.) \n Hey. \n Ellis taps the Kid on the shoulder. As he turns, Ellis PUNCHES him in the face. The Kid, completely taken off guard, stumbles and trips to the ground. Some older, tougher looking GUYS see this and begin laughing at him. \n OLDER KID \n Holy shit Pryor, get off your ass. \n Pryor collects himself and gets off the ground. Ego bruised, he walks off mumbling. The Older Kids keep riding him. May Pearl sizes up Ellis. \n MAY PEARL \n You didn't have to do that. \n ELLIS \n He was messin' with you. \n MAY PEARL \n Do I know you? \n ELLIS \n I'm Ellis. That's Neck. \n Neckbone waves by wagging a finger in the air. \n ELLIS \n We went to Junior High with you, before you went to High School. \n MAY PEARL \n How old are you? \n ELLIS \n Fourteen. \n MAY PEARL \n Fourteen? You know you just punched a Senior? \n ELLIS \n So? \n MAY PEARL \n You think you're pretty tough. \n Ellis shrugs, not wanting to deny it. \n MAY PEARL \n I'm May Pearl. \n ELLIS \n I know. \n MAY PEARL \n What else do you know? \n ELLIS \n Nothin'. \n She smiles. Something catches Neckbone's attention. He cranes his neck forward to get a better look. \n NECKBONE \n Son of a bitch...Ellis? \n Ellis breaks away from his conversation with May Pearl. \n ELLIS \n What? \n NECKBONE \n Look. \n Neckbone nods to a cheap motel called the EXECUTIVE INN located on the opposite side of the Piggly Wiggly parking lot. JUNIPER(35), a truly beautiful woman squeezed into tight jeans and a low cut top, makes her way from the motel parking lot to the Piggly Wiggly. She passes in front of the cluster of Teenagers. All of the boys have taken note. Some cat calls from the crowd. Juniper, without facing the Teenagers, gives them the finger. \n NECKBONE \n You ever seen that girl before? \n ELLIS \n No. Did you see her hands? \n MAY PEARL \n Hello? \n Ellis catches himself and turns back to May Pearl. \n ELLIS \n Sorry. We know a guy we think might know that girl. \n MAY PEARL \n Oh. \n A GIRLFRIEND(17) of May Pearl's calls out to her. \n GIRLFRIEND \n May Pearl! Let's go! \n MAY PEARL \n Okay! \n ELLIS \n I guess I'll see you. \n MAY PEARL \n If you can find my phone number, you should call it. \n ELLIS \n I can find it. \n May Pearl walks over to her friend. Ellis watches her go, but then remembers Juniper. He turns to Neckbone. \n ELLIS \n Where'd she go? \n NECKBONE \n Into the Piggly Wiggly. She came from the motel. \n ELLIS \n I'm gonna go see if it's her. \n NECKBONE \n I gotta go check on Galen. We'll pick you up out front. \n Ellis heads for the Piggly Wiggly. Neckbone calls after him. \n NECKBONE \n What'd she say? \n ELLIS \n Wants me to call her. \n NECKBONE \n Shit. \n \n \n INT. PIGGLY WIGGLY - DAY \n Ellis walks past the grocery aisles looking for the girl. He spots her by the potato chips. He tucks behind a display of stacked cans and watches. Juniper reaches for a bag of chips, birds tattooed on her hand. Ellis smiles. It's her, and she really is beautiful. She turns down the aisle, coming right for him. He pretends to peruse the canned food and notices that it's a big display of Beanie Weenie. He grabs two handfuls as she passes. Ellis takes the cans to an open register. As a CASHIER scans and bags his items, he cranes his neck looking for her. She's disappeared into another section of the store. Ellis pays in crumpled cash. A horn HONKS. He sees Galen's truck idling out front. He grabs the bag and runs out. \n \n \n EXT. GALEN'S TRUCK/PIGGLY WIGGLY PARKING LOT - CONTINUOUS \n Neckbone waits at the open passenger door. \n NECKBONE \n Was it her? \n ELLIS \n It's her. I saw the tattoos. He wasn't lyin'. \n NECKBONE \n (looking back) \n No he wasn't. \n \n \n EXT. ELLIS' HOUSEBOAT - NIGHT \n By the time Ellis makes it back home, the sun has gone from the sky. He crosses the makeshift plank to board his house. \n SENIOR (O.S.) \n Home for dinner? \n Ellis is startled by his father's voice. Senior sits in a lawn chair under the eaves of the carport. He's hidden in shadow, save for a red glow from the tip of his cigarette. \n ELLIS \n What you hidin' for? \n SENIOR \n I ain't hidin'. \n He notices Senior tip back a pint of liquor and set it at his feet. Ellis opens the screen door leading inside. \n SENIOR \n Come over here. \n Ellis lets the door fall shut and skulks over to a beam that supports the carport. He leans into it. \n SENIOR \n You know I love you? \n ELLIS \n Yessir. I know. \n SENIOR \n I work you hard 'cause life is work. You know that? \n ELLIS \n Yessir. \n SENIOR \n Your Mamma's been talkin' 'bout movin' in town. \n ELLIS \n What's that mean? \n SENIOR \n She seems set on it. Wants to separate. She may ask me for a divorce. \n This hits Ellis like a ton of bricks. He rights himself. \n ELLIS \n What's that mean for me? \n SENIOR \n It means enjoy the river son. Enjoy it while you live on it, 'cause this way a life isn't long for this world. Game and fish's 'bout made certain of that. \n ELLIS \n But you and me can still live out here. Game and fish can't take your boat. Not while you're still in it. \n SENIOR \n The houseboat's in your mother's name. Her daddy give it to her not me. If she wants to leave it, Game and Fish has ever' right to take this boat apart board by board. \n ELLIS \n But that ain't right. You work outta here. We got the ice machine, the traps. What are we supposed to do? \n SENIOR \n Like I said, this is your mother's business. \n ELLIS \n I ain't no townie. I ain't livin' like that. \n Senior takes a slow pull off the bottle. Ellis' mind races. \n SENIOR \n I've let you down. A man should be in charge of his own affairs, but I haven't worked it like that. \n ELLIS \n But ya'll are married. Ya'll are s'posed to love each other. \n SENIOR \n I don't know about that anymore. \n Ellis is speechless. After a moment, he turns to go inside. \n SENIOR \n Ellis? \n He stops and turns back to his father. Senior tries to express a sentiment he doesn't have the words for. Ellis continues inside. \n \n \n INT. ELLIS' HOUSEBOAT - DEN - CONTINUOUS \n Mary Lee sits hunched at the made dinner table. She runs her finger around the rim of a half empty glass of iced tea. It's a full spread with fried chicken, mashed potatoes, and a salad. The table is set for two. She's been waiting. Ellis lets the front door slam shut behind him. She sits up. \n MARY LEE \n You're late. \n Ellis doesn't speak, he doesn't look at her. He enters his room and shuts the door. He's heard the news and she knows it. Mary Lee's face drops. \n \n \n INT. ELLIS' ROOM - CONTINUOUS \n Ellis slings his backpack down, pacing the small room. He stops and leans his forehead against the door. The sound of his Mother clearing the table seeps through. He kicks the door, cracking its shitty composite wood. His face flushed and his breathing heavy, he slides to a seat. On the verge of hyperventilating, he stares out the dark bedroom window trying to get control of his breathing. Ellis looks at his backpack. It has spilled open revealing a can of Beanie Weenie. Ellis studies the can. He looks back to the window. His breathing settles. Quickly, he scoops up the backpack and heads out the window. \n \n \n EXT. MISSISSIPPI RIVER - NIGHT \n It's pitch black. The only light comes from the moon's reflection off the surface of the water. Ellis, eyes wide, navigates the small boat through choppy black water. \n \n \n EXT. ISLAND SHORE - NIGHT \n Ellis struggles to pull the boat onto shore. Leaving it half in the water, Ellis looks around. No sign of Mud. He sizes up the dark woods. He removes a flashlight from his backpack and shines it down the shorelines. Still nothing. Ellis follows the beam of light into the woods. \n \n \n EXT. ISLAND WOODS - NIGHT \n Ellis stands at the creek that cuts through the island. He can make out a campfire glowing through trees in the distance. A RUSTLING behind him. He swings the light around. Nothing but trees. Ellis takes a deep breath. Finding the log to cross, he shines his light down into the creek. The nest of snakes show their backs. \n \n \n EXT. BASE OF BOAT TREE - NIGHT \n A campfire burns at the base of the tree. The firelight illuminates the belly of the boat that rests 20 feet above. Ellis, his flashlight off, crouches behind a tree and watches the campsite. There is no one there. He looks into the black forest behind him, thinks of going back. A twig snaps in the distance and he's back on guard. Ellis nervously scans the woods before finally stepping into the light of the campfire. The SOUND of a gun's hammer drawing back CLICKS behind him. Ellis freezes. Mud emerges from the trees, a .45 extended toward Ellis' back. \n MUD \n Ellis? \n Ellis, still frozen, slowly turns to him. Mud huffs out a laugh and drops the pistol to his side. \n MUD \n What're you doin' out here? \n Ellis slowly raises the backpack in his hand. \n ELLIS \n I got you some Beanie Weenie. \n Mud tucks the pistol into his jeans and accepts the backpack. \n MUD \n I appreciate that, but I didn't expect you out here at night. \n Mud takes a seat on the log and transfers the cans into his own duffel bag. He holds up a can of the Beanie Weenie. \n MUD \n Look at that. You really know how to do somebody right. I didn't wanna say anything before, but it's hard to make a meal out of pumpkin pie filling. \n ELLIS \n That's all my mom had. \n MUD \n I'm not complainin'. \n ELLIS \n Can I get one of those? \n MUD \n They're yours to begin with. \n Ellis sits as Mud hands him a can. They eat. \n ELLIS \n I missed my dinner. \n MUD \n That's good right? \n ELLIS \n (mouth full) \n You been out here too long. \n Mud laughs. Finishing the can, he takes a half-smoked cigarette from his shirt pocket. He pulls a twig from the fire for a light. \n ELLIS \n The girl you're waitin' on, she's your girlfriend? \n MUD \n Juniper. Yeah. \n ELLIS \n How'd you meet her? \n MUD \n We grew up together. \n ELLIS \n Do you love her? \n MUD \n I do. The first time I saw her was on this river. Just up from here. She saved my life. \n ELLIS \n From the snake bite. \n MUD \n That's right. I was younger than you are now, but when I came to in the hospital and she was there, it was like the world split open, came back together new. Everything changed. I knew from then on I'd do anything for her. \n ELLIS \n Why aren't ya'll married? \n MUD \n I've asked. Several times. Marriage just doesn't work for some people. \n Ellis thinks on this. \n ELLIS \n My dad says my parents may be gettin' a divorce. \n MUD \n I'm sorry to hear that. \n ELLIS \n If it happens, and my mom moves us off the river, they say the government can come take our boat away. \n MUD \n Who says that? \n ELLIS \n Everybody. They passed a law so you can't sell your boat. Can't rent it. If the owner leaves, they got you. Game and Fish want 'em off the river. \n MUD \n I've never been one to trust the government on matters of personal property, but if your parents love each other, there's always a chance. \n MUD \n People just sometimes forget why they fell in love in the first place. \n Ellis watches Mud toke the cigarette nub. He's really getting all he can from it. \n ELLIS \n I saw Juniper today. \n MUD \n What? \n ELLIS \n I didn't talk to her, but she had the birds tattooed on her hand like you said. You were right. She's pretty. \n Mud stands, surprised by the news. He walks to the other side of the fire so his back is to the boy. \n MUD \n Where'd you see her? \n ELLIS \n At the Piggly Wiggly. I think she's stayin' at a motel by there. The Executive Inn. \n Mud looks at Ellis through the fire. He takes a drag and smiles at the boy. The hole from his missing tooth shows. \n MUD \n That's good news. Real good news. \n Mud paces, slowly. He's thinking. \n ELLIS \n Does she know you're out here? \n MUD \n No. We picked another place to meet. Couple days from now. \n Mud walks back to the log and sits. \n ELLIS \n You wanna go tonight? I can give you a ride up river. \n Mud looks at Ellis, nodding. \n MUD \n Tomorrow. I'll go tomorrow. \n ELLIS \n You need me to come get you? \n MUD \n Naw. I can manage. Hell I got out here didn't I? \n Ellis smiles. They sit in silence. Ellis stares up at the boat hanging over them, its peeling hull lit by the firelight. Mud pinches the ash from the end of his cigarette, places the stub back in his shirt pocket. Noticing Ellis, Mud tilts his head back to take in the boat. \n MUD \n It's a helluva thing. \n Mud pauses, his mind working on something. \n MUD \n Helluva thing. \n The two sit by the campfire staring up at the suspended boat. \n \n \n INT. ELLIS' ROOM - MORNING \n Mary Lee knocks on her way into the bedroom. \n MARY LEE \n Time to get up. \n She begins picking clothes off the floor. Ellis, in bed, raises up on his elbows. He's tired from a late night. \n ELLIS \n It's Saturday. \n MARY LEE \n I'm going to Wal-Mart. I need you to come with me. \n ELLIS \n (moaning) \n Mom. \n MARY LEE \n Come on. \n She pulls the covers off of him. \n \n \n I/E. MARY LEE'S CAR/INTERSTATE - DAY \n The two ride in an awkward silence. Ellis stares at the farmland passing by outside as Mary Lee steers the compact Toyota down a four-lane interstate. \n MARY LEE \n Ellis I know what your father told you last night. That's not what I wanted. I wanted to sit you down and talk about it. \n ELLIS \n What do you wanna talk about? You want to leave and that means they can tear up our house. \n MARY LEE \n I've spent my whole life on that boat. I don't think it's too much to ask for your... \n Mary Lee is interrupted by a line of traffic backed up in front of her. She slows to a stop. \n MARY LEE \n Oh no. I hope no one's hurt. \n There are flashing police lights up ahead. Ellis tries to see what's going on but can't make anything out past the line of cars. They inch forward. \n MARY LEE \n I'm just saying there are two sides to this. I haven't made up my mind about anything because I want you to be involved in my decision, but I need a change Ellis. I deserve one. \n As they approach the flashing lights, they see three State Trooper vehicles parked to funnel traffic down to one lane. The STATE TROOPERS stop each car, checking the trunks. \n MARY LEE \n I think they're searching people. \n A Trooper signals Mary Lee to pull up to a stop. Two other Troopers approach her vehicle. The first begins looking in her back windows as the second leans down to speak to her. She lowers her window. \n TROOPER \n Can you open the trunk please ma'am? \n MARY LEE \n Of course. \n Mary Lee pulls the lever by her knee, and the second Trooper walks around the back of the car. \n TROOPER \n Have you picked up or seen any hitchhikers today ma'am? \n MARY LEE \n No sir. \n The Trooper produces a flier with a color photo on it. \n TROOPER \n Have you seen this man? \n MARY LEE \n No sir. \n The Trooper leans over and holds the paper out to Ellis. \n TROOPER \n Son, have you seen this man? \n Ellis looks at the photo. It's of Mud. He looks exactly the same as he did last night, down to the shirt. In the photo, Mud's smiling, revealing his missing tooth. \n ELLIS \n No. \n TROOPER \n We've had reports that he's in this area. If you see him, call 9-1-1 immediately. \n MARY LEE \n We will officer. \n The Trooper pulls his head from the window. \n ELLIS \n What'd he do?! \n The Trooper bends back down and looks at Ellis. \n ELLIS \n (more calm) \n What'd he do? \n TROOPER \n Move along please. \n Mary Lee pulls forward and speeds back up on the interstate. \n MARY LEE \n My lord. \n (rolls up her window) \n MARY LEE \n How would you feel about moving into town with me? \n (no answer) \n Please don't tell your father this, but I've been looking at a couple of places. I know it would be a big adjustment for you, but it might end up being something you like. You know living on the river isn't exactly everyone's idea of the good life. Ellis? \n He looks at her. \n MARY LEE \n Are you even listening to me? \n \n \n INT. ELLIS' ROOM - DAY \n Ellis busts through the door, grabs his backpack and is gone. \n \n \n EXT. HOUSEBOAT - CONTINUOUS \n Ellis is off the houseboat and running up the bank. He heads down the dirt path, grabbing the Walkie Talkie out of his backpack. \n ELLIS \n (into the Walkie) \n Neck! Neck, pick up! \n \n \n EXT. RIVERBANK - DAY \n Ellis removes branches and readies the flat bottom boat to launch. The sound of Neckbone's bike arrives before he does. Neckbone crests the sand covered slope. He dismounts and starts to chain the bike up to a tree trunk. \n NECKBONE \n So what's the big deal? \n ELLIS \n My mom and I were headed to Wal- Mart on 165. There was a roadblock with state troopers. They searched our car and showed us a picture of Mud. They're lookin' for him. \n NECKBONE \n I knew it! I told you that crazy sonofabitch was trouble. Did they say what he did? \n ELLIS \n No. \n NECKBONE \n So'd you tell 'em where he is? \n ELLIS \n No. That's why I called you. We gotta warn him. \n NECKBONE \n What? \n ELLIS \n He's goin' to get Juniper today. I went out there last night and told him where we saw her. He needs to know people are lookin' for him. \n NECKBONE \n You think he doesn't know that already? Jesus Ellis, why do you think he's on that island? You don't even know what he's wanted for. \n Ellis climbs in the boat and Neckbone yanks his shoulder. \n NECKBONE \n Ellis! I'm serious. We don't know who this guy is. \n ELLIS \n He loves her Neck. He told me. \n NECKBONE \n I don't give a shit who he loves. \n Ellis starts the motor and waits for his friend. \n ELLIS \n He's not dangerous. \n Reluctantly, Neckbone throws his leg into the boat. \n NECKBONE \n It sounds like a shitload of state troopers think different. \n \n \n EXT. BASE OF BOAT TREE - DAY \n Ellis and Neckbone emerge from the woods at Mud's campsite. They scan nearby tree limbs. \n NECKBONE \n No tellin' where the hell he's been sleepin'. \n ELLIS \n He may already be gone. \n MUD (O.S.) \n Hey! \n The boys look straight up. Mud leans over the edge of the boat above them. \n MUD \n Up here! \n Mud drops them a rope with knots tied in it. Ellis starts inching his way up. Neckbone begrudgingly follows. \n \n \n EXT. BOAT IN TREE - CONTINUOUS \n Ellis pulls himself over the edge of the boat. He finds Mud sitting in the swivel chair behind the steering wheel. He writes in an open spiral notebook with a black Sharpie. \n ELLIS \n What are you doin'? \n MUD \n I'm gonna have to go back on our deal for the boat. I don't feel good about it, but I don't see any other way outta what I'm into. \n Neckbone makes his way on board. Mud has pulled a panel off the steering column. Exposed wires dangle. \n ELLIS \n So you know about the state troopers? \n He looks up from his notebook. \n MUD \n What state troopers? \n NECKBONE \n The ones spreadin' your picture all over the place. Stoppin' cars on 165 searchin' for your ass. \n Mud factors this in and then goes back to writing. \n MUD \n I didn't know about that, but it doesn't surprise me. There plenty of folks lookin' for me right now. \n ELLIS \n Why? \n MUD \n I shot a man. Killed him. \n Mud stands and walks to the back of the boat. The boys' eyes follow him cautiously. Mud lifts a hatch at the back that would typically house the batteries and engine wiring. There's nothing left but a hole into the trees. He makes a note. \n MUD \n I'm sorry I didn't tell ya'll sooner, but I was hopin' to be gone before anything came of it. Didn't want you involved. \n Mud turns to really face them for the first time. \n MUD \n Ya'll have been real good to me. You're the only friends I got out here. If the state troopers have 165 blocked, they'll have others blocked too. I won't get anywhere in a car. I want to try takin' this boat down, see if we can get it in the water. \n Ellis and Neckbone stand their ground. They don't say anything. Mud walks back to the steering column. He drops to his knees and fiddles with the wires. \n MUD \n With a boat like this I can make it to the gulf in two days. I could get anywhere from there. But I'd need a boat at least this big to make it on open water. It's got no title, no owner, nobody lookin' for it. It's my best shot. \n NECKBONE \n Who'd you kill? \n MUD \n It was a bad piece of business. Ya'll don't need to hear about it. \n ELLIS \n I need to hear about it. \n Mud sits up. He looks at Ellis, deciding how much to tell. \n MUD \n Juniper made a mistake. She hooked up with a guy. He was no good. His name was Hutchins. Family owns a chain of restaurants down in Texas. \n ELLIS \n Where were you? \n MUD \n I was around, but me and Juniper were on the outs. She met this Hutchins, he sold her on some lies. Got her pregnant. That's when he started showin' who he really was. He dropped June down a flight of stairs after whoopin' her half to death. She lost the baby. He made it so the doctors think she can't have children anymore. There're things you can get away with in this world and things you can't. I tracked him down at a motel just outside of San Antonio. He was there with another woman. That's where it happened. \n Mud's done with his story. He goes back to the wiring. \n MUD \n I understand if you can't help me anymore, but I need this boat. And I need to get it in the water fast. \n After a moment, he sits up and wipes sweat from his forehead. \n MUD \n I've made a list. Things we'll need. What do ya'll think? \n Ellis takes time to consider everything. He looks at Neckbone, who has a disgruntled look on his face. \n ELLIS \n You did it for her? To protect her? \n MUD \n Yeah. \n Ellis nods. Mud looks over at Neckbone, who still has the disgruntled look on his face. \n MUD \n What do you think? \n NECKBONE \n I think you want us to run around, stickin' our necks out, gettin' everything you need, just so you can take our boat. \n MUD \n That's about it. \n Mud removes a cigarette butt and sparks it with a lighter. \n NECKBONE \n What do we get out of it? \n MUD \n What do you want? \n Neckbone looks to Ellis, judging his bargaining position. \n NECKBONE \n What about that pistol? \n Mud eyes the boy, pulling on the nub of cigarette. \n MUD \n I only got two things out here worth anything. This shirt... \n Mud pulls the pistol from the back of his jeans. Neckbone tenses, but relaxes when Mud splays it out on an open palm. \n MUD \n And this pistol. I can't give you the shirt 'cause I need it for protection, but if you help me get this boat in the water, the pistol's yours. \n Neckbone squinches his face in thought, sizing up this trade. \n NECKBONE \n What kind is it? \n MUD \n A forty five. \n NECKBONE \n I guess we could work a deal like that. \n Neckbone steps forward to grab the pistol, but Mud puts it back in his jeans. \n MUD \n We get this thing floatin' first. \n Neckbone looks over at Ellis, who shrugs. \n NECKBONE \n All right then. \n Mud smiles, flashing his missing tooth. He spits in his palm and holds it out to Neckbone. Neckbone, not sure about taking the spit hand, reluctantly shakes. Mud rips a page from the notebook and hands it to Ellis. \n MUD \n Ya'll scrounge what you can off this list, but if we're gonna get this done right we'll need more help. Can you fetch Tom for me? \n ELLIS \n Tom Blankenship? \n Mud has smoked down to the filter. He crushes the butt into his palm and puts it back in his shirt pocket. \n MUD \n I was hopin' to let that old assassin stay put, but we'll need him to get things ya'll can't. Can you find him? \n ELLIS \n I know where he lives, but I've never spoke to him. \n MUD \n Just tell him my name. He'll know you're serious. \n Ellis folds the list up. He and Neckbone start down the rope as Mud goes back to the wiring. \n MUD \n Boys? \n (they pause) \n Thanks. \n Ellis nods. \n NECKBONE \n Don't lose my pistol. \n They continue down the rope. Mud continues his work. \n \n \n EXT. SHELLY'S OXBOW - DAY \n Ellis steers to the southern mouth of Shelly's Oxbow, the bend in the river that holds he and Tom Blankenship's houseboats, among others. He grounds the boat just shy of entering the Oxbow and steps over Neckbone to hop onto the bank. \n ELLIS \n You comin'? \n NECKBONE \n I'll watch the boat. \n Ellis scans the woods that populate the patch of land wedged between the river and this short tributary. \n NECKBONE \n Ellis? \n ELLIS \n What? \n NECKBONE \n Be careful. Galen always said that old man's crazy. \n Neckbone keeps his seat as Ellis darts into the woods \n \n \n EXT. TOM'S WOODS - DAY \n Ellis prowls around the small pine trees and bushes. He pauses, seeing the entrance to Tom Blankenship's boat. Something moves on the houseboat. Ellis hunkers down behind a bush. He sees Tom wrapping cable onto a metal spool. Ellis is nervous. He checks over his shoulder, nothing but woods. When he looks back to the boat, Tom is gone. In a crouch, Ellis moves closer. Taking a deep breath, Ellis steps out from the cover of the pine trees and heads up a walkway that leads onboard. \n TOM (O.S.) \n Why you huntin' me? \n Ellis flinches. He turns to find Tom Blankenship standing at the edge of the boat. \n TOM \n You deaf boy? I said why're you huntin' me? \n ELLIS \n I ain't huntin you. \n TOM \n What's your business here? \n ELLIS \n I came to find you. I got a message for you. \n TOM \n You're Senior's boy. \n ELLIS \n Yessir. \n TOM \n What you got to say he can't tell me himself? \n Tom, rusty on pleasantries, brushes past Ellis as he heads inside the boat. \n ELLIS \n It ain't from him. \n Ellis, not wanting to follow further, shouts from the planks. \n ELLIS \n MUD SENT ME! \n There is a silence. Then footsteps. Tom reappears. \n TOM \n Mud sent you. \n ELLIS \n Yessir. \n TOM \n What do you know about it? \n ELLIS \n He asked me to come get you. \n Tom straightens his back. He looks into the woods, searching for something he may have missed. \n TOM \n Your daddy know this? \n ELLIS \n No sir. Mud needs your help. \n Tom's mind churns on a series of facts unknown to the boy. \n TOM \n Where is he? \n \n \n EXT. RIVER - DAY \n Neckbone bounces in the boat as it shifts in the choppy Mississippi water. His eyes are locked on the back of Tom's head. Tom rides stone faced in the front. Neckbone turns back to Ellis and raises his eyebrows as if to ask, \"What's going on?\". Ellis shrugs. \n \n \n EXT. ISLAND SHORE - DAY \n Ellis runs the boat on shore. Tom splashes into the ankle deep water and helps the boys drag it onto the bank. Ellis takes the lead, walking ahead and scanning the treeline. Mud steps out, just past the shadow of the woods. Ellis turns to Tom and points. \n ELLIS \n There he is. \n Tom spits onto the muddy bank and makes his way toward Mud. Ellis and Neckbone stay by the boat and watch. BY THE TREELINE, Mud watches Tom approaching. He corrects his posture and feebly attempts to smooth some wrinkles from his shirt. Tom stops in front of him, his eyes pinched in the sun. \n TOM \n Mud. \n MUD \n Sir. \n They stare at each other for a long moment. Neither one flinching. BY THE BOAT, At this distance, the boys can't hear what is being said, but they try and size up the situation through body language. \n NECKBONE \n You think that's his dad? \n ELLIS \n I don't know. \n BY THE TREELINE, \n TOM \n Where is she? \n MUD \n In town. Got here yesterday. \n Tom lowers his head. Frustrated. \n TOM \n Why you out here like this? \n BY THE BOAT, The boys see Mud take a seat on a nearby stump. He's explaining something. Tom listens, standing over him. \n NECKBONE \n They don't look like family. \n Ellis watches Mud as he gestures and speaks. He seems different. Younger. Mud stops talking. Tom scratches a hand through his white crew cut. He begins pointing a finger at Mud. His face is flushed and the sound of his voice carries to the boys, though still unintelligible. \n NECKBONE \n He's really givin' it to him. \n AT THE TREELINE, Mud's head hangs as Tom shouts at him. \n TOM \n You've spent your whole life followin' that girl! She's run you halfway cross the country and back, and for what? For this, left out on an island beggin' for help. A murderer. A thief. \n MUD \n I ain't no thief. \n TOM \n What would you call it then? Don't even mention draggin' those boys into this. Do you have any idea what you're doin'? \n Waits for a response, but Mud gives none. \n TOM \n I'm ashamed of you. \n Mud looks up at him. \n TOM \n Don't expect help from me. There's none to be given. \n AT THE BOAT, They see Tom turn his back on Mud and head toward the boat. Mud doesn't protest; he doesn't move. Tom brushes past Ellis. \n TOM \n I'm ready. \n Tom shoves the boat back into the water. Neckbone helps him. Ellis looks back at Mud, who still hasn't moved from his stump. He goes to him. Tom sees this and stops pushing. \n TOM \n (to himself) \n Dammit. \n AT THE TREELINE, Ellis stops a good six feet back from where Mud sits. \n ELLIS \n You all right? \n Mud raises his head. \n MUD \n Looks like we're on our own. \n He stands and takes a folded piece of paper from his shirt. \n MUD \n I didn't want you bein' the one to do this, but I can't see a way around it. I need to get this letter to Juniper. Could you take it to her for me? \n ELLIS \n Yeah. \n MUD \n You have to be careful. You can't just walk up and knock on her door, you hear me? You have to watch yourself. \n ELLIS \n I can handle it. \n Ellis steps forward and Mud hands over the note. Ellis takes it and walks back to the others. AT THE BOAT, Tom stares at Ellis as he climbs on board. Tom looks back at Mud, who is watching him. He gives the boat a final shove before pulling himself in. They motor away. Tom doesn't look back. \n \n \n EXT. RIVER/SHELLY'S OXBOW - MOVING - DAY \n NECKBONE \n You Mud's daddy? \n TOM \n Mud didn't have no daddy. No mother I ever knew of. He was livin' in the woods when I met him. Younger than you are now. \n Tom doesn't offer anymore. Neckbone thinks on his answer. Ellis kills the engine near the mouth of Shelly's Oxbow. Tom jumps down into the knee deep river and wades onto shore. He turns back to the boys. \n TOM \n Ya'll need to watch yourselves. Don't go gettin' into something you don't have any business in. Mud's into something you don't want any part of. I suggest you forget about him. \n Ellis and Neckbone don't respond. Tom, with a final admonishing look, disappears into the woods. Ellis cranks the motor and points the boat up river. \n \n \n EXT. RIVER - MOVING - MOMENTS LATER \n Edges of the notebook paper flap in the wind. Neckbone reads Mud's letter to Juniper. Ellis reaches the bank where they stash their boat. He shuts off the motor and let's them drift. Neckbone folds the letter back up and turns to face Ellis. \n ELLIS \n What do you think? \n NECKBONE \n He loves her. You can tell that much. You gonna take it to her? \n ELLIS \n I told him I would. \n Neckbone thinks about this seriously, shakes his head. \n NECKBONE \n I don't know. Could be a lot of trouble. \n ELLIS \n You still got that trailer you made for your bike? \n \n \n EXT. DEWITT STREET - LATE AFTERNOON \n Neckbone rides with Ellis on the back of his dirt bike. Cars and Trucks HONK and zip by them. Their speed is topped out at about 15 miles per hour. Mostly a result of the small 3X4 metal trailer they are towing behind the bike. One of Senior's white fish coolers sits in the trailer. \n \n \n EXT. EXECUTIVE INN/PARKING LOT - LATE AFTERNOON \n Parked in the far corner of the lot, Ellis sits on top of the white cooler eyeing the Executive Inn. Neckbone straddles the dirt bike. A handful of cars are parked at the motel; an old Honda, a pick-up, and a BLACK LINCOLN. \n ELLIS \n I say we start at the top, work our way down. \n NECKBONE \n All right. \n They each grab an end of the cooler and carry it across the lot toward a flight of stairs. ON THE SECOND FLOOR, The boys set the cooler down in front of the first room on the corner. Ellis checks over his shoulder, nothing strange. Ellis knocks. They wait. No answer. They pick the cooler up and walk to the next door. Knock. After a moment, a BLACK MAN in his late sixties opens the door wearing boxers and an undershirt. \n BLACK MAN \n What you want? \n ELLIS \n We're sellin' fish. You wanna buy some? \n BLACK MAN \n Fish? \n He looks at the two boys like they are insane. \n BLACK MAN \n I don't want no damn fish. \n He slams the door. They drag the cooler to the next door. As Ellis holds up his fist to knock, they hear a woman shouting a few doors down. \n STOP IT! \n Ellis heads for the room. Neckbone drags the cooler after \n STOP! \n him. Ellis reaches the motel room door, which has been left ajar. He places his hand on it and lets it fall open. \n \n \n INT. EXECUTIVE INN/JUNIPER'S ROOM - CONTINUOUS \n CARVER (O.S.) \n KEEP LYIN'! KEEP LYIN' AND I'LL \n CRACK YOUR NOSE OPEN! \n The door opens to CARVER(47), a tall, slender man in a dark Western cut suit, standing over Juniper. She's crumpled up in a ball at the end of the bed. Carver swats open-handed at her head. Grabs the top of her hair. \n CARVER \n You hear me bitch? Tell me another lie. \n Ellis rushes Carver with his shoulder as if he were breaking down a door. Carver is knocked off balance. He trips over the edge of the bed and crashes into the motel room wall. Carver, slightly stunned, gets to his feet and in two broad steps lands a man-sized punch across Ellis' face. It's hard. Ellis melts. He grabs the boy up by the scruff of his shirt. \n CARVER \n Who are you!? Who the hell are you!? Did he send you!? \n Carver removes a piece of paper from his pocket. It's a photo copied picture of Mud, different than the State Trooper's. Carver crams the photo in the boy's face. \n CARVER \n You know this man!? Look at him! Do you know him!? \n Blood trickles from a cut under Ellis' eye. He stutters under the shaking force of Carver's hands. \n ELLIS \n I don't...I... \n FISH!!! \n Neckbone is yelling at the top of his lungs, almost in a \n IT'S FISH!!! \n girl's pitch. Carver turns to him. The cooler is open behind them and Neckbone holds up two Ziplock bags of fish. \n NECKBONE \n We're just selling fish! \n Carver sizes things up. It takes a moment, but he settles. He snorts out a laugh and drops Ellis on the ground. Carver turns his attention back to Juniper, who is huddled up in the corner of the motel. Carver walks over to her. Opening a good-sized knife, he gets down in her face and holds the blade uncomfortably close to her cheek. \n CARVER \n I know you know where he is. And I swear to God I'll cut through every one a you to find him. \n She flinches. Standing, Carver folds up his knife. \n CARVER \n We know you came here for him, and we know he's too stupid to leave you behind. So when he pops his head out of whatever shithole he's staying in, I'll be there. You tell him that. \n Carver turns, stepping over Ellis on his way out. \n CARVER \n And you need to mind your business boy. \n Neckbone moves from the doorway to let him pass. Carver is gone. Neckbone shuts the door and fastens the security latch. He kneels down to check on his friend. \n NECKBONE \n You all right? \n ELLIS \n Yeah. \n NECKBONE \n He popped your eye. \n Ellis holds the back of his hand up to his eye which has begun to swell. The cut trickles blood over his cheekbone. Juniper moves to the sink. Ellis sits up, staring at her back. She opens an ice bucket and wraps a handful of cubes in a towel. She turns and walks over to them, her eyes cast down. She kneels in front of Ellis, making eye contact for the first time. She touches his chin, gently pivoting it to see the wound. Her eyes are glassy. \n JUNIPER \n Thank you. \n He stares back at her. He can't take his eyes off her. She holds the iced towel to his cheek. He doesn't even flinch. \n JUNIPER \n I'm so sorry. \n Tears form and run down her cheeks. \n JUNIPER \n Here. \n She takes his hand and places it against the towel. She gets to her feet and pulls a pocket book from a bag in the corner. \n JUNIPER \n How much is your fish? I'll buy the cooler full. \n Ellis motions Neckbone to the cooler. Neckbone goes over and crams his hand into the ice. He removes a Ziplock bag containing the note that Mud sent. Neckbone hands it to Ellis. Taking the note, he sets his ice down and walks over to Juniper. \n ELLIS \n Mud sent us to give this to you. \n Juniper is stunned. She looks at the bag, then at the boys. \n JUNIPER \n You've met Mud? \n Ellis nods. Neckbone speaks up from the back. \n NECKBONE \n Yeah we met him. \n Juniper takes the bag. She removes the letter and takes a seat on the edge of the bed to read it. Ellis watches her eyes move along the paper. She smiles, which makes Ellis smile. After a moment, she folds it up. \n JUNIPER \n He tells me to hold tight. \n NECKBONE \n Yeah, we read it. \n Juniper raises her eyebrows at Neckbone. \n JUNIPER \n Well do you know how long 'hold tight' is? \n ELLIS \n I think it's a couple days. He wants to get a boat for ya'll. \n JUNIPER \n God. \n Juniper shakes her head and goes to the sink. She pulls a lighter from her jeans pocket and torches Mud's note. \n JUNIPER \n Tell him I'll wait. \n Running water over the ashes, she turns back to them. \n JUNIPER \n But I don't want ya'll involved. Tell him what I said and make that it. I don't want you gettin' in any trouble. \n ELLIS \n We won't. \n JUNIPER \n What do you call that? \n She motions to his swelling eye. Ellis shrugs. \n ELLIS \n We'll be all right. Keep your door locked. We'll be in touch. \n Ellis heads to the door as Neckbone gathers up the cooler. \n JUNIPER \n Wait. \n Ellis turns back. \n JUNIPER \n What's your name? \n ELLIS \n I'm Ellis. That's Neckbone. \n Juniper walks up to Ellis and puts her hands on his shoulders. She has to bend slightly to do it, but she kisses him just above his swollen eye. \n JUNIPER \n Thank you Ellis. \n Ellis stares at her, infatuated. \n NECKBONE \n We gotta go. \n Ellis turns and grabs one end of the cooler. Neckbone slaps back the security latch and opens the door with his free hand. They walk out. \n \n \n EXT. EXECUTIVE INN/JUNIPER'S ROOM - CONTINUOUS - DUSK \n Ellis, his foot on the door, looks back at Juniper. \n ELLIS \n Lock the door. \n She smiles. The door slams shut. The room number, 212, stares Ellis in the face. He takes a deep breath. \n NECKBONE \n Let's go hard on. \n He and Ellis wrangle the cooler down the steps. The sun set while they were inside. A blue hue hangs over everything. \n \n \n I/E. CARVER'S LINCOLN/PIGGLY WIGGLY PARKING LOT - CONTINUOUS \n Carver takes a drag off a cigarette from behind the steering wheel of his black Lincoln town car, conscious to blow any smoke out the open driver's window. His car, wedged between two others in the Piggly Wiggly parking lot, is pointed toward the Executive Inn. He watches as Ellis and Neckbone load the cooler onto Neckbone's bike. \n \n \n INT. ELLIS' HOUSEBOAT - NIGHT \n Ellis enters his houseboat. It's quiet. He sees a note on the counter next to a can of soup. It reads, \"I've gone to a movie. Warm up some soup for dinner. Love, Mom\". Ellis picks up the can, not thrilled. He goes to the fridge and grabs a sack of peas from the freezer. Holding the peas against his eye he takes a seat at the counter and flips through a phone book. He finds what he needs and dials a corded phone. He waits. \n ELLIS \n Hello? Is May Pearl there?...This is Ellis...Hey, it's Ellis. Hey... What?...In the phone book... from his car commercials...I think they're all right...Tomorrow? Yeah, I can meet you... Okay. Bye. \n Ellis hangs up the phone. With the peas pressed firmly against his face, he smirks. CUT TO: SERIES OF IMAGES: -Neckbone's sneaker busts through a rotten plank of wood. -Inside a decrepit wooden shack, Ellis gives Neckbone a look like he's a dumbass as they proceed to take the shack apart board by board. Ellis now has a full-on BLACK EYE. A66 -Neckbone stands lookout under the carport section of Ellis' A66 houseboat. The coast clear, he gives Ellis a nod. Ellis pops open a metal locker and removes a small chainsaw and container of gas. He loads these into an empty fish cooler. B66 -Tom, sitting atop his houseboat with his pellet gun, watchesB66 as the two boys sneak the tools away. He's displeased. C66 -At Neckbone's mobile home park, Ellis heaves loops of thick C66 rope onto their mini dirt bike trailer. Neckbone stands nearby laughing with the rope's OWNER, a lanky guy with brown teeth and a Tasmanian Devil tattoo on his neck. AC66 -Ellis hoists Neckbone up by the foot allowing him to AC66 unscrew a road sign. D66 -A mop soaked in black tar slops across the flat roof of the D66 furniture store in downtown Dewitt. Neckbone and Ellis stand in the store's parking lot yelling up to the ROOFERS. -They get one's attention, and Neckbone points to a dried pile of leftover tar that has been dumped at the back of the building. The ROOFER swats a hand at the boys. They proceed to load the dried hunk onto the small trailer. E66 -From a distance, Neckbone and Ellis stand on a sailboat in E66 the middle of a fenced-in marine junkyard. Surrounded by old boat parts, the boys begin shuttling several large metal pulleys off the sailboat. \n \n \n EXT. ISLAND SHORE - DAY \n Mud smiles, showing his missing tooth, as he looks over the load of items the boys have stacked in their boat. Neckbone tosses a loop of rope to him. \n NECKBONE \n We've got more, but no motor. \n MUD \n This'll work for now. You get her my note? \n ELLIS \n Yeah. \n Ellis turns and Mud sees his black eye for the first time. \n MUD \n Where'd you get that from? \n ELLIS \n We came up on Juniper's room. A guy was in there beatin' up on her. \n Mud's face turns dark. \n NECKBONE \n Ellis rushed him. Got smacked for it. \n MUD \n What'd he look like? \n ELLIS \n I don't know. Tall. Looked like a cowboy. \n MUD \n Dark hair? \n ELLIS \n Yeah. \n MUD \n DAMMIT! \n Mud slings the rope to the ground and kicks it. His face is flushed. It's the first time the boys have seen him angry. \n MUD \n GOD DAMMIT! \n The boys back up. Mud takes a deep breath, tries to cool down. It takes a moment, then something occurs to him. He eyes Ellis with a look of genuine gratitude. \n MUD \n Thanks for lookin' after her. \n Ellis nods. Mud picks up the rope. \n MUD \n His name's Carver. Brother of the man I shot. If he's here, then more are comin'. \n NECKBONE \n More what? \n Mud gathers the supplies and heads to the treeline. The boys, with their hands full, follow him. \n MUD \n Bounty hunters. Carver's rotten, but his daddy's the one to be scared of. He'll spend all the money he has to see me dead. If it was up to me I'd put the whole family down same as the other. Not a decent man between 'em. \n Mud stops and turns to lay a serious look on them. \n MUD \n Ya'll listen to me now. If you see that old man, don't get near him. He's the triple six real deal scratch you hear me? \n Mud waits for nods from them both. \n MUD \n All right. \n \n \n EXT. MISSISSIPPI RIVER/ISLAND - CONTINUOUS \n Galen drifts in his own boat out on the Mississippi River. He stares at something in the distance. A68 FROM ACROSS THE RIVER, A68 He sees Neckbone and Ellis on the island walking with Mud. Galen, a concerned look on his face, keeps one hand on his motor and the other on a bulging net of mussel shells. His HELPER, a salty looking man in his fifties, sits at the front of the boat sipping Budweiser from the can. \n HELPER \n What you waitin' for? \n GALEN \n Shut up. \n After a moment, Galen cranks the motor and speeds away. \n \n \n EXT. BOAT IN TREE - DAY - LATER \n Mud stands with Ellis and Neckbone on the deck of the boat. He holds a pulley in one hand and a length of rope in the other. He stares up into the trees. \n MUD \n Ellis, can you climb up that trunk and get these hung? \n ELLIS \n Yeah. \n MUD \n Take a foot of line and tie 'em off with a bowline knot. You know it? \n ELLIS \n I'm not stupid. \n Ellis takes the pulley and scales the trunk without hesitation. Mud tosses his pocket knife to Neckbone. \n MUD \n Neck, start cuttin' line. Three fifteen foot sections. Count a foot long as your arm. \n Mud begins threading the pulleys with rope. As Neckbone cuts rope, he sees the pistol stuck in the back of Mud's pants. \n NECKBONE \n What's so special 'bout that shirt you'd lose your pistol for it? \n MUD \n It's got a wolf's eye sewn in the sleeve. More protection than a bullet ever gave. Tom swears by it. \n NECKBONE \n He said he wasn't your daddy. \n MUD \n Tom's the closest thing I ever knew to a father. \n NECKBONE \n I never met my parents. \n MUD \n It's hard not knowin' the ones you came from. \n NECKBONE \n My uncle Galen tells me things about 'em. He's the one that takes care of me. \n MUD \n Tom did that for me. \n Ellis drops down to the deck and grabs another pulley. \n ELLIS \n What'd you mean when you called Tom an assassin? \n MUD \n Tom's had lives you'd never know about. Grew up up North. Went to Yale. For a long time he was a paid killer for the C.I.A. Lived in Cuba in '63. He's probably killed more people than you've met. \n (to Neckbone) \n Hand me that line. \n Neckbone tosses him an end of rope, looks to Ellis. Ellis gives a shrug before heading back up the trunk. \n \n \n EXT. BASE OF BOAT TREE - DAY - LATER \n Mud hangs off the tree fifteen feet up by a piece of rope tied around his waist. A series of ropes and pulleys crisscross from the boat to the trees. Neckbone and Ellis stand on the ground staring up at him. Mud holds a chainsaw and seems to be hesitating. \n NECKBONE \n Well if you're gonna do it do it! \n Mud takes a deep breath and yanks the cord. Angled on one of the main branches holding up the boat, Mud begins cutting. Ellis and Neckbone step further and further back as they watch the chainsaw work through the thick limb. Suddenly, the chainsaw stops. A deep CRACKING sound. The huge branch SNAPS, tumbling off lower limbs before crashing to the ground. Mud holds onto the trunk for dear life. The branch now rests on the ground, SILENCE. The ropes and pulleys hang taught, squeaking from the weight of the boat. Mud slowly lifts his head up. He smiles at what he sees. The rigging has held. \n MUD \n One down! \n Neckbone and Ellis watch as Mud scampers around the trunk to the next branch. The chainsaw cranks back on. \n NECKBONE \n This shit is crazy. \n \n \n I/E. MARY LEE'S CAR/PIGGLY WIGGLY PARKING LOT - LATE \n AFTERNOON Ellis looks out the car window at HIGH SCHOOL KIDS that have gathered in the Piggly Wiggly parking lot. His hair is slicked to one side, and he's wearing a collared shirt. \n MARY LEE \n You look nice. \n ELLIS \n Thanks. \n MARY LEE \n What time are you gonna be home? \n Ellis shrugs. She looks at him as the car radio rambles. \n MARY LEE \n No later than eleven? \n Ellis nods. \n ELLIS \n You make up your mind? \n MARY LEE \n About moving in town? \n ELLIS \n About leavin' dad. \n Mary Lee thinks about how to answer, shuts off the radio. \n MARY \n You can't make Ellis. If I'm have to be the \n LEE \n other people change unhappy then I'll one to change \n something. Ellis chews on the inside of his cheek and watches her avoid eye contact. He shoulders his way out of the car. Mary Lee takes a moment before driving off. As Mary Lee pulls away, Ellis takes in the scene. \n \n \n EXT. EXECUTIVE INN - LATE AFTERNOON - ELLIS POV \n He looks up at Juniper's motel room and sees her leaning on the railing smoking a cigarette. She doesn't see him. \n \n \n EXT. PIGGLY WIGGLY PARKING LOT - LATE AFTERNOON - CONTINUOUS \n He pauses, noticing a MAN to his left who ALSO stares up at Juniper. The man, early thirties with a thick mustache, is JAMES. He leans against the grill of a black Lincoln. Carver appears from inside the Piggly Wiggly. He holds a cup of coffee and is closely trailed by a fat little man, NELSON(56). They're all dressed in a similar fashion, a cross between rural farmers and rodeo stars. As Carver approaches the Lincoln, he scolds James for leaning on the grill. Carver rubs the hood with his coat sleeve and gives orders to the men. \n MAY PEARL (O.S.) \n Ellis! \n Ellis turns to see May Pearl hopping down from a Ford Bronco. She leans on the door and waves Ellis into the back. \n MAY PEARL \n Come on! \n Ellis takes another look at Carver and his men before running over to the Bronco. \n \n \n EXT. FIELD/BONFIRE - NIGHT \n A bonfire rages in the middle of an open field. A FEW DOZEN KIDS mingle between vehicles and the fire. Drinking, yelling, music blasting from car speakers. Ellis stands by himself next to the blaze with his hands in his pockets. May Pearl has vanished. Pryor, the skinny kid Ellis punched to get this date, wanders past. He makes eye contact. Ellis stares him down. Pryor glares back but then just skulks over to another group. \n MAY PEARL (O.S.) \n Try this. \n A Styrofoam Sonic Cup is thrust into Ellis' hand. He turns to find May Pearl standing next to him. \n MAY PEARL \n Come on. \n She leads Ellis behind one of the trucks parked nearby. May Pearl climbs onto the tailgate, a red glow across her face. No one else is around. Ellis hesitates. \n MAY PEARL \n You wanna sit down? \n Ellis takes a seat next to her. She looks at him, smiling, and gestures to his black eye. \n MAY PEARL \n You must really like to fight? \n ELLIS \n Not really. \n Ellis takes a sip from the Sonic cup. His face puckers. \n MAY PEARL \n But you're not scared if you have to. \n ELLIS \n I guess. You got a lot of friends. \n MAY PEARL \n They're all right. I don't know all of 'em. \n ELLIS \n I bet you're pretty popular. \n MAY PEARL \n Why do you say that? \n ELLIS \n I don't know. 'Cause you're nice to people. \n MAY PEARL \n How do you know that? \n ELLIS \n You're nice to me. \n MAY PEARL \n But I like you. \n Ellis digs into his jeans pocket. \n ELLIS \n I got this for you. \n He removes a bracelet made from the pearls he collected off Galen's porch. May Pearl takes it, begins putting it on. \n MAY PEARL \n A bracelet? \n ELLIS \n Neckbone's uncle caught the pearls. I thought with your name and everything... \n MAY PEARL \n Thank you. \n She leans over, hugging him with a kiss on the cheek. She stays close. \n ELLIS \n You wanna be my girlfriend? \n She smiles, then kisses him. \n \n \n EXT. ELLIS' AND TOM'S HOUSEBOATS - MORNING \n Morning fog sits on top of the water around Ellis' houseboat. Ellis steps outside and makes his way to the ice machine. A loud WHISTLE comes from across the oxbow. Ellis walks to the edge of the garage. A75 He sees Tom Blankenship seated on the roof of his houseboat. A75 He motions Ellis over. Ellis watches him, unsure of what to do. Another WHISTLE. Tom motions to him again. Ellis looks back at the house. No sign of his parents. He shoots a glance back at Tom. \n \n \n EXT. TOM BLANKENSHIP'S HOUSEBOAT - MOMENTS LATER \n Ellis bumps his father's boat against the side of Tom's houseboat. He steps up onto the deck and ties off. Tom, down from the roof, stands by his front door. \n TOM \n You want some coffee? \n Tom disappears inside. \n ELLIS \n I don't drink coffee. \n Ellis waits for a moment, but realizes this is Tom's way of inviting him inside. He enters. \n \n \n INT. TOM BLANKENSHIP'S HOUSEBOAT - CONTINUOUS \n This houseboat, although similar in size, is different than Ellis'. It's an actual wood shack that has been constructed atop a barge. Ellis looks at photos, books and memorabilia that cram the walls and shelves. It feels homey. Tom, his back to the boy, stands in the kitchen area pouring a cup of coffee. \n TOM \n You been seein' Mud? \n ELLIS \n No. \n A collection of framed photos on a desk catches Ellis' attention. A young Tom with a pretty dark skinned girl. They seem happy. Another photo, late 60's, of Tom standing alone in a suit. He holds a LONG SUITCASE. Tom enters holding two cups of coffee. \n TOM \n You don't have to lie to me boy. \n He hands Ellis a cup of coffee with a cartoon image of a dog on it. It reads, \"I'm a real bitch in the morning!\" Tom sits in a LazyBoy that he gently rocks in. \n TOM \n I've seen you runnin' around. Takin' things. He all right? \n ELLIS \n He's okay. \n TOM \n He get that boat down? \n Ellis nods. There is an awkward moment. \n ELLIS \n He called you an assassin. \n Tom snorts out a laugh, sips his coffee. \n ELLIS \n Is it true? \n TOM \n How long have you known Mud? \n ELLIS \n Few days. \n TOM \n Well that's long enough to know he's full of shit. \n ELLIS \n So it's not true. \n TOM \n I was a sharpshooter in the army. In Mud's world, that makes me an assassin. Not exactly true, right? \n ELLIS \n Yeah I guess. \n Tom notices the boy's disappointment. \n TOM \n You think he's a bad ass don't you? \n ELLIS \n I don't know. \n TOM \n You know why he's stuck out on that island? \n ELLIS \n Yeah. \n (hesitates) \n He shot somebody. \n TOM \n He tell you why he shot that man? \n ELLIS \n Because he hurt Juniper. \n TOM \n Right. The real reason Mud's in the trouble he's got is because of her. He's been in love with that girl since he was your age. They used to run all around here and it was the same back then. He'd follow that girl wherever she led him. Problem is she don't care about nobody but herself. I've told him as much. She'd bed down with the meanest snake she could find, then when things went bad she'd go runnin' to Mud. Mud would take her back, then go find whatever unlucky sonofabitch last put a hand on her and beat 'em 'til they knew to never touch her again. And this time I guess he thought a beating wasn't good enough. Had to shoot that fella. I don't know for sure, but I'd put money on Juniper knowin' he'd do it. And I have a suspicion she might of even told him to. Either way, those two are set for failure. Only chance Mud has is to cut her loose. Cause I'll tell you what, Mud's no bad ass. He's runnin' scared. \n Ellis can't look Tom in the eye, he's offended by the old man's remarks. Ellis sets the coffee cup on the desk. \n ELLIS \n I gotta go. \n Ellis heads for the door, but stops short. \n ELLIS \n You're wrong about Juniper. They love each other and they're gonna make it. If you weren't a wore out old man you'd know it was true. \n Tom eyes the boy, taking a sip from his cup. He nods a goodbye to Ellis who is already out the door. \n \n \n EXT. ISLAND/BASE OF BOAT TREE - DAY \n Ellis stomps out of the trees and is struck by the new position of the boat. It hangs three feet off the ground; SUSPENDED in dry dock. A clear-cut path of trees leads off toward the island's southern shore. Beside the boat, remnants of a giant fire smolder. Ellis surveys the MOUND OF ASH. \n MUD (O.S.) \n What you say Ellis? \n Ellis turns to find Mud standing on the deck of the boat holding a fistful of wires. He jumps down. \n ELLIS \n I got more stuff. \n MUD \n You find a motor? \n ELLIS \n Not yet. \n (points to the ash) \n What's that? \n MUD \n I made a bonfire. \n Mud enters the woods. Ellis follows. \n ELLIS \n Why? \n MUD \n Bonfire's an all purpose cure all for bad luck. I don't know where this boat's been or what kind of person had it before me. For all I know it could have some serious bad business left on it. We got too much ridin' on this thing to leave to chance. Where's Neckbone? \n ELLIS \n Helpin' his uncle with a dive. \n \n \n EXT. ISLAND SHORE - MOMENTS LATER \n Mud and Ellis exit the treeline heading to Ellis' boat. \n ELLIS \n Tom called me over to his place this mornin'. \n MUD \n What he say? \n ELLIS \n He was runnin' down Juniper. \n Ellis looks for a response, but Mud just jumps up into the boat and starts throwing pieces of wood on shore. \n ELLIS \n I told him he was a wore out old man. Told him he couldn't know how much you loved Juniper. \n MUD \n You don't know his story. \n ELLIS \n I don't care. \n MUD \n You should. Tom loved a woman more than most men could in two lifetimes. They had a good life started together. \n Mud hops down and scoops a load of wood into his arms. \n MUD \n She was pregnant with a little boy, but the birth got the better of 'em. They didn't make it. Tom's been alone ever since. Lone wolf. \n Mud has begun walking back to the treeline. Ellis stays. \n ELLIS \n I gotta go help my dad. \n Mud turns back but doesn't stop moving. \n MUD \n Thanks for the wood Ellis. \n Ellis watches him go, thinking on what he said. \n \n \n EXT. UNDERWATER - RIVER - DAY \n Fully suited in diving gear, Galen toils in the murky brown water at the bottom of the river. His gear consists of a typical wet-suit, wet-socks but no gloves. His metal helmet is not typical. It's welded from half a hot water heater that's been fitted with barbell weights. A hose connected to the top runs to the surface. Galen ties off a netted sack and yanks on its line. \n \n \n EXT. RIVER - CONTINUOUS \n A small air compressor chugs as Neckbone stands in the middle of Galen's boat pulling in the heavy rope. At the end, the net bulging with mussel shells appears. He manages to roll the heavy load into the boat before moving over to a crank handle that feeds another line. After several cranks, Galen's steel helmet breaches the surface. He places his hands on the edge of the boat as Neckbone removes the barbell weights. The weight removed, Neckbone takes off the helmet. Galen pulls himself into the boat, out of breath. \n GALEN \n This shit never gets easy. \n NECKBONE \n That's a good haul. \n GALEN \n I've had worse. \n Galen reclines as Neckbone kills the air compressor and begins organizing the gear. He watches his little nephew. \n GALEN \n You doin' all right? \n NECKBONE \n Yeah. \n GALEN \n You don't need to tell me anything? \n NECKBONE \n Tell you what? \n GALEN \n I know I'm just your uncle, not much of a parent. But you can tell me things if you need to. \n NECKBONE \n I can tell you this helmet smells like my duck butter. \n \n \n EXT. ELDERLY WOMAN'S HOUSE - DAY \n Ellis holds a wrought iron door open with his backside as an ELDERLY WOMAN takes the paper bag of fish from his hands. Ellis walks back to the truck. Senior watches him, looking at the black eye. \n \n \n I/E. SENIOR'S TRUCK/CATFISH PARLOUR - MOVING - DAY \n Ellis rides up front with Senior. Windows down, no radio. \n SENIOR \n Where'd you get that black eye? \n ELLIS \n A kid in town. He got his too. \n SENIOR \n What you fightin' for? \n ELLIS \n 'Bout a girl. \n SENIOR \n What girl? \n ELLIS \n My girlfriend. \n SENIOR \n You got a girlfriend? \n ELLIS \n Yes sir. \n SENIOR \n When'd that happen? \n ELLIS \n Other day. \n Senior pats his shirt pocket and finds a smoke. Lights it. \n SENIOR \n You seen your mother today? \n ELLIS \n No. \n SENIOR \n You not talkin' to me? \n ELLIS \n I'm talkin'. I'm talkin' to both of you. That's all ya'll want to do is talk. \n SENIOR \n Well, that's your mother. Would rather tongue lash a problem than step up and handle it. You'll see one day. Women are tough. They'll set you up for things. You can't trust love, Ellis. If you're not careful, it'll run out on you. You just gotta pick a woman and roll the dice. Hope you don't wake up in fifteen years hatin' each other. \n Ellis keeps staring out the window as they pull into the parking lot of the Catfish Parlour Restaurant. \n \n \n EXT. THE CATFISH PARLOUR/THE PINES MOTEL - LATE AFTERNOON- \n CONTINUOUS Senior climbs out of the truck and enters the restaurant. Ellis pops open the tailgate and reaches for a cooler. The Catfish Parlour is one business in a strip center row. There is nothing else around save for farmland and a motel across the road. Ellis notices Carver's black LINCOLN parked in the motel lot. He walks away from the truck to get a better look. Ellis scans the FOUR OTHER VEHICLES in the lot. All Texas plates. A maroon Cadillac sails past and turns into the motel. Ellis recedes to the rear of his truck. He watches as KING(76), a fireplug of a man, emerges from the Cadillac. Cramped from a long drive, he stretches and eyes the sign for the Pines Motel. A motel room door opens and Carver walks out. He's smiling and calls out to King. They hug as a green PICK-UP pulls up. MILLER, a slick dressed man in black boots, climbs out. \n SENIOR (O.S.) \n Ellis! Let's go! \n Ellis snaps around to find Senior leaning out the restaurant door. Ellis yanks the cooler down and drags it inside. He looks back over his shoulder for a final glance at the men. AT THE MOTEL, \n CARVER \n Daddy this is Miller. He's one of ours. \n KING \n (shaking) \n How do you do? Appreciate your help. \n MILLER \n Yes sir. \n CARVER \n We'll be in in a minute. \n Miller nods and enters the motel room. King turns to Carver. \n KING \n Catch me up. \n CARVER \n They work in shifts. Two outside her motel, the others either out searching or sleepin' here. I met with the county sheriff but he wasn't much help. Said they'd handle their own business, but I got two of their people on payroll and a person on the inside at the state police. \n KING \n Good. Doin' good. Who all's here? \n CARVER \n All but two now. Nelson and James are watchin' her place. I called the rest in. \n KING \n Okay. Let's meet the men. \n Carver leads his father to the motel room. \n \n \n INT. PINES MOTEL ROOM - LATE AFTERNOON - CONTINUOUS \n Carver holds the door open as King steps inside. A door to his left connects another room which is empty. An episode of the Smurfs plays on the television. There's a MAN on each of the queen beds. Another THREE playing cards at a small table by the window. MILLER stands in the corner smoking. Empty Budweiser cans litter the room. King, unimpressed by the scene, looks at his son. Carver quickly moves in front of the television and turns it off. He stares down the men on the beds. \n CARVER \n Get up. \n (to the others) \n Ya'll pay attention. \n The men get up from the beds and the others put down their cards. Everyone slowly gathers into an audience. \n CARVER \n This is my father, King. He runs the show. \n Carver recedes as King steps forward. He speaks like a high school football coach. \n KING \n Men. I wanna thank you for the work you're doin'. It's important work, and I want you to know what it means to me personally. I'm grateful for it. No man should have to bury his son. It's not natural, and it's a pain I hope none of you ever have to endure. \n King removes a photocopied picture of Mud from his pocket. He unfolds it, stares at it, then raises it to the men. \n KING \n This man did that to me. He took my youngest boy. And now, you're gonna help me get him. \n King stares at the men, keeping the photo held high. \n KING \n Now gather 'round. Come on now, in a circle. I want ya'll to join hands. \n They do it reluctantly. \n KING \n Everybody take a knee. \n They do. King joins them on his knee and grabs Carver and another Man's hands. \n KING \n Bow your heads. I need you to help me pray for the death of the man that killed my son. \n They all bow their heads. \n \n \n A85 EXT. NECKBONE'S TRAILER - MORNING A85 \n A tarp is thrown back from a rusting boat trailer. Ellis and Neckbone stand by the trailer looking less than thrilled. It's covered in junk and debris. \n NECKBONE \n You touch her breast? \n ELLIS \n A little. \n NECKBONE \n That's great man. \n ELLIS \n Thanks. \n Ellis walks up and knocks a stack of bricks off the trailer. \n ELLIS \n We could take it apart. Bring it out piece by piece. \n NECKBONE \n It's welded. We'd just tear it up. What if we float it out? \n ELLIS \n With what? \n NECKBONE \n Come on. \n Neckbone walks to the trailer. Ellis follows. \n \n \n B85 INT. NECKBONE'S TRAILER - CONTINUOUS B85 \n The boys open the front door and are met by a BLINDING LIGHT. \n NECKBONE \n Jesus! \n They squint and shield their eyes. The light shuts off as quickly as it came on. Galen stands in front of them wearing his wet suit. The bar with the flood lights attached sits across his shoulders. The boys rub their eyeballs, seeing spots. Galen shuffles over to the couch holding a marine battery connected to the lights. He labors to take a seat. \n GALEN \n What do you think? \n NECKBONE \n That's real good Galen. \n (to Ellis) \n Gimme a minute. \n Neckbone, still blinking, goes back to his room. Ellis notices Galen staring at him. Galen pats the couch. \n GALEN \n Come 'ere Ellis. \n Ellis takes a seat on the other end of the couch. Galen pats the spot next to him. Ellis scoots over, uncomfortable. \n GALEN \n (pointing up) \n You see that ceiling fan? \n ELLIS \n Yeah. \n GALEN \n I found it in the river. Works great. Best ceiling fan I've ever owned. This river brings a lotta trash down it. Some a that trash is worth a lotta money, some of it's not. You gotta know what's worth keepin' and what's worth lettin' go. You know the difference? \n ELLIS \n I think so. \n GALEN \n Neck looks up to you. Don't get my nephew into anything you can't get him out of. \n Galen forces a stare with Ellis, who nods. Neckbone enters as Galen begins to remove his light rig. \n GALEN \n Help Me Rhonda's just about a guy needing to get a piece to get over a girl that put one over on him. So you get your heart broke, don't walk around with a shit look on your face. Get back in there. Get your tip wet. You hear me? \n ELLIS \n What? \n GALEN \n You know what I'm sayin'. \n Ellis doesn't. Galen moves to an electric guitar leaning by a small amp in the corner. \n GALEN \n Ya'll wanna hang out? Alan's comin' over. We're gonna pump it up. \n NECKBONE \n We got stuff to do. \n GALEN \n Whatever. \n The boys exit as Galen turns on the amp. \n \n \n C85 EXT. NECKBONE'S TRAILER - CONTINUOUS C85 \n Galen pumps it up inside as Neckbone and Ellis walk to the boat trailer. Neckbone pulls a handful of long zip ties from his back pocket. \n NECKBONE \n What were ya'll talkin' about? \n ELLIS \n I don't know. \n \n \n EXT. ISLAND NORTHERN SHORE - DAY \n Mud's knife slices through a plastic zip tie. \n MUD \n King. That's what they call him. \n A BOAT TRAILER rests atop FOUR, 55-GALLON BRIGHT YELLOW BARRELS affixed with plastic zip ties. The make-shift raft is half on shore with the back still floating in the water. The boys watch as Mud walks around the trailer cutting off the zip ties. The barrels kick out from underneath the trailer as this happens. \n MUD \n He's their father. You didn't go near him did you? \n ELLIS \n No. \n MUD \n Good. That left-handed sonofabitch is the devil himself. If he's here, then it's time. We need to get Juniper out here. \n ELLIS \n We still need a motor. \n NECKBONE \n There's a motor in the scrap yard might work. \n MUD \n I need one that runs. \n Mud moves to the front of the boat trailer and begins dragging it fully onto the bank. It's heavy. \n NECKBONE \n I can get it runnin'. Tell him Ellis. \n ELLIS \n It's true. He built his own dirt bike. \n MUD \n All right then. Give it a shot. \n ELLIS \n I don't know. That motor's worth somethin'. It's not like this other junk. \n NECKBONE \n It's been there for months. Nobody's even gonna know it's gone. \n Ellis hesitates. He looks to Mud. \n MUD \n We do need a motor. \n Ellis thinks on it as Mud takes a deep breath and grabs the trailer again. \n \n \n EXT. PIGGLY WIGGLY PARKING LOT - DAY \n The supermarket is busy. Ellis stands at a pay phone out front as Neckbone kicks a vending machine nearby. Ellis looks at Juniper's motel. He scans the Piggly Wiggly parking lot and spots Carver's black Lincoln. Ellis picks up the phone and deposits some change. He dials. \n ELLIS \n I wanna talk to room 212. \n \n \n I/E. JUNIPER'S MOTEL ROOM/PIGGLY WIGGLY - CONTINUOUS \n Juniper watches TV (o.s) at the foot of the bed. The phone rings. She snaps up, hits mute and grabs it. \n JUNIPER \n Hello? \n INTERCUT WITH ELLIS, \n ELLIS \n Juniper? \n JUNIPER \n Ellis? \n ELLIS \n It's me. \n JUNIPER \n Thank god. I've been goin' crazy in this room. Is Mud okay? \n ELLIS \n Yeah. It's time to take you out to him. \n JUNIPER \n Now? \n ELLIS \n Tomorrow. We'll come get you. \n JUNIPER \n What's goin' on? \n ELLIS \n He's got a plan for ya'll to get away. Be ready tomorrow at five. Neckbone'll be waitin' at the back of the motel with a dirt bike. \n JUNIPER \n They're watching my room. \n ELLIS \n I'll take care of that. Just be ready at five. \n JUNIPER \n Wait. Just wait. I don't know about alla this. I don't even know what he thinks we're gonna do. Where are we even gonna go? This is Mud. This is what Mud does. \n Ellis hears her crying through the phone. \n ELLIS \n It's okay. He's got the boat. We helped him fix it up. It's a good plan. Just be ready. \n JUNIPER \n Why are you even doing this? \n ELLIS \n What do you mean? \n JUNIPER \n Why are you helping us? \n ELLIS \n Cause ya'll love each other. \n Juniper searches for a comment. Ellis, looking out over the parking lot, sees May Pearl getting out of a car with her MOTHER and SISTER. \n ELLIS \n I'll see you tomorrow. \n JUNIPER \n Wait. \n Dial Tone. Juniper holds the phone, worried. \n \n \n EXT. PIGGLY WIGGLY PARKING LOT - CONTINUOUS \n Ellis turns and watches May Pearl push a cart in the parking lot with her family. Neckbone bangs at the Coke machine. \n NECKBONE \n How'd it go? \n ELLIS \n We're good. \n \n \n I/E. CARVER'S LINCOLN/PIGGLY WIGGLY PARKING LOT - DAY \n Carver sits behind the wheel of his Lincoln. The man with the mustache, James, sits in the passenger seat next to him. Carver notices Ellis and Neckbone standing in front of the Piggly Wiggly. He climbs out. AT THE VENDING MACHINES, \n NECKBONE \n Gimme a quarter. This shit took mine. \n Ellis watches May Pearl entering the grocery store. He calls out with a wave. \n ELLIS \n MAY PEARL! \n Without stopping, May Pearl, along with her Sister and Mother, all turn. May Pearl sees him, but doesn't wave back. She continues inside. Ellis looks confused, then embarrassed. Neckbone notices. \n NECKBONE \n It's all right man. She's with her family. Come on. I wanna get that motor before dark. \n They head to the dirt bike. \n CARVER (O.S.) \n Hey there! \n Ellis turns to see Carver approaching. \n CARVER \n You remember me don't you? \n Ellis nods. Carver notes the healing bruise on Ellis' face. \n CARVER \n I'm sure sorry about that. Ya'll caught me at a real bad time. \n Ellis climbs on the bike. Carver walks over to them. \n CARVER \n Hold on now. One second. I don't want ya'll thinkin' I'm a bad guy. Ya'll were just trying to do a job, and I got in your way. \n Carver removes a roll of twenties and peels off two. \n CARVER \n Let's just say I bought that whole batch of fish ya'll were sellin'. Would forty cover it? \n NECKBONE \n That'd bout do it. \n ELLIS \n We don't want your money. \n Carver steps in close to the boys. \n CARVER \n I bet ya'll really get around this town. Probably know every hole and ditch. Have ya'll come across the man whose picture I showed you? \n ELLIS \n No. \n Carver removes a flier with Mud's picture and holds it out. \n CARVER \n You sure about that? Take a look with your good eye. \n ELLIS \n I'm sure. \n CARVER \n What about that girl in the motel? The pretty one. Ya'll talk to her some more? \n ELLIS \n No. \n Carver smiles. He tucks the flier and the forty dollars into Ellis' hand. \n CARVER \n There's a number on there. Ya'll let me know if you do. \n Neckbone cranks the engine and backs the bike up with his feet. They pull away. Moving, Ellis looks back to see Carver watching them. \n \n \n EXT. CRAWFORD'S JUNKYARD - DUSK \n Neckbone pulls back a loose section of chain-link fence surrounding the marine junkyard. Ellis crouches through. INSIDE THE JUNKYARD, Ellis and Neckbone creep through piles of starboard and boat parts. They stop at a party barge with only one pontoon. At its rear hangs a big rusted motor, 200 horsepower. Neckbone quickly disassembles its attachment. The motor pops loose leaving the boys to strain against its heavy weight. They ease it to the ground. \n NECKBONE \n Jesus that's heavy. \n The boys get on either side of the motor and begin half- dragging it back to the fence line. ACROSS THE YARD, A LITTLE GIRL(10) dangles her feet off a loading platform and bites at an ice cream sandwich. She watches Neckbone and Ellis from a distance. \n \n \n EXT. ELLIS' HOUSEBOAT - NIGHT \n Ellis walks onto the houseboat as the sound of Neckbone's bike fades in the trees. He stops, noticing a PAPER BAG sitting on the water's edge of the boat. He goes over to it. He opens the sack and takes a quick inventory. A loaf of bread, potted meats, a bottle of Jack Daniels, a roll of cash, and an Arkansas boat tag. Ellis looks around, no one. He looks over to Tom's boat. It's dark. Ellis scoops up the sack and heads inside. \n \n \n EXT. PIGGLY WIGGLY PARKING LOT - LATE AFTERNOON \n The digital wristwatch changes from \"4:59\" to \"5:00\". Neckbone sits on his bike parked near the vending machines at the Piggly Wiggly. Ellis, on the payphone, scans the parking lot. No sign of Carver's Lincoln. No other Bounty Hunters. \n NECKBONE \n Where are those bastards? \n ELLIS \n I don't know. \n (hangs up) \n She's not answerin'. \n NECKBONE \n What do you wanna do? \n ELLIS \n Take your bike around the side. I'll check her room. We'll just have to hope no one sees us. \n Neckbone cranks the bike and speeds toward the motel. Ellis looks to the motel, then the parking lot. \n \n \n EXT. EXECUTIVE INN - MOMENTS LATER \n ON THE SECOND FLOOR, Ellis cautiously heads up the stairs. He eyes the parking lot at the Piggly Wiggly but still sees no sign of Carver's men. He moves quickly toward Juniper's door. Checking over his shoulder, he knocks. No answer. He knocks again. Nothing. He peeks through the window. No lights. No movement. BY THE DIRT BIKE, Neckbone gets off his bike and slips to the corner of the building. As he peeks his head out, Ellis nearly knocks him over on his way downstairs. They both flinch. \n NECKBONE \n Shit. Was she there? \n ELLIS \n Nothin'. \n Ellis notices the front office \n ELLIS \n Come on. \n \n \n INT. EXECUTIVE INN/FRONT OFFICE - CONTINUOUS \n The MOTEL CLERK(29) doesn't look up from his issue of Lowrider as Ellis and Neckbone enter. \n ELLIS \n Scuse me, sir? \n MOTEL CLERK \n Yeah. \n ELLIS \n We're lookin' for the girl in room 212. You seen her? \n MOTEL CLERK \n I've seen her. \n ELLIS \n You see her today. \n MOTEL CLERK \n Yeah, she came down askin' for directions to the nearest bar. I told her to head out to a place on 61. \n Ellis digests this. They turn to leave. \n MOTEL CLERK \n Wait a second, are ya'll the little bastards tryin' to sell fish to the guests? \n They're already out the door. \n \n \n EXT. ROADSIDE BAR - DUSK \n Ellis and Neckbone pull into the gravel lot in front of a roadside bar. The cinder block building sits by itself just off the highway. Cars and motorcycles fill the lot. \n NECKBONE \n You think this is it? \n ELLIS \n It's gotta be. \n \n \n INT. ROADSIDE BAR - CONTINUOUS \n The small bar is loud and crowded. Shoulder to shoulder PATRONS bump against one another as MUSIC blares. Neckbone and Ellis press through the crowd searching for Juniper. They are a good foot shorter than anyone else. Ellis notices a man at the bar. It's Miller, the bounty hunter from King's motel. He's staring at something across the room. Ellis follows his line of sight. The crowd weaves in front of him, but then he sees her. Juniper leans against a pool table at the far end of the bar. A GUY(32) whispers in her ear and kisses her neck. She throws her head back, laughing. Ellis watches in disbelief. Nearby, the BARTENDER(46) fills a customer's shot glass. The two underage kids catch his attention. Ellis' face is frozen, locked on Juniper. Neckbone places a hand on his shoulder. Juniper's eyes drift toward the boys. She makes eye contact with Ellis, and her smile vanishes. The Guy keeps whispering in her ear. Juniper straightens her back slightly. Ellis can't take his eyes off her. Juniper stares back at him, but doesn't make a move. After a moment, Juniper's eyes fall to the floor. She turns her head back to the Guy. The crowd fills back in and the image is out of Ellis' reach. \n BARTENDER (O.S.) \n What the hell are ya'll doin'?! \n The Bartender swoops in, grabbing them both by the backs of their necks and shoving them toward the door. Ellis strains against the thick hand. He tries to get another look at Juniper, but it's too crowded. \n \n \n EXT. ROADSIDE BAR - DUSK - CONTINUOUS \n The Bartender flings Ellis and Neckbone into the parking lot. Neckbone slides on the loose gravel. \n BARTENDER \n Ya'll stay outta here! \n Ellis just stands staring at the front door. The Bartender makes a swatting motion toward them. \n BARTENDER \n I SAID GET OUTTA HERE!!! \n Neckbone gathers his friend and leads him away. \n NECKBONE \n Thanks a lot asshole! \n (to Ellis) \n Come on man. \n They head over to Neckbone's dirt bike. He pulls out the key and climbs on. Ellis hesitates. \n NECKBONE \n I'll take you home. \n ELLIS \n We're gonna have to tell Mud. \n Neckbone drops his head, nods reluctantly. \n \n \n EXT. ISLAND SHORE - NIGHT \n The boys struggle to pull the heavy motor out of their boat. It hits the shoreline with a thud. They lean over it, sucking air. \n ELLIS \n Just leave it. Mud'll have to help get it. \n NECKBONE \n What're you gonna tell him? \n ELLIS \n I'll just tell him the truth. \n \n \n EXT. ISLAND/SOUTHERN SHORE - NIGHT \n Mud stands at the back of the boat, which now rests on the boat trailer near the water. His face is clean shaven and his hair is wetted back. His shirt, still filthy, is tucked into his pants. He whistles and works by the light of a small fire nearby. Ellis steps out from behind a tree. He's holding the grocery sack that was left on his houseboat. \n ELLIS \n MUD! \n Mud, hearing the voice, quickly puts down his tools and turns to the woods. He smooths his clothes down. \n MUD \n What you say there?! \n Ellis appears out of the dark, followed by Neckbone. Mud's eyes search the treeline for Juniper. \n MUD \n What you say Ellis? \n Ellis can't look him in the eye. \n ELLIS \n We got that motor. \n MUD \n Is Juniper okay? \n ELLIS \n Yeah. \n MUD \n Where is she? \n ELLIS \n She didn't meet up with us. \n MUD \n What happened? Was it Carver? \n ELLIS \n It wasn't Carver. \n Mud straightens up, prepares for the news. \n MUD \n What's goin' on Ellis? \n ELLIS \n She was supposed to meet us on the side of the motel. She never showed up. We went asking for her. The motel clerk told us she went to a bar out on 61. \n MUD \n What? \n ELLIS \n We tracked her down. She was there with another guy. \n (hesitates) \n They were together. \n Mud's face drops. He walks to the fire and shakes a cooking pot resting in the coals. The pot bubbles with roof tar. \n MUD \n She probably thought Carver was on to her. \n ELLIS \n She knew the plan Mud. She just didn't show up. \n MUD \n What was she doin' with the other guy? \n Ellis hesitates, not wanting to say. Mud pushes. \n MUD \n What were they doin' Ellis? \n ELLIS \n They were playin' pool. Drinkin'. He was close up on her. They were laughin'. He kissed her on the neck. \n Mud nods. \n MUD \n And that's how it is. \n He takes the pot of roofing tar over to the boat and begins pasting some of the newly replaced boards with a flat stick. \n ELLIS \n What do you want us to do? \n MUD \n Just go home Ellis. \n Ellis looks at Neckbone, then sets the grocery sack on the ground. \n ELLIS \n Tom left this for you. \n They slowly retreat into the woods and disappear. Mud turns back to the campfire and shoves the pot into the ashes. His eyes, soft and red, reflect the flame. \n \n \n EXT. MISSISSIPPI RIVER - NIGHT \n Ellis and Neckbone motor away from the island in the flat bottom boat. They look back at the shore. \n ELLIS \n You think it's all right to leave him alone?! \n NECKBONE \n I doubt it! \n Neckbone sees Ellis' concern. \n NECKBONE \n I'll sleep over at your house tonight! We can check on him first thing tomorrow! \n Ellis nods. As they head further up river, the island grows smaller, silhouetted by the moonlight. \n \n \n INT. ELLIS' ROOM - MORNING \n Neckbone snores, sprawled out on top of a sleeping bag on the floor. Ellis sits up in bed with something on his mind. He gets up and steps gingerly over Neckbone to exit the room. \n \n \n INT. ELLIS' HOUSEBOAT - DEN - CONTINUOUS \n The house is silent. Ellis slips into the kitchen and picks up the phone receiver mounted on the cabinet. He pulls the cord out to stand with his face in the corner. He dials, waits, and speaks softly into the receiver. \n ELLIS \n Hello? Is May Pearl there...This is Ellis...I called yesterday, you give her my message?...My name is Ellis. I'm her boyfriend...Oh, she's asleep...I said she's asleep? \n The front door flies open. Senior storms headlong toward Ellis. He shouts. \n SENIOR \n MARY LEE! \n Ellis turns as Senior yanks the phone by the cord. It snaps out of Ellis' hand and smashes apart on the floor. Ellis flinches at the sight of his father flying at him. \n SENIOR \n What the hell have you been doing? WHAT HAVE YOU BEEN DOIN'?!! \n Senior grabs Ellis by the arms and shoves him against the den wall. Mary Lee comes running from her room. \n SENIOR! \n She slaps at her husband's arms and back. \n SENIOR DAMMIT! \n He swats her away. \n SENIOR \n You tell her. You tell her what you've been up to. \n ELLIS \n I don't know what you're sayin'. \n MARY LEE \n Take your hands off him Senior! \n Senior keeps Ellis pinned to the wall with his left hand. He opens up and addresses Mary Lee with his right. \n SENIOR \n J.J. Crawford said a boat motor went missin' from his stock yard. Said his daughter saw this one and his friend haulin' it off. \n This makes Mary Lee pause. \n SENIOR \n Now you tell me right now, did you steal that motor? \n ELLIS \n We didn't steal it. \n SENIOR \n Lie to me again. \n ELLIS \n We thought it was junk. We didn't think it was worth anything. \n MARY LEE \n Ellis? \n A cool anger rushes over Senior's face. He releases Ellis and takes a step back. \n SENIOR \n You tell me I raised a thief? \n ELLIS \n I'm not a thief. \n SENIOR \n You take property that's not yours. Property that belongs to another man. That junk is his livelihood. I'm ashamed of you. \n Ellis drops his head. His face flushed. \n MARY LEE \n Senior. \n SENIOR \n (to Mary Lee) \n Shut your mouth. You think you can take things and not have him see it? Neither one of you has any respect for a man's livelihood. A life that puts clothes on your back and food in your stomach. \n MARY LEE \n Don't you blame this on me. One doesn't have a thing to do with the other and you know it. \n SENIOR \n Don't tell me what I know. If you can steal a man's life out from under him in front of your son and think he won't take a lesson from it than you're even dumber than you look. \n ELLIS \n Stop it dad. \n Senior volleys a finger at Ellis. \n SENIOR \n She's raisin' you a snake like herself, and you can curl up with her 'fore I give a damn. You just remember this when you watch them rip this house apart board by board. You Hear Me! \n Mary Lee slaps Senior hard. He turns to her, saying nothing. \n MARY LEE \n You're a man who's never had the strength to support his own life. I never asked you for a thing, and I've never took a thing from you that I couldn't provide for on my own. If they do tear my home apart the only joy I'll have in my heart is knowin' that they'll be tearing you out of my life for good. \n She wipes her eyes and turns her attention to Ellis. \n MARY LEE \n Ellis. You'll return that motor from where you found it and you'll apologize in person to the man you took it from. I won't hear about anything like this again. \n Mary Lee walks to the front door. She collects her purse and keys and exits quietly. Senior and Ellis stand in silence, which feels even more uncomfortable than the shouting. Ellis finally speaks. \n ELLIS \n I can't take that motor back. But I'll pay him for it. I'll pay him what he wants for it. \n Senior, stoic, pivots his body away from the boy. \n SENIOR \n I don't care what you do Ellis. \n Senior retreats to the bedroom. Ellis is left alone in the wake. He looks to his room. The door opens slightly and Neckbone takes a step out. Neckbone doesn't say anything. He just bites at his lip, sympathy for his friend. \n \n \n EXT. ISLAND SHORE LANDING - DAY \n Charred hunks of driftwood smolder in a ruined pile on the sand. They constitute the remains of a large bonfire. Neckbone and Ellis stare at the ash. \n NECKBONE \n What the hell's all this? \n ELLIS \n It's a bonfire. \n NECKBONE \n I guess he didn't care about bein' seen. \n Ellis kicks at one of the burned logs. He bends down and finds the bottle of Jack Daniels, smashed. \n ELLIS \n He had something else on his mind. Come on. \n Ellis leads Neckbone into the treeline. \n \n \n EXT. ISLAND WOODS/CREEK - DAY \n Mud's yellow shirt hangs, partially ripped, from a tree branch. Ellis pulls it off the limb. Concerned, they head deeper into the woods, over the fallen tree trunk that bridges the creek. \n \n \n EXT. ISLAND WOODS AND SOUTHERN SHORE - DAY \n The boys watch Mud through the trees at a distance. He's crouched on the deck of the boat fiddling with wiring. Mud, giving no sign he sees the boys, yells out to them. \n MUD \n What are ya'll hidin' for? \n Mud drops the wiring and scales down to the bank. They emerge from the woods. Ellis carries the yellow shirt. \n ELLIS \n We found your shirt. \n Ellis tosses it to him. Mud tosses it back. \n MUD \n Keep it. I don't need it anymore. \n Mud goes to the motor at the rear to tinker with more wires. \n ELLIS \n We saw what's left of your bonfire. \n (no response) \n Somebody could've seen you. \n MUD \n I guess. \n ELLIS \n You do some drinkin' last night? \n MUD \n I did a lot of drinkin' last night. \n Mud stops and walks over to address the boys. His face is pale and his manner is curt. \n MUD \n Neck I'm gonna need you here to get the motor runnin'. Ellis I need you to do something else for me. \n Mud removes a folded note from his back pocket. \n MUD \n I need you to take this to Juniper. \n ELLIS \n Okay Mud. \n Ellis takes the letter. Mud goes back to the boat motor. He motions to Neckbone to join him. \n MUD \n Let's go. \n ELLIS \n You still takin' Juniper? \n MUD \n I had a dream last night. I saw Juniper laying in a field with another man. They were making love. I walked out into the field. Walked toward 'em. I was so angry the tips of my ears were burnin'. That's how I knew I was gonna kill this man. But when I got up close enough, I saw that the man she was with had tattoos on his back, just like mine. I moved in closer and the guy turns his head back toward me. Hair for hair, dead truth, the guy she was with was me. \n Mud ducks back under the motor. Ellis looks at Neckbone, worried. \n MUD \n I'll finish the boat, but I'd be surprised if I live long enough to sail on it. A vision of yourself is a sure sign of death. Neck can you grab me a socket wrench? \n Neckbone and Ellis walk to the toolbox sitting nearby. They crouch by it, speaking quietly. \n NECKBONE \n You be all right? \n ELLIS \n Yeah. What about you? \n NECKBONE \n He'll be okay. \n ELLIS \n Can I borrow your bike? \n Neckbone fishes the key out of his pocket. Hesitates. \n NECKBONE \n Don't tump it. \n Ellis nods. Neckbone walks over to Mud with the toolbox. Letter in hand, Ellis gives a final look toward Mud's labor and walks back into the woods. On his way, he stops to hang Mud's shirt on a tree branch. \n \n \n EXT. MISSISSIPPI RIVER - DAY \n Ellis rides in the flat bottom boat alone. He stares at the letter in his hand. \n \n \n EXT. PIGGLY WIGGLY - DAY \n Ellis sits on the dirt bike. He scans the parking lot. No black Lincoln. His eyes stop on a green pick-up. Miller, sits inside. Ellis looks around and finds a pay phone nearby. He gets off the bike and walks toward it. Ellis removes the flier Carver gave him. He dials a phone number copied at the bottom. \n ELLIS \n (into the phone) \n Hello. I saw the guy you're lookin' for...Yeah, he's crazy lookin'. Saw him at the Wal-mart outside of Gillet. He was buyin' some beanie weenie...'bout five minutes ago. \n Ellis hangs up the phone. He walks back over to the bike, climbs on and waits. After a moment, he watches as Miller's green pick-up pulls out of the Piggly Wiggly parking lot and races away. Ellis cranks the bike. \n \n \n EXT. EXECUTIVE INN/JUNIPER'S ROOM - CONTINUOUS \n Ellis, at a slight crouch, keeps his eyes on the Piggly Wiggly parking lot. The green pick-up is nowhere in sight. At Juniper's door, he knocks twice, softly. The door swings opens. Juniper stands there, holding a lit cigarette. \n JUNIPER \n I was wonderin' when I'd see you. \n Ellis checks over his shoulder and walks inside \n \n \n INT. EXECUTIVE INN/JUNIPER'S ROOM - CONTINUOUS \n The bed is unmade and the room is a bit of a mess. Ellis keeps his head down. Juniper closes the door and takes a seat on the edge of the bed. She grabs the remote control and mutes the television. \n JUNIPER \n I'm sorry about last night. I didn't plan on... \n Before she can finish Ellis has fished the letter out of his pocket and holds it out to her. \n ELLIS \n I'm supposed to give this to you. \n Juniper takes the letter. \n JUNIPER \n Okay. \n Ellis goes to the door. He pulls the bedroom curtain back slightly to check the parking lot. The coast is clear. \n JUNIPER \n Did you read it? \n ELLIS \n No. I gotta go. \n JUNIPER \n Ellis? \n He turns to her. \n JUNIPER \n I'm sorry. \n ELLIS \n All you had to do was be there. \n JUNIPER \n I couldn't. \n ELLIS \n Then why'd you even come here? \n JUNIPER \n I came here to leave with him. I really did. But now...now I guess I just came to say goodbye. \n His eyes fall to the floor. \n JUNIPER \n You don't know us Ellis. We've been headin' this way for a long time. \n ELLIS \n I know he'd do anything for you. \n She puts her cigarette out in a Coke can on the floor. \n JUNIPER \n You really believe that? \n Ellis nods. Juniper speaks to him gently, almost smiling. It's a look of resignation. \n JUNIPER \n Mud's a born liar. That's what makes him so likable. He makes people feel good about themselves. He's a romantic. I don't think he means to hurt people. But when people get close to him, that's what happens. \n Ellis watches her as she goes to the sink and wets the end of a towel. She dabs her eyes at the mirror. \n JUNIPER \n I do love him Ellis. But I can't spend the rest of my life runnin' with him. I may not know what kind of life I want, but I know that's not it. \n Her back to him, Ellis watches as she unfolds the letter and begins reading. He angles himself to see her face in the mirror. He watches her eyes scanning the words. No emotion. She finishes, folds the letter back up, then turns to him. \n JUNIPER \n Tell him I understand. \n ELLIS \n What's it say? \n JUNIPER \n It says it's over. Tell him I've packed my things. Tell him I've gone. \n She takes a deep breath and smiles at him. \n JUNIPER \n Bye Ellis. \n Ellis turns and walks out. \n \n \n EXT. EXECUTIVE INN/JUNIPER'S ROOM - CONTINUOUS \n Ellis, dejected, no longer bothers to look over his shoulder. He walks to the staircase but stops there. Feeling the need to say something more, he goes back to her room. He puts his knuckle flat on the door but hesitates. He leans over and looks through the window. The sliver in the curtain gives him a glimpse. Juniper is curled up on the end of the bed. She is sobbing. Ellis watches longer than he should before pulling his head away from the window. Ellis heads back downstairs. \n \n \n EXT. INTERSECTION/SONIC DRIVE-IN - DAY \n Ellis, riding the dirtbike, looks to his left into the Sonic Drive-In parking lot. The high school kids have gathered there again. He notices a rust colored Ford coup. The driver, an older kid named KYLE(18), sits beside May Pearl laughing. Ellis steers into traffic and crosses the street. He pulls onto a patch of grass at the edge of the Sonic parking lot. In one motion, Ellis tumps the bike on its side and makes a b- line for the coup. INSIDE THE CAR, Kyle's hand is on May Pearl's knee. \n KYLE \n So what'd she say? \n MAY PEARL \n She said she didn't like him that much. I told her I thought he was all right. \n Ellis appears with his elbows in the driver's side window. He sticks his head so far in the door that Kyle has to lean back in his seat to make room. May Pearl is surprised. Kyle snorts out a laugh. \n ELLIS \n You get my phone calls? \n MAY PEARL \n What? \n ELLIS \n I've been callin' you. \n (motions with his head) \n Who's this guy? \n KYLE \n Get your head outta my car kid. \n Ellis takes his right elbow and quickly knocks Kyle in the mouth. It splits his upper lip. Kyle grabs his face. \n KYLE \n Shit! \n MAY PEARL \n Ellis! \n ELLIS \n I called you twice yesterday. Your sister didn't tell you? \n Kyle slings the door open knocking Ellis to the pavement. From the ground, Ellis can see that Kyle is big and considerably tougher than the skinny kid he punched before. Kyle's friends from other cars take notice and begin to converge on them. Ellis makes a move for Kyle's legs but is kicked back to the pavement. Kyle straddles him on the ground and punches him. Another punch to Ellis' face. May Pearl is out of the car and yelling. \n MAY PEARL \n Kyle! Stop it Kyle! \n May Pearl pulls Kyle by the collar. By his own will, he raises off of Ellis, keeping an eye on him. A streak of blood stretches from Ellis' nose to his ear. He gets to his feet, dazed. Ellis wipes at his nose and sees May Pearl shove Kyle. Kyle smiles and turns to his friends, who laugh. The CROWD that has collected consists of older high school guys and girls. Ellis steps toward May Pearl and is met with a shove too. \n MAY PEARL \n What the hell are you doin' here Ellis?! \n ELLIS \n What? \n MAY PEARL \n You can't just run up and punch people I'm with! \n ELLIS \n I'm sorry, I just wanted to know why you hadn't called me back. I... \n MAY PEARL \n Why would I call you back Ellis? \n ELLIS \n Because you're my girlfriend. \n The crowd is watching. \n MAY PEARL \n I'm not your girlfriend! We went on one date. One! \n ELLIS \n We kissed. \n MAY PEARL \n That doesn't matter! \n ELLIS \n Yeah but... \n MAY PEARL \n But what Ellis?! What did you expect?! \n ELLIS \n I love you. \n MAY PEARL \n You're fourteen! \n ELLIS \n Don't. Wait. We can make this work. We can figure it out. I love you. \n MAY PEARL \n What? \n Ellis is losing it. His eyes are red. He looks at the crowd of kids. There are smiles and some snickering. May Pearl is speechless. She just stares at him. Ellis turns and walks back to the dirt bike. May Pearl's girlfriends gather around her. She shakes her head, dumbstruck. Ellis lifts the bike off the ground. He looks back at May Pearl who appears to be shrugging off the whole affair in front of her friends. Ellis speeds off. \n \n \n EXT. ELLIS' HOUSEBOAT/RIVERBANK - DAY \n A fire snaps and pops on the riverbank next to Ellis' houseboat. Ellis drags a piece of particle board from a trash pile nearby. He drops the board onto the fire and stands back to watch the blaze. Neckbone's bike leans on a tree behind him. Senior's truck rattles to a stop in the gravel just down the bank. He jumps out of the cab exasperated by the fire his son has started by their home. \n SENIOR \n What the hell are you doin'?! \n Ellis says nothing. He doesn't move. Senior, continuing to yell, runs and drags a hose up from the houseboat. \n SENIOR \n Ellis dammit! What the hell's wrong with you?! \n The fire hisses as Senior turns the hose on it. \n SENIOR \n Ellis? Look at me. \n Ellis finally looks up at his father. A phone RINGS from inside the houseboat. Senior holds the hose in front of him. \n SENIOR \n Take it. Put this damn thing out. \n Ellis takes the hose as Senior stomps on board to catch the phone. Ellis drops the hose. Senior's voice, speaking into the telephone, faintly carries outside. He's yelling. Ellis turns his head to listen. \n SENIOR (O.S.) \n I don't give a shit! Fine! I don't care what you do! I'm done with it! \n Ellis moves around the fire so he can see the houseboat through the flames. He hears the phone SLAM down. Senior appears at the back door. He stares at Ellis through the fire. Ellis moves to the side but realizes Senior isn't staring at him. He's staring at the fire. Senior disappears back into the house. There is a commotion. Ellis watches as Senior bursts out of the house holding an armful of woman's clothes. Senior walks up to the bonfire and begins tossing clothes on top piece by piece. \n ELLIS \n What are you doing? \n Ellis watches as dresses and blouses begin to shrivel up in the flames. \n ELLIS \n Stop it! That's mom's stuff! STOP IT! \n Ellis shoves at Senior. He easily counters the boy with his arm and continues tossing the clothes into the fire. Ellis is screaming and crying. \n STOP IT! \n Ellis tries yanking the remaining clothes out of his father's \n STOP! \n hands but Senior shakes him off. Ellis stumbles. He watches with tears as Senior tosses all of the clothes on. Senior watches his wife's clothes burn. Ellis backs away to the bike. He climbs on, cranks the engine and speeds off. \n \n \n EXT. ISLAND SHORE - DAY \n Ellis grounds the flat-bottom on shore and jumps out. \n \n \n EXT. ISLAND WOODS/CREEK - DAY \n Ellis thrashes through the woods. His muddy feet stomp across the fallen tree trunk that bridges the creek. \n \n \n EXT. ISLAND/SOUTHERN SHORE - DAY \n The boat rests on its trailer on the edge of the bank. Mud stands on board looking down at the motor. Neckbone, tools in hand, has his head buried in the motor. \n NECKBONE \n Try it now. \n Mud turns a switch. No result. \n MUD \n Nothin'. \n NECKBONE \n Sonofabitch. \n Ellis emerges from the treeline. Mud sees him and hops down from the boat. He walks up to him. \n MUD \n What'd she... \n Ellis punches Mud with as much force as he can muster. It's barely enough to turn Mud's face, but it stuns him. \n ELLIS \n You're a liar. Makin' two kids run around doin' work you're too scared to do yourself. Makin' me tell her it's over 'cause you're too scared to do it yourself. \n Mud steps back and gives the boy his space. Neckbone has made his way over and watches from behind Mud. \n ELLIS \n You said you loved her and you lied. You gave up on her and she gave up on you just like everybody else. I trusted you. Bonfires and crosses. Wolf's eye bullshit. \n Mud tries to approach him but the boy explodes, shoving him. \n ELLIS \n EVERYTHING YOU'VE TOLD ME WAS A \n LIE! You never cared about her. You never cared about us. Not like you said. Not enough to matter. You used us. \n MUD \n Come on Ellis. \n Mud holds a hand out to him. Ellis slaps it away. \n ELLIS \n You made me a thief! \n Ellis walks back into the woods. Mud exhales and turns back to Neckbone. \n NECKBONE \n Let me talk to him. \n \n \n EXT. ISLAND WOODS/CREEK - DAY \n Ellis walks through the woods. Neckbone follows. \n NECKBONE \n Ellis! Ellis, stop for a second! \n Neckbone watches as Ellis reaches the tree trunk that bridges the creek. Ellis steps onto the log, but his muddy shoes miss a step. He SLIPS. Neckbone sees Ellis disappear down into the creek bed. \n NECKBONE \n ELLIS! \n Neckbone rushes over. He cranes his neck out to peer over the edge, a solid eight foot drop into the creek. Ellis floats face up in the shallow water. He's unconscious. A wound on his head from a nearby rock. The nest of WATER MOCCASINS has been disturbed; SNAKES WRITHE AROUND ELLIS' BODY. Neckbone's eyes widen. He darts back toward the shore. \n \n \n EXT. ISLAND/SOUTHERN SHORE - DAY \n Mud stands at the rear of the boat massaging his jaw. \n MUD! \n Mud hears the yelling. \n MUD! \n Neckbone explodes from the trees. \n NECKBONE \n MUD! ELLIS FELL! HE FELL IN THE \n CREEK! \n Mud rushes forward. \n NECKBONE \n HE FELL INTO SNAKES! THE SNAKES! \n Mud stops. \n NECKBONE \n MUD PLEASE! \n Mud looks around. His shirt hangs from a tree limb nearby. He snags it and darts into the woods. \n \n \n EXT. ISLAND WOODS/CREEK - DAY \n Mud streaks through the woods as he gets his other arm through the shirt sleeve. He reaches the creek. Without hesitating, Mud leaps down into the water, scoops Ellis into his arms and scales up the opposite side of the creek bed. Mud sprints for the north side of the island. Neckbone chases after them. \n \n \n EXT. NORTHERN SHORE AND RIVER - DAY \n Mud cradles Ellis in his arms as he rushes to the flat-bottom boat. He sets Ellis gently inside. Neckbone on his heels. Mud shoves the boat into the water and hops in. Neckbone wades out and crawls up the side of the boat. \n MUD \n Get the motor started. \n Neckbone cranks the motor. As they move up river, Mud searches Ellis' body. He looks at his neck, his arms, he pulls up his shirt. \n NECKBONE \n IS HE OKAY?! Is he bit?! \n Mud notices Ellis' jeans leg riding up. He pulls the jeans back. A BITE in the middle of his calf. It's a bluish bruise with two distinct red dots. The skin around the bite has already begun to swell. \n MUD \n Shit. \n He rips the jeans up to the thigh. Mud tears a section of cloth from the bottom of his own shirt and creates a tourniquet just below Ellis' knee. \n MUD \n What time is it? \n Mud pulls a black Sharpie out of his pocket. Neckbone doesn't answer, just stares. \n MUD \n WHAT TIME IS IT?! \n Neckbone checks his watch. \n NECKBONE \n It's four eighteen! \n Mud draws a line on Ellis' leg just above the swollen bite. He writes, \"418\". \n MUD \n Yell out every 10 minutes! \n Mud elevates Ellis' leg then gently cups his head. He dabs the gash on Ellis' forehead. \n NECKBONE \n Is he gonna be okay?! \n MUD \n We just need to get him to a clinic! Is there still one in town?! \n NECKBONE \n Yeah! \n MUD \n It's the closest?! \n NECKBONE \n Yeah! \n MUD \n I'm gonna need your bike! \n NECKBONE \n Are you bit?! \n Mud shakes his head. \n MUD \n No. \n He holds Ellis as they move steadily up river. \n \n \n EXT. RIVERBANK - DAY \n The flat bottom boat approaches the riverbank. Neckbone points to the sandy ridge and yells up to Mud. \n NECKBONE \n My bike should be just over that ridge! \n Mud looks at Ellis' leg. The swelling has crept up his thigh. Black lines with numbers mark its progress: \"428, 438, 448\". Ellis' face has taken on a blue tint. The boat hasn't reached the shore, but Mud takes Ellis in his arms and jumps into the water. He wades onto the bank. AT THE BIKE, Mud straddles it, turning Ellis' body so they are face to face. He cranks the bike and speeds away. Neckbone makes it to the top of the ridge in time to see Mud disappear into the trees. \n \n \n EXT. TWO-LANE HIGHWAY - DAY \n Mud speeds the dirt bike down the two-lane highway. He's far too big for the bike and it's even trickier balancing Ellis. Coming up on a slow moving pick-up overloaded with junk, Mud veers into the opposing lane. ONCOMING TRAFFIC. Mud darts back to his lane in time to miss a semi. \n \n \n EXT. CLINIC - DAY \n A MALE NURSE(36) wheels an ELDERLY MAN through the sliding double front doors of a small clinic. Mud appears around the corner. The bike speeding toward the entrance. In a fluid motion, Mud takes Ellis in his arms and lifts his leg over the bike. The bike tilts and slides across the pavement, smacking solidly into the curb. Mud has managed to stay on his feet with the boy in his arms and rushes through the automatic front doors. \n \n \n INT. CLINIC - CONTINUOUS \n The reception area has a DOZEN PATIENTS sitting in it. A check-in desk to the left. Mud holds Ellis out in his arms. \n MUD \n I NEED HELP HERE! \n A FEMALE NURSE rushes out of the check-in area. \n FEMALE NURSE \n Just stay calm. What's going on? \n MUD \n He's been snake bit. \n ANOTHER NURSE rushes off calling for a doctor. The room becomes more frenzied. Patients talking. Nurses shouting. \n MUD \n He's snake bit. A cotton mouth. On his calf. Just under an hour. \n As quickly as Mud gets this out, a GROUP of NURSES rush out of a door at the end of the room pushing a gurney. They take Ellis from Mud's arm, place him on the gurney, and speed him into the back of the clinic. The commotion gone, the reception area feels oddly still. Mud takes a deep breath. He looks to his right. Patients stare at him. He's beyond disheveled. He's crazy looking. Mud turns to his left. The Male Nurse stares at him. For the first time, Mud realizes he's out in the open. \n MALE NURSE \n Sir? \n Mud slowly backs up. \n MALE NURSE \n Sir? We're gonna need some information? \n Mud backs out of the automatic doors. The entire room stares at him. \n \n \n EXT. CLINIC - CONTINUOUS \n Mud is outside. The glass doors close. He nervously checks over his shoulders. He spots a bank of trees just down from the clinic. He heads for them. The front doors slide open and the Male Nurse walks out. \n MALE NURSE \n Sir?! \n Mud hops into the bank of trees and disappears. \n \n \n INT. CLINIC - CONTINUOUS \n The Patients in the reception area settle back into their seats and discuss the commotion. The Male Nurse enters and walks behind the check-in window. IN THE WINDOW, The Male Nurse fingers through a pile of papers. He removes one of the fliers that Carver and his men have been showing. The Nurse studies the photo, looking back at the front doors. He picks up the phone and dials the number at the bottom. \n \n \n INT. PINES MOTEL - CONTINUOUS \n In the adjoining room, the phone rings. King steps through the doorway, takes a seat on the bed, and answers. \n KING \n Hello...Yes...Yessir we are...Uh huh. \n King takes a pen from his shirt pocket and scribbles on a pad on the nightstand. \n KING \n Now where'd you say you were?...Okay...He's gone. Okay...But you say he left the boy?...And your name sir? \n \n \n EXT. EXECUTIVE INN - EVENING \n The sun has been down for awhile. Juniper leans on the railing outside her room taking long drags from a cigarette. She sees Miller's green pick-up parked below. Suddenly the headlights pop on and the truck pulls away. She watches, curious, as it speeds out of sight. A train whistle blows in the distance but is overtaken by a semi rumbling down the street. She watches the semi pass revealing the DAY/NITE Gas Station's parking lot. A130 MUD STANDS IN THE CORNER OF THE LOT. Half lit by a sodium A130 lamp, he stares up at her. Juniper raises up. Even in the dim light she knows it's him. She doesn't move. Mud holds up a hand, waves. Juniper slowly waves back. She tries to smile at him, but she's about to cry and it's hard to muster. Mud smiles. After a long moment, he turns his back and disappears in the shadows at the side of the gas station. Juniper watches after him. \n \n \n EXT. BLACK BAYOU - NIGHT \n The night sky is dark purple. An unnatural color. Ellis is on his back. Eyes closed. His head jostles at the SOUND of THUMPING. More THUMPING. It sounds like the hood of a car denting in. His eyes open. He stares up at an absurdly full moon. It's so bright it totally silhouettes the tree branches overhead. The THUMPING continues. Ellis puts his hands on the edge of the flat-bottom boat he's floating in and pulls himself up. He leans over the side to see what's causing the noise. The water is jet black. The entire bayou pulsates. Ellis' eyes grow wide as the THUMPING reveals itself. THE BAYOU IS FILLED TO THE BRIM WITH SNAKES. The moonlight illuminates their shiny black backs as they twist and churn in what seems like one giant ball of snakes. Ellis lies back in the boat bringing his arms close to his chest. He flinches at each THUMP. His eyes squeeze shut. \n \n \n INT. ELLIS' ROOM - NIGHT \n His eyes open. Ellis bolts up in bed covered in a cold sweat. Mary Lee places a palm on his chest. \n MARY LEE \n It's okay. You're okay. Just set back. \n Mary Lee guides Ellis back down on the pillow. Senior stands with his arm on her shoulder. They look down at their son. \n ELLIS \n Where am I? \n MARY LEE \n You're home. We got you home. \n Ellis takes a second to get his bearings. His mother lifts a glass of Sprite up to his mouth. He takes a sip. \n SENIOR \n You had us scared son. \n Senior steps forward and kisses Ellis on the forehead. Staying close to his face. \n SENIOR \n (whispers) \n I'm so glad you're okay. \n MARY LEE \n The doctors gave you some medicine. You had a snake bite. \n ELLIS \n How'd I get to the doctor? \n MARY LEE \n A man brought you in. No one knew him. \n Ellis tries to sit up in bed, but his mother stops him. \n MARY LEE \n It's okay. You just need to rest up now. We can talk all about it later. Do you need anything? Are you hungry? \n ELLIS \n No. \n Senior gently pats her shoulders. \n SENIOR \n Come on. Let's let him rest. \n Mary Lee touches Senior's hand on her shoulder. She stands. \n MARY LEE \n I'll be back in to check on you but just try and sleep if you can. \n ELLIS \n Okay. \n Senior leads Mary Lee to the door. \n ELLIS \n Mom? Dad? \n They turn back. \n ELLIS \n I love ya'll. \n MARY LEE \n We love you too Ellis. \n They exit the room. Ellis rests his head back on the pillow and takes a deep breath. \n \n \n EXT. ISLAND/SOUTHERN SHORE - NIGHT \n Mud and Neckbone shove against the back of the boat trailer. The wheels of the trailer rock at the edge of the bank's incline. Sheets of metal roofing taken from the shack Ellis and Neckbone dismantled line a runway into the water. \n MUD \n (straining) \n Almost there. \n The wheels finally turn over. The trailer rolls down the bank and splashes into the water. The boat shimmies. Mud and Neckbone follow the trailer into knee deep water and shove on the boat. A final push jettisons it into the river. They step back as the boat drifts out. A rope tied to its back becomes taught as it stretches from a tree on shore. \n MUD \n The sun does shine on a dog's ass some days. \n NECKBONE \n It ain't sunk yet. \n Mud smiles. He holds out his hand, which Neckbone slaps. \n NECKBONE \n I wish Ellis could see it. \n MUD \n I know. \n Mud walks back on shore and collects his duffel bag. \n MUD \n I owe you your end of the deal. \n Mud removes the pistol from the back of his jeans. Neckbone's eyes light up. Mud hands it over and Neckbone immediately notices a hole where the clip is missing. \n NECKBONE \n Where the bullets? \n MUD \n The deal was for the gun, not the bullets. \n NECKBONE \n Shit. \n Neckbone begrudgingly crams the pistol into the back of his pants. \n MUD \n I got one last favor to ask you. \n Neckbone sucks his teeth. \n \n \n EXT. ELLIS' HOUSEBOAT - NIGHT \n Water gently laps at the side of Ellis' houseboat. The bayou is quiet. From the darkness, Neckbone and Mud appear in the flat-bottom boat. They paddle with their hands. Approaching in silence. \n \n \n INT. ELLIS' ROOM - NIGHT \n Ellis stares at the ceiling, unable to sleep. A TAP comes from the window. Ellis sits up in bed. Mud pokes his head in. He whispers. \n MUD \n Ellis? \n ELLIS \n Mud? \n MUD \n Yeah. \n Mud pulls his body through the window. It's tight but he manages to make it look somewhat graceful. Mud takes a quick survey of the dark room. Ellis begins to get out of bed. \n MUD \n No, don't get up. \n Mud motions him back down and pulls the chair from the desk over to the bed. They speak in hushed voices. \n ELLIS \n How'd you get here? \n MUD \n Neck brought me. \n \n \n EXT. ELLIS' HOUSEBOAT - CONTINUOUS \n Neckbone sits in the flat-bottom tied off at the corner. FROM THE TREELINE ON SHORE, All EIGHT of the Bounty Hunters sit hunkered in the trees. Carver squats next to a stump. He loads shotgun shells into a 12 gauge pump and motions for the others to fan out along the bank. \n \n \n INT. ELLIS' ROOM - CONTINUOUS \n MUD \n We got the boat in the water. \n ELLIS \n You did? \n MUD \n Just now. Smooth sailin' from here on out. \n ELLIS \n Good. \n MUD \n Wish you coulda seen it. \n ELLIS \n Me too. \n MUD \n Didn't feel right leavin' town without sayin' goodbye. \n There is an awkward moment. \n ELLIS \n I'm sorry 'bout what I said. \n MUD \n No. No. You were right to be mad. You were right about a lot of things. I'm the one that's sorry. I shoulda never gotten ya'll into all this. I just didn't see any other way around it. But I couldn't leave without you knowin' I never lied about being your friend. I never lied about that. \n ELLIS \n I know. \n MUD \n I don't traffic in the truth too often. But I did love her. I do love her. \n ELLIS \n She loves you too. She said it. \n This fact still strikes Mud. He nods. \n MUD \n I just made mistakes. We both did. This is a hard life to keep up with. You can't blame her for gettin' tired of tryin'. \n ELLIS \n My dad says you can't count on women lovin' you. He says you can't trust it. \n MUD \n That's not true. Don't judge your life on all of our mistakes. You'll make plenty mistakes of your own, no need takin' on everybody else's. You're a good man Ellis. If you find a girl half as good, you'll be all right. \n ELLIS \n You're a good man too Mud. \n Mud smiles. \n MUD \n No. I'm not. But maybe from here on out I can be... \n A SHOTGUN BLAST rips a fist-sized hole in the flimsy interior wall. Mud, as if by reflex, yanks Ellis from the sheets and shoves him under the bed. BOOM. BOOM. Bits of sheetrock fall like snow flakes as more holes blast through the bedroom wall. Mud flinches with each shot. He covers his own head with one hand and the boy with the other. \n ELLIS \n Mud?! \n MUD \n Stay put! JUST STAY UNDER THERE! \n The SOUND of shotgun shells being slipped into the chamber. Mud gets to a crouch. Through the holes in the wall, Mud makes out Nelson, the fat bounty hunter, reloading his gun. IN THE DEN, Nelson finishes reloading. The riddled bedroom wall hangs in front of him. A door opens behind him. He swivels around. Senior, in a robe, rushes from his bedroom with a pistol leveled. He's met with a shotgun blast just above his head. Pellets nick his face. Senior hits the ground and elbows his way back inside his bedroom door. \n ELLIS! \n Senior screams, his voice cracking. \n ELLIS! \n IN ELLIS' ROOM, \n SENIOR (O.S.) \n (muffled through the wall) \n ELLIS! \n MUD \n (whispering) \n Don't move Ellis. Just stay put. They just want me. \n Through the holes Mud sees Nelson approaching Ellis' bedroom. He runs for the window at the foot of the bed. Another shotgun BLAST throws open the door as Mud leaps out. \n \n \n EXT. ELLIS' HOUSEBOAT - CONTINUOUS \n Mud crashes headfirst onto the edge of the houseboat grasping for anything to keep from sliding off. His hand catches a metal deck cleat. It bends under his weight but holds. Mud gets to his feet and is met by the tip of a rifle. Miller, the man from the cafe, stands poised to fire. Mud's hand slips to the back of his pants for his pistol. NOTHING. He looks to the flat-bottom tied at the far edge of the boat. No sign of Neckbone. Miller's finger curls around the trigger. SUDDENLY, a BULLET snicks through Miller's neck. Mud flinches. Miller's hand comes up to his neck but can't hold the blood running from it. He topples into the water. \n \n \n EXT. TOM BLANKENSHIP'S HOUSEBOAT - CONTINUOUS \n Tom Blankenship sits in the folding chair on the roof of his houseboat. He shucks an empty shell from a HIGH-POWERED RIFLE complete with scope. The long suitcase from the photo in Tom's house sits open at his feet. It has compartments for the disassembled rifle. Tom quickly raises to a new firing position. He squints an eye, searching for another target. A141 From this vantage point, Ellis' houseboat is clearly visible; \n A141 \n partially lit by the two flood lights. FOUR other BOUNTY HUNTERS swarm the boat. \n \n \n INT. ELLIS' ROOM - CONTINUOUS \n Still under the bed, Ellis tries to hold his breath as Nelson's boots step into the room. They pause for a moment, before sluggishly struggling through the bedroom window. \n \n \n EXT. ELLIS' HOUSEBOAT - CONTINUOUS \n Mud rushes to untie the flat-bottom. A BULLET splinters the corner of the dock sending shards of wood into Mud's hand. He sees TWO more GUNMEN skirting toward him on the deck of the houseboat. Mud takes cover against the wall and finds the muzzle of Nelson's gun teetering out Ellis' window. He grabs the muzzle and yanks the shotgun free. Nelson, stuck in the window, looks up in time to take a rifle butt in the face. He falls back into the room unconscious. \n NECKBONE (O.S.) \n ON THE RIVERBANK, James, the man with the mustache, holds Neckbone in a headlock trying to cover his mouth. Carver stands with his shotgun leveled and fires at Mud. ON THE BOAT, Mud ducks as Carver's shot takes out a chunk of siding. The SOUND of boots rush up the side of the boat. Mud, gun in hand, jumps back through Ellis' window. ON THE RIVERBANK, Carver turns to Neckbone. \n CARVER \n Let him go. \n James unhands the boy. Neckbone sprints into the woods. \n CARVER \n Come on. \n They move toward the houseboat. \n \n \n INT. ELLIS' ROOM/HOUSEBOAT - CONTINUOUS \n Mud gets to his feet, stepping over an unconscious Nelson on his way to the bedroom door. \n MUD \n You still down there bud? \n ELLIS \n Yeah. \n MUD \n Stay put. \n Mud pops out of the bedroom into the den. IN SENIOR'S BEDROOM, Mary Lee, curled under the bed, frantically dials the phone. Senior, propped against the closed door, uses his undershirt to dab the pellet wounds around his neck. Hearing footsteps, he cracks the door open. He sees Mud standing in the den. Senior cocks his pistol IN THE DEN, The front door is KICKED open. Mud dives behind a Lazy Boy as a Bounty Hunter fires through the doorway. The back of the Lazy Boy explodes in fluff and fabric. Mud raises up to return fire, forcing the Man back out the door. Mud crouches back behind the Lazy Boy. Unbeknownst to him, another MAN appears outside two sliding glass doors. The Man raises his rifle at Mud. One of Tom's bullets rips through the Man's chest and shatters the glass door. Mud flinches. Another Hunter steps into the now broken door frame. Mud FIRES the shotgun, blowing the man into the patio grill. A149 Mud can see Tom's houseboat silhouetted across the A149 bayou. A muzzle FLASH sparks from the top of Tom's boat. This makes Mud smile. The Front Door kicks open again and more pellets shatter through the den. Mud raises to return fire. ONE SHOT, TWO, the third is a dead CLICK. He drops back behind the chair, out of shells. \n \n \n EXT. ELLIS' HOUSEBOAT - CONTINUOUS \n Carver steps across the plank onto the houseboat followed by James. Carver motions him around back toward Ellis' window. \n CARVER \n Flush him out this way. \n Carver walks to the covered carport. \n \n \n INT. ELLIS' HOUSEBOAT - CONTINUOUS \n IN THE DEN, \n The Hunters at the front door continue taking pot shots at the furniture. Mud flinches at each new round fired. \n IN ELLIS' ROOM, Ellis cautiously slides out from under his bed and crouches next to the bedroom door. He peeks through a crack. He sees Mud pinned behind the Lazy Boy. They make eye contact. Mud's eyes move to something behind Ellis. Ellis turns to see James passing by his bedroom window. \n \n \n EXT. TOM BLANKENSHIP'S HOUSEBOAT - CONTINUOUS \n Tom scans Ellis' boat through the scope on his rifle. He sees Carver creeping around the carport. He pans right to find James taking a position near the patio doors. Tom pauses, seeing Ellis appear at the corner of the boat just behind James. \n \n \n INT. ELLIS' HOUSEBOAT - DEN - CONTINUOUS \n The firing from the front door has stopped. Mud takes a deep breath, sets the empty shotgun on the ground, then rushes out the sliding glass doors as the men out front reload. \n \n \n EXT. ELLIS' HOUSEBOAT/TOM'S HOUSEBOAT - CONTINUOUS \n Mud makes it outside, his back to James' leveled rifle. \n ELLIS \n MUD! \n James and Mud both turn at the sound of Ellis' voice. One of Tom's bullets drops James dead. Carver appears at the carport end of the boat. He raises his shotgun toward Mud. A156 ON TOM, A156 He snaps the bolt open and closed, but it jams. He jerks at the lever, looking up he sees Carver taking aim. ON MUD, Mud takes a running leap off the side of the boat. Carver FIRES. Mud is struck in the back by the shotgun blast. The force of the shot spins him in the air. He crashes into the water. Ellis screams. \n ELLIS \n MUD! \n Carver approaches the edge of the boat. He stares down into the swirling dark water. No sign of Mud. A157 ON TOM, A157 Tom slaps open the bolt and yanks the spent cartridge out with his fingers. It BURNS. \n TOM \n DAMMIT! \n ON CARVER, \n He pumps the shotgun and fires into the murky water. The pellets pepper the surface. Still no sign of Mud. Carver pumps the shotgun a final time, but before he can get another shot off Tom's bullet rips open Carver's chest sending him sprawling through the broken patio doors. ON TOM, He exhales, shucks the bolt once more. His eyes scan the dark water. \n ON THE HOUSEBOAT, Ellis runs to the edge of the boat. \n MUD! \n Senior exits the houseboat, pistol pointed. \n MUD! \n He sees Ellis \n and runs to him. \n SENIOR \n ELLIS! \n Senior grabs the boy, keeping his pistol up. Ellis drops to his knees and Senior crouches with him, holding him tight in his arms. Ellis cries. \n SENIOR \n It's okay. It's okay. \n The two sit alone on the edge of the houseboat. The river seems especially quiet now. \n \n \n I/E. ELLIS' HOUSEBOAT/RIVERBANK - PREDAWN \n The sky shows faint signs of morning, a few streaks of light. ON THE RIVERBANK, The blue, red, and white lights from police cruisers and ambulances bounce up into the trees. A frenzy of Police activity swarms from the aftermath left on Ellis' houseboat. Men in wetsuits prepare a dive. Blanket covered bodies are wheeled off on gurneys. Two of the Bounty Hunters, unharmed, sit locked in the back of a state trooper vehicle. ON THE HOUSEBOAT, Ellis, Senior and Mary Lee sit huddled together under the carport. They watch the emergency workers stream past. Senior wraps his arms around them. Ellis looks across the bayou to Tom's boat. Police flashlights bob and weave throughout. No sign of Tom. INSIDE ELLIS' HOUSEBOAT, A LOCAL OFFICER strings caution tape across the broken patio doors. TWO STATE TROOPERS hover over Carver's body. The Troopers step away and the Local Officer cranes toward the body. He studies Carver's face. Stepping aside, the Officer takes a cell phone from his pocket and dials. He turns his back away from the Troopers. \n \n \n INT. PINES MOTEL ROOM - NIGHT \n The phone rings in the Pines Motel. King enters from the adjoining room and takes a seat on the bed. He answers. \n KING \n Hello...You're speaking to him... \n King listens. His face taut. \n KING \n He's dead? \n (a long pause) \n Okay. \n King hangs up the phone. He sits at the edge of the bed, overwhelmed by the news. \n \n \n EXT. RIVER - NIGHT \n It's dark on the river. Moonlight barely shows the ripples in the slow moving current. MUSIC from a country station slips out across the surface of the water. Galen's jambox sits next to a small lantern in his flat- bottom boat. His Helper snores, fully reclined, with an empty can of Budweiser resting on his gut. His feet are propped next to a tiny bell rigged to a line that disappears into the water. The bell RINGS. \n \n \n EXT. UNDERWATER - RIVER - NIGHT \n The river bed swirls inside two, distinct spots of light. Galen, using his new diving lights, scoops a final mussel shell into the net before tying it off. He tugs at the line. It's pitch black save for the shafts of light projected from Galen's shoulders. He tilts the lights toward the surface. The line leading up to the bottom of the boat dances in and out of the high beams. Then... MUD'S BODY FLOATS BY OVERHEAD. Only his backside is visible. A cloud of blood trails from the holes there. FADE TO BLACK.: \n \n \n EXT. ELLIS' HOUSEBOAT - DAY \n A WORKER cinches a thick strap across the deck of Ellis' houseboat. ON THE RIVERBANK, Ellis watches as WORKERS affix straps from his houseboat to a crane resting in the bed of a large truck on the bank. The SOUND of Neckbone's dirt bike rattles through the trees. He appears behind Ellis and parks. \n NECKBONE \n Hey. \n ELLIS \n You got your bike back. \n NECKBONE \n Mud dinged the shit out of it. \n Neckbone takes a seat next to Ellis. They watch the workers. \n NECKBONE \n They're really doin' it. \n ELLIS \n It's the law. \n NECKBONE \n It's bullshit. They ever find Tom? \n The boys focus on Tom Blankenship's boat across the bayou. It sits vacant, covered in police tape. \n ELLIS \n No. He's gone. \n NECKBONE \n Your dad not here? \n ELLIS \n Said he couldn't watch it. He's pickin' me up in a minute. Got deliveries today. \n They sit in silence as the Workers exit off the houseboat. \n NECKBONE \n Heard on the news. They still hadn't found Mud's body. \n Ellis nods. \n NECKBONE \n You think he's dead? \n ELLIS \n I don't know. I hope not. \n The crane begins lifting up the houseboat. The metal wires tighten and the entire structure creaks. A sucking sound as the flotilla separate from the water. The boat hangs, suspended in the air. A HORN HONKS behind the boys. Ellis turns to see Senior's truck. \n ELLIS \n I gotta go. Come by the apartment. Help me set my room up. \n NECKBONE \n All right. \n Neckbone watches Ellis climb into the bed of the pick-up and take his spot on the coolers. The sound of twisting metal shifts his attention back to the houseboat being swung over a flatbed semi. \n \n \n I/E. SENIOR'S TRUCK/RIVERBANK - CONTINUOUS \n IN THE CAB, \n Senior glances at the houseboat being set on the flatbed. He puts the truck in reverse and pulls away. Not looking back. \n \n \n EXT. SENIOR'S TRUCK/IMAGES OF DEWITT - DAY \n Ellis rides in the back of the truck on top of the coolers. He watches the town pass by. A168 The marina junkyard. The Sonic. Downtown. A168 \n \n \n B168 EXT. FLEA MARKET - DAY B168 \n Ellis and his father unload a cooler at the back of a tented flea market. A WOMAN comes out to greet them. \n \n \n I/E. SENIOR'S TRUCK/NEW APARTMENTS - DAY \n Senior's truck pulls into the parking lot of a newly finished apartment complex. The two-story buildings are modest. The truck idles out front. INSIDE THE CAB, Ellis grabs the door handle. He turns to Senior. \n ELLIS \n I'll see you next week? \n SENIOR \n Yeah. \n Ellis begins to get out but stops when Senior speaks. \n SENIOR \n Ellis? You mind your mother okay? This is a big change for her. She needs your support. \n ELLIS \n Yessir. \n SENIOR \n All right. I love you. \n ELLIS \n Love you too. \n Ellis climbs out. He watches as Senior pulls away. He stands alone in front of the apartments, studying the surroundings. A busy road out front. A gas station and collection of stores. A lot of people and commotion. A compact car pulls into a parking spot one building down. Ellis watches as three COLLEGE AGE GIRLS climb out dressed in running shorts and t-shirts. Two are heavy set, the other is petite. They joke and laugh. One sees Ellis and waves. Ellis nods to her. He tracks them as they walk inside. Ellis smirks. \n \n \n EXT. MISSISSIPPI RIVER - DAY \n The river rushes past. A large motor churns the water. Tom stands steering Mud's salvaged boat down river. He cranes his neck, seeing something up ahead. Tom kills the motor. Looking out over the bow, he's pleased by what he sees. His eyes glint, almost a smile. He walks to the small cabin and enters. INSIDE THE CABIN, Mud rests flat on his stomach on the cushioned bench. Shirtless, gauze bandages wrap around his chest and back. He's sleeping. Tom walks in and kneels next to him. Touches his shoulder. Mud's eyes open. \n TOM \n Come on son. You need to see this. \n Mud, groggy, raises up. Tom helps him to his feet, putting an arm over his shoulders. Tom practically carries Mud outside. ON DECK, Tom and Mud slowly maneuver out the door and take a place near the front of the boat. Mud pulls his head up. Looks out ahead. The sight in front of him grabs his attention. He perks up. A tributary from the Mississippi river opens up into a vast stretch of ocean. Mud smiles, showing the missing tooth. Tom and Mud stand on deck as their boat drifts slowly into the open waters of the Gulf of Mexico. The End. \n \n "},"script_clean":{"kind":"string","value":"MUD\nby\nJeff Nichols Shooting Script © August 22, 2011 - draft September 16, 2011 WGA#: 1319361 All Rights Reserved\n\nINT. ELLIS' ROOM - PREDAWN\nELLIS(14) sits fully-clothed on top of his made bed. He is a wiry young man with a few blonde hairs on his upper lip struggling desperately to be a mustache. His room, cluttered with junk, is dark, quiet and tiny. A backpack and an oversized Walkie-Talkie sit next to him. The silence is cut by a SQUAWK from the Walkie. Ellis quickly grabs it.\nELLIS\nI'm comin' out now.\nHe crams the Walkie into his backpack and slings it over his shoulder. On his feet, he slides open a window at the foot of his bed. He's out in one motion.\n\nEXT. HOUSEBOAT - PREDAWN\nEllis skirts alongside the exterior wall of his room on a two- foot-wide section of decking. He lives on a HOUSEBOAT anchored just off the bank of the Arkansas River. The \"boat\" is really the combination of a double wide trailer and a vinyl-sided shack fused together atop large flotilla. Ellis scurries to the mobile home section of the boat. He slips past a barbecue grill and settles underneath a lighted window. VOICES come from inside. Slowly, Ellis gets on his toes to peer through the window.\n\nINT. ELLIS' KITCHEN - CONTINUOUS\nMARY LEE(41) takes a jug of milk out of the refrigerator. SENIOR(52) sits at a small table reading a newspaper. The mobile home kitchenette is no larger than Ellis' room.\nMARY LEE\nI just want to have a conversation. I just want to talk about it.\nMary Lee sits down across from Senior, who doesn't look up from his paper. Her eyes narrow and she extends a finger toward him.\nMARY LEE\nIf you don't look up from that goddamn paper...\nShe stops before completing the thought. After a moment, Senior lowers his paper. He stares across the table at his wife. He looks at her with true disdain. His eyes trace down her face and robe before finally settling on his cup of coffee. He picks up the cup, takes a sip, and sets it back on the table. He raises the paper up. Mary Lee's eyes soften. She bites the inside of her cheek to keep from crying. Her eyes move to the kitchen window.\n\nEXT. ELLIS' HOUSEBOAT - CONTINUOUS\nEllis quickly ducks and mouths the word \"shit.\" He slips under the window toward a metal carport that covers a boat, fish cleaning station, and industrial ice machine. The entire houseboat is anchored to the shore by two thick ropes tied to opposite ends of the flotilla. The ropes extend upward into the tops of enormous pine trees. Ellis sprints across a simple, wood-planked bridge to shore. His houseboat is one of several in a row along the riverbank.\n\nEXT. ELLIS' RIVERBANK - CONTINUOUS\nEllis scurries into the treeline and arrives at a dirt path. Waiting for him there is NECKBONE(14), a scrawny kid with slicked back blonde hair wearing a FUGAZI T-shirt. He sits atop a smallish dirt bike. Ellis hops on the back.\nNECKBONE\nWhat the shit man?\nELLIS\nSuck it. Drive.\nThe bike spits up mud as they peel out down the trail.\n\nEXT. RIVERBANK - PREDAWN\nFrom a distance, the single headlight of the dirt bike snakes up and down, in and out of trees along the riverbank. ON THE BIKE, The sound of the engine rips through fog and trees illuminated by the straining headlight.\n\nEXT. RIVERBANK - DAWN\nThe boys emerge from behind a sand covered hill. Now on foot, they are silhouetted against a light blue, morning sky.\nNECKBONE\nHow old is she?\nELLIS\nA Junior.\nAt a collection of trees growing out of the water, the boys move branches away from a tarp covered boat.\nNECKBONE\nShe's got nice titties. You talk to her?\nELLIS\nNah.\nNECKBONE\nYou're gonna have to talk to her.\nELLIS\nI know.\nNECKBONE\nRemind me when we get back to my house, Galen's got a book on that.\nNeckbone takes a spot up front in the small, flat-bottom boat. Ellis, a foot on the bank and one in the boat, launches them out into the water.\n\nEXT. RIVER - MORNING\nA chunk of Neckbone's greased back hair bobs in the wind as they cruise down river. Ellis steers a small 15 horsepower motor. An orange sun is coming up now. Neckbone's eyes lock on what's in front of them. Ellis kills the motor. Neckbone stands up, a serious look on his face.\nNECKBONE\nShit.\nEllis raises up behind him. He takes a deep breath, nods.\nNECKBONE\nYour dad'd kill us he knew we went out there.\nELLIS\nI'm not worried about my dad killin' us.\nTHE MISSISSIPPI RIVER sprawls out in front of them. It's enormous. Their boat drifts at the mouth of the Arkansas, a small river by comparison. The Mississippi is a swirling mess of brown water and yellow foam six football fields wide.\nNECKBONE\nWhat if it sinks?\nELLIS\nIt ain't gonna sink. We gotta move if we're gonna make it back. Set your watch. We'll need a good fifteen minutes.\nNeckbone sets an alarm on his fat plastic wristwatch. They take their seats. Ellis cranks the motor. The small boat slowly chugs out onto the massive river.\n\nEXT. MISSISSIPPI RIVER - MORNING\nThe boat lurches through the murky, rushing water. Neckbone has both hands firmly planted on the boat's edges. Ellis tries to handle the motor which has little impact against this current. The tail end of the boat swings to the right. Ellis flinches and grabs an edge to steady himself. The front of the boat bobs toward an ISLAND in the middle of the river. Neck turns to Ellis and points.\nNECKBONE\n\nEXT. ISLAND SHORE - DAY\nThe boys splash down in ankle deep water. They take hold of the front of the boat and drag it onto the muddy shore. Neckbone jogs to a tree line in the center of the island. Ellis snatches up his backpack and follows.\n\nEXT. ISLAND WOODS - CONTINUOUS\nThe island, only 60 some yards in diameter, is separated by a clump of tall trees that form a wooded area in its center. The trees make it so you can't see from one side of the island to the other.\nNECKBONE\nGalen thinks it's been here awhile. Thinks the last flood did it.\nEllis follows as Neckbone winds through the trees. They stop at a deep creek that cuts across the island. Neckbone looks to his right, then his left. Sees what he's looking for.\nNECKBONE\nIt's down there.\nA fallen tree trunk that straddles the creek. Ellis starts across.\nNECKBONE\nHold it.\nNeckbone picks a large stone up off the ground.\nNECKBONE\nLook.\nEight feet below the tree trunk, a nest of water moccasins curl around in the creek. Neckbone drops the stone on top of them. The snakes fan out.\nNECKBONE\nLittle shits.\nTheir mud-caked high-tops stomp across the trunk.\n\nEXT. ISLAND WOODS - DAY\nThe boys stop near the base of a large tree and stare up. Ellis cranes his neck back. Awestruck.\nNECKBONE\nSo there it is.\nELLIS\nYeah, there it is.\nA 26 Foot Long BOAT sits nestled in the tree limbs above.\n\nEXT. BOAT IN TREE - MOMENTS LATER\nThe boys scale up the tree from low lying branches. Ellis, hands on the edge of the boat, gets a leg over the side and pulls himself onto the deck. He reaches down and helps to drag Neckbone on board. They get to their feet, steadying themselves on the wooden deck. It's solid. They take in their new vantage point.\nELLIS\nIt came down from up there.\nEllis points to higher limbs that have long been broken off. Neckbone walks to the back of the boat and hangs his head over. He finds a gaping hole of gutted wood.\nNECKBONE\nMotor broke off.\nEllis isn't concerned with the motor. His eyes are locked on a covered cabin at the front of the boat.\nELLIS\nWho else knows about this?\nNECKBONE\nJust me and Galen.\nELLIS\nWhat's he think?\nNECKBONE\nHe don't care about it.\nELLIS\nGood.\nEllis walks to the cabin. He pushes a vinyl door open.\nELLIS\n'Cause this boat's ours.\nEllis has to duck down to go inside. Neckbone follows.\n\nINT. BOAT CABIN - CONTINUOUS\nEllis, stooping over, makes his way into the tiny cabin room. Yellow floral curtains, stained with age, cover a row of windows that wrap around the top of the cabin. These provide an odd glow in an otherwise dark, wood paneled space. There is a bench with rotted out cushions to the left. To the right, a mold-covered sink and mirror. Neckbone peers over Ellis' shoulder at the front of the cabin room. A small booth sits to the right across from a miniature toilet partially shielded by an open door.\nNECKBONE\nIt's got its own shitbox\nNeckbone slides back a portion of floral curtain and light streams in. He starts opening small closets and drawers. Ellis plops down on the rotted bench cushions.\nELLIS\nThis is perfect.\nNECKBONE\nHo-Lee-Shit.\nNeckbone stares in an open drawer. He removes a stack of Playboys from the 1980's. Ellis smiles at him. He leans back and props his foot against the sink cabinet across from him. This is home. Neckbone opens the first Playboy. It disintegrates.\nNECKBONE\nAw shit.\nAs he scrambles to gather the fallen pages, Ellis notices a dried BOOT PRINT next to his foot. He lowers his shoe from the cabinet leaving a smaller, muddy print of his own. He leans in to examine the larger print. The impression of a CROSS has been left in the heel.\nNECKBONE\nHer tits are so small.\nEllis reaches out and traces his finger in the groove of the cross marking. His eyes narrow as he re-surveys the cabin. On the table across from the toilet, he notices several empty cans of Beanie Weenie. In the booth, he sees a grocery bag. Ellis slowly raises up and goes over to it.\nELLIS\nNeck.\nNECKBONE\nLook at that beave. You gotta see this.\nEllis reaches out for the plastic bag. His fingers pull back the edges to reveal its contents: one can of unopened Beanie Weenie and half a loaf of BREAD.\nELLIS\nNeck.\nEllis reaches for the bread and gives it a squeeze. It's FRESH. Ellis freezes.\nNECKBONE\nWhat?\nELLIS\nSomeone's here.\nNECKBONE\nWhat?\nEllis holds the loaf of bread up to Neckbone.\nELLIS\nSomeone's livin' here.\nNeckbone sees the grocery bag. His eyes widen. The boys are stone frozen. They listen for other sounds. Silence. BEEP! BEEP! BEEP! Both boys flinch at the sharp sounds. Neckbone's hand flies to cover the alarm on his wristwatch.\nNECKBONE\nShit.\nELLIS\nWe gotta go. I can't be late.\n\nEXT. BASE OF BOAT TREE - MOMENTS LATER\nThey drop out of the tree and hit the ground running.\n\nEXT. ISLAND WOODS/CREEK - MOMENTS LATER\nThe boys' feet rush across the tree trunk bridging the creek.\n\nEXT. ISLAND SHORE - MOMENTS LATER\nThey launch out of the treeline and sprint to their boat. Neckbone grabs the side and starts pushing the boat to the water. Ellis slings his backpack in and joins him. Suddenly, Ellis straightens up, leaving Neckbone to struggle.\nNECKBONE\nWhat are you doing?\nEllis stares at a muddy boot print, cross in the heel, stamped in the center of their boat. He looks back to the treeline, then down the shore. He looks to his feet. The boys' shoe prints make chaotic patterns in the mud. Larger boot prints lead off down the shoreline.\nNECKBONE\nWhat is it?\nELLIS\n(pointing)\nI saw that same boot print up in the tree. It has a cross in the heel. Somebody's been in our boat.\nNECKBONE\nShit. Let's go.\nEllis begins following the boot prints around the shoreline.\nNECKBONE\nWe gotta go if you wanna make it back.\n(no response)\nYour dad's gonna kick our ass. It'll take twice as long goin' up river.\nELLIS\nHold it.\nEllis stops and points ahead of them.\nELLIS\nUp there. They stop.\nNeckbone takes the lead, walking up to the last boot print. They appear to vanish.\nNECKBONE\nWhere the hell'd he go?\nELLIS\nI don't know.\nNeckbone turns and freezes. A MAN has appeared in the distance behind Ellis. He stands between the boys and their boat. Ellis notices the look on Neckbone's face and turns. He flinches at the sight of the Man. MUD(38) stands near the boys' boat holding a pink, child's fishing pole with cartoon characters on it. He stares back at them and casts his fishing line into the water.\nNECKBONE\nShit. You know that guy?\nELLIS\nI've never seen him before.\nNECKBONE\nShit.\nMud, not taking his eyes off the boys, slowly reels in his line. His hair is a wild mop that leads to two weeks of growth on his face. With a cigarette clinched, he cracks a smile revealing a MISSING CANINE. He holds a hand in the air as if to wave.\nNECKBONE\nShit.\nNeckbone slowly raises his hand up to wave back. Mud wears jeans and cowboy boots. His filthy button-up shirt looks like it hasn't left his body in years. He breaks his stare with the boys. Continuing to reel in his line, he walks over to them.\nMUD\nWhat you say?\nThe boys don't respond. Mud walks past them and casts again.\nMUD\nHelluva thing.\nELLIS\nWhat's that?\nMud takes the cigarette from his mouth. A tattoo of a snake's head covers the top of his right hand. Two large cotton blossoms spill out of its jaws.\nMUD\nBoat in the trees. It's a helluva thing.\nMud continues walking down the shoreline, reeling in his bait. The boys follow, tentatively.\nELLIS\nYou talkin' 'bout our boat?\nMUD\nI'm talkin' about my boat.\nNECKBONE\nWe found it.\nMUD\nYou found it with me livin' in it. Possession is nine tenths of the law.\nNECKBONE\nSo?\nMUD\nDon't tell me you boys are from Mississippi?\nELLIS\nNo.\nThey watch as he grabs the bait at the end of his line and spits on it. Then, tucking the pole under his arm, he ties a lock of his hair into a knot. He finishes this process with another cast.\nELLIS\nYou got crosses in your heels.\nMUD\nNails. Shaped liked crosses.\nELLIS\nWhat for?\nMUD\nWard off evil spirits. A man I called an Indian but was Meskin said they were Seven-league boots worn by the seventh son of a seventh son. Told me it'd turn me into a werewolf but that's a lie. I don't know nothin' about that.\nEllis, confused, won't take his eyes off the man.\nMUD\nThey just good luck, but so far they ain't been workin' too well.\n(missing tooth smile)\nWhat's your name?\nMud seems easy to smile, which softens his otherwise coarse look. His words spill from the mouth rapidly, without much thought for punctuation. Neckbone, emboldened by these facts, steps forward to answer.\nNECKBONE\nI'm Neckbone, he's Ellis, and mister you may be stone ass crazy but I know you're not the owner of that boat, not for nine tenths of nothin'.\nMUD\nNeckbone? That's a real handle son. Where ya'll from?\nNECKBONE\nWhat do you care where we're from?\nELLIS\nDeWitt.\nNeckbone looks at Ellis, frustrated by his friend.\nMUD\nArkansas boys. Ya'll had me worried for a second.\nMud, pleased by this news, tucks the fishing pole under his arm and holds out a hand to shake. Ellis stares at the hand, unsure. He takes it reluctantly.\nELLIS\nWe s'posed to know you?\nMUD\nI doubt it. I grew up 'round here, but I've been gone awhile.\nELLIS\nWhere around here?\nMUD\nDifferent places. Spent a lot of time back up near the White.\nELLIS\nYou know Shelly's Oxbow?\nNeckbone can't believe his friend is offering this up.\nNECKBONE\nEllis. We gotta go.\nMUD\nI know it. Guy named Tom Blankenship used to live back in there.\nELLIS\nHe still does. His boat's cross from mine.\nMud smiles.\nMUD\nAin't that somethin'.\nIn one motion, Mud flicks his cigarette away and grabs a pack out of his shirt pocket.\nMUD\nI like you two. You remind me of me. And seeing how you boys are from Arkansas and we know some people and sounds like we all from the same place I'd say we can make a deal here about somethin'.\nELLIS\nA deal for what?\nMUD\nFood. Food for a boat.\nNECKBONE\nThis guy's a bum Ellis. Come on.\nMud's smile vanishes. Neckbone begins to walk off but begrudgingly stops when Ellis starts back in.\nELLIS\nWhy don't you go get your own food?\nMUD\nI would if I could, but I told somebody I'd meet 'em here. So I'm stuck for now and what I got's runnin' low.\nNeckbone walks back and pulls Ellis by the arm.\nNECKBONE\nHe's a bum Ellis, let's go.\nMud lays a serious look down on Neckbone.\nMUD\nI'm no bum. I got money. You can call me a hobo 'cause a hobo'll work for his living and you can call me homeless 'cause that's true for now, but if you call me a bum again I'll have to teach you somethin' about respect that your daddy never did.\nNeckbone's confidence recedes. Ellis stands his ground.\nELLIS\nWhen they show up, you'll leave?\nMud begins fishing again.\nMUD\nYeah.\nELLIS\nAnd when you leave, that boat's ours?\nMUD\nYeah.\nEllis studies Mud's face, clothes, tattoos. He's thinking about it. Mud pauses from fishing to make eye contact.\nMUD\nI'm in a tight spot. I just need a little help.\nELLIS\nWe gotta go.\nWith that, Ellis turns to leave. The boys walk briskly back to their boat. Ellis looks over his shoulder to see Mud making another cast with his fishing pole.\n\nEXT. MISSISSIPPI RIVER - MOMENTS LATER\nEllis motors them away from the island.\nELLIS\nYou get his name?!\nNECKBONE\nNo!\nEllis looks back. Mud has disappeared.\n\nEXT. ELLIS' HOUSEBOAT - DAY\nSenior heaves an enormous, white cooler into the bed of his weathered pick-up truck. The truck is parked at an angle on a concrete boat ramp next to their houseboat. The bed of the truck is jam-packed with six of the big, white coolers. The SOUND of a dirt bike rattles through the trees. Senior looks up, wiping his brow with a handkerchief. Ellis leaps out of the treeline and runs to the pick-up. His hands hit his knees, out of breath.\nELLIS\nI'm sorry.\nSENIOR\nWhere you been?\nELLIS\nNeck and I got caught up helpin' Galen.\nSENIOR\nYou're s'posed to be helpin' me. I had to load this myself.\nELLIS\nI know, I'm sorry.\nSENIOR\nJust get in the back. Can't be later than we are.\nELLIS\nYessir.\nSenior flips up the tailgate. Ellis hops up the wheel well and into the bed of the truck. He steadies himself on one of the coolers as his father pulls away.\n\nEXT. DEWITT/MONTAGE - DAY\nSERIES OF IMAGES: -Ellis looks around as he rides in the bed of the pick-up truck. He's propped up on a cooler against the back window. The truck works its way down a two-lane highway. A20 -Driving, they pass a marina junkyard filled with old boats A20 and sailing paraphernalia. B20 -Downtown Dewitt. A gas station. A Clinic. Rows of red B20 brick buildings, some abandoned, a small furniture store. C20 -Parked, Ellis fills a grocery sack up with Ziplock bags fullC20 of white fish and ice out of the coolers. -He hops out of the truck and runs the sack of fish to the front door of a house. An elderly black man waits there.\n\nEXT. SONIC DRIVE-IN - DAY\nEllis sits in the bed of the truck eating a chili dog. Senior is up front wolfing down a cheeseburger. A GROUP of TEENAGERS are gathered around a CLUSTER of parked cars in the corner of the lot. They meander between the vehicles, smoking, gossiping, passing around a bottle of Boone's Farm. Ellis watches them. MAY PEARL(16) appears in the middle of the Group laughing with her GIRLFRIENDS. She's pretty and physically more mature looking than Ellis. He watches as a SKINNY KID takes his ballcap off and puts it on May Pearl's head. She sniffs the cap, gags and tosses it back at him. Her friends laugh.\nSENIOR\nLet's go son.\nEllis crumples the wrapper to his finished hotdog and jumps down from the bed of the truck.\n\nI/E. SENIOR'S TRUCK/TWO-LANE ROAD - MOVING - DAY\nEllis rides up front with his father. Senior is a reserved man, older than Ellis' mother by several years. He's got thinning hair under the cap that only leaves his head when he sleeps. He reaches into his shirt pocket and fishes out a fold of cash. He slips out a five dollar bill and hands it to Ellis.\nELLIS\nIt's s'posed to be ten.\nSENIOR\nIt's ten you do your share. I loaded this mornin'. That makes it five.\nEllis begrudgingly stuffs the five in his jeans.\nELLIS\nYou drop me at Neck's?\nSenior checks his pants pockets, feels around under his seat.\nSENIOR\nHadn't you seen enougha him today?\nELLIS\nSaid he had something for me.\nSENIOR\nYou see anymore Ding Dongs over there?\nEllis checks under his seat and pulls out a half-empty box of Ding Dongs. Hands one over to his father who rips the package with his teeth.\nELLIS\nWhat'd Momma wanna talk to you about?\nSENIOR\nWhat?\nELLIS\nThis mornin', what'd she wanna talk with you about?\nSENIOR\nYou spy on me in my own house?\nELLIS\nI wasn't spyin', just heard ya'll.\nSENIOR\nThat's your mother's business.\nSenior makes this his answer, eats the Ding Dong.\n\nEXT. NECKBONE'S TRAILER - DAY\nNeckbone sits on the front steps of his trailer reading a comic book. The muffled sound of the Beach Boys' \"Help Me Rhonda\" plays off a record inside. Senior's truck pulls away as Ellis walks up the entrance to the trailer park.\nELLIS\nI came by for that book.\nNECKBONE\nWhat book?\nELLIS\nYou said Galen had a book might help me out.\nNECKBONE\nAw, yeah. We gotta give it a minute. You hear that music?\nELLIS\nYeah.\nNECKBONE\nThat means he's doin' it. That's his doin' it song.\nEllis takes a seat next to Neckbone. They listen to the song, slightly craning their necks to pick up on any other sounds. There are none.\nELLIS\nYou know who it is?\nNECKBONE\nWhoever's drivin' that white Dodge.\nNeckbone motions to a beat up Dodge Shadow in the yard.\nELLIS\nYou tell Galen 'bout this morning?\nNECKBONE\nNah. You tell anybody?\nELLIS\nNo.\nNECKBONE\nThat guy was crazy.\nELLIS\nMaybe. I don't know. I think he just needed some help.\nNECKBONE\nWell he can swim his ass off that island and get some.\nELLIS\nI think I'm gonna go back, take him some food.\nNECKBONE\nWhy?\nSuddenly, the music from inside stops. Footsteps approaching and the trailer door flies open, almost hitting the boys. A GIRL(28) bursts out down the steps, straight to her car. She wears tight jean-shorts and is buttoning a white shirt. She stops and turns back to the boys.\nGIRL\nYou're Neckbone right?\nNECKBONE\nYeah.\nGIRL\nYou look like a good enough kid. A word of advice, don't grow up to be like your shit heel uncle.\nThe boys can't take their eyes off her cleavage revealed under her half-buttoned shirt. A necklace with three misshapen pearls hangs from her neck.\nGIRL\nHey!\nShe snaps the boys' attention up to her eyes.\nGIRL\nYou hear me? You treat a woman like a princess. Got it?!\nNECKBONE\nYeah.\nThe trailer door opens and GALEN(36) emerges. He's a big, lumbering guy wearing a full-body wet suit pulled halfway down. A faded mermaid tattooed in the middle of his chest.\nGALEN\nCome on baby.\nGIRL\nI'M A GODDAMN PRINCESS!!!\nThe Girl yanks off the necklace and hurls it at Galen. He brushes fingers through his thick mustache.\nGALEN\nThat's uncalled for.\nHe walks out to her. She heads for the Dodge Shadow.\nGALEN\n(trailing off)\nA lot of people are comfortable with that kind of thing in the bedroom. Some people aren't. We know that about you now...\nEllis sees one of the misshapen pearls at his feet. He picks it up and holds it to the sun.\nNECKBONE\nPearls. Galen finds 'em in some of the mussel shells. Most of 'em ain't worth dick, but he likes to make necklaces for the girls. Come on, let's get that book.\nNeckbone walks into the trailer. Ellis stands up and retrieves the other two pearls out of the dirt. He crams them in his pocket and follows Neckbone inside.\n\nINT. NECKBONE'S TRAILER - CONTINUOUS\nThe trailer is decorated in the filth of a true bachelor pad. Neckbone makes his way to a bedroom. He tosses clothes and trash around to get to what he's looking for. A cardboard box. He pulls the box onto the bed and sifts through.\nNECKBONE\nI don't want you goin' back out there by yourself. That river's scary enough with two people, and I don't trust that guy.\n(finds something)\nHere it is.\nHe takes out a hardback book. The slip reads, \"The Confident Confidant, communicating with the opposite sex.\"\nNECKBONE\nGalen said this really turned things around for him.\nELLIS\nThanks.\nEllis flips delicately through the manual.\n\nEXT. NECKBONE'S TRAILER - CONTINUOUS\nGalen watches as the Girl's Dodge Shadow pulls away. The boys step out of the trailer.\nNECKBONE\nYou really going back out there?\nELLIS\nI think it's the right thing to do.\nNECKBONE\nWell...I'll be over in the mornin' then.\nGalen, his thumbs tucked under his armpits, walks back to the trailer. He passes the boys and notices the self-help book in Ellis' hands.\nGALEN\n(without stopping)\nThat's a good book. Be sure you do the worksheets in the back. Let's get some dinner Neck.\nGalen's gone inside.\nNECKBONE\nI'll call 'fore I come.\nELLIS\nAll right.\nNeckbone follows his uncle into the trailer. Ellis flips through his new book as he heads out of the trailer park.\n\nEXT. ELLIS' HOUSEBOAT - NIGHT\nBy the time Ellis makes it to his houseboat, the sun has disappeared behind the horizon. He crosses the make-shift plank and enters through a screen door by the carport.\n\nINT. ELLIS' HOUSEBOAT - DEN - NIGHT - CONTINUOUS\nMary Lee flinches when she sees Ellis come through the door. Her face is flushed. Senior stands toe to toe with her. They stare at Ellis, who has paused in the doorway. He doesn't say anything, just looks curiously at his parents. Senior storms past Ellis and is out the door. Ellis steps further into the den. Mary Lee tries to straighten herself, patting down her hair and dabbing at her eyes with the back of her hand.\nELLIS\nYou okay momma?\nMARY LEE\nYes.\nShe walks into the kitchen keeping Ellis at her back. She turns on the sink and begins scrubbing at a dish.\nMARY LEE\nDo you need me to fix you somethin'? Have you eaten?\nELLIS\nI'm all right.\nMary Lee shuts off the water and lets the dish rest in the sink. She turns to Ellis.\nMARY LEE\nI'm gonna turn in.\nELLIS\nOkay momma.\nMary Lee slips past him and enters her bedroom. The door closes and Ellis is left alone in the den. It's quiet. He waits, looking at the door his mother just closed. Ellis walks into the kitchen and eases open a cabinet door. Checking over his shoulder, he zips his backpack open and fills it with CANNED FOOD.\n\nEXT. TOM BLANKENSHIP'S HOUSEBOAT - DAY\nHands pump the stock of a high-powered pellet gun. TOM BLANKENSHIP(67), white hair cut high and tight wearing a short-sleeve button up, takes careful aim with the pellet gun. Tom sits in a lawn chair atop the roof of his houseboat. He squeezes his left eye shut. A snake's head pokes out of the water about 15 yards off his boat. The head makes for a target no bigger than a thumb. Tom's left eye snaps open and he fires. The pellet rips through the snake's head. Its body floats to the surface. Tom takes account of his shot as he pumps the air rifle. He scans the water for more targets.\n\nEXT. ELLIS' HOUSEBOAT - CONTINUOUS\nEllis watches Tom Blankenship from across the bayou. Tom's boat sits directly opposite Ellis', separated by 30 yards of muddy brown water. Ellis leans against a post under the carport. His backpack resting at his feet, he holds the Walkie-Talkie in his hand. Senior works behind him washing utensils in the outdoor sink.\nELLIS\nWhat do you know about Tom Blankenship?\nSENIOR\nWhat?\nSenior doesn't turn around from his work at the sink.\nELLIS\nMr. Blankenship, what do you know about him?\nSENIOR\nWhy?\nELLIS\nI don't know. He looks lonely over there.\nSENIOR\nSome people move to this river to work on it, and some move here to be left alone.\nSenior makes his way to the ice machine and begins scooping ice into a large white cooler. Mary Lee emerges from the houseboat dressed for work, a secretarial job. Senior stops what he's doing to watch her. She walks over to Ellis.\nMARY LEE\nLet's sit down for dinner tonight okay? Will you make it home by seven?\nELLIS\nYes ma'am.\nShe walks off the boat without a glance in Senior's direction. He trails her with his eyes before going back to digging in the ice. A29 Ellis looks back at Tom. The Walkie SQUAWKS out several A29 loud BEEPS. Ellis crams it in his backpack and runs off the boat.\nELLIS\nBye Dad.\nSenior holds a hand up but never looks up from his work.\n\nEXT. ISLAND SHORE - DAY\nWater laps at the shore of the island. Ellis and Neckbone drag their boat onto the muddy bank.\nNECKBONE\nWhere you think he's at?\nELLIS\nI guess we should try the boat.\nThey head for the treeline.\n\nEXT. BASE OF BOAT TREE - DAY\nThe boys emerge from the woods, their attention focused up to the boat hovering in the tree some twenty feet above them. Ellis notices the remnants of a fire on the ground. A log pushed up next to it for a seat. Ellis kicks at the ash.\nELLIS\nLooks like he made camp.\nNECKBONE\n(looking up to the boat)\nYou think he's up there?\nMUD (O.S.)\nI didn't know if ya'll'd come back.\nThe boys spin around. They survey the woods but no one's there. Their eyes drift up to find Mud sitting in a tree, his legs dangle off a branch.\nELLIS\nWhat're you doin'?\nMud bounds down, stepping from limb to trunk to the ground. It's an agile move.\nMUD\nI try to never sleep in the same place twice. What you got there?\nMud motions with his head to the backpack in Ellis' hand. Ellis holds it out to him.\nELLIS\nI brought you some food.\nMud looks at the backpack, but doesn't move.\nELLIS\nGo on.\nMud takes the backpack and walks over to the ashes of his campfire. He squats with his back to the boys and unzips the bag. Hunkered down, Mud's shirttail rides up over the lip of his jeans revealing a PISTOL at his backside. Ellis sees this and motions to Neckbone. The boys stand their ground, cautious.\nMUD\nI owe you boys.\nKeeping the bag in hand, Mud takes a seat on the stump behind him. He pulls out a selection of canned food; pumpkin pie filling, evaporated milk, green beans. He grabs the beans.\nMUD\nI was gonna try runnin' a trot line today. See how far that'd get me.\nMud removes a good-sized folding knife from his pocket and makes short order of the can lid. He tips the can up letting the beans fall into his mouth. Juice flows down his cheeks.\nMUD\n(a mouthful)\nI'd been rationin' what I had...green bean never tasted so good.\nThe can is quickly emptied, juice running down Mud's chin. He straightens his back, choking down the final swallow. He sees the boys staring at him and catches himself.\nMUD\nI appreciate it.\nELLIS\nYeah.\nNECKBONE\nWhat you got that pistol for?\nMud wipes off his chin, realizing the boys have been studying him. He closes the knife and tucks it in his pocket.\nMUD\nFor protection.\nMud gets up, heads for a duffel bag tucked under a nearby tree. The boys pivot, keeping Mud in front of them. Mud notices.\nMUD\nYa'll don't have to be afraid of me. I have two ways to protect myself out here. This shirt, and this pistol.\nMUD\nThere are fierce powers at work in the world boys. Good, evil, poor luck, best luck. Men have to take advantage where they can.\nMud removes a spool of fishing line and a small plastic tackle box. He scoops up the duffel bag and heads into the woods.\nMUD\nYa'll comin'?\nNeckbone looks to Ellis, who walks after Mud into the trees.\nELLIS\nWho's this guy you're waitin' on?\nMUD\nI'm not waitin' for a guy. I'm waitin' on my girlfriend. Juniper.\nNECKBONE\nIs she hot?\nMUD\nShe's beautiful.\nNECKBONE\n(coughing)\nBullshit.\nMUD\nBest lookin' girl I've ever seen. Hands down. Blonde hair. Long legs. She's like a dream you don't want to wake up from. She's got birds tattooed on her hands, here.\nMud stops, points to the area on the top of his right hand, between his thumb and pointer finger.\nMUD\nNightingales. Good luck birds.\nNECKBONE\nThat a good luck snake?\nMUD\nNo it is not.\nNECKBONE\nI hate snakes.\nMUD\nThat's because God made them for us to fear.\nMUD\nIt's a thing we knew to be afraid of before we even got into this world.\nThey emerge from the woods onto the downstream coast of the island. It looks different than the other shoreline. A large swath of red clay angles sharply into the water.\nMUD\nCherokee would wrap snake skin around their pregnant women's bellies. Induce labor, scare the child out. Here.\nHe fetches a length of rope out of the duffel bag and tosses it to Neckbone.\nMUD\nSet that 'round your bed at night. Snake won't cross braided rope.\nNECKBONE\nThanks.\n(nods to Mud's tattoo)\nSo what's that for then?\nMud walks to a tree branch that has grown out over the bank, nearly resting in the water. He sets a trot line from it.\nMUD\nA reminder. Don't get bit. I was 10, swimmin' 'bout a mile up from here. Me and Juniper. Sonofabitch swam right up under me, bit me just below the armpit. June got me out, got me to a clinic. Doctor said I shoulda been dead in twenty minutes. Took us an hour just to get back to town.\nNECKBONE\nWhat'd they do?\nMUD\nGave me antivenom. For a cotton mouth. See here.\nMud shows the tattoo on top of his right hand. He points out the two cotton blossoms bulging from the snake's mouth.\nMUD\nProblem with antivenom is they can only give it to you once. It's made from horse blood. Your body would reject it a second time. The cure ends up being more dangerous than the poison.\nELLIS\nWhat happens if you get bit again?\nMUD\nI die, or just sweat it out.\nNeckbone, not buying it, looks at Ellis and taps his watch.\nELLIS\nWe gotta go help Neck's uncle.\nMUD\nAll right.\nELLIS\nYou never said your name.\nMUD\nMud. You can call me Mud.\nELLIS\nMud?\nMUD\nM-U-D.\nNeckbone tosses the braided rope back. It lands at his feet.\nNECKBONE\nHere you go, Mud. I think you need that worse than I do.\nMUD\n(smiling)\nI'll be all right.\nThe boys disappear back into the trees.\n\nINT. GARY'S ELECTRIC SHOP - DAY\nA switch clicks \"ON\". BLINDING LIGHT emits from two FLOOD LAMPS encased in plastic shells. The switch clicks \"OFF\" and the lights dim to the dull orange glow of their filaments.\nGALEN\nThey look bright enough.\nThe owner of the shop, an ELECTRICIAN(62), holds up a metal bar with the lamps affixed by bolts at either end.\nELECTRICIAN\nShould be. I rigged DC power up through marine batteries. Makes it portable. Gave you a rigging bar to set on your shoulder.\nGALEN\nSo you really think these'll work under water?\nELECTRICIAN\nIn theory.\n\nEXT. GARY'S ELECTRIC/PIGGLY WIGGLY PARKING LOT - CONTINUOUS\nEllis and Neckbone sit on the tailgate of Galen's truck. The Gary's Electric sign hangs behind them. Neckbone focuses on a carburetor in his hand. Ellis stares across the street at the Piggly Wiggly parking lot where the roving GROUP of TEENAGERS have collected for the afternoon. The Teenagers are up to their typical gossip and minor offenses. Ellis has zeroed in on May Pearl again.\nNECKBONE\nYou start datin' I bet her dad'll give you a free pick-up truck.\nELLIS\nI don't care about that.\nEllis watches as the same Skinny Kid from before tries to flirt with her. She's not having it. He pops her bra strap before landing the final straw, a smack on her ass. She turns and swats at him. Seeing this, Ellis is on his feet and crossing the street.\nNECKBONE\nWhat's goin' on?\nEllis doesn't turn back. Neckbone reluctantly sets the carburetor down and follows.\n\nEXT. PIGGLY WIGGLY PARKING LOT - CONTINUOUS\nMAY PEARL\nStop it!\nShe shoves the Skinny Kid, but he continues laughing.\nELLIS (O.S.)\nHey.\nEllis taps the Kid on the shoulder. As he turns, Ellis PUNCHES him in the face. The Kid, completely taken off guard, stumbles and trips to the ground. Some older, tougher looking GUYS see this and begin laughing at him.\nOLDER KID\nHoly shit Pryor, get off your ass.\nPryor collects himself and gets off the ground. Ego bruised, he walks off mumbling. The Older Kids keep riding him. May Pearl sizes up Ellis.\nMAY PEARL\nYou didn't have to do that.\nELLIS\nHe was messin' with you.\nMAY PEARL\nDo I know you?\nELLIS\nI'm Ellis. That's Neck.\nNeckbone waves by wagging a finger in the air.\nELLIS\nWe went to Junior High with you, before you went to High School.\nMAY PEARL\nHow old are you?\nELLIS\nFourteen.\nMAY PEARL\nFourteen? You know you just punched a Senior?\nELLIS\nSo?\nMAY PEARL\nYou think you're pretty tough.\nEllis shrugs, not wanting to deny it.\nMAY PEARL\nI'm May Pearl.\nELLIS\nI know.\nMAY PEARL\nWhat else do you know?\nELLIS\nNothin'.\nShe smiles. Something catches Neckbone's attention. He cranes his neck forward to get a better look.\nNECKBONE\nSon of a bitch...Ellis?\nEllis breaks away from his conversation with May Pearl.\nELLIS\nWhat?\nNECKBONE\nLook.\nNeckbone nods to a cheap motel called the EXECUTIVE INN located on the opposite side of the Piggly Wiggly parking lot. JUNIPER(35), a truly beautiful woman squeezed into tight jeans and a low cut top, makes her way from the motel parking lot to the Piggly Wiggly. She passes in front of the cluster of Teenagers. All of the boys have taken note. Some cat calls from the crowd. Juniper, without facing the Teenagers, gives them the finger.\nNECKBONE\nYou ever seen that girl before?\nELLIS\nNo. Did you see her hands?\nMAY PEARL\nHello?\nEllis catches himself and turns back to May Pearl.\nELLIS\nSorry. We know a guy we think might know that girl.\nMAY PEARL\nOh.\nA GIRLFRIEND(17) of May Pearl's calls out to her.\nGIRLFRIEND\nMay Pearl! Let's go!\nMAY PEARL\nOkay!\nELLIS\nI guess I'll see you.\nMAY PEARL\nIf you can find my phone number, you should call it.\nELLIS\nI can find it.\nMay Pearl walks over to her friend. Ellis watches her go, but then remembers Juniper. He turns to Neckbone.\nELLIS\nWhere'd she go?\nNECKBONE\nInto the Piggly Wiggly. She came from the motel.\nELLIS\nI'm gonna go see if it's her.\nNECKBONE\nI gotta go check on Galen. We'll pick you up out front.\nEllis heads for the Piggly Wiggly. Neckbone calls after him.\nNECKBONE\nWhat'd she say?\nELLIS\nWants me to call her.\nNECKBONE\nShit.\n\nINT. PIGGLY WIGGLY - DAY\nEllis walks past the grocery aisles looking for the girl. He spots her by the potato chips. He tucks behind a display of stacked cans and watches. Juniper reaches for a bag of chips, birds tattooed on her hand. Ellis smiles. It's her, and she really is beautiful. She turns down the aisle, coming right for him. He pretends to peruse the canned food and notices that it's a big display of Beanie Weenie. He grabs two handfuls as she passes. Ellis takes the cans to an open register. As a CASHIER scans and bags his items, he cranes his neck looking for her. She's disappeared into another section of the store. Ellis pays in crumpled cash. A horn HONKS. He sees Galen's truck idling out front. He grabs the bag and runs out.\n\nEXT. GALEN'S TRUCK/PIGGLY WIGGLY PARKING LOT - CONTINUOUS\nNeckbone waits at the open passenger door.\nNECKBONE\nWas it her?\nELLIS\nIt's her. I saw the tattoos. He wasn't lyin'.\nNECKBONE\n(looking back)\nNo he wasn't.\n\nEXT. ELLIS' HOUSEBOAT - NIGHT\nBy the time Ellis makes it back home, the sun has gone from the sky. He crosses the makeshift plank to board his house.\nSENIOR (O.S.)\nHome for dinner?\nEllis is startled by his father's voice. Senior sits in a lawn chair under the eaves of the carport. He's hidden in shadow, save for a red glow from the tip of his cigarette.\nELLIS\nWhat you hidin' for?\nSENIOR\nI ain't hidin'.\nHe notices Senior tip back a pint of liquor and set it at his feet. Ellis opens the screen door leading inside.\nSENIOR\nCome over here.\nEllis lets the door fall shut and skulks over to a beam that supports the carport. He leans into it.\nSENIOR\nYou know I love you?\nELLIS\nYessir. I know.\nSENIOR\nI work you hard 'cause life is work. You know that?\nELLIS\nYessir.\nSENIOR\nYour Mamma's been talkin' 'bout movin' in town.\nELLIS\nWhat's that mean?\nSENIOR\nShe seems set on it. Wants to separate. She may ask me for a divorce.\nThis hits Ellis like a ton of bricks. He rights himself.\nELLIS\nWhat's that mean for me?\nSENIOR\nIt means enjoy the river son. Enjoy it while you live on it, 'cause this way a life isn't long for this world. Game and fish's 'bout made certain of that.\nELLIS\nBut you and me can still live out here. Game and fish can't take your boat. Not while you're still in it.\nSENIOR\nThe houseboat's in your mother's name. Her daddy give it to her not me. If she wants to leave it, Game and Fish has ever' right to take this boat apart board by board.\nELLIS\nBut that ain't right. You work outta here. We got the ice machine, the traps. What are we supposed to do?\nSENIOR\nLike I said, this is your mother's business.\nELLIS\nI ain't no townie. I ain't livin' like that.\nSenior takes a slow pull off the bottle. Ellis' mind races.\nSENIOR\nI've let you down. A man should be in charge of his own affairs, but I haven't worked it like that.\nELLIS\nBut ya'll are married. Ya'll are s'posed to love each other.\nSENIOR\nI don't know about that anymore.\nEllis is speechless. After a moment, he turns to go inside.\nSENIOR\nEllis?\nHe stops and turns back to his father. Senior tries to express a sentiment he doesn't have the words for. Ellis continues inside.\n\nINT. ELLIS' HOUSEBOAT - DEN - CONTINUOUS\nMary Lee sits hunched at the made dinner table. She runs her finger around the rim of a half empty glass of iced tea. It's a full spread with fried chicken, mashed potatoes, and a salad. The table is set for two. She's been waiting. Ellis lets the front door slam shut behind him. She sits up.\nMARY LEE\nYou're late.\nEllis doesn't speak, he doesn't look at her. He enters his room and shuts the door. He's heard the news and she knows it. Mary Lee's face drops.\n\nINT. ELLIS' ROOM - CONTINUOUS\nEllis slings his backpack down, pacing the small room. He stops and leans his forehead against the door. The sound of his Mother clearing the table seeps through. He kicks the door, cracking its shitty composite wood. His face flushed and his breathing heavy, he slides to a seat. On the verge of hyperventilating, he stares out the dark bedroom window trying to get control of his breathing. Ellis looks at his backpack. It has spilled open revealing a can of Beanie Weenie. Ellis studies the can. He looks back to the window. His breathing settles. Quickly, he scoops up the backpack and heads out the window.\n\nEXT. MISSISSIPPI RIVER - NIGHT\nIt's pitch black. The only light comes from the moon's reflection off the surface of the water. Ellis, eyes wide, navigates the small boat through choppy black water.\n\nEXT. ISLAND SHORE - NIGHT\nEllis struggles to pull the boat onto shore. Leaving it half in the water, Ellis looks around. No sign of Mud. He sizes up the dark woods. He removes a flashlight from his backpack and shines it down the shorelines. Still nothing. Ellis follows the beam of light into the woods.\n\nEXT. ISLAND WOODS - NIGHT\nEllis stands at the creek that cuts through the island. He can make out a campfire glowing through trees in the distance. A RUSTLING behind him. He swings the light around. Nothing but trees. Ellis takes a deep breath. Finding the log to cross, he shines his light down into the creek. The nest of snakes show their backs.\n\nEXT. BASE OF BOAT TREE - NIGHT\nA campfire burns at the base of the tree. The firelight illuminates the belly of the boat that rests 20 feet above. Ellis, his flashlight off, crouches behind a tree and watches the campsite. There is no one there. He looks into the black forest behind him, thinks of going back. A twig snaps in the distance and he's back on guard. Ellis nervously scans the woods before finally stepping into the light of the campfire. The SOUND of a gun's hammer drawing back CLICKS behind him. Ellis freezes. Mud emerges from the trees, a .45 extended toward Ellis' back.\nMUD\nEllis?\nEllis, still frozen, slowly turns to him. Mud huffs out a laugh and drops the pistol to his side.\nMUD\nWhat're you doin' out here?\nEllis slowly raises the backpack in his hand.\nELLIS\nI got you some Beanie Weenie.\nMud tucks the pistol into his jeans and accepts the backpack.\nMUD\nI appreciate that, but I didn't expect you out here at night.\nMud takes a seat on the log and transfers the cans into his own duffel bag. He holds up a can of the Beanie Weenie.\nMUD\nLook at that. You really know how to do somebody right. I didn't wanna say anything before, but it's hard to make a meal out of pumpkin pie filling.\nELLIS\nThat's all my mom had.\nMUD\nI'm not complainin'.\nELLIS\nCan I get one of those?\nMUD\nThey're yours to begin with.\nEllis sits as Mud hands him a can. They eat.\nELLIS\nI missed my dinner.\nMUD\nThat's good right?\nELLIS\n(mouth full)\nYou been out here too long.\nMud laughs. Finishing the can, he takes a half-smoked cigarette from his shirt pocket. He pulls a twig from the fire for a light.\nELLIS\nThe girl you're waitin' on, she's your girlfriend?\nMUD\nJuniper. Yeah.\nELLIS\nHow'd you meet her?\nMUD\nWe grew up together.\nELLIS\nDo you love her?\nMUD\nI do. The first time I saw her was on this river. Just up from here. She saved my life.\nELLIS\nFrom the snake bite.\nMUD\nThat's right. I was younger than you are now, but when I came to in the hospital and she was there, it was like the world split open, came back together new. Everything changed. I knew from then on I'd do anything for her.\nELLIS\nWhy aren't ya'll married?\nMUD\nI've asked. Several times. Marriage just doesn't work for some people.\nEllis thinks on this.\nELLIS\nMy dad says my parents may be gettin' a divorce.\nMUD\nI'm sorry to hear that.\nELLIS\nIf it happens, and my mom moves us off the river, they say the government can come take our boat away.\nMUD\nWho says that?\nELLIS\nEverybody. They passed a law so you can't sell your boat. Can't rent it. If the owner leaves, they got you. Game and Fish want 'em off the river.\nMUD\nI've never been one to trust the government on matters of personal property, but if your parents love each other, there's always a chance.\nMUD\nPeople just sometimes forget why they fell in love in the first place.\nEllis watches Mud toke the cigarette nub. He's really getting all he can from it.\nELLIS\nI saw Juniper today.\nMUD\nWhat?\nELLIS\nI didn't talk to her, but she had the birds tattooed on her hand like you said. You were right. She's pretty.\nMud stands, surprised by the news. He walks to the other side of the fire so his back is to the boy.\nMUD\nWhere'd you see her?\nELLIS\nAt the Piggly Wiggly. I think she's stayin' at a motel by there. The Executive Inn.\nMud looks at Ellis through the fire. He takes a drag and smiles at the boy. The hole from his missing tooth shows.\nMUD\nThat's good news. Real good news.\nMud paces, slowly. He's thinking.\nELLIS\nDoes she know you're out here?\nMUD\nNo. We picked another place to meet. Couple days from now.\nMud walks back to the log and sits.\nELLIS\nYou wanna go tonight? I can give you a ride up river.\nMud looks at Ellis, nodding.\nMUD\nTomorrow. I'll go tomorrow.\nELLIS\nYou need me to come get you?\nMUD\nNaw. I can manage. Hell I got out here didn't I?\nEllis smiles. They sit in silence. Ellis stares up at the boat hanging over them, its peeling hull lit by the firelight. Mud pinches the ash from the end of his cigarette, places the stub back in his shirt pocket. Noticing Ellis, Mud tilts his head back to take in the boat.\nMUD\nIt's a helluva thing.\nMud pauses, his mind working on something.\nMUD\nHelluva thing.\nThe two sit by the campfire staring up at the suspended boat.\n\nINT. ELLIS' ROOM - MORNING\nMary Lee knocks on her way into the bedroom.\nMARY LEE\nTime to get up.\nShe begins picking clothes off the floor. Ellis, in bed, raises up on his elbows. He's tired from a late night.\nELLIS\nIt's Saturday.\nMARY LEE\nI'm going to Wal-Mart. I need you to come with me.\nELLIS\n(moaning)\nMom.\nMARY LEE\nCome on.\nShe pulls the covers off of him.\n\nI/E. MARY LEE'S CAR/INTERSTATE - DAY\nThe two ride in an awkward silence. Ellis stares at the farmland passing by outside as Mary Lee steers the compact Toyota down a four-lane interstate.\nMARY LEE\nEllis I know what your father told you last night. That's not what I wanted. I wanted to sit you down and talk about it.\nELLIS\nWhat do you wanna talk about? You want to leave and that means they can tear up our house.\nMARY LEE\nI've spent my whole life on that boat. I don't think it's too much to ask for your...\nMary Lee is interrupted by a line of traffic backed up in front of her. She slows to a stop.\nMARY LEE\nOh no. I hope no one's hurt.\nThere are flashing police lights up ahead. Ellis tries to see what's going on but can't make anything out past the line of cars. They inch forward.\nMARY LEE\nI'm just saying there are two sides to this. I haven't made up my mind about anything because I want you to be involved in my decision, but I need a change Ellis. I deserve one.\nAs they approach the flashing lights, they see three State Trooper vehicles parked to funnel traffic down to one lane. The STATE TROOPERS stop each car, checking the trunks.\nMARY LEE\nI think they're searching people.\nA Trooper signals Mary Lee to pull up to a stop. Two other Troopers approach her vehicle. The first begins looking in her back windows as the second leans down to speak to her. She lowers her window.\nTROOPER\nCan you open the trunk please ma'am?\nMARY LEE\nOf course.\nMary Lee pulls the lever by her knee, and the second Trooper walks around the back of the car.\nTROOPER\nHave you picked up or seen any hitchhikers today ma'am?\nMARY LEE\nNo sir.\nThe Trooper produces a flier with a color photo on it.\nTROOPER\nHave you seen this man?\nMARY LEE\nNo sir.\nThe Trooper leans over and holds the paper out to Ellis.\nTROOPER\nSon, have you seen this man?\nEllis looks at the photo. It's of Mud. He looks exactly the same as he did last night, down to the shirt. In the photo, Mud's smiling, revealing his missing tooth.\nELLIS\nNo.\nTROOPER\nWe've had reports that he's in this area. If you see him, call 9-1-1 immediately.\nMARY LEE\nWe will officer.\nThe Trooper pulls his head from the window.\nELLIS\nWhat'd he do?!\nThe Trooper bends back down and looks at Ellis.\nELLIS\n(more calm)\nWhat'd he do?\nTROOPER\nMove along please.\nMary Lee pulls forward and speeds back up on the interstate.\nMARY LEE\nMy lord.\n(rolls up her window)\nMARY LEE\nHow would you feel about moving into town with me?\n(no answer)\nPlease don't tell your father this, but I've been looking at a couple of places. I know it would be a big adjustment for you, but it might end up being something you like. You know living on the river isn't exactly everyone's idea of the good life. Ellis?\nHe looks at her.\nMARY LEE\nAre you even listening to me?\n\nINT. ELLIS' ROOM - DAY\nEllis busts through the door, grabs his backpack and is gone.\n\nEXT. HOUSEBOAT - CONTINUOUS\nEllis is off the houseboat and running up the bank. He heads down the dirt path, grabbing the Walkie Talkie out of his backpack.\nELLIS\n(into the Walkie)\nNeck! Neck, pick up!\n\nEXT. RIVERBANK - DAY\nEllis removes branches and readies the flat bottom boat to launch. The sound of Neckbone's bike arrives before he does. Neckbone crests the sand covered slope. He dismounts and starts to chain the bike up to a tree trunk.\nNECKBONE\nSo what's the big deal?\nELLIS\nMy mom and I were headed to Wal- Mart on 165. There was a roadblock with state troopers. They searched our car and showed us a picture of Mud. They're lookin' for him.\nNECKBONE\nI knew it! I told you that crazy sonofabitch was trouble. Did they say what he did?\nELLIS\nNo.\nNECKBONE\nSo'd you tell 'em where he is?\nELLIS\nNo. That's why I called you. We gotta warn him.\nNECKBONE\nWhat?\nELLIS\nHe's goin' to get Juniper today. I went out there last night and told him where we saw her. He needs to know people are lookin' for him.\nNECKBONE\nYou think he doesn't know that already? Jesus Ellis, why do you think he's on that island? You don't even know what he's wanted for.\nEllis climbs in the boat and Neckbone yanks his shoulder.\nNECKBONE\nEllis! I'm serious. We don't know who this guy is.\nELLIS\nHe loves her Neck. He told me.\nNECKBONE\nI don't give a shit who he loves.\nEllis starts the motor and waits for his friend.\nELLIS\nHe's not dangerous.\nReluctantly, Neckbone throws his leg into the boat.\nNECKBONE\nIt sounds like a shitload of state troopers think different.\n\nEXT. BASE OF BOAT TREE - DAY\nEllis and Neckbone emerge from the woods at Mud's campsite. They scan nearby tree limbs.\nNECKBONE\nNo tellin' where the hell he's been sleepin'.\nELLIS\nHe may already be gone.\nMUD (O.S.)\nHey!\nThe boys look straight up. Mud leans over the edge of the boat above them.\nMUD\nUp here!\nMud drops them a rope with knots tied in it. Ellis starts inching his way up. Neckbone begrudgingly follows.\n\nEXT. BOAT IN TREE - CONTINUOUS\nEllis pulls himself over the edge of the boat. He finds Mud sitting in the swivel chair behind the steering wheel. He writes in an open spiral notebook with a black Sharpie.\nELLIS\nWhat are you doin'?\nMUD\nI'm gonna have to go back on our deal for the boat. I don't feel good about it, but I don't see any other way outta what I'm into.\nNeckbone makes his way on board. Mud has pulled a panel off the steering column. Exposed wires dangle.\nELLIS\nSo you know about the state troopers?\nHe looks up from his notebook.\nMUD\nWhat state troopers?\nNECKBONE\nThe ones spreadin' your picture all over the place. Stoppin' cars on 165 searchin' for your ass.\nMud factors this in and then goes back to writing.\nMUD\nI didn't know about that, but it doesn't surprise me. There plenty of folks lookin' for me right now.\nELLIS\nWhy?\nMUD\nI shot a man. Killed him.\nMud stands and walks to the back of the boat. The boys' eyes follow him cautiously. Mud lifts a hatch at the back that would typically house the batteries and engine wiring. There's nothing left but a hole into the trees. He makes a note.\nMUD\nI'm sorry I didn't tell ya'll sooner, but I was hopin' to be gone before anything came of it. Didn't want you involved.\nMud turns to really face them for the first time.\nMUD\nYa'll have been real good to me. You're the only friends I got out here. If the state troopers have 165 blocked, they'll have others blocked too. I won't get anywhere in a car. I want to try takin' this boat down, see if we can get it in the water.\nEllis and Neckbone stand their ground. They don't say anything. Mud walks back to the steering column. He drops to his knees and fiddles with the wires.\nMUD\nWith a boat like this I can make it to the gulf in two days. I could get anywhere from there. But I'd need a boat at least this big to make it on open water. It's got no title, no owner, nobody lookin' for it. It's my best shot.\nNECKBONE\nWho'd you kill?\nMUD\nIt was a bad piece of business. Ya'll don't need to hear about it.\nELLIS\nI need to hear about it.\nMud sits up. He looks at Ellis, deciding how much to tell.\nMUD\nJuniper made a mistake. She hooked up with a guy. He was no good. His name was Hutchins. Family owns a chain of restaurants down in Texas.\nELLIS\nWhere were you?\nMUD\nI was around, but me and Juniper were on the outs. She met this Hutchins, he sold her on some lies. Got her pregnant. That's when he started showin' who he really was. He dropped June down a flight of stairs after whoopin' her half to death. She lost the baby. He made it so the doctors think she can't have children anymore. There're things you can get away with in this world and things you can't. I tracked him down at a motel just outside of San Antonio. He was there with another woman. That's where it happened.\nMud's done with his story. He goes back to the wiring.\nMUD\nI understand if you can't help me anymore, but I need this boat. And I need to get it in the water fast.\nAfter a moment, he sits up and wipes sweat from his forehead.\nMUD\nI've made a list. Things we'll need. What do ya'll think?\nEllis takes time to consider everything. He looks at Neckbone, who has a disgruntled look on his face.\nELLIS\nYou did it for her? To protect her?\nMUD\nYeah.\nEllis nods. Mud looks over at Neckbone, who still has the disgruntled look on his face.\nMUD\nWhat do you think?\nNECKBONE\nI think you want us to run around, stickin' our necks out, gettin' everything you need, just so you can take our boat.\nMUD\nThat's about it.\nMud removes a cigarette butt and sparks it with a lighter.\nNECKBONE\nWhat do we get out of it?\nMUD\nWhat do you want?\nNeckbone looks to Ellis, judging his bargaining position.\nNECKBONE\nWhat about that pistol?\nMud eyes the boy, pulling on the nub of cigarette.\nMUD\nI only got two things out here worth anything. This shirt...\nMud pulls the pistol from the back of his jeans. Neckbone tenses, but relaxes when Mud splays it out on an open palm.\nMUD\nAnd this pistol. I can't give you the shirt 'cause I need it for protection, but if you help me get this boat in the water, the pistol's yours.\nNeckbone squinches his face in thought, sizing up this trade.\nNECKBONE\nWhat kind is it?\nMUD\nA forty five.\nNECKBONE\nI guess we could work a deal like that.\nNeckbone steps forward to grab the pistol, but Mud puts it back in his jeans.\nMUD\nWe get this thing floatin' first.\nNeckbone looks over at Ellis, who shrugs.\nNECKBONE\nAll right then.\nMud smiles, flashing his missing tooth. He spits in his palm and holds it out to Neckbone. Neckbone, not sure about taking the spit hand, reluctantly shakes. Mud rips a page from the notebook and hands it to Ellis.\nMUD\nYa'll scrounge what you can off this list, but if we're gonna get this done right we'll need more help. Can you fetch Tom for me?\nELLIS\nTom Blankenship?\nMud has smoked down to the filter. He crushes the butt into his palm and puts it back in his shirt pocket.\nMUD\nI was hopin' to let that old assassin stay put, but we'll need him to get things ya'll can't. Can you find him?\nELLIS\nI know where he lives, but I've never spoke to him.\nMUD\nJust tell him my name. He'll know you're serious.\nEllis folds the list up. He and Neckbone start down the rope as Mud goes back to the wiring.\nMUD\nBoys?\n(they pause)\nThanks.\nEllis nods.\nNECKBONE\nDon't lose my pistol.\nThey continue down the rope. Mud continues his work.\n\nEXT. SHELLY'S OXBOW - DAY\nEllis steers to the southern mouth of Shelly's Oxbow, the bend in the river that holds he and Tom Blankenship's houseboats, among others. He grounds the boat just shy of entering the Oxbow and steps over Neckbone to hop onto the bank.\nELLIS\nYou comin'?\nNECKBONE\nI'll watch the boat.\nEllis scans the woods that populate the patch of land wedged between the river and this short tributary.\nNECKBONE\nEllis?\nELLIS\nWhat?\nNECKBONE\nBe careful. Galen always said that old man's crazy.\nNeckbone keeps his seat as Ellis darts into the woods\n\nEXT. TOM'S WOODS - DAY\nEllis prowls around the small pine trees and bushes. He pauses, seeing the entrance to Tom Blankenship's boat. Something moves on the houseboat. Ellis hunkers down behind a bush. He sees Tom wrapping cable onto a metal spool. Ellis is nervous. He checks over his shoulder, nothing but woods. When he looks back to the boat, Tom is gone. In a crouch, Ellis moves closer. Taking a deep breath, Ellis steps out from the cover of the pine trees and heads up a walkway that leads onboard.\nTOM (O.S.)\nWhy you huntin' me?\nEllis flinches. He turns to find Tom Blankenship standing at the edge of the boat.\nTOM\nYou deaf boy? I said why're you huntin' me?\nELLIS\nI ain't huntin you.\nTOM\nWhat's your business here?\nELLIS\nI came to find you. I got a message for you.\nTOM\nYou're Senior's boy.\nELLIS\nYessir.\nTOM\nWhat you got to say he can't tell me himself?\nTom, rusty on pleasantries, brushes past Ellis as he heads inside the boat.\nELLIS\nIt ain't from him.\nEllis, not wanting to follow further, shouts from the planks.\nELLIS\nMUD SENT ME!\nThere is a silence. Then footsteps. Tom reappears.\nTOM\nMud sent you.\nELLIS\nYessir.\nTOM\nWhat do you know about it?\nELLIS\nHe asked me to come get you.\nTom straightens his back. He looks into the woods, searching for something he may have missed.\nTOM\nYour daddy know this?\nELLIS\nNo sir. Mud needs your help.\nTom's mind churns on a series of facts unknown to the boy.\nTOM\nWhere is he?\n\nEXT. RIVER - DAY\nNeckbone bounces in the boat as it shifts in the choppy Mississippi water. His eyes are locked on the back of Tom's head. Tom rides stone faced in the front. Neckbone turns back to Ellis and raises his eyebrows as if to ask, \"What's going on?\". Ellis shrugs.\n\nEXT. ISLAND SHORE - DAY\nEllis runs the boat on shore. Tom splashes into the ankle deep water and helps the boys drag it onto the bank. Ellis takes the lead, walking ahead and scanning the treeline. Mud steps out, just past the shadow of the woods. Ellis turns to Tom and points.\nELLIS\nThere he is.\nTom spits onto the muddy bank and makes his way toward Mud. Ellis and Neckbone stay by the boat and watch. BY THE TREELINE, Mud watches Tom approaching. He corrects his posture and feebly attempts to smooth some wrinkles from his shirt. Tom stops in front of him, his eyes pinched in the sun.\nTOM\nMud.\nMUD\nSir.\nThey stare at each other for a long moment. Neither one flinching. BY THE BOAT, At this distance, the boys can't hear what is being said, but they try and size up the situation through body language.\nNECKBONE\nYou think that's his dad?\nELLIS\nI don't know.\nBY THE TREELINE,\nTOM\nWhere is she?\nMUD\nIn town. Got here yesterday.\nTom lowers his head. Frustrated.\nTOM\nWhy you out here like this?\nBY THE BOAT, The boys see Mud take a seat on a nearby stump. He's explaining something. Tom listens, standing over him.\nNECKBONE\nThey don't look like family.\nEllis watches Mud as he gestures and speaks. He seems different. Younger. Mud stops talking. Tom scratches a hand through his white crew cut. He begins pointing a finger at Mud. His face is flushed and the sound of his voice carries to the boys, though still unintelligible.\nNECKBONE\nHe's really givin' it to him.\nAT THE TREELINE, Mud's head hangs as Tom shouts at him.\nTOM\nYou've spent your whole life followin' that girl! She's run you halfway cross the country and back, and for what? For this, left out on an island beggin' for help. A murderer. A thief.\nMUD\nI ain't no thief.\nTOM\nWhat would you call it then? Don't even mention draggin' those boys into this. Do you have any idea what you're doin'?\nWaits for a response, but Mud gives none.\nTOM\nI'm ashamed of you.\nMud looks up at him.\nTOM\nDon't expect help from me. There's none to be given.\nAT THE BOAT, They see Tom turn his back on Mud and head toward the boat. Mud doesn't protest; he doesn't move. Tom brushes past Ellis.\nTOM\nI'm ready.\nTom shoves the boat back into the water. Neckbone helps him. Ellis looks back at Mud, who still hasn't moved from his stump. He goes to him. Tom sees this and stops pushing.\nTOM\n(to himself)\nDammit.\nAT THE TREELINE, Ellis stops a good six feet back from where Mud sits.\nELLIS\nYou all right?\nMud raises his head.\nMUD\nLooks like we're on our own.\nHe stands and takes a folded piece of paper from his shirt.\nMUD\nI didn't want you bein' the one to do this, but I can't see a way around it. I need to get this letter to Juniper. Could you take it to her for me?\nELLIS\nYeah.\nMUD\nYou have to be careful. You can't just walk up and knock on her door, you hear me? You have to watch yourself.\nELLIS\nI can handle it.\nEllis steps forward and Mud hands over the note. Ellis takes it and walks back to the others. AT THE BOAT, Tom stares at Ellis as he climbs on board. Tom looks back at Mud, who is watching him. He gives the boat a final shove before pulling himself in. They motor away. Tom doesn't look back.\n\nEXT. RIVER/SHELLY'S OXBOW - MOVING - DAY\nNECKBONE\nYou Mud's daddy?\nTOM\nMud didn't have no daddy. No mother I ever knew of. He was livin' in the woods when I met him. Younger than you are now.\nTom doesn't offer anymore. Neckbone thinks on his answer. Ellis kills the engine near the mouth of Shelly's Oxbow. Tom jumps down into the knee deep river and wades onto shore. He turns back to the boys.\nTOM\nYa'll need to watch yourselves. Don't go gettin' into something you don't have any business in. Mud's into something you don't want any part of. I suggest you forget about him.\nEllis and Neckbone don't respond. Tom, with a final admonishing look, disappears into the woods. Ellis cranks the motor and points the boat up river.\n\nEXT. RIVER - MOVING - MOMENTS LATER\nEdges of the notebook paper flap in the wind. Neckbone reads Mud's letter to Juniper. Ellis reaches the bank where they stash their boat. He shuts off the motor and let's them drift. Neckbone folds the letter back up and turns to face Ellis.\nELLIS\nWhat do you think?\nNECKBONE\nHe loves her. You can tell that much. You gonna take it to her?\nELLIS\nI told him I would.\nNeckbone thinks about this seriously, shakes his head.\nNECKBONE\nI don't know. Could be a lot of trouble.\nELLIS\nYou still got that trailer you made for your bike?\n\nEXT. DEWITT STREET - LATE AFTERNOON\nNeckbone rides with Ellis on the back of his dirt bike. Cars and Trucks HONK and zip by them. Their speed is topped out at about 15 miles per hour. Mostly a result of the small 3X4 metal trailer they are towing behind the bike. One of Senior's white fish coolers sits in the trailer.\n\nEXT. EXECUTIVE INN/PARKING LOT - LATE AFTERNOON\nParked in the far corner of the lot, Ellis sits on top of the white cooler eyeing the Executive Inn. Neckbone straddles the dirt bike. A handful of cars are parked at the motel; an old Honda, a pick-up, and a BLACK LINCOLN.\nELLIS\nI say we start at the top, work our way down.\nNECKBONE\nAll right.\nThey each grab an end of the cooler and carry it across the lot toward a flight of stairs. ON THE SECOND FLOOR, The boys set the cooler down in front of the first room on the corner. Ellis checks over his shoulder, nothing strange. Ellis knocks. They wait. No answer. They pick the cooler up and walk to the next door. Knock. After a moment, a BLACK MAN in his late sixties opens the door wearing boxers and an undershirt.\nBLACK MAN\nWhat you want?\nELLIS\nWe're sellin' fish. You wanna buy some?\nBLACK MAN\nFish?\nHe looks at the two boys like they are insane.\nBLACK MAN\nI don't want no damn fish.\nHe slams the door. They drag the cooler to the next door. As Ellis holds up his fist to knock, they hear a woman shouting a few doors down.\nSTOP IT!\nEllis heads for the room. Neckbone drags the cooler after\nSTOP!\nhim. Ellis reaches the motel room door, which has been left ajar. He places his hand on it and lets it fall open.\n\nINT. EXECUTIVE INN/JUNIPER'S ROOM - CONTINUOUS\nCARVER (O.S.)\nKEEP LYIN'! KEEP LYIN' AND I'LL\nCRACK YOUR NOSE OPEN!\nThe door opens to CARVER(47), a tall, slender man in a dark Western cut suit, standing over Juniper. She's crumpled up in a ball at the end of the bed. Carver swats open-handed at her head. Grabs the top of her hair.\nCARVER\nYou hear me bitch? Tell me another lie.\nEllis rushes Carver with his shoulder as if he were breaking down a door. Carver is knocked off balance. He trips over the edge of the bed and crashes into the motel room wall. Carver, slightly stunned, gets to his feet and in two broad steps lands a man-sized punch across Ellis' face. It's hard. Ellis melts. He grabs the boy up by the scruff of his shirt.\nCARVER\nWho are you!? Who the hell are you!? Did he send you!?\nCarver removes a piece of paper from his pocket. It's a photo copied picture of Mud, different than the State Trooper's. Carver crams the photo in the boy's face.\nCARVER\nYou know this man!? Look at him! Do you know him!?\nBlood trickles from a cut under Ellis' eye. He stutters under the shaking force of Carver's hands.\nELLIS\nI don't...I...\nFISH!!!\nNeckbone is yelling at the top of his lungs, almost in a\nIT'S FISH!!!\ngirl's pitch. Carver turns to him. The cooler is open behind them and Neckbone holds up two Ziplock bags of fish.\nNECKBONE\nWe're just selling fish!\nCarver sizes things up. It takes a moment, but he settles. He snorts out a laugh and drops Ellis on the ground. Carver turns his attention back to Juniper, who is huddled up in the corner of the motel. Carver walks over to her. Opening a good-sized knife, he gets down in her face and holds the blade uncomfortably close to her cheek.\nCARVER\nI know you know where he is. And I swear to God I'll cut through every one a you to find him.\nShe flinches. Standing, Carver folds up his knife.\nCARVER\nWe know you came here for him, and we know he's too stupid to leave you behind. So when he pops his head out of whatever shithole he's staying in, I'll be there. You tell him that.\nCarver turns, stepping over Ellis on his way out.\nCARVER\nAnd you need to mind your business boy.\nNeckbone moves from the doorway to let him pass. Carver is gone. Neckbone shuts the door and fastens the security latch. He kneels down to check on his friend.\nNECKBONE\nYou all right?\nELLIS\nYeah.\nNECKBONE\nHe popped your eye.\nEllis holds the back of his hand up to his eye which has begun to swell. The cut trickles blood over his cheekbone. Juniper moves to the sink. Ellis sits up, staring at her back. She opens an ice bucket and wraps a handful of cubes in a towel. She turns and walks over to them, her eyes cast down. She kneels in front of Ellis, making eye contact for the first time. She touches his chin, gently pivoting it to see the wound. Her eyes are glassy.\nJUNIPER\nThank you.\nHe stares back at her. He can't take his eyes off her. She holds the iced towel to his cheek. He doesn't even flinch.\nJUNIPER\nI'm so sorry.\nTears form and run down her cheeks.\nJUNIPER\nHere.\nShe takes his hand and places it against the towel. She gets to her feet and pulls a pocket book from a bag in the corner.\nJUNIPER\nHow much is your fish? I'll buy the cooler full.\nEllis motions Neckbone to the cooler. Neckbone goes over and crams his hand into the ice. He removes a Ziplock bag containing the note that Mud sent. Neckbone hands it to Ellis. Taking the note, he sets his ice down and walks over to Juniper.\nELLIS\nMud sent us to give this to you.\nJuniper is stunned. She looks at the bag, then at the boys.\nJUNIPER\nYou've met Mud?\nEllis nods. Neckbone speaks up from the back.\nNECKBONE\nYeah we met him.\nJuniper takes the bag. She removes the letter and takes a seat on the edge of the bed to read it. Ellis watches her eyes move along the paper. She smiles, which makes Ellis smile. After a moment, she folds it up.\nJUNIPER\nHe tells me to hold tight.\nNECKBONE\nYeah, we read it.\nJuniper raises her eyebrows at Neckbone.\nJUNIPER\nWell do you know how long 'hold tight' is?\nELLIS\nI think it's a couple days. He wants to get a boat for ya'll.\nJUNIPER\nGod.\nJuniper shakes her head and goes to the sink. She pulls a lighter from her jeans pocket and torches Mud's note.\nJUNIPER\nTell him I'll wait.\nRunning water over the ashes, she turns back to them.\nJUNIPER\nBut I don't want ya'll involved. Tell him what I said and make that it. I don't want you gettin' in any trouble.\nELLIS\nWe won't.\nJUNIPER\nWhat do you call that?\nShe motions to his swelling eye. Ellis shrugs.\nELLIS\nWe'll be all right. Keep your door locked. We'll be in touch.\nEllis heads to the door as Neckbone gathers up the cooler.\nJUNIPER\nWait.\nEllis turns back.\nJUNIPER\nWhat's your name?\nELLIS\nI'm Ellis. That's Neckbone.\nJuniper walks up to Ellis and puts her hands on his shoulders. She has to bend slightly to do it, but she kisses him just above his swollen eye.\nJUNIPER\nThank you Ellis.\nEllis stares at her, infatuated.\nNECKBONE\nWe gotta go.\nEllis turns and grabs one end of the cooler. Neckbone slaps back the security latch and opens the door with his free hand. They walk out.\n\nEXT. EXECUTIVE INN/JUNIPER'S ROOM - CONTINUOUS - DUSK\nEllis, his foot on the door, looks back at Juniper.\nELLIS\nLock the door.\nShe smiles. The door slams shut. The room number, 212, stares Ellis in the face. He takes a deep breath.\nNECKBONE\nLet's go hard on.\nHe and Ellis wrangle the cooler down the steps. The sun set while they were inside. A blue hue hangs over everything.\n\nI/E. CARVER'S LINCOLN/PIGGLY WIGGLY PARKING LOT - CONTINUOUS\nCarver takes a drag off a cigarette from behind the steering wheel of his black Lincoln town car, conscious to blow any smoke out the open driver's window. His car, wedged between two others in the Piggly Wiggly parking lot, is pointed toward the Executive Inn. He watches as Ellis and Neckbone load the cooler onto Neckbone's bike.\n\nINT. ELLIS' HOUSEBOAT - NIGHT\nEllis enters his houseboat. It's quiet. He sees a note on the counter next to a can of soup. It reads, \"I've gone to a movie. Warm up some soup for dinner. Love, Mom\". Ellis picks up the can, not thrilled. He goes to the fridge and grabs a sack of peas from the freezer. Holding the peas against his eye he takes a seat at the counter and flips through a phone book. He finds what he needs and dials a corded phone. He waits.\nELLIS\nHello? Is May Pearl there?...This is Ellis...Hey, it's Ellis. Hey... What?...In the phone book... from his car commercials...I think they're all right...Tomorrow? Yeah, I can meet you... Okay. Bye.\nEllis hangs up the phone. With the peas pressed firmly against his face, he smirks. CUT TO: SERIES OF IMAGES: -Neckbone's sneaker busts through a rotten plank of wood. -Inside a decrepit wooden shack, Ellis gives Neckbone a look like he's a dumbass as they proceed to take the shack apart board by board. Ellis now has a full-on BLACK EYE. A66 -Neckbone stands lookout under the carport section of Ellis' A66 houseboat. The coast clear, he gives Ellis a nod. Ellis pops open a metal locker and removes a small chainsaw and container of gas. He loads these into an empty fish cooler. B66 -Tom, sitting atop his houseboat with his pellet gun, watchesB66 as the two boys sneak the tools away. He's displeased. C66 -At Neckbone's mobile home park, Ellis heaves loops of thick C66 rope onto their mini dirt bike trailer. Neckbone stands nearby laughing with the rope's OWNER, a lanky guy with brown teeth and a Tasmanian Devil tattoo on his neck. AC66 -Ellis hoists Neckbone up by the foot allowing him to AC66 unscrew a road sign. D66 -A mop soaked in black tar slops across the flat roof of the D66 furniture store in downtown Dewitt. Neckbone and Ellis stand in the store's parking lot yelling up to the ROOFERS. -They get one's attention, and Neckbone points to a dried pile of leftover tar that has been dumped at the back of the building. The ROOFER swats a hand at the boys. They proceed to load the dried hunk onto the small trailer. E66 -From a distance, Neckbone and Ellis stand on a sailboat in E66 the middle of a fenced-in marine junkyard. Surrounded by old boat parts, the boys begin shuttling several large metal pulleys off the sailboat.\n\nEXT. ISLAND SHORE - DAY\nMud smiles, showing his missing tooth, as he looks over the load of items the boys have stacked in their boat. Neckbone tosses a loop of rope to him.\nNECKBONE\nWe've got more, but no motor.\nMUD\nThis'll work for now. You get her my note?\nELLIS\nYeah.\nEllis turns and Mud sees his black eye for the first time.\nMUD\nWhere'd you get that from?\nELLIS\nWe came up on Juniper's room. A guy was in there beatin' up on her.\nMud's face turns dark.\nNECKBONE\nEllis rushed him. Got smacked for it.\nMUD\nWhat'd he look like?\nELLIS\nI don't know. Tall. Looked like a cowboy.\nMUD\nDark hair?\nELLIS\nYeah.\nMUD\nDAMMIT!\nMud slings the rope to the ground and kicks it. His face is flushed. It's the first time the boys have seen him angry.\nMUD\nGOD DAMMIT!\nThe boys back up. Mud takes a deep breath, tries to cool down. It takes a moment, then something occurs to him. He eyes Ellis with a look of genuine gratitude.\nMUD\nThanks for lookin' after her.\nEllis nods. Mud picks up the rope.\nMUD\nHis name's Carver. Brother of the man I shot. If he's here, then more are comin'.\nNECKBONE\nMore what?\nMud gathers the supplies and heads to the treeline. The boys, with their hands full, follow him.\nMUD\nBounty hunters. Carver's rotten, but his daddy's the one to be scared of. He'll spend all the money he has to see me dead. If it was up to me I'd put the whole family down same as the other. Not a decent man between 'em.\nMud stops and turns to lay a serious look on them.\nMUD\nYa'll listen to me now. If you see that old man, don't get near him. He's the triple six real deal scratch you hear me?\nMud waits for nods from them both.\nMUD\nAll right.\n\nEXT. MISSISSIPPI RIVER/ISLAND - CONTINUOUS\nGalen drifts in his own boat out on the Mississippi River. He stares at something in the distance. A68 FROM ACROSS THE RIVER, A68 He sees Neckbone and Ellis on the island walking with Mud. Galen, a concerned look on his face, keeps one hand on his motor and the other on a bulging net of mussel shells. His HELPER, a salty looking man in his fifties, sits at the front of the boat sipping Budweiser from the can.\nHELPER\nWhat you waitin' for?\nGALEN\nShut up.\nAfter a moment, Galen cranks the motor and speeds away.\n\nEXT. BOAT IN TREE - DAY - LATER\nMud stands with Ellis and Neckbone on the deck of the boat. He holds a pulley in one hand and a length of rope in the other. He stares up into the trees.\nMUD\nEllis, can you climb up that trunk and get these hung?\nELLIS\nYeah.\nMUD\nTake a foot of line and tie 'em off with a bowline knot. You know it?\nELLIS\nI'm not stupid.\nEllis takes the pulley and scales the trunk without hesitation. Mud tosses his pocket knife to Neckbone.\nMUD\nNeck, start cuttin' line. Three fifteen foot sections. Count a foot long as your arm.\nMud begins threading the pulleys with rope. As Neckbone cuts rope, he sees the pistol stuck in the back of Mud's pants.\nNECKBONE\nWhat's so special 'bout that shirt you'd lose your pistol for it?\nMUD\nIt's got a wolf's eye sewn in the sleeve. More protection than a bullet ever gave. Tom swears by it.\nNECKBONE\nHe said he wasn't your daddy.\nMUD\nTom's the closest thing I ever knew to a father.\nNECKBONE\nI never met my parents.\nMUD\nIt's hard not knowin' the ones you came from.\nNECKBONE\nMy uncle Galen tells me things about 'em. He's the one that takes care of me.\nMUD\nTom did that for me.\nEllis drops down to the deck and grabs another pulley.\nELLIS\nWhat'd you mean when you called Tom an assassin?\nMUD\nTom's had lives you'd never know about. Grew up up North. Went to Yale. For a long time he was a paid killer for the C.I.A. Lived in Cuba in '63. He's probably killed more people than you've met.\n(to Neckbone)\nHand me that line.\nNeckbone tosses him an end of rope, looks to Ellis. Ellis gives a shrug before heading back up the trunk.\n\nEXT. BASE OF BOAT TREE - DAY - LATER\nMud hangs off the tree fifteen feet up by a piece of rope tied around his waist. A series of ropes and pulleys crisscross from the boat to the trees. Neckbone and Ellis stand on the ground staring up at him. Mud holds a chainsaw and seems to be hesitating.\nNECKBONE\nWell if you're gonna do it do it!\nMud takes a deep breath and yanks the cord. Angled on one of the main branches holding up the boat, Mud begins cutting. Ellis and Neckbone step further and further back as they watch the chainsaw work through the thick limb. Suddenly, the chainsaw stops. A deep CRACKING sound. The huge branch SNAPS, tumbling off lower limbs before crashing to the ground. Mud holds onto the trunk for dear life. The branch now rests on the ground, SILENCE. The ropes and pulleys hang taught, squeaking from the weight of the boat. Mud slowly lifts his head up. He smiles at what he sees. The rigging has held.\nMUD\nOne down!\nNeckbone and Ellis watch as Mud scampers around the trunk to the next branch. The chainsaw cranks back on.\nNECKBONE\nThis shit is crazy.\n\nI/E. MARY LEE'S CAR/PIGGLY WIGGLY PARKING LOT - LATE\nAFTERNOON Ellis looks out the car window at HIGH SCHOOL KIDS that have gathered in the Piggly Wiggly parking lot. His hair is slicked to one side, and he's wearing a collared shirt.\nMARY LEE\nYou look nice.\nELLIS\nThanks.\nMARY LEE\nWhat time are you gonna be home?\nEllis shrugs. She looks at him as the car radio rambles.\nMARY LEE\nNo later than eleven?\nEllis nods.\nELLIS\nYou make up your mind?\nMARY LEE\nAbout moving in town?\nELLIS\nAbout leavin' dad.\nMary Lee thinks about how to answer, shuts off the radio.\nMARY\nYou can't make Ellis. If I'm have to be the\nLEE\nother people change unhappy then I'll one to change\nsomething. Ellis chews on the inside of his cheek and watches her avoid eye contact. He shoulders his way out of the car. Mary Lee takes a moment before driving off. As Mary Lee pulls away, Ellis takes in the scene.\n\nEXT. EXECUTIVE INN - LATE AFTERNOON - ELLIS POV\nHe looks up at Juniper's motel room and sees her leaning on the railing smoking a cigarette. She doesn't see him.\n\nEXT. PIGGLY WIGGLY PARKING LOT - LATE AFTERNOON - CONTINUOUS\nHe pauses, noticing a MAN to his left who ALSO stares up at Juniper. The man, early thirties with a thick mustache, is JAMES. He leans against the grill of a black Lincoln. Carver appears from inside the Piggly Wiggly. He holds a cup of coffee and is closely trailed by a fat little man, NELSON(56). They're all dressed in a similar fashion, a cross between rural farmers and rodeo stars. As Carver approaches the Lincoln, he scolds James for leaning on the grill. Carver rubs the hood with his coat sleeve and gives orders to the men.\nMAY PEARL (O.S.)\nEllis!\nEllis turns to see May Pearl hopping down from a Ford Bronco. She leans on the door and waves Ellis into the back.\nMAY PEARL\nCome on!\nEllis takes another look at Carver and his men before running over to the Bronco.\n\nEXT. FIELD/BONFIRE - NIGHT\nA bonfire rages in the middle of an open field. A FEW DOZEN KIDS mingle between vehicles and the fire. Drinking, yelling, music blasting from car speakers. Ellis stands by himself next to the blaze with his hands in his pockets. May Pearl has vanished. Pryor, the skinny kid Ellis punched to get this date, wanders past. He makes eye contact. Ellis stares him down. Pryor glares back but then just skulks over to another group.\nMAY PEARL (O.S.)\nTry this.\nA Styrofoam Sonic Cup is thrust into Ellis' hand. He turns to find May Pearl standing next to him.\nMAY PEARL\nCome on.\nShe leads Ellis behind one of the trucks parked nearby. May Pearl climbs onto the tailgate, a red glow across her face. No one else is around. Ellis hesitates.\nMAY PEARL\nYou wanna sit down?\nEllis takes a seat next to her. She looks at him, smiling, and gestures to his black eye.\nMAY PEARL\nYou must really like to fight?\nELLIS\nNot really.\nEllis takes a sip from the Sonic cup. His face puckers.\nMAY PEARL\nBut you're not scared if you have to.\nELLIS\nI guess. You got a lot of friends.\nMAY PEARL\nThey're all right. I don't know all of 'em.\nELLIS\nI bet you're pretty popular.\nMAY PEARL\nWhy do you say that?\nELLIS\nI don't know. 'Cause you're nice to people.\nMAY PEARL\nHow do you know that?\nELLIS\nYou're nice to me.\nMAY PEARL\nBut I like you.\nEllis digs into his jeans pocket.\nELLIS\nI got this for you.\nHe removes a bracelet made from the pearls he collected off Galen's porch. May Pearl takes it, begins putting it on.\nMAY PEARL\nA bracelet?\nELLIS\nNeckbone's uncle caught the pearls. I thought with your name and everything...\nMAY PEARL\nThank you.\nShe leans over, hugging him with a kiss on the cheek. She stays close.\nELLIS\nYou wanna be my girlfriend?\nShe smiles, then kisses him.\n\nEXT. ELLIS' AND TOM'S HOUSEBOATS - MORNING\nMorning fog sits on top of the water around Ellis' houseboat. Ellis steps outside and makes his way to the ice machine. A loud WHISTLE comes from across the oxbow. Ellis walks to the edge of the garage. A75 He sees Tom Blankenship seated on the roof of his houseboat. A75 He motions Ellis over. Ellis watches him, unsure of what to do. Another WHISTLE. Tom motions to him again. Ellis looks back at the house. No sign of his parents. He shoots a glance back at Tom.\n\nEXT. TOM BLANKENSHIP'S HOUSEBOAT - MOMENTS LATER\nEllis bumps his father's boat against the side of Tom's houseboat. He steps up onto the deck and ties off. Tom, down from the roof, stands by his front door.\nTOM\nYou want some coffee?\nTom disappears inside.\nELLIS\nI don't drink coffee.\nEllis waits for a moment, but realizes this is Tom's way of inviting him inside. He enters.\n\nINT. TOM BLANKENSHIP'S HOUSEBOAT - CONTINUOUS\nThis houseboat, although similar in size, is different than Ellis'. It's an actual wood shack that has been constructed atop a barge. Ellis looks at photos, books and memorabilia that cram the walls and shelves. It feels homey. Tom, his back to the boy, stands in the kitchen area pouring a cup of coffee.\nTOM\nYou been seein' Mud?\nELLIS\nNo.\nA collection of framed photos on a desk catches Ellis' attention. A young Tom with a pretty dark skinned girl. They seem happy. Another photo, late 60's, of Tom standing alone in a suit. He holds a LONG SUITCASE. Tom enters holding two cups of coffee.\nTOM\nYou don't have to lie to me boy.\nHe hands Ellis a cup of coffee with a cartoon image of a dog on it. It reads, \"I'm a real bitch in the morning!\" Tom sits in a LazyBoy that he gently rocks in.\nTOM\nI've seen you runnin' around. Takin' things. He all right?\nELLIS\nHe's okay.\nTOM\nHe get that boat down?\nEllis nods. There is an awkward moment.\nELLIS\nHe called you an assassin.\nTom snorts out a laugh, sips his coffee.\nELLIS\nIs it true?\nTOM\nHow long have you known Mud?\nELLIS\nFew days.\nTOM\nWell that's long enough to know he's full of shit.\nELLIS\nSo it's not true.\nTOM\nI was a sharpshooter in the army. In Mud's world, that makes me an assassin. Not exactly true, right?\nELLIS\nYeah I guess.\nTom notices the boy's disappointment.\nTOM\nYou think he's a bad ass don't you?\nELLIS\nI don't know.\nTOM\nYou know why he's stuck out on that island?\nELLIS\nYeah.\n(hesitates)\nHe shot somebody.\nTOM\nHe tell you why he shot that man?\nELLIS\nBecause he hurt Juniper.\nTOM\nRight. The real reason Mud's in the trouble he's got is because of her. He's been in love with that girl since he was your age. They used to run all around here and it was the same back then. He'd follow that girl wherever she led him. Problem is she don't care about nobody but herself. I've told him as much. She'd bed down with the meanest snake she could find, then when things went bad she'd go runnin' to Mud. Mud would take her back, then go find whatever unlucky sonofabitch last put a hand on her and beat 'em 'til they knew to never touch her again. And this time I guess he thought a beating wasn't good enough. Had to shoot that fella. I don't know for sure, but I'd put money on Juniper knowin' he'd do it. And I have a suspicion she might of even told him to. Either way, those two are set for failure. Only chance Mud has is to cut her loose. Cause I'll tell you what, Mud's no bad ass. He's runnin' scared.\nEllis can't look Tom in the eye, he's offended by the old man's remarks. Ellis sets the coffee cup on the desk.\nELLIS\nI gotta go.\nEllis heads for the door, but stops short.\nELLIS\nYou're wrong about Juniper. They love each other and they're gonna make it. If you weren't a wore out old man you'd know it was true.\nTom eyes the boy, taking a sip from his cup. He nods a goodbye to Ellis who is already out the door.\n\nEXT. ISLAND/BASE OF BOAT TREE - DAY\nEllis stomps out of the trees and is struck by the new position of the boat. It hangs three feet off the ground; SUSPENDED in dry dock. A clear-cut path of trees leads off toward the island's southern shore. Beside the boat, remnants of a giant fire smolder. Ellis surveys the MOUND OF ASH.\nMUD (O.S.)\nWhat you say Ellis?\nEllis turns to find Mud standing on the deck of the boat holding a fistful of wires. He jumps down.\nELLIS\nI got more stuff.\nMUD\nYou find a motor?\nELLIS\nNot yet.\n(points to the ash)\nWhat's that?\nMUD\nI made a bonfire.\nMud enters the woods. Ellis follows.\nELLIS\nWhy?\nMUD\nBonfire's an all purpose cure all for bad luck. I don't know where this boat's been or what kind of person had it before me. For all I know it could have some serious bad business left on it. We got too much ridin' on this thing to leave to chance. Where's Neckbone?\nELLIS\nHelpin' his uncle with a dive.\n\nEXT. ISLAND SHORE - MOMENTS LATER\nMud and Ellis exit the treeline heading to Ellis' boat.\nELLIS\nTom called me over to his place this mornin'.\nMUD\nWhat he say?\nELLIS\nHe was runnin' down Juniper.\nEllis looks for a response, but Mud just jumps up into the boat and starts throwing pieces of wood on shore.\nELLIS\nI told him he was a wore out old man. Told him he couldn't know how much you loved Juniper.\nMUD\nYou don't know his story.\nELLIS\nI don't care.\nMUD\nYou should. Tom loved a woman more than most men could in two lifetimes. They had a good life started together.\nMud hops down and scoops a load of wood into his arms.\nMUD\nShe was pregnant with a little boy, but the birth got the better of 'em. They didn't make it. Tom's been alone ever since. Lone wolf.\nMud has begun walking back to the treeline. Ellis stays.\nELLIS\nI gotta go help my dad.\nMud turns back but doesn't stop moving.\nMUD\nThanks for the wood Ellis.\nEllis watches him go, thinking on what he said.\n\nEXT. UNDERWATER - RIVER - DAY\nFully suited in diving gear, Galen toils in the murky brown water at the bottom of the river. His gear consists of a typical wet-suit, wet-socks but no gloves. His metal helmet is not typical. It's welded from half a hot water heater that's been fitted with barbell weights. A hose connected to the top runs to the surface. Galen ties off a netted sack and yanks on its line.\n\nEXT. RIVER - CONTINUOUS\nA small air compressor chugs as Neckbone stands in the middle of Galen's boat pulling in the heavy rope. At the end, the net bulging with mussel shells appears. He manages to roll the heavy load into the boat before moving over to a crank handle that feeds another line. After several cranks, Galen's steel helmet breaches the surface. He places his hands on the edge of the boat as Neckbone removes the barbell weights. The weight removed, Neckbone takes off the helmet. Galen pulls himself into the boat, out of breath.\nGALEN\nThis shit never gets easy.\nNECKBONE\nThat's a good haul.\nGALEN\nI've had worse.\nGalen reclines as Neckbone kills the air compressor and begins organizing the gear. He watches his little nephew.\nGALEN\nYou doin' all right?\nNECKBONE\nYeah.\nGALEN\nYou don't need to tell me anything?\nNECKBONE\nTell you what?\nGALEN\nI know I'm just your uncle, not much of a parent. But you can tell me things if you need to.\nNECKBONE\nI can tell you this helmet smells like my duck butter.\n\nEXT. ELDERLY WOMAN'S HOUSE - DAY\nEllis holds a wrought iron door open with his backside as an ELDERLY WOMAN takes the paper bag of fish from his hands. Ellis walks back to the truck. Senior watches him, looking at the black eye.\n\nI/E. SENIOR'S TRUCK/CATFISH PARLOUR - MOVING - DAY\nEllis rides up front with Senior. Windows down, no radio.\nSENIOR\nWhere'd you get that black eye?\nELLIS\nA kid in town. He got his too.\nSENIOR\nWhat you fightin' for?\nELLIS\n'Bout a girl.\nSENIOR\nWhat girl?\nELLIS\nMy girlfriend.\nSENIOR\nYou got a girlfriend?\nELLIS\nYes sir.\nSENIOR\nWhen'd that happen?\nELLIS\nOther day.\nSenior pats his shirt pocket and finds a smoke. Lights it.\nSENIOR\nYou seen your mother today?\nELLIS\nNo.\nSENIOR\nYou not talkin' to me?\nELLIS\nI'm talkin'. I'm talkin' to both of you. That's all ya'll want to do is talk.\nSENIOR\nWell, that's your mother. Would rather tongue lash a problem than step up and handle it. You'll see one day. Women are tough. They'll set you up for things. You can't trust love, Ellis. If you're not careful, it'll run out on you. You just gotta pick a woman and roll the dice. Hope you don't wake up in fifteen years hatin' each other.\nEllis keeps staring out the window as they pull into the parking lot of the Catfish Parlour Restaurant.\n\nEXT. THE CATFISH PARLOUR/THE PINES MOTEL - LATE AFTERNOON-\nCONTINUOUS Senior climbs out of the truck and enters the restaurant. Ellis pops open the tailgate and reaches for a cooler. The Catfish Parlour is one business in a strip center row. There is nothing else around save for farmland and a motel across the road. Ellis notices Carver's black LINCOLN parked in the motel lot. He walks away from the truck to get a better look. Ellis scans the FOUR OTHER VEHICLES in the lot. All Texas plates. A maroon Cadillac sails past and turns into the motel. Ellis recedes to the rear of his truck. He watches as KING(76), a fireplug of a man, emerges from the Cadillac. Cramped from a long drive, he stretches and eyes the sign for the Pines Motel. A motel room door opens and Carver walks out. He's smiling and calls out to King. They hug as a green PICK-UP pulls up. MILLER, a slick dressed man in black boots, climbs out.\nSENIOR (O.S.)\nEllis! Let's go!\nEllis snaps around to find Senior leaning out the restaurant door. Ellis yanks the cooler down and drags it inside. He looks back over his shoulder for a final glance at the men. AT THE MOTEL,\nCARVER\nDaddy this is Miller. He's one of ours.\nKING\n(shaking)\nHow do you do? Appreciate your help.\nMILLER\nYes sir.\nCARVER\nWe'll be in in a minute.\nMiller nods and enters the motel room. King turns to Carver.\nKING\nCatch me up.\nCARVER\nThey work in shifts. Two outside her motel, the others either out searching or sleepin' here. I met with the county sheriff but he wasn't much help. Said they'd handle their own business, but I got two of their people on payroll and a person on the inside at the state police.\nKING\nGood. Doin' good. Who all's here?\nCARVER\nAll but two now. Nelson and James are watchin' her place. I called the rest in.\nKING\nOkay. Let's meet the men.\nCarver leads his father to the motel room.\n\nINT. PINES MOTEL ROOM - LATE AFTERNOON - CONTINUOUS\nCarver holds the door open as King steps inside. A door to his left connects another room which is empty. An episode of the Smurfs plays on the television. There's a MAN on each of the queen beds. Another THREE playing cards at a small table by the window. MILLER stands in the corner smoking. Empty Budweiser cans litter the room. King, unimpressed by the scene, looks at his son. Carver quickly moves in front of the television and turns it off. He stares down the men on the beds.\nCARVER\nGet up.\n(to the others)\nYa'll pay attention.\nThe men get up from the beds and the others put down their cards. Everyone slowly gathers into an audience.\nCARVER\nThis is my father, King. He runs the show.\nCarver recedes as King steps forward. He speaks like a high school football coach.\nKING\nMen. I wanna thank you for the work you're doin'. It's important work, and I want you to know what it means to me personally. I'm grateful for it. No man should have to bury his son. It's not natural, and it's a pain I hope none of you ever have to endure.\nKing removes a photocopied picture of Mud from his pocket. He unfolds it, stares at it, then raises it to the men.\nKING\nThis man did that to me. He took my youngest boy. And now, you're gonna help me get him.\nKing stares at the men, keeping the photo held high.\nKING\nNow gather 'round. Come on now, in a circle. I want ya'll to join hands.\nThey do it reluctantly.\nKING\nEverybody take a knee.\nThey do. King joins them on his knee and grabs Carver and another Man's hands.\nKING\nBow your heads. I need you to help me pray for the death of the man that killed my son.\nThey all bow their heads.\n\nA85 EXT. NECKBONE'S TRAILER - MORNING A85\nA tarp is thrown back from a rusting boat trailer. Ellis and Neckbone stand by the trailer looking less than thrilled. It's covered in junk and debris.\nNECKBONE\nYou touch her breast?\nELLIS\nA little.\nNECKBONE\nThat's great man.\nELLIS\nThanks.\nEllis walks up and knocks a stack of bricks off the trailer.\nELLIS\nWe could take it apart. Bring it out piece by piece.\nNECKBONE\nIt's welded. We'd just tear it up. What if we float it out?\nELLIS\nWith what?\nNECKBONE\nCome on.\nNeckbone walks to the trailer. Ellis follows.\n\nB85 INT. NECKBONE'S TRAILER - CONTINUOUS B85\nThe boys open the front door and are met by a BLINDING LIGHT.\nNECKBONE\nJesus!\nThey squint and shield their eyes. The light shuts off as quickly as it came on. Galen stands in front of them wearing his wet suit. The bar with the flood lights attached sits across his shoulders. The boys rub their eyeballs, seeing spots. Galen shuffles over to the couch holding a marine battery connected to the lights. He labors to take a seat.\nGALEN\nWhat do you think?\nNECKBONE\nThat's real good Galen.\n(to Ellis)\nGimme a minute.\nNeckbone, still blinking, goes back to his room. Ellis notices Galen staring at him. Galen pats the couch.\nGALEN\nCome 'ere Ellis.\nEllis takes a seat on the other end of the couch. Galen pats the spot next to him. Ellis scoots over, uncomfortable.\nGALEN\n(pointing up)\nYou see that ceiling fan?\nELLIS\nYeah.\nGALEN\nI found it in the river. Works great. Best ceiling fan I've ever owned. This river brings a lotta trash down it. Some a that trash is worth a lotta money, some of it's not. You gotta know what's worth keepin' and what's worth lettin' go. You know the difference?\nELLIS\nI think so.\nGALEN\nNeck looks up to you. Don't get my nephew into anything you can't get him out of.\nGalen forces a stare with Ellis, who nods. Neckbone enters as Galen begins to remove his light rig.\nGALEN\nHelp Me Rhonda's just about a guy needing to get a piece to get over a girl that put one over on him. So you get your heart broke, don't walk around with a shit look on your face. Get back in there. Get your tip wet. You hear me?\nELLIS\nWhat?\nGALEN\nYou know what I'm sayin'.\nEllis doesn't. Galen moves to an electric guitar leaning by a small amp in the corner.\nGALEN\nYa'll wanna hang out? Alan's comin' over. We're gonna pump it up.\nNECKBONE\nWe got stuff to do.\nGALEN\nWhatever.\nThe boys exit as Galen turns on the amp.\n\nC85 EXT. NECKBONE'S TRAILER - CONTINUOUS C85\nGalen pumps it up inside as Neckbone and Ellis walk to the boat trailer. Neckbone pulls a handful of long zip ties from his back pocket.\nNECKBONE\nWhat were ya'll talkin' about?\nELLIS\nI don't know.\n\nEXT. ISLAND NORTHERN SHORE - DAY\nMud's knife slices through a plastic zip tie.\nMUD\nKing. That's what they call him.\nA BOAT TRAILER rests atop FOUR, 55-GALLON BRIGHT YELLOW BARRELS affixed with plastic zip ties. The make-shift raft is half on shore with the back still floating in the water. The boys watch as Mud walks around the trailer cutting off the zip ties. The barrels kick out from underneath the trailer as this happens.\nMUD\nHe's their father. You didn't go near him did you?\nELLIS\nNo.\nMUD\nGood. That left-handed sonofabitch is the devil himself. If he's here, then it's time. We need to get Juniper out here.\nELLIS\nWe still need a motor.\nNECKBONE\nThere's a motor in the scrap yard might work.\nMUD\nI need one that runs.\nMud moves to the front of the boat trailer and begins dragging it fully onto the bank. It's heavy.\nNECKBONE\nI can get it runnin'. Tell him Ellis.\nELLIS\nIt's true. He built his own dirt bike.\nMUD\nAll right then. Give it a shot.\nELLIS\nI don't know. That motor's worth somethin'. It's not like this other junk.\nNECKBONE\nIt's been there for months. Nobody's even gonna know it's gone.\nEllis hesitates. He looks to Mud.\nMUD\nWe do need a motor.\nEllis thinks on it as Mud takes a deep breath and grabs the trailer again.\n\nEXT. PIGGLY WIGGLY PARKING LOT - DAY\nThe supermarket is busy. Ellis stands at a pay phone out front as Neckbone kicks a vending machine nearby. Ellis looks at Juniper's motel. He scans the Piggly Wiggly parking lot and spots Carver's black Lincoln. Ellis picks up the phone and deposits some change. He dials.\nELLIS\nI wanna talk to room 212.\n\nI/E. JUNIPER'S MOTEL ROOM/PIGGLY WIGGLY - CONTINUOUS\nJuniper watches TV (o.s) at the foot of the bed. The phone rings. She snaps up, hits mute and grabs it.\nJUNIPER\nHello?\nINTERCUT WITH ELLIS,\nELLIS\nJuniper?\nJUNIPER\nEllis?\nELLIS\nIt's me.\nJUNIPER\nThank god. I've been goin' crazy in this room. Is Mud okay?\nELLIS\nYeah. It's time to take you out to him.\nJUNIPER\nNow?\nELLIS\nTomorrow. We'll come get you.\nJUNIPER\nWhat's goin' on?\nELLIS\nHe's got a plan for ya'll to get away. Be ready tomorrow at five. Neckbone'll be waitin' at the back of the motel with a dirt bike.\nJUNIPER\nThey're watching my room.\nELLIS\nI'll take care of that. Just be ready at five.\nJUNIPER\nWait. Just wait. I don't know about alla this. I don't even know what he thinks we're gonna do. Where are we even gonna go? This is Mud. This is what Mud does.\nEllis hears her crying through the phone.\nELLIS\nIt's okay. He's got the boat. We helped him fix it up. It's a good plan. Just be ready.\nJUNIPER\nWhy are you even doing this?\nELLIS\nWhat do you mean?\nJUNIPER\nWhy are you helping us?\nELLIS\nCause ya'll love each other.\nJuniper searches for a comment. Ellis, looking out over the parking lot, sees May Pearl getting out of a car with her MOTHER and SISTER.\nELLIS\nI'll see you tomorrow.\nJUNIPER\nWait.\nDial Tone. Juniper holds the phone, worried.\n\nEXT. PIGGLY WIGGLY PARKING LOT - CONTINUOUS\nEllis turns and watches May Pearl push a cart in the parking lot with her family. Neckbone bangs at the Coke machine.\nNECKBONE\nHow'd it go?\nELLIS\nWe're good.\n\nI/E. CARVER'S LINCOLN/PIGGLY WIGGLY PARKING LOT - DAY\nCarver sits behind the wheel of his Lincoln. The man with the mustache, James, sits in the passenger seat next to him. Carver notices Ellis and Neckbone standing in front of the Piggly Wiggly. He climbs out. AT THE VENDING MACHINES,\nNECKBONE\nGimme a quarter. This shit took mine.\nEllis watches May Pearl entering the grocery store. He calls out with a wave.\nELLIS\nMAY PEARL!\nWithout stopping, May Pearl, along with her Sister and Mother, all turn. May Pearl sees him, but doesn't wave back. She continues inside. Ellis looks confused, then embarrassed. Neckbone notices.\nNECKBONE\nIt's all right man. She's with her family. Come on. I wanna get that motor before dark.\nThey head to the dirt bike.\nCARVER (O.S.)\nHey there!\nEllis turns to see Carver approaching.\nCARVER\nYou remember me don't you?\nEllis nods. Carver notes the healing bruise on Ellis' face.\nCARVER\nI'm sure sorry about that. Ya'll caught me at a real bad time.\nEllis climbs on the bike. Carver walks over to them.\nCARVER\nHold on now. One second. I don't want ya'll thinkin' I'm a bad guy. Ya'll were just trying to do a job, and I got in your way.\nCarver removes a roll of twenties and peels off two.\nCARVER\nLet's just say I bought that whole batch of fish ya'll were sellin'. Would forty cover it?\nNECKBONE\nThat'd bout do it.\nELLIS\nWe don't want your money.\nCarver steps in close to the boys.\nCARVER\nI bet ya'll really get around this town. Probably know every hole and ditch. Have ya'll come across the man whose picture I showed you?\nELLIS\nNo.\nCarver removes a flier with Mud's picture and holds it out.\nCARVER\nYou sure about that? Take a look with your good eye.\nELLIS\nI'm sure.\nCARVER\nWhat about that girl in the motel? The pretty one. Ya'll talk to her some more?\nELLIS\nNo.\nCarver smiles. He tucks the flier and the forty dollars into Ellis' hand.\nCARVER\nThere's a number on there. Ya'll let me know if you do.\nNeckbone cranks the engine and backs the bike up with his feet. They pull away. Moving, Ellis looks back to see Carver watching them.\n\nEXT. CRAWFORD'S JUNKYARD - DUSK\nNeckbone pulls back a loose section of chain-link fence surrounding the marine junkyard. Ellis crouches through. INSIDE THE JUNKYARD, Ellis and Neckbone creep through piles of starboard and boat parts. They stop at a party barge with only one pontoon. At its rear hangs a big rusted motor, 200 horsepower. Neckbone quickly disassembles its attachment. The motor pops loose leaving the boys to strain against its heavy weight. They ease it to the ground.\nNECKBONE\nJesus that's heavy.\nThe boys get on either side of the motor and begin half- dragging it back to the fence line. ACROSS THE YARD, A LITTLE GIRL(10) dangles her feet off a loading platform and bites at an ice cream sandwich. She watches Neckbone and Ellis from a distance.\n\nEXT. ELLIS' HOUSEBOAT - NIGHT\nEllis walks onto the houseboat as the sound of Neckbone's bike fades in the trees. He stops, noticing a PAPER BAG sitting on the water's edge of the boat. He goes over to it. He opens the sack and takes a quick inventory. A loaf of bread, potted meats, a bottle of Jack Daniels, a roll of cash, and an Arkansas boat tag. Ellis looks around, no one. He looks over to Tom's boat. It's dark. Ellis scoops up the sack and heads inside.\n\nEXT. PIGGLY WIGGLY PARKING LOT - LATE AFTERNOON\nThe digital wristwatch changes from \"4:59\" to \"5:00\". Neckbone sits on his bike parked near the vending machines at the Piggly Wiggly. Ellis, on the payphone, scans the parking lot. No sign of Carver's Lincoln. No other Bounty Hunters.\nNECKBONE\nWhere are those bastards?\nELLIS\nI don't know.\n(hangs up)\nShe's not answerin'.\nNECKBONE\nWhat do you wanna do?\nELLIS\nTake your bike around the side. I'll check her room. We'll just have to hope no one sees us.\nNeckbone cranks the bike and speeds toward the motel. Ellis looks to the motel, then the parking lot.\n\nEXT. EXECUTIVE INN - MOMENTS LATER\nON THE SECOND FLOOR, Ellis cautiously heads up the stairs. He eyes the parking lot at the Piggly Wiggly but still sees no sign of Carver's men. He moves quickly toward Juniper's door. Checking over his shoulder, he knocks. No answer. He knocks again. Nothing. He peeks through the window. No lights. No movement. BY THE DIRT BIKE, Neckbone gets off his bike and slips to the corner of the building. As he peeks his head out, Ellis nearly knocks him over on his way downstairs. They both flinch.\nNECKBONE\nShit. Was she there?\nELLIS\nNothin'.\nEllis notices the front office\nELLIS\nCome on.\n\nINT. EXECUTIVE INN/FRONT OFFICE - CONTINUOUS\nThe MOTEL CLERK(29) doesn't look up from his issue of Lowrider as Ellis and Neckbone enter.\nELLIS\nScuse me, sir?\nMOTEL CLERK\nYeah.\nELLIS\nWe're lookin' for the girl in room 212. You seen her?\nMOTEL CLERK\nI've seen her.\nELLIS\nYou see her today.\nMOTEL CLERK\nYeah, she came down askin' for directions to the nearest bar. I told her to head out to a place on 61.\nEllis digests this. They turn to leave.\nMOTEL CLERK\nWait a second, are ya'll the little bastards tryin' to sell fish to the guests?\nThey're already out the door.\n\nEXT. ROADSIDE BAR - DUSK\nEllis and Neckbone pull into the gravel lot in front of a roadside bar. The cinder block building sits by itself just off the highway. Cars and motorcycles fill the lot.\nNECKBONE\nYou think this is it?\nELLIS\nIt's gotta be.\n\nINT. ROADSIDE BAR - CONTINUOUS\nThe small bar is loud and crowded. Shoulder to shoulder PATRONS bump against one another as MUSIC blares. Neckbone and Ellis press through the crowd searching for Juniper. They are a good foot shorter than anyone else. Ellis notices a man at the bar. It's Miller, the bounty hunter from King's motel. He's staring at something across the room. Ellis follows his line of sight. The crowd weaves in front of him, but then he sees her. Juniper leans against a pool table at the far end of the bar. A GUY(32) whispers in her ear and kisses her neck. She throws her head back, laughing. Ellis watches in disbelief. Nearby, the BARTENDER(46) fills a customer's shot glass. The two underage kids catch his attention. Ellis' face is frozen, locked on Juniper. Neckbone places a hand on his shoulder. Juniper's eyes drift toward the boys. She makes eye contact with Ellis, and her smile vanishes. The Guy keeps whispering in her ear. Juniper straightens her back slightly. Ellis can't take his eyes off her. Juniper stares back at him, but doesn't make a move. After a moment, Juniper's eyes fall to the floor. She turns her head back to the Guy. The crowd fills back in and the image is out of Ellis' reach.\nBARTENDER (O.S.)\nWhat the hell are ya'll doin'?!\nThe Bartender swoops in, grabbing them both by the backs of their necks and shoving them toward the door. Ellis strains against the thick hand. He tries to get another look at Juniper, but it's too crowded.\n\nEXT. ROADSIDE BAR - DUSK - CONTINUOUS\nThe Bartender flings Ellis and Neckbone into the parking lot. Neckbone slides on the loose gravel.\nBARTENDER\nYa'll stay outta here!\nEllis just stands staring at the front door. The Bartender makes a swatting motion toward them.\nBARTENDER\nI SAID GET OUTTA HERE!!!\nNeckbone gathers his friend and leads him away.\nNECKBONE\nThanks a lot asshole!\n(to Ellis)\nCome on man.\nThey head over to Neckbone's dirt bike. He pulls out the key and climbs on. Ellis hesitates.\nNECKBONE\nI'll take you home.\nELLIS\nWe're gonna have to tell Mud.\nNeckbone drops his head, nods reluctantly.\n\nEXT. ISLAND SHORE - NIGHT\nThe boys struggle to pull the heavy motor out of their boat. It hits the shoreline with a thud. They lean over it, sucking air.\nELLIS\nJust leave it. Mud'll have to help get it.\nNECKBONE\nWhat're you gonna tell him?\nELLIS\nI'll just tell him the truth.\n\nEXT. ISLAND/SOUTHERN SHORE - NIGHT\nMud stands at the back of the boat, which now rests on the boat trailer near the water. His face is clean shaven and his hair is wetted back. His shirt, still filthy, is tucked into his pants. He whistles and works by the light of a small fire nearby. Ellis steps out from behind a tree. He's holding the grocery sack that was left on his houseboat.\nELLIS\nMUD!\nMud, hearing the voice, quickly puts down his tools and turns to the woods. He smooths his clothes down.\nMUD\nWhat you say there?!\nEllis appears out of the dark, followed by Neckbone. Mud's eyes search the treeline for Juniper.\nMUD\nWhat you say Ellis?\nEllis can't look him in the eye.\nELLIS\nWe got that motor.\nMUD\nIs Juniper okay?\nELLIS\nYeah.\nMUD\nWhere is she?\nELLIS\nShe didn't meet up with us.\nMUD\nWhat happened? Was it Carver?\nELLIS\nIt wasn't Carver.\nMud straightens up, prepares for the news.\nMUD\nWhat's goin' on Ellis?\nELLIS\nShe was supposed to meet us on the side of the motel. She never showed up. We went asking for her. The motel clerk told us she went to a bar out on 61.\nMUD\nWhat?\nELLIS\nWe tracked her down. She was there with another guy.\n(hesitates)\nThey were together.\nMud's face drops. He walks to the fire and shakes a cooking pot resting in the coals. The pot bubbles with roof tar.\nMUD\nShe probably thought Carver was on to her.\nELLIS\nShe knew the plan Mud. She just didn't show up.\nMUD\nWhat was she doin' with the other guy?\nEllis hesitates, not wanting to say. Mud pushes.\nMUD\nWhat were they doin' Ellis?\nELLIS\nThey were playin' pool. Drinkin'. He was close up on her. They were laughin'. He kissed her on the neck.\nMud nods.\nMUD\nAnd that's how it is.\nHe takes the pot of roofing tar over to the boat and begins pasting some of the newly replaced boards with a flat stick.\nELLIS\nWhat do you want us to do?\nMUD\nJust go home Ellis.\nEllis looks at Neckbone, then sets the grocery sack on the ground.\nELLIS\nTom left this for you.\nThey slowly retreat into the woods and disappear. Mud turns back to the campfire and shoves the pot into the ashes. His eyes, soft and red, reflect the flame.\n\nEXT. MISSISSIPPI RIVER - NIGHT\nEllis and Neckbone motor away from the island in the flat bottom boat. They look back at the shore.\nELLIS\nYou think it's all right to leave him alone?!\nNECKBONE\nI doubt it!\nNeckbone sees Ellis' concern.\nNECKBONE\nI'll sleep over at your house tonight! We can check on him first thing tomorrow!\nEllis nods. As they head further up river, the island grows smaller, silhouetted by the moonlight.\n\nINT. ELLIS' ROOM - MORNING\nNeckbone snores, sprawled out on top of a sleeping bag on the floor. Ellis sits up in bed with something on his mind. He gets up and steps gingerly over Neckbone to exit the room.\n\nINT. ELLIS' HOUSEBOAT - DEN - CONTINUOUS\nThe house is silent. Ellis slips into the kitchen and picks up the phone receiver mounted on the cabinet. He pulls the cord out to stand with his face in the corner. He dials, waits, and speaks softly into the receiver.\nELLIS\nHello? Is May Pearl there...This is Ellis...I called yesterday, you give her my message?...My name is Ellis. I'm her boyfriend...Oh, she's asleep...I said she's asleep?\nThe front door flies open. Senior storms headlong toward Ellis. He shouts.\nSENIOR\nMARY LEE!\nEllis turns as Senior yanks the phone by the cord. It snaps out of Ellis' hand and smashes apart on the floor. Ellis flinches at the sight of his father flying at him.\nSENIOR\nWhat the hell have you been doing? WHAT HAVE YOU BEEN DOIN'?!!\nSenior grabs Ellis by the arms and shoves him against the den wall. Mary Lee comes running from her room.\nSENIOR!\nShe slaps at her husband's arms and back.\nSENIOR DAMMIT!\nHe swats her away.\nSENIOR\nYou tell her. You tell her what you've been up to.\nELLIS\nI don't know what you're sayin'.\nMARY LEE\nTake your hands off him Senior!\nSenior keeps Ellis pinned to the wall with his left hand. He opens up and addresses Mary Lee with his right.\nSENIOR\nJ.J. Crawford said a boat motor went missin' from his stock yard. Said his daughter saw this one and his friend haulin' it off.\nThis makes Mary Lee pause.\nSENIOR\nNow you tell me right now, did you steal that motor?\nELLIS\nWe didn't steal it.\nSENIOR\nLie to me again.\nELLIS\nWe thought it was junk. We didn't think it was worth anything.\nMARY LEE\nEllis?\nA cool anger rushes over Senior's face. He releases Ellis and takes a step back.\nSENIOR\nYou tell me I raised a thief?\nELLIS\nI'm not a thief.\nSENIOR\nYou take property that's not yours. Property that belongs to another man. That junk is his livelihood. I'm ashamed of you.\nEllis drops his head. His face flushed.\nMARY LEE\nSenior.\nSENIOR\n(to Mary Lee)\nShut your mouth. You think you can take things and not have him see it? Neither one of you has any respect for a man's livelihood. A life that puts clothes on your back and food in your stomach.\nMARY LEE\nDon't you blame this on me. One doesn't have a thing to do with the other and you know it.\nSENIOR\nDon't tell me what I know. If you can steal a man's life out from under him in front of your son and think he won't take a lesson from it than you're even dumber than you look.\nELLIS\nStop it dad.\nSenior volleys a finger at Ellis.\nSENIOR\nShe's raisin' you a snake like herself, and you can curl up with her 'fore I give a damn. You just remember this when you watch them rip this house apart board by board. You Hear Me!\nMary Lee slaps Senior hard. He turns to her, saying nothing.\nMARY LEE\nYou're a man who's never had the strength to support his own life. I never asked you for a thing, and I've never took a thing from you that I couldn't provide for on my own. If they do tear my home apart the only joy I'll have in my heart is knowin' that they'll be tearing you out of my life for good.\nShe wipes her eyes and turns her attention to Ellis.\nMARY LEE\nEllis. You'll return that motor from where you found it and you'll apologize in person to the man you took it from. I won't hear about anything like this again.\nMary Lee walks to the front door. She collects her purse and keys and exits quietly. Senior and Ellis stand in silence, which feels even more uncomfortable than the shouting. Ellis finally speaks.\nELLIS\nI can't take that motor back. But I'll pay him for it. I'll pay him what he wants for it.\nSenior, stoic, pivots his body away from the boy.\nSENIOR\nI don't care what you do Ellis.\nSenior retreats to the bedroom. Ellis is left alone in the wake. He looks to his room. The door opens slightly and Neckbone takes a step out. Neckbone doesn't say anything. He just bites at his lip, sympathy for his friend.\n\nEXT. ISLAND SHORE LANDING - DAY\nCharred hunks of driftwood smolder in a ruined pile on the sand. They constitute the remains of a large bonfire. Neckbone and Ellis stare at the ash.\nNECKBONE\nWhat the hell's all this?\nELLIS\nIt's a bonfire.\nNECKBONE\nI guess he didn't care about bein' seen.\nEllis kicks at one of the burned logs. He bends down and finds the bottle of Jack Daniels, smashed.\nELLIS\nHe had something else on his mind. Come on.\nEllis leads Neckbone into the treeline.\n\nEXT. ISLAND WOODS/CREEK - DAY\nMud's yellow shirt hangs, partially ripped, from a tree branch. Ellis pulls it off the limb. Concerned, they head deeper into the woods, over the fallen tree trunk that bridges the creek.\n\nEXT. ISLAND WOODS AND SOUTHERN SHORE - DAY\nThe boys watch Mud through the trees at a distance. He's crouched on the deck of the boat fiddling with wiring. Mud, giving no sign he sees the boys, yells out to them.\nMUD\nWhat are ya'll hidin' for?\nMud drops the wiring and scales down to the bank. They emerge from the woods. Ellis carries the yellow shirt.\nELLIS\nWe found your shirt.\nEllis tosses it to him. Mud tosses it back.\nMUD\nKeep it. I don't need it anymore.\nMud goes to the motor at the rear to tinker with more wires.\nELLIS\nWe saw what's left of your bonfire.\n(no response)\nSomebody could've seen you.\nMUD\nI guess.\nELLIS\nYou do some drinkin' last night?\nMUD\nI did a lot of drinkin' last night.\nMud stops and walks over to address the boys. His face is pale and his manner is curt.\nMUD\nNeck I'm gonna need you here to get the motor runnin'. Ellis I need you to do something else for me.\nMud removes a folded note from his back pocket.\nMUD\nI need you to take this to Juniper.\nELLIS\nOkay Mud.\nEllis takes the letter. Mud goes back to the boat motor. He motions to Neckbone to join him.\nMUD\nLet's go.\nELLIS\nYou still takin' Juniper?\nMUD\nI had a dream last night. I saw Juniper laying in a field with another man. They were making love. I walked out into the field. Walked toward 'em. I was so angry the tips of my ears were burnin'. That's how I knew I was gonna kill this man. But when I got up close enough, I saw that the man she was with had tattoos on his back, just like mine. I moved in closer and the guy turns his head back toward me. Hair for hair, dead truth, the guy she was with was me.\nMud ducks back under the motor. Ellis looks at Neckbone, worried.\nMUD\nI'll finish the boat, but I'd be surprised if I live long enough to sail on it. A vision of yourself is a sure sign of death. Neck can you grab me a socket wrench?\nNeckbone and Ellis walk to the toolbox sitting nearby. They crouch by it, speaking quietly.\nNECKBONE\nYou be all right?\nELLIS\nYeah. What about you?\nNECKBONE\nHe'll be okay.\nELLIS\nCan I borrow your bike?\nNeckbone fishes the key out of his pocket. Hesitates.\nNECKBONE\nDon't tump it.\nEllis nods. Neckbone walks over to Mud with the toolbox. Letter in hand, Ellis gives a final look toward Mud's labor and walks back into the woods. On his way, he stops to hang Mud's shirt on a tree branch.\n\nEXT. MISSISSIPPI RIVER - DAY\nEllis rides in the flat bottom boat alone. He stares at the letter in his hand.\n\nEXT. PIGGLY WIGGLY - DAY\nEllis sits on the dirt bike. He scans the parking lot. No black Lincoln. His eyes stop on a green pick-up. Miller, sits inside. Ellis looks around and finds a pay phone nearby. He gets off the bike and walks toward it. Ellis removes the flier Carver gave him. He dials a phone number copied at the bottom.\nELLIS\n(into the phone)\nHello. I saw the guy you're lookin' for...Yeah, he's crazy lookin'. Saw him at the Wal-mart outside of Gillet. He was buyin' some beanie weenie...'bout five minutes ago.\nEllis hangs up the phone. He walks back over to the bike, climbs on and waits. After a moment, he watches as Miller's green pick-up pulls out of the Piggly Wiggly parking lot and races away. Ellis cranks the bike.\n\nEXT. EXECUTIVE INN/JUNIPER'S ROOM - CONTINUOUS\nEllis, at a slight crouch, keeps his eyes on the Piggly Wiggly parking lot. The green pick-up is nowhere in sight. At Juniper's door, he knocks twice, softly. The door swings opens. Juniper stands there, holding a lit cigarette.\nJUNIPER\nI was wonderin' when I'd see you.\nEllis checks over his shoulder and walks inside\n\nINT. EXECUTIVE INN/JUNIPER'S ROOM - CONTINUOUS\nThe bed is unmade and the room is a bit of a mess. Ellis keeps his head down. Juniper closes the door and takes a seat on the edge of the bed. She grabs the remote control and mutes the television.\nJUNIPER\nI'm sorry about last night. I didn't plan on...\nBefore she can finish Ellis has fished the letter out of his pocket and holds it out to her.\nELLIS\nI'm supposed to give this to you.\nJuniper takes the letter.\nJUNIPER\nOkay.\nEllis goes to the door. He pulls the bedroom curtain back slightly to check the parking lot. The coast is clear.\nJUNIPER\nDid you read it?\nELLIS\nNo. I gotta go.\nJUNIPER\nEllis?\nHe turns to her.\nJUNIPER\nI'm sorry.\nELLIS\nAll you had to do was be there.\nJUNIPER\nI couldn't.\nELLIS\nThen why'd you even come here?\nJUNIPER\nI came here to leave with him. I really did. But now...now I guess I just came to say goodbye.\nHis eyes fall to the floor.\nJUNIPER\nYou don't know us Ellis. We've been headin' this way for a long time.\nELLIS\nI know he'd do anything for you.\nShe puts her cigarette out in a Coke can on the floor.\nJUNIPER\nYou really believe that?\nEllis nods. Juniper speaks to him gently, almost smiling. It's a look of resignation.\nJUNIPER\nMud's a born liar. That's what makes him so likable. He makes people feel good about themselves. He's a romantic. I don't think he means to hurt people. But when people get close to him, that's what happens.\nEllis watches her as she goes to the sink and wets the end of a towel. She dabs her eyes at the mirror.\nJUNIPER\nI do love him Ellis. But I can't spend the rest of my life runnin' with him. I may not know what kind of life I want, but I know that's not it.\nHer back to him, Ellis watches as she unfolds the letter and begins reading. He angles himself to see her face in the mirror. He watches her eyes scanning the words. No emotion. She finishes, folds the letter back up, then turns to him.\nJUNIPER\nTell him I understand.\nELLIS\nWhat's it say?\nJUNIPER\nIt says it's over. Tell him I've packed my things. Tell him I've gone.\nShe takes a deep breath and smiles at him.\nJUNIPER\nBye Ellis.\nEllis turns and walks out.\n\nEXT. EXECUTIVE INN/JUNIPER'S ROOM - CONTINUOUS\nEllis, dejected, no longer bothers to look over his shoulder. He walks to the staircase but stops there. Feeling the need to say something more, he goes back to her room. He puts his knuckle flat on the door but hesitates. He leans over and looks through the window. The sliver in the curtain gives him a glimpse. Juniper is curled up on the end of the bed. She is sobbing. Ellis watches longer than he should before pulling his head away from the window. Ellis heads back downstairs.\n\nEXT. INTERSECTION/SONIC DRIVE-IN - DAY\nEllis, riding the dirtbike, looks to his left into the Sonic Drive-In parking lot. The high school kids have gathered there again. He notices a rust colored Ford coup. The driver, an older kid named KYLE(18), sits beside May Pearl laughing. Ellis steers into traffic and crosses the street. He pulls onto a patch of grass at the edge of the Sonic parking lot. In one motion, Ellis tumps the bike on its side and makes a b- line for the coup. INSIDE THE CAR, Kyle's hand is on May Pearl's knee.\nKYLE\nSo what'd she say?\nMAY PEARL\nShe said she didn't like him that much. I told her I thought he was all right.\nEllis appears with his elbows in the driver's side window. He sticks his head so far in the door that Kyle has to lean back in his seat to make room. May Pearl is surprised. Kyle snorts out a laugh.\nELLIS\nYou get my phone calls?\nMAY PEARL\nWhat?\nELLIS\nI've been callin' you.\n(motions with his head)\nWho's this guy?\nKYLE\nGet your head outta my car kid.\nEllis takes his right elbow and quickly knocks Kyle in the mouth. It splits his upper lip. Kyle grabs his face.\nKYLE\nShit!\nMAY PEARL\nEllis!\nELLIS\nI called you twice yesterday. Your sister didn't tell you?\nKyle slings the door open knocking Ellis to the pavement. From the ground, Ellis can see that Kyle is big and considerably tougher than the skinny kid he punched before. Kyle's friends from other cars take notice and begin to converge on them. Ellis makes a move for Kyle's legs but is kicked back to the pavement. Kyle straddles him on the ground and punches him. Another punch to Ellis' face. May Pearl is out of the car and yelling.\nMAY PEARL\nKyle! Stop it Kyle!\nMay Pearl pulls Kyle by the collar. By his own will, he raises off of Ellis, keeping an eye on him. A streak of blood stretches from Ellis' nose to his ear. He gets to his feet, dazed. Ellis wipes at his nose and sees May Pearl shove Kyle. Kyle smiles and turns to his friends, who laugh. The CROWD that has collected consists of older high school guys and girls. Ellis steps toward May Pearl and is met with a shove too.\nMAY PEARL\nWhat the hell are you doin' here Ellis?!\nELLIS\nWhat?\nMAY PEARL\nYou can't just run up and punch people I'm with!\nELLIS\nI'm sorry, I just wanted to know why you hadn't called me back. I...\nMAY PEARL\nWhy would I call you back Ellis?\nELLIS\nBecause you're my girlfriend.\nThe crowd is watching.\nMAY PEARL\nI'm not your girlfriend! We went on one date. One!\nELLIS\nWe kissed.\nMAY PEARL\nThat doesn't matter!\nELLIS\nYeah but...\nMAY PEARL\nBut what Ellis?! What did you expect?!\nELLIS\nI love you.\nMAY PEARL\nYou're fourteen!\nELLIS\nDon't. Wait. We can make this work. We can figure it out. I love you.\nMAY PEARL\nWhat?\nEllis is losing it. His eyes are red. He looks at the crowd of kids. There are smiles and some snickering. May Pearl is speechless. She just stares at him. Ellis turns and walks back to the dirt bike. May Pearl's girlfriends gather around her. She shakes her head, dumbstruck. Ellis lifts the bike off the ground. He looks back at May Pearl who appears to be shrugging off the whole affair in front of her friends. Ellis speeds off.\n\nEXT. ELLIS' HOUSEBOAT/RIVERBANK - DAY\nA fire snaps and pops on the riverbank next to Ellis' houseboat. Ellis drags a piece of particle board from a trash pile nearby. He drops the board onto the fire and stands back to watch the blaze. Neckbone's bike leans on a tree behind him. Senior's truck rattles to a stop in the gravel just down the bank. He jumps out of the cab exasperated by the fire his son has started by their home.\nSENIOR\nWhat the hell are you doin'?!\nEllis says nothing. He doesn't move. Senior, continuing to yell, runs and drags a hose up from the houseboat.\nSENIOR\nEllis dammit! What the hell's wrong with you?!\nThe fire hisses as Senior turns the hose on it.\nSENIOR\nEllis? Look at me.\nEllis finally looks up at his father. A phone RINGS from inside the houseboat. Senior holds the hose in front of him.\nSENIOR\nTake it. Put this damn thing out.\nEllis takes the hose as Senior stomps on board to catch the phone. Ellis drops the hose. Senior's voice, speaking into the telephone, faintly carries outside. He's yelling. Ellis turns his head to listen.\nSENIOR (O.S.)\nI don't give a shit! Fine! I don't care what you do! I'm done with it!\nEllis moves around the fire so he can see the houseboat through the flames. He hears the phone SLAM down. Senior appears at the back door. He stares at Ellis through the fire. Ellis moves to the side but realizes Senior isn't staring at him. He's staring at the fire. Senior disappears back into the house. There is a commotion. Ellis watches as Senior bursts out of the house holding an armful of woman's clothes. Senior walks up to the bonfire and begins tossing clothes on top piece by piece.\nELLIS\nWhat are you doing?\nEllis watches as dresses and blouses begin to shrivel up in the flames.\nELLIS\nStop it! That's mom's stuff! STOP IT!\nEllis shoves at Senior. He easily counters the boy with his arm and continues tossing the clothes into the fire. Ellis is screaming and crying.\nSTOP IT!\nEllis tries yanking the remaining clothes out of his father's\nSTOP!\nhands but Senior shakes him off. Ellis stumbles. He watches with tears as Senior tosses all of the clothes on. Senior watches his wife's clothes burn. Ellis backs away to the bike. He climbs on, cranks the engine and speeds off.\n\nEXT. ISLAND SHORE - DAY\nEllis grounds the flat-bottom on shore and jumps out.\n\nEXT. ISLAND WOODS/CREEK - DAY\nEllis thrashes through the woods. His muddy feet stomp across the fallen tree trunk that bridges the creek.\n\nEXT. ISLAND/SOUTHERN SHORE - DAY\nThe boat rests on its trailer on the edge of the bank. Mud stands on board looking down at the motor. Neckbone, tools in hand, has his head buried in the motor.\nNECKBONE\nTry it now.\nMud turns a switch. No result.\nMUD\nNothin'.\nNECKBONE\nSonofabitch.\nEllis emerges from the treeline. Mud sees him and hops down from the boat. He walks up to him.\nMUD\nWhat'd she...\nEllis punches Mud with as much force as he can muster. It's barely enough to turn Mud's face, but it stuns him.\nELLIS\nYou're a liar. Makin' two kids run around doin' work you're too scared to do yourself. Makin' me tell her it's over 'cause you're too scared to do it yourself.\nMud steps back and gives the boy his space. Neckbone has made his way over and watches from behind Mud.\nELLIS\nYou said you loved her and you lied. You gave up on her and she gave up on you just like everybody else. I trusted you. Bonfires and crosses. Wolf's eye bullshit.\nMud tries to approach him but the boy explodes, shoving him.\nELLIS\nEVERYTHING YOU'VE TOLD ME WAS A\nLIE! You never cared about her. You never cared about us. Not like you said. Not enough to matter. You used us.\nMUD\nCome on Ellis.\nMud holds a hand out to him. Ellis slaps it away.\nELLIS\nYou made me a thief!\nEllis walks back into the woods. Mud exhales and turns back to Neckbone.\nNECKBONE\nLet me talk to him.\n\nEXT. ISLAND WOODS/CREEK - DAY\nEllis walks through the woods. Neckbone follows.\nNECKBONE\nEllis! Ellis, stop for a second!\nNeckbone watches as Ellis reaches the tree trunk that bridges the creek. Ellis steps onto the log, but his muddy shoes miss a step. He SLIPS. Neckbone sees Ellis disappear down into the creek bed.\nNECKBONE\nELLIS!\nNeckbone rushes over. He cranes his neck out to peer over the edge, a solid eight foot drop into the creek. Ellis floats face up in the shallow water. He's unconscious. A wound on his head from a nearby rock. The nest of WATER MOCCASINS has been disturbed; SNAKES WRITHE AROUND ELLIS' BODY. Neckbone's eyes widen. He darts back toward the shore.\n\nEXT. ISLAND/SOUTHERN SHORE - DAY\nMud stands at the rear of the boat massaging his jaw.\nMUD!\nMud hears the yelling.\nMUD!\nNeckbone explodes from the trees.\nNECKBONE\nMUD! ELLIS FELL! HE FELL IN THE\nCREEK!\nMud rushes forward.\nNECKBONE\nHE FELL INTO SNAKES! THE SNAKES!\nMud stops.\nNECKBONE\nMUD PLEASE!\nMud looks around. His shirt hangs from a tree limb nearby. He snags it and darts into the woods.\n\nEXT. ISLAND WOODS/CREEK - DAY\nMud streaks through the woods as he gets his other arm through the shirt sleeve. He reaches the creek. Without hesitating, Mud leaps down into the water, scoops Ellis into his arms and scales up the opposite side of the creek bed. Mud sprints for the north side of the island. Neckbone chases after them.\n\nEXT. NORTHERN SHORE AND RIVER - DAY\nMud cradles Ellis in his arms as he rushes to the flat-bottom boat. He sets Ellis gently inside. Neckbone on his heels. Mud shoves the boat into the water and hops in. Neckbone wades out and crawls up the side of the boat.\nMUD\nGet the motor started.\nNeckbone cranks the motor. As they move up river, Mud searches Ellis' body. He looks at his neck, his arms, he pulls up his shirt.\nNECKBONE\nIS HE OKAY?! Is he bit?!\nMud notices Ellis' jeans leg riding up. He pulls the jeans back. A BITE in the middle of his calf. It's a bluish bruise with two distinct red dots. The skin around the bite has already begun to swell.\nMUD\nShit.\nHe rips the jeans up to the thigh. Mud tears a section of cloth from the bottom of his own shirt and creates a tourniquet just below Ellis' knee.\nMUD\nWhat time is it?\nMud pulls a black Sharpie out of his pocket. Neckbone doesn't answer, just stares.\nMUD\nWHAT TIME IS IT?!\nNeckbone checks his watch.\nNECKBONE\nIt's four eighteen!\nMud draws a line on Ellis' leg just above the swollen bite. He writes, \"418\".\nMUD\nYell out every 10 minutes!\nMud elevates Ellis' leg then gently cups his head. He dabs the gash on Ellis' forehead.\nNECKBONE\nIs he gonna be okay?!\nMUD\nWe just need to get him to a clinic! Is there still one in town?!\nNECKBONE\nYeah!\nMUD\nIt's the closest?!\nNECKBONE\nYeah!\nMUD\nI'm gonna need your bike!\nNECKBONE\nAre you bit?!\nMud shakes his head.\nMUD\nNo.\nHe holds Ellis as they move steadily up river.\n\nEXT. RIVERBANK - DAY\nThe flat bottom boat approaches the riverbank. Neckbone points to the sandy ridge and yells up to Mud.\nNECKBONE\nMy bike should be just over that ridge!\nMud looks at Ellis' leg. The swelling has crept up his thigh. Black lines with numbers mark its progress: \"428, 438, 448\". Ellis' face has taken on a blue tint. The boat hasn't reached the shore, but Mud takes Ellis in his arms and jumps into the water. He wades onto the bank. AT THE BIKE, Mud straddles it, turning Ellis' body so they are face to face. He cranks the bike and speeds away. Neckbone makes it to the top of the ridge in time to see Mud disappear into the trees.\n\nEXT. TWO-LANE HIGHWAY - DAY\nMud speeds the dirt bike down the two-lane highway. He's far too big for the bike and it's even trickier balancing Ellis. Coming up on a slow moving pick-up overloaded with junk, Mud veers into the opposing lane. ONCOMING TRAFFIC. Mud darts back to his lane in time to miss a semi.\n\nEXT. CLINIC - DAY\nA MALE NURSE(36) wheels an ELDERLY MAN through the sliding double front doors of a small clinic. Mud appears around the corner. The bike speeding toward the entrance. In a fluid motion, Mud takes Ellis in his arms and lifts his leg over the bike. The bike tilts and slides across the pavement, smacking solidly into the curb. Mud has managed to stay on his feet with the boy in his arms and rushes through the automatic front doors.\n\nINT. CLINIC - CONTINUOUS\nThe reception area has a DOZEN PATIENTS sitting in it. A check-in desk to the left. Mud holds Ellis out in his arms.\nMUD\nI NEED HELP HERE!\nA FEMALE NURSE rushes out of the check-in area.\nFEMALE NURSE\nJust stay calm. What's going on?\nMUD\nHe's been snake bit.\nANOTHER NURSE rushes off calling for a doctor. The room becomes more frenzied. Patients talking. Nurses shouting.\nMUD\nHe's snake bit. A cotton mouth. On his calf. Just under an hour.\nAs quickly as Mud gets this out, a GROUP of NURSES rush out of a door at the end of the room pushing a gurney. They take Ellis from Mud's arm, place him on the gurney, and speed him into the back of the clinic. The commotion gone, the reception area feels oddly still. Mud takes a deep breath. He looks to his right. Patients stare at him. He's beyond disheveled. He's crazy looking. Mud turns to his left. The Male Nurse stares at him. For the first time, Mud realizes he's out in the open.\nMALE NURSE\nSir?\nMud slowly backs up.\nMALE NURSE\nSir? We're gonna need some information?\nMud backs out of the automatic doors. The entire room stares at him.\n\nEXT. CLINIC - CONTINUOUS\nMud is outside. The glass doors close. He nervously checks over his shoulders. He spots a bank of trees just down from the clinic. He heads for them. The front doors slide open and the Male Nurse walks out.\nMALE NURSE\nSir?!\nMud hops into the bank of trees and disappears.\n\nINT. CLINIC - CONTINUOUS\nThe Patients in the reception area settle back into their seats and discuss the commotion. The Male Nurse enters and walks behind the check-in window. IN THE WINDOW, The Male Nurse fingers through a pile of papers. He removes one of the fliers that Carver and his men have been showing. The Nurse studies the photo, looking back at the front doors. He picks up the phone and dials the number at the bottom.\n\nINT. PINES MOTEL - CONTINUOUS\nIn the adjoining room, the phone rings. King steps through the doorway, takes a seat on the bed, and answers.\nKING\nHello...Yes...Yessir we are...Uh huh.\nKing takes a pen from his shirt pocket and scribbles on a pad on the nightstand.\nKING\nNow where'd you say you were?...Okay...He's gone. Okay...But you say he left the boy?...And your name sir?\n\nEXT. EXECUTIVE INN - EVENING\nThe sun has been down for awhile. Juniper leans on the railing outside her room taking long drags from a cigarette. She sees Miller's green pick-up parked below. Suddenly the headlights pop on and the truck pulls away. She watches, curious, as it speeds out of sight. A train whistle blows in the distance but is overtaken by a semi rumbling down the street. She watches the semi pass revealing the DAY/NITE Gas Station's parking lot. A130 MUD STANDS IN THE CORNER OF THE LOT. Half lit by a sodium A130 lamp, he stares up at her. Juniper raises up. Even in the dim light she knows it's him. She doesn't move. Mud holds up a hand, waves. Juniper slowly waves back. She tries to smile at him, but she's about to cry and it's hard to muster. Mud smiles. After a long moment, he turns his back and disappears in the shadows at the side of the gas station. Juniper watches after him.\n\nEXT. BLACK BAYOU - NIGHT\nThe night sky is dark purple. An unnatural color. Ellis is on his back. Eyes closed. His head jostles at the SOUND of THUMPING. More THUMPING. It sounds like the hood of a car denting in. His eyes open. He stares up at an absurdly full moon. It's so bright it totally silhouettes the tree branches overhead. The THUMPING continues. Ellis puts his hands on the edge of the flat-bottom boat he's floating in and pulls himself up. He leans over the side to see what's causing the noise. The water is jet black. The entire bayou pulsates. Ellis' eyes grow wide as the THUMPING reveals itself. THE BAYOU IS FILLED TO THE BRIM WITH SNAKES. The moonlight illuminates their shiny black backs as they twist and churn in what seems like one giant ball of snakes. Ellis lies back in the boat bringing his arms close to his chest. He flinches at each THUMP. His eyes squeeze shut.\n\nINT. ELLIS' ROOM - NIGHT\nHis eyes open. Ellis bolts up in bed covered in a cold sweat. Mary Lee places a palm on his chest.\nMARY LEE\nIt's okay. You're okay. Just set back.\nMary Lee guides Ellis back down on the pillow. Senior stands with his arm on her shoulder. They look down at their son.\nELLIS\nWhere am I?\nMARY LEE\nYou're home. We got you home.\nEllis takes a second to get his bearings. His mother lifts a glass of Sprite up to his mouth. He takes a sip.\nSENIOR\nYou had us scared son.\nSenior steps forward and kisses Ellis on the forehead. Staying close to his face.\nSENIOR\n(whispers)\nI'm so glad you're okay.\nMARY LEE\nThe doctors gave you some medicine. You had a snake bite.\nELLIS\nHow'd I get to the doctor?\nMARY LEE\nA man brought you in. No one knew him.\nEllis tries to sit up in bed, but his mother stops him.\nMARY LEE\nIt's okay. You just need to rest up now. We can talk all about it later. Do you need anything? Are you hungry?\nELLIS\nNo.\nSenior gently pats her shoulders.\nSENIOR\nCome on. Let's let him rest.\nMary Lee touches Senior's hand on her shoulder. She stands.\nMARY LEE\nI'll be back in to check on you but just try and sleep if you can.\nELLIS\nOkay.\nSenior leads Mary Lee to the door.\nELLIS\nMom? Dad?\nThey turn back.\nELLIS\nI love ya'll.\nMARY LEE\nWe love you too Ellis.\nThey exit the room. Ellis rests his head back on the pillow and takes a deep breath.\n\nEXT. ISLAND/SOUTHERN SHORE - NIGHT\nMud and Neckbone shove against the back of the boat trailer. The wheels of the trailer rock at the edge of the bank's incline. Sheets of metal roofing taken from the shack Ellis and Neckbone dismantled line a runway into the water.\nMUD\n(straining)\nAlmost there.\nThe wheels finally turn over. The trailer rolls down the bank and splashes into the water. The boat shimmies. Mud and Neckbone follow the trailer into knee deep water and shove on the boat. A final push jettisons it into the river. They step back as the boat drifts out. A rope tied to its back becomes taught as it stretches from a tree on shore.\nMUD\nThe sun does shine on a dog's ass some days.\nNECKBONE\nIt ain't sunk yet.\nMud smiles. He holds out his hand, which Neckbone slaps.\nNECKBONE\nI wish Ellis could see it.\nMUD\nI know.\nMud walks back on shore and collects his duffel bag.\nMUD\nI owe you your end of the deal.\nMud removes the pistol from the back of his jeans. Neckbone's eyes light up. Mud hands it over and Neckbone immediately notices a hole where the clip is missing.\nNECKBONE\nWhere the bullets?\nMUD\nThe deal was for the gun, not the bullets.\nNECKBONE\nShit.\nNeckbone begrudgingly crams the pistol into the back of his pants.\nMUD\nI got one last favor to ask you.\nNeckbone sucks his teeth.\n\nEXT. ELLIS' HOUSEBOAT - NIGHT\nWater gently laps at the side of Ellis' houseboat. The bayou is quiet. From the darkness, Neckbone and Mud appear in the flat-bottom boat. They paddle with their hands. Approaching in silence.\n\nINT. ELLIS' ROOM - NIGHT\nEllis stares at the ceiling, unable to sleep. A TAP comes from the window. Ellis sits up in bed. Mud pokes his head in. He whispers.\nMUD\nEllis?\nELLIS\nMud?\nMUD\nYeah.\nMud pulls his body through the window. It's tight but he manages to make it look somewhat graceful. Mud takes a quick survey of the dark room. Ellis begins to get out of bed.\nMUD\nNo, don't get up.\nMud motions him back down and pulls the chair from the desk over to the bed. They speak in hushed voices.\nELLIS\nHow'd you get here?\nMUD\nNeck brought me.\n\nEXT. ELLIS' HOUSEBOAT - CONTINUOUS\nNeckbone sits in the flat-bottom tied off at the corner. FROM THE TREELINE ON SHORE, All EIGHT of the Bounty Hunters sit hunkered in the trees. Carver squats next to a stump. He loads shotgun shells into a 12 gauge pump and motions for the others to fan out along the bank.\n\nINT. ELLIS' ROOM - CONTINUOUS\nMUD\nWe got the boat in the water.\nELLIS\nYou did?\nMUD\nJust now. Smooth sailin' from here on out.\nELLIS\nGood.\nMUD\nWish you coulda seen it.\nELLIS\nMe too.\nMUD\nDidn't feel right leavin' town without sayin' goodbye.\nThere is an awkward moment.\nELLIS\nI'm sorry 'bout what I said.\nMUD\nNo. No. You were right to be mad. You were right about a lot of things. I'm the one that's sorry. I shoulda never gotten ya'll into all this. I just didn't see any other way around it. But I couldn't leave without you knowin' I never lied about being your friend. I never lied about that.\nELLIS\nI know.\nMUD\nI don't traffic in the truth too often. But I did love her. I do love her.\nELLIS\nShe loves you too. She said it.\nThis fact still strikes Mud. He nods.\nMUD\nI just made mistakes. We both did. This is a hard life to keep up with. You can't blame her for gettin' tired of tryin'.\nELLIS\nMy dad says you can't count on women lovin' you. He says you can't trust it.\nMUD\nThat's not true. Don't judge your life on all of our mistakes. You'll make plenty mistakes of your own, no need takin' on everybody else's. You're a good man Ellis. If you find a girl half as good, you'll be all right.\nELLIS\nYou're a good man too Mud.\nMud smiles.\nMUD\nNo. I'm not. But maybe from here on out I can be...\nA SHOTGUN BLAST rips a fist-sized hole in the flimsy interior wall. Mud, as if by reflex, yanks Ellis from the sheets and shoves him under the bed. BOOM. BOOM. Bits of sheetrock fall like snow flakes as more holes blast through the bedroom wall. Mud flinches with each shot. He covers his own head with one hand and the boy with the other.\nELLIS\nMud?!\nMUD\nStay put! JUST STAY UNDER THERE!\nThe SOUND of shotgun shells being slipped into the chamber. Mud gets to a crouch. Through the holes in the wall, Mud makes out Nelson, the fat bounty hunter, reloading his gun. IN THE DEN, Nelson finishes reloading. The riddled bedroom wall hangs in front of him. A door opens behind him. He swivels around. Senior, in a robe, rushes from his bedroom with a pistol leveled. He's met with a shotgun blast just above his head. Pellets nick his face. Senior hits the ground and elbows his way back inside his bedroom door.\nELLIS!\nSenior screams, his voice cracking.\nELLIS!\nIN ELLIS' ROOM,\nSENIOR (O.S.)\n(muffled through the wall)\nELLIS!\nMUD\n(whispering)\nDon't move Ellis. Just stay put. They just want me.\nThrough the holes Mud sees Nelson approaching Ellis' bedroom. He runs for the window at the foot of the bed. Another shotgun BLAST throws open the door as Mud leaps out.\n\nEXT. ELLIS' HOUSEBOAT - CONTINUOUS\nMud crashes headfirst onto the edge of the houseboat grasping for anything to keep from sliding off. His hand catches a metal deck cleat. It bends under his weight but holds. Mud gets to his feet and is met by the tip of a rifle. Miller, the man from the cafe, stands poised to fire. Mud's hand slips to the back of his pants for his pistol. NOTHING. He looks to the flat-bottom tied at the far edge of the boat. No sign of Neckbone. Miller's finger curls around the trigger. SUDDENLY, a BULLET snicks through Miller's neck. Mud flinches. Miller's hand comes up to his neck but can't hold the blood running from it. He topples into the water.\n\nEXT. TOM BLANKENSHIP'S HOUSEBOAT - CONTINUOUS\nTom Blankenship sits in the folding chair on the roof of his houseboat. He shucks an empty shell from a HIGH-POWERED RIFLE complete with scope. The long suitcase from the photo in Tom's house sits open at his feet. It has compartments for the disassembled rifle. Tom quickly raises to a new firing position. He squints an eye, searching for another target. A141 From this vantage point, Ellis' houseboat is clearly visible;\nA141\npartially lit by the two flood lights. FOUR other BOUNTY HUNTERS swarm the boat.\n\nINT. ELLIS' ROOM - CONTINUOUS\nStill under the bed, Ellis tries to hold his breath as Nelson's boots step into the room. They pause for a moment, before sluggishly struggling through the bedroom window.\n\nEXT. ELLIS' HOUSEBOAT - CONTINUOUS\nMud rushes to untie the flat-bottom. A BULLET splinters the corner of the dock sending shards of wood into Mud's hand. He sees TWO more GUNMEN skirting toward him on the deck of the houseboat. Mud takes cover against the wall and finds the muzzle of Nelson's gun teetering out Ellis' window. He grabs the muzzle and yanks the shotgun free. Nelson, stuck in the window, looks up in time to take a rifle butt in the face. He falls back into the room unconscious.\nNECKBONE (O.S.)\nON THE RIVERBANK, James, the man with the mustache, holds Neckbone in a headlock trying to cover his mouth. Carver stands with his shotgun leveled and fires at Mud. ON THE BOAT, Mud ducks as Carver's shot takes out a chunk of siding. The SOUND of boots rush up the side of the boat. Mud, gun in hand, jumps back through Ellis' window. ON THE RIVERBANK, Carver turns to Neckbone.\nCARVER\nLet him go.\nJames unhands the boy. Neckbone sprints into the woods.\nCARVER\nCome on.\nThey move toward the houseboat.\n\nINT. ELLIS' ROOM/HOUSEBOAT - CONTINUOUS\nMud gets to his feet, stepping over an unconscious Nelson on his way to the bedroom door.\nMUD\nYou still down there bud?\nELLIS\nYeah.\nMUD\nStay put.\nMud pops out of the bedroom into the den. IN SENIOR'S BEDROOM, Mary Lee, curled under the bed, frantically dials the phone. Senior, propped against the closed door, uses his undershirt to dab the pellet wounds around his neck. Hearing footsteps, he cracks the door open. He sees Mud standing in the den. Senior cocks his pistol IN THE DEN, The front door is KICKED open. Mud dives behind a Lazy Boy as a Bounty Hunter fires through the doorway. The back of the Lazy Boy explodes in fluff and fabric. Mud raises up to return fire, forcing the Man back out the door. Mud crouches back behind the Lazy Boy. Unbeknownst to him, another MAN appears outside two sliding glass doors. The Man raises his rifle at Mud. One of Tom's bullets rips through the Man's chest and shatters the glass door. Mud flinches. Another Hunter steps into the now broken door frame. Mud FIRES the shotgun, blowing the man into the patio grill. A149 Mud can see Tom's houseboat silhouetted across the A149 bayou. A muzzle FLASH sparks from the top of Tom's boat. This makes Mud smile. The Front Door kicks open again and more pellets shatter through the den. Mud raises to return fire. ONE SHOT, TWO, the third is a dead CLICK. He drops back behind the chair, out of shells.\n\nEXT. ELLIS' HOUSEBOAT - CONTINUOUS\nCarver steps across the plank onto the houseboat followed by James. Carver motions him around back toward Ellis' window.\nCARVER\nFlush him out this way.\nCarver walks to the covered carport.\n\nINT. ELLIS' HOUSEBOAT - CONTINUOUS\nIN THE DEN,\nThe Hunters at the front door continue taking pot shots at the furniture. Mud flinches at each new round fired.\nIN ELLIS' ROOM, Ellis cautiously slides out from under his bed and crouches next to the bedroom door. He peeks through a crack. He sees Mud pinned behind the Lazy Boy. They make eye contact. Mud's eyes move to something behind Ellis. Ellis turns to see James passing by his bedroom window.\n\nEXT. TOM BLANKENSHIP'S HOUSEBOAT - CONTINUOUS\nTom scans Ellis' boat through the scope on his rifle. He sees Carver creeping around the carport. He pans right to find James taking a position near the patio doors. Tom pauses, seeing Ellis appear at the corner of the boat just behind James.\n\nINT. ELLIS' HOUSEBOAT - DEN - CONTINUOUS\nThe firing from the front door has stopped. Mud takes a deep breath, sets the empty shotgun on the ground, then rushes out the sliding glass doors as the men out front reload.\n\nEXT. ELLIS' HOUSEBOAT/TOM'S HOUSEBOAT - CONTINUOUS\nMud makes it outside, his back to James' leveled rifle.\nELLIS\nMUD!\nJames and Mud both turn at the sound of Ellis' voice. One of Tom's bullets drops James dead. Carver appears at the carport end of the boat. He raises his shotgun toward Mud. A156 ON TOM, A156 He snaps the bolt open and closed, but it jams. He jerks at the lever, looking up he sees Carver taking aim. ON MUD, Mud takes a running leap off the side of the boat. Carver FIRES. Mud is struck in the back by the shotgun blast. The force of the shot spins him in the air. He crashes into the water. Ellis screams.\nELLIS\nMUD!\nCarver approaches the edge of the boat. He stares down into the swirling dark water. No sign of Mud. A157 ON TOM, A157 Tom slaps open the bolt and yanks the spent cartridge out with his fingers. It BURNS.\nTOM\nDAMMIT!\nON CARVER,\nHe pumps the shotgun and fires into the murky water. The pellets pepper the surface. Still no sign of Mud. Carver pumps the shotgun a final time, but before he can get another shot off Tom's bullet rips open Carver's chest sending him sprawling through the broken patio doors. ON TOM, He exhales, shucks the bolt once more. His eyes scan the dark water.\nON THE HOUSEBOAT, Ellis runs to the edge of the boat.\nMUD!\nSenior exits the houseboat, pistol pointed.\nMUD!\nHe sees Ellis\nand runs to him.\nSENIOR\nELLIS!\nSenior grabs the boy, keeping his pistol up. Ellis drops to his knees and Senior crouches with him, holding him tight in his arms. Ellis cries.\nSENIOR\nIt's okay. It's okay.\nThe two sit alone on the edge of the houseboat. The river seems especially quiet now.\n\nI/E. ELLIS' HOUSEBOAT/RIVERBANK - PREDAWN\nThe sky shows faint signs of morning, a few streaks of light. ON THE RIVERBANK, The blue, red, and white lights from police cruisers and ambulances bounce up into the trees. A frenzy of Police activity swarms from the aftermath left on Ellis' houseboat. Men in wetsuits prepare a dive. Blanket covered bodies are wheeled off on gurneys. Two of the Bounty Hunters, unharmed, sit locked in the back of a state trooper vehicle. ON THE HOUSEBOAT, Ellis, Senior and Mary Lee sit huddled together under the carport. They watch the emergency workers stream past. Senior wraps his arms around them. Ellis looks across the bayou to Tom's boat. Police flashlights bob and weave throughout. No sign of Tom. INSIDE ELLIS' HOUSEBOAT, A LOCAL OFFICER strings caution tape across the broken patio doors. TWO STATE TROOPERS hover over Carver's body. The Troopers step away and the Local Officer cranes toward the body. He studies Carver's face. Stepping aside, the Officer takes a cell phone from his pocket and dials. He turns his back away from the Troopers.\n\nINT. PINES MOTEL ROOM - NIGHT\nThe phone rings in the Pines Motel. King enters from the adjoining room and takes a seat on the bed. He answers.\nKING\nHello...You're speaking to him...\nKing listens. His face taut.\nKING\nHe's dead?\n(a long pause)\nOkay.\nKing hangs up the phone. He sits at the edge of the bed, overwhelmed by the news.\n\nEXT. RIVER - NIGHT\nIt's dark on the river. Moonlight barely shows the ripples in the slow moving current. MUSIC from a country station slips out across the surface of the water. Galen's jambox sits next to a small lantern in his flat- bottom boat. His Helper snores, fully reclined, with an empty can of Budweiser resting on his gut. His feet are propped next to a tiny bell rigged to a line that disappears into the water. The bell RINGS.\n\nEXT. UNDERWATER - RIVER - NIGHT\nThe river bed swirls inside two, distinct spots of light. Galen, using his new diving lights, scoops a final mussel shell into the net before tying it off. He tugs at the line. It's pitch black save for the shafts of light projected from Galen's shoulders. He tilts the lights toward the surface. The line leading up to the bottom of the boat dances in and out of the high beams. Then... MUD'S BODY FLOATS BY OVERHEAD. Only his backside is visible. A cloud of blood trails from the holes there. FADE TO BLACK.:\n\nEXT. ELLIS' HOUSEBOAT - DAY\nA WORKER cinches a thick strap across the deck of Ellis' houseboat. ON THE RIVERBANK, Ellis watches as WORKERS affix straps from his houseboat to a crane resting in the bed of a large truck on the bank. The SOUND of Neckbone's dirt bike rattles through the trees. He appears behind Ellis and parks.\nNECKBONE\nHey.\nELLIS\nYou got your bike back.\nNECKBONE\nMud dinged the shit out of it.\nNeckbone takes a seat next to Ellis. They watch the workers.\nNECKBONE\nThey're really doin' it.\nELLIS\nIt's the law.\nNECKBONE\nIt's bullshit. They ever find Tom?\nThe boys focus on Tom Blankenship's boat across the bayou. It sits vacant, covered in police tape.\nELLIS\nNo. He's gone.\nNECKBONE\nYour dad not here?\nELLIS\nSaid he couldn't watch it. He's pickin' me up in a minute. Got deliveries today.\nThey sit in silence as the Workers exit off the houseboat.\nNECKBONE\nHeard on the news. They still hadn't found Mud's body.\nEllis nods.\nNECKBONE\nYou think he's dead?\nELLIS\nI don't know. I hope not.\nThe crane begins lifting up the houseboat. The metal wires tighten and the entire structure creaks. A sucking sound as the flotilla separate from the water. The boat hangs, suspended in the air. A HORN HONKS behind the boys. Ellis turns to see Senior's truck.\nELLIS\nI gotta go. Come by the apartment. Help me set my room up.\nNECKBONE\nAll right.\nNeckbone watches Ellis climb into the bed of the pick-up and take his spot on the coolers. The sound of twisting metal shifts his attention back to the houseboat being swung over a flatbed semi.\n\nI/E. SENIOR'S TRUCK/RIVERBANK - CONTINUOUS\nIN THE CAB,\nSenior glances at the houseboat being set on the flatbed. He puts the truck in reverse and pulls away. Not looking back.\n\nEXT. SENIOR'S TRUCK/IMAGES OF DEWITT - DAY\nEllis rides in the back of the truck on top of the coolers. He watches the town pass by. A168 The marina junkyard. The Sonic. Downtown. A168\n\nB168 EXT. FLEA MARKET - DAY B168\nEllis and his father unload a cooler at the back of a tented flea market. A WOMAN comes out to greet them.\n\nI/E. SENIOR'S TRUCK/NEW APARTMENTS - DAY\nSenior's truck pulls into the parking lot of a newly finished apartment complex. The two-story buildings are modest. The truck idles out front. INSIDE THE CAB, Ellis grabs the door handle. He turns to Senior.\nELLIS\nI'll see you next week?\nSENIOR\nYeah.\nEllis begins to get out but stops when Senior speaks.\nSENIOR\nEllis? You mind your mother okay? This is a big change for her. She needs your support.\nELLIS\nYessir.\nSENIOR\nAll right. I love you.\nELLIS\nLove you too.\nEllis climbs out. He watches as Senior pulls away. He stands alone in front of the apartments, studying the surroundings. A busy road out front. A gas station and collection of stores. A lot of people and commotion. A compact car pulls into a parking spot one building down. Ellis watches as three COLLEGE AGE GIRLS climb out dressed in running shorts and t-shirts. Two are heavy set, the other is petite. They joke and laugh. One sees Ellis and waves. Ellis nods to her. He tracks them as they walk inside. Ellis smirks.\n\nEXT. MISSISSIPPI RIVER - DAY\nThe river rushes past. A large motor churns the water. Tom stands steering Mud's salvaged boat down river. He cranes his neck, seeing something up ahead. Tom kills the motor. Looking out over the bow, he's pleased by what he sees. His eyes glint, almost a smile. He walks to the small cabin and enters. INSIDE THE CABIN, Mud rests flat on his stomach on the cushioned bench. Shirtless, gauze bandages wrap around his chest and back. He's sleeping. Tom walks in and kneels next to him. Touches his shoulder. Mud's eyes open.\nTOM\nCome on son. You need to see this.\nMud, groggy, raises up. Tom helps him to his feet, putting an arm over his shoulders. Tom practically carries Mud outside. ON DECK, Tom and Mud slowly maneuver out the door and take a place near the front of the boat. Mud pulls his head up. Looks out ahead. The sight in front of him grabs his attention. He perks up. A tributary from the Mississippi river opens up into a vast stretch of ocean. Mud smiles, showing the missing tooth. Tom and Mud stand on deck as their boat drifts slowly into the open waters of the Gulf of Mexico. The End."},"nominated":{"kind":"number","value":0,"string":"0"},"winner":{"kind":"number","value":0,"string":"0"}}}],"truncated":false,"partial":false},"paginationData":{"pageIndex":13,"numItemsPerPage":100,"numTotalItems":1320,"offset":1300,"length":100}},"jwt":"eyJhbGciOiJFZERTQSJ9.eyJyZWFkIjp0cnVlLCJwZXJtaXNzaW9ucyI6eyJyZXBvLmNvbnRlbnQucmVhZCI6dHJ1ZX0sImlhdCI6MTc2MDA0MDc3Nywic3ViIjoiL2RhdGFzZXRzL0ZyYW5jaXMyMDAzL01vdmllLU8tTGFiZWwiLCJleHAiOjE3NjAwNDQzNzcsImlzcyI6Imh0dHBzOi8vaHVnZ2luZ2ZhY2UuY28ifQ.Wq1D-9M9ReSORKBTST-QDYqrxHy3xzzfg5PG8YgWWxYH_K9LsQZDuffAsrDQzso2ttjgjkW8mi9nd_MreUmdAA","displayUrls":true},"discussionsStats":{"closed":0,"open":1,"total":1},"fullWidth":true,"hasGatedAccess":true,"hasFullAccess":true,"isEmbedded":false,"savedQueries":{"community":[],"user":[]}}">
movie_name
string | imdb_id
string | title
string | year
int64 | summary
string | script
string | script_plain
string | script_clean
string | nominated
int64 | winner
int64 |
|---|---|---|---|---|---|---|---|---|---|
Pulp Fiction_1994
|
tt0110912
|
Pulp Fiction
| 1,994 |
Hitmen Jules Winnfield and Vincent Vega arrive at an apartment to retrieve a briefcase for their boss, gangster Marsellus Wallace, from a business partner, Brett. After Vincent checks the contents of the briefcase, Jules shoots one of Brett's associates. He declaims a passage from the Bible, and he and Vincent kill Brett for trying to double-cross Marsellus. They take the briefcase to Marsellus and wait while he bribes boxer Butch Coolidge to take a dive in his upcoming match. The next day, Vincent purchases heroin from his drug dealer, Lance. He shoots up and drives to meet Marsellus's wife Mia, having agreed to escort her while Marsellus is out of town. They eat at Jack Rabbit Slim's, a 1950s-themed restaurant, and participate in a twist contest, then return home. While Vincent is in the bathroom, Mia finds his heroin and snorts it, mistaking it for cocaine. She suffers an overdose; Vincent rushes her to Lance's house, where they revive her with an injection of adrenaline into her heart. Vincent drops Mia off at her home, and the two agree never to tell Marsellus about the incident. Butch bets the bribe money on himself and double-crosses Marsellus, winning the bout but accidentally killing his opponent as well. Knowing that Marsellus will send hitmen after him, he prepares to flee with his girlfriend Fabienne, but discovers she has forgotten to pack a gold watch passed down to him through his family. Returning to his apartment to retrieve it, he notices a submachine gun on the kitchen counter and hears the toilet flush. When Vincent exits the bathroom, Butch shoots him dead and departs. When Marsellus spots Butch stopped at a traffic light, Butch rams his car into him, leaving both of them injured and dazed. Once Marsellus regains consciousness, he draws a gun and shoots at Butch, chasing him into a pawnshop. As Butch gains the upper hand and is about to shoot Marsellus, Maynard the shop owner captures them at gunpoint and binds and gags them in the basement. Maynard and his accomplice Zed take Marsellus into another room and begin to rape him, leaving the "gimp" – a silent figure in a bondage suit – to watch over Butch. Butch breaks loose and knocks the gimp unconscious. Instead of fleeing, he decides to save Marsellus, and arms himself with a katana from the pawnshop. He kills Maynard and frees Marsellus, who shoots Zed in the crotch with Maynard's shotgun. Marsellus informs Butch that they are even, and to tell no one about the rape and to depart Los Angeles forever. Butch picks up Fabienne on Zed's chopper, and they ride away. Earlier, after Vincent and Jules have killed Brett in his apartment, another man bursts out of the bathroom and fires at them, but every shot misses; after briefly checking themselves for wounds, Jules and Vincent shoot him dead. While driving away with Brett's associate Marvin, Jules professes that their survival was a miracle, which Vincent disputes. Vincent accidentally shoots Marvin in the face, killing him, and covering Vincent, Jules, and the car interior in blood in broad daylight. They hide the car at the home of Jules's friend Jimmie, who demands they deal with the problem before his wife Bonnie comes home. Marsellus sends a cleaner, Winston Wolfe, who directs Jules and Vincent to clean the car, hide the body in the trunk, dispose of their bloody clothes, and take the car to a junkyard. At a diner, Jules tells Vincent that he plans to retire from his life of crime, convinced that their "miraculous" survival at the apartment was a sign of divine intervention. While Vincent is in the bathroom, a couple, "Pumpkin" and "Honey Bunny" hold up the restaurant and demand Marsellus's briefcase. Distracting him with its contents, Jules overpowers Pumpkin and holds him at gunpoint; Honey Bunny becomes hysterical and points her gun on him. Vincent returns with his gun aimed at her, but Jules defuses the situation. He recites the biblical passage, expresses ambivalence about his life of crime, and allows the robbers to take his cash and leave. Jules and Vincent leave the diner with the briefcase in hand.
|
<script>
<scene>
<stage_direction>INT. COFFEE SHOP - MORNING</stage_direction>
<scene_description>A normal Denny 's , Spires - like coffee shop in Los Angeles . It 's about 9:00 in the morning . While the place is n't jammed , there 's a healthy number of people drinking coffee , munching on bacon and eating eggs . Two of these people are a YOUNG MAN and a YOUNG WOMAN . The Young Man has a slight working - class English accent and , like his fellow countryman , smokes cigarettes like they 're going out of style . It is impossible to tell where the Young Woman is from or how old she is ; everything she does contradicts something she did . The boy and girl sit in a booth . Their dialogue is to be said in a rapid - pace `` HIS GIRL FRIDAY '' fashion .</scene_description>
<character>YOUNG MAN</character>
<dialogue>No, forget it, it's too risky. I'm through doin' that shit.</dialogue>
<character>YOUNG WOMAN</character>
<dialogue>You always say that, the same thing every time : never again, I'm through, too dangerous.</dialogue>
<character>YOUNG MAN</character>
<dialogue>I know that's what I always say. I'm always right too, but -</dialogue>
<character>YOUNG WOMAN</character>
<dialogue>- but you forget about it in a day or two -</dialogue>
<character>YOUNG MAN</character>
<dialogue>- yeah, well, the days of me forgittin' are over, and the days of me rememberin' have just begun.</dialogue>
<character>YOUNG WOMAN</character>
<dialogue>When you go on like this, you know what you sound like?</dialogue>
<character>YOUNG MAN</character>
<dialogue>I sound like a sensible fucking man, is what I sound like.</dialogue>
<character>YOUNG WOMAN</character>
<dialogue>You sound like a duck.</dialogue>
<parenthetical>( imitates a duck . )</parenthetical>
<dialogue>Quack, quack, quack, quack, quack, quack, quack.</dialogue>
<character>YOUNG MAN</character>
<dialogue>Well take heart,'cause you're never gon na hafta hear it again. Because since I'm never gon na do it again, you're never gon na hafta hear me quack about how I'm never gon na do it again.</dialogue>
<character>YOUNG WOMAN</character>
<dialogue>After tonight.</dialogue>
<scene_description>The boy and girl laugh , their laughter putting a pause in there , back and forth .</scene_description>
<character>YOUNG MAN</character>
<parenthetical>( with a smile . )</parenthetical>
<dialogue>Correct. I got all tonight to quack.</dialogue>
<scene_description>A WAITRESS comes by with a pot of coffee .</scene_description>
<character>WAITRESS</character>
<dialogue>Can I get anybody anymore coffee?</dialogue>
<character>YOUNG WOMAN</character>
<dialogue>Oh yes, thank you.</dialogue>
<scene_description>The Waitress pours the Young Woman 's coffee . The Young Man lights up another cigarette .</scene_description>
<character>YOUNG MAN</character>
<dialogue>I'm doin' fine.</dialogue>
<scene_description>The Waitress leaves . The Young Man takes a drag off of his smoke . The Young Woman pours a ton of cream and sugar into her coffee . The Young Man goes right back into it .</scene_description>
<character>YOUNG MAN</character>
<dialogue>I mean the way it is now, you're takin' the same fuckin' risk as when you rob a bank. You take more of a risk. Banks are easier! Federal banks are n't supposed to stop you anyway, during a robbery. They're insured, why should they care? You do n't even need a gun in a federal bank. I heard about this guy, walked into a federal bank with a portable phone, handed the phone to the teller, the guy on the other end of the phone said : `` We got this guy's little girl, and if you do n't give him all your money, we're gon na kill ` er.''</dialogue>
<character>YOUNG WOMAN</character>
<dialogue>Did it work?</dialogue>
<character>YOUNG MAN</character>
<dialogue>Fuckin' A it worked, that's what I'm talkin' about! Knucklehead walks in a bank with a telephone, not a pistol, not a shotgun, but a fuckin' phone, cleans the place out, and they do n't lift a fuckin' finger.</dialogue>
<character>YOUNG WOMAN</character>
<dialogue>Did they hurt the little girl?</dialogue>
<character>YOUNG MAN</character>
<dialogue>I do n't know. There probably never was a little girl - the point of the story is n't the little girl. The point of the story is they robbed the bank with a telephone.</dialogue>
<character>YOUNG WOMAN</character>
<dialogue>You wan na rob banks?</dialogue>
<character>YOUNG MAN</character>
<dialogue>I'm not sayin' I wan na rob banks, I'm just illustrating that if we did, it would be easier than what we been doin'.</dialogue>
<character>YOUNG WOMAN</character>
<dialogue>So you do n't want to be a bank robber?</dialogue>
<character>YOUNG MAN</character>
<dialogue>Naw, all those guys are goin' down the same road, either dead or servin' twenty.</dialogue>
<character>YOUNG WOMAN</character>
<dialogue>And no more liquor stores?</dialogue>
<character>YOUNG MAN</character>
<dialogue>What have we been talking about? Yeah, no - more - liquor - stores. Besides, it ai n't the giggle it usta be. Too many foreigners own liquor stores. Vietnamese, Koreans, they ca n't fuckin' speak English. You tell'em : `` Empty out the register,'' and they do n't know what it fuckin' means. They make it too personal. We keep on, one of those gook motherfuckers' gon na make us kill'em.</dialogue>
<character>YOUNG WOMAN</character>
<dialogue>I'm not gon na kill anybody.</dialogue>
<character>YOUNG MAN</character>
<dialogue>I do n't wan na kill anybody either. But they'll probably put us in a situation where it's us of them. And if it's not the gooks, it these old Jews who've owned the store for fifteen fuckin' generations. Ya got Grandpa Irving sittin' behind the counter with a fuckin' Magnum. Try walkin' into one of those stores with nothin' but a telephone, see how far it gets you. Fuck it, forget it, we're out of it.</dialogue>
<character>YOUNG WOMAN</character>
<dialogue>Well, what else is there, day jobs?</dialogue>
<character>YOUNG MAN</character>
<parenthetical>( laughing . )</parenthetical>
<dialogue>Not this life.</dialogue>
<character>YOUNG WOMAN</character>
<dialogue>Well what then?</dialogue>
<scene_description>He calls to the Waitress .</scene_description>
<character>YOUNG MAN</character>
<dialogue>Garcon! Coffee!</dialogue>
<scene_description>Then looks to his girl .</scene_description>
<character>YOUNG MAN</character>
<dialogue>This place.</dialogue>
<scene_description>The Waitress comes by , pouring him some more .</scene_description>
<character>WAITRESS</character>
<parenthetical>( snotty . )</parenthetical>
<dialogue>`` Garcon'' means boy.</dialogue>
<scene_description>She splits .</scene_description>
<character>YOUNG WOMAN</character>
<dialogue>Here? It's a coffee shop.</dialogue>
<character>YOUNG MAN</character>
<dialogue>What's wrong with that? People never rob restaurants, why not? Bars, liquor stores, gas stations, you get your head blown off stickin' up one of them. Restaurants, on the other hand, you catch with their pants down. They're not expecting to get robbed, or not as expecting.</dialogue>
<character>YOUNG WOMAN</character>
<parenthetical>( taking to idea . )</parenthetical>
<dialogue>I bet in places like this you could cut down on the hero factor.</dialogue>
<character>YOUNG MAN</character>
<dialogue>Correct. Just like banks, these places are insured. The managers do n't give a fuck, they're just tryin' to get ya out the door before you start pluggin' diners. Waitresses, forget it, they ai n't takin' a bullet for the register. Busboys, some wetback gettin' paid a dollar fifty a hour gon na really give a fuck you're stealin' from the owner. Customers are sittin' there with food in their mouths, they do n't know what's goin' on. One minute they're havin' a Denver omelette, next minute somebody's stickin' a gun in their face.</dialogue>
<scene_description>The Young Woman visibly takes in the idea . The Young Man continues in a low voice .</scene_description>
<character>YOUNG MAN</character>
<dialogue>See, I got the idea last liquor store we stuck up. ` Member all those customers kept comin' in?</dialogue>
<character>YOUNG WOMAN</character>
<dialogue>Yeah.</dialogue>
<character>YOUNG MAN</character>
<dialogue>They you got the idea to take everybody's wallet.</dialogue>
<character>YOUNG WOMAN</character>
<dialogue>Uh - huh.</dialogue>
<character>YOUNG MAN</character>
<dialogue>That was a good idea.</dialogue>
<character>YOUNG WOMAN</character>
<dialogue>Thank you.</dialogue>
<character>YOUNG MAN</character>
<dialogue>We made more from the wallets then we did the register.</dialogue>
<character>YOUNG WOMAN</character>
<dialogue>Yes we did.</dialogue>
<character>YOUNG MAN</character>
<dialogue>A lot of people go to restaurants.</dialogue>
<character>YOUNG WOMAN</character>
<dialogue>A lot of wallets.</dialogue>
<character>YOUNG MAN</character>
<dialogue>Pretty smart, huh?</dialogue>
<scene_description>The Young Woman scans the restaurant with this new information . She sees all the PATRONS eating , lost in conversations . The tires WAITRESS , taking orders . The BUSBOYS going through the motions , collecting dishes . The MANAGER complaining to the COOK about something . A smiles breaks out on the Young Woman 's face .</scene_description>
<character>YOUNG WOMAN</character>
<dialogue>Pretty smart.</dialogue>
<parenthetical>( into it . )</parenthetical>
<dialogue>I'm ready, let's go, right here, right now.</dialogue>
<character>YOUNG MAN</character>
<dialogue>Remember, same as before, you're crowd control, I handle the employees.</dialogue>
<character>YOUNG WOMAN</character>
<dialogue>Got it.</dialogue>
<scene_description>They both take out their .32 - caliber pistols and lay them on the table . He looks at her and she back at him .</scene_description>
<character>YOUNG WOMAN</character>
<dialogue>I love you, Pumpkin.</dialogue>
<character>YOUNG MAN</character>
<dialogue>I love you, Honey Bunny.</dialogue>
<scene_description>And with that , Pumpkin and Honey Bunny grab their weapons , stand up and rob the restaurant . Pumpkin 's robbery persona is that of the in - control professional . Honey Bunny 's is that of the psychopathic , hair - triggered , loose cannon .</scene_description>
<character>PUMPKIN</character>
<parenthetical>( yelling to all . )</parenthetical>
<dialogue>Everybody be cool this is a robbery!</dialogue>
<character>HONEY BUNNY</character>
<dialogue>Any of you fuckin' pricks move and I'll execute every one of you motherfuckers! Got that?</dialogue>
<scene_description>PULP FICTION</scene_description>
</scene>
<scene>
<stage_direction>INT.'74 CHEVY (MOVING) - MORNING</stage_direction>
<scene_description>An old gas guzzling , dirty , white 1974 Chevy Nova BARRELS down a homeless - ridden street in Hollywood . In the front seat are two young fellas - one white , one black - both wearing cheap black suits with thin black ties under long green dusters . Their names are VINCENT VEGA -LRB- white -RRB- and JULES WINNFIELD -LRB- black -RRB- . Jules is behind the wheel .</scene_description>
<character>JULES</character>
<dialogue>- okay now, tell me about the hash bars?</dialogue>
<character>VINCENT</character>
<dialogue>What so you want to know?</dialogue>
<character>JULES</character>
<dialogue>Well, hash is legal there, right?</dialogue>
<character>VINCENT</character>
<dialogue>Yeah, it's legal, but is ai n't a hundred percent legal. I mean you ca n't walk into a restaurant, roll a joint, and start puffin' away. You're only supposed to smoke in your home or certain designated places.</dialogue>
<character>JULES</character>
<dialogue>Those are hash bars?</dialogue>
<character>VINCENT</character>
<dialogue>Yeah, it breaks down like this : it's legal to buy it, it's legal to own it and, if you're the proprietor of a hash bar, it's legal to sell it. It's legal to carry it, which does n't really matter'cause - get a load of this - if the cops stop you, it's illegal for this to search you. Searching you is a right that the cops in Amsterdam do n't have.</dialogue>
<character>JULES</character>
<dialogue>That did it, man - I'm fuckin' goin', that's all there is to it.</dialogue>
<character>VINCENT</character>
<dialogue>You'll dig it the most. But you know what the funniest thing about Europe is?</dialogue>
<character>JULES</character>
<dialogue>What?</dialogue>
<character>VINCENT</character>
<dialogue>It's the little differences. A lotta the same shit we got here, they got there, but there they're a little different.</dialogue>
<character>JULES</character>
<dialogue>Examples?</dialogue>
<character>VINCENT</character>
<dialogue>Well, in Amsterdam, you can buy beer in a movie theatre. And I do n't mean in a paper cup either. They give you a glass of beer, like in a bar. In Paris, you can buy beer at MacDonald's. Also, you know what they call a Quarter Pounder with Cheese in Paris?</dialogue>
<character>JULES</character>
<dialogue>They do n't call it a Quarter Pounder with Cheese?</dialogue>
<character>VINCENT</character>
<dialogue>No, they got the metric system there, they would n't know what the fuck a Quarter Pounder is.</dialogue>
<character>JULES</character>
<dialogue>What'd they call it?</dialogue>
<character>VINCENT</character>
<dialogue>Royale with Cheese.</dialogue>
<character>JULES</character>
<parenthetical>( repeating . )</parenthetical>
<dialogue>Royale with Cheese. What'd they call a Big Mac?</dialogue>
<character>VINCENT</character>
<dialogue>Big Mac's a Big Mac, but they call it Le Big Mac.</dialogue>
<character>JULES</character>
<dialogue>What do they call a Whopper?</dialogue>
<character>VINCENT</character>
<dialogue>I dunno, I did n't go into a Burger King. But you know what they put on french fries in Holland instead of ketchup?</dialogue>
<character>JULES</character>
<dialogue>What?</dialogue>
<character>VINCENT</character>
<dialogue>Mayonnaise.</dialogue>
<character>JULES</character>
<dialogue>Goddamn!</dialogue>
<character>VINCENT</character>
<dialogue>I seen'em do it. And I do n't mean a little bit on the side of the plate, they fuckin' drown'em in it.</dialogue>
<character>JULES</character>
<dialogue>Uuccch!</dialogue>
</scene>
<scene>
<stage_direction>INT. CHEVY (TRUNK) - MORNING</stage_direction>
<scene_description>The trunk of the Chevy OPENS UP , Jules and Vincent reach inside , taking out two .45 Automatics , loading and cocking them .</scene_description>
<character>JULES</character>
<dialogue>We should have shotguns for this kind of deal.</dialogue>
<character>VINCENT</character>
<dialogue>How many up there?</dialogue>
<character>JULES</character>
<dialogue>Three or four.</dialogue>
<character>VINCENT</character>
<dialogue>Counting our guy?</dialogue>
<character>JULES</character>
<dialogue>I'm not sure.</dialogue>
<character>VINCENT</character>
<dialogue>So there could be five guys up there?</dialogue>
<character>JULES</character>
<dialogue>It's possible.</dialogue>
<character>VINCENT</character>
<dialogue>We should have fuckin' shotguns.</dialogue>
<scene_description>They CLOSE the trunk .</scene_description>
</scene>
<scene>
<stage_direction>EXT. APARTMENT BUILDING COURTYARD - MORNING</stage_direction>
<scene_description>Vincent and Jules , their long matching overcoats practically dragging on the ground , walk through the courtyard of what looks like a hacienda - style Hollywood apartment building . We TRACK alongside .</scene_description>
<character>VINCENT</character>
<dialogue>What's her name?</dialogue>
<character>JULES</character>
<dialogue>Mia.</dialogue>
<character>VINCENT</character>
<dialogue>How did Marsellus and her meet?</dialogue>
<character>JULES</character>
<dialogue>I dunno, however people meet people. She usta be an actress.</dialogue>
<character>VINCENT</character>
<dialogue>She ever do anything I woulda saw?</dialogue>
<character>JULES</character>
<dialogue>I think her biggest deal was she starred in a pilot.</dialogue>
<character>VINCENT</character>
<dialogue>What's a pilot?</dialogue>
<character>JULES</character>
<dialogue>Well, you know the shows on TV?</dialogue>
<character>VINCENT</character>
<dialogue>I do n't watch TV.</dialogue>
<character>JULES</character>
<dialogue>Yes, but you're aware that there's an invention called television, and on that invention they show shows?</dialogue>
<character>VINCENT</character>
<dialogue>Yeah.</dialogue>
<character>JULES</character>
<dialogue>Well, the way they pick the shows on TV is they make one show, and that show's called a pilot. And they show that one show to the people who pick the shows, and on the strength of that one show, they decide if they want to make more shows. Some get accepted and become TV programs, and some do n't, and become nothing. She starred in one of the ones that became nothing.</dialogue>
<scene_description>They enter the apartment building .</scene_description>
</scene>
<scene>
<stage_direction>INT. RECEPTION AREA (APARTMENT BUILDING) - MORNING</stage_direction>
<scene_description>Vincent and Jules walk through the reception area and wait for the elevator .</scene_description>
<character>JULES</character>
<dialogue>You remember Antwan Rockamora? Half - black, half - Samoan, usta call him Tony Rocky Horror.</dialogue>
<character>VINCENT</character>
<dialogue>Yeah maybe, fat right?</dialogue>
<character>JULES</character>
<dialogue>I would n't go so far as to call the brother fat. He's got a weight problem. What's the nigger gon na do, he's Samoan.</dialogue>
<character>VINCENT</character>
<dialogue>I think I know who you mean, what about him?</dialogue>
<character>JULES</character>
<dialogue>Well, Marsellus fucked his ass up good. And word around the campfire, it was on account of Marsellus Wallace's wife.</dialogue>
<scene_description>The elevator arrives , the men step inside .</scene_description>
</scene>
<scene>
<stage_direction>INT. ELEVATOR - MORNING</stage_direction>
<character>VINCENT</character>
<dialogue>What'd he do, fuck her?</dialogue>
<character>JULES</character>
<dialogue>No no no no no no no, nothin' that bad.</dialogue>
<character>VINCENT</character>
<dialogue>Well what then?</dialogue>
<character>JULES</character>
<dialogue>He gave her a foot massage.</dialogue>
<character>VINCENT</character>
<dialogue>A foot massage?</dialogue>
<scene_description>Jules nods his head : `` Yes . ''</scene_description>
<character>VINCENT</character>
<dialogue>That's all?</dialogue>
<scene_description>Jules nods his head : `` Yes . ''</scene_description>
<character>VINCENT</character>
<dialogue>What did Marsellus do?</dialogue>
<character>JULES</character>
<dialogue>Sent a couple of guys over to his place. They took him out on the patio of his apartment, threw his ass over the balcony. Nigger fell four stories. They had this garden at the bottom, enclosed in glass, like one of them greenhouses - nigger fell through that. Since then, he's kinda developed a speech impediment.</dialogue>
<scene_description>The elevator doors open , Jules and Vincent exit .</scene_description>
<character>VINCENT</character>
<dialogue>That's a damn shame.</dialogue>
</scene>
<scene>
<stage_direction>INT. APARTMENT BUILDING HALLWAY - MORNING</stage_direction>
<scene_description>STEADICAM in front of Jules and Vincent as they make a beeline down the hall .</scene_description>
<character>VINCENT</character>
<dialogue>Still I hafta say, play with matches, ya get burned.</dialogue>
<character>JULES</character>
<dialogue>Whaddya mean?</dialogue>
<character>VINCENT</character>
<dialogue>You do n't be givin' Marsellus Wallace's new bride a foot massage.</dialogue>
<character>JULES</character>
<dialogue>You do n't think he overreacted?</dialogue>
<character>VINCENT</character>
<dialogue>Antwan probably did n't expect Marsellus to react like he did, but he had to expect a reaction.</dialogue>
<character>JULES</character>
<dialogue>It was a foot massage, a foot massage is nothing, I give my mother a foot massage.</dialogue>
<character>VINCENT</character>
<dialogue>It's laying hands on Marsellus Wallace's new wife in a familiar way. Is it as bad as eatin' her out - no, but you're in the same fuckin' ballpark.</dialogue>
<scene_description>Jules stops Vincent .</scene_description>
<character>JULES</character>
<dialogue>Whoa. whoa. whoa. stop right there. Eatin' a bitch out, and givin' a bitch a foot massage ai n't even the same fuckin' thing.</dialogue>
<character>VINCENT</character>
<dialogue>Not the same thing, the same ballpark.</dialogue>
<character>JULES</character>
<dialogue>It ai n't no ballpark either. Look maybe your method of massage differs from mine, but touchin' his lady's feet, and stickin' your tongue in her holyiest of holyies, ai n't the same ballpark, ai n't the same league, ai n't even the same fuckin' sport. Foot massages do n't mean shit.</dialogue>
<character>VINCENT</character>
<dialogue>Have you ever given a foot massage?</dialogue>
<character>JULES</character>
<dialogue>Do n't be tellin' me about foot massages - I'm the fuckin' foot master.</dialogue>
<character>VINCENT</character>
<dialogue>Given a lot of'em?</dialogue>
<character>JULES</character>
<dialogue>Shit yeah. I got my technique down man, I do n't tickle or nothin'.</dialogue>
<character>VINCENT</character>
<dialogue>Have you ever given a guy a foot massage?</dialogue>
<scene_description>Jules looks at him a long moment - he 's been set up .</scene_description>
<character>JULES</character>
<dialogue>Fuck you.</dialogue>
<scene_description>He starts walking down the hall . Vincent , smiling , walks a little bit behind .</scene_description>
<character>VINCENT</character>
<dialogue>How many?</dialogue>
<character>JULES</character>
<dialogue>Fuck you.</dialogue>
<character>VINCENT</character>
<dialogue>Would you give me a foot massage - I'm kinda tired.</dialogue>
<character>JULES</character>
<dialogue>Man, you best back off, I'm gittin' pissed - this is the door.</dialogue>
<scene_description>The two men stand in front of the door numbered `` 49 . '' They whisper .</scene_description>
<character>JULES</character>
<dialogue>What time is it?</dialogue>
<character>VINCENT</character>
<parenthetical>( checking his watch . )</parenthetical>
<dialogue>Seven - twenty - two in the morning.</dialogue>
<character>JULES</character>
<dialogue>It ai n't quite time, let's hang back.</dialogue>
<scene_description>They move a little away from the door , facing each other , still whispering .</scene_description>
<character>JULES</character>
<dialogue>Look, just because I would n't give no man a foot massage, do n't make it right for Marsellus to throw Antwan off a building into a glass - motherfuckin - house, fuckin' up the way the nigger talks. That ai n't right, man. Motherfucker do that to me, he better paralyze my ass,'cause I'd kill' a motherfucker.</dialogue>
<character>VINCENT</character>
<dialogue>I'm not sayin' he was right, but you're sayin' a foot massage do n't mean nothing, and I'm sayin' it does. I've given a million ladies a million foot massages and they all meant somethin'. We act like they do n't, but they do. That's what's so fuckin' cool about'em. This sensual thing's goin' on that nobody's talkin about, but you know it and she knows it, fuckin' Marsellus knew it, and Antwan shoulda known fuckin' better. That's his fuckin' wife, man. He ai n't gon na have a sense of humor about that shit.</dialogue>
<character>JULES</character>
<dialogue>That's an interesting point, but let's get into character.</dialogue>
<character>VINCENT</character>
<dialogue>What's her name again?</dialogue>
<character>JULES</character>
<dialogue>Mia. Why you so interested in big man's wife?</dialogue>
<character>VINCENT</character>
<dialogue>Well, Marsellus is leavin' for Florida and when he's gone, he wants me to take care of Mia.</dialogue>
<character>JULES</character>
<dialogue>Take care of her?</dialogue>
<scene_description>Making a gun out of his finger and placing it to his head .</scene_description>
<character>VINCENT</character>
<dialogue>Not that! Take her out. Show her a good time. Do n't let her get lonely.</dialogue>
<character>JULES</character>
<dialogue>You're gon na be takin' Mia Wallace out on a date?</dialogue>
<character>VINCENT</character>
<dialogue>It ai n't a date. It's like when you and your buddy's wife go to a movie or somethin'. It's just. you know. good company.</dialogue>
<scene_description>Jules just looks at him .</scene_description>
<character>VINCENT</character>
<dialogue>It's not a date.</dialogue>
<scene_description>Jules just looks at him .</scene_description>
<character>VINCENT</character>
<dialogue>I'm not gon na be a bad boy.</dialogue>
<scene_description>Jules shakes his head and mumbles to himself .</scene_description>
<character>JULES</character>
<dialogue>Bitch gon na kill more niggers than time.</dialogue>
<character>VINCENT</character>
<dialogue>What was that?</dialogue>
<character>JULES</character>
<dialogue>Nothin'. Let's get into character.</dialogue>
<character>VINCENT</character>
<dialogue>What'd you say?</dialogue>
<character>JULES</character>
<dialogue>I did n't say shit. Let's go to work.</dialogue>
<character>VINCENT</character>
<dialogue>Do n't play with me, you said somethin', now what was it?</dialogue>
<character>JULES</character>
<parenthetical>( referring to the job . )</parenthetical>
<dialogue>Do you wan na do this?</dialogue>
<character>VINCENT</character>
<dialogue>I want you to repeat what you said.</dialogue>
<character>JULES</character>
<dialogue>That door's gon na open in about thirty seconds, so git yourself together -</dialogue>
<character>VINCENT</character>
<dialogue>- my self is together -</dialogue>
<character>JULES</character>
<dialogue>- bullshit it is. Stop thinkin' ` bout that Ho, and get yourself together like a qualified pro.</dialogue>
</scene>
<scene>
<stage_direction>INT. APARTMENT (ROOM 49) - MORNING</stage_direction>
<scene_description>THREE YOUNG GUYS , obviously in over their heads , sit at a table with hamburgers , french fries and soda pops laid out . One of them flips the LOUD BOLT on the door , opening it to REVEAL Jules and Vincent in the hallway .</scene_description>
<character>JULES</character>
<dialogue>Hey kids.</dialogue>
<scene_description>The two men stroll inside . The three young caught - off - guard Guys are : MARVIN The black young man , who open the door , will , as the scene progresses , back into the corner . ROGER A young blond - haired surfer kid with a `` Flock of Seagulls '' haircut , who has yet to say a word , sits at the table with a big sloppy hamburger in his hand . BRETT A white , preppy - looking sort with a blow - dry haircut . Vincent and Jules take in the place , with their hands in their pockets . Jules is the one who does the talking .</scene_description>
<character>JULES</character>
<dialogue>How you boys doin'?</dialogue>
<scene_description>No answer .</scene_description>
<character>JULES</character>
<parenthetical>( to Brett . )</parenthetical>
<dialogue>Am I trippin', or did I just ask you a question.</dialogue>
<character>BRETT</character>
<dialogue>We're doin' okay.</dialogue>
<scene_description>As Jules and Brett talk , Vincent moves behind the young Guys .</scene_description>
<character>JULES</character>
<dialogue>Do you know who we are?</dialogue>
<scene_description>Brett shakes his head : `` No . ''</scene_description>
<character>JULES</character>
<dialogue>We're associates of your business partner Marsellus Wallace, you remember your business partner dont ` ya?</dialogue>
<scene_description>No answer .</scene_description>
<character>JULES</character>
<parenthetical>( to Brett . )</parenthetical>
<dialogue>Now I'm gon na take a wild guess here : you're Brett, right?</dialogue>
<character>BRETT</character>
<dialogue>I'm Brett.</dialogue>
<character>JULES</character>
<dialogue>I thought so. Well, you remember your business partner Marsellus Wallace, dont ` ya Brett?</dialogue>
<character>BRETT</character>
<dialogue>I remember him.</dialogue>
<character>JULES</character>
<dialogue>Good for you. Looks like me and Vincent caught you at breakfast, sorry ` bout that. What ` cha eatin'?</dialogue>
<character>BRETT</character>
<dialogue>Hamburgers.</dialogue>
<character>JULES</character>
<dialogue>Hamburgers. The cornerstone of any nutritious breakfast. What kinda hamburgers?</dialogue>
<character>BRETT</character>
<dialogue>Cheeseburgers.</dialogue>
<character>JULES</character>
<dialogue>No, I mean where did you get'em? MacDonald's, Wendy's, Jack - in - the - Box, where?</dialogue>
<character>BRETT</character>
<dialogue>Big Kahuna Burger.</dialogue>
<character>JULES</character>
<dialogue>Big Kahuna Burger. That's that Hawaiian burger joint. I heard they got some tasty burgers. I ai n't never had one myself, how are they?</dialogue>
<character>BRETT</character>
<dialogue>They're good.</dialogue>
<character>JULES</character>
<dialogue>Mind if I try one of yours?</dialogue>
<character>BRETT</character>
<dialogue>No.</dialogue>
<character>JULES</character>
<dialogue>Yours is this one, right?</dialogue>
<character>BRETT</character>
<dialogue>Yeah.</dialogue>
<scene_description>Jules grabs the burger and take a bite of it .</scene_description>
<character>JULES</character>
<dialogue>Uuummmm, that's a tasty burger.</dialogue>
<parenthetical>( to Vincent . )</parenthetical>
<dialogue>Vince, you ever try a Big Kahuna Burger?</dialogue>
<character>VINCENT</character>
<dialogue>No.</dialogue>
<scene_description>Jules holds out the Big Kahuna .</scene_description>
<character>JULES</character>
<dialogue>You wan na bite, they're real good.</dialogue>
<character>VINCENT</character>
<dialogue>I ai n't hungry.</dialogue>
<character>JULES</character>
<dialogue>Well, if you like hamburgers give'em a try sometime. Me, I ca n't usually eat'em'cause my girlfriend's a vegetarian. Which more or less makes me a vegetarian, but I sure love the taste of a good burger.</dialogue>
<parenthetical>( to Brett . )</parenthetical>
<dialogue>You know what they call a Quarter Pounder with Cheese in France?</dialogue>
<character>BRETT</character>
<dialogue>No.</dialogue>
<character>JULES</character>
<dialogue>Tell'em, Vincent.</dialogue>
<character>VINCENT</character>
<dialogue>Royale with Cheese.</dialogue>
<character>JULES</character>
<dialogue>Royale with Cheese, you know why they call it that?</dialogue>
<character>BRETT</character>
<dialogue>Because of the metric system?</dialogue>
<character>JULES</character>
<dialogue>Check out the big brain on Brett. You'a smart motherfucker, that's right. The metric system.</dialogue>
<parenthetical>( he points to a fast food drink cup . )</parenthetical>
<dialogue>What's in this?</dialogue>
<character>BRETT</character>
<dialogue>Sprite.</dialogue>
<character>JULES</character>
<dialogue>Sprite, good, mind if I have some of your tasty beverage to wash this down with?</dialogue>
<character>BRETT</character>
<dialogue>Sure.</dialogue>
<scene_description>Jules grabs the cup and takes a sip .</scene_description>
<character>JULES</character>
<dialogue>Uuuuummmm, hit's the spot!</dialogue>
<parenthetical>( to Roger . )</parenthetical>
<dialogue>You, Flock of Seagulls, you know what we're here for?</dialogue>
<scene_description>Roger nods his head : `` Yes . ''</scene_description>
<character>JULES</character>
<dialogue>Then why do n't you tell my boy here Vince, where you got the shit hid.</dialogue>
<character>MARVIN</character>
<dialogue>It's under the be -</dialogue>
<character>JULES</character>
<dialogue>- I do n't remember askin' you a goddamn thing.</dialogue>
<parenthetical>( to Roger . )</parenthetical>
<dialogue>You were sayin'?</dialogue>
<character>ROGER</character>
<dialogue>It's under the bed.</dialogue>
<scene_description>Vincent moves to the bed , reaches underneath it , pulling out a black snap briefcase .</scene_description>
<character>VINCENT</character>
<dialogue>Got it.</dialogue>
<scene_description>Vincent flips the two locks , opening the case . We ca n't see what 's inside , but a small glow emits from the case . Vincent just stares at it , transfixed .</scene_description>
<character>JULES</character>
<dialogue>We happy?</dialogue>
<scene_description>No answer from the transfixed Vincent .</scene_description>
<character>JULES</character>
<dialogue>Vincent!</dialogue>
<scene_description>Vincent looks up at Jules .</scene_description>
<character>JULES</character>
<dialogue>We happy?</dialogue>
<scene_description>Closing the case .</scene_description>
<character>VINCENT</character>
<dialogue>We're happy.</dialogue>
<character>BRETT</character>
<parenthetical>( to Jules . )</parenthetical>
<dialogue>Look, what's your name? I got his name's Vincent, but what's yours?</dialogue>
<character>JULES</character>
<dialogue>My name's Pitt, and you ai n't talkin' your ass outta this shit.</dialogue>
<character>BRETT</character>
<dialogue>I just want you to know how sorry we are about how fucked up things got between us and Mr. Wallace. When we entered into this thing, we only had the best intentions -</dialogue>
<scene_description>As Brett talks , Jules takes out his gun and SHOOTS Roger three times in the chest , BLOWING him out of his chair . Vince smiles to himself . Jules has got style . Brett has just shit his pants . He 's not crying or whimpering , but he 's so full of fear , it 's as if his body is imploding .</scene_description>
<character>JULES</character>
<parenthetical>( to Brett . )</parenthetical>
<dialogue>Oh, I'm sorry. Did that break your concentration? I did n't mean to do that. Please, continue. I believe you were saying something about `` best intentions.''</dialogue>
<scene_description>Brett ca n't say a word .</scene_description>
<character>JULES</character>
<dialogue>Whatsamatter? Oh, you were through anyway. Well, let me retort. Would you describe for me what Marsellus Wallace looks like?</dialogue>
<scene_description>Brett still ca n't speak . Jules SNAPS , SAVAGELY TIPPING the card table over , removing the only barrier between himself and Brett . Brett now sits in a lone chair before Jules like a political prisoner in front of an interrogator .</scene_description>
<character>JULES</character>
<dialogue>What country you from!</dialogue>
<character>BRETT</character>
<parenthetical>( petrified . )</parenthetical>
<dialogue>What?</dialogue>
<character>JULES</character>
<dialogue>`` What'' ai n't no country I know! Do they speak English in `` What?''</dialogue>
<character>BRETT</character>
<parenthetical>( near heart attack . )</parenthetical>
<dialogue>What?</dialogue>
<character>JULES</character>
<dialogue>English - motherfucker - can - you - speak - it?</dialogue>
<character>BRETT</character>
<dialogue>Yes.</dialogue>
<character>JULES</character>
<dialogue>Then you understand what I'm sayin'?</dialogue>
<character>BRETT</character>
<dialogue>Yes.</dialogue>
<character>JULES</character>
<dialogue>Now describe what Marsellus Wallace looks like!</dialogue>
<character>BRETT</character>
<parenthetical>( out of fear . )</parenthetical>
<dialogue>What?</dialogue>
<scene_description>Jules takes his .45 and PRESSES the barrel HARD in Brett 's cheek .</scene_description>
<character>JULES</character>
<dialogue>Say `` What'' again! C'mon, say `` What'' again! I dare ya, I double dare ya motherfucker, say `` What'' one more goddamn time!</dialogue>
<scene_description>Brett is regressing on the spot .</scene_description>
<character>JULES</character>
<dialogue>Now describe to me what Marsellus Wallace looks like!</dialogue>
<scene_description>Brett does his best .</scene_description>
<character>BRETT</character>
<dialogue>Well he's. he's. black -</dialogue>
<character>JULES</character>
<dialogue>- go on!</dialogue>
<character>BRETT</character>
<dialogue>and he's. he's. tall -</dialogue>
<character>JULES</character>
<dialogue>- does he look like a bitch?!</dialogue>
<character>BRETT</character>
<parenthetical>( without thinking . )</parenthetical>
<dialogue>What?</dialogue>
<scene_description>Jules ' eyes go to Vincent , Vincent smirks , Jules rolls his eyes and SHOOT Brett in the shoulder . Brett SCREAMS , breaking into a SHAKING/TREMBLING SPASM in the chair .</scene_description>
<character>JULES</character>
<dialogue>Does - he - look - like - a - bitch?!</dialogue>
<character>BRETT</character>
<parenthetical>( in agony . )</parenthetical>
<dialogue>No.</dialogue>
<character>JULES</character>
<dialogue>Then why did you try to fuck ` im like a bitch?!</dialogue>
<character>BRETT</character>
<parenthetical>( in spasm . )</parenthetical>
<dialogue>I did n't.</dialogue>
<scene_description>Now in a lower voice .</scene_description>
<character>JULES</character>
<dialogue>Yes ya did Brett. Ya tried ta fuck ` im. You ever read the Bible, Brett?</dialogue>
<character>BRETT</character>
<parenthetical>( in spasm . )</parenthetical>
<dialogue>Yes.</dialogue>
<character>JULES</character>
<dialogue>There's a passage I got memorized, seems appropriate for this situation : Ezekiel 25:17. `` The path of the righteous man is beset on all sides by the inequities of the selfish and the tyranny of evil men. Blessed is he who, in the name of charity and good will, shepherds the weak through the valley of darkness, for he is truly his brother's keeper and the finder of lost children. And I will strike down upon thee with great vengeance and furious anger those who attempt to poison and destroy my brothers. And you will know my name is the Lord when I lay my vengeance upon you.''</dialogue>
<scene_description>The two men EMPTY their guns at the same time on the sitting Brett . When they are finished , the bullet - ridden carcass just sits there for a moment , then TOPPLES over . All is quiet . The only SOUND is Marvin MUTTERING in the corner .</scene_description>
<character>MARVIN</character>
<dialogue>goddamn. goddamn. that was fucked up. goddamn, that was cold - blooded.</dialogue>
<character>VINCENT</character>
<parenthetical>( pointing to Marvin . )</parenthetical>
<dialogue>Friend of yours?</dialogue>
<character>JULES</character>
<dialogue>Yeah, Marvin - Vincent - Vincent - Marvin.</dialogue>
<character>VINCENT</character>
<dialogue>Tell'em to shut up, he's gettin' on my nerves.</dialogue>
<character>JULES</character>
<dialogue>Marvin, I'd knock that shit off if I was you.</dialogue>
<scene_description>Then suddenly the bathroom door BURSTS OPEN , and a FOURTH MAN -LRB- as young as the rest -RRB- comes CHARGING out , a silver Magnum in his hand . We DOLLY into a MEDIUM on him .</scene_description>
<character>FOURTH MAN</character>
<dialogue>Die. die. die. die. die. die!</dialogue>
<scene_description>The Fourth Man FIRES SIX BOOMING SHOTS from his hand cannon in the direction of Vincent and Jules . He SCREAMS a maniacal cry of revenge until he 's DRY FIRING . Then . his face does a complete change of expression . It goes from a `` Vengeance is mine '' expression , to a `` What the fuck '' blank look .</scene_description>
<character>FOURTH MAN</character>
<dialogue>I do n't understand -</dialogue>
<scene_description>The Fourth Man is BLOWN OFF HIS FEET and OUT OF FRAME by bullets that TEAR HIM TO SHREDS . He leaves the FRAME EMPTY . FADE TO BLACK Against black , TITLE CARD : `` VINCENT VEGA AND MARSELLUS WALLACE 'S WIFE '' . MEDIUM SHOT - BUTCH COOLIDGE We FADE UP on Butch Coolidge , a white , 26 - year - old prizefighter . Butch sits at a table wearing a red and blue high school athletic jacket . Talking to him OFF SCREEN is everybody 's boss MARSELLUS WALLACE . The black man sounds like a cross between a gangster and a king .</scene_description>
<character>MARSELLUS</character>
<parenthetical>( OS . )</parenthetical>
<dialogue>I think you're gon na find - when all this shit is over and done - I think you're gon na find yourself one smilin' motherfucker. Thing is Butch, right now you got ability. But painful as it may be, ability do n't last. Now that's a hard motherfuckin' fact of life, but it's a fact of life your ass is gon na hafta git realistic about. This business is filled to the brim with unrealistic motherfuckers who thought their ass aged like wine. Besides, even if you went all the way, what would you be? Feather - weight champion of the world. Who gives a shit? I doubt you can even get a credit card based on that.</dialogue>
<scene_description>A hand lays an envelope full of money on the table in front of Butch . Butch picks it up .</scene_description>
<character>MARSELLUS</character>
<parenthetical>( OS . )</parenthetical>
<dialogue>Now the night of the fight, you may fell a slight sting, that's pride fuckin' wit ya. Fuck pride! Pride only hurts, it never helps. Fight through that shit.'Cause a year from now, when you're kickin' it in the Caribbean you're gon na say, `` Marsellus Wallace was right.''</dialogue>
<character>BUTCH</character>
<dialogue>I got no problem with that.</dialogue>
<character>MARSELLUS</character>
<parenthetical>( OS . )</parenthetical>
<dialogue>In the fifth, your ass goes down.</dialogue>
<scene_description>Butch nods his head : `` yes . ''</scene_description>
<character>MARSELLUS</character>
<parenthetical>( OS . )</parenthetical>
<dialogue>Say it!</dialogue>
<character>BUTCH</character>
<dialogue>In the fifth, my ass goes down.</dialogue>
</scene>
<scene>
<stage_direction>INT. CAR (MOVING) - DAY</stage_direction>
<scene_description>Vincent Vega looks really cool behind the wheel of a 1964 cherry - red Chevy Malibu convertible . From the car radio , ROCKABILLY MUSIC PLAYS . The b.g. is a COLORFUL PROCESS SHOT .</scene_description>
</scene>
<scene>
<stage_direction>EXT. SALLY LeROY'S - DAY</stage_direction>
<scene_description>Sally LeRoy 's is a large topless bat by LAX that Marsellus owns . Vincent 's classic Malibu WHIPS into the near empty parking lot and parks next to a white Honda Civic . Vince knocks on the door . The front entrance is unlocked , revealing the Dapper Dan fellow on the inside : ENGLISH DAVE . Dave is n't really English , he 's a young black man from Baldwin Park , who has run a few clubs for Marsellus , including Sally LeRoy 's .</scene_description>
<character>ENGLISH DAVE</character>
<dialogue>Vincent Vega, our man in Amsterdam, git your ass on in here.</dialogue>
<scene_description>Vincent , carrying the black briefcase from the scene between Vincent and Jules , steps inside . English Dave SLAMS the door in our faces .</scene_description>
</scene>
<scene>
<stage_direction>INT. SALLY LeROY'S - DAY</stage_direction>
<scene_description>The spacious club is empty this time of day . English Dave crosses to the bar , and Vince follows .</scene_description>
<character>VINCENT</character>
<dialogue>Where's the big man?</dialogue>
<character>ENGLISH DAVE</character>
<dialogue>He's over there, finishing up some business.</dialogue>
<scene_description>VINCENT 'S POV : Butch shakes hands with a huge figure with his back to us . The huge figure is the infamous and as of yet still UNSEEN Marsellus .</scene_description>
<character>ENGLISH DAVE</character>
<parenthetical>( OS . )</parenthetical>
<dialogue>Hand back for a second or two, and when you see the white boy leave, go on over. In the meanwhile, can I make you an espresso?</dialogue>
<character>VINCENT</character>
<dialogue>How ` bout a cup of just plain ol' American?</dialogue>
<character>ENGLISH DAVE</character>
<dialogue>Comin' up. I hear you're taking Mia out tomorrow?</dialogue>
<character>VINCENT</character>
<dialogue>At Marsellus' request.</dialogue>
<character>ENGLISH DAVE</character>
<dialogue>Have you met Mia?</dialogue>
<character>VINCENT</character>
<dialogue>Not yet.</dialogue>
<scene_description>English Dave smiles to himself .</scene_description>
<character>VINCENT</character>
<dialogue>What's so funny?</dialogue>
<character>ENGLISH DAVE</character>
<dialogue>Not a goddamn thing.</dialogue>
<character>VINCENT</character>
<dialogue>Look, I'm not a idiot. She's the big man's fuckin' wife. I'm gon na sit across a table, chew my food with my mouth closed, laugh at her jokes and that's all I'm gon na do.</dialogue>
<scene_description>English Dave puts Vince 's coffee in front of him .</scene_description>
<character>ENGLISH DAVE</character>
<dialogue>My name's Paul, and this is between y' all.</dialogue>
<scene_description>Butch bellies up to the bar next to Vincent , drinking his cup of `` plain ol' American . ''</scene_description>
<character>BUTCH</character>
<parenthetical>( to English Dave . )</parenthetical>
<dialogue>Can I get a pack' a Red Apples?</dialogue>
<character>ENGLISH DAVE</character>
<dialogue>Filters?</dialogue>
<character>BUTCH</character>
<dialogue>Non.</dialogue>
<scene_description>While Butch waits for his smokes , Vincent just sips his coffee , staring at him . Butch looks over at him .</scene_description>
<character>BUTCH</character>
<dialogue>Lookin' at somethin', friend?</dialogue>
<character>VINCENT</character>
<dialogue>I ai n't your friend, palooka.</dialogue>
<scene_description>Butch does a slow burn toward Vincent .</scene_description>
<character>BUTCH</character>
<dialogue>What was that?</dialogue>
<character>VINCENT</character>
<dialogue>I think ya heard me just fine, punchy.</dialogue>
<scene_description>Butch turns his body to Vincent , when .</scene_description>
<character>MARSELLUS</character>
<parenthetical>( OS . )</parenthetical>
<dialogue>Vincent Vega has entered the building, git your ass over here!</dialogue>
<scene_description>Vincent walks forward OUT OF FRAME , never giving Butch another glance . We DOLLY INTO CU on Butch , left alone in the FRAME , looking like he 's ready to go into the manners - teaching business . BUTCH 'S POV : Vincent hugging and kissing the obscured figure that is Marsellus . Butch makes the wise decision that is this asshole 's a friend of Marsellus , he better let it go - for now .</scene_description>
<character>ENGLISH DAVE</character>
<parenthetical>( OS . )</parenthetical>
<dialogue>Pack of Red Apples, dollar - forty.</dialogue>
<scene_description>Butch is snapped out of his ass - kicking thoughts . He pays English Dave and walks out of the SHOT .</scene_description>
</scene>
<scene>
<stage_direction>INT. LANCE'S HOUSE (KITCHEN) - NIGHT</stage_direction>
<scene_description>CU JODY a woman who appears to have a fondness for earrings . Both of her ears are pierced five times . She also sports rings in her lips , eyebrows and nose .</scene_description>
<character>JODY</character>
<dialogue>I'll lend it to you. It's a great book on body piercing.</dialogue>
<scene_description>Jody , Vincent and a young woman names TRUDI sit at the kitchen table of a suburban house in Echo Park . Even though Vince is at the same table , he 's not included in the conversation .</scene_description>
<character>TRUDI</character>
<dialogue>You know how they use that gun when they pierce your ears? They do n't use that when they pierce your nipples, do they?</dialogue>
<character>JODY</character>
<dialogue>Forget that gun. That gun goes against the entire idea behind piercing. All of my piercing, sixteen places on my body, every one of'em done with a needle. Five in each ear. One through the nipple on my left breast. One through my right nostril. One through my left eyebrow. One through my lip. One in my clit. And I wear a stud in my tongue.</dialogue>
<scene_description>Vince has been letting this conversation go through one ear and out the other , until that last remark .</scene_description>
<character>VINCENT</character>
<parenthetical>( interrupting . )</parenthetical>
<dialogue>Excuse me, sorry to interrupt. I'm curious, why would you get a stud in your tongue?</dialogue>
<scene_description>Jody looks at him and says as if it were the most obvious thing in the world .</scene_description>
<character>JODY</character>
<dialogue>It's a sex thing. It helps fellatio.</dialogue>
<scene_description>That thought never occurred to Vincent , but he ca n't deny it makes sense . Jody continues talking to Trudi , leaving Vincent to ponder the truth of her statement .</scene_description>
<character>LANCE</character>
<parenthetical>( OS . )</parenthetical>
<dialogue>Vince, you can come in now!</dialogue>
</scene>
<scene>
<stage_direction>INT. LANCE'S BEDROOM - NIGHT</stage_direction>
<scene_description>Lance , late - 20s , is a young man with a wild and woolly appearance that goes hand - in - hand with his wild and woolly personality . Lance has been selling drugs his entire adult life . He 's never had a day job , never filed a tax return and has never been arrested . He wears a red flannel shirt over a `` Speed Racer '' tee - shirt . Three bags of heroin lie on Lance 's bed . Lance and Vincent stand at the foot of the bed .</scene_description>
<character>LANCE</character>
<dialogue>Now this is Panda, from Mexico. Very good stuff. This is Bava, different, but equally good. And this is Choco from the Hartz Mountains of Germany. Now the first two are the same, forty - five an ounce - those are friend prices - but this one.</dialogue>
<parenthetical>( pointing to the Choco . )</parenthetical>
<dialogue>. this one's a little more expensive. It's fifty - five. But when you shoot it, you'll know where that extra money went. Nothing wrong with the first two. It's real, real, real, good shit. But this one's a fuckin' madman.</dialogue>
<character>VINCENT</character>
<dialogue>Remember, I just got back from Amsterdam.</dialogue>
<character>LANCE</character>
<dialogue>Am I a nigger? Are you in Inglewood? No. You're in my house. White people who know the difference between good shit and bad shit, this is the house they come to. My shit, I'll take the Pepsi Challenge with Amsterdam shit any ol' day of the fuckin' week.</dialogue>
<character>VINCENT</character>
<dialogue>That's a bold statement.</dialogue>
<character>LANCE</character>
<dialogue>This ai n't Amsterdam, Vince. This is a seller's market. Coke is fuckin' dead as disco. Heroin's comin' back in a big fuckin' way. It's this whole seventies retro. Bell bottoms, heroin, they're as hot as hell.</dialogue>
<scene_description>Vincent takes out a roll of money that would choke a horse to death .</scene_description>
<character>VINCENT</character>
<dialogue>Give me three hundred worth of the madman. If it's as good as you say, I'll be back for a thousand.</dialogue>
<character>LANCE</character>
<dialogue>I just hope I still have it. Whaddya think of Trudi? She ai n't got a boyfriend, wan na hand out an' get high?</dialogue>
<character>VINCENT</character>
<dialogue>Which one's Trudi? The one with all the shit in her face?</dialogue>
<character>LANCE</character>
<dialogue>No, that's Jody. That's my wife.</dialogue>
<scene_description>Vincent and Lance giggle at the `` faux pas . ''</scene_description>
<character>VINCENT</character>
<dialogue>I'm on my way somewhere. I got a dinner engagement. Rain check?</dialogue>
<character>LANCE</character>
<dialogue>No problem?</dialogue>
<scene_description>Vincent takes out his case of the works -LRB- utensils for shooting up -RRB- .</scene_description>
<character>VINCENT</character>
<dialogue>You do n't mind if I shoot up here?</dialogue>
<character>LANCE</character>
<dialogue>Me casa, su casa.</dialogue>
<character>VINCENT</character>
<dialogue>Mucho gracias.</dialogue>
<scene_description>Vincent takes his works out of his case and , as the two continue to talk , Vince shoots up .</scene_description>
<character>LANCE</character>
<dialogue>Still got your Malibu?</dialogue>
<character>VINCENT</character>
<dialogue>You know what some fucker did to it the other day?</dialogue>
<character>LANCE</character>
<dialogue>What?</dialogue>
<character>VINCENT</character>
<dialogue>Fuckin' keyed it.</dialogue>
<character>LANCE</character>
<dialogue>Oh man, that's fucked up.</dialogue>
<character>VINCENT</character>
<dialogue>Tell me about it. I had the goddamn thing in storage three years. It's out five fuckin' days - five days, and some dickless piece of shit fucks with it.</dialogue>
<character>LANCE</character>
<dialogue>They should be fuckin' killed. No trial, no jury, straight to execution.</dialogue>
<scene_description>As he cooks his heroin -</scene_description>
<character>VINCENT</character>
<dialogue>I just wish I caught'em doin' it, ya know? Oh man, I'd give anything to catch'em doin' it. It' a been worth his doin' it, if I coulda just caught'em, you know what I mean?</dialogue>
<character>LANCE</character>
<dialogue>It's chicken shit. You do n't fuck another man's vehicle.</dialogue>
<scene_description>CU - THE NEEDLE going into Vincent 's vein . CU - BLOOD spurting back into the syringe , mixing with the heroin . CU OF VINCENT 'S THUMB pushing down on the plunger .</scene_description>
</scene>
<scene>
<stage_direction>EXT. MARSELLUS WALLACE'S HOUSE - NIGHT</stage_direction>
<scene_description>Vincent walks up to the driveway leading to Marsellus Wallace 's front door . When he gets to the door , he hears MUSIC on the other side , and a note in plain view taped to it . He rips it off . CU - NOTE `` Hi Vincent , I 'm getting dressed . The door 's open . Come inside and make yourself a drink . Mia . '' Vincent neatly folds the note up , sticks it in his pocket , takes a here - goes - nothing breath and turns the knob .</scene_description>
</scene>
<scene>
<stage_direction>INT. MARSELLUS WALLACE'S HOUSE - NIGHT</stage_direction>
<scene_description>As Vincent steps inside , the MUSIC that was behind the door , SWELLS drastically . Vincent , hands in pockets , strolls inside , checking out his boss ' home .</scene_description>
<character>VINCENT</character>
<parenthetical>( yelling . )</parenthetical>
<dialogue>Hello! I'm here!</dialogue>
<scene_description>We hear a DOOR OPEN , Vincent turns in its direction .</scene_description>
</scene>
<scene>
<stage_direction>INT. DRESSING ROOM - NIGHT</stage_direction>
<scene_description>We 're inside the room where the MUSIC is PLAYING . In the f.g. MIA WALLACE , naked with her back to us , talks to Vincent through a crack in the door . The door shields the front of her body from Vincent .</scene_description>
<character>MIA</character>
<dialogue>Vincent Vega?</dialogue>
<character>VINCENT</character>
<dialogue>I'm Vincent, you Mia?</dialogue>
<character>MIA</character>
<dialogue>That's me, pleased to meetcha. I'm still getting dressed. To your left, past the kitchen, is a bar. Why do n't you make yourself a drink, have a seat in the living room, and I'll be out within three shakes of a lamb's tail.</dialogue>
<character>VINCENT</character>
<dialogue>Take your time.</dialogue>
<scene_description>Mia closes the door . Before she can fully turn around and show us her face . BACK TO VINCENT standing where he was , MUSIC beating , looking at the closed door . We slowly ZOOM to the door . We slowly ZOOM from a MEDIUM SHOT to CU on Vincent as he contemplates what 's on the other side of the door . When we reach a CU , he walks OUT OF FRAME , breaking the spell . Vincent walks to the bar and pours himself a drink . WE JUXTAPOSE as the MUSIC plays . Mia 's dress selection is taken out of the closet . Vincent , drink in hand , moves into the living room . Mia , her back to CAMERA , dressed in her pretty dress , checks herself in the mirror . We DOLLY towards her . Her face is still obscured . CU - PORTRAIT OF MIA hanging on the living room wall , showing Mia sensually reclining on a couch . HIGH ANGLE SHOT OF VINCENT looking up at the portrait . CU - Mia cutting a huge line of coke on her vanity table with a credit card . Vincent sits on a plush , comfy couch . CU - MIA 'S NOSE snorting the line from a rolled up dollar bill . Vincent on the couch , drink in hand . The SONG abruptly CUTS OFF . CU - CD PLAYER OPENING Mia 's hand comes in and takes the CD out . The CAMERA follows behind Mia 's bare feet as she walks out of the dressing room , through the dining room , through the kitchen and into the living room . SHOT THROUGH A VIDEO CAMERA Mia has a camcorder and is videotaping Vincent on the couch . He looks up and sees her .</scene_description>
<character>MIA</character>
<parenthetical>( OS . )</parenthetical>
<dialogue>Smile, you're on Mia's camera!</dialogue>
<character>VINCENT</character>
<dialogue>Ready to go?</dialogue>
<character>MIA</character>
<parenthetical>( OS . )</parenthetical>
<dialogue>Not yet. I'm going to interview you first. Are you any relation to Suzanne Vega?</dialogue>
<character>VINCENT</character>
<dialogue>Yeah, she's my cousin.</dialogue>
<character>MIA</character>
<parenthetical>( OS . )</parenthetical>
<dialogue>Suzanne Vega the folk singer is your cousin?</dialogue>
<character>VINCENT</character>
<dialogue>Suzanne Vega's my cousin. If she's become a folk singer, I sure as hell do n't know nothin' about it. But then I have n't been to too many Thanksgivings lately.</dialogue>
<character>MIA</character>
<parenthetical>( OS . )</parenthetical>
<dialogue>Now I'm gon na ask you a bunch of quick questions I've come up with that more of less tell me what kind of person I'm having dinner with. My theory is that when it comes to important subjects, there's only two ways a person can answer. For instance, there's two kinds of people in this world, Elvis people and Beatles people. Now Beatles people can like Elvis. And Elvis people can like the Beatles. But nobody likes them both equally. Somewhere you have to make a choice. And that choice tells me who you are.</dialogue>
<character>VINCENT</character>
<dialogue>I can dig it.</dialogue>
<character>MIA</character>
<parenthetical>( OS . )</parenthetical>
<dialogue>I knew you could. First question, Brady Bunch or the Partridge Family?</dialogue>
<character>VINCENT</character>
<dialogue>The Partridge Family all the way, no comparison.</dialogue>
<character>MIA</character>
<parenthetical>( OS . )</parenthetical>
<dialogue>On `` Rich Man, Poor Man,'' who did you like, Peter Strauss or Nick Nolte?</dialogue>
<character>VINCENT</character>
<dialogue>Nick Nolte, of course.</dialogue>
<character>MIA</character>
<parenthetical>( OS . )</parenthetical>
<dialogue>Are you a `` Bewitched'' man, or a `` Jeannie'' man?</dialogue>
<character>VINCENT</character>
<dialogue>`` Bewitched,'' all the way, though I always dug how Jeannie always called Larry Hagman `` master.''</dialogue>
<character>MIA</character>
<parenthetical>( OS . )</parenthetical>
<dialogue>If you were `` Archie,'' who would you fuck first, Betty or Veronica?</dialogue>
<character>VINCENT</character>
<dialogue>Betty. I never understood Veronica attraction.</dialogue>
<character>MIA</character>
<parenthetical>( OS . )</parenthetical>
<dialogue>Have you ever fantasized about being beaten up by a girl?</dialogue>
<character>VINCENT</character>
<dialogue>Sure.</dialogue>
<character>MIA</character>
<parenthetical>( OS . )</parenthetical>
<dialogue>Who?</dialogue>
<character>VINCENT</character>
<dialogue>Emma Peel on `` The Avengers.'' That tough girl who usta hang out with Encyclopedia Brown. And Arlene Motika.</dialogue>
<character>MIA</character>
<parenthetical>( OS . )</parenthetical>
<dialogue>Who's Arlene Motika?</dialogue>
<character>VINCENT</character>
<dialogue>Girl from sixth grade, you do n't know her.</dialogue>
<scene_description>CU - MIA lowers the camcorder from in front of her face and we get our first full - on look at her . When we do , we get a pretty good idea why Marsellus feels the way he does . She breaks out in a blinding smile .</scene_description>
<character>MIA</character>
<dialogue>Cut. Print. Let's go eat.</dialogue>
</scene>
<scene>
<stage_direction>EXT. JACKRABBIT SLIM'S - NIGHT</stage_direction>
<scene_description>In the past six years , 50 's diners have sprung up all over LA , giving Thai restaurants a run for their money . They 're all basically the same . Decor out of an `` Archie '' comic book , Golden Oldies constantly emanating from a bubbly Wurlitzer , saucy waitresses in bobby socks , menus with items like the Fats Domino Cheeseburger , or the Wolfman Jack Omelette , and over prices that pay for all this bullshit . But then there 's JACKRABBIT SLIM 'S , the big mama of 50 's diners . Either the best or the worst , depending on your point of view . Vincent 's Malibu pulls up to the restaurant . A big sign with a neon figure of a cartoon surly cool cat jackrabbit in a red windbreaker towers over the establishment . Underneath the cartoon is the name : JACKRABBIT SLIM 'S . Underneath that is the slogan : `` Next best thing to a time machine . ''</scene_description>
</scene>
<scene>
<stage_direction>INT. JACKRABBIT SLIM'S - NIGHT</stage_direction>
<scene_description>Compared to the interior , the exterior was that of a quaint English pub . Posters from 50 's A.I.P. movies are all over the wall -LRB- `` ROCK ALL NIGHT , '' `` HIGH SCHOOL CONFIDENTIAL , '' `` ATTACK OF THE CRAB MONSTER , '' and `` MACHINE GUN KELLY '' -RRB- . The booths that the patrons sit in are made out of the cut up bodies of 50s cars . In the middle of the restaurant in a dance floor . A big sign on the wall states , `` No shoes allowed . '' So wannabe beboppers -LRB- actually Melrose - types -RRB- , do the twist in their socks or barefeet . The picture windows do n't look out the street , but instead , B & W movies of 50 's street scenes play behind them . The WAITRESSES and WAITERS are made up as replicas of 50 's icons : MARILYN MONROE , ZORRO , JAMES DEAN , DONNA REED , MARTIN and LEWIS , and THE PHILIP MORRIS MIDGET , wait on tables wearing appropriate costumes . Vincent and Mia study the menu in a booth made out of a red '59 Edsel . BUDDY HOLLY -LRB- their waiter -RRB- , comes over , sporting a big button on his chest that says : `` Hi I 'm Buddy , pleasing you please me . ''</scene_description>
<character>BUDDY</character>
<dialogue>Hi I'm Buddy, what can I get ` cha?</dialogue>
<character>VINCENT</character>
<dialogue>I'll have the Douglas Sirk steak.</dialogue>
<character>BUDDY</character>
<dialogue>How d'ya want it, burnt to a crisp, or bloody as hell?</dialogue>
<character>VINCENT</character>
<dialogue>Bloody as hell. And to drink, a vanilla coke.</dialogue>
<character>BUDDY</character>
<dialogue>How ` bout you, Peggy Sue?</dialogue>
<character>MIA</character>
<dialogue>I'll have the Durwood Kirby burger - bloody - and a five - dollar shake.</dialogue>
<character>BUDDY</character>
<dialogue>How d'ya want that shake, Martin and Lewis, or Amos and Andy?</dialogue>
<character>MIA</character>
<dialogue>Martin and Lewis.</dialogue>
<character>VINCENT</character>
<dialogue>Did you just order a five - dollar shake?</dialogue>
<character>MIA</character>
<dialogue>Sure did.</dialogue>
<character>VINCENT</character>
<dialogue>A shake? Milk and ice cream?</dialogue>
<character>MIA</character>
<dialogue>Uh - huh.</dialogue>
<character>VINCENT</character>
<dialogue>It costs five dollars?</dialogue>
<character>BUDDY</character>
<dialogue>Yep.</dialogue>
<character>VINCENT</character>
<dialogue>You do n't put bourbon in it or anything?</dialogue>
<character>BUDDY</character>
<dialogue>Nope.</dialogue>
<character>VINCENT</character>
<dialogue>Just checking.</dialogue>
<scene_description>Buddy exits . Vincent takes a look around the place . The YUPPIES are dancing , the DINERS are biting into big , juicy hamburgers , and the icons are playing their parts . Marilyn is squealing , The Midget is paging Philip Morris , Donna Reed is making her customers drink their milk , and Dean and Jerry are acting a fool .</scene_description>
<character>MIA</character>
<dialogue>Whaddya think?</dialogue>
<character>VINCENT</character>
<dialogue>It's like a wax museum with a pulse rate.</dialogue>
<scene_description>Vincent takes out his pouch of tobacco and begins rolling himself a smoke . After a second of watching him -</scene_description>
<character>MIA</character>
<dialogue>What are you doing?</dialogue>
<character>VINCENT</character>
<dialogue>Rollin' a smoke.</dialogue>
<character>MIA</character>
<dialogue>Here?</dialogue>
<character>VINCENT</character>
<dialogue>It's just tobacco.</dialogue>
<character>MIA</character>
<dialogue>Oh. Well in that case, will you roll me one, cowboy?</dialogue>
<scene_description>As he finishes licking it -</scene_description>
<character>VINCENT</character>
<dialogue>You can have his one, cowgirl.</dialogue>
<scene_description>He hands her the rolled smoke . She takes it , putting it to her lips . Out of nowhere appears a Zippo lighter in Vincent 's hand . He lights it .</scene_description>
<character>MIA</character>
<dialogue>Thanks.</dialogue>
<character>VINCENT</character>
<dialogue>Think nothing of it.</dialogue>
<scene_description>He begins rolling one for himself . As this time , the SOUND of a subway car fills the diner , making everything SHAKE and RATTLE . Marilyn Monroe runs to a square vent in the floor . An imaginary subway train BLOWS the skirt of her white dress around her ears as she lets out a squeal . The entire restaurant applauds . Back to Mia and Vincent</scene_description>
<character>MIA</character>
<dialogue>Marsellus said you just got back from Amsterdam.</dialogue>
<character>VINCENT</character>
<dialogue>Sure did. I heard you did a pilot.</dialogue>
<character>MIA</character>
<dialogue>That was my fifteen minutes.</dialogue>
<character>VINCENT</character>
<dialogue>What was it?</dialogue>
<character>MIA</character>
<dialogue>It was show about a team of female secret agents called `` Fox Force Five.''</dialogue>
<character>VINCENT</character>
<dialogue>What?</dialogue>
<character>MIA</character>
<dialogue>`` Fox Force Five.'' Fox, as in we're a bunch of foxy chicks. Force, as in we're a force to be reckoned with. Five, as in there's one. two. three. four. five of us. There was a blonde one, Sommerset O'Neal from that show `` Baton Rouge,'' she was the leader. A Japanese one, a black one, a French one and a brunette one, me. We all had special skills. Sommerset had a photographic memory, the Japanese fox was a kung fu master, the black girl was a demolition expert, the French fox' specialty was sex.</dialogue>
<character>VINCENT</character>
<dialogue>What was your specialty?</dialogue>
<character>MIA</character>
<dialogue>Knives. The character I played, Raven McCoy, her background was she was raised by circus performers. So she grew up doing a knife act. According to the show, she was the deadliest woman in the world with a knife. But because she grew up in a circus, she was also something of an acrobat. She could do illusions, she was a trapeze artist - when you're keeping the world safe from evil, you never know when being a trapeze artist's gon na come in handy. And she knew a zillion old jokes her grandfather, an old vaudevillian, taught her. If we woulda got picked up, they woulda worked in a gimmick where every episode I woulda told and ol joke.</dialogue>
<character>VINCENT</character>
<dialogue>Do you remember any of the jokes?</dialogue>
<character>MIA</character>
<dialogue>Well I only got the chance to say one,'cause we only did one show.</dialogue>
<character>VINCENT</character>
<dialogue>Tell me.</dialogue>
<character>MIA</character>
<dialogue>No. It's really corny.</dialogue>
<character>VINCENT</character>
<dialogue>C'mon, do n't be that way.</dialogue>
<character>MIA</character>
<dialogue>No. You wo n't like it and I'll be embarrassed.</dialogue>
<character>VINCENT</character>
<dialogue>You told it in front of fifty million people and you ca n't tell it to me? I promise I wo n't laugh.</dialogue>
<character>MIA</character>
<parenthetical>( laughing . )</parenthetical>
<dialogue>That's what I'm afraid of.</dialogue>
<character>VINCENT</character>
<dialogue>That's not what I meant and you know it.</dialogue>
<character>MIA</character>
<dialogue>You're quite the silver tongue devil, are n't you?</dialogue>
<character>VINCENT</character>
<dialogue>I meant I would n't laugh at you.</dialogue>
<character>MIA</character>
<dialogue>That's not what you said Vince. Well now I'm definitely not gon na tell ya,'cause it's been built up too much.</dialogue>
<character>VINCENT</character>
<dialogue>What a gyp.</dialogue>
<scene_description>Buddy comes back with the drinks . Mia wraps her lips around the straw of her shake .</scene_description>
<character>MIA</character>
<dialogue>Yummy!</dialogue>
<character>VINCENT</character>
<dialogue>Can I have a sip of that? I'd like to know what a five - dollar shake tastes like.</dialogue>
<character>MIA</character>
<dialogue>Be my guest.</dialogue>
<scene_description>She slides the shake over to him .</scene_description>
<character>MIA</character>
<dialogue>You can use my straw, I do n't have kooties.</dialogue>
<scene_description>Vincent smiles .</scene_description>
<character>VINCENT</character>
<dialogue>Yeah, but maybe I do.</dialogue>
<character>MIA</character>
<dialogue>Kooties I can handle.</dialogue>
<scene_description>He takes a sip .</scene_description>
<character>VINCENT</character>
<dialogue>Goddamn! That's a pretty fuckin' good milk shake.</dialogue>
<character>MIA</character>
<dialogue>Told ya.</dialogue>
<character>VINCENT</character>
<dialogue>I do n't know if it's worth five dollars, but it's pretty fuckin' good.</dialogue>
<scene_description>He slides the shake back . Then the first of an uncomfortable silence happens .</scene_description>
<character>MIA</character>
<dialogue>Do n't you hate that?</dialogue>
<character>VINCENT</character>
<dialogue>What?</dialogue>
<character>MIA</character>
<dialogue>Uncomfortable silences. Why do we feel it's necessary to yak about bullshit in order to be comfortable?</dialogue>
<character>VINCENT</character>
<dialogue>I do n't know.</dialogue>
<character>MIA</character>
<dialogue>That's when you know you found somebody special. When you can just shit the fuck up for a minute, and comfortably share silence.</dialogue>
<character>VINCENT</character>
<dialogue>I do n't think we're there yet. But do n't feel bad, we just met each other.</dialogue>
<character>MIA</character>
<dialogue>Well I'll tell you what, I'll go to the bathroom and powder my nose, while you sit here and think of something to say.</dialogue>
<character>VINCENT</character>
<dialogue>I'll do that.</dialogue>
</scene>
<scene>
<stage_direction>INT. JACKRABBIT SLIM'S (LADIES ROOM) - NIGHT</stage_direction>
<scene_description>Mia powders her nose by doing a big line of coke off the bathroom sink . Her head jerks up from the rush .</scene_description>
<character>MIA</character>
<parenthetical>( imitating Steppenwolf . )</parenthetical>
<dialogue>I said goddamn!</dialogue>
</scene>
<scene>
<stage_direction>INT. JACKRABBIT SLIM'S (DINING AREA) - NIGHT</stage_direction>
<scene_description>Vincent digs into his Douglas Sirk steak . As he chews , his eyes scan the Hellsapopinish restaurant . Mia comes back to the table .</scene_description>
<character>MIA</character>
<dialogue>Do n't you love it when you go to the bathroom and you come back to find your food waiting for you?</dialogue>
<character>VINCENT</character>
<dialogue>We're lucky we got it at all. Buddy Holly does n't seem to be much of a waiter. We shoulda sat in Marilyn Monroe's section.</dialogue>
<character>MIA</character>
<dialogue>Which one, there's two Marilyn Monroes.</dialogue>
<character>VINCENT</character>
<dialogue>No there's not.</dialogue>
<scene_description>Pointing at Marilyn in the white dress serving a table .</scene_description>
<character>VINCENT</character>
<dialogue>That's Marilyn Monroe.</dialogue>
<scene_description>Then , pointing at a BLONDE WAITRESS in a tight sweater and capri pants , taking an order from a bunch of FILM GEEKS -</scene_description>
<character>VINCENT</character>
<dialogue>and that's Mamie Van Doren. I do n't see Jayne Mansfield, so it must be her night off.</dialogue>
<character>MIA</character>
<dialogue>Pretty smart.</dialogue>
<character>VINCENT</character>
<dialogue>I have moments.</dialogue>
<character>MIA</character>
<dialogue>Did ya think of something to say?</dialogue>
<character>VINCENT</character>
<dialogue>Actually, there's something I've wanted to ask you about, but you seem like a nice person, and I did n't want to offend you.</dialogue>
<character>MIA</character>
<dialogue>Oooohhhh, this does n't sound like mindless, boring, getting - to - know - you chit - chat. This sounds like you actually have something to say.</dialogue>
<character>VINCENT</character>
<dialogue>Only if you promise not to get offended.</dialogue>
<character>MIA</character>
<dialogue>You ca n't promise something like that. I have no idea what you're gon na ask. You could ask me what you're gon na ask me, and my natural response could be to be offended. Then, through no fault of my own, I woulda broken my promise.</dialogue>
<character>VINCENT</character>
<dialogue>Then let's just forget it.</dialogue>
<character>MIA</character>
<dialogue>That is an impossibility. Trying to forget anything as intriguing as this would be an exercise in futility.</dialogue>
<character>VINCENT</character>
<dialogue>Is that a fact?</dialogue>
<scene_description>Mia nods her head : `` Yes . ''</scene_description>
<character>MIA</character>
<dialogue>Besides, it's more exciting when you do n't have permission.</dialogue>
<character>VINCENT</character>
<dialogue>What do you think about what happened to Antwan?</dialogue>
<character>MIA</character>
<dialogue>Who's Antwan?</dialogue>
<character>VINCENT</character>
<dialogue>Tony Rocky Horror.</dialogue>
<character>MIA</character>
<dialogue>He fell out of a window.</dialogue>
<character>VINCENT</character>
<dialogue>That's one way to say it. Another way is, he was thrown out. Another was is, he was thrown out by Marsellus. And even another way is, he was thrown out of a window by Marsellus because of you.</dialogue>
<character>MIA</character>
<dialogue>Is that a fact?</dialogue>
<character>VINCENT</character>
<dialogue>No it's not, it's just what I heard.</dialogue>
<character>MIA</character>
<dialogue>Who told you this?</dialogue>
<character>VINCENT</character>
<dialogue>They.</dialogue>
<scene_description>Mia and Vincent smile .</scene_description>
<character>MIA</character>
<dialogue>They talk a lot, do n't they?</dialogue>
<character>VINCENT</character>
<dialogue>They certainly do.</dialogue>
<character>MIA</character>
<dialogue>Well do n't by shy Vincent, what exactly did they say?</dialogue>
<scene_description>Vincent is slow to answer</scene_description>
<character>MIA</character>
<dialogue>Let me help you Bashful, did it involve the F - word?</dialogue>
<character>VINCENT</character>
<dialogue>No. They just said Rocky Horror gave you a foot massage.</dialogue>
<character>MIA</character>
<dialogue>And?</dialogue>
<character>VINCENT</character>
<dialogue>No and, that's it.</dialogue>
<character>MIA</character>
<dialogue>You heard Marsellus threw Rocky Horror out of a four - story window because he massaged my feet?</dialogue>
<character>VINCENT</character>
<dialogue>Yeah.</dialogue>
<character>MIA</character>
<dialogue>And you believed that?</dialogue>
<character>VINCENT</character>
<dialogue>At the time I was told, it seemed reasonable.</dialogue>
<character>MIA</character>
<dialogue>Marsellus throwing Tony out of a four - story window for giving me a foot massage seemed reasonable?</dialogue>
<character>VINCENT</character>
<dialogue>No, it seemed excessive. But that does n't mean it did n't happen. I heard Marsellus is very protective of you.</dialogue>
<character>MIA</character>
<dialogue>A husband being protective of his wife is one thing. A husband almost killing another man for touching his wife's feet is something else.</dialogue>
<character>VINCENT</character>
<dialogue>But did it happen?</dialogue>
<character>MIA</character>
<dialogue>The only thing Antwan ever touched of mine was my hand, when he shook it. I met Anwan once - at my wedding - then never again. The truth is, nobody knows why Marsellus tossed Tony Rocky Horror out of that window except Marsellus and Tony Rocky Horror. But when you scamps get together, you're worse than a sewing circle.</dialogue>
<character>VINCENT</character>
<dialogue>Are you mad?</dialogue>
<character>MIA</character>
<dialogue>Not at all. Being the subject of back - fence gossip goes with the right, I guess.</dialogue>
<scene_description>She takes a sip of her five - dollar shake , and says :</scene_description>
<character>MIA</character>
<dialogue>Thanks.</dialogue>
<character>VINCENT</character>
<dialogue>What for?</dialogue>
<character>MIA</character>
<dialogue>Asking my side.</dialogue>
<scene_description>At that moment , a great oldie - but - goodie BLASTS from the jukebox .</scene_description>
<character>MIA</character>
<dialogue>I wan na dance.</dialogue>
<character>VINCENT</character>
<dialogue>I'm not much of a dancer.</dialogue>
<character>MIA</character>
<dialogue>Now I'm the one gettin' gyped. I do believe Marsellus told you to take me out and do whatever I wanted. Well, now I want to dance.</dialogue>
<scene_description>Vincent smiles and begins taking off his boots . Mia triumphantly casts hers off . He takes her hand , escorting her to the dance floor . The two face each other for that brief moment before you begin to dance , than they both break into a devilish twist . Mia 's version of the twist is that of a sexy cat . Vincent is pure Mr. Cool as he gets into a hip - swivelling rhythm that would make Mr. Checker proud . The OTHER DANCERS on the floor are trying to do the same thing , but Vincent and Mia seem to be strangely shaking their asses in sync . The two definitely share a rhythm and share smiles as they SING ALONG with the last verse of the Golden Oldie .</scene_description>
</scene>
<scene>
<stage_direction>INT. MARSELLUS WALLACE'S HOME - NIGHT</stage_direction>
<scene_description>The front door FLINGS open , and Mia and Vincent dance tango - style into the house , singing a cappella the song from the previous scene . They finish their little dance , laughing . Then . The two just stand face to face looking at each other .</scene_description>
<character>VINCENT</character>
<dialogue>Was than an uncomfortable silence?</dialogue>
<character>MIA</character>
<dialogue>I do n't know what that was.</dialogue>
<parenthetical>( pause . )</parenthetical>
<dialogue>Music and drinks!</dialogue>
<scene_description>Mia moves away to attend to both . Vincent hangs up his overcoat on a big bronze coat rack in the alcove .</scene_description>
<character>VINCENT</character>
<dialogue>I'm gon na take a piss.</dialogue>
<character>MIA</character>
<dialogue>That was a little bit more information than I needed to know, but for right ahead.</dialogue>
<scene_description>Vincent shuffles off to the john . Mia moves to her CD player , thumbs through a stack of CDs and selects one : k.d. lang . The speakers BLAST OUT a high energy country number , which Mia plays air - guitar to . She dances her way around the room and finds herself by Vincent 's overcoat hanging on the rack . She touches its sleeve . It feels good . Her hand hoes in its pocket and pulls out his tobacco pouch . Like a little girl playing cowboy , she spreads the tobacco on some rolling paper . Imitating what he did earlier , licks the paper and rolls it into a pretty good cigarette . Maybe a little too fat , but not bad for a first try . Mia thinks so anyway . Her hand reaches back in the pocket and pulls out his Zippo lighter . She SLAPS the lighter against her leg , trying to light it fancy - style like Vince did . What do you know , she did it ! Mia 's one happy clam . She triumphantly brings the fat flame up to her fat smoke , lighting it up , then LOUDLY SNAPS the Zippo closed . The Mia - made cigarette is brought up to her lips , and she takes a long , cool drag . Her hand slides the Zippo back in the overcoat pocket . But wait , her fingers touch something else . Those fingers bring out a plastic bag with white powder inside , the madman that Vincent bought earlier from Lance . Wearing a big smile , Mia brings the bag of heroin up to her face .</scene_description>
<character>MIA</character>
<parenthetical>( like you would say Bingo ! )</parenthetical>
<dialogue>Disco! Vince, you little cola nut, you've been holding out on me.</dialogue>
</scene>
<scene>
<stage_direction>INT. BATHROOM (MARSELLUS WALLACE'S HOUSE) - NIGHT</stage_direction>
<scene_description>Vincent stands at the sink , washing his hands , talking to himself in the mirror .</scene_description>
<character>VINCENT</character>
<dialogue>One drink and leave. Do n't be rude, but drink your drink quickly, say goodbye, walk out the door, get in your car, and go down the road.</dialogue>
<scene_description>LIVING ROOM Mia has the unbeknownst - to - her heroin cut up into big lines on her glass top coffee table . Taking her trusty hundred dollar bill like a human Dust - Buster , she quickly snorts the fat line . CU - MIA her head JERKS back . Her hands go to her nose -LRB- which feels like it 's on fucking fire -RRB- , something is terribly wrong . Then . the rush hits . BATHROOM Vincent dries his hands on a towel while he continues his dialogue with the mirror .</scene_description>
<character>VINCENT</character>
<dialogue>it's a moral test of yourself, whether or not you can maintain loyalty. Because when people are loyal to each other, that's very meaningful.</dialogue>
<scene_description>LIVING ROOM Mia is on all fours trying to crawl to the bathroom , but it 's like she 's trying to crawl with the bones removed from her knees . Blood begins to drip from Mia 's nose . Then her stomach gets into the act and she VOMITS . BATHROOM Vince continues .</scene_description>
<character>VINCENT</character>
<dialogue>So you're gon na go out there, drink your drink, say `` Goodnight, I've had a very lovely evening,'' go home, and jack off. And that's all you're gon na do.</dialogue>
<scene_description>Now that he 's given himself a little pep talk , Vincent 's ready for whatever 's waiting for him on the other side of that door . So he goes through it . LIVING ROOM We follow behind Vincent as he walks from the bathroom to the living room , where he finds Mia lying on the floor like a rag doll . She 's twisted on her back . Blood and puke are down her front . And her face is contorted . Not out of the tightness of pain , but just the opposite , the muscles in her face are so relaxed , she lies still with her mouth wide open . Slack - jawed .</scene_description>
<character>VINCENT</character>
<dialogue>Jesus Christ!</dialogue>
<scene_description>Vincent moves like greased lightning to Mia 's fallen body . Bending down where she lays , he puts his fingers on her neck to check her pulse . She slightly stirs . Mia is aware of Vincent over her , speaking to her .</scene_description>
<character>VINCENT</character>
<parenthetical>( sounding weird . )</parenthetical>
<dialogue>Mia! Mia! What the hell happened?</dialogue>
<scene_description>But she 's unable to communicate . Mia makes a few lost mumbles , but they 're not distinctive enough to be called words . Vincent props her eyelids open and sees the story .</scene_description>
<character>VINCENT</character>
<parenthetical>( to himself . )</parenthetical>
<dialogue>I'll be a sonofabitch.</dialogue>
<parenthetical>( to Mia . )</parenthetical>
<dialogue>Mia! Mia! What did you take? Answer me honey, what did you take?</dialogue>
<scene_description>Mia is incapable of answering . He SLAPS her face hard . Vincent SPRINGS up and RUNS to his overcoat , hanging on the rack . He goes through the pockets FRANTICALLY . It 's gone . Vincent makes a beeline to Mia . We follow .</scene_description>
<character>VINCENT</character>
<parenthetical>( yelling to Mia . )</parenthetical>
<dialogue>Okay honey, we're getting you on your feet.</dialogue>
<scene_description>He reaches her and hoists the dead weight up in his arms .</scene_description>
<character>VINCENT</character>
<dialogue>We're on our feet now, and now we're gon na talk out to the car. Here we go, watch us walk.</dialogue>
<scene_description>We follow behind as he hurriedly walks the practically - unconscious Mia through the house and out the front door .</scene_description>
</scene>
<scene>
<stage_direction>EXT. VINCENT'S HOT ROD (MOVING) - NIGHT</stage_direction>
<scene_description>INSERT SPEEDOMETER : red needle on a hundred . Vincent driving like a madman in a town without traffic laws , speeds the car into turns and up and over hills .</scene_description>
</scene>
<scene>
<stage_direction>INT. VINCENT'S HOT ROD (MOVING) - NIGHT</stage_direction>
<scene_description>Vincent , one hand firmly on the wheel , the other shifting like Robocop , both eyes staring straight ahead except when he glances over at Mia . Mia , slack - jawed expression , mouth gaping , posture of a bag of water . Vincent takes a cellular phone out of his pocket . He punches a number .</scene_description>
</scene>
<scene>
<stage_direction>INT. LANCE'S HOUSE - NIGHT</stage_direction>
<scene_description>At this late hour , Lance has transformed from a bon vivant drug dealer to a bathrobe creature . He sits in a big comfy chair , ratty blue gym pants , a worn - out but comfortable tee - shirt that has , written on it , `` TAFT , CALIFORNIA , '' and a moth - ridden terry cloth robe . In his hand is a bowl of Cap'n Crunch with Crunch Berries . In front of him on the coffee table is a jug of milk , the box the Cap'n Crunch with Crunch Berries came out of , and a hash pipe in an ashtray . On the big - screen TV in front of the table is the Three Stooges , and they 're getting married .</scene_description>
<character>PREACHER</character>
<parenthetical>( EMIL SIMKUS . )</parenthetical>
<parenthetical>( on TV . )</parenthetical>
<dialogue>Hold hands, you love birds.</dialogue>
<scene_description>The phone RINGS . Lance puts down his cereal and makes his way to the phone . It RINGS again . Jody , his wife , CALLS from the bedroom , obviously woken up .</scene_description>
<character>JODY</character>
<parenthetical>( OS . )</parenthetical>
<dialogue>Lance! The phone's ringing!</dialogue>
<character>LANCE</character>
<parenthetical>( calling back . )</parenthetical>
<dialogue>I can hear it!</dialogue>
<character>JODY</character>
<parenthetical>( OS . )</parenthetical>
<dialogue>I thought you told those fuckin' assholes never to call this late!</dialogue>
<character>LANCE</character>
<parenthetical>( by the phone . )</parenthetical>
<dialogue>I told'em and that's what I'm gon na tell this fuckin' asshole right now!</dialogue>
<parenthetical>( he answers the phone . )</parenthetical>
<dialogue>Hello, do you know how late it is? You're not supposed to be callin' me this fuckin' late.</dialogue>
<scene_description>BACK TO VINCENT IN THE MALIBU Vincent is still driving like a stripe - assed ape , clutching the phone to his ear . WE CUT BACK AND FORTH during the conversation .</scene_description>
<character>VINCENT</character>
<dialogue>Lance, this is Vincent, I'm in big fuckin' trouble man, I'm on my way to your place.</dialogue>
<character>LANCE</character>
<dialogue>Whoa, hold you horses man, what's the problem?</dialogue>
<character>VINCENT</character>
<dialogue>You still got an adrenalin shot?</dialogue>
<character>LANCE</character>
<parenthetical>( dawning on him . )</parenthetical>
<dialogue>Maybe.</dialogue>
<character>VINCENT</character>
<dialogue>I need it man, I got a chick she's fuckin' O.D.ing on me.</dialogue>
<character>LANCE</character>
<dialogue>Do n't bring her here! I'm not even fuckin' joking with you, do n't you be bringing some fucked up pooh - butt to my house!</dialogue>
<character>VINCENT</character>
<dialogue>No choice.</dialogue>
<character>LANCE</character>
<dialogue>She's O.D.in'?</dialogue>
<character>VINCENT</character>
<dialogue>Yeah. She's dyin'.</dialogue>
<character>LANCE</character>
<dialogue>Then bite the fuckin' bullet, take ` er to a hospital and call a lawyer!</dialogue>
<character>VINCENT</character>
<dialogue>Negative.</dialogue>
<character>LANCE</character>
<dialogue>She ai n't my fuckin' problem, you fucked her up, you deal with it - are you talkin' to me on a cellular phone?</dialogue>
<character>VINCENT</character>
<dialogue>Sorry.</dialogue>
<character>LANCE</character>
<dialogue>I do n't know you, who is this, do n't come here, I'm hangin' up.</dialogue>
<character>VINCENT</character>
<dialogue>Too late, I'm already here.</dialogue>
<scene_description>At that moment inside Lance 's house , WE HEAR Vincent 's Malibu coming up the street . Lance hangs up the phone , goes to his curtains and YANKS the cord . The curtains open with a WHOOSH in time to see Vincent 's Malibu DRIVING UP on his front lawn and CRASHING into his house . THe window Lance is looking out of SHATTERS from the impact .</scene_description>
<character>JODY</character>
<parenthetical>( OS . )</parenthetical>
<dialogue>What the hell was that?</dialogue>
<scene_description>Lance CHARGES from the window , out the door to his front lawn .</scene_description>
</scene>
<scene>
<stage_direction>EXT. LANCE'S HOUSE - NIGHT</stage_direction>
<scene_description>Vincent is already out of the car , working on getting Mia out .</scene_description>
<character>LANCE</character>
<dialogue>Have you lost your mind?! You crashed your car in my fuckin' house! You talk about drug shit on a cellular fuckin' phone -</dialogue>
<character>VINCENT</character>
<dialogue>If you're through havin' your little hissy fit, this chick is dyin', get your needle and git it now!</dialogue>
<character>LANCE</character>
<dialogue>Are you deaf? You're not bringin' that fucked up bitch in my house!</dialogue>
<character>VINCENT</character>
<dialogue>This fucked up bitch is Marsellus Wallace's wife. Now if she fuckin' croaks on me, I'm a grease spot. But before he turns me into a bar soap, I'm gon na be forced to tell ` im about how you coulda saved her life, but instead you let her die on your front lawn.</dialogue>
</scene>
<scene>
<stage_direction>INT. LANCE'S HOUSE - NIGHT</stage_direction>
<scene_description>WE START in Lance 's and Jody 's bedroom . Jody , in bed , throws off the covers and stands up . She 's wearing a long tee - shirt with a picture of Fred Flintstone on it . We follow HANDHELD behind her as she opens the door , walking through the hall into the living room .</scene_description>
<character>JODY</character>
<dialogue>It's only one - thirty in the goddamn mornin'! What the fuck's goin' on out here?</dialogue>
<scene_description>As she walks in the living room , she sees Vincent and Lance standing over Mia , who 's lying on the floor in the middle of the room . From here on in , everything in this scene is frantic , like a DOCUMENTARY in an emergency ward , with the big difference here being nobody knows what the fuck they 're doing .</scene_description>
<character>JODY</character>
<dialogue>Who's she?</dialogue>
<scene_description>Lance looks up at Jody .</scene_description>
<character>LANCE</character>
<dialogue>Get that black box in the bedroom I have with the adrenalin shot.</dialogue>
<character>JODY</character>
<dialogue>What's wrong with her?</dialogue>
<character>VINCENT</character>
<dialogue>She's O.D.ing on us.</dialogue>
<character>JODY</character>
<dialogue>Well get her the hell outta here!</dialogue>
<character>LANCE AND VINCENT</character>
<parenthetical>( in stereo . )</parenthetical>
<dialogue>Get the fuckin' shot!</dialogue>
<character>JODY</character>
<dialogue>Do n't yell and me!</dialogue>
<scene_description>She angrily turns and disappears into the bedroom looking for the shot . WE MOVE into the room with the two men .</scene_description>
<character>VINCENT</character>
<parenthetical>( to Lance . )</parenthetical>
<dialogue>You two are a match made in heaven.</dialogue>
<character>LANCE</character>
<dialogue>Look, just keep talkin' to her, okay? While she's gettin' the shot, I got ta get a medical book.</dialogue>
<character>VINCENT</character>
<dialogue>What do you need a medical book for?</dialogue>
<character>LANCE</character>
<dialogue>To tell me how to do it. I've never given an adrenalin shot before.</dialogue>
<character>VINCENT</character>
<dialogue>You've had that thing for six years and you never used it?</dialogue>
<character>LANCE</character>
<dialogue>I never had to use it. I do n't go joy - poppin' with bubble - gummers, all of my friends can handle their highs!</dialogue>
<character>VINCENT</character>
<dialogue>Well then get it.</dialogue>
<character>LANCE</character>
<dialogue>I am, if you'll let me.</dialogue>
<character>VINCENT</character>
<dialogue>I'm not fuckin' stoppin' you.</dialogue>
<character>LANCE</character>
<dialogue>Stop talkin' to me, and start talkin' to her.</dialogue>
<scene_description>WE FOLLOW Lance as he runs out of the living room into a . SPARE ROOM with a bunch of junk in it . He frantically starts scanning the junk for the book he 's looking for , repeating the words , `` Come on , '' endlessly . From OFF SCREEN we hear :</scene_description>
<character>VINCENT</character>
<parenthetical>( OS . )</parenthetical>
<dialogue>Hurry up man! We're losin' her!</dialogue>
<character>LANCE</character>
<parenthetical>( calling back . )</parenthetical>
<dialogue>I'm looking as fast as I can!</dialogue>
<scene_description>Lance continues his frenzied search . WE HEAR Jody in the living room now as she talks to Vincent .</scene_description>
<character>JODY</character>
<parenthetical>( OS . )</parenthetical>
<dialogue>What's he lookin' for?</dialogue>
<character>VINCENT</character>
<parenthetical>( OS . )</parenthetical>
<dialogue>I dunno, some medical book.</dialogue>
<scene_description>Jody calls to Lance .</scene_description>
<character>JODY</character>
<parenthetical>( OS . )</parenthetical>
<dialogue>What are you lookin' for?</dialogue>
<character>LANCE</character>
<dialogue>My black medical book!</dialogue>
<scene_description>As he continues searching , flipping and knocking over shit , Jody appears in the doorway .</scene_description>
<character>JODY</character>
<dialogue>Whata re you looking for?</dialogue>
<character>LANCE</character>
<dialogue>My black fuckin' medical book. It's like a text book they give to nurses.</dialogue>
<character>JODY</character>
<dialogue>I never saw a medical book.</dialogue>
<character>LANCE</character>
<dialogue>Trust me, I have one.</dialogue>
<character>JODY</character>
<dialogue>Well if it's that important, why did n't you keep it with the shot?</dialogue>
<scene_description>Lance spins toward her .</scene_description>
<character>LANCE</character>
<dialogue>I do n't know! Stop bothering me!</dialogue>
<character>JODY</character>
<dialogue>While you're lookin' for it, that girl's gon na die on our carpet. You're never gon na find it in all this shit. For six months now, I've been telling you to clean this room -</dialogue>
<character>VINCENT</character>
<parenthetical>( OS . )</parenthetical>
<dialogue>- get your ass in here, fuck the book!</dialogue>
<scene_description>Lance angrily knocks over a pile of shit and leaves the SHOT heading for the living room . LIVING ROOM Vincent is bent over Mia , talking softly to her , when Lance reenters the room .</scene_description>
<character>VINCENT</character>
<dialogue>Quit fuckin' around man and give her the shot!</dialogue>
<scene_description>Lance bends down by the black case brought in by Jody . He opens it and begins preparing the needle for injection .</scene_description>
<character>LANCE</character>
<dialogue>While I'm doing this, take her shirt off and find her heart.</dialogue>
<scene_description>Vince rips her blouse open . Jody stumbles back in the room , hanging back from the action .</scene_description>
<character>VINCENT</character>
<dialogue>Does it have to be exact?</dialogue>
<character>LANCE</character>
<dialogue>Yeah, it has to be exact! I'm giving her an injection in the heart, so I got ta exactly hit her in the heart.</dialogue>
<character>VINCENT</character>
<dialogue>Well, I do n't know exactly where her heart is, I think it's here.</dialogue>
<scene_description>Vince points to Mia 's right breast . Lance glances over and nods .</scene_description>
<character>LANCE</character>
<dialogue>That's it.</dialogue>
<scene_description>As Lance readies the injection , Vincent looks up at Jody .</scene_description>
<character>VINCENT</character>
<dialogue>I need a big fat magic marker, got one?</dialogue>
<character>JODY</character>
<dialogue>What?</dialogue>
<character>VINCENT</character>
<dialogue>I need a big fat magic marker, any felt pen'll do, but a magic marker would be great.</dialogue>
<character>JODY</character>
<dialogue>Hold on.</dialogue>
<scene_description>Jody runs to the desk , opens the top drawer and , in her enthusiasm , she pulls the drawer out of the desk , the contents of which -LRB- bills , papers , pens -RRB- spill to the floor . The injection is ready . Lance hands Vincent the needle .</scene_description>
<character>LANCE</character>
<dialogue>It's ready, I'll tell you what to do.</dialogue>
<character>VINCENT</character>
<dialogue>You're gon na give her the shot.</dialogue>
<character>LANCE</character>
<dialogue>No, you're gon na give her the shot.</dialogue>
<character>VINCENT</character>
<dialogue>I've never does this before.</dialogue>
<character>LANCE</character>
<dialogue>I've never does this before either, and I ai n't starting now. You brought ` er here, that means you give her the shot. The day I bring an O.D.ing bitch to your place, then I got ta give her the shot.</dialogue>
<scene_description>Jody hurriedly joins them in the huddle , a big fat red magic marker in her hand .</scene_description>
<character>JODY</character>
<dialogue>Got it.</dialogue>
<scene_description>Vincent grabs the magic marker out of Jody 's hand and makes a big red dot in Mia 's body where her heart is .</scene_description>
<character>VINCENT</character>
<dialogue>Okay, what do I do?</dialogue>
<character>LANCE</character>
<dialogue>Well, you're giving her an injection of adrenalin straight to her heart. But she's got a breast plate in front of her heart, so you got ta pierce through that. So what you got ta do is bring the needle down in a stabbing motion.</dialogue>
<scene_description>Lance demonstrates a stabbing motion , which looks like `` The Shape '' killing its victims in `` HALLOWEEN . ''</scene_description>
<character>VINCENT</character>
<dialogue>I got ta stab her?</dialogue>
<character>LANCE</character>
<dialogue>If you want the needle to pierce through to her heart, you got ta stab her hard. Then once you do, push down on the plunger.</dialogue>
<character>VINCENT</character>
<dialogue>What happens after that?</dialogue>
<character>LANCE</character>
<dialogue>I'm curious about that myself.</dialogue>
<character>VINCENT</character>
<dialogue>This ai n't a fuckin' joke man!</dialogue>
<character>LANCE</character>
<dialogue>She's supposed to come out of it like -.</dialogue>
<parenthetical>( snaps his fingers . )</parenthetical>
<dialogue>- that.</dialogue>
<scene_description>Vincent lifts the needle up above his head in a stabbing motion . He looks down on Mia . Mia is fading fast . Soon nothing will help her . Vincent 's eyes narrow , ready to do this .</scene_description>
<character>VINCENT</character>
<dialogue>Count to three.</dialogue>
<scene_description>Lance , on this knees right beside Vincent , does not know what to expect .</scene_description>
<character>LANCE</character>
<dialogue>One.</dialogue>
<scene_description>RED DOT on Mia 's body . Needle raised ready to strike .</scene_description>
<character>LANCE</character>
<parenthetical>( OS . )</parenthetical>
<dialogue>two.</dialogue>
<scene_description>Jody 's face is alive with anticipation . NEEDLE in that air , poised like a rattler ready to strike .</scene_description>
<character>LANCE</character>
<parenthetical>( OS . )</parenthetical>
<dialogue>three!</dialogue>
<scene_description>The needle leaves frame , THRUSTING down hard . Vincent brings the needle down hard , STABBING Mia in the chest . Mia 's head if JOLTED from the impact . The syringe plunger is pushed down , PUMPING the adrenalin out through the needle . Mia 's eyes POP WIDE OPEN and she lets out a HELLISH cry of the banshee . She BOLTS UP in a sitting position , needle stuck in her chest - SCREAMING . Vincent , Lance and Jody , who were in sitting positions in front of Mia , JUMP BACK , scared to death . Mia 's scream runs out . She slowly starts taking breaths of air . The other three , now scooted halfway across the room , shaken to their bones , look to see if she 's alright .</scene_description>
<character>LANCE</character>
<dialogue>If you're okay, say something.</dialogue>
<scene_description>Mia , still breathing , not looking up at them , says in a relatively normal voice .</scene_description>
<character>MIA</character>
<dialogue>Something.</dialogue>
<scene_description>Vincent and Lance collapse on their backs , exhausted and shaking from how close to death Mia came .</scene_description>
<character>JODY</character>
<dialogue>Anybody want a beer?</dialogue>
</scene>
<scene>
<stage_direction>INT. VINCENT'S MALIBU (MOVING) - NIGHT</stage_direction>
<scene_description>Vincent is behind the wheel driving Mia home . No one says anything , both are still too shaken .</scene_description>
</scene>
<scene>
<stage_direction>EXT. FRONT OF MARSELLUS WALLACE'S HOUSE - NIGHT</stage_direction>
<scene_description>The Malibu pulls up to the front . Mia gets out without saying a word -LRB- still in a daze -RRB- and begins walking down the walkway toward her front door .</scene_description>
<character>VINCENT</character>
<parenthetical>( OS . )</parenthetical>
<dialogue>Mia!</dialogue>
<scene_description>She turns around . Vincent 's out of the car , standing on the walkway , a big distance between the two .</scene_description>
<character>VINCENT</character>
<dialogue>What are your thoughts on how to handle this?</dialogue>
<character>MIA</character>
<dialogue>What's yours?</dialogue>
<character>VINCENT</character>
<dialogue>Well I'm of the opinion that Marsellus can live his whole live and never ever hear of this incident.</dialogue>
<scene_description>Mia smiles .</scene_description>
<character>MIA</character>
<dialogue>Do n't worry about it. If Marsellus ever heard of this, I'd be in as much trouble as you.</dialogue>
<character>VINCENT</character>
<dialogue>I seriously doubt that.</dialogue>
<character>MIA</character>
<dialogue>If you can keep a secret, so can I.</dialogue>
<character>VINCENT</character>
<dialogue>Let's shake on it.</dialogue>
<scene_description>The two walk toward each other , holding out their hands to shake and shake they do .</scene_description>
<character>VINCENT</character>
<dialogue>Mum's the word.</dialogue>
<scene_description>Mia lets go of Vincent 's hand and silently makes the see - no - evil , hear - no - evil , and speak - no - evil sign with her hands . Vincent smiles .</scene_description>
<character>VINCENT</character>
<dialogue>If you'll excuse me, I got ta go home and have a heart attack.</dialogue>
<scene_description>Mia giggles . Vincent turns to leave .</scene_description>
<character>MIA</character>
<dialogue>You still wan na hear my `` FOX FORCE FIVE'' joke?</dialogue>
<scene_description>Vincent turns around .</scene_description>
<character>VINCENT</character>
<dialogue>Sure, but I think I'm still a little too petrified to laugh.</dialogue>
<character>MIA</character>
<dialogue>Uh - huh. You wo n't laugh because it's not funny. But if you still wan na hear it, I'll tell it.</dialogue>
<character>VINCENT</character>
<dialogue>I ca n't wait.</dialogue>
<character>MIA</character>
<dialogue>Three tomatoes are walking down the street, a poppa tomato, a momma tomato, and a little baby tomato. The baby tomato is lagging behind the poppa and momma tomato. The poppa tomato gets mad, goes over to the momma tomato and stamps on him -.</dialogue>
<parenthetical>( STAMPS on the ground . )</parenthetical>
<dialogue>- and says : catch up.</dialogue>
<scene_description>They both smile , but neither laugh .</scene_description>
<character>MIA</character>
<dialogue>See ya ` round, Vince.</dialogue>
<scene_description>Mia turns and walks inside her house . CU - VINCENT after Mia walks inside . Vincent continues to look at where she was . He brings his hands to his lips and blows her a kiss . Then exits FRAME leaving it empty . WE HEAR his Malibu START UP and DRIVE AWAY . FADE TO BLACK ON THE CARTOON `` SPEED RACER . '' Speed is giving a detailed description of all the features on his race car `` The Mac - 5 , '' which he does at the beginning of every episode . OFF SCREEN we hear a WOMAN 'S VOICE .</scene_description>
<character>WOMAN'S VOICE</character>
<parenthetical>( OS . )</parenthetical>
<dialogue>Butch.</dialogue>
<scene_description>BUTCH 'S POV We 're in the living room of a modest two bedroom house in Alhambra , California , in the year 1972 . BUTCH 'S MOTHER , 35ish , stands in the doorway leading into the living room . Next to her is a man dressed in the uniform of an American Air Force officer . The CAMERA is the perspective of a five - year old boy .</scene_description>
<character>MOTHER</character>
<dialogue>Butch, stop watching TV a second. We got a special visitor. Now do you remember when I told you your daddy dies in a P.O.W. camp?</dialogue>
<character>BUTCH</character>
<parenthetical>( OS . )</parenthetical>
<dialogue>Uh - huh.</dialogue>
<character>MOTHER</character>
<dialogue>Well this here is Capt. Koons. He was in the P.O.W. camp with Daddy.</dialogue>
<scene_description>CAPT. KOONS steps inside the room toward the little boy and bends down on one knee to bring him even with the boy 's eyeline . When Koons speaks , he speaks with a slight Texas accent .</scene_description>
<character>CAPT. KOONS</character>
<dialogue>Hello, little man. Boy I sure heard a bunch about you. See, I was a good friend of your Daddy's. We were in that Hanoi pit of hell over five years together. Hopefully, you'll never have to experience this yourself, but when two men are in a situation like me and your Daddy were, for as long as we were, you take on certain responsibilities of the other. If it had been me who had not made it, Major Coolidge would be talkin' right now to my son Jim. But the way it worked out is I'm talkin' to you, Butch. I got somethin' for ya.</dialogue>
<scene_description>The Captain pulls a gold wrist watch out of his pocket .</scene_description>
<character>CAPT. KOONS</character>
<dialogue>This watch I got here was first purchased by your great - granddaddy. It was bought during the First World War in a little general store in Knoxville, Tennessee. It was bought by private Doughboy Ernie Coolidge the day he set sail for Paris. It was your great - granddaddy's war watch, made by the first company to ever make wrist watches. You see, up until then, people just carried pocket watches. Your great - granddaddy wore that watch every day he was in the war. Then when he had done his duty, he went home to your great - grandmother, took the watch off his wrist and put it in an ol' coffee can. And in that can it stayed'til your grandfather Dane Coolidge was called upon by his country to go overseas and fight the Germans once again. This time they called it World War Two. Your great - granddaddy gave it to your granddad for good luck. Unfortunately, Dane's luck was n't as good as his old man's. Your granddad was a Marine and he was killed with all the other Marines at the battle of Wake Island. Your granddad was facing death and he knew it. None of those boys had any illusions about ever leavin' that island alive. So three days before the Japanese took the island, your 22 - year old grandfather asked a gunner on an Air Force transport named Winocki, a man he had never met before in his life, to deliver to his infant son, who he had never seen in the flesh, his gold watch. Three days later, your grandfather was dead. But Winocki kept his word. After the war was over, he paid a visit to your grandmother, delivering to your infant father, his Dad's gold watch. This watch. This watch was on your Daddy's wrist when he was shot down over Hanoi. He was captured and put in a Vietnamese prison camp. Now he knew if the gooks ever saw the watch it's be confiscated. The way your Daddy looked at it, that watch was your birthright. And he'd be damned if and slopeheads were gon na put their greasy yella hands on his boy's birthright. So he hid it in the one place he knew he could hide somethin'. His ass. Five long years, he wore this watch up his ass. Then when he died of disentary, he gave me the watch. I hid with uncomfortable hunk of metal up my ass for two years. Then, after seven years, I was sent home to my family. And now, little man, I give the watch to you.</dialogue>
<scene_description>Capt. Koons hands the watch to Butch . A little hand comes into FRAME to accept it .</scene_description>
</scene>
<scene>
<stage_direction>INT. LOCKER ROOM - NIGHT</stage_direction>
<scene_description>The 27 - year old Butch Coolidge is dressed in boxing regalia : trunks , shoes and gloves . He lies on a table catching a few zzzzzz 's before his big fight . Almost as soon as WE CUT to him , he wakes up with a start . Shaken by the bizarre memory , he wipes his sweaty face with his boxing glove . His trainer KLONDIKE , an older fireplug , opens the door a little , sticking his head in the room . Pandemonium seems to be breaking out behind Klondike in the hallway .</scene_description>
<character>KLONDIKE</character>
<dialogue>It's time, Butch.</dialogue>
<character>BUTCH</character>
<dialogue>I'm ready.</dialogue>
<scene_description>Klondike steps inside , closing the door on the WILD MOB outside . He goes to the long yellow robe hanging on a hook . Butch hops off the table and , without a word , Klondike helps him on with the robe , which says on the back : `` BATTLING BUTCH COOLIDGE . '' The two men head for the door . Klondike opens the door for Butch . As Butch steps into the hallway , the Crowd goes apeshit . Klondike closes the door behind him , leaving us in the quiet , empty locker room . FADE TO BLACK `` THE GOLD WATCH . ''</scene_description>
<character>SPORTSCASTER #1</character>
<parenthetical>( OS . )</parenthetical>
<dialogue>- well Dan, that had to be the bloodiest and, hands - down, the most brutal fight this city has ever seen.</dialogue>
<scene_description>The SOUND of chaos in the b.g.</scene_description>
</scene>
<scene>
<stage_direction>EXT. ALLEY (RAINING) - NIGHT</stage_direction>
<scene_description>A taxi is parked in a dark alley next to an auditorium . The sky is PISSIN ' DOWN RAIN . WE SLOWLY DOLLY toward the parked car . The SOUND of the CAR RADIO can be heard coming from inside .</scene_description>
<character>SPORTSCASTER #1</character>
<parenthetical>( OS . )</parenthetical>
<dialogue>Coolidge was out of there faster than I've ever seen a victorious boxer vacate the ring. Do you think he knew Willis was dead?</dialogue>
<character>SPORTSCASTER #2</character>
<parenthetical>( OS . )</parenthetical>
<dialogue>My guess would be yes, Richard. I could see from my position here, the frenzy in his eyes give way to the realization of what he was doing. I think any man would've left the ring that fast.</dialogue>
</scene>
<scene>
<stage_direction>INT. TAXI (PARKED/RAINING) - NIGHT</stage_direction>
<scene_description>Inside the taxi , behind the wheel , is a female cabbie named ESMARELDA VILLALOBOS . A young woman , with Spanish looks , sits parked , drinking a steaming hot cup of coffee out of a white styrofoam cup . The Sportscasters continue their coverage .</scene_description>
<character>SPORTSCASTER #1</character>
<parenthetical>( OS . )</parenthetical>
<dialogue>Do you feel this ring death tragedy will have an effect on the world of boxing?</dialogue>
<character>SPORTSCASTER #2</character>
<parenthetical>( OS . )</parenthetical>
<dialogue>Oh Dan, a tragedy like this ca n't help but shake the world of boxing to its very foundation. But it's of paramount importance that during the sad weeks ahead, the eyes of the W.B.A. remain firmly fixed on the - CLICK -</dialogue>
<scene_description>Esmarelda shuts off the radio . She takes a sip of coffee , then hears a NOISE behind her in the alley . She sticks her head out of the car door to see : A window about three stories high opens on the auditorium - side of the alley . A gym bag is tossed out into a garbage dumpster below the window . Then , Butch Coolidge , still dressed in boxing trunks , shoes , gloves and yellow robe , LEAPS to the dumpster below . ESMARELDA 'S REACTION takes in the strangeness of this sight . Gym bag in hand , Butch CLIMBS out of the dumpster and RUNS to the taxi . Before he climbs in , he takes off his robe and throws it to the ground .</scene_description>
</scene>
<scene>
<stage_direction>INT. TAXI (PARKED/RAINING) - NIGHT</stage_direction>
<scene_description>Butch , soaking wet , naked except for trunks , shoes and gloves , HOPS in the backseat , SLAMMING the door . Esmarelda , staring straight ahead , talks to Butch through the rearview mirror :</scene_description>
<character>ESMARELDA</character>
<parenthetical>( Spanish accent . )</parenthetical>
<dialogue>Are you the man I was supposed to pick up?</dialogue>
<character>BUTCH</character>
<dialogue>If you're the cab I called, I'm the guy you're supposed to pick up.</dialogue>
<character>ESMARELDA</character>
<dialogue>Where to?</dialogue>
<character>BUTCH</character>
<dialogue>Outta here.</dialogue>
<scene_description>The ignition key is TWISTED . The engine ROARS to life . The meter is FLIPPED on . Esmarelda 's bare foot STOMPS on the gas pedal .</scene_description>
</scene>
<scene>
<stage_direction>EXT. BOXING AUDITORIUM (RAINING) - NIGHT</stage_direction>
<scene_description>The cab WHIPS out of the alley , FISH - TAILING on the wet pavement in front of the auditorium at a rapid pace .</scene_description>
</scene>
<scene>
<stage_direction>INT. WILLIS LOCKER ROOM (AUDITORIUM) - NIGHT</stage_direction>
<scene_description>Locker room door opens , English Dave fights his way through the pandemonium which is going on outside in the hall , shutting the door on the madness . Once inside , English Dave takes time to adjust his suit and tie . In the room , black boxer FLOYD RAY WILLIS lies on a table - dead . His face looks like he went dunking for bees . His TRAINER is on his knees , head on Floyd 's chest , crying over the body . The huge figure that is Marsellus Wallace stands at the table , hand on the Trainer 's shoulder , lending emotional support . We still do not see Marsellus clearly , only that he is big . Mia sits in a chair at the far end of the room . Marsellus looks up , sees English Dave and walks over to him .</scene_description>
<character>MARSELLUS</character>
<parenthetical>( OS . )</parenthetical>
<dialogue>What ` cha got?</dialogue>
<character>ENGLISH DAVE</character>
<dialogue>He booked.</dialogue>
<character>MARSELLUS</character>
<parenthetical>( OS . )</parenthetical>
<dialogue>I'm prepared to scour the earth for this motherfucker. If Butch goes to Indo China, I want a nigger hidin' in a bowl of rice, ready to pop a cap in his ass.</dialogue>
<character>ENGLISH DAVE</character>
<dialogue>I'll take care of it.</dialogue>
</scene>
<scene>
<stage_direction>INT. CAB (MOVING/RAINING) - NIGHT</stage_direction>
<scene_description>Butch gets one of his boxing gloves off . Esmarelda watches in the rearview mirror . He tries to roll down one of the backseat windows , but ca n't find the roll bar .</scene_description>
<character>BUTCH</character>
<dialogue>Hey, how do I open the window back here?</dialogue>
<character>ESMARELDA</character>
<dialogue>I have to do it.</dialogue>
<scene_description>She presses a button and the back window moves down . Butch tosses his boxing glove out the window , then starts untying the other one . Esmarelda ca n't keep quiet anymore .</scene_description>
<character>ESMARELDA</character>
<dialogue>Hey, mister?</dialogue>
<character>BUTCH</character>
<parenthetical>( still working on the glove . )</parenthetical>
<dialogue>What?</dialogue>
<character>ESMARELDA</character>
<dialogue>You were in that fight? The fight on the radio - you're the fighter?</dialogue>
<scene_description>As he tosses his other glove out the window .</scene_description>
<character>BUTCH</character>
<dialogue>Whatever gave you that idea?</dialogue>
<character>ESMARELDA</character>
<dialogue>No c'mon, you're him, I know you're him, tell me you're him.</dialogue>
<character>BUTCH</character>
<parenthetical>( drying himself with a gym towel . )</parenthetical>
<dialogue>I'm him.</dialogue>
<character>ESMARELDA</character>
<dialogue>You killed the other boxing man.</dialogue>
<character>BUTCH</character>
<dialogue>He's dead?</dialogue>
<character>ESMARELDA</character>
<dialogue>The radio said he was dead.</dialogue>
<scene_description>He finished wiping himself down .</scene_description>
<character>BUTCH</character>
<parenthetical>( to himself . )</parenthetical>
<dialogue>Sorry ` bout that, Floyd.</dialogue>
<scene_description>He tosses the towel out the window . Silence , as Butch digs in his bag for a tee - shirt .</scene_description>
<character>ESMARELDA</character>
<dialogue>What does it feel like?</dialogue>
<character>BUTCH</character>
<parenthetical>( finds his shirt . )</parenthetical>
<dialogue>What does what feel like?</dialogue>
<character>ESMARELDA</character>
<dialogue>Killing a man. Beating another man to death with your bare hands.</dialogue>
<scene_description>Butch pulls on his tee - shirt .</scene_description>
<character>BUTCH</character>
<dialogue>Are you some kinda weirdo?</dialogue>
<character>ESMARELDA</character>
<dialogue>No, it's a subject I have much interest in. You are the first person I ever met who has killed somebody. So, what was it like to kill a man?</dialogue>
<character>BUTCH</character>
<dialogue>Tell ya what, you give me one of them cigarettes, I'll give you an answer.</dialogue>
<scene_description>Esmarelda bounces in her seat with excitment .</scene_description>
<character>ESMARELDA</character>
<dialogue>Deal!</dialogue>
<scene_description>Butch leans forward . Esmarelda , keeping her eyes on the road , passes a cigarette back to him . He takes it . Then , still not looking behind her , she brings up her hand , a lit match in it . Butch lights his smoke , then blows out the match . He takes a long drag .</scene_description>
<character>BUTCH</character>
<dialogue>So.</dialogue>
<scene_description>He looks at her license</scene_description>
<character>BUTCH</character>
<dialogue>Esmarelda Villalobos - is that Mexican?</dialogue>
<character>ESMARELDA</character>
<dialogue>The name is Spanish, but I'm Columbian.</dialogue>
<character>BUTCH</character>
<dialogue>It's a very pretty name.</dialogue>
<character>ESMARELDA</character>
<dialogue>It mean `` Esmarelda of the wolves.''</dialogue>
<character>BUTCH</character>
<dialogue>That's one hell of a name you got there, sister.</dialogue>
<character>ESMARELDA</character>
<dialogue>Thank you. And what is your name?</dialogue>
<character>BUTCH</character>
<dialogue>Butch.</dialogue>
<character>ESMARELDA</character>
<dialogue>Butch. What does it mean?</dialogue>
<character>BUTCH</character>
<dialogue>I'm an American, our names do n't mean shit. Anyway, moving right along, what is it you wan na know, Esmarelda?</dialogue>
<character>ESMARELDA</character>
<dialogue>I want to know what it feels like to kill a man -</dialogue>
<character>BUTCH</character>
<dialogue>- I could n't tell ya. I did n't know he was dead'til you told me he was dead. Now I know he's dead, do you wan na know how I feel about it?</dialogue>
<scene_description>Esmarelda nods her head : `` yes . ''</scene_description>
<character>BUTCH</character>
<dialogue>I do n't feel the least little bit bad. You wan na know why, Esmarelda?</dialogue>
<scene_description>Esmarelda nods her head : `` yes . ''</scene_description>
<character>BUTCH</character>
<dialogue>'Cause I'm a boxer. And after you've said that, you've said pretty much all there is to say about me. Now maybe that son - of - a - bitch tonight was once at one time a boxer. If he was, then he was dead before his ass ever stepped in the ring. I just put the poor bastard outta his misery. And if he never was a boxer -.</dialogue>
<parenthetical>( Butch takes a drag . )</parenthetical>
<dialogue>That's what he gets for fuckin' up my sport.</dialogue>
</scene>
<scene>
<stage_direction>EXT. PHONE BOOTH (RAINING) - NIGHT</stage_direction>
<scene_description>We DOLLY around a phone booth as Butch talks inside .</scene_description>
<character>BUTCH</character>
<parenthetical>( into phone . )</parenthetical>
<dialogue>What's I tell ya, soon as the word got out a fix was in, the odds would be outta control. Hey, if he was a better fighter he's be alive. If he never laced up his gloves in the first place, which he never shoulda done, he'd be alive. Enough about the poor unfortunate Mr. Floyd, let's talk about the rich and prosperous Mr. Butch. How many bookies you spread it around with?</dialogue>
<parenthetical>( pause . )</parenthetical>
<dialogue>Eight? How long to collect?</dialogue>
<parenthetical>( pause . )</parenthetical>
<dialogue>So by tomorrow evening, you'll have it all?</dialogue>
<parenthetical>( pause . )</parenthetical>
<dialogue>Good news Scotty, real good news - I understand a few stragglers aside. Me an' Fabian're gon na leave in the morning. It should take us a couple days to get into Knoxville. Next time we see each other, it'll be on Tennessee time.</dialogue>
<scene_description>Butch hangs up the phone . He looks at the cab waiting to take him wherever he wants to go .</scene_description>
<character>BUTCH</character>
<parenthetical>( to himself in French with English subtitles . )</parenthetical>
<dialogue>Fabian my love, our adventure begins.</dialogue>
</scene>
<scene>
<stage_direction>EXT. MOTEL (STOPPED RAINING) - NIGHT</stage_direction>
<scene_description>Esmarelda 's tax pulled into the motel parking lot . The rain has stopped , but the night is still soaked . Butch gets out , now fully dressed in tee - shirt , jeans and high school athletic jacket . He leans in the driver 's side window .</scene_description>
<character>ESMARELDA</character>
<dialogue>Forty - five sixty.</dialogue>
<scene_description>Handing her the money .</scene_description>
<character>BUTCH</character>
<dialogue>Merci beaucoup. And here's a little something for the effort.</dialogue>
<scene_description>Butch holds up a hundred dollar bill . Esmarelda 's eyes light up . She goes to take it . Butch holds it out of reach .</scene_description>
<character>BUTCH</character>
<dialogue>Now if anybody should ask you about who your fare was tonight, what're you gon na tell'em?</dialogue>
<character>ESMARELDA</character>
<dialogue>The truth. Three well - dressed, slightly toasted, Mexicans.</dialogue>
<scene_description>He gives her the bill .</scene_description>
<character>BUTCH</character>
<dialogue>Bon soir, Esmarelda.</dialogue>
<character>ESMARELDA</character>
<parenthetical>( in Spanish . )</parenthetical>
<dialogue>Sleep well, Butch.</dialogue>
<scene_description>He tweaks her nose , she smiles , and he turns and walks away . She drives off .</scene_description>
</scene>
<scene>
<stage_direction>INT. MOTEL (ROOM SIX) - NIGHT</stage_direction>
<scene_description>Butch enters and turns on the light . Lying curled up on the bed , fully dressed , with her back to us is Butch 's French girlfriend , FABIAN .</scene_description>
<character>FABIAN</character>
<dialogue>Keep the light off.</dialogue>
<scene_description>Butch flicks the switch back , making the room dark again .</scene_description>
<character>BUTCH</character>
<dialogue>Is that better, sugar pop?</dialogue>
<character>FABIAN</character>
<dialogue>Oui. Hard day at the office?</dialogue>
<character>BUTCH</character>
<dialogue>Pretty hard. I got into a fight.</dialogue>
<character>FABIAN</character>
<dialogue>Poor baby. Can we make spoons?</dialogue>
<scene_description>Butch climbs into bed , spooning Fabian from behind . When Butch and Fabian speak to each other , they speak in baby - talk .</scene_description>
<character>FABIAN</character>
<dialogue>I was looking at myself in the mirror.</dialogue>
<character>BUTCH</character>
<dialogue>Uh - huh?</dialogue>
<character>FABIAN</character>
<dialogue>I wish I had a pot.</dialogue>
<character>BUTCH</character>
<dialogue>You were lookin' in the mirror and you wish you had some pot?</dialogue>
<character>FABIAN</character>
<dialogue>A pot. A pot belly. Pot bellies are sexy.</dialogue>
<character>BUTCH</character>
<dialogue>Well you should be happy,'cause you do.</dialogue>
<character>FABIAN</character>
<dialogue>Shut up, Fatso! I do n't have a pot! I have a bit of a tummy, like Madonna when she did `` Lucky Star,'' it's not the same thing.</dialogue>
<character>BUTCH</character>
<dialogue>I did n't realize there was a difference between a tummy and a pot belly.</dialogue>
<character>FABIAN</character>
<dialogue>The difference is huge.</dialogue>
<character>BUTCH</character>
<dialogue>You want me to have a pot?</dialogue>
<character>FABIAN</character>
<dialogue>No. Pot bellies make a man look either oafish, or like a gorilla. But on a woman, a pot belly is very sexy. The rest of you is normal. Normal face, normal legs, normal hips, normal ass, but with a big, perfectly round pot belly. If I had one, I'd wear a tee - shirt two sizes too small to accentuate it.</dialogue>
<character>BUTCH</character>
<dialogue>You think guys would find that attractive?</dialogue>
<character>FABIAN</character>
<dialogue>I do n't give a damn what men find attractive. It's unfortunate what we find pleasing to the touch and pleasing to the eye is seldom the same.</dialogue>
<character>BUTCH</character>
<dialogue>If I had a pot belly, I'd punch you in it.</dialogue>
<character>FABIAN</character>
<dialogue>You'd punch me in my belly?</dialogue>
<character>BUTCH</character>
<dialogue>Right in the belly.</dialogue>
<character>FABIAN</character>
<dialogue>I'd smother you. I'd drop it on your right on your face'til you could n't breathe.</dialogue>
<character>BUTCH</character>
<dialogue>You'd do that to me?</dialogue>
<character>FABIAN</character>
<dialogue>Yes!</dialogue>
<character>BUTCH</character>
<dialogue>Did you get everything, sugar pop?</dialogue>
<character>FABIAN</character>
<dialogue>Yes, I did.</dialogue>
<character>BUTCH</character>
<dialogue>Good job.</dialogue>
<character>FABIAN</character>
<dialogue>Did everything go as planned?</dialogue>
<character>BUTCH</character>
<dialogue>You did n't listen to the radio?</dialogue>
<character>FABIAN</character>
<dialogue>I never listen to your fights. Were you the winner?</dialogue>
<character>BUTCH</character>
<dialogue>I won alright.</dialogue>
<character>FABIAN</character>
<dialogue>Are you still retiring?</dialogue>
<character>BUTCH</character>
<dialogue>Sure am.</dialogue>
<character>FABIAN</character>
<dialogue>What about the man you fought?</dialogue>
<character>BUTCH</character>
<dialogue>Floyd retired too.</dialogue>
<character>FABIAN</character>
<parenthetical>( smiling . )</parenthetical>
<dialogue>Really?! He wo n't be fighting no more?!</dialogue>
<character>BUTCH</character>
<dialogue>Not no more.</dialogue>
<character>FABIAN</character>
<dialogue>So it all worked out in the finish?</dialogue>
<character>BUTCH</character>
<dialogue>We ai n't at the finish, baby.</dialogue>
<scene_description>Fabian rolls over and Butch gets on top of her . They kiss .</scene_description>
<character>FABIAN</character>
<dialogue>We're in a lot of danger, are n't we?</dialogue>
<scene_description>Butch nods his head : `` yes . ''</scene_description>
<character>FABIAN</character>
<dialogue>If they find us, they'll kill us, wo n't they?</dialogue>
<scene_description>Butch nods his head : `` yes . ''</scene_description>
<character>FABIAN</character>
<dialogue>But they wo n't find us, will they?</dialogue>
<scene_description>Butch nods his head : `` no . ''</scene_description>
<character>FABIAN</character>
<dialogue>Do you still want me to go with you?</dialogue>
<scene_description>Butch nods his head : `` yes . ''</scene_description>
<character>FABIAN</character>
<dialogue>I do n't want to be a burden or a nuisance -</dialogue>
<scene_description>Butch 's hand goes out of frame and starts massaging her crotch . Fabian reacts .</scene_description>
<character>FABIAN</character>
<dialogue>Say it!</dialogue>
<character>BUTCH</character>
<dialogue>Fabian, I want you to be with me.</dialogue>
<character>FABIAN</character>
<dialogue>Forever?</dialogue>
<character>BUTCH</character>
<dialogue>and ever.</dialogue>
<scene_description>Fabian lies her head back . Butch continues to massage her crotch .</scene_description>
<character>FABIAN</character>
<dialogue>Do you love me?</dialogue>
<character>BUTCH</character>
<dialogue>Oui.</dialogue>
<character>FABIAN</character>
<dialogue>Butch? Will you give me oral pleasure?</dialogue>
<scene_description>Butch kisses her on the mouth .</scene_description>
<character>BUTCH</character>
<dialogue>Will you kiss it?</dialogue>
<scene_description>She nods her head : `` yes . ''</scene_description>
<character>FABIAN</character>
<dialogue>But you first.</dialogue>
<scene_description>Butch 's head goes down out of frame to carry out the oral pleasure . Fabian 's face is alone in the frame .</scene_description>
<character>FABIAN</character>
<parenthetical>( in French , with English subtitles . )</parenthetical>
<dialogue>Butch my love, the adventure begins</dialogue>
<scene_description>FADE TO BLACK MOTEL ROOM Same motel room , except empty . WE HEAR THE SHOWER RUNNING in the bathroom . The CAMERA MOVES to the bathroom doorway . We see Fabian in a white terry cloth robe that seems to swallow her up . She 's drying her head with a towel . Butch is inside the shower washing up . We see the outline of his naked body through the smoky glass of the shower door . Steam fills the bathroom . Butch turns the shower off and opens the door , popping his head out .</scene_description>
<character>BUTCH</character>
<dialogue>I think I cracked a rib.</dialogue>
<character>FABIAN</character>
<dialogue>Giving me oral pleasure?</dialogue>
<character>BUTCH</character>
<dialogue>No retard, from the fight.</dialogue>
<character>FABIAN</character>
<dialogue>Do n't call me retard.</dialogue>
<character>BUTCH</character>
<parenthetical>( in a Mongoloid voice . )</parenthetical>
<dialogue>My name is Fabby! My name is Fabby!</dialogue>
<character>FABIAN</character>
<dialogue>Shut up fuck head! I hate that Mongoloid voice.</dialogue>
<character>BUTCH</character>
<dialogue>Okay, sorry, sorry, sorry, I take it back! Can I have a towel please, Miss Beautiful Tulip.</dialogue>
<character>FABIAN</character>
<dialogue>Oh I like that, I like being called a tulip. Tulip is much better than Mongoloid.</dialogue>
<scene_description>She finishes drying her hair and wraps the towel like a turban on her head .</scene_description>
<character>BUTCH</character>
<dialogue>I did n't call you a Mongoloid, I called you a retard, but I took it back.</dialogue>
<scene_description>She hands him a towel .</scene_description>
<character>BUTCH</character>
<dialogue>Merci beaucoup.</dialogue>
<character>FABIAN</character>
<dialogue>Butch?</dialogue>
<character>BUTCH</character>
<parenthetical>( drying his head . )</parenthetical>
<dialogue>Yes, lemon pie.</dialogue>
<character>FABIAN</character>
<dialogue>Where are we going to go?</dialogue>
<character>BUTCH</character>
<dialogue>I'm not sure yet. Wherever you want. We're gon na get a lot of money from this. But it ai n't gon na be so much, we can live like hogs in the fat house forever. I was thinking we could go somewhere in the South Pacific. The kinda money we'll have'll carry us a long way down there.</dialogue>
<character>FABIAN</character>
<dialogue>So if we wanted, we could live in Bora Bora?</dialogue>
<character>BUTCH</character>
<dialogue>You betcha. And if after awhile you do n't dig Bora Bora, then we can move over to Tahiti or Mexico.</dialogue>
<character>FABIAN</character>
<dialogue>But I do not speak Spanish.</dialogue>
<character>BUTCH</character>
<dialogue>You do n't speak Bora Boran either. Besides, Mexican is easy : Donde esta el zapataria?</dialogue>
<character>FABIAN</character>
<dialogue>What does that mean?</dialogue>
<character>BUTCH</character>
<dialogue>Where's the shoe store?</dialogue>
<character>FABIAN</character>
<dialogue>Donde esta el zapataria?</dialogue>
<character>BUTCH</character>
<dialogue>Excellent pronunciation. You'll be my little mama ceta in no time.</dialogue>
<scene_description>Butch exits the bathroom . We stay on FAbian as she brushes her teeth . Butch keeps on from the other room .</scene_description>
<character>BUTCH</character>
<parenthetical>( OS . )</parenthetical>
<dialogue>Que hora es?</dialogue>
<character>FABIAN</character>
<dialogue>Que hora es?</dialogue>
<character>BUTCH</character>
<parenthetical>( OS . )</parenthetical>
<dialogue>What time is it?</dialogue>
<character>FABIAN</character>
<dialogue>What time is it?</dialogue>
<character>BUTCH</character>
<parenthetical>( OS . )</parenthetical>
<dialogue>Time for bed. Sweet dream, jellybean.</dialogue>
<scene_description>Fabian brushes her teeth . We watch her for a moment or two , then she remember something .</scene_description>
<character>FABIAN</character>
<dialogue>Butch.</dialogue>
<scene_description>She walks out of the bathroom to ask Butch a question , only to find him sound asleep in bed . She looks at him for a moment .</scene_description>
<character>FABIAN</character>
<dialogue>Forget it.</dialogue>
<scene_description>She exits frame , going back in the bathroom . WE STAY on the WIDE SHOT of the unconscious Butch in bed . FADE TO BLACK MOTEL ROOM - MORNING SAME SHOT AS BEFORE , the next morning . We find Butch still asleep in bed . Fabian brushes her teeth half in and half out of the bathroom so she can watch TV at the same time . She still wears the terry cloth robe from the night before . ON TV : WILLIAM SMITH and a bunch of Hell 's Angels are taking on the entire Vietnamese army in the film `` THE LOSERS . '' Butch wakes from his sleep , as if a scary monster was chasing him . His start startles Fabian .</scene_description>
<character>FABIAN</character>
<dialogue>Merde! You startled me. Did you have a bad dream?</dialogue>
<scene_description>Butch squints down the front of the bed at her , trying to focus .</scene_description>
<character>BUTCH</character>
<dialogue>yeah. are you still brushing your teeth?</dialogue>
<character>FABIAN</character>
<dialogue>This is me. I brush my teeth all night long and into the early morning. Do you think I have a problem?</dialogue>
<scene_description>Fabian goes back into the bathroom to spit . If that was supposed to be sarcasm , it was lost on Butch at this early hour . Butch , still trying to chase the cobwebs away , sees on TV Hell 's Angels tear - assin ' through a Vietnamese prison camp .</scene_description>
<character>BUTCH</character>
<dialogue>What are you watching?</dialogue>
<character>FABIAN</character>
<dialogue>A motorcycle movie, I'm not sure the name.</dialogue>
<character>BUTCH</character>
<dialogue>Are you watchin' it?</dialogue>
<scene_description>Fabian enters the room .</scene_description>
<character>FABIAN</character>
<dialogue>In a way. Why? Would you like for me to switch it off?</dialogue>
<character>BUTCH</character>
<dialogue>Would you please?</dialogue>
<scene_description>She reaches over and turns off the TV .</scene_description>
<character>BUTCH</character>
<dialogue>It's a little too early in the morning for explosions and war.</dialogue>
<character>FABIAN</character>
<dialogue>What was it about?</dialogue>
<character>BUTCH</character>
<dialogue>How should I know, you were the one watchin' it.</dialogue>
<scene_description>Fabian laughs .</scene_description>
<character>FABIAN</character>
<dialogue>No, imbecile, what was your dream about?</dialogue>
<character>BUTCH</character>
<dialogue>Oh, I. do n't remember. It's really rare I remember a dream.</dialogue>
<character>FABIAN</character>
<dialogue>You just woke up from it.</dialogue>
<character>BUTCH</character>
<dialogue>Fabian, I'm not lying to you, I do n't remember.</dialogue>
<character>FABIAN</character>
<dialogue>Well, let's look at the grumpy man in the morning. I did n't say you were lying, it's just odd you do n't remember your dreams. I always remember mine. Did you know you talk in your sleep?</dialogue>
<character>BUTCH</character>
<dialogue>I do n't talk in my sleep, do I talk in my sleep?</dialogue>
<character>FABIAN</character>
<dialogue>You did last night.</dialogue>
<character>BUTCH</character>
<dialogue>What did I say?</dialogue>
<scene_description>Laying on top of him .</scene_description>
<character>FABIAN</character>
<dialogue>I do n't know. I could n't understand you.</dialogue>
<scene_description>She kisses Butch .</scene_description>
<character>FABIAN</character>
<dialogue>Why do n't you get up and we'll get some breakfast at that breakfast place with the pancakes.</dialogue>
<character>BUTCH</character>
<dialogue>One more kiss and I'll get up.</dialogue>
<scene_description>Fabian gives Butch a sweet long kiss .</scene_description>
<character>FABIAN</character>
<dialogue>Satisfied?</dialogue>
<character>BUTCH</character>
<dialogue>Yep.</dialogue>
<character>FABIAN</character>
<dialogue>Then get up, lazy bones.</dialogue>
<scene_description>Butch climbs out of bed and starts pulling clothes out of the suitcase that Fabian brought .</scene_description>
<character>BUTCH</character>
<dialogue>What time is it?</dialogue>
<character>FABIAN</character>
<dialogue>Almost nine in the morning. What time does our train arrive?</dialogue>
<character>BUTCH</character>
<dialogue>Eleven.</dialogue>
<scene_description>Seeing him looking at a pair of pants .</scene_description>
<character>FABIAN</character>
<dialogue>Those pants are very nice. Can you wear those with that nice blue shirt you have?</dialogue>
<scene_description>He pulls a blue shirt of the suitcase .</scene_description>
<character>BUTCH</character>
<dialogue>This one?</dialogue>
<character>FABIAN</character>
<dialogue>That's the one. That matches.</dialogue>
<character>BUTCH</character>
<dialogue>Okay.</dialogue>
<scene_description>He puts the cloths on .</scene_description>
<character>FABIAN</character>
<dialogue>I'm gon na order a big plate of blueberry pancakes with maple syrup, eggs over easy, and five sausages.</dialogue>
<character>BUTCH</character>
<parenthetical>( surprised at her potential appetite . )</parenthetical>
<dialogue>Anything to drink with that?</dialogue>
<scene_description>Butch is finished dressing .</scene_description>
<character>FABIAN</character>
<parenthetical>( referring to his clothes . )</parenthetical>
<dialogue>Oh yes, that looks nice. To drink, a tall glass or orange juice and a black cup of coffee. After that, I'm going to have a slice of pie.</dialogue>
<scene_description>As he goes through the suitcase .</scene_description>
<character>BUTCH</character>
<dialogue>Pie for breakfast?</dialogue>
<character>FABIAN</character>
<dialogue>Any time of the day is a good time for pie. Blueberry pie to go with the pancakes. And on top, a thin slice of melted cheese -</dialogue>
<character>BUTCH</character>
<dialogue>- where's my watch?</dialogue>
<character>FABIAN</character>
<dialogue>It's there.</dialogue>
<character>BUTCH</character>
<dialogue>No, it's not. It's not here.</dialogue>
<character>FABIAN</character>
<dialogue>Have you looked?</dialogue>
<scene_description>By now , Butch is frantically rummaging through the suitcase .</scene_description>
<character>BUTCH</character>
<dialogue>Yes I've fuckin' looked!</dialogue>
<scene_description>He 's now throwing clothes .</scene_description>
<character>BUTCH</character>
<dialogue>What the fuck do you think I'm doing?! Are you sure you got it?</dialogue>
<scene_description>Fabian can hardly speak , she 's never seen Butch this way .</scene_description>
<character>FABIAN</character>
<dialogue>Uhhh. yes. beside the table drawer -</dialogue>
<character>BUTCH</character>
<dialogue>- on the little kangaroo.</dialogue>
<character>FABIAN</character>
<dialogue>Yes, it was on your little kangaroo.</dialogue>
<character>BUTCH</character>
<dialogue>Well it's not here!</dialogue>
<character>FABIAN</character>
<parenthetical>( on the verge of tears . )</parenthetical>
<dialogue>Well it should be!</dialogue>
<character>BUTCH</character>
<dialogue>Oh it most definitely should be here, but it's not. So where is it?</dialogue>
<scene_description>Fabian is crying and scared . Butch lowers his voice , which only serves to make him more menacing .</scene_description>
<character>BUTCH</character>
<dialogue>Fabian, that was my father's fuckin' watch. You know what my father went through to git me that watch? I do n't wan na get into it right now. but he went through a lot. Now all this other shit, you coulda set on fire, but I specifically reminded you not to forget my father's watch. Now think, did you get it?</dialogue>
<character>FABIAN</character>
<dialogue>I believe so.</dialogue>
<character>BUTCH</character>
<dialogue>You believe so? You either did, or you did n't, now which one is it?</dialogue>
<character>FABIAN</character>
<dialogue>Then I did.</dialogue>
<character>BUTCH</character>
<dialogue>Are you sure?</dialogue>
<character>FABIAN</character>
<parenthetical>( shaking . )</parenthetical>
<dialogue>No.</dialogue>
<scene_description>Butch freaks out , he punches the air . Fabian SCREAMS and backs into a corner , Butch picks up the motel TV and THROWS IT AGAINST the wall . Fabian SCREAMS IN HORROR . Butch looks toward her , suddenly calm .</scene_description>
<character>BUTCH</character>
<parenthetical>( to Fabian . )</parenthetical>
<dialogue>No! It's not your fault.</dialogue>
<parenthetical>( he approached her . )</parenthetical>
<dialogue>You left it at the apartment.</dialogue>
<scene_description>He bends down in front of the woman who has sunk to the floor . He touches her hand , she flinches .</scene_description>
<character>BUTCH</character>
<dialogue>If you did leave it at the apartment, it's not your fault. I had you bring a bunch of stuff. I reminded you about it, but I did n't illustrate how personal the watch was to me. If all I gave a fuck about was my watch, I should've told you. You ai n't a mind reader.</dialogue>
<scene_description>He kisses her hand . Then rises . Fabian is still sniffling . Butch goes to the closet .</scene_description>
<character>FABIAN</character>
<dialogue>I'm sorry.</dialogue>
<scene_description>Butch puts on his high school jacket .</scene_description>
<character>BUTCH</character>
<dialogue>Do n't be. It just means I wo n't be able to eat breakfast with you.</dialogue>
<character>FABIAN</character>
<dialogue>Why does it mean that?</dialogue>
<character>BUTCH</character>
<dialogue>Because I'm going back to my apartment to get my watch.</dialogue>
<character>FABIAN</character>
<dialogue>Wo n't the gangsters be looking for you there?</dialogue>
<character>BUTCH</character>
<dialogue>That's what I'm gon na find out. If they are, and I do n't think I can handle it, I'll split.</dialogue>
<scene_description>Rising from the floor .</scene_description>
<character>FABIAN</character>
<dialogue>My darling, I do n't want you to be murdered over a silly watch.</dialogue>
<character>BUTCH</character>
<dialogue>One, it's not a silly watch. Two, I'm not gon na be murdered. And three, do n't be scared. I wo n't let anything get in the way of us living a happy life together.</dialogue>
<scene_description>Butch brings her close and puts his hands on her face .</scene_description>
<character>BUTCH</character>
<dialogue>Do n't feel bad, sugar pop. Nothing you could ever do would make me permanently angry at you.</dialogue>
<parenthetical>( pause . )</parenthetical>
<dialogue>I love you, remember?</dialogue>
<parenthetical>( he digs some money out of his wallet . )</parenthetical>
<dialogue>Now here's some money, order those pancakes and have a great breakfast.</dialogue>
<character>FABIAN</character>
<dialogue>Do n't go.</dialogue>
<character>BUTCH</character>
<dialogue>I'll be back before you can say, blueberry pie.</dialogue>
<character>FABIAN</character>
<dialogue>Blueberry pie.</dialogue>
<character>BUTCH</character>
<dialogue>Well maybe not that fast, but fast. Okay? Okay?</dialogue>
<character>FABIAN</character>
<dialogue>Okay.</dialogue>
<scene_description>He kisses her once more and heads for the door .</scene_description>
<character>BUTCH</character>
<dialogue>Bye - bye, sugar pop.</dialogue>
<character>FABIAN</character>
<dialogue>Bye.</dialogue>
<character>BUTCH</character>
<dialogue>I'm gon na take your Honda.</dialogue>
<character>FABIAN</character>
<dialogue>Okay.</dialogue>
<scene_description>And with that , he 's out the door . Fabian sits on the bed and looks at the money he gave her .</scene_description>
</scene>
<scene>
<stage_direction>INT. HONDA (MOVING) - DAY</stage_direction>
<scene_description>Butch is beating the steering wheel and the dash with his fists as he drives down the street .</scene_description>
<character>BUTCH</character>
<dialogue>Of all the fuckin' things she coulda forgot, she forgets my father's watch. I specifically reminded her not to forget it. `` Bedside table - on the kangaroo.'' I said the words : `` Do n't forget my father's watch.''</dialogue>
</scene>
<scene>
<stage_direction>EXT. CITY STREET - DAY</stage_direction>
<scene_description>The little Honda races toward its destination as fast as its little engine will take it .</scene_description>
</scene>
<scene>
<stage_direction>INT. HONDA (MOVING) - DAY</stage_direction>
<scene_description>Butch continues :</scene_description>
<character>BUTCH</character>
<dialogue>What the fuck am I doin'? Have I taken one too many hits to the head? That's got ta be it. Brain damage is the only excuse for this dumb a move. Stop the car, Butch.</dialogue>
<parenthetical>( he keeps on driving . )</parenthetical>
<dialogue>Stop the car, Butch.</dialogue>
<parenthetical>( he pays no attention to himself . )</parenthetical>
<dialogue>Butch, I'm talkin' to you. Put - your - foot - on - the - break!</dialogue>
<scene_description>Butch 's foot SLAMS down hard on the break .</scene_description>
</scene>
<scene>
<stage_direction>EXT. CITY STREET - DAY</stage_direction>
<scene_description>The little Honda SKIDS to a stop in the middle of the street . Butch HOPS out of the car like it was on fire . Butch begins PACING back and forth , talking to himself , oblivious to PASSERSBY and traffic .</scene_description>
<character>BUTCH</character>
<dialogue>I ai n't gon na do this. This is a punchy move and I ai n't punchy! Daddy would totally fuckin' understand. If he was here right now, he'd say, `` Butch, git a grip. It's a fuckin' watch, man. You lose one, ya git another. This is your life you're fuckin' around with, which you should n't be doin''cause you only got one.</dialogue>
<scene_description>Butch continues to pace , but now he 's silent . Then .</scene_description>
<character>BUTCH</character>
<dialogue>This is my war. You see, Butch, what you're forgettin' is this watch is n't just a device that enables you to keep track of time. This watch is a symbol. It's a symbol of how your father, and his father before him, and his father before him, distinguished themselves in war. And when I took Marsellus Wallace's money, I started a war. This is my World War Two. That apartment in North Hollywood, that's my Wake Island. In fact, if you look at it that way, it's almost kismet that Fabian left it behind. And using that perspective, going back for it is n't stupid. It may be dangerous, but it's not stupid. Because there are certain things in this world that are worth going back for.</dialogue>
<scene_description>That 's it , Butch has talked himself into it again . He HOPS in the car , starts it up and TAKES OFF . A parking meter red flag rises up , then out , leaving the arrow pointing at one hour .</scene_description>
</scene>
<scene>
<stage_direction>EXT. RESIDENTIAL STREET CORNER - DAY</stage_direction>
<scene_description>Butch is n't completely reckless . He has parked his car a couple of blocks from his apartment to check things out before he goes boppin ' through the front door .</scene_description>
</scene>
<scene>
<stage_direction>EXT. ALLEY - DAY</stage_direction>
<scene_description>Butch walks down the alley until he gets to another street , then he discreetly glances out .</scene_description>
</scene>
<scene>
<stage_direction>EXT. STREET - BUTCH'S APARTMENT - DAY</stage_direction>
<scene_description>Everything seems normal . More or less the right number of cars in the street . None of the parked cars appear out of place . None of them have a couple of goons sitting inside . Basically , it looks like normal morning activity in front of Butch 's home . Butch peers around a wall , taking in the vital information .</scene_description>
<character>BUTCH</character>
<parenthetical>( to himself . )</parenthetical>
<dialogue>Everything looks hunky dorie. Looks can be deceiving, but this time I do n't think they are. Why waste the manpower to stake out my place. I'd have to be a fuckin' idiot to come back here. That's how you're gon na beat'em Butch, they keep underestimating you.</dialogue>
<scene_description>Butch walks out of the alley and is ready for anything . He crosses the street and enters his apartment courtyard . Across the street from Butch 's building , on the corner , is a combination donut shop and Japanese restaurant . A big sign sticks up in the air , with the name `` Teriyaki Donut '' and a graphic of a donut sticking out of a bowl of rice .</scene_description>
</scene>
<scene>
<stage_direction>EXT. BUTCH'S APARTMENT COURTYARD - DAY</stage_direction>
<scene_description>Butch is in the courtyard of his North Hollywood apartment building . Once again , everything appears normal - the laundry room , the pool , his apartment door - nothing appears disturbed . Butch climbs the stairs leading to his apartment , number 12 . He steps outside the door and listens inside . Nothing . Butch slowly inserts the key into the door , quietly opening it .</scene_description>
</scene>
<scene>
<stage_direction>INT. BUTCH'S APARTMENT - DAY</stage_direction>
<scene_description>His apartment has n't been touched . He cautiously steps inside , shuts the door and takes a quick look around . Obviously , no one is there . Butch walks into his modest kitchen , and opens the refrigerator . He takes out a carton of milk and drinks from it . With carton in hard , Butch surveys the apartment . Then he goes to the bedroom . His bedroom is like the rest of the apartment - neat , clean and anonymous . The only things personal in his room are a few boxing trophies , an Olympic silver medal , a framed issue of `` Ring Magazine '' with Butch on the cover , and a poster of Jerry Quarry and one of George Chuvalo . Sure enough , there 's the watch just like he said it was : on the bedside table , hanging on his little kangaroo statue . He walks through the apartment and back into the kitchen . He opens a cupboard and takes out a box of Pop Tarts . Putting down the milk , he opens the box , takes out two Pop Tarts and puts them in the toaster . Butch glances to his right , his eyes fall on something . What he sees is a small compact Czech M61 submachine gun with a huge silencer on it , lying on his kitchen counter .</scene_description>
<character>BUTCH</character>
<parenthetical>( softly . )</parenthetical>
<dialogue>Holy shit.</dialogue>
<scene_description>He picks up the intimidating peace of weaponary and examines it . Then . a toilet FLUSHES . Butch looks up to the bathroom door , which is parallel to the kitchen . There is someone behind it . Like a rabbit caught in a radish patch , Butch freezes , not knowing what to do . The bathroom door opens and Vincent Vega steps out of the bathroom , tightening his belt . In his hand is the book `` MODESTY BLAISE '' by Peter O'Donnell . Vincent and Butch lock eyes . Vincent freezes . Butch does n't move , except to point the M61 in Vincent 's direction . Neither man opens his mouth . Then . the toaster LOUDLY kicks up the Pop Tarts . That 's all the situation needed . Butch 's finger HITS the trigger . MUFFLED FIRE SHOOTS out of the end of the gun . Vincent is seemingly WRACKED with twenty bullets SIMULTANEOUSLY - LIFTING him off his feet , PROPELLING him through the air and CRASHING through the glass shower door at the end of the bathroom . By the time Butch removes his finger from the trigger , Vincent is annihilated . Butch stands frozen , amazed at what just happened . His look goes from the grease spot in the bathroom that was once Vincent , down to the powerful piece of artillery in his grip . With the respect it deserves , Butch carefully places the M61 back on the kitchen counter . Then he exits the apartment , quickly .</scene_description>
</scene>
<scene>
<stage_direction>EXT. APARTMENT COURTYARD - DAY</stage_direction>
<scene_description>Butch , not running , but walking very rapidly , crosses the courtyard . comes out of the apartment building , crosses the street . goes through the alley . and into his car in one STEADICAM SHOT .</scene_description>
</scene>
<scene>
<stage_direction>EXT. HONDA - DAY</stage_direction>
<scene_description>Butch CRANKS the car into gear and drives away . The big wide smile of a survivor breaks across his face .</scene_description>
</scene>
<scene>
<stage_direction>EXT. APARTMENT BUILDING STREET - DAY</stage_direction>
<scene_description>The Honda turns down the alley and slowly cruises by his apartment building .</scene_description>
</scene>
<scene>
<stage_direction>INT. HONDA - DAY</stage_direction>
<scene_description>Butch looks out the window at his former home .</scene_description>
<character>BUTCH</character>
<dialogue>That's how you're gon na beat'em, Butch. They keep underestimatin' ya.</dialogue>
<scene_description>This makes the boxer laugh out loud . As he laughs , he flips a tape in the cassette player . When the MUSIC starts , he SINGS along with it . He drives by the apartment , but is stopped at the light on the corner across from Teriyaki Donut . Butch is still chuckling , singing along with the song , as we see : THROUGH THE WINDSHIELD the big man himself , Marsellus Wallace , exit Teriyaki Donut , carrying a box of a dozen donuts and two large styrofoam cups of coffee . He steps off the curb , crossing the street in front of Butch 's car . This is the first time we see Marsellus clearly . Laughing boy stops when he sees the big man directly in front of him . When Marsellus is in front of Butch 's car , he casually glances to his left , sees Butch , continues walking . then STOPS ! DOUBLE - TAKE : `` Am I really seeing what I 'm seeing ? '' Butch does n't wait for the big man to answer his own question . He STOMPS on the gas pedal . The little Honda SLAMS into Marsellus , sending him , the donuts and the coffee HITTING the pavement at thirty miles an hour . Butch CUTS into cross traffic and is BROAD - SIDED by a gold Camaro Z - 28 , BREAKING all the windows in the Honda and sending it up on the sidewalk . Butch sits dazed and confused in the crumpled mess of what at one time was Fabian 's Honda . Blood flows from his nostrils . The still - functional tape player continues to play . A PEDESTRIAN pokes his head inside .</scene_description>
<character>PEDESTRIAN</character>
<dialogue>Jesus, are you okay?</dialogue>
<scene_description>Butch look at him , spaced - out .</scene_description>
<character>BUTCH</character>
<dialogue>I guess.</dialogue>
<scene_description>Marsellus Wallace lies sprawled out in the street . GAWKERS gather around the body .</scene_description>
<character>GAWKER #1</character>
<parenthetical>( to the others . )</parenthetical>
<dialogue>He's dead! He's dead!</dialogue>
<scene_description>This jerk 's yelling makes Marsellus come to . TWO PEDESTRIANS help the shaken Butch out of the wreckage . The woozy Marsellus gets to his feet .</scene_description>
<character>GAWKER #2</character>
<dialogue>If you need a witness in court, I'll be glad to help. He was a drunken maniac. He hit you and crashed into that car.</dialogue>
<character>MARSELLUS</character>
<parenthetical>( still incoherent . )</parenthetical>
<dialogue>Who?</dialogue>
<character>GAWKER #2</character>
<parenthetical>( pointing at Butch . )</parenthetical>
<dialogue>Him.</dialogue>
<scene_description>Marsellus follows the Gawker 's finger and sees Butch Coolidge down the street , looking a shambles .</scene_description>
<character>MARSELLUS</character>
<dialogue>Well, I'll be damned.</dialogue>
<scene_description>The big man takes out a .45 Automatic and the Gawkers back away . Marsellus starts moving toward Butch . Butch sees the fierce figure making a wobbly bee - line toward him .</scene_description>
<character>BUTCH</character>
<dialogue>Sacre bleu.</dialogue>
<scene_description>Marsellus brings up his weapon and FIRES , but he 's so hurt , shaky and dazed that his arm goes wild . He HITS a LOOKY - LOO WOMAN in the hip . She falls to the ground , screaming .</scene_description>
<character>LOOKY-LOO WOMAN</character>
<dialogue>Oh my God, I've been shot!</dialogue>
<scene_description>That 's all Butch needs to see . He 's outta here . Marsellus RUNS after him . The CROWD looks agape . Butch is in a mad , limping RUN . The big man 's hot on his ass with a cockeyed wobbly run . Butch cuts across traffic and dashes into a business with a sign that reads `` MASON - DIXIE PAWNSHOP . ''</scene_description>
</scene>
<scene>
<stage_direction>INT. MASON-DIXIE PAWNSHOP - DAY</stage_direction>
<scene_description>MAYNARD , a hillbilly - lookin ' boy , stands behind the counter of his pawnshop when , all of a sudden , chaos in the form of Butch RACES into his world .</scene_description>
<character>MAYNARD</character>
<dialogue>Can I help you wit' somethin'?</dialogue>
<character>BUTCH</character>
<dialogue>Shut up!</dialogue>
<scene_description>Butch quickly takes measure of the situation , than stands next to the door .</scene_description>
<character>MAYNARD</character>
<dialogue>Now you just wait one goddamn minute -</dialogue>
<scene_description>Before Maynard can finish his threat , Marsellus CHARGES in . He does n't get past the doorway because Butch LANDS his fist in Marsellus ' face . The gangster 's feet go out from under him and the big man FALLS FLAT on his back . Outside , two police cars with their SIRENS BLARING race by . Butch POUNCES on the fallen body , PUNCHING him twice more in the face . Butch takes the gun out of Marsellus ' hand , than grabs ahold of his middle finger .</scene_description>
<character>BUTCH</character>
<dialogue>So you like chasing people, huh?</dialogue>
<scene_description>He BREAKS the finger . Marsellus lets out a pain sound . Butch then places the barrel of the .45 between his eyes , PULLS back the hammer and places his open hand behind the gun to shield the splatter .</scene_description>
<character>BUTCH</character>
<dialogue>Well guess what, big man, you caught me -</dialogue>
<character>MAYNARD</character>
<parenthetical>( OS . )</parenthetical>
<dialogue>- hold it right there, godammit!</dialogue>
<scene_description>Butch and Marsellus look up at Maynard , who 's brandishing a pump - action shotgun , aimed at the two men .</scene_description>
<character>BUTCH</character>
<dialogue>Look mister, this ai n't any of your business -</dialogue>
<character>MAYNARD</character>
<dialogue>- I'm makin' it my business! Now toss that gun!</dialogue>
<scene_description>Butch does .</scene_description>
<character>MAYNARD</character>
<dialogue>Now you on top, stand up and come to the counter.</dialogue>
<scene_description>Butch slowly gets up and moves to the counter . As soon as he gets there , Maynard HAULS OFF , HITTING him hard in the face with the butt of the shotgun , knocking Butch down and out . After Butch goes down , Maynard calmly lays the shotgun on the counter and moves to the telephone . Marsellus Wallace , from his position on the floor , groggily watches the pawnshop owner dial a number . Maynard waits on the line while the other end rings . Then it picks up .</scene_description>
<character>MAYNARD</character>
<dialogue>Zed? It's Maynard. The spider just caught a coupl' a flies.</dialogue>
<scene_description>Marsellus passes out . FADE TO BLACK</scene_description>
</scene>
<scene>
<stage_direction>INT. PAWNSHOP BACK ROOM - DAY</stage_direction>
<scene_description>TWO SHOT - BUTCH AND MARSELLUS are tied up in two separate chairs . In their mouths are two S&M - style ball gags -LRB- a belt goes around their heads and a little red ball sticks in their mouths -RRB- . Both men are unconscious . Maynard steps in with a fire extinguisher and SPRAYS both guys until they 're wide awake and wet as otters . The two prisoners look up at their captors . Maynard stands in front of them , fire extinguisher in one hand , shotgun in the other , and Marsellus ' .45 sticking in his belt .</scene_description>
<character>MAYNARD</character>
<dialogue>Nobody kills anybody in my place of business except me or Zed.</dialogue>
<scene_description>A BUZZER buzzes .</scene_description>
<character>MAYNARD</character>
<dialogue>That' Zed.</dialogue>
<scene_description>Without saying another word , Maynard climbs up the stairs that lead to red curtains and goes through them . WE HEAR , on the other side of the curtains , Maynard let Zed inside the store . Butch and Marsellus look around the room . The basement of the pawnshop has been converted into a dungeon . After taking in their predicament , Butch and Marsellus look at each other , all traces of hostility gone , replaced by a terror they both share at what they 've gotten themselves into . Maynard and ZED come through the curtains . Zed is an even more intense version of Maynard , if such a thing is possible . The two hillbillys are obviously brothers . Where Maynard is a vicious pitbull , Zed is a deadly cobra . Zed walks in and stands in front of the two captives . He inspects them for a long time , then says :</scene_description>
<character>ZED</character>
<parenthetical>( to Maynard . )</parenthetical>
<dialogue>You said you waited for me?</dialogue>
<character>MAYNARD</character>
<dialogue>I did.</dialogue>
<character>ZED</character>
<dialogue>Then how come they're all beat up?</dialogue>
<character>MAYNARD</character>
<dialogue>They did that to each other. They was fightin' when they came in. This one was gon na shoot that one.</dialogue>
<character>ZED</character>
<parenthetical>( to Butch . )</parenthetical>
<dialogue>You were gon na shoot him?</dialogue>
<scene_description>Butch makes no reply .</scene_description>
<character>ZED</character>
<dialogue>Hey, is Grace gon na be okay in front of this place?</dialogue>
<character>MAYNARD</character>
<dialogue>Yeah, it ai n't Tuesday is it?</dialogue>
<character>ZED</character>
<dialogue>No, it's Thursday.</dialogue>
<character>MAYNARD</character>
<dialogue>Then she'll be fine.</dialogue>
<character>ZED</character>
<dialogue>Bring out The Gimp.</dialogue>
<character>MAYNARD</character>
<dialogue>I think The Gimp's asleep.</dialogue>
<character>ZED</character>
<dialogue>Well, I guess you'll just wake'em up then, wo n't you?</dialogue>
<scene_description>Maynard opens a trap door in the floor .</scene_description>
<character>MAYNARD</character>
<parenthetical>( yelling in the hole . )</parenthetical>
<dialogue>Wake up!</dialogue>
<scene_description>Maynard reaches into the hole and comes back holding onto a leash . He gives it a rough yank and , from below the floor , rises THE GIMP . The Gimp is a man they keep dressed from head to toe in black leather bondage gear . There are zippers , buckles and studs here and there on the body . On his head is a black leather mask with two eye holes and a zipper -LRB- closed -RRB- for a mouth . They keep him in a hole in the floor big enough for a large dog . Zed takes the chair , sits it in front of the two prisoners , then lowers into it . Maynard hands The Gimp 's leash to Zed , then backs away .</scene_description>
<character>MAYNARD</character>
<parenthetical>( to The Gimp . )</parenthetical>
<dialogue>Down!</dialogue>
<scene_description>The Gimp gets on its knees . Maynard hangs back while Zed appraises the two men .</scene_description>
<character>MAYNARD</character>
<dialogue>Who's first?</dialogue>
<character>ZED</character>
<dialogue>I ai n't fer sure yet.</dialogue>
<scene_description>Then with his little finger , Zed does a silent `` Eenie , meany , miney , moe . '' just his mouth mouthing the words and his finger going back and forth between the two . Butch are Marsellus are terrified . Maynard looks back and forth at the victims . The Gimps 's eyes go from one to the other inside the mask . Zed continues his silent sing - song with his finger moving left to right , then it stops . TWO SHOT - BUTCH AND MARSELLUS after a beat , THE CAMERA MOVES to the right , zeroing in on Marsellus . Zed stands up .</scene_description>
<character>ZED</character>
<dialogue>Wan na do it here?</dialogue>
<character>MAYNARD</character>
<dialogue>Naw, drag big boy to Russell's old room.</dialogue>
<scene_description>Zed grabs Marsellus ' chair and DRAGS him into Russell 's old room . Russell , no doubt , was some other poor bastard that has the misfortune of stumbling into the Mason - Dixie pawnshop . Whatever happened to Russell is known only to Maynard and Zed because his old room , a back room in the back of the back room , is empty . As Marsellus is dragged away , he locks eyes with Butch before he disappears behind the door of Russell 's old room .</scene_description>
<character>MAYNARD</character>
<parenthetical>( to The Gimp . )</parenthetical>
<dialogue>Up!</dialogue>
<scene_description>The Gimp rises . Maynard ties The Gimp 's leash to a hook on the ceiling .</scene_description>
<character>MAYNARD</character>
<dialogue>Keep an eye on this one.</dialogue>
<scene_description>The Gimp bows its head : `` yes . '' Maynard disappears into Russell 's old room . There must be a stereo in there because suddenly The Judds , singing in harmony , fills the air . Butch looks at The Gimp . The Gimp giggles from underneath the mask as if this were the funniest moment in the history of comedy . From behind the door we hear country MUSIC , struggling , and :</scene_description>
<character>MAYNARD</character>
<parenthetical>( OS . )</parenthetical>
<dialogue>Whoa, this boy's got a bit of fight in'em!</dialogue>
<scene_description>We the HEAR Maynard and Zed beat on Marsellus .</scene_description>
<character>ZED</character>
<parenthetical>( OS . )</parenthetical>
<dialogue>You wan na fight? You wan na fight? Good, I like to fight!</dialogue>
<scene_description>Butch pauses , listens to the voices . Then , in a panic , hurriedly struggles to get free . The Gimp is laughing wildly . The ropes are on too tight and Butch ca n't break free . The Gimp slaps his knee laughing In the back room , we hear :</scene_description>
<character>MAYNARD</character>
<parenthetical>( OS . )</parenthetical>
<dialogue>That's it. that's it boy, you're goin' fine. Oooooooh, just like that. that's good.</dialogue>
<parenthetical>( grunting faster . )</parenthetical>
<dialogue>Stay still. stay still goddamn ya! Zed goddammit, git over here and hold'em!</dialogue>
<scene_description>Butch stops struggling and lifts up on his arms . Then , quite easily , the padded chair back slides up and off as if it were never connected by a bolt . The Gimp sees this and its eyes widen .</scene_description>
<character>THE GIMP</character>
<dialogue>Huhng?</dialogue>
<scene_description>The Gimp FLAILS WILDLY , trying to get the leash off the hook . He tries to yell , but all that comes out are excited gurgles and grunts . Butch is out of his chair , quickly dispensing three BOXER 'S PUNCHES to its face . The punches knock The Gimp out , making him fall to his knees , this HANGING HIMSELF by the leash attached to the hook , Butch removes the ball gag , then silently makes his way through the red curtains .</scene_description>
</scene>
<scene>
<stage_direction>INT. PAWNSHOP - DAY</stage_direction>
<scene_description>Butch sneaks to the door . On the counter is a big set of keys with a large Z connected to the ring . Grabbing them , he 's about to go out when he stops and listens to the hillbilly psychopaths having their way with Marsellus . Butch decides for the life of him , he ca n't leave anybody in a situation like that . Se he begins rooting around the pawnshop for a weapon to bash those hillbillies ' heads in with . He picks up a big destructive - looking hammer , then discards it : not destructive enough . He picks up a chainsaw , thinks about it for a moment , then puts it back . Next , a large Louisville slugger he tries on for size . But then he spots what he 's been looking for : A Samurai sword . It hands in its hand - carved wood sheath from a nail on the wall , next to a neon `` DAD 'S OLD - FASHIONED ROOT BEER '' sign . Butch takes the sword off the wall , removing it from its sheath . It 's a magnificent piece of steel . It seems to glisten in the low - wattage light of the pawnshop . Butch touches his thumb to the blade to see if the sword is just for show . Not on your life . It 's as sharp as it gets . This weapon seems made to order for the Brothers Grimm downstairs . Holding the sword pointed downward , Takakura Ken - style , he disappears through the red curtains to take care of business .</scene_description>
</scene>
<scene>
<stage_direction>INT. PAWNSHOP BACK ROOM - DAY</stage_direction>
<scene_description>Butch quietly sneaks down the stairs leading to the dungeon . Sodomy and the Judds can still be heard going string behind the closed door that leads to Russell 's old room .</scene_description>
</scene>
<scene>
<stage_direction>INT. RUSSELL'S OLD ROOM - DAY</stage_direction>
<scene_description>Butch 's hand comes into frame , pushing the door open . It swings open silently , revealing the rapists , who have switched positions . Zed is now bent over Marsellus , who is bent over a wooden horse . Maynard watches . Both have their backs to Butch . Maynard faces the CAMERA , grinning , while Butch comes up behind him with the sword . Miserable , violated , and looking like a rag doll , Marsellus , red ball gag still in mouth , opens his watery eyes to see Butch coming up behind Maynard . His eyes widen .</scene_description>
<character>BUTCH</character>
<dialogue>Hey hillbilly.</dialogue>
<scene_description>Maynard turns and sees Butch holding the sword . Butch SCREAMS . with one mighty SWING , SLASHES Maynard across the front , moving past him , eyes and blade now locked on Zed . Maynard stands trembling , his front sliced open , in shock . Butch , while never taking his eyes off Zed , THRUSTS the sword behind him , SKEWERING Maynard , then EXTRACTS it , pointing the blade toward Zed . Maynard COLLAPSES . Zed disengages from Marsellus in a hurry and his eyes go from the tip of Butch 's sword to Marsellus ' .45 Automatic , which lies within reach . Butch 's eyes follow Zed 's .</scene_description>
<character>BUTCH</character>
<dialogue>You want that gun, Zed? Pick it up.</dialogue>
<scene_description>Zed 's hand inches toward the weapon . Butch GRIPS the sword tighter . Zed studies Butch , Butch looks hard at Zed . Then a VOICE says :</scene_description>
<character>MARSELLUS</character>
<parenthetical>( OS . )</parenthetical>
<dialogue>Step aside, Butch.</dialogue>
<scene_description>Butch steps aside , REVEALING Marsellus standing behind him , holding Maynard 's pump - action shotgun . KABOOM ! Zed is BLASTED in the groin . Down he goes , SCREAMING in AGONY . Marsellus , looking down at his whimpering rapist , EJECTS the used shotgun shell . Butch lowers the sword and hangs back . Not a word , until :</scene_description>
<character>BUTCH</character>
<dialogue>You okay?</dialogue>
<character>MARSELLUS</character>
<dialogue>Naw man. I'm pretty fuckin' far from okay!</dialogue>
<scene_description>Long pause .</scene_description>
<character>BUTCH</character>
<dialogue>What now?</dialogue>
<character>MARSELLUS</character>
<dialogue>What now? Well let me tell you what now. I'm gon na call a couple pipe - hittin' niggers, who'll go to work on homes here with a pair of pliers and a blow torch.</dialogue>
<parenthetical>( to Zed . )</parenthetical>
<dialogue>Hear me talkin' hillbilly boy?! I ai n't through with you by a damn sight. I'm gon na git Medieval on your ass.</dialogue>
<character>BUTCH</character>
<dialogue>I meant what now, between me and you?</dialogue>
<character>MARSELLUS</character>
<dialogue>Oh, that what now? Well, let me tell ya what now between me an' you. There is no me an' you. Not no more.</dialogue>
<character>BUTCH</character>
<dialogue>So we're cool?</dialogue>
<character>MARSELLUS</character>
<dialogue>Yeah man, we're cool. One thing I ask - two things I ask : do n't tell nobody about this. This shit's between me and you and the soon - to - be - livin' - the - rest - of - his - short - ass - life - in - agonizing - pain, Mr. Rapist here. It ai n't nobody else's business. Two : leave town. Tonight. Right now. And when you're gone, stay gone. You've lost your Los Angeles privileges. Deal?</dialogue>
<character>BUTCH</character>
<dialogue>Deal.</dialogue>
<scene_description>The two men shake hands , then hug one another .</scene_description>
<character>MARSELLUS</character>
<dialogue>Go on now, get your ass outta here.</dialogue>
<scene_description>Butch leaves Russell 's old room through the red curtains . Marsellus walks over to a phone , dialing a number .</scene_description>
<character>MARSELLUS</character>
<parenthetical>( into the phone . )</parenthetical>
<dialogue>Hello Mr. Wolf, it's Marsellus. Got ta bit of a situation.</dialogue>
</scene>
<scene>
<stage_direction>EXT. MASON-DIXIE PAWNSHOP - DAY</stage_direction>
<scene_description>Butch , still shaking in his boots , exits the pawnshop . He looks ahead and sees , parked in front of the establishment , Zed 's Big Chrome Chopper with a teardrop gas tank that has the name `` GRACE '' on it . He climbs aboard , takes out the keys with the big Z on them and starts up the huge hog . It RUMBLES to life , making sounds like a rocket fighting for orbit . Butch twists the accelerator handle and SPEEDS off . WE CUT BACK AND FORTH BETWEEN .</scene_description>
</scene>
<scene>
<stage_direction>INT. BUTCH AND FABIAN'S HOTEL ROOM - DAY</stage_direction>
<scene_description>Fabian stands in front of a mirror wearing a `` Frankie says , Relax '' tee - shirt , singing along with MUSIC coming from a BOOM BOX .</scene_description>
</scene>
<scene>
<stage_direction>EXT. CITY STREET - CHOPPER (MOVING) - DAY</stage_direction>
<scene_description>Butch drives down the street , humping a hot dog names `` GRACE . '' He checks his father 's watch . It says : 10:30 . The SONG in the motel room PLAYS OVER this .</scene_description>
</scene>
<scene>
<stage_direction>EXT. MOTEL ROOM - DAY</stage_direction>
<scene_description>Butch rides up on Grace . He hops off and runs inside the motel room , while we stay outside with the bike .</scene_description>
<character>FABIAN</character>
<parenthetical>( OS . )</parenthetical>
<dialogue>Butch, I was so worried!</dialogue>
<character>BUTCH</character>
<dialogue>Honey, grab your radio and your purse and let's go!</dialogue>
<character>FABIAN</character>
<parenthetical>( OS . )</parenthetical>
<dialogue>But what about all our bags?</dialogue>
<character>BUTCH</character>
<dialogue>Fuck the bags. We'll miss our train if we do n't split now.</dialogue>
<character>FABIAN</character>
<parenthetical>( OS . )</parenthetical>
<dialogue>Is everything well? Are we in danger?</dialogue>
<character>BUTCH</character>
<dialogue>We're cool. In fact, we're super - cool. But we gots to go. I'll wait for you outside.</dialogue>
<scene_description>Butch runs out and hops back on the bike . Fabian exits the motel room with the boom box and a large purse . When she sees Butch on the chopper , she stops dead .</scene_description>
<character>FABIAN</character>
<dialogue>Where did you get this motorcycle?</dialogue>
<character>BUTCH</character>
<parenthetical>( he KICK - STARTS it . )</parenthetical>
<dialogue>It's a chopper, baby, hop on.</dialogue>
<scene_description>Fabian slowly approaches the two - wheel demon .</scene_description>
<character>FABIAN</character>
<dialogue>What happened to my Honda?</dialogue>
<character>BUTCH</character>
<dialogue>Sorry baby, I crashed the Honda.</dialogue>
<character>FABIAN</character>
<dialogue>You're hurt?</dialogue>
<character>BUTCH</character>
<dialogue>I might've broke my nose, no biggie. Hop on.</dialogue>
<scene_description>She does n't move . Butch looks at her .</scene_description>
<character>BUTCH</character>
<dialogue>Honey, we got ta hit the fuckin' road!</dialogue>
<scene_description>Fabian starts to cry . Butch realizes that this is not the way to get her on the bike . He turns off the engine and reaches out , taking her hand .</scene_description>
<character>BUTCH</character>
<dialogue>I'm sorry, baby - love.</dialogue>
<character>FABIAN</character>
<parenthetical>( crying . )</parenthetical>
<dialogue>You were gone so long, I started to think dreadful thoughts.</dialogue>
<character>BUTCH</character>
<dialogue>I'm sorry I worried you, sweetie. Everything's fine. Hey, how was breakfast?</dialogue>
<character>FABIAN</character>
<parenthetical>( waterworks drying a little . )</parenthetical>
<dialogue>It was good -</dialogue>
<character>BUTCH</character>
<dialogue>- did you get the blueberry pancakes?</dialogue>
<character>FABIAN</character>
<dialogue>No, they did n't have blueberry pancakes, I had to get buttermilk - are you sure you're okay?</dialogue>
<character>BUTCH</character>
<dialogue>Baby - love, from the moment I left you, this has been without a doubt the single weirdest day of my entire life. Climb on an' I'll tell ya about it.</dialogue>
<scene_description>Fabian does climb on . Butch STARTS her up .</scene_description>
<character>FABIAN</character>
<dialogue>Butch, whose motorcycle is this?</dialogue>
<character>BUTCH</character>
<dialogue>It's a chopper.</dialogue>
<character>FABIAN</character>
<dialogue>Whose chopper is this?</dialogue>
<character>BUTCH</character>
<dialogue>Zed's.</dialogue>
<character>FABIAN</character>
<dialogue>Who's Zed?</dialogue>
<character>BUTCH</character>
<dialogue>Zed's dead, baby, Zed's dead.</dialogue>
<scene_description>And with that , the two lovebirds PEEL AWAY on Grace , as the SONG on the BOOM BOX RISES . FADE TO BLACK `` JULES , VINCENT , JIMMIE , & THE WOLF '' TITLE DISAPPEARS . Over black , we can HEAR in the distance , men talking .</scene_description>
<character>JULES</character>
<parenthetical>( OS . )</parenthetical>
<dialogue>You ever read the Bible, Brett?</dialogue>
<character>BRETT</character>
<parenthetical>( OS . )</parenthetical>
<dialogue>Yes!</dialogue>
<character>JULES</character>
<parenthetical>( OS . )</parenthetical>
<dialogue>There's a passage I got memorized, seems appropriate for this situation : Ezekiel 25:17. `` The path of the righteous man is beset on all sides by the inequities of the selfish and the tyranny of evil men.''</dialogue>
</scene>
<scene>
<stage_direction>INT. BATHROOM - DAY</stage_direction>
<scene_description>We 're in the bathroom of the Hollywood apartment we were in earlier . In fact , we 're there at exactly the same time . Except this time , we 're in the bathroom with the FOURTH MAN . The Fourth Man is pacing around the small room , listening hard to what 's being said on the other side of the door , tightly CLUTCHING his huge silver ,357 Magnum .</scene_description>
<character>JULES</character>
<parenthetical>( OS . ) ''</parenthetical>
<dialogue>. blessed is he who, in the name of charity and good will, shephered the weak through the valley of darkness. And I will strike down upon thee with great vengeance and furious anger those who attempt to poison and destroy my brothers. And you will know I am the Lord when I lay my vengeance upon you.''</dialogue>
<scene_description>BANG ! BANG ! BOOM ! POW ! BAM BAM BAM BAM BAM ! The Fourth Man freaks out . He THROWS himself against the back wall , gun outstretched in front of him , a look of yellow fear on his face , ready to blow in half anybody fool enough to stick their head through that door . Then he listens to them talk .</scene_description>
<character>VINCENT</character>
<parenthetical>( OS . )</parenthetical>
<dialogue>Friend of yours?</dialogue>
<character>JULES</character>
<parenthetical>( OS . )</parenthetical>
<dialogue>Yeah, Marvin - Vincent - Vincent - Marvin.</dialogue>
<scene_description>Waiting for them is n't the smartest move . Bursting out the door and blowing them all away while they 're fuckin ' around is the way to go .</scene_description>
</scene>
<scene>
<stage_direction>INT. APARTMENT - DAY</stage_direction>
<scene_description>The bathroom door BURSTS OPEN and the Fourth Man CHARGES out , silver Magnum raised , FIRING SIX BOOMING SHOTS from his hand cannon .</scene_description>
<character>FOURTH MAN</character>
<dialogue>Die. die. die. die!</dialogue>
<scene_description>DOLLY INTO Fourth Man , same as before . He SCREAM until he 's dry firing . Then a look of confusion crosses his face . TWO SHOT - JULES AND VINCENT standing next to each other , unharmed . Amazing as it seems , none of the Fourth Man 's shots appear to have hit anybody . Jules and Vincent exchange looks like , `` Are we hit ? '' They 're as confused at the shooter . After looking at each other , they bring their looks up to the Fourth Man .</scene_description>
<character>FOURTH MAN</character>
<dialogue>I do n't understand -</dialogue>
<scene_description>The Fourth Man is taken out of the scenario by the two men 's bullets who , unlike his , HIT their marks . He drops DEAD . The two men lower their guns . Jules , obviously shaken , sits down in a chair . Vincent , after a moment of respect , shrugs it off . Then heads toward Marvin in the corner .</scene_description>
<character>VINCENT</character>
<dialogue>Why the fuck did n't you tell us about that guy in the bathroom? Slip your mind? Forget he was in there with a goddamn hand cannon?</dialogue>
<character>JULES</character>
<parenthetical>( to himself . )</parenthetical>
<dialogue>We should be fuckin' dead right now.</dialogue>
<parenthetical>( pause . )</parenthetical>
<dialogue>Did you see that gun he fired at us? It was bigger than him.</dialogue>
<character>VINCENT</character>
<dialogue>357.</dialogue>
<character>JULES</character>
<dialogue>We should be fuckin' dead!</dialogue>
<character>VINCENT</character>
<dialogue>Yeah, we were lucky.</dialogue>
<scene_description>Jules rises , moving toward Vincent .</scene_description>
<character>JULES</character>
<dialogue>That shit was n't luck. That shit was somethin' else.</dialogue>
<scene_description>Vincent prepares to leave .</scene_description>
<character>VINCENT</character>
<dialogue>Yeah, maybe.</dialogue>
<character>JULES</character>
<dialogue>That was. divine intervention. You know what divine intervention is?</dialogue>
<character>VINCENT</character>
<dialogue>Yeah, I think so. That means God came down from Heaven and stopped the bullets.</dialogue>
<character>JULES</character>
<dialogue>Yeah, man, that's what is means. That's exactly what it means! God came down from Heaven and stopped the bullets.</dialogue>
<character>VINCENT</character>
<dialogue>I think we should be going now.</dialogue>
<character>JULES</character>
<dialogue>Do n't do that! Do n't you fuckin' do that! Do n't blow this shit off! What just happened was a fuckin' miracle!</dialogue>
<character>VINCENT</character>
<dialogue>Chill the fuck out, Jules, this shit happens.</dialogue>
<character>JULES</character>
<dialogue>Wrong, wrong, this shit does n't just happen.</dialogue>
<character>VINCENT</character>
<dialogue>Do you wan na continue this theological discussion in the car, or at the jailhouse with the cops?</dialogue>
<character>JULES</character>
<dialogue>We should be fuckin' dead now, my friend! We just witnessed a miracle, and I want you to fuckin' acknowledge it!</dialogue>
<character>VINCENT</character>
<dialogue>Okay man, it was a miracle, can we leave now?</dialogue>
</scene>
<scene>
<stage_direction>EXT. HOLLYWOOD APARTMENT BUILDING - MORNING</stage_direction>
<scene_description>The Chevy Nova PROPELS itself into traffic .</scene_description>
</scene>
<scene>
<stage_direction>INT. NOVA (MOVING) - MORNING</stage_direction>
<scene_description>Jules is behind the wheel , Vincent in the passenger seat and Marvin in the back .</scene_description>
<character>VINCENT</character>
<dialogue>ever seen that show `` COPS?'' I was watchin' it once and this cop was on it who was talkin' about this time he got into this gun fight with a guy in a hallway. He unloads on this guy and he does n't hit anything. And these guys were in a hallway. It's a freak, but it happens.</dialogue>
<character>JULES</character>
<dialogue>If you wan na play blind man, then go walk with a Shepherd. But me, my eyes are wide fuckin' open.</dialogue>
<character>VINCENT</character>
<dialogue>What the fuck does that mean?</dialogue>
<character>JULES</character>
<dialogue>That's it for me. For here on in, you can consider my ass retired.</dialogue>
<character>VINCENT</character>
<dialogue>Jesus Christ!</dialogue>
<character>JULES</character>
<dialogue>Do n't blaspheme!</dialogue>
<character>VINCENT</character>
<dialogue>Goddammit, Jules -</dialogue>
<character>JULES</character>
<dialogue>- I said do n't do that -</dialogue>
<character>VINCENT</character>
<dialogue>- you're fuckin' freakin' out!</dialogue>
<character>JULES</character>
<dialogue>I'm tellin' Marsellus today I'm through.</dialogue>
<character>VINCENT</character>
<dialogue>While you're at it, be sure to tell ` im why.</dialogue>
<character>JULES</character>
<dialogue>Do n't worry, I will.</dialogue>
<character>VINCENT</character>
<dialogue>I'll bet ya ten thousand dollars, he laughs his ass off.</dialogue>
<character>JULES</character>
<dialogue>I do n't give a damn if he does.</dialogue>
<scene_description>Vincent turns to the backseat with the .45 casually in his grip .</scene_description>
<character>VINCENT</character>
<dialogue>Marvin, what do you make of all this?</dialogue>
<character>MARVIN</character>
<dialogue>I do n't even have an opinion.</dialogue>
<character>VINCENT</character>
<dialogue>C'mon, Marvin. Do you think God came down from Heaven and stopped the bullets?</dialogue>
<scene_description>Vincent 's .45 goes BANG ! Marvin is hit in the upper chest , below the throat . He GURGLES blood and SHAKES .</scene_description>
<character>JULES</character>
<dialogue>What the fuck's happening?</dialogue>
<character>VINCENT</character>
<dialogue>I just accidentally shot Marvin in the throat.</dialogue>
<character>JULES</character>
<dialogue>Why the fuck did you do that?</dialogue>
<character>VINCENT</character>
<dialogue>I did n't mean to do it. I said it was an accident.</dialogue>
<character>JULES</character>
<dialogue>I've seen a lot of crazy - ass shit in my time -</dialogue>
<character>VINCENT</character>
<dialogue>- chill out, man, it was an accident, okay? You hit a bump or somethin' and the gun went off.</dialogue>
<character>JULES</character>
<dialogue>The car did n't hit no motherfuckin' bump!</dialogue>
<character>VINCENT</character>
<dialogue>Look! I did n't mean to shoot this son - of - a - bitch, the gun just went off, do n't ask me how! Now I think the humane thing to do is put him out of his misery.</dialogue>
<character>JULES</character>
<parenthetical>( ca n't believe it . )</parenthetical>
<dialogue>You wan na shoot ` im again?</dialogue>
<character>VINCENT</character>
<dialogue>The guy's sufferin'. It's the right thing to do.</dialogue>
<scene_description>Marvin , suffering though he is , is listening to this debate , not believing what he 's hearing .</scene_description>
<character>JULES</character>
<dialogue>This is really uncool.</dialogue>
<scene_description>Vincent turns to the backseat , places the barrel of the .45 against Marvin 's forehead . Marvin 's eyes are as big as saucers . He tries to talk Vince out of this , but when he opens his mouth , only GURGLES come out .</scene_description>
<character>JULES</character>
<dialogue>Marvin, I just wan na apologize. I got nothin' to do with this shit. And I want you to know I think it's fucked up.</dialogue>
<character>VINCENT</character>
<dialogue>Okay, Pontius Pilot, when I count three, honk your horn. One. two.</dialogue>
<scene_description>CU of the steering wheel .</scene_description>
<character>VINCENT</character>
<parenthetical>( OS . )</parenthetical>
<dialogue>three.</dialogue>
<scene_description>Jules presses down hard on the horn : HONK and BANG ! When we CUT BACK to the two men , the car is completely covered in blood . It 's all over everything , including Jules and Vincent .</scene_description>
<character>JULES</character>
<dialogue>Jesus Christ Almighty!</dialogue>
<character>VINCENT</character>
<parenthetical>( to himself . )</parenthetical>
<dialogue>Fuck.</dialogue>
<character>JULES</character>
<dialogue>Look at this mess! We're drivin' around on a city street in broad daylight -</dialogue>
<character>VINCENT</character>
<dialogue>- I know, I know, I was n't thinkin' about the splatter.</dialogue>
<character>JULES</character>
<dialogue>Well you better be thinkin' about it now, motherfucker! We got ta get this car off the road. Cops tend to notice shit like you're driving a car drenched in fuckin' blood.</dialogue>
<character>VINCENT</character>
<dialogue>Ca n't we just take it to a friendly place?</dialogue>
<character>JULES</character>
<dialogue>This is the Valley, Vincent. Marsellus do n't got no friendly places in the Valley.</dialogue>
<character>VINCENT</character>
<dialogue>Well, do n't look at me, this is your town, Jules.</dialogue>
<scene_description>Jules takes out a cellular phone and starts punching digits .</scene_description>
<character>VINCENT</character>
<dialogue>Who ya callin'?</dialogue>
<character>JULES</character>
<dialogue>A buddy of mine in Toluca Lake.</dialogue>
<character>VINCENT</character>
<dialogue>Where's Toluca Lake.</dialogue>
<character>JULES</character>
<dialogue>On the other side of the hill, by Burbank Studios. If Jimmie's ass ai n't home, I do n't know what the fuck we're gon na go. I ai n't got any other partners in 818.</dialogue>
<parenthetical>( into phone . )</parenthetical>
<dialogue>Jimmie! How you doin' man, it's Jules.</dialogue>
<parenthetical>( pause . )</parenthetical>
<dialogue>Listen up man, me an' my homeboy are in some serious shit. We're in a car we got ta get off the road, pronto! I need to use your garage for a couple hours.</dialogue>
<parenthetical>( pause . )</parenthetical>
<dialogue>Jimmie, you know I ca n't get into this shit on a cellular fuckin' phone. But what I can say is my ass is out in the cold and I'm askin' you for some sanctuary'til our people can bring us in.</dialogue>
<parenthetical>( pause . )</parenthetical>
<dialogue>I appreciate this, man -.</dialogue>
<parenthetical>( pause . )</parenthetical>
<dialogue>We'll be gone by then.</dialogue>
<parenthetical>( pause . )</parenthetical>
<dialogue>- Jimmie, I'm aware of your situation. I ai n't gon na fuck things up for you. I give you my word, partner, she'll never know we were there.</dialogue>
<parenthetical>( pause . )</parenthetical>
<dialogue>Five minutes. Later.</dialogue>
<scene_description>He folds up the phone , turns to Vincent .</scene_description>
<character>JULES</character>
<dialogue>We're set. But his wife come home from work in an hour and a half and we got ta be outta there by then,</dialogue>
</scene>
<scene>
<stage_direction>EXT. JIMMIE'S HOUSE - MORNING</stage_direction>
<scene_description>The Nova pulls into the garage of a two - bedroom suburban house .</scene_description>
</scene>
<scene>
<stage_direction>INT. JIMMIE'S BATHROOM - DAY</stage_direction>
<scene_description>Jules is bent over a sink , washing his bloody hands while Vincent stands behind him .</scene_description>
<character>JULES</character>
<dialogue>We got ta be real fuckin' delicate with this Jimmie's situation. He's one remark away from kickin' our asses out the door.</dialogue>
<character>VINCENT</character>
<dialogue>If he kicks us out, whadda we do?</dialogue>
<character>JULES</character>
<dialogue>Well, we ai n't leavin''til we made a couple phone calls. But I never want it to reach that pitch. Jimmie's my friend and you do n't bust in your friend's house and start tellin' ` im what's what.</dialogue>
<scene_description>Jules rises and dries his hands . Vincent takes his place at the sink .</scene_description>
<character>VINCENT</character>
<dialogue>Just tell ` im not to be abusive. He kinda freaked out back there when he saw Marvin.</dialogue>
<character>JULES</character>
<dialogue>Put yourself in his position. It's eight o'clock in the morning. He just woke up, he was n't prepared for this shit. Do n't forget who's doin' who a favor.</dialogue>
<scene_description>Vincent finishes , then dries his hands on a white towel .</scene_description>
<character>VINCENT</character>
<dialogue>If the price of that favor is I got ta take shit, he can stick his favor straight up his ass.</dialogue>
<scene_description>When Vincent is finished drying his hands , the towel is stained with red .</scene_description>
<character>JULES</character>
<dialogue>What the fuck did you just do to his towel?</dialogue>
<character>VINCENT</character>
<dialogue>I was just dryin' my hands.</dialogue>
<character>JULES</character>
<dialogue>You're supposed to wash'em first.</dialogue>
<character>VINCENT</character>
<dialogue>You watched me wash'em.</dialogue>
<character>JULES</character>
<dialogue>I watched you get'em wet.</dialogue>
<character>VINCENT</character>
<dialogue>I washed'em. Blood's real hard to get off. Maybe if he had some Lava, I coulda done a better job.</dialogue>
<character>JULES</character>
<dialogue>I used the same soap you did and when I dried my hands, the towel did n't look like a fuckin' Maxie pad. Look, fuck it, alright. Who cares? But it's shit like this that's gon na bring this situation to a boil. If he were to come in here and see that towel like that. I'm tellin' you Vincent, you best be cool.'Cause if I got ta get in to it with Jimmie on account of you. Look, I ai n't threatenin' you, I respect you an' all, just do n't put me in that position.</dialogue>
<character>JULES</character>
<dialogue>Jules, you ask me nice like that, no problem. He's your friend, you handle him.</dialogue>
</scene>
<scene>
<stage_direction>INT. JIMMIE'S KITCHEN - MORNING</stage_direction>
<scene_description>Three men are standing in Jimmie 's kitchen , each with a mug of coffee . Jules , Vincent and JIMMIE DIMMICK , a young man in his late - 20s dressed in a bathrobe .</scene_description>
<character>JULES</character>
<dialogue>Goddamn Jimmie, this is some serious gourmet shit. Me an' Vincent woulda been satisfied with freeze - dried Tasters Choice. You spring this gourmet fuckin' shit on us. What flavor is this?</dialogue>
<character>JIMMIE</character>
<dialogue>Knock it off, Julie.</dialogue>
<character>JULES</character>
<dialogue>What?</dialogue>
<character>JIMMIE</character>
<dialogue>I'm not a cobb or corn, so you can stop butterin' me up. I do n't need you to tell me how good my coffee is. I'm the one who buys it, I know how fuckin' good it is. When Bonnie goes shoppin ;, she buys shit. I buy the gourmet expensive stuff'cause when I drink it, I wan na taste it. But what's on my mind at this moment is n't the coffee in my kitchen, it's the dead nigger in my garage.</dialogue>
<character>JULES</character>
<dialogue>Jimmie -</dialogue>
<character>JIMMIE</character>
<dialogue>- I'm talkin'. Now let me ask you a question, Jules. When you drove in here, did you notice a sign out front that said, `` Dead nigger storage?''</dialogue>
<scene_description>Jules starts to `` Jimmie '' him -</scene_description>
<character>JIMMIE</character>
<dialogue>- answer to question. Did you see a sign out in front of my house that said, `` Dead nigger storage?''</dialogue>
<character>JULES</character>
<parenthetical>( playing along . )</parenthetical>
<dialogue>Naw man, I did n't.</dialogue>
<character>JIMMIE</character>
<dialogue>You know why you did n't see that sign?</dialogue>
<character>JULES</character>
<dialogue>Why?</dialogue>
<character>JIMMIE</character>
<dialogue>'Cause storin' dead niggers ai n't my fuckin' business!</dialogue>
<scene_description>Jules starts to `` Jimmie '' him .</scene_description>
<character>JIMMIE</character>
<dialogue>- I ai n't through! Now do n't you understand that if Bonnie comes home and finds a dead body in her house, I'm gon na get divorced. No marriage counselor, no trial separation - fuckin' divorced. And I do n't wan na get fuckin' divorced. The last time me an' Bonnie talked about this shit was gon na be the last time me an' Bonnie talked about this shit. Now I wan na help ya out Julie, I really do. But I ai n't gon na lose my wife doin' it.</dialogue>
<character>JULES</character>
<dialogue>Jimmie -</dialogue>
<character>JIMMIE</character>
<dialogue>- do n't fuckin' Jimmie me, man, I ca n't be Jimmied. There's nothin' you can say that's gon na make me forget I love my wife. Now she's workin' the graveyard shift at the hospital. She'll be comin' home in less than an hour and a half. Make your phone calls, talk to your people, than get the fuck out of my house.</dialogue>
<character>JULES</character>
<dialogue>That's all we want. We do n't wan na fuck up your shit, We just need to call our people to bring us in.</dialogue>
<character>JIMMIE</character>
<dialogue>Then I suggest you get to it. Phone's in my bedroom.</dialogue>
<scene_description>As Jules crosses the room , exiting .</scene_description>
<character>JULES</character>
<parenthetical>( calling behind him . )</parenthetical>
<dialogue>You're a friend, Jimmie, you're a good fuckin' friend!</dialogue>
<character>JIMMIE</character>
<parenthetical>( to himself . )</parenthetical>
<dialogue>Yeah, yeah, yeah, yeah, yeah. I'm a real good friend. Good friend, bad husband, soon to be ex - husband.</dialogue>
<parenthetical>( look up and sees Vincent . )</parenthetical>
<dialogue>Who the fuck are you?</dialogue>
<character>VINCENT</character>
<dialogue>I'm Vincent. And Jimmie, thank a bunch,</dialogue>
<scene_description>The two men laugh .</scene_description>
<character>JIMMIE</character>
<dialogue>Do n't mention it.</dialogue>
</scene>
<scene>
<stage_direction>INT. MARSELLUS WALLACE'S DINING ROOM - MORNING</stage_direction>
<scene_description>Marsellus Wallace sits at his dining table in a big comfy robe , eating his large breakfast , while talking on the phone .</scene_description>
<character>MARSELLUS</character>
<dialogue>well, say she comes home. Whaddya think she'll do?</dialogue>
<parenthetical>( pause . )</parenthetical>
<dialogue>No fuckin' shit she'll freak. That ai n't no kinda answer. You know ` er, I do n't. How bad, a lot or a little?</dialogue>
</scene>
<scene>
<stage_direction>INT. JIMMIE'S BEDROOM - MORNING</stage_direction>
<scene_description>Jules paces around in Jimmie 's bedroom on the phone .</scene_description>
<character>JULES</character>
<dialogue>You got to appreciate what an explosive element this Bonnie situation is. If she comes home from a hard day's work and finds a bunch of gangsters doin' a bunch of gangsta' shit in her kitchen, ai n't no tellin' what she's apt to do.</dialogue>
<character>MARSELLUS</character>
<dialogue>Let us speak of the unspeakable.</dialogue>
<character>JULES</character>
<dialogue>Possibility exists, but unlikely.</dialogue>
<character>MARSELLUS</character>
<dialogue>Why possible but unlikely?</dialogue>
<character>JULES</character>
<dialogue>'Cause if push met shove, you know I'll take care of business. But push ai n't never gon na meet shove. Because You're gon na solve this shit for us. You're gon na take our asses outta the cold and bring it inside where it's warm.'Cause if I got ta get into it with my friend about his wife over your boy Vincent, I'm gon na have bad feelings.</dialogue>
<character>MARSELLUS</character>
<dialogue>I've grasped that, Jules. All I'm doin' is contemplating the `` ifs.''</dialogue>
<character>JULES</character>
<dialogue>I do n't wan na hear about no motherfuckin' `` ifs.'' What I wan na hear from your ass is : `` you ai n't got no problems, Jules. I'm on the motherfucker. Go back in there, chill them niggers out and wait for the cavalry, which should be comin' directly.''</dialogue>
<character>MARSELLUS</character>
<dialogue>You ai n't got no problems, Jules. I'm on the motherfucker. Go back in there, chill them niggers out and wait for The Wolf, who should be comin' directly.</dialogue>
<character>JULES</character>
<dialogue>You sendin' The Wolf?</dialogue>
<character>MARSELLUS</character>
<dialogue>Feel better?</dialogue>
<character>JULES</character>
<dialogue>Shit Negro, that's all you had to say.</dialogue>
</scene>
<scene>
<stage_direction>INT. HOTEL SUITE - MORNING</stage_direction>
<scene_description>The CAMERA looks through the bedroom doorway of a hotel suite into the main area . We SEE a crap game being played on a fancy crap table by GAMBLERS in tuxedos and LUCKY LADIES in fancy evening gowns . The CAMERA PANS to the right revealing : sitting on a bed , phone in hand with his back to us , the tuxedo - clad WINSTON WOLF aka `` THE WOLF . '' We also see The Wolf has a small notepad that he jots details in .</scene_description>
<character>THE WOLF</character>
<parenthetical>( into phone . )</parenthetical>
<dialogue>Is she the hysterical type?</dialogue>
<parenthetical>( pause . )</parenthetical>
<dialogue>When she due?</dialogue>
<parenthetical>( jotting down . )</parenthetical>
<dialogue>Give me the principals' names again?</dialogue>
<parenthetical>( jots down . )</parenthetical>
<dialogue>Jules.</dialogue>
<scene_description>We SEE his book . The page has written on it : 1265 Riverside Drive Toluca Lake 1 body . -LRB- no head . -RRB- Bloody shot - up car Jules . -LRB- black . -RRB-</scene_description>
<character>THE WOLF</character>
<dialogue>Vincent. Jimmie. Bonnie.</dialogue>
<scene_description>He writes : Vincent . -LRB- Dean Martin . -RRB- Jimmie . -LRB- house . -RRB- Bonnie . -LRB- 9:30 . -RRB-</scene_description>
<character>THE WOLF</character>
<dialogue>Expect a call around 10:30. It's about thirty minutes away. I'll be there in ten.</dialogue>
<scene_description>He hangs up . We never see his face . `` NINE MINUTES AND THIRTY - SEVEN SECONDS LATER . ''</scene_description>
</scene>
<scene>
<stage_direction>EXT. JIMMIE'S STREET - MORNING</stage_direction>
<scene_description>A silver Porsche WHIPS the corner leading to Jimmie 's home , in HYPER DRIVE . Easily doing 135 mph , the Porsche stops on a dime in front of Jimmie 's house . A ringed finger touches the doorbell : DING DONG .</scene_description>
</scene>
<scene>
<stage_direction>INT. JIMMIE'S HOUSE - MORNING</stage_direction>
<scene_description>Jimmie opens the door . We see , standing in the doorway , the tuxedo - clad man . He looks down to his notebook , then up at Jimmie .</scene_description>
<character>THE WOLF</character>
<dialogue>You're Jimmie, right? This is your house?</dialogue>
<character>JIMMIE</character>
<dialogue>Yeah.</dialogue>
<character>THE WOLF</character>
<parenthetical>( stick his hand out . )</parenthetical>
<dialogue>I'm Winston Wolf, I solve problems.</dialogue>
<character>JIMMIE</character>
<dialogue>Good,'cause we got one.</dialogue>
<character>THE WOLF</character>
<dialogue>So I heard. May I come in?</dialogue>
<character>JIMMIE</character>
<dialogue>Please do.</dialogue>
<scene_description>The two men walk to the dining room .</scene_description>
<character>THE WOLF</character>
<dialogue>I want to convey Mr. Wallace's gratitude with the help you're providing on this matter. Let me assure you Jimmie, Mr. Wallace's gratitude is worth having.</dialogue>
<scene_description>In the dining room , Jules and Vincent stand up .</scene_description>
<character>THE WOLF</character>
<dialogue>You must be Jules, which would make you Vincent. Let's get down to brass tacks, gentlemen. If I was informed correctly, the clock is ticking, is that right, Jimmie?</dialogue>
<character>JIMMIE</character>
<dialogue>100 %.</dialogue>
<character>THE WOLF</character>
<dialogue>Your wife, Bonnie.</dialogue>
<parenthetical>( refers to his pad . )</parenthetical>
<dialogue>. comes home at 9:30 in the AM, is that correct?</dialogue>
<character>JIMMIE</character>
<dialogue>Uh - huh.</dialogue>
<character>THE WOLF</character>
<dialogue>I was led to believe if she comes home and finds us here, she would n't appreciate it none too much.</dialogue>
<character>JIMMMIE</character>
<dialogue>She wo n't at that.</dialogue>
<character>THE WOLF</character>
<dialogue>That give use forty minutes to get the fuck outta Dodge, which, if you do what I say when I say it, should by plenty. Now you got a corpse in a car, minus a head, in a garage. Take me to it.</dialogue>
</scene>
<scene>
<stage_direction>INT. JIMMIE'S GARAGE - MORNING</stage_direction>
<scene_description>The three men hand back as The Wolf examines the car . He studies the car in silence , opening the door , looking inside , circling it .</scene_description>
<character>THE WOLF</character>
<dialogue>Jimmie?</dialogue>
<character>JIMMIE</character>
<dialogue>Yes.</dialogue>
<character>THE WOLF</character>
<dialogue>Do me a favor, will ya? Thought I smelled some coffee in there. Would you make me a cup?</dialogue>
<character>JIMMIE</character>
<dialogue>Sure, how do you take it?</dialogue>
<character>THE WOLF</character>
<dialogue>Lotsa cream, lotsa sugar.</dialogue>
<scene_description>Jimmie exists . The Wolf continues his examination .</scene_description>
<character>THE WOLF</character>
<dialogue>About the car, is there anything I need to know? Does it stall, does it make a lot of noise, does it smoke, is there gas in it, anything?</dialogue>
<character>JULES</character>
<dialogue>Aside from how it looks, the car's cool.</dialogue>
<character>THE WOLF</character>
<dialogue>Positive? Do n't get me out on the road and I find out the brake lights do n't work.</dialogue>
<character>JULES</character>
<dialogue>Hey man, as far as I know, the motherfucker's tip - top.</dialogue>
<character>THE WOLF</character>
<dialogue>Good enough, let's go back to the kitchen.</dialogue>
</scene>
<scene>
<stage_direction>INT. KITCHEN - MORNING</stage_direction>
<scene_description>Jimmie hands The Wolf a cup of coffee .</scene_description>
<character>THE WOLF</character>
<dialogue>Thank you, Jimmie.</dialogue>
<scene_description>He takes a sip , then , pacing as he thinks , lays out for the three men the plan of action .</scene_description>
<character>THE WOLF</character>
<dialogue>Okay first thing, you two.</dialogue>
<parenthetical>( meaning Jules and Vincent . )</parenthetical>
<dialogue>Take the body, stick it in the trunk. Now Jimmie, this looks to be a pretty domesticated house. That would lead me to believe that in the garage or under the sink, you got a bunch of cleaners and cleaners and shit like that, am I correct?</dialogue>
<character>JIMMIE</character>
<dialogue>Yeah. Exactly. Under the sink.</dialogue>
<character>THE WOLF</character>
<dialogue>Good. What I need you two fellas to do is take those cleaning products and clean the inside of the car. And I'm talkin' fast, fast, fast. You need to go in the backseat, scoop up all those little pieces of brain and skull. Get it out of there. Wipe down the upholstery - now when it comes to upholstery, it do n't need to be spic and span, you do n't need to eat off in. Give it a good once over. What you need to take care of are the really messy parts. The pools of blood that have collected, you got ta soak that shit up. But the windows are a different story. Them you really clean. Get the Windex, do a good job. Now Jimmie, we need to raid your linen closet. I need blankets, I need comforters, I need quilts, I need bedspreads. The thicker the better, the darker the better. No whites, ca n't use'em. We need to camouflage the interior of the car. We're gon na line the front seat and the backseat and the floor boards with quilts and blankets. If a cop stops us and starts stickin' his big snout in the car, the subterfuge wo n't last. But at a glance, the car will appear to be normal. Jimmie - lead the way, boys - get to work.</dialogue>
<scene_description>The Wolf and Jimmie turn , heading for the bedroom , leaving Vincent and Jules standing in the kitchen .</scene_description>
<character>VINCENT</character>
<parenthetical>( calling after him . )</parenthetical>
<dialogue>A `` please'' would be nice.</dialogue>
<scene_description>The Wolf stops and turns around .</scene_description>
<character>THE WOLF</character>
<dialogue>Come again?</dialogue>
<character>VINCENT</character>
<dialogue>I said a `` please'' would be nice.</dialogue>
<scene_description>The Wolf takes a step toward him .</scene_description>
<character>THE WOLF</character>
<dialogue>Set is straight, Buster. I'm not here to say `` please.'' I'm here to tell you want to do. And if self - preservation is an instinct you possess, you better fuckin' do it and do it quick. I'm here to help. If my help's not appreciated, lotsa luck gentlemen.</dialogue>
<character>JULES</character>
<dialogue>It ai n't that way, Mr. Wolf. Your help is definitely appreciated.</dialogue>
<character>VINCENT</character>
<dialogue>I do n't mean any disrespect. I just do n't like people barkin' orders at me.</dialogue>
<character>THE WOLF</character>
<dialogue>If I'm curt with you, it's because time is a factor. I think fast, I talk fast, and I need you guys to act fast if you want to get out of this. So pretty please, with sugar on top, clean the fuckin' car.</dialogue>
</scene>
<scene>
<stage_direction>INT. JIMMIE'S BEDROOM - MORNING</stage_direction>
<scene_description>Jimmie 's gathering all the bedspreads , quilts and linen he has . The Wolf is on the phone .</scene_description>
<character>THE WOLF</character>
<parenthetical>( into phone . )</parenthetical>
<dialogue>It's a 1974 Chevy Nova.</dialogue>
<parenthetical>( pause . )</parenthetical>
<dialogue>White.</dialogue>
<parenthetical>( pause . )</parenthetical>
<dialogue>Nothin', except for the mess inside.</dialogue>
<parenthetical>( pause . )</parenthetical>
<dialogue>About twenty minutes.</dialogue>
<parenthetical>( pause . )</parenthetical>
<dialogue>Nobody who'll be missed.</dialogue>
<parenthetical>( pause . )</parenthetical>
<dialogue>You're a good man, Joe. See ya soon.</dialogue>
<parenthetical>( he looks at Jimmie . )</parenthetical>
<dialogue>How we comin', Jimmie?</dialogue>
<scene_description>Jimmie comes over with a handful of linen .</scene_description>
<character>JIMMIE</character>
<dialogue>Mr. Wolf, you got ta understand somethin' -</dialogue>
<character>THE WOLF</character>
<dialogue>- Winston, Jimmie - please, Winston.</dialogue>
<character>JIMMIE</character>
<dialogue>You got ta understand something, Winston. I want to help you guys out and all, but that's my best linen. It was a wedding present from my Uncle Conrad and Aunt Ginny, and they ai n't with us anymore -</dialogue>
<character>THE WOLF</character>
<dialogue>- let me ask you a question, if you do n't mind?</dialogue>
<character>JIMMIE</character>
<dialogue>Sure.</dialogue>
<character>THE WOLF</character>
<dialogue>Were you Uncle Conrad and Aunt Ginny millionaires?</dialogue>
<character>JIMMIE</character>
<dialogue>No.</dialogue>
<character>THE WOLF</character>
<dialogue>Well, your Uncle Marsellus is. And I'm positive if Uncle Conrad and Aunt Ginny were millionaires, they would've furnished you with a whole bedroom set, which your Uncle Marsellus is more than happy to do.</dialogue>
<parenthetical>( takes out a roll of bills . )</parenthetical>
<dialogue>I like oak myself, that's what's in my bedroom. How ` bout you Jimmie, you an oak man?</dialogue>
<character>JIMMIE</character>
<dialogue>Oak's nice.</dialogue>
</scene>
<scene>
<stage_direction>INT. GARAGE - MORNING</stage_direction>
<scene_description>Both Jules and Vincent are inside the car cleaning it up . Vincent is in the front seat washing windows , while Jules is in the backseat , picking up little pieces of skull and gobs of brain . Both are twice as bloody as they were before .</scene_description>
<character>JULES</character>
<dialogue>I will never forgive your ass for this shit. This is some fucked - up repugnant shit!</dialogue>
<character>VINCENT</character>
<dialogue>Did you ever hear the philosophy that once a man admits he's wrong, he's immediately forgiven for all wrong - doings?</dialogue>
<character>JULES</character>
<dialogue>Man, get outta my face with that shit! The motherfucker who said that never had to pick up itty - bitty pieces of skull with his fingers on account of your dumb ass.</dialogue>
<character>VINCENT</character>
<dialogue>I got a threshold, Jules. I got a threshold for the abuse I'll take. And you're crossin' it. I'm a race car and you got me in the red. Redline 7000, that's where you are. Just know, it's fuckin' dangerous to be drivin' a race car when it's in the red. It could blow.</dialogue>
<character>JULES</character>
<dialogue>You're gettin' ready to blow? I'm a mushroom - cloud - layin' motherfucker! Every time my fingers touch brain I'm `` SUPERFLY T.N.T,'' I'm the `` GUNS OF NAVARONE.'' I'm what Jimmie Walker usta talk about. In fact, what the fuck am I doin' in the back? You're the motherfucker should be on brain detail. We're tradin'. I'm washin' windows and you're pickin' up this nigger's skull.</dialogue>
</scene>
<scene>
<stage_direction>INT. CHEVY NOVA - MORNING</stage_direction>
<scene_description>The interior of the car has been cleaned and lined with bedspreads and quilts . Believe it or not , what looked like a portable slaughterhouse can actually pass for a non - descript vehicle . The Wolf circles the car examining it . Jules and Vincent stand aside , their clothes are literally a bloody mess , but they do have a sense of pride in what a good job they 've done .</scene_description>
<character>THE WOLF</character>
<dialogue>Fine job, gentlemen. We may get out of this yet.</dialogue>
<character>JIMMIE</character>
<dialogue>I ca n't believe that's the same car.</dialogue>
<character>THE WOLF</character>
<dialogue>Well, let's not start suckin' each other's dicks quite yet. Phase one is complete, clean the car, which moves us right along to phase two, clean you two.</dialogue>
</scene>
<scene>
<stage_direction>EXT. JIMMIE'S BACKYARD - MORNING</stage_direction>
<scene_description>Jules and Vincent stand side by side in their black suits , covered in blood , in Jimmie 's backyard . Jimmie holds a plastic Hefty trash bag , while The Wolf holds a garden hose with one of those guns nossles attached .</scene_description>
<character>THE WOLF</character>
<dialogue>Strip.</dialogue>
<character>VINCENT</character>
<dialogue>All the way?</dialogue>
<character>THE WOLF</character>
<dialogue>To your bare ass.</dialogue>
<scene_description>As they follow directions , The Wolf enjoys a smoke .</scene_description>
<character>THE WOLF</character>
<dialogue>Quickly gentlemen, we got about fifteen minutes before Jimmie's better - half comes pulling into the driveway.</dialogue>
<character>JULES</character>
<dialogue>This morning air is some chilly shit.</dialogue>
<character>VINCENT</character>
<dialogue>Are you sure this is absolutely necessary?</dialogue>
<character>THE WOLF</character>
<dialogue>You know what you two look like?</dialogue>
<character>VINCENT</character>
<dialogue>What?</dialogue>
<character>THE WOLF</character>
<dialogue>Like a couple of guys who just blew off somebody's head. Yes, strippin' off those bloody rags is absolutely necessary. Toss the clothes in Jim's garbage bag.</dialogue>
<character>JULES</character>
<dialogue>Now Jimmie, do n't do nothin' stupid like puttin' that out in front of your house for Elmo the garbage man to take away.</dialogue>
<character>THE WOLF</character>
<dialogue>Do n't worry, we're takin' it with us. Jim, the soap.</dialogue>
<scene_description>He hands the now - naked men a bar of soap .</scene_description>
<character>THE WOLF</character>
<dialogue>Okay gentlemen, you're both been to County before, I'm sure. Here it comes.</dialogue>
<scene_description>He hits the trigger , water SHOOTS OUT , SMACKING both men .</scene_description>
<character>JULES</character>
<dialogue>Goddamn, that water's fuckin' cold!</dialogue>
<character>THE WOLF</character>
<dialogue>Better you than me, gentlemen.</dialogue>
<scene_description>The two men , trembling , scrub themselves .</scene_description>
<character>THE WOLF</character>
<dialogue>Do n't be afraid of the soap, spread it around.</dialogue>
<scene_description>The Wolf stops the hose , tossing it on the ground .</scene_description>
<character>THE WOLF</character>
<dialogue>Towel'em.</dialogue>
<scene_description>Jimmie tosses them each a towel , which they rub furiously across their bodies .</scene_description>
<character>THE WOLF</character>
<dialogue>You're dry enough, give'em their clothes.</dialogue>
<character>JIMMIE</character>
<dialogue>Okay fellas, in the one - size - fits - all category, we got swim trunks, one red - one white. And two extra - large tee - shirts. A UC Santa Cruz shirt and an `` I'm with Stupid'' shirt.</dialogue>
<character>JULES</character>
<dialogue>I get the `` I'm with Stupid'' shirt.</dialogue>
<scene_description>JULES AND VINCENT in their tee - shirts and swim trunks . They look a million miles away from the black - suited , bad - asses we first met .</scene_description>
<character>THE WOLF</character>
<dialogue>Perfect. Perfect. We could n't've planned this better. You guys look like. what do they look like, Jimmie?</dialogue>
<character>JIMMIE</character>
<dialogue>Dorks. They look like a couple of dorks.</dialogue>
<scene_description>The Wolf and Jimmie laugh .</scene_description>
<character>JULES</character>
<dialogue>Ha ha ha. They're your clothes, motherfucker.</dialogue>
<character>JIMMIE</character>
<dialogue>I guess you just got ta know how to wear them.</dialogue>
<character>JULES</character>
<dialogue>Yeah, well, out asses ai n't the expert on wearin' dorky shit that your is.</dialogue>
<character>THE WOLF</character>
<dialogue>C'mon, gentlemen, we're laughin' and jokin' our way into prison. Do n't make me beg.</dialogue>
<scene_description>They start walking through the house to the garage .</scene_description>
<character>JIMMIE</character>
<dialogue>Wait a minute, before you guys split, I wan na get a picture of this.</dialogue>
<character>JULES</character>
<dialogue>Jimmie, have you forgotten about your wife comin' home?</dialogue>
<character>JIMMIE</character>
<dialogue>It wo n't take a second.</dialogue>
<character>VINCENT</character>
<dialogue>I do n't like this photograph shit.</dialogue>
<character>JIMMIE</character>
<dialogue>Sorry - my house, my rules.</dialogue>
</scene>
<scene>
<stage_direction>INT. JIMMIE'S GARAGE - MORNING</stage_direction>
<scene_description>The garbage bag is tossed in the car trunk on top of Marvin . The Wolf SLAMS is closed .</scene_description>
<character>THE WOLF</character>
<dialogue>Gentlemen, let's get our rules of the road straight. We're going to a place called Monster Joe's Truck and Tow. Monster Joe and his daughter Raquel are sympathetic to out dilemma. The place is North Hollywood, so a few twist and turns aside, we'll be goin' up Hollywood Way. Now I'll drive the tainted car. Jules, you ride with me. Vincent, you follow in my Porsche. Now if we cross the path of any John Q. Laws, nobody does a fuckin' thing'til I do something.</dialogue>
<parenthetical>( to Jules . )</parenthetical>
<dialogue>What did I say?</dialogue>
<character>JULES</character>
<dialogue>Do n't do shit unless -</dialogue>
<character>THE WOLF</character>
<dialogue>- unless what?</dialogue>
<character>JULES</character>
<dialogue>Unless you do it first.</dialogue>
<character>THE WOLF</character>
<dialogue>Spoken like a true prodigy.</dialogue>
<parenthetical>( to Vincent . )</parenthetical>
<dialogue>How ` bout you, Lash Larue? Can you keep your spurs from jingling and jangling?</dialogue>
<character>VINCENT</character>
<dialogue>I'm cool, Mr. Wolf. My gun just went off, I dunno how.</dialogue>
<character>THE WOLF</character>
<dialogue>Fair enough.</dialogue>
<parenthetical>( he throws Vince his car keys . )</parenthetical>
<dialogue>I drive real fuckin' fast, so keep up. If I get my car back any different than I gave it, Monster Joe's gon na be disposing of two bodies.</dialogue>
<character>JULES</character>
<dialogue>Why do you drive fast?</dialogue>
<character>THE WOLF</character>
<dialogue>Because it's a lot of fun.</dialogue>
<scene_description>Jules and Vincent laugh .</scene_description>
<character>THE WOLF</character>
<dialogue>Let's move.</dialogue>
<scene_description>Jimmie comes through the door , camera in hand .</scene_description>
<character>JIMMIE</character>
<dialogue>Wait a minute, I wan na take a picture.</dialogue>
<character>JULES</character>
<dialogue>We ai n't got time, man.</dialogue>
<character>JIMMIE</character>
<dialogue>We got time for one picture. You and Vincent get together.</dialogue>
<scene_description>Jules and Vincent stand next to each other .</scene_description>
<character>JIMMIE</character>
<dialogue>Okay, you guys put your arms around each other.</dialogue>
<scene_description>The two men look at each other and , after a long beat , a smile breaks out . They put their arms around each other .</scene_description>
<character>JIMMIE</character>
<dialogue>Okay Winston, get in there.</dialogue>
<character>THE WOLF</character>
<dialogue>I ai n't no model.</dialogue>
<character>JIMMIE</character>
<dialogue>After what a cool guy I've been, I ca n't believe you do me like this. It's the only thing I asked.</dialogue>
<character>JULES & VINCENT</character>
<dialogue>C'mon, Mr. Wolf.</dialogue>
<character>THE WOLF</character>
<dialogue>Okay, one photo and we go.</dialogue>
<scene_description>SLOW DOLLY TOWARD A LONE CAMERA</scene_description>
<character>JIMMIE</character>
<parenthetical>( OS . )</parenthetical>
<dialogue>Everybody say Pepsi.</dialogue>
<character>JULES</character>
<parenthetical>( OS . )</parenthetical>
<dialogue>I ai n't fuckin' sayin' Pepsi.</dialogue>
<character>JIMMIE</character>
<parenthetical>( OS . )</parenthetical>
<dialogue>Smile, Winston.</dialogue>
<character>THE WOLF</character>
<dialogue>I do n't smile in pictures.</dialogue>
<scene_description>The camera goes off , FLASHING THE SCREEN WHITE . THE PHOTO FADES UP OVER WHITE . it 's Jules and Vincent , their arms around each other , next to Jimmie ' whose arm is around The Wolf . Everyone is smiling except you - know - who .</scene_description>
</scene>
<scene>
<stage_direction>INT. MONSTER JOE'S TRUCK AND TOW - MORNING</stage_direction>
<scene_description>Winston is counting out three thousand dollars to an older man in a dirty tee - shirt , MONSTER JOE . We 're in Joe 's office , which looks like the office of every tow yard on the planet . A filthy , disarrayed mess .</scene_description>
<character>MONSTER JOE</character>
<dialogue>I've said it before, I'll say it again, your business is always welcome.</dialogue>
<character>WINSTON</character>
<dialogue>I would think by now I've earned the equivalent of Frequent Flyer miles.</dialogue>
<character>MONSTER JOE</character>
<dialogue>I'll tell ya what, if you ever need it, I'll dispose of a body part for free.</dialogue>
<character>WINSTON</character>
<dialogue>How ` bout an upgrade, you dispose a whole body for the price of a body part.</dialogue>
<scene_description>The two men laugh .</scene_description>
<character>MONSTER JOE</character>
<dialogue>That one I need to speak with my accountant on.</dialogue>
<character>WINSTON</character>
<dialogue>Where's that reprobate daughter of yours?</dialogue>
<character>MONSTER JOE</character>
<dialogue>Out in the yard, up to no good.</dialogue>
</scene>
<scene>
<stage_direction>EXT. MONSTER JOE'S TRUCK AND TOW - MORNING</stage_direction>
<scene_description>Winston steps outside and is joined by Monster Joe 's daughter , RAQUEL . They walk in step across the yard with their arms around each other 's waists .</scene_description>
<character>RAQUEL</character>
<dialogue>Hello, Boyfriend!</dialogue>
<character>WINSTON</character>
<dialogue>Hello, Girlfriend. I swear, heartbreaker, Joe should change the name of this place to Beauty and the Beast Truck and Tow.</dialogue>
<character>RAQUEL</character>
<dialogue>You're prejudiced because you love me.</dialogue>
<character>WINSTON</character>
<dialogue>Guilty.</dialogue>
<character>RAQUEL</character>
<dialogue>Now business is done, it's time for pleasure.</dialogue>
<character>WINSTON</character>
<dialogue>The time it is, is time for bed.</dialogue>
<character>RAQUEL</character>
<dialogue>Contre senior Lobo.</dialogue>
<character>WINSTON</character>
<dialogue>Do you have a different idea?</dialogue>
<character>RAQUEL</character>
<dialogue>Most definitely.</dialogue>
<character>WINSTON</character>
<dialogue>What do you think?</dialogue>
<character>RAQUEL</character>
<dialogue>I think you're taking me out to breakfast.</dialogue>
<character>WINSTON</character>
<dialogue>Well, you thought wrong.</dialogue>
<character>RAQUEL</character>
<dialogue>That's no fair! I never get to see you.</dialogue>
<character>WINSTON</character>
<dialogue>Raquel, I been up all night. I need sleep. You understand the concept of sleep?</dialogue>
<character>RAQUEL</character>
<dialogue>Yes, sleep is what you do after you've taken me to breakfast. Just get used to the idea, indulging me is the price of doing business at Monster Joe's Truck and Tow.</dialogue>
<character>WINSTON</character>
<dialogue>Raquel -</dialogue>
<character>RAQUEL</character>
<dialogue>I have n't seen you in a long time. I miss you, we're going to breakfast. So it is written, so shall it be done.</dialogue>
<scene_description>They exit the tow yard . Jules and Vincent wait by Winston 's Porsche .</scene_description>
<character>JULES</character>
<dialogue>We cool?</dialogue>
<character>WINSTON</character>
<dialogue>Like it never happened.</dialogue>
<scene_description>Jules and Vincent bump fists .</scene_description>
<character>JULES</character>
<dialogue>I apologize for bein' in your shit like I was.</dialogue>
<character>VINCENT</character>
<dialogue>You had every right, I fucked up.</dialogue>
<character>RAQUEL</character>
<parenthetical>( to Winston . )</parenthetical>
<dialogue>Are they having a moment?</dialogue>
<character>WINSTON</character>
<dialogue>Boys, this is Raquel. Someday, all this will be hers.</dialogue>
<character>RAQUEL</character>
<parenthetical>( to the boys . )</parenthetical>
<dialogue>Hi. You know, if they ever do `` I SPY : THE MOTION PICTURE,'' you guys, I'd be great. What's with the outfits. You guys going to a volleyball game?</dialogue>
<scene_description>Winston laughs , the boys groan .</scene_description>
<character>WINSTON</character>
<dialogue>I'm takin' m ` lady out to breakfast. Maybe I can drop you two off. Where do you live?</dialogue>
<character>VINCENT</character>
<dialogue>Redondo Beach.</dialogue>
<character>JULES</character>
<dialogue>Inglewood.</dialogue>
<scene_description>Winston grabs Jules ' wrist and pantomimes like he 's in a `` DEAD ZONE '' trance .</scene_description>
<character>WINSTON</character>
<parenthetical>( painfully . )</parenthetical>
<dialogue>It's your future : I see. a cab ride.</dialogue>
<parenthetical>( dropping the act . )</parenthetical>
<dialogue>Sorry guys, move out of the sticks.</dialogue>
<parenthetical>( to Raquel . )</parenthetical>
<dialogue>Say goodbye, Raquel</dialogue>
<character>RAQUEL</character>
<dialogue>Goodbye, Raquel.</dialogue>
<character>WINSTON</character>
<dialogue>I'll see you two around, and stay outta trouble, you crazy kids.</dialogue>
<scene_description>Winston turns to leave .</scene_description>
<character>JULES</character>
<dialogue>Mr. Wolf.</dialogue>
<scene_description>He turns around .</scene_description>
<character>JULES</character>
<dialogue>I was a pleasure watchin' you work.</dialogue>
<scene_description>The Wolf smiles .</scene_description>
<character>WINSTON</character>
<dialogue>Call me Winston.</dialogue>
<scene_description>He turns and banters with Raquel as they get in the Porsche .</scene_description>
<character>WINSTON</character>
<dialogue>You hear that, young lady? Respect. You could lean a lot from those two fine specimens. Respect for one's elders shows character.</dialogue>
<character>RAQUEL</character>
<dialogue>I have character.</dialogue>
<character>WINSTON</character>
<dialogue>Just because you are a character does n't mean you have character.</dialogue>
<character>RAQUEL</character>
<dialogue>Oh you're so funny, oh you're so funny.</dialogue>
<scene_description>The Porsche SHOOTS OFF down the road . The two men left alone look at each other .</scene_description>
<character>JULES</character>
<dialogue>Wan na share a cab?</dialogue>
<character>VINCENT</character>
<dialogue>You know I could go for some breakfast. What to have breakfast with me?</dialogue>
<character>JULES</character>
<dialogue>Sure.</dialogue>
</scene>
<scene>
<stage_direction>INT. COFFEE SHOP - MORNING</stage_direction>
<scene_description>Jules and Vincent sit at a booth . In front of Vincent is a big stack of pancakes and sausages , which he eats with gusto . Jules , on the other hand , just has a cup of coffee and a muffin . He seems far away in thought . The Waitress pours a refill for both men ,</scene_description>
<character>VINCENT</character>
<dialogue>Thanks a bunch.</dialogue>
<parenthetical>( to Jules , who 's nursing his coffee . )</parenthetical>
<dialogue>Want a sausage?</dialogue>
<character>JULES</character>
<dialogue>Naw, I do n't eat pork.</dialogue>
<character>VINCENT</character>
<dialogue>Are you Jewish?</dialogue>
<character>JULES</character>
<dialogue>I ai n't Jewish man, I just do n't dig on swine.</dialogue>
<character>VINCENT</character>
<dialogue>Why not?</dialogue>
<character>JULES</character>
<dialogue>They're filthy animals. I do n't eat filthy animals.</dialogue>
<character>VINCENT</character>
<dialogue>Sausages taste good. Pork chops taste good.</dialogue>
<character>JULES</character>
<dialogue>A sewer rat may taste like pumpkin pie. I'll never know'cause even if it did, I would n't eat the filthy motherfucker. Pigs sleep and root in shit. That's a filthy animal. I do n't wan na eat nothin' that ai n't got enough sense to disregard its own feces.</dialogue>
<character>VINCENT</character>
<dialogue>How about dogs? Dogs eat their own feces.</dialogue>
<character>JULES</character>
<dialogue>I do n't eat dog either.</dialogue>
<character>VINCENT</character>
<dialogue>Yes, but do you consider a dog to be a filthy animal?</dialogue>
<character>JULES</character>
<dialogue>I would n't go so far as to call a dog filthy, but they're definitely dirty. But a dog's got personality. And personality goes a long way.</dialogue>
<character>VINCENT</character>
<dialogue>So by that rationale, if a pig had a better personality, he's cease to be a filthy animal?</dialogue>
<character>JULES</character>
<dialogue>We'd have to be talkin' ` bout one motherfuckin' charmin' pig. It'd have to be the Cary Grant of pigs.</dialogue>
<scene_description>The two men laugh .</scene_description>
<character>VINCENT</character>
<dialogue>Good for you. Lighten up a little. You been sittin' there all quiet.</dialogue>
<character>JULES</character>
<dialogue>I just been sittin' here thinkin'.</dialogue>
<character>VINCENT</character>
<parenthetical>( mouthful of food . )</parenthetical>
<dialogue>About what?</dialogue>
<character>JULES</character>
<dialogue>The miracle we witnessed.</dialogue>
<character>VINCENT</character>
<dialogue>The miracle you witnessed. I witnessed a freak occurrence.</dialogue>
<character>JULES</character>
<dialogue>Do you know that a miracle is?</dialogue>
<character>VINCENT</character>
<dialogue>An act of God.</dialogue>
<character>JULES</character>
<dialogue>What's an act of God?</dialogue>
<character>VINCENT</character>
<dialogue>I guess it's when God makes the impossible possible. And I'm sorry Jules, but I do n't think what happened this morning qualifies.</dialogue>
<character>JULES</character>
<dialogue>Do n't you see, Vince, that shit do n't matter. You're judging this thing the wrong way. It's not about what. It could be God stopped the bullets, he changed Coke into Pepsi, he found my fuckin' car keys. You do n't judge shit like this based on merit. Whether or not what we experienced was an according - to - Hoyle miracle is insignificant. What is significant is I felt God's touch, God got involved.</dialogue>
<character>VINCENT</character>
<dialogue>But why?</dialogue>
<character>JULES</character>
<dialogue>That's what's fuckin' wit' me! I do n't know why. But I ca n't go back to sleep.</dialogue>
<character>VINCENT</character>
<dialogue>So you're serious, you're really gon na quit?</dialogue>
<character>JULES</character>
<dialogue>The life, most definitely.</dialogue>
<scene_description>Vincent takes a bite of food . Jules takes a sip of coffee In the b.g. , we see a PATRON call the Waitress .</scene_description>
<character>PATRON</character>
<dialogue>Garcon! Coffee!</dialogue>
<scene_description>We recognize the patron to be Pumpkin from the first scene of Pumpkin and Honey Bunny .</scene_description>
<character>VINCENT</character>
<dialogue>So if you're quitting the life, what'll you do?</dialogue>
<character>JULES</character>
<dialogue>That's what I've been sitting here contemplating. First, I'm gon na deliver this case to Marsellus. Then, basically, I'm gon na walk the earth.</dialogue>
<character>VINCENT</character>
<dialogue>What do you mean, walk the earth?</dialogue>
<character>JULES</character>
<dialogue>You know, like Caine in `` KUNG FU.'' Just walk from town to town, meet people, get in adventures.</dialogue>
<character>VINCENT</character>
<dialogue>How long do you intend to walk the earth?</dialogue>
<character>JULES</character>
<dialogue>Until God puts me where he want me to be.</dialogue>
<character>VINCENT</character>
<dialogue>What if he never does?</dialogue>
<character>JULES</character>
<dialogue>If it takes forever, I'll wait forever.</dialogue>
<character>VINCENT</character>
<dialogue>So you decided to be a bum?</dialogue>
<character>JULES</character>
<dialogue>I'll just be Jules, Vincent - no more, no less.</dialogue>
<character>VINCENT</character>
<dialogue>No Jules, you're gon na be like those pieces of shit out there who beg for change. They walk around like a bunch of fuckin' zombies, they sleep in garbage bins, they eat what I throw away, and dogs piss on'em. They got a word for'em, they're called bums. And without a job, residence, or legal tender, that's what you're gon na be - a fuckin' bum!</dialogue>
<character>JULES</character>
<dialogue>Look my friend, this is just where me and you differ -</dialogue>
<character>VINCENT</character>
<dialogue>- what happened was peculiar - no doubt about it - but it was n't water into wine.</dialogue>
<character>JULES</character>
<dialogue>All shapes and sizes, Vince.</dialogue>
<character>VINCENT</character>
<dialogue>Stop fuckin' talkin' like that!</dialogue>
<character>JULES</character>
<dialogue>If you find my answers frightening, Vincent, you should cease askin' scary questions.</dialogue>
<character>VINCENT</character>
<dialogue>When did you make this decision - while you were sitting there eatin' your muffin?</dialogue>
<character>JULES</character>
<dialogue>Yeah. I was just sitting here drinking my coffee, eating my muffin, playin' the incident in my head, when I had what alcoholics refer to as a `` moment of clarity.''</dialogue>
<character>VINCENT</character>
<dialogue>I got ta take a shit. To be continued.</dialogue>
<scene_description>Vincent exits for the restroom . Jules , alone , takes a mouthful of muffin , then . Pumpkin and Honey Bunny rise with guns raised .</scene_description>
<character>PUMPKIN</character>
<dialogue>Everybody be cool, this is a robbery!</dialogue>
<character>HONEY BUNNY</character>
<dialogue>Any of you fuckin' pricks move and I'll execute every one of you motherfuckers! Got that?!</dialogue>
<scene_description>Jules looks up , not believing what he 's seeing . Under the table , Jules ' hand goes to his .45 Automatic . He pulls it out , COCKING IT .</scene_description>
<character>PUMPKIN</character>
<dialogue>Customers stay seated, waitresses on the floor.</dialogue>
<character>HONEY BUNNY</character>
<dialogue>Now mean fuckin' now! Do it or die, do it or fucking die!</dialogue>
<scene_description>Like lightning , Pumpkin moves over to the kitchen . While Honey Bunny SCREAMS out threats to the PATRONS , keeping them terrified .</scene_description>
<character>PUMPKIN</character>
<dialogue>You Mexicans in the kitchen, get out here! Asta luego!</dialogue>
<scene_description>Three COOKS and two BUSBOYS come out of the kitchen .</scene_description>
<character>PUMPKIN</character>
<dialogue>On the floor or I'll cook you ass, comprende?</dialogue>
<scene_description>They comprende . The portly MANAGER speaks up .</scene_description>
<character>MANAGER</character>
<dialogue>I'm the manager here, there's no problem, no problem at all -</dialogue>
<scene_description>Pumpkin head his way .</scene_description>
<character>PUMPKIN</character>
<dialogue>You're gon na give me a problem?</dialogue>
<scene_description>He reaches him and sticks the barrel of his gun hard in the Manager 's neck .</scene_description>
<character>PUMPKIN</character>
<dialogue>What? You said you're gon na give me a problem?</dialogue>
<character>MANAGER</character>
<dialogue>No, I'm not. I'm not gon na give you any problem!</dialogue>
<character>PUMPKIN</character>
<dialogue>I do n't know, Honey Bunny. He looks like the hero type to me!</dialogue>
<character>HONEY BUNNY</character>
<dialogue>Do n't take any chances. Execute him!</dialogue>
<scene_description>The Patrons SCREAM . Jules watches all this silently , his hand tightly gripping the .45 Automatic under the table .</scene_description>
<character>MANAGER</character>
<dialogue>Please do n't! I'm not a hero. I'm just a coffee shop manager. Take anything you want.</dialogue>
<character>PUMPKIN</character>
<dialogue>Tell everyone to cooperate and it'll be all over.</dialogue>
<character>MANAGER</character>
<dialogue>Everybody just be calm and cooperate with them and this will be all over soon!</dialogue>
<character>PUMPKIN</character>
<dialogue>Well done, now git your fuckin' ass on the ground.</dialogue>
</scene>
<scene>
<stage_direction>INT. COFFEE SHOP BATHROOM - MORNING</stage_direction>
<scene_description>Vincent , on the toilet , oblivious to the pandemonium outside , reads his `` MODESTY BLAISE '' book .</scene_description>
</scene>
<scene>
<stage_direction>INT. COFFEE SHOP - MORNING</stage_direction>
<scene_description>Cash register drawer opens . Pumpkin stuffs the money from the till in his pocket . Then walks from behind the counter with a trash bag in his hand .</scene_description>
<character>PUMPKIN</character>
<dialogue>Okay people, I'm going to go ` round and collect your wallets. Do n't talk, just toss'em in the bag. We clear?</dialogue>
<scene_description>Pumpkin goes around collecting wallets . Jules sits with his .45 ready to spit under the table . Pumpkin sees Jules sitting in his booth , holding his wallet , briefcase next to him . Pumpkin crosses to him , his tone more respectful , him manner more on guard .</scene_description>
<character>PUMPKIN</character>
<dialogue>In the bag.</dialogue>
<scene_description>Jules DROPS his wallet in the bag . Using his gun as a pointer , Pumpkin points to the briefcase .</scene_description>
<character>PUMPKIN</character>
<dialogue>What's in that?</dialogue>
<character>JULES</character>
<dialogue>My boss' dirty laundry.</dialogue>
<character>PUMPKIN</character>
<dialogue>You boss makes you do his laundry?</dialogue>
<character>JULES</character>
<dialogue>When he wants it clean.</dialogue>
<character>PUMPKIN</character>
<dialogue>Sounds like a shit job.</dialogue>
<character>JULES</character>
<dialogue>Funny, I've been thinkin' the same thing.</dialogue>
<character>PUMPKIN</character>
<dialogue>Open it up.</dialogue>
<scene_description>Jules ' free hand lays palm flat on the briefcase .</scene_description>
<character>JULES</character>
<dialogue>` Fraid I ca n't do that.</dialogue>
<scene_description>Pumpkin is definitely surprised by his answer . He aims the gun right in the middle of Jules ' face and pulls back the hammer .</scene_description>
<character>PUMPKIN</character>
<dialogue>I did n't hear you.</dialogue>
<character>JULES</character>
<dialogue>Yes, you did.</dialogue>
<scene_description>This exchange has been kind of quiet , not everybody heard it , but Honey Bunny senses something 's wrong .</scene_description>
<character>HONEY BUNNY</character>
<dialogue>What's goin' on?</dialogue>
<character>PUMPKIN</character>
<dialogue>Looks like we got a vigilante in our midst.</dialogue>
<character>HONEY BUNNY</character>
<dialogue>Shoot'em in the face!</dialogue>
<character>JULES</character>
<dialogue>I do n't mean to shatter your ego, but this ai n't the first time I've had gun pointed at me.</dialogue>
<character>PUMPKIN</character>
<dialogue>You do n't open up that case, it's gon na be the last.</dialogue>
<character>MANAGER</character>
<parenthetical>( on the ground . )</parenthetical>
<dialogue>Quit causing problems, you'll get us all killed! Give'em what you got and get'em out of here.</dialogue>
<character>JULES</character>
<dialogue>Keep your fuckin' mouth closed, fat man, this ai n't any of your goddamn business!</dialogue>
<character>PUMPKIN</character>
<dialogue>I'm countin' to three, and if your hand ai n't off that case, I'm gon na unload right in your fuckin' face. Clear? One.</dialogue>
<scene_description>Jules closes his eyes .</scene_description>
<character>PUMPKIN</character>
<dialogue>two.</dialogue>
<scene_description>Jules SHOOTS Pumpkin twice , up through the table , sending him to the floor . While still in the booth , he SWINGS around to Honey Bunny , who has aimed at Jules , but slowed down by the shock of Pumpkin getting shot . He FIRES three times . Honey Bunny takes all three HITS in the chest . As she FALLS SCREAMING , she FIRES wildly , HITTING a SURFER PATRON .</scene_description>
<character>SURFER</character>
<dialogue>She shot me! I'm dying! Sally! Sally!</dialogue>
<scene_description>Jules now brings the gun down to Pumpkin 's face . Pumpkin lies shot on the floor at Jules ' feet . Pumpkin looks up at the big gun .</scene_description>
<character>JULES</character>
<dialogue>Wrong guy, Ringo.</dialogue>
<scene_description>Jules FIRES straight at the CAMERA , BLINDING UP with his FLASH . Jules ' eyes , still closed , suddenly open . Pumpkin still stands , holding the gun on him .</scene_description>
<character>PUMPKIN</character>
<dialogue>three.</dialogue>
<character>JULES</character>
<dialogue>You win.</dialogue>
<scene_description>Jules raises his hand off the briefcase .</scene_description>
<character>JULES</character>
<dialogue>It's all yours, Ringo.</dialogue>
<character>PUMPKIN</character>
<dialogue>Open it.</dialogue>
<scene_description>Jules flips the locks and opens the case , revealing it to Pumpkin but not to us . The same light SHINES from the case . Pumpkin 's expression goes to amazement . Honey Bunny , across the room , ca n't see shit .</scene_description>
<character>HONEY BUNNY</character>
<dialogue>What is it? What is it?</dialogue>
<character>PUMPKIN</character>
<parenthetical>( softly . )</parenthetical>
<dialogue>Is that what I think it is?</dialogue>
<scene_description>Jules nods his head : `` yes . ''</scene_description>
<character>PUMPKIN</character>
<dialogue>It's beautiful.</dialogue>
<scene_description>Jules nods his head : `` yes . ''</scene_description>
<character>HONEY BUNNY</character>
<dialogue>Goddammit, what is it?</dialogue>
<scene_description>Jules SLAMS the case closed , then sits back , as if offering the case to Pumpkin . Pumpkin , one big smile , bends over to pick up the case . Like a rattlesnake , Jules ' free hand GRABS the wrist of Pumpkin 's gun hand , SLAMMING it on the table . His other hand comes from under the table and STICKS the barrel of his .45 hand under Pumpkin 's chin . Honey Bunny freaks out , waving his gun in Jules ' direction .</scene_description>
<character>HONEY BUNNY</character>
<dialogue>Let him go! Let him go! I'll blow your fuckin' head off! I'll kill ya! I'll kill ya! You're gon na die, you're gon na fuckin' die bad!</dialogue>
<character>JULES</character>
<parenthetical>( to Pumpkin . )</parenthetical>
<dialogue>Tell that bitch to be cool! Say, bitch be cool! Say, bitch be cool!</dialogue>
<character>PUMPKIN</character>
<dialogue>Chill out, honey!</dialogue>
<character>HONEY BUNNY</character>
<dialogue>Let him go!</dialogue>
<character>JULES</character>
<parenthetical>( softly . )</parenthetical>
<dialogue>Tell her it's gon na be okay.</dialogue>
<character>PUMPKIN</character>
<dialogue>I'm gon na be okay.</dialogue>
<character>JULES</character>
<dialogue>Promise her.</dialogue>
<character>PUMPKIN</character>
<dialogue>I promise.</dialogue>
<character>JULES</character>
<dialogue>Tell her to chill.</dialogue>
<character>PUMPKIN</character>
<dialogue>Just chill out.</dialogue>
<character>JULES</character>
<dialogue>What's her name?</dialogue>
<character>PUMPKIN</character>
<dialogue>Yolanda.</dialogue>
<scene_description>Whenever Jules talks to Yolanda , he never looks at her , only at Pumpkin .</scene_description>
<character>JULES</character>
<parenthetical>( to Yolanda . )</parenthetical>
<dialogue>So, we cool Yolanda? We ai n't gon na do anything stupid, are we?</dialogue>
<character>YOLANDA</character>
<parenthetical>( crying . )</parenthetical>
<dialogue>Do n't you hurt him.</dialogue>
<character>JULES</character>
<dialogue>Nobody's gon na hurt anybody. We're gon na be like three Fonzies. And what' Fonzie like?</dialogue>
<scene_description>No answer ,</scene_description>
<character>JULES</character>
<dialogue>C'mon Yolanda, what's Fonzie like?</dialogue>
<character>YOLANDA</character>
<parenthetical>( through tears , unsure . )</parenthetical>
<dialogue>He's cool?</dialogue>
<character>JULES</character>
<dialogue>Correct - amundo! And that's what we're gon na be, we're gon na be cool.</dialogue>
<parenthetical>( to Pumpkin . )</parenthetical>
<dialogue>Now Ringo, I'm gon na count to three and I want you to let go your gun and lay your palms flat on the table. But when you do it, do it cool. Ready?</dialogue>
<scene_description>Pumpkin looks at him .</scene_description>
<character>JULES</character>
<dialogue>One. two. three.</dialogue>
<scene_description>Pumpkin lets go of his gun and places both hands on the table . Yolanda ca n't stand it anymore .</scene_description>
<character>YOLANDA</character>
<dialogue>Okay, now let him go!</dialogue>
<character>JULES</character>
<dialogue>Yolanda, I thought you were gon na be cool. When you yell at me, it makes me nervous. When I get nervous, I get scared. And when motherfuckers get scared, that's when motherfuckers get accidentally shot.</dialogue>
<character>YOLANDA</character>
<parenthetical>( more conversational . )</parenthetical>
<dialogue>Just know : you hurt him, you die.</dialogue>
<character>JULES</character>
<dialogue>That seems to be the situation. Now I do n't want that and you do n't want that and Ringo here do n't want that. So let's see what we can do.</dialogue>
<parenthetical>( to Ringo . )</parenthetical>
<dialogue>Now this is the situation. Normally both of your asses would be dead as fuckin' fried chicken. But you happened to pull this shit while I'm in a transitional period. I do n't wan na kill ya, I want to help ya. But I'm afraid I ca n't give you the case. It do n't belong to me. Besides, I went through too much shit this morning on account of this case to just hand it over to your ass.</dialogue>
<character>VINCENT</character>
<parenthetical>( OS . )</parenthetical>
<dialogue>What the fuck's goin' on here?</dialogue>
<scene_description>Yolanda WHIPS her gun toward the stranger . VINCENT , by the bathroom , has his gun out , dead - aimed at Yolanda .</scene_description>
<character>JULES</character>
<dialogue>It's cool, Vincent! It's cool! Do n't do a goddamn thing. Yolanda, it's cool baby, nothin's changed. We're still just talkin'.</dialogue>
<parenthetical>( to Pumpkin . )</parenthetical>
<dialogue>Tell her we're still cool.</dialogue>
<character>PUMPKIN</character>
<dialogue>It's cool, Honey Bunny, we're still cool.</dialogue>
<character>VINCENT</character>
<parenthetical>( gun raised . )</parenthetical>
<dialogue>What the hell's goin' on, Jules?</dialogue>
<character>JULES</character>
<dialogue>Nothin' I ca n't handle. I want you to just hang back and do n't do shit unless it's absolutely necessary.</dialogue>
<character>VINCENT</character>
<dialogue>Check.</dialogue>
<character>JULES</character>
<dialogue>Yolanda, how we doin, baby?</dialogue>
<character>YOLANDA</character>
<dialogue>I got ta go pee! I want to go home.</dialogue>
<character>JULES</character>
<dialogue>Just hang in there, baby, you're doing' great, Ringo's proud of you and so am I. It's almost over.</dialogue>
<parenthetical>( to Pumpkin . )</parenthetical>
<dialogue>Now I want you to go in that bag and find my wallet.</dialogue>
<character>PUMPKIN</character>
<dialogue>Which one is it?</dialogue>
<character>JULES</character>
<dialogue>It's the one that says Bad Motherfucker on it.</dialogue>
<scene_description>Pumpkin looks in the bag and - sure enough - there 's a wallet with `` Bad Motherfucker '' embroidered on it .</scene_description>
<character>JULES</character>
<dialogue>That's my bad motherfucker. Now open it up and take out the cash. How much is there?</dialogue>
<character>PUMPKIN</character>
<dialogue>About fifteen hundred dollars.</dialogue>
<character>JULES</character>
<dialogue>Put it in your pocket, it's yours. Now with the rest of them wallets and the register, that makes this a pretty successful little score.</dialogue>
<character>VINCENT</character>
<dialogue>Jules, if you give this nimrod fifteen hundred buck, I'm gon na shoot'em on general principle.</dialogue>
<character>JULES</character>
<dialogue>You ai n't gon na do a goddamn thing, now hang back and shut the fuck up. Besides, I ai n't givin' it to him. I'm buyin' somethin' for my money. Wan na know what I'm buyin' Ringo?</dialogue>
<character>PUMPKIN</character>
<dialogue>What?</dialogue>
<character>JULES</character>
<dialogue>Your life. I'm givin' you that money so I do n't hafta kill your ass. You read the Bible?</dialogue>
<character>PUMPKIN</character>
<dialogue>Not regularly.</dialogue>
<character>JULES</character>
<dialogue>There's a passage I got memorized. Ezekiel 25:17. `` The path of the righteous man is beset on all sides by the inequities of the selfish and the tyranny of evil men. Blessed is he who, in the name of charity and good will, shepherds the weak through the valley of the darkness. For he is truly his brother's keeper and the finder of lost children. And I will strike down upon thee with great vengeance and furious anger those who attempt to poison and destroy my brothers. And you will know I am the Lord when I lay my vengeance upon you.'' I been sayin' that shit for years. And if you ever heard it, it meant your ass. I never really questioned what it meant. I thought it was just a cold - blooded thing to say to a motherfucker ` fore you popped a cap in his ass. But I saw some shit this mornin' made me think twice. Now I'm thinkin', it could mean you're the evil man. And I'm the righteous man. And Mr. 45 here, he's the shepherd protecting my righteous ass in the valley of darkness. Or is could by you're the righteous man and I'm the shepherd and it's the world that's evil and selfish. I'd like that. But that shit ai n't the truth. The truth is you're the weak. And I'm the tyranny of evil men. But I'm tryin'. I'm tryin' real hard to be a shepherd.</dialogue>
<scene_description>Jules lowers his gun , lying it on the table . Pumpkin looks at him , to the money in his hand , then to Yolanda . She looks back . Grabbing the trash bag full of wallets , the two RUN out the door . Jules , who was never risen from his seat the whole time , takes a sip of coffee .</scene_description>
<character>JULES</character>
<parenthetical>( to himself . )</parenthetical>
<dialogue>It's cold.</dialogue>
<scene_description>He pushes it aside . Vincent appears next to Jules .</scene_description>
<character>VINCENT</character>
<dialogue>I think we oughta leave now.</dialogue>
<character>JULES</character>
<dialogue>That's probably a good idea.</dialogue>
<scene_description>Vincent throws some money on the table and Jules grabs the briefcase . Then , to the amazement of the Patrons , the Waitresses , the Cooks , the Bus Boys , and the Manager , these two bad - ass dudes - wearing UC Santa Cruz and `` I 'm with Stupid '' tee - shirts , swim trunks , thongs and packing .45 Automatics - walk out of the coffee shop together without saying a word . THE END</scene_description>
</scene>
</script>
|
INT. COFFEE SHOP - MORNING
A normal Denny 's , Spires - like coffee shop in Los Angeles . It 's about 9:00 in the morning . While the place is n't jammed , there 's a healthy number of people drinking coffee , munching on bacon and eating eggs . Two of these people are a YOUNG MAN and a YOUNG WOMAN . The Young Man has a slight working - class English accent and , like his fellow countryman , smokes cigarettes like they 're going out of style . It is impossible to tell where the Young Woman is from or how old she is ; everything she does contradicts something she did . The boy and girl sit in a booth . Their dialogue is to be said in a rapid - pace `` HIS GIRL FRIDAY '' fashion .
YOUNG MAN
No, forget it, it's too risky. I'm through doin' that shit.
YOUNG WOMAN
You always say that, the same thing every time : never again, I'm through, too dangerous.
YOUNG MAN
I know that's what I always say. I'm always right too, but -
YOUNG WOMAN
- but you forget about it in a day or two -
YOUNG MAN
- yeah, well, the days of me forgittin' are over, and the days of me rememberin' have just begun.
YOUNG WOMAN
When you go on like this, you know what you sound like?
YOUNG MAN
I sound like a sensible fucking man, is what I sound like.
YOUNG WOMAN
You sound like a duck.
( imitates a duck . )
Quack, quack, quack, quack, quack, quack, quack.
YOUNG MAN
Well take heart,'cause you're never gon na hafta hear it again. Because since I'm never gon na do it again, you're never gon na hafta hear me quack about how I'm never gon na do it again.
YOUNG WOMAN
After tonight.
The boy and girl laugh , their laughter putting a pause in there , back and forth .
YOUNG MAN
( with a smile . )
Correct. I got all tonight to quack.
A WAITRESS comes by with a pot of coffee .
WAITRESS
Can I get anybody anymore coffee?
YOUNG WOMAN
Oh yes, thank you.
The Waitress pours the Young Woman 's coffee . The Young Man lights up another cigarette .
YOUNG MAN
I'm doin' fine.
The Waitress leaves . The Young Man takes a drag off of his smoke . The Young Woman pours a ton of cream and sugar into her coffee . The Young Man goes right back into it .
YOUNG MAN
I mean the way it is now, you're takin' the same fuckin' risk as when you rob a bank. You take more of a risk. Banks are easier! Federal banks are n't supposed to stop you anyway, during a robbery. They're insured, why should they care? You do n't even need a gun in a federal bank. I heard about this guy, walked into a federal bank with a portable phone, handed the phone to the teller, the guy on the other end of the phone said : `` We got this guy's little girl, and if you do n't give him all your money, we're gon na kill ` er.''
YOUNG WOMAN
Did it work?
YOUNG MAN
Fuckin' A it worked, that's what I'm talkin' about! Knucklehead walks in a bank with a telephone, not a pistol, not a shotgun, but a fuckin' phone, cleans the place out, and they do n't lift a fuckin' finger.
YOUNG WOMAN
Did they hurt the little girl?
YOUNG MAN
I do n't know. There probably never was a little girl - the point of the story is n't the little girl. The point of the story is they robbed the bank with a telephone.
YOUNG WOMAN
You wan na rob banks?
YOUNG MAN
I'm not sayin' I wan na rob banks, I'm just illustrating that if we did, it would be easier than what we been doin'.
YOUNG WOMAN
So you do n't want to be a bank robber?
YOUNG MAN
Naw, all those guys are goin' down the same road, either dead or servin' twenty.
YOUNG WOMAN
And no more liquor stores?
YOUNG MAN
What have we been talking about? Yeah, no - more - liquor - stores. Besides, it ai n't the giggle it usta be. Too many foreigners own liquor stores. Vietnamese, Koreans, they ca n't fuckin' speak English. You tell'em : `` Empty out the register,'' and they do n't know what it fuckin' means. They make it too personal. We keep on, one of those gook motherfuckers' gon na make us kill'em.
YOUNG WOMAN
I'm not gon na kill anybody.
YOUNG MAN
I do n't wan na kill anybody either. But they'll probably put us in a situation where it's us of them. And if it's not the gooks, it these old Jews who've owned the store for fifteen fuckin' generations. Ya got Grandpa Irving sittin' behind the counter with a fuckin' Magnum. Try walkin' into one of those stores with nothin' but a telephone, see how far it gets you. Fuck it, forget it, we're out of it.
YOUNG WOMAN
Well, what else is there, day jobs?
YOUNG MAN
( laughing . )
Not this life.
YOUNG WOMAN
Well what then?
He calls to the Waitress .
YOUNG MAN
Garcon! Coffee!
Then looks to his girl .
YOUNG MAN
This place.
The Waitress comes by , pouring him some more .
WAITRESS
( snotty . )
`` Garcon'' means boy.
She splits .
YOUNG WOMAN
Here? It's a coffee shop.
YOUNG MAN
What's wrong with that? People never rob restaurants, why not? Bars, liquor stores, gas stations, you get your head blown off stickin' up one of them. Restaurants, on the other hand, you catch with their pants down. They're not expecting to get robbed, or not as expecting.
YOUNG WOMAN
( taking to idea . )
I bet in places like this you could cut down on the hero factor.
YOUNG MAN
Correct. Just like banks, these places are insured. The managers do n't give a fuck, they're just tryin' to get ya out the door before you start pluggin' diners. Waitresses, forget it, they ai n't takin' a bullet for the register. Busboys, some wetback gettin' paid a dollar fifty a hour gon na really give a fuck you're stealin' from the owner. Customers are sittin' there with food in their mouths, they do n't know what's goin' on. One minute they're havin' a Denver omelette, next minute somebody's stickin' a gun in their face.
The Young Woman visibly takes in the idea . The Young Man continues in a low voice .
YOUNG MAN
See, I got the idea last liquor store we stuck up. ` Member all those customers kept comin' in?
YOUNG WOMAN
Yeah.
YOUNG MAN
They you got the idea to take everybody's wallet.
YOUNG WOMAN
Uh - huh.
YOUNG MAN
That was a good idea.
YOUNG WOMAN
Thank you.
YOUNG MAN
We made more from the wallets then we did the register.
YOUNG WOMAN
Yes we did.
YOUNG MAN
A lot of people go to restaurants.
YOUNG WOMAN
A lot of wallets.
YOUNG MAN
Pretty smart, huh?
The Young Woman scans the restaurant with this new information . She sees all the PATRONS eating , lost in conversations . The tires WAITRESS , taking orders . The BUSBOYS going through the motions , collecting dishes . The MANAGER complaining to the COOK about something . A smiles breaks out on the Young Woman 's face .
YOUNG WOMAN
Pretty smart.
( into it . )
I'm ready, let's go, right here, right now.
YOUNG MAN
Remember, same as before, you're crowd control, I handle the employees.
YOUNG WOMAN
Got it.
They both take out their .32 - caliber pistols and lay them on the table . He looks at her and she back at him .
YOUNG WOMAN
I love you, Pumpkin.
YOUNG MAN
I love you, Honey Bunny.
And with that , Pumpkin and Honey Bunny grab their weapons , stand up and rob the restaurant . Pumpkin 's robbery persona is that of the in - control professional . Honey Bunny 's is that of the psychopathic , hair - triggered , loose cannon .
PUMPKIN
( yelling to all . )
Everybody be cool this is a robbery!
HONEY BUNNY
Any of you fuckin' pricks move and I'll execute every one of you motherfuckers! Got that?
PULP FICTION
INT.'74 CHEVY (MOVING) - MORNING
An old gas guzzling , dirty , white 1974 Chevy Nova BARRELS down a homeless - ridden street in Hollywood . In the front seat are two young fellas - one white , one black - both wearing cheap black suits with thin black ties under long green dusters . Their names are VINCENT VEGA -LRB- white -RRB- and JULES WINNFIELD -LRB- black -RRB- . Jules is behind the wheel .
JULES
- okay now, tell me about the hash bars?
VINCENT
What so you want to know?
JULES
Well, hash is legal there, right?
VINCENT
Yeah, it's legal, but is ai n't a hundred percent legal. I mean you ca n't walk into a restaurant, roll a joint, and start puffin' away. You're only supposed to smoke in your home or certain designated places.
JULES
Those are hash bars?
VINCENT
Yeah, it breaks down like this : it's legal to buy it, it's legal to own it and, if you're the proprietor of a hash bar, it's legal to sell it. It's legal to carry it, which does n't really matter'cause - get a load of this - if the cops stop you, it's illegal for this to search you. Searching you is a right that the cops in Amsterdam do n't have.
JULES
That did it, man - I'm fuckin' goin', that's all there is to it.
VINCENT
You'll dig it the most. But you know what the funniest thing about Europe is?
JULES
What?
VINCENT
It's the little differences. A lotta the same shit we got here, they got there, but there they're a little different.
JULES
Examples?
VINCENT
Well, in Amsterdam, you can buy beer in a movie theatre. And I do n't mean in a paper cup either. They give you a glass of beer, like in a bar. In Paris, you can buy beer at MacDonald's. Also, you know what they call a Quarter Pounder with Cheese in Paris?
JULES
They do n't call it a Quarter Pounder with Cheese?
VINCENT
No, they got the metric system there, they would n't know what the fuck a Quarter Pounder is.
JULES
What'd they call it?
VINCENT
Royale with Cheese.
JULES
( repeating . )
Royale with Cheese. What'd they call a Big Mac?
VINCENT
Big Mac's a Big Mac, but they call it Le Big Mac.
JULES
What do they call a Whopper?
VINCENT
I dunno, I did n't go into a Burger King. But you know what they put on french fries in Holland instead of ketchup?
JULES
What?
VINCENT
Mayonnaise.
JULES
Goddamn!
VINCENT
I seen'em do it. And I do n't mean a little bit on the side of the plate, they fuckin' drown'em in it.
JULES
Uuccch!
INT. CHEVY (TRUNK) - MORNING
The trunk of the Chevy OPENS UP , Jules and Vincent reach inside , taking out two .45 Automatics , loading and cocking them .
JULES
We should have shotguns for this kind of deal.
VINCENT
How many up there?
JULES
Three or four.
VINCENT
Counting our guy?
JULES
I'm not sure.
VINCENT
So there could be five guys up there?
JULES
It's possible.
VINCENT
We should have fuckin' shotguns.
They CLOSE the trunk .
EXT. APARTMENT BUILDING COURTYARD - MORNING
Vincent and Jules , their long matching overcoats practically dragging on the ground , walk through the courtyard of what looks like a hacienda - style Hollywood apartment building . We TRACK alongside .
VINCENT
What's her name?
JULES
Mia.
VINCENT
How did Marsellus and her meet?
JULES
I dunno, however people meet people. She usta be an actress.
VINCENT
She ever do anything I woulda saw?
JULES
I think her biggest deal was she starred in a pilot.
VINCENT
What's a pilot?
JULES
Well, you know the shows on TV?
VINCENT
I do n't watch TV.
JULES
Yes, but you're aware that there's an invention called television, and on that invention they show shows?
VINCENT
Yeah.
JULES
Well, the way they pick the shows on TV is they make one show, and that show's called a pilot. And they show that one show to the people who pick the shows, and on the strength of that one show, they decide if they want to make more shows. Some get accepted and become TV programs, and some do n't, and become nothing. She starred in one of the ones that became nothing.
They enter the apartment building .
INT. RECEPTION AREA (APARTMENT BUILDING) - MORNING
Vincent and Jules walk through the reception area and wait for the elevator .
JULES
You remember Antwan Rockamora? Half - black, half - Samoan, usta call him Tony Rocky Horror.
VINCENT
Yeah maybe, fat right?
JULES
I would n't go so far as to call the brother fat. He's got a weight problem. What's the nigger gon na do, he's Samoan.
VINCENT
I think I know who you mean, what about him?
JULES
Well, Marsellus fucked his ass up good. And word around the campfire, it was on account of Marsellus Wallace's wife.
The elevator arrives , the men step inside .
INT. ELEVATOR - MORNING
VINCENT
What'd he do, fuck her?
JULES
No no no no no no no, nothin' that bad.
VINCENT
Well what then?
JULES
He gave her a foot massage.
VINCENT
A foot massage?
Jules nods his head : `` Yes . ''
VINCENT
That's all?
Jules nods his head : `` Yes . ''
VINCENT
What did Marsellus do?
JULES
Sent a couple of guys over to his place. They took him out on the patio of his apartment, threw his ass over the balcony. Nigger fell four stories. They had this garden at the bottom, enclosed in glass, like one of them greenhouses - nigger fell through that. Since then, he's kinda developed a speech impediment.
The elevator doors open , Jules and Vincent exit .
VINCENT
That's a damn shame.
INT. APARTMENT BUILDING HALLWAY - MORNING
STEADICAM in front of Jules and Vincent as they make a beeline down the hall .
VINCENT
Still I hafta say, play with matches, ya get burned.
JULES
Whaddya mean?
VINCENT
You do n't be givin' Marsellus Wallace's new bride a foot massage.
JULES
You do n't think he overreacted?
VINCENT
Antwan probably did n't expect Marsellus to react like he did, but he had to expect a reaction.
JULES
It was a foot massage, a foot massage is nothing, I give my mother a foot massage.
VINCENT
It's laying hands on Marsellus Wallace's new wife in a familiar way. Is it as bad as eatin' her out - no, but you're in the same fuckin' ballpark.
Jules stops Vincent .
JULES
Whoa. whoa. whoa. stop right there. Eatin' a bitch out, and givin' a bitch a foot massage ai n't even the same fuckin' thing.
VINCENT
Not the same thing, the same ballpark.
JULES
It ai n't no ballpark either. Look maybe your method of massage differs from mine, but touchin' his lady's feet, and stickin' your tongue in her holyiest of holyies, ai n't the same ballpark, ai n't the same league, ai n't even the same fuckin' sport. Foot massages do n't mean shit.
VINCENT
Have you ever given a foot massage?
JULES
Do n't be tellin' me about foot massages - I'm the fuckin' foot master.
VINCENT
Given a lot of'em?
JULES
Shit yeah. I got my technique down man, I do n't tickle or nothin'.
VINCENT
Have you ever given a guy a foot massage?
Jules looks at him a long moment - he 's been set up .
JULES
Fuck you.
He starts walking down the hall . Vincent , smiling , walks a little bit behind .
VINCENT
How many?
JULES
Fuck you.
VINCENT
Would you give me a foot massage - I'm kinda tired.
JULES
Man, you best back off, I'm gittin' pissed - this is the door.
The two men stand in front of the door numbered `` 49 . '' They whisper .
JULES
What time is it?
VINCENT
( checking his watch . )
Seven - twenty - two in the morning.
JULES
It ai n't quite time, let's hang back.
They move a little away from the door , facing each other , still whispering .
JULES
Look, just because I would n't give no man a foot massage, do n't make it right for Marsellus to throw Antwan off a building into a glass - motherfuckin - house, fuckin' up the way the nigger talks. That ai n't right, man. Motherfucker do that to me, he better paralyze my ass,'cause I'd kill' a motherfucker.
VINCENT
I'm not sayin' he was right, but you're sayin' a foot massage do n't mean nothing, and I'm sayin' it does. I've given a million ladies a million foot massages and they all meant somethin'. We act like they do n't, but they do. That's what's so fuckin' cool about'em. This sensual thing's goin' on that nobody's talkin about, but you know it and she knows it, fuckin' Marsellus knew it, and Antwan shoulda known fuckin' better. That's his fuckin' wife, man. He ai n't gon na have a sense of humor about that shit.
JULES
That's an interesting point, but let's get into character.
VINCENT
What's her name again?
JULES
Mia. Why you so interested in big man's wife?
VINCENT
Well, Marsellus is leavin' for Florida and when he's gone, he wants me to take care of Mia.
JULES
Take care of her?
Making a gun out of his finger and placing it to his head .
VINCENT
Not that! Take her out. Show her a good time. Do n't let her get lonely.
JULES
You're gon na be takin' Mia Wallace out on a date?
VINCENT
It ai n't a date. It's like when you and your buddy's wife go to a movie or somethin'. It's just. you know. good company.
Jules just looks at him .
VINCENT
It's not a date.
Jules just looks at him .
VINCENT
I'm not gon na be a bad boy.
Jules shakes his head and mumbles to himself .
JULES
Bitch gon na kill more niggers than time.
VINCENT
What was that?
JULES
Nothin'. Let's get into character.
VINCENT
What'd you say?
JULES
I did n't say shit. Let's go to work.
VINCENT
Do n't play with me, you said somethin', now what was it?
JULES
( referring to the job . )
Do you wan na do this?
VINCENT
I want you to repeat what you said.
JULES
That door's gon na open in about thirty seconds, so git yourself together -
VINCENT
- my self is together -
JULES
- bullshit it is. Stop thinkin' ` bout that Ho, and get yourself together like a qualified pro.
INT. APARTMENT (ROOM 49) - MORNING
THREE YOUNG GUYS , obviously in over their heads , sit at a table with hamburgers , french fries and soda pops laid out . One of them flips the LOUD BOLT on the door , opening it to REVEAL Jules and Vincent in the hallway .
JULES
Hey kids.
The two men stroll inside . The three young caught - off - guard Guys are : MARVIN The black young man , who open the door , will , as the scene progresses , back into the corner . ROGER A young blond - haired surfer kid with a `` Flock of Seagulls '' haircut , who has yet to say a word , sits at the table with a big sloppy hamburger in his hand . BRETT A white , preppy - looking sort with a blow - dry haircut . Vincent and Jules take in the place , with their hands in their pockets . Jules is the one who does the talking .
JULES
How you boys doin'?
No answer .
JULES
( to Brett . )
Am I trippin', or did I just ask you a question.
BRETT
We're doin' okay.
As Jules and Brett talk , Vincent moves behind the young Guys .
JULES
Do you know who we are?
Brett shakes his head : `` No . ''
JULES
We're associates of your business partner Marsellus Wallace, you remember your business partner dont ` ya?
No answer .
JULES
( to Brett . )
Now I'm gon na take a wild guess here : you're Brett, right?
BRETT
I'm Brett.
JULES
I thought so. Well, you remember your business partner Marsellus Wallace, dont ` ya Brett?
BRETT
I remember him.
JULES
Good for you. Looks like me and Vincent caught you at breakfast, sorry ` bout that. What ` cha eatin'?
BRETT
Hamburgers.
JULES
Hamburgers. The cornerstone of any nutritious breakfast. What kinda hamburgers?
BRETT
Cheeseburgers.
JULES
No, I mean where did you get'em? MacDonald's, Wendy's, Jack - in - the - Box, where?
BRETT
Big Kahuna Burger.
JULES
Big Kahuna Burger. That's that Hawaiian burger joint. I heard they got some tasty burgers. I ai n't never had one myself, how are they?
BRETT
They're good.
JULES
Mind if I try one of yours?
BRETT
No.
JULES
Yours is this one, right?
BRETT
Yeah.
Jules grabs the burger and take a bite of it .
JULES
Uuummmm, that's a tasty burger.
( to Vincent . )
Vince, you ever try a Big Kahuna Burger?
VINCENT
No.
Jules holds out the Big Kahuna .
JULES
You wan na bite, they're real good.
VINCENT
I ai n't hungry.
JULES
Well, if you like hamburgers give'em a try sometime. Me, I ca n't usually eat'em'cause my girlfriend's a vegetarian. Which more or less makes me a vegetarian, but I sure love the taste of a good burger.
( to Brett . )
You know what they call a Quarter Pounder with Cheese in France?
BRETT
No.
JULES
Tell'em, Vincent.
VINCENT
Royale with Cheese.
JULES
Royale with Cheese, you know why they call it that?
BRETT
Because of the metric system?
JULES
Check out the big brain on Brett. You'a smart motherfucker, that's right. The metric system.
( he points to a fast food drink cup . )
What's in this?
BRETT
Sprite.
JULES
Sprite, good, mind if I have some of your tasty beverage to wash this down with?
BRETT
Sure.
Jules grabs the cup and takes a sip .
JULES
Uuuuummmm, hit's the spot!
( to Roger . )
You, Flock of Seagulls, you know what we're here for?
Roger nods his head : `` Yes . ''
JULES
Then why do n't you tell my boy here Vince, where you got the shit hid.
MARVIN
It's under the be -
JULES
- I do n't remember askin' you a goddamn thing.
( to Roger . )
You were sayin'?
ROGER
It's under the bed.
Vincent moves to the bed , reaches underneath it , pulling out a black snap briefcase .
VINCENT
Got it.
Vincent flips the two locks , opening the case . We ca n't see what 's inside , but a small glow emits from the case . Vincent just stares at it , transfixed .
JULES
We happy?
No answer from the transfixed Vincent .
JULES
Vincent!
Vincent looks up at Jules .
JULES
We happy?
Closing the case .
VINCENT
We're happy.
BRETT
( to Jules . )
Look, what's your name? I got his name's Vincent, but what's yours?
JULES
My name's Pitt, and you ai n't talkin' your ass outta this shit.
BRETT
I just want you to know how sorry we are about how fucked up things got between us and Mr. Wallace. When we entered into this thing, we only had the best intentions -
As Brett talks , Jules takes out his gun and SHOOTS Roger three times in the chest , BLOWING him out of his chair . Vince smiles to himself . Jules has got style . Brett has just shit his pants . He 's not crying or whimpering , but he 's so full of fear , it 's as if his body is imploding .
JULES
( to Brett . )
Oh, I'm sorry. Did that break your concentration? I did n't mean to do that. Please, continue. I believe you were saying something about `` best intentions.''
Brett ca n't say a word .
JULES
Whatsamatter? Oh, you were through anyway. Well, let me retort. Would you describe for me what Marsellus Wallace looks like?
Brett still ca n't speak . Jules SNAPS , SAVAGELY TIPPING the card table over , removing the only barrier between himself and Brett . Brett now sits in a lone chair before Jules like a political prisoner in front of an interrogator .
JULES
What country you from!
BRETT
( petrified . )
What?
JULES
`` What'' ai n't no country I know! Do they speak English in `` What?''
BRETT
( near heart attack . )
What?
JULES
English - motherfucker - can - you - speak - it?
BRETT
Yes.
JULES
Then you understand what I'm sayin'?
BRETT
Yes.
JULES
Now describe what Marsellus Wallace looks like!
BRETT
( out of fear . )
What?
Jules takes his .45 and PRESSES the barrel HARD in Brett 's cheek .
JULES
Say `` What'' again! C'mon, say `` What'' again! I dare ya, I double dare ya motherfucker, say `` What'' one more goddamn time!
Brett is regressing on the spot .
JULES
Now describe to me what Marsellus Wallace looks like!
Brett does his best .
BRETT
Well he's. he's. black -
JULES
- go on!
BRETT
and he's. he's. tall -
JULES
- does he look like a bitch?!
BRETT
( without thinking . )
What?
Jules ' eyes go to Vincent , Vincent smirks , Jules rolls his eyes and SHOOT Brett in the shoulder . Brett SCREAMS , breaking into a SHAKING/TREMBLING SPASM in the chair .
JULES
Does - he - look - like - a - bitch?!
BRETT
( in agony . )
No.
JULES
Then why did you try to fuck ` im like a bitch?!
BRETT
( in spasm . )
I did n't.
Now in a lower voice .
JULES
Yes ya did Brett. Ya tried ta fuck ` im. You ever read the Bible, Brett?
BRETT
( in spasm . )
Yes.
JULES
There's a passage I got memorized, seems appropriate for this situation : Ezekiel 25:17. `` The path of the righteous man is beset on all sides by the inequities of the selfish and the tyranny of evil men. Blessed is he who, in the name of charity and good will, shepherds the weak through the valley of darkness, for he is truly his brother's keeper and the finder of lost children. And I will strike down upon thee with great vengeance and furious anger those who attempt to poison and destroy my brothers. And you will know my name is the Lord when I lay my vengeance upon you.''
The two men EMPTY their guns at the same time on the sitting Brett . When they are finished , the bullet - ridden carcass just sits there for a moment , then TOPPLES over . All is quiet . The only SOUND is Marvin MUTTERING in the corner .
MARVIN
goddamn. goddamn. that was fucked up. goddamn, that was cold - blooded.
VINCENT
( pointing to Marvin . )
Friend of yours?
JULES
Yeah, Marvin - Vincent - Vincent - Marvin.
VINCENT
Tell'em to shut up, he's gettin' on my nerves.
JULES
Marvin, I'd knock that shit off if I was you.
Then suddenly the bathroom door BURSTS OPEN , and a FOURTH MAN -LRB- as young as the rest -RRB- comes CHARGING out , a silver Magnum in his hand . We DOLLY into a MEDIUM on him .
FOURTH MAN
Die. die. die. die. die. die!
The Fourth Man FIRES SIX BOOMING SHOTS from his hand cannon in the direction of Vincent and Jules . He SCREAMS a maniacal cry of revenge until he 's DRY FIRING . Then . his face does a complete change of expression . It goes from a `` Vengeance is mine '' expression , to a `` What the fuck '' blank look .
FOURTH MAN
I do n't understand -
The Fourth Man is BLOWN OFF HIS FEET and OUT OF FRAME by bullets that TEAR HIM TO SHREDS . He leaves the FRAME EMPTY . FADE TO BLACK Against black , TITLE CARD : `` VINCENT VEGA AND MARSELLUS WALLACE 'S WIFE '' . MEDIUM SHOT - BUTCH COOLIDGE We FADE UP on Butch Coolidge , a white , 26 - year - old prizefighter . Butch sits at a table wearing a red and blue high school athletic jacket . Talking to him OFF SCREEN is everybody 's boss MARSELLUS WALLACE . The black man sounds like a cross between a gangster and a king .
MARSELLUS
( OS . )
I think you're gon na find - when all this shit is over and done - I think you're gon na find yourself one smilin' motherfucker. Thing is Butch, right now you got ability. But painful as it may be, ability do n't last. Now that's a hard motherfuckin' fact of life, but it's a fact of life your ass is gon na hafta git realistic about. This business is filled to the brim with unrealistic motherfuckers who thought their ass aged like wine. Besides, even if you went all the way, what would you be? Feather - weight champion of the world. Who gives a shit? I doubt you can even get a credit card based on that.
A hand lays an envelope full of money on the table in front of Butch . Butch picks it up .
MARSELLUS
( OS . )
Now the night of the fight, you may fell a slight sting, that's pride fuckin' wit ya. Fuck pride! Pride only hurts, it never helps. Fight through that shit.'Cause a year from now, when you're kickin' it in the Caribbean you're gon na say, `` Marsellus Wallace was right.''
BUTCH
I got no problem with that.
MARSELLUS
( OS . )
In the fifth, your ass goes down.
Butch nods his head : `` yes . ''
MARSELLUS
( OS . )
Say it!
BUTCH
In the fifth, my ass goes down.
INT. CAR (MOVING) - DAY
Vincent Vega looks really cool behind the wheel of a 1964 cherry - red Chevy Malibu convertible . From the car radio , ROCKABILLY MUSIC PLAYS . The b.g. is a COLORFUL PROCESS SHOT .
EXT. SALLY LeROY'S - DAY
Sally LeRoy 's is a large topless bat by LAX that Marsellus owns . Vincent 's classic Malibu WHIPS into the near empty parking lot and parks next to a white Honda Civic . Vince knocks on the door . The front entrance is unlocked , revealing the Dapper Dan fellow on the inside : ENGLISH DAVE . Dave is n't really English , he 's a young black man from Baldwin Park , who has run a few clubs for Marsellus , including Sally LeRoy 's .
ENGLISH DAVE
Vincent Vega, our man in Amsterdam, git your ass on in here.
Vincent , carrying the black briefcase from the scene between Vincent and Jules , steps inside . English Dave SLAMS the door in our faces .
INT. SALLY LeROY'S - DAY
The spacious club is empty this time of day . English Dave crosses to the bar , and Vince follows .
VINCENT
Where's the big man?
ENGLISH DAVE
He's over there, finishing up some business.
VINCENT 'S POV : Butch shakes hands with a huge figure with his back to us . The huge figure is the infamous and as of yet still UNSEEN Marsellus .
ENGLISH DAVE
( OS . )
Hand back for a second or two, and when you see the white boy leave, go on over. In the meanwhile, can I make you an espresso?
VINCENT
How ` bout a cup of just plain ol' American?
ENGLISH DAVE
Comin' up. I hear you're taking Mia out tomorrow?
VINCENT
At Marsellus' request.
ENGLISH DAVE
Have you met Mia?
VINCENT
Not yet.
English Dave smiles to himself .
VINCENT
What's so funny?
ENGLISH DAVE
Not a goddamn thing.
VINCENT
Look, I'm not a idiot. She's the big man's fuckin' wife. I'm gon na sit across a table, chew my food with my mouth closed, laugh at her jokes and that's all I'm gon na do.
English Dave puts Vince 's coffee in front of him .
ENGLISH DAVE
My name's Paul, and this is between y' all.
Butch bellies up to the bar next to Vincent , drinking his cup of `` plain ol' American . ''
BUTCH
( to English Dave . )
Can I get a pack' a Red Apples?
ENGLISH DAVE
Filters?
BUTCH
Non.
While Butch waits for his smokes , Vincent just sips his coffee , staring at him . Butch looks over at him .
BUTCH
Lookin' at somethin', friend?
VINCENT
I ai n't your friend, palooka.
Butch does a slow burn toward Vincent .
BUTCH
What was that?
VINCENT
I think ya heard me just fine, punchy.
Butch turns his body to Vincent , when .
MARSELLUS
( OS . )
Vincent Vega has entered the building, git your ass over here!
Vincent walks forward OUT OF FRAME , never giving Butch another glance . We DOLLY INTO CU on Butch , left alone in the FRAME , looking like he 's ready to go into the manners - teaching business . BUTCH 'S POV : Vincent hugging and kissing the obscured figure that is Marsellus . Butch makes the wise decision that is this asshole 's a friend of Marsellus , he better let it go - for now .
ENGLISH DAVE
( OS . )
Pack of Red Apples, dollar - forty.
Butch is snapped out of his ass - kicking thoughts . He pays English Dave and walks out of the SHOT .
INT. LANCE'S HOUSE (KITCHEN) - NIGHT
CU JODY a woman who appears to have a fondness for earrings . Both of her ears are pierced five times . She also sports rings in her lips , eyebrows and nose .
JODY
I'll lend it to you. It's a great book on body piercing.
Jody , Vincent and a young woman names TRUDI sit at the kitchen table of a suburban house in Echo Park . Even though Vince is at the same table , he 's not included in the conversation .
TRUDI
You know how they use that gun when they pierce your ears? They do n't use that when they pierce your nipples, do they?
JODY
Forget that gun. That gun goes against the entire idea behind piercing. All of my piercing, sixteen places on my body, every one of'em done with a needle. Five in each ear. One through the nipple on my left breast. One through my right nostril. One through my left eyebrow. One through my lip. One in my clit. And I wear a stud in my tongue.
Vince has been letting this conversation go through one ear and out the other , until that last remark .
VINCENT
( interrupting . )
Excuse me, sorry to interrupt. I'm curious, why would you get a stud in your tongue?
Jody looks at him and says as if it were the most obvious thing in the world .
JODY
It's a sex thing. It helps fellatio.
That thought never occurred to Vincent , but he ca n't deny it makes sense . Jody continues talking to Trudi , leaving Vincent to ponder the truth of her statement .
LANCE
( OS . )
Vince, you can come in now!
INT. LANCE'S BEDROOM - NIGHT
Lance , late - 20s , is a young man with a wild and woolly appearance that goes hand - in - hand with his wild and woolly personality . Lance has been selling drugs his entire adult life . He 's never had a day job , never filed a tax return and has never been arrested . He wears a red flannel shirt over a `` Speed Racer '' tee - shirt . Three bags of heroin lie on Lance 's bed . Lance and Vincent stand at the foot of the bed .
LANCE
Now this is Panda, from Mexico. Very good stuff. This is Bava, different, but equally good. And this is Choco from the Hartz Mountains of Germany. Now the first two are the same, forty - five an ounce - those are friend prices - but this one.
( pointing to the Choco . )
. this one's a little more expensive. It's fifty - five. But when you shoot it, you'll know where that extra money went. Nothing wrong with the first two. It's real, real, real, good shit. But this one's a fuckin' madman.
VINCENT
Remember, I just got back from Amsterdam.
LANCE
Am I a nigger? Are you in Inglewood? No. You're in my house. White people who know the difference between good shit and bad shit, this is the house they come to. My shit, I'll take the Pepsi Challenge with Amsterdam shit any ol' day of the fuckin' week.
VINCENT
That's a bold statement.
LANCE
This ai n't Amsterdam, Vince. This is a seller's market. Coke is fuckin' dead as disco. Heroin's comin' back in a big fuckin' way. It's this whole seventies retro. Bell bottoms, heroin, they're as hot as hell.
Vincent takes out a roll of money that would choke a horse to death .
VINCENT
Give me three hundred worth of the madman. If it's as good as you say, I'll be back for a thousand.
LANCE
I just hope I still have it. Whaddya think of Trudi? She ai n't got a boyfriend, wan na hand out an' get high?
VINCENT
Which one's Trudi? The one with all the shit in her face?
LANCE
No, that's Jody. That's my wife.
Vincent and Lance giggle at the `` faux pas . ''
VINCENT
I'm on my way somewhere. I got a dinner engagement. Rain check?
LANCE
No problem?
Vincent takes out his case of the works -LRB- utensils for shooting up -RRB- .
VINCENT
You do n't mind if I shoot up here?
LANCE
Me casa, su casa.
VINCENT
Mucho gracias.
Vincent takes his works out of his case and , as the two continue to talk , Vince shoots up .
LANCE
Still got your Malibu?
VINCENT
You know what some fucker did to it the other day?
LANCE
What?
VINCENT
Fuckin' keyed it.
LANCE
Oh man, that's fucked up.
VINCENT
Tell me about it. I had the goddamn thing in storage three years. It's out five fuckin' days - five days, and some dickless piece of shit fucks with it.
LANCE
They should be fuckin' killed. No trial, no jury, straight to execution.
As he cooks his heroin -
VINCENT
I just wish I caught'em doin' it, ya know? Oh man, I'd give anything to catch'em doin' it. It' a been worth his doin' it, if I coulda just caught'em, you know what I mean?
LANCE
It's chicken shit. You do n't fuck another man's vehicle.
CU - THE NEEDLE going into Vincent 's vein . CU - BLOOD spurting back into the syringe , mixing with the heroin . CU OF VINCENT 'S THUMB pushing down on the plunger .
EXT. MARSELLUS WALLACE'S HOUSE - NIGHT
Vincent walks up to the driveway leading to Marsellus Wallace 's front door . When he gets to the door , he hears MUSIC on the other side , and a note in plain view taped to it . He rips it off . CU - NOTE `` Hi Vincent , I 'm getting dressed . The door 's open . Come inside and make yourself a drink . Mia . '' Vincent neatly folds the note up , sticks it in his pocket , takes a here - goes - nothing breath and turns the knob .
INT. MARSELLUS WALLACE'S HOUSE - NIGHT
As Vincent steps inside , the MUSIC that was behind the door , SWELLS drastically . Vincent , hands in pockets , strolls inside , checking out his boss ' home .
VINCENT
( yelling . )
Hello! I'm here!
We hear a DOOR OPEN , Vincent turns in its direction .
INT. DRESSING ROOM - NIGHT
We 're inside the room where the MUSIC is PLAYING . In the f.g. MIA WALLACE , naked with her back to us , talks to Vincent through a crack in the door . The door shields the front of her body from Vincent .
MIA
Vincent Vega?
VINCENT
I'm Vincent, you Mia?
MIA
That's me, pleased to meetcha. I'm still getting dressed. To your left, past the kitchen, is a bar. Why do n't you make yourself a drink, have a seat in the living room, and I'll be out within three shakes of a lamb's tail.
VINCENT
Take your time.
Mia closes the door . Before she can fully turn around and show us her face . BACK TO VINCENT standing where he was , MUSIC beating , looking at the closed door . We slowly ZOOM to the door . We slowly ZOOM from a MEDIUM SHOT to CU on Vincent as he contemplates what 's on the other side of the door . When we reach a CU , he walks OUT OF FRAME , breaking the spell . Vincent walks to the bar and pours himself a drink . WE JUXTAPOSE as the MUSIC plays . Mia 's dress selection is taken out of the closet . Vincent , drink in hand , moves into the living room . Mia , her back to CAMERA , dressed in her pretty dress , checks herself in the mirror . We DOLLY towards her . Her face is still obscured . CU - PORTRAIT OF MIA hanging on the living room wall , showing Mia sensually reclining on a couch . HIGH ANGLE SHOT OF VINCENT looking up at the portrait . CU - Mia cutting a huge line of coke on her vanity table with a credit card . Vincent sits on a plush , comfy couch . CU - MIA 'S NOSE snorting the line from a rolled up dollar bill . Vincent on the couch , drink in hand . The SONG abruptly CUTS OFF . CU - CD PLAYER OPENING Mia 's hand comes in and takes the CD out . The CAMERA follows behind Mia 's bare feet as she walks out of the dressing room , through the dining room , through the kitchen and into the living room . SHOT THROUGH A VIDEO CAMERA Mia has a camcorder and is videotaping Vincent on the couch . He looks up and sees her .
MIA
( OS . )
Smile, you're on Mia's camera!
VINCENT
Ready to go?
MIA
( OS . )
Not yet. I'm going to interview you first. Are you any relation to Suzanne Vega?
VINCENT
Yeah, she's my cousin.
MIA
( OS . )
Suzanne Vega the folk singer is your cousin?
VINCENT
Suzanne Vega's my cousin. If she's become a folk singer, I sure as hell do n't know nothin' about it. But then I have n't been to too many Thanksgivings lately.
MIA
( OS . )
Now I'm gon na ask you a bunch of quick questions I've come up with that more of less tell me what kind of person I'm having dinner with. My theory is that when it comes to important subjects, there's only two ways a person can answer. For instance, there's two kinds of people in this world, Elvis people and Beatles people. Now Beatles people can like Elvis. And Elvis people can like the Beatles. But nobody likes them both equally. Somewhere you have to make a choice. And that choice tells me who you are.
VINCENT
I can dig it.
MIA
( OS . )
I knew you could. First question, Brady Bunch or the Partridge Family?
VINCENT
The Partridge Family all the way, no comparison.
MIA
( OS . )
On `` Rich Man, Poor Man,'' who did you like, Peter Strauss or Nick Nolte?
VINCENT
Nick Nolte, of course.
MIA
( OS . )
Are you a `` Bewitched'' man, or a `` Jeannie'' man?
VINCENT
`` Bewitched,'' all the way, though I always dug how Jeannie always called Larry Hagman `` master.''
MIA
( OS . )
If you were `` Archie,'' who would you fuck first, Betty or Veronica?
VINCENT
Betty. I never understood Veronica attraction.
MIA
( OS . )
Have you ever fantasized about being beaten up by a girl?
VINCENT
Sure.
MIA
( OS . )
Who?
VINCENT
Emma Peel on `` The Avengers.'' That tough girl who usta hang out with Encyclopedia Brown. And Arlene Motika.
MIA
( OS . )
Who's Arlene Motika?
VINCENT
Girl from sixth grade, you do n't know her.
CU - MIA lowers the camcorder from in front of her face and we get our first full - on look at her . When we do , we get a pretty good idea why Marsellus feels the way he does . She breaks out in a blinding smile .
MIA
Cut. Print. Let's go eat.
EXT. JACKRABBIT SLIM'S - NIGHT
In the past six years , 50 's diners have sprung up all over LA , giving Thai restaurants a run for their money . They 're all basically the same . Decor out of an `` Archie '' comic book , Golden Oldies constantly emanating from a bubbly Wurlitzer , saucy waitresses in bobby socks , menus with items like the Fats Domino Cheeseburger , or the Wolfman Jack Omelette , and over prices that pay for all this bullshit . But then there 's JACKRABBIT SLIM 'S , the big mama of 50 's diners . Either the best or the worst , depending on your point of view . Vincent 's Malibu pulls up to the restaurant . A big sign with a neon figure of a cartoon surly cool cat jackrabbit in a red windbreaker towers over the establishment . Underneath the cartoon is the name : JACKRABBIT SLIM 'S . Underneath that is the slogan : `` Next best thing to a time machine . ''
INT. JACKRABBIT SLIM'S - NIGHT
Compared to the interior , the exterior was that of a quaint English pub . Posters from 50 's A.I.P. movies are all over the wall -LRB- `` ROCK ALL NIGHT , '' `` HIGH SCHOOL CONFIDENTIAL , '' `` ATTACK OF THE CRAB MONSTER , '' and `` MACHINE GUN KELLY '' -RRB- . The booths that the patrons sit in are made out of the cut up bodies of 50s cars . In the middle of the restaurant in a dance floor . A big sign on the wall states , `` No shoes allowed . '' So wannabe beboppers -LRB- actually Melrose - types -RRB- , do the twist in their socks or barefeet . The picture windows do n't look out the street , but instead , B & W movies of 50 's street scenes play behind them . The WAITRESSES and WAITERS are made up as replicas of 50 's icons : MARILYN MONROE , ZORRO , JAMES DEAN , DONNA REED , MARTIN and LEWIS , and THE PHILIP MORRIS MIDGET , wait on tables wearing appropriate costumes . Vincent and Mia study the menu in a booth made out of a red '59 Edsel . BUDDY HOLLY -LRB- their waiter -RRB- , comes over , sporting a big button on his chest that says : `` Hi I 'm Buddy , pleasing you please me . ''
BUDDY
Hi I'm Buddy, what can I get ` cha?
VINCENT
I'll have the Douglas Sirk steak.
BUDDY
How d'ya want it, burnt to a crisp, or bloody as hell?
VINCENT
Bloody as hell. And to drink, a vanilla coke.
BUDDY
How ` bout you, Peggy Sue?
MIA
I'll have the Durwood Kirby burger - bloody - and a five - dollar shake.
BUDDY
How d'ya want that shake, Martin and Lewis, or Amos and Andy?
MIA
Martin and Lewis.
VINCENT
Did you just order a five - dollar shake?
MIA
Sure did.
VINCENT
A shake? Milk and ice cream?
MIA
Uh - huh.
VINCENT
It costs five dollars?
BUDDY
Yep.
VINCENT
You do n't put bourbon in it or anything?
BUDDY
Nope.
VINCENT
Just checking.
Buddy exits . Vincent takes a look around the place . The YUPPIES are dancing , the DINERS are biting into big , juicy hamburgers , and the icons are playing their parts . Marilyn is squealing , The Midget is paging Philip Morris , Donna Reed is making her customers drink their milk , and Dean and Jerry are acting a fool .
MIA
Whaddya think?
VINCENT
It's like a wax museum with a pulse rate.
Vincent takes out his pouch of tobacco and begins rolling himself a smoke . After a second of watching him -
MIA
What are you doing?
VINCENT
Rollin' a smoke.
MIA
Here?
VINCENT
It's just tobacco.
MIA
Oh. Well in that case, will you roll me one, cowboy?
As he finishes licking it -
VINCENT
You can have his one, cowgirl.
He hands her the rolled smoke . She takes it , putting it to her lips . Out of nowhere appears a Zippo lighter in Vincent 's hand . He lights it .
MIA
Thanks.
VINCENT
Think nothing of it.
He begins rolling one for himself . As this time , the SOUND of a subway car fills the diner , making everything SHAKE and RATTLE . Marilyn Monroe runs to a square vent in the floor . An imaginary subway train BLOWS the skirt of her white dress around her ears as she lets out a squeal . The entire restaurant applauds . Back to Mia and Vincent
MIA
Marsellus said you just got back from Amsterdam.
VINCENT
Sure did. I heard you did a pilot.
MIA
That was my fifteen minutes.
VINCENT
What was it?
MIA
It was show about a team of female secret agents called `` Fox Force Five.''
VINCENT
What?
MIA
`` Fox Force Five.'' Fox, as in we're a bunch of foxy chicks. Force, as in we're a force to be reckoned with. Five, as in there's one. two. three. four. five of us. There was a blonde one, Sommerset O'Neal from that show `` Baton Rouge,'' she was the leader. A Japanese one, a black one, a French one and a brunette one, me. We all had special skills. Sommerset had a photographic memory, the Japanese fox was a kung fu master, the black girl was a demolition expert, the French fox' specialty was sex.
VINCENT
What was your specialty?
MIA
Knives. The character I played, Raven McCoy, her background was she was raised by circus performers. So she grew up doing a knife act. According to the show, she was the deadliest woman in the world with a knife. But because she grew up in a circus, she was also something of an acrobat. She could do illusions, she was a trapeze artist - when you're keeping the world safe from evil, you never know when being a trapeze artist's gon na come in handy. And she knew a zillion old jokes her grandfather, an old vaudevillian, taught her. If we woulda got picked up, they woulda worked in a gimmick where every episode I woulda told and ol joke.
VINCENT
Do you remember any of the jokes?
MIA
Well I only got the chance to say one,'cause we only did one show.
VINCENT
Tell me.
MIA
No. It's really corny.
VINCENT
C'mon, do n't be that way.
MIA
No. You wo n't like it and I'll be embarrassed.
VINCENT
You told it in front of fifty million people and you ca n't tell it to me? I promise I wo n't laugh.
MIA
( laughing . )
That's what I'm afraid of.
VINCENT
That's not what I meant and you know it.
MIA
You're quite the silver tongue devil, are n't you?
VINCENT
I meant I would n't laugh at you.
MIA
That's not what you said Vince. Well now I'm definitely not gon na tell ya,'cause it's been built up too much.
VINCENT
What a gyp.
Buddy comes back with the drinks . Mia wraps her lips around the straw of her shake .
MIA
Yummy!
VINCENT
Can I have a sip of that? I'd like to know what a five - dollar shake tastes like.
MIA
Be my guest.
She slides the shake over to him .
MIA
You can use my straw, I do n't have kooties.
Vincent smiles .
VINCENT
Yeah, but maybe I do.
MIA
Kooties I can handle.
He takes a sip .
VINCENT
Goddamn! That's a pretty fuckin' good milk shake.
MIA
Told ya.
VINCENT
I do n't know if it's worth five dollars, but it's pretty fuckin' good.
He slides the shake back . Then the first of an uncomfortable silence happens .
MIA
Do n't you hate that?
VINCENT
What?
MIA
Uncomfortable silences. Why do we feel it's necessary to yak about bullshit in order to be comfortable?
VINCENT
I do n't know.
MIA
That's when you know you found somebody special. When you can just shit the fuck up for a minute, and comfortably share silence.
VINCENT
I do n't think we're there yet. But do n't feel bad, we just met each other.
MIA
Well I'll tell you what, I'll go to the bathroom and powder my nose, while you sit here and think of something to say.
VINCENT
I'll do that.
INT. JACKRABBIT SLIM'S (LADIES ROOM) - NIGHT
Mia powders her nose by doing a big line of coke off the bathroom sink . Her head jerks up from the rush .
MIA
( imitating Steppenwolf . )
I said goddamn!
INT. JACKRABBIT SLIM'S (DINING AREA) - NIGHT
Vincent digs into his Douglas Sirk steak . As he chews , his eyes scan the Hellsapopinish restaurant . Mia comes back to the table .
MIA
Do n't you love it when you go to the bathroom and you come back to find your food waiting for you?
VINCENT
We're lucky we got it at all. Buddy Holly does n't seem to be much of a waiter. We shoulda sat in Marilyn Monroe's section.
MIA
Which one, there's two Marilyn Monroes.
VINCENT
No there's not.
Pointing at Marilyn in the white dress serving a table .
VINCENT
That's Marilyn Monroe.
Then , pointing at a BLONDE WAITRESS in a tight sweater and capri pants , taking an order from a bunch of FILM GEEKS -
VINCENT
and that's Mamie Van Doren. I do n't see Jayne Mansfield, so it must be her night off.
MIA
Pretty smart.
VINCENT
I have moments.
MIA
Did ya think of something to say?
VINCENT
Actually, there's something I've wanted to ask you about, but you seem like a nice person, and I did n't want to offend you.
MIA
Oooohhhh, this does n't sound like mindless, boring, getting - to - know - you chit - chat. This sounds like you actually have something to say.
VINCENT
Only if you promise not to get offended.
MIA
You ca n't promise something like that. I have no idea what you're gon na ask. You could ask me what you're gon na ask me, and my natural response could be to be offended. Then, through no fault of my own, I woulda broken my promise.
VINCENT
Then let's just forget it.
MIA
That is an impossibility. Trying to forget anything as intriguing as this would be an exercise in futility.
VINCENT
Is that a fact?
Mia nods her head : `` Yes . ''
MIA
Besides, it's more exciting when you do n't have permission.
VINCENT
What do you think about what happened to Antwan?
MIA
Who's Antwan?
VINCENT
Tony Rocky Horror.
MIA
He fell out of a window.
VINCENT
That's one way to say it. Another way is, he was thrown out. Another was is, he was thrown out by Marsellus. And even another way is, he was thrown out of a window by Marsellus because of you.
MIA
Is that a fact?
VINCENT
No it's not, it's just what I heard.
MIA
Who told you this?
VINCENT
They.
Mia and Vincent smile .
MIA
They talk a lot, do n't they?
VINCENT
They certainly do.
MIA
Well do n't by shy Vincent, what exactly did they say?
Vincent is slow to answer
MIA
Let me help you Bashful, did it involve the F - word?
VINCENT
No. They just said Rocky Horror gave you a foot massage.
MIA
And?
VINCENT
No and, that's it.
MIA
You heard Marsellus threw Rocky Horror out of a four - story window because he massaged my feet?
VINCENT
Yeah.
MIA
And you believed that?
VINCENT
At the time I was told, it seemed reasonable.
MIA
Marsellus throwing Tony out of a four - story window for giving me a foot massage seemed reasonable?
VINCENT
No, it seemed excessive. But that does n't mean it did n't happen. I heard Marsellus is very protective of you.
MIA
A husband being protective of his wife is one thing. A husband almost killing another man for touching his wife's feet is something else.
VINCENT
But did it happen?
MIA
The only thing Antwan ever touched of mine was my hand, when he shook it. I met Anwan once - at my wedding - then never again. The truth is, nobody knows why Marsellus tossed Tony Rocky Horror out of that window except Marsellus and Tony Rocky Horror. But when you scamps get together, you're worse than a sewing circle.
VINCENT
Are you mad?
MIA
Not at all. Being the subject of back - fence gossip goes with the right, I guess.
She takes a sip of her five - dollar shake , and says :
MIA
Thanks.
VINCENT
What for?
MIA
Asking my side.
At that moment , a great oldie - but - goodie BLASTS from the jukebox .
MIA
I wan na dance.
VINCENT
I'm not much of a dancer.
MIA
Now I'm the one gettin' gyped. I do believe Marsellus told you to take me out and do whatever I wanted. Well, now I want to dance.
Vincent smiles and begins taking off his boots . Mia triumphantly casts hers off . He takes her hand , escorting her to the dance floor . The two face each other for that brief moment before you begin to dance , than they both break into a devilish twist . Mia 's version of the twist is that of a sexy cat . Vincent is pure Mr. Cool as he gets into a hip - swivelling rhythm that would make Mr. Checker proud . The OTHER DANCERS on the floor are trying to do the same thing , but Vincent and Mia seem to be strangely shaking their asses in sync . The two definitely share a rhythm and share smiles as they SING ALONG with the last verse of the Golden Oldie .
INT. MARSELLUS WALLACE'S HOME - NIGHT
The front door FLINGS open , and Mia and Vincent dance tango - style into the house , singing a cappella the song from the previous scene . They finish their little dance , laughing . Then . The two just stand face to face looking at each other .
VINCENT
Was than an uncomfortable silence?
MIA
I do n't know what that was.
( pause . )
Music and drinks!
Mia moves away to attend to both . Vincent hangs up his overcoat on a big bronze coat rack in the alcove .
VINCENT
I'm gon na take a piss.
MIA
That was a little bit more information than I needed to know, but for right ahead.
Vincent shuffles off to the john . Mia moves to her CD player , thumbs through a stack of CDs and selects one : k.d. lang . The speakers BLAST OUT a high energy country number , which Mia plays air - guitar to . She dances her way around the room and finds herself by Vincent 's overcoat hanging on the rack . She touches its sleeve . It feels good . Her hand hoes in its pocket and pulls out his tobacco pouch . Like a little girl playing cowboy , she spreads the tobacco on some rolling paper . Imitating what he did earlier , licks the paper and rolls it into a pretty good cigarette . Maybe a little too fat , but not bad for a first try . Mia thinks so anyway . Her hand reaches back in the pocket and pulls out his Zippo lighter . She SLAPS the lighter against her leg , trying to light it fancy - style like Vince did . What do you know , she did it ! Mia 's one happy clam . She triumphantly brings the fat flame up to her fat smoke , lighting it up , then LOUDLY SNAPS the Zippo closed . The Mia - made cigarette is brought up to her lips , and she takes a long , cool drag . Her hand slides the Zippo back in the overcoat pocket . But wait , her fingers touch something else . Those fingers bring out a plastic bag with white powder inside , the madman that Vincent bought earlier from Lance . Wearing a big smile , Mia brings the bag of heroin up to her face .
MIA
( like you would say Bingo ! )
Disco! Vince, you little cola nut, you've been holding out on me.
INT. BATHROOM (MARSELLUS WALLACE'S HOUSE) - NIGHT
Vincent stands at the sink , washing his hands , talking to himself in the mirror .
VINCENT
One drink and leave. Do n't be rude, but drink your drink quickly, say goodbye, walk out the door, get in your car, and go down the road.
LIVING ROOM Mia has the unbeknownst - to - her heroin cut up into big lines on her glass top coffee table . Taking her trusty hundred dollar bill like a human Dust - Buster , she quickly snorts the fat line . CU - MIA her head JERKS back . Her hands go to her nose -LRB- which feels like it 's on fucking fire -RRB- , something is terribly wrong . Then . the rush hits . BATHROOM Vincent dries his hands on a towel while he continues his dialogue with the mirror .
VINCENT
it's a moral test of yourself, whether or not you can maintain loyalty. Because when people are loyal to each other, that's very meaningful.
LIVING ROOM Mia is on all fours trying to crawl to the bathroom , but it 's like she 's trying to crawl with the bones removed from her knees . Blood begins to drip from Mia 's nose . Then her stomach gets into the act and she VOMITS . BATHROOM Vince continues .
VINCENT
So you're gon na go out there, drink your drink, say `` Goodnight, I've had a very lovely evening,'' go home, and jack off. And that's all you're gon na do.
Now that he 's given himself a little pep talk , Vincent 's ready for whatever 's waiting for him on the other side of that door . So he goes through it . LIVING ROOM We follow behind Vincent as he walks from the bathroom to the living room , where he finds Mia lying on the floor like a rag doll . She 's twisted on her back . Blood and puke are down her front . And her face is contorted . Not out of the tightness of pain , but just the opposite , the muscles in her face are so relaxed , she lies still with her mouth wide open . Slack - jawed .
VINCENT
Jesus Christ!
Vincent moves like greased lightning to Mia 's fallen body . Bending down where she lays , he puts his fingers on her neck to check her pulse . She slightly stirs . Mia is aware of Vincent over her , speaking to her .
VINCENT
( sounding weird . )
Mia! Mia! What the hell happened?
But she 's unable to communicate . Mia makes a few lost mumbles , but they 're not distinctive enough to be called words . Vincent props her eyelids open and sees the story .
VINCENT
( to himself . )
I'll be a sonofabitch.
( to Mia . )
Mia! Mia! What did you take? Answer me honey, what did you take?
Mia is incapable of answering . He SLAPS her face hard . Vincent SPRINGS up and RUNS to his overcoat , hanging on the rack . He goes through the pockets FRANTICALLY . It 's gone . Vincent makes a beeline to Mia . We follow .
VINCENT
( yelling to Mia . )
Okay honey, we're getting you on your feet.
He reaches her and hoists the dead weight up in his arms .
VINCENT
We're on our feet now, and now we're gon na talk out to the car. Here we go, watch us walk.
We follow behind as he hurriedly walks the practically - unconscious Mia through the house and out the front door .
EXT. VINCENT'S HOT ROD (MOVING) - NIGHT
INSERT SPEEDOMETER : red needle on a hundred . Vincent driving like a madman in a town without traffic laws , speeds the car into turns and up and over hills .
INT. VINCENT'S HOT ROD (MOVING) - NIGHT
Vincent , one hand firmly on the wheel , the other shifting like Robocop , both eyes staring straight ahead except when he glances over at Mia . Mia , slack - jawed expression , mouth gaping , posture of a bag of water . Vincent takes a cellular phone out of his pocket . He punches a number .
INT. LANCE'S HOUSE - NIGHT
At this late hour , Lance has transformed from a bon vivant drug dealer to a bathrobe creature . He sits in a big comfy chair , ratty blue gym pants , a worn - out but comfortable tee - shirt that has , written on it , `` TAFT , CALIFORNIA , '' and a moth - ridden terry cloth robe . In his hand is a bowl of Cap'n Crunch with Crunch Berries . In front of him on the coffee table is a jug of milk , the box the Cap'n Crunch with Crunch Berries came out of , and a hash pipe in an ashtray . On the big - screen TV in front of the table is the Three Stooges , and they 're getting married .
PREACHER
( EMIL SIMKUS . )
( on TV . )
Hold hands, you love birds.
The phone RINGS . Lance puts down his cereal and makes his way to the phone . It RINGS again . Jody , his wife , CALLS from the bedroom , obviously woken up .
JODY
( OS . )
Lance! The phone's ringing!
LANCE
( calling back . )
I can hear it!
JODY
( OS . )
I thought you told those fuckin' assholes never to call this late!
LANCE
( by the phone . )
I told'em and that's what I'm gon na tell this fuckin' asshole right now!
( he answers the phone . )
Hello, do you know how late it is? You're not supposed to be callin' me this fuckin' late.
BACK TO VINCENT IN THE MALIBU Vincent is still driving like a stripe - assed ape , clutching the phone to his ear . WE CUT BACK AND FORTH during the conversation .
VINCENT
Lance, this is Vincent, I'm in big fuckin' trouble man, I'm on my way to your place.
LANCE
Whoa, hold you horses man, what's the problem?
VINCENT
You still got an adrenalin shot?
LANCE
( dawning on him . )
Maybe.
VINCENT
I need it man, I got a chick she's fuckin' O.D.ing on me.
LANCE
Do n't bring her here! I'm not even fuckin' joking with you, do n't you be bringing some fucked up pooh - butt to my house!
VINCENT
No choice.
LANCE
She's O.D.in'?
VINCENT
Yeah. She's dyin'.
LANCE
Then bite the fuckin' bullet, take ` er to a hospital and call a lawyer!
VINCENT
Negative.
LANCE
She ai n't my fuckin' problem, you fucked her up, you deal with it - are you talkin' to me on a cellular phone?
VINCENT
Sorry.
LANCE
I do n't know you, who is this, do n't come here, I'm hangin' up.
VINCENT
Too late, I'm already here.
At that moment inside Lance 's house , WE HEAR Vincent 's Malibu coming up the street . Lance hangs up the phone , goes to his curtains and YANKS the cord . The curtains open with a WHOOSH in time to see Vincent 's Malibu DRIVING UP on his front lawn and CRASHING into his house . THe window Lance is looking out of SHATTERS from the impact .
JODY
( OS . )
What the hell was that?
Lance CHARGES from the window , out the door to his front lawn .
EXT. LANCE'S HOUSE - NIGHT
Vincent is already out of the car , working on getting Mia out .
LANCE
Have you lost your mind?! You crashed your car in my fuckin' house! You talk about drug shit on a cellular fuckin' phone -
VINCENT
If you're through havin' your little hissy fit, this chick is dyin', get your needle and git it now!
LANCE
Are you deaf? You're not bringin' that fucked up bitch in my house!
VINCENT
This fucked up bitch is Marsellus Wallace's wife. Now if she fuckin' croaks on me, I'm a grease spot. But before he turns me into a bar soap, I'm gon na be forced to tell ` im about how you coulda saved her life, but instead you let her die on your front lawn.
INT. LANCE'S HOUSE - NIGHT
WE START in Lance 's and Jody 's bedroom . Jody , in bed , throws off the covers and stands up . She 's wearing a long tee - shirt with a picture of Fred Flintstone on it . We follow HANDHELD behind her as she opens the door , walking through the hall into the living room .
JODY
It's only one - thirty in the goddamn mornin'! What the fuck's goin' on out here?
As she walks in the living room , she sees Vincent and Lance standing over Mia , who 's lying on the floor in the middle of the room . From here on in , everything in this scene is frantic , like a DOCUMENTARY in an emergency ward , with the big difference here being nobody knows what the fuck they 're doing .
JODY
Who's she?
Lance looks up at Jody .
LANCE
Get that black box in the bedroom I have with the adrenalin shot.
JODY
What's wrong with her?
VINCENT
She's O.D.ing on us.
JODY
Well get her the hell outta here!
LANCE AND VINCENT
( in stereo . )
Get the fuckin' shot!
JODY
Do n't yell and me!
She angrily turns and disappears into the bedroom looking for the shot . WE MOVE into the room with the two men .
VINCENT
( to Lance . )
You two are a match made in heaven.
LANCE
Look, just keep talkin' to her, okay? While she's gettin' the shot, I got ta get a medical book.
VINCENT
What do you need a medical book for?
LANCE
To tell me how to do it. I've never given an adrenalin shot before.
VINCENT
You've had that thing for six years and you never used it?
LANCE
I never had to use it. I do n't go joy - poppin' with bubble - gummers, all of my friends can handle their highs!
VINCENT
Well then get it.
LANCE
I am, if you'll let me.
VINCENT
I'm not fuckin' stoppin' you.
LANCE
Stop talkin' to me, and start talkin' to her.
WE FOLLOW Lance as he runs out of the living room into a . SPARE ROOM with a bunch of junk in it . He frantically starts scanning the junk for the book he 's looking for , repeating the words , `` Come on , '' endlessly . From OFF SCREEN we hear :
VINCENT
( OS . )
Hurry up man! We're losin' her!
LANCE
( calling back . )
I'm looking as fast as I can!
Lance continues his frenzied search . WE HEAR Jody in the living room now as she talks to Vincent .
JODY
( OS . )
What's he lookin' for?
VINCENT
( OS . )
I dunno, some medical book.
Jody calls to Lance .
JODY
( OS . )
What are you lookin' for?
LANCE
My black medical book!
As he continues searching , flipping and knocking over shit , Jody appears in the doorway .
JODY
Whata re you looking for?
LANCE
My black fuckin' medical book. It's like a text book they give to nurses.
JODY
I never saw a medical book.
LANCE
Trust me, I have one.
JODY
Well if it's that important, why did n't you keep it with the shot?
Lance spins toward her .
LANCE
I do n't know! Stop bothering me!
JODY
While you're lookin' for it, that girl's gon na die on our carpet. You're never gon na find it in all this shit. For six months now, I've been telling you to clean this room -
VINCENT
( OS . )
- get your ass in here, fuck the book!
Lance angrily knocks over a pile of shit and leaves the SHOT heading for the living room . LIVING ROOM Vincent is bent over Mia , talking softly to her , when Lance reenters the room .
VINCENT
Quit fuckin' around man and give her the shot!
Lance bends down by the black case brought in by Jody . He opens it and begins preparing the needle for injection .
LANCE
While I'm doing this, take her shirt off and find her heart.
Vince rips her blouse open . Jody stumbles back in the room , hanging back from the action .
VINCENT
Does it have to be exact?
LANCE
Yeah, it has to be exact! I'm giving her an injection in the heart, so I got ta exactly hit her in the heart.
VINCENT
Well, I do n't know exactly where her heart is, I think it's here.
Vince points to Mia 's right breast . Lance glances over and nods .
LANCE
That's it.
As Lance readies the injection , Vincent looks up at Jody .
VINCENT
I need a big fat magic marker, got one?
JODY
What?
VINCENT
I need a big fat magic marker, any felt pen'll do, but a magic marker would be great.
JODY
Hold on.
Jody runs to the desk , opens the top drawer and , in her enthusiasm , she pulls the drawer out of the desk , the contents of which -LRB- bills , papers , pens -RRB- spill to the floor . The injection is ready . Lance hands Vincent the needle .
LANCE
It's ready, I'll tell you what to do.
VINCENT
You're gon na give her the shot.
LANCE
No, you're gon na give her the shot.
VINCENT
I've never does this before.
LANCE
I've never does this before either, and I ai n't starting now. You brought ` er here, that means you give her the shot. The day I bring an O.D.ing bitch to your place, then I got ta give her the shot.
Jody hurriedly joins them in the huddle , a big fat red magic marker in her hand .
JODY
Got it.
Vincent grabs the magic marker out of Jody 's hand and makes a big red dot in Mia 's body where her heart is .
VINCENT
Okay, what do I do?
LANCE
Well, you're giving her an injection of adrenalin straight to her heart. But she's got a breast plate in front of her heart, so you got ta pierce through that. So what you got ta do is bring the needle down in a stabbing motion.
Lance demonstrates a stabbing motion , which looks like `` The Shape '' killing its victims in `` HALLOWEEN . ''
VINCENT
I got ta stab her?
LANCE
If you want the needle to pierce through to her heart, you got ta stab her hard. Then once you do, push down on the plunger.
VINCENT
What happens after that?
LANCE
I'm curious about that myself.
VINCENT
This ai n't a fuckin' joke man!
LANCE
She's supposed to come out of it like -.
( snaps his fingers . )
- that.
Vincent lifts the needle up above his head in a stabbing motion . He looks down on Mia . Mia is fading fast . Soon nothing will help her . Vincent 's eyes narrow , ready to do this .
VINCENT
Count to three.
Lance , on this knees right beside Vincent , does not know what to expect .
LANCE
One.
RED DOT on Mia 's body . Needle raised ready to strike .
LANCE
( OS . )
two.
Jody 's face is alive with anticipation . NEEDLE in that air , poised like a rattler ready to strike .
LANCE
( OS . )
three!
The needle leaves frame , THRUSTING down hard . Vincent brings the needle down hard , STABBING Mia in the chest . Mia 's head if JOLTED from the impact . The syringe plunger is pushed down , PUMPING the adrenalin out through the needle . Mia 's eyes POP WIDE OPEN and she lets out a HELLISH cry of the banshee . She BOLTS UP in a sitting position , needle stuck in her chest - SCREAMING . Vincent , Lance and Jody , who were in sitting positions in front of Mia , JUMP BACK , scared to death . Mia 's scream runs out . She slowly starts taking breaths of air . The other three , now scooted halfway across the room , shaken to their bones , look to see if she 's alright .
LANCE
If you're okay, say something.
Mia , still breathing , not looking up at them , says in a relatively normal voice .
MIA
Something.
Vincent and Lance collapse on their backs , exhausted and shaking from how close to death Mia came .
JODY
Anybody want a beer?
INT. VINCENT'S MALIBU (MOVING) - NIGHT
Vincent is behind the wheel driving Mia home . No one says anything , both are still too shaken .
EXT. FRONT OF MARSELLUS WALLACE'S HOUSE - NIGHT
The Malibu pulls up to the front . Mia gets out without saying a word -LRB- still in a daze -RRB- and begins walking down the walkway toward her front door .
VINCENT
( OS . )
Mia!
She turns around . Vincent 's out of the car , standing on the walkway , a big distance between the two .
VINCENT
What are your thoughts on how to handle this?
MIA
What's yours?
VINCENT
Well I'm of the opinion that Marsellus can live his whole live and never ever hear of this incident.
Mia smiles .
MIA
Do n't worry about it. If Marsellus ever heard of this, I'd be in as much trouble as you.
VINCENT
I seriously doubt that.
MIA
If you can keep a secret, so can I.
VINCENT
Let's shake on it.
The two walk toward each other , holding out their hands to shake and shake they do .
VINCENT
Mum's the word.
Mia lets go of Vincent 's hand and silently makes the see - no - evil , hear - no - evil , and speak - no - evil sign with her hands . Vincent smiles .
VINCENT
If you'll excuse me, I got ta go home and have a heart attack.
Mia giggles . Vincent turns to leave .
MIA
You still wan na hear my `` FOX FORCE FIVE'' joke?
Vincent turns around .
VINCENT
Sure, but I think I'm still a little too petrified to laugh.
MIA
Uh - huh. You wo n't laugh because it's not funny. But if you still wan na hear it, I'll tell it.
VINCENT
I ca n't wait.
MIA
Three tomatoes are walking down the street, a poppa tomato, a momma tomato, and a little baby tomato. The baby tomato is lagging behind the poppa and momma tomato. The poppa tomato gets mad, goes over to the momma tomato and stamps on him -.
( STAMPS on the ground . )
- and says : catch up.
They both smile , but neither laugh .
MIA
See ya ` round, Vince.
Mia turns and walks inside her house . CU - VINCENT after Mia walks inside . Vincent continues to look at where she was . He brings his hands to his lips and blows her a kiss . Then exits FRAME leaving it empty . WE HEAR his Malibu START UP and DRIVE AWAY . FADE TO BLACK ON THE CARTOON `` SPEED RACER . '' Speed is giving a detailed description of all the features on his race car `` The Mac - 5 , '' which he does at the beginning of every episode . OFF SCREEN we hear a WOMAN 'S VOICE .
WOMAN'S VOICE
( OS . )
Butch.
BUTCH 'S POV We 're in the living room of a modest two bedroom house in Alhambra , California , in the year 1972 . BUTCH 'S MOTHER , 35ish , stands in the doorway leading into the living room . Next to her is a man dressed in the uniform of an American Air Force officer . The CAMERA is the perspective of a five - year old boy .
MOTHER
Butch, stop watching TV a second. We got a special visitor. Now do you remember when I told you your daddy dies in a P.O.W. camp?
BUTCH
( OS . )
Uh - huh.
MOTHER
Well this here is Capt. Koons. He was in the P.O.W. camp with Daddy.
CAPT. KOONS steps inside the room toward the little boy and bends down on one knee to bring him even with the boy 's eyeline . When Koons speaks , he speaks with a slight Texas accent .
CAPT. KOONS
Hello, little man. Boy I sure heard a bunch about you. See, I was a good friend of your Daddy's. We were in that Hanoi pit of hell over five years together. Hopefully, you'll never have to experience this yourself, but when two men are in a situation like me and your Daddy were, for as long as we were, you take on certain responsibilities of the other. If it had been me who had not made it, Major Coolidge would be talkin' right now to my son Jim. But the way it worked out is I'm talkin' to you, Butch. I got somethin' for ya.
The Captain pulls a gold wrist watch out of his pocket .
CAPT. KOONS
This watch I got here was first purchased by your great - granddaddy. It was bought during the First World War in a little general store in Knoxville, Tennessee. It was bought by private Doughboy Ernie Coolidge the day he set sail for Paris. It was your great - granddaddy's war watch, made by the first company to ever make wrist watches. You see, up until then, people just carried pocket watches. Your great - granddaddy wore that watch every day he was in the war. Then when he had done his duty, he went home to your great - grandmother, took the watch off his wrist and put it in an ol' coffee can. And in that can it stayed'til your grandfather Dane Coolidge was called upon by his country to go overseas and fight the Germans once again. This time they called it World War Two. Your great - granddaddy gave it to your granddad for good luck. Unfortunately, Dane's luck was n't as good as his old man's. Your granddad was a Marine and he was killed with all the other Marines at the battle of Wake Island. Your granddad was facing death and he knew it. None of those boys had any illusions about ever leavin' that island alive. So three days before the Japanese took the island, your 22 - year old grandfather asked a gunner on an Air Force transport named Winocki, a man he had never met before in his life, to deliver to his infant son, who he had never seen in the flesh, his gold watch. Three days later, your grandfather was dead. But Winocki kept his word. After the war was over, he paid a visit to your grandmother, delivering to your infant father, his Dad's gold watch. This watch. This watch was on your Daddy's wrist when he was shot down over Hanoi. He was captured and put in a Vietnamese prison camp. Now he knew if the gooks ever saw the watch it's be confiscated. The way your Daddy looked at it, that watch was your birthright. And he'd be damned if and slopeheads were gon na put their greasy yella hands on his boy's birthright. So he hid it in the one place he knew he could hide somethin'. His ass. Five long years, he wore this watch up his ass. Then when he died of disentary, he gave me the watch. I hid with uncomfortable hunk of metal up my ass for two years. Then, after seven years, I was sent home to my family. And now, little man, I give the watch to you.
Capt. Koons hands the watch to Butch . A little hand comes into FRAME to accept it .
INT. LOCKER ROOM - NIGHT
The 27 - year old Butch Coolidge is dressed in boxing regalia : trunks , shoes and gloves . He lies on a table catching a few zzzzzz 's before his big fight . Almost as soon as WE CUT to him , he wakes up with a start . Shaken by the bizarre memory , he wipes his sweaty face with his boxing glove . His trainer KLONDIKE , an older fireplug , opens the door a little , sticking his head in the room . Pandemonium seems to be breaking out behind Klondike in the hallway .
KLONDIKE
It's time, Butch.
BUTCH
I'm ready.
Klondike steps inside , closing the door on the WILD MOB outside . He goes to the long yellow robe hanging on a hook . Butch hops off the table and , without a word , Klondike helps him on with the robe , which says on the back : `` BATTLING BUTCH COOLIDGE . '' The two men head for the door . Klondike opens the door for Butch . As Butch steps into the hallway , the Crowd goes apeshit . Klondike closes the door behind him , leaving us in the quiet , empty locker room . FADE TO BLACK `` THE GOLD WATCH . ''
SPORTSCASTER #1
( OS . )
- well Dan, that had to be the bloodiest and, hands - down, the most brutal fight this city has ever seen.
The SOUND of chaos in the b.g.
EXT. ALLEY (RAINING) - NIGHT
A taxi is parked in a dark alley next to an auditorium . The sky is PISSIN ' DOWN RAIN . WE SLOWLY DOLLY toward the parked car . The SOUND of the CAR RADIO can be heard coming from inside .
SPORTSCASTER #1
( OS . )
Coolidge was out of there faster than I've ever seen a victorious boxer vacate the ring. Do you think he knew Willis was dead?
SPORTSCASTER #2
( OS . )
My guess would be yes, Richard. I could see from my position here, the frenzy in his eyes give way to the realization of what he was doing. I think any man would've left the ring that fast.
INT. TAXI (PARKED/RAINING) - NIGHT
Inside the taxi , behind the wheel , is a female cabbie named ESMARELDA VILLALOBOS . A young woman , with Spanish looks , sits parked , drinking a steaming hot cup of coffee out of a white styrofoam cup . The Sportscasters continue their coverage .
SPORTSCASTER #1
( OS . )
Do you feel this ring death tragedy will have an effect on the world of boxing?
SPORTSCASTER #2
( OS . )
Oh Dan, a tragedy like this ca n't help but shake the world of boxing to its very foundation. But it's of paramount importance that during the sad weeks ahead, the eyes of the W.B.A. remain firmly fixed on the - CLICK -
Esmarelda shuts off the radio . She takes a sip of coffee , then hears a NOISE behind her in the alley . She sticks her head out of the car door to see : A window about three stories high opens on the auditorium - side of the alley . A gym bag is tossed out into a garbage dumpster below the window . Then , Butch Coolidge , still dressed in boxing trunks , shoes , gloves and yellow robe , LEAPS to the dumpster below . ESMARELDA 'S REACTION takes in the strangeness of this sight . Gym bag in hand , Butch CLIMBS out of the dumpster and RUNS to the taxi . Before he climbs in , he takes off his robe and throws it to the ground .
INT. TAXI (PARKED/RAINING) - NIGHT
Butch , soaking wet , naked except for trunks , shoes and gloves , HOPS in the backseat , SLAMMING the door . Esmarelda , staring straight ahead , talks to Butch through the rearview mirror :
ESMARELDA
( Spanish accent . )
Are you the man I was supposed to pick up?
BUTCH
If you're the cab I called, I'm the guy you're supposed to pick up.
ESMARELDA
Where to?
BUTCH
Outta here.
The ignition key is TWISTED . The engine ROARS to life . The meter is FLIPPED on . Esmarelda 's bare foot STOMPS on the gas pedal .
EXT. BOXING AUDITORIUM (RAINING) - NIGHT
The cab WHIPS out of the alley , FISH - TAILING on the wet pavement in front of the auditorium at a rapid pace .
INT. WILLIS LOCKER ROOM (AUDITORIUM) - NIGHT
Locker room door opens , English Dave fights his way through the pandemonium which is going on outside in the hall , shutting the door on the madness . Once inside , English Dave takes time to adjust his suit and tie . In the room , black boxer FLOYD RAY WILLIS lies on a table - dead . His face looks like he went dunking for bees . His TRAINER is on his knees , head on Floyd 's chest , crying over the body . The huge figure that is Marsellus Wallace stands at the table , hand on the Trainer 's shoulder , lending emotional support . We still do not see Marsellus clearly , only that he is big . Mia sits in a chair at the far end of the room . Marsellus looks up , sees English Dave and walks over to him .
MARSELLUS
( OS . )
What ` cha got?
ENGLISH DAVE
He booked.
MARSELLUS
( OS . )
I'm prepared to scour the earth for this motherfucker. If Butch goes to Indo China, I want a nigger hidin' in a bowl of rice, ready to pop a cap in his ass.
ENGLISH DAVE
I'll take care of it.
INT. CAB (MOVING/RAINING) - NIGHT
Butch gets one of his boxing gloves off . Esmarelda watches in the rearview mirror . He tries to roll down one of the backseat windows , but ca n't find the roll bar .
BUTCH
Hey, how do I open the window back here?
ESMARELDA
I have to do it.
She presses a button and the back window moves down . Butch tosses his boxing glove out the window , then starts untying the other one . Esmarelda ca n't keep quiet anymore .
ESMARELDA
Hey, mister?
BUTCH
( still working on the glove . )
What?
ESMARELDA
You were in that fight? The fight on the radio - you're the fighter?
As he tosses his other glove out the window .
BUTCH
Whatever gave you that idea?
ESMARELDA
No c'mon, you're him, I know you're him, tell me you're him.
BUTCH
( drying himself with a gym towel . )
I'm him.
ESMARELDA
You killed the other boxing man.
BUTCH
He's dead?
ESMARELDA
The radio said he was dead.
He finished wiping himself down .
BUTCH
( to himself . )
Sorry ` bout that, Floyd.
He tosses the towel out the window . Silence , as Butch digs in his bag for a tee - shirt .
ESMARELDA
What does it feel like?
BUTCH
( finds his shirt . )
What does what feel like?
ESMARELDA
Killing a man. Beating another man to death with your bare hands.
Butch pulls on his tee - shirt .
BUTCH
Are you some kinda weirdo?
ESMARELDA
No, it's a subject I have much interest in. You are the first person I ever met who has killed somebody. So, what was it like to kill a man?
BUTCH
Tell ya what, you give me one of them cigarettes, I'll give you an answer.
Esmarelda bounces in her seat with excitment .
ESMARELDA
Deal!
Butch leans forward . Esmarelda , keeping her eyes on the road , passes a cigarette back to him . He takes it . Then , still not looking behind her , she brings up her hand , a lit match in it . Butch lights his smoke , then blows out the match . He takes a long drag .
BUTCH
So.
He looks at her license
BUTCH
Esmarelda Villalobos - is that Mexican?
ESMARELDA
The name is Spanish, but I'm Columbian.
BUTCH
It's a very pretty name.
ESMARELDA
It mean `` Esmarelda of the wolves.''
BUTCH
That's one hell of a name you got there, sister.
ESMARELDA
Thank you. And what is your name?
BUTCH
Butch.
ESMARELDA
Butch. What does it mean?
BUTCH
I'm an American, our names do n't mean shit. Anyway, moving right along, what is it you wan na know, Esmarelda?
ESMARELDA
I want to know what it feels like to kill a man -
BUTCH
- I could n't tell ya. I did n't know he was dead'til you told me he was dead. Now I know he's dead, do you wan na know how I feel about it?
Esmarelda nods her head : `` yes . ''
BUTCH
I do n't feel the least little bit bad. You wan na know why, Esmarelda?
Esmarelda nods her head : `` yes . ''
BUTCH
'Cause I'm a boxer. And after you've said that, you've said pretty much all there is to say about me. Now maybe that son - of - a - bitch tonight was once at one time a boxer. If he was, then he was dead before his ass ever stepped in the ring. I just put the poor bastard outta his misery. And if he never was a boxer -.
( Butch takes a drag . )
That's what he gets for fuckin' up my sport.
EXT. PHONE BOOTH (RAINING) - NIGHT
We DOLLY around a phone booth as Butch talks inside .
BUTCH
( into phone . )
What's I tell ya, soon as the word got out a fix was in, the odds would be outta control. Hey, if he was a better fighter he's be alive. If he never laced up his gloves in the first place, which he never shoulda done, he'd be alive. Enough about the poor unfortunate Mr. Floyd, let's talk about the rich and prosperous Mr. Butch. How many bookies you spread it around with?
( pause . )
Eight? How long to collect?
( pause . )
So by tomorrow evening, you'll have it all?
( pause . )
Good news Scotty, real good news - I understand a few stragglers aside. Me an' Fabian're gon na leave in the morning. It should take us a couple days to get into Knoxville. Next time we see each other, it'll be on Tennessee time.
Butch hangs up the phone . He looks at the cab waiting to take him wherever he wants to go .
BUTCH
( to himself in French with English subtitles . )
Fabian my love, our adventure begins.
EXT. MOTEL (STOPPED RAINING) - NIGHT
Esmarelda 's tax pulled into the motel parking lot . The rain has stopped , but the night is still soaked . Butch gets out , now fully dressed in tee - shirt , jeans and high school athletic jacket . He leans in the driver 's side window .
ESMARELDA
Forty - five sixty.
Handing her the money .
BUTCH
Merci beaucoup. And here's a little something for the effort.
Butch holds up a hundred dollar bill . Esmarelda 's eyes light up . She goes to take it . Butch holds it out of reach .
BUTCH
Now if anybody should ask you about who your fare was tonight, what're you gon na tell'em?
ESMARELDA
The truth. Three well - dressed, slightly toasted, Mexicans.
He gives her the bill .
BUTCH
Bon soir, Esmarelda.
ESMARELDA
( in Spanish . )
Sleep well, Butch.
He tweaks her nose , she smiles , and he turns and walks away . She drives off .
INT. MOTEL (ROOM SIX) - NIGHT
Butch enters and turns on the light . Lying curled up on the bed , fully dressed , with her back to us is Butch 's French girlfriend , FABIAN .
FABIAN
Keep the light off.
Butch flicks the switch back , making the room dark again .
BUTCH
Is that better, sugar pop?
FABIAN
Oui. Hard day at the office?
BUTCH
Pretty hard. I got into a fight.
FABIAN
Poor baby. Can we make spoons?
Butch climbs into bed , spooning Fabian from behind . When Butch and Fabian speak to each other , they speak in baby - talk .
FABIAN
I was looking at myself in the mirror.
BUTCH
Uh - huh?
FABIAN
I wish I had a pot.
BUTCH
You were lookin' in the mirror and you wish you had some pot?
FABIAN
A pot. A pot belly. Pot bellies are sexy.
BUTCH
Well you should be happy,'cause you do.
FABIAN
Shut up, Fatso! I do n't have a pot! I have a bit of a tummy, like Madonna when she did `` Lucky Star,'' it's not the same thing.
BUTCH
I did n't realize there was a difference between a tummy and a pot belly.
FABIAN
The difference is huge.
BUTCH
You want me to have a pot?
FABIAN
No. Pot bellies make a man look either oafish, or like a gorilla. But on a woman, a pot belly is very sexy. The rest of you is normal. Normal face, normal legs, normal hips, normal ass, but with a big, perfectly round pot belly. If I had one, I'd wear a tee - shirt two sizes too small to accentuate it.
BUTCH
You think guys would find that attractive?
FABIAN
I do n't give a damn what men find attractive. It's unfortunate what we find pleasing to the touch and pleasing to the eye is seldom the same.
BUTCH
If I had a pot belly, I'd punch you in it.
FABIAN
You'd punch me in my belly?
BUTCH
Right in the belly.
FABIAN
I'd smother you. I'd drop it on your right on your face'til you could n't breathe.
BUTCH
You'd do that to me?
FABIAN
Yes!
BUTCH
Did you get everything, sugar pop?
FABIAN
Yes, I did.
BUTCH
Good job.
FABIAN
Did everything go as planned?
BUTCH
You did n't listen to the radio?
FABIAN
I never listen to your fights. Were you the winner?
BUTCH
I won alright.
FABIAN
Are you still retiring?
BUTCH
Sure am.
FABIAN
What about the man you fought?
BUTCH
Floyd retired too.
FABIAN
( smiling . )
Really?! He wo n't be fighting no more?!
BUTCH
Not no more.
FABIAN
So it all worked out in the finish?
BUTCH
We ai n't at the finish, baby.
Fabian rolls over and Butch gets on top of her . They kiss .
FABIAN
We're in a lot of danger, are n't we?
Butch nods his head : `` yes . ''
FABIAN
If they find us, they'll kill us, wo n't they?
Butch nods his head : `` yes . ''
FABIAN
But they wo n't find us, will they?
Butch nods his head : `` no . ''
FABIAN
Do you still want me to go with you?
Butch nods his head : `` yes . ''
FABIAN
I do n't want to be a burden or a nuisance -
Butch 's hand goes out of frame and starts massaging her crotch . Fabian reacts .
FABIAN
Say it!
BUTCH
Fabian, I want you to be with me.
FABIAN
Forever?
BUTCH
and ever.
Fabian lies her head back . Butch continues to massage her crotch .
FABIAN
Do you love me?
BUTCH
Oui.
FABIAN
Butch? Will you give me oral pleasure?
Butch kisses her on the mouth .
BUTCH
Will you kiss it?
She nods her head : `` yes . ''
FABIAN
But you first.
Butch 's head goes down out of frame to carry out the oral pleasure . Fabian 's face is alone in the frame .
FABIAN
( in French , with English subtitles . )
Butch my love, the adventure begins
FADE TO BLACK MOTEL ROOM Same motel room , except empty . WE HEAR THE SHOWER RUNNING in the bathroom . The CAMERA MOVES to the bathroom doorway . We see Fabian in a white terry cloth robe that seems to swallow her up . She 's drying her head with a towel . Butch is inside the shower washing up . We see the outline of his naked body through the smoky glass of the shower door . Steam fills the bathroom . Butch turns the shower off and opens the door , popping his head out .
BUTCH
I think I cracked a rib.
FABIAN
Giving me oral pleasure?
BUTCH
No retard, from the fight.
FABIAN
Do n't call me retard.
BUTCH
( in a Mongoloid voice . )
My name is Fabby! My name is Fabby!
FABIAN
Shut up fuck head! I hate that Mongoloid voice.
BUTCH
Okay, sorry, sorry, sorry, I take it back! Can I have a towel please, Miss Beautiful Tulip.
FABIAN
Oh I like that, I like being called a tulip. Tulip is much better than Mongoloid.
She finishes drying her hair and wraps the towel like a turban on her head .
BUTCH
I did n't call you a Mongoloid, I called you a retard, but I took it back.
She hands him a towel .
BUTCH
Merci beaucoup.
FABIAN
Butch?
BUTCH
( drying his head . )
Yes, lemon pie.
FABIAN
Where are we going to go?
BUTCH
I'm not sure yet. Wherever you want. We're gon na get a lot of money from this. But it ai n't gon na be so much, we can live like hogs in the fat house forever. I was thinking we could go somewhere in the South Pacific. The kinda money we'll have'll carry us a long way down there.
FABIAN
So if we wanted, we could live in Bora Bora?
BUTCH
You betcha. And if after awhile you do n't dig Bora Bora, then we can move over to Tahiti or Mexico.
FABIAN
But I do not speak Spanish.
BUTCH
You do n't speak Bora Boran either. Besides, Mexican is easy : Donde esta el zapataria?
FABIAN
What does that mean?
BUTCH
Where's the shoe store?
FABIAN
Donde esta el zapataria?
BUTCH
Excellent pronunciation. You'll be my little mama ceta in no time.
Butch exits the bathroom . We stay on FAbian as she brushes her teeth . Butch keeps on from the other room .
BUTCH
( OS . )
Que hora es?
FABIAN
Que hora es?
BUTCH
( OS . )
What time is it?
FABIAN
What time is it?
BUTCH
( OS . )
Time for bed. Sweet dream, jellybean.
Fabian brushes her teeth . We watch her for a moment or two , then she remember something .
FABIAN
Butch.
She walks out of the bathroom to ask Butch a question , only to find him sound asleep in bed . She looks at him for a moment .
FABIAN
Forget it.
She exits frame , going back in the bathroom . WE STAY on the WIDE SHOT of the unconscious Butch in bed . FADE TO BLACK MOTEL ROOM - MORNING SAME SHOT AS BEFORE , the next morning . We find Butch still asleep in bed . Fabian brushes her teeth half in and half out of the bathroom so she can watch TV at the same time . She still wears the terry cloth robe from the night before . ON TV : WILLIAM SMITH and a bunch of Hell 's Angels are taking on the entire Vietnamese army in the film `` THE LOSERS . '' Butch wakes from his sleep , as if a scary monster was chasing him . His start startles Fabian .
FABIAN
Merde! You startled me. Did you have a bad dream?
Butch squints down the front of the bed at her , trying to focus .
BUTCH
yeah. are you still brushing your teeth?
FABIAN
This is me. I brush my teeth all night long and into the early morning. Do you think I have a problem?
Fabian goes back into the bathroom to spit . If that was supposed to be sarcasm , it was lost on Butch at this early hour . Butch , still trying to chase the cobwebs away , sees on TV Hell 's Angels tear - assin ' through a Vietnamese prison camp .
BUTCH
What are you watching?
FABIAN
A motorcycle movie, I'm not sure the name.
BUTCH
Are you watchin' it?
Fabian enters the room .
FABIAN
In a way. Why? Would you like for me to switch it off?
BUTCH
Would you please?
She reaches over and turns off the TV .
BUTCH
It's a little too early in the morning for explosions and war.
FABIAN
What was it about?
BUTCH
How should I know, you were the one watchin' it.
Fabian laughs .
FABIAN
No, imbecile, what was your dream about?
BUTCH
Oh, I. do n't remember. It's really rare I remember a dream.
FABIAN
You just woke up from it.
BUTCH
Fabian, I'm not lying to you, I do n't remember.
FABIAN
Well, let's look at the grumpy man in the morning. I did n't say you were lying, it's just odd you do n't remember your dreams. I always remember mine. Did you know you talk in your sleep?
BUTCH
I do n't talk in my sleep, do I talk in my sleep?
FABIAN
You did last night.
BUTCH
What did I say?
Laying on top of him .
FABIAN
I do n't know. I could n't understand you.
She kisses Butch .
FABIAN
Why do n't you get up and we'll get some breakfast at that breakfast place with the pancakes.
BUTCH
One more kiss and I'll get up.
Fabian gives Butch a sweet long kiss .
FABIAN
Satisfied?
BUTCH
Yep.
FABIAN
Then get up, lazy bones.
Butch climbs out of bed and starts pulling clothes out of the suitcase that Fabian brought .
BUTCH
What time is it?
FABIAN
Almost nine in the morning. What time does our train arrive?
BUTCH
Eleven.
Seeing him looking at a pair of pants .
FABIAN
Those pants are very nice. Can you wear those with that nice blue shirt you have?
He pulls a blue shirt of the suitcase .
BUTCH
This one?
FABIAN
That's the one. That matches.
BUTCH
Okay.
He puts the cloths on .
FABIAN
I'm gon na order a big plate of blueberry pancakes with maple syrup, eggs over easy, and five sausages.
BUTCH
( surprised at her potential appetite . )
Anything to drink with that?
Butch is finished dressing .
FABIAN
( referring to his clothes . )
Oh yes, that looks nice. To drink, a tall glass or orange juice and a black cup of coffee. After that, I'm going to have a slice of pie.
As he goes through the suitcase .
BUTCH
Pie for breakfast?
FABIAN
Any time of the day is a good time for pie. Blueberry pie to go with the pancakes. And on top, a thin slice of melted cheese -
BUTCH
- where's my watch?
FABIAN
It's there.
BUTCH
No, it's not. It's not here.
FABIAN
Have you looked?
By now , Butch is frantically rummaging through the suitcase .
BUTCH
Yes I've fuckin' looked!
He 's now throwing clothes .
BUTCH
What the fuck do you think I'm doing?! Are you sure you got it?
Fabian can hardly speak , she 's never seen Butch this way .
FABIAN
Uhhh. yes. beside the table drawer -
BUTCH
- on the little kangaroo.
FABIAN
Yes, it was on your little kangaroo.
BUTCH
Well it's not here!
FABIAN
( on the verge of tears . )
Well it should be!
BUTCH
Oh it most definitely should be here, but it's not. So where is it?
Fabian is crying and scared . Butch lowers his voice , which only serves to make him more menacing .
BUTCH
Fabian, that was my father's fuckin' watch. You know what my father went through to git me that watch? I do n't wan na get into it right now. but he went through a lot. Now all this other shit, you coulda set on fire, but I specifically reminded you not to forget my father's watch. Now think, did you get it?
FABIAN
I believe so.
BUTCH
You believe so? You either did, or you did n't, now which one is it?
FABIAN
Then I did.
BUTCH
Are you sure?
FABIAN
( shaking . )
No.
Butch freaks out , he punches the air . Fabian SCREAMS and backs into a corner , Butch picks up the motel TV and THROWS IT AGAINST the wall . Fabian SCREAMS IN HORROR . Butch looks toward her , suddenly calm .
BUTCH
( to Fabian . )
No! It's not your fault.
( he approached her . )
You left it at the apartment.
He bends down in front of the woman who has sunk to the floor . He touches her hand , she flinches .
BUTCH
If you did leave it at the apartment, it's not your fault. I had you bring a bunch of stuff. I reminded you about it, but I did n't illustrate how personal the watch was to me. If all I gave a fuck about was my watch, I should've told you. You ai n't a mind reader.
He kisses her hand . Then rises . Fabian is still sniffling . Butch goes to the closet .
FABIAN
I'm sorry.
Butch puts on his high school jacket .
BUTCH
Do n't be. It just means I wo n't be able to eat breakfast with you.
FABIAN
Why does it mean that?
BUTCH
Because I'm going back to my apartment to get my watch.
FABIAN
Wo n't the gangsters be looking for you there?
BUTCH
That's what I'm gon na find out. If they are, and I do n't think I can handle it, I'll split.
Rising from the floor .
FABIAN
My darling, I do n't want you to be murdered over a silly watch.
BUTCH
One, it's not a silly watch. Two, I'm not gon na be murdered. And three, do n't be scared. I wo n't let anything get in the way of us living a happy life together.
Butch brings her close and puts his hands on her face .
BUTCH
Do n't feel bad, sugar pop. Nothing you could ever do would make me permanently angry at you.
( pause . )
I love you, remember?
( he digs some money out of his wallet . )
Now here's some money, order those pancakes and have a great breakfast.
FABIAN
Do n't go.
BUTCH
I'll be back before you can say, blueberry pie.
FABIAN
Blueberry pie.
BUTCH
Well maybe not that fast, but fast. Okay? Okay?
FABIAN
Okay.
He kisses her once more and heads for the door .
BUTCH
Bye - bye, sugar pop.
FABIAN
Bye.
BUTCH
I'm gon na take your Honda.
FABIAN
Okay.
And with that , he 's out the door . Fabian sits on the bed and looks at the money he gave her .
INT. HONDA (MOVING) - DAY
Butch is beating the steering wheel and the dash with his fists as he drives down the street .
BUTCH
Of all the fuckin' things she coulda forgot, she forgets my father's watch. I specifically reminded her not to forget it. `` Bedside table - on the kangaroo.'' I said the words : `` Do n't forget my father's watch.''
EXT. CITY STREET - DAY
The little Honda races toward its destination as fast as its little engine will take it .
INT. HONDA (MOVING) - DAY
Butch continues :
BUTCH
What the fuck am I doin'? Have I taken one too many hits to the head? That's got ta be it. Brain damage is the only excuse for this dumb a move. Stop the car, Butch.
( he keeps on driving . )
Stop the car, Butch.
( he pays no attention to himself . )
Butch, I'm talkin' to you. Put - your - foot - on - the - break!
Butch 's foot SLAMS down hard on the break .
EXT. CITY STREET - DAY
The little Honda SKIDS to a stop in the middle of the street . Butch HOPS out of the car like it was on fire . Butch begins PACING back and forth , talking to himself , oblivious to PASSERSBY and traffic .
BUTCH
I ai n't gon na do this. This is a punchy move and I ai n't punchy! Daddy would totally fuckin' understand. If he was here right now, he'd say, `` Butch, git a grip. It's a fuckin' watch, man. You lose one, ya git another. This is your life you're fuckin' around with, which you should n't be doin''cause you only got one.
Butch continues to pace , but now he 's silent . Then .
BUTCH
This is my war. You see, Butch, what you're forgettin' is this watch is n't just a device that enables you to keep track of time. This watch is a symbol. It's a symbol of how your father, and his father before him, and his father before him, distinguished themselves in war. And when I took Marsellus Wallace's money, I started a war. This is my World War Two. That apartment in North Hollywood, that's my Wake Island. In fact, if you look at it that way, it's almost kismet that Fabian left it behind. And using that perspective, going back for it is n't stupid. It may be dangerous, but it's not stupid. Because there are certain things in this world that are worth going back for.
That 's it , Butch has talked himself into it again . He HOPS in the car , starts it up and TAKES OFF . A parking meter red flag rises up , then out , leaving the arrow pointing at one hour .
EXT. RESIDENTIAL STREET CORNER - DAY
Butch is n't completely reckless . He has parked his car a couple of blocks from his apartment to check things out before he goes boppin ' through the front door .
EXT. ALLEY - DAY
Butch walks down the alley until he gets to another street , then he discreetly glances out .
EXT. STREET - BUTCH'S APARTMENT - DAY
Everything seems normal . More or less the right number of cars in the street . None of the parked cars appear out of place . None of them have a couple of goons sitting inside . Basically , it looks like normal morning activity in front of Butch 's home . Butch peers around a wall , taking in the vital information .
BUTCH
( to himself . )
Everything looks hunky dorie. Looks can be deceiving, but this time I do n't think they are. Why waste the manpower to stake out my place. I'd have to be a fuckin' idiot to come back here. That's how you're gon na beat'em Butch, they keep underestimating you.
Butch walks out of the alley and is ready for anything . He crosses the street and enters his apartment courtyard . Across the street from Butch 's building , on the corner , is a combination donut shop and Japanese restaurant . A big sign sticks up in the air , with the name `` Teriyaki Donut '' and a graphic of a donut sticking out of a bowl of rice .
EXT. BUTCH'S APARTMENT COURTYARD - DAY
Butch is in the courtyard of his North Hollywood apartment building . Once again , everything appears normal - the laundry room , the pool , his apartment door - nothing appears disturbed . Butch climbs the stairs leading to his apartment , number 12 . He steps outside the door and listens inside . Nothing . Butch slowly inserts the key into the door , quietly opening it .
INT. BUTCH'S APARTMENT - DAY
His apartment has n't been touched . He cautiously steps inside , shuts the door and takes a quick look around . Obviously , no one is there . Butch walks into his modest kitchen , and opens the refrigerator . He takes out a carton of milk and drinks from it . With carton in hard , Butch surveys the apartment . Then he goes to the bedroom . His bedroom is like the rest of the apartment - neat , clean and anonymous . The only things personal in his room are a few boxing trophies , an Olympic silver medal , a framed issue of `` Ring Magazine '' with Butch on the cover , and a poster of Jerry Quarry and one of George Chuvalo . Sure enough , there 's the watch just like he said it was : on the bedside table , hanging on his little kangaroo statue . He walks through the apartment and back into the kitchen . He opens a cupboard and takes out a box of Pop Tarts . Putting down the milk , he opens the box , takes out two Pop Tarts and puts them in the toaster . Butch glances to his right , his eyes fall on something . What he sees is a small compact Czech M61 submachine gun with a huge silencer on it , lying on his kitchen counter .
BUTCH
( softly . )
Holy shit.
He picks up the intimidating peace of weaponary and examines it . Then . a toilet FLUSHES . Butch looks up to the bathroom door , which is parallel to the kitchen . There is someone behind it . Like a rabbit caught in a radish patch , Butch freezes , not knowing what to do . The bathroom door opens and Vincent Vega steps out of the bathroom , tightening his belt . In his hand is the book `` MODESTY BLAISE '' by Peter O'Donnell . Vincent and Butch lock eyes . Vincent freezes . Butch does n't move , except to point the M61 in Vincent 's direction . Neither man opens his mouth . Then . the toaster LOUDLY kicks up the Pop Tarts . That 's all the situation needed . Butch 's finger HITS the trigger . MUFFLED FIRE SHOOTS out of the end of the gun . Vincent is seemingly WRACKED with twenty bullets SIMULTANEOUSLY - LIFTING him off his feet , PROPELLING him through the air and CRASHING through the glass shower door at the end of the bathroom . By the time Butch removes his finger from the trigger , Vincent is annihilated . Butch stands frozen , amazed at what just happened . His look goes from the grease spot in the bathroom that was once Vincent , down to the powerful piece of artillery in his grip . With the respect it deserves , Butch carefully places the M61 back on the kitchen counter . Then he exits the apartment , quickly .
EXT. APARTMENT COURTYARD - DAY
Butch , not running , but walking very rapidly , crosses the courtyard . comes out of the apartment building , crosses the street . goes through the alley . and into his car in one STEADICAM SHOT .
EXT. HONDA - DAY
Butch CRANKS the car into gear and drives away . The big wide smile of a survivor breaks across his face .
EXT. APARTMENT BUILDING STREET - DAY
The Honda turns down the alley and slowly cruises by his apartment building .
INT. HONDA - DAY
Butch looks out the window at his former home .
BUTCH
That's how you're gon na beat'em, Butch. They keep underestimatin' ya.
This makes the boxer laugh out loud . As he laughs , he flips a tape in the cassette player . When the MUSIC starts , he SINGS along with it . He drives by the apartment , but is stopped at the light on the corner across from Teriyaki Donut . Butch is still chuckling , singing along with the song , as we see : THROUGH THE WINDSHIELD the big man himself , Marsellus Wallace , exit Teriyaki Donut , carrying a box of a dozen donuts and two large styrofoam cups of coffee . He steps off the curb , crossing the street in front of Butch 's car . This is the first time we see Marsellus clearly . Laughing boy stops when he sees the big man directly in front of him . When Marsellus is in front of Butch 's car , he casually glances to his left , sees Butch , continues walking . then STOPS ! DOUBLE - TAKE : `` Am I really seeing what I 'm seeing ? '' Butch does n't wait for the big man to answer his own question . He STOMPS on the gas pedal . The little Honda SLAMS into Marsellus , sending him , the donuts and the coffee HITTING the pavement at thirty miles an hour . Butch CUTS into cross traffic and is BROAD - SIDED by a gold Camaro Z - 28 , BREAKING all the windows in the Honda and sending it up on the sidewalk . Butch sits dazed and confused in the crumpled mess of what at one time was Fabian 's Honda . Blood flows from his nostrils . The still - functional tape player continues to play . A PEDESTRIAN pokes his head inside .
PEDESTRIAN
Jesus, are you okay?
Butch look at him , spaced - out .
BUTCH
I guess.
Marsellus Wallace lies sprawled out in the street . GAWKERS gather around the body .
GAWKER #1
( to the others . )
He's dead! He's dead!
This jerk 's yelling makes Marsellus come to . TWO PEDESTRIANS help the shaken Butch out of the wreckage . The woozy Marsellus gets to his feet .
GAWKER #2
If you need a witness in court, I'll be glad to help. He was a drunken maniac. He hit you and crashed into that car.
MARSELLUS
( still incoherent . )
Who?
GAWKER #2
( pointing at Butch . )
Him.
Marsellus follows the Gawker 's finger and sees Butch Coolidge down the street , looking a shambles .
MARSELLUS
Well, I'll be damned.
The big man takes out a .45 Automatic and the Gawkers back away . Marsellus starts moving toward Butch . Butch sees the fierce figure making a wobbly bee - line toward him .
BUTCH
Sacre bleu.
Marsellus brings up his weapon and FIRES , but he 's so hurt , shaky and dazed that his arm goes wild . He HITS a LOOKY - LOO WOMAN in the hip . She falls to the ground , screaming .
LOOKY-LOO WOMAN
Oh my God, I've been shot!
That 's all Butch needs to see . He 's outta here . Marsellus RUNS after him . The CROWD looks agape . Butch is in a mad , limping RUN . The big man 's hot on his ass with a cockeyed wobbly run . Butch cuts across traffic and dashes into a business with a sign that reads `` MASON - DIXIE PAWNSHOP . ''
INT. MASON-DIXIE PAWNSHOP - DAY
MAYNARD , a hillbilly - lookin ' boy , stands behind the counter of his pawnshop when , all of a sudden , chaos in the form of Butch RACES into his world .
MAYNARD
Can I help you wit' somethin'?
BUTCH
Shut up!
Butch quickly takes measure of the situation , than stands next to the door .
MAYNARD
Now you just wait one goddamn minute -
Before Maynard can finish his threat , Marsellus CHARGES in . He does n't get past the doorway because Butch LANDS his fist in Marsellus ' face . The gangster 's feet go out from under him and the big man FALLS FLAT on his back . Outside , two police cars with their SIRENS BLARING race by . Butch POUNCES on the fallen body , PUNCHING him twice more in the face . Butch takes the gun out of Marsellus ' hand , than grabs ahold of his middle finger .
BUTCH
So you like chasing people, huh?
He BREAKS the finger . Marsellus lets out a pain sound . Butch then places the barrel of the .45 between his eyes , PULLS back the hammer and places his open hand behind the gun to shield the splatter .
BUTCH
Well guess what, big man, you caught me -
MAYNARD
( OS . )
- hold it right there, godammit!
Butch and Marsellus look up at Maynard , who 's brandishing a pump - action shotgun , aimed at the two men .
BUTCH
Look mister, this ai n't any of your business -
MAYNARD
- I'm makin' it my business! Now toss that gun!
Butch does .
MAYNARD
Now you on top, stand up and come to the counter.
Butch slowly gets up and moves to the counter . As soon as he gets there , Maynard HAULS OFF , HITTING him hard in the face with the butt of the shotgun , knocking Butch down and out . After Butch goes down , Maynard calmly lays the shotgun on the counter and moves to the telephone . Marsellus Wallace , from his position on the floor , groggily watches the pawnshop owner dial a number . Maynard waits on the line while the other end rings . Then it picks up .
MAYNARD
Zed? It's Maynard. The spider just caught a coupl' a flies.
Marsellus passes out . FADE TO BLACK
INT. PAWNSHOP BACK ROOM - DAY
TWO SHOT - BUTCH AND MARSELLUS are tied up in two separate chairs . In their mouths are two S&M - style ball gags -LRB- a belt goes around their heads and a little red ball sticks in their mouths -RRB- . Both men are unconscious . Maynard steps in with a fire extinguisher and SPRAYS both guys until they 're wide awake and wet as otters . The two prisoners look up at their captors . Maynard stands in front of them , fire extinguisher in one hand , shotgun in the other , and Marsellus ' .45 sticking in his belt .
MAYNARD
Nobody kills anybody in my place of business except me or Zed.
A BUZZER buzzes .
MAYNARD
That' Zed.
Without saying another word , Maynard climbs up the stairs that lead to red curtains and goes through them . WE HEAR , on the other side of the curtains , Maynard let Zed inside the store . Butch and Marsellus look around the room . The basement of the pawnshop has been converted into a dungeon . After taking in their predicament , Butch and Marsellus look at each other , all traces of hostility gone , replaced by a terror they both share at what they 've gotten themselves into . Maynard and ZED come through the curtains . Zed is an even more intense version of Maynard , if such a thing is possible . The two hillbillys are obviously brothers . Where Maynard is a vicious pitbull , Zed is a deadly cobra . Zed walks in and stands in front of the two captives . He inspects them for a long time , then says :
ZED
( to Maynard . )
You said you waited for me?
MAYNARD
I did.
ZED
Then how come they're all beat up?
MAYNARD
They did that to each other. They was fightin' when they came in. This one was gon na shoot that one.
ZED
( to Butch . )
You were gon na shoot him?
Butch makes no reply .
ZED
Hey, is Grace gon na be okay in front of this place?
MAYNARD
Yeah, it ai n't Tuesday is it?
ZED
No, it's Thursday.
MAYNARD
Then she'll be fine.
ZED
Bring out The Gimp.
MAYNARD
I think The Gimp's asleep.
ZED
Well, I guess you'll just wake'em up then, wo n't you?
Maynard opens a trap door in the floor .
MAYNARD
( yelling in the hole . )
Wake up!
Maynard reaches into the hole and comes back holding onto a leash . He gives it a rough yank and , from below the floor , rises THE GIMP . The Gimp is a man they keep dressed from head to toe in black leather bondage gear . There are zippers , buckles and studs here and there on the body . On his head is a black leather mask with two eye holes and a zipper -LRB- closed -RRB- for a mouth . They keep him in a hole in the floor big enough for a large dog . Zed takes the chair , sits it in front of the two prisoners , then lowers into it . Maynard hands The Gimp 's leash to Zed , then backs away .
MAYNARD
( to The Gimp . )
Down!
The Gimp gets on its knees . Maynard hangs back while Zed appraises the two men .
MAYNARD
Who's first?
ZED
I ai n't fer sure yet.
Then with his little finger , Zed does a silent `` Eenie , meany , miney , moe . '' just his mouth mouthing the words and his finger going back and forth between the two . Butch are Marsellus are terrified . Maynard looks back and forth at the victims . The Gimps 's eyes go from one to the other inside the mask . Zed continues his silent sing - song with his finger moving left to right , then it stops . TWO SHOT - BUTCH AND MARSELLUS after a beat , THE CAMERA MOVES to the right , zeroing in on Marsellus . Zed stands up .
ZED
Wan na do it here?
MAYNARD
Naw, drag big boy to Russell's old room.
Zed grabs Marsellus ' chair and DRAGS him into Russell 's old room . Russell , no doubt , was some other poor bastard that has the misfortune of stumbling into the Mason - Dixie pawnshop . Whatever happened to Russell is known only to Maynard and Zed because his old room , a back room in the back of the back room , is empty . As Marsellus is dragged away , he locks eyes with Butch before he disappears behind the door of Russell 's old room .
MAYNARD
( to The Gimp . )
Up!
The Gimp rises . Maynard ties The Gimp 's leash to a hook on the ceiling .
MAYNARD
Keep an eye on this one.
The Gimp bows its head : `` yes . '' Maynard disappears into Russell 's old room . There must be a stereo in there because suddenly The Judds , singing in harmony , fills the air . Butch looks at The Gimp . The Gimp giggles from underneath the mask as if this were the funniest moment in the history of comedy . From behind the door we hear country MUSIC , struggling , and :
MAYNARD
( OS . )
Whoa, this boy's got a bit of fight in'em!
We the HEAR Maynard and Zed beat on Marsellus .
ZED
( OS . )
You wan na fight? You wan na fight? Good, I like to fight!
Butch pauses , listens to the voices . Then , in a panic , hurriedly struggles to get free . The Gimp is laughing wildly . The ropes are on too tight and Butch ca n't break free . The Gimp slaps his knee laughing In the back room , we hear :
MAYNARD
( OS . )
That's it. that's it boy, you're goin' fine. Oooooooh, just like that. that's good.
( grunting faster . )
Stay still. stay still goddamn ya! Zed goddammit, git over here and hold'em!
Butch stops struggling and lifts up on his arms . Then , quite easily , the padded chair back slides up and off as if it were never connected by a bolt . The Gimp sees this and its eyes widen .
THE GIMP
Huhng?
The Gimp FLAILS WILDLY , trying to get the leash off the hook . He tries to yell , but all that comes out are excited gurgles and grunts . Butch is out of his chair , quickly dispensing three BOXER 'S PUNCHES to its face . The punches knock The Gimp out , making him fall to his knees , this HANGING HIMSELF by the leash attached to the hook , Butch removes the ball gag , then silently makes his way through the red curtains .
INT. PAWNSHOP - DAY
Butch sneaks to the door . On the counter is a big set of keys with a large Z connected to the ring . Grabbing them , he 's about to go out when he stops and listens to the hillbilly psychopaths having their way with Marsellus . Butch decides for the life of him , he ca n't leave anybody in a situation like that . Se he begins rooting around the pawnshop for a weapon to bash those hillbillies ' heads in with . He picks up a big destructive - looking hammer , then discards it : not destructive enough . He picks up a chainsaw , thinks about it for a moment , then puts it back . Next , a large Louisville slugger he tries on for size . But then he spots what he 's been looking for : A Samurai sword . It hands in its hand - carved wood sheath from a nail on the wall , next to a neon `` DAD 'S OLD - FASHIONED ROOT BEER '' sign . Butch takes the sword off the wall , removing it from its sheath . It 's a magnificent piece of steel . It seems to glisten in the low - wattage light of the pawnshop . Butch touches his thumb to the blade to see if the sword is just for show . Not on your life . It 's as sharp as it gets . This weapon seems made to order for the Brothers Grimm downstairs . Holding the sword pointed downward , Takakura Ken - style , he disappears through the red curtains to take care of business .
INT. PAWNSHOP BACK ROOM - DAY
Butch quietly sneaks down the stairs leading to the dungeon . Sodomy and the Judds can still be heard going string behind the closed door that leads to Russell 's old room .
INT. RUSSELL'S OLD ROOM - DAY
Butch 's hand comes into frame , pushing the door open . It swings open silently , revealing the rapists , who have switched positions . Zed is now bent over Marsellus , who is bent over a wooden horse . Maynard watches . Both have their backs to Butch . Maynard faces the CAMERA , grinning , while Butch comes up behind him with the sword . Miserable , violated , and looking like a rag doll , Marsellus , red ball gag still in mouth , opens his watery eyes to see Butch coming up behind Maynard . His eyes widen .
BUTCH
Hey hillbilly.
Maynard turns and sees Butch holding the sword . Butch SCREAMS . with one mighty SWING , SLASHES Maynard across the front , moving past him , eyes and blade now locked on Zed . Maynard stands trembling , his front sliced open , in shock . Butch , while never taking his eyes off Zed , THRUSTS the sword behind him , SKEWERING Maynard , then EXTRACTS it , pointing the blade toward Zed . Maynard COLLAPSES . Zed disengages from Marsellus in a hurry and his eyes go from the tip of Butch 's sword to Marsellus ' .45 Automatic , which lies within reach . Butch 's eyes follow Zed 's .
BUTCH
You want that gun, Zed? Pick it up.
Zed 's hand inches toward the weapon . Butch GRIPS the sword tighter . Zed studies Butch , Butch looks hard at Zed . Then a VOICE says :
MARSELLUS
( OS . )
Step aside, Butch.
Butch steps aside , REVEALING Marsellus standing behind him , holding Maynard 's pump - action shotgun . KABOOM ! Zed is BLASTED in the groin . Down he goes , SCREAMING in AGONY . Marsellus , looking down at his whimpering rapist , EJECTS the used shotgun shell . Butch lowers the sword and hangs back . Not a word , until :
BUTCH
You okay?
MARSELLUS
Naw man. I'm pretty fuckin' far from okay!
Long pause .
BUTCH
What now?
MARSELLUS
What now? Well let me tell you what now. I'm gon na call a couple pipe - hittin' niggers, who'll go to work on homes here with a pair of pliers and a blow torch.
( to Zed . )
Hear me talkin' hillbilly boy?! I ai n't through with you by a damn sight. I'm gon na git Medieval on your ass.
BUTCH
I meant what now, between me and you?
MARSELLUS
Oh, that what now? Well, let me tell ya what now between me an' you. There is no me an' you. Not no more.
BUTCH
So we're cool?
MARSELLUS
Yeah man, we're cool. One thing I ask - two things I ask : do n't tell nobody about this. This shit's between me and you and the soon - to - be - livin' - the - rest - of - his - short - ass - life - in - agonizing - pain, Mr. Rapist here. It ai n't nobody else's business. Two : leave town. Tonight. Right now. And when you're gone, stay gone. You've lost your Los Angeles privileges. Deal?
BUTCH
Deal.
The two men shake hands , then hug one another .
MARSELLUS
Go on now, get your ass outta here.
Butch leaves Russell 's old room through the red curtains . Marsellus walks over to a phone , dialing a number .
MARSELLUS
( into the phone . )
Hello Mr. Wolf, it's Marsellus. Got ta bit of a situation.
EXT. MASON-DIXIE PAWNSHOP - DAY
Butch , still shaking in his boots , exits the pawnshop . He looks ahead and sees , parked in front of the establishment , Zed 's Big Chrome Chopper with a teardrop gas tank that has the name `` GRACE '' on it . He climbs aboard , takes out the keys with the big Z on them and starts up the huge hog . It RUMBLES to life , making sounds like a rocket fighting for orbit . Butch twists the accelerator handle and SPEEDS off . WE CUT BACK AND FORTH BETWEEN .
INT. BUTCH AND FABIAN'S HOTEL ROOM - DAY
Fabian stands in front of a mirror wearing a `` Frankie says , Relax '' tee - shirt , singing along with MUSIC coming from a BOOM BOX .
EXT. CITY STREET - CHOPPER (MOVING) - DAY
Butch drives down the street , humping a hot dog names `` GRACE . '' He checks his father 's watch . It says : 10:30 . The SONG in the motel room PLAYS OVER this .
EXT. MOTEL ROOM - DAY
Butch rides up on Grace . He hops off and runs inside the motel room , while we stay outside with the bike .
FABIAN
( OS . )
Butch, I was so worried!
BUTCH
Honey, grab your radio and your purse and let's go!
FABIAN
( OS . )
But what about all our bags?
BUTCH
Fuck the bags. We'll miss our train if we do n't split now.
FABIAN
( OS . )
Is everything well? Are we in danger?
BUTCH
We're cool. In fact, we're super - cool. But we gots to go. I'll wait for you outside.
Butch runs out and hops back on the bike . Fabian exits the motel room with the boom box and a large purse . When she sees Butch on the chopper , she stops dead .
FABIAN
Where did you get this motorcycle?
BUTCH
( he KICK - STARTS it . )
It's a chopper, baby, hop on.
Fabian slowly approaches the two - wheel demon .
FABIAN
What happened to my Honda?
BUTCH
Sorry baby, I crashed the Honda.
FABIAN
You're hurt?
BUTCH
I might've broke my nose, no biggie. Hop on.
She does n't move . Butch looks at her .
BUTCH
Honey, we got ta hit the fuckin' road!
Fabian starts to cry . Butch realizes that this is not the way to get her on the bike . He turns off the engine and reaches out , taking her hand .
BUTCH
I'm sorry, baby - love.
FABIAN
( crying . )
You were gone so long, I started to think dreadful thoughts.
BUTCH
I'm sorry I worried you, sweetie. Everything's fine. Hey, how was breakfast?
FABIAN
( waterworks drying a little . )
It was good -
BUTCH
- did you get the blueberry pancakes?
FABIAN
No, they did n't have blueberry pancakes, I had to get buttermilk - are you sure you're okay?
BUTCH
Baby - love, from the moment I left you, this has been without a doubt the single weirdest day of my entire life. Climb on an' I'll tell ya about it.
Fabian does climb on . Butch STARTS her up .
FABIAN
Butch, whose motorcycle is this?
BUTCH
It's a chopper.
FABIAN
Whose chopper is this?
BUTCH
Zed's.
FABIAN
Who's Zed?
BUTCH
Zed's dead, baby, Zed's dead.
And with that , the two lovebirds PEEL AWAY on Grace , as the SONG on the BOOM BOX RISES . FADE TO BLACK `` JULES , VINCENT , JIMMIE , & THE WOLF '' TITLE DISAPPEARS . Over black , we can HEAR in the distance , men talking .
JULES
( OS . )
You ever read the Bible, Brett?
BRETT
( OS . )
Yes!
JULES
( OS . )
There's a passage I got memorized, seems appropriate for this situation : Ezekiel 25:17. `` The path of the righteous man is beset on all sides by the inequities of the selfish and the tyranny of evil men.''
INT. BATHROOM - DAY
We 're in the bathroom of the Hollywood apartment we were in earlier . In fact , we 're there at exactly the same time . Except this time , we 're in the bathroom with the FOURTH MAN . The Fourth Man is pacing around the small room , listening hard to what 's being said on the other side of the door , tightly CLUTCHING his huge silver ,357 Magnum .
JULES
( OS . ) ''
. blessed is he who, in the name of charity and good will, shephered the weak through the valley of darkness. And I will strike down upon thee with great vengeance and furious anger those who attempt to poison and destroy my brothers. And you will know I am the Lord when I lay my vengeance upon you.''
BANG ! BANG ! BOOM ! POW ! BAM BAM BAM BAM BAM ! The Fourth Man freaks out . He THROWS himself against the back wall , gun outstretched in front of him , a look of yellow fear on his face , ready to blow in half anybody fool enough to stick their head through that door . Then he listens to them talk .
VINCENT
( OS . )
Friend of yours?
JULES
( OS . )
Yeah, Marvin - Vincent - Vincent - Marvin.
Waiting for them is n't the smartest move . Bursting out the door and blowing them all away while they 're fuckin ' around is the way to go .
INT. APARTMENT - DAY
The bathroom door BURSTS OPEN and the Fourth Man CHARGES out , silver Magnum raised , FIRING SIX BOOMING SHOTS from his hand cannon .
FOURTH MAN
Die. die. die. die!
DOLLY INTO Fourth Man , same as before . He SCREAM until he 's dry firing . Then a look of confusion crosses his face . TWO SHOT - JULES AND VINCENT standing next to each other , unharmed . Amazing as it seems , none of the Fourth Man 's shots appear to have hit anybody . Jules and Vincent exchange looks like , `` Are we hit ? '' They 're as confused at the shooter . After looking at each other , they bring their looks up to the Fourth Man .
FOURTH MAN
I do n't understand -
The Fourth Man is taken out of the scenario by the two men 's bullets who , unlike his , HIT their marks . He drops DEAD . The two men lower their guns . Jules , obviously shaken , sits down in a chair . Vincent , after a moment of respect , shrugs it off . Then heads toward Marvin in the corner .
VINCENT
Why the fuck did n't you tell us about that guy in the bathroom? Slip your mind? Forget he was in there with a goddamn hand cannon?
JULES
( to himself . )
We should be fuckin' dead right now.
( pause . )
Did you see that gun he fired at us? It was bigger than him.
VINCENT
357.
JULES
We should be fuckin' dead!
VINCENT
Yeah, we were lucky.
Jules rises , moving toward Vincent .
JULES
That shit was n't luck. That shit was somethin' else.
Vincent prepares to leave .
VINCENT
Yeah, maybe.
JULES
That was. divine intervention. You know what divine intervention is?
VINCENT
Yeah, I think so. That means God came down from Heaven and stopped the bullets.
JULES
Yeah, man, that's what is means. That's exactly what it means! God came down from Heaven and stopped the bullets.
VINCENT
I think we should be going now.
JULES
Do n't do that! Do n't you fuckin' do that! Do n't blow this shit off! What just happened was a fuckin' miracle!
VINCENT
Chill the fuck out, Jules, this shit happens.
JULES
Wrong, wrong, this shit does n't just happen.
VINCENT
Do you wan na continue this theological discussion in the car, or at the jailhouse with the cops?
JULES
We should be fuckin' dead now, my friend! We just witnessed a miracle, and I want you to fuckin' acknowledge it!
VINCENT
Okay man, it was a miracle, can we leave now?
EXT. HOLLYWOOD APARTMENT BUILDING - MORNING
The Chevy Nova PROPELS itself into traffic .
INT. NOVA (MOVING) - MORNING
Jules is behind the wheel , Vincent in the passenger seat and Marvin in the back .
VINCENT
ever seen that show `` COPS?'' I was watchin' it once and this cop was on it who was talkin' about this time he got into this gun fight with a guy in a hallway. He unloads on this guy and he does n't hit anything. And these guys were in a hallway. It's a freak, but it happens.
JULES
If you wan na play blind man, then go walk with a Shepherd. But me, my eyes are wide fuckin' open.
VINCENT
What the fuck does that mean?
JULES
That's it for me. For here on in, you can consider my ass retired.
VINCENT
Jesus Christ!
JULES
Do n't blaspheme!
VINCENT
Goddammit, Jules -
JULES
- I said do n't do that -
VINCENT
- you're fuckin' freakin' out!
JULES
I'm tellin' Marsellus today I'm through.
VINCENT
While you're at it, be sure to tell ` im why.
JULES
Do n't worry, I will.
VINCENT
I'll bet ya ten thousand dollars, he laughs his ass off.
JULES
I do n't give a damn if he does.
Vincent turns to the backseat with the .45 casually in his grip .
VINCENT
Marvin, what do you make of all this?
MARVIN
I do n't even have an opinion.
VINCENT
C'mon, Marvin. Do you think God came down from Heaven and stopped the bullets?
Vincent 's .45 goes BANG ! Marvin is hit in the upper chest , below the throat . He GURGLES blood and SHAKES .
JULES
What the fuck's happening?
VINCENT
I just accidentally shot Marvin in the throat.
JULES
Why the fuck did you do that?
VINCENT
I did n't mean to do it. I said it was an accident.
JULES
I've seen a lot of crazy - ass shit in my time -
VINCENT
- chill out, man, it was an accident, okay? You hit a bump or somethin' and the gun went off.
JULES
The car did n't hit no motherfuckin' bump!
VINCENT
Look! I did n't mean to shoot this son - of - a - bitch, the gun just went off, do n't ask me how! Now I think the humane thing to do is put him out of his misery.
JULES
( ca n't believe it . )
You wan na shoot ` im again?
VINCENT
The guy's sufferin'. It's the right thing to do.
Marvin , suffering though he is , is listening to this debate , not believing what he 's hearing .
JULES
This is really uncool.
Vincent turns to the backseat , places the barrel of the .45 against Marvin 's forehead . Marvin 's eyes are as big as saucers . He tries to talk Vince out of this , but when he opens his mouth , only GURGLES come out .
JULES
Marvin, I just wan na apologize. I got nothin' to do with this shit. And I want you to know I think it's fucked up.
VINCENT
Okay, Pontius Pilot, when I count three, honk your horn. One. two.
CU of the steering wheel .
VINCENT
( OS . )
three.
Jules presses down hard on the horn : HONK and BANG ! When we CUT BACK to the two men , the car is completely covered in blood . It 's all over everything , including Jules and Vincent .
JULES
Jesus Christ Almighty!
VINCENT
( to himself . )
Fuck.
JULES
Look at this mess! We're drivin' around on a city street in broad daylight -
VINCENT
- I know, I know, I was n't thinkin' about the splatter.
JULES
Well you better be thinkin' about it now, motherfucker! We got ta get this car off the road. Cops tend to notice shit like you're driving a car drenched in fuckin' blood.
VINCENT
Ca n't we just take it to a friendly place?
JULES
This is the Valley, Vincent. Marsellus do n't got no friendly places in the Valley.
VINCENT
Well, do n't look at me, this is your town, Jules.
Jules takes out a cellular phone and starts punching digits .
VINCENT
Who ya callin'?
JULES
A buddy of mine in Toluca Lake.
VINCENT
Where's Toluca Lake.
JULES
On the other side of the hill, by Burbank Studios. If Jimmie's ass ai n't home, I do n't know what the fuck we're gon na go. I ai n't got any other partners in 818.
( into phone . )
Jimmie! How you doin' man, it's Jules.
( pause . )
Listen up man, me an' my homeboy are in some serious shit. We're in a car we got ta get off the road, pronto! I need to use your garage for a couple hours.
( pause . )
Jimmie, you know I ca n't get into this shit on a cellular fuckin' phone. But what I can say is my ass is out in the cold and I'm askin' you for some sanctuary'til our people can bring us in.
( pause . )
I appreciate this, man -.
( pause . )
We'll be gone by then.
( pause . )
- Jimmie, I'm aware of your situation. I ai n't gon na fuck things up for you. I give you my word, partner, she'll never know we were there.
( pause . )
Five minutes. Later.
He folds up the phone , turns to Vincent .
JULES
We're set. But his wife come home from work in an hour and a half and we got ta be outta there by then,
EXT. JIMMIE'S HOUSE - MORNING
The Nova pulls into the garage of a two - bedroom suburban house .
INT. JIMMIE'S BATHROOM - DAY
Jules is bent over a sink , washing his bloody hands while Vincent stands behind him .
JULES
We got ta be real fuckin' delicate with this Jimmie's situation. He's one remark away from kickin' our asses out the door.
VINCENT
If he kicks us out, whadda we do?
JULES
Well, we ai n't leavin''til we made a couple phone calls. But I never want it to reach that pitch. Jimmie's my friend and you do n't bust in your friend's house and start tellin' ` im what's what.
Jules rises and dries his hands . Vincent takes his place at the sink .
VINCENT
Just tell ` im not to be abusive. He kinda freaked out back there when he saw Marvin.
JULES
Put yourself in his position. It's eight o'clock in the morning. He just woke up, he was n't prepared for this shit. Do n't forget who's doin' who a favor.
Vincent finishes , then dries his hands on a white towel .
VINCENT
If the price of that favor is I got ta take shit, he can stick his favor straight up his ass.
When Vincent is finished drying his hands , the towel is stained with red .
JULES
What the fuck did you just do to his towel?
VINCENT
I was just dryin' my hands.
JULES
You're supposed to wash'em first.
VINCENT
You watched me wash'em.
JULES
I watched you get'em wet.
VINCENT
I washed'em. Blood's real hard to get off. Maybe if he had some Lava, I coulda done a better job.
JULES
I used the same soap you did and when I dried my hands, the towel did n't look like a fuckin' Maxie pad. Look, fuck it, alright. Who cares? But it's shit like this that's gon na bring this situation to a boil. If he were to come in here and see that towel like that. I'm tellin' you Vincent, you best be cool.'Cause if I got ta get in to it with Jimmie on account of you. Look, I ai n't threatenin' you, I respect you an' all, just do n't put me in that position.
JULES
Jules, you ask me nice like that, no problem. He's your friend, you handle him.
INT. JIMMIE'S KITCHEN - MORNING
Three men are standing in Jimmie 's kitchen , each with a mug of coffee . Jules , Vincent and JIMMIE DIMMICK , a young man in his late - 20s dressed in a bathrobe .
JULES
Goddamn Jimmie, this is some serious gourmet shit. Me an' Vincent woulda been satisfied with freeze - dried Tasters Choice. You spring this gourmet fuckin' shit on us. What flavor is this?
JIMMIE
Knock it off, Julie.
JULES
What?
JIMMIE
I'm not a cobb or corn, so you can stop butterin' me up. I do n't need you to tell me how good my coffee is. I'm the one who buys it, I know how fuckin' good it is. When Bonnie goes shoppin ;, she buys shit. I buy the gourmet expensive stuff'cause when I drink it, I wan na taste it. But what's on my mind at this moment is n't the coffee in my kitchen, it's the dead nigger in my garage.
JULES
Jimmie -
JIMMIE
- I'm talkin'. Now let me ask you a question, Jules. When you drove in here, did you notice a sign out front that said, `` Dead nigger storage?''
Jules starts to `` Jimmie '' him -
JIMMIE
- answer to question. Did you see a sign out in front of my house that said, `` Dead nigger storage?''
JULES
( playing along . )
Naw man, I did n't.
JIMMIE
You know why you did n't see that sign?
JULES
Why?
JIMMIE
'Cause storin' dead niggers ai n't my fuckin' business!
Jules starts to `` Jimmie '' him .
JIMMIE
- I ai n't through! Now do n't you understand that if Bonnie comes home and finds a dead body in her house, I'm gon na get divorced. No marriage counselor, no trial separation - fuckin' divorced. And I do n't wan na get fuckin' divorced. The last time me an' Bonnie talked about this shit was gon na be the last time me an' Bonnie talked about this shit. Now I wan na help ya out Julie, I really do. But I ai n't gon na lose my wife doin' it.
JULES
Jimmie -
JIMMIE
- do n't fuckin' Jimmie me, man, I ca n't be Jimmied. There's nothin' you can say that's gon na make me forget I love my wife. Now she's workin' the graveyard shift at the hospital. She'll be comin' home in less than an hour and a half. Make your phone calls, talk to your people, than get the fuck out of my house.
JULES
That's all we want. We do n't wan na fuck up your shit, We just need to call our people to bring us in.
JIMMIE
Then I suggest you get to it. Phone's in my bedroom.
As Jules crosses the room , exiting .
JULES
( calling behind him . )
You're a friend, Jimmie, you're a good fuckin' friend!
JIMMIE
( to himself . )
Yeah, yeah, yeah, yeah, yeah. I'm a real good friend. Good friend, bad husband, soon to be ex - husband.
( look up and sees Vincent . )
Who the fuck are you?
VINCENT
I'm Vincent. And Jimmie, thank a bunch,
The two men laugh .
JIMMIE
Do n't mention it.
INT. MARSELLUS WALLACE'S DINING ROOM - MORNING
Marsellus Wallace sits at his dining table in a big comfy robe , eating his large breakfast , while talking on the phone .
MARSELLUS
well, say she comes home. Whaddya think she'll do?
( pause . )
No fuckin' shit she'll freak. That ai n't no kinda answer. You know ` er, I do n't. How bad, a lot or a little?
INT. JIMMIE'S BEDROOM - MORNING
Jules paces around in Jimmie 's bedroom on the phone .
JULES
You got to appreciate what an explosive element this Bonnie situation is. If she comes home from a hard day's work and finds a bunch of gangsters doin' a bunch of gangsta' shit in her kitchen, ai n't no tellin' what she's apt to do.
MARSELLUS
Let us speak of the unspeakable.
JULES
Possibility exists, but unlikely.
MARSELLUS
Why possible but unlikely?
JULES
'Cause if push met shove, you know I'll take care of business. But push ai n't never gon na meet shove. Because You're gon na solve this shit for us. You're gon na take our asses outta the cold and bring it inside where it's warm.'Cause if I got ta get into it with my friend about his wife over your boy Vincent, I'm gon na have bad feelings.
MARSELLUS
I've grasped that, Jules. All I'm doin' is contemplating the `` ifs.''
JULES
I do n't wan na hear about no motherfuckin' `` ifs.'' What I wan na hear from your ass is : `` you ai n't got no problems, Jules. I'm on the motherfucker. Go back in there, chill them niggers out and wait for the cavalry, which should be comin' directly.''
MARSELLUS
You ai n't got no problems, Jules. I'm on the motherfucker. Go back in there, chill them niggers out and wait for The Wolf, who should be comin' directly.
JULES
You sendin' The Wolf?
MARSELLUS
Feel better?
JULES
Shit Negro, that's all you had to say.
INT. HOTEL SUITE - MORNING
The CAMERA looks through the bedroom doorway of a hotel suite into the main area . We SEE a crap game being played on a fancy crap table by GAMBLERS in tuxedos and LUCKY LADIES in fancy evening gowns . The CAMERA PANS to the right revealing : sitting on a bed , phone in hand with his back to us , the tuxedo - clad WINSTON WOLF aka `` THE WOLF . '' We also see The Wolf has a small notepad that he jots details in .
THE WOLF
( into phone . )
Is she the hysterical type?
( pause . )
When she due?
( jotting down . )
Give me the principals' names again?
( jots down . )
Jules.
We SEE his book . The page has written on it : 1265 Riverside Drive Toluca Lake 1 body . -LRB- no head . -RRB- Bloody shot - up car Jules . -LRB- black . -RRB-
THE WOLF
Vincent. Jimmie. Bonnie.
He writes : Vincent . -LRB- Dean Martin . -RRB- Jimmie . -LRB- house . -RRB- Bonnie . -LRB- 9:30 . -RRB-
THE WOLF
Expect a call around 10:30. It's about thirty minutes away. I'll be there in ten.
He hangs up . We never see his face . `` NINE MINUTES AND THIRTY - SEVEN SECONDS LATER . ''
EXT. JIMMIE'S STREET - MORNING
A silver Porsche WHIPS the corner leading to Jimmie 's home , in HYPER DRIVE . Easily doing 135 mph , the Porsche stops on a dime in front of Jimmie 's house . A ringed finger touches the doorbell : DING DONG .
INT. JIMMIE'S HOUSE - MORNING
Jimmie opens the door . We see , standing in the doorway , the tuxedo - clad man . He looks down to his notebook , then up at Jimmie .
THE WOLF
You're Jimmie, right? This is your house?
JIMMIE
Yeah.
THE WOLF
( stick his hand out . )
I'm Winston Wolf, I solve problems.
JIMMIE
Good,'cause we got one.
THE WOLF
So I heard. May I come in?
JIMMIE
Please do.
The two men walk to the dining room .
THE WOLF
I want to convey Mr. Wallace's gratitude with the help you're providing on this matter. Let me assure you Jimmie, Mr. Wallace's gratitude is worth having.
In the dining room , Jules and Vincent stand up .
THE WOLF
You must be Jules, which would make you Vincent. Let's get down to brass tacks, gentlemen. If I was informed correctly, the clock is ticking, is that right, Jimmie?
JIMMIE
100 %.
THE WOLF
Your wife, Bonnie.
( refers to his pad . )
. comes home at 9:30 in the AM, is that correct?
JIMMIE
Uh - huh.
THE WOLF
I was led to believe if she comes home and finds us here, she would n't appreciate it none too much.
JIMMMIE
She wo n't at that.
THE WOLF
That give use forty minutes to get the fuck outta Dodge, which, if you do what I say when I say it, should by plenty. Now you got a corpse in a car, minus a head, in a garage. Take me to it.
INT. JIMMIE'S GARAGE - MORNING
The three men hand back as The Wolf examines the car . He studies the car in silence , opening the door , looking inside , circling it .
THE WOLF
Jimmie?
JIMMIE
Yes.
THE WOLF
Do me a favor, will ya? Thought I smelled some coffee in there. Would you make me a cup?
JIMMIE
Sure, how do you take it?
THE WOLF
Lotsa cream, lotsa sugar.
Jimmie exists . The Wolf continues his examination .
THE WOLF
About the car, is there anything I need to know? Does it stall, does it make a lot of noise, does it smoke, is there gas in it, anything?
JULES
Aside from how it looks, the car's cool.
THE WOLF
Positive? Do n't get me out on the road and I find out the brake lights do n't work.
JULES
Hey man, as far as I know, the motherfucker's tip - top.
THE WOLF
Good enough, let's go back to the kitchen.
INT. KITCHEN - MORNING
Jimmie hands The Wolf a cup of coffee .
THE WOLF
Thank you, Jimmie.
He takes a sip , then , pacing as he thinks , lays out for the three men the plan of action .
THE WOLF
Okay first thing, you two.
( meaning Jules and Vincent . )
Take the body, stick it in the trunk. Now Jimmie, this looks to be a pretty domesticated house. That would lead me to believe that in the garage or under the sink, you got a bunch of cleaners and cleaners and shit like that, am I correct?
JIMMIE
Yeah. Exactly. Under the sink.
THE WOLF
Good. What I need you two fellas to do is take those cleaning products and clean the inside of the car. And I'm talkin' fast, fast, fast. You need to go in the backseat, scoop up all those little pieces of brain and skull. Get it out of there. Wipe down the upholstery - now when it comes to upholstery, it do n't need to be spic and span, you do n't need to eat off in. Give it a good once over. What you need to take care of are the really messy parts. The pools of blood that have collected, you got ta soak that shit up. But the windows are a different story. Them you really clean. Get the Windex, do a good job. Now Jimmie, we need to raid your linen closet. I need blankets, I need comforters, I need quilts, I need bedspreads. The thicker the better, the darker the better. No whites, ca n't use'em. We need to camouflage the interior of the car. We're gon na line the front seat and the backseat and the floor boards with quilts and blankets. If a cop stops us and starts stickin' his big snout in the car, the subterfuge wo n't last. But at a glance, the car will appear to be normal. Jimmie - lead the way, boys - get to work.
The Wolf and Jimmie turn , heading for the bedroom , leaving Vincent and Jules standing in the kitchen .
VINCENT
( calling after him . )
A `` please'' would be nice.
The Wolf stops and turns around .
THE WOLF
Come again?
VINCENT
I said a `` please'' would be nice.
The Wolf takes a step toward him .
THE WOLF
Set is straight, Buster. I'm not here to say `` please.'' I'm here to tell you want to do. And if self - preservation is an instinct you possess, you better fuckin' do it and do it quick. I'm here to help. If my help's not appreciated, lotsa luck gentlemen.
JULES
It ai n't that way, Mr. Wolf. Your help is definitely appreciated.
VINCENT
I do n't mean any disrespect. I just do n't like people barkin' orders at me.
THE WOLF
If I'm curt with you, it's because time is a factor. I think fast, I talk fast, and I need you guys to act fast if you want to get out of this. So pretty please, with sugar on top, clean the fuckin' car.
INT. JIMMIE'S BEDROOM - MORNING
Jimmie 's gathering all the bedspreads , quilts and linen he has . The Wolf is on the phone .
THE WOLF
( into phone . )
It's a 1974 Chevy Nova.
( pause . )
White.
( pause . )
Nothin', except for the mess inside.
( pause . )
About twenty minutes.
( pause . )
Nobody who'll be missed.
( pause . )
You're a good man, Joe. See ya soon.
( he looks at Jimmie . )
How we comin', Jimmie?
Jimmie comes over with a handful of linen .
JIMMIE
Mr. Wolf, you got ta understand somethin' -
THE WOLF
- Winston, Jimmie - please, Winston.
JIMMIE
You got ta understand something, Winston. I want to help you guys out and all, but that's my best linen. It was a wedding present from my Uncle Conrad and Aunt Ginny, and they ai n't with us anymore -
THE WOLF
- let me ask you a question, if you do n't mind?
JIMMIE
Sure.
THE WOLF
Were you Uncle Conrad and Aunt Ginny millionaires?
JIMMIE
No.
THE WOLF
Well, your Uncle Marsellus is. And I'm positive if Uncle Conrad and Aunt Ginny were millionaires, they would've furnished you with a whole bedroom set, which your Uncle Marsellus is more than happy to do.
( takes out a roll of bills . )
I like oak myself, that's what's in my bedroom. How ` bout you Jimmie, you an oak man?
JIMMIE
Oak's nice.
INT. GARAGE - MORNING
Both Jules and Vincent are inside the car cleaning it up . Vincent is in the front seat washing windows , while Jules is in the backseat , picking up little pieces of skull and gobs of brain . Both are twice as bloody as they were before .
JULES
I will never forgive your ass for this shit. This is some fucked - up repugnant shit!
VINCENT
Did you ever hear the philosophy that once a man admits he's wrong, he's immediately forgiven for all wrong - doings?
JULES
Man, get outta my face with that shit! The motherfucker who said that never had to pick up itty - bitty pieces of skull with his fingers on account of your dumb ass.
VINCENT
I got a threshold, Jules. I got a threshold for the abuse I'll take. And you're crossin' it. I'm a race car and you got me in the red. Redline 7000, that's where you are. Just know, it's fuckin' dangerous to be drivin' a race car when it's in the red. It could blow.
JULES
You're gettin' ready to blow? I'm a mushroom - cloud - layin' motherfucker! Every time my fingers touch brain I'm `` SUPERFLY T.N.T,'' I'm the `` GUNS OF NAVARONE.'' I'm what Jimmie Walker usta talk about. In fact, what the fuck am I doin' in the back? You're the motherfucker should be on brain detail. We're tradin'. I'm washin' windows and you're pickin' up this nigger's skull.
INT. CHEVY NOVA - MORNING
The interior of the car has been cleaned and lined with bedspreads and quilts . Believe it or not , what looked like a portable slaughterhouse can actually pass for a non - descript vehicle . The Wolf circles the car examining it . Jules and Vincent stand aside , their clothes are literally a bloody mess , but they do have a sense of pride in what a good job they 've done .
THE WOLF
Fine job, gentlemen. We may get out of this yet.
JIMMIE
I ca n't believe that's the same car.
THE WOLF
Well, let's not start suckin' each other's dicks quite yet. Phase one is complete, clean the car, which moves us right along to phase two, clean you two.
EXT. JIMMIE'S BACKYARD - MORNING
Jules and Vincent stand side by side in their black suits , covered in blood , in Jimmie 's backyard . Jimmie holds a plastic Hefty trash bag , while The Wolf holds a garden hose with one of those guns nossles attached .
THE WOLF
Strip.
VINCENT
All the way?
THE WOLF
To your bare ass.
As they follow directions , The Wolf enjoys a smoke .
THE WOLF
Quickly gentlemen, we got about fifteen minutes before Jimmie's better - half comes pulling into the driveway.
JULES
This morning air is some chilly shit.
VINCENT
Are you sure this is absolutely necessary?
THE WOLF
You know what you two look like?
VINCENT
What?
THE WOLF
Like a couple of guys who just blew off somebody's head. Yes, strippin' off those bloody rags is absolutely necessary. Toss the clothes in Jim's garbage bag.
JULES
Now Jimmie, do n't do nothin' stupid like puttin' that out in front of your house for Elmo the garbage man to take away.
THE WOLF
Do n't worry, we're takin' it with us. Jim, the soap.
He hands the now - naked men a bar of soap .
THE WOLF
Okay gentlemen, you're both been to County before, I'm sure. Here it comes.
He hits the trigger , water SHOOTS OUT , SMACKING both men .
JULES
Goddamn, that water's fuckin' cold!
THE WOLF
Better you than me, gentlemen.
The two men , trembling , scrub themselves .
THE WOLF
Do n't be afraid of the soap, spread it around.
The Wolf stops the hose , tossing it on the ground .
THE WOLF
Towel'em.
Jimmie tosses them each a towel , which they rub furiously across their bodies .
THE WOLF
You're dry enough, give'em their clothes.
JIMMIE
Okay fellas, in the one - size - fits - all category, we got swim trunks, one red - one white. And two extra - large tee - shirts. A UC Santa Cruz shirt and an `` I'm with Stupid'' shirt.
JULES
I get the `` I'm with Stupid'' shirt.
JULES AND VINCENT in their tee - shirts and swim trunks . They look a million miles away from the black - suited , bad - asses we first met .
THE WOLF
Perfect. Perfect. We could n't've planned this better. You guys look like. what do they look like, Jimmie?
JIMMIE
Dorks. They look like a couple of dorks.
The Wolf and Jimmie laugh .
JULES
Ha ha ha. They're your clothes, motherfucker.
JIMMIE
I guess you just got ta know how to wear them.
JULES
Yeah, well, out asses ai n't the expert on wearin' dorky shit that your is.
THE WOLF
C'mon, gentlemen, we're laughin' and jokin' our way into prison. Do n't make me beg.
They start walking through the house to the garage .
JIMMIE
Wait a minute, before you guys split, I wan na get a picture of this.
JULES
Jimmie, have you forgotten about your wife comin' home?
JIMMIE
It wo n't take a second.
VINCENT
I do n't like this photograph shit.
JIMMIE
Sorry - my house, my rules.
INT. JIMMIE'S GARAGE - MORNING
The garbage bag is tossed in the car trunk on top of Marvin . The Wolf SLAMS is closed .
THE WOLF
Gentlemen, let's get our rules of the road straight. We're going to a place called Monster Joe's Truck and Tow. Monster Joe and his daughter Raquel are sympathetic to out dilemma. The place is North Hollywood, so a few twist and turns aside, we'll be goin' up Hollywood Way. Now I'll drive the tainted car. Jules, you ride with me. Vincent, you follow in my Porsche. Now if we cross the path of any John Q. Laws, nobody does a fuckin' thing'til I do something.
( to Jules . )
What did I say?
JULES
Do n't do shit unless -
THE WOLF
- unless what?
JULES
Unless you do it first.
THE WOLF
Spoken like a true prodigy.
( to Vincent . )
How ` bout you, Lash Larue? Can you keep your spurs from jingling and jangling?
VINCENT
I'm cool, Mr. Wolf. My gun just went off, I dunno how.
THE WOLF
Fair enough.
( he throws Vince his car keys . )
I drive real fuckin' fast, so keep up. If I get my car back any different than I gave it, Monster Joe's gon na be disposing of two bodies.
JULES
Why do you drive fast?
THE WOLF
Because it's a lot of fun.
Jules and Vincent laugh .
THE WOLF
Let's move.
Jimmie comes through the door , camera in hand .
JIMMIE
Wait a minute, I wan na take a picture.
JULES
We ai n't got time, man.
JIMMIE
We got time for one picture. You and Vincent get together.
Jules and Vincent stand next to each other .
JIMMIE
Okay, you guys put your arms around each other.
The two men look at each other and , after a long beat , a smile breaks out . They put their arms around each other .
JIMMIE
Okay Winston, get in there.
THE WOLF
I ai n't no model.
JIMMIE
After what a cool guy I've been, I ca n't believe you do me like this. It's the only thing I asked.
JULES & VINCENT
C'mon, Mr. Wolf.
THE WOLF
Okay, one photo and we go.
SLOW DOLLY TOWARD A LONE CAMERA
JIMMIE
( OS . )
Everybody say Pepsi.
JULES
( OS . )
I ai n't fuckin' sayin' Pepsi.
JIMMIE
( OS . )
Smile, Winston.
THE WOLF
I do n't smile in pictures.
The camera goes off , FLASHING THE SCREEN WHITE . THE PHOTO FADES UP OVER WHITE . it 's Jules and Vincent , their arms around each other , next to Jimmie ' whose arm is around The Wolf . Everyone is smiling except you - know - who .
INT. MONSTER JOE'S TRUCK AND TOW - MORNING
Winston is counting out three thousand dollars to an older man in a dirty tee - shirt , MONSTER JOE . We 're in Joe 's office , which looks like the office of every tow yard on the planet . A filthy , disarrayed mess .
MONSTER JOE
I've said it before, I'll say it again, your business is always welcome.
WINSTON
I would think by now I've earned the equivalent of Frequent Flyer miles.
MONSTER JOE
I'll tell ya what, if you ever need it, I'll dispose of a body part for free.
WINSTON
How ` bout an upgrade, you dispose a whole body for the price of a body part.
The two men laugh .
MONSTER JOE
That one I need to speak with my accountant on.
WINSTON
Where's that reprobate daughter of yours?
MONSTER JOE
Out in the yard, up to no good.
EXT. MONSTER JOE'S TRUCK AND TOW - MORNING
Winston steps outside and is joined by Monster Joe 's daughter , RAQUEL . They walk in step across the yard with their arms around each other 's waists .
RAQUEL
Hello, Boyfriend!
WINSTON
Hello, Girlfriend. I swear, heartbreaker, Joe should change the name of this place to Beauty and the Beast Truck and Tow.
RAQUEL
You're prejudiced because you love me.
WINSTON
Guilty.
RAQUEL
Now business is done, it's time for pleasure.
WINSTON
The time it is, is time for bed.
RAQUEL
Contre senior Lobo.
WINSTON
Do you have a different idea?
RAQUEL
Most definitely.
WINSTON
What do you think?
RAQUEL
I think you're taking me out to breakfast.
WINSTON
Well, you thought wrong.
RAQUEL
That's no fair! I never get to see you.
WINSTON
Raquel, I been up all night. I need sleep. You understand the concept of sleep?
RAQUEL
Yes, sleep is what you do after you've taken me to breakfast. Just get used to the idea, indulging me is the price of doing business at Monster Joe's Truck and Tow.
WINSTON
Raquel -
RAQUEL
I have n't seen you in a long time. I miss you, we're going to breakfast. So it is written, so shall it be done.
They exit the tow yard . Jules and Vincent wait by Winston 's Porsche .
JULES
We cool?
WINSTON
Like it never happened.
Jules and Vincent bump fists .
JULES
I apologize for bein' in your shit like I was.
VINCENT
You had every right, I fucked up.
RAQUEL
( to Winston . )
Are they having a moment?
WINSTON
Boys, this is Raquel. Someday, all this will be hers.
RAQUEL
( to the boys . )
Hi. You know, if they ever do `` I SPY : THE MOTION PICTURE,'' you guys, I'd be great. What's with the outfits. You guys going to a volleyball game?
Winston laughs , the boys groan .
WINSTON
I'm takin' m ` lady out to breakfast. Maybe I can drop you two off. Where do you live?
VINCENT
Redondo Beach.
JULES
Inglewood.
Winston grabs Jules ' wrist and pantomimes like he 's in a `` DEAD ZONE '' trance .
WINSTON
( painfully . )
It's your future : I see. a cab ride.
( dropping the act . )
Sorry guys, move out of the sticks.
( to Raquel . )
Say goodbye, Raquel
RAQUEL
Goodbye, Raquel.
WINSTON
I'll see you two around, and stay outta trouble, you crazy kids.
Winston turns to leave .
JULES
Mr. Wolf.
He turns around .
JULES
I was a pleasure watchin' you work.
The Wolf smiles .
WINSTON
Call me Winston.
He turns and banters with Raquel as they get in the Porsche .
WINSTON
You hear that, young lady? Respect. You could lean a lot from those two fine specimens. Respect for one's elders shows character.
RAQUEL
I have character.
WINSTON
Just because you are a character does n't mean you have character.
RAQUEL
Oh you're so funny, oh you're so funny.
The Porsche SHOOTS OFF down the road . The two men left alone look at each other .
JULES
Wan na share a cab?
VINCENT
You know I could go for some breakfast. What to have breakfast with me?
JULES
Sure.
INT. COFFEE SHOP - MORNING
Jules and Vincent sit at a booth . In front of Vincent is a big stack of pancakes and sausages , which he eats with gusto . Jules , on the other hand , just has a cup of coffee and a muffin . He seems far away in thought . The Waitress pours a refill for both men ,
VINCENT
Thanks a bunch.
( to Jules , who 's nursing his coffee . )
Want a sausage?
JULES
Naw, I do n't eat pork.
VINCENT
Are you Jewish?
JULES
I ai n't Jewish man, I just do n't dig on swine.
VINCENT
Why not?
JULES
They're filthy animals. I do n't eat filthy animals.
VINCENT
Sausages taste good. Pork chops taste good.
JULES
A sewer rat may taste like pumpkin pie. I'll never know'cause even if it did, I would n't eat the filthy motherfucker. Pigs sleep and root in shit. That's a filthy animal. I do n't wan na eat nothin' that ai n't got enough sense to disregard its own feces.
VINCENT
How about dogs? Dogs eat their own feces.
JULES
I do n't eat dog either.
VINCENT
Yes, but do you consider a dog to be a filthy animal?
JULES
I would n't go so far as to call a dog filthy, but they're definitely dirty. But a dog's got personality. And personality goes a long way.
VINCENT
So by that rationale, if a pig had a better personality, he's cease to be a filthy animal?
JULES
We'd have to be talkin' ` bout one motherfuckin' charmin' pig. It'd have to be the Cary Grant of pigs.
The two men laugh .
VINCENT
Good for you. Lighten up a little. You been sittin' there all quiet.
JULES
I just been sittin' here thinkin'.
VINCENT
( mouthful of food . )
About what?
JULES
The miracle we witnessed.
VINCENT
The miracle you witnessed. I witnessed a freak occurrence.
JULES
Do you know that a miracle is?
VINCENT
An act of God.
JULES
What's an act of God?
VINCENT
I guess it's when God makes the impossible possible. And I'm sorry Jules, but I do n't think what happened this morning qualifies.
JULES
Do n't you see, Vince, that shit do n't matter. You're judging this thing the wrong way. It's not about what. It could be God stopped the bullets, he changed Coke into Pepsi, he found my fuckin' car keys. You do n't judge shit like this based on merit. Whether or not what we experienced was an according - to - Hoyle miracle is insignificant. What is significant is I felt God's touch, God got involved.
VINCENT
But why?
JULES
That's what's fuckin' wit' me! I do n't know why. But I ca n't go back to sleep.
VINCENT
So you're serious, you're really gon na quit?
JULES
The life, most definitely.
Vincent takes a bite of food . Jules takes a sip of coffee In the b.g. , we see a PATRON call the Waitress .
PATRON
Garcon! Coffee!
We recognize the patron to be Pumpkin from the first scene of Pumpkin and Honey Bunny .
VINCENT
So if you're quitting the life, what'll you do?
JULES
That's what I've been sitting here contemplating. First, I'm gon na deliver this case to Marsellus. Then, basically, I'm gon na walk the earth.
VINCENT
What do you mean, walk the earth?
JULES
You know, like Caine in `` KUNG FU.'' Just walk from town to town, meet people, get in adventures.
VINCENT
How long do you intend to walk the earth?
JULES
Until God puts me where he want me to be.
VINCENT
What if he never does?
JULES
If it takes forever, I'll wait forever.
VINCENT
So you decided to be a bum?
JULES
I'll just be Jules, Vincent - no more, no less.
VINCENT
No Jules, you're gon na be like those pieces of shit out there who beg for change. They walk around like a bunch of fuckin' zombies, they sleep in garbage bins, they eat what I throw away, and dogs piss on'em. They got a word for'em, they're called bums. And without a job, residence, or legal tender, that's what you're gon na be - a fuckin' bum!
JULES
Look my friend, this is just where me and you differ -
VINCENT
- what happened was peculiar - no doubt about it - but it was n't water into wine.
JULES
All shapes and sizes, Vince.
VINCENT
Stop fuckin' talkin' like that!
JULES
If you find my answers frightening, Vincent, you should cease askin' scary questions.
VINCENT
When did you make this decision - while you were sitting there eatin' your muffin?
JULES
Yeah. I was just sitting here drinking my coffee, eating my muffin, playin' the incident in my head, when I had what alcoholics refer to as a `` moment of clarity.''
VINCENT
I got ta take a shit. To be continued.
Vincent exits for the restroom . Jules , alone , takes a mouthful of muffin , then . Pumpkin and Honey Bunny rise with guns raised .
PUMPKIN
Everybody be cool, this is a robbery!
HONEY BUNNY
Any of you fuckin' pricks move and I'll execute every one of you motherfuckers! Got that?!
Jules looks up , not believing what he 's seeing . Under the table , Jules ' hand goes to his .45 Automatic . He pulls it out , COCKING IT .
PUMPKIN
Customers stay seated, waitresses on the floor.
HONEY BUNNY
Now mean fuckin' now! Do it or die, do it or fucking die!
Like lightning , Pumpkin moves over to the kitchen . While Honey Bunny SCREAMS out threats to the PATRONS , keeping them terrified .
PUMPKIN
You Mexicans in the kitchen, get out here! Asta luego!
Three COOKS and two BUSBOYS come out of the kitchen .
PUMPKIN
On the floor or I'll cook you ass, comprende?
They comprende . The portly MANAGER speaks up .
MANAGER
I'm the manager here, there's no problem, no problem at all -
Pumpkin head his way .
PUMPKIN
You're gon na give me a problem?
He reaches him and sticks the barrel of his gun hard in the Manager 's neck .
PUMPKIN
What? You said you're gon na give me a problem?
MANAGER
No, I'm not. I'm not gon na give you any problem!
PUMPKIN
I do n't know, Honey Bunny. He looks like the hero type to me!
HONEY BUNNY
Do n't take any chances. Execute him!
The Patrons SCREAM . Jules watches all this silently , his hand tightly gripping the .45 Automatic under the table .
MANAGER
Please do n't! I'm not a hero. I'm just a coffee shop manager. Take anything you want.
PUMPKIN
Tell everyone to cooperate and it'll be all over.
MANAGER
Everybody just be calm and cooperate with them and this will be all over soon!
PUMPKIN
Well done, now git your fuckin' ass on the ground.
INT. COFFEE SHOP BATHROOM - MORNING
Vincent , on the toilet , oblivious to the pandemonium outside , reads his `` MODESTY BLAISE '' book .
INT. COFFEE SHOP - MORNING
Cash register drawer opens . Pumpkin stuffs the money from the till in his pocket . Then walks from behind the counter with a trash bag in his hand .
PUMPKIN
Okay people, I'm going to go ` round and collect your wallets. Do n't talk, just toss'em in the bag. We clear?
Pumpkin goes around collecting wallets . Jules sits with his .45 ready to spit under the table . Pumpkin sees Jules sitting in his booth , holding his wallet , briefcase next to him . Pumpkin crosses to him , his tone more respectful , him manner more on guard .
PUMPKIN
In the bag.
Jules DROPS his wallet in the bag . Using his gun as a pointer , Pumpkin points to the briefcase .
PUMPKIN
What's in that?
JULES
My boss' dirty laundry.
PUMPKIN
You boss makes you do his laundry?
JULES
When he wants it clean.
PUMPKIN
Sounds like a shit job.
JULES
Funny, I've been thinkin' the same thing.
PUMPKIN
Open it up.
Jules ' free hand lays palm flat on the briefcase .
JULES
` Fraid I ca n't do that.
Pumpkin is definitely surprised by his answer . He aims the gun right in the middle of Jules ' face and pulls back the hammer .
PUMPKIN
I did n't hear you.
JULES
Yes, you did.
This exchange has been kind of quiet , not everybody heard it , but Honey Bunny senses something 's wrong .
HONEY BUNNY
What's goin' on?
PUMPKIN
Looks like we got a vigilante in our midst.
HONEY BUNNY
Shoot'em in the face!
JULES
I do n't mean to shatter your ego, but this ai n't the first time I've had gun pointed at me.
PUMPKIN
You do n't open up that case, it's gon na be the last.
MANAGER
( on the ground . )
Quit causing problems, you'll get us all killed! Give'em what you got and get'em out of here.
JULES
Keep your fuckin' mouth closed, fat man, this ai n't any of your goddamn business!
PUMPKIN
I'm countin' to three, and if your hand ai n't off that case, I'm gon na unload right in your fuckin' face. Clear? One.
Jules closes his eyes .
PUMPKIN
two.
Jules SHOOTS Pumpkin twice , up through the table , sending him to the floor . While still in the booth , he SWINGS around to Honey Bunny , who has aimed at Jules , but slowed down by the shock of Pumpkin getting shot . He FIRES three times . Honey Bunny takes all three HITS in the chest . As she FALLS SCREAMING , she FIRES wildly , HITTING a SURFER PATRON .
SURFER
She shot me! I'm dying! Sally! Sally!
Jules now brings the gun down to Pumpkin 's face . Pumpkin lies shot on the floor at Jules ' feet . Pumpkin looks up at the big gun .
JULES
Wrong guy, Ringo.
Jules FIRES straight at the CAMERA , BLINDING UP with his FLASH . Jules ' eyes , still closed , suddenly open . Pumpkin still stands , holding the gun on him .
PUMPKIN
three.
JULES
You win.
Jules raises his hand off the briefcase .
JULES
It's all yours, Ringo.
PUMPKIN
Open it.
Jules flips the locks and opens the case , revealing it to Pumpkin but not to us . The same light SHINES from the case . Pumpkin 's expression goes to amazement . Honey Bunny , across the room , ca n't see shit .
HONEY BUNNY
What is it? What is it?
PUMPKIN
( softly . )
Is that what I think it is?
Jules nods his head : `` yes . ''
PUMPKIN
It's beautiful.
Jules nods his head : `` yes . ''
HONEY BUNNY
Goddammit, what is it?
Jules SLAMS the case closed , then sits back , as if offering the case to Pumpkin . Pumpkin , one big smile , bends over to pick up the case . Like a rattlesnake , Jules ' free hand GRABS the wrist of Pumpkin 's gun hand , SLAMMING it on the table . His other hand comes from under the table and STICKS the barrel of his .45 hand under Pumpkin 's chin . Honey Bunny freaks out , waving his gun in Jules ' direction .
HONEY BUNNY
Let him go! Let him go! I'll blow your fuckin' head off! I'll kill ya! I'll kill ya! You're gon na die, you're gon na fuckin' die bad!
JULES
( to Pumpkin . )
Tell that bitch to be cool! Say, bitch be cool! Say, bitch be cool!
PUMPKIN
Chill out, honey!
HONEY BUNNY
Let him go!
JULES
( softly . )
Tell her it's gon na be okay.
PUMPKIN
I'm gon na be okay.
JULES
Promise her.
PUMPKIN
I promise.
JULES
Tell her to chill.
PUMPKIN
Just chill out.
JULES
What's her name?
PUMPKIN
Yolanda.
Whenever Jules talks to Yolanda , he never looks at her , only at Pumpkin .
JULES
( to Yolanda . )
So, we cool Yolanda? We ai n't gon na do anything stupid, are we?
YOLANDA
( crying . )
Do n't you hurt him.
JULES
Nobody's gon na hurt anybody. We're gon na be like three Fonzies. And what' Fonzie like?
No answer ,
JULES
C'mon Yolanda, what's Fonzie like?
YOLANDA
( through tears , unsure . )
He's cool?
JULES
Correct - amundo! And that's what we're gon na be, we're gon na be cool.
( to Pumpkin . )
Now Ringo, I'm gon na count to three and I want you to let go your gun and lay your palms flat on the table. But when you do it, do it cool. Ready?
Pumpkin looks at him .
JULES
One. two. three.
Pumpkin lets go of his gun and places both hands on the table . Yolanda ca n't stand it anymore .
YOLANDA
Okay, now let him go!
JULES
Yolanda, I thought you were gon na be cool. When you yell at me, it makes me nervous. When I get nervous, I get scared. And when motherfuckers get scared, that's when motherfuckers get accidentally shot.
YOLANDA
( more conversational . )
Just know : you hurt him, you die.
JULES
That seems to be the situation. Now I do n't want that and you do n't want that and Ringo here do n't want that. So let's see what we can do.
( to Ringo . )
Now this is the situation. Normally both of your asses would be dead as fuckin' fried chicken. But you happened to pull this shit while I'm in a transitional period. I do n't wan na kill ya, I want to help ya. But I'm afraid I ca n't give you the case. It do n't belong to me. Besides, I went through too much shit this morning on account of this case to just hand it over to your ass.
VINCENT
( OS . )
What the fuck's goin' on here?
Yolanda WHIPS her gun toward the stranger . VINCENT , by the bathroom , has his gun out , dead - aimed at Yolanda .
JULES
It's cool, Vincent! It's cool! Do n't do a goddamn thing. Yolanda, it's cool baby, nothin's changed. We're still just talkin'.
( to Pumpkin . )
Tell her we're still cool.
PUMPKIN
It's cool, Honey Bunny, we're still cool.
VINCENT
( gun raised . )
What the hell's goin' on, Jules?
JULES
Nothin' I ca n't handle. I want you to just hang back and do n't do shit unless it's absolutely necessary.
VINCENT
Check.
JULES
Yolanda, how we doin, baby?
YOLANDA
I got ta go pee! I want to go home.
JULES
Just hang in there, baby, you're doing' great, Ringo's proud of you and so am I. It's almost over.
( to Pumpkin . )
Now I want you to go in that bag and find my wallet.
PUMPKIN
Which one is it?
JULES
It's the one that says Bad Motherfucker on it.
Pumpkin looks in the bag and - sure enough - there 's a wallet with `` Bad Motherfucker '' embroidered on it .
JULES
That's my bad motherfucker. Now open it up and take out the cash. How much is there?
PUMPKIN
About fifteen hundred dollars.
JULES
Put it in your pocket, it's yours. Now with the rest of them wallets and the register, that makes this a pretty successful little score.
VINCENT
Jules, if you give this nimrod fifteen hundred buck, I'm gon na shoot'em on general principle.
JULES
You ai n't gon na do a goddamn thing, now hang back and shut the fuck up. Besides, I ai n't givin' it to him. I'm buyin' somethin' for my money. Wan na know what I'm buyin' Ringo?
PUMPKIN
What?
JULES
Your life. I'm givin' you that money so I do n't hafta kill your ass. You read the Bible?
PUMPKIN
Not regularly.
JULES
There's a passage I got memorized. Ezekiel 25:17. `` The path of the righteous man is beset on all sides by the inequities of the selfish and the tyranny of evil men. Blessed is he who, in the name of charity and good will, shepherds the weak through the valley of the darkness. For he is truly his brother's keeper and the finder of lost children. And I will strike down upon thee with great vengeance and furious anger those who attempt to poison and destroy my brothers. And you will know I am the Lord when I lay my vengeance upon you.'' I been sayin' that shit for years. And if you ever heard it, it meant your ass. I never really questioned what it meant. I thought it was just a cold - blooded thing to say to a motherfucker ` fore you popped a cap in his ass. But I saw some shit this mornin' made me think twice. Now I'm thinkin', it could mean you're the evil man. And I'm the righteous man. And Mr. 45 here, he's the shepherd protecting my righteous ass in the valley of darkness. Or is could by you're the righteous man and I'm the shepherd and it's the world that's evil and selfish. I'd like that. But that shit ai n't the truth. The truth is you're the weak. And I'm the tyranny of evil men. But I'm tryin'. I'm tryin' real hard to be a shepherd.
Jules lowers his gun , lying it on the table . Pumpkin looks at him , to the money in his hand , then to Yolanda . She looks back . Grabbing the trash bag full of wallets , the two RUN out the door . Jules , who was never risen from his seat the whole time , takes a sip of coffee .
JULES
( to himself . )
It's cold.
He pushes it aside . Vincent appears next to Jules .
VINCENT
I think we oughta leave now.
JULES
That's probably a good idea.
Vincent throws some money on the table and Jules grabs the briefcase . Then , to the amazement of the Patrons , the Waitresses , the Cooks , the Bus Boys , and the Manager , these two bad - ass dudes - wearing UC Santa Cruz and `` I 'm with Stupid '' tee - shirts , swim trunks , thongs and packing .45 Automatics - walk out of the coffee shop together without saying a word . THE END
|
INT. COFFEE SHOP - MORNING
A normal Denny 's , Spires - like coffee shop in Los Angeles . It 's about 9:00 in the morning . While the place is n't jammed , there 's a healthy number of people drinking coffee , munching on bacon and eating eggs . Two of these people are a YOUNG MAN and a YOUNG WOMAN . The Young Man has a slight working - class English accent and , like his fellow countryman , smokes cigarettes like they 're going out of style . It is impossible to tell where the Young Woman is from or how old she is ; everything she does contradicts something she did . The boy and girl sit in a booth . Their dialogue is to be said in a rapid - pace `` HIS GIRL FRIDAY '' fashion .
YOUNG MAN
No, forget it, it's too risky. I'm through doin' that shit.
YOUNG WOMAN
You always say that, the same thing every time : never again, I'm through, too dangerous.
YOUNG MAN
I know that's what I always say. I'm always right too, but -
YOUNG WOMAN
- but you forget about it in a day or two -
YOUNG MAN
- yeah, well, the days of me forgittin' are over, and the days of me rememberin' have just begun.
YOUNG WOMAN
When you go on like this, you know what you sound like?
YOUNG MAN
I sound like a sensible fucking man, is what I sound like.
YOUNG WOMAN
You sound like a duck.
( imitates a duck . )
Quack, quack, quack, quack, quack, quack, quack.
YOUNG MAN
Well take heart,'cause you're never gon na hafta hear it again. Because since I'm never gon na do it again, you're never gon na hafta hear me quack about how I'm never gon na do it again.
YOUNG WOMAN
After tonight.
The boy and girl laugh , their laughter putting a pause in there , back and forth .
YOUNG MAN
( with a smile . )
Correct. I got all tonight to quack.
A WAITRESS comes by with a pot of coffee .
WAITRESS
Can I get anybody anymore coffee?
YOUNG WOMAN
Oh yes, thank you.
The Waitress pours the Young Woman 's coffee . The Young Man lights up another cigarette .
YOUNG MAN
I'm doin' fine.
The Waitress leaves . The Young Man takes a drag off of his smoke . The Young Woman pours a ton of cream and sugar into her coffee . The Young Man goes right back into it .
YOUNG MAN
I mean the way it is now, you're takin' the same fuckin' risk as when you rob a bank. You take more of a risk. Banks are easier! Federal banks are n't supposed to stop you anyway, during a robbery. They're insured, why should they care? You do n't even need a gun in a federal bank. I heard about this guy, walked into a federal bank with a portable phone, handed the phone to the teller, the guy on the other end of the phone said : `` We got this guy's little girl, and if you do n't give him all your money, we're gon na kill ` er.''
YOUNG WOMAN
Did it work?
YOUNG MAN
Fuckin' A it worked, that's what I'm talkin' about! Knucklehead walks in a bank with a telephone, not a pistol, not a shotgun, but a fuckin' phone, cleans the place out, and they do n't lift a fuckin' finger.
YOUNG WOMAN
Did they hurt the little girl?
YOUNG MAN
I do n't know. There probably never was a little girl - the point of the story is n't the little girl. The point of the story is they robbed the bank with a telephone.
YOUNG WOMAN
You wan na rob banks?
YOUNG MAN
I'm not sayin' I wan na rob banks, I'm just illustrating that if we did, it would be easier than what we been doin'.
YOUNG WOMAN
So you do n't want to be a bank robber?
YOUNG MAN
Naw, all those guys are goin' down the same road, either dead or servin' twenty.
YOUNG WOMAN
And no more liquor stores?
YOUNG MAN
What have we been talking about? Yeah, no - more - liquor - stores. Besides, it ai n't the giggle it usta be. Too many foreigners own liquor stores. Vietnamese, Koreans, they ca n't fuckin' speak English. You tell'em : `` Empty out the register,'' and they do n't know what it fuckin' means. They make it too personal. We keep on, one of those gook motherfuckers' gon na make us kill'em.
YOUNG WOMAN
I'm not gon na kill anybody.
YOUNG MAN
I do n't wan na kill anybody either. But they'll probably put us in a situation where it's us of them. And if it's not the gooks, it these old Jews who've owned the store for fifteen fuckin' generations. Ya got Grandpa Irving sittin' behind the counter with a fuckin' Magnum. Try walkin' into one of those stores with nothin' but a telephone, see how far it gets you. Fuck it, forget it, we're out of it.
YOUNG WOMAN
Well, what else is there, day jobs?
YOUNG MAN
( laughing . )
Not this life.
YOUNG WOMAN
Well what then?
He calls to the Waitress .
YOUNG MAN
Garcon! Coffee!
Then looks to his girl .
YOUNG MAN
This place.
The Waitress comes by , pouring him some more .
WAITRESS
( snotty . )
`` Garcon'' means boy.
She splits .
YOUNG WOMAN
Here? It's a coffee shop.
YOUNG MAN
What's wrong with that? People never rob restaurants, why not? Bars, liquor stores, gas stations, you get your head blown off stickin' up one of them. Restaurants, on the other hand, you catch with their pants down. They're not expecting to get robbed, or not as expecting.
YOUNG WOMAN
( taking to idea . )
I bet in places like this you could cut down on the hero factor.
YOUNG MAN
Correct. Just like banks, these places are insured. The managers do n't give a fuck, they're just tryin' to get ya out the door before you start pluggin' diners. Waitresses, forget it, they ai n't takin' a bullet for the register. Busboys, some wetback gettin' paid a dollar fifty a hour gon na really give a fuck you're stealin' from the owner. Customers are sittin' there with food in their mouths, they do n't know what's goin' on. One minute they're havin' a Denver omelette, next minute somebody's stickin' a gun in their face.
The Young Woman visibly takes in the idea . The Young Man continues in a low voice .
YOUNG MAN
See, I got the idea last liquor store we stuck up. ` Member all those customers kept comin' in?
YOUNG WOMAN
Yeah.
YOUNG MAN
They you got the idea to take everybody's wallet.
YOUNG WOMAN
Uh - huh.
YOUNG MAN
That was a good idea.
YOUNG WOMAN
Thank you.
YOUNG MAN
We made more from the wallets then we did the register.
YOUNG WOMAN
Yes we did.
YOUNG MAN
A lot of people go to restaurants.
YOUNG WOMAN
A lot of wallets.
YOUNG MAN
Pretty smart, huh?
The Young Woman scans the restaurant with this new information . She sees all the PATRONS eating , lost in conversations . The tires WAITRESS , taking orders . The BUSBOYS going through the motions , collecting dishes . The MANAGER complaining to the COOK about something . A smiles breaks out on the Young Woman 's face .
YOUNG WOMAN
Pretty smart.
( into it . )
I'm ready, let's go, right here, right now.
YOUNG MAN
Remember, same as before, you're crowd control, I handle the employees.
YOUNG WOMAN
Got it.
They both take out their .32 - caliber pistols and lay them on the table . He looks at her and she back at him .
YOUNG WOMAN
I love you, Pumpkin.
YOUNG MAN
I love you, Honey Bunny.
And with that , Pumpkin and Honey Bunny grab their weapons , stand up and rob the restaurant . Pumpkin 's robbery persona is that of the in - control professional . Honey Bunny 's is that of the psychopathic , hair - triggered , loose cannon .
PUMPKIN
( yelling to all . )
Everybody be cool this is a robbery!
HONEY BUNNY
Any of you fuckin' pricks move and I'll execute every one of you motherfuckers! Got that?
PULP FICTION
INT.'74 CHEVY (MOVING) - MORNING
An old gas guzzling , dirty , white 1974 Chevy Nova BARRELS down a homeless - ridden street in Hollywood . In the front seat are two young fellas - one white , one black - both wearing cheap black suits with thin black ties under long green dusters . Their names are VINCENT VEGA -LRB- white -RRB- and JULES WINNFIELD -LRB- black -RRB- . Jules is behind the wheel .
JULES
- okay now, tell me about the hash bars?
VINCENT
What so you want to know?
JULES
Well, hash is legal there, right?
VINCENT
Yeah, it's legal, but is ai n't a hundred percent legal. I mean you ca n't walk into a restaurant, roll a joint, and start puffin' away. You're only supposed to smoke in your home or certain designated places.
JULES
Those are hash bars?
VINCENT
Yeah, it breaks down like this : it's legal to buy it, it's legal to own it and, if you're the proprietor of a hash bar, it's legal to sell it. It's legal to carry it, which does n't really matter'cause - get a load of this - if the cops stop you, it's illegal for this to search you. Searching you is a right that the cops in Amsterdam do n't have.
JULES
That did it, man - I'm fuckin' goin', that's all there is to it.
VINCENT
You'll dig it the most. But you know what the funniest thing about Europe is?
JULES
What?
VINCENT
It's the little differences. A lotta the same shit we got here, they got there, but there they're a little different.
JULES
Examples?
VINCENT
Well, in Amsterdam, you can buy beer in a movie theatre. And I do n't mean in a paper cup either. They give you a glass of beer, like in a bar. In Paris, you can buy beer at MacDonald's. Also, you know what they call a Quarter Pounder with Cheese in Paris?
JULES
They do n't call it a Quarter Pounder with Cheese?
VINCENT
No, they got the metric system there, they would n't know what the fuck a Quarter Pounder is.
JULES
What'd they call it?
VINCENT
Royale with Cheese.
JULES
( repeating . )
Royale with Cheese. What'd they call a Big Mac?
VINCENT
Big Mac's a Big Mac, but they call it Le Big Mac.
JULES
What do they call a Whopper?
VINCENT
I dunno, I did n't go into a Burger King. But you know what they put on french fries in Holland instead of ketchup?
JULES
What?
VINCENT
Mayonnaise.
JULES
Goddamn!
VINCENT
I seen'em do it. And I do n't mean a little bit on the side of the plate, they fuckin' drown'em in it.
JULES
Uuccch!
INT. CHEVY (TRUNK) - MORNING
The trunk of the Chevy OPENS UP , Jules and Vincent reach inside , taking out two .45 Automatics , loading and cocking them .
JULES
We should have shotguns for this kind of deal.
VINCENT
How many up there?
JULES
Three or four.
VINCENT
Counting our guy?
JULES
I'm not sure.
VINCENT
So there could be five guys up there?
JULES
It's possible.
VINCENT
We should have fuckin' shotguns.
They CLOSE the trunk .
EXT. APARTMENT BUILDING COURTYARD - MORNING
Vincent and Jules , their long matching overcoats practically dragging on the ground , walk through the courtyard of what looks like a hacienda - style Hollywood apartment building . We TRACK alongside .
VINCENT
What's her name?
JULES
Mia.
VINCENT
How did Marsellus and her meet?
JULES
I dunno, however people meet people. She usta be an actress.
VINCENT
She ever do anything I woulda saw?
JULES
I think her biggest deal was she starred in a pilot.
VINCENT
What's a pilot?
JULES
Well, you know the shows on TV?
VINCENT
I do n't watch TV.
JULES
Yes, but you're aware that there's an invention called television, and on that invention they show shows?
VINCENT
Yeah.
JULES
Well, the way they pick the shows on TV is they make one show, and that show's called a pilot. And they show that one show to the people who pick the shows, and on the strength of that one show, they decide if they want to make more shows. Some get accepted and become TV programs, and some do n't, and become nothing. She starred in one of the ones that became nothing.
They enter the apartment building .
INT. RECEPTION AREA (APARTMENT BUILDING) - MORNING
Vincent and Jules walk through the reception area and wait for the elevator .
JULES
You remember Antwan Rockamora? Half - black, half - Samoan, usta call him Tony Rocky Horror.
VINCENT
Yeah maybe, fat right?
JULES
I would n't go so far as to call the brother fat. He's got a weight problem. What's the nigger gon na do, he's Samoan.
VINCENT
I think I know who you mean, what about him?
JULES
Well, Marsellus fucked his ass up good. And word around the campfire, it was on account of Marsellus Wallace's wife.
The elevator arrives , the men step inside .
INT. ELEVATOR - MORNING
VINCENT
What'd he do, fuck her?
JULES
No no no no no no no, nothin' that bad.
VINCENT
Well what then?
JULES
He gave her a foot massage.
VINCENT
A foot massage?
Jules nods his head : `` Yes . ''
VINCENT
That's all?
Jules nods his head : `` Yes . ''
VINCENT
What did Marsellus do?
JULES
Sent a couple of guys over to his place. They took him out on the patio of his apartment, threw his ass over the balcony. Nigger fell four stories. They had this garden at the bottom, enclosed in glass, like one of them greenhouses - nigger fell through that. Since then, he's kinda developed a speech impediment.
The elevator doors open , Jules and Vincent exit .
VINCENT
That's a damn shame.
INT. APARTMENT BUILDING HALLWAY - MORNING
STEADICAM in front of Jules and Vincent as they make a beeline down the hall .
VINCENT
Still I hafta say, play with matches, ya get burned.
JULES
Whaddya mean?
VINCENT
You do n't be givin' Marsellus Wallace's new bride a foot massage.
JULES
You do n't think he overreacted?
VINCENT
Antwan probably did n't expect Marsellus to react like he did, but he had to expect a reaction.
JULES
It was a foot massage, a foot massage is nothing, I give my mother a foot massage.
VINCENT
It's laying hands on Marsellus Wallace's new wife in a familiar way. Is it as bad as eatin' her out - no, but you're in the same fuckin' ballpark.
Jules stops Vincent .
JULES
Whoa. whoa. whoa. stop right there. Eatin' a bitch out, and givin' a bitch a foot massage ai n't even the same fuckin' thing.
VINCENT
Not the same thing, the same ballpark.
JULES
It ai n't no ballpark either. Look maybe your method of massage differs from mine, but touchin' his lady's feet, and stickin' your tongue in her holyiest of holyies, ai n't the same ballpark, ai n't the same league, ai n't even the same fuckin' sport. Foot massages do n't mean shit.
VINCENT
Have you ever given a foot massage?
JULES
Do n't be tellin' me about foot massages - I'm the fuckin' foot master.
VINCENT
Given a lot of'em?
JULES
Shit yeah. I got my technique down man, I do n't tickle or nothin'.
VINCENT
Have you ever given a guy a foot massage?
Jules looks at him a long moment - he 's been set up .
JULES
Fuck you.
He starts walking down the hall . Vincent , smiling , walks a little bit behind .
VINCENT
How many?
JULES
Fuck you.
VINCENT
Would you give me a foot massage - I'm kinda tired.
JULES
Man, you best back off, I'm gittin' pissed - this is the door.
The two men stand in front of the door numbered `` 49 . '' They whisper .
JULES
What time is it?
VINCENT
( checking his watch . )
Seven - twenty - two in the morning.
JULES
It ai n't quite time, let's hang back.
They move a little away from the door , facing each other , still whispering .
JULES
Look, just because I would n't give no man a foot massage, do n't make it right for Marsellus to throw Antwan off a building into a glass - motherfuckin - house, fuckin' up the way the nigger talks. That ai n't right, man. Motherfucker do that to me, he better paralyze my ass,'cause I'd kill' a motherfucker.
VINCENT
I'm not sayin' he was right, but you're sayin' a foot massage do n't mean nothing, and I'm sayin' it does. I've given a million ladies a million foot massages and they all meant somethin'. We act like they do n't, but they do. That's what's so fuckin' cool about'em. This sensual thing's goin' on that nobody's talkin about, but you know it and she knows it, fuckin' Marsellus knew it, and Antwan shoulda known fuckin' better. That's his fuckin' wife, man. He ai n't gon na have a sense of humor about that shit.
JULES
That's an interesting point, but let's get into character.
VINCENT
What's her name again?
JULES
Mia. Why you so interested in big man's wife?
VINCENT
Well, Marsellus is leavin' for Florida and when he's gone, he wants me to take care of Mia.
JULES
Take care of her?
Making a gun out of his finger and placing it to his head .
VINCENT
Not that! Take her out. Show her a good time. Do n't let her get lonely.
JULES
You're gon na be takin' Mia Wallace out on a date?
VINCENT
It ai n't a date. It's like when you and your buddy's wife go to a movie or somethin'. It's just. you know. good company.
Jules just looks at him .
VINCENT
It's not a date.
Jules just looks at him .
VINCENT
I'm not gon na be a bad boy.
Jules shakes his head and mumbles to himself .
JULES
Bitch gon na kill more niggers than time.
VINCENT
What was that?
JULES
Nothin'. Let's get into character.
VINCENT
What'd you say?
JULES
I did n't say shit. Let's go to work.
VINCENT
Do n't play with me, you said somethin', now what was it?
JULES
( referring to the job . )
Do you wan na do this?
VINCENT
I want you to repeat what you said.
JULES
That door's gon na open in about thirty seconds, so git yourself together -
VINCENT
- my self is together -
JULES
- bullshit it is. Stop thinkin' ` bout that Ho, and get yourself together like a qualified pro.
INT. APARTMENT (ROOM 49) - MORNING
THREE YOUNG GUYS , obviously in over their heads , sit at a table with hamburgers , french fries and soda pops laid out . One of them flips the LOUD BOLT on the door , opening it to REVEAL Jules and Vincent in the hallway .
JULES
Hey kids.
The two men stroll inside . The three young caught - off - guard Guys are : MARVIN The black young man , who open the door , will , as the scene progresses , back into the corner . ROGER A young blond - haired surfer kid with a `` Flock of Seagulls '' haircut , who has yet to say a word , sits at the table with a big sloppy hamburger in his hand . BRETT A white , preppy - looking sort with a blow - dry haircut . Vincent and Jules take in the place , with their hands in their pockets . Jules is the one who does the talking .
JULES
How you boys doin'?
No answer .
JULES
( to Brett . )
Am I trippin', or did I just ask you a question.
BRETT
We're doin' okay.
As Jules and Brett talk , Vincent moves behind the young Guys .
JULES
Do you know who we are?
Brett shakes his head : `` No . ''
JULES
We're associates of your business partner Marsellus Wallace, you remember your business partner dont ` ya?
No answer .
JULES
( to Brett . )
Now I'm gon na take a wild guess here : you're Brett, right?
BRETT
I'm Brett.
JULES
I thought so. Well, you remember your business partner Marsellus Wallace, dont ` ya Brett?
BRETT
I remember him.
JULES
Good for you. Looks like me and Vincent caught you at breakfast, sorry ` bout that. What ` cha eatin'?
BRETT
Hamburgers.
JULES
Hamburgers. The cornerstone of any nutritious breakfast. What kinda hamburgers?
BRETT
Cheeseburgers.
JULES
No, I mean where did you get'em? MacDonald's, Wendy's, Jack - in - the - Box, where?
BRETT
Big Kahuna Burger.
JULES
Big Kahuna Burger. That's that Hawaiian burger joint. I heard they got some tasty burgers. I ai n't never had one myself, how are they?
BRETT
They're good.
JULES
Mind if I try one of yours?
BRETT
No.
JULES
Yours is this one, right?
BRETT
Yeah.
Jules grabs the burger and take a bite of it .
JULES
Uuummmm, that's a tasty burger.
( to Vincent . )
Vince, you ever try a Big Kahuna Burger?
VINCENT
No.
Jules holds out the Big Kahuna .
JULES
You wan na bite, they're real good.
VINCENT
I ai n't hungry.
JULES
Well, if you like hamburgers give'em a try sometime. Me, I ca n't usually eat'em'cause my girlfriend's a vegetarian. Which more or less makes me a vegetarian, but I sure love the taste of a good burger.
( to Brett . )
You know what they call a Quarter Pounder with Cheese in France?
BRETT
No.
JULES
Tell'em, Vincent.
VINCENT
Royale with Cheese.
JULES
Royale with Cheese, you know why they call it that?
BRETT
Because of the metric system?
JULES
Check out the big brain on Brett. You'a smart motherfucker, that's right. The metric system.
( he points to a fast food drink cup . )
What's in this?
BRETT
Sprite.
JULES
Sprite, good, mind if I have some of your tasty beverage to wash this down with?
BRETT
Sure.
Jules grabs the cup and takes a sip .
JULES
Uuuuummmm, hit's the spot!
( to Roger . )
You, Flock of Seagulls, you know what we're here for?
Roger nods his head : `` Yes . ''
JULES
Then why do n't you tell my boy here Vince, where you got the shit hid.
MARVIN
It's under the be -
JULES
- I do n't remember askin' you a goddamn thing.
( to Roger . )
You were sayin'?
ROGER
It's under the bed.
Vincent moves to the bed , reaches underneath it , pulling out a black snap briefcase .
VINCENT
Got it.
Vincent flips the two locks , opening the case . We ca n't see what 's inside , but a small glow emits from the case . Vincent just stares at it , transfixed .
JULES
We happy?
No answer from the transfixed Vincent .
JULES
Vincent!
Vincent looks up at Jules .
JULES
We happy?
Closing the case .
VINCENT
We're happy.
BRETT
( to Jules . )
Look, what's your name? I got his name's Vincent, but what's yours?
JULES
My name's Pitt, and you ai n't talkin' your ass outta this shit.
BRETT
I just want you to know how sorry we are about how fucked up things got between us and Mr. Wallace. When we entered into this thing, we only had the best intentions -
As Brett talks , Jules takes out his gun and SHOOTS Roger three times in the chest , BLOWING him out of his chair . Vince smiles to himself . Jules has got style . Brett has just shit his pants . He 's not crying or whimpering , but he 's so full of fear , it 's as if his body is imploding .
JULES
( to Brett . )
Oh, I'm sorry. Did that break your concentration? I did n't mean to do that. Please, continue. I believe you were saying something about `` best intentions.''
Brett ca n't say a word .
JULES
Whatsamatter? Oh, you were through anyway. Well, let me retort. Would you describe for me what Marsellus Wallace looks like?
Brett still ca n't speak . Jules SNAPS , SAVAGELY TIPPING the card table over , removing the only barrier between himself and Brett . Brett now sits in a lone chair before Jules like a political prisoner in front of an interrogator .
JULES
What country you from!
BRETT
( petrified . )
What?
JULES
`` What'' ai n't no country I know! Do they speak English in `` What?''
BRETT
( near heart attack . )
What?
JULES
English - motherfucker - can - you - speak - it?
BRETT
Yes.
JULES
Then you understand what I'm sayin'?
BRETT
Yes.
JULES
Now describe what Marsellus Wallace looks like!
BRETT
( out of fear . )
What?
Jules takes his .45 and PRESSES the barrel HARD in Brett 's cheek .
JULES
Say `` What'' again! C'mon, say `` What'' again! I dare ya, I double dare ya motherfucker, say `` What'' one more goddamn time!
Brett is regressing on the spot .
JULES
Now describe to me what Marsellus Wallace looks like!
Brett does his best .
BRETT
Well he's. he's. black -
JULES
- go on!
BRETT
and he's. he's. tall -
JULES
- does he look like a bitch?!
BRETT
( without thinking . )
What?
Jules ' eyes go to Vincent , Vincent smirks , Jules rolls his eyes and SHOOT Brett in the shoulder . Brett SCREAMS , breaking into a SHAKING/TREMBLING SPASM in the chair .
JULES
Does - he - look - like - a - bitch?!
BRETT
( in agony . )
No.
JULES
Then why did you try to fuck ` im like a bitch?!
BRETT
( in spasm . )
I did n't.
Now in a lower voice .
JULES
Yes ya did Brett. Ya tried ta fuck ` im. You ever read the Bible, Brett?
BRETT
( in spasm . )
Yes.
JULES
There's a passage I got memorized, seems appropriate for this situation : Ezekiel 25:17. `` The path of the righteous man is beset on all sides by the inequities of the selfish and the tyranny of evil men. Blessed is he who, in the name of charity and good will, shepherds the weak through the valley of darkness, for he is truly his brother's keeper and the finder of lost children. And I will strike down upon thee with great vengeance and furious anger those who attempt to poison and destroy my brothers. And you will know my name is the Lord when I lay my vengeance upon you.''
The two men EMPTY their guns at the same time on the sitting Brett . When they are finished , the bullet - ridden carcass just sits there for a moment , then TOPPLES over . All is quiet . The only SOUND is Marvin MUTTERING in the corner .
MARVIN
goddamn. goddamn. that was fucked up. goddamn, that was cold - blooded.
VINCENT
( pointing to Marvin . )
Friend of yours?
JULES
Yeah, Marvin - Vincent - Vincent - Marvin.
VINCENT
Tell'em to shut up, he's gettin' on my nerves.
JULES
Marvin, I'd knock that shit off if I was you.
Then suddenly the bathroom door BURSTS OPEN , and a FOURTH MAN -LRB- as young as the rest -RRB- comes CHARGING out , a silver Magnum in his hand . We DOLLY into a MEDIUM on him .
FOURTH MAN
Die. die. die. die. die. die!
The Fourth Man FIRES SIX BOOMING SHOTS from his hand cannon in the direction of Vincent and Jules . He SCREAMS a maniacal cry of revenge until he 's DRY FIRING . Then . his face does a complete change of expression . It goes from a `` Vengeance is mine '' expression , to a `` What the fuck '' blank look .
FOURTH MAN
I do n't understand -
The Fourth Man is BLOWN OFF HIS FEET and OUT OF FRAME by bullets that TEAR HIM TO SHREDS . He leaves the FRAME EMPTY . FADE TO BLACK Against black , TITLE CARD : `` VINCENT VEGA AND MARSELLUS WALLACE 'S WIFE '' . MEDIUM SHOT - BUTCH COOLIDGE We FADE UP on Butch Coolidge , a white , 26 - year - old prizefighter . Butch sits at a table wearing a red and blue high school athletic jacket . Talking to him OFF SCREEN is everybody 's boss MARSELLUS WALLACE . The black man sounds like a cross between a gangster and a king .
MARSELLUS
( OS . )
I think you're gon na find - when all this shit is over and done - I think you're gon na find yourself one smilin' motherfucker. Thing is Butch, right now you got ability. But painful as it may be, ability do n't last. Now that's a hard motherfuckin' fact of life, but it's a fact of life your ass is gon na hafta git realistic about. This business is filled to the brim with unrealistic motherfuckers who thought their ass aged like wine. Besides, even if you went all the way, what would you be? Feather - weight champion of the world. Who gives a shit? I doubt you can even get a credit card based on that.
A hand lays an envelope full of money on the table in front of Butch . Butch picks it up .
MARSELLUS
( OS . )
Now the night of the fight, you may fell a slight sting, that's pride fuckin' wit ya. Fuck pride! Pride only hurts, it never helps. Fight through that shit.'Cause a year from now, when you're kickin' it in the Caribbean you're gon na say, `` Marsellus Wallace was right.''
BUTCH
I got no problem with that.
MARSELLUS
( OS . )
In the fifth, your ass goes down.
Butch nods his head : `` yes . ''
MARSELLUS
( OS . )
Say it!
BUTCH
In the fifth, my ass goes down.
INT. CAR (MOVING) - DAY
Vincent Vega looks really cool behind the wheel of a 1964 cherry - red Chevy Malibu convertible . From the car radio , ROCKABILLY MUSIC PLAYS . The b.g. is a COLORFUL PROCESS SHOT .
EXT. SALLY LeROY'S - DAY
Sally LeRoy 's is a large topless bat by LAX that Marsellus owns . Vincent 's classic Malibu WHIPS into the near empty parking lot and parks next to a white Honda Civic . Vince knocks on the door . The front entrance is unlocked , revealing the Dapper Dan fellow on the inside : ENGLISH DAVE . Dave is n't really English , he 's a young black man from Baldwin Park , who has run a few clubs for Marsellus , including Sally LeRoy 's .
ENGLISH DAVE
Vincent Vega, our man in Amsterdam, git your ass on in here.
Vincent , carrying the black briefcase from the scene between Vincent and Jules , steps inside . English Dave SLAMS the door in our faces .
INT. SALLY LeROY'S - DAY
The spacious club is empty this time of day . English Dave crosses to the bar , and Vince follows .
VINCENT
Where's the big man?
ENGLISH DAVE
He's over there, finishing up some business.
VINCENT 'S POV : Butch shakes hands with a huge figure with his back to us . The huge figure is the infamous and as of yet still UNSEEN Marsellus .
ENGLISH DAVE
( OS . )
Hand back for a second or two, and when you see the white boy leave, go on over. In the meanwhile, can I make you an espresso?
VINCENT
How ` bout a cup of just plain ol' American?
ENGLISH DAVE
Comin' up. I hear you're taking Mia out tomorrow?
VINCENT
At Marsellus' request.
ENGLISH DAVE
Have you met Mia?
VINCENT
Not yet.
English Dave smiles to himself .
VINCENT
What's so funny?
ENGLISH DAVE
Not a goddamn thing.
VINCENT
Look, I'm not a idiot. She's the big man's fuckin' wife. I'm gon na sit across a table, chew my food with my mouth closed, laugh at her jokes and that's all I'm gon na do.
English Dave puts Vince 's coffee in front of him .
ENGLISH DAVE
My name's Paul, and this is between y' all.
Butch bellies up to the bar next to Vincent , drinking his cup of `` plain ol' American . ''
BUTCH
( to English Dave . )
Can I get a pack' a Red Apples?
ENGLISH DAVE
Filters?
BUTCH
Non.
While Butch waits for his smokes , Vincent just sips his coffee , staring at him . Butch looks over at him .
BUTCH
Lookin' at somethin', friend?
VINCENT
I ai n't your friend, palooka.
Butch does a slow burn toward Vincent .
BUTCH
What was that?
VINCENT
I think ya heard me just fine, punchy.
Butch turns his body to Vincent , when .
MARSELLUS
( OS . )
Vincent Vega has entered the building, git your ass over here!
Vincent walks forward OUT OF FRAME , never giving Butch another glance . We DOLLY INTO CU on Butch , left alone in the FRAME , looking like he 's ready to go into the manners - teaching business . BUTCH 'S POV : Vincent hugging and kissing the obscured figure that is Marsellus . Butch makes the wise decision that is this asshole 's a friend of Marsellus , he better let it go - for now .
ENGLISH DAVE
( OS . )
Pack of Red Apples, dollar - forty.
Butch is snapped out of his ass - kicking thoughts . He pays English Dave and walks out of the SHOT .
INT. LANCE'S HOUSE (KITCHEN) - NIGHT
CU JODY a woman who appears to have a fondness for earrings . Both of her ears are pierced five times . She also sports rings in her lips , eyebrows and nose .
JODY
I'll lend it to you. It's a great book on body piercing.
Jody , Vincent and a young woman names TRUDI sit at the kitchen table of a suburban house in Echo Park . Even though Vince is at the same table , he 's not included in the conversation .
TRUDI
You know how they use that gun when they pierce your ears? They do n't use that when they pierce your nipples, do they?
JODY
Forget that gun. That gun goes against the entire idea behind piercing. All of my piercing, sixteen places on my body, every one of'em done with a needle. Five in each ear. One through the nipple on my left breast. One through my right nostril. One through my left eyebrow. One through my lip. One in my clit. And I wear a stud in my tongue.
Vince has been letting this conversation go through one ear and out the other , until that last remark .
VINCENT
( interrupting . )
Excuse me, sorry to interrupt. I'm curious, why would you get a stud in your tongue?
Jody looks at him and says as if it were the most obvious thing in the world .
JODY
It's a sex thing. It helps fellatio.
That thought never occurred to Vincent , but he ca n't deny it makes sense . Jody continues talking to Trudi , leaving Vincent to ponder the truth of her statement .
LANCE
( OS . )
Vince, you can come in now!
INT. LANCE'S BEDROOM - NIGHT
Lance , late - 20s , is a young man with a wild and woolly appearance that goes hand - in - hand with his wild and woolly personality . Lance has been selling drugs his entire adult life . He 's never had a day job , never filed a tax return and has never been arrested . He wears a red flannel shirt over a `` Speed Racer '' tee - shirt . Three bags of heroin lie on Lance 's bed . Lance and Vincent stand at the foot of the bed .
LANCE
Now this is Panda, from Mexico. Very good stuff. This is Bava, different, but equally good. And this is Choco from the Hartz Mountains of Germany. Now the first two are the same, forty - five an ounce - those are friend prices - but this one.
( pointing to the Choco . )
. this one's a little more expensive. It's fifty - five. But when you shoot it, you'll know where that extra money went. Nothing wrong with the first two. It's real, real, real, good shit. But this one's a fuckin' madman.
VINCENT
Remember, I just got back from Amsterdam.
LANCE
Am I a nigger? Are you in Inglewood? No. You're in my house. White people who know the difference between good shit and bad shit, this is the house they come to. My shit, I'll take the Pepsi Challenge with Amsterdam shit any ol' day of the fuckin' week.
VINCENT
That's a bold statement.
LANCE
This ai n't Amsterdam, Vince. This is a seller's market. Coke is fuckin' dead as disco. Heroin's comin' back in a big fuckin' way. It's this whole seventies retro. Bell bottoms, heroin, they're as hot as hell.
Vincent takes out a roll of money that would choke a horse to death .
VINCENT
Give me three hundred worth of the madman. If it's as good as you say, I'll be back for a thousand.
LANCE
I just hope I still have it. Whaddya think of Trudi? She ai n't got a boyfriend, wan na hand out an' get high?
VINCENT
Which one's Trudi? The one with all the shit in her face?
LANCE
No, that's Jody. That's my wife.
Vincent and Lance giggle at the `` faux pas . ''
VINCENT
I'm on my way somewhere. I got a dinner engagement. Rain check?
LANCE
No problem?
Vincent takes out his case of the works -LRB- utensils for shooting up -RRB- .
VINCENT
You do n't mind if I shoot up here?
LANCE
Me casa, su casa.
VINCENT
Mucho gracias.
Vincent takes his works out of his case and , as the two continue to talk , Vince shoots up .
LANCE
Still got your Malibu?
VINCENT
You know what some fucker did to it the other day?
LANCE
What?
VINCENT
Fuckin' keyed it.
LANCE
Oh man, that's fucked up.
VINCENT
Tell me about it. I had the goddamn thing in storage three years. It's out five fuckin' days - five days, and some dickless piece of shit fucks with it.
LANCE
They should be fuckin' killed. No trial, no jury, straight to execution.
As he cooks his heroin -
VINCENT
I just wish I caught'em doin' it, ya know? Oh man, I'd give anything to catch'em doin' it. It' a been worth his doin' it, if I coulda just caught'em, you know what I mean?
LANCE
It's chicken shit. You do n't fuck another man's vehicle.
CU - THE NEEDLE going into Vincent 's vein . CU - BLOOD spurting back into the syringe , mixing with the heroin . CU OF VINCENT 'S THUMB pushing down on the plunger .
EXT. MARSELLUS WALLACE'S HOUSE - NIGHT
Vincent walks up to the driveway leading to Marsellus Wallace 's front door . When he gets to the door , he hears MUSIC on the other side , and a note in plain view taped to it . He rips it off . CU - NOTE `` Hi Vincent , I 'm getting dressed . The door 's open . Come inside and make yourself a drink . Mia . '' Vincent neatly folds the note up , sticks it in his pocket , takes a here - goes - nothing breath and turns the knob .
INT. MARSELLUS WALLACE'S HOUSE - NIGHT
As Vincent steps inside , the MUSIC that was behind the door , SWELLS drastically . Vincent , hands in pockets , strolls inside , checking out his boss ' home .
VINCENT
( yelling . )
Hello! I'm here!
We hear a DOOR OPEN , Vincent turns in its direction .
INT. DRESSING ROOM - NIGHT
We 're inside the room where the MUSIC is PLAYING . In the f.g. MIA WALLACE , naked with her back to us , talks to Vincent through a crack in the door . The door shields the front of her body from Vincent .
MIA
Vincent Vega?
VINCENT
I'm Vincent, you Mia?
MIA
That's me, pleased to meetcha. I'm still getting dressed. To your left, past the kitchen, is a bar. Why do n't you make yourself a drink, have a seat in the living room, and I'll be out within three shakes of a lamb's tail.
VINCENT
Take your time.
Mia closes the door . Before she can fully turn around and show us her face . BACK TO VINCENT standing where he was , MUSIC beating , looking at the closed door . We slowly ZOOM to the door . We slowly ZOOM from a MEDIUM SHOT to CU on Vincent as he contemplates what 's on the other side of the door . When we reach a CU , he walks OUT OF FRAME , breaking the spell . Vincent walks to the bar and pours himself a drink . WE JUXTAPOSE as the MUSIC plays . Mia 's dress selection is taken out of the closet . Vincent , drink in hand , moves into the living room . Mia , her back to CAMERA , dressed in her pretty dress , checks herself in the mirror . We DOLLY towards her . Her face is still obscured . CU - PORTRAIT OF MIA hanging on the living room wall , showing Mia sensually reclining on a couch . HIGH ANGLE SHOT OF VINCENT looking up at the portrait . CU - Mia cutting a huge line of coke on her vanity table with a credit card . Vincent sits on a plush , comfy couch . CU - MIA 'S NOSE snorting the line from a rolled up dollar bill . Vincent on the couch , drink in hand . The SONG abruptly CUTS OFF . CU - CD PLAYER OPENING Mia 's hand comes in and takes the CD out . The CAMERA follows behind Mia 's bare feet as she walks out of the dressing room , through the dining room , through the kitchen and into the living room . SHOT THROUGH A VIDEO CAMERA Mia has a camcorder and is videotaping Vincent on the couch . He looks up and sees her .
MIA
( OS . )
Smile, you're on Mia's camera!
VINCENT
Ready to go?
MIA
( OS . )
Not yet. I'm going to interview you first. Are you any relation to Suzanne Vega?
VINCENT
Yeah, she's my cousin.
MIA
( OS . )
Suzanne Vega the folk singer is your cousin?
VINCENT
Suzanne Vega's my cousin. If she's become a folk singer, I sure as hell do n't know nothin' about it. But then I have n't been to too many Thanksgivings lately.
MIA
( OS . )
Now I'm gon na ask you a bunch of quick questions I've come up with that more of less tell me what kind of person I'm having dinner with. My theory is that when it comes to important subjects, there's only two ways a person can answer. For instance, there's two kinds of people in this world, Elvis people and Beatles people. Now Beatles people can like Elvis. And Elvis people can like the Beatles. But nobody likes them both equally. Somewhere you have to make a choice. And that choice tells me who you are.
VINCENT
I can dig it.
MIA
( OS . )
I knew you could. First question, Brady Bunch or the Partridge Family?
VINCENT
The Partridge Family all the way, no comparison.
MIA
( OS . )
On `` Rich Man, Poor Man,'' who did you like, Peter Strauss or Nick Nolte?
VINCENT
Nick Nolte, of course.
MIA
( OS . )
Are you a `` Bewitched'' man, or a `` Jeannie'' man?
VINCENT
`` Bewitched,'' all the way, though I always dug how Jeannie always called Larry Hagman `` master.''
MIA
( OS . )
If you were `` Archie,'' who would you fuck first, Betty or Veronica?
VINCENT
Betty. I never understood Veronica attraction.
MIA
( OS . )
Have you ever fantasized about being beaten up by a girl?
VINCENT
Sure.
MIA
( OS . )
Who?
VINCENT
Emma Peel on `` The Avengers.'' That tough girl who usta hang out with Encyclopedia Brown. And Arlene Motika.
MIA
( OS . )
Who's Arlene Motika?
VINCENT
Girl from sixth grade, you do n't know her.
CU - MIA lowers the camcorder from in front of her face and we get our first full - on look at her . When we do , we get a pretty good idea why Marsellus feels the way he does . She breaks out in a blinding smile .
MIA
Cut. Print. Let's go eat.
EXT. JACKRABBIT SLIM'S - NIGHT
In the past six years , 50 's diners have sprung up all over LA , giving Thai restaurants a run for their money . They 're all basically the same . Decor out of an `` Archie '' comic book , Golden Oldies constantly emanating from a bubbly Wurlitzer , saucy waitresses in bobby socks , menus with items like the Fats Domino Cheeseburger , or the Wolfman Jack Omelette , and over prices that pay for all this bullshit . But then there 's JACKRABBIT SLIM 'S , the big mama of 50 's diners . Either the best or the worst , depending on your point of view . Vincent 's Malibu pulls up to the restaurant . A big sign with a neon figure of a cartoon surly cool cat jackrabbit in a red windbreaker towers over the establishment . Underneath the cartoon is the name : JACKRABBIT SLIM 'S . Underneath that is the slogan : `` Next best thing to a time machine . ''
INT. JACKRABBIT SLIM'S - NIGHT
Compared to the interior , the exterior was that of a quaint English pub . Posters from 50 's A.I.P. movies are all over the wall -LRB- `` ROCK ALL NIGHT , '' `` HIGH SCHOOL CONFIDENTIAL , '' `` ATTACK OF THE CRAB MONSTER , '' and `` MACHINE GUN KELLY '' -RRB- . The booths that the patrons sit in are made out of the cut up bodies of 50s cars . In the middle of the restaurant in a dance floor . A big sign on the wall states , `` No shoes allowed . '' So wannabe beboppers -LRB- actually Melrose - types -RRB- , do the twist in their socks or barefeet . The picture windows do n't look out the street , but instead , B & W movies of 50 's street scenes play behind them . The WAITRESSES and WAITERS are made up as replicas of 50 's icons : MARILYN MONROE , ZORRO , JAMES DEAN , DONNA REED , MARTIN and LEWIS , and THE PHILIP MORRIS MIDGET , wait on tables wearing appropriate costumes . Vincent and Mia study the menu in a booth made out of a red '59 Edsel . BUDDY HOLLY -LRB- their waiter -RRB- , comes over , sporting a big button on his chest that says : `` Hi I 'm Buddy , pleasing you please me . ''
BUDDY
Hi I'm Buddy, what can I get ` cha?
VINCENT
I'll have the Douglas Sirk steak.
BUDDY
How d'ya want it, burnt to a crisp, or bloody as hell?
VINCENT
Bloody as hell. And to drink, a vanilla coke.
BUDDY
How ` bout you, Peggy Sue?
MIA
I'll have the Durwood Kirby burger - bloody - and a five - dollar shake.
BUDDY
How d'ya want that shake, Martin and Lewis, or Amos and Andy?
MIA
Martin and Lewis.
VINCENT
Did you just order a five - dollar shake?
MIA
Sure did.
VINCENT
A shake? Milk and ice cream?
MIA
Uh - huh.
VINCENT
It costs five dollars?
BUDDY
Yep.
VINCENT
You do n't put bourbon in it or anything?
BUDDY
Nope.
VINCENT
Just checking.
Buddy exits . Vincent takes a look around the place . The YUPPIES are dancing , the DINERS are biting into big , juicy hamburgers , and the icons are playing their parts . Marilyn is squealing , The Midget is paging Philip Morris , Donna Reed is making her customers drink their milk , and Dean and Jerry are acting a fool .
MIA
Whaddya think?
VINCENT
It's like a wax museum with a pulse rate.
Vincent takes out his pouch of tobacco and begins rolling himself a smoke . After a second of watching him -
MIA
What are you doing?
VINCENT
Rollin' a smoke.
MIA
Here?
VINCENT
It's just tobacco.
MIA
Oh. Well in that case, will you roll me one, cowboy?
As he finishes licking it -
VINCENT
You can have his one, cowgirl.
He hands her the rolled smoke . She takes it , putting it to her lips . Out of nowhere appears a Zippo lighter in Vincent 's hand . He lights it .
MIA
Thanks.
VINCENT
Think nothing of it.
He begins rolling one for himself . As this time , the SOUND of a subway car fills the diner , making everything SHAKE and RATTLE . Marilyn Monroe runs to a square vent in the floor . An imaginary subway train BLOWS the skirt of her white dress around her ears as she lets out a squeal . The entire restaurant applauds . Back to Mia and Vincent
MIA
Marsellus said you just got back from Amsterdam.
VINCENT
Sure did. I heard you did a pilot.
MIA
That was my fifteen minutes.
VINCENT
What was it?
MIA
It was show about a team of female secret agents called `` Fox Force Five.''
VINCENT
What?
MIA
`` Fox Force Five.'' Fox, as in we're a bunch of foxy chicks. Force, as in we're a force to be reckoned with. Five, as in there's one. two. three. four. five of us. There was a blonde one, Sommerset O'Neal from that show `` Baton Rouge,'' she was the leader. A Japanese one, a black one, a French one and a brunette one, me. We all had special skills. Sommerset had a photographic memory, the Japanese fox was a kung fu master, the black girl was a demolition expert, the French fox' specialty was sex.
VINCENT
What was your specialty?
MIA
Knives. The character I played, Raven McCoy, her background was she was raised by circus performers. So she grew up doing a knife act. According to the show, she was the deadliest woman in the world with a knife. But because she grew up in a circus, she was also something of an acrobat. She could do illusions, she was a trapeze artist - when you're keeping the world safe from evil, you never know when being a trapeze artist's gon na come in handy. And she knew a zillion old jokes her grandfather, an old vaudevillian, taught her. If we woulda got picked up, they woulda worked in a gimmick where every episode I woulda told and ol joke.
VINCENT
Do you remember any of the jokes?
MIA
Well I only got the chance to say one,'cause we only did one show.
VINCENT
Tell me.
MIA
No. It's really corny.
VINCENT
C'mon, do n't be that way.
MIA
No. You wo n't like it and I'll be embarrassed.
VINCENT
You told it in front of fifty million people and you ca n't tell it to me? I promise I wo n't laugh.
MIA
( laughing . )
That's what I'm afraid of.
VINCENT
That's not what I meant and you know it.
MIA
You're quite the silver tongue devil, are n't you?
VINCENT
I meant I would n't laugh at you.
MIA
That's not what you said Vince. Well now I'm definitely not gon na tell ya,'cause it's been built up too much.
VINCENT
What a gyp.
Buddy comes back with the drinks . Mia wraps her lips around the straw of her shake .
MIA
Yummy!
VINCENT
Can I have a sip of that? I'd like to know what a five - dollar shake tastes like.
MIA
Be my guest.
She slides the shake over to him .
MIA
You can use my straw, I do n't have kooties.
Vincent smiles .
VINCENT
Yeah, but maybe I do.
MIA
Kooties I can handle.
He takes a sip .
VINCENT
Goddamn! That's a pretty fuckin' good milk shake.
MIA
Told ya.
VINCENT
I do n't know if it's worth five dollars, but it's pretty fuckin' good.
He slides the shake back . Then the first of an uncomfortable silence happens .
MIA
Do n't you hate that?
VINCENT
What?
MIA
Uncomfortable silences. Why do we feel it's necessary to yak about bullshit in order to be comfortable?
VINCENT
I do n't know.
MIA
That's when you know you found somebody special. When you can just shit the fuck up for a minute, and comfortably share silence.
VINCENT
I do n't think we're there yet. But do n't feel bad, we just met each other.
MIA
Well I'll tell you what, I'll go to the bathroom and powder my nose, while you sit here and think of something to say.
VINCENT
I'll do that.
INT. JACKRABBIT SLIM'S (LADIES ROOM) - NIGHT
Mia powders her nose by doing a big line of coke off the bathroom sink . Her head jerks up from the rush .
MIA
( imitating Steppenwolf . )
I said goddamn!
INT. JACKRABBIT SLIM'S (DINING AREA) - NIGHT
Vincent digs into his Douglas Sirk steak . As he chews , his eyes scan the Hellsapopinish restaurant . Mia comes back to the table .
MIA
Do n't you love it when you go to the bathroom and you come back to find your food waiting for you?
VINCENT
We're lucky we got it at all. Buddy Holly does n't seem to be much of a waiter. We shoulda sat in Marilyn Monroe's section.
MIA
Which one, there's two Marilyn Monroes.
VINCENT
No there's not.
Pointing at Marilyn in the white dress serving a table .
VINCENT
That's Marilyn Monroe.
Then , pointing at a BLONDE WAITRESS in a tight sweater and capri pants , taking an order from a bunch of FILM GEEKS -
VINCENT
and that's Mamie Van Doren. I do n't see Jayne Mansfield, so it must be her night off.
MIA
Pretty smart.
VINCENT
I have moments.
MIA
Did ya think of something to say?
VINCENT
Actually, there's something I've wanted to ask you about, but you seem like a nice person, and I did n't want to offend you.
MIA
Oooohhhh, this does n't sound like mindless, boring, getting - to - know - you chit - chat. This sounds like you actually have something to say.
VINCENT
Only if you promise not to get offended.
MIA
You ca n't promise something like that. I have no idea what you're gon na ask. You could ask me what you're gon na ask me, and my natural response could be to be offended. Then, through no fault of my own, I woulda broken my promise.
VINCENT
Then let's just forget it.
MIA
That is an impossibility. Trying to forget anything as intriguing as this would be an exercise in futility.
VINCENT
Is that a fact?
Mia nods her head : `` Yes . ''
MIA
Besides, it's more exciting when you do n't have permission.
VINCENT
What do you think about what happened to Antwan?
MIA
Who's Antwan?
VINCENT
Tony Rocky Horror.
MIA
He fell out of a window.
VINCENT
That's one way to say it. Another way is, he was thrown out. Another was is, he was thrown out by Marsellus. And even another way is, he was thrown out of a window by Marsellus because of you.
MIA
Is that a fact?
VINCENT
No it's not, it's just what I heard.
MIA
Who told you this?
VINCENT
They.
Mia and Vincent smile .
MIA
They talk a lot, do n't they?
VINCENT
They certainly do.
MIA
Well do n't by shy Vincent, what exactly did they say?
Vincent is slow to answer
MIA
Let me help you Bashful, did it involve the F - word?
VINCENT
No. They just said Rocky Horror gave you a foot massage.
MIA
And?
VINCENT
No and, that's it.
MIA
You heard Marsellus threw Rocky Horror out of a four - story window because he massaged my feet?
VINCENT
Yeah.
MIA
And you believed that?
VINCENT
At the time I was told, it seemed reasonable.
MIA
Marsellus throwing Tony out of a four - story window for giving me a foot massage seemed reasonable?
VINCENT
No, it seemed excessive. But that does n't mean it did n't happen. I heard Marsellus is very protective of you.
MIA
A husband being protective of his wife is one thing. A husband almost killing another man for touching his wife's feet is something else.
VINCENT
But did it happen?
MIA
The only thing Antwan ever touched of mine was my hand, when he shook it. I met Anwan once - at my wedding - then never again. The truth is, nobody knows why Marsellus tossed Tony Rocky Horror out of that window except Marsellus and Tony Rocky Horror. But when you scamps get together, you're worse than a sewing circle.
VINCENT
Are you mad?
MIA
Not at all. Being the subject of back - fence gossip goes with the right, I guess.
She takes a sip of her five - dollar shake , and says :
MIA
Thanks.
VINCENT
What for?
MIA
Asking my side.
At that moment , a great oldie - but - goodie BLASTS from the jukebox .
MIA
I wan na dance.
VINCENT
I'm not much of a dancer.
MIA
Now I'm the one gettin' gyped. I do believe Marsellus told you to take me out and do whatever I wanted. Well, now I want to dance.
Vincent smiles and begins taking off his boots . Mia triumphantly casts hers off . He takes her hand , escorting her to the dance floor . The two face each other for that brief moment before you begin to dance , than they both break into a devilish twist . Mia 's version of the twist is that of a sexy cat . Vincent is pure Mr. Cool as he gets into a hip - swivelling rhythm that would make Mr. Checker proud . The OTHER DANCERS on the floor are trying to do the same thing , but Vincent and Mia seem to be strangely shaking their asses in sync . The two definitely share a rhythm and share smiles as they SING ALONG with the last verse of the Golden Oldie .
INT. MARSELLUS WALLACE'S HOME - NIGHT
The front door FLINGS open , and Mia and Vincent dance tango - style into the house , singing a cappella the song from the previous scene . They finish their little dance , laughing . Then . The two just stand face to face looking at each other .
VINCENT
Was than an uncomfortable silence?
MIA
I do n't know what that was.
( pause . )
Music and drinks!
Mia moves away to attend to both . Vincent hangs up his overcoat on a big bronze coat rack in the alcove .
VINCENT
I'm gon na take a piss.
MIA
That was a little bit more information than I needed to know, but for right ahead.
Vincent shuffles off to the john . Mia moves to her CD player , thumbs through a stack of CDs and selects one : k.d. lang . The speakers BLAST OUT a high energy country number , which Mia plays air - guitar to . She dances her way around the room and finds herself by Vincent 's overcoat hanging on the rack . She touches its sleeve . It feels good . Her hand hoes in its pocket and pulls out his tobacco pouch . Like a little girl playing cowboy , she spreads the tobacco on some rolling paper . Imitating what he did earlier , licks the paper and rolls it into a pretty good cigarette . Maybe a little too fat , but not bad for a first try . Mia thinks so anyway . Her hand reaches back in the pocket and pulls out his Zippo lighter . She SLAPS the lighter against her leg , trying to light it fancy - style like Vince did . What do you know , she did it ! Mia 's one happy clam . She triumphantly brings the fat flame up to her fat smoke , lighting it up , then LOUDLY SNAPS the Zippo closed . The Mia - made cigarette is brought up to her lips , and she takes a long , cool drag . Her hand slides the Zippo back in the overcoat pocket . But wait , her fingers touch something else . Those fingers bring out a plastic bag with white powder inside , the madman that Vincent bought earlier from Lance . Wearing a big smile , Mia brings the bag of heroin up to her face .
MIA
( like you would say Bingo ! )
Disco! Vince, you little cola nut, you've been holding out on me.
INT. BATHROOM (MARSELLUS WALLACE'S HOUSE) - NIGHT
Vincent stands at the sink , washing his hands , talking to himself in the mirror .
VINCENT
One drink and leave. Do n't be rude, but drink your drink quickly, say goodbye, walk out the door, get in your car, and go down the road.
LIVING ROOM Mia has the unbeknownst - to - her heroin cut up into big lines on her glass top coffee table . Taking her trusty hundred dollar bill like a human Dust - Buster , she quickly snorts the fat line . CU - MIA her head JERKS back . Her hands go to her nose -LRB- which feels like it 's on fucking fire -RRB- , something is terribly wrong . Then . the rush hits . BATHROOM Vincent dries his hands on a towel while he continues his dialogue with the mirror .
VINCENT
it's a moral test of yourself, whether or not you can maintain loyalty. Because when people are loyal to each other, that's very meaningful.
LIVING ROOM Mia is on all fours trying to crawl to the bathroom , but it 's like she 's trying to crawl with the bones removed from her knees . Blood begins to drip from Mia 's nose . Then her stomach gets into the act and she VOMITS . BATHROOM Vince continues .
VINCENT
So you're gon na go out there, drink your drink, say `` Goodnight, I've had a very lovely evening,'' go home, and jack off. And that's all you're gon na do.
Now that he 's given himself a little pep talk , Vincent 's ready for whatever 's waiting for him on the other side of that door . So he goes through it . LIVING ROOM We follow behind Vincent as he walks from the bathroom to the living room , where he finds Mia lying on the floor like a rag doll . She 's twisted on her back . Blood and puke are down her front . And her face is contorted . Not out of the tightness of pain , but just the opposite , the muscles in her face are so relaxed , she lies still with her mouth wide open . Slack - jawed .
VINCENT
Jesus Christ!
Vincent moves like greased lightning to Mia 's fallen body . Bending down where she lays , he puts his fingers on her neck to check her pulse . She slightly stirs . Mia is aware of Vincent over her , speaking to her .
VINCENT
( sounding weird . )
Mia! Mia! What the hell happened?
But she 's unable to communicate . Mia makes a few lost mumbles , but they 're not distinctive enough to be called words . Vincent props her eyelids open and sees the story .
VINCENT
( to himself . )
I'll be a sonofabitch.
( to Mia . )
Mia! Mia! What did you take? Answer me honey, what did you take?
Mia is incapable of answering . He SLAPS her face hard . Vincent SPRINGS up and RUNS to his overcoat , hanging on the rack . He goes through the pockets FRANTICALLY . It 's gone . Vincent makes a beeline to Mia . We follow .
VINCENT
( yelling to Mia . )
Okay honey, we're getting you on your feet.
He reaches her and hoists the dead weight up in his arms .
VINCENT
We're on our feet now, and now we're gon na talk out to the car. Here we go, watch us walk.
We follow behind as he hurriedly walks the practically - unconscious Mia through the house and out the front door .
EXT. VINCENT'S HOT ROD (MOVING) - NIGHT
INSERT SPEEDOMETER : red needle on a hundred . Vincent driving like a madman in a town without traffic laws , speeds the car into turns and up and over hills .
INT. VINCENT'S HOT ROD (MOVING) - NIGHT
Vincent , one hand firmly on the wheel , the other shifting like Robocop , both eyes staring straight ahead except when he glances over at Mia . Mia , slack - jawed expression , mouth gaping , posture of a bag of water . Vincent takes a cellular phone out of his pocket . He punches a number .
INT. LANCE'S HOUSE - NIGHT
At this late hour , Lance has transformed from a bon vivant drug dealer to a bathrobe creature . He sits in a big comfy chair , ratty blue gym pants , a worn - out but comfortable tee - shirt that has , written on it , `` TAFT , CALIFORNIA , '' and a moth - ridden terry cloth robe . In his hand is a bowl of Cap'n Crunch with Crunch Berries . In front of him on the coffee table is a jug of milk , the box the Cap'n Crunch with Crunch Berries came out of , and a hash pipe in an ashtray . On the big - screen TV in front of the table is the Three Stooges , and they 're getting married .
PREACHER
( EMIL SIMKUS . )
( on TV . )
Hold hands, you love birds.
The phone RINGS . Lance puts down his cereal and makes his way to the phone . It RINGS again . Jody , his wife , CALLS from the bedroom , obviously woken up .
JODY
( OS . )
Lance! The phone's ringing!
LANCE
( calling back . )
I can hear it!
JODY
( OS . )
I thought you told those fuckin' assholes never to call this late!
LANCE
( by the phone . )
I told'em and that's what I'm gon na tell this fuckin' asshole right now!
( he answers the phone . )
Hello, do you know how late it is? You're not supposed to be callin' me this fuckin' late.
BACK TO VINCENT IN THE MALIBU Vincent is still driving like a stripe - assed ape , clutching the phone to his ear . WE CUT BACK AND FORTH during the conversation .
VINCENT
Lance, this is Vincent, I'm in big fuckin' trouble man, I'm on my way to your place.
LANCE
Whoa, hold you horses man, what's the problem?
VINCENT
You still got an adrenalin shot?
LANCE
( dawning on him . )
Maybe.
VINCENT
I need it man, I got a chick she's fuckin' O.D.ing on me.
LANCE
Do n't bring her here! I'm not even fuckin' joking with you, do n't you be bringing some fucked up pooh - butt to my house!
VINCENT
No choice.
LANCE
She's O.D.in'?
VINCENT
Yeah. She's dyin'.
LANCE
Then bite the fuckin' bullet, take ` er to a hospital and call a lawyer!
VINCENT
Negative.
LANCE
She ai n't my fuckin' problem, you fucked her up, you deal with it - are you talkin' to me on a cellular phone?
VINCENT
Sorry.
LANCE
I do n't know you, who is this, do n't come here, I'm hangin' up.
VINCENT
Too late, I'm already here.
At that moment inside Lance 's house , WE HEAR Vincent 's Malibu coming up the street . Lance hangs up the phone , goes to his curtains and YANKS the cord . The curtains open with a WHOOSH in time to see Vincent 's Malibu DRIVING UP on his front lawn and CRASHING into his house . THe window Lance is looking out of SHATTERS from the impact .
JODY
( OS . )
What the hell was that?
Lance CHARGES from the window , out the door to his front lawn .
EXT. LANCE'S HOUSE - NIGHT
Vincent is already out of the car , working on getting Mia out .
LANCE
Have you lost your mind?! You crashed your car in my fuckin' house! You talk about drug shit on a cellular fuckin' phone -
VINCENT
If you're through havin' your little hissy fit, this chick is dyin', get your needle and git it now!
LANCE
Are you deaf? You're not bringin' that fucked up bitch in my house!
VINCENT
This fucked up bitch is Marsellus Wallace's wife. Now if she fuckin' croaks on me, I'm a grease spot. But before he turns me into a bar soap, I'm gon na be forced to tell ` im about how you coulda saved her life, but instead you let her die on your front lawn.
INT. LANCE'S HOUSE - NIGHT
WE START in Lance 's and Jody 's bedroom . Jody , in bed , throws off the covers and stands up . She 's wearing a long tee - shirt with a picture of Fred Flintstone on it . We follow HANDHELD behind her as she opens the door , walking through the hall into the living room .
JODY
It's only one - thirty in the goddamn mornin'! What the fuck's goin' on out here?
As she walks in the living room , she sees Vincent and Lance standing over Mia , who 's lying on the floor in the middle of the room . From here on in , everything in this scene is frantic , like a DOCUMENTARY in an emergency ward , with the big difference here being nobody knows what the fuck they 're doing .
JODY
Who's she?
Lance looks up at Jody .
LANCE
Get that black box in the bedroom I have with the adrenalin shot.
JODY
What's wrong with her?
VINCENT
She's O.D.ing on us.
JODY
Well get her the hell outta here!
LANCE AND VINCENT
( in stereo . )
Get the fuckin' shot!
JODY
Do n't yell and me!
She angrily turns and disappears into the bedroom looking for the shot . WE MOVE into the room with the two men .
VINCENT
( to Lance . )
You two are a match made in heaven.
LANCE
Look, just keep talkin' to her, okay? While she's gettin' the shot, I got ta get a medical book.
VINCENT
What do you need a medical book for?
LANCE
To tell me how to do it. I've never given an adrenalin shot before.
VINCENT
You've had that thing for six years and you never used it?
LANCE
I never had to use it. I do n't go joy - poppin' with bubble - gummers, all of my friends can handle their highs!
VINCENT
Well then get it.
LANCE
I am, if you'll let me.
VINCENT
I'm not fuckin' stoppin' you.
LANCE
Stop talkin' to me, and start talkin' to her.
WE FOLLOW Lance as he runs out of the living room into a . SPARE ROOM with a bunch of junk in it . He frantically starts scanning the junk for the book he 's looking for , repeating the words , `` Come on , '' endlessly . From OFF SCREEN we hear :
VINCENT
( OS . )
Hurry up man! We're losin' her!
LANCE
( calling back . )
I'm looking as fast as I can!
Lance continues his frenzied search . WE HEAR Jody in the living room now as she talks to Vincent .
JODY
( OS . )
What's he lookin' for?
VINCENT
( OS . )
I dunno, some medical book.
Jody calls to Lance .
JODY
( OS . )
What are you lookin' for?
LANCE
My black medical book!
As he continues searching , flipping and knocking over shit , Jody appears in the doorway .
JODY
Whata re you looking for?
LANCE
My black fuckin' medical book. It's like a text book they give to nurses.
JODY
I never saw a medical book.
LANCE
Trust me, I have one.
JODY
Well if it's that important, why did n't you keep it with the shot?
Lance spins toward her .
LANCE
I do n't know! Stop bothering me!
JODY
While you're lookin' for it, that girl's gon na die on our carpet. You're never gon na find it in all this shit. For six months now, I've been telling you to clean this room -
VINCENT
( OS . )
- get your ass in here, fuck the book!
Lance angrily knocks over a pile of shit and leaves the SHOT heading for the living room . LIVING ROOM Vincent is bent over Mia , talking softly to her , when Lance reenters the room .
VINCENT
Quit fuckin' around man and give her the shot!
Lance bends down by the black case brought in by Jody . He opens it and begins preparing the needle for injection .
LANCE
While I'm doing this, take her shirt off and find her heart.
Vince rips her blouse open . Jody stumbles back in the room , hanging back from the action .
VINCENT
Does it have to be exact?
LANCE
Yeah, it has to be exact! I'm giving her an injection in the heart, so I got ta exactly hit her in the heart.
VINCENT
Well, I do n't know exactly where her heart is, I think it's here.
Vince points to Mia 's right breast . Lance glances over and nods .
LANCE
That's it.
As Lance readies the injection , Vincent looks up at Jody .
VINCENT
I need a big fat magic marker, got one?
JODY
What?
VINCENT
I need a big fat magic marker, any felt pen'll do, but a magic marker would be great.
JODY
Hold on.
Jody runs to the desk , opens the top drawer and , in her enthusiasm , she pulls the drawer out of the desk , the contents of which -LRB- bills , papers , pens -RRB- spill to the floor . The injection is ready . Lance hands Vincent the needle .
LANCE
It's ready, I'll tell you what to do.
VINCENT
You're gon na give her the shot.
LANCE
No, you're gon na give her the shot.
VINCENT
I've never does this before.
LANCE
I've never does this before either, and I ai n't starting now. You brought ` er here, that means you give her the shot. The day I bring an O.D.ing bitch to your place, then I got ta give her the shot.
Jody hurriedly joins them in the huddle , a big fat red magic marker in her hand .
JODY
Got it.
Vincent grabs the magic marker out of Jody 's hand and makes a big red dot in Mia 's body where her heart is .
VINCENT
Okay, what do I do?
LANCE
Well, you're giving her an injection of adrenalin straight to her heart. But she's got a breast plate in front of her heart, so you got ta pierce through that. So what you got ta do is bring the needle down in a stabbing motion.
Lance demonstrates a stabbing motion , which looks like `` The Shape '' killing its victims in `` HALLOWEEN . ''
VINCENT
I got ta stab her?
LANCE
If you want the needle to pierce through to her heart, you got ta stab her hard. Then once you do, push down on the plunger.
VINCENT
What happens after that?
LANCE
I'm curious about that myself.
VINCENT
This ai n't a fuckin' joke man!
LANCE
She's supposed to come out of it like -.
( snaps his fingers . )
- that.
Vincent lifts the needle up above his head in a stabbing motion . He looks down on Mia . Mia is fading fast . Soon nothing will help her . Vincent 's eyes narrow , ready to do this .
VINCENT
Count to three.
Lance , on this knees right beside Vincent , does not know what to expect .
LANCE
One.
RED DOT on Mia 's body . Needle raised ready to strike .
LANCE
( OS . )
two.
Jody 's face is alive with anticipation . NEEDLE in that air , poised like a rattler ready to strike .
LANCE
( OS . )
three!
The needle leaves frame , THRUSTING down hard . Vincent brings the needle down hard , STABBING Mia in the chest . Mia 's head if JOLTED from the impact . The syringe plunger is pushed down , PUMPING the adrenalin out through the needle . Mia 's eyes POP WIDE OPEN and she lets out a HELLISH cry of the banshee . She BOLTS UP in a sitting position , needle stuck in her chest - SCREAMING . Vincent , Lance and Jody , who were in sitting positions in front of Mia , JUMP BACK , scared to death . Mia 's scream runs out . She slowly starts taking breaths of air . The other three , now scooted halfway across the room , shaken to their bones , look to see if she 's alright .
LANCE
If you're okay, say something.
Mia , still breathing , not looking up at them , says in a relatively normal voice .
MIA
Something.
Vincent and Lance collapse on their backs , exhausted and shaking from how close to death Mia came .
JODY
Anybody want a beer?
INT. VINCENT'S MALIBU (MOVING) - NIGHT
Vincent is behind the wheel driving Mia home . No one says anything , both are still too shaken .
EXT. FRONT OF MARSELLUS WALLACE'S HOUSE - NIGHT
The Malibu pulls up to the front . Mia gets out without saying a word -LRB- still in a daze -RRB- and begins walking down the walkway toward her front door .
VINCENT
( OS . )
Mia!
She turns around . Vincent 's out of the car , standing on the walkway , a big distance between the two .
VINCENT
What are your thoughts on how to handle this?
MIA
What's yours?
VINCENT
Well I'm of the opinion that Marsellus can live his whole live and never ever hear of this incident.
Mia smiles .
MIA
Do n't worry about it. If Marsellus ever heard of this, I'd be in as much trouble as you.
VINCENT
I seriously doubt that.
MIA
If you can keep a secret, so can I.
VINCENT
Let's shake on it.
The two walk toward each other , holding out their hands to shake and shake they do .
VINCENT
Mum's the word.
Mia lets go of Vincent 's hand and silently makes the see - no - evil , hear - no - evil , and speak - no - evil sign with her hands . Vincent smiles .
VINCENT
If you'll excuse me, I got ta go home and have a heart attack.
Mia giggles . Vincent turns to leave .
MIA
You still wan na hear my `` FOX FORCE FIVE'' joke?
Vincent turns around .
VINCENT
Sure, but I think I'm still a little too petrified to laugh.
MIA
Uh - huh. You wo n't laugh because it's not funny. But if you still wan na hear it, I'll tell it.
VINCENT
I ca n't wait.
MIA
Three tomatoes are walking down the street, a poppa tomato, a momma tomato, and a little baby tomato. The baby tomato is lagging behind the poppa and momma tomato. The poppa tomato gets mad, goes over to the momma tomato and stamps on him -.
( STAMPS on the ground . )
- and says : catch up.
They both smile , but neither laugh .
MIA
See ya ` round, Vince.
Mia turns and walks inside her house . CU - VINCENT after Mia walks inside . Vincent continues to look at where she was . He brings his hands to his lips and blows her a kiss . Then exits FRAME leaving it empty . WE HEAR his Malibu START UP and DRIVE AWAY . FADE TO BLACK ON THE CARTOON `` SPEED RACER . '' Speed is giving a detailed description of all the features on his race car `` The Mac - 5 , '' which he does at the beginning of every episode . OFF SCREEN we hear a WOMAN 'S VOICE .
WOMAN'S VOICE
( OS . )
Butch.
BUTCH 'S POV We 're in the living room of a modest two bedroom house in Alhambra , California , in the year 1972 . BUTCH 'S MOTHER , 35ish , stands in the doorway leading into the living room . Next to her is a man dressed in the uniform of an American Air Force officer . The CAMERA is the perspective of a five - year old boy .
MOTHER
Butch, stop watching TV a second. We got a special visitor. Now do you remember when I told you your daddy dies in a P.O.W. camp?
BUTCH
( OS . )
Uh - huh.
MOTHER
Well this here is Capt. Koons. He was in the P.O.W. camp with Daddy.
CAPT. KOONS steps inside the room toward the little boy and bends down on one knee to bring him even with the boy 's eyeline . When Koons speaks , he speaks with a slight Texas accent .
CAPT. KOONS
Hello, little man. Boy I sure heard a bunch about you. See, I was a good friend of your Daddy's. We were in that Hanoi pit of hell over five years together. Hopefully, you'll never have to experience this yourself, but when two men are in a situation like me and your Daddy were, for as long as we were, you take on certain responsibilities of the other. If it had been me who had not made it, Major Coolidge would be talkin' right now to my son Jim. But the way it worked out is I'm talkin' to you, Butch. I got somethin' for ya.
The Captain pulls a gold wrist watch out of his pocket .
CAPT. KOONS
This watch I got here was first purchased by your great - granddaddy. It was bought during the First World War in a little general store in Knoxville, Tennessee. It was bought by private Doughboy Ernie Coolidge the day he set sail for Paris. It was your great - granddaddy's war watch, made by the first company to ever make wrist watches. You see, up until then, people just carried pocket watches. Your great - granddaddy wore that watch every day he was in the war. Then when he had done his duty, he went home to your great - grandmother, took the watch off his wrist and put it in an ol' coffee can. And in that can it stayed'til your grandfather Dane Coolidge was called upon by his country to go overseas and fight the Germans once again. This time they called it World War Two. Your great - granddaddy gave it to your granddad for good luck. Unfortunately, Dane's luck was n't as good as his old man's. Your granddad was a Marine and he was killed with all the other Marines at the battle of Wake Island. Your granddad was facing death and he knew it. None of those boys had any illusions about ever leavin' that island alive. So three days before the Japanese took the island, your 22 - year old grandfather asked a gunner on an Air Force transport named Winocki, a man he had never met before in his life, to deliver to his infant son, who he had never seen in the flesh, his gold watch. Three days later, your grandfather was dead. But Winocki kept his word. After the war was over, he paid a visit to your grandmother, delivering to your infant father, his Dad's gold watch. This watch. This watch was on your Daddy's wrist when he was shot down over Hanoi. He was captured and put in a Vietnamese prison camp. Now he knew if the gooks ever saw the watch it's be confiscated. The way your Daddy looked at it, that watch was your birthright. And he'd be damned if and slopeheads were gon na put their greasy yella hands on his boy's birthright. So he hid it in the one place he knew he could hide somethin'. His ass. Five long years, he wore this watch up his ass. Then when he died of disentary, he gave me the watch. I hid with uncomfortable hunk of metal up my ass for two years. Then, after seven years, I was sent home to my family. And now, little man, I give the watch to you.
Capt. Koons hands the watch to Butch . A little hand comes into FRAME to accept it .
INT. LOCKER ROOM - NIGHT
The 27 - year old Butch Coolidge is dressed in boxing regalia : trunks , shoes and gloves . He lies on a table catching a few zzzzzz 's before his big fight . Almost as soon as WE CUT to him , he wakes up with a start . Shaken by the bizarre memory , he wipes his sweaty face with his boxing glove . His trainer KLONDIKE , an older fireplug , opens the door a little , sticking his head in the room . Pandemonium seems to be breaking out behind Klondike in the hallway .
KLONDIKE
It's time, Butch.
BUTCH
I'm ready.
Klondike steps inside , closing the door on the WILD MOB outside . He goes to the long yellow robe hanging on a hook . Butch hops off the table and , without a word , Klondike helps him on with the robe , which says on the back : `` BATTLING BUTCH COOLIDGE . '' The two men head for the door . Klondike opens the door for Butch . As Butch steps into the hallway , the Crowd goes apeshit . Klondike closes the door behind him , leaving us in the quiet , empty locker room . FADE TO BLACK `` THE GOLD WATCH . ''
SPORTSCASTER #1
( OS . )
- well Dan, that had to be the bloodiest and, hands - down, the most brutal fight this city has ever seen.
The SOUND of chaos in the b.g.
EXT. ALLEY (RAINING) - NIGHT
A taxi is parked in a dark alley next to an auditorium . The sky is PISSIN ' DOWN RAIN . WE SLOWLY DOLLY toward the parked car . The SOUND of the CAR RADIO can be heard coming from inside .
SPORTSCASTER #1
( OS . )
Coolidge was out of there faster than I've ever seen a victorious boxer vacate the ring. Do you think he knew Willis was dead?
SPORTSCASTER #2
( OS . )
My guess would be yes, Richard. I could see from my position here, the frenzy in his eyes give way to the realization of what he was doing. I think any man would've left the ring that fast.
INT. TAXI (PARKED/RAINING) - NIGHT
Inside the taxi , behind the wheel , is a female cabbie named ESMARELDA VILLALOBOS . A young woman , with Spanish looks , sits parked , drinking a steaming hot cup of coffee out of a white styrofoam cup . The Sportscasters continue their coverage .
SPORTSCASTER #1
( OS . )
Do you feel this ring death tragedy will have an effect on the world of boxing?
SPORTSCASTER #2
( OS . )
Oh Dan, a tragedy like this ca n't help but shake the world of boxing to its very foundation. But it's of paramount importance that during the sad weeks ahead, the eyes of the W.B.A. remain firmly fixed on the - CLICK -
Esmarelda shuts off the radio . She takes a sip of coffee , then hears a NOISE behind her in the alley . She sticks her head out of the car door to see : A window about three stories high opens on the auditorium - side of the alley . A gym bag is tossed out into a garbage dumpster below the window . Then , Butch Coolidge , still dressed in boxing trunks , shoes , gloves and yellow robe , LEAPS to the dumpster below . ESMARELDA 'S REACTION takes in the strangeness of this sight . Gym bag in hand , Butch CLIMBS out of the dumpster and RUNS to the taxi . Before he climbs in , he takes off his robe and throws it to the ground .
INT. TAXI (PARKED/RAINING) - NIGHT
Butch , soaking wet , naked except for trunks , shoes and gloves , HOPS in the backseat , SLAMMING the door . Esmarelda , staring straight ahead , talks to Butch through the rearview mirror :
ESMARELDA
( Spanish accent . )
Are you the man I was supposed to pick up?
BUTCH
If you're the cab I called, I'm the guy you're supposed to pick up.
ESMARELDA
Where to?
BUTCH
Outta here.
The ignition key is TWISTED . The engine ROARS to life . The meter is FLIPPED on . Esmarelda 's bare foot STOMPS on the gas pedal .
EXT. BOXING AUDITORIUM (RAINING) - NIGHT
The cab WHIPS out of the alley , FISH - TAILING on the wet pavement in front of the auditorium at a rapid pace .
INT. WILLIS LOCKER ROOM (AUDITORIUM) - NIGHT
Locker room door opens , English Dave fights his way through the pandemonium which is going on outside in the hall , shutting the door on the madness . Once inside , English Dave takes time to adjust his suit and tie . In the room , black boxer FLOYD RAY WILLIS lies on a table - dead . His face looks like he went dunking for bees . His TRAINER is on his knees , head on Floyd 's chest , crying over the body . The huge figure that is Marsellus Wallace stands at the table , hand on the Trainer 's shoulder , lending emotional support . We still do not see Marsellus clearly , only that he is big . Mia sits in a chair at the far end of the room . Marsellus looks up , sees English Dave and walks over to him .
MARSELLUS
( OS . )
What ` cha got?
ENGLISH DAVE
He booked.
MARSELLUS
( OS . )
I'm prepared to scour the earth for this motherfucker. If Butch goes to Indo China, I want a nigger hidin' in a bowl of rice, ready to pop a cap in his ass.
ENGLISH DAVE
I'll take care of it.
INT. CAB (MOVING/RAINING) - NIGHT
Butch gets one of his boxing gloves off . Esmarelda watches in the rearview mirror . He tries to roll down one of the backseat windows , but ca n't find the roll bar .
BUTCH
Hey, how do I open the window back here?
ESMARELDA
I have to do it.
She presses a button and the back window moves down . Butch tosses his boxing glove out the window , then starts untying the other one . Esmarelda ca n't keep quiet anymore .
ESMARELDA
Hey, mister?
BUTCH
( still working on the glove . )
What?
ESMARELDA
You were in that fight? The fight on the radio - you're the fighter?
As he tosses his other glove out the window .
BUTCH
Whatever gave you that idea?
ESMARELDA
No c'mon, you're him, I know you're him, tell me you're him.
BUTCH
( drying himself with a gym towel . )
I'm him.
ESMARELDA
You killed the other boxing man.
BUTCH
He's dead?
ESMARELDA
The radio said he was dead.
He finished wiping himself down .
BUTCH
( to himself . )
Sorry ` bout that, Floyd.
He tosses the towel out the window . Silence , as Butch digs in his bag for a tee - shirt .
ESMARELDA
What does it feel like?
BUTCH
( finds his shirt . )
What does what feel like?
ESMARELDA
Killing a man. Beating another man to death with your bare hands.
Butch pulls on his tee - shirt .
BUTCH
Are you some kinda weirdo?
ESMARELDA
No, it's a subject I have much interest in. You are the first person I ever met who has killed somebody. So, what was it like to kill a man?
BUTCH
Tell ya what, you give me one of them cigarettes, I'll give you an answer.
Esmarelda bounces in her seat with excitment .
ESMARELDA
Deal!
Butch leans forward . Esmarelda , keeping her eyes on the road , passes a cigarette back to him . He takes it . Then , still not looking behind her , she brings up her hand , a lit match in it . Butch lights his smoke , then blows out the match . He takes a long drag .
BUTCH
So.
He looks at her license
BUTCH
Esmarelda Villalobos - is that Mexican?
ESMARELDA
The name is Spanish, but I'm Columbian.
BUTCH
It's a very pretty name.
ESMARELDA
It mean `` Esmarelda of the wolves.''
BUTCH
That's one hell of a name you got there, sister.
ESMARELDA
Thank you. And what is your name?
BUTCH
Butch.
ESMARELDA
Butch. What does it mean?
BUTCH
I'm an American, our names do n't mean shit. Anyway, moving right along, what is it you wan na know, Esmarelda?
ESMARELDA
I want to know what it feels like to kill a man -
BUTCH
- I could n't tell ya. I did n't know he was dead'til you told me he was dead. Now I know he's dead, do you wan na know how I feel about it?
Esmarelda nods her head : `` yes . ''
BUTCH
I do n't feel the least little bit bad. You wan na know why, Esmarelda?
Esmarelda nods her head : `` yes . ''
BUTCH
'Cause I'm a boxer. And after you've said that, you've said pretty much all there is to say about me. Now maybe that son - of - a - bitch tonight was once at one time a boxer. If he was, then he was dead before his ass ever stepped in the ring. I just put the poor bastard outta his misery. And if he never was a boxer -.
( Butch takes a drag . )
That's what he gets for fuckin' up my sport.
EXT. PHONE BOOTH (RAINING) - NIGHT
We DOLLY around a phone booth as Butch talks inside .
BUTCH
( into phone . )
What's I tell ya, soon as the word got out a fix was in, the odds would be outta control. Hey, if he was a better fighter he's be alive. If he never laced up his gloves in the first place, which he never shoulda done, he'd be alive. Enough about the poor unfortunate Mr. Floyd, let's talk about the rich and prosperous Mr. Butch. How many bookies you spread it around with?
( pause . )
Eight? How long to collect?
( pause . )
So by tomorrow evening, you'll have it all?
( pause . )
Good news Scotty, real good news - I understand a few stragglers aside. Me an' Fabian're gon na leave in the morning. It should take us a couple days to get into Knoxville. Next time we see each other, it'll be on Tennessee time.
Butch hangs up the phone . He looks at the cab waiting to take him wherever he wants to go .
BUTCH
( to himself in French with English subtitles . )
Fabian my love, our adventure begins.
EXT. MOTEL (STOPPED RAINING) - NIGHT
Esmarelda 's tax pulled into the motel parking lot . The rain has stopped , but the night is still soaked . Butch gets out , now fully dressed in tee - shirt , jeans and high school athletic jacket . He leans in the driver 's side window .
ESMARELDA
Forty - five sixty.
Handing her the money .
BUTCH
Merci beaucoup. And here's a little something for the effort.
Butch holds up a hundred dollar bill . Esmarelda 's eyes light up . She goes to take it . Butch holds it out of reach .
BUTCH
Now if anybody should ask you about who your fare was tonight, what're you gon na tell'em?
ESMARELDA
The truth. Three well - dressed, slightly toasted, Mexicans.
He gives her the bill .
BUTCH
Bon soir, Esmarelda.
ESMARELDA
( in Spanish . )
Sleep well, Butch.
He tweaks her nose , she smiles , and he turns and walks away . She drives off .
INT. MOTEL (ROOM SIX) - NIGHT
Butch enters and turns on the light . Lying curled up on the bed , fully dressed , with her back to us is Butch 's French girlfriend , FABIAN .
FABIAN
Keep the light off.
Butch flicks the switch back , making the room dark again .
BUTCH
Is that better, sugar pop?
FABIAN
Oui. Hard day at the office?
BUTCH
Pretty hard. I got into a fight.
FABIAN
Poor baby. Can we make spoons?
Butch climbs into bed , spooning Fabian from behind . When Butch and Fabian speak to each other , they speak in baby - talk .
FABIAN
I was looking at myself in the mirror.
BUTCH
Uh - huh?
FABIAN
I wish I had a pot.
BUTCH
You were lookin' in the mirror and you wish you had some pot?
FABIAN
A pot. A pot belly. Pot bellies are sexy.
BUTCH
Well you should be happy,'cause you do.
FABIAN
Shut up, Fatso! I do n't have a pot! I have a bit of a tummy, like Madonna when she did `` Lucky Star,'' it's not the same thing.
BUTCH
I did n't realize there was a difference between a tummy and a pot belly.
FABIAN
The difference is huge.
BUTCH
You want me to have a pot?
FABIAN
No. Pot bellies make a man look either oafish, or like a gorilla. But on a woman, a pot belly is very sexy. The rest of you is normal. Normal face, normal legs, normal hips, normal ass, but with a big, perfectly round pot belly. If I had one, I'd wear a tee - shirt two sizes too small to accentuate it.
BUTCH
You think guys would find that attractive?
FABIAN
I do n't give a damn what men find attractive. It's unfortunate what we find pleasing to the touch and pleasing to the eye is seldom the same.
BUTCH
If I had a pot belly, I'd punch you in it.
FABIAN
You'd punch me in my belly?
BUTCH
Right in the belly.
FABIAN
I'd smother you. I'd drop it on your right on your face'til you could n't breathe.
BUTCH
You'd do that to me?
FABIAN
Yes!
BUTCH
Did you get everything, sugar pop?
FABIAN
Yes, I did.
BUTCH
Good job.
FABIAN
Did everything go as planned?
BUTCH
You did n't listen to the radio?
FABIAN
I never listen to your fights. Were you the winner?
BUTCH
I won alright.
FABIAN
Are you still retiring?
BUTCH
Sure am.
FABIAN
What about the man you fought?
BUTCH
Floyd retired too.
FABIAN
( smiling . )
Really?! He wo n't be fighting no more?!
BUTCH
Not no more.
FABIAN
So it all worked out in the finish?
BUTCH
We ai n't at the finish, baby.
Fabian rolls over and Butch gets on top of her . They kiss .
FABIAN
We're in a lot of danger, are n't we?
Butch nods his head : `` yes . ''
FABIAN
If they find us, they'll kill us, wo n't they?
Butch nods his head : `` yes . ''
FABIAN
But they wo n't find us, will they?
Butch nods his head : `` no . ''
FABIAN
Do you still want me to go with you?
Butch nods his head : `` yes . ''
FABIAN
I do n't want to be a burden or a nuisance -
Butch 's hand goes out of frame and starts massaging her crotch . Fabian reacts .
FABIAN
Say it!
BUTCH
Fabian, I want you to be with me.
FABIAN
Forever?
BUTCH
and ever.
Fabian lies her head back . Butch continues to massage her crotch .
FABIAN
Do you love me?
BUTCH
Oui.
FABIAN
Butch? Will you give me oral pleasure?
Butch kisses her on the mouth .
BUTCH
Will you kiss it?
She nods her head : `` yes . ''
FABIAN
But you first.
Butch 's head goes down out of frame to carry out the oral pleasure . Fabian 's face is alone in the frame .
FABIAN
( in French , with English subtitles . )
Butch my love, the adventure begins
FADE TO BLACK MOTEL ROOM Same motel room , except empty . WE HEAR THE SHOWER RUNNING in the bathroom . The CAMERA MOVES to the bathroom doorway . We see Fabian in a white terry cloth robe that seems to swallow her up . She 's drying her head with a towel . Butch is inside the shower washing up . We see the outline of his naked body through the smoky glass of the shower door . Steam fills the bathroom . Butch turns the shower off and opens the door , popping his head out .
BUTCH
I think I cracked a rib.
FABIAN
Giving me oral pleasure?
BUTCH
No retard, from the fight.
FABIAN
Do n't call me retard.
BUTCH
( in a Mongoloid voice . )
My name is Fabby! My name is Fabby!
FABIAN
Shut up fuck head! I hate that Mongoloid voice.
BUTCH
Okay, sorry, sorry, sorry, I take it back! Can I have a towel please, Miss Beautiful Tulip.
FABIAN
Oh I like that, I like being called a tulip. Tulip is much better than Mongoloid.
She finishes drying her hair and wraps the towel like a turban on her head .
BUTCH
I did n't call you a Mongoloid, I called you a retard, but I took it back.
She hands him a towel .
BUTCH
Merci beaucoup.
FABIAN
Butch?
BUTCH
( drying his head . )
Yes, lemon pie.
FABIAN
Where are we going to go?
BUTCH
I'm not sure yet. Wherever you want. We're gon na get a lot of money from this. But it ai n't gon na be so much, we can live like hogs in the fat house forever. I was thinking we could go somewhere in the South Pacific. The kinda money we'll have'll carry us a long way down there.
FABIAN
So if we wanted, we could live in Bora Bora?
BUTCH
You betcha. And if after awhile you do n't dig Bora Bora, then we can move over to Tahiti or Mexico.
FABIAN
But I do not speak Spanish.
BUTCH
You do n't speak Bora Boran either. Besides, Mexican is easy : Donde esta el zapataria?
FABIAN
What does that mean?
BUTCH
Where's the shoe store?
FABIAN
Donde esta el zapataria?
BUTCH
Excellent pronunciation. You'll be my little mama ceta in no time.
Butch exits the bathroom . We stay on FAbian as she brushes her teeth . Butch keeps on from the other room .
BUTCH
( OS . )
Que hora es?
FABIAN
Que hora es?
BUTCH
( OS . )
What time is it?
FABIAN
What time is it?
BUTCH
( OS . )
Time for bed. Sweet dream, jellybean.
Fabian brushes her teeth . We watch her for a moment or two , then she remember something .
FABIAN
Butch.
She walks out of the bathroom to ask Butch a question , only to find him sound asleep in bed . She looks at him for a moment .
FABIAN
Forget it.
She exits frame , going back in the bathroom . WE STAY on the WIDE SHOT of the unconscious Butch in bed . FADE TO BLACK MOTEL ROOM - MORNING SAME SHOT AS BEFORE , the next morning . We find Butch still asleep in bed . Fabian brushes her teeth half in and half out of the bathroom so she can watch TV at the same time . She still wears the terry cloth robe from the night before . ON TV : WILLIAM SMITH and a bunch of Hell 's Angels are taking on the entire Vietnamese army in the film `` THE LOSERS . '' Butch wakes from his sleep , as if a scary monster was chasing him . His start startles Fabian .
FABIAN
Merde! You startled me. Did you have a bad dream?
Butch squints down the front of the bed at her , trying to focus .
BUTCH
yeah. are you still brushing your teeth?
FABIAN
This is me. I brush my teeth all night long and into the early morning. Do you think I have a problem?
Fabian goes back into the bathroom to spit . If that was supposed to be sarcasm , it was lost on Butch at this early hour . Butch , still trying to chase the cobwebs away , sees on TV Hell 's Angels tear - assin ' through a Vietnamese prison camp .
BUTCH
What are you watching?
FABIAN
A motorcycle movie, I'm not sure the name.
BUTCH
Are you watchin' it?
Fabian enters the room .
FABIAN
In a way. Why? Would you like for me to switch it off?
BUTCH
Would you please?
She reaches over and turns off the TV .
BUTCH
It's a little too early in the morning for explosions and war.
FABIAN
What was it about?
BUTCH
How should I know, you were the one watchin' it.
Fabian laughs .
FABIAN
No, imbecile, what was your dream about?
BUTCH
Oh, I. do n't remember. It's really rare I remember a dream.
FABIAN
You just woke up from it.
BUTCH
Fabian, I'm not lying to you, I do n't remember.
FABIAN
Well, let's look at the grumpy man in the morning. I did n't say you were lying, it's just odd you do n't remember your dreams. I always remember mine. Did you know you talk in your sleep?
BUTCH
I do n't talk in my sleep, do I talk in my sleep?
FABIAN
You did last night.
BUTCH
What did I say?
Laying on top of him .
FABIAN
I do n't know. I could n't understand you.
She kisses Butch .
FABIAN
Why do n't you get up and we'll get some breakfast at that breakfast place with the pancakes.
BUTCH
One more kiss and I'll get up.
Fabian gives Butch a sweet long kiss .
FABIAN
Satisfied?
BUTCH
Yep.
FABIAN
Then get up, lazy bones.
Butch climbs out of bed and starts pulling clothes out of the suitcase that Fabian brought .
BUTCH
What time is it?
FABIAN
Almost nine in the morning. What time does our train arrive?
BUTCH
Eleven.
Seeing him looking at a pair of pants .
FABIAN
Those pants are very nice. Can you wear those with that nice blue shirt you have?
He pulls a blue shirt of the suitcase .
BUTCH
This one?
FABIAN
That's the one. That matches.
BUTCH
Okay.
He puts the cloths on .
FABIAN
I'm gon na order a big plate of blueberry pancakes with maple syrup, eggs over easy, and five sausages.
BUTCH
( surprised at her potential appetite . )
Anything to drink with that?
Butch is finished dressing .
FABIAN
( referring to his clothes . )
Oh yes, that looks nice. To drink, a tall glass or orange juice and a black cup of coffee. After that, I'm going to have a slice of pie.
As he goes through the suitcase .
BUTCH
Pie for breakfast?
FABIAN
Any time of the day is a good time for pie. Blueberry pie to go with the pancakes. And on top, a thin slice of melted cheese -
BUTCH
- where's my watch?
FABIAN
It's there.
BUTCH
No, it's not. It's not here.
FABIAN
Have you looked?
By now , Butch is frantically rummaging through the suitcase .
BUTCH
Yes I've fuckin' looked!
He 's now throwing clothes .
BUTCH
What the fuck do you think I'm doing?! Are you sure you got it?
Fabian can hardly speak , she 's never seen Butch this way .
FABIAN
Uhhh. yes. beside the table drawer -
BUTCH
- on the little kangaroo.
FABIAN
Yes, it was on your little kangaroo.
BUTCH
Well it's not here!
FABIAN
( on the verge of tears . )
Well it should be!
BUTCH
Oh it most definitely should be here, but it's not. So where is it?
Fabian is crying and scared . Butch lowers his voice , which only serves to make him more menacing .
BUTCH
Fabian, that was my father's fuckin' watch. You know what my father went through to git me that watch? I do n't wan na get into it right now. but he went through a lot. Now all this other shit, you coulda set on fire, but I specifically reminded you not to forget my father's watch. Now think, did you get it?
FABIAN
I believe so.
BUTCH
You believe so? You either did, or you did n't, now which one is it?
FABIAN
Then I did.
BUTCH
Are you sure?
FABIAN
( shaking . )
No.
Butch freaks out , he punches the air . Fabian SCREAMS and backs into a corner , Butch picks up the motel TV and THROWS IT AGAINST the wall . Fabian SCREAMS IN HORROR . Butch looks toward her , suddenly calm .
BUTCH
( to Fabian . )
No! It's not your fault.
( he approached her . )
You left it at the apartment.
He bends down in front of the woman who has sunk to the floor . He touches her hand , she flinches .
BUTCH
If you did leave it at the apartment, it's not your fault. I had you bring a bunch of stuff. I reminded you about it, but I did n't illustrate how personal the watch was to me. If all I gave a fuck about was my watch, I should've told you. You ai n't a mind reader.
He kisses her hand . Then rises . Fabian is still sniffling . Butch goes to the closet .
FABIAN
I'm sorry.
Butch puts on his high school jacket .
BUTCH
Do n't be. It just means I wo n't be able to eat breakfast with you.
FABIAN
Why does it mean that?
BUTCH
Because I'm going back to my apartment to get my watch.
FABIAN
Wo n't the gangsters be looking for you there?
BUTCH
That's what I'm gon na find out. If they are, and I do n't think I can handle it, I'll split.
Rising from the floor .
FABIAN
My darling, I do n't want you to be murdered over a silly watch.
BUTCH
One, it's not a silly watch. Two, I'm not gon na be murdered. And three, do n't be scared. I wo n't let anything get in the way of us living a happy life together.
Butch brings her close and puts his hands on her face .
BUTCH
Do n't feel bad, sugar pop. Nothing you could ever do would make me permanently angry at you.
( pause . )
I love you, remember?
( he digs some money out of his wallet . )
Now here's some money, order those pancakes and have a great breakfast.
FABIAN
Do n't go.
BUTCH
I'll be back before you can say, blueberry pie.
FABIAN
Blueberry pie.
BUTCH
Well maybe not that fast, but fast. Okay? Okay?
FABIAN
Okay.
He kisses her once more and heads for the door .
BUTCH
Bye - bye, sugar pop.
FABIAN
Bye.
BUTCH
I'm gon na take your Honda.
FABIAN
Okay.
And with that , he 's out the door . Fabian sits on the bed and looks at the money he gave her .
INT. HONDA (MOVING) - DAY
Butch is beating the steering wheel and the dash with his fists as he drives down the street .
BUTCH
Of all the fuckin' things she coulda forgot, she forgets my father's watch. I specifically reminded her not to forget it. `` Bedside table - on the kangaroo.'' I said the words : `` Do n't forget my father's watch.''
EXT. CITY STREET - DAY
The little Honda races toward its destination as fast as its little engine will take it .
INT. HONDA (MOVING) - DAY
Butch continues :
BUTCH
What the fuck am I doin'? Have I taken one too many hits to the head? That's got ta be it. Brain damage is the only excuse for this dumb a move. Stop the car, Butch.
( he keeps on driving . )
Stop the car, Butch.
( he pays no attention to himself . )
Butch, I'm talkin' to you. Put - your - foot - on - the - break!
Butch 's foot SLAMS down hard on the break .
EXT. CITY STREET - DAY
The little Honda SKIDS to a stop in the middle of the street . Butch HOPS out of the car like it was on fire . Butch begins PACING back and forth , talking to himself , oblivious to PASSERSBY and traffic .
BUTCH
I ai n't gon na do this. This is a punchy move and I ai n't punchy! Daddy would totally fuckin' understand. If he was here right now, he'd say, `` Butch, git a grip. It's a fuckin' watch, man. You lose one, ya git another. This is your life you're fuckin' around with, which you should n't be doin''cause you only got one.
Butch continues to pace , but now he 's silent . Then .
BUTCH
This is my war. You see, Butch, what you're forgettin' is this watch is n't just a device that enables you to keep track of time. This watch is a symbol. It's a symbol of how your father, and his father before him, and his father before him, distinguished themselves in war. And when I took Marsellus Wallace's money, I started a war. This is my World War Two. That apartment in North Hollywood, that's my Wake Island. In fact, if you look at it that way, it's almost kismet that Fabian left it behind. And using that perspective, going back for it is n't stupid. It may be dangerous, but it's not stupid. Because there are certain things in this world that are worth going back for.
That 's it , Butch has talked himself into it again . He HOPS in the car , starts it up and TAKES OFF . A parking meter red flag rises up , then out , leaving the arrow pointing at one hour .
EXT. RESIDENTIAL STREET CORNER - DAY
Butch is n't completely reckless . He has parked his car a couple of blocks from his apartment to check things out before he goes boppin ' through the front door .
EXT. ALLEY - DAY
Butch walks down the alley until he gets to another street , then he discreetly glances out .
EXT. STREET - BUTCH'S APARTMENT - DAY
Everything seems normal . More or less the right number of cars in the street . None of the parked cars appear out of place . None of them have a couple of goons sitting inside . Basically , it looks like normal morning activity in front of Butch 's home . Butch peers around a wall , taking in the vital information .
BUTCH
( to himself . )
Everything looks hunky dorie. Looks can be deceiving, but this time I do n't think they are. Why waste the manpower to stake out my place. I'd have to be a fuckin' idiot to come back here. That's how you're gon na beat'em Butch, they keep underestimating you.
Butch walks out of the alley and is ready for anything . He crosses the street and enters his apartment courtyard . Across the street from Butch 's building , on the corner , is a combination donut shop and Japanese restaurant . A big sign sticks up in the air , with the name `` Teriyaki Donut '' and a graphic of a donut sticking out of a bowl of rice .
EXT. BUTCH'S APARTMENT COURTYARD - DAY
Butch is in the courtyard of his North Hollywood apartment building . Once again , everything appears normal - the laundry room , the pool , his apartment door - nothing appears disturbed . Butch climbs the stairs leading to his apartment , number 12 . He steps outside the door and listens inside . Nothing . Butch slowly inserts the key into the door , quietly opening it .
INT. BUTCH'S APARTMENT - DAY
His apartment has n't been touched . He cautiously steps inside , shuts the door and takes a quick look around . Obviously , no one is there . Butch walks into his modest kitchen , and opens the refrigerator . He takes out a carton of milk and drinks from it . With carton in hard , Butch surveys the apartment . Then he goes to the bedroom . His bedroom is like the rest of the apartment - neat , clean and anonymous . The only things personal in his room are a few boxing trophies , an Olympic silver medal , a framed issue of `` Ring Magazine '' with Butch on the cover , and a poster of Jerry Quarry and one of George Chuvalo . Sure enough , there 's the watch just like he said it was : on the bedside table , hanging on his little kangaroo statue . He walks through the apartment and back into the kitchen . He opens a cupboard and takes out a box of Pop Tarts . Putting down the milk , he opens the box , takes out two Pop Tarts and puts them in the toaster . Butch glances to his right , his eyes fall on something . What he sees is a small compact Czech M61 submachine gun with a huge silencer on it , lying on his kitchen counter .
BUTCH
( softly . )
Holy shit.
He picks up the intimidating peace of weaponary and examines it . Then . a toilet FLUSHES . Butch looks up to the bathroom door , which is parallel to the kitchen . There is someone behind it . Like a rabbit caught in a radish patch , Butch freezes , not knowing what to do . The bathroom door opens and Vincent Vega steps out of the bathroom , tightening his belt . In his hand is the book `` MODESTY BLAISE '' by Peter O'Donnell . Vincent and Butch lock eyes . Vincent freezes . Butch does n't move , except to point the M61 in Vincent 's direction . Neither man opens his mouth . Then . the toaster LOUDLY kicks up the Pop Tarts . That 's all the situation needed . Butch 's finger HITS the trigger . MUFFLED FIRE SHOOTS out of the end of the gun . Vincent is seemingly WRACKED with twenty bullets SIMULTANEOUSLY - LIFTING him off his feet , PROPELLING him through the air and CRASHING through the glass shower door at the end of the bathroom . By the time Butch removes his finger from the trigger , Vincent is annihilated . Butch stands frozen , amazed at what just happened . His look goes from the grease spot in the bathroom that was once Vincent , down to the powerful piece of artillery in his grip . With the respect it deserves , Butch carefully places the M61 back on the kitchen counter . Then he exits the apartment , quickly .
EXT. APARTMENT COURTYARD - DAY
Butch , not running , but walking very rapidly , crosses the courtyard . comes out of the apartment building , crosses the street . goes through the alley . and into his car in one STEADICAM SHOT .
EXT. HONDA - DAY
Butch CRANKS the car into gear and drives away . The big wide smile of a survivor breaks across his face .
EXT. APARTMENT BUILDING STREET - DAY
The Honda turns down the alley and slowly cruises by his apartment building .
INT. HONDA - DAY
Butch looks out the window at his former home .
BUTCH
That's how you're gon na beat'em, Butch. They keep underestimatin' ya.
This makes the boxer laugh out loud . As he laughs , he flips a tape in the cassette player . When the MUSIC starts , he SINGS along with it . He drives by the apartment , but is stopped at the light on the corner across from Teriyaki Donut . Butch is still chuckling , singing along with the song , as we see : THROUGH THE WINDSHIELD the big man himself , Marsellus Wallace , exit Teriyaki Donut , carrying a box of a dozen donuts and two large styrofoam cups of coffee . He steps off the curb , crossing the street in front of Butch 's car . This is the first time we see Marsellus clearly . Laughing boy stops when he sees the big man directly in front of him . When Marsellus is in front of Butch 's car , he casually glances to his left , sees Butch , continues walking . then STOPS ! DOUBLE - TAKE : `` Am I really seeing what I 'm seeing ? '' Butch does n't wait for the big man to answer his own question . He STOMPS on the gas pedal . The little Honda SLAMS into Marsellus , sending him , the donuts and the coffee HITTING the pavement at thirty miles an hour . Butch CUTS into cross traffic and is BROAD - SIDED by a gold Camaro Z - 28 , BREAKING all the windows in the Honda and sending it up on the sidewalk . Butch sits dazed and confused in the crumpled mess of what at one time was Fabian 's Honda . Blood flows from his nostrils . The still - functional tape player continues to play . A PEDESTRIAN pokes his head inside .
PEDESTRIAN
Jesus, are you okay?
Butch look at him , spaced - out .
BUTCH
I guess.
Marsellus Wallace lies sprawled out in the street . GAWKERS gather around the body .
GAWKER #1
( to the others . )
He's dead! He's dead!
This jerk 's yelling makes Marsellus come to . TWO PEDESTRIANS help the shaken Butch out of the wreckage . The woozy Marsellus gets to his feet .
GAWKER #2
If you need a witness in court, I'll be glad to help. He was a drunken maniac. He hit you and crashed into that car.
MARSELLUS
( still incoherent . )
Who?
GAWKER #2
( pointing at Butch . )
Him.
Marsellus follows the Gawker 's finger and sees Butch Coolidge down the street , looking a shambles .
MARSELLUS
Well, I'll be damned.
The big man takes out a .45 Automatic and the Gawkers back away . Marsellus starts moving toward Butch . Butch sees the fierce figure making a wobbly bee - line toward him .
BUTCH
Sacre bleu.
Marsellus brings up his weapon and FIRES , but he 's so hurt , shaky and dazed that his arm goes wild . He HITS a LOOKY - LOO WOMAN in the hip . She falls to the ground , screaming .
LOOKY-LOO WOMAN
Oh my God, I've been shot!
That 's all Butch needs to see . He 's outta here . Marsellus RUNS after him . The CROWD looks agape . Butch is in a mad , limping RUN . The big man 's hot on his ass with a cockeyed wobbly run . Butch cuts across traffic and dashes into a business with a sign that reads `` MASON - DIXIE PAWNSHOP . ''
INT. MASON-DIXIE PAWNSHOP - DAY
MAYNARD , a hillbilly - lookin ' boy , stands behind the counter of his pawnshop when , all of a sudden , chaos in the form of Butch RACES into his world .
MAYNARD
Can I help you wit' somethin'?
BUTCH
Shut up!
Butch quickly takes measure of the situation , than stands next to the door .
MAYNARD
Now you just wait one goddamn minute -
Before Maynard can finish his threat , Marsellus CHARGES in . He does n't get past the doorway because Butch LANDS his fist in Marsellus ' face . The gangster 's feet go out from under him and the big man FALLS FLAT on his back . Outside , two police cars with their SIRENS BLARING race by . Butch POUNCES on the fallen body , PUNCHING him twice more in the face . Butch takes the gun out of Marsellus ' hand , than grabs ahold of his middle finger .
BUTCH
So you like chasing people, huh?
He BREAKS the finger . Marsellus lets out a pain sound . Butch then places the barrel of the .45 between his eyes , PULLS back the hammer and places his open hand behind the gun to shield the splatter .
BUTCH
Well guess what, big man, you caught me -
MAYNARD
( OS . )
- hold it right there, godammit!
Butch and Marsellus look up at Maynard , who 's brandishing a pump - action shotgun , aimed at the two men .
BUTCH
Look mister, this ai n't any of your business -
MAYNARD
- I'm makin' it my business! Now toss that gun!
Butch does .
MAYNARD
Now you on top, stand up and come to the counter.
Butch slowly gets up and moves to the counter . As soon as he gets there , Maynard HAULS OFF , HITTING him hard in the face with the butt of the shotgun , knocking Butch down and out . After Butch goes down , Maynard calmly lays the shotgun on the counter and moves to the telephone . Marsellus Wallace , from his position on the floor , groggily watches the pawnshop owner dial a number . Maynard waits on the line while the other end rings . Then it picks up .
MAYNARD
Zed? It's Maynard. The spider just caught a coupl' a flies.
Marsellus passes out . FADE TO BLACK
INT. PAWNSHOP BACK ROOM - DAY
TWO SHOT - BUTCH AND MARSELLUS are tied up in two separate chairs . In their mouths are two S&M - style ball gags -LRB- a belt goes around their heads and a little red ball sticks in their mouths -RRB- . Both men are unconscious . Maynard steps in with a fire extinguisher and SPRAYS both guys until they 're wide awake and wet as otters . The two prisoners look up at their captors . Maynard stands in front of them , fire extinguisher in one hand , shotgun in the other , and Marsellus ' .45 sticking in his belt .
MAYNARD
Nobody kills anybody in my place of business except me or Zed.
A BUZZER buzzes .
MAYNARD
That' Zed.
Without saying another word , Maynard climbs up the stairs that lead to red curtains and goes through them . WE HEAR , on the other side of the curtains , Maynard let Zed inside the store . Butch and Marsellus look around the room . The basement of the pawnshop has been converted into a dungeon . After taking in their predicament , Butch and Marsellus look at each other , all traces of hostility gone , replaced by a terror they both share at what they 've gotten themselves into . Maynard and ZED come through the curtains . Zed is an even more intense version of Maynard , if such a thing is possible . The two hillbillys are obviously brothers . Where Maynard is a vicious pitbull , Zed is a deadly cobra . Zed walks in and stands in front of the two captives . He inspects them for a long time , then says :
ZED
( to Maynard . )
You said you waited for me?
MAYNARD
I did.
ZED
Then how come they're all beat up?
MAYNARD
They did that to each other. They was fightin' when they came in. This one was gon na shoot that one.
ZED
( to Butch . )
You were gon na shoot him?
Butch makes no reply .
ZED
Hey, is Grace gon na be okay in front of this place?
MAYNARD
Yeah, it ai n't Tuesday is it?
ZED
No, it's Thursday.
MAYNARD
Then she'll be fine.
ZED
Bring out The Gimp.
MAYNARD
I think The Gimp's asleep.
ZED
Well, I guess you'll just wake'em up then, wo n't you?
Maynard opens a trap door in the floor .
MAYNARD
( yelling in the hole . )
Wake up!
Maynard reaches into the hole and comes back holding onto a leash . He gives it a rough yank and , from below the floor , rises THE GIMP . The Gimp is a man they keep dressed from head to toe in black leather bondage gear . There are zippers , buckles and studs here and there on the body . On his head is a black leather mask with two eye holes and a zipper -LRB- closed -RRB- for a mouth . They keep him in a hole in the floor big enough for a large dog . Zed takes the chair , sits it in front of the two prisoners , then lowers into it . Maynard hands The Gimp 's leash to Zed , then backs away .
MAYNARD
( to The Gimp . )
Down!
The Gimp gets on its knees . Maynard hangs back while Zed appraises the two men .
MAYNARD
Who's first?
ZED
I ai n't fer sure yet.
Then with his little finger , Zed does a silent `` Eenie , meany , miney , moe . '' just his mouth mouthing the words and his finger going back and forth between the two . Butch are Marsellus are terrified . Maynard looks back and forth at the victims . The Gimps 's eyes go from one to the other inside the mask . Zed continues his silent sing - song with his finger moving left to right , then it stops . TWO SHOT - BUTCH AND MARSELLUS after a beat , THE CAMERA MOVES to the right , zeroing in on Marsellus . Zed stands up .
ZED
Wan na do it here?
MAYNARD
Naw, drag big boy to Russell's old room.
Zed grabs Marsellus ' chair and DRAGS him into Russell 's old room . Russell , no doubt , was some other poor bastard that has the misfortune of stumbling into the Mason - Dixie pawnshop . Whatever happened to Russell is known only to Maynard and Zed because his old room , a back room in the back of the back room , is empty . As Marsellus is dragged away , he locks eyes with Butch before he disappears behind the door of Russell 's old room .
MAYNARD
( to The Gimp . )
Up!
The Gimp rises . Maynard ties The Gimp 's leash to a hook on the ceiling .
MAYNARD
Keep an eye on this one.
The Gimp bows its head : `` yes . '' Maynard disappears into Russell 's old room . There must be a stereo in there because suddenly The Judds , singing in harmony , fills the air . Butch looks at The Gimp . The Gimp giggles from underneath the mask as if this were the funniest moment in the history of comedy . From behind the door we hear country MUSIC , struggling , and :
MAYNARD
( OS . )
Whoa, this boy's got a bit of fight in'em!
We the HEAR Maynard and Zed beat on Marsellus .
ZED
( OS . )
You wan na fight? You wan na fight? Good, I like to fight!
Butch pauses , listens to the voices . Then , in a panic , hurriedly struggles to get free . The Gimp is laughing wildly . The ropes are on too tight and Butch ca n't break free . The Gimp slaps his knee laughing In the back room , we hear :
MAYNARD
( OS . )
That's it. that's it boy, you're goin' fine. Oooooooh, just like that. that's good.
( grunting faster . )
Stay still. stay still goddamn ya! Zed goddammit, git over here and hold'em!
Butch stops struggling and lifts up on his arms . Then , quite easily , the padded chair back slides up and off as if it were never connected by a bolt . The Gimp sees this and its eyes widen .
THE GIMP
Huhng?
The Gimp FLAILS WILDLY , trying to get the leash off the hook . He tries to yell , but all that comes out are excited gurgles and grunts . Butch is out of his chair , quickly dispensing three BOXER 'S PUNCHES to its face . The punches knock The Gimp out , making him fall to his knees , this HANGING HIMSELF by the leash attached to the hook , Butch removes the ball gag , then silently makes his way through the red curtains .
INT. PAWNSHOP - DAY
Butch sneaks to the door . On the counter is a big set of keys with a large Z connected to the ring . Grabbing them , he 's about to go out when he stops and listens to the hillbilly psychopaths having their way with Marsellus . Butch decides for the life of him , he ca n't leave anybody in a situation like that . Se he begins rooting around the pawnshop for a weapon to bash those hillbillies ' heads in with . He picks up a big destructive - looking hammer , then discards it : not destructive enough . He picks up a chainsaw , thinks about it for a moment , then puts it back . Next , a large Louisville slugger he tries on for size . But then he spots what he 's been looking for : A Samurai sword . It hands in its hand - carved wood sheath from a nail on the wall , next to a neon `` DAD 'S OLD - FASHIONED ROOT BEER '' sign . Butch takes the sword off the wall , removing it from its sheath . It 's a magnificent piece of steel . It seems to glisten in the low - wattage light of the pawnshop . Butch touches his thumb to the blade to see if the sword is just for show . Not on your life . It 's as sharp as it gets . This weapon seems made to order for the Brothers Grimm downstairs . Holding the sword pointed downward , Takakura Ken - style , he disappears through the red curtains to take care of business .
INT. PAWNSHOP BACK ROOM - DAY
Butch quietly sneaks down the stairs leading to the dungeon . Sodomy and the Judds can still be heard going string behind the closed door that leads to Russell 's old room .
INT. RUSSELL'S OLD ROOM - DAY
Butch 's hand comes into frame , pushing the door open . It swings open silently , revealing the rapists , who have switched positions . Zed is now bent over Marsellus , who is bent over a wooden horse . Maynard watches . Both have their backs to Butch . Maynard faces the CAMERA , grinning , while Butch comes up behind him with the sword . Miserable , violated , and looking like a rag doll , Marsellus , red ball gag still in mouth , opens his watery eyes to see Butch coming up behind Maynard . His eyes widen .
BUTCH
Hey hillbilly.
Maynard turns and sees Butch holding the sword . Butch SCREAMS . with one mighty SWING , SLASHES Maynard across the front , moving past him , eyes and blade now locked on Zed . Maynard stands trembling , his front sliced open , in shock . Butch , while never taking his eyes off Zed , THRUSTS the sword behind him , SKEWERING Maynard , then EXTRACTS it , pointing the blade toward Zed . Maynard COLLAPSES . Zed disengages from Marsellus in a hurry and his eyes go from the tip of Butch 's sword to Marsellus ' .45 Automatic , which lies within reach . Butch 's eyes follow Zed 's .
BUTCH
You want that gun, Zed? Pick it up.
Zed 's hand inches toward the weapon . Butch GRIPS the sword tighter . Zed studies Butch , Butch looks hard at Zed . Then a VOICE says :
MARSELLUS
( OS . )
Step aside, Butch.
Butch steps aside , REVEALING Marsellus standing behind him , holding Maynard 's pump - action shotgun . KABOOM ! Zed is BLASTED in the groin . Down he goes , SCREAMING in AGONY . Marsellus , looking down at his whimpering rapist , EJECTS the used shotgun shell . Butch lowers the sword and hangs back . Not a word , until :
BUTCH
You okay?
MARSELLUS
Naw man. I'm pretty fuckin' far from okay!
Long pause .
BUTCH
What now?
MARSELLUS
What now? Well let me tell you what now. I'm gon na call a couple pipe - hittin' niggers, who'll go to work on homes here with a pair of pliers and a blow torch.
( to Zed . )
Hear me talkin' hillbilly boy?! I ai n't through with you by a damn sight. I'm gon na git Medieval on your ass.
BUTCH
I meant what now, between me and you?
MARSELLUS
Oh, that what now? Well, let me tell ya what now between me an' you. There is no me an' you. Not no more.
BUTCH
So we're cool?
MARSELLUS
Yeah man, we're cool. One thing I ask - two things I ask : do n't tell nobody about this. This shit's between me and you and the soon - to - be - livin' - the - rest - of - his - short - ass - life - in - agonizing - pain, Mr. Rapist here. It ai n't nobody else's business. Two : leave town. Tonight. Right now. And when you're gone, stay gone. You've lost your Los Angeles privileges. Deal?
BUTCH
Deal.
The two men shake hands , then hug one another .
MARSELLUS
Go on now, get your ass outta here.
Butch leaves Russell 's old room through the red curtains . Marsellus walks over to a phone , dialing a number .
MARSELLUS
( into the phone . )
Hello Mr. Wolf, it's Marsellus. Got ta bit of a situation.
EXT. MASON-DIXIE PAWNSHOP - DAY
Butch , still shaking in his boots , exits the pawnshop . He looks ahead and sees , parked in front of the establishment , Zed 's Big Chrome Chopper with a teardrop gas tank that has the name `` GRACE '' on it . He climbs aboard , takes out the keys with the big Z on them and starts up the huge hog . It RUMBLES to life , making sounds like a rocket fighting for orbit . Butch twists the accelerator handle and SPEEDS off . WE CUT BACK AND FORTH BETWEEN .
INT. BUTCH AND FABIAN'S HOTEL ROOM - DAY
Fabian stands in front of a mirror wearing a `` Frankie says , Relax '' tee - shirt , singing along with MUSIC coming from a BOOM BOX .
EXT. CITY STREET - CHOPPER (MOVING) - DAY
Butch drives down the street , humping a hot dog names `` GRACE . '' He checks his father 's watch . It says : 10:30 . The SONG in the motel room PLAYS OVER this .
EXT. MOTEL ROOM - DAY
Butch rides up on Grace . He hops off and runs inside the motel room , while we stay outside with the bike .
FABIAN
( OS . )
Butch, I was so worried!
BUTCH
Honey, grab your radio and your purse and let's go!
FABIAN
( OS . )
But what about all our bags?
BUTCH
Fuck the bags. We'll miss our train if we do n't split now.
FABIAN
( OS . )
Is everything well? Are we in danger?
BUTCH
We're cool. In fact, we're super - cool. But we gots to go. I'll wait for you outside.
Butch runs out and hops back on the bike . Fabian exits the motel room with the boom box and a large purse . When she sees Butch on the chopper , she stops dead .
FABIAN
Where did you get this motorcycle?
BUTCH
( he KICK - STARTS it . )
It's a chopper, baby, hop on.
Fabian slowly approaches the two - wheel demon .
FABIAN
What happened to my Honda?
BUTCH
Sorry baby, I crashed the Honda.
FABIAN
You're hurt?
BUTCH
I might've broke my nose, no biggie. Hop on.
She does n't move . Butch looks at her .
BUTCH
Honey, we got ta hit the fuckin' road!
Fabian starts to cry . Butch realizes that this is not the way to get her on the bike . He turns off the engine and reaches out , taking her hand .
BUTCH
I'm sorry, baby - love.
FABIAN
( crying . )
You were gone so long, I started to think dreadful thoughts.
BUTCH
I'm sorry I worried you, sweetie. Everything's fine. Hey, how was breakfast?
FABIAN
( waterworks drying a little . )
It was good -
BUTCH
- did you get the blueberry pancakes?
FABIAN
No, they did n't have blueberry pancakes, I had to get buttermilk - are you sure you're okay?
BUTCH
Baby - love, from the moment I left you, this has been without a doubt the single weirdest day of my entire life. Climb on an' I'll tell ya about it.
Fabian does climb on . Butch STARTS her up .
FABIAN
Butch, whose motorcycle is this?
BUTCH
It's a chopper.
FABIAN
Whose chopper is this?
BUTCH
Zed's.
FABIAN
Who's Zed?
BUTCH
Zed's dead, baby, Zed's dead.
And with that , the two lovebirds PEEL AWAY on Grace , as the SONG on the BOOM BOX RISES . FADE TO BLACK `` JULES , VINCENT , JIMMIE , & THE WOLF '' TITLE DISAPPEARS . Over black , we can HEAR in the distance , men talking .
JULES
( OS . )
You ever read the Bible, Brett?
BRETT
( OS . )
Yes!
JULES
( OS . )
There's a passage I got memorized, seems appropriate for this situation : Ezekiel 25:17. `` The path of the righteous man is beset on all sides by the inequities of the selfish and the tyranny of evil men.''
INT. BATHROOM - DAY
We 're in the bathroom of the Hollywood apartment we were in earlier . In fact , we 're there at exactly the same time . Except this time , we 're in the bathroom with the FOURTH MAN . The Fourth Man is pacing around the small room , listening hard to what 's being said on the other side of the door , tightly CLUTCHING his huge silver ,357 Magnum .
JULES
( OS . ) ''
. blessed is he who, in the name of charity and good will, shephered the weak through the valley of darkness. And I will strike down upon thee with great vengeance and furious anger those who attempt to poison and destroy my brothers. And you will know I am the Lord when I lay my vengeance upon you.''
BANG ! BANG ! BOOM ! POW ! BAM BAM BAM BAM BAM ! The Fourth Man freaks out . He THROWS himself against the back wall , gun outstretched in front of him , a look of yellow fear on his face , ready to blow in half anybody fool enough to stick their head through that door . Then he listens to them talk .
VINCENT
( OS . )
Friend of yours?
JULES
( OS . )
Yeah, Marvin - Vincent - Vincent - Marvin.
Waiting for them is n't the smartest move . Bursting out the door and blowing them all away while they 're fuckin ' around is the way to go .
INT. APARTMENT - DAY
The bathroom door BURSTS OPEN and the Fourth Man CHARGES out , silver Magnum raised , FIRING SIX BOOMING SHOTS from his hand cannon .
FOURTH MAN
Die. die. die. die!
DOLLY INTO Fourth Man , same as before . He SCREAM until he 's dry firing . Then a look of confusion crosses his face . TWO SHOT - JULES AND VINCENT standing next to each other , unharmed . Amazing as it seems , none of the Fourth Man 's shots appear to have hit anybody . Jules and Vincent exchange looks like , `` Are we hit ? '' They 're as confused at the shooter . After looking at each other , they bring their looks up to the Fourth Man .
FOURTH MAN
I do n't understand -
The Fourth Man is taken out of the scenario by the two men 's bullets who , unlike his , HIT their marks . He drops DEAD . The two men lower their guns . Jules , obviously shaken , sits down in a chair . Vincent , after a moment of respect , shrugs it off . Then heads toward Marvin in the corner .
VINCENT
Why the fuck did n't you tell us about that guy in the bathroom? Slip your mind? Forget he was in there with a goddamn hand cannon?
JULES
( to himself . )
We should be fuckin' dead right now.
( pause . )
Did you see that gun he fired at us? It was bigger than him.
VINCENT
357.
JULES
We should be fuckin' dead!
VINCENT
Yeah, we were lucky.
Jules rises , moving toward Vincent .
JULES
That shit was n't luck. That shit was somethin' else.
Vincent prepares to leave .
VINCENT
Yeah, maybe.
JULES
That was. divine intervention. You know what divine intervention is?
VINCENT
Yeah, I think so. That means God came down from Heaven and stopped the bullets.
JULES
Yeah, man, that's what is means. That's exactly what it means! God came down from Heaven and stopped the bullets.
VINCENT
I think we should be going now.
JULES
Do n't do that! Do n't you fuckin' do that! Do n't blow this shit off! What just happened was a fuckin' miracle!
VINCENT
Chill the fuck out, Jules, this shit happens.
JULES
Wrong, wrong, this shit does n't just happen.
VINCENT
Do you wan na continue this theological discussion in the car, or at the jailhouse with the cops?
JULES
We should be fuckin' dead now, my friend! We just witnessed a miracle, and I want you to fuckin' acknowledge it!
VINCENT
Okay man, it was a miracle, can we leave now?
EXT. HOLLYWOOD APARTMENT BUILDING - MORNING
The Chevy Nova PROPELS itself into traffic .
INT. NOVA (MOVING) - MORNING
Jules is behind the wheel , Vincent in the passenger seat and Marvin in the back .
VINCENT
ever seen that show `` COPS?'' I was watchin' it once and this cop was on it who was talkin' about this time he got into this gun fight with a guy in a hallway. He unloads on this guy and he does n't hit anything. And these guys were in a hallway. It's a freak, but it happens.
JULES
If you wan na play blind man, then go walk with a Shepherd. But me, my eyes are wide fuckin' open.
VINCENT
What the fuck does that mean?
JULES
That's it for me. For here on in, you can consider my ass retired.
VINCENT
Jesus Christ!
JULES
Do n't blaspheme!
VINCENT
Goddammit, Jules -
JULES
- I said do n't do that -
VINCENT
- you're fuckin' freakin' out!
JULES
I'm tellin' Marsellus today I'm through.
VINCENT
While you're at it, be sure to tell ` im why.
JULES
Do n't worry, I will.
VINCENT
I'll bet ya ten thousand dollars, he laughs his ass off.
JULES
I do n't give a damn if he does.
Vincent turns to the backseat with the .45 casually in his grip .
VINCENT
Marvin, what do you make of all this?
MARVIN
I do n't even have an opinion.
VINCENT
C'mon, Marvin. Do you think God came down from Heaven and stopped the bullets?
Vincent 's .45 goes BANG ! Marvin is hit in the upper chest , below the throat . He GURGLES blood and SHAKES .
JULES
What the fuck's happening?
VINCENT
I just accidentally shot Marvin in the throat.
JULES
Why the fuck did you do that?
VINCENT
I did n't mean to do it. I said it was an accident.
JULES
I've seen a lot of crazy - ass shit in my time -
VINCENT
- chill out, man, it was an accident, okay? You hit a bump or somethin' and the gun went off.
JULES
The car did n't hit no motherfuckin' bump!
VINCENT
Look! I did n't mean to shoot this son - of - a - bitch, the gun just went off, do n't ask me how! Now I think the humane thing to do is put him out of his misery.
JULES
( ca n't believe it . )
You wan na shoot ` im again?
VINCENT
The guy's sufferin'. It's the right thing to do.
Marvin , suffering though he is , is listening to this debate , not believing what he 's hearing .
JULES
This is really uncool.
Vincent turns to the backseat , places the barrel of the .45 against Marvin 's forehead . Marvin 's eyes are as big as saucers . He tries to talk Vince out of this , but when he opens his mouth , only GURGLES come out .
JULES
Marvin, I just wan na apologize. I got nothin' to do with this shit. And I want you to know I think it's fucked up.
VINCENT
Okay, Pontius Pilot, when I count three, honk your horn. One. two.
CU of the steering wheel .
VINCENT
( OS . )
three.
Jules presses down hard on the horn : HONK and BANG ! When we CUT BACK to the two men , the car is completely covered in blood . It 's all over everything , including Jules and Vincent .
JULES
Jesus Christ Almighty!
VINCENT
( to himself . )
Fuck.
JULES
Look at this mess! We're drivin' around on a city street in broad daylight -
VINCENT
- I know, I know, I was n't thinkin' about the splatter.
JULES
Well you better be thinkin' about it now, motherfucker! We got ta get this car off the road. Cops tend to notice shit like you're driving a car drenched in fuckin' blood.
VINCENT
Ca n't we just take it to a friendly place?
JULES
This is the Valley, Vincent. Marsellus do n't got no friendly places in the Valley.
VINCENT
Well, do n't look at me, this is your town, Jules.
Jules takes out a cellular phone and starts punching digits .
VINCENT
Who ya callin'?
JULES
A buddy of mine in Toluca Lake.
VINCENT
Where's Toluca Lake.
JULES
On the other side of the hill, by Burbank Studios. If Jimmie's ass ai n't home, I do n't know what the fuck we're gon na go. I ai n't got any other partners in 818.
( into phone . )
Jimmie! How you doin' man, it's Jules.
( pause . )
Listen up man, me an' my homeboy are in some serious shit. We're in a car we got ta get off the road, pronto! I need to use your garage for a couple hours.
( pause . )
Jimmie, you know I ca n't get into this shit on a cellular fuckin' phone. But what I can say is my ass is out in the cold and I'm askin' you for some sanctuary'til our people can bring us in.
( pause . )
I appreciate this, man -.
( pause . )
We'll be gone by then.
( pause . )
- Jimmie, I'm aware of your situation. I ai n't gon na fuck things up for you. I give you my word, partner, she'll never know we were there.
( pause . )
Five minutes. Later.
He folds up the phone , turns to Vincent .
JULES
We're set. But his wife come home from work in an hour and a half and we got ta be outta there by then,
EXT. JIMMIE'S HOUSE - MORNING
The Nova pulls into the garage of a two - bedroom suburban house .
INT. JIMMIE'S BATHROOM - DAY
Jules is bent over a sink , washing his bloody hands while Vincent stands behind him .
JULES
We got ta be real fuckin' delicate with this Jimmie's situation. He's one remark away from kickin' our asses out the door.
VINCENT
If he kicks us out, whadda we do?
JULES
Well, we ai n't leavin''til we made a couple phone calls. But I never want it to reach that pitch. Jimmie's my friend and you do n't bust in your friend's house and start tellin' ` im what's what.
Jules rises and dries his hands . Vincent takes his place at the sink .
VINCENT
Just tell ` im not to be abusive. He kinda freaked out back there when he saw Marvin.
JULES
Put yourself in his position. It's eight o'clock in the morning. He just woke up, he was n't prepared for this shit. Do n't forget who's doin' who a favor.
Vincent finishes , then dries his hands on a white towel .
VINCENT
If the price of that favor is I got ta take shit, he can stick his favor straight up his ass.
When Vincent is finished drying his hands , the towel is stained with red .
JULES
What the fuck did you just do to his towel?
VINCENT
I was just dryin' my hands.
JULES
You're supposed to wash'em first.
VINCENT
You watched me wash'em.
JULES
I watched you get'em wet.
VINCENT
I washed'em. Blood's real hard to get off. Maybe if he had some Lava, I coulda done a better job.
JULES
I used the same soap you did and when I dried my hands, the towel did n't look like a fuckin' Maxie pad. Look, fuck it, alright. Who cares? But it's shit like this that's gon na bring this situation to a boil. If he were to come in here and see that towel like that. I'm tellin' you Vincent, you best be cool.'Cause if I got ta get in to it with Jimmie on account of you. Look, I ai n't threatenin' you, I respect you an' all, just do n't put me in that position.
JULES
Jules, you ask me nice like that, no problem. He's your friend, you handle him.
INT. JIMMIE'S KITCHEN - MORNING
Three men are standing in Jimmie 's kitchen , each with a mug of coffee . Jules , Vincent and JIMMIE DIMMICK , a young man in his late - 20s dressed in a bathrobe .
JULES
Goddamn Jimmie, this is some serious gourmet shit. Me an' Vincent woulda been satisfied with freeze - dried Tasters Choice. You spring this gourmet fuckin' shit on us. What flavor is this?
JIMMIE
Knock it off, Julie.
JULES
What?
JIMMIE
I'm not a cobb or corn, so you can stop butterin' me up. I do n't need you to tell me how good my coffee is. I'm the one who buys it, I know how fuckin' good it is. When Bonnie goes shoppin ;, she buys shit. I buy the gourmet expensive stuff'cause when I drink it, I wan na taste it. But what's on my mind at this moment is n't the coffee in my kitchen, it's the dead nigger in my garage.
JULES
Jimmie -
JIMMIE
- I'm talkin'. Now let me ask you a question, Jules. When you drove in here, did you notice a sign out front that said, `` Dead nigger storage?''
Jules starts to `` Jimmie '' him -
JIMMIE
- answer to question. Did you see a sign out in front of my house that said, `` Dead nigger storage?''
JULES
( playing along . )
Naw man, I did n't.
JIMMIE
You know why you did n't see that sign?
JULES
Why?
JIMMIE
'Cause storin' dead niggers ai n't my fuckin' business!
Jules starts to `` Jimmie '' him .
JIMMIE
- I ai n't through! Now do n't you understand that if Bonnie comes home and finds a dead body in her house, I'm gon na get divorced. No marriage counselor, no trial separation - fuckin' divorced. And I do n't wan na get fuckin' divorced. The last time me an' Bonnie talked about this shit was gon na be the last time me an' Bonnie talked about this shit. Now I wan na help ya out Julie, I really do. But I ai n't gon na lose my wife doin' it.
JULES
Jimmie -
JIMMIE
- do n't fuckin' Jimmie me, man, I ca n't be Jimmied. There's nothin' you can say that's gon na make me forget I love my wife. Now she's workin' the graveyard shift at the hospital. She'll be comin' home in less than an hour and a half. Make your phone calls, talk to your people, than get the fuck out of my house.
JULES
That's all we want. We do n't wan na fuck up your shit, We just need to call our people to bring us in.
JIMMIE
Then I suggest you get to it. Phone's in my bedroom.
As Jules crosses the room , exiting .
JULES
( calling behind him . )
You're a friend, Jimmie, you're a good fuckin' friend!
JIMMIE
( to himself . )
Yeah, yeah, yeah, yeah, yeah. I'm a real good friend. Good friend, bad husband, soon to be ex - husband.
( look up and sees Vincent . )
Who the fuck are you?
VINCENT
I'm Vincent. And Jimmie, thank a bunch,
The two men laugh .
JIMMIE
Do n't mention it.
INT. MARSELLUS WALLACE'S DINING ROOM - MORNING
Marsellus Wallace sits at his dining table in a big comfy robe , eating his large breakfast , while talking on the phone .
MARSELLUS
well, say she comes home. Whaddya think she'll do?
( pause . )
No fuckin' shit she'll freak. That ai n't no kinda answer. You know ` er, I do n't. How bad, a lot or a little?
INT. JIMMIE'S BEDROOM - MORNING
Jules paces around in Jimmie 's bedroom on the phone .
JULES
You got to appreciate what an explosive element this Bonnie situation is. If she comes home from a hard day's work and finds a bunch of gangsters doin' a bunch of gangsta' shit in her kitchen, ai n't no tellin' what she's apt to do.
MARSELLUS
Let us speak of the unspeakable.
JULES
Possibility exists, but unlikely.
MARSELLUS
Why possible but unlikely?
JULES
'Cause if push met shove, you know I'll take care of business. But push ai n't never gon na meet shove. Because You're gon na solve this shit for us. You're gon na take our asses outta the cold and bring it inside where it's warm.'Cause if I got ta get into it with my friend about his wife over your boy Vincent, I'm gon na have bad feelings.
MARSELLUS
I've grasped that, Jules. All I'm doin' is contemplating the `` ifs.''
JULES
I do n't wan na hear about no motherfuckin' `` ifs.'' What I wan na hear from your ass is : `` you ai n't got no problems, Jules. I'm on the motherfucker. Go back in there, chill them niggers out and wait for the cavalry, which should be comin' directly.''
MARSELLUS
You ai n't got no problems, Jules. I'm on the motherfucker. Go back in there, chill them niggers out and wait for The Wolf, who should be comin' directly.
JULES
You sendin' The Wolf?
MARSELLUS
Feel better?
JULES
Shit Negro, that's all you had to say.
INT. HOTEL SUITE - MORNING
The CAMERA looks through the bedroom doorway of a hotel suite into the main area . We SEE a crap game being played on a fancy crap table by GAMBLERS in tuxedos and LUCKY LADIES in fancy evening gowns . The CAMERA PANS to the right revealing : sitting on a bed , phone in hand with his back to us , the tuxedo - clad WINSTON WOLF aka `` THE WOLF . '' We also see The Wolf has a small notepad that he jots details in .
THE WOLF
( into phone . )
Is she the hysterical type?
( pause . )
When she due?
( jotting down . )
Give me the principals' names again?
( jots down . )
Jules.
We SEE his book . The page has written on it : 1265 Riverside Drive Toluca Lake 1 body . -LRB- no head . -RRB- Bloody shot - up car Jules . -LRB- black . -RRB-
THE WOLF
Vincent. Jimmie. Bonnie.
He writes : Vincent . -LRB- Dean Martin . -RRB- Jimmie . -LRB- house . -RRB- Bonnie . -LRB- 9:30 . -RRB-
THE WOLF
Expect a call around 10:30. It's about thirty minutes away. I'll be there in ten.
He hangs up . We never see his face . `` NINE MINUTES AND THIRTY - SEVEN SECONDS LATER . ''
EXT. JIMMIE'S STREET - MORNING
A silver Porsche WHIPS the corner leading to Jimmie 's home , in HYPER DRIVE . Easily doing 135 mph , the Porsche stops on a dime in front of Jimmie 's house . A ringed finger touches the doorbell : DING DONG .
INT. JIMMIE'S HOUSE - MORNING
Jimmie opens the door . We see , standing in the doorway , the tuxedo - clad man . He looks down to his notebook , then up at Jimmie .
THE WOLF
You're Jimmie, right? This is your house?
JIMMIE
Yeah.
THE WOLF
( stick his hand out . )
I'm Winston Wolf, I solve problems.
JIMMIE
Good,'cause we got one.
THE WOLF
So I heard. May I come in?
JIMMIE
Please do.
The two men walk to the dining room .
THE WOLF
I want to convey Mr. Wallace's gratitude with the help you're providing on this matter. Let me assure you Jimmie, Mr. Wallace's gratitude is worth having.
In the dining room , Jules and Vincent stand up .
THE WOLF
You must be Jules, which would make you Vincent. Let's get down to brass tacks, gentlemen. If I was informed correctly, the clock is ticking, is that right, Jimmie?
JIMMIE
100 %.
THE WOLF
Your wife, Bonnie.
( refers to his pad . )
. comes home at 9:30 in the AM, is that correct?
JIMMIE
Uh - huh.
THE WOLF
I was led to believe if she comes home and finds us here, she would n't appreciate it none too much.
JIMMMIE
She wo n't at that.
THE WOLF
That give use forty minutes to get the fuck outta Dodge, which, if you do what I say when I say it, should by plenty. Now you got a corpse in a car, minus a head, in a garage. Take me to it.
INT. JIMMIE'S GARAGE - MORNING
The three men hand back as The Wolf examines the car . He studies the car in silence , opening the door , looking inside , circling it .
THE WOLF
Jimmie?
JIMMIE
Yes.
THE WOLF
Do me a favor, will ya? Thought I smelled some coffee in there. Would you make me a cup?
JIMMIE
Sure, how do you take it?
THE WOLF
Lotsa cream, lotsa sugar.
Jimmie exists . The Wolf continues his examination .
THE WOLF
About the car, is there anything I need to know? Does it stall, does it make a lot of noise, does it smoke, is there gas in it, anything?
JULES
Aside from how it looks, the car's cool.
THE WOLF
Positive? Do n't get me out on the road and I find out the brake lights do n't work.
JULES
Hey man, as far as I know, the motherfucker's tip - top.
THE WOLF
Good enough, let's go back to the kitchen.
INT. KITCHEN - MORNING
Jimmie hands The Wolf a cup of coffee .
THE WOLF
Thank you, Jimmie.
He takes a sip , then , pacing as he thinks , lays out for the three men the plan of action .
THE WOLF
Okay first thing, you two.
( meaning Jules and Vincent . )
Take the body, stick it in the trunk. Now Jimmie, this looks to be a pretty domesticated house. That would lead me to believe that in the garage or under the sink, you got a bunch of cleaners and cleaners and shit like that, am I correct?
JIMMIE
Yeah. Exactly. Under the sink.
THE WOLF
Good. What I need you two fellas to do is take those cleaning products and clean the inside of the car. And I'm talkin' fast, fast, fast. You need to go in the backseat, scoop up all those little pieces of brain and skull. Get it out of there. Wipe down the upholstery - now when it comes to upholstery, it do n't need to be spic and span, you do n't need to eat off in. Give it a good once over. What you need to take care of are the really messy parts. The pools of blood that have collected, you got ta soak that shit up. But the windows are a different story. Them you really clean. Get the Windex, do a good job. Now Jimmie, we need to raid your linen closet. I need blankets, I need comforters, I need quilts, I need bedspreads. The thicker the better, the darker the better. No whites, ca n't use'em. We need to camouflage the interior of the car. We're gon na line the front seat and the backseat and the floor boards with quilts and blankets. If a cop stops us and starts stickin' his big snout in the car, the subterfuge wo n't last. But at a glance, the car will appear to be normal. Jimmie - lead the way, boys - get to work.
The Wolf and Jimmie turn , heading for the bedroom , leaving Vincent and Jules standing in the kitchen .
VINCENT
( calling after him . )
A `` please'' would be nice.
The Wolf stops and turns around .
THE WOLF
Come again?
VINCENT
I said a `` please'' would be nice.
The Wolf takes a step toward him .
THE WOLF
Set is straight, Buster. I'm not here to say `` please.'' I'm here to tell you want to do. And if self - preservation is an instinct you possess, you better fuckin' do it and do it quick. I'm here to help. If my help's not appreciated, lotsa luck gentlemen.
JULES
It ai n't that way, Mr. Wolf. Your help is definitely appreciated.
VINCENT
I do n't mean any disrespect. I just do n't like people barkin' orders at me.
THE WOLF
If I'm curt with you, it's because time is a factor. I think fast, I talk fast, and I need you guys to act fast if you want to get out of this. So pretty please, with sugar on top, clean the fuckin' car.
INT. JIMMIE'S BEDROOM - MORNING
Jimmie 's gathering all the bedspreads , quilts and linen he has . The Wolf is on the phone .
THE WOLF
( into phone . )
It's a 1974 Chevy Nova.
( pause . )
White.
( pause . )
Nothin', except for the mess inside.
( pause . )
About twenty minutes.
( pause . )
Nobody who'll be missed.
( pause . )
You're a good man, Joe. See ya soon.
( he looks at Jimmie . )
How we comin', Jimmie?
Jimmie comes over with a handful of linen .
JIMMIE
Mr. Wolf, you got ta understand somethin' -
THE WOLF
- Winston, Jimmie - please, Winston.
JIMMIE
You got ta understand something, Winston. I want to help you guys out and all, but that's my best linen. It was a wedding present from my Uncle Conrad and Aunt Ginny, and they ai n't with us anymore -
THE WOLF
- let me ask you a question, if you do n't mind?
JIMMIE
Sure.
THE WOLF
Were you Uncle Conrad and Aunt Ginny millionaires?
JIMMIE
No.
THE WOLF
Well, your Uncle Marsellus is. And I'm positive if Uncle Conrad and Aunt Ginny were millionaires, they would've furnished you with a whole bedroom set, which your Uncle Marsellus is more than happy to do.
( takes out a roll of bills . )
I like oak myself, that's what's in my bedroom. How ` bout you Jimmie, you an oak man?
JIMMIE
Oak's nice.
INT. GARAGE - MORNING
Both Jules and Vincent are inside the car cleaning it up . Vincent is in the front seat washing windows , while Jules is in the backseat , picking up little pieces of skull and gobs of brain . Both are twice as bloody as they were before .
JULES
I will never forgive your ass for this shit. This is some fucked - up repugnant shit!
VINCENT
Did you ever hear the philosophy that once a man admits he's wrong, he's immediately forgiven for all wrong - doings?
JULES
Man, get outta my face with that shit! The motherfucker who said that never had to pick up itty - bitty pieces of skull with his fingers on account of your dumb ass.
VINCENT
I got a threshold, Jules. I got a threshold for the abuse I'll take. And you're crossin' it. I'm a race car and you got me in the red. Redline 7000, that's where you are. Just know, it's fuckin' dangerous to be drivin' a race car when it's in the red. It could blow.
JULES
You're gettin' ready to blow? I'm a mushroom - cloud - layin' motherfucker! Every time my fingers touch brain I'm `` SUPERFLY T.N.T,'' I'm the `` GUNS OF NAVARONE.'' I'm what Jimmie Walker usta talk about. In fact, what the fuck am I doin' in the back? You're the motherfucker should be on brain detail. We're tradin'. I'm washin' windows and you're pickin' up this nigger's skull.
INT. CHEVY NOVA - MORNING
The interior of the car has been cleaned and lined with bedspreads and quilts . Believe it or not , what looked like a portable slaughterhouse can actually pass for a non - descript vehicle . The Wolf circles the car examining it . Jules and Vincent stand aside , their clothes are literally a bloody mess , but they do have a sense of pride in what a good job they 've done .
THE WOLF
Fine job, gentlemen. We may get out of this yet.
JIMMIE
I ca n't believe that's the same car.
THE WOLF
Well, let's not start suckin' each other's dicks quite yet. Phase one is complete, clean the car, which moves us right along to phase two, clean you two.
EXT. JIMMIE'S BACKYARD - MORNING
Jules and Vincent stand side by side in their black suits , covered in blood , in Jimmie 's backyard . Jimmie holds a plastic Hefty trash bag , while The Wolf holds a garden hose with one of those guns nossles attached .
THE WOLF
Strip.
VINCENT
All the way?
THE WOLF
To your bare ass.
As they follow directions , The Wolf enjoys a smoke .
THE WOLF
Quickly gentlemen, we got about fifteen minutes before Jimmie's better - half comes pulling into the driveway.
JULES
This morning air is some chilly shit.
VINCENT
Are you sure this is absolutely necessary?
THE WOLF
You know what you two look like?
VINCENT
What?
THE WOLF
Like a couple of guys who just blew off somebody's head. Yes, strippin' off those bloody rags is absolutely necessary. Toss the clothes in Jim's garbage bag.
JULES
Now Jimmie, do n't do nothin' stupid like puttin' that out in front of your house for Elmo the garbage man to take away.
THE WOLF
Do n't worry, we're takin' it with us. Jim, the soap.
He hands the now - naked men a bar of soap .
THE WOLF
Okay gentlemen, you're both been to County before, I'm sure. Here it comes.
He hits the trigger , water SHOOTS OUT , SMACKING both men .
JULES
Goddamn, that water's fuckin' cold!
THE WOLF
Better you than me, gentlemen.
The two men , trembling , scrub themselves .
THE WOLF
Do n't be afraid of the soap, spread it around.
The Wolf stops the hose , tossing it on the ground .
THE WOLF
Towel'em.
Jimmie tosses them each a towel , which they rub furiously across their bodies .
THE WOLF
You're dry enough, give'em their clothes.
JIMMIE
Okay fellas, in the one - size - fits - all category, we got swim trunks, one red - one white. And two extra - large tee - shirts. A UC Santa Cruz shirt and an `` I'm with Stupid'' shirt.
JULES
I get the `` I'm with Stupid'' shirt.
JULES AND VINCENT in their tee - shirts and swim trunks . They look a million miles away from the black - suited , bad - asses we first met .
THE WOLF
Perfect. Perfect. We could n't've planned this better. You guys look like. what do they look like, Jimmie?
JIMMIE
Dorks. They look like a couple of dorks.
The Wolf and Jimmie laugh .
JULES
Ha ha ha. They're your clothes, motherfucker.
JIMMIE
I guess you just got ta know how to wear them.
JULES
Yeah, well, out asses ai n't the expert on wearin' dorky shit that your is.
THE WOLF
C'mon, gentlemen, we're laughin' and jokin' our way into prison. Do n't make me beg.
They start walking through the house to the garage .
JIMMIE
Wait a minute, before you guys split, I wan na get a picture of this.
JULES
Jimmie, have you forgotten about your wife comin' home?
JIMMIE
It wo n't take a second.
VINCENT
I do n't like this photograph shit.
JIMMIE
Sorry - my house, my rules.
INT. JIMMIE'S GARAGE - MORNING
The garbage bag is tossed in the car trunk on top of Marvin . The Wolf SLAMS is closed .
THE WOLF
Gentlemen, let's get our rules of the road straight. We're going to a place called Monster Joe's Truck and Tow. Monster Joe and his daughter Raquel are sympathetic to out dilemma. The place is North Hollywood, so a few twist and turns aside, we'll be goin' up Hollywood Way. Now I'll drive the tainted car. Jules, you ride with me. Vincent, you follow in my Porsche. Now if we cross the path of any John Q. Laws, nobody does a fuckin' thing'til I do something.
( to Jules . )
What did I say?
JULES
Do n't do shit unless -
THE WOLF
- unless what?
JULES
Unless you do it first.
THE WOLF
Spoken like a true prodigy.
( to Vincent . )
How ` bout you, Lash Larue? Can you keep your spurs from jingling and jangling?
VINCENT
I'm cool, Mr. Wolf. My gun just went off, I dunno how.
THE WOLF
Fair enough.
( he throws Vince his car keys . )
I drive real fuckin' fast, so keep up. If I get my car back any different than I gave it, Monster Joe's gon na be disposing of two bodies.
JULES
Why do you drive fast?
THE WOLF
Because it's a lot of fun.
Jules and Vincent laugh .
THE WOLF
Let's move.
Jimmie comes through the door , camera in hand .
JIMMIE
Wait a minute, I wan na take a picture.
JULES
We ai n't got time, man.
JIMMIE
We got time for one picture. You and Vincent get together.
Jules and Vincent stand next to each other .
JIMMIE
Okay, you guys put your arms around each other.
The two men look at each other and , after a long beat , a smile breaks out . They put their arms around each other .
JIMMIE
Okay Winston, get in there.
THE WOLF
I ai n't no model.
JIMMIE
After what a cool guy I've been, I ca n't believe you do me like this. It's the only thing I asked.
JULES & VINCENT
C'mon, Mr. Wolf.
THE WOLF
Okay, one photo and we go.
SLOW DOLLY TOWARD A LONE CAMERA
JIMMIE
( OS . )
Everybody say Pepsi.
JULES
( OS . )
I ai n't fuckin' sayin' Pepsi.
JIMMIE
( OS . )
Smile, Winston.
THE WOLF
I do n't smile in pictures.
The camera goes off , FLASHING THE SCREEN WHITE . THE PHOTO FADES UP OVER WHITE . it 's Jules and Vincent , their arms around each other , next to Jimmie ' whose arm is around The Wolf . Everyone is smiling except you - know - who .
INT. MONSTER JOE'S TRUCK AND TOW - MORNING
Winston is counting out three thousand dollars to an older man in a dirty tee - shirt , MONSTER JOE . We 're in Joe 's office , which looks like the office of every tow yard on the planet . A filthy , disarrayed mess .
MONSTER JOE
I've said it before, I'll say it again, your business is always welcome.
WINSTON
I would think by now I've earned the equivalent of Frequent Flyer miles.
MONSTER JOE
I'll tell ya what, if you ever need it, I'll dispose of a body part for free.
WINSTON
How ` bout an upgrade, you dispose a whole body for the price of a body part.
The two men laugh .
MONSTER JOE
That one I need to speak with my accountant on.
WINSTON
Where's that reprobate daughter of yours?
MONSTER JOE
Out in the yard, up to no good.
EXT. MONSTER JOE'S TRUCK AND TOW - MORNING
Winston steps outside and is joined by Monster Joe 's daughter , RAQUEL . They walk in step across the yard with their arms around each other 's waists .
RAQUEL
Hello, Boyfriend!
WINSTON
Hello, Girlfriend. I swear, heartbreaker, Joe should change the name of this place to Beauty and the Beast Truck and Tow.
RAQUEL
You're prejudiced because you love me.
WINSTON
Guilty.
RAQUEL
Now business is done, it's time for pleasure.
WINSTON
The time it is, is time for bed.
RAQUEL
Contre senior Lobo.
WINSTON
Do you have a different idea?
RAQUEL
Most definitely.
WINSTON
What do you think?
RAQUEL
I think you're taking me out to breakfast.
WINSTON
Well, you thought wrong.
RAQUEL
That's no fair! I never get to see you.
WINSTON
Raquel, I been up all night. I need sleep. You understand the concept of sleep?
RAQUEL
Yes, sleep is what you do after you've taken me to breakfast. Just get used to the idea, indulging me is the price of doing business at Monster Joe's Truck and Tow.
WINSTON
Raquel -
RAQUEL
I have n't seen you in a long time. I miss you, we're going to breakfast. So it is written, so shall it be done.
They exit the tow yard . Jules and Vincent wait by Winston 's Porsche .
JULES
We cool?
WINSTON
Like it never happened.
Jules and Vincent bump fists .
JULES
I apologize for bein' in your shit like I was.
VINCENT
You had every right, I fucked up.
RAQUEL
( to Winston . )
Are they having a moment?
WINSTON
Boys, this is Raquel. Someday, all this will be hers.
RAQUEL
( to the boys . )
Hi. You know, if they ever do `` I SPY : THE MOTION PICTURE,'' you guys, I'd be great. What's with the outfits. You guys going to a volleyball game?
Winston laughs , the boys groan .
WINSTON
I'm takin' m ` lady out to breakfast. Maybe I can drop you two off. Where do you live?
VINCENT
Redondo Beach.
JULES
Inglewood.
Winston grabs Jules ' wrist and pantomimes like he 's in a `` DEAD ZONE '' trance .
WINSTON
( painfully . )
It's your future : I see. a cab ride.
( dropping the act . )
Sorry guys, move out of the sticks.
( to Raquel . )
Say goodbye, Raquel
RAQUEL
Goodbye, Raquel.
WINSTON
I'll see you two around, and stay outta trouble, you crazy kids.
Winston turns to leave .
JULES
Mr. Wolf.
He turns around .
JULES
I was a pleasure watchin' you work.
The Wolf smiles .
WINSTON
Call me Winston.
He turns and banters with Raquel as they get in the Porsche .
WINSTON
You hear that, young lady? Respect. You could lean a lot from those two fine specimens. Respect for one's elders shows character.
RAQUEL
I have character.
WINSTON
Just because you are a character does n't mean you have character.
RAQUEL
Oh you're so funny, oh you're so funny.
The Porsche SHOOTS OFF down the road . The two men left alone look at each other .
JULES
Wan na share a cab?
VINCENT
You know I could go for some breakfast. What to have breakfast with me?
JULES
Sure.
INT. COFFEE SHOP - MORNING
Jules and Vincent sit at a booth . In front of Vincent is a big stack of pancakes and sausages , which he eats with gusto . Jules , on the other hand , just has a cup of coffee and a muffin . He seems far away in thought . The Waitress pours a refill for both men ,
VINCENT
Thanks a bunch.
( to Jules , who 's nursing his coffee . )
Want a sausage?
JULES
Naw, I do n't eat pork.
VINCENT
Are you Jewish?
JULES
I ai n't Jewish man, I just do n't dig on swine.
VINCENT
Why not?
JULES
They're filthy animals. I do n't eat filthy animals.
VINCENT
Sausages taste good. Pork chops taste good.
JULES
A sewer rat may taste like pumpkin pie. I'll never know'cause even if it did, I would n't eat the filthy motherfucker. Pigs sleep and root in shit. That's a filthy animal. I do n't wan na eat nothin' that ai n't got enough sense to disregard its own feces.
VINCENT
How about dogs? Dogs eat their own feces.
JULES
I do n't eat dog either.
VINCENT
Yes, but do you consider a dog to be a filthy animal?
JULES
I would n't go so far as to call a dog filthy, but they're definitely dirty. But a dog's got personality. And personality goes a long way.
VINCENT
So by that rationale, if a pig had a better personality, he's cease to be a filthy animal?
JULES
We'd have to be talkin' ` bout one motherfuckin' charmin' pig. It'd have to be the Cary Grant of pigs.
The two men laugh .
VINCENT
Good for you. Lighten up a little. You been sittin' there all quiet.
JULES
I just been sittin' here thinkin'.
VINCENT
( mouthful of food . )
About what?
JULES
The miracle we witnessed.
VINCENT
The miracle you witnessed. I witnessed a freak occurrence.
JULES
Do you know that a miracle is?
VINCENT
An act of God.
JULES
What's an act of God?
VINCENT
I guess it's when God makes the impossible possible. And I'm sorry Jules, but I do n't think what happened this morning qualifies.
JULES
Do n't you see, Vince, that shit do n't matter. You're judging this thing the wrong way. It's not about what. It could be God stopped the bullets, he changed Coke into Pepsi, he found my fuckin' car keys. You do n't judge shit like this based on merit. Whether or not what we experienced was an according - to - Hoyle miracle is insignificant. What is significant is I felt God's touch, God got involved.
VINCENT
But why?
JULES
That's what's fuckin' wit' me! I do n't know why. But I ca n't go back to sleep.
VINCENT
So you're serious, you're really gon na quit?
JULES
The life, most definitely.
Vincent takes a bite of food . Jules takes a sip of coffee In the b.g. , we see a PATRON call the Waitress .
PATRON
Garcon! Coffee!
We recognize the patron to be Pumpkin from the first scene of Pumpkin and Honey Bunny .
VINCENT
So if you're quitting the life, what'll you do?
JULES
That's what I've been sitting here contemplating. First, I'm gon na deliver this case to Marsellus. Then, basically, I'm gon na walk the earth.
VINCENT
What do you mean, walk the earth?
JULES
You know, like Caine in `` KUNG FU.'' Just walk from town to town, meet people, get in adventures.
VINCENT
How long do you intend to walk the earth?
JULES
Until God puts me where he want me to be.
VINCENT
What if he never does?
JULES
If it takes forever, I'll wait forever.
VINCENT
So you decided to be a bum?
JULES
I'll just be Jules, Vincent - no more, no less.
VINCENT
No Jules, you're gon na be like those pieces of shit out there who beg for change. They walk around like a bunch of fuckin' zombies, they sleep in garbage bins, they eat what I throw away, and dogs piss on'em. They got a word for'em, they're called bums. And without a job, residence, or legal tender, that's what you're gon na be - a fuckin' bum!
JULES
Look my friend, this is just where me and you differ -
VINCENT
- what happened was peculiar - no doubt about it - but it was n't water into wine.
JULES
All shapes and sizes, Vince.
VINCENT
Stop fuckin' talkin' like that!
JULES
If you find my answers frightening, Vincent, you should cease askin' scary questions.
VINCENT
When did you make this decision - while you were sitting there eatin' your muffin?
JULES
Yeah. I was just sitting here drinking my coffee, eating my muffin, playin' the incident in my head, when I had what alcoholics refer to as a `` moment of clarity.''
VINCENT
I got ta take a shit. To be continued.
Vincent exits for the restroom . Jules , alone , takes a mouthful of muffin , then . Pumpkin and Honey Bunny rise with guns raised .
PUMPKIN
Everybody be cool, this is a robbery!
HONEY BUNNY
Any of you fuckin' pricks move and I'll execute every one of you motherfuckers! Got that?!
Jules looks up , not believing what he 's seeing . Under the table , Jules ' hand goes to his .45 Automatic . He pulls it out , COCKING IT .
PUMPKIN
Customers stay seated, waitresses on the floor.
HONEY BUNNY
Now mean fuckin' now! Do it or die, do it or fucking die!
Like lightning , Pumpkin moves over to the kitchen . While Honey Bunny SCREAMS out threats to the PATRONS , keeping them terrified .
PUMPKIN
You Mexicans in the kitchen, get out here! Asta luego!
Three COOKS and two BUSBOYS come out of the kitchen .
PUMPKIN
On the floor or I'll cook you ass, comprende?
They comprende . The portly MANAGER speaks up .
MANAGER
I'm the manager here, there's no problem, no problem at all -
Pumpkin head his way .
PUMPKIN
You're gon na give me a problem?
He reaches him and sticks the barrel of his gun hard in the Manager 's neck .
PUMPKIN
What? You said you're gon na give me a problem?
MANAGER
No, I'm not. I'm not gon na give you any problem!
PUMPKIN
I do n't know, Honey Bunny. He looks like the hero type to me!
HONEY BUNNY
Do n't take any chances. Execute him!
The Patrons SCREAM . Jules watches all this silently , his hand tightly gripping the .45 Automatic under the table .
MANAGER
Please do n't! I'm not a hero. I'm just a coffee shop manager. Take anything you want.
PUMPKIN
Tell everyone to cooperate and it'll be all over.
MANAGER
Everybody just be calm and cooperate with them and this will be all over soon!
PUMPKIN
Well done, now git your fuckin' ass on the ground.
INT. COFFEE SHOP BATHROOM - MORNING
Vincent , on the toilet , oblivious to the pandemonium outside , reads his `` MODESTY BLAISE '' book .
INT. COFFEE SHOP - MORNING
Cash register drawer opens . Pumpkin stuffs the money from the till in his pocket . Then walks from behind the counter with a trash bag in his hand .
PUMPKIN
Okay people, I'm going to go ` round and collect your wallets. Do n't talk, just toss'em in the bag. We clear?
Pumpkin goes around collecting wallets . Jules sits with his .45 ready to spit under the table . Pumpkin sees Jules sitting in his booth , holding his wallet , briefcase next to him . Pumpkin crosses to him , his tone more respectful , him manner more on guard .
PUMPKIN
In the bag.
Jules DROPS his wallet in the bag . Using his gun as a pointer , Pumpkin points to the briefcase .
PUMPKIN
What's in that?
JULES
My boss' dirty laundry.
PUMPKIN
You boss makes you do his laundry?
JULES
When he wants it clean.
PUMPKIN
Sounds like a shit job.
JULES
Funny, I've been thinkin' the same thing.
PUMPKIN
Open it up.
Jules ' free hand lays palm flat on the briefcase .
JULES
` Fraid I ca n't do that.
Pumpkin is definitely surprised by his answer . He aims the gun right in the middle of Jules ' face and pulls back the hammer .
PUMPKIN
I did n't hear you.
JULES
Yes, you did.
This exchange has been kind of quiet , not everybody heard it , but Honey Bunny senses something 's wrong .
HONEY BUNNY
What's goin' on?
PUMPKIN
Looks like we got a vigilante in our midst.
HONEY BUNNY
Shoot'em in the face!
JULES
I do n't mean to shatter your ego, but this ai n't the first time I've had gun pointed at me.
PUMPKIN
You do n't open up that case, it's gon na be the last.
MANAGER
( on the ground . )
Quit causing problems, you'll get us all killed! Give'em what you got and get'em out of here.
JULES
Keep your fuckin' mouth closed, fat man, this ai n't any of your goddamn business!
PUMPKIN
I'm countin' to three, and if your hand ai n't off that case, I'm gon na unload right in your fuckin' face. Clear? One.
Jules closes his eyes .
PUMPKIN
two.
Jules SHOOTS Pumpkin twice , up through the table , sending him to the floor . While still in the booth , he SWINGS around to Honey Bunny , who has aimed at Jules , but slowed down by the shock of Pumpkin getting shot . He FIRES three times . Honey Bunny takes all three HITS in the chest . As she FALLS SCREAMING , she FIRES wildly , HITTING a SURFER PATRON .
SURFER
She shot me! I'm dying! Sally! Sally!
Jules now brings the gun down to Pumpkin 's face . Pumpkin lies shot on the floor at Jules ' feet . Pumpkin looks up at the big gun .
JULES
Wrong guy, Ringo.
Jules FIRES straight at the CAMERA , BLINDING UP with his FLASH . Jules ' eyes , still closed , suddenly open . Pumpkin still stands , holding the gun on him .
PUMPKIN
three.
JULES
You win.
Jules raises his hand off the briefcase .
JULES
It's all yours, Ringo.
PUMPKIN
Open it.
Jules flips the locks and opens the case , revealing it to Pumpkin but not to us . The same light SHINES from the case . Pumpkin 's expression goes to amazement . Honey Bunny , across the room , ca n't see shit .
HONEY BUNNY
What is it? What is it?
PUMPKIN
( softly . )
Is that what I think it is?
Jules nods his head : `` yes . ''
PUMPKIN
It's beautiful.
Jules nods his head : `` yes . ''
HONEY BUNNY
Goddammit, what is it?
Jules SLAMS the case closed , then sits back , as if offering the case to Pumpkin . Pumpkin , one big smile , bends over to pick up the case . Like a rattlesnake , Jules ' free hand GRABS the wrist of Pumpkin 's gun hand , SLAMMING it on the table . His other hand comes from under the table and STICKS the barrel of his .45 hand under Pumpkin 's chin . Honey Bunny freaks out , waving his gun in Jules ' direction .
HONEY BUNNY
Let him go! Let him go! I'll blow your fuckin' head off! I'll kill ya! I'll kill ya! You're gon na die, you're gon na fuckin' die bad!
JULES
( to Pumpkin . )
Tell that bitch to be cool! Say, bitch be cool! Say, bitch be cool!
PUMPKIN
Chill out, honey!
HONEY BUNNY
Let him go!
JULES
( softly . )
Tell her it's gon na be okay.
PUMPKIN
I'm gon na be okay.
JULES
Promise her.
PUMPKIN
I promise.
JULES
Tell her to chill.
PUMPKIN
Just chill out.
JULES
What's her name?
PUMPKIN
Yolanda.
Whenever Jules talks to Yolanda , he never looks at her , only at Pumpkin .
JULES
( to Yolanda . )
So, we cool Yolanda? We ai n't gon na do anything stupid, are we?
YOLANDA
( crying . )
Do n't you hurt him.
JULES
Nobody's gon na hurt anybody. We're gon na be like three Fonzies. And what' Fonzie like?
No answer ,
JULES
C'mon Yolanda, what's Fonzie like?
YOLANDA
( through tears , unsure . )
He's cool?
JULES
Correct - amundo! And that's what we're gon na be, we're gon na be cool.
( to Pumpkin . )
Now Ringo, I'm gon na count to three and I want you to let go your gun and lay your palms flat on the table. But when you do it, do it cool. Ready?
Pumpkin looks at him .
JULES
One. two. three.
Pumpkin lets go of his gun and places both hands on the table . Yolanda ca n't stand it anymore .
YOLANDA
Okay, now let him go!
JULES
Yolanda, I thought you were gon na be cool. When you yell at me, it makes me nervous. When I get nervous, I get scared. And when motherfuckers get scared, that's when motherfuckers get accidentally shot.
YOLANDA
( more conversational . )
Just know : you hurt him, you die.
JULES
That seems to be the situation. Now I do n't want that and you do n't want that and Ringo here do n't want that. So let's see what we can do.
( to Ringo . )
Now this is the situation. Normally both of your asses would be dead as fuckin' fried chicken. But you happened to pull this shit while I'm in a transitional period. I do n't wan na kill ya, I want to help ya. But I'm afraid I ca n't give you the case. It do n't belong to me. Besides, I went through too much shit this morning on account of this case to just hand it over to your ass.
VINCENT
( OS . )
What the fuck's goin' on here?
Yolanda WHIPS her gun toward the stranger . VINCENT , by the bathroom , has his gun out , dead - aimed at Yolanda .
JULES
It's cool, Vincent! It's cool! Do n't do a goddamn thing. Yolanda, it's cool baby, nothin's changed. We're still just talkin'.
( to Pumpkin . )
Tell her we're still cool.
PUMPKIN
It's cool, Honey Bunny, we're still cool.
VINCENT
( gun raised . )
What the hell's goin' on, Jules?
JULES
Nothin' I ca n't handle. I want you to just hang back and do n't do shit unless it's absolutely necessary.
VINCENT
Check.
JULES
Yolanda, how we doin, baby?
YOLANDA
I got ta go pee! I want to go home.
JULES
Just hang in there, baby, you're doing' great, Ringo's proud of you and so am I. It's almost over.
( to Pumpkin . )
Now I want you to go in that bag and find my wallet.
PUMPKIN
Which one is it?
JULES
It's the one that says Bad Motherfucker on it.
Pumpkin looks in the bag and - sure enough - there 's a wallet with `` Bad Motherfucker '' embroidered on it .
JULES
That's my bad motherfucker. Now open it up and take out the cash. How much is there?
PUMPKIN
About fifteen hundred dollars.
JULES
Put it in your pocket, it's yours. Now with the rest of them wallets and the register, that makes this a pretty successful little score.
VINCENT
Jules, if you give this nimrod fifteen hundred buck, I'm gon na shoot'em on general principle.
JULES
You ai n't gon na do a goddamn thing, now hang back and shut the fuck up. Besides, I ai n't givin' it to him. I'm buyin' somethin' for my money. Wan na know what I'm buyin' Ringo?
PUMPKIN
What?
JULES
Your life. I'm givin' you that money so I do n't hafta kill your ass. You read the Bible?
PUMPKIN
Not regularly.
JULES
There's a passage I got memorized. Ezekiel 25:17. `` The path of the righteous man is beset on all sides by the inequities of the selfish and the tyranny of evil men. Blessed is he who, in the name of charity and good will, shepherds the weak through the valley of the darkness. For he is truly his brother's keeper and the finder of lost children. And I will strike down upon thee with great vengeance and furious anger those who attempt to poison and destroy my brothers. And you will know I am the Lord when I lay my vengeance upon you.'' I been sayin' that shit for years. And if you ever heard it, it meant your ass. I never really questioned what it meant. I thought it was just a cold - blooded thing to say to a motherfucker ` fore you popped a cap in his ass. But I saw some shit this mornin' made me think twice. Now I'm thinkin', it could mean you're the evil man. And I'm the righteous man. And Mr. 45 here, he's the shepherd protecting my righteous ass in the valley of darkness. Or is could by you're the righteous man and I'm the shepherd and it's the world that's evil and selfish. I'd like that. But that shit ai n't the truth. The truth is you're the weak. And I'm the tyranny of evil men. But I'm tryin'. I'm tryin' real hard to be a shepherd.
Jules lowers his gun , lying it on the table . Pumpkin looks at him , to the money in his hand , then to Yolanda . She looks back . Grabbing the trash bag full of wallets , the two RUN out the door . Jules , who was never risen from his seat the whole time , takes a sip of coffee .
JULES
( to himself . )
It's cold.
He pushes it aside . Vincent appears next to Jules .
VINCENT
I think we oughta leave now.
JULES
That's probably a good idea.
Vincent throws some money on the table and Jules grabs the briefcase . Then , to the amazement of the Patrons , the Waitresses , the Cooks , the Bus Boys , and the Manager , these two bad - ass dudes - wearing UC Santa Cruz and `` I 'm with Stupid '' tee - shirts , swim trunks , thongs and packing .45 Automatics - walk out of the coffee shop together without saying a word . THE END
| 1 | 0 |
Invaders from Mars_1986
|
tt0091276
|
Invaders from Mars
| 1,986 |
Late one night, youngster David MacLean (Jimmy Hunt) is awakened by a loud thunderstorm. From his bedroom window, he sees a large flying saucer descend and disappear into the sandpit area behind his home. After rushing to tell his parents, his scientist father (Leif Erickson) goes to investigate David's claim. When his father returns much later in the morning, David notices an unusual red puncture along the hairline on the back of his father's neck; his father is now behaving in a cold and hostile manner. David soon begins to realize something is very wrong: he notices certain townsfolk are acting in exactly the same way. Through his telescope, David sees child neighbor Kathy Wilson suddenly disappear underground while walking in the sandpit. David flees to the police station for help and is eventually placed under the protection of health-department physician Dr. Pat Blake (Helena Carter), who slowly begins to believe his crazy story. With the help of local astronomer Dr. Stuart Kelston (Arthur Franz) and Dr. Blake, David soon realizes the flying saucer is likely the vanguard of an invasion from the planet Mars, now in close orbital proximity to Earth. Dr. Kelston contacts the U.S. Army and convinces them to immediately investigate: An important government rocket research plant is located nearby. In short order, the Pentagon assembles troops and tanks under the command of Colonel Fielding (Morris Ankrum). An alien sabotage plot at the plant is soon uncovered, leading back to the sandpit, and the army surrounds the saucer landing site. Standing well away from the army search, Dr. Blake and young David are suddenly sucked underground. They are captured by two tall, slit-eyed green humanoids and taken via tunnels to the flying saucer. Army troops locate and blow open an entrance to the tunnels, and Colonel Fielding and a small detachment make their way to the saucer entrance. Inside, they confront the Martian mastermind: It has a giant green head with a humanoid face atop a small, green partial torso with several green arm-tentacles, and is encased in a transparent sphere. The Martian is served by the tall, green, silent, synthetic mutants. Under their master's mental commands, the mute humanoids have implanted mind-control crystals at the base of the skull of their kidnapped victims, forcing them to attempt sabotage at an atomic rocket project being built at a military plant near the town; if they are caught, the mind control devices explode, causing a fatal cerebral hemorrhage. The troops and Colonel Fielding, with Dr. Blake and David in tow, open fire on the pursuing mutants as their group escapes the saucer. After a short running battle in the tunnels, they return to the surface. Orders are given for everyone to quickly leave the area: Fielding's troops have planted timed explosive charges aboard the saucer. David runs downhill away from the sandpit, and artillery opens fire on the sandpit, as the charges ticking timer slowly approaches zero. Following the large explosion, David is suddenly back in his bed during a thunder and lightning storm. He runs into his parents' bedroom, confused and frightened; they reassure him that he was just having a bad dream, telling him to go back to sleep. Having returned to his bed, more wind and loud thunder is heard. David climbs out of bed again, goes to his window, and witnesses the very same flying saucer in his nightmare slowly descending into the sandpit, to which he responds, "Gee whiz"!
|
<script>
<scene>
<stage_direction>INVADERS FROM MARS</stage_direction>
<scene_description>MUSIC of Finlandia type behind credits builds to crescendo on . PAN SHOT - SPECIAL EFFECTS - NIGHT - of star - studded heavens at night . Scattered cumulus clouds alternately obscure and disclose a three - quarter moon and vast open deeps of glittering constellations . The music diminishes and backs the voice of the narra - tor .</scene_description>
<character>NARRATOR</character>
<dialogue>Since the beginning of Time the people of our Earth have looked upon the stars and pondered - They wondered what man - ner of man - or creature - inhabited the faint mysterious worlds that lay beyond.</dialogue>
</scene>
<scene>
<stage_direction>EXT. MT. WILSON OBSERVATORY - NIGHT - LONG SHOT</stage_direction>
<scene_description>Large telescope pivoting against the sky .</scene_description>
</scene>
<scene>
<stage_direction>INT. TELESCOPE ROOM - NIGHT - MED. SHOT</stage_direction>
<scene_description>Two Astronomers - adjusting eye - pieces .</scene_description>
<character>NARRATOR</character>
<dialogue>But the largest telescopes have failed to penetrate the dark and awe - some secret.</dialogue>
</scene>
<scene>
<stage_direction>INT. TELESCOPE ROOM - DIFFERENT OBSERVATORY - NIGHT CLOSE SHOT</stage_direction>
<scene_description>White haired astronomer - peering into the eye - piece of a telescope .</scene_description>
<character>NARRATOR</character>
<dialogue>Men still probe the deeps of space - men of all ages - seeking the answer.</dialogue>
</scene>
<scene>
<stage_direction>INT. DAVID MacLEAN'S BEDROOM - NIGHT - CLOSE SHOT</stage_direction>
<scene_description>of telescope - DOLLY BACK to disclose David MacLean - a twelve year old boy , who is sitting on the floor with his eyes glued to a telescope . He is dressed in rumpled pajamas . A student lamp on the floor lights the scene in low key . A star map and nauti - cal almanac lay on the floor in high key under the lamp . A small Cairn terrier named Cricket stares up at him with wistful curiosity .</scene_description>
</scene>
<scene>
<stage_direction>INT. DAVID'S BEDROOM - NIGHT - MED. SHOT</stage_direction>
<scene_description>- as David moves back from the telescope and rubs his eyes with his knuckles . He leafs through the nautical almanac and reaches for the aluminum can - teen on the window sill . It falls to the floor with a clatter . He picks it up quickly and listens ap - prehensively for an indication that he has awakened his parents ; sighs with relief and glances at an alarm clock on the window sill which reads 3:40 . He unscrews the canteen stopper and tilts it to drink ; then stops as a bright light illuminates the darkness outside the window .</scene_description>
</scene>
<scene>
<stage_direction>INT. DAVID'S BEDROOM - NIGHT - FULL SHOT - SPECIAL EFFECTS</stage_direction>
<scene_description>David 's angle - through window , of a swiftly descend - ing ball of brilliant white fire as it sweeps down out of the heavens , hovers for a moment , then drops behind foreground trees .</scene_description>
</scene>
<scene>
<stage_direction>INT. DAVID'S BEDROOM - NIGHT - CLOSE SHOT</stage_direction>
<scene_description>David - his face highlighted by the ball of fire as he stares with incredible bewilderment .</scene_description>
<character>DAVID</character>
<parenthetical>( with awe . )</parenthetical>
<dialogue>Well - Gee Whiz!</dialogue>
</scene>
<scene>
<stage_direction>INT. DAVID'S BEDROOM - NIGHT - MED. SHOT</stage_direction>
<scene_description>David crosses to foot of bed , puts on his bathrobe and slippers ; climbs through the window , chirping at the dog , Cricket , who hops up on the window sill and follows him out .</scene_description>
</scene>
<scene>
<stage_direction>EXT. BACK OF MacLEAN'S HOUSE - FIELD IN B.G. - NIGHT MED. SHOT</stage_direction>
<scene_description>- as David turns and looks at the dog , who growls and trots toward the field . David follows him toward field , but stops suddenly .</scene_description>
</scene>
<scene>
<stage_direction>EXT. MacLEAN FIELD - SHOOTING AWAY FROM HOUSE - NIGHT (SPECIAL EFFECTS)</stage_direction>
<scene_description>David sees a brilliant white light glow suddenly in the distance . It casts a gigantic black shadow of a thing that could be a man against the flank of the dark hill . The light goes out suddenly and a strange humming sound fills the air .</scene_description>
</scene>
<scene>
<stage_direction>EXT. BACK OF MacLEAN'S HOUSE - NIGHT - REVERSE MED. SHOT</stage_direction>
<scene_description>David reacts with amazement to what he has seen , he turns and runs toward house followed by Cricket .</scene_description>
</scene>
<scene>
<stage_direction>INT. DAVID'S ROOM - SHOOTING TOWARD FIELD - NIGHT</stage_direction>
<scene_description>- as the dog jumps through the window , followed by David , who grabs a flashlight . CAMERA PANS with David as he exits into the hall .</scene_description>
</scene>
<scene>
<stage_direction>INT. MR. &. MRS. MacLEAN'S BEDROOM - (LOW KEY) - NIGHT MED. SHOT</stage_direction>
<scene_description>David bursts through the door and shines the flash - light on the bed and his father and mother sit up . MacLean fumbles for the table light and shades his eyes against the flashlight . He turns on the light .</scene_description>
<character>MRS. MacLEAN</character>
<parenthetical>( with concern . )</parenthetical>
<dialogue>What's the matter, David? Are you all right?</dialogue>
<character>DAVID</character>
<parenthetical>( excitedly . )</parenthetical>
<dialogue>Dad - listen! I saw a - a - a some - thing - just landed in our field. A flying saucer or something!</dialogue>
<character>MRS. MacLEAN</character>
<dialogue>A what?</dialogue>
<character>DAVID</character>
<dialogue>A space ship - I think. It's there now - over by the hill. Come on, Dad.</dialogue>
<character>MacLEAN</character>
<parenthetical>( with weary exasper - ation . )</parenthetical>
<dialogue>Have you gone completely crazy - four o'clock in the morning!</dialogue>
<character>DAVID</character>
<dialogue>But, Dad - I saw it - I tell you.</dialogue>
<character>MRS. MacLEAN</character>
<dialogue>Oh, you had a dream, dear - a night - mare.</dialogue>
<character>DAVID</character>
<dialogue>I was n't asleep! I saw it - it landed in our field!</dialogue>
<character>MacLEAN</character>
<parenthetical>( putting his feet on floor . )</parenthetical>
<dialogue>Now, that's enough!</dialogue>
<character>DAVID</character>
<dialogue>But, Dad.</dialogue>
<character>MacLEAN</character>
<dialogue>All right, march!</dialogue>
<character>DAVID</character>
<parenthetical>( leaving , followed by Cricket . )</parenthetical>
<dialogue>Aw, gee!</dialogue>
<parenthetical>( he slams door . )</parenthetical>
<dialogue />
<scene_description>MacLean gets up and puts on his slippers .</scene_description>
<character>MRS. MacLEAN</character>
<dialogue>Oh, John, do n't scold him. He did n't mean to slam the door.</dialogue>
<character>MacLEAN</character>
<parenthetical>( walking towards door and yawning . )</parenthetical>
<dialogue>I'm not - I'm just going to see that he goes to bed.</dialogue>
</scene>
<scene>
<stage_direction>INT. DAVID'S ROOM - NIGHT - FULL SHOT</stage_direction>
<scene_description>He is standing by the window , staring out . Cricket has his forepaws on the window - sill . The door opens , David turns and looks at his father guiltily as he closes the door . MacLean indicates the bed with his thumb . With a sigh , David shucks off his bathrobe and slippers and crawls into the bed . Cricket jumps onto the foot of the bed . MacLean crosses to a wardrobe chest and selects a medicine bottle and a spoon from the top of it . He returns and sits on the side of the bed .</scene_description>
<character>DAVID</character>
<dialogue>I'm not sick!</dialogue>
<character>MacLEAN</character>
<parenthetical>( shakes bottle and pours into spoon . )</parenthetical>
<dialogue>I know - this is some of that stuff Doctor Weber left to make you sleep when you had the flu. Come on - open up.</dialogue>
<scene_description>David looks at his father with exasperated patience and with a shrug of martyrdom swallows the medicine and drops back on his pillow .</scene_description>
<character>MacLEAN</character>
<parenthetical>( gently . )</parenthetical>
<dialogue>Now what makes you think you saw a flying saucer?</dialogue>
<character>DAVID</character>
<parenthetical>( rising on elbows , try - ing to convince him . )</parenthetical>
<dialogue>I do n't think, Dad - I know - I -</dialogue>
<scene_description>MacLean , with a smile , pushes him back on the pillow .</scene_description>
<character>MacLEAN</character>
<dialogue>Maybe it was one of the experiment - al rockets from over at White Sands -.</dialogue>
<parenthetical>( David shakes his head . )</parenthetical>
<dialogue>If anything had fallen in the field - I'd have heard it, would n't I?</dialogue>
<character>DAVID</character>
<dialogue>It did n't fall, Dad - it landed over in the field. Blossom! Gee, Dad, Blossom's out there! We'd better go get her!</dialogue>
<scene_description>MacLean regards the boy with a patient affectionate smile .</scene_description>
<character>MacLEAN</character>
<parenthetical>( with a smile . )</parenthetical>
<dialogue>Blossom is an intelligent cow - she can take care of herself.</dialogue>
<character>DAVID</character>
<dialogue>But, Dad -</dialogue>
<character>MacLEAN</character>
<dialogue>You've been reading too many of those Science Stories - flying saucers!</dialogue>
<character>DAVID</character>
<parenthetical>( yawning . )</parenthetical>
<dialogue>But I saw it! And Cricket saw it - he growled!</dialogue>
<character>MacLEAN</character>
<parenthetical>( fondling the dog . )</parenthetical>
<dialogue>He growls at hoot owls too - and shadows! And I want you to stop growling at shadows and go to sleep.</dialogue>
<scene_description>David stares at him with patient resignation .</scene_description>
<character>MacLEAN</character>
<dialogue>Tomorrow morning I'll take my 12 gauge and you take your.410 and you and I and Cricket will go out in that field and if there's any space ship or flying saucer out there, we'll take a shot at it - especially if they've bothered our cow!</dialogue>
<scene_description>David , feeling the effects of the sedative , yawns again . His father runs his fingers lightly through David 's hair in a soothing fashion .</scene_description>
<character>MacLEAN</character>
<parenthetical>( gently . )</parenthetical>
<dialogue>That's a good boy - go to sleep.</dialogue>
<scene_description>David 's eyes close and MacLean gets up softly , tiptoes to the light - switch and turns out the light .</scene_description>
</scene>
<scene>
<stage_direction>EXT. MacLEAN FIELD - NIGHT - LONG SHOT</stage_direction>
<scene_description>Nothing is moving , the bellow of a cow is HEARD over scene .</scene_description>
</scene>
<scene>
<stage_direction>INT. MR. & MRS. MacLEAN'S BEDROOM - NIGHT - MED. SHOT</stage_direction>
<scene_description>-LRB- Very low key -RRB- - Moonlight through bedroom window - Mrs. MacLean 's voice comes over scene with alarmed insistence .</scene_description>
<character>MRS. MacLEAN</character>
<dialogue>John! - John! -</dialogue>
<character>MacLEAN</character>
<parenthetical>( annoyed and sleepy . )</parenthetical>
<dialogue>Now what's the matter?</dialogue>
<scene_description>Off scene is HEARD the low mournful bellowing of a cow . The light goes on , revealing MacLean irritably rubbing his eyes .</scene_description>
<character>MRS. MacLEAN</character>
<dialogue>The cow - something's wrong with her.</dialogue>
<scene_description>The cow 's mooing rises to a terrified bellowing .</scene_description>
<character>MacLEAN</character>
<dialogue>Probably caught in the fence.</dialogue>
<scene_description>He gets up , puts on his shoes and bathrobe and takes a flashlight .</scene_description>
<character>MRS. MacLEAN</character>
<dialogue>Hurry she may be hurt!</dialogue>
<scene_description>As MacLean exits -</scene_description>
</scene>
<scene>
<stage_direction>EXT. MacLEAN FIELD - NIGHT - MED. SHOT</stage_direction>
<scene_description>MacLean enters carrying lighted flashlight . He walks toward sound of bellowing and disappears behind bushes . Bellowing suddenly stops . FADE OUT</scene_description>
</scene>
<scene>
<stage_direction>EXT. MacLEAN FIELD - MORNING - LONG SHOT</stage_direction>
<scene_description>MacLean house in background . David and Cricket , in foreground , are walking hesitantly into the field . There is a sudden high - frequency hum and both David and the dog stare at the ground , which trembles slightly . David turns and runs toward the house , fol - lowed by Cricket .</scene_description>
</scene>
<scene>
<stage_direction>EXT. FRONT OF MacLEAN HOUSE - MORNING - MED. SHOT</stage_direction>
<scene_description>A police car stands in front of the house and two of - ficers stand on the front porch , talking to Mrs. Mac - Lean .</scene_description>
<character>MRS. MacLEAN</character>
<dialogue>- and I ca n't understand what hap - pened to him!</dialogue>
<character>BLAINE</character>
<parenthetical>( reassuringly . )</parenthetical>
<dialogue>You say he's been gone for.</dialogue>
<scene_description>David and Cricket run into scene .</scene_description>
<character>MRS. MacLEAN</character>
<dialogue>What's the matter, David?</dialogue>
<character>DAVID</character>
<parenthetical>( breathlessly . )</parenthetical>
<dialogue>- over there in the field - I heard something - I mean - it was more like I felt something.</dialogue>
<character>MRS. MacLEAN</character>
<dialogue>What?</dialogue>
<character>DAVID</character>
<dialogue>I do n't know - a kind of buzzing sound deep down under the ground.</dialogue>
<character>MRS. MacLEAN</character>
<dialogue>Oh, David, this is no time to let your imagination run away with you when I'm so concerned about your father.</dialogue>
<character>JACKSON</character>
<dialogue>Do n't worry, we'll find him, Mrs. MacLean. Come on Blaine.</dialogue>
<scene_description>They exit from the porch . Mrs. MacLean and David look after them .</scene_description>
</scene>
<scene>
<stage_direction>EXT. MacLEAN FIELD - DAY - MED. SHOT</stage_direction>
<scene_description>Blaine and Jackson are walking through the field . They stop and look around .</scene_description>
<character>JACKSON</character>
<dialogue>The cow may have trampled him - they can be dangerous.</dialogue>
<character>BLAINE</character>
<dialogue>Yeah, that's possible.</dialogue>
<character>JACKSON</character>
<dialogue>You take the north side, and I'll look over here.</dialogue>
<character>BLAINE</character>
<dialogue>Okay.</dialogue>
</scene>
<scene>
<stage_direction>EXT. MacLEAN FIELD - DAY - FULL SHOT</stage_direction>
<scene_description>- as the two men separate and walk toward hill . The CAMERA STAYS with Blaine , who stops and looks at some - thing in the grass .</scene_description>
</scene>
<scene>
<stage_direction>EXT. MacLEAN FIELD - DAY - MED. SHOT</stage_direction>
<scene_description>Blaine looking at flashlight in the grass .</scene_description>
</scene>
<scene>
<stage_direction>EXT. MacLEAN FIELD - DAY - CLOSE SHOT</stage_direction>
<scene_description>- of flashlight lying in the grass . Blaine 's hand reaches into scene and picks it up .</scene_description>
</scene>
<scene>
<stage_direction>EXT. MacLEAN FIELD - DAY - MED. SHOT</stage_direction>
<scene_description>Blaine straightens up with flashlight and calls .</scene_description>
<character>BLAINE</character>
<dialogue>Hey, Jackson! Here's a flashlight!</dialogue>
<scene_description>- he looks around for Jackson . His face registers be - wilderment .</scene_description>
</scene>
<scene>
<stage_direction>EXT. MacLEAN FIELD - DAY - BLAINE'S ANGLE</stage_direction>
<scene_description>- the CAMERA REVEALS an empty field with no possible place of concealment .</scene_description>
</scene>
<scene>
<stage_direction>EXT. MacLEAN FIELD - DAY - MED. SHOT</stage_direction>
<character>BLAINE</character>
<parenthetical>( calling . )</parenthetical>
<dialogue>Hey, Jackson -!</dialogue>
<scene_description>He runs toward the spot where he last saw Jackson . He stops and looks uncertainly .</scene_description>
</scene>
<scene>
<stage_direction>EXT. MacLEAN FIELD - DAY - FULL SHOT</stage_direction>
<scene_description>Blaine - with hill in background . He stares about him in puzzled incredulity . Then a four foot round section of turf immediately behind him raises up about a foot .</scene_description>
</scene>
<scene>
<stage_direction>EXT. MacLEAN FIELD - DAY - CLOSE SHOT</stage_direction>
<scene_description>Blaine 's face - as he emits a choking scream and drops out of scene . CAMERA PANS down to ground and we see a section of turf closing like the lid of a trap door spider .</scene_description>
</scene>
<scene>
<stage_direction>INT. MacLEAN LIVING ROOM - DAY - FULL SHOT</stage_direction>
<scene_description>Mrs. MacLean is pacing nervously and David stands look - ing out of the front window . Cricket is in the room .</scene_description>
<character>MRS. MacLEAN</character>
<dialogue>You're not going out there!</dialogue>
<character>DAVID</character>
<dialogue>But they've been gone over an hour. Let me go look, too, Mom - please!</dialogue>
<character>MRS. MacLEAN</character>
<dialogue>You stay right here!</dialogue>
<character>DAVID</character>
<dialogue>Aw, gee -</dialogue>
<character>MacLEAN'S VOICE</character>
<parenthetical>( off scene . )</parenthetical>
<dialogue>Any chance of getting a cup of coffee?</dialogue>
<scene_description>Mrs. MacLean and David turn toward doorway .</scene_description>
</scene>
<scene>
<stage_direction>INT. MacLEAN LIVING ROOM - DAY - MED. SHOT</stage_direction>
<scene_description>- John MacLean is standing in the living room doorway . He is wearing his bathrobe and pajamas . He looks some - what disheveled . Over scene Mrs. MacLean and David speak together .</scene_description>
<character>MRS. MacLEAN and DAVID</character>
<dialogue>John! - Dad! -</dialogue>
</scene>
<scene>
<stage_direction>INT. MacLEAN LIVING ROOM - DAY - MED. SHOT</stage_direction>
<scene_description>- as Mrs. MacLean and David rush toward MacLean .</scene_description>
<character>MRS. MacLEAN</character>
<dialogue>Oh, John, where have you been? I've been so worried!</dialogue>
<character>DAVID</character>
<dialogue>Gee, Dad, what happened?</dialogue>
<scene_description>Cricket looks at MacLean and crawls under the sofa . MacLean looks down at his wife and son . His face is tense and he wears a tight forced smile .</scene_description>
<character>MacLEAN</character>
<dialogue>Nothing to get excited about. Tell you all about it when I've had my coffee.</dialogue>
<scene_description>MacLean crosses and sits in an armchair .</scene_description>
<character>MRS. MacLEAN</character>
<parenthetical>( exiting . )</parenthetical>
<dialogue>I'll just be a minute.</dialogue>
<scene_description>David leans over the back of his father 's chair .</scene_description>
<character>DAVID</character>
<dialogue>What took you so long?</dialogue>
<character>MacLEAN</character>
<parenthetical>( impatiently . )</parenthetical>
<dialogue>I've been looking for Blossom. I followed her trail but finally lost track of her in those scrub oak flats behind Blue Hill.</dialogue>
</scene>
<scene>
<stage_direction>INT. MacLEAN LIVING ROOM - DAY - CLOSE SHOT</stage_direction>
<scene_description>David 's face - as he stares down at the back of his father 's head .</scene_description>
</scene>
<scene>
<stage_direction>INT. MacLEAN LIVING ROOM - DAY - REVERSE CLOSE SHOT</stage_direction>
<scene_description>David 's angle - of back of MacLean 's head . There is a livid red scar the size of a quarter on the back of his head just above the nape of his neck .</scene_description>
<character>DAVID'S VOICE</character>
<parenthetical>( over scene . )</parenthetical>
<dialogue>Gosh, Dad, what happened to your head?</dialogue>
</scene>
<scene>
<stage_direction>INT. MacLEAN LIVING ROOM - DAY - MED. CLOSE SHOT</stage_direction>
<scene_description>A shadow of anger crosses MacLean 's face .</scene_description>
<character>MacLEAN</character>
<dialogue>It's only a scratch. Caught it on a barbed wire fence.</dialogue>
<character>DAVID</character>
<dialogue>A barbed wire fence? But how could -</dialogue>
<character>MacLEAN</character>
<parenthetical>( interrupting . )</parenthetical>
<dialogue>Go on out and play!</dialogue>
<character>DAVID</character>
<dialogue>But - Dad -</dialogue>
<scene_description>MacLean suddenly slaps the boy a vicious backhand blow across the face , as Mrs. MacLean enters the scene from background , carrying a cup of coffee . Mrs. MacLean drops the cup , registering horrified incredulity . David staggers across the room and fetches up against the wall . Mrs. MacLean crosses to him , puts her arms around him with a sheltering attitude . Cricket comes out from under the sofa and growls at MacLean and hud - dles near David .</scene_description>
<character>MacLEAN</character>
<parenthetical>( coldly . )</parenthetical>
<dialogue>Now will you go out and play - and take that animal with you!</dialogue>
</scene>
<scene>
<stage_direction>INT. MacLEAN LIVING ROOM - DAY - MED. CLOSE SHOT</stage_direction>
<scene_description>David , his mother - with Cricket huddled close by . They stare at MacLean with incredulous baffled expres - sions .</scene_description>
<character>MRS. MacLEAN</character>
<parenthetical>( in a low , hurried voice . )</parenthetical>
<dialogue>Please, David - do as your father says.</dialogue>
</scene>
<scene>
<stage_direction>INT. MacLEAN LIVING ROOM - DAY - MED. SHOT</stage_direction>
<scene_description>David goes out through the hall followed by Cricket . We HEAR the front door slam . MacLean turns to his wife .</scene_description>
<character>MacLEAN</character>
<parenthetical>( in a cold mechanical voice . )</parenthetical>
<dialogue>I'm still waiting for my coffee.</dialogue>
<character>MRS. MacLEAN</character>
<parenthetical>( in a tone of hurt be - wilderment . )</parenthetical>
<dialogue>What's the matter with you, John? What's happened?</dialogue>
<character>MacLEAN</character>
<dialogue>Get me a cup of coffee!</dialogue>
<scene_description>Mrs. MacLean exits , looking apprehensively over her shoulder at her husband .</scene_description>
</scene>
<scene>
<stage_direction>EXT. MacLEAN FRONT PORCH - MID-MORNING - FULL SHOT</stage_direction>
<scene_description>Jackson , Blaine and MacLean are exiting onto the front porch . David is sitting on the steps with Cricket . Mrs. MacLean stands nervously twisting her apron , look - ing through the front screen door from the hallway .</scene_description>
<character>MacLEAN</character>
<parenthetical>( he now speaks normally and seems like his old self . )</parenthetical>
<dialogue>Well, thanks, gentlemen, I wo n't keep you any longer. I'm sure you have important things to take care of -</dialogue>
</scene>
<scene>
<stage_direction>EXT. MacLEAN FRONT PORCH - DAY - CLOSE SHOT</stage_direction>
<scene_description>High angle - back of Jackson 's head - as he removes cap and wipes forehead with handker - chief . A livid round red scar is on the back of his head just above the nape of his neck .</scene_description>
</scene>
<scene>
<stage_direction>EXT. MacLEAN FRONT PORCH - DAY - REVERSE CLOSE SHOT</stage_direction>
<scene_description>David 's face - puzzled - he reacts to what he has seen .</scene_description>
</scene>
<scene>
<stage_direction>EXT. MacLEAN FRONT PORCH - DAY - MED. SHOT</stage_direction>
<scene_description>Jackson , Blaine and MacLean - from David 's angle .</scene_description>
<character>BLAINE</character>
<parenthetical>( with meaning . )</parenthetical>
<dialogue>Yes. We have -</dialogue>
<scene_description>Jackson nods his head .</scene_description>
</scene>
<scene>
<stage_direction>EXT. MacLEAN FRONT PORCH - DAY - CLOSE SHOT</stage_direction>
<scene_description>Mrs. MacLean staring at her husband with nervous incred - ulity .</scene_description>
</scene>
<scene>
<stage_direction>EXT. MacLEAN FRONT PORCH - DAY - FULL SHOT</stage_direction>
<scene_description>Blaine and Jackson - as they leave the porch . Jackson leans over and ruffles David 's hair as he passes .</scene_description>
<character>JACKSON</character>
<dialogue>Take it easy on those comic books, youngster.</dialogue>
<character>BLAINE</character>
<parenthetical>( as they walk toward car . )</parenthetical>
<dialogue>Yes - that imagination of yours is liable to get you in trouble.</dialogue>
<scene_description>FADE OUT .</scene_description>
</scene>
<scene>
<stage_direction>EXT. BACK OF MacLEAN HOUSE - DAY - MED. SHOT</stage_direction>
<scene_description>Small hummock in foreground - MacLean home in background . The hummock is thickly grown with bushes . The leaves of a bush are pushed slowly back and the eye - piece of a one - inch telescope pushes full INTO CAMERA .</scene_description>
</scene>
<scene>
<stage_direction>EXT. BACK OF MacLEAN HOUSE - DAY - CLOSE SHOT</stage_direction>
<scene_description>David is lying on the ground behind the bushes looking through the telescope . Cricket is with him . David - raises his face from the eye - piece and looks over the telescope with interest and consternation . He then looks back through telescope .</scene_description>
</scene>
<scene>
<stage_direction>EXT. FIELD - DAY - AS THROUGH TELESCOPE - MATTE</stage_direction>
<scene_description>A little girl , Kathy Wilson , aged five , walks across the field picking flowers . Suddenly a round section of the earth opens up behind her and an indistinct some - thing grabs her by the ankles and snatches her down in - to the hole . A flap of earth closes back over the hole .</scene_description>
</scene>
<scene>
<stage_direction>EXT. BACK OF MacLEAN HOUSE - DAY - PAN SHOT</stage_direction>
<scene_description>David and Cricket - as David jumps up , runs toward the field , stops with indecision , then turns and runs fran - tically toward the house , followed by the dog .</scene_description>
</scene>
<scene>
<stage_direction>INT. HALLWAY - MacLEAN HOUSE - DAY - MED. SHOT</stage_direction>
<scene_description>- as David and Cricket enter and David starts toward the telephone . Then he looks over his shoulder toward the living room and stops .</scene_description>
</scene>
<scene>
<stage_direction>INT. MacLEAN LIVING ROOM - DAY - MED. SHOT</stage_direction>
<scene_description>David 's angle - John MacLean - sitting rigidly in a chair in the living room staring fixedly at David .</scene_description>
<character>MacLEAN</character>
<dialogue>Well - what do you want!</dialogue>
</scene>
<scene>
<stage_direction>INT. MacLEAN LIVING ROOM - DAY - CLOSE SHOT</stage_direction>
<scene_description>Shooting toward David and Cricket in hallway .</scene_description>
<character>DAVID</character>
<parenthetical>( hesitatingly . )</parenthetical>
<dialogue>I - I was looking for Mom.</dialogue>
<character>MacLEAN</character>
<parenthetical>( sharply . )</parenthetical>
<dialogue>She's not here. What's on your mind?</dialogue>
<character>DAVID</character>
<dialogue>Oh - uh - nothing -</dialogue>
<character>MacLEAN</character>
<dialogue>What have you been up to?</dialogue>
<character>DAVID</character>
<dialogue>Nothing - just playing.</dialogue>
<character>MacLEAN</character>
<dialogue>Your mother told you not to play in the field, did n't she?</dialogue>
<character>DAVID</character>
<parenthetical>( hesitatingly . )</parenthetical>
<dialogue>But - I - uh -</dialogue>
<character>MacLEAN</character>
<parenthetical>( pointedly . )</parenthetical>
<dialogue>I tell you you can play in the field - all you want - understand?</dialogue>
<character>DAVID</character>
<dialogue>Yes, sir.</dialogue>
<scene_description>He turns and starts toward the front door , Cricket at his heels .</scene_description>
</scene>
<scene>
<stage_direction>INT. MacLEAN LIVING ROOM - DAY - CLOSE SHOT</stage_direction>
<scene_description>MacLean - as he picks up a map which he 's holding in his lap and studies it intently . His head jerks up as the front screen door slams . He looks out the window .</scene_description>
</scene>
<scene>
<stage_direction>EXT. FRONT - MacLEAN HOUSE - DAY - LONG SHOT</stage_direction>
<scene_description>Through window - David and Cricket - running down road .</scene_description>
</scene>
<scene>
<stage_direction>EXT. BACK PORCH - WILSON HOUSE - DAY - FULL SHOT</stage_direction>
<scene_description>This is a small cottage with an old fashioned storm cel - lar door leading into the basement adjacent to back steps . David and Cricket walk into scene . David knocks on the door , which opens . David walks in . Cricket waits outside .</scene_description>
</scene>
<scene>
<stage_direction>INT. WILSON KITCHEN - FULL SHOT</stage_direction>
<scene_description>Mrs. Wilson dries her hands on her apron and pushes back a strand of hair from her forehead .</scene_description>
<character>MRS. WILSON</character>
<dialogue>Well - hello - David -</dialogue>
<character>DAVID</character>
<dialogue>Mrs. Wilson - is Mr. Wilson home?</dialogue>
<character>MRS. WILSON</character>
<parenthetical>( puzzled . )</parenthetical>
<dialogue>Why - no, David - he's out of town. What is it?</dialogue>
<character>DAVID</character>
<dialogue>Well - I mean - you know your little girl -</dialogue>
<character>MRS. WILSON</character>
<parenthetical>( with instant alarm . )</parenthetical>
<dialogue>Has something happened to Kathy?</dialogue>
<character>DAVID</character>
<dialogue>Well - I mean - gee, Mrs. Wilson - You see, I was up on the hill with my telescope - hiding in the bushes and -</dialogue>
<scene_description>Mrs. Wilson 's face darkens with frightened suspicion .</scene_description>
<character>MRS. WILSON</character>
<dialogue>You were hiding in the bushes and what happened?</dialogue>
<character>DAVID</character>
<dialogue>Well, I - I was watching the field and I saw Kathy. She was picking flowers - I think.</dialogue>
<character>MRS. WILSON</character>
<dialogue>Yes?</dialogue>
<character>DAVID</character>
<dialogue>And then - well - the ground opened up and something grabbed her and pulled her down into a hole.</dialogue>
<scene_description>- as she reacts with annoyance and disbelief .</scene_description>
<character>MRS. WILSON</character>
<dialogue>Oh, David, stop all this nonsense. Where is she?</dialogue>
<scene_description>David backs away from Mrs. Wilson , who advances threat - eningly .</scene_description>
<character>DAVID</character>
<dialogue>Honest, Mrs. Wilson, there's some - thing out there under the ground. It's a space ship or.</dialogue>
<character>MRS. WILSON</character>
<dialogue>What kind of a ship?</dialogue>
<character>DAVID</character>
<dialogue>A space ship!</dialogue>
<scene_description>Mrs. Wilson bursts into nervous laughter and grabs David by the shoulders and shakes him severely .</scene_description>
<character>MRS. WILSON</character>
<dialogue>Now listen, David - what have you done to my little girl - where is she - answer me!</dialogue>
<character>DAVID</character>
<parenthetical>( frantically . )</parenthetical>
<dialogue>Honest, Mrs. Wilson - the ground opened up - and -</dialogue>
<scene_description>Mrs. Wilson slaps him sharply . David raises his elbow to ward off further blows .</scene_description>
<character>MRS. WILSON</character>
<dialogue>You tell me what you've done to Kathy!</dialogue>
<scene_description>The sound of the back kitchen door opening causes Mrs. Wilson to look over her shoulder and react with relief .</scene_description>
</scene>
<scene>
<stage_direction>INT. WILSON KITCHEN - DAY - NEW ANGLE</stage_direction>
<scene_description>Kathy Wilson is entering the kitchen . She stops and looks at her mother curiously . Mrs. Wilson rushes across the room and gathers the child in her arms .</scene_description>
<character>MRS. WILSON</character>
<dialogue>Kathy, honey - where have you been? What's happened?</dialogue>
<scene_description>TWO SHOT - KATHY AND MRS. WILSON Kathy looks up at her mother with a round cherubic baby face .</scene_description>
<character>KATHY</character>
<parenthetical>( blandly . )</parenthetical>
<dialogue>Nothing, Mama.</dialogue>
<character>MRS. WILSON</character>
<parenthetical>( turning to David . )</parenthetical>
<dialogue>Oh, David! How could you!</dialogue>
<scene_description>She puts Kathy down .</scene_description>
</scene>
<scene>
<stage_direction>INT. WILSON KITCHEN - DAY - MED. TWO SHOT</stage_direction>
<scene_description>David sidles around and attempts to get a look at the back of Kathy 's head . She puts her hands to the back of her head and smoothes her hair down .</scene_description>
</scene>
<scene>
<stage_direction>INT. WILSON KITCHEN - DAY - THREE SHOT</stage_direction>
<character>MRS. WILSON</character>
<dialogue>What do you mean - coming in here and scaring me to death - What's the matter with you, David?</dialogue>
<character>DAVID</character>
<parenthetical>( flatly . )</parenthetical>
<dialogue>I'm sorry.</dialogue>
<character>MRS. WILSON</character>
<dialogue>I am, too - I'm sorry I lost my temper.</dialogue>
<scene_description>She turns and reaches for the cookie box .</scene_description>
<character>MRS. WILSON</character>
<dialogue>Here - do n't you want some cookies - and a glass of milk?</dialogue>
<character>DAVID</character>
<parenthetical>( starting toward kit - chen door . )</parenthetical>
<dialogue>No, thank you.</dialogue>
<character>MRS. WILSON</character>
<dialogue>I'm really very sorry, David, for the way I treated you - but after all - Here, dear - take some cookies with you.</dialogue>
<character>DAVID</character>
<dialogue>I'm not hungry.</dialogue>
<scene_description>At this point , he 's reached the kitchen door .</scene_description>
</scene>
<scene>
<stage_direction>EXT. REAR OF WILSON HOUSE - DAY - FULL SHOT</stage_direction>
<scene_description>Cricket is barking frantically at a column of smoke that issues from the open cellar door . David comes out of kitchen door , sees the smoke coming from the cellar , and calls back inside .</scene_description>
<character>DAVID</character>
<parenthetical>( calling . )</parenthetical>
<dialogue>Mrs. Wilson - Mrs. Wilson - your house is on fire!</dialogue>
<scene_description>Mrs. Wilson runs to the screen door and exits , carrying Kathy with her into the yard .</scene_description>
</scene>
<scene>
<stage_direction>EXT. REAR OF WILSON HOUSE - DAY - MED. SHOT</stage_direction>
<scene_description>Smoke is pouring out the cellar door . Mrs. Wilson places Kathy on the ground , then snatches a garden hose and runs to a faucet near the back porch . She fumbling - ly attempts to attach it , just as a neighbor , Arthur Turner , a man about forty - five , runs into scene . He quickly attaches the hose , while David points the nozzle toward the cellar door . He turns on the water , then runs and takes the hose from David , adjusts the nozzle to spray , then , ducking his head against the billowing smoke , enters the cellar .</scene_description>
</scene>
<scene>
<stage_direction>EXT. REAR WILSON HOUSE - DAY - FULL SHOT</stage_direction>
<scene_description>As Turner directs the spray of water into the cellar , we can see red tongues of flame diminish . He advances into the cellar . Mrs. Wilson is frantically trying to peer through the smoke .</scene_description>
<character>DAVID</character>
<dialogue>You'd better call the fire depart - ment, Mrs. Wilson!</dialogue>
<character>MRS. WILSON</character>
<parenthetical>( calling through smoke . )</parenthetical>
<dialogue>Mr. Turner, shall I call the fire department?</dialogue>
<character>TURNER'S VOICE</character>
<parenthetical>( off scene . )</parenthetical>
<dialogue>No. I've got it under control.</dialogue>
<scene_description>Mrs. Wilson steps back and sighs with relief . Kathy crosses to her mother and stands pressed against her mother 's legs , calmly watching the smoke .</scene_description>
</scene>
<scene>
<stage_direction>EXT. REAR WILSON HOUSE - DAY - CLOSE TWO SHOT</stage_direction>
<scene_description>- as David sidles around Kathy and looks at the back of her head .</scene_description>
</scene>
<scene>
<stage_direction>EXT. WILSON HOUSE - DAY - FULL SHOT</stage_direction>
<scene_description>- as Turner backs up out of the cellar , coughing . He is turning off the hose at the nozzle as he exits . He drops the hose , crosses to the faucet and turns off the valve . He takes out a handkerchief and dabs at his streaming eyes .</scene_description>
<character>TURNER</character>
<dialogue>It's all right, Mrs. Wilson. It's out.</dialogue>
<character>MRS. WILSON</character>
<parenthetical>( relieved . )</parenthetical>
<dialogue>Oh, thank heavens!</dialogue>
<character>TURNER</character>
<dialogue>Someone spilled a gallon can of gaso - line down there.</dialogue>
<character>MRS. WILSON</character>
<dialogue>That's impossible - We keep our spare gasoline in the garage.</dialogue>
<character>TURNER</character>
<dialogue>Well - a can of gasoline was laying over on its side down there with the top off. That's what was burning.</dialogue>
<character>MRS. WILSON</character>
<dialogue>Are you sure?</dialogue>
<character>TURNER</character>
<dialogue>Positive.</dialogue>
<character>MRS. WILSON</character>
<dialogue>Kathy, were you down in the cellar?</dialogue>
<character>KATHY</character>
<parenthetical>( blandly . )</parenthetical>
<dialogue>No, Mamma.</dialogue>
</scene>
<scene>
<stage_direction>EXT. WILSON - DAY - CLOSE SHOT</stage_direction>
<scene_description>Kathy 's face - as her eyes look up and meet David 's .</scene_description>
</scene>
<scene>
<stage_direction>EXT. WILSON HOUSE - DAY - CLOSE SHOT</stage_direction>
<scene_description>David - staring intently at Kathy .</scene_description>
</scene>
<scene>
<stage_direction>EXT. WILSON HOUSE - DAY - CLOSE SHOT</stage_direction>
<scene_description>Kathy - as she smiles faintly and her eyes take on a curious , hard , triumphant expression .</scene_description>
</scene>
<scene>
<stage_direction>INT. GROCERY STORE - DAY - FULL SHOT</stage_direction>
<scene_description>- with telephone booth in foreground . David enters scene , followed by Cricket . They go into phone booth and David closes the door .</scene_description>
</scene>
<scene>
<stage_direction>INT. TELEPHONE BOOTH - DAY - MED. SHOT</stage_direction>
<scene_description>David drops a nickel in the coin box .</scene_description>
<character>DAVID</character>
<parenthetical>( into phone . )</parenthetical>
<dialogue>State 4 - 3559, please.</dialogue>
</scene>
<scene>
<stage_direction>EXT. GRIFFITH OBSERVATORY - DAY - FULL SHOT</stage_direction>
</scene>
<scene>
<stage_direction>INT. PROFESSOR STUART KELSTON'S OFFICE - DAY - FULL SHOT</stage_direction>
<scene_description>His secretary , a woman of indeterminate age , wearing horn - rimmed spectacles , is speaking on the telephone .</scene_description>
<character>SECRETARY</character>
<parenthetical>( into phone . )</parenthetical>
<dialogue>I'm sorry, David, but Professor Kelston is out. Is there any mes - sage?</dialogue>
</scene>
<scene>
<stage_direction>INT. PHONE BOOTH - DAY - CLOSE SHOT</stage_direction>
<character>DAVID</character>
<parenthetical>( into phone . )</parenthetical>
<dialogue>Do you know when he'll be back?</dialogue>
</scene>
<scene>
<stage_direction>INT. PROFESSOR KELSTON'S OFFICE - DAY - CLOSE SHOT</stage_direction>
<character>SECRETARY</character>
<parenthetical>( into phone . )</parenthetical>
<dialogue>He's not expected until late this afternoon.</dialogue>
</scene>
<scene>
<stage_direction>INT. PHONE BOOTH - DAY - CLOSE SHOT</stage_direction>
<character>DAVID</character>
<parenthetical>( into phone . )</parenthetical>
<dialogue>Oh, gee. Never mind. Thank you.</dialogue>
<scene_description>David hangs up and is about to leave the booth when he sees his father enter the grocery store .</scene_description>
</scene>
<scene>
<stage_direction>INT. GROCERY STORE - DAY - THROUGH DOOR OF PHONE BOOTH</stage_direction>
<scene_description>- MacLean buying a pack of cigarettes .</scene_description>
</scene>
<scene>
<stage_direction>INT. PHONE BOOTH - DAY - CLOSE SHOT</stage_direction>
<scene_description>David sees MacLean and crouches down behind the solid panel of the phone booth door . He holds Cricket to keep him from barking .</scene_description>
</scene>
<scene>
<stage_direction>INT. GROCERY STORE - DAY - MED. SHOT</stage_direction>
<scene_description>MacLean - turns and leaves scene , walking past phone booth .</scene_description>
</scene>
<scene>
<stage_direction>EXT. PHONE BOOTH - DAY - MED. SHOT</stage_direction>
<scene_description>- as the door opens and David peeps out . Then he and Cricket emerge . David stops , pauses with indecision . His decision crystalizes into resolution . He sets his chin and compresses his lips and walks quickly out of scene , followed by Cricket .</scene_description>
</scene>
<scene>
<stage_direction>INT. POLICE STATION - DAY - FULL SHOT</stage_direction>
<scene_description>David and Cricket stand staring up at the desk sergeant , who speaks in an exasperated tone .</scene_description>
<character>DESK SERGEANT</character>
<dialogue>I'm tellin' ya the Chief of Police do n't see nobody without their first statin' the nature of their business.</dialogue>
<character>DAVID</character>
<parenthetical>( pleadingly . )</parenthetical>
<dialogue>But I've got ta see him - it's im - portant.</dialogue>
<character>DESK SERGEANT</character>
<dialogue>Well, if it's so important - why ca n't ya tell me?</dialogue>
<character>DAVID</character>
<dialogue>'Cause -.</dialogue>
<parenthetical>( he pauses . )</parenthetical>
<dialogue>- you would n't believe me.</dialogue>
<character>DESK SERGEANT</character>
<dialogue>So what makes ya think the Chief would believe ya?</dialogue>
<character>CHIEF OF POLICE'S VOICE</character>
<parenthetical>( off scene . )</parenthetical>
<dialogue>What's the trouble, Finley?</dialogue>
<scene_description>CAMERA ANGLE WIDENS to include a jovial , middle - aged , heavy - set man standing in a half - open doorway . The door is lettered `` CHIEF OF POLICE . ''</scene_description>
<character>DESK SERGEANT</character>
<dialogue>Aw, this kid here claims he's got something very important, but he wo n't tell me what it is.</dialogue>
<character>DAVID</character>
<dialogue>Are you the Chief of Police, sir?</dialogue>
<character>CHIEF OF POLICE</character>
<dialogue>That's right. Come in, son.</dialogue>
<scene_description>David crosses and enters the Chief 's office , followed by Cricket . The door closes behind them .</scene_description>
</scene>
<scene>
<stage_direction>INT. OFFICE OF CHIEF OF POLICE - DAY - FULL SHOT</stage_direction>
<scene_description>The Chief crosses and sits in a swivel chair at his desk . He indicates a chair for David .</scene_description>
<character>CHIEF</character>
<dialogue>Sit down, young man - Now, what's your name?</dialogue>
<character>DAVID</character>
<dialogue>David MacLean.</dialogue>
<character>CHIEF</character>
<dialogue>Well, what's so important, David?</dialogue>
<scene_description>David looks apprehensively , clears his throat and starts .</scene_description>
<character>DAVID</character>
<dialogue>Well, you see, sir - it started last night when I was looking through my telescope.</dialogue>
</scene>
<scene>
<stage_direction>INT. OFFICE - CHIEF OF POLICE - DAY - CLOSE SHOT</stage_direction>
<scene_description>The Chief is listening intently , leaning his hand on his cheek .</scene_description>
<character>DAVID'S VOICE</character>
<parenthetical>( over scene . )</parenthetical>
<dialogue>- and that's the truth, sir. Every word of it - and I know they're under there because I've seen them.</dialogue>
<scene_description>CAMERA DOLLIES back to TWO SHOT .</scene_description>
<character>CHIEF</character>
<dialogue>And after people've been down there - they act different, eh?</dialogue>
<character>DAVID</character>
<dialogue>Yes, sir - very different.</dialogue>
<character>CHIEF</character>
<dialogue>What's your telephone number, David?</dialogue>
<character>DAVID</character>
<dialogue>Webster 6397.</dialogue>
<scene_description>The Chief reaches over and picks up the telephone .</scene_description>
<character>DAVID</character>
<parenthetical>( in alarm . )</parenthetical>
<dialogue>But you're not going to call my father - Please! Please!</dialogue>
<scene_description>The Chief of Police swings around in his swivel chair and speaks into the phone .</scene_description>
<character>CHIEF</character>
<parenthetical>( into phone . )</parenthetical>
<dialogue>Webster 6397.</dialogue>
<scene_description>He looks over his shoulder at David , who is nervously biting his lips .</scene_description>
<character>CHIEF</character>
<dialogue>Now take it easy, son.</dialogue>
<scene_description>Then he turns back to the telephone .</scene_description>
</scene>
<scene>
<stage_direction>INT. CHIEF OF POLICE'S OFFICE - DAY - CLOSE SHOT</stage_direction>
<scene_description>David is staring at the back of the Chief 's head .</scene_description>
</scene>
<scene>
<stage_direction>INT. CHIEF OF POLICE'S OFFICE - DAY - CLOSE SHOT</stage_direction>
<scene_description>On the back of the Chief 's head there is a round , red , livid spot just above the nape of the neck .</scene_description>
</scene>
<scene>
<stage_direction>INT. CHIEF OF POLICE'S OFFICE - DAY - CLOSE SHOT</stage_direction>
<scene_description>David reacts to what he has seen .</scene_description>
</scene>
<scene>
<stage_direction>INT. JAIL DETENTION ROOM - DAY - FULL SHOT</stage_direction>
<scene_description>This is a rather barren room , with a bench and a straight back chair . David stands at the window , star - ing through the heavy wire grill . His lips tremble and his face is pinched and white , and terror lives in his eyes . Startled , he looks over his shoulder at the sound of the door opening . He turns and stands at bay . He picks up Cricket and backs against the wall next to the window .</scene_description>
<character>MacLEAN'S VOICE</character>
<parenthetical>( off scene . )</parenthetical>
<dialogue>All right, David.</dialogue>
</scene>
<scene>
<stage_direction>INT. JAIL DETENTION ROOM - DAY - REVERSE SHOT</stage_direction>
<scene_description>John MacLean stands near the open door . His face bears a sad , resigned expression . The Chief of Police stands with his hands clasped behind his back . He is benign and kindly in his attitude . Dr. James Blake , a well - favored young man in his early thirties , stands looking at David with a friendly , gracious smile . Next to him , Patricia Collins smiles down at David with affectionate concern . She is dressed in a nurse 's blue cape , and the stiff white cuffs and uniform collar are apparent below and above the cape .</scene_description>
<character>DR. BLAKE</character>
<dialogue>Hello, David, I'm Doctor Blake.</dialogue>
<scene_description>David stares up at him , tight - mouthed and tight - lipped . Pat advances and tries to put her hand on David 's shoul - der . He pulls away .</scene_description>
<character>DR. BLAKE</character>
<parenthetical>( reassuringly . )</parenthetical>
<dialogue>There's nothing to be afraid of, David, this is Miss Collins.</dialogue>
<scene_description>David stares up at his father , then at the Chief of Pol - ice , then back to Dr. Blake . He starts to back away but Pat 's arm restrains him gently .</scene_description>
<character>PAT</character>
<dialogue>No one's going to hurt you.</dialogue>
<character>MacLEAN</character>
<parenthetical>( to David . )</parenthetical>
<dialogue>Listen to me.</dialogue>
<scene_description>David looks up at his father .</scene_description>
<character>MacLEAN</character>
<parenthetical>( continuing . )</parenthetical>
<dialogue>These people are going to take you to a - school - for a little while - it's for your own good. Understand? I'll take care of the dog.</dialogue>
<character>DAVID</character>
<parenthetical>( frantically . )</parenthetical>
<dialogue>You're not going to take Cricket.</dialogue>
<scene_description>He makes a dash for the outer door . MacLean steps for - ward and grabs his wrist and holds it with unnecessary force . David winces . Dr. Blake steps forward quickly , glances curiously at MacLean and detaches his fingers from the boy 's arm .</scene_description>
<character>BLAKE</character>
<parenthetical>( kindly . )</parenthetical>
<dialogue>It's all right, David. You can bring your dog.</dialogue>
<character>DAVID</character>
<parenthetical>( in a scared voice . )</parenthetical>
<dialogue>But I do n't understand why -?</dialogue>
<scene_description>Pat crosses and inserts David 's arm through hers and pats his hand .</scene_description>
<character>PAT</character>
<parenthetical>( gently . )</parenthetical>
<dialogue>Come on, David. Your father knows what's best. We're going to be good friends. Just wait and see!</dialogue>
<scene_description>Dr. Blake opens the door with one hand - casually takes David 's arm and they swiftly exit with him out into the hall , closing the door behind them .</scene_description>
</scene>
<scene>
<stage_direction>EXT. COUNTY HOSPITAL - NIGHT - FULL SHOT</stage_direction>
</scene>
<scene>
<stage_direction>INT. HOSPITAL - NIGHT - INSERT</stage_direction>
<scene_description>Sign reading `` MENTAL WARD . ''</scene_description>
</scene>
<scene>
<stage_direction>INT. DR. BLAKE'S CONSULTATION ROOM - NIGHT - FULL SHOT</stage_direction>
<scene_description>David is seated in a large , comfortable overstuffed chair . A practically empty plate of sandwiches stands on a coffee table next to the chair . David feeds a piece of sandwich to Cricket . Pat , who has removed her cape and is now wearing a starched R.N. cap , enters the scene with three paper cartons of malted milk . Dr. Blake has removed his coat and is seated on a sofa fac - ing David . Pat passes one of the containers to Dr. Blake , who opens the top and inserts a straw . She hands the other one to David , then sits on the sofa near the Doctor and starts drinking her malted milk . David is in a much better frame of mind than in the preceding scene .</scene_description>
<character>DAVID</character>
<dialogue>- and that's what happened - Look, Doctor, if you'd talk to my mother, she'll tell you about my father - about how he's changed and everything.</dialogue>
<scene_description>Pat and Blake exchange glances .</scene_description>
<character>BLAKE</character>
<dialogue>That's a good idea, David - in fact - I had already thought of it.</dialogue>
<character>DAVID</character>
<dialogue>You've talked to her?</dialogue>
<character>BLAKE</character>
<dialogue>Only over the phone. She ought to be here any minute now - you know, that's a very interesting story you just told us.</dialogue>
<character>DAVID</character>
<parenthetical>( resignedly . )</parenthetical>
<dialogue>- you do n't believe me, do you?</dialogue>
<character>BLAKE</character>
<dialogue>Oh, I would n't go so far as to say that. Better say I'm keeping an open mind.</dialogue>
<character>PAT</character>
<dialogue>And so am I.</dialogue>
<character>BLAKE</character>
<dialogue>There are no scars on the back of my head, David.</dialogue>
<character>PAT</character>
<parenthetical>( showing him . )</parenthetical>
<dialogue>Nor mine.</dialogue>
<scene_description>David looks at their heads , then sits back with relief and takes a slow meditative pull on his malted milk straw .</scene_description>
</scene>
<scene>
<stage_direction>INT. DR. BLAKE'S RECEPTION ROOM - NIGHT - MED. SHOT</stage_direction>
<scene_description>The door opens , and Mrs. MacLean enters . She looks around , sees no one , crosses to desk and taps the bell .</scene_description>
</scene>
<scene>
<stage_direction>INT. DR. BLAKE'S CONSULTATION ROOM - NIGHT - FULL SHOT</stage_direction>
<scene_description>They all look up at the sound of the bell . Blake rises and crosses to the door .</scene_description>
<character>BLAKE</character>
<parenthetical>( opens door . )</parenthetical>
<dialogue>Mrs. MacLean?</dialogue>
<character>MRS. MacLEAN'S VOICE</character>
<parenthetical>( off scene . )</parenthetical>
<dialogue>Yes.</dialogue>
<character>BLAKE</character>
<dialogue>Wo n't you come in? I'm Dr. Blake.</dialogue>
<scene_description>Mrs. MacLean enters . David jumps up from the chair and runs to his mother .</scene_description>
<character>DAVID</character>
<dialogue>Gee, Mom - I'm glad you're here!</dialogue>
<character>BLAKE</character>
<dialogue>This is Miss Collins.</dialogue>
<scene_description>Mrs. MacLean looks down and smiles brittlely . Then she coldly detaches his hands from her arm .</scene_description>
<character>MRS. MacLEAN</character>
<parenthetical>( impatiently . )</parenthetical>
<dialogue>How do you do. Sit down, David.</dialogue>
<scene_description>David stares at her , backs away and slowly sits back in the chair . Mrs. MacLean 's face is calm and composed and her manner brightly pleasant , almost to the point of in - congruity . She wears a light coat with a high collar and carries a purse .</scene_description>
<character>BLAKE</character>
<dialogue>Wo n't you sit down, Mrs. McLean?</dialogue>
<character>MRS. MacLEAN</character>
<dialogue>No thanks. My husband's waiting for me.</dialogue>
<character>BLAKE</character>
<dialogue>David tells me -</dialogue>
<character>MRS. MacLEAN</character>
<parenthetical>( interrupting . )</parenthetical>
<dialogue>I know what David's been telling you. He's always been highly im - aginative, and we've had a great deal of trouble with him - especi - ally since he got that telescope and has been reading those trashy science fiction magazines.</dialogue>
<character>BLAKE</character>
<parenthetical>( looking up . )</parenthetical>
<dialogue>Science fiction?</dialogue>
<character>MRS. MacLEAN</character>
<dialogue>Yes - horrible, weird things with pictures of monsters that come in space ships from other planets.</dialogue>
<character>BLAKE</character>
<dialogue>I see - and he's discussed these stories with you?</dialogue>
<character>MRS. MacLEAN</character>
<dialogue>Incessantly. He's gotten completely beyond our control.</dialogue>
<character>BLAKE</character>
<parenthetical>( with decision . )</parenthetical>
<dialogue>All right, Mrs. MacLean - I'm sure we'll be able to help him.</dialogue>
<scene_description>Mrs. MacLean turns and looks at David with unsympathetic eyes .</scene_description>
<character>MRS. MacLEAN</character>
<dialogue>Now you be a good boy - and do what the doctor tells you.</dialogue>
<scene_description>She walks toward the door .</scene_description>
</scene>
<scene>
<stage_direction>INT. DR. BLAKE'S CONSULTATION ROOM - NIGHT - CLOSE SHOT</stage_direction>
<scene_description>David stares incredulously at his mother . His eyes focus on the back of her head as she walks toward the door .</scene_description>
</scene>
<scene>
<stage_direction>INT. DR. BLAKE'S CONSULTATION ROOM - NIGHT - REVERSE</stage_direction>
<scene_description>David 's angle of Mrs. MacLean 's head . The back of her head is concealed by her hair and the high collar of her coat .</scene_description>
</scene>
<scene>
<stage_direction>INT. OF DR. BLAKE'S CONSULTATION ROOM - NIGHT - MED. LONG SHOT</stage_direction>
<scene_description>David looks up quickly at Dr. Blake , who is also look - ing at Mrs. McLean 's head as she opens the door and exits . Dr. Blake 's and David 's eyes meet in a curious look of understanding . Dr. Blake takes a notebook and pencil from his pocket .</scene_description>
<character>BLAKE</character>
<dialogue>Have you any relatives, David - around here, I mean?</dialogue>
<character>DAVID</character>
<parenthetical>( shaking his head . )</parenthetical>
<dialogue>Just my Aunt Margaret - but she lives over in Crystal Falls.</dialogue>
<character>BLAKE</character>
<dialogue>What's her name and address?</dialogue>
<character>DAVID</character>
<dialogue>Miss Margaret MacLean - 926 Drexel Avenue - Crystal Falls - Why?</dialogue>
<character>BLAKE</character>
<dialogue>Oh, just in case something comes up.</dialogue>
<parenthetical>( he squeezes David 's shoulder reassuringly . )</parenthetical>
<dialogue>We'll work this out together, David.</dialogue>
<scene_description>Blake exchanges a meaningful look at Pat . He crosses to an end table and picks up some magazines , which he hands to David .</scene_description>
<character>BLAKE</character>
<parenthetical>( continued . )</parenthetical>
<dialogue>Mind amusing yourself for a few minutes?</dialogue>
<character>DAVID</character>
<dialogue>No, sir.</dialogue>
<character>BLAKE</character>
<dialogue>Those are the latest issues of Look and Life. We'll be right back.</dialogue>
<character>DAVID</character>
<dialogue>Thank you, sir.</dialogue>
<scene_description>Blake and Pat exit into laboratory .</scene_description>
</scene>
<scene>
<stage_direction>INT. DR. BLAKE'S LABORATORY - NIGHT - FULL SHOT</stage_direction>
<scene_description>Blake and Pat enter . Pat looks up .</scene_description>
<character>PAT</character>
<parenthetical>( shaking her head . )</parenthetical>
<dialogue>That woman's a cold - blooded per - son if I ever saw one.</dialogue>
<character>BLAKE</character>
<dialogue>Too cold - blooded. You know, dear, I think that boy is tell - ing the truth.</dialogue>
<character>PAT</character>
<dialogue>But surely you do n't believe -?</dialogue>
<scene_description>He crosses to the desk and punches an automatic tele - phone directory list , then dials a number .</scene_description>
<character>PAT</character>
<dialogue>Who are you calling?</dialogue>
<character>BLAKE</character>
<dialogue>Stuart Kelston. David says he's a very good friend of his.</dialogue>
<character>PAT</character>
<parenthetical>( as he dials . )</parenthetical>
<dialogue>You do n't expect to find him at the observatory at this time of night, do you?</dialogue>
<character>BLAKE</character>
<dialogue>That's when astronomers work, my dear.</dialogue>
<parenthetical>( into phone . )</parenthetical>
<dialogue>Hello - Professor Kelston, please.</dialogue>
<scene_description>Pat sits beside Blake , placing her hand upon his shoulder affectionately .</scene_description>
<character>BLAKE</character>
<dialogue>Hello, Stu - Jim Blake -</dialogue>
</scene>
<scene>
<stage_direction>INT. PROF. KELSTON'S OFFICE - OBSERVATORY - NIGHT MED. SHOT</stage_direction>
<scene_description>Kelston is a lean , sandy - haired , angular man with a pleasant Scandinavian face and a slow , pedantic method of speech .</scene_description>
<character>KELSTON</character>
<dialogue>Hello, Jim. Who? Yes, I know him -.</dialogue>
<parenthetical>( pauses . )</parenthetical>
<dialogue>No - I'd say just the opposite - Matter of fact, I think he has the makings of a first - rate scientist.</dialogue>
<parenthetical>( chuckles . )</parenthetical>
<dialogue>Of course I mean astronomer. What other science is there? Why, certainly - come on up to the main entrance and ring the night bell - Right. Goodbye.</dialogue>
<scene_description>He hangs up the phone and assumes a thoughtful , puzzled expression .</scene_description>
</scene>
<scene>
<stage_direction>EXT. NEWSPAPER BUILDING - NIGHT - FULL SHOT</stage_direction>
<scene_description>There is a sign reading : `` HERALD - NEWS . ''</scene_description>
</scene>
<scene>
<stage_direction>INT. OF EDITOR'S OFFICE - NIGHT - MED. SHOT</stage_direction>
<scene_description>Ralph Pulzer , a dignified middle - aged gentleman , is seated at his desk , talking to John MacLean , who is standing looking down at him .</scene_description>
<character>PULZER</character>
<parenthetical>( shrugging his shoulders . )</parenthetical>
<dialogue>I do n't get it! In the first place I gave up leg work several years ago, and in the second place, I do n't see why you ca n't give me some inkling as to what the story is about?</dialogue>
<character>MacLEAN</character>
<dialogue>This story is so important that I am not taking anyone out there except you - and if you do n't want to go, I'll try the editor of the Blade.</dialogue>
<character>PULZER</character>
<parenthetical>( with resignation . )</parenthetical>
<dialogue>All right, Mr. MacLean - Pick me up at ten o'clock tonight.</dialogue>
<character>MacLEAN</character>
<dialogue>Alone.</dialogue>
<character>PULZER</character>
<dialogue>I'll be alone. And the story'd better be worth it.</dialogue>
<character>MacLEAN</character>
<dialogue>It will be - You'll see.</dialogue>
</scene>
<scene>
<stage_direction>EXT. GRIFFITH PARK OBSERVATORY - NIGHT - LONG SHOT</stage_direction>
<scene_description>As the CAMERA TRUCKS IN with the car , the headlights illuminate the facade and the heavy bronze door in high key . The lights cut off and Blake , Pat and David enter the observatory .</scene_description>
</scene>
<scene>
<stage_direction>INT. FOYER OF OBSERVATORY - NIGHT - MED. SHOT</stage_direction>
<scene_description>Pat , Blake and David - The Focault pendulum is in the background . The interior of the observatory foyer is illuminated in low key .</scene_description>
<character>PAT</character>
<dialogue>What's that thing?</dialogue>
<character>DAVID</character>
<parenthetical>( glibly . )</parenthetical>
<dialogue>That's the Focault pendulum. It de - monstrates the peripherial aberration of axial inclination.</dialogue>
<scene_description>Then David realizes he is talking to an amateur . Pat turns and stares at David in astonishment .</scene_description>
<character>DAVID</character>
<parenthetical>( continuing . )</parenthetical>
<dialogue>I mean it shows how much the earth is tilting on its axis.</dialogue>
<scene_description>At this point , Professor Kelston approaches .</scene_description>
<character>KELSTON</character>
<dialogue>Well, it did n't take you very long.</dialogue>
<character>BLAKE</character>
<dialogue>You've met Patricia Collins, Stu.</dialogue>
<character>PAT</character>
<dialogue>Of course. How are you, Professor?</dialogue>
<character>KELSTON</character>
<dialogue>Fine, thank you.</dialogue>
<character>BLAKE</character>
<dialogue>I believe you know -</dialogue>
<character>KELSTON</character>
<parenthetical>( interrupting and af - fectionately putting his hand on David 's shoulder . )</parenthetical>
<dialogue>Yes - David and I are old friends. Let's go to my office.</dialogue>
</scene>
<scene>
<stage_direction>INT. PROFESSOR KELSTON'S OFFICE - NIGHT - FULL SHOT</stage_direction>
<scene_description>Large scale star maps hang on the walls , interspersed with large photographs of comets , spiral nebulae , solar coronae , various lunar and solar eclipses . His desk is littered with a miscellaneous array of meteorites , photo - graphs and electrical viewing apparatus for astronomical plates . Professor Kelston seats himself at his desk , after indicating comfortable chairs in which his visitors dispose themselves .</scene_description>
<character>KELSTON</character>
<dialogue>Now - what's the big mystery?</dialogue>
<character>BLAKE</character>
<dialogue>Well - first we'd like to have a look at the back of your head.</dialogue>
<scene_description>A slow smile comes over Kelston 's face and his eyes twinkle .</scene_description>
<character>KELSTON</character>
<dialogue>Are you sure some of these patients you deal with are n't contagious?</dialogue>
<character>BLAKE</character>
<dialogue>Tonight I'm not altogether sure of anything.</dialogue>
<scene_description>Blake and David are seated together on a leather divan .</scene_description>
<character>BLAKE</character>
<parenthetical>( continuing . )</parenthetical>
<dialogue>No - seriously - you do n't happen to have any scars on the back of your head - do you?</dialogue>
<character>KELSTON</character>
<dialogue>Not since football. Why?</dialogue>
<character>BLAKE</character>
<dialogue>Mind letting us have a look?</dialogue>
<character>KELSTON</character>
<dialogue>Are you serious?</dialogue>
<scene_description>Blake nods in affirmation . Kelston rises , crosses in front of the desk and turns his head around for inspec - tion .</scene_description>
<character>KELSTON</character>
<dialogue>The bump of intelligence is prac - tically invisible.</dialogue>
<character>BLAKE</character>
<parenthetical>( looks at Kelston 's head . )</parenthetical>
<dialogue>Okay.</dialogue>
<scene_description>Kelston straightens and leans back against the edge of his desk .</scene_description>
<character>KELSTON</character>
<parenthetical>( puzzled . )</parenthetical>
<dialogue>I do n't get it.</dialogue>
<character>BLAKE</character>
<parenthetical>( seriously . )</parenthetical>
<dialogue>I'd like David to take it from here. All right, David.</dialogue>
<character>DAVID</character>
<parenthetical>( uncomfortably . )</parenthetical>
<dialogue>Well - I - every time I tell anybody this, they think I'm crazy.</dialogue>
<parenthetical>( looking up at Blake . )</parenthetical>
<dialogue>That is - I - I mean I -</dialogue>
<character>BLAKE</character>
<dialogue>Now, David, you go right ahead.</dialogue>
<character>DAVID</character>
<dialogue>Well - it started last night. I was looking for variables in Orion - and all of a sudden I saw this bright light -</dialogue>
</scene>
<scene>
<stage_direction>INT. KELSTON'S OFFICE - NIGHT</stage_direction>
<scene_description>CAMERA PULLS BACK from Kelston 's face . He is smoking a pipe and is staring meditatively through the smoke .</scene_description>
<character>BLAKE'S VOICE</character>
<parenthetical>( off scene . )</parenthetical>
<dialogue>- and everyone of the people that have those scars, behave strangely.</dialogue>
<character>KELSTON</character>
<parenthetical>( turns to David . )</parenthetical>
<dialogue>Are you positive that you saw these creatures or whatever they are pull the little Wilson girl under the ground?</dialogue>
<character>DAVID</character>
<dialogue>Yes, sir - I was n't two hundred yards away and I was looking through my one - inch telescope and it's fifty power.</dialogue>
<character>KELSTON</character>
<dialogue>How far is this field from your house, David?</dialogue>
<character>DAVID</character>
<dialogue>About a quarter of a mile.</dialogue>
<character>BLAKE</character>
<parenthetical>( to Kelston . )</parenthetical>
<dialogue>Then we could see it from here with the sixteen - inch.</dialogue>
<character>DAVID</character>
<parenthetical>( excitedly . )</parenthetical>
<dialogue>Yes, sir. I know we could.</dialogue>
<parenthetical>( he turns to Kelston . )</parenthetical>
<dialogue>You know that time last summer when you let me look right into the kit - chen window and I could see Mom in there cooking supper?</dialogue>
<character>KELSTON</character>
<parenthetical>( hesitatingly . )</parenthetical>
<dialogue>That was last summer, David. Since then, because of the top secret experiments at White Sands, the Army has instructed me to allow no one but my staff to use the telescope.</dialogue>
<parenthetical>( he pauses . )</parenthetical>
<dialogue>But under the circumstances, I'm sure it will be all right. Let's take a look.</dialogue>
<scene_description>They exit .</scene_description>
</scene>
<scene>
<stage_direction>EXT. GRIFFITH TELESCOPE ROOM - NIGHT - MED. SHOT</stage_direction>
<scene_description>- opening of upper aperture and dome rotating approxi - mately sixty degrees and stopping .</scene_description>
</scene>
<scene>
<stage_direction>INT. GRIFFITH TELESCOPE ROOM - NIGHT - MED. SHOT</stage_direction>
<scene_description>Kelston , Blake , Pat and David station themselves at Multiple oculars while Kelston focuses instrument with manual verniers .</scene_description>
<character>KELSTON</character>
<dialogue>We're fortunate - there's plenty of moonlight tonight.</dialogue>
</scene>
<scene>
<stage_direction>EXT. MACLEAN FIELD - NIGHT - THROUGH TELESCOPE - MATTE</stage_direction>
<character>DAVID</character>
<parenthetical>( excitedly . )</parenthetical>
<dialogue>That's it! That's where they got Kathy Wilson.</dialogue>
<character>PAT'S VOICE</character>
<parenthetical>( over scene . )</parenthetical>
<dialogue>Good heavens! I never imagined you could see so clearly.</dialogue>
</scene>
<scene>
<stage_direction>INT. GRIFFITH TELESCOPE ROOM - NIGHT - MED. SHOT</stage_direction>
<character>KELSTON</character>
<dialogue>Now let's increase the magnifi - cation so we can get a closer view.</dialogue>
</scene>
<scene>
<stage_direction>EXT. MACLEAN FIELD - NIGHT - THROUGH TELESCOPE - MATTE</stage_direction>
<scene_description>The telescope zooms into MED . LONG SHOT and sharpens . An automobile comes slowly into the field of vision and stops and the lights are extinguished .</scene_description>
<character>DAVID'S VOICE</character>
<parenthetical>( off scene . )</parenthetical>
<dialogue>That's Dad's car.</dialogue>
<scene_description>A front door of the sedan opens and the dome light il - luminates the interior of the car in comparative high key .</scene_description>
<character>DAVID'S VOICE</character>
<parenthetical>( o.s . )</parenthetical>
<dialogue>Someone's with him.</dialogue>
<character>KELSTON'S VOICE</character>
<parenthetical>( o.s . )</parenthetical>
<dialogue>Let's get a real close look.</dialogue>
<scene_description>The telescope field narrows and brings MacLean and his companion up into a MED . CLOSE SHOT .</scene_description>
<character>BLAKE'S VOICE</character>
<parenthetical>( o.s . )</parenthetical>
<dialogue>That looks like Ralph Pulzer.</dialogue>
<character>PAT'S VOICE</character>
<parenthetical>( o.s . )</parenthetical>
<dialogue>The editor of the Herald News?</dialogue>
<character>KELSTON'S VOICE</character>
<parenthetical>( o.s . )</parenthetical>
<dialogue>Yes, that's who it is - I know him.</dialogue>
<scene_description>Pulzer seems to be discussing something rather vehement - ly with MacLean . He suddenly shrugs his shoulders , takes a flashlight which MacLean offers him , gets out of the car and closes the door , walks around the car and starts out across the field , lighting his way with the flashlight .</scene_description>
<character>BLAKE'S VOICE</character>
<parenthetical>( o.s . )</parenthetical>
<dialogue>Your father stayed in the car.</dialogue>
<character>DAVID' S VOICE</character>
<parenthetical>( o.s . )</parenthetical>
<dialogue>That man's walking right to the place where -</dialogue>
<scene_description>The telescope shot PANS with Pulzer as he ascends a slight rise . He reaches the top of the mound and stops , turning the flashlight in a slow circle about him , when suddenly the flashlight goes out and all is darkness .</scene_description>
</scene>
<scene>
<stage_direction>INT. TELESCOPE ROOM - NIGHT - CLOSE SHOT</stage_direction>
<scene_description>Group around telescope . They look up from the oculars and stare at each other , with speechless amazement . Kelston reaches for the verniers , they look back into the oculars .</scene_description>
</scene>
<scene>
<stage_direction>EXT. MACLEAN FIELD - NIGHT - THROUGH TELESCOPE - MATTE</stage_direction>
<scene_description>- it PANS DOWN to MacLean 's automobile just in time to see the headlights turn on and the car move rapidly out of scene .</scene_description>
</scene>
<scene>
<stage_direction>INT. TELESCOPE ROOM - NIGHT - MED. SHOT</stage_direction>
<scene_description>Group around telescope . They look at Kelston with questioning faces .</scene_description>
<character>KELSTON</character>
<parenthetical>( calmly . )</parenthetical>
<dialogue>If you'll go back to my office - I'll join you there in a few minutes.</dialogue>
<scene_description>Blake takes Pat 's arm and he , Pat and David exit . Kelston crosses to his desk and flips a switch on the intercom .</scene_description>
<character>KELSTON</character>
<parenthetical>( into intercom . )</parenthetical>
<dialogue>George. When did you check the rocket at White Sands last?</dialogue>
<parenthetical>( pause . )</parenthetical>
<dialogue>No, do n't bother - I'll check it myself as long as I'm up here.</dialogue>
<scene_description>Kelston hangs up the intercom , crosses to the switch box and presses a button . The upper aperture slowly turns on its axis .</scene_description>
</scene>
<scene>
<stage_direction>EXT. OBSERVATORY DOME - NIGHT - MED. SHOT</stage_direction>
<scene_description>The dome slowly turns on its axis and stops .</scene_description>
</scene>
<scene>
<stage_direction>INT. TELESCOPE ROOM - NIGHT - MED. SHOT</stage_direction>
<scene_description>Kelston has just finished swinging the telescope into position . He looks into the eye piece .</scene_description>
</scene>
<scene>
<stage_direction>EXT. WHITE SANDS - NIGHT - (SPECIAL EFFECTS-STOCK SHOT)</stage_direction>
<scene_description>We see a giant rocket standing upright in a take - off position .</scene_description>
</scene>
<scene>
<stage_direction>INT. TELESCOPE ROOM - NIGHT - MED. LONG SHOT</stage_direction>
<scene_description>Kelston steps down from the telescope and crosses to a small desk lighted by a low power student 's lamp . He sits down and dials the telephone .</scene_description>
<character>KELSTON</character>
<parenthetical>( into phone . )</parenthetical>
<dialogue>Hello, operator. This is Pro - fessor Stuart Kelston at the Astronomical Observatory. Get me the White Sands Rocket Proving Station, please.</dialogue>
<parenthetical>( pause . )</parenthetical>
<dialogue>Hello - White Sands? Give me the Security Office.</dialogue>
<parenthetical>( pause . )</parenthetical>
<dialogue>Hello - is Colonel Fielding there?</dialogue>
<parenthetical>( pause . )</parenthetical>
<dialogue>Yes, it's most important.</dialogue>
<parenthetical>( pause . )</parenthetical>
<dialogue>Hello, Colonel - this is Stuart Kelston at the Observatory. Operation 925 is with us.</dialogue>
</scene>
<scene>
<stage_direction>INT. COLONEL FIELDING'S OFFICE - NIGHT - MED. SHOT</stage_direction>
<scene_description>Colonel Fielding , head of White Sands Security Division , is seated at his desk talking into the phone . A keen , executive type man , he is in his shirt sleeves , but in uniform . -</scene_description>
<character>COL. FIELDING</character>
<parenthetical>( into phone . )</parenthetical>
<dialogue>What?!</dialogue>
<parenthetical>( pause . )</parenthetical>
<dialogue>Are you sure?</dialogue>
<parenthetical>( pause . )</parenthetical>
<dialogue>All right, I'll be at your office in the morning - 9:00 o'clock. Right. Goodbye.</dialogue>
<scene_description>The Colonel hangs up the phone and assumes a thoughtful expression . He rises and crosses to a filing cabinet , removes a key from his pocket and unlocks the file . He pulls out a drawer from which he takes a manila folder . He crosses back to his desk , seats himself and then opens the folder - removing some papers . We DOLLY into an INSERT of the label on the outside of the folder - it reads : OPERATION 925 - TOP SECRET .</scene_description>
</scene>
<scene>
<stage_direction>INT. PROFESSOR KELSTON'S OFFICE - NIGHT - FULL SHOT</stage_direction>
<scene_description>Pat , David and Blake are on scene . Kelston enters and crosses behind his desk , opens a drawer and takes out a large scrapbook .</scene_description>
<character>KELSTON</character>
<parenthetical>( to David . )</parenthetical>
<dialogue>Young man - it looks like you've stumbled on to something that the government has been concerned about for some time.</dialogue>
<scene_description>Blake , Pat and David cross to desk . Kelston opens scrap - book .</scene_description>
<character>PAT</character>
<dialogue>What do you mean?</dialogue>
<character>KELSTON</character>
<dialogue>You've seen most of these magazine and newspaper stories of so - called flying saucers before - but have you ever seen them compiled in one book?</dialogue>
<scene_description>INSERT - SCRAPBOOK - with clips of flying saucer stories . CAMERA PANS from one headline to another .</scene_description>
<character>KELSTON</character>
<parenthetical>( o.s . )</parenthetical>
<dialogue>When you see them al together, they begin to add up.</dialogue>
</scene>
<scene>
<stage_direction>INT. PROF. KELSTON'S OFFICE - NIGHT - FULL SHOT</stage_direction>
<character>BLAKE</character>
<dialogue>But the authorities have denied all these stories.</dialogue>
<character>KELSTON</character>
<dialogue>Yes, they have - and they will probably continue to do so.</dialogue>
<character>PAT</character>
<dialogue>But why? Why not keep the public informed?</dialogue>
<character>KELSTON</character>
<dialogue>Lack of complete information, I suppose. And perhaps afraid it would cause panic and hysteria.</dialogue>
<character>DAVID</character>
<dialogue>Where are these space ships from, Professor Kelston?</dialogue>
<character>KELSTON</character>
<dialogue>Our observations lead us to believe they are from mother ships in free orbit just above Earth's atmosphere.</dialogue>
<character>PAT</character>
<dialogue>But where are these mother ships from?</dialogue>
<character>KELSTON</character>
<dialogue>Nobody knows - we've worked out a postulate and Mars seems to be the logical point of origin. Step in here and I'll show you.</dialogue>
</scene>
<scene>
<stage_direction>INT. PLANETARIUM - LECTURE ROOM - NIGHT - MED. SHOT</stage_direction>
<scene_description>Kelston is seated at the operating console . Pat , David and Blake are standing by it . The projector is in back - ground . Kelston turns a rheostat and the light dims .</scene_description>
<character>KELSTON</character>
<parenthetical>( pointing . )</parenthetical>
<dialogue>That's our planetary system there -</dialogue>
</scene>
<scene>
<stage_direction>INT. PLANETARIUM - LECTURE ROOM - SHOOTING UP AT DOME (EFFECT SHOT)</stage_direction>
<scene_description>- of our planetary system on inverted dome of planet - arium . A white projected arrow indicates each point as Kelston speaks o.s.</scene_description>
<character>KELSTON'S VOICE</character>
<parenthetical>( o.s . )</parenthetical>
<dialogue>This is the earth moving around the sun on this orbit - and this is the orbit of Mars. And here is the rela - tive position of Mars and Earth to - night.</dialogue>
<character>PAT'S VOICE</character>
<parenthetical>( o.s . )</parenthetical>
<dialogue>Why - they're our next door neigh - bors!</dialogue>
<character>KELSTON'S VOICE</character>
<parenthetical>( o.s . )</parenthetical>
<dialogue>Yes - only a little over three mil - lion miles -</dialogue>
<character>PAT'S VOICE</character>
<parenthetical>( o.s . )</parenthetical>
<dialogue>It would take forever to travel three million miles.</dialogue>
<character>KELSTON'S VOICE</character>
<parenthetical>( o.s . )</parenthetical>
<dialogue>Hardly.</dialogue>
<scene_description>The scene on the planetarium changes .</scene_description>
</scene>
<scene>
<stage_direction>INT. PLANETARIUM LECTURE ROOM - NIGHT - MED. SHOT</stage_direction>
<character>KELSTON</character>
<dialogue>Our earth is traveling through space at well over a hundred thousand miles an hour. At that speed, we could reach Mars in thirty days - or they could reach us.</dialogue>
<character>PAT</character>
<dialogue>But I do n't understand - why do n't we burn up from friction?</dialogue>
<character>KELSTON</character>
<dialogue>There is n't any atmosphere in space - therefore - no friction.</dialogue>
<character>BLAKE</character>
<dialogue>But why do you think they're from Mars?</dialogue>
</scene>
<scene>
<stage_direction>INT. PLANETARIUM LECTURE ROOM - SHOOTING UP AT DOME EFFECT SHOT</stage_direction>
<character>KELSTON'S VOICE</character>
<parenthetical>( o.s . )</parenthetical>
<dialogue>Because Mars is closer to us than any other planet. They are now in their winter, and those are polar caps - the same as ours. See how much smaller they are in summer - those dark areas are vegetation.</dialogue>
<character>PAT'S VOICE</character>
<parenthetical>( o.s . )</parenthetical>
<dialogue>Do they have cities, too - the same as ours?</dialogue>
<character>KELSTON'S VOICE</character>
<parenthetical>( o.s . )</parenthetical>
<dialogue>If they do, they are underground - the low oxygen content and extremes of temperature indicate a sub - terranean culture.</dialogue>
<character>DAVID'S VOICE</character>
<parenthetical>( o.s . )</parenthetical>
<dialogue>Those things in our pasture are subterranean all right.</dialogue>
</scene>
<scene>
<stage_direction>INT. PLANETARIUM LECTURE ROOM - NIGHT - MED. SHOT</stage_direction>
<scene_description>- as the house lights go up . Kelston sits at the con - trol console .</scene_description>
<character>PAT</character>
<dialogue>But how would Martians have enough intelligence to build space ships?</dialogue>
<character>KELSTON</character>
<dialogue>The human race does n't have a monopoly on intelligence. Besides - Mars is millions of years older than we are.</dialogue>
<character>PAT</character>
<dialogue>But what's their reason for travel - ing so far through space?</dialogue>
<character>KELSTON</character>
<dialogue>Mars is a dying planet. They are losing their oxygen and water.</dialogue>
<character>BLAKE</character>
<dialogue>Then this could be the start of an invasion.</dialogue>
<character>KELSTON</character>
<dialogue>I'm afraid it is.</dialogue>
<character>PAT</character>
<dialogue>But why did they begin here?</dialogue>
<character>KELSTON</character>
<dialogue>Because of the operations at White Sands.</dialogue>
<character>PAT</character>
<dialogue>But all they're doing at White Sands is just shooting rockets up into the air.</dialogue>
<character>KELSTON</character>
<dialogue>Exactly. Very high up into the air - beyond atmosphere and in - to space. The scientists at White Sands have developed a rocket powerful enough to take them to these mother ships in outer space. That rocket is completed and ready to be fired right now. That may be the Mar - tians objective.</dialogue>
<parenthetical>( he rises . )</parenthetical>
<dialogue>However, we'll have the answers to a lot of our questions tomorrow. Colonel Fielding, the head of the Security Division will be in my office in the morning. I'm sure he will want to talk to all of you - can you be here?</dialogue>
<character>BLAKE</character>
<dialogue>Certainly - what time?</dialogue>
<character>KELSTON</character>
<dialogue>Nine o'clock.</dialogue>
<scene_description>Blake , Pat and David rise . Kelston comes with them to the door .</scene_description>
</scene>
<scene>
<stage_direction>EXT. GRIFFITH OBSERVATORY - DAY - LONG SHOT</stage_direction>
</scene>
<scene>
<stage_direction>INT. KELSTON'S OFFICE - DAY - FULL SHOT</stage_direction>
<scene_description>Colonel Robert Fielding is seated at Kelston 's desk , talking to Kelston . Blake , Pat and David are seated on chairs in the office . David is just hanging up the telephone .</scene_description>
<character>DAVID</character>
<dialogue>I do n't know where they could be. If they're at home they're not answering the phone - I called last night and this is the second time this morning.</dialogue>
<character>FIELDING</character>
<parenthetical>( rising . )</parenthetical>
<dialogue>Hm, I see. Come on, young man - you and I are going out to do a little investigating.</dialogue>
<character>DAVID</character>
<dialogue>Can we stop by the hospital and get my dog?</dialogue>
<character>FIELDING</character>
<dialogue>I do n't think we'd better take the time right now.</dialogue>
<character>BLAKE</character>
<dialogue>We'll take care of him, David.</dialogue>
<scene_description>Blake and David exit . Kelston stops Fielding at the door .</scene_description>
<character>KELSTON</character>
<parenthetical>( in a low voice . )</parenthetical>
<dialogue>Just a moment, Colonel. I called Ralph Pulzer's office this morning - he's left town with Chief of Police Barrows and Detectives Jackson and Blaine - and they did n't say where they were going.</dialogue>
<character>FIELDING</character>
<dialogue>Will you get me a description of all these people? I'll phone you later.</dialogue>
<character>KELSTON</character>
<dialogue>I will, Colonel.</dialogue>
</scene>
<scene>
<stage_direction>EXT. FRONT OF MacLEAN'S HOUSE - DAY - FULL SHOT</stage_direction>
<scene_description>A Cadillac limousine , with a long whip aerial , pulls up in front of the house and stops . It is driven by Ser - geant Balardi . He opens the door and Fielding and David step out . David runs up the driveway . Fielding remains standing by the car door .</scene_description>
<character>FIELDING</character>
<dialogue>Sergeant, phone Professor Kelston at the Observatory and see if he has that information I wanted.</dialogue>
<character>BALARDI</character>
<parenthetical>( reaching for the phone . )</parenthetical>
<dialogue>Yes, sir.</dialogue>
<scene_description>Fielding turns and exits from the scene .</scene_description>
</scene>
<scene>
<stage_direction>EXT. FRONT OF MacLEAN HOUSE - DAY - MED. SHOT</stage_direction>
<scene_description>David is waiting in the driveway as Fielding joins him .</scene_description>
<character>DAVID</character>
<dialogue>The car's not here.</dialogue>
<character>FIELDING</character>
<dialogue>Well, let's take a look inside the house.</dialogue>
<scene_description>They walk toward the front door .</scene_description>
</scene>
<scene>
<stage_direction>EXT. FRONT MacLEAN HOUSE - DAY - MED. CLOSE SHOT</stage_direction>
<scene_description>Balardi is on the telephone in the car , holding a note - book on his knee and writing .</scene_description>
<character>BALARDI</character>
<dialogue>Yes, sir. John MacLean, age thirty - five, height, five feet eleven inches, weight, 165, hair, brown.</dialogue>
</scene>
<scene>
<stage_direction>INT. MacLEAN BEDROOM - DAY - FULL SHOT</stage_direction>
<scene_description>Fielding is standing in the middle of the room and David is standing before an open closet , very perturbed .</scene_description>
<character>DAVID</character>
<parenthetical>( perturbed . )</parenthetical>
<dialogue>My mother's suitcase is gone, and my father's rifle. He used to keep it in this closet.</dialogue>
<character>FIELDING</character>
<dialogue>What kind of a rifle?</dialogue>
<character>DAVID</character>
<dialogue>A 30.06.</dialogue>
<character>FIELDING</character>
<dialogue>Hm - I'd like to talk to someone who - What about that little girl - the one you think set fire to her mother's house?</dialogue>
<character>DAVID</character>
<dialogue>Kathy Wilson? - I can take you over there.</dialogue>
</scene>
<scene>
<stage_direction>EXT. WILSON FRONT PORCH - DAY - FULL SHOT</stage_direction>
<scene_description>Mrs. Wilson stands on the porch , talking to Fielding , Balardi and David . She is distraught and nervous .</scene_description>
<character>FIELDING</character>
<dialogue>I'm very sorry to hear that, Mrs. Wilson. When did it happen?</dialogue>
<character>MRS. WILSON</character>
<parenthetical>( through tears . )</parenthetical>
<dialogue>Early this morning.</dialogue>
<character>FIELDING</character>
<dialogue>What did the doctor say?</dialogue>
<character>MRS. FIELDING</character>
<dialogue>He said something about a cerebral hemorrhage.</dialogue>
<parenthetical>( then , semi - hysterically . )</parenthetical>
<dialogue>But how a little child could have a thing like that -</dialogue>
</scene>
<scene>
<stage_direction>EXT. WILSON HOUSE - DAY - CLOSE SHOT</stage_direction>
<scene_description>David - reacting and thinking about his mother and father .</scene_description>
<character>FIELDING'S VOICE</character>
<parenthetical>( o.s . )</parenthetical>
<dialogue>Mrs. Wilson, I do n't like to disturb you at a time like this - but there's just one question I'd like to ask you - Do you have any idea why your lit - tle girl started the fire in the cel - lar yesterday?</dialogue>
</scene>
<scene>
<stage_direction>EXT. WILSON HOUSE - MED. GROUP SHOT</stage_direction>
<character>MRS. WILSON</character>
<dialogue>I do n't know what started the fire! And I do n't know why you have to torture me with a lot of questions!</dialogue>
<character>FIELDING</character>
<parenthetical>( bowing . )</parenthetical>
<dialogue>I'm sorry and I wo n't bother you any more.</dialogue>
<scene_description>David stands frozen , thinking what could happen to his mother and father .</scene_description>
<character>FIELDING</character>
<dialogue>Thank you - come along, David.</dialogue>
<scene_description>Mrs. Wilson turns abruptly and enters front door .</scene_description>
</scene>
<scene>
<stage_direction>EXT. MacLEAN FIELD - DAY - FULL SHOT</stage_direction>
<scene_description>Fielding , Balardi and David - with the bushes in f.g. where David observed Kathy Wilson 's capture through his small telescope . Fielding holds a monocular -LRB- Sportscope -RRB- in his hand .</scene_description>
<character>FIELDING</character>
<parenthetical>( to David . )</parenthetical>
<dialogue>Can you point out the place where the Wilson child disappeared?</dialogue>
<scene_description>He hands the monocular to David , who adjusts it .</scene_description>
<character>DAVID</character>
<parenthetical>( after a slight pause . )</parenthetical>
<dialogue>There - those three white stones are right by the edge of it - you can even see the crack - see it over there?</dialogue>
<character>FIELDING</character>
<dialogue>Let's have a look.</dialogue>
<scene_description>David hands him the monocular ; Fielding looks through it .</scene_description>
</scene>
<scene>
<stage_direction>EXT. MacLEAN FIELD - DAY - TELESCOPE MATTE SHOT</stage_direction>
<scene_description>- a faint crack approximately four feet in diameter is clearly visible near three white stones .</scene_description>
</scene>
<scene>
<stage_direction>EXT. MacLEAN FIELD - DAY - MED. SHOT</stage_direction>
<scene_description>Fielding removes the monocular from his eye and turns to Sergeant Balardi .</scene_description>
<character>FIELDING</character>
<parenthetical>( pointing . )</parenthetical>
<dialogue>See those bushes down there - by the road, Sergeant?</dialogue>
<character>BALARDI</character>
<dialogue>Yes, sir.</dialogue>
<character>FIELDING</character>
<dialogue>There are three white stones in the field about one hundred feet from there at two o'clock.</dialogue>
<character>BALARDI</character>
<dialogue>Yes, sir, I see them.</dialogue>
<character>FIELDING</character>
<dialogue>Go down behind those bushes - and when you get there, throw some rocks as close to those three white stones as you can.</dialogue>
<character>BALARDI</character>
<dialogue>Yes, sir.</dialogue>
<character>FIELDING</character>
<dialogue>Whatever's down there must be sensi - tive to sound - so keep your distance.</dialogue>
<character>BALARDI</character>
<dialogue>Yes, sir.</dialogue>
<character>FIELDING</character>
<dialogue>And when I signal you, come back here on the double.</dialogue>
<character>BALARDI</character>
<dialogue>Yes, sir.</dialogue>
<scene_description>The Sergeant crosses out of scene , and Fielding turns to David .</scene_description>
<character>FIELDING</character>
<parenthetical>( to David . )</parenthetical>
<dialogue>Just exactly what did this thing look like, son? The thing that grabbed the little Wilson girl.</dialogue>
<character>DAVID</character>
<dialogue>It moved so fast it was hard for me to see exactly what it looked like.</dialogue>
</scene>
<scene>
<stage_direction>EXT. MacLEAN FIELD - DAY - MED. CLOSE SHOT - BALARDI</stage_direction>
<scene_description>He kneels on one knee beside a small pile of stones about the size of peaches . He takes one in his right hand and hurls it over the bushes as one throws a gren - ade .</scene_description>
</scene>
<scene>
<stage_direction>EXT. MacLEAN FIELD - DAY - MED. SHOT</stage_direction>
<scene_description>Fielding and David - as Fielding looks through monocu - lar .</scene_description>
</scene>
<scene>
<stage_direction>EXT. MacLEAN FIELD - DAY - MATTE SHOT</stage_direction>
<scene_description>Through monocular - of stone falling near the center of the shot .</scene_description>
<character>FIELDING</character>
<parenthetical>( o.s . )</parenthetical>
<dialogue>Well, that one ought to be close enough for them to hear!</dialogue>
<scene_description>Another stone falls in the same area , and a circular four - foot section of earth slowly rises about six in - ches , revealing an indistinct shape that moves as though someone or something were peering out of the crack .</scene_description>
<character>FIELDING</character>
<parenthetical>( o.s . )</parenthetical>
<dialogue>Something's moving - but I ca n't make out what it is!</dialogue>
<scene_description>Another stone falls near the trapdoor and it closes swiftly .</scene_description>
</scene>
<scene>
<stage_direction>EXT. MacLEAN FIELD - DAY - MED. SHOT</stage_direction>
<scene_description>Fielding and David . As Fielding lowers monocular .</scene_description>
<character>FIELDING</character>
<dialogue>That's a trapdoor all right. Some - thing's in there!</dialogue>
<scene_description>David looks at him and nods concerned affirmation . Fielding raises his monocular again and looks toward the bushes where Sergeant Balardi was throwing the rocks .</scene_description>
<character>FIELDING</character>
<dialogue>Where's Balardi? Come on!</dialogue>
<scene_description>He runs toward field , David follows and CAMERA PANS with them .</scene_description>
</scene>
<scene>
<stage_direction>EXT. MacLEAN FIELD - DAY - MED. SHOT</stage_direction>
<scene_description>Fielding and David - warily approach the bushes behind which the Sergeant was throwing rocks . Suddenly they stop , staring at the ground .</scene_description>
<character>DAVID</character>
<dialogue>They got him! See there?</dialogue>
</scene>
<scene>
<stage_direction>EXT. MacLEAN FIELD - DAY - REVERSE CLOSE SHOT</stage_direction>
<scene_description>Their angle of the faint , circular , four - foot outline near where the Sergeant was last seen . His military cap lies on the ground and scratches and gouges show where his fingers clawed as he was dragged down into the hole .</scene_description>
<character>FIELDING'S VOICE</character>
<parenthetical>( o.s . )</parenthetical>
<dialogue>That's the last one they'll get - come on, son!</dialogue>
</scene>
<scene>
<stage_direction>EXT. MacLEAN FIELD - DAY - MED. SHOT</stage_direction>
<scene_description>Fielding 's car . Fielding reaches into car and flips the catch on the fish pole antenna , which flies up . David watches with interest as Fielding takes out a phone and pushes the button on the hand set .</scene_description>
<character>FIELDING</character>
<parenthetical>( into phone . )</parenthetical>
<dialogue>This is WJ605. Dispatch White Sands, 121A. Closed circuit. Expedite. Priority A - 14.</dialogue>
<parenthetical>( pause . )</parenthetical>
<dialogue>Hello, Walter?</dialogue>
<parenthetical>( pause . )</parenthetical>
<dialogue>Fielding. Operation 925 is with us!</dialogue>
<parenthetical>( pause . )</parenthetical>
<dialogue>Yes, I'm sure. Now, hear this - I want you to muster two platoons and a demolition team, with plenty of C - two charge. Equip them with sub - machine guns and grenades. Bring the light Sherman tank and get here as fast as you can. Get rolling. I'll expect you here by tomorrow at fourteen hundred. Got that?</dialogue>
<parenthetical>( pause . )</parenthetical>
<dialogue>Rendezvous is at the intersection off State Highway eighty - six and Belle Meade Road. If any newspaper people ask you any questions, tell them it's a training maneuver.</dialogue>
<parenthetical>( pause . )</parenthetical>
<dialogue>Right! Goodbye.</dialogue>
<scene_description>He presses the stud again .</scene_description>
<character>FIELDING</character>
<dialogue>WJ605. Dispatch 143. Expedite. Closed circuit.</dialogue>
<parenthetical>( pause . )</parenthetical>
<dialogue>Hello, Cagle? - Fielding. Opera - tion 925.</dialogue>
<parenthetical>( pause . )</parenthetical>
<dialogue>Yes - Now clear the boards for this. Cover all key supply sources for the White Sands rocket project.</dialogue>
<parenthetical>( Fielding reading from notebook . )</parenthetical>
<dialogue>Put out an all - points alarm for the following subjects - John MacLean, Age, thirty - five, height, five feet eleven. Weight, 165, - hair -</dialogue>
<scene_description>INSERT - EXT. . PLATE GLASS DOOR It reads U.S. ARMY INTELLIGENCE - MAJOR G.A. CAGLE</scene_description>
</scene>
<scene>
<stage_direction>INT. U.S. ARMY INTELLIGENCE OFFICE - DAY - FULL SHOT</stage_direction>
<scene_description>Major Cagle is seated at his desk , listening on the phone and writing on a pad . He is an alert , hawk - eyed man who looks like a successful attorney .</scene_description>
<character>CAGLE</character>
<parenthetical>( in a sharp , incisive manner . )</parenthetical>
<dialogue>Yes, Colonel - I have it - John MacLean - Mary MacLean - Ralph Pulzer, Chief Fred Barrow, Detectives Jackson and Blaine.</dialogue>
<parenthetical>( pause . )</parenthetical>
<dialogue>Yes, sir - all points bulletin. And they are to be returned to Dr. Blake at the County Hospital.</dialogue>
<scene_description>He hangs up the phone and flips the toggle on an inter - com box on his desk .</scene_description>
<character>CAGLE</character>
<parenthetical>( into intercom . )</parenthetical>
<dialogue>Clear the teletype - and code this right away with special attention to Armstrong Liquid Oxygen Plant and Belaer Magnesium Plant - also all other key supply sources for the White Sands Rocket Project. Get that?</dialogue>
<parenthetical>( pause . )</parenthetical>
<dialogue>First subject : John MacLean, age thirty - five, height five feet eleven -</dialogue>
<scene_description>MONTAGE 1 -RRB- Teletypes . 2 -RRB- Hands operating telegraph keys in high speed code . 3 -RRB- Telegraph wires - odd angles .</scene_description>
</scene>
<scene>
<stage_direction>EXT. ALLEY - SILHOUETTE OF BELAER MAGNESIUM PLANT IN B.G. - NIGHT - LONG SHOT</stage_direction>
<scene_description>Detectives Blaine and Jackson run toward CAMERA and turn around corner of building and stand flattened against the wall . CAMERA PANS to Blaine and Jackson . Behind them is sign : BELAER MAGNESIUM PLANT . The scene is lighted in low key by street light . Over scene there is a terrific shattering explosion .</scene_description>
</scene>
<scene>
<stage_direction>EXT. ALLEY - NIGHT - LONG SHOT</stage_direction>
<scene_description>The silhouette of the factory is gone . A siren o.s. builds up to crescendo .</scene_description>
</scene>
<scene>
<stage_direction>EXT. ALLEY - NIGHT - FULL SHOT</stage_direction>
<scene_description>Blaine and Jackson - as they turn and run away from an army military police car that pulls up to the curb . They turn and run up the alley in the direction from whence they came and the headlights of another military police car come into alley with siren going .</scene_description>
</scene>
<scene>
<stage_direction>EXT. ALLEY - NIGHT - CLOSE SHOT</stage_direction>
<scene_description>- Blaine and Jackson huddle back against the wall , caught in the blazing headlights of the two military police cars . As a group of soldiers emerge from each car and converge upon Blaine and Jackson with drawn revolvers -</scene_description>
</scene>
<scene>
<stage_direction>EXT. WIRE FENCE - OXYGEN PLANT - NIGHT - FULL SHOT</stage_direction>
<scene_description>The CAMERA PANS ALONG the woven wire fence and pulls in on :</scene_description>
</scene>
<scene>
<stage_direction>EXT. WIRE FENCE - OXYGEN PLANT - NIGHT - MED. SHOT</stage_direction>
<scene_description>Sentry - standing guard at which is obviously a side gate . INSERT - SIGN OVER GATE `` ARMSTRONG LIQUID OXYGEN PLANT . '' A small sign underneath reads : `` Apply to main gate for admittance . ''</scene_description>
</scene>
<scene>
<stage_direction>EXT. OXYGEN PLANT - NIGHT - MED. SHOT - SENTRY</stage_direction>
<scene_description>He straightens up at the sound of a car approaching off scene . The motor of the car sputters and the headlights pick up the sentry as the forepart of the car moves into scene .</scene_description>
</scene>
<scene>
<stage_direction>EXT. OXYGEN PLANT - NIGHT - MED. SHOT - SEDAN IN B.G. SENTRY IN F.G.</stage_direction>
<character>SENTRY</character>
<dialogue>You ca n't park here, lady.</dialogue>
<character>MARY MacLEAN</character>
<dialogue>Something's the matter with my car - I think it's the ignition -</dialogue>
</scene>
<scene>
<stage_direction>EXT. OXYGEN PLANT - NIGHT - MED. CLOSE SHOT</stage_direction>
<scene_description>Through window of car . Mary MacLean - speaking to sen - try in background .</scene_description>
<character>MARY MacLEAN</character>
<parenthetical>( continuing . )</parenthetical>
<dialogue>Do you suppose you could find out what's the matter with it?</dialogue>
<character>SENTRY</character>
<parenthetical>( leaning rifle against fence . )</parenthetical>
<dialogue>I'm not much of a mechanic, lady, but I'll take a look.</dialogue>
<scene_description>He crosses to the front of the car and there is a click as Mary MacLean releases the hood catch . The sentry leans over the motor and turns on his flashlight . The rear door of the sedan opens and John MacLean moves swiftly around behind the sentry , carrying a rifle . There is a thud as he strikes the sentry over the back of the head with the rifle butt and the sentry falls over the fender of the car unconscious and then falls to the ground . MacLean closes the hood of the car and drags the sentry over near the fence .</scene_description>
<character>MacLEAN</character>
<dialogue>Start the motor - I'll be right back.</dialogue>
<scene_description>There is the sound of the engine starting over scene .</scene_description>
</scene>
<scene>
<stage_direction>EXT. OXYGEN PLANT - NIGHT - NEW ANGLE</stage_direction>
<scene_description>- as MacLean swiftly enters the gate the sentry was guard - ing and runs to the corner of the adjacent brick building .</scene_description>
</scene>
<scene>
<stage_direction>EXT. OXYGEN PLANT - NIGHT - MED. SHOT</stage_direction>
<scene_description>Corner of building - as MacLean peers around it .</scene_description>
</scene>
<scene>
<stage_direction>EXT. OXYGEN PLANT - NIGHT - LONG SHOT</stage_direction>
<scene_description>MacLean 's angle - Lighted window in small building in background . A man is seated working at a desk . He has a fringe of bushy white hair and a bald head . From the silhouette he looks very much like Albert Einstein . Be - hind the desk at which he is working is the usual para - phenalia of a physicist 's lab . John MacLean in the fore - ground , raises his rifle to his shoulder and steadies it against the corner of the building .</scene_description>
</scene>
<scene>
<stage_direction>EXT. OXYGEN PLANT - NIGHT - MED. CLOSE SHOT - MATTE</stage_direction>
<scene_description>- Scientist - with crossed - hairs of rifle telescope sights superimposed on view . The scientist suddenly leans forward to pick up a book . As he does so , a glass retort on the shelf behind him is shattered by a bullet . The scientist looks fearfully out the window , then quick - ly extinguishes the light .</scene_description>
</scene>
<scene>
<stage_direction>EXT. OXYGEN PLANT - NIGHT - MED. SHOT</stage_direction>
<scene_description>John MacLean - lowering the rifle from his shoulder and staring toward the blacked out window . Over scene the shrill blast of a police whistle causes him to turn and run out of scene .</scene_description>
</scene>
<scene>
<stage_direction>EXT. OXYGEN PLANT - NIGHT - MED. LONG SHOT</stage_direction>
<scene_description>With MacLean car in f.g. - moving away from CAMERA at high speed . Suddenly two sets of headlights appear in the distance coming toward car with the sound of the sirens over scene . The MacLean car screeches to a stop , is quickly backed and turned around and comes racing TOWARD CAMERA with the headlights of the two pursuing cars closing rapidly and the sound of the sirens build - ing . The MacLean car swerves PAST CAMERA at high speed , followed by the two pursuing cars with sirens and there is a loud crash off scene .</scene_description>
</scene>
<scene>
<stage_direction>EXT. OXYGEN PLANT - NIGHT - FULL SHOT</stage_direction>
<scene_description>Side of road - with MacLean car turned over in a ditch , and a command car in a position relative to it indicat - ing that it ran the MacLean car off the road . Four guards emerge from the command car and two others from the second car and surround the wrecked MacLean car . Some of the guards carry carbines ; others drawn pistols .</scene_description>
</scene>
<scene>
<stage_direction>EXT. OXYGEN PLANT - NIGHT - MED. CLOSE SHOT</stage_direction>
<scene_description>The MacLean car - the MacLeans are dazed from the im - pact - as they start to resist the soldiers imprison their arms and lead them from the wrecked car .</scene_description>
</scene>
<scene>
<stage_direction>EXT. ROCKET STATION - NIGHT - FULL SHOT</stage_direction>
<scene_description>The silhouette of a gigantic rocket is in background . In foreground , Ralph Pulzer and Chief Barrows , carrying heavy suitcases , are sneaking around a high steel - link , barbed wire top , fence . Suddenly a searchlight PANS across scene , and comes to rest on them . They straighten up , shade their eyes with their hands from the glare and run away from CAMERA .</scene_description>
</scene>
<scene>
<stage_direction>EXT. ROCKET STATION FENCE - NIGHT - MED. SHOT</stage_direction>
<scene_description>- soldier standing by fence . He raises his carbine to his shoulder .</scene_description>
<character>SOLDIER</character>
<parenthetical>( shouting . )</parenthetical>
<dialogue>Halt!</dialogue>
<scene_description>Another soldier runs into scene .</scene_description>
<character>2ND SOLDIER</character>
<dialogue>There they go!</dialogue>
</scene>
<scene>
<stage_direction>EXT. ROCKET STATION - NIGHT - REVERSE ANGLE</stage_direction>
<scene_description>- of Pulzer and Barrows running with the suitcases and the searchlight following them .</scene_description>
<character>1ST SOLDIER</character>
<parenthetical>( o.s. , shouting . )</parenthetical>
<dialogue>Halt!</dialogue>
</scene>
<scene>
<stage_direction>EXT. ROCKET STATION FENCE - NIGHT - MED. SHOT</stage_direction>
<scene_description>Two soldiers raising their carbines and firing several shots at rapid fire . Suddenly there is a terrific ex - plosion and the scene is lighted by the flash of the explosion . The soldiers stagger back with the force wave .</scene_description>
<character>1ST SOLDIER</character>
<dialogue>What was that?</dialogue>
<character>2ND SOLDIER</character>
<dialogue>Those suitcases must have been full of nitro - glycerine!</dialogue>
<character>1ST SOLDIER</character>
<dialogue>Good thing we got them before they got to the rocket!</dialogue>
</scene>
<scene>
<stage_direction>INT. BLAKE'S OFFICE - DAY - MED. SHOT</stage_direction>
<scene_description>David , Fielding and Cricket are sitting . Pat enters from laboratory .</scene_description>
<character>PAT</character>
<dialogue>Colonel Fielding, would you step in here, please?</dialogue>
</scene>
<scene>
<stage_direction>INT. BLAKE'S OFFICE - DAY - MED. SHOT</stage_direction>
<scene_description>Fielding exits into laboratory leaving David and the dog waiting .</scene_description>
<character>FIELDING</character>
<dialogue>I'll only be a minute, David.</dialogue>
</scene>
<scene>
<stage_direction>INT. DR. BLAKE'S LABORATORY - DAY - MED. SHOT</stage_direction>
<scene_description>- with shelf bearing test - tubes , retorts and equipment in b.g. Doctors Blake and Metzler enter scene , wearing operating caps and gowns . Blake crosses to a table and places a covered tray on it .</scene_description>
<character>BLAKE</character>
<parenthetical>( introducing the two men . )</parenthetical>
<dialogue>Colonel Fielding - Dr. Metzler.</dialogue>
<parenthetical>( both men murmur `` How do you do '' .</parenthetical>
<parenthetical>Fielding looks at Blake questioningly . )</parenthetical>
<dialogue>Dr. Metzler has completed the aut - opsy on the little Wilson girl.</dialogue>
<character>METZLER</character>
<dialogue>I have - and my findings are al - most unbelievable. That child died of a sub - dural hematoma all right, but - this caused it!</dialogue>
<scene_description>Everyone crowds around the desk . Metzler picks up a small hexagonal crystal about a half - inch long with the diameter of a pencil . Attached to one end is a thin platinum disk , and two small wires run from this to a ruptured platinum globe the size of a small mar - ble .</scene_description>
<character>METZLER</character>
<parenthetical>( Cont . )</parenthetical>
<dialogue>I found this device inserted in the base of the skull. And the hemorrhage was caused when this little detonator.</dialogue>
<parenthetical>( points to ruptured globe . )</parenthetical>
<dialogue>exploded in her brain.</dialogue>
<character>FIELDING</character>
<dialogue>Incredible!</dialogue>
<character>METZLER</character>
<dialogue>This crystal was in direct contact with the medulla oblongata.</dialogue>
<character>BLAKE</character>
<dialogue>Do you suppose that's how they con - trolled Kathy Wilson and impelled her to set fire to her house?</dialogue>
<character>METZLER</character>
<dialogue>Very possible - we've done some - thing similar with white mice - and have made them follow directional impulses with high frequency oscil - lation.</dialogue>
<character>PAT</character>
<dialogue>But why did the thing explode?</dialogue>
<character>BLAKE</character>
<dialogue>Probably their method of getting rid of people when they have no further use for them.</dialogue>
<character>PAT</character>
<dialogue>Then - David's father and mother -?</dialogue>
<scene_description>Blake looks at her meaningly and shrugs his shoulders .</scene_description>
</scene>
<scene>
<stage_direction>INT. BLAKE'S OFFICE - DAY - MED. SHOT</stage_direction>
<scene_description>The phone rings . David crosses and answers it .</scene_description>
<character>DAVID</character>
<dialogue>Hello.</dialogue>
<parenthetical>( pause . )</parenthetical>
<dialogue>Yes, sir - just a moment. I'll call him.</dialogue>
<scene_description>He crosses to laboratory door and knocks . Door opens and Fielding , Blake and Pat enter Blake 's office .</scene_description>
<character>DAVID</character>
<dialogue>It's for you, Colonel Fielding.</dialogue>
<character>FIELDING</character>
<dialogue>Thank you, David.</dialogue>
<scene_description>He crosses and takes the telephone .</scene_description>
<character>FIELDING</character>
<dialogue>Fielding.</dialogue>
<parenthetical>( pause . )</parenthetical>
<dialogue>Oh, hello, Moody.</dialogue>
<parenthetical>( pause . )</parenthetical>
<dialogue>Fine - bring it to the intersection of State Highway eighty - six and Belle Meade Road - with an operator -.</dialogue>
<parenthetical>( pause . )</parenthetical>
<dialogue>Right.</dialogue>
<scene_description>He hangs up phone and crosses , speaking to Blake .</scene_description>
<character>FIELDING</character>
<parenthetical>( to Blake . )</parenthetical>
<dialogue>Well, we finally got an earth augur.</dialogue>
<character>DAVID</character>
<dialogue>Is that for boring into the trap doors?</dialogue>
<character>FIELDING</character>
<dialogue>That's what we expect to do, David.</dialogue>
<character>DAVID</character>
<dialogue>Gosh - how soon do we start?</dialogue>
<character>FIELDING</character>
<parenthetical>( kindly . )</parenthetical>
<dialogue>Well, I was planning on having you wait here.</dialogue>
<character>DAVID</character>
<parenthetical>( jumping up and crossing to Fielding . )</parenthetical>
<dialogue>But - but - I'm the one that dis - covered this whole thing! - and, gee, I ought to be there, I mean - Gee!</dialogue>
<character>FIELDING</character>
<dialogue>Well - all right, but you'll have to follow orders - like any other soldier.</dialogue>
<character>DAVID</character>
<dialogue>Oh, I will! - Sir.</dialogue>
<character>FIELDING</character>
<dialogue>You'd better leave your dog here, David, he might get hurt out there.</dialogue>
<character>DAVID</character>
<dialogue>All right - Sir.</dialogue>
</scene>
<scene>
<stage_direction>EXT. MacLEAN'S FIELD - DAY - FULL SHOT</stage_direction>
<scene_description>A platoon of soldiers are gathered around a Sherman tank , a truck , two jeeps and an earth augur . Blake , Pat , David and Fielding , in combat uniform , are in a group near the machines .</scene_description>
<character>DAVID</character>
<dialogue>Is that the earth augur?</dialogue>
</scene>
<scene>
<stage_direction>EXT. MacLEAN FIELD - DAY - DAVID'S ANGLE - MED. SHOT</stage_direction>
<scene_description>Motorized earth augur - -LRB- such as are used to dig cess - pools -RRB- - on trailer .</scene_description>
<character>FIELDING</character>
<parenthetical>( o.s . )</parenthetical>
<dialogue>Yes.</dialogue>
</scene>
<scene>
<stage_direction>EXT. MacLEAN FIELD - DAY - MED. SHOT</stage_direction>
<scene_description>Lieutenant Blair and Lieutenant Cole enter scene .</scene_description>
<character>FIELDING</character>
<dialogue>All right, Cole - These people - or whatever they are - react to sound or vibrations. Send Kelley over to the Northeast corner -.</dialogue>
<parenthetical>( points . )</parenthetical>
<dialogue>- of the field.</dialogue>
<character>COLE</character>
<dialogue>Yes, sir.</dialogue>
<character>FIELDING</character>
<dialogue>Full drums of live ammunition for your.505 - and better carry ten rounds of H - E for the 175. Now get this - this is important - tell Kelley to take out twenty Mills gren - ades. Tell him to traverse the Northern border of the field and to throw the grenades out at short in - tervals. Got that?</dialogue>
<character>COLE</character>
<dialogue>Yes, sir.</dialogue>
<character>FIELDING</character>
<dialogue>That's to cover the sound of the earth augur. After that, have Kelley run the tank up and down that corner of the field and create a disturbance.</dialogue>
<parenthetical>( looking at his watch . )</parenthetical>
<dialogue>He will proceed at 15:33 on a vary flare from this position.</dialogue>
<character>COLE</character>
<dialogue>Yes, sir.</dialogue>
<scene_description>He leaves .</scene_description>
<character>FIELDING</character>
<parenthetical>( turning to Blair . )</parenthetical>
<dialogue>Blair, you have your crew stand by with the earth augur. On a hand sig - nal from me, proceed to that spot by those three stones - go six feet north of them and drill a hole until you have penetrated a subterranean passage.</dialogue>
<character>BLAIR</character>
<dialogue>Yes, sir.</dialogue>
<character>FIELDING</character>
<dialogue>As soon as you effect an entrance, take two squads and your demolition team with full attack equipment and stand by for me.</dialogue>
<parenthetical>( looking at watch . )</parenthetical>
<dialogue>You've got nine minutes.</dialogue>
<character>BLAIR</character>
<parenthetical>( saluting and exiting . )</parenthetical>
<dialogue>Yes, sir.</dialogue>
</scene>
<scene>
<stage_direction>EXT. MacLEAN FIELD - DAY - FULL SHOT</stage_direction>
<scene_description>Blake , Fielding and Pat are in a group . David is stand - ing about ten feet apart from them watching the earth augur . A white uniformed interne enters the scene and crosses to Blake .</scene_description>
<character>INTERNE</character>
<parenthetical>( in a low voice . )</parenthetical>
<dialogue>The boy's father and mother and the others have been brought in. Dr. Metzler is preparing to operate.</dialogue>
<character>BLAKE</character>
<dialogue>Good!</dialogue>
<character>INTERNE</character>
<dialogue>His aunt has arrived too - she's very disturbed and wants him back at the hospital immediately.</dialogue>
<character>BLAKE</character>
<parenthetical>( turning to Pat . )</parenthetical>
<dialogue>Pat, why do n't you take David back to the hospital.</dialogue>
<character>FIELDING</character>
<parenthetical>( to Pat . )</parenthetical>
<dialogue>You can take my car. Sergeant Roberts will drive you.</dialogue>
<character>PAT</character>
<dialogue>Thank you.</dialogue>
<parenthetical>( calling . )</parenthetical>
<dialogue>Oh, David.</dialogue>
<scene_description>David turns around and walks up to the group .</scene_description>
<character>PAT</character>
<parenthetical>( continuing . )</parenthetical>
<dialogue>David, we have to go back to the hospital. Your aunt's waiting to see you.</dialogue>
<character>DAVID</character>
<parenthetical>( disappointed . )</parenthetical>
<dialogue>Aw, gee - what for?</dialogue>
<character>FIELDING</character>
<dialogue>Soldiers do n't question orders, David.</dialogue>
<character>DAVID</character>
<dialogue>But - But -</dialogue>
<character>FIELDING</character>
<dialogue>An order is an order, young man!</dialogue>
<character>DAVID</character>
<parenthetical>( straightening up mili - tarily . )</parenthetical>
<dialogue>Okay, sir.</dialogue>
<scene_description>Pat moves off scene followed by David .</scene_description>
</scene>
<scene>
<stage_direction>EXT. MacLEAN FIELD - DAY - MED. SHOT</stage_direction>
<scene_description>David straggles some fifteen or twenty feet behind Pat , looking reluctantly over his shoulder .</scene_description>
</scene>
<scene>
<stage_direction>EXT. MacLEAN FIELD - DAY - CLOSE SHOT</stage_direction>
<scene_description>- as David traverses a clump of bushes , looking back . A round section of earth opens just ahead to the left of him .</scene_description>
</scene>
<scene>
<stage_direction>EXT. MacLEAN FIELD - DAY - CLOSE SHOT</stage_direction>
<scene_description>Pat - who looks over her shoulder , sees it and stops .</scene_description>
<character>PAT</character>
<parenthetical>( yelling . )</parenthetical>
<dialogue>David!</dialogue>
</scene>
<scene>
<stage_direction>EXT. MacLEAN FIELD - DAY - CLOSE SHOT</stage_direction>
<scene_description>Top half of David - as he stops .</scene_description>
<character>DAVID</character>
<parenthetical>( calling . )</parenthetical>
<dialogue>What?</dialogue>
</scene>
<scene>
<stage_direction>EXT. MacLEAN FIELD - DAY - MED. SHOT</stage_direction>
<scene_description>Pat - as she screams and runs toward CAMERA .</scene_description>
<character>PAT</character>
<dialogue>Look out, David!</dialogue>
</scene>
<scene>
<stage_direction>EXT. MacLEAN FIELD - DAY - MED. LONG SHOT</stage_direction>
<scene_description>Dr. Blake - reacting to what he sees -</scene_description>
</scene>
<scene>
<stage_direction>EXT. MacLEAN FIELD - DAY - MED. LONG SHOT</stage_direction>
<scene_description>Reverse shot from Blake 's angle as he sees a flap of earth is closing over David 's and Pat 's screams .</scene_description>
</scene>
<scene>
<stage_direction>EXT. MacLEAN FIELD - DAY - MED. SHOT</stage_direction>
<scene_description>Blake and Fielding .</scene_description>
<character>BLAKE</character>
<parenthetical>( excitedly . )</parenthetical>
<dialogue>They got them! Pat and the boy!</dialogue>
<parenthetical>( pointing . )</parenthetical>
<dialogue>Over there!</dialogue>
<scene_description>He starts to run toward the spot where David and Pat disappeared .</scene_description>
<character>FIELDING</character>
<parenthetical>( running after him and stopping him . )</parenthetical>
<dialogue>Hold it, Blake, there's nothing you can do now.</dialogue>
<scene_description>Blake rages impotently -</scene_description>
</scene>
<scene>
<stage_direction>INT. TUNNEL - DAY - LOW KEY - CLOSE SHOT</stage_direction>
<scene_description>Pat 's face - as she looks up and reacts with terrified scream , shrinking back .</scene_description>
</scene>
<scene>
<stage_direction>INT. TUNNEL - DAY - LOW KEY - MED. CLOSE SHOT</stage_direction>
<scene_description>Reverse - Pat 's angle . Two Mutants stand over her looking down . The lighting of the tunnel scenes seems to come from a luminous quality in the walls of the tunnels themselves . These tunnels are cut through the earth by an atomic heat ray which blasts a hole through the earth and fuses the silica along the walls of the tunnel into a radio - active , phosphorescent glassy - like substance . -LRB- For these shots we will use water glass sprayed on cellophane and back light it with hot arcs . -RRB- These creatures are mutations developed by the Martians for physical labor . They are humanoid in appearance , but are covered with a coarse black hair . -LRB- Flocked baggy tights . -RRB- Their feet are about twice the length of human feet and the four toes of each foot terminate in heavy black digging claws . The fingers are much long - er than human fingers and are equipped with black , non - retractable digging claws . A hairless , snout - like nose , similar to a mole 's , protrudes from the front of the face . They are with ears , and beady - like reflecting eyes look out from the hairy mask of the face . At no time do they utter any sound , for these creatures are telepathic . One of the mutants leans forward into CAM - ERA with extended long prehensile fingers .</scene_description>
</scene>
<scene>
<stage_direction>INT. TUNNEL - DAY - MED. CLOSE SHOT</stage_direction>
<scene_description>Pat - as she cowers back and the long black fingers curl around her wrist . Pat screams and struggles fran - tically and another long black hand comes into scene and grasps the other wrist .</scene_description>
</scene>
<scene>
<stage_direction>INT. TUNNEL - DAY - MED. SHOT</stage_direction>
<scene_description>David is lying unconscious from his fall , momentarily ignored by the mutants . A mutant grabs at Pat 's shoul - der . Pat struggles frantically . Her screams revert to hoarse gasps of effort and terror , and in the struggle her dress is ripped . The long fingers of a hand curl around Pat 's neck and squeeze for a moment . She sudden - ly relaxes into unconsciousness . One of the two mutants picks her up , the other picks up David . They lope away with them down the tunnel into infinity and darkness .</scene_description>
</scene>
<scene>
<stage_direction>INT. TUNNEL - DAY - LONG SHOT</stage_direction>
<scene_description>The two mutants lope past CAMERA carrying the two inert figures . They disappear around a corner of the tunnel .</scene_description>
</scene>
<scene>
<stage_direction>INT. TUNNEL - DAY - MED. SHOT</stage_direction>
<scene_description>Mutants rounding another turn , carrying Pat and David at a loping run .</scene_description>
</scene>
<scene>
<stage_direction>INT. TUNNEL - DAY - MED. SHOT</stage_direction>
<scene_description>From an open metal trapdoor in b.g. there emanates a stronger light . The two mutants pass CAMERA and lope toward metal door . They enter .</scene_description>
</scene>
<scene>
<stage_direction>INT. CENTRAL AREA OF SPACE SHIP - DAY - FULL SHOT</stage_direction>
<scene_description>It is a circular room some twenty feet in diameter , approximately fifteen feet high . It is composed of a shiny metallic substance similar to polished aluminum . The only rivets in evidence mark the outline of bulk - heads spaced around the perimeter of the walls . Upper left , near the spiral steel staircase , a low metal table is near the wall . It is flanked by two stationary met - al benches . The room is dome - like in structure , and an area twelve feet in diameter and approximately eight feet in height occupies the apex of the dome , which is of a transparent plastic substance . This is the control tower of the space ship . A bank of control panels is placed in this structure and a round , cushioned pilot 's seat is suspended on a crosswalk of perforated metal girders . The room is illuminated by a series of circu - lar lights which look like portholes . Even so , the lighting is in comparative low key . The two mutants descend a spiral staircase and bring Pat and David to the center of the room and lay their unconscious bodies on the floor . Then they step back approximately five feet and assume a rigid attitude grotesquely reminiscent of soldiers .</scene_description>
</scene>
<scene>
<stage_direction>INT. SPACE SHIP - DAY - LOW KEY - DIFFERENT ANGLE</stage_direction>
<scene_description>A bulkhead opens in the upstage wall . Sergeant Balardi enters , walking like an automaton . He walks up to Pat , facing upstage . Then a mutant backs out of the bulk - head carrying a Martian seated on a circular metal tray , which is surmounted by a plastic bell jar . Another mu - tant enters , supporting the other handles of the metal tray . A mutant steps forward quickly and places a cir - cular metal drum approximately three feet in diameter and thirty inches in height in front of Pat . The other two mutants then place the Martian on the drum and step back and assume an attitude of attention : TRUCK in to CLOSE SHOT - THE MARTIAN - He is approximately thirty inches in height , dressed in a singlet that resembles soft chain mail . Over this is a gorget of soft black material similar to velvet . He is seated , tailor - fashion , on a circular cushion resembling sponge rubber . He is extremely brontocephalic , and his tremendously large skull is completely devoid of hair . His eyes are small and deep - set and peer from their dark sockets with a strange ophidion lustre . He is entirely covered by the plastic bell jar , and sits so frozen and unmoving that he appears to be a wax figure until we are suddenly aware of the eyes moving to the right , then to the left , then down , where he focuses upon Pat .</scene_description>
</scene>
<scene>
<stage_direction>INT. SPACE SHIP - DAY - MED. CLOSE SHOT</stage_direction>
<scene_description>Pat is unconscious on the floor . She stirs into con - sciousness , sits up , then stands , facing the CAMERA . Her eyes widen and stare straight ahead .</scene_description>
</scene>
<scene>
<stage_direction>INT. SPACE SHIP - DAY - CLOSE SHOT</stage_direction>
<scene_description>Martian 's eyes - staring into CAMERA .</scene_description>
</scene>
<scene>
<stage_direction>INT. SPACE SHIP - DAY - CLOSE SHOT</stage_direction>
<scene_description>Pat is drawn by the hypnotic stare of the Martian . She fights it off .</scene_description>
</scene>
<scene>
<stage_direction>INT. SPACE SHIP - DAY - MED. SHOT</stage_direction>
<scene_description>Martian , Balardi and Pat . David is still unconscious on the floor . Balardi stands stiffly .</scene_description>
<character>BALARDI</character>
<parenthetical>( mechanically . )</parenthetical>
<dialogue>What is your name?</dialogue>
<character>PAT</character>
<parenthetical>( in a strained , hoarse voice . )</parenthetical>
<dialogue>Patricia Collins.</dialogue>
<character>BALARDI</character>
<parenthetical>( indicating the Martian . )</parenthetical>
<dialogue>He is from the fourth planet - which you call Mars. He wants to know what they plan to do - those people up above.</dialogue>
<character>PAT</character>
<dialogue>I do n't know -</dialogue>
<character>BALARDI</character>
<dialogue>Yes, you do - and you will answer in a few moments.</dialogue>
<scene_description>He gestures to the mutants .</scene_description>
</scene>
<scene>
<stage_direction>INT. SPACE SHIP - DAY - MED. SHOT</stage_direction>
<scene_description>- as two mutants approach Pat and suddenly grab her arms . She attempts to struggle , but is held in a vise - like grip . She turns suddenly and stares , her eyes widen further with horror . A panel on a bulkhead swings open and a mutant pushes a chromium , wheeled operating table into scene . A tray of surgical instruments is on the table .</scene_description>
</scene>
<scene>
<stage_direction>INT. SPACE SHIP - DAY - MED. SHOT</stage_direction>
<scene_description>The surgeon mutant lifts a hypodermic needle and ad - vances toward Pat . She screams piercingly and hysteric - ally and continues to scream .</scene_description>
</scene>
<scene>
<stage_direction>INT. SPACE SHIP - DAY - CLOSE SHOT</stage_direction>
<scene_description>Surgeon Mutant - as he lifts the hypodermic needle of a strange design . His hands , holding the needle , move out of CAMERA , and Pat 's screams stop suddenly .</scene_description>
</scene>
<scene>
<stage_direction>INT. SPACE SHIP - DAY - MED. SHOT</stage_direction>
<scene_description>- as the two mutants lift Pat 's unconscious body and place it on the operating table . David slowly regains consciousness and sits up , rubbing his eyes in a dazed manner .</scene_description>
</scene>
<scene>
<stage_direction>INT. SPACE SHIP - DAY - NEW ANGLE - MED. SHOT</stage_direction>
<scene_description>David - as his eyes become adjusted to the light and he reacts in terror at seeing Pat being placed upon the operating table .</scene_description>
<character>DAVID</character>
<parenthetical>( starts to his feet , screaming . )</parenthetical>
<dialogue>No! No!</dialogue>
<scene_description>- a mutant grabs him and clamps a long black hand across his mouth .</scene_description>
</scene>
<scene>
<stage_direction>INT. SPACE SHIP - DAY - CLOSE SHOT</stage_direction>
<scene_description>David 's face - with the hand across his mouth , his eyes staring in horror .</scene_description>
</scene>
<scene>
<stage_direction>INT. SPACE SHIP - DAY - MED. SHOT</stage_direction>
<scene_description>David 's angle - of the mutant surgeon , as he takes up a complex surgical instrument . In his other hand , he lifts up and examines a tiny crystal capsule , to which is affixed a small spiral wire . Turning slowly , he moves toward the unconscious form of Pat on the operat - ing table .</scene_description>
</scene>
<scene>
<stage_direction>INT. SPACE SHIP - DAY - CLOSE SHOT</stage_direction>
<scene_description>Back of Pat 's neck and crown of her head - The mutant surgeon 's hands come in and part the hair just above the nape of the neck .</scene_description>
</scene>
<scene>
<stage_direction>EXT. MacLEAN FIELD - DAY - MED. SHOT</stage_direction>
<scene_description>- with TRUCK in b.g. Fielding , Blake stand in f.g. , looking toward the field . Just to the left of Fielding , a soldier stands with a signal pistol held ready . Fielding is watching the sweep hand on his wrist watch . He turns to the soldier .</scene_description>
<character>FIELDING</character>
<dialogue>Fire!</dialogue>
<scene_description>The soldier fires a star shell .</scene_description>
</scene>
<scene>
<stage_direction>EXT. MacLEAN FIELD - DAY - LONG SHOT</stage_direction>
<scene_description>Star shell exploding over pasture .</scene_description>
</scene>
<scene>
<stage_direction>EXT. MacLEAN FIELD - DAY - LONG SHOT</stage_direction>
<scene_description>Sherman Tank - starting and moving alongside the field . A hand grenade is thrown from the open hatch , rolls to - ward CAMERA , comes to rest on the plowed field and ex - plodes .</scene_description>
</scene>
<scene>
<stage_direction>INT. SPACE SHIP - DAY - MED. SHOT</stage_direction>
<scene_description>Martian in bell jar - The Martian 's head turns sharply as a dull explosion is HEARD over scene . The lights go up in the space ship .</scene_description>
</scene>
<scene>
<stage_direction>INT. SPACE SHIP - DAY - NEW ANGLE</stage_direction>
<scene_description>- as the surgeon mutant removes a strange , complex helmet affair from Pat 's head , while two other mutants rush forward and carry the Martian quickly through the bulkhead , closing the bulkhead behind them . The other mutants race across the room and up the spiral steel staircase , leaving Sergeant Balardi staring after them . Pat lies unconscious on the operating table . David rushes over to Pat .</scene_description>
</scene>
<scene>
<stage_direction>INT. TUNNEL - DAY - FULL SHOT</stage_direction>
<scene_description>Just outside trapdoor - as the last mutant enters the tunnel through the trapdoor , two other mutants emerge from a side tunnel carrying a machine mounted on a metal , stretcher - like base . The machine resembles a large searchlight with a metal megaphone - shaped device fasten - ed to the front of the lens . Two heavy insulators stand vertically just behind the searchlight part of the machine and they are connected to a thing that looks like a small condenser by two three - inch copper ribbons . O.S. can be HEARD the thumping rumble of the tank treads and a dull sound of exploding grenades . The two mutants with the machine run down the tunnel out of scene , leav - ing one mutant standing guard .</scene_description>
</scene>
<scene>
<stage_direction>INT. TUNNEL - DAY - MED. SHOT</stage_direction>
<scene_description>- as the mutants run past CAMERA with the machine and turn right , through an intersecting tunnel .</scene_description>
</scene>
<scene>
<stage_direction>INT. TUNNEL - DAY - MED. SHOT</stage_direction>
<scene_description>- as the mutants place machine on floor of tunnel and deflect it upward at an angle of forty - five degrees . O.S. the sound of the Sherman tank is much louder . Also the sound of bursting grenades .</scene_description>
</scene>
<scene>
<stage_direction>INT. TUNNEL - DAY - NEW ANGLE</stage_direction>
<scene_description>- as mutants push a stud on the machine and a brilliant rush of flame emerges from the mouth of the megaphone - shaped nozzle .</scene_description>
</scene>
<scene>
<stage_direction>INT. TUNNEL - DAY - LONG SHOT</stage_direction>
<scene_description>Roof of tunnel - as the flame from the atomic disin - tegrator burns a circular hole . The edges of the hole drip with molten silica , like wax under the flame of a blow torch . -LRB- PRODUCTION NOTE : For the full scale shots , this ef - rect can be obtained with a military flame thrower burning away a wax - covered flimsy . Lycopodiem is jet - ted into flame with compressed air . -RRB-</scene_description>
</scene>
<scene>
<stage_direction>EXT. FIELD - DAY - MED. SHOT - (MINIATURE)</stage_direction>
<scene_description>- as a shaft of brilliant white flame comes up out of the earth and engulfs the Sherman tank .</scene_description>
</scene>
<scene>
<stage_direction>EXT. FIELD - DAY - CLOSE SHOT</stage_direction>
<scene_description>Soldier in open hatchway of tank engulfed in flames .</scene_description>
</scene>
<scene>
<stage_direction>EXT. MacLEAN FIELD - DAY - MED. CLOSE SHOT - (MINIATURE)</stage_direction>
<scene_description>Tank treads and forepart of tank , as it melts into a shapeless , molten mass .</scene_description>
</scene>
<scene>
<stage_direction>EXT. MacLEAN FIELD - DAY - FULL SHOT</stage_direction>
<scene_description>Earth augur - being removed from the circular four - foot hold in field . Soldiers with sub - machine guns and miners ' lamps attached to their helmets stand by . Lieutenant Blair and his demolition team are carrying their C - two packs strapped across their shoulders . Fielding runs into scene carrying a sub - machine gun . Fielding crosses to the hole and drops down into it and is instantly followed by the men . As the last of them enter the hole , Blake runs into scene and drops into the hole after them .</scene_description>
</scene>
<scene>
<stage_direction>INT. TUNNEL - DAY - MED. SHOT</stage_direction>
<scene_description>- as Fielding and the soldiers , followed by Blake , run past CAMERA .</scene_description>
</scene>
<scene>
<stage_direction>INT. TUNNEL - DAY - NEW ANGLE</stage_direction>
<scene_description>- as the party approaches a branch tunnel . Two sol - diers are delegated to explore it while the main party , including Lieutenant Blair 's demolition team , proceeds . Fielding turns and suddenly recognizes Blake .</scene_description>
<character>FIELDING</character>
<dialogue>What are you doing down here?</dialogue>
<character>BLAKE</character>
<dialogue>I'm going to find Pat.</dialogue>
<character>FIELDING</character>
<dialogue>Well - come on -</dialogue>
</scene>
<scene>
<stage_direction>INT. TUNNEL - DAY - MED. SHOT</stage_direction>
<scene_description>Fielding , Blake and soldiers cautiously round turn and come toward CAMERA .</scene_description>
</scene>
<scene>
<stage_direction>INT. TUNNEL - DAY - LONG SHOT</stage_direction>
<scene_description>- the soldiers in f.g. . Their miners ' lamps light the tunnel at the far end of which the mutant standing guard by the trapdoor , spreads his legs and arms and waits .</scene_description>
</scene>
<scene>
<stage_direction>INT. TUNNEL - DAY - MED. CLOSE SHOT</stage_direction>
<scene_description>- as the rescue party stops .</scene_description>
<character>SOLDIER</character>
<dialogue>What in the name of time is that?</dialogue>
<character>FIELDING</character>
<dialogue>I do n't know. Fire on command!</dialogue>
<scene_description>Two of the soldiers drop to their knees and aim their guns at lens . The other four and Fielding raise their guns and aim at the lens .</scene_description>
</scene>
<scene>
<stage_direction>INT. TUNNEL - DAY - MED. CLOSE SHOT</stage_direction>
<scene_description>Mutant - who starts lumbering forward toward group .</scene_description>
</scene>
<scene>
<stage_direction>INT. TUNNEL - DAY - REVERSE SHOT</stage_direction>
<scene_description>Rescue party - with all tommy guns aimed at lens .</scene_description>
<character>FIELDING</character>
<dialogue>Fire!</dialogue>
<scene_description>Seven tommy guns fire a short burst directly at lens .</scene_description>
</scene>
<scene>
<stage_direction>INT. TUNNEL - DAY - MED. CLOSE SHOT</stage_direction>
<scene_description>Mutant - as he is blown over backwards .</scene_description>
</scene>
<scene>
<stage_direction>INT. TUNNEL - DAY - LONG SHOT</stage_direction>
<scene_description>Rescue party - running through tunnel toward CAMERA . They step over the body of the dead mutant .</scene_description>
</scene>
<scene>
<stage_direction>INT. SPACE SHIP - DAY - FULL SHOT</stage_direction>
<scene_description>- as rescue party runs down spiral staircase .</scene_description>
</scene>
<scene>
<stage_direction>INT. SPACE SHIP - DAY - MED. SHOT</stage_direction>
<scene_description>- as Sergeant Balardi looks toward ladder and aims his forty - five . David grabs his arm and spoils his aim .</scene_description>
</scene>
<scene>
<stage_direction>INT. SPACE SHIP - DAY - MED. SHOT</stage_direction>
<scene_description>- as a soldier leaps off the top of the spiral stair - case and knocks Balardi to the floor . Balardi 's pis - tol falls to the floor . David picks up the pistol .</scene_description>
</scene>
<scene>
<stage_direction>INT. SPACE SHIP - DAY - FULL SHOT</stage_direction>
<scene_description>- as Balardi fights furiously with his fists . A sol - dier knocks him out with the butt of his gun .</scene_description>
<character>SOLDIER</character>
<parenthetical>( to Fielding . )</parenthetical>
<dialogue>Hey, what's the matter with this guy?</dialogue>
<character>FIELDING</character>
<dialogue>He does n't know what he's doing. Take him outside.</dialogue>
<scene_description>The soldiers exit with Balardi . Fielding turns to David .</scene_description>
<character>FIELDING</character>
<parenthetical>( continued . )</parenthetical>
<dialogue>You go with them, son.</dialogue>
<scene_description>David exits .</scene_description>
</scene>
<scene>
<stage_direction>INT. TUNNEL - DAY - MED. SHOT</stage_direction>
<scene_description>At door or space ship . David comes up the ladder and looks up the tunnel where the two soldiers and Balardi have disappeared . He runs after them .</scene_description>
</scene>
<scene>
<stage_direction>INT. SPACE SHIP - DAY - MED. SHOT</stage_direction>
<scene_description>- as Blake and Fielding run up to Pat , who is still unconscious .</scene_description>
<character>BLAKE</character>
<dialogue>Pat! Pat!</dialogue>
<scene_description>He shakes her , but she does not regain consciousness . Blake picks her up and carries her up the spiral ladder .</scene_description>
</scene>
<scene>
<stage_direction>INT. TUNNEL INTERSECTION - DAY - MED. SHOT</stage_direction>
<scene_description>David runs toward camera and pauses uncertainly at the intersection . He does n't know which tunnel to take . He finally chooses the right hand tunnel and runs out of scene .</scene_description>
</scene>
<scene>
<stage_direction>INT. SPACE SHIP - DAY - FULL SHOT</stage_direction>
<scene_description>Fielding , Blair and his demolition team stare around the space ship . Fielding crosses and attempts to open one of the bulkheads .</scene_description>
<character>FIELDING</character>
<dialogue>I hate to destroy this ship, but we ca n't afford to take any chances. Go ahead and place your C - two charges, Lieutenant.</dialogue>
<scene_description>Blair signals one or the men , who removes his demolition pack and places it near the bulkhead . He pulls back the canvas cover exposing a clock time fuse . The other demolition expert is setting his charge at the opposite end of the ship .</scene_description>
<character>BLAIR</character>
<parenthetical>( to Fielding . )</parenthetical>
<dialogue>What interval shall I set it to fire, sir?</dialogue>
<character>FIELDING</character>
<dialogue>Six minutes will give us enough time.</dialogue>
</scene>
<scene>
<stage_direction>INT. SPACE SHIP - DAY - CLOSE SHOT</stage_direction>
<scene_description>Demolition expert sets dial to six minutes and pulls firing pin .</scene_description>
</scene>
<scene>
<stage_direction>INT. TUNNEL AT INTERSECTION - DAY - MED. SHOT</stage_direction>
<scene_description>- as two soldiers run into scene from branch tunnel . They stop just around the corner of the tunnel and each takes a Mills grenade from his bag and pulls the pin with his teeth and drops down into position to hurl the grenade into the tunnel .</scene_description>
</scene>
<scene>
<stage_direction>INT. TUNNEL - DAY - MED. SHOT</stage_direction>
<scene_description>The two mutants with the atomic disintegrator are pur - suing the soldiers .</scene_description>
</scene>
<scene>
<stage_direction>INT. TUNNEL - AT INTERSECTION - MED. SHOT</stage_direction>
<scene_description>Two soldiers - as they wait to throw grenades .</scene_description>
<character>1ST SOLDIER</character>
<dialogue>Here they come!</dialogue>
<scene_description>Both of them hurl their grenades down the branch tunnel and flatten back against the wall .</scene_description>
</scene>
<scene>
<stage_direction>INT. TUNNEL - DAY - LONG SHOT</stage_direction>
<scene_description>- as the grenades explode and roof of tunnel caves in , and falls in front of mutants , filling the tunnel with earth .</scene_description>
</scene>
<scene>
<stage_direction>INT. TUNNEL - FROM BEHIND MUTANTS - DAY - MED. SHOT</stage_direction>
<scene_description>- as they place the atomic disintegrator on floor of tunnel and direct it toward the piled - up debris . One of them presses a stud and a bright sheet of flame burns through the debris .</scene_description>
</scene>
<scene>
<stage_direction>INT. TUNNEL AT INTERSECTION - DAY - MED. SHOT</stage_direction>
<scene_description>- as the flame burns through .</scene_description>
<character>1ST SOLDIER</character>
<dialogue>Let them have it again!</dialogue>
<scene_description>They throw two more grenades , which explode , blocking the tunnel again .</scene_description>
<character>1ST SOLDIER</character>
<dialogue>Hurry - tell everybody to get out of here. I'll try and hold'em off.</dialogue>
<scene_description>The second soldier turns and runs out of scene and up the main tunnel to the right . The first soldier hurls another grenade , which explodes , dropping the roof of the tunnel and blocking it again .</scene_description>
</scene>
<scene>
<stage_direction>INT. ANOTHER SECTION OF TUNNEL - DAY - MED. SHOT</stage_direction>
<scene_description>- as second soldier encounters the two soldiers bearing the unconscious form of Sergeant Balardi .</scene_description>
<character>2ND SOLDIER</character>
<dialogue>Pass the word - we got ta get out of here right away!</dialogue>
<scene_description>A sergeant takes a whistle from his pocket and blows three sharp blasts , then repeats it .</scene_description>
</scene>
<scene>
<stage_direction>INT. DIFFERENT SECTION OF TUNNEL - DAY - MED. SHOT</stage_direction>
<scene_description>- as another soldier HEARS the whistle signal in the distance and repeats it on his whistle .</scene_description>
</scene>
<scene>
<stage_direction>INT. SPACE SHIP - DAY - FULL SHOT</stage_direction>
<scene_description>- as Fielding , Blair and demolition team react to the whistle signal and run to the spiral staircase .</scene_description>
</scene>
<scene>
<stage_direction>EXT. MACLEAN FIELD - DAY - MED. SHOT</stage_direction>
<scene_description>- as Blake emerges from trapdoor , carrying Pat with him . A soldier standing at the top of the trapdoor hears the whistle signal in the distance .</scene_description>
<character>SOLDIER</character>
<dialogue>That's emergency retreat! Get her out of here on the double.</dialogue>
<scene_description>Blake moves quickly out of scene , carrying Pat with him .</scene_description>
</scene>
<scene>
<stage_direction>INT. TUNNEL INTERSECTION - DAY - MED. SHOT</stage_direction>
<scene_description>Soldier at branch tunnel - as a burst of flame cuts through debris some distance up branch tunnel . As flame breaks off , he quickly hurls another grenade , which explodes down the tunnel , again dropping the roof . Two soldiers running , halt by the branch tunnel .</scene_description>
<character>1ST SOLDIER</character>
<dialogue>Better stand by with grenades and help me hold these monkeys off!</dialogue>
<character>3RD SOLDIER</character>
<dialogue>What's up?</dialogue>
<character>1ST SOLDIER</character>
<dialogue>They've got some kind of a flame thrower that cuts right through rocks and dirt. Watch it - here they come again.</dialogue>
<scene_description>A blast of flame billows out of the tunnel , then blacks out and the first soldier throws another grenade . The other soldiers also throw grenades against the collap - sing roof of the tunnel . At this point Lieutenant Blair , his men and Fielding enter scene .</scene_description>
<character>FIELDING</character>
<dialogue>All right - keep going - on the double! Get moving, you two!</dialogue>
<scene_description>The two soldiers run out of scene , followed by Fielding . Blair signals one of the demolition men to remain and place a charge . The others exit quickly . The demoli - tion man who was left behind starts to set the fuse .</scene_description>
</scene>
<scene>
<stage_direction>INT. TUNNEL - DAY - MED. SHOT</stage_direction>
<scene_description>David hurries along the tunnel , approaches another inter - section . He hears the whistle faintly in the distance and stops . He is again faced with the decision of which tunnel to choose , and is becoming panic - stricken .</scene_description>
</scene>
<scene>
<stage_direction>INT. TUNNEL - INTERSECTION - DAY - CLOSE SHOT</stage_direction>
<scene_description>David - the sweat stands out on his forehead as he tries to peer into the tunnel ahead of him . He starts to turn into the right hand tunnel when he hears faint footsteps approaching . He is about to call when some instinct prompts him to press back against the tunnel wall .</scene_description>
</scene>
<scene>
<stage_direction>INT. TUNNEL INTERSECTION - DAY - MED. SHOT</stage_direction>
<scene_description>A mutant is cautiously making his way down the tunnel . He pauses and looks back at the direction from which he came . He advances a few more feet and reaches the intersection , where he stops .</scene_description>
</scene>
<scene>
<stage_direction>INT. TUNNEL INTERSECTION - DAY - CLOSE SHOT</stage_direction>
<scene_description>David is pressing himself as far into the corner of the opposite tunnel wall as he can . He is terrified . As he presses closer to the wall , he dislodges a tiny pebble , which rolls down the wall on to the floor of the tunnel .</scene_description>
</scene>
<scene>
<stage_direction>INT. TUNNEL INTERSECTION - DAY - MED. SHOT</stage_direction>
<scene_description>The mutant hears the sound of the pebble falling and looks around . He starts to advance toward where David is standing when a whistle is heard faintly in the dis - tance . He quickly turns and lopes off into darkness .</scene_description>
</scene>
<scene>
<stage_direction>INT. TUNNEL INTERSECTION - DAY - MED. LONG SHOT</stage_direction>
<scene_description>David waits until the mutant disappears and then runs up the opposite tunnel .</scene_description>
</scene>
<scene>
<stage_direction>INT. DIFFERENT TUNNEL INTERSECTION - DAY - MED. SHOT</stage_direction>
<scene_description>The demolition man who set the last C - 2 charge is hurry - ing along endeavoring to catch up with Blair and the other men . He reaches the intersection and bumps squarely into the mutant who is loping up from the other tunnel . The mutant envelopes the soldier in his huge arms and starts to bend him backwards . The soldier vain - ly struggles for his pistol , but is like a child in the mutant 's hands . He screams but the mutant covers his mouth with a hairy paw .</scene_description>
<character>SOLDIER</character>
<parenthetical>( gasping . )</parenthetical>
<dialogue>Help! Help!</dialogue>
</scene>
<scene>
<stage_direction>INT. TUNNEL - DAY - MED. LONG SHOT</stage_direction>
<scene_description>Blair and the rest of the demolition team hear the faint screams behind them , and turn back .</scene_description>
</scene>
<scene>
<stage_direction>INT. TUNNEL INTERSECTION - DAY - MED. SHOT</stage_direction>
<scene_description>The soldier is struggling , but growing weaker , as the mutant has him bent over nearly double . Blair and his men round the corner and charge for the mutant , who drops the soldier . As the mutant leaps forward , he is met by a hail of tommy - gun slugs , and drops in his tracks . The men pick up the injured soldier and run back up the tunnel .</scene_description>
</scene>
<scene>
<stage_direction>INT. TUNNEL - DIFFERENT INTERSECTION - DAY - LONG SHOT</stage_direction>
<scene_description>- as several soldiers and Fielding run past CAMERA .</scene_description>
<character>1ST SOLDIER</character>
<parenthetical>( looking over shoulder . )</parenthetical>
<dialogue>There they are again!</dialogue>
</scene>
<scene>
<stage_direction>INT. TUNNEL - DAY - REVERSE LONG SHOT - HIS ANGLE</stage_direction>
<scene_description>Mutants - entering main tunnel with machine .</scene_description>
<character>FIELDING'S VOICE</character>
<parenthetical>( o.s . )</parenthetical>
<dialogue>All right - rest of you keep moving. You, Sims, and Watson - give'em a long burst.</dialogue>
</scene>
<scene>
<stage_direction>INT. TUNNEL - DAY - MED. SHOT</stage_direction>
<scene_description>Fielding , 1st and 3rd soldier firing their tommy - guns toward lens , as they back around a curve in the tunnel .</scene_description>
</scene>
<scene>
<stage_direction>INT. TUNNEL - DAY - MED. SHOT</stage_direction>
<scene_description>From behind Fielding , 1st and 3rd soldiers as they back around a 90 degree turn and a blast of flame strikes the wall just in front of them . Fielding and the two soldiers back away from the searing heat , shielding their faces with their arms .</scene_description>
<character>FIELDING</character>
<dialogue>Come on! Out of here on the double!</dialogue>
<scene_description>They turn and run down tunnel and out of scene .</scene_description>
</scene>
<scene>
<stage_direction>INT. INTERSECTION TUNNEL - DAY - MED. LONG SHOT</stage_direction>
<scene_description>Blair and his demolition team enter . The men carrying the injured soldier continue on . Blair looks around and signals one of the demolition men to place a C - two charge at the intersection of the tunnels . Blair looks at his wrist watch .</scene_description>
<character>BLAIR</character>
<dialogue>Three minutes!</dialogue>
<scene_description>The soldier sets the time fuse , pulls the pin and they all exit quickly .</scene_description>
</scene>
<scene>
<stage_direction>INT. INTERSECTION TUNNEL - DAY - MED. SHOT</stage_direction>
<scene_description>Fielding and two soldiers run past intersection and con - tinue on . Huddled in a dark corner we see the two mu - tants holding the Martian on his tray . One of the mu - tants is also carrying a strange looking antenna device . They turn and disappear into the darkness .</scene_description>
</scene>
<scene>
<stage_direction>INT. TUNNEL - DAY - MED. SHOT</stage_direction>
<scene_description>David runs toward camera . It PANS with him as he comes to a dead end , which slopes steeply up . He stops and looks about him uncertainly .</scene_description>
</scene>
<scene>
<stage_direction>INT. TUNNEL - DIFFERENT INTERSECTION - DAY - MED. CLOSE SHOT</stage_direction>
<scene_description>C - 2 demolition charge - we hear the sound of the time clock ticking away . INSERT Face of C - 2 demolition time clock . The second hand is slowly moving around . The minute hand reads : two minutes .</scene_description>
</scene>
<scene>
<stage_direction>INT. TUNNEL - DEAD END - DAY - MED. CLOSE SHOT</stage_direction>
<scene_description>David climbs to the top of the slope at the dead end of the tunnel and peers up at the roof .</scene_description>
</scene>
<scene>
<stage_direction>INT. TUNNEL - DEAD END - DAY - CLOSE SHOT OF TUNNEL ROOF</stage_direction>
<scene_description>The faint outline of what could be a mutant trapdoor is barely visible in the half light .</scene_description>
</scene>
<scene>
<stage_direction>INT. TUNNEL - DEAD END - DAY - MED. SHOT</stage_direction>
<scene_description>David stands on his tiptoes and strives to reach the trapdoor , but ca n't quite touch it . He frantically sets to work digging at the fused earthen wall , trying to carve a foothold . His fingers make little impression on the hard surface . Seeking something to use as a digging instrument , he feels his belt buckle . He tears off the belt and again starts to dig . From over head , we hear distant sounds of moving vehicles .</scene_description>
</scene>
<scene>
<stage_direction>EXT. MACLEAN FIELD - DAY - FULL SHOT</stage_direction>
<scene_description>Trapdoor through which the rescue party entered . Two soldiers are on their hands and knees lifting the others out of the hole as swiftly as possible . Balardi and Pat are already in a waiting Jeep , which rolls away out of scene . The mechanized earth augur is rapidly moving out of scene . Another jeep races into scene as the injured soldier is lifted through the hole and all the soldiers and Fielding jump aboard the Jeep which moves out of scene .</scene_description>
</scene>
<scene>
<stage_direction>EXT. MACLEAN FIELD - LONG SHOT</stage_direction>
<scene_description>Jeeps and earth augur - hightailing it across pasture , as a burst of flame shoots high into the air through the hole from whence the rescue party just emerged .</scene_description>
</scene>
<scene>
<stage_direction>EXT. CORNER OF MACLEAN'S FIELD - DAY - MED. SHOT</stage_direction>
<scene_description>Some distance from the trapdoor , the two Jeeps have stopped by the ambulance . Fielding helps five or six soldiers remove Balardi from the Jeep . He fights furiously . A soldier and Blake are lifting the uncon - scious form of Pat from the Jeep .</scene_description>
<character>BLAKE</character>
<dialogue>Hurry, let's get them to the hospital.</dialogue>
<parenthetical>( he gestures toward the soldier who was injured in the fight with the mutant . )</parenthetical>
<dialogue>Give him first aid - I'll send the ambulance right back.</dialogue>
<scene_description>The driver runs to the back of the ambulance , opens it , takes out two stretchers and restraining bands . Pat , still unconscious , is placed on one stretcher , Balardi is placed on the other , and strapped down with the re - straining bands . Blake and the driver enter the am - bulance , and it pulls out of the scene at high speed , siren wailing .</scene_description>
</scene>
<scene>
<stage_direction>EXT. CORNER MACLEAN FIELD - DAY - MED. SHOT</stage_direction>
<scene_description>Fielding suddenly turns to Lieutenant Cole .</scene_description>
<character>FIELDING</character>
<parenthetical>( with concern . )</parenthetical>
<dialogue>Where's David?</dialogue>
<character>COLE</character>
<dialogue>I do n't know, Colonel. Was n't he with Lieutenant Blair?</dialogue>
<character>FIELDING</character>
<parenthetical>( to Blair , worried . )</parenthetical>
<dialogue>Lieutenant, have you seen David?</dialogue>
<character>BLAIR</character>
<dialogue>Why, no. Did n't he come out of the tunnel with you?</dialogue>
<character>FIELDING</character>
<dialogue>No. I sent him up long ago. If he did n't come out with you he must still be down here.</dialogue>
<parenthetical>( he is frantic . )</parenthetical>
<dialogue>How much time before the demoli - tions go off?</dialogue>
<character>BLAIR</character>
<parenthetical>( looking at his watch . )</parenthetical>
<dialogue>One minute, sir.</dialogue>
<scene_description>Fielding makes a move for the jeep . Blair puts his hand on Fielding 's shoulder , stopping him .</scene_description>
<character>BLAIR</character>
<dialogue>You'll never make it, sir.</dialogue>
<scene_description>Fielding and Blake look at each other in hopeless despair .</scene_description>
</scene>
<scene>
<stage_direction>INT. TUNNEL - DEAD END - DAY - MED. SHOT</stage_direction>
<scene_description>David is desperately digging at the wall of the tunnel . He has clawed away enough earth and rock to almost touch the trapdoor . He stops to rest , wipes the sweat from his eyes and again attacks the tunnel wall with his belt buckle .</scene_description>
</scene>
<scene>
<stage_direction>INT. TUNNEL - INTERSECTION - DAY - INSERT TIME CLOCK FACE</stage_direction>
<scene_description>It reads : 40 seconds .</scene_description>
</scene>
<scene>
<stage_direction>INT. TUNNEL - DEAD END - DAY - MED. CLOSE SHOT</stage_direction>
<scene_description>David is frantic . He is within inches of the trapdoor and still digging .</scene_description>
</scene>
<scene>
<stage_direction>INT. TUNNEL INTERSECTION - INSERT TIME CLOCK FACE</stage_direction>
<scene_description>It reads : 20 seconds .</scene_description>
</scene>
<scene>
<stage_direction>INT. TUNNEL - DEAD END - DAY - MED. SHOT</stage_direction>
<scene_description>David has reached the tunnel roof and is pushing on the trapdoor . It slowly rises and the daylight streams in - to his face as he clambers out .</scene_description>
</scene>
<scene>
<stage_direction>EXT. CORNER MACLEAN FIELD - DAY - LONG SHOT</stage_direction>
<scene_description>Shooting over the backs of Fielding , Blair and Cole toward the center of the field . David is seen climbing out of the trap door . Fielding jumps into the jeep - yells at the driver - the jeep roars toward David .</scene_description>
</scene>
<scene>
<stage_direction>EXT. FIELD - DAY - AT TRAPDOOR</stage_direction>
<scene_description>The jeep tears into the scene . Fielding reaches out and lifts David into the jeep . Without stopping , it roars out of scene .</scene_description>
</scene>
<scene>
<stage_direction>EXT. MACLEAN FIELD - DAY - LONG SHOT</stage_direction>
<scene_description>The jeep , with Fielding and David , speeds toward camera . The other soldiers are taking refuge behind the cars and equipment , awaiting the explosion . Suddenly , there is a violent detonation and a cloud of earth and debris mushrooms into the sky .</scene_description>
</scene>
<scene>
<stage_direction>EXT. ROCKY RIDGE OVERLOOKING MACLEAN FIELD - DAY LONG SHOT</stage_direction>
<scene_description>In the distant b.g. we see the general activity after the explosion . Men are picking themselves up from the ground , brushing themselves off , looking back at the crater , caused by the explosion . In the immediate f.g. a trapdoor opens in the ground and we see the hairy arm of a mutant come into scene . The rest of his body appears in deep silhouette . He is followed by the second mutant who is carrying the antenna device .</scene_description>
</scene>
<scene>
<stage_direction>EXT. MACLEAN FIELD - DUSK - FULL SHOT</stage_direction>
<scene_description>Fielding and Lieutenant Cole are in foreground at rim of crater , caused by the explosion . They are inspect - ing a battered portion of the space ship 's instrument panel . Lieutenant Blair enters scene carrying intricate looking instrument , similar to an altimeter . He hands it to Colonel Fielding .</scene_description>
<character>BLAIR</character>
<dialogue>This instrument seems to be intact, sir.</dialogue>
<scene_description>Fielding inspects the instrument and hands it to Cole .</scene_description>
<character>FIELDING</character>
<dialogue>It appears to be similar to our high altitude anaroids.</dialogue>
<parenthetical>( he then turns back to Blair . )</parenthetical>
<dialogue>Did you finish checking the tunnels, Blair?</dialogue>
<character>BLAIR</character>
<dialogue>Yes, sir. Our demolition charges cleaned them all out.</dialogue>
<character>FIELDING</character>
<dialogue>Be sure the boys bring in everything they find.</dialogue>
<scene_description>They resume their inspection of the space ship instru - ment panel .</scene_description>
</scene>
<scene>
<stage_direction>EXT. MacLEAN FIELD - DUSK - MED. SHOT</stage_direction>
<scene_description>Shooting toward Rocky Ridge . David walks slowly up the hill . He stoops and picks up a small piece of metal , which he puts in his pocket .</scene_description>
</scene>
<scene>
<stage_direction>EXT. MacLEAN FIELD - ROCKY RIDGE - DUSK - MED. SHOT</stage_direction>
<scene_description>Fielding , Cole , Blair and several soldiers , two of whom have just placed some portions of the space ship on the pile . A sergeant enters scene .</scene_description>
<character>SERGEANT</character>
<dialogue>Dr. Metzler just called from the hospital, sir. The operations were successful.</dialogue>
<character>FIELDING</character>
<dialogue>Thank you, sergeant.</dialogue>
<scene_description>He looks around .</scene_description>
<character>FIELDING</character>
<dialogue>I want to get back right away! Where's David?</dialogue>
<character>BLAIR</character>
<parenthetical>( pointing . )</parenthetical>
<dialogue>He was up there a couple of minutes ago, sir.</dialogue>
<parenthetical>( laughs . )</parenthetical>
<dialogue>Looking for souvenirs.</dialogue>
<character>FIELDING</character>
<dialogue>Thanks, Lieutenant. You and your men did a fine job. You can report back to the base.</dialogue>
<character>COLE</character>
<dialogue>Yes, sir.</dialogue>
<scene_description>He leaves . And Fielding moves out of scene in the dir - ection to which Blair had pointed .</scene_description>
</scene>
<scene>
<stage_direction>EXT. ROCKY RIDGE - MacLEAN FIELD - DUSK - MED. LONG SHOT</stage_direction>
<scene_description>David is walking aimlessly toward the mutants whom we see in silhouette in the f.g. David stops and picks up a piece of metal . He examines it , throws it aside , and sees something closer to CAMERA near where the mu - tants are hiding . As he starts for the object we HEAR Fielding 's voice o.s.</scene_description>
<character>FIELDING</character>
<parenthetical>( o.s . )</parenthetical>
<dialogue>David!</dialogue>
<scene_description>David turns , looks at him , then turns and looks at the object that he was interested in .</scene_description>
<character>DAVID</character>
<dialogue>There's something up here that might be -</dialogue>
<character>FIELDING</character>
<parenthetical>( interrupting . )</parenthetical>
<dialogue>Never mind. They'll get all of that tomorrow. We've got to go back to the hospital now.</dialogue>
<scene_description>David turns and runs back to Fielding .</scene_description>
</scene>
<scene>
<stage_direction>INT. DR. BLAKE'S CONSULTATION ROOM - MED. FULL SHOT</stage_direction>
<scene_description>David and his aunt , Margaret MacLean , a pleasant , forth - right woman , are seated . They have an attitude of ex - pectancy . Cricket is seated on the sofa next to Aunt Margaret . She is petting him . It is apparent from the dog 's attitude that he knows her .</scene_description>
<character>DAVID</character>
<dialogue>They've been in there a long time, Aunt Margaret.</dialogue>
<character>AUNT MARGARET</character>
<dialogue>It only seems like a long time, dear.</dialogue>
<parenthetical>( trying to switch his thoughts . )</parenthetical>
<dialogue>Has Cricket had his supper yet?</dialogue>
<character>DAVID</character>
<parenthetical>( disgusted . )</parenthetical>
<dialogue>The nurse gave him some toast and spinach.</dialogue>
<character>AUNT MARGARET</character>
<dialogue>We'll give him some real food when we get home.</dialogue>
<scene_description>Fielding and Blake enter . David jumps up .</scene_description>
<character>DAVID</character>
<parenthetical>( anxiously . )</parenthetical>
<dialogue>Are they all right?</dialogue>
<character>BLAKE</character>
<parenthetical>( kindly . )</parenthetical>
<dialogue>Your father and mother are going to be just like they were before - before these - things happened. When I talked to them, David, their only concern was for you.</dialogue>
<character>DAVID</character>
<parenthetical>( turning to his aunt . )</parenthetical>
<dialogue>They - they did n't know what they were doing - did they, Aunt Mar - garet?</dialogue>
<character>FIELDING</character>
<dialogue>They were n't responsible for any - thing that happened, David. Now go home with your aunt and get a good night's sleep - you'll see them tomorrow morning.</dialogue>
<scene_description>Aunt Margaret and David cross to the door .</scene_description>
<character>DAVID</character>
<dialogue>Yes, sir.</dialogue>
<parenthetical>( turns to the dog . )</parenthetical>
<dialogue>Come on, Cricket, we're going home.</dialogue>
<scene_description>They exit .</scene_description>
</scene>
<scene>
<stage_direction>EXT. ROCKY RIDGE - OVERLOOKING MacLEAN FIELD - NIGHT MED. SHOT</stage_direction>
<scene_description>Two mutants and Martian - as one of them adjusts a series of rings like a miniature radio direction loop , then presses a stud and violet sparks ripple and dance around the edges of the rings and a shrill , high - fre - quency buzzing sound , broken up like very fast code , emanates from the machine . The two mutants and the Martian raise their eyes upward and stare into space . Then they look off stage .</scene_description>
</scene>
<scene>
<stage_direction>EXT. MacLEAN HOUSE - NIGHT - MUTANT'S ANGLE - LONG SHOT</stage_direction>
<scene_description>The lights are burning in the MacLean house .</scene_description>
</scene>
<scene>
<stage_direction>INT. DAVID'S BEDROOM - NIGHT - FULL SHOT</stage_direction>
<scene_description>David is in his pajamas , Cricket is on the foot of the bed , and Aunt Margaret is pulling back the covers .</scene_description>
<character>AUNT MARGARET</character>
<dialogue>All right, young man, into bed with you.</dialogue>
<character>DAVID</character>
<parenthetical>( yawning . )</parenthetical>
<dialogue>Okay, Aunt Margaret.</dialogue>
<scene_description>She ruffles his hair , kisses him , then crosses to the door , turns off the light and pauses before she exits .</scene_description>
<character>AUNT MARGARET</character>
<dialogue>Good night, dear.</dialogue>
<character>DAVID</character>
<parenthetical>( sleepily . )</parenthetical>
<dialogue>Good night.</dialogue>
<scene_description>Aunt Margaret exits , closes the door after her . The CAMERA PANS to Cricket on the foot of the bed . His ears suddenly perk up and he looks toward the window . He whimpers , then jumps off the bed and patters to the window . He puts his paws on the sill , looks out and growls .</scene_description>
<character>DAVID</character>
<parenthetical>( sitting up in bed . )</parenthetical>
<dialogue>What's the matter, Cricket?</dialogue>
<scene_description>David jumps out of bed and crosses to the window . He looks out into the night . His eyes widen . He quickly removes the muslin cover from his telescope and puts his eye to the eye - piece .</scene_description>
</scene>
<scene>
<stage_direction>EXT. MacLEAN FIELD - NIGHT - TELESCOPE MATTE SHOT</stage_direction>
<scene_description>- of a ball of white fire rapidly descending . Tele - scope matte shot PANS and the ball of white fire de - scends upon the ridge and dies to a soft glow .</scene_description>
</scene>
<scene>
<stage_direction>INT. DAVID'S ROOM - NIGHT - CLOSE SHOT</stage_direction>
<scene_description>David - as he makes quick adjustments of the ocular and again presses his eye to the telescope .</scene_description>
</scene>
<scene>
<stage_direction>EXT. MacLEAN FIELD - ROCKY RIDGE - NIGHT - TELESCOPE MATTE</stage_direction>
<scene_description>- of round bulkhead opening in section of space ship seen through screen of heavy bushes and trees . The sil - houette of the two mutants carrying the Martian in his plastic dome enters scene and goes through bulkhead , which closes behind them . Then the scene is burned out by a blinding white light .</scene_description>
</scene>
<scene>
<stage_direction>EXT. MacLEAN FIELD - NIGHT - TELESCOPE MATTE SHOT</stage_direction>
<scene_description>- as the ball of white fire ascends swiftly and dies away in the distance .</scene_description>
</scene>
<scene>
<stage_direction>INT. DAVID'S ROOM - NIGHT - CLOSE SHOT</stage_direction>
<scene_description>David - clutching Cricket against him and staring out the window .</scene_description>
<character>DAVID</character>
<dialogue>Well - gee, whiz!</dialogue>
<scene_description>FADE OUT . THE END</scene_description>
</scene>
</script>
|
INVADERS FROM MARS
MUSIC of Finlandia type behind credits builds to crescendo on . PAN SHOT - SPECIAL EFFECTS - NIGHT - of star - studded heavens at night . Scattered cumulus clouds alternately obscure and disclose a three - quarter moon and vast open deeps of glittering constellations . The music diminishes and backs the voice of the narra - tor .
NARRATOR
Since the beginning of Time the people of our Earth have looked upon the stars and pondered - They wondered what man - ner of man - or creature - inhabited the faint mysterious worlds that lay beyond.
EXT. MT. WILSON OBSERVATORY - NIGHT - LONG SHOT
Large telescope pivoting against the sky .
INT. TELESCOPE ROOM - NIGHT - MED. SHOT
Two Astronomers - adjusting eye - pieces .
NARRATOR
But the largest telescopes have failed to penetrate the dark and awe - some secret.
INT. TELESCOPE ROOM - DIFFERENT OBSERVATORY - NIGHT CLOSE SHOT
White haired astronomer - peering into the eye - piece of a telescope .
NARRATOR
Men still probe the deeps of space - men of all ages - seeking the answer.
INT. DAVID MacLEAN'S BEDROOM - NIGHT - CLOSE SHOT
of telescope - DOLLY BACK to disclose David MacLean - a twelve year old boy , who is sitting on the floor with his eyes glued to a telescope . He is dressed in rumpled pajamas . A student lamp on the floor lights the scene in low key . A star map and nauti - cal almanac lay on the floor in high key under the lamp . A small Cairn terrier named Cricket stares up at him with wistful curiosity .
INT. DAVID'S BEDROOM - NIGHT - MED. SHOT
- as David moves back from the telescope and rubs his eyes with his knuckles . He leafs through the nautical almanac and reaches for the aluminum can - teen on the window sill . It falls to the floor with a clatter . He picks it up quickly and listens ap - prehensively for an indication that he has awakened his parents ; sighs with relief and glances at an alarm clock on the window sill which reads 3:40 . He unscrews the canteen stopper and tilts it to drink ; then stops as a bright light illuminates the darkness outside the window .
INT. DAVID'S BEDROOM - NIGHT - FULL SHOT - SPECIAL EFFECTS
David 's angle - through window , of a swiftly descend - ing ball of brilliant white fire as it sweeps down out of the heavens , hovers for a moment , then drops behind foreground trees .
INT. DAVID'S BEDROOM - NIGHT - CLOSE SHOT
David - his face highlighted by the ball of fire as he stares with incredible bewilderment .
DAVID
( with awe . )
Well - Gee Whiz!
INT. DAVID'S BEDROOM - NIGHT - MED. SHOT
David crosses to foot of bed , puts on his bathrobe and slippers ; climbs through the window , chirping at the dog , Cricket , who hops up on the window sill and follows him out .
EXT. BACK OF MacLEAN'S HOUSE - FIELD IN B.G. - NIGHT MED. SHOT
- as David turns and looks at the dog , who growls and trots toward the field . David follows him toward field , but stops suddenly .
EXT. MacLEAN FIELD - SHOOTING AWAY FROM HOUSE - NIGHT (SPECIAL EFFECTS)
David sees a brilliant white light glow suddenly in the distance . It casts a gigantic black shadow of a thing that could be a man against the flank of the dark hill . The light goes out suddenly and a strange humming sound fills the air .
EXT. BACK OF MacLEAN'S HOUSE - NIGHT - REVERSE MED. SHOT
David reacts with amazement to what he has seen , he turns and runs toward house followed by Cricket .
INT. DAVID'S ROOM - SHOOTING TOWARD FIELD - NIGHT
- as the dog jumps through the window , followed by David , who grabs a flashlight . CAMERA PANS with David as he exits into the hall .
INT. MR. &. MRS. MacLEAN'S BEDROOM - (LOW KEY) - NIGHT MED. SHOT
David bursts through the door and shines the flash - light on the bed and his father and mother sit up . MacLean fumbles for the table light and shades his eyes against the flashlight . He turns on the light .
MRS. MacLEAN
( with concern . )
What's the matter, David? Are you all right?
DAVID
( excitedly . )
Dad - listen! I saw a - a - a some - thing - just landed in our field. A flying saucer or something!
MRS. MacLEAN
A what?
DAVID
A space ship - I think. It's there now - over by the hill. Come on, Dad.
MacLEAN
( with weary exasper - ation . )
Have you gone completely crazy - four o'clock in the morning!
DAVID
But, Dad - I saw it - I tell you.
MRS. MacLEAN
Oh, you had a dream, dear - a night - mare.
DAVID
I was n't asleep! I saw it - it landed in our field!
MacLEAN
( putting his feet on floor . )
Now, that's enough!
DAVID
But, Dad.
MacLEAN
All right, march!
DAVID
( leaving , followed by Cricket . )
Aw, gee!
( he slams door . )
MacLean gets up and puts on his slippers .
MRS. MacLEAN
Oh, John, do n't scold him. He did n't mean to slam the door.
MacLEAN
( walking towards door and yawning . )
I'm not - I'm just going to see that he goes to bed.
INT. DAVID'S ROOM - NIGHT - FULL SHOT
He is standing by the window , staring out . Cricket has his forepaws on the window - sill . The door opens , David turns and looks at his father guiltily as he closes the door . MacLean indicates the bed with his thumb . With a sigh , David shucks off his bathrobe and slippers and crawls into the bed . Cricket jumps onto the foot of the bed . MacLean crosses to a wardrobe chest and selects a medicine bottle and a spoon from the top of it . He returns and sits on the side of the bed .
DAVID
I'm not sick!
MacLEAN
( shakes bottle and pours into spoon . )
I know - this is some of that stuff Doctor Weber left to make you sleep when you had the flu. Come on - open up.
David looks at his father with exasperated patience and with a shrug of martyrdom swallows the medicine and drops back on his pillow .
MacLEAN
( gently . )
Now what makes you think you saw a flying saucer?
DAVID
( rising on elbows , try - ing to convince him . )
I do n't think, Dad - I know - I -
MacLean , with a smile , pushes him back on the pillow .
MacLEAN
Maybe it was one of the experiment - al rockets from over at White Sands -.
( David shakes his head . )
If anything had fallen in the field - I'd have heard it, would n't I?
DAVID
It did n't fall, Dad - it landed over in the field. Blossom! Gee, Dad, Blossom's out there! We'd better go get her!
MacLean regards the boy with a patient affectionate smile .
MacLEAN
( with a smile . )
Blossom is an intelligent cow - she can take care of herself.
DAVID
But, Dad -
MacLEAN
You've been reading too many of those Science Stories - flying saucers!
DAVID
( yawning . )
But I saw it! And Cricket saw it - he growled!
MacLEAN
( fondling the dog . )
He growls at hoot owls too - and shadows! And I want you to stop growling at shadows and go to sleep.
David stares at him with patient resignation .
MacLEAN
Tomorrow morning I'll take my 12 gauge and you take your.410 and you and I and Cricket will go out in that field and if there's any space ship or flying saucer out there, we'll take a shot at it - especially if they've bothered our cow!
David , feeling the effects of the sedative , yawns again . His father runs his fingers lightly through David 's hair in a soothing fashion .
MacLEAN
( gently . )
That's a good boy - go to sleep.
David 's eyes close and MacLean gets up softly , tiptoes to the light - switch and turns out the light .
EXT. MacLEAN FIELD - NIGHT - LONG SHOT
Nothing is moving , the bellow of a cow is HEARD over scene .
INT. MR. & MRS. MacLEAN'S BEDROOM - NIGHT - MED. SHOT
-LRB- Very low key -RRB- - Moonlight through bedroom window - Mrs. MacLean 's voice comes over scene with alarmed insistence .
MRS. MacLEAN
John! - John! -
MacLEAN
( annoyed and sleepy . )
Now what's the matter?
Off scene is HEARD the low mournful bellowing of a cow . The light goes on , revealing MacLean irritably rubbing his eyes .
MRS. MacLEAN
The cow - something's wrong with her.
The cow 's mooing rises to a terrified bellowing .
MacLEAN
Probably caught in the fence.
He gets up , puts on his shoes and bathrobe and takes a flashlight .
MRS. MacLEAN
Hurry she may be hurt!
As MacLean exits -
EXT. MacLEAN FIELD - NIGHT - MED. SHOT
MacLean enters carrying lighted flashlight . He walks toward sound of bellowing and disappears behind bushes . Bellowing suddenly stops . FADE OUT
EXT. MacLEAN FIELD - MORNING - LONG SHOT
MacLean house in background . David and Cricket , in foreground , are walking hesitantly into the field . There is a sudden high - frequency hum and both David and the dog stare at the ground , which trembles slightly . David turns and runs toward the house , fol - lowed by Cricket .
EXT. FRONT OF MacLEAN HOUSE - MORNING - MED. SHOT
A police car stands in front of the house and two of - ficers stand on the front porch , talking to Mrs. Mac - Lean .
MRS. MacLEAN
- and I ca n't understand what hap - pened to him!
BLAINE
( reassuringly . )
You say he's been gone for.
David and Cricket run into scene .
MRS. MacLEAN
What's the matter, David?
DAVID
( breathlessly . )
- over there in the field - I heard something - I mean - it was more like I felt something.
MRS. MacLEAN
What?
DAVID
I do n't know - a kind of buzzing sound deep down under the ground.
MRS. MacLEAN
Oh, David, this is no time to let your imagination run away with you when I'm so concerned about your father.
JACKSON
Do n't worry, we'll find him, Mrs. MacLean. Come on Blaine.
They exit from the porch . Mrs. MacLean and David look after them .
EXT. MacLEAN FIELD - DAY - MED. SHOT
Blaine and Jackson are walking through the field . They stop and look around .
JACKSON
The cow may have trampled him - they can be dangerous.
BLAINE
Yeah, that's possible.
JACKSON
You take the north side, and I'll look over here.
BLAINE
Okay.
EXT. MacLEAN FIELD - DAY - FULL SHOT
- as the two men separate and walk toward hill . The CAMERA STAYS with Blaine , who stops and looks at some - thing in the grass .
EXT. MacLEAN FIELD - DAY - MED. SHOT
Blaine looking at flashlight in the grass .
EXT. MacLEAN FIELD - DAY - CLOSE SHOT
- of flashlight lying in the grass . Blaine 's hand reaches into scene and picks it up .
EXT. MacLEAN FIELD - DAY - MED. SHOT
Blaine straightens up with flashlight and calls .
BLAINE
Hey, Jackson! Here's a flashlight!
- he looks around for Jackson . His face registers be - wilderment .
EXT. MacLEAN FIELD - DAY - BLAINE'S ANGLE
- the CAMERA REVEALS an empty field with no possible place of concealment .
EXT. MacLEAN FIELD - DAY - MED. SHOT
BLAINE
( calling . )
Hey, Jackson -!
He runs toward the spot where he last saw Jackson . He stops and looks uncertainly .
EXT. MacLEAN FIELD - DAY - FULL SHOT
Blaine - with hill in background . He stares about him in puzzled incredulity . Then a four foot round section of turf immediately behind him raises up about a foot .
EXT. MacLEAN FIELD - DAY - CLOSE SHOT
Blaine 's face - as he emits a choking scream and drops out of scene . CAMERA PANS down to ground and we see a section of turf closing like the lid of a trap door spider .
INT. MacLEAN LIVING ROOM - DAY - FULL SHOT
Mrs. MacLean is pacing nervously and David stands look - ing out of the front window . Cricket is in the room .
MRS. MacLEAN
You're not going out there!
DAVID
But they've been gone over an hour. Let me go look, too, Mom - please!
MRS. MacLEAN
You stay right here!
DAVID
Aw, gee -
MacLEAN'S VOICE
( off scene . )
Any chance of getting a cup of coffee?
Mrs. MacLean and David turn toward doorway .
INT. MacLEAN LIVING ROOM - DAY - MED. SHOT
- John MacLean is standing in the living room doorway . He is wearing his bathrobe and pajamas . He looks some - what disheveled . Over scene Mrs. MacLean and David speak together .
MRS. MacLEAN and DAVID
John! - Dad! -
INT. MacLEAN LIVING ROOM - DAY - MED. SHOT
- as Mrs. MacLean and David rush toward MacLean .
MRS. MacLEAN
Oh, John, where have you been? I've been so worried!
DAVID
Gee, Dad, what happened?
Cricket looks at MacLean and crawls under the sofa . MacLean looks down at his wife and son . His face is tense and he wears a tight forced smile .
MacLEAN
Nothing to get excited about. Tell you all about it when I've had my coffee.
MacLean crosses and sits in an armchair .
MRS. MacLEAN
( exiting . )
I'll just be a minute.
David leans over the back of his father 's chair .
DAVID
What took you so long?
MacLEAN
( impatiently . )
I've been looking for Blossom. I followed her trail but finally lost track of her in those scrub oak flats behind Blue Hill.
INT. MacLEAN LIVING ROOM - DAY - CLOSE SHOT
David 's face - as he stares down at the back of his father 's head .
INT. MacLEAN LIVING ROOM - DAY - REVERSE CLOSE SHOT
David 's angle - of back of MacLean 's head . There is a livid red scar the size of a quarter on the back of his head just above the nape of his neck .
DAVID'S VOICE
( over scene . )
Gosh, Dad, what happened to your head?
INT. MacLEAN LIVING ROOM - DAY - MED. CLOSE SHOT
A shadow of anger crosses MacLean 's face .
MacLEAN
It's only a scratch. Caught it on a barbed wire fence.
DAVID
A barbed wire fence? But how could -
MacLEAN
( interrupting . )
Go on out and play!
DAVID
But - Dad -
MacLean suddenly slaps the boy a vicious backhand blow across the face , as Mrs. MacLean enters the scene from background , carrying a cup of coffee . Mrs. MacLean drops the cup , registering horrified incredulity . David staggers across the room and fetches up against the wall . Mrs. MacLean crosses to him , puts her arms around him with a sheltering attitude . Cricket comes out from under the sofa and growls at MacLean and hud - dles near David .
MacLEAN
( coldly . )
Now will you go out and play - and take that animal with you!
INT. MacLEAN LIVING ROOM - DAY - MED. CLOSE SHOT
David , his mother - with Cricket huddled close by . They stare at MacLean with incredulous baffled expres - sions .
MRS. MacLEAN
( in a low , hurried voice . )
Please, David - do as your father says.
INT. MacLEAN LIVING ROOM - DAY - MED. SHOT
David goes out through the hall followed by Cricket . We HEAR the front door slam . MacLean turns to his wife .
MacLEAN
( in a cold mechanical voice . )
I'm still waiting for my coffee.
MRS. MacLEAN
( in a tone of hurt be - wilderment . )
What's the matter with you, John? What's happened?
MacLEAN
Get me a cup of coffee!
Mrs. MacLean exits , looking apprehensively over her shoulder at her husband .
EXT. MacLEAN FRONT PORCH - MID-MORNING - FULL SHOT
Jackson , Blaine and MacLean are exiting onto the front porch . David is sitting on the steps with Cricket . Mrs. MacLean stands nervously twisting her apron , look - ing through the front screen door from the hallway .
MacLEAN
( he now speaks normally and seems like his old self . )
Well, thanks, gentlemen, I wo n't keep you any longer. I'm sure you have important things to take care of -
EXT. MacLEAN FRONT PORCH - DAY - CLOSE SHOT
High angle - back of Jackson 's head - as he removes cap and wipes forehead with handker - chief . A livid round red scar is on the back of his head just above the nape of his neck .
EXT. MacLEAN FRONT PORCH - DAY - REVERSE CLOSE SHOT
David 's face - puzzled - he reacts to what he has seen .
EXT. MacLEAN FRONT PORCH - DAY - MED. SHOT
Jackson , Blaine and MacLean - from David 's angle .
BLAINE
( with meaning . )
Yes. We have -
Jackson nods his head .
EXT. MacLEAN FRONT PORCH - DAY - CLOSE SHOT
Mrs. MacLean staring at her husband with nervous incred - ulity .
EXT. MacLEAN FRONT PORCH - DAY - FULL SHOT
Blaine and Jackson - as they leave the porch . Jackson leans over and ruffles David 's hair as he passes .
JACKSON
Take it easy on those comic books, youngster.
BLAINE
( as they walk toward car . )
Yes - that imagination of yours is liable to get you in trouble.
FADE OUT .
EXT. BACK OF MacLEAN HOUSE - DAY - MED. SHOT
Small hummock in foreground - MacLean home in background . The hummock is thickly grown with bushes . The leaves of a bush are pushed slowly back and the eye - piece of a one - inch telescope pushes full INTO CAMERA .
EXT. BACK OF MacLEAN HOUSE - DAY - CLOSE SHOT
David is lying on the ground behind the bushes looking through the telescope . Cricket is with him . David - raises his face from the eye - piece and looks over the telescope with interest and consternation . He then looks back through telescope .
EXT. FIELD - DAY - AS THROUGH TELESCOPE - MATTE
A little girl , Kathy Wilson , aged five , walks across the field picking flowers . Suddenly a round section of the earth opens up behind her and an indistinct some - thing grabs her by the ankles and snatches her down in - to the hole . A flap of earth closes back over the hole .
EXT. BACK OF MacLEAN HOUSE - DAY - PAN SHOT
David and Cricket - as David jumps up , runs toward the field , stops with indecision , then turns and runs fran - tically toward the house , followed by the dog .
INT. HALLWAY - MacLEAN HOUSE - DAY - MED. SHOT
- as David and Cricket enter and David starts toward the telephone . Then he looks over his shoulder toward the living room and stops .
INT. MacLEAN LIVING ROOM - DAY - MED. SHOT
David 's angle - John MacLean - sitting rigidly in a chair in the living room staring fixedly at David .
MacLEAN
Well - what do you want!
INT. MacLEAN LIVING ROOM - DAY - CLOSE SHOT
Shooting toward David and Cricket in hallway .
DAVID
( hesitatingly . )
I - I was looking for Mom.
MacLEAN
( sharply . )
She's not here. What's on your mind?
DAVID
Oh - uh - nothing -
MacLEAN
What have you been up to?
DAVID
Nothing - just playing.
MacLEAN
Your mother told you not to play in the field, did n't she?
DAVID
( hesitatingly . )
But - I - uh -
MacLEAN
( pointedly . )
I tell you you can play in the field - all you want - understand?
DAVID
Yes, sir.
He turns and starts toward the front door , Cricket at his heels .
INT. MacLEAN LIVING ROOM - DAY - CLOSE SHOT
MacLean - as he picks up a map which he 's holding in his lap and studies it intently . His head jerks up as the front screen door slams . He looks out the window .
EXT. FRONT - MacLEAN HOUSE - DAY - LONG SHOT
Through window - David and Cricket - running down road .
EXT. BACK PORCH - WILSON HOUSE - DAY - FULL SHOT
This is a small cottage with an old fashioned storm cel - lar door leading into the basement adjacent to back steps . David and Cricket walk into scene . David knocks on the door , which opens . David walks in . Cricket waits outside .
INT. WILSON KITCHEN - FULL SHOT
Mrs. Wilson dries her hands on her apron and pushes back a strand of hair from her forehead .
MRS. WILSON
Well - hello - David -
DAVID
Mrs. Wilson - is Mr. Wilson home?
MRS. WILSON
( puzzled . )
Why - no, David - he's out of town. What is it?
DAVID
Well - I mean - you know your little girl -
MRS. WILSON
( with instant alarm . )
Has something happened to Kathy?
DAVID
Well - I mean - gee, Mrs. Wilson - You see, I was up on the hill with my telescope - hiding in the bushes and -
Mrs. Wilson 's face darkens with frightened suspicion .
MRS. WILSON
You were hiding in the bushes and what happened?
DAVID
Well, I - I was watching the field and I saw Kathy. She was picking flowers - I think.
MRS. WILSON
Yes?
DAVID
And then - well - the ground opened up and something grabbed her and pulled her down into a hole.
- as she reacts with annoyance and disbelief .
MRS. WILSON
Oh, David, stop all this nonsense. Where is she?
David backs away from Mrs. Wilson , who advances threat - eningly .
DAVID
Honest, Mrs. Wilson, there's some - thing out there under the ground. It's a space ship or.
MRS. WILSON
What kind of a ship?
DAVID
A space ship!
Mrs. Wilson bursts into nervous laughter and grabs David by the shoulders and shakes him severely .
MRS. WILSON
Now listen, David - what have you done to my little girl - where is she - answer me!
DAVID
( frantically . )
Honest, Mrs. Wilson - the ground opened up - and -
Mrs. Wilson slaps him sharply . David raises his elbow to ward off further blows .
MRS. WILSON
You tell me what you've done to Kathy!
The sound of the back kitchen door opening causes Mrs. Wilson to look over her shoulder and react with relief .
INT. WILSON KITCHEN - DAY - NEW ANGLE
Kathy Wilson is entering the kitchen . She stops and looks at her mother curiously . Mrs. Wilson rushes across the room and gathers the child in her arms .
MRS. WILSON
Kathy, honey - where have you been? What's happened?
TWO SHOT - KATHY AND MRS. WILSON Kathy looks up at her mother with a round cherubic baby face .
KATHY
( blandly . )
Nothing, Mama.
MRS. WILSON
( turning to David . )
Oh, David! How could you!
She puts Kathy down .
INT. WILSON KITCHEN - DAY - MED. TWO SHOT
David sidles around and attempts to get a look at the back of Kathy 's head . She puts her hands to the back of her head and smoothes her hair down .
INT. WILSON KITCHEN - DAY - THREE SHOT
MRS. WILSON
What do you mean - coming in here and scaring me to death - What's the matter with you, David?
DAVID
( flatly . )
I'm sorry.
MRS. WILSON
I am, too - I'm sorry I lost my temper.
She turns and reaches for the cookie box .
MRS. WILSON
Here - do n't you want some cookies - and a glass of milk?
DAVID
( starting toward kit - chen door . )
No, thank you.
MRS. WILSON
I'm really very sorry, David, for the way I treated you - but after all - Here, dear - take some cookies with you.
DAVID
I'm not hungry.
At this point , he 's reached the kitchen door .
EXT. REAR OF WILSON HOUSE - DAY - FULL SHOT
Cricket is barking frantically at a column of smoke that issues from the open cellar door . David comes out of kitchen door , sees the smoke coming from the cellar , and calls back inside .
DAVID
( calling . )
Mrs. Wilson - Mrs. Wilson - your house is on fire!
Mrs. Wilson runs to the screen door and exits , carrying Kathy with her into the yard .
EXT. REAR OF WILSON HOUSE - DAY - MED. SHOT
Smoke is pouring out the cellar door . Mrs. Wilson places Kathy on the ground , then snatches a garden hose and runs to a faucet near the back porch . She fumbling - ly attempts to attach it , just as a neighbor , Arthur Turner , a man about forty - five , runs into scene . He quickly attaches the hose , while David points the nozzle toward the cellar door . He turns on the water , then runs and takes the hose from David , adjusts the nozzle to spray , then , ducking his head against the billowing smoke , enters the cellar .
EXT. REAR WILSON HOUSE - DAY - FULL SHOT
As Turner directs the spray of water into the cellar , we can see red tongues of flame diminish . He advances into the cellar . Mrs. Wilson is frantically trying to peer through the smoke .
DAVID
You'd better call the fire depart - ment, Mrs. Wilson!
MRS. WILSON
( calling through smoke . )
Mr. Turner, shall I call the fire department?
TURNER'S VOICE
( off scene . )
No. I've got it under control.
Mrs. Wilson steps back and sighs with relief . Kathy crosses to her mother and stands pressed against her mother 's legs , calmly watching the smoke .
EXT. REAR WILSON HOUSE - DAY - CLOSE TWO SHOT
- as David sidles around Kathy and looks at the back of her head .
EXT. WILSON HOUSE - DAY - FULL SHOT
- as Turner backs up out of the cellar , coughing . He is turning off the hose at the nozzle as he exits . He drops the hose , crosses to the faucet and turns off the valve . He takes out a handkerchief and dabs at his streaming eyes .
TURNER
It's all right, Mrs. Wilson. It's out.
MRS. WILSON
( relieved . )
Oh, thank heavens!
TURNER
Someone spilled a gallon can of gaso - line down there.
MRS. WILSON
That's impossible - We keep our spare gasoline in the garage.
TURNER
Well - a can of gasoline was laying over on its side down there with the top off. That's what was burning.
MRS. WILSON
Are you sure?
TURNER
Positive.
MRS. WILSON
Kathy, were you down in the cellar?
KATHY
( blandly . )
No, Mamma.
EXT. WILSON - DAY - CLOSE SHOT
Kathy 's face - as her eyes look up and meet David 's .
EXT. WILSON HOUSE - DAY - CLOSE SHOT
David - staring intently at Kathy .
EXT. WILSON HOUSE - DAY - CLOSE SHOT
Kathy - as she smiles faintly and her eyes take on a curious , hard , triumphant expression .
INT. GROCERY STORE - DAY - FULL SHOT
- with telephone booth in foreground . David enters scene , followed by Cricket . They go into phone booth and David closes the door .
INT. TELEPHONE BOOTH - DAY - MED. SHOT
David drops a nickel in the coin box .
DAVID
( into phone . )
State 4 - 3559, please.
EXT. GRIFFITH OBSERVATORY - DAY - FULL SHOT
INT. PROFESSOR STUART KELSTON'S OFFICE - DAY - FULL SHOT
His secretary , a woman of indeterminate age , wearing horn - rimmed spectacles , is speaking on the telephone .
SECRETARY
( into phone . )
I'm sorry, David, but Professor Kelston is out. Is there any mes - sage?
INT. PHONE BOOTH - DAY - CLOSE SHOT
DAVID
( into phone . )
Do you know when he'll be back?
INT. PROFESSOR KELSTON'S OFFICE - DAY - CLOSE SHOT
SECRETARY
( into phone . )
He's not expected until late this afternoon.
INT. PHONE BOOTH - DAY - CLOSE SHOT
DAVID
( into phone . )
Oh, gee. Never mind. Thank you.
David hangs up and is about to leave the booth when he sees his father enter the grocery store .
INT. GROCERY STORE - DAY - THROUGH DOOR OF PHONE BOOTH
- MacLean buying a pack of cigarettes .
INT. PHONE BOOTH - DAY - CLOSE SHOT
David sees MacLean and crouches down behind the solid panel of the phone booth door . He holds Cricket to keep him from barking .
INT. GROCERY STORE - DAY - MED. SHOT
MacLean - turns and leaves scene , walking past phone booth .
EXT. PHONE BOOTH - DAY - MED. SHOT
- as the door opens and David peeps out . Then he and Cricket emerge . David stops , pauses with indecision . His decision crystalizes into resolution . He sets his chin and compresses his lips and walks quickly out of scene , followed by Cricket .
INT. POLICE STATION - DAY - FULL SHOT
David and Cricket stand staring up at the desk sergeant , who speaks in an exasperated tone .
DESK SERGEANT
I'm tellin' ya the Chief of Police do n't see nobody without their first statin' the nature of their business.
DAVID
( pleadingly . )
But I've got ta see him - it's im - portant.
DESK SERGEANT
Well, if it's so important - why ca n't ya tell me?
DAVID
'Cause -.
( he pauses . )
- you would n't believe me.
DESK SERGEANT
So what makes ya think the Chief would believe ya?
CHIEF OF POLICE'S VOICE
( off scene . )
What's the trouble, Finley?
CAMERA ANGLE WIDENS to include a jovial , middle - aged , heavy - set man standing in a half - open doorway . The door is lettered `` CHIEF OF POLICE . ''
DESK SERGEANT
Aw, this kid here claims he's got something very important, but he wo n't tell me what it is.
DAVID
Are you the Chief of Police, sir?
CHIEF OF POLICE
That's right. Come in, son.
David crosses and enters the Chief 's office , followed by Cricket . The door closes behind them .
INT. OFFICE OF CHIEF OF POLICE - DAY - FULL SHOT
The Chief crosses and sits in a swivel chair at his desk . He indicates a chair for David .
CHIEF
Sit down, young man - Now, what's your name?
DAVID
David MacLean.
CHIEF
Well, what's so important, David?
David looks apprehensively , clears his throat and starts .
DAVID
Well, you see, sir - it started last night when I was looking through my telescope.
INT. OFFICE - CHIEF OF POLICE - DAY - CLOSE SHOT
The Chief is listening intently , leaning his hand on his cheek .
DAVID'S VOICE
( over scene . )
- and that's the truth, sir. Every word of it - and I know they're under there because I've seen them.
CAMERA DOLLIES back to TWO SHOT .
CHIEF
And after people've been down there - they act different, eh?
DAVID
Yes, sir - very different.
CHIEF
What's your telephone number, David?
DAVID
Webster 6397.
The Chief reaches over and picks up the telephone .
DAVID
( in alarm . )
But you're not going to call my father - Please! Please!
The Chief of Police swings around in his swivel chair and speaks into the phone .
CHIEF
( into phone . )
Webster 6397.
He looks over his shoulder at David , who is nervously biting his lips .
CHIEF
Now take it easy, son.
Then he turns back to the telephone .
INT. CHIEF OF POLICE'S OFFICE - DAY - CLOSE SHOT
David is staring at the back of the Chief 's head .
INT. CHIEF OF POLICE'S OFFICE - DAY - CLOSE SHOT
On the back of the Chief 's head there is a round , red , livid spot just above the nape of the neck .
INT. CHIEF OF POLICE'S OFFICE - DAY - CLOSE SHOT
David reacts to what he has seen .
INT. JAIL DETENTION ROOM - DAY - FULL SHOT
This is a rather barren room , with a bench and a straight back chair . David stands at the window , star - ing through the heavy wire grill . His lips tremble and his face is pinched and white , and terror lives in his eyes . Startled , he looks over his shoulder at the sound of the door opening . He turns and stands at bay . He picks up Cricket and backs against the wall next to the window .
MacLEAN'S VOICE
( off scene . )
All right, David.
INT. JAIL DETENTION ROOM - DAY - REVERSE SHOT
John MacLean stands near the open door . His face bears a sad , resigned expression . The Chief of Police stands with his hands clasped behind his back . He is benign and kindly in his attitude . Dr. James Blake , a well - favored young man in his early thirties , stands looking at David with a friendly , gracious smile . Next to him , Patricia Collins smiles down at David with affectionate concern . She is dressed in a nurse 's blue cape , and the stiff white cuffs and uniform collar are apparent below and above the cape .
DR. BLAKE
Hello, David, I'm Doctor Blake.
David stares up at him , tight - mouthed and tight - lipped . Pat advances and tries to put her hand on David 's shoul - der . He pulls away .
DR. BLAKE
( reassuringly . )
There's nothing to be afraid of, David, this is Miss Collins.
David stares up at his father , then at the Chief of Pol - ice , then back to Dr. Blake . He starts to back away but Pat 's arm restrains him gently .
PAT
No one's going to hurt you.
MacLEAN
( to David . )
Listen to me.
David looks up at his father .
MacLEAN
( continuing . )
These people are going to take you to a - school - for a little while - it's for your own good. Understand? I'll take care of the dog.
DAVID
( frantically . )
You're not going to take Cricket.
He makes a dash for the outer door . MacLean steps for - ward and grabs his wrist and holds it with unnecessary force . David winces . Dr. Blake steps forward quickly , glances curiously at MacLean and detaches his fingers from the boy 's arm .
BLAKE
( kindly . )
It's all right, David. You can bring your dog.
DAVID
( in a scared voice . )
But I do n't understand why -?
Pat crosses and inserts David 's arm through hers and pats his hand .
PAT
( gently . )
Come on, David. Your father knows what's best. We're going to be good friends. Just wait and see!
Dr. Blake opens the door with one hand - casually takes David 's arm and they swiftly exit with him out into the hall , closing the door behind them .
EXT. COUNTY HOSPITAL - NIGHT - FULL SHOT
INT. HOSPITAL - NIGHT - INSERT
Sign reading `` MENTAL WARD . ''
INT. DR. BLAKE'S CONSULTATION ROOM - NIGHT - FULL SHOT
David is seated in a large , comfortable overstuffed chair . A practically empty plate of sandwiches stands on a coffee table next to the chair . David feeds a piece of sandwich to Cricket . Pat , who has removed her cape and is now wearing a starched R.N. cap , enters the scene with three paper cartons of malted milk . Dr. Blake has removed his coat and is seated on a sofa fac - ing David . Pat passes one of the containers to Dr. Blake , who opens the top and inserts a straw . She hands the other one to David , then sits on the sofa near the Doctor and starts drinking her malted milk . David is in a much better frame of mind than in the preceding scene .
DAVID
- and that's what happened - Look, Doctor, if you'd talk to my mother, she'll tell you about my father - about how he's changed and everything.
Pat and Blake exchange glances .
BLAKE
That's a good idea, David - in fact - I had already thought of it.
DAVID
You've talked to her?
BLAKE
Only over the phone. She ought to be here any minute now - you know, that's a very interesting story you just told us.
DAVID
( resignedly . )
- you do n't believe me, do you?
BLAKE
Oh, I would n't go so far as to say that. Better say I'm keeping an open mind.
PAT
And so am I.
BLAKE
There are no scars on the back of my head, David.
PAT
( showing him . )
Nor mine.
David looks at their heads , then sits back with relief and takes a slow meditative pull on his malted milk straw .
INT. DR. BLAKE'S RECEPTION ROOM - NIGHT - MED. SHOT
The door opens , and Mrs. MacLean enters . She looks around , sees no one , crosses to desk and taps the bell .
INT. DR. BLAKE'S CONSULTATION ROOM - NIGHT - FULL SHOT
They all look up at the sound of the bell . Blake rises and crosses to the door .
BLAKE
( opens door . )
Mrs. MacLean?
MRS. MacLEAN'S VOICE
( off scene . )
Yes.
BLAKE
Wo n't you come in? I'm Dr. Blake.
Mrs. MacLean enters . David jumps up from the chair and runs to his mother .
DAVID
Gee, Mom - I'm glad you're here!
BLAKE
This is Miss Collins.
Mrs. MacLean looks down and smiles brittlely . Then she coldly detaches his hands from her arm .
MRS. MacLEAN
( impatiently . )
How do you do. Sit down, David.
David stares at her , backs away and slowly sits back in the chair . Mrs. MacLean 's face is calm and composed and her manner brightly pleasant , almost to the point of in - congruity . She wears a light coat with a high collar and carries a purse .
BLAKE
Wo n't you sit down, Mrs. McLean?
MRS. MacLEAN
No thanks. My husband's waiting for me.
BLAKE
David tells me -
MRS. MacLEAN
( interrupting . )
I know what David's been telling you. He's always been highly im - aginative, and we've had a great deal of trouble with him - especi - ally since he got that telescope and has been reading those trashy science fiction magazines.
BLAKE
( looking up . )
Science fiction?
MRS. MacLEAN
Yes - horrible, weird things with pictures of monsters that come in space ships from other planets.
BLAKE
I see - and he's discussed these stories with you?
MRS. MacLEAN
Incessantly. He's gotten completely beyond our control.
BLAKE
( with decision . )
All right, Mrs. MacLean - I'm sure we'll be able to help him.
Mrs. MacLean turns and looks at David with unsympathetic eyes .
MRS. MacLEAN
Now you be a good boy - and do what the doctor tells you.
She walks toward the door .
INT. DR. BLAKE'S CONSULTATION ROOM - NIGHT - CLOSE SHOT
David stares incredulously at his mother . His eyes focus on the back of her head as she walks toward the door .
INT. DR. BLAKE'S CONSULTATION ROOM - NIGHT - REVERSE
David 's angle of Mrs. MacLean 's head . The back of her head is concealed by her hair and the high collar of her coat .
INT. OF DR. BLAKE'S CONSULTATION ROOM - NIGHT - MED. LONG SHOT
David looks up quickly at Dr. Blake , who is also look - ing at Mrs. McLean 's head as she opens the door and exits . Dr. Blake 's and David 's eyes meet in a curious look of understanding . Dr. Blake takes a notebook and pencil from his pocket .
BLAKE
Have you any relatives, David - around here, I mean?
DAVID
( shaking his head . )
Just my Aunt Margaret - but she lives over in Crystal Falls.
BLAKE
What's her name and address?
DAVID
Miss Margaret MacLean - 926 Drexel Avenue - Crystal Falls - Why?
BLAKE
Oh, just in case something comes up.
( he squeezes David 's shoulder reassuringly . )
We'll work this out together, David.
Blake exchanges a meaningful look at Pat . He crosses to an end table and picks up some magazines , which he hands to David .
BLAKE
( continued . )
Mind amusing yourself for a few minutes?
DAVID
No, sir.
BLAKE
Those are the latest issues of Look and Life. We'll be right back.
DAVID
Thank you, sir.
Blake and Pat exit into laboratory .
INT. DR. BLAKE'S LABORATORY - NIGHT - FULL SHOT
Blake and Pat enter . Pat looks up .
PAT
( shaking her head . )
That woman's a cold - blooded per - son if I ever saw one.
BLAKE
Too cold - blooded. You know, dear, I think that boy is tell - ing the truth.
PAT
But surely you do n't believe -?
He crosses to the desk and punches an automatic tele - phone directory list , then dials a number .
PAT
Who are you calling?
BLAKE
Stuart Kelston. David says he's a very good friend of his.
PAT
( as he dials . )
You do n't expect to find him at the observatory at this time of night, do you?
BLAKE
That's when astronomers work, my dear.
( into phone . )
Hello - Professor Kelston, please.
Pat sits beside Blake , placing her hand upon his shoulder affectionately .
BLAKE
Hello, Stu - Jim Blake -
INT. PROF. KELSTON'S OFFICE - OBSERVATORY - NIGHT MED. SHOT
Kelston is a lean , sandy - haired , angular man with a pleasant Scandinavian face and a slow , pedantic method of speech .
KELSTON
Hello, Jim. Who? Yes, I know him -.
( pauses . )
No - I'd say just the opposite - Matter of fact, I think he has the makings of a first - rate scientist.
( chuckles . )
Of course I mean astronomer. What other science is there? Why, certainly - come on up to the main entrance and ring the night bell - Right. Goodbye.
He hangs up the phone and assumes a thoughtful , puzzled expression .
EXT. NEWSPAPER BUILDING - NIGHT - FULL SHOT
There is a sign reading : `` HERALD - NEWS . ''
INT. OF EDITOR'S OFFICE - NIGHT - MED. SHOT
Ralph Pulzer , a dignified middle - aged gentleman , is seated at his desk , talking to John MacLean , who is standing looking down at him .
PULZER
( shrugging his shoulders . )
I do n't get it! In the first place I gave up leg work several years ago, and in the second place, I do n't see why you ca n't give me some inkling as to what the story is about?
MacLEAN
This story is so important that I am not taking anyone out there except you - and if you do n't want to go, I'll try the editor of the Blade.
PULZER
( with resignation . )
All right, Mr. MacLean - Pick me up at ten o'clock tonight.
MacLEAN
Alone.
PULZER
I'll be alone. And the story'd better be worth it.
MacLEAN
It will be - You'll see.
EXT. GRIFFITH PARK OBSERVATORY - NIGHT - LONG SHOT
As the CAMERA TRUCKS IN with the car , the headlights illuminate the facade and the heavy bronze door in high key . The lights cut off and Blake , Pat and David enter the observatory .
INT. FOYER OF OBSERVATORY - NIGHT - MED. SHOT
Pat , Blake and David - The Focault pendulum is in the background . The interior of the observatory foyer is illuminated in low key .
PAT
What's that thing?
DAVID
( glibly . )
That's the Focault pendulum. It de - monstrates the peripherial aberration of axial inclination.
Then David realizes he is talking to an amateur . Pat turns and stares at David in astonishment .
DAVID
( continuing . )
I mean it shows how much the earth is tilting on its axis.
At this point , Professor Kelston approaches .
KELSTON
Well, it did n't take you very long.
BLAKE
You've met Patricia Collins, Stu.
PAT
Of course. How are you, Professor?
KELSTON
Fine, thank you.
BLAKE
I believe you know -
KELSTON
( interrupting and af - fectionately putting his hand on David 's shoulder . )
Yes - David and I are old friends. Let's go to my office.
INT. PROFESSOR KELSTON'S OFFICE - NIGHT - FULL SHOT
Large scale star maps hang on the walls , interspersed with large photographs of comets , spiral nebulae , solar coronae , various lunar and solar eclipses . His desk is littered with a miscellaneous array of meteorites , photo - graphs and electrical viewing apparatus for astronomical plates . Professor Kelston seats himself at his desk , after indicating comfortable chairs in which his visitors dispose themselves .
KELSTON
Now - what's the big mystery?
BLAKE
Well - first we'd like to have a look at the back of your head.
A slow smile comes over Kelston 's face and his eyes twinkle .
KELSTON
Are you sure some of these patients you deal with are n't contagious?
BLAKE
Tonight I'm not altogether sure of anything.
Blake and David are seated together on a leather divan .
BLAKE
( continuing . )
No - seriously - you do n't happen to have any scars on the back of your head - do you?
KELSTON
Not since football. Why?
BLAKE
Mind letting us have a look?
KELSTON
Are you serious?
Blake nods in affirmation . Kelston rises , crosses in front of the desk and turns his head around for inspec - tion .
KELSTON
The bump of intelligence is prac - tically invisible.
BLAKE
( looks at Kelston 's head . )
Okay.
Kelston straightens and leans back against the edge of his desk .
KELSTON
( puzzled . )
I do n't get it.
BLAKE
( seriously . )
I'd like David to take it from here. All right, David.
DAVID
( uncomfortably . )
Well - I - every time I tell anybody this, they think I'm crazy.
( looking up at Blake . )
That is - I - I mean I -
BLAKE
Now, David, you go right ahead.
DAVID
Well - it started last night. I was looking for variables in Orion - and all of a sudden I saw this bright light -
INT. KELSTON'S OFFICE - NIGHT
CAMERA PULLS BACK from Kelston 's face . He is smoking a pipe and is staring meditatively through the smoke .
BLAKE'S VOICE
( off scene . )
- and everyone of the people that have those scars, behave strangely.
KELSTON
( turns to David . )
Are you positive that you saw these creatures or whatever they are pull the little Wilson girl under the ground?
DAVID
Yes, sir - I was n't two hundred yards away and I was looking through my one - inch telescope and it's fifty power.
KELSTON
How far is this field from your house, David?
DAVID
About a quarter of a mile.
BLAKE
( to Kelston . )
Then we could see it from here with the sixteen - inch.
DAVID
( excitedly . )
Yes, sir. I know we could.
( he turns to Kelston . )
You know that time last summer when you let me look right into the kit - chen window and I could see Mom in there cooking supper?
KELSTON
( hesitatingly . )
That was last summer, David. Since then, because of the top secret experiments at White Sands, the Army has instructed me to allow no one but my staff to use the telescope.
( he pauses . )
But under the circumstances, I'm sure it will be all right. Let's take a look.
They exit .
EXT. GRIFFITH TELESCOPE ROOM - NIGHT - MED. SHOT
- opening of upper aperture and dome rotating approxi - mately sixty degrees and stopping .
INT. GRIFFITH TELESCOPE ROOM - NIGHT - MED. SHOT
Kelston , Blake , Pat and David station themselves at Multiple oculars while Kelston focuses instrument with manual verniers .
KELSTON
We're fortunate - there's plenty of moonlight tonight.
EXT. MACLEAN FIELD - NIGHT - THROUGH TELESCOPE - MATTE
DAVID
( excitedly . )
That's it! That's where they got Kathy Wilson.
PAT'S VOICE
( over scene . )
Good heavens! I never imagined you could see so clearly.
INT. GRIFFITH TELESCOPE ROOM - NIGHT - MED. SHOT
KELSTON
Now let's increase the magnifi - cation so we can get a closer view.
EXT. MACLEAN FIELD - NIGHT - THROUGH TELESCOPE - MATTE
The telescope zooms into MED . LONG SHOT and sharpens . An automobile comes slowly into the field of vision and stops and the lights are extinguished .
DAVID'S VOICE
( off scene . )
That's Dad's car.
A front door of the sedan opens and the dome light il - luminates the interior of the car in comparative high key .
DAVID'S VOICE
( o.s . )
Someone's with him.
KELSTON'S VOICE
( o.s . )
Let's get a real close look.
The telescope field narrows and brings MacLean and his companion up into a MED . CLOSE SHOT .
BLAKE'S VOICE
( o.s . )
That looks like Ralph Pulzer.
PAT'S VOICE
( o.s . )
The editor of the Herald News?
KELSTON'S VOICE
( o.s . )
Yes, that's who it is - I know him.
Pulzer seems to be discussing something rather vehement - ly with MacLean . He suddenly shrugs his shoulders , takes a flashlight which MacLean offers him , gets out of the car and closes the door , walks around the car and starts out across the field , lighting his way with the flashlight .
BLAKE'S VOICE
( o.s . )
Your father stayed in the car.
DAVID' S VOICE
( o.s . )
That man's walking right to the place where -
The telescope shot PANS with Pulzer as he ascends a slight rise . He reaches the top of the mound and stops , turning the flashlight in a slow circle about him , when suddenly the flashlight goes out and all is darkness .
INT. TELESCOPE ROOM - NIGHT - CLOSE SHOT
Group around telescope . They look up from the oculars and stare at each other , with speechless amazement . Kelston reaches for the verniers , they look back into the oculars .
EXT. MACLEAN FIELD - NIGHT - THROUGH TELESCOPE - MATTE
- it PANS DOWN to MacLean 's automobile just in time to see the headlights turn on and the car move rapidly out of scene .
INT. TELESCOPE ROOM - NIGHT - MED. SHOT
Group around telescope . They look at Kelston with questioning faces .
KELSTON
( calmly . )
If you'll go back to my office - I'll join you there in a few minutes.
Blake takes Pat 's arm and he , Pat and David exit . Kelston crosses to his desk and flips a switch on the intercom .
KELSTON
( into intercom . )
George. When did you check the rocket at White Sands last?
( pause . )
No, do n't bother - I'll check it myself as long as I'm up here.
Kelston hangs up the intercom , crosses to the switch box and presses a button . The upper aperture slowly turns on its axis .
EXT. OBSERVATORY DOME - NIGHT - MED. SHOT
The dome slowly turns on its axis and stops .
INT. TELESCOPE ROOM - NIGHT - MED. SHOT
Kelston has just finished swinging the telescope into position . He looks into the eye piece .
EXT. WHITE SANDS - NIGHT - (SPECIAL EFFECTS-STOCK SHOT)
We see a giant rocket standing upright in a take - off position .
INT. TELESCOPE ROOM - NIGHT - MED. LONG SHOT
Kelston steps down from the telescope and crosses to a small desk lighted by a low power student 's lamp . He sits down and dials the telephone .
KELSTON
( into phone . )
Hello, operator. This is Pro - fessor Stuart Kelston at the Astronomical Observatory. Get me the White Sands Rocket Proving Station, please.
( pause . )
Hello - White Sands? Give me the Security Office.
( pause . )
Hello - is Colonel Fielding there?
( pause . )
Yes, it's most important.
( pause . )
Hello, Colonel - this is Stuart Kelston at the Observatory. Operation 925 is with us.
INT. COLONEL FIELDING'S OFFICE - NIGHT - MED. SHOT
Colonel Fielding , head of White Sands Security Division , is seated at his desk talking into the phone . A keen , executive type man , he is in his shirt sleeves , but in uniform . -
COL. FIELDING
( into phone . )
What?!
( pause . )
Are you sure?
( pause . )
All right, I'll be at your office in the morning - 9:00 o'clock. Right. Goodbye.
The Colonel hangs up the phone and assumes a thoughtful expression . He rises and crosses to a filing cabinet , removes a key from his pocket and unlocks the file . He pulls out a drawer from which he takes a manila folder . He crosses back to his desk , seats himself and then opens the folder - removing some papers . We DOLLY into an INSERT of the label on the outside of the folder - it reads : OPERATION 925 - TOP SECRET .
INT. PROFESSOR KELSTON'S OFFICE - NIGHT - FULL SHOT
Pat , David and Blake are on scene . Kelston enters and crosses behind his desk , opens a drawer and takes out a large scrapbook .
KELSTON
( to David . )
Young man - it looks like you've stumbled on to something that the government has been concerned about for some time.
Blake , Pat and David cross to desk . Kelston opens scrap - book .
PAT
What do you mean?
KELSTON
You've seen most of these magazine and newspaper stories of so - called flying saucers before - but have you ever seen them compiled in one book?
INSERT - SCRAPBOOK - with clips of flying saucer stories . CAMERA PANS from one headline to another .
KELSTON
( o.s . )
When you see them al together, they begin to add up.
INT. PROF. KELSTON'S OFFICE - NIGHT - FULL SHOT
BLAKE
But the authorities have denied all these stories.
KELSTON
Yes, they have - and they will probably continue to do so.
PAT
But why? Why not keep the public informed?
KELSTON
Lack of complete information, I suppose. And perhaps afraid it would cause panic and hysteria.
DAVID
Where are these space ships from, Professor Kelston?
KELSTON
Our observations lead us to believe they are from mother ships in free orbit just above Earth's atmosphere.
PAT
But where are these mother ships from?
KELSTON
Nobody knows - we've worked out a postulate and Mars seems to be the logical point of origin. Step in here and I'll show you.
INT. PLANETARIUM - LECTURE ROOM - NIGHT - MED. SHOT
Kelston is seated at the operating console . Pat , David and Blake are standing by it . The projector is in back - ground . Kelston turns a rheostat and the light dims .
KELSTON
( pointing . )
That's our planetary system there -
INT. PLANETARIUM - LECTURE ROOM - SHOOTING UP AT DOME (EFFECT SHOT)
- of our planetary system on inverted dome of planet - arium . A white projected arrow indicates each point as Kelston speaks o.s.
KELSTON'S VOICE
( o.s . )
This is the earth moving around the sun on this orbit - and this is the orbit of Mars. And here is the rela - tive position of Mars and Earth to - night.
PAT'S VOICE
( o.s . )
Why - they're our next door neigh - bors!
KELSTON'S VOICE
( o.s . )
Yes - only a little over three mil - lion miles -
PAT'S VOICE
( o.s . )
It would take forever to travel three million miles.
KELSTON'S VOICE
( o.s . )
Hardly.
The scene on the planetarium changes .
INT. PLANETARIUM LECTURE ROOM - NIGHT - MED. SHOT
KELSTON
Our earth is traveling through space at well over a hundred thousand miles an hour. At that speed, we could reach Mars in thirty days - or they could reach us.
PAT
But I do n't understand - why do n't we burn up from friction?
KELSTON
There is n't any atmosphere in space - therefore - no friction.
BLAKE
But why do you think they're from Mars?
INT. PLANETARIUM LECTURE ROOM - SHOOTING UP AT DOME EFFECT SHOT
KELSTON'S VOICE
( o.s . )
Because Mars is closer to us than any other planet. They are now in their winter, and those are polar caps - the same as ours. See how much smaller they are in summer - those dark areas are vegetation.
PAT'S VOICE
( o.s . )
Do they have cities, too - the same as ours?
KELSTON'S VOICE
( o.s . )
If they do, they are underground - the low oxygen content and extremes of temperature indicate a sub - terranean culture.
DAVID'S VOICE
( o.s . )
Those things in our pasture are subterranean all right.
INT. PLANETARIUM LECTURE ROOM - NIGHT - MED. SHOT
- as the house lights go up . Kelston sits at the con - trol console .
PAT
But how would Martians have enough intelligence to build space ships?
KELSTON
The human race does n't have a monopoly on intelligence. Besides - Mars is millions of years older than we are.
PAT
But what's their reason for travel - ing so far through space?
KELSTON
Mars is a dying planet. They are losing their oxygen and water.
BLAKE
Then this could be the start of an invasion.
KELSTON
I'm afraid it is.
PAT
But why did they begin here?
KELSTON
Because of the operations at White Sands.
PAT
But all they're doing at White Sands is just shooting rockets up into the air.
KELSTON
Exactly. Very high up into the air - beyond atmosphere and in - to space. The scientists at White Sands have developed a rocket powerful enough to take them to these mother ships in outer space. That rocket is completed and ready to be fired right now. That may be the Mar - tians objective.
( he rises . )
However, we'll have the answers to a lot of our questions tomorrow. Colonel Fielding, the head of the Security Division will be in my office in the morning. I'm sure he will want to talk to all of you - can you be here?
BLAKE
Certainly - what time?
KELSTON
Nine o'clock.
Blake , Pat and David rise . Kelston comes with them to the door .
EXT. GRIFFITH OBSERVATORY - DAY - LONG SHOT
INT. KELSTON'S OFFICE - DAY - FULL SHOT
Colonel Robert Fielding is seated at Kelston 's desk , talking to Kelston . Blake , Pat and David are seated on chairs in the office . David is just hanging up the telephone .
DAVID
I do n't know where they could be. If they're at home they're not answering the phone - I called last night and this is the second time this morning.
FIELDING
( rising . )
Hm, I see. Come on, young man - you and I are going out to do a little investigating.
DAVID
Can we stop by the hospital and get my dog?
FIELDING
I do n't think we'd better take the time right now.
BLAKE
We'll take care of him, David.
Blake and David exit . Kelston stops Fielding at the door .
KELSTON
( in a low voice . )
Just a moment, Colonel. I called Ralph Pulzer's office this morning - he's left town with Chief of Police Barrows and Detectives Jackson and Blaine - and they did n't say where they were going.
FIELDING
Will you get me a description of all these people? I'll phone you later.
KELSTON
I will, Colonel.
EXT. FRONT OF MacLEAN'S HOUSE - DAY - FULL SHOT
A Cadillac limousine , with a long whip aerial , pulls up in front of the house and stops . It is driven by Ser - geant Balardi . He opens the door and Fielding and David step out . David runs up the driveway . Fielding remains standing by the car door .
FIELDING
Sergeant, phone Professor Kelston at the Observatory and see if he has that information I wanted.
BALARDI
( reaching for the phone . )
Yes, sir.
Fielding turns and exits from the scene .
EXT. FRONT OF MacLEAN HOUSE - DAY - MED. SHOT
David is waiting in the driveway as Fielding joins him .
DAVID
The car's not here.
FIELDING
Well, let's take a look inside the house.
They walk toward the front door .
EXT. FRONT MacLEAN HOUSE - DAY - MED. CLOSE SHOT
Balardi is on the telephone in the car , holding a note - book on his knee and writing .
BALARDI
Yes, sir. John MacLean, age thirty - five, height, five feet eleven inches, weight, 165, hair, brown.
INT. MacLEAN BEDROOM - DAY - FULL SHOT
Fielding is standing in the middle of the room and David is standing before an open closet , very perturbed .
DAVID
( perturbed . )
My mother's suitcase is gone, and my father's rifle. He used to keep it in this closet.
FIELDING
What kind of a rifle?
DAVID
A 30.06.
FIELDING
Hm - I'd like to talk to someone who - What about that little girl - the one you think set fire to her mother's house?
DAVID
Kathy Wilson? - I can take you over there.
EXT. WILSON FRONT PORCH - DAY - FULL SHOT
Mrs. Wilson stands on the porch , talking to Fielding , Balardi and David . She is distraught and nervous .
FIELDING
I'm very sorry to hear that, Mrs. Wilson. When did it happen?
MRS. WILSON
( through tears . )
Early this morning.
FIELDING
What did the doctor say?
MRS. FIELDING
He said something about a cerebral hemorrhage.
( then , semi - hysterically . )
But how a little child could have a thing like that -
EXT. WILSON HOUSE - DAY - CLOSE SHOT
David - reacting and thinking about his mother and father .
FIELDING'S VOICE
( o.s . )
Mrs. Wilson, I do n't like to disturb you at a time like this - but there's just one question I'd like to ask you - Do you have any idea why your lit - tle girl started the fire in the cel - lar yesterday?
EXT. WILSON HOUSE - MED. GROUP SHOT
MRS. WILSON
I do n't know what started the fire! And I do n't know why you have to torture me with a lot of questions!
FIELDING
( bowing . )
I'm sorry and I wo n't bother you any more.
David stands frozen , thinking what could happen to his mother and father .
FIELDING
Thank you - come along, David.
Mrs. Wilson turns abruptly and enters front door .
EXT. MacLEAN FIELD - DAY - FULL SHOT
Fielding , Balardi and David - with the bushes in f.g. where David observed Kathy Wilson 's capture through his small telescope . Fielding holds a monocular -LRB- Sportscope -RRB- in his hand .
FIELDING
( to David . )
Can you point out the place where the Wilson child disappeared?
He hands the monocular to David , who adjusts it .
DAVID
( after a slight pause . )
There - those three white stones are right by the edge of it - you can even see the crack - see it over there?
FIELDING
Let's have a look.
David hands him the monocular ; Fielding looks through it .
EXT. MacLEAN FIELD - DAY - TELESCOPE MATTE SHOT
- a faint crack approximately four feet in diameter is clearly visible near three white stones .
EXT. MacLEAN FIELD - DAY - MED. SHOT
Fielding removes the monocular from his eye and turns to Sergeant Balardi .
FIELDING
( pointing . )
See those bushes down there - by the road, Sergeant?
BALARDI
Yes, sir.
FIELDING
There are three white stones in the field about one hundred feet from there at two o'clock.
BALARDI
Yes, sir, I see them.
FIELDING
Go down behind those bushes - and when you get there, throw some rocks as close to those three white stones as you can.
BALARDI
Yes, sir.
FIELDING
Whatever's down there must be sensi - tive to sound - so keep your distance.
BALARDI
Yes, sir.
FIELDING
And when I signal you, come back here on the double.
BALARDI
Yes, sir.
The Sergeant crosses out of scene , and Fielding turns to David .
FIELDING
( to David . )
Just exactly what did this thing look like, son? The thing that grabbed the little Wilson girl.
DAVID
It moved so fast it was hard for me to see exactly what it looked like.
EXT. MacLEAN FIELD - DAY - MED. CLOSE SHOT - BALARDI
He kneels on one knee beside a small pile of stones about the size of peaches . He takes one in his right hand and hurls it over the bushes as one throws a gren - ade .
EXT. MacLEAN FIELD - DAY - MED. SHOT
Fielding and David - as Fielding looks through monocu - lar .
EXT. MacLEAN FIELD - DAY - MATTE SHOT
Through monocular - of stone falling near the center of the shot .
FIELDING
( o.s . )
Well, that one ought to be close enough for them to hear!
Another stone falls in the same area , and a circular four - foot section of earth slowly rises about six in - ches , revealing an indistinct shape that moves as though someone or something were peering out of the crack .
FIELDING
( o.s . )
Something's moving - but I ca n't make out what it is!
Another stone falls near the trapdoor and it closes swiftly .
EXT. MacLEAN FIELD - DAY - MED. SHOT
Fielding and David . As Fielding lowers monocular .
FIELDING
That's a trapdoor all right. Some - thing's in there!
David looks at him and nods concerned affirmation . Fielding raises his monocular again and looks toward the bushes where Sergeant Balardi was throwing the rocks .
FIELDING
Where's Balardi? Come on!
He runs toward field , David follows and CAMERA PANS with them .
EXT. MacLEAN FIELD - DAY - MED. SHOT
Fielding and David - warily approach the bushes behind which the Sergeant was throwing rocks . Suddenly they stop , staring at the ground .
DAVID
They got him! See there?
EXT. MacLEAN FIELD - DAY - REVERSE CLOSE SHOT
Their angle of the faint , circular , four - foot outline near where the Sergeant was last seen . His military cap lies on the ground and scratches and gouges show where his fingers clawed as he was dragged down into the hole .
FIELDING'S VOICE
( o.s . )
That's the last one they'll get - come on, son!
EXT. MacLEAN FIELD - DAY - MED. SHOT
Fielding 's car . Fielding reaches into car and flips the catch on the fish pole antenna , which flies up . David watches with interest as Fielding takes out a phone and pushes the button on the hand set .
FIELDING
( into phone . )
This is WJ605. Dispatch White Sands, 121A. Closed circuit. Expedite. Priority A - 14.
( pause . )
Hello, Walter?
( pause . )
Fielding. Operation 925 is with us!
( pause . )
Yes, I'm sure. Now, hear this - I want you to muster two platoons and a demolition team, with plenty of C - two charge. Equip them with sub - machine guns and grenades. Bring the light Sherman tank and get here as fast as you can. Get rolling. I'll expect you here by tomorrow at fourteen hundred. Got that?
( pause . )
Rendezvous is at the intersection off State Highway eighty - six and Belle Meade Road. If any newspaper people ask you any questions, tell them it's a training maneuver.
( pause . )
Right! Goodbye.
He presses the stud again .
FIELDING
WJ605. Dispatch 143. Expedite. Closed circuit.
( pause . )
Hello, Cagle? - Fielding. Opera - tion 925.
( pause . )
Yes - Now clear the boards for this. Cover all key supply sources for the White Sands rocket project.
( Fielding reading from notebook . )
Put out an all - points alarm for the following subjects - John MacLean, Age, thirty - five, height, five feet eleven. Weight, 165, - hair -
INSERT - EXT. . PLATE GLASS DOOR It reads U.S. ARMY INTELLIGENCE - MAJOR G.A. CAGLE
INT. U.S. ARMY INTELLIGENCE OFFICE - DAY - FULL SHOT
Major Cagle is seated at his desk , listening on the phone and writing on a pad . He is an alert , hawk - eyed man who looks like a successful attorney .
CAGLE
( in a sharp , incisive manner . )
Yes, Colonel - I have it - John MacLean - Mary MacLean - Ralph Pulzer, Chief Fred Barrow, Detectives Jackson and Blaine.
( pause . )
Yes, sir - all points bulletin. And they are to be returned to Dr. Blake at the County Hospital.
He hangs up the phone and flips the toggle on an inter - com box on his desk .
CAGLE
( into intercom . )
Clear the teletype - and code this right away with special attention to Armstrong Liquid Oxygen Plant and Belaer Magnesium Plant - also all other key supply sources for the White Sands Rocket Project. Get that?
( pause . )
First subject : John MacLean, age thirty - five, height five feet eleven -
MONTAGE 1 -RRB- Teletypes . 2 -RRB- Hands operating telegraph keys in high speed code . 3 -RRB- Telegraph wires - odd angles .
EXT. ALLEY - SILHOUETTE OF BELAER MAGNESIUM PLANT IN B.G. - NIGHT - LONG SHOT
Detectives Blaine and Jackson run toward CAMERA and turn around corner of building and stand flattened against the wall . CAMERA PANS to Blaine and Jackson . Behind them is sign : BELAER MAGNESIUM PLANT . The scene is lighted in low key by street light . Over scene there is a terrific shattering explosion .
EXT. ALLEY - NIGHT - LONG SHOT
The silhouette of the factory is gone . A siren o.s. builds up to crescendo .
EXT. ALLEY - NIGHT - FULL SHOT
Blaine and Jackson - as they turn and run away from an army military police car that pulls up to the curb . They turn and run up the alley in the direction from whence they came and the headlights of another military police car come into alley with siren going .
EXT. ALLEY - NIGHT - CLOSE SHOT
- Blaine and Jackson huddle back against the wall , caught in the blazing headlights of the two military police cars . As a group of soldiers emerge from each car and converge upon Blaine and Jackson with drawn revolvers -
EXT. WIRE FENCE - OXYGEN PLANT - NIGHT - FULL SHOT
The CAMERA PANS ALONG the woven wire fence and pulls in on :
EXT. WIRE FENCE - OXYGEN PLANT - NIGHT - MED. SHOT
Sentry - standing guard at which is obviously a side gate . INSERT - SIGN OVER GATE `` ARMSTRONG LIQUID OXYGEN PLANT . '' A small sign underneath reads : `` Apply to main gate for admittance . ''
EXT. OXYGEN PLANT - NIGHT - MED. SHOT - SENTRY
He straightens up at the sound of a car approaching off scene . The motor of the car sputters and the headlights pick up the sentry as the forepart of the car moves into scene .
EXT. OXYGEN PLANT - NIGHT - MED. SHOT - SEDAN IN B.G. SENTRY IN F.G.
SENTRY
You ca n't park here, lady.
MARY MacLEAN
Something's the matter with my car - I think it's the ignition -
EXT. OXYGEN PLANT - NIGHT - MED. CLOSE SHOT
Through window of car . Mary MacLean - speaking to sen - try in background .
MARY MacLEAN
( continuing . )
Do you suppose you could find out what's the matter with it?
SENTRY
( leaning rifle against fence . )
I'm not much of a mechanic, lady, but I'll take a look.
He crosses to the front of the car and there is a click as Mary MacLean releases the hood catch . The sentry leans over the motor and turns on his flashlight . The rear door of the sedan opens and John MacLean moves swiftly around behind the sentry , carrying a rifle . There is a thud as he strikes the sentry over the back of the head with the rifle butt and the sentry falls over the fender of the car unconscious and then falls to the ground . MacLean closes the hood of the car and drags the sentry over near the fence .
MacLEAN
Start the motor - I'll be right back.
There is the sound of the engine starting over scene .
EXT. OXYGEN PLANT - NIGHT - NEW ANGLE
- as MacLean swiftly enters the gate the sentry was guard - ing and runs to the corner of the adjacent brick building .
EXT. OXYGEN PLANT - NIGHT - MED. SHOT
Corner of building - as MacLean peers around it .
EXT. OXYGEN PLANT - NIGHT - LONG SHOT
MacLean 's angle - Lighted window in small building in background . A man is seated working at a desk . He has a fringe of bushy white hair and a bald head . From the silhouette he looks very much like Albert Einstein . Be - hind the desk at which he is working is the usual para - phenalia of a physicist 's lab . John MacLean in the fore - ground , raises his rifle to his shoulder and steadies it against the corner of the building .
EXT. OXYGEN PLANT - NIGHT - MED. CLOSE SHOT - MATTE
- Scientist - with crossed - hairs of rifle telescope sights superimposed on view . The scientist suddenly leans forward to pick up a book . As he does so , a glass retort on the shelf behind him is shattered by a bullet . The scientist looks fearfully out the window , then quick - ly extinguishes the light .
EXT. OXYGEN PLANT - NIGHT - MED. SHOT
John MacLean - lowering the rifle from his shoulder and staring toward the blacked out window . Over scene the shrill blast of a police whistle causes him to turn and run out of scene .
EXT. OXYGEN PLANT - NIGHT - MED. LONG SHOT
With MacLean car in f.g. - moving away from CAMERA at high speed . Suddenly two sets of headlights appear in the distance coming toward car with the sound of the sirens over scene . The MacLean car screeches to a stop , is quickly backed and turned around and comes racing TOWARD CAMERA with the headlights of the two pursuing cars closing rapidly and the sound of the sirens build - ing . The MacLean car swerves PAST CAMERA at high speed , followed by the two pursuing cars with sirens and there is a loud crash off scene .
EXT. OXYGEN PLANT - NIGHT - FULL SHOT
Side of road - with MacLean car turned over in a ditch , and a command car in a position relative to it indicat - ing that it ran the MacLean car off the road . Four guards emerge from the command car and two others from the second car and surround the wrecked MacLean car . Some of the guards carry carbines ; others drawn pistols .
EXT. OXYGEN PLANT - NIGHT - MED. CLOSE SHOT
The MacLean car - the MacLeans are dazed from the im - pact - as they start to resist the soldiers imprison their arms and lead them from the wrecked car .
EXT. ROCKET STATION - NIGHT - FULL SHOT
The silhouette of a gigantic rocket is in background . In foreground , Ralph Pulzer and Chief Barrows , carrying heavy suitcases , are sneaking around a high steel - link , barbed wire top , fence . Suddenly a searchlight PANS across scene , and comes to rest on them . They straighten up , shade their eyes with their hands from the glare and run away from CAMERA .
EXT. ROCKET STATION FENCE - NIGHT - MED. SHOT
- soldier standing by fence . He raises his carbine to his shoulder .
SOLDIER
( shouting . )
Halt!
Another soldier runs into scene .
2ND SOLDIER
There they go!
EXT. ROCKET STATION - NIGHT - REVERSE ANGLE
- of Pulzer and Barrows running with the suitcases and the searchlight following them .
1ST SOLDIER
( o.s. , shouting . )
Halt!
EXT. ROCKET STATION FENCE - NIGHT - MED. SHOT
Two soldiers raising their carbines and firing several shots at rapid fire . Suddenly there is a terrific ex - plosion and the scene is lighted by the flash of the explosion . The soldiers stagger back with the force wave .
1ST SOLDIER
What was that?
2ND SOLDIER
Those suitcases must have been full of nitro - glycerine!
1ST SOLDIER
Good thing we got them before they got to the rocket!
INT. BLAKE'S OFFICE - DAY - MED. SHOT
David , Fielding and Cricket are sitting . Pat enters from laboratory .
PAT
Colonel Fielding, would you step in here, please?
INT. BLAKE'S OFFICE - DAY - MED. SHOT
Fielding exits into laboratory leaving David and the dog waiting .
FIELDING
I'll only be a minute, David.
INT. DR. BLAKE'S LABORATORY - DAY - MED. SHOT
- with shelf bearing test - tubes , retorts and equipment in b.g. Doctors Blake and Metzler enter scene , wearing operating caps and gowns . Blake crosses to a table and places a covered tray on it .
BLAKE
( introducing the two men . )
Colonel Fielding - Dr. Metzler.
( both men murmur `` How do you do '' .
Fielding looks at Blake questioningly . )
Dr. Metzler has completed the aut - opsy on the little Wilson girl.
METZLER
I have - and my findings are al - most unbelievable. That child died of a sub - dural hematoma all right, but - this caused it!
Everyone crowds around the desk . Metzler picks up a small hexagonal crystal about a half - inch long with the diameter of a pencil . Attached to one end is a thin platinum disk , and two small wires run from this to a ruptured platinum globe the size of a small mar - ble .
METZLER
( Cont . )
I found this device inserted in the base of the skull. And the hemorrhage was caused when this little detonator.
( points to ruptured globe . )
exploded in her brain.
FIELDING
Incredible!
METZLER
This crystal was in direct contact with the medulla oblongata.
BLAKE
Do you suppose that's how they con - trolled Kathy Wilson and impelled her to set fire to her house?
METZLER
Very possible - we've done some - thing similar with white mice - and have made them follow directional impulses with high frequency oscil - lation.
PAT
But why did the thing explode?
BLAKE
Probably their method of getting rid of people when they have no further use for them.
PAT
Then - David's father and mother -?
Blake looks at her meaningly and shrugs his shoulders .
INT. BLAKE'S OFFICE - DAY - MED. SHOT
The phone rings . David crosses and answers it .
DAVID
Hello.
( pause . )
Yes, sir - just a moment. I'll call him.
He crosses to laboratory door and knocks . Door opens and Fielding , Blake and Pat enter Blake 's office .
DAVID
It's for you, Colonel Fielding.
FIELDING
Thank you, David.
He crosses and takes the telephone .
FIELDING
Fielding.
( pause . )
Oh, hello, Moody.
( pause . )
Fine - bring it to the intersection of State Highway eighty - six and Belle Meade Road - with an operator -.
( pause . )
Right.
He hangs up phone and crosses , speaking to Blake .
FIELDING
( to Blake . )
Well, we finally got an earth augur.
DAVID
Is that for boring into the trap doors?
FIELDING
That's what we expect to do, David.
DAVID
Gosh - how soon do we start?
FIELDING
( kindly . )
Well, I was planning on having you wait here.
DAVID
( jumping up and crossing to Fielding . )
But - but - I'm the one that dis - covered this whole thing! - and, gee, I ought to be there, I mean - Gee!
FIELDING
Well - all right, but you'll have to follow orders - like any other soldier.
DAVID
Oh, I will! - Sir.
FIELDING
You'd better leave your dog here, David, he might get hurt out there.
DAVID
All right - Sir.
EXT. MacLEAN'S FIELD - DAY - FULL SHOT
A platoon of soldiers are gathered around a Sherman tank , a truck , two jeeps and an earth augur . Blake , Pat , David and Fielding , in combat uniform , are in a group near the machines .
DAVID
Is that the earth augur?
EXT. MacLEAN FIELD - DAY - DAVID'S ANGLE - MED. SHOT
Motorized earth augur - -LRB- such as are used to dig cess - pools -RRB- - on trailer .
FIELDING
( o.s . )
Yes.
EXT. MacLEAN FIELD - DAY - MED. SHOT
Lieutenant Blair and Lieutenant Cole enter scene .
FIELDING
All right, Cole - These people - or whatever they are - react to sound or vibrations. Send Kelley over to the Northeast corner -.
( points . )
- of the field.
COLE
Yes, sir.
FIELDING
Full drums of live ammunition for your.505 - and better carry ten rounds of H - E for the 175. Now get this - this is important - tell Kelley to take out twenty Mills gren - ades. Tell him to traverse the Northern border of the field and to throw the grenades out at short in - tervals. Got that?
COLE
Yes, sir.
FIELDING
That's to cover the sound of the earth augur. After that, have Kelley run the tank up and down that corner of the field and create a disturbance.
( looking at his watch . )
He will proceed at 15:33 on a vary flare from this position.
COLE
Yes, sir.
He leaves .
FIELDING
( turning to Blair . )
Blair, you have your crew stand by with the earth augur. On a hand sig - nal from me, proceed to that spot by those three stones - go six feet north of them and drill a hole until you have penetrated a subterranean passage.
BLAIR
Yes, sir.
FIELDING
As soon as you effect an entrance, take two squads and your demolition team with full attack equipment and stand by for me.
( looking at watch . )
You've got nine minutes.
BLAIR
( saluting and exiting . )
Yes, sir.
EXT. MacLEAN FIELD - DAY - FULL SHOT
Blake , Fielding and Pat are in a group . David is stand - ing about ten feet apart from them watching the earth augur . A white uniformed interne enters the scene and crosses to Blake .
INTERNE
( in a low voice . )
The boy's father and mother and the others have been brought in. Dr. Metzler is preparing to operate.
BLAKE
Good!
INTERNE
His aunt has arrived too - she's very disturbed and wants him back at the hospital immediately.
BLAKE
( turning to Pat . )
Pat, why do n't you take David back to the hospital.
FIELDING
( to Pat . )
You can take my car. Sergeant Roberts will drive you.
PAT
Thank you.
( calling . )
Oh, David.
David turns around and walks up to the group .
PAT
( continuing . )
David, we have to go back to the hospital. Your aunt's waiting to see you.
DAVID
( disappointed . )
Aw, gee - what for?
FIELDING
Soldiers do n't question orders, David.
DAVID
But - But -
FIELDING
An order is an order, young man!
DAVID
( straightening up mili - tarily . )
Okay, sir.
Pat moves off scene followed by David .
EXT. MacLEAN FIELD - DAY - MED. SHOT
David straggles some fifteen or twenty feet behind Pat , looking reluctantly over his shoulder .
EXT. MacLEAN FIELD - DAY - CLOSE SHOT
- as David traverses a clump of bushes , looking back . A round section of earth opens just ahead to the left of him .
EXT. MacLEAN FIELD - DAY - CLOSE SHOT
Pat - who looks over her shoulder , sees it and stops .
PAT
( yelling . )
David!
EXT. MacLEAN FIELD - DAY - CLOSE SHOT
Top half of David - as he stops .
DAVID
( calling . )
What?
EXT. MacLEAN FIELD - DAY - MED. SHOT
Pat - as she screams and runs toward CAMERA .
PAT
Look out, David!
EXT. MacLEAN FIELD - DAY - MED. LONG SHOT
Dr. Blake - reacting to what he sees -
EXT. MacLEAN FIELD - DAY - MED. LONG SHOT
Reverse shot from Blake 's angle as he sees a flap of earth is closing over David 's and Pat 's screams .
EXT. MacLEAN FIELD - DAY - MED. SHOT
Blake and Fielding .
BLAKE
( excitedly . )
They got them! Pat and the boy!
( pointing . )
Over there!
He starts to run toward the spot where David and Pat disappeared .
FIELDING
( running after him and stopping him . )
Hold it, Blake, there's nothing you can do now.
Blake rages impotently -
INT. TUNNEL - DAY - LOW KEY - CLOSE SHOT
Pat 's face - as she looks up and reacts with terrified scream , shrinking back .
INT. TUNNEL - DAY - LOW KEY - MED. CLOSE SHOT
Reverse - Pat 's angle . Two Mutants stand over her looking down . The lighting of the tunnel scenes seems to come from a luminous quality in the walls of the tunnels themselves . These tunnels are cut through the earth by an atomic heat ray which blasts a hole through the earth and fuses the silica along the walls of the tunnel into a radio - active , phosphorescent glassy - like substance . -LRB- For these shots we will use water glass sprayed on cellophane and back light it with hot arcs . -RRB- These creatures are mutations developed by the Martians for physical labor . They are humanoid in appearance , but are covered with a coarse black hair . -LRB- Flocked baggy tights . -RRB- Their feet are about twice the length of human feet and the four toes of each foot terminate in heavy black digging claws . The fingers are much long - er than human fingers and are equipped with black , non - retractable digging claws . A hairless , snout - like nose , similar to a mole 's , protrudes from the front of the face . They are with ears , and beady - like reflecting eyes look out from the hairy mask of the face . At no time do they utter any sound , for these creatures are telepathic . One of the mutants leans forward into CAM - ERA with extended long prehensile fingers .
INT. TUNNEL - DAY - MED. CLOSE SHOT
Pat - as she cowers back and the long black fingers curl around her wrist . Pat screams and struggles fran - tically and another long black hand comes into scene and grasps the other wrist .
INT. TUNNEL - DAY - MED. SHOT
David is lying unconscious from his fall , momentarily ignored by the mutants . A mutant grabs at Pat 's shoul - der . Pat struggles frantically . Her screams revert to hoarse gasps of effort and terror , and in the struggle her dress is ripped . The long fingers of a hand curl around Pat 's neck and squeeze for a moment . She sudden - ly relaxes into unconsciousness . One of the two mutants picks her up , the other picks up David . They lope away with them down the tunnel into infinity and darkness .
INT. TUNNEL - DAY - LONG SHOT
The two mutants lope past CAMERA carrying the two inert figures . They disappear around a corner of the tunnel .
INT. TUNNEL - DAY - MED. SHOT
Mutants rounding another turn , carrying Pat and David at a loping run .
INT. TUNNEL - DAY - MED. SHOT
From an open metal trapdoor in b.g. there emanates a stronger light . The two mutants pass CAMERA and lope toward metal door . They enter .
INT. CENTRAL AREA OF SPACE SHIP - DAY - FULL SHOT
It is a circular room some twenty feet in diameter , approximately fifteen feet high . It is composed of a shiny metallic substance similar to polished aluminum . The only rivets in evidence mark the outline of bulk - heads spaced around the perimeter of the walls . Upper left , near the spiral steel staircase , a low metal table is near the wall . It is flanked by two stationary met - al benches . The room is dome - like in structure , and an area twelve feet in diameter and approximately eight feet in height occupies the apex of the dome , which is of a transparent plastic substance . This is the control tower of the space ship . A bank of control panels is placed in this structure and a round , cushioned pilot 's seat is suspended on a crosswalk of perforated metal girders . The room is illuminated by a series of circu - lar lights which look like portholes . Even so , the lighting is in comparative low key . The two mutants descend a spiral staircase and bring Pat and David to the center of the room and lay their unconscious bodies on the floor . Then they step back approximately five feet and assume a rigid attitude grotesquely reminiscent of soldiers .
INT. SPACE SHIP - DAY - LOW KEY - DIFFERENT ANGLE
A bulkhead opens in the upstage wall . Sergeant Balardi enters , walking like an automaton . He walks up to Pat , facing upstage . Then a mutant backs out of the bulk - head carrying a Martian seated on a circular metal tray , which is surmounted by a plastic bell jar . Another mu - tant enters , supporting the other handles of the metal tray . A mutant steps forward quickly and places a cir - cular metal drum approximately three feet in diameter and thirty inches in height in front of Pat . The other two mutants then place the Martian on the drum and step back and assume an attitude of attention : TRUCK in to CLOSE SHOT - THE MARTIAN - He is approximately thirty inches in height , dressed in a singlet that resembles soft chain mail . Over this is a gorget of soft black material similar to velvet . He is seated , tailor - fashion , on a circular cushion resembling sponge rubber . He is extremely brontocephalic , and his tremendously large skull is completely devoid of hair . His eyes are small and deep - set and peer from their dark sockets with a strange ophidion lustre . He is entirely covered by the plastic bell jar , and sits so frozen and unmoving that he appears to be a wax figure until we are suddenly aware of the eyes moving to the right , then to the left , then down , where he focuses upon Pat .
INT. SPACE SHIP - DAY - MED. CLOSE SHOT
Pat is unconscious on the floor . She stirs into con - sciousness , sits up , then stands , facing the CAMERA . Her eyes widen and stare straight ahead .
INT. SPACE SHIP - DAY - CLOSE SHOT
Martian 's eyes - staring into CAMERA .
INT. SPACE SHIP - DAY - CLOSE SHOT
Pat is drawn by the hypnotic stare of the Martian . She fights it off .
INT. SPACE SHIP - DAY - MED. SHOT
Martian , Balardi and Pat . David is still unconscious on the floor . Balardi stands stiffly .
BALARDI
( mechanically . )
What is your name?
PAT
( in a strained , hoarse voice . )
Patricia Collins.
BALARDI
( indicating the Martian . )
He is from the fourth planet - which you call Mars. He wants to know what they plan to do - those people up above.
PAT
I do n't know -
BALARDI
Yes, you do - and you will answer in a few moments.
He gestures to the mutants .
INT. SPACE SHIP - DAY - MED. SHOT
- as two mutants approach Pat and suddenly grab her arms . She attempts to struggle , but is held in a vise - like grip . She turns suddenly and stares , her eyes widen further with horror . A panel on a bulkhead swings open and a mutant pushes a chromium , wheeled operating table into scene . A tray of surgical instruments is on the table .
INT. SPACE SHIP - DAY - MED. SHOT
The surgeon mutant lifts a hypodermic needle and ad - vances toward Pat . She screams piercingly and hysteric - ally and continues to scream .
INT. SPACE SHIP - DAY - CLOSE SHOT
Surgeon Mutant - as he lifts the hypodermic needle of a strange design . His hands , holding the needle , move out of CAMERA , and Pat 's screams stop suddenly .
INT. SPACE SHIP - DAY - MED. SHOT
- as the two mutants lift Pat 's unconscious body and place it on the operating table . David slowly regains consciousness and sits up , rubbing his eyes in a dazed manner .
INT. SPACE SHIP - DAY - NEW ANGLE - MED. SHOT
David - as his eyes become adjusted to the light and he reacts in terror at seeing Pat being placed upon the operating table .
DAVID
( starts to his feet , screaming . )
No! No!
- a mutant grabs him and clamps a long black hand across his mouth .
INT. SPACE SHIP - DAY - CLOSE SHOT
David 's face - with the hand across his mouth , his eyes staring in horror .
INT. SPACE SHIP - DAY - MED. SHOT
David 's angle - of the mutant surgeon , as he takes up a complex surgical instrument . In his other hand , he lifts up and examines a tiny crystal capsule , to which is affixed a small spiral wire . Turning slowly , he moves toward the unconscious form of Pat on the operat - ing table .
INT. SPACE SHIP - DAY - CLOSE SHOT
Back of Pat 's neck and crown of her head - The mutant surgeon 's hands come in and part the hair just above the nape of the neck .
EXT. MacLEAN FIELD - DAY - MED. SHOT
- with TRUCK in b.g. Fielding , Blake stand in f.g. , looking toward the field . Just to the left of Fielding , a soldier stands with a signal pistol held ready . Fielding is watching the sweep hand on his wrist watch . He turns to the soldier .
FIELDING
Fire!
The soldier fires a star shell .
EXT. MacLEAN FIELD - DAY - LONG SHOT
Star shell exploding over pasture .
EXT. MacLEAN FIELD - DAY - LONG SHOT
Sherman Tank - starting and moving alongside the field . A hand grenade is thrown from the open hatch , rolls to - ward CAMERA , comes to rest on the plowed field and ex - plodes .
INT. SPACE SHIP - DAY - MED. SHOT
Martian in bell jar - The Martian 's head turns sharply as a dull explosion is HEARD over scene . The lights go up in the space ship .
INT. SPACE SHIP - DAY - NEW ANGLE
- as the surgeon mutant removes a strange , complex helmet affair from Pat 's head , while two other mutants rush forward and carry the Martian quickly through the bulkhead , closing the bulkhead behind them . The other mutants race across the room and up the spiral steel staircase , leaving Sergeant Balardi staring after them . Pat lies unconscious on the operating table . David rushes over to Pat .
INT. TUNNEL - DAY - FULL SHOT
Just outside trapdoor - as the last mutant enters the tunnel through the trapdoor , two other mutants emerge from a side tunnel carrying a machine mounted on a metal , stretcher - like base . The machine resembles a large searchlight with a metal megaphone - shaped device fasten - ed to the front of the lens . Two heavy insulators stand vertically just behind the searchlight part of the machine and they are connected to a thing that looks like a small condenser by two three - inch copper ribbons . O.S. can be HEARD the thumping rumble of the tank treads and a dull sound of exploding grenades . The two mutants with the machine run down the tunnel out of scene , leav - ing one mutant standing guard .
INT. TUNNEL - DAY - MED. SHOT
- as the mutants run past CAMERA with the machine and turn right , through an intersecting tunnel .
INT. TUNNEL - DAY - MED. SHOT
- as the mutants place machine on floor of tunnel and deflect it upward at an angle of forty - five degrees . O.S. the sound of the Sherman tank is much louder . Also the sound of bursting grenades .
INT. TUNNEL - DAY - NEW ANGLE
- as mutants push a stud on the machine and a brilliant rush of flame emerges from the mouth of the megaphone - shaped nozzle .
INT. TUNNEL - DAY - LONG SHOT
Roof of tunnel - as the flame from the atomic disin - tegrator burns a circular hole . The edges of the hole drip with molten silica , like wax under the flame of a blow torch . -LRB- PRODUCTION NOTE : For the full scale shots , this ef - rect can be obtained with a military flame thrower burning away a wax - covered flimsy . Lycopodiem is jet - ted into flame with compressed air . -RRB-
EXT. FIELD - DAY - MED. SHOT - (MINIATURE)
- as a shaft of brilliant white flame comes up out of the earth and engulfs the Sherman tank .
EXT. FIELD - DAY - CLOSE SHOT
Soldier in open hatchway of tank engulfed in flames .
EXT. MacLEAN FIELD - DAY - MED. CLOSE SHOT - (MINIATURE)
Tank treads and forepart of tank , as it melts into a shapeless , molten mass .
EXT. MacLEAN FIELD - DAY - FULL SHOT
Earth augur - being removed from the circular four - foot hold in field . Soldiers with sub - machine guns and miners ' lamps attached to their helmets stand by . Lieutenant Blair and his demolition team are carrying their C - two packs strapped across their shoulders . Fielding runs into scene carrying a sub - machine gun . Fielding crosses to the hole and drops down into it and is instantly followed by the men . As the last of them enter the hole , Blake runs into scene and drops into the hole after them .
INT. TUNNEL - DAY - MED. SHOT
- as Fielding and the soldiers , followed by Blake , run past CAMERA .
INT. TUNNEL - DAY - NEW ANGLE
- as the party approaches a branch tunnel . Two sol - diers are delegated to explore it while the main party , including Lieutenant Blair 's demolition team , proceeds . Fielding turns and suddenly recognizes Blake .
FIELDING
What are you doing down here?
BLAKE
I'm going to find Pat.
FIELDING
Well - come on -
INT. TUNNEL - DAY - MED. SHOT
Fielding , Blake and soldiers cautiously round turn and come toward CAMERA .
INT. TUNNEL - DAY - LONG SHOT
- the soldiers in f.g. . Their miners ' lamps light the tunnel at the far end of which the mutant standing guard by the trapdoor , spreads his legs and arms and waits .
INT. TUNNEL - DAY - MED. CLOSE SHOT
- as the rescue party stops .
SOLDIER
What in the name of time is that?
FIELDING
I do n't know. Fire on command!
Two of the soldiers drop to their knees and aim their guns at lens . The other four and Fielding raise their guns and aim at the lens .
INT. TUNNEL - DAY - MED. CLOSE SHOT
Mutant - who starts lumbering forward toward group .
INT. TUNNEL - DAY - REVERSE SHOT
Rescue party - with all tommy guns aimed at lens .
FIELDING
Fire!
Seven tommy guns fire a short burst directly at lens .
INT. TUNNEL - DAY - MED. CLOSE SHOT
Mutant - as he is blown over backwards .
INT. TUNNEL - DAY - LONG SHOT
Rescue party - running through tunnel toward CAMERA . They step over the body of the dead mutant .
INT. SPACE SHIP - DAY - FULL SHOT
- as rescue party runs down spiral staircase .
INT. SPACE SHIP - DAY - MED. SHOT
- as Sergeant Balardi looks toward ladder and aims his forty - five . David grabs his arm and spoils his aim .
INT. SPACE SHIP - DAY - MED. SHOT
- as a soldier leaps off the top of the spiral stair - case and knocks Balardi to the floor . Balardi 's pis - tol falls to the floor . David picks up the pistol .
INT. SPACE SHIP - DAY - FULL SHOT
- as Balardi fights furiously with his fists . A sol - dier knocks him out with the butt of his gun .
SOLDIER
( to Fielding . )
Hey, what's the matter with this guy?
FIELDING
He does n't know what he's doing. Take him outside.
The soldiers exit with Balardi . Fielding turns to David .
FIELDING
( continued . )
You go with them, son.
David exits .
INT. TUNNEL - DAY - MED. SHOT
At door or space ship . David comes up the ladder and looks up the tunnel where the two soldiers and Balardi have disappeared . He runs after them .
INT. SPACE SHIP - DAY - MED. SHOT
- as Blake and Fielding run up to Pat , who is still unconscious .
BLAKE
Pat! Pat!
He shakes her , but she does not regain consciousness . Blake picks her up and carries her up the spiral ladder .
INT. TUNNEL INTERSECTION - DAY - MED. SHOT
David runs toward camera and pauses uncertainly at the intersection . He does n't know which tunnel to take . He finally chooses the right hand tunnel and runs out of scene .
INT. SPACE SHIP - DAY - FULL SHOT
Fielding , Blair and his demolition team stare around the space ship . Fielding crosses and attempts to open one of the bulkheads .
FIELDING
I hate to destroy this ship, but we ca n't afford to take any chances. Go ahead and place your C - two charges, Lieutenant.
Blair signals one or the men , who removes his demolition pack and places it near the bulkhead . He pulls back the canvas cover exposing a clock time fuse . The other demolition expert is setting his charge at the opposite end of the ship .
BLAIR
( to Fielding . )
What interval shall I set it to fire, sir?
FIELDING
Six minutes will give us enough time.
INT. SPACE SHIP - DAY - CLOSE SHOT
Demolition expert sets dial to six minutes and pulls firing pin .
INT. TUNNEL AT INTERSECTION - DAY - MED. SHOT
- as two soldiers run into scene from branch tunnel . They stop just around the corner of the tunnel and each takes a Mills grenade from his bag and pulls the pin with his teeth and drops down into position to hurl the grenade into the tunnel .
INT. TUNNEL - DAY - MED. SHOT
The two mutants with the atomic disintegrator are pur - suing the soldiers .
INT. TUNNEL - AT INTERSECTION - MED. SHOT
Two soldiers - as they wait to throw grenades .
1ST SOLDIER
Here they come!
Both of them hurl their grenades down the branch tunnel and flatten back against the wall .
INT. TUNNEL - DAY - LONG SHOT
- as the grenades explode and roof of tunnel caves in , and falls in front of mutants , filling the tunnel with earth .
INT. TUNNEL - FROM BEHIND MUTANTS - DAY - MED. SHOT
- as they place the atomic disintegrator on floor of tunnel and direct it toward the piled - up debris . One of them presses a stud and a bright sheet of flame burns through the debris .
INT. TUNNEL AT INTERSECTION - DAY - MED. SHOT
- as the flame burns through .
1ST SOLDIER
Let them have it again!
They throw two more grenades , which explode , blocking the tunnel again .
1ST SOLDIER
Hurry - tell everybody to get out of here. I'll try and hold'em off.
The second soldier turns and runs out of scene and up the main tunnel to the right . The first soldier hurls another grenade , which explodes , dropping the roof of the tunnel and blocking it again .
INT. ANOTHER SECTION OF TUNNEL - DAY - MED. SHOT
- as second soldier encounters the two soldiers bearing the unconscious form of Sergeant Balardi .
2ND SOLDIER
Pass the word - we got ta get out of here right away!
A sergeant takes a whistle from his pocket and blows three sharp blasts , then repeats it .
INT. DIFFERENT SECTION OF TUNNEL - DAY - MED. SHOT
- as another soldier HEARS the whistle signal in the distance and repeats it on his whistle .
INT. SPACE SHIP - DAY - FULL SHOT
- as Fielding , Blair and demolition team react to the whistle signal and run to the spiral staircase .
EXT. MACLEAN FIELD - DAY - MED. SHOT
- as Blake emerges from trapdoor , carrying Pat with him . A soldier standing at the top of the trapdoor hears the whistle signal in the distance .
SOLDIER
That's emergency retreat! Get her out of here on the double.
Blake moves quickly out of scene , carrying Pat with him .
INT. TUNNEL INTERSECTION - DAY - MED. SHOT
Soldier at branch tunnel - as a burst of flame cuts through debris some distance up branch tunnel . As flame breaks off , he quickly hurls another grenade , which explodes down the tunnel , again dropping the roof . Two soldiers running , halt by the branch tunnel .
1ST SOLDIER
Better stand by with grenades and help me hold these monkeys off!
3RD SOLDIER
What's up?
1ST SOLDIER
They've got some kind of a flame thrower that cuts right through rocks and dirt. Watch it - here they come again.
A blast of flame billows out of the tunnel , then blacks out and the first soldier throws another grenade . The other soldiers also throw grenades against the collap - sing roof of the tunnel . At this point Lieutenant Blair , his men and Fielding enter scene .
FIELDING
All right - keep going - on the double! Get moving, you two!
The two soldiers run out of scene , followed by Fielding . Blair signals one of the demolition men to remain and place a charge . The others exit quickly . The demoli - tion man who was left behind starts to set the fuse .
INT. TUNNEL - DAY - MED. SHOT
David hurries along the tunnel , approaches another inter - section . He hears the whistle faintly in the distance and stops . He is again faced with the decision of which tunnel to choose , and is becoming panic - stricken .
INT. TUNNEL - INTERSECTION - DAY - CLOSE SHOT
David - the sweat stands out on his forehead as he tries to peer into the tunnel ahead of him . He starts to turn into the right hand tunnel when he hears faint footsteps approaching . He is about to call when some instinct prompts him to press back against the tunnel wall .
INT. TUNNEL INTERSECTION - DAY - MED. SHOT
A mutant is cautiously making his way down the tunnel . He pauses and looks back at the direction from which he came . He advances a few more feet and reaches the intersection , where he stops .
INT. TUNNEL INTERSECTION - DAY - CLOSE SHOT
David is pressing himself as far into the corner of the opposite tunnel wall as he can . He is terrified . As he presses closer to the wall , he dislodges a tiny pebble , which rolls down the wall on to the floor of the tunnel .
INT. TUNNEL INTERSECTION - DAY - MED. SHOT
The mutant hears the sound of the pebble falling and looks around . He starts to advance toward where David is standing when a whistle is heard faintly in the dis - tance . He quickly turns and lopes off into darkness .
INT. TUNNEL INTERSECTION - DAY - MED. LONG SHOT
David waits until the mutant disappears and then runs up the opposite tunnel .
INT. DIFFERENT TUNNEL INTERSECTION - DAY - MED. SHOT
The demolition man who set the last C - 2 charge is hurry - ing along endeavoring to catch up with Blair and the other men . He reaches the intersection and bumps squarely into the mutant who is loping up from the other tunnel . The mutant envelopes the soldier in his huge arms and starts to bend him backwards . The soldier vain - ly struggles for his pistol , but is like a child in the mutant 's hands . He screams but the mutant covers his mouth with a hairy paw .
SOLDIER
( gasping . )
Help! Help!
INT. TUNNEL - DAY - MED. LONG SHOT
Blair and the rest of the demolition team hear the faint screams behind them , and turn back .
INT. TUNNEL INTERSECTION - DAY - MED. SHOT
The soldier is struggling , but growing weaker , as the mutant has him bent over nearly double . Blair and his men round the corner and charge for the mutant , who drops the soldier . As the mutant leaps forward , he is met by a hail of tommy - gun slugs , and drops in his tracks . The men pick up the injured soldier and run back up the tunnel .
INT. TUNNEL - DIFFERENT INTERSECTION - DAY - LONG SHOT
- as several soldiers and Fielding run past CAMERA .
1ST SOLDIER
( looking over shoulder . )
There they are again!
INT. TUNNEL - DAY - REVERSE LONG SHOT - HIS ANGLE
Mutants - entering main tunnel with machine .
FIELDING'S VOICE
( o.s . )
All right - rest of you keep moving. You, Sims, and Watson - give'em a long burst.
INT. TUNNEL - DAY - MED. SHOT
Fielding , 1st and 3rd soldier firing their tommy - guns toward lens , as they back around a curve in the tunnel .
INT. TUNNEL - DAY - MED. SHOT
From behind Fielding , 1st and 3rd soldiers as they back around a 90 degree turn and a blast of flame strikes the wall just in front of them . Fielding and the two soldiers back away from the searing heat , shielding their faces with their arms .
FIELDING
Come on! Out of here on the double!
They turn and run down tunnel and out of scene .
INT. INTERSECTION TUNNEL - DAY - MED. LONG SHOT
Blair and his demolition team enter . The men carrying the injured soldier continue on . Blair looks around and signals one of the demolition men to place a C - two charge at the intersection of the tunnels . Blair looks at his wrist watch .
BLAIR
Three minutes!
The soldier sets the time fuse , pulls the pin and they all exit quickly .
INT. INTERSECTION TUNNEL - DAY - MED. SHOT
Fielding and two soldiers run past intersection and con - tinue on . Huddled in a dark corner we see the two mu - tants holding the Martian on his tray . One of the mu - tants is also carrying a strange looking antenna device . They turn and disappear into the darkness .
INT. TUNNEL - DAY - MED. SHOT
David runs toward camera . It PANS with him as he comes to a dead end , which slopes steeply up . He stops and looks about him uncertainly .
INT. TUNNEL - DIFFERENT INTERSECTION - DAY - MED. CLOSE SHOT
C - 2 demolition charge - we hear the sound of the time clock ticking away . INSERT Face of C - 2 demolition time clock . The second hand is slowly moving around . The minute hand reads : two minutes .
INT. TUNNEL - DEAD END - DAY - MED. CLOSE SHOT
David climbs to the top of the slope at the dead end of the tunnel and peers up at the roof .
INT. TUNNEL - DEAD END - DAY - CLOSE SHOT OF TUNNEL ROOF
The faint outline of what could be a mutant trapdoor is barely visible in the half light .
INT. TUNNEL - DEAD END - DAY - MED. SHOT
David stands on his tiptoes and strives to reach the trapdoor , but ca n't quite touch it . He frantically sets to work digging at the fused earthen wall , trying to carve a foothold . His fingers make little impression on the hard surface . Seeking something to use as a digging instrument , he feels his belt buckle . He tears off the belt and again starts to dig . From over head , we hear distant sounds of moving vehicles .
EXT. MACLEAN FIELD - DAY - FULL SHOT
Trapdoor through which the rescue party entered . Two soldiers are on their hands and knees lifting the others out of the hole as swiftly as possible . Balardi and Pat are already in a waiting Jeep , which rolls away out of scene . The mechanized earth augur is rapidly moving out of scene . Another jeep races into scene as the injured soldier is lifted through the hole and all the soldiers and Fielding jump aboard the Jeep which moves out of scene .
EXT. MACLEAN FIELD - LONG SHOT
Jeeps and earth augur - hightailing it across pasture , as a burst of flame shoots high into the air through the hole from whence the rescue party just emerged .
EXT. CORNER OF MACLEAN'S FIELD - DAY - MED. SHOT
Some distance from the trapdoor , the two Jeeps have stopped by the ambulance . Fielding helps five or six soldiers remove Balardi from the Jeep . He fights furiously . A soldier and Blake are lifting the uncon - scious form of Pat from the Jeep .
BLAKE
Hurry, let's get them to the hospital.
( he gestures toward the soldier who was injured in the fight with the mutant . )
Give him first aid - I'll send the ambulance right back.
The driver runs to the back of the ambulance , opens it , takes out two stretchers and restraining bands . Pat , still unconscious , is placed on one stretcher , Balardi is placed on the other , and strapped down with the re - straining bands . Blake and the driver enter the am - bulance , and it pulls out of the scene at high speed , siren wailing .
EXT. CORNER MACLEAN FIELD - DAY - MED. SHOT
Fielding suddenly turns to Lieutenant Cole .
FIELDING
( with concern . )
Where's David?
COLE
I do n't know, Colonel. Was n't he with Lieutenant Blair?
FIELDING
( to Blair , worried . )
Lieutenant, have you seen David?
BLAIR
Why, no. Did n't he come out of the tunnel with you?
FIELDING
No. I sent him up long ago. If he did n't come out with you he must still be down here.
( he is frantic . )
How much time before the demoli - tions go off?
BLAIR
( looking at his watch . )
One minute, sir.
Fielding makes a move for the jeep . Blair puts his hand on Fielding 's shoulder , stopping him .
BLAIR
You'll never make it, sir.
Fielding and Blake look at each other in hopeless despair .
INT. TUNNEL - DEAD END - DAY - MED. SHOT
David is desperately digging at the wall of the tunnel . He has clawed away enough earth and rock to almost touch the trapdoor . He stops to rest , wipes the sweat from his eyes and again attacks the tunnel wall with his belt buckle .
INT. TUNNEL - INTERSECTION - DAY - INSERT TIME CLOCK FACE
It reads : 40 seconds .
INT. TUNNEL - DEAD END - DAY - MED. CLOSE SHOT
David is frantic . He is within inches of the trapdoor and still digging .
INT. TUNNEL INTERSECTION - INSERT TIME CLOCK FACE
It reads : 20 seconds .
INT. TUNNEL - DEAD END - DAY - MED. SHOT
David has reached the tunnel roof and is pushing on the trapdoor . It slowly rises and the daylight streams in - to his face as he clambers out .
EXT. CORNER MACLEAN FIELD - DAY - LONG SHOT
Shooting over the backs of Fielding , Blair and Cole toward the center of the field . David is seen climbing out of the trap door . Fielding jumps into the jeep - yells at the driver - the jeep roars toward David .
EXT. FIELD - DAY - AT TRAPDOOR
The jeep tears into the scene . Fielding reaches out and lifts David into the jeep . Without stopping , it roars out of scene .
EXT. MACLEAN FIELD - DAY - LONG SHOT
The jeep , with Fielding and David , speeds toward camera . The other soldiers are taking refuge behind the cars and equipment , awaiting the explosion . Suddenly , there is a violent detonation and a cloud of earth and debris mushrooms into the sky .
EXT. ROCKY RIDGE OVERLOOKING MACLEAN FIELD - DAY LONG SHOT
In the distant b.g. we see the general activity after the explosion . Men are picking themselves up from the ground , brushing themselves off , looking back at the crater , caused by the explosion . In the immediate f.g. a trapdoor opens in the ground and we see the hairy arm of a mutant come into scene . The rest of his body appears in deep silhouette . He is followed by the second mutant who is carrying the antenna device .
EXT. MACLEAN FIELD - DUSK - FULL SHOT
Fielding and Lieutenant Cole are in foreground at rim of crater , caused by the explosion . They are inspect - ing a battered portion of the space ship 's instrument panel . Lieutenant Blair enters scene carrying intricate looking instrument , similar to an altimeter . He hands it to Colonel Fielding .
BLAIR
This instrument seems to be intact, sir.
Fielding inspects the instrument and hands it to Cole .
FIELDING
It appears to be similar to our high altitude anaroids.
( he then turns back to Blair . )
Did you finish checking the tunnels, Blair?
BLAIR
Yes, sir. Our demolition charges cleaned them all out.
FIELDING
Be sure the boys bring in everything they find.
They resume their inspection of the space ship instru - ment panel .
EXT. MacLEAN FIELD - DUSK - MED. SHOT
Shooting toward Rocky Ridge . David walks slowly up the hill . He stoops and picks up a small piece of metal , which he puts in his pocket .
EXT. MacLEAN FIELD - ROCKY RIDGE - DUSK - MED. SHOT
Fielding , Cole , Blair and several soldiers , two of whom have just placed some portions of the space ship on the pile . A sergeant enters scene .
SERGEANT
Dr. Metzler just called from the hospital, sir. The operations were successful.
FIELDING
Thank you, sergeant.
He looks around .
FIELDING
I want to get back right away! Where's David?
BLAIR
( pointing . )
He was up there a couple of minutes ago, sir.
( laughs . )
Looking for souvenirs.
FIELDING
Thanks, Lieutenant. You and your men did a fine job. You can report back to the base.
COLE
Yes, sir.
He leaves . And Fielding moves out of scene in the dir - ection to which Blair had pointed .
EXT. ROCKY RIDGE - MacLEAN FIELD - DUSK - MED. LONG SHOT
David is walking aimlessly toward the mutants whom we see in silhouette in the f.g. David stops and picks up a piece of metal . He examines it , throws it aside , and sees something closer to CAMERA near where the mu - tants are hiding . As he starts for the object we HEAR Fielding 's voice o.s.
FIELDING
( o.s . )
David!
David turns , looks at him , then turns and looks at the object that he was interested in .
DAVID
There's something up here that might be -
FIELDING
( interrupting . )
Never mind. They'll get all of that tomorrow. We've got to go back to the hospital now.
David turns and runs back to Fielding .
INT. DR. BLAKE'S CONSULTATION ROOM - MED. FULL SHOT
David and his aunt , Margaret MacLean , a pleasant , forth - right woman , are seated . They have an attitude of ex - pectancy . Cricket is seated on the sofa next to Aunt Margaret . She is petting him . It is apparent from the dog 's attitude that he knows her .
DAVID
They've been in there a long time, Aunt Margaret.
AUNT MARGARET
It only seems like a long time, dear.
( trying to switch his thoughts . )
Has Cricket had his supper yet?
DAVID
( disgusted . )
The nurse gave him some toast and spinach.
AUNT MARGARET
We'll give him some real food when we get home.
Fielding and Blake enter . David jumps up .
DAVID
( anxiously . )
Are they all right?
BLAKE
( kindly . )
Your father and mother are going to be just like they were before - before these - things happened. When I talked to them, David, their only concern was for you.
DAVID
( turning to his aunt . )
They - they did n't know what they were doing - did they, Aunt Mar - garet?
FIELDING
They were n't responsible for any - thing that happened, David. Now go home with your aunt and get a good night's sleep - you'll see them tomorrow morning.
Aunt Margaret and David cross to the door .
DAVID
Yes, sir.
( turns to the dog . )
Come on, Cricket, we're going home.
They exit .
EXT. ROCKY RIDGE - OVERLOOKING MacLEAN FIELD - NIGHT MED. SHOT
Two mutants and Martian - as one of them adjusts a series of rings like a miniature radio direction loop , then presses a stud and violet sparks ripple and dance around the edges of the rings and a shrill , high - fre - quency buzzing sound , broken up like very fast code , emanates from the machine . The two mutants and the Martian raise their eyes upward and stare into space . Then they look off stage .
EXT. MacLEAN HOUSE - NIGHT - MUTANT'S ANGLE - LONG SHOT
The lights are burning in the MacLean house .
INT. DAVID'S BEDROOM - NIGHT - FULL SHOT
David is in his pajamas , Cricket is on the foot of the bed , and Aunt Margaret is pulling back the covers .
AUNT MARGARET
All right, young man, into bed with you.
DAVID
( yawning . )
Okay, Aunt Margaret.
She ruffles his hair , kisses him , then crosses to the door , turns off the light and pauses before she exits .
AUNT MARGARET
Good night, dear.
DAVID
( sleepily . )
Good night.
Aunt Margaret exits , closes the door after her . The CAMERA PANS to Cricket on the foot of the bed . His ears suddenly perk up and he looks toward the window . He whimpers , then jumps off the bed and patters to the window . He puts his paws on the sill , looks out and growls .
DAVID
( sitting up in bed . )
What's the matter, Cricket?
David jumps out of bed and crosses to the window . He looks out into the night . His eyes widen . He quickly removes the muslin cover from his telescope and puts his eye to the eye - piece .
EXT. MacLEAN FIELD - NIGHT - TELESCOPE MATTE SHOT
- of a ball of white fire rapidly descending . Tele - scope matte shot PANS and the ball of white fire de - scends upon the ridge and dies to a soft glow .
INT. DAVID'S ROOM - NIGHT - CLOSE SHOT
David - as he makes quick adjustments of the ocular and again presses his eye to the telescope .
EXT. MacLEAN FIELD - ROCKY RIDGE - NIGHT - TELESCOPE MATTE
- of round bulkhead opening in section of space ship seen through screen of heavy bushes and trees . The sil - houette of the two mutants carrying the Martian in his plastic dome enters scene and goes through bulkhead , which closes behind them . Then the scene is burned out by a blinding white light .
EXT. MacLEAN FIELD - NIGHT - TELESCOPE MATTE SHOT
- as the ball of white fire ascends swiftly and dies away in the distance .
INT. DAVID'S ROOM - NIGHT - CLOSE SHOT
David - clutching Cricket against him and staring out the window .
DAVID
Well - gee, whiz!
FADE OUT . THE END
|
INVADERS FROM MARS
MUSIC of Finlandia type behind credits builds to crescendo on . PAN SHOT - SPECIAL EFFECTS - NIGHT - of star - studded heavens at night . Scattered cumulus clouds alternately obscure and disclose a three - quarter moon and vast open deeps of glittering constellations . The music diminishes and backs the voice of the narra - tor .
NARRATOR
Since the beginning of Time the people of our Earth have looked upon the stars and pondered - They wondered what man - ner of man - or creature - inhabited the faint mysterious worlds that lay beyond.
EXT. MT. WILSON OBSERVATORY - NIGHT - LONG SHOT
Large telescope pivoting against the sky .
INT. TELESCOPE ROOM - NIGHT - MED. SHOT
Two Astronomers - adjusting eye - pieces .
NARRATOR
But the largest telescopes have failed to penetrate the dark and awe - some secret.
INT. TELESCOPE ROOM - DIFFERENT OBSERVATORY - NIGHT CLOSE SHOT
White haired astronomer - peering into the eye - piece of a telescope .
NARRATOR
Men still probe the deeps of space - men of all ages - seeking the answer.
INT. DAVID MacLEAN'S BEDROOM - NIGHT - CLOSE SHOT
of telescope - DOLLY BACK to disclose David MacLean - a twelve year old boy , who is sitting on the floor with his eyes glued to a telescope . He is dressed in rumpled pajamas . A student lamp on the floor lights the scene in low key . A star map and nauti - cal almanac lay on the floor in high key under the lamp . A small Cairn terrier named Cricket stares up at him with wistful curiosity .
INT. DAVID'S BEDROOM - NIGHT - MED. SHOT
- as David moves back from the telescope and rubs his eyes with his knuckles . He leafs through the nautical almanac and reaches for the aluminum can - teen on the window sill . It falls to the floor with a clatter . He picks it up quickly and listens ap - prehensively for an indication that he has awakened his parents ; sighs with relief and glances at an alarm clock on the window sill which reads 3:40 . He unscrews the canteen stopper and tilts it to drink ; then stops as a bright light illuminates the darkness outside the window .
INT. DAVID'S BEDROOM - NIGHT - FULL SHOT - SPECIAL EFFECTS
David 's angle - through window , of a swiftly descend - ing ball of brilliant white fire as it sweeps down out of the heavens , hovers for a moment , then drops behind foreground trees .
INT. DAVID'S BEDROOM - NIGHT - CLOSE SHOT
David - his face highlighted by the ball of fire as he stares with incredible bewilderment .
DAVID
( with awe . )
Well - Gee Whiz!
INT. DAVID'S BEDROOM - NIGHT - MED. SHOT
David crosses to foot of bed , puts on his bathrobe and slippers ; climbs through the window , chirping at the dog , Cricket , who hops up on the window sill and follows him out .
EXT. BACK OF MacLEAN'S HOUSE - FIELD IN B.G. - NIGHT MED. SHOT
- as David turns and looks at the dog , who growls and trots toward the field . David follows him toward field , but stops suddenly .
EXT. MacLEAN FIELD - SHOOTING AWAY FROM HOUSE - NIGHT (SPECIAL EFFECTS)
David sees a brilliant white light glow suddenly in the distance . It casts a gigantic black shadow of a thing that could be a man against the flank of the dark hill . The light goes out suddenly and a strange humming sound fills the air .
EXT. BACK OF MacLEAN'S HOUSE - NIGHT - REVERSE MED. SHOT
David reacts with amazement to what he has seen , he turns and runs toward house followed by Cricket .
INT. DAVID'S ROOM - SHOOTING TOWARD FIELD - NIGHT
- as the dog jumps through the window , followed by David , who grabs a flashlight . CAMERA PANS with David as he exits into the hall .
INT. MR. &. MRS. MacLEAN'S BEDROOM - (LOW KEY) - NIGHT MED. SHOT
David bursts through the door and shines the flash - light on the bed and his father and mother sit up . MacLean fumbles for the table light and shades his eyes against the flashlight . He turns on the light .
MRS. MacLEAN
( with concern . )
What's the matter, David? Are you all right?
DAVID
( excitedly . )
Dad - listen! I saw a - a - a some - thing - just landed in our field. A flying saucer or something!
MRS. MacLEAN
A what?
DAVID
A space ship - I think. It's there now - over by the hill. Come on, Dad.
MacLEAN
( with weary exasper - ation . )
Have you gone completely crazy - four o'clock in the morning!
DAVID
But, Dad - I saw it - I tell you.
MRS. MacLEAN
Oh, you had a dream, dear - a night - mare.
DAVID
I was n't asleep! I saw it - it landed in our field!
MacLEAN
( putting his feet on floor . )
Now, that's enough!
DAVID
But, Dad.
MacLEAN
All right, march!
DAVID
( leaving , followed by Cricket . )
Aw, gee!
( he slams door . )
MacLean gets up and puts on his slippers .
MRS. MacLEAN
Oh, John, do n't scold him. He did n't mean to slam the door.
MacLEAN
( walking towards door and yawning . )
I'm not - I'm just going to see that he goes to bed.
INT. DAVID'S ROOM - NIGHT - FULL SHOT
He is standing by the window , staring out . Cricket has his forepaws on the window - sill . The door opens , David turns and looks at his father guiltily as he closes the door . MacLean indicates the bed with his thumb . With a sigh , David shucks off his bathrobe and slippers and crawls into the bed . Cricket jumps onto the foot of the bed . MacLean crosses to a wardrobe chest and selects a medicine bottle and a spoon from the top of it . He returns and sits on the side of the bed .
DAVID
I'm not sick!
MacLEAN
( shakes bottle and pours into spoon . )
I know - this is some of that stuff Doctor Weber left to make you sleep when you had the flu. Come on - open up.
David looks at his father with exasperated patience and with a shrug of martyrdom swallows the medicine and drops back on his pillow .
MacLEAN
( gently . )
Now what makes you think you saw a flying saucer?
DAVID
( rising on elbows , try - ing to convince him . )
I do n't think, Dad - I know - I -
MacLean , with a smile , pushes him back on the pillow .
MacLEAN
Maybe it was one of the experiment - al rockets from over at White Sands -.
( David shakes his head . )
If anything had fallen in the field - I'd have heard it, would n't I?
DAVID
It did n't fall, Dad - it landed over in the field. Blossom! Gee, Dad, Blossom's out there! We'd better go get her!
MacLean regards the boy with a patient affectionate smile .
MacLEAN
( with a smile . )
Blossom is an intelligent cow - she can take care of herself.
DAVID
But, Dad -
MacLEAN
You've been reading too many of those Science Stories - flying saucers!
DAVID
( yawning . )
But I saw it! And Cricket saw it - he growled!
MacLEAN
( fondling the dog . )
He growls at hoot owls too - and shadows! And I want you to stop growling at shadows and go to sleep.
David stares at him with patient resignation .
MacLEAN
Tomorrow morning I'll take my 12 gauge and you take your.410 and you and I and Cricket will go out in that field and if there's any space ship or flying saucer out there, we'll take a shot at it - especially if they've bothered our cow!
David , feeling the effects of the sedative , yawns again . His father runs his fingers lightly through David 's hair in a soothing fashion .
MacLEAN
( gently . )
That's a good boy - go to sleep.
David 's eyes close and MacLean gets up softly , tiptoes to the light - switch and turns out the light .
EXT. MacLEAN FIELD - NIGHT - LONG SHOT
Nothing is moving , the bellow of a cow is HEARD over scene .
INT. MR. & MRS. MacLEAN'S BEDROOM - NIGHT - MED. SHOT
-LRB- Very low key -RRB- - Moonlight through bedroom window - Mrs. MacLean 's voice comes over scene with alarmed insistence .
MRS. MacLEAN
John! - John! -
MacLEAN
( annoyed and sleepy . )
Now what's the matter?
Off scene is HEARD the low mournful bellowing of a cow . The light goes on , revealing MacLean irritably rubbing his eyes .
MRS. MacLEAN
The cow - something's wrong with her.
The cow 's mooing rises to a terrified bellowing .
MacLEAN
Probably caught in the fence.
He gets up , puts on his shoes and bathrobe and takes a flashlight .
MRS. MacLEAN
Hurry she may be hurt!
As MacLean exits -
EXT. MacLEAN FIELD - NIGHT - MED. SHOT
MacLean enters carrying lighted flashlight . He walks toward sound of bellowing and disappears behind bushes . Bellowing suddenly stops . FADE OUT
EXT. MacLEAN FIELD - MORNING - LONG SHOT
MacLean house in background . David and Cricket , in foreground , are walking hesitantly into the field . There is a sudden high - frequency hum and both David and the dog stare at the ground , which trembles slightly . David turns and runs toward the house , fol - lowed by Cricket .
EXT. FRONT OF MacLEAN HOUSE - MORNING - MED. SHOT
A police car stands in front of the house and two of - ficers stand on the front porch , talking to Mrs. Mac - Lean .
MRS. MacLEAN
- and I ca n't understand what hap - pened to him!
BLAINE
( reassuringly . )
You say he's been gone for.
David and Cricket run into scene .
MRS. MacLEAN
What's the matter, David?
DAVID
( breathlessly . )
- over there in the field - I heard something - I mean - it was more like I felt something.
MRS. MacLEAN
What?
DAVID
I do n't know - a kind of buzzing sound deep down under the ground.
MRS. MacLEAN
Oh, David, this is no time to let your imagination run away with you when I'm so concerned about your father.
JACKSON
Do n't worry, we'll find him, Mrs. MacLean. Come on Blaine.
They exit from the porch . Mrs. MacLean and David look after them .
EXT. MacLEAN FIELD - DAY - MED. SHOT
Blaine and Jackson are walking through the field . They stop and look around .
JACKSON
The cow may have trampled him - they can be dangerous.
BLAINE
Yeah, that's possible.
JACKSON
You take the north side, and I'll look over here.
BLAINE
Okay.
EXT. MacLEAN FIELD - DAY - FULL SHOT
- as the two men separate and walk toward hill . The CAMERA STAYS with Blaine , who stops and looks at some - thing in the grass .
EXT. MacLEAN FIELD - DAY - MED. SHOT
Blaine looking at flashlight in the grass .
EXT. MacLEAN FIELD - DAY - CLOSE SHOT
- of flashlight lying in the grass . Blaine 's hand reaches into scene and picks it up .
EXT. MacLEAN FIELD - DAY - MED. SHOT
Blaine straightens up with flashlight and calls .
BLAINE
Hey, Jackson! Here's a flashlight!
- he looks around for Jackson . His face registers be - wilderment .
EXT. MacLEAN FIELD - DAY - BLAINE'S ANGLE
- the CAMERA REVEALS an empty field with no possible place of concealment .
EXT. MacLEAN FIELD - DAY - MED. SHOT
BLAINE
( calling . )
Hey, Jackson -!
He runs toward the spot where he last saw Jackson . He stops and looks uncertainly .
EXT. MacLEAN FIELD - DAY - FULL SHOT
Blaine - with hill in background . He stares about him in puzzled incredulity . Then a four foot round section of turf immediately behind him raises up about a foot .
EXT. MacLEAN FIELD - DAY - CLOSE SHOT
Blaine 's face - as he emits a choking scream and drops out of scene . CAMERA PANS down to ground and we see a section of turf closing like the lid of a trap door spider .
INT. MacLEAN LIVING ROOM - DAY - FULL SHOT
Mrs. MacLean is pacing nervously and David stands look - ing out of the front window . Cricket is in the room .
MRS. MacLEAN
You're not going out there!
DAVID
But they've been gone over an hour. Let me go look, too, Mom - please!
MRS. MacLEAN
You stay right here!
DAVID
Aw, gee -
MacLEAN'S VOICE
( off scene . )
Any chance of getting a cup of coffee?
Mrs. MacLean and David turn toward doorway .
INT. MacLEAN LIVING ROOM - DAY - MED. SHOT
- John MacLean is standing in the living room doorway . He is wearing his bathrobe and pajamas . He looks some - what disheveled . Over scene Mrs. MacLean and David speak together .
MRS. MacLEAN and DAVID
John! - Dad! -
INT. MacLEAN LIVING ROOM - DAY - MED. SHOT
- as Mrs. MacLean and David rush toward MacLean .
MRS. MacLEAN
Oh, John, where have you been? I've been so worried!
DAVID
Gee, Dad, what happened?
Cricket looks at MacLean and crawls under the sofa . MacLean looks down at his wife and son . His face is tense and he wears a tight forced smile .
MacLEAN
Nothing to get excited about. Tell you all about it when I've had my coffee.
MacLean crosses and sits in an armchair .
MRS. MacLEAN
( exiting . )
I'll just be a minute.
David leans over the back of his father 's chair .
DAVID
What took you so long?
MacLEAN
( impatiently . )
I've been looking for Blossom. I followed her trail but finally lost track of her in those scrub oak flats behind Blue Hill.
INT. MacLEAN LIVING ROOM - DAY - CLOSE SHOT
David 's face - as he stares down at the back of his father 's head .
INT. MacLEAN LIVING ROOM - DAY - REVERSE CLOSE SHOT
David 's angle - of back of MacLean 's head . There is a livid red scar the size of a quarter on the back of his head just above the nape of his neck .
DAVID'S VOICE
( over scene . )
Gosh, Dad, what happened to your head?
INT. MacLEAN LIVING ROOM - DAY - MED. CLOSE SHOT
A shadow of anger crosses MacLean 's face .
MacLEAN
It's only a scratch. Caught it on a barbed wire fence.
DAVID
A barbed wire fence? But how could -
MacLEAN
( interrupting . )
Go on out and play!
DAVID
But - Dad -
MacLean suddenly slaps the boy a vicious backhand blow across the face , as Mrs. MacLean enters the scene from background , carrying a cup of coffee . Mrs. MacLean drops the cup , registering horrified incredulity . David staggers across the room and fetches up against the wall . Mrs. MacLean crosses to him , puts her arms around him with a sheltering attitude . Cricket comes out from under the sofa and growls at MacLean and hud - dles near David .
MacLEAN
( coldly . )
Now will you go out and play - and take that animal with you!
INT. MacLEAN LIVING ROOM - DAY - MED. CLOSE SHOT
David , his mother - with Cricket huddled close by . They stare at MacLean with incredulous baffled expres - sions .
MRS. MacLEAN
( in a low , hurried voice . )
Please, David - do as your father says.
INT. MacLEAN LIVING ROOM - DAY - MED. SHOT
David goes out through the hall followed by Cricket . We HEAR the front door slam . MacLean turns to his wife .
MacLEAN
( in a cold mechanical voice . )
I'm still waiting for my coffee.
MRS. MacLEAN
( in a tone of hurt be - wilderment . )
What's the matter with you, John? What's happened?
MacLEAN
Get me a cup of coffee!
Mrs. MacLean exits , looking apprehensively over her shoulder at her husband .
EXT. MacLEAN FRONT PORCH - MID-MORNING - FULL SHOT
Jackson , Blaine and MacLean are exiting onto the front porch . David is sitting on the steps with Cricket . Mrs. MacLean stands nervously twisting her apron , look - ing through the front screen door from the hallway .
MacLEAN
( he now speaks normally and seems like his old self . )
Well, thanks, gentlemen, I wo n't keep you any longer. I'm sure you have important things to take care of -
EXT. MacLEAN FRONT PORCH - DAY - CLOSE SHOT
High angle - back of Jackson 's head - as he removes cap and wipes forehead with handker - chief . A livid round red scar is on the back of his head just above the nape of his neck .
EXT. MacLEAN FRONT PORCH - DAY - REVERSE CLOSE SHOT
David 's face - puzzled - he reacts to what he has seen .
EXT. MacLEAN FRONT PORCH - DAY - MED. SHOT
Jackson , Blaine and MacLean - from David 's angle .
BLAINE
( with meaning . )
Yes. We have -
Jackson nods his head .
EXT. MacLEAN FRONT PORCH - DAY - CLOSE SHOT
Mrs. MacLean staring at her husband with nervous incred - ulity .
EXT. MacLEAN FRONT PORCH - DAY - FULL SHOT
Blaine and Jackson - as they leave the porch . Jackson leans over and ruffles David 's hair as he passes .
JACKSON
Take it easy on those comic books, youngster.
BLAINE
( as they walk toward car . )
Yes - that imagination of yours is liable to get you in trouble.
FADE OUT .
EXT. BACK OF MacLEAN HOUSE - DAY - MED. SHOT
Small hummock in foreground - MacLean home in background . The hummock is thickly grown with bushes . The leaves of a bush are pushed slowly back and the eye - piece of a one - inch telescope pushes full INTO CAMERA .
EXT. BACK OF MacLEAN HOUSE - DAY - CLOSE SHOT
David is lying on the ground behind the bushes looking through the telescope . Cricket is with him . David - raises his face from the eye - piece and looks over the telescope with interest and consternation . He then looks back through telescope .
EXT. FIELD - DAY - AS THROUGH TELESCOPE - MATTE
A little girl , Kathy Wilson , aged five , walks across the field picking flowers . Suddenly a round section of the earth opens up behind her and an indistinct some - thing grabs her by the ankles and snatches her down in - to the hole . A flap of earth closes back over the hole .
EXT. BACK OF MacLEAN HOUSE - DAY - PAN SHOT
David and Cricket - as David jumps up , runs toward the field , stops with indecision , then turns and runs fran - tically toward the house , followed by the dog .
INT. HALLWAY - MacLEAN HOUSE - DAY - MED. SHOT
- as David and Cricket enter and David starts toward the telephone . Then he looks over his shoulder toward the living room and stops .
INT. MacLEAN LIVING ROOM - DAY - MED. SHOT
David 's angle - John MacLean - sitting rigidly in a chair in the living room staring fixedly at David .
MacLEAN
Well - what do you want!
INT. MacLEAN LIVING ROOM - DAY - CLOSE SHOT
Shooting toward David and Cricket in hallway .
DAVID
( hesitatingly . )
I - I was looking for Mom.
MacLEAN
( sharply . )
She's not here. What's on your mind?
DAVID
Oh - uh - nothing -
MacLEAN
What have you been up to?
DAVID
Nothing - just playing.
MacLEAN
Your mother told you not to play in the field, did n't she?
DAVID
( hesitatingly . )
But - I - uh -
MacLEAN
( pointedly . )
I tell you you can play in the field - all you want - understand?
DAVID
Yes, sir.
He turns and starts toward the front door , Cricket at his heels .
INT. MacLEAN LIVING ROOM - DAY - CLOSE SHOT
MacLean - as he picks up a map which he 's holding in his lap and studies it intently . His head jerks up as the front screen door slams . He looks out the window .
EXT. FRONT - MacLEAN HOUSE - DAY - LONG SHOT
Through window - David and Cricket - running down road .
EXT. BACK PORCH - WILSON HOUSE - DAY - FULL SHOT
This is a small cottage with an old fashioned storm cel - lar door leading into the basement adjacent to back steps . David and Cricket walk into scene . David knocks on the door , which opens . David walks in . Cricket waits outside .
INT. WILSON KITCHEN - FULL SHOT
Mrs. Wilson dries her hands on her apron and pushes back a strand of hair from her forehead .
MRS. WILSON
Well - hello - David -
DAVID
Mrs. Wilson - is Mr. Wilson home?
MRS. WILSON
( puzzled . )
Why - no, David - he's out of town. What is it?
DAVID
Well - I mean - you know your little girl -
MRS. WILSON
( with instant alarm . )
Has something happened to Kathy?
DAVID
Well - I mean - gee, Mrs. Wilson - You see, I was up on the hill with my telescope - hiding in the bushes and -
Mrs. Wilson 's face darkens with frightened suspicion .
MRS. WILSON
You were hiding in the bushes and what happened?
DAVID
Well, I - I was watching the field and I saw Kathy. She was picking flowers - I think.
MRS. WILSON
Yes?
DAVID
And then - well - the ground opened up and something grabbed her and pulled her down into a hole.
- as she reacts with annoyance and disbelief .
MRS. WILSON
Oh, David, stop all this nonsense. Where is she?
David backs away from Mrs. Wilson , who advances threat - eningly .
DAVID
Honest, Mrs. Wilson, there's some - thing out there under the ground. It's a space ship or.
MRS. WILSON
What kind of a ship?
DAVID
A space ship!
Mrs. Wilson bursts into nervous laughter and grabs David by the shoulders and shakes him severely .
MRS. WILSON
Now listen, David - what have you done to my little girl - where is she - answer me!
DAVID
( frantically . )
Honest, Mrs. Wilson - the ground opened up - and -
Mrs. Wilson slaps him sharply . David raises his elbow to ward off further blows .
MRS. WILSON
You tell me what you've done to Kathy!
The sound of the back kitchen door opening causes Mrs. Wilson to look over her shoulder and react with relief .
INT. WILSON KITCHEN - DAY - NEW ANGLE
Kathy Wilson is entering the kitchen . She stops and looks at her mother curiously . Mrs. Wilson rushes across the room and gathers the child in her arms .
MRS. WILSON
Kathy, honey - where have you been? What's happened?
TWO SHOT - KATHY AND MRS. WILSON Kathy looks up at her mother with a round cherubic baby face .
KATHY
( blandly . )
Nothing, Mama.
MRS. WILSON
( turning to David . )
Oh, David! How could you!
She puts Kathy down .
INT. WILSON KITCHEN - DAY - MED. TWO SHOT
David sidles around and attempts to get a look at the back of Kathy 's head . She puts her hands to the back of her head and smoothes her hair down .
INT. WILSON KITCHEN - DAY - THREE SHOT
MRS. WILSON
What do you mean - coming in here and scaring me to death - What's the matter with you, David?
DAVID
( flatly . )
I'm sorry.
MRS. WILSON
I am, too - I'm sorry I lost my temper.
She turns and reaches for the cookie box .
MRS. WILSON
Here - do n't you want some cookies - and a glass of milk?
DAVID
( starting toward kit - chen door . )
No, thank you.
MRS. WILSON
I'm really very sorry, David, for the way I treated you - but after all - Here, dear - take some cookies with you.
DAVID
I'm not hungry.
At this point , he 's reached the kitchen door .
EXT. REAR OF WILSON HOUSE - DAY - FULL SHOT
Cricket is barking frantically at a column of smoke that issues from the open cellar door . David comes out of kitchen door , sees the smoke coming from the cellar , and calls back inside .
DAVID
( calling . )
Mrs. Wilson - Mrs. Wilson - your house is on fire!
Mrs. Wilson runs to the screen door and exits , carrying Kathy with her into the yard .
EXT. REAR OF WILSON HOUSE - DAY - MED. SHOT
Smoke is pouring out the cellar door . Mrs. Wilson places Kathy on the ground , then snatches a garden hose and runs to a faucet near the back porch . She fumbling - ly attempts to attach it , just as a neighbor , Arthur Turner , a man about forty - five , runs into scene . He quickly attaches the hose , while David points the nozzle toward the cellar door . He turns on the water , then runs and takes the hose from David , adjusts the nozzle to spray , then , ducking his head against the billowing smoke , enters the cellar .
EXT. REAR WILSON HOUSE - DAY - FULL SHOT
As Turner directs the spray of water into the cellar , we can see red tongues of flame diminish . He advances into the cellar . Mrs. Wilson is frantically trying to peer through the smoke .
DAVID
You'd better call the fire depart - ment, Mrs. Wilson!
MRS. WILSON
( calling through smoke . )
Mr. Turner, shall I call the fire department?
TURNER'S VOICE
( off scene . )
No. I've got it under control.
Mrs. Wilson steps back and sighs with relief . Kathy crosses to her mother and stands pressed against her mother 's legs , calmly watching the smoke .
EXT. REAR WILSON HOUSE - DAY - CLOSE TWO SHOT
- as David sidles around Kathy and looks at the back of her head .
EXT. WILSON HOUSE - DAY - FULL SHOT
- as Turner backs up out of the cellar , coughing . He is turning off the hose at the nozzle as he exits . He drops the hose , crosses to the faucet and turns off the valve . He takes out a handkerchief and dabs at his streaming eyes .
TURNER
It's all right, Mrs. Wilson. It's out.
MRS. WILSON
( relieved . )
Oh, thank heavens!
TURNER
Someone spilled a gallon can of gaso - line down there.
MRS. WILSON
That's impossible - We keep our spare gasoline in the garage.
TURNER
Well - a can of gasoline was laying over on its side down there with the top off. That's what was burning.
MRS. WILSON
Are you sure?
TURNER
Positive.
MRS. WILSON
Kathy, were you down in the cellar?
KATHY
( blandly . )
No, Mamma.
EXT. WILSON - DAY - CLOSE SHOT
Kathy 's face - as her eyes look up and meet David 's .
EXT. WILSON HOUSE - DAY - CLOSE SHOT
David - staring intently at Kathy .
EXT. WILSON HOUSE - DAY - CLOSE SHOT
Kathy - as she smiles faintly and her eyes take on a curious , hard , triumphant expression .
INT. GROCERY STORE - DAY - FULL SHOT
- with telephone booth in foreground . David enters scene , followed by Cricket . They go into phone booth and David closes the door .
INT. TELEPHONE BOOTH - DAY - MED. SHOT
David drops a nickel in the coin box .
DAVID
( into phone . )
State 4 - 3559, please.
EXT. GRIFFITH OBSERVATORY - DAY - FULL SHOT
INT. PROFESSOR STUART KELSTON'S OFFICE - DAY - FULL SHOT
His secretary , a woman of indeterminate age , wearing horn - rimmed spectacles , is speaking on the telephone .
SECRETARY
( into phone . )
I'm sorry, David, but Professor Kelston is out. Is there any mes - sage?
INT. PHONE BOOTH - DAY - CLOSE SHOT
DAVID
( into phone . )
Do you know when he'll be back?
INT. PROFESSOR KELSTON'S OFFICE - DAY - CLOSE SHOT
SECRETARY
( into phone . )
He's not expected until late this afternoon.
INT. PHONE BOOTH - DAY - CLOSE SHOT
DAVID
( into phone . )
Oh, gee. Never mind. Thank you.
David hangs up and is about to leave the booth when he sees his father enter the grocery store .
INT. GROCERY STORE - DAY - THROUGH DOOR OF PHONE BOOTH
- MacLean buying a pack of cigarettes .
INT. PHONE BOOTH - DAY - CLOSE SHOT
David sees MacLean and crouches down behind the solid panel of the phone booth door . He holds Cricket to keep him from barking .
INT. GROCERY STORE - DAY - MED. SHOT
MacLean - turns and leaves scene , walking past phone booth .
EXT. PHONE BOOTH - DAY - MED. SHOT
- as the door opens and David peeps out . Then he and Cricket emerge . David stops , pauses with indecision . His decision crystalizes into resolution . He sets his chin and compresses his lips and walks quickly out of scene , followed by Cricket .
INT. POLICE STATION - DAY - FULL SHOT
David and Cricket stand staring up at the desk sergeant , who speaks in an exasperated tone .
DESK SERGEANT
I'm tellin' ya the Chief of Police do n't see nobody without their first statin' the nature of their business.
DAVID
( pleadingly . )
But I've got ta see him - it's im - portant.
DESK SERGEANT
Well, if it's so important - why ca n't ya tell me?
DAVID
'Cause -.
( he pauses . )
- you would n't believe me.
DESK SERGEANT
So what makes ya think the Chief would believe ya?
CHIEF OF POLICE'S VOICE
( off scene . )
What's the trouble, Finley?
CAMERA ANGLE WIDENS to include a jovial , middle - aged , heavy - set man standing in a half - open doorway . The door is lettered `` CHIEF OF POLICE . ''
DESK SERGEANT
Aw, this kid here claims he's got something very important, but he wo n't tell me what it is.
DAVID
Are you the Chief of Police, sir?
CHIEF OF POLICE
That's right. Come in, son.
David crosses and enters the Chief 's office , followed by Cricket . The door closes behind them .
INT. OFFICE OF CHIEF OF POLICE - DAY - FULL SHOT
The Chief crosses and sits in a swivel chair at his desk . He indicates a chair for David .
CHIEF
Sit down, young man - Now, what's your name?
DAVID
David MacLean.
CHIEF
Well, what's so important, David?
David looks apprehensively , clears his throat and starts .
DAVID
Well, you see, sir - it started last night when I was looking through my telescope.
INT. OFFICE - CHIEF OF POLICE - DAY - CLOSE SHOT
The Chief is listening intently , leaning his hand on his cheek .
DAVID'S VOICE
( over scene . )
- and that's the truth, sir. Every word of it - and I know they're under there because I've seen them.
CAMERA DOLLIES back to TWO SHOT .
CHIEF
And after people've been down there - they act different, eh?
DAVID
Yes, sir - very different.
CHIEF
What's your telephone number, David?
DAVID
Webster 6397.
The Chief reaches over and picks up the telephone .
DAVID
( in alarm . )
But you're not going to call my father - Please! Please!
The Chief of Police swings around in his swivel chair and speaks into the phone .
CHIEF
( into phone . )
Webster 6397.
He looks over his shoulder at David , who is nervously biting his lips .
CHIEF
Now take it easy, son.
Then he turns back to the telephone .
INT. CHIEF OF POLICE'S OFFICE - DAY - CLOSE SHOT
David is staring at the back of the Chief 's head .
INT. CHIEF OF POLICE'S OFFICE - DAY - CLOSE SHOT
On the back of the Chief 's head there is a round , red , livid spot just above the nape of the neck .
INT. CHIEF OF POLICE'S OFFICE - DAY - CLOSE SHOT
David reacts to what he has seen .
INT. JAIL DETENTION ROOM - DAY - FULL SHOT
This is a rather barren room , with a bench and a straight back chair . David stands at the window , star - ing through the heavy wire grill . His lips tremble and his face is pinched and white , and terror lives in his eyes . Startled , he looks over his shoulder at the sound of the door opening . He turns and stands at bay . He picks up Cricket and backs against the wall next to the window .
MacLEAN'S VOICE
( off scene . )
All right, David.
INT. JAIL DETENTION ROOM - DAY - REVERSE SHOT
John MacLean stands near the open door . His face bears a sad , resigned expression . The Chief of Police stands with his hands clasped behind his back . He is benign and kindly in his attitude . Dr. James Blake , a well - favored young man in his early thirties , stands looking at David with a friendly , gracious smile . Next to him , Patricia Collins smiles down at David with affectionate concern . She is dressed in a nurse 's blue cape , and the stiff white cuffs and uniform collar are apparent below and above the cape .
DR. BLAKE
Hello, David, I'm Doctor Blake.
David stares up at him , tight - mouthed and tight - lipped . Pat advances and tries to put her hand on David 's shoul - der . He pulls away .
DR. BLAKE
( reassuringly . )
There's nothing to be afraid of, David, this is Miss Collins.
David stares up at his father , then at the Chief of Pol - ice , then back to Dr. Blake . He starts to back away but Pat 's arm restrains him gently .
PAT
No one's going to hurt you.
MacLEAN
( to David . )
Listen to me.
David looks up at his father .
MacLEAN
( continuing . )
These people are going to take you to a - school - for a little while - it's for your own good. Understand? I'll take care of the dog.
DAVID
( frantically . )
You're not going to take Cricket.
He makes a dash for the outer door . MacLean steps for - ward and grabs his wrist and holds it with unnecessary force . David winces . Dr. Blake steps forward quickly , glances curiously at MacLean and detaches his fingers from the boy 's arm .
BLAKE
( kindly . )
It's all right, David. You can bring your dog.
DAVID
( in a scared voice . )
But I do n't understand why -?
Pat crosses and inserts David 's arm through hers and pats his hand .
PAT
( gently . )
Come on, David. Your father knows what's best. We're going to be good friends. Just wait and see!
Dr. Blake opens the door with one hand - casually takes David 's arm and they swiftly exit with him out into the hall , closing the door behind them .
EXT. COUNTY HOSPITAL - NIGHT - FULL SHOT
INT. HOSPITAL - NIGHT - INSERT
Sign reading `` MENTAL WARD . ''
INT. DR. BLAKE'S CONSULTATION ROOM - NIGHT - FULL SHOT
David is seated in a large , comfortable overstuffed chair . A practically empty plate of sandwiches stands on a coffee table next to the chair . David feeds a piece of sandwich to Cricket . Pat , who has removed her cape and is now wearing a starched R.N. cap , enters the scene with three paper cartons of malted milk . Dr. Blake has removed his coat and is seated on a sofa fac - ing David . Pat passes one of the containers to Dr. Blake , who opens the top and inserts a straw . She hands the other one to David , then sits on the sofa near the Doctor and starts drinking her malted milk . David is in a much better frame of mind than in the preceding scene .
DAVID
- and that's what happened - Look, Doctor, if you'd talk to my mother, she'll tell you about my father - about how he's changed and everything.
Pat and Blake exchange glances .
BLAKE
That's a good idea, David - in fact - I had already thought of it.
DAVID
You've talked to her?
BLAKE
Only over the phone. She ought to be here any minute now - you know, that's a very interesting story you just told us.
DAVID
( resignedly . )
- you do n't believe me, do you?
BLAKE
Oh, I would n't go so far as to say that. Better say I'm keeping an open mind.
PAT
And so am I.
BLAKE
There are no scars on the back of my head, David.
PAT
( showing him . )
Nor mine.
David looks at their heads , then sits back with relief and takes a slow meditative pull on his malted milk straw .
INT. DR. BLAKE'S RECEPTION ROOM - NIGHT - MED. SHOT
The door opens , and Mrs. MacLean enters . She looks around , sees no one , crosses to desk and taps the bell .
INT. DR. BLAKE'S CONSULTATION ROOM - NIGHT - FULL SHOT
They all look up at the sound of the bell . Blake rises and crosses to the door .
BLAKE
( opens door . )
Mrs. MacLean?
MRS. MacLEAN'S VOICE
( off scene . )
Yes.
BLAKE
Wo n't you come in? I'm Dr. Blake.
Mrs. MacLean enters . David jumps up from the chair and runs to his mother .
DAVID
Gee, Mom - I'm glad you're here!
BLAKE
This is Miss Collins.
Mrs. MacLean looks down and smiles brittlely . Then she coldly detaches his hands from her arm .
MRS. MacLEAN
( impatiently . )
How do you do. Sit down, David.
David stares at her , backs away and slowly sits back in the chair . Mrs. MacLean 's face is calm and composed and her manner brightly pleasant , almost to the point of in - congruity . She wears a light coat with a high collar and carries a purse .
BLAKE
Wo n't you sit down, Mrs. McLean?
MRS. MacLEAN
No thanks. My husband's waiting for me.
BLAKE
David tells me -
MRS. MacLEAN
( interrupting . )
I know what David's been telling you. He's always been highly im - aginative, and we've had a great deal of trouble with him - especi - ally since he got that telescope and has been reading those trashy science fiction magazines.
BLAKE
( looking up . )
Science fiction?
MRS. MacLEAN
Yes - horrible, weird things with pictures of monsters that come in space ships from other planets.
BLAKE
I see - and he's discussed these stories with you?
MRS. MacLEAN
Incessantly. He's gotten completely beyond our control.
BLAKE
( with decision . )
All right, Mrs. MacLean - I'm sure we'll be able to help him.
Mrs. MacLean turns and looks at David with unsympathetic eyes .
MRS. MacLEAN
Now you be a good boy - and do what the doctor tells you.
She walks toward the door .
INT. DR. BLAKE'S CONSULTATION ROOM - NIGHT - CLOSE SHOT
David stares incredulously at his mother . His eyes focus on the back of her head as she walks toward the door .
INT. DR. BLAKE'S CONSULTATION ROOM - NIGHT - REVERSE
David 's angle of Mrs. MacLean 's head . The back of her head is concealed by her hair and the high collar of her coat .
INT. OF DR. BLAKE'S CONSULTATION ROOM - NIGHT - MED. LONG SHOT
David looks up quickly at Dr. Blake , who is also look - ing at Mrs. McLean 's head as she opens the door and exits . Dr. Blake 's and David 's eyes meet in a curious look of understanding . Dr. Blake takes a notebook and pencil from his pocket .
BLAKE
Have you any relatives, David - around here, I mean?
DAVID
( shaking his head . )
Just my Aunt Margaret - but she lives over in Crystal Falls.
BLAKE
What's her name and address?
DAVID
Miss Margaret MacLean - 926 Drexel Avenue - Crystal Falls - Why?
BLAKE
Oh, just in case something comes up.
( he squeezes David 's shoulder reassuringly . )
We'll work this out together, David.
Blake exchanges a meaningful look at Pat . He crosses to an end table and picks up some magazines , which he hands to David .
BLAKE
( continued . )
Mind amusing yourself for a few minutes?
DAVID
No, sir.
BLAKE
Those are the latest issues of Look and Life. We'll be right back.
DAVID
Thank you, sir.
Blake and Pat exit into laboratory .
INT. DR. BLAKE'S LABORATORY - NIGHT - FULL SHOT
Blake and Pat enter . Pat looks up .
PAT
( shaking her head . )
That woman's a cold - blooded per - son if I ever saw one.
BLAKE
Too cold - blooded. You know, dear, I think that boy is tell - ing the truth.
PAT
But surely you do n't believe -?
He crosses to the desk and punches an automatic tele - phone directory list , then dials a number .
PAT
Who are you calling?
BLAKE
Stuart Kelston. David says he's a very good friend of his.
PAT
( as he dials . )
You do n't expect to find him at the observatory at this time of night, do you?
BLAKE
That's when astronomers work, my dear.
( into phone . )
Hello - Professor Kelston, please.
Pat sits beside Blake , placing her hand upon his shoulder affectionately .
BLAKE
Hello, Stu - Jim Blake -
INT. PROF. KELSTON'S OFFICE - OBSERVATORY - NIGHT MED. SHOT
Kelston is a lean , sandy - haired , angular man with a pleasant Scandinavian face and a slow , pedantic method of speech .
KELSTON
Hello, Jim. Who? Yes, I know him -.
( pauses . )
No - I'd say just the opposite - Matter of fact, I think he has the makings of a first - rate scientist.
( chuckles . )
Of course I mean astronomer. What other science is there? Why, certainly - come on up to the main entrance and ring the night bell - Right. Goodbye.
He hangs up the phone and assumes a thoughtful , puzzled expression .
EXT. NEWSPAPER BUILDING - NIGHT - FULL SHOT
There is a sign reading : `` HERALD - NEWS . ''
INT. OF EDITOR'S OFFICE - NIGHT - MED. SHOT
Ralph Pulzer , a dignified middle - aged gentleman , is seated at his desk , talking to John MacLean , who is standing looking down at him .
PULZER
( shrugging his shoulders . )
I do n't get it! In the first place I gave up leg work several years ago, and in the second place, I do n't see why you ca n't give me some inkling as to what the story is about?
MacLEAN
This story is so important that I am not taking anyone out there except you - and if you do n't want to go, I'll try the editor of the Blade.
PULZER
( with resignation . )
All right, Mr. MacLean - Pick me up at ten o'clock tonight.
MacLEAN
Alone.
PULZER
I'll be alone. And the story'd better be worth it.
MacLEAN
It will be - You'll see.
EXT. GRIFFITH PARK OBSERVATORY - NIGHT - LONG SHOT
As the CAMERA TRUCKS IN with the car , the headlights illuminate the facade and the heavy bronze door in high key . The lights cut off and Blake , Pat and David enter the observatory .
INT. FOYER OF OBSERVATORY - NIGHT - MED. SHOT
Pat , Blake and David - The Focault pendulum is in the background . The interior of the observatory foyer is illuminated in low key .
PAT
What's that thing?
DAVID
( glibly . )
That's the Focault pendulum. It de - monstrates the peripherial aberration of axial inclination.
Then David realizes he is talking to an amateur . Pat turns and stares at David in astonishment .
DAVID
( continuing . )
I mean it shows how much the earth is tilting on its axis.
At this point , Professor Kelston approaches .
KELSTON
Well, it did n't take you very long.
BLAKE
You've met Patricia Collins, Stu.
PAT
Of course. How are you, Professor?
KELSTON
Fine, thank you.
BLAKE
I believe you know -
KELSTON
( interrupting and af - fectionately putting his hand on David 's shoulder . )
Yes - David and I are old friends. Let's go to my office.
INT. PROFESSOR KELSTON'S OFFICE - NIGHT - FULL SHOT
Large scale star maps hang on the walls , interspersed with large photographs of comets , spiral nebulae , solar coronae , various lunar and solar eclipses . His desk is littered with a miscellaneous array of meteorites , photo - graphs and electrical viewing apparatus for astronomical plates . Professor Kelston seats himself at his desk , after indicating comfortable chairs in which his visitors dispose themselves .
KELSTON
Now - what's the big mystery?
BLAKE
Well - first we'd like to have a look at the back of your head.
A slow smile comes over Kelston 's face and his eyes twinkle .
KELSTON
Are you sure some of these patients you deal with are n't contagious?
BLAKE
Tonight I'm not altogether sure of anything.
Blake and David are seated together on a leather divan .
BLAKE
( continuing . )
No - seriously - you do n't happen to have any scars on the back of your head - do you?
KELSTON
Not since football. Why?
BLAKE
Mind letting us have a look?
KELSTON
Are you serious?
Blake nods in affirmation . Kelston rises , crosses in front of the desk and turns his head around for inspec - tion .
KELSTON
The bump of intelligence is prac - tically invisible.
BLAKE
( looks at Kelston 's head . )
Okay.
Kelston straightens and leans back against the edge of his desk .
KELSTON
( puzzled . )
I do n't get it.
BLAKE
( seriously . )
I'd like David to take it from here. All right, David.
DAVID
( uncomfortably . )
Well - I - every time I tell anybody this, they think I'm crazy.
( looking up at Blake . )
That is - I - I mean I -
BLAKE
Now, David, you go right ahead.
DAVID
Well - it started last night. I was looking for variables in Orion - and all of a sudden I saw this bright light -
INT. KELSTON'S OFFICE - NIGHT
CAMERA PULLS BACK from Kelston 's face . He is smoking a pipe and is staring meditatively through the smoke .
BLAKE'S VOICE
( off scene . )
- and everyone of the people that have those scars, behave strangely.
KELSTON
( turns to David . )
Are you positive that you saw these creatures or whatever they are pull the little Wilson girl under the ground?
DAVID
Yes, sir - I was n't two hundred yards away and I was looking through my one - inch telescope and it's fifty power.
KELSTON
How far is this field from your house, David?
DAVID
About a quarter of a mile.
BLAKE
( to Kelston . )
Then we could see it from here with the sixteen - inch.
DAVID
( excitedly . )
Yes, sir. I know we could.
( he turns to Kelston . )
You know that time last summer when you let me look right into the kit - chen window and I could see Mom in there cooking supper?
KELSTON
( hesitatingly . )
That was last summer, David. Since then, because of the top secret experiments at White Sands, the Army has instructed me to allow no one but my staff to use the telescope.
( he pauses . )
But under the circumstances, I'm sure it will be all right. Let's take a look.
They exit .
EXT. GRIFFITH TELESCOPE ROOM - NIGHT - MED. SHOT
- opening of upper aperture and dome rotating approxi - mately sixty degrees and stopping .
INT. GRIFFITH TELESCOPE ROOM - NIGHT - MED. SHOT
Kelston , Blake , Pat and David station themselves at Multiple oculars while Kelston focuses instrument with manual verniers .
KELSTON
We're fortunate - there's plenty of moonlight tonight.
EXT. MACLEAN FIELD - NIGHT - THROUGH TELESCOPE - MATTE
DAVID
( excitedly . )
That's it! That's where they got Kathy Wilson.
PAT'S VOICE
( over scene . )
Good heavens! I never imagined you could see so clearly.
INT. GRIFFITH TELESCOPE ROOM - NIGHT - MED. SHOT
KELSTON
Now let's increase the magnifi - cation so we can get a closer view.
EXT. MACLEAN FIELD - NIGHT - THROUGH TELESCOPE - MATTE
The telescope zooms into MED . LONG SHOT and sharpens . An automobile comes slowly into the field of vision and stops and the lights are extinguished .
DAVID'S VOICE
( off scene . )
That's Dad's car.
A front door of the sedan opens and the dome light il - luminates the interior of the car in comparative high key .
DAVID'S VOICE
( o.s . )
Someone's with him.
KELSTON'S VOICE
( o.s . )
Let's get a real close look.
The telescope field narrows and brings MacLean and his companion up into a MED . CLOSE SHOT .
BLAKE'S VOICE
( o.s . )
That looks like Ralph Pulzer.
PAT'S VOICE
( o.s . )
The editor of the Herald News?
KELSTON'S VOICE
( o.s . )
Yes, that's who it is - I know him.
Pulzer seems to be discussing something rather vehement - ly with MacLean . He suddenly shrugs his shoulders , takes a flashlight which MacLean offers him , gets out of the car and closes the door , walks around the car and starts out across the field , lighting his way with the flashlight .
BLAKE'S VOICE
( o.s . )
Your father stayed in the car.
DAVID' S VOICE
( o.s . )
That man's walking right to the place where -
The telescope shot PANS with Pulzer as he ascends a slight rise . He reaches the top of the mound and stops , turning the flashlight in a slow circle about him , when suddenly the flashlight goes out and all is darkness .
INT. TELESCOPE ROOM - NIGHT - CLOSE SHOT
Group around telescope . They look up from the oculars and stare at each other , with speechless amazement . Kelston reaches for the verniers , they look back into the oculars .
EXT. MACLEAN FIELD - NIGHT - THROUGH TELESCOPE - MATTE
- it PANS DOWN to MacLean 's automobile just in time to see the headlights turn on and the car move rapidly out of scene .
INT. TELESCOPE ROOM - NIGHT - MED. SHOT
Group around telescope . They look at Kelston with questioning faces .
KELSTON
( calmly . )
If you'll go back to my office - I'll join you there in a few minutes.
Blake takes Pat 's arm and he , Pat and David exit . Kelston crosses to his desk and flips a switch on the intercom .
KELSTON
( into intercom . )
George. When did you check the rocket at White Sands last?
( pause . )
No, do n't bother - I'll check it myself as long as I'm up here.
Kelston hangs up the intercom , crosses to the switch box and presses a button . The upper aperture slowly turns on its axis .
EXT. OBSERVATORY DOME - NIGHT - MED. SHOT
The dome slowly turns on its axis and stops .
INT. TELESCOPE ROOM - NIGHT - MED. SHOT
Kelston has just finished swinging the telescope into position . He looks into the eye piece .
EXT. WHITE SANDS - NIGHT - (SPECIAL EFFECTS-STOCK SHOT)
We see a giant rocket standing upright in a take - off position .
INT. TELESCOPE ROOM - NIGHT - MED. LONG SHOT
Kelston steps down from the telescope and crosses to a small desk lighted by a low power student 's lamp . He sits down and dials the telephone .
KELSTON
( into phone . )
Hello, operator. This is Pro - fessor Stuart Kelston at the Astronomical Observatory. Get me the White Sands Rocket Proving Station, please.
( pause . )
Hello - White Sands? Give me the Security Office.
( pause . )
Hello - is Colonel Fielding there?
( pause . )
Yes, it's most important.
( pause . )
Hello, Colonel - this is Stuart Kelston at the Observatory. Operation 925 is with us.
INT. COLONEL FIELDING'S OFFICE - NIGHT - MED. SHOT
Colonel Fielding , head of White Sands Security Division , is seated at his desk talking into the phone . A keen , executive type man , he is in his shirt sleeves , but in uniform . -
COL. FIELDING
( into phone . )
What?!
( pause . )
Are you sure?
( pause . )
All right, I'll be at your office in the morning - 9:00 o'clock. Right. Goodbye.
The Colonel hangs up the phone and assumes a thoughtful expression . He rises and crosses to a filing cabinet , removes a key from his pocket and unlocks the file . He pulls out a drawer from which he takes a manila folder . He crosses back to his desk , seats himself and then opens the folder - removing some papers . We DOLLY into an INSERT of the label on the outside of the folder - it reads : OPERATION 925 - TOP SECRET .
INT. PROFESSOR KELSTON'S OFFICE - NIGHT - FULL SHOT
Pat , David and Blake are on scene . Kelston enters and crosses behind his desk , opens a drawer and takes out a large scrapbook .
KELSTON
( to David . )
Young man - it looks like you've stumbled on to something that the government has been concerned about for some time.
Blake , Pat and David cross to desk . Kelston opens scrap - book .
PAT
What do you mean?
KELSTON
You've seen most of these magazine and newspaper stories of so - called flying saucers before - but have you ever seen them compiled in one book?
INSERT - SCRAPBOOK - with clips of flying saucer stories . CAMERA PANS from one headline to another .
KELSTON
( o.s . )
When you see them al together, they begin to add up.
INT. PROF. KELSTON'S OFFICE - NIGHT - FULL SHOT
BLAKE
But the authorities have denied all these stories.
KELSTON
Yes, they have - and they will probably continue to do so.
PAT
But why? Why not keep the public informed?
KELSTON
Lack of complete information, I suppose. And perhaps afraid it would cause panic and hysteria.
DAVID
Where are these space ships from, Professor Kelston?
KELSTON
Our observations lead us to believe they are from mother ships in free orbit just above Earth's atmosphere.
PAT
But where are these mother ships from?
KELSTON
Nobody knows - we've worked out a postulate and Mars seems to be the logical point of origin. Step in here and I'll show you.
INT. PLANETARIUM - LECTURE ROOM - NIGHT - MED. SHOT
Kelston is seated at the operating console . Pat , David and Blake are standing by it . The projector is in back - ground . Kelston turns a rheostat and the light dims .
KELSTON
( pointing . )
That's our planetary system there -
INT. PLANETARIUM - LECTURE ROOM - SHOOTING UP AT DOME (EFFECT SHOT)
- of our planetary system on inverted dome of planet - arium . A white projected arrow indicates each point as Kelston speaks o.s.
KELSTON'S VOICE
( o.s . )
This is the earth moving around the sun on this orbit - and this is the orbit of Mars. And here is the rela - tive position of Mars and Earth to - night.
PAT'S VOICE
( o.s . )
Why - they're our next door neigh - bors!
KELSTON'S VOICE
( o.s . )
Yes - only a little over three mil - lion miles -
PAT'S VOICE
( o.s . )
It would take forever to travel three million miles.
KELSTON'S VOICE
( o.s . )
Hardly.
The scene on the planetarium changes .
INT. PLANETARIUM LECTURE ROOM - NIGHT - MED. SHOT
KELSTON
Our earth is traveling through space at well over a hundred thousand miles an hour. At that speed, we could reach Mars in thirty days - or they could reach us.
PAT
But I do n't understand - why do n't we burn up from friction?
KELSTON
There is n't any atmosphere in space - therefore - no friction.
BLAKE
But why do you think they're from Mars?
INT. PLANETARIUM LECTURE ROOM - SHOOTING UP AT DOME EFFECT SHOT
KELSTON'S VOICE
( o.s . )
Because Mars is closer to us than any other planet. They are now in their winter, and those are polar caps - the same as ours. See how much smaller they are in summer - those dark areas are vegetation.
PAT'S VOICE
( o.s . )
Do they have cities, too - the same as ours?
KELSTON'S VOICE
( o.s . )
If they do, they are underground - the low oxygen content and extremes of temperature indicate a sub - terranean culture.
DAVID'S VOICE
( o.s . )
Those things in our pasture are subterranean all right.
INT. PLANETARIUM LECTURE ROOM - NIGHT - MED. SHOT
- as the house lights go up . Kelston sits at the con - trol console .
PAT
But how would Martians have enough intelligence to build space ships?
KELSTON
The human race does n't have a monopoly on intelligence. Besides - Mars is millions of years older than we are.
PAT
But what's their reason for travel - ing so far through space?
KELSTON
Mars is a dying planet. They are losing their oxygen and water.
BLAKE
Then this could be the start of an invasion.
KELSTON
I'm afraid it is.
PAT
But why did they begin here?
KELSTON
Because of the operations at White Sands.
PAT
But all they're doing at White Sands is just shooting rockets up into the air.
KELSTON
Exactly. Very high up into the air - beyond atmosphere and in - to space. The scientists at White Sands have developed a rocket powerful enough to take them to these mother ships in outer space. That rocket is completed and ready to be fired right now. That may be the Mar - tians objective.
( he rises . )
However, we'll have the answers to a lot of our questions tomorrow. Colonel Fielding, the head of the Security Division will be in my office in the morning. I'm sure he will want to talk to all of you - can you be here?
BLAKE
Certainly - what time?
KELSTON
Nine o'clock.
Blake , Pat and David rise . Kelston comes with them to the door .
EXT. GRIFFITH OBSERVATORY - DAY - LONG SHOT
INT. KELSTON'S OFFICE - DAY - FULL SHOT
Colonel Robert Fielding is seated at Kelston 's desk , talking to Kelston . Blake , Pat and David are seated on chairs in the office . David is just hanging up the telephone .
DAVID
I do n't know where they could be. If they're at home they're not answering the phone - I called last night and this is the second time this morning.
FIELDING
( rising . )
Hm, I see. Come on, young man - you and I are going out to do a little investigating.
DAVID
Can we stop by the hospital and get my dog?
FIELDING
I do n't think we'd better take the time right now.
BLAKE
We'll take care of him, David.
Blake and David exit . Kelston stops Fielding at the door .
KELSTON
( in a low voice . )
Just a moment, Colonel. I called Ralph Pulzer's office this morning - he's left town with Chief of Police Barrows and Detectives Jackson and Blaine - and they did n't say where they were going.
FIELDING
Will you get me a description of all these people? I'll phone you later.
KELSTON
I will, Colonel.
EXT. FRONT OF MacLEAN'S HOUSE - DAY - FULL SHOT
A Cadillac limousine , with a long whip aerial , pulls up in front of the house and stops . It is driven by Ser - geant Balardi . He opens the door and Fielding and David step out . David runs up the driveway . Fielding remains standing by the car door .
FIELDING
Sergeant, phone Professor Kelston at the Observatory and see if he has that information I wanted.
BALARDI
( reaching for the phone . )
Yes, sir.
Fielding turns and exits from the scene .
EXT. FRONT OF MacLEAN HOUSE - DAY - MED. SHOT
David is waiting in the driveway as Fielding joins him .
DAVID
The car's not here.
FIELDING
Well, let's take a look inside the house.
They walk toward the front door .
EXT. FRONT MacLEAN HOUSE - DAY - MED. CLOSE SHOT
Balardi is on the telephone in the car , holding a note - book on his knee and writing .
BALARDI
Yes, sir. John MacLean, age thirty - five, height, five feet eleven inches, weight, 165, hair, brown.
INT. MacLEAN BEDROOM - DAY - FULL SHOT
Fielding is standing in the middle of the room and David is standing before an open closet , very perturbed .
DAVID
( perturbed . )
My mother's suitcase is gone, and my father's rifle. He used to keep it in this closet.
FIELDING
What kind of a rifle?
DAVID
A 30.06.
FIELDING
Hm - I'd like to talk to someone who - What about that little girl - the one you think set fire to her mother's house?
DAVID
Kathy Wilson? - I can take you over there.
EXT. WILSON FRONT PORCH - DAY - FULL SHOT
Mrs. Wilson stands on the porch , talking to Fielding , Balardi and David . She is distraught and nervous .
FIELDING
I'm very sorry to hear that, Mrs. Wilson. When did it happen?
MRS. WILSON
( through tears . )
Early this morning.
FIELDING
What did the doctor say?
MRS. FIELDING
He said something about a cerebral hemorrhage.
( then , semi - hysterically . )
But how a little child could have a thing like that -
EXT. WILSON HOUSE - DAY - CLOSE SHOT
David - reacting and thinking about his mother and father .
FIELDING'S VOICE
( o.s . )
Mrs. Wilson, I do n't like to disturb you at a time like this - but there's just one question I'd like to ask you - Do you have any idea why your lit - tle girl started the fire in the cel - lar yesterday?
EXT. WILSON HOUSE - MED. GROUP SHOT
MRS. WILSON
I do n't know what started the fire! And I do n't know why you have to torture me with a lot of questions!
FIELDING
( bowing . )
I'm sorry and I wo n't bother you any more.
David stands frozen , thinking what could happen to his mother and father .
FIELDING
Thank you - come along, David.
Mrs. Wilson turns abruptly and enters front door .
EXT. MacLEAN FIELD - DAY - FULL SHOT
Fielding , Balardi and David - with the bushes in f.g. where David observed Kathy Wilson 's capture through his small telescope . Fielding holds a monocular -LRB- Sportscope -RRB- in his hand .
FIELDING
( to David . )
Can you point out the place where the Wilson child disappeared?
He hands the monocular to David , who adjusts it .
DAVID
( after a slight pause . )
There - those three white stones are right by the edge of it - you can even see the crack - see it over there?
FIELDING
Let's have a look.
David hands him the monocular ; Fielding looks through it .
EXT. MacLEAN FIELD - DAY - TELESCOPE MATTE SHOT
- a faint crack approximately four feet in diameter is clearly visible near three white stones .
EXT. MacLEAN FIELD - DAY - MED. SHOT
Fielding removes the monocular from his eye and turns to Sergeant Balardi .
FIELDING
( pointing . )
See those bushes down there - by the road, Sergeant?
BALARDI
Yes, sir.
FIELDING
There are three white stones in the field about one hundred feet from there at two o'clock.
BALARDI
Yes, sir, I see them.
FIELDING
Go down behind those bushes - and when you get there, throw some rocks as close to those three white stones as you can.
BALARDI
Yes, sir.
FIELDING
Whatever's down there must be sensi - tive to sound - so keep your distance.
BALARDI
Yes, sir.
FIELDING
And when I signal you, come back here on the double.
BALARDI
Yes, sir.
The Sergeant crosses out of scene , and Fielding turns to David .
FIELDING
( to David . )
Just exactly what did this thing look like, son? The thing that grabbed the little Wilson girl.
DAVID
It moved so fast it was hard for me to see exactly what it looked like.
EXT. MacLEAN FIELD - DAY - MED. CLOSE SHOT - BALARDI
He kneels on one knee beside a small pile of stones about the size of peaches . He takes one in his right hand and hurls it over the bushes as one throws a gren - ade .
EXT. MacLEAN FIELD - DAY - MED. SHOT
Fielding and David - as Fielding looks through monocu - lar .
EXT. MacLEAN FIELD - DAY - MATTE SHOT
Through monocular - of stone falling near the center of the shot .
FIELDING
( o.s . )
Well, that one ought to be close enough for them to hear!
Another stone falls in the same area , and a circular four - foot section of earth slowly rises about six in - ches , revealing an indistinct shape that moves as though someone or something were peering out of the crack .
FIELDING
( o.s . )
Something's moving - but I ca n't make out what it is!
Another stone falls near the trapdoor and it closes swiftly .
EXT. MacLEAN FIELD - DAY - MED. SHOT
Fielding and David . As Fielding lowers monocular .
FIELDING
That's a trapdoor all right. Some - thing's in there!
David looks at him and nods concerned affirmation . Fielding raises his monocular again and looks toward the bushes where Sergeant Balardi was throwing the rocks .
FIELDING
Where's Balardi? Come on!
He runs toward field , David follows and CAMERA PANS with them .
EXT. MacLEAN FIELD - DAY - MED. SHOT
Fielding and David - warily approach the bushes behind which the Sergeant was throwing rocks . Suddenly they stop , staring at the ground .
DAVID
They got him! See there?
EXT. MacLEAN FIELD - DAY - REVERSE CLOSE SHOT
Their angle of the faint , circular , four - foot outline near where the Sergeant was last seen . His military cap lies on the ground and scratches and gouges show where his fingers clawed as he was dragged down into the hole .
FIELDING'S VOICE
( o.s . )
That's the last one they'll get - come on, son!
EXT. MacLEAN FIELD - DAY - MED. SHOT
Fielding 's car . Fielding reaches into car and flips the catch on the fish pole antenna , which flies up . David watches with interest as Fielding takes out a phone and pushes the button on the hand set .
FIELDING
( into phone . )
This is WJ605. Dispatch White Sands, 121A. Closed circuit. Expedite. Priority A - 14.
( pause . )
Hello, Walter?
( pause . )
Fielding. Operation 925 is with us!
( pause . )
Yes, I'm sure. Now, hear this - I want you to muster two platoons and a demolition team, with plenty of C - two charge. Equip them with sub - machine guns and grenades. Bring the light Sherman tank and get here as fast as you can. Get rolling. I'll expect you here by tomorrow at fourteen hundred. Got that?
( pause . )
Rendezvous is at the intersection off State Highway eighty - six and Belle Meade Road. If any newspaper people ask you any questions, tell them it's a training maneuver.
( pause . )
Right! Goodbye.
He presses the stud again .
FIELDING
WJ605. Dispatch 143. Expedite. Closed circuit.
( pause . )
Hello, Cagle? - Fielding. Opera - tion 925.
( pause . )
Yes - Now clear the boards for this. Cover all key supply sources for the White Sands rocket project.
( Fielding reading from notebook . )
Put out an all - points alarm for the following subjects - John MacLean, Age, thirty - five, height, five feet eleven. Weight, 165, - hair -
INSERT - EXT. . PLATE GLASS DOOR It reads U.S. ARMY INTELLIGENCE - MAJOR G.A. CAGLE
INT. U.S. ARMY INTELLIGENCE OFFICE - DAY - FULL SHOT
Major Cagle is seated at his desk , listening on the phone and writing on a pad . He is an alert , hawk - eyed man who looks like a successful attorney .
CAGLE
( in a sharp , incisive manner . )
Yes, Colonel - I have it - John MacLean - Mary MacLean - Ralph Pulzer, Chief Fred Barrow, Detectives Jackson and Blaine.
( pause . )
Yes, sir - all points bulletin. And they are to be returned to Dr. Blake at the County Hospital.
He hangs up the phone and flips the toggle on an inter - com box on his desk .
CAGLE
( into intercom . )
Clear the teletype - and code this right away with special attention to Armstrong Liquid Oxygen Plant and Belaer Magnesium Plant - also all other key supply sources for the White Sands Rocket Project. Get that?
( pause . )
First subject : John MacLean, age thirty - five, height five feet eleven -
MONTAGE 1 -RRB- Teletypes . 2 -RRB- Hands operating telegraph keys in high speed code . 3 -RRB- Telegraph wires - odd angles .
EXT. ALLEY - SILHOUETTE OF BELAER MAGNESIUM PLANT IN B.G. - NIGHT - LONG SHOT
Detectives Blaine and Jackson run toward CAMERA and turn around corner of building and stand flattened against the wall . CAMERA PANS to Blaine and Jackson . Behind them is sign : BELAER MAGNESIUM PLANT . The scene is lighted in low key by street light . Over scene there is a terrific shattering explosion .
EXT. ALLEY - NIGHT - LONG SHOT
The silhouette of the factory is gone . A siren o.s. builds up to crescendo .
EXT. ALLEY - NIGHT - FULL SHOT
Blaine and Jackson - as they turn and run away from an army military police car that pulls up to the curb . They turn and run up the alley in the direction from whence they came and the headlights of another military police car come into alley with siren going .
EXT. ALLEY - NIGHT - CLOSE SHOT
- Blaine and Jackson huddle back against the wall , caught in the blazing headlights of the two military police cars . As a group of soldiers emerge from each car and converge upon Blaine and Jackson with drawn revolvers -
EXT. WIRE FENCE - OXYGEN PLANT - NIGHT - FULL SHOT
The CAMERA PANS ALONG the woven wire fence and pulls in on :
EXT. WIRE FENCE - OXYGEN PLANT - NIGHT - MED. SHOT
Sentry - standing guard at which is obviously a side gate . INSERT - SIGN OVER GATE `` ARMSTRONG LIQUID OXYGEN PLANT . '' A small sign underneath reads : `` Apply to main gate for admittance . ''
EXT. OXYGEN PLANT - NIGHT - MED. SHOT - SENTRY
He straightens up at the sound of a car approaching off scene . The motor of the car sputters and the headlights pick up the sentry as the forepart of the car moves into scene .
EXT. OXYGEN PLANT - NIGHT - MED. SHOT - SEDAN IN B.G. SENTRY IN F.G.
SENTRY
You ca n't park here, lady.
MARY MacLEAN
Something's the matter with my car - I think it's the ignition -
EXT. OXYGEN PLANT - NIGHT - MED. CLOSE SHOT
Through window of car . Mary MacLean - speaking to sen - try in background .
MARY MacLEAN
( continuing . )
Do you suppose you could find out what's the matter with it?
SENTRY
( leaning rifle against fence . )
I'm not much of a mechanic, lady, but I'll take a look.
He crosses to the front of the car and there is a click as Mary MacLean releases the hood catch . The sentry leans over the motor and turns on his flashlight . The rear door of the sedan opens and John MacLean moves swiftly around behind the sentry , carrying a rifle . There is a thud as he strikes the sentry over the back of the head with the rifle butt and the sentry falls over the fender of the car unconscious and then falls to the ground . MacLean closes the hood of the car and drags the sentry over near the fence .
MacLEAN
Start the motor - I'll be right back.
There is the sound of the engine starting over scene .
EXT. OXYGEN PLANT - NIGHT - NEW ANGLE
- as MacLean swiftly enters the gate the sentry was guard - ing and runs to the corner of the adjacent brick building .
EXT. OXYGEN PLANT - NIGHT - MED. SHOT
Corner of building - as MacLean peers around it .
EXT. OXYGEN PLANT - NIGHT - LONG SHOT
MacLean 's angle - Lighted window in small building in background . A man is seated working at a desk . He has a fringe of bushy white hair and a bald head . From the silhouette he looks very much like Albert Einstein . Be - hind the desk at which he is working is the usual para - phenalia of a physicist 's lab . John MacLean in the fore - ground , raises his rifle to his shoulder and steadies it against the corner of the building .
EXT. OXYGEN PLANT - NIGHT - MED. CLOSE SHOT - MATTE
- Scientist - with crossed - hairs of rifle telescope sights superimposed on view . The scientist suddenly leans forward to pick up a book . As he does so , a glass retort on the shelf behind him is shattered by a bullet . The scientist looks fearfully out the window , then quick - ly extinguishes the light .
EXT. OXYGEN PLANT - NIGHT - MED. SHOT
John MacLean - lowering the rifle from his shoulder and staring toward the blacked out window . Over scene the shrill blast of a police whistle causes him to turn and run out of scene .
EXT. OXYGEN PLANT - NIGHT - MED. LONG SHOT
With MacLean car in f.g. - moving away from CAMERA at high speed . Suddenly two sets of headlights appear in the distance coming toward car with the sound of the sirens over scene . The MacLean car screeches to a stop , is quickly backed and turned around and comes racing TOWARD CAMERA with the headlights of the two pursuing cars closing rapidly and the sound of the sirens build - ing . The MacLean car swerves PAST CAMERA at high speed , followed by the two pursuing cars with sirens and there is a loud crash off scene .
EXT. OXYGEN PLANT - NIGHT - FULL SHOT
Side of road - with MacLean car turned over in a ditch , and a command car in a position relative to it indicat - ing that it ran the MacLean car off the road . Four guards emerge from the command car and two others from the second car and surround the wrecked MacLean car . Some of the guards carry carbines ; others drawn pistols .
EXT. OXYGEN PLANT - NIGHT - MED. CLOSE SHOT
The MacLean car - the MacLeans are dazed from the im - pact - as they start to resist the soldiers imprison their arms and lead them from the wrecked car .
EXT. ROCKET STATION - NIGHT - FULL SHOT
The silhouette of a gigantic rocket is in background . In foreground , Ralph Pulzer and Chief Barrows , carrying heavy suitcases , are sneaking around a high steel - link , barbed wire top , fence . Suddenly a searchlight PANS across scene , and comes to rest on them . They straighten up , shade their eyes with their hands from the glare and run away from CAMERA .
EXT. ROCKET STATION FENCE - NIGHT - MED. SHOT
- soldier standing by fence . He raises his carbine to his shoulder .
SOLDIER
( shouting . )
Halt!
Another soldier runs into scene .
2ND SOLDIER
There they go!
EXT. ROCKET STATION - NIGHT - REVERSE ANGLE
- of Pulzer and Barrows running with the suitcases and the searchlight following them .
1ST SOLDIER
( o.s. , shouting . )
Halt!
EXT. ROCKET STATION FENCE - NIGHT - MED. SHOT
Two soldiers raising their carbines and firing several shots at rapid fire . Suddenly there is a terrific ex - plosion and the scene is lighted by the flash of the explosion . The soldiers stagger back with the force wave .
1ST SOLDIER
What was that?
2ND SOLDIER
Those suitcases must have been full of nitro - glycerine!
1ST SOLDIER
Good thing we got them before they got to the rocket!
INT. BLAKE'S OFFICE - DAY - MED. SHOT
David , Fielding and Cricket are sitting . Pat enters from laboratory .
PAT
Colonel Fielding, would you step in here, please?
INT. BLAKE'S OFFICE - DAY - MED. SHOT
Fielding exits into laboratory leaving David and the dog waiting .
FIELDING
I'll only be a minute, David.
INT. DR. BLAKE'S LABORATORY - DAY - MED. SHOT
- with shelf bearing test - tubes , retorts and equipment in b.g. Doctors Blake and Metzler enter scene , wearing operating caps and gowns . Blake crosses to a table and places a covered tray on it .
BLAKE
( introducing the two men . )
Colonel Fielding - Dr. Metzler.
( both men murmur `` How do you do '' .
Fielding looks at Blake questioningly . )
Dr. Metzler has completed the aut - opsy on the little Wilson girl.
METZLER
I have - and my findings are al - most unbelievable. That child died of a sub - dural hematoma all right, but - this caused it!
Everyone crowds around the desk . Metzler picks up a small hexagonal crystal about a half - inch long with the diameter of a pencil . Attached to one end is a thin platinum disk , and two small wires run from this to a ruptured platinum globe the size of a small mar - ble .
METZLER
( Cont . )
I found this device inserted in the base of the skull. And the hemorrhage was caused when this little detonator.
( points to ruptured globe . )
exploded in her brain.
FIELDING
Incredible!
METZLER
This crystal was in direct contact with the medulla oblongata.
BLAKE
Do you suppose that's how they con - trolled Kathy Wilson and impelled her to set fire to her house?
METZLER
Very possible - we've done some - thing similar with white mice - and have made them follow directional impulses with high frequency oscil - lation.
PAT
But why did the thing explode?
BLAKE
Probably their method of getting rid of people when they have no further use for them.
PAT
Then - David's father and mother -?
Blake looks at her meaningly and shrugs his shoulders .
INT. BLAKE'S OFFICE - DAY - MED. SHOT
The phone rings . David crosses and answers it .
DAVID
Hello.
( pause . )
Yes, sir - just a moment. I'll call him.
He crosses to laboratory door and knocks . Door opens and Fielding , Blake and Pat enter Blake 's office .
DAVID
It's for you, Colonel Fielding.
FIELDING
Thank you, David.
He crosses and takes the telephone .
FIELDING
Fielding.
( pause . )
Oh, hello, Moody.
( pause . )
Fine - bring it to the intersection of State Highway eighty - six and Belle Meade Road - with an operator -.
( pause . )
Right.
He hangs up phone and crosses , speaking to Blake .
FIELDING
( to Blake . )
Well, we finally got an earth augur.
DAVID
Is that for boring into the trap doors?
FIELDING
That's what we expect to do, David.
DAVID
Gosh - how soon do we start?
FIELDING
( kindly . )
Well, I was planning on having you wait here.
DAVID
( jumping up and crossing to Fielding . )
But - but - I'm the one that dis - covered this whole thing! - and, gee, I ought to be there, I mean - Gee!
FIELDING
Well - all right, but you'll have to follow orders - like any other soldier.
DAVID
Oh, I will! - Sir.
FIELDING
You'd better leave your dog here, David, he might get hurt out there.
DAVID
All right - Sir.
EXT. MacLEAN'S FIELD - DAY - FULL SHOT
A platoon of soldiers are gathered around a Sherman tank , a truck , two jeeps and an earth augur . Blake , Pat , David and Fielding , in combat uniform , are in a group near the machines .
DAVID
Is that the earth augur?
EXT. MacLEAN FIELD - DAY - DAVID'S ANGLE - MED. SHOT
Motorized earth augur - -LRB- such as are used to dig cess - pools -RRB- - on trailer .
FIELDING
( o.s . )
Yes.
EXT. MacLEAN FIELD - DAY - MED. SHOT
Lieutenant Blair and Lieutenant Cole enter scene .
FIELDING
All right, Cole - These people - or whatever they are - react to sound or vibrations. Send Kelley over to the Northeast corner -.
( points . )
- of the field.
COLE
Yes, sir.
FIELDING
Full drums of live ammunition for your.505 - and better carry ten rounds of H - E for the 175. Now get this - this is important - tell Kelley to take out twenty Mills gren - ades. Tell him to traverse the Northern border of the field and to throw the grenades out at short in - tervals. Got that?
COLE
Yes, sir.
FIELDING
That's to cover the sound of the earth augur. After that, have Kelley run the tank up and down that corner of the field and create a disturbance.
( looking at his watch . )
He will proceed at 15:33 on a vary flare from this position.
COLE
Yes, sir.
He leaves .
FIELDING
( turning to Blair . )
Blair, you have your crew stand by with the earth augur. On a hand sig - nal from me, proceed to that spot by those three stones - go six feet north of them and drill a hole until you have penetrated a subterranean passage.
BLAIR
Yes, sir.
FIELDING
As soon as you effect an entrance, take two squads and your demolition team with full attack equipment and stand by for me.
( looking at watch . )
You've got nine minutes.
BLAIR
( saluting and exiting . )
Yes, sir.
EXT. MacLEAN FIELD - DAY - FULL SHOT
Blake , Fielding and Pat are in a group . David is stand - ing about ten feet apart from them watching the earth augur . A white uniformed interne enters the scene and crosses to Blake .
INTERNE
( in a low voice . )
The boy's father and mother and the others have been brought in. Dr. Metzler is preparing to operate.
BLAKE
Good!
INTERNE
His aunt has arrived too - she's very disturbed and wants him back at the hospital immediately.
BLAKE
( turning to Pat . )
Pat, why do n't you take David back to the hospital.
FIELDING
( to Pat . )
You can take my car. Sergeant Roberts will drive you.
PAT
Thank you.
( calling . )
Oh, David.
David turns around and walks up to the group .
PAT
( continuing . )
David, we have to go back to the hospital. Your aunt's waiting to see you.
DAVID
( disappointed . )
Aw, gee - what for?
FIELDING
Soldiers do n't question orders, David.
DAVID
But - But -
FIELDING
An order is an order, young man!
DAVID
( straightening up mili - tarily . )
Okay, sir.
Pat moves off scene followed by David .
EXT. MacLEAN FIELD - DAY - MED. SHOT
David straggles some fifteen or twenty feet behind Pat , looking reluctantly over his shoulder .
EXT. MacLEAN FIELD - DAY - CLOSE SHOT
- as David traverses a clump of bushes , looking back . A round section of earth opens just ahead to the left of him .
EXT. MacLEAN FIELD - DAY - CLOSE SHOT
Pat - who looks over her shoulder , sees it and stops .
PAT
( yelling . )
David!
EXT. MacLEAN FIELD - DAY - CLOSE SHOT
Top half of David - as he stops .
DAVID
( calling . )
What?
EXT. MacLEAN FIELD - DAY - MED. SHOT
Pat - as she screams and runs toward CAMERA .
PAT
Look out, David!
EXT. MacLEAN FIELD - DAY - MED. LONG SHOT
Dr. Blake - reacting to what he sees -
EXT. MacLEAN FIELD - DAY - MED. LONG SHOT
Reverse shot from Blake 's angle as he sees a flap of earth is closing over David 's and Pat 's screams .
EXT. MacLEAN FIELD - DAY - MED. SHOT
Blake and Fielding .
BLAKE
( excitedly . )
They got them! Pat and the boy!
( pointing . )
Over there!
He starts to run toward the spot where David and Pat disappeared .
FIELDING
( running after him and stopping him . )
Hold it, Blake, there's nothing you can do now.
Blake rages impotently -
INT. TUNNEL - DAY - LOW KEY - CLOSE SHOT
Pat 's face - as she looks up and reacts with terrified scream , shrinking back .
INT. TUNNEL - DAY - LOW KEY - MED. CLOSE SHOT
Reverse - Pat 's angle . Two Mutants stand over her looking down . The lighting of the tunnel scenes seems to come from a luminous quality in the walls of the tunnels themselves . These tunnels are cut through the earth by an atomic heat ray which blasts a hole through the earth and fuses the silica along the walls of the tunnel into a radio - active , phosphorescent glassy - like substance . -LRB- For these shots we will use water glass sprayed on cellophane and back light it with hot arcs . -RRB- These creatures are mutations developed by the Martians for physical labor . They are humanoid in appearance , but are covered with a coarse black hair . -LRB- Flocked baggy tights . -RRB- Their feet are about twice the length of human feet and the four toes of each foot terminate in heavy black digging claws . The fingers are much long - er than human fingers and are equipped with black , non - retractable digging claws . A hairless , snout - like nose , similar to a mole 's , protrudes from the front of the face . They are with ears , and beady - like reflecting eyes look out from the hairy mask of the face . At no time do they utter any sound , for these creatures are telepathic . One of the mutants leans forward into CAM - ERA with extended long prehensile fingers .
INT. TUNNEL - DAY - MED. CLOSE SHOT
Pat - as she cowers back and the long black fingers curl around her wrist . Pat screams and struggles fran - tically and another long black hand comes into scene and grasps the other wrist .
INT. TUNNEL - DAY - MED. SHOT
David is lying unconscious from his fall , momentarily ignored by the mutants . A mutant grabs at Pat 's shoul - der . Pat struggles frantically . Her screams revert to hoarse gasps of effort and terror , and in the struggle her dress is ripped . The long fingers of a hand curl around Pat 's neck and squeeze for a moment . She sudden - ly relaxes into unconsciousness . One of the two mutants picks her up , the other picks up David . They lope away with them down the tunnel into infinity and darkness .
INT. TUNNEL - DAY - LONG SHOT
The two mutants lope past CAMERA carrying the two inert figures . They disappear around a corner of the tunnel .
INT. TUNNEL - DAY - MED. SHOT
Mutants rounding another turn , carrying Pat and David at a loping run .
INT. TUNNEL - DAY - MED. SHOT
From an open metal trapdoor in b.g. there emanates a stronger light . The two mutants pass CAMERA and lope toward metal door . They enter .
INT. CENTRAL AREA OF SPACE SHIP - DAY - FULL SHOT
It is a circular room some twenty feet in diameter , approximately fifteen feet high . It is composed of a shiny metallic substance similar to polished aluminum . The only rivets in evidence mark the outline of bulk - heads spaced around the perimeter of the walls . Upper left , near the spiral steel staircase , a low metal table is near the wall . It is flanked by two stationary met - al benches . The room is dome - like in structure , and an area twelve feet in diameter and approximately eight feet in height occupies the apex of the dome , which is of a transparent plastic substance . This is the control tower of the space ship . A bank of control panels is placed in this structure and a round , cushioned pilot 's seat is suspended on a crosswalk of perforated metal girders . The room is illuminated by a series of circu - lar lights which look like portholes . Even so , the lighting is in comparative low key . The two mutants descend a spiral staircase and bring Pat and David to the center of the room and lay their unconscious bodies on the floor . Then they step back approximately five feet and assume a rigid attitude grotesquely reminiscent of soldiers .
INT. SPACE SHIP - DAY - LOW KEY - DIFFERENT ANGLE
A bulkhead opens in the upstage wall . Sergeant Balardi enters , walking like an automaton . He walks up to Pat , facing upstage . Then a mutant backs out of the bulk - head carrying a Martian seated on a circular metal tray , which is surmounted by a plastic bell jar . Another mu - tant enters , supporting the other handles of the metal tray . A mutant steps forward quickly and places a cir - cular metal drum approximately three feet in diameter and thirty inches in height in front of Pat . The other two mutants then place the Martian on the drum and step back and assume an attitude of attention : TRUCK in to CLOSE SHOT - THE MARTIAN - He is approximately thirty inches in height , dressed in a singlet that resembles soft chain mail . Over this is a gorget of soft black material similar to velvet . He is seated , tailor - fashion , on a circular cushion resembling sponge rubber . He is extremely brontocephalic , and his tremendously large skull is completely devoid of hair . His eyes are small and deep - set and peer from their dark sockets with a strange ophidion lustre . He is entirely covered by the plastic bell jar , and sits so frozen and unmoving that he appears to be a wax figure until we are suddenly aware of the eyes moving to the right , then to the left , then down , where he focuses upon Pat .
INT. SPACE SHIP - DAY - MED. CLOSE SHOT
Pat is unconscious on the floor . She stirs into con - sciousness , sits up , then stands , facing the CAMERA . Her eyes widen and stare straight ahead .
INT. SPACE SHIP - DAY - CLOSE SHOT
Martian 's eyes - staring into CAMERA .
INT. SPACE SHIP - DAY - CLOSE SHOT
Pat is drawn by the hypnotic stare of the Martian . She fights it off .
INT. SPACE SHIP - DAY - MED. SHOT
Martian , Balardi and Pat . David is still unconscious on the floor . Balardi stands stiffly .
BALARDI
( mechanically . )
What is your name?
PAT
( in a strained , hoarse voice . )
Patricia Collins.
BALARDI
( indicating the Martian . )
He is from the fourth planet - which you call Mars. He wants to know what they plan to do - those people up above.
PAT
I do n't know -
BALARDI
Yes, you do - and you will answer in a few moments.
He gestures to the mutants .
INT. SPACE SHIP - DAY - MED. SHOT
- as two mutants approach Pat and suddenly grab her arms . She attempts to struggle , but is held in a vise - like grip . She turns suddenly and stares , her eyes widen further with horror . A panel on a bulkhead swings open and a mutant pushes a chromium , wheeled operating table into scene . A tray of surgical instruments is on the table .
INT. SPACE SHIP - DAY - MED. SHOT
The surgeon mutant lifts a hypodermic needle and ad - vances toward Pat . She screams piercingly and hysteric - ally and continues to scream .
INT. SPACE SHIP - DAY - CLOSE SHOT
Surgeon Mutant - as he lifts the hypodermic needle of a strange design . His hands , holding the needle , move out of CAMERA , and Pat 's screams stop suddenly .
INT. SPACE SHIP - DAY - MED. SHOT
- as the two mutants lift Pat 's unconscious body and place it on the operating table . David slowly regains consciousness and sits up , rubbing his eyes in a dazed manner .
INT. SPACE SHIP - DAY - NEW ANGLE - MED. SHOT
David - as his eyes become adjusted to the light and he reacts in terror at seeing Pat being placed upon the operating table .
DAVID
( starts to his feet , screaming . )
No! No!
- a mutant grabs him and clamps a long black hand across his mouth .
INT. SPACE SHIP - DAY - CLOSE SHOT
David 's face - with the hand across his mouth , his eyes staring in horror .
INT. SPACE SHIP - DAY - MED. SHOT
David 's angle - of the mutant surgeon , as he takes up a complex surgical instrument . In his other hand , he lifts up and examines a tiny crystal capsule , to which is affixed a small spiral wire . Turning slowly , he moves toward the unconscious form of Pat on the operat - ing table .
INT. SPACE SHIP - DAY - CLOSE SHOT
Back of Pat 's neck and crown of her head - The mutant surgeon 's hands come in and part the hair just above the nape of the neck .
EXT. MacLEAN FIELD - DAY - MED. SHOT
- with TRUCK in b.g. Fielding , Blake stand in f.g. , looking toward the field . Just to the left of Fielding , a soldier stands with a signal pistol held ready . Fielding is watching the sweep hand on his wrist watch . He turns to the soldier .
FIELDING
Fire!
The soldier fires a star shell .
EXT. MacLEAN FIELD - DAY - LONG SHOT
Star shell exploding over pasture .
EXT. MacLEAN FIELD - DAY - LONG SHOT
Sherman Tank - starting and moving alongside the field . A hand grenade is thrown from the open hatch , rolls to - ward CAMERA , comes to rest on the plowed field and ex - plodes .
INT. SPACE SHIP - DAY - MED. SHOT
Martian in bell jar - The Martian 's head turns sharply as a dull explosion is HEARD over scene . The lights go up in the space ship .
INT. SPACE SHIP - DAY - NEW ANGLE
- as the surgeon mutant removes a strange , complex helmet affair from Pat 's head , while two other mutants rush forward and carry the Martian quickly through the bulkhead , closing the bulkhead behind them . The other mutants race across the room and up the spiral steel staircase , leaving Sergeant Balardi staring after them . Pat lies unconscious on the operating table . David rushes over to Pat .
INT. TUNNEL - DAY - FULL SHOT
Just outside trapdoor - as the last mutant enters the tunnel through the trapdoor , two other mutants emerge from a side tunnel carrying a machine mounted on a metal , stretcher - like base . The machine resembles a large searchlight with a metal megaphone - shaped device fasten - ed to the front of the lens . Two heavy insulators stand vertically just behind the searchlight part of the machine and they are connected to a thing that looks like a small condenser by two three - inch copper ribbons . O.S. can be HEARD the thumping rumble of the tank treads and a dull sound of exploding grenades . The two mutants with the machine run down the tunnel out of scene , leav - ing one mutant standing guard .
INT. TUNNEL - DAY - MED. SHOT
- as the mutants run past CAMERA with the machine and turn right , through an intersecting tunnel .
INT. TUNNEL - DAY - MED. SHOT
- as the mutants place machine on floor of tunnel and deflect it upward at an angle of forty - five degrees . O.S. the sound of the Sherman tank is much louder . Also the sound of bursting grenades .
INT. TUNNEL - DAY - NEW ANGLE
- as mutants push a stud on the machine and a brilliant rush of flame emerges from the mouth of the megaphone - shaped nozzle .
INT. TUNNEL - DAY - LONG SHOT
Roof of tunnel - as the flame from the atomic disin - tegrator burns a circular hole . The edges of the hole drip with molten silica , like wax under the flame of a blow torch . -LRB- PRODUCTION NOTE : For the full scale shots , this ef - rect can be obtained with a military flame thrower burning away a wax - covered flimsy . Lycopodiem is jet - ted into flame with compressed air . -RRB-
EXT. FIELD - DAY - MED. SHOT - (MINIATURE)
- as a shaft of brilliant white flame comes up out of the earth and engulfs the Sherman tank .
EXT. FIELD - DAY - CLOSE SHOT
Soldier in open hatchway of tank engulfed in flames .
EXT. MacLEAN FIELD - DAY - MED. CLOSE SHOT - (MINIATURE)
Tank treads and forepart of tank , as it melts into a shapeless , molten mass .
EXT. MacLEAN FIELD - DAY - FULL SHOT
Earth augur - being removed from the circular four - foot hold in field . Soldiers with sub - machine guns and miners ' lamps attached to their helmets stand by . Lieutenant Blair and his demolition team are carrying their C - two packs strapped across their shoulders . Fielding runs into scene carrying a sub - machine gun . Fielding crosses to the hole and drops down into it and is instantly followed by the men . As the last of them enter the hole , Blake runs into scene and drops into the hole after them .
INT. TUNNEL - DAY - MED. SHOT
- as Fielding and the soldiers , followed by Blake , run past CAMERA .
INT. TUNNEL - DAY - NEW ANGLE
- as the party approaches a branch tunnel . Two sol - diers are delegated to explore it while the main party , including Lieutenant Blair 's demolition team , proceeds . Fielding turns and suddenly recognizes Blake .
FIELDING
What are you doing down here?
BLAKE
I'm going to find Pat.
FIELDING
Well - come on -
INT. TUNNEL - DAY - MED. SHOT
Fielding , Blake and soldiers cautiously round turn and come toward CAMERA .
INT. TUNNEL - DAY - LONG SHOT
- the soldiers in f.g. . Their miners ' lamps light the tunnel at the far end of which the mutant standing guard by the trapdoor , spreads his legs and arms and waits .
INT. TUNNEL - DAY - MED. CLOSE SHOT
- as the rescue party stops .
SOLDIER
What in the name of time is that?
FIELDING
I do n't know. Fire on command!
Two of the soldiers drop to their knees and aim their guns at lens . The other four and Fielding raise their guns and aim at the lens .
INT. TUNNEL - DAY - MED. CLOSE SHOT
Mutant - who starts lumbering forward toward group .
INT. TUNNEL - DAY - REVERSE SHOT
Rescue party - with all tommy guns aimed at lens .
FIELDING
Fire!
Seven tommy guns fire a short burst directly at lens .
INT. TUNNEL - DAY - MED. CLOSE SHOT
Mutant - as he is blown over backwards .
INT. TUNNEL - DAY - LONG SHOT
Rescue party - running through tunnel toward CAMERA . They step over the body of the dead mutant .
INT. SPACE SHIP - DAY - FULL SHOT
- as rescue party runs down spiral staircase .
INT. SPACE SHIP - DAY - MED. SHOT
- as Sergeant Balardi looks toward ladder and aims his forty - five . David grabs his arm and spoils his aim .
INT. SPACE SHIP - DAY - MED. SHOT
- as a soldier leaps off the top of the spiral stair - case and knocks Balardi to the floor . Balardi 's pis - tol falls to the floor . David picks up the pistol .
INT. SPACE SHIP - DAY - FULL SHOT
- as Balardi fights furiously with his fists . A sol - dier knocks him out with the butt of his gun .
SOLDIER
( to Fielding . )
Hey, what's the matter with this guy?
FIELDING
He does n't know what he's doing. Take him outside.
The soldiers exit with Balardi . Fielding turns to David .
FIELDING
( continued . )
You go with them, son.
David exits .
INT. TUNNEL - DAY - MED. SHOT
At door or space ship . David comes up the ladder and looks up the tunnel where the two soldiers and Balardi have disappeared . He runs after them .
INT. SPACE SHIP - DAY - MED. SHOT
- as Blake and Fielding run up to Pat , who is still unconscious .
BLAKE
Pat! Pat!
He shakes her , but she does not regain consciousness . Blake picks her up and carries her up the spiral ladder .
INT. TUNNEL INTERSECTION - DAY - MED. SHOT
David runs toward camera and pauses uncertainly at the intersection . He does n't know which tunnel to take . He finally chooses the right hand tunnel and runs out of scene .
INT. SPACE SHIP - DAY - FULL SHOT
Fielding , Blair and his demolition team stare around the space ship . Fielding crosses and attempts to open one of the bulkheads .
FIELDING
I hate to destroy this ship, but we ca n't afford to take any chances. Go ahead and place your C - two charges, Lieutenant.
Blair signals one or the men , who removes his demolition pack and places it near the bulkhead . He pulls back the canvas cover exposing a clock time fuse . The other demolition expert is setting his charge at the opposite end of the ship .
BLAIR
( to Fielding . )
What interval shall I set it to fire, sir?
FIELDING
Six minutes will give us enough time.
INT. SPACE SHIP - DAY - CLOSE SHOT
Demolition expert sets dial to six minutes and pulls firing pin .
INT. TUNNEL AT INTERSECTION - DAY - MED. SHOT
- as two soldiers run into scene from branch tunnel . They stop just around the corner of the tunnel and each takes a Mills grenade from his bag and pulls the pin with his teeth and drops down into position to hurl the grenade into the tunnel .
INT. TUNNEL - DAY - MED. SHOT
The two mutants with the atomic disintegrator are pur - suing the soldiers .
INT. TUNNEL - AT INTERSECTION - MED. SHOT
Two soldiers - as they wait to throw grenades .
1ST SOLDIER
Here they come!
Both of them hurl their grenades down the branch tunnel and flatten back against the wall .
INT. TUNNEL - DAY - LONG SHOT
- as the grenades explode and roof of tunnel caves in , and falls in front of mutants , filling the tunnel with earth .
INT. TUNNEL - FROM BEHIND MUTANTS - DAY - MED. SHOT
- as they place the atomic disintegrator on floor of tunnel and direct it toward the piled - up debris . One of them presses a stud and a bright sheet of flame burns through the debris .
INT. TUNNEL AT INTERSECTION - DAY - MED. SHOT
- as the flame burns through .
1ST SOLDIER
Let them have it again!
They throw two more grenades , which explode , blocking the tunnel again .
1ST SOLDIER
Hurry - tell everybody to get out of here. I'll try and hold'em off.
The second soldier turns and runs out of scene and up the main tunnel to the right . The first soldier hurls another grenade , which explodes , dropping the roof of the tunnel and blocking it again .
INT. ANOTHER SECTION OF TUNNEL - DAY - MED. SHOT
- as second soldier encounters the two soldiers bearing the unconscious form of Sergeant Balardi .
2ND SOLDIER
Pass the word - we got ta get out of here right away!
A sergeant takes a whistle from his pocket and blows three sharp blasts , then repeats it .
INT. DIFFERENT SECTION OF TUNNEL - DAY - MED. SHOT
- as another soldier HEARS the whistle signal in the distance and repeats it on his whistle .
INT. SPACE SHIP - DAY - FULL SHOT
- as Fielding , Blair and demolition team react to the whistle signal and run to the spiral staircase .
EXT. MACLEAN FIELD - DAY - MED. SHOT
- as Blake emerges from trapdoor , carrying Pat with him . A soldier standing at the top of the trapdoor hears the whistle signal in the distance .
SOLDIER
That's emergency retreat! Get her out of here on the double.
Blake moves quickly out of scene , carrying Pat with him .
INT. TUNNEL INTERSECTION - DAY - MED. SHOT
Soldier at branch tunnel - as a burst of flame cuts through debris some distance up branch tunnel . As flame breaks off , he quickly hurls another grenade , which explodes down the tunnel , again dropping the roof . Two soldiers running , halt by the branch tunnel .
1ST SOLDIER
Better stand by with grenades and help me hold these monkeys off!
3RD SOLDIER
What's up?
1ST SOLDIER
They've got some kind of a flame thrower that cuts right through rocks and dirt. Watch it - here they come again.
A blast of flame billows out of the tunnel , then blacks out and the first soldier throws another grenade . The other soldiers also throw grenades against the collap - sing roof of the tunnel . At this point Lieutenant Blair , his men and Fielding enter scene .
FIELDING
All right - keep going - on the double! Get moving, you two!
The two soldiers run out of scene , followed by Fielding . Blair signals one of the demolition men to remain and place a charge . The others exit quickly . The demoli - tion man who was left behind starts to set the fuse .
INT. TUNNEL - DAY - MED. SHOT
David hurries along the tunnel , approaches another inter - section . He hears the whistle faintly in the distance and stops . He is again faced with the decision of which tunnel to choose , and is becoming panic - stricken .
INT. TUNNEL - INTERSECTION - DAY - CLOSE SHOT
David - the sweat stands out on his forehead as he tries to peer into the tunnel ahead of him . He starts to turn into the right hand tunnel when he hears faint footsteps approaching . He is about to call when some instinct prompts him to press back against the tunnel wall .
INT. TUNNEL INTERSECTION - DAY - MED. SHOT
A mutant is cautiously making his way down the tunnel . He pauses and looks back at the direction from which he came . He advances a few more feet and reaches the intersection , where he stops .
INT. TUNNEL INTERSECTION - DAY - CLOSE SHOT
David is pressing himself as far into the corner of the opposite tunnel wall as he can . He is terrified . As he presses closer to the wall , he dislodges a tiny pebble , which rolls down the wall on to the floor of the tunnel .
INT. TUNNEL INTERSECTION - DAY - MED. SHOT
The mutant hears the sound of the pebble falling and looks around . He starts to advance toward where David is standing when a whistle is heard faintly in the dis - tance . He quickly turns and lopes off into darkness .
INT. TUNNEL INTERSECTION - DAY - MED. LONG SHOT
David waits until the mutant disappears and then runs up the opposite tunnel .
INT. DIFFERENT TUNNEL INTERSECTION - DAY - MED. SHOT
The demolition man who set the last C - 2 charge is hurry - ing along endeavoring to catch up with Blair and the other men . He reaches the intersection and bumps squarely into the mutant who is loping up from the other tunnel . The mutant envelopes the soldier in his huge arms and starts to bend him backwards . The soldier vain - ly struggles for his pistol , but is like a child in the mutant 's hands . He screams but the mutant covers his mouth with a hairy paw .
SOLDIER
( gasping . )
Help! Help!
INT. TUNNEL - DAY - MED. LONG SHOT
Blair and the rest of the demolition team hear the faint screams behind them , and turn back .
INT. TUNNEL INTERSECTION - DAY - MED. SHOT
The soldier is struggling , but growing weaker , as the mutant has him bent over nearly double . Blair and his men round the corner and charge for the mutant , who drops the soldier . As the mutant leaps forward , he is met by a hail of tommy - gun slugs , and drops in his tracks . The men pick up the injured soldier and run back up the tunnel .
INT. TUNNEL - DIFFERENT INTERSECTION - DAY - LONG SHOT
- as several soldiers and Fielding run past CAMERA .
1ST SOLDIER
( looking over shoulder . )
There they are again!
INT. TUNNEL - DAY - REVERSE LONG SHOT - HIS ANGLE
Mutants - entering main tunnel with machine .
FIELDING'S VOICE
( o.s . )
All right - rest of you keep moving. You, Sims, and Watson - give'em a long burst.
INT. TUNNEL - DAY - MED. SHOT
Fielding , 1st and 3rd soldier firing their tommy - guns toward lens , as they back around a curve in the tunnel .
INT. TUNNEL - DAY - MED. SHOT
From behind Fielding , 1st and 3rd soldiers as they back around a 90 degree turn and a blast of flame strikes the wall just in front of them . Fielding and the two soldiers back away from the searing heat , shielding their faces with their arms .
FIELDING
Come on! Out of here on the double!
They turn and run down tunnel and out of scene .
INT. INTERSECTION TUNNEL - DAY - MED. LONG SHOT
Blair and his demolition team enter . The men carrying the injured soldier continue on . Blair looks around and signals one of the demolition men to place a C - two charge at the intersection of the tunnels . Blair looks at his wrist watch .
BLAIR
Three minutes!
The soldier sets the time fuse , pulls the pin and they all exit quickly .
INT. INTERSECTION TUNNEL - DAY - MED. SHOT
Fielding and two soldiers run past intersection and con - tinue on . Huddled in a dark corner we see the two mu - tants holding the Martian on his tray . One of the mu - tants is also carrying a strange looking antenna device . They turn and disappear into the darkness .
INT. TUNNEL - DAY - MED. SHOT
David runs toward camera . It PANS with him as he comes to a dead end , which slopes steeply up . He stops and looks about him uncertainly .
INT. TUNNEL - DIFFERENT INTERSECTION - DAY - MED. CLOSE SHOT
C - 2 demolition charge - we hear the sound of the time clock ticking away . INSERT Face of C - 2 demolition time clock . The second hand is slowly moving around . The minute hand reads : two minutes .
INT. TUNNEL - DEAD END - DAY - MED. CLOSE SHOT
David climbs to the top of the slope at the dead end of the tunnel and peers up at the roof .
INT. TUNNEL - DEAD END - DAY - CLOSE SHOT OF TUNNEL ROOF
The faint outline of what could be a mutant trapdoor is barely visible in the half light .
INT. TUNNEL - DEAD END - DAY - MED. SHOT
David stands on his tiptoes and strives to reach the trapdoor , but ca n't quite touch it . He frantically sets to work digging at the fused earthen wall , trying to carve a foothold . His fingers make little impression on the hard surface . Seeking something to use as a digging instrument , he feels his belt buckle . He tears off the belt and again starts to dig . From over head , we hear distant sounds of moving vehicles .
EXT. MACLEAN FIELD - DAY - FULL SHOT
Trapdoor through which the rescue party entered . Two soldiers are on their hands and knees lifting the others out of the hole as swiftly as possible . Balardi and Pat are already in a waiting Jeep , which rolls away out of scene . The mechanized earth augur is rapidly moving out of scene . Another jeep races into scene as the injured soldier is lifted through the hole and all the soldiers and Fielding jump aboard the Jeep which moves out of scene .
EXT. MACLEAN FIELD - LONG SHOT
Jeeps and earth augur - hightailing it across pasture , as a burst of flame shoots high into the air through the hole from whence the rescue party just emerged .
EXT. CORNER OF MACLEAN'S FIELD - DAY - MED. SHOT
Some distance from the trapdoor , the two Jeeps have stopped by the ambulance . Fielding helps five or six soldiers remove Balardi from the Jeep . He fights furiously . A soldier and Blake are lifting the uncon - scious form of Pat from the Jeep .
BLAKE
Hurry, let's get them to the hospital.
( he gestures toward the soldier who was injured in the fight with the mutant . )
Give him first aid - I'll send the ambulance right back.
The driver runs to the back of the ambulance , opens it , takes out two stretchers and restraining bands . Pat , still unconscious , is placed on one stretcher , Balardi is placed on the other , and strapped down with the re - straining bands . Blake and the driver enter the am - bulance , and it pulls out of the scene at high speed , siren wailing .
EXT. CORNER MACLEAN FIELD - DAY - MED. SHOT
Fielding suddenly turns to Lieutenant Cole .
FIELDING
( with concern . )
Where's David?
COLE
I do n't know, Colonel. Was n't he with Lieutenant Blair?
FIELDING
( to Blair , worried . )
Lieutenant, have you seen David?
BLAIR
Why, no. Did n't he come out of the tunnel with you?
FIELDING
No. I sent him up long ago. If he did n't come out with you he must still be down here.
( he is frantic . )
How much time before the demoli - tions go off?
BLAIR
( looking at his watch . )
One minute, sir.
Fielding makes a move for the jeep . Blair puts his hand on Fielding 's shoulder , stopping him .
BLAIR
You'll never make it, sir.
Fielding and Blake look at each other in hopeless despair .
INT. TUNNEL - DEAD END - DAY - MED. SHOT
David is desperately digging at the wall of the tunnel . He has clawed away enough earth and rock to almost touch the trapdoor . He stops to rest , wipes the sweat from his eyes and again attacks the tunnel wall with his belt buckle .
INT. TUNNEL - INTERSECTION - DAY - INSERT TIME CLOCK FACE
It reads : 40 seconds .
INT. TUNNEL - DEAD END - DAY - MED. CLOSE SHOT
David is frantic . He is within inches of the trapdoor and still digging .
INT. TUNNEL INTERSECTION - INSERT TIME CLOCK FACE
It reads : 20 seconds .
INT. TUNNEL - DEAD END - DAY - MED. SHOT
David has reached the tunnel roof and is pushing on the trapdoor . It slowly rises and the daylight streams in - to his face as he clambers out .
EXT. CORNER MACLEAN FIELD - DAY - LONG SHOT
Shooting over the backs of Fielding , Blair and Cole toward the center of the field . David is seen climbing out of the trap door . Fielding jumps into the jeep - yells at the driver - the jeep roars toward David .
EXT. FIELD - DAY - AT TRAPDOOR
The jeep tears into the scene . Fielding reaches out and lifts David into the jeep . Without stopping , it roars out of scene .
EXT. MACLEAN FIELD - DAY - LONG SHOT
The jeep , with Fielding and David , speeds toward camera . The other soldiers are taking refuge behind the cars and equipment , awaiting the explosion . Suddenly , there is a violent detonation and a cloud of earth and debris mushrooms into the sky .
EXT. ROCKY RIDGE OVERLOOKING MACLEAN FIELD - DAY LONG SHOT
In the distant b.g. we see the general activity after the explosion . Men are picking themselves up from the ground , brushing themselves off , looking back at the crater , caused by the explosion . In the immediate f.g. a trapdoor opens in the ground and we see the hairy arm of a mutant come into scene . The rest of his body appears in deep silhouette . He is followed by the second mutant who is carrying the antenna device .
EXT. MACLEAN FIELD - DUSK - FULL SHOT
Fielding and Lieutenant Cole are in foreground at rim of crater , caused by the explosion . They are inspect - ing a battered portion of the space ship 's instrument panel . Lieutenant Blair enters scene carrying intricate looking instrument , similar to an altimeter . He hands it to Colonel Fielding .
BLAIR
This instrument seems to be intact, sir.
Fielding inspects the instrument and hands it to Cole .
FIELDING
It appears to be similar to our high altitude anaroids.
( he then turns back to Blair . )
Did you finish checking the tunnels, Blair?
BLAIR
Yes, sir. Our demolition charges cleaned them all out.
FIELDING
Be sure the boys bring in everything they find.
They resume their inspection of the space ship instru - ment panel .
EXT. MacLEAN FIELD - DUSK - MED. SHOT
Shooting toward Rocky Ridge . David walks slowly up the hill . He stoops and picks up a small piece of metal , which he puts in his pocket .
EXT. MacLEAN FIELD - ROCKY RIDGE - DUSK - MED. SHOT
Fielding , Cole , Blair and several soldiers , two of whom have just placed some portions of the space ship on the pile . A sergeant enters scene .
SERGEANT
Dr. Metzler just called from the hospital, sir. The operations were successful.
FIELDING
Thank you, sergeant.
He looks around .
FIELDING
I want to get back right away! Where's David?
BLAIR
( pointing . )
He was up there a couple of minutes ago, sir.
( laughs . )
Looking for souvenirs.
FIELDING
Thanks, Lieutenant. You and your men did a fine job. You can report back to the base.
COLE
Yes, sir.
He leaves . And Fielding moves out of scene in the dir - ection to which Blair had pointed .
EXT. ROCKY RIDGE - MacLEAN FIELD - DUSK - MED. LONG SHOT
David is walking aimlessly toward the mutants whom we see in silhouette in the f.g. David stops and picks up a piece of metal . He examines it , throws it aside , and sees something closer to CAMERA near where the mu - tants are hiding . As he starts for the object we HEAR Fielding 's voice o.s.
FIELDING
( o.s . )
David!
David turns , looks at him , then turns and looks at the object that he was interested in .
DAVID
There's something up here that might be -
FIELDING
( interrupting . )
Never mind. They'll get all of that tomorrow. We've got to go back to the hospital now.
David turns and runs back to Fielding .
INT. DR. BLAKE'S CONSULTATION ROOM - MED. FULL SHOT
David and his aunt , Margaret MacLean , a pleasant , forth - right woman , are seated . They have an attitude of ex - pectancy . Cricket is seated on the sofa next to Aunt Margaret . She is petting him . It is apparent from the dog 's attitude that he knows her .
DAVID
They've been in there a long time, Aunt Margaret.
AUNT MARGARET
It only seems like a long time, dear.
( trying to switch his thoughts . )
Has Cricket had his supper yet?
DAVID
( disgusted . )
The nurse gave him some toast and spinach.
AUNT MARGARET
We'll give him some real food when we get home.
Fielding and Blake enter . David jumps up .
DAVID
( anxiously . )
Are they all right?
BLAKE
( kindly . )
Your father and mother are going to be just like they were before - before these - things happened. When I talked to them, David, their only concern was for you.
DAVID
( turning to his aunt . )
They - they did n't know what they were doing - did they, Aunt Mar - garet?
FIELDING
They were n't responsible for any - thing that happened, David. Now go home with your aunt and get a good night's sleep - you'll see them tomorrow morning.
Aunt Margaret and David cross to the door .
DAVID
Yes, sir.
( turns to the dog . )
Come on, Cricket, we're going home.
They exit .
EXT. ROCKY RIDGE - OVERLOOKING MacLEAN FIELD - NIGHT MED. SHOT
Two mutants and Martian - as one of them adjusts a series of rings like a miniature radio direction loop , then presses a stud and violet sparks ripple and dance around the edges of the rings and a shrill , high - fre - quency buzzing sound , broken up like very fast code , emanates from the machine . The two mutants and the Martian raise their eyes upward and stare into space . Then they look off stage .
EXT. MacLEAN HOUSE - NIGHT - MUTANT'S ANGLE - LONG SHOT
The lights are burning in the MacLean house .
INT. DAVID'S BEDROOM - NIGHT - FULL SHOT
David is in his pajamas , Cricket is on the foot of the bed , and Aunt Margaret is pulling back the covers .
AUNT MARGARET
All right, young man, into bed with you.
DAVID
( yawning . )
Okay, Aunt Margaret.
She ruffles his hair , kisses him , then crosses to the door , turns off the light and pauses before she exits .
AUNT MARGARET
Good night, dear.
DAVID
( sleepily . )
Good night.
Aunt Margaret exits , closes the door after her . The CAMERA PANS to Cricket on the foot of the bed . His ears suddenly perk up and he looks toward the window . He whimpers , then jumps off the bed and patters to the window . He puts his paws on the sill , looks out and growls .
DAVID
( sitting up in bed . )
What's the matter, Cricket?
David jumps out of bed and crosses to the window . He looks out into the night . His eyes widen . He quickly removes the muslin cover from his telescope and puts his eye to the eye - piece .
EXT. MacLEAN FIELD - NIGHT - TELESCOPE MATTE SHOT
- of a ball of white fire rapidly descending . Tele - scope matte shot PANS and the ball of white fire de - scends upon the ridge and dies to a soft glow .
INT. DAVID'S ROOM - NIGHT - CLOSE SHOT
David - as he makes quick adjustments of the ocular and again presses his eye to the telescope .
EXT. MacLEAN FIELD - ROCKY RIDGE - NIGHT - TELESCOPE MATTE
- of round bulkhead opening in section of space ship seen through screen of heavy bushes and trees . The sil - houette of the two mutants carrying the Martian in his plastic dome enters scene and goes through bulkhead , which closes behind them . Then the scene is burned out by a blinding white light .
EXT. MacLEAN FIELD - NIGHT - TELESCOPE MATTE SHOT
- as the ball of white fire ascends swiftly and dies away in the distance .
INT. DAVID'S ROOM - NIGHT - CLOSE SHOT
David - clutching Cricket against him and staring out the window .
DAVID
Well - gee, whiz!
FADE OUT . THE END
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Sex and the City_2008
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Sex and the City
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Carrie walks through the streets of New York City thinking about events that have happened to her and her friends during Sex and the City. Charlotte is now living a happy marriage with Harry Goldenblatt, but she had a hard time getting pregnant, so they adopted a girl named Lily; Miranda has settled down in Brooklyn with Steve (David Eigenberg) to raise their son Brady together; and Samantha has relocated her business to Los Angeles to be close to Smith (Jason Lewis), who is now a superstar, although she misses her old life and takes every opportunity to fly East to be with Carrie, Miranda, and Charlotte. Carrie herself is now in a relationship with Big (Chris Noth), and they are viewing apartments with plans to move in together. Carrie falls in love with a penthouse far from their price range. Big immediately agrees to pay for it. Carrie offers to sell her own apartment, although she also voices her fear that she would have no legal rights to their home in case they separate, as they are not married. To quell her fears, Big suggests that they marry. Carrie announces the news to her friends. Charlotte suggests her longtime gay friend Anthony as wedding planner. Miranda confesses to her friends that she has been so busy she hasn’t had sex with Steve in six months. When Steve confesses he has cheated on her, Miranda is devastated and immediately separates from him. At Carrie and Big's rehearsal dinner, Steve tries to reconcile with Miranda, but she rebuffs him. Still upset with Steve, she tells Big bluntly that marriage ruins everything. On the wedding day, Big is too fearful to go through with the ceremony. Carrie, devastated, flees the wedding. Samantha stays behind to clear the guests. Big changes his mind and catches up with Carrie in an attempt to reconcile. Carrie furiously attacks him with her bouquet while he earns scathing looks from Miranda and Charlotte. To console Carrie, the four women take the honeymoon that Carrie had booked to Mexico, where they de-stress and collect themselves. Upon returning to New York, Carrie hires an assistant, Louise (Jennifer Hudson), to help her manage her life. Miranda eventually confesses to Carrie about what happened at the rehearsal dinner, and the two briefly fall out. After reflecting on the argument she had with Carrie, Miranda agrees to attend couples counseling with Steve, and they are eventually able to reconcile. Samantha finds her five-year-old relationship humdrum and begins over-eating to keep from cheating on Smith. She eventually realizes that she needs to put herself first, so she says farewell to Smith and moves back to New York. Around the same time, Louise quits her job as Carrie's assistant to get married. Charlotte learns she is pregnant, and for several months is fearful that something might happen to her baby. Carrie put her fear to rest. Later, Charlotte has a surprise encounter with Big that leaves her so outraged that her water breaks. Big takes her to the hospital and waits until baby Rose is born, hoping to see Carrie. Harry passes on the message that Big would like her to call him, and that he has written her frequently, but never received a reply. Carrie searches her correspondence and finds that he has sent her dozens of letters copied from the book she read him before their wedding, culminating with one of his own where he apologizes for screwing them up and promises to love her forever. Carrie travels to the house Big had bought for them to collect a pair of Manolo Blahnik shoes she had left there. She finds Big in the walk-in closet he had built for her, and the moment she sees him, her anger at his betrayal dissipates. They share a passionate kiss, and Big proposes to Carrie properly, using one of her diamond-encrusted shoes in place of a ring. They later marry alone, in a simple wedding in New York City Hall, with Carrie wearing a simple dress. Miranda, Samantha, and Charlotte turn up to surprise Carrie. The film ends with the four women sipping cosmopolitans, celebrating Samantha's fiftieth birthday, with Carrie making a toast to the next fifty.
|
<script>
<scene>
<stage_direction>EXT. 5TH AVENUE -- NEW YORK CITY -- DAY -- SUMMER</stage_direction>
<scene_description>Glistening city buildings reflect onto the WINDOW of an upscale clothing boutique . In the window - a MANNEQUIN is wearing - the best of everything . A PRETTY TWENTY - SOMETHING girl looks in at the display : dreaming of the day .</scene_description>
<character>CARRIE</character>
<parenthetical>( V.O . )</parenthetical>
<dialogue>Year after year, twenty - something women come to New York City in search of the two `` L's'' : labels and love.</dialogue>
<scene_description>Four TWENTY - SOMETHING WOMEN walk away from us - arms linked LAUGHING - They make their way down the busy street - shopping bags and designer purses swinging . The young women reveal : CARRIE BRADSHAW -LRB- 41 -RRB- and fabulous - walking towards us . She watches them as they pass , a SMILE grows on her face .</scene_description>
<character>CARRIE</character>
<parenthetical>( V.O . )</parenthetical>
<dialogue>Twenty years ago. I was one of them.</dialogue>
<scene_description>She walks along , her shopping bag - swinging . Carrie on step ladder , barefoot . Her finger moves along a series of DESIGNER shoe boxes .</scene_description>
<character>CARRIE</character>
<parenthetical>( V.O . )</parenthetical>
<dialogue>Having gotten the knack for labels early. I concentrated on my search for love.</dialogue>
<scene_description>Summer night . Couples everywhere . Carrie walks along .</scene_description>
<character>CARRIE</character>
<parenthetical>( V.O . )</parenthetical>
<dialogue>Turns out, a `` knock - off'' is not as easy to spot when comes to love.</dialogue>
<scene_description>She passes a twenty - something girl and guy huddled very close together . Suddenly , the girl SLAPS HIM across the face .</scene_description>
<character>CARRIE</character>
<parenthetical>( V.O. ; CONT 'D . )</parenthetical>
<dialogue>Until it is.</dialogue>
<scene_description>CARRIE reacts , and trots along . CARRIE and preppy perfect CHARLOTTE walk along , talking .</scene_description>
<character>CARRIE</character>
<parenthetical>( V.O . )</parenthetical>
<dialogue>That is why you need help to spot them.</dialogue>
<scene_description>JUMP CUT TO : Carrie , Charlotte and MIRANDA walk along talking .</scene_description>
<character>CARRIE</character>
<parenthetical>( CONT 'D . )</parenthetical>
<dialogue>Lots of help.</dialogue>
<scene_description>JUMP CUT TO : Carrie , Charlotte , Miranda and SAMANTHA walk along ; LAUGHING - their shopping bags and designer purses swinging . The front of Carrie 's building . She is typing in her window . Carrie at her desk - typing . CLOSE ON the computer screen - Written on it : `` Charlotte , Miranda and Samantha . ''</scene_description>
<character>CARRIE</character>
<parenthetical>( V.O . )</parenthetical>
<dialogue>Year after year, my single girlfriends were my salvation. And, as it turns out.</dialogue>
<scene_description>CLOSE ON : A colorful CHICK LIT book cover : `` A Single Life '' by Carrie Bradshaw .</scene_description>
<character>CARRIE</character>
<parenthetical>( V.O . )</parenthetical>
<dialogue>My meal ticket.</dialogue>
<scene_description>CARRIE - standing on her bed placing it next to her TWO other books : `` Sex and The City '' and `` Menhattan '' A framed photo of four girls -LRB- circa 1999 -RRB- is also on the shelf . She picks it up - Touches it sweetly .</scene_description>
<character>CARRIE</character>
<parenthetical>( V.O. ; CONT 'D . )</parenthetical>
<dialogue>We still are those four single girls.</dialogue>
<scene_description>CARRIE in a sexy , summer dress , spots someone - waves -</scene_description>
<character>CARRIE</character>
<parenthetical>( V.O . )</parenthetical>
<dialogue>Even though, technically. we're not.</dialogue>
<scene_description>She hurries across the street to meet that SOMEONE . MIRANDA -LRB- 41 -RRB- and BRADY -LRB- 5 -RRB- are filling an inflatable pool with water from a hose . As STEVE approaches with Popsicles , they squirt him with the hose . He grabs them ; laughing .</scene_description>
<character>CARRIE</character>
<parenthetical>( V.O . )</parenthetical>
<dialogue>One of us is married.</dialogue>
<scene_description>Charlotte -LRB- 40 -RRB- and HARRY and their beautiful Asian daughter LILY -LRB- 3 -RRB- go around . Lily giggles , they kvell .</scene_description>
<character>CARRIE</character>
<parenthetical>( V.O . )</parenthetical>
<dialogue>One of us. married, divorced and re - married.</dialogue>
<scene_description>The deck of fabulous Malibu beachouse . Samantha -LRB- 49 -RRB- sits near the pool wearing a white bikini and huge white sunglasses making deals on the phone as SMITH lays nearby in a bathing suit - reading a script .</scene_description>
<character>CARRIE</character>
<parenthetical>( V.O . )</parenthetical>
<dialogue>One of us. relocated.</dialogue>
<scene_description>Carrie walks over and into the arms of that SOMEONE - it 's MR. BIG - waiting for her in front of an apartment building .</scene_description>
<character>CARRIE</character>
<parenthetical>( V.O . )</parenthetical>
<dialogue>And. one of us stayed exactly where she was.</dialogue>
<scene_description>They kiss . A good kiss .</scene_description>
<character>CARRIE</character>
<parenthetical>( V.O. ; CONT 'D . )</parenthetical>
<dialogue>In love.</dialogue>
<scene_description>A kiss worth waiting four years to see . They turn and start into the classic apartment building . The doorman tips his hat and opens the door . Carrie and Big walk through the beautiful lobby and over to the elevator . holding hands .</scene_description>
<character>BIG</character>
<dialogue>I got a good feeling about this one, kid.</dialogue>
<character>CARRIE</character>
<dialogue>I've always loved this block.</dialogue>
<character>CARRIE</character>
<parenthetical>( V.O. ; CONT 'D . )</parenthetical>
<dialogue>Finding the perfect apartment in New York City is like finding the perfect partner. It can take years.</dialogue>
<scene_description>They push the elevator button . Doors open . They step on .</scene_description>
<character>BIG</character>
<dialogue>How many does this make?</dialogue>
<character>CARRIE</character>
<dialogue>This is thirty - three.</dialogue>
<character>BIG</character>
<dialogue>Lucky thirty - three!</dialogue>
<scene_description>They laugh a little as the doors close on the elevator .</scene_description>
</scene>
<scene>
<stage_direction>INT. FIFTH AVE BUILDING - BAD APARTMENT/HALL -- MOMENTS LATER</stage_direction>
<scene_description>A door is opened up by CAROL -LRB- 55 -RRB- their real estate agent .</scene_description>
<character>CAROL</character>
<dialogue>The worst. I just left you a message.</dialogue>
<scene_description>Carrie and Big look in . The apartment is dark , claustrophobic - awful . A male BUILDING AGENT -LRB- 40 -RRB- stands here . The smiles leave Carrie and Big 's faces .</scene_description>
<character>CARRIE</character>
<parenthetical>( to Big . )</parenthetical>
<dialogue>Thirty - four. Lucky thirty - four?</dialogue>
<scene_description>Big looks over at her . She shrugs . The Building Agent holds the elevator doors open for Carrie , Big and Carol as they get on .</scene_description>
<character>CARRIE</character>
<dialogue>If anything else opens up let us know. We're very interested in this building.</dialogue>
<character>AGENT</character>
<dialogue>I do have another apartment that's not even on the market yet. Care to take a look?</dialogue>
<character>CARRIE/BIG</character>
<dialogue>Sure.</dialogue>
<character>AGENT</character>
<dialogue>It's more than you were looking to pay.</dialogue>
<character>CAROL</character>
<dialogue>How much more?</dialogue>
<character>AGENT</character>
<dialogue>More.</dialogue>
<scene_description>The Agent reaches over and presses the `` PH '' button on the control panel . Carrie and Big react . A gorgeous pre - war penthouse apartment . Empty except for the beautiful light . Old - world New York City style . Elevator doors open into the penthouse foyer . Carrie and Big step in .</scene_description>
<character>BIG</character>
<dialogue>Oh, so this is where they keep the light.</dialogue>
<character>CARRIE</character>
<dialogue>Oh my God. I've died and gone to real estate heaven. Look at this place.</dialogue>
<scene_description>She swirls around to Big - very grand dame ; with accent .</scene_description>
<character>CARRIE</character>
<parenthetical>( CONT 'D . )</parenthetical>
<dialogue>Hellooo, I live here.</dialogue>
<scene_description>Carrie starts giggling . Big looks over to the agents .</scene_description>
<character>BIG</character>
<dialogue>Must be the altitude.</dialogue>
<scene_description>Big smiles . Carrie laughs as the Agent walks on .</scene_description>
<character>AGENT</character>
<dialogue>And across the rooftop terrace -</dialogue>
<character>CARRIE</character>
<dialogue>What - Nirvana?</dialogue>
<character>AGENT</character>
<dialogue>Your wife has quite a sense of humor.</dialogue>
<character>CAROL</character>
<parenthetical>( Cool/quick . )</parenthetical>
<dialogue>They're not married.</dialogue>
<character>CARRIE</character>
<dialogue>No, he's my boyfriend.</dialogue>
<character>AGENT</character>
<dialogue>This way.</dialogue>
<scene_description>The agent and Carol start out across the terrace . Big and Carrie follow lagging a little behind .</scene_description>
<character>BIG</character>
<dialogue>Are n't I a little old to be introduced as your boyfriend?</dialogue>
<character>CARRIE</character>
<dialogue>Point taken. From now on. you'll be my man friend.</dialogue>
<character>BIG</character>
<dialogue>Sounds like a dog.</dialogue>
<character>CARRIE</character>
<dialogue>Well, if the shoe fits.</dialogue>
<scene_description>She gives him a look . He swats her ass , gently as they go . Carrie and Big lead the way into the bedroom . Big windows , high ceilings . Beautiful light as well .</scene_description>
<character>AGENT</character>
<dialogue>And this is the master bedroom.</dialogue>
<character>CARRIE</character>
<dialogue>Hideous. Hate it. Hurts my eyes.</dialogue>
<scene_description>Big laughs , Carrie walks around taking it in .</scene_description>
<character>CARRIE</character>
<parenthetical>( CONT 'D . )</parenthetical>
<dialogue>How is this place even available?</dialogue>
<character>AGENT</character>
<dialogue>Nasty divorce.</dialogue>
<character>CARRIE</character>
<dialogue>If you live here what is there to fight about?</dialogue>
<scene_description>Carrie opens the closet door . It is very small .</scene_description>
<character>CARRIE</character>
<parenthetical>( CONT 'D . )</parenthetical>
<dialogue>This is the master closet? No.</dialogue>
<character>AGENT</character>
<dialogue>Yes. Small for a room this size. I know.</dialogue>
<character>CARRIE</character>
<dialogue>Hmmm. Hmmm. Now, I understand the divorce.</dialogue>
<character>BIG</character>
<dialogue>I can build you a better closet.</dialogue>
<scene_description>Carrie looks at him ; aghast . He smiles .</scene_description>
<character>BIG</character>
<parenthetical>( CONT 'D . )</parenthetical>
<dialogue>Welcome home, baby.</dialogue>
<character>CARRIE</character>
<dialogue>Can we afford this?</dialogue>
<character>BIG</character>
<dialogue>I got it.</dialogue>
<scene_description>Carrie screams with joy and shock . He laughs , thrilled . Carrie , Miranda and Charlotte walk down the street .</scene_description>
<character>CARRIE</character>
<dialogue>`` I got it.'' Just like that. `` I got it'' - like he was picking up the check for coffee or something.</dialogue>
<character>CHARLOTTE</character>
<dialogue>It sounds perfect.</dialogue>
<character>CARRIE</character>
<dialogue>Except for the closet which Big says he can redo - also he says the kitchen needs work but I do n't know about that ` cause I keep sweaters in my stove.</dialogue>
<scene_description>Carrie and Charlotte laugh .</scene_description>
<character>MIRANDA</character>
<dialogue>So, he bought it - and you're going to live there with him?</dialogue>
<character>CARRIE</character>
<dialogue>Yes, together. That's right.</dialogue>
<character>MIRANDA</character>
<dialogue>But he'll own it. So. You are keeping your own place, right?</dialogue>
<character>CARRIE</character>
<dialogue>Oh, Miranda, please, I have n't figured out all the details yet, but I'm a smart girl and I'm sure I'll figure out something I'm comfortable with.</dialogue>
<character>MIRANDA</character>
<dialogue>I just want to make sure you're being smart here -</dialogue>
<character>CARRIE</character>
<dialogue>And I love you for it - but for now ca n't you stop worrying for me and just go ahead and feel what I want you to feel. Jealous.</dialogue>
<scene_description>Miranda smiles . Carrie puts her arm around her .</scene_description>
<character>CARRIE</character>
<parenthetical>( CONT 'D . )</parenthetical>
<dialogue>Jealous of me living in this gorgeous penthouse in Manhattan.</dialogue>
<character>MIRANDA</character>
<dialogue>Fine. I'm jealous. You're in real estate heaven and I'm in Brooklyn.</dialogue>
<character>CHARLOTTE</character>
<dialogue>New York magazine said Brooklyn is the new Manhattan.</dialogue>
<character>MIRANDA</character>
<dialogue>Whoever wrote that - lives in Brooklyn.</dialogue>
<character>CARRIE</character>
<dialogue>There she is. Hey Hollywood!</dialogue>
<scene_description>Samantha is standing out in front of Christies . She waves to them - as she finishes a call .</scene_description>
<character>SAMANTHA</character>
<parenthetical>( on phone . )</parenthetical>
<dialogue>Samantha Jones. Smith Jerrod's manager - I'm in New York ` till Monday.</dialogue>
<scene_description>She hangs up ; as they reach her .</scene_description>
<character>CARRIE</character>
<parenthetical>( CONT 'D . )</parenthetical>
<dialogue>How was your flight?</dialogue>
<character>SAMANTHA</character>
<dialogue>Fabulous. Let's go in - I am so excited!</dialogue>
</scene>
<scene>
<stage_direction>INT. CHRISTIE'S AUCTION HOUSE/LOBBY -- DAY -- MOMENTS LATER</stage_direction>
<scene_description>A lobby bustling with NEW YORK WOMEN . All types . Carrie , Samantha , Charlotte and Miranda make their way through them .</scene_description>
<character>CARRIE</character>
<parenthetical>( V.O . )</parenthetical>
<dialogue>It was a rare occasion that brought all types of women together. The socialites, the trendies the yuppies, the yentas.</dialogue>
<scene_description>The girls gently move past by an elderly YENTA , who reacts .</scene_description>
<character>YENTA</character>
<dialogue>Why the pushing?</dialogue>
<scene_description>Carrie and the girls enter a room filled with dramatically lit jewelry cases that display amazing jewelry . On the walls around the gallery are large photos of a BEAUTIFUL RAVEN HAIRED WOMAN -LRB- 45 -RRB- . She is captured in candid poses `` out and about '' New York city at various social events wearing the jewelry on display .</scene_description>
<character>CARRIE</character>
<parenthetical>( V.O. ; CONT 'D . )</parenthetical>
<dialogue>Blair Elkenn was a waitress turned model turned actress turned billionaire's girlfriend who came home one night to find herself unceremoniously turned out on the street.</dialogue>
<scene_description>Samantha , Carrie and Charlotte page through the catalogues as they walk . Miranda types on her Blackberry .</scene_description>
<character>CARRIE</character>
<parenthetical>( V.O. ; CONT 'D . )</parenthetical>
<dialogue>And now she was getting the ultimate break - up revenge. An embarrassing and very public auction of all the jewelry he had given her when they were happy.</dialogue>
<scene_description>The girls stop . Floating in a case at their eye level is a unique , `` two finger '' FLOWER RING made out of diamonds .</scene_description>
<character>SAMANTHA</character>
<dialogue>There it is. My baby.</dialogue>
<character>CARRIE/BIG</character>
<dialogue>And she's a beauty.</dialogue>
<character>SAMANTHA</character>
<dialogue>When I saw this in the catalogue I said to Smith : This flower ring is the essence of me. One of a kind, filled with fire.</dialogue>
<character>CARRIE</character>
<dialogue>And a little too much.</dialogue>
<character>SAMANTHA</character>
<dialogue>Exactly. Come on. Let's go spend some of my hard - earned Hollywood money.</dialogue>
<scene_description>They make their way to the auction room .</scene_description>
<character>MIRANDA</character>
<dialogue>Hey - what's coming up on Smith's series? Is he going to sleep with that new blonde neurosurgeon?</dialogue>
<character>SAMANTHA</character>
<dialogue>He sleeps with every hot woman doctor in that hospital.</dialogue>
<character>MIRANDA</character>
<dialogue>Great. Ca n't wait.</dialogue>
<character>CHARLOTTE</character>
<dialogue>Do n't you ever get weirded out by seeing Smith in bed with all those other women?</dialogue>
<character>SAMANTHA</character>
<dialogue>No, I think it's hot. Sometimes, when I'm alone, I masturbate right along with them.</dialogue>
<character>CARRIE</character>
<dialogue>And people say the golden age of television is over.</dialogue>
<character>SAMANTHA</character>
<dialogue>Besides, it's fake sex. When they're doing it - no one's actually turned on.</dialogue>
<character>MIRANDA</character>
<dialogue>Kinda like Steve and I.</dialogue>
<scene_description>Miranda laughs . Everyone looks .</scene_description>
<character>MIRANDA</character>
<parenthetical>( CONT 'D . )</parenthetical>
<dialogue>I'm kidding.</dialogue>
<parenthetical>( Beat ; then . )</parenthetical>
<dialogue>But come one - it's been seven years. He does that, I do this. It's not like a new plot twist is going to turn up.</dialogue>
<scene_description>A DISTINGUISHED WOMAN AUCTIONEER is at a podium .</scene_description>
<character>AUCTIONEER</character>
<dialogue>Next item. The flower ring.</dialogue>
<scene_description>Samantha sits up , ready . An electric buzz moves through the crowd .</scene_description>
<character>CARRIE</character>
<parenthetical>( V.O . )</parenthetical>
<dialogue>If Schadenfreude is the word for feeling pleasure at someone else misfortune - This was `` jewelryfreude.''</dialogue>
<character>AUCTIONEER</character>
<dialogue>Let's start the bidding at ten thousand.</dialogue>
<scene_description>Samantha raises her number . The Auctioneer nods .</scene_description>
<character>AUCTIONEER</character>
<parenthetical>( CONT 'D . )</parenthetical>
<dialogue>Thank you madame. Do I hear fifteen?</dialogue>
<scene_description>A WOMAN IN A BUSINESS SUIT -LRB- 40 -RRB- on a phone , raises her number . Samantha looks over at her .</scene_description>
<character>SAMANTHA</character>
<dialogue>Bitch.</dialogue>
<character>CARRIE</character>
<dialogue>And the gloves are off.</dialogue>
<character>AUCTIONEER</character>
<dialogue>Do I hear twenty?</dialogue>
<scene_description>Samantha raises her number .</scene_description>
<character>AUCTIONEER</character>
<parenthetical>( CONT 'D . )</parenthetical>
<dialogue>Twenty. Do I hear twenty - five?</dialogue>
<scene_description>The Woman raises her number .</scene_description>
<character>AUCTIONEER</character>
<parenthetical>( CONT 'D . )</parenthetical>
<dialogue>Twenty - five. Thirty?</dialogue>
<scene_description>Samantha raises her number . Carrie 's eyes widen .</scene_description>
<character>AUCTIONEER</character>
<parenthetical>( CONT 'D . )</parenthetical>
<dialogue>Thirty - five?</dialogue>
<scene_description>The Woman is talking with someone on the phone .</scene_description>
<character>MIRANDA</character>
<dialogue>She's bidding for someone on the phone.</dialogue>
<character>CHARLOTTE</character>
<dialogue>That's not fair.</dialogue>
<scene_description>The Woman raises her hand . Charlotte gives her a look .</scene_description>
<character>AUCTIONEER</character>
<dialogue>Thirty - five. Forty?</dialogue>
<character>SAMANTHA</character>
<dialogue>I deserve this. I work hard.</dialogue>
<character>AUCTIONEER</character>
<dialogue>Do I hear forty?</dialogue>
<scene_description>Samantha raises her hand .</scene_description>
<character>AUCTIONEER</character>
<parenthetical>( CONT 'D . )</parenthetical>
<dialogue>Do I hear forty fi -</dialogue>
<scene_description>The Woman quickly raises her hand . Auctioneer nods .</scene_description>
<character>AUCTIONEER</character>
<parenthetical>( CONT 'D . )</parenthetical>
<dialogue>Fifty?</dialogue>
<character>SAMANTHA</character>
<dialogue>Sex with only one man for I do n't know how long.</dialogue>
<character>AUCTIONEER</character>
<dialogue>Do I hear fifty thousand?</dialogue>
<character>SAMANTHA</character>
<parenthetical>( Beat ; loud . )</parenthetical>
<dialogue>Fifty fucking thousand!</dialogue>
<scene_description>A LAUGH ripples through the room . Samantha glares at the rival woman , almost daring her . Carrie looks afraid .</scene_description>
<character>AUCTIONEER</character>
<dialogue>Fifty - five?</dialogue>
<scene_description>The Woman raises her hand . Samantha reacts disappointed . The Auctioneer looks at Samantha .</scene_description>
<character>AUCTIONEER</character>
<parenthetical>( CONT 'D . )</parenthetical>
<dialogue>Sixty? Sixty to our colorful bidder?</dialogue>
<character>SAMANTHA</character>
<parenthetical>( to Carrie . )</parenthetical>
<dialogue>I draw the line at fifty.</dialogue>
<scene_description>Samantha shakes her head no . Carrie rubs her arm . Carrie , Samantha , Miranda and Charlotte are primping in front of the mirror .</scene_description>
<character>CHARLOTTE</character>
<dialogue>I thought this auction would be more fun. but it's kinda sad.</dialogue>
<scene_description>A BABY VOICED WOMAN -LRB- 45 -RRB- next to Charlotte overhears .</scene_description>
<character>BABY VOICED WOMAN</character>
<dialogue>Is n't it?</dialogue>
<scene_description>They look over at her .</scene_description>
<character>BABY VOICED WOMAN</character>
<parenthetical>( CONT 'D . )</parenthetical>
<dialogue>I thought it was just sad for me ` cause I know her. But it's really sad, huh? And it's funny cause they were so happy.</dialogue>
<character>SAMANTHA</character>
<dialogue>Till they were n't</dialogue>
<character>BABY VOICED WOMAN</character>
<dialogue>I know, right? We all told her to get married - but she did n't want to push him. He'd been married three other times. So, she let it ride and then she came home one night and he had locked her out. She did n't even have anywhere to live. After ten years. Such a shame. She was a smart girl till she fell in love.</dialogue>
<scene_description>Carrie catches Miranda 's eye in the mirror , looks away . Big takes a bright red lobster out of a pot of hot water with tongs . He places it next to another cooked lobster . He walks to the cooking island where Carrie sits ; sipping wine .</scene_description>
<character>BIG</character>
<dialogue>The creatures are ready. Just gon na sit there?</dialogue>
<character>CARRIE</character>
<dialogue>I'm not sitting, I'm thinking.</dialogue>
<character>BIG</character>
<dialogue>Here. Husk and think.</dialogue>
<scene_description>He winks - puts two ears of corn in front of her , then starts chopping tomatoes .</scene_description>
<character>CARRIE</character>
<dialogue>I'm thinking I'm going to sell my apartment and put the money towards heaven on Fifth.</dialogue>
<character>BIG</character>
<dialogue>Why? You love your place.</dialogue>
<character>CARRIE</character>
<dialogue>I know but -</dialogue>
<character>BIG</character>
<dialogue>But what?</dialogue>
<character>CARRIE</character>
<dialogue>We're together ever night - so I'm basically paying a mortgage on a glorified closet.</dialogue>
<character>BIG</character>
<dialogue>You write there. It's your office.</dialogue>
<character>CARRIE</character>
<dialogue>There's plenty of room at the new place and - besides. I want to make us - a life there. I want it to be ours.</dialogue>
<character>BIG</character>
<dialogue>It is ours. I bought it for us.</dialogue>
<character>CARRIE</character>
<dialogue>And that's so amazing - but you bought it, so it's really your place. And - if anything were to happen.</dialogue>
<character>BIG</character>
<dialogue>What's going to happen?</dialogue>
<character>CARRIE</character>
<dialogue>I have to be smart here. I mean, we're not married and I'd have no legal rights to. this home that I built. with you.</dialogue>
<scene_description>Silence . He thinks . Chops . She husks .</scene_description>
<character>BIG</character>
<dialogue>Did you want to get married?</dialogue>
<character>CARRIE</character>
<dialogue>I did n't think it was an option.</dialogue>
<character>BIG</character>
<dialogue>Well, Mr. Bradshaw, what if it was an option?</dialogue>
<scene_description>She hits him with a husk . He smiles .</scene_description>
<character>CARRIE</character>
<dialogue>Well, people are always assuming we are.</dialogue>
<character>BIG</character>
<dialogue>And you know what happens when people assume. They make an ass out of who?</dialogue>
<character>CARRIE</character>
<dialogue>You and me.</dialogue>
<scene_description>He smiles . She smiles . Chop . Chop .</scene_description>
<character>BIG</character>
<dialogue>What do you think, kid?</dialogue>
<character>CARRIE</character>
<dialogue>Why - Do you want to get married?</dialogue>
<character>BIG</character>
<dialogue>Well, I would n't mind be married to you. Would you mind being married to me?</dialogue>
<character>CARRIE</character>
<dialogue>No, if that's what you want. Is that what you want?</dialogue>
<character>BIG</character>
<dialogue>I want you. So. Okay.</dialogue>
<character>CARRIE</character>
<dialogue>Okay. Really? We're getting married.</dialogue>
<character>BIG</character>
<dialogue>We're getting married.</dialogue>
<parenthetical>( Beat . )</parenthetical>
<dialogue>Should we get you a diamond?</dialogue>
<character>CARRIE</character>
<dialogue>No, please, do n't get me a diamond.</dialogue>
<parenthetical>( Beat ; then . )</parenthetical>
<dialogue>Get me a really big closet.</dialogue>
<character>BIG</character>
<dialogue>Deal.</dialogue>
<scene_description>He puts out his hand . She takes it and they shake .</scene_description>
<character>BIG</character>
<parenthetical>( CONT 'D . )</parenthetical>
<dialogue>But. You got ta do better on that corn. Look at all the stuff left on there.</dialogue>
<scene_description>She looks down at her corn , he 's right . She nods . Crowded ; serious lunch crowd . Carrie sits across from Charlotte and Miranda . Miranda is in a work suit .</scene_description>
<character>CARRIE</character>
<dialogue>So, the other night, Big and I were talking about, you know, moving in together and our future.</dialogue>
<scene_description>Charlotte 's eyes are getting wider and wider .</scene_description>
<character>CARRIE</character>
<parenthetical>( CONT 'D . )</parenthetical>
<dialogue>And about what makes sense as we move forward. And, well. we decided to get married.</dialogue>
<scene_description>Charlottes SCREAMS at the top of her lungs . Carrie and Miranda and the ENTIRE RESTAURANT REACT .</scene_description>
<character>MIRANDA</character>
<dialogue>and I'm deaf.</dialogue>
<character>CARRIE</character>
<dialogue>Everyone's looking</dialogue>
<scene_description>Charlotte looks around at the DISGRUNTLED FACES . She half - stands and address the DINERS looking at her .</scene_description>
<character>CHARLOTTE</character>
<dialogue>Sorry! I'm sorry. but my friend here, just got engaged and she's been going out with the man for ten years.</dialogue>
<scene_description>The DINERS bursts into APPLAUSE . Carrie slumps in her chair , pulls up her sweater collar , turns to Miranda .</scene_description>
<character>CARRIE</character>
<dialogue>I am mortified.</dialogue>
<character>MIRANDA</character>
<dialogue>There is literally a ringing in my ear.</dialogue>
<scene_description>A large PHOTO of Smith . Samantha walks past it and up a sleek , modern office building stairway . Her cell rings .</scene_description>
<character>SAMANTHA</character>
<dialogue>Samantha Jones -</dialogue>
<scene_description>Intercut with Carrie walking through the upscale boutique talking on her pink Swarovski crystal - covered cell phone .</scene_description>
<character>CARRIE</character>
<dialogue>Well. I made a little decision that I hope you'll be happy about.</dialogue>
<character>SAMANTHA</character>
<dialogue>Oh, honey. you finally got Botox.</dialogue>
<character>CARRIE</character>
<dialogue>No. I did not get Botox</dialogue>
<character>SAMANTHA</character>
<dialogue>I'm telling you, Carrie - you'll love it.</dialogue>
<character>CARRIE</character>
<dialogue>I did not call to talk about Botox.</dialogue>
<character>SAMANTHA</character>
<dialogue>I'm just saying.</dialogue>
<scene_description>Samantha reaches the top of the stairs . Blow - ups of Smith on various magazine covers line the walls of the chic , small office space .</scene_description>
<character>CARRIE</character>
<dialogue>So. Last week, after the auction, I started thinking about my options.</dialogue>
<character>SAMANTHA</character>
<dialogue>Right.</dialogue>
<character>CARRIE</character>
<dialogue>Right, and. well, Big and I decided to get married.</dialogue>
<character>SAMANTHA</character>
<dialogue>Really?</dialogue>
<character>CARRIE</character>
<dialogue>Yes.</dialogue>
<character>SAMANTHA</character>
<dialogue>That's great.</dialogue>
<character>CARRIE</character>
<dialogue>You sounded more excited about the botox.</dialogue>
<character>SAMANTHA</character>
<dialogue>Well, honey - I am excited for you but - you know me. I do n't really believe in marriage. Botox on the other hand - That works every time.</dialogue>
<scene_description>A RECEPTIONIST -LRB- 23 -RRB- hands her some messages .</scene_description>
<character>SAMANTHA</character>
<parenthetical>( CONT 'D . )</parenthetical>
<dialogue>Honey, I've got to go. The People magazine person is on hold. Smith's on the short list to be their `` Sexiest Man Alive.'' We can catch up when I'm in town next week.</dialogue>
<scene_description>Samantha hangs up . Carrie looks at her phone : dismissed and disappointed . She closes it and walks on . Carrie rounds a corner . Her phone rings .</scene_description>
<character>CARRIE</character>
<dialogue>Hello?</dialogue>
<scene_description>Intercut with Samantha standing in her office .</scene_description>
<character>SAMANTHA</character>
<dialogue>I think I was in shock. I mean, it's you getting married. This is not some random person - it's you.</dialogue>
<character>CARRIE</character>
<dialogue>I hear ya.</dialogue>
<character>SAMANTHA</character>
<dialogue>And I guess, I thought that after that big mess with Aidan - you'd never want to get married.</dialogue>
<character>CARRIE</character>
<dialogue>I know.</dialogue>
<character>SAMANTHA</character>
<dialogue>So, I put you in my `` we're never getting married'' file. Now, I've got to take you out of that file.</dialogue>
<character>CARRIE</character>
<dialogue>Sorry about the extra paper work.</dialogue>
<character>SAMANTHA</character>
<dialogue>You'll get my bill.</dialogue>
<character>CARRIE</character>
<dialogue>Samantha, it feels so different this time. No cliché romantic kneeling down on one knee. Just you know, two grown - ups - making a decision about spending their lives together.</dialogue>
<character>SAMANTHA</character>
<dialogue>Well, I'm happy for you.</dialogue>
<character>CARRIE</character>
<dialogue>And one more thing. I want you to be maid of honor. How do you feel about that?</dialogue>
<character>SAMANTHA</character>
<dialogue>The same way you feel about Botox. Painful and unnecessary.</dialogue>
<scene_description>Carrie laughs . Samantha shrugs . Carrie and Charlotte sit on her bed looking through a list of names . ANTHONY sits at her makeup vanity . He has a large notebook open in front of him .</scene_description>
<character>CHARLOTTE</character>
<dialogue>74, 75, 76. Seventy - six guests.</dialogue>
<character>ANTHONY</character>
<dialogue>Seventy five sounds better. `` A small, wedding of seventy five guests.''</dialogue>
<scene_description>Carrie looks at the list .</scene_description>
<character>CARRIE</character>
<parenthetical>( V.O . )</parenthetical>
<dialogue>As a wedding gift, Charlotte had given me Anthony Marantino - friend and wedding planner.</dialogue>
<scene_description>Carrie crosses someone off . Charlotte reacts , shocked .</scene_description>
<character>CARRIE</character>
<parenthetical>( CONT 'D . )</parenthetical>
<dialogue>What? She was borderline anyway.</dialogue>
<character>ANTHONY</character>
<dialogue>Cut throat - I love it. I hope you're that decisive when it comes to the location and the dress.</dialogue>
<character>CARRIE</character>
<dialogue>Oh. I found the dress.</dialogue>
<character>CHARLOTTE</character>
<dialogue>What?! When?</dialogue>
<character>CARRIE</character>
<dialogue>The other day. I have it here.</dialogue>
<scene_description>Carrie gets up and goes into the closet . Anthony hurries over and sits next to Charlotte .</scene_description>
<character>ANTHONY</character>
<dialogue>This is going to be good!</dialogue>
<character>CHARLOTTE</character>
<dialogue>I'm so excited!</dialogue>
<character>CARRIE</character>
<parenthetical>( V.O . )</parenthetical>
<dialogue>Here it is.</dialogue>
<scene_description>Anthony and Charlotte grab hands in anticipation as Carrie comes out of her closet . She holds up a simple OFF - WHITE VINTAGE SUIT . Charlotte and Anthony deflate .</scene_description>
<character>CARRIE</character>
<parenthetical>( CONT 'D . )</parenthetical>
<dialogue>Well. that was the exact reaction I was aiming for.</dialogue>
<character>CHARLOTTE</character>
<dialogue>No, it's pretty but it's so - simple.</dialogue>
<character>CARRIE</character>
<dialogue>Simple and classic. When I saw it I just thought : That is what I should marry Big in.</dialogue>
<character>ANTHONY</character>
<dialogue>Well, who's it by? The label?</dialogue>
<character>CARRIE</character>
<dialogue>No one. I found it in a vintage shop.</dialogue>
<character>ANTHONY</character>
<dialogue>`` The bride wore a dress by no one.''</dialogue>
<scene_description>She turns and heads back into the closet .</scene_description>
<character>CARRIE</character>
<parenthetical>( As she goes . )</parenthetical>
<dialogue>Do n't worry, I'll style it up with shoes.</dialogue>
<scene_description>Anthony turns to Charlotte and says in a low voice .</scene_description>
<character>ANTHONY</character>
<dialogue>The invitation is fancier than the dress.</dialogue>
<character>CARRIE</character>
<parenthetical>( O.C . )</parenthetical>
<dialogue>I heard that.</dialogue>
<scene_description>A `` family style '' Italian restaurant . Miranda , in business clothes , sits with Steve , Brady and MAGDA . Brady 's face is covered in spaghetti sauce .</scene_description>
<character>CARRIE</character>
<parenthetical>( V.O . )</parenthetical>
<dialogue>And from Anthony Marantino to spaghetti marinara.</dialogue>
<character>MIRANDA</character>
<dialogue>Where is he with the check?</dialogue>
<character>STEVE</character>
<dialogue>Geese, Miranda - relax. Magda's not even finished yet.</dialogue>
<character>MIRANDA</character>
<dialogue>I still have a legal brief to work on when I get home.</dialogue>
<character>BRADY</character>
<dialogue>I have to go to the bathroom.</dialogue>
<character>MAGDA</character>
<dialogue>I'll take him. Wash that beautiful face too, yes?</dialogue>
<scene_description>Brady nods . Magda walks away with Brady . Miranda is packing up Brady 's action figures . Steve gives her a look .</scene_description>
<character>MIRANDA</character>
<dialogue>What? I'm sorry. I'm exhausted. Brady woke me up at five AM.</dialogue>
<character>STEVE</character>
<dialogue>He woke me up too.</dialogue>
<scene_description>Silence . She sips her cappuccino . Foam covers her top lip . He looks over at her and smiles .</scene_description>
<character>STEVE</character>
<parenthetical>( CONT 'D . )</parenthetical>
<dialogue>You got milk on your top lip.</dialogue>
<scene_description>She licks it off , not pleased .</scene_description>
<character>STEVE</character>
<parenthetical>( CONT 'D . )</parenthetical>
<dialogue>What now?</dialogue>
<character>MIRANDA</character>
<dialogue>It's like you're always criticizing me.</dialogue>
<character>STEVE</character>
<dialogue>I am not.</dialogue>
<parenthetical>( Beat ; then , cute . )</parenthetical>
<dialogue>You want to go through life with foam on your lip and no one telling you?</dialogue>
<scene_description>Silence . He reaches down and picks up her coffee cup and sips . putting lots of foam on his lip . He looks over .</scene_description>
<character>STEVE</character>
<parenthetical>( CONT 'D . )</parenthetical>
<dialogue>Anything you want to tell me?</dialogue>
<scene_description>She shakes her head : No . He puts his face in front of hers . She laughs . He licks his lip . Steve is in bed with Miranda , they are making love . She is wearing a T - shirt .</scene_description>
<character>MIRANDA</character>
<dialogue>Yeah. Yeah.</dialogue>
<character>STEVE</character>
<dialogue>Wait - wait - Do n't come already.</dialogue>
<character>MIRANDA</character>
<dialogue>Yeah. Yeah.</dialogue>
<character>STEVE</character>
<dialogue>Wait, wait - get on top. Get on -</dialogue>
<character>MIRANDA</character>
<dialogue>It's late. let's just get it over with.</dialogue>
<scene_description>Steve looks at her . She ca n't believe what she 's said .</scene_description>
<character>MIRANDA</character>
<parenthetical>( CONT 'D . )</parenthetical>
<dialogue>I mean - We have to get up in four and half hours.</dialogue>
<character>STEVE</character>
<dialogue>We never have sex and you want to get it over with?</dialogue>
<character>MIRANDA</character>
<dialogue>Steve. We have sex.</dialogue>
<character>STEVE</character>
<dialogue>When was the last time we had sex?</dialogue>
<scene_description>Miranda ca n't remember . He moves to his side of the bed .</scene_description>
<character>STEVE</character>
<parenthetical>( CONT 'D . )</parenthetical>
<parenthetical>( As he turns away . )</parenthetical>
<dialogue>There was snow on the ground.</dialogue>
<scene_description>He gets out of the bed and walks away . She watches him go . The girls are having breakfast . Lily sits at the table in a booster seat coloring in a Cinderella coloring book . Carrie is helping her . CLOSE ON : Cinderella 's shoe . Carrie is filling it in with a BLUE CRAYON .</scene_description>
<character>MIRANDA</character>
<dialogue>How often do you guys have sex?</dialogue>
<character>CHARLOTTE</character>
<dialogue>Miranda - please.</dialogue>
<character>MIRANDA</character>
<dialogue>What?</dialogue>
<scene_description>She indicates that Lily is sitting with Carrie . Carrie continues to color , not looking up .</scene_description>
<character>CARRIE</character>
<dialogue>It's okay, I know all about sex.</dialogue>
<character>SAMANTHA</character>
<dialogue>If I knew the girl talk was going to be on `` lock down,'' I would n't have flown two thousand miles.</dialogue>
<character>CHARLOTTE</character>
<dialogue>No, we can talk, let's just not use that word.</dialogue>
<character>MIRANDA</character>
<dialogue>She's three, she does n't know what it means. I'm forty - two and I still do n't know what it means.</dialogue>
<character>CHARLOTTE</character>
<dialogue>I know, but she's repeating everything.</dialogue>
<character>MIRANDA</character>
<dialogue>Fine. How often do you guys.</dialogue>
<character>CARRIE</character>
<dialogue>`` Color''?</dialogue>
<character>CHARLOTTE</character>
<dialogue>Thank - you.</dialogue>
<character>SAMANTHA</character>
<dialogue>Well, I ca n't color enough. I would color all day - every day if I had my way. I'd use every crayon in my box.</dialogue>
<character>CARRIE</character>
<dialogue>We get it. You love to color.</dialogue>
<parenthetical>( To Miranda . )</parenthetical>
<dialogue>Why are you asking?</dialogue>
<character>MIRANDA</character>
<dialogue>Steve and I were `` coloring'' last night and just as I was about to -</dialogue>
<scene_description>Miranda is searching for a word she can use .</scene_description>
<character>SAMANTHA</character>
<dialogue>Come?</dialogue>
<parenthetical>( beat ; to Charlotte . )</parenthetical>
<dialogue>Sorry - there is no crayon equivalent.</dialogue>
<character>MIRANDA</character>
<dialogue>He wanted to change positions and I said. `` Let's just get it over with.''</dialogue>
<scene_description>The ladies react , three different shades of shocked .</scene_description>
<character>MIRANDA</character>
<parenthetical>( CONT 'D . )</parenthetical>
<dialogue>Well, he kept trying to make it last longer.</dialogue>
<character>SAMANTHA</character>
<dialogue>And this is bad?</dialogue>
<character>MIRANDA</character>
<dialogue>It is when you have a full - time job.</dialogue>
<character>SAMANTHA</character>
<dialogue>I have a full - time job.</dialogue>
<character>MIRANDA</character>
<dialogue>Well, you do n't also have a five year old and play groups and PTA and a mother - in - law in a rest home with advancing Alzheimer's. I'm telling you, at the end of the day all I want to do is sleep. The most exciting thing in bed now - is the bed.</dialogue>
<character>CARRIE</character>
<dialogue>So. Sleep is the new sex?</dialogue>
<character>LILY</character>
<dialogue>Sex.</dialogue>
<character>CHARLOTTE</character>
<dialogue>See.</dialogue>
<character>CARRIE</character>
<dialogue>- I meant coloring.</dialogue>
<character>MIRANDA</character>
<dialogue>We're just going through a no coloring phase - it comes and goes, right?</dialogue>
<character>CHARLOTTE</character>
<dialogue>Every couple is different. Harry and I -</dialogue>
<scene_description>Carrie and Samantha look over ; interested .</scene_description>
<character>CHARLOTTE</character>
<parenthetical>( CONT 'D . )</parenthetical>
<dialogue>Make love two or three times a week.</dialogue>
<character>MIRANDA</character>
<dialogue>Great. Now I feel worse.</dialogue>
<character>SAMANTHA</character>
<dialogue>Well, when was the last time for you?</dialogue>
<character>MIRANDA</character>
<dialogue>Six months ago.</dialogue>
<character>CARRIE</character>
<dialogue>Oh my.</dialogue>
<scene_description>Miranda looks at her . She - continues to color .</scene_description>
<character>MIRANDA</character>
<dialogue>But that's a dry spell.</dialogue>
<character>SAMANTHA</character>
<dialogue>I bet it is.</dialogue>
<character>CHARLOTTE</character>
<dialogue>What about you and Big, Carrie?</dialogue>
<parenthetical>( Off her look . )</parenthetical>
<dialogue>Come on, I told.</dialogue>
<character>CARRIE</character>
<dialogue>Never. But, I will tell you this. When Big colors -.</dialogue>
<parenthetical>( Beat ; sexy . )</parenthetical>
<dialogue>He rarely stays inside the lines.</dialogue>
<scene_description>Samantha whoops . Carrie resumes coloring .</scene_description>
<character>MIRANDA</character>
<dialogue>Well, this was very helpful.</dialogue>
<scene_description>A freshly - showered Samantha sits on a chaise lounge in a robe - talking on the phone .</scene_description>
<character>SAMANTHA</character>
<dialogue>Send it to Smith Jerrod at the office address.</dialogue>
<scene_description>Smith walks up to Samantha wearing only underwear . There is a huge bulge in the front . Samantha takes the bulge in .</scene_description>
<character>SAMANTHA</character>
<parenthetical>( CONT 'D . )</parenthetical>
<parenthetical>( into phone . )</parenthetical>
<dialogue>I've got to go. Something just came up.</dialogue>
<scene_description>She hangs up . He smiles , looks down at her .</scene_description>
<character>SMITH</character>
<dialogue>I've got a gift for you.</dialogue>
<character>SAMANTHA</character>
<dialogue>So far, I like it.</dialogue>
<scene_description>He smiles as she reaches INTO his underwear basket and removes a long black velvet jewelry case . She opens it . It 's the petal ring from the auction .</scene_description>
<character>SAMANTHA</character>
<parenthetical>( CONT 'D . )</parenthetical>
<dialogue>How did - Wait - that was you on the phone at the auction?</dialogue>
<character>SMITH</character>
<dialogue>I knew how much you wanted it.</dialogue>
<character>SAMANTHA</character>
<dialogue>But I was going to buy it for myself.</dialogue>
<character>SMITH</character>
<dialogue>I wanted to give it to you. for our anniversary. We met five years ago today.</dialogue>
<character>SAMANTHA</character>
<parenthetical>( beat ; had no idea . )</parenthetical>
<dialogue>Right.</dialogue>
<scene_description>He smiles , sits down on the bed .</scene_description>
<character>SMITH</character>
<dialogue>Do you like it?</dialogue>
<character>SAMANTHA</character>
<dialogue>To be clear - This is a ring with diamonds - not a diamond ring, right?</dialogue>
<parenthetical>( Off his nod . )</parenthetical>
<dialogue>In that case. I love it.</dialogue>
<parenthetical>( Re ; underwear . )</parenthetical>
<dialogue>It's my second favorite thing I've ever found in there.</dialogue>
<scene_description>She kisses him , touched - then reaches in his underwear .</scene_description>
<character>SAMANTHA</character>
<parenthetical>( CONT 'D . )</parenthetical>
<dialogue>Now, my gift's a little bit more. oral.</dialogue>
<character>SMITH</character>
<dialogue>Babe - I've got to go to bed.</dialogue>
<character>SAMANTHA</character>
<dialogue>Bed? It's seven - thirty.</dialogue>
<character>SMITH</character>
<dialogue>I have to be at the studio by six A.M. and I need to get a workout before that.</dialogue>
<character>SAMANTHA</character>
<dialogue>This is how it starts. Next thing you know. we're only having sex three or four times a week.</dialogue>
<character>SMITH</character>
<dialogue>Most people consider that normal.</dialogue>
<character>SAMANTHA</character>
<dialogue>I am not most people.</dialogue>
<character>SMITH</character>
<dialogue>No - you most certainly are not.</dialogue>
<scene_description>He smiles , leans in and gives her a hot - hot kiss . The kiss leads - to reaching into underwear . as they start . Smith is laying in bed . Sound asleep . The clock on the bed table reads : 9:01 . Night . Samantha sits in the jacuzzi wearing her ring - sipping a glass of wine - bored .</scene_description>
<character>CARRIE</character>
<parenthetical>( V.O . )</parenthetical>
<dialogue>One glass of Merlot and two orgasms later.</dialogue>
<scene_description>Samantha hears MOANING . The sounds of someone having SEX in the house right next door . She looks - from the hot tub she can see her neighbor DANTE - hot , dark - `` sex on a stick '' in his living room making wild love to a RED HAIRED WOMAN . They are naked . Samantha watches and sips - not so bored .</scene_description>
<character>CARRIE</character>
<parenthetical>( CONT 'D . )</parenthetical>
<dialogue>And that is how Samantha learned she had a new neighbor.</dialogue>
<scene_description>Carrie enters the apartment . It is dark - ish . A candle or two is lit .</scene_description>
<character>CARRIE</character>
<parenthetical>( soft . )</parenthetical>
<dialogue>John?</dialogue>
<scene_description>The terrace doors are open . The curtains blow , gently . She walks out onto it . As she steps out onto the terrace . Big comes up behind her . He - leans her against the door jamb and kisses her . It 's hot . He kisses her - sliding down the front of her body . Big is in bed wearing `` half glasses , '' reading The Wall Street Journal . Carrie enters from the bathroom and hops into bed . She grabs a LIBRARY BOOK from the night stand and looks over .</scene_description>
<character>CARRIE</character>
<dialogue>Lean?</dialogue>
<scene_description>He nods and lifts up one of his arms . She slides over and nestles in , leaning up against him . She opens her book . He looks down at it .</scene_description>
<character>BIG</character>
<dialogue>Are you the last person in New York still taking out library books?</dialogue>
<character>CARRIE</character>
<dialogue>I love the smell.</dialogue>
<scene_description>She smells the book , then holds it up to him . He smells .</scene_description>
<character>BIG</character>
<dialogue>That's an old one.</dialogue>
<character>CARRIE</character>
<dialogue>`` The Love Letters of Great Men.'' Volume one.</dialogue>
<character>BIG</character>
<dialogue>Am I in there?</dialogue>
<character>CARRIE</character>
<dialogue>No, but some of your classmates are. Voltaire, Napoleon.</dialogue>
<scene_description>Big smiles . She takes the glasses off his face and puts them on , looks at book .</scene_description>
<character>BIG</character>
<dialogue>You need to get glasses.</dialogue>
<character>CARRIE</character>
<dialogue>No, I do n't - you have them.</dialogue>
<parenthetical>( then ; off book . )</parenthetical>
<dialogue>Here's Napoleon.</dialogue>
<parenthetical>( Reads . )</parenthetical>
<dialogue>`` My dearest Josephine, I wake consumed with thoughts of you -''</dialogue>
<character>BIG</character>
<dialogue>Typical short guy. Gives it all away up front.</dialogue>
<scene_description>She punches him a little , continues to read .</scene_description>
<character>BIG</character>
<parenthetical>( CONT 'D . )</parenthetical>
<dialogue>Why are you reading this?</dialogue>
<character>CARRIE</character>
<dialogue>Research for my new book.</dialogue>
<character>BIG</character>
<dialogue>What's it about?</dialogue>
<character>CARRIE</character>
<dialogue>Love. I use to write about finding love - now I want to write about what happens after you've found it.</dialogue>
<character>BIG</character>
<dialogue>Interesting. What happens?</dialogue>
<character>CARRIE</character>
<dialogue>Stay tuned.</dialogue>
<scene_description>He smiles . She looks at the book again .</scene_description>
<character>CARRIE</character>
<parenthetical>( CONT 'D . )</parenthetical>
<dialogue>Listen. Here's Beethoven.</dialogue>
<character>BIG</character>
<dialogue>Bring it, Ludwig.</dialogue>
<character>CARRIE</character>
<parenthetical>( Reading . )</parenthetical>
<dialogue>`` My thoughts go out to you today my immortal beloved. I can live only wholly with you or not at all.''</dialogue>
<character>BIG</character>
<dialogue>Good stuff.</dialogue>
<character>CARRIE</character>
<parenthetical>( Reading . )</parenthetical>
<dialogue>`` Be calm my life, my all. Only by calm consideration of our existence can we achieve our purpose to live together. Oh continue to love me, never misjudge the most faithful heart of your beloved. Ever thine - ever mine - ever ours.</dialogue>
<scene_description>Silence . The beautiful sentiment hangs in the air . She closes the book and looks up at him .</scene_description>
<character>CARRIE</character>
<parenthetical>( CONT 'D . )</parenthetical>
<dialogue>Have you ever written me a love letter?</dialogue>
<character>BIG</character>
<dialogue>Does a love fax count?</dialogue>
<character>CARRIE</character>
<dialogue>When have I ever gotten a love fax?</dialogue>
<character>BIG</character>
<dialogue>I'm pretty sure my secretary sent one at some point.</dialogue>
<scene_description>Carrie looks at him , mock disappointed .</scene_description>
<character>BIG</character>
<parenthetical>( CONT 'D . )</parenthetical>
<dialogue>What can I say, baby? Not my style.</dialogue>
<parenthetical>( Beat . )</parenthetical>
<dialogue>Besides, these guys had to write - they were separated from their loves by wars and hundreds of miles. I'm right here.</dialogue>
<parenthetical>( Beat . )</parenthetical>
<dialogue>Hi.</dialogue>
<scene_description>She smiles . He kisses her on the forehead . Sincere .</scene_description>
<character>BIG</character>
<parenthetical>( CONT 'D . )</parenthetical>
<dialogue>You make me very happy.</dialogue>
<character>CARRIE</character>
<dialogue>Yeah, yeah. Put it in writing.</dialogue>
<scene_description>He laughs , she looks at her book , turns a page and reads . After a beat , he puts down his paper .</scene_description>
<character>BIG</character>
<dialogue>Alright. Here's a love letter from me to you.</dialogue>
<scene_description>She looks up at him , excited . He speaks romantically .</scene_description>
<character>BIG</character>
<parenthetical>( CONT 'D . )</parenthetical>
<dialogue>Loving you. Is easy. ` cause your beautiful.</dialogue>
<scene_description>Big continues - now SINGING the Minnie Ripperton classic .</scene_description>
<character>BIG</character>
<parenthetical>( CONT 'D . )</parenthetical>
<dialogue>EVERY DAY OF MY LIFE IS FILLED WITH LOVING YOU. LA LA LA LA LA LA LA OOOOOOOOOOOOOOO.</dialogue>
<scene_description>Carrie LAUGHS as he continues to massacre the high notes . Carrie runs past the stone lions and up the grand stairs holding three LIBRARY BOOKS in her hand . Carrie stands at the entrance while a FEMALE GUARD -LRB- 60 -RRB- checks the contents of her purse . A FLORAL DELIVERY MAN comes in carrying a GORGEOUS ARRANGEMENT OF WHITE FLOWERS . He calls to the Guard .</scene_description>
<character>DELIVERY MAN</character>
<dialogue>Which way's the wedding?</dialogue>
<scene_description>The Guard points , bored . Carrie looks , interested .</scene_description>
</scene>
<scene>
<stage_direction>INT. NEW YORK PUBLIC LIBRARY/WEDDING SPACE -- MOMENTS LATER</stage_direction>
<scene_description>A beautiful space . The tables are being set up as MORE FLOWERS arrive . Carrie tip - toes in and looks around . A SMILE grows on her face . Carrie and Big sit at the bar - having dinner .</scene_description>
<character>CARRIE</character>
<dialogue>I've been thinking.</dialogue>
<character>BIG</character>
<dialogue>Again?</dialogue>
<character>CARRIE</character>
<dialogue>How about we get married at The New York Public Library?</dialogue>
<parenthetical>( Gushy and silly . )</parenthetical>
<dialogue>Think how perfect. You and I and our love story surrounded by all the other lesser love stories.</dialogue>
<character>BIG</character>
<dialogue>Do we have to make that big of a deal?</dialogue>
<character>CARRIE</character>
<dialogue>It's not that big a deal. It's seventy - five people in a room that's partitioned in half.</dialogue>
<character>BIG</character>
<dialogue>It's just - I've already had two big weddings.</dialogue>
<scene_description>Carrie winces - stung . After a beat , she goes on .</scene_description>
<character>CARRIE</character>
<dialogue>Well, what did you have in mind?</dialogue>
<character>BIG</character>
<dialogue>I do n't know - a judge, couple friends and then we go for ham and eggs after.</dialogue>
<scene_description>A bucket of cold water .</scene_description>
<character>CARRIE</character>
<dialogue>Interesting.</dialogue>
<scene_description>Big looks over at her . She looks upset , hurt , sad . Silence .</scene_description>
<character>BIG</character>
<dialogue>Would we have to whisper? In the library?</dialogue>
<scene_description>Carrie looks over at him , softens a little .</scene_description>
<character>BIG</character>
<parenthetical>( CONT 'D . )</parenthetical>
<dialogue>`` Do you, Carrie'' - Shhhh. `` Take this man'' - SHHHH!</dialogue>
<scene_description>He raises his eyebrow . She laughs . ELAINE -LRB- 40 -RRB- Zaftig , Jewish - spots Carrie .</scene_description>
<character>ELAINE</character>
<dialogue>Carrie, hi!</dialogue>
<character>CARRIE</character>
<dialogue>Elaine, hi. Do you know John?</dialogue>
<character>ELAINE</character>
<dialogue>No, hi. Nice to meet you.</dialogue>
<character>CARRIE</character>
<dialogue>Elaine writes a single gal column for The New York Post.</dialogue>
<character>ELAINE</character>
<dialogue>Please - I'd rather you reveal my weight.</dialogue>
<scene_description>Carrie and Big laugh .</scene_description>
<character>ELAINE</character>
<parenthetical>( CONT 'D . )</parenthetical>
<dialogue>So, what's new?</dialogue>
<character>CARRIE</character>
<dialogue>Well. We're getting married.</dialogue>
<character>BIG</character>
<dialogue>Yep - At the New York Public Library.</dialogue>
<scene_description>Carrie looks at Big , touched . Elaine is delighted , TEARFUL .</scene_description>
<character>ELAINE</character>
<dialogue>Oh, my God! This gives me such hope.</dialogue>
<scene_description>She hugs Carrie , then hugs Big . Then hugs Big again .</scene_description>
<character>ELAINE</character>
<parenthetical>( CONT 'D . )</parenthetical>
<dialogue>Thank - you. Thank - you for marrying someone our age.</dialogue>
<scene_description>Charlotte , Harry and Lily are having breakfast . A KING CHARLES SPANIEL and TWO MUTTS sit on the floor looking up at them . Charlotte pages through the New York Post - She notices something . CLOSE ON : NEWSPAPER ; A small PHOTO : of Carrie on `` PAGE SIX '' above a mention of the wedding . Charlotte SCREAMS . Harry and Lily JUMP . She grabs the cordless phone from the table . Intercut with Carrie on the phone as Big sips coffee .</scene_description>
<character>CHARLOTTE</character>
<parenthetical>( reading paper . )</parenthetical>
<dialogue>`` The ultimate single gal Carrie Bradshaw will be married in Manolos to New York financier John James Preston come fall.''</dialogue>
<character>CARRIE</character>
<parenthetical>( to Big . )</parenthetical>
<dialogue>Our wedding's on Page Six.</dialogue>
<character>BIG</character>
<parenthetical>( not pleased . )</parenthetical>
<dialogue>Who would put that in there?</dialogue>
<scene_description>Carrie shrugs , Charlotte continues reading .</scene_description>
<character>CHARLOTTE</character>
<dialogue>`` Proving to single gals everywhere that there can be a happy ending over forty.''</dialogue>
<character>CARRIE</character>
<dialogue>Oh, I know who.</dialogue>
<scene_description>Carrie is walking down the street with STANFORD .</scene_description>
<character>CARRIE</character>
<parenthetical>( V.O . )</parenthetical>
<dialogue>Later that day, I met my friend Stanford for our weekly quick lunch and gossip session. Also known as `` dish then dash.''</dialogue>
<character>STANFORD</character>
<dialogue>According to a certain trashy tome, you are marrying John James Preston.</dialogue>
<character>CARRIE</character>
<dialogue>Rumor has it.</dialogue>
<character>STANFORD</character>
<dialogue>Just one question : Does Big know?</dialogue>
<character>CARRIE</character>
<parenthetical>( laughs ; then . )</parenthetical>
<dialogue>Where are we eating?</dialogue>
<character>STANFORD</character>
<dialogue>Anywhere you like. and you know the rule - the person on Page Six pays for lunch.</dialogue>
<scene_description>Carrie laughs . TWO WOMEN spot her and scream . She and Stanford REACT as the women GUSH . Carrie and Stanford are mid - meal . Three GAY MALE friends -LRB- 3O - 40 -RRB- stand at their table and gush .</scene_description>
<character>CARRIE</character>
<parenthetical>( V.O . )</parenthetical>
<dialogue>It seemed everywhere I went. people I knew were excited and available to come to the wedding.</dialogue>
<scene_description>A WAITRESS -LRB- 23 -RRB- places a check on the table . Stanford looks at it , then leans in to waitress .</scene_description>
<character>STANFORD</character>
<dialogue>You forgot to charge us for the gaggle of gays.</dialogue>
<scene_description>Carrie and Stanford are walking by a nail salon as BITSY VON MUFFLING , socialite , comes running out - Mid - pedicure . She is barefoot with foam pads stuck between her painted toes .</scene_description>
<character>BITSY</character>
<dialogue>Carrie Bradshaw Preston! Carrie Bradshaw Preston!</dialogue>
<scene_description>Carrie and Stanford stop - turn around . Bitsy gushes .</scene_description>
<character>BITSY</character>
<parenthetical>( CONT 'D . )</parenthetical>
<dialogue>Mazel tov! Saw you on Page Six! September? October? When?</dialogue>
<parenthetical>( beat ; realizes feet . )</parenthetical>
<dialogue>Look! Will you look! I got so excited - no shoes. I'm standing barefoot on a New York sidewalk probably getting trichinoses.</dialogue>
<scene_description>She hurries away , turning back to CALL as she goes .</scene_description>
<character>BITSY</character>
<parenthetical>( CONT 'D . )</parenthetical>
<dialogue>We're at the same address - different floor. Just send it - they'll get us the invite.</dialogue>
<scene_description>She waves , goes back inside . Carrie looks stunned .</scene_description>
<character>CARRIE</character>
<parenthetical>( V.O . )</parenthetical>
<dialogue>The shocking thing was not the plethora of empty autumn social calenders but knowledge that everyone does indeed read Page Six.</dialogue>
<scene_description>Carrie opens the glass door and walks into the Vogue offices .</scene_description>
<character>CARRIE</character>
<parenthetical>( V.O . )</parenthetical>
<dialogue>Even people you did n't expect, like my Vogue editor, Enid.</dialogue>
<scene_description>Carrie is with ENID -LRB- 60 -RRB- her stunning , icy Vogue editor .</scene_description>
<character>ENID</character>
<dialogue>We're putting together our annual `` Age'' issue - and we'd like you to do forty.</dialogue>
<character>CARRIE</character>
<dialogue>Great. Who am I interviewing?</dialogue>
<character>ENID</character>
<dialogue>No. You. You are forty. I want you to be featured in the magazine as the forty year old - and here's the brilliant twist - bride.</dialogue>
<character>CARRIE</character>
<dialogue>Wait - I would be in the magazine?</dialogue>
<character>ENID</character>
<dialogue>In bridal couture. It's a once in a lifetime opportunity - so spare me a week of faux soul - searching and just say yes.</dialogue>
<character>CARRIE</character>
<dialogue>Enid - I'm so very flattered but -</dialogue>
<character>ENID</character>
<dialogue>Carrie. Vogue designers, Vogue photographers, Vogue airbrushing.</dialogue>
<parenthetical>( Beat . )</parenthetical>
<dialogue>Nod your head : yes.</dialogue>
<scene_description>Carrie smiles and nods .</scene_description>
<character>ENID</character>
<parenthetical>( CONT 'D . )</parenthetical>
<dialogue>Thank - you. It will be a sensation. We're calling it : `` The Last Single Girl.''</dialogue>
<character>CARRIE</character>
<dialogue>Well, I'm hardly the last single girl.</dialogue>
<character>ENID</character>
<dialogue>No, but forty is the last age you can see a woman photographed in a wedding gown without the unintended Diane Arbus subtext.</dialogue>
<character>CARRIE</character>
<dialogue>I thought the issue was `` great style at every age.''</dialogue>
<character>ENID</character>
<dialogue>Style yes. bride no.</dialogue>
<character>CARRIE</character>
<parenthetical>( smiles ; then . )</parenthetical>
<dialogue>Enid - I have no idea - were you ever married?</dialogue>
<character>ENID</character>
<dialogue>Briefly. In 1975. I wore Halston. Creme. One shoulder Grecian with a low - cut bodice to the waistline for a dramatic flair. The fabric in the sleeves formed oval draping on the sides. Stunning. My future husband and I saw it on a trip to Paris and he fell in love with it. Insisted I be married in it. So I was. We had quite a beautiful party.</dialogue>
<character>CARRIE</character>
<parenthetical>( smiles ; then delicately . )</parenthetical>
<dialogue>Why did n't the marriage work out?</dialogue>
<character>ENID</character>
<dialogue>Did you not hear me say my husband fell in love with my gown?</dialogue>
<parenthetical>( beat ; off Carrie 's nod . )</parenthetical>
<dialogue>Has your fiancée expressed any interest in what you'll be wearing?</dialogue>
<character>CARRIE</character>
<dialogue>None at all.</dialogue>
<character>ENID</character>
<dialogue>Then you may have a shot.</dialogue>
<scene_description>Carrie stands on the set of a Vogue photo shoot wearing a GORGEOUS VERA WANG GOWN . Hair , make - up : stunning . She is surrounded by VOGUE STYLISTS and CREW . Carrie looks over to Samantha , Stanford and Charlotte standing on the side - lines , watching . They signal their approval . Carrie smiles . tentative - but excited .</scene_description>
<character>SAMANTHA</character>
<dialogue>She's looking quite at home for someone who did n't think she had the bride gene.</dialogue>
<character>CHARLOTTE</character>
<dialogue>Well, I guess with the right man.</dialogue>
<character>STANFORD</character>
<dialogue>And the right dress.</dialogue>
<scene_description>Charlotte and Samantha smile .</scene_description>
<character>STANFORD</character>
<parenthetical>( CONT 'D . )</parenthetical>
<dialogue>When I get married, I'm wearing something like that. But bigger.</dialogue>
<scene_description>Samantha and Charlotte laugh . The PHOTOGRAPHER starts working . FLASH ! Carrie poses . FLASH !</scene_description>
<character>CARRIE</character>
<parenthetical>( V.O . )</parenthetical>
<dialogue>Just your typical Wednesday. Breakfast with. Vera Wang.</dialogue>
<scene_description>FLASH ! Carrie in another GORGEOUS WEDDING wedding gown .</scene_description>
<character>CARRIE</character>
<parenthetical>( V.O. ; CONT 'D . )</parenthetical>
<dialogue>Mid - morning coffee with. Carolina Herrera.</dialogue>
<scene_description>FLASH ! Carrie in another FAMOUS DESIGNER wedding gown . Samantha holds up her iPhone and takes a photograph of Carrie . Charlotte looks at it , smiles , then presses - `` send . '' Miranda is at her desk , working - her phone - `` beeps . '' She picks it up - CLOSE ON : PHONE announcing a photo arrival . She opens the photo - it 's Carrie in the wedding dress . Miranda smiles . FLASH ! Carrie in another FAMOUS DESIGNER wedding gown .</scene_description>
<character>CARRIE</character>
<parenthetical>( V.O. ; CONT 'D . )</parenthetical>
<dialogue>Appetizers with Oscar de la Renta.</dialogue>
<scene_description>FLASH : JUMP CUT TO : Carrie in another FAMOUS DESIGNER wedding gown .</scene_description>
<character>CARRIE</character>
<parenthetical>( V.O. ; CONT 'D . )</parenthetical>
<dialogue>Lunch with Lanvin.</dialogue>
<scene_description>FLASH : JUMP CUT TO : Carrie in another FAMOUS DESIGNER wedding gown .</scene_description>
<character>CARRIE</character>
<parenthetical>( V.O . )</parenthetical>
<dialogue>And Lacroix.</dialogue>
<scene_description>FLASH : JUMP CUT TO : Carrie in another FAMOUS DESIGNER wedding gown .</scene_description>
<character>CARRIE</character>
<parenthetical>( V.O . )</parenthetical>
<dialogue>And Dior.</dialogue>
<scene_description>FLASH : Carrie in the final FAMOUS DESIGNER wedding gown . This is the most sensational topper . She looks `` beyond , beyond '' beautiful in it .</scene_description>
<character>CARRIE</character>
<parenthetical>( CONT 'D . )</parenthetical>
<dialogue>And for dessert - Vivienne Westwood.</dialogue>
<scene_description>Charlotte and Stanford are looking at Carrie , moved .</scene_description>
<character>CARRIE</character>
<parenthetical>( CONT 'D . )</parenthetical>
<dialogue>A confection so special.</dialogue>
<scene_description>Samantha reaches up and wipes away a tear .</scene_description>
<character>CARRIE</character>
<parenthetical>( CONT 'D . )</parenthetical>
<dialogue>It could wring a wedding tear from even the most unbelieving of women.</dialogue>
<scene_description>Carrie opens the door to find a DELIVERY MAN standing there with a very large dress box tied by a lush RIBBON .</scene_description>
<character>CARRIE</character>
<parenthetical>( V.O . )</parenthetical>
<dialogue>And then the impossible happened.</dialogue>
<scene_description>JUMP CUT TO : Carrie pulling back the tissue paper to reveal : her favorite wedding gown . Carrie picks up a hand - written note on an engraved note card from VIVIENNE WESTWOOD . It reads : `` I saw the photos from the shoot . This dress belongs to you . Cheers ! '' Carrie peeks around the closet and looks in . The gown is hanging next to the white suit , dwarfing it .</scene_description>
<character>CARRIE</character>
<parenthetical>( V.O . )</parenthetical>
<dialogue>And just like that, Vivienne Westwood kicked my sweet little suit's ass.</dialogue>
<scene_description>Big leads Carrie into their new bedroom by the hand . Her eyes are closed and she has a DESIGNER shopping bag slung over her one arm . He moves her around the construction debris , stopping in front of the new closet 's double doors .</scene_description>
<character>BIG</character>
<dialogue>Okay. Open them.</dialogue>
<scene_description>Carrie opens her eyes .</scene_description>
<character>CARRIE</character>
<dialogue>Double door. So far so good.</dialogue>
<scene_description>She opens the closet doors , revealing a beautiful oversized , walk - in closet with shelves and more shelves and places for shoes and more shoes .</scene_description>
<character>CARRIE</character>
<parenthetical>( CONT 'D . )</parenthetical>
<dialogue>Well. You did me proud, Mister.</dialogue>
<character>BIG</character>
<dialogue>Like it?</dialogue>
<character>CARRIE</character>
<dialogue>Like it? It's love at first sight.</dialogue>
<scene_description>He smiles , proud . She takes the DESIGNER shoe box out of her shopping bag and hands it to him . She opens the lid , takes out a pair of COLORFUL/FUN HEELS and places them on the shelf . She turns back to him .</scene_description>
<character>CARRIE</character>
<parenthetical>( CONT 'D . )</parenthetical>
<dialogue>Now, I believe this is all really happening.</dialogue>
<scene_description>Miranda , Charlotte and Carrie are standing in Carrie 's apartment . Empty boxes are everywhere . Lily is coloring quietly nearby .</scene_description>
<character>MIRANDA</character>
<dialogue>I ca n't believe it sold so fast.</dialogue>
<character>CHARLOTTE</character>
<dialogue>It's a sign.</dialogue>
<character>CARRIE</character>
<dialogue>Yeah, a sign I priced it too low.</dialogue>
<scene_description>The door buzzes . Carrie pushes the intercom button .</scene_description>
<character>CARRIE</character>
<parenthetical>( CONT 'D . )</parenthetical>
<dialogue>That's the food - money on the table.</dialogue>
<parenthetical>( Beat . )</parenthetical>
<dialogue>I'll get started in the closet. I should be done in seventeen years.</dialogue>
<scene_description>Carrie starts into the bathroom . Charlotte calls :</scene_description>
<character>CHARLOTTE</character>
<dialogue>Pink Post - it - take. Purple - toss. Yellow : Storage.</dialogue>
<character>CARRIE</character>
<parenthetical>( O.C . )</parenthetical>
<parenthetical>( Calling out . )</parenthetical>
<dialogue>You're good friends.</dialogue>
<scene_description>There is a knock on the door . Miranda opens it . Samantha stands there with her carry - on luggage .</scene_description>
<character>CHARLOTTE</character>
<dialogue>Samantha! Oh my God!</dialogue>
<scene_description>Carrie re - enters from the bathroom . stunned .</scene_description>
<character>CARRIE</character>
<dialogue>What are you doing here?!</dialogue>
<character>SAMANTHA</character>
<dialogue>I lot of shit went down in this place. Attention must be payed!</dialogue>
<scene_description>She reaches into her bag and pulls out a bottle of champagne . They all CHEER . She reaches in again and pulls out another bottle . More cheering . Samantha is packing Carrie 's collection of CD 's , tapes and albums . She puts on a `` Best of the 80 's '' CD . MUSIC START : Run DMC & Aerosmith : `` WALK THIS WAY . '' Carrie comes out of her closet wearing an outfit that screams `` 80 's . '' Lily looks up from her coloring . Miranda , Charlotte and Samantha sit on the bed drinking champagne . Carrie poses . They hold up hand - written signs : `` Take '' or `` Toss . '' JUMP CUT TO : Carrie comes out of the closet wearing another `` 80 's '' outfit . The girls vote : `` Take , Take , Toss . '' Carrie nods . JUMP CUT TO : Carrie comes out of the closet wearing a tight pink top and a tutu . The girls LAUGH ; then all hold up : `` Toss . '' Carrie reacts . JUMP CUT TO : Carrie comes out wearing a late `` 90 's '' outfit . The girls vote : `` Take , Take , Take . '' Carrie is thrilled - she keeps it . JUMP CUT TO : Miranda wearing something from Carrie 's closet . JUMP CUT TO : Charlotte wearing something from Carrie 's closet . JUMP CUT TO : Samantha wearing something from Carrie 's closet . JUMP CUT TO : Carrie , Miranda , Charlotte and Samantha LAUGHING - at something . REVEAL : Lily standing in the closet , naked except for her training underpants . Her arms are outstretched and draped with Carrie 's small purses and bags . The girls in the apartment are surrounded by many , boxes .</scene_description>
<character>CARRIE</character>
<parenthetical>( V.O . )</parenthetical>
<dialogue>It took four friends, three days to put twenty years into twenty - eight boxes.</dialogue>
<scene_description>Carrie walks through her now , empty apartment . She takes one last long look and leaves . END MUSIC . Steve sits in a chair as Miranda hands a cup of tea to his mother MARY . She looks up at Miranda , lost .</scene_description>
<character>MARY</character>
<dialogue>Who are you again?</dialogue>
<character>MIRANDA</character>
<dialogue>Oh, you know me - I'm your daughter - in - law.</dialogue>
<parenthetical>( beat ; then . )</parenthetical>
<dialogue>I'm Miranda.</dialogue>
<character>MARY</character>
<dialogue>That's right.</dialogue>
<scene_description>Miranda nods and smiles . Steve watches , touched .</scene_description>
</scene>
<scene>
<stage_direction>INT. MIRANDA AND STEVE'S HOUSE/KITCHEN -- NIGHT -- LT. SUMMER</stage_direction>
<scene_description>Miranda is putting away groceries . Steve is sitting at the kitchen table .</scene_description>
<character>MIRANDA</character>
<dialogue>While I run over to see your mother tomorrow maybe you can take him to the first birthday party alone. Then - I'll meet you at the twins' party and you can leave and be at the bar by six.</dialogue>
<scene_description>She looks over at him . He looks strange .</scene_description>
<character>MIRANDA</character>
<parenthetical>( CONT 'D . )</parenthetical>
<dialogue>What's the matter? Steve.</dialogue>
<scene_description>He starts crying .</scene_description>
<character>STEVE</character>
<dialogue>- I had sex with someone else.</dialogue>
<scene_description>Miranda ca n't believe her ears .</scene_description>
<character>STEVE</character>
<parenthetical>( CONT 'D . )</parenthetical>
<dialogue>- And you are so amazing with Ma and everything. everything you do and I ca n't believe I would do that to you.</dialogue>
<scene_description>Miranda just sits - looking at him .</scene_description>
<character>STEVE</character>
<parenthetical>( CONT 'D . )</parenthetical>
<dialogue>You and I had n't had sex in a really long time and I -</dialogue>
<scene_description>Miranda shakes her head , turns and walks out of the kitchen . He gets up and follows her .</scene_description>
<character>STEVE</character>
<parenthetical>( CONT 'D . )</parenthetical>
<dialogue>It did n't mean anything - It was just once. and it's been killing me.</dialogue>
<scene_description>She stops and turns around . He stops .</scene_description>
<character>MIRANDA</character>
<dialogue>It's killing you?!</dialogue>
<scene_description>She starts down the hall again . He 's on her heels .</scene_description>
<character>STEVE</character>
<parenthetical>( CONT 'D . )</parenthetical>
<dialogue>It just happened. I was n't thinking.</dialogue>
<character>MIRANDA</character>
<dialogue>Do not follow me.</dialogue>
<scene_description>She starts up the stairs . He stops at the bottom and watches her go . Lost as to what to do next . Carrie opens the door . Miranda stands there with Brady . She looks like she is about to burst into tears . Big stands in the hall behind Carrie . Unsure .</scene_description>
<character>CARRIE</character>
<dialogue>Hi.</dialogue>
<character>MIRANDA</character>
<dialogue>Surprise - Here we are!</dialogue>
<character>CARRIE</character>
<parenthetical>( To Brady . )</parenthetical>
<dialogue>Well, I'm so excited you are here for a sleepover.</dialogue>
<character>MIRANDA</character>
<dialogue>We are too. Are n't we B - boy?</dialogue>
<scene_description>Brady nods . Miranda gives Brady 's hand to Carrie .</scene_description>
<character>MIRANDA</character>
<parenthetical>( CONT 'D . )</parenthetical>
<dialogue>Here. Mommy has to go to the bathroom.</dialogue>
<scene_description>Miranda hurries away . Carrie looks after her , concerned .</scene_description>
<character>CARRIE</character>
<dialogue>Brady, do you want to go have some peanut butter?</dialogue>
<scene_description>He nods . Carrie give his hand to Big and hurries away . Big looks at Brady . Brady looks up at him .</scene_description>
<character>BIG</character>
<dialogue>Peanut butter it is.</dialogue>
<scene_description>They walk into the kitchen . Miranda is sitting on the toilet , seat down . Carrie at the sink .</scene_description>
<character>MIRANDA</character>
<dialogue>Apparently you do n't have sex for six months he runs out and has it with some girl at his bar.</dialogue>
<character>CARRIE</character>
<dialogue>Steve. I ca n't believe it. Steve.</dialogue>
<character>MIRANDA</character>
<dialogue>Steve. When I think of everything I've done for him. And this is how he repays me. Man, if I did n't have Brady, I would never go back there.</dialogue>
<scene_description>Miranda looks furious . Carrie nods , in shock . Steve is in bed . Miranda comes in , dressed for bed .</scene_description>
<character>CARRIE</character>
<parenthetical>( V.O . )</parenthetical>
<dialogue>The next night, for the sake of Brady, Miranda went against her instincts and went home.</dialogue>
<scene_description>He throws back the covers . She looks at him .</scene_description>
<character>STEVE</character>
<dialogue>Miranda, it's still me.</dialogue>
<character>MIRANDA</character>
<dialogue>Is it?</dialogue>
<scene_description>She stands there and looks at him . Shakes her head , exits . Miranda walks into the chic hotel lobby holding Brady 's hand . She pulls a piece of luggage behind her .</scene_description>
<character>CARRIE</character>
<parenthetical>( V.O . )</parenthetical>
<dialogue>So Miranda left Brooklyn and came home. to Manhattan.</dialogue>
<scene_description>Brady sits on a couch in the lobby playing with his action figures . A HOODED MOVIE ACTOR TYPE -LRB- 25 -RRB- sits slumped next him texting on a phone . Carrie , Miranda , Charlotte and Samantha are having brunch at a table nearby .</scene_description>
<character>MIRANDA</character>
<dialogue>Yes, it's sad, but I'm not going to make it any sadder by staying at a bad hotel while I look for a place. Pass the salt.</dialogue>
<scene_description>Charlotte passes the salt .</scene_description>
<character>MIRANDA</character>
<parenthetical>( CONT 'D . )</parenthetical>
<dialogue>Plus, I have to be downtown and close to Brooklyn. We're going to keep things as normal for Brady as we can. I'll pick him up on my days. take him over on Steve's.</dialogue>
<character>CARRIE</character>
<dialogue>I do n't know if this question is allowed - but how is Steve handling this?</dialogue>
<character>MIRANDA</character>
<dialogue>Says he's devastated - begs me to forgive him.</dialogue>
<parenthetical>( beat . )</parenthetical>
<dialogue>Not going to happen. I can barely even look at him.</dialogue>
<character>CHARLOTTE</character>
<dialogue>Steve - I ca n't believe it.</dialogue>
<character>CARRIE</character>
<dialogue>That's what I said.</dialogue>
<character>SAMANTHA</character>
<dialogue>Miranda, honey - are you sure you want to do this? It's just one time. Anyone can have a slip.</dialogue>
<character>MIRANDA</character>
<dialogue>Well, even if I could get my head around that justification - it's the cheating part - the behind my back part. the violation of the trust - that's the thing that's killing me.</dialogue>
<scene_description>Samantha nods , taking it in .</scene_description>
<character>MIRANDA</character>
<parenthetical>( CONT 'D . )</parenthetical>
<dialogue>Besides. women who stay with men who cheat are women who are afraid to be on their own. And that's not me - I can handle it. Always could.</dialogue>
<scene_description>Brady walks over holding an action figure .</scene_description>
<character>BRADY</character>
<dialogue>Mommy, I want to go home.</dialogue>
<scene_description>Miranda nods ; keeping a brave face . Charlotte looks upset . Charlotte and Harry are making love , gently . She looks into his eyes - speaks softly .</scene_description>
<character>CHARLOTTE</character>
<dialogue>Thank - you for being you.</dialogue>
<scene_description>He smiles , touched . She smiles - he kisses her .</scene_description>
<character>CARRIE</character>
<parenthetical>( V.O . )</parenthetical>
<dialogue>Charlotte made love to Harry five times that week.</dialogue>
<scene_description>Smith and Samantha are sitting at the dining table . ANAKA , -LRB- 45 -RRB- a Zen , low - key chef lays down plates in front of them .</scene_description>
<character>SAMANTHA</character>
<dialogue>It's a little quick to move out, do n't you think?</dialogue>
<character>SMITH</character>
<dialogue>Her reaction is her reaction. Thanks Anaka.</dialogue>
<scene_description>Anaka nods and walks away .</scene_description>
<character>SAMANTHA</character>
<dialogue>He had sex once. Not even an affair.</dialogue>
<character>SMITH</character>
<dialogue>Maybe it's not the sex. Maybe, it's the cheating. For me. that would be the thing. That it happened behind my back.</dialogue>
<character>SAMANTHA</character>
<dialogue>That's what she said.</dialogue>
<scene_description>He nods . Samantha eats . Thinks .</scene_description>
<character>SMITH</character>
<dialogue>Look. I know we're not married but - if you were going to have sex with someone else.</dialogue>
<scene_description>Long pause . He looks at her .</scene_description>
<character>SAMANTHA</character>
<dialogue>Are you waiting for me to get out my datebook?</dialogue>
<character>SMITH</character>
<parenthetical>( beat ; then . )</parenthetical>
<dialogue>But. seriously, I'd rather know first.</dialogue>
<scene_description>She gets up from the table and moves over to him .</scene_description>
<character>SAMANTHA</character>
<dialogue>You want me to tell you if I'm going to have sex? Fine. I'm about to have sex.</dialogue>
<scene_description>She sits on the table directly in front of him and opens her legs . Anaka enters - sees her position , spins on his heels and walks back out .</scene_description>
<character>SMITH</character>
<parenthetical>( as he goes . )</parenthetical>
<dialogue>Thanks Anaka.</dialogue>
<scene_description>Mary sits in a chair eating dinner from a tray . Miranda sits on the edge of the bed near her .</scene_description>
<character>MIRANDA</character>
<dialogue>I do n't know if Steve's mentioned anything to you yet - about us. Has he?</dialogue>
<scene_description>Mary shakes her head : No - concerned . Miranda nods .</scene_description>
<character>MIRANDA</character>
<parenthetical>( CONT 'D . )</parenthetical>
<dialogue>Well - we've had some marriage problems - it's not necessary to go into the details but - I just wanted you to know that we wo n't be coming to see you together anymore. I'll be here Monday, Wednesday and Sunday - the other days will be Steve.</dialogue>
<character>MARY</character>
<dialogue>Who's Steve?</dialogue>
<character>CARRIE</character>
<parenthetical>( V.O . )</parenthetical>
<dialogue>Miranda was starting to see the upside of Alzheimer's.</dialogue>
<scene_description>The room is crowded with Carrie 's boxes waiting to be moved . Big is sitting at a computer reading his emails . Close on screen : We see his email address is John@JJPny.com . He clicks open a file as Carrie enters .</scene_description>
<character>CARRIE</character>
<dialogue>Wedding crunch time. We need to really get serious here.</dialogue>
<character>BIG</character>
<dialogue>Not now - I just got an email from the the contractor - they pushed our move - in date again - and I have to -</dialogue>
<character>CARRIE</character>
<dialogue>Nope. Wedding before contractor. Unless you're planning to invite him - which would make the guest list two hundred and one.</dialogue>
<character>BIG</character>
<dialogue>Two hundred? Jesus, Carrie - it's gone up again?</dialogue>
<character>CARRIE</character>
<dialogue>Blame the New York Post and Vogue. Two publications that have never before been uttered in the same sentence.</dialogue>
<character>BIG</character>
<dialogue>You said : seventy - five people in a partitioned - off room.</dialogue>
<character>CARRIE</character>
<dialogue>It's the dress. How can I explain this? It's like poker - The dress upped the ante.</dialogue>
<character>BIG</character>
<dialogue>Change the dress.</dialogue>
<character>CARRIE</character>
<dialogue>No, no, no - you have n't seen this dress. This dress may be the whole reason to get married. Well, you and the dress.</dialogue>
<scene_description>She sits in his lap . He adjusts , uncomfortable .</scene_description>
<character>CARRIE</character>
<parenthetical>( CONT 'D . )</parenthetical>
<dialogue>How are you coming with your vows? Just a reminder - you are going to be saying these in front of a lot of people, so the pressure is on.</dialogue>
<character>BIG</character>
<parenthetical>( He 's had it . )</parenthetical>
<dialogue>Up, up. I have to finish this. Up.</dialogue>
<scene_description>He sort of `` helps her '' out of his lap .</scene_description>
<character>CARRIE</character>
<dialogue>Hey.</dialogue>
<character>BIG</character>
<dialogue>I do n't have time for this.</dialogue>
<character>CARRIE</character>
<dialogue>This is our wedding and you're not taking it seriously.</dialogue>
<character>BIG</character>
<dialogue>No, I'm not - It's a circus! Two hundred people - Page Six - This is my third marriage - how do you think it makes me look?</dialogue>
<scene_description>Carrie looks at him , stunned by this new information .</scene_description>
<character>CARRIE</character>
<dialogue>I did n't know that was even an issue.</dialogue>
<parenthetical>( beat . )</parenthetical>
<dialogue>Why did n't you say anything sooner?</dialogue>
<character>BIG</character>
<dialogue>You wanted all this.</dialogue>
<character>CARRIE</character>
<dialogue>But - do n't you want -</dialogue>
<character>BIG</character>
<dialogue>I want you, Carrie. That's what I want. I would have just gone down to city hall.</dialogue>
<scene_description>Tension . He starts out of the room , moving a wardrobe box out of his way as he goes . She stands there . Upset . Big is brushing his teeth . There 's a knock . The door opens . Carrie comes in , vulnerable .</scene_description>
<character>CARRIE</character>
<dialogue>I think it's too late for city hall now.</dialogue>
<character>BIG</character>
<dialogue>Well, no. I was n't suggesting - I was just saying.</dialogue>
<scene_description>He looks at her . She looks - devastated .</scene_description>
<character>BIG</character>
<parenthetical>( CONT 'D . )</parenthetical>
<dialogue>See. That is the face I've been trying to avoid. Come here.</dialogue>
<scene_description>She stands there . He goes to her , hugs her .</scene_description>
<character>CARRIE</character>
<dialogue>You're a great man friend.</dialogue>
<scene_description>She buries her head in his chest ; relieved . He exhales . Miranda , Charlotte , Harry , Samantha , Smith , Stanford , Anthony , Bitsy and other GUESTS are gathered around a long beautifully - set table . Carrie and Big ARRIVE at the top of the stairs . Everyone looks up and applauds . The desserts are being served . Samantha stands and prepares to speak . Harry hits a glass with a spoon . people quiet down .</scene_description>
<character>SAMANTHA</character>
<dialogue>Now, I know it's tradition at the rehearsal dinner for the maid of honor to reveal embarrassing things about the bride. But in our group -</dialogue>
<scene_description>She looks at Carrie , Charlotte and Miranda</scene_description>
<character>SAMANTHA</character>
<parenthetical>( CONT 'D . )</parenthetical>
<dialogue>We never kiss and tell.</dialogue>
<scene_description>Carrie , Miranda and Charlotte WHOOP . Laughter .</scene_description>
<character>SAMANTHA</character>
<parenthetical>( CONT 'D . )</parenthetical>
<dialogue>So, I'd like to make a toast to the groom.</dialogue>
<scene_description>From somewhere down the table , KARL -LRB- 50 -RRB- a Preppy Businessman CALLS OUT ; joking .</scene_description>
<character>KARL</character>
<dialogue>There's a word he's heard before!</dialogue>
<scene_description>The room LAUGHS . Big smiles ; tight . Carrie leans in .</scene_description>
<character>CARRIE</character>
<dialogue>Who is that again?</dialogue>
<character>BIG</character>
<dialogue>Karl. a partner at the firm.</dialogue>
<character>CARRIE</character>
<dialogue>Karl's kind of a jerk.</dialogue>
<character>KARL</character>
<parenthetical>( Calling . )</parenthetical>
<dialogue>You know what they say - three times a charm!</dialogue>
<character>SAMANTHA</character>
<parenthetical>( Calling to Karl . )</parenthetical>
<dialogue>Hey `` dick wad''. I'm speaking.</dialogue>
<character>CARRIE</character>
<dialogue>Whooo!</dialogue>
<character>SAMANTHA</character>
<dialogue>Now. There were times when we had our doubt about this gorgeous man. But after careful observation over the last hundred years, my doubts are over.</dialogue>
<parenthetical>( Lifts glass high . )</parenthetical>
<dialogue>So. here's to the groom. A man who finally got `` Carrie - d'' away.</dialogue>
<scene_description>Big is touched . Then Karl feels the need to add :</scene_description>
<character>KARL</character>
<dialogue>Here's hopin', John!</dialogue>
<scene_description>Big smiles , he has no choice . He raises his glass .</scene_description>
<character>CARRIE</character>
<parenthetical>( Soft . )</parenthetical>
<dialogue>Jackass.</dialogue>
<scene_description>Samantha is out front with Big , Harry and Smith . They are smoking cigars .</scene_description>
<character>BIG</character>
<dialogue>Quite a toast, Samantha.</dialogue>
<character>SAMANTHA</character>
<dialogue>Well, you're quite a guy.</dialogue>
<scene_description>They chuckle , then - Samantha 's smile fades .</scene_description>
<character>SAMANTHA</character>
<parenthetical>( CONT 'D . )</parenthetical>
<dialogue>Steve.</dialogue>
<scene_description>The men turn as Steve approaches . He has a look of real pain and guilt and embarrassment on his face .</scene_description>
<character>STEVE</character>
<dialogue>I do n't want to bother you all -</dialogue>
<character>BIG</character>
<dialogue>You're not bothering us.</dialogue>
<character>STEVE</character>
<dialogue>But - I need to talk to Miranda. Samantha, could you - ask her to come out. I do n't want to go in. It's a party and all.</dialogue>
<scene_description>Samantha is trapped . trapped and touched . Miranda comes out of the ladies room . Samantha spots her .</scene_description>
<character>MIRANDA</character>
<dialogue>Hi. I have n't talked to you all night.</dialogue>
<character>SAMANTHA</character>
<dialogue>Steve's here.</dialogue>
<scene_description>The blood drains from Miranda 's face . Samantha nods . Steve is standing with Smith , Big and Harry as Miranda comes out of the restaurant - Samantha looks out from inside .</scene_description>
<character>MIRANDA</character>
<dialogue>Could you give us -</dialogue>
<scene_description>The guys go inside . Samantha gives Miranda a look and leads them away . Miranda turns . She glares at Steve .</scene_description>
<character>STEVE</character>
<dialogue>You did n't leave me any choice. You wo n't return my calls - You only talk to me in front of the baby when you know I ca n't say anything.</dialogue>
<character>MIRANDA</character>
<dialogue>What could you possibly have to say that could make it better?</dialogue>
<character>STEVE</character>
<dialogue>Miranda, please. It was just that one time. Please - I love you -</dialogue>
<character>MIRANDA</character>
<dialogue>You broke us! You broke us. What we had is broken!</dialogue>
<scene_description>Three YOUNG SINGLE GIRLS -LRB- 25 -RRB- walk past them into the club . They look back at the scene . Miranda looks down at the ground . Steve is paralyzed . Miranda turns to leave - looks back at him with daggers and hurt .</scene_description>
<character>MIRANDA</character>
<parenthetical>( CONT 'D . )</parenthetical>
<dialogue>I changed who I was for you.</dialogue>
<scene_description>Miranda goes inside . Steve is a stone . Miranda makes her way through the crowded bar . She looks very rattled . Big spots her and follows , gently .</scene_description>
<character>BIG</character>
<dialogue>Hey. Are you alright?</dialogue>
<character>MIRANDA</character>
<dialogue>No, I'm not alright. You two are crazy to get married. Marriage ruins everything.</dialogue>
<scene_description>Miranda walks away , upset . He stands there ; shaken . Big is at the bar having a scotch . Carrie hurries over to him . She leans in and puts her arm on his back .</scene_description>
<character>CARRIE</character>
<dialogue>There you are. I thought you skipped out on me.</dialogue>
<scene_description>She smiles , kisses him . He smiles , sips his scotch .</scene_description>
<character>CARRIE</character>
<parenthetical>( CONT 'D . )</parenthetical>
<dialogue>Well, the all - gal sleepover is about to commence. You gon na miss me?</dialogue>
<character>BIG</character>
<dialogue>Do n't go. Spend the night with me.</dialogue>
<character>CARRIE</character>
<dialogue>Oh. One night wo n't kill you. And tomorrow you get to have me for the rest of your life.</dialogue>
<scene_description>He sips his scotch . She looks at him , sees a glimmer of something . Something that scares her .</scene_description>
<character>CARRIE</character>
<parenthetical>( CONT 'D . )</parenthetical>
<dialogue>Is everything okay?</dialogue>
<scene_description>He looks over - sees her face . Scared .</scene_description>
<character>BIG</character>
<dialogue>I'm just tired - I guess.</dialogue>
<scene_description>Carrie reaches up and fixes Big 's hair .</scene_description>
<character>CARRIE</character>
<dialogue>Go home and sleep.</dialogue>
<parenthetical>( beat . )</parenthetical>
<dialogue>Now, give me a kiss good night. Make it good - it's the last single girl kiss.</dialogue>
<scene_description>He looks at her as if to say something , then kisses her . Carrie sits on the bed surrounded by Charlotte , Samantha , and Miranda all wearing matching robes . Laying on the floor near the bed - three open gift boxes and ribbons . Lily sits in Carrie 's lap playing with Carrie 's cell phone - in her PJ 's .</scene_description>
<character>CARRIE</character>
<parenthetical>( V.O . )</parenthetical>
<dialogue>There we sat. like a scene out of Louisa May Alcott's : `` Not - so Little Women.''</dialogue>
<character>CHARLOTTE</character>
<dialogue>I always knew she would marry Big.</dialogue>
<character>SAMANTHA/MIRANDA</character>
<dialogue>You did not!</dialogue>
<character>CHARLOTTE</character>
<dialogue>Yes I did! After every break - up I secretly thought : Nope. They belong together.</dialogue>
<character>SAMANTHA</character>
<dialogue>You thought that after the second break - up?</dialogue>
<character>CHARLOTTE</character>
<dialogue>Yep.</dialogue>
<character>MIRANDA</character>
<dialogue>After the fifteenth?</dialogue>
<character>CARRIE</character>
<dialogue>Ha ha - hilarious - we broke up a lot.</dialogue>
<character>SAMANTHA</character>
<dialogue>Yes, but. after the break - ups - comes the hot make - up sex.</dialogue>
<scene_description>Charlotte pokes Samantha ; indicates Lily . Samantha rolls her eyes . Carrie 's cell phone RINGS . Lily wants to answer it .</scene_description>
<character>CARRIE</character>
<dialogue>You want to answer? Go ahead, sweetie. Open it up.</dialogue>
<scene_description>Lily opens it and holds it up to her face , silent .</scene_description>
<character>CARRIE</character>
<parenthetical>( CONT 'D . )</parenthetical>
<dialogue>Say something.</dialogue>
<character>LILY</character>
<dialogue>Sex.</dialogue>
<scene_description>They are all shocked ; then : LAUGHTER , even Charlotte .</scene_description>
<character>CARRIE</character>
<dialogue>Sweetie, that was your first bootie call.</dialogue>
<character>SAMANTHA</character>
<dialogue>Are you sure she's not my child?</dialogue>
<scene_description>Carrie , still laughing , wipes a tear away as she takes the phone from Lily and answers it .</scene_description>
<character>CARRIE</character>
<dialogue>Hello?</dialogue>
<scene_description>Big is sitting at the desk , a piece of paper on it .</scene_description>
<character>BIG</character>
<dialogue>It's me.</dialogue>
<character>CARRIE</character>
<dialogue>Oh my God - did you just hear Lily?</dialogue>
<character>BIG</character>
<dialogue>Hey - I need to talk.</dialogue>
<scene_description>Carrie puts her hand to her ear , blocking the laughter .</scene_description>
<character>BIG</character>
<parenthetical>( CONT 'D . )</parenthetical>
<dialogue>I'm sitting here trying to write these vows and.</dialogue>
<parenthetical>( beat ; then . )</parenthetical>
<dialogue>Is this something we really want to do?</dialogue>
<scene_description>Carrie gets out of bed ; playing it `` casual '' to the girls .</scene_description>
<character>CARRIE</character>
<dialogue>It's Big. I'm gon na take it in the -</dialogue>
<scene_description>She points to the study . Charlotte calls to the phone .</scene_description>
<character>CHARLOTTE</character>
<parenthetical>( calling ; silly . )</parenthetical>
<dialogue>Get some sleep, groomie!</dialogue>
<scene_description>Carrie goes into the study and closes the door . Carrie leans against the door , her face now concerned .</scene_description>
<character>CARRIE</character>
<dialogue>What's the matter?</dialogue>
<character>BIG</character>
<dialogue>It's just - everything is great as it is.</dialogue>
<parenthetical>( beat . )</parenthetical>
<dialogue>I do n't want to screw it up.</dialogue>
<character>CARRIE</character>
<dialogue>You wo n't.</dialogue>
<character>BIG</character>
<dialogue>I screwed it up twice before.</dialogue>
<scene_description>Big is silent . Carrie is thinking , thinking , thinking .</scene_description>
<character>CARRIE</character>
<dialogue>Here's the thing. This is me that you're marrying tomorrow. Me. Nobody else.</dialogue>
<character>BIG</character>
<dialogue>Yeah.</dialogue>
<character>CARRIE</character>
<dialogue>And I'm marrying you. It's me and you. And you want to know the good news there?</dialogue>
<character>BIG</character>
<dialogue>Yeah.</dialogue>
<character>CARRIE</character>
<dialogue>We've already both done everything we can to screw it up.</dialogue>
<scene_description>He smiles . She is very alert - thinking , thinking .</scene_description>
<character>CARRIE</character>
<parenthetical>( CONT 'D . )</parenthetical>
<dialogue>Is that a smile I'm hearing?</dialogue>
<character>BIG</character>
<dialogue>Yeah.</dialogue>
<character>CARRIE</character>
<dialogue>Now, it sounds to me like you've got a bit of writer's block on the vow front.</dialogue>
<character>BIG</character>
<dialogue>Yeah.</dialogue>
<character>CARRIE</character>
<dialogue>And I find - you know - as a professional writer - it's best to just, you know, stop thinking about it so much - and go to bed. And in the morning.</dialogue>
<character>BIG</character>
<dialogue>You know what to do?</dialogue>
<character>CARRIE</character>
<dialogue>Exactly. And if not - Just write this : `` I will love you.'' Simple and to - the - point. And I swear I wo n't even try to take credit for it.</dialogue>
<scene_description>Silence . Deep silence .</scene_description>
<character>CARRIE</character>
<parenthetical>( CONT 'D . )</parenthetical>
<dialogue>You're going to bed now, right?</dialogue>
<character>BIG</character>
<dialogue>Okay. Good night.</dialogue>
<character>CARRIE</character>
<dialogue>I'll see you tomorrow. Hey. Me and you.</dialogue>
<scene_description>He hangs up . She looks terrified . Dark . Charlotte and Carrie are sharing the bed . Carrie is wide awake . Here eyes focused across the room on her gorgeous wedding gown : ready and waiting . Miranda is standing in the hall putting on her earrings . The bedroom door opens - Carrie stands there in the wedding gown . Carrie and Miranda catch eyes for a brief moment . There are no words . Lily steps around from behind Carrie . She is wearing a long white dress and holding a LITTLE PURSE . She looks adorable .</scene_description>
<character>CARRIE</character>
<dialogue>There you are! Almost lost you under all that. Got your purse?</dialogue>
<scene_description>Charlotte takes Lily 's hand as Anthony comes out of the dining room and spots Carrie for the first time .</scene_description>
<character>ANTHONY</character>
<dialogue>Now there's a bride! Flowers!</dialogue>
<scene_description>A flurry of activity - attaching the veil on Carrie . Stanford stands near Carrie ready to assist if needed . Harry stands in the pantry doorway watching - eating a toasted bagel . Charlotte takes a bite - carefully .</scene_description>
<character>CARRIE</character>
<dialogue>Whose got a mirror?</dialogue>
<character>CHARLOTTE</character>
<dialogue>Behind you.</dialogue>
<scene_description>Carrie turns to move to the mirror . She is JERKED BACK .</scene_description>
<character>CARRIE</character>
<dialogue>Stanford, you're on my dress.</dialogue>
<character>ANTHONY</character>
<dialogue>Get off the dress!</dialogue>
<character>MIRANDA</character>
<dialogue>Is that a rip?</dialogue>
<character>CARRIE/ANTHONY</character>
<dialogue>Where?!</dialogue>
<scene_description>Carrie 's CELL PHONE RINGS . Anthony reaches over and picks it up , distracted by the dress situation .</scene_description>
<character>ANTHONY</character>
<parenthetical>( sharp ; into phone . )</parenthetical>
<dialogue>What?</dialogue>
<scene_description>Intercut with Big . pacing . He does n't look rested .</scene_description>
<character>BIG</character>
<dialogue>Can you put Carrie on, please?</dialogue>
<character>ANTHONY</character>
<dialogue>Not now. dress emergency.</dialogue>
<scene_description>Anthony hangs up , tosses her phone onto the dining table .</scene_description>
<character>ANTHONY</character>
<parenthetical>( CONT 'D . )</parenthetical>
<dialogue>Damage? What's the damage?</dialogue>
<character>SAMANTHA</character>
<dialogue>There's so much fabric I ca n't see.</dialogue>
<character>ANTHONY</character>
<dialogue>Ca n't see anything behind this friggin' table. Go, go - everyone out into the hall.</dialogue>
<scene_description>As the girls start out - Anthony addresses Stanford .</scene_description>
<character>ANTHONY</character>
<parenthetical>( CONT 'D . )</parenthetical>
<dialogue>You're a queen - you should know how to step around a gown.</dialogue>
<character>STANFORD</character>
<dialogue>Do n't call me a queen.</dialogue>
<character>ANTHONY</character>
<dialogue>Go - Out in the hall, your highness.</dialogue>
<scene_description>Everyone except for Lily moves out into the hall . Carrie 's cell RINGS AGAIN . Lily picks it up , opens it and holds it up to her face - She says nothing . Big is standing there . He hears only Lily breathing .</scene_description>
<character>BIG</character>
<dialogue>Hello?</dialogue>
<scene_description>Lily closes the cell phone . Big reacts , puzzled . She opens her little purse , drops the phone in and walks out . Carries and company leave the building , JADED NEW YORKERS passing by react with awe at the beautiful sight . CHARLOTTE leads Lily over to HARRY who is waiting by the Sedan . He makes a fuss over how cute she looks . Big 's driver RAOUL -LRB- 55 -RRB- is waiting out front next to his car , smoking . Big leaves his building talking on his phone .</scene_description>
<character>CARRIE</character>
<parenthetical>( V.O . )</parenthetical>
<dialogue>It's Carrie. leave me a message.</dialogue>
<character>BIG</character>
<dialogue>Why are n't you calling me back? I really need to talk to you. Call me back as soon as you get this.</dialogue>
<scene_description>He closes phone . Raoul opens the back door . WEDDING GUESTS arrive . Bitsy comes up to Stanford . A DRIVER follows her carrying a LARGE box from TIFFANY .</scene_description>
<character>STANFORD</character>
<dialogue>Looks like someone had breakfast at Tiffany.</dialogue>
<character>BITSY</character>
<dialogue>Sweetheart, look at the size. it's breakfast, lunch and dinner at Tiffany.</dialogue>
<parenthetical>( beat . )</parenthetical>
<dialogue>Gifts?</dialogue>
<scene_description>Stanford chuckles as he points . She points to the DRIVER and they walk away . Anthony comes over to Stanford .</scene_description>
<character>ANTHONY</character>
<dialogue>We have a problem.</dialogue>
<character>STANFORD</character>
<dialogue>I know, but for Carrie's sake I've decided to ignore your attitude.</dialogue>
<character>ANTHONY</character>
<dialogue>No, a real problem. They're not here.</dialogue>
<character>STANFORD</character>
<dialogue>They're probably stuck in traffic.</dialogue>
<character>ANTHONY</character>
<dialogue>Both of them?</dialogue>
<scene_description>Stanford gives a look of concern . Anthony nods . Big 's car is parked in front of the library . Raoul is leaning against it looking at his watch . Big is on the phone , smoking one of Raoul 's cigarettes .</scene_description>
<character>CARRIE</character>
<parenthetical>( V.O . )</parenthetical>
<dialogue>This is Carrie, leave a message.</dialogue>
<character>BIG</character>
<dialogue>I'm out front - waiting. I ca n't go in without you.</dialogue>
<scene_description>He takes a drag on the cigarette . Exhales .</scene_description>
<character>BIG</character>
<parenthetical>( CONT 'D . )</parenthetical>
<dialogue>Baby, this whole bride and groom thing has really thrown me. I need to know that it's still us. Just like you said. Me and you.</dialogue>
<scene_description>Raoul KNOCKS on the window . Big looks out . The girls are in the process of climbing out of the limo . Big closes the phone and looks . Carrie gets out of the limo , her back to him .</scene_description>
<character>BIG</character>
<parenthetical>( CONT 'D . )</parenthetical>
<dialogue>Turn around baby, let me see you.</dialogue>
<scene_description>Just as he 's about to see her face - Charlotte pulls the veil over it . Carrie is gone - all Big can see is a bride . He sinks back into his seat and away from the window as the girls hurry up the library stairs . Anthony and Stanford are waiting , as are Harry with Lily and Magda with Brady , who is wearing a little tux with shorts and knee socks holding a ring pillow . A FLURRY OF HIGH HEELS CLICKING on a marble floor is heard as Carrie and the girls arrive around a corner . Magda GASPS , overjoyed when she sees Carrie in her dress .</scene_description>
<character>MIRANDA</character>
<dialogue>Traffic was the worst -</dialogue>
<scene_description>Miranda kneels to hug Brady . Samantha fluffs Carrie .</scene_description>
<character>SAMANTHA</character>
<dialogue>Ready. We're ready.</dialogue>
<scene_description>Samantha looks over . Anthony has a weird look on his face .</scene_description>
<character>STANFORD</character>
<dialogue>He's not here yet.</dialogue>
<character>SAMANTHA</character>
<dialogue>Who's not?</dialogue>
<character>ANTHONY</character>
<dialogue>The groom.</dialogue>
<scene_description>Carrie lifts up her veil with ONE arm and looks out from under it . She is on super high - alert .</scene_description>
<character>CARRIE</character>
<dialogue>What's happening?</dialogue>
<character>SAMANTHA</character>
<dialogue>Big's not here.</dialogue>
<character>CHARLOTTE</character>
<dialogue>But we're twenty - five minutes late.</dialogue>
<character>CARRIE</character>
<dialogue>Did anyone call him?</dialogue>
<parenthetical>( beat ; nothing . )</parenthetical>
<dialogue>Give me a phone. Someone give me a phone.</dialogue>
<scene_description>Samantha hands her the iPhone . Carrie looks at it .</scene_description>
<character>CARRIE</character>
<parenthetical>( CONT 'D . )</parenthetical>
<parenthetical>( tight/controlled . )</parenthetical>
<dialogue>I do n't know how to work this.</dialogue>
<scene_description>Stanford hands her a phone . As she dials she catches a WORRIED LOOK on Charlotte 's face . Carrie turns away and holds the phone to her ear , waits . Waits . Then -</scene_description>
<character>CARRIE</character>
<parenthetical>( CONT 'D . )</parenthetical>
<parenthetical>( into phone . )</parenthetical>
<dialogue>Are you okay?</dialogue>
<scene_description>Big is sitting in the car as it MOVES down a side street .</scene_description>
<character>BIG</character>
<dialogue>I've been calling you for an hour. Why have n't you been answering your phone?</dialogue>
<character>CARRIE</character>
<parenthetical>( anxiety escaping . )</parenthetical>
<dialogue>I do n't know where my phone is!</dialogue>
<parenthetical>( beat . )</parenthetical>
<dialogue>What is going on? Where are you?</dialogue>
<character>BIG</character>
<parenthetical>( beat ; then . )</parenthetical>
<dialogue>I was out front - but I just left. I ca n't do this.</dialogue>
<character>CARRIE</character>
<parenthetical>( in pain . )</parenthetical>
<dialogue>Oh my God -</dialogue>
<scene_description>Carrie drops the phone from her ear - She 's heard the words . The words on some level she was expecting .</scene_description>
<character>CARRIE</character>
<parenthetical>( CONT 'D . )</parenthetical>
<dialogue>He's not coming. Oh my God.</dialogue>
<scene_description>The phone slips out of her hand and lands on the floor . Charlotte , Miranda , and Samantha do n't know what to do .</scene_description>
<character>SAMANTHA</character>
<dialogue>What do you mean he's not coming?</dialogue>
<character>CARRIE</character>
<dialogue>Get me out of here.</dialogue>
<parenthetical>( beat ; a plea . )</parenthetical>
<dialogue>- Get me out of here!</dialogue>
<character>SAMANTHA</character>
<dialogue>Go, go. You take her. I'll stay here and deal with this -</dialogue>
<scene_description>She gestures to the wedding area . Miranda and Charlotte take Carrie 's arms and quickly start moving her away . Horror on all of their faces . Brady CALLS after them , his voice ECHOES off the marble .</scene_description>
<character>BRADY</character>
<dialogue>Where you going, Mommy?!</dialogue>
<scene_description>Samantha looks at Stanford and Anthony - speechless . The LIMO DRIVER slams the limo door . Carrie is seen through the window , sitting in back - stunned . Miranda and Charlotte are in the back next to her - stunned . Big sits , pale , staring off as the car drives away .</scene_description>
<character>BIG</character>
<parenthetical>( sudden realization . )</parenthetical>
<dialogue>What the fuck am I doing? What the fuck am I doing?</dialogue>
<parenthetical>( to Raoul . )</parenthetical>
<dialogue>Turn around and go back.</dialogue>
<character>RAOUL</character>
<dialogue>It's a one way street. I have to go around the block.</dialogue>
<character>BIG</character>
<dialogue>By the time we go around the block she'll be gone. No one's behind us - Turn around!</dialogue>
<scene_description>Big 's car makes a QUICK three - point turn and starts back up the one - way street as Carrie 's limo turns onto it . Raoul sees the limo - coming .</scene_description>
<character>RAOUL</character>
<dialogue>I think this is them.</dialogue>
<character>BIG</character>
<dialogue>Pull over. Pull over.</dialogue>
<scene_description>Big 's car pulls over , as the limo approaches . Big powers down his window - as the limo passes , he sees Carrie in the window - resting her head against the glass , listless .</scene_description>
<character>BIG</character>
<parenthetical>( CONT 'D . )</parenthetical>
<dialogue>Carrie!</dialogue>
<scene_description>Carrie looks up , and see 's Big . He smiles an apologetically smile . Her limo keeps on moving . Big watches it go . Until . The limo SCREECHES to a halt . The back door flies open and Carrie almost leaps out . Big sees her , he looks relieved . She hurries up the street to Big 's car holding her bouquet . Big gets out of his car just as Carrie reaches him .</scene_description>
<character>BIG</character>
<dialogue>I freaked out for a minute - but - I'm ready now -</dialogue>
<scene_description>Carrie HITS him with her bouquet . It 's a violent direct hit on his face . He recoils . She hits him again , hard . a wounded sound escaping her throat .</scene_description>
<character>BIG</character>
<parenthetical>( CONT 'D . )</parenthetical>
<dialogue>Carrie!</dialogue>
<scene_description>She hits him again . He ducks back into the car for protection . She hits the bouquet on the roof of the car - the flowers start breaking apart and flying everywhere .</scene_description>
<character>CARRIE</character>
<dialogue>I knew you would do this - I knew it!</dialogue>
<scene_description>Miranda reaches Carrie and holds her back by her waist . Big gets back out of the car and starts over to her .</scene_description>
<character>BIG</character>
<dialogue>I'm sorry - I just -</dialogue>
<scene_description>With all she has left , she throws the broken bouquet at him .</scene_description>
<character>CARRIE</character>
<dialogue>You left! I am humiliated!</dialogue>
<scene_description>Carrie starts crying . Charlotte has arrived . Carrie turns and falls into her arms . Miranda and Charlotte lead her away . Big starts over to follow .</scene_description>
<character>BIG</character>
<dialogue>Carrie, wait -</dialogue>
<scene_description>Charlotte whips her head around and stares him down .</scene_description>
<character>CHARLOTTE</character>
<dialogue>No!</dialogue>
<scene_description>He stops in his tracks . A WAITRESS -LRB- 20 's -RRB- at the Brant Park Cafe nearby `` over - pours '' water into a CUSTOMER 'S glass - riveted by the scene . Miranda and Charlotte move Carrie back into the limo . A CAB comes down the street and HONKS at Big standing in the road ; dazed . Carrie sits in a chair . She is holding a glass and has an Hermes blanket wrapped around her . Miranda sits nearby holding a bottle of vodka . Samantha paces , working on her iPHONE .</scene_description>
<character>CARRIE</character>
<dialogue>I thought I would still be in extreme pain but I'm feeling nothing.</dialogue>
<scene_description>Carrie reaches over and holds out her glass .</scene_description>
<character>CARRIE</character>
<parenthetical>( CONT 'D . )</parenthetical>
<dialogue>I'd like a little more nothing.</dialogue>
<scene_description>Miranda nods and pours some more vodka into it .</scene_description>
<character>CARRIE</character>
<parenthetical>( V.O. ; CONT 'D . )</parenthetical>
<dialogue>I had gone from Little Women to Little Drunk Women.</dialogue>
<scene_description>Charlotte enters and looks over at Carrie , soulfully .</scene_description>
<character>CARRIE</character>
<parenthetical>( CONT 'D . )</parenthetical>
<dialogue>Yes, I'm still jilted.</dialogue>
<character>SAMANTHA</character>
<dialogue>What the hell got into him? He was perfectly fine at the dinner.</dialogue>
<scene_description>Miranda sips her vodka - should she say anything ?</scene_description>
<character>CARRIE</character>
<dialogue>I knew it when he called last night. I could tell.</dialogue>
<character>SAMANTHA</character>
<dialogue>Why did n't you say anything?</dialogue>
<scene_description>She shrugs and sips .</scene_description>
<character>CARRIE</character>
<dialogue>Did n't want to believe it. Did n't even want to say it out loud.</dialogue>
<parenthetical>( beat . )</parenthetical>
<dialogue>And now I have nowhere to love -.</dialogue>
<parenthetical>( beat ; then . )</parenthetical>
<dialogue>I meant live. I have nowhere to live.</dialogue>
<character>CHARLOTTE</character>
<dialogue>You'll stay here.</dialogue>
<character>CARRIE</character>
<dialogue>Forever.</dialogue>
<scene_description>She sips . Charlotte looks at her , concerned .</scene_description>
<character>CHARLOTTE</character>
<dialogue>Maybe you should eat something.</dialogue>
<scene_description>She shakes her head . Charlotte looks at the others .</scene_description>
<character>CHARLOTTE</character>
<parenthetical>( CONT 'D . )</parenthetical>
<dialogue>Anyone hungry?</dialogue>
<scene_description>They shake their heads ; no .</scene_description>
<character>CARRIE</character>
<dialogue>Well, if you change your minds, I know where we can get one hundred beef, seventy - five fish and twenty - five vegetarian meals.</dialogue>
<scene_description>She sips . Charlotte rubs her back . She sips .</scene_description>
<character>CARRIE</character>
<parenthetical>( CONT 'D . )</parenthetical>
<dialogue>And my clothes. All my clothes. I can never go over there again. How am I going to get my clothes?</dialogue>
<character>SAMANTHA</character>
<dialogue>Oh, honey - I can hire people to do all that. Anything you need.</dialogue>
<character>CARRIE</character>
<dialogue>A hit man?</dialogue>
<parenthetical>( beat . )</parenthetical>
<dialogue>I have nothing to wear but a wedding gown.</dialogue>
<character>CHARLOTTE</character>
<dialogue>You have your honeymoon stuff here.</dialogue>
<character>CARRIE</character>
<dialogue>There's the silver lining. A honeymoon to a romantic Mexican resort that's pre - paid on my credit card because I wanted to surprise the man who jilted me.</dialogue>
<character>SAMANTHA</character>
<dialogue>I can get you out of that. Worse comes to worse - I'll say there was a death or something.</dialogue>
<character>CARRIE</character>
<dialogue>Was n't there?</dialogue>
<scene_description>She sips , looking sad . Charlotte leans down and tucks in the sleeping Lily . She picks up a `` Chinese baby doll '' and nestles it under Lily 's arm , then turns and starts out . Miranda is standing in the hall as Charlotte enters from Lily 's room .</scene_description>
<character>MIRANDA</character>
<dialogue>I did something really bad - I think.</dialogue>
<scene_description>Charlotte looks at her .</scene_description>
<character>MIRANDA</character>
<parenthetical>( CONT 'D . )</parenthetical>
<dialogue>I said something to Big. At the rehearsal dinner.</dialogue>
<character>CHARLOTTE</character>
<dialogue>What do you mean?</dialogue>
<character>MIRANDA</character>
<dialogue>It was right after Steve showed up. I was upset. Big came up to me - and I said something like : You're crazy to get married.</dialogue>
<parenthetical>( off her look . )</parenthetical>
<dialogue>It just came out.</dialogue>
<scene_description>Charlotte nods trying to understand .</scene_description>
<character>MIRANDA</character>
<parenthetical>( CONT 'D . )</parenthetical>
<dialogue>Do you think it was totally the reason?</dialogue>
<character>CHARLOTTE</character>
<parenthetical>( cutting her a break . )</parenthetical>
<dialogue>No, no, no. Big has been weird about marriage for years.</dialogue>
<character>MIRANDA</character>
<dialogue>I keep thinking I should tell Carrie.</dialogue>
<character>CHARLOTTE</character>
<dialogue>No, no. This is a really bad time to even mention it - no, no, no. Find another time. Later.</dialogue>
<scene_description>Samantha comes down the hall . She is energized .</scene_description>
<character>SAMANTHA</character>
<dialogue>Well, turns out, I could n't get her out of the honeymoon - but I got us in.</dialogue>
<character>MIRANDA</character>
<dialogue>What?</dialogue>
<character>SAMANTHA</character>
<dialogue>I just booked us three seats on the flight. Mexico here we come.</dialogue>
<scene_description>Charlotte and Miranda react ; completely thrown .</scene_description>
<character>MIRANDA</character>
<dialogue>I ca n't go to Mexico. I have a job.</dialogue>
<scene_description>Samantha indicates Carrie - sitting in the den staring off to nowhere , deeply sad - Devastated . A lush tropical road with a view of the sun setting on the ocean . A large open air GOLF CART comes around the bend holding the girls . Carrie 's hair blows in the breeze , her sunglasses firmly in place . A gorgeous romantic private house surrounded by tropical splendor . The cart arrives in front . The DOORS are open and PAULO -LRB- 38 -RRB- the BUTLER stands there holding a tray with two beautiful tropical drinks . He is surprised when he sees the four women , but he covers , effortlessly .</scene_description>
<character>PAULO</character>
<dialogue>Welcome to Mexico.</dialogue>
<character>SAMANTHA</character>
<dialogue>Buenos dias.</dialogue>
<scene_description>Carrie gets out of the cart and goes into the house - followed by Charlotte and Miranda . Samantha arrives and picks up a drink off the tray .</scene_description>
<character>PAULO</character>
<dialogue>I'm sorry. I am confused. I am waiting for a Mr. And Mrs. Preston.</dialogue>
<character>SAMANTHA</character>
<dialogue>Honey, you'll be waiting for a long time.</dialogue>
<scene_description>She sips the drink , then looks at him , `` familiar . ''</scene_description>
<character>SAMANTHA</character>
<parenthetical>( CONT 'D . )</parenthetical>
<dialogue>We'll talk.</dialogue>
<scene_description>Charlotte and Miranda stand looking at the gorgeous , romantic private Mexican bungalow . Samantha enters ; looks .</scene_description>
<character>SAMANTHA</character>
<dialogue>This. will kill her.</dialogue>
<parenthetical>( beat . )</parenthetical>
<dialogue>Where is she?</dialogue>
<character>CHARLOTTE</character>
<dialogue>In the powder room.</dialogue>
<scene_description>Carrie stands looking in the mirror . She takes off her sunglasses . Her eyes are red , red , red . She splashes water on her face and looks at herself in the beautiful Mexican mirror . Paulo leads Miranda , Charlotte , and Samantha into the romantic bedroom suite . On the bed - rose petals are scattered in the shape of a large heart .</scene_description>
<character>MIRANDA</character>
<dialogue>Oh My God!</dialogue>
<scene_description>Miranda and Charlotte quickly grab the bed cover and jerk it up - throwing all the rose petals off . Paulo watches . Miranda addresses him in a very intense WHISPER .</scene_description>
<character>MIRANDA</character>
<parenthetical>( CONT 'D . )</parenthetical>
<dialogue>No more honeymoon stuff. This is very important. Have I made myself clear?</dialogue>
<scene_description>Carrie exits the powder room , her sunglasses in her hand . She stands in the entry way ; alone . She looks out at the main room ; the beautiful view , the romance . Her eyes start to water . A PORTER enters with the bags . Carrie hides her face , acknowledging him with a nod . Carrie enters and moves directly to the bed , past Charlotte where Miranda is sitting talking on her cell .</scene_description>
<character>MIRANDA</character>
<dialogue>Magda - I'll talk to you tomorrow</dialogue>
<scene_description>Miranda hangs up as Carrie crawls onto the bed and lays down . The pink sunset light floods across her face .</scene_description>
<character>SAMANTHA</character>
<dialogue>Well, it's a gorgeous sunset.</dialogue>
<character>CARRIE</character>
<dialogue>Close the shutters.</dialogue>
<scene_description>Paulo moves over to the window and starts closing the shutters . The sun is slowly shuttered out .</scene_description>
<character>CARRIE</character>
<parenthetical>( CONT 'D . )</parenthetical>
<dialogue>All of them.</dialogue>
<scene_description>Carrie closes her eyes . DARKNESS falls across her face . The room is dark except for the bright sunlight straining to get in between the cracks of the closed shutters . Carrie is asleep . Miranda sits on the bed . Carrie stirs , half waking . Miranda smiles .</scene_description>
<character>MIRANDA</character>
<dialogue>Morning.</dialogue>
<character>CARRIE</character>
<dialogue>Did I dream it?</dialogue>
<scene_description>Miranda shakes her head , no . Carrie closes her eyes , falls back asleep . Dark . Carrie is still asleep . Charlotte sits on the bed . She gently shakes Carrie . Carrie opens her eyes .</scene_description>
<character>CHARLOTTE</character>
<dialogue>Carrie, it's dinner time. You slept the whole day.</dialogue>
<character>CARRIE</character>
<dialogue>So?</dialogue>
<scene_description>Carrie closes her eyes . Charlotte exhales , concerned . A `` tingling of glass '' sound wakes Carrie . She opens her eyes and looks . Samantha is just sitting on the bed with a breakfast tray .</scene_description>
<character>SAMANTHA</character>
<dialogue>Honey, you have to eat a little breakfast.</dialogue>
<character>CARRIE</character>
<dialogue>I'm tired.</dialogue>
<character>SAMANTHA</character>
<dialogue>Eat something and you can go back to sleep.</dialogue>
<scene_description>Samantha holds up a bowl of yogurt . Carrie adjusts on her pillows a little . Samantha feeds Carrie a spoonful of yogurt . Carrie looks at her . Samantha nods . Samantha , Miranda and Charlotte are sitting having lunch . Charlotte opens a pre - packaged `` snack pack '' chocolate pudding . She peels the lid off , takes a spoon and starts eating .</scene_description>
<character>SAMANTHA</character>
<dialogue>With all this gorgeous fresh food you're just going to eat that pudding crap the entire trip?</dialogue>
<character>CHARLOTTE</character>
<dialogue>It's the only thing in the pantry that's totally safe.</dialogue>
<parenthetical>( holding up lid . )</parenthetical>
<dialogue>See. Made in Poughkeepsie. I do n't want to chance it.</dialogue>
<character>MIRANDA</character>
<dialogue>It's a five - star resort.</dialogue>
<character>CHARLOTTE</character>
<dialogue>It's Mexico.</dialogue>
<scene_description>The bedroom door opens . Carrie walks out . The sun hits her eyes . She squints .</scene_description>
<character>CHARLOTTE</character>
<parenthetical>( CONT 'D . )</parenthetical>
<dialogue>Carrie!</dialogue>
<character>CARRIE</character>
<dialogue>Is there coffee?</dialogue>
<scene_description>All four girls are laying in the sun in bathing suits reading magazines . Miranda re - adjusts her body , stretching out on her beach chair .</scene_description>
<character>MIRANDA</character>
<dialogue>The sun feels nice.</dialogue>
<scene_description>Samantha looks over at her and notices something .</scene_description>
<character>SAMANTHA</character>
<dialogue>Jesus, honey. Wax much?</dialogue>
<scene_description>Miranda looks up at Samantha . Samantha indicates her swimsuit crotch area . which is badly in need of a wax . Miranda grabs her towel and covers her crotch area .</scene_description>
<character>MIRANDA</character>
<dialogue>- What? I did n't know I was going to be in a swimsuit.</dialogue>
<scene_description>Carrie and Charlotte look up from their magazines .</scene_description>
<character>CHARLOTTE</character>
<dialogue>What are you talking about?</dialogue>
<character>MIRANDA</character>
<dialogue>I forgot to get a wax.</dialogue>
<character>SAMANTHA</character>
<dialogue>Since when - 1998?</dialogue>
<scene_description>Carrie looks away , resumes reading .</scene_description>
<character>MIRANDA</character>
<dialogue>I've had other things on my mind.</dialogue>
<character>SAMANTHA</character>
<dialogue>I could be on death row and not have that situation.</dialogue>
<character>MIRANDA</character>
<dialogue>Well, when you're married, Samantha - you have a different set of priorities.</dialogue>
<character>SAMANTHA</character>
<dialogue>Honey do n't blame marriage -.</dialogue>
<parenthetical>( re : Charlotte . )</parenthetical>
<dialogue>This one's married - and she's not growing a national forest. How do you even cross your legs?</dialogue>
<parenthetical>( beat . )</parenthetical>
<dialogue>Let me make you a spa appointment - Any thicker and you wo n't be able to find it.</dialogue>
<scene_description>Miranda gets up from the chair and looks at her , mad .</scene_description>
<character>MIRANDA</character>
<dialogue>So what - It's my fault?! I let the sex go out of our marriage! I deserve what I got. Thanks for understanding.</dialogue>
<scene_description>She walks away . Samantha calls after her .</scene_description>
<character>SAMANTHA</character>
<dialogue>Honey, I'm sorry. That's not what -</dialogue>
<character>MIRANDA</character>
<dialogue>I'm fine!</dialogue>
<scene_description>Miranda goes inside . Carries throws her magazine down .</scene_description>
<character>CARRIE</character>
<dialogue>Let's go down to the hotel for dinner on the beach tonight.</dialogue>
<character>CHARLOTTE</character>
<dialogue>Really?</dialogue>
<character>CARRIE</character>
<dialogue>Yeah. I've got to do something to pull me out of my Mexicoma.</dialogue>
<character>SAMANTHA</character>
<dialogue>Oh, honey. you made a little joke. Good for you.</dialogue>
<scene_description>Samantha nods . Charlotte smiles ; encouraged . A romantic open - air restaurant on the beach . A MARIACHI BAND is serenading HONEYMOON COUPLES . A MALE HOST leads the girls across the small dance floor to their table . As they walk Miranda notices a slow dancing TWENTY - SOMETHING HONEYMOON COUPLE kissing - very much in love .</scene_description>
<character>MIRANDA</character>
<parenthetical>( to Carrie . )</parenthetical>
<dialogue>Do n't look to your -</dialogue>
<character>CARRIE</character>
<dialogue>Too late.</dialogue>
<scene_description>They arrive at their table and the host places down MENUS . FELIX , -LRB- 40 -RRB- the waiter comes up to them .</scene_description>
<character>MAITRE' D</character>
<dialogue>Buenos notches. My name is Felix, I ` ll be your server.</dialogue>
<character>SAMANTHA</character>
<parenthetical>( to Felix . )</parenthetical>
<dialogue>Felix - We'll start with quatro margaritas.</dialogue>
<character>CHARLOTTE</character>
<dialogue>No, I'm not drinking. Just bottled water.</dialogue>
<character>CARRIE</character>
<parenthetical>( to waiter . )</parenthetical>
<dialogue>I'll drink hers.</dialogue>
<character>FELIX</character>
<dialogue>May I have your room numbers?</dialogue>
<character>CARRIE</character>
<dialogue>We're staying in one of the private houses. Number three.</dialogue>
<scene_description>He looks down onto a list he is holding , then up to Carrie .</scene_description>
<character>MAITRE' D</character>
<dialogue>Very good, Mrs. Preston.</dialogue>
<scene_description>The waiter smiles and walks away .</scene_description>
<character>CARRIE</character>
<dialogue>That was like taking a bullet.</dialogue>
<scene_description>Miranda , Samantha , and Carrie look at the menu . Charlotte reaches into her purse and pulls out a little pudding and places it on the table . They all look at her .</scene_description>
<character>MIRANDA</character>
<dialogue>Charlotte had pudding in her Prada.</dialogue>
<scene_description>Samantha laughs . Miranda smiles . Carrie looks .</scene_description>
<character>CARRIE</character>
<dialogue>Will I ever laugh again?</dialogue>
<parenthetical>( beat ; then . )</parenthetical>
<dialogue>I'm serious.</dialogue>
<character>MIRANDA</character>
<dialogue>Yes.</dialogue>
<character>CARRIE</character>
<dialogue>When?</dialogue>
<character>MIRANDA</character>
<dialogue>When something is really, really funny.</dialogue>
<scene_description>The Mariachi band strolls by playing .</scene_description>
<character>CARRIE</character>
<dialogue>Thank god for that Mariachi band or I'd be able to hear my own thoughts.</dialogue>
<scene_description>Felix re - enters with the drinks .</scene_description>
<character>SAMANTHA</character>
<dialogue>Fabulous - and keep them coming.</dialogue>
<scene_description>Food is on the table - but Carrie , Miranda and Samantha are mostly drinking . Charlotte is eating her pudding .</scene_description>
<character>CARRIE</character>
<dialogue>After everything I know. After twenty years of everything we've learned - I threw it all away for the thrill of putting his name on the honeymoon suite.</dialogue>
<parenthetical>( beat . )</parenthetical>
<dialogue>If I met me now - I would n't know me.</dialogue>
<character>SAMANTHA</character>
<dialogue>Well, as long as we're going down this road.</dialogue>
<scene_description>They look at her - she sips her cocktail .</scene_description>
<character>SAMANTHA</character>
<parenthetical>( CONT 'D . )</parenthetical>
<dialogue>I ca n't believe my life revolves around a man. On what planet did I allow that to happen?</dialogue>
<character>CHARLOTTE</character>
<dialogue>You love him.</dialogue>
<character>SAMANTHA</character>
<dialogue>Does that mean saying his name fifty times more a day than I say my own? Does it mean worrying about him and his needs before me and mine? Is it all about the other person? Is that love?</dialogue>
<character>MIRANDA</character>
<dialogue>No, that's marriage.</dialogue>
<character>CARRIE</character>
<dialogue>So, you're saying marriage is a bad thing? Good to know right about now.</dialogue>
<scene_description>Samantha looks down at her gardenia ring .</scene_description>
<character>SAMANTHA</character>
<dialogue>Even this ring. I wanted to buy this for myself. That meant something to me. To be able to do that. Then, he buys it for me.</dialogue>
<character>CHARLOTTE</character>
<dialogue>Because he knew how much you loved it.</dialogue>
<character>SAMANTHA</character>
<dialogue>Yes. But now, every time I look down at it. I see him. Not me.</dialogue>
<character>CHARLOTTE</character>
<dialogue>You could look at it and see a man who loves you and wants you to be happy.</dialogue>
<character>SAMANTHA</character>
<dialogue>No, you could look at it and see that. I'm Samantha.</dialogue>
<scene_description>The Waiter walks over -</scene_description>
<character>SAMANTHA</character>
<parenthetical>( CONT 'D . )</parenthetical>
<dialogue>We'll take another round.</dialogue>
<character>CHARLOTTE</character>
<dialogue>Another?</dialogue>
<character>SAMANTHA</character>
<dialogue>Relax - we're on vacation.</dialogue>
<character>CARRIE</character>
<dialogue>Technically - we're on my honeymoon.</dialogue>
<character>MIRANDA</character>
<dialogue>No - I think we're on their honeymoon.</dialogue>
<scene_description>She points to the TWENTY - SOMETHING COUPLE at a nearby table - who have progressed to graphic French kissing .</scene_description>
<character>MIRANDA</character>
<parenthetical>( CONT 'D . )</parenthetical>
<parenthetical>( call to them . )</parenthetical>
<dialogue>It's all so hot - three days in.</dialogue>
<scene_description>The GIRLS are pretty much the only ones left in the restaurant . Empty drink glasses .</scene_description>
<character>CARRIE</character>
<dialogue>He could n't get out of the car. After everything he'd already put me through - he could n't make the effort and get out of the car? I made the effort - I put a bird on my head.</dialogue>
<character>MIRANDA</character>
<dialogue>Was that what that was?</dialogue>
<character>CARRIE</character>
<dialogue>Yes.</dialogue>
<character>MIRANDA</character>
<dialogue>I thought it was just feathers.</dialogue>
<character>CARRIE</character>
<dialogue>No. It was a bird.</dialogue>
<character>CHARLOTTE</character>
<dialogue>It was beautiful.</dialogue>
<character>CARRIE</character>
<dialogue>He's a bad guy. Always was. Bad guys do bad things.</dialogue>
<character>MIRANDA</character>
<dialogue>And good guys do bad things. The good guys screw you and the bad guys screw you.</dialogue>
<character>SAMANTHA</character>
<dialogue>And the rest of them do n't know how to screw you. Trust me - I've done the leg work.</dialogue>
<character>MIRANDA</character>
<dialogue>And that was all Steve had - did n't have money - did n't have a career. He was the good guy bartender with a big dick.</dialogue>
<scene_description>The all look over at her and react .</scene_description>
<character>SAMANTHA</character>
<dialogue>How big?</dialogue>
<character>CHARLOTTE</character>
<dialogue>I do n't want to know this.</dialogue>
<character>SAMANTHA</character>
<dialogue>Eat your pudding.</dialogue>
<character>MIRANDA</character>
<dialogue>Nine. Like - nine and change.</dialogue>
<character>CARRIE</character>
<dialogue>That's nice. Kinda balances off the one ball.</dialogue>
<character>SAMANTHA</character>
<dialogue>You ca n't forgive a man with a dick over nine inches?</dialogue>
<parenthetical>( off Miranda 's `` no '' . )</parenthetical>
<dialogue>Well, honey, if you ca n't - some other woman will.</dialogue>
<scene_description>Felix comes up to the table .</scene_description>
<character>FELIX</character>
<dialogue>Ladies - the bar is closing.</dialogue>
<character>CHARLOTTE</character>
<dialogue>Thank God.</dialogue>
<character>CARRIE</character>
<parenthetical>( to Felix . )</parenthetical>
<dialogue>Mrs. Preston will take the check.</dialogue>
<character>SAMANTHA</character>
<dialogue>And a bottle of tequila.</dialogue>
<scene_description>Charlotte 's eyes widen . Felix nods . The STAFF are stacking chairs - The Mariachi band plays . Carrie , Miranda and Samantha are on the beach wading into the water . Charlotte is just off the dance floor - holding their shoes .</scene_description>
<character>CHARLOTTE</character>
<parenthetical>( calling . )</parenthetical>
<dialogue>Do n't go all the way in - there may be sharks!</dialogue>
<scene_description>Carrie , Miranda and Samantha are laying in the shade . Miranda is working on her laptop . Carrie is cautiously studying her cell phone . She reads the message `` window '' .</scene_description>
<character>CARRIE</character>
<dialogue>`` Mail box full.''</dialogue>
<character>SAMANTHA</character>
<dialogue>No time like the present.</dialogue>
<character>CARRIE</character>
<dialogue>Not ready to face it all yet.</dialogue>
<scene_description>Carrie puts down the phone . Charlotte walks out of the house wearing a workout outfit .</scene_description>
<character>CHARLOTTE</character>
<dialogue>I'm going for a run and then to the gym for pilates. Anyone want to -</dialogue>
<scene_description>They all shake their heads : no . Charlotte trots away .</scene_description>
<character>MIRANDA</character>
<dialogue>Good news. Just got an e mail from your buyer's attorney - they have agreed to sell you back your old apartment at that escalated price.</dialogue>
<parenthetical>( reading . )</parenthetical>
<dialogue>And `` are willing to vacate by the time you return - pending an additional financial offer.''</dialogue>
<character>CARRIE</character>
<dialogue>Well, apparently you can go home again - but it'll cost you.</dialogue>
<character>SAMANTHA</character>
<dialogue>Now - lets work on getting your things there.</dialogue>
<scene_description>Samantha picks up her iPhone and starts working as Miranda types an e mail response . Carrie watches them ; touched .</scene_description>
<character>CARRIE</character>
<dialogue>You two could rule the world.</dialogue>
<scene_description>Charlotte is showering after her workout .</scene_description>
<character>CARRIE</character>
<parenthetical>( V.O . )</parenthetical>
<dialogue>After her workout Charlotte could n't help but think about how truly blessed she was. This week had made her feel more grateful than ever for her happy marriage.</dialogue>
<scene_description>Charlotte closes her eyes , lets the water flow over her .</scene_description>
<character>CARRIE</character>
<parenthetical>( V.O. ; CONT 'D . )</parenthetical>
<dialogue>And while picturing her loved ones at home in New York, she forgot where she was.</dialogue>
<scene_description>Charlotte opens her mouth , shower water goes in .</scene_description>
<character>CARRIE</character>
<parenthetical>( V.O. ; CONT 'D . )</parenthetical>
<dialogue>And opened her mouth.</dialogue>
<scene_description>Charlotte suddenly realizes what she 's done . She spits the water out . A panicked look on her face . Charlotte walks along , looking refreshed . There 's a GURGLING sound in her stomach . Her eyes WIDEN . She walks quickly . Charlotte is moving oddly . Walking on the balls of her feet . She passes a WORKER who is pruning the bushes .</scene_description>
<character>WORKER</character>
<dialogue>Hello Miss..</dialogue>
<scene_description>Charlotte shakes her head ; not now . He looks at her . Carrie and Samantha sit reading . Charlotte hurries across the patio - a CRAZED LOOK on her face .</scene_description>
<character>CARRIE</character>
<dialogue>Sweetie - what's -</dialogue>
<scene_description>She shakes her head : NO and moves quickly to a door . She tries the handle - it 's LOCKED . NO !</scene_description>
<character>SAMANTHA</character>
<dialogue>That's locked - Use the other -</dialogue>
<scene_description>Charlotte starts - but stops , cold . She has the look of a trapped animal on her face . Then - BAM , BAM , BAM , BAM . Charlotte 's eyes WIDEN . They watch - stunned .</scene_description>
<character>CARRIE</character>
<parenthetical>( V.O . )</parenthetical>
<dialogue>And just like that, Charlotte Pookeepsed in her pants.</dialogue>
<scene_description>Miranda opens the door and stands there . Takes in the scene .</scene_description>
<character>MIRANDA</character>
<dialogue>Did you -</dialogue>
<character>CHARLOTTE</character>
<dialogue>Shut up, shut up, shut up.</dialogue>
<scene_description>Charlotte duck waddles across the patio to the open door . Carrie , Samantha and Miranda look at each other . Carrie BURSTS out laughing . She laughs till her eyes water .</scene_description>
<character>CARRIE</character>
<parenthetical>( V.O . )</parenthetical>
<dialogue>Miranda was right - when something was really, really funny - I laughed.</dialogue>
<scene_description>Carrie sits overlooking a magnificent view of the ocean . She has her cell phone in her hand . She pushes a button and listens to the first message .</scene_description>
<character>VOICEMAIL</character>
<parenthetical>( V.O . )</parenthetical>
<dialogue>First message. Received : Saturday, September twentieth ; twelve - thirty P.M.</dialogue>
<character>BIG</character>
<parenthetical>( V.O . )</parenthetical>
<dialogue>Hey babe - I need to talk to you before you leave for the -.</dialogue>
<scene_description>Carrie impulsively THROWS her phone off the cliff . It sails through the air . The sun glistens off the pink crystals as it falls to the ocean below . Raining . A MANHATTAN STORAGE TRUCK drives away from the front of Carrie 's building revealing . Carrie - standing in her front doorway . She exhales , turns and walks back inside . CARRIE swings open the front door - her living room is filled with boxes of her clothes , a few of her furniture pieces - many , beautifully wrapped wedding gifts - and her wedding gown .</scene_description>
<character>CARRIE</character>
<parenthetical>( V.O . )</parenthetical>
<dialogue>There was no better time I could think of to hire and assistant.</dialogue>
<scene_description>Carrie sits across from A SPOILED LABEL QUEEN -LRB- 22 -RRB- wearing expensive clothes .</scene_description>
<character>SPOILED LABEL QUEEN</character>
<dialogue>Ummm, no. I do n't lift boxes. Yeah, definitely - No.</dialogue>
<scene_description>A LARGE PARTY GIRL -LRB- 34 -RRB- Low cut blouse ; very relaxed .</scene_description>
<character>PARTY GIRL</character>
<dialogue>I love your books. You're shit's brilliant.</dialogue>
<character>CARRIE</character>
<dialogue>Um, Cathy. You seem drunk.</dialogue>
<character>PARTY GIRL</character>
<dialogue>Little bit. Never got to bed last night.</dialogue>
<parenthetical>( beat . )</parenthetical>
<dialogue>But I type like a motherfucker.</dialogue>
<scene_description>A mousey BUSINESS GUY -LRB- 23 -RRB- in a tweed suit and tie .</scene_description>
<character>BUSINESS GUY</character>
<dialogue>I have a degree in finance from Princeton and for the last two years I have been assistant to a V.P. at Merrill Lynch.</dialogue>
<character>CARRIE</character>
<parenthetical>( polite/lost . )</parenthetical>
<dialogue>And why do you think you're right for this job?</dialogue>
<scene_description>He glances at his feet . Carrie looks down . He is wearing high heels . Louise -LRB- 22 -RRB- African - American - she holds a LOUIS VUITTON DENIM PURSE .</scene_description>
<character>CARRIE</character>
<dialogue>So, you're from St. Louis?</dialogue>
<character>LOUISE</character>
<dialogue>That's right. Louise from St. Louis.</dialogue>
<scene_description>Carrie smiles , looks down at her resume .</scene_description>
<character>CARRIE</character>
<dialogue>Have you ever been a personal assistant?</dialogue>
<character>LOUISE</character>
<dialogue>No, but I'm the oldest of six kids, so I can pretty much handle anything you got.</dialogue>
<character>CARRIE</character>
<dialogue>Six kids? What was that like?</dialogue>
<character>LOUISE</character>
<dialogue>Crowded. I had to move to New York just to get some room. And where'd I wind up? A one bedroom apartment with three roommates.</dialogue>
<character>CARRIE</character>
<parenthetical>( laughs ; then . )</parenthetical>
<dialogue>Aside from the space issue. why'd you move to New York?</dialogue>
<character>LOUISE</character>
<dialogue>To fall in love.</dialogue>
<scene_description>Carrie is taken aback .</scene_description>
<character>LOUISE</character>
<parenthetical>( CONT 'D . )</parenthetical>
<dialogue>What? That's corny, right?</dialogue>
<character>CARRIE</character>
<dialogue>No, it's just - so - honest. I do n't think I've ever heard anyone say that in a long time.</dialogue>
<scene_description>Louise looks at her , owns it . Carrie smiles , sold .</scene_description>
<character>CARRIE</character>
<parenthetical>( CONT 'D . )</parenthetical>
<dialogue>Well. Louise from St. Louis. I have just one more question.</dialogue>
<parenthetical>( beat . )</parenthetical>
<dialogue>How does an unemployed girl with three roommates afford the Patchwork Denim Bowley Louis Vuitton bag?</dialogue>
<character>LOUISE</character>
<dialogue>It's rented. `` Bag, Borrow or Steal.'' It's like Netflix for purses.</dialogue>
<character>CARRIE</character>
<dialogue>No! How can I not know about this?</dialogue>
<character>LOUISE</character>
<dialogue>Girl, stick with me, I'll hook you up.</dialogue>
<scene_description>The room is now half - empty of the presents . Louise sits in the middle of the clutter - busy writing out note cards .</scene_description>
<character>CARRIE</character>
<parenthetical>( V.O . )</parenthetical>
<dialogue>And she did hook me up.</dialogue>
<scene_description>The space is much more orderly . Louise is kneeling on the floor taking books out of boxes and placing them on in piles on the floor . Carrie enters - amazed at the progress . Her phone rings . Louise answers it instantly .</scene_description>
<character>LOUISE</character>
<dialogue>Carrie Bradshaw. This is Louise.</dialogue>
<parenthetical>( listens ; then repeats . )</parenthetical>
<dialogue>Anne From the New York Observer.</dialogue>
<scene_description>She looks over at Carrie , who shakes her head : No .</scene_description>
<character>LOUISE</character>
<parenthetical>( CONT 'D . )</parenthetical>
<dialogue>I'll let her know you called.</dialogue>
<scene_description>She hangs up and continues working . Carrie watches her . Louise directs two DELIVERY MEN who are carrying a NEW MATTRESS into the bedroom . Carrie watches from her closet surrounded by boxes .</scene_description>
<character>CARRIE</character>
<parenthetical>( V.O . )</parenthetical>
<dialogue>After only three days - I began to think of her as Saint Louise from St. Louis.</dialogue>
<scene_description>Miranda is sitting at her desk , eating a take - out salad while talking on the phone .</scene_description>
<character>MIRANDA</character>
<parenthetical>( into phone . )</parenthetical>
<dialogue>No, I ca n't be more patient. Your agency has had three weeks to find me an apartment.</dialogue>
<scene_description>The office door opens - A TWENTY - SOMETHING ASSISTANT enters and places some documents on the desk in front of her . Miranda signs as she chews and talks .</scene_description>
<character>MIRANDA</character>
<parenthetical>( CONT 'D . )</parenthetical>
<dialogue>No - I told you. It has to be in Manhattan. Because it does. How hard could it be to find something just on the other side of the Brooklyn Bridge?</dialogue>
<scene_description>The assistant takes the documents and starts away .</scene_description>
<character>MIRANDA</character>
<parenthetical>( CONT 'D . )</parenthetical>
<parenthetical>( into phone pissed . )</parenthetical>
<dialogue>On second thought - Forget it. I could do a better job myself.</dialogue>
<scene_description>Miranda hangs up , exhales . Bites her salad . Determined . An ethically diverse neighborhood with ethnically diverse PEOPLE . Miranda walks with Brady . A WIDE EYED Magda walks next to her .</scene_description>
<character>MIRANDA</character>
<dialogue>According to New York Magazine, this is the new up - and - coming neighborhood.</dialogue>
<scene_description>A CAUCASIAN YUPPIE DAD -LRB- 32 -RRB- with a BABY in a snugly comes out of bodega . Miranda turns to Magda .</scene_description>
<character>MIRANDA</character>
<parenthetical>( CONT 'D . )</parenthetical>
<dialogue>See! Wherever he's going is where we need to be.</dialogue>
<scene_description>Miranda , excited about the hunt - picks up the pace following after the dad . Magda hurries as best as she can . Miranda , Brady and Magda walk around a corner .</scene_description>
<character>MAGDA</character>
<dialogue>I've been here before - This was all Ukrainian area.</dialogue>
<scene_description>Miranda spots a U - HAUL truck parked in front of a building .</scene_description>
<character>MIRANDA</character>
<dialogue>Coming or going?</dialogue>
<scene_description>TWO NYU - TYPE KIDS come out of a building carrying boxes .</scene_description>
<character>MIRANDA</character>
<parenthetical>( CONT 'D . )</parenthetical>
<dialogue>Going. Oh boy. Lets go.</dialogue>
<scene_description>She starts down the street with a clip . Magda is standing out in front of the apartment building with Brady . She looks - A HOT LOOKING LATIN GUY -LRB- 29 -RRB- with tattoos is sitting on the stoop with a pitbull . Miranda peeks into the empty apartment . Nice size , brick wall , big windows with a view of a colorful jungle gym on a play ground across the street . Her heart starts racing . Miranda comes out of the building out of breath as the NYU kids are going back in .</scene_description>
<character>MIRANDA</character>
<dialogue>Hi. I'm interested in the apartment.</dialogue>
<character>NYU KID</character>
<dialogue>Get in line.</dialogue>
<character>MIRANDA</character>
<dialogue>I understand but - who would I talk to about it?</dialogue>
<character>NYU KID</character>
<dialogue>The super.</dialogue>
<scene_description>He points to a SIGN in LOBBY . The name : Lovro Klujcik and a telephone number . Miranda writes it down .</scene_description>
<character>MIRANDA</character>
<dialogue>Lovro. - and I have no idea.</dialogue>
<parenthetical>( attempting to pronounce . )</parenthetical>
<dialogue>Ku.</dialogue>
<character>MAGDA</character>
<parenthetical>( amazed . )</parenthetical>
<dialogue>Kljuic. Lovro Klujcik. I know him.</dialogue>
<character>MIRANDA</character>
<dialogue>No way.</dialogue>
<character>MAGDA</character>
<dialogue>We were couple - long time ago.</dialogue>
<character>MIRANDA</character>
<parenthetical>( ca n't believe her luck . )</parenthetical>
<dialogue>No way - You dated?</dialogue>
<character>MAGDA</character>
<dialogue>Have n't seen him since his wife died.</dialogue>
<character>MIRANDA</character>
<dialogue>He's single?</dialogue>
<scene_description>Magda shrugs as if to say : So what ? Miranda smiles . Spanish music plays . Two female HAIRDRESSERS work on two Dominican WOMEN CUSTOMERS . Magda sits under a hair dryer - her top lip white with cream bleach . Miranda is next to her , dialing on her cell . Brady plays nearby with two Dominican KIDS -LRB- 5,6 -RRB- . Miranda stands at a gate and pushes the buzzer marked `` Klujcik . '' A door under the stoop opens revealing LOVRO KLUJCIK , a Croatian man about Magda 's age .</scene_description>
<character>LOVRO</character>
<dialogue>No, no. I told you on phone. the apartment is -</dialogue>
<scene_description>He looks past Miranda and sees Magda - standing there with brown hair and wearing make - up . His face lights up when he sees her .</scene_description>
<character>LOVRO</character>
<parenthetical>( CONT 'D . )</parenthetical>
<dialogue>Magda? Is this you?</dialogue>
<scene_description>She smiles . Shy . He beams at her . He opens the gate , saying something to her in his native tongue . Magda smiles .</scene_description>
<character>CARRIE</character>
<parenthetical>( V.O . )</parenthetical>
<dialogue>As much as Miranda wanted to pat herself on the back for finding her new apartment in just one afternoon. in the end, she knew -</dialogue>
<scene_description>Miranda watches , thrilled as they converse .</scene_description>
<character>CARRIE</character>
<parenthetical>( V.O. ; CONT 'D . )</parenthetical>
<dialogue>It was a Lovro connection.</dialogue>
<scene_description>SAMANTHA and SMITH have just finished making love . They are face to face .</scene_description>
<character>SAMANTHA</character>
<dialogue>That was really hot.</dialogue>
<character>SMITH</character>
<dialogue>Hmmm. You were kind of distant.</dialogue>
<character>SAMANTHA</character>
<dialogue>Distant? You're still in me.</dialogue>
<scene_description>He gently moves off her and reclines next to her .</scene_description>
<character>SMITH</character>
<dialogue>You want to talk about it?</dialogue>
<character>SAMANTHA</character>
<dialogue>When have I ever wanted to talk about it?</dialogue>
<character>SMITH</character>
<dialogue>Okay. I'll talk about it. Your best friends get screwed over by their guys - how can you not get distant?</dialogue>
<character>SAMANTHA</character>
<dialogue>It's more than that - lately, I have n't been feeling a connection to -</dialogue>
<character>SMITH</character>
<dialogue>What? Me?</dialogue>
<character>SAMANTHA</character>
<dialogue>No - to - it - here. I have no real connection to our life here.</dialogue>
<character>SMITH</character>
<dialogue>What life here? Seriously - all I do is work - and you run off to New York every chance you get.</dialogue>
<character>SAMANTHA</character>
<dialogue>Not every chance I get. Only for the A - list things.</dialogue>
<parenthetical>( beat ; then . )</parenthetical>
<dialogue>And my managing you - it's all too much. I'm starting to resent it. For the last two years it's been all about you.</dialogue>
<character>SMITH</character>
<dialogue>Well, for the first three years it was all about you.</dialogue>
<character>SAMANTHA</character>
<dialogue>I know. That was so much more fun.</dialogue>
<character>SMITH</character>
<dialogue>Maybe we need to make an effort to reconnect - spend more time together - away from the business. Less me, less you - More us.</dialogue>
<scene_description>Samantha is on the phone , looking out at the ocean .</scene_description>
<character>SAMANTHA</character>
<dialogue>So, I wo n't be coming to New York for a while. We're going to spend some time reconnecting on the weekends. do the `` LA couple thing.''</dialogue>
<scene_description>Intercut with Carrie at a public pay phone .</scene_description>
<character>CARRIE</character>
<dialogue>Yeah, hi, can you put on Samantha?</dialogue>
<character>SAMANTHA</character>
<dialogue>Really. At first I was all : `` You ca n't tell me what I can do'' - but then, I had to admit he had a point.</dialogue>
<character>CARRIE</character>
<dialogue>You people and your relationships.</dialogue>
<character>OPERATOR</character>
<parenthetical>( V.O . )</parenthetical>
<dialogue>Please deposit another eighty - five cents.</dialogue>
<character>SAMANTHA</character>
<dialogue>Honey, a pay phone? Where's your cell?</dialogue>
<character>CARRIE</character>
<dialogue>At the bottom of the ocean in Mexico.</dialogue>
<character>SAMANTHA</character>
<dialogue>Want me to hook you up with a new one?</dialogue>
<character>CARRIE</character>
<dialogue>No, not yet. No phone - no calls, no calls - no questions, no questions - no explaining no wedding.</dialogue>
<scene_description>Carrie puts coins into phone . She is wearing gloves .</scene_description>
<character>CARRIE</character>
<parenthetical>( CONT 'D . )</parenthetical>
<dialogue>Plus, It's an excuse to break out the gloves.</dialogue>
<scene_description>Samantha and Smith run into the surf in their wetsuits with surfboards .</scene_description>
<character>CARRIE</character>
<parenthetical>( V.O . )</parenthetical>
<dialogue>When Samantha Jones decides to do something.</dialogue>
<scene_description>Samantha and Smith are starting to make love on the beach as the waves crash on them .</scene_description>
<character>CARRIE</character>
<parenthetical>( V.O . )</parenthetical>
<dialogue>She does it all the way.</dialogue>
<scene_description>A BEACHCOMBER with a metal detector , watches nearby . A cooking class with other COUPLES . A CHEF watches as Samantha and Smith roll sushi .</scene_description>
<character>CARRIE</character>
<parenthetical>( V.O . )</parenthetical>
<dialogue>She and Smith did all the upscale L.A. couple things. Sushi.</dialogue>
<scene_description>Samantha and Smith stand next to each other wearing paper underwear . Two technicians spray tan them .</scene_description>
<character>CARRIE</character>
<parenthetical>( V.O . )</parenthetical>
<dialogue>Spray tanning.</dialogue>
<scene_description>The Red carpet backdrop reads : HOLLYWOOD SAVES AFRICA Smith and Samantha are being photographed . She is wearing a full - on African - inspired over the top fashion statement .</scene_description>
<character>CARRIE</character>
<parenthetical>( V.O . )</parenthetical>
<dialogue>And saving Somalia. Samantha - style.</dialogue>
<scene_description>Carrie sips a latté while sorting through a stack of papers . Louise is working on Carrie 's computer .</scene_description>
<character>LOUISE</character>
<dialogue>Carrie Bradshaw's web page is a mess.</dialogue>
<character>CARRIE</character>
<dialogue>- Interesting - so is Carrie Bradshaw.</dialogue>
<scene_description>Louise laughs . Carrie sips her latte .</scene_description>
<character>CARRIE</character>
<parenthetical>( CONT 'D . )</parenthetical>
<dialogue>Come on - When are we going to get to the really important things like unpacking my closet?</dialogue>
<character>LOUISE</character>
<dialogue>One thing at a time. Are you ever going to answer these emails?</dialogue>
<character>CARRIE</character>
<dialogue>Yes.</dialogue>
<character>LOUISE</character>
<dialogue>When?</dialogue>
<character>CARRIE</character>
<dialogue>Now?</dialogue>
<character>LOUISE</character>
<dialogue>Okay - I'll read - you tell me what to do.</dialogue>
<parenthetical>( beat . )</parenthetical>
<dialogue>Vitaminsforless. Delete. Right?</dialogue>
<character>CARRIE</character>
<dialogue>So right.</dialogue>
<scene_description>Louise deletes it - Looks at next e mail .</scene_description>
<character>LOUISE</character>
<dialogue>Who's John@jjpny.com?</dialogue>
<scene_description>Carries freezes - Louise looks up .</scene_description>
<character>LOUISE</character>
<parenthetical>( CONT 'D . )</parenthetical>
<dialogue>Oh, shit - that's him, right?</dialogue>
<scene_description>Carrie turns the lap - top around to face her and looks . JOHN@JJPNY.COM: `` I 'M SORRY . '' She clicks the email open ; breathless . One sentence : `` I do n't know what to say . '' She swings the laptop back around to Louise .</scene_description>
<character>CARRIE</character>
<dialogue>Delete.</dialogue>
<scene_description>Louise looks at her , unsure . then deletes .</scene_description>
<character>CARRIE</character>
<parenthetical>( CONT 'D . )</parenthetical>
<dialogue>And - is n't there some cyberspace place that you can send those so that I never have to see an email from him ever again?</dialogue>
<parenthetical>( off her nod . )</parenthetical>
<dialogue>Do that please.</dialogue>
<character>LOUISE</character>
<dialogue>You sure you want to end all communication with him?</dialogue>
<scene_description>Carrie nods . Louise nods . Carrie is reading Cinderella to Lily who sits in her lap . They are on Lily 's bed - surrounded by her dolls .</scene_description>
<character>CARRIE</character>
<parenthetical>( reading . )</parenthetical>
<dialogue>`` And Cinderella and Prince Charming lived happily ever after.''</dialogue>
<parenthetical>( beat ; looks at her . )</parenthetical>
<dialogue>This is a fairy tall sweetheart. Things do n't always happen like this in real life - you should know that now.</dialogue>
<character>LILY</character>
<dialogue>Again!</dialogue>
<scene_description>Carrie flips back to the front . Lily is all smiles .</scene_description>
<character>CARRIE</character>
<dialogue>And another one bites the dust.</dialogue>
<scene_description>Charlotte walks into the den with her coat on . She smiles .</scene_description>
<character>LILY</character>
<dialogue>Mommie home!</dialogue>
<scene_description>Charlotte walks Carrie to the front door .</scene_description>
<character>CHARLOTTE</character>
<dialogue>Thanks for watching her while I went to the doctor.</dialogue>
<character>CARRIE</character>
<parenthetical>( pulling on coat . )</parenthetical>
<dialogue>Sure. Everything okay?</dialogue>
<character>CHARLOTTE</character>
<dialogue>I'm pregnant.</dialogue>
<scene_description>Carrie looks at her . Charlotte smiles .</scene_description>
<character>CARRIE</character>
<dialogue>How?</dialogue>
<character>CHARLOTTE</character>
<dialogue>My doctor said sometimes when women stop trying - it can happen. She knows other couples that adopt and then get pregnant.</dialogue>
<character>CARRIE</character>
<dialogue>Sweetie.</dialogue>
<character>CHARLOTTE</character>
<dialogue>Carrie - I'm pregnant!</dialogue>
<scene_description>Happy , happy tears . Carrie hugs her .</scene_description>
<character>CARRIE</character>
<parenthetical>( V.O . )</parenthetical>
<dialogue>I guess, in certain houses, fairy tales do come true.</dialogue>
<scene_description>Halloween costume aisle . Carrie and Miranda browse .</scene_description>
<character>CARRIE</character>
<dialogue>I ca n't believe you're even dressing up.</dialogue>
<character>MIRANDA</character>
<dialogue>All the parents at Brady's school dress up - it's fun! Fun thought up by a group of non - working mothers with nothing else to do all day.</dialogue>
<scene_description>Miranda stops , looks at the costumes hanging there .</scene_description>
<character>MIRANDA</character>
<parenthetical>( CONT 'D . )</parenthetical>
<dialogue>Witch and - `` sexy kitten''. That's it? The only two choices for women. Witch and Sexy kitten.</dialogue>
<character>CARRIE</character>
<dialogue>You said a mouthful there, sister.</dialogue>
<scene_description>Miranda holds up a mask of a ghoul screaming in horror .</scene_description>
<character>MIRANDA</character>
<dialogue>Maybe I should just wear this and a business suit and go as myself.</dialogue>
<character>CARRIE</character>
<parenthetical>( re ; mask . )</parenthetical>
<dialogue>Speaking of monsters - I got an email from Big.</dialogue>
<scene_description>Miranda looks over at her .</scene_description>
<character>CARRIE</character>
<parenthetical>( CONT 'D . )</parenthetical>
<dialogue>`` I do n't know what to say.''</dialogue>
<parenthetical>( beat . )</parenthetical>
<dialogue>Ah. then do n't send an email.</dialogue>
<character>MIRANDA</character>
<dialogue>What were you expecting?</dialogue>
<scene_description>No idea . Miranda grabs a witch hat . They start walking away . They round a corner , CHILD wearing a mask pops up .</scene_description>
<character>CHILD</character>
<dialogue>Boo!</dialogue>
<scene_description>Carrie smiles . The child walks away .</scene_description>
<character>CARRIE</character>
<dialogue>Gon na take a little more than that to scare me after what I have been through.</dialogue>
<scene_description>They start walking toward the check - out counter .</scene_description>
<character>CARRIE</character>
<parenthetical>( CONT 'D . )</parenthetical>
<dialogue>And in the subject box : two words : I'm sorry.</dialogue>
<character>MIRANDA</character>
<dialogue>Steve is all about `` I'm sorry.'' I'm sorry emails - I'm sorry voice mails - I'm sorry flowers - I'm sorry cards. How about : do n't do anything to be :'' I'm sorry'' for.</dialogue>
<character>CARRIE</character>
<dialogue>Maybe he's sorry.</dialogue>
<character>MIRANDA</character>
<dialogue>Maybe Big is too.</dialogue>
<character>CARRIE</character>
<dialogue>Point taken.</dialogue>
<parenthetical>( beat . )</parenthetical>
<dialogue>I still ca n't believe this happened to me. I know it happened, but I ca n't believe it happened. I lay awake at night going over every detail of the last week in my head.</dialogue>
<character>MIRANDA</character>
<dialogue>Carrie - There's a detail I've been meaning to tell you about -</dialogue>
<scene_description>Carrie spots something ; GRABS Miranda 's arm with horror .</scene_description>
<character>CARRIE</character>
<parenthetical>( V.O . )</parenthetical>
<dialogue>And then I saw it. the only thing scary enough to scare me after the experience I'd been through.</dialogue>
<scene_description>On the rack in the front register - Vogue ! Carrie and Miranda stand looking at an open Vogue : `` The Last Single Girl : Carrie Bradshaw Gets Married . ''</scene_description>
<character>MIRANDA</character>
<dialogue>You look great, you look amazing. So. That's the worst of it.</dialogue>
<scene_description>Carrie flips a page . She noticed something .</scene_description>
<character>CARRIE</character>
<dialogue>Wait - what's that say? In the box at the end?</dialogue>
<character>MIRANDA</character>
<parenthetical>( reading . )</parenthetical>
<dialogue>`` Editor's note : The wedding of Carrie Bradshaw and John James Preston was cancelled as this issue went to press. Carrie Bradshaw is.</dialogue>
<scene_description>Miranda stops reading . Carrie looks at her .</scene_description>
<character>CARRIE</character>
<dialogue>Is what?</dialogue>
<scene_description>Miranda does n't want to respond . Carrie pushes the magazine further away so she can read it .</scene_description>
<character>CARRIE</character>
<parenthetical>( CONT 'D . )</parenthetical>
<parenthetical>( reads . )</parenthetical>
<dialogue>`` Carrie Bradshaw is still single and living in Manhattan.''</dialogue>
<scene_description>A wind kicks up , autumn leaves blow . Carrie walks down the street , the Vogue under her arm , angry .</scene_description>
<character>CARRIE</character>
<parenthetical>( V.O . )</parenthetical>
<dialogue>I did n't want to buy it - but I figured it was one less Vogue in New York.</dialogue>
<scene_description>Carrie 's door opens . Charlotte stands in the hall with Lily .</scene_description>
<character>CHARLOTTE</character>
<dialogue>I saw it. The pictures are gorgeous.</dialogue>
<character>CARRIE</character>
<dialogue>Yes - I'm a beautiful bride. Come in.</dialogue>
<scene_description>They walk in , Carrie closes the door .</scene_description>
<character>CHARLOTTE</character>
<dialogue>Look, the people who do n't know - will only see the beautiful pictures. The people who do know will only see what an asshole he is.</dialogue>
<parenthetical>( beat ; to Lily . )</parenthetical>
<dialogue>Mommy said a bad word.</dialogue>
<character>CARRIE</character>
<parenthetical>( looks down to Lily . )</parenthetical>
<dialogue>Hi, honey.</dialogue>
<scene_description>Lily holds up a little baby pumpkin to Carrie .</scene_description>
<character>CARRIE</character>
<parenthetical>( CONT 'D . )</parenthetical>
<dialogue>For me?</dialogue>
<scene_description>Lily nods . Carrie has to lighten up . She kneels to Lily .</scene_description>
<character>CARRIE</character>
<parenthetical>( CONT 'D . )</parenthetical>
<dialogue>And what are you going to be for Halloween?</dialogue>
<character>LILY</character>
<dialogue>Cinderella.</dialogue>
<character>CHARLOTTE</character>
<dialogue>Or - we also brought Mulan.</dialogue>
<scene_description>Lily shakes her head : NO . Carrie smiles .</scene_description>
<character>CHARLOTTE</character>
<parenthetical>( CONT 'D . )</parenthetical>
<dialogue>Would you like to go trick or treating with us?</dialogue>
<character>LILY</character>
<dialogue>Yea!</dialogue>
<character>CHARLOTTE</character>
<dialogue>Just in our building - if you feel up to it.</dialogue>
<character>LILY</character>
<dialogue>Yea!</dialogue>
<character>CARRIE</character>
<parenthetical>( How can I not ? )</parenthetical>
<dialogue>Yea!</dialogue>
<scene_description>Carrie knocks on Charlotte 's front door . It opens . Charlotte stands there - dressed as a cute cow . With udders on her belly . Harry is Uncle Fester . Lily is Cinderella in a MASK .</scene_description>
<character>HARRY</character>
<dialogue>No costume?</dialogue>
<character>CARRIE</character>
<dialogue>Look closer. I'm the scariest thing in New York. Jilted at Forty - one. Boo.</dialogue>
<scene_description>Harry Laughs . So does Charlotte . even Carrie smiles . They walk down the hall . Carrie is holding Lily 's hand .</scene_description>
<character>CARRIE</character>
<dialogue>You know you have to give me some of your loot, right?</dialogue>
<scene_description>Lily nods Carrie smiles . Harry knocks on a door . It opens . A PARK AVE WOMAN -LRB- 40 -RRB- , stylish - stands there with treats .</scene_description>
<character>CHARLOTTE/HARRY/LILY</character>
<dialogue>Trick or treat!</dialogue>
<scene_description>The woman smiles - then suddenly , her smile fades .</scene_description>
<character>WOMAN</character>
<dialogue>Oh, Carrie, I saw Vogue - I'm so sorry.</dialogue>
<scene_description>Carrie reacts , mortified . Another door opens . A PREPPY WOMAN -LRB- 36 -RRB- is there .</scene_description>
<character>CHARLOTTE/HARRY/LILY</character>
<dialogue>Trick or treat!</dialogue>
<scene_description>REVEAL : Carrie 's face - hidden behind the Cinderella mask . A STYLIST is blowing out a woman with dark chestnut brown hair . Reveal the woman 's face : It 's Carrie - Raining outside . Louise walks in , looks around .</scene_description>
<character>CARRIE</character>
<dialogue>Louise!</dialogue>
<scene_description>Double - take . Carrie is waving to her from a table .</scene_description>
<character>LOUISE</character>
<dialogue>Oh my Lord. I did not even recognize you.</dialogue>
<character>CARRIE</character>
<dialogue>That's the point. My head is the witness protection program.</dialogue>
<character>LOUISE</character>
<dialogue>I'm really feeling that look on you.</dialogue>
<scene_description>Louise reaches into her purse to get something -</scene_description>
<character>CARRIE</character>
<dialogue>And I am feeling that Balenciaga on you.</dialogue>
<character>LOUISE</character>
<dialogue>Mine till Tuesday.</dialogue>
<scene_description>Louise pulls out a cell phone and holds it out to her .</scene_description>
<character>LOUISE</character>
<parenthetical>( CONT 'D . )</parenthetical>
<dialogue>Here - time to re - join the world.</dialogue>
<character>CARRIE</character>
<dialogue>Already?</dialogue>
<scene_description>Louise nods . Carrie takes the phone .</scene_description>
<character>LOUISE</character>
<dialogue>Your new number. area code : 347 -</dialogue>
<character>CARRIE</character>
<dialogue>Hold, Hold, Hold. 347? No, no. I'm a 917 gal. Always have been.</dialogue>
<character>LOUISE</character>
<dialogue>No longer available. Now, you're 347.</dialogue>
<character>CARRIE</character>
<dialogue>Great. Now even I do n't recognize me.</dialogue>
<scene_description>Samantha sits on her deck . Her phone rings .</scene_description>
<character>SAMANTHA</character>
<dialogue>Samantha Jones.</dialogue>
<character>CARRIE</character>
<parenthetical>( V.O . )</parenthetical>
<dialogue>Carrie Bradshaw -</dialogue>
<scene_description>Intercut with Carrie walking along .</scene_description>
<character>CARRIE</character>
<dialogue>- Or I used to be.</dialogue>
<character>SAMANTHA</character>
<dialogue>Talk to me.</dialogue>
<character>CARRIE</character>
<dialogue>I'm a 347 area code. How tacky is that?</dialogue>
<character>SAMANTHA</character>
<dialogue>347 is the new New York.</dialogue>
<character>CARRIE</character>
<dialogue>I want the old New York with the old 917 and my old will to live.</dialogue>
<character>SAMANTHA</character>
<dialogue>Old New York, new New York - honey - at least it's New York.</dialogue>
<scene_description>She looks - Dante is coming out of the surf in his wetsuit .</scene_description>
<character>SAMANTHA</character>
<parenthetical>( CONT 'D . )</parenthetical>
<dialogue>Another hard thing about being in L.A? My `` sex on a stick'' next door neighbor. I ca n't stop looking at him.</dialogue>
<character>CARRIE</character>
<dialogue>Looking?</dialogue>
<character>SAMANTHA</character>
<dialogue>Just looking. After I saw Steve's face at the rehearsal dinner, I could never -</dialogue>
<scene_description>Dante notices her on the deck . He gives her a sexy smile . She does n't acknowledge it - turns away and walks inside .</scene_description>
<character>SAMANTHA</character>
<parenthetical>( CONT 'D . )</parenthetical>
<dialogue>But you should see this guy. Every night sex with a different partner. He's like -.</dialogue>
<parenthetical>( searching then realizing . )</parenthetical>
<dialogue>- Me. Five years ago.</dialogue>
<character>CARRIE</character>
<dialogue>Yes. When I was a 212.</dialogue>
<scene_description>Samantha strolls along Rodeo Drive .</scene_description>
<character>CARRIE</character>
<parenthetical>( V.O . )</parenthetical>
<dialogue>And in an effort to stay out of her house and out of trouble - Samantha went shopping.</dialogue>
<scene_description>She notices a sidewalk `` dog rescue station . '' Cute puppies frolic and play in a wire pen . In the back of the pen sits a tattered tiny DOG . Alone . Samantha ca n't help but look at it .</scene_description>
<character>CARRIE</character>
<parenthetical>( V.O. ; CONT 'D . )</parenthetical>
<dialogue>It certainly was n't the cutest dog in the pen - but their was something about it -</dialogue>
<scene_description>The dog looks up at her - Dark marks under its eyes . The Rescue Woman -LRB- 40 -RRB- notices Samantha looking .</scene_description>
<character>RESCUE WOMAN</character>
<dialogue>She needs a good a home. Interested?</dialogue>
<scene_description>Samantha shakes her head ; `` no . ''</scene_description>
<character>CARRIE</character>
<parenthetical>( V.O . )</parenthetical>
<dialogue>And just as Samantha convinced herself that the dog was n't for her.</dialogue>
<scene_description>The dog starts humping a stuffed animal .</scene_description>
<character>RESCUE WOMAN</character>
<dialogue>She's been fixed, but she has n't lost the urge.</dialogue>
<scene_description>Samantha holds the dog while talking to two GROOMERS .</scene_description>
<character>SAMANTHA</character>
<dialogue>And she needs a little eye work. Anything you can do about these stains?</dialogue>
<scene_description>The dog looks up at her . She looks down at it .</scene_description>
<character>SAMANTHA</character>
<parenthetical>( CONT 'D . )</parenthetical>
<parenthetical>( to dog . )</parenthetical>
<dialogue>Honey, I do n't mince words.</dialogue>
<scene_description>Samantha and the dog walk out of Gucci in matching outfits . looking fabulous . Three GUCCI SALESMEN follow them holding large Gucci bags . They walk to her sleek Mercedes SUV - parked at the curb . JUMP CUT TO : The back of the Mercedes SUV filled with shopping bags : Gucci , Prada , Dior - the SUV hatch is closed , revealing Samantha 's licence plate : I HEART NY . Samantha pulls away , the dog in her lap - fur blowing . Carrie and Louise are in the closet unloading clothes from the boxes . Carrie opens a wardrobe box - It 's the WEDDING GOWN . They both look at it - not knowing what to do .</scene_description>
<character>LOUISE</character>
<dialogue>Do you want me to get rid of it?</dialogue>
<character>CARRIE</character>
<dialogue>No, it's too beautiful. I'll just bury it deep in the back - like I did my feelings.</dialogue>
<scene_description>Carries closes the box back up . Louise watches ; then .</scene_description>
<character>LOUISE</character>
<dialogue>Do you miss him?</dialogue>
<character>CARRIE</character>
<parenthetical>( beat ; then . )</parenthetical>
<dialogue>Every day. You know, it's weird - I have n't cried very much at all. Maybe you're only allotted a certain amount of tears per man - and I used mine up.</dialogue>
<scene_description>Carrie gently pushes the box away . Opens another .</scene_description>
<character>LOUISE</character>
<dialogue>Yeah. I know how you feel ` cause, my college boyfriend broke up with me last year. And I miss him all the time.</dialogue>
<character>CARRIE</character>
<parenthetical>( V.O . )</parenthetical>
<dialogue>Suddenly, it dawned on me - there were two broken hearts in my - walk in.</dialogue>
<character>CARRIE</character>
<parenthetical>( CONT 'D . )</parenthetical>
<dialogue>Louise - we need a cocktail. Grab your rental.</dialogue>
<scene_description>Carrie starts out . Louise grabs her purse and follows . Carrie and Louise are having cocktails .</scene_description>
<character>LOUISE</character>
<dialogue>And it threw me so hard ` cause, you know, I thought Will - that's his name. was the love of my life.</dialogue>
<character>CARRIE</character>
<dialogue>What happened?</dialogue>
<character>LOUISE</character>
<dialogue>He said he loved me and all - but did n't think I was `` the one''.</dialogue>
<scene_description>Carrie looks at her , nods .</scene_description>
<character>LOUISE</character>
<parenthetical>( CONT 'D . )</parenthetical>
<dialogue>And that hurt. But - you know - whatever. I'm not going to give up on love.</dialogue>
<character>CARRIE</character>
<dialogue>Good.</dialogue>
<character>LOUISE</character>
<dialogue>Love is the thing, you know.</dialogue>
<scene_description>She holds up her key chain . The word `` Love '' in gold .</scene_description>
<character>LOUISE</character>
<parenthetical>( CONT 'D . )</parenthetical>
<dialogue>See that. I'm bringing it to me all day long.</dialogue>
<scene_description>Louise gets a `` text '' . She reaches over and looks . She smiles as she reads it . Carrie raises her eyebrow .</scene_description>
<character>CARRIE</character>
<dialogue>Oh, I remember that smile. Who's the guy?</dialogue>
<character>LOUISE</character>
<dialogue>Someone I just met. He wants me to meet him for a drink.</dialogue>
<character>CARRIE</character>
<dialogue>At 11:30? That's a bootie call.</dialogue>
<character>LOUISE</character>
<dialogue>No, it's not like that. he just got off work - he's a waiter.</dialogue>
<character>CARRIE</character>
<dialogue>Louise, I may not get texts and I may not send texts - but trust me : The sub - text of that text : Bootie.</dialogue>
<scene_description>Louise nods , then starts texting him .</scene_description>
<character>LOUISE</character>
<dialogue>But it's not a bootie call if he meets me. right?</dialogue>
<character>CARRIE</character>
<dialogue>All right, then. You kids enjoy. That's what your twenties are for. Your thirties are to learn the lessons.</dialogue>
<scene_description>Carrie stands up , throws some money on the bar .</scene_description>
<character>CARRIE</character>
<parenthetical>( CONT 'D . )</parenthetical>
<dialogue>And your forties are to pay for drinks.</dialogue>
<scene_description>Charlotte sits on the couch , reading a magazine . The three dogs near her . Harry enters .</scene_description>
<character>HARRY</character>
<dialogue>You going for your run?</dialogue>
<character>CHARLOTTE</character>
<dialogue>Um. no.</dialogue>
<character>HARRY</character>
<dialogue>You did n't go yesterday either.</dialogue>
<character>CHARLOTTE</character>
<dialogue>I know.</dialogue>
<character>HARRY</character>
<dialogue>Why is that?</dialogue>
<character>CHARLOTTE</character>
<parenthetical>( snapping . )</parenthetical>
<dialogue>I do n't feel like running!</dialogue>
<character>HARRY</character>
<parenthetical>( as he goes . )</parenthetical>
<dialogue>Okay. Welcome to the house of hormones.</dialogue>
<scene_description>Carrie and Charlotte walk looking at furniture .</scene_description>
<character>CARRIE</character>
<dialogue>It's all about the desk. If I find the desk, the writing will come. And it better ` cause I'm using my new book advance to pay the fancy decorator.</dialogue>
<character>CHARLOTTE</character>
<dialogue>I think it's so great that you are re - doing your entire apartment.</dialogue>
<character>CARRIE</character>
<dialogue>Out with the old -.</dialogue>
<parenthetical>( looks at price tag . )</parenthetical>
<dialogue>- In with the overpriced.</dialogue>
<scene_description>Charlotte smiles . Carrie links arms with her .</scene_description>
<character>CARRIE</character>
<parenthetical>( CONT 'D . )</parenthetical>
<dialogue>Hey, Harry called me and mentioned you're not running.</dialogue>
<character>CHARLOTTE</character>
<dialogue>Why'd he do that?</dialogue>
<character>CARRIE</character>
<dialogue>` Cause he loves you. and he's concerned.</dialogue>
<character>CHARLOTTE</character>
<dialogue>There is nothing to be concerned about.</dialogue>
<character>CARRIE</character>
<dialogue>Did the doctor say it was n't safe or something?</dialogue>
<character>CHARLOTTE</character>
<dialogue>No, she said because I'm already a runner - it's fine.</dialogue>
<character>CARRIE</character>
<dialogue>So, why are you not -</dialogue>
<character>CHARLOTTE</character>
<dialogue>I'm afraid something bad will happen. It's a miracle that I'm even pregnant.</dialogue>
<character>CARRIE</character>
<dialogue>But if the doctor said -</dialogue>
<character>CHARLOTTE</character>
<dialogue>It's not rational, Carrie. it's irrational. I know that.</dialogue>
<character>CARRIE</character>
<dialogue>Okay.</dialogue>
<character>CHARLOTTE</character>
<dialogue>I've got everything I ever wanted. I'm so happy - I'm terrified.</dialogue>
<parenthetical>( beat . )</parenthetical>
<dialogue>No one gets everything they want. Look at you. Look at Miranda. You're such good people and look what happened to you. Of course, something bad is going to happen to me.</dialogue>
<character>CARRIE</character>
<dialogue>Sweetie, you shit your pants this year. Maybe you're done.</dialogue>
<scene_description>Charlotte laughs a little . Carrie moves her along .</scene_description>
<character>CARRIE</character>
<parenthetical>( CONT 'D . )</parenthetical>
<dialogue>You run every day - that's what you do. You ca n't stop being who you are - just because you're afraid. Right?</dialogue>
<scene_description>Charlotte nods , they walk on , linked together .</scene_description>
<character>CARRIE</character>
<parenthetical>( CONT 'D . )</parenthetical>
<dialogue>Now let's get down to business. I've got to have my apartment done in time for that baby shower.</dialogue>
<scene_description>AUTUMN LEAVES fall as Charlotte walks onto the running track with the three dogs on leashes . She starts to run - tentative - slowly . They trot along with her . Charlotte runs faster - more confident . The dogs run along with her - they are wearing Burberry pet sweaters .</scene_description>
<character>CARRIE</character>
<parenthetical>( V.O . )</parenthetical>
<dialogue>And as the last of the autumn leaves fell away - so did Charlotte's fear.</dialogue>
<scene_description>SNOWFLAKES float down . Charlotte , dressed for winter runs in form - alone . A smile on her face . Carrie sits at her card table `` temp '' desk . Louise is sorting through a stack of mail .</scene_description>
<character>LOUISE</character>
<dialogue>You sure you do n't want me to RSVP to some of these holiday parties?</dialogue>
<character>CARRIE</character>
<dialogue>Yep. I'm perfectly happy spending time home alone.</dialogue>
<parenthetical>( beat . )</parenthetical>
<dialogue>And speaking of home - you're going to miss your plane.</dialogue>
<scene_description>Louise takes a gift wrapped present out of her purse</scene_description>
<character>LOUISE</character>
<dialogue>Merry Christmas. It's just something silly.</dialogue>
<scene_description>Carrie opens it . A DVD of `` MEET ME IN ST. LOUIS . ''</scene_description>
<character>CARRIE</character>
<dialogue>Oh. Louise from St. Louis.</dialogue>
<character>LOUISE</character>
<dialogue>You said you never saw it - so.</dialogue>
<character>CARRIE</character>
<dialogue>Now, I feel bad. If I had known we were going to exchange gifts -</dialogue>
<scene_description>Carrie gets up and RUNS to her closet .</scene_description>
<character>CARRIE</character>
<parenthetical>( O.C. ; CONT 'D . )</parenthetical>
<dialogue>I would have bought you one two weeks ago and hidden it in here.</dialogue>
<scene_description>She comes back out with a large circular BOX tied with satin ribbons . It says : Louis Vuitton .</scene_description>
<character>LOUISE</character>
<dialogue>No! That is not what I think it is.</dialogue>
<character>CARRIE</character>
<dialogue>Open it.</dialogue>
<character>LOUISE</character>
<dialogue>Oh my Lord. Oh my -</dialogue>
<scene_description>She opens it and SCREAMS as she pulls out a gorgeous purse .</scene_description>
<character>CARRIE</character>
<dialogue>No more rent girl for you.</dialogue>
<scene_description>Louise throws it over her shoulder and walks `` runway . ''</scene_description>
<character>LOUISE</character>
<dialogue>Look who's home from the big city!</dialogue>
<character>CARRIE</character>
<parenthetical>( V.O . )</parenthetical>
<dialogue>It was the best money I'd ever spent.</dialogue>
<scene_description>Carrie comes out of her kitchen , holding a Cup O'Soup . She is wearing pajamas and socks .</scene_description>
<character>CARRIE</character>
<parenthetical>( V.O . )</parenthetical>
<dialogue>New Year's Eve. and a Cup O'Soup.</dialogue>
<scene_description>She plops in a chair in front of the TV . She picks up the `` Meet Me in St. Louis '' DVD and looks at it . Steve is standing in the open doorway - with his coat and hat on . Miranda is kneeling - putting a winter coat on Brady . A Christmas tree glows behind them .</scene_description>
<character>MIRANDA</character>
<dialogue>And what are you gon na say at midnight?</dialogue>
<character>BRADY</character>
<dialogue>Happy New Year.</dialogue>
<character>MIRANDA</character>
<dialogue>That's right - but you got ta say it more excited than that -.</dialogue>
<parenthetical>( then ; excited . )</parenthetical>
<dialogue>`` Happy New Year!''</dialogue>
<character>BRADY</character>
<dialogue>Happy New Year!</dialogue>
<character>MIRANDA</character>
<dialogue>You say that and then. you kiss.</dialogue>
<scene_description>She gives him a big kiss . He laughs . She stands .</scene_description>
<character>STEVE</character>
<dialogue>You all ready to go, B - boy?</dialogue>
<character>MIRANDA</character>
<dialogue>Did you pack the new Batman Santa brought you?</dialogue>
<scene_description>Brady shakes his head : NO .</scene_description>
<character>STEVE</character>
<dialogue>Aw man - Got ta have the new Batman.</dialogue>
<character>MIRANDA</character>
<dialogue>It's there near the tree.</dialogue>
<scene_description>Brady leaves to get it . Steve looks over at Miranda .</scene_description>
<character>STEVE</character>
<dialogue>You got plans with the girls?</dialogue>
<character>MIRANDA</character>
<dialogue>We're all kinda staying in tonight.</dialogue>
<character>STEVE</character>
<dialogue>Would you like to come and eat with us? We can go somewhere over here on your side.</dialogue>
<character>MIRANDA</character>
<dialogue>No, thank you.</dialogue>
<character>STEVE</character>
<dialogue>Miranda - I never meant to hurt you.</dialogue>
<scene_description>She looks away . Brady comes up back to them with Batman .</scene_description>
<character>MIRANDA</character>
<dialogue>There he is. Batman.</dialogue>
<character>STEVE</character>
<dialogue>Put your hat on. It's snowing out.</dialogue>
<scene_description>Brady nods and takes Steve 's hand . Steve looks over at Miranda .</scene_description>
<character>STEVE</character>
<parenthetical>( CONT 'D . )</parenthetical>
<dialogue>Happy New Year.</dialogue>
<character>MIRANDA</character>
<dialogue>Happy New Year.</dialogue>
<character>BRADY</character>
<dialogue>Kiss.</dialogue>
<scene_description>Silence . then , Miranda bends down and gives Brady a big sloppy kiss .</scene_description>
<character>MIRANDA</character>
<dialogue>See you tomorrow.</dialogue>
<scene_description>She stands up and closes the door . As it closes , Steve looks at her . Finally ; it is closed - she leans against it . Carrie sips soup watching a `` deliriously in love '' Judy Garland sing `` The Trolley Song . ''</scene_description>
<character>JUDY GARLAND</character>
<dialogue>ZING ZING ZING WENT MY HEARTSTRINGS THE MOMENT I MET HIM - I FELL</dialogue>
<scene_description>Carrie , not in the mood , picks up the remote - clicks . The TV goes off . She looks around : Now what ? Carrie sits at her makeshift desk as snow falls outside her window . She looks down at the computer ; motionless . CLOSE ON SCREEN : The only thing written on it is the word : `` Love . '' After a beat Carrie types three dots . She thinks , then deletes two of the dots . Her phone rings . She answers it .</scene_description>
<character>CARRIE</character>
<dialogue>Hello?</dialogue>
<scene_description>Stanford sits in a festive booth with festive FRIENDS .</scene_description>
<character>STANFORD</character>
<dialogue>Happy New Year - We're having a fabulous time. The only thing missing is you. Come.</dialogue>
<character>CARRIE</character>
<dialogue>That's sweet but I ca n't, I'm writing.</dialogue>
<character>STANFORD</character>
<dialogue>Oh. Okay.</dialogue>
<parenthetical>( beat ; then . )</parenthetical>
<dialogue>You're not really writing are you?</dialogue>
<character>CARRIE</character>
<dialogue>No. You're not really having a fabulous time are you?</dialogue>
<character>STANFORD</character>
<dialogue>No. Rescue me. It's very forced festive.</dialogue>
<character>CARRIE</character>
<dialogue>Oh yes, that's just what every New Year's Eve party needs : a visit from the lost Bronte sister.</dialogue>
<character>STANFORD</character>
<dialogue>Well. Better a Bronte sister than a Hilton sister.</dialogue>
<character>CARRIE</character>
<parenthetical>( laughs ; then . )</parenthetical>
<dialogue>Thanks but - by ten PM I'll be in bed asleep and blissfully unaware of how fabulous this night is supposed to be.</dialogue>
<scene_description>Carrie is sound asleep . Her phone rings . She grabs it .</scene_description>
<character>CARRIE</character>
<dialogue>Hello.</dialogue>
<scene_description>Intercut with Miranda - sitting on her couch watching the New Year 's Eve coverage on television . Chinese take - out is on the table in front of her .</scene_description>
<character>MIRANDA</character>
<dialogue>I thought one of the perks of having a family is you do n't have to spend New Year's Eve alone with Chinese food.</dialogue>
<parenthetical>( beat . )</parenthetical>
<dialogue>I'm alone with Chinese food.</dialogue>
<character>CARRIE</character>
<dialogue>I was sleeping.</dialogue>
<character>MIRANDA</character>
<dialogue>Oh, shit - I'm sorry.</dialogue>
<character>CARRIE</character>
<dialogue>That's okay. Where's Brady?</dialogue>
<character>MIRANDA</character>
<dialogue>It's Steve's night.</dialogue>
<character>CARRIE</character>
<dialogue>Right.</dialogue>
<character>MIRANDA</character>
<dialogue>Go back to sleep - do n't wake up.</dialogue>
<character>CARRIE</character>
<dialogue>It's okay. Are you alright?</dialogue>
<character>MIRANDA</character>
<dialogue>I'm fine - I was just getting a little choked - up watching the stupid New Year's Eve stuff on TV alone.</dialogue>
<character>CARRIE</character>
<dialogue>Want me to come over?</dialogue>
<character>MIRANDA</character>
<dialogue>I'm all the way downtown -</dialogue>
<character>CARRIE</character>
<dialogue>I can grab a cab -</dialogue>
<character>MIRANDA</character>
<dialogue>On New Year's Eve? No way. I'm fine. really. I just wanted to talk a little. Go back to sleep. Good night.</dialogue>
<scene_description>Miranda hangs up . Carrie lays there - holding the phone . She looks over at her bedside table clock : 11:12 . She thinks then - throws back the covers and gets out of bed . START MUSIC . Snowing . Carrie hurries out of her front door - a coat thrown over her pajamas . She comes down the stairs to the street looking for a cab . Nothing . No traffic . She starts RUNNING up the block - passing TWO FESTIVE COUPLES ; walking . Lily , in her PJ 's , is marching around the den wearing a `` Happy New Year '' party crown and blowing into a party favor horn . Harry and Charlotte - wearing New Year 's Eve party hats - sit on the couch - laughing . Charlotte and Harry kiss . His hand moves sensuously down Charlotte 's body and rests on her pregnant belly . Samantha and Smith recline on the couch . They are wearing sexy black robes and having caviar and champagne . The Dog sits nearby . a fire roars in the fireplace behind them . Samantha and Smith kiss on the couch . The Dog humps a pillow nearby . Magda and Lovro sit in a booth , they toast with sherry . Anthony stands talking to FRIENDS . Someone taps him on the shoulder . He looks over - it 's Stanford - holding two glasses of champagne . Stanford and Anthony look at each other as everyone around them kisses . Stanford presents his cheek . Anthony kisses it . Snowing . Carrie runs up the stairs of the Lower East Side subway stop . She looks around to get her bearings - then starts running again . She passes a GROUP OF TWENTY - SOMETHING PEOPLE blowing party horns and LAUGHING . Louise is talking to a group of St. Louis FRIENDS . She looks up as WILL -LRB- 22 -RRB- her handsome African - American ex - boyfriend enters . Their eyes meet . Her heart stops . He smiles . She smiles . He starts over to her . They stand talking - she smiles . He smiles . A festive , crowded restaurant . Sitting at the bar , next to a small Christmas tree . is Mr. Big , eating alone . Big looks up from the bar - watching couples kiss all around him . Steve and Brady are in bed . asleep . Miranda opens a fortune cookie - and reads it . Tosses it down . Picks up another - cracks it open . Reads it . Tosses it down . She looks like she might cry .</scene_description>
</scene>
<scene>
<stage_direction>EXT. LOWER EAST SIDE APARTMENT BUILDING -- LATER -- WINTER</stage_direction>
<scene_description>Carrie rounds the corner of Miranda 's street and runs up to her building .</scene_description>
</scene>
<scene>
<stage_direction>INT. LOWER EAST SIDE APARTMENT -- MOMENTS LATER -- WINTER</stage_direction>
<scene_description>Miranda opens the door - Carrie is standing there - out of breath .</scene_description>
<character>CARRIE</character>
<parenthetical>( ou 're not alone .</parenthetical>
<dialogue />
<scene_description>Times Square is seen on the television in the background .</scene_description>
<character>TELEVISION ANNOUNCER</character>
<parenthetical>( V.O . )</parenthetical>
<parenthetical>( - 4 - 3 - 2 - 1 .</parenthetical>
<parenthetical>Happy New Year !</parenthetical>
<dialogue />
<scene_description>Carrie and Miranda look at each other . They hug . Miranda and Carrie sit on the couch - eating - they are LAUGHING . END MUSIC . Snow on the ground - COLD . CROWDS gathered in front of the large fashion tent . Carrie , Miranda , Charlotte and Samantha trudge through the snow to the stairs . Samantha is wearing lots of fur . She SLIPS on some ice - Carrie catches her .</scene_description>
<character>CARRIE</character>
<dialogue>Easy girl.</dialogue>
<character>SAMANTHA</character>
<dialogue>Thanks - Three months driving in L.A. and I forgot how to use my fucking legs.</dialogue>
<character>CARRIE</character>
<parenthetical>( V.O . )</parenthetical>
<dialogue>Every year the women of New York leave the past behind and look forward to the future. this is known as Fashion Week.</dialogue>
<scene_description>They make their way up the stairs to the tent entrance . The lobby is buzzing with PRESS and CROWDS OF FASHIONISTAS . The GIRLS enter and make their way through the crowd .</scene_description>
<character>CARRIE</character>
<dialogue>This way. I hear the couture calling my name.</dialogue>
<character>SAMANTHA</character>
<dialogue>See this - this is what I miss. Last night Smith and I cuddled in front of the TV with `` take out'' Mexican.</dialogue>
<character>MIRANDA</character>
<dialogue>- In your four billion dollar beach house.</dialogue>
<scene_description>The girls LAUGH .</scene_description>
<character>SAMANTHA</character>
<dialogue>Still - I do n't think I'm cut out for the one - on - one relationship thing.</dialogue>
<character>CHARLOTTE</character>
<dialogue>You've been doing it for five years.</dialogue>
<character>SAMANTHA</character>
<dialogue>No, see - I've always had girlfriends on the side.</dialogue>
<scene_description>They smile . Miranda spots MAYOR MICHAEL BLOOMBERG across the room .</scene_description>
<character>MIRANDA</character>
<dialogue>There's Mayor Bloomberg.</dialogue>
<character>SAMANTHA</character>
<dialogue>New Yorkers are so damn attractive - Even the Mayor is hot.</dialogue>
<character>MIRANDA</character>
<dialogue>I believe that was his last campaign slogan.</dialogue>
<scene_description>The girls walk on . The room is filling up and buzzing with FASHIONISTAS as the girls make their way . Samantha spots her name on four chairs in the front row and leads the way .</scene_description>
<character>SAMANTHA</character>
<dialogue>There we are.</dialogue>
<character>CHARLOTTE</character>
<dialogue>We're in the front row?!</dialogue>
<character>SAMANTHA</character>
<dialogue>I pulled some strings.</dialogue>
<character>CARRIE</character>
<dialogue>Very nice.</dialogue>
<character>SAMANTHA</character>
<dialogue>I should go thank them -</dialogue>
<scene_description>Samantha throws her coat on her chair back .</scene_description>
<character>CHARLOTTE</character>
<dialogue>Decide where we want to go for lunch - I'll make the call.</dialogue>
<parenthetical>( beat ; excited . )</parenthetical>
<dialogue>It's like old times.</dialogue>
<scene_description>Samantha hurries off , excited . Carrie , Miranda and Charlotte settle into their seats .</scene_description>
<character>MIRANDA</character>
<dialogue>So, this is how you all spent your Saturdays while I was with Brady and Steve at the Brooklyn Aquarium.</dialogue>
<character>CARRIE</character>
<dialogue>Well. Not every Saturday.</dialogue>
<character>MIRANDA</character>
<dialogue>Just so you know - We always had front row at the mammal show.</dialogue>
<parenthetical>( beat ; then . )</parenthetical>
<dialogue>Steve does the funniest dolphin impression. Actually, it's more - Steve as a dolphin -</dialogue>
<scene_description>A smile escapes her - they look at her . Her smile fades .</scene_description>
<character>CHARLOTTE</character>
<dialogue>You really ca n't forgive him?</dialogue>
<character>MIRANDA</character>
<dialogue>Are you suggesting something?</dialogue>
<character>CHARLOTTE</character>
<dialogue>I like Steve. I've always liked Steve - He's apologized a hundred times - he's not seeing anyone else. What's it going to take?</dialogue>
<character>MIRANDA</character>
<dialogue>And are you also suggesting that she forgive Big?</dialogue>
<character>CHARLOTTE</character>
<dialogue>No. I could kill Big. Sometimes when I'm running - I imagine what I'd say if I ever saw him again. I have the perfect opening sentence. Want to hear it?</dialogue>
<character>CARRIE</character>
<parenthetical>( duh ? )</parenthetical>
<dialogue>Ah. yes.</dialogue>
<character>CHARLOTTE</character>
<dialogue>I curse the day you were born.</dialogue>
<character>CARRIE</character>
<dialogue>Impressive. Better work up a hand gesture to go with it.</dialogue>
<scene_description>Elaine comes up to Carrie , squats down in front of her .</scene_description>
<character>ELAINE</character>
<dialogue>Thank god you're here. They have me covering this Mercedes - Benz fashion week and I'm desperate for a Carrie Bradshaw - esque quote.</dialogue>
<character>CARRIE</character>
<dialogue>Well, I'll do my best. We'll talk after?</dialogue>
<character>ELAINE</character>
<dialogue>Great. And - ooh - my back -</dialogue>
<scene_description>She gets up - sits in Samantha 's empty chair next to Carrie .</scene_description>
<character>ELAINE</character>
<parenthetical>( CONT 'D . )</parenthetical>
<parenthetical>( very sincere . )</parenthetical>
<dialogue>- Can I just say that I'm so sorry about what happened with your wedding.</dialogue>
<scene_description>Carrie smiles - what else can she do ?</scene_description>
<character>ELAINE</character>
<parenthetical>( CONT 'D . )</parenthetical>
<dialogue>I do n't know how you survived it. I, personally, was so devastated I took myself off JDate - but you survived and you're here and you look amazing and I just think that's so great. Everyone in my row does - we ca n't stop talking about it. Okay - Meet you in the lobby after.</dialogue>
<scene_description>Elaine smiles and leaves . Carrie sits - stunned ; numb . She looks to the chairs across the runway - FASHIONABLE WOMEN are looking back at her - one or two smile sympathetically . She grabs her things and then turns to Charlotte .</scene_description>
<character>CARRIE</character>
<dialogue>I've got ta go.</dialogue>
<scene_description>Carrie slips silently away . Charlotte gets up and starts away after her . Miranda looks -</scene_description>
<character>MIRANDA</character>
<dialogue>Should I -</dialogue>
<scene_description>Charlotte shakes her head : `` not sure '' . and continues away . Charlotte catches up with Carrie as she is about to exit . Fashionistas stream by them on their way in .</scene_description>
<character>CHARLOTTE</character>
<dialogue>Carrie, wait.</dialogue>
<scene_description>Carrie stops - turns around - putting on her wrap .</scene_description>
<character>CARRIE</character>
<dialogue>This was a mistake - it's too soon - I'm not ready. I'll go get a coffee and you guys call me after - and I'll meet you for lunch.</dialogue>
<character>CHARLOTTE</character>
<dialogue>Are you sure? I know how much you were looking forward to this.</dialogue>
<character>CARRIE</character>
<dialogue>Yeah, I really was. until I became the poster child for wounded women everywhere.</dialogue>
<character>CHARLOTTE</character>
<dialogue>You're not.</dialogue>
<character>CARRIE</character>
<dialogue>Is this thing going to effect everything I do for the rest of my life?</dialogue>
<character>CHARLOTTE</character>
<dialogue>No - but if you leave right now - it will effect the rest of your day.</dialogue>
<scene_description>Carrie looks at her - takes this in .</scene_description>
<character>CHARLOTTE</character>
<parenthetical>( CONT 'D . )</parenthetical>
<parenthetical>( softly . )</parenthetical>
<dialogue>It's Fashion Week. We're in the front row.</dialogue>
<character>CARRIE</character>
<dialogue>Where everyone can see me.</dialogue>
<character>CHARLOTTE</character>
<dialogue>Who cares about them - You only came for the clothes.</dialogue>
<scene_description>Carrie smiles . a little .</scene_description>
<character>CHARLOTTE</character>
<parenthetical>( CONT 'D . )</parenthetical>
<dialogue>I know it's hard but - It's like you said : You ca n't stop being who you are.</dialogue>
<scene_description>Samantha and Miranda have just gathered their things and are leaving their chairs as Charlotte and Carrie return .</scene_description>
<character>SAMANTHA</character>
<dialogue>We thought we were leaving.</dialogue>
<scene_description>Charlotte shakes her head : NO . Samantha and Miranda turn around and start back to their seats as - MUSIC STARTS . LIGHTS CHANGE . The girls settle in just as a MODEL starts down the RUNWAY in gorgeous clothes . Carrie , Miranda , Charlotte and Samantha watch - DISSOLVE TO : the girls watching another model ; another outfit . They point and discuss what they see - loving it . DISSOLVE TO : the girls watching another model ; another outfit . With each outfit Carrie seems to lighten and brighten . DISSOLVE TO : the girls watching another model ; another outfit . Carrie smiles as she watches - now , truly enjoying herself . Carrie is being interviewed by Elaine holding a TAPE RECORDER . Miranda , Samantha and Charlotte watch nearby .</scene_description>
<character>CARRIE</character>
<parenthetical>( V.O . )</parenthetical>
<dialogue>I did n't know if it was the fashion or the fact that the four of us were together again - but for the first time in a long time - I felt like myself.</dialogue>
<scene_description>The girls leave the tent and start down the stairs .</scene_description>
<character>SAMANTHA</character>
<dialogue>Let's get a cab - I am starv -</dialogue>
<scene_description>SPLAT . Her fur coat is hit with SPLASH of red paint . They REACT : SHOCKED . AN ACTIVIST WOMAN stands there holding a paint cup . Next to her - another ACTIVIST is holding a PUG dog .</scene_description>
<character>ACTIVIST #1</character>
<dialogue>Fur is murder!</dialogue>
<character>ACTIVIST #2</character>
<dialogue>MUR - DER. MUR - DER.</dialogue>
<character>SAMANTHA</character>
<parenthetical>( beat . )</parenthetical>
<dialogue>God, I miss New York.</dialogue>
<scene_description>Carrie hurries across the street -</scene_description>
<character>CARRIE</character>
<parenthetical>( V.O . )</parenthetical>
<dialogue>And a couple of weeks later - I met St. Louise's St. Louis boyfriend, Will.</dialogue>
<scene_description>She arrives at the front of a restaurant . Through the window , she can see Louise sitting next to Will . Louise spots Carrie and waves . Carrie waves back and starts in .</scene_description>
<character>CARRIE</character>
<parenthetical>( V.O. ; CONT 'D . )</parenthetical>
<dialogue>Over Christmas they realized how much they loved each other. Just in time for Valentine's day.</dialogue>
<scene_description>Carrie turns the key in her mail box . A little pink envelope sits there . She takes it out and opens it . It 's a `` kid 's style '' Valentine card of Cinderella . She turns it over . Lily 's crayon mark mixes with Charlotte 's handwriting : To Aunt Carrie . Love , Lily . Carrie opens the door , holding the valentine . Her phone is ringing . She answers it .</scene_description>
<character>CARRIE</character>
<dialogue>Hello?</dialogue>
<scene_description>Intercut with Samantha in her kitchen attempting to make sushi . Her hands covered in rice . The DOG , wearing a sweater with a `` heart '' on it sits on the floor watching .</scene_description>
<character>SAMANTHA</character>
<dialogue>I'm just calling to make sure you are n't hanging from your shower rod.</dialogue>
<character>CARRIE</character>
<dialogue>You called an hour too early.</dialogue>
<character>SAMANTHA</character>
<dialogue>So, what's the V - day plan?</dialogue>
<character>CARRIE</character>
<dialogue>Miranda and I are going to dinner and then a really violent slasher movie.</dialogue>
<character>SAMANTHA</character>
<dialogue>Perfect.</dialogue>
<character>CARRIE</character>
<dialogue>And you?</dialogue>
<character>SAMANTHA</character>
<dialogue>I am making Smith sushi. Pause for reaction.</dialogue>
<character>CARRIE</character>
<dialogue>Wow. Do you make sushi?</dialogue>
<character>SAMANTHA</character>
<dialogue>We took a class a while back - and when he walks in the door at seven - thirty, I am going to surprise him by laying on the dining room table - covered with homemade sushi.</dialogue>
<character>CARRIE</character>
<dialogue>Boy, you do have time on your hands.</dialogue>
<scene_description>Carrie walks over to the book shelf and places the Cinderella valentine on it . She looks down at the bottom shelf . The Vogue magazine is looking up at her - She picks it up . A small , village restaurant festively decorated for Valentine 's Day . Pink balloons float on the ceiling , their red ribbon strings hang at eye level . Carrie and Miranda sit at a table . At all the other tables - Couples !</scene_description>
<character>MIRANDA</character>
<dialogue>Is it me or is Valentine's Day this year on steroids?</dialogue>
<character>CARRIE</character>
<dialogue>I think it was like this last year but we played for the other team.</dialogue>
<scene_description>A WAITRESS -LRB- 23 -RRB- approaches them with pink menus .</scene_description>
<character>WAITRESS</character>
<dialogue>Good evening. Here's our special Valentine night menu. All the selections are romantic in theme and designed to be split for two. Are you having wine?</dialogue>
<character>CARRIE/MIRANDA</character>
<dialogue>Yes.</dialogue>
<character>WAITRESS</character>
<dialogue>A glass or a bot -</dialogue>
<character>CARRIE/MIRANDA</character>
<dialogue>Bottle.</dialogue>
<character>WAITRESS</character>
<dialogue>I'll be right back to take you and your girlfriends order.</dialogue>
<scene_description>The waitress leaves . Miranda looks at Carrie .</scene_description>
<character>MIRANDA</character>
<dialogue>I could do a lot worse.</dialogue>
<scene_description>The wine bottle is now empty . Carrie and Miranda eat .</scene_description>
<character>MIRANDA</character>
<dialogue>Why would you look at the Vogue today of all days?</dialogue>
<character>CARRIE</character>
<dialogue>` Cause - I'm an emotional cutter.</dialogue>
<parenthetical>( Beat ; then . )</parenthetical>
<dialogue>I deserve what I got. Running all over New York believing that I'm finally getting my happy ending. `` See everyone, love does conquer all. Look at me in my one of a kind wedding gown marrying the love of my life.''</dialogue>
<scene_description>Waitress stops at the table . She picks up the bottle .</scene_description>
<character>WAITRESS</character>
<dialogue>Would you like another bot -</dialogue>
<character>CARRIE/MIRANDA</character>
<dialogue>Yes.</dialogue>
<scene_description>She leaves .</scene_description>
<character>CARRIE</character>
<dialogue>And Miranda. in that article - I did not say `` we'' once. It was all : `` I'' want and `` I'' think.</dialogue>
<character>MIRANDA</character>
<dialogue>It was from your point of view.</dialogue>
<character>CARRIE</character>
<dialogue>My point of view. Exactly. The whole wedding was my point of view. I let the wedding get bigger than Big. I am the reason he did n't get out of that car.</dialogue>
<character>MIRANDA</character>
<dialogue>You ca n't put this all on yourself.</dialogue>
<parenthetical>( beat ; then . )</parenthetical>
<dialogue>Okay. I said something I should n't have said to Big at the rehearsal dinner.</dialogue>
<character>CARRIE</character>
<dialogue>What do you mean?</dialogue>
<character>MIRANDA</character>
<dialogue>I was really upset after Steve showed up and I bumped into Big and - I said that you two were crazy to get married.</dialogue>
<scene_description>Carrie is stunned . The waitress arrives with the new bottle of wine .</scene_description>
<character>WAITRESS</character>
<dialogue>Here we go. Your Shiraz.</dialogue>
<scene_description>She is opening the bottle . Tension . She pops the cork - starts to pour .</scene_description>
<character>MIRANDA</character>
<dialogue>Stop - It's fine - Thanks.</dialogue>
<scene_description>The Waitress puts the bottle down and walks away .</scene_description>
<character>MIRANDA</character>
<parenthetical>( CONT 'D . )</parenthetical>
<dialogue>I'm sorry, I was upset - Steve had -</dialogue>
<character>CARRIE</character>
<dialogue>I have been going over this and over this in my mind for five months - and - for five months you kept a secret like that?</dialogue>
<character>MIRANDA</character>
<dialogue>I tried to tell you once but the Vogue article came out -</dialogue>
<character>CARRIE</character>
<dialogue>Once? You tried to tell me once? You should have tried to tell me every single day!</dialogue>
<character>MIRANDA</character>
<dialogue>I know, I was looking for the right time.</dialogue>
<character>CARRIE</character>
<dialogue>There is no right time to tell me you ruined my marriage!</dialogue>
<scene_description>The Room is now at `` attention . ''</scene_description>
<character>MIRANDA</character>
<dialogue>It just happened - I was n't thinking.</dialogue>
<scene_description>Carrie grabs her purse - to leave .</scene_description>
<character>MIRANDA</character>
<parenthetical>( CONT 'D . )</parenthetical>
<dialogue>Carrie, please - Do n't go - I -</dialogue>
<scene_description>Carrie stands up - the festive balloon strings bob in front of her face . She pushes them away .</scene_description>
<character>CARRIE</character>
<dialogue>And I think what hurts the most is that you kept a secret from me. I have never ever kept a secret from you. Ever!</dialogue>
<scene_description>She starts out . Stops , comes back - through the ribbons .</scene_description>
<character>CARRIE</character>
<parenthetical>( CONT 'D . )</parenthetical>
<dialogue>No, I'm lying. For the last five months I've been thinking that it's a huge mistake that you left Steve.</dialogue>
<parenthetical>( beat . )</parenthetical>
<dialogue>There. How does it feel?</dialogue>
<scene_description>She turns and pushes balloons out of her way as she starts out . A KISSING COUPLE -LRB- 20 's -RRB- is BLOCKING her way .</scene_description>
<character>CARRIE</character>
<parenthetical>( CONT 'D . )</parenthetical>
<dialogue>Excuse me!</dialogue>
<scene_description>They stop - She squeezes by them . Miranda is devastated .</scene_description>
</scene>
<scene>
<stage_direction>INT. BEACHOUSE/DINING ROOM -- NIGHT -- CONTINUOUS -- WINTER</stage_direction>
<scene_description>Candles are lit . Samantha enters wearing a sexy sheer robe and carrying a giant tray of homemade sushi . The phone rings . The machine picks up . Smith leaves a message .</scene_description>
<character>SMITH</character>
<parenthetical>( V.O . )</parenthetical>
<dialogue>Babe - we're way behind on set. I still have n't been released. I'll get there as soon as I can.</dialogue>
<scene_description>She SIGHS - places the tray on the table . Looks at the wall clock : Seven - thirty . Eight o'clock . Samantha is sitting in the robe near the table . Not pleased . Eight - thirty - Samantha is pacing . She takes a piece of sushi - pops it in her mouth and chews - pissed . A WOMAN MOANING is heard . She walks over and glances out the window into Dante 's living room . Candles are everywhere - he is naked and GIVING HEAD to naked BLONDE WOMAN . She is writhing in pleasure . Samantha watches - even more pissed .</scene_description>
<character>CARRIE</character>
<parenthetical>( V.O . )</parenthetical>
<dialogue>It was the same Valentine night Samantha had planned - minus the sushi.</dialogue>
<scene_description>Samantha now wearing sweat clothes , sits with her arms crossed - waiting . The door opens and Smith enters .</scene_description>
<character>SMITH</character>
<dialogue>I'm home!</dialogue>
<scene_description>He see 's Samantha sitting there . He smiles .</scene_description>
<character>SMITH</character>
<parenthetical>( CONT 'D ; CONT 'D . )</parenthetical>
<dialogue>Man, that was a long day - the crew went into double overtime.</dialogue>
<character>SAMANTHA</character>
<dialogue>You are three hours late.</dialogue>
<character>SMITH</character>
<dialogue>Bummer. I know. Did you eat?</dialogue>
<character>SAMANTHA</character>
<dialogue>Yes, I ate. I ate the sushi that I hand made for you. The sushi that I planned to lay all over my naked body as a Valentines surprise for you.</dialogue>
<character>SMITH</character>
<dialogue>Why are you so upset? I called.</dialogue>
<character>SAMANTHA</character>
<dialogue>I slaved away in a kitchen all day to make this meal for you.</dialogue>
<character>SMITH</character>
<dialogue>You made some sushi - it's not a big deal!</dialogue>
<character>SAMANTHA</character>
<dialogue>Not a big deal?</dialogue>
<scene_description>She stands up . She picks up some pieces of sushi .</scene_description>
<character>SAMANTHA</character>
<parenthetical>( CONT 'D . )</parenthetical>
<dialogue>You see this - This took me five fucking hours!</dialogue>
<scene_description>She throws sushi at him . He dodges them .</scene_description>
<character>SAMANTHA</character>
<parenthetical>( CONT 'D . )</parenthetical>
<dialogue>I am not the type of woman who sits home all day waiting for a man!</dialogue>
<parenthetical>( beat . )</parenthetical>
<dialogue>You love California so much - enjoy your hand - made California roll!</dialogue>
<scene_description>She throws more sushi and storms out . Smith looks at the subzero fridge . A sushi piece slides down the front . A FLORAL ARRANGEMENT sits on the hall table next to the answering machine . A card reading : `` I 'm sorry - Miranda '' is nearby . The answering machine is recording an incoming call from Miranda .</scene_description>
<character>MIRANDA</character>
<parenthetical>( V.O . )</parenthetical>
<dialogue>It's me. Pick up. Are you there?</dialogue>
<scene_description>Carrie is standing in the bathroom ; looking out at the answering machine , brushing her teeth .</scene_description>
<character>CARRIE</character>
<parenthetical>( V.O . )</parenthetical>
<dialogue>Three days of `` I'm sorry'' calls and e - mails and flowers - and I still was n't ready. It was the longest we'd even gone without speaking.</dialogue>
<scene_description>Rain . Carrie walks up to her stoop . A CAB idling in front . The cab window goes down . Miranda is sitting there .</scene_description>
<character>MIRANDA</character>
<dialogue>Carrie.</dialogue>
<scene_description>Carrie looks . Stops .</scene_description>
<character>MIRANDA</character>
<parenthetical>( CONT 'D . )</parenthetical>
<dialogue>Hi. I need to talk to you.</dialogue>
<character>CARRIE</character>
<dialogue>How long have you been waiting here?</dialogue>
<scene_description>Miranda looks to the meter , then back to her .</scene_description>
<character>MIRANDA</character>
<dialogue>Seventeen dollars long.</dialogue>
<parenthetical>( beat . )</parenthetical>
<dialogue>Please get in. It just turned to eighteen.</dialogue>
<scene_description>Carrie looks at her , hesitates , starts over to the cab . Rain pours down the windows . Carrie and Miranda sit in silence . A MIDDLE EASTERN DRIVER sits behind the wheel . CLOSE ON : THE METER . It reads 22.00 . This is weird not talking .</scene_description>
<character>CARRIE</character>
<dialogue>I'm upset.</dialogue>
<character>MIRANDA</character>
<dialogue>Carrie, I understand - but it just happened - I never meant to hurt you.</dialogue>
<parenthetical>( beat . )</parenthetical>
<dialogue>You have to forgive me.</dialogue>
<scene_description>Carrie looks over at her .</scene_description>
<character>CARRIE</character>
<dialogue>You know -</dialogue>
<character>MIRANDA</character>
<dialogue>What?</dialogue>
<character>CARRIE</character>
<dialogue>No.</dialogue>
<character>MIRANDA</character>
<dialogue>Please. What were you going to say?</dialogue>
<character>CARRIE</character>
<dialogue>You badger me to forgive you in three days - and you wo n't even consider forgiving Steve for something he did six months ago.</dialogue>
<character>MIRANDA</character>
<dialogue>It's not the same thing.</dialogue>
<character>CARRIE</character>
<dialogue>It's forgiveness.</dialogue>
<scene_description>Miranda thinks - Carrie looks at her .</scene_description>
<character>CARRIE</character>
<parenthetical>( CONT 'D . )</parenthetical>
<dialogue>And - I know you're not the reason my marriage fell apart. I was just - desperate to have someone else to blame.</dialogue>
<scene_description>Miranda thinks . The METER clicks . Steve and Miranda are sitting in front of a THERAPIST .</scene_description>
<character>MIRANDA</character>
<dialogue>I do n't know if I can trust that it wo n't happen again.</dialogue>
<character>THERAPIST</character>
<dialogue>Steve - you're very quiet today.</dialogue>
<character>STEVE</character>
<dialogue>Miranda, I know I made it hard for you to trust me. But - You made it hard for me to trust you.</dialogue>
<character>MIRANDA</character>
<dialogue>Me?!</dialogue>
<character>STEVE</character>
<dialogue>The way you treated me and cut me out of your life like that? I mean, yeah - I broke a vow. But what about the other vows? Like promising to love someone for better or for worse? What about that?</dialogue>
<scene_description>Miranda looks down at her hands . Steve looks at the therapist .</scene_description>
<character>STEVE</character>
<parenthetical>( CONT 'D . )</parenthetical>
<dialogue>How do I know she wo n't punish me for the rest of my life?</dialogue>
<character>THERAPIST</character>
<dialogue>You do n't. And she does n't know for sure that you wo n't have another indiscretion.</dialogue>
<parenthetical>( beat . )</parenthetical>
<dialogue>All you can know. is that you want to move forward and risk that you love for each other wo n't allow that to happen.</dialogue>
<scene_description>Silence .</scene_description>
<character>THERAPIST</character>
<parenthetical>( CONT 'D . )</parenthetical>
<dialogue>And that's what we'll discover here.</dialogue>
<scene_description>Steve looks over at Miranda . Miranda looks at Steve . Forsythia bushes are in bloom . Carrie and Miranda walk . They carry sandwiches .</scene_description>
<character>MIRANDA</character>
<dialogue>So, we're done with our last session and we're not allowed to talk for two weeks while we figure out if being together again is something we really want. And then - we had to pick a place to meet - and if we both show up on that day - the past no longer exists. Showing up is the promise we make to each other that we're willing to let it all go and move forward.</dialogue>
<character>CARRIE</character>
<dialogue>Can you do that?</dialogue>
<character>MIRANDA</character>
<dialogue>I do n't know. I have a lot of thinking to do.</dialogue>
<character>CARRIE</character>
<dialogue>Thinking - or feeling?</dialogue>
<character>MIRANDA</character>
<dialogue>What do you mean?</dialogue>
<character>CARRIE</character>
<dialogue>Miranda - you're a lawyer. You can argue both sides of any case - but, why we feel what we feel - is n't logical. It's emotional. Sorry, Harvard - I'm afraid you're going to have to make this decision based on your emotions.</dialogue>
<character>MIRANDA</character>
<dialogue>Well, then - I'm screwed. I do n't know what I feel.</dialogue>
<character>CARRIE</character>
<dialogue>You will. There will come a moment when you'll know. And if it's : yes - all that brilliant logic will go out the window. with the past.</dialogue>
<character>MIRANDA</character>
<dialogue>And I thought picking the place to meet was a challenge.</dialogue>
<character>CARRIE</character>
<dialogue>Where is it?</dialogue>
<character>MIRANDA</character>
<dialogue>The Brooklyn Bridge. Halfway between both our places.</dialogue>
<character>CARRIE</character>
<dialogue>Very logical. And yet poetic.</dialogue>
<character>MIRANDA</character>
<dialogue>Poetic - if we both show up. Otherwise - you're on a bridge - rejected. Not a good plan.</dialogue>
<scene_description>Carrie walks in carrying a Starbucks cardboard caddy with two coffee . Louise is sitting at her desk , working .</scene_description>
<character>LOUISE</character>
<dialogue>I have two pieces of good news.</dialogue>
<character>CARRIE</character>
<dialogue>And I have two coffees.</dialogue>
<character>LOUISE</character>
<dialogue>I just got a heads - up from your realtor. The apartment on Fifth finally sold.</dialogue>
<scene_description>Carrie sips coffee . Nods .</scene_description>
<character>LOUISE</character>
<parenthetical>( CONT 'D . )</parenthetical>
<dialogue>You have sixty days before the new owner takes possession and you are out of there.</dialogue>
<character>CARRIE</character>
<dialogue>What's the other news?</dialogue>
<scene_description>Louise holds up her hand . There is a diamond ring on it .</scene_description>
<character>CARRIE</character>
<parenthetical>( CONT 'D . )</parenthetical>
<dialogue>Oh my God -</dialogue>
<character>LOUISE</character>
<dialogue>I'm moving back to St. Louis - we are getting married in the fall.</dialogue>
<scene_description>Louise beams . Carrie hugs her . Grey day . Samantha is sitting on the beach reading `` The Secret . ''</scene_description>
<character>CARRIE</character>
<parenthetical>( V.O . )</parenthetical>
<dialogue>Meanwhile, back in Lost Angeles.</dialogue>
<scene_description>She rolls her eyes , and tosses it down in the sand . Samantha walks on the beach . The dog is walking with her .</scene_description>
<character>CARRIE</character>
<parenthetical>( V.O . )</parenthetical>
<dialogue>Samantha had money, a career and a man who loved her. Still, she could n't shake the feeling that something was missing from her life.</dialogue>
<scene_description>The dog runs up onto the neighbor 's deck .</scene_description>
<character>SAMANTHA</character>
<dialogue>No! Come back here.</dialogue>
<scene_description>Samantha is on the neighbor 's deck looking for the dog .</scene_description>
<character>SAMANTHA</character>
<dialogue>Where are you, baby?</dialogue>
<scene_description>She rounds a corner - and comes face to face with Dante - showering in the outdoor shower . Water runs over his NAKED and PERFECT BODY . He sees her and smiles a hot smile . She is thrown - overwhelmed .</scene_description>
<character>SAMANTHA</character>
<parenthetical>( CONT 'D . )</parenthetical>
<dialogue>Sorry - I'm your neighbor and my dog ran up on your dick -.</dialogue>
<parenthetical>( catching herself . )</parenthetical>
<dialogue>- Deck!</dialogue>
<scene_description>There is a GROWL sound . She looks - the dog is humping a towel on the deck floor . She looks back at Dante .</scene_description>
<character>DANTE</character>
<dialogue>Want to join me?</dialogue>
<scene_description>Speechless - She shakes her head : No - she scoops up the dog and hurries away . He calls after her .</scene_description>
<character>DANTE</character>
<parenthetical>( CONT 'D . )</parenthetical>
<dialogue>I'm Dante. Stop by - anytime.</dialogue>
<scene_description>Samantha takes a peek back and continues on her way . Samantha is having lunch outside while on the phone .</scene_description>
<character>SAMANTHA</character>
<dialogue>Smith is interested - but the dates will have to work with the series.</dialogue>
<scene_description>Dante appears on the deck next store in a wet suit . He unzips it while looking at Samantha . SAMANTHA dips a chip in guacamole and eats it . He pulls his wet - suit down and smiles at her . She dips another chip . He steps out of it and looks at her - almost torturing her . She looks the other way , dips another chip in guacamole and eats it . Then another . Samantha is in the kitchen on the phone . She picks up a slice of messy pizza from a delivery box on the table .</scene_description>
<character>SAMANTHA</character>
<dialogue>We agreed that no one else from the show but Smith was going to be on the cover.</dialogue>
<scene_description>She walks to the window and looks out . Dante is on his deck putting on sun screen . He glistens . She chews . Samantha is in the jacuzzi - she is looking up at Dante who is on his deck smoking a joint . He indicates for her to come over . She shakes her head : No . He walks away . She presses a button on the control panel . The jacuzzi jets start . She re - positions herself `` on '' them , then . She reaches over and grabs a giant hot fudge sundae and . starts eating it . Miranda sits in the window - having a cappuccino , alone . On the table a legal pad with a list of PROS and CONS .</scene_description>
<character>CARRIE</character>
<parenthetical>( V.O . )</parenthetical>
<dialogue>With her two weeks just about up, Miranda's list of pros and cons were equal.</dialogue>
<scene_description>She throws some money down on the table and takes a final sip on her cappuccino . As she stands up , she catches sight of herself in the mirrored wall . Cappuccino foam covers her top lip . She remembers . She knows . Miranda stands on the bridge . Alone . She looks at her watch .</scene_description>
<character>CARRIE</character>
<parenthetical>( V.O . )</parenthetical>
<dialogue>It suddenly dawned on Miranda that Steve's list might have had more cons then pros.</dialogue>
<scene_description>Just as this reality hits - the CROWD parts and Steve is seen RUNNING up the bridge . towards her . Miranda and Steve walk along the bridge towards Brooklyn .</scene_description>
<character>CARRIE</character>
<parenthetical>( V.O . )</parenthetical>
<dialogue>And Miranda never looked back.</dialogue>
<scene_description>Steve and Miranda are making love - it is passionate .</scene_description>
<character>CARRIE</character>
<parenthetical>( V.O . )</parenthetical>
<dialogue>Well, almost never.</dialogue>
<scene_description>Miranda turns her head back to look at Steve .</scene_description>
<character>MIRANDA</character>
<dialogue>Kiss me.</dialogue>
<scene_description>Carrie 's apartment is transformed . It is sleeker , polished , more grown - up , with a warm , modern feel .</scene_description>
<character>CARRIE</character>
<parenthetical>( V.O . )</parenthetical>
<dialogue>And at home - everything felt and looked different - and yet still very much me.</dialogue>
<scene_description>Carrie - BLONDE again - walks out of the kitchen with Lilacs in a large vase . The door bell buzzes . Carrie opens the door . Miranda stands there with a very pregnant Charlotte .</scene_description>
<character>CARRIE</character>
<dialogue>Sorry. This is a very exclusive party.</dialogue>
<character>MIRANDA</character>
<dialogue>We're on the list. Miranda Hobbes plus one. and a half.</dialogue>
<scene_description>WOMEN FRIENDS chatting and having fun . The front door is open and a coat rack is visible in the hall . A couple of WAITERS -LRB- 20 's -RRB- move around . ANTHONY comes up to Carrie .</scene_description>
<character>ANTHONY</character>
<dialogue>A woman just put a glass down on your new desk without a coaster. I told her if she did it again I'd break her arm.</dialogue>
<character>CARRIE</character>
<dialogue>Thanks.</dialogue>
<scene_description>He walks on . Miranda wanders up to Carrie .</scene_description>
<character>MIRANDA</character>
<dialogue>Where's Samantha? Her plane landed two hours ago.</dialogue>
<character>CARRIE</character>
<dialogue>You know her, probably ran to the hotel gym for a quick work - out.</dialogue>
<scene_description>Samantha appears in the doorway wearing a summer coat - the dog is in her purse .</scene_description>
<character>SAMANTHA</character>
<dialogue>There's no place like home.</dialogue>
<character>CARRIE</character>
<dialogue>Sweetie!</dialogue>
<scene_description>They kiss - She goes to Miranda ; they kiss .</scene_description>
<character>MIRANDA</character>
<dialogue>There's a rat in your purse.</dialogue>
<character>CARRIE</character>
<dialogue>And that rat better be house trained.</dialogue>
<scene_description>A CATER WAITER walks over to her .</scene_description>
<character>CATER WAITER</character>
<dialogue>Can I take your coat?</dialogue>
<scene_description>Samantha nods and takes off her coat . Revealing : She has a belly . A very non - Samantha big fat gut . Carrie looks at it . Miranda looks at it . Carrie and Miranda exchange looks . Charlotte comes running down the hall .</scene_description>
<character>CHARLOTTE</character>
<dialogue>Samantha!</dialogue>
<scene_description>Samantha raises her arms to greet her . Her blouse rides up , the gut peeks out . Charlotte reacts ; shocked .</scene_description>
<character>CHARLOTTE</character>
<parenthetical>( CONT 'D . )</parenthetical>
<dialogue>You have a - dog!</dialogue>
<character>SAMANTHA</character>
<dialogue>Did you ever think you'd see the day - me with a pooch.</dialogue>
<scene_description>All three shake their heads : No . Carrie , Miranda , and Charlotte are in the bathroom .</scene_description>
<character>MIRANDA</character>
<dialogue>So, she has a belly. So what?</dialogue>
<character>CARRIE</character>
<dialogue>No, a belly on anyone else is a `` so what?'' A belly on Samantha is a : `` So what the hell is going on?''</dialogue>
<character>CHARLOTTE</character>
<dialogue>She never mentioned it on the phone?</dialogue>
<character>CARRIE</character>
<dialogue>Never. And when has she ever not talked about every detail regarding her body?</dialogue>
<character>CHARLOTTE</character>
<dialogue>Should we even bring it up?</dialogue>
<character>MIRANDA</character>
<dialogue>What - like a fat intervention? `` We love you - have a salad?'' No. We should let her bring it up.</dialogue>
<scene_description>There is a knock . Samantha opens the door . She 's eating a piece of cake .</scene_description>
<character>SAMANTHA</character>
<dialogue>Ladies, we can talk about my gut later - right now, I'm bored to tears here.</dialogue>
<scene_description>She gives them a look . They smile , relieved . Everyone has left . Samantha is sitting with Charlotte and Miranda and Carrie . They are having coffee .</scene_description>
<character>SAMANTHA</character>
<dialogue>I eat - so I wo n't cheat.</dialogue>
<character>MIRANDA</character>
<dialogue>What exactly are you eating?</dialogue>
<character>SAMANTHA</character>
<dialogue>Everything except Dante's dick.</dialogue>
<character>CARRIE</character>
<dialogue>Language, please - this is a grown - up apartment now.</dialogue>
<character>SAMANTHA</character>
<dialogue>I guess I did n't realize how big I was until I saw it on your faces.</dialogue>
<character>CARRIE</character>
<dialogue>How - and I say this with love - How could you not realize it?</dialogue>
<character>SAMANTHA</character>
<dialogue>I've been avoiding mirrors.</dialogue>
<character>CHARLOTTE</character>
<dialogue>I'm proud of you for not cheating.</dialogue>
<character>SAMANTHA</character>
<dialogue>I do n't know if there's anything to be proud of. I stuff my face to stop myself from doing something that feels natural to me.</dialogue>
<scene_description>Carrie reaches over and rubs Samantha 's back .</scene_description>
<character>CARRIE</character>
<dialogue>Why did n't you say something?</dialogue>
<character>SAMANTHA</character>
<dialogue>I guess I did n't want to admit it. And when you're in denial - you do n't dial.</dialogue>
<character>CARRIE</character>
<dialogue>Now, listen - this is n't about the weight. You'd be gorgeous at any size. But are you happy?</dialogue>
<character>SAMANTHA</character>
<parenthetical>( Silence ; then . )</parenthetical>
<dialogue>Relationships are n't always about being happy, right?</dialogue>
<parenthetical>( beat . )</parenthetical>
<dialogue>How often do you feel happy in your relationship?</dialogue>
<character>CARRIE</character>
<parenthetical>( to Charlotte . )</parenthetical>
<dialogue>I'm pretty sure that's to you.</dialogue>
<character>CHARLOTTE</character>
<dialogue>Every day.</dialogue>
<character>SAMANTHA</character>
<dialogue>You feel happy ever day?</dialogue>
<character>CHARLOTTE</character>
<dialogue>Not all day - everyday - but everyday.</dialogue>
<character>MIRANDA</character>
<dialogue>When was the last time you felt happy?</dialogue>
<character>SAMANTHA</character>
<dialogue>Six months ago.</dialogue>
<scene_description>They react .</scene_description>
<character>SAMANTHA</character>
<parenthetical>( CONT 'D . )</parenthetical>
<dialogue>What am I going to do?</dialogue>
<character>CARRIE</character>
<dialogue>What does your gut tell you?</dialogue>
<character>SAMANTHA</character>
<dialogue>I know but -.</dialogue>
<parenthetical>( beat ; hard . )</parenthetical>
<dialogue>Smith stayed with me through chemo. If he could stay with me through that, I should be able to stay in this relationship for him.</dialogue>
<character>CARRIE</character>
<dialogue>Sweetie. You just compared your relationship to chemo.</dialogue>
<scene_description>Samantha looks at her , then Charlotte , then Miranda .</scene_description>
<character>CARRIE</character>
<parenthetical>( V.O. ; CONT 'D . )</parenthetical>
<dialogue>There we were. the three mirrors Samantha could n't avoid.</dialogue>
<character>CARRIE</character>
<parenthetical>( CONT 'D . )</parenthetical>
<dialogue>And Samantha?</dialogue>
<scene_description>Samantha looks . Carrie points . The dog is humping a pillow on Carrie 's furniture .</scene_description>
<character>CARRIE</character>
<parenthetical>( CONT 'D . )</parenthetical>
<dialogue>That pillow cost three hundred dollars.</dialogue>
<scene_description>Samantha is sitting - waiting . Smith enters .</scene_description>
<character>SMITH</character>
<dialogue>Hey - You're home! I thought you were staying the week.</dialogue>
<scene_description>He kisses her . She looks at him . Touches his face .</scene_description>
<character>SAMANTHA</character>
<dialogue>We need to talk.</dialogue>
<character>SMITH</character>
<dialogue>Awwww. man. I knew this was coming.</dialogue>
<character>SAMANTHA</character>
<dialogue>Yeah. This is n't working.</dialogue>
<parenthetical>( beat . )</parenthetical>
<dialogue>I've done my best. I've given it five years and fifteen pounds.</dialogue>
<character>SMITH</character>
<dialogue>What - You do n't love me any more?</dialogue>
<character>SAMANTHA</character>
<dialogue>Yes, I love you - ah, fuck it - I'm just gon na say the thing you're not supposed to say - I love you but I love me more. And I've been in a relationship with myself for forty - nine years and that's the one I need to work on.</dialogue>
<scene_description>She stands up and wraps her arms around him , whispers .</scene_description>
<character>SAMANTHA</character>
<parenthetical>( CONT 'D . )</parenthetical>
<dialogue>You'll find a wonderful woman who loves being in a relationship.</dialogue>
<character>SMITH</character>
<dialogue>What will you find?</dialogue>
<character>SAMANTHA</character>
<dialogue>I do n't know. But that's a risk I'm willing to take.</dialogue>
<scene_description>She notices the gardenia ring on her finger . She starts to take it off . Stops . Looks back up at him .</scene_description>
<character>SAMANTHA</character>
<parenthetical>( CONT 'D . )</parenthetical>
<dialogue>No. I'm keeping this. Every time I look down at it I want to think of you.</dialogue>
<scene_description>She kisses him on the lips . GENTLY . SOFTLY . Samantha sits in first class . She is crying . while eating a hot fudge sundae . A STEWARDESS leans down .</scene_description>
<character>STEWARDESS</character>
<dialogue>We're landing in new York. I'm gon na need to take that now.</dialogue>
<scene_description>Samantha nods , and finishes eating the hot fudge sundae as fast as she can . Scraping , almost licking the bowl .</scene_description>
<character>CARRIE</character>
<parenthetical>( V.O . )</parenthetical>
<dialogue>As someone returned to my life.</dialogue>
<scene_description>Carrie stands at the door with Louise .</scene_description>
<character>CARRIE</character>
<parenthetical>( V.O . )</parenthetical>
<dialogue>Someone left.</dialogue>
<character>LOUISE</character>
<dialogue>And I put all the unopened mail from your P.O. Box in the manila envelopes on the bottom shelf there.</dialogue>
<scene_description>She points to the shelf in the new bookcase . Carrie looks .</scene_description>
<character>LOUISE</character>
<parenthetical>( CONT 'D . )</parenthetical>
<dialogue>And please - please do not make a mess of CarrieBradshaw.com - it's my masterpiece.</dialogue>
<character>CARRIE</character>
<dialogue>What am I gon na do without you?</dialogue>
<character>LOUISE</character>
<dialogue>You'll find some other girl. but she wo n't have my style.</dialogue>
<character>CARRIE</character>
<dialogue>St. Louise, you brought me back to life.</dialogue>
<scene_description>Emotion floods Carrie ; she chokes up . So does Louise -</scene_description>
<character>LOUISE</character>
<dialogue>And you gave me Louise Vuitton.</dialogue>
<scene_description>Carrie laughs - they hug .</scene_description>
<character>LOUISE</character>
<parenthetical>( CONT 'D . )</parenthetical>
<dialogue>Serious. We need to stop cryin'.</dialogue>
<scene_description>Louise breaks the hug and takes her `` love '' key chain out of her purse - hands it to Carrie .</scene_description>
<character>LOUISE</character>
<parenthetical>( CONT 'D . )</parenthetical>
<dialogue>Your keys.</dialogue>
<character>CARRIE</character>
<dialogue>Wait - do n't forget your `` love.''</dialogue>
<character>LOUISE</character>
<dialogue>No, I found my love. I'm leaving that with you.</dialogue>
<scene_description>Carrie smiles . Louise starts out the door , turns back .</scene_description>
<character>LOUISE</character>
<parenthetical>( CONT 'D . )</parenthetical>
<dialogue>See you at my wedding.</dialogue>
<character>CARRIE</character>
<dialogue>I'll meet you in St. Louis.</dialogue>
<scene_description>Louise gives one last look , and leaves . Carrie closes the door . Looks down at `` love '' in her hand . Carrie is sitting at her desk . typing .</scene_description>
<character>CARRIE</character>
<parenthetical>( V.O . )</parenthetical>
<dialogue>Now, there were no more distractions.</dialogue>
<parenthetical>( beat . )</parenthetical>
<dialogue>And as I moved on.</dialogue>
<scene_description>Samantha walks past Lovro and Magda sitting on chairs out front , sipping ice tea , and up to Miranda 's lower east side apartment stoop with the dog on the leash .</scene_description>
<character>CARRIE</character>
<parenthetical>( V.O . )</parenthetical>
<dialogue>Samantha moved in.</dialogue>
<scene_description>The HOT TATTOOED LATIN GUY is still sitting on the stoop out front with the ferocious looking pitbull . She starts up the stairs . He checks her out . She turns .</scene_description>
<character>SAMANTHA</character>
<dialogue>Hi, I'm your new neighbor.</dialogue>
<character>HOT NEIGHBOR</character>
<dialogue>Diego.</dialogue>
<character>SAMANTHA</character>
<dialogue>Samantha.</dialogue>
<scene_description>They smile . There is a connection . Samantha looks down . The dog is humping the pitbull . Diego nods approval . A very , very pregnant Charlotte carrying shopping bags is being seated at a banquette by the HOSTESS -LRB- 26 -RRB- .</scene_description>
<character>HOSTESS</character>
<dialogue>When are you due?</dialogue>
<character>CHARLOTTE</character>
<dialogue>Next week.</dialogue>
<character>HOSTESS</character>
<dialogue>You look gorgeous.</dialogue>
<character>CHARLOTTE</character>
<parenthetical>( touched ; embarrassed . )</parenthetical>
<dialogue>Oh, thank - you.</dialogue>
<scene_description>The Hostess walks away as Charlotte settles in and looks around . Her eyes WIDEN . Big is sitting across the room at a table - alone . He has n't seen her . Charlotte starts to panic as the WAITRESS -LRB- 20 's -RRB- comes over .</scene_description>
<character>WAITRESS</character>
<dialogue>Hi, can I -</dialogue>
<character>CHARLOTTE</character>
<dialogue>No, I'm sorry - I ca n't stay - Help me - pull out the table. I ca n't -</dialogue>
<scene_description>Charlotte pulls herself up off the banquette . As she tries to slide out , her belly and shopping bags knock things off the table . Crash . DINERS looks . Big spots her - their eyes meet . She moves away as quickly as she can through the room . He gets up and follows after her . Charlotte exits the restaurant - visibly upset . Big is quickly on her heels .</scene_description>
<character>BIG</character>
<dialogue>Charlotte. Charlotte wait -</dialogue>
<scene_description>He catches up to her - and gently steps to her .</scene_description>
<character>BIG</character>
<parenthetical>( CONT 'D . )</parenthetical>
<dialogue>You're pregnant - do n't run.</dialogue>
<character>CHARLOTTE</character>
<dialogue>I do n't want to see you.</dialogue>
<scene_description>She starts crying and talking though the tears .</scene_description>
<character>CHARLOTTE</character>
<parenthetical>( CONT 'D . )</parenthetical>
<dialogue>I'm so mad at you. I was always on your side and then you did that to Carrie - No, no - I'm not going to cry - I'm not going to waste tears on you -.</dialogue>
<parenthetical>( strong ; stomping foot . )</parenthetical>
<dialogue>I curse the day you were born!</dialogue>
<scene_description>Charlotte 's eyes widen . She stops moving , entirely .</scene_description>
<character>CHARLOTTE</character>
<parenthetical>( CONT 'D . )</parenthetical>
<dialogue>I think my water just broke.</dialogue>
<parenthetical>( beat . )</parenthetical>
<dialogue>Oh my God - Taxi!</dialogue>
<character>BIG</character>
<dialogue>My car's right there. Get in my car.</dialogue>
<character>CHARLOTTE</character>
<dialogue>I do n't want to get in your car - I hate your car. Taxi!</dialogue>
<character>BIG</character>
<dialogue>Charlotte - we need to get you to the hospital - Please get in my car. It's right here and ready.</dialogue>
<scene_description>Charlotte finally nods . Big hurries her to the car . Carrie hurries down a corridor - looking for a room . She spots it , knocks and enters . Carrie enters . Harry stands there . Beaming .</scene_description>
<character>CARRIE</character>
<dialogue>Hi. Congratulations. A girl!</dialogue>
<character>HARRY</character>
<dialogue>It's my lot in life to be surrounded by beautiful women.</dialogue>
<scene_description>She kisses him and walks over to the bed where Charlotte is holding ROSE , a beautiful baby with thick dark hair .</scene_description>
<character>CARRIE</character>
<dialogue>Oh my God. She's gorgeous.</dialogue>
<character>CHARLOTTE</character>
<dialogue>Say hello to Rose.</dialogue>
<scene_description>Carrie kisses Charlotte on the head .</scene_description>
<character>CARRIE</character>
<dialogue>What a beautiful name.</dialogue>
<character>CHARLOTTE</character>
<dialogue>After Harry's `` Bubbie.''</dialogue>
<character>HARRY</character>
<dialogue>Now, we got a Lily and a Rose.</dialogue>
<scene_description>Carrie sits on the edge of the bed .</scene_description>
<character>CARRIE</character>
<dialogue>Well, I have to say you two are very cool customers - just making the `` baby's here'' call without all the `` I'm in labor'' drama.</dialogue>
<character>HARRY</character>
<dialogue>Oh - there was plenty of drama.</dialogue>
<character>CHARLOTTE</character>
<dialogue>My water broke in front of a restaurant.</dialogue>
<character>CARRIE</character>
<dialogue>Very dramatic.</dialogue>
<character>HARRY</character>
<dialogue>Wait - she's not done.</dialogue>
<character>CHARLOTTE</character>
<dialogue>It broke while I was talking to Big.</dialogue>
<character>CARRIE</character>
<dialogue>What?</dialogue>
<character>HARRY</character>
<dialogue>See. Drama.</dialogue>
<character>CHARLOTTE</character>
<dialogue>I bumped into him and I got so upset I started crying and then - my water broke.</dialogue>
<character>HARRY</character>
<dialogue>He brought her to the hospital. Stayed until the baby was born.</dialogue>
<character>CHARLOTTE</character>
<dialogue>I think he was hoping to see you.</dialogue>
<scene_description>Silence . Carrie is having a hard time with this .</scene_description>
<character>CARRIE</character>
<dialogue>Well - today is not about him. It's about beautiful baby Rose.</dialogue>
<parenthetical>( beat ; forced up . )</parenthetical>
<dialogue>So - we know she has Charlotte's hair - what else do we know?</dialogue>
<scene_description>Harry and Charlotte give each other a sad glance . Carrie walks out of Charlotte 's room with Harry .</scene_description>
<character>CARRIE</character>
<dialogue>She's a doll. Mazel tov!</dialogue>
<scene_description>She kisses Harry on the cheek and starts away .</scene_description>
<character>HARRY</character>
<dialogue>He asked me to ask you to call him.</dialogue>
<scene_description>Carrie stops . Turns around . Looks at him .</scene_description>
<character>HARRY</character>
<parenthetical>( CONT 'D . )</parenthetical>
<dialogue>I know! It's none of my business. But I felt bad for the poor schmuck hanging around the hospital waiting room hoping to see you. I swear every time he heard someone in heels coming down the hall - his heart stopped.</dialogue>
<character>CARRIE</character>
<dialogue>Harry - it's so much more complicated than you can imagine.</dialogue>
<character>HARRY</character>
<dialogue>I know it is - and you have every right to never call him - but I'm just a big pile of love today - and I feel bad for the guy. He said he's been writing you - but you never responded.</dialogue>
<character>CARRIE</character>
<parenthetical>( beat ; then . )</parenthetical>
<dialogue>He's never written me.</dialogue>
<character>HARRY</character>
<dialogue>He said he wrote because he did n't have your phone number.</dialogue>
<character>CARRIE</character>
<dialogue>No. He's never written me. Ever.</dialogue>
<character>HARRY</character>
<dialogue>Then, why would he say that he had?</dialogue>
<scene_description>Carrie looks at Harry . Lost . Confused . Carrie enters her apartment . She glances over at her bookcase - Remembers . JUMP CUT TO : Carrie opens the bookcase drawer and takes out a Manila envelope marked : P.O. Box . JUMP CUT TO : Carrie dumps the contents of the envelopes on the desk . JUMP CUT TO : Carrie quickly sorts through the mail - looking - looking for something . A letter - something . Nothing from him . She leans back in her chair - more confused . Her eyes drift up to her computer . She wonders if - JUMP CUT TO : Carrie is logging onto CarrieBradshaw.com . She types in PASSWORD . JUMP CUT TO : CarrieBradshaw.com 's `` welcome page . '' She clicks on EMAIL . JUMP CUT TO : Carrie scans through emails - none are from Big . Frustrated she logs off . Carrie is still at her desk , lost in thought .</scene_description>
<character>CARRIE</character>
<parenthetical>( VO . )</parenthetical>
<dialogue>Two hours, two manila envelopes and countless emails later, I was just about to give up on the Big riddle when -</dialogue>
<scene_description>She looks back at her computer screen and notices : `` CB - assistant . '' Carrie sits up . Clicks on it .</scene_description>
<character>CARRIE</character>
<parenthetical>( V.O. ; CONT 'D . )</parenthetical>
<dialogue>I had told Louise to put Big in a place where I would never have to hear from him again.</dialogue>
<scene_description>She types in her password . Nothing . Picks up her phone . Dials a number .</scene_description>
<character>CARRIE</character>
<parenthetical>( CONT 'D . )</parenthetical>
<dialogue>Hey, Louise - it's me. What's the password to get into your assistant file? Call me.</dialogue>
<scene_description>She hangs up and places the phone on a pile of mail - which causes the mail to fall over onto the floor .</scene_description>
<character>CARRIE</character>
<parenthetical>( CONT 'D . )</parenthetical>
<dialogue>Shit.</dialogue>
<scene_description>Carrie reaches down to pick - up the mail - she notices the `` LOVE '' key chain has fallen as well . She picks it up and looks at it , has a hunch .</scene_description>
<character>CARRIE</character>
<parenthetical>( CONT 'D . )</parenthetical>
<dialogue>Oh my God.</dialogue>
<scene_description>JUMP CUT TO : Carrie types the password : `` L - O - V - E. '' Yes ! The file opens - her eyes widen . There on the screen are many , many , many emails - all from JJP@JJP.com .</scene_description>
<character>CARRIE</character>
<parenthetical>( V.O. ; CONT 'D . )</parenthetical>
<dialogue>As soon as I typed in `` love'' - there he was.</dialogue>
<scene_description>She clicks on the first e - mail . It opens : It 's the love letter from Beethoven , retyped .</scene_description>
<character>CARRIE</character>
<parenthetical>( V.O. ; CONT 'D . )</parenthetical>
<dialogue>And because Big still did n't have the words. he retyped a love letter from Beethoven.</dialogue>
<scene_description>JUMP CUT TO : New Email : A love letter from Lord Byron .</scene_description>
<character>CARRIE</character>
<parenthetical>( V.O. ; CONT 'D . )</parenthetical>
<dialogue>And Lord Byron.</dialogue>
<scene_description>JUMP CUT TO : New Email : A love letter from James Joyce .</scene_description>
<character>CARRIE</character>
<parenthetical>( V.O. ; CONT 'D . )</parenthetical>
<dialogue>And James Joyce.</dialogue>
<scene_description>JUMP CUT TO : New Email : A Love letter from Voltaire .</scene_description>
<character>CARRIE</character>
<parenthetical>( V.O. ; CONT 'D . )</parenthetical>
<dialogue>And Voltaire.</dialogue>
<scene_description>JUMP CUT TO : Carrie sits in the chair . Breathless . Overwhelmed .</scene_description>
<character>CARRIE</character>
<parenthetical>( V.O. ; CONT 'D . )</parenthetical>
<dialogue>There they were. `` The Love Letters of Great Men - Volume One.'' Plus one more. Written by John James Preston.</dialogue>
<scene_description>New email - It reads : `` I know I screwed it up - but I will love you forever . '' Carrie impulsively picks up the phone - starts to dial .</scene_description>
<character>CARRIE</character>
<parenthetical>( V.O. ; CONT 'D . )</parenthetical>
<dialogue>I wanted to call him - but our love. Carrie and Big : volumes one, two, and three. stopped me.</dialogue>
<scene_description>She puts the phone down and is about to `` delete '' the e mail - suddenly ; the phone rings .</scene_description>
<character>CARRIE</character>
<parenthetical>( CONT 'D . )</parenthetical>
<dialogue>Hello.</dialogue>
<character>LOUISE</character>
<parenthetical>( O.C . )</parenthetical>
<dialogue>I did n't hear my phone.</dialogue>
<scene_description>Intercut with Louise , standing in a wedding gown . Her MOTHER -LRB- 45 -RRB- , GRANDMOTHER -LRB- 65 -RRB- , and SISTERS -LRB- 20 15 , 8 -RRB- sit watching .</scene_description>
<character>LOUISE</character>
<dialogue>We are shopping for my wedding gown.</dialogue>
<scene_description>ANGELA , her youngest sister calls out .</scene_description>
<character>ANGELA</character>
<dialogue>That one makes you look weird.</dialogue>
<character>LOUISE</character>
<parenthetical>( calls over . )</parenthetical>
<dialogue>Momma - can you please - This is a work call.</dialogue>
<scene_description>The Mother motions for Angela to sit down . She does .</scene_description>
<character>CARRIE</character>
<dialogue>No, it's okay I figured it out.</dialogue>
<character>LOUISE</character>
<dialogue>Well, I was going to call you anyway - today is the final day on the Fifth Avenue apartment. You have till six before they change the locks.</dialogue>
<character>CARRIE</character>
<dialogue>I do n't need to go over there.</dialogue>
<character>LOUISE</character>
<dialogue>And do you NOT want those never - worn shoes?</dialogue>
<character>CARRIE</character>
<dialogue>Oh - I completely forgot about -</dialogue>
<character>LOUISE</character>
<dialogue>` Cause if you do n't - send them on to me. I'll squeeze my feet into them.</dialogue>
<character>CARRIE</character>
<dialogue>It's already five o'clock.</dialogue>
<character>LOUISE</character>
<dialogue>Hello? There are never been worn four hundred dollar shoes!</dialogue>
<character>CARRIE</character>
<dialogue>Five twenty - five.</dialogue>
<parenthetical>( beat ; hears herself . )</parenthetical>
<dialogue>Bye.</dialogue>
<scene_description>Carrie drops the phone and jumps up . Carrie runs down the stairs . she spots a passing CAB .</scene_description>
<character>CARRIE</character>
<dialogue>Taxi!</dialogue>
<scene_description>It SCREECHES to a halt . She runs to the cab . Carrie steps into the elevator . She presses `` PH , '' steps back . The doors close . Key in the lock - Carrie enters . She looks around .</scene_description>
<character>CARRIE</character>
<parenthetical>( V.O . )</parenthetical>
<dialogue>The light in our pre - war apartment looked completely different post - war.</dialogue>
</scene>
<scene>
<stage_direction>INT. PENTHOUSE APARTMENT/BEDROOM -- MOMENTS LATER -- SPRING</stage_direction>
<scene_description>Carrie walks into the bedroom and over to the closet . She pushes open the other double door . Revealing - Mr. Big - standing there holding the Manolos in his hands . He looks up - surprised by her .</scene_description>
<character>BIG</character>
<dialogue>I was going to get these to you. I did n't want it to be a total loss.</dialogue>
<character>CARRIE</character>
<parenthetical>( V.O . )</parenthetical>
<dialogue>It was n't logic - it was love.</dialogue>
<scene_description>She walks into the closet and over to him . She throws her arms around him . He drops the shoes . They kiss . It 's passionate . Very - very passionate .</scene_description>
</scene>
<scene>
<stage_direction>INT. PENTHOUSE APARTMENT/WALK-IN CLOSET -- LATER -- SPRING</stage_direction>
<scene_description>Carrie and Big are nestled up next to each other on the carpeted floor of the empty walk - in closet . His suit jacket is off . Her shoes are off .</scene_description>
<character>CARRIE</character>
<dialogue>Why did we ever decide to get married?</dialogue>
<character>BIG</character>
<parenthetical>( beat ; then . )</parenthetical>
<dialogue>I guess we were afraid it meant something if we did n't.</dialogue>
<scene_description>She looks at him and nods . It 's true .</scene_description>
<character>BIG</character>
<parenthetical>( CONT 'D . )</parenthetical>
<dialogue>I'm sorry to have done that to you.</dialogue>
<scene_description>Silence . She touches his lips .</scene_description>
<character>CARRIE</character>
<dialogue>I'm sorry to have done that to you.</dialogue>
<parenthetical>( beat . )</parenthetical>
<dialogue>And you know the funny part?</dialogue>
<character>BIG</character>
<dialogue>Is there a funny part?</dialogue>
<character>CARRIE</character>
<dialogue>We were perfectly happy before we decided to live happily ever after.</dialogue>
<character>BIG</character>
<dialogue>Yep. The jokes on us.</dialogue>
<scene_description>She nods . she looks around .</scene_description>
<character>CARRIE</character>
<dialogue>Good closet.</dialogue>
<character>BIG</character>
<dialogue>Thanks.</dialogue>
<character>CARRIE</character>
<dialogue>Comfortable. Is this what you had in mind when you installed the carpet?</dialogue>
<character>BIG</character>
<dialogue>I'd like to think I was that smooth.</dialogue>
<character>CARRIE</character>
<dialogue>We better get up before the new owner bust in on us.</dialogue>
<scene_description>They start to get up . Carrie rises first . He starts to get up , first - sitting on his side .</scene_description>
<character>BIG</character>
<dialogue>And the way we decided to get married - All business. No romance. That's not the way you propose to someone.</dialogue>
<scene_description>He moves further up - onto one knee - where he stops .</scene_description>
<character>BIG</character>
<parenthetical>( CONT 'D . )</parenthetical>
<dialogue>This is.</dialogue>
<scene_description>She looks down at him - Is this happening ? He holds out his hand . She places her hand in his .</scene_description>
<character>BIG</character>
<parenthetical>( CONT 'D . )</parenthetical>
<dialogue>Carrie Bradshaw - love of my life - will you marry me?</dialogue>
<scene_description>It is everything Carrie Bradshaw had convinced herself would never happen . Could never happen . And here it is . She nods . Speechless . Overcome . He smiles .</scene_description>
<character>BIG</character>
<parenthetical>( CONT 'D . )</parenthetical>
<dialogue>See, this is why there's a diamond. You need to do something to close the deal.</dialogue>
<scene_description>She laughs . He notices her never - worn Manolo on the floor . He picks it up . Holds it out to her . She lifts her foot and places it in the shoe . Cinderella style . Carrie stands with Big in front of a JUDGE . She is wearing the simple white suit and her never - worn Manolos from the closet .</scene_description>
<character>CARRIE</character>
<parenthetical>( V.O . )</parenthetical>
<dialogue>And in the end. Carrie Bradshaw married John James Preston in a label - less dress.</dialogue>
<scene_description>Big Smiles . She smiles . Both calm . Sure .</scene_description>
<character>JUDGE</character>
<dialogue>By the power vested in me, by the state of New York, I now pronounce you husband and wife. You may kiss the bride.</dialogue>
<scene_description>Big and Carrie kiss . Then , he whispers into her ear .</scene_description>
<character>BIG</character>
<dialogue>Ever thine. Ever mine. Ever ours.</dialogue>
<scene_description>Carrie and Big walk through the courthouse lobby toward the front door holding hands .</scene_description>
<character>BIG</character>
<dialogue>You okay that it was just us?</dialogue>
<character>CARRIE</character>
<dialogue>Perfect. You and me - like I said.</dialogue>
<character>BIG</character>
<dialogue>Still. Would have been nice if you had the girls here.</dialogue>
<scene_description>He holds the door open for her as they walk outside . Carrie and Big walk out of the courthouse into the sun .</scene_description>
<character>BIG</character>
<dialogue>Which is why I called them.</dialogue>
<scene_description>Carrie looks . Miranda , Charlotte , and a MORE SLENDER Samantha are standing there . They SCREAM and throw rice .</scene_description>
<character>MIRANDA/SAMANTHA</character>
<dialogue>Congratulations!</dialogue>
<character>CHARLOTTE</character>
<dialogue>Mazel tov!</dialogue>
<scene_description>As the rice hits . Carrie screams and Big laughs . A GUARD hurries over to them . Carrie is spitting out rice .</scene_description>
<character>GUARD</character>
<dialogue>Excuse me - excuse me! You're not allowed to throw rice anymore.</dialogue>
<character>SAMANTHA</character>
<dialogue>Honey, get over it - It's New York!</dialogue>
<scene_description>She winks at the guard . He shrugs and walks away . Big , Carrie , Miranda , Steve , Brady , Charlotte , Harry , Lily , rose , Stanford , Samantha are casually gathered around a couple of tables that have been pushed together . A WAITRESS comes over balancing hot plates .</scene_description>
<character>WAITRESS</character>
<dialogue>Who had the ham and eggs?</dialogue>
<scene_description>Big raises his arm . The waitress hands the plate down . Carrie intercepts it and places it in front of Big .</scene_description>
<character>CARRIE</character>
<parenthetical>( V.O . )</parenthetical>
<dialogue>It was n't a fancy designer reception either. Just food and friends.</dialogue>
<scene_description>The Waitress hands out the other breakfasts . People LAUGH . Samantha feeds bacon to the dog - who is wearing a tiny bridal veil on his head . Carrie 's books are displayed on a BOOK KIOSK . Carrie stands in front of it READING to a crowd from the galleys of her new book . She is wearing READING GLASSES .</scene_description>
<character>CARRIE</character>
<dialogue>Maybe some labels are best left in the closet.</dialogue>
<scene_description>Bustling . Carrie , Miranda , Charlotte and Samantha - back to her fighting weight - walk down the busy street dressed for a night on the town . They laugh as they go - their designer purses swinging .</scene_description>
<character>CARRIE</character>
<parenthetical>( V.O . )</parenthetical>
<dialogue>Maybe when we put a label on people. bride, groom, husband, wife, fat, thin, married, single. we forget to look past the label and see the person.</dialogue>
<scene_description>They arrive at the club entrance . A line of PEOPLE wait to be let inside . The DOORMAN -LRB- 30 's -RRB- spots Carrie , lifts the red rope and lets the girls in - closing it after them . The four girls sit at a table drinking `` Cosmopolitans . ''</scene_description>
<character>CHARLOTTE</character>
<dialogue>Hmmm. This is delicious.</dialogue>
<character>MIRANDA</character>
<dialogue>Why did we ever stop drinking these?</dialogue>
<character>CARRIE</character>
<dialogue>Because everyone else started.</dialogue>
<character>SAMANTHA</character>
<parenthetical>( sips ; then . )</parenthetical>
<dialogue>Well, that is an oldie but goodie.</dialogue>
<character>CARRIE</character>
<dialogue>And speaking of an oldie but goodie.</dialogue>
<scene_description>A WAITER brings birthday cake to the table . The number : `` 50 '' stands proud and tall among the glowing candles . He places it down in front of a proud Samantha .</scene_description>
<character>CARRIE</character>
<parenthetical>( CONT 'D . )</parenthetical>
<dialogue>Wait - wait - a toast.</dialogue>
<scene_description>The girls lift their glasses to Samantha .</scene_description>
<character>CARRIE</character>
<parenthetical>( CONT 'D . )</parenthetical>
<dialogue>To Samantha. fifty and fabulous!</dialogue>
<scene_description>Samantha smiles , touched - then blows out her candles .</scene_description>
<character>CARRIE</character>
<parenthetical>( CONT 'D . )</parenthetical>
<dialogue>To us. and the next fifty!</dialogue>
<scene_description>Miranda , Charlotte and Samantha raise their glasses .</scene_description>
<character>ALL</character>
<dialogue>To the next fifty.</dialogue>
<scene_description>They sip and look at one another .</scene_description>
<character>CARRIE</character>
<parenthetical>( V.O . )</parenthetical>
<dialogue>And there, in the same city where they met as girls, four New York women entered the next phase of their lives. dressed head to toe in love.</dialogue>
<scene_description>Samantha licks some icing . Charlotte cuts the cake . Miranda helps . Carrie smiles and sips .</scene_description>
<character>CARRIE</character>
<parenthetical>( V.O. ; CONT 'D . )</parenthetical>
<dialogue>And that's the one label - that never goes out of style.</dialogue>
<scene_description>From outside we catch just a glimpse of Carrie and the girls at their table inside the busy club . The CAMERA starts to move away - passing the line of PEOPLE waiting to get in . At the front of the line four TWENTY - SOMETHING WOMEN stand waiting for the red rope to be lifted . As the CAMERA moves past them and UP - the Doorman lifts the red rope and the twenty - something women SQUEAL with excitement and anticipation as they hurry inside . The CAMERA continues UP and UP and over the busy and exciting city . FADE TO BLACK .</scene_description>
</scene>
</script>
|
EXT. 5TH AVENUE -- NEW YORK CITY -- DAY -- SUMMER
Glistening city buildings reflect onto the WINDOW of an upscale clothing boutique . In the window - a MANNEQUIN is wearing - the best of everything . A PRETTY TWENTY - SOMETHING girl looks in at the display : dreaming of the day .
CARRIE
( V.O . )
Year after year, twenty - something women come to New York City in search of the two `` L's'' : labels and love.
Four TWENTY - SOMETHING WOMEN walk away from us - arms linked LAUGHING - They make their way down the busy street - shopping bags and designer purses swinging . The young women reveal : CARRIE BRADSHAW -LRB- 41 -RRB- and fabulous - walking towards us . She watches them as they pass , a SMILE grows on her face .
CARRIE
( V.O . )
Twenty years ago. I was one of them.
She walks along , her shopping bag - swinging . Carrie on step ladder , barefoot . Her finger moves along a series of DESIGNER shoe boxes .
CARRIE
( V.O . )
Having gotten the knack for labels early. I concentrated on my search for love.
Summer night . Couples everywhere . Carrie walks along .
CARRIE
( V.O . )
Turns out, a `` knock - off'' is not as easy to spot when comes to love.
She passes a twenty - something girl and guy huddled very close together . Suddenly , the girl SLAPS HIM across the face .
CARRIE
( V.O. ; CONT 'D . )
Until it is.
CARRIE reacts , and trots along . CARRIE and preppy perfect CHARLOTTE walk along , talking .
CARRIE
( V.O . )
That is why you need help to spot them.
JUMP CUT TO : Carrie , Charlotte and MIRANDA walk along talking .
CARRIE
( CONT 'D . )
Lots of help.
JUMP CUT TO : Carrie , Charlotte , Miranda and SAMANTHA walk along ; LAUGHING - their shopping bags and designer purses swinging . The front of Carrie 's building . She is typing in her window . Carrie at her desk - typing . CLOSE ON the computer screen - Written on it : `` Charlotte , Miranda and Samantha . ''
CARRIE
( V.O . )
Year after year, my single girlfriends were my salvation. And, as it turns out.
CLOSE ON : A colorful CHICK LIT book cover : `` A Single Life '' by Carrie Bradshaw .
CARRIE
( V.O . )
My meal ticket.
CARRIE - standing on her bed placing it next to her TWO other books : `` Sex and The City '' and `` Menhattan '' A framed photo of four girls -LRB- circa 1999 -RRB- is also on the shelf . She picks it up - Touches it sweetly .
CARRIE
( V.O. ; CONT 'D . )
We still are those four single girls.
CARRIE in a sexy , summer dress , spots someone - waves -
CARRIE
( V.O . )
Even though, technically. we're not.
She hurries across the street to meet that SOMEONE . MIRANDA -LRB- 41 -RRB- and BRADY -LRB- 5 -RRB- are filling an inflatable pool with water from a hose . As STEVE approaches with Popsicles , they squirt him with the hose . He grabs them ; laughing .
CARRIE
( V.O . )
One of us is married.
Charlotte -LRB- 40 -RRB- and HARRY and their beautiful Asian daughter LILY -LRB- 3 -RRB- go around . Lily giggles , they kvell .
CARRIE
( V.O . )
One of us. married, divorced and re - married.
The deck of fabulous Malibu beachouse . Samantha -LRB- 49 -RRB- sits near the pool wearing a white bikini and huge white sunglasses making deals on the phone as SMITH lays nearby in a bathing suit - reading a script .
CARRIE
( V.O . )
One of us. relocated.
Carrie walks over and into the arms of that SOMEONE - it 's MR. BIG - waiting for her in front of an apartment building .
CARRIE
( V.O . )
And. one of us stayed exactly where she was.
They kiss . A good kiss .
CARRIE
( V.O. ; CONT 'D . )
In love.
A kiss worth waiting four years to see . They turn and start into the classic apartment building . The doorman tips his hat and opens the door . Carrie and Big walk through the beautiful lobby and over to the elevator . holding hands .
BIG
I got a good feeling about this one, kid.
CARRIE
I've always loved this block.
CARRIE
( V.O. ; CONT 'D . )
Finding the perfect apartment in New York City is like finding the perfect partner. It can take years.
They push the elevator button . Doors open . They step on .
BIG
How many does this make?
CARRIE
This is thirty - three.
BIG
Lucky thirty - three!
They laugh a little as the doors close on the elevator .
INT. FIFTH AVE BUILDING - BAD APARTMENT/HALL -- MOMENTS LATER
A door is opened up by CAROL -LRB- 55 -RRB- their real estate agent .
CAROL
The worst. I just left you a message.
Carrie and Big look in . The apartment is dark , claustrophobic - awful . A male BUILDING AGENT -LRB- 40 -RRB- stands here . The smiles leave Carrie and Big 's faces .
CARRIE
( to Big . )
Thirty - four. Lucky thirty - four?
Big looks over at her . She shrugs . The Building Agent holds the elevator doors open for Carrie , Big and Carol as they get on .
CARRIE
If anything else opens up let us know. We're very interested in this building.
AGENT
I do have another apartment that's not even on the market yet. Care to take a look?
CARRIE/BIG
Sure.
AGENT
It's more than you were looking to pay.
CAROL
How much more?
AGENT
More.
The Agent reaches over and presses the `` PH '' button on the control panel . Carrie and Big react . A gorgeous pre - war penthouse apartment . Empty except for the beautiful light . Old - world New York City style . Elevator doors open into the penthouse foyer . Carrie and Big step in .
BIG
Oh, so this is where they keep the light.
CARRIE
Oh my God. I've died and gone to real estate heaven. Look at this place.
She swirls around to Big - very grand dame ; with accent .
CARRIE
( CONT 'D . )
Hellooo, I live here.
Carrie starts giggling . Big looks over to the agents .
BIG
Must be the altitude.
Big smiles . Carrie laughs as the Agent walks on .
AGENT
And across the rooftop terrace -
CARRIE
What - Nirvana?
AGENT
Your wife has quite a sense of humor.
CAROL
( Cool/quick . )
They're not married.
CARRIE
No, he's my boyfriend.
AGENT
This way.
The agent and Carol start out across the terrace . Big and Carrie follow lagging a little behind .
BIG
Are n't I a little old to be introduced as your boyfriend?
CARRIE
Point taken. From now on. you'll be my man friend.
BIG
Sounds like a dog.
CARRIE
Well, if the shoe fits.
She gives him a look . He swats her ass , gently as they go . Carrie and Big lead the way into the bedroom . Big windows , high ceilings . Beautiful light as well .
AGENT
And this is the master bedroom.
CARRIE
Hideous. Hate it. Hurts my eyes.
Big laughs , Carrie walks around taking it in .
CARRIE
( CONT 'D . )
How is this place even available?
AGENT
Nasty divorce.
CARRIE
If you live here what is there to fight about?
Carrie opens the closet door . It is very small .
CARRIE
( CONT 'D . )
This is the master closet? No.
AGENT
Yes. Small for a room this size. I know.
CARRIE
Hmmm. Hmmm. Now, I understand the divorce.
BIG
I can build you a better closet.
Carrie looks at him ; aghast . He smiles .
BIG
( CONT 'D . )
Welcome home, baby.
CARRIE
Can we afford this?
BIG
I got it.
Carrie screams with joy and shock . He laughs , thrilled . Carrie , Miranda and Charlotte walk down the street .
CARRIE
`` I got it.'' Just like that. `` I got it'' - like he was picking up the check for coffee or something.
CHARLOTTE
It sounds perfect.
CARRIE
Except for the closet which Big says he can redo - also he says the kitchen needs work but I do n't know about that ` cause I keep sweaters in my stove.
Carrie and Charlotte laugh .
MIRANDA
So, he bought it - and you're going to live there with him?
CARRIE
Yes, together. That's right.
MIRANDA
But he'll own it. So. You are keeping your own place, right?
CARRIE
Oh, Miranda, please, I have n't figured out all the details yet, but I'm a smart girl and I'm sure I'll figure out something I'm comfortable with.
MIRANDA
I just want to make sure you're being smart here -
CARRIE
And I love you for it - but for now ca n't you stop worrying for me and just go ahead and feel what I want you to feel. Jealous.
Miranda smiles . Carrie puts her arm around her .
CARRIE
( CONT 'D . )
Jealous of me living in this gorgeous penthouse in Manhattan.
MIRANDA
Fine. I'm jealous. You're in real estate heaven and I'm in Brooklyn.
CHARLOTTE
New York magazine said Brooklyn is the new Manhattan.
MIRANDA
Whoever wrote that - lives in Brooklyn.
CARRIE
There she is. Hey Hollywood!
Samantha is standing out in front of Christies . She waves to them - as she finishes a call .
SAMANTHA
( on phone . )
Samantha Jones. Smith Jerrod's manager - I'm in New York ` till Monday.
She hangs up ; as they reach her .
CARRIE
( CONT 'D . )
How was your flight?
SAMANTHA
Fabulous. Let's go in - I am so excited!
INT. CHRISTIE'S AUCTION HOUSE/LOBBY -- DAY -- MOMENTS LATER
A lobby bustling with NEW YORK WOMEN . All types . Carrie , Samantha , Charlotte and Miranda make their way through them .
CARRIE
( V.O . )
It was a rare occasion that brought all types of women together. The socialites, the trendies the yuppies, the yentas.
The girls gently move past by an elderly YENTA , who reacts .
YENTA
Why the pushing?
Carrie and the girls enter a room filled with dramatically lit jewelry cases that display amazing jewelry . On the walls around the gallery are large photos of a BEAUTIFUL RAVEN HAIRED WOMAN -LRB- 45 -RRB- . She is captured in candid poses `` out and about '' New York city at various social events wearing the jewelry on display .
CARRIE
( V.O. ; CONT 'D . )
Blair Elkenn was a waitress turned model turned actress turned billionaire's girlfriend who came home one night to find herself unceremoniously turned out on the street.
Samantha , Carrie and Charlotte page through the catalogues as they walk . Miranda types on her Blackberry .
CARRIE
( V.O. ; CONT 'D . )
And now she was getting the ultimate break - up revenge. An embarrassing and very public auction of all the jewelry he had given her when they were happy.
The girls stop . Floating in a case at their eye level is a unique , `` two finger '' FLOWER RING made out of diamonds .
SAMANTHA
There it is. My baby.
CARRIE/BIG
And she's a beauty.
SAMANTHA
When I saw this in the catalogue I said to Smith : This flower ring is the essence of me. One of a kind, filled with fire.
CARRIE
And a little too much.
SAMANTHA
Exactly. Come on. Let's go spend some of my hard - earned Hollywood money.
They make their way to the auction room .
MIRANDA
Hey - what's coming up on Smith's series? Is he going to sleep with that new blonde neurosurgeon?
SAMANTHA
He sleeps with every hot woman doctor in that hospital.
MIRANDA
Great. Ca n't wait.
CHARLOTTE
Do n't you ever get weirded out by seeing Smith in bed with all those other women?
SAMANTHA
No, I think it's hot. Sometimes, when I'm alone, I masturbate right along with them.
CARRIE
And people say the golden age of television is over.
SAMANTHA
Besides, it's fake sex. When they're doing it - no one's actually turned on.
MIRANDA
Kinda like Steve and I.
Miranda laughs . Everyone looks .
MIRANDA
( CONT 'D . )
I'm kidding.
( Beat ; then . )
But come one - it's been seven years. He does that, I do this. It's not like a new plot twist is going to turn up.
A DISTINGUISHED WOMAN AUCTIONEER is at a podium .
AUCTIONEER
Next item. The flower ring.
Samantha sits up , ready . An electric buzz moves through the crowd .
CARRIE
( V.O . )
If Schadenfreude is the word for feeling pleasure at someone else misfortune - This was `` jewelryfreude.''
AUCTIONEER
Let's start the bidding at ten thousand.
Samantha raises her number . The Auctioneer nods .
AUCTIONEER
( CONT 'D . )
Thank you madame. Do I hear fifteen?
A WOMAN IN A BUSINESS SUIT -LRB- 40 -RRB- on a phone , raises her number . Samantha looks over at her .
SAMANTHA
Bitch.
CARRIE
And the gloves are off.
AUCTIONEER
Do I hear twenty?
Samantha raises her number .
AUCTIONEER
( CONT 'D . )
Twenty. Do I hear twenty - five?
The Woman raises her number .
AUCTIONEER
( CONT 'D . )
Twenty - five. Thirty?
Samantha raises her number . Carrie 's eyes widen .
AUCTIONEER
( CONT 'D . )
Thirty - five?
The Woman is talking with someone on the phone .
MIRANDA
She's bidding for someone on the phone.
CHARLOTTE
That's not fair.
The Woman raises her hand . Charlotte gives her a look .
AUCTIONEER
Thirty - five. Forty?
SAMANTHA
I deserve this. I work hard.
AUCTIONEER
Do I hear forty?
Samantha raises her hand .
AUCTIONEER
( CONT 'D . )
Do I hear forty fi -
The Woman quickly raises her hand . Auctioneer nods .
AUCTIONEER
( CONT 'D . )
Fifty?
SAMANTHA
Sex with only one man for I do n't know how long.
AUCTIONEER
Do I hear fifty thousand?
SAMANTHA
( Beat ; loud . )
Fifty fucking thousand!
A LAUGH ripples through the room . Samantha glares at the rival woman , almost daring her . Carrie looks afraid .
AUCTIONEER
Fifty - five?
The Woman raises her hand . Samantha reacts disappointed . The Auctioneer looks at Samantha .
AUCTIONEER
( CONT 'D . )
Sixty? Sixty to our colorful bidder?
SAMANTHA
( to Carrie . )
I draw the line at fifty.
Samantha shakes her head no . Carrie rubs her arm . Carrie , Samantha , Miranda and Charlotte are primping in front of the mirror .
CHARLOTTE
I thought this auction would be more fun. but it's kinda sad.
A BABY VOICED WOMAN -LRB- 45 -RRB- next to Charlotte overhears .
BABY VOICED WOMAN
Is n't it?
They look over at her .
BABY VOICED WOMAN
( CONT 'D . )
I thought it was just sad for me ` cause I know her. But it's really sad, huh? And it's funny cause they were so happy.
SAMANTHA
Till they were n't
BABY VOICED WOMAN
I know, right? We all told her to get married - but she did n't want to push him. He'd been married three other times. So, she let it ride and then she came home one night and he had locked her out. She did n't even have anywhere to live. After ten years. Such a shame. She was a smart girl till she fell in love.
Carrie catches Miranda 's eye in the mirror , looks away . Big takes a bright red lobster out of a pot of hot water with tongs . He places it next to another cooked lobster . He walks to the cooking island where Carrie sits ; sipping wine .
BIG
The creatures are ready. Just gon na sit there?
CARRIE
I'm not sitting, I'm thinking.
BIG
Here. Husk and think.
He winks - puts two ears of corn in front of her , then starts chopping tomatoes .
CARRIE
I'm thinking I'm going to sell my apartment and put the money towards heaven on Fifth.
BIG
Why? You love your place.
CARRIE
I know but -
BIG
But what?
CARRIE
We're together ever night - so I'm basically paying a mortgage on a glorified closet.
BIG
You write there. It's your office.
CARRIE
There's plenty of room at the new place and - besides. I want to make us - a life there. I want it to be ours.
BIG
It is ours. I bought it for us.
CARRIE
And that's so amazing - but you bought it, so it's really your place. And - if anything were to happen.
BIG
What's going to happen?
CARRIE
I have to be smart here. I mean, we're not married and I'd have no legal rights to. this home that I built. with you.
Silence . He thinks . Chops . She husks .
BIG
Did you want to get married?
CARRIE
I did n't think it was an option.
BIG
Well, Mr. Bradshaw, what if it was an option?
She hits him with a husk . He smiles .
CARRIE
Well, people are always assuming we are.
BIG
And you know what happens when people assume. They make an ass out of who?
CARRIE
You and me.
He smiles . She smiles . Chop . Chop .
BIG
What do you think, kid?
CARRIE
Why - Do you want to get married?
BIG
Well, I would n't mind be married to you. Would you mind being married to me?
CARRIE
No, if that's what you want. Is that what you want?
BIG
I want you. So. Okay.
CARRIE
Okay. Really? We're getting married.
BIG
We're getting married.
( Beat . )
Should we get you a diamond?
CARRIE
No, please, do n't get me a diamond.
( Beat ; then . )
Get me a really big closet.
BIG
Deal.
He puts out his hand . She takes it and they shake .
BIG
( CONT 'D . )
But. You got ta do better on that corn. Look at all the stuff left on there.
She looks down at her corn , he 's right . She nods . Crowded ; serious lunch crowd . Carrie sits across from Charlotte and Miranda . Miranda is in a work suit .
CARRIE
So, the other night, Big and I were talking about, you know, moving in together and our future.
Charlotte 's eyes are getting wider and wider .
CARRIE
( CONT 'D . )
And about what makes sense as we move forward. And, well. we decided to get married.
Charlottes SCREAMS at the top of her lungs . Carrie and Miranda and the ENTIRE RESTAURANT REACT .
MIRANDA
and I'm deaf.
CARRIE
Everyone's looking
Charlotte looks around at the DISGRUNTLED FACES . She half - stands and address the DINERS looking at her .
CHARLOTTE
Sorry! I'm sorry. but my friend here, just got engaged and she's been going out with the man for ten years.
The DINERS bursts into APPLAUSE . Carrie slumps in her chair , pulls up her sweater collar , turns to Miranda .
CARRIE
I am mortified.
MIRANDA
There is literally a ringing in my ear.
A large PHOTO of Smith . Samantha walks past it and up a sleek , modern office building stairway . Her cell rings .
SAMANTHA
Samantha Jones -
Intercut with Carrie walking through the upscale boutique talking on her pink Swarovski crystal - covered cell phone .
CARRIE
Well. I made a little decision that I hope you'll be happy about.
SAMANTHA
Oh, honey. you finally got Botox.
CARRIE
No. I did not get Botox
SAMANTHA
I'm telling you, Carrie - you'll love it.
CARRIE
I did not call to talk about Botox.
SAMANTHA
I'm just saying.
Samantha reaches the top of the stairs . Blow - ups of Smith on various magazine covers line the walls of the chic , small office space .
CARRIE
So. Last week, after the auction, I started thinking about my options.
SAMANTHA
Right.
CARRIE
Right, and. well, Big and I decided to get married.
SAMANTHA
Really?
CARRIE
Yes.
SAMANTHA
That's great.
CARRIE
You sounded more excited about the botox.
SAMANTHA
Well, honey - I am excited for you but - you know me. I do n't really believe in marriage. Botox on the other hand - That works every time.
A RECEPTIONIST -LRB- 23 -RRB- hands her some messages .
SAMANTHA
( CONT 'D . )
Honey, I've got to go. The People magazine person is on hold. Smith's on the short list to be their `` Sexiest Man Alive.'' We can catch up when I'm in town next week.
Samantha hangs up . Carrie looks at her phone : dismissed and disappointed . She closes it and walks on . Carrie rounds a corner . Her phone rings .
CARRIE
Hello?
Intercut with Samantha standing in her office .
SAMANTHA
I think I was in shock. I mean, it's you getting married. This is not some random person - it's you.
CARRIE
I hear ya.
SAMANTHA
And I guess, I thought that after that big mess with Aidan - you'd never want to get married.
CARRIE
I know.
SAMANTHA
So, I put you in my `` we're never getting married'' file. Now, I've got to take you out of that file.
CARRIE
Sorry about the extra paper work.
SAMANTHA
You'll get my bill.
CARRIE
Samantha, it feels so different this time. No cliché romantic kneeling down on one knee. Just you know, two grown - ups - making a decision about spending their lives together.
SAMANTHA
Well, I'm happy for you.
CARRIE
And one more thing. I want you to be maid of honor. How do you feel about that?
SAMANTHA
The same way you feel about Botox. Painful and unnecessary.
Carrie laughs . Samantha shrugs . Carrie and Charlotte sit on her bed looking through a list of names . ANTHONY sits at her makeup vanity . He has a large notebook open in front of him .
CHARLOTTE
74, 75, 76. Seventy - six guests.
ANTHONY
Seventy five sounds better. `` A small, wedding of seventy five guests.''
Carrie looks at the list .
CARRIE
( V.O . )
As a wedding gift, Charlotte had given me Anthony Marantino - friend and wedding planner.
Carrie crosses someone off . Charlotte reacts , shocked .
CARRIE
( CONT 'D . )
What? She was borderline anyway.
ANTHONY
Cut throat - I love it. I hope you're that decisive when it comes to the location and the dress.
CARRIE
Oh. I found the dress.
CHARLOTTE
What?! When?
CARRIE
The other day. I have it here.
Carrie gets up and goes into the closet . Anthony hurries over and sits next to Charlotte .
ANTHONY
This is going to be good!
CHARLOTTE
I'm so excited!
CARRIE
( V.O . )
Here it is.
Anthony and Charlotte grab hands in anticipation as Carrie comes out of her closet . She holds up a simple OFF - WHITE VINTAGE SUIT . Charlotte and Anthony deflate .
CARRIE
( CONT 'D . )
Well. that was the exact reaction I was aiming for.
CHARLOTTE
No, it's pretty but it's so - simple.
CARRIE
Simple and classic. When I saw it I just thought : That is what I should marry Big in.
ANTHONY
Well, who's it by? The label?
CARRIE
No one. I found it in a vintage shop.
ANTHONY
`` The bride wore a dress by no one.''
She turns and heads back into the closet .
CARRIE
( As she goes . )
Do n't worry, I'll style it up with shoes.
Anthony turns to Charlotte and says in a low voice .
ANTHONY
The invitation is fancier than the dress.
CARRIE
( O.C . )
I heard that.
A `` family style '' Italian restaurant . Miranda , in business clothes , sits with Steve , Brady and MAGDA . Brady 's face is covered in spaghetti sauce .
CARRIE
( V.O . )
And from Anthony Marantino to spaghetti marinara.
MIRANDA
Where is he with the check?
STEVE
Geese, Miranda - relax. Magda's not even finished yet.
MIRANDA
I still have a legal brief to work on when I get home.
BRADY
I have to go to the bathroom.
MAGDA
I'll take him. Wash that beautiful face too, yes?
Brady nods . Magda walks away with Brady . Miranda is packing up Brady 's action figures . Steve gives her a look .
MIRANDA
What? I'm sorry. I'm exhausted. Brady woke me up at five AM.
STEVE
He woke me up too.
Silence . She sips her cappuccino . Foam covers her top lip . He looks over at her and smiles .
STEVE
( CONT 'D . )
You got milk on your top lip.
She licks it off , not pleased .
STEVE
( CONT 'D . )
What now?
MIRANDA
It's like you're always criticizing me.
STEVE
I am not.
( Beat ; then , cute . )
You want to go through life with foam on your lip and no one telling you?
Silence . He reaches down and picks up her coffee cup and sips . putting lots of foam on his lip . He looks over .
STEVE
( CONT 'D . )
Anything you want to tell me?
She shakes her head : No . He puts his face in front of hers . She laughs . He licks his lip . Steve is in bed with Miranda , they are making love . She is wearing a T - shirt .
MIRANDA
Yeah. Yeah.
STEVE
Wait - wait - Do n't come already.
MIRANDA
Yeah. Yeah.
STEVE
Wait, wait - get on top. Get on -
MIRANDA
It's late. let's just get it over with.
Steve looks at her . She ca n't believe what she 's said .
MIRANDA
( CONT 'D . )
I mean - We have to get up in four and half hours.
STEVE
We never have sex and you want to get it over with?
MIRANDA
Steve. We have sex.
STEVE
When was the last time we had sex?
Miranda ca n't remember . He moves to his side of the bed .
STEVE
( CONT 'D . )
( As he turns away . )
There was snow on the ground.
He gets out of the bed and walks away . She watches him go . The girls are having breakfast . Lily sits at the table in a booster seat coloring in a Cinderella coloring book . Carrie is helping her . CLOSE ON : Cinderella 's shoe . Carrie is filling it in with a BLUE CRAYON .
MIRANDA
How often do you guys have sex?
CHARLOTTE
Miranda - please.
MIRANDA
What?
She indicates that Lily is sitting with Carrie . Carrie continues to color , not looking up .
CARRIE
It's okay, I know all about sex.
SAMANTHA
If I knew the girl talk was going to be on `` lock down,'' I would n't have flown two thousand miles.
CHARLOTTE
No, we can talk, let's just not use that word.
MIRANDA
She's three, she does n't know what it means. I'm forty - two and I still do n't know what it means.
CHARLOTTE
I know, but she's repeating everything.
MIRANDA
Fine. How often do you guys.
CARRIE
`` Color''?
CHARLOTTE
Thank - you.
SAMANTHA
Well, I ca n't color enough. I would color all day - every day if I had my way. I'd use every crayon in my box.
CARRIE
We get it. You love to color.
( To Miranda . )
Why are you asking?
MIRANDA
Steve and I were `` coloring'' last night and just as I was about to -
Miranda is searching for a word she can use .
SAMANTHA
Come?
( beat ; to Charlotte . )
Sorry - there is no crayon equivalent.
MIRANDA
He wanted to change positions and I said. `` Let's just get it over with.''
The ladies react , three different shades of shocked .
MIRANDA
( CONT 'D . )
Well, he kept trying to make it last longer.
SAMANTHA
And this is bad?
MIRANDA
It is when you have a full - time job.
SAMANTHA
I have a full - time job.
MIRANDA
Well, you do n't also have a five year old and play groups and PTA and a mother - in - law in a rest home with advancing Alzheimer's. I'm telling you, at the end of the day all I want to do is sleep. The most exciting thing in bed now - is the bed.
CARRIE
So. Sleep is the new sex?
LILY
Sex.
CHARLOTTE
See.
CARRIE
- I meant coloring.
MIRANDA
We're just going through a no coloring phase - it comes and goes, right?
CHARLOTTE
Every couple is different. Harry and I -
Carrie and Samantha look over ; interested .
CHARLOTTE
( CONT 'D . )
Make love two or three times a week.
MIRANDA
Great. Now I feel worse.
SAMANTHA
Well, when was the last time for you?
MIRANDA
Six months ago.
CARRIE
Oh my.
Miranda looks at her . She - continues to color .
MIRANDA
But that's a dry spell.
SAMANTHA
I bet it is.
CHARLOTTE
What about you and Big, Carrie?
( Off her look . )
Come on, I told.
CARRIE
Never. But, I will tell you this. When Big colors -.
( Beat ; sexy . )
He rarely stays inside the lines.
Samantha whoops . Carrie resumes coloring .
MIRANDA
Well, this was very helpful.
A freshly - showered Samantha sits on a chaise lounge in a robe - talking on the phone .
SAMANTHA
Send it to Smith Jerrod at the office address.
Smith walks up to Samantha wearing only underwear . There is a huge bulge in the front . Samantha takes the bulge in .
SAMANTHA
( CONT 'D . )
( into phone . )
I've got to go. Something just came up.
She hangs up . He smiles , looks down at her .
SMITH
I've got a gift for you.
SAMANTHA
So far, I like it.
He smiles as she reaches INTO his underwear basket and removes a long black velvet jewelry case . She opens it . It 's the petal ring from the auction .
SAMANTHA
( CONT 'D . )
How did - Wait - that was you on the phone at the auction?
SMITH
I knew how much you wanted it.
SAMANTHA
But I was going to buy it for myself.
SMITH
I wanted to give it to you. for our anniversary. We met five years ago today.
SAMANTHA
( beat ; had no idea . )
Right.
He smiles , sits down on the bed .
SMITH
Do you like it?
SAMANTHA
To be clear - This is a ring with diamonds - not a diamond ring, right?
( Off his nod . )
In that case. I love it.
( Re ; underwear . )
It's my second favorite thing I've ever found in there.
She kisses him , touched - then reaches in his underwear .
SAMANTHA
( CONT 'D . )
Now, my gift's a little bit more. oral.
SMITH
Babe - I've got to go to bed.
SAMANTHA
Bed? It's seven - thirty.
SMITH
I have to be at the studio by six A.M. and I need to get a workout before that.
SAMANTHA
This is how it starts. Next thing you know. we're only having sex three or four times a week.
SMITH
Most people consider that normal.
SAMANTHA
I am not most people.
SMITH
No - you most certainly are not.
He smiles , leans in and gives her a hot - hot kiss . The kiss leads - to reaching into underwear . as they start . Smith is laying in bed . Sound asleep . The clock on the bed table reads : 9:01 . Night . Samantha sits in the jacuzzi wearing her ring - sipping a glass of wine - bored .
CARRIE
( V.O . )
One glass of Merlot and two orgasms later.
Samantha hears MOANING . The sounds of someone having SEX in the house right next door . She looks - from the hot tub she can see her neighbor DANTE - hot , dark - `` sex on a stick '' in his living room making wild love to a RED HAIRED WOMAN . They are naked . Samantha watches and sips - not so bored .
CARRIE
( CONT 'D . )
And that is how Samantha learned she had a new neighbor.
Carrie enters the apartment . It is dark - ish . A candle or two is lit .
CARRIE
( soft . )
John?
The terrace doors are open . The curtains blow , gently . She walks out onto it . As she steps out onto the terrace . Big comes up behind her . He - leans her against the door jamb and kisses her . It 's hot . He kisses her - sliding down the front of her body . Big is in bed wearing `` half glasses , '' reading The Wall Street Journal . Carrie enters from the bathroom and hops into bed . She grabs a LIBRARY BOOK from the night stand and looks over .
CARRIE
Lean?
He nods and lifts up one of his arms . She slides over and nestles in , leaning up against him . She opens her book . He looks down at it .
BIG
Are you the last person in New York still taking out library books?
CARRIE
I love the smell.
She smells the book , then holds it up to him . He smells .
BIG
That's an old one.
CARRIE
`` The Love Letters of Great Men.'' Volume one.
BIG
Am I in there?
CARRIE
No, but some of your classmates are. Voltaire, Napoleon.
Big smiles . She takes the glasses off his face and puts them on , looks at book .
BIG
You need to get glasses.
CARRIE
No, I do n't - you have them.
( then ; off book . )
Here's Napoleon.
( Reads . )
`` My dearest Josephine, I wake consumed with thoughts of you -''
BIG
Typical short guy. Gives it all away up front.
She punches him a little , continues to read .
BIG
( CONT 'D . )
Why are you reading this?
CARRIE
Research for my new book.
BIG
What's it about?
CARRIE
Love. I use to write about finding love - now I want to write about what happens after you've found it.
BIG
Interesting. What happens?
CARRIE
Stay tuned.
He smiles . She looks at the book again .
CARRIE
( CONT 'D . )
Listen. Here's Beethoven.
BIG
Bring it, Ludwig.
CARRIE
( Reading . )
`` My thoughts go out to you today my immortal beloved. I can live only wholly with you or not at all.''
BIG
Good stuff.
CARRIE
( Reading . )
`` Be calm my life, my all. Only by calm consideration of our existence can we achieve our purpose to live together. Oh continue to love me, never misjudge the most faithful heart of your beloved. Ever thine - ever mine - ever ours.
Silence . The beautiful sentiment hangs in the air . She closes the book and looks up at him .
CARRIE
( CONT 'D . )
Have you ever written me a love letter?
BIG
Does a love fax count?
CARRIE
When have I ever gotten a love fax?
BIG
I'm pretty sure my secretary sent one at some point.
Carrie looks at him , mock disappointed .
BIG
( CONT 'D . )
What can I say, baby? Not my style.
( Beat . )
Besides, these guys had to write - they were separated from their loves by wars and hundreds of miles. I'm right here.
( Beat . )
Hi.
She smiles . He kisses her on the forehead . Sincere .
BIG
( CONT 'D . )
You make me very happy.
CARRIE
Yeah, yeah. Put it in writing.
He laughs , she looks at her book , turns a page and reads . After a beat , he puts down his paper .
BIG
Alright. Here's a love letter from me to you.
She looks up at him , excited . He speaks romantically .
BIG
( CONT 'D . )
Loving you. Is easy. ` cause your beautiful.
Big continues - now SINGING the Minnie Ripperton classic .
BIG
( CONT 'D . )
EVERY DAY OF MY LIFE IS FILLED WITH LOVING YOU. LA LA LA LA LA LA LA OOOOOOOOOOOOOOO.
Carrie LAUGHS as he continues to massacre the high notes . Carrie runs past the stone lions and up the grand stairs holding three LIBRARY BOOKS in her hand . Carrie stands at the entrance while a FEMALE GUARD -LRB- 60 -RRB- checks the contents of her purse . A FLORAL DELIVERY MAN comes in carrying a GORGEOUS ARRANGEMENT OF WHITE FLOWERS . He calls to the Guard .
DELIVERY MAN
Which way's the wedding?
The Guard points , bored . Carrie looks , interested .
INT. NEW YORK PUBLIC LIBRARY/WEDDING SPACE -- MOMENTS LATER
A beautiful space . The tables are being set up as MORE FLOWERS arrive . Carrie tip - toes in and looks around . A SMILE grows on her face . Carrie and Big sit at the bar - having dinner .
CARRIE
I've been thinking.
BIG
Again?
CARRIE
How about we get married at The New York Public Library?
( Gushy and silly . )
Think how perfect. You and I and our love story surrounded by all the other lesser love stories.
BIG
Do we have to make that big of a deal?
CARRIE
It's not that big a deal. It's seventy - five people in a room that's partitioned in half.
BIG
It's just - I've already had two big weddings.
Carrie winces - stung . After a beat , she goes on .
CARRIE
Well, what did you have in mind?
BIG
I do n't know - a judge, couple friends and then we go for ham and eggs after.
A bucket of cold water .
CARRIE
Interesting.
Big looks over at her . She looks upset , hurt , sad . Silence .
BIG
Would we have to whisper? In the library?
Carrie looks over at him , softens a little .
BIG
( CONT 'D . )
`` Do you, Carrie'' - Shhhh. `` Take this man'' - SHHHH!
He raises his eyebrow . She laughs . ELAINE -LRB- 40 -RRB- Zaftig , Jewish - spots Carrie .
ELAINE
Carrie, hi!
CARRIE
Elaine, hi. Do you know John?
ELAINE
No, hi. Nice to meet you.
CARRIE
Elaine writes a single gal column for The New York Post.
ELAINE
Please - I'd rather you reveal my weight.
Carrie and Big laugh .
ELAINE
( CONT 'D . )
So, what's new?
CARRIE
Well. We're getting married.
BIG
Yep - At the New York Public Library.
Carrie looks at Big , touched . Elaine is delighted , TEARFUL .
ELAINE
Oh, my God! This gives me such hope.
She hugs Carrie , then hugs Big . Then hugs Big again .
ELAINE
( CONT 'D . )
Thank - you. Thank - you for marrying someone our age.
Charlotte , Harry and Lily are having breakfast . A KING CHARLES SPANIEL and TWO MUTTS sit on the floor looking up at them . Charlotte pages through the New York Post - She notices something . CLOSE ON : NEWSPAPER ; A small PHOTO : of Carrie on `` PAGE SIX '' above a mention of the wedding . Charlotte SCREAMS . Harry and Lily JUMP . She grabs the cordless phone from the table . Intercut with Carrie on the phone as Big sips coffee .
CHARLOTTE
( reading paper . )
`` The ultimate single gal Carrie Bradshaw will be married in Manolos to New York financier John James Preston come fall.''
CARRIE
( to Big . )
Our wedding's on Page Six.
BIG
( not pleased . )
Who would put that in there?
Carrie shrugs , Charlotte continues reading .
CHARLOTTE
`` Proving to single gals everywhere that there can be a happy ending over forty.''
CARRIE
Oh, I know who.
Carrie is walking down the street with STANFORD .
CARRIE
( V.O . )
Later that day, I met my friend Stanford for our weekly quick lunch and gossip session. Also known as `` dish then dash.''
STANFORD
According to a certain trashy tome, you are marrying John James Preston.
CARRIE
Rumor has it.
STANFORD
Just one question : Does Big know?
CARRIE
( laughs ; then . )
Where are we eating?
STANFORD
Anywhere you like. and you know the rule - the person on Page Six pays for lunch.
Carrie laughs . TWO WOMEN spot her and scream . She and Stanford REACT as the women GUSH . Carrie and Stanford are mid - meal . Three GAY MALE friends -LRB- 3O - 40 -RRB- stand at their table and gush .
CARRIE
( V.O . )
It seemed everywhere I went. people I knew were excited and available to come to the wedding.
A WAITRESS -LRB- 23 -RRB- places a check on the table . Stanford looks at it , then leans in to waitress .
STANFORD
You forgot to charge us for the gaggle of gays.
Carrie and Stanford are walking by a nail salon as BITSY VON MUFFLING , socialite , comes running out - Mid - pedicure . She is barefoot with foam pads stuck between her painted toes .
BITSY
Carrie Bradshaw Preston! Carrie Bradshaw Preston!
Carrie and Stanford stop - turn around . Bitsy gushes .
BITSY
( CONT 'D . )
Mazel tov! Saw you on Page Six! September? October? When?
( beat ; realizes feet . )
Look! Will you look! I got so excited - no shoes. I'm standing barefoot on a New York sidewalk probably getting trichinoses.
She hurries away , turning back to CALL as she goes .
BITSY
( CONT 'D . )
We're at the same address - different floor. Just send it - they'll get us the invite.
She waves , goes back inside . Carrie looks stunned .
CARRIE
( V.O . )
The shocking thing was not the plethora of empty autumn social calenders but knowledge that everyone does indeed read Page Six.
Carrie opens the glass door and walks into the Vogue offices .
CARRIE
( V.O . )
Even people you did n't expect, like my Vogue editor, Enid.
Carrie is with ENID -LRB- 60 -RRB- her stunning , icy Vogue editor .
ENID
We're putting together our annual `` Age'' issue - and we'd like you to do forty.
CARRIE
Great. Who am I interviewing?
ENID
No. You. You are forty. I want you to be featured in the magazine as the forty year old - and here's the brilliant twist - bride.
CARRIE
Wait - I would be in the magazine?
ENID
In bridal couture. It's a once in a lifetime opportunity - so spare me a week of faux soul - searching and just say yes.
CARRIE
Enid - I'm so very flattered but -
ENID
Carrie. Vogue designers, Vogue photographers, Vogue airbrushing.
( Beat . )
Nod your head : yes.
Carrie smiles and nods .
ENID
( CONT 'D . )
Thank - you. It will be a sensation. We're calling it : `` The Last Single Girl.''
CARRIE
Well, I'm hardly the last single girl.
ENID
No, but forty is the last age you can see a woman photographed in a wedding gown without the unintended Diane Arbus subtext.
CARRIE
I thought the issue was `` great style at every age.''
ENID
Style yes. bride no.
CARRIE
( smiles ; then . )
Enid - I have no idea - were you ever married?
ENID
Briefly. In 1975. I wore Halston. Creme. One shoulder Grecian with a low - cut bodice to the waistline for a dramatic flair. The fabric in the sleeves formed oval draping on the sides. Stunning. My future husband and I saw it on a trip to Paris and he fell in love with it. Insisted I be married in it. So I was. We had quite a beautiful party.
CARRIE
( smiles ; then delicately . )
Why did n't the marriage work out?
ENID
Did you not hear me say my husband fell in love with my gown?
( beat ; off Carrie 's nod . )
Has your fiancée expressed any interest in what you'll be wearing?
CARRIE
None at all.
ENID
Then you may have a shot.
Carrie stands on the set of a Vogue photo shoot wearing a GORGEOUS VERA WANG GOWN . Hair , make - up : stunning . She is surrounded by VOGUE STYLISTS and CREW . Carrie looks over to Samantha , Stanford and Charlotte standing on the side - lines , watching . They signal their approval . Carrie smiles . tentative - but excited .
SAMANTHA
She's looking quite at home for someone who did n't think she had the bride gene.
CHARLOTTE
Well, I guess with the right man.
STANFORD
And the right dress.
Charlotte and Samantha smile .
STANFORD
( CONT 'D . )
When I get married, I'm wearing something like that. But bigger.
Samantha and Charlotte laugh . The PHOTOGRAPHER starts working . FLASH ! Carrie poses . FLASH !
CARRIE
( V.O . )
Just your typical Wednesday. Breakfast with. Vera Wang.
FLASH ! Carrie in another GORGEOUS WEDDING wedding gown .
CARRIE
( V.O. ; CONT 'D . )
Mid - morning coffee with. Carolina Herrera.
FLASH ! Carrie in another FAMOUS DESIGNER wedding gown . Samantha holds up her iPhone and takes a photograph of Carrie . Charlotte looks at it , smiles , then presses - `` send . '' Miranda is at her desk , working - her phone - `` beeps . '' She picks it up - CLOSE ON : PHONE announcing a photo arrival . She opens the photo - it 's Carrie in the wedding dress . Miranda smiles . FLASH ! Carrie in another FAMOUS DESIGNER wedding gown .
CARRIE
( V.O. ; CONT 'D . )
Appetizers with Oscar de la Renta.
FLASH : JUMP CUT TO : Carrie in another FAMOUS DESIGNER wedding gown .
CARRIE
( V.O. ; CONT 'D . )
Lunch with Lanvin.
FLASH : JUMP CUT TO : Carrie in another FAMOUS DESIGNER wedding gown .
CARRIE
( V.O . )
And Lacroix.
FLASH : JUMP CUT TO : Carrie in another FAMOUS DESIGNER wedding gown .
CARRIE
( V.O . )
And Dior.
FLASH : Carrie in the final FAMOUS DESIGNER wedding gown . This is the most sensational topper . She looks `` beyond , beyond '' beautiful in it .
CARRIE
( CONT 'D . )
And for dessert - Vivienne Westwood.
Charlotte and Stanford are looking at Carrie , moved .
CARRIE
( CONT 'D . )
A confection so special.
Samantha reaches up and wipes away a tear .
CARRIE
( CONT 'D . )
It could wring a wedding tear from even the most unbelieving of women.
Carrie opens the door to find a DELIVERY MAN standing there with a very large dress box tied by a lush RIBBON .
CARRIE
( V.O . )
And then the impossible happened.
JUMP CUT TO : Carrie pulling back the tissue paper to reveal : her favorite wedding gown . Carrie picks up a hand - written note on an engraved note card from VIVIENNE WESTWOOD . It reads : `` I saw the photos from the shoot . This dress belongs to you . Cheers ! '' Carrie peeks around the closet and looks in . The gown is hanging next to the white suit , dwarfing it .
CARRIE
( V.O . )
And just like that, Vivienne Westwood kicked my sweet little suit's ass.
Big leads Carrie into their new bedroom by the hand . Her eyes are closed and she has a DESIGNER shopping bag slung over her one arm . He moves her around the construction debris , stopping in front of the new closet 's double doors .
BIG
Okay. Open them.
Carrie opens her eyes .
CARRIE
Double door. So far so good.
She opens the closet doors , revealing a beautiful oversized , walk - in closet with shelves and more shelves and places for shoes and more shoes .
CARRIE
( CONT 'D . )
Well. You did me proud, Mister.
BIG
Like it?
CARRIE
Like it? It's love at first sight.
He smiles , proud . She takes the DESIGNER shoe box out of her shopping bag and hands it to him . She opens the lid , takes out a pair of COLORFUL/FUN HEELS and places them on the shelf . She turns back to him .
CARRIE
( CONT 'D . )
Now, I believe this is all really happening.
Miranda , Charlotte and Carrie are standing in Carrie 's apartment . Empty boxes are everywhere . Lily is coloring quietly nearby .
MIRANDA
I ca n't believe it sold so fast.
CHARLOTTE
It's a sign.
CARRIE
Yeah, a sign I priced it too low.
The door buzzes . Carrie pushes the intercom button .
CARRIE
( CONT 'D . )
That's the food - money on the table.
( Beat . )
I'll get started in the closet. I should be done in seventeen years.
Carrie starts into the bathroom . Charlotte calls :
CHARLOTTE
Pink Post - it - take. Purple - toss. Yellow : Storage.
CARRIE
( O.C . )
( Calling out . )
You're good friends.
There is a knock on the door . Miranda opens it . Samantha stands there with her carry - on luggage .
CHARLOTTE
Samantha! Oh my God!
Carrie re - enters from the bathroom . stunned .
CARRIE
What are you doing here?!
SAMANTHA
I lot of shit went down in this place. Attention must be payed!
She reaches into her bag and pulls out a bottle of champagne . They all CHEER . She reaches in again and pulls out another bottle . More cheering . Samantha is packing Carrie 's collection of CD 's , tapes and albums . She puts on a `` Best of the 80 's '' CD . MUSIC START : Run DMC & Aerosmith : `` WALK THIS WAY . '' Carrie comes out of her closet wearing an outfit that screams `` 80 's . '' Lily looks up from her coloring . Miranda , Charlotte and Samantha sit on the bed drinking champagne . Carrie poses . They hold up hand - written signs : `` Take '' or `` Toss . '' JUMP CUT TO : Carrie comes out of the closet wearing another `` 80 's '' outfit . The girls vote : `` Take , Take , Toss . '' Carrie nods . JUMP CUT TO : Carrie comes out of the closet wearing a tight pink top and a tutu . The girls LAUGH ; then all hold up : `` Toss . '' Carrie reacts . JUMP CUT TO : Carrie comes out wearing a late `` 90 's '' outfit . The girls vote : `` Take , Take , Take . '' Carrie is thrilled - she keeps it . JUMP CUT TO : Miranda wearing something from Carrie 's closet . JUMP CUT TO : Charlotte wearing something from Carrie 's closet . JUMP CUT TO : Samantha wearing something from Carrie 's closet . JUMP CUT TO : Carrie , Miranda , Charlotte and Samantha LAUGHING - at something . REVEAL : Lily standing in the closet , naked except for her training underpants . Her arms are outstretched and draped with Carrie 's small purses and bags . The girls in the apartment are surrounded by many , boxes .
CARRIE
( V.O . )
It took four friends, three days to put twenty years into twenty - eight boxes.
Carrie walks through her now , empty apartment . She takes one last long look and leaves . END MUSIC . Steve sits in a chair as Miranda hands a cup of tea to his mother MARY . She looks up at Miranda , lost .
MARY
Who are you again?
MIRANDA
Oh, you know me - I'm your daughter - in - law.
( beat ; then . )
I'm Miranda.
MARY
That's right.
Miranda nods and smiles . Steve watches , touched .
INT. MIRANDA AND STEVE'S HOUSE/KITCHEN -- NIGHT -- LT. SUMMER
Miranda is putting away groceries . Steve is sitting at the kitchen table .
MIRANDA
While I run over to see your mother tomorrow maybe you can take him to the first birthday party alone. Then - I'll meet you at the twins' party and you can leave and be at the bar by six.
She looks over at him . He looks strange .
MIRANDA
( CONT 'D . )
What's the matter? Steve.
He starts crying .
STEVE
- I had sex with someone else.
Miranda ca n't believe her ears .
STEVE
( CONT 'D . )
- And you are so amazing with Ma and everything. everything you do and I ca n't believe I would do that to you.
Miranda just sits - looking at him .
STEVE
( CONT 'D . )
You and I had n't had sex in a really long time and I -
Miranda shakes her head , turns and walks out of the kitchen . He gets up and follows her .
STEVE
( CONT 'D . )
It did n't mean anything - It was just once. and it's been killing me.
She stops and turns around . He stops .
MIRANDA
It's killing you?!
She starts down the hall again . He 's on her heels .
STEVE
( CONT 'D . )
It just happened. I was n't thinking.
MIRANDA
Do not follow me.
She starts up the stairs . He stops at the bottom and watches her go . Lost as to what to do next . Carrie opens the door . Miranda stands there with Brady . She looks like she is about to burst into tears . Big stands in the hall behind Carrie . Unsure .
CARRIE
Hi.
MIRANDA
Surprise - Here we are!
CARRIE
( To Brady . )
Well, I'm so excited you are here for a sleepover.
MIRANDA
We are too. Are n't we B - boy?
Brady nods . Miranda gives Brady 's hand to Carrie .
MIRANDA
( CONT 'D . )
Here. Mommy has to go to the bathroom.
Miranda hurries away . Carrie looks after her , concerned .
CARRIE
Brady, do you want to go have some peanut butter?
He nods . Carrie give his hand to Big and hurries away . Big looks at Brady . Brady looks up at him .
BIG
Peanut butter it is.
They walk into the kitchen . Miranda is sitting on the toilet , seat down . Carrie at the sink .
MIRANDA
Apparently you do n't have sex for six months he runs out and has it with some girl at his bar.
CARRIE
Steve. I ca n't believe it. Steve.
MIRANDA
Steve. When I think of everything I've done for him. And this is how he repays me. Man, if I did n't have Brady, I would never go back there.
Miranda looks furious . Carrie nods , in shock . Steve is in bed . Miranda comes in , dressed for bed .
CARRIE
( V.O . )
The next night, for the sake of Brady, Miranda went against her instincts and went home.
He throws back the covers . She looks at him .
STEVE
Miranda, it's still me.
MIRANDA
Is it?
She stands there and looks at him . Shakes her head , exits . Miranda walks into the chic hotel lobby holding Brady 's hand . She pulls a piece of luggage behind her .
CARRIE
( V.O . )
So Miranda left Brooklyn and came home. to Manhattan.
Brady sits on a couch in the lobby playing with his action figures . A HOODED MOVIE ACTOR TYPE -LRB- 25 -RRB- sits slumped next him texting on a phone . Carrie , Miranda , Charlotte and Samantha are having brunch at a table nearby .
MIRANDA
Yes, it's sad, but I'm not going to make it any sadder by staying at a bad hotel while I look for a place. Pass the salt.
Charlotte passes the salt .
MIRANDA
( CONT 'D . )
Plus, I have to be downtown and close to Brooklyn. We're going to keep things as normal for Brady as we can. I'll pick him up on my days. take him over on Steve's.
CARRIE
I do n't know if this question is allowed - but how is Steve handling this?
MIRANDA
Says he's devastated - begs me to forgive him.
( beat . )
Not going to happen. I can barely even look at him.
CHARLOTTE
Steve - I ca n't believe it.
CARRIE
That's what I said.
SAMANTHA
Miranda, honey - are you sure you want to do this? It's just one time. Anyone can have a slip.
MIRANDA
Well, even if I could get my head around that justification - it's the cheating part - the behind my back part. the violation of the trust - that's the thing that's killing me.
Samantha nods , taking it in .
MIRANDA
( CONT 'D . )
Besides. women who stay with men who cheat are women who are afraid to be on their own. And that's not me - I can handle it. Always could.
Brady walks over holding an action figure .
BRADY
Mommy, I want to go home.
Miranda nods ; keeping a brave face . Charlotte looks upset . Charlotte and Harry are making love , gently . She looks into his eyes - speaks softly .
CHARLOTTE
Thank - you for being you.
He smiles , touched . She smiles - he kisses her .
CARRIE
( V.O . )
Charlotte made love to Harry five times that week.
Smith and Samantha are sitting at the dining table . ANAKA , -LRB- 45 -RRB- a Zen , low - key chef lays down plates in front of them .
SAMANTHA
It's a little quick to move out, do n't you think?
SMITH
Her reaction is her reaction. Thanks Anaka.
Anaka nods and walks away .
SAMANTHA
He had sex once. Not even an affair.
SMITH
Maybe it's not the sex. Maybe, it's the cheating. For me. that would be the thing. That it happened behind my back.
SAMANTHA
That's what she said.
He nods . Samantha eats . Thinks .
SMITH
Look. I know we're not married but - if you were going to have sex with someone else.
Long pause . He looks at her .
SAMANTHA
Are you waiting for me to get out my datebook?
SMITH
( beat ; then . )
But. seriously, I'd rather know first.
She gets up from the table and moves over to him .
SAMANTHA
You want me to tell you if I'm going to have sex? Fine. I'm about to have sex.
She sits on the table directly in front of him and opens her legs . Anaka enters - sees her position , spins on his heels and walks back out .
SMITH
( as he goes . )
Thanks Anaka.
Mary sits in a chair eating dinner from a tray . Miranda sits on the edge of the bed near her .
MIRANDA
I do n't know if Steve's mentioned anything to you yet - about us. Has he?
Mary shakes her head : No - concerned . Miranda nods .
MIRANDA
( CONT 'D . )
Well - we've had some marriage problems - it's not necessary to go into the details but - I just wanted you to know that we wo n't be coming to see you together anymore. I'll be here Monday, Wednesday and Sunday - the other days will be Steve.
MARY
Who's Steve?
CARRIE
( V.O . )
Miranda was starting to see the upside of Alzheimer's.
The room is crowded with Carrie 's boxes waiting to be moved . Big is sitting at a computer reading his emails . Close on screen : We see his email address is John@JJPny.com . He clicks open a file as Carrie enters .
CARRIE
Wedding crunch time. We need to really get serious here.
BIG
Not now - I just got an email from the the contractor - they pushed our move - in date again - and I have to -
CARRIE
Nope. Wedding before contractor. Unless you're planning to invite him - which would make the guest list two hundred and one.
BIG
Two hundred? Jesus, Carrie - it's gone up again?
CARRIE
Blame the New York Post and Vogue. Two publications that have never before been uttered in the same sentence.
BIG
You said : seventy - five people in a partitioned - off room.
CARRIE
It's the dress. How can I explain this? It's like poker - The dress upped the ante.
BIG
Change the dress.
CARRIE
No, no, no - you have n't seen this dress. This dress may be the whole reason to get married. Well, you and the dress.
She sits in his lap . He adjusts , uncomfortable .
CARRIE
( CONT 'D . )
How are you coming with your vows? Just a reminder - you are going to be saying these in front of a lot of people, so the pressure is on.
BIG
( He 's had it . )
Up, up. I have to finish this. Up.
He sort of `` helps her '' out of his lap .
CARRIE
Hey.
BIG
I do n't have time for this.
CARRIE
This is our wedding and you're not taking it seriously.
BIG
No, I'm not - It's a circus! Two hundred people - Page Six - This is my third marriage - how do you think it makes me look?
Carrie looks at him , stunned by this new information .
CARRIE
I did n't know that was even an issue.
( beat . )
Why did n't you say anything sooner?
BIG
You wanted all this.
CARRIE
But - do n't you want -
BIG
I want you, Carrie. That's what I want. I would have just gone down to city hall.
Tension . He starts out of the room , moving a wardrobe box out of his way as he goes . She stands there . Upset . Big is brushing his teeth . There 's a knock . The door opens . Carrie comes in , vulnerable .
CARRIE
I think it's too late for city hall now.
BIG
Well, no. I was n't suggesting - I was just saying.
He looks at her . She looks - devastated .
BIG
( CONT 'D . )
See. That is the face I've been trying to avoid. Come here.
She stands there . He goes to her , hugs her .
CARRIE
You're a great man friend.
She buries her head in his chest ; relieved . He exhales . Miranda , Charlotte , Harry , Samantha , Smith , Stanford , Anthony , Bitsy and other GUESTS are gathered around a long beautifully - set table . Carrie and Big ARRIVE at the top of the stairs . Everyone looks up and applauds . The desserts are being served . Samantha stands and prepares to speak . Harry hits a glass with a spoon . people quiet down .
SAMANTHA
Now, I know it's tradition at the rehearsal dinner for the maid of honor to reveal embarrassing things about the bride. But in our group -
She looks at Carrie , Charlotte and Miranda
SAMANTHA
( CONT 'D . )
We never kiss and tell.
Carrie , Miranda and Charlotte WHOOP . Laughter .
SAMANTHA
( CONT 'D . )
So, I'd like to make a toast to the groom.
From somewhere down the table , KARL -LRB- 50 -RRB- a Preppy Businessman CALLS OUT ; joking .
KARL
There's a word he's heard before!
The room LAUGHS . Big smiles ; tight . Carrie leans in .
CARRIE
Who is that again?
BIG
Karl. a partner at the firm.
CARRIE
Karl's kind of a jerk.
KARL
( Calling . )
You know what they say - three times a charm!
SAMANTHA
( Calling to Karl . )
Hey `` dick wad''. I'm speaking.
CARRIE
Whooo!
SAMANTHA
Now. There were times when we had our doubt about this gorgeous man. But after careful observation over the last hundred years, my doubts are over.
( Lifts glass high . )
So. here's to the groom. A man who finally got `` Carrie - d'' away.
Big is touched . Then Karl feels the need to add :
KARL
Here's hopin', John!
Big smiles , he has no choice . He raises his glass .
CARRIE
( Soft . )
Jackass.
Samantha is out front with Big , Harry and Smith . They are smoking cigars .
BIG
Quite a toast, Samantha.
SAMANTHA
Well, you're quite a guy.
They chuckle , then - Samantha 's smile fades .
SAMANTHA
( CONT 'D . )
Steve.
The men turn as Steve approaches . He has a look of real pain and guilt and embarrassment on his face .
STEVE
I do n't want to bother you all -
BIG
You're not bothering us.
STEVE
But - I need to talk to Miranda. Samantha, could you - ask her to come out. I do n't want to go in. It's a party and all.
Samantha is trapped . trapped and touched . Miranda comes out of the ladies room . Samantha spots her .
MIRANDA
Hi. I have n't talked to you all night.
SAMANTHA
Steve's here.
The blood drains from Miranda 's face . Samantha nods . Steve is standing with Smith , Big and Harry as Miranda comes out of the restaurant - Samantha looks out from inside .
MIRANDA
Could you give us -
The guys go inside . Samantha gives Miranda a look and leads them away . Miranda turns . She glares at Steve .
STEVE
You did n't leave me any choice. You wo n't return my calls - You only talk to me in front of the baby when you know I ca n't say anything.
MIRANDA
What could you possibly have to say that could make it better?
STEVE
Miranda, please. It was just that one time. Please - I love you -
MIRANDA
You broke us! You broke us. What we had is broken!
Three YOUNG SINGLE GIRLS -LRB- 25 -RRB- walk past them into the club . They look back at the scene . Miranda looks down at the ground . Steve is paralyzed . Miranda turns to leave - looks back at him with daggers and hurt .
MIRANDA
( CONT 'D . )
I changed who I was for you.
Miranda goes inside . Steve is a stone . Miranda makes her way through the crowded bar . She looks very rattled . Big spots her and follows , gently .
BIG
Hey. Are you alright?
MIRANDA
No, I'm not alright. You two are crazy to get married. Marriage ruins everything.
Miranda walks away , upset . He stands there ; shaken . Big is at the bar having a scotch . Carrie hurries over to him . She leans in and puts her arm on his back .
CARRIE
There you are. I thought you skipped out on me.
She smiles , kisses him . He smiles , sips his scotch .
CARRIE
( CONT 'D . )
Well, the all - gal sleepover is about to commence. You gon na miss me?
BIG
Do n't go. Spend the night with me.
CARRIE
Oh. One night wo n't kill you. And tomorrow you get to have me for the rest of your life.
He sips his scotch . She looks at him , sees a glimmer of something . Something that scares her .
CARRIE
( CONT 'D . )
Is everything okay?
He looks over - sees her face . Scared .
BIG
I'm just tired - I guess.
Carrie reaches up and fixes Big 's hair .
CARRIE
Go home and sleep.
( beat . )
Now, give me a kiss good night. Make it good - it's the last single girl kiss.
He looks at her as if to say something , then kisses her . Carrie sits on the bed surrounded by Charlotte , Samantha , and Miranda all wearing matching robes . Laying on the floor near the bed - three open gift boxes and ribbons . Lily sits in Carrie 's lap playing with Carrie 's cell phone - in her PJ 's .
CARRIE
( V.O . )
There we sat. like a scene out of Louisa May Alcott's : `` Not - so Little Women.''
CHARLOTTE
I always knew she would marry Big.
SAMANTHA/MIRANDA
You did not!
CHARLOTTE
Yes I did! After every break - up I secretly thought : Nope. They belong together.
SAMANTHA
You thought that after the second break - up?
CHARLOTTE
Yep.
MIRANDA
After the fifteenth?
CARRIE
Ha ha - hilarious - we broke up a lot.
SAMANTHA
Yes, but. after the break - ups - comes the hot make - up sex.
Charlotte pokes Samantha ; indicates Lily . Samantha rolls her eyes . Carrie 's cell phone RINGS . Lily wants to answer it .
CARRIE
You want to answer? Go ahead, sweetie. Open it up.
Lily opens it and holds it up to her face , silent .
CARRIE
( CONT 'D . )
Say something.
LILY
Sex.
They are all shocked ; then : LAUGHTER , even Charlotte .
CARRIE
Sweetie, that was your first bootie call.
SAMANTHA
Are you sure she's not my child?
Carrie , still laughing , wipes a tear away as she takes the phone from Lily and answers it .
CARRIE
Hello?
Big is sitting at the desk , a piece of paper on it .
BIG
It's me.
CARRIE
Oh my God - did you just hear Lily?
BIG
Hey - I need to talk.
Carrie puts her hand to her ear , blocking the laughter .
BIG
( CONT 'D . )
I'm sitting here trying to write these vows and.
( beat ; then . )
Is this something we really want to do?
Carrie gets out of bed ; playing it `` casual '' to the girls .
CARRIE
It's Big. I'm gon na take it in the -
She points to the study . Charlotte calls to the phone .
CHARLOTTE
( calling ; silly . )
Get some sleep, groomie!
Carrie goes into the study and closes the door . Carrie leans against the door , her face now concerned .
CARRIE
What's the matter?
BIG
It's just - everything is great as it is.
( beat . )
I do n't want to screw it up.
CARRIE
You wo n't.
BIG
I screwed it up twice before.
Big is silent . Carrie is thinking , thinking , thinking .
CARRIE
Here's the thing. This is me that you're marrying tomorrow. Me. Nobody else.
BIG
Yeah.
CARRIE
And I'm marrying you. It's me and you. And you want to know the good news there?
BIG
Yeah.
CARRIE
We've already both done everything we can to screw it up.
He smiles . She is very alert - thinking , thinking .
CARRIE
( CONT 'D . )
Is that a smile I'm hearing?
BIG
Yeah.
CARRIE
Now, it sounds to me like you've got a bit of writer's block on the vow front.
BIG
Yeah.
CARRIE
And I find - you know - as a professional writer - it's best to just, you know, stop thinking about it so much - and go to bed. And in the morning.
BIG
You know what to do?
CARRIE
Exactly. And if not - Just write this : `` I will love you.'' Simple and to - the - point. And I swear I wo n't even try to take credit for it.
Silence . Deep silence .
CARRIE
( CONT 'D . )
You're going to bed now, right?
BIG
Okay. Good night.
CARRIE
I'll see you tomorrow. Hey. Me and you.
He hangs up . She looks terrified . Dark . Charlotte and Carrie are sharing the bed . Carrie is wide awake . Here eyes focused across the room on her gorgeous wedding gown : ready and waiting . Miranda is standing in the hall putting on her earrings . The bedroom door opens - Carrie stands there in the wedding gown . Carrie and Miranda catch eyes for a brief moment . There are no words . Lily steps around from behind Carrie . She is wearing a long white dress and holding a LITTLE PURSE . She looks adorable .
CARRIE
There you are! Almost lost you under all that. Got your purse?
Charlotte takes Lily 's hand as Anthony comes out of the dining room and spots Carrie for the first time .
ANTHONY
Now there's a bride! Flowers!
A flurry of activity - attaching the veil on Carrie . Stanford stands near Carrie ready to assist if needed . Harry stands in the pantry doorway watching - eating a toasted bagel . Charlotte takes a bite - carefully .
CARRIE
Whose got a mirror?
CHARLOTTE
Behind you.
Carrie turns to move to the mirror . She is JERKED BACK .
CARRIE
Stanford, you're on my dress.
ANTHONY
Get off the dress!
MIRANDA
Is that a rip?
CARRIE/ANTHONY
Where?!
Carrie 's CELL PHONE RINGS . Anthony reaches over and picks it up , distracted by the dress situation .
ANTHONY
( sharp ; into phone . )
What?
Intercut with Big . pacing . He does n't look rested .
BIG
Can you put Carrie on, please?
ANTHONY
Not now. dress emergency.
Anthony hangs up , tosses her phone onto the dining table .
ANTHONY
( CONT 'D . )
Damage? What's the damage?
SAMANTHA
There's so much fabric I ca n't see.
ANTHONY
Ca n't see anything behind this friggin' table. Go, go - everyone out into the hall.
As the girls start out - Anthony addresses Stanford .
ANTHONY
( CONT 'D . )
You're a queen - you should know how to step around a gown.
STANFORD
Do n't call me a queen.
ANTHONY
Go - Out in the hall, your highness.
Everyone except for Lily moves out into the hall . Carrie 's cell RINGS AGAIN . Lily picks it up , opens it and holds it up to her face - She says nothing . Big is standing there . He hears only Lily breathing .
BIG
Hello?
Lily closes the cell phone . Big reacts , puzzled . She opens her little purse , drops the phone in and walks out . Carries and company leave the building , JADED NEW YORKERS passing by react with awe at the beautiful sight . CHARLOTTE leads Lily over to HARRY who is waiting by the Sedan . He makes a fuss over how cute she looks . Big 's driver RAOUL -LRB- 55 -RRB- is waiting out front next to his car , smoking . Big leaves his building talking on his phone .
CARRIE
( V.O . )
It's Carrie. leave me a message.
BIG
Why are n't you calling me back? I really need to talk to you. Call me back as soon as you get this.
He closes phone . Raoul opens the back door . WEDDING GUESTS arrive . Bitsy comes up to Stanford . A DRIVER follows her carrying a LARGE box from TIFFANY .
STANFORD
Looks like someone had breakfast at Tiffany.
BITSY
Sweetheart, look at the size. it's breakfast, lunch and dinner at Tiffany.
( beat . )
Gifts?
Stanford chuckles as he points . She points to the DRIVER and they walk away . Anthony comes over to Stanford .
ANTHONY
We have a problem.
STANFORD
I know, but for Carrie's sake I've decided to ignore your attitude.
ANTHONY
No, a real problem. They're not here.
STANFORD
They're probably stuck in traffic.
ANTHONY
Both of them?
Stanford gives a look of concern . Anthony nods . Big 's car is parked in front of the library . Raoul is leaning against it looking at his watch . Big is on the phone , smoking one of Raoul 's cigarettes .
CARRIE
( V.O . )
This is Carrie, leave a message.
BIG
I'm out front - waiting. I ca n't go in without you.
He takes a drag on the cigarette . Exhales .
BIG
( CONT 'D . )
Baby, this whole bride and groom thing has really thrown me. I need to know that it's still us. Just like you said. Me and you.
Raoul KNOCKS on the window . Big looks out . The girls are in the process of climbing out of the limo . Big closes the phone and looks . Carrie gets out of the limo , her back to him .
BIG
( CONT 'D . )
Turn around baby, let me see you.
Just as he 's about to see her face - Charlotte pulls the veil over it . Carrie is gone - all Big can see is a bride . He sinks back into his seat and away from the window as the girls hurry up the library stairs . Anthony and Stanford are waiting , as are Harry with Lily and Magda with Brady , who is wearing a little tux with shorts and knee socks holding a ring pillow . A FLURRY OF HIGH HEELS CLICKING on a marble floor is heard as Carrie and the girls arrive around a corner . Magda GASPS , overjoyed when she sees Carrie in her dress .
MIRANDA
Traffic was the worst -
Miranda kneels to hug Brady . Samantha fluffs Carrie .
SAMANTHA
Ready. We're ready.
Samantha looks over . Anthony has a weird look on his face .
STANFORD
He's not here yet.
SAMANTHA
Who's not?
ANTHONY
The groom.
Carrie lifts up her veil with ONE arm and looks out from under it . She is on super high - alert .
CARRIE
What's happening?
SAMANTHA
Big's not here.
CHARLOTTE
But we're twenty - five minutes late.
CARRIE
Did anyone call him?
( beat ; nothing . )
Give me a phone. Someone give me a phone.
Samantha hands her the iPhone . Carrie looks at it .
CARRIE
( CONT 'D . )
( tight/controlled . )
I do n't know how to work this.
Stanford hands her a phone . As she dials she catches a WORRIED LOOK on Charlotte 's face . Carrie turns away and holds the phone to her ear , waits . Waits . Then -
CARRIE
( CONT 'D . )
( into phone . )
Are you okay?
Big is sitting in the car as it MOVES down a side street .
BIG
I've been calling you for an hour. Why have n't you been answering your phone?
CARRIE
( anxiety escaping . )
I do n't know where my phone is!
( beat . )
What is going on? Where are you?
BIG
( beat ; then . )
I was out front - but I just left. I ca n't do this.
CARRIE
( in pain . )
Oh my God -
Carrie drops the phone from her ear - She 's heard the words . The words on some level she was expecting .
CARRIE
( CONT 'D . )
He's not coming. Oh my God.
The phone slips out of her hand and lands on the floor . Charlotte , Miranda , and Samantha do n't know what to do .
SAMANTHA
What do you mean he's not coming?
CARRIE
Get me out of here.
( beat ; a plea . )
- Get me out of here!
SAMANTHA
Go, go. You take her. I'll stay here and deal with this -
She gestures to the wedding area . Miranda and Charlotte take Carrie 's arms and quickly start moving her away . Horror on all of their faces . Brady CALLS after them , his voice ECHOES off the marble .
BRADY
Where you going, Mommy?!
Samantha looks at Stanford and Anthony - speechless . The LIMO DRIVER slams the limo door . Carrie is seen through the window , sitting in back - stunned . Miranda and Charlotte are in the back next to her - stunned . Big sits , pale , staring off as the car drives away .
BIG
( sudden realization . )
What the fuck am I doing? What the fuck am I doing?
( to Raoul . )
Turn around and go back.
RAOUL
It's a one way street. I have to go around the block.
BIG
By the time we go around the block she'll be gone. No one's behind us - Turn around!
Big 's car makes a QUICK three - point turn and starts back up the one - way street as Carrie 's limo turns onto it . Raoul sees the limo - coming .
RAOUL
I think this is them.
BIG
Pull over. Pull over.
Big 's car pulls over , as the limo approaches . Big powers down his window - as the limo passes , he sees Carrie in the window - resting her head against the glass , listless .
BIG
( CONT 'D . )
Carrie!
Carrie looks up , and see 's Big . He smiles an apologetically smile . Her limo keeps on moving . Big watches it go . Until . The limo SCREECHES to a halt . The back door flies open and Carrie almost leaps out . Big sees her , he looks relieved . She hurries up the street to Big 's car holding her bouquet . Big gets out of his car just as Carrie reaches him .
BIG
I freaked out for a minute - but - I'm ready now -
Carrie HITS him with her bouquet . It 's a violent direct hit on his face . He recoils . She hits him again , hard . a wounded sound escaping her throat .
BIG
( CONT 'D . )
Carrie!
She hits him again . He ducks back into the car for protection . She hits the bouquet on the roof of the car - the flowers start breaking apart and flying everywhere .
CARRIE
I knew you would do this - I knew it!
Miranda reaches Carrie and holds her back by her waist . Big gets back out of the car and starts over to her .
BIG
I'm sorry - I just -
With all she has left , she throws the broken bouquet at him .
CARRIE
You left! I am humiliated!
Carrie starts crying . Charlotte has arrived . Carrie turns and falls into her arms . Miranda and Charlotte lead her away . Big starts over to follow .
BIG
Carrie, wait -
Charlotte whips her head around and stares him down .
CHARLOTTE
No!
He stops in his tracks . A WAITRESS -LRB- 20 's -RRB- at the Brant Park Cafe nearby `` over - pours '' water into a CUSTOMER 'S glass - riveted by the scene . Miranda and Charlotte move Carrie back into the limo . A CAB comes down the street and HONKS at Big standing in the road ; dazed . Carrie sits in a chair . She is holding a glass and has an Hermes blanket wrapped around her . Miranda sits nearby holding a bottle of vodka . Samantha paces , working on her iPHONE .
CARRIE
I thought I would still be in extreme pain but I'm feeling nothing.
Carrie reaches over and holds out her glass .
CARRIE
( CONT 'D . )
I'd like a little more nothing.
Miranda nods and pours some more vodka into it .
CARRIE
( V.O. ; CONT 'D . )
I had gone from Little Women to Little Drunk Women.
Charlotte enters and looks over at Carrie , soulfully .
CARRIE
( CONT 'D . )
Yes, I'm still jilted.
SAMANTHA
What the hell got into him? He was perfectly fine at the dinner.
Miranda sips her vodka - should she say anything ?
CARRIE
I knew it when he called last night. I could tell.
SAMANTHA
Why did n't you say anything?
She shrugs and sips .
CARRIE
Did n't want to believe it. Did n't even want to say it out loud.
( beat . )
And now I have nowhere to love -.
( beat ; then . )
I meant live. I have nowhere to live.
CHARLOTTE
You'll stay here.
CARRIE
Forever.
She sips . Charlotte looks at her , concerned .
CHARLOTTE
Maybe you should eat something.
She shakes her head . Charlotte looks at the others .
CHARLOTTE
( CONT 'D . )
Anyone hungry?
They shake their heads ; no .
CARRIE
Well, if you change your minds, I know where we can get one hundred beef, seventy - five fish and twenty - five vegetarian meals.
She sips . Charlotte rubs her back . She sips .
CARRIE
( CONT 'D . )
And my clothes. All my clothes. I can never go over there again. How am I going to get my clothes?
SAMANTHA
Oh, honey - I can hire people to do all that. Anything you need.
CARRIE
A hit man?
( beat . )
I have nothing to wear but a wedding gown.
CHARLOTTE
You have your honeymoon stuff here.
CARRIE
There's the silver lining. A honeymoon to a romantic Mexican resort that's pre - paid on my credit card because I wanted to surprise the man who jilted me.
SAMANTHA
I can get you out of that. Worse comes to worse - I'll say there was a death or something.
CARRIE
Was n't there?
She sips , looking sad . Charlotte leans down and tucks in the sleeping Lily . She picks up a `` Chinese baby doll '' and nestles it under Lily 's arm , then turns and starts out . Miranda is standing in the hall as Charlotte enters from Lily 's room .
MIRANDA
I did something really bad - I think.
Charlotte looks at her .
MIRANDA
( CONT 'D . )
I said something to Big. At the rehearsal dinner.
CHARLOTTE
What do you mean?
MIRANDA
It was right after Steve showed up. I was upset. Big came up to me - and I said something like : You're crazy to get married.
( off her look . )
It just came out.
Charlotte nods trying to understand .
MIRANDA
( CONT 'D . )
Do you think it was totally the reason?
CHARLOTTE
( cutting her a break . )
No, no, no. Big has been weird about marriage for years.
MIRANDA
I keep thinking I should tell Carrie.
CHARLOTTE
No, no. This is a really bad time to even mention it - no, no, no. Find another time. Later.
Samantha comes down the hall . She is energized .
SAMANTHA
Well, turns out, I could n't get her out of the honeymoon - but I got us in.
MIRANDA
What?
SAMANTHA
I just booked us three seats on the flight. Mexico here we come.
Charlotte and Miranda react ; completely thrown .
MIRANDA
I ca n't go to Mexico. I have a job.
Samantha indicates Carrie - sitting in the den staring off to nowhere , deeply sad - Devastated . A lush tropical road with a view of the sun setting on the ocean . A large open air GOLF CART comes around the bend holding the girls . Carrie 's hair blows in the breeze , her sunglasses firmly in place . A gorgeous romantic private house surrounded by tropical splendor . The cart arrives in front . The DOORS are open and PAULO -LRB- 38 -RRB- the BUTLER stands there holding a tray with two beautiful tropical drinks . He is surprised when he sees the four women , but he covers , effortlessly .
PAULO
Welcome to Mexico.
SAMANTHA
Buenos dias.
Carrie gets out of the cart and goes into the house - followed by Charlotte and Miranda . Samantha arrives and picks up a drink off the tray .
PAULO
I'm sorry. I am confused. I am waiting for a Mr. And Mrs. Preston.
SAMANTHA
Honey, you'll be waiting for a long time.
She sips the drink , then looks at him , `` familiar . ''
SAMANTHA
( CONT 'D . )
We'll talk.
Charlotte and Miranda stand looking at the gorgeous , romantic private Mexican bungalow . Samantha enters ; looks .
SAMANTHA
This. will kill her.
( beat . )
Where is she?
CHARLOTTE
In the powder room.
Carrie stands looking in the mirror . She takes off her sunglasses . Her eyes are red , red , red . She splashes water on her face and looks at herself in the beautiful Mexican mirror . Paulo leads Miranda , Charlotte , and Samantha into the romantic bedroom suite . On the bed - rose petals are scattered in the shape of a large heart .
MIRANDA
Oh My God!
Miranda and Charlotte quickly grab the bed cover and jerk it up - throwing all the rose petals off . Paulo watches . Miranda addresses him in a very intense WHISPER .
MIRANDA
( CONT 'D . )
No more honeymoon stuff. This is very important. Have I made myself clear?
Carrie exits the powder room , her sunglasses in her hand . She stands in the entry way ; alone . She looks out at the main room ; the beautiful view , the romance . Her eyes start to water . A PORTER enters with the bags . Carrie hides her face , acknowledging him with a nod . Carrie enters and moves directly to the bed , past Charlotte where Miranda is sitting talking on her cell .
MIRANDA
Magda - I'll talk to you tomorrow
Miranda hangs up as Carrie crawls onto the bed and lays down . The pink sunset light floods across her face .
SAMANTHA
Well, it's a gorgeous sunset.
CARRIE
Close the shutters.
Paulo moves over to the window and starts closing the shutters . The sun is slowly shuttered out .
CARRIE
( CONT 'D . )
All of them.
Carrie closes her eyes . DARKNESS falls across her face . The room is dark except for the bright sunlight straining to get in between the cracks of the closed shutters . Carrie is asleep . Miranda sits on the bed . Carrie stirs , half waking . Miranda smiles .
MIRANDA
Morning.
CARRIE
Did I dream it?
Miranda shakes her head , no . Carrie closes her eyes , falls back asleep . Dark . Carrie is still asleep . Charlotte sits on the bed . She gently shakes Carrie . Carrie opens her eyes .
CHARLOTTE
Carrie, it's dinner time. You slept the whole day.
CARRIE
So?
Carrie closes her eyes . Charlotte exhales , concerned . A `` tingling of glass '' sound wakes Carrie . She opens her eyes and looks . Samantha is just sitting on the bed with a breakfast tray .
SAMANTHA
Honey, you have to eat a little breakfast.
CARRIE
I'm tired.
SAMANTHA
Eat something and you can go back to sleep.
Samantha holds up a bowl of yogurt . Carrie adjusts on her pillows a little . Samantha feeds Carrie a spoonful of yogurt . Carrie looks at her . Samantha nods . Samantha , Miranda and Charlotte are sitting having lunch . Charlotte opens a pre - packaged `` snack pack '' chocolate pudding . She peels the lid off , takes a spoon and starts eating .
SAMANTHA
With all this gorgeous fresh food you're just going to eat that pudding crap the entire trip?
CHARLOTTE
It's the only thing in the pantry that's totally safe.
( holding up lid . )
See. Made in Poughkeepsie. I do n't want to chance it.
MIRANDA
It's a five - star resort.
CHARLOTTE
It's Mexico.
The bedroom door opens . Carrie walks out . The sun hits her eyes . She squints .
CHARLOTTE
( CONT 'D . )
Carrie!
CARRIE
Is there coffee?
All four girls are laying in the sun in bathing suits reading magazines . Miranda re - adjusts her body , stretching out on her beach chair .
MIRANDA
The sun feels nice.
Samantha looks over at her and notices something .
SAMANTHA
Jesus, honey. Wax much?
Miranda looks up at Samantha . Samantha indicates her swimsuit crotch area . which is badly in need of a wax . Miranda grabs her towel and covers her crotch area .
MIRANDA
- What? I did n't know I was going to be in a swimsuit.
Carrie and Charlotte look up from their magazines .
CHARLOTTE
What are you talking about?
MIRANDA
I forgot to get a wax.
SAMANTHA
Since when - 1998?
Carrie looks away , resumes reading .
MIRANDA
I've had other things on my mind.
SAMANTHA
I could be on death row and not have that situation.
MIRANDA
Well, when you're married, Samantha - you have a different set of priorities.
SAMANTHA
Honey do n't blame marriage -.
( re : Charlotte . )
This one's married - and she's not growing a national forest. How do you even cross your legs?
( beat . )
Let me make you a spa appointment - Any thicker and you wo n't be able to find it.
Miranda gets up from the chair and looks at her , mad .
MIRANDA
So what - It's my fault?! I let the sex go out of our marriage! I deserve what I got. Thanks for understanding.
She walks away . Samantha calls after her .
SAMANTHA
Honey, I'm sorry. That's not what -
MIRANDA
I'm fine!
Miranda goes inside . Carries throws her magazine down .
CARRIE
Let's go down to the hotel for dinner on the beach tonight.
CHARLOTTE
Really?
CARRIE
Yeah. I've got to do something to pull me out of my Mexicoma.
SAMANTHA
Oh, honey. you made a little joke. Good for you.
Samantha nods . Charlotte smiles ; encouraged . A romantic open - air restaurant on the beach . A MARIACHI BAND is serenading HONEYMOON COUPLES . A MALE HOST leads the girls across the small dance floor to their table . As they walk Miranda notices a slow dancing TWENTY - SOMETHING HONEYMOON COUPLE kissing - very much in love .
MIRANDA
( to Carrie . )
Do n't look to your -
CARRIE
Too late.
They arrive at their table and the host places down MENUS . FELIX , -LRB- 40 -RRB- the waiter comes up to them .
MAITRE' D
Buenos notches. My name is Felix, I ` ll be your server.
SAMANTHA
( to Felix . )
Felix - We'll start with quatro margaritas.
CHARLOTTE
No, I'm not drinking. Just bottled water.
CARRIE
( to waiter . )
I'll drink hers.
FELIX
May I have your room numbers?
CARRIE
We're staying in one of the private houses. Number three.
He looks down onto a list he is holding , then up to Carrie .
MAITRE' D
Very good, Mrs. Preston.
The waiter smiles and walks away .
CARRIE
That was like taking a bullet.
Miranda , Samantha , and Carrie look at the menu . Charlotte reaches into her purse and pulls out a little pudding and places it on the table . They all look at her .
MIRANDA
Charlotte had pudding in her Prada.
Samantha laughs . Miranda smiles . Carrie looks .
CARRIE
Will I ever laugh again?
( beat ; then . )
I'm serious.
MIRANDA
Yes.
CARRIE
When?
MIRANDA
When something is really, really funny.
The Mariachi band strolls by playing .
CARRIE
Thank god for that Mariachi band or I'd be able to hear my own thoughts.
Felix re - enters with the drinks .
SAMANTHA
Fabulous - and keep them coming.
Food is on the table - but Carrie , Miranda and Samantha are mostly drinking . Charlotte is eating her pudding .
CARRIE
After everything I know. After twenty years of everything we've learned - I threw it all away for the thrill of putting his name on the honeymoon suite.
( beat . )
If I met me now - I would n't know me.
SAMANTHA
Well, as long as we're going down this road.
They look at her - she sips her cocktail .
SAMANTHA
( CONT 'D . )
I ca n't believe my life revolves around a man. On what planet did I allow that to happen?
CHARLOTTE
You love him.
SAMANTHA
Does that mean saying his name fifty times more a day than I say my own? Does it mean worrying about him and his needs before me and mine? Is it all about the other person? Is that love?
MIRANDA
No, that's marriage.
CARRIE
So, you're saying marriage is a bad thing? Good to know right about now.
Samantha looks down at her gardenia ring .
SAMANTHA
Even this ring. I wanted to buy this for myself. That meant something to me. To be able to do that. Then, he buys it for me.
CHARLOTTE
Because he knew how much you loved it.
SAMANTHA
Yes. But now, every time I look down at it. I see him. Not me.
CHARLOTTE
You could look at it and see a man who loves you and wants you to be happy.
SAMANTHA
No, you could look at it and see that. I'm Samantha.
The Waiter walks over -
SAMANTHA
( CONT 'D . )
We'll take another round.
CHARLOTTE
Another?
SAMANTHA
Relax - we're on vacation.
CARRIE
Technically - we're on my honeymoon.
MIRANDA
No - I think we're on their honeymoon.
She points to the TWENTY - SOMETHING COUPLE at a nearby table - who have progressed to graphic French kissing .
MIRANDA
( CONT 'D . )
( call to them . )
It's all so hot - three days in.
The GIRLS are pretty much the only ones left in the restaurant . Empty drink glasses .
CARRIE
He could n't get out of the car. After everything he'd already put me through - he could n't make the effort and get out of the car? I made the effort - I put a bird on my head.
MIRANDA
Was that what that was?
CARRIE
Yes.
MIRANDA
I thought it was just feathers.
CARRIE
No. It was a bird.
CHARLOTTE
It was beautiful.
CARRIE
He's a bad guy. Always was. Bad guys do bad things.
MIRANDA
And good guys do bad things. The good guys screw you and the bad guys screw you.
SAMANTHA
And the rest of them do n't know how to screw you. Trust me - I've done the leg work.
MIRANDA
And that was all Steve had - did n't have money - did n't have a career. He was the good guy bartender with a big dick.
The all look over at her and react .
SAMANTHA
How big?
CHARLOTTE
I do n't want to know this.
SAMANTHA
Eat your pudding.
MIRANDA
Nine. Like - nine and change.
CARRIE
That's nice. Kinda balances off the one ball.
SAMANTHA
You ca n't forgive a man with a dick over nine inches?
( off Miranda 's `` no '' . )
Well, honey, if you ca n't - some other woman will.
Felix comes up to the table .
FELIX
Ladies - the bar is closing.
CHARLOTTE
Thank God.
CARRIE
( to Felix . )
Mrs. Preston will take the check.
SAMANTHA
And a bottle of tequila.
Charlotte 's eyes widen . Felix nods . The STAFF are stacking chairs - The Mariachi band plays . Carrie , Miranda and Samantha are on the beach wading into the water . Charlotte is just off the dance floor - holding their shoes .
CHARLOTTE
( calling . )
Do n't go all the way in - there may be sharks!
Carrie , Miranda and Samantha are laying in the shade . Miranda is working on her laptop . Carrie is cautiously studying her cell phone . She reads the message `` window '' .
CARRIE
`` Mail box full.''
SAMANTHA
No time like the present.
CARRIE
Not ready to face it all yet.
Carrie puts down the phone . Charlotte walks out of the house wearing a workout outfit .
CHARLOTTE
I'm going for a run and then to the gym for pilates. Anyone want to -
They all shake their heads : no . Charlotte trots away .
MIRANDA
Good news. Just got an e mail from your buyer's attorney - they have agreed to sell you back your old apartment at that escalated price.
( reading . )
And `` are willing to vacate by the time you return - pending an additional financial offer.''
CARRIE
Well, apparently you can go home again - but it'll cost you.
SAMANTHA
Now - lets work on getting your things there.
Samantha picks up her iPhone and starts working as Miranda types an e mail response . Carrie watches them ; touched .
CARRIE
You two could rule the world.
Charlotte is showering after her workout .
CARRIE
( V.O . )
After her workout Charlotte could n't help but think about how truly blessed she was. This week had made her feel more grateful than ever for her happy marriage.
Charlotte closes her eyes , lets the water flow over her .
CARRIE
( V.O. ; CONT 'D . )
And while picturing her loved ones at home in New York, she forgot where she was.
Charlotte opens her mouth , shower water goes in .
CARRIE
( V.O. ; CONT 'D . )
And opened her mouth.
Charlotte suddenly realizes what she 's done . She spits the water out . A panicked look on her face . Charlotte walks along , looking refreshed . There 's a GURGLING sound in her stomach . Her eyes WIDEN . She walks quickly . Charlotte is moving oddly . Walking on the balls of her feet . She passes a WORKER who is pruning the bushes .
WORKER
Hello Miss..
Charlotte shakes her head ; not now . He looks at her . Carrie and Samantha sit reading . Charlotte hurries across the patio - a CRAZED LOOK on her face .
CARRIE
Sweetie - what's -
She shakes her head : NO and moves quickly to a door . She tries the handle - it 's LOCKED . NO !
SAMANTHA
That's locked - Use the other -
Charlotte starts - but stops , cold . She has the look of a trapped animal on her face . Then - BAM , BAM , BAM , BAM . Charlotte 's eyes WIDEN . They watch - stunned .
CARRIE
( V.O . )
And just like that, Charlotte Pookeepsed in her pants.
Miranda opens the door and stands there . Takes in the scene .
MIRANDA
Did you -
CHARLOTTE
Shut up, shut up, shut up.
Charlotte duck waddles across the patio to the open door . Carrie , Samantha and Miranda look at each other . Carrie BURSTS out laughing . She laughs till her eyes water .
CARRIE
( V.O . )
Miranda was right - when something was really, really funny - I laughed.
Carrie sits overlooking a magnificent view of the ocean . She has her cell phone in her hand . She pushes a button and listens to the first message .
VOICEMAIL
( V.O . )
First message. Received : Saturday, September twentieth ; twelve - thirty P.M.
BIG
( V.O . )
Hey babe - I need to talk to you before you leave for the -.
Carrie impulsively THROWS her phone off the cliff . It sails through the air . The sun glistens off the pink crystals as it falls to the ocean below . Raining . A MANHATTAN STORAGE TRUCK drives away from the front of Carrie 's building revealing . Carrie - standing in her front doorway . She exhales , turns and walks back inside . CARRIE swings open the front door - her living room is filled with boxes of her clothes , a few of her furniture pieces - many , beautifully wrapped wedding gifts - and her wedding gown .
CARRIE
( V.O . )
There was no better time I could think of to hire and assistant.
Carrie sits across from A SPOILED LABEL QUEEN -LRB- 22 -RRB- wearing expensive clothes .
SPOILED LABEL QUEEN
Ummm, no. I do n't lift boxes. Yeah, definitely - No.
A LARGE PARTY GIRL -LRB- 34 -RRB- Low cut blouse ; very relaxed .
PARTY GIRL
I love your books. You're shit's brilliant.
CARRIE
Um, Cathy. You seem drunk.
PARTY GIRL
Little bit. Never got to bed last night.
( beat . )
But I type like a motherfucker.
A mousey BUSINESS GUY -LRB- 23 -RRB- in a tweed suit and tie .
BUSINESS GUY
I have a degree in finance from Princeton and for the last two years I have been assistant to a V.P. at Merrill Lynch.
CARRIE
( polite/lost . )
And why do you think you're right for this job?
He glances at his feet . Carrie looks down . He is wearing high heels . Louise -LRB- 22 -RRB- African - American - she holds a LOUIS VUITTON DENIM PURSE .
CARRIE
So, you're from St. Louis?
LOUISE
That's right. Louise from St. Louis.
Carrie smiles , looks down at her resume .
CARRIE
Have you ever been a personal assistant?
LOUISE
No, but I'm the oldest of six kids, so I can pretty much handle anything you got.
CARRIE
Six kids? What was that like?
LOUISE
Crowded. I had to move to New York just to get some room. And where'd I wind up? A one bedroom apartment with three roommates.
CARRIE
( laughs ; then . )
Aside from the space issue. why'd you move to New York?
LOUISE
To fall in love.
Carrie is taken aback .
LOUISE
( CONT 'D . )
What? That's corny, right?
CARRIE
No, it's just - so - honest. I do n't think I've ever heard anyone say that in a long time.
Louise looks at her , owns it . Carrie smiles , sold .
CARRIE
( CONT 'D . )
Well. Louise from St. Louis. I have just one more question.
( beat . )
How does an unemployed girl with three roommates afford the Patchwork Denim Bowley Louis Vuitton bag?
LOUISE
It's rented. `` Bag, Borrow or Steal.'' It's like Netflix for purses.
CARRIE
No! How can I not know about this?
LOUISE
Girl, stick with me, I'll hook you up.
The room is now half - empty of the presents . Louise sits in the middle of the clutter - busy writing out note cards .
CARRIE
( V.O . )
And she did hook me up.
The space is much more orderly . Louise is kneeling on the floor taking books out of boxes and placing them on in piles on the floor . Carrie enters - amazed at the progress . Her phone rings . Louise answers it instantly .
LOUISE
Carrie Bradshaw. This is Louise.
( listens ; then repeats . )
Anne From the New York Observer.
She looks over at Carrie , who shakes her head : No .
LOUISE
( CONT 'D . )
I'll let her know you called.
She hangs up and continues working . Carrie watches her . Louise directs two DELIVERY MEN who are carrying a NEW MATTRESS into the bedroom . Carrie watches from her closet surrounded by boxes .
CARRIE
( V.O . )
After only three days - I began to think of her as Saint Louise from St. Louis.
Miranda is sitting at her desk , eating a take - out salad while talking on the phone .
MIRANDA
( into phone . )
No, I ca n't be more patient. Your agency has had three weeks to find me an apartment.
The office door opens - A TWENTY - SOMETHING ASSISTANT enters and places some documents on the desk in front of her . Miranda signs as she chews and talks .
MIRANDA
( CONT 'D . )
No - I told you. It has to be in Manhattan. Because it does. How hard could it be to find something just on the other side of the Brooklyn Bridge?
The assistant takes the documents and starts away .
MIRANDA
( CONT 'D . )
( into phone pissed . )
On second thought - Forget it. I could do a better job myself.
Miranda hangs up , exhales . Bites her salad . Determined . An ethically diverse neighborhood with ethnically diverse PEOPLE . Miranda walks with Brady . A WIDE EYED Magda walks next to her .
MIRANDA
According to New York Magazine, this is the new up - and - coming neighborhood.
A CAUCASIAN YUPPIE DAD -LRB- 32 -RRB- with a BABY in a snugly comes out of bodega . Miranda turns to Magda .
MIRANDA
( CONT 'D . )
See! Wherever he's going is where we need to be.
Miranda , excited about the hunt - picks up the pace following after the dad . Magda hurries as best as she can . Miranda , Brady and Magda walk around a corner .
MAGDA
I've been here before - This was all Ukrainian area.
Miranda spots a U - HAUL truck parked in front of a building .
MIRANDA
Coming or going?
TWO NYU - TYPE KIDS come out of a building carrying boxes .
MIRANDA
( CONT 'D . )
Going. Oh boy. Lets go.
She starts down the street with a clip . Magda is standing out in front of the apartment building with Brady . She looks - A HOT LOOKING LATIN GUY -LRB- 29 -RRB- with tattoos is sitting on the stoop with a pitbull . Miranda peeks into the empty apartment . Nice size , brick wall , big windows with a view of a colorful jungle gym on a play ground across the street . Her heart starts racing . Miranda comes out of the building out of breath as the NYU kids are going back in .
MIRANDA
Hi. I'm interested in the apartment.
NYU KID
Get in line.
MIRANDA
I understand but - who would I talk to about it?
NYU KID
The super.
He points to a SIGN in LOBBY . The name : Lovro Klujcik and a telephone number . Miranda writes it down .
MIRANDA
Lovro. - and I have no idea.
( attempting to pronounce . )
Ku.
MAGDA
( amazed . )
Kljuic. Lovro Klujcik. I know him.
MIRANDA
No way.
MAGDA
We were couple - long time ago.
MIRANDA
( ca n't believe her luck . )
No way - You dated?
MAGDA
Have n't seen him since his wife died.
MIRANDA
He's single?
Magda shrugs as if to say : So what ? Miranda smiles . Spanish music plays . Two female HAIRDRESSERS work on two Dominican WOMEN CUSTOMERS . Magda sits under a hair dryer - her top lip white with cream bleach . Miranda is next to her , dialing on her cell . Brady plays nearby with two Dominican KIDS -LRB- 5,6 -RRB- . Miranda stands at a gate and pushes the buzzer marked `` Klujcik . '' A door under the stoop opens revealing LOVRO KLUJCIK , a Croatian man about Magda 's age .
LOVRO
No, no. I told you on phone. the apartment is -
He looks past Miranda and sees Magda - standing there with brown hair and wearing make - up . His face lights up when he sees her .
LOVRO
( CONT 'D . )
Magda? Is this you?
She smiles . Shy . He beams at her . He opens the gate , saying something to her in his native tongue . Magda smiles .
CARRIE
( V.O . )
As much as Miranda wanted to pat herself on the back for finding her new apartment in just one afternoon. in the end, she knew -
Miranda watches , thrilled as they converse .
CARRIE
( V.O. ; CONT 'D . )
It was a Lovro connection.
SAMANTHA and SMITH have just finished making love . They are face to face .
SAMANTHA
That was really hot.
SMITH
Hmmm. You were kind of distant.
SAMANTHA
Distant? You're still in me.
He gently moves off her and reclines next to her .
SMITH
You want to talk about it?
SAMANTHA
When have I ever wanted to talk about it?
SMITH
Okay. I'll talk about it. Your best friends get screwed over by their guys - how can you not get distant?
SAMANTHA
It's more than that - lately, I have n't been feeling a connection to -
SMITH
What? Me?
SAMANTHA
No - to - it - here. I have no real connection to our life here.
SMITH
What life here? Seriously - all I do is work - and you run off to New York every chance you get.
SAMANTHA
Not every chance I get. Only for the A - list things.
( beat ; then . )
And my managing you - it's all too much. I'm starting to resent it. For the last two years it's been all about you.
SMITH
Well, for the first three years it was all about you.
SAMANTHA
I know. That was so much more fun.
SMITH
Maybe we need to make an effort to reconnect - spend more time together - away from the business. Less me, less you - More us.
Samantha is on the phone , looking out at the ocean .
SAMANTHA
So, I wo n't be coming to New York for a while. We're going to spend some time reconnecting on the weekends. do the `` LA couple thing.''
Intercut with Carrie at a public pay phone .
CARRIE
Yeah, hi, can you put on Samantha?
SAMANTHA
Really. At first I was all : `` You ca n't tell me what I can do'' - but then, I had to admit he had a point.
CARRIE
You people and your relationships.
OPERATOR
( V.O . )
Please deposit another eighty - five cents.
SAMANTHA
Honey, a pay phone? Where's your cell?
CARRIE
At the bottom of the ocean in Mexico.
SAMANTHA
Want me to hook you up with a new one?
CARRIE
No, not yet. No phone - no calls, no calls - no questions, no questions - no explaining no wedding.
Carrie puts coins into phone . She is wearing gloves .
CARRIE
( CONT 'D . )
Plus, It's an excuse to break out the gloves.
Samantha and Smith run into the surf in their wetsuits with surfboards .
CARRIE
( V.O . )
When Samantha Jones decides to do something.
Samantha and Smith are starting to make love on the beach as the waves crash on them .
CARRIE
( V.O . )
She does it all the way.
A BEACHCOMBER with a metal detector , watches nearby . A cooking class with other COUPLES . A CHEF watches as Samantha and Smith roll sushi .
CARRIE
( V.O . )
She and Smith did all the upscale L.A. couple things. Sushi.
Samantha and Smith stand next to each other wearing paper underwear . Two technicians spray tan them .
CARRIE
( V.O . )
Spray tanning.
The Red carpet backdrop reads : HOLLYWOOD SAVES AFRICA Smith and Samantha are being photographed . She is wearing a full - on African - inspired over the top fashion statement .
CARRIE
( V.O . )
And saving Somalia. Samantha - style.
Carrie sips a latté while sorting through a stack of papers . Louise is working on Carrie 's computer .
LOUISE
Carrie Bradshaw's web page is a mess.
CARRIE
- Interesting - so is Carrie Bradshaw.
Louise laughs . Carrie sips her latte .
CARRIE
( CONT 'D . )
Come on - When are we going to get to the really important things like unpacking my closet?
LOUISE
One thing at a time. Are you ever going to answer these emails?
CARRIE
Yes.
LOUISE
When?
CARRIE
Now?
LOUISE
Okay - I'll read - you tell me what to do.
( beat . )
Vitaminsforless. Delete. Right?
CARRIE
So right.
Louise deletes it - Looks at next e mail .
LOUISE
Who's John@jjpny.com?
Carries freezes - Louise looks up .
LOUISE
( CONT 'D . )
Oh, shit - that's him, right?
Carrie turns the lap - top around to face her and looks . JOHN@JJPNY.COM: `` I 'M SORRY . '' She clicks the email open ; breathless . One sentence : `` I do n't know what to say . '' She swings the laptop back around to Louise .
CARRIE
Delete.
Louise looks at her , unsure . then deletes .
CARRIE
( CONT 'D . )
And - is n't there some cyberspace place that you can send those so that I never have to see an email from him ever again?
( off her nod . )
Do that please.
LOUISE
You sure you want to end all communication with him?
Carrie nods . Louise nods . Carrie is reading Cinderella to Lily who sits in her lap . They are on Lily 's bed - surrounded by her dolls .
CARRIE
( reading . )
`` And Cinderella and Prince Charming lived happily ever after.''
( beat ; looks at her . )
This is a fairy tall sweetheart. Things do n't always happen like this in real life - you should know that now.
LILY
Again!
Carrie flips back to the front . Lily is all smiles .
CARRIE
And another one bites the dust.
Charlotte walks into the den with her coat on . She smiles .
LILY
Mommie home!
Charlotte walks Carrie to the front door .
CHARLOTTE
Thanks for watching her while I went to the doctor.
CARRIE
( pulling on coat . )
Sure. Everything okay?
CHARLOTTE
I'm pregnant.
Carrie looks at her . Charlotte smiles .
CARRIE
How?
CHARLOTTE
My doctor said sometimes when women stop trying - it can happen. She knows other couples that adopt and then get pregnant.
CARRIE
Sweetie.
CHARLOTTE
Carrie - I'm pregnant!
Happy , happy tears . Carrie hugs her .
CARRIE
( V.O . )
I guess, in certain houses, fairy tales do come true.
Halloween costume aisle . Carrie and Miranda browse .
CARRIE
I ca n't believe you're even dressing up.
MIRANDA
All the parents at Brady's school dress up - it's fun! Fun thought up by a group of non - working mothers with nothing else to do all day.
Miranda stops , looks at the costumes hanging there .
MIRANDA
( CONT 'D . )
Witch and - `` sexy kitten''. That's it? The only two choices for women. Witch and Sexy kitten.
CARRIE
You said a mouthful there, sister.
Miranda holds up a mask of a ghoul screaming in horror .
MIRANDA
Maybe I should just wear this and a business suit and go as myself.
CARRIE
( re ; mask . )
Speaking of monsters - I got an email from Big.
Miranda looks over at her .
CARRIE
( CONT 'D . )
`` I do n't know what to say.''
( beat . )
Ah. then do n't send an email.
MIRANDA
What were you expecting?
No idea . Miranda grabs a witch hat . They start walking away . They round a corner , CHILD wearing a mask pops up .
CHILD
Boo!
Carrie smiles . The child walks away .
CARRIE
Gon na take a little more than that to scare me after what I have been through.
They start walking toward the check - out counter .
CARRIE
( CONT 'D . )
And in the subject box : two words : I'm sorry.
MIRANDA
Steve is all about `` I'm sorry.'' I'm sorry emails - I'm sorry voice mails - I'm sorry flowers - I'm sorry cards. How about : do n't do anything to be :'' I'm sorry'' for.
CARRIE
Maybe he's sorry.
MIRANDA
Maybe Big is too.
CARRIE
Point taken.
( beat . )
I still ca n't believe this happened to me. I know it happened, but I ca n't believe it happened. I lay awake at night going over every detail of the last week in my head.
MIRANDA
Carrie - There's a detail I've been meaning to tell you about -
Carrie spots something ; GRABS Miranda 's arm with horror .
CARRIE
( V.O . )
And then I saw it. the only thing scary enough to scare me after the experience I'd been through.
On the rack in the front register - Vogue ! Carrie and Miranda stand looking at an open Vogue : `` The Last Single Girl : Carrie Bradshaw Gets Married . ''
MIRANDA
You look great, you look amazing. So. That's the worst of it.
Carrie flips a page . She noticed something .
CARRIE
Wait - what's that say? In the box at the end?
MIRANDA
( reading . )
`` Editor's note : The wedding of Carrie Bradshaw and John James Preston was cancelled as this issue went to press. Carrie Bradshaw is.
Miranda stops reading . Carrie looks at her .
CARRIE
Is what?
Miranda does n't want to respond . Carrie pushes the magazine further away so she can read it .
CARRIE
( CONT 'D . )
( reads . )
`` Carrie Bradshaw is still single and living in Manhattan.''
A wind kicks up , autumn leaves blow . Carrie walks down the street , the Vogue under her arm , angry .
CARRIE
( V.O . )
I did n't want to buy it - but I figured it was one less Vogue in New York.
Carrie 's door opens . Charlotte stands in the hall with Lily .
CHARLOTTE
I saw it. The pictures are gorgeous.
CARRIE
Yes - I'm a beautiful bride. Come in.
They walk in , Carrie closes the door .
CHARLOTTE
Look, the people who do n't know - will only see the beautiful pictures. The people who do know will only see what an asshole he is.
( beat ; to Lily . )
Mommy said a bad word.
CARRIE
( looks down to Lily . )
Hi, honey.
Lily holds up a little baby pumpkin to Carrie .
CARRIE
( CONT 'D . )
For me?
Lily nods . Carrie has to lighten up . She kneels to Lily .
CARRIE
( CONT 'D . )
And what are you going to be for Halloween?
LILY
Cinderella.
CHARLOTTE
Or - we also brought Mulan.
Lily shakes her head : NO . Carrie smiles .
CHARLOTTE
( CONT 'D . )
Would you like to go trick or treating with us?
LILY
Yea!
CHARLOTTE
Just in our building - if you feel up to it.
LILY
Yea!
CARRIE
( How can I not ? )
Yea!
Carrie knocks on Charlotte 's front door . It opens . Charlotte stands there - dressed as a cute cow . With udders on her belly . Harry is Uncle Fester . Lily is Cinderella in a MASK .
HARRY
No costume?
CARRIE
Look closer. I'm the scariest thing in New York. Jilted at Forty - one. Boo.
Harry Laughs . So does Charlotte . even Carrie smiles . They walk down the hall . Carrie is holding Lily 's hand .
CARRIE
You know you have to give me some of your loot, right?
Lily nods Carrie smiles . Harry knocks on a door . It opens . A PARK AVE WOMAN -LRB- 40 -RRB- , stylish - stands there with treats .
CHARLOTTE/HARRY/LILY
Trick or treat!
The woman smiles - then suddenly , her smile fades .
WOMAN
Oh, Carrie, I saw Vogue - I'm so sorry.
Carrie reacts , mortified . Another door opens . A PREPPY WOMAN -LRB- 36 -RRB- is there .
CHARLOTTE/HARRY/LILY
Trick or treat!
REVEAL : Carrie 's face - hidden behind the Cinderella mask . A STYLIST is blowing out a woman with dark chestnut brown hair . Reveal the woman 's face : It 's Carrie - Raining outside . Louise walks in , looks around .
CARRIE
Louise!
Double - take . Carrie is waving to her from a table .
LOUISE
Oh my Lord. I did not even recognize you.
CARRIE
That's the point. My head is the witness protection program.
LOUISE
I'm really feeling that look on you.
Louise reaches into her purse to get something -
CARRIE
And I am feeling that Balenciaga on you.
LOUISE
Mine till Tuesday.
Louise pulls out a cell phone and holds it out to her .
LOUISE
( CONT 'D . )
Here - time to re - join the world.
CARRIE
Already?
Louise nods . Carrie takes the phone .
LOUISE
Your new number. area code : 347 -
CARRIE
Hold, Hold, Hold. 347? No, no. I'm a 917 gal. Always have been.
LOUISE
No longer available. Now, you're 347.
CARRIE
Great. Now even I do n't recognize me.
Samantha sits on her deck . Her phone rings .
SAMANTHA
Samantha Jones.
CARRIE
( V.O . )
Carrie Bradshaw -
Intercut with Carrie walking along .
CARRIE
- Or I used to be.
SAMANTHA
Talk to me.
CARRIE
I'm a 347 area code. How tacky is that?
SAMANTHA
347 is the new New York.
CARRIE
I want the old New York with the old 917 and my old will to live.
SAMANTHA
Old New York, new New York - honey - at least it's New York.
She looks - Dante is coming out of the surf in his wetsuit .
SAMANTHA
( CONT 'D . )
Another hard thing about being in L.A? My `` sex on a stick'' next door neighbor. I ca n't stop looking at him.
CARRIE
Looking?
SAMANTHA
Just looking. After I saw Steve's face at the rehearsal dinner, I could never -
Dante notices her on the deck . He gives her a sexy smile . She does n't acknowledge it - turns away and walks inside .
SAMANTHA
( CONT 'D . )
But you should see this guy. Every night sex with a different partner. He's like -.
( searching then realizing . )
- Me. Five years ago.
CARRIE
Yes. When I was a 212.
Samantha strolls along Rodeo Drive .
CARRIE
( V.O . )
And in an effort to stay out of her house and out of trouble - Samantha went shopping.
She notices a sidewalk `` dog rescue station . '' Cute puppies frolic and play in a wire pen . In the back of the pen sits a tattered tiny DOG . Alone . Samantha ca n't help but look at it .
CARRIE
( V.O. ; CONT 'D . )
It certainly was n't the cutest dog in the pen - but their was something about it -
The dog looks up at her - Dark marks under its eyes . The Rescue Woman -LRB- 40 -RRB- notices Samantha looking .
RESCUE WOMAN
She needs a good a home. Interested?
Samantha shakes her head ; `` no . ''
CARRIE
( V.O . )
And just as Samantha convinced herself that the dog was n't for her.
The dog starts humping a stuffed animal .
RESCUE WOMAN
She's been fixed, but she has n't lost the urge.
Samantha holds the dog while talking to two GROOMERS .
SAMANTHA
And she needs a little eye work. Anything you can do about these stains?
The dog looks up at her . She looks down at it .
SAMANTHA
( CONT 'D . )
( to dog . )
Honey, I do n't mince words.
Samantha and the dog walk out of Gucci in matching outfits . looking fabulous . Three GUCCI SALESMEN follow them holding large Gucci bags . They walk to her sleek Mercedes SUV - parked at the curb . JUMP CUT TO : The back of the Mercedes SUV filled with shopping bags : Gucci , Prada , Dior - the SUV hatch is closed , revealing Samantha 's licence plate : I HEART NY . Samantha pulls away , the dog in her lap - fur blowing . Carrie and Louise are in the closet unloading clothes from the boxes . Carrie opens a wardrobe box - It 's the WEDDING GOWN . They both look at it - not knowing what to do .
LOUISE
Do you want me to get rid of it?
CARRIE
No, it's too beautiful. I'll just bury it deep in the back - like I did my feelings.
Carries closes the box back up . Louise watches ; then .
LOUISE
Do you miss him?
CARRIE
( beat ; then . )
Every day. You know, it's weird - I have n't cried very much at all. Maybe you're only allotted a certain amount of tears per man - and I used mine up.
Carrie gently pushes the box away . Opens another .
LOUISE
Yeah. I know how you feel ` cause, my college boyfriend broke up with me last year. And I miss him all the time.
CARRIE
( V.O . )
Suddenly, it dawned on me - there were two broken hearts in my - walk in.
CARRIE
( CONT 'D . )
Louise - we need a cocktail. Grab your rental.
Carrie starts out . Louise grabs her purse and follows . Carrie and Louise are having cocktails .
LOUISE
And it threw me so hard ` cause, you know, I thought Will - that's his name. was the love of my life.
CARRIE
What happened?
LOUISE
He said he loved me and all - but did n't think I was `` the one''.
Carrie looks at her , nods .
LOUISE
( CONT 'D . )
And that hurt. But - you know - whatever. I'm not going to give up on love.
CARRIE
Good.
LOUISE
Love is the thing, you know.
She holds up her key chain . The word `` Love '' in gold .
LOUISE
( CONT 'D . )
See that. I'm bringing it to me all day long.
Louise gets a `` text '' . She reaches over and looks . She smiles as she reads it . Carrie raises her eyebrow .
CARRIE
Oh, I remember that smile. Who's the guy?
LOUISE
Someone I just met. He wants me to meet him for a drink.
CARRIE
At 11:30? That's a bootie call.
LOUISE
No, it's not like that. he just got off work - he's a waiter.
CARRIE
Louise, I may not get texts and I may not send texts - but trust me : The sub - text of that text : Bootie.
Louise nods , then starts texting him .
LOUISE
But it's not a bootie call if he meets me. right?
CARRIE
All right, then. You kids enjoy. That's what your twenties are for. Your thirties are to learn the lessons.
Carrie stands up , throws some money on the bar .
CARRIE
( CONT 'D . )
And your forties are to pay for drinks.
Charlotte sits on the couch , reading a magazine . The three dogs near her . Harry enters .
HARRY
You going for your run?
CHARLOTTE
Um. no.
HARRY
You did n't go yesterday either.
CHARLOTTE
I know.
HARRY
Why is that?
CHARLOTTE
( snapping . )
I do n't feel like running!
HARRY
( as he goes . )
Okay. Welcome to the house of hormones.
Carrie and Charlotte walk looking at furniture .
CARRIE
It's all about the desk. If I find the desk, the writing will come. And it better ` cause I'm using my new book advance to pay the fancy decorator.
CHARLOTTE
I think it's so great that you are re - doing your entire apartment.
CARRIE
Out with the old -.
( looks at price tag . )
- In with the overpriced.
Charlotte smiles . Carrie links arms with her .
CARRIE
( CONT 'D . )
Hey, Harry called me and mentioned you're not running.
CHARLOTTE
Why'd he do that?
CARRIE
` Cause he loves you. and he's concerned.
CHARLOTTE
There is nothing to be concerned about.
CARRIE
Did the doctor say it was n't safe or something?
CHARLOTTE
No, she said because I'm already a runner - it's fine.
CARRIE
So, why are you not -
CHARLOTTE
I'm afraid something bad will happen. It's a miracle that I'm even pregnant.
CARRIE
But if the doctor said -
CHARLOTTE
It's not rational, Carrie. it's irrational. I know that.
CARRIE
Okay.
CHARLOTTE
I've got everything I ever wanted. I'm so happy - I'm terrified.
( beat . )
No one gets everything they want. Look at you. Look at Miranda. You're such good people and look what happened to you. Of course, something bad is going to happen to me.
CARRIE
Sweetie, you shit your pants this year. Maybe you're done.
Charlotte laughs a little . Carrie moves her along .
CARRIE
( CONT 'D . )
You run every day - that's what you do. You ca n't stop being who you are - just because you're afraid. Right?
Charlotte nods , they walk on , linked together .
CARRIE
( CONT 'D . )
Now let's get down to business. I've got to have my apartment done in time for that baby shower.
AUTUMN LEAVES fall as Charlotte walks onto the running track with the three dogs on leashes . She starts to run - tentative - slowly . They trot along with her . Charlotte runs faster - more confident . The dogs run along with her - they are wearing Burberry pet sweaters .
CARRIE
( V.O . )
And as the last of the autumn leaves fell away - so did Charlotte's fear.
SNOWFLAKES float down . Charlotte , dressed for winter runs in form - alone . A smile on her face . Carrie sits at her card table `` temp '' desk . Louise is sorting through a stack of mail .
LOUISE
You sure you do n't want me to RSVP to some of these holiday parties?
CARRIE
Yep. I'm perfectly happy spending time home alone.
( beat . )
And speaking of home - you're going to miss your plane.
Louise takes a gift wrapped present out of her purse
LOUISE
Merry Christmas. It's just something silly.
Carrie opens it . A DVD of `` MEET ME IN ST. LOUIS . ''
CARRIE
Oh. Louise from St. Louis.
LOUISE
You said you never saw it - so.
CARRIE
Now, I feel bad. If I had known we were going to exchange gifts -
Carrie gets up and RUNS to her closet .
CARRIE
( O.C. ; CONT 'D . )
I would have bought you one two weeks ago and hidden it in here.
She comes back out with a large circular BOX tied with satin ribbons . It says : Louis Vuitton .
LOUISE
No! That is not what I think it is.
CARRIE
Open it.
LOUISE
Oh my Lord. Oh my -
She opens it and SCREAMS as she pulls out a gorgeous purse .
CARRIE
No more rent girl for you.
Louise throws it over her shoulder and walks `` runway . ''
LOUISE
Look who's home from the big city!
CARRIE
( V.O . )
It was the best money I'd ever spent.
Carrie comes out of her kitchen , holding a Cup O'Soup . She is wearing pajamas and socks .
CARRIE
( V.O . )
New Year's Eve. and a Cup O'Soup.
She plops in a chair in front of the TV . She picks up the `` Meet Me in St. Louis '' DVD and looks at it . Steve is standing in the open doorway - with his coat and hat on . Miranda is kneeling - putting a winter coat on Brady . A Christmas tree glows behind them .
MIRANDA
And what are you gon na say at midnight?
BRADY
Happy New Year.
MIRANDA
That's right - but you got ta say it more excited than that -.
( then ; excited . )
`` Happy New Year!''
BRADY
Happy New Year!
MIRANDA
You say that and then. you kiss.
She gives him a big kiss . He laughs . She stands .
STEVE
You all ready to go, B - boy?
MIRANDA
Did you pack the new Batman Santa brought you?
Brady shakes his head : NO .
STEVE
Aw man - Got ta have the new Batman.
MIRANDA
It's there near the tree.
Brady leaves to get it . Steve looks over at Miranda .
STEVE
You got plans with the girls?
MIRANDA
We're all kinda staying in tonight.
STEVE
Would you like to come and eat with us? We can go somewhere over here on your side.
MIRANDA
No, thank you.
STEVE
Miranda - I never meant to hurt you.
She looks away . Brady comes up back to them with Batman .
MIRANDA
There he is. Batman.
STEVE
Put your hat on. It's snowing out.
Brady nods and takes Steve 's hand . Steve looks over at Miranda .
STEVE
( CONT 'D . )
Happy New Year.
MIRANDA
Happy New Year.
BRADY
Kiss.
Silence . then , Miranda bends down and gives Brady a big sloppy kiss .
MIRANDA
See you tomorrow.
She stands up and closes the door . As it closes , Steve looks at her . Finally ; it is closed - she leans against it . Carrie sips soup watching a `` deliriously in love '' Judy Garland sing `` The Trolley Song . ''
JUDY GARLAND
ZING ZING ZING WENT MY HEARTSTRINGS THE MOMENT I MET HIM - I FELL
Carrie , not in the mood , picks up the remote - clicks . The TV goes off . She looks around : Now what ? Carrie sits at her makeshift desk as snow falls outside her window . She looks down at the computer ; motionless . CLOSE ON SCREEN : The only thing written on it is the word : `` Love . '' After a beat Carrie types three dots . She thinks , then deletes two of the dots . Her phone rings . She answers it .
CARRIE
Hello?
Stanford sits in a festive booth with festive FRIENDS .
STANFORD
Happy New Year - We're having a fabulous time. The only thing missing is you. Come.
CARRIE
That's sweet but I ca n't, I'm writing.
STANFORD
Oh. Okay.
( beat ; then . )
You're not really writing are you?
CARRIE
No. You're not really having a fabulous time are you?
STANFORD
No. Rescue me. It's very forced festive.
CARRIE
Oh yes, that's just what every New Year's Eve party needs : a visit from the lost Bronte sister.
STANFORD
Well. Better a Bronte sister than a Hilton sister.
CARRIE
( laughs ; then . )
Thanks but - by ten PM I'll be in bed asleep and blissfully unaware of how fabulous this night is supposed to be.
Carrie is sound asleep . Her phone rings . She grabs it .
CARRIE
Hello.
Intercut with Miranda - sitting on her couch watching the New Year 's Eve coverage on television . Chinese take - out is on the table in front of her .
MIRANDA
I thought one of the perks of having a family is you do n't have to spend New Year's Eve alone with Chinese food.
( beat . )
I'm alone with Chinese food.
CARRIE
I was sleeping.
MIRANDA
Oh, shit - I'm sorry.
CARRIE
That's okay. Where's Brady?
MIRANDA
It's Steve's night.
CARRIE
Right.
MIRANDA
Go back to sleep - do n't wake up.
CARRIE
It's okay. Are you alright?
MIRANDA
I'm fine - I was just getting a little choked - up watching the stupid New Year's Eve stuff on TV alone.
CARRIE
Want me to come over?
MIRANDA
I'm all the way downtown -
CARRIE
I can grab a cab -
MIRANDA
On New Year's Eve? No way. I'm fine. really. I just wanted to talk a little. Go back to sleep. Good night.
Miranda hangs up . Carrie lays there - holding the phone . She looks over at her bedside table clock : 11:12 . She thinks then - throws back the covers and gets out of bed . START MUSIC . Snowing . Carrie hurries out of her front door - a coat thrown over her pajamas . She comes down the stairs to the street looking for a cab . Nothing . No traffic . She starts RUNNING up the block - passing TWO FESTIVE COUPLES ; walking . Lily , in her PJ 's , is marching around the den wearing a `` Happy New Year '' party crown and blowing into a party favor horn . Harry and Charlotte - wearing New Year 's Eve party hats - sit on the couch - laughing . Charlotte and Harry kiss . His hand moves sensuously down Charlotte 's body and rests on her pregnant belly . Samantha and Smith recline on the couch . They are wearing sexy black robes and having caviar and champagne . The Dog sits nearby . a fire roars in the fireplace behind them . Samantha and Smith kiss on the couch . The Dog humps a pillow nearby . Magda and Lovro sit in a booth , they toast with sherry . Anthony stands talking to FRIENDS . Someone taps him on the shoulder . He looks over - it 's Stanford - holding two glasses of champagne . Stanford and Anthony look at each other as everyone around them kisses . Stanford presents his cheek . Anthony kisses it . Snowing . Carrie runs up the stairs of the Lower East Side subway stop . She looks around to get her bearings - then starts running again . She passes a GROUP OF TWENTY - SOMETHING PEOPLE blowing party horns and LAUGHING . Louise is talking to a group of St. Louis FRIENDS . She looks up as WILL -LRB- 22 -RRB- her handsome African - American ex - boyfriend enters . Their eyes meet . Her heart stops . He smiles . She smiles . He starts over to her . They stand talking - she smiles . He smiles . A festive , crowded restaurant . Sitting at the bar , next to a small Christmas tree . is Mr. Big , eating alone . Big looks up from the bar - watching couples kiss all around him . Steve and Brady are in bed . asleep . Miranda opens a fortune cookie - and reads it . Tosses it down . Picks up another - cracks it open . Reads it . Tosses it down . She looks like she might cry .
EXT. LOWER EAST SIDE APARTMENT BUILDING -- LATER -- WINTER
Carrie rounds the corner of Miranda 's street and runs up to her building .
INT. LOWER EAST SIDE APARTMENT -- MOMENTS LATER -- WINTER
Miranda opens the door - Carrie is standing there - out of breath .
CARRIE
( ou 're not alone .
Times Square is seen on the television in the background .
TELEVISION ANNOUNCER
( V.O . )
( - 4 - 3 - 2 - 1 .
Happy New Year !
Carrie and Miranda look at each other . They hug . Miranda and Carrie sit on the couch - eating - they are LAUGHING . END MUSIC . Snow on the ground - COLD . CROWDS gathered in front of the large fashion tent . Carrie , Miranda , Charlotte and Samantha trudge through the snow to the stairs . Samantha is wearing lots of fur . She SLIPS on some ice - Carrie catches her .
CARRIE
Easy girl.
SAMANTHA
Thanks - Three months driving in L.A. and I forgot how to use my fucking legs.
CARRIE
( V.O . )
Every year the women of New York leave the past behind and look forward to the future. this is known as Fashion Week.
They make their way up the stairs to the tent entrance . The lobby is buzzing with PRESS and CROWDS OF FASHIONISTAS . The GIRLS enter and make their way through the crowd .
CARRIE
This way. I hear the couture calling my name.
SAMANTHA
See this - this is what I miss. Last night Smith and I cuddled in front of the TV with `` take out'' Mexican.
MIRANDA
- In your four billion dollar beach house.
The girls LAUGH .
SAMANTHA
Still - I do n't think I'm cut out for the one - on - one relationship thing.
CHARLOTTE
You've been doing it for five years.
SAMANTHA
No, see - I've always had girlfriends on the side.
They smile . Miranda spots MAYOR MICHAEL BLOOMBERG across the room .
MIRANDA
There's Mayor Bloomberg.
SAMANTHA
New Yorkers are so damn attractive - Even the Mayor is hot.
MIRANDA
I believe that was his last campaign slogan.
The girls walk on . The room is filling up and buzzing with FASHIONISTAS as the girls make their way . Samantha spots her name on four chairs in the front row and leads the way .
SAMANTHA
There we are.
CHARLOTTE
We're in the front row?!
SAMANTHA
I pulled some strings.
CARRIE
Very nice.
SAMANTHA
I should go thank them -
Samantha throws her coat on her chair back .
CHARLOTTE
Decide where we want to go for lunch - I'll make the call.
( beat ; excited . )
It's like old times.
Samantha hurries off , excited . Carrie , Miranda and Charlotte settle into their seats .
MIRANDA
So, this is how you all spent your Saturdays while I was with Brady and Steve at the Brooklyn Aquarium.
CARRIE
Well. Not every Saturday.
MIRANDA
Just so you know - We always had front row at the mammal show.
( beat ; then . )
Steve does the funniest dolphin impression. Actually, it's more - Steve as a dolphin -
A smile escapes her - they look at her . Her smile fades .
CHARLOTTE
You really ca n't forgive him?
MIRANDA
Are you suggesting something?
CHARLOTTE
I like Steve. I've always liked Steve - He's apologized a hundred times - he's not seeing anyone else. What's it going to take?
MIRANDA
And are you also suggesting that she forgive Big?
CHARLOTTE
No. I could kill Big. Sometimes when I'm running - I imagine what I'd say if I ever saw him again. I have the perfect opening sentence. Want to hear it?
CARRIE
( duh ? )
Ah. yes.
CHARLOTTE
I curse the day you were born.
CARRIE
Impressive. Better work up a hand gesture to go with it.
Elaine comes up to Carrie , squats down in front of her .
ELAINE
Thank god you're here. They have me covering this Mercedes - Benz fashion week and I'm desperate for a Carrie Bradshaw - esque quote.
CARRIE
Well, I'll do my best. We'll talk after?
ELAINE
Great. And - ooh - my back -
She gets up - sits in Samantha 's empty chair next to Carrie .
ELAINE
( CONT 'D . )
( very sincere . )
- Can I just say that I'm so sorry about what happened with your wedding.
Carrie smiles - what else can she do ?
ELAINE
( CONT 'D . )
I do n't know how you survived it. I, personally, was so devastated I took myself off JDate - but you survived and you're here and you look amazing and I just think that's so great. Everyone in my row does - we ca n't stop talking about it. Okay - Meet you in the lobby after.
Elaine smiles and leaves . Carrie sits - stunned ; numb . She looks to the chairs across the runway - FASHIONABLE WOMEN are looking back at her - one or two smile sympathetically . She grabs her things and then turns to Charlotte .
CARRIE
I've got ta go.
Carrie slips silently away . Charlotte gets up and starts away after her . Miranda looks -
MIRANDA
Should I -
Charlotte shakes her head : `` not sure '' . and continues away . Charlotte catches up with Carrie as she is about to exit . Fashionistas stream by them on their way in .
CHARLOTTE
Carrie, wait.
Carrie stops - turns around - putting on her wrap .
CARRIE
This was a mistake - it's too soon - I'm not ready. I'll go get a coffee and you guys call me after - and I'll meet you for lunch.
CHARLOTTE
Are you sure? I know how much you were looking forward to this.
CARRIE
Yeah, I really was. until I became the poster child for wounded women everywhere.
CHARLOTTE
You're not.
CARRIE
Is this thing going to effect everything I do for the rest of my life?
CHARLOTTE
No - but if you leave right now - it will effect the rest of your day.
Carrie looks at her - takes this in .
CHARLOTTE
( CONT 'D . )
( softly . )
It's Fashion Week. We're in the front row.
CARRIE
Where everyone can see me.
CHARLOTTE
Who cares about them - You only came for the clothes.
Carrie smiles . a little .
CHARLOTTE
( CONT 'D . )
I know it's hard but - It's like you said : You ca n't stop being who you are.
Samantha and Miranda have just gathered their things and are leaving their chairs as Charlotte and Carrie return .
SAMANTHA
We thought we were leaving.
Charlotte shakes her head : NO . Samantha and Miranda turn around and start back to their seats as - MUSIC STARTS . LIGHTS CHANGE . The girls settle in just as a MODEL starts down the RUNWAY in gorgeous clothes . Carrie , Miranda , Charlotte and Samantha watch - DISSOLVE TO : the girls watching another model ; another outfit . They point and discuss what they see - loving it . DISSOLVE TO : the girls watching another model ; another outfit . With each outfit Carrie seems to lighten and brighten . DISSOLVE TO : the girls watching another model ; another outfit . Carrie smiles as she watches - now , truly enjoying herself . Carrie is being interviewed by Elaine holding a TAPE RECORDER . Miranda , Samantha and Charlotte watch nearby .
CARRIE
( V.O . )
I did n't know if it was the fashion or the fact that the four of us were together again - but for the first time in a long time - I felt like myself.
The girls leave the tent and start down the stairs .
SAMANTHA
Let's get a cab - I am starv -
SPLAT . Her fur coat is hit with SPLASH of red paint . They REACT : SHOCKED . AN ACTIVIST WOMAN stands there holding a paint cup . Next to her - another ACTIVIST is holding a PUG dog .
ACTIVIST #1
Fur is murder!
ACTIVIST #2
MUR - DER. MUR - DER.
SAMANTHA
( beat . )
God, I miss New York.
Carrie hurries across the street -
CARRIE
( V.O . )
And a couple of weeks later - I met St. Louise's St. Louis boyfriend, Will.
She arrives at the front of a restaurant . Through the window , she can see Louise sitting next to Will . Louise spots Carrie and waves . Carrie waves back and starts in .
CARRIE
( V.O. ; CONT 'D . )
Over Christmas they realized how much they loved each other. Just in time for Valentine's day.
Carrie turns the key in her mail box . A little pink envelope sits there . She takes it out and opens it . It 's a `` kid 's style '' Valentine card of Cinderella . She turns it over . Lily 's crayon mark mixes with Charlotte 's handwriting : To Aunt Carrie . Love , Lily . Carrie opens the door , holding the valentine . Her phone is ringing . She answers it .
CARRIE
Hello?
Intercut with Samantha in her kitchen attempting to make sushi . Her hands covered in rice . The DOG , wearing a sweater with a `` heart '' on it sits on the floor watching .
SAMANTHA
I'm just calling to make sure you are n't hanging from your shower rod.
CARRIE
You called an hour too early.
SAMANTHA
So, what's the V - day plan?
CARRIE
Miranda and I are going to dinner and then a really violent slasher movie.
SAMANTHA
Perfect.
CARRIE
And you?
SAMANTHA
I am making Smith sushi. Pause for reaction.
CARRIE
Wow. Do you make sushi?
SAMANTHA
We took a class a while back - and when he walks in the door at seven - thirty, I am going to surprise him by laying on the dining room table - covered with homemade sushi.
CARRIE
Boy, you do have time on your hands.
Carrie walks over to the book shelf and places the Cinderella valentine on it . She looks down at the bottom shelf . The Vogue magazine is looking up at her - She picks it up . A small , village restaurant festively decorated for Valentine 's Day . Pink balloons float on the ceiling , their red ribbon strings hang at eye level . Carrie and Miranda sit at a table . At all the other tables - Couples !
MIRANDA
Is it me or is Valentine's Day this year on steroids?
CARRIE
I think it was like this last year but we played for the other team.
A WAITRESS -LRB- 23 -RRB- approaches them with pink menus .
WAITRESS
Good evening. Here's our special Valentine night menu. All the selections are romantic in theme and designed to be split for two. Are you having wine?
CARRIE/MIRANDA
Yes.
WAITRESS
A glass or a bot -
CARRIE/MIRANDA
Bottle.
WAITRESS
I'll be right back to take you and your girlfriends order.
The waitress leaves . Miranda looks at Carrie .
MIRANDA
I could do a lot worse.
The wine bottle is now empty . Carrie and Miranda eat .
MIRANDA
Why would you look at the Vogue today of all days?
CARRIE
` Cause - I'm an emotional cutter.
( Beat ; then . )
I deserve what I got. Running all over New York believing that I'm finally getting my happy ending. `` See everyone, love does conquer all. Look at me in my one of a kind wedding gown marrying the love of my life.''
Waitress stops at the table . She picks up the bottle .
WAITRESS
Would you like another bot -
CARRIE/MIRANDA
Yes.
She leaves .
CARRIE
And Miranda. in that article - I did not say `` we'' once. It was all : `` I'' want and `` I'' think.
MIRANDA
It was from your point of view.
CARRIE
My point of view. Exactly. The whole wedding was my point of view. I let the wedding get bigger than Big. I am the reason he did n't get out of that car.
MIRANDA
You ca n't put this all on yourself.
( beat ; then . )
Okay. I said something I should n't have said to Big at the rehearsal dinner.
CARRIE
What do you mean?
MIRANDA
I was really upset after Steve showed up and I bumped into Big and - I said that you two were crazy to get married.
Carrie is stunned . The waitress arrives with the new bottle of wine .
WAITRESS
Here we go. Your Shiraz.
She is opening the bottle . Tension . She pops the cork - starts to pour .
MIRANDA
Stop - It's fine - Thanks.
The Waitress puts the bottle down and walks away .
MIRANDA
( CONT 'D . )
I'm sorry, I was upset - Steve had -
CARRIE
I have been going over this and over this in my mind for five months - and - for five months you kept a secret like that?
MIRANDA
I tried to tell you once but the Vogue article came out -
CARRIE
Once? You tried to tell me once? You should have tried to tell me every single day!
MIRANDA
I know, I was looking for the right time.
CARRIE
There is no right time to tell me you ruined my marriage!
The Room is now at `` attention . ''
MIRANDA
It just happened - I was n't thinking.
Carrie grabs her purse - to leave .
MIRANDA
( CONT 'D . )
Carrie, please - Do n't go - I -
Carrie stands up - the festive balloon strings bob in front of her face . She pushes them away .
CARRIE
And I think what hurts the most is that you kept a secret from me. I have never ever kept a secret from you. Ever!
She starts out . Stops , comes back - through the ribbons .
CARRIE
( CONT 'D . )
No, I'm lying. For the last five months I've been thinking that it's a huge mistake that you left Steve.
( beat . )
There. How does it feel?
She turns and pushes balloons out of her way as she starts out . A KISSING COUPLE -LRB- 20 's -RRB- is BLOCKING her way .
CARRIE
( CONT 'D . )
Excuse me!
They stop - She squeezes by them . Miranda is devastated .
INT. BEACHOUSE/DINING ROOM -- NIGHT -- CONTINUOUS -- WINTER
Candles are lit . Samantha enters wearing a sexy sheer robe and carrying a giant tray of homemade sushi . The phone rings . The machine picks up . Smith leaves a message .
SMITH
( V.O . )
Babe - we're way behind on set. I still have n't been released. I'll get there as soon as I can.
She SIGHS - places the tray on the table . Looks at the wall clock : Seven - thirty . Eight o'clock . Samantha is sitting in the robe near the table . Not pleased . Eight - thirty - Samantha is pacing . She takes a piece of sushi - pops it in her mouth and chews - pissed . A WOMAN MOANING is heard . She walks over and glances out the window into Dante 's living room . Candles are everywhere - he is naked and GIVING HEAD to naked BLONDE WOMAN . She is writhing in pleasure . Samantha watches - even more pissed .
CARRIE
( V.O . )
It was the same Valentine night Samantha had planned - minus the sushi.
Samantha now wearing sweat clothes , sits with her arms crossed - waiting . The door opens and Smith enters .
SMITH
I'm home!
He see 's Samantha sitting there . He smiles .
SMITH
( CONT 'D ; CONT 'D . )
Man, that was a long day - the crew went into double overtime.
SAMANTHA
You are three hours late.
SMITH
Bummer. I know. Did you eat?
SAMANTHA
Yes, I ate. I ate the sushi that I hand made for you. The sushi that I planned to lay all over my naked body as a Valentines surprise for you.
SMITH
Why are you so upset? I called.
SAMANTHA
I slaved away in a kitchen all day to make this meal for you.
SMITH
You made some sushi - it's not a big deal!
SAMANTHA
Not a big deal?
She stands up . She picks up some pieces of sushi .
SAMANTHA
( CONT 'D . )
You see this - This took me five fucking hours!
She throws sushi at him . He dodges them .
SAMANTHA
( CONT 'D . )
I am not the type of woman who sits home all day waiting for a man!
( beat . )
You love California so much - enjoy your hand - made California roll!
She throws more sushi and storms out . Smith looks at the subzero fridge . A sushi piece slides down the front . A FLORAL ARRANGEMENT sits on the hall table next to the answering machine . A card reading : `` I 'm sorry - Miranda '' is nearby . The answering machine is recording an incoming call from Miranda .
MIRANDA
( V.O . )
It's me. Pick up. Are you there?
Carrie is standing in the bathroom ; looking out at the answering machine , brushing her teeth .
CARRIE
( V.O . )
Three days of `` I'm sorry'' calls and e - mails and flowers - and I still was n't ready. It was the longest we'd even gone without speaking.
Rain . Carrie walks up to her stoop . A CAB idling in front . The cab window goes down . Miranda is sitting there .
MIRANDA
Carrie.
Carrie looks . Stops .
MIRANDA
( CONT 'D . )
Hi. I need to talk to you.
CARRIE
How long have you been waiting here?
Miranda looks to the meter , then back to her .
MIRANDA
Seventeen dollars long.
( beat . )
Please get in. It just turned to eighteen.
Carrie looks at her , hesitates , starts over to the cab . Rain pours down the windows . Carrie and Miranda sit in silence . A MIDDLE EASTERN DRIVER sits behind the wheel . CLOSE ON : THE METER . It reads 22.00 . This is weird not talking .
CARRIE
I'm upset.
MIRANDA
Carrie, I understand - but it just happened - I never meant to hurt you.
( beat . )
You have to forgive me.
Carrie looks over at her .
CARRIE
You know -
MIRANDA
What?
CARRIE
No.
MIRANDA
Please. What were you going to say?
CARRIE
You badger me to forgive you in three days - and you wo n't even consider forgiving Steve for something he did six months ago.
MIRANDA
It's not the same thing.
CARRIE
It's forgiveness.
Miranda thinks - Carrie looks at her .
CARRIE
( CONT 'D . )
And - I know you're not the reason my marriage fell apart. I was just - desperate to have someone else to blame.
Miranda thinks . The METER clicks . Steve and Miranda are sitting in front of a THERAPIST .
MIRANDA
I do n't know if I can trust that it wo n't happen again.
THERAPIST
Steve - you're very quiet today.
STEVE
Miranda, I know I made it hard for you to trust me. But - You made it hard for me to trust you.
MIRANDA
Me?!
STEVE
The way you treated me and cut me out of your life like that? I mean, yeah - I broke a vow. But what about the other vows? Like promising to love someone for better or for worse? What about that?
Miranda looks down at her hands . Steve looks at the therapist .
STEVE
( CONT 'D . )
How do I know she wo n't punish me for the rest of my life?
THERAPIST
You do n't. And she does n't know for sure that you wo n't have another indiscretion.
( beat . )
All you can know. is that you want to move forward and risk that you love for each other wo n't allow that to happen.
Silence .
THERAPIST
( CONT 'D . )
And that's what we'll discover here.
Steve looks over at Miranda . Miranda looks at Steve . Forsythia bushes are in bloom . Carrie and Miranda walk . They carry sandwiches .
MIRANDA
So, we're done with our last session and we're not allowed to talk for two weeks while we figure out if being together again is something we really want. And then - we had to pick a place to meet - and if we both show up on that day - the past no longer exists. Showing up is the promise we make to each other that we're willing to let it all go and move forward.
CARRIE
Can you do that?
MIRANDA
I do n't know. I have a lot of thinking to do.
CARRIE
Thinking - or feeling?
MIRANDA
What do you mean?
CARRIE
Miranda - you're a lawyer. You can argue both sides of any case - but, why we feel what we feel - is n't logical. It's emotional. Sorry, Harvard - I'm afraid you're going to have to make this decision based on your emotions.
MIRANDA
Well, then - I'm screwed. I do n't know what I feel.
CARRIE
You will. There will come a moment when you'll know. And if it's : yes - all that brilliant logic will go out the window. with the past.
MIRANDA
And I thought picking the place to meet was a challenge.
CARRIE
Where is it?
MIRANDA
The Brooklyn Bridge. Halfway between both our places.
CARRIE
Very logical. And yet poetic.
MIRANDA
Poetic - if we both show up. Otherwise - you're on a bridge - rejected. Not a good plan.
Carrie walks in carrying a Starbucks cardboard caddy with two coffee . Louise is sitting at her desk , working .
LOUISE
I have two pieces of good news.
CARRIE
And I have two coffees.
LOUISE
I just got a heads - up from your realtor. The apartment on Fifth finally sold.
Carrie sips coffee . Nods .
LOUISE
( CONT 'D . )
You have sixty days before the new owner takes possession and you are out of there.
CARRIE
What's the other news?
Louise holds up her hand . There is a diamond ring on it .
CARRIE
( CONT 'D . )
Oh my God -
LOUISE
I'm moving back to St. Louis - we are getting married in the fall.
Louise beams . Carrie hugs her . Grey day . Samantha is sitting on the beach reading `` The Secret . ''
CARRIE
( V.O . )
Meanwhile, back in Lost Angeles.
She rolls her eyes , and tosses it down in the sand . Samantha walks on the beach . The dog is walking with her .
CARRIE
( V.O . )
Samantha had money, a career and a man who loved her. Still, she could n't shake the feeling that something was missing from her life.
The dog runs up onto the neighbor 's deck .
SAMANTHA
No! Come back here.
Samantha is on the neighbor 's deck looking for the dog .
SAMANTHA
Where are you, baby?
She rounds a corner - and comes face to face with Dante - showering in the outdoor shower . Water runs over his NAKED and PERFECT BODY . He sees her and smiles a hot smile . She is thrown - overwhelmed .
SAMANTHA
( CONT 'D . )
Sorry - I'm your neighbor and my dog ran up on your dick -.
( catching herself . )
- Deck!
There is a GROWL sound . She looks - the dog is humping a towel on the deck floor . She looks back at Dante .
DANTE
Want to join me?
Speechless - She shakes her head : No - she scoops up the dog and hurries away . He calls after her .
DANTE
( CONT 'D . )
I'm Dante. Stop by - anytime.
Samantha takes a peek back and continues on her way . Samantha is having lunch outside while on the phone .
SAMANTHA
Smith is interested - but the dates will have to work with the series.
Dante appears on the deck next store in a wet suit . He unzips it while looking at Samantha . SAMANTHA dips a chip in guacamole and eats it . He pulls his wet - suit down and smiles at her . She dips another chip . He steps out of it and looks at her - almost torturing her . She looks the other way , dips another chip in guacamole and eats it . Then another . Samantha is in the kitchen on the phone . She picks up a slice of messy pizza from a delivery box on the table .
SAMANTHA
We agreed that no one else from the show but Smith was going to be on the cover.
She walks to the window and looks out . Dante is on his deck putting on sun screen . He glistens . She chews . Samantha is in the jacuzzi - she is looking up at Dante who is on his deck smoking a joint . He indicates for her to come over . She shakes her head : No . He walks away . She presses a button on the control panel . The jacuzzi jets start . She re - positions herself `` on '' them , then . She reaches over and grabs a giant hot fudge sundae and . starts eating it . Miranda sits in the window - having a cappuccino , alone . On the table a legal pad with a list of PROS and CONS .
CARRIE
( V.O . )
With her two weeks just about up, Miranda's list of pros and cons were equal.
She throws some money down on the table and takes a final sip on her cappuccino . As she stands up , she catches sight of herself in the mirrored wall . Cappuccino foam covers her top lip . She remembers . She knows . Miranda stands on the bridge . Alone . She looks at her watch .
CARRIE
( V.O . )
It suddenly dawned on Miranda that Steve's list might have had more cons then pros.
Just as this reality hits - the CROWD parts and Steve is seen RUNNING up the bridge . towards her . Miranda and Steve walk along the bridge towards Brooklyn .
CARRIE
( V.O . )
And Miranda never looked back.
Steve and Miranda are making love - it is passionate .
CARRIE
( V.O . )
Well, almost never.
Miranda turns her head back to look at Steve .
MIRANDA
Kiss me.
Carrie 's apartment is transformed . It is sleeker , polished , more grown - up , with a warm , modern feel .
CARRIE
( V.O . )
And at home - everything felt and looked different - and yet still very much me.
Carrie - BLONDE again - walks out of the kitchen with Lilacs in a large vase . The door bell buzzes . Carrie opens the door . Miranda stands there with a very pregnant Charlotte .
CARRIE
Sorry. This is a very exclusive party.
MIRANDA
We're on the list. Miranda Hobbes plus one. and a half.
WOMEN FRIENDS chatting and having fun . The front door is open and a coat rack is visible in the hall . A couple of WAITERS -LRB- 20 's -RRB- move around . ANTHONY comes up to Carrie .
ANTHONY
A woman just put a glass down on your new desk without a coaster. I told her if she did it again I'd break her arm.
CARRIE
Thanks.
He walks on . Miranda wanders up to Carrie .
MIRANDA
Where's Samantha? Her plane landed two hours ago.
CARRIE
You know her, probably ran to the hotel gym for a quick work - out.
Samantha appears in the doorway wearing a summer coat - the dog is in her purse .
SAMANTHA
There's no place like home.
CARRIE
Sweetie!
They kiss - She goes to Miranda ; they kiss .
MIRANDA
There's a rat in your purse.
CARRIE
And that rat better be house trained.
A CATER WAITER walks over to her .
CATER WAITER
Can I take your coat?
Samantha nods and takes off her coat . Revealing : She has a belly . A very non - Samantha big fat gut . Carrie looks at it . Miranda looks at it . Carrie and Miranda exchange looks . Charlotte comes running down the hall .
CHARLOTTE
Samantha!
Samantha raises her arms to greet her . Her blouse rides up , the gut peeks out . Charlotte reacts ; shocked .
CHARLOTTE
( CONT 'D . )
You have a - dog!
SAMANTHA
Did you ever think you'd see the day - me with a pooch.
All three shake their heads : No . Carrie , Miranda , and Charlotte are in the bathroom .
MIRANDA
So, she has a belly. So what?
CARRIE
No, a belly on anyone else is a `` so what?'' A belly on Samantha is a : `` So what the hell is going on?''
CHARLOTTE
She never mentioned it on the phone?
CARRIE
Never. And when has she ever not talked about every detail regarding her body?
CHARLOTTE
Should we even bring it up?
MIRANDA
What - like a fat intervention? `` We love you - have a salad?'' No. We should let her bring it up.
There is a knock . Samantha opens the door . She 's eating a piece of cake .
SAMANTHA
Ladies, we can talk about my gut later - right now, I'm bored to tears here.
She gives them a look . They smile , relieved . Everyone has left . Samantha is sitting with Charlotte and Miranda and Carrie . They are having coffee .
SAMANTHA
I eat - so I wo n't cheat.
MIRANDA
What exactly are you eating?
SAMANTHA
Everything except Dante's dick.
CARRIE
Language, please - this is a grown - up apartment now.
SAMANTHA
I guess I did n't realize how big I was until I saw it on your faces.
CARRIE
How - and I say this with love - How could you not realize it?
SAMANTHA
I've been avoiding mirrors.
CHARLOTTE
I'm proud of you for not cheating.
SAMANTHA
I do n't know if there's anything to be proud of. I stuff my face to stop myself from doing something that feels natural to me.
Carrie reaches over and rubs Samantha 's back .
CARRIE
Why did n't you say something?
SAMANTHA
I guess I did n't want to admit it. And when you're in denial - you do n't dial.
CARRIE
Now, listen - this is n't about the weight. You'd be gorgeous at any size. But are you happy?
SAMANTHA
( Silence ; then . )
Relationships are n't always about being happy, right?
( beat . )
How often do you feel happy in your relationship?
CARRIE
( to Charlotte . )
I'm pretty sure that's to you.
CHARLOTTE
Every day.
SAMANTHA
You feel happy ever day?
CHARLOTTE
Not all day - everyday - but everyday.
MIRANDA
When was the last time you felt happy?
SAMANTHA
Six months ago.
They react .
SAMANTHA
( CONT 'D . )
What am I going to do?
CARRIE
What does your gut tell you?
SAMANTHA
I know but -.
( beat ; hard . )
Smith stayed with me through chemo. If he could stay with me through that, I should be able to stay in this relationship for him.
CARRIE
Sweetie. You just compared your relationship to chemo.
Samantha looks at her , then Charlotte , then Miranda .
CARRIE
( V.O. ; CONT 'D . )
There we were. the three mirrors Samantha could n't avoid.
CARRIE
( CONT 'D . )
And Samantha?
Samantha looks . Carrie points . The dog is humping a pillow on Carrie 's furniture .
CARRIE
( CONT 'D . )
That pillow cost three hundred dollars.
Samantha is sitting - waiting . Smith enters .
SMITH
Hey - You're home! I thought you were staying the week.
He kisses her . She looks at him . Touches his face .
SAMANTHA
We need to talk.
SMITH
Awwww. man. I knew this was coming.
SAMANTHA
Yeah. This is n't working.
( beat . )
I've done my best. I've given it five years and fifteen pounds.
SMITH
What - You do n't love me any more?
SAMANTHA
Yes, I love you - ah, fuck it - I'm just gon na say the thing you're not supposed to say - I love you but I love me more. And I've been in a relationship with myself for forty - nine years and that's the one I need to work on.
She stands up and wraps her arms around him , whispers .
SAMANTHA
( CONT 'D . )
You'll find a wonderful woman who loves being in a relationship.
SMITH
What will you find?
SAMANTHA
I do n't know. But that's a risk I'm willing to take.
She notices the gardenia ring on her finger . She starts to take it off . Stops . Looks back up at him .
SAMANTHA
( CONT 'D . )
No. I'm keeping this. Every time I look down at it I want to think of you.
She kisses him on the lips . GENTLY . SOFTLY . Samantha sits in first class . She is crying . while eating a hot fudge sundae . A STEWARDESS leans down .
STEWARDESS
We're landing in new York. I'm gon na need to take that now.
Samantha nods , and finishes eating the hot fudge sundae as fast as she can . Scraping , almost licking the bowl .
CARRIE
( V.O . )
As someone returned to my life.
Carrie stands at the door with Louise .
CARRIE
( V.O . )
Someone left.
LOUISE
And I put all the unopened mail from your P.O. Box in the manila envelopes on the bottom shelf there.
She points to the shelf in the new bookcase . Carrie looks .
LOUISE
( CONT 'D . )
And please - please do not make a mess of CarrieBradshaw.com - it's my masterpiece.
CARRIE
What am I gon na do without you?
LOUISE
You'll find some other girl. but she wo n't have my style.
CARRIE
St. Louise, you brought me back to life.
Emotion floods Carrie ; she chokes up . So does Louise -
LOUISE
And you gave me Louise Vuitton.
Carrie laughs - they hug .
LOUISE
( CONT 'D . )
Serious. We need to stop cryin'.
Louise breaks the hug and takes her `` love '' key chain out of her purse - hands it to Carrie .
LOUISE
( CONT 'D . )
Your keys.
CARRIE
Wait - do n't forget your `` love.''
LOUISE
No, I found my love. I'm leaving that with you.
Carrie smiles . Louise starts out the door , turns back .
LOUISE
( CONT 'D . )
See you at my wedding.
CARRIE
I'll meet you in St. Louis.
Louise gives one last look , and leaves . Carrie closes the door . Looks down at `` love '' in her hand . Carrie is sitting at her desk . typing .
CARRIE
( V.O . )
Now, there were no more distractions.
( beat . )
And as I moved on.
Samantha walks past Lovro and Magda sitting on chairs out front , sipping ice tea , and up to Miranda 's lower east side apartment stoop with the dog on the leash .
CARRIE
( V.O . )
Samantha moved in.
The HOT TATTOOED LATIN GUY is still sitting on the stoop out front with the ferocious looking pitbull . She starts up the stairs . He checks her out . She turns .
SAMANTHA
Hi, I'm your new neighbor.
HOT NEIGHBOR
Diego.
SAMANTHA
Samantha.
They smile . There is a connection . Samantha looks down . The dog is humping the pitbull . Diego nods approval . A very , very pregnant Charlotte carrying shopping bags is being seated at a banquette by the HOSTESS -LRB- 26 -RRB- .
HOSTESS
When are you due?
CHARLOTTE
Next week.
HOSTESS
You look gorgeous.
CHARLOTTE
( touched ; embarrassed . )
Oh, thank - you.
The Hostess walks away as Charlotte settles in and looks around . Her eyes WIDEN . Big is sitting across the room at a table - alone . He has n't seen her . Charlotte starts to panic as the WAITRESS -LRB- 20 's -RRB- comes over .
WAITRESS
Hi, can I -
CHARLOTTE
No, I'm sorry - I ca n't stay - Help me - pull out the table. I ca n't -
Charlotte pulls herself up off the banquette . As she tries to slide out , her belly and shopping bags knock things off the table . Crash . DINERS looks . Big spots her - their eyes meet . She moves away as quickly as she can through the room . He gets up and follows after her . Charlotte exits the restaurant - visibly upset . Big is quickly on her heels .
BIG
Charlotte. Charlotte wait -
He catches up to her - and gently steps to her .
BIG
( CONT 'D . )
You're pregnant - do n't run.
CHARLOTTE
I do n't want to see you.
She starts crying and talking though the tears .
CHARLOTTE
( CONT 'D . )
I'm so mad at you. I was always on your side and then you did that to Carrie - No, no - I'm not going to cry - I'm not going to waste tears on you -.
( strong ; stomping foot . )
I curse the day you were born!
Charlotte 's eyes widen . She stops moving , entirely .
CHARLOTTE
( CONT 'D . )
I think my water just broke.
( beat . )
Oh my God - Taxi!
BIG
My car's right there. Get in my car.
CHARLOTTE
I do n't want to get in your car - I hate your car. Taxi!
BIG
Charlotte - we need to get you to the hospital - Please get in my car. It's right here and ready.
Charlotte finally nods . Big hurries her to the car . Carrie hurries down a corridor - looking for a room . She spots it , knocks and enters . Carrie enters . Harry stands there . Beaming .
CARRIE
Hi. Congratulations. A girl!
HARRY
It's my lot in life to be surrounded by beautiful women.
She kisses him and walks over to the bed where Charlotte is holding ROSE , a beautiful baby with thick dark hair .
CARRIE
Oh my God. She's gorgeous.
CHARLOTTE
Say hello to Rose.
Carrie kisses Charlotte on the head .
CARRIE
What a beautiful name.
CHARLOTTE
After Harry's `` Bubbie.''
HARRY
Now, we got a Lily and a Rose.
Carrie sits on the edge of the bed .
CARRIE
Well, I have to say you two are very cool customers - just making the `` baby's here'' call without all the `` I'm in labor'' drama.
HARRY
Oh - there was plenty of drama.
CHARLOTTE
My water broke in front of a restaurant.
CARRIE
Very dramatic.
HARRY
Wait - she's not done.
CHARLOTTE
It broke while I was talking to Big.
CARRIE
What?
HARRY
See. Drama.
CHARLOTTE
I bumped into him and I got so upset I started crying and then - my water broke.
HARRY
He brought her to the hospital. Stayed until the baby was born.
CHARLOTTE
I think he was hoping to see you.
Silence . Carrie is having a hard time with this .
CARRIE
Well - today is not about him. It's about beautiful baby Rose.
( beat ; forced up . )
So - we know she has Charlotte's hair - what else do we know?
Harry and Charlotte give each other a sad glance . Carrie walks out of Charlotte 's room with Harry .
CARRIE
She's a doll. Mazel tov!
She kisses Harry on the cheek and starts away .
HARRY
He asked me to ask you to call him.
Carrie stops . Turns around . Looks at him .
HARRY
( CONT 'D . )
I know! It's none of my business. But I felt bad for the poor schmuck hanging around the hospital waiting room hoping to see you. I swear every time he heard someone in heels coming down the hall - his heart stopped.
CARRIE
Harry - it's so much more complicated than you can imagine.
HARRY
I know it is - and you have every right to never call him - but I'm just a big pile of love today - and I feel bad for the guy. He said he's been writing you - but you never responded.
CARRIE
( beat ; then . )
He's never written me.
HARRY
He said he wrote because he did n't have your phone number.
CARRIE
No. He's never written me. Ever.
HARRY
Then, why would he say that he had?
Carrie looks at Harry . Lost . Confused . Carrie enters her apartment . She glances over at her bookcase - Remembers . JUMP CUT TO : Carrie opens the bookcase drawer and takes out a Manila envelope marked : P.O. Box . JUMP CUT TO : Carrie dumps the contents of the envelopes on the desk . JUMP CUT TO : Carrie quickly sorts through the mail - looking - looking for something . A letter - something . Nothing from him . She leans back in her chair - more confused . Her eyes drift up to her computer . She wonders if - JUMP CUT TO : Carrie is logging onto CarrieBradshaw.com . She types in PASSWORD . JUMP CUT TO : CarrieBradshaw.com 's `` welcome page . '' She clicks on EMAIL . JUMP CUT TO : Carrie scans through emails - none are from Big . Frustrated she logs off . Carrie is still at her desk , lost in thought .
CARRIE
( VO . )
Two hours, two manila envelopes and countless emails later, I was just about to give up on the Big riddle when -
She looks back at her computer screen and notices : `` CB - assistant . '' Carrie sits up . Clicks on it .
CARRIE
( V.O. ; CONT 'D . )
I had told Louise to put Big in a place where I would never have to hear from him again.
She types in her password . Nothing . Picks up her phone . Dials a number .
CARRIE
( CONT 'D . )
Hey, Louise - it's me. What's the password to get into your assistant file? Call me.
She hangs up and places the phone on a pile of mail - which causes the mail to fall over onto the floor .
CARRIE
( CONT 'D . )
Shit.
Carrie reaches down to pick - up the mail - she notices the `` LOVE '' key chain has fallen as well . She picks it up and looks at it , has a hunch .
CARRIE
( CONT 'D . )
Oh my God.
JUMP CUT TO : Carrie types the password : `` L - O - V - E. '' Yes ! The file opens - her eyes widen . There on the screen are many , many , many emails - all from JJP@JJP.com .
CARRIE
( V.O. ; CONT 'D . )
As soon as I typed in `` love'' - there he was.
She clicks on the first e - mail . It opens : It 's the love letter from Beethoven , retyped .
CARRIE
( V.O. ; CONT 'D . )
And because Big still did n't have the words. he retyped a love letter from Beethoven.
JUMP CUT TO : New Email : A love letter from Lord Byron .
CARRIE
( V.O. ; CONT 'D . )
And Lord Byron.
JUMP CUT TO : New Email : A love letter from James Joyce .
CARRIE
( V.O. ; CONT 'D . )
And James Joyce.
JUMP CUT TO : New Email : A Love letter from Voltaire .
CARRIE
( V.O. ; CONT 'D . )
And Voltaire.
JUMP CUT TO : Carrie sits in the chair . Breathless . Overwhelmed .
CARRIE
( V.O. ; CONT 'D . )
There they were. `` The Love Letters of Great Men - Volume One.'' Plus one more. Written by John James Preston.
New email - It reads : `` I know I screwed it up - but I will love you forever . '' Carrie impulsively picks up the phone - starts to dial .
CARRIE
( V.O. ; CONT 'D . )
I wanted to call him - but our love. Carrie and Big : volumes one, two, and three. stopped me.
She puts the phone down and is about to `` delete '' the e mail - suddenly ; the phone rings .
CARRIE
( CONT 'D . )
Hello.
LOUISE
( O.C . )
I did n't hear my phone.
Intercut with Louise , standing in a wedding gown . Her MOTHER -LRB- 45 -RRB- , GRANDMOTHER -LRB- 65 -RRB- , and SISTERS -LRB- 20 15 , 8 -RRB- sit watching .
LOUISE
We are shopping for my wedding gown.
ANGELA , her youngest sister calls out .
ANGELA
That one makes you look weird.
LOUISE
( calls over . )
Momma - can you please - This is a work call.
The Mother motions for Angela to sit down . She does .
CARRIE
No, it's okay I figured it out.
LOUISE
Well, I was going to call you anyway - today is the final day on the Fifth Avenue apartment. You have till six before they change the locks.
CARRIE
I do n't need to go over there.
LOUISE
And do you NOT want those never - worn shoes?
CARRIE
Oh - I completely forgot about -
LOUISE
` Cause if you do n't - send them on to me. I'll squeeze my feet into them.
CARRIE
It's already five o'clock.
LOUISE
Hello? There are never been worn four hundred dollar shoes!
CARRIE
Five twenty - five.
( beat ; hears herself . )
Bye.
Carrie drops the phone and jumps up . Carrie runs down the stairs . she spots a passing CAB .
CARRIE
Taxi!
It SCREECHES to a halt . She runs to the cab . Carrie steps into the elevator . She presses `` PH , '' steps back . The doors close . Key in the lock - Carrie enters . She looks around .
CARRIE
( V.O . )
The light in our pre - war apartment looked completely different post - war.
INT. PENTHOUSE APARTMENT/BEDROOM -- MOMENTS LATER -- SPRING
Carrie walks into the bedroom and over to the closet . She pushes open the other double door . Revealing - Mr. Big - standing there holding the Manolos in his hands . He looks up - surprised by her .
BIG
I was going to get these to you. I did n't want it to be a total loss.
CARRIE
( V.O . )
It was n't logic - it was love.
She walks into the closet and over to him . She throws her arms around him . He drops the shoes . They kiss . It 's passionate . Very - very passionate .
INT. PENTHOUSE APARTMENT/WALK-IN CLOSET -- LATER -- SPRING
Carrie and Big are nestled up next to each other on the carpeted floor of the empty walk - in closet . His suit jacket is off . Her shoes are off .
CARRIE
Why did we ever decide to get married?
BIG
( beat ; then . )
I guess we were afraid it meant something if we did n't.
She looks at him and nods . It 's true .
BIG
( CONT 'D . )
I'm sorry to have done that to you.
Silence . She touches his lips .
CARRIE
I'm sorry to have done that to you.
( beat . )
And you know the funny part?
BIG
Is there a funny part?
CARRIE
We were perfectly happy before we decided to live happily ever after.
BIG
Yep. The jokes on us.
She nods . she looks around .
CARRIE
Good closet.
BIG
Thanks.
CARRIE
Comfortable. Is this what you had in mind when you installed the carpet?
BIG
I'd like to think I was that smooth.
CARRIE
We better get up before the new owner bust in on us.
They start to get up . Carrie rises first . He starts to get up , first - sitting on his side .
BIG
And the way we decided to get married - All business. No romance. That's not the way you propose to someone.
He moves further up - onto one knee - where he stops .
BIG
( CONT 'D . )
This is.
She looks down at him - Is this happening ? He holds out his hand . She places her hand in his .
BIG
( CONT 'D . )
Carrie Bradshaw - love of my life - will you marry me?
It is everything Carrie Bradshaw had convinced herself would never happen . Could never happen . And here it is . She nods . Speechless . Overcome . He smiles .
BIG
( CONT 'D . )
See, this is why there's a diamond. You need to do something to close the deal.
She laughs . He notices her never - worn Manolo on the floor . He picks it up . Holds it out to her . She lifts her foot and places it in the shoe . Cinderella style . Carrie stands with Big in front of a JUDGE . She is wearing the simple white suit and her never - worn Manolos from the closet .
CARRIE
( V.O . )
And in the end. Carrie Bradshaw married John James Preston in a label - less dress.
Big Smiles . She smiles . Both calm . Sure .
JUDGE
By the power vested in me, by the state of New York, I now pronounce you husband and wife. You may kiss the bride.
Big and Carrie kiss . Then , he whispers into her ear .
BIG
Ever thine. Ever mine. Ever ours.
Carrie and Big walk through the courthouse lobby toward the front door holding hands .
BIG
You okay that it was just us?
CARRIE
Perfect. You and me - like I said.
BIG
Still. Would have been nice if you had the girls here.
He holds the door open for her as they walk outside . Carrie and Big walk out of the courthouse into the sun .
BIG
Which is why I called them.
Carrie looks . Miranda , Charlotte , and a MORE SLENDER Samantha are standing there . They SCREAM and throw rice .
MIRANDA/SAMANTHA
Congratulations!
CHARLOTTE
Mazel tov!
As the rice hits . Carrie screams and Big laughs . A GUARD hurries over to them . Carrie is spitting out rice .
GUARD
Excuse me - excuse me! You're not allowed to throw rice anymore.
SAMANTHA
Honey, get over it - It's New York!
She winks at the guard . He shrugs and walks away . Big , Carrie , Miranda , Steve , Brady , Charlotte , Harry , Lily , rose , Stanford , Samantha are casually gathered around a couple of tables that have been pushed together . A WAITRESS comes over balancing hot plates .
WAITRESS
Who had the ham and eggs?
Big raises his arm . The waitress hands the plate down . Carrie intercepts it and places it in front of Big .
CARRIE
( V.O . )
It was n't a fancy designer reception either. Just food and friends.
The Waitress hands out the other breakfasts . People LAUGH . Samantha feeds bacon to the dog - who is wearing a tiny bridal veil on his head . Carrie 's books are displayed on a BOOK KIOSK . Carrie stands in front of it READING to a crowd from the galleys of her new book . She is wearing READING GLASSES .
CARRIE
Maybe some labels are best left in the closet.
Bustling . Carrie , Miranda , Charlotte and Samantha - back to her fighting weight - walk down the busy street dressed for a night on the town . They laugh as they go - their designer purses swinging .
CARRIE
( V.O . )
Maybe when we put a label on people. bride, groom, husband, wife, fat, thin, married, single. we forget to look past the label and see the person.
They arrive at the club entrance . A line of PEOPLE wait to be let inside . The DOORMAN -LRB- 30 's -RRB- spots Carrie , lifts the red rope and lets the girls in - closing it after them . The four girls sit at a table drinking `` Cosmopolitans . ''
CHARLOTTE
Hmmm. This is delicious.
MIRANDA
Why did we ever stop drinking these?
CARRIE
Because everyone else started.
SAMANTHA
( sips ; then . )
Well, that is an oldie but goodie.
CARRIE
And speaking of an oldie but goodie.
A WAITER brings birthday cake to the table . The number : `` 50 '' stands proud and tall among the glowing candles . He places it down in front of a proud Samantha .
CARRIE
( CONT 'D . )
Wait - wait - a toast.
The girls lift their glasses to Samantha .
CARRIE
( CONT 'D . )
To Samantha. fifty and fabulous!
Samantha smiles , touched - then blows out her candles .
CARRIE
( CONT 'D . )
To us. and the next fifty!
Miranda , Charlotte and Samantha raise their glasses .
ALL
To the next fifty.
They sip and look at one another .
CARRIE
( V.O . )
And there, in the same city where they met as girls, four New York women entered the next phase of their lives. dressed head to toe in love.
Samantha licks some icing . Charlotte cuts the cake . Miranda helps . Carrie smiles and sips .
CARRIE
( V.O. ; CONT 'D . )
And that's the one label - that never goes out of style.
From outside we catch just a glimpse of Carrie and the girls at their table inside the busy club . The CAMERA starts to move away - passing the line of PEOPLE waiting to get in . At the front of the line four TWENTY - SOMETHING WOMEN stand waiting for the red rope to be lifted . As the CAMERA moves past them and UP - the Doorman lifts the red rope and the twenty - something women SQUEAL with excitement and anticipation as they hurry inside . The CAMERA continues UP and UP and over the busy and exciting city . FADE TO BLACK .
|
EXT. 5TH AVENUE -- NEW YORK CITY -- DAY -- SUMMER
Glistening city buildings reflect onto the WINDOW of an upscale clothing boutique . In the window - a MANNEQUIN is wearing - the best of everything . A PRETTY TWENTY - SOMETHING girl looks in at the display : dreaming of the day .
CARRIE
( V.O . )
Year after year, twenty - something women come to New York City in search of the two `` L's'' : labels and love.
Four TWENTY - SOMETHING WOMEN walk away from us - arms linked LAUGHING - They make their way down the busy street - shopping bags and designer purses swinging . The young women reveal : CARRIE BRADSHAW -LRB- 41 -RRB- and fabulous - walking towards us . She watches them as they pass , a SMILE grows on her face .
CARRIE
( V.O . )
Twenty years ago. I was one of them.
She walks along , her shopping bag - swinging . Carrie on step ladder , barefoot . Her finger moves along a series of DESIGNER shoe boxes .
CARRIE
( V.O . )
Having gotten the knack for labels early. I concentrated on my search for love.
Summer night . Couples everywhere . Carrie walks along .
CARRIE
( V.O . )
Turns out, a `` knock - off'' is not as easy to spot when comes to love.
She passes a twenty - something girl and guy huddled very close together . Suddenly , the girl SLAPS HIM across the face .
CARRIE
( V.O. ; CONT 'D . )
Until it is.
CARRIE reacts , and trots along . CARRIE and preppy perfect CHARLOTTE walk along , talking .
CARRIE
( V.O . )
That is why you need help to spot them.
JUMP CUT TO : Carrie , Charlotte and MIRANDA walk along talking .
CARRIE
( CONT 'D . )
Lots of help.
JUMP CUT TO : Carrie , Charlotte , Miranda and SAMANTHA walk along ; LAUGHING - their shopping bags and designer purses swinging . The front of Carrie 's building . She is typing in her window . Carrie at her desk - typing . CLOSE ON the computer screen - Written on it : `` Charlotte , Miranda and Samantha . ''
CARRIE
( V.O . )
Year after year, my single girlfriends were my salvation. And, as it turns out.
CLOSE ON : A colorful CHICK LIT book cover : `` A Single Life '' by Carrie Bradshaw .
CARRIE
( V.O . )
My meal ticket.
CARRIE - standing on her bed placing it next to her TWO other books : `` Sex and The City '' and `` Menhattan '' A framed photo of four girls -LRB- circa 1999 -RRB- is also on the shelf . She picks it up - Touches it sweetly .
CARRIE
( V.O. ; CONT 'D . )
We still are those four single girls.
CARRIE in a sexy , summer dress , spots someone - waves -
CARRIE
( V.O . )
Even though, technically. we're not.
She hurries across the street to meet that SOMEONE . MIRANDA -LRB- 41 -RRB- and BRADY -LRB- 5 -RRB- are filling an inflatable pool with water from a hose . As STEVE approaches with Popsicles , they squirt him with the hose . He grabs them ; laughing .
CARRIE
( V.O . )
One of us is married.
Charlotte -LRB- 40 -RRB- and HARRY and their beautiful Asian daughter LILY -LRB- 3 -RRB- go around . Lily giggles , they kvell .
CARRIE
( V.O . )
One of us. married, divorced and re - married.
The deck of fabulous Malibu beachouse . Samantha -LRB- 49 -RRB- sits near the pool wearing a white bikini and huge white sunglasses making deals on the phone as SMITH lays nearby in a bathing suit - reading a script .
CARRIE
( V.O . )
One of us. relocated.
Carrie walks over and into the arms of that SOMEONE - it 's MR. BIG - waiting for her in front of an apartment building .
CARRIE
( V.O . )
And. one of us stayed exactly where she was.
They kiss . A good kiss .
CARRIE
( V.O. ; CONT 'D . )
In love.
A kiss worth waiting four years to see . They turn and start into the classic apartment building . The doorman tips his hat and opens the door . Carrie and Big walk through the beautiful lobby and over to the elevator . holding hands .
BIG
I got a good feeling about this one, kid.
CARRIE
I've always loved this block.
CARRIE
( V.O. ; CONT 'D . )
Finding the perfect apartment in New York City is like finding the perfect partner. It can take years.
They push the elevator button . Doors open . They step on .
BIG
How many does this make?
CARRIE
This is thirty - three.
BIG
Lucky thirty - three!
They laugh a little as the doors close on the elevator .
INT. FIFTH AVE BUILDING - BAD APARTMENT/HALL -- MOMENTS LATER
A door is opened up by CAROL -LRB- 55 -RRB- their real estate agent .
CAROL
The worst. I just left you a message.
Carrie and Big look in . The apartment is dark , claustrophobic - awful . A male BUILDING AGENT -LRB- 40 -RRB- stands here . The smiles leave Carrie and Big 's faces .
CARRIE
( to Big . )
Thirty - four. Lucky thirty - four?
Big looks over at her . She shrugs . The Building Agent holds the elevator doors open for Carrie , Big and Carol as they get on .
CARRIE
If anything else opens up let us know. We're very interested in this building.
AGENT
I do have another apartment that's not even on the market yet. Care to take a look?
CARRIE/BIG
Sure.
AGENT
It's more than you were looking to pay.
CAROL
How much more?
AGENT
More.
The Agent reaches over and presses the `` PH '' button on the control panel . Carrie and Big react . A gorgeous pre - war penthouse apartment . Empty except for the beautiful light . Old - world New York City style . Elevator doors open into the penthouse foyer . Carrie and Big step in .
BIG
Oh, so this is where they keep the light.
CARRIE
Oh my God. I've died and gone to real estate heaven. Look at this place.
She swirls around to Big - very grand dame ; with accent .
CARRIE
( CONT 'D . )
Hellooo, I live here.
Carrie starts giggling . Big looks over to the agents .
BIG
Must be the altitude.
Big smiles . Carrie laughs as the Agent walks on .
AGENT
And across the rooftop terrace -
CARRIE
What - Nirvana?
AGENT
Your wife has quite a sense of humor.
CAROL
( Cool/quick . )
They're not married.
CARRIE
No, he's my boyfriend.
AGENT
This way.
The agent and Carol start out across the terrace . Big and Carrie follow lagging a little behind .
BIG
Are n't I a little old to be introduced as your boyfriend?
CARRIE
Point taken. From now on. you'll be my man friend.
BIG
Sounds like a dog.
CARRIE
Well, if the shoe fits.
She gives him a look . He swats her ass , gently as they go . Carrie and Big lead the way into the bedroom . Big windows , high ceilings . Beautiful light as well .
AGENT
And this is the master bedroom.
CARRIE
Hideous. Hate it. Hurts my eyes.
Big laughs , Carrie walks around taking it in .
CARRIE
( CONT 'D . )
How is this place even available?
AGENT
Nasty divorce.
CARRIE
If you live here what is there to fight about?
Carrie opens the closet door . It is very small .
CARRIE
( CONT 'D . )
This is the master closet? No.
AGENT
Yes. Small for a room this size. I know.
CARRIE
Hmmm. Hmmm. Now, I understand the divorce.
BIG
I can build you a better closet.
Carrie looks at him ; aghast . He smiles .
BIG
( CONT 'D . )
Welcome home, baby.
CARRIE
Can we afford this?
BIG
I got it.
Carrie screams with joy and shock . He laughs , thrilled . Carrie , Miranda and Charlotte walk down the street .
CARRIE
`` I got it.'' Just like that. `` I got it'' - like he was picking up the check for coffee or something.
CHARLOTTE
It sounds perfect.
CARRIE
Except for the closet which Big says he can redo - also he says the kitchen needs work but I do n't know about that ` cause I keep sweaters in my stove.
Carrie and Charlotte laugh .
MIRANDA
So, he bought it - and you're going to live there with him?
CARRIE
Yes, together. That's right.
MIRANDA
But he'll own it. So. You are keeping your own place, right?
CARRIE
Oh, Miranda, please, I have n't figured out all the details yet, but I'm a smart girl and I'm sure I'll figure out something I'm comfortable with.
MIRANDA
I just want to make sure you're being smart here -
CARRIE
And I love you for it - but for now ca n't you stop worrying for me and just go ahead and feel what I want you to feel. Jealous.
Miranda smiles . Carrie puts her arm around her .
CARRIE
( CONT 'D . )
Jealous of me living in this gorgeous penthouse in Manhattan.
MIRANDA
Fine. I'm jealous. You're in real estate heaven and I'm in Brooklyn.
CHARLOTTE
New York magazine said Brooklyn is the new Manhattan.
MIRANDA
Whoever wrote that - lives in Brooklyn.
CARRIE
There she is. Hey Hollywood!
Samantha is standing out in front of Christies . She waves to them - as she finishes a call .
SAMANTHA
( on phone . )
Samantha Jones. Smith Jerrod's manager - I'm in New York ` till Monday.
She hangs up ; as they reach her .
CARRIE
( CONT 'D . )
How was your flight?
SAMANTHA
Fabulous. Let's go in - I am so excited!
INT. CHRISTIE'S AUCTION HOUSE/LOBBY -- DAY -- MOMENTS LATER
A lobby bustling with NEW YORK WOMEN . All types . Carrie , Samantha , Charlotte and Miranda make their way through them .
CARRIE
( V.O . )
It was a rare occasion that brought all types of women together. The socialites, the trendies the yuppies, the yentas.
The girls gently move past by an elderly YENTA , who reacts .
YENTA
Why the pushing?
Carrie and the girls enter a room filled with dramatically lit jewelry cases that display amazing jewelry . On the walls around the gallery are large photos of a BEAUTIFUL RAVEN HAIRED WOMAN -LRB- 45 -RRB- . She is captured in candid poses `` out and about '' New York city at various social events wearing the jewelry on display .
CARRIE
( V.O. ; CONT 'D . )
Blair Elkenn was a waitress turned model turned actress turned billionaire's girlfriend who came home one night to find herself unceremoniously turned out on the street.
Samantha , Carrie and Charlotte page through the catalogues as they walk . Miranda types on her Blackberry .
CARRIE
( V.O. ; CONT 'D . )
And now she was getting the ultimate break - up revenge. An embarrassing and very public auction of all the jewelry he had given her when they were happy.
The girls stop . Floating in a case at their eye level is a unique , `` two finger '' FLOWER RING made out of diamonds .
SAMANTHA
There it is. My baby.
CARRIE/BIG
And she's a beauty.
SAMANTHA
When I saw this in the catalogue I said to Smith : This flower ring is the essence of me. One of a kind, filled with fire.
CARRIE
And a little too much.
SAMANTHA
Exactly. Come on. Let's go spend some of my hard - earned Hollywood money.
They make their way to the auction room .
MIRANDA
Hey - what's coming up on Smith's series? Is he going to sleep with that new blonde neurosurgeon?
SAMANTHA
He sleeps with every hot woman doctor in that hospital.
MIRANDA
Great. Ca n't wait.
CHARLOTTE
Do n't you ever get weirded out by seeing Smith in bed with all those other women?
SAMANTHA
No, I think it's hot. Sometimes, when I'm alone, I masturbate right along with them.
CARRIE
And people say the golden age of television is over.
SAMANTHA
Besides, it's fake sex. When they're doing it - no one's actually turned on.
MIRANDA
Kinda like Steve and I.
Miranda laughs . Everyone looks .
MIRANDA
( CONT 'D . )
I'm kidding.
( Beat ; then . )
But come one - it's been seven years. He does that, I do this. It's not like a new plot twist is going to turn up.
A DISTINGUISHED WOMAN AUCTIONEER is at a podium .
AUCTIONEER
Next item. The flower ring.
Samantha sits up , ready . An electric buzz moves through the crowd .
CARRIE
( V.O . )
If Schadenfreude is the word for feeling pleasure at someone else misfortune - This was `` jewelryfreude.''
AUCTIONEER
Let's start the bidding at ten thousand.
Samantha raises her number . The Auctioneer nods .
AUCTIONEER
( CONT 'D . )
Thank you madame. Do I hear fifteen?
A WOMAN IN A BUSINESS SUIT -LRB- 40 -RRB- on a phone , raises her number . Samantha looks over at her .
SAMANTHA
Bitch.
CARRIE
And the gloves are off.
AUCTIONEER
Do I hear twenty?
Samantha raises her number .
AUCTIONEER
( CONT 'D . )
Twenty. Do I hear twenty - five?
The Woman raises her number .
AUCTIONEER
( CONT 'D . )
Twenty - five. Thirty?
Samantha raises her number . Carrie 's eyes widen .
AUCTIONEER
( CONT 'D . )
Thirty - five?
The Woman is talking with someone on the phone .
MIRANDA
She's bidding for someone on the phone.
CHARLOTTE
That's not fair.
The Woman raises her hand . Charlotte gives her a look .
AUCTIONEER
Thirty - five. Forty?
SAMANTHA
I deserve this. I work hard.
AUCTIONEER
Do I hear forty?
Samantha raises her hand .
AUCTIONEER
( CONT 'D . )
Do I hear forty fi -
The Woman quickly raises her hand . Auctioneer nods .
AUCTIONEER
( CONT 'D . )
Fifty?
SAMANTHA
Sex with only one man for I do n't know how long.
AUCTIONEER
Do I hear fifty thousand?
SAMANTHA
( Beat ; loud . )
Fifty fucking thousand!
A LAUGH ripples through the room . Samantha glares at the rival woman , almost daring her . Carrie looks afraid .
AUCTIONEER
Fifty - five?
The Woman raises her hand . Samantha reacts disappointed . The Auctioneer looks at Samantha .
AUCTIONEER
( CONT 'D . )
Sixty? Sixty to our colorful bidder?
SAMANTHA
( to Carrie . )
I draw the line at fifty.
Samantha shakes her head no . Carrie rubs her arm . Carrie , Samantha , Miranda and Charlotte are primping in front of the mirror .
CHARLOTTE
I thought this auction would be more fun. but it's kinda sad.
A BABY VOICED WOMAN -LRB- 45 -RRB- next to Charlotte overhears .
BABY VOICED WOMAN
Is n't it?
They look over at her .
BABY VOICED WOMAN
( CONT 'D . )
I thought it was just sad for me ` cause I know her. But it's really sad, huh? And it's funny cause they were so happy.
SAMANTHA
Till they were n't
BABY VOICED WOMAN
I know, right? We all told her to get married - but she did n't want to push him. He'd been married three other times. So, she let it ride and then she came home one night and he had locked her out. She did n't even have anywhere to live. After ten years. Such a shame. She was a smart girl till she fell in love.
Carrie catches Miranda 's eye in the mirror , looks away . Big takes a bright red lobster out of a pot of hot water with tongs . He places it next to another cooked lobster . He walks to the cooking island where Carrie sits ; sipping wine .
BIG
The creatures are ready. Just gon na sit there?
CARRIE
I'm not sitting, I'm thinking.
BIG
Here. Husk and think.
He winks - puts two ears of corn in front of her , then starts chopping tomatoes .
CARRIE
I'm thinking I'm going to sell my apartment and put the money towards heaven on Fifth.
BIG
Why? You love your place.
CARRIE
I know but -
BIG
But what?
CARRIE
We're together ever night - so I'm basically paying a mortgage on a glorified closet.
BIG
You write there. It's your office.
CARRIE
There's plenty of room at the new place and - besides. I want to make us - a life there. I want it to be ours.
BIG
It is ours. I bought it for us.
CARRIE
And that's so amazing - but you bought it, so it's really your place. And - if anything were to happen.
BIG
What's going to happen?
CARRIE
I have to be smart here. I mean, we're not married and I'd have no legal rights to. this home that I built. with you.
Silence . He thinks . Chops . She husks .
BIG
Did you want to get married?
CARRIE
I did n't think it was an option.
BIG
Well, Mr. Bradshaw, what if it was an option?
She hits him with a husk . He smiles .
CARRIE
Well, people are always assuming we are.
BIG
And you know what happens when people assume. They make an ass out of who?
CARRIE
You and me.
He smiles . She smiles . Chop . Chop .
BIG
What do you think, kid?
CARRIE
Why - Do you want to get married?
BIG
Well, I would n't mind be married to you. Would you mind being married to me?
CARRIE
No, if that's what you want. Is that what you want?
BIG
I want you. So. Okay.
CARRIE
Okay. Really? We're getting married.
BIG
We're getting married.
( Beat . )
Should we get you a diamond?
CARRIE
No, please, do n't get me a diamond.
( Beat ; then . )
Get me a really big closet.
BIG
Deal.
He puts out his hand . She takes it and they shake .
BIG
( CONT 'D . )
But. You got ta do better on that corn. Look at all the stuff left on there.
She looks down at her corn , he 's right . She nods . Crowded ; serious lunch crowd . Carrie sits across from Charlotte and Miranda . Miranda is in a work suit .
CARRIE
So, the other night, Big and I were talking about, you know, moving in together and our future.
Charlotte 's eyes are getting wider and wider .
CARRIE
( CONT 'D . )
And about what makes sense as we move forward. And, well. we decided to get married.
Charlottes SCREAMS at the top of her lungs . Carrie and Miranda and the ENTIRE RESTAURANT REACT .
MIRANDA
and I'm deaf.
CARRIE
Everyone's looking
Charlotte looks around at the DISGRUNTLED FACES . She half - stands and address the DINERS looking at her .
CHARLOTTE
Sorry! I'm sorry. but my friend here, just got engaged and she's been going out with the man for ten years.
The DINERS bursts into APPLAUSE . Carrie slumps in her chair , pulls up her sweater collar , turns to Miranda .
CARRIE
I am mortified.
MIRANDA
There is literally a ringing in my ear.
A large PHOTO of Smith . Samantha walks past it and up a sleek , modern office building stairway . Her cell rings .
SAMANTHA
Samantha Jones -
Intercut with Carrie walking through the upscale boutique talking on her pink Swarovski crystal - covered cell phone .
CARRIE
Well. I made a little decision that I hope you'll be happy about.
SAMANTHA
Oh, honey. you finally got Botox.
CARRIE
No. I did not get Botox
SAMANTHA
I'm telling you, Carrie - you'll love it.
CARRIE
I did not call to talk about Botox.
SAMANTHA
I'm just saying.
Samantha reaches the top of the stairs . Blow - ups of Smith on various magazine covers line the walls of the chic , small office space .
CARRIE
So. Last week, after the auction, I started thinking about my options.
SAMANTHA
Right.
CARRIE
Right, and. well, Big and I decided to get married.
SAMANTHA
Really?
CARRIE
Yes.
SAMANTHA
That's great.
CARRIE
You sounded more excited about the botox.
SAMANTHA
Well, honey - I am excited for you but - you know me. I do n't really believe in marriage. Botox on the other hand - That works every time.
A RECEPTIONIST -LRB- 23 -RRB- hands her some messages .
SAMANTHA
( CONT 'D . )
Honey, I've got to go. The People magazine person is on hold. Smith's on the short list to be their `` Sexiest Man Alive.'' We can catch up when I'm in town next week.
Samantha hangs up . Carrie looks at her phone : dismissed and disappointed . She closes it and walks on . Carrie rounds a corner . Her phone rings .
CARRIE
Hello?
Intercut with Samantha standing in her office .
SAMANTHA
I think I was in shock. I mean, it's you getting married. This is not some random person - it's you.
CARRIE
I hear ya.
SAMANTHA
And I guess, I thought that after that big mess with Aidan - you'd never want to get married.
CARRIE
I know.
SAMANTHA
So, I put you in my `` we're never getting married'' file. Now, I've got to take you out of that file.
CARRIE
Sorry about the extra paper work.
SAMANTHA
You'll get my bill.
CARRIE
Samantha, it feels so different this time. No cliché romantic kneeling down on one knee. Just you know, two grown - ups - making a decision about spending their lives together.
SAMANTHA
Well, I'm happy for you.
CARRIE
And one more thing. I want you to be maid of honor. How do you feel about that?
SAMANTHA
The same way you feel about Botox. Painful and unnecessary.
Carrie laughs . Samantha shrugs . Carrie and Charlotte sit on her bed looking through a list of names . ANTHONY sits at her makeup vanity . He has a large notebook open in front of him .
CHARLOTTE
74, 75, 76. Seventy - six guests.
ANTHONY
Seventy five sounds better. `` A small, wedding of seventy five guests.''
Carrie looks at the list .
CARRIE
( V.O . )
As a wedding gift, Charlotte had given me Anthony Marantino - friend and wedding planner.
Carrie crosses someone off . Charlotte reacts , shocked .
CARRIE
( CONT 'D . )
What? She was borderline anyway.
ANTHONY
Cut throat - I love it. I hope you're that decisive when it comes to the location and the dress.
CARRIE
Oh. I found the dress.
CHARLOTTE
What?! When?
CARRIE
The other day. I have it here.
Carrie gets up and goes into the closet . Anthony hurries over and sits next to Charlotte .
ANTHONY
This is going to be good!
CHARLOTTE
I'm so excited!
CARRIE
( V.O . )
Here it is.
Anthony and Charlotte grab hands in anticipation as Carrie comes out of her closet . She holds up a simple OFF - WHITE VINTAGE SUIT . Charlotte and Anthony deflate .
CARRIE
( CONT 'D . )
Well. that was the exact reaction I was aiming for.
CHARLOTTE
No, it's pretty but it's so - simple.
CARRIE
Simple and classic. When I saw it I just thought : That is what I should marry Big in.
ANTHONY
Well, who's it by? The label?
CARRIE
No one. I found it in a vintage shop.
ANTHONY
`` The bride wore a dress by no one.''
She turns and heads back into the closet .
CARRIE
( As she goes . )
Do n't worry, I'll style it up with shoes.
Anthony turns to Charlotte and says in a low voice .
ANTHONY
The invitation is fancier than the dress.
CARRIE
( O.C . )
I heard that.
A `` family style '' Italian restaurant . Miranda , in business clothes , sits with Steve , Brady and MAGDA . Brady 's face is covered in spaghetti sauce .
CARRIE
( V.O . )
And from Anthony Marantino to spaghetti marinara.
MIRANDA
Where is he with the check?
STEVE
Geese, Miranda - relax. Magda's not even finished yet.
MIRANDA
I still have a legal brief to work on when I get home.
BRADY
I have to go to the bathroom.
MAGDA
I'll take him. Wash that beautiful face too, yes?
Brady nods . Magda walks away with Brady . Miranda is packing up Brady 's action figures . Steve gives her a look .
MIRANDA
What? I'm sorry. I'm exhausted. Brady woke me up at five AM.
STEVE
He woke me up too.
Silence . She sips her cappuccino . Foam covers her top lip . He looks over at her and smiles .
STEVE
( CONT 'D . )
You got milk on your top lip.
She licks it off , not pleased .
STEVE
( CONT 'D . )
What now?
MIRANDA
It's like you're always criticizing me.
STEVE
I am not.
( Beat ; then , cute . )
You want to go through life with foam on your lip and no one telling you?
Silence . He reaches down and picks up her coffee cup and sips . putting lots of foam on his lip . He looks over .
STEVE
( CONT 'D . )
Anything you want to tell me?
She shakes her head : No . He puts his face in front of hers . She laughs . He licks his lip . Steve is in bed with Miranda , they are making love . She is wearing a T - shirt .
MIRANDA
Yeah. Yeah.
STEVE
Wait - wait - Do n't come already.
MIRANDA
Yeah. Yeah.
STEVE
Wait, wait - get on top. Get on -
MIRANDA
It's late. let's just get it over with.
Steve looks at her . She ca n't believe what she 's said .
MIRANDA
( CONT 'D . )
I mean - We have to get up in four and half hours.
STEVE
We never have sex and you want to get it over with?
MIRANDA
Steve. We have sex.
STEVE
When was the last time we had sex?
Miranda ca n't remember . He moves to his side of the bed .
STEVE
( CONT 'D . )
( As he turns away . )
There was snow on the ground.
He gets out of the bed and walks away . She watches him go . The girls are having breakfast . Lily sits at the table in a booster seat coloring in a Cinderella coloring book . Carrie is helping her . CLOSE ON : Cinderella 's shoe . Carrie is filling it in with a BLUE CRAYON .
MIRANDA
How often do you guys have sex?
CHARLOTTE
Miranda - please.
MIRANDA
What?
She indicates that Lily is sitting with Carrie . Carrie continues to color , not looking up .
CARRIE
It's okay, I know all about sex.
SAMANTHA
If I knew the girl talk was going to be on `` lock down,'' I would n't have flown two thousand miles.
CHARLOTTE
No, we can talk, let's just not use that word.
MIRANDA
She's three, she does n't know what it means. I'm forty - two and I still do n't know what it means.
CHARLOTTE
I know, but she's repeating everything.
MIRANDA
Fine. How often do you guys.
CARRIE
`` Color''?
CHARLOTTE
Thank - you.
SAMANTHA
Well, I ca n't color enough. I would color all day - every day if I had my way. I'd use every crayon in my box.
CARRIE
We get it. You love to color.
( To Miranda . )
Why are you asking?
MIRANDA
Steve and I were `` coloring'' last night and just as I was about to -
Miranda is searching for a word she can use .
SAMANTHA
Come?
( beat ; to Charlotte . )
Sorry - there is no crayon equivalent.
MIRANDA
He wanted to change positions and I said. `` Let's just get it over with.''
The ladies react , three different shades of shocked .
MIRANDA
( CONT 'D . )
Well, he kept trying to make it last longer.
SAMANTHA
And this is bad?
MIRANDA
It is when you have a full - time job.
SAMANTHA
I have a full - time job.
MIRANDA
Well, you do n't also have a five year old and play groups and PTA and a mother - in - law in a rest home with advancing Alzheimer's. I'm telling you, at the end of the day all I want to do is sleep. The most exciting thing in bed now - is the bed.
CARRIE
So. Sleep is the new sex?
LILY
Sex.
CHARLOTTE
See.
CARRIE
- I meant coloring.
MIRANDA
We're just going through a no coloring phase - it comes and goes, right?
CHARLOTTE
Every couple is different. Harry and I -
Carrie and Samantha look over ; interested .
CHARLOTTE
( CONT 'D . )
Make love two or three times a week.
MIRANDA
Great. Now I feel worse.
SAMANTHA
Well, when was the last time for you?
MIRANDA
Six months ago.
CARRIE
Oh my.
Miranda looks at her . She - continues to color .
MIRANDA
But that's a dry spell.
SAMANTHA
I bet it is.
CHARLOTTE
What about you and Big, Carrie?
( Off her look . )
Come on, I told.
CARRIE
Never. But, I will tell you this. When Big colors -.
( Beat ; sexy . )
He rarely stays inside the lines.
Samantha whoops . Carrie resumes coloring .
MIRANDA
Well, this was very helpful.
A freshly - showered Samantha sits on a chaise lounge in a robe - talking on the phone .
SAMANTHA
Send it to Smith Jerrod at the office address.
Smith walks up to Samantha wearing only underwear . There is a huge bulge in the front . Samantha takes the bulge in .
SAMANTHA
( CONT 'D . )
( into phone . )
I've got to go. Something just came up.
She hangs up . He smiles , looks down at her .
SMITH
I've got a gift for you.
SAMANTHA
So far, I like it.
He smiles as she reaches INTO his underwear basket and removes a long black velvet jewelry case . She opens it . It 's the petal ring from the auction .
SAMANTHA
( CONT 'D . )
How did - Wait - that was you on the phone at the auction?
SMITH
I knew how much you wanted it.
SAMANTHA
But I was going to buy it for myself.
SMITH
I wanted to give it to you. for our anniversary. We met five years ago today.
SAMANTHA
( beat ; had no idea . )
Right.
He smiles , sits down on the bed .
SMITH
Do you like it?
SAMANTHA
To be clear - This is a ring with diamonds - not a diamond ring, right?
( Off his nod . )
In that case. I love it.
( Re ; underwear . )
It's my second favorite thing I've ever found in there.
She kisses him , touched - then reaches in his underwear .
SAMANTHA
( CONT 'D . )
Now, my gift's a little bit more. oral.
SMITH
Babe - I've got to go to bed.
SAMANTHA
Bed? It's seven - thirty.
SMITH
I have to be at the studio by six A.M. and I need to get a workout before that.
SAMANTHA
This is how it starts. Next thing you know. we're only having sex three or four times a week.
SMITH
Most people consider that normal.
SAMANTHA
I am not most people.
SMITH
No - you most certainly are not.
He smiles , leans in and gives her a hot - hot kiss . The kiss leads - to reaching into underwear . as they start . Smith is laying in bed . Sound asleep . The clock on the bed table reads : 9:01 . Night . Samantha sits in the jacuzzi wearing her ring - sipping a glass of wine - bored .
CARRIE
( V.O . )
One glass of Merlot and two orgasms later.
Samantha hears MOANING . The sounds of someone having SEX in the house right next door . She looks - from the hot tub she can see her neighbor DANTE - hot , dark - `` sex on a stick '' in his living room making wild love to a RED HAIRED WOMAN . They are naked . Samantha watches and sips - not so bored .
CARRIE
( CONT 'D . )
And that is how Samantha learned she had a new neighbor.
Carrie enters the apartment . It is dark - ish . A candle or two is lit .
CARRIE
( soft . )
John?
The terrace doors are open . The curtains blow , gently . She walks out onto it . As she steps out onto the terrace . Big comes up behind her . He - leans her against the door jamb and kisses her . It 's hot . He kisses her - sliding down the front of her body . Big is in bed wearing `` half glasses , '' reading The Wall Street Journal . Carrie enters from the bathroom and hops into bed . She grabs a LIBRARY BOOK from the night stand and looks over .
CARRIE
Lean?
He nods and lifts up one of his arms . She slides over and nestles in , leaning up against him . She opens her book . He looks down at it .
BIG
Are you the last person in New York still taking out library books?
CARRIE
I love the smell.
She smells the book , then holds it up to him . He smells .
BIG
That's an old one.
CARRIE
`` The Love Letters of Great Men.'' Volume one.
BIG
Am I in there?
CARRIE
No, but some of your classmates are. Voltaire, Napoleon.
Big smiles . She takes the glasses off his face and puts them on , looks at book .
BIG
You need to get glasses.
CARRIE
No, I do n't - you have them.
( then ; off book . )
Here's Napoleon.
( Reads . )
`` My dearest Josephine, I wake consumed with thoughts of you -''
BIG
Typical short guy. Gives it all away up front.
She punches him a little , continues to read .
BIG
( CONT 'D . )
Why are you reading this?
CARRIE
Research for my new book.
BIG
What's it about?
CARRIE
Love. I use to write about finding love - now I want to write about what happens after you've found it.
BIG
Interesting. What happens?
CARRIE
Stay tuned.
He smiles . She looks at the book again .
CARRIE
( CONT 'D . )
Listen. Here's Beethoven.
BIG
Bring it, Ludwig.
CARRIE
( Reading . )
`` My thoughts go out to you today my immortal beloved. I can live only wholly with you or not at all.''
BIG
Good stuff.
CARRIE
( Reading . )
`` Be calm my life, my all. Only by calm consideration of our existence can we achieve our purpose to live together. Oh continue to love me, never misjudge the most faithful heart of your beloved. Ever thine - ever mine - ever ours.
Silence . The beautiful sentiment hangs in the air . She closes the book and looks up at him .
CARRIE
( CONT 'D . )
Have you ever written me a love letter?
BIG
Does a love fax count?
CARRIE
When have I ever gotten a love fax?
BIG
I'm pretty sure my secretary sent one at some point.
Carrie looks at him , mock disappointed .
BIG
( CONT 'D . )
What can I say, baby? Not my style.
( Beat . )
Besides, these guys had to write - they were separated from their loves by wars and hundreds of miles. I'm right here.
( Beat . )
Hi.
She smiles . He kisses her on the forehead . Sincere .
BIG
( CONT 'D . )
You make me very happy.
CARRIE
Yeah, yeah. Put it in writing.
He laughs , she looks at her book , turns a page and reads . After a beat , he puts down his paper .
BIG
Alright. Here's a love letter from me to you.
She looks up at him , excited . He speaks romantically .
BIG
( CONT 'D . )
Loving you. Is easy. ` cause your beautiful.
Big continues - now SINGING the Minnie Ripperton classic .
BIG
( CONT 'D . )
EVERY DAY OF MY LIFE IS FILLED WITH LOVING YOU. LA LA LA LA LA LA LA OOOOOOOOOOOOOOO.
Carrie LAUGHS as he continues to massacre the high notes . Carrie runs past the stone lions and up the grand stairs holding three LIBRARY BOOKS in her hand . Carrie stands at the entrance while a FEMALE GUARD -LRB- 60 -RRB- checks the contents of her purse . A FLORAL DELIVERY MAN comes in carrying a GORGEOUS ARRANGEMENT OF WHITE FLOWERS . He calls to the Guard .
DELIVERY MAN
Which way's the wedding?
The Guard points , bored . Carrie looks , interested .
INT. NEW YORK PUBLIC LIBRARY/WEDDING SPACE -- MOMENTS LATER
A beautiful space . The tables are being set up as MORE FLOWERS arrive . Carrie tip - toes in and looks around . A SMILE grows on her face . Carrie and Big sit at the bar - having dinner .
CARRIE
I've been thinking.
BIG
Again?
CARRIE
How about we get married at The New York Public Library?
( Gushy and silly . )
Think how perfect. You and I and our love story surrounded by all the other lesser love stories.
BIG
Do we have to make that big of a deal?
CARRIE
It's not that big a deal. It's seventy - five people in a room that's partitioned in half.
BIG
It's just - I've already had two big weddings.
Carrie winces - stung . After a beat , she goes on .
CARRIE
Well, what did you have in mind?
BIG
I do n't know - a judge, couple friends and then we go for ham and eggs after.
A bucket of cold water .
CARRIE
Interesting.
Big looks over at her . She looks upset , hurt , sad . Silence .
BIG
Would we have to whisper? In the library?
Carrie looks over at him , softens a little .
BIG
( CONT 'D . )
`` Do you, Carrie'' - Shhhh. `` Take this man'' - SHHHH!
He raises his eyebrow . She laughs . ELAINE -LRB- 40 -RRB- Zaftig , Jewish - spots Carrie .
ELAINE
Carrie, hi!
CARRIE
Elaine, hi. Do you know John?
ELAINE
No, hi. Nice to meet you.
CARRIE
Elaine writes a single gal column for The New York Post.
ELAINE
Please - I'd rather you reveal my weight.
Carrie and Big laugh .
ELAINE
( CONT 'D . )
So, what's new?
CARRIE
Well. We're getting married.
BIG
Yep - At the New York Public Library.
Carrie looks at Big , touched . Elaine is delighted , TEARFUL .
ELAINE
Oh, my God! This gives me such hope.
She hugs Carrie , then hugs Big . Then hugs Big again .
ELAINE
( CONT 'D . )
Thank - you. Thank - you for marrying someone our age.
Charlotte , Harry and Lily are having breakfast . A KING CHARLES SPANIEL and TWO MUTTS sit on the floor looking up at them . Charlotte pages through the New York Post - She notices something . CLOSE ON : NEWSPAPER ; A small PHOTO : of Carrie on `` PAGE SIX '' above a mention of the wedding . Charlotte SCREAMS . Harry and Lily JUMP . She grabs the cordless phone from the table . Intercut with Carrie on the phone as Big sips coffee .
CHARLOTTE
( reading paper . )
`` The ultimate single gal Carrie Bradshaw will be married in Manolos to New York financier John James Preston come fall.''
CARRIE
( to Big . )
Our wedding's on Page Six.
BIG
( not pleased . )
Who would put that in there?
Carrie shrugs , Charlotte continues reading .
CHARLOTTE
`` Proving to single gals everywhere that there can be a happy ending over forty.''
CARRIE
Oh, I know who.
Carrie is walking down the street with STANFORD .
CARRIE
( V.O . )
Later that day, I met my friend Stanford for our weekly quick lunch and gossip session. Also known as `` dish then dash.''
STANFORD
According to a certain trashy tome, you are marrying John James Preston.
CARRIE
Rumor has it.
STANFORD
Just one question : Does Big know?
CARRIE
( laughs ; then . )
Where are we eating?
STANFORD
Anywhere you like. and you know the rule - the person on Page Six pays for lunch.
Carrie laughs . TWO WOMEN spot her and scream . She and Stanford REACT as the women GUSH . Carrie and Stanford are mid - meal . Three GAY MALE friends -LRB- 3O - 40 -RRB- stand at their table and gush .
CARRIE
( V.O . )
It seemed everywhere I went. people I knew were excited and available to come to the wedding.
A WAITRESS -LRB- 23 -RRB- places a check on the table . Stanford looks at it , then leans in to waitress .
STANFORD
You forgot to charge us for the gaggle of gays.
Carrie and Stanford are walking by a nail salon as BITSY VON MUFFLING , socialite , comes running out - Mid - pedicure . She is barefoot with foam pads stuck between her painted toes .
BITSY
Carrie Bradshaw Preston! Carrie Bradshaw Preston!
Carrie and Stanford stop - turn around . Bitsy gushes .
BITSY
( CONT 'D . )
Mazel tov! Saw you on Page Six! September? October? When?
( beat ; realizes feet . )
Look! Will you look! I got so excited - no shoes. I'm standing barefoot on a New York sidewalk probably getting trichinoses.
She hurries away , turning back to CALL as she goes .
BITSY
( CONT 'D . )
We're at the same address - different floor. Just send it - they'll get us the invite.
She waves , goes back inside . Carrie looks stunned .
CARRIE
( V.O . )
The shocking thing was not the plethora of empty autumn social calenders but knowledge that everyone does indeed read Page Six.
Carrie opens the glass door and walks into the Vogue offices .
CARRIE
( V.O . )
Even people you did n't expect, like my Vogue editor, Enid.
Carrie is with ENID -LRB- 60 -RRB- her stunning , icy Vogue editor .
ENID
We're putting together our annual `` Age'' issue - and we'd like you to do forty.
CARRIE
Great. Who am I interviewing?
ENID
No. You. You are forty. I want you to be featured in the magazine as the forty year old - and here's the brilliant twist - bride.
CARRIE
Wait - I would be in the magazine?
ENID
In bridal couture. It's a once in a lifetime opportunity - so spare me a week of faux soul - searching and just say yes.
CARRIE
Enid - I'm so very flattered but -
ENID
Carrie. Vogue designers, Vogue photographers, Vogue airbrushing.
( Beat . )
Nod your head : yes.
Carrie smiles and nods .
ENID
( CONT 'D . )
Thank - you. It will be a sensation. We're calling it : `` The Last Single Girl.''
CARRIE
Well, I'm hardly the last single girl.
ENID
No, but forty is the last age you can see a woman photographed in a wedding gown without the unintended Diane Arbus subtext.
CARRIE
I thought the issue was `` great style at every age.''
ENID
Style yes. bride no.
CARRIE
( smiles ; then . )
Enid - I have no idea - were you ever married?
ENID
Briefly. In 1975. I wore Halston. Creme. One shoulder Grecian with a low - cut bodice to the waistline for a dramatic flair. The fabric in the sleeves formed oval draping on the sides. Stunning. My future husband and I saw it on a trip to Paris and he fell in love with it. Insisted I be married in it. So I was. We had quite a beautiful party.
CARRIE
( smiles ; then delicately . )
Why did n't the marriage work out?
ENID
Did you not hear me say my husband fell in love with my gown?
( beat ; off Carrie 's nod . )
Has your fiancée expressed any interest in what you'll be wearing?
CARRIE
None at all.
ENID
Then you may have a shot.
Carrie stands on the set of a Vogue photo shoot wearing a GORGEOUS VERA WANG GOWN . Hair , make - up : stunning . She is surrounded by VOGUE STYLISTS and CREW . Carrie looks over to Samantha , Stanford and Charlotte standing on the side - lines , watching . They signal their approval . Carrie smiles . tentative - but excited .
SAMANTHA
She's looking quite at home for someone who did n't think she had the bride gene.
CHARLOTTE
Well, I guess with the right man.
STANFORD
And the right dress.
Charlotte and Samantha smile .
STANFORD
( CONT 'D . )
When I get married, I'm wearing something like that. But bigger.
Samantha and Charlotte laugh . The PHOTOGRAPHER starts working . FLASH ! Carrie poses . FLASH !
CARRIE
( V.O . )
Just your typical Wednesday. Breakfast with. Vera Wang.
FLASH ! Carrie in another GORGEOUS WEDDING wedding gown .
CARRIE
( V.O. ; CONT 'D . )
Mid - morning coffee with. Carolina Herrera.
FLASH ! Carrie in another FAMOUS DESIGNER wedding gown . Samantha holds up her iPhone and takes a photograph of Carrie . Charlotte looks at it , smiles , then presses - `` send . '' Miranda is at her desk , working - her phone - `` beeps . '' She picks it up - CLOSE ON : PHONE announcing a photo arrival . She opens the photo - it 's Carrie in the wedding dress . Miranda smiles . FLASH ! Carrie in another FAMOUS DESIGNER wedding gown .
CARRIE
( V.O. ; CONT 'D . )
Appetizers with Oscar de la Renta.
FLASH : JUMP CUT TO : Carrie in another FAMOUS DESIGNER wedding gown .
CARRIE
( V.O. ; CONT 'D . )
Lunch with Lanvin.
FLASH : JUMP CUT TO : Carrie in another FAMOUS DESIGNER wedding gown .
CARRIE
( V.O . )
And Lacroix.
FLASH : JUMP CUT TO : Carrie in another FAMOUS DESIGNER wedding gown .
CARRIE
( V.O . )
And Dior.
FLASH : Carrie in the final FAMOUS DESIGNER wedding gown . This is the most sensational topper . She looks `` beyond , beyond '' beautiful in it .
CARRIE
( CONT 'D . )
And for dessert - Vivienne Westwood.
Charlotte and Stanford are looking at Carrie , moved .
CARRIE
( CONT 'D . )
A confection so special.
Samantha reaches up and wipes away a tear .
CARRIE
( CONT 'D . )
It could wring a wedding tear from even the most unbelieving of women.
Carrie opens the door to find a DELIVERY MAN standing there with a very large dress box tied by a lush RIBBON .
CARRIE
( V.O . )
And then the impossible happened.
JUMP CUT TO : Carrie pulling back the tissue paper to reveal : her favorite wedding gown . Carrie picks up a hand - written note on an engraved note card from VIVIENNE WESTWOOD . It reads : `` I saw the photos from the shoot . This dress belongs to you . Cheers ! '' Carrie peeks around the closet and looks in . The gown is hanging next to the white suit , dwarfing it .
CARRIE
( V.O . )
And just like that, Vivienne Westwood kicked my sweet little suit's ass.
Big leads Carrie into their new bedroom by the hand . Her eyes are closed and she has a DESIGNER shopping bag slung over her one arm . He moves her around the construction debris , stopping in front of the new closet 's double doors .
BIG
Okay. Open them.
Carrie opens her eyes .
CARRIE
Double door. So far so good.
She opens the closet doors , revealing a beautiful oversized , walk - in closet with shelves and more shelves and places for shoes and more shoes .
CARRIE
( CONT 'D . )
Well. You did me proud, Mister.
BIG
Like it?
CARRIE
Like it? It's love at first sight.
He smiles , proud . She takes the DESIGNER shoe box out of her shopping bag and hands it to him . She opens the lid , takes out a pair of COLORFUL/FUN HEELS and places them on the shelf . She turns back to him .
CARRIE
( CONT 'D . )
Now, I believe this is all really happening.
Miranda , Charlotte and Carrie are standing in Carrie 's apartment . Empty boxes are everywhere . Lily is coloring quietly nearby .
MIRANDA
I ca n't believe it sold so fast.
CHARLOTTE
It's a sign.
CARRIE
Yeah, a sign I priced it too low.
The door buzzes . Carrie pushes the intercom button .
CARRIE
( CONT 'D . )
That's the food - money on the table.
( Beat . )
I'll get started in the closet. I should be done in seventeen years.
Carrie starts into the bathroom . Charlotte calls :
CHARLOTTE
Pink Post - it - take. Purple - toss. Yellow : Storage.
CARRIE
( O.C . )
( Calling out . )
You're good friends.
There is a knock on the door . Miranda opens it . Samantha stands there with her carry - on luggage .
CHARLOTTE
Samantha! Oh my God!
Carrie re - enters from the bathroom . stunned .
CARRIE
What are you doing here?!
SAMANTHA
I lot of shit went down in this place. Attention must be payed!
She reaches into her bag and pulls out a bottle of champagne . They all CHEER . She reaches in again and pulls out another bottle . More cheering . Samantha is packing Carrie 's collection of CD 's , tapes and albums . She puts on a `` Best of the 80 's '' CD . MUSIC START : Run DMC & Aerosmith : `` WALK THIS WAY . '' Carrie comes out of her closet wearing an outfit that screams `` 80 's . '' Lily looks up from her coloring . Miranda , Charlotte and Samantha sit on the bed drinking champagne . Carrie poses . They hold up hand - written signs : `` Take '' or `` Toss . '' JUMP CUT TO : Carrie comes out of the closet wearing another `` 80 's '' outfit . The girls vote : `` Take , Take , Toss . '' Carrie nods . JUMP CUT TO : Carrie comes out of the closet wearing a tight pink top and a tutu . The girls LAUGH ; then all hold up : `` Toss . '' Carrie reacts . JUMP CUT TO : Carrie comes out wearing a late `` 90 's '' outfit . The girls vote : `` Take , Take , Take . '' Carrie is thrilled - she keeps it . JUMP CUT TO : Miranda wearing something from Carrie 's closet . JUMP CUT TO : Charlotte wearing something from Carrie 's closet . JUMP CUT TO : Samantha wearing something from Carrie 's closet . JUMP CUT TO : Carrie , Miranda , Charlotte and Samantha LAUGHING - at something . REVEAL : Lily standing in the closet , naked except for her training underpants . Her arms are outstretched and draped with Carrie 's small purses and bags . The girls in the apartment are surrounded by many , boxes .
CARRIE
( V.O . )
It took four friends, three days to put twenty years into twenty - eight boxes.
Carrie walks through her now , empty apartment . She takes one last long look and leaves . END MUSIC . Steve sits in a chair as Miranda hands a cup of tea to his mother MARY . She looks up at Miranda , lost .
MARY
Who are you again?
MIRANDA
Oh, you know me - I'm your daughter - in - law.
( beat ; then . )
I'm Miranda.
MARY
That's right.
Miranda nods and smiles . Steve watches , touched .
INT. MIRANDA AND STEVE'S HOUSE/KITCHEN -- NIGHT -- LT. SUMMER
Miranda is putting away groceries . Steve is sitting at the kitchen table .
MIRANDA
While I run over to see your mother tomorrow maybe you can take him to the first birthday party alone. Then - I'll meet you at the twins' party and you can leave and be at the bar by six.
She looks over at him . He looks strange .
MIRANDA
( CONT 'D . )
What's the matter? Steve.
He starts crying .
STEVE
- I had sex with someone else.
Miranda ca n't believe her ears .
STEVE
( CONT 'D . )
- And you are so amazing with Ma and everything. everything you do and I ca n't believe I would do that to you.
Miranda just sits - looking at him .
STEVE
( CONT 'D . )
You and I had n't had sex in a really long time and I -
Miranda shakes her head , turns and walks out of the kitchen . He gets up and follows her .
STEVE
( CONT 'D . )
It did n't mean anything - It was just once. and it's been killing me.
She stops and turns around . He stops .
MIRANDA
It's killing you?!
She starts down the hall again . He 's on her heels .
STEVE
( CONT 'D . )
It just happened. I was n't thinking.
MIRANDA
Do not follow me.
She starts up the stairs . He stops at the bottom and watches her go . Lost as to what to do next . Carrie opens the door . Miranda stands there with Brady . She looks like she is about to burst into tears . Big stands in the hall behind Carrie . Unsure .
CARRIE
Hi.
MIRANDA
Surprise - Here we are!
CARRIE
( To Brady . )
Well, I'm so excited you are here for a sleepover.
MIRANDA
We are too. Are n't we B - boy?
Brady nods . Miranda gives Brady 's hand to Carrie .
MIRANDA
( CONT 'D . )
Here. Mommy has to go to the bathroom.
Miranda hurries away . Carrie looks after her , concerned .
CARRIE
Brady, do you want to go have some peanut butter?
He nods . Carrie give his hand to Big and hurries away . Big looks at Brady . Brady looks up at him .
BIG
Peanut butter it is.
They walk into the kitchen . Miranda is sitting on the toilet , seat down . Carrie at the sink .
MIRANDA
Apparently you do n't have sex for six months he runs out and has it with some girl at his bar.
CARRIE
Steve. I ca n't believe it. Steve.
MIRANDA
Steve. When I think of everything I've done for him. And this is how he repays me. Man, if I did n't have Brady, I would never go back there.
Miranda looks furious . Carrie nods , in shock . Steve is in bed . Miranda comes in , dressed for bed .
CARRIE
( V.O . )
The next night, for the sake of Brady, Miranda went against her instincts and went home.
He throws back the covers . She looks at him .
STEVE
Miranda, it's still me.
MIRANDA
Is it?
She stands there and looks at him . Shakes her head , exits . Miranda walks into the chic hotel lobby holding Brady 's hand . She pulls a piece of luggage behind her .
CARRIE
( V.O . )
So Miranda left Brooklyn and came home. to Manhattan.
Brady sits on a couch in the lobby playing with his action figures . A HOODED MOVIE ACTOR TYPE -LRB- 25 -RRB- sits slumped next him texting on a phone . Carrie , Miranda , Charlotte and Samantha are having brunch at a table nearby .
MIRANDA
Yes, it's sad, but I'm not going to make it any sadder by staying at a bad hotel while I look for a place. Pass the salt.
Charlotte passes the salt .
MIRANDA
( CONT 'D . )
Plus, I have to be downtown and close to Brooklyn. We're going to keep things as normal for Brady as we can. I'll pick him up on my days. take him over on Steve's.
CARRIE
I do n't know if this question is allowed - but how is Steve handling this?
MIRANDA
Says he's devastated - begs me to forgive him.
( beat . )
Not going to happen. I can barely even look at him.
CHARLOTTE
Steve - I ca n't believe it.
CARRIE
That's what I said.
SAMANTHA
Miranda, honey - are you sure you want to do this? It's just one time. Anyone can have a slip.
MIRANDA
Well, even if I could get my head around that justification - it's the cheating part - the behind my back part. the violation of the trust - that's the thing that's killing me.
Samantha nods , taking it in .
MIRANDA
( CONT 'D . )
Besides. women who stay with men who cheat are women who are afraid to be on their own. And that's not me - I can handle it. Always could.
Brady walks over holding an action figure .
BRADY
Mommy, I want to go home.
Miranda nods ; keeping a brave face . Charlotte looks upset . Charlotte and Harry are making love , gently . She looks into his eyes - speaks softly .
CHARLOTTE
Thank - you for being you.
He smiles , touched . She smiles - he kisses her .
CARRIE
( V.O . )
Charlotte made love to Harry five times that week.
Smith and Samantha are sitting at the dining table . ANAKA , -LRB- 45 -RRB- a Zen , low - key chef lays down plates in front of them .
SAMANTHA
It's a little quick to move out, do n't you think?
SMITH
Her reaction is her reaction. Thanks Anaka.
Anaka nods and walks away .
SAMANTHA
He had sex once. Not even an affair.
SMITH
Maybe it's not the sex. Maybe, it's the cheating. For me. that would be the thing. That it happened behind my back.
SAMANTHA
That's what she said.
He nods . Samantha eats . Thinks .
SMITH
Look. I know we're not married but - if you were going to have sex with someone else.
Long pause . He looks at her .
SAMANTHA
Are you waiting for me to get out my datebook?
SMITH
( beat ; then . )
But. seriously, I'd rather know first.
She gets up from the table and moves over to him .
SAMANTHA
You want me to tell you if I'm going to have sex? Fine. I'm about to have sex.
She sits on the table directly in front of him and opens her legs . Anaka enters - sees her position , spins on his heels and walks back out .
SMITH
( as he goes . )
Thanks Anaka.
Mary sits in a chair eating dinner from a tray . Miranda sits on the edge of the bed near her .
MIRANDA
I do n't know if Steve's mentioned anything to you yet - about us. Has he?
Mary shakes her head : No - concerned . Miranda nods .
MIRANDA
( CONT 'D . )
Well - we've had some marriage problems - it's not necessary to go into the details but - I just wanted you to know that we wo n't be coming to see you together anymore. I'll be here Monday, Wednesday and Sunday - the other days will be Steve.
MARY
Who's Steve?
CARRIE
( V.O . )
Miranda was starting to see the upside of Alzheimer's.
The room is crowded with Carrie 's boxes waiting to be moved . Big is sitting at a computer reading his emails . Close on screen : We see his email address is John@JJPny.com . He clicks open a file as Carrie enters .
CARRIE
Wedding crunch time. We need to really get serious here.
BIG
Not now - I just got an email from the the contractor - they pushed our move - in date again - and I have to -
CARRIE
Nope. Wedding before contractor. Unless you're planning to invite him - which would make the guest list two hundred and one.
BIG
Two hundred? Jesus, Carrie - it's gone up again?
CARRIE
Blame the New York Post and Vogue. Two publications that have never before been uttered in the same sentence.
BIG
You said : seventy - five people in a partitioned - off room.
CARRIE
It's the dress. How can I explain this? It's like poker - The dress upped the ante.
BIG
Change the dress.
CARRIE
No, no, no - you have n't seen this dress. This dress may be the whole reason to get married. Well, you and the dress.
She sits in his lap . He adjusts , uncomfortable .
CARRIE
( CONT 'D . )
How are you coming with your vows? Just a reminder - you are going to be saying these in front of a lot of people, so the pressure is on.
BIG
( He 's had it . )
Up, up. I have to finish this. Up.
He sort of `` helps her '' out of his lap .
CARRIE
Hey.
BIG
I do n't have time for this.
CARRIE
This is our wedding and you're not taking it seriously.
BIG
No, I'm not - It's a circus! Two hundred people - Page Six - This is my third marriage - how do you think it makes me look?
Carrie looks at him , stunned by this new information .
CARRIE
I did n't know that was even an issue.
( beat . )
Why did n't you say anything sooner?
BIG
You wanted all this.
CARRIE
But - do n't you want -
BIG
I want you, Carrie. That's what I want. I would have just gone down to city hall.
Tension . He starts out of the room , moving a wardrobe box out of his way as he goes . She stands there . Upset . Big is brushing his teeth . There 's a knock . The door opens . Carrie comes in , vulnerable .
CARRIE
I think it's too late for city hall now.
BIG
Well, no. I was n't suggesting - I was just saying.
He looks at her . She looks - devastated .
BIG
( CONT 'D . )
See. That is the face I've been trying to avoid. Come here.
She stands there . He goes to her , hugs her .
CARRIE
You're a great man friend.
She buries her head in his chest ; relieved . He exhales . Miranda , Charlotte , Harry , Samantha , Smith , Stanford , Anthony , Bitsy and other GUESTS are gathered around a long beautifully - set table . Carrie and Big ARRIVE at the top of the stairs . Everyone looks up and applauds . The desserts are being served . Samantha stands and prepares to speak . Harry hits a glass with a spoon . people quiet down .
SAMANTHA
Now, I know it's tradition at the rehearsal dinner for the maid of honor to reveal embarrassing things about the bride. But in our group -
She looks at Carrie , Charlotte and Miranda
SAMANTHA
( CONT 'D . )
We never kiss and tell.
Carrie , Miranda and Charlotte WHOOP . Laughter .
SAMANTHA
( CONT 'D . )
So, I'd like to make a toast to the groom.
From somewhere down the table , KARL -LRB- 50 -RRB- a Preppy Businessman CALLS OUT ; joking .
KARL
There's a word he's heard before!
The room LAUGHS . Big smiles ; tight . Carrie leans in .
CARRIE
Who is that again?
BIG
Karl. a partner at the firm.
CARRIE
Karl's kind of a jerk.
KARL
( Calling . )
You know what they say - three times a charm!
SAMANTHA
( Calling to Karl . )
Hey `` dick wad''. I'm speaking.
CARRIE
Whooo!
SAMANTHA
Now. There were times when we had our doubt about this gorgeous man. But after careful observation over the last hundred years, my doubts are over.
( Lifts glass high . )
So. here's to the groom. A man who finally got `` Carrie - d'' away.
Big is touched . Then Karl feels the need to add :
KARL
Here's hopin', John!
Big smiles , he has no choice . He raises his glass .
CARRIE
( Soft . )
Jackass.
Samantha is out front with Big , Harry and Smith . They are smoking cigars .
BIG
Quite a toast, Samantha.
SAMANTHA
Well, you're quite a guy.
They chuckle , then - Samantha 's smile fades .
SAMANTHA
( CONT 'D . )
Steve.
The men turn as Steve approaches . He has a look of real pain and guilt and embarrassment on his face .
STEVE
I do n't want to bother you all -
BIG
You're not bothering us.
STEVE
But - I need to talk to Miranda. Samantha, could you - ask her to come out. I do n't want to go in. It's a party and all.
Samantha is trapped . trapped and touched . Miranda comes out of the ladies room . Samantha spots her .
MIRANDA
Hi. I have n't talked to you all night.
SAMANTHA
Steve's here.
The blood drains from Miranda 's face . Samantha nods . Steve is standing with Smith , Big and Harry as Miranda comes out of the restaurant - Samantha looks out from inside .
MIRANDA
Could you give us -
The guys go inside . Samantha gives Miranda a look and leads them away . Miranda turns . She glares at Steve .
STEVE
You did n't leave me any choice. You wo n't return my calls - You only talk to me in front of the baby when you know I ca n't say anything.
MIRANDA
What could you possibly have to say that could make it better?
STEVE
Miranda, please. It was just that one time. Please - I love you -
MIRANDA
You broke us! You broke us. What we had is broken!
Three YOUNG SINGLE GIRLS -LRB- 25 -RRB- walk past them into the club . They look back at the scene . Miranda looks down at the ground . Steve is paralyzed . Miranda turns to leave - looks back at him with daggers and hurt .
MIRANDA
( CONT 'D . )
I changed who I was for you.
Miranda goes inside . Steve is a stone . Miranda makes her way through the crowded bar . She looks very rattled . Big spots her and follows , gently .
BIG
Hey. Are you alright?
MIRANDA
No, I'm not alright. You two are crazy to get married. Marriage ruins everything.
Miranda walks away , upset . He stands there ; shaken . Big is at the bar having a scotch . Carrie hurries over to him . She leans in and puts her arm on his back .
CARRIE
There you are. I thought you skipped out on me.
She smiles , kisses him . He smiles , sips his scotch .
CARRIE
( CONT 'D . )
Well, the all - gal sleepover is about to commence. You gon na miss me?
BIG
Do n't go. Spend the night with me.
CARRIE
Oh. One night wo n't kill you. And tomorrow you get to have me for the rest of your life.
He sips his scotch . She looks at him , sees a glimmer of something . Something that scares her .
CARRIE
( CONT 'D . )
Is everything okay?
He looks over - sees her face . Scared .
BIG
I'm just tired - I guess.
Carrie reaches up and fixes Big 's hair .
CARRIE
Go home and sleep.
( beat . )
Now, give me a kiss good night. Make it good - it's the last single girl kiss.
He looks at her as if to say something , then kisses her . Carrie sits on the bed surrounded by Charlotte , Samantha , and Miranda all wearing matching robes . Laying on the floor near the bed - three open gift boxes and ribbons . Lily sits in Carrie 's lap playing with Carrie 's cell phone - in her PJ 's .
CARRIE
( V.O . )
There we sat. like a scene out of Louisa May Alcott's : `` Not - so Little Women.''
CHARLOTTE
I always knew she would marry Big.
SAMANTHA/MIRANDA
You did not!
CHARLOTTE
Yes I did! After every break - up I secretly thought : Nope. They belong together.
SAMANTHA
You thought that after the second break - up?
CHARLOTTE
Yep.
MIRANDA
After the fifteenth?
CARRIE
Ha ha - hilarious - we broke up a lot.
SAMANTHA
Yes, but. after the break - ups - comes the hot make - up sex.
Charlotte pokes Samantha ; indicates Lily . Samantha rolls her eyes . Carrie 's cell phone RINGS . Lily wants to answer it .
CARRIE
You want to answer? Go ahead, sweetie. Open it up.
Lily opens it and holds it up to her face , silent .
CARRIE
( CONT 'D . )
Say something.
LILY
Sex.
They are all shocked ; then : LAUGHTER , even Charlotte .
CARRIE
Sweetie, that was your first bootie call.
SAMANTHA
Are you sure she's not my child?
Carrie , still laughing , wipes a tear away as she takes the phone from Lily and answers it .
CARRIE
Hello?
Big is sitting at the desk , a piece of paper on it .
BIG
It's me.
CARRIE
Oh my God - did you just hear Lily?
BIG
Hey - I need to talk.
Carrie puts her hand to her ear , blocking the laughter .
BIG
( CONT 'D . )
I'm sitting here trying to write these vows and.
( beat ; then . )
Is this something we really want to do?
Carrie gets out of bed ; playing it `` casual '' to the girls .
CARRIE
It's Big. I'm gon na take it in the -
She points to the study . Charlotte calls to the phone .
CHARLOTTE
( calling ; silly . )
Get some sleep, groomie!
Carrie goes into the study and closes the door . Carrie leans against the door , her face now concerned .
CARRIE
What's the matter?
BIG
It's just - everything is great as it is.
( beat . )
I do n't want to screw it up.
CARRIE
You wo n't.
BIG
I screwed it up twice before.
Big is silent . Carrie is thinking , thinking , thinking .
CARRIE
Here's the thing. This is me that you're marrying tomorrow. Me. Nobody else.
BIG
Yeah.
CARRIE
And I'm marrying you. It's me and you. And you want to know the good news there?
BIG
Yeah.
CARRIE
We've already both done everything we can to screw it up.
He smiles . She is very alert - thinking , thinking .
CARRIE
( CONT 'D . )
Is that a smile I'm hearing?
BIG
Yeah.
CARRIE
Now, it sounds to me like you've got a bit of writer's block on the vow front.
BIG
Yeah.
CARRIE
And I find - you know - as a professional writer - it's best to just, you know, stop thinking about it so much - and go to bed. And in the morning.
BIG
You know what to do?
CARRIE
Exactly. And if not - Just write this : `` I will love you.'' Simple and to - the - point. And I swear I wo n't even try to take credit for it.
Silence . Deep silence .
CARRIE
( CONT 'D . )
You're going to bed now, right?
BIG
Okay. Good night.
CARRIE
I'll see you tomorrow. Hey. Me and you.
He hangs up . She looks terrified . Dark . Charlotte and Carrie are sharing the bed . Carrie is wide awake . Here eyes focused across the room on her gorgeous wedding gown : ready and waiting . Miranda is standing in the hall putting on her earrings . The bedroom door opens - Carrie stands there in the wedding gown . Carrie and Miranda catch eyes for a brief moment . There are no words . Lily steps around from behind Carrie . She is wearing a long white dress and holding a LITTLE PURSE . She looks adorable .
CARRIE
There you are! Almost lost you under all that. Got your purse?
Charlotte takes Lily 's hand as Anthony comes out of the dining room and spots Carrie for the first time .
ANTHONY
Now there's a bride! Flowers!
A flurry of activity - attaching the veil on Carrie . Stanford stands near Carrie ready to assist if needed . Harry stands in the pantry doorway watching - eating a toasted bagel . Charlotte takes a bite - carefully .
CARRIE
Whose got a mirror?
CHARLOTTE
Behind you.
Carrie turns to move to the mirror . She is JERKED BACK .
CARRIE
Stanford, you're on my dress.
ANTHONY
Get off the dress!
MIRANDA
Is that a rip?
CARRIE/ANTHONY
Where?!
Carrie 's CELL PHONE RINGS . Anthony reaches over and picks it up , distracted by the dress situation .
ANTHONY
( sharp ; into phone . )
What?
Intercut with Big . pacing . He does n't look rested .
BIG
Can you put Carrie on, please?
ANTHONY
Not now. dress emergency.
Anthony hangs up , tosses her phone onto the dining table .
ANTHONY
( CONT 'D . )
Damage? What's the damage?
SAMANTHA
There's so much fabric I ca n't see.
ANTHONY
Ca n't see anything behind this friggin' table. Go, go - everyone out into the hall.
As the girls start out - Anthony addresses Stanford .
ANTHONY
( CONT 'D . )
You're a queen - you should know how to step around a gown.
STANFORD
Do n't call me a queen.
ANTHONY
Go - Out in the hall, your highness.
Everyone except for Lily moves out into the hall . Carrie 's cell RINGS AGAIN . Lily picks it up , opens it and holds it up to her face - She says nothing . Big is standing there . He hears only Lily breathing .
BIG
Hello?
Lily closes the cell phone . Big reacts , puzzled . She opens her little purse , drops the phone in and walks out . Carries and company leave the building , JADED NEW YORKERS passing by react with awe at the beautiful sight . CHARLOTTE leads Lily over to HARRY who is waiting by the Sedan . He makes a fuss over how cute she looks . Big 's driver RAOUL -LRB- 55 -RRB- is waiting out front next to his car , smoking . Big leaves his building talking on his phone .
CARRIE
( V.O . )
It's Carrie. leave me a message.
BIG
Why are n't you calling me back? I really need to talk to you. Call me back as soon as you get this.
He closes phone . Raoul opens the back door . WEDDING GUESTS arrive . Bitsy comes up to Stanford . A DRIVER follows her carrying a LARGE box from TIFFANY .
STANFORD
Looks like someone had breakfast at Tiffany.
BITSY
Sweetheart, look at the size. it's breakfast, lunch and dinner at Tiffany.
( beat . )
Gifts?
Stanford chuckles as he points . She points to the DRIVER and they walk away . Anthony comes over to Stanford .
ANTHONY
We have a problem.
STANFORD
I know, but for Carrie's sake I've decided to ignore your attitude.
ANTHONY
No, a real problem. They're not here.
STANFORD
They're probably stuck in traffic.
ANTHONY
Both of them?
Stanford gives a look of concern . Anthony nods . Big 's car is parked in front of the library . Raoul is leaning against it looking at his watch . Big is on the phone , smoking one of Raoul 's cigarettes .
CARRIE
( V.O . )
This is Carrie, leave a message.
BIG
I'm out front - waiting. I ca n't go in without you.
He takes a drag on the cigarette . Exhales .
BIG
( CONT 'D . )
Baby, this whole bride and groom thing has really thrown me. I need to know that it's still us. Just like you said. Me and you.
Raoul KNOCKS on the window . Big looks out . The girls are in the process of climbing out of the limo . Big closes the phone and looks . Carrie gets out of the limo , her back to him .
BIG
( CONT 'D . )
Turn around baby, let me see you.
Just as he 's about to see her face - Charlotte pulls the veil over it . Carrie is gone - all Big can see is a bride . He sinks back into his seat and away from the window as the girls hurry up the library stairs . Anthony and Stanford are waiting , as are Harry with Lily and Magda with Brady , who is wearing a little tux with shorts and knee socks holding a ring pillow . A FLURRY OF HIGH HEELS CLICKING on a marble floor is heard as Carrie and the girls arrive around a corner . Magda GASPS , overjoyed when she sees Carrie in her dress .
MIRANDA
Traffic was the worst -
Miranda kneels to hug Brady . Samantha fluffs Carrie .
SAMANTHA
Ready. We're ready.
Samantha looks over . Anthony has a weird look on his face .
STANFORD
He's not here yet.
SAMANTHA
Who's not?
ANTHONY
The groom.
Carrie lifts up her veil with ONE arm and looks out from under it . She is on super high - alert .
CARRIE
What's happening?
SAMANTHA
Big's not here.
CHARLOTTE
But we're twenty - five minutes late.
CARRIE
Did anyone call him?
( beat ; nothing . )
Give me a phone. Someone give me a phone.
Samantha hands her the iPhone . Carrie looks at it .
CARRIE
( CONT 'D . )
( tight/controlled . )
I do n't know how to work this.
Stanford hands her a phone . As she dials she catches a WORRIED LOOK on Charlotte 's face . Carrie turns away and holds the phone to her ear , waits . Waits . Then -
CARRIE
( CONT 'D . )
( into phone . )
Are you okay?
Big is sitting in the car as it MOVES down a side street .
BIG
I've been calling you for an hour. Why have n't you been answering your phone?
CARRIE
( anxiety escaping . )
I do n't know where my phone is!
( beat . )
What is going on? Where are you?
BIG
( beat ; then . )
I was out front - but I just left. I ca n't do this.
CARRIE
( in pain . )
Oh my God -
Carrie drops the phone from her ear - She 's heard the words . The words on some level she was expecting .
CARRIE
( CONT 'D . )
He's not coming. Oh my God.
The phone slips out of her hand and lands on the floor . Charlotte , Miranda , and Samantha do n't know what to do .
SAMANTHA
What do you mean he's not coming?
CARRIE
Get me out of here.
( beat ; a plea . )
- Get me out of here!
SAMANTHA
Go, go. You take her. I'll stay here and deal with this -
She gestures to the wedding area . Miranda and Charlotte take Carrie 's arms and quickly start moving her away . Horror on all of their faces . Brady CALLS after them , his voice ECHOES off the marble .
BRADY
Where you going, Mommy?!
Samantha looks at Stanford and Anthony - speechless . The LIMO DRIVER slams the limo door . Carrie is seen through the window , sitting in back - stunned . Miranda and Charlotte are in the back next to her - stunned . Big sits , pale , staring off as the car drives away .
BIG
( sudden realization . )
What the fuck am I doing? What the fuck am I doing?
( to Raoul . )
Turn around and go back.
RAOUL
It's a one way street. I have to go around the block.
BIG
By the time we go around the block she'll be gone. No one's behind us - Turn around!
Big 's car makes a QUICK three - point turn and starts back up the one - way street as Carrie 's limo turns onto it . Raoul sees the limo - coming .
RAOUL
I think this is them.
BIG
Pull over. Pull over.
Big 's car pulls over , as the limo approaches . Big powers down his window - as the limo passes , he sees Carrie in the window - resting her head against the glass , listless .
BIG
( CONT 'D . )
Carrie!
Carrie looks up , and see 's Big . He smiles an apologetically smile . Her limo keeps on moving . Big watches it go . Until . The limo SCREECHES to a halt . The back door flies open and Carrie almost leaps out . Big sees her , he looks relieved . She hurries up the street to Big 's car holding her bouquet . Big gets out of his car just as Carrie reaches him .
BIG
I freaked out for a minute - but - I'm ready now -
Carrie HITS him with her bouquet . It 's a violent direct hit on his face . He recoils . She hits him again , hard . a wounded sound escaping her throat .
BIG
( CONT 'D . )
Carrie!
She hits him again . He ducks back into the car for protection . She hits the bouquet on the roof of the car - the flowers start breaking apart and flying everywhere .
CARRIE
I knew you would do this - I knew it!
Miranda reaches Carrie and holds her back by her waist . Big gets back out of the car and starts over to her .
BIG
I'm sorry - I just -
With all she has left , she throws the broken bouquet at him .
CARRIE
You left! I am humiliated!
Carrie starts crying . Charlotte has arrived . Carrie turns and falls into her arms . Miranda and Charlotte lead her away . Big starts over to follow .
BIG
Carrie, wait -
Charlotte whips her head around and stares him down .
CHARLOTTE
No!
He stops in his tracks . A WAITRESS -LRB- 20 's -RRB- at the Brant Park Cafe nearby `` over - pours '' water into a CUSTOMER 'S glass - riveted by the scene . Miranda and Charlotte move Carrie back into the limo . A CAB comes down the street and HONKS at Big standing in the road ; dazed . Carrie sits in a chair . She is holding a glass and has an Hermes blanket wrapped around her . Miranda sits nearby holding a bottle of vodka . Samantha paces , working on her iPHONE .
CARRIE
I thought I would still be in extreme pain but I'm feeling nothing.
Carrie reaches over and holds out her glass .
CARRIE
( CONT 'D . )
I'd like a little more nothing.
Miranda nods and pours some more vodka into it .
CARRIE
( V.O. ; CONT 'D . )
I had gone from Little Women to Little Drunk Women.
Charlotte enters and looks over at Carrie , soulfully .
CARRIE
( CONT 'D . )
Yes, I'm still jilted.
SAMANTHA
What the hell got into him? He was perfectly fine at the dinner.
Miranda sips her vodka - should she say anything ?
CARRIE
I knew it when he called last night. I could tell.
SAMANTHA
Why did n't you say anything?
She shrugs and sips .
CARRIE
Did n't want to believe it. Did n't even want to say it out loud.
( beat . )
And now I have nowhere to love -.
( beat ; then . )
I meant live. I have nowhere to live.
CHARLOTTE
You'll stay here.
CARRIE
Forever.
She sips . Charlotte looks at her , concerned .
CHARLOTTE
Maybe you should eat something.
She shakes her head . Charlotte looks at the others .
CHARLOTTE
( CONT 'D . )
Anyone hungry?
They shake their heads ; no .
CARRIE
Well, if you change your minds, I know where we can get one hundred beef, seventy - five fish and twenty - five vegetarian meals.
She sips . Charlotte rubs her back . She sips .
CARRIE
( CONT 'D . )
And my clothes. All my clothes. I can never go over there again. How am I going to get my clothes?
SAMANTHA
Oh, honey - I can hire people to do all that. Anything you need.
CARRIE
A hit man?
( beat . )
I have nothing to wear but a wedding gown.
CHARLOTTE
You have your honeymoon stuff here.
CARRIE
There's the silver lining. A honeymoon to a romantic Mexican resort that's pre - paid on my credit card because I wanted to surprise the man who jilted me.
SAMANTHA
I can get you out of that. Worse comes to worse - I'll say there was a death or something.
CARRIE
Was n't there?
She sips , looking sad . Charlotte leans down and tucks in the sleeping Lily . She picks up a `` Chinese baby doll '' and nestles it under Lily 's arm , then turns and starts out . Miranda is standing in the hall as Charlotte enters from Lily 's room .
MIRANDA
I did something really bad - I think.
Charlotte looks at her .
MIRANDA
( CONT 'D . )
I said something to Big. At the rehearsal dinner.
CHARLOTTE
What do you mean?
MIRANDA
It was right after Steve showed up. I was upset. Big came up to me - and I said something like : You're crazy to get married.
( off her look . )
It just came out.
Charlotte nods trying to understand .
MIRANDA
( CONT 'D . )
Do you think it was totally the reason?
CHARLOTTE
( cutting her a break . )
No, no, no. Big has been weird about marriage for years.
MIRANDA
I keep thinking I should tell Carrie.
CHARLOTTE
No, no. This is a really bad time to even mention it - no, no, no. Find another time. Later.
Samantha comes down the hall . She is energized .
SAMANTHA
Well, turns out, I could n't get her out of the honeymoon - but I got us in.
MIRANDA
What?
SAMANTHA
I just booked us three seats on the flight. Mexico here we come.
Charlotte and Miranda react ; completely thrown .
MIRANDA
I ca n't go to Mexico. I have a job.
Samantha indicates Carrie - sitting in the den staring off to nowhere , deeply sad - Devastated . A lush tropical road with a view of the sun setting on the ocean . A large open air GOLF CART comes around the bend holding the girls . Carrie 's hair blows in the breeze , her sunglasses firmly in place . A gorgeous romantic private house surrounded by tropical splendor . The cart arrives in front . The DOORS are open and PAULO -LRB- 38 -RRB- the BUTLER stands there holding a tray with two beautiful tropical drinks . He is surprised when he sees the four women , but he covers , effortlessly .
PAULO
Welcome to Mexico.
SAMANTHA
Buenos dias.
Carrie gets out of the cart and goes into the house - followed by Charlotte and Miranda . Samantha arrives and picks up a drink off the tray .
PAULO
I'm sorry. I am confused. I am waiting for a Mr. And Mrs. Preston.
SAMANTHA
Honey, you'll be waiting for a long time.
She sips the drink , then looks at him , `` familiar . ''
SAMANTHA
( CONT 'D . )
We'll talk.
Charlotte and Miranda stand looking at the gorgeous , romantic private Mexican bungalow . Samantha enters ; looks .
SAMANTHA
This. will kill her.
( beat . )
Where is she?
CHARLOTTE
In the powder room.
Carrie stands looking in the mirror . She takes off her sunglasses . Her eyes are red , red , red . She splashes water on her face and looks at herself in the beautiful Mexican mirror . Paulo leads Miranda , Charlotte , and Samantha into the romantic bedroom suite . On the bed - rose petals are scattered in the shape of a large heart .
MIRANDA
Oh My God!
Miranda and Charlotte quickly grab the bed cover and jerk it up - throwing all the rose petals off . Paulo watches . Miranda addresses him in a very intense WHISPER .
MIRANDA
( CONT 'D . )
No more honeymoon stuff. This is very important. Have I made myself clear?
Carrie exits the powder room , her sunglasses in her hand . She stands in the entry way ; alone . She looks out at the main room ; the beautiful view , the romance . Her eyes start to water . A PORTER enters with the bags . Carrie hides her face , acknowledging him with a nod . Carrie enters and moves directly to the bed , past Charlotte where Miranda is sitting talking on her cell .
MIRANDA
Magda - I'll talk to you tomorrow
Miranda hangs up as Carrie crawls onto the bed and lays down . The pink sunset light floods across her face .
SAMANTHA
Well, it's a gorgeous sunset.
CARRIE
Close the shutters.
Paulo moves over to the window and starts closing the shutters . The sun is slowly shuttered out .
CARRIE
( CONT 'D . )
All of them.
Carrie closes her eyes . DARKNESS falls across her face . The room is dark except for the bright sunlight straining to get in between the cracks of the closed shutters . Carrie is asleep . Miranda sits on the bed . Carrie stirs , half waking . Miranda smiles .
MIRANDA
Morning.
CARRIE
Did I dream it?
Miranda shakes her head , no . Carrie closes her eyes , falls back asleep . Dark . Carrie is still asleep . Charlotte sits on the bed . She gently shakes Carrie . Carrie opens her eyes .
CHARLOTTE
Carrie, it's dinner time. You slept the whole day.
CARRIE
So?
Carrie closes her eyes . Charlotte exhales , concerned . A `` tingling of glass '' sound wakes Carrie . She opens her eyes and looks . Samantha is just sitting on the bed with a breakfast tray .
SAMANTHA
Honey, you have to eat a little breakfast.
CARRIE
I'm tired.
SAMANTHA
Eat something and you can go back to sleep.
Samantha holds up a bowl of yogurt . Carrie adjusts on her pillows a little . Samantha feeds Carrie a spoonful of yogurt . Carrie looks at her . Samantha nods . Samantha , Miranda and Charlotte are sitting having lunch . Charlotte opens a pre - packaged `` snack pack '' chocolate pudding . She peels the lid off , takes a spoon and starts eating .
SAMANTHA
With all this gorgeous fresh food you're just going to eat that pudding crap the entire trip?
CHARLOTTE
It's the only thing in the pantry that's totally safe.
( holding up lid . )
See. Made in Poughkeepsie. I do n't want to chance it.
MIRANDA
It's a five - star resort.
CHARLOTTE
It's Mexico.
The bedroom door opens . Carrie walks out . The sun hits her eyes . She squints .
CHARLOTTE
( CONT 'D . )
Carrie!
CARRIE
Is there coffee?
All four girls are laying in the sun in bathing suits reading magazines . Miranda re - adjusts her body , stretching out on her beach chair .
MIRANDA
The sun feels nice.
Samantha looks over at her and notices something .
SAMANTHA
Jesus, honey. Wax much?
Miranda looks up at Samantha . Samantha indicates her swimsuit crotch area . which is badly in need of a wax . Miranda grabs her towel and covers her crotch area .
MIRANDA
- What? I did n't know I was going to be in a swimsuit.
Carrie and Charlotte look up from their magazines .
CHARLOTTE
What are you talking about?
MIRANDA
I forgot to get a wax.
SAMANTHA
Since when - 1998?
Carrie looks away , resumes reading .
MIRANDA
I've had other things on my mind.
SAMANTHA
I could be on death row and not have that situation.
MIRANDA
Well, when you're married, Samantha - you have a different set of priorities.
SAMANTHA
Honey do n't blame marriage -.
( re : Charlotte . )
This one's married - and she's not growing a national forest. How do you even cross your legs?
( beat . )
Let me make you a spa appointment - Any thicker and you wo n't be able to find it.
Miranda gets up from the chair and looks at her , mad .
MIRANDA
So what - It's my fault?! I let the sex go out of our marriage! I deserve what I got. Thanks for understanding.
She walks away . Samantha calls after her .
SAMANTHA
Honey, I'm sorry. That's not what -
MIRANDA
I'm fine!
Miranda goes inside . Carries throws her magazine down .
CARRIE
Let's go down to the hotel for dinner on the beach tonight.
CHARLOTTE
Really?
CARRIE
Yeah. I've got to do something to pull me out of my Mexicoma.
SAMANTHA
Oh, honey. you made a little joke. Good for you.
Samantha nods . Charlotte smiles ; encouraged . A romantic open - air restaurant on the beach . A MARIACHI BAND is serenading HONEYMOON COUPLES . A MALE HOST leads the girls across the small dance floor to their table . As they walk Miranda notices a slow dancing TWENTY - SOMETHING HONEYMOON COUPLE kissing - very much in love .
MIRANDA
( to Carrie . )
Do n't look to your -
CARRIE
Too late.
They arrive at their table and the host places down MENUS . FELIX , -LRB- 40 -RRB- the waiter comes up to them .
MAITRE' D
Buenos notches. My name is Felix, I ` ll be your server.
SAMANTHA
( to Felix . )
Felix - We'll start with quatro margaritas.
CHARLOTTE
No, I'm not drinking. Just bottled water.
CARRIE
( to waiter . )
I'll drink hers.
FELIX
May I have your room numbers?
CARRIE
We're staying in one of the private houses. Number three.
He looks down onto a list he is holding , then up to Carrie .
MAITRE' D
Very good, Mrs. Preston.
The waiter smiles and walks away .
CARRIE
That was like taking a bullet.
Miranda , Samantha , and Carrie look at the menu . Charlotte reaches into her purse and pulls out a little pudding and places it on the table . They all look at her .
MIRANDA
Charlotte had pudding in her Prada.
Samantha laughs . Miranda smiles . Carrie looks .
CARRIE
Will I ever laugh again?
( beat ; then . )
I'm serious.
MIRANDA
Yes.
CARRIE
When?
MIRANDA
When something is really, really funny.
The Mariachi band strolls by playing .
CARRIE
Thank god for that Mariachi band or I'd be able to hear my own thoughts.
Felix re - enters with the drinks .
SAMANTHA
Fabulous - and keep them coming.
Food is on the table - but Carrie , Miranda and Samantha are mostly drinking . Charlotte is eating her pudding .
CARRIE
After everything I know. After twenty years of everything we've learned - I threw it all away for the thrill of putting his name on the honeymoon suite.
( beat . )
If I met me now - I would n't know me.
SAMANTHA
Well, as long as we're going down this road.
They look at her - she sips her cocktail .
SAMANTHA
( CONT 'D . )
I ca n't believe my life revolves around a man. On what planet did I allow that to happen?
CHARLOTTE
You love him.
SAMANTHA
Does that mean saying his name fifty times more a day than I say my own? Does it mean worrying about him and his needs before me and mine? Is it all about the other person? Is that love?
MIRANDA
No, that's marriage.
CARRIE
So, you're saying marriage is a bad thing? Good to know right about now.
Samantha looks down at her gardenia ring .
SAMANTHA
Even this ring. I wanted to buy this for myself. That meant something to me. To be able to do that. Then, he buys it for me.
CHARLOTTE
Because he knew how much you loved it.
SAMANTHA
Yes. But now, every time I look down at it. I see him. Not me.
CHARLOTTE
You could look at it and see a man who loves you and wants you to be happy.
SAMANTHA
No, you could look at it and see that. I'm Samantha.
The Waiter walks over -
SAMANTHA
( CONT 'D . )
We'll take another round.
CHARLOTTE
Another?
SAMANTHA
Relax - we're on vacation.
CARRIE
Technically - we're on my honeymoon.
MIRANDA
No - I think we're on their honeymoon.
She points to the TWENTY - SOMETHING COUPLE at a nearby table - who have progressed to graphic French kissing .
MIRANDA
( CONT 'D . )
( call to them . )
It's all so hot - three days in.
The GIRLS are pretty much the only ones left in the restaurant . Empty drink glasses .
CARRIE
He could n't get out of the car. After everything he'd already put me through - he could n't make the effort and get out of the car? I made the effort - I put a bird on my head.
MIRANDA
Was that what that was?
CARRIE
Yes.
MIRANDA
I thought it was just feathers.
CARRIE
No. It was a bird.
CHARLOTTE
It was beautiful.
CARRIE
He's a bad guy. Always was. Bad guys do bad things.
MIRANDA
And good guys do bad things. The good guys screw you and the bad guys screw you.
SAMANTHA
And the rest of them do n't know how to screw you. Trust me - I've done the leg work.
MIRANDA
And that was all Steve had - did n't have money - did n't have a career. He was the good guy bartender with a big dick.
The all look over at her and react .
SAMANTHA
How big?
CHARLOTTE
I do n't want to know this.
SAMANTHA
Eat your pudding.
MIRANDA
Nine. Like - nine and change.
CARRIE
That's nice. Kinda balances off the one ball.
SAMANTHA
You ca n't forgive a man with a dick over nine inches?
( off Miranda 's `` no '' . )
Well, honey, if you ca n't - some other woman will.
Felix comes up to the table .
FELIX
Ladies - the bar is closing.
CHARLOTTE
Thank God.
CARRIE
( to Felix . )
Mrs. Preston will take the check.
SAMANTHA
And a bottle of tequila.
Charlotte 's eyes widen . Felix nods . The STAFF are stacking chairs - The Mariachi band plays . Carrie , Miranda and Samantha are on the beach wading into the water . Charlotte is just off the dance floor - holding their shoes .
CHARLOTTE
( calling . )
Do n't go all the way in - there may be sharks!
Carrie , Miranda and Samantha are laying in the shade . Miranda is working on her laptop . Carrie is cautiously studying her cell phone . She reads the message `` window '' .
CARRIE
`` Mail box full.''
SAMANTHA
No time like the present.
CARRIE
Not ready to face it all yet.
Carrie puts down the phone . Charlotte walks out of the house wearing a workout outfit .
CHARLOTTE
I'm going for a run and then to the gym for pilates. Anyone want to -
They all shake their heads : no . Charlotte trots away .
MIRANDA
Good news. Just got an e mail from your buyer's attorney - they have agreed to sell you back your old apartment at that escalated price.
( reading . )
And `` are willing to vacate by the time you return - pending an additional financial offer.''
CARRIE
Well, apparently you can go home again - but it'll cost you.
SAMANTHA
Now - lets work on getting your things there.
Samantha picks up her iPhone and starts working as Miranda types an e mail response . Carrie watches them ; touched .
CARRIE
You two could rule the world.
Charlotte is showering after her workout .
CARRIE
( V.O . )
After her workout Charlotte could n't help but think about how truly blessed she was. This week had made her feel more grateful than ever for her happy marriage.
Charlotte closes her eyes , lets the water flow over her .
CARRIE
( V.O. ; CONT 'D . )
And while picturing her loved ones at home in New York, she forgot where she was.
Charlotte opens her mouth , shower water goes in .
CARRIE
( V.O. ; CONT 'D . )
And opened her mouth.
Charlotte suddenly realizes what she 's done . She spits the water out . A panicked look on her face . Charlotte walks along , looking refreshed . There 's a GURGLING sound in her stomach . Her eyes WIDEN . She walks quickly . Charlotte is moving oddly . Walking on the balls of her feet . She passes a WORKER who is pruning the bushes .
WORKER
Hello Miss..
Charlotte shakes her head ; not now . He looks at her . Carrie and Samantha sit reading . Charlotte hurries across the patio - a CRAZED LOOK on her face .
CARRIE
Sweetie - what's -
She shakes her head : NO and moves quickly to a door . She tries the handle - it 's LOCKED . NO !
SAMANTHA
That's locked - Use the other -
Charlotte starts - but stops , cold . She has the look of a trapped animal on her face . Then - BAM , BAM , BAM , BAM . Charlotte 's eyes WIDEN . They watch - stunned .
CARRIE
( V.O . )
And just like that, Charlotte Pookeepsed in her pants.
Miranda opens the door and stands there . Takes in the scene .
MIRANDA
Did you -
CHARLOTTE
Shut up, shut up, shut up.
Charlotte duck waddles across the patio to the open door . Carrie , Samantha and Miranda look at each other . Carrie BURSTS out laughing . She laughs till her eyes water .
CARRIE
( V.O . )
Miranda was right - when something was really, really funny - I laughed.
Carrie sits overlooking a magnificent view of the ocean . She has her cell phone in her hand . She pushes a button and listens to the first message .
VOICEMAIL
( V.O . )
First message. Received : Saturday, September twentieth ; twelve - thirty P.M.
BIG
( V.O . )
Hey babe - I need to talk to you before you leave for the -.
Carrie impulsively THROWS her phone off the cliff . It sails through the air . The sun glistens off the pink crystals as it falls to the ocean below . Raining . A MANHATTAN STORAGE TRUCK drives away from the front of Carrie 's building revealing . Carrie - standing in her front doorway . She exhales , turns and walks back inside . CARRIE swings open the front door - her living room is filled with boxes of her clothes , a few of her furniture pieces - many , beautifully wrapped wedding gifts - and her wedding gown .
CARRIE
( V.O . )
There was no better time I could think of to hire and assistant.
Carrie sits across from A SPOILED LABEL QUEEN -LRB- 22 -RRB- wearing expensive clothes .
SPOILED LABEL QUEEN
Ummm, no. I do n't lift boxes. Yeah, definitely - No.
A LARGE PARTY GIRL -LRB- 34 -RRB- Low cut blouse ; very relaxed .
PARTY GIRL
I love your books. You're shit's brilliant.
CARRIE
Um, Cathy. You seem drunk.
PARTY GIRL
Little bit. Never got to bed last night.
( beat . )
But I type like a motherfucker.
A mousey BUSINESS GUY -LRB- 23 -RRB- in a tweed suit and tie .
BUSINESS GUY
I have a degree in finance from Princeton and for the last two years I have been assistant to a V.P. at Merrill Lynch.
CARRIE
( polite/lost . )
And why do you think you're right for this job?
He glances at his feet . Carrie looks down . He is wearing high heels . Louise -LRB- 22 -RRB- African - American - she holds a LOUIS VUITTON DENIM PURSE .
CARRIE
So, you're from St. Louis?
LOUISE
That's right. Louise from St. Louis.
Carrie smiles , looks down at her resume .
CARRIE
Have you ever been a personal assistant?
LOUISE
No, but I'm the oldest of six kids, so I can pretty much handle anything you got.
CARRIE
Six kids? What was that like?
LOUISE
Crowded. I had to move to New York just to get some room. And where'd I wind up? A one bedroom apartment with three roommates.
CARRIE
( laughs ; then . )
Aside from the space issue. why'd you move to New York?
LOUISE
To fall in love.
Carrie is taken aback .
LOUISE
( CONT 'D . )
What? That's corny, right?
CARRIE
No, it's just - so - honest. I do n't think I've ever heard anyone say that in a long time.
Louise looks at her , owns it . Carrie smiles , sold .
CARRIE
( CONT 'D . )
Well. Louise from St. Louis. I have just one more question.
( beat . )
How does an unemployed girl with three roommates afford the Patchwork Denim Bowley Louis Vuitton bag?
LOUISE
It's rented. `` Bag, Borrow or Steal.'' It's like Netflix for purses.
CARRIE
No! How can I not know about this?
LOUISE
Girl, stick with me, I'll hook you up.
The room is now half - empty of the presents . Louise sits in the middle of the clutter - busy writing out note cards .
CARRIE
( V.O . )
And she did hook me up.
The space is much more orderly . Louise is kneeling on the floor taking books out of boxes and placing them on in piles on the floor . Carrie enters - amazed at the progress . Her phone rings . Louise answers it instantly .
LOUISE
Carrie Bradshaw. This is Louise.
( listens ; then repeats . )
Anne From the New York Observer.
She looks over at Carrie , who shakes her head : No .
LOUISE
( CONT 'D . )
I'll let her know you called.
She hangs up and continues working . Carrie watches her . Louise directs two DELIVERY MEN who are carrying a NEW MATTRESS into the bedroom . Carrie watches from her closet surrounded by boxes .
CARRIE
( V.O . )
After only three days - I began to think of her as Saint Louise from St. Louis.
Miranda is sitting at her desk , eating a take - out salad while talking on the phone .
MIRANDA
( into phone . )
No, I ca n't be more patient. Your agency has had three weeks to find me an apartment.
The office door opens - A TWENTY - SOMETHING ASSISTANT enters and places some documents on the desk in front of her . Miranda signs as she chews and talks .
MIRANDA
( CONT 'D . )
No - I told you. It has to be in Manhattan. Because it does. How hard could it be to find something just on the other side of the Brooklyn Bridge?
The assistant takes the documents and starts away .
MIRANDA
( CONT 'D . )
( into phone pissed . )
On second thought - Forget it. I could do a better job myself.
Miranda hangs up , exhales . Bites her salad . Determined . An ethically diverse neighborhood with ethnically diverse PEOPLE . Miranda walks with Brady . A WIDE EYED Magda walks next to her .
MIRANDA
According to New York Magazine, this is the new up - and - coming neighborhood.
A CAUCASIAN YUPPIE DAD -LRB- 32 -RRB- with a BABY in a snugly comes out of bodega . Miranda turns to Magda .
MIRANDA
( CONT 'D . )
See! Wherever he's going is where we need to be.
Miranda , excited about the hunt - picks up the pace following after the dad . Magda hurries as best as she can . Miranda , Brady and Magda walk around a corner .
MAGDA
I've been here before - This was all Ukrainian area.
Miranda spots a U - HAUL truck parked in front of a building .
MIRANDA
Coming or going?
TWO NYU - TYPE KIDS come out of a building carrying boxes .
MIRANDA
( CONT 'D . )
Going. Oh boy. Lets go.
She starts down the street with a clip . Magda is standing out in front of the apartment building with Brady . She looks - A HOT LOOKING LATIN GUY -LRB- 29 -RRB- with tattoos is sitting on the stoop with a pitbull . Miranda peeks into the empty apartment . Nice size , brick wall , big windows with a view of a colorful jungle gym on a play ground across the street . Her heart starts racing . Miranda comes out of the building out of breath as the NYU kids are going back in .
MIRANDA
Hi. I'm interested in the apartment.
NYU KID
Get in line.
MIRANDA
I understand but - who would I talk to about it?
NYU KID
The super.
He points to a SIGN in LOBBY . The name : Lovro Klujcik and a telephone number . Miranda writes it down .
MIRANDA
Lovro. - and I have no idea.
( attempting to pronounce . )
Ku.
MAGDA
( amazed . )
Kljuic. Lovro Klujcik. I know him.
MIRANDA
No way.
MAGDA
We were couple - long time ago.
MIRANDA
( ca n't believe her luck . )
No way - You dated?
MAGDA
Have n't seen him since his wife died.
MIRANDA
He's single?
Magda shrugs as if to say : So what ? Miranda smiles . Spanish music plays . Two female HAIRDRESSERS work on two Dominican WOMEN CUSTOMERS . Magda sits under a hair dryer - her top lip white with cream bleach . Miranda is next to her , dialing on her cell . Brady plays nearby with two Dominican KIDS -LRB- 5,6 -RRB- . Miranda stands at a gate and pushes the buzzer marked `` Klujcik . '' A door under the stoop opens revealing LOVRO KLUJCIK , a Croatian man about Magda 's age .
LOVRO
No, no. I told you on phone. the apartment is -
He looks past Miranda and sees Magda - standing there with brown hair and wearing make - up . His face lights up when he sees her .
LOVRO
( CONT 'D . )
Magda? Is this you?
She smiles . Shy . He beams at her . He opens the gate , saying something to her in his native tongue . Magda smiles .
CARRIE
( V.O . )
As much as Miranda wanted to pat herself on the back for finding her new apartment in just one afternoon. in the end, she knew -
Miranda watches , thrilled as they converse .
CARRIE
( V.O. ; CONT 'D . )
It was a Lovro connection.
SAMANTHA and SMITH have just finished making love . They are face to face .
SAMANTHA
That was really hot.
SMITH
Hmmm. You were kind of distant.
SAMANTHA
Distant? You're still in me.
He gently moves off her and reclines next to her .
SMITH
You want to talk about it?
SAMANTHA
When have I ever wanted to talk about it?
SMITH
Okay. I'll talk about it. Your best friends get screwed over by their guys - how can you not get distant?
SAMANTHA
It's more than that - lately, I have n't been feeling a connection to -
SMITH
What? Me?
SAMANTHA
No - to - it - here. I have no real connection to our life here.
SMITH
What life here? Seriously - all I do is work - and you run off to New York every chance you get.
SAMANTHA
Not every chance I get. Only for the A - list things.
( beat ; then . )
And my managing you - it's all too much. I'm starting to resent it. For the last two years it's been all about you.
SMITH
Well, for the first three years it was all about you.
SAMANTHA
I know. That was so much more fun.
SMITH
Maybe we need to make an effort to reconnect - spend more time together - away from the business. Less me, less you - More us.
Samantha is on the phone , looking out at the ocean .
SAMANTHA
So, I wo n't be coming to New York for a while. We're going to spend some time reconnecting on the weekends. do the `` LA couple thing.''
Intercut with Carrie at a public pay phone .
CARRIE
Yeah, hi, can you put on Samantha?
SAMANTHA
Really. At first I was all : `` You ca n't tell me what I can do'' - but then, I had to admit he had a point.
CARRIE
You people and your relationships.
OPERATOR
( V.O . )
Please deposit another eighty - five cents.
SAMANTHA
Honey, a pay phone? Where's your cell?
CARRIE
At the bottom of the ocean in Mexico.
SAMANTHA
Want me to hook you up with a new one?
CARRIE
No, not yet. No phone - no calls, no calls - no questions, no questions - no explaining no wedding.
Carrie puts coins into phone . She is wearing gloves .
CARRIE
( CONT 'D . )
Plus, It's an excuse to break out the gloves.
Samantha and Smith run into the surf in their wetsuits with surfboards .
CARRIE
( V.O . )
When Samantha Jones decides to do something.
Samantha and Smith are starting to make love on the beach as the waves crash on them .
CARRIE
( V.O . )
She does it all the way.
A BEACHCOMBER with a metal detector , watches nearby . A cooking class with other COUPLES . A CHEF watches as Samantha and Smith roll sushi .
CARRIE
( V.O . )
She and Smith did all the upscale L.A. couple things. Sushi.
Samantha and Smith stand next to each other wearing paper underwear . Two technicians spray tan them .
CARRIE
( V.O . )
Spray tanning.
The Red carpet backdrop reads : HOLLYWOOD SAVES AFRICA Smith and Samantha are being photographed . She is wearing a full - on African - inspired over the top fashion statement .
CARRIE
( V.O . )
And saving Somalia. Samantha - style.
Carrie sips a latté while sorting through a stack of papers . Louise is working on Carrie 's computer .
LOUISE
Carrie Bradshaw's web page is a mess.
CARRIE
- Interesting - so is Carrie Bradshaw.
Louise laughs . Carrie sips her latte .
CARRIE
( CONT 'D . )
Come on - When are we going to get to the really important things like unpacking my closet?
LOUISE
One thing at a time. Are you ever going to answer these emails?
CARRIE
Yes.
LOUISE
When?
CARRIE
Now?
LOUISE
Okay - I'll read - you tell me what to do.
( beat . )
Vitaminsforless. Delete. Right?
CARRIE
So right.
Louise deletes it - Looks at next e mail .
LOUISE
Who's John@jjpny.com?
Carries freezes - Louise looks up .
LOUISE
( CONT 'D . )
Oh, shit - that's him, right?
Carrie turns the lap - top around to face her and looks . JOHN@JJPNY.COM: `` I 'M SORRY . '' She clicks the email open ; breathless . One sentence : `` I do n't know what to say . '' She swings the laptop back around to Louise .
CARRIE
Delete.
Louise looks at her , unsure . then deletes .
CARRIE
( CONT 'D . )
And - is n't there some cyberspace place that you can send those so that I never have to see an email from him ever again?
( off her nod . )
Do that please.
LOUISE
You sure you want to end all communication with him?
Carrie nods . Louise nods . Carrie is reading Cinderella to Lily who sits in her lap . They are on Lily 's bed - surrounded by her dolls .
CARRIE
( reading . )
`` And Cinderella and Prince Charming lived happily ever after.''
( beat ; looks at her . )
This is a fairy tall sweetheart. Things do n't always happen like this in real life - you should know that now.
LILY
Again!
Carrie flips back to the front . Lily is all smiles .
CARRIE
And another one bites the dust.
Charlotte walks into the den with her coat on . She smiles .
LILY
Mommie home!
Charlotte walks Carrie to the front door .
CHARLOTTE
Thanks for watching her while I went to the doctor.
CARRIE
( pulling on coat . )
Sure. Everything okay?
CHARLOTTE
I'm pregnant.
Carrie looks at her . Charlotte smiles .
CARRIE
How?
CHARLOTTE
My doctor said sometimes when women stop trying - it can happen. She knows other couples that adopt and then get pregnant.
CARRIE
Sweetie.
CHARLOTTE
Carrie - I'm pregnant!
Happy , happy tears . Carrie hugs her .
CARRIE
( V.O . )
I guess, in certain houses, fairy tales do come true.
Halloween costume aisle . Carrie and Miranda browse .
CARRIE
I ca n't believe you're even dressing up.
MIRANDA
All the parents at Brady's school dress up - it's fun! Fun thought up by a group of non - working mothers with nothing else to do all day.
Miranda stops , looks at the costumes hanging there .
MIRANDA
( CONT 'D . )
Witch and - `` sexy kitten''. That's it? The only two choices for women. Witch and Sexy kitten.
CARRIE
You said a mouthful there, sister.
Miranda holds up a mask of a ghoul screaming in horror .
MIRANDA
Maybe I should just wear this and a business suit and go as myself.
CARRIE
( re ; mask . )
Speaking of monsters - I got an email from Big.
Miranda looks over at her .
CARRIE
( CONT 'D . )
`` I do n't know what to say.''
( beat . )
Ah. then do n't send an email.
MIRANDA
What were you expecting?
No idea . Miranda grabs a witch hat . They start walking away . They round a corner , CHILD wearing a mask pops up .
CHILD
Boo!
Carrie smiles . The child walks away .
CARRIE
Gon na take a little more than that to scare me after what I have been through.
They start walking toward the check - out counter .
CARRIE
( CONT 'D . )
And in the subject box : two words : I'm sorry.
MIRANDA
Steve is all about `` I'm sorry.'' I'm sorry emails - I'm sorry voice mails - I'm sorry flowers - I'm sorry cards. How about : do n't do anything to be :'' I'm sorry'' for.
CARRIE
Maybe he's sorry.
MIRANDA
Maybe Big is too.
CARRIE
Point taken.
( beat . )
I still ca n't believe this happened to me. I know it happened, but I ca n't believe it happened. I lay awake at night going over every detail of the last week in my head.
MIRANDA
Carrie - There's a detail I've been meaning to tell you about -
Carrie spots something ; GRABS Miranda 's arm with horror .
CARRIE
( V.O . )
And then I saw it. the only thing scary enough to scare me after the experience I'd been through.
On the rack in the front register - Vogue ! Carrie and Miranda stand looking at an open Vogue : `` The Last Single Girl : Carrie Bradshaw Gets Married . ''
MIRANDA
You look great, you look amazing. So. That's the worst of it.
Carrie flips a page . She noticed something .
CARRIE
Wait - what's that say? In the box at the end?
MIRANDA
( reading . )
`` Editor's note : The wedding of Carrie Bradshaw and John James Preston was cancelled as this issue went to press. Carrie Bradshaw is.
Miranda stops reading . Carrie looks at her .
CARRIE
Is what?
Miranda does n't want to respond . Carrie pushes the magazine further away so she can read it .
CARRIE
( CONT 'D . )
( reads . )
`` Carrie Bradshaw is still single and living in Manhattan.''
A wind kicks up , autumn leaves blow . Carrie walks down the street , the Vogue under her arm , angry .
CARRIE
( V.O . )
I did n't want to buy it - but I figured it was one less Vogue in New York.
Carrie 's door opens . Charlotte stands in the hall with Lily .
CHARLOTTE
I saw it. The pictures are gorgeous.
CARRIE
Yes - I'm a beautiful bride. Come in.
They walk in , Carrie closes the door .
CHARLOTTE
Look, the people who do n't know - will only see the beautiful pictures. The people who do know will only see what an asshole he is.
( beat ; to Lily . )
Mommy said a bad word.
CARRIE
( looks down to Lily . )
Hi, honey.
Lily holds up a little baby pumpkin to Carrie .
CARRIE
( CONT 'D . )
For me?
Lily nods . Carrie has to lighten up . She kneels to Lily .
CARRIE
( CONT 'D . )
And what are you going to be for Halloween?
LILY
Cinderella.
CHARLOTTE
Or - we also brought Mulan.
Lily shakes her head : NO . Carrie smiles .
CHARLOTTE
( CONT 'D . )
Would you like to go trick or treating with us?
LILY
Yea!
CHARLOTTE
Just in our building - if you feel up to it.
LILY
Yea!
CARRIE
( How can I not ? )
Yea!
Carrie knocks on Charlotte 's front door . It opens . Charlotte stands there - dressed as a cute cow . With udders on her belly . Harry is Uncle Fester . Lily is Cinderella in a MASK .
HARRY
No costume?
CARRIE
Look closer. I'm the scariest thing in New York. Jilted at Forty - one. Boo.
Harry Laughs . So does Charlotte . even Carrie smiles . They walk down the hall . Carrie is holding Lily 's hand .
CARRIE
You know you have to give me some of your loot, right?
Lily nods Carrie smiles . Harry knocks on a door . It opens . A PARK AVE WOMAN -LRB- 40 -RRB- , stylish - stands there with treats .
CHARLOTTE/HARRY/LILY
Trick or treat!
The woman smiles - then suddenly , her smile fades .
WOMAN
Oh, Carrie, I saw Vogue - I'm so sorry.
Carrie reacts , mortified . Another door opens . A PREPPY WOMAN -LRB- 36 -RRB- is there .
CHARLOTTE/HARRY/LILY
Trick or treat!
REVEAL : Carrie 's face - hidden behind the Cinderella mask . A STYLIST is blowing out a woman with dark chestnut brown hair . Reveal the woman 's face : It 's Carrie - Raining outside . Louise walks in , looks around .
CARRIE
Louise!
Double - take . Carrie is waving to her from a table .
LOUISE
Oh my Lord. I did not even recognize you.
CARRIE
That's the point. My head is the witness protection program.
LOUISE
I'm really feeling that look on you.
Louise reaches into her purse to get something -
CARRIE
And I am feeling that Balenciaga on you.
LOUISE
Mine till Tuesday.
Louise pulls out a cell phone and holds it out to her .
LOUISE
( CONT 'D . )
Here - time to re - join the world.
CARRIE
Already?
Louise nods . Carrie takes the phone .
LOUISE
Your new number. area code : 347 -
CARRIE
Hold, Hold, Hold. 347? No, no. I'm a 917 gal. Always have been.
LOUISE
No longer available. Now, you're 347.
CARRIE
Great. Now even I do n't recognize me.
Samantha sits on her deck . Her phone rings .
SAMANTHA
Samantha Jones.
CARRIE
( V.O . )
Carrie Bradshaw -
Intercut with Carrie walking along .
CARRIE
- Or I used to be.
SAMANTHA
Talk to me.
CARRIE
I'm a 347 area code. How tacky is that?
SAMANTHA
347 is the new New York.
CARRIE
I want the old New York with the old 917 and my old will to live.
SAMANTHA
Old New York, new New York - honey - at least it's New York.
She looks - Dante is coming out of the surf in his wetsuit .
SAMANTHA
( CONT 'D . )
Another hard thing about being in L.A? My `` sex on a stick'' next door neighbor. I ca n't stop looking at him.
CARRIE
Looking?
SAMANTHA
Just looking. After I saw Steve's face at the rehearsal dinner, I could never -
Dante notices her on the deck . He gives her a sexy smile . She does n't acknowledge it - turns away and walks inside .
SAMANTHA
( CONT 'D . )
But you should see this guy. Every night sex with a different partner. He's like -.
( searching then realizing . )
- Me. Five years ago.
CARRIE
Yes. When I was a 212.
Samantha strolls along Rodeo Drive .
CARRIE
( V.O . )
And in an effort to stay out of her house and out of trouble - Samantha went shopping.
She notices a sidewalk `` dog rescue station . '' Cute puppies frolic and play in a wire pen . In the back of the pen sits a tattered tiny DOG . Alone . Samantha ca n't help but look at it .
CARRIE
( V.O. ; CONT 'D . )
It certainly was n't the cutest dog in the pen - but their was something about it -
The dog looks up at her - Dark marks under its eyes . The Rescue Woman -LRB- 40 -RRB- notices Samantha looking .
RESCUE WOMAN
She needs a good a home. Interested?
Samantha shakes her head ; `` no . ''
CARRIE
( V.O . )
And just as Samantha convinced herself that the dog was n't for her.
The dog starts humping a stuffed animal .
RESCUE WOMAN
She's been fixed, but she has n't lost the urge.
Samantha holds the dog while talking to two GROOMERS .
SAMANTHA
And she needs a little eye work. Anything you can do about these stains?
The dog looks up at her . She looks down at it .
SAMANTHA
( CONT 'D . )
( to dog . )
Honey, I do n't mince words.
Samantha and the dog walk out of Gucci in matching outfits . looking fabulous . Three GUCCI SALESMEN follow them holding large Gucci bags . They walk to her sleek Mercedes SUV - parked at the curb . JUMP CUT TO : The back of the Mercedes SUV filled with shopping bags : Gucci , Prada , Dior - the SUV hatch is closed , revealing Samantha 's licence plate : I HEART NY . Samantha pulls away , the dog in her lap - fur blowing . Carrie and Louise are in the closet unloading clothes from the boxes . Carrie opens a wardrobe box - It 's the WEDDING GOWN . They both look at it - not knowing what to do .
LOUISE
Do you want me to get rid of it?
CARRIE
No, it's too beautiful. I'll just bury it deep in the back - like I did my feelings.
Carries closes the box back up . Louise watches ; then .
LOUISE
Do you miss him?
CARRIE
( beat ; then . )
Every day. You know, it's weird - I have n't cried very much at all. Maybe you're only allotted a certain amount of tears per man - and I used mine up.
Carrie gently pushes the box away . Opens another .
LOUISE
Yeah. I know how you feel ` cause, my college boyfriend broke up with me last year. And I miss him all the time.
CARRIE
( V.O . )
Suddenly, it dawned on me - there were two broken hearts in my - walk in.
CARRIE
( CONT 'D . )
Louise - we need a cocktail. Grab your rental.
Carrie starts out . Louise grabs her purse and follows . Carrie and Louise are having cocktails .
LOUISE
And it threw me so hard ` cause, you know, I thought Will - that's his name. was the love of my life.
CARRIE
What happened?
LOUISE
He said he loved me and all - but did n't think I was `` the one''.
Carrie looks at her , nods .
LOUISE
( CONT 'D . )
And that hurt. But - you know - whatever. I'm not going to give up on love.
CARRIE
Good.
LOUISE
Love is the thing, you know.
She holds up her key chain . The word `` Love '' in gold .
LOUISE
( CONT 'D . )
See that. I'm bringing it to me all day long.
Louise gets a `` text '' . She reaches over and looks . She smiles as she reads it . Carrie raises her eyebrow .
CARRIE
Oh, I remember that smile. Who's the guy?
LOUISE
Someone I just met. He wants me to meet him for a drink.
CARRIE
At 11:30? That's a bootie call.
LOUISE
No, it's not like that. he just got off work - he's a waiter.
CARRIE
Louise, I may not get texts and I may not send texts - but trust me : The sub - text of that text : Bootie.
Louise nods , then starts texting him .
LOUISE
But it's not a bootie call if he meets me. right?
CARRIE
All right, then. You kids enjoy. That's what your twenties are for. Your thirties are to learn the lessons.
Carrie stands up , throws some money on the bar .
CARRIE
( CONT 'D . )
And your forties are to pay for drinks.
Charlotte sits on the couch , reading a magazine . The three dogs near her . Harry enters .
HARRY
You going for your run?
CHARLOTTE
Um. no.
HARRY
You did n't go yesterday either.
CHARLOTTE
I know.
HARRY
Why is that?
CHARLOTTE
( snapping . )
I do n't feel like running!
HARRY
( as he goes . )
Okay. Welcome to the house of hormones.
Carrie and Charlotte walk looking at furniture .
CARRIE
It's all about the desk. If I find the desk, the writing will come. And it better ` cause I'm using my new book advance to pay the fancy decorator.
CHARLOTTE
I think it's so great that you are re - doing your entire apartment.
CARRIE
Out with the old -.
( looks at price tag . )
- In with the overpriced.
Charlotte smiles . Carrie links arms with her .
CARRIE
( CONT 'D . )
Hey, Harry called me and mentioned you're not running.
CHARLOTTE
Why'd he do that?
CARRIE
` Cause he loves you. and he's concerned.
CHARLOTTE
There is nothing to be concerned about.
CARRIE
Did the doctor say it was n't safe or something?
CHARLOTTE
No, she said because I'm already a runner - it's fine.
CARRIE
So, why are you not -
CHARLOTTE
I'm afraid something bad will happen. It's a miracle that I'm even pregnant.
CARRIE
But if the doctor said -
CHARLOTTE
It's not rational, Carrie. it's irrational. I know that.
CARRIE
Okay.
CHARLOTTE
I've got everything I ever wanted. I'm so happy - I'm terrified.
( beat . )
No one gets everything they want. Look at you. Look at Miranda. You're such good people and look what happened to you. Of course, something bad is going to happen to me.
CARRIE
Sweetie, you shit your pants this year. Maybe you're done.
Charlotte laughs a little . Carrie moves her along .
CARRIE
( CONT 'D . )
You run every day - that's what you do. You ca n't stop being who you are - just because you're afraid. Right?
Charlotte nods , they walk on , linked together .
CARRIE
( CONT 'D . )
Now let's get down to business. I've got to have my apartment done in time for that baby shower.
AUTUMN LEAVES fall as Charlotte walks onto the running track with the three dogs on leashes . She starts to run - tentative - slowly . They trot along with her . Charlotte runs faster - more confident . The dogs run along with her - they are wearing Burberry pet sweaters .
CARRIE
( V.O . )
And as the last of the autumn leaves fell away - so did Charlotte's fear.
SNOWFLAKES float down . Charlotte , dressed for winter runs in form - alone . A smile on her face . Carrie sits at her card table `` temp '' desk . Louise is sorting through a stack of mail .
LOUISE
You sure you do n't want me to RSVP to some of these holiday parties?
CARRIE
Yep. I'm perfectly happy spending time home alone.
( beat . )
And speaking of home - you're going to miss your plane.
Louise takes a gift wrapped present out of her purse
LOUISE
Merry Christmas. It's just something silly.
Carrie opens it . A DVD of `` MEET ME IN ST. LOUIS . ''
CARRIE
Oh. Louise from St. Louis.
LOUISE
You said you never saw it - so.
CARRIE
Now, I feel bad. If I had known we were going to exchange gifts -
Carrie gets up and RUNS to her closet .
CARRIE
( O.C. ; CONT 'D . )
I would have bought you one two weeks ago and hidden it in here.
She comes back out with a large circular BOX tied with satin ribbons . It says : Louis Vuitton .
LOUISE
No! That is not what I think it is.
CARRIE
Open it.
LOUISE
Oh my Lord. Oh my -
She opens it and SCREAMS as she pulls out a gorgeous purse .
CARRIE
No more rent girl for you.
Louise throws it over her shoulder and walks `` runway . ''
LOUISE
Look who's home from the big city!
CARRIE
( V.O . )
It was the best money I'd ever spent.
Carrie comes out of her kitchen , holding a Cup O'Soup . She is wearing pajamas and socks .
CARRIE
( V.O . )
New Year's Eve. and a Cup O'Soup.
She plops in a chair in front of the TV . She picks up the `` Meet Me in St. Louis '' DVD and looks at it . Steve is standing in the open doorway - with his coat and hat on . Miranda is kneeling - putting a winter coat on Brady . A Christmas tree glows behind them .
MIRANDA
And what are you gon na say at midnight?
BRADY
Happy New Year.
MIRANDA
That's right - but you got ta say it more excited than that -.
( then ; excited . )
`` Happy New Year!''
BRADY
Happy New Year!
MIRANDA
You say that and then. you kiss.
She gives him a big kiss . He laughs . She stands .
STEVE
You all ready to go, B - boy?
MIRANDA
Did you pack the new Batman Santa brought you?
Brady shakes his head : NO .
STEVE
Aw man - Got ta have the new Batman.
MIRANDA
It's there near the tree.
Brady leaves to get it . Steve looks over at Miranda .
STEVE
You got plans with the girls?
MIRANDA
We're all kinda staying in tonight.
STEVE
Would you like to come and eat with us? We can go somewhere over here on your side.
MIRANDA
No, thank you.
STEVE
Miranda - I never meant to hurt you.
She looks away . Brady comes up back to them with Batman .
MIRANDA
There he is. Batman.
STEVE
Put your hat on. It's snowing out.
Brady nods and takes Steve 's hand . Steve looks over at Miranda .
STEVE
( CONT 'D . )
Happy New Year.
MIRANDA
Happy New Year.
BRADY
Kiss.
Silence . then , Miranda bends down and gives Brady a big sloppy kiss .
MIRANDA
See you tomorrow.
She stands up and closes the door . As it closes , Steve looks at her . Finally ; it is closed - she leans against it . Carrie sips soup watching a `` deliriously in love '' Judy Garland sing `` The Trolley Song . ''
JUDY GARLAND
ZING ZING ZING WENT MY HEARTSTRINGS THE MOMENT I MET HIM - I FELL
Carrie , not in the mood , picks up the remote - clicks . The TV goes off . She looks around : Now what ? Carrie sits at her makeshift desk as snow falls outside her window . She looks down at the computer ; motionless . CLOSE ON SCREEN : The only thing written on it is the word : `` Love . '' After a beat Carrie types three dots . She thinks , then deletes two of the dots . Her phone rings . She answers it .
CARRIE
Hello?
Stanford sits in a festive booth with festive FRIENDS .
STANFORD
Happy New Year - We're having a fabulous time. The only thing missing is you. Come.
CARRIE
That's sweet but I ca n't, I'm writing.
STANFORD
Oh. Okay.
( beat ; then . )
You're not really writing are you?
CARRIE
No. You're not really having a fabulous time are you?
STANFORD
No. Rescue me. It's very forced festive.
CARRIE
Oh yes, that's just what every New Year's Eve party needs : a visit from the lost Bronte sister.
STANFORD
Well. Better a Bronte sister than a Hilton sister.
CARRIE
( laughs ; then . )
Thanks but - by ten PM I'll be in bed asleep and blissfully unaware of how fabulous this night is supposed to be.
Carrie is sound asleep . Her phone rings . She grabs it .
CARRIE
Hello.
Intercut with Miranda - sitting on her couch watching the New Year 's Eve coverage on television . Chinese take - out is on the table in front of her .
MIRANDA
I thought one of the perks of having a family is you do n't have to spend New Year's Eve alone with Chinese food.
( beat . )
I'm alone with Chinese food.
CARRIE
I was sleeping.
MIRANDA
Oh, shit - I'm sorry.
CARRIE
That's okay. Where's Brady?
MIRANDA
It's Steve's night.
CARRIE
Right.
MIRANDA
Go back to sleep - do n't wake up.
CARRIE
It's okay. Are you alright?
MIRANDA
I'm fine - I was just getting a little choked - up watching the stupid New Year's Eve stuff on TV alone.
CARRIE
Want me to come over?
MIRANDA
I'm all the way downtown -
CARRIE
I can grab a cab -
MIRANDA
On New Year's Eve? No way. I'm fine. really. I just wanted to talk a little. Go back to sleep. Good night.
Miranda hangs up . Carrie lays there - holding the phone . She looks over at her bedside table clock : 11:12 . She thinks then - throws back the covers and gets out of bed . START MUSIC . Snowing . Carrie hurries out of her front door - a coat thrown over her pajamas . She comes down the stairs to the street looking for a cab . Nothing . No traffic . She starts RUNNING up the block - passing TWO FESTIVE COUPLES ; walking . Lily , in her PJ 's , is marching around the den wearing a `` Happy New Year '' party crown and blowing into a party favor horn . Harry and Charlotte - wearing New Year 's Eve party hats - sit on the couch - laughing . Charlotte and Harry kiss . His hand moves sensuously down Charlotte 's body and rests on her pregnant belly . Samantha and Smith recline on the couch . They are wearing sexy black robes and having caviar and champagne . The Dog sits nearby . a fire roars in the fireplace behind them . Samantha and Smith kiss on the couch . The Dog humps a pillow nearby . Magda and Lovro sit in a booth , they toast with sherry . Anthony stands talking to FRIENDS . Someone taps him on the shoulder . He looks over - it 's Stanford - holding two glasses of champagne . Stanford and Anthony look at each other as everyone around them kisses . Stanford presents his cheek . Anthony kisses it . Snowing . Carrie runs up the stairs of the Lower East Side subway stop . She looks around to get her bearings - then starts running again . She passes a GROUP OF TWENTY - SOMETHING PEOPLE blowing party horns and LAUGHING . Louise is talking to a group of St. Louis FRIENDS . She looks up as WILL -LRB- 22 -RRB- her handsome African - American ex - boyfriend enters . Their eyes meet . Her heart stops . He smiles . She smiles . He starts over to her . They stand talking - she smiles . He smiles . A festive , crowded restaurant . Sitting at the bar , next to a small Christmas tree . is Mr. Big , eating alone . Big looks up from the bar - watching couples kiss all around him . Steve and Brady are in bed . asleep . Miranda opens a fortune cookie - and reads it . Tosses it down . Picks up another - cracks it open . Reads it . Tosses it down . She looks like she might cry .
EXT. LOWER EAST SIDE APARTMENT BUILDING -- LATER -- WINTER
Carrie rounds the corner of Miranda 's street and runs up to her building .
INT. LOWER EAST SIDE APARTMENT -- MOMENTS LATER -- WINTER
Miranda opens the door - Carrie is standing there - out of breath .
CARRIE
( ou 're not alone .
Times Square is seen on the television in the background .
TELEVISION ANNOUNCER
( V.O . )
( - 4 - 3 - 2 - 1 .
Happy New Year !
Carrie and Miranda look at each other . They hug . Miranda and Carrie sit on the couch - eating - they are LAUGHING . END MUSIC . Snow on the ground - COLD . CROWDS gathered in front of the large fashion tent . Carrie , Miranda , Charlotte and Samantha trudge through the snow to the stairs . Samantha is wearing lots of fur . She SLIPS on some ice - Carrie catches her .
CARRIE
Easy girl.
SAMANTHA
Thanks - Three months driving in L.A. and I forgot how to use my fucking legs.
CARRIE
( V.O . )
Every year the women of New York leave the past behind and look forward to the future. this is known as Fashion Week.
They make their way up the stairs to the tent entrance . The lobby is buzzing with PRESS and CROWDS OF FASHIONISTAS . The GIRLS enter and make their way through the crowd .
CARRIE
This way. I hear the couture calling my name.
SAMANTHA
See this - this is what I miss. Last night Smith and I cuddled in front of the TV with `` take out'' Mexican.
MIRANDA
- In your four billion dollar beach house.
The girls LAUGH .
SAMANTHA
Still - I do n't think I'm cut out for the one - on - one relationship thing.
CHARLOTTE
You've been doing it for five years.
SAMANTHA
No, see - I've always had girlfriends on the side.
They smile . Miranda spots MAYOR MICHAEL BLOOMBERG across the room .
MIRANDA
There's Mayor Bloomberg.
SAMANTHA
New Yorkers are so damn attractive - Even the Mayor is hot.
MIRANDA
I believe that was his last campaign slogan.
The girls walk on . The room is filling up and buzzing with FASHIONISTAS as the girls make their way . Samantha spots her name on four chairs in the front row and leads the way .
SAMANTHA
There we are.
CHARLOTTE
We're in the front row?!
SAMANTHA
I pulled some strings.
CARRIE
Very nice.
SAMANTHA
I should go thank them -
Samantha throws her coat on her chair back .
CHARLOTTE
Decide where we want to go for lunch - I'll make the call.
( beat ; excited . )
It's like old times.
Samantha hurries off , excited . Carrie , Miranda and Charlotte settle into their seats .
MIRANDA
So, this is how you all spent your Saturdays while I was with Brady and Steve at the Brooklyn Aquarium.
CARRIE
Well. Not every Saturday.
MIRANDA
Just so you know - We always had front row at the mammal show.
( beat ; then . )
Steve does the funniest dolphin impression. Actually, it's more - Steve as a dolphin -
A smile escapes her - they look at her . Her smile fades .
CHARLOTTE
You really ca n't forgive him?
MIRANDA
Are you suggesting something?
CHARLOTTE
I like Steve. I've always liked Steve - He's apologized a hundred times - he's not seeing anyone else. What's it going to take?
MIRANDA
And are you also suggesting that she forgive Big?
CHARLOTTE
No. I could kill Big. Sometimes when I'm running - I imagine what I'd say if I ever saw him again. I have the perfect opening sentence. Want to hear it?
CARRIE
( duh ? )
Ah. yes.
CHARLOTTE
I curse the day you were born.
CARRIE
Impressive. Better work up a hand gesture to go with it.
Elaine comes up to Carrie , squats down in front of her .
ELAINE
Thank god you're here. They have me covering this Mercedes - Benz fashion week and I'm desperate for a Carrie Bradshaw - esque quote.
CARRIE
Well, I'll do my best. We'll talk after?
ELAINE
Great. And - ooh - my back -
She gets up - sits in Samantha 's empty chair next to Carrie .
ELAINE
( CONT 'D . )
( very sincere . )
- Can I just say that I'm so sorry about what happened with your wedding.
Carrie smiles - what else can she do ?
ELAINE
( CONT 'D . )
I do n't know how you survived it. I, personally, was so devastated I took myself off JDate - but you survived and you're here and you look amazing and I just think that's so great. Everyone in my row does - we ca n't stop talking about it. Okay - Meet you in the lobby after.
Elaine smiles and leaves . Carrie sits - stunned ; numb . She looks to the chairs across the runway - FASHIONABLE WOMEN are looking back at her - one or two smile sympathetically . She grabs her things and then turns to Charlotte .
CARRIE
I've got ta go.
Carrie slips silently away . Charlotte gets up and starts away after her . Miranda looks -
MIRANDA
Should I -
Charlotte shakes her head : `` not sure '' . and continues away . Charlotte catches up with Carrie as she is about to exit . Fashionistas stream by them on their way in .
CHARLOTTE
Carrie, wait.
Carrie stops - turns around - putting on her wrap .
CARRIE
This was a mistake - it's too soon - I'm not ready. I'll go get a coffee and you guys call me after - and I'll meet you for lunch.
CHARLOTTE
Are you sure? I know how much you were looking forward to this.
CARRIE
Yeah, I really was. until I became the poster child for wounded women everywhere.
CHARLOTTE
You're not.
CARRIE
Is this thing going to effect everything I do for the rest of my life?
CHARLOTTE
No - but if you leave right now - it will effect the rest of your day.
Carrie looks at her - takes this in .
CHARLOTTE
( CONT 'D . )
( softly . )
It's Fashion Week. We're in the front row.
CARRIE
Where everyone can see me.
CHARLOTTE
Who cares about them - You only came for the clothes.
Carrie smiles . a little .
CHARLOTTE
( CONT 'D . )
I know it's hard but - It's like you said : You ca n't stop being who you are.
Samantha and Miranda have just gathered their things and are leaving their chairs as Charlotte and Carrie return .
SAMANTHA
We thought we were leaving.
Charlotte shakes her head : NO . Samantha and Miranda turn around and start back to their seats as - MUSIC STARTS . LIGHTS CHANGE . The girls settle in just as a MODEL starts down the RUNWAY in gorgeous clothes . Carrie , Miranda , Charlotte and Samantha watch - DISSOLVE TO : the girls watching another model ; another outfit . They point and discuss what they see - loving it . DISSOLVE TO : the girls watching another model ; another outfit . With each outfit Carrie seems to lighten and brighten . DISSOLVE TO : the girls watching another model ; another outfit . Carrie smiles as she watches - now , truly enjoying herself . Carrie is being interviewed by Elaine holding a TAPE RECORDER . Miranda , Samantha and Charlotte watch nearby .
CARRIE
( V.O . )
I did n't know if it was the fashion or the fact that the four of us were together again - but for the first time in a long time - I felt like myself.
The girls leave the tent and start down the stairs .
SAMANTHA
Let's get a cab - I am starv -
SPLAT . Her fur coat is hit with SPLASH of red paint . They REACT : SHOCKED . AN ACTIVIST WOMAN stands there holding a paint cup . Next to her - another ACTIVIST is holding a PUG dog .
ACTIVIST #1
Fur is murder!
ACTIVIST #2
MUR - DER. MUR - DER.
SAMANTHA
( beat . )
God, I miss New York.
Carrie hurries across the street -
CARRIE
( V.O . )
And a couple of weeks later - I met St. Louise's St. Louis boyfriend, Will.
She arrives at the front of a restaurant . Through the window , she can see Louise sitting next to Will . Louise spots Carrie and waves . Carrie waves back and starts in .
CARRIE
( V.O. ; CONT 'D . )
Over Christmas they realized how much they loved each other. Just in time for Valentine's day.
Carrie turns the key in her mail box . A little pink envelope sits there . She takes it out and opens it . It 's a `` kid 's style '' Valentine card of Cinderella . She turns it over . Lily 's crayon mark mixes with Charlotte 's handwriting : To Aunt Carrie . Love , Lily . Carrie opens the door , holding the valentine . Her phone is ringing . She answers it .
CARRIE
Hello?
Intercut with Samantha in her kitchen attempting to make sushi . Her hands covered in rice . The DOG , wearing a sweater with a `` heart '' on it sits on the floor watching .
SAMANTHA
I'm just calling to make sure you are n't hanging from your shower rod.
CARRIE
You called an hour too early.
SAMANTHA
So, what's the V - day plan?
CARRIE
Miranda and I are going to dinner and then a really violent slasher movie.
SAMANTHA
Perfect.
CARRIE
And you?
SAMANTHA
I am making Smith sushi. Pause for reaction.
CARRIE
Wow. Do you make sushi?
SAMANTHA
We took a class a while back - and when he walks in the door at seven - thirty, I am going to surprise him by laying on the dining room table - covered with homemade sushi.
CARRIE
Boy, you do have time on your hands.
Carrie walks over to the book shelf and places the Cinderella valentine on it . She looks down at the bottom shelf . The Vogue magazine is looking up at her - She picks it up . A small , village restaurant festively decorated for Valentine 's Day . Pink balloons float on the ceiling , their red ribbon strings hang at eye level . Carrie and Miranda sit at a table . At all the other tables - Couples !
MIRANDA
Is it me or is Valentine's Day this year on steroids?
CARRIE
I think it was like this last year but we played for the other team.
A WAITRESS -LRB- 23 -RRB- approaches them with pink menus .
WAITRESS
Good evening. Here's our special Valentine night menu. All the selections are romantic in theme and designed to be split for two. Are you having wine?
CARRIE/MIRANDA
Yes.
WAITRESS
A glass or a bot -
CARRIE/MIRANDA
Bottle.
WAITRESS
I'll be right back to take you and your girlfriends order.
The waitress leaves . Miranda looks at Carrie .
MIRANDA
I could do a lot worse.
The wine bottle is now empty . Carrie and Miranda eat .
MIRANDA
Why would you look at the Vogue today of all days?
CARRIE
` Cause - I'm an emotional cutter.
( Beat ; then . )
I deserve what I got. Running all over New York believing that I'm finally getting my happy ending. `` See everyone, love does conquer all. Look at me in my one of a kind wedding gown marrying the love of my life.''
Waitress stops at the table . She picks up the bottle .
WAITRESS
Would you like another bot -
CARRIE/MIRANDA
Yes.
She leaves .
CARRIE
And Miranda. in that article - I did not say `` we'' once. It was all : `` I'' want and `` I'' think.
MIRANDA
It was from your point of view.
CARRIE
My point of view. Exactly. The whole wedding was my point of view. I let the wedding get bigger than Big. I am the reason he did n't get out of that car.
MIRANDA
You ca n't put this all on yourself.
( beat ; then . )
Okay. I said something I should n't have said to Big at the rehearsal dinner.
CARRIE
What do you mean?
MIRANDA
I was really upset after Steve showed up and I bumped into Big and - I said that you two were crazy to get married.
Carrie is stunned . The waitress arrives with the new bottle of wine .
WAITRESS
Here we go. Your Shiraz.
She is opening the bottle . Tension . She pops the cork - starts to pour .
MIRANDA
Stop - It's fine - Thanks.
The Waitress puts the bottle down and walks away .
MIRANDA
( CONT 'D . )
I'm sorry, I was upset - Steve had -
CARRIE
I have been going over this and over this in my mind for five months - and - for five months you kept a secret like that?
MIRANDA
I tried to tell you once but the Vogue article came out -
CARRIE
Once? You tried to tell me once? You should have tried to tell me every single day!
MIRANDA
I know, I was looking for the right time.
CARRIE
There is no right time to tell me you ruined my marriage!
The Room is now at `` attention . ''
MIRANDA
It just happened - I was n't thinking.
Carrie grabs her purse - to leave .
MIRANDA
( CONT 'D . )
Carrie, please - Do n't go - I -
Carrie stands up - the festive balloon strings bob in front of her face . She pushes them away .
CARRIE
And I think what hurts the most is that you kept a secret from me. I have never ever kept a secret from you. Ever!
She starts out . Stops , comes back - through the ribbons .
CARRIE
( CONT 'D . )
No, I'm lying. For the last five months I've been thinking that it's a huge mistake that you left Steve.
( beat . )
There. How does it feel?
She turns and pushes balloons out of her way as she starts out . A KISSING COUPLE -LRB- 20 's -RRB- is BLOCKING her way .
CARRIE
( CONT 'D . )
Excuse me!
They stop - She squeezes by them . Miranda is devastated .
INT. BEACHOUSE/DINING ROOM -- NIGHT -- CONTINUOUS -- WINTER
Candles are lit . Samantha enters wearing a sexy sheer robe and carrying a giant tray of homemade sushi . The phone rings . The machine picks up . Smith leaves a message .
SMITH
( V.O . )
Babe - we're way behind on set. I still have n't been released. I'll get there as soon as I can.
She SIGHS - places the tray on the table . Looks at the wall clock : Seven - thirty . Eight o'clock . Samantha is sitting in the robe near the table . Not pleased . Eight - thirty - Samantha is pacing . She takes a piece of sushi - pops it in her mouth and chews - pissed . A WOMAN MOANING is heard . She walks over and glances out the window into Dante 's living room . Candles are everywhere - he is naked and GIVING HEAD to naked BLONDE WOMAN . She is writhing in pleasure . Samantha watches - even more pissed .
CARRIE
( V.O . )
It was the same Valentine night Samantha had planned - minus the sushi.
Samantha now wearing sweat clothes , sits with her arms crossed - waiting . The door opens and Smith enters .
SMITH
I'm home!
He see 's Samantha sitting there . He smiles .
SMITH
( CONT 'D ; CONT 'D . )
Man, that was a long day - the crew went into double overtime.
SAMANTHA
You are three hours late.
SMITH
Bummer. I know. Did you eat?
SAMANTHA
Yes, I ate. I ate the sushi that I hand made for you. The sushi that I planned to lay all over my naked body as a Valentines surprise for you.
SMITH
Why are you so upset? I called.
SAMANTHA
I slaved away in a kitchen all day to make this meal for you.
SMITH
You made some sushi - it's not a big deal!
SAMANTHA
Not a big deal?
She stands up . She picks up some pieces of sushi .
SAMANTHA
( CONT 'D . )
You see this - This took me five fucking hours!
She throws sushi at him . He dodges them .
SAMANTHA
( CONT 'D . )
I am not the type of woman who sits home all day waiting for a man!
( beat . )
You love California so much - enjoy your hand - made California roll!
She throws more sushi and storms out . Smith looks at the subzero fridge . A sushi piece slides down the front . A FLORAL ARRANGEMENT sits on the hall table next to the answering machine . A card reading : `` I 'm sorry - Miranda '' is nearby . The answering machine is recording an incoming call from Miranda .
MIRANDA
( V.O . )
It's me. Pick up. Are you there?
Carrie is standing in the bathroom ; looking out at the answering machine , brushing her teeth .
CARRIE
( V.O . )
Three days of `` I'm sorry'' calls and e - mails and flowers - and I still was n't ready. It was the longest we'd even gone without speaking.
Rain . Carrie walks up to her stoop . A CAB idling in front . The cab window goes down . Miranda is sitting there .
MIRANDA
Carrie.
Carrie looks . Stops .
MIRANDA
( CONT 'D . )
Hi. I need to talk to you.
CARRIE
How long have you been waiting here?
Miranda looks to the meter , then back to her .
MIRANDA
Seventeen dollars long.
( beat . )
Please get in. It just turned to eighteen.
Carrie looks at her , hesitates , starts over to the cab . Rain pours down the windows . Carrie and Miranda sit in silence . A MIDDLE EASTERN DRIVER sits behind the wheel . CLOSE ON : THE METER . It reads 22.00 . This is weird not talking .
CARRIE
I'm upset.
MIRANDA
Carrie, I understand - but it just happened - I never meant to hurt you.
( beat . )
You have to forgive me.
Carrie looks over at her .
CARRIE
You know -
MIRANDA
What?
CARRIE
No.
MIRANDA
Please. What were you going to say?
CARRIE
You badger me to forgive you in three days - and you wo n't even consider forgiving Steve for something he did six months ago.
MIRANDA
It's not the same thing.
CARRIE
It's forgiveness.
Miranda thinks - Carrie looks at her .
CARRIE
( CONT 'D . )
And - I know you're not the reason my marriage fell apart. I was just - desperate to have someone else to blame.
Miranda thinks . The METER clicks . Steve and Miranda are sitting in front of a THERAPIST .
MIRANDA
I do n't know if I can trust that it wo n't happen again.
THERAPIST
Steve - you're very quiet today.
STEVE
Miranda, I know I made it hard for you to trust me. But - You made it hard for me to trust you.
MIRANDA
Me?!
STEVE
The way you treated me and cut me out of your life like that? I mean, yeah - I broke a vow. But what about the other vows? Like promising to love someone for better or for worse? What about that?
Miranda looks down at her hands . Steve looks at the therapist .
STEVE
( CONT 'D . )
How do I know she wo n't punish me for the rest of my life?
THERAPIST
You do n't. And she does n't know for sure that you wo n't have another indiscretion.
( beat . )
All you can know. is that you want to move forward and risk that you love for each other wo n't allow that to happen.
Silence .
THERAPIST
( CONT 'D . )
And that's what we'll discover here.
Steve looks over at Miranda . Miranda looks at Steve . Forsythia bushes are in bloom . Carrie and Miranda walk . They carry sandwiches .
MIRANDA
So, we're done with our last session and we're not allowed to talk for two weeks while we figure out if being together again is something we really want. And then - we had to pick a place to meet - and if we both show up on that day - the past no longer exists. Showing up is the promise we make to each other that we're willing to let it all go and move forward.
CARRIE
Can you do that?
MIRANDA
I do n't know. I have a lot of thinking to do.
CARRIE
Thinking - or feeling?
MIRANDA
What do you mean?
CARRIE
Miranda - you're a lawyer. You can argue both sides of any case - but, why we feel what we feel - is n't logical. It's emotional. Sorry, Harvard - I'm afraid you're going to have to make this decision based on your emotions.
MIRANDA
Well, then - I'm screwed. I do n't know what I feel.
CARRIE
You will. There will come a moment when you'll know. And if it's : yes - all that brilliant logic will go out the window. with the past.
MIRANDA
And I thought picking the place to meet was a challenge.
CARRIE
Where is it?
MIRANDA
The Brooklyn Bridge. Halfway between both our places.
CARRIE
Very logical. And yet poetic.
MIRANDA
Poetic - if we both show up. Otherwise - you're on a bridge - rejected. Not a good plan.
Carrie walks in carrying a Starbucks cardboard caddy with two coffee . Louise is sitting at her desk , working .
LOUISE
I have two pieces of good news.
CARRIE
And I have two coffees.
LOUISE
I just got a heads - up from your realtor. The apartment on Fifth finally sold.
Carrie sips coffee . Nods .
LOUISE
( CONT 'D . )
You have sixty days before the new owner takes possession and you are out of there.
CARRIE
What's the other news?
Louise holds up her hand . There is a diamond ring on it .
CARRIE
( CONT 'D . )
Oh my God -
LOUISE
I'm moving back to St. Louis - we are getting married in the fall.
Louise beams . Carrie hugs her . Grey day . Samantha is sitting on the beach reading `` The Secret . ''
CARRIE
( V.O . )
Meanwhile, back in Lost Angeles.
She rolls her eyes , and tosses it down in the sand . Samantha walks on the beach . The dog is walking with her .
CARRIE
( V.O . )
Samantha had money, a career and a man who loved her. Still, she could n't shake the feeling that something was missing from her life.
The dog runs up onto the neighbor 's deck .
SAMANTHA
No! Come back here.
Samantha is on the neighbor 's deck looking for the dog .
SAMANTHA
Where are you, baby?
She rounds a corner - and comes face to face with Dante - showering in the outdoor shower . Water runs over his NAKED and PERFECT BODY . He sees her and smiles a hot smile . She is thrown - overwhelmed .
SAMANTHA
( CONT 'D . )
Sorry - I'm your neighbor and my dog ran up on your dick -.
( catching herself . )
- Deck!
There is a GROWL sound . She looks - the dog is humping a towel on the deck floor . She looks back at Dante .
DANTE
Want to join me?
Speechless - She shakes her head : No - she scoops up the dog and hurries away . He calls after her .
DANTE
( CONT 'D . )
I'm Dante. Stop by - anytime.
Samantha takes a peek back and continues on her way . Samantha is having lunch outside while on the phone .
SAMANTHA
Smith is interested - but the dates will have to work with the series.
Dante appears on the deck next store in a wet suit . He unzips it while looking at Samantha . SAMANTHA dips a chip in guacamole and eats it . He pulls his wet - suit down and smiles at her . She dips another chip . He steps out of it and looks at her - almost torturing her . She looks the other way , dips another chip in guacamole and eats it . Then another . Samantha is in the kitchen on the phone . She picks up a slice of messy pizza from a delivery box on the table .
SAMANTHA
We agreed that no one else from the show but Smith was going to be on the cover.
She walks to the window and looks out . Dante is on his deck putting on sun screen . He glistens . She chews . Samantha is in the jacuzzi - she is looking up at Dante who is on his deck smoking a joint . He indicates for her to come over . She shakes her head : No . He walks away . She presses a button on the control panel . The jacuzzi jets start . She re - positions herself `` on '' them , then . She reaches over and grabs a giant hot fudge sundae and . starts eating it . Miranda sits in the window - having a cappuccino , alone . On the table a legal pad with a list of PROS and CONS .
CARRIE
( V.O . )
With her two weeks just about up, Miranda's list of pros and cons were equal.
She throws some money down on the table and takes a final sip on her cappuccino . As she stands up , she catches sight of herself in the mirrored wall . Cappuccino foam covers her top lip . She remembers . She knows . Miranda stands on the bridge . Alone . She looks at her watch .
CARRIE
( V.O . )
It suddenly dawned on Miranda that Steve's list might have had more cons then pros.
Just as this reality hits - the CROWD parts and Steve is seen RUNNING up the bridge . towards her . Miranda and Steve walk along the bridge towards Brooklyn .
CARRIE
( V.O . )
And Miranda never looked back.
Steve and Miranda are making love - it is passionate .
CARRIE
( V.O . )
Well, almost never.
Miranda turns her head back to look at Steve .
MIRANDA
Kiss me.
Carrie 's apartment is transformed . It is sleeker , polished , more grown - up , with a warm , modern feel .
CARRIE
( V.O . )
And at home - everything felt and looked different - and yet still very much me.
Carrie - BLONDE again - walks out of the kitchen with Lilacs in a large vase . The door bell buzzes . Carrie opens the door . Miranda stands there with a very pregnant Charlotte .
CARRIE
Sorry. This is a very exclusive party.
MIRANDA
We're on the list. Miranda Hobbes plus one. and a half.
WOMEN FRIENDS chatting and having fun . The front door is open and a coat rack is visible in the hall . A couple of WAITERS -LRB- 20 's -RRB- move around . ANTHONY comes up to Carrie .
ANTHONY
A woman just put a glass down on your new desk without a coaster. I told her if she did it again I'd break her arm.
CARRIE
Thanks.
He walks on . Miranda wanders up to Carrie .
MIRANDA
Where's Samantha? Her plane landed two hours ago.
CARRIE
You know her, probably ran to the hotel gym for a quick work - out.
Samantha appears in the doorway wearing a summer coat - the dog is in her purse .
SAMANTHA
There's no place like home.
CARRIE
Sweetie!
They kiss - She goes to Miranda ; they kiss .
MIRANDA
There's a rat in your purse.
CARRIE
And that rat better be house trained.
A CATER WAITER walks over to her .
CATER WAITER
Can I take your coat?
Samantha nods and takes off her coat . Revealing : She has a belly . A very non - Samantha big fat gut . Carrie looks at it . Miranda looks at it . Carrie and Miranda exchange looks . Charlotte comes running down the hall .
CHARLOTTE
Samantha!
Samantha raises her arms to greet her . Her blouse rides up , the gut peeks out . Charlotte reacts ; shocked .
CHARLOTTE
( CONT 'D . )
You have a - dog!
SAMANTHA
Did you ever think you'd see the day - me with a pooch.
All three shake their heads : No . Carrie , Miranda , and Charlotte are in the bathroom .
MIRANDA
So, she has a belly. So what?
CARRIE
No, a belly on anyone else is a `` so what?'' A belly on Samantha is a : `` So what the hell is going on?''
CHARLOTTE
She never mentioned it on the phone?
CARRIE
Never. And when has she ever not talked about every detail regarding her body?
CHARLOTTE
Should we even bring it up?
MIRANDA
What - like a fat intervention? `` We love you - have a salad?'' No. We should let her bring it up.
There is a knock . Samantha opens the door . She 's eating a piece of cake .
SAMANTHA
Ladies, we can talk about my gut later - right now, I'm bored to tears here.
She gives them a look . They smile , relieved . Everyone has left . Samantha is sitting with Charlotte and Miranda and Carrie . They are having coffee .
SAMANTHA
I eat - so I wo n't cheat.
MIRANDA
What exactly are you eating?
SAMANTHA
Everything except Dante's dick.
CARRIE
Language, please - this is a grown - up apartment now.
SAMANTHA
I guess I did n't realize how big I was until I saw it on your faces.
CARRIE
How - and I say this with love - How could you not realize it?
SAMANTHA
I've been avoiding mirrors.
CHARLOTTE
I'm proud of you for not cheating.
SAMANTHA
I do n't know if there's anything to be proud of. I stuff my face to stop myself from doing something that feels natural to me.
Carrie reaches over and rubs Samantha 's back .
CARRIE
Why did n't you say something?
SAMANTHA
I guess I did n't want to admit it. And when you're in denial - you do n't dial.
CARRIE
Now, listen - this is n't about the weight. You'd be gorgeous at any size. But are you happy?
SAMANTHA
( Silence ; then . )
Relationships are n't always about being happy, right?
( beat . )
How often do you feel happy in your relationship?
CARRIE
( to Charlotte . )
I'm pretty sure that's to you.
CHARLOTTE
Every day.
SAMANTHA
You feel happy ever day?
CHARLOTTE
Not all day - everyday - but everyday.
MIRANDA
When was the last time you felt happy?
SAMANTHA
Six months ago.
They react .
SAMANTHA
( CONT 'D . )
What am I going to do?
CARRIE
What does your gut tell you?
SAMANTHA
I know but -.
( beat ; hard . )
Smith stayed with me through chemo. If he could stay with me through that, I should be able to stay in this relationship for him.
CARRIE
Sweetie. You just compared your relationship to chemo.
Samantha looks at her , then Charlotte , then Miranda .
CARRIE
( V.O. ; CONT 'D . )
There we were. the three mirrors Samantha could n't avoid.
CARRIE
( CONT 'D . )
And Samantha?
Samantha looks . Carrie points . The dog is humping a pillow on Carrie 's furniture .
CARRIE
( CONT 'D . )
That pillow cost three hundred dollars.
Samantha is sitting - waiting . Smith enters .
SMITH
Hey - You're home! I thought you were staying the week.
He kisses her . She looks at him . Touches his face .
SAMANTHA
We need to talk.
SMITH
Awwww. man. I knew this was coming.
SAMANTHA
Yeah. This is n't working.
( beat . )
I've done my best. I've given it five years and fifteen pounds.
SMITH
What - You do n't love me any more?
SAMANTHA
Yes, I love you - ah, fuck it - I'm just gon na say the thing you're not supposed to say - I love you but I love me more. And I've been in a relationship with myself for forty - nine years and that's the one I need to work on.
She stands up and wraps her arms around him , whispers .
SAMANTHA
( CONT 'D . )
You'll find a wonderful woman who loves being in a relationship.
SMITH
What will you find?
SAMANTHA
I do n't know. But that's a risk I'm willing to take.
She notices the gardenia ring on her finger . She starts to take it off . Stops . Looks back up at him .
SAMANTHA
( CONT 'D . )
No. I'm keeping this. Every time I look down at it I want to think of you.
She kisses him on the lips . GENTLY . SOFTLY . Samantha sits in first class . She is crying . while eating a hot fudge sundae . A STEWARDESS leans down .
STEWARDESS
We're landing in new York. I'm gon na need to take that now.
Samantha nods , and finishes eating the hot fudge sundae as fast as she can . Scraping , almost licking the bowl .
CARRIE
( V.O . )
As someone returned to my life.
Carrie stands at the door with Louise .
CARRIE
( V.O . )
Someone left.
LOUISE
And I put all the unopened mail from your P.O. Box in the manila envelopes on the bottom shelf there.
She points to the shelf in the new bookcase . Carrie looks .
LOUISE
( CONT 'D . )
And please - please do not make a mess of CarrieBradshaw.com - it's my masterpiece.
CARRIE
What am I gon na do without you?
LOUISE
You'll find some other girl. but she wo n't have my style.
CARRIE
St. Louise, you brought me back to life.
Emotion floods Carrie ; she chokes up . So does Louise -
LOUISE
And you gave me Louise Vuitton.
Carrie laughs - they hug .
LOUISE
( CONT 'D . )
Serious. We need to stop cryin'.
Louise breaks the hug and takes her `` love '' key chain out of her purse - hands it to Carrie .
LOUISE
( CONT 'D . )
Your keys.
CARRIE
Wait - do n't forget your `` love.''
LOUISE
No, I found my love. I'm leaving that with you.
Carrie smiles . Louise starts out the door , turns back .
LOUISE
( CONT 'D . )
See you at my wedding.
CARRIE
I'll meet you in St. Louis.
Louise gives one last look , and leaves . Carrie closes the door . Looks down at `` love '' in her hand . Carrie is sitting at her desk . typing .
CARRIE
( V.O . )
Now, there were no more distractions.
( beat . )
And as I moved on.
Samantha walks past Lovro and Magda sitting on chairs out front , sipping ice tea , and up to Miranda 's lower east side apartment stoop with the dog on the leash .
CARRIE
( V.O . )
Samantha moved in.
The HOT TATTOOED LATIN GUY is still sitting on the stoop out front with the ferocious looking pitbull . She starts up the stairs . He checks her out . She turns .
SAMANTHA
Hi, I'm your new neighbor.
HOT NEIGHBOR
Diego.
SAMANTHA
Samantha.
They smile . There is a connection . Samantha looks down . The dog is humping the pitbull . Diego nods approval . A very , very pregnant Charlotte carrying shopping bags is being seated at a banquette by the HOSTESS -LRB- 26 -RRB- .
HOSTESS
When are you due?
CHARLOTTE
Next week.
HOSTESS
You look gorgeous.
CHARLOTTE
( touched ; embarrassed . )
Oh, thank - you.
The Hostess walks away as Charlotte settles in and looks around . Her eyes WIDEN . Big is sitting across the room at a table - alone . He has n't seen her . Charlotte starts to panic as the WAITRESS -LRB- 20 's -RRB- comes over .
WAITRESS
Hi, can I -
CHARLOTTE
No, I'm sorry - I ca n't stay - Help me - pull out the table. I ca n't -
Charlotte pulls herself up off the banquette . As she tries to slide out , her belly and shopping bags knock things off the table . Crash . DINERS looks . Big spots her - their eyes meet . She moves away as quickly as she can through the room . He gets up and follows after her . Charlotte exits the restaurant - visibly upset . Big is quickly on her heels .
BIG
Charlotte. Charlotte wait -
He catches up to her - and gently steps to her .
BIG
( CONT 'D . )
You're pregnant - do n't run.
CHARLOTTE
I do n't want to see you.
She starts crying and talking though the tears .
CHARLOTTE
( CONT 'D . )
I'm so mad at you. I was always on your side and then you did that to Carrie - No, no - I'm not going to cry - I'm not going to waste tears on you -.
( strong ; stomping foot . )
I curse the day you were born!
Charlotte 's eyes widen . She stops moving , entirely .
CHARLOTTE
( CONT 'D . )
I think my water just broke.
( beat . )
Oh my God - Taxi!
BIG
My car's right there. Get in my car.
CHARLOTTE
I do n't want to get in your car - I hate your car. Taxi!
BIG
Charlotte - we need to get you to the hospital - Please get in my car. It's right here and ready.
Charlotte finally nods . Big hurries her to the car . Carrie hurries down a corridor - looking for a room . She spots it , knocks and enters . Carrie enters . Harry stands there . Beaming .
CARRIE
Hi. Congratulations. A girl!
HARRY
It's my lot in life to be surrounded by beautiful women.
She kisses him and walks over to the bed where Charlotte is holding ROSE , a beautiful baby with thick dark hair .
CARRIE
Oh my God. She's gorgeous.
CHARLOTTE
Say hello to Rose.
Carrie kisses Charlotte on the head .
CARRIE
What a beautiful name.
CHARLOTTE
After Harry's `` Bubbie.''
HARRY
Now, we got a Lily and a Rose.
Carrie sits on the edge of the bed .
CARRIE
Well, I have to say you two are very cool customers - just making the `` baby's here'' call without all the `` I'm in labor'' drama.
HARRY
Oh - there was plenty of drama.
CHARLOTTE
My water broke in front of a restaurant.
CARRIE
Very dramatic.
HARRY
Wait - she's not done.
CHARLOTTE
It broke while I was talking to Big.
CARRIE
What?
HARRY
See. Drama.
CHARLOTTE
I bumped into him and I got so upset I started crying and then - my water broke.
HARRY
He brought her to the hospital. Stayed until the baby was born.
CHARLOTTE
I think he was hoping to see you.
Silence . Carrie is having a hard time with this .
CARRIE
Well - today is not about him. It's about beautiful baby Rose.
( beat ; forced up . )
So - we know she has Charlotte's hair - what else do we know?
Harry and Charlotte give each other a sad glance . Carrie walks out of Charlotte 's room with Harry .
CARRIE
She's a doll. Mazel tov!
She kisses Harry on the cheek and starts away .
HARRY
He asked me to ask you to call him.
Carrie stops . Turns around . Looks at him .
HARRY
( CONT 'D . )
I know! It's none of my business. But I felt bad for the poor schmuck hanging around the hospital waiting room hoping to see you. I swear every time he heard someone in heels coming down the hall - his heart stopped.
CARRIE
Harry - it's so much more complicated than you can imagine.
HARRY
I know it is - and you have every right to never call him - but I'm just a big pile of love today - and I feel bad for the guy. He said he's been writing you - but you never responded.
CARRIE
( beat ; then . )
He's never written me.
HARRY
He said he wrote because he did n't have your phone number.
CARRIE
No. He's never written me. Ever.
HARRY
Then, why would he say that he had?
Carrie looks at Harry . Lost . Confused . Carrie enters her apartment . She glances over at her bookcase - Remembers . JUMP CUT TO : Carrie opens the bookcase drawer and takes out a Manila envelope marked : P.O. Box . JUMP CUT TO : Carrie dumps the contents of the envelopes on the desk . JUMP CUT TO : Carrie quickly sorts through the mail - looking - looking for something . A letter - something . Nothing from him . She leans back in her chair - more confused . Her eyes drift up to her computer . She wonders if - JUMP CUT TO : Carrie is logging onto CarrieBradshaw.com . She types in PASSWORD . JUMP CUT TO : CarrieBradshaw.com 's `` welcome page . '' She clicks on EMAIL . JUMP CUT TO : Carrie scans through emails - none are from Big . Frustrated she logs off . Carrie is still at her desk , lost in thought .
CARRIE
( VO . )
Two hours, two manila envelopes and countless emails later, I was just about to give up on the Big riddle when -
She looks back at her computer screen and notices : `` CB - assistant . '' Carrie sits up . Clicks on it .
CARRIE
( V.O. ; CONT 'D . )
I had told Louise to put Big in a place where I would never have to hear from him again.
She types in her password . Nothing . Picks up her phone . Dials a number .
CARRIE
( CONT 'D . )
Hey, Louise - it's me. What's the password to get into your assistant file? Call me.
She hangs up and places the phone on a pile of mail - which causes the mail to fall over onto the floor .
CARRIE
( CONT 'D . )
Shit.
Carrie reaches down to pick - up the mail - she notices the `` LOVE '' key chain has fallen as well . She picks it up and looks at it , has a hunch .
CARRIE
( CONT 'D . )
Oh my God.
JUMP CUT TO : Carrie types the password : `` L - O - V - E. '' Yes ! The file opens - her eyes widen . There on the screen are many , many , many emails - all from JJP@JJP.com .
CARRIE
( V.O. ; CONT 'D . )
As soon as I typed in `` love'' - there he was.
She clicks on the first e - mail . It opens : It 's the love letter from Beethoven , retyped .
CARRIE
( V.O. ; CONT 'D . )
And because Big still did n't have the words. he retyped a love letter from Beethoven.
JUMP CUT TO : New Email : A love letter from Lord Byron .
CARRIE
( V.O. ; CONT 'D . )
And Lord Byron.
JUMP CUT TO : New Email : A love letter from James Joyce .
CARRIE
( V.O. ; CONT 'D . )
And James Joyce.
JUMP CUT TO : New Email : A Love letter from Voltaire .
CARRIE
( V.O. ; CONT 'D . )
And Voltaire.
JUMP CUT TO : Carrie sits in the chair . Breathless . Overwhelmed .
CARRIE
( V.O. ; CONT 'D . )
There they were. `` The Love Letters of Great Men - Volume One.'' Plus one more. Written by John James Preston.
New email - It reads : `` I know I screwed it up - but I will love you forever . '' Carrie impulsively picks up the phone - starts to dial .
CARRIE
( V.O. ; CONT 'D . )
I wanted to call him - but our love. Carrie and Big : volumes one, two, and three. stopped me.
She puts the phone down and is about to `` delete '' the e mail - suddenly ; the phone rings .
CARRIE
( CONT 'D . )
Hello.
LOUISE
( O.C . )
I did n't hear my phone.
Intercut with Louise , standing in a wedding gown . Her MOTHER -LRB- 45 -RRB- , GRANDMOTHER -LRB- 65 -RRB- , and SISTERS -LRB- 20 15 , 8 -RRB- sit watching .
LOUISE
We are shopping for my wedding gown.
ANGELA , her youngest sister calls out .
ANGELA
That one makes you look weird.
LOUISE
( calls over . )
Momma - can you please - This is a work call.
The Mother motions for Angela to sit down . She does .
CARRIE
No, it's okay I figured it out.
LOUISE
Well, I was going to call you anyway - today is the final day on the Fifth Avenue apartment. You have till six before they change the locks.
CARRIE
I do n't need to go over there.
LOUISE
And do you NOT want those never - worn shoes?
CARRIE
Oh - I completely forgot about -
LOUISE
` Cause if you do n't - send them on to me. I'll squeeze my feet into them.
CARRIE
It's already five o'clock.
LOUISE
Hello? There are never been worn four hundred dollar shoes!
CARRIE
Five twenty - five.
( beat ; hears herself . )
Bye.
Carrie drops the phone and jumps up . Carrie runs down the stairs . she spots a passing CAB .
CARRIE
Taxi!
It SCREECHES to a halt . She runs to the cab . Carrie steps into the elevator . She presses `` PH , '' steps back . The doors close . Key in the lock - Carrie enters . She looks around .
CARRIE
( V.O . )
The light in our pre - war apartment looked completely different post - war.
INT. PENTHOUSE APARTMENT/BEDROOM -- MOMENTS LATER -- SPRING
Carrie walks into the bedroom and over to the closet . She pushes open the other double door . Revealing - Mr. Big - standing there holding the Manolos in his hands . He looks up - surprised by her .
BIG
I was going to get these to you. I did n't want it to be a total loss.
CARRIE
( V.O . )
It was n't logic - it was love.
She walks into the closet and over to him . She throws her arms around him . He drops the shoes . They kiss . It 's passionate . Very - very passionate .
INT. PENTHOUSE APARTMENT/WALK-IN CLOSET -- LATER -- SPRING
Carrie and Big are nestled up next to each other on the carpeted floor of the empty walk - in closet . His suit jacket is off . Her shoes are off .
CARRIE
Why did we ever decide to get married?
BIG
( beat ; then . )
I guess we were afraid it meant something if we did n't.
She looks at him and nods . It 's true .
BIG
( CONT 'D . )
I'm sorry to have done that to you.
Silence . She touches his lips .
CARRIE
I'm sorry to have done that to you.
( beat . )
And you know the funny part?
BIG
Is there a funny part?
CARRIE
We were perfectly happy before we decided to live happily ever after.
BIG
Yep. The jokes on us.
She nods . she looks around .
CARRIE
Good closet.
BIG
Thanks.
CARRIE
Comfortable. Is this what you had in mind when you installed the carpet?
BIG
I'd like to think I was that smooth.
CARRIE
We better get up before the new owner bust in on us.
They start to get up . Carrie rises first . He starts to get up , first - sitting on his side .
BIG
And the way we decided to get married - All business. No romance. That's not the way you propose to someone.
He moves further up - onto one knee - where he stops .
BIG
( CONT 'D . )
This is.
She looks down at him - Is this happening ? He holds out his hand . She places her hand in his .
BIG
( CONT 'D . )
Carrie Bradshaw - love of my life - will you marry me?
It is everything Carrie Bradshaw had convinced herself would never happen . Could never happen . And here it is . She nods . Speechless . Overcome . He smiles .
BIG
( CONT 'D . )
See, this is why there's a diamond. You need to do something to close the deal.
She laughs . He notices her never - worn Manolo on the floor . He picks it up . Holds it out to her . She lifts her foot and places it in the shoe . Cinderella style . Carrie stands with Big in front of a JUDGE . She is wearing the simple white suit and her never - worn Manolos from the closet .
CARRIE
( V.O . )
And in the end. Carrie Bradshaw married John James Preston in a label - less dress.
Big Smiles . She smiles . Both calm . Sure .
JUDGE
By the power vested in me, by the state of New York, I now pronounce you husband and wife. You may kiss the bride.
Big and Carrie kiss . Then , he whispers into her ear .
BIG
Ever thine. Ever mine. Ever ours.
Carrie and Big walk through the courthouse lobby toward the front door holding hands .
BIG
You okay that it was just us?
CARRIE
Perfect. You and me - like I said.
BIG
Still. Would have been nice if you had the girls here.
He holds the door open for her as they walk outside . Carrie and Big walk out of the courthouse into the sun .
BIG
Which is why I called them.
Carrie looks . Miranda , Charlotte , and a MORE SLENDER Samantha are standing there . They SCREAM and throw rice .
MIRANDA/SAMANTHA
Congratulations!
CHARLOTTE
Mazel tov!
As the rice hits . Carrie screams and Big laughs . A GUARD hurries over to them . Carrie is spitting out rice .
GUARD
Excuse me - excuse me! You're not allowed to throw rice anymore.
SAMANTHA
Honey, get over it - It's New York!
She winks at the guard . He shrugs and walks away . Big , Carrie , Miranda , Steve , Brady , Charlotte , Harry , Lily , rose , Stanford , Samantha are casually gathered around a couple of tables that have been pushed together . A WAITRESS comes over balancing hot plates .
WAITRESS
Who had the ham and eggs?
Big raises his arm . The waitress hands the plate down . Carrie intercepts it and places it in front of Big .
CARRIE
( V.O . )
It was n't a fancy designer reception either. Just food and friends.
The Waitress hands out the other breakfasts . People LAUGH . Samantha feeds bacon to the dog - who is wearing a tiny bridal veil on his head . Carrie 's books are displayed on a BOOK KIOSK . Carrie stands in front of it READING to a crowd from the galleys of her new book . She is wearing READING GLASSES .
CARRIE
Maybe some labels are best left in the closet.
Bustling . Carrie , Miranda , Charlotte and Samantha - back to her fighting weight - walk down the busy street dressed for a night on the town . They laugh as they go - their designer purses swinging .
CARRIE
( V.O . )
Maybe when we put a label on people. bride, groom, husband, wife, fat, thin, married, single. we forget to look past the label and see the person.
They arrive at the club entrance . A line of PEOPLE wait to be let inside . The DOORMAN -LRB- 30 's -RRB- spots Carrie , lifts the red rope and lets the girls in - closing it after them . The four girls sit at a table drinking `` Cosmopolitans . ''
CHARLOTTE
Hmmm. This is delicious.
MIRANDA
Why did we ever stop drinking these?
CARRIE
Because everyone else started.
SAMANTHA
( sips ; then . )
Well, that is an oldie but goodie.
CARRIE
And speaking of an oldie but goodie.
A WAITER brings birthday cake to the table . The number : `` 50 '' stands proud and tall among the glowing candles . He places it down in front of a proud Samantha .
CARRIE
( CONT 'D . )
Wait - wait - a toast.
The girls lift their glasses to Samantha .
CARRIE
( CONT 'D . )
To Samantha. fifty and fabulous!
Samantha smiles , touched - then blows out her candles .
CARRIE
( CONT 'D . )
To us. and the next fifty!
Miranda , Charlotte and Samantha raise their glasses .
ALL
To the next fifty.
They sip and look at one another .
CARRIE
( V.O . )
And there, in the same city where they met as girls, four New York women entered the next phase of their lives. dressed head to toe in love.
Samantha licks some icing . Charlotte cuts the cake . Miranda helps . Carrie smiles and sips .
CARRIE
( V.O. ; CONT 'D . )
And that's the one label - that never goes out of style.
From outside we catch just a glimpse of Carrie and the girls at their table inside the busy club . The CAMERA starts to move away - passing the line of PEOPLE waiting to get in . At the front of the line four TWENTY - SOMETHING WOMEN stand waiting for the red rope to be lifted . As the CAMERA moves past them and UP - the Doorman lifts the red rope and the twenty - something women SQUEAL with excitement and anticipation as they hurry inside . The CAMERA continues UP and UP and over the busy and exciting city . FADE TO BLACK .
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Crawl
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University of Florida swimmer Haley Keller receives a call from her sister Beth, who informs her that Category 5 Hurricane Wendy is on its way to Florida and advises her to get out of the state. Concerned for the safety of her estranged father Dave, Haley goes to check on him at his condo but finds it empty. She goes against the instructions of Beth's ex-boyfriend Wayne, a member of the Florida Police Department, by deciding to check out their old family home in Coral Lake, a location at risk of flooding. Haley finds the house empty, so she descends into the house's crawl space with the help of the family dog, Sugar, and finds her father unconscious. Suddenly, her main exit is cut off by several large American alligators. As the house begins to flood, Haley attempts to navigate around them to retrieve her phone but is ambushed by two alligators that destroy the phone and injure her leg. She notices three people looting a nearby gas station, but, despite one of them spotting her signal, each of them is devoured by alligators as she watches in despair. Wayne and his partner Pete arrive at the old house in search of Haley and her father. While Wayne heads into the house to look for them, Pete is ambushed and ripped apart by a swarm of alligators. Wayne locates them as they warn him of the dangers in the crawl space before being pulled into the crawl space and devoured underwater by an alligator. In a last-ditch effort to escape, Haley swims to a storm drain, where she discovers the alligators have made their nest and laid eggs. Haley successfully kills an alligator using a gun she retrieves from Wayne's body, shooting down the alligator's throat while her arm is inside of it. She then swims out into the flooded street through the storm drain and enters the house to crowbar the living room floor open, saving Dave from drowning. Haley, Dave, and Sugar carefully make their way onto a boat outside as the eye of the hurricane moves over the neighborhood. The floodwaters break the nearby levees, crashing them back into the house. As Dave and Sugar make their way up the stairs, Dave loses his right arm when he is attacked by an alligator. Haley navigates around the kitchen and uses a discarded police radio to broadcast a distress signal to authorities. She also manages to trap an alligator in the house bathroom and attempts to flag down a rescue helicopter from an upstairs bedroom. However, Haley is attacked by another alligator that tries to perform a death roll. While Dave and Sugar escape to the attic, Haley stabs the alligator in the eye with a flare and all three reunite on the roof. After narrowly avoiding another alligator, Haley lights a flare and flags down the rescue helicopter as Dave proudly watches.
|
<script>
<scene>
<scene_description>C R A W L by Michael Rasmussen and Shawn Rasmussen</scene_description>
<character>9/16/2016</character>
<dialogue>There have been over 300 documented alligator attacks in Southern Florida.</dialogue>
<dialogue>Twenty-seven of them have been fatal...</dialogue>
<scene_description>SMASH IN ON: The panicked face of a YOUNG WOMAN. Covered in mud and blood. She's crawling on her stomach through a dark, constricted space. Frightened eyes scanning the claustrophobic surroundings. Her senses on alert. The muffled sounds of a STORM outside. HOWLING WINDS and POUNDING RAIN... Then a faint SCRAPING noise. Moving closer... The young woman retreats back into the shadows. Taking shelter behind a wooden support. Holding her breath... A low MENACING BELLOW... As SOMETHING HUGE wipes the frame right in front of us. Shockingly close. Blocking out our view. Leaving nothing but DARKNESS. An unsettling SILENCE. OVER BLACK, a single-word TITLE:</scene_description>
<character>C</character>
<dialogue>A long, quiet beat.</dialogue>
<character>R</character>
<dialogue>Broken by the sound of a VIBRATING</dialogue>
<scene_description>PHONE... FADE IN:</scene_description>
</scene>
<scene>
<stage_direction>INT. COLLEGE APARTMENT - BEDROOM - DAY</stage_direction>
<scene_description>Someone GROANS. A LUMP shifts under a huge comforter. A slender hand reaches out, searching the nightstand. A CHARM BRACELET dangles from the wrist. The same young woman, HALEY (19) pokes her head out from under the covers. Hung over. Bleary-eyed. She finds her phone. Checks the display -- BETH. Takes a breath. Answers with a wrecked voice.</scene_description>
<character>HALEY</character>
<dialogue>H-hello?</dialogue>
</scene>
<scene>
<stage_direction>INT. LONG ISLAND HOUSE - KITCHEN - DAY</stage_direction>
<scene_description>Haley's older sister BETH (26) is on the other end of the line. She's at the sink doing dishes. Wearing workout clothes. Looks like her day began a while ago.</scene_description>
<character>BETH</character>
<dialogue>Jesus, are you just waking up?</dialogue>
<scene_description>INTERCUT AS NECESSARY Haley swallows. Squints into the sunlight. Looking around. She's a natural beauty. Even after a long night of drinking.</scene_description>
<character>HALEY</character>
<dialogue>What time is it?</dialogue>
<character>BETH</character>
<dialogue>It's almost noon.</dialogue>
<scene_description>Haley's head is throbbing. She climbs out of bed.</scene_description>
<character>BETH</character>
<dialogue>Late night?</dialogue>
<character>HALEY</character>
<dialogue>Yeah. I might have overdone it a little.</dialogue>
<scene_description>A glimpse of her lean athletic build as she pulls on a tank top. Slips into a pair of shorts.</scene_description>
<character>HALEY</character>
<dialogue>What's up?</dialogue>
<character>BETH</character>
<dialogue>I need you to go check on Dad. Got a call from Katie.</dialogue>
<character>BETH</character>
<dialogue>She's been trying to reach him since last night. Apparently he's not answering his phone.</dialogue>
<scene_description>Haley shuffles into her KITCHENETTE. Opens a cabinet. Pours herself a bowl of cereal. Eating it dry. Breakfast of Champions.</scene_description>
<character>HALEY</character>
<dialogue>So she called you? To call me?</dialogue>
<character>BETH</character>
<dialogue>Katie said she doesn't have your number.</dialogue>
<scene_description>Haley sighs.</scene_description>
<character>HALEY</character>
<dialogue>She has it.</dialogue>
<character>BETH</character>
<dialogue>I think she gets the feeling you don't like her.</dialogue>
<character>HALEY</character>
<dialogue>Come on, Beth. I'm not gonna be BFF's with my dad's new girlfriend.</dialogue>
<parenthetical>(beat)</parenthetical>
<dialogue>Where is she anyway? Why can't she do it?</dialogue>
<character>BETH</character>
<dialogue>In Texas visiting family. She said Dad was supposed to be on a job yesterday. Prepping some properties before this big storm.</dialogue>
<scene_description>Haley glances out the window. Into the bright daylight.</scene_description>
<character>HALEY</character>
<dialogue>I thought that was gonna miss us?</dialogue>
</scene>
<scene>
<stage_direction>INT. LONG ISLAND HOUSE - KITCHEN - DAY</stage_direction>
<scene_description>Beth moves to a kitchen table. Her TWO-YEAR OLD sits in a high chair, noisily playing with his food.</scene_description>
<character>BETH</character>
<dialogue>That's not what they're saying on the news. It's supposed to hit you guys this afternoon.</dialogue>
<scene_description>A MUTED TELEVISION in the corner. Tuned to a national weather forecast. A METEOROLOGIST in front of a satellite image. Ominous clouds churning off the southern tip of Florida. Beth's FIVE-YEAR-OLD begins tugging at her pant leg, trying to get his mother's attention.</scene_description>
<character>BETH</character>
<parenthetical>(aside to her kids)</parenthetical>
<dialogue>Shh. Mommy's on the phone with your Aunt Haley.</dialogue>
<scene_description>Haley can hear the CHILDREN playing and talking in the background of the call.</scene_description>
<character>HALEY</character>
<dialogue>Sounds like you've got your hands full.</dialogue>
<character>BETH</character>
<dialogue>Ah, yes. Domestic bliss. I'm heading off to hot yoga in a minute for some much-needed "me time."</dialogue>
<character>HALEY</character>
<dialogue>Yeah. Well there's nothing I love more than spending my Saturday driving an hour out of my way to check on dear ol' dad.</dialogue>
<character>BETH</character>
<dialogue>You should go easy on him. He's been through a lot. We all have. He deserves to be happy.</dialogue>
<character>HALEY</character>
<dialogue>I think he's having a mid-life crisis. Have you seen his new earring? He looks like a pirate. And not a sexy, Johnny-Depp-type pirate.</dialogue>
<character>HALEY</character>
<dialogue>More like an old, trying-too-hard pirate. I guess Katie likes it.</dialogue>
<scene_description>Beth laughs.</scene_description>
<character>BETH</character>
<dialogue>So you'll check on him?</dialogue>
<character>HALEY</character>
<dialogue>Okay, I'm going.</dialogue>
<character>BETH</character>
<dialogue>Thanks, sis. You're the best. Love you.</dialogue>
<character>HALEY</character>
<dialogue>Uh huh. I'll call you when I get there. Bye.</dialogue>
<scene_description>Haley hangs up. Scans through some pics on her phone. Finds a recent SELFIE with her DAD. His arm lovingly wrapped around his daughter's shoulder. He's in his 40's. Tanned from working outdoors. Ruggedly handsome, although Haley would never admit it. She annotates his earring and sketches an eyepatch over his left eye. Attaches the photo. Adding a caption: Arrr! Sends it to Beth. Haley finishes her cereal. A moment later, her phone DINGS. A reply from her sister: Oh, boy. Haley smiles. Pulls on a varsity sweatshirt. Then grabs her keys and dons a pair of sunglasses.</scene_description>
</scene>
<scene>
<stage_direction>EXT. FLORIDA HIGHWAY - DAY</stage_direction>
<scene_description>A Subaru Outback cruises down a divided highway cutting through swampland. Heading South.</scene_description>
</scene>
<scene>
<stage_direction>INT. OUTBACK - DAY</stage_direction>
<scene_description>Haley drives. Windows down. Wind in her hair. The car radio's playing Lana Del Rey's YOUNG AND BEAUTIFUL. She sings along, tapping the steering wheel.</scene_description>
</scene>
<scene>
<stage_direction>EXT. FLORIDA HIGHWAY - DAY</stage_direction>
<scene_description>The vehicle blasts under an overpass sign for: FORT MYERS.</scene_description>
</scene>
<scene>
<stage_direction>EXT. FAMILY HOUSE - AFTERNOON</stage_direction>
<scene_description>Haley's Outback arrives at its destination. Pulling into the driveway of a modest suburban home.</scene_description>
</scene>
<scene>
<stage_direction>INT. FAMILY HOUSE - AFTERNOON</stage_direction>
<scene_description>KEYS in the lock. The front door opens. Haley steps inside.</scene_description>
<character>HALEY</character>
<dialogue>Anybody home?</dialogue>
<scene_description>She's greeted by a big GOLDEN RETRIEVER.</scene_description>
<character>HALEY</character>
<dialogue>Hey, Roscoe. Where's Dad, huh? Where is he?</dialogue>
<scene_description>The dog is jumping all over her. Like he hasn't seen her in ages. Haley grabs him. Brings him in for a big hug.</scene_description>
<character>HALEY</character>
<dialogue>Oh, I know. I've missed you too.</dialogue>
<scene_description>He pulls away. Running to the back door. Seems really desperate. Barking. She lets him out. Wanders into the living room.</scene_description>
<character>HALEY</character>
<dialogue>Dad!</dialogue>
<scene_description>Continues through the house. Searching the different rooms. No sign of him. She heads upstairs.</scene_description>
</scene>
<scene>
<stage_direction>INT. FAMILY HOUSE - MASTER BEDROOM - AFTERNOON</stage_direction>
<scene_description>Haley TAPS on the bedroom door. Pokes her head in. With no one around, she decides to do a little snooping. Rifles through a nearby dresser. Haley finds a box of PHOTOGRAPHS in the bottom drawer. Thumbs through them. Images of Haley and Beth with their mother MAGGIE at different ages. They're an active trio. Hiking. Camping. Running marathons. She settles on an older SNAPSHOT of her mother from when she was in college. Haley gets a little misty-eyed. Blinks away the tears.</scene_description>
</scene>
<scene>
<stage_direction>INT. KITCHEN - AFTERNOON</stage_direction>
<scene_description>Haley pulls open the fridge and grabs a Gatorade. Her phone pressed against her ear. Waiting as it rings. Beth answers.</scene_description>
<character>HALEY</character>
<dialogue>Well I'm at the house, but Dad's not here.</dialogue>
<scene_description>Haley notices some ODDLY PATTERNED CURTAINS that seem to clash with the surrounding decor.</scene_description>
<character>HALEY</character>
<dialogue>And it looks like Katie's been redecorating.</dialogue>
<character>BETH (ON PHONE)</character>
<dialogue>Oh, no. Let me guess. Hippie chic?</dialogue>
<character>HALEY</character>
<parenthetical>(laughs)</parenthetical>
<dialogue>Something like that. How was yoga?</dialogue>
<character>BETH (ON PHONE)</character>
<dialogue>A-mazing.</dialogue>
<scene_description>Haley raids a nearby cupboard. Grabbing an energy bar for the road. Stuffs it in her pocket.</scene_description>
<character>HALEY</character>
<dialogue>So what was this about Dad being at some job site?</dialogue>
<character>BETH (ON PHONE)</character>
<dialogue>Yeah. Katie said the bank hired him to work on some repossessed properties. I'll text you the address.</dialogue>
<scene_description>Haley's attention drifts to that CHARM BRACELET on her left wrist. It holds a special significance. A long silent beat.</scene_description>
<character>BETH (ON PHONE)</character>
<dialogue>You okay?</dialogue>
<character>HALEY</character>
<parenthetical>(eyes welling)</parenthetical>
<dialogue>Just been looking at some pictures of Mom.</dialogue>
<scene_description>Wipes away the tears.</scene_description>
<character>HALEY</character>
<dialogue>Sometimes something'll happen at school, and I'll pick up the phone to call her.</dialogue>
<parenthetical>(then)</parenthetical>
<dialogue>It's not fair.</dialogue>
<character>BETH (ON PHONE)</character>
<dialogue>Oh, honey. I know. Can't believe it's been two years.</dialogue>
<parenthetical>(then)</parenthetical>
<dialogue>But I'm glad Dad's getting back out there.</dialogue>
<character>HALEY</character>
<dialogue>Katie's fine. It's just... she tries too hard.</dialogue>
<character>BETH (ON PHONE)</character>
<dialogue>Haley, no one's going to replace Mom.</dialogue>
<character>HALEY</character>
<dialogue>I know. Don't get me wrong. I'm happy for him.</dialogue>
<character>HALEY</character>
<parenthetical>(looks toward the window)</parenthetical>
<dialogue>If only she had better taste in curtains.</dialogue>
<scene_description>A shared laugh. A solemn beat.</scene_description>
<character>HALEY</character>
<dialogue>I wish you were down here.</dialogue>
<character>BETH (ON PHONE)</character>
<dialogue>So do I.</dialogue>
</scene>
<scene>
<stage_direction>EXT. SOUTHERN FLORIDA - GULF COAST - AFTERNOON</stage_direction>
<scene_description>Haley's Outback is back on the road. Crossing over a series of swampy canals. DARK STORM CLOUDS roll in on the horizon.</scene_description>
</scene>
<scene>
<stage_direction>INT. SUBARU OUTBACK - AFTERNOON</stage_direction>
<scene_description>Haley is at the wheel. Downing the Gatorade as she drives. Nursing her hangover. She checks the address on her phone. Then looks up at the visor. That SNAPSHOT of her mom is now clipped there. Watching over her.</scene_description>
</scene>
<scene>
<stage_direction>EXT. UNFINISHED SUBDIVISION - AFTERNOON</stage_direction>
<scene_description>Haley's Outback passes a weathered sign: CORAL LAKE DEVELOPMENT.</scene_description>
</scene>
<scene>
<stage_direction>INT. SUBARU OUTBACK - AFTERNOON</stage_direction>
<scene_description>As Haley searches the empty subdivision, her phone RINGS. She answers it.</scene_description>
<character>BETH (ON PHONE)</character>
<dialogue>Anything?</dialogue>
<character>HALEY</character>
<dialogue>Not yet. I just got here. This place is creepy. Where is everybody?</dialogue>
<scene_description>She cruises the quiet streets. Passing houses in various stages of construction.</scene_description>
<character>BETH (ON PHONE)</character>
<dialogue>Dad said the developer cut a bunch of corners. Can't sell any of the houses till they're up to code.</dialogue>
<character>HALEY</character>
<dialogue>Well I better find him fast. That Gatorade went right through me. I have to pee so bad.</dialogue>
<character>BETH (ON PHONE)</character>
<dialogue>You know, sis, you don't need to share everything.</dialogue>
<scene_description>Haley passes a cul-de-sac. Brakes. Backing up. A HEAVY-DUTY PICKUP TRUCK with a ladder rack is parked on the street in front of a large house. It's the only vehicle in sight.</scene_description>
<character>HALEY</character>
<dialogue>Hold on. I see his truck.</dialogue>
<parenthetical>(then)</parenthetical>
<dialogue>If he's in one of these houses kicked back watching the game, I am not gonna be happy.</dialogue>
<character>BETH (ON PHONE)</character>
<dialogue>Okay. Just call me when you find him.</dialogue>
<character>HALEY</character>
<dialogue>I will. Right after I pee.</dialogue>
<scene_description>The sisters share a laugh. Haley disconnects.</scene_description>
</scene>
<scene>
<stage_direction>EXT. CUL-DE-SAC - AFTERNOON</stage_direction>
<scene_description>Haley pulls up behind the pickup truck. KELLER CONSTRUCTION is stenciled on the side. She kills the engine. Climbs out. And looks around. A half dozen finished MODEL HOMES line the street. The yards are overgrown. Suburbia gone to seed. A gust of wind carries an empty trash can across the road. It rolls onto the curb. Haley sets the alarm on her car. It CHIRPS. Headlights blink. The wind is picking up. A few drops of rain. She quickly cuts across the lawn.</scene_description>
</scene>
<scene>
<stage_direction>EXT. ABANDONED HOUSE - AFTERNOON</stage_direction>
<scene_description>Haley climbs up onto the front steps. A digital lockbox hangs from the doorknob. She KNOCKS. No answer. Pushes it open.</scene_description>
</scene>
<scene>
<stage_direction>INT. ABANDONED HOUSE - ENTRYWAY - AFTERNOON</stage_direction>
<scene_description>Haley steps inside. Closing the door. A cavernous entryway. The interior is dim and gloomy.</scene_description>
<character>HALEY</character>
<parenthetical>(calling out)</parenthetical>
<dialogue>Hello?</dialogue>
<scene_description>Listens. The house is completely quiet. Just the sound of the WIND blowing outside. She reaches for a light switch. Flips it. Nothing. Her FOOTSTEPS echo on the tile floor.</scene_description>
<character>HALEY</character>
<dialogue>Dad? You in here?</dialogue>
<scene_description>Haley's doing a little "pee dance." Can't hold it any longer. Searches for the nearest bathroom. She finds a windowless half bath just off the entryway. Flicks the light switch. Nothing happens. No choice. Has to leave the door ajar.</scene_description>
</scene>
<scene>
<stage_direction>INT. ENTRYWAY BATHROOM - AFTERNOON</stage_direction>
<scene_description>Haley sits on the toilet in the darkness. She hears a odd muffled SCRAPING sound. Looks out the open door.</scene_description>
<character>HALEY</character>
<dialogue>Hello...?</dialogue>
<scene_description>Another SCRAAAAPE. It's faint. Far off. She quickly finishes.</scene_description>
</scene>
<scene>
<stage_direction>INT. ENTRYWAY - AFTERNOON</stage_direction>
<scene_description>The FLUSH of a toilet. Haley steps out. Buttoning her shorts. Listens. The sound has stopped. Must just be the wind.</scene_description>
</scene>
<scene>
<stage_direction>INT. ABANDONED HOUSE - VARIOUS - AFTERNOON</stage_direction>
<scene_description>Haley wanders through the rooms. Calling for her dad. The house has a sprawling floor plan. She spots hairline cracks in the walls, hinting at some structural damage. The interior has been stripped. Cables hanging from a mount where a television once was.</scene_description>
<character>HALEY</character>
<dialogue>Well at least they took the TV.</dialogue>
</scene>
<scene>
<stage_direction>INT. LIVING ROOM - AFTERNOON</stage_direction>
<scene_description>She steps down into a sunken living room. The carpet has been ripped up. A water-damaged floor. Exposed planks. She looks up at the ceiling. A huge dark water stain.</scene_description>
<character>HALEY</character>
<dialogue>What a mess.</dialogue>
<scene_description>Haley steps up into an equally damaged DINING ROOM. The floor is soaked and warping. Tools lie in the corner where the wood is rotting. Among them a SLEDGEHAMMER and CROWBAR. Swears she can hear VOICES. Far off. The WIND picks up outside. RATTLING the windows. A WHISTLING sound. Haley follows it to the sliding glass door. It's open just a crack.</scene_description>
</scene>
<scene>
<stage_direction>EXT. ABANDONED HOUSE - BACKYARD - AFTERNOON</stage_direction>
<scene_description>Haley steps out onto the patio. A large in-ground swimming pool. Three-quarters full with murky water. Some empty beer cans floating on the surface. Beyond the pool is a LARGE MAN-MADE LAKE. Palm trees are swaying in the wind. Out on the gulf, the sky has turned menacingly dark. A couple of flashes of lightning. The yard is overgrown. Swampy looking. Moss hanging from the foliage.</scene_description>
<character>HALEY</character>
<dialogue>Dad...? Marco...? Polo...? Anybody...?</dialogue>
<scene_description>The rain picks up. A sudden downpour.</scene_description>
</scene>
<scene>
<stage_direction>INT. ABANDONED HOUSE - DINING ROOM - AFTERNOON</stage_direction>
<scene_description>Haley ducks back inside. Slides the door closed and locks it. Hears the rain PELTING the house. She removes her phone. Dials her dad's number. Waits as it connects. The silence is broken by a faint musical RINGTONE. A muffled song. If you were born in the 70's, you might recognize it. A cheesy pop song from the early 80's called ESCAPE. "If you like piña coladas and getting caught in the rain..." She rolls her eyes. Shakes her head.</scene_description>
<character>HALEY</character>
<parenthetical>(mutters to herself)</parenthetical>
<dialogue>Dad, you have got to update that ringtone.</dialogue>
<scene_description>Haley lowers the phone. Follows the sound through the house. Into a massive --</scene_description>
</scene>
<scene>
<stage_direction>INT. KITCHEN - AFTERNOON</stage_direction>
<scene_description>Haley finds her dad's TOOLBOX sitting on the floor. Reaches in and pulls out his RINGING phone. She's getting warmer. The SONG stops as the call goes to voicemail. On her own phone, Haley can hear her dad's RECORDED MESSAGE.</scene_description>
<character>DAD (ON PHONE)</character>
<dialogue>Hey, this is Dave. You've reached Keller Construction. Leave a message at the beep.</dialogue>
<scene_description>BEEP! She hangs up. Checks the display on his phone. Sees a bunch of missed calls. Looks around the kitchen. There's a set of HOUSE BLUEPRINTS spread out on the counter. The cabinet doors beneath the sink are open. A disconnected drain pipe. Haley can hear far-off MUSIC. Inspects beneath the sink. CLASSIC ROCK is filtering up from under the house. Her dad must be down there working.</scene_description>
<character>HALEY</character>
<parenthetical>(to herself)</parenthetical>
<dialogue>Dad, you are not making this easy.</dialogue>
<scene_description>She looks around. Now, how to get down there.</scene_description>
</scene>
<scene>
<stage_direction>INT. ABANDONED HOUSE - VARIOUS - AFTERNOON</stage_direction>
<scene_description>Haley moves back through the rear of the house. Checking the different rooms for an access hatch.</scene_description>
</scene>
<scene>
<stage_direction>INT. UTILITY ROOM - AFTERNOON</stage_direction>
<scene_description>Haley passes through an empty laundry room. In a darkened corner, a gas water heater KICKS on. Scaring the hell out of her. She collects herself. Continues her search.</scene_description>
</scene>
<scene>
<stage_direction>INT. GARAGE - AFTERNOON</stage_direction>
<scene_description>Haley enters a large two-car garage at the back of the house. The garage door has been propped up a few feet. Letting in the elements. Looks like it's been that way for a while. The floor is covered in mud and debris. Haley activates the light on her phone. Panning the cavernous garage. Spots an open storage closet.</scene_description>
</scene>
<scene>
<stage_direction>INT. STORAGE CLOSET - AFTERNOON</stage_direction>
<scene_description>The interior is unfinished. Exposed drywall. There's a hole in the floor. The cover, a loose piece of plywood, sits off to the side. Haley looks down into the hatch opening. It leads into the CRAWL SPACE running beneath the house. She can hear that muffled RADIO. It's definitely coming from down there. Haley aims her phone's light into the darkness. Illuminating the vast crawl space. Dark and dank. The beam of light barely penetrates the gloom. She calls out.</scene_description>
<character>HALEY</character>
<dialogue>Dad? Are you down there?</dialogue>
<scene_description>Haley waits. No answer.</scene_description>
</scene>
<scene>
<stage_direction>INT. CRAWL SPACE - AFTERNOON</stage_direction>
<scene_description>Haley awkwardly lowers herself into the hole and squeezes under. There's just enough clearance for her to squat-crawl without getting dirty. She points the phone's light in front of her. A better look at the underbelly of the house. Takes a deep breath. Heading toward the MUSIC.</scene_description>
<character>HALEY</character>
<parenthetical>(mutters to herself)</parenthetical>
<dialogue>Can't believe I'm doing this.</dialogue>
<scene_description>Haley makes her way through a maze of wooden support posts that carry the load of the house overhead. After twenty feet, the clearance drops some. She hesitates. Calls again.</scene_description>
<character>HALEY</character>
<dialogue>Dad?!</dialogue>
<scene_description>Haley crouches down. Now crawling forward on her hands and knees.</scene_description>
<character>HALEY</character>
<dialogue>Wish I'd worn some jeans.</dialogue>
<scene_description>She worms her way through the tight space. Scanning with her light. The MUSIC is getting louder. She's moving in the right direction. The beam picks out cobwebs. Growing mold. There's a lot of water damage down here. Heavy-duty pipes run along the ceiling of the space. Covered in condensation. Dripping.</scene_description>
<character>HALEY</character>
<parenthetical>(sarcastic, mimicking Beth's voice)</parenthetical>
<dialogue>Hey, sis, do me a favor. Go check on Dad. It'll be fun...</dialogue>
<scene_description>The shadows cast by the plumbing and support posts shift as she moves. The effect is slightly disorienting. And very unsettling. The darkness could be hiding anything. A FLASH of lightning outside filters in through a SERIES OF VENTS along the edge of the foundation. Giving us a brief glimpse of the surroundings. It's a mess down here. Exposed dirt and rock. Hanging insulation. Shredded vapor barrier. The muffled RUMBLE of thunder. As Haley inches along, her sweatshirt snags on something. The tip of a RUSTY NAIL digs into her skin.</scene_description>
<character>HALEY</character>
<dialogue>Ow!</dialogue>
<scene_description>She flinches. Pulls free. Inspects her shoulder. Sees that she's bleeding a little.</scene_description>
<character>HALEY</character>
<dialogue>Shit. Hope my tetanus shot is up to date.</dialogue>
<scene_description>Haley continues through the cramped environment. The beam of the phone's light plays off -- A couple of large, cobwebbed TRAP CAGES. Placed down here a while ago to capture unwanted animal intruders. Possibly raccoons. And then forgotten. The RADIO echoes from the darkness. Haley rounds a support post. Squeezing past some DUCTWORK. She reacts to a strange SCRAPING sound. Just like she heard before up in the bathroom. Only now, it's a lot closer. Coming from somewhere in the shadows behind her. She stops to listen. Looks back over her shoulder. Points her phone's light toward the sound.</scene_description>
<character>HALEY</character>
<dialogue>Dad...?</dialogue>
<scene_description>Her eyes scan the space. Nothing there. Just a maze of supports and twisting pipes. The SCRAPING has stopped. Haley is starting to feel slightly uneasy. She continues her search. Behind her, a LARGE DARK SHAPE slips past! Blocking out the daylight from the open access hatch. For just a moment. Then it's gone. Haley pushes deeper. Oblivious. Her phone's light sweeps the darkness. Dust particles hang in the air. She catches a whiff of something putrid. The smell of rot. Haley clears another support and finally finds the source of the music -- A PORTABLE AM/FM RADIO lying on its side in the damp dirt. Near the water shutoff. No sign of Dad. Then she sees a BLOODY HANDPRINT on a nearby support. A dark BLOOD TRAIL in the dirt. Stretching into the shadows. Haley GASPS, realizing something is terribly wrong.</scene_description>
<character>HALEY</character>
<dialogue>DAD!</dialogue>
<scene_description>Haley is moving faster now. Following the dark streak on the ground. More frantic.</scene_description>
<character>HALEY</character>
<dialogue>Dad, it's Haley. Where are you?</dialogue>
<scene_description>Passing a dropped PIPE WRENCH. A shredded TOOL BELT. Another BLOODY HANDPRINT on a support. She encounters a NETWORK OF TWISTING PIPES. Gets flat on her stomach and squeezes under. There's a little more clearance on this side of the plumbing. She sits up. In the distance, she can make out the DARK OUTLINE of a body lying in the dirt.</scene_description>
<character>HALEY</character>
<dialogue>Oh God, no...</dialogue>
<scene_description>She quickly crawls forward. Her phone casts a light on her DAD. Face down. Motionless. Haley turns him over. His shirt is drenched in blood. She shakes him. Trying to revive him. Tears streaking her cheeks.</scene_description>
<character>HALEY</character>
<dialogue>Dad! Wake up.</dialogue>
<scene_description>He COUGHS and GROANS. Still alive. Haley's overwhelmed with relief. Her dad's eyes open halfway.</scene_description>
<character>DAD</character>
<dialogue>...Maggie?</dialogue>
<character>HALEY</character>
<dialogue>No. It's Haley.</dialogue>
<scene_description>He's listless. Fading in and out. Eyes struggling to focus.</scene_description>
<character>HALEY</character>
<dialogue>It's okay. I'm here. What happened?</dialogue>
<scene_description>She uses the phone's light to get a better look. His left arm is mangled. Covered in puncture marks. Bleeding badly. She inspects the injury.</scene_description>
<character>HALEY</character>
<dialogue>What the hell did this?</dialogue>
<scene_description>His other hand is still clutching his flashlight. It's turned off. Haley gently takes it from him. Frantically checks her phone. No SIGNAL.</scene_description>
<character>HALEY</character>
<dialogue>Shit.</dialogue>
<scene_description>Her dad's mind is slowly clearing. Looks up at his daughter.</scene_description>
<character>DAD</character>
<dialogue>Haley...?</dialogue>
<character>HALEY</character>
<parenthetical>(with a sense of urgency)</parenthetical>
<dialogue>We've got to get you out of here.</dialogue>
<scene_description>A sudden look of panic fills his eyes. Struggling to get the words out.</scene_description>
<character>DAD</character>
<dialogue>No... you shouldn't be down here...</dialogue>
<scene_description>She ignores him, pulling off her sweatshirt. Sets the phone down so she can work faster. Ripping the fabric into strips. She needs to stop the bleeding. Wraps up his arm. Tying it off. Creating a makeshift tourniquet. Her dad COUGHS.</scene_description>
<character>DAD</character>
<parenthetical>(weak)</parenthetical>
<dialogue>Go... you need to go...</dialogue>
<scene_description>She looks at him.</scene_description>
<character>HALEY</character>
<dialogue>Not without you.</dialogue>
<scene_description>Haley glances back in the direction she came. The light of the OPEN ACCESS HATCH is a long way off. Barely visible through all the looming pipes and supports. As she begins to move her dad, he winces. CRIES OUT in pain. Haley sees that his right leg is twisted at an odd angle. She probes the surface of his jeans just below the knee. Another anguished CRY. His leg must be broken. She looks around but can't find anything to splint it. Haley checks her phone again for a signal. Still nothing. Shoves it in her pocket.</scene_description>
<character>HALEY</character>
<dialogue>Dad, this is gonna hurt, but we need to move you.</dialogue>
<scene_description>She reaches under his arms and begins pulling him with all her strength. Her dad grits his teeth. GROANS as Haley drags him back.</scene_description>
<character>HALEY</character>
<dialogue>I know. I'm so sorry.</dialogue>
<scene_description>The pain is too much. He passes out. Haley tries to keep it together and not panic. She's never seen her dad hurt before. He's always been the strong one. She continues. Inching him along. It's painfully slow. Difficult to get enough leverage in this tight space. Haley reaches that low network of pipes. Now what? Somehow needs to get him under. She checks the makeshift bandage on her dad's arm. It's helped slow the bleeding. Makes sure the knots are still tight. As she works, she senses something moving out in the darkness. Hears that familiar SCRRRAAPING... It's getting closer... A low BELLOW. Her heart catching in her throat. Haley turns in the direction of the sound. Fishes the phone from her pocket. Switching on the light. Scanning the shadows. WHAM! The JAWS OF AN ALLIGATOR EXPLODE from the darkness. SNAPPING closed just inches from Haley. She SCREAMS. Scrambling back. SLAMS her head into a low-hanging beam. Dropping the phone. Haley's dazed. Ears RINGING. Struggling to focus. The HUGE REPTILE pulls back into the shadows. A stunned beat. Haley's still in shock. Then -- The creature SMASHES into the pipes again. A nightmarish glimpse of its hideous teeth as it bites down. Another near miss. Haley gets her bearings. Grabs her dad. Desperately pulling him back in the other direction. Away from the attacking REPTILE. The animal THRASHES wildly. Trying to wedge itself through a gap in the pipes. But as hard as it tries, the huge creature can't get any closer. It GROWLS in frustration. Spins away. Giving us a glimpse of its MASSIVE FORM. Haley turns back. Makes a grab for her phone. Reaching it just as -- The reptile's long tail SWEEPS beneath the pipes. Knocking the phone away. Haley hears it CLATTER out into the darkness. As the REPTILE retreats back into the shadows. SCRAPING across the ground as it moves off. She turns her attention to her dad. He's semi-conscious.</scene_description>
<character>HALEY</character>
<dialogue>Dad, stay with me.</dialogue>
<scene_description>She finds his flashlight. Clicks it on. Checks the shadows surrounding them. Worried that thing will find another way in. There's a low-hanging section of the subfloor running perpendicular to the pipes. Must be the sunken living room. A RUSTLE of movement on the other side. She sees the reptile's long body SLITHER past. That low-hanging section is forming a protective barrier. Her dad starts COUGHING. Lips parched. Haley looks around. Finds a leftover piece of her sweatshirt. Holds it under a dripping pipe. Letting the fabric become saturated. She moves it to her dad's lips. Wrings out the water. He gulps it down. Haley does it again. Nursing her dad back. He's slowly coming out of it. Swallows. Looks at his daughter. She gently strokes his face.</scene_description>
<character>HALEY</character>
<dialogue>Are you okay?</dialogue>
<scene_description>Her dad nods weakly.</scene_description>
<character>HALEY</character>
<dialogue>How did that thing get down here?</dialogue>
<scene_description>He's slightly hoarse. Still trying to find his voice.</scene_description>
<character>DAD</character>
<parenthetical>(haltingly)</parenthetical>
<dialogue>I don't know... Must've come in through the garage.</dialogue>
<scene_description>Haley helps her dad sit up. She nervously checks the shadows.</scene_description>
<character>DAD</character>
<dialogue>We should be alright back here. The clearance is too low. It can't get through.</dialogue>
<scene_description>Another COUGH from her dad. He's still clearly in a lot of pain.</scene_description>
<character>DAD</character>
<dialogue>How'd you know I was here?</dialogue>
<character>HALEY</character>
<dialogue>Katie got worried when you didn't answer your phone.</dialogue>
<character>DAD</character>
<parenthetical>(brightens a little)</parenthetical>
<dialogue>She called you?</dialogue>
<character>HALEY</character>
<dialogue>Yeah. Something like that.</dialogue>
<scene_description>Haley remembers the energy bar. Fishes it from her pocket. Peels back the wrapper.</scene_description>
<character>HALEY</character>
<dialogue>Here. Eat this.</dialogue>
<scene_description>He takes a bite.</scene_description>
<character>DAD</character>
<parenthetical>(chewing)</parenthetical>
<dialogue>I came down to inspect the damage. See if I could shore up the kitchen floor. That's when it got me.</dialogue>
<scene_description>Haley takes a closer look at her dad's wounded leg. His jeans encrusted in blood. Denim shredded.</scene_description>
<character>DAD</character>
<dialogue>My leg got twisted up in one of those pipes.</dialogue>
<scene_description>She rips open his pant leg. Gasps. Seeing the exposed bone pushing through the skin.</scene_description>
<character>HALEY</character>
<dialogue>Dad, this is bad. We have to get you to a hospital.</dialogue>
<scene_description>Haley looks toward the open hatch. Knows the reptile is somewhere nearby.</scene_description>
<character>HALEY</character>
<dialogue>I need to find my phone. So we can call for help.</dialogue>
<character>DAD</character>
<dialogue>Haley, no... you can't go out there. It's too dangerous.</dialogue>
<character>HALEY</character>
<dialogue>I can make it.</dialogue>
<character>DAD</character>
<dialogue>Please don't...</dialogue>
<character>HALEY</character>
<dialogue>What do we do then? Just wait here?</dialogue>
<scene_description>Her dad reaches out toward his daughter. She takes his rough, calloused hand. Gives him a reassuring look.</scene_description>
<character>HALEY</character>
<dialogue>I'll be right back.</dialogue>
<scene_description>He's too weak to stop her. Tears in her eyes.</scene_description>
<character>HALEY</character>
<dialogue>Stay here. Okay?</dialogue>
<scene_description>He forces a smile.</scene_description>
<character>DAD</character>
<dialogue>Where am I gonna go?</dialogue>
<scene_description>There's her old dad. Brings a smile to her face. Haley starts back toward those crisscrossing pipes. He watches her go, uneasy. She approaches the area quietly. Staring into the inky black. Sees the faint glow of her phone out in the shadows. Maybe fifteen feet away. Haley switches on her dad's flashlight. Checks the surrounding space. Searching for the reptile. Where the hell did that thing go? Catches a glimpse of it. Lurking beneath the OPEN ACCESS HATCH. Seems far enough away. She clicks off the flashlight and tucks it into the waistband of her shorts.</scene_description>
<character>HALEY</character>
<parenthetical>(quietly to herself)</parenthetical>
<dialogue>You can do this.</dialogue>
<scene_description>Swallows her fear. Carefully squeezes beneath the pipes. Moving out. Haley creeps toward her phone. Following the dim light. Never stops scanning the darkness. Breathing hard. Her heart in her throat. She's halfway there. Can still see the reptile's DARK OUTLINE guarding that OPEN HATCH. Keeps going. Finds her phone. It's slipped beneath a slightly raised DRAIN PIPE. Just out of reach. She pushes her hand under. Through gritted teeth.</scene_description>
<character>HALEY</character>
<dialogue>Come... on...</dialogue>
<scene_description>Haley flattens herself. Reaching deeper. Stretching... Touching it. All the while keeping an eye on the alligator in the distance. She gets hold. Pulling the phone toward her. Yanks it out. Haley switches off the phone's light. Looks back toward the hatch. The animal hasn't moved. The display is covered in mud. She quickly tries to wipe it off. There's a signal. It's weak. But it's there. Holds the phone up toward the subfloor. Getting an extra bar of reception.</scene_description>
<character>HALEY</character>
<dialogue>Yes.</dialogue>
<scene_description>Haley dials 9-1-1. Anxiously waits as it rings...</scene_description>
<character>HALEY</character>
<parenthetical>(softly)</parenthetical>
<dialogue>C'mon. C'mon. Pick up!</dialogue>
<scene_description>Haley looks back toward the garage access hatch. The reptile is gone!</scene_description>
<character>HALEY</character>
<dialogue>Shit.</dialogue>
<scene_description>Her eyes nervously study the shadows. She's trying not to panic. An OPERATOR finally answers. A broken connection.</scene_description>
<character>OPERATOR (ON PHONE)</character>
<dialogue>Hello... 11... your emergency.</dialogue>
<character>HALEY</character>
<parenthetical>(keeping her voice low)</parenthetical>
<dialogue>Help. You need to help us.</dialogue>
<character>OPERATOR (ON PHONE)</character>
<dialogue>I'm sorry, what is your emergency?</dialogue>
<character>HALEY</character>
<dialogue>We're trapped. Under a house. There's an alligator --</dialogue>
<scene_description>A RUSTLE of movement catches Haley's attention. She reacts as -- The REPTILE creeps into view on the other side of that DRAIN PIPE. Just a few feet away. Haley SCREAMS! Frantically crab crawls backwards as -- The animal CLIMBS over the pipe. She flips onto her stomach. Scrambling on hands and knees through the dark space. Trying to get back to her dad. The reptile follows. Closing in fast. Lunges -- Jaws CLAMPING down on her left leg! Teeth tearing into flesh. Haley CRIES out in pain! Tries to kick free. The animal THRASHES. Dragging her back. Huge mouth locked onto her lower leg. It yanks Haley further into the shadows. Swinging her around like a rag doll. SLAMS her into a support post. Knocking the wind out of her.</scene_description>
<character>HALEY</character>
<dialogue>Ugh!</dialogue>
<scene_description>The impact sends the phone flying. Haley's dazed. Bleeding from a gash in her forehead. Her fingernails clawing at the ground. Arms flailing, grasping for a handhold. The reptile pulls. Twisting its head. Hauling her back through the darkness. It's ferocious. Brutal. Haley has to act fast. Catches one of the vertical supports. She hangs on for dear life. Arms wrapped around the post. Fighting each horrible pull. A tug of war. Haley SCREAMS in pain. Her hands start slipping off the support post. The reptile thrashing wildly. Trying to break her grip. Haley kicks it with her free leg. Jamming the heel of her sneaker into its snout. Again and again. Trying to get loose.</scene_description>
<character>HALEY</character>
<dialogue>LET... GO!</dialogue>
<scene_description>Finds the animal's eye. Makes contact with a gouging kick. The animal flinches. Losing its grip. Just enough for Haley to pull free. She crawls like hell. Adrenaline pumping. Clawing her way to safety. The beast recovers. Takes off after her. Haley scrambles her way through the supports. Trying to shake it. The lower half of her left leg punctured and bleeding. She looks back. Wishes she hadn't. The REPTILE is ten feet away and closing... It's almost on her. Haley spots one of those old cobwebbed TRAP CAGES. Instinctively grabs the three-foot metal cage. Dragging it into the reptile's path. Positioning it between her and the attacking animal. The reptile CRASHES into the side of the cage. With so much force that it dents the wire frame. Shoving Haley back a few feet. The impact vibrating up her arms. Kicking up a cloud of dust. Haley coughs. Clinging to the metal cage. She can hear her dad shouting her name in the distance.</scene_description>
<character>DAD (O.S.)</character>
<dialogue>HALEY!</dialogue>
<scene_description>No time to respond. The reptile rears back. HITS it again. Driving the cage and Haley back another couple of feet. But Haley hangs on. Using all her strength to keep the cage between her and the raging animal. The reptile SNARLS in frustration. Lashing against the metal. Jaws clamping onto the wire mesh. It backs up with the edge of the cage in its mouth. Dragging Haley with it. The cage snags on a support post. The reptile lets go. Trying to move around it. But Haley keeps the cage between them. It retreats a few feet. Gets a running start. Haley quickly spins the cage around. So the opening is pointed toward the charging animal. The alligator SMASHES into the front of the cage. Its snout punching through the trap's gate. Its narrow head now wedged inside. The reptile is wearing the cage like a wire muzzle. This only seems to make it madder. The animal THRASHES around wildly. Swinging its huge head side-to-side. Knocking the cage into the surrounding supports. Trying to work it off. Giving Haley a chance to scramble away. The wire cage RATTLES as the reptile tears at it from inside. Gnashing its teeth. As Haley flees, she becomes entangled in a mass of electrical wires hanging down from the ceiling of the crawl space. The reptile finally manages to get free. Flinging the cage aside. The barrier between them gone. Fuck! She's exposed. Haley tugs at the twisting wires. Ripping them free from the staples holding them in place overhead. A low menacing BELLOW. The reptile's advancing. Slows down... Sees that she's stuck. Like a fly trapped in a spider web.</scene_description>
<character>HALEY</character>
<dialogue>No!</dialogue>
<scene_description>Haley desperately worms her way through. Using every ounce of her strength. Gets loose. Crawling out the other side. The reptile follows. Tangling itself up in the same mess of hanging wires. Slowing the animal's progress. Haley can hear it STRUGGLING behind her. She kicks with her good leg. Pushing herself forward. Ignoring the pain. The reptile rips free from the wires. SCRAPING along the ground. Crawling after her. It lunges. Jaws SNAPPING down. Just missing her. The reptile makes another snatch at Haley. Overshoots. CRASHING into a support. Haley flattens herself, squeezing under a gap near the foundation. The reptile tries to follow. But the clearance is too low. It can't open its mouth enough to grab her. Haley rolls out of the way. Taking shelter behind a couple of four inch pipes running horizontal to the ground. A small pocket of space here. The pipes on one side of her. The foundation wall on the other. Haley catches her breath. Collapsing back against the concrete. Exhausted. In intense pain. Sees that MONSTROUS BEAST pacing along on the other side of the pipes. Its tail SCRRRAAPING the ground. The REPTILE turns. Its eye is right there! Looking in at her through the pipes. Another low menacing BELLOW. It suddenly spins away. Haley's attention remains fixed on the reptile as it slinks back into the darkness. The SCRRRRAAAAPING sound fades off. Haley tries to get her breathing under control. Her whole body trembling. Happy to be alive. Her dad anxiously calls from the shadows. His VOICE far off.</scene_description>
<character>DAD (O.S.)</character>
<dialogue>Haley, what's happening!?</dialogue>
<character>HALEY</character>
<parenthetical>(yelling back, breathless)</parenthetical>
<dialogue>Dad. I'm okay. Stay there.</dialogue>
<scene_description>She removes the flashlight from her waistband. Switches it on. Scanning it over her leg. Inspecting the damage. It's riddled with puncture marks. Blood running down her calf.</scene_description>
<character>HALEY</character>
<dialogue>Shit.</dialogue>
<scene_description>She applies pressure to the injury. Searches for something to stop the bleeding. Sets the flashlight down. Rips off pieces of VAPOR BARRIER. Haley grits her teeth. Wrapping the meshed material around her wounded leg. CRYING OUT as she ties it off. It's like doing surgery in a closet. Haley inspects her makeshift tourniquet. The bleeding has stopped. For now. She takes a moment to gather her strength. The pain visible on her face. Picks up the flashlight. Examines the narrow space. Listens... Just the sound of that far-off RADIO and the STORM outside. WIND and RAIN lashing the house.</scene_description>
<character>HALEY</character>
<dialogue>Dad...?</dialogue>
<scene_description>She sees a chalky water line halfway up the foundation wall. Indicating that at one point this crawl space was flooded. And a reminder that it could happen again.</scene_description>
<character>DAD (O.S.)</character>
<dialogue>Yeah. I'm here.</dialogue>
<scene_description>Up ahead. In the darkness. A sliver of DAYLIGHT.</scene_description>
<character>HALEY</character>
<dialogue>Hold on. I think I found something.</dialogue>
<scene_description>Haley crawls toward it. Dragging her damaged leg. Creeping along the foundation. Finds one of those VENTS set into the concrete. Narrow slats allowing for air flow. But not much else. The opening is tight, but if she can get the cover off, maybe she can squeeze through.</scene_description>
<character>HALEY</character>
<dialogue>Dad, there's a vent. I'm gonna see if I can get out.</dialogue>
<scene_description>Haley kicks at the vent cover with her good leg. Again and again.</scene_description>
<character>HALEY</character>
<dialogue>C'mon... c'mon...</dialogue>
<scene_description>Gives it a final frustrated kick. The cover's not budging. It's bolted into the concrete foundation from outside.</scene_description>
<character>HALEY</character>
<dialogue>Dammit!</dialogue>
<scene_description>She looks out through the vent's narrow slats. HALEY'S POV An air conditioning unit is partially obscuring her view of the street and a neighboring house. BACK TO SCENE Haley looks around. Clicks on the flashlight again. Panning the crawl space. Always checking to make sure she's safe.</scene_description>
<character>DAD (O.S.)</character>
<dialogue>Haley, where are you?</dialogue>
<character>HALEY</character>
<dialogue>I don't know. I can see an air conditioning unit. And some of the street.</dialogue>
<character>DAD (O.S.)</character>
<dialogue>That's good. It sounds like you're near the front of the house. There's another access hatch in the entryway closet.</dialogue>
<scene_description>A silent beat. Haley studies the floorboards overhead.</scene_description>
<character>HALEY</character>
<dialogue>Okay. So how do I get there?</dialogue>
<scene_description>HER DAD -- Lying there in the darkness. Feeling helpless. Tethered to this spot.</scene_description>
<character>DAD</character>
<dialogue>You need to crawl along the foundation. Until you reach the wet wall.</dialogue>
<character>HALEY (O.S.)</character>
<dialogue>Wet wall?</dialogue>
<character>DAD</character>
<dialogue>Yeah. Where all the pipes go up into the house. Follow it. That runs along the entryway.</dialogue>
<scene_description>Her dad hears rainwater filling the pipes. Rushing into nearby storm drains. Seems distracted by all the water DRIPPING down through the subfloor. Feels it collecting around him. This section of the crawl space is starting to flood.</scene_description>
<character>HALEY (O.S.)</character>
<dialogue>Dad, I don't know where the alligator went. Can you see it?</dialogue>
<scene_description>Her dad hears MOVEMENT in the distance. Squints into the gloom. Sees a FAINT OUTLINE of the reptile slinking beneath the garage.</scene_description>
<character>DAD</character>
<dialogue>It's over near the open hatch.</dialogue>
<scene_description>Realizes he needs to get a better view of what's going on. In the shadows, on the other side of those low twisting pipes, he can see his shredded TOOL BELT. HALEY -- Studies the darkness one more time just to make sure. Clicks off the flashlight.</scene_description>
<character>HALEY</character>
<dialogue>Okay.</dialogue>
<parenthetical>(under her breath)</parenthetical>
<dialogue>Here goes.</dialogue>
<scene_description>Haley begins moving along the foundation wall. Feeling her way through the darkness. Using her good leg to push her along.</scene_description>
</scene>
<scene>
<stage_direction>EXT. ABANDONED HOUSE - AFTERNOON</stage_direction>
<scene_description>The storm is really lashing at the house. Downspouts have backed up. Water pooling on the lawn.</scene_description>
</scene>
<scene>
<stage_direction>INT. ABANDONED HOUSE - LIVING ROOM - AFTERNOON</stage_direction>
<scene_description>Inside the house, the roof is leaking badly. Water trickles down onto the subfloor and into the crawl space below.</scene_description>
</scene>
<scene>
<stage_direction>INT. CRAWL SPACE - AFTERNOON</stage_direction>
<scene_description>Her dad hears the water coming in as he slowly pulls himself across the wet ground. Focused on reaching that network of pipes. The portable RADIO continues playing out in the darkness. The CLASSIC ROCK is interrupted by a series of emergency service BLEETS. Then a MONOTONE VOICE.</scene_description>
<character>RECORDED VOICE (ON RADIO)</character>
<dialogue>The National Weather Service has issued a flash flood warning for parts of Southern Florida including all of Lee, Monroe, and Collier Counties. Residents are asked to shelter in place and avoid low lying areas.</dialogue>
<character>RECORDED VOICE (ON RADIO)</character>
<dialogue>Excessive runoff from heavy rainfall is expected to cause major flooding.</dialogue>
<character>DAD</character>
<parenthetical>(muttering to himself)</parenthetical>
<dialogue>Yeah. No shit.</dialogue>
<scene_description>He continues working himself through the cramped space. Toward his TOOL BELT. HALEY -- Sneaks along the front of the house. Keeps the flashlight off. Doesn't want to give away her position. She studies the pipes. They all seem to be converging at the same point overhead. That must be the wet wall. Haley moves away from the foundation. Rolling onto her back. Looking up at the subfloor. Tries to orientate herself. Searching for that second access hatch. She suddenly spots it. Cut into the floorboards overhead. There's a DARK CLUSTER hanging near the front edge of the hatch. Haley brushes it away. Unknowingly waking -- A large nest of HARVESTMEN SPIDERS that have made this damp crawl space their home. Hundreds of LONG-LEGGED SPIDERS drop from overhead. Falling into Haley's hair. Onto her face. She's FREAKING OUT. Writhing wildly. Trying to shake them off. Fighting the urge to scream. Has to keep her mouth closed. They crawl all over her... Scattering off into the shadows. Haley desperately swipes away the stragglers. Collects herself. A shudder of disgust.</scene_description>
<character>HALEY</character>
<parenthetical>(mutters to herself)</parenthetical>
<dialogue>I fucking hate spiders.</dialogue>
<scene_description>She nervously glances back over her shoulder. Checking for the reptile. Then hits up against the hatch. Dust and dirt filters down from above with each impact. But the cover won't budge. Haley grits her teeth. Quietly shoulders it up. Pushing with all her might.</scene_description>
</scene>
<scene>
<stage_direction>INT. ENTRYWAY CLOSET - CONTINUOUS</stage_direction>
<scene_description>Boxes of unused ceramic tiles are piled on top of the hatch. They shift slightly as Haley pushes up from below.</scene_description>
</scene>
<scene>
<stage_direction>INT. CRAWL SPACE - CONTINUOUS</stage_direction>
<scene_description>Haley repositions herself to get more leverage. Straining. Pushing with everything she's got. Inching the cover up. The hatch door rises a few inches. Then catches. Something's preventing it from opening any further. Haley, struggling to keep it up, works her fingers through the gap. CLOSE ON HALEY'S FINGERS Feeling along the edge. Finding a metal hasp. A SQUARE PADLOCK holding it in place. ON HALEY Pulling her hand back. A defeated breath. She lets the hatch drop. Slumps back against a wooden support. Their chance of escape slipping away. A long, quiet beat. Thinking of her dad. Shakes it off.</scene_description>
<character>HALEY</character>
<dialogue>Come on, Haley. Keep it together.</dialogue>
<parenthetical>(then, calling out)</parenthetical>
<dialogue>Dad...?!</dialogue>
<scene_description>HER DAD -- Is preoccupied. Lying on his side. Stretching his good arm under the intersecting pipes. Trying to reach his TOOL BELT on the other side. Every move for him is painful.</scene_description>
<character>DAD</character>
<parenthetical>(through clenched teeth)</parenthetical>
<dialogue>Yeah, honey. I'm here.</dialogue>
<character>HALEY (O.S.)</character>
<dialogue>Dad? I can't get it open. It's locked. What should I do?</dialogue>
<scene_description>He tries to hide his disappointment.</scene_description>
<character>DAD</character>
<dialogue>That's okay. Come on back. We'll figure something out.</dialogue>
<scene_description>HALEY -- A beat. She's thinking. A FLASH of lightning spills in through the foundation vents. Giving Haley an idea.</scene_description>
<character>HALEY</character>
<dialogue>I'm gonna try prying off another vent cover. Maybe one of them is loose.</dialogue>
<scene_description>HER DAD -- Looks toward the open access hatch for that reptile.</scene_description>
<character>DAD</character>
<dialogue>No. Haley... don't. They're bolted on.</dialogue>
<scene_description>His voice is drowned out by the RUMBLE of thunder. HALEY -- Isn't giving up. She cautiously makes her way through the darkness toward the edge of the house. Searching for the nearest vent. She stops. Listens. Hears a faint BUZZING. Off to her left. Her PHONE. It's VIBRATING somewhere in the shadows. Haley shifts directions. Moving quietly. Trying to follow the sound. HER DAD -- Successfully snags the tool belt. Pulls it close. We now see what he was after. He retrieves a HEADLAMP from one of the pockets. A long, low SCRRRRAAAPE... The reptile is on the move again. Her dad quickly clicks on the headlamp. Turns the beam toward the sound. Catching a glimpse of the REPTILE as it slips past. Moving toward his daughter.</scene_description>
<character>DAD</character>
<parenthetical>(with sudden urgency)</parenthetical>
<dialogue>Haley!</dialogue>
<scene_description>HALEY -- Finds herself in an area sectioned off by large pieces of ROTTING INSULATION. They hang down from the ceiling like Spanish moss. Obscuring her view. She's busy searching the ground around her. Puddles everywhere.</scene_description>
<character>HALEY</character>
<dialogue>Dad, hold on. I can hear my phone.</dialogue>
<character>DAD (O.S.)</character>
<dialogue>Haley, it's coming your way!</dialogue>
<scene_description>With this news, Haley picks up the pace. Feeling in the darkness... Finally finds her phone lying face down in the mud. Hears the REPTILE coming. SPLASHING and SCRAPING. Getting closer... Haley stuffs the phone in her pocket and crawls. A large piece of hanging insulation shifts as -- The reptile pushes beneath it. Stops. Twisting its huge head. Studying the darkness. Haley is gone. ON HALEY -- Crawling for her life. The hanging insulation giving her cover. She slips on the muddy surface. SLAMMING her damaged leg into a support. Ugh! Hurts like hell. Haley recovers. Keeps going. Taking shelter behind another large post. Hears the RUSTLE of movement. More hanging insulation shifts nearby. She holds her breath as -- The REPTILE stalks past. On the prowl. It lingers a moment. Then keeps going. The SCRRRRAAAPING sound moves off. It's lost her in the darkness. Haley tries to remain silent. A long, quiet beat. Then -- The phone into her pocket suddenly BUZZES with a message. The REPTILE whips around. Honing in on the sound. And on Haley. Shit! She takes off. Scrambling furiously. Survival instinct kicking in. Ignoring her wounded leg. Heart pounding out of her chest. Making her way toward a LONG, RECTANGULAR METAL DUCT running along the top of the crawl space. Less than a foot of clearance beneath it. Haley crawls desperately. Moving through standing water. Sensing the REPTILE closing in right behind her. She dives for the duct. It's a tight fit. Manages to squeeze most of her body under -- But her RIGHT SNEAKER snags on a metal edge. Haley quickly works to unhook it. Can't get it loose. Yanks off her shoe. Pulling her bare foot under. Emerging on the other side -- Into a narrow passageway between the duct and the house's foundation. Haley falls back against the concrete. Catches her breath. Shaking. She checks her pocket for the phone. It's not there! Must have slipped out during her mad dash. Haley looks back under. Sees the phone lying just on the other side of the duct. As she reaches for it -- A huge claw comes CRASHING down! CRUSHING the phone into the mud. Shattering the display.</scene_description>
<character>HALEY</character>
<parenthetical>(lost)</parenthetical>
<dialogue>No...</dialogue>
<scene_description>Haley pulls back. Devastated. Hugging her knees to her chest. Her last chance to call for help now gone. She can hear the reptile furiously CLAWING on the other side of the duct. Ripping at the vapor barrier. It lunges into the gap. Trying to burrow its way under. Not enough room. The alligator backs out. Giving Haley a chance to catch her breath. Now what? An anxious beat -- The REPTILE SLAMS its weight into the metal surface from the other side. The loud THUMP shakes the duct. Causing Haley to jump. Another HIT. The sound is deafening. And another. The bolts mounting the duct to the joists overhead SNAP. One after another. A section of the ductwork breaks free. SPLASHING down into the muddy water. The REPTILE continues POUNDING against the surface. The whole structure now sliding. The space on Haley's side is slowly collapsing.</scene_description>
<character>DAD (O.S.)</character>
<dialogue>Haley, are you okay?</dialogue>
<scene_description>A panicked Haley braces herself. Pushing back against the duct with her good leg. Trying to hold it in place.</scene_description>
<character>HALEY</character>
<parenthetical>(under her breath, through gritted teeth)</parenthetical>
<dialogue>A little busy... right now...</dialogue>
<scene_description>Feeling each impact from the powerful animal. The POUNDING stops. A tense beat. Her worried dad continues calling.</scene_description>
<character>HALEY</character>
<parenthetical>(yelling back)</parenthetical>
<dialogue>Dad, I'm alright! Hold on.</dialogue>
<scene_description>The silence is suddenly broken by that dreaded wet SCRRRRAAAPING on the other side. The REPTILE is on the move again. SCRATCHING against the duct as it crawls. Where's it going? Haley clicks on the flashlight. Looks down the length of the passageway. Sees that, after twenty feet, the duct ends. Turning up into the house. Just then the BEAST rounds the corner. Eyes reflecting red in the beam of her flashlight. Blocking that end of the passageway. Oh, shit! Haley turns and frantically heads in the opposite direction. Hears SCRATCHING and SPLASHING behind her as the reptile slowly pushes itself between the duct and the foundation wall. It's tail BANGING against the metal as it moves. Up ahead, the duct bends to the right. Haley scrambles around the corner -- Reaching a DEAD END. The opening is sealed off with plywood. She's cornered. Looks back. Sees the alligator closing in. But Haley's not ready to give up. Kicks wildly at the flimsy plywood. Manages to knock one side loose. Haley squeezes out. Wedging the plywood back into place just as -- The REPTILE thrusts its snout sideways through the gap. Getting it caught between the bending duct and the edge of the plywood. Haley pushes with all her weight against the plywood. The animal is trapped. Pulling back. Trying to escape. Its broad snout just inches from Haley. SNARLING and HISSING. Struggling to get free. Haley can't hold it much longer. Sees a NARROW OPENING in the foundation. Several yards away. She lets up on the plywood just as -- The animal gives a hard backward yank. Slipping back behind the duct. Haley dives for that narrow opening. Rolling onto her side. Presses herself through the tight entrance -- Into a concrete CUBBYHOLE. A recessed portion of the crawl space. The size of a walk-in closet. Haley backs up. The ground is very muddy and wet back here. She finds a piece of rebar lying on the muck. Grabs it for protection. Gripping it tight. Clicks off the flashlight. THE REPTILE -- CRASHES through the plywood. Pulling itself free from the passageway. Prowling the space. Hunting for Haley. HALEY -- Can hear the animal SNIFFING close by. Raspy BREATHING. Then a long, low guttural GROWL. The reptile looms outside the narrow entrance. Staring in. Knows she's there. Just out of reach. Haley's fed up. Thrusts the end of the rebar out the opening. JAMMING it into the reptile's snout. The creature retreats slightly.</scene_description>
<character>HALEY</character>
<dialogue>Go away! Get out of here!</dialogue>
<scene_description>Haley winces in pain. Inspects her damaged leg. She's bleeding through the tourniquet. Redresses it. CRIES OUT as she tightens the knots. HER DAD -- Uses the headlamp to look around. Anxiously waiting for word from his daughter. Its weak beam of light cuts through the darkness. Revealing all the water dripping off the pipes. Leaking down through the subfloor. It's a swampy mess. Much worse than he thought. Sees more rainwater spilling in through those side vents. Collecting into large pools of standing water. Realizes he needs to do something. Spots a RUBBER HOSE snaking along the ground beneath the SUNKEN LIVING ROOM. Some sort of discharge line. Pulls himself forward with his good arm. Moving in small increments. Reaches his shoulder under that low-hanging section of subfloor. Straining. Getting close enough to grab the hose. And reel it in. The end is attached to a portable SUMP PUMP. Left down here from previous flooding. This could buy them some time. He pushes it into the rising water. Flips the switch from AUTOMATIC to MANUAL. It doesn't start. Frustrated, he flips the switch back and forth. Still nothing. Lifts the pump's housing from the water. Opens a compartment at the back. The battery pack is empty. Her dad looks back toward that radio CHATTERING in the darkness. Pulls himself toward it. The slurry of muck and water is making it easier for him to move. HALEY -- Hears the reptile creeping back toward the narrow opening. She clicks on the flashlight. Points it directly at the beast. Shining the blinding beam into its eyes. The alligator GROWLS irritated. Backing away. Sensitive to the bright light.</scene_description>
<character>HALEY</character>
<dialogue>That's right. Get your slimy ass out of here!</dialogue>
<scene_description>The reptile keeps backing up. Moving into the shadows. Out of the beam's reach. Haley detects a RUSTLE of movement behind her. Looks over her shoulder. A RABBIT hops into view. Just a few feet away. A Cottontail. Nose wiggling wildly. It's made this corner of the crawl space its home. Haley freezes. Not wanting to scare it. The rabbit pauses. Motionless. Its black eyes staring back at her.</scene_description>
<character>HALEY</character>
<parenthetical>(whispers)</parenthetical>
<dialogue>Don't worry. I'm not gonna hurt you.</dialogue>
<scene_description>The frightened animal suddenly darts off. Scurrying for the entrance.</scene_description>
<character>HALEY</character>
<dialogue>No...</dialogue>
<scene_description>Haley makes a desperate grab for it.</scene_description>
<character>HALEY</character>
<dialogue>...don't...</dialogue>
<scene_description>But she's too late. It slips through her hands. Fleeing out the narrow opening. Into the open crawl space. The reptile STRIKES. Lunging from the shadows. It's fast and vicious. Huge jaws SNAPPING down on the unsuspecting rabbit. Teeth chomping and grinding. It's over in seconds. The alligator turns toward Haley. Eyes reflecting a deep red in the low light. Finishes chewing. A bloody grin. It's taunting her. Haley YELLS in frustration.</scene_description>
<character>HALEY</character>
<dialogue>FUCK YOU!</dialogue>
<scene_description>The reptile lumbers off. She backs up. Her rage turning to despair. Lies there a moment. Tears welling. A pile of fallen insulation near the rear of the cubbyhole shifts slightly. Haley cautiously pushes it aside. Revealing -- Two YOUNG BUNNIES. A few weeks old. Furred. Crawling over one another. Eyes open. Helpless. And now orphaned. They're wet, cold, and shaking. Water is spilling in from somewhere along the concrete wall. Haley follows it back to its source. Finds a SIX-INCH CUT-OUT in the foundation. An opening just big enough to reach her arm out. The meshed screen on the other side has been chewed through. Haley looks back at the bunnies.</scene_description>
<character>HALEY</character>
<dialogue>So that's how your mommy got in here.</dialogue>
<scene_description>She considers her options. Can't push them out there. They'll drown. And she can't leave them here. Haley quickly packs the hole with insulation. Trying to stop the water from coming in. Slows it to a trickle. Then she scoops up the young bunnies. Wraps them in her tank top. Holding them close to her chest. Moves toward that opening. She CLICKS on the flashlight. Looks out into the empty crawl space. The alligator appears to have moved off. Haley turns off the flashlight. And, armed with that piece of rebar, carefully creeps out. She's cradling the bunnies. Trying to move quietly. Eyes searching for the reptile. HER DAD -- Is now lying near those twisting pipes. Using his shredded tool belt in an attempt to snag -- The PORTABLE RADIO. It's floating in the rising water on the other side of the plumbing. Just a few feet away. He tosses the belt. Trying to hook it. But misses.</scene_description>
<character>DAD</character>
<dialogue>Come on...</dialogue>
<scene_description>Tries again. Closer -- But another miss. A final attempt. This time the buckle manages to catch onto the antenna. He carefully pulls the radio toward him. Removes the batteries. And begins the slow crawl back to the sump pump. Using the floor joists to pull himself along. Occasionally stopping when the pain is too much. This simple task is exhausting. He reaches the pump, lifts the housing from the water, and inserts the batteries. Her dad sets the base back down. Submerging it. Flips the switch. A hesitant beat... The pump CHOKES to life. He can hear water GURGLING out through the discharge line. Shines his headlamp along the hose snaking toward the foundation. Hopefully draining out away from the house. The beam of light flutters slightly. Close to dying. Her dad shakes it back to life. HALEY -- Notices that the MUSIC from the radio has stopped. An eerie silence. Can't call to her dad. Too worried she'll give away her location to that reptile. She hugs the side of the foundation. Dragging her injured leg. With one arm holding the squirming bunnies. Awkwardly inches her way through the darkness back toward that locked entryway hatch. This time she easily finds it. Shoulders the cover up the few inches the padlock will allow. Using the rebar to prop it open. Haley gently pushes the ORPHANED BUNNIES through the gap. One of them turns. Trying to make its way back through. Looking for its mother. She tenderly nudges it out. A sad smile.</scene_description>
<character>HALEY</character>
<dialogue>No, honey. Stay there. You'll be safe.</dialogue>
<scene_description>Haley carefully removes the rebar. Letting the hatch cover gently drop back into place. Exhales. A small victory.</scene_description>
<character>HALEY (CONT'D</character>
<parenthetical>(mutters to herself)</parenthetical>
<dialogue>Now, how the hell are we getting out of here?</dialogue>
<scene_description>From her position, she spots the REPTILE through the maze of supports. It's lurking beneath the garage hatch. Lying in a few inches of muddy water. Haley can hear more water DRIPPING all around her.</scene_description>
<character>HALEY</character>
<parenthetical>(calls into the darkness)</parenthetical>
<dialogue>Dad, this crawl space is flooding. What are we gonna do?</dialogue>
<character>DAD (O.S.)</character>
<dialogue>I don't know. But I got the sump pump working. It should buy us a little time.</dialogue>
<character>HALEY</character>
<dialogue>Okay. I'm coming back. Keep an eye on that thing for me.</dialogue>
<character>DAD (O.S.)</character>
<dialogue>I will. Be careful.</dialogue>
<scene_description>She starts crawling toward his VOICE.</scene_description>
</scene>
<scene>
<stage_direction>EXT. CUL-DE-SAC - LATE AFTERNOON</stage_direction>
<scene_description>A SECURITY VEHICLE slowly cruises down the flooded street on patrol. It circles back. And parks facing her dad's pickup truck.</scene_description>
</scene>
<scene>
<stage_direction>INT. SECURITY VEHICLE - LATE AFTERNOON</stage_direction>
<scene_description>BOBBY (23), a good-looking kid. Mustache unable to hide his boyish face. The chatter of the car radio keeps him company.</scene_description>
<character>RADIO ANNOUNCER</character>
<dialogue>...due to heavy rain and gale-force winds, authorities have asked that all non-emergency vehicles stay off the roads...</dialogue>
<scene_description>He turns the volume down. Sits, looking out his windshield at the TRUCK and HALEY'S OUTBACK. Wipers THUMPING. Bobby checks a clipboard on the passenger seat. Writing down some notes. Pulls up the hood on his rain jacket, opens the door, and steps out into the pouring rain.</scene_description>
</scene>
<scene>
<stage_direction>INT. CRAWL SPACE - LATE AFTERNOON</stage_direction>
<scene_description>Haley hears the distinct THUMP of a car door. Looks toward the front of the house. Unsure if she actually heard it. She changes directions. Quickly works her way through the cramped space. Swatting away cobwebs. Drops the rebar so she can crawl faster. Reaching a VENT set into the front of the foundation. She leans close. Peering out through the narrow slats. HALEY'S POV A partially obscured view of the front yard. She can see her dad's pickup truck. Lit by the headlights of the security vehicle. Bobby's outside walking through the heavy rain toward the truck. BACK TO SCENE Haley can't believe it.</scene_description>
<character>HALEY</character>
<parenthetical>(yells)</parenthetical>
</scene>
<scene>
<stage_direction>EXT. CUL-DE-SAC - LATE AFTERNOON</stage_direction>
<scene_description>Bobby uses his flashlight to look into the pickup's gloomy interior. Then turns toward Haley's Outback.</scene_description>
</scene>
<scene>
<stage_direction>INT. CRAWL SPACE - LATE AFTERNOON</stage_direction>
<scene_description>Haley glances over her shoulder. Shouting to her dad.</scene_description>
<character>HALEY</character>
<dialogue>Dad, there's someone outside!</dialogue>
<scene_description>She shifts her attention back to the vent. Continues SCREAMING.</scene_description>
<character>HALEY</character>
<dialogue>Help! HELP!</dialogue>
<scene_description>HITTING her fist against the metal cover. Trying to get Bobby's attention.</scene_description>
</scene>
<scene>
<stage_direction>EXT. CUL-DE-SAC - LATE AFTERNOON</stage_direction>
<scene_description>But the POUNDING RAIN drowns out her cries. Bobby scans the handful of empty houses. Debates whether it's worth calling in a couple of abandoned vehicles.</scene_description>
</scene>
<scene>
<stage_direction>INT. CRAWL SPACE - LATE AFTERNOON</stage_direction>
<scene_description>Haley has her face up against the vent. Water's trickling in through the louvers.</scene_description>
<character>PLEASE!</character>
<dialogue>YOU NEED TO HELP US!</dialogue>
<scene_description>On the other side of the crawl space, her dad has joined in. Yelling at the top of his lungs.</scene_description>
<character>DAD (O.S.)</character>
<dialogue>HELP!</dialogue>
<character>DOWN HERE.</character>
<dialogue>TRAPPED!</dialogue>
<character>HEY!</character>
<dialogue>It doesn't seem to be working. Haley takes a different tact. Grabbing the flashlight.</dialogue>
<dialogue>Shines it at the vent.</dialogue>
<dialogue>Panning the beam over the slats. Clicking it on and off.</dialogue>
</scene>
<scene>
<stage_direction>EXT. CUL-DE-SAC - LATE AFTERNOON</stage_direction>
<scene_description>At the base of the foundation. The other side of that VENT. A flicker of light. Barely visible through the rain. Bobby doesn't see it. He's already headed back toward his vehicle.</scene_description>
</scene>
<scene>
<stage_direction>INT. CRAWL SPACE - LATE AFTERNOON</stage_direction>
<scene_description>Haley realizes that he's leaving.</scene_description>
<character>HEY!</character>
<dialogue>Desperate to get his attention.</dialogue>
<character>WAIT! DON'T GO!</character>
<dialogue>Hope draining away.</dialogue>
<scene_description>Then she sees her Outback. Haley reaches into her pocket. Pulls out her car keys. Fumbling for the button. Pointing the keychain toward the vent.</scene_description>
</scene>
<scene>
<stage_direction>EXT. SECURITY VEHICLE - LATE AFTERNOON</stage_direction>
<scene_description>Bobby is climbing behind the wheel when -- The Outback's alarm KICKS ON. He reacts. Turning toward the car. Its alarm WAILING. Headlights flashing. Bobby cautiously steps from his vehicle. His hand on his belt. Is somebody messing with him? He shifts his attention to the nearby house. Decides he better check it out.</scene_description>
</scene>
<scene>
<stage_direction>INT. CRAWL SPACE - LATE AFTERNOON</stage_direction>
<scene_description>Haley watches as Bobby crosses the lawn toward the front door.</scene_description>
<character>HALEY</character>
<dialogue>Come on... yes.</dialogue>
<scene_description>Haley BLEEPS off the car alarm to hear better.</scene_description>
<character>HALEY</character>
<dialogue>Dad, he's coming in!</dialogue>
<scene_description>Muffled FOOTSTEPS. The CREAK of floorboards. A muted "hello?" Haley heads toward the sounds. Trying to get closer. POUNDING up on the floorboards.</scene_description>
<character>HELP!</character>
<dialogue>DOWN HERE!</dialogue>
</scene>
<scene>
<stage_direction>INT. ABANDONED HOUSE - ENTRYWAY - LATE AFTERNOON</stage_direction>
<scene_description>Bobby stands in the entryway. Panning his flashlight over the darkened interior. Listens... Just the sound of the HEAVY RAIN.</scene_description>
<character>BOBBY</character>
<dialogue>Anybody home?</dialogue>
<scene_description>A FLASH of lightning illuminates the inside of the house.</scene_description>
</scene>
<scene>
<stage_direction>INT. CRAWL SPACE - LATE AFTERNOON</stage_direction>
<scene_description>Haley keeps moving. SLAMMING her fist into the floorboards overhead. Trying to get Bobby's attention. Her knuckles getting scraped up and bloody. Haley screams. Voice growing hoarse and raspy.</scene_description>
<character>HELP!</character>
<dialogue>WE'RE TRAPPED DOWN HERE!</dialogue>
<character>DAD (O.S.)</character>
<dialogue>Haley, I don't think he can hear you. Try banging on the pipes.</dialogue>
<scene_description>Haley retrieves the piece of rebar. And HITS the plumbing near the wet wall. HER DAD -- Shines his weakening headlamp toward the garage hatch. The ALLIGATOR seems agitated by all the noise. It gets up, slicing through the water. Moving toward that loud resonating SOUND. The beam of light flickers. And goes out. Her dad nervously scans the inky black space. He's lost sight of the reptile.</scene_description>
<character>DAD</character>
<parenthetical>(yelling toward his daughter)</parenthetical>
<dialogue>Haley, watch out! It's on the move!</dialogue>
<scene_description>HALEY -- Doesn't hear him. She's too busy HAMMERING the pipes. Trying to make as much NOISE as possible.</scene_description>
</scene>
<scene>
<stage_direction>INT. ABANDONED HOUSE - VARIOUS - LATE AFTERNOON</stage_direction>
<scene_description>Bobby hears a faint CLANGING sound. Follows it. Realizes the sound is echoing up from beneath the floor.</scene_description>
</scene>
<scene>
<stage_direction>INT. CRAWL SPACE - LATE AFTERNOON</stage_direction>
<scene_description>Haley stops to listen as Bobby's FOOTSTEPS move further into the house.</scene_description>
<character>HALEY</character>
<dialogue>Dad, I think he's looking for the hatch.</dialogue>
<scene_description>Hears her dad's frantic VOICE.</scene_description>
<character>DAD (O.S.)</character>
<dialogue>Haley, did you hear me? I don't know where that thing went!</dialogue>
<character>HALEY</character>
<dialogue>Oh my God.</dialogue>
<scene_description>She's suddenly on alert. Switches on the flashlight. Eyes scanning the shadows. Trying to locate the reptile.</scene_description>
</scene>
<scene>
<stage_direction>INT. GARAGE - LATE AFTERNOON</stage_direction>
<scene_description>Bobby steps down into the garage. Sees the propped up garage door. The STORM still raging outside. He approaches that empty storage closet.</scene_description>
</scene>
<scene>
<stage_direction>INT. CRAWL SPACE - LATE AFTERNOON</stage_direction>
<scene_description>Haley anxiously pans the flashlight back and forth. Checking all around her. Listening for any sign of the alligator.</scene_description>
<character>HALEY</character>
<dialogue>I can't see it!</dialogue>
<character>DAD (O.S.)</character>
<dialogue>I heard it go by just a minute ago.</dialogue>
</scene>
<scene>
<stage_direction>INT. STORAGE CLOSET - LATE AFTERNOON</stage_direction>
<scene_description>Bobby's flashlight picks out the open access hatch.</scene_description>
</scene>
<scene>
<stage_direction>INT. CRAWL SPACE - LATE AFTERNOON</stage_direction>
<scene_description>The beam from his flashlight filters down into the crawl space. Bobby pokes his head down through the opening. He sweeps the flooding space with his light. Too dark to see much.</scene_description>
<character>BOBBY</character>
<dialogue>Is somebody down here?</dialogue>
<scene_description>HALEY -- Sees Bobby in the lighted hatch. Needs to stop him.</scene_description>
<character>HALEY</character>
<dialogue>No!</dialogue>
<scene_description>Frantically tries to signal him. Screaming. Waving her flashlight. DON'T COME DOWN HERE!: BOBBY -- Sees the far-off beam swinging back and forth. Can't hear much for the deafening rain HITTING the garage door. He leans in further.</scene_description>
<character>BOBBY</character>
<dialogue>What the hell are you doing back there? It's gonna flood.</dialogue>
<scene_description>HER DAD -- Hears Haley's frantic pleas. He tries to warn Bobby. Yelling from the darkness.</scene_description>
<character>STAY BACK!</character>
<dialogue>GO GET HELP!</dialogue>
<scene_description>BOBBY -- Turns his attention toward her dad's VOICE. Looking into the shadows.</scene_description>
<character>BOBBY</character>
<dialogue>What?</dialogue>
<character>DAD (O.S.)</character>
<dialogue>There's an alligator down here! We're trapped!</dialogue>
<scene_description>It takes him a moment to process this. The water below Bobby SLOSHES slightly.</scene_description>
<character>BOBBY</character>
<parenthetical>(calling back)</parenthetical>
<dialogue>Shit. Okay. Hold on!</dialogue>
<scene_description>He pulls himself up and out of the hatch.</scene_description>
</scene>
<scene>
<stage_direction>INT. STORAGE CLOSET - LATE AFTERNOON</stage_direction>
<scene_description>Bobby's perched on the edge of the opening. Adrenaline pumping. Reaches for his radio to call for help. Hand shaking a little as he unclips it from his belt. WHAM! The alligator LUNGES up from the access hatch. Lightning fast. CLAMPING onto Bobby's arm. Using its own weight to drag him down into the crawl space.</scene_description>
</scene>
<scene>
<stage_direction>INT. CRAWL SPACE - LATE AFTERNOON</stage_direction>
<scene_description>Bobby lands with a SPLASH. The reptile is on him in seconds. RIPPING into him. Bobby's SCREAMING. Trying to fight it off. HALEY -- Watching in shock as the REPTILE flings him around.</scene_description>
<character>HALEY</character>
<dialogue>No. NOOO!</dialogue>
<scene_description>Then a horrible sound. The CRACK of bones. His neck SNAPS. Bobby falls silent. The alligator yanks the lifeless guard back into the darkness. Just the RUSTLE of movement. The water settles. Haley closes her eyes. A sense of total hopelessness. Can't get her breath. Suffocating. Now more afraid than ever. She opens her eyes. Realizes she needs to get back to her dad while that thing is distracted. Begins a desperate crawl. Clutching the rebar in one hand. The switched-off flashlight in the other. We're with her the whole way. Following Haley as she SPLASHES through the rising water. Trying to find her way back. In her panic, gets turned around. Realizes she's lost. Clicks on the flashlight. Its beam scans the crawl space. Picks out that battered TRAP CAGE. Knows that she's close.</scene_description>
<character>HALEY</character>
<parenthetical>(harsh whisper)</parenthetical>
<dialogue>Dad?</dialogue>
<scene_description>The beam falters. She shakes it. Breathing hard. It comes back on. Revealing a brief glimpse of the empty crawl space. It goes dark again. Haley, panicked, gives it another shake. A flash of the REPTILE snaking its way toward her. Then blackness. Haley SCREAMS. Not knowing which way to go. CRIES OUT for her dad. Certain she's about to die.</scene_description>
<character>HALEY</character>
<dialogue>DADDY!?</dialogue>
<scene_description>A HAND suddenly clamps onto her arm. Pulling her back into the shadows. Dragging her under that network of pipes. The water SURGES as the reptile SWEEPS past. Twisting away. Slinking back into the dark. Haley's safe. Just out of reach. Sees her dad.</scene_description>
<character>DAD</character>
<parenthetical>(tears in his eyes)</parenthetical>
<dialogue>Thought I lost you.</dialogue>
<scene_description>She grabs him around the neck. SOBBING uncontrollably. Overcome by everything she's seen and been through. He holds her tight. Trying to comfort her. Checks to make sure she's okay. Haley's scraped up and bruised. Covered in mud. Then he sees her bloody leg.</scene_description>
<character>DAD</character>
<dialogue>My god. Why didn't you tell me?</dialogue>
<character>HALEY</character>
<dialogue>I'm fine. It's not as bad as it looks.</dialogue>
<scene_description>Her dad winces as he shifts positions.</scene_description>
<character>HALEY</character>
<dialogue>How are you?</dialogue>
<character>DAD</character>
<dialogue>Think I've found my second wind.</dialogue>
<scene_description>This gets a smile out of her. Haley wipes away her tears. Looks back at the garage hatch.</scene_description>
<character>HALEY</character>
<dialogue>That poor security guard.</dialogue>
<parenthetical>(beat)</parenthetical>
<dialogue>I tried to warn him.</dialogue>
<character>DAD</character>
<dialogue>Honey, there's nothing more you could've done.</dialogue>
<scene_description>Haley takes a deep breath. Worn out. Defeated.</scene_description>
<character>HALEY</character>
<dialogue>We're never getting out of here, are we?</dialogue>
<character>DAD</character>
<dialogue>Haley, I need you to be strong. We're not quitting.</dialogue>
<scene_description>He brushes the hair from his daughter's face.</scene_description>
<character>DAD</character>
<dialogue>Remember when your mom was sick. Through all the treatments. She never gave up. We need to fight. Just like she did. Do you hear me?</dialogue>
<scene_description>Haley is quiet for a beat, then --</scene_description>
<character>HALEY</character>
<dialogue>Yeah.</dialogue>
<scene_description>Her dad looks around at the rising water.</scene_description>
<character>DAD</character>
<dialogue>We're in a real low spot here. We need to get you to that hatch before this whole place is flooded.</dialogue>
<character>HALEY</character>
<dialogue>We'll go together.</dialogue>
<scene_description>Shakes his head. No.</scene_description>
<character>DAD</character>
<dialogue>I'll just slow you down. You have to leave me.</dialogue>
<scene_description>As much as she fights the idea, she knows he's right. A long solemn beat. Her dad has an idea. He takes the flashlight from his daughter's grip. Switching it off to save the battery. He then reaches up. Grabbing a long loop of electrical wire hanging from a nearby joist. Staples SNAP free as he pulls it loose. Wrapping the wire around the base of the flashlight.</scene_description>
<character>DAD</character>
<dialogue>It didn't like you banging on those pipes. Maybe we can use that to draw it away from the hatch.</dialogue>
<scene_description>Her dad points toward the low-hanging section created by the sunken living room.</scene_description>
<character>DAD</character>
<dialogue>Think you can make it under there?</dialogue>
<scene_description>If Haley crawls on her belly, she can fit. But the water level is high enough that she'll be mostly submerged.</scene_description>
<character>HALEY</character>
<dialogue>I've been in tighter spaces than that today.</dialogue>
<scene_description>Her dad smiles.</scene_description>
<character>DAD</character>
<dialogue>Good. While I distract it, you go out that way. Sneak around. And make your way back to the hatch.</dialogue>
<scene_description>He reaches for the piece of rebar.</scene_description>
<character>DAD</character>
<dialogue>Help me get to those pipes.</dialogue>
<scene_description>Together they work their way toward the cluster of plumbing. With his good arm, he shoulders up one of the heavy pipes. The metal flexes. Straining. Haley helps her dad hold the pipe in place while he JAMS the rebar under. Propping it up. Creating an opening large enough to lure the animal in. He takes the tethered flashlight from his daughter. Sees that charm bracelet on her wrist. A rush of memories.</scene_description>
<character>DAD</character>
<dialogue>I gave that to your mom in college. She was just about your age.</dialogue>
<character>HALEY</character>
<dialogue>I know.</dialogue>
<scene_description>He hugs her tight.</scene_description>
<character>DAD</character>
<dialogue>You're so much like her.</dialogue>
<scene_description>A final embrace.</scene_description>
<character>DAD</character>
<dialogue>You ready?</dialogue>
<scene_description>She nods. Haley wades toward that low-hanging section of subfloor. And submerges herself. Squeezing beneath the sunken living room. Her dad clicks on the flashlight. Tosses it through the open section of pipes. Out into the crawl space. It SPLASHES down into the rising water. Floating several yards away. In his weakened state, her dad grabs a piece of BRICK. And starts HITTING it against the pipes. Again and again. Creating a loud REVERBERATING noise. The CLANGING gets the attention of the REPTILE. Her dad stops to listen. Hears far away SCRAPING and SPLASHING in the darkness as the agitated animal crawls toward the sound. It's working. He continues BANGING. The reptile comes into view, honing in on the beam of the flashlight. HALEY -- In tight quarters. Half swimming, half crawling on her stomach beneath the sunken living room. She pulls herself through the murky water. Trying to keep her head above the surface. But the water's getting too high. Haley has to go under. HER DAD -- Grips the length of electrical wire. Slowly reeling in the flashlight. Watches as the huge creature approaches through the flooded space. Its red eyes reflected as it stalks toward the light. HALEY -- Scrambles out on the other side of that low-hanging section. Into an unexplored portion of the crawl space. Sucks in a huge breath of air. She's on her hands and knees now. Cautiously moving out and around. Hearing the reptile as it makes a beeline for that flashlight and her dad. Haley feels her way forward in the dark. Splashing through the muck. Can't yet see the open access hatch. HER DAD -- Has his attention fixed on the reptile. It suddenly lunges for the flashlight. JAMMING half its body through the opening. Her dad is ready. And waiting. KICKS the rebar free with his good leg. Releasing the heavy pipe overhead. It CLAMPS down on the reptile's back. PINNING it into the water and muck. The creature THRASHES wildly. SPLASHING around. Trapped.</scene_description>
<character>DAD</character>
<parenthetical>(yells)</parenthetical>
<dialogue>Haley, GO!</dialogue>
<scene_description>The reptile's FRONT CLAWS instinctively rake the ground. As the beast tries to pull itself forward. Toward her dad. Its jaws SNAPPING. He grabs the rebar. Dragging himself back out of the way. HALEY -- Can now see the garage hatch up ahead through the gloom. Sloshes toward it. Moving through a pile of rotting vegetation. Twigs and leaves sticking up out of the water. The surface beneath her hand gives way with a CRUNCH. She lifts her hand to her face. It's covered in goo. And then she sees -- A CRUSHED EGG. And more EGGS. Still intact. A dozen or so. It's a goddamn nest! This must be what that reptile was guarding. Then a low BELLOWING GROWL... As a SHAPE rises up from the shadows directly in front of her. Creeping forward.</scene_description>
<character>HALEY</character>
<dialogue>Oh... shit...</dialogue>
<scene_description>She's face-to-face with a SECOND ALLIGATOR! Not as big as the first. But still scary as hell. This is a FEMALE. And it's very territorial. The animal HISSES. Haley slowly backs away. The female's eyes burning into her. As it hovers over the remaining eggs. Protective. It HISSES again. SNAPPING at her. Haley spins around and starts crawling as fast as she can. Blindly SPLASHING through the darkness. Not sure where she's going. HER DAD -- The MALE REPTILE continues trying to pull itself into the space. It's trapped. Tangled up in that maze of pipes. Claws SLASHING at the mud. Struggling to get traction. Her dad SWINGS at it with the rebar. HITTING its tough skin. HALEY -- Weaves around supports. Under hanging insulation. Trying to put as much distance between her and that female reptile. She looks back. Appears to have shaken it. WHAM! The FEMALE ALLIGATOR suddenly charges in from the side. Its JAWS latching onto the thigh of her already injured leg. It's a vicious collision. Like Haley's been t-boned. The FEMALE pushes her through the darkness sideways. Haley's shoulder SLAMS into a support. She SCREAMS in pain. The female reptile flings her side to side. Jaws still clamped onto her upper leg. It's close quarters. Brutal. Haley's punching back. Going for the eyes. Desperately trying to fight it off. Manages to kick free. Dazed. Blood flowing down her face. She grasps for something to hold on to as she tries to crawl away. Takes hold of a copper pipe overhead. Quickly let's go. It's scalding hot. Shit! Realizes she's beneath the HOT WATER HEATER. The female alligator lunges from the darkness. Bites down onto her ankle. Haley uses a loose piece of insulation to grab onto the hot copper pipe. Pulling with both hands. Using the full weight of her body. Fighting through the pain. As the female reptile tries to drag her away. The copper's bending at the joint. It SNAPS open! Haley twists out of the way aiming the full force of the scalding hot water at the FEMALE REPTILE. It SHRIEKS. Letting go of Haley. Retreating. Haley splashes to safety as the tank overhead empties. Adding forty gallons of hot water to the already flooded space. The haunting SHRIEKS of the burned creature continue from the shadows. HER DAD -- The MALE REPTILE. Still pinned beneath that heavy pipe. Hears the CRIES of its mate. Goes berserk. Shifting directions. Thrashing. Flipping mud everywhere. Now pushing itself back. Using the slick surface to its advantage. Haley's dad realizes the animal is trying to back out.</scene_description>
<character>DAD</character>
<dialogue>No...</dialogue>
<scene_description>Moves forward with the rebar. Grasping onto the slippery pipe. Pressing down. Attempting to hold it in place. But the male reptile pulls free. SPLASHING away. Her dad looks over at the open hatch. His daughter should have gotten there by now.</scene_description>
<character>DAD</character>
<dialogue>Shit! Haley, where are you? I couldn't hold it. It got loose!</dialogue>
<scene_description>HALEY -- Drenched. Banged up. Checks the damage to her already mangled leg. It's really chewed up now. Punctured skin. Teeth marks. Blood seeping out. She vomits. Wipes her mouth with the back of her hand. Yelling back to her dad.</scene_description>
<character>HALEY</character>
<dialogue>Dad. There's two of them! I didn't make it.</dialogue>
<scene_description>She's trembling. Shaking from the loss of blood.</scene_description>
<character>HALEY</character>
<parenthetical>(lies)</parenthetical>
<dialogue>But I'm okay.</dialogue>
<scene_description>Sees that the open hatch is not that far away. She can make it.</scene_description>
<character>HALEY</character>
<parenthetical>(quietly, to herself)</parenthetical>
<dialogue>Gotta move, Haley.</dialogue>
<scene_description>Starts to crawl. A SPLASH. Somewhere off to her right. She puts her head down. Keeps going. She's reached that area where the clearance is higher. Now able to crawl faster. Almost there... The MALE REPTILE suddenly slides into view directly in front of her. Blocking her path. It GROWLS. Charging. Haley quickly shifts directions. Splashing back through the murky water. Her hand falls on something solid in the mud. Comes up -- Clutching her dad's large PIPE WRENCH. The one she passed over on her way in. That MALE REPTILE is powering toward her. Haley swings the heavy wrench. With everything she's got. It makes contact. WHACK! Knocks the beast's head sideways. SLAMMING its skull into a support.</scene_description>
<character>HALEY</character>
<dialogue>How do you like that, motherfucker!?</dialogue>
<scene_description>The male reptile shakes it off. Haley splashes through the rising water. Takes shelter behind a large drain pipe. Nervously looks around. Knows the female is still lurking somewhere out there too. The MALE REPTILE charges from the shadows. Jaws open wide -- And CLAMPS onto the pipe. Tugging near a joint. Breaking the seal. More water spilling out. Flooding the space. As Haley retreats, her mom's CHARM BRACELET snags on a support. And SNAPS. The male alligator moves around the broken pipe. Haley sees the bracelet fall into the rushing water. Grabs it. The creature SNAPS at her. Another glimpse of its massive jaws. Exposed teeth. Just missing Haley. She clambers back. Stuffing the bracelet into her pocket. Defiant.</scene_description>
<character>HALEY</character>
<dialogue>You're not getting that, Asshole!</dialogue>
<scene_description>Haley swings the pipe wrench again. WHUMP! Stunning the animal. Buying herself some time. She scrambles away. Trying to orientate herself. She's turned around. In a different portion of the crawl space. Spots a couple of METAL SUPPORT JACKS. Stabilizing some rotting posts. Propping up the sagging floor overhead. Realizes she's under the kitchen. Haley kicks at one of the jacks. Hears the male reptile SCRAPING and SPLASHING in her direction. She HAMMERS at the jack with the pipe wrench. It shifts slightly in the mud. Hits it again. Lightning STRIKES really close. Instantly lighting the space. A brief glimpse of the advancing MALE REPTILE. Thunder BOOMS! Shaking the house on its foundation. Haley, more frantic now. Pounding at that jack with everything she's got. It finally slips out from under the joist. The boards above her STRAINING. A loud CRACK. The weight of the rotting floor pushing down. The male alligator slices through the muddy water. Almost on her. The water damaged posts SNAP like toothpicks. The joists overhead collapse. SPLASHING down. Along with a section of the subfloor. The entire KITCHEN ISLAND crashes down into the space. Haley tries to shield herself from all the falling debris. A HUGE SPLASH of mud and water. A beat as it settles. Leaving Haley trapped on one side of the cave-in. Not knowing if the male reptile is buried beneath it. HER DAD -- Reacts to the sound of the COLLAPSE.</scene_description>
<character>DAD</character>
<parenthetical>(calling to his daughter)</parenthetical>
<dialogue>Haley, what was that? Are you okay?</dialogue>
<scene_description>HALEY -- Is COUGHING. Sees the pile of rubble and debris in front of her.</scene_description>
<character>HALEY</character>
<parenthetical>(yelling back)</parenthetical>
<dialogue>I'm good.</dialogue>
<parenthetical>(then)</parenthetical>
<dialogue>Just a slight change of plans.</dialogue>
<scene_description>She tries to move. Her damaged leg is pinned under a fallen beam. The male reptile GROWLS on the other side. Trying to dig out from under the rubble. Haley attempts to free herself. Using the pipe wrench. Shoving it into the mud next to her trapped leg. Trying to pry up the fallen beam. It won't budge. Too heavy. She starts digging instead. Clawing at the mud around her leg. Pressing against the beam with her good leg. Slowly starts pulling herself out from under. Takes a deep breath. A final push. SCREAMS as she yanks her mangled leg free. Backs away from the fallen debris. Splashing through the dark water. She's tired. Drained. Can't quit now. Needs to find another way out. Haley detects a foul stench. Covers her mouth. She's stumbled into a stash of DEAD ANIMALS. Rotting carcasses. Chewed up. Haley gags. Backing in the other direction. Touches a HAND and ARM -- The remains of that SECURITY GUARD. His MANGLED CORPSE jammed into the tight space. Dead eyes staring up. Haley stifles a scream. Collecting herself.</scene_description>
<character>HALEY</character>
<parenthetical>(her voice shaking)</parenthetical>
<dialogue>Dad, I found the security guard!</dialogue>
<scene_description>A beat. Her dad processing this. Then --</scene_description>
<character>DAD (O.S.)</character>
<dialogue>See if you can find his radio.</dialogue>
<scene_description>She gropes in the muddy water. Frantically feeling for Bobby's belt. Wet hands fumbling. No radio. But she finds a HOLSTER. Unsnaps it. Feels the handle of a gun there. Pulls the weapon free. It's slick with mud. Haley tries to wipe it clean. The sound of SHIFTING WATER. Her wet hands struggling with the gun. Flips off the safety. As the FEMALE REPTILE charges from the darkness. Haley raises the gun. Squeezes the trigger. A flash of GUNFIRE lights up the cramped space. The female spins away. Did she hit it? Haley holds the gun in her trembling hand. Searching the darkness. Her ears are still RINGING. No sign of either alligator. The water is rising around her. Now up to her elbows. She needs to move. Another FLASH of lightning reveals a nearby vent. This time at the back of the house.</scene_description>
<character>HALEY</character>
<parenthetical>(calls into the darkness)</parenthetical>
<dialogue>Dad, hang on!</dialogue>
<scene_description>HER DAD -- Exhausted and weak. Floundering. Up to his neck in the rising water. He drags himself through the flooding space. Needs to get to higher ground. HALEY -- SPLASHES back along the rear edge of the foundation. Half swimming, half crawling. Reaching that vent. Rainwater pours in through the slats. She aims the gun toward the vent. FIRES into the metal cover. Near the edges. Where the bolts hold it in place. Each GUNSHOT is deafening. Haley twists her body around. Kicks madly at the loosened vent cover with her good leg. Knocking it out completely. With the cover off, more rainwater surges in. Haley takes one final look behind her and squeezes through.</scene_description>
</scene>
<scene>
<stage_direction>EXT. ABANDONED HOUSE - BACKYARD - LATE AFTERNOON</stage_direction>
<scene_description>Haley gets an arm out the open vent. Then her shoulder. She claws at the mud. It's tight. Haley's stuck. Squirming wildly. Half in, half out. Knows her lower half is completely exposed. She inches herself forward. Finally pulls free. Tank top plastered in mud. Winces in pain as she gets to her feet. Sees the swimming pool. The rear sliding glass door. Turns back, yelling into the open vent.</scene_description>
<character>HALEY</character>
<dialogue>Dad, I'm out!</dialogue>
<scene_description>The JAWS OF THE FEMALE REPTILE SMASH OUT through the opening! SNAPPING at her. Haley staggers back. She limps toward the sliding glass door. Favoring her good leg. Moving around the edge of the pool. The FEMALE REPTILE continues squeezing its way through the narrow vent. The wind is intense. Rain SLAMMING down on Haley. A METAL LOUNGE CHAIR blows across the deck. Splashing down into the pool. Haley's damaged leg buckles as she loses her footing on the slick surface. And tumbles over the side. Into the deep end. SPLASHING down into eight feet of murky water. She goes UNDER. The gun slipping from her grip. Sinking to the bottom. Haley bursts to the SURFACE. Coughing. Swims toward the edge. Tries to pull herself up out of the water. Her arms too weak and tired. A FLASH of lightning reveals -- The female reptile. Now completely free of the vent. Crawling rapidly toward the pool. SPLASHING down into the shallow end. It swims toward Haley. Sinking beneath the surface. Haley tries to reach the ladder. Her wet hands keep slipping. Can't get a grip. The RAIN is pounding down. Haley spins around. Scanning the pool. Where the hell did that thing go?</scene_description>
</scene>
<scene>
<stage_direction>INT. CRAWL SPACE - LATE AFTERNOON</stage_direction>
<scene_description>Her dad lifts his head up into the space between the joists as the water level continues to rise. Keeping his chin above the surface. Coughing. Choking. POUNDING at the boards overhead with the rebar.</scene_description>
<character>DAD</character>
<dialogue>Haley! Hurry!</dialogue>
</scene>
<scene>
<stage_direction>EXT. DEEP END OF SWIMMING POOL - LATE AFTERNOON</stage_direction>
<scene_description>Haley's got her own problems. The FEMALE REPTILE surfaces. Just a few yards away. Slicing through the water toward her. Jaws SNAPPING. Haley grabs the floating lounge chair. Pushes it between her and the female alligator. Then dives under. UNDERWATER Murky. Her hair swirling. Frantically searching the bottom of the pool for that gun. Lightning FLASHES. Its glow penetrates the water. A glimpse of the female's DARK OUTLINE gliding past just overhead. Plunging down toward Haley. Haley kicks wildly. Trying to swim out of its path. The animal's HUGE TAIL sweeps past. KNOCKING into her. ABOVE WATER Haley SURFACES. Coughing up water. Teeth chattering. Searching for the female alligator. The water RIPPLING... She catches something out of the corner of her eye. Whips around -- It's just the LOUNGE CHAIR. Lightning SLASHES the sky -- Then the female reptile EXPLODES from the water right behind her. Snagging Haley's right arm. Pulling her under. UNDERWATER A silent scream as Haley is dragged to the bottom. Trailing a cloud of bubbles. The animal holds her under. Trying to drown her. Haley desperately fights to get free. Lungs about to burst. Her left arm flailing. Hand searching -- Finds the gun! Sweeping it up. Pressing the barrel against the female reptile's head. Pulls the trigger. Point blank. The gun kicks. A MUFFLED BANG. Air bubbles surging from the barrel. As a bullet rips into the animal's leathery skin. Blood clouding the water. The female reptile goes slack. Releasing its grip. Haley pushes the dead animal off her. And kicks for the surface.</scene_description>
</scene>
<scene>
<stage_direction>EXT. ABANDONED HOUSE - BACK PATIO - LATE AFTERNOON</stage_direction>
<scene_description>Haley crawls up over the lip of the pool. Pulling herself out. Drenched clothes clinging to her body. She looks like she's been through hell. And she's still not finished. Haley limps toward the sliding glass door. Hair soaked and matted. Arm bleeding. Yanks at the handle. It's locked. Fuck! She searches the deck. Grabs an overturned metal chair. SMASHING it into the tempered glass. It DENTS. But doesn't break. Haley swings the chair again. This time the glass SHATTERS.</scene_description>
</scene>
<scene>
<stage_direction>INT. ABANDONED HOUSE - DINING ROOM - LATE AFTERNOON</stage_direction>
<scene_description>Haley staggers in. The last bit of gray daylight outside filters in. She finds the CROWBAR lying in the corner of the dining room. Next to the sledgehammer and other tools. Snatches it up.</scene_description>
<character>HALEY</character>
<parenthetical>(calling out)</parenthetical>
<dialogue>Dad? Where are you?</dialogue>
<scene_description>Listens... Hears a faint TAPPING coming from below. A relieved smile. She follows it. Haley jams the crowbar between some boards. Prying them up.</scene_description>
<character>HALEY</character>
<dialogue>Dad, I'm coming!</dialogue>
<scene_description>Ripping up more of the subfloor next to the sunken living room. Zeroing in on the sound.</scene_description>
<character>HALEY</character>
<dialogue>Hang on!</dialogue>
<scene_description>Haley continues ripping a hole in the floor. Exposing more of the framework beneath. A glimpse of her dad. His face pressed up between the joists. She pries up a few more boards. Reaches down to help him out. Her dad uses the rebar to push himself up. Trying to get his one good leg beneath him. Haley jump down into the flooded crawl space to get more leverage. Helps lift him out. Her dad rolls onto his back. Exhausted. Coughing up water. Relief. Haley exhales. Still knee-deep in the flooded crawl space. A moment of calm. They're safe. Finally. Then the loosened floorboards nearby SHIFT. Haley spins around as -- The MALE REPTILE crashes up over the exposed pipes. Tearing its way through the broken subfloor. Scraped up. Looking pissed. Lets out a loud BELLOWING ROAR. Haley tries to climb from the murky water. But her tourniquet SNAGS on one of the supports. The creature lunges toward her. About to strike -- Her dad staggers up, still clutching that piece of rebar. And HURLS himself toward the beast. Stabbing the steel rod down into the male reptile's head. Like a harpoon. His weight and momentum pushing the rebar through the animal's leathery skin. A wet THUNK. The reptile lets out a bone-chilling SCREAM. The tip of the rebar gets stuck in the rotting floorboards beneath the animal. It THRASHES wildly for a moment. Twisting and turning. Lashing with its tail. Pinned to the floor. Finally gives up the fight. Goes still. Haley frees her leg and climbs out. Just inches from the dead animal's jaws. She collapses down next to her dad. He hugs her close.</scene_description>
<character>DAD</character>
<dialogue>It's okay, honey. It's over.</dialogue>
<scene_description>A quiet beat, then --</scene_description>
<character>DAD</character>
<dialogue>Now we just need to get ourselves to the hospital.</dialogue>
<scene_description>It hurts to laugh. But somehow they find the strength to do it anyway. FADE TO BLACK.: FADE IN:</scene_description>
</scene>
<scene>
<stage_direction>EXT. BACKYARD OF FAMILY HOUSE - DAY</stage_direction>
<scene_description>A beautiful sunny day. Time has passed. Haley's recovered some but is still on crutches. She's tending to the something in front of her. Can't see what. Her dad limps toward her. Leg in a cast. His arm in a sling. Right now they're the walking wounded. But soon the scars will heal.</scene_description>
<character>DAD</character>
<dialogue>How are they doing?</dialogue>
<scene_description>We can now see what has Haley's attention. A BACKYARD PEN. Made of wood and chicken wire. She's pushing bits of carrot and lettuce through the wire with her fingers. The TWO MOTHERLESS BUNNIES she saved are inside. Nibbling away. They've grown in size since we last saw them. Haley's quiet. Blinking back tears. Her dad sees that she's been crying.</scene_description>
<character>HALEY</character>
<dialogue>This would've been one hell of a story to tell Mom.</dialogue>
<scene_description>He puts his good arm around his daughter.</scene_description>
<character>DAD</character>
<dialogue>I miss her too, honey.</dialogue>
<character>HALEY</character>
<dialogue>You know what the last thing she said to me was?</dialogue>
<scene_description>A silent beat.</scene_description>
<character>HALEY</character>
<dialogue>Take care of your father.</dialogue>
<scene_description>A sad smile. He squeezes her shoulder.</scene_description>
<character>DAD</character>
<dialogue>You've done a pretty good job so far. Come on. Let's get back.</dialogue>
<scene_description>Father and daughter hobble off together. There's a family cookout on the back deck of the house. Haley's sister Beth is there. With her HUSBAND. And her two precocious CHILDREN. Along with her dad's girlfriend KATIE. As they make their way back to the festivities --</scene_description>
<character>HALEY</character>
<dialogue>Did I ever tell you that I like your earring.</dialogue>
<character>DAD</character>
<dialogue>Yeah, well, I almost got a hook to go along with it.</dialogue>
<scene_description>Waving his arm in its sling.</scene_description>
<character>DAD</character>
<dialogue>Arrr!</dialogue>
<scene_description>FADE TO BLACK.:</scene_description>
<character>THE END</character>
</scene>
</script>
|
C R A W L by Michael Rasmussen and Shawn Rasmussen
9/16/2016
There have been over 300 documented alligator attacks in Southern Florida.
Twenty-seven of them have been fatal...
SMASH IN ON: The panicked face of a YOUNG WOMAN. Covered in mud and blood. She's crawling on her stomach through a dark, constricted space. Frightened eyes scanning the claustrophobic surroundings. Her senses on alert. The muffled sounds of a STORM outside. HOWLING WINDS and POUNDING RAIN... Then a faint SCRAPING noise. Moving closer... The young woman retreats back into the shadows. Taking shelter behind a wooden support. Holding her breath... A low MENACING BELLOW... As SOMETHING HUGE wipes the frame right in front of us. Shockingly close. Blocking out our view. Leaving nothing but DARKNESS. An unsettling SILENCE. OVER BLACK, a single-word TITLE:
C
A long, quiet beat.
R
Broken by the sound of a VIBRATING
PHONE... FADE IN:
INT. COLLEGE APARTMENT - BEDROOM - DAY
Someone GROANS. A LUMP shifts under a huge comforter. A slender hand reaches out, searching the nightstand. A CHARM BRACELET dangles from the wrist. The same young woman, HALEY (19) pokes her head out from under the covers. Hung over. Bleary-eyed. She finds her phone. Checks the display -- BETH. Takes a breath. Answers with a wrecked voice.
HALEY
H-hello?
INT. LONG ISLAND HOUSE - KITCHEN - DAY
Haley's older sister BETH (26) is on the other end of the line. She's at the sink doing dishes. Wearing workout clothes. Looks like her day began a while ago.
BETH
Jesus, are you just waking up?
INTERCUT AS NECESSARY Haley swallows. Squints into the sunlight. Looking around. She's a natural beauty. Even after a long night of drinking.
HALEY
What time is it?
BETH
It's almost noon.
Haley's head is throbbing. She climbs out of bed.
BETH
Late night?
HALEY
Yeah. I might have overdone it a little.
A glimpse of her lean athletic build as she pulls on a tank top. Slips into a pair of shorts.
HALEY
What's up?
BETH
I need you to go check on Dad. Got a call from Katie.
BETH
She's been trying to reach him since last night. Apparently he's not answering his phone.
Haley shuffles into her KITCHENETTE. Opens a cabinet. Pours herself a bowl of cereal. Eating it dry. Breakfast of Champions.
HALEY
So she called you? To call me?
BETH
Katie said she doesn't have your number.
Haley sighs.
HALEY
She has it.
BETH
I think she gets the feeling you don't like her.
HALEY
Come on, Beth. I'm not gonna be BFF's with my dad's new girlfriend.
(beat)
Where is she anyway? Why can't she do it?
BETH
In Texas visiting family. She said Dad was supposed to be on a job yesterday. Prepping some properties before this big storm.
Haley glances out the window. Into the bright daylight.
HALEY
I thought that was gonna miss us?
INT. LONG ISLAND HOUSE - KITCHEN - DAY
Beth moves to a kitchen table. Her TWO-YEAR OLD sits in a high chair, noisily playing with his food.
BETH
That's not what they're saying on the news. It's supposed to hit you guys this afternoon.
A MUTED TELEVISION in the corner. Tuned to a national weather forecast. A METEOROLOGIST in front of a satellite image. Ominous clouds churning off the southern tip of Florida. Beth's FIVE-YEAR-OLD begins tugging at her pant leg, trying to get his mother's attention.
BETH
(aside to her kids)
Shh. Mommy's on the phone with your Aunt Haley.
Haley can hear the CHILDREN playing and talking in the background of the call.
HALEY
Sounds like you've got your hands full.
BETH
Ah, yes. Domestic bliss. I'm heading off to hot yoga in a minute for some much-needed "me time."
HALEY
Yeah. Well there's nothing I love more than spending my Saturday driving an hour out of my way to check on dear ol' dad.
BETH
You should go easy on him. He's been through a lot. We all have. He deserves to be happy.
HALEY
I think he's having a mid-life crisis. Have you seen his new earring? He looks like a pirate. And not a sexy, Johnny-Depp-type pirate.
HALEY
More like an old, trying-too-hard pirate. I guess Katie likes it.
Beth laughs.
BETH
So you'll check on him?
HALEY
Okay, I'm going.
BETH
Thanks, sis. You're the best. Love you.
HALEY
Uh huh. I'll call you when I get there. Bye.
Haley hangs up. Scans through some pics on her phone. Finds a recent SELFIE with her DAD. His arm lovingly wrapped around his daughter's shoulder. He's in his 40's. Tanned from working outdoors. Ruggedly handsome, although Haley would never admit it. She annotates his earring and sketches an eyepatch over his left eye. Attaches the photo. Adding a caption: Arrr! Sends it to Beth. Haley finishes her cereal. A moment later, her phone DINGS. A reply from her sister: Oh, boy. Haley smiles. Pulls on a varsity sweatshirt. Then grabs her keys and dons a pair of sunglasses.
EXT. FLORIDA HIGHWAY - DAY
A Subaru Outback cruises down a divided highway cutting through swampland. Heading South.
INT. OUTBACK - DAY
Haley drives. Windows down. Wind in her hair. The car radio's playing Lana Del Rey's YOUNG AND BEAUTIFUL. She sings along, tapping the steering wheel.
EXT. FLORIDA HIGHWAY - DAY
The vehicle blasts under an overpass sign for: FORT MYERS.
EXT. FAMILY HOUSE - AFTERNOON
Haley's Outback arrives at its destination. Pulling into the driveway of a modest suburban home.
INT. FAMILY HOUSE - AFTERNOON
KEYS in the lock. The front door opens. Haley steps inside.
HALEY
Anybody home?
She's greeted by a big GOLDEN RETRIEVER.
HALEY
Hey, Roscoe. Where's Dad, huh? Where is he?
The dog is jumping all over her. Like he hasn't seen her in ages. Haley grabs him. Brings him in for a big hug.
HALEY
Oh, I know. I've missed you too.
He pulls away. Running to the back door. Seems really desperate. Barking. She lets him out. Wanders into the living room.
HALEY
Dad!
Continues through the house. Searching the different rooms. No sign of him. She heads upstairs.
INT. FAMILY HOUSE - MASTER BEDROOM - AFTERNOON
Haley TAPS on the bedroom door. Pokes her head in. With no one around, she decides to do a little snooping. Rifles through a nearby dresser. Haley finds a box of PHOTOGRAPHS in the bottom drawer. Thumbs through them. Images of Haley and Beth with their mother MAGGIE at different ages. They're an active trio. Hiking. Camping. Running marathons. She settles on an older SNAPSHOT of her mother from when she was in college. Haley gets a little misty-eyed. Blinks away the tears.
INT. KITCHEN - AFTERNOON
Haley pulls open the fridge and grabs a Gatorade. Her phone pressed against her ear. Waiting as it rings. Beth answers.
HALEY
Well I'm at the house, but Dad's not here.
Haley notices some ODDLY PATTERNED CURTAINS that seem to clash with the surrounding decor.
HALEY
And it looks like Katie's been redecorating.
BETH (ON PHONE)
Oh, no. Let me guess. Hippie chic?
HALEY
(laughs)
Something like that. How was yoga?
BETH (ON PHONE)
A-mazing.
Haley raids a nearby cupboard. Grabbing an energy bar for the road. Stuffs it in her pocket.
HALEY
So what was this about Dad being at some job site?
BETH (ON PHONE)
Yeah. Katie said the bank hired him to work on some repossessed properties. I'll text you the address.
Haley's attention drifts to that CHARM BRACELET on her left wrist. It holds a special significance. A long silent beat.
BETH (ON PHONE)
You okay?
HALEY
(eyes welling)
Just been looking at some pictures of Mom.
Wipes away the tears.
HALEY
Sometimes something'll happen at school, and I'll pick up the phone to call her.
(then)
It's not fair.
BETH (ON PHONE)
Oh, honey. I know. Can't believe it's been two years.
(then)
But I'm glad Dad's getting back out there.
HALEY
Katie's fine. It's just... she tries too hard.
BETH (ON PHONE)
Haley, no one's going to replace Mom.
HALEY
I know. Don't get me wrong. I'm happy for him.
HALEY
(looks toward the window)
If only she had better taste in curtains.
A shared laugh. A solemn beat.
HALEY
I wish you were down here.
BETH (ON PHONE)
So do I.
EXT. SOUTHERN FLORIDA - GULF COAST - AFTERNOON
Haley's Outback is back on the road. Crossing over a series of swampy canals. DARK STORM CLOUDS roll in on the horizon.
INT. SUBARU OUTBACK - AFTERNOON
Haley is at the wheel. Downing the Gatorade as she drives. Nursing her hangover. She checks the address on her phone. Then looks up at the visor. That SNAPSHOT of her mom is now clipped there. Watching over her.
EXT. UNFINISHED SUBDIVISION - AFTERNOON
Haley's Outback passes a weathered sign: CORAL LAKE DEVELOPMENT.
INT. SUBARU OUTBACK - AFTERNOON
As Haley searches the empty subdivision, her phone RINGS. She answers it.
BETH (ON PHONE)
Anything?
HALEY
Not yet. I just got here. This place is creepy. Where is everybody?
She cruises the quiet streets. Passing houses in various stages of construction.
BETH (ON PHONE)
Dad said the developer cut a bunch of corners. Can't sell any of the houses till they're up to code.
HALEY
Well I better find him fast. That Gatorade went right through me. I have to pee so bad.
BETH (ON PHONE)
You know, sis, you don't need to share everything.
Haley passes a cul-de-sac. Brakes. Backing up. A HEAVY-DUTY PICKUP TRUCK with a ladder rack is parked on the street in front of a large house. It's the only vehicle in sight.
HALEY
Hold on. I see his truck.
(then)
If he's in one of these houses kicked back watching the game, I am not gonna be happy.
BETH (ON PHONE)
Okay. Just call me when you find him.
HALEY
I will. Right after I pee.
The sisters share a laugh. Haley disconnects.
EXT. CUL-DE-SAC - AFTERNOON
Haley pulls up behind the pickup truck. KELLER CONSTRUCTION is stenciled on the side. She kills the engine. Climbs out. And looks around. A half dozen finished MODEL HOMES line the street. The yards are overgrown. Suburbia gone to seed. A gust of wind carries an empty trash can across the road. It rolls onto the curb. Haley sets the alarm on her car. It CHIRPS. Headlights blink. The wind is picking up. A few drops of rain. She quickly cuts across the lawn.
EXT. ABANDONED HOUSE - AFTERNOON
Haley climbs up onto the front steps. A digital lockbox hangs from the doorknob. She KNOCKS. No answer. Pushes it open.
INT. ABANDONED HOUSE - ENTRYWAY - AFTERNOON
Haley steps inside. Closing the door. A cavernous entryway. The interior is dim and gloomy.
HALEY
(calling out)
Hello?
Listens. The house is completely quiet. Just the sound of the WIND blowing outside. She reaches for a light switch. Flips it. Nothing. Her FOOTSTEPS echo on the tile floor.
HALEY
Dad? You in here?
Haley's doing a little "pee dance." Can't hold it any longer. Searches for the nearest bathroom. She finds a windowless half bath just off the entryway. Flicks the light switch. Nothing happens. No choice. Has to leave the door ajar.
INT. ENTRYWAY BATHROOM - AFTERNOON
Haley sits on the toilet in the darkness. She hears a odd muffled SCRAPING sound. Looks out the open door.
HALEY
Hello...?
Another SCRAAAAPE. It's faint. Far off. She quickly finishes.
INT. ENTRYWAY - AFTERNOON
The FLUSH of a toilet. Haley steps out. Buttoning her shorts. Listens. The sound has stopped. Must just be the wind.
INT. ABANDONED HOUSE - VARIOUS - AFTERNOON
Haley wanders through the rooms. Calling for her dad. The house has a sprawling floor plan. She spots hairline cracks in the walls, hinting at some structural damage. The interior has been stripped. Cables hanging from a mount where a television once was.
HALEY
Well at least they took the TV.
INT. LIVING ROOM - AFTERNOON
She steps down into a sunken living room. The carpet has been ripped up. A water-damaged floor. Exposed planks. She looks up at the ceiling. A huge dark water stain.
HALEY
What a mess.
Haley steps up into an equally damaged DINING ROOM. The floor is soaked and warping. Tools lie in the corner where the wood is rotting. Among them a SLEDGEHAMMER and CROWBAR. Swears she can hear VOICES. Far off. The WIND picks up outside. RATTLING the windows. A WHISTLING sound. Haley follows it to the sliding glass door. It's open just a crack.
EXT. ABANDONED HOUSE - BACKYARD - AFTERNOON
Haley steps out onto the patio. A large in-ground swimming pool. Three-quarters full with murky water. Some empty beer cans floating on the surface. Beyond the pool is a LARGE MAN-MADE LAKE. Palm trees are swaying in the wind. Out on the gulf, the sky has turned menacingly dark. A couple of flashes of lightning. The yard is overgrown. Swampy looking. Moss hanging from the foliage.
HALEY
Dad...? Marco...? Polo...? Anybody...?
The rain picks up. A sudden downpour.
INT. ABANDONED HOUSE - DINING ROOM - AFTERNOON
Haley ducks back inside. Slides the door closed and locks it. Hears the rain PELTING the house. She removes her phone. Dials her dad's number. Waits as it connects. The silence is broken by a faint musical RINGTONE. A muffled song. If you were born in the 70's, you might recognize it. A cheesy pop song from the early 80's called ESCAPE. "If you like piña coladas and getting caught in the rain..." She rolls her eyes. Shakes her head.
HALEY
(mutters to herself)
Dad, you have got to update that ringtone.
Haley lowers the phone. Follows the sound through the house. Into a massive --
INT. KITCHEN - AFTERNOON
Haley finds her dad's TOOLBOX sitting on the floor. Reaches in and pulls out his RINGING phone. She's getting warmer. The SONG stops as the call goes to voicemail. On her own phone, Haley can hear her dad's RECORDED MESSAGE.
DAD (ON PHONE)
Hey, this is Dave. You've reached Keller Construction. Leave a message at the beep.
BEEP! She hangs up. Checks the display on his phone. Sees a bunch of missed calls. Looks around the kitchen. There's a set of HOUSE BLUEPRINTS spread out on the counter. The cabinet doors beneath the sink are open. A disconnected drain pipe. Haley can hear far-off MUSIC. Inspects beneath the sink. CLASSIC ROCK is filtering up from under the house. Her dad must be down there working.
HALEY
(to herself)
Dad, you are not making this easy.
She looks around. Now, how to get down there.
INT. ABANDONED HOUSE - VARIOUS - AFTERNOON
Haley moves back through the rear of the house. Checking the different rooms for an access hatch.
INT. UTILITY ROOM - AFTERNOON
Haley passes through an empty laundry room. In a darkened corner, a gas water heater KICKS on. Scaring the hell out of her. She collects herself. Continues her search.
INT. GARAGE - AFTERNOON
Haley enters a large two-car garage at the back of the house. The garage door has been propped up a few feet. Letting in the elements. Looks like it's been that way for a while. The floor is covered in mud and debris. Haley activates the light on her phone. Panning the cavernous garage. Spots an open storage closet.
INT. STORAGE CLOSET - AFTERNOON
The interior is unfinished. Exposed drywall. There's a hole in the floor. The cover, a loose piece of plywood, sits off to the side. Haley looks down into the hatch opening. It leads into the CRAWL SPACE running beneath the house. She can hear that muffled RADIO. It's definitely coming from down there. Haley aims her phone's light into the darkness. Illuminating the vast crawl space. Dark and dank. The beam of light barely penetrates the gloom. She calls out.
HALEY
Dad? Are you down there?
Haley waits. No answer.
INT. CRAWL SPACE - AFTERNOON
Haley awkwardly lowers herself into the hole and squeezes under. There's just enough clearance for her to squat-crawl without getting dirty. She points the phone's light in front of her. A better look at the underbelly of the house. Takes a deep breath. Heading toward the MUSIC.
HALEY
(mutters to herself)
Can't believe I'm doing this.
Haley makes her way through a maze of wooden support posts that carry the load of the house overhead. After twenty feet, the clearance drops some. She hesitates. Calls again.
HALEY
Dad?!
Haley crouches down. Now crawling forward on her hands and knees.
HALEY
Wish I'd worn some jeans.
She worms her way through the tight space. Scanning with her light. The MUSIC is getting louder. She's moving in the right direction. The beam picks out cobwebs. Growing mold. There's a lot of water damage down here. Heavy-duty pipes run along the ceiling of the space. Covered in condensation. Dripping.
HALEY
(sarcastic, mimicking Beth's voice)
Hey, sis, do me a favor. Go check on Dad. It'll be fun...
The shadows cast by the plumbing and support posts shift as she moves. The effect is slightly disorienting. And very unsettling. The darkness could be hiding anything. A FLASH of lightning outside filters in through a SERIES OF VENTS along the edge of the foundation. Giving us a brief glimpse of the surroundings. It's a mess down here. Exposed dirt and rock. Hanging insulation. Shredded vapor barrier. The muffled RUMBLE of thunder. As Haley inches along, her sweatshirt snags on something. The tip of a RUSTY NAIL digs into her skin.
HALEY
Ow!
She flinches. Pulls free. Inspects her shoulder. Sees that she's bleeding a little.
HALEY
Shit. Hope my tetanus shot is up to date.
Haley continues through the cramped environment. The beam of the phone's light plays off -- A couple of large, cobwebbed TRAP CAGES. Placed down here a while ago to capture unwanted animal intruders. Possibly raccoons. And then forgotten. The RADIO echoes from the darkness. Haley rounds a support post. Squeezing past some DUCTWORK. She reacts to a strange SCRAPING sound. Just like she heard before up in the bathroom. Only now, it's a lot closer. Coming from somewhere in the shadows behind her. She stops to listen. Looks back over her shoulder. Points her phone's light toward the sound.
HALEY
Dad...?
Her eyes scan the space. Nothing there. Just a maze of supports and twisting pipes. The SCRAPING has stopped. Haley is starting to feel slightly uneasy. She continues her search. Behind her, a LARGE DARK SHAPE slips past! Blocking out the daylight from the open access hatch. For just a moment. Then it's gone. Haley pushes deeper. Oblivious. Her phone's light sweeps the darkness. Dust particles hang in the air. She catches a whiff of something putrid. The smell of rot. Haley clears another support and finally finds the source of the music -- A PORTABLE AM/FM RADIO lying on its side in the damp dirt. Near the water shutoff. No sign of Dad. Then she sees a BLOODY HANDPRINT on a nearby support. A dark BLOOD TRAIL in the dirt. Stretching into the shadows. Haley GASPS, realizing something is terribly wrong.
HALEY
DAD!
Haley is moving faster now. Following the dark streak on the ground. More frantic.
HALEY
Dad, it's Haley. Where are you?
Passing a dropped PIPE WRENCH. A shredded TOOL BELT. Another BLOODY HANDPRINT on a support. She encounters a NETWORK OF TWISTING PIPES. Gets flat on her stomach and squeezes under. There's a little more clearance on this side of the plumbing. She sits up. In the distance, she can make out the DARK OUTLINE of a body lying in the dirt.
HALEY
Oh God, no...
She quickly crawls forward. Her phone casts a light on her DAD. Face down. Motionless. Haley turns him over. His shirt is drenched in blood. She shakes him. Trying to revive him. Tears streaking her cheeks.
HALEY
Dad! Wake up.
He COUGHS and GROANS. Still alive. Haley's overwhelmed with relief. Her dad's eyes open halfway.
DAD
...Maggie?
HALEY
No. It's Haley.
He's listless. Fading in and out. Eyes struggling to focus.
HALEY
It's okay. I'm here. What happened?
She uses the phone's light to get a better look. His left arm is mangled. Covered in puncture marks. Bleeding badly. She inspects the injury.
HALEY
What the hell did this?
His other hand is still clutching his flashlight. It's turned off. Haley gently takes it from him. Frantically checks her phone. No SIGNAL.
HALEY
Shit.
Her dad's mind is slowly clearing. Looks up at his daughter.
DAD
Haley...?
HALEY
(with a sense of urgency)
We've got to get you out of here.
A sudden look of panic fills his eyes. Struggling to get the words out.
DAD
No... you shouldn't be down here...
She ignores him, pulling off her sweatshirt. Sets the phone down so she can work faster. Ripping the fabric into strips. She needs to stop the bleeding. Wraps up his arm. Tying it off. Creating a makeshift tourniquet. Her dad COUGHS.
DAD
(weak)
Go... you need to go...
She looks at him.
HALEY
Not without you.
Haley glances back in the direction she came. The light of the OPEN ACCESS HATCH is a long way off. Barely visible through all the looming pipes and supports. As she begins to move her dad, he winces. CRIES OUT in pain. Haley sees that his right leg is twisted at an odd angle. She probes the surface of his jeans just below the knee. Another anguished CRY. His leg must be broken. She looks around but can't find anything to splint it. Haley checks her phone again for a signal. Still nothing. Shoves it in her pocket.
HALEY
Dad, this is gonna hurt, but we need to move you.
She reaches under his arms and begins pulling him with all her strength. Her dad grits his teeth. GROANS as Haley drags him back.
HALEY
I know. I'm so sorry.
The pain is too much. He passes out. Haley tries to keep it together and not panic. She's never seen her dad hurt before. He's always been the strong one. She continues. Inching him along. It's painfully slow. Difficult to get enough leverage in this tight space. Haley reaches that low network of pipes. Now what? Somehow needs to get him under. She checks the makeshift bandage on her dad's arm. It's helped slow the bleeding. Makes sure the knots are still tight. As she works, she senses something moving out in the darkness. Hears that familiar SCRRRAAPING... It's getting closer... A low BELLOW. Her heart catching in her throat. Haley turns in the direction of the sound. Fishes the phone from her pocket. Switching on the light. Scanning the shadows. WHAM! The JAWS OF AN ALLIGATOR EXPLODE from the darkness. SNAPPING closed just inches from Haley. She SCREAMS. Scrambling back. SLAMS her head into a low-hanging beam. Dropping the phone. Haley's dazed. Ears RINGING. Struggling to focus. The HUGE REPTILE pulls back into the shadows. A stunned beat. Haley's still in shock. Then -- The creature SMASHES into the pipes again. A nightmarish glimpse of its hideous teeth as it bites down. Another near miss. Haley gets her bearings. Grabs her dad. Desperately pulling him back in the other direction. Away from the attacking REPTILE. The animal THRASHES wildly. Trying to wedge itself through a gap in the pipes. But as hard as it tries, the huge creature can't get any closer. It GROWLS in frustration. Spins away. Giving us a glimpse of its MASSIVE FORM. Haley turns back. Makes a grab for her phone. Reaching it just as -- The reptile's long tail SWEEPS beneath the pipes. Knocking the phone away. Haley hears it CLATTER out into the darkness. As the REPTILE retreats back into the shadows. SCRAPING across the ground as it moves off. She turns her attention to her dad. He's semi-conscious.
HALEY
Dad, stay with me.
She finds his flashlight. Clicks it on. Checks the shadows surrounding them. Worried that thing will find another way in. There's a low-hanging section of the subfloor running perpendicular to the pipes. Must be the sunken living room. A RUSTLE of movement on the other side. She sees the reptile's long body SLITHER past. That low-hanging section is forming a protective barrier. Her dad starts COUGHING. Lips parched. Haley looks around. Finds a leftover piece of her sweatshirt. Holds it under a dripping pipe. Letting the fabric become saturated. She moves it to her dad's lips. Wrings out the water. He gulps it down. Haley does it again. Nursing her dad back. He's slowly coming out of it. Swallows. Looks at his daughter. She gently strokes his face.
HALEY
Are you okay?
Her dad nods weakly.
HALEY
How did that thing get down here?
He's slightly hoarse. Still trying to find his voice.
DAD
(haltingly)
I don't know... Must've come in through the garage.
Haley helps her dad sit up. She nervously checks the shadows.
DAD
We should be alright back here. The clearance is too low. It can't get through.
Another COUGH from her dad. He's still clearly in a lot of pain.
DAD
How'd you know I was here?
HALEY
Katie got worried when you didn't answer your phone.
DAD
(brightens a little)
She called you?
HALEY
Yeah. Something like that.
Haley remembers the energy bar. Fishes it from her pocket. Peels back the wrapper.
HALEY
Here. Eat this.
He takes a bite.
DAD
(chewing)
I came down to inspect the damage. See if I could shore up the kitchen floor. That's when it got me.
Haley takes a closer look at her dad's wounded leg. His jeans encrusted in blood. Denim shredded.
DAD
My leg got twisted up in one of those pipes.
She rips open his pant leg. Gasps. Seeing the exposed bone pushing through the skin.
HALEY
Dad, this is bad. We have to get you to a hospital.
Haley looks toward the open hatch. Knows the reptile is somewhere nearby.
HALEY
I need to find my phone. So we can call for help.
DAD
Haley, no... you can't go out there. It's too dangerous.
HALEY
I can make it.
DAD
Please don't...
HALEY
What do we do then? Just wait here?
Her dad reaches out toward his daughter. She takes his rough, calloused hand. Gives him a reassuring look.
HALEY
I'll be right back.
He's too weak to stop her. Tears in her eyes.
HALEY
Stay here. Okay?
He forces a smile.
DAD
Where am I gonna go?
There's her old dad. Brings a smile to her face. Haley starts back toward those crisscrossing pipes. He watches her go, uneasy. She approaches the area quietly. Staring into the inky black. Sees the faint glow of her phone out in the shadows. Maybe fifteen feet away. Haley switches on her dad's flashlight. Checks the surrounding space. Searching for the reptile. Where the hell did that thing go? Catches a glimpse of it. Lurking beneath the OPEN ACCESS HATCH. Seems far enough away. She clicks off the flashlight and tucks it into the waistband of her shorts.
HALEY
(quietly to herself)
You can do this.
Swallows her fear. Carefully squeezes beneath the pipes. Moving out. Haley creeps toward her phone. Following the dim light. Never stops scanning the darkness. Breathing hard. Her heart in her throat. She's halfway there. Can still see the reptile's DARK OUTLINE guarding that OPEN HATCH. Keeps going. Finds her phone. It's slipped beneath a slightly raised DRAIN PIPE. Just out of reach. She pushes her hand under. Through gritted teeth.
HALEY
Come... on...
Haley flattens herself. Reaching deeper. Stretching... Touching it. All the while keeping an eye on the alligator in the distance. She gets hold. Pulling the phone toward her. Yanks it out. Haley switches off the phone's light. Looks back toward the hatch. The animal hasn't moved. The display is covered in mud. She quickly tries to wipe it off. There's a signal. It's weak. But it's there. Holds the phone up toward the subfloor. Getting an extra bar of reception.
HALEY
Yes.
Haley dials 9-1-1. Anxiously waits as it rings...
HALEY
(softly)
C'mon. C'mon. Pick up!
Haley looks back toward the garage access hatch. The reptile is gone!
HALEY
Shit.
Her eyes nervously study the shadows. She's trying not to panic. An OPERATOR finally answers. A broken connection.
OPERATOR (ON PHONE)
Hello... 11... your emergency.
HALEY
(keeping her voice low)
Help. You need to help us.
OPERATOR (ON PHONE)
I'm sorry, what is your emergency?
HALEY
We're trapped. Under a house. There's an alligator --
A RUSTLE of movement catches Haley's attention. She reacts as -- The REPTILE creeps into view on the other side of that DRAIN PIPE. Just a few feet away. Haley SCREAMS! Frantically crab crawls backwards as -- The animal CLIMBS over the pipe. She flips onto her stomach. Scrambling on hands and knees through the dark space. Trying to get back to her dad. The reptile follows. Closing in fast. Lunges -- Jaws CLAMPING down on her left leg! Teeth tearing into flesh. Haley CRIES out in pain! Tries to kick free. The animal THRASHES. Dragging her back. Huge mouth locked onto her lower leg. It yanks Haley further into the shadows. Swinging her around like a rag doll. SLAMS her into a support post. Knocking the wind out of her.
HALEY
Ugh!
The impact sends the phone flying. Haley's dazed. Bleeding from a gash in her forehead. Her fingernails clawing at the ground. Arms flailing, grasping for a handhold. The reptile pulls. Twisting its head. Hauling her back through the darkness. It's ferocious. Brutal. Haley has to act fast. Catches one of the vertical supports. She hangs on for dear life. Arms wrapped around the post. Fighting each horrible pull. A tug of war. Haley SCREAMS in pain. Her hands start slipping off the support post. The reptile thrashing wildly. Trying to break her grip. Haley kicks it with her free leg. Jamming the heel of her sneaker into its snout. Again and again. Trying to get loose.
HALEY
LET... GO!
Finds the animal's eye. Makes contact with a gouging kick. The animal flinches. Losing its grip. Just enough for Haley to pull free. She crawls like hell. Adrenaline pumping. Clawing her way to safety. The beast recovers. Takes off after her. Haley scrambles her way through the supports. Trying to shake it. The lower half of her left leg punctured and bleeding. She looks back. Wishes she hadn't. The REPTILE is ten feet away and closing... It's almost on her. Haley spots one of those old cobwebbed TRAP CAGES. Instinctively grabs the three-foot metal cage. Dragging it into the reptile's path. Positioning it between her and the attacking animal. The reptile CRASHES into the side of the cage. With so much force that it dents the wire frame. Shoving Haley back a few feet. The impact vibrating up her arms. Kicking up a cloud of dust. Haley coughs. Clinging to the metal cage. She can hear her dad shouting her name in the distance.
DAD (O.S.)
HALEY!
No time to respond. The reptile rears back. HITS it again. Driving the cage and Haley back another couple of feet. But Haley hangs on. Using all her strength to keep the cage between her and the raging animal. The reptile SNARLS in frustration. Lashing against the metal. Jaws clamping onto the wire mesh. It backs up with the edge of the cage in its mouth. Dragging Haley with it. The cage snags on a support post. The reptile lets go. Trying to move around it. But Haley keeps the cage between them. It retreats a few feet. Gets a running start. Haley quickly spins the cage around. So the opening is pointed toward the charging animal. The alligator SMASHES into the front of the cage. Its snout punching through the trap's gate. Its narrow head now wedged inside. The reptile is wearing the cage like a wire muzzle. This only seems to make it madder. The animal THRASHES around wildly. Swinging its huge head side-to-side. Knocking the cage into the surrounding supports. Trying to work it off. Giving Haley a chance to scramble away. The wire cage RATTLES as the reptile tears at it from inside. Gnashing its teeth. As Haley flees, she becomes entangled in a mass of electrical wires hanging down from the ceiling of the crawl space. The reptile finally manages to get free. Flinging the cage aside. The barrier between them gone. Fuck! She's exposed. Haley tugs at the twisting wires. Ripping them free from the staples holding them in place overhead. A low menacing BELLOW. The reptile's advancing. Slows down... Sees that she's stuck. Like a fly trapped in a spider web.
HALEY
No!
Haley desperately worms her way through. Using every ounce of her strength. Gets loose. Crawling out the other side. The reptile follows. Tangling itself up in the same mess of hanging wires. Slowing the animal's progress. Haley can hear it STRUGGLING behind her. She kicks with her good leg. Pushing herself forward. Ignoring the pain. The reptile rips free from the wires. SCRAPING along the ground. Crawling after her. It lunges. Jaws SNAPPING down. Just missing her. The reptile makes another snatch at Haley. Overshoots. CRASHING into a support. Haley flattens herself, squeezing under a gap near the foundation. The reptile tries to follow. But the clearance is too low. It can't open its mouth enough to grab her. Haley rolls out of the way. Taking shelter behind a couple of four inch pipes running horizontal to the ground. A small pocket of space here. The pipes on one side of her. The foundation wall on the other. Haley catches her breath. Collapsing back against the concrete. Exhausted. In intense pain. Sees that MONSTROUS BEAST pacing along on the other side of the pipes. Its tail SCRRRAAPING the ground. The REPTILE turns. Its eye is right there! Looking in at her through the pipes. Another low menacing BELLOW. It suddenly spins away. Haley's attention remains fixed on the reptile as it slinks back into the darkness. The SCRRRRAAAAPING sound fades off. Haley tries to get her breathing under control. Her whole body trembling. Happy to be alive. Her dad anxiously calls from the shadows. His VOICE far off.
DAD (O.S.)
Haley, what's happening!?
HALEY
(yelling back, breathless)
Dad. I'm okay. Stay there.
She removes the flashlight from her waistband. Switches it on. Scanning it over her leg. Inspecting the damage. It's riddled with puncture marks. Blood running down her calf.
HALEY
Shit.
She applies pressure to the injury. Searches for something to stop the bleeding. Sets the flashlight down. Rips off pieces of VAPOR BARRIER. Haley grits her teeth. Wrapping the meshed material around her wounded leg. CRYING OUT as she ties it off. It's like doing surgery in a closet. Haley inspects her makeshift tourniquet. The bleeding has stopped. For now. She takes a moment to gather her strength. The pain visible on her face. Picks up the flashlight. Examines the narrow space. Listens... Just the sound of that far-off RADIO and the STORM outside. WIND and RAIN lashing the house.
HALEY
Dad...?
She sees a chalky water line halfway up the foundation wall. Indicating that at one point this crawl space was flooded. And a reminder that it could happen again.
DAD (O.S.)
Yeah. I'm here.
Up ahead. In the darkness. A sliver of DAYLIGHT.
HALEY
Hold on. I think I found something.
Haley crawls toward it. Dragging her damaged leg. Creeping along the foundation. Finds one of those VENTS set into the concrete. Narrow slats allowing for air flow. But not much else. The opening is tight, but if she can get the cover off, maybe she can squeeze through.
HALEY
Dad, there's a vent. I'm gonna see if I can get out.
Haley kicks at the vent cover with her good leg. Again and again.
HALEY
C'mon... c'mon...
Gives it a final frustrated kick. The cover's not budging. It's bolted into the concrete foundation from outside.
HALEY
Dammit!
She looks out through the vent's narrow slats. HALEY'S POV An air conditioning unit is partially obscuring her view of the street and a neighboring house. BACK TO SCENE Haley looks around. Clicks on the flashlight again. Panning the crawl space. Always checking to make sure she's safe.
DAD (O.S.)
Haley, where are you?
HALEY
I don't know. I can see an air conditioning unit. And some of the street.
DAD (O.S.)
That's good. It sounds like you're near the front of the house. There's another access hatch in the entryway closet.
A silent beat. Haley studies the floorboards overhead.
HALEY
Okay. So how do I get there?
HER DAD -- Lying there in the darkness. Feeling helpless. Tethered to this spot.
DAD
You need to crawl along the foundation. Until you reach the wet wall.
HALEY (O.S.)
Wet wall?
DAD
Yeah. Where all the pipes go up into the house. Follow it. That runs along the entryway.
Her dad hears rainwater filling the pipes. Rushing into nearby storm drains. Seems distracted by all the water DRIPPING down through the subfloor. Feels it collecting around him. This section of the crawl space is starting to flood.
HALEY (O.S.)
Dad, I don't know where the alligator went. Can you see it?
Her dad hears MOVEMENT in the distance. Squints into the gloom. Sees a FAINT OUTLINE of the reptile slinking beneath the garage.
DAD
It's over near the open hatch.
Realizes he needs to get a better view of what's going on. In the shadows, on the other side of those low twisting pipes, he can see his shredded TOOL BELT. HALEY -- Studies the darkness one more time just to make sure. Clicks off the flashlight.
HALEY
Okay.
(under her breath)
Here goes.
Haley begins moving along the foundation wall. Feeling her way through the darkness. Using her good leg to push her along.
EXT. ABANDONED HOUSE - AFTERNOON
The storm is really lashing at the house. Downspouts have backed up. Water pooling on the lawn.
INT. ABANDONED HOUSE - LIVING ROOM - AFTERNOON
Inside the house, the roof is leaking badly. Water trickles down onto the subfloor and into the crawl space below.
INT. CRAWL SPACE - AFTERNOON
Her dad hears the water coming in as he slowly pulls himself across the wet ground. Focused on reaching that network of pipes. The portable RADIO continues playing out in the darkness. The CLASSIC ROCK is interrupted by a series of emergency service BLEETS. Then a MONOTONE VOICE.
RECORDED VOICE (ON RADIO)
The National Weather Service has issued a flash flood warning for parts of Southern Florida including all of Lee, Monroe, and Collier Counties. Residents are asked to shelter in place and avoid low lying areas.
RECORDED VOICE (ON RADIO)
Excessive runoff from heavy rainfall is expected to cause major flooding.
DAD
(muttering to himself)
Yeah. No shit.
He continues working himself through the cramped space. Toward his TOOL BELT. HALEY -- Sneaks along the front of the house. Keeps the flashlight off. Doesn't want to give away her position. She studies the pipes. They all seem to be converging at the same point overhead. That must be the wet wall. Haley moves away from the foundation. Rolling onto her back. Looking up at the subfloor. Tries to orientate herself. Searching for that second access hatch. She suddenly spots it. Cut into the floorboards overhead. There's a DARK CLUSTER hanging near the front edge of the hatch. Haley brushes it away. Unknowingly waking -- A large nest of HARVESTMEN SPIDERS that have made this damp crawl space their home. Hundreds of LONG-LEGGED SPIDERS drop from overhead. Falling into Haley's hair. Onto her face. She's FREAKING OUT. Writhing wildly. Trying to shake them off. Fighting the urge to scream. Has to keep her mouth closed. They crawl all over her... Scattering off into the shadows. Haley desperately swipes away the stragglers. Collects herself. A shudder of disgust.
HALEY
(mutters to herself)
I fucking hate spiders.
She nervously glances back over her shoulder. Checking for the reptile. Then hits up against the hatch. Dust and dirt filters down from above with each impact. But the cover won't budge. Haley grits her teeth. Quietly shoulders it up. Pushing with all her might.
INT. ENTRYWAY CLOSET - CONTINUOUS
Boxes of unused ceramic tiles are piled on top of the hatch. They shift slightly as Haley pushes up from below.
INT. CRAWL SPACE - CONTINUOUS
Haley repositions herself to get more leverage. Straining. Pushing with everything she's got. Inching the cover up. The hatch door rises a few inches. Then catches. Something's preventing it from opening any further. Haley, struggling to keep it up, works her fingers through the gap. CLOSE ON HALEY'S FINGERS Feeling along the edge. Finding a metal hasp. A SQUARE PADLOCK holding it in place. ON HALEY Pulling her hand back. A defeated breath. She lets the hatch drop. Slumps back against a wooden support. Their chance of escape slipping away. A long, quiet beat. Thinking of her dad. Shakes it off.
HALEY
Come on, Haley. Keep it together.
(then, calling out)
Dad...?!
HER DAD -- Is preoccupied. Lying on his side. Stretching his good arm under the intersecting pipes. Trying to reach his TOOL BELT on the other side. Every move for him is painful.
DAD
(through clenched teeth)
Yeah, honey. I'm here.
HALEY (O.S.)
Dad? I can't get it open. It's locked. What should I do?
He tries to hide his disappointment.
DAD
That's okay. Come on back. We'll figure something out.
HALEY -- A beat. She's thinking. A FLASH of lightning spills in through the foundation vents. Giving Haley an idea.
HALEY
I'm gonna try prying off another vent cover. Maybe one of them is loose.
HER DAD -- Looks toward the open access hatch for that reptile.
DAD
No. Haley... don't. They're bolted on.
His voice is drowned out by the RUMBLE of thunder. HALEY -- Isn't giving up. She cautiously makes her way through the darkness toward the edge of the house. Searching for the nearest vent. She stops. Listens. Hears a faint BUZZING. Off to her left. Her PHONE. It's VIBRATING somewhere in the shadows. Haley shifts directions. Moving quietly. Trying to follow the sound. HER DAD -- Successfully snags the tool belt. Pulls it close. We now see what he was after. He retrieves a HEADLAMP from one of the pockets. A long, low SCRRRRAAAPE... The reptile is on the move again. Her dad quickly clicks on the headlamp. Turns the beam toward the sound. Catching a glimpse of the REPTILE as it slips past. Moving toward his daughter.
DAD
(with sudden urgency)
Haley!
HALEY -- Finds herself in an area sectioned off by large pieces of ROTTING INSULATION. They hang down from the ceiling like Spanish moss. Obscuring her view. She's busy searching the ground around her. Puddles everywhere.
HALEY
Dad, hold on. I can hear my phone.
DAD (O.S.)
Haley, it's coming your way!
With this news, Haley picks up the pace. Feeling in the darkness... Finally finds her phone lying face down in the mud. Hears the REPTILE coming. SPLASHING and SCRAPING. Getting closer... Haley stuffs the phone in her pocket and crawls. A large piece of hanging insulation shifts as -- The reptile pushes beneath it. Stops. Twisting its huge head. Studying the darkness. Haley is gone. ON HALEY -- Crawling for her life. The hanging insulation giving her cover. She slips on the muddy surface. SLAMMING her damaged leg into a support. Ugh! Hurts like hell. Haley recovers. Keeps going. Taking shelter behind another large post. Hears the RUSTLE of movement. More hanging insulation shifts nearby. She holds her breath as -- The REPTILE stalks past. On the prowl. It lingers a moment. Then keeps going. The SCRRRRAAAPING sound moves off. It's lost her in the darkness. Haley tries to remain silent. A long, quiet beat. Then -- The phone into her pocket suddenly BUZZES with a message. The REPTILE whips around. Honing in on the sound. And on Haley. Shit! She takes off. Scrambling furiously. Survival instinct kicking in. Ignoring her wounded leg. Heart pounding out of her chest. Making her way toward a LONG, RECTANGULAR METAL DUCT running along the top of the crawl space. Less than a foot of clearance beneath it. Haley crawls desperately. Moving through standing water. Sensing the REPTILE closing in right behind her. She dives for the duct. It's a tight fit. Manages to squeeze most of her body under -- But her RIGHT SNEAKER snags on a metal edge. Haley quickly works to unhook it. Can't get it loose. Yanks off her shoe. Pulling her bare foot under. Emerging on the other side -- Into a narrow passageway between the duct and the house's foundation. Haley falls back against the concrete. Catches her breath. Shaking. She checks her pocket for the phone. It's not there! Must have slipped out during her mad dash. Haley looks back under. Sees the phone lying just on the other side of the duct. As she reaches for it -- A huge claw comes CRASHING down! CRUSHING the phone into the mud. Shattering the display.
HALEY
(lost)
No...
Haley pulls back. Devastated. Hugging her knees to her chest. Her last chance to call for help now gone. She can hear the reptile furiously CLAWING on the other side of the duct. Ripping at the vapor barrier. It lunges into the gap. Trying to burrow its way under. Not enough room. The alligator backs out. Giving Haley a chance to catch her breath. Now what? An anxious beat -- The REPTILE SLAMS its weight into the metal surface from the other side. The loud THUMP shakes the duct. Causing Haley to jump. Another HIT. The sound is deafening. And another. The bolts mounting the duct to the joists overhead SNAP. One after another. A section of the ductwork breaks free. SPLASHING down into the muddy water. The REPTILE continues POUNDING against the surface. The whole structure now sliding. The space on Haley's side is slowly collapsing.
DAD (O.S.)
Haley, are you okay?
A panicked Haley braces herself. Pushing back against the duct with her good leg. Trying to hold it in place.
HALEY
(under her breath, through gritted teeth)
A little busy... right now...
Feeling each impact from the powerful animal. The POUNDING stops. A tense beat. Her worried dad continues calling.
HALEY
(yelling back)
Dad, I'm alright! Hold on.
The silence is suddenly broken by that dreaded wet SCRRRRAAAPING on the other side. The REPTILE is on the move again. SCRATCHING against the duct as it crawls. Where's it going? Haley clicks on the flashlight. Looks down the length of the passageway. Sees that, after twenty feet, the duct ends. Turning up into the house. Just then the BEAST rounds the corner. Eyes reflecting red in the beam of her flashlight. Blocking that end of the passageway. Oh, shit! Haley turns and frantically heads in the opposite direction. Hears SCRATCHING and SPLASHING behind her as the reptile slowly pushes itself between the duct and the foundation wall. It's tail BANGING against the metal as it moves. Up ahead, the duct bends to the right. Haley scrambles around the corner -- Reaching a DEAD END. The opening is sealed off with plywood. She's cornered. Looks back. Sees the alligator closing in. But Haley's not ready to give up. Kicks wildly at the flimsy plywood. Manages to knock one side loose. Haley squeezes out. Wedging the plywood back into place just as -- The REPTILE thrusts its snout sideways through the gap. Getting it caught between the bending duct and the edge of the plywood. Haley pushes with all her weight against the plywood. The animal is trapped. Pulling back. Trying to escape. Its broad snout just inches from Haley. SNARLING and HISSING. Struggling to get free. Haley can't hold it much longer. Sees a NARROW OPENING in the foundation. Several yards away. She lets up on the plywood just as -- The animal gives a hard backward yank. Slipping back behind the duct. Haley dives for that narrow opening. Rolling onto her side. Presses herself through the tight entrance -- Into a concrete CUBBYHOLE. A recessed portion of the crawl space. The size of a walk-in closet. Haley backs up. The ground is very muddy and wet back here. She finds a piece of rebar lying on the muck. Grabs it for protection. Gripping it tight. Clicks off the flashlight. THE REPTILE -- CRASHES through the plywood. Pulling itself free from the passageway. Prowling the space. Hunting for Haley. HALEY -- Can hear the animal SNIFFING close by. Raspy BREATHING. Then a long, low guttural GROWL. The reptile looms outside the narrow entrance. Staring in. Knows she's there. Just out of reach. Haley's fed up. Thrusts the end of the rebar out the opening. JAMMING it into the reptile's snout. The creature retreats slightly.
HALEY
Go away! Get out of here!
Haley winces in pain. Inspects her damaged leg. She's bleeding through the tourniquet. Redresses it. CRIES OUT as she tightens the knots. HER DAD -- Uses the headlamp to look around. Anxiously waiting for word from his daughter. Its weak beam of light cuts through the darkness. Revealing all the water dripping off the pipes. Leaking down through the subfloor. It's a swampy mess. Much worse than he thought. Sees more rainwater spilling in through those side vents. Collecting into large pools of standing water. Realizes he needs to do something. Spots a RUBBER HOSE snaking along the ground beneath the SUNKEN LIVING ROOM. Some sort of discharge line. Pulls himself forward with his good arm. Moving in small increments. Reaches his shoulder under that low-hanging section of subfloor. Straining. Getting close enough to grab the hose. And reel it in. The end is attached to a portable SUMP PUMP. Left down here from previous flooding. This could buy them some time. He pushes it into the rising water. Flips the switch from AUTOMATIC to MANUAL. It doesn't start. Frustrated, he flips the switch back and forth. Still nothing. Lifts the pump's housing from the water. Opens a compartment at the back. The battery pack is empty. Her dad looks back toward that radio CHATTERING in the darkness. Pulls himself toward it. The slurry of muck and water is making it easier for him to move. HALEY -- Hears the reptile creeping back toward the narrow opening. She clicks on the flashlight. Points it directly at the beast. Shining the blinding beam into its eyes. The alligator GROWLS irritated. Backing away. Sensitive to the bright light.
HALEY
That's right. Get your slimy ass out of here!
The reptile keeps backing up. Moving into the shadows. Out of the beam's reach. Haley detects a RUSTLE of movement behind her. Looks over her shoulder. A RABBIT hops into view. Just a few feet away. A Cottontail. Nose wiggling wildly. It's made this corner of the crawl space its home. Haley freezes. Not wanting to scare it. The rabbit pauses. Motionless. Its black eyes staring back at her.
HALEY
(whispers)
Don't worry. I'm not gonna hurt you.
The frightened animal suddenly darts off. Scurrying for the entrance.
HALEY
No...
Haley makes a desperate grab for it.
HALEY
...don't...
But she's too late. It slips through her hands. Fleeing out the narrow opening. Into the open crawl space. The reptile STRIKES. Lunging from the shadows. It's fast and vicious. Huge jaws SNAPPING down on the unsuspecting rabbit. Teeth chomping and grinding. It's over in seconds. The alligator turns toward Haley. Eyes reflecting a deep red in the low light. Finishes chewing. A bloody grin. It's taunting her. Haley YELLS in frustration.
HALEY
FUCK YOU!
The reptile lumbers off. She backs up. Her rage turning to despair. Lies there a moment. Tears welling. A pile of fallen insulation near the rear of the cubbyhole shifts slightly. Haley cautiously pushes it aside. Revealing -- Two YOUNG BUNNIES. A few weeks old. Furred. Crawling over one another. Eyes open. Helpless. And now orphaned. They're wet, cold, and shaking. Water is spilling in from somewhere along the concrete wall. Haley follows it back to its source. Finds a SIX-INCH CUT-OUT in the foundation. An opening just big enough to reach her arm out. The meshed screen on the other side has been chewed through. Haley looks back at the bunnies.
HALEY
So that's how your mommy got in here.
She considers her options. Can't push them out there. They'll drown. And she can't leave them here. Haley quickly packs the hole with insulation. Trying to stop the water from coming in. Slows it to a trickle. Then she scoops up the young bunnies. Wraps them in her tank top. Holding them close to her chest. Moves toward that opening. She CLICKS on the flashlight. Looks out into the empty crawl space. The alligator appears to have moved off. Haley turns off the flashlight. And, armed with that piece of rebar, carefully creeps out. She's cradling the bunnies. Trying to move quietly. Eyes searching for the reptile. HER DAD -- Is now lying near those twisting pipes. Using his shredded tool belt in an attempt to snag -- The PORTABLE RADIO. It's floating in the rising water on the other side of the plumbing. Just a few feet away. He tosses the belt. Trying to hook it. But misses.
DAD
Come on...
Tries again. Closer -- But another miss. A final attempt. This time the buckle manages to catch onto the antenna. He carefully pulls the radio toward him. Removes the batteries. And begins the slow crawl back to the sump pump. Using the floor joists to pull himself along. Occasionally stopping when the pain is too much. This simple task is exhausting. He reaches the pump, lifts the housing from the water, and inserts the batteries. Her dad sets the base back down. Submerging it. Flips the switch. A hesitant beat... The pump CHOKES to life. He can hear water GURGLING out through the discharge line. Shines his headlamp along the hose snaking toward the foundation. Hopefully draining out away from the house. The beam of light flutters slightly. Close to dying. Her dad shakes it back to life. HALEY -- Notices that the MUSIC from the radio has stopped. An eerie silence. Can't call to her dad. Too worried she'll give away her location to that reptile. She hugs the side of the foundation. Dragging her injured leg. With one arm holding the squirming bunnies. Awkwardly inches her way through the darkness back toward that locked entryway hatch. This time she easily finds it. Shoulders the cover up the few inches the padlock will allow. Using the rebar to prop it open. Haley gently pushes the ORPHANED BUNNIES through the gap. One of them turns. Trying to make its way back through. Looking for its mother. She tenderly nudges it out. A sad smile.
HALEY
No, honey. Stay there. You'll be safe.
Haley carefully removes the rebar. Letting the hatch cover gently drop back into place. Exhales. A small victory.
HALEY (CONT'D
(mutters to herself)
Now, how the hell are we getting out of here?
From her position, she spots the REPTILE through the maze of supports. It's lurking beneath the garage hatch. Lying in a few inches of muddy water. Haley can hear more water DRIPPING all around her.
HALEY
(calls into the darkness)
Dad, this crawl space is flooding. What are we gonna do?
DAD (O.S.)
I don't know. But I got the sump pump working. It should buy us a little time.
HALEY
Okay. I'm coming back. Keep an eye on that thing for me.
DAD (O.S.)
I will. Be careful.
She starts crawling toward his VOICE.
EXT. CUL-DE-SAC - LATE AFTERNOON
A SECURITY VEHICLE slowly cruises down the flooded street on patrol. It circles back. And parks facing her dad's pickup truck.
INT. SECURITY VEHICLE - LATE AFTERNOON
BOBBY (23), a good-looking kid. Mustache unable to hide his boyish face. The chatter of the car radio keeps him company.
RADIO ANNOUNCER
...due to heavy rain and gale-force winds, authorities have asked that all non-emergency vehicles stay off the roads...
He turns the volume down. Sits, looking out his windshield at the TRUCK and HALEY'S OUTBACK. Wipers THUMPING. Bobby checks a clipboard on the passenger seat. Writing down some notes. Pulls up the hood on his rain jacket, opens the door, and steps out into the pouring rain.
INT. CRAWL SPACE - LATE AFTERNOON
Haley hears the distinct THUMP of a car door. Looks toward the front of the house. Unsure if she actually heard it. She changes directions. Quickly works her way through the cramped space. Swatting away cobwebs. Drops the rebar so she can crawl faster. Reaching a VENT set into the front of the foundation. She leans close. Peering out through the narrow slats. HALEY'S POV A partially obscured view of the front yard. She can see her dad's pickup truck. Lit by the headlights of the security vehicle. Bobby's outside walking through the heavy rain toward the truck. BACK TO SCENE Haley can't believe it.
HALEY
(yells)
EXT. CUL-DE-SAC - LATE AFTERNOON
Bobby uses his flashlight to look into the pickup's gloomy interior. Then turns toward Haley's Outback.
INT. CRAWL SPACE - LATE AFTERNOON
Haley glances over her shoulder. Shouting to her dad.
HALEY
Dad, there's someone outside!
She shifts her attention back to the vent. Continues SCREAMING.
HALEY
Help! HELP!
HITTING her fist against the metal cover. Trying to get Bobby's attention.
EXT. CUL-DE-SAC - LATE AFTERNOON
But the POUNDING RAIN drowns out her cries. Bobby scans the handful of empty houses. Debates whether it's worth calling in a couple of abandoned vehicles.
INT. CRAWL SPACE - LATE AFTERNOON
Haley has her face up against the vent. Water's trickling in through the louvers.
PLEASE!
YOU NEED TO HELP US!
On the other side of the crawl space, her dad has joined in. Yelling at the top of his lungs.
DAD (O.S.)
HELP!
DOWN HERE.
TRAPPED!
HEY!
It doesn't seem to be working. Haley takes a different tact. Grabbing the flashlight.
Shines it at the vent.
Panning the beam over the slats. Clicking it on and off.
EXT. CUL-DE-SAC - LATE AFTERNOON
At the base of the foundation. The other side of that VENT. A flicker of light. Barely visible through the rain. Bobby doesn't see it. He's already headed back toward his vehicle.
INT. CRAWL SPACE - LATE AFTERNOON
Haley realizes that he's leaving.
HEY!
Desperate to get his attention.
WAIT! DON'T GO!
Hope draining away.
Then she sees her Outback. Haley reaches into her pocket. Pulls out her car keys. Fumbling for the button. Pointing the keychain toward the vent.
EXT. SECURITY VEHICLE - LATE AFTERNOON
Bobby is climbing behind the wheel when -- The Outback's alarm KICKS ON. He reacts. Turning toward the car. Its alarm WAILING. Headlights flashing. Bobby cautiously steps from his vehicle. His hand on his belt. Is somebody messing with him? He shifts his attention to the nearby house. Decides he better check it out.
INT. CRAWL SPACE - LATE AFTERNOON
Haley watches as Bobby crosses the lawn toward the front door.
HALEY
Come on... yes.
Haley BLEEPS off the car alarm to hear better.
HALEY
Dad, he's coming in!
Muffled FOOTSTEPS. The CREAK of floorboards. A muted "hello?" Haley heads toward the sounds. Trying to get closer. POUNDING up on the floorboards.
HELP!
DOWN HERE!
INT. ABANDONED HOUSE - ENTRYWAY - LATE AFTERNOON
Bobby stands in the entryway. Panning his flashlight over the darkened interior. Listens... Just the sound of the HEAVY RAIN.
BOBBY
Anybody home?
A FLASH of lightning illuminates the inside of the house.
INT. CRAWL SPACE - LATE AFTERNOON
Haley keeps moving. SLAMMING her fist into the floorboards overhead. Trying to get Bobby's attention. Her knuckles getting scraped up and bloody. Haley screams. Voice growing hoarse and raspy.
HELP!
WE'RE TRAPPED DOWN HERE!
DAD (O.S.)
Haley, I don't think he can hear you. Try banging on the pipes.
Haley retrieves the piece of rebar. And HITS the plumbing near the wet wall. HER DAD -- Shines his weakening headlamp toward the garage hatch. The ALLIGATOR seems agitated by all the noise. It gets up, slicing through the water. Moving toward that loud resonating SOUND. The beam of light flickers. And goes out. Her dad nervously scans the inky black space. He's lost sight of the reptile.
DAD
(yelling toward his daughter)
Haley, watch out! It's on the move!
HALEY -- Doesn't hear him. She's too busy HAMMERING the pipes. Trying to make as much NOISE as possible.
INT. ABANDONED HOUSE - VARIOUS - LATE AFTERNOON
Bobby hears a faint CLANGING sound. Follows it. Realizes the sound is echoing up from beneath the floor.
INT. CRAWL SPACE - LATE AFTERNOON
Haley stops to listen as Bobby's FOOTSTEPS move further into the house.
HALEY
Dad, I think he's looking for the hatch.
Hears her dad's frantic VOICE.
DAD (O.S.)
Haley, did you hear me? I don't know where that thing went!
HALEY
Oh my God.
She's suddenly on alert. Switches on the flashlight. Eyes scanning the shadows. Trying to locate the reptile.
INT. GARAGE - LATE AFTERNOON
Bobby steps down into the garage. Sees the propped up garage door. The STORM still raging outside. He approaches that empty storage closet.
INT. CRAWL SPACE - LATE AFTERNOON
Haley anxiously pans the flashlight back and forth. Checking all around her. Listening for any sign of the alligator.
HALEY
I can't see it!
DAD (O.S.)
I heard it go by just a minute ago.
INT. STORAGE CLOSET - LATE AFTERNOON
Bobby's flashlight picks out the open access hatch.
INT. CRAWL SPACE - LATE AFTERNOON
The beam from his flashlight filters down into the crawl space. Bobby pokes his head down through the opening. He sweeps the flooding space with his light. Too dark to see much.
BOBBY
Is somebody down here?
HALEY -- Sees Bobby in the lighted hatch. Needs to stop him.
HALEY
No!
Frantically tries to signal him. Screaming. Waving her flashlight. DON'T COME DOWN HERE!: BOBBY -- Sees the far-off beam swinging back and forth. Can't hear much for the deafening rain HITTING the garage door. He leans in further.
BOBBY
What the hell are you doing back there? It's gonna flood.
HER DAD -- Hears Haley's frantic pleas. He tries to warn Bobby. Yelling from the darkness.
STAY BACK!
GO GET HELP!
BOBBY -- Turns his attention toward her dad's VOICE. Looking into the shadows.
BOBBY
What?
DAD (O.S.)
There's an alligator down here! We're trapped!
It takes him a moment to process this. The water below Bobby SLOSHES slightly.
BOBBY
(calling back)
Shit. Okay. Hold on!
He pulls himself up and out of the hatch.
INT. STORAGE CLOSET - LATE AFTERNOON
Bobby's perched on the edge of the opening. Adrenaline pumping. Reaches for his radio to call for help. Hand shaking a little as he unclips it from his belt. WHAM! The alligator LUNGES up from the access hatch. Lightning fast. CLAMPING onto Bobby's arm. Using its own weight to drag him down into the crawl space.
INT. CRAWL SPACE - LATE AFTERNOON
Bobby lands with a SPLASH. The reptile is on him in seconds. RIPPING into him. Bobby's SCREAMING. Trying to fight it off. HALEY -- Watching in shock as the REPTILE flings him around.
HALEY
No. NOOO!
Then a horrible sound. The CRACK of bones. His neck SNAPS. Bobby falls silent. The alligator yanks the lifeless guard back into the darkness. Just the RUSTLE of movement. The water settles. Haley closes her eyes. A sense of total hopelessness. Can't get her breath. Suffocating. Now more afraid than ever. She opens her eyes. Realizes she needs to get back to her dad while that thing is distracted. Begins a desperate crawl. Clutching the rebar in one hand. The switched-off flashlight in the other. We're with her the whole way. Following Haley as she SPLASHES through the rising water. Trying to find her way back. In her panic, gets turned around. Realizes she's lost. Clicks on the flashlight. Its beam scans the crawl space. Picks out that battered TRAP CAGE. Knows that she's close.
HALEY
(harsh whisper)
Dad?
The beam falters. She shakes it. Breathing hard. It comes back on. Revealing a brief glimpse of the empty crawl space. It goes dark again. Haley, panicked, gives it another shake. A flash of the REPTILE snaking its way toward her. Then blackness. Haley SCREAMS. Not knowing which way to go. CRIES OUT for her dad. Certain she's about to die.
HALEY
DADDY!?
A HAND suddenly clamps onto her arm. Pulling her back into the shadows. Dragging her under that network of pipes. The water SURGES as the reptile SWEEPS past. Twisting away. Slinking back into the dark. Haley's safe. Just out of reach. Sees her dad.
DAD
(tears in his eyes)
Thought I lost you.
She grabs him around the neck. SOBBING uncontrollably. Overcome by everything she's seen and been through. He holds her tight. Trying to comfort her. Checks to make sure she's okay. Haley's scraped up and bruised. Covered in mud. Then he sees her bloody leg.
DAD
My god. Why didn't you tell me?
HALEY
I'm fine. It's not as bad as it looks.
Her dad winces as he shifts positions.
HALEY
How are you?
DAD
Think I've found my second wind.
This gets a smile out of her. Haley wipes away her tears. Looks back at the garage hatch.
HALEY
That poor security guard.
(beat)
I tried to warn him.
DAD
Honey, there's nothing more you could've done.
Haley takes a deep breath. Worn out. Defeated.
HALEY
We're never getting out of here, are we?
DAD
Haley, I need you to be strong. We're not quitting.
He brushes the hair from his daughter's face.
DAD
Remember when your mom was sick. Through all the treatments. She never gave up. We need to fight. Just like she did. Do you hear me?
Haley is quiet for a beat, then --
HALEY
Yeah.
Her dad looks around at the rising water.
DAD
We're in a real low spot here. We need to get you to that hatch before this whole place is flooded.
HALEY
We'll go together.
Shakes his head. No.
DAD
I'll just slow you down. You have to leave me.
As much as she fights the idea, she knows he's right. A long solemn beat. Her dad has an idea. He takes the flashlight from his daughter's grip. Switching it off to save the battery. He then reaches up. Grabbing a long loop of electrical wire hanging from a nearby joist. Staples SNAP free as he pulls it loose. Wrapping the wire around the base of the flashlight.
DAD
It didn't like you banging on those pipes. Maybe we can use that to draw it away from the hatch.
Her dad points toward the low-hanging section created by the sunken living room.
DAD
Think you can make it under there?
If Haley crawls on her belly, she can fit. But the water level is high enough that she'll be mostly submerged.
HALEY
I've been in tighter spaces than that today.
Her dad smiles.
DAD
Good. While I distract it, you go out that way. Sneak around. And make your way back to the hatch.
He reaches for the piece of rebar.
DAD
Help me get to those pipes.
Together they work their way toward the cluster of plumbing. With his good arm, he shoulders up one of the heavy pipes. The metal flexes. Straining. Haley helps her dad hold the pipe in place while he JAMS the rebar under. Propping it up. Creating an opening large enough to lure the animal in. He takes the tethered flashlight from his daughter. Sees that charm bracelet on her wrist. A rush of memories.
DAD
I gave that to your mom in college. She was just about your age.
HALEY
I know.
He hugs her tight.
DAD
You're so much like her.
A final embrace.
DAD
You ready?
She nods. Haley wades toward that low-hanging section of subfloor. And submerges herself. Squeezing beneath the sunken living room. Her dad clicks on the flashlight. Tosses it through the open section of pipes. Out into the crawl space. It SPLASHES down into the rising water. Floating several yards away. In his weakened state, her dad grabs a piece of BRICK. And starts HITTING it against the pipes. Again and again. Creating a loud REVERBERATING noise. The CLANGING gets the attention of the REPTILE. Her dad stops to listen. Hears far away SCRAPING and SPLASHING in the darkness as the agitated animal crawls toward the sound. It's working. He continues BANGING. The reptile comes into view, honing in on the beam of the flashlight. HALEY -- In tight quarters. Half swimming, half crawling on her stomach beneath the sunken living room. She pulls herself through the murky water. Trying to keep her head above the surface. But the water's getting too high. Haley has to go under. HER DAD -- Grips the length of electrical wire. Slowly reeling in the flashlight. Watches as the huge creature approaches through the flooded space. Its red eyes reflected as it stalks toward the light. HALEY -- Scrambles out on the other side of that low-hanging section. Into an unexplored portion of the crawl space. Sucks in a huge breath of air. She's on her hands and knees now. Cautiously moving out and around. Hearing the reptile as it makes a beeline for that flashlight and her dad. Haley feels her way forward in the dark. Splashing through the muck. Can't yet see the open access hatch. HER DAD -- Has his attention fixed on the reptile. It suddenly lunges for the flashlight. JAMMING half its body through the opening. Her dad is ready. And waiting. KICKS the rebar free with his good leg. Releasing the heavy pipe overhead. It CLAMPS down on the reptile's back. PINNING it into the water and muck. The creature THRASHES wildly. SPLASHING around. Trapped.
DAD
(yells)
Haley, GO!
The reptile's FRONT CLAWS instinctively rake the ground. As the beast tries to pull itself forward. Toward her dad. Its jaws SNAPPING. He grabs the rebar. Dragging himself back out of the way. HALEY -- Can now see the garage hatch up ahead through the gloom. Sloshes toward it. Moving through a pile of rotting vegetation. Twigs and leaves sticking up out of the water. The surface beneath her hand gives way with a CRUNCH. She lifts her hand to her face. It's covered in goo. And then she sees -- A CRUSHED EGG. And more EGGS. Still intact. A dozen or so. It's a goddamn nest! This must be what that reptile was guarding. Then a low BELLOWING GROWL... As a SHAPE rises up from the shadows directly in front of her. Creeping forward.
HALEY
Oh... shit...
She's face-to-face with a SECOND ALLIGATOR! Not as big as the first. But still scary as hell. This is a FEMALE. And it's very territorial. The animal HISSES. Haley slowly backs away. The female's eyes burning into her. As it hovers over the remaining eggs. Protective. It HISSES again. SNAPPING at her. Haley spins around and starts crawling as fast as she can. Blindly SPLASHING through the darkness. Not sure where she's going. HER DAD -- The MALE REPTILE continues trying to pull itself into the space. It's trapped. Tangled up in that maze of pipes. Claws SLASHING at the mud. Struggling to get traction. Her dad SWINGS at it with the rebar. HITTING its tough skin. HALEY -- Weaves around supports. Under hanging insulation. Trying to put as much distance between her and that female reptile. She looks back. Appears to have shaken it. WHAM! The FEMALE ALLIGATOR suddenly charges in from the side. Its JAWS latching onto the thigh of her already injured leg. It's a vicious collision. Like Haley's been t-boned. The FEMALE pushes her through the darkness sideways. Haley's shoulder SLAMS into a support. She SCREAMS in pain. The female reptile flings her side to side. Jaws still clamped onto her upper leg. It's close quarters. Brutal. Haley's punching back. Going for the eyes. Desperately trying to fight it off. Manages to kick free. Dazed. Blood flowing down her face. She grasps for something to hold on to as she tries to crawl away. Takes hold of a copper pipe overhead. Quickly let's go. It's scalding hot. Shit! Realizes she's beneath the HOT WATER HEATER. The female alligator lunges from the darkness. Bites down onto her ankle. Haley uses a loose piece of insulation to grab onto the hot copper pipe. Pulling with both hands. Using the full weight of her body. Fighting through the pain. As the female reptile tries to drag her away. The copper's bending at the joint. It SNAPS open! Haley twists out of the way aiming the full force of the scalding hot water at the FEMALE REPTILE. It SHRIEKS. Letting go of Haley. Retreating. Haley splashes to safety as the tank overhead empties. Adding forty gallons of hot water to the already flooded space. The haunting SHRIEKS of the burned creature continue from the shadows. HER DAD -- The MALE REPTILE. Still pinned beneath that heavy pipe. Hears the CRIES of its mate. Goes berserk. Shifting directions. Thrashing. Flipping mud everywhere. Now pushing itself back. Using the slick surface to its advantage. Haley's dad realizes the animal is trying to back out.
DAD
No...
Moves forward with the rebar. Grasping onto the slippery pipe. Pressing down. Attempting to hold it in place. But the male reptile pulls free. SPLASHING away. Her dad looks over at the open hatch. His daughter should have gotten there by now.
DAD
Shit! Haley, where are you? I couldn't hold it. It got loose!
HALEY -- Drenched. Banged up. Checks the damage to her already mangled leg. It's really chewed up now. Punctured skin. Teeth marks. Blood seeping out. She vomits. Wipes her mouth with the back of her hand. Yelling back to her dad.
HALEY
Dad. There's two of them! I didn't make it.
She's trembling. Shaking from the loss of blood.
HALEY
(lies)
But I'm okay.
Sees that the open hatch is not that far away. She can make it.
HALEY
(quietly, to herself)
Gotta move, Haley.
Starts to crawl. A SPLASH. Somewhere off to her right. She puts her head down. Keeps going. She's reached that area where the clearance is higher. Now able to crawl faster. Almost there... The MALE REPTILE suddenly slides into view directly in front of her. Blocking her path. It GROWLS. Charging. Haley quickly shifts directions. Splashing back through the murky water. Her hand falls on something solid in the mud. Comes up -- Clutching her dad's large PIPE WRENCH. The one she passed over on her way in. That MALE REPTILE is powering toward her. Haley swings the heavy wrench. With everything she's got. It makes contact. WHACK! Knocks the beast's head sideways. SLAMMING its skull into a support.
HALEY
How do you like that, motherfucker!?
The male reptile shakes it off. Haley splashes through the rising water. Takes shelter behind a large drain pipe. Nervously looks around. Knows the female is still lurking somewhere out there too. The MALE REPTILE charges from the shadows. Jaws open wide -- And CLAMPS onto the pipe. Tugging near a joint. Breaking the seal. More water spilling out. Flooding the space. As Haley retreats, her mom's CHARM BRACELET snags on a support. And SNAPS. The male alligator moves around the broken pipe. Haley sees the bracelet fall into the rushing water. Grabs it. The creature SNAPS at her. Another glimpse of its massive jaws. Exposed teeth. Just missing Haley. She clambers back. Stuffing the bracelet into her pocket. Defiant.
HALEY
You're not getting that, Asshole!
Haley swings the pipe wrench again. WHUMP! Stunning the animal. Buying herself some time. She scrambles away. Trying to orientate herself. She's turned around. In a different portion of the crawl space. Spots a couple of METAL SUPPORT JACKS. Stabilizing some rotting posts. Propping up the sagging floor overhead. Realizes she's under the kitchen. Haley kicks at one of the jacks. Hears the male reptile SCRAPING and SPLASHING in her direction. She HAMMERS at the jack with the pipe wrench. It shifts slightly in the mud. Hits it again. Lightning STRIKES really close. Instantly lighting the space. A brief glimpse of the advancing MALE REPTILE. Thunder BOOMS! Shaking the house on its foundation. Haley, more frantic now. Pounding at that jack with everything she's got. It finally slips out from under the joist. The boards above her STRAINING. A loud CRACK. The weight of the rotting floor pushing down. The male alligator slices through the muddy water. Almost on her. The water damaged posts SNAP like toothpicks. The joists overhead collapse. SPLASHING down. Along with a section of the subfloor. The entire KITCHEN ISLAND crashes down into the space. Haley tries to shield herself from all the falling debris. A HUGE SPLASH of mud and water. A beat as it settles. Leaving Haley trapped on one side of the cave-in. Not knowing if the male reptile is buried beneath it. HER DAD -- Reacts to the sound of the COLLAPSE.
DAD
(calling to his daughter)
Haley, what was that? Are you okay?
HALEY -- Is COUGHING. Sees the pile of rubble and debris in front of her.
HALEY
(yelling back)
I'm good.
(then)
Just a slight change of plans.
She tries to move. Her damaged leg is pinned under a fallen beam. The male reptile GROWLS on the other side. Trying to dig out from under the rubble. Haley attempts to free herself. Using the pipe wrench. Shoving it into the mud next to her trapped leg. Trying to pry up the fallen beam. It won't budge. Too heavy. She starts digging instead. Clawing at the mud around her leg. Pressing against the beam with her good leg. Slowly starts pulling herself out from under. Takes a deep breath. A final push. SCREAMS as she yanks her mangled leg free. Backs away from the fallen debris. Splashing through the dark water. She's tired. Drained. Can't quit now. Needs to find another way out. Haley detects a foul stench. Covers her mouth. She's stumbled into a stash of DEAD ANIMALS. Rotting carcasses. Chewed up. Haley gags. Backing in the other direction. Touches a HAND and ARM -- The remains of that SECURITY GUARD. His MANGLED CORPSE jammed into the tight space. Dead eyes staring up. Haley stifles a scream. Collecting herself.
HALEY
(her voice shaking)
Dad, I found the security guard!
A beat. Her dad processing this. Then --
DAD (O.S.)
See if you can find his radio.
She gropes in the muddy water. Frantically feeling for Bobby's belt. Wet hands fumbling. No radio. But she finds a HOLSTER. Unsnaps it. Feels the handle of a gun there. Pulls the weapon free. It's slick with mud. Haley tries to wipe it clean. The sound of SHIFTING WATER. Her wet hands struggling with the gun. Flips off the safety. As the FEMALE REPTILE charges from the darkness. Haley raises the gun. Squeezes the trigger. A flash of GUNFIRE lights up the cramped space. The female spins away. Did she hit it? Haley holds the gun in her trembling hand. Searching the darkness. Her ears are still RINGING. No sign of either alligator. The water is rising around her. Now up to her elbows. She needs to move. Another FLASH of lightning reveals a nearby vent. This time at the back of the house.
HALEY
(calls into the darkness)
Dad, hang on!
HER DAD -- Exhausted and weak. Floundering. Up to his neck in the rising water. He drags himself through the flooding space. Needs to get to higher ground. HALEY -- SPLASHES back along the rear edge of the foundation. Half swimming, half crawling. Reaching that vent. Rainwater pours in through the slats. She aims the gun toward the vent. FIRES into the metal cover. Near the edges. Where the bolts hold it in place. Each GUNSHOT is deafening. Haley twists her body around. Kicks madly at the loosened vent cover with her good leg. Knocking it out completely. With the cover off, more rainwater surges in. Haley takes one final look behind her and squeezes through.
EXT. ABANDONED HOUSE - BACKYARD - LATE AFTERNOON
Haley gets an arm out the open vent. Then her shoulder. She claws at the mud. It's tight. Haley's stuck. Squirming wildly. Half in, half out. Knows her lower half is completely exposed. She inches herself forward. Finally pulls free. Tank top plastered in mud. Winces in pain as she gets to her feet. Sees the swimming pool. The rear sliding glass door. Turns back, yelling into the open vent.
HALEY
Dad, I'm out!
The JAWS OF THE FEMALE REPTILE SMASH OUT through the opening! SNAPPING at her. Haley staggers back. She limps toward the sliding glass door. Favoring her good leg. Moving around the edge of the pool. The FEMALE REPTILE continues squeezing its way through the narrow vent. The wind is intense. Rain SLAMMING down on Haley. A METAL LOUNGE CHAIR blows across the deck. Splashing down into the pool. Haley's damaged leg buckles as she loses her footing on the slick surface. And tumbles over the side. Into the deep end. SPLASHING down into eight feet of murky water. She goes UNDER. The gun slipping from her grip. Sinking to the bottom. Haley bursts to the SURFACE. Coughing. Swims toward the edge. Tries to pull herself up out of the water. Her arms too weak and tired. A FLASH of lightning reveals -- The female reptile. Now completely free of the vent. Crawling rapidly toward the pool. SPLASHING down into the shallow end. It swims toward Haley. Sinking beneath the surface. Haley tries to reach the ladder. Her wet hands keep slipping. Can't get a grip. The RAIN is pounding down. Haley spins around. Scanning the pool. Where the hell did that thing go?
INT. CRAWL SPACE - LATE AFTERNOON
Her dad lifts his head up into the space between the joists as the water level continues to rise. Keeping his chin above the surface. Coughing. Choking. POUNDING at the boards overhead with the rebar.
DAD
Haley! Hurry!
EXT. DEEP END OF SWIMMING POOL - LATE AFTERNOON
Haley's got her own problems. The FEMALE REPTILE surfaces. Just a few yards away. Slicing through the water toward her. Jaws SNAPPING. Haley grabs the floating lounge chair. Pushes it between her and the female alligator. Then dives under. UNDERWATER Murky. Her hair swirling. Frantically searching the bottom of the pool for that gun. Lightning FLASHES. Its glow penetrates the water. A glimpse of the female's DARK OUTLINE gliding past just overhead. Plunging down toward Haley. Haley kicks wildly. Trying to swim out of its path. The animal's HUGE TAIL sweeps past. KNOCKING into her. ABOVE WATER Haley SURFACES. Coughing up water. Teeth chattering. Searching for the female alligator. The water RIPPLING... She catches something out of the corner of her eye. Whips around -- It's just the LOUNGE CHAIR. Lightning SLASHES the sky -- Then the female reptile EXPLODES from the water right behind her. Snagging Haley's right arm. Pulling her under. UNDERWATER A silent scream as Haley is dragged to the bottom. Trailing a cloud of bubbles. The animal holds her under. Trying to drown her. Haley desperately fights to get free. Lungs about to burst. Her left arm flailing. Hand searching -- Finds the gun! Sweeping it up. Pressing the barrel against the female reptile's head. Pulls the trigger. Point blank. The gun kicks. A MUFFLED BANG. Air bubbles surging from the barrel. As a bullet rips into the animal's leathery skin. Blood clouding the water. The female reptile goes slack. Releasing its grip. Haley pushes the dead animal off her. And kicks for the surface.
EXT. ABANDONED HOUSE - BACK PATIO - LATE AFTERNOON
Haley crawls up over the lip of the pool. Pulling herself out. Drenched clothes clinging to her body. She looks like she's been through hell. And she's still not finished. Haley limps toward the sliding glass door. Hair soaked and matted. Arm bleeding. Yanks at the handle. It's locked. Fuck! She searches the deck. Grabs an overturned metal chair. SMASHING it into the tempered glass. It DENTS. But doesn't break. Haley swings the chair again. This time the glass SHATTERS.
INT. ABANDONED HOUSE - DINING ROOM - LATE AFTERNOON
Haley staggers in. The last bit of gray daylight outside filters in. She finds the CROWBAR lying in the corner of the dining room. Next to the sledgehammer and other tools. Snatches it up.
HALEY
(calling out)
Dad? Where are you?
Listens... Hears a faint TAPPING coming from below. A relieved smile. She follows it. Haley jams the crowbar between some boards. Prying them up.
HALEY
Dad, I'm coming!
Ripping up more of the subfloor next to the sunken living room. Zeroing in on the sound.
HALEY
Hang on!
Haley continues ripping a hole in the floor. Exposing more of the framework beneath. A glimpse of her dad. His face pressed up between the joists. She pries up a few more boards. Reaches down to help him out. Her dad uses the rebar to push himself up. Trying to get his one good leg beneath him. Haley jump down into the flooded crawl space to get more leverage. Helps lift him out. Her dad rolls onto his back. Exhausted. Coughing up water. Relief. Haley exhales. Still knee-deep in the flooded crawl space. A moment of calm. They're safe. Finally. Then the loosened floorboards nearby SHIFT. Haley spins around as -- The MALE REPTILE crashes up over the exposed pipes. Tearing its way through the broken subfloor. Scraped up. Looking pissed. Lets out a loud BELLOWING ROAR. Haley tries to climb from the murky water. But her tourniquet SNAGS on one of the supports. The creature lunges toward her. About to strike -- Her dad staggers up, still clutching that piece of rebar. And HURLS himself toward the beast. Stabbing the steel rod down into the male reptile's head. Like a harpoon. His weight and momentum pushing the rebar through the animal's leathery skin. A wet THUNK. The reptile lets out a bone-chilling SCREAM. The tip of the rebar gets stuck in the rotting floorboards beneath the animal. It THRASHES wildly for a moment. Twisting and turning. Lashing with its tail. Pinned to the floor. Finally gives up the fight. Goes still. Haley frees her leg and climbs out. Just inches from the dead animal's jaws. She collapses down next to her dad. He hugs her close.
DAD
It's okay, honey. It's over.
A quiet beat, then --
DAD
Now we just need to get ourselves to the hospital.
It hurts to laugh. But somehow they find the strength to do it anyway. FADE TO BLACK.: FADE IN:
EXT. BACKYARD OF FAMILY HOUSE - DAY
A beautiful sunny day. Time has passed. Haley's recovered some but is still on crutches. She's tending to the something in front of her. Can't see what. Her dad limps toward her. Leg in a cast. His arm in a sling. Right now they're the walking wounded. But soon the scars will heal.
DAD
How are they doing?
We can now see what has Haley's attention. A BACKYARD PEN. Made of wood and chicken wire. She's pushing bits of carrot and lettuce through the wire with her fingers. The TWO MOTHERLESS BUNNIES she saved are inside. Nibbling away. They've grown in size since we last saw them. Haley's quiet. Blinking back tears. Her dad sees that she's been crying.
HALEY
This would've been one hell of a story to tell Mom.
He puts his good arm around his daughter.
DAD
I miss her too, honey.
HALEY
You know what the last thing she said to me was?
A silent beat.
HALEY
Take care of your father.
A sad smile. He squeezes her shoulder.
DAD
You've done a pretty good job so far. Come on. Let's get back.
Father and daughter hobble off together. There's a family cookout on the back deck of the house. Haley's sister Beth is there. With her HUSBAND. And her two precocious CHILDREN. Along with her dad's girlfriend KATIE. As they make their way back to the festivities --
HALEY
Did I ever tell you that I like your earring.
DAD
Yeah, well, I almost got a hook to go along with it.
Waving his arm in its sling.
DAD
Arrr!
FADE TO BLACK.:
THE END
|
C R A W L by Michael Rasmussen and Shawn Rasmussen
9/16/2016
There have been over 300 documented alligator attacks in Southern Florida.
Twenty-seven of them have been fatal...
SMASH IN ON: The panicked face of a YOUNG WOMAN. Covered in mud and blood. She's crawling on her stomach through a dark, constricted space. Frightened eyes scanning the claustrophobic surroundings. Her senses on alert. The muffled sounds of a STORM outside. HOWLING WINDS and POUNDING RAIN... Then a faint SCRAPING noise. Moving closer... The young woman retreats back into the shadows. Taking shelter behind a wooden support. Holding her breath... A low MENACING BELLOW... As SOMETHING HUGE wipes the frame right in front of us. Shockingly close. Blocking out our view. Leaving nothing but DARKNESS. An unsettling SILENCE. OVER BLACK, a single-word TITLE:
C
A long, quiet beat.
R
Broken by the sound of a VIBRATING
PHONE... FADE IN:
INT. COLLEGE APARTMENT - BEDROOM - DAY
Someone GROANS. A LUMP shifts under a huge comforter. A slender hand reaches out, searching the nightstand. A CHARM BRACELET dangles from the wrist. The same young woman, HALEY (19) pokes her head out from under the covers. Hung over. Bleary-eyed. She finds her phone. Checks the display -- BETH. Takes a breath. Answers with a wrecked voice.
HALEY
H-hello?
INT. LONG ISLAND HOUSE - KITCHEN - DAY
Haley's older sister BETH (26) is on the other end of the line. She's at the sink doing dishes. Wearing workout clothes. Looks like her day began a while ago.
BETH
Jesus, are you just waking up?
INTERCUT AS NECESSARY Haley swallows. Squints into the sunlight. Looking around. She's a natural beauty. Even after a long night of drinking.
HALEY
What time is it?
BETH
It's almost noon.
Haley's head is throbbing. She climbs out of bed.
BETH
Late night?
HALEY
Yeah. I might have overdone it a little.
A glimpse of her lean athletic build as she pulls on a tank top. Slips into a pair of shorts.
HALEY
What's up?
BETH
I need you to go check on Dad. Got a call from Katie.
BETH
She's been trying to reach him since last night. Apparently he's not answering his phone.
Haley shuffles into her KITCHENETTE. Opens a cabinet. Pours herself a bowl of cereal. Eating it dry. Breakfast of Champions.
HALEY
So she called you? To call me?
BETH
Katie said she doesn't have your number.
Haley sighs.
HALEY
She has it.
BETH
I think she gets the feeling you don't like her.
HALEY
Come on, Beth. I'm not gonna be BFF's with my dad's new girlfriend.
(beat)
Where is she anyway? Why can't she do it?
BETH
In Texas visiting family. She said Dad was supposed to be on a job yesterday. Prepping some properties before this big storm.
Haley glances out the window. Into the bright daylight.
HALEY
I thought that was gonna miss us?
INT. LONG ISLAND HOUSE - KITCHEN - DAY
Beth moves to a kitchen table. Her TWO-YEAR OLD sits in a high chair, noisily playing with his food.
BETH
That's not what they're saying on the news. It's supposed to hit you guys this afternoon.
A MUTED TELEVISION in the corner. Tuned to a national weather forecast. A METEOROLOGIST in front of a satellite image. Ominous clouds churning off the southern tip of Florida. Beth's FIVE-YEAR-OLD begins tugging at her pant leg, trying to get his mother's attention.
BETH
(aside to her kids)
Shh. Mommy's on the phone with your Aunt Haley.
Haley can hear the CHILDREN playing and talking in the background of the call.
HALEY
Sounds like you've got your hands full.
BETH
Ah, yes. Domestic bliss. I'm heading off to hot yoga in a minute for some much-needed "me time."
HALEY
Yeah. Well there's nothing I love more than spending my Saturday driving an hour out of my way to check on dear ol' dad.
BETH
You should go easy on him. He's been through a lot. We all have. He deserves to be happy.
HALEY
I think he's having a mid-life crisis. Have you seen his new earring? He looks like a pirate. And not a sexy, Johnny-Depp-type pirate.
HALEY
More like an old, trying-too-hard pirate. I guess Katie likes it.
Beth laughs.
BETH
So you'll check on him?
HALEY
Okay, I'm going.
BETH
Thanks, sis. You're the best. Love you.
HALEY
Uh huh. I'll call you when I get there. Bye.
Haley hangs up. Scans through some pics on her phone. Finds a recent SELFIE with her DAD. His arm lovingly wrapped around his daughter's shoulder. He's in his 40's. Tanned from working outdoors. Ruggedly handsome, although Haley would never admit it. She annotates his earring and sketches an eyepatch over his left eye. Attaches the photo. Adding a caption: Arrr! Sends it to Beth. Haley finishes her cereal. A moment later, her phone DINGS. A reply from her sister: Oh, boy. Haley smiles. Pulls on a varsity sweatshirt. Then grabs her keys and dons a pair of sunglasses.
EXT. FLORIDA HIGHWAY - DAY
A Subaru Outback cruises down a divided highway cutting through swampland. Heading South.
INT. OUTBACK - DAY
Haley drives. Windows down. Wind in her hair. The car radio's playing Lana Del Rey's YOUNG AND BEAUTIFUL. She sings along, tapping the steering wheel.
EXT. FLORIDA HIGHWAY - DAY
The vehicle blasts under an overpass sign for: FORT MYERS.
EXT. FAMILY HOUSE - AFTERNOON
Haley's Outback arrives at its destination. Pulling into the driveway of a modest suburban home.
INT. FAMILY HOUSE - AFTERNOON
KEYS in the lock. The front door opens. Haley steps inside.
HALEY
Anybody home?
She's greeted by a big GOLDEN RETRIEVER.
HALEY
Hey, Roscoe. Where's Dad, huh? Where is he?
The dog is jumping all over her. Like he hasn't seen her in ages. Haley grabs him. Brings him in for a big hug.
HALEY
Oh, I know. I've missed you too.
He pulls away. Running to the back door. Seems really desperate. Barking. She lets him out. Wanders into the living room.
HALEY
Dad!
Continues through the house. Searching the different rooms. No sign of him. She heads upstairs.
INT. FAMILY HOUSE - MASTER BEDROOM - AFTERNOON
Haley TAPS on the bedroom door. Pokes her head in. With no one around, she decides to do a little snooping. Rifles through a nearby dresser. Haley finds a box of PHOTOGRAPHS in the bottom drawer. Thumbs through them. Images of Haley and Beth with their mother MAGGIE at different ages. They're an active trio. Hiking. Camping. Running marathons. She settles on an older SNAPSHOT of her mother from when she was in college. Haley gets a little misty-eyed. Blinks away the tears.
INT. KITCHEN - AFTERNOON
Haley pulls open the fridge and grabs a Gatorade. Her phone pressed against her ear. Waiting as it rings. Beth answers.
HALEY
Well I'm at the house, but Dad's not here.
Haley notices some ODDLY PATTERNED CURTAINS that seem to clash with the surrounding decor.
HALEY
And it looks like Katie's been redecorating.
BETH (ON PHONE)
Oh, no. Let me guess. Hippie chic?
HALEY
(laughs)
Something like that. How was yoga?
BETH (ON PHONE)
A-mazing.
Haley raids a nearby cupboard. Grabbing an energy bar for the road. Stuffs it in her pocket.
HALEY
So what was this about Dad being at some job site?
BETH (ON PHONE)
Yeah. Katie said the bank hired him to work on some repossessed properties. I'll text you the address.
Haley's attention drifts to that CHARM BRACELET on her left wrist. It holds a special significance. A long silent beat.
BETH (ON PHONE)
You okay?
HALEY
(eyes welling)
Just been looking at some pictures of Mom.
Wipes away the tears.
HALEY
Sometimes something'll happen at school, and I'll pick up the phone to call her.
(then)
It's not fair.
BETH (ON PHONE)
Oh, honey. I know. Can't believe it's been two years.
(then)
But I'm glad Dad's getting back out there.
HALEY
Katie's fine. It's just... she tries too hard.
BETH (ON PHONE)
Haley, no one's going to replace Mom.
HALEY
I know. Don't get me wrong. I'm happy for him.
HALEY
(looks toward the window)
If only she had better taste in curtains.
A shared laugh. A solemn beat.
HALEY
I wish you were down here.
BETH (ON PHONE)
So do I.
EXT. SOUTHERN FLORIDA - GULF COAST - AFTERNOON
Haley's Outback is back on the road. Crossing over a series of swampy canals. DARK STORM CLOUDS roll in on the horizon.
INT. SUBARU OUTBACK - AFTERNOON
Haley is at the wheel. Downing the Gatorade as she drives. Nursing her hangover. She checks the address on her phone. Then looks up at the visor. That SNAPSHOT of her mom is now clipped there. Watching over her.
EXT. UNFINISHED SUBDIVISION - AFTERNOON
Haley's Outback passes a weathered sign: CORAL LAKE DEVELOPMENT.
INT. SUBARU OUTBACK - AFTERNOON
As Haley searches the empty subdivision, her phone RINGS. She answers it.
BETH (ON PHONE)
Anything?
HALEY
Not yet. I just got here. This place is creepy. Where is everybody?
She cruises the quiet streets. Passing houses in various stages of construction.
BETH (ON PHONE)
Dad said the developer cut a bunch of corners. Can't sell any of the houses till they're up to code.
HALEY
Well I better find him fast. That Gatorade went right through me. I have to pee so bad.
BETH (ON PHONE)
You know, sis, you don't need to share everything.
Haley passes a cul-de-sac. Brakes. Backing up. A HEAVY-DUTY PICKUP TRUCK with a ladder rack is parked on the street in front of a large house. It's the only vehicle in sight.
HALEY
Hold on. I see his truck.
(then)
If he's in one of these houses kicked back watching the game, I am not gonna be happy.
BETH (ON PHONE)
Okay. Just call me when you find him.
HALEY
I will. Right after I pee.
The sisters share a laugh. Haley disconnects.
EXT. CUL-DE-SAC - AFTERNOON
Haley pulls up behind the pickup truck. KELLER CONSTRUCTION is stenciled on the side. She kills the engine. Climbs out. And looks around. A half dozen finished MODEL HOMES line the street. The yards are overgrown. Suburbia gone to seed. A gust of wind carries an empty trash can across the road. It rolls onto the curb. Haley sets the alarm on her car. It CHIRPS. Headlights blink. The wind is picking up. A few drops of rain. She quickly cuts across the lawn.
EXT. ABANDONED HOUSE - AFTERNOON
Haley climbs up onto the front steps. A digital lockbox hangs from the doorknob. She KNOCKS. No answer. Pushes it open.
INT. ABANDONED HOUSE - ENTRYWAY - AFTERNOON
Haley steps inside. Closing the door. A cavernous entryway. The interior is dim and gloomy.
HALEY
(calling out)
Hello?
Listens. The house is completely quiet. Just the sound of the WIND blowing outside. She reaches for a light switch. Flips it. Nothing. Her FOOTSTEPS echo on the tile floor.
HALEY
Dad? You in here?
Haley's doing a little "pee dance." Can't hold it any longer. Searches for the nearest bathroom. She finds a windowless half bath just off the entryway. Flicks the light switch. Nothing happens. No choice. Has to leave the door ajar.
INT. ENTRYWAY BATHROOM - AFTERNOON
Haley sits on the toilet in the darkness. She hears a odd muffled SCRAPING sound. Looks out the open door.
HALEY
Hello...?
Another SCRAAAAPE. It's faint. Far off. She quickly finishes.
INT. ENTRYWAY - AFTERNOON
The FLUSH of a toilet. Haley steps out. Buttoning her shorts. Listens. The sound has stopped. Must just be the wind.
INT. ABANDONED HOUSE - VARIOUS - AFTERNOON
Haley wanders through the rooms. Calling for her dad. The house has a sprawling floor plan. She spots hairline cracks in the walls, hinting at some structural damage. The interior has been stripped. Cables hanging from a mount where a television once was.
HALEY
Well at least they took the TV.
INT. LIVING ROOM - AFTERNOON
She steps down into a sunken living room. The carpet has been ripped up. A water-damaged floor. Exposed planks. She looks up at the ceiling. A huge dark water stain.
HALEY
What a mess.
Haley steps up into an equally damaged DINING ROOM. The floor is soaked and warping. Tools lie in the corner where the wood is rotting. Among them a SLEDGEHAMMER and CROWBAR. Swears she can hear VOICES. Far off. The WIND picks up outside. RATTLING the windows. A WHISTLING sound. Haley follows it to the sliding glass door. It's open just a crack.
EXT. ABANDONED HOUSE - BACKYARD - AFTERNOON
Haley steps out onto the patio. A large in-ground swimming pool. Three-quarters full with murky water. Some empty beer cans floating on the surface. Beyond the pool is a LARGE MAN-MADE LAKE. Palm trees are swaying in the wind. Out on the gulf, the sky has turned menacingly dark. A couple of flashes of lightning. The yard is overgrown. Swampy looking. Moss hanging from the foliage.
HALEY
Dad...? Marco...? Polo...? Anybody...?
The rain picks up. A sudden downpour.
INT. ABANDONED HOUSE - DINING ROOM - AFTERNOON
Haley ducks back inside. Slides the door closed and locks it. Hears the rain PELTING the house. She removes her phone. Dials her dad's number. Waits as it connects. The silence is broken by a faint musical RINGTONE. A muffled song. If you were born in the 70's, you might recognize it. A cheesy pop song from the early 80's called ESCAPE. "If you like piña coladas and getting caught in the rain..." She rolls her eyes. Shakes her head.
HALEY
(mutters to herself)
Dad, you have got to update that ringtone.
Haley lowers the phone. Follows the sound through the house. Into a massive --
INT. KITCHEN - AFTERNOON
Haley finds her dad's TOOLBOX sitting on the floor. Reaches in and pulls out his RINGING phone. She's getting warmer. The SONG stops as the call goes to voicemail. On her own phone, Haley can hear her dad's RECORDED MESSAGE.
DAD (ON PHONE)
Hey, this is Dave. You've reached Keller Construction. Leave a message at the beep.
BEEP! She hangs up. Checks the display on his phone. Sees a bunch of missed calls. Looks around the kitchen. There's a set of HOUSE BLUEPRINTS spread out on the counter. The cabinet doors beneath the sink are open. A disconnected drain pipe. Haley can hear far-off MUSIC. Inspects beneath the sink. CLASSIC ROCK is filtering up from under the house. Her dad must be down there working.
HALEY
(to herself)
Dad, you are not making this easy.
She looks around. Now, how to get down there.
INT. ABANDONED HOUSE - VARIOUS - AFTERNOON
Haley moves back through the rear of the house. Checking the different rooms for an access hatch.
INT. UTILITY ROOM - AFTERNOON
Haley passes through an empty laundry room. In a darkened corner, a gas water heater KICKS on. Scaring the hell out of her. She collects herself. Continues her search.
INT. GARAGE - AFTERNOON
Haley enters a large two-car garage at the back of the house. The garage door has been propped up a few feet. Letting in the elements. Looks like it's been that way for a while. The floor is covered in mud and debris. Haley activates the light on her phone. Panning the cavernous garage. Spots an open storage closet.
INT. STORAGE CLOSET - AFTERNOON
The interior is unfinished. Exposed drywall. There's a hole in the floor. The cover, a loose piece of plywood, sits off to the side. Haley looks down into the hatch opening. It leads into the CRAWL SPACE running beneath the house. She can hear that muffled RADIO. It's definitely coming from down there. Haley aims her phone's light into the darkness. Illuminating the vast crawl space. Dark and dank. The beam of light barely penetrates the gloom. She calls out.
HALEY
Dad? Are you down there?
Haley waits. No answer.
INT. CRAWL SPACE - AFTERNOON
Haley awkwardly lowers herself into the hole and squeezes under. There's just enough clearance for her to squat-crawl without getting dirty. She points the phone's light in front of her. A better look at the underbelly of the house. Takes a deep breath. Heading toward the MUSIC.
HALEY
(mutters to herself)
Can't believe I'm doing this.
Haley makes her way through a maze of wooden support posts that carry the load of the house overhead. After twenty feet, the clearance drops some. She hesitates. Calls again.
HALEY
Dad?!
Haley crouches down. Now crawling forward on her hands and knees.
HALEY
Wish I'd worn some jeans.
She worms her way through the tight space. Scanning with her light. The MUSIC is getting louder. She's moving in the right direction. The beam picks out cobwebs. Growing mold. There's a lot of water damage down here. Heavy-duty pipes run along the ceiling of the space. Covered in condensation. Dripping.
HALEY
(sarcastic, mimicking Beth's voice)
Hey, sis, do me a favor. Go check on Dad. It'll be fun...
The shadows cast by the plumbing and support posts shift as she moves. The effect is slightly disorienting. And very unsettling. The darkness could be hiding anything. A FLASH of lightning outside filters in through a SERIES OF VENTS along the edge of the foundation. Giving us a brief glimpse of the surroundings. It's a mess down here. Exposed dirt and rock. Hanging insulation. Shredded vapor barrier. The muffled RUMBLE of thunder. As Haley inches along, her sweatshirt snags on something. The tip of a RUSTY NAIL digs into her skin.
HALEY
Ow!
She flinches. Pulls free. Inspects her shoulder. Sees that she's bleeding a little.
HALEY
Shit. Hope my tetanus shot is up to date.
Haley continues through the cramped environment. The beam of the phone's light plays off -- A couple of large, cobwebbed TRAP CAGES. Placed down here a while ago to capture unwanted animal intruders. Possibly raccoons. And then forgotten. The RADIO echoes from the darkness. Haley rounds a support post. Squeezing past some DUCTWORK. She reacts to a strange SCRAPING sound. Just like she heard before up in the bathroom. Only now, it's a lot closer. Coming from somewhere in the shadows behind her. She stops to listen. Looks back over her shoulder. Points her phone's light toward the sound.
HALEY
Dad...?
Her eyes scan the space. Nothing there. Just a maze of supports and twisting pipes. The SCRAPING has stopped. Haley is starting to feel slightly uneasy. She continues her search. Behind her, a LARGE DARK SHAPE slips past! Blocking out the daylight from the open access hatch. For just a moment. Then it's gone. Haley pushes deeper. Oblivious. Her phone's light sweeps the darkness. Dust particles hang in the air. She catches a whiff of something putrid. The smell of rot. Haley clears another support and finally finds the source of the music -- A PORTABLE AM/FM RADIO lying on its side in the damp dirt. Near the water shutoff. No sign of Dad. Then she sees a BLOODY HANDPRINT on a nearby support. A dark BLOOD TRAIL in the dirt. Stretching into the shadows. Haley GASPS, realizing something is terribly wrong.
HALEY
DAD!
Haley is moving faster now. Following the dark streak on the ground. More frantic.
HALEY
Dad, it's Haley. Where are you?
Passing a dropped PIPE WRENCH. A shredded TOOL BELT. Another BLOODY HANDPRINT on a support. She encounters a NETWORK OF TWISTING PIPES. Gets flat on her stomach and squeezes under. There's a little more clearance on this side of the plumbing. She sits up. In the distance, she can make out the DARK OUTLINE of a body lying in the dirt.
HALEY
Oh God, no...
She quickly crawls forward. Her phone casts a light on her DAD. Face down. Motionless. Haley turns him over. His shirt is drenched in blood. She shakes him. Trying to revive him. Tears streaking her cheeks.
HALEY
Dad! Wake up.
He COUGHS and GROANS. Still alive. Haley's overwhelmed with relief. Her dad's eyes open halfway.
DAD
...Maggie?
HALEY
No. It's Haley.
He's listless. Fading in and out. Eyes struggling to focus.
HALEY
It's okay. I'm here. What happened?
She uses the phone's light to get a better look. His left arm is mangled. Covered in puncture marks. Bleeding badly. She inspects the injury.
HALEY
What the hell did this?
His other hand is still clutching his flashlight. It's turned off. Haley gently takes it from him. Frantically checks her phone. No SIGNAL.
HALEY
Shit.
Her dad's mind is slowly clearing. Looks up at his daughter.
DAD
Haley...?
HALEY
(with a sense of urgency)
We've got to get you out of here.
A sudden look of panic fills his eyes. Struggling to get the words out.
DAD
No... you shouldn't be down here...
She ignores him, pulling off her sweatshirt. Sets the phone down so she can work faster. Ripping the fabric into strips. She needs to stop the bleeding. Wraps up his arm. Tying it off. Creating a makeshift tourniquet. Her dad COUGHS.
DAD
(weak)
Go... you need to go...
She looks at him.
HALEY
Not without you.
Haley glances back in the direction she came. The light of the OPEN ACCESS HATCH is a long way off. Barely visible through all the looming pipes and supports. As she begins to move her dad, he winces. CRIES OUT in pain. Haley sees that his right leg is twisted at an odd angle. She probes the surface of his jeans just below the knee. Another anguished CRY. His leg must be broken. She looks around but can't find anything to splint it. Haley checks her phone again for a signal. Still nothing. Shoves it in her pocket.
HALEY
Dad, this is gonna hurt, but we need to move you.
She reaches under his arms and begins pulling him with all her strength. Her dad grits his teeth. GROANS as Haley drags him back.
HALEY
I know. I'm so sorry.
The pain is too much. He passes out. Haley tries to keep it together and not panic. She's never seen her dad hurt before. He's always been the strong one. She continues. Inching him along. It's painfully slow. Difficult to get enough leverage in this tight space. Haley reaches that low network of pipes. Now what? Somehow needs to get him under. She checks the makeshift bandage on her dad's arm. It's helped slow the bleeding. Makes sure the knots are still tight. As she works, she senses something moving out in the darkness. Hears that familiar SCRRRAAPING... It's getting closer... A low BELLOW. Her heart catching in her throat. Haley turns in the direction of the sound. Fishes the phone from her pocket. Switching on the light. Scanning the shadows. WHAM! The JAWS OF AN ALLIGATOR EXPLODE from the darkness. SNAPPING closed just inches from Haley. She SCREAMS. Scrambling back. SLAMS her head into a low-hanging beam. Dropping the phone. Haley's dazed. Ears RINGING. Struggling to focus. The HUGE REPTILE pulls back into the shadows. A stunned beat. Haley's still in shock. Then -- The creature SMASHES into the pipes again. A nightmarish glimpse of its hideous teeth as it bites down. Another near miss. Haley gets her bearings. Grabs her dad. Desperately pulling him back in the other direction. Away from the attacking REPTILE. The animal THRASHES wildly. Trying to wedge itself through a gap in the pipes. But as hard as it tries, the huge creature can't get any closer. It GROWLS in frustration. Spins away. Giving us a glimpse of its MASSIVE FORM. Haley turns back. Makes a grab for her phone. Reaching it just as -- The reptile's long tail SWEEPS beneath the pipes. Knocking the phone away. Haley hears it CLATTER out into the darkness. As the REPTILE retreats back into the shadows. SCRAPING across the ground as it moves off. She turns her attention to her dad. He's semi-conscious.
HALEY
Dad, stay with me.
She finds his flashlight. Clicks it on. Checks the shadows surrounding them. Worried that thing will find another way in. There's a low-hanging section of the subfloor running perpendicular to the pipes. Must be the sunken living room. A RUSTLE of movement on the other side. She sees the reptile's long body SLITHER past. That low-hanging section is forming a protective barrier. Her dad starts COUGHING. Lips parched. Haley looks around. Finds a leftover piece of her sweatshirt. Holds it under a dripping pipe. Letting the fabric become saturated. She moves it to her dad's lips. Wrings out the water. He gulps it down. Haley does it again. Nursing her dad back. He's slowly coming out of it. Swallows. Looks at his daughter. She gently strokes his face.
HALEY
Are you okay?
Her dad nods weakly.
HALEY
How did that thing get down here?
He's slightly hoarse. Still trying to find his voice.
DAD
(haltingly)
I don't know... Must've come in through the garage.
Haley helps her dad sit up. She nervously checks the shadows.
DAD
We should be alright back here. The clearance is too low. It can't get through.
Another COUGH from her dad. He's still clearly in a lot of pain.
DAD
How'd you know I was here?
HALEY
Katie got worried when you didn't answer your phone.
DAD
(brightens a little)
She called you?
HALEY
Yeah. Something like that.
Haley remembers the energy bar. Fishes it from her pocket. Peels back the wrapper.
HALEY
Here. Eat this.
He takes a bite.
DAD
(chewing)
I came down to inspect the damage. See if I could shore up the kitchen floor. That's when it got me.
Haley takes a closer look at her dad's wounded leg. His jeans encrusted in blood. Denim shredded.
DAD
My leg got twisted up in one of those pipes.
She rips open his pant leg. Gasps. Seeing the exposed bone pushing through the skin.
HALEY
Dad, this is bad. We have to get you to a hospital.
Haley looks toward the open hatch. Knows the reptile is somewhere nearby.
HALEY
I need to find my phone. So we can call for help.
DAD
Haley, no... you can't go out there. It's too dangerous.
HALEY
I can make it.
DAD
Please don't...
HALEY
What do we do then? Just wait here?
Her dad reaches out toward his daughter. She takes his rough, calloused hand. Gives him a reassuring look.
HALEY
I'll be right back.
He's too weak to stop her. Tears in her eyes.
HALEY
Stay here. Okay?
He forces a smile.
DAD
Where am I gonna go?
There's her old dad. Brings a smile to her face. Haley starts back toward those crisscrossing pipes. He watches her go, uneasy. She approaches the area quietly. Staring into the inky black. Sees the faint glow of her phone out in the shadows. Maybe fifteen feet away. Haley switches on her dad's flashlight. Checks the surrounding space. Searching for the reptile. Where the hell did that thing go? Catches a glimpse of it. Lurking beneath the OPEN ACCESS HATCH. Seems far enough away. She clicks off the flashlight and tucks it into the waistband of her shorts.
HALEY
(quietly to herself)
You can do this.
Swallows her fear. Carefully squeezes beneath the pipes. Moving out. Haley creeps toward her phone. Following the dim light. Never stops scanning the darkness. Breathing hard. Her heart in her throat. She's halfway there. Can still see the reptile's DARK OUTLINE guarding that OPEN HATCH. Keeps going. Finds her phone. It's slipped beneath a slightly raised DRAIN PIPE. Just out of reach. She pushes her hand under. Through gritted teeth.
HALEY
Come... on...
Haley flattens herself. Reaching deeper. Stretching... Touching it. All the while keeping an eye on the alligator in the distance. She gets hold. Pulling the phone toward her. Yanks it out. Haley switches off the phone's light. Looks back toward the hatch. The animal hasn't moved. The display is covered in mud. She quickly tries to wipe it off. There's a signal. It's weak. But it's there. Holds the phone up toward the subfloor. Getting an extra bar of reception.
HALEY
Yes.
Haley dials 9-1-1. Anxiously waits as it rings...
HALEY
(softly)
C'mon. C'mon. Pick up!
Haley looks back toward the garage access hatch. The reptile is gone!
HALEY
Shit.
Her eyes nervously study the shadows. She's trying not to panic. An OPERATOR finally answers. A broken connection.
OPERATOR (ON PHONE)
Hello... 11... your emergency.
HALEY
(keeping her voice low)
Help. You need to help us.
OPERATOR (ON PHONE)
I'm sorry, what is your emergency?
HALEY
We're trapped. Under a house. There's an alligator --
A RUSTLE of movement catches Haley's attention. She reacts as -- The REPTILE creeps into view on the other side of that DRAIN PIPE. Just a few feet away. Haley SCREAMS! Frantically crab crawls backwards as -- The animal CLIMBS over the pipe. She flips onto her stomach. Scrambling on hands and knees through the dark space. Trying to get back to her dad. The reptile follows. Closing in fast. Lunges -- Jaws CLAMPING down on her left leg! Teeth tearing into flesh. Haley CRIES out in pain! Tries to kick free. The animal THRASHES. Dragging her back. Huge mouth locked onto her lower leg. It yanks Haley further into the shadows. Swinging her around like a rag doll. SLAMS her into a support post. Knocking the wind out of her.
HALEY
Ugh!
The impact sends the phone flying. Haley's dazed. Bleeding from a gash in her forehead. Her fingernails clawing at the ground. Arms flailing, grasping for a handhold. The reptile pulls. Twisting its head. Hauling her back through the darkness. It's ferocious. Brutal. Haley has to act fast. Catches one of the vertical supports. She hangs on for dear life. Arms wrapped around the post. Fighting each horrible pull. A tug of war. Haley SCREAMS in pain. Her hands start slipping off the support post. The reptile thrashing wildly. Trying to break her grip. Haley kicks it with her free leg. Jamming the heel of her sneaker into its snout. Again and again. Trying to get loose.
HALEY
LET... GO!
Finds the animal's eye. Makes contact with a gouging kick. The animal flinches. Losing its grip. Just enough for Haley to pull free. She crawls like hell. Adrenaline pumping. Clawing her way to safety. The beast recovers. Takes off after her. Haley scrambles her way through the supports. Trying to shake it. The lower half of her left leg punctured and bleeding. She looks back. Wishes she hadn't. The REPTILE is ten feet away and closing... It's almost on her. Haley spots one of those old cobwebbed TRAP CAGES. Instinctively grabs the three-foot metal cage. Dragging it into the reptile's path. Positioning it between her and the attacking animal. The reptile CRASHES into the side of the cage. With so much force that it dents the wire frame. Shoving Haley back a few feet. The impact vibrating up her arms. Kicking up a cloud of dust. Haley coughs. Clinging to the metal cage. She can hear her dad shouting her name in the distance.
DAD (O.S.)
HALEY!
No time to respond. The reptile rears back. HITS it again. Driving the cage and Haley back another couple of feet. But Haley hangs on. Using all her strength to keep the cage between her and the raging animal. The reptile SNARLS in frustration. Lashing against the metal. Jaws clamping onto the wire mesh. It backs up with the edge of the cage in its mouth. Dragging Haley with it. The cage snags on a support post. The reptile lets go. Trying to move around it. But Haley keeps the cage between them. It retreats a few feet. Gets a running start. Haley quickly spins the cage around. So the opening is pointed toward the charging animal. The alligator SMASHES into the front of the cage. Its snout punching through the trap's gate. Its narrow head now wedged inside. The reptile is wearing the cage like a wire muzzle. This only seems to make it madder. The animal THRASHES around wildly. Swinging its huge head side-to-side. Knocking the cage into the surrounding supports. Trying to work it off. Giving Haley a chance to scramble away. The wire cage RATTLES as the reptile tears at it from inside. Gnashing its teeth. As Haley flees, she becomes entangled in a mass of electrical wires hanging down from the ceiling of the crawl space. The reptile finally manages to get free. Flinging the cage aside. The barrier between them gone. Fuck! She's exposed. Haley tugs at the twisting wires. Ripping them free from the staples holding them in place overhead. A low menacing BELLOW. The reptile's advancing. Slows down... Sees that she's stuck. Like a fly trapped in a spider web.
HALEY
No!
Haley desperately worms her way through. Using every ounce of her strength. Gets loose. Crawling out the other side. The reptile follows. Tangling itself up in the same mess of hanging wires. Slowing the animal's progress. Haley can hear it STRUGGLING behind her. She kicks with her good leg. Pushing herself forward. Ignoring the pain. The reptile rips free from the wires. SCRAPING along the ground. Crawling after her. It lunges. Jaws SNAPPING down. Just missing her. The reptile makes another snatch at Haley. Overshoots. CRASHING into a support. Haley flattens herself, squeezing under a gap near the foundation. The reptile tries to follow. But the clearance is too low. It can't open its mouth enough to grab her. Haley rolls out of the way. Taking shelter behind a couple of four inch pipes running horizontal to the ground. A small pocket of space here. The pipes on one side of her. The foundation wall on the other. Haley catches her breath. Collapsing back against the concrete. Exhausted. In intense pain. Sees that MONSTROUS BEAST pacing along on the other side of the pipes. Its tail SCRRRAAPING the ground. The REPTILE turns. Its eye is right there! Looking in at her through the pipes. Another low menacing BELLOW. It suddenly spins away. Haley's attention remains fixed on the reptile as it slinks back into the darkness. The SCRRRRAAAAPING sound fades off. Haley tries to get her breathing under control. Her whole body trembling. Happy to be alive. Her dad anxiously calls from the shadows. His VOICE far off.
DAD (O.S.)
Haley, what's happening!?
HALEY
(yelling back, breathless)
Dad. I'm okay. Stay there.
She removes the flashlight from her waistband. Switches it on. Scanning it over her leg. Inspecting the damage. It's riddled with puncture marks. Blood running down her calf.
HALEY
Shit.
She applies pressure to the injury. Searches for something to stop the bleeding. Sets the flashlight down. Rips off pieces of VAPOR BARRIER. Haley grits her teeth. Wrapping the meshed material around her wounded leg. CRYING OUT as she ties it off. It's like doing surgery in a closet. Haley inspects her makeshift tourniquet. The bleeding has stopped. For now. She takes a moment to gather her strength. The pain visible on her face. Picks up the flashlight. Examines the narrow space. Listens... Just the sound of that far-off RADIO and the STORM outside. WIND and RAIN lashing the house.
HALEY
Dad...?
She sees a chalky water line halfway up the foundation wall. Indicating that at one point this crawl space was flooded. And a reminder that it could happen again.
DAD (O.S.)
Yeah. I'm here.
Up ahead. In the darkness. A sliver of DAYLIGHT.
HALEY
Hold on. I think I found something.
Haley crawls toward it. Dragging her damaged leg. Creeping along the foundation. Finds one of those VENTS set into the concrete. Narrow slats allowing for air flow. But not much else. The opening is tight, but if she can get the cover off, maybe she can squeeze through.
HALEY
Dad, there's a vent. I'm gonna see if I can get out.
Haley kicks at the vent cover with her good leg. Again and again.
HALEY
C'mon... c'mon...
Gives it a final frustrated kick. The cover's not budging. It's bolted into the concrete foundation from outside.
HALEY
Dammit!
She looks out through the vent's narrow slats. HALEY'S POV An air conditioning unit is partially obscuring her view of the street and a neighboring house. BACK TO SCENE Haley looks around. Clicks on the flashlight again. Panning the crawl space. Always checking to make sure she's safe.
DAD (O.S.)
Haley, where are you?
HALEY
I don't know. I can see an air conditioning unit. And some of the street.
DAD (O.S.)
That's good. It sounds like you're near the front of the house. There's another access hatch in the entryway closet.
A silent beat. Haley studies the floorboards overhead.
HALEY
Okay. So how do I get there?
HER DAD -- Lying there in the darkness. Feeling helpless. Tethered to this spot.
DAD
You need to crawl along the foundation. Until you reach the wet wall.
HALEY (O.S.)
Wet wall?
DAD
Yeah. Where all the pipes go up into the house. Follow it. That runs along the entryway.
Her dad hears rainwater filling the pipes. Rushing into nearby storm drains. Seems distracted by all the water DRIPPING down through the subfloor. Feels it collecting around him. This section of the crawl space is starting to flood.
HALEY (O.S.)
Dad, I don't know where the alligator went. Can you see it?
Her dad hears MOVEMENT in the distance. Squints into the gloom. Sees a FAINT OUTLINE of the reptile slinking beneath the garage.
DAD
It's over near the open hatch.
Realizes he needs to get a better view of what's going on. In the shadows, on the other side of those low twisting pipes, he can see his shredded TOOL BELT. HALEY -- Studies the darkness one more time just to make sure. Clicks off the flashlight.
HALEY
Okay.
(under her breath)
Here goes.
Haley begins moving along the foundation wall. Feeling her way through the darkness. Using her good leg to push her along.
EXT. ABANDONED HOUSE - AFTERNOON
The storm is really lashing at the house. Downspouts have backed up. Water pooling on the lawn.
INT. ABANDONED HOUSE - LIVING ROOM - AFTERNOON
Inside the house, the roof is leaking badly. Water trickles down onto the subfloor and into the crawl space below.
INT. CRAWL SPACE - AFTERNOON
Her dad hears the water coming in as he slowly pulls himself across the wet ground. Focused on reaching that network of pipes. The portable RADIO continues playing out in the darkness. The CLASSIC ROCK is interrupted by a series of emergency service BLEETS. Then a MONOTONE VOICE.
RECORDED VOICE (ON RADIO)
The National Weather Service has issued a flash flood warning for parts of Southern Florida including all of Lee, Monroe, and Collier Counties. Residents are asked to shelter in place and avoid low lying areas.
RECORDED VOICE (ON RADIO)
Excessive runoff from heavy rainfall is expected to cause major flooding.
DAD
(muttering to himself)
Yeah. No shit.
He continues working himself through the cramped space. Toward his TOOL BELT. HALEY -- Sneaks along the front of the house. Keeps the flashlight off. Doesn't want to give away her position. She studies the pipes. They all seem to be converging at the same point overhead. That must be the wet wall. Haley moves away from the foundation. Rolling onto her back. Looking up at the subfloor. Tries to orientate herself. Searching for that second access hatch. She suddenly spots it. Cut into the floorboards overhead. There's a DARK CLUSTER hanging near the front edge of the hatch. Haley brushes it away. Unknowingly waking -- A large nest of HARVESTMEN SPIDERS that have made this damp crawl space their home. Hundreds of LONG-LEGGED SPIDERS drop from overhead. Falling into Haley's hair. Onto her face. She's FREAKING OUT. Writhing wildly. Trying to shake them off. Fighting the urge to scream. Has to keep her mouth closed. They crawl all over her... Scattering off into the shadows. Haley desperately swipes away the stragglers. Collects herself. A shudder of disgust.
HALEY
(mutters to herself)
I fucking hate spiders.
She nervously glances back over her shoulder. Checking for the reptile. Then hits up against the hatch. Dust and dirt filters down from above with each impact. But the cover won't budge. Haley grits her teeth. Quietly shoulders it up. Pushing with all her might.
INT. ENTRYWAY CLOSET - CONTINUOUS
Boxes of unused ceramic tiles are piled on top of the hatch. They shift slightly as Haley pushes up from below.
INT. CRAWL SPACE - CONTINUOUS
Haley repositions herself to get more leverage. Straining. Pushing with everything she's got. Inching the cover up. The hatch door rises a few inches. Then catches. Something's preventing it from opening any further. Haley, struggling to keep it up, works her fingers through the gap. CLOSE ON HALEY'S FINGERS Feeling along the edge. Finding a metal hasp. A SQUARE PADLOCK holding it in place. ON HALEY Pulling her hand back. A defeated breath. She lets the hatch drop. Slumps back against a wooden support. Their chance of escape slipping away. A long, quiet beat. Thinking of her dad. Shakes it off.
HALEY
Come on, Haley. Keep it together.
(then, calling out)
Dad...?!
HER DAD -- Is preoccupied. Lying on his side. Stretching his good arm under the intersecting pipes. Trying to reach his TOOL BELT on the other side. Every move for him is painful.
DAD
(through clenched teeth)
Yeah, honey. I'm here.
HALEY (O.S.)
Dad? I can't get it open. It's locked. What should I do?
He tries to hide his disappointment.
DAD
That's okay. Come on back. We'll figure something out.
HALEY -- A beat. She's thinking. A FLASH of lightning spills in through the foundation vents. Giving Haley an idea.
HALEY
I'm gonna try prying off another vent cover. Maybe one of them is loose.
HER DAD -- Looks toward the open access hatch for that reptile.
DAD
No. Haley... don't. They're bolted on.
His voice is drowned out by the RUMBLE of thunder. HALEY -- Isn't giving up. She cautiously makes her way through the darkness toward the edge of the house. Searching for the nearest vent. She stops. Listens. Hears a faint BUZZING. Off to her left. Her PHONE. It's VIBRATING somewhere in the shadows. Haley shifts directions. Moving quietly. Trying to follow the sound. HER DAD -- Successfully snags the tool belt. Pulls it close. We now see what he was after. He retrieves a HEADLAMP from one of the pockets. A long, low SCRRRRAAAPE... The reptile is on the move again. Her dad quickly clicks on the headlamp. Turns the beam toward the sound. Catching a glimpse of the REPTILE as it slips past. Moving toward his daughter.
DAD
(with sudden urgency)
Haley!
HALEY -- Finds herself in an area sectioned off by large pieces of ROTTING INSULATION. They hang down from the ceiling like Spanish moss. Obscuring her view. She's busy searching the ground around her. Puddles everywhere.
HALEY
Dad, hold on. I can hear my phone.
DAD (O.S.)
Haley, it's coming your way!
With this news, Haley picks up the pace. Feeling in the darkness... Finally finds her phone lying face down in the mud. Hears the REPTILE coming. SPLASHING and SCRAPING. Getting closer... Haley stuffs the phone in her pocket and crawls. A large piece of hanging insulation shifts as -- The reptile pushes beneath it. Stops. Twisting its huge head. Studying the darkness. Haley is gone. ON HALEY -- Crawling for her life. The hanging insulation giving her cover. She slips on the muddy surface. SLAMMING her damaged leg into a support. Ugh! Hurts like hell. Haley recovers. Keeps going. Taking shelter behind another large post. Hears the RUSTLE of movement. More hanging insulation shifts nearby. She holds her breath as -- The REPTILE stalks past. On the prowl. It lingers a moment. Then keeps going. The SCRRRRAAAPING sound moves off. It's lost her in the darkness. Haley tries to remain silent. A long, quiet beat. Then -- The phone into her pocket suddenly BUZZES with a message. The REPTILE whips around. Honing in on the sound. And on Haley. Shit! She takes off. Scrambling furiously. Survival instinct kicking in. Ignoring her wounded leg. Heart pounding out of her chest. Making her way toward a LONG, RECTANGULAR METAL DUCT running along the top of the crawl space. Less than a foot of clearance beneath it. Haley crawls desperately. Moving through standing water. Sensing the REPTILE closing in right behind her. She dives for the duct. It's a tight fit. Manages to squeeze most of her body under -- But her RIGHT SNEAKER snags on a metal edge. Haley quickly works to unhook it. Can't get it loose. Yanks off her shoe. Pulling her bare foot under. Emerging on the other side -- Into a narrow passageway between the duct and the house's foundation. Haley falls back against the concrete. Catches her breath. Shaking. She checks her pocket for the phone. It's not there! Must have slipped out during her mad dash. Haley looks back under. Sees the phone lying just on the other side of the duct. As she reaches for it -- A huge claw comes CRASHING down! CRUSHING the phone into the mud. Shattering the display.
HALEY
(lost)
No...
Haley pulls back. Devastated. Hugging her knees to her chest. Her last chance to call for help now gone. She can hear the reptile furiously CLAWING on the other side of the duct. Ripping at the vapor barrier. It lunges into the gap. Trying to burrow its way under. Not enough room. The alligator backs out. Giving Haley a chance to catch her breath. Now what? An anxious beat -- The REPTILE SLAMS its weight into the metal surface from the other side. The loud THUMP shakes the duct. Causing Haley to jump. Another HIT. The sound is deafening. And another. The bolts mounting the duct to the joists overhead SNAP. One after another. A section of the ductwork breaks free. SPLASHING down into the muddy water. The REPTILE continues POUNDING against the surface. The whole structure now sliding. The space on Haley's side is slowly collapsing.
DAD (O.S.)
Haley, are you okay?
A panicked Haley braces herself. Pushing back against the duct with her good leg. Trying to hold it in place.
HALEY
(under her breath, through gritted teeth)
A little busy... right now...
Feeling each impact from the powerful animal. The POUNDING stops. A tense beat. Her worried dad continues calling.
HALEY
(yelling back)
Dad, I'm alright! Hold on.
The silence is suddenly broken by that dreaded wet SCRRRRAAAPING on the other side. The REPTILE is on the move again. SCRATCHING against the duct as it crawls. Where's it going? Haley clicks on the flashlight. Looks down the length of the passageway. Sees that, after twenty feet, the duct ends. Turning up into the house. Just then the BEAST rounds the corner. Eyes reflecting red in the beam of her flashlight. Blocking that end of the passageway. Oh, shit! Haley turns and frantically heads in the opposite direction. Hears SCRATCHING and SPLASHING behind her as the reptile slowly pushes itself between the duct and the foundation wall. It's tail BANGING against the metal as it moves. Up ahead, the duct bends to the right. Haley scrambles around the corner -- Reaching a DEAD END. The opening is sealed off with plywood. She's cornered. Looks back. Sees the alligator closing in. But Haley's not ready to give up. Kicks wildly at the flimsy plywood. Manages to knock one side loose. Haley squeezes out. Wedging the plywood back into place just as -- The REPTILE thrusts its snout sideways through the gap. Getting it caught between the bending duct and the edge of the plywood. Haley pushes with all her weight against the plywood. The animal is trapped. Pulling back. Trying to escape. Its broad snout just inches from Haley. SNARLING and HISSING. Struggling to get free. Haley can't hold it much longer. Sees a NARROW OPENING in the foundation. Several yards away. She lets up on the plywood just as -- The animal gives a hard backward yank. Slipping back behind the duct. Haley dives for that narrow opening. Rolling onto her side. Presses herself through the tight entrance -- Into a concrete CUBBYHOLE. A recessed portion of the crawl space. The size of a walk-in closet. Haley backs up. The ground is very muddy and wet back here. She finds a piece of rebar lying on the muck. Grabs it for protection. Gripping it tight. Clicks off the flashlight. THE REPTILE -- CRASHES through the plywood. Pulling itself free from the passageway. Prowling the space. Hunting for Haley. HALEY -- Can hear the animal SNIFFING close by. Raspy BREATHING. Then a long, low guttural GROWL. The reptile looms outside the narrow entrance. Staring in. Knows she's there. Just out of reach. Haley's fed up. Thrusts the end of the rebar out the opening. JAMMING it into the reptile's snout. The creature retreats slightly.
HALEY
Go away! Get out of here!
Haley winces in pain. Inspects her damaged leg. She's bleeding through the tourniquet. Redresses it. CRIES OUT as she tightens the knots. HER DAD -- Uses the headlamp to look around. Anxiously waiting for word from his daughter. Its weak beam of light cuts through the darkness. Revealing all the water dripping off the pipes. Leaking down through the subfloor. It's a swampy mess. Much worse than he thought. Sees more rainwater spilling in through those side vents. Collecting into large pools of standing water. Realizes he needs to do something. Spots a RUBBER HOSE snaking along the ground beneath the SUNKEN LIVING ROOM. Some sort of discharge line. Pulls himself forward with his good arm. Moving in small increments. Reaches his shoulder under that low-hanging section of subfloor. Straining. Getting close enough to grab the hose. And reel it in. The end is attached to a portable SUMP PUMP. Left down here from previous flooding. This could buy them some time. He pushes it into the rising water. Flips the switch from AUTOMATIC to MANUAL. It doesn't start. Frustrated, he flips the switch back and forth. Still nothing. Lifts the pump's housing from the water. Opens a compartment at the back. The battery pack is empty. Her dad looks back toward that radio CHATTERING in the darkness. Pulls himself toward it. The slurry of muck and water is making it easier for him to move. HALEY -- Hears the reptile creeping back toward the narrow opening. She clicks on the flashlight. Points it directly at the beast. Shining the blinding beam into its eyes. The alligator GROWLS irritated. Backing away. Sensitive to the bright light.
HALEY
That's right. Get your slimy ass out of here!
The reptile keeps backing up. Moving into the shadows. Out of the beam's reach. Haley detects a RUSTLE of movement behind her. Looks over her shoulder. A RABBIT hops into view. Just a few feet away. A Cottontail. Nose wiggling wildly. It's made this corner of the crawl space its home. Haley freezes. Not wanting to scare it. The rabbit pauses. Motionless. Its black eyes staring back at her.
HALEY
(whispers)
Don't worry. I'm not gonna hurt you.
The frightened animal suddenly darts off. Scurrying for the entrance.
HALEY
No...
Haley makes a desperate grab for it.
HALEY
...don't...
But she's too late. It slips through her hands. Fleeing out the narrow opening. Into the open crawl space. The reptile STRIKES. Lunging from the shadows. It's fast and vicious. Huge jaws SNAPPING down on the unsuspecting rabbit. Teeth chomping and grinding. It's over in seconds. The alligator turns toward Haley. Eyes reflecting a deep red in the low light. Finishes chewing. A bloody grin. It's taunting her. Haley YELLS in frustration.
HALEY
FUCK YOU!
The reptile lumbers off. She backs up. Her rage turning to despair. Lies there a moment. Tears welling. A pile of fallen insulation near the rear of the cubbyhole shifts slightly. Haley cautiously pushes it aside. Revealing -- Two YOUNG BUNNIES. A few weeks old. Furred. Crawling over one another. Eyes open. Helpless. And now orphaned. They're wet, cold, and shaking. Water is spilling in from somewhere along the concrete wall. Haley follows it back to its source. Finds a SIX-INCH CUT-OUT in the foundation. An opening just big enough to reach her arm out. The meshed screen on the other side has been chewed through. Haley looks back at the bunnies.
HALEY
So that's how your mommy got in here.
She considers her options. Can't push them out there. They'll drown. And she can't leave them here. Haley quickly packs the hole with insulation. Trying to stop the water from coming in. Slows it to a trickle. Then she scoops up the young bunnies. Wraps them in her tank top. Holding them close to her chest. Moves toward that opening. She CLICKS on the flashlight. Looks out into the empty crawl space. The alligator appears to have moved off. Haley turns off the flashlight. And, armed with that piece of rebar, carefully creeps out. She's cradling the bunnies. Trying to move quietly. Eyes searching for the reptile. HER DAD -- Is now lying near those twisting pipes. Using his shredded tool belt in an attempt to snag -- The PORTABLE RADIO. It's floating in the rising water on the other side of the plumbing. Just a few feet away. He tosses the belt. Trying to hook it. But misses.
DAD
Come on...
Tries again. Closer -- But another miss. A final attempt. This time the buckle manages to catch onto the antenna. He carefully pulls the radio toward him. Removes the batteries. And begins the slow crawl back to the sump pump. Using the floor joists to pull himself along. Occasionally stopping when the pain is too much. This simple task is exhausting. He reaches the pump, lifts the housing from the water, and inserts the batteries. Her dad sets the base back down. Submerging it. Flips the switch. A hesitant beat... The pump CHOKES to life. He can hear water GURGLING out through the discharge line. Shines his headlamp along the hose snaking toward the foundation. Hopefully draining out away from the house. The beam of light flutters slightly. Close to dying. Her dad shakes it back to life. HALEY -- Notices that the MUSIC from the radio has stopped. An eerie silence. Can't call to her dad. Too worried she'll give away her location to that reptile. She hugs the side of the foundation. Dragging her injured leg. With one arm holding the squirming bunnies. Awkwardly inches her way through the darkness back toward that locked entryway hatch. This time she easily finds it. Shoulders the cover up the few inches the padlock will allow. Using the rebar to prop it open. Haley gently pushes the ORPHANED BUNNIES through the gap. One of them turns. Trying to make its way back through. Looking for its mother. She tenderly nudges it out. A sad smile.
HALEY
No, honey. Stay there. You'll be safe.
Haley carefully removes the rebar. Letting the hatch cover gently drop back into place. Exhales. A small victory.
HALEY (CONT'D
(mutters to herself)
Now, how the hell are we getting out of here?
From her position, she spots the REPTILE through the maze of supports. It's lurking beneath the garage hatch. Lying in a few inches of muddy water. Haley can hear more water DRIPPING all around her.
HALEY
(calls into the darkness)
Dad, this crawl space is flooding. What are we gonna do?
DAD (O.S.)
I don't know. But I got the sump pump working. It should buy us a little time.
HALEY
Okay. I'm coming back. Keep an eye on that thing for me.
DAD (O.S.)
I will. Be careful.
She starts crawling toward his VOICE.
EXT. CUL-DE-SAC - LATE AFTERNOON
A SECURITY VEHICLE slowly cruises down the flooded street on patrol. It circles back. And parks facing her dad's pickup truck.
INT. SECURITY VEHICLE - LATE AFTERNOON
BOBBY (23), a good-looking kid. Mustache unable to hide his boyish face. The chatter of the car radio keeps him company.
RADIO ANNOUNCER
...due to heavy rain and gale-force winds, authorities have asked that all non-emergency vehicles stay off the roads...
He turns the volume down. Sits, looking out his windshield at the TRUCK and HALEY'S OUTBACK. Wipers THUMPING. Bobby checks a clipboard on the passenger seat. Writing down some notes. Pulls up the hood on his rain jacket, opens the door, and steps out into the pouring rain.
INT. CRAWL SPACE - LATE AFTERNOON
Haley hears the distinct THUMP of a car door. Looks toward the front of the house. Unsure if she actually heard it. She changes directions. Quickly works her way through the cramped space. Swatting away cobwebs. Drops the rebar so she can crawl faster. Reaching a VENT set into the front of the foundation. She leans close. Peering out through the narrow slats. HALEY'S POV A partially obscured view of the front yard. She can see her dad's pickup truck. Lit by the headlights of the security vehicle. Bobby's outside walking through the heavy rain toward the truck. BACK TO SCENE Haley can't believe it.
HALEY
(yells)
EXT. CUL-DE-SAC - LATE AFTERNOON
Bobby uses his flashlight to look into the pickup's gloomy interior. Then turns toward Haley's Outback.
INT. CRAWL SPACE - LATE AFTERNOON
Haley glances over her shoulder. Shouting to her dad.
HALEY
Dad, there's someone outside!
She shifts her attention back to the vent. Continues SCREAMING.
HALEY
Help! HELP!
HITTING her fist against the metal cover. Trying to get Bobby's attention.
EXT. CUL-DE-SAC - LATE AFTERNOON
But the POUNDING RAIN drowns out her cries. Bobby scans the handful of empty houses. Debates whether it's worth calling in a couple of abandoned vehicles.
INT. CRAWL SPACE - LATE AFTERNOON
Haley has her face up against the vent. Water's trickling in through the louvers.
PLEASE!
YOU NEED TO HELP US!
On the other side of the crawl space, her dad has joined in. Yelling at the top of his lungs.
DAD (O.S.)
HELP!
DOWN HERE.
TRAPPED!
HEY!
It doesn't seem to be working. Haley takes a different tact. Grabbing the flashlight.
Shines it at the vent.
Panning the beam over the slats. Clicking it on and off.
EXT. CUL-DE-SAC - LATE AFTERNOON
At the base of the foundation. The other side of that VENT. A flicker of light. Barely visible through the rain. Bobby doesn't see it. He's already headed back toward his vehicle.
INT. CRAWL SPACE - LATE AFTERNOON
Haley realizes that he's leaving.
HEY!
Desperate to get his attention.
WAIT! DON'T GO!
Hope draining away.
Then she sees her Outback. Haley reaches into her pocket. Pulls out her car keys. Fumbling for the button. Pointing the keychain toward the vent.
EXT. SECURITY VEHICLE - LATE AFTERNOON
Bobby is climbing behind the wheel when -- The Outback's alarm KICKS ON. He reacts. Turning toward the car. Its alarm WAILING. Headlights flashing. Bobby cautiously steps from his vehicle. His hand on his belt. Is somebody messing with him? He shifts his attention to the nearby house. Decides he better check it out.
INT. CRAWL SPACE - LATE AFTERNOON
Haley watches as Bobby crosses the lawn toward the front door.
HALEY
Come on... yes.
Haley BLEEPS off the car alarm to hear better.
HALEY
Dad, he's coming in!
Muffled FOOTSTEPS. The CREAK of floorboards. A muted "hello?" Haley heads toward the sounds. Trying to get closer. POUNDING up on the floorboards.
HELP!
DOWN HERE!
INT. ABANDONED HOUSE - ENTRYWAY - LATE AFTERNOON
Bobby stands in the entryway. Panning his flashlight over the darkened interior. Listens... Just the sound of the HEAVY RAIN.
BOBBY
Anybody home?
A FLASH of lightning illuminates the inside of the house.
INT. CRAWL SPACE - LATE AFTERNOON
Haley keeps moving. SLAMMING her fist into the floorboards overhead. Trying to get Bobby's attention. Her knuckles getting scraped up and bloody. Haley screams. Voice growing hoarse and raspy.
HELP!
WE'RE TRAPPED DOWN HERE!
DAD (O.S.)
Haley, I don't think he can hear you. Try banging on the pipes.
Haley retrieves the piece of rebar. And HITS the plumbing near the wet wall. HER DAD -- Shines his weakening headlamp toward the garage hatch. The ALLIGATOR seems agitated by all the noise. It gets up, slicing through the water. Moving toward that loud resonating SOUND. The beam of light flickers. And goes out. Her dad nervously scans the inky black space. He's lost sight of the reptile.
DAD
(yelling toward his daughter)
Haley, watch out! It's on the move!
HALEY -- Doesn't hear him. She's too busy HAMMERING the pipes. Trying to make as much NOISE as possible.
INT. ABANDONED HOUSE - VARIOUS - LATE AFTERNOON
Bobby hears a faint CLANGING sound. Follows it. Realizes the sound is echoing up from beneath the floor.
INT. CRAWL SPACE - LATE AFTERNOON
Haley stops to listen as Bobby's FOOTSTEPS move further into the house.
HALEY
Dad, I think he's looking for the hatch.
Hears her dad's frantic VOICE.
DAD (O.S.)
Haley, did you hear me? I don't know where that thing went!
HALEY
Oh my God.
She's suddenly on alert. Switches on the flashlight. Eyes scanning the shadows. Trying to locate the reptile.
INT. GARAGE - LATE AFTERNOON
Bobby steps down into the garage. Sees the propped up garage door. The STORM still raging outside. He approaches that empty storage closet.
INT. CRAWL SPACE - LATE AFTERNOON
Haley anxiously pans the flashlight back and forth. Checking all around her. Listening for any sign of the alligator.
HALEY
I can't see it!
DAD (O.S.)
I heard it go by just a minute ago.
INT. STORAGE CLOSET - LATE AFTERNOON
Bobby's flashlight picks out the open access hatch.
INT. CRAWL SPACE - LATE AFTERNOON
The beam from his flashlight filters down into the crawl space. Bobby pokes his head down through the opening. He sweeps the flooding space with his light. Too dark to see much.
BOBBY
Is somebody down here?
HALEY -- Sees Bobby in the lighted hatch. Needs to stop him.
HALEY
No!
Frantically tries to signal him. Screaming. Waving her flashlight. DON'T COME DOWN HERE!: BOBBY -- Sees the far-off beam swinging back and forth. Can't hear much for the deafening rain HITTING the garage door. He leans in further.
BOBBY
What the hell are you doing back there? It's gonna flood.
HER DAD -- Hears Haley's frantic pleas. He tries to warn Bobby. Yelling from the darkness.
STAY BACK!
GO GET HELP!
BOBBY -- Turns his attention toward her dad's VOICE. Looking into the shadows.
BOBBY
What?
DAD (O.S.)
There's an alligator down here! We're trapped!
It takes him a moment to process this. The water below Bobby SLOSHES slightly.
BOBBY
(calling back)
Shit. Okay. Hold on!
He pulls himself up and out of the hatch.
INT. STORAGE CLOSET - LATE AFTERNOON
Bobby's perched on the edge of the opening. Adrenaline pumping. Reaches for his radio to call for help. Hand shaking a little as he unclips it from his belt. WHAM! The alligator LUNGES up from the access hatch. Lightning fast. CLAMPING onto Bobby's arm. Using its own weight to drag him down into the crawl space.
INT. CRAWL SPACE - LATE AFTERNOON
Bobby lands with a SPLASH. The reptile is on him in seconds. RIPPING into him. Bobby's SCREAMING. Trying to fight it off. HALEY -- Watching in shock as the REPTILE flings him around.
HALEY
No. NOOO!
Then a horrible sound. The CRACK of bones. His neck SNAPS. Bobby falls silent. The alligator yanks the lifeless guard back into the darkness. Just the RUSTLE of movement. The water settles. Haley closes her eyes. A sense of total hopelessness. Can't get her breath. Suffocating. Now more afraid than ever. She opens her eyes. Realizes she needs to get back to her dad while that thing is distracted. Begins a desperate crawl. Clutching the rebar in one hand. The switched-off flashlight in the other. We're with her the whole way. Following Haley as she SPLASHES through the rising water. Trying to find her way back. In her panic, gets turned around. Realizes she's lost. Clicks on the flashlight. Its beam scans the crawl space. Picks out that battered TRAP CAGE. Knows that she's close.
HALEY
(harsh whisper)
Dad?
The beam falters. She shakes it. Breathing hard. It comes back on. Revealing a brief glimpse of the empty crawl space. It goes dark again. Haley, panicked, gives it another shake. A flash of the REPTILE snaking its way toward her. Then blackness. Haley SCREAMS. Not knowing which way to go. CRIES OUT for her dad. Certain she's about to die.
HALEY
DADDY!?
A HAND suddenly clamps onto her arm. Pulling her back into the shadows. Dragging her under that network of pipes. The water SURGES as the reptile SWEEPS past. Twisting away. Slinking back into the dark. Haley's safe. Just out of reach. Sees her dad.
DAD
(tears in his eyes)
Thought I lost you.
She grabs him around the neck. SOBBING uncontrollably. Overcome by everything she's seen and been through. He holds her tight. Trying to comfort her. Checks to make sure she's okay. Haley's scraped up and bruised. Covered in mud. Then he sees her bloody leg.
DAD
My god. Why didn't you tell me?
HALEY
I'm fine. It's not as bad as it looks.
Her dad winces as he shifts positions.
HALEY
How are you?
DAD
Think I've found my second wind.
This gets a smile out of her. Haley wipes away her tears. Looks back at the garage hatch.
HALEY
That poor security guard.
(beat)
I tried to warn him.
DAD
Honey, there's nothing more you could've done.
Haley takes a deep breath. Worn out. Defeated.
HALEY
We're never getting out of here, are we?
DAD
Haley, I need you to be strong. We're not quitting.
He brushes the hair from his daughter's face.
DAD
Remember when your mom was sick. Through all the treatments. She never gave up. We need to fight. Just like she did. Do you hear me?
Haley is quiet for a beat, then --
HALEY
Yeah.
Her dad looks around at the rising water.
DAD
We're in a real low spot here. We need to get you to that hatch before this whole place is flooded.
HALEY
We'll go together.
Shakes his head. No.
DAD
I'll just slow you down. You have to leave me.
As much as she fights the idea, she knows he's right. A long solemn beat. Her dad has an idea. He takes the flashlight from his daughter's grip. Switching it off to save the battery. He then reaches up. Grabbing a long loop of electrical wire hanging from a nearby joist. Staples SNAP free as he pulls it loose. Wrapping the wire around the base of the flashlight.
DAD
It didn't like you banging on those pipes. Maybe we can use that to draw it away from the hatch.
Her dad points toward the low-hanging section created by the sunken living room.
DAD
Think you can make it under there?
If Haley crawls on her belly, she can fit. But the water level is high enough that she'll be mostly submerged.
HALEY
I've been in tighter spaces than that today.
Her dad smiles.
DAD
Good. While I distract it, you go out that way. Sneak around. And make your way back to the hatch.
He reaches for the piece of rebar.
DAD
Help me get to those pipes.
Together they work their way toward the cluster of plumbing. With his good arm, he shoulders up one of the heavy pipes. The metal flexes. Straining. Haley helps her dad hold the pipe in place while he JAMS the rebar under. Propping it up. Creating an opening large enough to lure the animal in. He takes the tethered flashlight from his daughter. Sees that charm bracelet on her wrist. A rush of memories.
DAD
I gave that to your mom in college. She was just about your age.
HALEY
I know.
He hugs her tight.
DAD
You're so much like her.
A final embrace.
DAD
You ready?
She nods. Haley wades toward that low-hanging section of subfloor. And submerges herself. Squeezing beneath the sunken living room. Her dad clicks on the flashlight. Tosses it through the open section of pipes. Out into the crawl space. It SPLASHES down into the rising water. Floating several yards away. In his weakened state, her dad grabs a piece of BRICK. And starts HITTING it against the pipes. Again and again. Creating a loud REVERBERATING noise. The CLANGING gets the attention of the REPTILE. Her dad stops to listen. Hears far away SCRAPING and SPLASHING in the darkness as the agitated animal crawls toward the sound. It's working. He continues BANGING. The reptile comes into view, honing in on the beam of the flashlight. HALEY -- In tight quarters. Half swimming, half crawling on her stomach beneath the sunken living room. She pulls herself through the murky water. Trying to keep her head above the surface. But the water's getting too high. Haley has to go under. HER DAD -- Grips the length of electrical wire. Slowly reeling in the flashlight. Watches as the huge creature approaches through the flooded space. Its red eyes reflected as it stalks toward the light. HALEY -- Scrambles out on the other side of that low-hanging section. Into an unexplored portion of the crawl space. Sucks in a huge breath of air. She's on her hands and knees now. Cautiously moving out and around. Hearing the reptile as it makes a beeline for that flashlight and her dad. Haley feels her way forward in the dark. Splashing through the muck. Can't yet see the open access hatch. HER DAD -- Has his attention fixed on the reptile. It suddenly lunges for the flashlight. JAMMING half its body through the opening. Her dad is ready. And waiting. KICKS the rebar free with his good leg. Releasing the heavy pipe overhead. It CLAMPS down on the reptile's back. PINNING it into the water and muck. The creature THRASHES wildly. SPLASHING around. Trapped.
DAD
(yells)
Haley, GO!
The reptile's FRONT CLAWS instinctively rake the ground. As the beast tries to pull itself forward. Toward her dad. Its jaws SNAPPING. He grabs the rebar. Dragging himself back out of the way. HALEY -- Can now see the garage hatch up ahead through the gloom. Sloshes toward it. Moving through a pile of rotting vegetation. Twigs and leaves sticking up out of the water. The surface beneath her hand gives way with a CRUNCH. She lifts her hand to her face. It's covered in goo. And then she sees -- A CRUSHED EGG. And more EGGS. Still intact. A dozen or so. It's a goddamn nest! This must be what that reptile was guarding. Then a low BELLOWING GROWL... As a SHAPE rises up from the shadows directly in front of her. Creeping forward.
HALEY
Oh... shit...
She's face-to-face with a SECOND ALLIGATOR! Not as big as the first. But still scary as hell. This is a FEMALE. And it's very territorial. The animal HISSES. Haley slowly backs away. The female's eyes burning into her. As it hovers over the remaining eggs. Protective. It HISSES again. SNAPPING at her. Haley spins around and starts crawling as fast as she can. Blindly SPLASHING through the darkness. Not sure where she's going. HER DAD -- The MALE REPTILE continues trying to pull itself into the space. It's trapped. Tangled up in that maze of pipes. Claws SLASHING at the mud. Struggling to get traction. Her dad SWINGS at it with the rebar. HITTING its tough skin. HALEY -- Weaves around supports. Under hanging insulation. Trying to put as much distance between her and that female reptile. She looks back. Appears to have shaken it. WHAM! The FEMALE ALLIGATOR suddenly charges in from the side. Its JAWS latching onto the thigh of her already injured leg. It's a vicious collision. Like Haley's been t-boned. The FEMALE pushes her through the darkness sideways. Haley's shoulder SLAMS into a support. She SCREAMS in pain. The female reptile flings her side to side. Jaws still clamped onto her upper leg. It's close quarters. Brutal. Haley's punching back. Going for the eyes. Desperately trying to fight it off. Manages to kick free. Dazed. Blood flowing down her face. She grasps for something to hold on to as she tries to crawl away. Takes hold of a copper pipe overhead. Quickly let's go. It's scalding hot. Shit! Realizes she's beneath the HOT WATER HEATER. The female alligator lunges from the darkness. Bites down onto her ankle. Haley uses a loose piece of insulation to grab onto the hot copper pipe. Pulling with both hands. Using the full weight of her body. Fighting through the pain. As the female reptile tries to drag her away. The copper's bending at the joint. It SNAPS open! Haley twists out of the way aiming the full force of the scalding hot water at the FEMALE REPTILE. It SHRIEKS. Letting go of Haley. Retreating. Haley splashes to safety as the tank overhead empties. Adding forty gallons of hot water to the already flooded space. The haunting SHRIEKS of the burned creature continue from the shadows. HER DAD -- The MALE REPTILE. Still pinned beneath that heavy pipe. Hears the CRIES of its mate. Goes berserk. Shifting directions. Thrashing. Flipping mud everywhere. Now pushing itself back. Using the slick surface to its advantage. Haley's dad realizes the animal is trying to back out.
DAD
No...
Moves forward with the rebar. Grasping onto the slippery pipe. Pressing down. Attempting to hold it in place. But the male reptile pulls free. SPLASHING away. Her dad looks over at the open hatch. His daughter should have gotten there by now.
DAD
Shit! Haley, where are you? I couldn't hold it. It got loose!
HALEY -- Drenched. Banged up. Checks the damage to her already mangled leg. It's really chewed up now. Punctured skin. Teeth marks. Blood seeping out. She vomits. Wipes her mouth with the back of her hand. Yelling back to her dad.
HALEY
Dad. There's two of them! I didn't make it.
She's trembling. Shaking from the loss of blood.
HALEY
(lies)
But I'm okay.
Sees that the open hatch is not that far away. She can make it.
HALEY
(quietly, to herself)
Gotta move, Haley.
Starts to crawl. A SPLASH. Somewhere off to her right. She puts her head down. Keeps going. She's reached that area where the clearance is higher. Now able to crawl faster. Almost there... The MALE REPTILE suddenly slides into view directly in front of her. Blocking her path. It GROWLS. Charging. Haley quickly shifts directions. Splashing back through the murky water. Her hand falls on something solid in the mud. Comes up -- Clutching her dad's large PIPE WRENCH. The one she passed over on her way in. That MALE REPTILE is powering toward her. Haley swings the heavy wrench. With everything she's got. It makes contact. WHACK! Knocks the beast's head sideways. SLAMMING its skull into a support.
HALEY
How do you like that, motherfucker!?
The male reptile shakes it off. Haley splashes through the rising water. Takes shelter behind a large drain pipe. Nervously looks around. Knows the female is still lurking somewhere out there too. The MALE REPTILE charges from the shadows. Jaws open wide -- And CLAMPS onto the pipe. Tugging near a joint. Breaking the seal. More water spilling out. Flooding the space. As Haley retreats, her mom's CHARM BRACELET snags on a support. And SNAPS. The male alligator moves around the broken pipe. Haley sees the bracelet fall into the rushing water. Grabs it. The creature SNAPS at her. Another glimpse of its massive jaws. Exposed teeth. Just missing Haley. She clambers back. Stuffing the bracelet into her pocket. Defiant.
HALEY
You're not getting that, Asshole!
Haley swings the pipe wrench again. WHUMP! Stunning the animal. Buying herself some time. She scrambles away. Trying to orientate herself. She's turned around. In a different portion of the crawl space. Spots a couple of METAL SUPPORT JACKS. Stabilizing some rotting posts. Propping up the sagging floor overhead. Realizes she's under the kitchen. Haley kicks at one of the jacks. Hears the male reptile SCRAPING and SPLASHING in her direction. She HAMMERS at the jack with the pipe wrench. It shifts slightly in the mud. Hits it again. Lightning STRIKES really close. Instantly lighting the space. A brief glimpse of the advancing MALE REPTILE. Thunder BOOMS! Shaking the house on its foundation. Haley, more frantic now. Pounding at that jack with everything she's got. It finally slips out from under the joist. The boards above her STRAINING. A loud CRACK. The weight of the rotting floor pushing down. The male alligator slices through the muddy water. Almost on her. The water damaged posts SNAP like toothpicks. The joists overhead collapse. SPLASHING down. Along with a section of the subfloor. The entire KITCHEN ISLAND crashes down into the space. Haley tries to shield herself from all the falling debris. A HUGE SPLASH of mud and water. A beat as it settles. Leaving Haley trapped on one side of the cave-in. Not knowing if the male reptile is buried beneath it. HER DAD -- Reacts to the sound of the COLLAPSE.
DAD
(calling to his daughter)
Haley, what was that? Are you okay?
HALEY -- Is COUGHING. Sees the pile of rubble and debris in front of her.
HALEY
(yelling back)
I'm good.
(then)
Just a slight change of plans.
She tries to move. Her damaged leg is pinned under a fallen beam. The male reptile GROWLS on the other side. Trying to dig out from under the rubble. Haley attempts to free herself. Using the pipe wrench. Shoving it into the mud next to her trapped leg. Trying to pry up the fallen beam. It won't budge. Too heavy. She starts digging instead. Clawing at the mud around her leg. Pressing against the beam with her good leg. Slowly starts pulling herself out from under. Takes a deep breath. A final push. SCREAMS as she yanks her mangled leg free. Backs away from the fallen debris. Splashing through the dark water. She's tired. Drained. Can't quit now. Needs to find another way out. Haley detects a foul stench. Covers her mouth. She's stumbled into a stash of DEAD ANIMALS. Rotting carcasses. Chewed up. Haley gags. Backing in the other direction. Touches a HAND and ARM -- The remains of that SECURITY GUARD. His MANGLED CORPSE jammed into the tight space. Dead eyes staring up. Haley stifles a scream. Collecting herself.
HALEY
(her voice shaking)
Dad, I found the security guard!
A beat. Her dad processing this. Then --
DAD (O.S.)
See if you can find his radio.
She gropes in the muddy water. Frantically feeling for Bobby's belt. Wet hands fumbling. No radio. But she finds a HOLSTER. Unsnaps it. Feels the handle of a gun there. Pulls the weapon free. It's slick with mud. Haley tries to wipe it clean. The sound of SHIFTING WATER. Her wet hands struggling with the gun. Flips off the safety. As the FEMALE REPTILE charges from the darkness. Haley raises the gun. Squeezes the trigger. A flash of GUNFIRE lights up the cramped space. The female spins away. Did she hit it? Haley holds the gun in her trembling hand. Searching the darkness. Her ears are still RINGING. No sign of either alligator. The water is rising around her. Now up to her elbows. She needs to move. Another FLASH of lightning reveals a nearby vent. This time at the back of the house.
HALEY
(calls into the darkness)
Dad, hang on!
HER DAD -- Exhausted and weak. Floundering. Up to his neck in the rising water. He drags himself through the flooding space. Needs to get to higher ground. HALEY -- SPLASHES back along the rear edge of the foundation. Half swimming, half crawling. Reaching that vent. Rainwater pours in through the slats. She aims the gun toward the vent. FIRES into the metal cover. Near the edges. Where the bolts hold it in place. Each GUNSHOT is deafening. Haley twists her body around. Kicks madly at the loosened vent cover with her good leg. Knocking it out completely. With the cover off, more rainwater surges in. Haley takes one final look behind her and squeezes through.
EXT. ABANDONED HOUSE - BACKYARD - LATE AFTERNOON
Haley gets an arm out the open vent. Then her shoulder. She claws at the mud. It's tight. Haley's stuck. Squirming wildly. Half in, half out. Knows her lower half is completely exposed. She inches herself forward. Finally pulls free. Tank top plastered in mud. Winces in pain as she gets to her feet. Sees the swimming pool. The rear sliding glass door. Turns back, yelling into the open vent.
HALEY
Dad, I'm out!
The JAWS OF THE FEMALE REPTILE SMASH OUT through the opening! SNAPPING at her. Haley staggers back. She limps toward the sliding glass door. Favoring her good leg. Moving around the edge of the pool. The FEMALE REPTILE continues squeezing its way through the narrow vent. The wind is intense. Rain SLAMMING down on Haley. A METAL LOUNGE CHAIR blows across the deck. Splashing down into the pool. Haley's damaged leg buckles as she loses her footing on the slick surface. And tumbles over the side. Into the deep end. SPLASHING down into eight feet of murky water. She goes UNDER. The gun slipping from her grip. Sinking to the bottom. Haley bursts to the SURFACE. Coughing. Swims toward the edge. Tries to pull herself up out of the water. Her arms too weak and tired. A FLASH of lightning reveals -- The female reptile. Now completely free of the vent. Crawling rapidly toward the pool. SPLASHING down into the shallow end. It swims toward Haley. Sinking beneath the surface. Haley tries to reach the ladder. Her wet hands keep slipping. Can't get a grip. The RAIN is pounding down. Haley spins around. Scanning the pool. Where the hell did that thing go?
INT. CRAWL SPACE - LATE AFTERNOON
Her dad lifts his head up into the space between the joists as the water level continues to rise. Keeping his chin above the surface. Coughing. Choking. POUNDING at the boards overhead with the rebar.
DAD
Haley! Hurry!
EXT. DEEP END OF SWIMMING POOL - LATE AFTERNOON
Haley's got her own problems. The FEMALE REPTILE surfaces. Just a few yards away. Slicing through the water toward her. Jaws SNAPPING. Haley grabs the floating lounge chair. Pushes it between her and the female alligator. Then dives under. UNDERWATER Murky. Her hair swirling. Frantically searching the bottom of the pool for that gun. Lightning FLASHES. Its glow penetrates the water. A glimpse of the female's DARK OUTLINE gliding past just overhead. Plunging down toward Haley. Haley kicks wildly. Trying to swim out of its path. The animal's HUGE TAIL sweeps past. KNOCKING into her. ABOVE WATER Haley SURFACES. Coughing up water. Teeth chattering. Searching for the female alligator. The water RIPPLING... She catches something out of the corner of her eye. Whips around -- It's just the LOUNGE CHAIR. Lightning SLASHES the sky -- Then the female reptile EXPLODES from the water right behind her. Snagging Haley's right arm. Pulling her under. UNDERWATER A silent scream as Haley is dragged to the bottom. Trailing a cloud of bubbles. The animal holds her under. Trying to drown her. Haley desperately fights to get free. Lungs about to burst. Her left arm flailing. Hand searching -- Finds the gun! Sweeping it up. Pressing the barrel against the female reptile's head. Pulls the trigger. Point blank. The gun kicks. A MUFFLED BANG. Air bubbles surging from the barrel. As a bullet rips into the animal's leathery skin. Blood clouding the water. The female reptile goes slack. Releasing its grip. Haley pushes the dead animal off her. And kicks for the surface.
EXT. ABANDONED HOUSE - BACK PATIO - LATE AFTERNOON
Haley crawls up over the lip of the pool. Pulling herself out. Drenched clothes clinging to her body. She looks like she's been through hell. And she's still not finished. Haley limps toward the sliding glass door. Hair soaked and matted. Arm bleeding. Yanks at the handle. It's locked. Fuck! She searches the deck. Grabs an overturned metal chair. SMASHING it into the tempered glass. It DENTS. But doesn't break. Haley swings the chair again. This time the glass SHATTERS.
INT. ABANDONED HOUSE - DINING ROOM - LATE AFTERNOON
Haley staggers in. The last bit of gray daylight outside filters in. She finds the CROWBAR lying in the corner of the dining room. Next to the sledgehammer and other tools. Snatches it up.
HALEY
(calling out)
Dad? Where are you?
Listens... Hears a faint TAPPING coming from below. A relieved smile. She follows it. Haley jams the crowbar between some boards. Prying them up.
HALEY
Dad, I'm coming!
Ripping up more of the subfloor next to the sunken living room. Zeroing in on the sound.
HALEY
Hang on!
Haley continues ripping a hole in the floor. Exposing more of the framework beneath. A glimpse of her dad. His face pressed up between the joists. She pries up a few more boards. Reaches down to help him out. Her dad uses the rebar to push himself up. Trying to get his one good leg beneath him. Haley jump down into the flooded crawl space to get more leverage. Helps lift him out. Her dad rolls onto his back. Exhausted. Coughing up water. Relief. Haley exhales. Still knee-deep in the flooded crawl space. A moment of calm. They're safe. Finally. Then the loosened floorboards nearby SHIFT. Haley spins around as -- The MALE REPTILE crashes up over the exposed pipes. Tearing its way through the broken subfloor. Scraped up. Looking pissed. Lets out a loud BELLOWING ROAR. Haley tries to climb from the murky water. But her tourniquet SNAGS on one of the supports. The creature lunges toward her. About to strike -- Her dad staggers up, still clutching that piece of rebar. And HURLS himself toward the beast. Stabbing the steel rod down into the male reptile's head. Like a harpoon. His weight and momentum pushing the rebar through the animal's leathery skin. A wet THUNK. The reptile lets out a bone-chilling SCREAM. The tip of the rebar gets stuck in the rotting floorboards beneath the animal. It THRASHES wildly for a moment. Twisting and turning. Lashing with its tail. Pinned to the floor. Finally gives up the fight. Goes still. Haley frees her leg and climbs out. Just inches from the dead animal's jaws. She collapses down next to her dad. He hugs her close.
DAD
It's okay, honey. It's over.
A quiet beat, then --
DAD
Now we just need to get ourselves to the hospital.
It hurts to laugh. But somehow they find the strength to do it anyway. FADE TO BLACK.: FADE IN:
EXT. BACKYARD OF FAMILY HOUSE - DAY
A beautiful sunny day. Time has passed. Haley's recovered some but is still on crutches. She's tending to the something in front of her. Can't see what. Her dad limps toward her. Leg in a cast. His arm in a sling. Right now they're the walking wounded. But soon the scars will heal.
DAD
How are they doing?
We can now see what has Haley's attention. A BACKYARD PEN. Made of wood and chicken wire. She's pushing bits of carrot and lettuce through the wire with her fingers. The TWO MOTHERLESS BUNNIES she saved are inside. Nibbling away. They've grown in size since we last saw them. Haley's quiet. Blinking back tears. Her dad sees that she's been crying.
HALEY
This would've been one hell of a story to tell Mom.
He puts his good arm around his daughter.
DAD
I miss her too, honey.
HALEY
You know what the last thing she said to me was?
A silent beat.
HALEY
Take care of your father.
A sad smile. He squeezes her shoulder.
DAD
You've done a pretty good job so far. Come on. Let's get back.
Father and daughter hobble off together. There's a family cookout on the back deck of the house. Haley's sister Beth is there. With her HUSBAND. And her two precocious CHILDREN. Along with her dad's girlfriend KATIE. As they make their way back to the festivities --
HALEY
Did I ever tell you that I like your earring.
DAD
Yeah, well, I almost got a hook to go along with it.
Waving his arm in its sling.
DAD
Arrr!
FADE TO BLACK.:
THE END
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Fantastic Beasts: The Crimes of Grindelwald_2018
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tt4123430
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Fantastic Beasts: The Crimes of Grindelwald
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In 1927, as the Magical Congress of the United States of America (MACUSA) is transferring the dark wizard Gellert Grindelwald to Europe to stand trial, Grindelwald escapes. Three months later in London, Newt Scamander requests the Ministry of Magic lift his international travel ban. While there, he runs into former Hogwarts classmate Leta Lestrange, his brother Theseus' fiancée. The Ministry will grant Newt's request if he agrees to help Theseus locate Credence Barebone, who is in Paris. Newt declines after learning he must work with ruthless bounty hunter Gunnar Grimmson. Albus Dumbledore (revealed to have indirectly but intentionally sent Newt to New York) also asks Newt to find Credence, believing Credence is Leta's long-lost half-brother, Corvus Lestrange V. Newt is visited by his American friends Queenie Goldstein and Jacob Kowalski, a non-magical person. Jacob has regained his memories that were erased the previous year. Newt learns that Queenie's sister Tina Goldstein mistakenly believed Newt and Leta were engaged and began seeing someone else. Newt realizes that Queenie enchanted Jacob and came to London to circumvent the marriage ban between wizards and non-magical people. After Newt lifts the enchantment, Jacob refuses to marry Queenie, fearing the consequences she would face. Upset, Queenie leaves to find Tina, who is searching for Credence in Paris. Newt and Jacob follow soon after. In Paris, Credence escapes the Circus Arcanus with captive performer Nagini, a woman cursed to permanently transform into a snake. Searching for Credence's birth mother, they locate half-elf servant Irma Dugard, who brought him to America for adoption. Grimmson, secretly a Grindelwald follower, kills Irma before she reveals who sent her. Tina meets Yusuf Kama, who is also hunting Credence. Newt and Jacob trail Yusuf to Tina, finding her being held hostage. Yusuf also imprisons them, explaining he made an Unbreakable Vow to kill his half-brother, whom he believes is Credence. Meanwhile, a distraught Queenie is brought to Grindelwald; knowing Queenie's abilities, he allows her to leave while manipulating her into joining him through her desire to marry Jacob. Newt and Tina escape from Yusuf and infiltrate the French Ministry of Magic to search for documents confirming Credence's identity, but Leta and Theseus discover them. Newt and Tina reunite after Newt explains he was never engaged to Leta. They go to the Lestrange family tomb and find Yusuf confronting Credence and Nagini. Yusuf reveals that he is carrying out his father Mustafa's request to avenge his mother Laurena: she was kidnapped by Corvus Lestrange IV using the Imperius Curse, and died giving birth to Leta, Yusuf's half-sister. Corvus IV remarried and had Corvus V. He sent Corvus V to America for adoption to keep him safe after discovering Yusuf's revenge plot. Leta reveals that she unintentionally caused Corvus V's death: sailing to America, Leta, unable to stand his constant crying, switched her baby brother with another infant, Credence; the ship sank, and Corvus drowned. The group enter a rally of Grindelwald's followers. Jacob is searching for Queenie, who is among the attendees. Grindelwald displays a vision of a future global war, and rails against laws prohibiting wizards from preventing such a tragedy. As Theseus and the Aurors surround the rally, Grindelwald prompts his followers to spread his message across Europe. He conjures a ring of blue fire that kills the retreating Aurors and that only his most loyal followers can safely cross. Queenie and Credence cross the fire despite Jacob's and Nagini's protests, while Leta sacrifices herself to allow others to escape. As Grindelwald and his followers depart, the remaining wizards and immortal alchemist Nicolas Flamel extinguish the fire. Newt joins the fight against Grindelwald. At Hogwarts, Newt presents Dumbledore with a vial that Newt's niffler stole from Grindelwald. It contains a blood pact Grindelwald and Dumbledore made in their youth that prevents them dueling each other; Dumbledore believes it can be destroyed. At Nurmengard Castle, his Austrian base, Grindelwald presents Credence with a wand along with his phoenix, and reveals Credence's possible identity: Aurelius Dumbledore.
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<script>
<scene>
<scene_description>Written by J.K. Rowling Directed by David Yates This script is the confidential and proprietary property of Warner Bros. Pictures and no portion of it may be performed, distributed, reproduced, used, quoted or published without prior written permission.</scene_description>
<character>FINAL SHOOTING SCRIPT</character>
<dialogue>November 16, 2017</dialogue>
<scene_description>Warner Bros. Pictures © 2016 4000 Warner Boulevard WARNER BROS. ENT. Burbank, California 91522 All Rights Reserved FOR INSTRUCTIONAL USE ONLY</scene_description>
</scene>
<scene>
<stage_direction>EXT. NEW YORK, AMERICAN MINISTRY OF MAGIC - 1927 - NIGHT</stage_direction>
<scene_description>AERIAL SHOT: New York and MACUSA building.</scene_description>
</scene>
<scene>
<stage_direction>INT. MACUSA BASEMENT, BARE, BLACK-WALLED ROOM - NIGHT</stage_direction>
<scene_description>The long-haired, bearded GRINDELWALD sits motionless, magically fixed to a chair. The air shimmers, charged with spells. ABERNATHY peers in at GRINDELWALD from the corridor. A baby Chupacabra -- part lizard, part homunculus, a blood- sucking creature of the Americas -- is chained to GRINDELWALD'S chair.</scene_description>
</scene>
<scene>
<stage_direction>INT. MACUSA, CORRIDOR BETWEEN CELLS - SHORTLY AFTER - NIGHT</stage_direction>
<scene_description>PRESIDENT SERAPHINA PICQUERY and RUDOLPH SPIELMAN walk at pace toward an ominous-looking door past endless pairs of guards.</scene_description>
<character>SPIELMAN</character>
<parenthetical>(Germanic)</parenthetical>
<dialogue>...you'll be glad to be rid of him, I expect.</dialogue>
<character>PICQUERY</character>
<dialogue>We'd be more than happy to keep him here in custody.</dialogue>
<character>SPIELMAN</character>
<dialogue>Six months are enough. It's time for him to answer for his crimes in Europe.</dialogue>
<scene_description>As they reach the door, ABERNATHY turns and acknowledges them.</scene_description>
<character>ABERNATHY</character>
<dialogue>President Picquery, Mr. Spielman, sir. Prisoner is secured and ready to travel.</dialogue>
<scene_description>SPIELMAN and PICQUERY peer into the cell at GRINDELWALD.</scene_description>
<character>SPIELMAN</character>
<dialogue>You've thrown everything at him, I see.</dialogue>
<scene_description>CONTINUED:</scene_description>
<character>PICQUERY</character>
<dialogue>It was necessary. He's extremely powerful. We've had to change his guard three times -- he's very... persuasive. So we removed his tongue.</dialogue>
</scene>
<scene>
<stage_direction>INT. MACUSA CELLS - NIGHT</stage_direction>
<scene_description>Cells resembling cages rise in tiers. Prisoners chant and bang against the bars as the bound GRINDELWALD is transported upstairs, suspended magically in midair.</scene_description>
<character>PRISONERS</character>
<dialogue>Grindelwald! Grindelwald!</dialogue>
</scene>
<scene>
<stage_direction>EXT. MACUSA ROOFTOP - MINUTES LATER - NIGHT</stage_direction>
<scene_description>A hearse-like black carriage, drawn by eight THESTRALS, waits. AURORS 1 & 2 climb into the driver's seat, the rest force GRINDELWALD inside.</scene_description>
<character>SPIELMAN</character>
<dialogue>The wizarding community worldwide owes you a great debt, Madam President.</dialogue>
<character>PICQUERY</character>
<dialogue>Do not underestimate him.</dialogue>
<scene_description>ABERNATHY approaches them.</scene_description>
<character>ABERNATHY</character>
<dialogue>Mr. Spielman, we found his wand hidden away.</dialogue>
<scene_description>He hands over a black rectangular box.</scene_description>
<character>PICQUERY</character>
<dialogue>Abernathy?</dialogue>
<character>ABERNATHY</character>
<dialogue>And we found this.</dialogue>
<scene_description>He holds a vial of some glowing gold substance in the palm of his hand. CONTINUED: SPIELMAN reaches for the vial, which hangs on a chain, and after a moment of hesitation, ABERNATHY releases it. Inside the carriage, GRINDELWALD raises his eyes to the roof as the vial is passed to SPIELMAN. SPIELMAN climbs into the carriage. AUROR 1 driving, AUROR 2 beside him. The door closes. A series of padlocks emerges from the carriage doors. An ominous drumroll of clicks as padlocks fasten themselves in place.</scene_description>
<character>AUROR 1</character>
<dialogue>Yah!</dialogue>
<scene_description>The Thestrals take off. The carriage plummets, then soars away through torrential rain. More AURORS follow on broomsticks. A beat. ABERNATHY steps forward, holding the Elder Wand. He looks up at the carriage, growing ever smaller. He Disapparates. CUT TO:</scene_description>
</scene>
<scene>
<stage_direction>EXT. THESTRAL-DRAWN CARRIAGE - NIGHT</stage_direction>
<scene_description>The underside of the carriage. ABERNATHY Apparates, clinging to the wheel shaft.</scene_description>
</scene>
<scene>
<stage_direction>INT. THESTRAL-DRAWN CARRIAGE - NIGHT</stage_direction>
<scene_description>SPIELMAN and GRINDELWALD sit, eyes locked, flanked by AURORS, all pointing their wands at GRINDELWALD. GRINDELWALD'S wand box lies on SPIELMAN'S lap. SPIELMAN holds up the vial, dangling from its chain.</scene_description>
<character>SPIELMAN</character>
<dialogue>No more silver tongue, eh?</dialogue>
<scene_description>But GRINDELWALD is transforming...</scene_description>
</scene>
<scene>
<stage_direction>EXT. THESTRAL-DRAWN CARRIAGE - NIGHT</stage_direction>
<scene_description>ABERNATHY adjusts his grip underneath the carriage. His face too is changing. His hair is turning blond and lengthening... he is GRINDELWALD. He raises the Elder Wand.</scene_description>
</scene>
<scene>
<stage_direction>INT. THESTRAL-DRAWN CARRIAGE - NIGHT</stage_direction>
<scene_description>GRINDELWALD'S rapid transformation into a tongueless ABERNATHY is almost complete.</scene_description>
<character>SPIELMAN</character>
<parenthetical>(shocked)</parenthetical>
<dialogue>Oh!</dialogue>
</scene>
<scene>
<stage_direction>EXT. THESTRAL-DRAWN CARRIAGE - NIGHT</stage_direction>
<scene_description>Now fully transformed, GRINDELWALD Disapparates from the underside of the carriage... ...and Apparates next to the driver's seat, where he is spotted by AURORS 1 & 2. GRINDELWALD points his wand at the carriage reins, turning the black ropes into living snakes that ensnare AUROR 1 so he falls from the carriage, back through the night sky, past the broomstick riders. GRINDELWALD casts another spell so the black ropes of the reins bind AUROR 2 like a chrysalis, launching him forward in the air, then slingshotting him back to knock AURORS 3 & 4 from the rear of the Thestral-drawn carriage. They fall away into darkness.</scene_description>
</scene>
<scene>
<stage_direction>INT. THESTRAL-DRAWN CARRIAGE - NIGHT</stage_direction>
<scene_description>All wands reverse their direction to jab dangerously at the necks of SPIELMAN and the two remaining AURORS. SPIELMAN watches as his wand melts into dust. The carriage rocks dangerously, both doors open. As GRINDELWALD'S head appears at the window, the panicking SPIELMAN opens the wand box on his lap. The Chupacabra leaps out and sinks its fangs deep into SPIELMAN'S neck. He wrestles it. The vial falls to the floor.</scene_description>
</scene>
<scene>
<stage_direction>EXT. THESTRAL-DRAWN CARRIAGE - NIGHT</stage_direction>
<scene_description>GRINDELWALD drives the carriage down onto the Hudson River, chased by the AURORS on broomsticks. The carriage wheels graze the surface of the water. The broomstick riders are catching up. GRINDELWALD touches the Elder Wand to the river and at once the inside of the carriage begins to fill with water. He lifts the carriage back up into the air.</scene_description>
</scene>
<scene>
<stage_direction>INT. THESTRAL-DRAWN CARRIAGE - NIGHT</stage_direction>
<scene_description>Submerged in the water, the two AURORS, SPIELMAN, and ABERNATHY hold their breath. SPIELMAN attempts to grab the vial, which is floating loose in the water, but the Chupacabra blocks his path. ABERNATHY, with hands still bound, manages to capture the vial in his mouth.</scene_description>
</scene>
<scene>
<stage_direction>EXT. THESTRAL-DRAWN CARRIAGE - NIGHT</stage_direction>
<scene_description>Still driving the carriage, GRINDELWALD swirls his wand in the air toward the surrounding storm clouds. One by one, forks of lightning strike the broomstick riders, knocking each in turn from the sky.</scene_description>
</scene>
<scene>
<stage_direction>INT. THESTRAL-DRAWN CARRIAGE - NIGHT</stage_direction>
<scene_description>GRINDELWALD appears at the door and nods to ABERNATHY. He throws the door open so the water pours out -- along with the two remaining AURORS. GRINDELWALD clambers inside and retrieves the vial from ABERNATHY'S mouth by the chain, casting a spell that grants ABERNATHY a new forked tongue.</scene_description>
<character>GRINDELWALD</character>
<dialogue>You have joined a noble cause, my friend.</dialogue>
<scene_description>GRINDELWALD rips the little Chupacabra off SPIELMAN. It rubs its bloody face affectionately against his hand. CONTINUED:</scene_description>
<character>GRINDELWALD</character>
<dialogue>I know. Okay. I know, Antonio.</dialogue>
<scene_description>He looks at it with distaste.</scene_description>
<character>GRINDELWALD</character>
<dialogue>So needy.</dialogue>
<scene_description>He then flings it through the door. He blasts SPIELMAN magically through the open door, then tosses a wand after him.</scene_description>
</scene>
<scene>
<stage_direction>EXT. SKY OVER ATLANTIC OCEAN - NIGHT</stage_direction>
<scene_description>As SPIELMAN falls, he manages to seize the wand and conjures an invisible Slowing Charm. Sinking slowly toward the sea, SPIELMAN watches his carriage streaking away in the direction of Europe.</scene_description>
</scene>
<scene>
<stage_direction>EXT. OVERCAST LONDON, WHITEHALL - THREE MONTHS LATER -</stage_direction>
<scene_description>AFTERNOON ESTABLISHING SHOT. A gloomy silence. An owl flutters down into the Ministry.</scene_description>
</scene>
<scene>
<stage_direction>INT. MINISTRY OF MAGIC - AFTERNOON</stage_direction>
<scene_description>NEWT SCAMANDER sits alone in a dingy waiting area, staring abstractedly into space. After a moment, he feels something tugging on his wrist. He looks down. Pickett, a Bowtruckle, is swinging on a loose thread in his cuff. The thread snaps. Pickett falls. NEWT'S button rolls away down a corridor. NEWT and Pickett watch it go. A beat. Then both chase after it. NEWT just gets there first. As he bends to pick it up, he finds himself confronted by a pair of female feet.</scene_description>
<character>LETA (O.S.)</character>
<dialogue>They're ready for you, Newt.</dialogue>
<scene_description>CONTINUED: He stands up. Face-to-face with LETA LESTRANGE, who is beautiful and smiling, NEWT stuffs the button and Pickett into his pocket.</scene_description>
<character>NEWT</character>
<dialogue>Leta... what are you doing here?</dialogue>
<character>LETA</character>
<dialogue>Theseus thought it would be good if I became part of the Ministry family.</dialogue>
<character>NEWT</character>
<dialogue>Did he actually say the words "Ministry family"?</dialogue>
<scene_description>She gives a little laugh. They head off along the corridor. Tension. A lot of history.</scene_description>
<character>NEWT</character>
<dialogue>That sounds like my brother.</dialogue>
<character>LETA</character>
<dialogue>Theseus was disappointed you couldn't come to dinner. Any of the nights we asked you.</dialogue>
<character>NEWT</character>
<dialogue>Well, I've been busy.</dialogue>
<character>LETA</character>
<dialogue>He's your brother, Newt, he likes spending time with you. And so do I.</dialogue>
<scene_description>NEWT spots Pickett climbing onto his lapel and holds out the breast pocket of his coat.</scene_description>
<character>NEWT</character>
<parenthetical>(to Pickett)</parenthetical>
<dialogue>Oi, you! Hop in, Pick.</dialogue>
<scene_description>Pickett snuggles down.</scene_description>
<character>LETA</character>
<parenthetical>(smiling)</parenthetical>
<dialogue>Why do strange creatures love you so much?</dialogue>
<character>NEWT</character>
<dialogue>Well, there are no strange creatures --</dialogue>
<scene_description>CONTINUED: (2)</scene_description>
<character>NEWT</character>
<dialogue>-- only blinkered people. LETA</dialogue>
<scene_description>-- only blinkered people. She is smiling again. NEWT reciprocates.</scene_description>
<character>LETA</character>
<dialogue>How long did you get in detention for saying that to Prendergast?</dialogue>
<character>NEWT</character>
<dialogue>You know, I think it was a month that time.</dialogue>
<character>LETA</character>
<dialogue>And I set off a Dungbomb under his desk so I could join you, do you remember?</dialogue>
<scene_description>They have come within sight of scary, official doors leading to the meeting room. THESEUS SCAMANDER emerges.</scene_description>
<character>NEWT</character>
<dialogue>No, I actually don't remember that.</dialogue>
<scene_description>Rebuffed, she comes to a halt. NEWT walks away toward THESEUS, who is very like NEWT, but more outgoing, easier in manner. THESEUS winks at LETA before turning to NEWT.</scene_description>
<character>THESEUS</character>
<dialogue>Hello.</dialogue>
<character>LETA</character>
<dialogue>Theseus. We were just talking about Newt coming for dinner.</dialogue>
<character>THESEUS</character>
<dialogue>Really? Well... Look, before we go in there I --</dialogue>
<character>NEWT</character>
<dialogue>-- It's my fifth attempt, Theseus. I know the form.</dialogue>
<character>THESEUS</character>
<dialogue>This isn't going to be like the other times. This is... Just try and keep an open mind, will you? And maybe a little less --</dialogue>
<scene_description>A wordless gesture indicates Pickett, NEWT'S blue coat, and his messy hair.</scene_description>
<character>18</character>
<dialogue>NEWT</dialogue>
<character>CONTINUED: (3)</character>
<dialogue>-- like me?</dialogue>
<character>THESEUS</character>
<parenthetical>(not without affection)</parenthetical>
<dialogue>Well, it can't hurt. Come on, let's go.</dialogue>
<character>19</character>
<dialogue>INT. MINISTRY OF MAGIC, HEARING ROOM - AFTERNOON</dialogue>
<scene_description>NEWT and THESEUS enter the room, where TORQUIL TRAVERS (harsh, mean-spirited), ARNOLD GUZMAN (American), and RUDOLPH SPIELMAN (who is still bruised from GRINDELWALD'S escape, the bloody bite visible on his neck) are already sitting. Two empty chairs, which NEWT and THESEUS take. The corners of the room are in darkness.</scene_description>
<character>TRAVERS</character>
<dialogue>Hearing commences.</dialogue>
<scene_description>THE QUILL begins to write. TRAVERS opens a file in front of him, which contains pictures of NEWT'S "Wanted" pictures and of the post-Obscurial devastation in New York.</scene_description>
<character>TRAVERS</character>
<dialogue>You want an end to the ban on your traveling internationally. Why?</dialogue>
<character>NEWT</character>
<dialogue>Because I like to travel internationally.</dialogue>
<character>SPIELMAN</character>
<parenthetical>(reading from his own file)</parenthetical>
<dialogue>"Subject uncooperative and evasive on reasons for last international trip."</dialogue>
<scene_description>All look at NEWT, waiting.</scene_description>
<character>NEWT</character>
<dialogue>It was a field trip. I was collecting material for my book on magical beasts --</dialogue>
<character>TRAVERS</character>
<dialogue>You destroyed half of New York.</dialogue>
<scene_description>8FLiX.com FYC SCREENPLAY DATABASE 20230910</scene_description>
<character>19</character>
<dialogue>NEWT</dialogue>
<character>CONTINUED:</character>
<dialogue>No, that's actually factually incorrect on two counts --</dialogue>
<character>THESEUS</character>
<parenthetical>(quiet but stern)</parenthetical>
<dialogue>Newt!</dialogue>
<scene_description>NEWT stops, frowns.</scene_description>
<character>GUZMAN</character>
<dialogue>Mr. Scamander, it's clear you're frustrated and, frankly, so are we. In the spirit of compromise, we'd like to make a proposition.</dialogue>
<scene_description>NEWT glances at THESEUS warily. THESEUS nods: Listen.</scene_description>
<character>NEWT</character>
<dialogue>What kind of proposition?</dialogue>
<character>TRAVERS</character>
<dialogue>The committee will agree to lift your travel ban under one condition.</dialogue>
<scene_description>NEWT waits. SPIELMAN leans forward.</scene_description>
<character>SPIELMAN</character>
<dialogue>You join the Ministry. Specifically, your brother's department.</dialogue>
<scene_description>NEWT digests this, then:</scene_description>
<character>NEWT</character>
<dialogue>No, I -- that isn't my kind of -- Theseus is the Auror. I think my talents lie elsewhere --</dialogue>
<character>GUZMAN</character>
<dialogue>Mr. Scamander. The wizarding and non-wizarding worlds have been at peace for over a century. Grindelwald wants to see that peace destroyed, and for certain members of our community his message is very seductive.</dialogue>
<scene_description>8FLiX.com FYC SCREENPLAY DATABASE 20230910</scene_description>
<character>19</character>
<dialogue>GUZMAN</dialogue>
<character>CONTINUED: (2)</character>
<dialogue>Many purebloods believe it is their birthright to rule not only our world but the non-magic world as well. They see Grindelwald as their hero, and Grindelwald sees this boy as a means to make this all come true.</dialogue>
<scene_description>Hearing this, NEWT frowns, watching as CREDENCE'S face emerges in the surface of the table.</scene_description>
<character>NEWT</character>
<dialogue>I'm sorry. You're talking about Credence as if he were still here.</dialogue>
<character>THESEUS</character>
<dialogue>He survived, Newt.</dialogue>
<scene_description>NEWT stops cold, his eyes fixed on THESEUS. THESEUS nods.</scene_description>
<character>THESEUS</character>
<dialogue>He's still alive. He left New York months ago. He's somewhere in Europe. Where exactly, we don't know, but --</dialogue>
<character>NEWT</character>
<dialogue>And you want me to hunt Credence down? To kill him?</dialogue>
<scene_description>Out of the shadows in the corner comes deep, nasty laughter.</scene_description>
<character>GRIMMSON</character>
<dialogue>Same old Scamander.</dialogue>
<scene_description>NEWT reacts to the sound of the voice. GRIMMSON moves into the light. Scarred, brutal, he is a beast hunter for hire.</scene_description>
<character>NEWT</character>
<parenthetical>(furious)</parenthetical>
<dialogue>What's he doing here?</dialogue>
<character>GRIMMSON</character>
<dialogue>Taking on the job you're too soft to do.</dialogue>
<scene_description>GRIMMSON walks toward them while the ghostly image of CREDENCE shimmers on the enchanted surface of the table. 8FLiX.com FYC SCREENPLAY DATABASE 20230910</scene_description>
<character>19</character>
<dialogue>GRIMMSON</dialogue>
<character>CONTINUED: (3)</character>
<parenthetical>(re: CREDENCE)</parenthetical>
<dialogue>Is that it?</dialogue>
<scene_description>NEWT rises furiously, storms toward the door.</scene_description>
<character>TRAVERS</character>
<parenthetical>(calling after him)</parenthetical>
<dialogue>Travel documentation denied!</dialogue>
<scene_description>THESEUS stares at the door as it closes. The committee looks unsurprised, turns their gazes to the smirking GRIMMSON.</scene_description>
<character>20</character>
<dialogue>INT. MINISTRY OF MAGIC, CORRIDOR - AFTERNOON</dialogue>
<scene_description>THESEUS chases after NEWT.</scene_description>
<character>THESEUS</character>
<dialogue>Newt!</dialogue>
<scene_description>NEWT stops. Turns.</scene_description>
<character>THESEUS</character>
<parenthetical>(testy)</parenthetical>
<dialogue>You think I like the idea of Grimmson any more than you do?</dialogue>
<character>NEWT</character>
<dialogue>Listen, I don't want to hear how the ends justify the means, Theseus.</dialogue>
<character>THESEUS</character>
<dialogue>I think you're gonna have to pull your head out of the sand!</dialogue>
<character>NEWT</character>
<parenthetical>(exasperated)</parenthetical>
<dialogue>Okay, right, here we go. What a selfish... irresponsible...</dialogue>
<character>THESEUS</character>
<dialogue>You know, the time is coming when everyone's going to have to pick a side. Even you.</dialogue>
<character>NEWT</character>
<dialogue>I don't do sides.</dialogue>
<scene_description>8FLiX.com FYC SCREENPLAY DATABASE 20230910</scene_description>
<character>20</character>
<dialogue>THESEUS</dialogue>
<character>CONTINUED:</character>
<dialogue>Newt...</dialogue>
<scene_description>He turns to go, but THESEUS runs after him, grabs his arm to hold him back.</scene_description>
<character>THESEUS</character>
<parenthetical>(pulling him in for a hug)</parenthetical>
<dialogue>C'mere.</dialogue>
<scene_description>NEWT doesn't reciprocate but doesn't fight him off either.</scene_description>
<character>THESEUS</character>
<parenthetical>(in NEWT'S ear)</parenthetical>
<dialogue>They're watching you.</dialogue>
<character>21</character>
<dialogue>INT. MINISTRY OF MAGIC, HEARING ROOM - AFTERNOON</dialogue>
<scene_description>GRIMMSON is sitting in what was NEWT'S seat, facing the committee.</scene_description>
<character>GRIMMSON</character>
<dialogue>Well, gentlemen. I assume this means I have the job.</dialogue>
<character>22</character>
<dialogue>EXT. SKYLINE OF UPMARKET QUARTER OF PARIS - AFTERNOON</dialogue>
<character>23</character>
<dialogue>AFTERNOON</dialogue>
<character>EXT. ELEGANT STREET OF 19TH - CENTURY PARISIAN HOUSES -</character>
<dialogue>GRINDELWALD and ACOLYTES stand in the street. GRINDELWALD points his cane at a particularly fine house.</dialogue>
<dialogue>A clatter announces the arrival of a horse-drawn hearse. NAGEL, KRALL, CARROW, ABERNATHY, KRAFFT, ROSIER (female), and MACDUFF approach the front door. KRALL opens it with his wand. The ACOLYTES enter.</dialogue>
<character>PARISIAN MAN (O.S.)</character>
<parenthetical>(in French)</parenthetical>
<dialogue>Chérie?</dialogue>
<character>PARISIAN WOMAN (O.S.)</character>
<parenthetical>(worried, in French)</parenthetical>
<dialogue>Qui est là?</dialogue>
<scene_description>8FLiX.com FYC SCREENPLAY DATABASE 20230910</scene_description>
<character>23</character>
<dialogue>GRINDELWALD looks around the street, calm, waiting, tapping</dialogue>
<character>CONTINUED:</character>
<dialogue>on the pavement with his cane.</dialogue>
<dialogue>We see a green flash-the Killing Curse. The door reopens. Two black coffins exit.</dialogue>
<dialogue>GRINDELWALD watches as NAGEL and KRAFFT load the coffins onto the carriage.</dialogue>
<character>24</character>
<dialogue>INT. GRINDELWALD'S HIDEOUT, DRAWING ROOM - AFTERNOON</dialogue>
<scene_description>GRINDELWALD surveys the elegant clutter left by the haute bourgeois family he has just murdered.</scene_description>
<character>GRINDELWALD</character>
<dialogue>Yes. This will be suitable after a thorough cleanse.</dialogue>
<parenthetical>(to NAGEL)</parenthetical>
<dialogue>I want you to go to the circus now. Give my note to Credence, begin his journey.</dialogue>
<scene_description>NAGEL nods and leaves.</scene_description>
<character>ROSIER</character>
<dialogue>When we've won, they'll flee cities in the millions. They've had their time.</dialogue>
<character>GRINDELWALD</character>
<dialogue>We don't say such things out loud. We want only freedom. Freedom to be ourselves.</dialogue>
<character>ROSIER</character>
<dialogue>To annihilate non-wizards.</dialogue>
<character>GRINDELWALD</character>
<dialogue>Not all of them. Not all. We're not merciless. The beast of burden will always be necessary.</dialogue>
<scene_description>We hear the sound of a CHILD close at hand.</scene_description>
<character>25</character>
<dialogue>INT. GRINDELWALD'S HIDEOUT, NURSERY - AFTERNOON</dialogue>
<scene_description>GRINDELWALD enters. A small child looks up, puzzled. GRINDELWALD contemplates him for a moment, then nods at CARROW and turns to leave. 8FLiX.com FYC SCREENPLAY DATABASE 20230910</scene_description>
<character>25</character>
<dialogue>WE SEE: ANOTHER GREEN FLASH as GRINDELWALD closes the door.</dialogue>
<character>CONTINUED:</character>
<dialogue>26</dialogue>
<character>EXT. LONDON BACK STREET - EVENING</character>
<dialogue>NEWT Apparates and walks on briskly beneath an increasingly stormy sky. Seconds later, STEBBINS, an Auror, Apparates some yards behind him. They have been playing this game for an hour.</dialogue>
<dialogue>NEWT turns a corner into a darker alleyway, peers back around the corner, and points his wand back at STEBBINS.</dialogue>
<character>NEWT</character>
<parenthetical>(sotto voce)</parenthetical>
<dialogue>Ventus.</dialogue>
<scene_description>STEBBINS is immediately caught in a hurricane for one. To the confusion and amusement of passing Muggles, his hat flies away, he is almost knocked off his feet, and cannot proceed. Smiling slightly, NEWT withdraws his head, still leaning against the wall of the dark alleyway, to find a single black glove hanging in the air in front of him. He looks at it, expressionless. It gives a little wave, then points into the far distance. NEWT looks to where it is pointing. High on the dome of St. Paul's Cathedral, a tiny human figure raises its arm. NEWT looks back at the glove, which makes as though to shake hands. NEWT takes it, and he and the glove Disapparate --</scene_description>
<character>27</character>
<dialogue>EXT. DOME OF ST. PAUL'S - EVENING</dialogue>
<scene_description>-- Apparating beside a dandyesque forty-five-year-old wizard with graying auburn hair and beard. NEWT hands back his glove.</scene_description>
<character>NEWT</character>
<dialogue>Dumbledore.</dialogue>
<parenthetical>(amused)</parenthetical>
<dialogue>Were the less conspicuous rooftops full, then?</dialogue>
<character>DUMBLEDORE</character>
<parenthetical>(looking out over city)</parenthetical>
<dialogue>I do enjoy a view. Nebulus.</dialogue>
<scene_description>8FLiX.com FYC SCREENPLAY DATABASE 20230910</scene_description>
<character>27</character>
<dialogue>A swirling fog descends over London.</dialogue>
<character>CONTINUED:</character>
<dialogue>They Disapparate.</dialogue>
<character>28</character>
<dialogue>EXT. TRAFALGAR SQUARE - EVENING</dialogue>
<scene_description>DUMBLEDORE and NEWT Apparate and walk on past the great stone Landseer lions. The darkening sky is becoming increasingly ominous. A flock of pigeons rises into the air at their approach.</scene_description>
<character>DUMBLEDORE</character>
<dialogue>How was it?</dialogue>
<character>NEWT</character>
<dialogue>They're still convinced that you sent me to New York.</dialogue>
<character>DUMBLEDORE</character>
<dialogue>You told them I didn't?</dialogue>
<character>NEWT</character>
<dialogue>Yes. Even though you did.</dialogue>
<scene_description>A beat. DUMBLEDORE inscrutable, NEWT wanting answers.</scene_description>
<character>NEWT</character>
<dialogue>You told me where to find that trafficked Thunderbird, Dumbledore. You knew that I would take him home and you knew I'd have to take him through a Muggle port.</dialogue>
<character>DUMBLEDORE</character>
<dialogue>Well, I've always felt an affinity with the great magical birds. There's a story in my family that a phoenix will come to any Dumbledore who is in desperate need. They say my great-great- grandfather had one, but that it took flight when he died, never to return.</dialogue>
<character>NEWT</character>
<dialogue>With all due respect, I don't believe for a minute that's why you told me about the Thunderbird.</dialogue>
<scene_description>8FLiX.com FYC SCREENPLAY DATABASE 20230910</scene_description>
<character>28</character>
<dialogue>A noise behind them. The silhouette of a man appears out of</dialogue>
<character>CONTINUED:</character>
<dialogue>shadows. They Disapparate --</dialogue>
<character>29</character>
<dialogue>EXT. VICTORIA BUS STATION - EVENING</dialogue>
<scene_description>Footsteps nearby. Both ready their wands, but the footsteps die away. They walk on.</scene_description>
<character>DUMBLEDORE</character>
<dialogue>Credence is in Paris, Newt. He's trying to trace his real family. I take it you've heard the rumors about who he really is?</dialogue>
<character>NEWT</character>
<dialogue>No.</dialogue>
<scene_description>DUMBLEDORE and NEWT board a stationary bus.</scene_description>
<character>DUMBLEDORE</character>
<dialogue>The purebloods think he's the last of an important French line, a baby whom everyone thought lost...</dialogue>
<scene_description>A look between them. NEWT is astonished.</scene_description>
<character>NEWT</character>
<dialogue>Not Leta's brother?</dialogue>
<character>DUMBLEDORE</character>
<dialogue>That's what they're whispering. Pureblood or not, I know this: An Obscurus grows in the absence of love as a dark twin, an only friend. If Credence has a real brother or sister out there who can take its place, he might yet be saved.</dialogue>
<parenthetical>(beat)</parenthetical>
<dialogue>Wherever Credence is in Paris, he's either in danger or a danger to others. We may not know who he is yet, but he needs to be found. And I rather hoped you might be the one to find him.</dialogue>
<scene_description>DUMBLEDORE conjures NICOLAS FLAMEL'S card from thin air and offers it to NEWT, who eyes it with suspicion.</scene_description>
<character>NEWT</character>
<dialogue>What's that?</dialogue>
<scene_description>8FLiX.com FYC SCREENPLAY DATABASE 20230910</scene_description>
<character>29</character>
<dialogue>DUMBLEDORE</dialogue>
<character>CONTINUED:</character>
<dialogue>It's an address of a very old acquaintance of mine. A safe house in Paris, reinforced with enchantments.</dialogue>
<character>NEWT</character>
<dialogue>Safe house? Why would I need a safe house in Paris?</dialogue>
<character>DUMBLEDORE</character>
<dialogue>One hopes you won't, but should things at some point go terribly wrong, it's good to have a place to go. You know, for a cup of tea.</dialogue>
<character>NEWT</character>
<dialogue>No, no, no-absolutely not.</dialogue>
<character>30</character>
<dialogue>EXT. LAMBETH BRIDGE - NIGHT</dialogue>
<scene_description>They Apparate onto a bridge.</scene_description>
<character>NEWT</character>
<dialogue>I'm banned from international travel, Dumbledore. If I leave the country, they will put me in Azkaban and throw away the key.</dialogue>
<scene_description>DUMBLEDORE stops.</scene_description>
<character>DUMBLEDORE</character>
<dialogue>Do you know why I admire you, Newt? More, perhaps, than any man I know?</dialogue>
<parenthetical>(off NEWT'S surprise)</parenthetical>
<dialogue>You don't seek power or popularity. You simply ask, is the thing right in itself? If it is, then I must do it, no matter the cost.</dialogue>
<scene_description>He walks on.</scene_description>
<character>NEWT</character>
<dialogue>That's all very well, Dumbledore, but, forgive me for asking, why can't you go?</dialogue>
<scene_description>They stop.</scene_description>
<character>DUMBLEDORE</character>
<dialogue>I can't move against Grindelwald. It has to be you.</dialogue>
<scene_description>8FLiX.com FYC SCREENPLAY DATABASE 20230910</scene_description>
<character>30</character>
<dialogue>DUMBLEDORE</dialogue>
<character>CONTINUED:</character>
<parenthetical>(beat)</parenthetical>
<dialogue>Well, I don't blame you, in your shoes I'd probably refuse too. It's late. Good evening, Newt.</dialogue>
<scene_description>DUMBLEDORE Disapparates.</scene_description>
<character>NEWT</character>
<dialogue>Oh c'mon!</dialogue>
<scene_description>DUMBLEDORE'S empty glove reappears and tucks the business card bearing the address of the safe house into NEWT'S top pocket.</scene_description>
<character>NEWT</character>
<parenthetical>(exasperated)</parenthetical>
<dialogue>Dumbledore.</dialogue>
<character>31</character>
<dialogue>EXT. NEWT'S STREET - NIGHT</dialogue>
<scene_description>ESTABLISHING SHOT: A street of ordinary yellow brick Victorian houses. First specks of rain. NEWT walks swiftly up the front steps but pauses just outside the front door. The light in his sitting room is flashing on and off.</scene_description>
<character>32</character>
<dialogue>INT. NEWT'S HOUSE - NIGHT</dialogue>
<scene_description>NEWT opens the front door cautiously. Inside, a baby Niffler is swinging from the brass cord of a table lamp, causing the light to flicker on and off. The baby Niffler succeeds in stealing the brass cord before spotting NEWT. It scampers away, knocking all manner of objects to the floor. NEWT spots a second baby Niffler sitting on a set of weighing scales, pinned down by gold-colored weights it is clearly attempting to steal. As the first baby makes it to the dining table, NEWT lightly drops a saucepan on top of it, which continues moving across the table. NEWT tosses an apple into the opposite weighing scale, sending the baby Niffler flying into the air. NEWT catches both baby Nifflers as they fall, then tucks them into his pockets. 8FLiX.com FYC SCREENPLAY DATABASE 20230910</scene_description>
<character>32</character>
<dialogue>Satisfied, NEWT heads toward the door to his basement but</dialogue>
<character>CONTINUED:</character>
<dialogue>turns at the last moment to see a third escaped baby Niffler climbing onto a bottle of champagne on the counter.</dialogue>
<dialogue>With a sense of inevitability, the champagne bottle pops and the baby Niffler zooms toward NEWT on top of the cork, soaring past him and down the stairs to the basement.</dialogue>
<character>33</character>
<dialogue>INT. NEWT'S BASEMENT MENAGERIE - MOMENTS LATER - NIGHT</dialogue>
<scene_description>A gigantic hospital for magical creatures.</scene_description>
<character>NEWT</character>
<dialogue>Bunty! Bunty! Bunty, the baby Nifflers are loose again!</dialogue>
<parenthetical>(to the Nifflers)</parenthetical>
<dialogue>Oi! Oh.</dialogue>
<scene_description>BUNTY, NEWT'S assistant, hurries into view. She is a plain girl, crazy about creatures, hopelessly in love with NEWT. She peels off the Nifflers with freshly bandaged fingers. She tempts the last baby Niffler -- the champagne cork rider - - with a gold necklace, then tucks all three into a nest full of sparkling objects.</scene_description>
<character>NEWT</character>
<dialogue>Well done.</dialogue>
<character>BUNTY</character>
<dialogue>I'm so sorry, Newt, they must have picked the lock while I was cleaning out the Augureys --</dialogue>
<character>NEWT</character>
<dialogue>Not to worry.</dialogue>
<scene_description>NEWT and BUNTY walk together among the enclosures.</scene_description>
<character>BUNTY</character>
<dialogue>Hmm... I've fed nearly NEWT (CONT'D) everyone, Pinky's had his -- And Elsie? nose drops, and --</dialogue>
<character>BUNTY</character>
<dialogue>Elsie's droppings are nearly normal again.</dialogue>
<character>NEWT</character>
<dialogue>Wonderful. You can clock off now --</dialogue>
<parenthetical>(seeing her fingers)</parenthetical>
<dialogue>8FLiX.com FYC SCREENPLAY DATABASE 20230910</dialogue>
<character>33</character>
<dialogue>NEWT</dialogue>
<character>CONTINUED:</character>
<dialogue>I told you to leave the Kelpie to me.</dialogue>
<character>BUNTY</character>
<dialogue>That wound needs more ointment-</dialogue>
<character>NEWT</character>
<dialogue>I don't want you losing fingers over it.</dialogue>
<scene_description>NEWT marches toward a patch of black water, BUNTY trotting in his wake, awash with emotion at his concern for her.</scene_description>
<character>NEWT</character>
<dialogue>Seriously, you go home now, Bunty. You must be exhausted.</dialogue>
<character>BUNTY</character>
<dialogue>You know the Kelpie's easier with two.</dialogue>
<scene_description>They approach the water. NEWT unhooks a bridle hanging beside the pond.</scene_description>
<character>BUNTY</character>
<parenthetical>(hopeful)</parenthetical>
<dialogue>Perhaps you should take off your shirt?</dialogue>
<character>NEWT</character>
<parenthetical>(oblivious)</parenthetical>
<dialogue>Don't worry, I'll dry off quickly enough.</dialogue>
<scene_description>NEWT smiles and jumps backward into the water. The Kelpie erupts: a gigantic, semi-spectral horse intent on drowning NEWT, who grabs it around the neck and manages to scramble onto its back as it thrashes. The Kelpie dives, taking NEWT with it. BUNTY waits, frightened. WHOOSH - NEWT bursts back out of the water and the Kelpie is bridled. Now docile, it shakes its mane. BUNTY transfixed by the sight of NEWT in his wet shirt.</scene_description>
<character>NEWT</character>
<dialogue>Someone needed to let off some steam. Ointment, Bunty?</dialogue>
<scene_description>8FLiX.com FYC SCREENPLAY DATABASE 20230910</scene_description>
<character>33</character>
<dialogue>She hands it over. Still mounted, NEWT applies ointment to a</dialogue>
<character>CONTINUED: (2)</character>
<dialogue>wound on the Kelpie's neck.</dialogue>
<character>NEWT</character>
<dialogue>Bite Bunty again and there'll be trouble, mister.</dialogue>
<scene_description>As he dismounts, there is a crash from overhead. Both he and BUNTY look up.</scene_description>
<character>BUNTY</character>
<parenthetical>(scared)</parenthetical>
<dialogue>What was that?</dialogue>
<character>NEWT</character>
<dialogue>I don't know. But I want you to go home now, Bunty.</dialogue>
<character>BUNTY</character>
<dialogue>Shall I call the Ministry?</dialogue>
<character>NEWT</character>
<dialogue>No, I want you to go home. Please.</dialogue>
<character>34</character>
<dialogue>INT. NEWT'S STAIRCASE - A MINUTE LATER - NIGHT</dialogue>
<scene_description>NEWT climbs the stairs to his living quarters, wand drawn, curious and expecting the worst. He pushes open the door.</scene_description>
<character>35</character>
<dialogue>INT. NEWT'S SITTING ROOM - NIGHT</dialogue>
<scene_description>A spartan bachelor residence. NEWT'S real life is in the basement. JACOB KOWALSKI and QUEENIE GOLDSTEIN stand in the middle of the room, suitcases beside them, QUEENIE nervous and excited, JACOB unfocused and over-merry, possibly drunk. He is holding the remaining pieces of NEWT'S vase, which he has just broken.</scene_description>
<character>QUEENIE</character>
<dialogue>If you could just give it to me... Just give it to me, sweetie. Just give it to me.</dialogue>
<parenthetical>(whispering)</parenthetical>
<dialogue>If you could just give this to me, sweetheart. Oh!</dialogue>
<scene_description>8FLiX.com FYC SCREENPLAY DATABASE 20230910</scene_description>
<character>35</character>
<dialogue>JACOB</dialogue>
<character>CONTINUED:</character>
<parenthetical>(looking at NEWT)</parenthetical>
<dialogue>He doesn't care. Hold it.</dialogue>
<character>NEWT</character>
<dialogue>St -- JACOB</dialogue>
<parenthetical>(bellows)</parenthetical>
<dialogue>HEY! NEWT! Get over here, you maniac.</dialogue>
<scene_description>He flings his arms around a delighted but awkward NEWT.</scene_description>
<character>QUEENIE</character>
<dialogue>We hope you don't mind, Newt? We let ourselves in -- it's raining out there -- cats and dogs! London's cold!</dialogue>
<character>NEWT</character>
<parenthetical>(to JACOB)</parenthetical>
<dialogue>But you were supposed to have been Obliviated!</dialogue>
<character>JACOB</character>
<dialogue>I know!</dialogue>
<character>NEWT</character>
<dialogue>So... But...</dialogue>
<character>JACOB</character>
<dialogue>It didn't work, pal. I mean, you said it, the potion only erases bad memories. I didn't have any. I mean, don't get me wrong, I had some weird ones. But this angel... this angel over here, she filled me in on all the bad parts, and here we are, I guess, huh?</dialogue>
<character>NEWT</character>
<parenthetical>(overjoyed)</parenthetical>
<dialogue>This is wonderful!</dialogue>
<scene_description>He looks around, sure that TINA is here too.</scene_description>
<character>NEWT</character>
<dialogue>Is... Tina? Tina?</dialogue>
<character>QUEENIE</character>
<dialogue>Oh it's just us, honey. Me and Jacob.</dialogue>
<scene_description>8FLiX.com FYC SCREENPLAY DATABASE 20230910</scene_description>
<character>35</character>
<dialogue>NEWT</dialogue>
<character>CONTINUED: (2)</character>
<dialogue>Oh.</dialogue>
<character>QUEENIE</character>
<parenthetical>(uncomfortable)</parenthetical>
<dialogue>Why don't I make us some dinner, huh?</dialogue>
<character>JACOB</character>
<dialogue>Yes!</dialogue>
<character>36</character>
<dialogue>INT. NEWT'S SITTING ROOM - FIVE MINUTES LATER - NIGHT</dialogue>
<scene_description>The threesome sit at a table bearing NEWT'S mismatched crockery, the atmosphere tainted by TINA'S absence. QUEENIE'S case lies open on the sofa.</scene_description>
<character>QUEENIE</character>
<dialogue>Tina and I aren't talking.</dialogue>
<character>NEWT</character>
<dialogue>Why?</dialogue>
<scene_description>JACOB'S POV: pink and hazy, as though happily drunk.</scene_description>
<character>QUEENIE</character>
<dialogue>Oh well, you know, she found out about Jacob and I seeing each other and she didn't like it, 'cause of the "law."</dialogue>
<parenthetical>(miming quotation marks)</parenthetical>
<dialogue>Not allowed to date No-Majs, not allowed to marry them. Blah, blah, blah. Well, she was all in a tizzy anyway, 'cause of you.</dialogue>
<character>NEWT</character>
<dialogue>Me?</dialogue>
<character>QUEENIE</character>
<dialogue>Yeah, you, Newt. It was in Spellbound. Here -- I brought it for you --</dialogue>
<scene_description>She points her wand at her suitcase. A celebrity magazine zooms to her: "Spellbound: Celebrity Secrets and Spell Tips of the Stars!" On the cover, an idealized NEWT and an improbably beaming Niffler: 8FLiX.com FYC SCREENPLAY DATABASE 20230910</scene_description>
<character>36</character>
<dialogue>"BEAST TAMER NEWT TO WED!"</dialogue>
<character>CONTINUED:</character>
<dialogue>QUEENIE opens the magazine:</dialogue>
<dialogue>THESEUS, LETA, NEWT, and BUNTY stand side by side at his book launch.</dialogue>
<character>QUEENIE</character>
<parenthetical>(showing him)</parenthetical>
<dialogue>"Newt Scamander with fiancée, Leta Lestrange; brother, Theseus; and unknown woman."</dialogue>
<character>NEWT</character>
<dialogue>No. Theseus is marrying Leta, not me.</dialogue>
<character>QUEENIE</character>
<dialogue>Oh! Oh dear... well, see, Teen read that, and she started dating someone else. He's an Auror. His name's Achilles Tolliver.</dialogue>
<scene_description>A silence. Then, NEWT starts to notice JACOB'S state: Eating sloppily, he hums to himself, then tries to drink the salt. QUEENIE takes it and puts his glass in his hand, trying to cover.</scene_description>
<character>QUEENIE</character>
<dialogue>Anyway... We're real excited to be here, Newt. This is a -- well, it's a special trip for us. You see, Jacob and I, we're getting married.</dialogue>
<scene_description>She shows him her engagement ring. JACOB tries to toast the moment and pours beer all over his ear.</scene_description>
<character>JACOB</character>
<dialogue>I'm marrying Jacob!</dialogue>
<scene_description>Now sure he knows what's going on, NEWT glares at QUEENIE.</scene_description>
<character>NEWT (V.O.)</character>
<parenthetical>(speaking telepathically)</parenthetical>
<dialogue>You've enchanted him, haven't you?</dialogue>
<character>QUEENIE</character>
<parenthetical>(reading his mind)</parenthetical>
<dialogue>What? I have not.</dialogue>
<scene_description>8FLiX.com FYC SCREENPLAY DATABASE 20230910</scene_description>
<character>36</character>
<dialogue>NEWT</dialogue>
<character>CONTINUED: (2)</character>
<dialogue>Will you stop reading my mind?</dialogue>
<parenthetical>(speaking telepathically)</parenthetical>
<dialogue>Queenie, you've brought him here against his will.</dialogue>
<character>QUEENIE</character>
<dialogue>Oh, that is an outrageous accusation. Look at him. He's just happy. He's so happy!</dialogue>
<character>NEWT</character>
<parenthetical>(drawing his wand)</parenthetical>
<dialogue>Then you won't mind if I --</dialogue>
<scene_description>QUEENIE jumps up and tries to shield JACOB from him.</scene_description>
<character>QUEENIE</character>
<dialogue>Please don't!</dialogue>
<character>NEWT</character>
<dialogue>Queenie, you've got nothing to fear if he wants to get married. We can just lift the enchantment and he can tell us himself.</dialogue>
<scene_description>Several painful moments pass. At last she moves aside.</scene_description>
<character>JACOB</character>
<dialogue>What you got there? Whatchu gonna do? Whatchu gonna do with that, Mr. Scamander?</dialogue>
<character>NEWT</character>
<dialogue>Surgito.</dialogue>
<scene_description>JACOB reacts as though to a bucket of cold water. He comes back to himself and takes in his surroundings. He looks at NEWT.</scene_description>
<character>NEWT</character>
<dialogue>Congratulations on your engagement, Jacob.</dialogue>
<character>JACOB</character>
<dialogue>Wait, what?</dialogue>
<scene_description>NEWT looks at QUEENIE.</scene_description>
<character>JACOB</character>
<dialogue>Oh no.</dialogue>
<scene_description>8FLiX.com FYC SCREENPLAY DATABASE 20230910</scene_description>
<character>36</character>
<dialogue>He realizes he has been taken against his will.</dialogue>
<character>CONTINUED: (3)</character>
<dialogue>Slowly, he gets to his feet to face QUEENIE.</dialogue>
<dialogue>She reads his mind. With a sob, she runs to close her case (several small objects, including a lipstick and a fragment of torn postcard, fall out) and flees the apartment.</dialogue>
<character>JACOB</character>
<dialogue>Queenie!</dialogue>
<parenthetical>(turning to NEWT)</parenthetical>
<dialogue>It's very nice to see you. Where the hell am I right now?</dialogue>
<character>NEWT</character>
<dialogue>Uh, uh, London.</dialogue>
<character>JACOB</character>
<parenthetical>(frustrated)</parenthetical>
<dialogue>Oh! I always wanted to go here!</dialogue>
<parenthetical>(angry)</parenthetical>
<dialogue>Queenie!</dialogue>
<scene_description>He runs after her.</scene_description>
<character>37</character>
<dialogue>EXT. NEWT'S STREET - A MINUTE LATER - NIGHT</dialogue>
<scene_description>QUEENIE dashes out of NEWT'S house and off up the street, crying. JACOB runs after her, livid.</scene_description>
<character>JACOB</character>
<dialogue>Queen, honey. Well, I'm just curious, when were you going to wake me up? After we'd had five kids?</dialogue>
<scene_description>QUEENIE turns to confront JACOB.</scene_description>
<character>QUEENIE</character>
<dialogue>Why is it wrong to want to marry you?</dialogue>
<character>JACOB</character>
<dialogue>Okay --</dialogue>
<character>QUEENIE</character>
<dialogue>To wanna have a family? I just want what everyone else has, that's all.</dialogue>
<scene_description>8FLiX.com FYC SCREENPLAY DATABASE 20230910</scene_description>
<character>37</character>
<dialogue>JACOB</dialogue>
<character>CONTINUED:</character>
<dialogue>Okay, wait. We talked about this, like, a million times. If we get married and they find out, they're gonna throw you in jail, sweetheart. I can't have that. They don't like people like me marrying people like you. I ain't a wizard. I'm just me.</dialogue>
<character>QUEENIE</character>
<dialogue>They're really progressive here, and they'll let us get married properly.</dialogue>
<scene_description>QUEENIE gestures to the street.</scene_description>
<character>JACOB</character>
<dialogue>Sweetheart, you don't need to enchant me. I'm already enchanted! I love you so much.</dialogue>
<character>QUEENIE</character>
<dialogue>Yeah?</dialogue>
<character>JACOB</character>
<dialogue>Yeah. But I can't have you risking everything like this, you know? You're not giving us a choice, sweetheart.</dialogue>
<character>QUEENIE</character>
<dialogue>You're not givin' me a choice. One of us had to be brave, and you were being a coward!</dialogue>
<character>JACOB</character>
<dialogue>I was being a coward? If I'm a coward, you're a --</dialogue>
<scene_description>She reads his mind.</scene_description>
<character>QUEENIE</character>
<dialogue>-- crazy!</dialogue>
<scene_description>She reacts. He knows she "heard" him.</scene_description>
<character>JACOB</character>
<dialogue>I didn't say it...</dialogue>
<character>QUEENIE</character>
<dialogue>You didn't have to.</dialogue>
<scene_description>8FLiX.com FYC SCREENPLAY DATABASE 20230910</scene_description>
<character>37</character>
<dialogue>JACOB</dialogue>
<character>CONTINUED: (2)</character>
<dialogue>No, I didn't mean it, sweetheart.</dialogue>
<character>QUEENIE</character>
<dialogue>Yeah, you did.</dialogue>
<character>JACOB</character>
<dialogue>No.</dialogue>
<character>QUEENIE</character>
<dialogue>I'm gonna go see my sister.</dialogue>
<character>JACOB</character>
<dialogue>Fine. See your sister.</dialogue>
<character>QUEENIE</character>
<dialogue>Fine.</dialogue>
<scene_description>QUEENIE Disapparates.</scene_description>
<character>JACOB</character>
<dialogue>No, wait! No! Queenie! I didn't mean it. I didn't say nothing.</dialogue>
<scene_description>But he is alone in the street.</scene_description>
<character>38</character>
<dialogue>INT. NEWT'S HOUSE - SHORTLY AFTER - NIGHT</dialogue>
<scene_description>NEWT'S miserable gaze falls on the piece of postcard. He crosses to pick it up, then points his wand at it.</scene_description>
<character>NEWT</character>
<dialogue>Papyrus Reparo.</dialogue>
<scene_description>It reconstitutes into a whole. We see a picture of Paris. Postcard text becomes visible onscreen.</scene_description>
<character>TINA (V.O.)</character>
<dialogue>My dear Queenie, What a beautiful city. I'm thinking of you, Tina X</dialogue>
<character>39</character>
<dialogue>INT. NEWT'S BASEMENT MENAGERIE - NIGHT</dialogue>
<scene_description>CLOSE ON: JACOB as he enters, pushes open the door, stares around. Soaked through, he has been searching the streets for an hour. 8FLiX.com FYC SCREENPLAY DATABASE 20230910</scene_description>
<character>39</character>
<dialogue>NEWT is nowhere to be seen.</dialogue>
<character>CONTINUED:</character>
<dialogue>JACOB</dialogue>
<scene_description>Hey, Newt?</scene_description>
<character>NEWT (O.S.)</character>
<dialogue>Down here, Jacob. I'll be with you in a second.</dialogue>
<scene_description>JACOB starts peering into the enclosure. By the patch of dark water where the Kelpie lives, NEWT has placed a sign for BUNTY:</scene_description>
<character>BUNTY, DON'T TOUCH UNTIL I GET BACK.</character>
<dialogue>He walks on.</dialogue>
<dialogue>An Augurey caws mournfully at JACOB as he walks past.</dialogue>
<character>JACOB</character>
<dialogue>I got my own problems.</dialogue>
<character>NEWT (O.S.)</character>
<dialogue>No, no, no. Back in, please. Right, wait, wait, wait, wait.</dialogue>
<scene_description>A sign on the Augurey cage reads:</scene_description>
<character>BUNTY - DON'T FORGET TO GIVE PATRICK PELLETS.</character>
<dialogue>JACOB hears movement and changes direction, passing a snoozing griffin with a bandaged beak:</dialogue>
<character>BUNTY: CHANGE DRESSING DAILY.</character>
<dialogue>NEWT'S case sits beside the Niffler enclosure. On the inside of the lid is a large moving picture of TINA he has torn out of a newspaper.</dialogue>
<dialogue>NEWT comes round the corner wearing his coat.</dialogue>
<character>NEWT</character>
<dialogue>Queenie left a postcard. Tina's in Paris looking for Credence.</dialogue>
<character>JACOB</character>
<dialogue>Genius. Queenie's gonna go straight for Tina.</dialogue>
<parenthetical>(elated)</parenthetical>
<dialogue>Okay, we're going to France, pal! Hold on. I'll get my jacket.</dialogue>
<scene_description>8FLiX.com FYC SCREENPLAY DATABASE 20230910</scene_description>
<character>39</character>
<dialogue>NEWT</dialogue>
<character>CONTINUED: (2)</character>
<dialogue>I've got it.</dialogue>
<scene_description>NEWT has already pointed his wand at the ceiling. JACOB'S coat, hat, and case drop onto the floor in front of him. JACOB is blasted with warm magical air, which dries his rain- soaked clothes.</scene_description>
<character>JACOB</character>
<parenthetical>(impressed)</parenthetical>
<dialogue>Oh. Beautiful.</dialogue>
<scene_description>They leave. We close in on the note that has appeared:</scene_description>
<character>40</character>
<dialogue>EXT. PARIS, PLACE CACHÉE - NIGHT</dialogue>
<scene_description>A clear, starry night. TINA GOLDSTEIN, reinstated Auror on a mission of her own, more elegant and confident than in New York but carrying private sadness, walks toward the bronzed statue of a robed woman set on a tall stone base, where witches and wizards dressed as Muggles are vanishing.</scene_description>
<character>41</character>
<dialogue>EXT. PLACE CACHÉE, CIRCUS ARCANUS - NIGHT</dialogue>
<scene_description>Music, laughter, and conversation erupt around her. The circus is now in full swing. A banner declares:</scene_description>
<character>CIRCUS ARCANUS: FREAKS AND ODDITIES!</character>
<dialogue>Several tents, a big top in the middle.</dialogue>
<dialogue>TINA walks past the street performers working in the open, scrutinizing them.</dialogue>
<dialogue>A HALF-TROLL performs feats of strength.</dialogue>
<dialogue>A few misshapen and particularly downtrodden humanoids -- UNDERBEINGS without powers but of magical ancestry -- shuffle around, taking money from the crowd.</dialogue>
<dialogue>Horns hidden beneath hats, unusual eyes beneath hoods; HALF- ELVES and HALF-GOBLINS juggle and tumble.</dialogue>
<scene_description>8FLiX.com FYC SCREENPLAY DATABASE 20230910</scene_description>
<character>41</character>
<dialogue>A magnificent Chinese Zouwu, a giant catlike creature with a</dialogue>
<character>CONTINUED:</character>
<dialogue>long, plumed tail, is imprisoned in a cage. Fireworks burst overhead.</dialogue>
<character>42</character>
<dialogue>INT. CIRCUS ARCANUS, FREAKS' TENT - EVENING</dialogue>
<scene_description>NAGINI is kneeling at a trunk, stroking her circus dress. She must perform shortly. CREDENCE hurries to her.</scene_description>
<character>CREDENCE</character>
<parenthetical>(whispers)</parenthetical>
<dialogue>Nagini!</dialogue>
<scene_description>She turns.</scene_description>
<character>NAGINI</character>
<dialogue>Credence.</dialogue>
<scene_description>He hands her the note. She scans it, frowns.</scene_description>
<character>CREDENCE</character>
<parenthetical>(whispers)</parenthetical>
<dialogue>I think I know where she is.</dialogue>
<scene_description>NAGINI looks up, meets his eyes.</scene_description>
<character>CREDENCE</character>
<dialogue>We escape tonight.</dialogue>
<scene_description>SKENDER comes into NAGINI'S tent.</scene_description>
<character>SKENDER</character>
<dialogue>Hey, I've told you to stay away from her, boy -- did I say you could take a break? Clean out the Kappa.</dialogue>
<scene_description>SKENDER closes the curtain between CREDENCE and NAGINI.</scene_description>
<character>SKENDER</character>
<parenthetical>(to NAGINI)</parenthetical>
<dialogue>And you, get ready!</dialogue>
<scene_description>CREDENCE turns and looks up to a cage full of Firedrakes.</scene_description>
<character>43</character>
<dialogue>INT. CIRCUS ARCANUS, BIG TOP - NIGHT</dialogue>
<scene_description>SKENDER is standing beside the circular platform/cage in the middle of a crowd, many of whom are drunk. 8FLiX.com FYC SCREENPLAY DATABASE 20230910</scene_description>
<character>43</character>
<dialogue>SKENDER</dialogue>
<character>CONTINUED:</character>
<dialogue>Next in our little show of freaks and oddities, I present to you -- a Maledictus!</dialogue>
<scene_description>He whips open the curtains. There stands NAGINI in a snakeskin dress. Men in the crowd whistle and jeer.</scene_description>
<character>SKENDER</character>
<dialogue>Once trapped in the jungles of Indonesia, she is the carrier of a blood curse. Such Underbeings are destined, through the course of their lives, to turn permanently into beasts.</dialogue>
<scene_description>TINA makes her way around the back of the crowd, looking for CREDENCE. Elsewhere in the tent, an elegant, suited French African, YUSUF KAMA, is scanning the crowd rather than watching SKENDER. There is a black feather in the band of his fedora.</scene_description>
<character>SKENDER</character>
<dialogue>But look at her. So beautiful, yes? So desirable... but soon she will be trapped forever in a very different body. Every night, when she sleeps... mesdames et messieurs... she is forced to become --</dialogue>
<scene_description>Nothing happens. The crowd jeers at SKENDER. NAGINI looks at SKENDER, a look of hatred.</scene_description>
<character>SKENDER</character>
<dialogue>She is forced to become...</dialogue>
<scene_description>CREDENCE'S and NAGINI'S eyes meet across the big top. ANGLE ON: TINA, who has spotted CREDENCE. She starts to edge toward him, trying not to attract attention. ANGLE ON: KAMA, who does the same.</scene_description>
<character>SKENDER</character>
<dialogue>She is forced to become . . .</dialogue>
<scene_description>SKENDER whips the bars. 8FLiX.com FYC SCREENPLAY DATABASE 20230910</scene_description>
<character>43</character>
<dialogue>NAGINI closes her eyes. Slowly, she melts into coils.</dialogue>
<character>CONTINUED: (2)</character>
<dialogue>SKENDER</dialogue>
<scene_description>Over time, she will not be able to transform back. She will be forever trapped in the body of a snake. NAGINI suddenly strikes at SKENDER through the bars and utters a cry in Parseltongue. SKENDER crumples, bleeding. At the back of the tent, CREDENCE smashes open the Firedrakes' cage and they soar to freedom like fireworks. The big top catches fire -- screams, panic, the crowd falls over one another to reach the exit --</scene_description>
<character>44</character>
<dialogue>EXT. CIRCUS ARCANUS, BIG TOP - NIGHT</dialogue>
<scene_description>The big top is on fire. Firedrakes weave patterns in the sky above it, trailing showers of sparks. The fire has terrified and enraged the creatures. A hippogriff is rearing and plunging while its handlers try to control it. Everywhere performers are packing up, fast, elves shutting themselves into boxes, which fold smaller and smaller. TINA Apparates and, with a flick of her wand, puts out the fire. The Zouwu crate is on fire and shaking perilously. The creature within roars and howls. The Zouwu explodes out of it: a monstrous cat the size of an elephant, five-colored, with a tail as long as a python. It has been horrendously abused: Scars across its face, it is malnourished, limping, and now driven to a frenzy of terror. TINA spots CREDENCE in the distance.</scene_description>
<character>TINA</character>
<dialogue>Credence!</dialogue>
<scene_description>The Zouwu hobbles as fast as it can, away into the darkness. SKENDER knows there is no catching it now. He runs to galvanize his workers.</scene_description>
<character>SKENDER</character>
<dialogue>Pack it up! Paris is done for us now.</dialogue>
<scene_description>8FLiX.com FYC SCREENPLAY DATABASE 20230910</scene_description>
<character>44</character>
<dialogue>SKENDER points his wand at the tent, shrinks it to the size</dialogue>
<character>CONTINUED:</character>
<dialogue>of a handkerchief, and pockets it.</dialogue>
<character>TINA</character>
<parenthetical>(approaching SKENDER)</parenthetical>
<dialogue>The boy with the Maledictus, what do you know about him?</dialogue>
<character>SKENDER</character>
<parenthetical>(contemptuous)</parenthetical>
<dialogue>He's looking for his mother. All my freaks think they can go home. Okay, let's go.</dialogue>
<scene_description>He leaps up onto a carriage and, as the crates and boxes are all magically reduced to a few cases, clatters away into the night. TINA is left on her own in what seems for a moment to be a deserted square. Then she realizes that KAMA is standing behind her. CUT TO:</scene_description>
<character>45</character>
<dialogue>EXT. PARISIAN CAFÉ - NIGHT</dialogue>
<scene_description>TINA and KAMA sit together at an outside table. TINA is suspicious of KAMA.</scene_description>
<character>TINA</character>
<dialogue>I think we were both at the circus for the same reason, monsieur... ?</dialogue>
<character>KAMA</character>
<dialogue>Kama. Yusuf Kama. And you think right.</dialogue>
<character>TINA</character>
<dialogue>What do you want with Credence?</dialogue>
<character>KAMA</character>
<dialogue>The same as you.</dialogue>
<character>TINA</character>
<dialogue>Which is?</dialogue>
<character>KAMA</character>
<dialogue>To prove who the boy really is. If the rumors of his identity are correct, he and I are - distantly - related.</dialogue>
<scene_description>8FLiX.com FYC SCREENPLAY DATABASE 20230910</scene_description>
<character>45</character>
<dialogue>KAMA</dialogue>
<character>CONTINUED:</character>
<dialogue>I am the last male of my pure- blooded line... and so, if the rumors are correct, is he.</dialogue>
<scene_description>KAMA takes The Predictions of Tycho Dodonus out of his pocket and holds it tantalizingly before her.</scene_description>
<character>KAMA</character>
<dialogue>You have read The Predictions of Tycho Dodonus?</dialogue>
<character>TINA</character>
<dialogue>Yes. But that's poetry, not proof.</dialogue>
<character>KAMA</character>
<dialogue>If I could show you something better -- more concrete -- something that proves who he is - would the Ministries of Europe and America let him live?</dialogue>
<scene_description>A beat.</scene_description>
<character>TINA</character>
<dialogue>They might.</dialogue>
<character>KAMA</character>
<parenthetical>(he nods)</parenthetical>
<dialogue>Then come.</dialogue>
<scene_description>He gets up and TINA follows.</scene_description>
<character>46</character>
<dialogue>INT. GRINDELWALD'S HIDEOUT, DRAWING ROOM - NIGHT</dialogue>
<scene_description>GRINDELWALD exhales vapor from a glowing skull-shaped hookah. His ACOLYTES watch as the smoke forms a vision of the Obscurus, a swirl of black and flashing red, then resolves into an image of CREDENCE. All look excited, except KRALL, who is sulky.</scene_description>
<character>GRINDELWALD</character>
<dialogue>So... Credence Barebone. Nearly destroyed by the woman who raised him. Yet now he seeks the mother who bore him. He's desperate for family. He's desperate for love. He's the key to our victory.</dialogue>
<scene_description>8FLiX.com FYC SCREENPLAY DATABASE 20230910</scene_description>
<character>46</character>
<dialogue>KRALL</dialogue>
<character>CONTINUED:</character>
<dialogue>Well, we know where the boy is, don't we? Why don't we grab him and leave!</dialogue>
<character>GRINDELWALD</character>
<parenthetical>(to KRALL)</parenthetical>
<dialogue>He must come to me freely -- and he will.</dialogue>
<scene_description>GRINDELWALD returns his gaze to the vision of CREDENCE suspended in the center of the drawing room.</scene_description>
<character>GRINDELWALD</character>
<dialogue>The path has been laid, and he is following it. The trail that will lead him to me, and the strange and glorious truth of who he is.</dialogue>
<character>KRALL</character>
<dialogue>Why is he so important?</dialogue>
<scene_description>GRINDELWALD walks to face KRALL.</scene_description>
<character>GRINDELWALD</character>
<dialogue>Who represents the greatest threat to our cause?</dialogue>
<character>KRALL</character>
<dialogue>Albus Dumbledore.</dialogue>
<character>GRINDELWALD</character>
<dialogue>If I asked you now to go to the school where he is hiding and kill him for me, would you do it for me, Krall?</dialogue>
<parenthetical>(smiles)</parenthetical>
<dialogue>Credence is the only entity alive... who can kill him.</dialogue>
<character>KRALL</character>
<dialogue>You really think that he can kill the great -- can kill Albus Dumbledore?</dialogue>
<character>GRINDELWALD</character>
<parenthetical>(whispers)</parenthetical>
<dialogue>I know he can. But will you be with us when that happens, Krall? Will you?</dialogue>
<scene_description>8FLiX.com FYC SCREENPLAY DATABASE 20230910</scene_description>
<character>47</character>
<dialogue>EXT. WHITE CLIFFS OF DOVER-DAWN</dialogue>
<scene_description>NEWT and JACOB are walking with cases toward Beachy Head. Pickett pokes his head out of NEWT'S breast pocket and yawns.</scene_description>
<character>NEWT</character>
<dialogue>Jacob, that man Tina's been JACOB seeing -- Don't worry! She's gonna see</dialogue>
<scene_description>you and she'll see the four of us together, it'll be just like New York all over again. Don't worry about it.</scene_description>
<character>NEWT</character>
<dialogue>Yes, but he's an Auror, Queenie said?</dialogue>
<character>JACOB</character>
<dialogue>Yeah, he's an Auror. So what? Don't worry about him.</dialogue>
<scene_description>A beat. They walk.</scene_description>
<character>NEWT</character>
<dialogue>What d'you think I should say to her, if I see her?</dialogue>
<character>JACOB</character>
<dialogue>Oh, well, it's best not to plan these things. You know, you just say whatever comes to you in the moment.</dialogue>
<scene_description>A beat. They walk.</scene_description>
<character>NEWT</character>
<parenthetical>(reminiscently)</parenthetical>
<dialogue>She has eyes just like a salamander.</dialogue>
<character>JACOB</character>
<dialogue>Don't say that.</dialogue>
<scene_description>A beat. JACOB decides NEWT needs help. 8FLiX.com FYC SCREENPLAY DATABASE 20230910</scene_description>
<character>47</character>
<dialogue>JACOB</dialogue>
<character>CONTINUED:</character>
<dialogue>Nah, look, you just tell her that you missed her. Right, and then you came all the way to Paris to find her. She'll love that. And then, tell her you're losing sleep at night for thinking of her. Just don't say anything about no salamanders, all right?</dialogue>
<character>NEWT</character>
<dialogue>Right. Okay.</dialogue>
<character>JACOB</character>
<dialogue>Hey, hey, hey. It's gonna be all right. We're in this together, pal. Okay, I'm gonna help you out. I'm gonna help you find Tina, find Queenie, and we'll all be happy again. Just like old times.</dialogue>
<scene_description>He spots a slightly sinister figure on the edge of the cliff: all black, tattered robes.</scene_description>
<character>JACOB</character>
<dialogue>Who is this guy?</dialogue>
<character>NEWT</character>
<dialogue>He's the only way I can leave the country without documentation. Now, you don't suffer from motion sickness, do you?</dialogue>
<character>JACOB</character>
<dialogue>I don't do well on boats, Newt.</dialogue>
<scene_description>A beat.</scene_description>
<character>NEWT</character>
<dialogue>You'll be fine.</dialogue>
<character>PORTKEY TOUT</character>
<dialogue>Stir your stumps -- it leaves in one minute!</dialogue>
<scene_description>Confused, JACOB looks around for the conveyance, ignoring the rusty bucket on the ground.</scene_description>
<character>PORTKEY TOUT</character>
<dialogue>Fifty Galleons.</dialogue>
<character>NEWT</character>
<dialogue>No, we said thirty.</dialogue>
<scene_description>8FLiX.com FYC SCREENPLAY DATABASE 20230910</scene_description>
<character>47</character>
<dialogue>PORTKEY TOUT</dialogue>
<character>CONTINUED: (2)</character>
<dialogue>Thirty to go to France, twenty not to tell anyone I seen Newt Scamander leaving the country illegally.</dialogue>
<scene_description>Angry, NEWT pays up.</scene_description>
<character>PORTKEY TOUT</character>
<dialogue>Price of fame, pal.</dialogue>
<parenthetical>(checks watch)</parenthetical>
<dialogue>Ten seconds.</dialogue>
<scene_description>NEWT picks up the bucket and holds out his hand to JACOB.</scene_description>
<character>NEWT</character>
<parenthetical>(to JACOB)</parenthetical>
<dialogue>Jacob.</dialogue>
<character>JACOB</character>
<dialogue>ARGH!</dialogue>
<scene_description>They are pulled away into thin air. CUT TO:</scene_description>
<character>48</character>
<dialogue>EXT. PLACE CACHÉE - DAY</dialogue>
<scene_description>NEWT and JACOB peer around the corner. A French POLICEMAN is standing in front of the statue of the robed woman. JACOB is pale, sweaty, and still clutching the bucket, which has come in handy.</scene_description>
<character>JACOB</character>
<dialogue>I didn't like that Portkey, Newt.</dialogue>
<character>NEWT</character>
<parenthetical>(absently)</parenthetical>
<dialogue>So you keep saying. Follow me.</dialogue>
<scene_description>NEWT points his wand at the POLICEMAN.</scene_description>
<character>NEWT</character>
<dialogue>Confundus.</dialogue>
<scene_description>The POLICEMAN lurches as though drunk, blinks, shakes his head, then giggles and ambles off, raising his hat at disconcerted passersby. 8FLiX.com FYC SCREENPLAY DATABASE 20230910</scene_description>
<character>48</character>
<dialogue>NEWT</dialogue>
<character>CONTINUED:</character>
<dialogue>Come on. That'll wear off in a few minutes.</dialogue>
<scene_description>NEWT leads JACOB through the statue and into Magical Paris. He puts his case down and points his wand at the street.</scene_description>
<character>NEWT</character>
<dialogue>Appare vestigium.</dialogue>
<scene_description>The tracking spell materializes as a swirl of gold, which illuminates traces of recent magical activity in the square.</scene_description>
<character>NEWT</character>
<dialogue>Accio Niffler!</dialogue>
<scene_description>The case bursts open and a Niffler jumps out.</scene_description>
<character>NEWT</character>
<dialogue>Get looking.</dialogue>
<scene_description>NEWT climbs onto the case and inspects impressions of creatures revealed in the air, while the now-trained adult Niffler sniffs out clues.</scene_description>
<character>NEWT</character>
<dialogue>That's a Kappa. That's a Japanese water demon --</dialogue>
<scene_description>The Niffler sniffs around some shimmering footsteps. The Niffler has found the place where TINA stood in front of the Zouwu. NEWT sees a vision of TINA.</scene_description>
<character>NEWT</character>
<dialogue>Tina? Tina!</dialogue>
<parenthetical>(to Niffler)</parenthetical>
<dialogue>What have you found?</dialogue>
<scene_description>He bends down to lick the pavement.</scene_description>
<character>JACOB</character>
<parenthetical>(glancing around)</parenthetical>
<dialogue>And we're licking the dirt now.</dialogue>
<scene_description>NEWT puts his wand to his ear and listens to a terrifying roar. He points his wand to the street.</scene_description>
<character>NEWT</character>
<dialogue>Revelio.</dialogue>
<scene_description>8FLiX.com FYC SCREENPLAY DATABASE 20230910</scene_description>
<character>48</character>
<dialogue>JACOB sees what NEWT is looking at: gigantic paw marks</dialogue>
<character>CONTINUED: (2)</character>
<dialogue>overlaying everything else.</dialogue>
<character>JACOB</character>
<parenthetical>(intensely worried)</parenthetical>
<dialogue>Newt... what made those?</dialogue>
<character>NEWT</character>
<dialogue>That is a Zouwu. It's a Chinese creature. They are incredibly fast and incredibly powerful. They can travel a thousand miles in a day... and this one could take you from one part of Paris to the next in a single leap.</dialogue>
<scene_description>The Niffler sniffs around more shimmering footsteps -- another place where TINA stood.</scene_description>
<character>NEWT</character>
<dialogue>Oh, good boy.</dialogue>
<parenthetical>(intensely worried)</parenthetical>
<dialogue>Jacob, she was here. Tina stood here. She has incredibly narrow feet, have you noticed?</dialogue>
<character>JACOB</character>
<dialogue>Can't say that I have.</dialogue>
<scene_description>NEWT sees a vision of KAMA.</scene_description>
<character>NEWT</character>
<dialogue>Then someone came towards her.</dialogue>
<scene_description>NEWT points to a feather from KAMA'S hat, sniffs it, and looks troubled.</scene_description>
<character>NEWT</character>
<dialogue>Avenseguim.</dialogue>
<scene_description>The feather turns like the needle of a compass, pointing the way.</scene_description>
<character>NEWT</character>
<dialogue>Follow that feather.</dialogue>
<character>JACOB</character>
<dialogue>What?</dialogue>
<character>NEWT</character>
<dialogue>Jacob, follow the feather.</dialogue>
<scene_description>8FLiX.com FYC SCREENPLAY DATABASE 20230910</scene_description>
<character>48</character>
<dialogue>JACOB</dialogue>
<character>CONTINUED: (3)</character>
<dialogue>Follow the feather.</dialogue>
<character>NEWT</character>
<parenthetical>(re: the Niffler)</parenthetical>
<dialogue>Where is he? Ah, Accio Niffler.</dialogue>
<scene_description>The Niffler is carried by the spell back into the case. NEWT takes the case and dashes off. JACOB gestures toward the bucket in his hand.</scene_description>
<character>NEWT</character>
<dialogue>Let go of the bucket!</dialogue>
<scene_description>JACOB drops the bucket and chases after NEWT.</scene_description>
<character>49</character>
<dialogue>EXT. PARIS - DAY</dialogue>
<character>50</character>
<dialogue>EXT. PLACE DE FURSTEMBERG - MORNING</dialogue>
<scene_description>QUEENIE approaches the trees in the middle of the square. She coughs. The roots of the trees rise up and form a birdcage elevator around her, which descends into the earth.</scene_description>
<character>51</character>
<dialogue>INT. MINISTÈRE DES AFFAIRES MAGIQUES, MAIN LEVEL - MORNING 51</dialogue>
<scene_description>QUEENIE descends into the beautiful Art Nouveau French Ministry of Magic, its domed ceiling patterned with constellations. QUEENIE approaches reception.</scene_description>
<character>RECEPTIONIST</character>
<parenthetical>(in French)</parenthetical>
<dialogue>Bienvenue au Ministère des Affaires Magiques.</dialogue>
<character>QUEENIE</character>
<dialogue>I'm sorry, I don't know what you just said at all --</dialogue>
<character>RECEPTIONIST</character>
<parenthetical>(in English)</parenthetical>
<dialogue>Welcome to the French Ministry of Magic. What is your business, please?</dialogue>
<scene_description>8FLiX.com FYC SCREENPLAY DATABASE 20230910</scene_description>
<character>51</character>
<dialogue>QUEENIE</dialogue>
<character>CONTINUED:</character>
<parenthetical>(loudly and slowly)</parenthetical>
<dialogue>I need to speak to Tina Goldstein, she's an American Auror working on a case here --</dialogue>
<scene_description>The RECEPTIONIST flicks through a few pages.</scene_description>
<character>RECEPTIONIST</character>
<dialogue>We have no Tina Goldstein here.</dialogue>
<character>QUEENIE</character>
<dialogue>No, it's... I'm sorry there must be some sort of mistake. See, I know she's in Paris, she sent me a postcard. I brought it, I can show it to you. Maybe you can help me find her here?</dialogue>
<scene_description>QUEENIE reaches for her suitcase, which falls open.</scene_description>
<character>QUEENIE</character>
<dialogue>It's just in here. Oh rabbits! If you can just wait one moment! I know it's in here somewhere. I definitely packed it. Where is it?</dialogue>
<scene_description>As the RECEPTIONIST gives a Gallic shrug -- -- a genteel ELDERLY LADY crosses INTO THE SHOT BEHIND QUEENIE. She has a distinctive bag in her hands -- WE FOLLOW her into the elevator -- Where ROSIER stands waiting. As the doors close, the ELDERLY LADY transforms into ABERNATHY and he pulls out an elaborate box...</scene_description>
<character>52</character>
<dialogue>EXT. PARIS BACK STREET - DAY</dialogue>
<scene_description>QUEENIE stands sadly on the street, holding an umbrella. Then, a double take: did she just see NEWT and JACOB hurrying from one side street into another?</scene_description>
<character>JACOB</character>
<dialogue>Could we at least stop for a coffee, or like a --</dialogue>
<scene_description>8FLiX.com FYC SCREENPLAY DATABASE 20230910</scene_description>
<character>52</character>
<dialogue>NEWT</dialogue>
<character>CONTINUED:</character>
<dialogue>Not now, Jacob.</dialogue>
<character>JACOB</character>
<dialogue>I don't know.</dialogue>
<character>NEWT</character>
<dialogue>This way. Come on.</dialogue>
<character>JACOB</character>
<dialogue>Pain au chocolat? Half a croissant, or like, a bonbon?</dialogue>
<character>NEWT</character>
<dialogue>This way.</dialogue>
<scene_description>QUEENIE sets off down the street, trotting in her haste to catch up with NEWT and JACOB. WE FOLLOW her drawing ever closer, as she chooses from a bewildering number of side alleys. So absorbed is she in trying to follow NEWT and JACOB -- -- she can now "hear" JACOB'S thoughts.</scene_description>
<character>QUEENIE</character>
<parenthetical>(calls aloud, joyful)</parenthetical>
<dialogue>Jacob! Jacob?</dialogue>
<scene_description>But he has gone. Exhausted and lonely, QUEENIE drops down to the curb in the rain, deafened by the clamor of the thoughts of those in the crowd around her. A hand falls onto QUEENIE'S shoulder. She turns, beaming. Her expression turns to puzzlement.</scene_description>
<character>ROSIER</character>
<parenthetical>(in French)</parenthetical>
<dialogue>Madame? Tout va bien, Madame?</dialogue>
<character>53</character>
<dialogue>EXT. BIRD MARKET - LATER THAT DAY</dialogue>
<scene_description>CREDENCE and NAGINI WALK INTO SHOT, looking around. CREDENCE steals birdseed as he passes a stall. GRIMMSON watches them, unnoticed. 8FLiX.com FYC SCREENPLAY DATABASE 20230910</scene_description>
<character>54</character>
<dialogue>EXT. RUE PHILIPPE LORAND - SHORTLY AFTERWARD - DAY</dialogue>
<scene_description>CREDENCE and NAGINI peer around the corner at the distant Number Eighteen. A light shines in the attic. A shadow moves in front of it.</scene_description>
<character>CREDENCE</character>
<parenthetical>(scared)</parenthetical>
<dialogue>She's home.</dialogue>
<scene_description>Now he is here, he is rooted to the spot. He dare not proceed. NAGINI prizes his hand from behind his back. She leads him across the road.</scene_description>
<character>55</character>
<dialogue>EXT. REAR OF 18 RUE PHILIPPE LORAND - MINUTES LATER - DAY 55</dialogue>
<scene_description>A door stands open into the yard. They slide through it into a servants' passageway. NAGINI'S nostrils flare. Her eyes dart around. There is something wrong. They proceed toward the stairs.</scene_description>
<character>56</character>
<dialogue>DAY</dialogue>
<character>INT. 18 RUE PHILIPPE LORAND, LANDING OUTSIDE MAID'S ROOM - 56</character>
<dialogue>CREDENCE and NAGINI reach the landing. A door stands ajar.</dialogue>
<dialogue>A shadow cast by lamplight: what seems to be a woman, sewing. The shadow pauses in its work.</dialogue>
<dialogue>NAGINI is edgy, nervous, looking around.</dialogue>
<character>IRMA (O.S.)</character>
<parenthetical>(in French)</parenthetical>
<dialogue>Qui est là?</dialogue>
<scene_description>CREDENCE can neither move nor speak. NAGINI realizes this.</scene_description>
<character>NAGINI</character>
<parenthetical>(in French)</parenthetical>
<dialogue>C'est votre fils, madame.</dialogue>
<scene_description>She takes CREDENCE'S hand and pulls him gently into the room. Mended and freshly washed clothing hang from racks on the ceiling. They can see the shadow of a woman. 8FLiX.com FYC SCREENPLAY DATABASE 20230910</scene_description>
<character>56</character>
<dialogue>NAGINI'S senses are hyperalert. She can smell danger. The</dialogue>
<character>CONTINUED:</character>
<dialogue>shadow stands.</dialogue>
<character>IRMA</character>
<parenthetical>(in French)</parenthetical>
<dialogue>Qui êtes-vous?</dialogue>
<character>CREDENCE</character>
<parenthetical>(whispers, terrified)</parenthetical>
<dialogue>Are you Irma? Are you... ? Are you Irma Dugard?</dialogue>
<scene_description>No response. They move through the hanging fabric toward her.</scene_description>
<character>CREDENCE</character>
<dialogue>I'm sorry. Your name is on my adoption paper. Does this make sense? You gave me to Mrs. Barebone in New York.</dialogue>
<scene_description>A beat. A tiny hand pushes the last piece of fabric aside. There stands IRMA: half-elf, half-human. CREDENCE'S face reveals confusion, awful disappointment.</scene_description>
<character>IRMA</character>
<parenthetical>(to CREDENCE)</parenthetical>
<dialogue>I am not your mother. I was only a servant.</dialogue>
<parenthetical>(smiling)</parenthetical>
<dialogue>You were such a beautiful baby. And you are a beautiful man. I have missed you.</dialogue>
<scene_description>ANGLE ON: GRIMMSON watching them from a doorway.</scene_description>
<character>CREDENCE</character>
<dialogue>Why didn't they want me? But why is your name on my adoption paper?</dialogue>
<character>IRMA</character>
<dialogue>I took you to Mrs. Barebone because she was supposed to look after you.</dialogue>
<scene_description>NAGINI'S fear is increasing.</scene_description>
<character>ANGLE ON: THE DARK WALL BEHIND SWATHES OF FABRIC.</character>
<dialogue>8FLiX.com FYC SCREENPLAY DATABASE 20230910</dialogue>
<character>56</character>
<dialogue>The perfectly camouflaged GRIMMSON emerges from the wall,</dialogue>
<character>CONTINUED: (2)</character>
<dialogue>raises his wand, aims for the silhouetted figures, and dispatches a Killing Curse that sears through the sheets and clothing, leaving smoldering holes.</dialogue>
<dialogue>We hear a body fall. NAGINI screams.</dialogue>
<dialogue>CREDENCE'S shadow has vanished.</dialogue>
<dialogue>Grinning, certain of triumph, GRIMMSON slashes away the smoking fabric until he stands facing --</dialogue>
<dialogue>IRMA, dead on the floor, and NAGINI, who backs away from him. Slowly, his grin fading, GRIMMSON looks up at the ceiling. The Obscurus is swirling there like thick black smoke.</dialogue>
<dialogue>In a flash, GRIMMSON conjures a domed Shield Charm around himself and IRMA'S body.</dialogue>
<dialogue>And the Obscurus dives, pelting the Shield Charm like a million bullets, rising and re-forming and diving again, but though the magical barrier trembles, it is not broken.</dialogue>
<dialogue>Now the Obscurus expands in fury, smashing apart the attic like a tornado.</dialogue>
<dialogue>GRIMMSON smiles up at the Obscurus: We'll meet again.</dialogue>
<dialogue>He Disapparates. Mingling with the debris of the destroyed attic, the Obscurus slams inward and CREDENCE re-forms.</dialogue>
<dialogue>He stands looking down at the tiny body.</dialogue>
<character>57</character>
<dialogue>EXT. ALLEYWAY - AFTERNOON</dialogue>
<scene_description>Fresh from IRMA'S murder, GRIMMSON stands in a covered alleyway beneath a bridge over the Seine. GRINDELWALD appears.</scene_description>
<character>GRIMMSON</character>
<dialogue>She's dead.</dialogue>
<scene_description>GRINDELWALD walks toward him and halts when they are face-to- face.</scene_description>
<character>GRINDELWALD</character>
<dialogue>How did the boy take it?</dialogue>
<character>GRIMMSON</character>
<parenthetical>(shrugging)</parenthetical>
<dialogue>He's sensitive.</dialogue>
<scene_description>8FLiX.com FYC SCREENPLAY DATABASE 20230910</scene_description>
<character>57</character>
<dialogue>GRIMMSON</dialogue>
<character>CONTINUED:</character>
<dialogue>The Ministry won't be happy when I tell them I've missed. They know my reputation.</dialogue>
<character>GRINDELWALD</character>
<dialogue>Listen to me. The disapproval of cowards is praise to the brave. Your name will be written in glory when wizards rule the world. And the clock is ticking faster. You watch over Credence. Keep him safe. For the greater good.</dialogue>
<character>GRIMMSON</character>
<dialogue>For the greater good.</dialogue>
<character>58</character>
<dialogue>EXT. PARISIAN CAFÉ - EVENING</dialogue>
<scene_description>A pair of lovers sit over coffee. NEWT is scanning every man who leaves the café, checking the reaction of the feather trapped beneath the glass. JACOB stares at the lovers.</scene_description>
<character>JACOB</character>
<dialogue>You know what I miss about Queenie? Everything. I even miss the stuff that drove me nuts. Like the mind reading...</dialogue>
<parenthetical>(he notices NEWT'S inattention)</parenthetical>
<dialogue>...I was lucky to have someone like her even interested in anything I thought. You know what I mean?</dialogue>
<scene_description>A beat.</scene_description>
<character>NEWT</character>
<dialogue>Sorry?</dialogue>
<character>JACOB</character>
<dialogue>I was saying, you're sure the guy is here that we're looking for?</dialogue>
<character>NEWT</character>
<dialogue>Definitely. The feather says so.</dialogue>
<character>59</character>
<dialogue>INT. PARISIAN CAFÉ, BATHROOM - EVENING</dialogue>
<scene_description>A cramped and dirty bathroom. 8FLiX.com FYC SCREENPLAY DATABASE 20230910</scene_description>
<character>59</character>
<dialogue>KAMA stares into the on the tap. Suddenly bandaged hand to his removes his hand and</dialogue>
<character>CONTINUED:</character>
<dialogue>mirror, his featherless fedora perched his face twitches. He raises his eye and rubs it, shaking his head. He stares at his reflection.</dialogue>
<scene_description>WE CLOSE IN: A tiny tentacle is visible at the corner of his eye. He whimpers in distress and gropes in his suit pocket for a small bottle of bright green liquid, which he drops into his eye with a dropper. Another whimper of pain as the tentacle withdraws. He looks at his reflection. It seems normal. He puts his hat back on and leaves.</scene_description>
<character>60</character>
<dialogue>INT. PARISIAN CAFÉ - EVENING</dialogue>
<scene_description>KAMA leaves the café. The feather points at him. NEWT lets it out and it flies to KAMA'S hat.</scene_description>
<character>JACOB</character>
<dialogue>Is that the guy we're looking for?</dialogue>
<character>NEWT</character>
<dialogue>Yes.</dialogue>
<scene_description>NEWT and JACOB jump up to confront him.</scene_description>
<character>NEWT</character>
<parenthetical>(to KAMA, in French)</parenthetical>
<dialogue>Er -- bonjour. Bonjour, monsieur.</dialogue>
<scene_description>KAMA makes to carry on walking, ignoring NEWT.</scene_description>
<character>NEWT</character>
<parenthetical>(in English)</parenthetical>
<dialogue>Oh wait, no, sorry. We were... we were actually just wondering if you'd come across a friend of ours?</dialogue>
<character>JACOB</character>
<dialogue>Tina Goldstein.</dialogue>
<character>KAMA</character>
<dialogue>Monsieur, Paris is a large city.</dialogue>
<character>NEWT</character>
<dialogue>She's an Auror. When Aurors go missing, the Ministry tend to come looking, so...</dialogue>
<scene_description>8FLiX.com FYC SCREENPLAY DATABASE 20230910</scene_description>
<character>60</character>
<dialogue>NEWT</dialogue>
<character>CONTINUED:</character>
<dialogue>No, now I suppose it would probably be better if we just report her absence --</dialogue>
<character>KAMA</character>
<parenthetical>(deciding)</parenthetical>
<dialogue>She is tall? Dark? Rather --</dialogue>
<character>JACOB</character>
<dialogue>-- intense?</dialogue>
<character>NEWT</character>
<dialogue>-- beautiful --</dialogue>
<character>JACOB</character>
<parenthetical>(hasty, off NEWT'S look)</parenthetical>
<dialogue>-- Yeah, what I meant to say - she's very -- very pretty --</dialogue>
<character>NEWT</character>
<dialogue>She's intense too.</dialogue>
<character>KAMA</character>
<dialogue>I think I saw someone like this last night. Perhaps if I showed you where?</dialogue>
<character>NEWT</character>
<dialogue>If you wouldn't mind. That would be lovely.</dialogue>
<character>KAMA</character>
<dialogue>Sure.</dialogue>
<character>61</character>
<dialogue>INT. KAMA'S HIDEOUT - EVENING</dialogue>
<scene_description>The interior of KAMA'S hideout is pitch black. The sound of WATER DRIPPING. A brief shaft of sunlight reveals TINA, sleeping lightly on the floor in her coat.</scene_description>
<character>NEWT</character>
<dialogue>Tina?</dialogue>
<scene_description>She wakes. A MOMENT as NEWT and TINA stare at each other. Each has thought of the other daily for a year. With no sign of KAMA, it seems she has been rescued. 8FLiX.com FYC SCREENPLAY DATABASE 20230910</scene_description>
<character>61</character>
<dialogue>TINA</dialogue>
<character>CONTINUED:</character>
<parenthetical>(joyful, disbelieving)</parenthetical>
<dialogue>Newt!</dialogue>
<scene_description>TINA notices KAMA entering in the background and raising his wand. Her expression changes.</scene_description>
<character>KAMA</character>
<dialogue>Expelliarmus!</dialogue>
<scene_description>NEWT'S wand flies out of his hand into KAMA'S. Bars form across the door, imprisoning them.</scene_description>
<character>KAMA</character>
<parenthetical>(through the door)</parenthetical>
<dialogue>My apologies, Mr. Scamander! I shall return and release you when Credence is dead!</dialogue>
<character>TINA</character>
<dialogue>Kama, wait!</dialogue>
<character>KAMA</character>
<dialogue>You see, either he dies... or I do.</dialogue>
<scene_description>He claps a hand to his eye.</scene_description>
<character>KAMA</character>
<dialogue>No, no, no, no. Oh no. No, no, no.</dialogue>
<scene_description>He jerks convulsively and slides to the floor, unconscious.</scene_description>
<character>NEWT</character>
<dialogue>Well, that's not the best start to a rescue attempt.</dialogue>
<character>TINA</character>
<dialogue>This was a rescue attempt? You've just lost me my only lead.</dialogue>
<scene_description>JACOB launches for the door, trying to break it down.</scene_description>
<character>NEWT</character>
<parenthetical>(innocent)</parenthetical>
<dialogue>Well, how was the interrogation going before we turned up?</dialogue>
<scene_description>TINA throws him a dark look. She strides to the back of the cave. Pickett, who, unnoticed, has hopped out of NEWT'S pocket, successfully picks the lock, and the bars swing open. 8FLiX.com FYC SCREENPLAY DATABASE 20230910</scene_description>
<character>61</character>
<dialogue>JACOB</dialogue>
<character>CONTINUED: (2)</character>
<dialogue>Newt!</dialogue>
<character>NEWT</character>
<dialogue>Well done, Pick.</dialogue>
<parenthetical>(to TINA)</parenthetical>
<dialogue>You need this man, you say?</dialogue>
<character>TINA</character>
<dialogue>Yeah. I think this man knows where Credence is, Mr. Scamander.</dialogue>
<scene_description>As they bend over the unconscious KAMA, they hear an earth- shattering roar from somewhere above them. They look at each other.</scene_description>
<character>NEWT</character>
<dialogue>Well, that'll be the Zouwu.</dialogue>
<scene_description>NEWT grabs his wand and Disapparates.</scene_description>
<character>62</character>
<dialogue>EXT. PARISIAN BRIDGE - NIGHT</dialogue>
<scene_description>In the middle of the bridge is the Zouwu, terrified and lethal. It is too badly hurt to keep running, but it is swiping at PASSERSBY, who are screaming and running out of the way. Cars screech to a halt. NEWT Apparates in the middle of the bridge, fifty yards from the Zouwu, holding his case. A second later, TINA Apparates too, holding JACOB'S arm. JACOB is sagging under the weight of the unconscious KAMA.</scene_description>
<character>JACOB</character>
<parenthetical>(calls)</parenthetical>
<dialogue>Newt, get out of there!</dialogue>
<scene_description>NEWT stoops down slowly and opens his case. The Zouwu snarls, crouches, and begins to advance on NEWT. Very slowly, so as not to alarm the Zouwu, NEWT lowers his arm into the case, feeling for something. It takes him longer than he expected. Frowning, he reaches deeper inside. The Zouwu advances. It bares its teeth. NEWT has found what he was looking for. He raises his arm. He is holding a fluffy toy bird on a stick and rope. 8FLiX.com FYC SCREENPLAY DATABASE 20230910</scene_description>
<character>62</character>
<dialogue>A beat.</dialogue>
<character>CONTINUED:</character>
<dialogue>The Zouwu's eyes start to follow the bird.</dialogue>
<dialogue>The Zouwu's tail twitches. It crouches lower than ever. Then, with a sudden bound, it soars through the air toward NEWT. Screams from the onlookers -- NEWT will surely be crushed --</dialogue>
<dialogue>But at the last moment he lets the bird fall into the case and the Zouwu sails after it in a flash of rainbow color, python tail flailing and -- WHAM -- NEWT slams the lid shut.</dialogue>
<dialogue>Uproar from the crowd, sirens approaching, police cars converging on the bridge.</dialogue>
<dialogue>FLAMEL'S card flies up out of NEWT'S pocket.</dialogue>
<dialogue>TINA and JACOB, still carrying KAMA, run toward NEWT, and all four Disapparate.</dialogue>
<character>63</character>
<dialogue>EXT. HOGWARTS - DAY</dialogue>
<scene_description>An ominous procession of AURORS marches up the drive toward the castle, among them, THESEUS and LETA. CLOSE ON: AN UPPER WINDOW. STUDENTS staring down at the strangers, nudging one another. The AURORS enter the school.</scene_description>
<character>64</character>
<dialogue>INT. DEFENSE AGAINST THE DARK ARTS CLASSROOM - DAY</dialogue>
<scene_description>DUMBLEDORE is teaching. A space in the middle of the room, all students enjoying the spectacle. A large boy - MCCLAGGAN - is braced for attack, his robes covered in dust, his tie knotted around his ear. He and DUMBLEDORE circle each other.</scene_description>
<character>DUMBLEDORE</character>
<dialogue>What were the three biggest mistakes that you made last time?</dialogue>
<character>MCCLAGGAN</character>
<dialogue>Caught by surprise, sir.</dialogue>
<character>DUMBLEDORE</character>
<dialogue>What else?</dialogue>
<scene_description>8FLiX.com FYC SCREENPLAY DATABASE 20230910</scene_description>
<character>64</character>
<dialogue>MCCLAGGAN</dialogue>
<character>CONTINUED:</character>
<dialogue>Didn't parry before counter-curse, sir.</dialogue>
<character>DUMBLEDORE</character>
<dialogue>Very good. And the last one... the most important one?</dialogue>
<scene_description>MCCLAGGAN looks away, thinking. DUMBLEDORE hits him unawares. MCCLAGGAN flies into the air, DUMBLEDORE conjures a sofa, MCCLAGGAN hits it and slides to the floor.</scene_description>
<character>DUMBLEDORE</character>
<dialogue>Not learning from the first two.</dialogue>
<scene_description>The class laughs. The door opens. TRAVERS, THESEUS, and four other AURORS enter, YOUNG MINERVA MCGONAGALL behind them.</scene_description>
<character>MCGONAGALL</character>
<dialogue>This is a school, you've no right --</dialogue>
<character>TRAVERS</character>
<dialogue>I'm the Head of Magical Law Enforcement and I have the right to go wherever I please.</dialogue>
<parenthetical>(to the students)</parenthetical>
<dialogue>Out of here.</dialogue>
<scene_description>They don't move.</scene_description>
<character>DUMBLEDORE</character>
<parenthetical>(to the students)</parenthetical>
<dialogue>Go with Professor McGonagall, please.</dialogue>
<scene_description>They file out, curious or alarmed. The last out is MCCLAGGAN.</scene_description>
<character>MCCLAGGAN</character>
<parenthetical>(to TRAVERS)</parenthetical>
<dialogue>He's the best teacher we've got.</dialogue>
<character>DUMBLEDORE</character>
<parenthetical>(quiet)</parenthetical>
<dialogue>Thanks, McClaggan.</dialogue>
<character>TRAVERS</character>
<dialogue>Get out!</dialogue>
<character>MCGONAGALL</character>
<dialogue>Come, McClaggan.</dialogue>
<scene_description>8FLiX.com FYC SCREENPLAY DATABASE 20230910</scene_description>
<character>64</character>
<dialogue>The door closes.</dialogue>
<character>CONTINUED: (2)</character>
<dialogue>TRAVERS</dialogue>
<scene_description>Newt Scamander is in Paris.</scene_description>
<character>DUMBLEDORE</character>
<dialogue>Really?</dialogue>
<character>TRAVERS</character>
<dialogue>Cut the pretense. I know he's there on your orders.</dialogue>
<character>DUMBLEDORE</character>
<dialogue>If you'd ever had the pleasure to teach him, you'd know Newt is not a great follower of orders.</dialogue>
<scene_description>TRAVERS tosses a small book to DUMBLEDORE, who catches it in one hand.</scene_description>
<character>TRAVERS</character>
<parenthetical>(indicating the book)</parenthetical>
<dialogue>You've read The Predictions of Tycho Dodonus?</dialogue>
<character>DUMBLEDORE</character>
<dialogue>Many years ago.</dialogue>
<character>TRAVERS</character>
<parenthetical>(reads)</parenthetical>
<dialogue>"A son cruelly banished Despair of the daughter Return --"</dialogue>
<character>DUMBLEDORE</character>
<dialogue>Yes, I know it.</dialogue>
<character>TRAVERS</character>
<dialogue>There's a rumor this DUMBLEDORE (CONT'D) prediction refers to the -- a highborn henchman. I've Obscurial. They say that heard the rumor. Grindelwald wants --</dialogue>
<character>TRAVERS</character>
<dialogue>And yet Scamander appears wherever the Obscurial goes, to protect him. Meanwhile you have built up quite a little network of international contacts --</dialogue>
<scene_description>8FLiX.com FYC SCREENPLAY DATABASE 20230910</scene_description>
<character>64</character>
<dialogue>DUMBLEDORE</dialogue>
<character>CONTINUED: (3)</character>
<parenthetical>(quiet, steely)</parenthetical>
<dialogue>However long you keep me and my friends under surveillance, you're not going to discover plots against you, Travers, because we want the same thing: the defeat of Grindelwald. But I warn you, your policies of suppression and violence are pushing supporters into his arms --</dialogue>
<character>TRAVERS</character>
<dialogue>I'm not interested in your warnings!</dialogue>
<parenthetical>(controlling himself)</parenthetical>
<dialogue>Now, it pains me to say it, because -- well, I don't like you.</dialogue>
<scene_description>TRAVERS and DUMBLEDORE both chuckle.</scene_description>
<character>TRAVERS</character>
<dialogue>But... you are the only wizard who is his equal. I need you to fight him.</dialogue>
<scene_description>A pause. The AURORS watch.</scene_description>
<character>DUMBLEDORE</character>
<dialogue>I cannot.</dialogue>
<character>TRAVERS</character>
<dialogue>Because of this?</dialogue>
<scene_description>He casts a spell to show moving pictures of TEENAGE DUMBLEDORE and TEENAGE GRINDELWALD. The AURORS are shocked. The TEENAGE DUMBLEDORE and TEENAGE GRINDELWALD stare intently into each other's eyes.</scene_description>
<character>TRAVERS</character>
<dialogue>You and Grindelwald were as close as brothers.</dialogue>
<character>DUMBLEDORE</character>
<dialogue>We were closer than brothers.</dialogue>
<scene_description>DUMBLEDORE is looking at the pictures. These memories are agony. He is full of remorse but, almost worse: nostalgia for the only time in his life he felt fully understood.</scene_description>
<character>TRAVERS</character>
<dialogue>Will you fight him?</dialogue>
<scene_description>8FLiX.com FYC SCREENPLAY DATABASE 20230910</scene_description>
<character>64</character>
<dialogue>DUMBLEDORE</dialogue>
<character>CONTINUED: (4)</character>
<parenthetical>(pained)</parenthetical>
<dialogue>I can't.</dialogue>
<character>TRAVERS</character>
<dialogue>Then you have chosen your side.</dialogue>
<scene_description>He flicks his wand once more. Thick metal cuffs -- Admonitors -- appear on DUMBLEDORE'S wrists.</scene_description>
<character>TRAVERS</character>
<dialogue>From now on, I shall know every spell you cast. I'm doubling the watch on you, and you will no longer teach Defense Against the Dark Arts.</dialogue>
<parenthetical>(to THESEUS)</parenthetical>
<dialogue>Where's Leta? We need to go to Paris!</dialogue>
<scene_description>He storms out. The AURORS follow. THESEUS is last to the door.</scene_description>
<character>DUMBLEDORE</character>
<parenthetical>(quietly)</parenthetical>
<dialogue>Theseus.</dialogue>
<scene_description>THESEUS looks back.</scene_description>
<character>DUMBLEDORE</character>
<dialogue>Theseus, if Grindelwald calls a rally, don't try and break it up. Don't let Travers send you in there. If you ever trusted me --</dialogue>
<character>TRAVERS (O.S.)</character>
<dialogue>THESUS!</dialogue>
<scene_description>THESUS leaves.</scene_description>
<character>65</character>
<dialogue>INT. DESERTED HOGWARTS CORRIDOR - DAY</dialogue>
<scene_description>The late afternoon sun falls through the windows as LETA walks along a corridor populated only with memories. She stops beside an open door. THE GREAT HALL is lit with floating candles. 8FLiX.com FYC SCREENPLAY DATABASE 20230910</scene_description>
<character>66</character>
<dialogue>INT. EMPTY HOGWARTS CLASSROOM - DAY</dialogue>
<scene_description>LETA walks slowly into the classroom, then turns to look back into the corridor and -- DISSOLVE TO:</scene_description>
<character>67</character>
<dialogue>-</dialogue>
<character>INT. EMPTY HOGWARTS CLASSROOM - SEVENTEEN YEARS PREVIOUSLY 67</character>
<dialogue>MORNING</dialogue>
<dialogue>13-YEAR-OLD LETA stands hiding inside the empty classroom while students in cloaks trundle by, pushing trunks and carrying owls. It is the last day of the winter term and nearly everyone is going home.</dialogue>
<dialogue>ANGLE ON: TWO 13-YEAR-OLD GRYFFINDOR GIRLS pushing trunks.</dialogue>
<character>GRYFFINDOR GIRL 1</character>
<dialogue>You know she stays here every vacation. Her family don't actually want her home.</dialogue>
<character>GRYFFINDOR GIRL 2</character>
<dialogue>I don't blame them, she's so annoying. Even the name Lestrange makes me feel sick --</dialogue>
<scene_description>LETA flings herself into their path, pointing her wand.</scene_description>
<character>13-YEAR-OLD LETA</character>
<dialogue>Oscausi!</dialogue>
<scene_description>GRYFFINDOR GIRL 2'S mouth is sealed shut as though she never had one. Triumphant, LETA flees the scene, pushing past shocked students.</scene_description>
<character>GRYFFINDOR GIRL 1</character>
<parenthetical>(screams)</parenthetical>
<dialogue>Professor McGonagall! LESTRANGE HAS DONE IT AGAIN!</dialogue>
<character>MCGONAGALL (O.S.)</character>
<dialogue>Lestrange, stop running! LESTRANGE! Disobedient children. Stop! Shame on the House of Slytherin. One hundred points! Two hundred! Get back here, right now! Stop! Stop it! Stop it! You stop it! Get back here!</dialogue>
<scene_description>8FLiX.com FYC SCREENPLAY DATABASE 20230910</scene_description>
<character>67</character>
<dialogue>GRYFFINDOR GIRL 1</dialogue>
<character>CONTINUED:</character>
<dialogue>Miss, it was Lestrange. She's horrible --</dialogue>
<scene_description>McGONAGALL silences the girl. ANGLE ON: LETA, sprinting around a corner. She wrenches open a side door and plunges inside.</scene_description>
<character>68</character>
<dialogue>68</dialogue>
<character>INT. HOGWARTS CUPBOARD - SEVENTEEN YEARS PREVIOUSLY - MORNING</character>
<dialogue>13-YEAR-OLD LETA slams the door and stands there, ear against it. She hears running, distant shouts.</dialogue>
<dialogue>Then a sound behind her makes her jump and turn around.</dialogue>
<dialogue>13-YEAR-OLD NEWT is already in occupation of the cupboard. He has hidden a couple of tanks here, one containing tadpoles, another Streelers.</dialogue>
<dialogue>A lined cardboard box serves as a nest for the raven chick he is cradling in his hand. It wears a splint on its broken leg. NEWT and LETA stare at each other.</dialogue>
<character>13-YEAR-OLD LETA</character>
<dialogue>Scamander... why aren't you packing?</dialogue>
<character>13-YEAR-OLD NEWT</character>
<dialogue>I'm not going home.</dialogue>
<character>13-YEAR-OLD LETA</character>
<dialogue>Why not?</dialogue>
<character>13-YEAR-OLD NEWT</character>
<parenthetical>(re: the raven)</parenthetical>
<dialogue>He needs me. It was hurt.</dialogue>
<scene_description>LETA takes in the tanks, then the ugly little bird, to which NEWT now feeds an earthworm.</scene_description>
<character>13-YEAR-OLD LETA</character>
<dialogue>What is that?</dialogue>
<character>13-YEAR-OLD NEWT</character>
<dialogue>A raven chick.</dialogue>
<scene_description>She is mildly intrigued now.</scene_description>
<character>13-YEAR-OLD LETA</character>
<dialogue>The raven's my family's emblem.</dialogue>
<scene_description>8FLiX.com FYC SCREENPLAY DATABASE 20230910</scene_description>
<character>68</character>
<dialogue>She watches him stroking the bird's head. As he places the</dialogue>
<character>CONTINUED:</character>
<dialogue>chick gently in her hands, she seems to see him plainly for the first time.</dialogue>
<scene_description>DISSOLVE TO:</scene_description>
<character>69</character>
<dialogue>PREVIOUSLY - DAY</dialogue>
<character>INT. DEFENSE AGAINST THE DARK ARTS CLASS - FOURTEEN YEARS 69</character>
<dialogue>It is Boggart time.</dialogue>
<dialogue>DUMBLEDORE supervises the line of teenagers advancing to try their luck.</dialogue>
<dialogue>"Riddikulus" -- "Riddikulus" -- gusts of hilarity as a shark becomes a flotation device, a zombie's head turns into a pumpkin, a vampire turns into a buck-toothed rabbit.</dialogue>
<character>DUMBLEDORE</character>
<dialogue>All right, Newt. Be brave.</dialogue>
<scene_description>16-YEAR-OLD NEWT moves to the front of the queue. The Boggart turns into a Ministry desk.</scene_description>
<character>DUMBLEDORE</character>
<dialogue>Mmm, that's an unusual one. So Mr. Scamander fears what more than anything else in the world?</dialogue>
<character>16-YEAR-OLD NEWT</character>
<dialogue>Having to work in an office, sir.</dialogue>
<scene_description>The class roars with laughter.</scene_description>
<character>DUMBLEDORE</character>
<dialogue>Go ahead, Newt.</dialogue>
<character>16-YEAR-OLD NEWT</character>
<dialogue>Riddikulus!</dialogue>
<scene_description>NEWT turns the desk into a gamboling wooden dragon and moves aside.</scene_description>
<character>DUMBLEDORE</character>
<dialogue>Well done. Good job.</dialogue>
<scene_description>It is 16-YEAR-OLD LETA'S turn, but she doesn't move. She is terrified. 8FLiX.com FYC SCREENPLAY DATABASE 20230910</scene_description>
<character>69</character>
<dialogue>DUMBLEDORE</dialogue>
<character>CONTINUED:</character>
<parenthetical>(kind, to LETA)</parenthetical>
<dialogue>Leta, it's only a Boggart, it can't hurt you. Everyone's scared of something.</dialogue>
<scene_description>A group of girls stands together, enjoying her fear.</scene_description>
<character>GRYFFINDOR GIRL 1</character>
<dialogue>I've been looking forward to this.</dialogue>
<scene_description>LETA steps forward. The Boggart transforms and at once, all laughter is extinguished. Green light is reflected on every horrified face. We see a shadow, with a tiny human hand. LETA lets out a sob and runs from the room.</scene_description>
<character>70</character>
<dialogue>PREVIOUSLY - EVENING</dialogue>
<character>EXT. HOGWARTS LAKE, BOWTRUCKLE ISLAND - FOURTEEN YEARS</character>
<dialogue>NEWT finds LETA sitting by the lake, tearstained, eyes swollen. They look at each other.</dialogue>
<character>16-YEAR-OLD LETA</character>
<dialogue>I don't want to talk about it!</dialogue>
<scene_description>He holds out his hand and she lets him pull her up. He leads her past a few trees until they reach the one where Bowtruckles are climbing and fighting and playing. They freeze at the humans' approach but relax when they recognize NEWT. He holds out a finger. One of them jumps on.</scene_description>
<character>16-YEAR-OLD NEWT</character>
<dialogue>They know me, or they'd hide. They only nest in trees with wand -- quality wood, did you know that?</dialogue>
<parenthetical>(beat)</parenthetical>
<dialogue>And they have very complex social lives. If you watch them for long enough, you realize...</dialogue>
<scene_description>He trails off. She is watching him, not the Bowtruckles. NEWT reaches across to her, the Bowtruckle standing on his wrist. His hand grazes hers. 8FLiX.com FYC SCREENPLAY DATABASE 20230910</scene_description>
<character>70</character>
<dialogue>DUMBLEDORE (V.O.)</dialogue>
<character>CONTINUED:</character>
<dialogue>Hello, Leta.</dialogue>
<character>71</character>
<dialogue>INT. EMPTY HOGWARTS CLASSROOM - AFTERNOON</dialogue>
<scene_description>LETA is still sitting at her old desk in the present-day classroom. DUMBLEDORE enters.</scene_description>
<character>DUMBLEDORE</character>
<dialogue>This is a surprise.</dialogue>
<character>LETA</character>
<parenthetical>(cold)</parenthetical>
<dialogue>Finding me in a classroom? Was I such a bad student?</dialogue>
<character>DUMBLEDORE</character>
<dialogue>On the contrary, you were one of my cleverest.</dialogue>
<character>LETA</character>
<dialogue>I said bad, not stupid. Don't bother answering. I know you never liked me.</dialogue>
<character>DUMBLEDORE</character>
<dialogue>Well, you're wrong. I never thought you bad.</dialogue>
<character>LETA</character>
<dialogue>You were alone, then. Everybody else did.</dialogue>
<parenthetical>(very quietly)</parenthetical>
<dialogue>And they were right. I was wicked.</dialogue>
<scene_description>A beat as he considers her.</scene_description>
<character>DUMBLEDORE</character>
<dialogue>Leta, I know how painful the rumors about your brother Corvus must be for you.</dialogue>
<character>LETA</character>
<dialogue>No, you don't. Not unless you had a brother who died too.</dialogue>
<character>DUMBLEDORE</character>
<dialogue>In my case, it was my sister.</dialogue>
<scene_description>8FLiX.com FYC SCREENPLAY DATABASE 20230910</scene_description>
<character>71</character>
<dialogue>She stares at him, both hostile and curious.</dialogue>
<character>CONTINUED:</character>
<dialogue>LETA</dialogue>
<scene_description>Did you love her?</scene_description>
<character>DUMBLEDORE</character>
<dialogue>Not as well as I should have done.</dialogue>
<scene_description>He steps toward LETA.</scene_description>
<character>DUMBLEDORE</character>
<dialogue>It's never too late to free yourself. Confession is a relief, I'm told. A great weight lifted.</dialogue>
<scene_description>She stares at him: What does he know -- or suspect?</scene_description>
<character>DUMBLEDORE</character>
<parenthetical>(sotto voce)</parenthetical>
<dialogue>Regret is my constant companion. Do not let it become yours.</dialogue>
<character>72</character>
<dialogue>INT. GRINDELWALD'S HIDEOUT, DRAWING ROOM - END OF DAY</dialogue>
<scene_description>QUEENIE is on the sofa, beside a table of tea and cakes. She sets down her empty teacup. We feel her slight awkwardness as it is instantly refilled by ROSIER.</scene_description>
<character>QUEENIE</character>
<dialogue>Oh, no, thank you. You've been real kind, but my sister Tina's probably worried sick about me, you know. Banging on all the doors and things, so I think I'd better be going.</dialogue>
<character>ROSIER</character>
<dialogue>But you haven't met your host.</dialogue>
<character>QUEENIE</character>
<parenthetical>(a little wistfully)</parenthetical>
<dialogue>Oh, are you married?</dialogue>
<character>ROSIER</character>
<parenthetical>(smiling)</parenthetical>
<dialogue>Let's say... deeply committed.</dialogue>
<scene_description>8FLiX.com FYC SCREENPLAY DATABASE 20230910</scene_description>
<character>72</character>
<dialogue>QUEENIE</dialogue>
<character>CONTINUED:</character>
<parenthetical>(innocent)</parenthetical>
<dialogue>You see, I can't tell if you're making a joke or if you're just... French.</dialogue>
<scene_description>ROSIER laughs and leaves. QUEENIE is confused. An enchanted teapot hovering in midair nudges her, intent on refilling her cup.</scene_description>
<character>QUEENIE</character>
<parenthetical>(to the teapot)</parenthetical>
<dialogue>Hey, knock it off.</dialogue>
<scene_description>The door opens. GRINDELWALD enters. QUEENIE stands and the teapot and cups smash to the ground. She draws her wand and aims it at GRINDELWALD.</scene_description>
<character>QUEENIE</character>
<dialogue>You stay right there. I know what you are.</dialogue>
<scene_description>He walks slowly toward her.</scene_description>
<character>GRINDELWALD</character>
<dialogue>Queenie, we are not here to hurt you. We only want to help you. You're so very, very far from home. Far away from everything you love. Everything that was comfortable.</dialogue>
<scene_description>QUEENIE stares, keeping her wand raised.</scene_description>
<character>GRINDELWALD</character>
<dialogue>I would never see you harmed, ever. It is not your fault that your sister is an Auror. I wish you were working with me now towards a world where we wizards are free to live openly, and to love freely.</dialogue>
<scene_description>GRINDELWALD'S hand touches her wand-tip and lowers it.</scene_description>
<character>GRINDELWALD</character>
<dialogue>You are an innocent. So go now. Leave this place.</dialogue>
<scene_description>8FLiX.com FYC SCREENPLAY DATABASE 20230910</scene_description>
<character>73</character>
<dialogue>INT. HOGWARTS, ROOM OF REQUIREMENT - NIGHT</dialogue>
<scene_description>A spartan room. A large object stands against the wall, covered in black velvet. DUMBLEDORE stands thinking for a moment, then approaches the covered object and pulls the curtain down. The Mirror of Erised is revealed. He has not looked into it for many years. Bracing himself, he now does so: WE SEE: TEENAGE DUMBLEDORE and TEENAGE GRINDELWALD facing each other in a barn. Both score their palms with their wands. Now bleeding, they interlace their hands... DUMBLEDORE turns his head away, fighting the impulse to cover the glass again. Bracing himself, he looks up. From their bloody palms rise two glowing drops of blood, which mingle and merge to create one. A metal shape begins to form around the droplet, becoming more defined and intricate. It is GRINDELWALD'S vial.</scene_description>
<character>THE VISION FADES --</character>
<dialogue>-- and the present-day GRINDELWALD stands smiling out of the mirror, surrounded by blackness.</dialogue>
<character>74</character>
<dialogue>EXT. PARIS, RUE DE MONTMORENCY - AFTERNOON</dialogue>
<scene_description>ESTABLISHING SHOT: NICOLAS FLAMEL'S house.</scene_description>
<character>75</character>
<dialogue>INT. FLAMEL HOUSE - AFTERNOON</dialogue>
<scene_description>A creepy medieval drawing room. The tapestries sport moving figures and odd runes. A large crystal ball in a corner shows dark clouds. TINA is trying to wake up KAMA with a bottle of smelling salts. He moves slightly. The Predictions of Tycho Dodonus slips out of his pocket onto the floor. TINA picks it up and opens it to the prediction KAMA has underlined. NEWT'S case is open on a table. The Zouwu roars from inside. TINA turns to look at it, listening. 8FLiX.com FYC SCREENPLAY DATABASE 20230910</scene_description>
<character>76</character>
<dialogue>INT. NEWT'S CASE, ZOUWU ENCLOSURE - AFTERNOON</dialogue>
<scene_description>A wild Chinese habitat. NEWT is curled up in dense undergrowth. The Zouwu picks him up and dangles him from a claw.</scene_description>
<character>77</character>
<dialogue>INT. FLAMEL HOUSE - AFTERNOON</dialogue>
<scene_description>JACOB enters and sees TINA watching the case. She hastily looks back at the book.</scene_description>
<character>JACOB</character>
<parenthetical>(calling into case)</parenthetical>
<dialogue>Hey, Newt, buddy. Tina's up here. She's all by her lonesome and maybe you want to come up and keep her company?</dialogue>
<parenthetical>(beat)</parenthetical>
<dialogue>I've been looking for food, and I ain't found any. I guess I'm gonna go upstairs and try my luck in the - - I dunno -- the attic!</dialogue>
<character>78</character>
<dialogue>INT. NEWT'S CASE, ZOUWU ENCLOSURE - AFTERNOON</dialogue>
<scene_description>Still dangling from the Zouwu's claw, NEWT soothes and coaxes her until he can reach her harness and remove it. The Zouwu is finally freed from her chains.</scene_description>
<character>NEWT</character>
<dialogue>You're all right.</dialogue>
<character>JACOB (O.S.)</character>
<dialogue>Okay!</dialogue>
<character>79</character>
<dialogue>INT. FLAMEL HOUSE - AFTERNOON</dialogue>
<scene_description>JACOB is about to leave when NEWT clambers back out of the case.</scene_description>
<character>NEWT</character>
<dialogue>She's responded well to the Dittany. She was born to run, you see. I think she's just lacking in confidence --</dialogue>
<scene_description>He glances at TINA. She pockets The Predictions of Tycho Dodonus and speaks, not quite looking at NEWT. 8FLiX.com FYC SCREENPLAY DATABASE 20230910</scene_description>
<character>79</character>
<dialogue>TINA</dialogue>
<character>CONTINUED:</character>
<dialogue>Mr. Scamander, have you got anything in your case that might help revive this man? I need to question him. I think he knows who Credence really is. The scars on his hand suggest an unbreakable vow --</dialogue>
<character>NEWT</character>
<parenthetical>(eager, overlapping)</parenthetical>
<dialogue>-- unbreakable vow. Yeah, I noticed that too --</dialogue>
<scene_description>They examine the unconscious KAMA.</scene_description>
<character>NEWT</character>
<dialogue>Lumos.</dialogue>
<scene_description>NEWT'S and TINA'S hands brush as NEWT advances his lit wand- tip to look in KAMA'S eye. Both jump. NEWT stares into KAMA'S eye. The tiny flicker of a tentacle, swiftly withdrawn --</scene_description>
<character>TINA</character>
<parenthetical>(gasps)</parenthetical>
<dialogue>What was that?</dialogue>
<character>NEWT</character>
<parenthetical>(serious)</parenthetical>
<dialogue>There must be a water dragon in that sewer-they carry these parasites, you see. They... Jacob?</dialogue>
<character>JACOB</character>
<dialogue>Yeah?</dialogue>
<character>NEWT</character>
<dialogue>In my case, in the pocket there, you'll find a pair of tweezers.</dialogue>
<character>JACOB</character>
<dialogue>Tweezers?</dialogue>
<character>NEWT</character>
<dialogue>They're thin and pointy --</dialogue>
<character>TINA</character>
<dialogue>Thin, little pointy things.</dialogue>
<character>JACOB</character>
<dialogue>Yes, I know what tweezers are.</dialogue>
<scene_description>8FLiX.com FYC SCREENPLAY DATABASE 20230910</scene_description>
<character>79</character>
<dialogue>NEWT</dialogue>
<character>CONTINUED: (2)</character>
<parenthetical>(to TINA)</parenthetical>
<dialogue>You might not want to watch this...</dialogue>
<character>TINA</character>
<dialogue>I can handle it.</dialogue>
<scene_description>NEWT succeeds in catching and pulling at the tentacle in KAMA'S eye.</scene_description>
<character>NEWT</character>
<dialogue>Come on. You're all right. Jacob, will you take that for me?</dialogue>
<scene_description>He has extracted something like a spindly, waterborne spider, which he hands to JACOB.</scene_description>
<character>JACOB</character>
<dialogue>Ew! Calamari.</dialogue>
<scene_description>KAMA has started muttering, distraught, semiconscious.</scene_description>
<character>KAMA</character>
<dialogue>I must kill him...</dialogue>
<character>TINA</character>
<dialogue>Who? Credence? Who --?</dialogue>
<character>NEWT</character>
<dialogue>It may take him a few hours to recover. The parasite's poison is quite strong.</dialogue>
<character>TINA</character>
<dialogue>I'll have to go to the Ministry with what I've got.</dialogue>
<parenthetical>(a wobble in her voice)</parenthetical>
<dialogue>It was nice to see you again, Mr. Scamander.</dialogue>
<scene_description>She strides from the room, leaving NEWT perplexed and upset.</scene_description>
<character>80</character>
<dialogue>INT. FLAMEL HOUSE, HALLWAY - AFTERNOON</dialogue>
<scene_description>JACOB follows TINA into the hall.</scene_description>
<character>JACOB</character>
<dialogue>Hey, hold on one second, will you? Well, hold on! Wait! Tina!</dialogue>
<scene_description>She leaves. As the front door closes, NEWT appears at the drawing room door. 8FLiX.com FYC SCREENPLAY DATABASE 20230910</scene_description>
<character>80</character>
<dialogue>JACOB</dialogue>
<character>CONTINUED:</character>
<parenthetical>(to NEWT)</parenthetical>
<dialogue>You didn't mention salamanders, did you?</dialogue>
<character>NEWT</character>
<dialogue>No, she just -- ran. I don't know...</dialogue>
<character>JACOB</character>
<parenthetical>(firm)</parenthetical>
<dialogue>So you chase after her!</dialogue>
<scene_description>NEWT grabs his case. He leaves.</scene_description>
<character>81</character>
<dialogue>EXT. RUE DE MONTMORENCY - END OF DAY</dialogue>
<scene_description>TINA is hurrying up the road. NEWT hastens to catch up.</scene_description>
<character>NEWT</character>
<dialogue>Tina. Please, just listen to me --</dialogue>
<character>TINA</character>
<dialogue>Mr. Scamander, I need to go talk to the Ministry -- and I know how you feel about Aurors --</dialogue>
<character>NEWT</character>
<dialogue>I may have been a little strong in the way that I expressed myself in that letter --</dialogue>
<character>TINA</character>
<dialogue>What was the exact phrase? "A bunch of careerist hypocrites"?</dialogue>
<character>NEWT</character>
<dialogue>I'm sorry, but I can't admire people whose answer to everything that they fear or misunderstand is "kill it"!</dialogue>
<character>TINA</character>
<dialogue>I'm an Auror and I don't --</dialogue>
<character>NEWT</character>
<dialogue>Yes, and that's because you've gone middle head!</dialogue>
<character>TINA</character>
<parenthetical>(stopping)</parenthetical>
<dialogue>Excuse me?</dialogue>
<scene_description>8FLiX.com FYC SCREENPLAY DATABASE 20230910</scene_description>
<character>81</character>
<dialogue>NEWT</dialogue>
<character>CONTINUED:</character>
<dialogue>It's an expression derived from the three heads of the Runespoor. The middle one is the visionary. Every Auror in Europe wants Credence dead -- except you. You've gone middle head.</dialogue>
<scene_description>A beat.</scene_description>
<character>TINA</character>
<dialogue>Who else uses that expression, Mr. Scamander?</dialogue>
<scene_description>NEWT considers.</scene_description>
<character>NEWT</character>
<dialogue>I think it might just be me.</dialogue>
<scene_description>All lights are extinguished as every building is wrapped in black banners. MUGGLES pass, totally immune, but a YOUNG RED-HAIRED WITCH nearby is walking along. She, like NEWT and TINA, can see the banners. TINA steps into the middle of the road, watching the black silk fall out of the sky to shroud the surrounding buildings in darkness.</scene_description>
<character>TINA</character>
<dialogue>It's Grindelwald. He's calling his followers.</dialogue>
<scene_description>WE PAN UP ONE LENGTH OF FLOWING BLACK SILK until we achieve an AERIAL VIEW of Paris. The entire city is being covered in GRINDELWALD'S dark banners.</scene_description>
<character>82</character>
<dialogue>EXT. WIZARDING CAFÉ - END OF DAY</dialogue>
<scene_description>Witches and wizards hurrying outside to see what is invisible to Muggle passersby.</scene_description>
<character>83</character>
<dialogue>EXT. PARISIAN STREET - END OF DAY</dialogue>
<scene_description>QUEENIE reaches out to the nearest black banner, and an emblem of a white raven appears beneath her touch. 8FLiX.com FYC SCREENPLAY DATABASE 20230910</scene_description>
<character>84</character>
<dialogue>EXT. PLACE DE FURSTEMBERG - END OF DAY</dialogue>
<scene_description>NEWT still following TINA. They stand surrounded by the impressive scale of GRINDELWALD'S banners.</scene_description>
<character>TINA</character>
<dialogue>It's too late. Grindelwald's come for Credence. He might already have him.</dialogue>
<character>NEWT</character>
<parenthetical>(suddenly forceful)</parenthetical>
<dialogue>It's not too late. We can still get to him first.</dialogue>
<scene_description>He grabs her hand and pulls her on.</scene_description>
<character>TINA</character>
<dialogue>Where are you going?</dialogue>
<character>NEWT</character>
<dialogue>The French Ministry of Magic.</dialogue>
<character>TINA</character>
<dialogue>That's the last place Credence would go!</dialogue>
<character>NEWT</character>
<dialogue>There's a box hidden at the Ministry safe. It's a box that can tell us who Credence really is.</dialogue>
<character>TINA</character>
<dialogue>A box? What are you talking about?</dialogue>
<character>NEWT</character>
<dialogue>Trust me.</dialogue>
<character>85</character>
<dialogue>EXT. DERELICT BUILDING, ROOFTOP - LATE AFTERNOON</dialogue>
<scene_description>CREDENCE is breaking up birdseed and feeding it to a small chick when NAGINI appears behind him.</scene_description>
<character>NAGINI</character>
<parenthetical>(urgently)</parenthetical>
<dialogue>Credence.</dialogue>
<scene_description>She leads him back through the open window, out onto the roof. 8FLiX.com FYC SCREENPLAY DATABASE 20230910</scene_description>
<character>85</character>
<dialogue>The EIFFEL TOWER is visible behind them.</dialogue>
<character>CONTINUED:</character>
<dialogue>WE PAN AROUND: and see GRINDELWALD sitting on the rooftop near them both.</dialogue>
<character>GRINDELWALD</character>
<dialogue>Shh.</dialogue>
<character>CREDENCE</character>
<parenthetical>(whispers)</parenthetical>
<dialogue>What do you want?</dialogue>
<character>GRINDELWALD</character>
<dialogue>From you? Nothing. For you? Everything I never had. But what is it you want, my boy?</dialogue>
<character>CREDENCE</character>
<dialogue>I want to know who I am.</dialogue>
<character>GRINDELWALD</character>
<dialogue>This is where you will find proof of your true identity.</dialogue>
<scene_description>GRINDELWALD takes a piece of parchment from his pocket and throws it into the air. The parchment flutters to CREDENCE and lands gently in his hand.</scene_description>
<character>GRINDELWALD</character>
<dialogue>Come to Père Lachaise tonight and you will discover the truth.</dialogue>
<scene_description>He bows, then Disapparates, leaving CREDENCE holding a map of Père Lachaise cemetery.</scene_description>
<character>86</character>
<dialogue>INT. FLAMEL HOUSE - END OF DAY</dialogue>
<scene_description>An uncomfortable JACOB is asleep in a chair beside the semiconscious KAMA. KAMA is muttering:</scene_description>
<character>KAMA</character>
<dialogue>Father... why did you make me...?</dialogue>
<scene_description>JACOB jolts awake as if from a bad dream.</scene_description>
<character>JACOB</character>
<dialogue>Wait! Wait --</dialogue>
<scene_description>8FLiX.com FYC SCREENPLAY DATABASE 20230910</scene_description>
<character>86</character>
<dialogue>Now fully awake, JACOB'S stomach begins to rumble.</dialogue>
<character>CONTINUED:</character>
<dialogue>A figure appears behind JACOB.</dialogue>
<dialogue>Six-hundred-year-old NICOLAS FLAMEL stands at the entrance to his alchemist's studio.</dialogue>
<character>FLAMEL</character>
<dialogue>I'm afraid we keep no food in the house.</dialogue>
<scene_description>JACOB yelps in fear.</scene_description>
<character>JACOB</character>
<parenthetical>(terrified)</parenthetical>
<dialogue>Are you a ghost?</dialogue>
<character>FLAMEL</character>
<parenthetical>(amused)</parenthetical>
<dialogue>No, no, I am alive, but I am an alchemist, and therefore immortal.</dialogue>
<character>JACOB</character>
<dialogue>You don't look a day over three- seventy-five. Hey, sorry we didn't knock --</dialogue>
<character>FLAMEL</character>
<dialogue>No matter. Albus told me some friends might be dropping in.</dialogue>
<parenthetical>(holding out his hand)</parenthetical>
<dialogue>Nicolas Flamel.</dialogue>
<character>JACOB</character>
<dialogue>Oh. Jacob Kowalski.</dialogue>
<scene_description>They shake hands. JACOB'S grip is firm -- too firm for the alchemist's fragile bones.</scene_description>
<character>FLAMEL</character>
<dialogue>Ooh!</dialogue>
<character>JACOB</character>
<dialogue>I'm sorry.</dialogue>
<character>FLAMEL</character>
<dialogue>It's all right.</dialogue>
<character>JACOB</character>
<dialogue>I didn't --</dialogue>
<scene_description>8FLiX.com FYC SCREENPLAY DATABASE 20230910</scene_description>
<character>86</character>
<dialogue>FLAMEL looks over at the large crystal ball, in which dark</dialogue>
<character>CONTINUED: (2)</character>
<dialogue>billowing clouds and flashes of lightning have appeared.</dialogue>
<character>FLAMEL</character>
<dialogue>Aha! At last, we see developments!</dialogue>
<character>JACOB</character>
<parenthetical>(drawing closer)</parenthetical>
<dialogue>I've seen one of these before. It was at the fair. There was this dame there, and she had a veil. I gave her a nickel and she told me about my future.</dialogue>
<parenthetical>(beat)</parenthetical>
<dialogue>She missed out on quite a bit, actually.</dialogue>
<scene_description>WE CLOSE IN ON: the orb, into dark billowing smoke and flashes of lightning, into the center where we see CREDENCE --</scene_description>
<character>JACOB (O.S.)</character>
<dialogue>Hey -- wait a minute! I know him. That's that kid. That's Credence --</dialogue>
<scene_description>-- and then it becomes the Lestrange tomb, its stone raven prominent. Suddenly, QUEENIE appears inside the tomb, sitting on a stone bench, waiting...</scene_description>
<character>JACOB</character>
<dialogue>Hey! That's Queenie! There she is.</dialogue>
<parenthetical>(as if to QUEENIE)</parenthetical>
<dialogue>Hi, baby!</dialogue>
<parenthetical>(to FLAMEL)</parenthetical>
<dialogue>Where is this? Is this -- is this here?</dialogue>
<character>FLAMEL</character>
<dialogue>This is the Lestrange tomb. It lies in the cemetery of Père Lachaise...</dialogue>
<character>JACOB</character>
<parenthetical>(to QUEENIE in the crystal ball)</parenthetical>
<dialogue>I'm coming, baby. Stay right there - -</dialogue>
<parenthetical>(to FLAMEL)</parenthetical>
<dialogue>Thank you, thank you, Mr. Flamel!</dialogue>
<scene_description>JACOB clutches FLAMEL'S hands in gratitude. 8FLiX.com FYC SCREENPLAY DATABASE 20230910</scene_description>
<character>86</character>
<dialogue>FLAMEL</dialogue>
<character>CONTINUED: (3)</character>
<dialogue>Ahh!</dialogue>
<character>JACOB</character>
<dialogue>Oh no. I'm sorry! I'm sorry, okay?</dialogue>
<character>FLAMEL</character>
<dialogue>Ouch.</dialogue>
<character>JACOB</character>
<dialogue>Oh-look after Mr. Tentacles for me.</dialogue>
<scene_description>He turns. The sofa is empty. JACOB runs out of the room into the hall. The front door stands open. KAMA has escaped.</scene_description>
<character>JACOB</character>
<dialogue>Oh no. I'm sorry, I gotta go.</dialogue>
<character>FLAMEL</character>
<dialogue>Please, you must not go to the cemetery!</dialogue>
<scene_description>But JACOB too runs off into the night. BACK TO FLAMEL: he has shuffled after JACOB, but on realizing he is gone, FLAMEL turns anxiously back to the orb. Black flames are swirling around it. FLAMEL shuffles back into his studio and opens a cupboard. We glimpse glass vials, tubes, and the glowing Philosopher's Stone. He heaves from a shelf a padlocked book embossed with a phoenix. He touches the padlock and it springs open. CLOSE ON THE BOOK: as he flicks through it. Each page holds a photograph captioned with a name. FLAMEL turns the pages, but the subjects of all the pictures are missing.</scene_description>
<character>FLAMEL</character>
<dialogue>Oh dear --</dialogue>
<scene_description>DUMBLEDORE'S portrait is blank. FLAMEL flicks open another page: EULALIE HICKS, a young American professor at Ilvermorny, looks around, worried. 8FLiX.com FYC SCREENPLAY DATABASE 20230910</scene_description>
<character>86</character>
<dialogue>EULALIE</dialogue>
<character>CONTINUED: (4)</character>
<dialogue>What's happening?</dialogue>
<character>FLAMEL</character>
<dialogue>Exactly what he said would happen. Grindelwald rallies tonight at the cemetery, and there will be death!</dialogue>
<character>EULALIE</character>
<dialogue>Then you gotta go!</dialogue>
<character>FLAMEL</character>
<parenthetical>(panicked)</parenthetical>
<dialogue>What? I haven't seen action in two hundred years...</dialogue>
<character>EULALIE</character>
<dialogue>You can do this, Flamel. We believe in you.</dialogue>
<character>87</character>
<dialogue>EXT. PLACE DE FURSTEMBERG - DAY</dialogue>
<scene_description>TINA and NEWT stand in a nearby alleyway, looking out over the square where tree roots previously rose to form the birdcage elevator to the French Ministry.</scene_description>
<character>NEWT</character>
<dialogue>The box is in the ancestral records room, Tina. So, three floors down.</dialogue>
<scene_description>NEWT rummages in his pockets and pulls out a tiny bottle with only a couple of muddy drops left inside it.</scene_description>
<character>TINA</character>
<dialogue>Is that Polyjuice?</dialogue>
<character>NEWT</character>
<parenthetical>(of the bottle)</parenthetical>
<dialogue>Just enough to get me inside.</dialogue>
<scene_description>He looks down at his coat and finds one of THESEUS'S hairs on his shoulder. He adds it to the mixture, drinks, and turns into THESEUS, still wearing NEWT'S clothes.</scene_description>
<character>TINA</character>
<dialogue>Who --?</dialogue>
<character>NEWT</character>
<dialogue>My brother, Theseus. He's an Auror. And a hugger.</dialogue>
<scene_description>8FLiX.com FYC SCREENPLAY DATABASE 20230910</scene_description>
<character>88</character>
<dialogue>INT. MINISTÈRE DES AFFAIRES MAGIQUES, MAIN LEVEL - NIGHT</dialogue>
<scene_description>THESEUS exits a meeting room and strides toward LETA, who is waiting for him.</scene_description>
<character>LETA</character>
<dialogue>What's happening?</dialogue>
<character>THESEUS</character>
<dialogue>Grindelwald's rallying. We don't know where, but we think it's tonight.</dialogue>
<scene_description>LETA and THESEUS kiss.</scene_description>
<character>LETA</character>
<dialogue>Be careful.</dialogue>
<character>THESEUS</character>
<dialogue>Of course.</dialogue>
<character>LETA</character>
<dialogue>Promise me you'll be careful.</dialogue>
<character>THESEUS</character>
<dialogue>Of course, I'm going to be careful. Listen, I want you to hear this from me. They think that Credence boy might be your missing brother.</dialogue>
<character>LETA</character>
<dialogue>My brother is dead. He died. How many times, Theseus?</dialogue>
<character>THESEUS</character>
<dialogue>I know, I know. And the records, the records will prove that, okay? They can't lie.</dialogue>
<character>TRAVERS</character>
<parenthetical>(sharply)</parenthetical>
<dialogue>Theseus.</dialogue>
<scene_description>THESEUS leaves LETA and joins TRAVERS.</scene_description>
<character>TRAVERS</character>
<dialogue>I want every person at that rally arrested. If they resist --</dialogue>
<character>THESEUS</character>
<dialogue>Sir-forgive me... but if we go in too heavy, don't we run the risk of adding to the --</dialogue>
<scene_description>8FLiX.com FYC SCREENPLAY DATABASE 20230910</scene_description>
<character>88</character>
<dialogue>TRAVERS</dialogue>
<character>CONTINUED:</character>
<dialogue>Just do it.</dialogue>
<scene_description>THESEUS catches sight of NEWT-AS-THESEUS and TINA walking, heads down, through the Ministry typing pool. The brothers' eyes meet. ANGLE ON: NEWT-AS-THESEUS and TINA. NEWT-AS-THESEUS grabs TINA'S arm and makes a sharp turn down a corridor. THESEUS sets off in pursuit, leaving LETA and the angry TRAVERS (who hasn't spotted NEWT) behind. LETA backs away from the throng and slips through a side door.</scene_description>
<character>89</character>
<dialogue>INT. MINISTÈRE DES AFFAIRES MAGIQUES, CORRIDOR - NIGHT</dialogue>
<scene_description>NEWT-AS-THESEUS and TINA run along a corridor lined with pictures, the Polyjuice Potion already wearing off NEWT.</scene_description>
<character>NEWT</character>
<dialogue>I don't suppose you can Disapparate on Ministry premises in France, can you?</dialogue>
<character>TINA</character>
<dialogue>No.</dialogue>
<character>NEWT</character>
<dialogue>Pity.</dialogue>
<scene_description>The Potion wears off completely.</scene_description>
<character>TINA</character>
<dialogue>Newt!</dialogue>
<character>NEWT</character>
<dialogue>Yes, I know. I know there's --</dialogue>
<scene_description>At once, every portrait along the corridor turns into NEWT. An alarm sounds.</scene_description>
<character>ALARM (O.S.)</character>
<parenthetical>(in French)</parenthetical>
<dialogue>Urgence! Urgence! Un sorcier suivi, Newt Scamander, est entré dans le Ministère!</dialogue>
<parenthetical>(then, in English)</parenthetical>
<dialogue>Emergency! Emergency! A tracked wizard, Newt Scamander, has entered the Department of Magic!</dialogue>
<scene_description>8FLiX.com FYC SCREENPLAY DATABASE 20230910</scene_description>
<character>89</character>
<dialogue>THESEUS MOVES INTO SHOT.</dialogue>
<character>CONTINUED:</character>
<dialogue>THESEUS</dialogue>
<scene_description>Newt!</scene_description>
<character>TINA</character>
<parenthetical>(running)</parenthetical>
<dialogue>That's your brother?</dialogue>
<character>NEWT</character>
<dialogue>Yes -- I think I may have mentioned in my letters we have quite a complicated relationship --</dialogue>
<character>THESEUS</character>
<dialogue>NEWT, STOP!</dialogue>
<scene_description>NEWT and TINA sprint through a second door, which leads --</scene_description>
<character>90</character>
<dialogue>INT. MINISTÈRE DES AFFAIRES MAGIQUES, MAILROOM - NIGHT</dialogue>
<scene_description>-- into a mailroom. Two elderly PORTERS are pushing mailcarts across the circular room.</scene_description>
<character>TINA</character>
<dialogue>Does he want to kill you?</dialogue>
<character>NEWT</character>
<dialogue>Frequently.</dialogue>
<character>THESEUS</character>
<dialogue>No!</dialogue>
<scene_description>As they sprint past the mailcarts, THESEUS sends a curse after them, sending the mailcart boxes flying. TINA blocks the spell.</scene_description>
<character>TINA</character>
<dialogue>He needs to control his temper!</dialogue>
<scene_description>TINA points her wand. THESEUS is slammed down into a high chair that TINA has conjured out of nowhere. Hands bound, THESEUS flies backward on the chair into a meeting room, where he slams into a wall. 8FLiX.com FYC SCREENPLAY DATABASE 20230910</scene_description>
<character>90</character>
<dialogue>NEWT</dialogue>
<character>CONTINUED:</character>
<parenthetical>(awed)</parenthetical>
<dialogue>I think that might have been the best moment of my life.</dialogue>
<scene_description>TINA laughs. NEWT and TINA sprint on.</scene_description>
<character>91</character>
<dialogue>INT. LESTRANGE MAUSOLEUM - NIGHT</dialogue>
<scene_description>An ancient tomb containing many sarcophagi is dominated by the grand marble tomb of LETA'S father. ABERNATHY and MACDUFF enter carrying the bag retrieved from the French Ministry and remove the elaborate box, which they plant in the mausoleum to be found.</scene_description>
<character>92</character>
<dialogue>EXT. PÈRE LACHAISE CEMETERY - SHORTLY AFTERWARD - NIGHT</dialogue>
<scene_description>JACOB is panting as he runs through the dark, deserted cemetery, looking for the tomb he saw in the orb. A faint light in the distance shows him the Lestrange mausoleum.</scene_description>
<character>93</character>
<dialogue>EXT. LESTRANGE MAUSOLEUM - A MINUTE LATER - NIGHT</dialogue>
<scene_description>JACOB reaches the tomb. A stone raven on the lintel.</scene_description>
<character>JACOB</character>
<parenthetical>(whispers)</parenthetical>
<dialogue>Queenie?</dialogue>
<scene_description>No answer. He enters.</scene_description>
<character>94</character>
<dialogue>INT. LESTRANGE MAUSOLEUM - NIGHT</dialogue>
<scene_description>ANGLE ON: JACOB entering a small space full of shadows and sarcophagi. A single lamp.</scene_description>
<character>JACOB</character>
<dialogue>Queenie, honey?</dialogue>
<scene_description>8FLiX.com FYC SCREENPLAY DATABASE 20230910</scene_description>
<character>94</character>
<dialogue>MALE WIZARD</dialogue>
<character>CONTINUED:</character>
<dialogue>Don't. Don't move.</dialogue>
<scene_description>A movement behind him. He whirls around. A silhouetted figure lunges at him.</scene_description>
<character>95</character>
<dialogue>NIGHT</dialogue>
<character>INT. MINISTÈRE DES AFFAIRES MAGIQUES, RECORDS ROOM ATRIUM -95</character>
<dialogue>NEWT and TINA turn a corner into a beautiful atrium area in front of towering Art Nouveau doors carved to resemble trees.</dialogue>
<dialogue>A very old woman behind a desk bars the way: MELUSINE.</dialogue>
<character>MELUSINE</character>
<parenthetical>(in French)</parenthetical>
<dialogue>Puis-je vous aider?</dialogue>
<character>NEWT</character>
<dialogue>Er -- yes, this is Leta Lestrange. And -- I'm her --</dialogue>
<character>TINA</character>
<dialogue>Fiancé.</dialogue>
<scene_description>An increased awkwardness between them as MELUSINE lifts an ancient book onto the desk and opens it. CLOSE ON: MELUSINE'S WIZENED FINGER as it runs down a list of surnames beginning with "L".</scene_description>
<character>MELUSINE</character>
<parenthetical>(pointing them on, in French)</parenthetical>
<dialogue>Allez-y.</dialogue>
<character>TINA</character>
<parenthetical>(whispering, in French)</parenthetical>
<dialogue>Merci.</dialogue>
<character>NEWT</character>
<parenthetical>(sotto voce, behind TINA)</parenthetical>
<dialogue>Thank you.</dialogue>
<scene_description>NEWT grabs TINA'S hand and pulls her toward the doors into the records room. MELUSINE eyes them suspiciously.</scene_description>
<character>NEWT</character>
<dialogue>Tina, about that fiancée business --</dialogue>
<scene_description>8FLiX.com FYC SCREENPLAY DATABASE 20230910</scene_description>
<character>95</character>
<dialogue>TINA</dialogue>
<character>CONTINUED:</character>
<parenthetical>(brittle)</parenthetical>
<dialogue>Sorry, yeah. I should have congratulated you --</dialogue>
<scene_description>The doors to the records office open. They enter briskly.</scene_description>
<character>96</character>
<dialogue>INT. MINISTÈRE DES AFFAIRES MAGIQUES, RECORDS ROOM - NIGHT 96</dialogue>
<scene_description>The doors close behind them, plunging them into darkness.</scene_description>
<character>NEWT</character>
<dialogue>No, that's --</dialogue>
<character>TINA</character>
<dialogue>Lumos.</dialogue>
<scene_description>An extraordinary acre of shelves stretches away from them, all carved to look like trees, so that they seem to be on the edge of the forest. Pickett pokes his head out of NEWT'S pocket and squeals in excitement.</scene_description>
<character>TINA</character>
<dialogue>Lestrange.</dialogue>
<scene_description>Nothing happens. TINA sets off, NEWT right behind her. They weave in and out of the carved shelves bearing rolls of parchment, the occasional prophecy, other mysterious trunks and boxes.</scene_description>
<character>NEWT</character>
<dialogue>Tina -- about Leta -</dialogue>
<character>TINA</character>
<dialogue>Yes, I've just said, I am happy for you --</dialogue>
<character>NEWT</character>
<dialogue>Yeah, well, don't.</dialogue>
<scene_description>She stops. Looks at him. What?</scene_description>
<character>NEWT</character>
<dialogue>Please don't be happy.</dialogue>
<parenthetical>(in trouble)</parenthetical>
<dialogue>Uh, no, no. I'm sorry. I don't...</dialogue>
<scene_description>8FLiX.com FYC SCREENPLAY DATABASE 20230910</scene_description>
<character>96</character>
<dialogue>NEWT</dialogue>
<character>CONTINUED:</character>
<dialogue>Uh, obviously, I -- Obviously I want you to be. And I hear that you are now. Uh, which is wonderful. Sorry --</dialogue>
<parenthetical>(a gesture of hopelessness)</parenthetical>
<dialogue>What I'm trying to say is, I want you to be happy, but don't be happy that I'm happy, because I'm not.</dialogue>
<parenthetical>(off her confusion)</parenthetical>
<dialogue>Happy.</dialogue>
<parenthetical>(off her continued confusion)</parenthetical>
<dialogue>Or engaged.</dialogue>
<character>TINA</character>
<dialogue>What?</dialogue>
<character>NEWT</character>
<dialogue>It was a mistake in a stupid magazine. My brother's marrying Leta, June the sixth. I'm supposed to be best man. Which is sort of mildly hilarious.</dialogue>
<character>TINA</character>
<dialogue>Does he think you're here to win her back?</dialogue>
<parenthetical>(beat)</parenthetical>
<dialogue>Are you here to win her back?</dialogue>
<character>NEWT</character>
<dialogue>No! I'm here to --</dialogue>
<scene_description>A beat. He stares at her.</scene_description>
<character>NEWT</character>
<dialogue>-- you know, your eyes really are --</dialogue>
<character>TINA</character>
<dialogue>Are what?</dialogue>
<character>NEWT</character>
<dialogue>I'm not supposed to say.</dialogue>
<scene_description>Pickett is climbing out of NEWT'S pocket onto the nearest shelf. NEWT doesn't notice. A beat. Then, in a rush: 8FLiX.com FYC SCREENPLAY DATABASE 20230910</scene_description>
<character>96</character>
<dialogue>TINA</dialogue>
<character>CONTINUED: (2)</character>
<dialogue>Newt, I read your book, and did you --?</dialogue>
<character>NEWT</character>
<dialogue>I still have a picture of you -- wait, did you read --?</dialogue>
<scene_description>NEWT pulls the picture of her from his breast pocket and unfolds it. She is inordinately touched. He looks from the picture to TINA.</scene_description>
<character>NEWT</character>
<dialogue>I got this -- I mean, it's just a picture of you from the paper, but it's interesting because your eyes in newsprint... See, in reality they have this effect in them, Tina... It's like fire in water, in dark water. I've only ever seen that --</dialogue>
<parenthetical>(struggling)</parenthetical>
<dialogue>I've only ever seen that in --</dialogue>
<character>TINA</character>
<parenthetical>(whispers)</parenthetical>
<dialogue>Salamanders?</dialogue>
<scene_description>A loud bang as the doors to the records room fly open. They jump apart. Somebody has entered the room. They draw back among the shelves.</scene_description>
<character>TINA</character>
<dialogue>Come.</dialogue>
<scene_description>ANGLE ON: LETA in the doorway. She walks inside, desperate. This is her last chance to hide evidence about Corvus's death. The doors close behind her. She raises her wand.</scene_description>
<character>LETA</character>
<dialogue>Lestrange.</dialogue>
<scene_description>The shelves begin to move. ANGLE ON: MELUSINE, watching through the records room doors. 8FLiX.com FYC SCREENPLAY DATABASE 20230910</scene_description>
<character>96</character>
<dialogue>ANGLE ON: NEWT and TINA. The giant trees are shifting all</dialogue>
<character>CONTINUED: (3)</character>
<dialogue>around them. They are almost crushed as the Lestrange "tree" flies toward them. They hop onto a shelf.</dialogue>
<dialogue>ANGLE ON: LETA. The towering stack stops, swaying, in front of her. She stares. An empty shelf confronts her. A mark in the dust where a box sat, a slip of parchment in its place.</dialogue>
<dialogue>She picks up the slip and reads it aloud.</dialogue>
<character>LETA</character>
<dialogue>"Records moved to Lestrange family tomb at Père Lachaise."</dialogue>
<scene_description>She spots Pickett hiding among the deed boxes on the shelf.</scene_description>
<character>LETA</character>
<dialogue>Circumrota.</dialogue>
<scene_description>The record tower turns, revealing NEWT and TINA clinging to the shelves.</scene_description>
<character>LETA</character>
<dialogue>Hello, Newt.</dialogue>
<character>NEWT</character>
<dialogue>Hello, Leta.</dialogue>
<character>TINA</character>
<parenthetical>(awkwardly, but kindly)</parenthetical>
<dialogue>Hi.</dialogue>
<scene_description>AT THAT MOMENT: MELUSINE enters the records room surrounded by growling Matagots.</scene_description>
<character>NEWT</character>
<dialogue>Oh no.</dialogue>
<character>LETA</character>
<parenthetical>(scared)</parenthetical>
<dialogue>What kind of cats are those?</dialogue>
<character>NEWT</character>
<dialogue>These aren't cats, they're Matagots. They're spirit familiars. They guard the Ministry -- but they won't hurt you unless you --</dialogue>
<scene_description>Panicking, LETA fires a spell at one of the cats.</scene_description>
<character>LETA</character>
<dialogue>Stupefy!</dialogue>
<scene_description>8FLiX.com FYC SCREENPLAY DATABASE 20230910</scene_description>
<character>96</character>
<dialogue>Her spell not only fails, it causes the Matagots to multiply</dialogue>
<character>CONTINUED: (4)</character>
<dialogue>and become even more aggressive.</dialogue>
<character>NEWT</character>
<parenthetical>(UNLESS YOU ATTACK THEM!)</parenthetical>
<dialogue>As each batch of Matagots is hit, they multiply and mutate. The situation has become dangerous.</dialogue>
<character>LETA</character>
<dialogue>Oops.</dialogue>
<character>NEWT</character>
<dialogue>Leta!</dialogue>
<scene_description>LETA climbs over the balustrade to join NEWT and TINA on the shelf stack.</scene_description>
<character>LETA</character>
<dialogue>Reverte!</dialogue>
<scene_description>The towering stack flies backward as the Matagots pounce in a terrifying ebony surge of teeth and claws. The other "trees" of the records room forest spin and move as NEWT, TINA, and LETA run through the room chased by the attacking Matagots. But just as the Matagots seemingly lose the trail, all of the records room towers retract into the floor, leaving the room empty. The Matagots prowl toward where their prey must surely be standing, only to find -- NEWT'S case. ANGLE ON: THE CASE from above. A beat. An explosion as the Zouwu bursts out of the case, NEWT clinging to its back. Roaring, it rears, slashing at the rising tide of Matagots, its mane flashing.</scene_description>
<character>NEWT</character>
<dialogue>Accio!</dialogue>
<scene_description>NEWT'S case flies into his hand. For a few seconds the Zouwu and NEWT vanish under the seething mass of cats. They fight them off, the Zouwu's immense power unmatched, red tail swishing. 8FLiX.com FYC SCREENPLAY DATABASE 20230910</scene_description>
<character>96</character>
<dialogue>NEWT points his wand at the ceiling.</dialogue>
<character>CONTINUED: (5)</character>
<dialogue>NEWT</dialogue>
<scene_description>Ascendio! The towers rise once again from the floor, lifting NEWT and the Zouwu high up into the air. Still fighting off the Matagots as the stacks tip and fall beneath the sheer weight, the Zouwu clambers across to the balcony.</scene_description>
<character>97</character>
<dialogue>LATER - NIGHT</dialogue>
<character>INT. MINISTÈRE DES AFFAIRES MAGIQUES, MAIN LEVEL - A MINUTE97</character>
<dialogue>The Matagots give chase as the Zouwu gallops out of the room, leaving injured and thwarted Matagots in its wake.</dialogue>
<dialogue>The Zouwu carves a path of destruction through the Ministry. It takes one last leap over the typing pool...</dialogue>
<dialogue>... and its immense magical power propels it up and out through the glass roof.</dialogue>
<character>98</character>
<dialogue>EXT. PÈRE LACHAISE CEMETERY - NIGHT</dialogue>
<scene_description>NEWT and the Zouwu land in the cemetery. With one gigantic leap, the Zouwu has taken them to freedom. The few Matagots that have followed them growl and then shrink. Reduced to the size of domestic cats in the Muggle environment, they "meow" pitifully. NEWT opens his case as the Zouwu nudges him with affection.</scene_description>
<character>NEWT</character>
<dialogue>Whoa, whoa, whoa. Okay, wait. Hold it there, please. Come on. All right, okay, wait. Okay.</dialogue>
<scene_description>LETA and TINA climb out of the case to observe NEWT coaxing the Zouwu. TINA shakes the cat bird toy she has retrieved from the case. The Zouwu's eyes light up. Unnoticed by NEWT and TINA, LETA runs away into the darkness. 8FLiX.com FYC SCREENPLAY DATABASE 20230910</scene_description>
<character>99</character>
<dialogue>INT. LESTRANGE MAUSOLEUM - A MINUTE LATER - NIGHT</dialogue>
<scene_description>LETA enters the ornate space lined with sleeping statues of dead Lestranges. JACOB stands backed against the wall next to NAGINI in snake form, who is repeatedly lashing out at KAMA, who is trying to get a clean shot at CREDENCE.</scene_description>
<character>KAMA</character>
<parenthetical>(to NAGINI)</parenthetical>
<dialogue>Move back! Move! Out of the way! If I must kill you as well as Corvus, I shall!</dialogue>
<scene_description>LETA raises her wand at KAMA, who swings round to see her, wand pointed at him -- a standoff.</scene_description>
<character>LETA</character>
<dialogue>Stop!</dialogue>
<scene_description>She walks forward, stricken but determined, at last, to do the right thing. KAMA is mesmerized. She is his mother reborn. He moves toward LETA, studies her face in the darkness, transfixed and moved by the sight of her.</scene_description>
<character>LETA</character>
<dialogue>Yusuf?</dialogue>
<character>KAMA</character>
<dialogue>Is that really you? My little sister... ?</dialogue>
<scene_description>NEWT and TINA enter and exchange looks: another piece of the puzzle.</scene_description>
<character>CREDENCE</character>
<parenthetical>(to LETA)</parenthetical>
<dialogue>So he's your brother? Who am I?</dialogue>
<character>LETA</character>
<dialogue>I don't know.</dialogue>
<scene_description>He pushes past LETA and faces KAMA, unprotected.</scene_description>
<character>CREDENCE</character>
<dialogue>I'm tired of living with no name and no history. Just tell me my story -- then you can end it.</dialogue>
<scene_description>8FLiX.com FYC SCREENPLAY DATABASE 20230910</scene_description>
<character>99</character>
<dialogue>KAMA</dialogue>
<character>CONTINUED:</character>
<dialogue>Your story is our story...</dialogue>
<parenthetical>(gesturing to LETA)</parenthetical>
<dialogue>Our story.</dialogue>
<character>LETA</character>
<dialogue>No, Yusuf --</dialogue>
<character>KAMA</character>
<parenthetical>(determined)</parenthetical>
<dialogue>My father was Mustafa Kama, a pureblood of Sénégalese descent and most accomplished.</dialogue>
<character>100</character>
<dialogue>EXT. PARK - 1896 - DAY</dialogue>
<scene_description>We see a beautiful woman, LAURENA, dressed in an exquisite gown, walking through a park with her husband, MUSTAFA -- clearly in love. A YOUNG YUSUF by their side.</scene_description>
<character>KAMA (V.O.)</character>
<dialogue>My mother, Laurena, was equally high-bred-a noted beauty. They were deeply in love. They knew a man of great influence, from a famous French pureblood family. He desired her.</dialogue>
<scene_description>Watching from a distance, an intense wizard, CORVUS LESTRANGE SR, studies her beauty.</scene_description>
<character>101</character>
<dialogue>INT. KAMA MANSION - 1896 - NIGHT</dialogue>
<scene_description>LAURENA'S gown changes to a nightdress. She is walking slowly downstairs, a supernatural wind blowing.</scene_description>
<character>KAMA (V.O.)</character>
<dialogue>Lestrange used the Imperius Curse to seduce and abduct her...</dialogue>
<scene_description>The twelve-year-old KAMA runs after his mother, tugs at her hand, and tries to pull her back upstairs. She throws him off. The front door flies open. LESTRANGE SR stands at the foot of the garden path. LAURENA walks toward him. KAMA chases after her. 8FLiX.com FYC SCREENPLAY DATABASE 20230910</scene_description>
<character>101</character>
<dialogue>LESTRANGE SR points his wand at KAMA and sends him sprawling.</dialogue>
<character>CONTINUED:</character>
<dialogue>LAURENA lies on the bed as IRMA carries a newborn swaddled in a blanket to LESTRANGE SR.</dialogue>
<character>102</character>
<dialogue>INT. LESTRANGE MAUSOLEUM - NIGHT</dialogue>
<character>KAMA</character>
<dialogue>... that was the last time I ever saw her. She died, giving birth to a little girl.</dialogue>
<parenthetical>(to LETA)</parenthetical>
<dialogue>You.</dialogue>
<scene_description>Tears start in LETA'S eyes, reliving the guilt she holds.</scene_description>
<character>KAMA</character>
<dialogue>The news of her death drove my father insane. With his dying breath, my father charged me to seek revenge.</dialogue>
<parenthetical>(determined)</parenthetical>
<dialogue>Kill the person Lestrange loves best in the world... I thought at first it would be easy... he had only one close relative... you. But --</dialogue>
<character>LETA</character>
<dialogue>Say it...</dialogue>
<character>KAMA</character>
<dialogue>... he never loved you.</dialogue>
<character>103</character>
<dialogue>INT. LESTRANGE MANOR, BEDROOM - 1901 - DAY</dialogue>
<scene_description>WE RE-ENTER THE STORY: to find LESTRANGE SR with a new, blond wife.</scene_description>
<character>KAMA (V.O.)</character>
<dialogue>He remarried not three months after her death. He loved her no more than he had loved you... But then...</dialogue>
<scene_description>IRMA takes the BABY BOY who has just been born, and passes him to LESTRANGE SR, who is delighted. 8FLiX.com FYC SCREENPLAY DATABASE 20230910</scene_description>
<character>103</character>
<dialogue>KAMA (V.O.)</dialogue>
<character>CONTINUED:</character>
<dialogue>... his son, Corvus, was born at last. And that man who had never known love was filled with it...</dialogue>
<character>104</character>
<dialogue>INT. LESTRANGE MAUSOLEUM - NIGHT</dialogue>
<scene_description>CREDENCE looks on, rapt: is this who he is? He's hungry to know more.</scene_description>
<character>KAMA</character>
<dialogue>All he cared about was little Corvus.</dialogue>
<scene_description>A beat.</scene_description>
<character>CREDENCE</character>
<dialogue>So... this is the truth? I am Corvus Lestrange?</dialogue>
<character>KAMA</character>
<dialogue>Yes.</dialogue>
<character>LETA</character>
<dialogue>No.</dialogue>
<scene_description>CREDENCE stares from one to the other. KAMA turns and looks at LETA. Her eyes are unfocused. These memories have haunted her nightmares for years.</scene_description>
<character>KAMA</character>
<parenthetical>(to LETA)</parenthetical>
<dialogue>Realizing that Mustafa Kama's son had sworn revenge, your father sought to hide you where I couldn't find you. So he confided you to his servant, who boarded a ship for America.</dialogue>
<character>LETA</character>
<dialogue>He did send Corvus to America, but - -</dialogue>
<character>KAMA</character>
<dialogue>His servant, Irma Dugard, was a half-elf. Her magic was weak and therefore left no trace I could follow. I had only just discovered how you had escaped when I received news I never expected...</dialogue>
<scene_description>8FLiX.com FYC SCREENPLAY DATABASE 20230910</scene_description>
<character>104</character>
<dialogue>KAMA</dialogue>
<character>CONTINUED:</character>
<dialogue>The ship had gone down at sea... But you survived, didn't you?</dialogue>
<parenthetical>(to CREDENCE)</parenthetical>
<dialogue>Somehow, someone had pulled you from the water! "A son cruelly banished Despair of the daughter Return, great avenger With wings from the water." There --</dialogue>
<parenthetical>(points at LETA)</parenthetical>
<dialogue>-- stands the despairing daughter. You are the winged raven returned from the sea, but I -- I am the avenger of my family's ruin.</dialogue>
<scene_description>KAMA raises his wand.</scene_description>
<character>KAMA</character>
<dialogue>I pity you, Corvus, but you must die.</dialogue>
<character>LETA</character>
<dialogue>Corvus Lestrange is already dead. I killed him.</dialogue>
<scene_description>LETA raises her wand.</scene_description>
<character>LETA</character>
<dialogue>Accio!</dialogue>
<scene_description>A heavy box, hidden in the corner of the mausoleum, comes crashing to her through the dust. A series of clicks as cogs whirr... Puzzle-like, it falls apart.</scene_description>
<character>LETA</character>
<dialogue>My father owned a very strange family tree. It only recorded the men...</dialogue>
<scene_description>We glimpse a tree with an orchid-like flower twisting around it.</scene_description>
<character>LETA</character>
<dialogue>... the women in my family were recorded as flowers. Beautiful. Separate.</dialogue>
<scene_description>8FLiX.com FYC SCREENPLAY DATABASE 20230910</scene_description>
<character>105</character>
<dialogue>INT. LESTRANGE MANOR, NURSERY - 1901 - NIGHT</dialogue>
<scene_description>IRMA lifts a baby from a crib and departs, watched by a desolate LESTRANGE SR.</scene_description>
<character>LETA (V.O.)</character>
<dialogue>My father sent me to America, along with Corvus.</dialogue>
<character>106</character>
<dialogue>INT. SHIP'S CABIN - 1901 - NIGHT</dialogue>
<scene_description>IRMA is asleep, CHILD LETA awake on a lower bunk, and BABY CORVUS screaming in his crib.</scene_description>
<character>LETA (V.O.)</character>
<dialogue>Irma was to pose as a grandmother with two grandchildren...</dialogue>
<scene_description>The lights suddenly flicker on and off -- CHILD LETA hasn't moved, she is still looking at the screaming BABY CORVUS.</scene_description>
<character>LETA (V.O.)</character>
<dialogue>Corvus never stopped crying.</dialogue>
<scene_description>In the background there is a commotion as figures run along the corridor outside the door. As CHILD LETA approaches BABY CORVUS, who continues to cry, IRMA wakes. She goes to investigate the fuss and noise in the corridor.</scene_description>
<character>LETA (V.O.)</character>
<dialogue>I never wanted to hurt him.</dialogue>
<scene_description>CHILD LETA is transfixed by the baby.</scene_description>
<character>LETA (V.O.)</character>
<dialogue>I only wanted to be free of him. Just for a moment...</dialogue>
<character>107</character>
<dialogue>INT. SHIP'S CORRIDOR - 1901 - NIGHT</dialogue>
<scene_description>The door of the opposite cabin is ajar. BABY CREDENCE is inside, fast asleep. CHILD LETA slips inside. She swaps the babies.</scene_description>
<character>LETA (V.O.)</character>
<dialogue>Just a single moment.</dialogue>
<scene_description>8FLiX.com FYC SCREENPLAY DATABASE 20230910</scene_description>
<character>108</character>
<dialogue>INT. SHIP'S CABIN - 1901 - NIGHT</dialogue>
<scene_description>CHILD LETA enters with BABY CREDENCE.</scene_description>
<character>IRMA</character>
<dialogue>Give him to me!</dialogue>
<scene_description>The ship lurches again. IRMA snatches BABY CREDENCE, not noticing the switch amid the confusion. The cabin door bangs open to reveal a dark-haired young woman wearing a nightdress and life jacket.</scene_description>
<character>CREDENCE'S AUNT</character>
<dialogue>Irma? They want us to put on life jackets!</dialogue>
<scene_description>She slips and slides into her own cabin and picks up BABY CORVUS, also not realizing the babies have been switched.</scene_description>
<character>109</character>
<dialogue>EXT. LIFEBOAT - 1901 - NIGHT</dialogue>
<scene_description>CHILD LETA, IRMA, and BABY CREDENCE are in one boat, CREDENCE'S AUNT and BABY CORVUS in another. A huge wave is approaching. CHILD LETA watches as the lifeboat bearing CREDENCE'S AUNT and BABY CORVUS is overturned. CLOSE ON: THE SURFACE OF THE WATER. A few survivors reappear, including CREDENCE'S AUNT, but not BABY CORVUS... CREDENCE'S AUNT pulls off her life jacket so she can dive too... She does not reemerge. We close in through the surface of the water, past the drowning woman, and see the dark shape of a drowning baby trailing bubbles of magical light as he sinks... and his figure becomes...</scene_description>
<character>110</character>
<dialogue>INT. LESTRANGE MAUSOLEUM - NIGHT</dialogue>
<scene_description>... the drowning baby falling through sea-green light, hanging in the air in the mausoleum. LETA has conjured it. It has haunted her all her life and now she shows it to them. The orchid representing LETA on the Lestrange family tree twists around the branch labeled CORVUS LESTRANGE until the leaves wither and die.</scene_description>
<character>NEWT</character>
<dialogue>You didn't mean to do it, Leta. So it wasn't your fault.</dialogue>
<scene_description>8FLiX.com FYC SCREENPLAY DATABASE 20230910</scene_description>
<character>110</character>
<dialogue>LETA</dialogue>
<character>CONTINUED:</character>
<dialogue>Oh, Newt. You never met a monster you couldn't love.</dialogue>
<scene_description>A long look between them, a look full of memories.</scene_description>
<character>TINA</character>
<dialogue>Leta, do you know who Credence really is? Did you know, when you swapped them?</dialogue>
<character>LETA</character>
<dialogue>No.</dialogue>
<scene_description>CREDENCE reacts. An opening suddenly appears in the wall of the mausoleum. All stare at the steps leading down into the earth. The sound of a gigantic CROWD rumbles beneath them.</scene_description>
<character>JACOB</character>
<dialogue>Queenie?</dialogue>
<scene_description>Before anyone can stop him, he runs down the steps. NEWT and TINA dash after him. LETA looks at KAMA, then follows NEWT. KAMA hurries after her.</scene_description>
<character>111</character>
<dialogue>INT. UNDERGROUND AMPHITHEATER - NIGHT</dialogue>
<scene_description>JACOB steps out of the narrow staircase into an underground amphitheater and is confronted by a terrifying sight. Thousands of witches and wizards mill around, some already seated on stone benches. The atmosphere is edgy. Some are nervous but curious. Others excited, still others ready for a fight. Masked ACOLYTES steward the crowd. ANGLE ON: CREDENCE AND NAGINI entering the amphitheater. Awed and intimidated by the sight, they are swept along in the swell of people moving deeper into the auditorium. NAGINI tries to hold CREDENCE back.</scene_description>
<character>NAGINI</character>
<dialogue>They're purebloods. They kill the likes of us for sport!</dialogue>
<scene_description>8FLiX.com FYC SCREENPLAY DATABASE 20230910</scene_description>
<character>111</character>
<dialogue>He carries on walking.</dialogue>
<character>CONTINUED:</character>
<dialogue>NAGINI hesitates, then follows too.</dialogue>
<dialogue>Looking around, JACOB spots a familiar blond head -- QUEENIE, being accompanied to a front row seat by an ACOLYTE.</dialogue>
<character>JACOB</character>
<parenthetical>(whispers)</parenthetical>
<dialogue>Queenie.</dialogue>
<scene_description>He pushes his way into the crowd. ANGLE ON: JACOB running toward QUEENIE. She turns. Utter delight --</scene_description>
<character>QUEENIE</character>
<dialogue>Jacob! Honey, you're here! Hi!</dialogue>
<scene_description>She flings her arms around his neck.</scene_description>
<character>QUEENIE</character>
<parenthetical>(reading his mind)</parenthetical>
<dialogue>Oh, honey, I'm so sorry, I never should have done it, I love you so much --</dialogue>
<character>JACOB</character>
<dialogue>And you know that I love you, right?</dialogue>
<character>QUEENIE</character>
<dialogue>Yeah.</dialogue>
<character>JACOB</character>
<dialogue>Good, now let's get the hell out of here.</dialogue>
<scene_description>He tries to pull her back the way he came, but she tugs him back.</scene_description>
<character>QUEENIE</character>
<parenthetical>(serious)</parenthetical>
<dialogue>Oh, wait. Wait a second. I just thought maybe we could hear him first. You know, just listen, that's all.</dialogue>
<character>JACOB</character>
<dialogue>What are you talking about?</dialogue>
<scene_description>8FLiX.com FYC SCREENPLAY DATABASE 20230910</scene_description>
<character>111</character>
<dialogue>She pulls a confused JACOB into a seat beside her in the</dialogue>
<character>CONTINUED: (2)</character>
<dialogue>front row, clutching his hand.</dialogue>
<dialogue>JACOB looks around nervously at all the purebloods.</dialogue>
<dialogue>ANGLE ON: NEWT and TINA.</dialogue>
<dialogue>They are already in the crowd, TINA looking around for those they have followed, but NEWT, perturbed, is starting to see the bigger picture.</dialogue>
<character>TINA</character>
<dialogue>It's a trap.</dialogue>
<character>NEWT</character>
<dialogue>Yeah. Queenie -- the family tree -- it's all been bait.</dialogue>
<scene_description>He looks around. ACOLYTES are moving to cover all the entrances.</scene_description>
<character>TINA</character>
<dialogue>We have to find a way out of here, right now.</dialogue>
<character>NEWT</character>
<dialogue>You go find the others.</dialogue>
<character>TINA</character>
<dialogue>What are you gonna do?</dialogue>
<character>NEWT</character>
<dialogue>I'll think of something.</dialogue>
<scene_description>He sets off. She moves more slowly into the crowd, looking for JACOB and CREDENCE. ANGLE ON: AN ACOLYTE watching NEWT'S progress. The lights dim. The crowd begins to cheer.</scene_description>
<character>112</character>
<dialogue>INT. UNDERGROUND AMPHITHEATER - NIGHT</dialogue>
<scene_description>WE FOLLOW: GRINDELWALD onstage as the audience explodes with delight. Their hysteria builds as he stands there, part demagogue, part rock star. ANGLE ON: TINA edging through the crowd, searching. She spots QUEENIE and, at a short distance, CREDENCE. 8FLiX.com FYC SCREENPLAY DATABASE 20230910</scene_description>
<character>112</character>
<dialogue>Whom should she approach first?</dialogue>
<character>CONTINUED:</character>
<dialogue>She chooses CREDENCE, but as she moves, is blocked by an ACOLYTE. They make eye contact.</dialogue>
<dialogue>TINA knows she is wildly outnumbered. Under the ACOLYTE'S gaze, she sinks onto a bench.</dialogue>
<dialogue>WE PAN OVER: the crowd.</dialogue>
<dialogue>WE SEE: QUEENIE, rapt --</dialogue>
<dialogue>-- and JACOB, low in his seat and scared...</dialogue>
<dialogue>KAMA, who is skeptical...</dialogue>
<dialogue>CREDENCE, transfixed --</dialogue>
<dialogue>-- and NAGINI, who trusts nobody...</dialogue>
<dialogue>LETA, studying GRINDELWALD, wondering...</dialogue>
<dialogue>ANGLE ON: GRINDELWALD, gesturing at the crowd to settle.</dialogue>
<character>GRINDELWALD</character>
<dialogue>My brothers, my sisters, my friends: the great gift of your applause is not for me.</dialogue>
<parenthetical>(off noises of denial)</parenthetical>
<dialogue>No. It is for yourselves.</dialogue>
<scene_description>ANGLE ON: LETA, amid the crowd. She is not clapping, but she feels the pull of GRINDELWALD'S charisma.</scene_description>
<character>GRINDELWALD</character>
<dialogue>You came today because of a craving and a knowledge that the old ways serve us no longer... You come today because you crave something new, something different.</dialogue>
<scene_description>ANGLE ON: CREDENCE, listening.</scene_description>
<character>GRINDELWALD</character>
<dialogue>It is said that I hate Les Non- Magiques. The Muggles. The No-Maj. The Can't-Spells.</dialogue>
<scene_description>Jeers and hisses from much of the crowd. JACOB sinks deeper into his seat. 8FLiX.com FYC SCREENPLAY DATABASE 20230910</scene_description>
<character>112</character>
<dialogue>QUEENIE is momentarily anxious; she seizes his hand: No,</dialogue>
<character>CONTINUED: (2)</character>
<dialogue>wait, listen --</dialogue>
<character>GRINDELWALD</character>
<dialogue>I do not hate them. I do not.</dialogue>
<scene_description>Silence from the crowd.</scene_description>
<character>GRINDELWALD</character>
<dialogue>For I do not fight out of hatred. I say the Muggles are not lesser, but other. Not worthless, but of other value. Not disposable, but of a different disposition.</dialogue>
<parenthetical>(beat)</parenthetical>
<dialogue>Magic blooms only in rare souls. It is granted to those who live for higher things. Oh, and what a world we could make, for all of humanity. We who live for freedom, for truth - -</dialogue>
<scene_description>His eyes meet QUEENIE'S in the front row.</scene_description>
<character>GRINDELWALD</character>
<dialogue>-- and for love.</dialogue>
<scene_description>WE PAN ACROSS: QUEENIE, now heart and soul his...</scene_description>
<character>113</character>
<dialogue>EXT. PÈRE LACHAISE CEMETERY - NIGHT</dialogue>
<scene_description>The figures of fifty AURORS appear in silhouette among the mausoleums. WE MOVE IN: and see that THESEUS is one of them.</scene_description>
<character>THESEUS</character>
<dialogue>It isn't illegal to listen to him! Use minimum of force on the crowd. We mustn't be what he says we are!</dialogue>
<scene_description>But on other faces -- WE SEE: nervousness, even fear, and on a few, a clear will to fight, to avenge.</scene_description>
<character>114</character>
<dialogue>INT. UNDERGROUND AMPHITHEATER - NIGHT</dialogue>
<scene_description>BACK TO: GRINDELWALD onstage. 8FLiX.com FYC SCREENPLAY DATABASE 20230910</scene_description>
<character>114</character>
<dialogue>GRINDELWALD</dialogue>
<character>CONTINUED:</character>
<dialogue>The moment has come to share my vision of the future that awaits if we do not rise up and take our rightful place in the world.</dialogue>
<scene_description>ROSIER appears onstage. Bowing, she presents the skull-hookah to GRINDELWALD. Total silence falls in the auditorium. GRINDELWALD is illuminated by the skull's golden light. He inhales deeply through the tube. His eyes roll up into his head. He exhales... ... and it is extraordinary. A gigantic Technicolor cloak seems to unfurl from his lips across the high stone ceiling, bearing moving images-the crowd gasps -- Thousands of marching, booted feet... explosions, men running with guns... CLOSE ON: THE FACES OF THE CROWD, mesmerized and afraid, the light of the vision playing across their faces. CLOSE ON: NEWT, stunned. The vision of a nuclear blast rocks the amphitheater. It is horrifying. The crowd feels it, is terrified. Screams, until the vision subsides, leaving murmurs of panic... CLOSE ON: JACOB, horrified.</scene_description>
<character>JACOB</character>
<dialogue>Not another war...</dialogue>
<scene_description>The vision fades. All eyes return to GRINDELWALD.</scene_description>
<character>GRINDELWALD</character>
<dialogue>That is what we are fighting! That is the enemy-their arrogance, their power lust, their barbarity. How long will it take before they turn their weapons on us?</dialogue>
<scene_description>WE PAN: around the exits and see AURORS, unnoticed, entering the auditorium, fanning out among the crowd. CLOSE ON: THESEUS, who is worried -- the situation is volatile and could go badly wrong. The crowd settles, agitated, expectant. They are waiting for some new, extraordinary revelation. 8FLiX.com FYC SCREENPLAY DATABASE 20230910</scene_description>
<character>114</character>
<dialogue>GRINDELWALD</dialogue>
<character>CONTINUED: (2)</character>
<dialogue>Do nothing when I speak of this. You must remain calm and contain your emotions.</dialogue>
<parenthetical>(beat)</parenthetical>
<dialogue>There are Aurors here among us.</dialogue>
<scene_description>Gasps. Heads turn. We see the AURORS looking around in panic. They are wildly outnumbered. The crowd is hostile.</scene_description>
<character>GRINDELWALD</character>
<parenthetical>(to the AURORS who have just entered)</parenthetical>
<dialogue>Come closer, brother wizards! Join us.</dialogue>
<scene_description>To mounting hisses and angry jeers, the AURORS know they have no choice but to walk forward and show themselves. ANGLE ON: LETA, turning to look. She spots THESEUS. A long, charged look between them.</scene_description>
<character>THESEUS</character>
<parenthetical>(to the other AURORS)</parenthetical>
<dialogue>Do nothing. No force.</dialogue>
<scene_description>But one of the jumpiest young AURORS has made eye contact with the YOUNG RED-HAIRED WITCH. She is angry, as twitchy as he is, fingering her wand.</scene_description>
<character>GRINDELWALD</character>
<dialogue>They have killed many of my followers, it is true. They caught and tortured me in New York. They had struck down their fellow witches and wizards for the simple crime of seeking truth, for wanting freedom...</dialogue>
<scene_description>He is deliberately playing on the unstable YOUNG RED-HAIRED WITCH'S feelings. The YOUNG AUROR raises his wand a few inches. He can sense her desire for violence -- 8FLiX.com FYC SCREENPLAY DATABASE 20230910</scene_description>
<character>114</character>
<dialogue>GRINDELWALD</dialogue>
<character>CONTINUED: (3)</character>
<dialogue>Your anger -- your desire for revenge -- is natural.</dialogue>
<scene_description>And it happens: She raises her wand, but the YOUNG AUROR curses first. To the horror of her companions, she falls, dead.</scene_description>
<character>GRINDELWALD</character>
<dialogue>No!</dialogue>
<scene_description>Screams fill the auditorium. GRINDELWALD ascends into the crowd, which parts for him. He kneels and pulls the YOUNG RED-HAIRED WITCH'S limp body into his arms.</scene_description>
<character>GRINDELWALD</character>
<parenthetical>(to her friends)</parenthetical>
<dialogue>Take this young warrior back to her family.</dialogue>
<scene_description>The Niffler, unnoticed, wriggles out from beneath GRINDELWALD'S boot and disappears into the crowd.</scene_description>
<character>GRINDELWALD</character>
<dialogue>Disapparate. Leave. Go forth from this place and spread the word: It is not we who are violent.</dialogue>
<scene_description>They take the body and Disapparate, as does most of the crowd. THESEUS and the AURORS watch the purebloods leave. THESEUS ushers his AURORS forward.</scene_description>
<character>THESEUS</character>
<parenthetical>(looking at GRINDELWALD)</parenthetical>
<dialogue>Let's take him.</dialogue>
<scene_description>They start to descend the amphitheater steps. GRINDELWALD turns his back on the advancing AURORS, relishing the fight to come.</scene_description>
<character>GRINDELWALD</character>
<dialogue>Protego diabolica.</dialogue>
<scene_description>He spins and draws a protective circle of black fire around himself. The exits close. 8FLiX.com FYC SCREENPLAY DATABASE 20230910</scene_description>
<character>114</character>
<dialogue>ABERNATHY, CARROW, KRAFFT, MACDUFF, NAGEL, and ROSIER walk</dialogue>
<character>CONTINUED: (4)</character>
<dialogue>through the flames into the circle.</dialogue>
<dialogue>ANGLE ON: KRALL, hesitating. Then he decides the circle is the better option, braces himself, runs into the fire --</dialogue>
<dialogue>-- and is consumed.</dialogue>
<character>GRINDELWALD</character>
<dialogue>Aurors, join me in this circle, pledge to me your eternal allegiance, or die. Only here shall you know freedom, only here shall you know yourself.</dialogue>
<scene_description>GRINDELWALD sends a wall of flames into the air, pursuing fleeing AURORS.</scene_description>
<character>GRINDELWALD</character>
<dialogue>Play by the rules! No cheating, children.</dialogue>
<scene_description>NAGINI grabs CREDENCE and tries to drag him away with her, but he is staring at GRINDELWALD.</scene_description>
<character>CREDENCE</character>
<dialogue>He knows who I am.</dialogue>
<character>NAGINI</character>
<dialogue>He knows what you were born, not who you are...</dialogue>
<scene_description>GRINDELWALD smiles at CREDENCE through the fire.</scene_description>
<character>NEWT</character>
<dialogue>Credence!</dialogue>
<scene_description>NEWT tries to fight the fire but it becomes more monstrous, lashing out with eel-like spurs. CREDENCE decides: Pulling free of NAGINI, he walks toward the flames. Devastated, NAGINI is forced back by the ever-expanding fire. ANGLE ON: QUEENIE AND JACOB, who are pressed up against a different stretch of wall.</scene_description>
<character>JACOB</character>
<dialogue>Queenie. You gotta wake up.</dialogue>
<scene_description>8FLiX.com FYC SCREENPLAY DATABASE 20230910</scene_description>
<character>114</character>
<dialogue>QUEENIE</dialogue>
<character>CONTINUED: (5)</character>
<parenthetical>(a decision)</parenthetical>
<dialogue>Jacob, he's the answer. He wants what we want.</dialogue>
<character>JACOB</character>
<dialogue>No, no, no, no, no, no.</dialogue>
<character>QUEENIE</character>
<dialogue>Yeah.</dialogue>
<character>JACOB</character>
<dialogue>No.</dialogue>
<scene_description>The black flames are coming toward them, fast. ANGLE ON: CREDENCE, walking through the flames. GRINDELWALD embraces him like a prodigal son.</scene_description>
<character>GRINDELWALD</character>
<dialogue>This has all been for you, Credence.</dialogue>
<scene_description>ANGLE ON: QUEENIE and JACOB.</scene_description>
<character>QUEENIE</character>
<dialogue>Walk with me.</dialogue>
<character>JACOB</character>
<dialogue>Honey, no!</dialogue>
<character>QUEENIE</character>
<parenthetical>(screams)</parenthetical>
<dialogue>Walk with me!</dialogue>
<character>JACOB</character>
<dialogue>You're crazy.</dialogue>
<scene_description>She reads his mind, turns, hesitates, then walks into the black fire.</scene_description>
<character>JACOB</character>
<parenthetical>(desperate, disbelieving)</parenthetical>
<dialogue>No! Queenie, don't do it!</dialogue>
<scene_description>She screams, and JACOB covers his face, terrified, as she passes through the ring of fire and joins GRINDELWALD'S side.</scene_description>
<character>JACOB</character>
<dialogue>Queenie...</dialogue>
<scene_description>8FLiX.com FYC SCREENPLAY DATABASE 20230910</scene_description>
<character>114</character>
<dialogue>TINA</dialogue>
<character>CONTINUED: (6)</character>
<dialogue>QUEENIE!</dialogue>
<scene_description>QUEENIE Disapparates. TINA retaliates, throwing a curse at GRINDELWALD, but the circle of fire lashes out in ever more violent spears. GRINDELWALD conducts the flames as though leading an orchestra, the Elder Wand his baton, as the forks of fire strike at AURORS attempting to Disapparate or flee. Half-a-dozen AURORS lose their heads and run through the flames to GRINDELWALD. ANGLE ON: NEWT AND THESEUS standing together on the amphitheater steps.</scene_description>
<character>GRINDELWALD</character>
<dialogue>Mr. Scamander. Do you think Dumbledore will mourn for you?</dialogue>
<scene_description>GRINDELWALD throws a large burst of black fire at them both, and THESEUS and NEWT defend themselves.</scene_description>
<character>LETA (O.S.)</character>
<dialogue>Grindelwald! Stop!</dialogue>
<scene_description>GRINDELWALD catches sight of LETA.</scene_description>
<character>THESEUS</character>
<dialogue>Leta...</dialogue>
<character>GRINDELWALD</character>
<dialogue>This one I believe I know.</dialogue>
<scene_description>THESEUS makes a gigantic effort of will, carving a passage toward LETA, determined to reach her. They are using all their skill to keep the flames at bay. GRINDELWALD moves toward her through the flames as THESEUS fights closer, desperate to reach her.</scene_description>
<character>GRINDELWALD</character>
<dialogue>Leta Lestrange... despised entirely amongst wizards... unloved, mistreated... yet brave. So very brave.</dialogue>
<parenthetical>(to LETA)</parenthetical>
<dialogue>Time to come home.</dialogue>
<scene_description>He stretches out his hand. She contemplates it. 8FLiX.com FYC SCREENPLAY DATABASE 20230910</scene_description>
<character>114</character>
<dialogue>He looks at her, eyes narrowed.</dialogue>
<character>CONTINUED: (7)</character>
<dialogue>She looks toward both THESEUS and NEWT, who are watching her, stunned.</dialogue>
<character>LETA</character>
<dialogue>I love you.</dialogue>
<scene_description>She points her wand at the skull in ROSIER'S hands, which explodes. ROSIER is knocked backward and GRINDELWALD is momentarily obscured in a whirl of chaos.</scene_description>
<character>LETA</character>
<parenthetical>(to the others)</parenthetical>
<character>GO! GO!</character>
<dialogue>The fire engulfs LETA.</dialogue>
<dialogue>THESEUS goes wild. He tries to dive after her --</dialogue>
<dialogue>-- But NEWT grabs him and they Disapparate.</dialogue>
<dialogue>The fire, mirroring GRINDELWALD'S rage, explodes, chasing them.</dialogue>
<character>GRINDELWALD</character>
<parenthetical>(whispers)</parenthetical>
<dialogue>I hate Paris.</dialogue>
<character>115</character>
<dialogue>EXT. PÈRE LACHAISE CEMETERY - A MINUTE LATER - NIGHT</dialogue>
<scene_description>NEWT and THESEUS, TINA with JACOB, and KAMA with NAGINI all Apparate out from the amphitheater. The black fire pursues them like a many- headed hydra, erupting out of every mausoleum. FLAMEL arrives at last. The cemetery is on the verge of destruction. The fire GRINDELWALD has unleashed is out of control. It forms dragon- like creatures intent on annihilation.</scene_description>
<character>FLAMEL</character>
<dialogue>TOGETHER! In a circle, your wand into the earth, or all Paris will be lost!</dialogue>
<character>NEWT & THESEUS</character>
<dialogue>Finite!</dialogue>
<character>TINA</character>
<dialogue>Finite!</dialogue>
<scene_description>8FLiX.com FYC SCREENPLAY DATABASE 20230910</scene_description>
<character>115</character>
<dialogue>CONTINUED:</dialogue>
<character>KAMA</character>
<dialogue>Finite!</dialogue>
<character>FLAMEL</character>
<dialogue>Finite!</dialogue>
<scene_description>Our heroes, minus JACOB, make a circle, plunge their wands into the earth. It takes almost superhuman power to contain GRINDELWALD'S demonic fire, which they are forced to combat with flames still more deadly. United, our heroes fight... And at last, their purifying fire drives GRINDELWALD'S back. The entrances to the underground lair are sealed. They have saved the city. FLAMEL comforts JACOB. NAGINI sits in the darkness, tearful. NEWT shuffles over awkwardly to the bereft THESEUS. NEWT hesitates, struggling to find words of comfort. Then, for the first time in his life, he puts his arms around his brother. They hug.</scene_description>
<character>NEWT</character>
<dialogue>I've chosen my side.</dialogue>
<scene_description>The Niffler hobbles over to NEWT, who picks him up...</scene_description>
<character>NEWT</character>
<parenthetical>(to the Niffler)</parenthetical>
<dialogue>Come on. Yeah. No, you're okay.</dialogue>
<scene_description>...then notices GRINDELWALD'S vial in its paws. He takes the pendant, amazed. NEWT tucks both the vial and Niffler inside his coat.</scene_description>
<character>116</character>
<dialogue>DUMBLEDORE is walking across the viaduct from Hogwarts,</dialogue>
<character>EXT. THE VIADUCT AT HOGWARTS - DAWN</character>
<dialogue>toward NEWT, JACOB, TINA, THESEUS, NAGINI, KAMA, TRAVERS, and assorted AURORS, who stand at the other end.</dialogue>
<dialogue>NEWT walks ahead alone to meet DUMBLEDORE.</dialogue>
<dialogue>TRAVERS moves to stop him.</dialogue>
<scene_description>8FLiX.com FYC SCREENPLAY DATABASE 20230910</scene_description>
<character>116</character>
<dialogue>THESEUS</dialogue>
<character>CONTINUED:</character>
<parenthetical>(to TRAVERS)</parenthetical>
<dialogue>I think it's best if he speaks to him alone.</dialogue>
<scene_description>TRAVERS opens his mouth to protest. Meets THESEUS'S gaze. Nods curtly. NEWT walks along toward DUMBLEDORE. They meet in the middle of the viaduct.</scene_description>
<character>117</character>
<dialogue>EXT. AUSTRIA, NURMENGARD CASTLE WINDOW - DAWN</dialogue>
<scene_description>CREDENCE is staring out at the sky, scared of what he has done but awed by the magnificent vista. WE PAN OUT TO SEE: Nurmengard, high on its mountain.</scene_description>
<character>118</character>
<dialogue>INT. NURMENGARD CASTLE, SIDE ROOM - DAWN</dialogue>
<scene_description>GRINDELWALD and QUEENIE are watching CREDENCE through the half-open door into a grand drawing room.</scene_description>
<character>GRINDELWALD</character>
<parenthetical>(whispers)</parenthetical>
<dialogue>Is he frightened of me still?</dialogue>
<character>QUEENIE</character>
<parenthetical>(whispers)</parenthetical>
<dialogue>You need to be careful... He's not sure he made the right choice. Be very gentle with him.</dialogue>
<scene_description>She smiles as he bows her out through a separate door. Once he is sure she has gone, he walks into the drawing room to join CREDENCE.</scene_description>
<character>GRINDELWALD</character>
<dialogue>I have a gift for you, my boy.</dialogue>
<scene_description>From behind his back he takes a handsome wand. With a bow, he presents it to CREDENCE, who cannot believe his eyes.</scene_description>
<character>119</character>
<dialogue>EXT. THE VIADUCT AT HOGWARTS - DAY</dialogue>
<scene_description>We see that DUMBLEDORE is hollow-eyed. His usual calm has gone. He's a man at the end of his tether. 8FLiX.com FYC SCREENPLAY DATABASE 20230910</scene_description>
<character>119</character>
<dialogue>DUMBLEDORE</dialogue>
<character>CONTINUED:</character>
<dialogue>Is it true about Leta?</dialogue>
<scene_description>NEWT nods.</scene_description>
<character>NEWT</character>
<dialogue>Yes.</dialogue>
<character>DUMBLEDORE</character>
<dialogue>I'm so sorry.</dialogue>
<scene_description>NEWT pulls out the vial. DUMBLEDORE stares at it, simultaneously tormented and amazed.</scene_description>
<character>NEWT</character>
<dialogue>It's a blood pact, isn't it? You swore not to fight each other.</dialogue>
<scene_description>Bitterly ashamed, DUMBLEDORE nods.</scene_description>
<character>DUMBLEDORE</character>
<parenthetical>(overcome)</parenthetical>
<dialogue>How in the name of Merlin did you manage to get... ?</dialogue>
<scene_description>The Niffler pokes its head out of NEWT'S jacket, sad to see the pendant go.</scene_description>
<character>NEWT</character>
<dialogue>Grindelwald doesn't seem to understand the nature of things he considers simple.</dialogue>
<scene_description>DUMBLEDORE raises his hands to show the Admonitors. CLOSE ON: THESEUS. He raises his wand. BACK TO: DUMBLEDORE AND NEWT. The Admonitors fall from DUMBLEDORE'S wrists. The vial-blood troth-hangs in the air between them.</scene_description>
<character>NEWT</character>
<dialogue>Can you destroy it?</dialogue>
<character>DUMBLEDORE</character>
<dialogue>Maybe... maybe.</dialogue>
<scene_description>Overcome, tearful, he tries to speak cheerfully. 8FLiX.com FYC SCREENPLAY DATABASE 20230910</scene_description>
<character>119</character>
<dialogue>DUMBLEDORE</dialogue>
<character>CONTINUED: (2)</character>
<parenthetical>(of the Niffler)</parenthetical>
<dialogue>Would he like a cup of tea?</dialogue>
<scene_description>They turn to walk back toward Hogwarts.</scene_description>
<character>NEWT</character>
<dialogue>He'll have some milk. Hide the teaspoons.</dialogue>
<scene_description>The others walk slowly after them.</scene_description>
<character>120</character>
<dialogue>INT. NURMENGARD CASTLE - DAWN</dialogue>
<character>GRINDELWALD</character>
<dialogue>You have suffered the most heinous of betrayals, most purposely bestowed upon you by your own blood. Your own flesh and blood. And just as he has celebrated your torment, your brother seeks to destroy you.</dialogue>
<scene_description>CREDENCE inhales sharply. His chick steps gingerly onto GRINDELWALD'S palm. GRINDELWALD throws it in the air, where it catches alight.</scene_description>
<character>GRINDELWALD</character>
<dialogue>There is a legend in your family that a phoenix will come to any member who is in dire need.</dialogue>
<scene_description>Given room at last, the bird stretches its wings and becomes full size. The bird is aflame, a phoenix reborn.</scene_description>
<character>GRINDELWALD</character>
<dialogue>It is your birthright, my boy. As is the name I now restore to you.</dialogue>
<parenthetical>(whispers)</parenthetical>
<dialogue>Aurelius. Aurelius Dumbledore.</dialogue>
<scene_description>CREDENCE turns. The power of his Obscurus can at last be channeled. He points the wand at the window and a spell of immense power shatters the glass and breaks apart the mountain opposite. CREDENCE stands staring through the shattered glass at his handiwork. He is extraordinary, and this is just his beginning. 8FLiX.com FYC SCREENPLAY DATABASE 20230910</scene_description>
</scene>
</script>
|
Written by J.K. Rowling Directed by David Yates This script is the confidential and proprietary property of Warner Bros. Pictures and no portion of it may be performed, distributed, reproduced, used, quoted or published without prior written permission.
FINAL SHOOTING SCRIPT
November 16, 2017
Warner Bros. Pictures © 2016 4000 Warner Boulevard WARNER BROS. ENT. Burbank, California 91522 All Rights Reserved FOR INSTRUCTIONAL USE ONLY
EXT. NEW YORK, AMERICAN MINISTRY OF MAGIC - 1927 - NIGHT
AERIAL SHOT: New York and MACUSA building.
INT. MACUSA BASEMENT, BARE, BLACK-WALLED ROOM - NIGHT
The long-haired, bearded GRINDELWALD sits motionless, magically fixed to a chair. The air shimmers, charged with spells. ABERNATHY peers in at GRINDELWALD from the corridor. A baby Chupacabra -- part lizard, part homunculus, a blood- sucking creature of the Americas -- is chained to GRINDELWALD'S chair.
INT. MACUSA, CORRIDOR BETWEEN CELLS - SHORTLY AFTER - NIGHT
PRESIDENT SERAPHINA PICQUERY and RUDOLPH SPIELMAN walk at pace toward an ominous-looking door past endless pairs of guards.
SPIELMAN
(Germanic)
...you'll be glad to be rid of him, I expect.
PICQUERY
We'd be more than happy to keep him here in custody.
SPIELMAN
Six months are enough. It's time for him to answer for his crimes in Europe.
As they reach the door, ABERNATHY turns and acknowledges them.
ABERNATHY
President Picquery, Mr. Spielman, sir. Prisoner is secured and ready to travel.
SPIELMAN and PICQUERY peer into the cell at GRINDELWALD.
SPIELMAN
You've thrown everything at him, I see.
CONTINUED:
PICQUERY
It was necessary. He's extremely powerful. We've had to change his guard three times -- he's very... persuasive. So we removed his tongue.
INT. MACUSA CELLS - NIGHT
Cells resembling cages rise in tiers. Prisoners chant and bang against the bars as the bound GRINDELWALD is transported upstairs, suspended magically in midair.
PRISONERS
Grindelwald! Grindelwald!
EXT. MACUSA ROOFTOP - MINUTES LATER - NIGHT
A hearse-like black carriage, drawn by eight THESTRALS, waits. AURORS 1 & 2 climb into the driver's seat, the rest force GRINDELWALD inside.
SPIELMAN
The wizarding community worldwide owes you a great debt, Madam President.
PICQUERY
Do not underestimate him.
ABERNATHY approaches them.
ABERNATHY
Mr. Spielman, we found his wand hidden away.
He hands over a black rectangular box.
PICQUERY
Abernathy?
ABERNATHY
And we found this.
He holds a vial of some glowing gold substance in the palm of his hand. CONTINUED: SPIELMAN reaches for the vial, which hangs on a chain, and after a moment of hesitation, ABERNATHY releases it. Inside the carriage, GRINDELWALD raises his eyes to the roof as the vial is passed to SPIELMAN. SPIELMAN climbs into the carriage. AUROR 1 driving, AUROR 2 beside him. The door closes. A series of padlocks emerges from the carriage doors. An ominous drumroll of clicks as padlocks fasten themselves in place.
AUROR 1
Yah!
The Thestrals take off. The carriage plummets, then soars away through torrential rain. More AURORS follow on broomsticks. A beat. ABERNATHY steps forward, holding the Elder Wand. He looks up at the carriage, growing ever smaller. He Disapparates. CUT TO:
EXT. THESTRAL-DRAWN CARRIAGE - NIGHT
The underside of the carriage. ABERNATHY Apparates, clinging to the wheel shaft.
INT. THESTRAL-DRAWN CARRIAGE - NIGHT
SPIELMAN and GRINDELWALD sit, eyes locked, flanked by AURORS, all pointing their wands at GRINDELWALD. GRINDELWALD'S wand box lies on SPIELMAN'S lap. SPIELMAN holds up the vial, dangling from its chain.
SPIELMAN
No more silver tongue, eh?
But GRINDELWALD is transforming...
EXT. THESTRAL-DRAWN CARRIAGE - NIGHT
ABERNATHY adjusts his grip underneath the carriage. His face too is changing. His hair is turning blond and lengthening... he is GRINDELWALD. He raises the Elder Wand.
INT. THESTRAL-DRAWN CARRIAGE - NIGHT
GRINDELWALD'S rapid transformation into a tongueless ABERNATHY is almost complete.
SPIELMAN
(shocked)
Oh!
EXT. THESTRAL-DRAWN CARRIAGE - NIGHT
Now fully transformed, GRINDELWALD Disapparates from the underside of the carriage... ...and Apparates next to the driver's seat, where he is spotted by AURORS 1 & 2. GRINDELWALD points his wand at the carriage reins, turning the black ropes into living snakes that ensnare AUROR 1 so he falls from the carriage, back through the night sky, past the broomstick riders. GRINDELWALD casts another spell so the black ropes of the reins bind AUROR 2 like a chrysalis, launching him forward in the air, then slingshotting him back to knock AURORS 3 & 4 from the rear of the Thestral-drawn carriage. They fall away into darkness.
INT. THESTRAL-DRAWN CARRIAGE - NIGHT
All wands reverse their direction to jab dangerously at the necks of SPIELMAN and the two remaining AURORS. SPIELMAN watches as his wand melts into dust. The carriage rocks dangerously, both doors open. As GRINDELWALD'S head appears at the window, the panicking SPIELMAN opens the wand box on his lap. The Chupacabra leaps out and sinks its fangs deep into SPIELMAN'S neck. He wrestles it. The vial falls to the floor.
EXT. THESTRAL-DRAWN CARRIAGE - NIGHT
GRINDELWALD drives the carriage down onto the Hudson River, chased by the AURORS on broomsticks. The carriage wheels graze the surface of the water. The broomstick riders are catching up. GRINDELWALD touches the Elder Wand to the river and at once the inside of the carriage begins to fill with water. He lifts the carriage back up into the air.
INT. THESTRAL-DRAWN CARRIAGE - NIGHT
Submerged in the water, the two AURORS, SPIELMAN, and ABERNATHY hold their breath. SPIELMAN attempts to grab the vial, which is floating loose in the water, but the Chupacabra blocks his path. ABERNATHY, with hands still bound, manages to capture the vial in his mouth.
EXT. THESTRAL-DRAWN CARRIAGE - NIGHT
Still driving the carriage, GRINDELWALD swirls his wand in the air toward the surrounding storm clouds. One by one, forks of lightning strike the broomstick riders, knocking each in turn from the sky.
INT. THESTRAL-DRAWN CARRIAGE - NIGHT
GRINDELWALD appears at the door and nods to ABERNATHY. He throws the door open so the water pours out -- along with the two remaining AURORS. GRINDELWALD clambers inside and retrieves the vial from ABERNATHY'S mouth by the chain, casting a spell that grants ABERNATHY a new forked tongue.
GRINDELWALD
You have joined a noble cause, my friend.
GRINDELWALD rips the little Chupacabra off SPIELMAN. It rubs its bloody face affectionately against his hand. CONTINUED:
GRINDELWALD
I know. Okay. I know, Antonio.
He looks at it with distaste.
GRINDELWALD
So needy.
He then flings it through the door. He blasts SPIELMAN magically through the open door, then tosses a wand after him.
EXT. SKY OVER ATLANTIC OCEAN - NIGHT
As SPIELMAN falls, he manages to seize the wand and conjures an invisible Slowing Charm. Sinking slowly toward the sea, SPIELMAN watches his carriage streaking away in the direction of Europe.
EXT. OVERCAST LONDON, WHITEHALL - THREE MONTHS LATER -
AFTERNOON ESTABLISHING SHOT. A gloomy silence. An owl flutters down into the Ministry.
INT. MINISTRY OF MAGIC - AFTERNOON
NEWT SCAMANDER sits alone in a dingy waiting area, staring abstractedly into space. After a moment, he feels something tugging on his wrist. He looks down. Pickett, a Bowtruckle, is swinging on a loose thread in his cuff. The thread snaps. Pickett falls. NEWT'S button rolls away down a corridor. NEWT and Pickett watch it go. A beat. Then both chase after it. NEWT just gets there first. As he bends to pick it up, he finds himself confronted by a pair of female feet.
LETA (O.S.)
They're ready for you, Newt.
CONTINUED: He stands up. Face-to-face with LETA LESTRANGE, who is beautiful and smiling, NEWT stuffs the button and Pickett into his pocket.
NEWT
Leta... what are you doing here?
LETA
Theseus thought it would be good if I became part of the Ministry family.
NEWT
Did he actually say the words "Ministry family"?
She gives a little laugh. They head off along the corridor. Tension. A lot of history.
NEWT
That sounds like my brother.
LETA
Theseus was disappointed you couldn't come to dinner. Any of the nights we asked you.
NEWT
Well, I've been busy.
LETA
He's your brother, Newt, he likes spending time with you. And so do I.
NEWT spots Pickett climbing onto his lapel and holds out the breast pocket of his coat.
NEWT
(to Pickett)
Oi, you! Hop in, Pick.
Pickett snuggles down.
LETA
(smiling)
Why do strange creatures love you so much?
NEWT
Well, there are no strange creatures --
CONTINUED: (2)
NEWT
-- only blinkered people. LETA
-- only blinkered people. She is smiling again. NEWT reciprocates.
LETA
How long did you get in detention for saying that to Prendergast?
NEWT
You know, I think it was a month that time.
LETA
And I set off a Dungbomb under his desk so I could join you, do you remember?
They have come within sight of scary, official doors leading to the meeting room. THESEUS SCAMANDER emerges.
NEWT
No, I actually don't remember that.
Rebuffed, she comes to a halt. NEWT walks away toward THESEUS, who is very like NEWT, but more outgoing, easier in manner. THESEUS winks at LETA before turning to NEWT.
THESEUS
Hello.
LETA
Theseus. We were just talking about Newt coming for dinner.
THESEUS
Really? Well... Look, before we go in there I --
NEWT
-- It's my fifth attempt, Theseus. I know the form.
THESEUS
This isn't going to be like the other times. This is... Just try and keep an open mind, will you? And maybe a little less --
A wordless gesture indicates Pickett, NEWT'S blue coat, and his messy hair.
18
NEWT
CONTINUED: (3)
-- like me?
THESEUS
(not without affection)
Well, it can't hurt. Come on, let's go.
19
INT. MINISTRY OF MAGIC, HEARING ROOM - AFTERNOON
NEWT and THESEUS enter the room, where TORQUIL TRAVERS (harsh, mean-spirited), ARNOLD GUZMAN (American), and RUDOLPH SPIELMAN (who is still bruised from GRINDELWALD'S escape, the bloody bite visible on his neck) are already sitting. Two empty chairs, which NEWT and THESEUS take. The corners of the room are in darkness.
TRAVERS
Hearing commences.
THE QUILL begins to write. TRAVERS opens a file in front of him, which contains pictures of NEWT'S "Wanted" pictures and of the post-Obscurial devastation in New York.
TRAVERS
You want an end to the ban on your traveling internationally. Why?
NEWT
Because I like to travel internationally.
SPIELMAN
(reading from his own file)
"Subject uncooperative and evasive on reasons for last international trip."
All look at NEWT, waiting.
NEWT
It was a field trip. I was collecting material for my book on magical beasts --
TRAVERS
You destroyed half of New York.
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NEWT
CONTINUED:
No, that's actually factually incorrect on two counts --
THESEUS
(quiet but stern)
Newt!
NEWT stops, frowns.
GUZMAN
Mr. Scamander, it's clear you're frustrated and, frankly, so are we. In the spirit of compromise, we'd like to make a proposition.
NEWT glances at THESEUS warily. THESEUS nods: Listen.
NEWT
What kind of proposition?
TRAVERS
The committee will agree to lift your travel ban under one condition.
NEWT waits. SPIELMAN leans forward.
SPIELMAN
You join the Ministry. Specifically, your brother's department.
NEWT digests this, then:
NEWT
No, I -- that isn't my kind of -- Theseus is the Auror. I think my talents lie elsewhere --
GUZMAN
Mr. Scamander. The wizarding and non-wizarding worlds have been at peace for over a century. Grindelwald wants to see that peace destroyed, and for certain members of our community his message is very seductive.
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GUZMAN
CONTINUED: (2)
Many purebloods believe it is their birthright to rule not only our world but the non-magic world as well. They see Grindelwald as their hero, and Grindelwald sees this boy as a means to make this all come true.
Hearing this, NEWT frowns, watching as CREDENCE'S face emerges in the surface of the table.
NEWT
I'm sorry. You're talking about Credence as if he were still here.
THESEUS
He survived, Newt.
NEWT stops cold, his eyes fixed on THESEUS. THESEUS nods.
THESEUS
He's still alive. He left New York months ago. He's somewhere in Europe. Where exactly, we don't know, but --
NEWT
And you want me to hunt Credence down? To kill him?
Out of the shadows in the corner comes deep, nasty laughter.
GRIMMSON
Same old Scamander.
NEWT reacts to the sound of the voice. GRIMMSON moves into the light. Scarred, brutal, he is a beast hunter for hire.
NEWT
(furious)
What's he doing here?
GRIMMSON
Taking on the job you're too soft to do.
GRIMMSON walks toward them while the ghostly image of CREDENCE shimmers on the enchanted surface of the table. 8FLiX.com FYC SCREENPLAY DATABASE 20230910
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GRIMMSON
CONTINUED: (3)
(re: CREDENCE)
Is that it?
NEWT rises furiously, storms toward the door.
TRAVERS
(calling after him)
Travel documentation denied!
THESEUS stares at the door as it closes. The committee looks unsurprised, turns their gazes to the smirking GRIMMSON.
20
INT. MINISTRY OF MAGIC, CORRIDOR - AFTERNOON
THESEUS chases after NEWT.
THESEUS
Newt!
NEWT stops. Turns.
THESEUS
(testy)
You think I like the idea of Grimmson any more than you do?
NEWT
Listen, I don't want to hear how the ends justify the means, Theseus.
THESEUS
I think you're gonna have to pull your head out of the sand!
NEWT
(exasperated)
Okay, right, here we go. What a selfish... irresponsible...
THESEUS
You know, the time is coming when everyone's going to have to pick a side. Even you.
NEWT
I don't do sides.
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THESEUS
CONTINUED:
Newt...
He turns to go, but THESEUS runs after him, grabs his arm to hold him back.
THESEUS
(pulling him in for a hug)
C'mere.
NEWT doesn't reciprocate but doesn't fight him off either.
THESEUS
(in NEWT'S ear)
They're watching you.
21
INT. MINISTRY OF MAGIC, HEARING ROOM - AFTERNOON
GRIMMSON is sitting in what was NEWT'S seat, facing the committee.
GRIMMSON
Well, gentlemen. I assume this means I have the job.
22
EXT. SKYLINE OF UPMARKET QUARTER OF PARIS - AFTERNOON
23
AFTERNOON
EXT. ELEGANT STREET OF 19TH - CENTURY PARISIAN HOUSES -
GRINDELWALD and ACOLYTES stand in the street. GRINDELWALD points his cane at a particularly fine house.
A clatter announces the arrival of a horse-drawn hearse. NAGEL, KRALL, CARROW, ABERNATHY, KRAFFT, ROSIER (female), and MACDUFF approach the front door. KRALL opens it with his wand. The ACOLYTES enter.
PARISIAN MAN (O.S.)
(in French)
Chérie?
PARISIAN WOMAN (O.S.)
(worried, in French)
Qui est là?
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GRINDELWALD looks around the street, calm, waiting, tapping
CONTINUED:
on the pavement with his cane.
We see a green flash-the Killing Curse. The door reopens. Two black coffins exit.
GRINDELWALD watches as NAGEL and KRAFFT load the coffins onto the carriage.
24
INT. GRINDELWALD'S HIDEOUT, DRAWING ROOM - AFTERNOON
GRINDELWALD surveys the elegant clutter left by the haute bourgeois family he has just murdered.
GRINDELWALD
Yes. This will be suitable after a thorough cleanse.
(to NAGEL)
I want you to go to the circus now. Give my note to Credence, begin his journey.
NAGEL nods and leaves.
ROSIER
When we've won, they'll flee cities in the millions. They've had their time.
GRINDELWALD
We don't say such things out loud. We want only freedom. Freedom to be ourselves.
ROSIER
To annihilate non-wizards.
GRINDELWALD
Not all of them. Not all. We're not merciless. The beast of burden will always be necessary.
We hear the sound of a CHILD close at hand.
25
INT. GRINDELWALD'S HIDEOUT, NURSERY - AFTERNOON
GRINDELWALD enters. A small child looks up, puzzled. GRINDELWALD contemplates him for a moment, then nods at CARROW and turns to leave. 8FLiX.com FYC SCREENPLAY DATABASE 20230910
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WE SEE: ANOTHER GREEN FLASH as GRINDELWALD closes the door.
CONTINUED:
26
EXT. LONDON BACK STREET - EVENING
NEWT Apparates and walks on briskly beneath an increasingly stormy sky. Seconds later, STEBBINS, an Auror, Apparates some yards behind him. They have been playing this game for an hour.
NEWT turns a corner into a darker alleyway, peers back around the corner, and points his wand back at STEBBINS.
NEWT
(sotto voce)
Ventus.
STEBBINS is immediately caught in a hurricane for one. To the confusion and amusement of passing Muggles, his hat flies away, he is almost knocked off his feet, and cannot proceed. Smiling slightly, NEWT withdraws his head, still leaning against the wall of the dark alleyway, to find a single black glove hanging in the air in front of him. He looks at it, expressionless. It gives a little wave, then points into the far distance. NEWT looks to where it is pointing. High on the dome of St. Paul's Cathedral, a tiny human figure raises its arm. NEWT looks back at the glove, which makes as though to shake hands. NEWT takes it, and he and the glove Disapparate --
27
EXT. DOME OF ST. PAUL'S - EVENING
-- Apparating beside a dandyesque forty-five-year-old wizard with graying auburn hair and beard. NEWT hands back his glove.
NEWT
Dumbledore.
(amused)
Were the less conspicuous rooftops full, then?
DUMBLEDORE
(looking out over city)
I do enjoy a view. Nebulus.
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A swirling fog descends over London.
CONTINUED:
They Disapparate.
28
EXT. TRAFALGAR SQUARE - EVENING
DUMBLEDORE and NEWT Apparate and walk on past the great stone Landseer lions. The darkening sky is becoming increasingly ominous. A flock of pigeons rises into the air at their approach.
DUMBLEDORE
How was it?
NEWT
They're still convinced that you sent me to New York.
DUMBLEDORE
You told them I didn't?
NEWT
Yes. Even though you did.
A beat. DUMBLEDORE inscrutable, NEWT wanting answers.
NEWT
You told me where to find that trafficked Thunderbird, Dumbledore. You knew that I would take him home and you knew I'd have to take him through a Muggle port.
DUMBLEDORE
Well, I've always felt an affinity with the great magical birds. There's a story in my family that a phoenix will come to any Dumbledore who is in desperate need. They say my great-great- grandfather had one, but that it took flight when he died, never to return.
NEWT
With all due respect, I don't believe for a minute that's why you told me about the Thunderbird.
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A noise behind them. The silhouette of a man appears out of
CONTINUED:
shadows. They Disapparate --
29
EXT. VICTORIA BUS STATION - EVENING
Footsteps nearby. Both ready their wands, but the footsteps die away. They walk on.
DUMBLEDORE
Credence is in Paris, Newt. He's trying to trace his real family. I take it you've heard the rumors about who he really is?
NEWT
No.
DUMBLEDORE and NEWT board a stationary bus.
DUMBLEDORE
The purebloods think he's the last of an important French line, a baby whom everyone thought lost...
A look between them. NEWT is astonished.
NEWT
Not Leta's brother?
DUMBLEDORE
That's what they're whispering. Pureblood or not, I know this: An Obscurus grows in the absence of love as a dark twin, an only friend. If Credence has a real brother or sister out there who can take its place, he might yet be saved.
(beat)
Wherever Credence is in Paris, he's either in danger or a danger to others. We may not know who he is yet, but he needs to be found. And I rather hoped you might be the one to find him.
DUMBLEDORE conjures NICOLAS FLAMEL'S card from thin air and offers it to NEWT, who eyes it with suspicion.
NEWT
What's that?
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DUMBLEDORE
CONTINUED:
It's an address of a very old acquaintance of mine. A safe house in Paris, reinforced with enchantments.
NEWT
Safe house? Why would I need a safe house in Paris?
DUMBLEDORE
One hopes you won't, but should things at some point go terribly wrong, it's good to have a place to go. You know, for a cup of tea.
NEWT
No, no, no-absolutely not.
30
EXT. LAMBETH BRIDGE - NIGHT
They Apparate onto a bridge.
NEWT
I'm banned from international travel, Dumbledore. If I leave the country, they will put me in Azkaban and throw away the key.
DUMBLEDORE stops.
DUMBLEDORE
Do you know why I admire you, Newt? More, perhaps, than any man I know?
(off NEWT'S surprise)
You don't seek power or popularity. You simply ask, is the thing right in itself? If it is, then I must do it, no matter the cost.
He walks on.
NEWT
That's all very well, Dumbledore, but, forgive me for asking, why can't you go?
They stop.
DUMBLEDORE
I can't move against Grindelwald. It has to be you.
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DUMBLEDORE
CONTINUED:
(beat)
Well, I don't blame you, in your shoes I'd probably refuse too. It's late. Good evening, Newt.
DUMBLEDORE Disapparates.
NEWT
Oh c'mon!
DUMBLEDORE'S empty glove reappears and tucks the business card bearing the address of the safe house into NEWT'S top pocket.
NEWT
(exasperated)
Dumbledore.
31
EXT. NEWT'S STREET - NIGHT
ESTABLISHING SHOT: A street of ordinary yellow brick Victorian houses. First specks of rain. NEWT walks swiftly up the front steps but pauses just outside the front door. The light in his sitting room is flashing on and off.
32
INT. NEWT'S HOUSE - NIGHT
NEWT opens the front door cautiously. Inside, a baby Niffler is swinging from the brass cord of a table lamp, causing the light to flicker on and off. The baby Niffler succeeds in stealing the brass cord before spotting NEWT. It scampers away, knocking all manner of objects to the floor. NEWT spots a second baby Niffler sitting on a set of weighing scales, pinned down by gold-colored weights it is clearly attempting to steal. As the first baby makes it to the dining table, NEWT lightly drops a saucepan on top of it, which continues moving across the table. NEWT tosses an apple into the opposite weighing scale, sending the baby Niffler flying into the air. NEWT catches both baby Nifflers as they fall, then tucks them into his pockets. 8FLiX.com FYC SCREENPLAY DATABASE 20230910
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Satisfied, NEWT heads toward the door to his basement but
CONTINUED:
turns at the last moment to see a third escaped baby Niffler climbing onto a bottle of champagne on the counter.
With a sense of inevitability, the champagne bottle pops and the baby Niffler zooms toward NEWT on top of the cork, soaring past him and down the stairs to the basement.
33
INT. NEWT'S BASEMENT MENAGERIE - MOMENTS LATER - NIGHT
A gigantic hospital for magical creatures.
NEWT
Bunty! Bunty! Bunty, the baby Nifflers are loose again!
(to the Nifflers)
Oi! Oh.
BUNTY, NEWT'S assistant, hurries into view. She is a plain girl, crazy about creatures, hopelessly in love with NEWT. She peels off the Nifflers with freshly bandaged fingers. She tempts the last baby Niffler -- the champagne cork rider - - with a gold necklace, then tucks all three into a nest full of sparkling objects.
NEWT
Well done.
BUNTY
I'm so sorry, Newt, they must have picked the lock while I was cleaning out the Augureys --
NEWT
Not to worry.
NEWT and BUNTY walk together among the enclosures.
BUNTY
Hmm... I've fed nearly NEWT (CONT'D) everyone, Pinky's had his -- And Elsie? nose drops, and --
BUNTY
Elsie's droppings are nearly normal again.
NEWT
Wonderful. You can clock off now --
(seeing her fingers)
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NEWT
CONTINUED:
I told you to leave the Kelpie to me.
BUNTY
That wound needs more ointment-
NEWT
I don't want you losing fingers over it.
NEWT marches toward a patch of black water, BUNTY trotting in his wake, awash with emotion at his concern for her.
NEWT
Seriously, you go home now, Bunty. You must be exhausted.
BUNTY
You know the Kelpie's easier with two.
They approach the water. NEWT unhooks a bridle hanging beside the pond.
BUNTY
(hopeful)
Perhaps you should take off your shirt?
NEWT
(oblivious)
Don't worry, I'll dry off quickly enough.
NEWT smiles and jumps backward into the water. The Kelpie erupts: a gigantic, semi-spectral horse intent on drowning NEWT, who grabs it around the neck and manages to scramble onto its back as it thrashes. The Kelpie dives, taking NEWT with it. BUNTY waits, frightened. WHOOSH - NEWT bursts back out of the water and the Kelpie is bridled. Now docile, it shakes its mane. BUNTY transfixed by the sight of NEWT in his wet shirt.
NEWT
Someone needed to let off some steam. Ointment, Bunty?
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She hands it over. Still mounted, NEWT applies ointment to a
CONTINUED: (2)
wound on the Kelpie's neck.
NEWT
Bite Bunty again and there'll be trouble, mister.
As he dismounts, there is a crash from overhead. Both he and BUNTY look up.
BUNTY
(scared)
What was that?
NEWT
I don't know. But I want you to go home now, Bunty.
BUNTY
Shall I call the Ministry?
NEWT
No, I want you to go home. Please.
34
INT. NEWT'S STAIRCASE - A MINUTE LATER - NIGHT
NEWT climbs the stairs to his living quarters, wand drawn, curious and expecting the worst. He pushes open the door.
35
INT. NEWT'S SITTING ROOM - NIGHT
A spartan bachelor residence. NEWT'S real life is in the basement. JACOB KOWALSKI and QUEENIE GOLDSTEIN stand in the middle of the room, suitcases beside them, QUEENIE nervous and excited, JACOB unfocused and over-merry, possibly drunk. He is holding the remaining pieces of NEWT'S vase, which he has just broken.
QUEENIE
If you could just give it to me... Just give it to me, sweetie. Just give it to me.
(whispering)
If you could just give this to me, sweetheart. Oh!
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JACOB
CONTINUED:
(looking at NEWT)
He doesn't care. Hold it.
NEWT
St -- JACOB
(bellows)
HEY! NEWT! Get over here, you maniac.
He flings his arms around a delighted but awkward NEWT.
QUEENIE
We hope you don't mind, Newt? We let ourselves in -- it's raining out there -- cats and dogs! London's cold!
NEWT
(to JACOB)
But you were supposed to have been Obliviated!
JACOB
I know!
NEWT
So... But...
JACOB
It didn't work, pal. I mean, you said it, the potion only erases bad memories. I didn't have any. I mean, don't get me wrong, I had some weird ones. But this angel... this angel over here, she filled me in on all the bad parts, and here we are, I guess, huh?
NEWT
(overjoyed)
This is wonderful!
He looks around, sure that TINA is here too.
NEWT
Is... Tina? Tina?
QUEENIE
Oh it's just us, honey. Me and Jacob.
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NEWT
CONTINUED: (2)
Oh.
QUEENIE
(uncomfortable)
Why don't I make us some dinner, huh?
JACOB
Yes!
36
INT. NEWT'S SITTING ROOM - FIVE MINUTES LATER - NIGHT
The threesome sit at a table bearing NEWT'S mismatched crockery, the atmosphere tainted by TINA'S absence. QUEENIE'S case lies open on the sofa.
QUEENIE
Tina and I aren't talking.
NEWT
Why?
JACOB'S POV: pink and hazy, as though happily drunk.
QUEENIE
Oh well, you know, she found out about Jacob and I seeing each other and she didn't like it, 'cause of the "law."
(miming quotation marks)
Not allowed to date No-Majs, not allowed to marry them. Blah, blah, blah. Well, she was all in a tizzy anyway, 'cause of you.
NEWT
Me?
QUEENIE
Yeah, you, Newt. It was in Spellbound. Here -- I brought it for you --
She points her wand at her suitcase. A celebrity magazine zooms to her: "Spellbound: Celebrity Secrets and Spell Tips of the Stars!" On the cover, an idealized NEWT and an improbably beaming Niffler: 8FLiX.com FYC SCREENPLAY DATABASE 20230910
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"BEAST TAMER NEWT TO WED!"
CONTINUED:
QUEENIE opens the magazine:
THESEUS, LETA, NEWT, and BUNTY stand side by side at his book launch.
QUEENIE
(showing him)
"Newt Scamander with fiancée, Leta Lestrange; brother, Theseus; and unknown woman."
NEWT
No. Theseus is marrying Leta, not me.
QUEENIE
Oh! Oh dear... well, see, Teen read that, and she started dating someone else. He's an Auror. His name's Achilles Tolliver.
A silence. Then, NEWT starts to notice JACOB'S state: Eating sloppily, he hums to himself, then tries to drink the salt. QUEENIE takes it and puts his glass in his hand, trying to cover.
QUEENIE
Anyway... We're real excited to be here, Newt. This is a -- well, it's a special trip for us. You see, Jacob and I, we're getting married.
She shows him her engagement ring. JACOB tries to toast the moment and pours beer all over his ear.
JACOB
I'm marrying Jacob!
Now sure he knows what's going on, NEWT glares at QUEENIE.
NEWT (V.O.)
(speaking telepathically)
You've enchanted him, haven't you?
QUEENIE
(reading his mind)
What? I have not.
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NEWT
CONTINUED: (2)
Will you stop reading my mind?
(speaking telepathically)
Queenie, you've brought him here against his will.
QUEENIE
Oh, that is an outrageous accusation. Look at him. He's just happy. He's so happy!
NEWT
(drawing his wand)
Then you won't mind if I --
QUEENIE jumps up and tries to shield JACOB from him.
QUEENIE
Please don't!
NEWT
Queenie, you've got nothing to fear if he wants to get married. We can just lift the enchantment and he can tell us himself.
Several painful moments pass. At last she moves aside.
JACOB
What you got there? Whatchu gonna do? Whatchu gonna do with that, Mr. Scamander?
NEWT
Surgito.
JACOB reacts as though to a bucket of cold water. He comes back to himself and takes in his surroundings. He looks at NEWT.
NEWT
Congratulations on your engagement, Jacob.
JACOB
Wait, what?
NEWT looks at QUEENIE.
JACOB
Oh no.
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He realizes he has been taken against his will.
CONTINUED: (3)
Slowly, he gets to his feet to face QUEENIE.
She reads his mind. With a sob, she runs to close her case (several small objects, including a lipstick and a fragment of torn postcard, fall out) and flees the apartment.
JACOB
Queenie!
(turning to NEWT)
It's very nice to see you. Where the hell am I right now?
NEWT
Uh, uh, London.
JACOB
(frustrated)
Oh! I always wanted to go here!
(angry)
Queenie!
He runs after her.
37
EXT. NEWT'S STREET - A MINUTE LATER - NIGHT
QUEENIE dashes out of NEWT'S house and off up the street, crying. JACOB runs after her, livid.
JACOB
Queen, honey. Well, I'm just curious, when were you going to wake me up? After we'd had five kids?
QUEENIE turns to confront JACOB.
QUEENIE
Why is it wrong to want to marry you?
JACOB
Okay --
QUEENIE
To wanna have a family? I just want what everyone else has, that's all.
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JACOB
CONTINUED:
Okay, wait. We talked about this, like, a million times. If we get married and they find out, they're gonna throw you in jail, sweetheart. I can't have that. They don't like people like me marrying people like you. I ain't a wizard. I'm just me.
QUEENIE
They're really progressive here, and they'll let us get married properly.
QUEENIE gestures to the street.
JACOB
Sweetheart, you don't need to enchant me. I'm already enchanted! I love you so much.
QUEENIE
Yeah?
JACOB
Yeah. But I can't have you risking everything like this, you know? You're not giving us a choice, sweetheart.
QUEENIE
You're not givin' me a choice. One of us had to be brave, and you were being a coward!
JACOB
I was being a coward? If I'm a coward, you're a --
She reads his mind.
QUEENIE
-- crazy!
She reacts. He knows she "heard" him.
JACOB
I didn't say it...
QUEENIE
You didn't have to.
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JACOB
CONTINUED: (2)
No, I didn't mean it, sweetheart.
QUEENIE
Yeah, you did.
JACOB
No.
QUEENIE
I'm gonna go see my sister.
JACOB
Fine. See your sister.
QUEENIE
Fine.
QUEENIE Disapparates.
JACOB
No, wait! No! Queenie! I didn't mean it. I didn't say nothing.
But he is alone in the street.
38
INT. NEWT'S HOUSE - SHORTLY AFTER - NIGHT
NEWT'S miserable gaze falls on the piece of postcard. He crosses to pick it up, then points his wand at it.
NEWT
Papyrus Reparo.
It reconstitutes into a whole. We see a picture of Paris. Postcard text becomes visible onscreen.
TINA (V.O.)
My dear Queenie, What a beautiful city. I'm thinking of you, Tina X
39
INT. NEWT'S BASEMENT MENAGERIE - NIGHT
CLOSE ON: JACOB as he enters, pushes open the door, stares around. Soaked through, he has been searching the streets for an hour. 8FLiX.com FYC SCREENPLAY DATABASE 20230910
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NEWT is nowhere to be seen.
CONTINUED:
JACOB
Hey, Newt?
NEWT (O.S.)
Down here, Jacob. I'll be with you in a second.
JACOB starts peering into the enclosure. By the patch of dark water where the Kelpie lives, NEWT has placed a sign for BUNTY:
BUNTY, DON'T TOUCH UNTIL I GET BACK.
He walks on.
An Augurey caws mournfully at JACOB as he walks past.
JACOB
I got my own problems.
NEWT (O.S.)
No, no, no. Back in, please. Right, wait, wait, wait, wait.
A sign on the Augurey cage reads:
BUNTY - DON'T FORGET TO GIVE PATRICK PELLETS.
JACOB hears movement and changes direction, passing a snoozing griffin with a bandaged beak:
BUNTY: CHANGE DRESSING DAILY.
NEWT'S case sits beside the Niffler enclosure. On the inside of the lid is a large moving picture of TINA he has torn out of a newspaper.
NEWT comes round the corner wearing his coat.
NEWT
Queenie left a postcard. Tina's in Paris looking for Credence.
JACOB
Genius. Queenie's gonna go straight for Tina.
(elated)
Okay, we're going to France, pal! Hold on. I'll get my jacket.
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NEWT
CONTINUED: (2)
I've got it.
NEWT has already pointed his wand at the ceiling. JACOB'S coat, hat, and case drop onto the floor in front of him. JACOB is blasted with warm magical air, which dries his rain- soaked clothes.
JACOB
(impressed)
Oh. Beautiful.
They leave. We close in on the note that has appeared:
40
EXT. PARIS, PLACE CACHÉE - NIGHT
A clear, starry night. TINA GOLDSTEIN, reinstated Auror on a mission of her own, more elegant and confident than in New York but carrying private sadness, walks toward the bronzed statue of a robed woman set on a tall stone base, where witches and wizards dressed as Muggles are vanishing.
41
EXT. PLACE CACHÉE, CIRCUS ARCANUS - NIGHT
Music, laughter, and conversation erupt around her. The circus is now in full swing. A banner declares:
CIRCUS ARCANUS: FREAKS AND ODDITIES!
Several tents, a big top in the middle.
TINA walks past the street performers working in the open, scrutinizing them.
A HALF-TROLL performs feats of strength.
A few misshapen and particularly downtrodden humanoids -- UNDERBEINGS without powers but of magical ancestry -- shuffle around, taking money from the crowd.
Horns hidden beneath hats, unusual eyes beneath hoods; HALF- ELVES and HALF-GOBLINS juggle and tumble.
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A magnificent Chinese Zouwu, a giant catlike creature with a
CONTINUED:
long, plumed tail, is imprisoned in a cage. Fireworks burst overhead.
42
INT. CIRCUS ARCANUS, FREAKS' TENT - EVENING
NAGINI is kneeling at a trunk, stroking her circus dress. She must perform shortly. CREDENCE hurries to her.
CREDENCE
(whispers)
Nagini!
She turns.
NAGINI
Credence.
He hands her the note. She scans it, frowns.
CREDENCE
(whispers)
I think I know where she is.
NAGINI looks up, meets his eyes.
CREDENCE
We escape tonight.
SKENDER comes into NAGINI'S tent.
SKENDER
Hey, I've told you to stay away from her, boy -- did I say you could take a break? Clean out the Kappa.
SKENDER closes the curtain between CREDENCE and NAGINI.
SKENDER
(to NAGINI)
And you, get ready!
CREDENCE turns and looks up to a cage full of Firedrakes.
43
INT. CIRCUS ARCANUS, BIG TOP - NIGHT
SKENDER is standing beside the circular platform/cage in the middle of a crowd, many of whom are drunk. 8FLiX.com FYC SCREENPLAY DATABASE 20230910
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SKENDER
CONTINUED:
Next in our little show of freaks and oddities, I present to you -- a Maledictus!
He whips open the curtains. There stands NAGINI in a snakeskin dress. Men in the crowd whistle and jeer.
SKENDER
Once trapped in the jungles of Indonesia, she is the carrier of a blood curse. Such Underbeings are destined, through the course of their lives, to turn permanently into beasts.
TINA makes her way around the back of the crowd, looking for CREDENCE. Elsewhere in the tent, an elegant, suited French African, YUSUF KAMA, is scanning the crowd rather than watching SKENDER. There is a black feather in the band of his fedora.
SKENDER
But look at her. So beautiful, yes? So desirable... but soon she will be trapped forever in a very different body. Every night, when she sleeps... mesdames et messieurs... she is forced to become --
Nothing happens. The crowd jeers at SKENDER. NAGINI looks at SKENDER, a look of hatred.
SKENDER
She is forced to become...
CREDENCE'S and NAGINI'S eyes meet across the big top. ANGLE ON: TINA, who has spotted CREDENCE. She starts to edge toward him, trying not to attract attention. ANGLE ON: KAMA, who does the same.
SKENDER
She is forced to become . . .
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NAGINI closes her eyes. Slowly, she melts into coils.
CONTINUED: (2)
SKENDER
Over time, she will not be able to transform back. She will be forever trapped in the body of a snake. NAGINI suddenly strikes at SKENDER through the bars and utters a cry in Parseltongue. SKENDER crumples, bleeding. At the back of the tent, CREDENCE smashes open the Firedrakes' cage and they soar to freedom like fireworks. The big top catches fire -- screams, panic, the crowd falls over one another to reach the exit --
44
EXT. CIRCUS ARCANUS, BIG TOP - NIGHT
The big top is on fire. Firedrakes weave patterns in the sky above it, trailing showers of sparks. The fire has terrified and enraged the creatures. A hippogriff is rearing and plunging while its handlers try to control it. Everywhere performers are packing up, fast, elves shutting themselves into boxes, which fold smaller and smaller. TINA Apparates and, with a flick of her wand, puts out the fire. The Zouwu crate is on fire and shaking perilously. The creature within roars and howls. The Zouwu explodes out of it: a monstrous cat the size of an elephant, five-colored, with a tail as long as a python. It has been horrendously abused: Scars across its face, it is malnourished, limping, and now driven to a frenzy of terror. TINA spots CREDENCE in the distance.
TINA
Credence!
The Zouwu hobbles as fast as it can, away into the darkness. SKENDER knows there is no catching it now. He runs to galvanize his workers.
SKENDER
Pack it up! Paris is done for us now.
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SKENDER points his wand at the tent, shrinks it to the size
CONTINUED:
of a handkerchief, and pockets it.
TINA
(approaching SKENDER)
The boy with the Maledictus, what do you know about him?
SKENDER
(contemptuous)
He's looking for his mother. All my freaks think they can go home. Okay, let's go.
He leaps up onto a carriage and, as the crates and boxes are all magically reduced to a few cases, clatters away into the night. TINA is left on her own in what seems for a moment to be a deserted square. Then she realizes that KAMA is standing behind her. CUT TO:
45
EXT. PARISIAN CAFÉ - NIGHT
TINA and KAMA sit together at an outside table. TINA is suspicious of KAMA.
TINA
I think we were both at the circus for the same reason, monsieur... ?
KAMA
Kama. Yusuf Kama. And you think right.
TINA
What do you want with Credence?
KAMA
The same as you.
TINA
Which is?
KAMA
To prove who the boy really is. If the rumors of his identity are correct, he and I are - distantly - related.
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KAMA
CONTINUED:
I am the last male of my pure- blooded line... and so, if the rumors are correct, is he.
KAMA takes The Predictions of Tycho Dodonus out of his pocket and holds it tantalizingly before her.
KAMA
You have read The Predictions of Tycho Dodonus?
TINA
Yes. But that's poetry, not proof.
KAMA
If I could show you something better -- more concrete -- something that proves who he is - would the Ministries of Europe and America let him live?
A beat.
TINA
They might.
KAMA
(he nods)
Then come.
He gets up and TINA follows.
46
INT. GRINDELWALD'S HIDEOUT, DRAWING ROOM - NIGHT
GRINDELWALD exhales vapor from a glowing skull-shaped hookah. His ACOLYTES watch as the smoke forms a vision of the Obscurus, a swirl of black and flashing red, then resolves into an image of CREDENCE. All look excited, except KRALL, who is sulky.
GRINDELWALD
So... Credence Barebone. Nearly destroyed by the woman who raised him. Yet now he seeks the mother who bore him. He's desperate for family. He's desperate for love. He's the key to our victory.
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KRALL
CONTINUED:
Well, we know where the boy is, don't we? Why don't we grab him and leave!
GRINDELWALD
(to KRALL)
He must come to me freely -- and he will.
GRINDELWALD returns his gaze to the vision of CREDENCE suspended in the center of the drawing room.
GRINDELWALD
The path has been laid, and he is following it. The trail that will lead him to me, and the strange and glorious truth of who he is.
KRALL
Why is he so important?
GRINDELWALD walks to face KRALL.
GRINDELWALD
Who represents the greatest threat to our cause?
KRALL
Albus Dumbledore.
GRINDELWALD
If I asked you now to go to the school where he is hiding and kill him for me, would you do it for me, Krall?
(smiles)
Credence is the only entity alive... who can kill him.
KRALL
You really think that he can kill the great -- can kill Albus Dumbledore?
GRINDELWALD
(whispers)
I know he can. But will you be with us when that happens, Krall? Will you?
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EXT. WHITE CLIFFS OF DOVER-DAWN
NEWT and JACOB are walking with cases toward Beachy Head. Pickett pokes his head out of NEWT'S breast pocket and yawns.
NEWT
Jacob, that man Tina's been JACOB seeing -- Don't worry! She's gonna see
you and she'll see the four of us together, it'll be just like New York all over again. Don't worry about it.
NEWT
Yes, but he's an Auror, Queenie said?
JACOB
Yeah, he's an Auror. So what? Don't worry about him.
A beat. They walk.
NEWT
What d'you think I should say to her, if I see her?
JACOB
Oh, well, it's best not to plan these things. You know, you just say whatever comes to you in the moment.
A beat. They walk.
NEWT
(reminiscently)
She has eyes just like a salamander.
JACOB
Don't say that.
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JACOB
CONTINUED:
Nah, look, you just tell her that you missed her. Right, and then you came all the way to Paris to find her. She'll love that. And then, tell her you're losing sleep at night for thinking of her. Just don't say anything about no salamanders, all right?
NEWT
Right. Okay.
JACOB
Hey, hey, hey. It's gonna be all right. We're in this together, pal. Okay, I'm gonna help you out. I'm gonna help you find Tina, find Queenie, and we'll all be happy again. Just like old times.
He spots a slightly sinister figure on the edge of the cliff: all black, tattered robes.
JACOB
Who is this guy?
NEWT
He's the only way I can leave the country without documentation. Now, you don't suffer from motion sickness, do you?
JACOB
I don't do well on boats, Newt.
A beat.
NEWT
You'll be fine.
PORTKEY TOUT
Stir your stumps -- it leaves in one minute!
Confused, JACOB looks around for the conveyance, ignoring the rusty bucket on the ground.
PORTKEY TOUT
Fifty Galleons.
NEWT
No, we said thirty.
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PORTKEY TOUT
CONTINUED: (2)
Thirty to go to France, twenty not to tell anyone I seen Newt Scamander leaving the country illegally.
Angry, NEWT pays up.
PORTKEY TOUT
Price of fame, pal.
(checks watch)
Ten seconds.
NEWT picks up the bucket and holds out his hand to JACOB.
NEWT
(to JACOB)
Jacob.
JACOB
ARGH!
They are pulled away into thin air. CUT TO:
48
EXT. PLACE CACHÉE - DAY
NEWT and JACOB peer around the corner. A French POLICEMAN is standing in front of the statue of the robed woman. JACOB is pale, sweaty, and still clutching the bucket, which has come in handy.
JACOB
I didn't like that Portkey, Newt.
NEWT
(absently)
So you keep saying. Follow me.
NEWT points his wand at the POLICEMAN.
NEWT
Confundus.
The POLICEMAN lurches as though drunk, blinks, shakes his head, then giggles and ambles off, raising his hat at disconcerted passersby. 8FLiX.com FYC SCREENPLAY DATABASE 20230910
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NEWT
CONTINUED:
Come on. That'll wear off in a few minutes.
NEWT leads JACOB through the statue and into Magical Paris. He puts his case down and points his wand at the street.
NEWT
Appare vestigium.
The tracking spell materializes as a swirl of gold, which illuminates traces of recent magical activity in the square.
NEWT
Accio Niffler!
The case bursts open and a Niffler jumps out.
NEWT
Get looking.
NEWT climbs onto the case and inspects impressions of creatures revealed in the air, while the now-trained adult Niffler sniffs out clues.
NEWT
That's a Kappa. That's a Japanese water demon --
The Niffler sniffs around some shimmering footsteps. The Niffler has found the place where TINA stood in front of the Zouwu. NEWT sees a vision of TINA.
NEWT
Tina? Tina!
(to Niffler)
What have you found?
He bends down to lick the pavement.
JACOB
(glancing around)
And we're licking the dirt now.
NEWT puts his wand to his ear and listens to a terrifying roar. He points his wand to the street.
NEWT
Revelio.
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JACOB sees what NEWT is looking at: gigantic paw marks
CONTINUED: (2)
overlaying everything else.
JACOB
(intensely worried)
Newt... what made those?
NEWT
That is a Zouwu. It's a Chinese creature. They are incredibly fast and incredibly powerful. They can travel a thousand miles in a day... and this one could take you from one part of Paris to the next in a single leap.
The Niffler sniffs around more shimmering footsteps -- another place where TINA stood.
NEWT
Oh, good boy.
(intensely worried)
Jacob, she was here. Tina stood here. She has incredibly narrow feet, have you noticed?
JACOB
Can't say that I have.
NEWT sees a vision of KAMA.
NEWT
Then someone came towards her.
NEWT points to a feather from KAMA'S hat, sniffs it, and looks troubled.
NEWT
Avenseguim.
The feather turns like the needle of a compass, pointing the way.
NEWT
Follow that feather.
JACOB
What?
NEWT
Jacob, follow the feather.
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JACOB
CONTINUED: (3)
Follow the feather.
NEWT
(re: the Niffler)
Where is he? Ah, Accio Niffler.
The Niffler is carried by the spell back into the case. NEWT takes the case and dashes off. JACOB gestures toward the bucket in his hand.
NEWT
Let go of the bucket!
JACOB drops the bucket and chases after NEWT.
49
EXT. PARIS - DAY
50
EXT. PLACE DE FURSTEMBERG - MORNING
QUEENIE approaches the trees in the middle of the square. She coughs. The roots of the trees rise up and form a birdcage elevator around her, which descends into the earth.
51
INT. MINISTÈRE DES AFFAIRES MAGIQUES, MAIN LEVEL - MORNING 51
QUEENIE descends into the beautiful Art Nouveau French Ministry of Magic, its domed ceiling patterned with constellations. QUEENIE approaches reception.
RECEPTIONIST
(in French)
Bienvenue au Ministère des Affaires Magiques.
QUEENIE
I'm sorry, I don't know what you just said at all --
RECEPTIONIST
(in English)
Welcome to the French Ministry of Magic. What is your business, please?
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QUEENIE
CONTINUED:
(loudly and slowly)
I need to speak to Tina Goldstein, she's an American Auror working on a case here --
The RECEPTIONIST flicks through a few pages.
RECEPTIONIST
We have no Tina Goldstein here.
QUEENIE
No, it's... I'm sorry there must be some sort of mistake. See, I know she's in Paris, she sent me a postcard. I brought it, I can show it to you. Maybe you can help me find her here?
QUEENIE reaches for her suitcase, which falls open.
QUEENIE
It's just in here. Oh rabbits! If you can just wait one moment! I know it's in here somewhere. I definitely packed it. Where is it?
As the RECEPTIONIST gives a Gallic shrug -- -- a genteel ELDERLY LADY crosses INTO THE SHOT BEHIND QUEENIE. She has a distinctive bag in her hands -- WE FOLLOW her into the elevator -- Where ROSIER stands waiting. As the doors close, the ELDERLY LADY transforms into ABERNATHY and he pulls out an elaborate box...
52
EXT. PARIS BACK STREET - DAY
QUEENIE stands sadly on the street, holding an umbrella. Then, a double take: did she just see NEWT and JACOB hurrying from one side street into another?
JACOB
Could we at least stop for a coffee, or like a --
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NEWT
CONTINUED:
Not now, Jacob.
JACOB
I don't know.
NEWT
This way. Come on.
JACOB
Pain au chocolat? Half a croissant, or like, a bonbon?
NEWT
This way.
QUEENIE sets off down the street, trotting in her haste to catch up with NEWT and JACOB. WE FOLLOW her drawing ever closer, as she chooses from a bewildering number of side alleys. So absorbed is she in trying to follow NEWT and JACOB -- -- she can now "hear" JACOB'S thoughts.
QUEENIE
(calls aloud, joyful)
Jacob! Jacob?
But he has gone. Exhausted and lonely, QUEENIE drops down to the curb in the rain, deafened by the clamor of the thoughts of those in the crowd around her. A hand falls onto QUEENIE'S shoulder. She turns, beaming. Her expression turns to puzzlement.
ROSIER
(in French)
Madame? Tout va bien, Madame?
53
EXT. BIRD MARKET - LATER THAT DAY
CREDENCE and NAGINI WALK INTO SHOT, looking around. CREDENCE steals birdseed as he passes a stall. GRIMMSON watches them, unnoticed. 8FLiX.com FYC SCREENPLAY DATABASE 20230910
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EXT. RUE PHILIPPE LORAND - SHORTLY AFTERWARD - DAY
CREDENCE and NAGINI peer around the corner at the distant Number Eighteen. A light shines in the attic. A shadow moves in front of it.
CREDENCE
(scared)
She's home.
Now he is here, he is rooted to the spot. He dare not proceed. NAGINI prizes his hand from behind his back. She leads him across the road.
55
EXT. REAR OF 18 RUE PHILIPPE LORAND - MINUTES LATER - DAY 55
A door stands open into the yard. They slide through it into a servants' passageway. NAGINI'S nostrils flare. Her eyes dart around. There is something wrong. They proceed toward the stairs.
56
DAY
INT. 18 RUE PHILIPPE LORAND, LANDING OUTSIDE MAID'S ROOM - 56
CREDENCE and NAGINI reach the landing. A door stands ajar.
A shadow cast by lamplight: what seems to be a woman, sewing. The shadow pauses in its work.
NAGINI is edgy, nervous, looking around.
IRMA (O.S.)
(in French)
Qui est là?
CREDENCE can neither move nor speak. NAGINI realizes this.
NAGINI
(in French)
C'est votre fils, madame.
She takes CREDENCE'S hand and pulls him gently into the room. Mended and freshly washed clothing hang from racks on the ceiling. They can see the shadow of a woman. 8FLiX.com FYC SCREENPLAY DATABASE 20230910
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NAGINI'S senses are hyperalert. She can smell danger. The
CONTINUED:
shadow stands.
IRMA
(in French)
Qui êtes-vous?
CREDENCE
(whispers, terrified)
Are you Irma? Are you... ? Are you Irma Dugard?
No response. They move through the hanging fabric toward her.
CREDENCE
I'm sorry. Your name is on my adoption paper. Does this make sense? You gave me to Mrs. Barebone in New York.
A beat. A tiny hand pushes the last piece of fabric aside. There stands IRMA: half-elf, half-human. CREDENCE'S face reveals confusion, awful disappointment.
IRMA
(to CREDENCE)
I am not your mother. I was only a servant.
(smiling)
You were such a beautiful baby. And you are a beautiful man. I have missed you.
ANGLE ON: GRIMMSON watching them from a doorway.
CREDENCE
Why didn't they want me? But why is your name on my adoption paper?
IRMA
I took you to Mrs. Barebone because she was supposed to look after you.
NAGINI'S fear is increasing.
ANGLE ON: THE DARK WALL BEHIND SWATHES OF FABRIC.
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The perfectly camouflaged GRIMMSON emerges from the wall,
CONTINUED: (2)
raises his wand, aims for the silhouetted figures, and dispatches a Killing Curse that sears through the sheets and clothing, leaving smoldering holes.
We hear a body fall. NAGINI screams.
CREDENCE'S shadow has vanished.
Grinning, certain of triumph, GRIMMSON slashes away the smoking fabric until he stands facing --
IRMA, dead on the floor, and NAGINI, who backs away from him. Slowly, his grin fading, GRIMMSON looks up at the ceiling. The Obscurus is swirling there like thick black smoke.
In a flash, GRIMMSON conjures a domed Shield Charm around himself and IRMA'S body.
And the Obscurus dives, pelting the Shield Charm like a million bullets, rising and re-forming and diving again, but though the magical barrier trembles, it is not broken.
Now the Obscurus expands in fury, smashing apart the attic like a tornado.
GRIMMSON smiles up at the Obscurus: We'll meet again.
He Disapparates. Mingling with the debris of the destroyed attic, the Obscurus slams inward and CREDENCE re-forms.
He stands looking down at the tiny body.
57
EXT. ALLEYWAY - AFTERNOON
Fresh from IRMA'S murder, GRIMMSON stands in a covered alleyway beneath a bridge over the Seine. GRINDELWALD appears.
GRIMMSON
She's dead.
GRINDELWALD walks toward him and halts when they are face-to- face.
GRINDELWALD
How did the boy take it?
GRIMMSON
(shrugging)
He's sensitive.
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GRIMMSON
CONTINUED:
The Ministry won't be happy when I tell them I've missed. They know my reputation.
GRINDELWALD
Listen to me. The disapproval of cowards is praise to the brave. Your name will be written in glory when wizards rule the world. And the clock is ticking faster. You watch over Credence. Keep him safe. For the greater good.
GRIMMSON
For the greater good.
58
EXT. PARISIAN CAFÉ - EVENING
A pair of lovers sit over coffee. NEWT is scanning every man who leaves the café, checking the reaction of the feather trapped beneath the glass. JACOB stares at the lovers.
JACOB
You know what I miss about Queenie? Everything. I even miss the stuff that drove me nuts. Like the mind reading...
(he notices NEWT'S inattention)
...I was lucky to have someone like her even interested in anything I thought. You know what I mean?
A beat.
NEWT
Sorry?
JACOB
I was saying, you're sure the guy is here that we're looking for?
NEWT
Definitely. The feather says so.
59
INT. PARISIAN CAFÉ, BATHROOM - EVENING
A cramped and dirty bathroom. 8FLiX.com FYC SCREENPLAY DATABASE 20230910
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KAMA stares into the on the tap. Suddenly bandaged hand to his removes his hand and
CONTINUED:
mirror, his featherless fedora perched his face twitches. He raises his eye and rubs it, shaking his head. He stares at his reflection.
WE CLOSE IN: A tiny tentacle is visible at the corner of his eye. He whimpers in distress and gropes in his suit pocket for a small bottle of bright green liquid, which he drops into his eye with a dropper. Another whimper of pain as the tentacle withdraws. He looks at his reflection. It seems normal. He puts his hat back on and leaves.
60
INT. PARISIAN CAFÉ - EVENING
KAMA leaves the café. The feather points at him. NEWT lets it out and it flies to KAMA'S hat.
JACOB
Is that the guy we're looking for?
NEWT
Yes.
NEWT and JACOB jump up to confront him.
NEWT
(to KAMA, in French)
Er -- bonjour. Bonjour, monsieur.
KAMA makes to carry on walking, ignoring NEWT.
NEWT
(in English)
Oh wait, no, sorry. We were... we were actually just wondering if you'd come across a friend of ours?
JACOB
Tina Goldstein.
KAMA
Monsieur, Paris is a large city.
NEWT
She's an Auror. When Aurors go missing, the Ministry tend to come looking, so...
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NEWT
CONTINUED:
No, now I suppose it would probably be better if we just report her absence --
KAMA
(deciding)
She is tall? Dark? Rather --
JACOB
-- intense?
NEWT
-- beautiful --
JACOB
(hasty, off NEWT'S look)
-- Yeah, what I meant to say - she's very -- very pretty --
NEWT
She's intense too.
KAMA
I think I saw someone like this last night. Perhaps if I showed you where?
NEWT
If you wouldn't mind. That would be lovely.
KAMA
Sure.
61
INT. KAMA'S HIDEOUT - EVENING
The interior of KAMA'S hideout is pitch black. The sound of WATER DRIPPING. A brief shaft of sunlight reveals TINA, sleeping lightly on the floor in her coat.
NEWT
Tina?
She wakes. A MOMENT as NEWT and TINA stare at each other. Each has thought of the other daily for a year. With no sign of KAMA, it seems she has been rescued. 8FLiX.com FYC SCREENPLAY DATABASE 20230910
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TINA
CONTINUED:
(joyful, disbelieving)
Newt!
TINA notices KAMA entering in the background and raising his wand. Her expression changes.
KAMA
Expelliarmus!
NEWT'S wand flies out of his hand into KAMA'S. Bars form across the door, imprisoning them.
KAMA
(through the door)
My apologies, Mr. Scamander! I shall return and release you when Credence is dead!
TINA
Kama, wait!
KAMA
You see, either he dies... or I do.
He claps a hand to his eye.
KAMA
No, no, no, no. Oh no. No, no, no.
He jerks convulsively and slides to the floor, unconscious.
NEWT
Well, that's not the best start to a rescue attempt.
TINA
This was a rescue attempt? You've just lost me my only lead.
JACOB launches for the door, trying to break it down.
NEWT
(innocent)
Well, how was the interrogation going before we turned up?
TINA throws him a dark look. She strides to the back of the cave. Pickett, who, unnoticed, has hopped out of NEWT'S pocket, successfully picks the lock, and the bars swing open. 8FLiX.com FYC SCREENPLAY DATABASE 20230910
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JACOB
CONTINUED: (2)
Newt!
NEWT
Well done, Pick.
(to TINA)
You need this man, you say?
TINA
Yeah. I think this man knows where Credence is, Mr. Scamander.
As they bend over the unconscious KAMA, they hear an earth- shattering roar from somewhere above them. They look at each other.
NEWT
Well, that'll be the Zouwu.
NEWT grabs his wand and Disapparates.
62
EXT. PARISIAN BRIDGE - NIGHT
In the middle of the bridge is the Zouwu, terrified and lethal. It is too badly hurt to keep running, but it is swiping at PASSERSBY, who are screaming and running out of the way. Cars screech to a halt. NEWT Apparates in the middle of the bridge, fifty yards from the Zouwu, holding his case. A second later, TINA Apparates too, holding JACOB'S arm. JACOB is sagging under the weight of the unconscious KAMA.
JACOB
(calls)
Newt, get out of there!
NEWT stoops down slowly and opens his case. The Zouwu snarls, crouches, and begins to advance on NEWT. Very slowly, so as not to alarm the Zouwu, NEWT lowers his arm into the case, feeling for something. It takes him longer than he expected. Frowning, he reaches deeper inside. The Zouwu advances. It bares its teeth. NEWT has found what he was looking for. He raises his arm. He is holding a fluffy toy bird on a stick and rope. 8FLiX.com FYC SCREENPLAY DATABASE 20230910
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A beat.
CONTINUED:
The Zouwu's eyes start to follow the bird.
The Zouwu's tail twitches. It crouches lower than ever. Then, with a sudden bound, it soars through the air toward NEWT. Screams from the onlookers -- NEWT will surely be crushed --
But at the last moment he lets the bird fall into the case and the Zouwu sails after it in a flash of rainbow color, python tail flailing and -- WHAM -- NEWT slams the lid shut.
Uproar from the crowd, sirens approaching, police cars converging on the bridge.
FLAMEL'S card flies up out of NEWT'S pocket.
TINA and JACOB, still carrying KAMA, run toward NEWT, and all four Disapparate.
63
EXT. HOGWARTS - DAY
An ominous procession of AURORS marches up the drive toward the castle, among them, THESEUS and LETA. CLOSE ON: AN UPPER WINDOW. STUDENTS staring down at the strangers, nudging one another. The AURORS enter the school.
64
INT. DEFENSE AGAINST THE DARK ARTS CLASSROOM - DAY
DUMBLEDORE is teaching. A space in the middle of the room, all students enjoying the spectacle. A large boy - MCCLAGGAN - is braced for attack, his robes covered in dust, his tie knotted around his ear. He and DUMBLEDORE circle each other.
DUMBLEDORE
What were the three biggest mistakes that you made last time?
MCCLAGGAN
Caught by surprise, sir.
DUMBLEDORE
What else?
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MCCLAGGAN
CONTINUED:
Didn't parry before counter-curse, sir.
DUMBLEDORE
Very good. And the last one... the most important one?
MCCLAGGAN looks away, thinking. DUMBLEDORE hits him unawares. MCCLAGGAN flies into the air, DUMBLEDORE conjures a sofa, MCCLAGGAN hits it and slides to the floor.
DUMBLEDORE
Not learning from the first two.
The class laughs. The door opens. TRAVERS, THESEUS, and four other AURORS enter, YOUNG MINERVA MCGONAGALL behind them.
MCGONAGALL
This is a school, you've no right --
TRAVERS
I'm the Head of Magical Law Enforcement and I have the right to go wherever I please.
(to the students)
Out of here.
They don't move.
DUMBLEDORE
(to the students)
Go with Professor McGonagall, please.
They file out, curious or alarmed. The last out is MCCLAGGAN.
MCCLAGGAN
(to TRAVERS)
He's the best teacher we've got.
DUMBLEDORE
(quiet)
Thanks, McClaggan.
TRAVERS
Get out!
MCGONAGALL
Come, McClaggan.
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The door closes.
CONTINUED: (2)
TRAVERS
Newt Scamander is in Paris.
DUMBLEDORE
Really?
TRAVERS
Cut the pretense. I know he's there on your orders.
DUMBLEDORE
If you'd ever had the pleasure to teach him, you'd know Newt is not a great follower of orders.
TRAVERS tosses a small book to DUMBLEDORE, who catches it in one hand.
TRAVERS
(indicating the book)
You've read The Predictions of Tycho Dodonus?
DUMBLEDORE
Many years ago.
TRAVERS
(reads)
"A son cruelly banished Despair of the daughter Return --"
DUMBLEDORE
Yes, I know it.
TRAVERS
There's a rumor this DUMBLEDORE (CONT'D) prediction refers to the -- a highborn henchman. I've Obscurial. They say that heard the rumor. Grindelwald wants --
TRAVERS
And yet Scamander appears wherever the Obscurial goes, to protect him. Meanwhile you have built up quite a little network of international contacts --
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DUMBLEDORE
CONTINUED: (3)
(quiet, steely)
However long you keep me and my friends under surveillance, you're not going to discover plots against you, Travers, because we want the same thing: the defeat of Grindelwald. But I warn you, your policies of suppression and violence are pushing supporters into his arms --
TRAVERS
I'm not interested in your warnings!
(controlling himself)
Now, it pains me to say it, because -- well, I don't like you.
TRAVERS and DUMBLEDORE both chuckle.
TRAVERS
But... you are the only wizard who is his equal. I need you to fight him.
A pause. The AURORS watch.
DUMBLEDORE
I cannot.
TRAVERS
Because of this?
He casts a spell to show moving pictures of TEENAGE DUMBLEDORE and TEENAGE GRINDELWALD. The AURORS are shocked. The TEENAGE DUMBLEDORE and TEENAGE GRINDELWALD stare intently into each other's eyes.
TRAVERS
You and Grindelwald were as close as brothers.
DUMBLEDORE
We were closer than brothers.
DUMBLEDORE is looking at the pictures. These memories are agony. He is full of remorse but, almost worse: nostalgia for the only time in his life he felt fully understood.
TRAVERS
Will you fight him?
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DUMBLEDORE
CONTINUED: (4)
(pained)
I can't.
TRAVERS
Then you have chosen your side.
He flicks his wand once more. Thick metal cuffs -- Admonitors -- appear on DUMBLEDORE'S wrists.
TRAVERS
From now on, I shall know every spell you cast. I'm doubling the watch on you, and you will no longer teach Defense Against the Dark Arts.
(to THESEUS)
Where's Leta? We need to go to Paris!
He storms out. The AURORS follow. THESEUS is last to the door.
DUMBLEDORE
(quietly)
Theseus.
THESEUS looks back.
DUMBLEDORE
Theseus, if Grindelwald calls a rally, don't try and break it up. Don't let Travers send you in there. If you ever trusted me --
TRAVERS (O.S.)
THESUS!
THESUS leaves.
65
INT. DESERTED HOGWARTS CORRIDOR - DAY
The late afternoon sun falls through the windows as LETA walks along a corridor populated only with memories. She stops beside an open door. THE GREAT HALL is lit with floating candles. 8FLiX.com FYC SCREENPLAY DATABASE 20230910
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INT. EMPTY HOGWARTS CLASSROOM - DAY
LETA walks slowly into the classroom, then turns to look back into the corridor and -- DISSOLVE TO:
67
-
INT. EMPTY HOGWARTS CLASSROOM - SEVENTEEN YEARS PREVIOUSLY 67
MORNING
13-YEAR-OLD LETA stands hiding inside the empty classroom while students in cloaks trundle by, pushing trunks and carrying owls. It is the last day of the winter term and nearly everyone is going home.
ANGLE ON: TWO 13-YEAR-OLD GRYFFINDOR GIRLS pushing trunks.
GRYFFINDOR GIRL 1
You know she stays here every vacation. Her family don't actually want her home.
GRYFFINDOR GIRL 2
I don't blame them, she's so annoying. Even the name Lestrange makes me feel sick --
LETA flings herself into their path, pointing her wand.
13-YEAR-OLD LETA
Oscausi!
GRYFFINDOR GIRL 2'S mouth is sealed shut as though she never had one. Triumphant, LETA flees the scene, pushing past shocked students.
GRYFFINDOR GIRL 1
(screams)
Professor McGonagall! LESTRANGE HAS DONE IT AGAIN!
MCGONAGALL (O.S.)
Lestrange, stop running! LESTRANGE! Disobedient children. Stop! Shame on the House of Slytherin. One hundred points! Two hundred! Get back here, right now! Stop! Stop it! Stop it! You stop it! Get back here!
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GRYFFINDOR GIRL 1
CONTINUED:
Miss, it was Lestrange. She's horrible --
McGONAGALL silences the girl. ANGLE ON: LETA, sprinting around a corner. She wrenches open a side door and plunges inside.
68
68
INT. HOGWARTS CUPBOARD - SEVENTEEN YEARS PREVIOUSLY - MORNING
13-YEAR-OLD LETA slams the door and stands there, ear against it. She hears running, distant shouts.
Then a sound behind her makes her jump and turn around.
13-YEAR-OLD NEWT is already in occupation of the cupboard. He has hidden a couple of tanks here, one containing tadpoles, another Streelers.
A lined cardboard box serves as a nest for the raven chick he is cradling in his hand. It wears a splint on its broken leg. NEWT and LETA stare at each other.
13-YEAR-OLD LETA
Scamander... why aren't you packing?
13-YEAR-OLD NEWT
I'm not going home.
13-YEAR-OLD LETA
Why not?
13-YEAR-OLD NEWT
(re: the raven)
He needs me. It was hurt.
LETA takes in the tanks, then the ugly little bird, to which NEWT now feeds an earthworm.
13-YEAR-OLD LETA
What is that?
13-YEAR-OLD NEWT
A raven chick.
She is mildly intrigued now.
13-YEAR-OLD LETA
The raven's my family's emblem.
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She watches him stroking the bird's head. As he places the
CONTINUED:
chick gently in her hands, she seems to see him plainly for the first time.
DISSOLVE TO:
69
PREVIOUSLY - DAY
INT. DEFENSE AGAINST THE DARK ARTS CLASS - FOURTEEN YEARS 69
It is Boggart time.
DUMBLEDORE supervises the line of teenagers advancing to try their luck.
"Riddikulus" -- "Riddikulus" -- gusts of hilarity as a shark becomes a flotation device, a zombie's head turns into a pumpkin, a vampire turns into a buck-toothed rabbit.
DUMBLEDORE
All right, Newt. Be brave.
16-YEAR-OLD NEWT moves to the front of the queue. The Boggart turns into a Ministry desk.
DUMBLEDORE
Mmm, that's an unusual one. So Mr. Scamander fears what more than anything else in the world?
16-YEAR-OLD NEWT
Having to work in an office, sir.
The class roars with laughter.
DUMBLEDORE
Go ahead, Newt.
16-YEAR-OLD NEWT
Riddikulus!
NEWT turns the desk into a gamboling wooden dragon and moves aside.
DUMBLEDORE
Well done. Good job.
It is 16-YEAR-OLD LETA'S turn, but she doesn't move. She is terrified. 8FLiX.com FYC SCREENPLAY DATABASE 20230910
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DUMBLEDORE
CONTINUED:
(kind, to LETA)
Leta, it's only a Boggart, it can't hurt you. Everyone's scared of something.
A group of girls stands together, enjoying her fear.
GRYFFINDOR GIRL 1
I've been looking forward to this.
LETA steps forward. The Boggart transforms and at once, all laughter is extinguished. Green light is reflected on every horrified face. We see a shadow, with a tiny human hand. LETA lets out a sob and runs from the room.
70
PREVIOUSLY - EVENING
EXT. HOGWARTS LAKE, BOWTRUCKLE ISLAND - FOURTEEN YEARS
NEWT finds LETA sitting by the lake, tearstained, eyes swollen. They look at each other.
16-YEAR-OLD LETA
I don't want to talk about it!
He holds out his hand and she lets him pull her up. He leads her past a few trees until they reach the one where Bowtruckles are climbing and fighting and playing. They freeze at the humans' approach but relax when they recognize NEWT. He holds out a finger. One of them jumps on.
16-YEAR-OLD NEWT
They know me, or they'd hide. They only nest in trees with wand -- quality wood, did you know that?
(beat)
And they have very complex social lives. If you watch them for long enough, you realize...
He trails off. She is watching him, not the Bowtruckles. NEWT reaches across to her, the Bowtruckle standing on his wrist. His hand grazes hers. 8FLiX.com FYC SCREENPLAY DATABASE 20230910
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DUMBLEDORE (V.O.)
CONTINUED:
Hello, Leta.
71
INT. EMPTY HOGWARTS CLASSROOM - AFTERNOON
LETA is still sitting at her old desk in the present-day classroom. DUMBLEDORE enters.
DUMBLEDORE
This is a surprise.
LETA
(cold)
Finding me in a classroom? Was I such a bad student?
DUMBLEDORE
On the contrary, you were one of my cleverest.
LETA
I said bad, not stupid. Don't bother answering. I know you never liked me.
DUMBLEDORE
Well, you're wrong. I never thought you bad.
LETA
You were alone, then. Everybody else did.
(very quietly)
And they were right. I was wicked.
A beat as he considers her.
DUMBLEDORE
Leta, I know how painful the rumors about your brother Corvus must be for you.
LETA
No, you don't. Not unless you had a brother who died too.
DUMBLEDORE
In my case, it was my sister.
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She stares at him, both hostile and curious.
CONTINUED:
LETA
Did you love her?
DUMBLEDORE
Not as well as I should have done.
He steps toward LETA.
DUMBLEDORE
It's never too late to free yourself. Confession is a relief, I'm told. A great weight lifted.
She stares at him: What does he know -- or suspect?
DUMBLEDORE
(sotto voce)
Regret is my constant companion. Do not let it become yours.
72
INT. GRINDELWALD'S HIDEOUT, DRAWING ROOM - END OF DAY
QUEENIE is on the sofa, beside a table of tea and cakes. She sets down her empty teacup. We feel her slight awkwardness as it is instantly refilled by ROSIER.
QUEENIE
Oh, no, thank you. You've been real kind, but my sister Tina's probably worried sick about me, you know. Banging on all the doors and things, so I think I'd better be going.
ROSIER
But you haven't met your host.
QUEENIE
(a little wistfully)
Oh, are you married?
ROSIER
(smiling)
Let's say... deeply committed.
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QUEENIE
CONTINUED:
(innocent)
You see, I can't tell if you're making a joke or if you're just... French.
ROSIER laughs and leaves. QUEENIE is confused. An enchanted teapot hovering in midair nudges her, intent on refilling her cup.
QUEENIE
(to the teapot)
Hey, knock it off.
The door opens. GRINDELWALD enters. QUEENIE stands and the teapot and cups smash to the ground. She draws her wand and aims it at GRINDELWALD.
QUEENIE
You stay right there. I know what you are.
He walks slowly toward her.
GRINDELWALD
Queenie, we are not here to hurt you. We only want to help you. You're so very, very far from home. Far away from everything you love. Everything that was comfortable.
QUEENIE stares, keeping her wand raised.
GRINDELWALD
I would never see you harmed, ever. It is not your fault that your sister is an Auror. I wish you were working with me now towards a world where we wizards are free to live openly, and to love freely.
GRINDELWALD'S hand touches her wand-tip and lowers it.
GRINDELWALD
You are an innocent. So go now. Leave this place.
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INT. HOGWARTS, ROOM OF REQUIREMENT - NIGHT
A spartan room. A large object stands against the wall, covered in black velvet. DUMBLEDORE stands thinking for a moment, then approaches the covered object and pulls the curtain down. The Mirror of Erised is revealed. He has not looked into it for many years. Bracing himself, he now does so: WE SEE: TEENAGE DUMBLEDORE and TEENAGE GRINDELWALD facing each other in a barn. Both score their palms with their wands. Now bleeding, they interlace their hands... DUMBLEDORE turns his head away, fighting the impulse to cover the glass again. Bracing himself, he looks up. From their bloody palms rise two glowing drops of blood, which mingle and merge to create one. A metal shape begins to form around the droplet, becoming more defined and intricate. It is GRINDELWALD'S vial.
THE VISION FADES --
-- and the present-day GRINDELWALD stands smiling out of the mirror, surrounded by blackness.
74
EXT. PARIS, RUE DE MONTMORENCY - AFTERNOON
ESTABLISHING SHOT: NICOLAS FLAMEL'S house.
75
INT. FLAMEL HOUSE - AFTERNOON
A creepy medieval drawing room. The tapestries sport moving figures and odd runes. A large crystal ball in a corner shows dark clouds. TINA is trying to wake up KAMA with a bottle of smelling salts. He moves slightly. The Predictions of Tycho Dodonus slips out of his pocket onto the floor. TINA picks it up and opens it to the prediction KAMA has underlined. NEWT'S case is open on a table. The Zouwu roars from inside. TINA turns to look at it, listening. 8FLiX.com FYC SCREENPLAY DATABASE 20230910
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INT. NEWT'S CASE, ZOUWU ENCLOSURE - AFTERNOON
A wild Chinese habitat. NEWT is curled up in dense undergrowth. The Zouwu picks him up and dangles him from a claw.
77
INT. FLAMEL HOUSE - AFTERNOON
JACOB enters and sees TINA watching the case. She hastily looks back at the book.
JACOB
(calling into case)
Hey, Newt, buddy. Tina's up here. She's all by her lonesome and maybe you want to come up and keep her company?
(beat)
I've been looking for food, and I ain't found any. I guess I'm gonna go upstairs and try my luck in the - - I dunno -- the attic!
78
INT. NEWT'S CASE, ZOUWU ENCLOSURE - AFTERNOON
Still dangling from the Zouwu's claw, NEWT soothes and coaxes her until he can reach her harness and remove it. The Zouwu is finally freed from her chains.
NEWT
You're all right.
JACOB (O.S.)
Okay!
79
INT. FLAMEL HOUSE - AFTERNOON
JACOB is about to leave when NEWT clambers back out of the case.
NEWT
She's responded well to the Dittany. She was born to run, you see. I think she's just lacking in confidence --
He glances at TINA. She pockets The Predictions of Tycho Dodonus and speaks, not quite looking at NEWT. 8FLiX.com FYC SCREENPLAY DATABASE 20230910
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TINA
CONTINUED:
Mr. Scamander, have you got anything in your case that might help revive this man? I need to question him. I think he knows who Credence really is. The scars on his hand suggest an unbreakable vow --
NEWT
(eager, overlapping)
-- unbreakable vow. Yeah, I noticed that too --
They examine the unconscious KAMA.
NEWT
Lumos.
NEWT'S and TINA'S hands brush as NEWT advances his lit wand- tip to look in KAMA'S eye. Both jump. NEWT stares into KAMA'S eye. The tiny flicker of a tentacle, swiftly withdrawn --
TINA
(gasps)
What was that?
NEWT
(serious)
There must be a water dragon in that sewer-they carry these parasites, you see. They... Jacob?
JACOB
Yeah?
NEWT
In my case, in the pocket there, you'll find a pair of tweezers.
JACOB
Tweezers?
NEWT
They're thin and pointy --
TINA
Thin, little pointy things.
JACOB
Yes, I know what tweezers are.
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NEWT
CONTINUED: (2)
(to TINA)
You might not want to watch this...
TINA
I can handle it.
NEWT succeeds in catching and pulling at the tentacle in KAMA'S eye.
NEWT
Come on. You're all right. Jacob, will you take that for me?
He has extracted something like a spindly, waterborne spider, which he hands to JACOB.
JACOB
Ew! Calamari.
KAMA has started muttering, distraught, semiconscious.
KAMA
I must kill him...
TINA
Who? Credence? Who --?
NEWT
It may take him a few hours to recover. The parasite's poison is quite strong.
TINA
I'll have to go to the Ministry with what I've got.
(a wobble in her voice)
It was nice to see you again, Mr. Scamander.
She strides from the room, leaving NEWT perplexed and upset.
80
INT. FLAMEL HOUSE, HALLWAY - AFTERNOON
JACOB follows TINA into the hall.
JACOB
Hey, hold on one second, will you? Well, hold on! Wait! Tina!
She leaves. As the front door closes, NEWT appears at the drawing room door. 8FLiX.com FYC SCREENPLAY DATABASE 20230910
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JACOB
CONTINUED:
(to NEWT)
You didn't mention salamanders, did you?
NEWT
No, she just -- ran. I don't know...
JACOB
(firm)
So you chase after her!
NEWT grabs his case. He leaves.
81
EXT. RUE DE MONTMORENCY - END OF DAY
TINA is hurrying up the road. NEWT hastens to catch up.
NEWT
Tina. Please, just listen to me --
TINA
Mr. Scamander, I need to go talk to the Ministry -- and I know how you feel about Aurors --
NEWT
I may have been a little strong in the way that I expressed myself in that letter --
TINA
What was the exact phrase? "A bunch of careerist hypocrites"?
NEWT
I'm sorry, but I can't admire people whose answer to everything that they fear or misunderstand is "kill it"!
TINA
I'm an Auror and I don't --
NEWT
Yes, and that's because you've gone middle head!
TINA
(stopping)
Excuse me?
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NEWT
CONTINUED:
It's an expression derived from the three heads of the Runespoor. The middle one is the visionary. Every Auror in Europe wants Credence dead -- except you. You've gone middle head.
A beat.
TINA
Who else uses that expression, Mr. Scamander?
NEWT considers.
NEWT
I think it might just be me.
All lights are extinguished as every building is wrapped in black banners. MUGGLES pass, totally immune, but a YOUNG RED-HAIRED WITCH nearby is walking along. She, like NEWT and TINA, can see the banners. TINA steps into the middle of the road, watching the black silk fall out of the sky to shroud the surrounding buildings in darkness.
TINA
It's Grindelwald. He's calling his followers.
WE PAN UP ONE LENGTH OF FLOWING BLACK SILK until we achieve an AERIAL VIEW of Paris. The entire city is being covered in GRINDELWALD'S dark banners.
82
EXT. WIZARDING CAFÉ - END OF DAY
Witches and wizards hurrying outside to see what is invisible to Muggle passersby.
83
EXT. PARISIAN STREET - END OF DAY
QUEENIE reaches out to the nearest black banner, and an emblem of a white raven appears beneath her touch. 8FLiX.com FYC SCREENPLAY DATABASE 20230910
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EXT. PLACE DE FURSTEMBERG - END OF DAY
NEWT still following TINA. They stand surrounded by the impressive scale of GRINDELWALD'S banners.
TINA
It's too late. Grindelwald's come for Credence. He might already have him.
NEWT
(suddenly forceful)
It's not too late. We can still get to him first.
He grabs her hand and pulls her on.
TINA
Where are you going?
NEWT
The French Ministry of Magic.
TINA
That's the last place Credence would go!
NEWT
There's a box hidden at the Ministry safe. It's a box that can tell us who Credence really is.
TINA
A box? What are you talking about?
NEWT
Trust me.
85
EXT. DERELICT BUILDING, ROOFTOP - LATE AFTERNOON
CREDENCE is breaking up birdseed and feeding it to a small chick when NAGINI appears behind him.
NAGINI
(urgently)
Credence.
She leads him back through the open window, out onto the roof. 8FLiX.com FYC SCREENPLAY DATABASE 20230910
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The EIFFEL TOWER is visible behind them.
CONTINUED:
WE PAN AROUND: and see GRINDELWALD sitting on the rooftop near them both.
GRINDELWALD
Shh.
CREDENCE
(whispers)
What do you want?
GRINDELWALD
From you? Nothing. For you? Everything I never had. But what is it you want, my boy?
CREDENCE
I want to know who I am.
GRINDELWALD
This is where you will find proof of your true identity.
GRINDELWALD takes a piece of parchment from his pocket and throws it into the air. The parchment flutters to CREDENCE and lands gently in his hand.
GRINDELWALD
Come to Père Lachaise tonight and you will discover the truth.
He bows, then Disapparates, leaving CREDENCE holding a map of Père Lachaise cemetery.
86
INT. FLAMEL HOUSE - END OF DAY
An uncomfortable JACOB is asleep in a chair beside the semiconscious KAMA. KAMA is muttering:
KAMA
Father... why did you make me...?
JACOB jolts awake as if from a bad dream.
JACOB
Wait! Wait --
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Now fully awake, JACOB'S stomach begins to rumble.
CONTINUED:
A figure appears behind JACOB.
Six-hundred-year-old NICOLAS FLAMEL stands at the entrance to his alchemist's studio.
FLAMEL
I'm afraid we keep no food in the house.
JACOB yelps in fear.
JACOB
(terrified)
Are you a ghost?
FLAMEL
(amused)
No, no, I am alive, but I am an alchemist, and therefore immortal.
JACOB
You don't look a day over three- seventy-five. Hey, sorry we didn't knock --
FLAMEL
No matter. Albus told me some friends might be dropping in.
(holding out his hand)
Nicolas Flamel.
JACOB
Oh. Jacob Kowalski.
They shake hands. JACOB'S grip is firm -- too firm for the alchemist's fragile bones.
FLAMEL
Ooh!
JACOB
I'm sorry.
FLAMEL
It's all right.
JACOB
I didn't --
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FLAMEL looks over at the large crystal ball, in which dark
CONTINUED: (2)
billowing clouds and flashes of lightning have appeared.
FLAMEL
Aha! At last, we see developments!
JACOB
(drawing closer)
I've seen one of these before. It was at the fair. There was this dame there, and she had a veil. I gave her a nickel and she told me about my future.
(beat)
She missed out on quite a bit, actually.
WE CLOSE IN ON: the orb, into dark billowing smoke and flashes of lightning, into the center where we see CREDENCE --
JACOB (O.S.)
Hey -- wait a minute! I know him. That's that kid. That's Credence --
-- and then it becomes the Lestrange tomb, its stone raven prominent. Suddenly, QUEENIE appears inside the tomb, sitting on a stone bench, waiting...
JACOB
Hey! That's Queenie! There she is.
(as if to QUEENIE)
Hi, baby!
(to FLAMEL)
Where is this? Is this -- is this here?
FLAMEL
This is the Lestrange tomb. It lies in the cemetery of Père Lachaise...
JACOB
(to QUEENIE in the crystal ball)
I'm coming, baby. Stay right there - -
(to FLAMEL)
Thank you, thank you, Mr. Flamel!
JACOB clutches FLAMEL'S hands in gratitude. 8FLiX.com FYC SCREENPLAY DATABASE 20230910
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FLAMEL
CONTINUED: (3)
Ahh!
JACOB
Oh no. I'm sorry! I'm sorry, okay?
FLAMEL
Ouch.
JACOB
Oh-look after Mr. Tentacles for me.
He turns. The sofa is empty. JACOB runs out of the room into the hall. The front door stands open. KAMA has escaped.
JACOB
Oh no. I'm sorry, I gotta go.
FLAMEL
Please, you must not go to the cemetery!
But JACOB too runs off into the night. BACK TO FLAMEL: he has shuffled after JACOB, but on realizing he is gone, FLAMEL turns anxiously back to the orb. Black flames are swirling around it. FLAMEL shuffles back into his studio and opens a cupboard. We glimpse glass vials, tubes, and the glowing Philosopher's Stone. He heaves from a shelf a padlocked book embossed with a phoenix. He touches the padlock and it springs open. CLOSE ON THE BOOK: as he flicks through it. Each page holds a photograph captioned with a name. FLAMEL turns the pages, but the subjects of all the pictures are missing.
FLAMEL
Oh dear --
DUMBLEDORE'S portrait is blank. FLAMEL flicks open another page: EULALIE HICKS, a young American professor at Ilvermorny, looks around, worried. 8FLiX.com FYC SCREENPLAY DATABASE 20230910
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EULALIE
CONTINUED: (4)
What's happening?
FLAMEL
Exactly what he said would happen. Grindelwald rallies tonight at the cemetery, and there will be death!
EULALIE
Then you gotta go!
FLAMEL
(panicked)
What? I haven't seen action in two hundred years...
EULALIE
You can do this, Flamel. We believe in you.
87
EXT. PLACE DE FURSTEMBERG - DAY
TINA and NEWT stand in a nearby alleyway, looking out over the square where tree roots previously rose to form the birdcage elevator to the French Ministry.
NEWT
The box is in the ancestral records room, Tina. So, three floors down.
NEWT rummages in his pockets and pulls out a tiny bottle with only a couple of muddy drops left inside it.
TINA
Is that Polyjuice?
NEWT
(of the bottle)
Just enough to get me inside.
He looks down at his coat and finds one of THESEUS'S hairs on his shoulder. He adds it to the mixture, drinks, and turns into THESEUS, still wearing NEWT'S clothes.
TINA
Who --?
NEWT
My brother, Theseus. He's an Auror. And a hugger.
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INT. MINISTÈRE DES AFFAIRES MAGIQUES, MAIN LEVEL - NIGHT
THESEUS exits a meeting room and strides toward LETA, who is waiting for him.
LETA
What's happening?
THESEUS
Grindelwald's rallying. We don't know where, but we think it's tonight.
LETA and THESEUS kiss.
LETA
Be careful.
THESEUS
Of course.
LETA
Promise me you'll be careful.
THESEUS
Of course, I'm going to be careful. Listen, I want you to hear this from me. They think that Credence boy might be your missing brother.
LETA
My brother is dead. He died. How many times, Theseus?
THESEUS
I know, I know. And the records, the records will prove that, okay? They can't lie.
TRAVERS
(sharply)
Theseus.
THESEUS leaves LETA and joins TRAVERS.
TRAVERS
I want every person at that rally arrested. If they resist --
THESEUS
Sir-forgive me... but if we go in too heavy, don't we run the risk of adding to the --
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TRAVERS
CONTINUED:
Just do it.
THESEUS catches sight of NEWT-AS-THESEUS and TINA walking, heads down, through the Ministry typing pool. The brothers' eyes meet. ANGLE ON: NEWT-AS-THESEUS and TINA. NEWT-AS-THESEUS grabs TINA'S arm and makes a sharp turn down a corridor. THESEUS sets off in pursuit, leaving LETA and the angry TRAVERS (who hasn't spotted NEWT) behind. LETA backs away from the throng and slips through a side door.
89
INT. MINISTÈRE DES AFFAIRES MAGIQUES, CORRIDOR - NIGHT
NEWT-AS-THESEUS and TINA run along a corridor lined with pictures, the Polyjuice Potion already wearing off NEWT.
NEWT
I don't suppose you can Disapparate on Ministry premises in France, can you?
TINA
No.
NEWT
Pity.
The Potion wears off completely.
TINA
Newt!
NEWT
Yes, I know. I know there's --
At once, every portrait along the corridor turns into NEWT. An alarm sounds.
ALARM (O.S.)
(in French)
Urgence! Urgence! Un sorcier suivi, Newt Scamander, est entré dans le Ministère!
(then, in English)
Emergency! Emergency! A tracked wizard, Newt Scamander, has entered the Department of Magic!
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THESEUS MOVES INTO SHOT.
CONTINUED:
THESEUS
Newt!
TINA
(running)
That's your brother?
NEWT
Yes -- I think I may have mentioned in my letters we have quite a complicated relationship --
THESEUS
NEWT, STOP!
NEWT and TINA sprint through a second door, which leads --
90
INT. MINISTÈRE DES AFFAIRES MAGIQUES, MAILROOM - NIGHT
-- into a mailroom. Two elderly PORTERS are pushing mailcarts across the circular room.
TINA
Does he want to kill you?
NEWT
Frequently.
THESEUS
No!
As they sprint past the mailcarts, THESEUS sends a curse after them, sending the mailcart boxes flying. TINA blocks the spell.
TINA
He needs to control his temper!
TINA points her wand. THESEUS is slammed down into a high chair that TINA has conjured out of nowhere. Hands bound, THESEUS flies backward on the chair into a meeting room, where he slams into a wall. 8FLiX.com FYC SCREENPLAY DATABASE 20230910
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NEWT
CONTINUED:
(awed)
I think that might have been the best moment of my life.
TINA laughs. NEWT and TINA sprint on.
91
INT. LESTRANGE MAUSOLEUM - NIGHT
An ancient tomb containing many sarcophagi is dominated by the grand marble tomb of LETA'S father. ABERNATHY and MACDUFF enter carrying the bag retrieved from the French Ministry and remove the elaborate box, which they plant in the mausoleum to be found.
92
EXT. PÈRE LACHAISE CEMETERY - SHORTLY AFTERWARD - NIGHT
JACOB is panting as he runs through the dark, deserted cemetery, looking for the tomb he saw in the orb. A faint light in the distance shows him the Lestrange mausoleum.
93
EXT. LESTRANGE MAUSOLEUM - A MINUTE LATER - NIGHT
JACOB reaches the tomb. A stone raven on the lintel.
JACOB
(whispers)
Queenie?
No answer. He enters.
94
INT. LESTRANGE MAUSOLEUM - NIGHT
ANGLE ON: JACOB entering a small space full of shadows and sarcophagi. A single lamp.
JACOB
Queenie, honey?
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MALE WIZARD
CONTINUED:
Don't. Don't move.
A movement behind him. He whirls around. A silhouetted figure lunges at him.
95
NIGHT
INT. MINISTÈRE DES AFFAIRES MAGIQUES, RECORDS ROOM ATRIUM -95
NEWT and TINA turn a corner into a beautiful atrium area in front of towering Art Nouveau doors carved to resemble trees.
A very old woman behind a desk bars the way: MELUSINE.
MELUSINE
(in French)
Puis-je vous aider?
NEWT
Er -- yes, this is Leta Lestrange. And -- I'm her --
TINA
Fiancé.
An increased awkwardness between them as MELUSINE lifts an ancient book onto the desk and opens it. CLOSE ON: MELUSINE'S WIZENED FINGER as it runs down a list of surnames beginning with "L".
MELUSINE
(pointing them on, in French)
Allez-y.
TINA
(whispering, in French)
Merci.
NEWT
(sotto voce, behind TINA)
Thank you.
NEWT grabs TINA'S hand and pulls her toward the doors into the records room. MELUSINE eyes them suspiciously.
NEWT
Tina, about that fiancée business --
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TINA
CONTINUED:
(brittle)
Sorry, yeah. I should have congratulated you --
The doors to the records office open. They enter briskly.
96
INT. MINISTÈRE DES AFFAIRES MAGIQUES, RECORDS ROOM - NIGHT 96
The doors close behind them, plunging them into darkness.
NEWT
No, that's --
TINA
Lumos.
An extraordinary acre of shelves stretches away from them, all carved to look like trees, so that they seem to be on the edge of the forest. Pickett pokes his head out of NEWT'S pocket and squeals in excitement.
TINA
Lestrange.
Nothing happens. TINA sets off, NEWT right behind her. They weave in and out of the carved shelves bearing rolls of parchment, the occasional prophecy, other mysterious trunks and boxes.
NEWT
Tina -- about Leta -
TINA
Yes, I've just said, I am happy for you --
NEWT
Yeah, well, don't.
She stops. Looks at him. What?
NEWT
Please don't be happy.
(in trouble)
Uh, no, no. I'm sorry. I don't...
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NEWT
CONTINUED:
Uh, obviously, I -- Obviously I want you to be. And I hear that you are now. Uh, which is wonderful. Sorry --
(a gesture of hopelessness)
What I'm trying to say is, I want you to be happy, but don't be happy that I'm happy, because I'm not.
(off her confusion)
Happy.
(off her continued confusion)
Or engaged.
TINA
What?
NEWT
It was a mistake in a stupid magazine. My brother's marrying Leta, June the sixth. I'm supposed to be best man. Which is sort of mildly hilarious.
TINA
Does he think you're here to win her back?
(beat)
Are you here to win her back?
NEWT
No! I'm here to --
A beat. He stares at her.
NEWT
-- you know, your eyes really are --
TINA
Are what?
NEWT
I'm not supposed to say.
Pickett is climbing out of NEWT'S pocket onto the nearest shelf. NEWT doesn't notice. A beat. Then, in a rush: 8FLiX.com FYC SCREENPLAY DATABASE 20230910
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TINA
CONTINUED: (2)
Newt, I read your book, and did you --?
NEWT
I still have a picture of you -- wait, did you read --?
NEWT pulls the picture of her from his breast pocket and unfolds it. She is inordinately touched. He looks from the picture to TINA.
NEWT
I got this -- I mean, it's just a picture of you from the paper, but it's interesting because your eyes in newsprint... See, in reality they have this effect in them, Tina... It's like fire in water, in dark water. I've only ever seen that --
(struggling)
I've only ever seen that in --
TINA
(whispers)
Salamanders?
A loud bang as the doors to the records room fly open. They jump apart. Somebody has entered the room. They draw back among the shelves.
TINA
Come.
ANGLE ON: LETA in the doorway. She walks inside, desperate. This is her last chance to hide evidence about Corvus's death. The doors close behind her. She raises her wand.
LETA
Lestrange.
The shelves begin to move. ANGLE ON: MELUSINE, watching through the records room doors. 8FLiX.com FYC SCREENPLAY DATABASE 20230910
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ANGLE ON: NEWT and TINA. The giant trees are shifting all
CONTINUED: (3)
around them. They are almost crushed as the Lestrange "tree" flies toward them. They hop onto a shelf.
ANGLE ON: LETA. The towering stack stops, swaying, in front of her. She stares. An empty shelf confronts her. A mark in the dust where a box sat, a slip of parchment in its place.
She picks up the slip and reads it aloud.
LETA
"Records moved to Lestrange family tomb at Père Lachaise."
She spots Pickett hiding among the deed boxes on the shelf.
LETA
Circumrota.
The record tower turns, revealing NEWT and TINA clinging to the shelves.
LETA
Hello, Newt.
NEWT
Hello, Leta.
TINA
(awkwardly, but kindly)
Hi.
AT THAT MOMENT: MELUSINE enters the records room surrounded by growling Matagots.
NEWT
Oh no.
LETA
(scared)
What kind of cats are those?
NEWT
These aren't cats, they're Matagots. They're spirit familiars. They guard the Ministry -- but they won't hurt you unless you --
Panicking, LETA fires a spell at one of the cats.
LETA
Stupefy!
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Her spell not only fails, it causes the Matagots to multiply
CONTINUED: (4)
and become even more aggressive.
NEWT
(UNLESS YOU ATTACK THEM!)
As each batch of Matagots is hit, they multiply and mutate. The situation has become dangerous.
LETA
Oops.
NEWT
Leta!
LETA climbs over the balustrade to join NEWT and TINA on the shelf stack.
LETA
Reverte!
The towering stack flies backward as the Matagots pounce in a terrifying ebony surge of teeth and claws. The other "trees" of the records room forest spin and move as NEWT, TINA, and LETA run through the room chased by the attacking Matagots. But just as the Matagots seemingly lose the trail, all of the records room towers retract into the floor, leaving the room empty. The Matagots prowl toward where their prey must surely be standing, only to find -- NEWT'S case. ANGLE ON: THE CASE from above. A beat. An explosion as the Zouwu bursts out of the case, NEWT clinging to its back. Roaring, it rears, slashing at the rising tide of Matagots, its mane flashing.
NEWT
Accio!
NEWT'S case flies into his hand. For a few seconds the Zouwu and NEWT vanish under the seething mass of cats. They fight them off, the Zouwu's immense power unmatched, red tail swishing. 8FLiX.com FYC SCREENPLAY DATABASE 20230910
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NEWT points his wand at the ceiling.
CONTINUED: (5)
NEWT
Ascendio! The towers rise once again from the floor, lifting NEWT and the Zouwu high up into the air. Still fighting off the Matagots as the stacks tip and fall beneath the sheer weight, the Zouwu clambers across to the balcony.
97
LATER - NIGHT
INT. MINISTÈRE DES AFFAIRES MAGIQUES, MAIN LEVEL - A MINUTE97
The Matagots give chase as the Zouwu gallops out of the room, leaving injured and thwarted Matagots in its wake.
The Zouwu carves a path of destruction through the Ministry. It takes one last leap over the typing pool...
... and its immense magical power propels it up and out through the glass roof.
98
EXT. PÈRE LACHAISE CEMETERY - NIGHT
NEWT and the Zouwu land in the cemetery. With one gigantic leap, the Zouwu has taken them to freedom. The few Matagots that have followed them growl and then shrink. Reduced to the size of domestic cats in the Muggle environment, they "meow" pitifully. NEWT opens his case as the Zouwu nudges him with affection.
NEWT
Whoa, whoa, whoa. Okay, wait. Hold it there, please. Come on. All right, okay, wait. Okay.
LETA and TINA climb out of the case to observe NEWT coaxing the Zouwu. TINA shakes the cat bird toy she has retrieved from the case. The Zouwu's eyes light up. Unnoticed by NEWT and TINA, LETA runs away into the darkness. 8FLiX.com FYC SCREENPLAY DATABASE 20230910
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INT. LESTRANGE MAUSOLEUM - A MINUTE LATER - NIGHT
LETA enters the ornate space lined with sleeping statues of dead Lestranges. JACOB stands backed against the wall next to NAGINI in snake form, who is repeatedly lashing out at KAMA, who is trying to get a clean shot at CREDENCE.
KAMA
(to NAGINI)
Move back! Move! Out of the way! If I must kill you as well as Corvus, I shall!
LETA raises her wand at KAMA, who swings round to see her, wand pointed at him -- a standoff.
LETA
Stop!
She walks forward, stricken but determined, at last, to do the right thing. KAMA is mesmerized. She is his mother reborn. He moves toward LETA, studies her face in the darkness, transfixed and moved by the sight of her.
LETA
Yusuf?
KAMA
Is that really you? My little sister... ?
NEWT and TINA enter and exchange looks: another piece of the puzzle.
CREDENCE
(to LETA)
So he's your brother? Who am I?
LETA
I don't know.
He pushes past LETA and faces KAMA, unprotected.
CREDENCE
I'm tired of living with no name and no history. Just tell me my story -- then you can end it.
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KAMA
CONTINUED:
Your story is our story...
(gesturing to LETA)
Our story.
LETA
No, Yusuf --
KAMA
(determined)
My father was Mustafa Kama, a pureblood of Sénégalese descent and most accomplished.
100
EXT. PARK - 1896 - DAY
We see a beautiful woman, LAURENA, dressed in an exquisite gown, walking through a park with her husband, MUSTAFA -- clearly in love. A YOUNG YUSUF by their side.
KAMA (V.O.)
My mother, Laurena, was equally high-bred-a noted beauty. They were deeply in love. They knew a man of great influence, from a famous French pureblood family. He desired her.
Watching from a distance, an intense wizard, CORVUS LESTRANGE SR, studies her beauty.
101
INT. KAMA MANSION - 1896 - NIGHT
LAURENA'S gown changes to a nightdress. She is walking slowly downstairs, a supernatural wind blowing.
KAMA (V.O.)
Lestrange used the Imperius Curse to seduce and abduct her...
The twelve-year-old KAMA runs after his mother, tugs at her hand, and tries to pull her back upstairs. She throws him off. The front door flies open. LESTRANGE SR stands at the foot of the garden path. LAURENA walks toward him. KAMA chases after her. 8FLiX.com FYC SCREENPLAY DATABASE 20230910
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LESTRANGE SR points his wand at KAMA and sends him sprawling.
CONTINUED:
LAURENA lies on the bed as IRMA carries a newborn swaddled in a blanket to LESTRANGE SR.
102
INT. LESTRANGE MAUSOLEUM - NIGHT
KAMA
... that was the last time I ever saw her. She died, giving birth to a little girl.
(to LETA)
You.
Tears start in LETA'S eyes, reliving the guilt she holds.
KAMA
The news of her death drove my father insane. With his dying breath, my father charged me to seek revenge.
(determined)
Kill the person Lestrange loves best in the world... I thought at first it would be easy... he had only one close relative... you. But --
LETA
Say it...
KAMA
... he never loved you.
103
INT. LESTRANGE MANOR, BEDROOM - 1901 - DAY
WE RE-ENTER THE STORY: to find LESTRANGE SR with a new, blond wife.
KAMA (V.O.)
He remarried not three months after her death. He loved her no more than he had loved you... But then...
IRMA takes the BABY BOY who has just been born, and passes him to LESTRANGE SR, who is delighted. 8FLiX.com FYC SCREENPLAY DATABASE 20230910
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KAMA (V.O.)
CONTINUED:
... his son, Corvus, was born at last. And that man who had never known love was filled with it...
104
INT. LESTRANGE MAUSOLEUM - NIGHT
CREDENCE looks on, rapt: is this who he is? He's hungry to know more.
KAMA
All he cared about was little Corvus.
A beat.
CREDENCE
So... this is the truth? I am Corvus Lestrange?
KAMA
Yes.
LETA
No.
CREDENCE stares from one to the other. KAMA turns and looks at LETA. Her eyes are unfocused. These memories have haunted her nightmares for years.
KAMA
(to LETA)
Realizing that Mustafa Kama's son had sworn revenge, your father sought to hide you where I couldn't find you. So he confided you to his servant, who boarded a ship for America.
LETA
He did send Corvus to America, but - -
KAMA
His servant, Irma Dugard, was a half-elf. Her magic was weak and therefore left no trace I could follow. I had only just discovered how you had escaped when I received news I never expected...
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KAMA
CONTINUED:
The ship had gone down at sea... But you survived, didn't you?
(to CREDENCE)
Somehow, someone had pulled you from the water! "A son cruelly banished Despair of the daughter Return, great avenger With wings from the water." There --
(points at LETA)
-- stands the despairing daughter. You are the winged raven returned from the sea, but I -- I am the avenger of my family's ruin.
KAMA raises his wand.
KAMA
I pity you, Corvus, but you must die.
LETA
Corvus Lestrange is already dead. I killed him.
LETA raises her wand.
LETA
Accio!
A heavy box, hidden in the corner of the mausoleum, comes crashing to her through the dust. A series of clicks as cogs whirr... Puzzle-like, it falls apart.
LETA
My father owned a very strange family tree. It only recorded the men...
We glimpse a tree with an orchid-like flower twisting around it.
LETA
... the women in my family were recorded as flowers. Beautiful. Separate.
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INT. LESTRANGE MANOR, NURSERY - 1901 - NIGHT
IRMA lifts a baby from a crib and departs, watched by a desolate LESTRANGE SR.
LETA (V.O.)
My father sent me to America, along with Corvus.
106
INT. SHIP'S CABIN - 1901 - NIGHT
IRMA is asleep, CHILD LETA awake on a lower bunk, and BABY CORVUS screaming in his crib.
LETA (V.O.)
Irma was to pose as a grandmother with two grandchildren...
The lights suddenly flicker on and off -- CHILD LETA hasn't moved, she is still looking at the screaming BABY CORVUS.
LETA (V.O.)
Corvus never stopped crying.
In the background there is a commotion as figures run along the corridor outside the door. As CHILD LETA approaches BABY CORVUS, who continues to cry, IRMA wakes. She goes to investigate the fuss and noise in the corridor.
LETA (V.O.)
I never wanted to hurt him.
CHILD LETA is transfixed by the baby.
LETA (V.O.)
I only wanted to be free of him. Just for a moment...
107
INT. SHIP'S CORRIDOR - 1901 - NIGHT
The door of the opposite cabin is ajar. BABY CREDENCE is inside, fast asleep. CHILD LETA slips inside. She swaps the babies.
LETA (V.O.)
Just a single moment.
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INT. SHIP'S CABIN - 1901 - NIGHT
CHILD LETA enters with BABY CREDENCE.
IRMA
Give him to me!
The ship lurches again. IRMA snatches BABY CREDENCE, not noticing the switch amid the confusion. The cabin door bangs open to reveal a dark-haired young woman wearing a nightdress and life jacket.
CREDENCE'S AUNT
Irma? They want us to put on life jackets!
She slips and slides into her own cabin and picks up BABY CORVUS, also not realizing the babies have been switched.
109
EXT. LIFEBOAT - 1901 - NIGHT
CHILD LETA, IRMA, and BABY CREDENCE are in one boat, CREDENCE'S AUNT and BABY CORVUS in another. A huge wave is approaching. CHILD LETA watches as the lifeboat bearing CREDENCE'S AUNT and BABY CORVUS is overturned. CLOSE ON: THE SURFACE OF THE WATER. A few survivors reappear, including CREDENCE'S AUNT, but not BABY CORVUS... CREDENCE'S AUNT pulls off her life jacket so she can dive too... She does not reemerge. We close in through the surface of the water, past the drowning woman, and see the dark shape of a drowning baby trailing bubbles of magical light as he sinks... and his figure becomes...
110
INT. LESTRANGE MAUSOLEUM - NIGHT
... the drowning baby falling through sea-green light, hanging in the air in the mausoleum. LETA has conjured it. It has haunted her all her life and now she shows it to them. The orchid representing LETA on the Lestrange family tree twists around the branch labeled CORVUS LESTRANGE until the leaves wither and die.
NEWT
You didn't mean to do it, Leta. So it wasn't your fault.
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LETA
CONTINUED:
Oh, Newt. You never met a monster you couldn't love.
A long look between them, a look full of memories.
TINA
Leta, do you know who Credence really is? Did you know, when you swapped them?
LETA
No.
CREDENCE reacts. An opening suddenly appears in the wall of the mausoleum. All stare at the steps leading down into the earth. The sound of a gigantic CROWD rumbles beneath them.
JACOB
Queenie?
Before anyone can stop him, he runs down the steps. NEWT and TINA dash after him. LETA looks at KAMA, then follows NEWT. KAMA hurries after her.
111
INT. UNDERGROUND AMPHITHEATER - NIGHT
JACOB steps out of the narrow staircase into an underground amphitheater and is confronted by a terrifying sight. Thousands of witches and wizards mill around, some already seated on stone benches. The atmosphere is edgy. Some are nervous but curious. Others excited, still others ready for a fight. Masked ACOLYTES steward the crowd. ANGLE ON: CREDENCE AND NAGINI entering the amphitheater. Awed and intimidated by the sight, they are swept along in the swell of people moving deeper into the auditorium. NAGINI tries to hold CREDENCE back.
NAGINI
They're purebloods. They kill the likes of us for sport!
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He carries on walking.
CONTINUED:
NAGINI hesitates, then follows too.
Looking around, JACOB spots a familiar blond head -- QUEENIE, being accompanied to a front row seat by an ACOLYTE.
JACOB
(whispers)
Queenie.
He pushes his way into the crowd. ANGLE ON: JACOB running toward QUEENIE. She turns. Utter delight --
QUEENIE
Jacob! Honey, you're here! Hi!
She flings her arms around his neck.
QUEENIE
(reading his mind)
Oh, honey, I'm so sorry, I never should have done it, I love you so much --
JACOB
And you know that I love you, right?
QUEENIE
Yeah.
JACOB
Good, now let's get the hell out of here.
He tries to pull her back the way he came, but she tugs him back.
QUEENIE
(serious)
Oh, wait. Wait a second. I just thought maybe we could hear him first. You know, just listen, that's all.
JACOB
What are you talking about?
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She pulls a confused JACOB into a seat beside her in the
CONTINUED: (2)
front row, clutching his hand.
JACOB looks around nervously at all the purebloods.
ANGLE ON: NEWT and TINA.
They are already in the crowd, TINA looking around for those they have followed, but NEWT, perturbed, is starting to see the bigger picture.
TINA
It's a trap.
NEWT
Yeah. Queenie -- the family tree -- it's all been bait.
He looks around. ACOLYTES are moving to cover all the entrances.
TINA
We have to find a way out of here, right now.
NEWT
You go find the others.
TINA
What are you gonna do?
NEWT
I'll think of something.
He sets off. She moves more slowly into the crowd, looking for JACOB and CREDENCE. ANGLE ON: AN ACOLYTE watching NEWT'S progress. The lights dim. The crowd begins to cheer.
112
INT. UNDERGROUND AMPHITHEATER - NIGHT
WE FOLLOW: GRINDELWALD onstage as the audience explodes with delight. Their hysteria builds as he stands there, part demagogue, part rock star. ANGLE ON: TINA edging through the crowd, searching. She spots QUEENIE and, at a short distance, CREDENCE. 8FLiX.com FYC SCREENPLAY DATABASE 20230910
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Whom should she approach first?
CONTINUED:
She chooses CREDENCE, but as she moves, is blocked by an ACOLYTE. They make eye contact.
TINA knows she is wildly outnumbered. Under the ACOLYTE'S gaze, she sinks onto a bench.
WE PAN OVER: the crowd.
WE SEE: QUEENIE, rapt --
-- and JACOB, low in his seat and scared...
KAMA, who is skeptical...
CREDENCE, transfixed --
-- and NAGINI, who trusts nobody...
LETA, studying GRINDELWALD, wondering...
ANGLE ON: GRINDELWALD, gesturing at the crowd to settle.
GRINDELWALD
My brothers, my sisters, my friends: the great gift of your applause is not for me.
(off noises of denial)
No. It is for yourselves.
ANGLE ON: LETA, amid the crowd. She is not clapping, but she feels the pull of GRINDELWALD'S charisma.
GRINDELWALD
You came today because of a craving and a knowledge that the old ways serve us no longer... You come today because you crave something new, something different.
ANGLE ON: CREDENCE, listening.
GRINDELWALD
It is said that I hate Les Non- Magiques. The Muggles. The No-Maj. The Can't-Spells.
Jeers and hisses from much of the crowd. JACOB sinks deeper into his seat. 8FLiX.com FYC SCREENPLAY DATABASE 20230910
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QUEENIE is momentarily anxious; she seizes his hand: No,
CONTINUED: (2)
wait, listen --
GRINDELWALD
I do not hate them. I do not.
Silence from the crowd.
GRINDELWALD
For I do not fight out of hatred. I say the Muggles are not lesser, but other. Not worthless, but of other value. Not disposable, but of a different disposition.
(beat)
Magic blooms only in rare souls. It is granted to those who live for higher things. Oh, and what a world we could make, for all of humanity. We who live for freedom, for truth - -
His eyes meet QUEENIE'S in the front row.
GRINDELWALD
-- and for love.
WE PAN ACROSS: QUEENIE, now heart and soul his...
113
EXT. PÈRE LACHAISE CEMETERY - NIGHT
The figures of fifty AURORS appear in silhouette among the mausoleums. WE MOVE IN: and see that THESEUS is one of them.
THESEUS
It isn't illegal to listen to him! Use minimum of force on the crowd. We mustn't be what he says we are!
But on other faces -- WE SEE: nervousness, even fear, and on a few, a clear will to fight, to avenge.
114
INT. UNDERGROUND AMPHITHEATER - NIGHT
BACK TO: GRINDELWALD onstage. 8FLiX.com FYC SCREENPLAY DATABASE 20230910
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GRINDELWALD
CONTINUED:
The moment has come to share my vision of the future that awaits if we do not rise up and take our rightful place in the world.
ROSIER appears onstage. Bowing, she presents the skull-hookah to GRINDELWALD. Total silence falls in the auditorium. GRINDELWALD is illuminated by the skull's golden light. He inhales deeply through the tube. His eyes roll up into his head. He exhales... ... and it is extraordinary. A gigantic Technicolor cloak seems to unfurl from his lips across the high stone ceiling, bearing moving images-the crowd gasps -- Thousands of marching, booted feet... explosions, men running with guns... CLOSE ON: THE FACES OF THE CROWD, mesmerized and afraid, the light of the vision playing across their faces. CLOSE ON: NEWT, stunned. The vision of a nuclear blast rocks the amphitheater. It is horrifying. The crowd feels it, is terrified. Screams, until the vision subsides, leaving murmurs of panic... CLOSE ON: JACOB, horrified.
JACOB
Not another war...
The vision fades. All eyes return to GRINDELWALD.
GRINDELWALD
That is what we are fighting! That is the enemy-their arrogance, their power lust, their barbarity. How long will it take before they turn their weapons on us?
WE PAN: around the exits and see AURORS, unnoticed, entering the auditorium, fanning out among the crowd. CLOSE ON: THESEUS, who is worried -- the situation is volatile and could go badly wrong. The crowd settles, agitated, expectant. They are waiting for some new, extraordinary revelation. 8FLiX.com FYC SCREENPLAY DATABASE 20230910
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GRINDELWALD
CONTINUED: (2)
Do nothing when I speak of this. You must remain calm and contain your emotions.
(beat)
There are Aurors here among us.
Gasps. Heads turn. We see the AURORS looking around in panic. They are wildly outnumbered. The crowd is hostile.
GRINDELWALD
(to the AURORS who have just entered)
Come closer, brother wizards! Join us.
To mounting hisses and angry jeers, the AURORS know they have no choice but to walk forward and show themselves. ANGLE ON: LETA, turning to look. She spots THESEUS. A long, charged look between them.
THESEUS
(to the other AURORS)
Do nothing. No force.
But one of the jumpiest young AURORS has made eye contact with the YOUNG RED-HAIRED WITCH. She is angry, as twitchy as he is, fingering her wand.
GRINDELWALD
They have killed many of my followers, it is true. They caught and tortured me in New York. They had struck down their fellow witches and wizards for the simple crime of seeking truth, for wanting freedom...
He is deliberately playing on the unstable YOUNG RED-HAIRED WITCH'S feelings. The YOUNG AUROR raises his wand a few inches. He can sense her desire for violence -- 8FLiX.com FYC SCREENPLAY DATABASE 20230910
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GRINDELWALD
CONTINUED: (3)
Your anger -- your desire for revenge -- is natural.
And it happens: She raises her wand, but the YOUNG AUROR curses first. To the horror of her companions, she falls, dead.
GRINDELWALD
No!
Screams fill the auditorium. GRINDELWALD ascends into the crowd, which parts for him. He kneels and pulls the YOUNG RED-HAIRED WITCH'S limp body into his arms.
GRINDELWALD
(to her friends)
Take this young warrior back to her family.
The Niffler, unnoticed, wriggles out from beneath GRINDELWALD'S boot and disappears into the crowd.
GRINDELWALD
Disapparate. Leave. Go forth from this place and spread the word: It is not we who are violent.
They take the body and Disapparate, as does most of the crowd. THESEUS and the AURORS watch the purebloods leave. THESEUS ushers his AURORS forward.
THESEUS
(looking at GRINDELWALD)
Let's take him.
They start to descend the amphitheater steps. GRINDELWALD turns his back on the advancing AURORS, relishing the fight to come.
GRINDELWALD
Protego diabolica.
He spins and draws a protective circle of black fire around himself. The exits close. 8FLiX.com FYC SCREENPLAY DATABASE 20230910
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ABERNATHY, CARROW, KRAFFT, MACDUFF, NAGEL, and ROSIER walk
CONTINUED: (4)
through the flames into the circle.
ANGLE ON: KRALL, hesitating. Then he decides the circle is the better option, braces himself, runs into the fire --
-- and is consumed.
GRINDELWALD
Aurors, join me in this circle, pledge to me your eternal allegiance, or die. Only here shall you know freedom, only here shall you know yourself.
GRINDELWALD sends a wall of flames into the air, pursuing fleeing AURORS.
GRINDELWALD
Play by the rules! No cheating, children.
NAGINI grabs CREDENCE and tries to drag him away with her, but he is staring at GRINDELWALD.
CREDENCE
He knows who I am.
NAGINI
He knows what you were born, not who you are...
GRINDELWALD smiles at CREDENCE through the fire.
NEWT
Credence!
NEWT tries to fight the fire but it becomes more monstrous, lashing out with eel-like spurs. CREDENCE decides: Pulling free of NAGINI, he walks toward the flames. Devastated, NAGINI is forced back by the ever-expanding fire. ANGLE ON: QUEENIE AND JACOB, who are pressed up against a different stretch of wall.
JACOB
Queenie. You gotta wake up.
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QUEENIE
CONTINUED: (5)
(a decision)
Jacob, he's the answer. He wants what we want.
JACOB
No, no, no, no, no, no.
QUEENIE
Yeah.
JACOB
No.
The black flames are coming toward them, fast. ANGLE ON: CREDENCE, walking through the flames. GRINDELWALD embraces him like a prodigal son.
GRINDELWALD
This has all been for you, Credence.
ANGLE ON: QUEENIE and JACOB.
QUEENIE
Walk with me.
JACOB
Honey, no!
QUEENIE
(screams)
Walk with me!
JACOB
You're crazy.
She reads his mind, turns, hesitates, then walks into the black fire.
JACOB
(desperate, disbelieving)
No! Queenie, don't do it!
She screams, and JACOB covers his face, terrified, as she passes through the ring of fire and joins GRINDELWALD'S side.
JACOB
Queenie...
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TINA
CONTINUED: (6)
QUEENIE!
QUEENIE Disapparates. TINA retaliates, throwing a curse at GRINDELWALD, but the circle of fire lashes out in ever more violent spears. GRINDELWALD conducts the flames as though leading an orchestra, the Elder Wand his baton, as the forks of fire strike at AURORS attempting to Disapparate or flee. Half-a-dozen AURORS lose their heads and run through the flames to GRINDELWALD. ANGLE ON: NEWT AND THESEUS standing together on the amphitheater steps.
GRINDELWALD
Mr. Scamander. Do you think Dumbledore will mourn for you?
GRINDELWALD throws a large burst of black fire at them both, and THESEUS and NEWT defend themselves.
LETA (O.S.)
Grindelwald! Stop!
GRINDELWALD catches sight of LETA.
THESEUS
Leta...
GRINDELWALD
This one I believe I know.
THESEUS makes a gigantic effort of will, carving a passage toward LETA, determined to reach her. They are using all their skill to keep the flames at bay. GRINDELWALD moves toward her through the flames as THESEUS fights closer, desperate to reach her.
GRINDELWALD
Leta Lestrange... despised entirely amongst wizards... unloved, mistreated... yet brave. So very brave.
(to LETA)
Time to come home.
He stretches out his hand. She contemplates it. 8FLiX.com FYC SCREENPLAY DATABASE 20230910
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He looks at her, eyes narrowed.
CONTINUED: (7)
She looks toward both THESEUS and NEWT, who are watching her, stunned.
LETA
I love you.
She points her wand at the skull in ROSIER'S hands, which explodes. ROSIER is knocked backward and GRINDELWALD is momentarily obscured in a whirl of chaos.
LETA
(to the others)
GO! GO!
The fire engulfs LETA.
THESEUS goes wild. He tries to dive after her --
-- But NEWT grabs him and they Disapparate.
The fire, mirroring GRINDELWALD'S rage, explodes, chasing them.
GRINDELWALD
(whispers)
I hate Paris.
115
EXT. PÈRE LACHAISE CEMETERY - A MINUTE LATER - NIGHT
NEWT and THESEUS, TINA with JACOB, and KAMA with NAGINI all Apparate out from the amphitheater. The black fire pursues them like a many- headed hydra, erupting out of every mausoleum. FLAMEL arrives at last. The cemetery is on the verge of destruction. The fire GRINDELWALD has unleashed is out of control. It forms dragon- like creatures intent on annihilation.
FLAMEL
TOGETHER! In a circle, your wand into the earth, or all Paris will be lost!
NEWT & THESEUS
Finite!
TINA
Finite!
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CONTINUED:
KAMA
Finite!
FLAMEL
Finite!
Our heroes, minus JACOB, make a circle, plunge their wands into the earth. It takes almost superhuman power to contain GRINDELWALD'S demonic fire, which they are forced to combat with flames still more deadly. United, our heroes fight... And at last, their purifying fire drives GRINDELWALD'S back. The entrances to the underground lair are sealed. They have saved the city. FLAMEL comforts JACOB. NAGINI sits in the darkness, tearful. NEWT shuffles over awkwardly to the bereft THESEUS. NEWT hesitates, struggling to find words of comfort. Then, for the first time in his life, he puts his arms around his brother. They hug.
NEWT
I've chosen my side.
The Niffler hobbles over to NEWT, who picks him up...
NEWT
(to the Niffler)
Come on. Yeah. No, you're okay.
...then notices GRINDELWALD'S vial in its paws. He takes the pendant, amazed. NEWT tucks both the vial and Niffler inside his coat.
116
DUMBLEDORE is walking across the viaduct from Hogwarts,
EXT. THE VIADUCT AT HOGWARTS - DAWN
toward NEWT, JACOB, TINA, THESEUS, NAGINI, KAMA, TRAVERS, and assorted AURORS, who stand at the other end.
NEWT walks ahead alone to meet DUMBLEDORE.
TRAVERS moves to stop him.
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THESEUS
CONTINUED:
(to TRAVERS)
I think it's best if he speaks to him alone.
TRAVERS opens his mouth to protest. Meets THESEUS'S gaze. Nods curtly. NEWT walks along toward DUMBLEDORE. They meet in the middle of the viaduct.
117
EXT. AUSTRIA, NURMENGARD CASTLE WINDOW - DAWN
CREDENCE is staring out at the sky, scared of what he has done but awed by the magnificent vista. WE PAN OUT TO SEE: Nurmengard, high on its mountain.
118
INT. NURMENGARD CASTLE, SIDE ROOM - DAWN
GRINDELWALD and QUEENIE are watching CREDENCE through the half-open door into a grand drawing room.
GRINDELWALD
(whispers)
Is he frightened of me still?
QUEENIE
(whispers)
You need to be careful... He's not sure he made the right choice. Be very gentle with him.
She smiles as he bows her out through a separate door. Once he is sure she has gone, he walks into the drawing room to join CREDENCE.
GRINDELWALD
I have a gift for you, my boy.
From behind his back he takes a handsome wand. With a bow, he presents it to CREDENCE, who cannot believe his eyes.
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EXT. THE VIADUCT AT HOGWARTS - DAY
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DUMBLEDORE
CONTINUED:
Is it true about Leta?
NEWT nods.
NEWT
Yes.
DUMBLEDORE
I'm so sorry.
NEWT pulls out the vial. DUMBLEDORE stares at it, simultaneously tormented and amazed.
NEWT
It's a blood pact, isn't it? You swore not to fight each other.
Bitterly ashamed, DUMBLEDORE nods.
DUMBLEDORE
(overcome)
How in the name of Merlin did you manage to get... ?
The Niffler pokes its head out of NEWT'S jacket, sad to see the pendant go.
NEWT
Grindelwald doesn't seem to understand the nature of things he considers simple.
DUMBLEDORE raises his hands to show the Admonitors. CLOSE ON: THESEUS. He raises his wand. BACK TO: DUMBLEDORE AND NEWT. The Admonitors fall from DUMBLEDORE'S wrists. The vial-blood troth-hangs in the air between them.
NEWT
Can you destroy it?
DUMBLEDORE
Maybe... maybe.
Overcome, tearful, he tries to speak cheerfully. 8FLiX.com FYC SCREENPLAY DATABASE 20230910
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DUMBLEDORE
CONTINUED: (2)
(of the Niffler)
Would he like a cup of tea?
They turn to walk back toward Hogwarts.
NEWT
He'll have some milk. Hide the teaspoons.
The others walk slowly after them.
120
INT. NURMENGARD CASTLE - DAWN
GRINDELWALD
You have suffered the most heinous of betrayals, most purposely bestowed upon you by your own blood. Your own flesh and blood. And just as he has celebrated your torment, your brother seeks to destroy you.
CREDENCE inhales sharply. His chick steps gingerly onto GRINDELWALD'S palm. GRINDELWALD throws it in the air, where it catches alight.
GRINDELWALD
There is a legend in your family that a phoenix will come to any member who is in dire need.
Given room at last, the bird stretches its wings and becomes full size. The bird is aflame, a phoenix reborn.
GRINDELWALD
It is your birthright, my boy. As is the name I now restore to you.
(whispers)
Aurelius. Aurelius Dumbledore.
CREDENCE turns. The power of his Obscurus can at last be channeled. He points the wand at the window and a spell of immense power shatters the glass and breaks apart the mountain opposite. CREDENCE stands staring through the shattered glass at his handiwork. He is extraordinary, and this is just his beginning. 8FLiX.com FYC SCREENPLAY DATABASE 20230910
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Written by J.K. Rowling Directed by David Yates This script is the confidential and proprietary property of Warner Bros. Pictures and no portion of it may be performed, distributed, reproduced, used, quoted or published without prior written permission.
FINAL SHOOTING SCRIPT
November 16, 2017
Warner Bros. Pictures © 2016 4000 Warner Boulevard WARNER BROS. ENT. Burbank, California 91522 All Rights Reserved FOR INSTRUCTIONAL USE ONLY
EXT. NEW YORK, AMERICAN MINISTRY OF MAGIC - 1927 - NIGHT
AERIAL SHOT: New York and MACUSA building.
INT. MACUSA BASEMENT, BARE, BLACK-WALLED ROOM - NIGHT
The long-haired, bearded GRINDELWALD sits motionless, magically fixed to a chair. The air shimmers, charged with spells. ABERNATHY peers in at GRINDELWALD from the corridor. A baby Chupacabra -- part lizard, part homunculus, a blood- sucking creature of the Americas -- is chained to GRINDELWALD'S chair.
INT. MACUSA, CORRIDOR BETWEEN CELLS - SHORTLY AFTER - NIGHT
PRESIDENT SERAPHINA PICQUERY and RUDOLPH SPIELMAN walk at pace toward an ominous-looking door past endless pairs of guards.
SPIELMAN
(Germanic)
...you'll be glad to be rid of him, I expect.
PICQUERY
We'd be more than happy to keep him here in custody.
SPIELMAN
Six months are enough. It's time for him to answer for his crimes in Europe.
As they reach the door, ABERNATHY turns and acknowledges them.
ABERNATHY
President Picquery, Mr. Spielman, sir. Prisoner is secured and ready to travel.
SPIELMAN and PICQUERY peer into the cell at GRINDELWALD.
SPIELMAN
You've thrown everything at him, I see.
CONTINUED:
PICQUERY
It was necessary. He's extremely powerful. We've had to change his guard three times -- he's very... persuasive. So we removed his tongue.
INT. MACUSA CELLS - NIGHT
Cells resembling cages rise in tiers. Prisoners chant and bang against the bars as the bound GRINDELWALD is transported upstairs, suspended magically in midair.
PRISONERS
Grindelwald! Grindelwald!
EXT. MACUSA ROOFTOP - MINUTES LATER - NIGHT
A hearse-like black carriage, drawn by eight THESTRALS, waits. AURORS 1 & 2 climb into the driver's seat, the rest force GRINDELWALD inside.
SPIELMAN
The wizarding community worldwide owes you a great debt, Madam President.
PICQUERY
Do not underestimate him.
ABERNATHY approaches them.
ABERNATHY
Mr. Spielman, we found his wand hidden away.
He hands over a black rectangular box.
PICQUERY
Abernathy?
ABERNATHY
And we found this.
He holds a vial of some glowing gold substance in the palm of his hand. CONTINUED: SPIELMAN reaches for the vial, which hangs on a chain, and after a moment of hesitation, ABERNATHY releases it. Inside the carriage, GRINDELWALD raises his eyes to the roof as the vial is passed to SPIELMAN. SPIELMAN climbs into the carriage. AUROR 1 driving, AUROR 2 beside him. The door closes. A series of padlocks emerges from the carriage doors. An ominous drumroll of clicks as padlocks fasten themselves in place.
AUROR 1
Yah!
The Thestrals take off. The carriage plummets, then soars away through torrential rain. More AURORS follow on broomsticks. A beat. ABERNATHY steps forward, holding the Elder Wand. He looks up at the carriage, growing ever smaller. He Disapparates. CUT TO:
EXT. THESTRAL-DRAWN CARRIAGE - NIGHT
The underside of the carriage. ABERNATHY Apparates, clinging to the wheel shaft.
INT. THESTRAL-DRAWN CARRIAGE - NIGHT
SPIELMAN and GRINDELWALD sit, eyes locked, flanked by AURORS, all pointing their wands at GRINDELWALD. GRINDELWALD'S wand box lies on SPIELMAN'S lap. SPIELMAN holds up the vial, dangling from its chain.
SPIELMAN
No more silver tongue, eh?
But GRINDELWALD is transforming...
EXT. THESTRAL-DRAWN CARRIAGE - NIGHT
ABERNATHY adjusts his grip underneath the carriage. His face too is changing. His hair is turning blond and lengthening... he is GRINDELWALD. He raises the Elder Wand.
INT. THESTRAL-DRAWN CARRIAGE - NIGHT
GRINDELWALD'S rapid transformation into a tongueless ABERNATHY is almost complete.
SPIELMAN
(shocked)
Oh!
EXT. THESTRAL-DRAWN CARRIAGE - NIGHT
Now fully transformed, GRINDELWALD Disapparates from the underside of the carriage... ...and Apparates next to the driver's seat, where he is spotted by AURORS 1 & 2. GRINDELWALD points his wand at the carriage reins, turning the black ropes into living snakes that ensnare AUROR 1 so he falls from the carriage, back through the night sky, past the broomstick riders. GRINDELWALD casts another spell so the black ropes of the reins bind AUROR 2 like a chrysalis, launching him forward in the air, then slingshotting him back to knock AURORS 3 & 4 from the rear of the Thestral-drawn carriage. They fall away into darkness.
INT. THESTRAL-DRAWN CARRIAGE - NIGHT
All wands reverse their direction to jab dangerously at the necks of SPIELMAN and the two remaining AURORS. SPIELMAN watches as his wand melts into dust. The carriage rocks dangerously, both doors open. As GRINDELWALD'S head appears at the window, the panicking SPIELMAN opens the wand box on his lap. The Chupacabra leaps out and sinks its fangs deep into SPIELMAN'S neck. He wrestles it. The vial falls to the floor.
EXT. THESTRAL-DRAWN CARRIAGE - NIGHT
GRINDELWALD drives the carriage down onto the Hudson River, chased by the AURORS on broomsticks. The carriage wheels graze the surface of the water. The broomstick riders are catching up. GRINDELWALD touches the Elder Wand to the river and at once the inside of the carriage begins to fill with water. He lifts the carriage back up into the air.
INT. THESTRAL-DRAWN CARRIAGE - NIGHT
Submerged in the water, the two AURORS, SPIELMAN, and ABERNATHY hold their breath. SPIELMAN attempts to grab the vial, which is floating loose in the water, but the Chupacabra blocks his path. ABERNATHY, with hands still bound, manages to capture the vial in his mouth.
EXT. THESTRAL-DRAWN CARRIAGE - NIGHT
Still driving the carriage, GRINDELWALD swirls his wand in the air toward the surrounding storm clouds. One by one, forks of lightning strike the broomstick riders, knocking each in turn from the sky.
INT. THESTRAL-DRAWN CARRIAGE - NIGHT
GRINDELWALD appears at the door and nods to ABERNATHY. He throws the door open so the water pours out -- along with the two remaining AURORS. GRINDELWALD clambers inside and retrieves the vial from ABERNATHY'S mouth by the chain, casting a spell that grants ABERNATHY a new forked tongue.
GRINDELWALD
You have joined a noble cause, my friend.
GRINDELWALD rips the little Chupacabra off SPIELMAN. It rubs its bloody face affectionately against his hand. CONTINUED:
GRINDELWALD
I know. Okay. I know, Antonio.
He looks at it with distaste.
GRINDELWALD
So needy.
He then flings it through the door. He blasts SPIELMAN magically through the open door, then tosses a wand after him.
EXT. SKY OVER ATLANTIC OCEAN - NIGHT
As SPIELMAN falls, he manages to seize the wand and conjures an invisible Slowing Charm. Sinking slowly toward the sea, SPIELMAN watches his carriage streaking away in the direction of Europe.
EXT. OVERCAST LONDON, WHITEHALL - THREE MONTHS LATER -
AFTERNOON ESTABLISHING SHOT. A gloomy silence. An owl flutters down into the Ministry.
INT. MINISTRY OF MAGIC - AFTERNOON
NEWT SCAMANDER sits alone in a dingy waiting area, staring abstractedly into space. After a moment, he feels something tugging on his wrist. He looks down. Pickett, a Bowtruckle, is swinging on a loose thread in his cuff. The thread snaps. Pickett falls. NEWT'S button rolls away down a corridor. NEWT and Pickett watch it go. A beat. Then both chase after it. NEWT just gets there first. As he bends to pick it up, he finds himself confronted by a pair of female feet.
LETA (O.S.)
They're ready for you, Newt.
CONTINUED: He stands up. Face-to-face with LETA LESTRANGE, who is beautiful and smiling, NEWT stuffs the button and Pickett into his pocket.
NEWT
Leta... what are you doing here?
LETA
Theseus thought it would be good if I became part of the Ministry family.
NEWT
Did he actually say the words "Ministry family"?
She gives a little laugh. They head off along the corridor. Tension. A lot of history.
NEWT
That sounds like my brother.
LETA
Theseus was disappointed you couldn't come to dinner. Any of the nights we asked you.
NEWT
Well, I've been busy.
LETA
He's your brother, Newt, he likes spending time with you. And so do I.
NEWT spots Pickett climbing onto his lapel and holds out the breast pocket of his coat.
NEWT
(to Pickett)
Oi, you! Hop in, Pick.
Pickett snuggles down.
LETA
(smiling)
Why do strange creatures love you so much?
NEWT
Well, there are no strange creatures --
CONTINUED: (2)
NEWT
-- only blinkered people. LETA
-- only blinkered people. She is smiling again. NEWT reciprocates.
LETA
How long did you get in detention for saying that to Prendergast?
NEWT
You know, I think it was a month that time.
LETA
And I set off a Dungbomb under his desk so I could join you, do you remember?
They have come within sight of scary, official doors leading to the meeting room. THESEUS SCAMANDER emerges.
NEWT
No, I actually don't remember that.
Rebuffed, she comes to a halt. NEWT walks away toward THESEUS, who is very like NEWT, but more outgoing, easier in manner. THESEUS winks at LETA before turning to NEWT.
THESEUS
Hello.
LETA
Theseus. We were just talking about Newt coming for dinner.
THESEUS
Really? Well... Look, before we go in there I --
NEWT
-- It's my fifth attempt, Theseus. I know the form.
THESEUS
This isn't going to be like the other times. This is... Just try and keep an open mind, will you? And maybe a little less --
A wordless gesture indicates Pickett, NEWT'S blue coat, and his messy hair.
18
NEWT
CONTINUED: (3)
-- like me?
THESEUS
(not without affection)
Well, it can't hurt. Come on, let's go.
19
INT. MINISTRY OF MAGIC, HEARING ROOM - AFTERNOON
NEWT and THESEUS enter the room, where TORQUIL TRAVERS (harsh, mean-spirited), ARNOLD GUZMAN (American), and RUDOLPH SPIELMAN (who is still bruised from GRINDELWALD'S escape, the bloody bite visible on his neck) are already sitting. Two empty chairs, which NEWT and THESEUS take. The corners of the room are in darkness.
TRAVERS
Hearing commences.
THE QUILL begins to write. TRAVERS opens a file in front of him, which contains pictures of NEWT'S "Wanted" pictures and of the post-Obscurial devastation in New York.
TRAVERS
You want an end to the ban on your traveling internationally. Why?
NEWT
Because I like to travel internationally.
SPIELMAN
(reading from his own file)
"Subject uncooperative and evasive on reasons for last international trip."
All look at NEWT, waiting.
NEWT
It was a field trip. I was collecting material for my book on magical beasts --
TRAVERS
You destroyed half of New York.
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NEWT
CONTINUED:
No, that's actually factually incorrect on two counts --
THESEUS
(quiet but stern)
Newt!
NEWT stops, frowns.
GUZMAN
Mr. Scamander, it's clear you're frustrated and, frankly, so are we. In the spirit of compromise, we'd like to make a proposition.
NEWT glances at THESEUS warily. THESEUS nods: Listen.
NEWT
What kind of proposition?
TRAVERS
The committee will agree to lift your travel ban under one condition.
NEWT waits. SPIELMAN leans forward.
SPIELMAN
You join the Ministry. Specifically, your brother's department.
NEWT digests this, then:
NEWT
No, I -- that isn't my kind of -- Theseus is the Auror. I think my talents lie elsewhere --
GUZMAN
Mr. Scamander. The wizarding and non-wizarding worlds have been at peace for over a century. Grindelwald wants to see that peace destroyed, and for certain members of our community his message is very seductive.
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GUZMAN
CONTINUED: (2)
Many purebloods believe it is their birthright to rule not only our world but the non-magic world as well. They see Grindelwald as their hero, and Grindelwald sees this boy as a means to make this all come true.
Hearing this, NEWT frowns, watching as CREDENCE'S face emerges in the surface of the table.
NEWT
I'm sorry. You're talking about Credence as if he were still here.
THESEUS
He survived, Newt.
NEWT stops cold, his eyes fixed on THESEUS. THESEUS nods.
THESEUS
He's still alive. He left New York months ago. He's somewhere in Europe. Where exactly, we don't know, but --
NEWT
And you want me to hunt Credence down? To kill him?
Out of the shadows in the corner comes deep, nasty laughter.
GRIMMSON
Same old Scamander.
NEWT reacts to the sound of the voice. GRIMMSON moves into the light. Scarred, brutal, he is a beast hunter for hire.
NEWT
(furious)
What's he doing here?
GRIMMSON
Taking on the job you're too soft to do.
GRIMMSON walks toward them while the ghostly image of CREDENCE shimmers on the enchanted surface of the table. 8FLiX.com FYC SCREENPLAY DATABASE 20230910
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GRIMMSON
CONTINUED: (3)
(re: CREDENCE)
Is that it?
NEWT rises furiously, storms toward the door.
TRAVERS
(calling after him)
Travel documentation denied!
THESEUS stares at the door as it closes. The committee looks unsurprised, turns their gazes to the smirking GRIMMSON.
20
INT. MINISTRY OF MAGIC, CORRIDOR - AFTERNOON
THESEUS chases after NEWT.
THESEUS
Newt!
NEWT stops. Turns.
THESEUS
(testy)
You think I like the idea of Grimmson any more than you do?
NEWT
Listen, I don't want to hear how the ends justify the means, Theseus.
THESEUS
I think you're gonna have to pull your head out of the sand!
NEWT
(exasperated)
Okay, right, here we go. What a selfish... irresponsible...
THESEUS
You know, the time is coming when everyone's going to have to pick a side. Even you.
NEWT
I don't do sides.
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THESEUS
CONTINUED:
Newt...
He turns to go, but THESEUS runs after him, grabs his arm to hold him back.
THESEUS
(pulling him in for a hug)
C'mere.
NEWT doesn't reciprocate but doesn't fight him off either.
THESEUS
(in NEWT'S ear)
They're watching you.
21
INT. MINISTRY OF MAGIC, HEARING ROOM - AFTERNOON
GRIMMSON is sitting in what was NEWT'S seat, facing the committee.
GRIMMSON
Well, gentlemen. I assume this means I have the job.
22
EXT. SKYLINE OF UPMARKET QUARTER OF PARIS - AFTERNOON
23
AFTERNOON
EXT. ELEGANT STREET OF 19TH - CENTURY PARISIAN HOUSES -
GRINDELWALD and ACOLYTES stand in the street. GRINDELWALD points his cane at a particularly fine house.
A clatter announces the arrival of a horse-drawn hearse. NAGEL, KRALL, CARROW, ABERNATHY, KRAFFT, ROSIER (female), and MACDUFF approach the front door. KRALL opens it with his wand. The ACOLYTES enter.
PARISIAN MAN (O.S.)
(in French)
Chérie?
PARISIAN WOMAN (O.S.)
(worried, in French)
Qui est là?
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GRINDELWALD looks around the street, calm, waiting, tapping
CONTINUED:
on the pavement with his cane.
We see a green flash-the Killing Curse. The door reopens. Two black coffins exit.
GRINDELWALD watches as NAGEL and KRAFFT load the coffins onto the carriage.
24
INT. GRINDELWALD'S HIDEOUT, DRAWING ROOM - AFTERNOON
GRINDELWALD surveys the elegant clutter left by the haute bourgeois family he has just murdered.
GRINDELWALD
Yes. This will be suitable after a thorough cleanse.
(to NAGEL)
I want you to go to the circus now. Give my note to Credence, begin his journey.
NAGEL nods and leaves.
ROSIER
When we've won, they'll flee cities in the millions. They've had their time.
GRINDELWALD
We don't say such things out loud. We want only freedom. Freedom to be ourselves.
ROSIER
To annihilate non-wizards.
GRINDELWALD
Not all of them. Not all. We're not merciless. The beast of burden will always be necessary.
We hear the sound of a CHILD close at hand.
25
INT. GRINDELWALD'S HIDEOUT, NURSERY - AFTERNOON
GRINDELWALD enters. A small child looks up, puzzled. GRINDELWALD contemplates him for a moment, then nods at CARROW and turns to leave. 8FLiX.com FYC SCREENPLAY DATABASE 20230910
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WE SEE: ANOTHER GREEN FLASH as GRINDELWALD closes the door.
CONTINUED:
26
EXT. LONDON BACK STREET - EVENING
NEWT Apparates and walks on briskly beneath an increasingly stormy sky. Seconds later, STEBBINS, an Auror, Apparates some yards behind him. They have been playing this game for an hour.
NEWT turns a corner into a darker alleyway, peers back around the corner, and points his wand back at STEBBINS.
NEWT
(sotto voce)
Ventus.
STEBBINS is immediately caught in a hurricane for one. To the confusion and amusement of passing Muggles, his hat flies away, he is almost knocked off his feet, and cannot proceed. Smiling slightly, NEWT withdraws his head, still leaning against the wall of the dark alleyway, to find a single black glove hanging in the air in front of him. He looks at it, expressionless. It gives a little wave, then points into the far distance. NEWT looks to where it is pointing. High on the dome of St. Paul's Cathedral, a tiny human figure raises its arm. NEWT looks back at the glove, which makes as though to shake hands. NEWT takes it, and he and the glove Disapparate --
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EXT. DOME OF ST. PAUL'S - EVENING
-- Apparating beside a dandyesque forty-five-year-old wizard with graying auburn hair and beard. NEWT hands back his glove.
NEWT
Dumbledore.
(amused)
Were the less conspicuous rooftops full, then?
DUMBLEDORE
(looking out over city)
I do enjoy a view. Nebulus.
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A swirling fog descends over London.
CONTINUED:
They Disapparate.
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EXT. TRAFALGAR SQUARE - EVENING
DUMBLEDORE and NEWT Apparate and walk on past the great stone Landseer lions. The darkening sky is becoming increasingly ominous. A flock of pigeons rises into the air at their approach.
DUMBLEDORE
How was it?
NEWT
They're still convinced that you sent me to New York.
DUMBLEDORE
You told them I didn't?
NEWT
Yes. Even though you did.
A beat. DUMBLEDORE inscrutable, NEWT wanting answers.
NEWT
You told me where to find that trafficked Thunderbird, Dumbledore. You knew that I would take him home and you knew I'd have to take him through a Muggle port.
DUMBLEDORE
Well, I've always felt an affinity with the great magical birds. There's a story in my family that a phoenix will come to any Dumbledore who is in desperate need. They say my great-great- grandfather had one, but that it took flight when he died, never to return.
NEWT
With all due respect, I don't believe for a minute that's why you told me about the Thunderbird.
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A noise behind them. The silhouette of a man appears out of
CONTINUED:
shadows. They Disapparate --
29
EXT. VICTORIA BUS STATION - EVENING
Footsteps nearby. Both ready their wands, but the footsteps die away. They walk on.
DUMBLEDORE
Credence is in Paris, Newt. He's trying to trace his real family. I take it you've heard the rumors about who he really is?
NEWT
No.
DUMBLEDORE and NEWT board a stationary bus.
DUMBLEDORE
The purebloods think he's the last of an important French line, a baby whom everyone thought lost...
A look between them. NEWT is astonished.
NEWT
Not Leta's brother?
DUMBLEDORE
That's what they're whispering. Pureblood or not, I know this: An Obscurus grows in the absence of love as a dark twin, an only friend. If Credence has a real brother or sister out there who can take its place, he might yet be saved.
(beat)
Wherever Credence is in Paris, he's either in danger or a danger to others. We may not know who he is yet, but he needs to be found. And I rather hoped you might be the one to find him.
DUMBLEDORE conjures NICOLAS FLAMEL'S card from thin air and offers it to NEWT, who eyes it with suspicion.
NEWT
What's that?
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DUMBLEDORE
CONTINUED:
It's an address of a very old acquaintance of mine. A safe house in Paris, reinforced with enchantments.
NEWT
Safe house? Why would I need a safe house in Paris?
DUMBLEDORE
One hopes you won't, but should things at some point go terribly wrong, it's good to have a place to go. You know, for a cup of tea.
NEWT
No, no, no-absolutely not.
30
EXT. LAMBETH BRIDGE - NIGHT
They Apparate onto a bridge.
NEWT
I'm banned from international travel, Dumbledore. If I leave the country, they will put me in Azkaban and throw away the key.
DUMBLEDORE stops.
DUMBLEDORE
Do you know why I admire you, Newt? More, perhaps, than any man I know?
(off NEWT'S surprise)
You don't seek power or popularity. You simply ask, is the thing right in itself? If it is, then I must do it, no matter the cost.
He walks on.
NEWT
That's all very well, Dumbledore, but, forgive me for asking, why can't you go?
They stop.
DUMBLEDORE
I can't move against Grindelwald. It has to be you.
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DUMBLEDORE
CONTINUED:
(beat)
Well, I don't blame you, in your shoes I'd probably refuse too. It's late. Good evening, Newt.
DUMBLEDORE Disapparates.
NEWT
Oh c'mon!
DUMBLEDORE'S empty glove reappears and tucks the business card bearing the address of the safe house into NEWT'S top pocket.
NEWT
(exasperated)
Dumbledore.
31
EXT. NEWT'S STREET - NIGHT
ESTABLISHING SHOT: A street of ordinary yellow brick Victorian houses. First specks of rain. NEWT walks swiftly up the front steps but pauses just outside the front door. The light in his sitting room is flashing on and off.
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INT. NEWT'S HOUSE - NIGHT
NEWT opens the front door cautiously. Inside, a baby Niffler is swinging from the brass cord of a table lamp, causing the light to flicker on and off. The baby Niffler succeeds in stealing the brass cord before spotting NEWT. It scampers away, knocking all manner of objects to the floor. NEWT spots a second baby Niffler sitting on a set of weighing scales, pinned down by gold-colored weights it is clearly attempting to steal. As the first baby makes it to the dining table, NEWT lightly drops a saucepan on top of it, which continues moving across the table. NEWT tosses an apple into the opposite weighing scale, sending the baby Niffler flying into the air. NEWT catches both baby Nifflers as they fall, then tucks them into his pockets. 8FLiX.com FYC SCREENPLAY DATABASE 20230910
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Satisfied, NEWT heads toward the door to his basement but
CONTINUED:
turns at the last moment to see a third escaped baby Niffler climbing onto a bottle of champagne on the counter.
With a sense of inevitability, the champagne bottle pops and the baby Niffler zooms toward NEWT on top of the cork, soaring past him and down the stairs to the basement.
33
INT. NEWT'S BASEMENT MENAGERIE - MOMENTS LATER - NIGHT
A gigantic hospital for magical creatures.
NEWT
Bunty! Bunty! Bunty, the baby Nifflers are loose again!
(to the Nifflers)
Oi! Oh.
BUNTY, NEWT'S assistant, hurries into view. She is a plain girl, crazy about creatures, hopelessly in love with NEWT. She peels off the Nifflers with freshly bandaged fingers. She tempts the last baby Niffler -- the champagne cork rider - - with a gold necklace, then tucks all three into a nest full of sparkling objects.
NEWT
Well done.
BUNTY
I'm so sorry, Newt, they must have picked the lock while I was cleaning out the Augureys --
NEWT
Not to worry.
NEWT and BUNTY walk together among the enclosures.
BUNTY
Hmm... I've fed nearly NEWT (CONT'D) everyone, Pinky's had his -- And Elsie? nose drops, and --
BUNTY
Elsie's droppings are nearly normal again.
NEWT
Wonderful. You can clock off now --
(seeing her fingers)
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NEWT
CONTINUED:
I told you to leave the Kelpie to me.
BUNTY
That wound needs more ointment-
NEWT
I don't want you losing fingers over it.
NEWT marches toward a patch of black water, BUNTY trotting in his wake, awash with emotion at his concern for her.
NEWT
Seriously, you go home now, Bunty. You must be exhausted.
BUNTY
You know the Kelpie's easier with two.
They approach the water. NEWT unhooks a bridle hanging beside the pond.
BUNTY
(hopeful)
Perhaps you should take off your shirt?
NEWT
(oblivious)
Don't worry, I'll dry off quickly enough.
NEWT smiles and jumps backward into the water. The Kelpie erupts: a gigantic, semi-spectral horse intent on drowning NEWT, who grabs it around the neck and manages to scramble onto its back as it thrashes. The Kelpie dives, taking NEWT with it. BUNTY waits, frightened. WHOOSH - NEWT bursts back out of the water and the Kelpie is bridled. Now docile, it shakes its mane. BUNTY transfixed by the sight of NEWT in his wet shirt.
NEWT
Someone needed to let off some steam. Ointment, Bunty?
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She hands it over. Still mounted, NEWT applies ointment to a
CONTINUED: (2)
wound on the Kelpie's neck.
NEWT
Bite Bunty again and there'll be trouble, mister.
As he dismounts, there is a crash from overhead. Both he and BUNTY look up.
BUNTY
(scared)
What was that?
NEWT
I don't know. But I want you to go home now, Bunty.
BUNTY
Shall I call the Ministry?
NEWT
No, I want you to go home. Please.
34
INT. NEWT'S STAIRCASE - A MINUTE LATER - NIGHT
NEWT climbs the stairs to his living quarters, wand drawn, curious and expecting the worst. He pushes open the door.
35
INT. NEWT'S SITTING ROOM - NIGHT
A spartan bachelor residence. NEWT'S real life is in the basement. JACOB KOWALSKI and QUEENIE GOLDSTEIN stand in the middle of the room, suitcases beside them, QUEENIE nervous and excited, JACOB unfocused and over-merry, possibly drunk. He is holding the remaining pieces of NEWT'S vase, which he has just broken.
QUEENIE
If you could just give it to me... Just give it to me, sweetie. Just give it to me.
(whispering)
If you could just give this to me, sweetheart. Oh!
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JACOB
CONTINUED:
(looking at NEWT)
He doesn't care. Hold it.
NEWT
St -- JACOB
(bellows)
HEY! NEWT! Get over here, you maniac.
He flings his arms around a delighted but awkward NEWT.
QUEENIE
We hope you don't mind, Newt? We let ourselves in -- it's raining out there -- cats and dogs! London's cold!
NEWT
(to JACOB)
But you were supposed to have been Obliviated!
JACOB
I know!
NEWT
So... But...
JACOB
It didn't work, pal. I mean, you said it, the potion only erases bad memories. I didn't have any. I mean, don't get me wrong, I had some weird ones. But this angel... this angel over here, she filled me in on all the bad parts, and here we are, I guess, huh?
NEWT
(overjoyed)
This is wonderful!
He looks around, sure that TINA is here too.
NEWT
Is... Tina? Tina?
QUEENIE
Oh it's just us, honey. Me and Jacob.
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NEWT
CONTINUED: (2)
Oh.
QUEENIE
(uncomfortable)
Why don't I make us some dinner, huh?
JACOB
Yes!
36
INT. NEWT'S SITTING ROOM - FIVE MINUTES LATER - NIGHT
The threesome sit at a table bearing NEWT'S mismatched crockery, the atmosphere tainted by TINA'S absence. QUEENIE'S case lies open on the sofa.
QUEENIE
Tina and I aren't talking.
NEWT
Why?
JACOB'S POV: pink and hazy, as though happily drunk.
QUEENIE
Oh well, you know, she found out about Jacob and I seeing each other and she didn't like it, 'cause of the "law."
(miming quotation marks)
Not allowed to date No-Majs, not allowed to marry them. Blah, blah, blah. Well, she was all in a tizzy anyway, 'cause of you.
NEWT
Me?
QUEENIE
Yeah, you, Newt. It was in Spellbound. Here -- I brought it for you --
She points her wand at her suitcase. A celebrity magazine zooms to her: "Spellbound: Celebrity Secrets and Spell Tips of the Stars!" On the cover, an idealized NEWT and an improbably beaming Niffler: 8FLiX.com FYC SCREENPLAY DATABASE 20230910
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"BEAST TAMER NEWT TO WED!"
CONTINUED:
QUEENIE opens the magazine:
THESEUS, LETA, NEWT, and BUNTY stand side by side at his book launch.
QUEENIE
(showing him)
"Newt Scamander with fiancée, Leta Lestrange; brother, Theseus; and unknown woman."
NEWT
No. Theseus is marrying Leta, not me.
QUEENIE
Oh! Oh dear... well, see, Teen read that, and she started dating someone else. He's an Auror. His name's Achilles Tolliver.
A silence. Then, NEWT starts to notice JACOB'S state: Eating sloppily, he hums to himself, then tries to drink the salt. QUEENIE takes it and puts his glass in his hand, trying to cover.
QUEENIE
Anyway... We're real excited to be here, Newt. This is a -- well, it's a special trip for us. You see, Jacob and I, we're getting married.
She shows him her engagement ring. JACOB tries to toast the moment and pours beer all over his ear.
JACOB
I'm marrying Jacob!
Now sure he knows what's going on, NEWT glares at QUEENIE.
NEWT (V.O.)
(speaking telepathically)
You've enchanted him, haven't you?
QUEENIE
(reading his mind)
What? I have not.
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NEWT
CONTINUED: (2)
Will you stop reading my mind?
(speaking telepathically)
Queenie, you've brought him here against his will.
QUEENIE
Oh, that is an outrageous accusation. Look at him. He's just happy. He's so happy!
NEWT
(drawing his wand)
Then you won't mind if I --
QUEENIE jumps up and tries to shield JACOB from him.
QUEENIE
Please don't!
NEWT
Queenie, you've got nothing to fear if he wants to get married. We can just lift the enchantment and he can tell us himself.
Several painful moments pass. At last she moves aside.
JACOB
What you got there? Whatchu gonna do? Whatchu gonna do with that, Mr. Scamander?
NEWT
Surgito.
JACOB reacts as though to a bucket of cold water. He comes back to himself and takes in his surroundings. He looks at NEWT.
NEWT
Congratulations on your engagement, Jacob.
JACOB
Wait, what?
NEWT looks at QUEENIE.
JACOB
Oh no.
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He realizes he has been taken against his will.
CONTINUED: (3)
Slowly, he gets to his feet to face QUEENIE.
She reads his mind. With a sob, she runs to close her case (several small objects, including a lipstick and a fragment of torn postcard, fall out) and flees the apartment.
JACOB
Queenie!
(turning to NEWT)
It's very nice to see you. Where the hell am I right now?
NEWT
Uh, uh, London.
JACOB
(frustrated)
Oh! I always wanted to go here!
(angry)
Queenie!
He runs after her.
37
EXT. NEWT'S STREET - A MINUTE LATER - NIGHT
QUEENIE dashes out of NEWT'S house and off up the street, crying. JACOB runs after her, livid.
JACOB
Queen, honey. Well, I'm just curious, when were you going to wake me up? After we'd had five kids?
QUEENIE turns to confront JACOB.
QUEENIE
Why is it wrong to want to marry you?
JACOB
Okay --
QUEENIE
To wanna have a family? I just want what everyone else has, that's all.
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JACOB
CONTINUED:
Okay, wait. We talked about this, like, a million times. If we get married and they find out, they're gonna throw you in jail, sweetheart. I can't have that. They don't like people like me marrying people like you. I ain't a wizard. I'm just me.
QUEENIE
They're really progressive here, and they'll let us get married properly.
QUEENIE gestures to the street.
JACOB
Sweetheart, you don't need to enchant me. I'm already enchanted! I love you so much.
QUEENIE
Yeah?
JACOB
Yeah. But I can't have you risking everything like this, you know? You're not giving us a choice, sweetheart.
QUEENIE
You're not givin' me a choice. One of us had to be brave, and you were being a coward!
JACOB
I was being a coward? If I'm a coward, you're a --
She reads his mind.
QUEENIE
-- crazy!
She reacts. He knows she "heard" him.
JACOB
I didn't say it...
QUEENIE
You didn't have to.
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JACOB
CONTINUED: (2)
No, I didn't mean it, sweetheart.
QUEENIE
Yeah, you did.
JACOB
No.
QUEENIE
I'm gonna go see my sister.
JACOB
Fine. See your sister.
QUEENIE
Fine.
QUEENIE Disapparates.
JACOB
No, wait! No! Queenie! I didn't mean it. I didn't say nothing.
But he is alone in the street.
38
INT. NEWT'S HOUSE - SHORTLY AFTER - NIGHT
NEWT'S miserable gaze falls on the piece of postcard. He crosses to pick it up, then points his wand at it.
NEWT
Papyrus Reparo.
It reconstitutes into a whole. We see a picture of Paris. Postcard text becomes visible onscreen.
TINA (V.O.)
My dear Queenie, What a beautiful city. I'm thinking of you, Tina X
39
INT. NEWT'S BASEMENT MENAGERIE - NIGHT
CLOSE ON: JACOB as he enters, pushes open the door, stares around. Soaked through, he has been searching the streets for an hour. 8FLiX.com FYC SCREENPLAY DATABASE 20230910
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NEWT is nowhere to be seen.
CONTINUED:
JACOB
Hey, Newt?
NEWT (O.S.)
Down here, Jacob. I'll be with you in a second.
JACOB starts peering into the enclosure. By the patch of dark water where the Kelpie lives, NEWT has placed a sign for BUNTY:
BUNTY, DON'T TOUCH UNTIL I GET BACK.
He walks on.
An Augurey caws mournfully at JACOB as he walks past.
JACOB
I got my own problems.
NEWT (O.S.)
No, no, no. Back in, please. Right, wait, wait, wait, wait.
A sign on the Augurey cage reads:
BUNTY - DON'T FORGET TO GIVE PATRICK PELLETS.
JACOB hears movement and changes direction, passing a snoozing griffin with a bandaged beak:
BUNTY: CHANGE DRESSING DAILY.
NEWT'S case sits beside the Niffler enclosure. On the inside of the lid is a large moving picture of TINA he has torn out of a newspaper.
NEWT comes round the corner wearing his coat.
NEWT
Queenie left a postcard. Tina's in Paris looking for Credence.
JACOB
Genius. Queenie's gonna go straight for Tina.
(elated)
Okay, we're going to France, pal! Hold on. I'll get my jacket.
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NEWT
CONTINUED: (2)
I've got it.
NEWT has already pointed his wand at the ceiling. JACOB'S coat, hat, and case drop onto the floor in front of him. JACOB is blasted with warm magical air, which dries his rain- soaked clothes.
JACOB
(impressed)
Oh. Beautiful.
They leave. We close in on the note that has appeared:
40
EXT. PARIS, PLACE CACHÉE - NIGHT
A clear, starry night. TINA GOLDSTEIN, reinstated Auror on a mission of her own, more elegant and confident than in New York but carrying private sadness, walks toward the bronzed statue of a robed woman set on a tall stone base, where witches and wizards dressed as Muggles are vanishing.
41
EXT. PLACE CACHÉE, CIRCUS ARCANUS - NIGHT
Music, laughter, and conversation erupt around her. The circus is now in full swing. A banner declares:
CIRCUS ARCANUS: FREAKS AND ODDITIES!
Several tents, a big top in the middle.
TINA walks past the street performers working in the open, scrutinizing them.
A HALF-TROLL performs feats of strength.
A few misshapen and particularly downtrodden humanoids -- UNDERBEINGS without powers but of magical ancestry -- shuffle around, taking money from the crowd.
Horns hidden beneath hats, unusual eyes beneath hoods; HALF- ELVES and HALF-GOBLINS juggle and tumble.
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A magnificent Chinese Zouwu, a giant catlike creature with a
CONTINUED:
long, plumed tail, is imprisoned in a cage. Fireworks burst overhead.
42
INT. CIRCUS ARCANUS, FREAKS' TENT - EVENING
NAGINI is kneeling at a trunk, stroking her circus dress. She must perform shortly. CREDENCE hurries to her.
CREDENCE
(whispers)
Nagini!
She turns.
NAGINI
Credence.
He hands her the note. She scans it, frowns.
CREDENCE
(whispers)
I think I know where she is.
NAGINI looks up, meets his eyes.
CREDENCE
We escape tonight.
SKENDER comes into NAGINI'S tent.
SKENDER
Hey, I've told you to stay away from her, boy -- did I say you could take a break? Clean out the Kappa.
SKENDER closes the curtain between CREDENCE and NAGINI.
SKENDER
(to NAGINI)
And you, get ready!
CREDENCE turns and looks up to a cage full of Firedrakes.
43
INT. CIRCUS ARCANUS, BIG TOP - NIGHT
SKENDER is standing beside the circular platform/cage in the middle of a crowd, many of whom are drunk. 8FLiX.com FYC SCREENPLAY DATABASE 20230910
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SKENDER
CONTINUED:
Next in our little show of freaks and oddities, I present to you -- a Maledictus!
He whips open the curtains. There stands NAGINI in a snakeskin dress. Men in the crowd whistle and jeer.
SKENDER
Once trapped in the jungles of Indonesia, she is the carrier of a blood curse. Such Underbeings are destined, through the course of their lives, to turn permanently into beasts.
TINA makes her way around the back of the crowd, looking for CREDENCE. Elsewhere in the tent, an elegant, suited French African, YUSUF KAMA, is scanning the crowd rather than watching SKENDER. There is a black feather in the band of his fedora.
SKENDER
But look at her. So beautiful, yes? So desirable... but soon she will be trapped forever in a very different body. Every night, when she sleeps... mesdames et messieurs... she is forced to become --
Nothing happens. The crowd jeers at SKENDER. NAGINI looks at SKENDER, a look of hatred.
SKENDER
She is forced to become...
CREDENCE'S and NAGINI'S eyes meet across the big top. ANGLE ON: TINA, who has spotted CREDENCE. She starts to edge toward him, trying not to attract attention. ANGLE ON: KAMA, who does the same.
SKENDER
She is forced to become . . .
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NAGINI closes her eyes. Slowly, she melts into coils.
CONTINUED: (2)
SKENDER
Over time, she will not be able to transform back. She will be forever trapped in the body of a snake. NAGINI suddenly strikes at SKENDER through the bars and utters a cry in Parseltongue. SKENDER crumples, bleeding. At the back of the tent, CREDENCE smashes open the Firedrakes' cage and they soar to freedom like fireworks. The big top catches fire -- screams, panic, the crowd falls over one another to reach the exit --
44
EXT. CIRCUS ARCANUS, BIG TOP - NIGHT
The big top is on fire. Firedrakes weave patterns in the sky above it, trailing showers of sparks. The fire has terrified and enraged the creatures. A hippogriff is rearing and plunging while its handlers try to control it. Everywhere performers are packing up, fast, elves shutting themselves into boxes, which fold smaller and smaller. TINA Apparates and, with a flick of her wand, puts out the fire. The Zouwu crate is on fire and shaking perilously. The creature within roars and howls. The Zouwu explodes out of it: a monstrous cat the size of an elephant, five-colored, with a tail as long as a python. It has been horrendously abused: Scars across its face, it is malnourished, limping, and now driven to a frenzy of terror. TINA spots CREDENCE in the distance.
TINA
Credence!
The Zouwu hobbles as fast as it can, away into the darkness. SKENDER knows there is no catching it now. He runs to galvanize his workers.
SKENDER
Pack it up! Paris is done for us now.
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SKENDER points his wand at the tent, shrinks it to the size
CONTINUED:
of a handkerchief, and pockets it.
TINA
(approaching SKENDER)
The boy with the Maledictus, what do you know about him?
SKENDER
(contemptuous)
He's looking for his mother. All my freaks think they can go home. Okay, let's go.
He leaps up onto a carriage and, as the crates and boxes are all magically reduced to a few cases, clatters away into the night. TINA is left on her own in what seems for a moment to be a deserted square. Then she realizes that KAMA is standing behind her. CUT TO:
45
EXT. PARISIAN CAFÉ - NIGHT
TINA and KAMA sit together at an outside table. TINA is suspicious of KAMA.
TINA
I think we were both at the circus for the same reason, monsieur... ?
KAMA
Kama. Yusuf Kama. And you think right.
TINA
What do you want with Credence?
KAMA
The same as you.
TINA
Which is?
KAMA
To prove who the boy really is. If the rumors of his identity are correct, he and I are - distantly - related.
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KAMA
CONTINUED:
I am the last male of my pure- blooded line... and so, if the rumors are correct, is he.
KAMA takes The Predictions of Tycho Dodonus out of his pocket and holds it tantalizingly before her.
KAMA
You have read The Predictions of Tycho Dodonus?
TINA
Yes. But that's poetry, not proof.
KAMA
If I could show you something better -- more concrete -- something that proves who he is - would the Ministries of Europe and America let him live?
A beat.
TINA
They might.
KAMA
(he nods)
Then come.
He gets up and TINA follows.
46
INT. GRINDELWALD'S HIDEOUT, DRAWING ROOM - NIGHT
GRINDELWALD exhales vapor from a glowing skull-shaped hookah. His ACOLYTES watch as the smoke forms a vision of the Obscurus, a swirl of black and flashing red, then resolves into an image of CREDENCE. All look excited, except KRALL, who is sulky.
GRINDELWALD
So... Credence Barebone. Nearly destroyed by the woman who raised him. Yet now he seeks the mother who bore him. He's desperate for family. He's desperate for love. He's the key to our victory.
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KRALL
CONTINUED:
Well, we know where the boy is, don't we? Why don't we grab him and leave!
GRINDELWALD
(to KRALL)
He must come to me freely -- and he will.
GRINDELWALD returns his gaze to the vision of CREDENCE suspended in the center of the drawing room.
GRINDELWALD
The path has been laid, and he is following it. The trail that will lead him to me, and the strange and glorious truth of who he is.
KRALL
Why is he so important?
GRINDELWALD walks to face KRALL.
GRINDELWALD
Who represents the greatest threat to our cause?
KRALL
Albus Dumbledore.
GRINDELWALD
If I asked you now to go to the school where he is hiding and kill him for me, would you do it for me, Krall?
(smiles)
Credence is the only entity alive... who can kill him.
KRALL
You really think that he can kill the great -- can kill Albus Dumbledore?
GRINDELWALD
(whispers)
I know he can. But will you be with us when that happens, Krall? Will you?
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EXT. WHITE CLIFFS OF DOVER - DAWN
NEWT and JACOB are walking with cases toward Beachy Head. Pickett pokes his head out of NEWT'S breast pocket and yawns.
NEWT
Jacob, that man Tina's been JACOB seeing -- Don't worry! She's gonna see
you and she'll see the four of us together, it'll be just like New York all over again. Don't worry about it.
NEWT
Yes, but he's an Auror, Queenie said?
JACOB
Yeah, he's an Auror. So what? Don't worry about him.
A beat. They walk.
NEWT
What d'you think I should say to her, if I see her?
JACOB
Oh, well, it's best not to plan these things. You know, you just say whatever comes to you in the moment.
A beat. They walk.
NEWT
(reminiscently)
She has eyes just like a salamander.
JACOB
Don't say that.
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JACOB
CONTINUED:
Nah, look, you just tell her that you missed her. Right, and then you came all the way to Paris to find her. She'll love that. And then, tell her you're losing sleep at night for thinking of her. Just don't say anything about no salamanders, all right?
NEWT
Right. Okay.
JACOB
Hey, hey, hey. It's gonna be all right. We're in this together, pal. Okay, I'm gonna help you out. I'm gonna help you find Tina, find Queenie, and we'll all be happy again. Just like old times.
He spots a slightly sinister figure on the edge of the cliff: all black, tattered robes.
JACOB
Who is this guy?
NEWT
He's the only way I can leave the country without documentation. Now, you don't suffer from motion sickness, do you?
JACOB
I don't do well on boats, Newt.
A beat.
NEWT
You'll be fine.
PORTKEY TOUT
Stir your stumps -- it leaves in one minute!
Confused, JACOB looks around for the conveyance, ignoring the rusty bucket on the ground.
PORTKEY TOUT
Fifty Galleons.
NEWT
No, we said thirty.
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PORTKEY TOUT
CONTINUED: (2)
Thirty to go to France, twenty not to tell anyone I seen Newt Scamander leaving the country illegally.
Angry, NEWT pays up.
PORTKEY TOUT
Price of fame, pal.
(checks watch)
Ten seconds.
NEWT picks up the bucket and holds out his hand to JACOB.
NEWT
(to JACOB)
Jacob.
JACOB
ARGH!
They are pulled away into thin air. CUT TO:
48
EXT. PLACE CACHÉE - DAY
NEWT and JACOB peer around the corner. A French POLICEMAN is standing in front of the statue of the robed woman. JACOB is pale, sweaty, and still clutching the bucket, which has come in handy.
JACOB
I didn't like that Portkey, Newt.
NEWT
(absently)
So you keep saying. Follow me.
NEWT points his wand at the POLICEMAN.
NEWT
Confundus.
The POLICEMAN lurches as though drunk, blinks, shakes his head, then giggles and ambles off, raising his hat at disconcerted passersby. 8FLiX.com FYC SCREENPLAY DATABASE 20230910
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NEWT
CONTINUED:
Come on. That'll wear off in a few minutes.
NEWT leads JACOB through the statue and into Magical Paris. He puts his case down and points his wand at the street.
NEWT
Appare vestigium.
The tracking spell materializes as a swirl of gold, which illuminates traces of recent magical activity in the square.
NEWT
Accio Niffler!
The case bursts open and a Niffler jumps out.
NEWT
Get looking.
NEWT climbs onto the case and inspects impressions of creatures revealed in the air, while the now-trained adult Niffler sniffs out clues.
NEWT
That's a Kappa. That's a Japanese water demon --
The Niffler sniffs around some shimmering footsteps. The Niffler has found the place where TINA stood in front of the Zouwu. NEWT sees a vision of TINA.
NEWT
Tina? Tina!
(to Niffler)
What have you found?
He bends down to lick the pavement.
JACOB
(glancing around)
And we're licking the dirt now.
NEWT puts his wand to his ear and listens to a terrifying roar. He points his wand to the street.
NEWT
Revelio.
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JACOB sees what NEWT is looking at: gigantic paw marks
CONTINUED: (2)
overlaying everything else.
JACOB
(intensely worried)
Newt... what made those?
NEWT
That is a Zouwu. It's a Chinese creature. They are incredibly fast and incredibly powerful. They can travel a thousand miles in a day... and this one could take you from one part of Paris to the next in a single leap.
The Niffler sniffs around more shimmering footsteps -- another place where TINA stood.
NEWT
Oh, good boy.
(intensely worried)
Jacob, she was here. Tina stood here. She has incredibly narrow feet, have you noticed?
JACOB
Can't say that I have.
NEWT sees a vision of KAMA.
NEWT
Then someone came towards her.
NEWT points to a feather from KAMA'S hat, sniffs it, and looks troubled.
NEWT
Avenseguim.
The feather turns like the needle of a compass, pointing the way.
NEWT
Follow that feather.
JACOB
What?
NEWT
Jacob, follow the feather.
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JACOB
CONTINUED: (3)
Follow the feather.
NEWT
(re: the Niffler)
Where is he? Ah, Accio Niffler.
The Niffler is carried by the spell back into the case. NEWT takes the case and dashes off. JACOB gestures toward the bucket in his hand.
NEWT
Let go of the bucket!
JACOB drops the bucket and chases after NEWT.
49
EXT. PARIS - DAY
50
EXT. PLACE DE FURSTEMBERG - MORNING
QUEENIE approaches the trees in the middle of the square. She coughs. The roots of the trees rise up and form a birdcage elevator around her, which descends into the earth.
51
INT. MINISTÈRE DES AFFAIRES MAGIQUES, MAIN LEVEL - MORNING 51
QUEENIE descends into the beautiful Art Nouveau French Ministry of Magic, its domed ceiling patterned with constellations. QUEENIE approaches reception.
RECEPTIONIST
(in French)
Bienvenue au Ministère des Affaires Magiques.
QUEENIE
I'm sorry, I don't know what you just said at all --
RECEPTIONIST
(in English)
Welcome to the French Ministry of Magic. What is your business, please?
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QUEENIE
CONTINUED:
(loudly and slowly)
I need to speak to Tina Goldstein, she's an American Auror working on a case here --
The RECEPTIONIST flicks through a few pages.
RECEPTIONIST
We have no Tina Goldstein here.
QUEENIE
No, it's... I'm sorry there must be some sort of mistake. See, I know she's in Paris, she sent me a postcard. I brought it, I can show it to you. Maybe you can help me find her here?
QUEENIE reaches for her suitcase, which falls open.
QUEENIE
It's just in here. Oh rabbits! If you can just wait one moment! I know it's in here somewhere. I definitely packed it. Where is it?
As the RECEPTIONIST gives a Gallic shrug -- -- a genteel ELDERLY LADY crosses INTO THE SHOT BEHIND QUEENIE. She has a distinctive bag in her hands -- WE FOLLOW her into the elevator -- Where ROSIER stands waiting. As the doors close, the ELDERLY LADY transforms into ABERNATHY and he pulls out an elaborate box...
52
EXT. PARIS BACK STREET - DAY
QUEENIE stands sadly on the street, holding an umbrella. Then, a double take: did she just see NEWT and JACOB hurrying from one side street into another?
JACOB
Could we at least stop for a coffee, or like a --
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NEWT
CONTINUED:
Not now, Jacob.
JACOB
I don't know.
NEWT
This way. Come on.
JACOB
Pain au chocolat? Half a croissant, or like, a bonbon?
NEWT
This way.
QUEENIE sets off down the street, trotting in her haste to catch up with NEWT and JACOB. WE FOLLOW her drawing ever closer, as she chooses from a bewildering number of side alleys. So absorbed is she in trying to follow NEWT and JACOB -- -- she can now "hear" JACOB'S thoughts.
QUEENIE
(calls aloud, joyful)
Jacob! Jacob?
But he has gone. Exhausted and lonely, QUEENIE drops down to the curb in the rain, deafened by the clamor of the thoughts of those in the crowd around her. A hand falls onto QUEENIE'S shoulder. She turns, beaming. Her expression turns to puzzlement.
ROSIER
(in French)
Madame? Tout va bien, Madame?
53
EXT. BIRD MARKET - LATER THAT DAY
CREDENCE and NAGINI WALK INTO SHOT, looking around. CREDENCE steals birdseed as he passes a stall. GRIMMSON watches them, unnoticed. 8FLiX.com FYC SCREENPLAY DATABASE 20230910
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EXT. RUE PHILIPPE LORAND - SHORTLY AFTERWARD - DAY
CREDENCE and NAGINI peer around the corner at the distant Number Eighteen. A light shines in the attic. A shadow moves in front of it.
CREDENCE
(scared)
She's home.
Now he is here, he is rooted to the spot. He dare not proceed. NAGINI prizes his hand from behind his back. She leads him across the road.
55
EXT. REAR OF 18 RUE PHILIPPE LORAND - MINUTES LATER - DAY 55
A door stands open into the yard. They slide through it into a servants' passageway. NAGINI'S nostrils flare. Her eyes dart around. There is something wrong. They proceed toward the stairs.
56
DAY
INT. 18 RUE PHILIPPE LORAND, LANDING OUTSIDE MAID'S ROOM - 56
CREDENCE and NAGINI reach the landing. A door stands ajar.
A shadow cast by lamplight: what seems to be a woman, sewing. The shadow pauses in its work.
NAGINI is edgy, nervous, looking around.
IRMA (O.S.)
(in French)
Qui est là?
CREDENCE can neither move nor speak. NAGINI realizes this.
NAGINI
(in French)
C'est votre fils, madame.
She takes CREDENCE'S hand and pulls him gently into the room. Mended and freshly washed clothing hang from racks on the ceiling. They can see the shadow of a woman. 8FLiX.com FYC SCREENPLAY DATABASE 20230910
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NAGINI'S senses are hyperalert. She can smell danger. The
CONTINUED:
shadow stands.
IRMA
(in French)
Qui êtes-vous?
CREDENCE
(whispers, terrified)
Are you Irma? Are you... ? Are you Irma Dugard?
No response. They move through the hanging fabric toward her.
CREDENCE
I'm sorry. Your name is on my adoption paper. Does this make sense? You gave me to Mrs. Barebone in New York.
A beat. A tiny hand pushes the last piece of fabric aside. There stands IRMA: half-elf, half-human. CREDENCE'S face reveals confusion, awful disappointment.
IRMA
(to CREDENCE)
I am not your mother. I was only a servant.
(smiling)
You were such a beautiful baby. And you are a beautiful man. I have missed you.
ANGLE ON: GRIMMSON watching them from a doorway.
CREDENCE
Why didn't they want me? But why is your name on my adoption paper?
IRMA
I took you to Mrs. Barebone because she was supposed to look after you.
NAGINI'S fear is increasing.
ANGLE ON: THE DARK WALL BEHIND SWATHES OF FABRIC.
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The perfectly camouflaged GRIMMSON emerges from the wall,
CONTINUED: (2)
raises his wand, aims for the silhouetted figures, and dispatches a Killing Curse that sears through the sheets and clothing, leaving smoldering holes.
We hear a body fall. NAGINI screams.
CREDENCE'S shadow has vanished.
Grinning, certain of triumph, GRIMMSON slashes away the smoking fabric until he stands facing --
IRMA, dead on the floor, and NAGINI, who backs away from him. Slowly, his grin fading, GRIMMSON looks up at the ceiling. The Obscurus is swirling there like thick black smoke.
In a flash, GRIMMSON conjures a domed Shield Charm around himself and IRMA'S body.
And the Obscurus dives, pelting the Shield Charm like a million bullets, rising and re-forming and diving again, but though the magical barrier trembles, it is not broken.
Now the Obscurus expands in fury, smashing apart the attic like a tornado.
GRIMMSON smiles up at the Obscurus: We'll meet again.
He Disapparates. Mingling with the debris of the destroyed attic, the Obscurus slams inward and CREDENCE re-forms.
He stands looking down at the tiny body.
57
EXT. ALLEYWAY - AFTERNOON
Fresh from IRMA'S murder, GRIMMSON stands in a covered alleyway beneath a bridge over the Seine. GRINDELWALD appears.
GRIMMSON
She's dead.
GRINDELWALD walks toward him and halts when they are face-to- face.
GRINDELWALD
How did the boy take it?
GRIMMSON
(shrugging)
He's sensitive.
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GRIMMSON
CONTINUED:
The Ministry won't be happy when I tell them I've missed. They know my reputation.
GRINDELWALD
Listen to me. The disapproval of cowards is praise to the brave. Your name will be written in glory when wizards rule the world. And the clock is ticking faster. You watch over Credence. Keep him safe. For the greater good.
GRIMMSON
For the greater good.
58
EXT. PARISIAN CAFÉ - EVENING
A pair of lovers sit over coffee. NEWT is scanning every man who leaves the café, checking the reaction of the feather trapped beneath the glass. JACOB stares at the lovers.
JACOB
You know what I miss about Queenie? Everything. I even miss the stuff that drove me nuts. Like the mind reading...
(he notices NEWT'S inattention)
...I was lucky to have someone like her even interested in anything I thought. You know what I mean?
A beat.
NEWT
Sorry?
JACOB
I was saying, you're sure the guy is here that we're looking for?
NEWT
Definitely. The feather says so.
59
INT. PARISIAN CAFÉ, BATHROOM - EVENING
A cramped and dirty bathroom. 8FLiX.com FYC SCREENPLAY DATABASE 20230910
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KAMA stares into the on the tap. Suddenly bandaged hand to his removes his hand and
CONTINUED:
mirror, his featherless fedora perched his face twitches. He raises his eye and rubs it, shaking his head. He stares at his reflection.
WE CLOSE IN: A tiny tentacle is visible at the corner of his eye. He whimpers in distress and gropes in his suit pocket for a small bottle of bright green liquid, which he drops into his eye with a dropper. Another whimper of pain as the tentacle withdraws. He looks at his reflection. It seems normal. He puts his hat back on and leaves.
60
INT. PARISIAN CAFÉ - EVENING
KAMA leaves the café. The feather points at him. NEWT lets it out and it flies to KAMA'S hat.
JACOB
Is that the guy we're looking for?
NEWT
Yes.
NEWT and JACOB jump up to confront him.
NEWT
(to KAMA, in French)
Er -- bonjour. Bonjour, monsieur.
KAMA makes to carry on walking, ignoring NEWT.
NEWT
(in English)
Oh wait, no, sorry. We were... we were actually just wondering if you'd come across a friend of ours?
JACOB
Tina Goldstein.
KAMA
Monsieur, Paris is a large city.
NEWT
She's an Auror. When Aurors go missing, the Ministry tend to come looking, so...
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NEWT
CONTINUED:
No, now I suppose it would probably be better if we just report her absence --
KAMA
(deciding)
She is tall? Dark? Rather --
JACOB
-- intense?
NEWT
-- beautiful --
JACOB
(hasty, off NEWT'S look)
-- Yeah, what I meant to say - she's very -- very pretty --
NEWT
She's intense too.
KAMA
I think I saw someone like this last night. Perhaps if I showed you where?
NEWT
If you wouldn't mind. That would be lovely.
KAMA
Sure.
61
INT. KAMA'S HIDEOUT - EVENING
The interior of KAMA'S hideout is pitch black. The sound of WATER DRIPPING. A brief shaft of sunlight reveals TINA, sleeping lightly on the floor in her coat.
NEWT
Tina?
She wakes. A MOMENT as NEWT and TINA stare at each other. Each has thought of the other daily for a year. With no sign of KAMA, it seems she has been rescued. 8FLiX.com FYC SCREENPLAY DATABASE 20230910
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TINA
CONTINUED:
(joyful, disbelieving)
Newt!
TINA notices KAMA entering in the background and raising his wand. Her expression changes.
KAMA
Expelliarmus!
NEWT'S wand flies out of his hand into KAMA'S. Bars form across the door, imprisoning them.
KAMA
(through the door)
My apologies, Mr. Scamander! I shall return and release you when Credence is dead!
TINA
Kama, wait!
KAMA
You see, either he dies... or I do.
He claps a hand to his eye.
KAMA
No, no, no, no. Oh no. No, no, no.
He jerks convulsively and slides to the floor, unconscious.
NEWT
Well, that's not the best start to a rescue attempt.
TINA
This was a rescue attempt? You've just lost me my only lead.
JACOB launches for the door, trying to break it down.
NEWT
(innocent)
Well, how was the interrogation going before we turned up?
TINA throws him a dark look. She strides to the back of the cave. Pickett, who, unnoticed, has hopped out of NEWT'S pocket, successfully picks the lock, and the bars swing open. 8FLiX.com FYC SCREENPLAY DATABASE 20230910
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JACOB
CONTINUED: (2)
Newt!
NEWT
Well done, Pick.
(to TINA)
You need this man, you say?
TINA
Yeah. I think this man knows where Credence is, Mr. Scamander.
As they bend over the unconscious KAMA, they hear an earth- shattering roar from somewhere above them. They look at each other.
NEWT
Well, that'll be the Zouwu.
NEWT grabs his wand and Disapparates.
62
EXT. PARISIAN BRIDGE - NIGHT
In the middle of the bridge is the Zouwu, terrified and lethal. It is too badly hurt to keep running, but it is swiping at PASSERSBY, who are screaming and running out of the way. Cars screech to a halt. NEWT Apparates in the middle of the bridge, fifty yards from the Zouwu, holding his case. A second later, TINA Apparates too, holding JACOB'S arm. JACOB is sagging under the weight of the unconscious KAMA.
JACOB
(calls)
Newt, get out of there!
NEWT stoops down slowly and opens his case. The Zouwu snarls, crouches, and begins to advance on NEWT. Very slowly, so as not to alarm the Zouwu, NEWT lowers his arm into the case, feeling for something. It takes him longer than he expected. Frowning, he reaches deeper inside. The Zouwu advances. It bares its teeth. NEWT has found what he was looking for. He raises his arm. He is holding a fluffy toy bird on a stick and rope. 8FLiX.com FYC SCREENPLAY DATABASE 20230910
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A beat.
CONTINUED:
The Zouwu's eyes start to follow the bird.
The Zouwu's tail twitches. It crouches lower than ever. Then, with a sudden bound, it soars through the air toward NEWT. Screams from the onlookers -- NEWT will surely be crushed --
But at the last moment he lets the bird fall into the case and the Zouwu sails after it in a flash of rainbow color, python tail flailing and -- WHAM -- NEWT slams the lid shut.
Uproar from the crowd, sirens approaching, police cars converging on the bridge.
FLAMEL'S card flies up out of NEWT'S pocket.
TINA and JACOB, still carrying KAMA, run toward NEWT, and all four Disapparate.
63
EXT. HOGWARTS - DAY
An ominous procession of AURORS marches up the drive toward the castle, among them, THESEUS and LETA. CLOSE ON: AN UPPER WINDOW. STUDENTS staring down at the strangers, nudging one another. The AURORS enter the school.
64
INT. DEFENSE AGAINST THE DARK ARTS CLASSROOM - DAY
DUMBLEDORE is teaching. A space in the middle of the room, all students enjoying the spectacle. A large boy - MCCLAGGAN - is braced for attack, his robes covered in dust, his tie knotted around his ear. He and DUMBLEDORE circle each other.
DUMBLEDORE
What were the three biggest mistakes that you made last time?
MCCLAGGAN
Caught by surprise, sir.
DUMBLEDORE
What else?
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MCCLAGGAN
CONTINUED:
Didn't parry before counter-curse, sir.
DUMBLEDORE
Very good. And the last one... the most important one?
MCCLAGGAN looks away, thinking. DUMBLEDORE hits him unawares. MCCLAGGAN flies into the air, DUMBLEDORE conjures a sofa, MCCLAGGAN hits it and slides to the floor.
DUMBLEDORE
Not learning from the first two.
The class laughs. The door opens. TRAVERS, THESEUS, and four other AURORS enter, YOUNG MINERVA MCGONAGALL behind them.
MCGONAGALL
This is a school, you've no right --
TRAVERS
I'm the Head of Magical Law Enforcement and I have the right to go wherever I please.
(to the students)
Out of here.
They don't move.
DUMBLEDORE
(to the students)
Go with Professor McGonagall, please.
They file out, curious or alarmed. The last out is MCCLAGGAN.
MCCLAGGAN
(to TRAVERS)
He's the best teacher we've got.
DUMBLEDORE
(quiet)
Thanks, McClaggan.
TRAVERS
Get out!
MCGONAGALL
Come, McClaggan.
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The door closes.
CONTINUED: (2)
TRAVERS
Newt Scamander is in Paris.
DUMBLEDORE
Really?
TRAVERS
Cut the pretense. I know he's there on your orders.
DUMBLEDORE
If you'd ever had the pleasure to teach him, you'd know Newt is not a great follower of orders.
TRAVERS tosses a small book to DUMBLEDORE, who catches it in one hand.
TRAVERS
(indicating the book)
You've read The Predictions of Tycho Dodonus?
DUMBLEDORE
Many years ago.
TRAVERS
(reads)
"A son cruelly banished Despair of the daughter Return --"
DUMBLEDORE
Yes, I know it.
TRAVERS
There's a rumor this DUMBLEDORE (CONT'D) prediction refers to the -- a highborn henchman. I've Obscurial. They say that heard the rumor. Grindelwald wants --
TRAVERS
And yet Scamander appears wherever the Obscurial goes, to protect him. Meanwhile you have built up quite a little network of international contacts --
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DUMBLEDORE
CONTINUED: (3)
(quiet, steely)
However long you keep me and my friends under surveillance, you're not going to discover plots against you, Travers, because we want the same thing: the defeat of Grindelwald. But I warn you, your policies of suppression and violence are pushing supporters into his arms --
TRAVERS
I'm not interested in your warnings!
(controlling himself)
Now, it pains me to say it, because -- well, I don't like you.
TRAVERS and DUMBLEDORE both chuckle.
TRAVERS
But... you are the only wizard who is his equal. I need you to fight him.
A pause. The AURORS watch.
DUMBLEDORE
I cannot.
TRAVERS
Because of this?
He casts a spell to show moving pictures of TEENAGE DUMBLEDORE and TEENAGE GRINDELWALD. The AURORS are shocked. The TEENAGE DUMBLEDORE and TEENAGE GRINDELWALD stare intently into each other's eyes.
TRAVERS
You and Grindelwald were as close as brothers.
DUMBLEDORE
We were closer than brothers.
DUMBLEDORE is looking at the pictures. These memories are agony. He is full of remorse but, almost worse: nostalgia for the only time in his life he felt fully understood.
TRAVERS
Will you fight him?
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DUMBLEDORE
CONTINUED: (4)
(pained)
I can't.
TRAVERS
Then you have chosen your side.
He flicks his wand once more. Thick metal cuffs -- Admonitors -- appear on DUMBLEDORE'S wrists.
TRAVERS
From now on, I shall know every spell you cast. I'm doubling the watch on you, and you will no longer teach Defense Against the Dark Arts.
(to THESEUS)
Where's Leta? We need to go to Paris!
He storms out. The AURORS follow. THESEUS is last to the door.
DUMBLEDORE
(quietly)
Theseus.
THESEUS looks back.
DUMBLEDORE
Theseus, if Grindelwald calls a rally, don't try and break it up. Don't let Travers send you in there. If you ever trusted me --
TRAVERS (O.S.)
THESUS!
THESUS leaves.
65
INT. DESERTED HOGWARTS CORRIDOR - DAY
The late afternoon sun falls through the windows as LETA walks along a corridor populated only with memories. She stops beside an open door. THE GREAT HALL is lit with floating candles. 8FLiX.com FYC SCREENPLAY DATABASE 20230910
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INT. EMPTY HOGWARTS CLASSROOM - DAY
LETA walks slowly into the classroom, then turns to look back into the corridor and -- DISSOLVE TO:
67
-
INT. EMPTY HOGWARTS CLASSROOM - SEVENTEEN YEARS PREVIOUSLY 67
MORNING
13-YEAR-OLD LETA stands hiding inside the empty classroom while students in cloaks trundle by, pushing trunks and carrying owls. It is the last day of the winter term and nearly everyone is going home.
ANGLE ON: TWO 13-YEAR-OLD GRYFFINDOR GIRLS pushing trunks.
GRYFFINDOR GIRL 1
You know she stays here every vacation. Her family don't actually want her home.
GRYFFINDOR GIRL 2
I don't blame them, she's so annoying. Even the name Lestrange makes me feel sick --
LETA flings herself into their path, pointing her wand.
13-YEAR-OLD LETA
Oscausi!
GRYFFINDOR GIRL 2'S mouth is sealed shut as though she never had one. Triumphant, LETA flees the scene, pushing past shocked students.
GRYFFINDOR GIRL 1
(screams)
Professor McGonagall! LESTRANGE HAS DONE IT AGAIN!
MCGONAGALL (O.S.)
Lestrange, stop running! LESTRANGE! Disobedient children. Stop! Shame on the House of Slytherin. One hundred points! Two hundred! Get back here, right now! Stop! Stop it! Stop it! You stop it! Get back here!
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GRYFFINDOR GIRL 1
CONTINUED:
Miss, it was Lestrange. She's horrible --
McGONAGALL silences the girl. ANGLE ON: LETA, sprinting around a corner. She wrenches open a side door and plunges inside.
68
68
INT. HOGWARTS CUPBOARD - SEVENTEEN YEARS PREVIOUSLY - MORNING
13-YEAR-OLD LETA slams the door and stands there, ear against it. She hears running, distant shouts.
Then a sound behind her makes her jump and turn around.
13-YEAR-OLD NEWT is already in occupation of the cupboard. He has hidden a couple of tanks here, one containing tadpoles, another Streelers.
A lined cardboard box serves as a nest for the raven chick he is cradling in his hand. It wears a splint on its broken leg. NEWT and LETA stare at each other.
13-YEAR-OLD LETA
Scamander... why aren't you packing?
13-YEAR-OLD NEWT
I'm not going home.
13-YEAR-OLD LETA
Why not?
13-YEAR-OLD NEWT
(re: the raven)
He needs me. It was hurt.
LETA takes in the tanks, then the ugly little bird, to which NEWT now feeds an earthworm.
13-YEAR-OLD LETA
What is that?
13-YEAR-OLD NEWT
A raven chick.
She is mildly intrigued now.
13-YEAR-OLD LETA
The raven's my family's emblem.
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She watches him stroking the bird's head. As he places the
CONTINUED:
chick gently in her hands, she seems to see him plainly for the first time.
69
PREVIOUSLY - DAY
INT. DEFENSE AGAINST THE DARK ARTS CLASS - FOURTEEN YEARS 69
It is Boggart time.
DUMBLEDORE supervises the line of teenagers advancing to try their luck.
"Riddikulus" -- "Riddikulus" -- gusts of hilarity as a shark becomes a flotation device, a zombie's head turns into a pumpkin, a vampire turns into a buck-toothed rabbit.
DUMBLEDORE
All right, Newt. Be brave.
16-YEAR-OLD NEWT moves to the front of the queue. The Boggart turns into a Ministry desk.
DUMBLEDORE
Mmm, that's an unusual one. So Mr. Scamander fears what more than anything else in the world?
16-YEAR-OLD NEWT
Having to work in an office, sir.
The class roars with laughter.
DUMBLEDORE
Go ahead, Newt.
16-YEAR-OLD NEWT
Riddikulus!
NEWT turns the desk into a gamboling wooden dragon and moves aside.
DUMBLEDORE
Well done. Good job.
It is 16-YEAR-OLD LETA'S turn, but she doesn't move. She is terrified. 8FLiX.com FYC SCREENPLAY DATABASE 20230910
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DUMBLEDORE
CONTINUED:
(kind, to LETA)
Leta, it's only a Boggart, it can't hurt you. Everyone's scared of something.
A group of girls stands together, enjoying her fear.
GRYFFINDOR GIRL 1
I've been looking forward to this.
LETA steps forward. The Boggart transforms and at once, all laughter is extinguished. Green light is reflected on every horrified face. We see a shadow, with a tiny human hand. LETA lets out a sob and runs from the room.
70
PREVIOUSLY - EVENING
EXT. HOGWARTS LAKE, BOWTRUCKLE ISLAND - FOURTEEN YEARS
NEWT finds LETA sitting by the lake, tearstained, eyes swollen. They look at each other.
16-YEAR-OLD LETA
I don't want to talk about it!
He holds out his hand and she lets him pull her up. He leads her past a few trees until they reach the one where Bowtruckles are climbing and fighting and playing. They freeze at the humans' approach but relax when they recognize NEWT. He holds out a finger. One of them jumps on.
16-YEAR-OLD NEWT
They know me, or they'd hide. They only nest in trees with wand -- quality wood, did you know that?
(beat)
And they have very complex social lives. If you watch them for long enough, you realize...
He trails off. She is watching him, not the Bowtruckles. NEWT reaches across to her, the Bowtruckle standing on his wrist. His hand grazes hers. 8FLiX.com FYC SCREENPLAY DATABASE 20230910
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DUMBLEDORE (V.O.)
CONTINUED:
Hello, Leta.
71
INT. EMPTY HOGWARTS CLASSROOM - AFTERNOON
LETA is still sitting at her old desk in the present-day classroom. DUMBLEDORE enters.
DUMBLEDORE
This is a surprise.
LETA
(cold)
Finding me in a classroom? Was I such a bad student?
DUMBLEDORE
On the contrary, you were one of my cleverest.
LETA
I said bad, not stupid. Don't bother answering. I know you never liked me.
DUMBLEDORE
Well, you're wrong. I never thought you bad.
LETA
You were alone, then. Everybody else did.
(very quietly)
And they were right. I was wicked.
A beat as he considers her.
DUMBLEDORE
Leta, I know how painful the rumors about your brother Corvus must be for you.
LETA
No, you don't. Not unless you had a brother who died too.
DUMBLEDORE
In my case, it was my sister.
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She stares at him, both hostile and curious.
CONTINUED:
LETA
Did you love her?
DUMBLEDORE
Not as well as I should have done.
He steps toward LETA.
DUMBLEDORE
It's never too late to free yourself. Confession is a relief, I'm told. A great weight lifted.
She stares at him: What does he know -- or suspect?
DUMBLEDORE
(sotto voce)
Regret is my constant companion. Do not let it become yours.
72
INT. GRINDELWALD'S HIDEOUT, DRAWING ROOM - END OF DAY
QUEENIE is on the sofa, beside a table of tea and cakes. She sets down her empty teacup. We feel her slight awkwardness as it is instantly refilled by ROSIER.
QUEENIE
Oh, no, thank you. You've been real kind, but my sister Tina's probably worried sick about me, you know. Banging on all the doors and things, so I think I'd better be going.
ROSIER
But you haven't met your host.
QUEENIE
(a little wistfully)
Oh, are you married?
ROSIER
(smiling)
Let's say... deeply committed.
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QUEENIE
CONTINUED:
(innocent)
You see, I can't tell if you're making a joke or if you're just... French.
ROSIER laughs and leaves. QUEENIE is confused. An enchanted teapot hovering in midair nudges her, intent on refilling her cup.
QUEENIE
(to the teapot)
Hey, knock it off.
The door opens. GRINDELWALD enters. QUEENIE stands and the teapot and cups smash to the ground. She draws her wand and aims it at GRINDELWALD.
QUEENIE
You stay right there. I know what you are.
He walks slowly toward her.
GRINDELWALD
Queenie, we are not here to hurt you. We only want to help you. You're so very, very far from home. Far away from everything you love. Everything that was comfortable.
QUEENIE stares, keeping her wand raised.
GRINDELWALD
I would never see you harmed, ever. It is not your fault that your sister is an Auror. I wish you were working with me now towards a world where we wizards are free to live openly, and to love freely.
GRINDELWALD'S hand touches her wand-tip and lowers it.
GRINDELWALD
You are an innocent. So go now. Leave this place.
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INT. HOGWARTS, ROOM OF REQUIREMENT - NIGHT
A spartan room. A large object stands against the wall, covered in black velvet. DUMBLEDORE stands thinking for a moment, then approaches the covered object and pulls the curtain down. The Mirror of Erised is revealed. He has not looked into it for many years. Bracing himself, he now does so: WE SEE: TEENAGE DUMBLEDORE and TEENAGE GRINDELWALD facing each other in a barn. Both score their palms with their wands. Now bleeding, they interlace their hands... DUMBLEDORE turns his head away, fighting the impulse to cover the glass again. Bracing himself, he looks up. From their bloody palms rise two glowing drops of blood, which mingle and merge to create one. A metal shape begins to form around the droplet, becoming more defined and intricate. It is GRINDELWALD'S vial.
THE VISION FADES --
-- and the present-day GRINDELWALD stands smiling out of the mirror, surrounded by blackness.
74
EXT. PARIS, RUE DE MONTMORENCY - AFTERNOON
ESTABLISHING SHOT: NICOLAS FLAMEL'S house.
75
INT. FLAMEL HOUSE - AFTERNOON
A creepy medieval drawing room. The tapestries sport moving figures and odd runes. A large crystal ball in a corner shows dark clouds. TINA is trying to wake up KAMA with a bottle of smelling salts. He moves slightly. The Predictions of Tycho Dodonus slips out of his pocket onto the floor. TINA picks it up and opens it to the prediction KAMA has underlined. NEWT'S case is open on a table. The Zouwu roars from inside. TINA turns to look at it, listening. 8FLiX.com FYC SCREENPLAY DATABASE 20230910
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INT. NEWT'S CASE, ZOUWU ENCLOSURE - AFTERNOON
A wild Chinese habitat. NEWT is curled up in dense undergrowth. The Zouwu picks him up and dangles him from a claw.
77
INT. FLAMEL HOUSE - AFTERNOON
JACOB enters and sees TINA watching the case. She hastily looks back at the book.
JACOB
(calling into case)
Hey, Newt, buddy. Tina's up here. She's all by her lonesome and maybe you want to come up and keep her company?
(beat)
I've been looking for food, and I ain't found any. I guess I'm gonna go upstairs and try my luck in the - - I dunno -- the attic!
78
INT. NEWT'S CASE, ZOUWU ENCLOSURE - AFTERNOON
Still dangling from the Zouwu's claw, NEWT soothes and coaxes her until he can reach her harness and remove it. The Zouwu is finally freed from her chains.
NEWT
You're all right.
JACOB (O.S.)
Okay!
79
INT. FLAMEL HOUSE - AFTERNOON
JACOB is about to leave when NEWT clambers back out of the case.
NEWT
She's responded well to the Dittany. She was born to run, you see. I think she's just lacking in confidence --
He glances at TINA. She pockets The Predictions of Tycho Dodonus and speaks, not quite looking at NEWT. 8FLiX.com FYC SCREENPLAY DATABASE 20230910
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TINA
CONTINUED:
Mr. Scamander, have you got anything in your case that might help revive this man? I need to question him. I think he knows who Credence really is. The scars on his hand suggest an unbreakable vow --
NEWT
(eager, overlapping)
-- unbreakable vow. Yeah, I noticed that too --
They examine the unconscious KAMA.
NEWT
Lumos.
NEWT'S and TINA'S hands brush as NEWT advances his lit wand- tip to look in KAMA'S eye. Both jump. NEWT stares into KAMA'S eye. The tiny flicker of a tentacle, swiftly withdrawn --
TINA
(gasps)
What was that?
NEWT
(serious)
There must be a water dragon in that sewer-they carry these parasites, you see. They... Jacob?
JACOB
Yeah?
NEWT
In my case, in the pocket there, you'll find a pair of tweezers.
JACOB
Tweezers?
NEWT
They're thin and pointy --
TINA
Thin, little pointy things.
JACOB
Yes, I know what tweezers are.
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NEWT
CONTINUED: (2)
(to TINA)
You might not want to watch this...
TINA
I can handle it.
NEWT succeeds in catching and pulling at the tentacle in KAMA'S eye.
NEWT
Come on. You're all right. Jacob, will you take that for me?
He has extracted something like a spindly, waterborne spider, which he hands to JACOB.
JACOB
Ew! Calamari.
KAMA has started muttering, distraught, semiconscious.
KAMA
I must kill him...
TINA
Who? Credence? Who --?
NEWT
It may take him a few hours to recover. The parasite's poison is quite strong.
TINA
I'll have to go to the Ministry with what I've got.
(a wobble in her voice)
It was nice to see you again, Mr. Scamander.
She strides from the room, leaving NEWT perplexed and upset.
80
INT. FLAMEL HOUSE, HALLWAY - AFTERNOON
JACOB follows TINA into the hall.
JACOB
Hey, hold on one second, will you? Well, hold on! Wait! Tina!
She leaves. As the front door closes, NEWT appears at the drawing room door. 8FLiX.com FYC SCREENPLAY DATABASE 20230910
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JACOB
CONTINUED:
(to NEWT)
You didn't mention salamanders, did you?
NEWT
No, she just -- ran. I don't know...
JACOB
(firm)
So you chase after her!
NEWT grabs his case. He leaves.
81
EXT. RUE DE MONTMORENCY - END OF DAY
TINA is hurrying up the road. NEWT hastens to catch up.
NEWT
Tina. Please, just listen to me --
TINA
Mr. Scamander, I need to go talk to the Ministry -- and I know how you feel about Aurors --
NEWT
I may have been a little strong in the way that I expressed myself in that letter --
TINA
What was the exact phrase? "A bunch of careerist hypocrites"?
NEWT
I'm sorry, but I can't admire people whose answer to everything that they fear or misunderstand is "kill it"!
TINA
I'm an Auror and I don't --
NEWT
Yes, and that's because you've gone middle head!
TINA
(stopping)
Excuse me?
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NEWT
CONTINUED:
It's an expression derived from the three heads of the Runespoor. The middle one is the visionary. Every Auror in Europe wants Credence dead -- except you. You've gone middle head.
A beat.
TINA
Who else uses that expression, Mr. Scamander?
NEWT considers.
NEWT
I think it might just be me.
All lights are extinguished as every building is wrapped in black banners. MUGGLES pass, totally immune, but a YOUNG RED-HAIRED WITCH nearby is walking along. She, like NEWT and TINA, can see the banners. TINA steps into the middle of the road, watching the black silk fall out of the sky to shroud the surrounding buildings in darkness.
TINA
It's Grindelwald. He's calling his followers.
WE PAN UP ONE LENGTH OF FLOWING BLACK SILK until we achieve an AERIAL VIEW of Paris. The entire city is being covered in GRINDELWALD'S dark banners.
82
EXT. WIZARDING CAFÉ - END OF DAY
Witches and wizards hurrying outside to see what is invisible to Muggle passersby.
83
EXT. PARISIAN STREET - END OF DAY
QUEENIE reaches out to the nearest black banner, and an emblem of a white raven appears beneath her touch. 8FLiX.com FYC SCREENPLAY DATABASE 20230910
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EXT. PLACE DE FURSTEMBERG - END OF DAY
NEWT still following TINA. They stand surrounded by the impressive scale of GRINDELWALD'S banners.
TINA
It's too late. Grindelwald's come for Credence. He might already have him.
NEWT
(suddenly forceful)
It's not too late. We can still get to him first.
He grabs her hand and pulls her on.
TINA
Where are you going?
NEWT
The French Ministry of Magic.
TINA
That's the last place Credence would go!
NEWT
There's a box hidden at the Ministry safe. It's a box that can tell us who Credence really is.
TINA
A box? What are you talking about?
NEWT
Trust me.
85
EXT. DERELICT BUILDING, ROOFTOP - LATE AFTERNOON
CREDENCE is breaking up birdseed and feeding it to a small chick when NAGINI appears behind him.
NAGINI
(urgently)
Credence.
She leads him back through the open window, out onto the roof. 8FLiX.com FYC SCREENPLAY DATABASE 20230910
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The EIFFEL TOWER is visible behind them.
CONTINUED:
WE PAN AROUND: and see GRINDELWALD sitting on the rooftop near them both.
GRINDELWALD
Shh.
CREDENCE
(whispers)
What do you want?
GRINDELWALD
From you? Nothing. For you? Everything I never had. But what is it you want, my boy?
CREDENCE
I want to know who I am.
GRINDELWALD
This is where you will find proof of your true identity.
GRINDELWALD takes a piece of parchment from his pocket and throws it into the air. The parchment flutters to CREDENCE and lands gently in his hand.
GRINDELWALD
Come to Père Lachaise tonight and you will discover the truth.
He bows, then Disapparates, leaving CREDENCE holding a map of Père Lachaise cemetery.
86
INT. FLAMEL HOUSE - END OF DAY
An uncomfortable JACOB is asleep in a chair beside the semiconscious KAMA. KAMA is muttering:
KAMA
Father... why did you make me...?
JACOB jolts awake as if from a bad dream.
JACOB
Wait! Wait --
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Now fully awake, JACOB'S stomach begins to rumble.
CONTINUED:
A figure appears behind JACOB.
Six-hundred-year-old NICOLAS FLAMEL stands at the entrance to his alchemist's studio.
FLAMEL
I'm afraid we keep no food in the house.
JACOB yelps in fear.
JACOB
(terrified)
Are you a ghost?
FLAMEL
(amused)
No, no, I am alive, but I am an alchemist, and therefore immortal.
JACOB
You don't look a day over three- seventy-five. Hey, sorry we didn't knock --
FLAMEL
No matter. Albus told me some friends might be dropping in.
(holding out his hand)
Nicolas Flamel.
JACOB
Oh. Jacob Kowalski.
They shake hands. JACOB'S grip is firm -- too firm for the alchemist's fragile bones.
FLAMEL
Ooh!
JACOB
I'm sorry.
FLAMEL
It's all right.
JACOB
I didn't --
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FLAMEL looks over at the large crystal ball, in which dark
CONTINUED: (2)
billowing clouds and flashes of lightning have appeared.
FLAMEL
Aha! At last, we see developments!
JACOB
(drawing closer)
I've seen one of these before. It was at the fair. There was this dame there, and she had a veil. I gave her a nickel and she told me about my future.
(beat)
She missed out on quite a bit, actually.
WE CLOSE IN ON: the orb, into dark billowing smoke and flashes of lightning, into the center where we see CREDENCE --
JACOB (O.S.)
Hey -- wait a minute! I know him. That's that kid. That's Credence --
-- and then it becomes the Lestrange tomb, its stone raven prominent. Suddenly, QUEENIE appears inside the tomb, sitting on a stone bench, waiting...
JACOB
Hey! That's Queenie! There she is.
(as if to QUEENIE)
Hi, baby!
(to FLAMEL)
Where is this? Is this -- is this here?
FLAMEL
This is the Lestrange tomb. It lies in the cemetery of Père Lachaise...
JACOB
(to QUEENIE in the crystal ball)
I'm coming, baby. Stay right there - -
(to FLAMEL)
Thank you, thank you, Mr. Flamel!
JACOB clutches FLAMEL'S hands in gratitude. 8FLiX.com FYC SCREENPLAY DATABASE 20230910
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FLAMEL
CONTINUED: (3)
Ahh!
JACOB
Oh no. I'm sorry! I'm sorry, okay?
FLAMEL
Ouch.
JACOB
Oh-look after Mr. Tentacles for me.
He turns. The sofa is empty. JACOB runs out of the room into the hall. The front door stands open. KAMA has escaped.
JACOB
Oh no. I'm sorry, I gotta go.
FLAMEL
Please, you must not go to the cemetery!
But JACOB too runs off into the night. BACK TO FLAMEL: he has shuffled after JACOB, but on realizing he is gone, FLAMEL turns anxiously back to the orb. Black flames are swirling around it. FLAMEL shuffles back into his studio and opens a cupboard. We glimpse glass vials, tubes, and the glowing Philosopher's Stone. He heaves from a shelf a padlocked book embossed with a phoenix. He touches the padlock and it springs open. CLOSE ON THE BOOK: as he flicks through it. Each page holds a photograph captioned with a name. FLAMEL turns the pages, but the subjects of all the pictures are missing.
FLAMEL
Oh dear --
DUMBLEDORE'S portrait is blank. FLAMEL flicks open another page: EULALIE HICKS, a young American professor at Ilvermorny, looks around, worried. 8FLiX.com FYC SCREENPLAY DATABASE 20230910
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EULALIE
CONTINUED: (4)
What's happening?
FLAMEL
Exactly what he said would happen. Grindelwald rallies tonight at the cemetery, and there will be death!
EULALIE
Then you gotta go!
FLAMEL
(panicked)
What? I haven't seen action in two hundred years...
EULALIE
You can do this, Flamel. We believe in you.
87
EXT. PLACE DE FURSTEMBERG - DAY
TINA and NEWT stand in a nearby alleyway, looking out over the square where tree roots previously rose to form the birdcage elevator to the French Ministry.
NEWT
The box is in the ancestral records room, Tina. So, three floors down.
NEWT rummages in his pockets and pulls out a tiny bottle with only a couple of muddy drops left inside it.
TINA
Is that Polyjuice?
NEWT
(of the bottle)
Just enough to get me inside.
He looks down at his coat and finds one of THESEUS'S hairs on his shoulder. He adds it to the mixture, drinks, and turns into THESEUS, still wearing NEWT'S clothes.
TINA
Who --?
NEWT
My brother, Theseus. He's an Auror. And a hugger.
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INT. MINISTÈRE DES AFFAIRES MAGIQUES, MAIN LEVEL - NIGHT
THESEUS exits a meeting room and strides toward LETA, who is waiting for him.
LETA
What's happening?
THESEUS
Grindelwald's rallying. We don't know where, but we think it's tonight.
LETA and THESEUS kiss.
LETA
Be careful.
THESEUS
Of course.
LETA
Promise me you'll be careful.
THESEUS
Of course, I'm going to be careful. Listen, I want you to hear this from me. They think that Credence boy might be your missing brother.
LETA
My brother is dead. He died. How many times, Theseus?
THESEUS
I know, I know. And the records, the records will prove that, okay? They can't lie.
TRAVERS
(sharply)
Theseus.
THESEUS leaves LETA and joins TRAVERS.
TRAVERS
I want every person at that rally arrested. If they resist --
THESEUS
Sir-forgive me... but if we go in too heavy, don't we run the risk of adding to the --
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TRAVERS
CONTINUED:
Just do it.
THESEUS catches sight of NEWT-AS-THESEUS and TINA walking, heads down, through the Ministry typing pool. The brothers' eyes meet. ANGLE ON: NEWT-AS-THESEUS and TINA. NEWT-AS-THESEUS grabs TINA'S arm and makes a sharp turn down a corridor. THESEUS sets off in pursuit, leaving LETA and the angry TRAVERS (who hasn't spotted NEWT) behind. LETA backs away from the throng and slips through a side door.
89
INT. MINISTÈRE DES AFFAIRES MAGIQUES, CORRIDOR - NIGHT
NEWT-AS-THESEUS and TINA run along a corridor lined with pictures, the Polyjuice Potion already wearing off NEWT.
NEWT
I don't suppose you can Disapparate on Ministry premises in France, can you?
TINA
No.
NEWT
Pity.
The Potion wears off completely.
TINA
Newt!
NEWT
Yes, I know. I know there's --
At once, every portrait along the corridor turns into NEWT. An alarm sounds.
ALARM (O.S.)
(in French)
Urgence! Urgence! Un sorcier suivi, Newt Scamander, est entré dans le Ministère!
(then, in English)
Emergency! Emergency! A tracked wizard, Newt Scamander, has entered the Department of Magic!
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THESEUS MOVES INTO SHOT.
CONTINUED:
THESEUS
Newt!
TINA
(running)
That's your brother?
NEWT
Yes -- I think I may have mentioned in my letters we have quite a complicated relationship --
THESEUS
NEWT, STOP!
NEWT and TINA sprint through a second door, which leads --
90
INT. MINISTÈRE DES AFFAIRES MAGIQUES, MAILROOM - NIGHT
-- into a mailroom. Two elderly PORTERS are pushing mailcarts across the circular room.
TINA
Does he want to kill you?
NEWT
Frequently.
THESEUS
No!
As they sprint past the mailcarts, THESEUS sends a curse after them, sending the mailcart boxes flying. TINA blocks the spell.
TINA
He needs to control his temper!
TINA points her wand. THESEUS is slammed down into a high chair that TINA has conjured out of nowhere. Hands bound, THESEUS flies backward on the chair into a meeting room, where he slams into a wall. 8FLiX.com FYC SCREENPLAY DATABASE 20230910
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NEWT
CONTINUED:
(awed)
I think that might have been the best moment of my life.
TINA laughs. NEWT and TINA sprint on.
91
INT. LESTRANGE MAUSOLEUM - NIGHT
An ancient tomb containing many sarcophagi is dominated by the grand marble tomb of LETA'S father. ABERNATHY and MACDUFF enter carrying the bag retrieved from the French Ministry and remove the elaborate box, which they plant in the mausoleum to be found.
92
EXT. PÈRE LACHAISE CEMETERY - SHORTLY AFTERWARD - NIGHT
JACOB is panting as he runs through the dark, deserted cemetery, looking for the tomb he saw in the orb. A faint light in the distance shows him the Lestrange mausoleum.
93
EXT. LESTRANGE MAUSOLEUM - A MINUTE LATER - NIGHT
JACOB reaches the tomb. A stone raven on the lintel.
JACOB
(whispers)
Queenie?
No answer. He enters.
94
INT. LESTRANGE MAUSOLEUM - NIGHT
ANGLE ON: JACOB entering a small space full of shadows and sarcophagi. A single lamp.
JACOB
Queenie, honey?
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MALE WIZARD
CONTINUED:
Don't. Don't move.
A movement behind him. He whirls around. A silhouetted figure lunges at him.
95
NIGHT
INT. MINISTÈRE DES AFFAIRES MAGIQUES, RECORDS ROOM ATRIUM -95
NEWT and TINA turn a corner into a beautiful atrium area in front of towering Art Nouveau doors carved to resemble trees.
A very old woman behind a desk bars the way: MELUSINE.
MELUSINE
(in French)
Puis-je vous aider?
NEWT
Er -- yes, this is Leta Lestrange. And -- I'm her --
TINA
Fiancé.
An increased awkwardness between them as MELUSINE lifts an ancient book onto the desk and opens it. CLOSE ON: MELUSINE'S WIZENED FINGER as it runs down a list of surnames beginning with "L".
MELUSINE
(pointing them on, in French)
Allez-y.
TINA
(whispering, in French)
Merci.
NEWT
(sotto voce, behind TINA)
Thank you.
NEWT grabs TINA'S hand and pulls her toward the doors into the records room. MELUSINE eyes them suspiciously.
NEWT
Tina, about that fiancée business --
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TINA
CONTINUED:
(brittle)
Sorry, yeah. I should have congratulated you --
The doors to the records office open. They enter briskly.
96
INT. MINISTÈRE DES AFFAIRES MAGIQUES, RECORDS ROOM - NIGHT 96
The doors close behind them, plunging them into darkness.
NEWT
No, that's --
TINA
Lumos.
An extraordinary acre of shelves stretches away from them, all carved to look like trees, so that they seem to be on the edge of the forest. Pickett pokes his head out of NEWT'S pocket and squeals in excitement.
TINA
Lestrange.
Nothing happens. TINA sets off, NEWT right behind her. They weave in and out of the carved shelves bearing rolls of parchment, the occasional prophecy, other mysterious trunks and boxes.
NEWT
Tina -- about Leta -
TINA
Yes, I've just said, I am happy for you --
NEWT
Yeah, well, don't.
She stops. Looks at him. What?
NEWT
Please don't be happy.
(in trouble)
Uh, no, no. I'm sorry. I don't...
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NEWT
CONTINUED:
Uh, obviously, I -- Obviously I want you to be. And I hear that you are now. Uh, which is wonderful. Sorry --
(a gesture of hopelessness)
What I'm trying to say is, I want you to be happy, but don't be happy that I'm happy, because I'm not.
(off her confusion)
Happy.
(off her continued confusion)
Or engaged.
TINA
What?
NEWT
It was a mistake in a stupid magazine. My brother's marrying Leta, June the sixth. I'm supposed to be best man. Which is sort of mildly hilarious.
TINA
Does he think you're here to win her back?
(beat)
Are you here to win her back?
NEWT
No! I'm here to --
A beat. He stares at her.
NEWT
-- you know, your eyes really are --
TINA
Are what?
NEWT
I'm not supposed to say.
Pickett is climbing out of NEWT'S pocket onto the nearest shelf. NEWT doesn't notice. A beat. Then, in a rush: 8FLiX.com FYC SCREENPLAY DATABASE 20230910
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TINA
CONTINUED: (2)
Newt, I read your book, and did you --?
NEWT
I still have a picture of you -- wait, did you read --?
NEWT pulls the picture of her from his breast pocket and unfolds it. She is inordinately touched. He looks from the picture to TINA.
NEWT
I got this -- I mean, it's just a picture of you from the paper, but it's interesting because your eyes in newsprint... See, in reality they have this effect in them, Tina... It's like fire in water, in dark water. I've only ever seen that --
(struggling)
I've only ever seen that in --
TINA
(whispers)
Salamanders?
A loud bang as the doors to the records room fly open. They jump apart. Somebody has entered the room. They draw back among the shelves.
TINA
Come.
ANGLE ON: LETA in the doorway. She walks inside, desperate. This is her last chance to hide evidence about Corvus's death. The doors close behind her. She raises her wand.
LETA
Lestrange.
The shelves begin to move. ANGLE ON: MELUSINE, watching through the records room doors. 8FLiX.com FYC SCREENPLAY DATABASE 20230910
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ANGLE ON: NEWT and TINA. The giant trees are shifting all
CONTINUED: (3)
around them. They are almost crushed as the Lestrange "tree" flies toward them. They hop onto a shelf.
ANGLE ON: LETA. The towering stack stops, swaying, in front of her. She stares. An empty shelf confronts her. A mark in the dust where a box sat, a slip of parchment in its place.
She picks up the slip and reads it aloud.
LETA
"Records moved to Lestrange family tomb at Père Lachaise."
She spots Pickett hiding among the deed boxes on the shelf.
LETA
Circumrota.
The record tower turns, revealing NEWT and TINA clinging to the shelves.
LETA
Hello, Newt.
NEWT
Hello, Leta.
TINA
(awkwardly, but kindly)
Hi.
AT THAT MOMENT: MELUSINE enters the records room surrounded by growling Matagots.
NEWT
Oh no.
LETA
(scared)
What kind of cats are those?
NEWT
These aren't cats, they're Matagots. They're spirit familiars. They guard the Ministry -- but they won't hurt you unless you --
Panicking, LETA fires a spell at one of the cats.
LETA
Stupefy!
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Her spell not only fails, it causes the Matagots to multiply
CONTINUED: (4)
and become even more aggressive.
NEWT
(UNLESS YOU ATTACK THEM!)
As each batch of Matagots is hit, they multiply and mutate. The situation has become dangerous.
LETA
Oops.
NEWT
Leta!
LETA climbs over the balustrade to join NEWT and TINA on the shelf stack.
LETA
Reverte!
The towering stack flies backward as the Matagots pounce in a terrifying ebony surge of teeth and claws. The other "trees" of the records room forest spin and move as NEWT, TINA, and LETA run through the room chased by the attacking Matagots. But just as the Matagots seemingly lose the trail, all of the records room towers retract into the floor, leaving the room empty. The Matagots prowl toward where their prey must surely be standing, only to find -- NEWT'S case. ANGLE ON: THE CASE from above. A beat. An explosion as the Zouwu bursts out of the case, NEWT clinging to its back. Roaring, it rears, slashing at the rising tide of Matagots, its mane flashing.
NEWT
Accio!
NEWT'S case flies into his hand. For a few seconds the Zouwu and NEWT vanish under the seething mass of cats. They fight them off, the Zouwu's immense power unmatched, red tail swishing. 8FLiX.com FYC SCREENPLAY DATABASE 20230910
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NEWT points his wand at the ceiling.
CONTINUED: (5)
NEWT
Ascendio! The towers rise once again from the floor, lifting NEWT and the Zouwu high up into the air. Still fighting off the Matagots as the stacks tip and fall beneath the sheer weight, the Zouwu clambers across to the balcony.
97
LATER - NIGHT
INT. MINISTÈRE DES AFFAIRES MAGIQUES, MAIN LEVEL - A MINUTE97
The Matagots give chase as the Zouwu gallops out of the room, leaving injured and thwarted Matagots in its wake.
The Zouwu carves a path of destruction through the Ministry. It takes one last leap over the typing pool...
... and its immense magical power propels it up and out through the glass roof.
98
EXT. PÈRE LACHAISE CEMETERY - NIGHT
NEWT and the Zouwu land in the cemetery. With one gigantic leap, the Zouwu has taken them to freedom. The few Matagots that have followed them growl and then shrink. Reduced to the size of domestic cats in the Muggle environment, they "meow" pitifully. NEWT opens his case as the Zouwu nudges him with affection.
NEWT
Whoa, whoa, whoa. Okay, wait. Hold it there, please. Come on. All right, okay, wait. Okay.
LETA and TINA climb out of the case to observe NEWT coaxing the Zouwu. TINA shakes the cat bird toy she has retrieved from the case. The Zouwu's eyes light up. Unnoticed by NEWT and TINA, LETA runs away into the darkness. 8FLiX.com FYC SCREENPLAY DATABASE 20230910
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INT. LESTRANGE MAUSOLEUM - A MINUTE LATER - NIGHT
LETA enters the ornate space lined with sleeping statues of dead Lestranges. JACOB stands backed against the wall next to NAGINI in snake form, who is repeatedly lashing out at KAMA, who is trying to get a clean shot at CREDENCE.
KAMA
(to NAGINI)
Move back! Move! Out of the way! If I must kill you as well as Corvus, I shall!
LETA raises her wand at KAMA, who swings round to see her, wand pointed at him -- a standoff.
LETA
Stop!
She walks forward, stricken but determined, at last, to do the right thing. KAMA is mesmerized. She is his mother reborn. He moves toward LETA, studies her face in the darkness, transfixed and moved by the sight of her.
LETA
Yusuf?
KAMA
Is that really you? My little sister... ?
NEWT and TINA enter and exchange looks: another piece of the puzzle.
CREDENCE
(to LETA)
So he's your brother? Who am I?
LETA
I don't know.
He pushes past LETA and faces KAMA, unprotected.
CREDENCE
I'm tired of living with no name and no history. Just tell me my story -- then you can end it.
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KAMA
CONTINUED:
Your story is our story...
(gesturing to LETA)
Our story.
LETA
No, Yusuf --
KAMA
(determined)
My father was Mustafa Kama, a pureblood of Sénégalese descent and most accomplished.
100
EXT. PARK - 1896 - DAY
We see a beautiful woman, LAURENA, dressed in an exquisite gown, walking through a park with her husband, MUSTAFA -- clearly in love. A YOUNG YUSUF by their side.
KAMA (V.O.)
My mother, Laurena, was equally high-bred-a noted beauty. They were deeply in love. They knew a man of great influence, from a famous French pureblood family. He desired her.
Watching from a distance, an intense wizard, CORVUS LESTRANGE SR, studies her beauty.
101
INT. KAMA MANSION - 1896 - NIGHT
LAURENA'S gown changes to a nightdress. She is walking slowly downstairs, a supernatural wind blowing.
KAMA (V.O.)
Lestrange used the Imperius Curse to seduce and abduct her...
The twelve-year-old KAMA runs after his mother, tugs at her hand, and tries to pull her back upstairs. She throws him off. The front door flies open. LESTRANGE SR stands at the foot of the garden path. LAURENA walks toward him. KAMA chases after her. 8FLiX.com FYC SCREENPLAY DATABASE 20230910
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LESTRANGE SR points his wand at KAMA and sends him sprawling.
CONTINUED:
LAURENA lies on the bed as IRMA carries a newborn swaddled in a blanket to LESTRANGE SR.
102
INT. LESTRANGE MAUSOLEUM - NIGHT
KAMA
... that was the last time I ever saw her. She died, giving birth to a little girl.
(to LETA)
You.
Tears start in LETA'S eyes, reliving the guilt she holds.
KAMA
The news of her death drove my father insane. With his dying breath, my father charged me to seek revenge.
(determined)
Kill the person Lestrange loves best in the world... I thought at first it would be easy... he had only one close relative... you. But --
LETA
Say it...
KAMA
... he never loved you.
103
INT. LESTRANGE MANOR, BEDROOM - 1901 - DAY
WE RE-ENTER THE STORY: to find LESTRANGE SR with a new, blond wife.
KAMA (V.O.)
He remarried not three months after her death. He loved her no more than he had loved you... But then...
IRMA takes the BABY BOY who has just been born, and passes him to LESTRANGE SR, who is delighted. 8FLiX.com FYC SCREENPLAY DATABASE 20230910
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KAMA (V.O.)
CONTINUED:
... his son, Corvus, was born at last. And that man who had never known love was filled with it...
104
INT. LESTRANGE MAUSOLEUM - NIGHT
CREDENCE looks on, rapt: is this who he is? He's hungry to know more.
KAMA
All he cared about was little Corvus.
A beat.
CREDENCE
So... this is the truth? I am Corvus Lestrange?
KAMA
Yes.
LETA
No.
CREDENCE stares from one to the other. KAMA turns and looks at LETA. Her eyes are unfocused. These memories have haunted her nightmares for years.
KAMA
(to LETA)
Realizing that Mustafa Kama's son had sworn revenge, your father sought to hide you where I couldn't find you. So he confided you to his servant, who boarded a ship for America.
LETA
He did send Corvus to America, but - -
KAMA
His servant, Irma Dugard, was a half-elf. Her magic was weak and therefore left no trace I could follow. I had only just discovered how you had escaped when I received news I never expected...
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KAMA
CONTINUED:
The ship had gone down at sea... But you survived, didn't you?
(to CREDENCE)
Somehow, someone had pulled you from the water! "A son cruelly banished Despair of the daughter Return, great avenger With wings from the water." There --
(points at LETA)
-- stands the despairing daughter. You are the winged raven returned from the sea, but I -- I am the avenger of my family's ruin.
KAMA raises his wand.
KAMA
I pity you, Corvus, but you must die.
LETA
Corvus Lestrange is already dead. I killed him.
LETA raises her wand.
LETA
Accio!
A heavy box, hidden in the corner of the mausoleum, comes crashing to her through the dust. A series of clicks as cogs whirr... Puzzle-like, it falls apart.
LETA
My father owned a very strange family tree. It only recorded the men...
We glimpse a tree with an orchid-like flower twisting around it.
LETA
... the women in my family were recorded as flowers. Beautiful. Separate.
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INT. LESTRANGE MANOR, NURSERY - 1901 - NIGHT
IRMA lifts a baby from a crib and departs, watched by a desolate LESTRANGE SR.
LETA (V.O.)
My father sent me to America, along with Corvus.
106
INT. SHIP'S CABIN - 1901 - NIGHT
IRMA is asleep, CHILD LETA awake on a lower bunk, and BABY CORVUS screaming in his crib.
LETA (V.O.)
Irma was to pose as a grandmother with two grandchildren...
The lights suddenly flicker on and off -- CHILD LETA hasn't moved, she is still looking at the screaming BABY CORVUS.
LETA (V.O.)
Corvus never stopped crying.
In the background there is a commotion as figures run along the corridor outside the door. As CHILD LETA approaches BABY CORVUS, who continues to cry, IRMA wakes. She goes to investigate the fuss and noise in the corridor.
LETA (V.O.)
I never wanted to hurt him.
CHILD LETA is transfixed by the baby.
LETA (V.O.)
I only wanted to be free of him. Just for a moment...
107
INT. SHIP'S CORRIDOR - 1901 - NIGHT
The door of the opposite cabin is ajar. BABY CREDENCE is inside, fast asleep. CHILD LETA slips inside. She swaps the babies.
LETA (V.O.)
Just a single moment.
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INT. SHIP'S CABIN - 1901 - NIGHT
CHILD LETA enters with BABY CREDENCE.
IRMA
Give him to me!
The ship lurches again. IRMA snatches BABY CREDENCE, not noticing the switch amid the confusion. The cabin door bangs open to reveal a dark-haired young woman wearing a nightdress and life jacket.
CREDENCE'S AUNT
Irma? They want us to put on life jackets!
She slips and slides into her own cabin and picks up BABY CORVUS, also not realizing the babies have been switched.
109
EXT. LIFEBOAT - 1901 - NIGHT
CHILD LETA, IRMA, and BABY CREDENCE are in one boat, CREDENCE'S AUNT and BABY CORVUS in another. A huge wave is approaching. CHILD LETA watches as the lifeboat bearing CREDENCE'S AUNT and BABY CORVUS is overturned. CLOSE ON: THE SURFACE OF THE WATER. A few survivors reappear, including CREDENCE'S AUNT, but not BABY CORVUS... CREDENCE'S AUNT pulls off her life jacket so she can dive too... She does not reemerge. We close in through the surface of the water, past the drowning woman, and see the dark shape of a drowning baby trailing bubbles of magical light as he sinks... and his figure becomes...
110
INT. LESTRANGE MAUSOLEUM - NIGHT
... the drowning baby falling through sea-green light, hanging in the air in the mausoleum. LETA has conjured it. It has haunted her all her life and now she shows it to them. The orchid representing LETA on the Lestrange family tree twists around the branch labeled CORVUS LESTRANGE until the leaves wither and die.
NEWT
You didn't mean to do it, Leta. So it wasn't your fault.
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LETA
CONTINUED:
Oh, Newt. You never met a monster you couldn't love.
A long look between them, a look full of memories.
TINA
Leta, do you know who Credence really is? Did you know, when you swapped them?
LETA
No.
CREDENCE reacts. An opening suddenly appears in the wall of the mausoleum. All stare at the steps leading down into the earth. The sound of a gigantic CROWD rumbles beneath them.
JACOB
Queenie?
Before anyone can stop him, he runs down the steps. NEWT and TINA dash after him. LETA looks at KAMA, then follows NEWT. KAMA hurries after her.
111
INT. UNDERGROUND AMPHITHEATER - NIGHT
JACOB steps out of the narrow staircase into an underground amphitheater and is confronted by a terrifying sight. Thousands of witches and wizards mill around, some already seated on stone benches. The atmosphere is edgy. Some are nervous but curious. Others excited, still others ready for a fight. Masked ACOLYTES steward the crowd. ANGLE ON: CREDENCE AND NAGINI entering the amphitheater. Awed and intimidated by the sight, they are swept along in the swell of people moving deeper into the auditorium. NAGINI tries to hold CREDENCE back.
NAGINI
They're purebloods. They kill the likes of us for sport!
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He carries on walking.
CONTINUED:
NAGINI hesitates, then follows too.
Looking around, JACOB spots a familiar blond head -- QUEENIE, being accompanied to a front row seat by an ACOLYTE.
JACOB
(whispers)
Queenie.
He pushes his way into the crowd. ANGLE ON: JACOB running toward QUEENIE. She turns. Utter delight --
QUEENIE
Jacob! Honey, you're here! Hi!
She flings her arms around his neck.
QUEENIE
(reading his mind)
Oh, honey, I'm so sorry, I never should have done it, I love you so much --
JACOB
And you know that I love you, right?
QUEENIE
Yeah.
JACOB
Good, now let's get the hell out of here.
He tries to pull her back the way he came, but she tugs him back.
QUEENIE
(serious)
Oh, wait. Wait a second. I just thought maybe we could hear him first. You know, just listen, that's all.
JACOB
What are you talking about?
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She pulls a confused JACOB into a seat beside her in the
CONTINUED: (2)
front row, clutching his hand.
JACOB looks around nervously at all the purebloods.
ANGLE ON: NEWT and TINA.
They are already in the crowd, TINA looking around for those they have followed, but NEWT, perturbed, is starting to see the bigger picture.
TINA
It's a trap.
NEWT
Yeah. Queenie -- the family tree -- it's all been bait.
He looks around. ACOLYTES are moving to cover all the entrances.
TINA
We have to find a way out of here, right now.
NEWT
You go find the others.
TINA
What are you gonna do?
NEWT
I'll think of something.
He sets off. She moves more slowly into the crowd, looking for JACOB and CREDENCE. ANGLE ON: AN ACOLYTE watching NEWT'S progress. The lights dim. The crowd begins to cheer.
112
INT. UNDERGROUND AMPHITHEATER - NIGHT
WE FOLLOW: GRINDELWALD onstage as the audience explodes with delight. Their hysteria builds as he stands there, part demagogue, part rock star. ANGLE ON: TINA edging through the crowd, searching. She spots QUEENIE and, at a short distance, CREDENCE. 8FLiX.com FYC SCREENPLAY DATABASE 20230910
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Whom should she approach first?
CONTINUED:
She chooses CREDENCE, but as she moves, is blocked by an ACOLYTE. They make eye contact.
TINA knows she is wildly outnumbered. Under the ACOLYTE'S gaze, she sinks onto a bench.
WE PAN OVER: the crowd.
WE SEE: QUEENIE, rapt --
-- and JACOB, low in his seat and scared...
KAMA, who is skeptical...
CREDENCE, transfixed --
-- and NAGINI, who trusts nobody...
LETA, studying GRINDELWALD, wondering...
ANGLE ON: GRINDELWALD, gesturing at the crowd to settle.
GRINDELWALD
My brothers, my sisters, my friends: the great gift of your applause is not for me.
(off noises of denial)
No. It is for yourselves.
ANGLE ON: LETA, amid the crowd. She is not clapping, but she feels the pull of GRINDELWALD'S charisma.
GRINDELWALD
You came today because of a craving and a knowledge that the old ways serve us no longer... You come today because you crave something new, something different.
ANGLE ON: CREDENCE, listening.
GRINDELWALD
It is said that I hate Les Non- Magiques. The Muggles. The No-Maj. The Can't-Spells.
Jeers and hisses from much of the crowd. JACOB sinks deeper into his seat. 8FLiX.com FYC SCREENPLAY DATABASE 20230910
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QUEENIE is momentarily anxious; she seizes his hand: No,
CONTINUED: (2)
wait, listen --
GRINDELWALD
I do not hate them. I do not.
Silence from the crowd.
GRINDELWALD
For I do not fight out of hatred. I say the Muggles are not lesser, but other. Not worthless, but of other value. Not disposable, but of a different disposition.
(beat)
Magic blooms only in rare souls. It is granted to those who live for higher things. Oh, and what a world we could make, for all of humanity. We who live for freedom, for truth - -
His eyes meet QUEENIE'S in the front row.
GRINDELWALD
-- and for love.
WE PAN ACROSS: QUEENIE, now heart and soul his...
113
EXT. PÈRE LACHAISE CEMETERY - NIGHT
The figures of fifty AURORS appear in silhouette among the mausoleums. WE MOVE IN: and see that THESEUS is one of them.
THESEUS
It isn't illegal to listen to him! Use minimum of force on the crowd. We mustn't be what he says we are!
But on other faces -- WE SEE: nervousness, even fear, and on a few, a clear will to fight, to avenge.
114
INT. UNDERGROUND AMPHITHEATER - NIGHT
BACK TO: GRINDELWALD onstage. 8FLiX.com FYC SCREENPLAY DATABASE 20230910
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GRINDELWALD
CONTINUED:
The moment has come to share my vision of the future that awaits if we do not rise up and take our rightful place in the world.
ROSIER appears onstage. Bowing, she presents the skull-hookah to GRINDELWALD. Total silence falls in the auditorium. GRINDELWALD is illuminated by the skull's golden light. He inhales deeply through the tube. His eyes roll up into his head. He exhales... ... and it is extraordinary. A gigantic Technicolor cloak seems to unfurl from his lips across the high stone ceiling, bearing moving images-the crowd gasps -- Thousands of marching, booted feet... explosions, men running with guns... CLOSE ON: THE FACES OF THE CROWD, mesmerized and afraid, the light of the vision playing across their faces. CLOSE ON: NEWT, stunned. The vision of a nuclear blast rocks the amphitheater. It is horrifying. The crowd feels it, is terrified. Screams, until the vision subsides, leaving murmurs of panic... CLOSE ON: JACOB, horrified.
JACOB
Not another war...
The vision fades. All eyes return to GRINDELWALD.
GRINDELWALD
That is what we are fighting! That is the enemy-their arrogance, their power lust, their barbarity. How long will it take before they turn their weapons on us?
WE PAN: around the exits and see AURORS, unnoticed, entering the auditorium, fanning out among the crowd. CLOSE ON: THESEUS, who is worried -- the situation is volatile and could go badly wrong. The crowd settles, agitated, expectant. They are waiting for some new, extraordinary revelation. 8FLiX.com FYC SCREENPLAY DATABASE 20230910
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GRINDELWALD
CONTINUED: (2)
Do nothing when I speak of this. You must remain calm and contain your emotions.
(beat)
There are Aurors here among us.
Gasps. Heads turn. We see the AURORS looking around in panic. They are wildly outnumbered. The crowd is hostile.
GRINDELWALD
(to the AURORS who have just entered)
Come closer, brother wizards! Join us.
To mounting hisses and angry jeers, the AURORS know they have no choice but to walk forward and show themselves. ANGLE ON: LETA, turning to look. She spots THESEUS. A long, charged look between them.
THESEUS
(to the other AURORS)
Do nothing. No force.
But one of the jumpiest young AURORS has made eye contact with the YOUNG RED-HAIRED WITCH. She is angry, as twitchy as he is, fingering her wand.
GRINDELWALD
They have killed many of my followers, it is true. They caught and tortured me in New York. They had struck down their fellow witches and wizards for the simple crime of seeking truth, for wanting freedom...
He is deliberately playing on the unstable YOUNG RED-HAIRED WITCH'S feelings. The YOUNG AUROR raises his wand a few inches. He can sense her desire for violence -- 8FLiX.com FYC SCREENPLAY DATABASE 20230910
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GRINDELWALD
CONTINUED: (3)
Your anger -- your desire for revenge -- is natural.
And it happens: She raises her wand, but the YOUNG AUROR curses first. To the horror of her companions, she falls, dead.
GRINDELWALD
No!
Screams fill the auditorium. GRINDELWALD ascends into the crowd, which parts for him. He kneels and pulls the YOUNG RED-HAIRED WITCH'S limp body into his arms.
GRINDELWALD
(to her friends)
Take this young warrior back to her family.
The Niffler, unnoticed, wriggles out from beneath GRINDELWALD'S boot and disappears into the crowd.
GRINDELWALD
Disapparate. Leave. Go forth from this place and spread the word: It is not we who are violent.
They take the body and Disapparate, as does most of the crowd. THESEUS and the AURORS watch the purebloods leave. THESEUS ushers his AURORS forward.
THESEUS
(looking at GRINDELWALD)
Let's take him.
They start to descend the amphitheater steps. GRINDELWALD turns his back on the advancing AURORS, relishing the fight to come.
GRINDELWALD
Protego diabolica.
He spins and draws a protective circle of black fire around himself. The exits close. 8FLiX.com FYC SCREENPLAY DATABASE 20230910
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ABERNATHY, CARROW, KRAFFT, MACDUFF, NAGEL, and ROSIER walk
CONTINUED: (4)
through the flames into the circle.
ANGLE ON: KRALL, hesitating. Then he decides the circle is the better option, braces himself, runs into the fire --
-- and is consumed.
GRINDELWALD
Aurors, join me in this circle, pledge to me your eternal allegiance, or die. Only here shall you know freedom, only here shall you know yourself.
GRINDELWALD sends a wall of flames into the air, pursuing fleeing AURORS.
GRINDELWALD
Play by the rules! No cheating, children.
NAGINI grabs CREDENCE and tries to drag him away with her, but he is staring at GRINDELWALD.
CREDENCE
He knows who I am.
NAGINI
He knows what you were born, not who you are...
GRINDELWALD smiles at CREDENCE through the fire.
NEWT
Credence!
NEWT tries to fight the fire but it becomes more monstrous, lashing out with eel-like spurs. CREDENCE decides: Pulling free of NAGINI, he walks toward the flames. Devastated, NAGINI is forced back by the ever-expanding fire. ANGLE ON: QUEENIE AND JACOB, who are pressed up against a different stretch of wall.
JACOB
Queenie. You gotta wake up.
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QUEENIE
CONTINUED: (5)
(a decision)
Jacob, he's the answer. He wants what we want.
JACOB
No, no, no, no, no, no.
QUEENIE
Yeah.
JACOB
No.
The black flames are coming toward them, fast. ANGLE ON: CREDENCE, walking through the flames. GRINDELWALD embraces him like a prodigal son.
GRINDELWALD
This has all been for you, Credence.
ANGLE ON: QUEENIE and JACOB.
QUEENIE
Walk with me.
JACOB
Honey, no!
QUEENIE
(screams)
Walk with me!
JACOB
You're crazy.
She reads his mind, turns, hesitates, then walks into the black fire.
JACOB
(desperate, disbelieving)
No! Queenie, don't do it!
She screams, and JACOB covers his face, terrified, as she passes through the ring of fire and joins GRINDELWALD'S side.
JACOB
Queenie...
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TINA
CONTINUED: (6)
QUEENIE!
QUEENIE Disapparates. TINA retaliates, throwing a curse at GRINDELWALD, but the circle of fire lashes out in ever more violent spears. GRINDELWALD conducts the flames as though leading an orchestra, the Elder Wand his baton, as the forks of fire strike at AURORS attempting to Disapparate or flee. Half-a-dozen AURORS lose their heads and run through the flames to GRINDELWALD. ANGLE ON: NEWT AND THESEUS standing together on the amphitheater steps.
GRINDELWALD
Mr. Scamander. Do you think Dumbledore will mourn for you?
GRINDELWALD throws a large burst of black fire at them both, and THESEUS and NEWT defend themselves.
LETA (O.S.)
Grindelwald! Stop!
GRINDELWALD catches sight of LETA.
THESEUS
Leta...
GRINDELWALD
This one I believe I know.
THESEUS makes a gigantic effort of will, carving a passage toward LETA, determined to reach her. They are using all their skill to keep the flames at bay. GRINDELWALD moves toward her through the flames as THESEUS fights closer, desperate to reach her.
GRINDELWALD
Leta Lestrange... despised entirely amongst wizards... unloved, mistreated... yet brave. So very brave.
(to LETA)
Time to come home.
He stretches out his hand. She contemplates it. 8FLiX.com FYC SCREENPLAY DATABASE 20230910
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He looks at her, eyes narrowed.
CONTINUED: (7)
She looks toward both THESEUS and NEWT, who are watching her, stunned.
LETA
I love you.
She points her wand at the skull in ROSIER'S hands, which explodes. ROSIER is knocked backward and GRINDELWALD is momentarily obscured in a whirl of chaos.
LETA
(to the others)
GO! GO!
The fire engulfs LETA.
THESEUS goes wild. He tries to dive after her --
-- But NEWT grabs him and they Disapparate.
The fire, mirroring GRINDELWALD'S rage, explodes, chasing them.
GRINDELWALD
(whispers)
I hate Paris.
115
EXT. PÈRE LACHAISE CEMETERY - A MINUTE LATER - NIGHT
NEWT and THESEUS, TINA with JACOB, and KAMA with NAGINI all Apparate out from the amphitheater. The black fire pursues them like a many- headed hydra, erupting out of every mausoleum. FLAMEL arrives at last. The cemetery is on the verge of destruction. The fire GRINDELWALD has unleashed is out of control. It forms dragon- like creatures intent on annihilation.
FLAMEL
TOGETHER! In a circle, your wand into the earth, or all Paris will be lost!
NEWT & THESEUS
Finite!
TINA
Finite!
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CONTINUED:
KAMA
Finite!
FLAMEL
Finite!
Our heroes, minus JACOB, make a circle, plunge their wands into the earth. It takes almost superhuman power to contain GRINDELWALD'S demonic fire, which they are forced to combat with flames still more deadly. United, our heroes fight... And at last, their purifying fire drives GRINDELWALD'S back. The entrances to the underground lair are sealed. They have saved the city. FLAMEL comforts JACOB. NAGINI sits in the darkness, tearful. NEWT shuffles over awkwardly to the bereft THESEUS. NEWT hesitates, struggling to find words of comfort. Then, for the first time in his life, he puts his arms around his brother. They hug.
NEWT
I've chosen my side.
The Niffler hobbles over to NEWT, who picks him up...
NEWT
(to the Niffler)
Come on. Yeah. No, you're okay.
...then notices GRINDELWALD'S vial in its paws. He takes the pendant, amazed. NEWT tucks both the vial and Niffler inside his coat.
116
DUMBLEDORE is walking across the viaduct from Hogwarts,
EXT. THE VIADUCT AT HOGWARTS - DAWN
toward NEWT, JACOB, TINA, THESEUS, NAGINI, KAMA, TRAVERS, and assorted AURORS, who stand at the other end.
NEWT walks ahead alone to meet DUMBLEDORE.
TRAVERS moves to stop him.
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THESEUS
CONTINUED:
(to TRAVERS)
I think it's best if he speaks to him alone.
TRAVERS opens his mouth to protest. Meets THESEUS'S gaze. Nods curtly. NEWT walks along toward DUMBLEDORE. They meet in the middle of the viaduct.
117
EXT. AUSTRIA, NURMENGARD CASTLE WINDOW - DAWN
CREDENCE is staring out at the sky, scared of what he has done but awed by the magnificent vista. WE PAN OUT TO SEE: Nurmengard, high on its mountain.
118
INT. NURMENGARD CASTLE, SIDE ROOM - DAWN
GRINDELWALD and QUEENIE are watching CREDENCE through the half-open door into a grand drawing room.
GRINDELWALD
(whispers)
Is he frightened of me still?
QUEENIE
(whispers)
You need to be careful... He's not sure he made the right choice. Be very gentle with him.
She smiles as he bows her out through a separate door. Once he is sure she has gone, he walks into the drawing room to join CREDENCE.
GRINDELWALD
I have a gift for you, my boy.
From behind his back he takes a handsome wand. With a bow, he presents it to CREDENCE, who cannot believe his eyes.
119
EXT. THE VIADUCT AT HOGWARTS - DAY
We see that DUMBLEDORE is hollow-eyed. His usual calm has gone. He's a man at the end of his tether. 8FLiX.com FYC SCREENPLAY DATABASE 20230910
119
DUMBLEDORE
CONTINUED:
Is it true about Leta?
NEWT nods.
NEWT
Yes.
DUMBLEDORE
I'm so sorry.
NEWT pulls out the vial. DUMBLEDORE stares at it, simultaneously tormented and amazed.
NEWT
It's a blood pact, isn't it? You swore not to fight each other.
Bitterly ashamed, DUMBLEDORE nods.
DUMBLEDORE
(overcome)
How in the name of Merlin did you manage to get... ?
The Niffler pokes its head out of NEWT'S jacket, sad to see the pendant go.
NEWT
Grindelwald doesn't seem to understand the nature of things he considers simple.
DUMBLEDORE raises his hands to show the Admonitors. CLOSE ON: THESEUS. He raises his wand. BACK TO: DUMBLEDORE AND NEWT. The Admonitors fall from DUMBLEDORE'S wrists. The vial-blood troth-hangs in the air between them.
NEWT
Can you destroy it?
DUMBLEDORE
Maybe... maybe.
Overcome, tearful, he tries to speak cheerfully. 8FLiX.com FYC SCREENPLAY DATABASE 20230910
119
DUMBLEDORE
CONTINUED: (2)
(of the Niffler)
Would he like a cup of tea?
They turn to walk back toward Hogwarts.
NEWT
He'll have some milk. Hide the teaspoons.
The others walk slowly after them.
120
INT. NURMENGARD CASTLE - DAWN
GRINDELWALD
You have suffered the most heinous of betrayals, most purposely bestowed upon you by your own blood. Your own flesh and blood. And just as he has celebrated your torment, your brother seeks to destroy you.
CREDENCE inhales sharply. His chick steps gingerly onto GRINDELWALD'S palm. GRINDELWALD throws it in the air, where it catches alight.
GRINDELWALD
There is a legend in your family that a phoenix will come to any member who is in dire need.
Given room at last, the bird stretches its wings and becomes full size. The bird is aflame, a phoenix reborn.
GRINDELWALD
It is your birthright, my boy. As is the name I now restore to you.
(whispers)
Aurelius. Aurelius Dumbledore.
CREDENCE turns. The power of his Obscurus can at last be channeled. He points the wand at the window and a spell of immense power shatters the glass and breaks apart the mountain opposite. CREDENCE stands staring through the shattered glass at his handiwork. He is extraordinary, and this is just his beginning. 8FLiX.com FYC SCREENPLAY DATABASE 20230910
| 0 | 0 |
Sex Drive_2008
|
tt1135985
|
Sex Drive
| 2,008 |
Ian Lafferty is an 18-year-old recent high school graduate. He searches for a girl online making it seem as if he is attractive and strong, although he is sweet and unassuming. He soon meets "Ms. Tasty" and agrees to meet her in person. She lives in Knoxville, Tennessee, while he lives in Bartlett, Illinois. With his best friends Lance Nesbitt and Felicia Alpine, he goes to Knoxville in a 1969 Pontiac GTO Judge borrowed without permission from Ian's arrogant, homophobic and macho older brother Rex. On the way to Knoxville, they come across a hitchhiker, as the radiator in the Judge overheats. They attempt urinating in the radiator, which only works briefly as they try to leave the hitchhiker in the dust. The hitchhiker, frustrated at Ian's lack of concern for his well-being, leaves, but not before urinating on the car window. As Ian and Felicia wander to find help, Lance is waiting with the car as Ezekiel happens to pass by in his horse-drawn buggy. Ezekiel and his Amish buddies repair the car. At the same time, they join a Rumspringa party where Fall Out Boy are playing a concert, and at which Lance meets an attractive Amish girl named Mary. The three promise to come again on the way back to do some work in return for fixing the car. They go to jail due to Ian throwing a tire iron into a state trooper car, due to his increasing frustration after trying to put a possum he hit out of its misery, and they are released after Mary pays the bail. Upon arriving in Knoxville, they find a hotel that sports a wide variety of role playing rooms. Rex, who has discovered the Judge missing, arrives angrily and insists that they go back and that Ian cannot visit Ms. Tasty. After Ian pretends to be gay, Rex allows him to see Ms. Tasty, hoping this encounter will change Ian's mind. Ian finally meets Ms. Tasty. However, when he tells her about Felicia, her seduction of Ian becomes a threat as her psychotic boyfriend Bobby Jo puts a gun to Ian's head. It becomes apparent that they work at a chop shop and attempt to steal the Judge. Lance and Mary arrive after having sex, as well as a redneck named Rick, whose girlfriend Brandy slept with Lance earlier. Felicia, however, is hiding in the car when Bobby Jo tries to steal it. Soon, a green car that has been continuously drag-racing with the Judge throughout the movie arrives. Ian manages to save Felicia, who then is able to run off and report to the police. Ms. Tasty tries to escape, but is stopped by the green car, whose drivers turn out to be Andy and Randy, two dim-witted self-declared "womanizers" from Ian's school, whom Ms. Tasty tried to manipulate into giving her the car. Bobby Jo is treated after being shot by Ian in self-defense. Felicia tells the police about the chop shop location and the couple is arrested. Upon finding out that if Mary leaves the Amish community, she will be shunned, Lance refuses to come back home and stays behind to marry Mary, while Ian and Felicia realize their love for each other. Ian and Felicia drive to a tree where Ian throws his shoes up into the tree. A few weeks later Ian is Felicia's date to her cousin's wedding. At Thanksgiving dinner, Rex tells his family that he is gay. On New Year's Eve, Ian and Felicia have sex, in Ian's basement on the couch under a blanket. In the final frame of the film, a picture is shown of Lance and Mary getting married, accompanied by Ian. Lance is shown sporting a beard exactly like Ezekiel's. During the credits, a short scene shows Ezekiel and Fall Out Boy arguing over the fact that the Amish fixed Fall Out Boy's tour bus for just "a five song set" in form for compensation, referring to a running gag throughout the movie.
|
<script>
<scene>
<scene_description>The Sex Drive Screenplay by Sean Anders</scene_description>
<character>&</character>
<dialogue>John Morris</dialogue>
<character>(FIRST DRAFT)</character>
<parenthetical>(first revision)</parenthetical>
<character>7.23.2007</character>
<dialogue>Based on "All The Way"</dialogue>
<scene_description>By Andy Behrens Script provided for educational purposes. More scripts can be found here: http://www.sellingyourscreenplay.com/library</scene_description>
</scene>
<scene>
<stage_direction>INT. MASSIVE RAVE - NIGHT</stage_direction>
<scene_description>Techno music thumps as we snake through a crowded party. All we see are people and lights. Everyone is either dancing, talking or making out. Arrive behind a petit brunette with a body that has precipitated many a boner. MS. TASTY turns revealing a sweet, stunning twenty-year-old smile.</scene_description>
<character>MS. TASTY</character>
<dialogue>Ian! Hey, sweetie! (Strikes a sexy pose) So? What do you think?</dialogue>
<scene_description>Reverse to show who she's posing for, but IAN is silhouetted, backlit by disco lights. He speaks with smug confidence.</scene_description>
<character>IAN</character>
<dialogue>Not bad. I've seen better, but you make it work.</dialogue>
<scene_description>She's not put off by the back-handed compliment. On the contrary, it seems to make her try harder.</scene_description>
<character>MS. TASTY</character>
<dialogue>Jerk. So when do I get to check out your big, sexy bod? L-O-L!</dialogue>
<scene_description>Her face rotates unnaturally ninety degrees on it's side and winks ;) Pull back hard to reveal thousands, maybe millions of people at this party. The heads become pixels on Ms. Tasty's MySpace page on a computer in:</scene_description>
</scene>
<scene>
<stage_direction>INT. IAN'S BEDROOM - NIGHT</stage_direction>
<scene_description>The real Ian lies in bed with his laptop, wearing a Darth Vader t-shirt, Chicago Cubs pajama bottoms and reading glasses. He's eighteen but could pass for sixteen. He's a sweet kid with the kind of thoughtful, approachable face you might seek when in need of directions. Close on her words on the screen: "JERK. SO WHEN DO I GET TO CHECK OUT YOUR BIG, SEXY BOD? L-O-L!" Ian lets out a nervous giggle. He types his reply, "IT'S NOT REALLY THAT SEXY." He stops and deletes that.</scene_description>
<character>IAN</character>
<parenthetical>(whispering to himself)</parenthetical>
<dialogue>God. Don't be a dork. Act cool. Be a dick. Just be a dick.</dialogue>
<scene_description>He retypes, "DAMN, UR SO PUSHY. I'LL UPLOAD MY PIC IN A SEC." MAIN TITLES OVER: Script provided for educational purposes. More scripts can be found here: http://www.sellingyourscreenplay.com/library Ian opens a picture of himself in PhotoShop. He borrows some facial hair from a photo of Brad Pitt and places it on his own face. He opens a folder called "Family Pics," then a subfolder titled, "REX." He opens a picture of a cocky tough guy leaning against a shiny orange 1969 GTO Judge. Ian places his own head on the tough guy's body. As he does this work, we get a look at the room, which is divided by a line of electrical tape running down the wall marked, "DYLAN'S SIDE - IAN KEEP OUT!!!" Ian's side is neat and sparsely decorated with a few band posters and some Lord of the Rings merch. The other side of the room is cluttered and decorated with extreme sports and bikini girl posters. Several motocross and snowboarding trophies are proudly displayed. Ian's brother DYLAN (14) sleeps in a twin bed. His Tiger Beat face even looks confident while asleep. A clock reads 12:21 a.m. END TITLES Ian clicks "Upload Pic" and we return to the:</scene_description>
</scene>
<scene>
<stage_direction>INT. MYSPACE CYBER RAVE</stage_direction>
<scene_description>Now some of Ms. Tasty's MySpace bio stats float in the air next to her: "MsTasty, 5' 5" / Age:20 / Home: Knoxville, TN / Here For: Friends / Occupation: College Student / Interests: Cars, Bikes, Music, Horses, Football and Mad Partying!!!" Ian materializes next to her, now with the cool facial hair and leaning against the car. Before Tasty even turns to see him, LANCE materializes out of thin air, landing between them. Lance is eighteen, good looking, built and dressed cool.</scene_description>
<character>LANCE</character>
<dialogue>Ian? Dude. What's with this picture!? Holy shit, that's funny!</dialogue>
<scene_description>Next to Lance, FELICIA materializes. Also eighteen, she's a \* petit, pretty girl with her own unique, artsy look and a \* definite edge on her attitude. \*</scene_description>
<character>FELICIA</character>
<dialogue>Oh my god, Ian. That's hilarious!</dialogue>
<character>IAN</character>
<dialogue>Yeah. Funny, right? Just a joke. Can't talk right now though.</dialogue>
<scene_description>Ian is antsy, trying to see past them to Tasty. Tasty remains oblivious to this entire exchange. Script provided for educational purposes. More scripts can be found here: http://www.sellingyourscreenplay.com/library</scene_description>
<character>FELICIA \*</character>
<dialogue>Wait! Emergency. My evil bitch \* cousin is staying with us this \* weekend, doing a bunch of wedding \* prep crap. \*</dialogue>
<character>LANCE</character>
<dialogue>Your hot cousin?</dialogue>
<character>FELICIA</character>
<dialogue>She's the Antichrist, Lance.</dialogue>
<character>IAN</character>
<dialogue>She's still hot.</dialogue>
<character>FELICIA</character>
<dialogue>Well, I NEED to get out.</dialogue>
<character>IAN</character>
<dialogue>We can hang at my house. The whole family is taking Dylan to his moto- cross nationals this weekend.</dialogue>
<character>FELICIA</character>
<dialogue>Sweet! You rock.</dialogue>
<character>IAN</character>
<dialogue>Thanks. Now I gotta go.</dialogue>
<character>LANCE</character>
<dialogue>Dude, you working tom--</dialogue>
<scene_description>Ian waves a hand at Lance and Felicia. They each disappear with a click. Finally Ian can see Ms. Tasty again.</scene_description>
<character>IAN</character>
<dialogue>So, Tasty. Feast your eyes, sugar biscuit.</dialogue>
<scene_description>INTERCUT - IAN'S BEDROOM / MYSPACE CYBER RAVE Back in reality, Ian slaps his own head.</scene_description>
<character>IAN</character>
<dialogue>Sugar biscuit? You idiot.</dialogue>
<scene_description>Back in cyberspace, Tasty looks over at Ian and his car.</scene_description>
<character>MS. TASTY</character>
<dialogue>Nice. O.M.G. Your car is sick!</dialogue>
<character>IAN</character>
<dialogue>Sixty-nine GTO Judge.</dialogue>
<scene_description>Script provided for educational purposes. More scripts can be found here: http://www.sellingyourscreenplay.com/library</scene_description>
<character>MS. TASTY</character>
<parenthetical>(dirty smile)</parenthetical>
<dialogue>Mmmm. I love sixty-nines.</dialogue>
<scene_description>Back in his bedroom, Ian is stunned. He stands and nervously paces, muttering to himself. He takes off his glasses.</scene_description>
<character>IAN</character>
<dialogue>Whoa. Sixty-nines; she likes those. Okay, don't puss out. Be a dick</dialogue>
<scene_description>Back in cyberspace, Ian continues to act cool.</scene_description>
<character>IAN</character>
<dialogue>Whatever. I gotta blow. Coach's got us running two-a-days. Peace.</dialogue>
<scene_description>Ian disappears - to Tasty's great disappointment.</scene_description>
</scene>
<scene>
<stage_direction>INT. IAN'S BEDROOM</stage_direction>
<scene_description>Ian stares at her picture and her last line, "I LUV 69's." He checks that Dylan is sleeping. He grabs a roll of toilet paper from under his bed. He reaches into his pajama pants.</scene_description>
<character>DYLAN (O.S.)</character>
<dialogue>Are you spankin' it over there!</dialogue>
<scene_description>Ian stops.</scene_description>
<character>IAN</character>
<dialogue>No! I was just scratching my leg. It's itchy...this blanket.</dialogue>
</scene>
<scene>
<stage_direction>INT. IAN'S HOUSE - HALLWAY - MORNING</stage_direction>
<scene_description>Ian wanders groggily out of his room. He opens the bathroom door but stops cold with the door open only three inches. His eyes go like saucers - he's now wide awake. Ian's POV through the door: A gorgeous, naked woman is bent over and towelling off her hair. Ian watches with nervous curiosity. She turns toward him but the towel covers her face. As she rubs the towel on her head, her boobs jiggle. Ian is in a trance until...</scene_description>
<character>WOMAN'S VOICE (O.S.)</character>
<dialogue>Ian!?</dialogue>
<scene_description>Ian turns to see that his parents are standing at the end of the hall and looking his way. Script provided for educational purposes. More scripts can be found here: http://www.sellingyourscreenplay.com/library</scene_description>
<character>IAN'S FATHER</character>
<dialogue>Were you just peeping on your sister?</dialogue>
<scene_description>The girl screams and the bathroom door slams shut.</scene_description>
<character>IAN</character>
<dialogue>No! I was just gonna use the...</dialogue>
<scene_description>His father raises an eyebrow as if to say, "Well, what about that?" A wider shot of Ian reveals that he has pitched an unmistakable tent in his pajama pants.</scene_description>
<character>IAN'S FATHER</character>
<dialogue>Alright! Family meeting!</dialogue>
</scene>
<scene>
<stage_direction>INT. IAN'S HOUSE - DINING ROOM - MOMENTS LATER</stage_direction>
<scene_description>Ian's Father, STEPMOTHER and brother Dylan sit at the table. Also at the table is REX, Ian's older brother from the photo. He's a twenty-four-year-old big lug whose thinning hair is highlighted and spiky. Next to him is JESSICA, the hot girl from the shower. She's about twenty and wearing a pink baby- doll T printed with sorority symbols. She talks on her cell as Ian arrives at the table.</scene_description>
<character>JESSICA</character>
<parenthetical>(into her phone)</parenthetical>
<dialogue>No, I gotta go. My new stepbrother was spying on me in the shower and playing with himself or something. ...Yeah, I'll call you after.</dialogue>
<scene_description>Ian timidly sits. His father sends a stern look his way.</scene_description>
<character>IAN'S FATHER</character>
<dialogue>Listen, mister--</dialogue>
<character>IAN'S STEPMOTHER</character>
<parenthetical>(interrupting sweetly)</parenthetical>
<dialogue>Ian. You and your brothers have made me feel so welcome in your family. And now that Jessica is home from Princeton, I hope you'll be able to see her as your sister.</dialogue>
<character>IAN</character>
<dialogue>No. I do. I just--</dialogue>
<character>REX</character>
<dialogue>You don't look at your sister and pop a stiffy, Ian. That is NOT normal.</dialogue>
<scene_description>Script provided for educational purposes. More scripts can be found here: http://www.sellingyourscreenplay.com/library</scene_description>
<character>IAN'S STEPMOTHER</character>
<dialogue>Rex, please. Let's just all do our best to respect one another's privacy. Okay, honey?</dialogue>
<character>IAN'S FATHER</character>
<dialogue>Now apologize to Jessica.</dialogue>
<character>IAN</character>
<dialogue>Um....I'm sorry.</dialogue>
<character>IAN'S FATHER</character>
<dialogue>For what?</dialogue>
<character>IAN</character>
<dialogue>I'm sorry for...seeing you naked.</dialogue>
<character>IAN'S FATHER</character>
<dialogue>And?</dialogue>
<character>IAN</character>
<dialogue>Um...and getting a...um...</dialogue>
<character>IAN'S FATHER</character>
<dialogue>That's it. You're grounded, bub.</dialogue>
<character>IAN</character>
<dialogue>What!?</dialogue>
<character>REX</character>
<dialogue>I gotta go. If you fags want a ride, you better hustle up.</dialogue>
<scene_description>We track out the window and across the street to:</scene_description>
</scene>
<scene>
<stage_direction>INT. FELICIA'S HOUSE</stage_direction>
<scene_description>A modest but nice suburban home. Felicia is coming down the stairs. She wears a black t-shirt that reads, "I'm begging you to shut up." She stops when she hears voices. She peers around the corner into the dining room. Her MOTHER sits at the kitchen table with AUNT CAROL. Standing on the other side of the table is TIFFANY, a blonde Brittany Spears type about Felicia's age. Tiffany is arranging some Barbie & Ken dolls in a make-believe wedding ceremony.</scene_description>
<character>TIFFANY</character>
<dialogue>I don't know. Maybe just six bridesmaids?</dialogue>
<scene_description>Tiffany removes a black-haired Barbie from the line-up. From her perch, Felicia enthusiastically nods her agreement. Script provided for educational purposes. More scripts can be found here: http://www.sellingyourscreenplay.com/library</scene_description>
<character>AUNT CAROL</character>
<dialogue>Sweetie, marriage is about family. Felicia's your cousin.</dialogue>
<character>TIFFANY</character>
<dialogue>I know. But she never smiles. She'll ruin all the pictures.</dialogue>
<character>FELICIA</character>
<parenthetical>(whispering to herself)</parenthetical>
<dialogue>She's right, I will. Listen to her. She's making some solid points.</dialogue>
<character>FELICIA'S MOTHER</character>
<dialogue>Don't worry, dear. I'll speak to Felicia.</dialogue>
<scene_description>Felicia tip-toes down the steps and sneaks out the front door. She nearly makes it out when her mother spots her.</scene_description>
<character>FELICIA'S MOTHER</character>
<dialogue>Hon? Come say hi to your cousin and your Aunt Carol.</dialogue>
<scene_description>Felicia hangs her head, sighs and goes back inside. We pull away and cross the street again to the home next to Ian's.</scene_description>
</scene>
<scene>
<stage_direction>INT. LANCE'S HOUSE - KITCHEN</stage_direction>
<scene_description>We find Lance at the breakfast table working on a bowl of Count Chocula. LANCE'S FATHER enters, talking on his cell phone. He's dressed a little too cool for his age.</scene_description>
<character>LANCE'S FATHER</character>
<dialogue>Judy! What do you want from me? The boy's eighteen now. These aren't my problems anymore. Hello?</dialogue>
<scene_description>He looks at the phone. Obviously she hung up. He grabs a bowl, sits down and pours himself some cereal.</scene_description>
<character>LANCE'S FATHER</character>
<dialogue>Your mom's still batshit crazy.</dialogue>
<scene_description>Lance shakes his head, eating and reading Maxim.</scene_description>
<character>LANCE'S FATHER</character>
<dialogue>Oh, what, she never trash talks me?</dialogue>
<character>LANCE</character>
<dialogue>Actually, she doesn't. Ever.</dialogue>
<scene_description>Script provided for educational purposes. More scripts can be found here: http://www.sellingyourscreenplay.com/library</scene_description>
<character>LANCE'S FATHER</character>
<dialogue>Well, in any case, take my advice, chief, never get married. Just an endless parade of nonsense. And for god's sake always wear a rubber. Jesus H.</dialogue>
<scene_description>Lance walks out, taking the comment personally.</scene_description>
<character>LANCE'S FATHER</character>
<dialogue>Oh, come on, pal, I didn't mean it that way!</dialogue>
</scene>
<scene>
<stage_direction>EXT. SUBURBAN ROAD - MORNING</stage_direction>
<scene_description>Cue: "Let's Get it Up" by AC/DC. THE JUDGE (the shiny orange 69 Pontiac GTO from Ian's photo) now rumbles aggressively through the Chicago suburbs.</scene_description>
</scene>
<scene>
<stage_direction>INT. THE JUDGE</stage_direction>
<scene_description>Rex drives and sings loudly. Dylan rides shotgun. Ian sits in back; he's now dressed in a purple polo and visor, embroidered with a "Señor Donut" logo. Rex turns the radio down.</scene_description>
<character>REX</character>
<dialogue>Ian - question. And I want a straight answer. You queer?</dialogue>
<character>IAN</character>
<dialogue>What?</dialogue>
<character>REX</character>
<dialogue>God damn it! I knew it!</dialogue>
<character>IAN</character>
<dialogue>I didn't say anything!</dialogue>
<character>REX</character>
<dialogue>Exactly. When someone asks if you're a pole-smoker, you deny it right off. No pause! No fartin' around! Jesus, Ian!</dialogue>
<character>IAN</character>
<dialogue>Rex, I'm not gay.</dialogue>
<character>DYLAN</character>
<dialogue>You're eighteen and you ain't even had one girlfriend.</dialogue>
<scene_description>Script provided for educational purposes. More scripts can be found here: http://www.sellingyourscreenplay.com/library</scene_description>
<character>REX</character>
<dialogue>That's how people wind up getting gay, ya know.</dialogue>
<character>IAN</character>
<dialogue>I don't think that's really how it happens. But anyway, I'm not gay.</dialogue>
<character>DYLAN</character>
<dialogue>Well, Dad thinks you're are.</dialogue>
<character>IAN</character>
<dialogue>What!?</dialogue>
<character>REX</character>
<dialogue>You're breaking the old man's heart.</dialogue>
<character>IAN</character>
<dialogue>Look, there's this girl I've been kinda getting to know on MySpace.</dialogue>
<character>REX</character>
<dialogue>MySpace? Oh, for fuck's sake! Don't you watch Dateline? She's probably a guy, Ian! Some fat old dude who wants to pound you up the tailpipe!</dialogue>
</scene>
<scene>
<stage_direction>EXT. MALL PARKING LOT</stage_direction>
<scene_description>The Judge stops and Ian climbs out.</scene_description>
<character>REX</character>
<dialogue>Have fun at work. Try not to come home any gayer than you are now.</dialogue>
</scene>
<scene>
<stage_direction>INT. MALL FOOD COURT - SEÑOR DONUT</stage_direction>
<scene_description>RON is prepping the donut shop for another day. He's a \* middle-aged man in a tight button-up manager's shirt that \* shows off his gut. Ian enters the store. \*</scene_description>
<character>RON</character>
<parenthetical>(sarcastic)</parenthetical>
<dialogue>Ian! So good of you to bless me with your presence. Gee, I hope I'm not putting you out.</dialogue>
<character>IAN</character>
<dialogue>Sorry, Ron. My brother drove and... It's only eight oh-three.</dialogue>
<scene_description>Script provided for educational purposes. More scripts can be found here: http://www.sellingyourscreenplay.com/library</scene_description>
<character>RON</character>
<dialogue>Oh-three. Oh-three, huh? Yeah. That's not gonna cut the cheese around here, captain. At Señor Donut we plan to be ten minutes early. That way if we miss it by an oh three, we're still early by an oh-six. Comprendé?</dialogue>
<character>IAN</character>
<dialogue>Right. Sorry.</dialogue>
<scene_description>Ian puts on an apron and begins prepping the counter. Cue "Got You Where I Want You" by the Flys as several lovely female mall employees arrive and walk by in slow motion. Ian sneaks longing looks at each of them. Several quick close up shots of hair, smiles, exposed thongs and the impressions of bras and hard nipples through tight shirts. Finally a cute, detached girl about Ian's age shows up wearing the same Señor Donut uniform and looking tired. Ian gives her a friendly smile. She doesn't return the favor.</scene_description>
<character>IAN</character>
<dialogue>Hey, Becca.</dialogue>
<character>BECCA</character>
<dialogue>Hey. Hey, Ron. Sorry I'm late.</dialogue>
<character>RON</character>
<dialogue>No worries, girlfriend.</dialogue>
<scene_description>Ian gives Ron a "what the fuck?" look.</scene_description>
<character>RON</character>
<parenthetical>(lascivious)</parenthetical>
<dialogue>Looks like you had a long, nasty night. Ron and Ian want the four- one-uno.</dialogue>
<character>BECCA</character>
<dialogue>Whatever. You guys are gross.</dialogue>
<character>IAN</character>
<dialogue>I'm not gross. I didn't say anything.</dialogue>
<scene_description>Becca rolls her eyes and goes into the back.</scene_description>
</scene>
<scene>
<stage_direction>INT. SEÑOR DONUT - BACK ROOM</stage_direction>
<scene_description>Becca is taking a huge foam Señor Donut mascot costume out of a box. Ian comes in to get a bag of powdered sugar. Script provided for educational purposes. More scripts can be found here: http://www.sellingyourscreenplay.com/library</scene_description>
<character>BECCA</character>
<parenthetical>(holding up the suit)</parenthetical>
<dialogue>Ian?</dialogue>
<character>IAN</character>
<dialogue>No way, Becca. I did coupon rounds yesterday.</dialogue>
<character>BECCA</character>
<parenthetical>(hugging him)</parenthetical>
<dialogue>Oh, Ian. Come on. You'd so be my hero. I'd love you so, so much.</dialogue>
</scene>
<scene>
<stage_direction>INT. MALL FOOD COURT - DAY</stage_direction>
<scene_description>A giant foam donut walks through the food court, handing out coupons. Señor Donut wears a small sombrero, black tights and a purple cape. Ian's right arm sticks out of the suit. The left arm is fake as Ian's real left arm is kept inside the suit to operate the mouth. (Like the Big Bird suit.) He tries to hand out coupons but he's a soft, timid sell.</scene_description>
<character>IAN</character>
<dialogue>Hi. Would you like a coupon for six free-- No? Okay, cool. Sorry.</dialogue>
<scene_description>Ian turns to find Ron in his way, arms folded.</scene_description>
<character>RON</character>
<dialogue>Hmmm. You don't sound like Señor Donut. You sound more like Mr.-I- don't-take-pride-in-my-job-because- I'm-a-spoiled-suburban-kid-who's- had-everything-handed-to-me-Donut.</dialogue>
<character>IAN</character>
<dialogue>Ron, come on. I suck at doing the voice. Please?</dialogue>
<scene_description>Ron gives Ian a stern look and then points to a woman coming their way. Ian turns to her and in a lame Mexican accent...</scene_description>
<character>IAN</character>
<dialogue>Hola. Theees eeez a coupon for seeex free donuts. Es Mui Bueno!</dialogue>
<scene_description>The woman stares back uncomfortably and then looks to her left. Ian turns to see what she's looking at. A Mexican family is standing nearby and glaring at Ian.</scene_description>
<character>IAN</character>
<parenthetical>(normal voice)</parenthetical>
<dialogue>I'm sorry. I didn't mean any...</dialogue>
<scene_description>Script provided for educational purposes. More scripts can be found here: http://www.sellingyourscreenplay.com/library The family walks away, offended. Ian sighs.</scene_description>
</scene>
<scene>
<stage_direction>INT. MALL DRESS SHOP</stage_direction>
<scene_description>Felicia steps out of a fitting room, wearing a poofy yellow dress with a huge bow. She looks miserable. Tiffany circles, nodding her approval.</scene_description>
<character>TIFFANY</character>
<dialogue>Oh, my, god. That is sooo cute on you. You could be hot if you quit dressing like so... agro. Now that you're eighteen you should totally be thinking about getting those boobs done too. You know?</dialogue>
<scene_description>Tiff gestures to her own fake boobs, then turns away to flip through a rack of dresses. Felicia mimes plunging a knife into Tiff's back over and over. Tiff turns to look at Felicia, who stops killing her and smiles back innocently.</scene_description>
<character>TIFFANY</character>
<dialogue>You know?</dialogue>
<character>FELICIA</character>
<dialogue>Yeah. Boobs. Good. Made a note.</dialogue>
<scene_description>Felicia notices Señor Donut out in the mall, going up the escalator. He's surrounded by a group of white ten-year-old gang-banger-wannabes. They push Ian and he falls sideways, rolling down to the bottom and out entrance. The kids follow him down.</scene_description>
</scene>
<scene>
<stage_direction>INT. MALL</stage_direction>
<scene_description>Felicia jogs from the shop, holding her dress off the ground. As she arrives, the kids are stomping Ian like a narc.</scene_description>
<character>FELICIA</character>
<dialogue>Aright, piss off, mallrats.</dialogue>
<scene_description>They stop. Their leader steps to Felicia with a precocious swagger. He's a foot shorter than she.</scene_description>
<character>MALLRAT</character>
<dialogue>Yo, banana-ass-lookin' bitch. Y'all ain't gonna roll up on our shit and start bustin' out to-dos.</dialogue>
<scene_description>His friends laugh until Felicia grabs him by the ear and twists until he grimaces in pain. Script provided for educational purposes. More scripts can be found here: http://www.sellingyourscreenplay.com/library</scene_description>
<character>FELICIA</character>
<dialogue>Listen, Trevor or Logan or Cody or whatever the fuck your name is, look at this dress. Do I look like I'm in the mood for your bullshit?</dialogue>
<character>MALLRAT</character>
<dialogue>Owie. Owie.</dialogue>
<character>FELICIA</character>
<dialogue>Yeah, that's right, owie.</dialogue>
<scene_description>She releases him.</scene_description>
<character>FELICIA</character>
<dialogue>And take the god damn price tag off your hat.</dialogue>
<scene_description>She rips the price sticker off the bill of his baseball cap.</scene_description>
<character>MALLRAT</character>
<dialogue>Damn, shorty!</dialogue>
<scene_description>He stands down and tries to maintain his strut as he leads his gang away.</scene_description>
<character>FELICIA</character>
<dialogue>You alright, Ian?</dialogue>
<character>IAN</character>
<dialogue>Yeah. Wow. You look pretty.</dialogue>
<character>FELICIA</character>
<dialogue>Oh, god! Shut up.</dialogue>
<scene_description>Just then, Lance appears next to them.</scene_description>
<character>LANCE</character>
<dialogue>Damn. Tough day for donut boy.</dialogue>
<character>FELICIA</character>
<dialogue>Not a word about the dress. I swear to fucking god.</dialogue>
<scene_description>Ian flounders on the floor, unable to stand.</scene_description>
<character>IAN</character>
<dialogue>A little help?</dialogue>
<scene_description>Felicia and Lance help him up.</scene_description>
<character>IAN</character>
<dialogue>This job sucks so hard.</dialogue>
<scene_description>Script provided for educational purposes. More scripts can be found here: http://www.sellingyourscreenplay.com/library</scene_description>
<character>FELICIA</character>
<dialogue>Ian, why don't you just quit?</dialogue>
<character>IAN</character>
<dialogue>I can't just quit, Felicia. I only got two weeks left to save for college. Tuition's gone up to--</dialogue>
<scene_description>Lance interrupts, pointing to the donut mouth that Ian is flapping as he speaks.</scene_description>
<character>LANCE</character>
<dialogue>Ian, why you gotta do that - work the mouth when you talk to us?</dialogue>
<character>FELICIA</character>
<parenthetical>(sarcastic)</parenthetical>
<dialogue>You can't fool us, Ian. We know you're not really a big Mexican donut.</dialogue>
<character>IAN</character>
<parenthetical>(not working the mouth)</parenthetical>
<dialogue>Sorry. Habit. Here, give me a hand with this.</dialogue>
<scene_description>Ian struggles to get his head out of the back of the suit. He sits on a bench. Lance helps. Ian takes a deep breath.</scene_description>
<character>LANCE</character>
<dialogue>So, how's it going with that chick at work?</dialogue>
<character>IAN</character>
<dialogue>Becca. Not that great.</dialogue>
<character>FELICIA</character>
<dialogue>Good. She's totally wrong for you, anyway.</dialogue>
<character>IAN</character>
<dialogue>That's what you say about everyone.</dialogue>
<scene_description>Tiffany waves Felicia back into the store.</scene_description>
<character>FELICIA</character>
<dialogue>I gotta go. Satan calls.</dialogue>
<character>LANCE</character>
<dialogue>Looks like Satan got new titties.</dialogue>
<character>FELICIA \*</character>
<dialogue>So, we're still on for tomorrow? \*</dialogue>
<scene_description>Script provided for educational purposes. More scripts can be found here: http://www.sellingyourscreenplay.com/library</scene_description>
<character>IAN \*</character>
<dialogue>Got the place to myself, I promise. \*</dialogue>
<character>FELICIA \*</character>
<dialogue>Awesome. You always come through \* for me. \*</dialogue>
<scene_description>(leaning in) \* Hey, it won't be weird for you if I \* stay over Saturday? \*</scene_description>
<character>IAN \*</character>
<dialogue>Why would it be weird? \*</dialogue>
<scene_description>SLAM CUT TO: \*:</scene_description>
</scene>
<scene>
<stage_direction>EXT. HIGH SCHOOL BONFIRE PARTY - NIGHT</stage_direction>
<scene_description>TITLE: "FIVE MONTHS AGO" Ian stands alone by the fire. Felicia stumbles over and hugs him. She's a bit drunk.</scene_description>
<character>FELICIA</character>
<dialogue>Ian. Hey, dude. Guess what.</dialogue>
<character>IAN</character>
<dialogue>What?</dialogue>
<character>FELICIA</character>
<dialogue>I have a secret. Girl secret. Can you deal?</dialogue>
<character>IAN</character>
<dialogue>Sure. What do you got?</dialogue>
<scene_description>Felicia is flustered, giggly and uncharacteristically girly.</scene_description>
<character>FELICIA</character>
<dialogue>I...Duh. This is so lame.</dialogue>
<character>IAN</character>
<dialogue>Look at you acting like such a girl. You're creeping me out.</dialogue>
<character>FELICIA</character>
<dialogue>I know. Okay, okay, okay, okay. Here it is. I have a crush on someone. A boy. A guy.</dialogue>
<character>IAN</character>
<dialogue>Really. Wow. Who?</dialogue>
<scene_description>Script provided for educational purposes. More scripts can be found here: http://www.sellingyourscreenplay.com/library</scene_description>
<character>FELICIA</character>
<dialogue>Oh, I bet you know who. You know me better than anyone. So guess.</dialogue>
<scene_description>A look of great understanding comes over Ian's face.</scene_description>
<character>IAN</character>
<dialogue>I think I know.</dialogue>
<scene_description>He nervously leans in for a kiss. Felicia sobers, pulling away. Her face is awash with confusion and pity. Ian has made a terrible mistake. He lamely tries to back-pedal.</scene_description>
<character>IAN</character>
<dialogue>Kidding. Got you.</dialogue>
<character>FELICIA</character>
<dialogue>Ian. You're my best friend. I just don't think we--</dialogue>
<character>IAN</character>
<dialogue>I know. Totally kidding. I mean, "whatever" right? Yeah...</dialogue>
<scene_description>He's not fooling anyone.</scene_description>
<character>IAN</character>
<dialogue>So, who is it? Who's the lucky...</dialogue>
<character>FELICIA</character>
<dialogue>Oh, nobody. I was kidding too.</dialogue>
<character>IAN</character>
<dialogue>Oh. That's funny. I guess.</dialogue>
<scene_description>Pull back, as they stand together in an awkward silence as several kids party around them.</scene_description>
</scene>
<scene>
<stage_direction>SLAM CUT BACK TO PRESENT: INT. MALL \*</stage_direction>
<character>FELICIA \*</character>
<dialogue>Okay, see you guys tomorrow. \*</dialogue>
<scene_description>Felicia trots back to the dress shop. Ian pushes his head \* back into the suit. He and Lance walk through the mall \* together. Ian occasionally hands off a coupon to someone. \*</scene_description>
<character>LANCE \*</character>
<dialogue>So, this Becca chick - you been \* doing like I told you? Being a \* dick? \*</dialogue>
<scene_description>Script provided for educational purposes. More scripts can be found here: http://www.sellingyourscreenplay.com/library</scene_description>
<character>IAN</character>
<dialogue>Yeah, kinda. Kind of a dick.</dialogue>
<character>LANCE</character>
<dialogue>She made you wear the costume again, didn't she? (off Ian's lack of reply) See? Your nice guy thing works for shit. If you'da told her to fuck off, she'd be two knuckles deep, day-dreaming about your bone right now.</dialogue>
<scene_description>A woman with two little kids, glares at them.</scene_description>
<character>IAN</character>
<dialogue>Lance, I'm actually at work. Can we not do this here?</dialogue>
<character>LANCE</character>
<dialogue>I'm just sayin', if you ever want to get laid, you're going to have to quit worrying about what chicks think of you. Look at Andy and Randy over there. Those guys could give a fuck.</dialogue>
<scene_description>Two awkward, dim-faced, badly dressed teenage boys stand outside an arcade. Oblivious to their own lack of appeal, every girl that passes gets hit on.</scene_description>
<character>IAN</character>
<dialogue>Andy and Randy? Those guys are total nards.</dialogue>
<character>LANCE</character>
<dialogue>For real. But pay attention.</dialogue>
<scene_description>A pretty, fresh-faced girl is carrying a box marked, "Holy Cross Children's Fund." She approaches ANDY & RANDY.</scene_description>
<character>CHRISTIAN GIRL</character>
<dialogue>Hi. Would you like to help the underprivileged children?</dialogue>
<scene_description>They converge on her like velociraptors. They both speak in the same, rapid-fire monotone.</scene_description>
<character>ANDY</character>
<dialogue>Not really.</dialogue>
<character>RANDY</character>
<dialogue>You wanna party?</dialogue>
<scene_description>Script provided for educational purposes. More scripts can be found here: http://www.sellingyourscreenplay.com/library</scene_description>
<character>CHRISTIAN GIRL</character>
<dialogue>Um. No. I'm kinda working.</dialogue>
<character>ANDY</character>
<dialogue>When are you done?</dialogue>
<character>RANDY</character>
<dialogue>What are you doing after?</dialogue>
<character>CHRISTIAN GIRL</character>
<dialogue>Um, I have a church thing tonight.</dialogue>
<character>ANDY</character>
<dialogue>Kick ass. We'll come.</dialogue>
<character>RANDY</character>
<dialogue>Yeah, where is it?</dialogue>
<character>ANDY</character>
<dialogue>There gonna be more hot chicks like you there?</dialogue>
<scene_description>Lance and Ian look on.</scene_description>
<character>IAN</character>
<dialogue>So, what? They never get anywhere.</dialogue>
<character>LANCE</character>
<dialogue>That's because they don't know how to close. But their ability to open is god damned heroic. Absolutely no fear of rejection.</dialogue>
<scene_description>Andy and Randy keep up the pressure, following her away.</scene_description>
<character>RANDY</character>
<dialogue>Do you wear thong underpants?</dialogue>
<character>ANDY</character>
<dialogue>You want us to take our shirts off?</dialogue>
</scene>
<scene>
<stage_direction>INT. SEÑOR DONUT - BACK ROOM - EVENING</stage_direction>
<scene_description>Ian, still dressed in the donut suit, hassles with his locker. He breaks off his key. Ron appears in the doorway.</scene_description>
<character>RON</character>
<dialogue>Oh, Ian. What am I going to do with you, laddie? You can wear it home, but take good care of it. That costume costs more than you make in a year.</dialogue>
<scene_description>Script provided for educational purposes. More scripts can be found here: http://www.sellingyourscreenplay.com/library</scene_description>
</scene>
<scene>
<stage_direction>EXT. MALL - EVENING</stage_direction>
<scene_description>Rex pulls up to the curb in the Judge. Ian runs up to the car, still in the donut suit and working the mouth.</scene_description>
<character>IAN</character>
<dialogue>Rex. It's me!</dialogue>
<character>REX</character>
<dialogue>What the fuck is that shit?</dialogue>
<character>IAN</character>
<dialogue>I broke off the key in my locker.</dialogue>
<character>REX</character>
<dialogue>Well I ain't gonna be seen driving around with Señor Numbnut. Stow that shit in the trunk.</dialogue>
<scene_description>Ian pops the trunk and bashfully strips off the costume, leaving him just in his t-shirt and tighty-whities. Several passing shoppers glance over. Ian stuffs the costume in the trunk and dashes for the passenger door. Rex slowly pulls ahead, Ian runs along side. Rex laughs way too hard.</scene_description>
<character>REX</character>
<dialogue>Come on! Get in, fairy!</dialogue>
<scene_description>Ian reaches for the door but Rex stays just far enough ahead. Ian runs faster and opens the door. Before he can jump in, Rex slams on the brakes. Ian bounces off the inside of the door and falls flat on his back in the street.</scene_description>
<character>REX</character>
<dialogue>Ha!!! You suck, Ian!</dialogue>
<scene_description>Ian lies there groaning.</scene_description>
<character>REX</character>
<dialogue>Don't be such a puss! Seriously, quit dickin' around and get in.</dialogue>
</scene>
<scene>
<stage_direction>EXT. IAN'S HOUSE - EVENING</stage_direction>
<scene_description>The Judge pulls into the driveway. Ian gets out. A car pulls in behind him. IT'S BECCA! She climbs out. Ian coyly pulls his shirt down over his grunds. This is awkward.</scene_description>
<character>IAN</character>
<dialogue>Becca. Hey. I didn't know you were coming over. I didn't even know you knew where I lived.</dialogue>
<scene_description>Script provided for educational purposes. More scripts can be found here: http://www.sellingyourscreenplay.com/library</scene_description>
<character>BECCA</character>
<dialogue>Yeah. I do, so...</dialogue>
<scene_description>She looks down at his lack of pants.</scene_description>
<character>IAN</character>
<dialogue>Oh. Funny story. I broke my key--</dialogue>
<character>BECCA</character>
<dialogue>Is Dylan here?</dialogue>
<character>IAN</character>
<dialogue>What? Dylan. My brother Dylan?</dialogue>
<character>BECCA</character>
<dialogue>Yeah. Is he here?</dialogue>
<character>IAN</character>
<dialogue>My fourteen-year-old brother Dylan?</dialogue>
<scene_description>Becca scowls at Ian. Dylan opens the front door and waves to Becca. She sends him a big smile and starts off toward him.</scene_description>
<character>IAN</character>
<dialogue>You know he's fourteen, right?</dialogue>
<character>DYLAN</character>
<dialogue>Nice underpants, Ian! He's probably cooking up a big wicked bacon strip in there.</dialogue>
<scene_description>Becca and Rex laugh.</scene_description>
</scene>
<scene>
<stage_direction>INT. IAN'S BEDROOM - LATER</stage_direction>
<scene_description>Ian is putting on a pair of sweatpants. Dylan and Becca come in, making out.</scene_description>
<character>DYLAN</character>
<dialogue>Ian. Get out of my room!</dialogue>
<character>IAN</character>
<dialogue>It's my room too. You guys can go downstairs.</dialogue>
<character>DYLAN</character>
<dialogue>No way. The couch down there reeks like grandma farts. DAD! Ian's spying on us!</dialogue>
<character>IAN'S FATHER (O.S.)</character>
<dialogue>Ian! Quit being a perv and give your brother some privacy!</dialogue>
<scene_description>Script provided for educational purposes. More scripts can be found here: http://www.sellingyourscreenplay.com/library</scene_description>
</scene>
<scene>
<stage_direction>INT. IAN'S HOUSE - BASEMENT - MOMENTS LATER</stage_direction>
<scene_description>The basement is unfinished. The old mismatched furniture clashes with the shag carpet. Rex's weight bench and punching bag are set up in one corner. Ian sits down at a desk, dons his glasses and fires up an old, yellowed computer. A sign taped to the monitor reads, "Dad's Computer - No Surfing the World Wide Internets!" A Windows 98 logo comes up. Ian sighs as the dial-up tones sputter and beep. INTERCUT - MYSPACE CYBER RAVE / IAN'S BASEMENT Again we move through the crowd until we arrive on Ms. Tasty.</scene_description>
<character>MS. TASTY</character>
<dialogue>Ian, baby!</dialogue>
<character>IAN</character>
<dialogue>What up, Tasty?</dialogue>
<character>MS. TASTY</character>
<dialogue>I've been in bed all day, thinking about you.</dialogue>
<scene_description>Cut to Ian in the real world. He's wide-eyed and freaked.</scene_description>
<character>IAN</character>
<dialogue>Really?</dialogue>
<scene_description>Back to cool, flirty cyber-Ian.</scene_description>
<character>IAN</character>
<dialogue>Really.</dialogue>
<character>MS. TASTY</character>
<dialogue>I have an idea. You should jump in that tight ride of yours and drive it down to Knoxville this weekend so we can hook up in person.</dialogue>
<character>IAN</character>
<dialogue>Yeah, whatever. I don't know. Knoxville's a long way.</dialogue>
<character>MS. TASTY</character>
<dialogue>I think I can make it worth the drive.</dialogue>
<scene_description>Back in reality, Ian's jaw drops. He types the word, "HOW?" He takes a deep breath before clicking "Send." Push in on Ian's expectant face as the reply comes in: "MsTasty: U DRIVE ALL THE WAY HERE 4 ME AND I'll GO ALL THE WAY WITH U." Ian stares back at the screen, wide-eyed. Script provided for educational purposes. More scripts can be found here: http://www.sellingyourscreenplay.com/library</scene_description>
<character>IAN</character>
<dialogue>All the way. She wants to go all the way. With me. (HUGE GRIN) She wants to go all the way with me!</dialogue>
<scene_description>Cut to a vinyl record dropping on dad's old turntable. After a moment of crackling, cue "Da Ya Think I'm Sexy" by Rod Stewart. Ian dances in wild celebration, performing moves that are as sexually suggestive as they are awkward. He sings along. He starts punching Rex's punching bag, then he starts humping it as part of the dance. He freezes when he hears the need scrape off the record. Ian's dad stands at the turntable. Ian lamely tries to morph the dance into acting casual. He's out of breath.</scene_description>
<character>IAN</character>
<dialogue>Hey, I was just...exercising.</dialogue>
<character>IAN'S FATHER</character>
<dialogue>What'd I tell you about monkeying with my 45s?</dialogue>
<scene_description>Dad takes the record and moves on. Ian drops his head. A moment later, Dylan enters.</scene_description>
<character>DYLAN</character>
<dialogue>Dude. Becca just left.</dialogue>
<character>IAN</character>
<dialogue>So?</dialogue>
<character>DYLAN</character>
<dialogue>You wanna smell my finger?</dialogue>
<scene_description>Ian glares back, annoyed. After a beat:</scene_description>
<character>IAN</character>
<dialogue>Yeah, okay.</dialogue>
<scene_description>Ian takes a whiff, then winces.</scene_description>
<character>IAN</character>
<dialogue>Ugh. Are you sure you got the right hole?</dialogue>
<scene_description>Dylan looks slightly alarmed and confused. He sniffs it.</scene_description>
</scene>
<scene>
<stage_direction>INT. DRUG STORE - DAY</stage_direction>
<scene_description>Close on the condom section - several shelves filled with all manner of rubbers. Ian nonchalantly breezes by, reading the boxes as he passes. Script provided for educational purposes. More scripts can be found here: http://www.sellingyourscreenplay.com/library Further down the aisle, he puts a few items in his basket. He breezes by again, tries to stop, too uncomfortable, keeps moving. A moment later he returns. A cart is parked between Ian and the condoms. A soccer mom drifts down the aisle, away from the cart, leaving her cute-as-a-button two-year-old girl perched in the cart seat.</scene_description>
<character>LITTLE GIRL</character>
<dialogue>Hi.</dialogue>
<scene_description>Ian gives her a strained smile as he reaches over her for a box. He inadvertently triggers an electronic display. A ten- inch condom-man dances, waves it's arms and hollers: CONGRATULATIONS! YOU CHOSE RAMSES FOR MAXIMUM STIMULATION! Ian snaps his hand away, knocking several boxes of condoms into the cart. The child's mother turns to give Ian a suspicious glance. Ian musters a smile back. Mom starts back his way. Ian grabs one box and bolts. When the mom returns, her baby girl presents her with a box of Magnums.</scene_description>
<character>LITTLE GIRL'S MOM</character>
<dialogue>Yeah, I wish.</dialogue>
</scene>
<scene>
<stage_direction>INT. DRUG STORE - CASHIER LINE</stage_direction>
<scene_description>Ian now has a pile of junk in his basket. He gets into the line of a frumpy, middle-aged cashier. Suddenly, another lane is opened by a beautiful, bubbly woman.</scene_description>
<character>HOT CASHIER</character>
<dialogue>I can help the next person.</dialogue>
<character>IAN</character>
<dialogue>Oh, that's okay. I'll just--</dialogue>
<character>HOT CASHIER</character>
<dialogue>Oh, come on now. Let's get you taken care of.</dialogue>
<scene_description>She comes out and takes Ian's basket, leading him to her aisle. She starts ringing up his items.</scene_description>
<character>HOT CASHIER</character>
<dialogue>You don't remember me, do you Ian? Terry? I used to babysit you.</dialogue>
<scene_description>Script provided for educational purposes. More scripts can be found here: http://www.sellingyourscreenplay.com/library</scene_description>
<character>IAN</character>
<dialogue>Oh. Sure. Terry. Wow.</dialogue>
<character>HOT CASHIER</character>
<dialogue>You've gotten so big. I used to change your poopy diapers.</dialogue>
<character>IAN</character>
<dialogue>Oh, yeah. I don't really do that anymore. I just use the ah...</dialogue>
<scene_description>Ian nervously eyes the condoms. Horror movie suspense music builds as she excavates them, item by item. Finally she reaches for the box, but just then:</scene_description>
<character>CASHIER BOY (O.S.)</character>
<dialogue>Terry. Phone call.</dialogue>
<character>HOT CASHIER</character>
<dialogue>Oh. Well, it was nice to see you, Ian. Say, "Hi" to your mom for me.</dialogue>
<scene_description>Ian breathes a sigh of relief as she steps away.</scene_description>
<character>IAN</character>
<dialogue>Definitely.</dialogue>
<scene_description>Another employee takes over, a big good-looking skater guy about Ian's age.</scene_description>
<character>CASHIER BOY</character>
<dialogue>Dude. Weren't you in my gym class? What is it - Egan?</dialogue>
<character>IAN</character>
<dialogue>Ian. Yeah. Hey, Jordan.</dialogue>
<scene_description>Jordan isn't excited to see Ian. He picks up the box of condoms. He cracks up laughing.</scene_description>
<character>CASHIER BOY</character>
<dialogue>Oh, right! Whatever, scrote! You can't get your fist pregnant!</dialogue>
<scene_description>He raises the box high and calls out to another boy, working thirty feet away.</scene_description>
<character>CASHIER BOY</character>
<dialogue>Russ, man! Check it out, yo! Look who's buying jimmies!</dialogue>
<scene_description>Russ cracks up. Ian looks around. Terry, the little girl, her mom, and three old ladies all stare back at him. Script provided for educational purposes. More scripts can be found here: http://www.sellingyourscreenplay.com/library</scene_description>
<character>CASHIER BOY</character>
<dialogue>You want these gift wrapped?</dialogue>
<scene_description>Ian snatches the box back. Russ taps him on the shoulder and snaps a picture with his camera phone. Freeze on the awful picture of Ian, looking surprised and holding up the condoms.</scene_description>
</scene>
<scene>
<stage_direction>EXT. DRUG STORE</stage_direction>
<scene_description>The doors slide open, the laughters escape along with Ian. He steps out to find Andy & Randy sitting on the curb out front. A girl passes them on her way into the store.</scene_description>
<character>ANDY</character>
<dialogue>Hey, baby, you wanna party?</dialogue>
<character>RANDY</character>
<dialogue>You wanna make out with us?</dialogue>
<scene_description>She ignores them, which doesn't bother them a bit. Something compels Ian to stop, but he's not sure what to say.</scene_description>
<character>RANDY</character>
<dialogue>Why don't you take a picture, Ian?</dialogue>
<character>ANDY</character>
<dialogue>Yeah, and post it on total-fuckin'- awesomeness-dot-com.</dialogue>
<character>IAN</character>
<dialogue>Can I ask you guys a question?</dialogue>
<character>RANDY</character>
<dialogue>You just did.</dialogue>
<character>IAN</character>
<dialogue>Okay. Can I ask you another question?</dialogue>
<character>ANDY</character>
<dialogue>You just did! Ha!</dialogue>
<scene_description>They giggle and high-five. Ian turns to go.</scene_description>
<character>RANDY</character>
<dialogue>No. Dude, what?</dialogue>
<character>IAN</character>
<dialogue>Okay. Where do you guys get the confidence to, you know, like hit on every girl you see?</dialogue>
<scene_description>Script provided for educational purposes. More scripts can be found here: http://www.sellingyourscreenplay.com/library</scene_description>
<character>ANDY</character>
<dialogue>'Cause we're the shit.</dialogue>
<character>RANDY</character>
<dialogue>You oughts to know that, bitch.</dialogue>
<character>ANDY</character>
<dialogue>So, where's Felate-cha?</dialogue>
<character>RANDY</character>
<dialogue>Felate-cha. You bangin' her?</dialogue>
<character>IAN</character>
<dialogue>We're just friends.</dialogue>
<character>ANDY</character>
<dialogue>I thought you took her to prom.</dialogue>
<character>IAN</character>
<dialogue>Yeah, but it was a 'just-friends' kind of thing.</dialogue>
<character>RANDY</character>
<dialogue>I don't get it.</dialogue>
<character>ANDY</character>
<dialogue>You should bang her. We would.</dialogue>
<character>RANDY</character>
<dialogue>Dude, we would bang her so hard.</dialogue>
<character>ANDY</character>
<dialogue>Tell her we'll bang her.</dialogue>
<scene_description>Ian walks away.</scene_description>
<character>RANDY</character>
<dialogue>Yeah, hard.</dialogue>
</scene>
<scene>
<stage_direction>EXT. IAN'S HOUSE - DAY</stage_direction>
<scene_description>Rex, Dylan and Dad are loading luggage and dirtbikes into a trailer, towed by a huge SUV, parked in the street. Ian rides his bike into the garage, carrying his bag from the drug store. Ian's stepmother comes out with a cooler.</scene_description>
<character>IAN'S STEPMOTHER</character>
<dialogue>Ian, sweetie. Are you sure you don't want to come along and cheer on your little brother?</dialogue>
<scene_description>Ian looks over. Dylan gives him the finger. Script provided for educational purposes. More scripts can be found here: http://www.sellingyourscreenplay.com/library</scene_description>
<character>IAN</character>
<dialogue>Yeah. Sounds fun but I gotta work.</dialogue>
<character>IAN'S STEPMOTHER</character>
<dialogue>Okay, sweetie. There's a taco casserole in the freezer and I put forty dollars in the cow for fun money. Be safe, okay?</dialogue>
<scene_description>She kisses him on the cheek. Ian smiles. Ian's dad calls over from the truck.</scene_description>
<character>IAN'S DAD</character>
<dialogue>Where's Jessica? We're burning daylight, people!</dialogue>
</scene>
<scene>
<stage_direction>INT. IAN'S BEDROOM - MOMENTS LATER</stage_direction>
<scene_description>Ian puts the box of condoms on the desk, sits down and stares at them. He lifts some Google maps from the printer - the route from Bartlett, IL to Knoxville, TN. Also, a list titled, "Things to Bring On Trip to Have Sex:" 1) Maps and directions 2) Condoms 3) New black shirt - cool 4) Phone 5) Phone charger 6) iPod 7) iPod charger 8) Money 9) This list Ian cracks open the box of condoms, removes one from its pouch and starts to unroll it. It rolls out longer and longer until it's about a foot long. Ian stares at it, distressed. After a beat, he looks up. Jessica stands in the hall, holding a duffel bag. She's looking in, disturbed. She walks on. Ian throws the rubber in the waste basket. He considers the box for a second. He throws the whole box away, along with the maps and the list. He gets up and exits his room.</scene_description>
</scene>
<scene>
<stage_direction>INT. IAN'S HOUSE - KITCHEN</stage_direction>
<scene_description>Lance walks in as Ian is coming downstairs. Lance has his phone to his ear but isn't speaking into it.</scene_description>
<character>LANCE</character>
<dialogue>Dude! What is going on with you? You bought rubbers!?</dialogue>
<scene_description>Script provided for educational purposes. More scripts can be found here: http://www.sellingyourscreenplay.com/library</scene_description>
<character>IAN</character>
<dialogue>How'd you know that?</dialogue>
<character>LANCE</character>
<dialogue>It's on Russ Miller's blog.</dialogue>
<scene_description>QUICK INSERT: A screenshot of a blog called Miller's High Life - decorated with pot leaves. Top story says, "Ian Lafferty Wastes Money on Jimmies!" The story features the phone photo of Ian, holding the box of condoms.</scene_description>
<character>IAN</character>
<dialogue>Jesus! That was like (checks his watch) eleven minutes ago.</dialogue>
<character>LANCE</character>
<dialogue>So, what the F!?</dialogue>
</scene>
<scene>
<stage_direction>INT. IAN'S BEDROOM - MOMENTS LATER</stage_direction>
<scene_description>Close on the photo of Ms. Tasty. Lance's gaping mouth is reflected on the screen next to her picture.</scene_description>
<character>LANCE</character>
<dialogue>Duuuuude. This chick? For reals?</dialogue>
<character>IAN</character>
<dialogue>She wants me to meet her tonight at the Shakey's in Knoxville.</dialogue>
<character>LANCE</character>
<dialogue>So, why isn't your ass on it's way to Tennessee right now?</dialogue>
<character>IAN</character>
<dialogue>I thought about it. That's why I bought the... those. (re: rubbers) But, I can't. I'm grounded.</dialogue>
<character>LANCE</character>
<dialogue>Grounded? What are you, nine?</dialogue>
<character>IAN</character>
<dialogue>(re: phone) What are you, on hold?</dialogue>
<character>LANCE</character>
<dialogue>No. Robbie Dibbitz called me accidentally. I can hear him talking to somebody. I wanna hear if he shit-talks me.</dialogue>
<scene_description>Ian gives an incredulous look that has no effect on Lance. Script provided for educational purposes. More scripts can be found here: http://www.sellingyourscreenplay.com/library</scene_description>
<character>LANCE</character>
<dialogue>Oh my God, Ian. Do you remember what I said when you blew your chance to rack up some clutch experience with a very shit-faced Lindsay McKay?</dialogue>
<character>IAN</character>
<dialogue>I had to give Felicia a ride home that night. She was sick, remember?</dialogue>
<scene_description>Ian starts flossing nervously.</scene_description>
<character>LANCE</character>
<dialogue>And what did I say?</dialogue>
<character>IAN</character>
<dialogue>That I was a pussy?</dialogue>
<character>LANCE</character>
<dialogue>A raging pussy. And I said, "What do you want, a written invitation?" Guess what dipshit - this IS a written invitation! So kick it in the ass, G!</dialogue>
<scene_description>Lance removes the condoms and maps from the trash.</scene_description>
<character>IAN</character>
<dialogue>Lance. She doesn't want me, okay? She wants him...</dialogue>
<scene_description>Ian clicks a button and brings up the doctored photo of himself.</scene_description>
<character>LANCE</character>
<dialogue>Ohhhh. That's what that picture was all about.</dialogue>
<scene_description>Lance lets out a short burst of laughter before catching himself. Ian walks out.</scene_description>
</scene>
<scene>
<stage_direction>INT. IAN'S HOUSE - KITCHEN</stage_direction>
<scene_description>Ian comes downstairs into the kitchen. Lance follows.</scene_description>
<character>LANCE</character>
<dialogue>Ian! It's not that bad. You look like that picture...more or less.</dialogue>
<character>IAN</character>
<dialogue>Lance. Let it go.</dialogue>
<scene_description>Script provided for educational purposes. More scripts can be found here: http://www.sellingyourscreenplay.com/library</scene_description>
<character>LANCE</character>
<dialogue>Dude, I've been trying to get you laid every summer since my dad moved here. Now, sack-up, bro.</dialogue>
<character>IAN</character>
<dialogue>Seriously, just forget it. Ms. Tasty's probably a guy anyway.</dialogue>
<character>LANCE</character>
<dialogue>Maybe. But what if she's not?</dialogue>
<scene_description>Ian cracks a smile.</scene_description>
<character>IAN</character>
<dialogue>She's pretty, eh?</dialogue>
<character>LANCE</character>
<dialogue>Pretty? Yeah. Pretty fuckin' hot.</dialogue>
<scene_description>Lance hears something in the phone he doesn't like.</scene_description>
<character>LANCE</character>
<dialogue>That motherfucker. (yelling into his phone) I heard that Robbie, you backstabbin' prick!</dialogue>
<scene_description>Lance hangs up. After a beat, he's right back on task.</scene_description>
<character>LANCE</character>
<dialogue>Dude, come on! You already opened. I can help you close. We just need one thing...</dialogue>
</scene>
<scene>
<stage_direction>INT. IAN'S HOUSE - GARAGE</stage_direction>
<scene_description>Ian and Lance stare at the Judge. It sparkles and shines.</scene_description>
<character>LANCE</character>
<dialogue>You roll up in this fucker and she'll drop an egg right in the Shakey's parking lot.</dialogue>
<character>IAN</character>
<dialogue>Rex'll never let me take the Judge.</dialogue>
<character>LANCE</character>
<dialogue>You don't know if you don't ask.</dialogue>
<scene_description>Outside, Ian's dad fires up the SUV. Rex jogs into the garage. Script provided for educational purposes. More scripts can be found here: http://www.sellingyourscreenplay.com/library</scene_description>
<character>REX</character>
<dialogue>Yo. Fuckstick. Heed these words: That car moves so much as a dick- hair, a fly so much as farts on it and you die a brutal death, fag.</dialogue>
<scene_description>Rex punches Ian in the arm. Ian rubs his arm as Rex stomps off, laughing. Ian gestures toward him as if to tell Lance, "I told you so." Rex points the clicker over his shoulder, closing the garage door with Ian and Lance still inside.</scene_description>
<character>LANCE</character>
<dialogue>What a dick. You should take his car just on principle.</dialogue>
<character>IAN</character>
<dialogue>I don't even have a key, Lance.</dialogue>
<scene_description>Lance turns and begins probing the underside of the car along the edges. Just ahead of the rear wheel, he hits paydirt - a small, black, magnetic box, printed with a Hide-a-Key logo. He slides the box open, producing the car key.</scene_description>
<character>IAN</character>
<dialogue>Lance, no. Didn't you hear him?</dialogue>
<character>LANCE</character>
<dialogue>Ian. Look at me. Yes. Rex might find out. And he might kick the holy shit out of you. But this is your last chance. You don't step up now, you're a college virgin.</dialogue>
<scene_description>Ian stares back gravely, thinking it over.</scene_description>
<character>LANCE</character>
<dialogue>She's nine short hours away. We head down tonight, you pound that va-jay, and we're back tomorrow, Rex'll never even know it was gone. You lose your virginity tonight, Ian. To-night.</dialogue>
<scene_description>CLANK!! Ian and Lance startle as the garage door opener kicks in. The door begins to rise, exposing Rex's boots and slowly more of him. They fumble with the key box as the door inches higher. Ian dives to put it back.</scene_description>
<character>LANCE</character>
<dialogue>No! It was back here!</dialogue>
<scene_description>Lance points to where he found it. Ian reaches out, dropping the key box. Lance turns to get it, accidentally kicking it under the car. The door is up to Rex's chest! Script provided for educational purposes. More scripts can be found here: http://www.sellingyourscreenplay.com/library Ian lunges under the car but it's just out of his reach. He painfully stretches out, his finger tips tickle the key box. Finally he gets it and tosses it back to Lance who puts it in place. Ian scrambles out from under the Judge. Rex's POV as the door clears his eyes. Ian is on his knees as though he might blow Lance. He peeks around Lance at Rex.</scene_description>
<character>REX</character>
<dialogue>For god's sake. You two rump rangers couldn't wait five minutes.</dialogue>
<scene_description>Rex shakes his head as he steps in. He retrieves the key box from under the car. He points a warning finger at Ian and Lance as he walks backwards to the SUV. They drive off.</scene_description>
<character>LANCE</character>
<dialogue>Shit!</dialogue>
<scene_description>Cue "Let's Get It Up" - balls-out-loud as Ian gives Lance a dubious smiles. Ian holds up the key.</scene_description>
</scene>
<scene>
<stage_direction>EXT. IAN'S HOUSE - GARAGE - DAY</stage_direction>
<scene_description>The Judge thunders to life and pulls out over the camera like the Star Destroyer at the top of Star Wars. The car stops as Felicia is now standing in the way. She's holding a bag of groceries and videos. She crosses to Ian's open window.</scene_description>
<character>FELICIA</character>
<dialogue>Ian? Are you on crack? Rex is going to castrate you.</dialogue>
<character>IAN</character>
<dialogue>True that.</dialogue>
<character>FELICIA</character>
<dialogue>You two better not be bitchin' out on me. You promised.</dialogue>
<character>IAN</character>
<dialogue>We're not.</dialogue>
<character>FELICIA</character>
<dialogue>Okay. So, where we going?</dialogue>
<scene_description>Lance tries to wave Ian off from telling Felicia.</scene_description>
<character>IAN</character>
<dialogue>Um...Knoxville, Tennessee.</dialogue>
<scene_description>Felicia considers the destination for a moment. Script provided for educational purposes. More scripts can be found here: http://www.sellingyourscreenplay.com/library</scene_description>
<character>FELICIA</character>
<parenthetical>(unfazed)</parenthetical>
<dialogue>Yeah, okay. Lemmie get my stuff.</dialogue>
<scene_description>She hands Ian the bag of goodies and then bolts to her house.</scene_description>
<character>LANCE</character>
<dialogue>Dude. You do not want Felicia along. I know you guys are friends but she's always cock-blocking you.</dialogue>
<character>IAN</character>
<dialogue>No she isn't. She doesn't even have...one.</dialogue>
<character>LANCE</character>
<dialogue>Fine, twat-blocking you then. You know what I mean.</dialogue>
<character>IAN</character>
<dialogue>Yeah. But, her cousin-- I kinda promised. She'll be mad.</dialogue>
<character>LANCE</character>
<dialogue>She'll get over it. Be a man.</dialogue>
<scene_description>Felicia throws her bag in and jumps in the back. \*</scene_description>
<character>LANCE (CONT'D) \*</character>
<dialogue>I thought you had a wedding this \* weekend. You sure you can go? \*</dialogue>
<character>FELICIA \*</character>
<dialogue>The wedding's not 'til next month. \* So, what's in Tennessee? \*</dialogue>
<character>IAN</character>
<parenthetical>(stammering)</parenthetical>
<dialogue>Um...Cancer.</dialogue>
<character>FELICIA</character>
<dialogue>Cancer?</dialogue>
<character>IAN</character>
<dialogue>Yeah. My grandma's got some cancer.</dialogue>
<character>FELICIA</character>
<dialogue>Nana Lafferty?</dialogue>
<character>IAN</character>
<dialogue>No, my other grandma. I'm going to visit her. It's probably gonna suck. You know, old people stuff. You don't have to go.</dialogue>
<scene_description>Script provided for educational purposes. More scripts can be found here: http://www.sellingyourscreenplay.com/library</scene_description>
<character>FELICIA</character>
<dialogue>Oh my god, Grammy K? Of course I'll go. Is she...</dialogue>
<scene_description>Felicia's eyes well up with tears. Ian realizes he well overshot the lie.</scene_description>
<character>IAN</character>
<dialogue>Oh! No! It's not like fatal. It's just, um...foot cancer.</dialogue>
<character>LANCE</character>
<dialogue>Foot cancer.</dialogue>
<character>FELICIA</character>
<dialogue>What's she doing in Tennessee?</dialogue>
<character>IAN</character>
<dialogue>Oh, there's this really kick ass cancer center there. It's like famous. If you ever get any cancer (trailing off) you should totally check it out...</dialogue>
<scene_description>Ian realizes he blew it and he's stuck with her. He shrugs to Lance, who just shakes his head.</scene_description>
</scene>
<scene>
<stage_direction>INT. THE JUDGE - LATER</stage_direction>
<scene_description>They fly along the highway. Felicia sits in back, leaning against the window. Her iPod earbuds are in. Lance takes the Google maps out of his pocket and flips through them.</scene_description>
<character>LANCE</character>
<dialogue>What are we on - 294? So, you want I-80 east. Then 65 south all the way through Indiana.</dialogue>
<scene_description>Felicia emits an unintended guttural hum along with her music. She sounds like a retarded zombie. Ian and Lance laugh. She pulls an earbud out.</scene_description>
<character>FELICIA</character>
<dialogue>What? What's so funny?</dialogue>
<character>IAN</character>
<dialogue>Nothing. There was just a guy going by going all like...</dialogue>
<scene_description>She puts the earbud back in. A moment later, she's humming again. Ian checks his watch. He speaks quietly to Lance. Script provided for educational purposes. More scripts can be found here: http://www.sellingyourscreenplay.com/library</scene_description>
<character>IAN</character>
<dialogue>I'm meeting her at eight thirty. If we only stop for gas, we should be able to make that.</dialogue>
<character>LANCE</character>
<dialogue>Nice. So? How's it feel?</dialogue>
<character>IAN</character>
<dialogue>What?</dialogue>
<character>LANCE</character>
<dialogue>I don't know - Breaking some rules? Talkin' some shit? Driving the Judge to get some poon?</dialogue>
<character>IAN</character>
<parenthetical>(smiles)</parenthetical>
<dialogue>Feels pretty good.</dialogue>
<scene_description>Cue: "Steady At The Wheel" by Shooter Jennings. They pass a "Welcome to Indiana" sign. The country flies by. Ian effortlessly blows by a camper. Several drivers take notice of the classic muscle car, some even wave or give a thumbs up. A hot girl in a convertible smiles. They pass through Indianapolis. Ian leans back, feeling like a badass. FADE MUSIC Felicia points to a passing billboard for a new romantic comedy called, "What Part of No?" It features a knockout blonde with her arms folded and her back to a fat, nerdy guy who looks as though he's got a plan to seduce her.</scene_description>
<character>FELICIA</character>
<dialogue>Are you guys gonna go see that?</dialogue>
<character>LANCE</character>
<dialogue>Pass. That's just another movie where the girl's hot and the guy's a dork but he's persistent. So he comes on with a bunch of cute, zany shit that, in the real world, would get you arrested.</dialogue>
<character>IAN</character>
<dialogue>Right. But he wears her down until she falls in love with him over a game of putt-putt or something.</dialogue>
<character>LANCE</character>
<dialogue>Pure bullshit. Nobody's ever gotten laid off mini-golf.</dialogue>
<scene_description>Script provided for educational purposes. More scripts can be found here: http://www.sellingyourscreenplay.com/library</scene_description>
<character>FELICIA</character>
<dialogue>Yeah, and the girl, who's supposed to be so great, always has some boyfriend who's a total rod.</dialogue>
<character>IAN</character>
<dialogue>That's the only realistic part.</dialogue>
<character>FELICIA</character>
<dialogue>Shut up. It is not.</dialogue>
<character>IAN \*</character>
<dialogue>Oh, really? Your last three \* boyfriends - All major, supreme \* dicks. \*</dialogue>
<scene_description>Felicia smiles, she can't deny it. \*</scene_description>
<character>LANCE \*</character>
<dialogue>It's not her fault. People like a \* challenge. Everybody wants what \* they can't get. \*</dialogue>
<scene_description>This point makes Ian and Felicia uncomfortable. \*</scene_description>
<character>FELICIA \*</character>
<dialogue>Yeah, well, those guys didn't start \* off as dicks. They turned into \* dicks. That's what all you guys \* are - instant shithead kits - just \* add love. \*</dialogue>
<scene_description>The Judge moves through rural Indiana. Ian tries to pass a \* pimped out Honda with black windows but the car speeds up. \*</scene_description>
<character>LANCE</character>
<dialogue>Dude wants to race. (Out the window.) Let's go, pussy!</dialogue>
<character>IAN</character>
<dialogue>Lance! Don't start shit. You don't know who's in there.</dialogue>
<character>LANCE</character>
<dialogue>Bring 'em on!</dialogue>
<character>IAN</character>
<dialogue>Cut it out, man.</dialogue>
<character>LANCE</character>
<dialogue>You've never been in a fight, have you Ian?</dialogue>
<scene_description>Script provided for educational purposes. More scripts can be found here: http://www.sellingyourscreenplay.com/library</scene_description>
<character>IAN</character>
<dialogue>So? Fighting's stupid.</dialogue>
<character>LANCE</character>
<dialogue>True. But everybody should get in at least one fight. It's good for you. That includes you, Leesh.</dialogue>
<character>FELICIA</character>
<dialogue>Oh yeah? What if you get the shit kicked out of you?</dialogue>
<character>LANCE</character>
<dialogue>That's even better for you.</dialogue>
<scene_description>The driver gives Ian the finger out his sunroof.</scene_description>
<character>FELICIA</character>
<parenthetical>(sarcastic)</parenthetical>
<dialogue>Uh, oh. I'm pretty sure that's a direct challenge to your manhood.</dialogue>
<character>LANCE</character>
<dialogue>Yeah! Come on, bury this jag-off!</dialogue>
<character>IAN</character>
<dialogue>I'm not racing in my brother's car.</dialogue>
<scene_description>The Honda swerves toward them. Ian swerves out of the way.</scene_description>
<character>IAN</character>
<dialogue>Jesus! What the fuck!?</dialogue>
<scene_description>Honda boy heaves a huge Hardee's cup out the sunroof. It lands on Ian's side and blankets pink milk-shake across the Judge's entire windshield. Ian, Lance and Felicia scream as they are driving blind. Ian turns on the wipers but they only slosh the shake around. Lance sticks his head out the window, they are about to hit a parked camper.</scene_description>
<character>WINNEBAGO!</character>
<dialogue>AHHHHGGG!!</dialogue>
<scene_description>Ian slams on the brakes, sending Felicia flying over the seat and onto the floor at Lance's feet. The Judge swerves, barely missing the camper. The cars behind them weave chaotically. The Judge finally stops in the grassy median. Everyone catches their breath. Felicia rises up from the floor of the front seat. Lance reaches out and dips his finger into the liquid on the windshield. He tastes it. Script provided for educational purposes. More scripts can be found here: http://www.sellingyourscreenplay.com/library</scene_description>
<character>LANCE</character>
<dialogue>Strawberry. You're telling me we couldn't have wasted some dildo who drinks strawberry fuckin' shakes?</dialogue>
</scene>
<scene>
<stage_direction>EXT. TRUCKSTOP - DAY</stage_direction>
<scene_description>Lance is washing the windshield. Ian gives Felicia some cash. He's bouncing on his heels, desperate to pee.</scene_description>
<character>IAN</character>
<dialogue>I really gotta take a whiz. Can you put some gas in?</dialogue>
<character>FELICIA</character>
<dialogue>No problemo. Go take that whiz.</dialogue>
</scene>
<scene>
<stage_direction>INT. TRUCKSTOP</stage_direction>
<scene_description>Felicia walks in. A pretty, blonde hick cashier in her early twenties stands behind the counter, crying. Her raccoon eyes suggest this has been going on a while. Her name tag says, "BRANDY."</scene_description>
<character>FELICIA</character>
<dialogue>Um... You okay?</dialogue>
<character>BRANDY</character>
<dialogue>Do I look like I'm okay? Fuck.</dialogue>
<scene_description>She continues crying for a long awkward moment.</scene_description>
<character>FELICIA</character>
<dialogue>You know what might make you feel better? Putting forty on pump two.</dialogue>
<scene_description>Brandy snatches Felicia's money and slams it into the drawer. Felicia rolls her eyes and steps out as Lance is coming in.</scene_description>
</scene>
<scene>
<stage_direction>EXT. TRUCKSTOP</stage_direction>
<scene_description>Felicia returns to the gas pump. She realizes that the Judge's gas tank is on the other side. She gets in the car.</scene_description>
</scene>
<scene>
<stage_direction>INT. TRUCKSTOP RESTROOM</stage_direction>
<scene_description>Ian stands before a urinal. Script provided for educational purposes. More scripts can be found here: http://www.sellingyourscreenplay.com/library</scene_description>
<character>IAN</character>
<parenthetical>(whispering to himself)</parenthetical>
<dialogue>Come on, come on, come on. Before anyone comes in.</dialogue>
<scene_description>The door kicks open and a huge TRUCKER walks in. Out of ten urinals, he picks the one right next to Ian.</scene_description>
<character>TRUCKER</character>
<dialogue>Woo! My back teeth are snorkeling!</dialogue>
<scene_description>The trucker immediately starts peeing. After a beat, he notices Ian isn't. He looks over.</scene_description>
<character>TRUCKER</character>
<dialogue>You got the shy bladder?</dialogue>
<character>IAN</character>
<dialogue>Yeah.</dialogue>
<character>TRUCKER</character>
<dialogue>I used to have it something fierce. They call it Paruresis. You see your mind is conditioned to react to certain situations by building a wall of fear all around you. The only way to crumble those bricks of anxiety is to give yourself permission to be vulnerable. (still peeing) Know what I'm saying?</dialogue>
</scene>
<scene>
<stage_direction>EXT. TRUCKSTOP</stage_direction>
<scene_description>Felicia does a U-turn but before she can get back, a shit-box mini-van pulls up to Felicia's pump. A nasty red-haired REDNECK WOMAN in a transparent visor climbs out, followed by several creepy children. She starts pumping Felicia's gas into her van as she lights a cigarette. (She's also wearing a nicotine patch.) Felicia gets out and steps up to her.</scene_description>
<character>FELICIA</character>
<dialogue>Excuse me, ma'am? That was my pump.</dialogue>
<character>REDNECK WOMAN</character>
<dialogue>Hey! Tough shit. Move your meat, lose your seat. (to her kid) Don't you eat that, Logan! You'll ruin your appetite!</dialogue>
<scene_description>Her creepy seven-year-old is scraping a discarded, melted Rolo off the ground. He does eat it. Script provided for educational purposes. More scripts can be found here: http://www.sellingyourscreenplay.com/library</scene_description>
<character>FELICIA</character>
<dialogue>Listen, Reba, if you value either one of those teeth you got left, shut off the pump.</dialogue>
<scene_description>Felicia is smaller than the woman but her face is all fire. The woman considers her for a long beat.</scene_description>
</scene>
<scene>
<stage_direction>INT. TRUCKSTOP RESTROOM</stage_direction>
<scene_description>The trucker is still peeing. Ian still isn't.</scene_description>
<character>TRUCKER</character>
<dialogue>...so I said to my daddy, "That's it. I ain't gonna be bossed around no more. Not by you, not by my wife and sure as hell not by my bladder." You know what he said?</dialogue>
<scene_description>Ian walks out. The trucker looks slighted. Still peeing.</scene_description>
</scene>
<scene>
<stage_direction>EXT. TRUCKSTOP</stage_direction>
<scene_description>Ian comes outside. Felicia is finishing up pumping the gas. She smiles like nothing happened. Lance comes out of the truckstop with his arm around Brandy, the counter girl, who's still crying. Ian and Felicia exchange annoyed expressions.</scene_description>
<character>LANCE</character>
<dialogue>It's okay, Brandy. Yeah, you let it out, baby. He's a bastard.</dialogue>
<scene_description>You'd swear Lance's heart was breaking too until he covertly smiles and raises a triumphant thumbs-up to Ian. Lance opens the door of the Judge and escorts her into the back seat.</scene_description>
<character>LANCE</character>
<dialogue>Don't worry, Lancey's gonna get you home and into a nice hot bath.</dialogue>
<scene_description>Lance closes her door and walks around to climb in the other side, but Ian stops him halfway and whisper-yells.</scene_description>
<character>IAN</character>
<dialogue>Lance, what are you doing?</dialogue>
<character>LANCE</character>
<dialogue>Dude, I'm just trying to show another human being some compassion...and my dick.</dialogue>
<scene_description>Script provided for educational purposes. More scripts can be found here: http://www.sellingyourscreenplay.com/library</scene_description>
<character>IAN</character>
<dialogue>No! We're already off the schedule!</dialogue>
<character>LANCE</character>
<dialogue>The whole trip can't just be about you, Ian.</dialogue>
</scene>
<scene>
<stage_direction>INT. THE JUDGE - DAY</stage_direction>
<scene_description>The Judge drives past endless rows of corn. Ian and Felicia are pissed. In the back, Lance is making out with Brandy.</scene_description>
<character>BRANDY</character>
<dialogue>It's just at the end of this cornfield.</dialogue>
<character>IAN</character>
<dialogue>This cornfield? The one that's been going by for the last twenty minutes? Alrighty.</dialogue>
<scene_description>No reply as Lance and Brandy fall down, out of sight.</scene_description>
</scene>
<scene>
<stage_direction>EXT. EST. BRANDY'S MOBILE HOME - DAY</stage_direction>
<scene_description>The run-down trailer sits on a patchy yard in a small trailer park. Several toys and car parts litter the ground.</scene_description>
</scene>
<scene>
<stage_direction>INT. BRANDY'S MOBILE HOME - LIVING ROOM</stage_direction>
<scene_description>The place is nasty. Dark wood panelling, ratty carpet, framed pictures of the Virgin Mary and Brittany Spears. An old obese woman and an older skinny man sit fully reclined in two ratty recliners. They're watching "Wheel of Fortune" and drinking some off-brand soda. The old man intermittently and violently scratches his balls. Ian and Felicia sit together uncomfortably on a small, low chest. Lance and Brandy's dirty giggles can be heard through the wall. Felicia whispers in Ian's ear.</scene_description>
<character>FELICIA</character>
<dialogue>It stinks in here.</dialogue>
<scene_description>Ian gestures toward a cat that is pissing on the carpet, next to a cat box that has not been cleaned out in a long time.</scene_description>
<character>FAT LADY</character>
<dialogue>You kids want to help yourself to a can of purple?</dialogue>
<scene_description>Script provided for educational purposes. More scripts can be found here: http://www.sellingyourscreenplay.com/library</scene_description>
<character>FELICIA</character>
<parenthetical>(standing)</parenthetical>
<dialogue>That sounds good. I could go for a purple. Ian? Purple?</dialogue>
</scene>
<scene>
<stage_direction>INT. BRANDY'S BEDROOM</stage_direction>
<scene_description>Brandy's tiny room is not much of an improvement over the living room. Lance and Brandy are rolling around on her faux- brass bed. She pulls out some handcuffs.</scene_description>
<character>LANCE</character>
<dialogue>You're a dirty girl, aren't you?</dialogue>
<character>BRANDY</character>
<dialogue>Just wait.</dialogue>
</scene>
<scene>
<stage_direction>INT. BRANDY'S MOBILE HOME - KITCHEN</stage_direction>
<scene_description>Felicia sits down at the kitchen table, looking surly. The kitchen is cluttered and filthy. Ian opens the fridge and removes a can of the generic soda.</scene_description>
<character>IAN</character>
<dialogue>Wow. It actually says, "Purple Soda." Where do you buy Purple soda?</dialogue>
<scene_description>He cracks it open and takes a tentative sip. Yuck. He offers it to Felicia, who waves it off. Ian stands and looks over the items that are stuck to the fridge. A report card is marked with three D's, an F and a C-. Next to the C- is a happy face and the words, "Nice Werk!"</scene_description>
<character>IAN</character>
<dialogue>I think she's got a kid.</dialogue>
<scene_description>Felicia points to a picture of Brandy with three kids - each varies in ethnicity.</scene_description>
<character>FELICIA</character>
<dialogue>Uh, yeah. I think she's got a few.</dialogue>
</scene>
<scene>
<stage_direction>INT. BRANDY'S BEDROOM</stage_direction>
<scene_description>Two pairs of handcuffs now lock Lance's hands to the metal bars of the headboard. He's loving it.</scene_description>
<character>BRANDY</character>
<dialogue>You ever had a Cincinnati Spitball?</dialogue>
<scene_description>Script provided for educational purposes. More scripts can be found here: http://www.sellingyourscreenplay.com/library</scene_description>
<character>LANCE</character>
<dialogue>Sure. Plenty of times. What else is on the menu?</dialogue>
<character>BRANDY</character>
<dialogue>Okay, how 'bout a Peppermint Fatty?</dialogue>
<character>LANCE</character>
<dialogue>Mmmm. That sounds good. I'll have that.</dialogue>
<scene_description>She tosses some Altoids in her mouth and goes down.</scene_description>
<character>LANCE</character>
<dialogue>Oooooh. That is curiously strong.</dialogue>
</scene>
<scene>
<stage_direction>INT. BRANDY'S MOBILE HOME - KITCHEN</stage_direction>
<scene_description>Felicia and Ian hear the groan. Felicia seethes.</scene_description>
<character>IAN</character>
<dialogue>You like him don't you?</dialogue>
<character>FELICIA</character>
<dialogue>What? Who?</dialogue>
<character>IAN</character>
<dialogue>Lance. You've got a thing for him don't you?</dialogue>
<scene_description>Felicia sits up straight like a shot. She couldn't look more guilty but she makes a weak attempt to cover.</scene_description>
<character>FELICIA</character>
<dialogue>Oh my God, Ian. Gross. You guys are like brothers to me. Whatever.</dialogue>
<scene_description>Ian just stares back for an awkward moment. Suddenly he's distracted by a monster truck pulling up outside.</scene_description>
<character>IAN</character>
<dialogue>Uh, oh. I think this might be the guy she was bawling about.</dialogue>
<scene_description>A moment later, RICK enters through the kitchen screen door. He's a huge burly guy around thirty. He wears a ball cap that reads, "Fun-Time Midways." He carries a single rose wrapped in pink cellophane. He stops short when he sees Ian and Felicia.</scene_description>
<character>RICK</character>
<dialogue>Oh, shit. Howdy.</dialogue>
<scene_description>Script provided for educational purposes. More scripts can be found here: http://www.sellingyourscreenplay.com/library Ian and Felicia just stare back, blankly.</scene_description>
<character>IAN</character>
<dialogue>Howdy.</dialogue>
<character>FELICIA</character>
<dialogue>Howdy.</dialogue>
<character>RICK</character>
<dialogue>Where the fuck's Brandy at?</dialogue>
</scene>
<scene>
<stage_direction>INT. BRANDY'S BEDROOM</stage_direction>
<scene_description>Lance is still cuffed to the bed. Brandy stands over him.</scene_description>
<character>BRANDY</character>
<dialogue>You ever had a Rolling Brown Out?</dialogue>
<character>LANCE</character>
<dialogue>Oooh, no. Let's have some of that. (then) Wait. Brown? Hold on. Nothing brown.</dialogue>
<scene_description>Lance starts to squirm violently.</scene_description>
</scene>
<scene>
<stage_direction>INT. BRANDY'S MOBILE HOME</stage_direction>
<scene_description>Lance screams in horror from the other room. OH, GOD, NOOOOOO!!! Everyone looks over except the old couple who remain oblivious to this entire scene. Rick heads for the bedroom door. Felicia fearlessly jumps into his path.</scene_description>
<character>RICK</character>
<dialogue>I don't know who the hell you are but you best get your skinny ass out of the way!</dialogue>
<character>FELICIA</character>
<dialogue>Or what!? You gonna hit a girl?</dialogue>
<character>RICK</character>
<dialogue>No. (beat.) But, I'll pummel his ass real good. (re: Ian)</dialogue>
<scene_description>Without hesitation, Ian yanks Felicia out of Rick's path.</scene_description>
<character>IAN</character>
<dialogue>There you go. Our bad.</dialogue>
<scene_description>Rick pulls on Bandy's door. It's locked. He backs up and kicks it open. Script provided for educational purposes. More scripts can be found here: http://www.sellingyourscreenplay.com/library He steps in and is immediately knocked back on his ass by Lance bursting out, butt-naked and carrying the headboard that he is still cuffed to. Lance runs out the front door but the headboard bridges across the door-frame, trapping him on the porch but also blocking Rick. Rick punches at him through the bars but can't reach. Rick grabs the headboard and pulls it back in, Lance with it. Lance turns the headboard sideways, smacking Rick. Lance runs out, raising the headboard over his head. He runs naked past several mobile homes.</scene_description>
</scene>
<scene>
<stage_direction>INT. MOBILE HOME #2</stage_direction>
<scene_description>A little boy watches Lance sprint by. He points out the window and calls to his mother.</scene_description>
<character>LITTLE BOY</character>
<dialogue>Weiner!</dialogue>
<character>LITTLE BOY'S MOTHER</character>
<dialogue>Oh, hush up. You just had lunch.</dialogue>
</scene>
<scene>
<stage_direction>EXT. CORNFIELD</stage_direction>
<scene_description>Lance takes cover in the bordering cornfield. He drops to one knee and painfully works his left hand out of its cuff. The right one is too tight. Suddenly he hears rumbling. He stands to see. It's Rick's monster truck coming right for him. Lance hits the deck. The truck rolls over him, leaving him untouched but running over one side of the headboard. When Lance stands, the headboard comes apart and he's able to slip the remaining cuff off of the bar it had clung to. With one set of cuffs dangling from his right wrist, Lance runs down the rows. Extreme close up on a blade of corn stalk, as it slashes Lance's arm like a paper cut. Then another cuts his face.</scene_description>
<character>LANCE</character>
<dialogue>Ahhhgg! Shit that hurts!</dialogue>
<scene_description>The truck corners into the frame behind Lance. Lance runs toward us like Indiana Jones running from that huge ball. Just as the truck is about to hit him, he dives out of the way. Rick slams on the brakes, spitting dirt everywhere as he does a reverse donut to turn around. Lance now cuts and dodges through different rows but he's running out of steam. He stops to catch his breath. Script provided for educational purposes. More scripts can be found here: http://www.sellingyourscreenplay.com/library After a beat, he looks up to find Rick, out of his truck and stomping toward him with a baseball bat. Lance lamely backpedals, covering his junk with his hands.</scene_description>
<character>LANCE</character>
<dialogue>Hey, man. Come on. She's not worth it. You get back with her, and she's just gonna shit all over you. Trust me.</dialogue>
<scene_description>Rick raises the bat. Just then the Judge pulls up next to Lance. Ian pulls him into the passenger seat. The car showers dirt all over Rick as it peels away.</scene_description>
</scene>
<scene>
<stage_direction>INT. THE JUDGE</stage_direction>
<scene_description>The car races blindly through the field. Hundreds of corn stalks thump over the hood as they plow through. Lance, still naked, rides shotgun. Felicia is in the back seat.</scene_description>
<character>IAN</character>
<dialogue>Where the hell's the road!?</dialogue>
<character>FELICIA</character>
<dialogue>It feels like left.</dialogue>
</scene>
<scene>
<stage_direction>EXT. CORNFIELD</stage_direction>
<scene_description>Cut to an aerial shot of the Judge, leaving a trail of trampled corn. The road is just a few rows to its left.</scene_description>
<character>LANCE (V.O.)</character>
<dialogue>No! Go right! For sure!</dialogue>
<scene_description>The car turns right, plunging them further into the field. The shot pulls back to reveal that the Judge and Rick's truck are now on a collision course!</scene_description>
</scene>
<scene>
<stage_direction>INT. THE JUDGE</stage_direction>
<scene_description>Lance is putting a t-shirt on. He spots something coming their way.</scene_description>
<character>LANCE</character>
<dialogue>Ian?</dialogue>
<character>IAN</character>
<dialogue>I told you we didn't have time for this! But all you care about is your dick!</dialogue>
<scene_description>Script provided for educational purposes. More scripts can be found here: http://www.sellingyourscreenplay.com/library</scene_description>
<character>IAN</character>
<dialogue>You leave us out there with her crazy mom and her ball scratcher dad and their weird soda--</dialogue>
<character>LANCE</character>
<dialogue>Ian! Whip a shitty!</dialogue>
<scene_description>The truck appears in front of them. Ian cranks the wheel.</scene_description>
</scene>
<scene>
<stage_direction>EXT. CORNFIELD</stage_direction>
<scene_description>Back to the aerial view as the Judge and the truck circle. Ian breaks right but the truck soon falls into his path.</scene_description>
</scene>
<scene>
<stage_direction>INT. THE JUDGE</stage_direction>
<scene_description>Felicia is watching out the back.</scene_description>
<character>FELICIA</character>
<dialogue>You're not gonna lose him, Ian. He's following our corn wake.</dialogue>
<character>LANCE</character>
<dialogue>Corn wake?</dialogue>
<character>FELICIA</character>
<dialogue>Whatever!</dialogue>
<scene_description>Ian slams on the brakes.</scene_description>
<character>LANCE</character>
<dialogue>What are you doing!? Go!</dialogue>
</scene>
<scene>
<stage_direction>EXT. CORNFIELD</stage_direction>
<scene_description>Ian backs up and turns left down a perpendicular path that they had previously trampled. Rick catches up but ends up lost in a dead end of corn. Ian turns hard right. The Judge bursts out of the corn, up the side of the ditch and jumps, landing back on the road. Lance and Felicia cheer.</scene_description>
<character>LANCE</character>
<dialogue>Duuuuuude! That's how you do that!</dialogue>
<character>FELICIA</character>
<dialogue>Awesome driving, Ian! You're amazing!</dialogue>
<scene_description>She kisses Ian's head, then smacks Lance upside his. Script provided for educational purposes. More scripts can be found here: http://www.sellingyourscreenplay.com/library</scene_description>
<character>FELICIA</character>
<dialogue>You suck, Lance!</dialogue>
<character>LANCE</character>
<dialogue>I'm sorry! But Ian, seriously, thanks for coming for, brother.</dialogue>
<scene_description>Lance puts a hand on Ian's shoulder.</scene_description>
<character>IAN</character>
<dialogue>Would you just put some pants on?</dialogue>
<character>FELICIA</character>
<dialogue>Anyone know where we are?</dialogue>
<character>IAN</character>
<dialogue>No idea. Where's the Google Maps?</dialogue>
<character>LANCE</character>
<dialogue>They're in my pants. Back there.</dialogue>
<character>IAN</character>
<dialogue>Great!</dialogue>
<scene_description>They crest the hill - nothing but farmland and country lanes. A hippy HITCHHIKER (40ish) stands along the road up ahead.</scene_description>
<character>LANCE</character>
<dialogue>Hey, pick this guy up. Maybe he can get us back to the highway.</dialogue>
<character>FELICIA</character>
<dialogue>Ian! Do NOT pick up a hitchhiker.</dialogue>
<character>IAN</character>
<dialogue>Don't worry.</dialogue>
<scene_description>Suddenly, the car sputters and dies. They roll to a stop right next to the hitchhiker. He runs to Lance's window.</scene_description>
<character>HITCHHIKER</character>
<dialogue>Whoa! Thanks! I ain't seen a car in hours. (looks down at Lance) Oh, goin' commando? Right on.</dialogue>
<character>IAN</character>
<dialogue>Yeah. Listen, we didn't actually--</dialogue>
<character>LANCE</character>
<dialogue>You know where we can pick up I-65?</dialogue>
<character>HITCHHIKER</character>
<dialogue>Nope.</dialogue>
<scene_description>Script provided for educational purposes. More scripts can be found here: http://www.sellingyourscreenplay.com/library Another clunk and steam rolls out from under the hood. Ian gets out, slamming his door.</scene_description>
</scene>
<scene>
<stage_direction>EXT. ROADSIDE - MIDDLE OF NOWHERE - MOMENTS LATER</stage_direction>
<scene_description>The Hitchhiker sits in the back seat. Felicia leans against the car, trying her phone. Lance (now in pants) and Ian stand over the open hood, staring blankly at the engine. Two cows stand just across a fence, watching.</scene_description>
<character>LANCE</character>
<dialogue>What do you think?</dialogue>
<character>IAN</character>
<dialogue>What do I think? I think we know dick about cars. (re: cows) We might as well ask them. (to cows) What do you think fellas?</dialogue>
<scene_description>Felicia walks up, holding up her phone.</scene_description>
<character>FELICIA</character>
<dialogue>Nothing. No bars whatsoever.</dialogue>
<scene_description>She looks at the engine.</scene_description>
<character>FELICIA</character>
<dialogue>It probably just needs water. Is there any in the trunk?</dialogue>
<scene_description>Ian shakes his head.</scene_description>
<character>FELICIA</character>
<dialogue>My brother's car overheated once and he peed in the radiator.</dialogue>
<scene_description>Ian and Lance shrug to one another. Ian reaches to remove the radiator cap.</scene_description>
<character>LANCE</character>
<dialogue>It says not to open it hot. Maybe we should let it cool down a while.</dialogue>
<character>IAN</character>
<dialogue>Yeah well, thanks to you, we don't have time for that.</dialogue>
<scene_description>Ian turns the radiator cap. THOOOP! It explodes out of it's coupling, ricocheting off the underside of the hood and then dinging off Ian's head. He goes down hard.</scene_description>
<character>IAN</character>
<dialogue>Aaaahhhhgg! GOD DAMN IT!</dialogue>
<scene_description>Script provided for educational purposes. More scripts can be found here: http://www.sellingyourscreenplay.com/library Ian rolls around holding his forehead.</scene_description>
<character>LANCE</character>
<dialogue>There's a lesson learned.</dialogue>
<scene_description>Lance unzips his pants. Felicia turns away.</scene_description>
<character>LANCE</character>
<dialogue>You can watch. I don't care.</dialogue>
<character>FELICIA</character>
<dialogue>Gee. No thanks.</dialogue>
<scene_description>Lance pees into the radiator. He finishes with way too many extra 'shakes.'</scene_description>
<character>LANCE</character>
<dialogue>Ian. You're up.</dialogue>
<scene_description>Ian struggles to his feet, a red spot is now on his forehead. He stands before the radiator. Lance stands next to him.</scene_description>
<character>LANCE</character>
<dialogue>Well? Grip it and rip it.</dialogue>
<character>IAN</character>
<dialogue>Okay. Go away.</dialogue>
<character>LANCE</character>
<dialogue>Why?</dialogue>
<character>IAN</character>
<dialogue>I can't pee with you standing there.</dialogue>
<character>LANCE</character>
<dialogue>Seriously?</dialogue>
<scene_description>Lance shakes his head and steps away to join Felicia around the side of the car. Ian closes his eyes, takes deep breaths and tries to relax.</scene_description>
<character>IAN</character>
<parenthetical>(whispering to himself)</parenthetical>
<dialogue>Come on, come on, come on. Okay, good. Here it comes.</dialogue>
<character>LANCE (O.S.)</character>
<dialogue>Yo stagefright, how we doin'?</dialogue>
<scene_description>Ian looses his start. Script provided for educational purposes. More scripts can be found here: http://www.sellingyourscreenplay.com/library</scene_description>
<character>IAN</character>
<dialogue>Damn it, Lance! Just give me a minute.</dialogue>
<scene_description>Cut to Lance and Felicia. After a beat, we hear a subtle stream of peeing just beginning when:</scene_description>
<character>LANCE</character>
<dialogue>There it is!</dialogue>
<scene_description>The pee sound stops again.</scene_description>
<character>IAN (O.S.)</character>
<dialogue>Shit! Would you please shut up and let me do this!?</dialogue>
<scene_description>After a moment, the pee restarts. Lance puts a finger to his lips, indicating to Felicia to keep quiet. When Ian wraps up, Lance looks into the back seat, where the hitchhiker has hunkered down.</scene_description>
<character>LANCE</character>
<dialogue>Dude. We need you to piss in the radiator.</dialogue>
<character>HITCHHIKER</character>
<dialogue>Why?</dialogue>
<character>LANCE</character>
<dialogue>We just do.</dialogue>
<character>HITCHHIKER</character>
<dialogue>I'm real sorry. I just took a leak a few minutes ago. You want me to shit in it?</dialogue>
<scene_description>Lance just slams the door. He rounds to the front of the car. Felicia's looking into the radiator.</scene_description>
<character>FELICIA</character>
<dialogue>I don't think that's enough.</dialogue>
<character>LANCE</character>
<dialogue>Our new friend's got nothing left in the tank.</dialogue>
<scene_description>Lance and Ian eyeball Felicia.</scene_description>
<character>FELICIA</character>
<dialogue>What? No way. I don't have the aim you guys have.</dialogue>
<character>LANCE</character>
<dialogue>Every drop helps.</dialogue>
<scene_description>Script provided for educational purposes. More scripts can be found here: http://www.sellingyourscreenplay.com/library She shakes her head, considering it. Suddenly the hitchhiker jumps out of the back seat and calls out to them.</scene_description>
<character>HITCHHIKER</character>
<dialogue>Hey! Look what I had in my bag!</dialogue>
<scene_description>He's holding a half-full bottle of water.</scene_description>
<character>FELICIA</character>
<dialogue>Oh, thank god.</dialogue>
<scene_description>He starts chugging the water.</scene_description>
<character>IAN</character>
<dialogue>No!</dialogue>
<character>FELICIA</character>
<dialogue>Wait!</dialogue>
<scene_description>He polishes off the water with a refreshed, "ahhhh."</scene_description>
<character>HITCHHIKER</character>
<dialogue>Now just give me twenty minutes and I'll be all set.</dialogue>
<scene_description>Felicia sighs and crosses to the front of the car.</scene_description>
<character>FELICIA</character>
<dialogue>Any of you pervs peek and I swear it'll be your last conscious act.</dialogue>
<scene_description>Ian, Lance and the hitchhiker lean against the side of the car. Ian excitedly waves to an approaching car. The small, white car slows down. A family of very proper church folks smile as they pull along side.</scene_description>
<character>CHURCH DAD</character>
<dialogue>You kids need some help?</dialogue>
<scene_description>From the family's POV, as they roll to a stop, they see Felicia standing on the bumper, pants down and squatting over the radiator. Their faces drop. They take off. Felicia slams the hood.</scene_description>
<character>FELICIA</character>
<dialogue>Just try it.</dialogue>
<scene_description>Ian climbs in, takes a deep breath and turns the key. It starts. The temperature gauge creeps up but levels off just shy of the red. They all breathe a sigh of relief. Lance and Felicia climb in. The hitchhiker reaches for the door but Ian reaches back and locks it.</scene_description>
<character>HITCHHIKER</character>
<dialogue>What the hell, man?</dialogue>
<scene_description>Script provided for educational purposes. More scripts can be found here: http://www.sellingyourscreenplay.com/library</scene_description>
<character>IAN</character>
<dialogue>Look, I'm sorry. We can't give you a ride.</dialogue>
<character>HITCHHIKER</character>
<dialogue>What? You can't just leave me out here in the middle of nowhere.</dialogue>
<character>IAN</character>
<dialogue>You already were out here in the middle of nowhere. Really. I wish I could, but it's my brother's car and I can't take any chances.</dialogue>
<scene_description>He leans into Ian's open window and gives Ian a crazy look.</scene_description>
<character>HITCHHIKER</character>
<dialogue>I'm only gonna say this one time. Unlock that fuckin' door or, god as my witness, I'll chop you up into little tiny pieces.</dialogue>
<character>FELICIA</character>
<dialogue>Go, Ian. Just go!</dialogue>
<scene_description>Ian throws the car in gear and lays on the gas. The car lurches forward about two feet before stopping hard and stalling out. Ian and Felicia bounce off the dash. The hitchhiker steps back to Ian's window. Ian turns the key. Nothing. After a beat, the hitchhiker cracks up.</scene_description>
<character>HITCHHIKER</character>
<dialogue>Ha! That's funny! Serves you little peckers right!</dialogue>
<scene_description>He walks away, laughing. Ian breathes a sigh of relief but a second later the hitchhiker bursts back into Ian's face.</scene_description>
<character>HITCHHIKER</character>
<dialogue>Oh! And here's that piss you ordered!</dialogue>
<scene_description>He pisses all over the side of the car. Ian frantically rolls up the window. He gives them double fingers as he walks away, down the road.</scene_description>
</scene>
<scene>
<stage_direction>EXT. COUNTRY ROAD - LATER</stage_direction>
<scene_description>TITLE: AN HOUR AND A HALF LATER Ian, Felicia and Lance are leaning against the car, sweating in the heat. Script provided for educational purposes. More scripts can be found here: http://www.sellingyourscreenplay.com/library</scene_description>
<character>FELICIA \*</character>
<dialogue>God, it's hot out here. \*</dialogue>
<character>IAN \*</character>
<dialogue>How can nobody go down a road for \* an hour and a half? Why did they \* even make this road? I can't \* believe I let you talk me into \* taking the Judge. Ohhh, what the \* hell was I thinking? \*</dialogue>
<character>LANCE \*</character>
<dialogue>Dude, just relax. \*</dialogue>
<character>IAN \*</character>
<dialogue>Oh, right. Relax. My brother's \* car has hitchhiker piss all over \* the door and our piss in the \* radiator and strawberry shake in \* the vent! What am I supposed to \* tell Rex, that I accidental drove \* it through a cornfield!? You know \* Rex is insane, right? \*</dialogue>
<scene_description>Ian starts walking away.</scene_description>
<character>FELICIA</character>
<dialogue>Where you going?</dialogue>
<character>IAN</character>
<dialogue>I'm going for help. I'm not standing around here all day waiting for the hitchhiker piss to eat away the paint.</dialogue>
<character>LANCE</character>
<dialogue>Wait up, I'll go with you.</dialogue>
<character>IAN</character>
<dialogue>No, just stay with the car.</dialogue>
<character>LANCE</character>
<dialogue>Why don't you go with him?</dialogue>
<scene_description>Felicia watches Ian go, deciding if she should join him.</scene_description>
</scene>
<scene>
<stage_direction>EXT. COUNTRY ROAD - TWO MILES AHEAD - LATER</stage_direction>
<scene_description>Ian and Felicia walk silently down the road. Ian keeps checking his phone - no bars. Felicia smiles at him. He turns to her. The word HOT is imprinted mirror image in his forehead from the radiator cap. Felicia cracks up. Script provided for educational purposes. More scripts can be found here: http://www.sellingyourscreenplay.com/library</scene_description>
<character>FELICIA</character>
<dialogue>Oh my god, your head. I'm sorry. Does it hurt?</dialogue>
<character>IAN</character>
<dialogue>Yes. Fuckin' Lance.</dialogue>
<character>FELICIA</character>
<dialogue>Yeah. Lance. (beat) Still, that was some pretty badass driving back there, Luke Duke.</dialogue>
<character>IAN</character>
<dialogue>Really? Thanks.</dialogue>
<scene_description>She smiles at him; then she notices something down the road.</scene_description>
<character>FELICIA</character>
<dialogue>Dude. What's that?</dialogue>
<character>IAN</character>
<dialogue>Whoa.</dialogue>
<scene_description>They squint with curiosity and move toward whatever it is.</scene_description>
</scene>
<scene>
<stage_direction>EXT. COUNTRY ROAD - A FEW MILES BACK</stage_direction>
<scene_description>A buggy drawn by two horses clops up next to the Judge. EZEKIEL, an Amish man in his late-twenties, steps out of the buggy. Ezekiel doesn't speak with any noticeable accent.</scene_description>
<character>EZEKIEL</character>
<dialogue>Need some help?</dialogue>
<character>LANCE</character>
<dialogue>Yeah, but... I mean, all due respect there, champ.</dialogue>
<character>EZEKIEL</character>
<dialogue>Oh, right. I'm Amish. So I probably wouldn't know anything about your 69 GTO Judge 427 Big Block with Ram Air 6 packs and 4/10 posi. Well, good luck with your new-fangled horseless carriage there, English.</dialogue>
<scene_description>The buggy starts to pull away.</scene_description>
<character>LANCE</character>
<dialogue>No. Dude, wait!</dialogue>
<scene_description>Script provided for educational purposes. More scripts can be found here: http://www.sellingyourscreenplay.com/library</scene_description>
</scene>
<scene>
<stage_direction>EXT. COUNTRY ROAD - MILES AHEAD - LATER</stage_direction>
<scene_description>Felicia and Ian smile in awe as they arrive at a massive tree alongside the road. It is covered with shoes of every shape, size and color, each dangling by its laces. It's an oddly breathtaking sight in the setting sun.</scene_description>
<character>IAN</character>
<dialogue>Wow. Cool.</dialogue>
<character>FELICIA</character>
<dialogue>It's beautiful. Take my picture.</dialogue>
<scene_description>Ian snaps a picture of her with his phone, then starts walking again. Felicia remains behind. Ian turns. She takes off her shoes and starts tieing them together.</scene_description>
<character>IAN</character>
<dialogue>No. Bad idea. You don't know how far we have to walk. Seriously, you're going to regret this...</dialogue>
<scene_description>She flings her shoes into the tree.</scene_description>
<character>IAN</character>
<dialogue>I can't believe you just did that.</dialogue>
<character>FELICIA</character>
<dialogue>Now you.</dialogue>
<character>IAN</character>
<dialogue>No way.</dialogue>
<character>FELICIA</character>
<dialogue>Oh come on, Ian. You never do anything crazy.</dialogue>
<character>IAN</character>
<dialogue>Hey, I'm driving halfway across the country just to-- um.</dialogue>
<character>FELICIA</character>
<dialogue>To visit your grandma? Yeah, you're a madman. Trust me. Do it. It's feel great and you'll always remember this moment.</dialogue>
<character>IAN</character>
<dialogue>I'd rather remember having really good arch support.</dialogue>
<scene_description>She smiles at him, still encouraging him to do it. Script provided for educational purposes. More scripts can be found here: http://www.sellingyourscreenplay.com/library</scene_description>
<character>IAN</character>
<dialogue>No. You know what's gonna happen? You're gonna cut your foot open on a broken bottle or something and then I'll have to rush you to the emergency room where you'll get seventeen stitches and a staph infection. Then you're dead. But it was worth it because your shoes are in a tree.</dialogue>
<character>FELICIA</character>
<dialogue>I'll be fine. I like being barefoot.</dialogue>
<scene_description>She stubbornly walks on.</scene_description>
</scene>
<scene>
<stage_direction>INT. BUGGY - LATER</stage_direction>
<scene_description>Ian and Ezekiel ride in the buggy, which is towing the Judge.</scene_description>
<character>LANCE</character>
<dialogue>So, he met her on the internet and--</dialogue>
<character>EZEKIEL</character>
<dialogue>The internet?</dialogue>
<character>LANCE</character>
<dialogue>Oh. You see, the internet is a bunch of computers that are--</dialogue>
<character>EZEKIEL</character>
<dialogue>Computers?</dialogue>
<character>LANCE</character>
<dialogue>Right. Computers are like big calculators with pictures--</dialogue>
<character>EZEKIEL</character>
<dialogue>Hey, I'm kidding. I know what the internet is. You ever heard of Rumspringa?</dialogue>
<character>LANCE</character>
<dialogue>Is it anything like a rolling brown out?</dialogue>
<character>EZEKIEL</character>
<dialogue>No. It means, "run wild." It's an Amish tradition where, when we turn sixteen, we can go live like you heathens for a while.</dialogue>
<scene_description>Script provided for educational purposes. More scripts can be found here: http://www.sellingyourscreenplay.com/library</scene_description>
<character>EZEKIEL</character>
<dialogue>Cars, movies, video games, booze, Scrabble, you name it.</dialogue>
<character>LANCE</character>
<dialogue>You guys can't even play Scrabble?</dialogue>
<character>EZEKIEL</character>
<dialogue>Nope. Apparently, triple word scores lead to pride. Anyway, you go nuts and party for a few months or years, until your folks start hassling you and then it's back to the stone ages.</dialogue>
<character>LANCE</character>
<dialogue>So if you're on Rumspringa, why the buggy?</dialogue>
<character>EZEKIEL</character>
<dialogue>I'm not. I was. For five years - a village record. But not anymore. I shouldn't even be talking to you.</dialogue>
<character>LANCE</character>
<dialogue>Whoa. So what do you miss most?</dialogue>
<character>EZEKIEL</character>
<dialogue>Hmm. Lots of things. I miss Sarcasm. It's mostly lost on my people. Gambling. Went to Vegas once... (after a long beat) Oh. Buttfucking. Got some real nice memories there.</dialogue>
</scene>
<scene>
<stage_direction>EXT. COUNTRY ROAD - FURTHER DOWN</stage_direction>
<scene_description>Ian and Felicia are walking away from the tree. A truck is coming! Ian steps into the road and waves his arms. The truck slows down and stops a hundred feet past them. They run for it.</scene_description>
<character>IAN</character>
<dialogue>Hey! Thanks! We were just--</dialogue>
<scene_description>The hitchhiker leans out the passenger window and gives them double fingers.</scene_description>
<character>HITCHHIKER</character>
<dialogue>Have a nice walk, shitbirds!</dialogue>
<scene_description>The truck peels out, pelting Ian and Felicia with gravel. Script provided for educational purposes. More scripts can be found here: http://www.sellingyourscreenplay.com/library</scene_description>
<character>IAN</character>
<dialogue>Shiiiiiiit!</dialogue>
<scene_description>As the dust settles, Ian and Felicia hear horses hooves behind them. They turn to see Ezekiel and Lance clopping toward them, towing the judge. As they near, we hear Ezekiel continuing his list of what he misses.</scene_description>
<character>EZEKIEL</character>
<dialogue>...Shrooms. Used to do tons of shrooms. Whisky dick. Haven't had that in a while. Loansharking...</dialogue>
<character>LANCE</character>
<dialogue>Ian, Felicia! This is my boy Ezekiel.</dialogue>
<character>EZEKIEL</character>
<dialogue>What up, English?</dialogue>
<scene_description>Ian and Felicia just look dumbfounded.</scene_description>
</scene>
<scene>
<stage_direction>INT. MYSPACE CYBER RAVE</stage_direction>
<scene_description>Ian appears before Tasty but this time he's fuzzy and crackling - his signal is not so strong.</scene_description>
<character>MS. TASTY</character>
<dialogue>Hey! Where are you? I'm so excited to see you.</dialogue>
<character>IAN</character>
<dialogue>Yeah. I don't think I'm gonna make it tonight. I'm making a little pit stop to party with some friends I made along the way.</dialogue>
<character>MS. TASTY</character>
<dialogue>Ian, you said tonight. I could have gone to Virginia beach with my friends. I stayed behind for you.</dialogue>
<character>IAN</character>
<dialogue>Come on, don't hassle it. I'll be there tomorrow. Let's say six - the same Shakey's? Trust me - I'm worth the wait. Now, I gotta go, I'm losing my signal.</dialogue>
<character>MS. TASTY</character>
<dialogue>Okay. Tomorrow then. Don't be late!</dialogue>
<scene_description>Script provided for educational purposes. More scripts can be found here: http://www.sellingyourscreenplay.com/library</scene_description>
<character>IAN</character>
<dialogue>Peace.</dialogue>
<scene_description>Ian crackles and fades out.</scene_description>
</scene>
<scene>
<stage_direction>INT. AMISH BARN - EVENING</stage_direction>
<scene_description>Ian puts his phone back in his pocket and walks over to Lance, Felicia, Ezekiel and the Judge. A bunch of Amish kids are working on a few lesser muscle cars. Some dress like secular kids; some wear traditional Amish clothes. They are all excited to see the Judge. JEREMIAH, a young Rumspringa kid, pulls the oil dipstick out and shows it to Ian.</scene_description>
<character>JEREMIAH</character>
<dialogue>You see that creamy stuff? You blew your head-gasket. Not good.</dialogue>
<character>IAN</character>
<dialogue>Shit.</dialogue>
<character>EZEKIEL</character>
<dialogue>We can fix that.</dialogue>
<character>IAN</character>
<dialogue>Really? Oh, man. Thanks!</dialogue>
<character>EZEKIEL</character>
<dialogue>No worries. These guys are stoked just to get a look at a sixty-nine Judge. Gonna take a couple hours.</dialogue>
<character>JEREMIAH</character>
<dialogue>There's a party coming together next door. You guys are welcome to hang out over there while we work on this.</dialogue>
</scene>
<scene>
<stage_direction>EXT. RUMSPRINGA PARTY - EVENING</stage_direction>
<scene_description>Ian, Lance and Felicia walk up to the barn.</scene_description>
<character>IAN</character>
<dialogue>Something tells me this party is gonna suck.</dialogue>
<character>LANCE</character>
<dialogue>I don't know. Ezekiel made it sound like this Rumspringa thing is pretty sick.</dialogue>
<scene_description>Script provided for educational purposes. More scripts can be found here: http://www.sellingyourscreenplay.com/library</scene_description>
<character>FELICIA</character>
<dialogue>Right. I'm sure it's gonna be a one rad quilting bee.</dialogue>
<scene_description>They round the corner to see a beer truck unloading several kegs. Lance points to a parked tour bus. The door opens and the members of Foo Fighters pile out. Dave Grohl nods to them on his way by.</scene_description>
<character>FELICIA</character>
<dialogue>No F-ing way.</dialogue>
</scene>
<scene>
<stage_direction>INT. RUMSPRINGA PARTY - NIGHT</stage_direction>
<scene_description>Foo Fighters are rocking the shit out of "All My Life." Hundreds of Amish, aged sixteen to nineteen (dressed in degrees from all Amish to all English) are dancing, moshing, drinking, smoking, taking rips off bongs, etc. A wet T-shirt contest is happening in one corner. It's like Entourage in the boondocks.</scene_description>
<character>DAVE GROHL</character>
<parenthetical>(scream singing)</parenthetical>
<scene_description>DONE, DONE AND ON TO THE NEXT ONE! DONE, DONE AND ON TO THE NEXT ONE! Lance, Ian and Felicia are moshing and having a blast.</scene_description>
<character>IAN</character>
<dialogue>This is insane!</dialogue>
<scene_description>The band slows down and plays the acoustic version of "Everlong." Lance looks around, taking it all in. Suddenly, he's thunderstruck by the sight of the hottest girl ever born Amish. She and her friends enter the barn in slow motion. She's dressed English but she has the kind of natural, make- up-free beauty that would make most women want to punch her in the head. Lance is smitten. Felicia takes discontented notice of this. Ian takes his own discontented notice of Felicia's reaction. Lance crosses to her. Ian and Felicia watch as Lance fearlessly launches his opening line. The girl smiles, says one thing to him and then turns back to the band. Lance timidly makes his way back to Ian and Felicia.</scene_description>
<character>IAN</character>
<dialogue>Did you even get her name?</dialogue>
<character>LANCE</character>
<dialogue>Not unless her name is "go fuck yourself." I think I'm in love.</dialogue>
<scene_description>Script provided for educational purposes. More scripts can be found here: http://www.sellingyourscreenplay.com/library</scene_description>
<character>IAN</character>
<dialogue>I'm gonna go check on the car.</dialogue>
<scene_description>Ian walks out.</scene_description>
<character>LANCE</character>
<dialogue>Hey, Felicia. Dance?</dialogue>
<character>FELICIA</character>
<dialogue>Forget it. I'm not gonna be your consolation prize.</dialogue>
<character>LANCE</character>
<dialogue>Come on. Don't be hatin'.</dialogue>
<scene_description>Lance pulls her arm. She can't hide her smile.</scene_description>
</scene>
<scene>
<stage_direction>INT. AMISH BARN - NIGHT</stage_direction>
<scene_description>Ian enters. The Judge is now in pieces all over the floor of the barn. Ezekiel, Jeremiah and three other guys sift through the parts. Ian starts to freak out.</scene_description>
<character>IAN</character>
<dialogue>Holy shit! Holy shit, you guys! What the hell!? Why are the seats out!? Oh, I'm dead. I'm a dead man. My brother's going to lop my nuts off! Jesus Christ!</dialogue>
<character>EZEKIEL</character>
<dialogue>Dude, settle down. We can fix it.</dialogue>
<character>JEREMIAH</character>
<dialogue>And we'd appreciate it if you didn't take the Lord's name in vain.</dialogue>
<character>IAN</character>
<dialogue>Are you shitting me!?</dialogue>
</scene>
<scene>
<stage_direction>INT. RUMSPRINGA PARTY - NIGHT</stage_direction>
<scene_description>Ian stomps in, looking for his friends. He spots them slow dancing together. This bothers him more than he would have guessed. He looks away but can't help but torture himself by watching them dance. Lance says something that makes Felicia laugh. She lays her head on his chest and smiles.</scene_description>
<character>DAVE GROHL</character>
<dialogue>If everything could ever feel this real forever...</dialogue>
<scene_description>Script provided for educational purposes. More scripts can be found here: http://www.sellingyourscreenplay.com/library Finally Ian turns and walks out. Felicia has now settled into the dance. She smiles blissfully. The Amish girl looks over.</scene_description>
<character>LANCE</character>
<dialogue>Check it out. It's working.</dialogue>
<character>LANCE</character>
<parenthetical>(re: Amish girl)</parenthetical>
<dialogue>Look at her. She is IN. You're the best wingman ever. Watch this.</dialogue>
<scene_description>The song kicks in heavier. Felicia hides her humiliation as she takes a step back. Lance walks away. He passes the Amish girl, she stops him and he kicks-in his game. Felicia walks out.</scene_description>
</scene>
<scene>
<stage_direction>EXT. RUMSPRINGA PARTY - NIGHT</stage_direction>
<scene_description>Ian sits on a hay bail, depressed, alone and nursing his beer. Felicia sits down next to him, looking equally sad.</scene_description>
<character>FELICIA</character>
<dialogue>Is the car ready? Can we go?</dialogue>
<character>IAN</character>
<dialogue>I'm going to be ritually murdered. And I deserve it. You know what? Here's a little tip to take with you. If you ever have car trouble - don't go to the Amish. You want a barn raised, or Foo Fighters to play a show out in the middle of fucking nowhere, apparently the Amish are your hook-up. But car repair - not so much.</dialogue>
<scene_description>Ian turns to her. She looks possibly more upset than he.</scene_description>
<character>IAN</character>
<dialogue>What? What's wrong with you?</dialogue>
<character>FELICIA</character>
<dialogue>Nothing. I'm fine.</dialogue>
<character>IAN</character>
<dialogue>Lance, right? He's in there with that Amish girl and you're...</dialogue>
<character>FELICIA</character>
<dialogue>Wrong. But thanks for playing.</dialogue>
<scene_description>Script provided for educational purposes. More scripts can be found here: http://www.sellingyourscreenplay.com/library Ian's not in the mood to do his usual sweet boy routine.</scene_description>
<character>IAN</character>
<dialogue>Leesh, why don't you just drop the hard ass thing for once. It's okay. You're into Lance.</dialogue>
<character>FELICIA</character>
<dialogue>Right. He's a shallow, pretty-boy, player. I am so not into that.</dialogue>
<scene_description>She looks at Ian, he can see right through her. Her expression turns sad and vulnerable. She hangs her head.</scene_description>
<character>FELICIA</character>
<dialogue>You must think I'm such an idiot.</dialogue>
<character>IAN \*</character>
<dialogue>You're not an idiot. People like \* Lance. I like Lance. \*</dialogue>
<scene_description>Ian offers a cautious hug that is at first awkward, but \* Felicia's guard comes down and she cries on his shoulder. \*</scene_description>
<character>FELICIA \*</character>
<dialogue>Promise me, you'll never be like \* Lance. I mean, I know he likes to \* give you advice but you're the only \* truly good person I know. Don't \* let him contaminate you, okay? \*</dialogue>
<scene_description>Ian looks a bit ashamed.</scene_description>
<character>IAN</character>
<dialogue>Dude, what's wrong with us? There's a kick ass Amish hash bash going on twenty feet away. Come on. Let's go have some fun.</dialogue>
<character>FELICIA</character>
<dialogue>No. You go ahead.</dialogue>
<scene_description>Ian speaks in the quiet sing-song way that one might use to cheer up a child with offers of ice cream.</scene_description>
<character>IAN</character>
<dialogue>I bet they have crack in there. Would you like some Amish crack? Would that make you feel better? I'm sure the donkey show is coming up. I bet if you're good, they'll let you have sex with it. Doesn't that sound nice? Donkey love?</dialogue>
<scene_description>Script provided for educational purposes. More scripts can be found here: http://www.sellingyourscreenplay.com/library Finally she laughs.</scene_description>
</scene>
<scene>
<stage_direction>INT. RUMSPRINGA PARTY - LATER</stage_direction>
<scene_description>Ian and Felicia are dancing and laughing and getting wasted. Montage through the night as they down more and more drinks and get crazy with the Amish. At one point Ian even stage dives and gets body-passed over the crowd. Meanwhile, Lance and MARY, the Amish beauty, dance and hang out together. FADE TO BLACK.:</scene_description>
</scene>
<scene>
<stage_direction>INT. JUDGE - DAY</stage_direction>
<scene_description>POV - from the back seat: Ian is driving alone, looking surly as he sails past the other cars on the highway. Ian lifts a messy burger to his face. Ketchup, mustard and mayo drip on to the seats. He takes a huge gulp off his soda and tosses the half-full cup into the back seat. Ian picks his nose and rubs it on the ceiling of the car. He holds up a gay porn mag, letting the centerfold unfurl. He looks at the sexy naked man, unaware that railroad gates are lowering ahead. Ian turns and looks straight into the camera, laughing maniacally. The train starts crossing. At the split second that we're about to hit the train... Rex (in bed) sits up hard, waking from this NIGHTMARE in a...</scene_description>
</scene>
<scene>
<stage_direction>INT. HOTEL ROOM - NIGHT \*</stage_direction>
<scene_description>Rex huffs and puffs and orients himself. He leaps out of \* bed, digs the key box out of his jeans and opens it. EMPTY! \*</scene_description>
<character>IAN!</character>
<dialogue>GOD DAMN IT!</dialogue>
</scene>
<scene>
<stage_direction>EXT. AMISH BARN - MORNING</stage_direction>
<scene_description>The open field is filled with cars and campers. Kids sleep everywhere - in the vehicles, in the barn and right on the ground. Ian wakes to find that he's lying in the bed of a pick-up truck. Lance is sprawled out in the cab. Ian sits up and rubs his pounding head. Felicia is limping toward him, still barefoot, a pained expression on her face. Script provided for educational purposes. More scripts can be found here: http://www.sellingyourscreenplay.com/library</scene_description>
<character>IAN</character>
<dialogue>Ugh. My head hurts. But my feet feel spectacular. So, cozy. Like they're wrapped in baby bunnies.</dialogue>
<character>FELICIA</character>
<dialogue>Mine too.</dialogue>
<scene_description>She stubbornly corrects her walk and expression but her feet are a mess - cut, blistered and filthy.</scene_description>
<character>IAN</character>
<dialogue>Leesh, you were dancing barefoot for like four hours last night. Look at your feet.</dialogue>
<character>FELICIA</character>
<dialogue>I'm fine, pussyfoot.</dialogue>
<character>IAN</character>
<dialogue>Fine, you're tough but your big toe looks like Yoda's nuts. He's got five, you know.</dialogue>
<scene_description>Lance sits up in the cab, groggy and rubbing his messy hair. He leans through the open back window.</scene_description>
<character>LANCE</character>
<dialogue>Hey. So, what's the plan?</dialogue>
<character>IAN</character>
<dialogue>I might as well call Rex so he can get on with killing me.</dialogue>
<character>FELICIA</character>
<dialogue>What about visiting your grandma?</dialogue>
<character>LANCE</character>
<dialogue>Yeah, Ian. You've been putting off 'visiting grandma' for way too long. It's time you 'visit grandma.'</dialogue>
<character>IAN</character>
<dialogue>I do wanna...you know - 'visit grandma' but Rex is gonna kill me.</dialogue>
<character>LANCE</character>
<dialogue>He's going to kill you either way. We're halfway there. I can't stress enough how much you'll enjoy 'visiting grandma.' Trust me. I 'visit my grandma' all the time and it's pretty fucking awesome.</dialogue>
<scene_description>Script provided for educational purposes. More scripts can be found here: http://www.sellingyourscreenplay.com/library Felicia is a little confused by Ian and Lance's code talk.</scene_description>
<character>IAN</character>
<dialogue>Lance, what am I supposed to do? Our transportation is all over the floor of that barn.</dialogue>
<scene_description>VROOOOOM!!! They all turn to see the Judge pulling out of the barn. It's more powerful and tuned than ever. The Amish grease monkeys look spent but triumphant. Ezekiel jumps out of the Judge.</scene_description>
<character>IAN</character>
<dialogue>Dude. You fixed it?</dialogue>
<character>EZEKIEL</character>
<dialogue>We hit a few snags but she's bangin' like a champ now. You should know though, we couldn't get our hands on the right carburetor so Jeremiah whittled one for you.</dialogue>
<character>IAN</character>
<dialogue>Really? That's amazing.</dialogue>
<character>EZEKIEL</character>
<dialogue>I'm just fucking with you, dude.</dialogue>
<scene_description>Lance spots Mary walking with two girlfriends. They are all in traditional Amish dresses and bonnets. Mary even looks hot in this. Lance runs over to her.</scene_description>
<character>LANCE</character>
<dialogue>Hey! Mary! Wait up.</dialogue>
<scene_description>She breaks ranks with her friends and steps to Lance with a gorgeous smile.</scene_description>
<character>LANCE</character>
<dialogue>You look beautiful.</dialogue>
<character>MARY</character>
<dialogue>Yeah right. Please. These are unflattering by design.</dialogue>
<character>LANCE</character>
<dialogue>Still, you make it hot somehow. Seriously. You wearing that, churning some butter. Are you kidding me? (singing) Sexy.</dialogue>
<scene_description>She laughs. Script provided for educational purposes. More scripts can be found here: http://www.sellingyourscreenplay.com/library</scene_description>
<character>LANCE</character>
<dialogue>So, listen, I had the best time with you last night.</dialogue>
<character>MARY</character>
<dialogue>Yeah, me too.</dialogue>
<character>LANCE</character>
<dialogue>You're going to call me, right?</dialogue>
<character>MARY</character>
<dialogue>Um...No.</dialogue>
<character>LANCE</character>
<dialogue>No?</dialogue>
<character>MARY</character>
<dialogue>Lance. Rumspringa's over for me.</dialogue>
<scene_description>Lance looks devastated. Meanwhile, a short distance away, Ian speaks to Ezekiel.</scene_description>
<character>IAN</character>
<dialogue>So you guys were up all night? I don't know what to say. I don't really have a lot of money.</dialogue>
<character>EZEKIEL</character>
<dialogue>Ahh, we're good. The opportunity to help a neighbor - that's a gift.</dialogue>
<character>IAN</character>
<dialogue>Wow. Thank you.</dialogue>
<character>EZEKIEL</character>
<dialogue>Of course, if you felt like you had to reciprocate in some way, there's plenty of chores that need doing.</dialogue>
<character>IAN</character>
<dialogue>Ooohh. We're kind of behind schedule, but can we hit you on our way back through?</dialogue>
<character>EZEKIEL</character>
<parenthetical>(guilt-tripping)</parenthetical>
<dialogue>Sure, sure. You probably should get going. I mean, hey, you've got a smooth-running vehicle now...you know - because we fixed it.</dialogue>
<character>IAN</character>
<dialogue>But we're good?</dialogue>
<scene_description>Script provided for educational purposes. More scripts can be found here: http://www.sellingyourscreenplay.com/library</scene_description>
<character>EZEKIEL</character>
<dialogue>Sure, we're good. Technically.</dialogue>
<character>IAN</character>
<dialogue>I mean it. We'll come back. I promise.</dialogue>
<character>EZEKIEL</character>
<dialogue>Looking forward to it.</dialogue>
<character>IAN</character>
<dialogue>No, seriously. We will.</dialogue>
<character>EZEKIEL</character>
<dialogue>Of course. Should I hold my breath?</dialogue>
<scene_description>Ian stands there. Not sure how to take the sarcasm.</scene_description>
</scene>
<scene>
<stage_direction>INT. THE JUDGE - DAY</stage_direction>
<scene_description>Ian drives down the highway. Felicia rides shotgun. Lance sits in back, looking depressed.</scene_description>
<character>LANCE</character>
<dialogue>I've never met anyone like her. This sucks full ass.</dialogue>
<character>FELICIA</character>
<dialogue>I wouldn't worry about it. In fifteen minutes, you probably won't even remember her name.</dialogue>
<character>LANCE</character>
<dialogue>Don't say that. Do NOT say that. This girl is really special.</dialogue>
<character>FELICIA</character>
<dialogue>Lance. Listen to yourself. People want what they can't get. Remember your little theory? Forbidden fruit - that's all she is.</dialogue>
<character>LANCE</character>
<dialogue>No. This is different. Mary and I made some kind of cosmic, spiritual connection. It's real and it's beautiful and it's awesome as fuck.</dialogue>
<scene_description>Ian's phone starts vibrating.</scene_description>
<character>IAN</character>
<dialogue>Cool. I got a signal.</dialogue>
<scene_description>Script provided for educational purposes. More scripts can be found here: http://www.sellingyourscreenplay.com/library He squints at the screen. It reads, "22 NEW MESSAGES."</scene_description>
<character>IAN</character>
<dialogue>Oh, shit.</dialogue>
<scene_description>Ian calls his voice-mail. We hear what he's listening to: IAN!! IF YOU TOOK MY FUCKING CAR YOU ARE FUCKING DEAD!! WHERE THE HELL ARE YOU!? (nice) Call me. Ian erases the message. BEEP! PICK UP THE PHONE, FUCKHEAD! I'M GONNA POP YOUR FUCKIN' BALLS!! Ian erases this message too. BEEP! GOD DAMN IT, IAN! YOU-- BEEP!</scene_description>
<character>REX (V.O.)</character>
<dialogue>Okay. If you call me back, I won't kill you. NO! FUCK THAT! YOU'RE A FUCKIN' CORPSE! WHERE THE FUCK ARE YOU!? SHIT!!!</dialogue>
<scene_description>BEEP!</scene_description>
<character>RON (V.O.)</character>
<dialogue>Ian, Ron. I need my Señor Donut costume back, pronto. So, get it--</dialogue>
<scene_description>BEEP! YOU FAGGOT ASS MOTHERF-- BEEP!</scene_description>
<character>AAAAGGH!!</character>
<dialogue>SHIT!!!</dialogue>
<scene_description>Ian hangs up. He looks catatonic.</scene_description>
<character>FELICIA</character>
<dialogue>What? What is it?</dialogue>
<character>IAN</character>
<dialogue>Rex. He knows I took his car.</dialogue>
<scene_description>Script provided for educational purposes. More scripts can be found here: http://www.sellingyourscreenplay.com/library</scene_description>
<character>FELICIA</character>
<dialogue>So? You're going to visit your Grandma. He'll understand that.</dialogue>
<character>IAN</character>
<dialogue>I don't think so.</dialogue>
<scene_description>Ian's phone rings.</scene_description>
<character>LANCE</character>
<dialogue>Don't answer it.</dialogue>
<scene_description>They sit and listen to it ring.</scene_description>
<character>IAN</character>
<dialogue>Oh, shit. I'm so dead.</dialogue>
<character>LANCE</character>
<dialogue>Not yet. Stay strong, buddy. You know what you need? A Corn dog!</dialogue>
<scene_description>He points to a small carnival set up in grocery store parking \* lot off the interstate. \*</scene_description>
<character>IAN</character>
<dialogue>We don't have time for corn dogs.</dialogue>
<character>LANCE</character>
<dialogue>We got tons of time. You're not meeting her for six hours. Your grandma, I mean. Come on. Corn dogs! Cooooorn Doooogs!</dialogue>
</scene>
<scene>
<stage_direction>EXT. CARNIVAL - PICNIC TABLES - DAY</stage_direction>
<scene_description>Ian and Lance sit at a picnic table. Lance has his head in his hands. A group of hot girls go by.</scene_description>
<character>IAN</character>
<dialogue>Can you believe the girls around here?</dialogue>
<scene_description>Lance doesn't even react.</scene_description>
<character>IAN</character>
<dialogue>Lance. You gotta pull it together. I need your help to get this thing done. You're no good to me if you're acting like...me.</dialogue>
<character>LANCE</character>
<dialogue>Oh, man. I am acting like you, aren't I? Balls.</dialogue>
<scene_description>Script provided for educational purposes. More scripts can be found here: http://www.sellingyourscreenplay.com/library</scene_description>
<character>LANCE</character>
<dialogue>(then) But where am I ever gonna find another girl as cool as Mary?</dialogue>
<scene_description>Ian motions toward Felicia, who's getting the food.</scene_description>
<character>IAN</character>
<dialogue>What about Felicia?</dialogue>
<character>LANCE</character>
<dialogue>What about her?</dialogue>
<character>IAN</character>
<dialogue>Dude. She's into you.</dialogue>
<character>LANCE</character>
<dialogue>Yeah, I know.</dialogue>
<character>IAN</character>
<dialogue>You know? So? What is she - not good enough?</dialogue>
<character>LANCE</character>
<dialogue>Felicia's awesome. But you like her.</dialogue>
<character>IAN</character>
<dialogue>What? No. We're just friends.</dialogue>
<character>LANCE</character>
<dialogue>Dude. (oh, please)</dialogue>
<character>IAN</character>
<dialogue>Seriously. We grew up together. I don't...like, like her.</dialogue>
<character>LANCE</character>
<dialogue>Again - dude.</dialogue>
<character>IAN</character>
<dialogue>Well, she's not into me anyway.</dialogue>
<character>LANCE</character>
<dialogue>Doesn't matter. I still wouldn't do that to you. (then) But you do know she's not into you, right?</dialogue>
<character>IAN</character>
<dialogue>Yeah. Well, I mean, except we have this pledge that if we're both not married when we're thirty...it's actually kind of cute, we just--</dialogue>
<scene_description>Script provided for educational purposes. More scripts can be found here: http://www.sellingyourscreenplay.com/library</scene_description>
<character>LANCE</character>
<dialogue>No. It's not cute. It's bullshit. It's never gonna happen, so don't fuck yourself up waiting for her.</dialogue>
<character>IAN</character>
<dialogue>I know. But sometimes she--</dialogue>
<character>LANCE</character>
<dialogue>Ian, I'm only saying this as your friend. Never. Okay? You're her friend. That's like quicksand. There's no digging your way out of friend-sand. She already knows all your bullshit. I bet you've even cried in front of her before, haven't you?</dialogue>
<scene_description>Ian looks down. Guilty as charged.</scene_description>
<character>LANCE</character>
<dialogue>Oh, fuck me. Well, there you go. You know what every chick I've ever boned had in common? I wasn't friends with any of them.</dialogue>
<character>IAN</character>
<parenthetical>(shaking it off)</parenthetical>
<dialogue>Yeah. Well, what do I care, right? I got Ms. Tasty to look forward to.</dialogue>
<character>LANCE</character>
<dialogue>Fuckin' A. Let's keep the focus on your balls in her mouth.</dialogue>
<scene_description>Felicia returns with the food. She sits down next to Ian. There's an uncomfortable silence.</scene_description>
<character>FELICIA</character>
<dialogue>What?</dialogue>
</scene>
<scene>
<stage_direction>EXT. CARNIVAL - MIDWAY - LATER</stage_direction>
<scene_description>Ian, Lance and Felicia walk though the midway. Felicia points to a carnival game. It's a short rope ladder at a slight incline. Everyone who tries to scale it, flips the ladder over, landing in a pile of hay.</scene_description>
<character>IAN</character>
<dialogue>You think I can do it?</dialogue>
<character>FELICIA</character>
<dialogue>No way. That game is so rigged.</dialogue>
<scene_description>Script provided for educational purposes. More scripts can be found here: http://www.sellingyourscreenplay.com/library Ian gives the barker a five and scales the ladder \* effortlessly. The buzzer goes off, attracting a crowd. The \* carny begrudgingly hands Ian a massive lollypop. Lance and \* Felicia cheer and clap. \*</scene_description>
<character>FELICIA (CONT'D) \*</character>
<dialogue>Wow! That's amazing! \*</dialogue>
<character>IAN \*</character>
<dialogue>We had one of these at Boy Scout \* camp. I kinda mastered it. \*</dialogue>
<scene_description>Ian hands the lollypop to Felicia. She smiles and glows \* until a gorgeous teen girl steps up to Ian. MANDY wears a \* skin tight shirt and a short red skirt. \*</scene_description>
<character>MANDY \*</character>
<dialogue>Hey. What's your secret? \*</dialogue>
<scene_description>She smiles as she hands her money to the carny and mounts the \* ladder. Felicia looks slightly jealous as all of Ian's \* attention shifts to Mandy. \*</scene_description>
<character>IAN \*</character>
<dialogue>Just hold all your weight on your \* left hand and your right foot. \*</dialogue>
<scene_description>She holds her shaky position, her skirt is so short that, as \* she bends, her thong is exposed. Ian gulps. \*</scene_description>
<character>IAN (CONT'D) \*</character>
<dialogue>Now shift both at the same time. \*</dialogue>
<scene_description>She takes a step, wobbles, flips over and lands on her back. \* She smiles at Ian, who helps her up. Felicia is annoyed. \*</scene_description>
<character>MANDY \*</character>
<dialogue>Oh, well. I'm Mandy. \*</dialogue>
<character>IAN \*</character>
<dialogue>Ian. (big smile) \*</dialogue>
<character>MANDY \*</character>
<dialogue>You've got great balance, Ian. \*</dialogue>
<scene_description>Lance steps in, acting as wingman. \*</scene_description>
<character>LANCE \*</character>
<dialogue>Well, what do you expect from an \* Olympic snowboarder? \*</dialogue>
<character>MANDY \*</character>
<dialogue>No way. \*</dialogue>
<scene_description>Script provided for educational purposes. More scripts can be found here: http://www.sellingyourscreenplay.com/library</scene_description>
<character>LANCE \*</character>
<dialogue>Way. \*</dialogue>
<scene_description>Lance covertly yanks the lollypop out of Felicia's hand and \* taps it against Ian's arm, encouraging him to give it to \* Mandy. Ian does. She smiles as she accepts it. \*</scene_description>
<character>MANDY \*</character>
<dialogue>Thanks. Wow. I'm sorry, I gotta \* go. My dance troop is performing \* at the AIM tent in a few minutes. \* You should come watch. \*</dialogue>
<character>FELICIA \*</character>
<dialogue>Well, actually we were just... \*</dialogue>
<character>LANCE \*</character>
<dialogue>Definitely. He'll be front row \* center. \*</dialogue>
<scene_description>Mandy gives one more cute smile before she bops away. \*</scene_description>
</scene>
<scene>
<stage_direction>INT. SHOW TENT - LATER \*</stage_direction>
<scene_description>A stage is set up at one end; hundreds of people sit in \* folding chairs facing it. Ian, Felicia and Lance take seats \* (in that order) in the front row. Felicia checks her watch. \*</scene_description>
<character>FELICIA \*</character>
<dialogue>Do we really have time for this, \* Ian? \*</dialogue>
<scene_description>Lance elbows her and they speak sotto, away from Ian. \*</scene_description>
<character>LANCE \*</character>
<dialogue>Stop doing that. \*</dialogue>
<character>FELICIA \*</character>
<dialogue>Doing what? \*</dialogue>
<character>LANCE \*</character>
<dialogue>Twat blocking Ian. \*</dialogue>
<character>FELICIA \*</character>
<dialogue>I am not tw...doing that. \*</dialogue>
<scene_description>Loud techno music kicks in and the side flaps of the tent \* drop, making it very dark inside. \* On stage an elaborate light show illuminates a line of young, \* beautiful girls who perform a sexy hip-hop dance routine. A \* huge video screen behind them shows crazy graphics of fun \* activities and extreme sports over an "AIM" logo. \* Script provided for educational purposes. More scripts can be found here: http://www.sellingyourscreenplay.com/library The dancers are joined by TAD, a cool Ryan Seacrest type with \* a microphone. He busts out some dance moves of his own as \* the routine's finale. \*</scene_description>
<character>TAD \*</character>
<dialogue>What up, yo!? I am called Tad \* Jawarski! \*</dialogue>
<scene_description>The crowd goes nuts. \*</scene_description>
<character>TAD (CONT'D) \*</character>
<dialogue>Yo! Where my first victim at? \*</dialogue>
<scene_description>The crowd laughs. \*</scene_description>
<character>TAD (CONT'D) \*</character>
<dialogue>Come on, let's get a volunteer up \* in here! \*</dialogue>
<scene_description>Mandy waves to Ian. He waves back. Tad sees his hand go up. \*</scene_description>
<character>TAD (CONT'D) \*</character>
<dialogue>Yeah, boy! Get on up here, dog! \*</dialogue>
<scene_description>The spotlight hits Ian. Mandy jumps for joy that Ian \* volunteered. Ian tries to wave them off but Mandy and the \* dancers come down and pull him to the stage. The crowd \* cheers. Lance and Felicia cheer the loudest. \* Ian now stands center stage with Tad. Ian smiles like an \* idiot, unaware when the video screen behind him changes to a \* logo that reads, "AIM - ABSTINENCE IN MOTION!" Lance and \* Felicia's jaws drop. They look at one another and crack up. \* On stage, Ian is oblivious. The dancers dance all around him \* and he's digging it, even half-dancing along with them. The \* music finally stops and Tad puts an arm around Ian. \*</scene_description>
<character>TAD (CONT'D) \*</character>
<dialogue>What's your name, gangsta? \*</dialogue>
<character>IAN \*</character>
<dialogue>Um, Ian. Ian Lafferty. \*</dialogue>
<character>TAD \*</character>
<dialogue>Tell me something, Ian. Are you \* ready to get your pledge on!? \*</dialogue>
<scene_description>The music kicks in and Tad dances. Ian is confused. Lance \* and Felicia can barely watch. \*</scene_description>
<character>IAN \*</character>
<dialogue>Um... I don't know. What are we-- \*</dialogue>
<scene_description>Script provided for educational purposes. More scripts can be found here: http://www.sellingyourscreenplay.com/library</scene_description>
<character>TAD \*</character>
<dialogue>You don't know!? He don't know, \* y'all! \*</dialogue>
<scene_description>The crowd boos playfully. \*</scene_description>
<character>TAD (CONT'D) \*</character>
<dialogue>Ian, I'd like you to meet my \* friend, Steve. \*</dialogue>
<scene_description>The screen changes to a black and white clinical photo of a \* man's deformed, pocked genitalia. We see it for just a \* second as Tad turns Ian around, then his head blocks it. Ian \* gasps, along with the audience. This is NOT what he \* expected. \*</scene_description>
<character>TAD (CONT'D) \*</character>
<dialogue>How 'bout that, dog? \*</dialogue>
<character>IAN \*</character>
<dialogue>(baffled) \*</dialogue>
<scene_description>Uh... I, I don't... Uh... \*</scene_description>
<character>TAD \*</character>
<dialogue>Now meet some more of my homies. \*</dialogue>
<scene_description>Close on Ian's mortified face. The light changes on his \* face, indicating each new horror. Each image elicits a gasp \* from the crowd. Tad turns Ian back around, stunned. \*</scene_description>
<character>TAD (CONT'D) \*</character>
<dialogue>How old are you, bro? \*</dialogue>
<character>IAN \*</character>
<dialogue>Eighteen. \*</dialogue>
<character>TAD \*</character>
<dialogue>And you're a virgin? \*</dialogue>
<character>IAN \*</character>
<dialogue>What? Um... \*</dialogue>
<character>TAD \*</character>
<dialogue>You don't wanna turn out like my \* boys from the pictures do you? \*</dialogue>
<character>IAN \*</character>
<dialogue>No. \*</dialogue>
<character>TAD \*</character>
<dialogue>Then let's hear you pledge! \*</dialogue>
<scene_description>Script provided for educational purposes. More scripts can be found here: http://www.sellingyourscreenplay.com/library The girls start dancing around him. Ian's head is spinning. \* BAM! With a blast of light and sound - silence. A single \* spotlight hits them. \*</scene_description>
<character>IAN \*</character>
<dialogue>(sotto to Tad) \*</dialogue>
<scene_description>Pledge what? \* Tad leans in and speaks off the mic. \*</scene_description>
<character>TAD \*</character>
<dialogue>I got a long day ahead of me. \* Don't jerk me around, kid. \*</dialogue>
<scene_description>He puts the mic back in Ian's face. \*</scene_description>
<character>TAD (CONT'D) \*</character>
<dialogue>Do - you - pledge? \*</dialogue>
<character>IAN \*</character>
<dialogue>Um... Okay. I guess I pledge. \*</dialogue>
<scene_description>Lance throws up his hands in disgust. The crowd goes wild. \*</scene_description>
<character>TAD \*</character>
<dialogue>I'm proud of you! Keep a wrinkle \* in it, dog! \*</dialogue>
<scene_description>The dancers lead Ian out the back of the stage. \*</scene_description>
</scene>
<scene>
<stage_direction>EXT. SHOW TENT \*</stage_direction>
<scene_description>Ian exits through a flap at the back of the tent, looking \* shell-shocked. Lance and Felicia sprint around the outside \* of the tent, laughing. \*</scene_description>
<character>LANCE \*</character>
<dialogue>I can't believe you just took an \* abstinence pledge! \*</dialogue>
<character>IAN \*</character>
<dialogue>I did not! \*</dialogue>
<character>FELICIA \*</character>
<dialogue>You did too! Right in front of God \* and everybody! You pledged! \*</dialogue>
<character>IAN \*</character>
<dialogue>I didn't even know what he was \* talking about! That doesn't count, \* does it? \*</dialogue>
<scene_description>Script provided for educational purposes. More scripts can be found here: http://www.sellingyourscreenplay.com/library</scene_description>
<character>LANCE \*</character>
<dialogue>That was hilarious! \*</dialogue>
<scene_description>Mandy comes around the corner. She trots up and hugs Ian. \*</scene_description>
<character>MANDY \*</character>
<dialogue>Ian! You did it! Oh my gosh, I am \* so proud of you. \*</dialogue>
<scene_description>Ian squirms out of her grasp. \*</scene_description>
<character>IAN \*</character>
<dialogue>Jesus! Get away from me! Is this \* what you do here? Go out and flirt \* with geeks like me so you can lure \* them into your little abstinence \* club? \*</dialogue>
<character>MANDY \*</character>
<dialogue>Ian. It's not like that. \*</dialogue>
<character>IAN \*</character>
<dialogue>Just go away. \*</dialogue>
<scene_description>Lance steps up and puts a supportive hand on Ian's shoulder. \* Mandy steps away, then stops and turns to glare at Ian. \*</scene_description>
<character>MANDY \*</character>
<dialogue>I would have blown you, you know. \*</dialogue>
<character>FELICIA \*</character>
<dialogue>Wow. \*</dialogue>
<character>LANCE \*</character>
<dialogue>Ouch. \*</dialogue>
<character>MANDY \*</character>
<dialogue>And you can keep your stupid \* flipping lollypop! \*</dialogue>
<scene_description>Mandy fires the huge lollypop at Ian but it misses him, \* cracking Felicia in the teeth, knocking her backward to the \* ground. Felicia touches her hand to her mouth and sees that \* it's bleeding. She scrambles to her feet. \*</scene_description>
<character>FELICIA \*</character>
<dialogue>Oh, you are DEAD, psycho-virgin! \*</dialogue>
<scene_description>Felicia goes after Mandy but Lance and Ian hold her back. \* Mandy runs away. \* Script provided for educational purposes. More scripts can be found here: http://www.sellingyourscreenplay.com/library</scene_description>
</scene>
<scene>
<stage_direction>INT. THE JUDGE - DAY \*</stage_direction>
<scene_description>Lance drives. Ian sits with Felicia in the back seat. He \* holds a cloth to her mouth with one hand and works his phone \* with the other, looking for a dental listing. \*</scene_description>
<character>IAN \*</character>
<dialogue>There's a dentist at the next exit. \*</dialogue>
<character>LANCE \*</character>
<dialogue>You sure you want to get dental \* work done in Kentucky? \*</dialogue>
<character>FELICIA \*</character>
<dialogue>My toof id broke! Just get us \* there. \*</dialogue>
<scene_description>Ian checks his watch. \*</scene_description>
<character>FELICIA (CONT'D) \*</character>
<dialogue>I'm thorry I'm making you late for \* your grandma. \*</dialogue>
<character>IAN \*</character>
<dialogue>No. God. This is all my fault. \*</dialogue>
<character>FELICIA \*</character>
<dialogue>Id's really thweet how you're so \* worried about her. You're a good \* guy, Ian. \*</dialogue>
<scene_description>Ian and Lance exchange shamed glances in the rear-view. \*</scene_description>
<character>IAN \*</character>
<dialogue>Yeah, well...try not bleed on the \* seat. Rex is gonna kill me enough. \*</dialogue>
</scene>
<scene>
<stage_direction>EXT. IAN'S STREET - DAY \*</stage_direction>
<scene_description>Ian's neighborhood is peaceful and deserted. The chirps of \* song birds are gradually drowned out by A HIGH PITCHED BUZZ. \* Rex speeds down the street on a dirtbike. As he nears his \* house, he locks up the brakes. Before the bike stops, he \* coolly steps off, letting it ghost ride for a few yards \* before it lays down, spinning and sparking to a stop. \* Rex runs up to the garage and pulls it up manually. Before \* it clears his eyes, he takes a deep, hopeful breath. He \* opens it the rest of the way. No Judge. \* MOTHERFUCKIN' BITCH-ASS COCKSUCKER! \* Script provided for educational purposes. More scripts can be found here: http://www.sellingyourscreenplay.com/library Rex pitches a tantrum for the ages. He violently shakes the \* garage door, tearing it off it's rails. It lowers enough for \* him to start kicking it. He breaks it. He reaches inside \* and pulls out Ian's bike and starts slamming it against the \* driveway. Once out of steam, he stomps down the driveway and \* across the street. \* As he crosses, he holds up a "halt" hand. Offscreen we hear \* a car go into a shrieking skid. Rex is unfazed as he marches \* up Felicia's driveway. The car rolls by behind him. \* Rex arrives on Felicia's porch. He rings the bell and seethes and swears under his breath while he waits. Felicia's mother opens the door. His face instantly transitions to sweet and neighborly. She smiles back.</scene_description>
<character>FELICIA'S MOTHER</character>
<dialogue>Why, hello Rex. How are things?</dialogue>
<character>REX</character>
<dialogue>Good, good. Listen, Mrs. Alpine, is Felicia here by any chance?</dialogue>
<character>FELICIA'S MOTHER</character>
<dialogue>Oh no, hon, she and Ian and that Lance went on a little road trip.</dialogue>
<character>REX</character>
<dialogue>Really. A road trip. Super. Any idea where they might be heading?</dialogue>
<character>FELICIA'S MOTHER</character>
<dialogue>You know, I wanna say she said something about Knoxville but I can't be sure. Is that helpful?</dialogue>
<character>REX</character>
<dialogue>You bet it is. Thanks much, Mrs. A.</dialogue>
<character>FELICIA'S MOTHER</character>
<dialogue>Oh, not at all. My pleasure. You have a good day, now.</dialogue>
<scene_description>The second the door closes, Rex returns to fury. He turns and stomps back toward his house. In the wide shot we see a neighbor watering his yard next door.</scene_description>
<character>NEIGHBOR</character>
<dialogue>Hey, Knievel! What's say you get your bike out of the freakin' road!</dialogue>
<scene_description>Rex doesn't break stride; he just turns hard left, redirecting right at the neighbor. (Think Terminator 2) The man starts to backpedal and then run as Rex closes in. Script provided for educational purposes. More scripts can be found here: http://www.sellingyourscreenplay.com/library</scene_description>
</scene>
<scene>
<stage_direction>EXT. DENTAL OFFICE PARKING LOT - DAY</stage_direction>
<scene_description>The Judge pulls into the lot. Ian opens his door, he gets out and pulls the seat up for Felicia. She steps out and starts limping toward the office. Ian picks her up.</scene_description>
<character>FELICIA</character>
<dialogue>Whad are you doing? Pud me down! My feet are fine.</dialogue>
<character>IAN</character>
<dialogue>Shut up. You're so stubborn.</dialogue>
<scene_description>He carries her across the parking lot in slow motion. She relents and settles in. An old woman who is exiting smiles and holds the door for them. Ian carries Felicia in.</scene_description>
</scene>
<scene>
<stage_direction>INT. DENTAL OFFICE WAITING ROOM - DAY</stage_direction>
<scene_description>This is a po-dunk dental office in rural Kentucky. Several paintings of clowns adorn the walls. A magazine rack features People, Us, Oprah and Guns & Ammo. Felicia sits in a chair, holding her mouth with one hand and toweling off her feet with the other. Ian stands at reception, rattling off a text message while he waits: "Tasty. Running a little behind. Need a couple more hours. Better make it 8pm. C-U-Soon. - IAN." A half-awake receptionist with very bad teeth, returns to hand Ian some forms. She speaks in a thick southern accent.</scene_description>
<character>RECEPTIONIST</character>
<dialogue>Do y'all know your writin' and your ABC's and such?</dialogue>
<character>IAN</character>
<dialogue>Um. Yeah.</dialogue>
<character>RECEPTIONIST</character>
<dialogue>Good. Just fill out this, this, this, this, and these. Dr. Jasper will be with y'all present-like.</dialogue>
<scene_description>Ian returns to Felicia with the clipboard. He sits next to her and hands her the forms.</scene_description>
<character>FELICIA</character>
<dialogue>Okay. Fine. You were righd. My feet are killing me. I shouldn't have tossed my shoes.</dialogue>
<scene_description>Script provided for educational purposes. More scripts can be found here: http://www.sellingyourscreenplay.com/library</scene_description>
<character>IAN</character>
<dialogue>No, come on. I love that you did that. That's premium Felicia.</dialogue>
<scene_description>She smiles, then tries to fill in her name on a form but her hand shakes. Ian sets his phone down on the coffee table and takes the clipboard. He starts to fill the forms for her.</scene_description>
<character>IAN</character>
<dialogue>You want me to put your dad's address down too?</dialogue>
<character>FELICIA</character>
<dialogue>Yeah. It's four twenty one--</dialogue>
<character>IAN</character>
<dialogue>I know. Four twenty one, Twin Oaks, Rockford, six one one oh (thinks for a beat) seven.</dialogue>
<scene_description>Felicia smiles.</scene_description>
<character>IAN</character>
<dialogue>And you're allergic to amoxicillin but nothing else, right?</dialogue>
<scene_description>She nods. Push in on Felicia's face as she realizes that this is the one person who truly knows everything about her. Ian is oblivious to the moment she is having.</scene_description>
<character>IAN</character>
<dialogue>I think the only things you would check in the list is Migraine Headaches (she nods) and the Herpes, of course.</dialogue>
<scene_description>She laughs and slugs him playfully in the arm.</scene_description>
<character>DR. JASPER (O.S.)</character>
<dialogue>Felicia Alpine?</dialogue>
<scene_description>Felicia gathers up some of her things and places them in her purse as she stands to greet the dentist. She's is relieved to see that Dr. Jasper doesn't look like a hayseed. He looks like a kind, ethical doctor in his mid forties.</scene_description>
<character>DR. JASPER</character>
<dialogue>Now, what are we doing today?</dialogue>
<scene_description>Felicia removes her hand from her face and opens up. Doctor Jasper pushes her lower teeth down with the side of his index finger, revealing that his knuckles and hands are ridiculously hairy! Felicia winces as the dentist probes his wolfman fingers around in her mouth. Script provided for educational purposes. More scripts can be found here: http://www.sellingyourscreenplay.com/library</scene_description>
<character>DR. JASPER</character>
<dialogue>Hmmm. Some hot and cold sensitivity? Uh, huh?</dialogue>
<scene_description>Felicia closes her mouth and tries to spit out a hair. The doctor turns to Ian.</scene_description>
<character>DR. JASPER</character>
<dialogue>What'd you do to her?</dialogue>
<character>IAN</character>
<dialogue>What?</dialogue>
<character>DR. JASPER</character>
<dialogue>You slap her around? She gets out of line and you crack her one? You think that makes you a big man?</dialogue>
<character>IAN</character>
<dialogue>No. I didn't, I--</dialogue>
<character>DR. JASPER</character>
<dialogue>Ha! Gotcha! Ha, Ha. You should have seen your face. "No! I didn't I, I, I!" Oh, funny.</dialogue>
<scene_description>He cracks up. Ian and Felicia try to laugh along.</scene_description>
<character>DR. JASPER</character>
<dialogue>He didn't though, did he?</dialogue>
</scene>
<scene>
<stage_direction>INT. DENTAL OFFICE OPERATORY</stage_direction>
<scene_description>Felicia sits in the dental chair. Ian sits in a chair nearby. Dr. Jasper is just finishing giving her a shot.</scene_description>
<character>DR. JASPER</character>
<dialogue>I'll just give you a few minutes to numb up. Be right back.</dialogue>
<scene_description>He exits. Ian smiles. She smiles back with her half tooth. The novocaine causes her to slur more and more throughout the scene.</scene_description>
<character>FELICIA</character>
<dialogue>Ian. You know last spring at Darren Hume's bonfire?</dialogue>
<character>IAN</character>
<dialogue>Hmmm. Um...Was I there?</dialogue>
<scene_description>Script provided for educational purposes. More scripts can be found here: http://www.sellingyourscreenplay.com/library</scene_description>
<character>FELICIA</character>
<dialogue>Ian, please. You know the only reason... is because I don't ever want to ruin our friendship.</dialogue>
<character>IAN</character>
<dialogue>Totally. Friendship is... awesome. Yeah. Friendship. Good call.</dialogue>
<character>FELICIA</character>
<dialogue>I don't know what I'd do if I ever lost you, Ian.</dialogue>
<scene_description>She squeezes his hand.</scene_description>
<character>IAN</character>
<dialogue>You won't.</dialogue>
<character>FELICIA</character>
<parenthetical>(half-joking)</parenthetical>
<dialogue>I don't know. Maybe I should have just kissed you back that night.</dialogue>
<scene_description>They regard one another for a long awkward beat. Ian tries to decide if she's serious. He laughs nervously. A string of drool drops from her numb lip.</scene_description>
<character>IAN</character>
<dialogue>Oh. Um. You got a little...loogie.</dialogue>
<character>FELICIA</character>
<dialogue>Oh God!</dialogue>
<scene_description>She grabs her bib and wipes her face. The doctor returns.</scene_description>
<character>IAN</character>
<dialogue>You know what? I'll just be out there. Yeah. Good. Okay.</dialogue>
</scene>
<scene>
<stage_direction>EXT. DENTAL OFFICE PARKING LOT - LATER</stage_direction>
<scene_description>The office is in a small strip mall next to a gas station convenience store. Ian comes out of the convenience store with a bag of stuff. He crosses to the Judge. The passenger door is open. Lance sits in the passenger seat with his feet on the ground and his head in his hands. Ian arrives with a smile and a spring in his step.</scene_description>
<character>LANCE</character>
<dialogue>What's with you?</dialogue>
<scene_description>Script provided for educational purposes. More scripts can be found here: http://www.sellingyourscreenplay.com/library</scene_description>
<character>IAN</character>
<dialogue>I'm thinking maybe we head back.</dialogue>
<character>LANCE</character>
<dialogue>Why?</dialogue>
<character>IAN</character>
<dialogue>Well, Felicia and I were just talking in there and, I don't know, We kinda had a moment.</dialogue>
<character>LANCE</character>
<dialogue>A moment? Oh shit, Ian. I knew she was gonna do this. She sees you with that chick and now she's tightening your leash. She's just afraid to lose the undivided attention of the one guy who always listens to her problems.</dialogue>
<character>IAN</character>
<dialogue>No. We were really connecting in there and she...</dialogue>
<character>LANCE</character>
<dialogue>Ian, you see the punks she dates. I'm sorry but she doesn't want a guy like you. She wants to take some dark, brooding asshole and turn him into a guy like you.</dialogue>
<character>IAN</character>
<dialogue>What if you're wrong?</dialogue>
<character>LANCE</character>
<dialogue>I'm not wrong. I'm right. And I'm not going to let her fuck this up for you. We're going to Knoxville and you're gonna get your nut.</dialogue>
<character>IAN</character>
<dialogue>Whatever, Lance. I'm gonna text Tasty and tell her I'm not coming.</dialogue>
<scene_description>Ian reaches into his pockets. No phone. Just then, Felicia emerges from the office. She stops to check her fixed tooth in her reflection in the window. She then marches out to the Judge. She tosses Ian his phone.</scene_description>
<character>IAN</character>
<dialogue>Oh, good. You had it. Here, I got you something.</dialogue>
<scene_description>Script provided for educational purposes. More scripts can be found here: http://www.sellingyourscreenplay.com/library He hands Felicia the bag. She takes it but doesn't bother to look inside.</scene_description>
<character>FELICIA</character>
<dialogue>A message came in. Your grandma's pretty excited to see you. Wet even. She's thinking about your hands on her body. Sounds 'Tasty.'</dialogue>
<scene_description>Felicia tosses the bag onto the floor of the front seat and then climbs into the back and sits, looking petulant. Ian wilts. Lance pats Ian on the back before climbing in.</scene_description>
<character>LANCE</character>
<dialogue>Good deal. Let's go to Knoxville.</dialogue>
</scene>
<scene>
<stage_direction>EXT. HIGHWAY ON-RAMP - EVENING</stage_direction>
<scene_description>The Judge is pulling onto HWY 75-North.</scene_description>
<character>FELICIA (V.O.)</character>
<dialogue>Ian. You're going the wrong way.</dialogue>
<character>IAN (V.O.)</character>
<dialogue>We're going home.</dialogue>
</scene>
<scene>
<stage_direction>INT. THE JUDGE</stage_direction>
<character>FELICIA</character>
<dialogue>What? No, no, no. Don't turn around because of me. I'm dying to see Ms. Tasty. This is gonna be hilarious. She's probably a guy.</dialogue>
<character>IAN</character>
<dialogue>So you snooped around in my phone. That's a total violation.</dialogue>
<character>LANCE</character>
<dialogue>He's violated.</dialogue>
<character>FELICIA</character>
<dialogue>Hey, you're the one telling lies about grandmas and CANCER.</dialogue>
<character>LANCE</character>
<dialogue>That was a bit much.</dialogue>
<character>IAN</character>
<dialogue>Okay, I'm sorry. I was embarrassed and I knew you'd make fun of me.</dialogue>
<scene_description>Script provided for educational purposes. More scripts can be found here: http://www.sellingyourscreenplay.com/library</scene_description>
<character>FELICIA</character>
<dialogue>Of course. How could I not? You told her you play football at NORTHWESTERN!? I mean, Jesus Ian.</dialogue>
<character>LANCE</character>
<dialogue>You told her that? That's bold.</dialogue>
<character>FELICIA</character>
<dialogue>And those text messages are soooo dickish. I can't believe she even invited you when you come off like such an a-hole.</dialogue>
<character>LANCE</character>
<dialogue>Hold on - she invited him out because he came off like such an a- hole. Dude got that part right.</dialogue>
<character>FELICIA</character>
<dialogue>I can't believe you guys.</dialogue>
<character>IAN</character>
<dialogue>Look, I said we're going home.</dialogue>
<character>LANCE</character>
<dialogue>Oh, man. I knew you'd find a way to bitch out on this.</dialogue>
<character>FELICIA</character>
<dialogue>Yeah, Ian. You obviously stole Rex's car and drove halfway across the country. This must be what you want. So go do it, chicken shit.</dialogue>
<character>LANCE</character>
<dialogue>Fuckin' A, chicken shit.</dialogue>
<character>IAN</character>
<dialogue>Fine! You don't think I'll do it!? I'll fuckin' do it! I'll turn this car around and go pork that girl right now! Is that what you want?</dialogue>
<character>FELICIA</character>
<dialogue>Yeah, Ian. That's what I want.</dialogue>
<scene_description>Suddenly he cranks the wheel. They drive full speed into the grassy median. They slide sideways onto the other side of the highway and head back south.</scene_description>
<character>LANCE</character>
<dialogue>Sweet! Now step on it. We can still make it.</dialogue>
<scene_description>Script provided for educational purposes. More scripts can be found here: http://www.sellingyourscreenplay.com/library Although she pushed for it, Felicia is not as happy. She lies down in the back seat, looking terribly sad. Cue: "Teenagers (Scare The Living Shit Out Of Me)" by My Chemical Romance. The Judge moves down the highway as the sun lowers in the sky. Ian passes several cars. He looks over at the car to his left - the pimped out Honda (that had tossed the milkshake earlier) is back and edging by him. Ian's had enough. He glares back and jumps on the gas. Felicia sits up.</scene_description>
<character>FELICIA</character>
<dialogue>What are you doing? Don't race him. That's ridiculous.</dialogue>
<character>IAN</character>
<parenthetical>(trying to be tough)</parenthetical>
<dialogue>It's gonna be ridiculous how much I win because I'm driving faster than he is.</dialogue>
<scene_description>The cars race neck and neck. Ian's speedometer creeps up. Ian must fall back to pass a slower car in the right lane. He tries to pass the Honda but it weaves back and forth, not letting him in. He finally gets an opening and tucks in. They are again neck and neck. Ian starts to pull away.</scene_description>
<character>IAN</character>
<dialogue>Yeah, that's right, fucker.</dialogue>
<scene_description>The Honda slows down, letting Ian blast away.</scene_description>
<character>LANCE</character>
<dialogue>He's tagging out! Wooo!</dialogue>
<scene_description>Ian and Lance five one another.</scene_description>
<character>FELICIA</character>
<dialogue>IAN! Look out!</dialogue>
<scene_description>A fox is walking across the highway! Ian slams on the breaks but the car smacks it. All triumph falls from Ian's face, replaced by desperate regret.</scene_description>
<character>IAN</character>
<dialogue>Oh, no! Oh, no!</dialogue>
</scene>
<scene>
<stage_direction>EXT. COUNTRY HIGHWAY - EVENING</stage_direction>
<scene_description>The Judge screeches to a halt. Ian leaps out and runs back, looking around frantically. Felicia gets out and follows. Script provided for educational purposes. More scripts can be found here: http://www.sellingyourscreenplay.com/library Cars and trucks occasionally woosh by. Ian finds the animal on the shoulder. He drops to his knees, his eyes tearing up.</scene_description>
<character>IAN</character>
<dialogue>God damn it. What were you doing? Oh, shit man. Shit.</dialogue>
<scene_description>Felicia sits down nearby, watching Ian's emotional response. He's genuinely a wreck over what he has done. Push in on Felicia as her heart goes out to him. She tears up.</scene_description>
<character>LANCE</character>
<dialogue>Take it easy, bro. It wasn't your fault. The thing ran right out--</dialogue>
<character>IAN</character>
<dialogue>Just shut up, okay!? Of course it's my fault!</dialogue>
<character>LANCE</character>
<dialogue>Okay. But, dude, Ms. Tasty - we gotta keep moving.</dialogue>
<character>IAN</character>
<dialogue>He's not dead, Lance! I'm not just gonna leave him out here suffering all by himself.</dialogue>
<character>LANCE</character>
<dialogue>Okay. You're right.</dialogue>
<scene_description>Lance goes back to the car and returns with a tire-iron. He walks up next to Ian and raises it over his head. Ian turns to Lance, deadly serious. He pushes Lance away.</scene_description>
<character>IAN</character>
<dialogue>Don't fuckin' touch him!</dialogue>
<character>LANCE</character>
<dialogue>Jesus Christ, man! I was just gonna put him out of his misery so we can go already.</dialogue>
<scene_description>Felicia is appalled by Lance's inability to be affected by this.</scene_description>
<character>IAN</character>
<dialogue>Fuck you! You don't give a shit about him!</dialogue>
<scene_description>Ian grabs the tire iron, returns to the animal and kneels \* before it, raising the tool over his head. His hand shakes. \* Script provided for educational purposes. More scripts can be found here: http://www.sellingyourscreenplay.com/library</scene_description>
<character>IAN (CONT'D) \*</character>
<dialogue>I'm sorry. \*</dialogue>
<scene_description>Ian hits it hard, stands, and walks away with his face in his \* hand. After a beat: \*</scene_description>
<character>FELICIA \*</character>
<dialogue>Um...Ian? \*</dialogue>
<scene_description>Ian turns, exasperated to see the fox is still alive. He \* returns and swings two more times. Again, he walks away in \* agony. Felicia clears her throat - still alive. \*</scene_description>
<character>IAN \*</character>
<dialogue>Jesus! \*</dialogue>
<scene_description>Ian drags himself back and swings again. \*</scene_description>
<character>LANCE \*</character>
<dialogue>Boy, he's really hanging in there. \*</dialogue>
<scene_description>Ian loses it, beating it severely. As he does, he's bathed \* in red and blue flashing light. \*</scene_description>
<character>IAN \*</character>
<dialogue>God damn it! I'm trying to help \* you out, here! Why won't you just \* die, for fucks sake!? \*</dialogue>
<scene_description>He raises the tire iron once more but stops as he notices a \* cop standing in front of him. \*</scene_description>
</scene>
<scene>
<stage_direction>INT. POLICE STATION - NIGHT \*</stage_direction>
<scene_description>Ian and Lance are being led down the hall by the cop. \*</scene_description>
<character>IAN \*</character>
<dialogue>I swear I didn't know it was an \* endangered species. \*</dialogue>
<character>LANCE \*</character>
<dialogue>The vet said there's a good chance \* it might pull through. \*</dialogue>
<character>COP #1 \*</character>
<dialogue>You better hope so. \*</dialogue>
</scene>
<scene>
<stage_direction>INT. JAIL CELL</stage_direction>
<scene_description>The holding cell is modern and industrial with bright fluorescent lights and a single steel toilet. Script provided for educational purposes. More scripts can be found here: http://www.sellingyourscreenplay.com/library The benches are occupied by six other captives who await bail or arraignment. Ian is scared shitless and it shows.</scene_description>
<character>LANCE</character>
<parenthetical>(sotto to Ian)</parenthetical>
<dialogue>Dude. Man up. They think you're shittin' your pants, they'll fuck with you.</dialogue>
<scene_description>Ian does a terrible impersonation of a tough guy. After a beat, a man rolls up on Lance, posturing like he means harm.</scene_description>
<character>PRISONER #1</character>
<dialogue>Yo, man--</dialogue>
<character>LANCE</character>
<dialogue>Whoa! Sit your ass the fuck back down or you and me - we're gonna have a fuckin' problem!</dialogue>
<scene_description>The guy backs off.</scene_description>
<character>PRISONER #1</character>
<dialogue>Shit, man. Chill. Damn.</dialogue>
<scene_description>He sits. Ian can't believe what he just saw. Lance gives him a look, "See what I mean?" A moment later, a man on Ian's side is tapping on his own watch. He notices Ian is wearing a watch. He stands to approach Ian.</scene_description>
<character>PRISONER #2</character>
<dialogue>Excuse me. What--</dialogue>
<character>IAN</character>
<dialogue>Yo! Back that shit up, bitch!</dialogue>
<scene_description>WHAP!!! The guy lays Ian out.</scene_description>
<character>PRISONER #2</character>
<dialogue>All I wanted was the goddamn time.</dialogue>
<character>IAN (O.S.)</character>
<parenthetical>(from the floor)</parenthetical>
<dialogue>Ten after six.</dialogue>
<character>PRISONER #2</character>
<dialogue>Thanks.</dialogue>
<character>IAN (O.S.)</character>
<dialogue>Don't mention it.</dialogue>
<scene_description>Script provided for educational purposes. More scripts can be found here: http://www.sellingyourscreenplay.com/library</scene_description>
</scene>
<scene>
<stage_direction>INT. POLICE STATION</stage_direction>
<scene_description>Two bored desk cops play with one of our hero's phones.</scene_description>
<character>COP #1</character>
<dialogue>Well, I'll be damned. You can watch yourself a picture show on this here telephone unit.</dialogue>
<character>COP #2</character>
<dialogue>Ya probably ought not mess with it.</dialogue>
<character>COP #1</character>
<dialogue>Ooohh - Sharky's Machine.</dialogue>
<character>COP #2</character>
<dialogue>Well, shit. Fire it up.</dialogue>
<scene_description>He does. The intro music kicks in. After a moment, the phone rings. They're not sure what to do.</scene_description>
</scene>
<scene>
<stage_direction>INT. JAIL CELL</stage_direction>
<scene_description>Ian checks his watch.</scene_description>
<character>IAN</character>
<dialogue>Well, It's over. No Ms. Tasty, Felicia hates me, got a nice beat down coming from Rex. Good trip.</dialogue>
<scene_description>Ian sighs hard as he steps over to the toilet. His expression is distant and haggard but also slightly more mature. He starts to pee. Lance looks over, surprised.</scene_description>
<character>LANCE</character>
<dialogue>Dude.</dialogue>
<character>IAN</character>
<dialogue>What?</dialogue>
<character>LANCE</character>
<dialogue>You're peeing in front of a bunch of people.</dialogue>
<scene_description>Ian looks around, appreciating the moment.</scene_description>
<character>IAN</character>
<dialogue>Hey, I am. I'm just standing here takin' a whiz. Like it's nothing.</dialogue>
<character>LANCE</character>
<dialogue>And that guy's looking straight at your dick.</dialogue>
<scene_description>Script provided for educational purposes. More scripts can be found here: http://www.sellingyourscreenplay.com/library</scene_description>
<character>PRISONER #1</character>
<dialogue>Atta boy.</dialogue>
<scene_description>Ian wraps up and rejoins Lance.</scene_description>
<character>LANCE</character>
<dialogue>Look at you. You're a new man.</dialogue>
<character>IAN</character>
<dialogue>No I'm not.</dialogue>
<character>LANCE</character>
<dialogue>Dude. You stole a car, you got \* arrested, got in a fight, sort of. \* Hey, you killed an endangered \* species with your bare hands. \* That's gotta count for something. \*</dialogue>
<scene_description>The prisoner next to them gives Ian a look of approval.</scene_description>
<character>LANCE</character>
<dialogue>Now you're pissin' like a big dog. There's only one thing left...</dialogue>
<character>IAN</character>
<dialogue>Well, that's out. I was supposed to meet her three hours ago.</dialogue>
<character>LANCE</character>
<dialogue>Look, when we get out of here, just tell her you got pinched and you've been in the hard yard. She'll think that's badass.</dialogue>
</scene>
<scene>
<stage_direction>INT. WOMEN'S JAIL CELL</stage_direction>
<scene_description>Felicia sits among four other prisoners of varied ages and degrees of nasty. They sit on the benches, arranged around Felicia, like The View. Felicia is sad.</scene_description>
<character>FEMALE PRISONER #1</character>
<dialogue>Shit! This Ian boy sound to me like he got no balls at all.</dialogue>
<character>FEMALE PRISONER #2</character>
<dialogue>Why? 'Cause he got to fussin' some over a sufferin' critter? I think that's real sweet.</dialogue>
<character>FEMALE PRISONER #3</character>
<dialogue>Well, I say this Lance sounds like a real hunk of man cake.</dialogue>
<scene_description>Script provided for educational purposes. More scripts can be found here: http://www.sellingyourscreenplay.com/library</scene_description>
<character>FEMALE PRISONER #3</character>
<dialogue>Only way to keep his kind around is to get his babies in you, pronto.</dialogue>
<character>FEMALE PRISONER #2</character>
<dialogue>But he got no respect for bitches.</dialogue>
<scene_description>Felicia is uncharacteristically comfortable sharing. She plays along gamely with their vocabulary.</scene_description>
<character>FELICIA</character>
<dialogue>Shathayd's right. No respect for bitches. None whatsoever.</dialogue>
<character>FEMALE PRISONER #1</character>
<dialogue>Girl. Oprah says you just got to tell the universe what you want.</dialogue>
<character>FEMALE PRISONER #3</character>
<dialogue>Yep. You gotta manifest that shit. Ain't you read The Promise?</dialogue>
<character>FELICIA</character>
<dialogue>No.</dialogue>
<character>FEMALE PRISONER #3</character>
<dialogue>You gotta read The Promise. That's how I got my shit straight.</dialogue>
<scene_description>Felicia starts to cry.</scene_description>
<character>FEMALE PRISONER #3</character>
<dialogue>Oh, baby. Come here.</dialogue>
<scene_description>#3 holds out her arms to Felicia but Felicia waves her off. #3 is a bit offended. A wider shot reveals that #3 is seated on the steel toilet, pants around her ankles.</scene_description>
</scene>
<scene>
<stage_direction>INT. JAIL CELL</stage_direction>
<scene_description>A cop opens the cell door.</scene_description>
<character>COP #1</character>
<dialogue>Ian Lafferty, Lance Nesbitt? Your bail's been posted.</dialogue>
<character>IAN</character>
<dialogue>Shit.</dialogue>
<character>LANCE</character>
<dialogue>What?</dialogue>
<character>IAN</character>
<dialogue>Rex.</dialogue>
<scene_description>Script provided for educational purposes. More scripts can be found here: http://www.sellingyourscreenplay.com/library Ian and Lance stand and reluctantly exit.</scene_description>
</scene>
<scene>
<stage_direction>INT. POLICE STATION</stage_direction>
<scene_description>Felicia is being led out of the women's cell down the hall. They meet in the middle. Felicia and Ian have calmed down and they exchange humbled smiles. They all turn to see MARY signing forms at the desk. She's still dressed Amish. Lance lights up like a kid on Christmas morning.</scene_description>
<character>LANCE</character>
<dialogue>No way! Mary!</dialogue>
<scene_description>He runs to her. They hug. Ian and Felicia join them at the counter. An officer slides over three envelopes.</scene_description>
<character>COP #2</character>
<dialogue>Personal effects. Sign here.</dialogue>
<scene_description>They sign. Ian takes his phone. He turns it on. In the background we hear:</scene_description>
<character>LANCE (O.S.)</character>
<dialogue>How'd you know we were here?</dialogue>
<character>MARY (O.S.)</character>
<dialogue>I called your phone and someone here answered it.</dialogue>
<character>COP #1 (O.S.)</character>
<dialogue>Wasn't me.</dialogue>
<scene_description>Ian's phone displays, "New Text Message From: Ms. Tasty." He clicks it. It brings up a message, "Stood out here 4 an hour and a half. UR an ASSHOLE!" Ian deflates. He steps outside, clicking on-line with his phone.</scene_description>
</scene>
<scene>
<stage_direction>INT. MYSPACE CYBER RAVE</stage_direction>
<scene_description>Ms. Tasty stands talking to some other guy with a cool car. Ian appears. She turns to glare at him.</scene_description>
<character>IAN</character>
<dialogue>Hey.</dialogue>
<character>MS. TASTY</character>
<dialogue>Get lost and leave me alone.</dialogue>
<scene_description>She waves a hand, he disappears. She turns. He reappears in front of her. Script provided for educational purposes. More scripts can be found here: http://www.sellingyourscreenplay.com/library</scene_description>
<character>IAN</character>
<dialogue>Tasty, just hear me out.</dialogue>
<scene_description>A suspicious stance but doesn't wave him off.</scene_description>
<character>IAN</character>
<dialogue>I got arrested. I've been on lock- down for the last four hours.</dialogue>
<character>MS. TASTY</character>
<dialogue>For what?</dialogue>
<character>IAN</character>
<dialogue>Um...Street racing?</dialogue>
<character>MS. TASTY</character>
<dialogue>Really?</dialogue>
<character>IAN</character>
<dialogue>Yeah. No helmet. Open intoxicants - dangerous. But I'm out now.</dialogue>
<character>MS. TASTY</character>
<dialogue>I bet you haven't even left Chicago. You know, I've never done this before but I think you're just playin' me.</dialogue>
<character>IAN</character>
<dialogue>I swear, I'm just about an hour away. You want me to turn around?</dialogue>
<scene_description>She considers this for a moment.</scene_description>
<character>MS. TASTY</character>
<dialogue>No. Eleven o'clock at the Shakey's. But, no more excuses. If you're one minute late, I'm gone.</dialogue>
<scene_description>She disappears.</scene_description>
</scene>
<scene>
<stage_direction>EXT. POLICE STATION - NIGHT</stage_direction>
<scene_description>Ian leans against the Judge, wrapping up his texting session. Lance, Felicia and Mary are walking toward him.</scene_description>
<character>LANCE</character>
<dialogue>So? What's the plan?</dialogue>
<character>IAN</character>
<dialogue>We're going to Knoxville.</dialogue>
<scene_description>Script provided for educational purposes. More scripts can be found here: http://www.sellingyourscreenplay.com/library</scene_description>
<character>LANCE</character>
<dialogue>Yes!</dialogue>
<scene_description>Ian gets in the car. Lance excitedly ushers Mary to the car. None of them see Felicia's look disappointment.</scene_description>
</scene>
<scene>
<stage_direction>INT. THE JUDGE - HIGHWAY - NIGHT</stage_direction>
<scene_description>Ian and Felicia sit in the front, silent and far apart. Lance and Mary are in back, snuggling like the love struck teens they are. They pass a sign that reads, "Knoxville 17 mi." Ian checks his watch. Felicia quietly reaches down for the bag that Ian had given her. She checks that he's not looking. She peeks inside. It's a pair of flip-flops with little daisies on them. Her feet are still bare. She gets glassy-eyed. Ian looks over. Felicia looks away. She is clearly moved by the gift.</scene_description>
</scene>
<scene>
<stage_direction>EXT. EST. HARLAN'S FANTASY INN - NIGHT</stage_direction>
<scene_description>An old single level motel has been converted into "fantasy" rooms. The sign reads, "22 Romantic Fantasy Theme Rooms to Choose From!" It's right across the street from the Shakey's. The Judge is parked in front of a room.</scene_description>
</scene>
<scene>
<stage_direction>INT. HARLAN'S FANTASY INN - THE "BLAZE" ROOM</stage_direction>
<scene_description>The walls are painted with flames. The room is decorated with firefighter memorabilia including hoses, axes, helmets and a life-size cardboard cut-out of a sexy shirtless fireman. There's a thick brass pole in one corner. The bed looks like a wide fire engine. The clock on the wall reads, ten minutes to eleven. Ian is brushing his teeth and getting ready to go. Felicia sits on the bed, watching TV. She's wearing the flip-flops Ian bought for her. Ian takes one more look in the mirror. He's unsure of himself.</scene_description>
<character>FELICIA</character>
<dialogue>You look good.</dialogue>
<character>IAN</character>
<dialogue>Thanks.</dialogue>
<scene_description>He puts on his jacket and steps to the door. Script provided for educational purposes. More scripts can be found here: http://www.sellingyourscreenplay.com/library</scene_description>
<character>FELICIA</character>
<dialogue>Ian... Don't do this, okay? Don't turn into Lance. You're a nice guy.</dialogue>
<character>IAN</character>
<dialogue>That's why I'm still a virgin.</dialogue>
<character>FELICIA</character>
<dialogue>So what if you're a virgin? It's just sex, Ian.</dialogue>
<character>IAN</character>
<dialogue>It's not about the sex. I'm weird. I'm the only virgin I know. I gotta get this done so everyone can stop freaking out about it. I know you don't approve but I'm sorry, I'm not going home a virgin.</dialogue>
<scene_description>He turns to exit.</scene_description>
<character>FELICIA</character>
<dialogue>Okay. Then do it with me.</dialogue>
<scene_description>He turns back, baffled.</scene_description>
<character>IAN</character>
<dialogue>What?</dialogue>
<scene_description>Felicia downplays; this is not a sexy offer.</scene_description>
<character>FELICIA</character>
<dialogue>Do it with me, not some total stranger. I mean, we're friends, you know you won't get some nasty disease. Crabs or whatever.</dialogue>
<character>IAN</character>
<dialogue>Wow. I'd rather stay a virgin than lose it on pity-sex.</dialogue>
<character>FELICIA</character>
<dialogue>I'm not talking about pity-sex.</dialogue>
<character>IAN</character>
<dialogue>Then what are you talking about?</dialogue>
<character>FELICIA</character>
<dialogue>I don't know. Sex. It doesn't have to mean anything. It doesn't have to jeopardize our friendship.</dialogue>
<scene_description>Ian sighs hard. He can't take hearing that word again. Script provided for educational purposes. More scripts can be found here: http://www.sellingyourscreenplay.com/library</scene_description>
<character>IAN</character>
<dialogue>You know what, Felicia? Fuck the friendship. I'm sorry, but I can't be the guy you talk to about your boyfriends anymore. I can't be the guy you cry to when they hurt you. And I won't be your back-up plan. Maybe I'm just selfish but it's not enough. Now, I'm gonna go have meaningless sex with some random chick I met on the internet, unless you got something to say to me.</dialogue>
<scene_description>Felicia gets up and heads out the door. She stops and tries to find the right words. After a beat, she gives up and walks out, slamming the door behind her.</scene_description>
<character>IAN</character>
<dialogue>That's what I thought.</dialogue>
<scene_description>Ian plops down on the bed, considering what he's done. He looks at the clock. Three minutes to eleven. He takes a deep breath, stands and walks to the door. He takes another beat to decide. He opens the door, revealing REX! He's removing a motorcycle helmet. A dirtbike is on its side, still spinning in the parking lot. Rex pushes Ian back into the room. Ian falls backwards onto the bed. Rex flings his helmet at Ian.</scene_description>
<character>IAN</character>
<dialogue>Rex. What are you doing here?</dialogue>
<character>REX</character>
<dialogue>You ever heard of Lo-Jack, cheese- dick!? (re: room) What the fuck?</dialogue>
<scene_description>Rex rushes Ian, grabbing him by the neck, lifting him to his feet, spinning him around and administering a brutal wedgie.</scene_description>
<character>IAN</character>
<dialogue>Rex, wait! The girl - the one I told you about. She's right across the street! She wants to do it with me and everything!</dialogue>
<scene_description>Rex throws Ian into the dresser, shattering a lamp.</scene_description>
<character>REX</character>
<dialogue>Like I give shit. Get your stuff, dick-cheese. We're going home!</dialogue>
<scene_description>Rex picks up Ian's suitcase and throws it at him. Script provided for educational purposes. More scripts can be found here: http://www.sellingyourscreenplay.com/library</scene_description>
<character>IAN</character>
<dialogue>Okay. Fine. It probably wouldn't have stopped all these feelings I've been having anyway.</dialogue>
<scene_description>Rex stops, curious.</scene_description>
<character>REX</character>
<dialogue>What are you talking about?</dialogue>
<character>IAN</character>
<dialogue>You know - feelings, curiosities...about men.</dialogue>
<scene_description>Ian motions to the Firefighter cut-out.</scene_description>
<character>REX</character>
<dialogue>What!? Ah shit, Ian!</dialogue>
<character>IAN</character>
<dialogue>Just lately, you know? I think you were right, Rex. I think I might be getting gay.</dialogue>
<scene_description>Rex picks Ian up by the shirt.</scene_description>
<character>IAN</character>
<dialogue>I don't have any luck with girls. Maybe it's a sign.</dialogue>
<character>REX</character>
<dialogue>Uh, uh! No way is my brother taking it in the chili ring!</dialogue>
<scene_description>Rex boils like he might explode.</scene_description>
<character>REX</character>
<dialogue>Alright. You take the car and go bang a female woman like the good lord intended. You got one hour.</dialogue>
<scene_description>He releases Ian and pushes him toward the door.</scene_description>
<character>REX</character>
<dialogue>But, Ian...not up the butt!</dialogue>
<scene_description>Ian runs out.</scene_description>
</scene>
<scene>
<stage_direction>INT. THE JUDGE</stage_direction>
<scene_description>Ian jumps in the car. He checks his watch - 10:59. He starts it up and races across the street. He slowly pulls into the lot, looking all around for Tasty. No sign of her. Script provided for educational purposes. More scripts can be found here: http://www.sellingyourscreenplay.com/library He does spot a CREEPY old fat guy, standing in the parking lot, watching him drive in. The guy waves to Ian.</scene_description>
<character>CREEPY</character>
<dialogue>That's a sweet GTO.</dialogue>
<character>IAN</character>
<dialogue>So, you're Ms. Tasty?</dialogue>
<character>CREEPY</character>
<dialogue>You give me a ride in that and you can call me whatever you like.</dialogue>
<scene_description>Ian bangs his head against the steering wheel.</scene_description>
<character>MS. TASTY (O.S.)</character>
<dialogue>Ian! Oh my gosh! Hey!</dialogue>
<scene_description>Ian turns to see the real Ms. Tasty stepping out of vintage Dodge Charger. She's even hotter than her picture and she speaks in a sweet southern accent that we didn't hear in cyberspace. She trots over to the car.</scene_description>
<character>MS. TASTY</character>
<dialogue>I was sure you were standing me up.</dialogue>
<scene_description>She jumps into the passenger side. Ian is terrified.</scene_description>
<character>MS. TASTY</character>
<dialogue>But, here you are. Look at you.</dialogue>
<character>IAN</character>
<dialogue>Yeah. Look at me.</dialogue>
<character>MS. TASTY</character>
<dialogue>You look kinda different than your picture.</dialogue>
<character>IAN</character>
<dialogue>Yeah. I, um, lost some weight 'cause I had the runs-- The flu. And I went to get my haircut and--</dialogue>
<character>MS. TASTY</character>
<dialogue>Well, you're mighty cute.</dialogue>
<character>IAN</character>
<dialogue>Oh. Good. What do you wanna do?</dialogue>
<character>MS. TASTY</character>
<dialogue>Hmmm. I LOVE your car. Why don't you take me for a ride.</dialogue>
<scene_description>Ian pulls out of the lot. Tasty cuddles up to him. Script provided for educational purposes. More scripts can be found here: http://www.sellingyourscreenplay.com/library</scene_description>
<character>IAN</character>
<dialogue>So, Ms. Tasty. What's your real name?</dialogue>
<character>MS. TASTY</character>
<dialogue>I'll tell you after.</dialogue>
<scene_description>She kisses his neck. Ian smiles through his fear. They drive on. She rubs his chest and nuzzles his ear. Behind them a head slowly peeks up from the back seat - Felicia! She sees Ms. Tasty kiss Ian's cheek. She ditches back down.</scene_description>
</scene>
<scene>
<stage_direction>INT. HARLAN'S FANTASY INN - THE "JUNGLE" ROOM</stage_direction>
<scene_description>Lance and Mary's room is thick with fake jungle foliage. Jungle noises play. The headboard of the bed is an exotic fish aquarium. Lance and Mary lie on the bed. She cradles him like a child.</scene_description>
<character>LANCE</character>
<dialogue>I've just never felt this way about anyone before. I think I'm falling--</dialogue>
<scene_description>She kisses him.</scene_description>
<character>MARY</character>
<dialogue>Lance, I can't. It doesn't work that way. If I don't go back, I'll be shunned. I'd never see my family again.</dialogue>
<character>LANCE</character>
<dialogue>This Amish thing is a real motherfucker.</dialogue>
<character>MARY</character>
<dialogue>Tell me about it.</dialogue>
</scene>
<scene>
<stage_direction>EXT. CITY PARK - NIGHT</stage_direction>
<scene_description>Ian and Tasty lie on the grass, next to the Judge. They look up at the stars, using the foam Donut costume as a pillow.</scene_description>
<character>IAN</character>
<dialogue>I don't get it. Why would a girl like you be meeting people on the internet? I mean, you could have any guy you wanted.</dialogue>
<character>MS. TASTY</character>
<dialogue>I've had some mighty bad luck when it comes to guys.</dialogue>
<scene_description>Script provided for educational purposes. More scripts can be found here: http://www.sellingyourscreenplay.com/library</scene_description>
<character>MS. TASTY</character>
<dialogue>Dated a lot of greaseballs. I decided I wanted to communicate with someone, before... Well, before this.</dialogue>
<scene_description>She kisses him. Ian's eyes remain wide open as they kiss. Pan over to the Judge. The windows are rolled down and Felicia is peeking out from the back seat.</scene_description>
<character>MS. TASTY</character>
<parenthetical>(whispers)</parenthetical>
<dialogue>Ian, why don't you take your clothes off.</dialogue>
<character>IAN</character>
<dialogue>Really?</dialogue>
<scene_description>She sits up and removes her shirt, revealing her terrifyingly perfect breasts. In the car, Felicia glances down at her own flatter chest. Ian sits up, facing Tasty. He maintains hard, deliberate eye- contact. She giggles.</scene_description>
<character>MS. TASTY</character>
<dialogue>Ian, you can look if you like.</dialogue>
<scene_description>Ian looks down. After a beat, he takes his out glasses and puts them on. Now he can't look away. She gently pushes him backward, climbs over him on all fours and tugs at his pants. His phone falls out. He picks it up and the screen lights up with the photo of Felicia by the shoe tree. Ian looks at it, swallows hard and stuffs the phone back in his pocket.</scene_description>
<character>IAN</character>
<dialogue>Wait. Listen, I, um...I have to confess something.</dialogue>
<scene_description>She stops and looks at him.</scene_description>
<character>IAN</character>
<dialogue>I don't play football.</dialogue>
<scene_description>This makes Felicia smile and Tasty laugh.</scene_description>
<character>MS. TASTY</character>
<dialogue>Okay. I appreciate your honesty.</dialogue>
<scene_description>She continues tugging at his pants.</scene_description>
<character>IAN</character>
<dialogue>No, seriously. I don't even really watch football.</dialogue>
<scene_description>Script provided for educational purposes. More scripts can be found here: http://www.sellingyourscreenplay.com/library</scene_description>
<character>IAN</character>
<dialogue>I got all that stuff from Friday Night Lights. I'm not even in college yet.</dialogue>
<character>MS. TASTY</character>
<dialogue>Ian. What do you think? Everything on my profile is the god's honest truth? Now, come on, take your clothes off.</dialogue>
<scene_description>She tries to take his shirt off. Again, he stops her.</scene_description>
<character>IAN</character>
<dialogue>Wait. There's something else. Okay, there's this girl and we--</dialogue>
<character>MS. TASTY</character>
<dialogue>Ian. I have a boyfriend. This can be our little secret.</dialogue>
<character>IAN</character>
<dialogue>Well, no. The thing is. I think I might be in love with her...</dialogue>
<scene_description>Tasty sits back down in the grass and releases an annoyed sigh. Felicia is now tearing up through a giddy smile.</scene_description>
<character>IAN</character>
<dialogue>...and I know it's stupid, right? She probably won't ever even--</dialogue>
<character>MS. TASTY</character>
<dialogue>Ian. Just shut up and take your god damned clothes off. Jesus.</dialogue>
<character>IAN</character>
<dialogue>I'm sorry.</dialogue>
<character>DEEP MAN VOICE (O.S.)</character>
<dialogue>You heard the lady - strip.</dialogue>
<scene_description>Ian turns to see BOBBY JO, a huge, burly biker type, standing over him with a gun pointed at Ian's head. CUT TO:</scene_description>
</scene>
<scene>
<stage_direction>EXT. CITY PARK - MOMENTS LATER</stage_direction>
<scene_description>Bobby Jo climbs behind the wheel of the Judge. Tasty carries Ian's clothes into the passenger side. She slams the door and calls back to Ian, who now stands naked, balls-in-hands. Script provided for educational purposes. More scripts can be found here: http://www.sellingyourscreenplay.com/library</scene_description>
<character>MS. TASTY</character>
<dialogue>You were right, Ian. Sixty Nine Judge - You were worth the wait.</dialogue>
<character>IAN</character>
<dialogue>Please, no! It's not even my car!</dialogue>
<character>MS. TASTY</character>
<dialogue>Good luck with your ladyfriend!</dialogue>
<scene_description>They peel away, Ian sees Felicia's terrified face pop up from the back seat.</scene_description>
<character>IAN</character>
<dialogue>Felicia! Oh, shit! Oh, shit!</dialogue>
</scene>
<scene>
<stage_direction>INT. THE JUDGE - MOMENTS LATER</stage_direction>
<scene_description>Bobby Jo drives as Ms. Tasty grinds on him in the front seat.</scene_description>
<character>MS. TASTY</character>
<dialogue>Bobby Jo Calhoun, you were so awesome back there! God damn sixty nine Judge. I love you so much, baby. Now listen, I got me another car coming in any minute so drop me back to the Shakey's and get this Goat over to Luis. Remember he's on fifth and Crescent. Don't mess it up this time!</dialogue>
<scene_description>Meanwhile, Felicia is lying in the back seat, furiously texting on her phone.</scene_description>
</scene>
<scene>
<stage_direction>INT. HARLAN'S FANTASY INN - THE "JUNGLE" ROOM</stage_direction>
<scene_description>Lance's phone sits on the night stand, blinking a text message that goes unseen as Lance and Mary are having sex. She's getting crazy on top. Lance is in heaven.</scene_description>
<character>LANCE</character>
<dialogue>I'm banging an Amish chick. I mean, what are the odds?</dialogue>
</scene>
<scene>
<stage_direction>EXT. SHAKEY'S PARKING LOT - NIGHT</stage_direction>
<scene_description>The Judge pulls into the lot. Tasty jumps out just in time to greet a car that's pulling in - THE PIMPED OUT HONDA. She trots over to it. Script provided for educational purposes. More scripts can be found here: http://www.sellingyourscreenplay.com/library</scene_description>
<character>MS. TASTY</character>
<dialogue>Hey, boys! You finally made it!</dialogue>
<scene_description>The window lowers revealing ANDY & RANDY!</scene_description>
<character>ANDY</character>
<dialogue>You Ms. Tasty?</dialogue>
<character>RANDY</character>
<dialogue>Damn, you're hot as fuck.</dialogue>
<character>ANDY</character>
<dialogue>We got beers and rubbers.</dialogue>
<character>RANDY</character>
<dialogue>And some lotion for your tits.</dialogue>
</scene>
<scene>
<stage_direction>INT. THE JUDGE</stage_direction>
<scene_description>Bobby Jo is about to pull away when he hears a beeping sound. He looks around, then rifles through Ian's clothes. He pulls out Ian's phone. A text message is flashing: "Ian! I'm in the back seat! Help!" Bobby Jo looks over the seat to see Felicia lying on the floor. She gives him a sheepish wave.</scene_description>
<character>BOBBY JO</character>
<dialogue>What the hell?</dialogue>
</scene>
<scene>
<stage_direction>EXT. SHAKEY'S PARKING LOT - HONDA</stage_direction>
<scene_description>Tasty is talking to Andy & Randy, who are now far more timid.</scene_description>
<character>ANDY</character>
<dialogue>So, wait. You do wanna party?</dialogue>
<character>RANDY</character>
<dialogue>With us?</dialogue>
<character>MS. TASTY</character>
<dialogue>Oh, yeah. I want us all to get naked and party.</dialogue>
<scene_description>Andy & Randy exchange innocent, worried looks. This is not the reply they are used to. Andy looks away and zips up his hoodie as far as it will go. Randy also diverts his eyes as he subtly reaches up to lock the door. Ms. Tasty looks down at the locked door button, confused. CRASH!!! In the background, the Judge is rocked as it is T- boned on the passenger side by a huge, jacked-up pick-up. Tasty spins around, "What the hell?" Andy and Randy raise the windows behind her. Script provided for educational purposes. More scripts can be found here: http://www.sellingyourscreenplay.com/library</scene_description>
</scene>
<scene>
<stage_direction>INT. HARLAN'S FANTASY INN - THE "BLAZE" ROOM</stage_direction>
<scene_description>Rex heard the noise. He looks out the window.</scene_description>
<character>REX</character>
<dialogue>Holy fuckballs!</dialogue>
</scene>
<scene>
<stage_direction>EXT. SHAKEY'S PARKING LOT</stage_direction>
<scene_description>A big hillbilly climbs out of the truck - it's Rick! (Brandy's boyfriend from the cornfield.)</scene_description>
<character>RICK</character>
<dialogue>Get your ass out of the car you motherfuckin'...motherfucker!</dialogue>
<scene_description>Bobby Jo climbs out of the Judge. Rick takes a step back.</scene_description>
<character>RICK</character>
<dialogue>Whoa. Who the fuck are you, man!?</dialogue>
<scene_description>Bobby Jo crosses to assess the damage. He speaks in a low, laid back and almost polite southern drawl.</scene_description>
<character>BOBBY JO</character>
<dialogue>God damn it.</dialogue>
<character>RICK</character>
<dialogue>Oh, shit. My bad. I thought you were someone else. Well, I wouldn't worry about it. A little Bondo will take care that.</dialogue>
<scene_description>Bobby Jo gives Rick's truck the once over.</scene_description>
<character>BOBBY JO</character>
<dialogue>Well, you done fouled up my ride, so I guess I'll be taking yours.</dialogue>
<character>RICK</character>
<dialogue>Fuck that shit.</dialogue>
<scene_description>Bobby Jo raises his gun to Rick's face. Rick tosses the keys.</scene_description>
<character>RICK</character>
<dialogue>It's three on the tree and the clutch sticks.</dialogue>
<scene_description>Rex runs into the scene. Bobby Jo points the gun at him but Rex doesn't even notice. He rushes to the Judge and strokes it like an injured child. Script provided for educational purposes. More scripts can be found here: http://www.sellingyourscreenplay.com/library</scene_description>
<character>BOBBY JO</character>
<dialogue>Take a step back, boy.</dialogue>
<scene_description>Rex turns. No fear. He steps to Bobby Jo.</scene_description>
<character>REX</character>
<dialogue>Bite my dick, asswipe.</dialogue>
<scene_description>CRACK! Bobby Jo pistol whips Rex, who goes down hard.</scene_description>
<character>REX</character>
<dialogue>Aahhgg! Jesus Christ! What'd you do that for, man!?</dialogue>
<scene_description>Lance then rounds the corner, stops cold and goes wide-eyed at the crazy scene.</scene_description>
<character>RICK</character>
<dialogue>That's the sum-bitch I was looking for!</dialogue>
<character>LANCE</character>
<parenthetical>(shitting bricks)</parenthetical>
<dialogue>Rick. Rickster. How'd you find us?</dialogue>
<scene_description>Rick takes out the Google maps and whips them at Lance. Rex, still on the ground, calls out to Lance.</scene_description>
<character>REX</character>
<dialogue>Lance!? What's going on here, faggot!?</dialogue>
<character>LANCE</character>
<dialogue>I have absolutely no idea.</dialogue>
<scene_description>Ms. Tasty looks on, trying to decide whether she should engage in the situation. Something gets her attention - Felicia is sneaking out of the back seat. Tasty has had enough of this mess.</scene_description>
<character>MS. TASTY</character>
<dialogue>Bobby Jo! Who the hell is that!?</dialogue>
<character>BOBBY JO</character>
<dialogue>Oh, yeah. That's Felicia. Turns out she was hiding out in the back.</dialogue>
<character>MS. TASTY</character>
<dialogue>Well shit, boy! Then she heard everything! Hello!</dialogue>
<scene_description>Script provided for educational purposes. More scripts can be found here: http://www.sellingyourscreenplay.com/library</scene_description>
<character>BOBBY JO</character>
<dialogue>Damn it. You're right. Come here darlin'.</dialogue>
<scene_description>Felicia tries to bolt but Bobby Jo grabs her by the hair and pulls her back kicking and screaming toward the truck.</scene_description>
<character>IAN (O.S.)</character>
<dialogue>Take your hands off her!</dialogue>
<scene_description>Bobby Jo looks around. Nobody. He turns just in time to see Señor Donut diving through the air. Bobby Jo raises his hands. Ian crashes into him. The gun falls, bounces off the pavement and discharges, taking out Andy & Randy's windshield. They bail out. Everyone hits the deck. Bobby Jo looks up to see that the gun is now at Ian's feet. Ian is struggling to bend down for it. Bobby Jo goes after it but Ian beats him to it and levels the gun at Bobby Jo.</scene_description>
<character>IAN</character>
<parenthetical>(working the mouth)</parenthetical>
<dialogue>Everybody get back! Get back, man!</dialogue>
<scene_description>Bobby Jo stands and backs up.</scene_description>
<character>IAN</character>
<parenthetical>(working the mouth)</parenthetical>
<dialogue>Okay! Good! Everybody just be cool! Tasty! Get over there!</dialogue>
<character>LANCE</character>
<dialogue>Ian, you're working the mouth.</dialogue>
<character>IAN</character>
<parenthetical>(working the mouth)</parenthetical>
<dialogue>I don't care! Felicia, are you okay!?</dialogue>
<scene_description>Felicia nods. A phone rings. Everyone looks around. Bobby Jo's shirt pocket is glowing.</scene_description>
<character>IAN</character>
<dialogue>My phone! Answer it! Now!</dialogue>
<character>RICK</character>
<dialogue>You best do what he says. That donut ain't fuckin' around.</dialogue>
<character>BOBBY JO</character>
<parenthetical>(answering)</parenthetical>
<dialogue>Hello? Um yes, sir... I believe he's right here...</dialogue>
<scene_description>Script provided for educational purposes. More scripts can be found here: http://www.sellingyourscreenplay.com/library</scene_description>
<character>BOBBY JO</character>
<dialogue>Um, I believe he's wearing it now... Yes, sir, a cruller pert near four foot 'round.</dialogue>
<character>IAN</character>
<dialogue>Is that Ron?</dialogue>
<character>BOBBY JO</character>
<dialogue>Yes, sir and he sounds mighty ticked. Why don't I just put y'all on speaker.</dialogue>
<scene_description>Bobby Jo holds up the phone.</scene_description>
<character>RON (V.O.)</character>
<dialogue>Ian? Listen chief, I need my costume back, toot-sweet.</dialogue>
<character>IAN</character>
<dialogue>Ron, I'll be in on Tuesday.</dialogue>
<character>RON</character>
<dialogue>Not gonna cut it, Ian. Bring it back first thing in the morning or you're fired.</dialogue>
<character>IAN</character>
<parenthetical>(working the mouth again)</parenthetical>
<dialogue>I'm fired? I'm the best employee you got! I stay late all the time, I cover for you when you have your D & D tournaments, I'm the only one who knows how to fix the register spool! Fuck you! I dare you to fire me!</dialogue>
<scene_description>Rex and Lance exchange a glance - they're impressed.</scene_description>
<character>RON</character>
<dialogue>Okay. Don't get all testy. I was just horsing around. Just bring 'er in when you can, amigo.</dialogue>
<character>IAN</character>
<dialogue>Hang it up! (Bobby Jo does) Okay! Here's what's gonna happen! Rex! You're gonna get the Judge outta here! Rick! You can punch Lance but just once.</dialogue>
<character>LANCE</character>
<dialogue>What the fuck, dude?</dialogue>
<scene_description>Script provided for educational purposes. More scripts can be found here: http://www.sellingyourscreenplay.com/library</scene_description>
<character>IAN</character>
<dialogue>You nailed his girlfriend!</dialogue>
<character>LANCE</character>
<dialogue>Not exactly. But okay. Fair enough. Not in the nuts, okay?</dialogue>
<scene_description>WHAP! Rick punches Lance in the head. Lance goes back but not down. He holds himself up with his hands on his knees.</scene_description>
<character>LANCE</character>
<dialogue>Holy god. Good punch.</dialogue>
<character>IAN</character>
<dialogue>Now get in your truck and get out of here!</dialogue>
<character>RICK</character>
<dialogue>He's got my keys.</dialogue>
<character>IAN</character>
<dialogue>Give him his fuckin' keys!</dialogue>
<scene_description>Bobby Jo walks toward Ian.</scene_description>
<character>BOBBY JO</character>
<dialogue>You ain't gonna kill nobody.</dialogue>
<character>REX</character>
<dialogue>Smoke that cocksucker, Ian!</dialogue>
<character>IAN</character>
<dialogue>Stop! I'm serious!</dialogue>
<character>BOBBY JO</character>
<dialogue>I bet you don't even know how shoot that thing.</dialogue>
<scene_description>Ian fires the gun in the air. Bobby Jo stops.</scene_description>
<character>BOBBY JO</character>
<dialogue>Okay. But anybody can shoot a gun in the air.</dialogue>
<scene_description>Bobby Jo keeps coming.</scene_description>
<character>IAN</character>
<dialogue>I'll shoot you in the leg!</dialogue>
<character>BOBBY JO</character>
<dialogue>I don't think so.</dialogue>
<scene_description>BANG! Ian shoots him in the leg. Bobby Jo writhes in pain. Script provided for educational purposes. More scripts can be found here: http://www.sellingyourscreenplay.com/library</scene_description>
<character>BOBBY JO</character>
<parenthetical>(wincing)</parenthetical>
<dialogue>Okay! Okay! But anybody can shoot someone in the leg.</dialogue>
<scene_description>Bobby Jo limps toward Ian.</scene_description>
<character>IAN</character>
<dialogue>Jesus, man! What do I gotta do?</dialogue>
<scene_description>Suddenly, a squad car slides sideways into the parking lot. Mary is in the back seat. Another squad car pulls in behind it. Ms. Tasty makes a break for it. She passes Andy & Randy. Andy trips her and she eats shit. A tall, thin cop grabs her and handcuffs her. A fat, dim cop leaps out of the first car, pumps his rifle and aims it over his hood at Ian.</scene_description>
<character>FAT COP</character>
<dialogue>Drop the weapon, donut man!</dialogue>
<scene_description>Ian drops the gun. Everyone flinches but it doesn't go off again.</scene_description>
<character>FAT COP</character>
<dialogue>Okay! Hands on your head!</dialogue>
<scene_description>Ian puts his right hand on Señor Donut's head.</scene_description>
<character>FAT COP</character>
<dialogue>Both hands, asshole!</dialogue>
<character>IAN</character>
<dialogue>I can't move the other arm!</dialogue>
<character>FAT COP</character>
<dialogue>Who said that!?</dialogue>
<character>IAN</character>
<parenthetical>(working the mouth)</parenthetical>
<dialogue>I can't move the other arm!</dialogue>
<scene_description>His partner covers everyone else as the fat cop cautiously crosses toward Ian. When he reaches him, he whips out a stun gun and zaps Ian but he's protected by the foam donut.</scene_description>
<character>IAN</character>
<parenthetical>(working the mouth)</parenthetical>
<dialogue>Okay! I'm not resisting!</dialogue>
<scene_description>The cop zaps him again, then sprays pepper spray into the plastic eyes on top. It splashes back at the cop, who covers his eyes and falls backward. Script provided for educational purposes. More scripts can be found here: http://www.sellingyourscreenplay.com/library</scene_description>
<character>FAT COP</character>
<dialogue>The big Mexican won't go down! Take your shot!</dialogue>
<scene_description>BLAM! The other cop fires at Ian, blowing off his fake arm. Felicia runs to stand in front of him.</scene_description>
<character>FELICIA</character>
<dialogue>Jesus Christ! He's not the bad guy here! She's the car thief!</dialogue>
<scene_description>The cop looks at Ms. Tasty.</scene_description>
<character>THIN COP</character>
<dialogue>Say Dan. Ain't she the perp from the FBI bulletin? The one who's stealing cars with her computer.</dialogue>
<scene_description>The fat cop squints up at her.</scene_description>
<character>FAT COP</character>
<dialogue>Shit the tub.</dialogue>
</scene>
<scene>
<stage_direction>EXT. SHAKEY'S PARKING LOT - LATER</stage_direction>
<scene_description>A few more squad cars are there. Ms. Tasty and Bobby Jo are being read their rights while a medic bandages up Bobby Jo's leg. Felicia gives an eyewitness report to a cop.</scene_description>
<character>FELICIA</character>
<dialogue>...and there's some guy named Luis who was waiting for them at Fifth and Crescent...</dialogue>
<scene_description>Andy and Randy are being interviewed by a hot blonde news reporter.</scene_description>
<character>REPORTER</character>
<dialogue>I understand you gentlemen got a good look at the perpetrators.</dialogue>
<character>ANDY</character>
<dialogue>We got more than a good look.</dialogue>
<character>RANDY</character>
<dialogue>Yeah. We were banging that chick in our car.</dialogue>
<character>ANDY</character>
<dialogue>Totally banging her. Hard.</dialogue>
<scene_description>Script provided for educational purposes. More scripts can be found here: http://www.sellingyourscreenplay.com/library</scene_description>
<character>REPORTER</character>
<dialogue>Alright! Jesus Christ! Shut it down guys. We got any witnesses who aren't retarded!?</dialogue>
<character>CAMERMAN</character>
<dialogue>We're live, Judy.</dialogue>
<character>RANDY</character>
<parenthetical>(to cameraman)</parenthetical>
<dialogue>You bangin' her?</dialogue>
<character>ANDY</character>
<dialogue>We'd totally bang her.</dialogue>
<scene_description>Ian sits on the hood of a squad car, still in the donut suit. Felicia steps up, unzips Ian and helps him get his head out. \*</scene_description>
<character>FELICIA</character>
<dialogue>Thanks for coming for me.</dialogue>
<character>IAN</character>
<dialogue>What were you doing in the back seat?</dialogue>
<character>FELICIA</character>
<dialogue>I don't know.</dialogue>
<character>IAN</character>
<dialogue>You don't know. Jesus. Why can't you just say it?</dialogue>
<character>FELICIA</character>
<dialogue>You first.</dialogue>
<character>IAN</character>
<dialogue>Fine. You love me.</dialogue>
<character>FELICIA</character>
<dialogue>Okay. Well, you love me too then.</dialogue>
<scene_description>He kisses her. Then a longer one. Rex walks by.</scene_description>
<character>REX</character>
<dialogue>Thank god.</dialogue>
<scene_description>DISSOLVE TO:</scene_description>
</scene>
<scene>
<stage_direction>EXT. AMISH BARN - DAY</stage_direction>
<scene_description>Ian, Rex, Lance and Felicia are milking cows. Rex is grossed out. They are all filthy and sweaty. They look like they've been at it a while. Script provided for educational purposes. More scripts can be found here: http://www.sellingyourscreenplay.com/library VROOOM!! They look over to see the Judge being rolled out of the barn. The side damage is as good as new and now there are flames on the side. Rex stands, very pleased. They all run to the car. Ezekiel climbs out and pulls off some extra masking tape around the moulding.</scene_description>
<character>REX</character>
<parenthetical>(to Ian)</parenthetical>
<dialogue>Okay. I guess you get to live.</dialogue>
</scene>
<scene>
<stage_direction>EXT. AMISH BARN - LATER</stage_direction>
<scene_description>Ian and Felicia are in the Judge. Rex kick starts his dirtbike.</scene_description>
<character>REX</character>
<dialogue>Straight home, pussy! And keep your god damn phone on!</dialogue>
<scene_description>Rex takes off. Lance and Mary are kissing near the barn. Ian honks the horn. Lance runs over.</scene_description>
<character>IAN</character>
<dialogue>Dude, we gotta go.</dialogue>
<character>LANCE</character>
<dialogue>You two go ahead. I'm gonna hang here and kick it Amish style.</dialogue>
<character>IAN</character>
<dialogue>What are you talking about?</dialogue>
<character>LANCE</character>
<dialogue>Hard work, fresh air, missionary position - sounds good.</dialogue>
<character>FELICIA</character>
<dialogue>Lance. Give me a break.</dialogue>
<scene_description>Ian sees in Lance's eyes that he's serious. Ian gets out and gives Lance a hug.</scene_description>
<character>LANCE</character>
<dialogue>Now, you two go 'visit grandma.'</dialogue>
<scene_description>Lance walks back to Mary. Ian and Felicia drive off into the summer evening. DISSOLVE TO: Script provided for educational purposes. More scripts can be found here: http://www.sellingyourscreenplay.com/library Close on Ian and Felicia, face to face, nothing but blue sky behind them. She kisses him.</scene_description>
<character>FELICIA</character>
<dialogue>Are you sure you're ready to do this?</dialogue>
<character>IAN</character>
<dialogue>Yeah.</dialogue>
<scene_description>A wide shot reveals that we are along a:</scene_description>
</scene>
<scene>
<stage_direction>EXT. COUNTRY ROAD - SUNSET</stage_direction>
<scene_description>Ian tosses his shoes into the shoe tree. Felicia cheers. They stand and look for a moment more, then walk to the car barefooted. Felicia is fine but Ian is tip-towing and wincing as his tender feet feel every pebble.</scene_description>
</scene>
<scene>
<stage_direction>EXT. COUNTRY HIGHWAY - DUSK</stage_direction>
<scene_description>The Judge rolls down the road. Felicia snuggles up to Ian in the front seat. They look deeply contented.</scene_description>
<character>IAN (V.O.)</character>
<dialogue>A few weeks later, I was Felicia's date to Tiffany's wedding. This time it wasn't a just-friends thing.</dialogue>
<scene_description>Cutaway to Ian and Felicia dancing together at the wedding. He kisses her.</scene_description>
<character>IAN (V.O.)</character>
<dialogue>Tiffany was right, Felicia did ruin all the pictures.</dialogue>
<scene_description>Cutaway to a photo of the wedding party. Zoom in on Felicia. She is smiling but her hand is subtly giving the finger.</scene_description>
<character>IAN (V.O.)</character>
<dialogue>That night, Felicia and I finally 'visited grandma.'</dialogue>
<scene_description>Cutaway to Ian's basement. Felicia's yellow dress is on the floor. They lie together, winded and sweaty, on the old couch. After a beat, she pulls Ian back on top of her.</scene_description>
<character>IAN (V.O.)</character>
<dialogue>...Twice.</dialogue>
<scene_description>Script provided for educational purposes. More scripts can be found here: http://www.sellingyourscreenplay.com/library Track past them and up the stairs. Rex stands at the top. He lights a pack of firecrackers, tosses them down the stairs and laughs his ass off as they pop off.</scene_description>
<character>IAN (V.O.)</character>
<dialogue>Rex did make my life hell for a while. But two years later he finally came out to the family.</dialogue>
<scene_description>Cutaway to thanksgiving dinner. Rex stands and makes a tearful announcement. His mother cries; his father upends the turkey and storms out.</scene_description>
<character>IAN (V.O.)</character>
<dialogue>My parents got used to the idea. And Rex is a actually a pretty great guy these days. Now he only uses the word 'faggot' during sex.</dialogue>
<scene_description>Cutaway to Christmas dinner. Now Rex happily sits next to a handsome man. Mom and Dad smile and hand them a gift. Rex and his boyfriend delight as they unwrap a juicer.</scene_description>
<character>IAN (V.O.)</character>
<dialogue>Let's see. What else. Oh, my dad made Dylan take my old job.</dialogue>
<scene_description>Cutaway to Dylan, working the counter at Senor Donut. Ron is smelling his finger with great interest.</scene_description>
<character>IAN (V.O.)</character>
<dialogue>Andy & Randy finally got a girlfriend.</dialogue>
<scene_description>Cutaway to Andy and Randy with their arms around a slightly heavy young girl. They are gushing with pride.</scene_description>
<character>IAN (V.O.)</character>
<dialogue>...and as for Lance's new simpler life among the Amish...</dialogue>
<scene_description>We return to where we left off, as Ian and Felicia drive away in the Judge. Ian's phone rings. He answers.</scene_description>
<character>IAN</character>
<parenthetical>(into the phone)</parenthetical>
<dialogue>Hello?... What do you mean it's not working out? You've been Amish for forty five minutes!</dialogue>
<scene_description>The Judge turns around and drives back the other way. FADE OUT.: Script provided for educational purposes. More scripts can be found here: http://www.sellingyourscreenplay.com/library THE END Script provided for educational purposes. More scripts can be found here: http://www.sellingyourscreenplay.com/library</scene_description>
</scene>
</script>
|
The Sex Drive Screenplay by Sean Anders
&
John Morris
(FIRST DRAFT)
(first revision)
7.23.2007
Based on "All The Way"
By Andy Behrens Script provided for educational purposes. More scripts can be found here: http://www.sellingyourscreenplay.com/library
INT. MASSIVE RAVE - NIGHT
Techno music thumps as we snake through a crowded party. All we see are people and lights. Everyone is either dancing, talking or making out. Arrive behind a petit brunette with a body that has precipitated many a boner. MS. TASTY turns revealing a sweet, stunning twenty-year-old smile.
MS. TASTY
Ian! Hey, sweetie! (Strikes a sexy pose) So? What do you think?
Reverse to show who she's posing for, but IAN is silhouetted, backlit by disco lights. He speaks with smug confidence.
IAN
Not bad. I've seen better, but you make it work.
She's not put off by the back-handed compliment. On the contrary, it seems to make her try harder.
MS. TASTY
Jerk. So when do I get to check out your big, sexy bod? L-O-L!
Her face rotates unnaturally ninety degrees on it's side and winks ;) Pull back hard to reveal thousands, maybe millions of people at this party. The heads become pixels on Ms. Tasty's MySpace page on a computer in:
INT. IAN'S BEDROOM - NIGHT
The real Ian lies in bed with his laptop, wearing a Darth Vader t-shirt, Chicago Cubs pajama bottoms and reading glasses. He's eighteen but could pass for sixteen. He's a sweet kid with the kind of thoughtful, approachable face you might seek when in need of directions. Close on her words on the screen: "JERK. SO WHEN DO I GET TO CHECK OUT YOUR BIG, SEXY BOD? L-O-L!" Ian lets out a nervous giggle. He types his reply, "IT'S NOT REALLY THAT SEXY." He stops and deletes that.
IAN
(whispering to himself)
God. Don't be a dork. Act cool. Be a dick. Just be a dick.
He retypes, "DAMN, UR SO PUSHY. I'LL UPLOAD MY PIC IN A SEC." MAIN TITLES OVER: Script provided for educational purposes. More scripts can be found here: http://www.sellingyourscreenplay.com/library Ian opens a picture of himself in PhotoShop. He borrows some facial hair from a photo of Brad Pitt and places it on his own face. He opens a folder called "Family Pics," then a subfolder titled, "REX." He opens a picture of a cocky tough guy leaning against a shiny orange 1969 GTO Judge. Ian places his own head on the tough guy's body. As he does this work, we get a look at the room, which is divided by a line of electrical tape running down the wall marked, "DYLAN'S SIDE - IAN KEEP OUT!!!" Ian's side is neat and sparsely decorated with a few band posters and some Lord of the Rings merch. The other side of the room is cluttered and decorated with extreme sports and bikini girl posters. Several motocross and snowboarding trophies are proudly displayed. Ian's brother DYLAN (14) sleeps in a twin bed. His Tiger Beat face even looks confident while asleep. A clock reads 12:21 a.m. END TITLES Ian clicks "Upload Pic" and we return to the:
INT. MYSPACE CYBER RAVE
Now some of Ms. Tasty's MySpace bio stats float in the air next to her: "MsTasty, 5' 5" / Age:20 / Home: Knoxville, TN / Here For: Friends / Occupation: College Student / Interests: Cars, Bikes, Music, Horses, Football and Mad Partying!!!" Ian materializes next to her, now with the cool facial hair and leaning against the car. Before Tasty even turns to see him, LANCE materializes out of thin air, landing between them. Lance is eighteen, good looking, built and dressed cool.
LANCE
Ian? Dude. What's with this picture!? Holy shit, that's funny!
Next to Lance, FELICIA materializes. Also eighteen, she's a \* petit, pretty girl with her own unique, artsy look and a \* definite edge on her attitude. \*
FELICIA
Oh my god, Ian. That's hilarious!
IAN
Yeah. Funny, right? Just a joke. Can't talk right now though.
Ian is antsy, trying to see past them to Tasty. Tasty remains oblivious to this entire exchange. Script provided for educational purposes. More scripts can be found here: http://www.sellingyourscreenplay.com/library
FELICIA \*
Wait! Emergency. My evil bitch \* cousin is staying with us this \* weekend, doing a bunch of wedding \* prep crap. \*
LANCE
Your hot cousin?
FELICIA
She's the Antichrist, Lance.
IAN
She's still hot.
FELICIA
Well, I NEED to get out.
IAN
We can hang at my house. The whole family is taking Dylan to his moto- cross nationals this weekend.
FELICIA
Sweet! You rock.
IAN
Thanks. Now I gotta go.
LANCE
Dude, you working tom--
Ian waves a hand at Lance and Felicia. They each disappear with a click. Finally Ian can see Ms. Tasty again.
IAN
So, Tasty. Feast your eyes, sugar biscuit.
INTERCUT - IAN'S BEDROOM / MYSPACE CYBER RAVE Back in reality, Ian slaps his own head.
IAN
Sugar biscuit? You idiot.
Back in cyberspace, Tasty looks over at Ian and his car.
MS. TASTY
Nice. O.M.G. Your car is sick!
IAN
Sixty-nine GTO Judge.
Script provided for educational purposes. More scripts can be found here: http://www.sellingyourscreenplay.com/library
MS. TASTY
(dirty smile)
Mmmm. I love sixty-nines.
Back in his bedroom, Ian is stunned. He stands and nervously paces, muttering to himself. He takes off his glasses.
IAN
Whoa. Sixty-nines; she likes those. Okay, don't puss out. Be a dick
Back in cyberspace, Ian continues to act cool.
IAN
Whatever. I gotta blow. Coach's got us running two-a-days. Peace.
Ian disappears - to Tasty's great disappointment.
INT. IAN'S BEDROOM
Ian stares at her picture and her last line, "I LUV 69's." He checks that Dylan is sleeping. He grabs a roll of toilet paper from under his bed. He reaches into his pajama pants.
DYLAN (O.S.)
Are you spankin' it over there!
Ian stops.
IAN
No! I was just scratching my leg. It's itchy...this blanket.
INT. IAN'S HOUSE - HALLWAY - MORNING
Ian wanders groggily out of his room. He opens the bathroom door but stops cold with the door open only three inches. His eyes go like saucers - he's now wide awake. Ian's POV through the door: A gorgeous, naked woman is bent over and towelling off her hair. Ian watches with nervous curiosity. She turns toward him but the towel covers her face. As she rubs the towel on her head, her boobs jiggle. Ian is in a trance until...
WOMAN'S VOICE (O.S.)
Ian!?
Ian turns to see that his parents are standing at the end of the hall and looking his way. Script provided for educational purposes. More scripts can be found here: http://www.sellingyourscreenplay.com/library
IAN'S FATHER
Were you just peeping on your sister?
The girl screams and the bathroom door slams shut.
IAN
No! I was just gonna use the...
His father raises an eyebrow as if to say, "Well, what about that?" A wider shot of Ian reveals that he has pitched an unmistakable tent in his pajama pants.
IAN'S FATHER
Alright! Family meeting!
INT. IAN'S HOUSE - DINING ROOM - MOMENTS LATER
Ian's Father, STEPMOTHER and brother Dylan sit at the table. Also at the table is REX, Ian's older brother from the photo. He's a twenty-four-year-old big lug whose thinning hair is highlighted and spiky. Next to him is JESSICA, the hot girl from the shower. She's about twenty and wearing a pink baby- doll T printed with sorority symbols. She talks on her cell as Ian arrives at the table.
JESSICA
(into her phone)
No, I gotta go. My new stepbrother was spying on me in the shower and playing with himself or something. ...Yeah, I'll call you after.
Ian timidly sits. His father sends a stern look his way.
IAN'S FATHER
Listen, mister--
IAN'S STEPMOTHER
(interrupting sweetly)
Ian. You and your brothers have made me feel so welcome in your family. And now that Jessica is home from Princeton, I hope you'll be able to see her as your sister.
IAN
No. I do. I just--
REX
You don't look at your sister and pop a stiffy, Ian. That is NOT normal.
Script provided for educational purposes. More scripts can be found here: http://www.sellingyourscreenplay.com/library
IAN'S STEPMOTHER
Rex, please. Let's just all do our best to respect one another's privacy. Okay, honey?
IAN'S FATHER
Now apologize to Jessica.
IAN
Um....I'm sorry.
IAN'S FATHER
For what?
IAN
I'm sorry for...seeing you naked.
IAN'S FATHER
And?
IAN
Um...and getting a...um...
IAN'S FATHER
That's it. You're grounded, bub.
IAN
What!?
REX
I gotta go. If you fags want a ride, you better hustle up.
We track out the window and across the street to:
INT. FELICIA'S HOUSE
A modest but nice suburban home. Felicia is coming down the stairs. She wears a black t-shirt that reads, "I'm begging you to shut up." She stops when she hears voices. She peers around the corner into the dining room. Her MOTHER sits at the kitchen table with AUNT CAROL. Standing on the other side of the table is TIFFANY, a blonde Brittany Spears type about Felicia's age. Tiffany is arranging some Barbie & Ken dolls in a make-believe wedding ceremony.
TIFFANY
I don't know. Maybe just six bridesmaids?
Tiffany removes a black-haired Barbie from the line-up. From her perch, Felicia enthusiastically nods her agreement. Script provided for educational purposes. More scripts can be found here: http://www.sellingyourscreenplay.com/library
AUNT CAROL
Sweetie, marriage is about family. Felicia's your cousin.
TIFFANY
I know. But she never smiles. She'll ruin all the pictures.
FELICIA
(whispering to herself)
She's right, I will. Listen to her. She's making some solid points.
FELICIA'S MOTHER
Don't worry, dear. I'll speak to Felicia.
Felicia tip-toes down the steps and sneaks out the front door. She nearly makes it out when her mother spots her.
FELICIA'S MOTHER
Hon? Come say hi to your cousin and your Aunt Carol.
Felicia hangs her head, sighs and goes back inside. We pull away and cross the street again to the home next to Ian's.
INT. LANCE'S HOUSE - KITCHEN
We find Lance at the breakfast table working on a bowl of Count Chocula. LANCE'S FATHER enters, talking on his cell phone. He's dressed a little too cool for his age.
LANCE'S FATHER
Judy! What do you want from me? The boy's eighteen now. These aren't my problems anymore. Hello?
He looks at the phone. Obviously she hung up. He grabs a bowl, sits down and pours himself some cereal.
LANCE'S FATHER
Your mom's still batshit crazy.
Lance shakes his head, eating and reading Maxim.
LANCE'S FATHER
Oh, what, she never trash talks me?
LANCE
Actually, she doesn't. Ever.
Script provided for educational purposes. More scripts can be found here: http://www.sellingyourscreenplay.com/library
LANCE'S FATHER
Well, in any case, take my advice, chief, never get married. Just an endless parade of nonsense. And for god's sake always wear a rubber. Jesus H.
Lance walks out, taking the comment personally.
LANCE'S FATHER
Oh, come on, pal, I didn't mean it that way!
EXT. SUBURBAN ROAD - MORNING
Cue: "Let's Get it Up" by AC/DC. THE JUDGE (the shiny orange 69 Pontiac GTO from Ian's photo) now rumbles aggressively through the Chicago suburbs.
INT. THE JUDGE
Rex drives and sings loudly. Dylan rides shotgun. Ian sits in back; he's now dressed in a purple polo and visor, embroidered with a "Señor Donut" logo. Rex turns the radio down.
REX
Ian - question. And I want a straight answer. You queer?
IAN
What?
REX
God damn it! I knew it!
IAN
I didn't say anything!
REX
Exactly. When someone asks if you're a pole-smoker, you deny it right off. No pause! No fartin' around! Jesus, Ian!
IAN
Rex, I'm not gay.
DYLAN
You're eighteen and you ain't even had one girlfriend.
Script provided for educational purposes. More scripts can be found here: http://www.sellingyourscreenplay.com/library
REX
That's how people wind up getting gay, ya know.
IAN
I don't think that's really how it happens. But anyway, I'm not gay.
DYLAN
Well, Dad thinks you're are.
IAN
What!?
REX
You're breaking the old man's heart.
IAN
Look, there's this girl I've been kinda getting to know on MySpace.
REX
MySpace? Oh, for fuck's sake! Don't you watch Dateline? She's probably a guy, Ian! Some fat old dude who wants to pound you up the tailpipe!
EXT. MALL PARKING LOT
The Judge stops and Ian climbs out.
REX
Have fun at work. Try not to come home any gayer than you are now.
INT. MALL FOOD COURT - SEÑOR DONUT
RON is prepping the donut shop for another day. He's a \* middle-aged man in a tight button-up manager's shirt that \* shows off his gut. Ian enters the store. \*
RON
(sarcastic)
Ian! So good of you to bless me with your presence. Gee, I hope I'm not putting you out.
IAN
Sorry, Ron. My brother drove and... It's only eight oh-three.
Script provided for educational purposes. More scripts can be found here: http://www.sellingyourscreenplay.com/library
RON
Oh-three. Oh-three, huh? Yeah. That's not gonna cut the cheese around here, captain. At Señor Donut we plan to be ten minutes early. That way if we miss it by an oh three, we're still early by an oh-six. Comprendé?
IAN
Right. Sorry.
Ian puts on an apron and begins prepping the counter. Cue "Got You Where I Want You" by the Flys as several lovely female mall employees arrive and walk by in slow motion. Ian sneaks longing looks at each of them. Several quick close up shots of hair, smiles, exposed thongs and the impressions of bras and hard nipples through tight shirts. Finally a cute, detached girl about Ian's age shows up wearing the same Señor Donut uniform and looking tired. Ian gives her a friendly smile. She doesn't return the favor.
IAN
Hey, Becca.
BECCA
Hey. Hey, Ron. Sorry I'm late.
RON
No worries, girlfriend.
Ian gives Ron a "what the fuck?" look.
RON
(lascivious)
Looks like you had a long, nasty night. Ron and Ian want the four- one-uno.
BECCA
Whatever. You guys are gross.
IAN
I'm not gross. I didn't say anything.
Becca rolls her eyes and goes into the back.
INT. SEÑOR DONUT - BACK ROOM
Becca is taking a huge foam Señor Donut mascot costume out of a box. Ian comes in to get a bag of powdered sugar. Script provided for educational purposes. More scripts can be found here: http://www.sellingyourscreenplay.com/library
BECCA
(holding up the suit)
Ian?
IAN
No way, Becca. I did coupon rounds yesterday.
BECCA
(hugging him)
Oh, Ian. Come on. You'd so be my hero. I'd love you so, so much.
INT. MALL FOOD COURT - DAY
A giant foam donut walks through the food court, handing out coupons. Señor Donut wears a small sombrero, black tights and a purple cape. Ian's right arm sticks out of the suit. The left arm is fake as Ian's real left arm is kept inside the suit to operate the mouth. (Like the Big Bird suit.) He tries to hand out coupons but he's a soft, timid sell.
IAN
Hi. Would you like a coupon for six free-- No? Okay, cool. Sorry.
Ian turns to find Ron in his way, arms folded.
RON
Hmmm. You don't sound like Señor Donut. You sound more like Mr.-I- don't-take-pride-in-my-job-because- I'm-a-spoiled-suburban-kid-who's- had-everything-handed-to-me-Donut.
IAN
Ron, come on. I suck at doing the voice. Please?
Ron gives Ian a stern look and then points to a woman coming their way. Ian turns to her and in a lame Mexican accent...
IAN
Hola. Theees eeez a coupon for seeex free donuts. Es Mui Bueno!
The woman stares back uncomfortably and then looks to her left. Ian turns to see what she's looking at. A Mexican family is standing nearby and glaring at Ian.
IAN
(normal voice)
I'm sorry. I didn't mean any...
Script provided for educational purposes. More scripts can be found here: http://www.sellingyourscreenplay.com/library The family walks away, offended. Ian sighs.
INT. MALL DRESS SHOP
Felicia steps out of a fitting room, wearing a poofy yellow dress with a huge bow. She looks miserable. Tiffany circles, nodding her approval.
TIFFANY
Oh, my, god. That is sooo cute on you. You could be hot if you quit dressing like so... agro. Now that you're eighteen you should totally be thinking about getting those boobs done too. You know?
Tiff gestures to her own fake boobs, then turns away to flip through a rack of dresses. Felicia mimes plunging a knife into Tiff's back over and over. Tiff turns to look at Felicia, who stops killing her and smiles back innocently.
TIFFANY
You know?
FELICIA
Yeah. Boobs. Good. Made a note.
Felicia notices Señor Donut out in the mall, going up the escalator. He's surrounded by a group of white ten-year-old gang-banger-wannabes. They push Ian and he falls sideways, rolling down to the bottom and out entrance. The kids follow him down.
INT. MALL
Felicia jogs from the shop, holding her dress off the ground. As she arrives, the kids are stomping Ian like a narc.
FELICIA
Aright, piss off, mallrats.
They stop. Their leader steps to Felicia with a precocious swagger. He's a foot shorter than she.
MALLRAT
Yo, banana-ass-lookin' bitch. Y'all ain't gonna roll up on our shit and start bustin' out to-dos.
His friends laugh until Felicia grabs him by the ear and twists until he grimaces in pain. Script provided for educational purposes. More scripts can be found here: http://www.sellingyourscreenplay.com/library
FELICIA
Listen, Trevor or Logan or Cody or whatever the fuck your name is, look at this dress. Do I look like I'm in the mood for your bullshit?
MALLRAT
Owie. Owie.
FELICIA
Yeah, that's right, owie.
She releases him.
FELICIA
And take the god damn price tag off your hat.
She rips the price sticker off the bill of his baseball cap.
MALLRAT
Damn, shorty!
He stands down and tries to maintain his strut as he leads his gang away.
FELICIA
You alright, Ian?
IAN
Yeah. Wow. You look pretty.
FELICIA
Oh, god! Shut up.
Just then, Lance appears next to them.
LANCE
Damn. Tough day for donut boy.
FELICIA
Not a word about the dress. I swear to fucking god.
Ian flounders on the floor, unable to stand.
IAN
A little help?
Felicia and Lance help him up.
IAN
This job sucks so hard.
Script provided for educational purposes. More scripts can be found here: http://www.sellingyourscreenplay.com/library
FELICIA
Ian, why don't you just quit?
IAN
I can't just quit, Felicia. I only got two weeks left to save for college. Tuition's gone up to--
Lance interrupts, pointing to the donut mouth that Ian is flapping as he speaks.
LANCE
Ian, why you gotta do that - work the mouth when you talk to us?
FELICIA
(sarcastic)
You can't fool us, Ian. We know you're not really a big Mexican donut.
IAN
(not working the mouth)
Sorry. Habit. Here, give me a hand with this.
Ian struggles to get his head out of the back of the suit. He sits on a bench. Lance helps. Ian takes a deep breath.
LANCE
So, how's it going with that chick at work?
IAN
Becca. Not that great.
FELICIA
Good. She's totally wrong for you, anyway.
IAN
That's what you say about everyone.
Tiffany waves Felicia back into the store.
FELICIA
I gotta go. Satan calls.
LANCE
Looks like Satan got new titties.
FELICIA \*
So, we're still on for tomorrow? \*
Script provided for educational purposes. More scripts can be found here: http://www.sellingyourscreenplay.com/library
IAN \*
Got the place to myself, I promise. \*
FELICIA \*
Awesome. You always come through \* for me. \*
(leaning in) \* Hey, it won't be weird for you if I \* stay over Saturday? \*
IAN \*
Why would it be weird? \*
SLAM CUT TO: \*:
EXT. HIGH SCHOOL BONFIRE PARTY - NIGHT
TITLE: "FIVE MONTHS AGO" Ian stands alone by the fire. Felicia stumbles over and hugs him. She's a bit drunk.
FELICIA
Ian. Hey, dude. Guess what.
IAN
What?
FELICIA
I have a secret. Girl secret. Can you deal?
IAN
Sure. What do you got?
Felicia is flustered, giggly and uncharacteristically girly.
FELICIA
I...Duh. This is so lame.
IAN
Look at you acting like such a girl. You're creeping me out.
FELICIA
I know. Okay, okay, okay, okay. Here it is. I have a crush on someone. A boy. A guy.
IAN
Really. Wow. Who?
Script provided for educational purposes. More scripts can be found here: http://www.sellingyourscreenplay.com/library
FELICIA
Oh, I bet you know who. You know me better than anyone. So guess.
A look of great understanding comes over Ian's face.
IAN
I think I know.
He nervously leans in for a kiss. Felicia sobers, pulling away. Her face is awash with confusion and pity. Ian has made a terrible mistake. He lamely tries to back-pedal.
IAN
Kidding. Got you.
FELICIA
Ian. You're my best friend. I just don't think we--
IAN
I know. Totally kidding. I mean, "whatever" right? Yeah...
He's not fooling anyone.
IAN
So, who is it? Who's the lucky...
FELICIA
Oh, nobody. I was kidding too.
IAN
Oh. That's funny. I guess.
Pull back, as they stand together in an awkward silence as several kids party around them.
SLAM CUT BACK TO PRESENT: INT. MALL \*
FELICIA \*
Okay, see you guys tomorrow. \*
Felicia trots back to the dress shop. Ian pushes his head \* back into the suit. He and Lance walk through the mall \* together. Ian occasionally hands off a coupon to someone. \*
LANCE \*
So, this Becca chick - you been \* doing like I told you? Being a \* dick? \*
Script provided for educational purposes. More scripts can be found here: http://www.sellingyourscreenplay.com/library
IAN
Yeah, kinda. Kind of a dick.
LANCE
She made you wear the costume again, didn't she? (off Ian's lack of reply) See? Your nice guy thing works for shit. If you'da told her to fuck off, she'd be two knuckles deep, day-dreaming about your bone right now.
A woman with two little kids, glares at them.
IAN
Lance, I'm actually at work. Can we not do this here?
LANCE
I'm just sayin', if you ever want to get laid, you're going to have to quit worrying about what chicks think of you. Look at Andy and Randy over there. Those guys could give a fuck.
Two awkward, dim-faced, badly dressed teenage boys stand outside an arcade. Oblivious to their own lack of appeal, every girl that passes gets hit on.
IAN
Andy and Randy? Those guys are total nards.
LANCE
For real. But pay attention.
A pretty, fresh-faced girl is carrying a box marked, "Holy Cross Children's Fund." She approaches ANDY & RANDY.
CHRISTIAN GIRL
Hi. Would you like to help the underprivileged children?
They converge on her like velociraptors. They both speak in the same, rapid-fire monotone.
ANDY
Not really.
RANDY
You wanna party?
Script provided for educational purposes. More scripts can be found here: http://www.sellingyourscreenplay.com/library
CHRISTIAN GIRL
Um. No. I'm kinda working.
ANDY
When are you done?
RANDY
What are you doing after?
CHRISTIAN GIRL
Um, I have a church thing tonight.
ANDY
Kick ass. We'll come.
RANDY
Yeah, where is it?
ANDY
There gonna be more hot chicks like you there?
Lance and Ian look on.
IAN
So, what? They never get anywhere.
LANCE
That's because they don't know how to close. But their ability to open is god damned heroic. Absolutely no fear of rejection.
Andy and Randy keep up the pressure, following her away.
RANDY
Do you wear thong underpants?
ANDY
You want us to take our shirts off?
INT. SEÑOR DONUT - BACK ROOM - EVENING
Ian, still dressed in the donut suit, hassles with his locker. He breaks off his key. Ron appears in the doorway.
RON
Oh, Ian. What am I going to do with you, laddie? You can wear it home, but take good care of it. That costume costs more than you make in a year.
Script provided for educational purposes. More scripts can be found here: http://www.sellingyourscreenplay.com/library
EXT. MALL - EVENING
Rex pulls up to the curb in the Judge. Ian runs up to the car, still in the donut suit and working the mouth.
IAN
Rex. It's me!
REX
What the fuck is that shit?
IAN
I broke off the key in my locker.
REX
Well I ain't gonna be seen driving around with Señor Numbnut. Stow that shit in the trunk.
Ian pops the trunk and bashfully strips off the costume, leaving him just in his t-shirt and tighty-whities. Several passing shoppers glance over. Ian stuffs the costume in the trunk and dashes for the passenger door. Rex slowly pulls ahead, Ian runs along side. Rex laughs way too hard.
REX
Come on! Get in, fairy!
Ian reaches for the door but Rex stays just far enough ahead. Ian runs faster and opens the door. Before he can jump in, Rex slams on the brakes. Ian bounces off the inside of the door and falls flat on his back in the street.
REX
Ha!!! You suck, Ian!
Ian lies there groaning.
REX
Don't be such a puss! Seriously, quit dickin' around and get in.
EXT. IAN'S HOUSE - EVENING
The Judge pulls into the driveway. Ian gets out. A car pulls in behind him. IT'S BECCA! She climbs out. Ian coyly pulls his shirt down over his grunds. This is awkward.
IAN
Becca. Hey. I didn't know you were coming over. I didn't even know you knew where I lived.
Script provided for educational purposes. More scripts can be found here: http://www.sellingyourscreenplay.com/library
BECCA
Yeah. I do, so...
She looks down at his lack of pants.
IAN
Oh. Funny story. I broke my key--
BECCA
Is Dylan here?
IAN
What? Dylan. My brother Dylan?
BECCA
Yeah. Is he here?
IAN
My fourteen-year-old brother Dylan?
Becca scowls at Ian. Dylan opens the front door and waves to Becca. She sends him a big smile and starts off toward him.
IAN
You know he's fourteen, right?
DYLAN
Nice underpants, Ian! He's probably cooking up a big wicked bacon strip in there.
Becca and Rex laugh.
INT. IAN'S BEDROOM - LATER
Ian is putting on a pair of sweatpants. Dylan and Becca come in, making out.
DYLAN
Ian. Get out of my room!
IAN
It's my room too. You guys can go downstairs.
DYLAN
No way. The couch down there reeks like grandma farts. DAD! Ian's spying on us!
IAN'S FATHER (O.S.)
Ian! Quit being a perv and give your brother some privacy!
Script provided for educational purposes. More scripts can be found here: http://www.sellingyourscreenplay.com/library
INT. IAN'S HOUSE - BASEMENT - MOMENTS LATER
The basement is unfinished. The old mismatched furniture clashes with the shag carpet. Rex's weight bench and punching bag are set up in one corner. Ian sits down at a desk, dons his glasses and fires up an old, yellowed computer. A sign taped to the monitor reads, "Dad's Computer - No Surfing the World Wide Internets!" A Windows 98 logo comes up. Ian sighs as the dial-up tones sputter and beep. INTERCUT - MYSPACE CYBER RAVE / IAN'S BASEMENT Again we move through the crowd until we arrive on Ms. Tasty.
MS. TASTY
Ian, baby!
IAN
What up, Tasty?
MS. TASTY
I've been in bed all day, thinking about you.
Cut to Ian in the real world. He's wide-eyed and freaked.
IAN
Really?
Back to cool, flirty cyber-Ian.
IAN
Really.
MS. TASTY
I have an idea. You should jump in that tight ride of yours and drive it down to Knoxville this weekend so we can hook up in person.
IAN
Yeah, whatever. I don't know. Knoxville's a long way.
MS. TASTY
I think I can make it worth the drive.
Back in reality, Ian's jaw drops. He types the word, "HOW?" He takes a deep breath before clicking "Send." Push in on Ian's expectant face as the reply comes in: "MsTasty: U DRIVE ALL THE WAY HERE 4 ME AND I'll GO ALL THE WAY WITH U." Ian stares back at the screen, wide-eyed. Script provided for educational purposes. More scripts can be found here: http://www.sellingyourscreenplay.com/library
IAN
All the way. She wants to go all the way. With me. (HUGE GRIN) She wants to go all the way with me!
Cut to a vinyl record dropping on dad's old turntable. After a moment of crackling, cue "Da Ya Think I'm Sexy" by Rod Stewart. Ian dances in wild celebration, performing moves that are as sexually suggestive as they are awkward. He sings along. He starts punching Rex's punching bag, then he starts humping it as part of the dance. He freezes when he hears the need scrape off the record. Ian's dad stands at the turntable. Ian lamely tries to morph the dance into acting casual. He's out of breath.
IAN
Hey, I was just...exercising.
IAN'S FATHER
What'd I tell you about monkeying with my 45s?
Dad takes the record and moves on. Ian drops his head. A moment later, Dylan enters.
DYLAN
Dude. Becca just left.
IAN
So?
DYLAN
You wanna smell my finger?
Ian glares back, annoyed. After a beat:
IAN
Yeah, okay.
Ian takes a whiff, then winces.
IAN
Ugh. Are you sure you got the right hole?
Dylan looks slightly alarmed and confused. He sniffs it.
INT. DRUG STORE - DAY
Close on the condom section - several shelves filled with all manner of rubbers. Ian nonchalantly breezes by, reading the boxes as he passes. Script provided for educational purposes. More scripts can be found here: http://www.sellingyourscreenplay.com/library Further down the aisle, he puts a few items in his basket. He breezes by again, tries to stop, too uncomfortable, keeps moving. A moment later he returns. A cart is parked between Ian and the condoms. A soccer mom drifts down the aisle, away from the cart, leaving her cute-as-a-button two-year-old girl perched in the cart seat.
LITTLE GIRL
Hi.
Ian gives her a strained smile as he reaches over her for a box. He inadvertently triggers an electronic display. A ten- inch condom-man dances, waves it's arms and hollers: CONGRATULATIONS! YOU CHOSE RAMSES FOR MAXIMUM STIMULATION! Ian snaps his hand away, knocking several boxes of condoms into the cart. The child's mother turns to give Ian a suspicious glance. Ian musters a smile back. Mom starts back his way. Ian grabs one box and bolts. When the mom returns, her baby girl presents her with a box of Magnums.
LITTLE GIRL'S MOM
Yeah, I wish.
INT. DRUG STORE - CASHIER LINE
Ian now has a pile of junk in his basket. He gets into the line of a frumpy, middle-aged cashier. Suddenly, another lane is opened by a beautiful, bubbly woman.
HOT CASHIER
I can help the next person.
IAN
Oh, that's okay. I'll just--
HOT CASHIER
Oh, come on now. Let's get you taken care of.
She comes out and takes Ian's basket, leading him to her aisle. She starts ringing up his items.
HOT CASHIER
You don't remember me, do you Ian? Terry? I used to babysit you.
Script provided for educational purposes. More scripts can be found here: http://www.sellingyourscreenplay.com/library
IAN
Oh. Sure. Terry. Wow.
HOT CASHIER
You've gotten so big. I used to change your poopy diapers.
IAN
Oh, yeah. I don't really do that anymore. I just use the ah...
Ian nervously eyes the condoms. Horror movie suspense music builds as she excavates them, item by item. Finally she reaches for the box, but just then:
CASHIER BOY (O.S.)
Terry. Phone call.
HOT CASHIER
Oh. Well, it was nice to see you, Ian. Say, "Hi" to your mom for me.
Ian breathes a sigh of relief as she steps away.
IAN
Definitely.
Another employee takes over, a big good-looking skater guy about Ian's age.
CASHIER BOY
Dude. Weren't you in my gym class? What is it - Egan?
IAN
Ian. Yeah. Hey, Jordan.
Jordan isn't excited to see Ian. He picks up the box of condoms. He cracks up laughing.
CASHIER BOY
Oh, right! Whatever, scrote! You can't get your fist pregnant!
He raises the box high and calls out to another boy, working thirty feet away.
CASHIER BOY
Russ, man! Check it out, yo! Look who's buying jimmies!
Russ cracks up. Ian looks around. Terry, the little girl, her mom, and three old ladies all stare back at him. Script provided for educational purposes. More scripts can be found here: http://www.sellingyourscreenplay.com/library
CASHIER BOY
You want these gift wrapped?
Ian snatches the box back. Russ taps him on the shoulder and snaps a picture with his camera phone. Freeze on the awful picture of Ian, looking surprised and holding up the condoms.
EXT. DRUG STORE
The doors slide open, the laughters escape along with Ian. He steps out to find Andy & Randy sitting on the curb out front. A girl passes them on her way into the store.
ANDY
Hey, baby, you wanna party?
RANDY
You wanna make out with us?
She ignores them, which doesn't bother them a bit. Something compels Ian to stop, but he's not sure what to say.
RANDY
Why don't you take a picture, Ian?
ANDY
Yeah, and post it on total-fuckin'- awesomeness-dot-com.
IAN
Can I ask you guys a question?
RANDY
You just did.
IAN
Okay. Can I ask you another question?
ANDY
You just did! Ha!
They giggle and high-five. Ian turns to go.
RANDY
No. Dude, what?
IAN
Okay. Where do you guys get the confidence to, you know, like hit on every girl you see?
Script provided for educational purposes. More scripts can be found here: http://www.sellingyourscreenplay.com/library
ANDY
'Cause we're the shit.
RANDY
You oughts to know that, bitch.
ANDY
So, where's Felate-cha?
RANDY
Felate-cha. You bangin' her?
IAN
We're just friends.
ANDY
I thought you took her to prom.
IAN
Yeah, but it was a 'just-friends' kind of thing.
RANDY
I don't get it.
ANDY
You should bang her. We would.
RANDY
Dude, we would bang her so hard.
ANDY
Tell her we'll bang her.
Ian walks away.
RANDY
Yeah, hard.
EXT. IAN'S HOUSE - DAY
Rex, Dylan and Dad are loading luggage and dirtbikes into a trailer, towed by a huge SUV, parked in the street. Ian rides his bike into the garage, carrying his bag from the drug store. Ian's stepmother comes out with a cooler.
IAN'S STEPMOTHER
Ian, sweetie. Are you sure you don't want to come along and cheer on your little brother?
Ian looks over. Dylan gives him the finger. Script provided for educational purposes. More scripts can be found here: http://www.sellingyourscreenplay.com/library
IAN
Yeah. Sounds fun but I gotta work.
IAN'S STEPMOTHER
Okay, sweetie. There's a taco casserole in the freezer and I put forty dollars in the cow for fun money. Be safe, okay?
She kisses him on the cheek. Ian smiles. Ian's dad calls over from the truck.
IAN'S DAD
Where's Jessica? We're burning daylight, people!
INT. IAN'S BEDROOM - MOMENTS LATER
Ian puts the box of condoms on the desk, sits down and stares at them. He lifts some Google maps from the printer - the route from Bartlett, IL to Knoxville, TN. Also, a list titled, "Things to Bring On Trip to Have Sex:" 1) Maps and directions 2) Condoms 3) New black shirt - cool 4) Phone 5) Phone charger 6) iPod 7) iPod charger 8) Money 9) This list Ian cracks open the box of condoms, removes one from its pouch and starts to unroll it. It rolls out longer and longer until it's about a foot long. Ian stares at it, distressed. After a beat, he looks up. Jessica stands in the hall, holding a duffel bag. She's looking in, disturbed. She walks on. Ian throws the rubber in the waste basket. He considers the box for a second. He throws the whole box away, along with the maps and the list. He gets up and exits his room.
INT. IAN'S HOUSE - KITCHEN
Lance walks in as Ian is coming downstairs. Lance has his phone to his ear but isn't speaking into it.
LANCE
Dude! What is going on with you? You bought rubbers!?
Script provided for educational purposes. More scripts can be found here: http://www.sellingyourscreenplay.com/library
IAN
How'd you know that?
LANCE
It's on Russ Miller's blog.
QUICK INSERT: A screenshot of a blog called Miller's High Life - decorated with pot leaves. Top story says, "Ian Lafferty Wastes Money on Jimmies!" The story features the phone photo of Ian, holding the box of condoms.
IAN
Jesus! That was like (checks his watch) eleven minutes ago.
LANCE
So, what the F!?
INT. IAN'S BEDROOM - MOMENTS LATER
Close on the photo of Ms. Tasty. Lance's gaping mouth is reflected on the screen next to her picture.
LANCE
Duuuuude. This chick? For reals?
IAN
She wants me to meet her tonight at the Shakey's in Knoxville.
LANCE
So, why isn't your ass on it's way to Tennessee right now?
IAN
I thought about it. That's why I bought the... those. (re: rubbers) But, I can't. I'm grounded.
LANCE
Grounded? What are you, nine?
IAN
(re: phone) What are you, on hold?
LANCE
No. Robbie Dibbitz called me accidentally. I can hear him talking to somebody. I wanna hear if he shit-talks me.
Ian gives an incredulous look that has no effect on Lance. Script provided for educational purposes. More scripts can be found here: http://www.sellingyourscreenplay.com/library
LANCE
Oh my God, Ian. Do you remember what I said when you blew your chance to rack up some clutch experience with a very shit-faced Lindsay McKay?
IAN
I had to give Felicia a ride home that night. She was sick, remember?
Ian starts flossing nervously.
LANCE
And what did I say?
IAN
That I was a pussy?
LANCE
A raging pussy. And I said, "What do you want, a written invitation?" Guess what dipshit - this IS a written invitation! So kick it in the ass, G!
Lance removes the condoms and maps from the trash.
IAN
Lance. She doesn't want me, okay? She wants him...
Ian clicks a button and brings up the doctored photo of himself.
LANCE
Ohhhh. That's what that picture was all about.
Lance lets out a short burst of laughter before catching himself. Ian walks out.
INT. IAN'S HOUSE - KITCHEN
Ian comes downstairs into the kitchen. Lance follows.
LANCE
Ian! It's not that bad. You look like that picture...more or less.
IAN
Lance. Let it go.
Script provided for educational purposes. More scripts can be found here: http://www.sellingyourscreenplay.com/library
LANCE
Dude, I've been trying to get you laid every summer since my dad moved here. Now, sack-up, bro.
IAN
Seriously, just forget it. Ms. Tasty's probably a guy anyway.
LANCE
Maybe. But what if she's not?
Ian cracks a smile.
IAN
She's pretty, eh?
LANCE
Pretty? Yeah. Pretty fuckin' hot.
Lance hears something in the phone he doesn't like.
LANCE
That motherfucker. (yelling into his phone) I heard that Robbie, you backstabbin' prick!
Lance hangs up. After a beat, he's right back on task.
LANCE
Dude, come on! You already opened. I can help you close. We just need one thing...
INT. IAN'S HOUSE - GARAGE
Ian and Lance stare at the Judge. It sparkles and shines.
LANCE
You roll up in this fucker and she'll drop an egg right in the Shakey's parking lot.
IAN
Rex'll never let me take the Judge.
LANCE
You don't know if you don't ask.
Outside, Ian's dad fires up the SUV. Rex jogs into the garage. Script provided for educational purposes. More scripts can be found here: http://www.sellingyourscreenplay.com/library
REX
Yo. Fuckstick. Heed these words: That car moves so much as a dick- hair, a fly so much as farts on it and you die a brutal death, fag.
Rex punches Ian in the arm. Ian rubs his arm as Rex stomps off, laughing. Ian gestures toward him as if to tell Lance, "I told you so." Rex points the clicker over his shoulder, closing the garage door with Ian and Lance still inside.
LANCE
What a dick. You should take his car just on principle.
IAN
I don't even have a key, Lance.
Lance turns and begins probing the underside of the car along the edges. Just ahead of the rear wheel, he hits paydirt - a small, black, magnetic box, printed with a Hide-a-Key logo. He slides the box open, producing the car key.
IAN
Lance, no. Didn't you hear him?
LANCE
Ian. Look at me. Yes. Rex might find out. And he might kick the holy shit out of you. But this is your last chance. You don't step up now, you're a college virgin.
Ian stares back gravely, thinking it over.
LANCE
She's nine short hours away. We head down tonight, you pound that va-jay, and we're back tomorrow, Rex'll never even know it was gone. You lose your virginity tonight, Ian. To-night.
CLANK!! Ian and Lance startle as the garage door opener kicks in. The door begins to rise, exposing Rex's boots and slowly more of him. They fumble with the key box as the door inches higher. Ian dives to put it back.
LANCE
No! It was back here!
Lance points to where he found it. Ian reaches out, dropping the key box. Lance turns to get it, accidentally kicking it under the car. The door is up to Rex's chest! Script provided for educational purposes. More scripts can be found here: http://www.sellingyourscreenplay.com/library Ian lunges under the car but it's just out of his reach. He painfully stretches out, his finger tips tickle the key box. Finally he gets it and tosses it back to Lance who puts it in place. Ian scrambles out from under the Judge. Rex's POV as the door clears his eyes. Ian is on his knees as though he might blow Lance. He peeks around Lance at Rex.
REX
For god's sake. You two rump rangers couldn't wait five minutes.
Rex shakes his head as he steps in. He retrieves the key box from under the car. He points a warning finger at Ian and Lance as he walks backwards to the SUV. They drive off.
LANCE
Shit!
Cue "Let's Get It Up" - balls-out-loud as Ian gives Lance a dubious smiles. Ian holds up the key.
EXT. IAN'S HOUSE - GARAGE - DAY
The Judge thunders to life and pulls out over the camera like the Star Destroyer at the top of Star Wars. The car stops as Felicia is now standing in the way. She's holding a bag of groceries and videos. She crosses to Ian's open window.
FELICIA
Ian? Are you on crack? Rex is going to castrate you.
IAN
True that.
FELICIA
You two better not be bitchin' out on me. You promised.
IAN
We're not.
FELICIA
Okay. So, where we going?
Lance tries to wave Ian off from telling Felicia.
IAN
Um...Knoxville, Tennessee.
Felicia considers the destination for a moment. Script provided for educational purposes. More scripts can be found here: http://www.sellingyourscreenplay.com/library
FELICIA
(unfazed)
Yeah, okay. Lemmie get my stuff.
She hands Ian the bag of goodies and then bolts to her house.
LANCE
Dude. You do not want Felicia along. I know you guys are friends but she's always cock-blocking you.
IAN
No she isn't. She doesn't even have...one.
LANCE
Fine, twat-blocking you then. You know what I mean.
IAN
Yeah. But, her cousin-- I kinda promised. She'll be mad.
LANCE
She'll get over it. Be a man.
Felicia throws her bag in and jumps in the back. \*
LANCE (CONT'D) \*
I thought you had a wedding this \* weekend. You sure you can go? \*
FELICIA \*
The wedding's not 'til next month. \* So, what's in Tennessee? \*
IAN
(stammering)
Um...Cancer.
FELICIA
Cancer?
IAN
Yeah. My grandma's got some cancer.
FELICIA
Nana Lafferty?
IAN
No, my other grandma. I'm going to visit her. It's probably gonna suck. You know, old people stuff. You don't have to go.
Script provided for educational purposes. More scripts can be found here: http://www.sellingyourscreenplay.com/library
FELICIA
Oh my god, Grammy K? Of course I'll go. Is she...
Felicia's eyes well up with tears. Ian realizes he well overshot the lie.
IAN
Oh! No! It's not like fatal. It's just, um...foot cancer.
LANCE
Foot cancer.
FELICIA
What's she doing in Tennessee?
IAN
Oh, there's this really kick ass cancer center there. It's like famous. If you ever get any cancer (trailing off) you should totally check it out...
Ian realizes he blew it and he's stuck with her. He shrugs to Lance, who just shakes his head.
INT. THE JUDGE - LATER
They fly along the highway. Felicia sits in back, leaning against the window. Her iPod earbuds are in. Lance takes the Google maps out of his pocket and flips through them.
LANCE
What are we on - 294? So, you want I-80 east. Then 65 south all the way through Indiana.
Felicia emits an unintended guttural hum along with her music. She sounds like a retarded zombie. Ian and Lance laugh. She pulls an earbud out.
FELICIA
What? What's so funny?
IAN
Nothing. There was just a guy going by going all like...
She puts the earbud back in. A moment later, she's humming again. Ian checks his watch. He speaks quietly to Lance. Script provided for educational purposes. More scripts can be found here: http://www.sellingyourscreenplay.com/library
IAN
I'm meeting her at eight thirty. If we only stop for gas, we should be able to make that.
LANCE
Nice. So? How's it feel?
IAN
What?
LANCE
I don't know - Breaking some rules? Talkin' some shit? Driving the Judge to get some poon?
IAN
(smiles)
Feels pretty good.
Cue: "Steady At The Wheel" by Shooter Jennings. They pass a "Welcome to Indiana" sign. The country flies by. Ian effortlessly blows by a camper. Several drivers take notice of the classic muscle car, some even wave or give a thumbs up. A hot girl in a convertible smiles. They pass through Indianapolis. Ian leans back, feeling like a badass. FADE MUSIC Felicia points to a passing billboard for a new romantic comedy called, "What Part of No?" It features a knockout blonde with her arms folded and her back to a fat, nerdy guy who looks as though he's got a plan to seduce her.
FELICIA
Are you guys gonna go see that?
LANCE
Pass. That's just another movie where the girl's hot and the guy's a dork but he's persistent. So he comes on with a bunch of cute, zany shit that, in the real world, would get you arrested.
IAN
Right. But he wears her down until she falls in love with him over a game of putt-putt or something.
LANCE
Pure bullshit. Nobody's ever gotten laid off mini-golf.
Script provided for educational purposes. More scripts can be found here: http://www.sellingyourscreenplay.com/library
FELICIA
Yeah, and the girl, who's supposed to be so great, always has some boyfriend who's a total rod.
IAN
That's the only realistic part.
FELICIA
Shut up. It is not.
IAN \*
Oh, really? Your last three \* boyfriends - All major, supreme \* dicks. \*
Felicia smiles, she can't deny it. \*
LANCE \*
It's not her fault. People like a \* challenge. Everybody wants what \* they can't get. \*
This point makes Ian and Felicia uncomfortable. \*
FELICIA \*
Yeah, well, those guys didn't start \* off as dicks. They turned into \* dicks. That's what all you guys \* are - instant shithead kits - just \* add love. \*
The Judge moves through rural Indiana. Ian tries to pass a \* pimped out Honda with black windows but the car speeds up. \*
LANCE
Dude wants to race. (Out the window.) Let's go, pussy!
IAN
Lance! Don't start shit. You don't know who's in there.
LANCE
Bring 'em on!
IAN
Cut it out, man.
LANCE
You've never been in a fight, have you Ian?
Script provided for educational purposes. More scripts can be found here: http://www.sellingyourscreenplay.com/library
IAN
So? Fighting's stupid.
LANCE
True. But everybody should get in at least one fight. It's good for you. That includes you, Leesh.
FELICIA
Oh yeah? What if you get the shit kicked out of you?
LANCE
That's even better for you.
The driver gives Ian the finger out his sunroof.
FELICIA
(sarcastic)
Uh, oh. I'm pretty sure that's a direct challenge to your manhood.
LANCE
Yeah! Come on, bury this jag-off!
IAN
I'm not racing in my brother's car.
The Honda swerves toward them. Ian swerves out of the way.
IAN
Jesus! What the fuck!?
Honda boy heaves a huge Hardee's cup out the sunroof. It lands on Ian's side and blankets pink milk-shake across the Judge's entire windshield. Ian, Lance and Felicia scream as they are driving blind. Ian turns on the wipers but they only slosh the shake around. Lance sticks his head out the window, they are about to hit a parked camper.
WINNEBAGO!
AHHHHGGG!!
Ian slams on the brakes, sending Felicia flying over the seat and onto the floor at Lance's feet. The Judge swerves, barely missing the camper. The cars behind them weave chaotically. The Judge finally stops in the grassy median. Everyone catches their breath. Felicia rises up from the floor of the front seat. Lance reaches out and dips his finger into the liquid on the windshield. He tastes it. Script provided for educational purposes. More scripts can be found here: http://www.sellingyourscreenplay.com/library
LANCE
Strawberry. You're telling me we couldn't have wasted some dildo who drinks strawberry fuckin' shakes?
EXT. TRUCKSTOP - DAY
Lance is washing the windshield. Ian gives Felicia some cash. He's bouncing on his heels, desperate to pee.
IAN
I really gotta take a whiz. Can you put some gas in?
FELICIA
No problemo. Go take that whiz.
INT. TRUCKSTOP
Felicia walks in. A pretty, blonde hick cashier in her early twenties stands behind the counter, crying. Her raccoon eyes suggest this has been going on a while. Her name tag says, "BRANDY."
FELICIA
Um... You okay?
BRANDY
Do I look like I'm okay? Fuck.
She continues crying for a long awkward moment.
FELICIA
You know what might make you feel better? Putting forty on pump two.
Brandy snatches Felicia's money and slams it into the drawer. Felicia rolls her eyes and steps out as Lance is coming in.
EXT. TRUCKSTOP
Felicia returns to the gas pump. She realizes that the Judge's gas tank is on the other side. She gets in the car.
INT. TRUCKSTOP RESTROOM
Ian stands before a urinal. Script provided for educational purposes. More scripts can be found here: http://www.sellingyourscreenplay.com/library
IAN
(whispering to himself)
Come on, come on, come on. Before anyone comes in.
The door kicks open and a huge TRUCKER walks in. Out of ten urinals, he picks the one right next to Ian.
TRUCKER
Woo! My back teeth are snorkeling!
The trucker immediately starts peeing. After a beat, he notices Ian isn't. He looks over.
TRUCKER
You got the shy bladder?
IAN
Yeah.
TRUCKER
I used to have it something fierce. They call it Paruresis. You see your mind is conditioned to react to certain situations by building a wall of fear all around you. The only way to crumble those bricks of anxiety is to give yourself permission to be vulnerable. (still peeing) Know what I'm saying?
EXT. TRUCKSTOP
Felicia does a U-turn but before she can get back, a shit-box mini-van pulls up to Felicia's pump. A nasty red-haired REDNECK WOMAN in a transparent visor climbs out, followed by several creepy children. She starts pumping Felicia's gas into her van as she lights a cigarette. (She's also wearing a nicotine patch.) Felicia gets out and steps up to her.
FELICIA
Excuse me, ma'am? That was my pump.
REDNECK WOMAN
Hey! Tough shit. Move your meat, lose your seat. (to her kid) Don't you eat that, Logan! You'll ruin your appetite!
Her creepy seven-year-old is scraping a discarded, melted Rolo off the ground. He does eat it. Script provided for educational purposes. More scripts can be found here: http://www.sellingyourscreenplay.com/library
FELICIA
Listen, Reba, if you value either one of those teeth you got left, shut off the pump.
Felicia is smaller than the woman but her face is all fire. The woman considers her for a long beat.
INT. TRUCKSTOP RESTROOM
The trucker is still peeing. Ian still isn't.
TRUCKER
...so I said to my daddy, "That's it. I ain't gonna be bossed around no more. Not by you, not by my wife and sure as hell not by my bladder." You know what he said?
Ian walks out. The trucker looks slighted. Still peeing.
EXT. TRUCKSTOP
Ian comes outside. Felicia is finishing up pumping the gas. She smiles like nothing happened. Lance comes out of the truckstop with his arm around Brandy, the counter girl, who's still crying. Ian and Felicia exchange annoyed expressions.
LANCE
It's okay, Brandy. Yeah, you let it out, baby. He's a bastard.
You'd swear Lance's heart was breaking too until he covertly smiles and raises a triumphant thumbs-up to Ian. Lance opens the door of the Judge and escorts her into the back seat.
LANCE
Don't worry, Lancey's gonna get you home and into a nice hot bath.
Lance closes her door and walks around to climb in the other side, but Ian stops him halfway and whisper-yells.
IAN
Lance, what are you doing?
LANCE
Dude, I'm just trying to show another human being some compassion...and my dick.
Script provided for educational purposes. More scripts can be found here: http://www.sellingyourscreenplay.com/library
IAN
No! We're already off the schedule!
LANCE
The whole trip can't just be about you, Ian.
INT. THE JUDGE - DAY
The Judge drives past endless rows of corn. Ian and Felicia are pissed. In the back, Lance is making out with Brandy.
BRANDY
It's just at the end of this cornfield.
IAN
This cornfield? The one that's been going by for the last twenty minutes? Alrighty.
No reply as Lance and Brandy fall down, out of sight.
EXT. EST. BRANDY'S MOBILE HOME - DAY
The run-down trailer sits on a patchy yard in a small trailer park. Several toys and car parts litter the ground.
INT. BRANDY'S MOBILE HOME - LIVING ROOM
The place is nasty. Dark wood panelling, ratty carpet, framed pictures of the Virgin Mary and Brittany Spears. An old obese woman and an older skinny man sit fully reclined in two ratty recliners. They're watching "Wheel of Fortune" and drinking some off-brand soda. The old man intermittently and violently scratches his balls. Ian and Felicia sit together uncomfortably on a small, low chest. Lance and Brandy's dirty giggles can be heard through the wall. Felicia whispers in Ian's ear.
FELICIA
It stinks in here.
Ian gestures toward a cat that is pissing on the carpet, next to a cat box that has not been cleaned out in a long time.
FAT LADY
You kids want to help yourself to a can of purple?
Script provided for educational purposes. More scripts can be found here: http://www.sellingyourscreenplay.com/library
FELICIA
(standing)
That sounds good. I could go for a purple. Ian? Purple?
INT. BRANDY'S BEDROOM
Brandy's tiny room is not much of an improvement over the living room. Lance and Brandy are rolling around on her faux- brass bed. She pulls out some handcuffs.
LANCE
You're a dirty girl, aren't you?
BRANDY
Just wait.
INT. BRANDY'S MOBILE HOME - KITCHEN
Felicia sits down at the kitchen table, looking surly. The kitchen is cluttered and filthy. Ian opens the fridge and removes a can of the generic soda.
IAN
Wow. It actually says, "Purple Soda." Where do you buy Purple soda?
He cracks it open and takes a tentative sip. Yuck. He offers it to Felicia, who waves it off. Ian stands and looks over the items that are stuck to the fridge. A report card is marked with three D's, an F and a C-. Next to the C- is a happy face and the words, "Nice Werk!"
IAN
I think she's got a kid.
Felicia points to a picture of Brandy with three kids - each varies in ethnicity.
FELICIA
Uh, yeah. I think she's got a few.
INT. BRANDY'S BEDROOM
Two pairs of handcuffs now lock Lance's hands to the metal bars of the headboard. He's loving it.
BRANDY
You ever had a Cincinnati Spitball?
Script provided for educational purposes. More scripts can be found here: http://www.sellingyourscreenplay.com/library
LANCE
Sure. Plenty of times. What else is on the menu?
BRANDY
Okay, how 'bout a Peppermint Fatty?
LANCE
Mmmm. That sounds good. I'll have that.
She tosses some Altoids in her mouth and goes down.
LANCE
Oooooh. That is curiously strong.
INT. BRANDY'S MOBILE HOME - KITCHEN
Felicia and Ian hear the groan. Felicia seethes.
IAN
You like him don't you?
FELICIA
What? Who?
IAN
Lance. You've got a thing for him don't you?
Felicia sits up straight like a shot. She couldn't look more guilty but she makes a weak attempt to cover.
FELICIA
Oh my God, Ian. Gross. You guys are like brothers to me. Whatever.
Ian just stares back for an awkward moment. Suddenly he's distracted by a monster truck pulling up outside.
IAN
Uh, oh. I think this might be the guy she was bawling about.
A moment later, RICK enters through the kitchen screen door. He's a huge burly guy around thirty. He wears a ball cap that reads, "Fun-Time Midways." He carries a single rose wrapped in pink cellophane. He stops short when he sees Ian and Felicia.
RICK
Oh, shit. Howdy.
Script provided for educational purposes. More scripts can be found here: http://www.sellingyourscreenplay.com/library Ian and Felicia just stare back, blankly.
IAN
Howdy.
FELICIA
Howdy.
RICK
Where the fuck's Brandy at?
INT. BRANDY'S BEDROOM
Lance is still cuffed to the bed. Brandy stands over him.
BRANDY
You ever had a Rolling Brown Out?
LANCE
Oooh, no. Let's have some of that. (then) Wait. Brown? Hold on. Nothing brown.
Lance starts to squirm violently.
INT. BRANDY'S MOBILE HOME
Lance screams in horror from the other room. OH, GOD, NOOOOOO!!! Everyone looks over except the old couple who remain oblivious to this entire scene. Rick heads for the bedroom door. Felicia fearlessly jumps into his path.
RICK
I don't know who the hell you are but you best get your skinny ass out of the way!
FELICIA
Or what!? You gonna hit a girl?
RICK
No. (beat.) But, I'll pummel his ass real good. (re: Ian)
Without hesitation, Ian yanks Felicia out of Rick's path.
IAN
There you go. Our bad.
Rick pulls on Bandy's door. It's locked. He backs up and kicks it open. Script provided for educational purposes. More scripts can be found here: http://www.sellingyourscreenplay.com/library He steps in and is immediately knocked back on his ass by Lance bursting out, butt-naked and carrying the headboard that he is still cuffed to. Lance runs out the front door but the headboard bridges across the door-frame, trapping him on the porch but also blocking Rick. Rick punches at him through the bars but can't reach. Rick grabs the headboard and pulls it back in, Lance with it. Lance turns the headboard sideways, smacking Rick. Lance runs out, raising the headboard over his head. He runs naked past several mobile homes.
INT. MOBILE HOME #2
A little boy watches Lance sprint by. He points out the window and calls to his mother.
LITTLE BOY
Weiner!
LITTLE BOY'S MOTHER
Oh, hush up. You just had lunch.
EXT. CORNFIELD
Lance takes cover in the bordering cornfield. He drops to one knee and painfully works his left hand out of its cuff. The right one is too tight. Suddenly he hears rumbling. He stands to see. It's Rick's monster truck coming right for him. Lance hits the deck. The truck rolls over him, leaving him untouched but running over one side of the headboard. When Lance stands, the headboard comes apart and he's able to slip the remaining cuff off of the bar it had clung to. With one set of cuffs dangling from his right wrist, Lance runs down the rows. Extreme close up on a blade of corn stalk, as it slashes Lance's arm like a paper cut. Then another cuts his face.
LANCE
Ahhhgg! Shit that hurts!
The truck corners into the frame behind Lance. Lance runs toward us like Indiana Jones running from that huge ball. Just as the truck is about to hit him, he dives out of the way. Rick slams on the brakes, spitting dirt everywhere as he does a reverse donut to turn around. Lance now cuts and dodges through different rows but he's running out of steam. He stops to catch his breath. Script provided for educational purposes. More scripts can be found here: http://www.sellingyourscreenplay.com/library After a beat, he looks up to find Rick, out of his truck and stomping toward him with a baseball bat. Lance lamely backpedals, covering his junk with his hands.
LANCE
Hey, man. Come on. She's not worth it. You get back with her, and she's just gonna shit all over you. Trust me.
Rick raises the bat. Just then the Judge pulls up next to Lance. Ian pulls him into the passenger seat. The car showers dirt all over Rick as it peels away.
INT. THE JUDGE
The car races blindly through the field. Hundreds of corn stalks thump over the hood as they plow through. Lance, still naked, rides shotgun. Felicia is in the back seat.
IAN
Where the hell's the road!?
FELICIA
It feels like left.
EXT. CORNFIELD
Cut to an aerial shot of the Judge, leaving a trail of trampled corn. The road is just a few rows to its left.
LANCE (V.O.)
No! Go right! For sure!
The car turns right, plunging them further into the field. The shot pulls back to reveal that the Judge and Rick's truck are now on a collision course!
INT. THE JUDGE
Lance is putting a t-shirt on. He spots something coming their way.
LANCE
Ian?
IAN
I told you we didn't have time for this! But all you care about is your dick!
Script provided for educational purposes. More scripts can be found here: http://www.sellingyourscreenplay.com/library
IAN
You leave us out there with her crazy mom and her ball scratcher dad and their weird soda--
LANCE
Ian! Whip a shitty!
The truck appears in front of them. Ian cranks the wheel.
EXT. CORNFIELD
Back to the aerial view as the Judge and the truck circle. Ian breaks right but the truck soon falls into his path.
INT. THE JUDGE
Felicia is watching out the back.
FELICIA
You're not gonna lose him, Ian. He's following our corn wake.
LANCE
Corn wake?
FELICIA
Whatever!
Ian slams on the brakes.
LANCE
What are you doing!? Go!
EXT. CORNFIELD
Ian backs up and turns left down a perpendicular path that they had previously trampled. Rick catches up but ends up lost in a dead end of corn. Ian turns hard right. The Judge bursts out of the corn, up the side of the ditch and jumps, landing back on the road. Lance and Felicia cheer.
LANCE
Duuuuuude! That's how you do that!
FELICIA
Awesome driving, Ian! You're amazing!
She kisses Ian's head, then smacks Lance upside his. Script provided for educational purposes. More scripts can be found here: http://www.sellingyourscreenplay.com/library
FELICIA
You suck, Lance!
LANCE
I'm sorry! But Ian, seriously, thanks for coming for, brother.
Lance puts a hand on Ian's shoulder.
IAN
Would you just put some pants on?
FELICIA
Anyone know where we are?
IAN
No idea. Where's the Google Maps?
LANCE
They're in my pants. Back there.
IAN
Great!
They crest the hill - nothing but farmland and country lanes. A hippy HITCHHIKER (40ish) stands along the road up ahead.
LANCE
Hey, pick this guy up. Maybe he can get us back to the highway.
FELICIA
Ian! Do NOT pick up a hitchhiker.
IAN
Don't worry.
Suddenly, the car sputters and dies. They roll to a stop right next to the hitchhiker. He runs to Lance's window.
HITCHHIKER
Whoa! Thanks! I ain't seen a car in hours. (looks down at Lance) Oh, goin' commando? Right on.
IAN
Yeah. Listen, we didn't actually--
LANCE
You know where we can pick up I-65?
HITCHHIKER
Nope.
Script provided for educational purposes. More scripts can be found here: http://www.sellingyourscreenplay.com/library Another clunk and steam rolls out from under the hood. Ian gets out, slamming his door.
EXT. ROADSIDE - MIDDLE OF NOWHERE - MOMENTS LATER
The Hitchhiker sits in the back seat. Felicia leans against the car, trying her phone. Lance (now in pants) and Ian stand over the open hood, staring blankly at the engine. Two cows stand just across a fence, watching.
LANCE
What do you think?
IAN
What do I think? I think we know dick about cars. (re: cows) We might as well ask them. (to cows) What do you think fellas?
Felicia walks up, holding up her phone.
FELICIA
Nothing. No bars whatsoever.
She looks at the engine.
FELICIA
It probably just needs water. Is there any in the trunk?
Ian shakes his head.
FELICIA
My brother's car overheated once and he peed in the radiator.
Ian and Lance shrug to one another. Ian reaches to remove the radiator cap.
LANCE
It says not to open it hot. Maybe we should let it cool down a while.
IAN
Yeah well, thanks to you, we don't have time for that.
Ian turns the radiator cap. THOOOP! It explodes out of it's coupling, ricocheting off the underside of the hood and then dinging off Ian's head. He goes down hard.
IAN
Aaaahhhhgg! GOD DAMN IT!
Script provided for educational purposes. More scripts can be found here: http://www.sellingyourscreenplay.com/library Ian rolls around holding his forehead.
LANCE
There's a lesson learned.
Lance unzips his pants. Felicia turns away.
LANCE
You can watch. I don't care.
FELICIA
Gee. No thanks.
Lance pees into the radiator. He finishes with way too many extra 'shakes.'
LANCE
Ian. You're up.
Ian struggles to his feet, a red spot is now on his forehead. He stands before the radiator. Lance stands next to him.
LANCE
Well? Grip it and rip it.
IAN
Okay. Go away.
LANCE
Why?
IAN
I can't pee with you standing there.
LANCE
Seriously?
Lance shakes his head and steps away to join Felicia around the side of the car. Ian closes his eyes, takes deep breaths and tries to relax.
IAN
(whispering to himself)
Come on, come on, come on. Okay, good. Here it comes.
LANCE (O.S.)
Yo stagefright, how we doin'?
Ian looses his start. Script provided for educational purposes. More scripts can be found here: http://www.sellingyourscreenplay.com/library
IAN
Damn it, Lance! Just give me a minute.
Cut to Lance and Felicia. After a beat, we hear a subtle stream of peeing just beginning when:
LANCE
There it is!
The pee sound stops again.
IAN (O.S.)
Shit! Would you please shut up and let me do this!?
After a moment, the pee restarts. Lance puts a finger to his lips, indicating to Felicia to keep quiet. When Ian wraps up, Lance looks into the back seat, where the hitchhiker has hunkered down.
LANCE
Dude. We need you to piss in the radiator.
HITCHHIKER
Why?
LANCE
We just do.
HITCHHIKER
I'm real sorry. I just took a leak a few minutes ago. You want me to shit in it?
Lance just slams the door. He rounds to the front of the car. Felicia's looking into the radiator.
FELICIA
I don't think that's enough.
LANCE
Our new friend's got nothing left in the tank.
Lance and Ian eyeball Felicia.
FELICIA
What? No way. I don't have the aim you guys have.
LANCE
Every drop helps.
Script provided for educational purposes. More scripts can be found here: http://www.sellingyourscreenplay.com/library She shakes her head, considering it. Suddenly the hitchhiker jumps out of the back seat and calls out to them.
HITCHHIKER
Hey! Look what I had in my bag!
He's holding a half-full bottle of water.
FELICIA
Oh, thank god.
He starts chugging the water.
IAN
No!
FELICIA
Wait!
He polishes off the water with a refreshed, "ahhhh."
HITCHHIKER
Now just give me twenty minutes and I'll be all set.
Felicia sighs and crosses to the front of the car.
FELICIA
Any of you pervs peek and I swear it'll be your last conscious act.
Ian, Lance and the hitchhiker lean against the side of the car. Ian excitedly waves to an approaching car. The small, white car slows down. A family of very proper church folks smile as they pull along side.
CHURCH DAD
You kids need some help?
From the family's POV, as they roll to a stop, they see Felicia standing on the bumper, pants down and squatting over the radiator. Their faces drop. They take off. Felicia slams the hood.
FELICIA
Just try it.
Ian climbs in, takes a deep breath and turns the key. It starts. The temperature gauge creeps up but levels off just shy of the red. They all breathe a sigh of relief. Lance and Felicia climb in. The hitchhiker reaches for the door but Ian reaches back and locks it.
HITCHHIKER
What the hell, man?
Script provided for educational purposes. More scripts can be found here: http://www.sellingyourscreenplay.com/library
IAN
Look, I'm sorry. We can't give you a ride.
HITCHHIKER
What? You can't just leave me out here in the middle of nowhere.
IAN
You already were out here in the middle of nowhere. Really. I wish I could, but it's my brother's car and I can't take any chances.
He leans into Ian's open window and gives Ian a crazy look.
HITCHHIKER
I'm only gonna say this one time. Unlock that fuckin' door or, god as my witness, I'll chop you up into little tiny pieces.
FELICIA
Go, Ian. Just go!
Ian throws the car in gear and lays on the gas. The car lurches forward about two feet before stopping hard and stalling out. Ian and Felicia bounce off the dash. The hitchhiker steps back to Ian's window. Ian turns the key. Nothing. After a beat, the hitchhiker cracks up.
HITCHHIKER
Ha! That's funny! Serves you little peckers right!
He walks away, laughing. Ian breathes a sigh of relief but a second later the hitchhiker bursts back into Ian's face.
HITCHHIKER
Oh! And here's that piss you ordered!
He pisses all over the side of the car. Ian frantically rolls up the window. He gives them double fingers as he walks away, down the road.
EXT. COUNTRY ROAD - LATER
TITLE: AN HOUR AND A HALF LATER Ian, Felicia and Lance are leaning against the car, sweating in the heat. Script provided for educational purposes. More scripts can be found here: http://www.sellingyourscreenplay.com/library
FELICIA \*
God, it's hot out here. \*
IAN \*
How can nobody go down a road for \* an hour and a half? Why did they \* even make this road? I can't \* believe I let you talk me into \* taking the Judge. Ohhh, what the \* hell was I thinking? \*
LANCE \*
Dude, just relax. \*
IAN \*
Oh, right. Relax. My brother's \* car has hitchhiker piss all over \* the door and our piss in the \* radiator and strawberry shake in \* the vent! What am I supposed to \* tell Rex, that I accidental drove \* it through a cornfield!? You know \* Rex is insane, right? \*
Ian starts walking away.
FELICIA
Where you going?
IAN
I'm going for help. I'm not standing around here all day waiting for the hitchhiker piss to eat away the paint.
LANCE
Wait up, I'll go with you.
IAN
No, just stay with the car.
LANCE
Why don't you go with him?
Felicia watches Ian go, deciding if she should join him.
EXT. COUNTRY ROAD - TWO MILES AHEAD - LATER
Ian and Felicia walk silently down the road. Ian keeps checking his phone - no bars. Felicia smiles at him. He turns to her. The word HOT is imprinted mirror image in his forehead from the radiator cap. Felicia cracks up. Script provided for educational purposes. More scripts can be found here: http://www.sellingyourscreenplay.com/library
FELICIA
Oh my god, your head. I'm sorry. Does it hurt?
IAN
Yes. Fuckin' Lance.
FELICIA
Yeah. Lance. (beat) Still, that was some pretty badass driving back there, Luke Duke.
IAN
Really? Thanks.
She smiles at him; then she notices something down the road.
FELICIA
Dude. What's that?
IAN
Whoa.
They squint with curiosity and move toward whatever it is.
EXT. COUNTRY ROAD - A FEW MILES BACK
A buggy drawn by two horses clops up next to the Judge. EZEKIEL, an Amish man in his late-twenties, steps out of the buggy. Ezekiel doesn't speak with any noticeable accent.
EZEKIEL
Need some help?
LANCE
Yeah, but... I mean, all due respect there, champ.
EZEKIEL
Oh, right. I'm Amish. So I probably wouldn't know anything about your 69 GTO Judge 427 Big Block with Ram Air 6 packs and 4/10 posi. Well, good luck with your new-fangled horseless carriage there, English.
The buggy starts to pull away.
LANCE
No. Dude, wait!
Script provided for educational purposes. More scripts can be found here: http://www.sellingyourscreenplay.com/library
EXT. COUNTRY ROAD - MILES AHEAD - LATER
Felicia and Ian smile in awe as they arrive at a massive tree alongside the road. It is covered with shoes of every shape, size and color, each dangling by its laces. It's an oddly breathtaking sight in the setting sun.
IAN
Wow. Cool.
FELICIA
It's beautiful. Take my picture.
Ian snaps a picture of her with his phone, then starts walking again. Felicia remains behind. Ian turns. She takes off her shoes and starts tieing them together.
IAN
No. Bad idea. You don't know how far we have to walk. Seriously, you're going to regret this...
She flings her shoes into the tree.
IAN
I can't believe you just did that.
FELICIA
Now you.
IAN
No way.
FELICIA
Oh come on, Ian. You never do anything crazy.
IAN
Hey, I'm driving halfway across the country just to-- um.
FELICIA
To visit your grandma? Yeah, you're a madman. Trust me. Do it. It's feel great and you'll always remember this moment.
IAN
I'd rather remember having really good arch support.
She smiles at him, still encouraging him to do it. Script provided for educational purposes. More scripts can be found here: http://www.sellingyourscreenplay.com/library
IAN
No. You know what's gonna happen? You're gonna cut your foot open on a broken bottle or something and then I'll have to rush you to the emergency room where you'll get seventeen stitches and a staph infection. Then you're dead. But it was worth it because your shoes are in a tree.
FELICIA
I'll be fine. I like being barefoot.
She stubbornly walks on.
INT. BUGGY - LATER
Ian and Ezekiel ride in the buggy, which is towing the Judge.
LANCE
So, he met her on the internet and--
EZEKIEL
The internet?
LANCE
Oh. You see, the internet is a bunch of computers that are--
EZEKIEL
Computers?
LANCE
Right. Computers are like big calculators with pictures--
EZEKIEL
Hey, I'm kidding. I know what the internet is. You ever heard of Rumspringa?
LANCE
Is it anything like a rolling brown out?
EZEKIEL
No. It means, "run wild." It's an Amish tradition where, when we turn sixteen, we can go live like you heathens for a while.
Script provided for educational purposes. More scripts can be found here: http://www.sellingyourscreenplay.com/library
EZEKIEL
Cars, movies, video games, booze, Scrabble, you name it.
LANCE
You guys can't even play Scrabble?
EZEKIEL
Nope. Apparently, triple word scores lead to pride. Anyway, you go nuts and party for a few months or years, until your folks start hassling you and then it's back to the stone ages.
LANCE
So if you're on Rumspringa, why the buggy?
EZEKIEL
I'm not. I was. For five years - a village record. But not anymore. I shouldn't even be talking to you.
LANCE
Whoa. So what do you miss most?
EZEKIEL
Hmm. Lots of things. I miss Sarcasm. It's mostly lost on my people. Gambling. Went to Vegas once... (after a long beat) Oh. Buttfucking. Got some real nice memories there.
EXT. COUNTRY ROAD - FURTHER DOWN
Ian and Felicia are walking away from the tree. A truck is coming! Ian steps into the road and waves his arms. The truck slows down and stops a hundred feet past them. They run for it.
IAN
Hey! Thanks! We were just--
The hitchhiker leans out the passenger window and gives them double fingers.
HITCHHIKER
Have a nice walk, shitbirds!
The truck peels out, pelting Ian and Felicia with gravel. Script provided for educational purposes. More scripts can be found here: http://www.sellingyourscreenplay.com/library
IAN
Shiiiiiiit!
As the dust settles, Ian and Felicia hear horses hooves behind them. They turn to see Ezekiel and Lance clopping toward them, towing the judge. As they near, we hear Ezekiel continuing his list of what he misses.
EZEKIEL
...Shrooms. Used to do tons of shrooms. Whisky dick. Haven't had that in a while. Loansharking...
LANCE
Ian, Felicia! This is my boy Ezekiel.
EZEKIEL
What up, English?
Ian and Felicia just look dumbfounded.
INT. MYSPACE CYBER RAVE
Ian appears before Tasty but this time he's fuzzy and crackling - his signal is not so strong.
MS. TASTY
Hey! Where are you? I'm so excited to see you.
IAN
Yeah. I don't think I'm gonna make it tonight. I'm making a little pit stop to party with some friends I made along the way.
MS. TASTY
Ian, you said tonight. I could have gone to Virginia beach with my friends. I stayed behind for you.
IAN
Come on, don't hassle it. I'll be there tomorrow. Let's say six - the same Shakey's? Trust me - I'm worth the wait. Now, I gotta go, I'm losing my signal.
MS. TASTY
Okay. Tomorrow then. Don't be late!
Script provided for educational purposes. More scripts can be found here: http://www.sellingyourscreenplay.com/library
IAN
Peace.
Ian crackles and fades out.
INT. AMISH BARN - EVENING
Ian puts his phone back in his pocket and walks over to Lance, Felicia, Ezekiel and the Judge. A bunch of Amish kids are working on a few lesser muscle cars. Some dress like secular kids; some wear traditional Amish clothes. They are all excited to see the Judge. JEREMIAH, a young Rumspringa kid, pulls the oil dipstick out and shows it to Ian.
JEREMIAH
You see that creamy stuff? You blew your head-gasket. Not good.
IAN
Shit.
EZEKIEL
We can fix that.
IAN
Really? Oh, man. Thanks!
EZEKIEL
No worries. These guys are stoked just to get a look at a sixty-nine Judge. Gonna take a couple hours.
JEREMIAH
There's a party coming together next door. You guys are welcome to hang out over there while we work on this.
EXT. RUMSPRINGA PARTY - EVENING
Ian, Lance and Felicia walk up to the barn.
IAN
Something tells me this party is gonna suck.
LANCE
I don't know. Ezekiel made it sound like this Rumspringa thing is pretty sick.
Script provided for educational purposes. More scripts can be found here: http://www.sellingyourscreenplay.com/library
FELICIA
Right. I'm sure it's gonna be a one rad quilting bee.
They round the corner to see a beer truck unloading several kegs. Lance points to a parked tour bus. The door opens and the members of Foo Fighters pile out. Dave Grohl nods to them on his way by.
FELICIA
No F-ing way.
INT. RUMSPRINGA PARTY - NIGHT
Foo Fighters are rocking the shit out of "All My Life." Hundreds of Amish, aged sixteen to nineteen (dressed in degrees from all Amish to all English) are dancing, moshing, drinking, smoking, taking rips off bongs, etc. A wet T-shirt contest is happening in one corner. It's like Entourage in the boondocks.
DAVE GROHL
(scream singing)
DONE, DONE AND ON TO THE NEXT ONE! DONE, DONE AND ON TO THE NEXT ONE! Lance, Ian and Felicia are moshing and having a blast.
IAN
This is insane!
The band slows down and plays the acoustic version of "Everlong." Lance looks around, taking it all in. Suddenly, he's thunderstruck by the sight of the hottest girl ever born Amish. She and her friends enter the barn in slow motion. She's dressed English but she has the kind of natural, make- up-free beauty that would make most women want to punch her in the head. Lance is smitten. Felicia takes discontented notice of this. Ian takes his own discontented notice of Felicia's reaction. Lance crosses to her. Ian and Felicia watch as Lance fearlessly launches his opening line. The girl smiles, says one thing to him and then turns back to the band. Lance timidly makes his way back to Ian and Felicia.
IAN
Did you even get her name?
LANCE
Not unless her name is "go fuck yourself." I think I'm in love.
Script provided for educational purposes. More scripts can be found here: http://www.sellingyourscreenplay.com/library
IAN
I'm gonna go check on the car.
Ian walks out.
LANCE
Hey, Felicia. Dance?
FELICIA
Forget it. I'm not gonna be your consolation prize.
LANCE
Come on. Don't be hatin'.
Lance pulls her arm. She can't hide her smile.
INT. AMISH BARN - NIGHT
Ian enters. The Judge is now in pieces all over the floor of the barn. Ezekiel, Jeremiah and three other guys sift through the parts. Ian starts to freak out.
IAN
Holy shit! Holy shit, you guys! What the hell!? Why are the seats out!? Oh, I'm dead. I'm a dead man. My brother's going to lop my nuts off! Jesus Christ!
EZEKIEL
Dude, settle down. We can fix it.
JEREMIAH
And we'd appreciate it if you didn't take the Lord's name in vain.
IAN
Are you shitting me!?
INT. RUMSPRINGA PARTY - NIGHT
Ian stomps in, looking for his friends. He spots them slow dancing together. This bothers him more than he would have guessed. He looks away but can't help but torture himself by watching them dance. Lance says something that makes Felicia laugh. She lays her head on his chest and smiles.
DAVE GROHL
If everything could ever feel this real forever...
Script provided for educational purposes. More scripts can be found here: http://www.sellingyourscreenplay.com/library Finally Ian turns and walks out. Felicia has now settled into the dance. She smiles blissfully. The Amish girl looks over.
LANCE
Check it out. It's working.
LANCE
(re: Amish girl)
Look at her. She is IN. You're the best wingman ever. Watch this.
The song kicks in heavier. Felicia hides her humiliation as she takes a step back. Lance walks away. He passes the Amish girl, she stops him and he kicks-in his game. Felicia walks out.
EXT. RUMSPRINGA PARTY - NIGHT
Ian sits on a hay bail, depressed, alone and nursing his beer. Felicia sits down next to him, looking equally sad.
FELICIA
Is the car ready? Can we go?
IAN
I'm going to be ritually murdered. And I deserve it. You know what? Here's a little tip to take with you. If you ever have car trouble - don't go to the Amish. You want a barn raised, or Foo Fighters to play a show out in the middle of fucking nowhere, apparently the Amish are your hook-up. But car repair - not so much.
Ian turns to her. She looks possibly more upset than he.
IAN
What? What's wrong with you?
FELICIA
Nothing. I'm fine.
IAN
Lance, right? He's in there with that Amish girl and you're...
FELICIA
Wrong. But thanks for playing.
Script provided for educational purposes. More scripts can be found here: http://www.sellingyourscreenplay.com/library Ian's not in the mood to do his usual sweet boy routine.
IAN
Leesh, why don't you just drop the hard ass thing for once. It's okay. You're into Lance.
FELICIA
Right. He's a shallow, pretty-boy, player. I am so not into that.
She looks at Ian, he can see right through her. Her expression turns sad and vulnerable. She hangs her head.
FELICIA
You must think I'm such an idiot.
IAN \*
You're not an idiot. People like \* Lance. I like Lance. \*
Ian offers a cautious hug that is at first awkward, but \* Felicia's guard comes down and she cries on his shoulder. \*
FELICIA \*
Promise me, you'll never be like \* Lance. I mean, I know he likes to \* give you advice but you're the only \* truly good person I know. Don't \* let him contaminate you, okay? \*
Ian looks a bit ashamed.
IAN
Dude, what's wrong with us? There's a kick ass Amish hash bash going on twenty feet away. Come on. Let's go have some fun.
FELICIA
No. You go ahead.
Ian speaks in the quiet sing-song way that one might use to cheer up a child with offers of ice cream.
IAN
I bet they have crack in there. Would you like some Amish crack? Would that make you feel better? I'm sure the donkey show is coming up. I bet if you're good, they'll let you have sex with it. Doesn't that sound nice? Donkey love?
Script provided for educational purposes. More scripts can be found here: http://www.sellingyourscreenplay.com/library Finally she laughs.
INT. RUMSPRINGA PARTY - LATER
Ian and Felicia are dancing and laughing and getting wasted. Montage through the night as they down more and more drinks and get crazy with the Amish. At one point Ian even stage dives and gets body-passed over the crowd. Meanwhile, Lance and MARY, the Amish beauty, dance and hang out together. FADE TO BLACK.:
INT. JUDGE - DAY
POV - from the back seat: Ian is driving alone, looking surly as he sails past the other cars on the highway. Ian lifts a messy burger to his face. Ketchup, mustard and mayo drip on to the seats. He takes a huge gulp off his soda and tosses the half-full cup into the back seat. Ian picks his nose and rubs it on the ceiling of the car. He holds up a gay porn mag, letting the centerfold unfurl. He looks at the sexy naked man, unaware that railroad gates are lowering ahead. Ian turns and looks straight into the camera, laughing maniacally. The train starts crossing. At the split second that we're about to hit the train... Rex (in bed) sits up hard, waking from this NIGHTMARE in a...
INT. HOTEL ROOM - NIGHT \*
Rex huffs and puffs and orients himself. He leaps out of \* bed, digs the key box out of his jeans and opens it. EMPTY! \*
IAN!
GOD DAMN IT!
EXT. AMISH BARN - MORNING
The open field is filled with cars and campers. Kids sleep everywhere - in the vehicles, in the barn and right on the ground. Ian wakes to find that he's lying in the bed of a pick-up truck. Lance is sprawled out in the cab. Ian sits up and rubs his pounding head. Felicia is limping toward him, still barefoot, a pained expression on her face. Script provided for educational purposes. More scripts can be found here: http://www.sellingyourscreenplay.com/library
IAN
Ugh. My head hurts. But my feet feel spectacular. So, cozy. Like they're wrapped in baby bunnies.
FELICIA
Mine too.
She stubbornly corrects her walk and expression but her feet are a mess - cut, blistered and filthy.
IAN
Leesh, you were dancing barefoot for like four hours last night. Look at your feet.
FELICIA
I'm fine, pussyfoot.
IAN
Fine, you're tough but your big toe looks like Yoda's nuts. He's got five, you know.
Lance sits up in the cab, groggy and rubbing his messy hair. He leans through the open back window.
LANCE
Hey. So, what's the plan?
IAN
I might as well call Rex so he can get on with killing me.
FELICIA
What about visiting your grandma?
LANCE
Yeah, Ian. You've been putting off 'visiting grandma' for way too long. It's time you 'visit grandma.'
IAN
I do wanna...you know - 'visit grandma' but Rex is gonna kill me.
LANCE
He's going to kill you either way. We're halfway there. I can't stress enough how much you'll enjoy 'visiting grandma.' Trust me. I 'visit my grandma' all the time and it's pretty fucking awesome.
Script provided for educational purposes. More scripts can be found here: http://www.sellingyourscreenplay.com/library Felicia is a little confused by Ian and Lance's code talk.
IAN
Lance, what am I supposed to do? Our transportation is all over the floor of that barn.
VROOOOOM!!! They all turn to see the Judge pulling out of the barn. It's more powerful and tuned than ever. The Amish grease monkeys look spent but triumphant. Ezekiel jumps out of the Judge.
IAN
Dude. You fixed it?
EZEKIEL
We hit a few snags but she's bangin' like a champ now. You should know though, we couldn't get our hands on the right carburetor so Jeremiah whittled one for you.
IAN
Really? That's amazing.
EZEKIEL
I'm just fucking with you, dude.
Lance spots Mary walking with two girlfriends. They are all in traditional Amish dresses and bonnets. Mary even looks hot in this. Lance runs over to her.
LANCE
Hey! Mary! Wait up.
She breaks ranks with her friends and steps to Lance with a gorgeous smile.
LANCE
You look beautiful.
MARY
Yeah right. Please. These are unflattering by design.
LANCE
Still, you make it hot somehow. Seriously. You wearing that, churning some butter. Are you kidding me? (singing) Sexy.
She laughs. Script provided for educational purposes. More scripts can be found here: http://www.sellingyourscreenplay.com/library
LANCE
So, listen, I had the best time with you last night.
MARY
Yeah, me too.
LANCE
You're going to call me, right?
MARY
Um...No.
LANCE
No?
MARY
Lance. Rumspringa's over for me.
Lance looks devastated. Meanwhile, a short distance away, Ian speaks to Ezekiel.
IAN
So you guys were up all night? I don't know what to say. I don't really have a lot of money.
EZEKIEL
Ahh, we're good. The opportunity to help a neighbor - that's a gift.
IAN
Wow. Thank you.
EZEKIEL
Of course, if you felt like you had to reciprocate in some way, there's plenty of chores that need doing.
IAN
Ooohh. We're kind of behind schedule, but can we hit you on our way back through?
EZEKIEL
(guilt-tripping)
Sure, sure. You probably should get going. I mean, hey, you've got a smooth-running vehicle now...you know - because we fixed it.
IAN
But we're good?
Script provided for educational purposes. More scripts can be found here: http://www.sellingyourscreenplay.com/library
EZEKIEL
Sure, we're good. Technically.
IAN
I mean it. We'll come back. I promise.
EZEKIEL
Looking forward to it.
IAN
No, seriously. We will.
EZEKIEL
Of course. Should I hold my breath?
Ian stands there. Not sure how to take the sarcasm.
INT. THE JUDGE - DAY
Ian drives down the highway. Felicia rides shotgun. Lance sits in back, looking depressed.
LANCE
I've never met anyone like her. This sucks full ass.
FELICIA
I wouldn't worry about it. In fifteen minutes, you probably won't even remember her name.
LANCE
Don't say that. Do NOT say that. This girl is really special.
FELICIA
Lance. Listen to yourself. People want what they can't get. Remember your little theory? Forbidden fruit - that's all she is.
LANCE
No. This is different. Mary and I made some kind of cosmic, spiritual connection. It's real and it's beautiful and it's awesome as fuck.
Ian's phone starts vibrating.
IAN
Cool. I got a signal.
Script provided for educational purposes. More scripts can be found here: http://www.sellingyourscreenplay.com/library He squints at the screen. It reads, "22 NEW MESSAGES."
IAN
Oh, shit.
Ian calls his voice-mail. We hear what he's listening to: IAN!! IF YOU TOOK MY FUCKING CAR YOU ARE FUCKING DEAD!! WHERE THE HELL ARE YOU!? (nice) Call me. Ian erases the message. BEEP! PICK UP THE PHONE, FUCKHEAD! I'M GONNA POP YOUR FUCKIN' BALLS!! Ian erases this message too. BEEP! GOD DAMN IT, IAN! YOU-- BEEP!
REX (V.O.)
Okay. If you call me back, I won't kill you. NO! FUCK THAT! YOU'RE A FUCKIN' CORPSE! WHERE THE FUCK ARE YOU!? SHIT!!!
BEEP!
RON (V.O.)
Ian, Ron. I need my Señor Donut costume back, pronto. So, get it--
BEEP! YOU FAGGOT ASS MOTHERF-- BEEP!
AAAAGGH!!
SHIT!!!
Ian hangs up. He looks catatonic.
FELICIA
What? What is it?
IAN
Rex. He knows I took his car.
Script provided for educational purposes. More scripts can be found here: http://www.sellingyourscreenplay.com/library
FELICIA
So? You're going to visit your Grandma. He'll understand that.
IAN
I don't think so.
Ian's phone rings.
LANCE
Don't answer it.
They sit and listen to it ring.
IAN
Oh, shit. I'm so dead.
LANCE
Not yet. Stay strong, buddy. You know what you need? A Corn dog!
He points to a small carnival set up in grocery store parking \* lot off the interstate. \*
IAN
We don't have time for corn dogs.
LANCE
We got tons of time. You're not meeting her for six hours. Your grandma, I mean. Come on. Corn dogs! Cooooorn Doooogs!
EXT. CARNIVAL - PICNIC TABLES - DAY
Ian and Lance sit at a picnic table. Lance has his head in his hands. A group of hot girls go by.
IAN
Can you believe the girls around here?
Lance doesn't even react.
IAN
Lance. You gotta pull it together. I need your help to get this thing done. You're no good to me if you're acting like...me.
LANCE
Oh, man. I am acting like you, aren't I? Balls.
Script provided for educational purposes. More scripts can be found here: http://www.sellingyourscreenplay.com/library
LANCE
(then) But where am I ever gonna find another girl as cool as Mary?
Ian motions toward Felicia, who's getting the food.
IAN
What about Felicia?
LANCE
What about her?
IAN
Dude. She's into you.
LANCE
Yeah, I know.
IAN
You know? So? What is she - not good enough?
LANCE
Felicia's awesome. But you like her.
IAN
What? No. We're just friends.
LANCE
Dude. (oh, please)
IAN
Seriously. We grew up together. I don't...like, like her.
LANCE
Again - dude.
IAN
Well, she's not into me anyway.
LANCE
Doesn't matter. I still wouldn't do that to you. (then) But you do know she's not into you, right?
IAN
Yeah. Well, I mean, except we have this pledge that if we're both not married when we're thirty...it's actually kind of cute, we just--
Script provided for educational purposes. More scripts can be found here: http://www.sellingyourscreenplay.com/library
LANCE
No. It's not cute. It's bullshit. It's never gonna happen, so don't fuck yourself up waiting for her.
IAN
I know. But sometimes she--
LANCE
Ian, I'm only saying this as your friend. Never. Okay? You're her friend. That's like quicksand. There's no digging your way out of friend-sand. She already knows all your bullshit. I bet you've even cried in front of her before, haven't you?
Ian looks down. Guilty as charged.
LANCE
Oh, fuck me. Well, there you go. You know what every chick I've ever boned had in common? I wasn't friends with any of them.
IAN
(shaking it off)
Yeah. Well, what do I care, right? I got Ms. Tasty to look forward to.
LANCE
Fuckin' A. Let's keep the focus on your balls in her mouth.
Felicia returns with the food. She sits down next to Ian. There's an uncomfortable silence.
FELICIA
What?
EXT. CARNIVAL - MIDWAY - LATER
Ian, Lance and Felicia walk though the midway. Felicia points to a carnival game. It's a short rope ladder at a slight incline. Everyone who tries to scale it, flips the ladder over, landing in a pile of hay.
IAN
You think I can do it?
FELICIA
No way. That game is so rigged.
Script provided for educational purposes. More scripts can be found here: http://www.sellingyourscreenplay.com/library Ian gives the barker a five and scales the ladder \* effortlessly. The buzzer goes off, attracting a crowd. The \* carny begrudgingly hands Ian a massive lollypop. Lance and \* Felicia cheer and clap. \*
FELICIA (CONT'D) \*
Wow! That's amazing! \*
IAN \*
We had one of these at Boy Scout \* camp. I kinda mastered it. \*
Ian hands the lollypop to Felicia. She smiles and glows \* until a gorgeous teen girl steps up to Ian. MANDY wears a \* skin tight shirt and a short red skirt. \*
MANDY \*
Hey. What's your secret? \*
She smiles as she hands her money to the carny and mounts the \* ladder. Felicia looks slightly jealous as all of Ian's \* attention shifts to Mandy. \*
IAN \*
Just hold all your weight on your \* left hand and your right foot. \*
She holds her shaky position, her skirt is so short that, as \* she bends, her thong is exposed. Ian gulps. \*
IAN (CONT'D) \*
Now shift both at the same time. \*
She takes a step, wobbles, flips over and lands on her back. \* She smiles at Ian, who helps her up. Felicia is annoyed. \*
MANDY \*
Oh, well. I'm Mandy. \*
IAN \*
Ian. (big smile) \*
MANDY \*
You've got great balance, Ian. \*
Lance steps in, acting as wingman. \*
LANCE \*
Well, what do you expect from an \* Olympic snowboarder? \*
MANDY \*
No way. \*
Script provided for educational purposes. More scripts can be found here: http://www.sellingyourscreenplay.com/library
LANCE \*
Way. \*
Lance covertly yanks the lollypop out of Felicia's hand and \* taps it against Ian's arm, encouraging him to give it to \* Mandy. Ian does. She smiles as she accepts it. \*
MANDY \*
Thanks. Wow. I'm sorry, I gotta \* go. My dance troop is performing \* at the AIM tent in a few minutes. \* You should come watch. \*
FELICIA \*
Well, actually we were just... \*
LANCE \*
Definitely. He'll be front row \* center. \*
Mandy gives one more cute smile before she bops away. \*
INT. SHOW TENT - LATER \*
A stage is set up at one end; hundreds of people sit in \* folding chairs facing it. Ian, Felicia and Lance take seats \* (in that order) in the front row. Felicia checks her watch. \*
FELICIA \*
Do we really have time for this, \* Ian? \*
Lance elbows her and they speak sotto, away from Ian. \*
LANCE \*
Stop doing that. \*
FELICIA \*
Doing what? \*
LANCE \*
Twat blocking Ian. \*
FELICIA \*
I am not tw...doing that. \*
Loud techno music kicks in and the side flaps of the tent \* drop, making it very dark inside. \* On stage an elaborate light show illuminates a line of young, \* beautiful girls who perform a sexy hip-hop dance routine. A \* huge video screen behind them shows crazy graphics of fun \* activities and extreme sports over an "AIM" logo. \* Script provided for educational purposes. More scripts can be found here: http://www.sellingyourscreenplay.com/library The dancers are joined by TAD, a cool Ryan Seacrest type with \* a microphone. He busts out some dance moves of his own as \* the routine's finale. \*
TAD \*
What up, yo!? I am called Tad \* Jawarski! \*
The crowd goes nuts. \*
TAD (CONT'D) \*
Yo! Where my first victim at? \*
The crowd laughs. \*
TAD (CONT'D) \*
Come on, let's get a volunteer up \* in here! \*
Mandy waves to Ian. He waves back. Tad sees his hand go up. \*
TAD (CONT'D) \*
Yeah, boy! Get on up here, dog! \*
The spotlight hits Ian. Mandy jumps for joy that Ian \* volunteered. Ian tries to wave them off but Mandy and the \* dancers come down and pull him to the stage. The crowd \* cheers. Lance and Felicia cheer the loudest. \* Ian now stands center stage with Tad. Ian smiles like an \* idiot, unaware when the video screen behind him changes to a \* logo that reads, "AIM - ABSTINENCE IN MOTION!" Lance and \* Felicia's jaws drop. They look at one another and crack up. \* On stage, Ian is oblivious. The dancers dance all around him \* and he's digging it, even half-dancing along with them. The \* music finally stops and Tad puts an arm around Ian. \*
TAD (CONT'D) \*
What's your name, gangsta? \*
IAN \*
Um, Ian. Ian Lafferty. \*
TAD \*
Tell me something, Ian. Are you \* ready to get your pledge on!? \*
The music kicks in and Tad dances. Ian is confused. Lance \* and Felicia can barely watch. \*
IAN \*
Um... I don't know. What are we-- \*
Script provided for educational purposes. More scripts can be found here: http://www.sellingyourscreenplay.com/library
TAD \*
You don't know!? He don't know, \* y'all! \*
The crowd boos playfully. \*
TAD (CONT'D) \*
Ian, I'd like you to meet my \* friend, Steve. \*
The screen changes to a black and white clinical photo of a \* man's deformed, pocked genitalia. We see it for just a \* second as Tad turns Ian around, then his head blocks it. Ian \* gasps, along with the audience. This is NOT what he \* expected. \*
TAD (CONT'D) \*
How 'bout that, dog? \*
IAN \*
(baffled) \*
Uh... I, I don't... Uh... \*
TAD \*
Now meet some more of my homies. \*
Close on Ian's mortified face. The light changes on his \* face, indicating each new horror. Each image elicits a gasp \* from the crowd. Tad turns Ian back around, stunned. \*
TAD (CONT'D) \*
How old are you, bro? \*
IAN \*
Eighteen. \*
TAD \*
And you're a virgin? \*
IAN \*
What? Um... \*
TAD \*
You don't wanna turn out like my \* boys from the pictures do you? \*
IAN \*
No. \*
TAD \*
Then let's hear you pledge! \*
Script provided for educational purposes. More scripts can be found here: http://www.sellingyourscreenplay.com/library The girls start dancing around him. Ian's head is spinning. \* BAM! With a blast of light and sound - silence. A single \* spotlight hits them. \*
IAN \*
(sotto to Tad) \*
Pledge what? \* Tad leans in and speaks off the mic. \*
TAD \*
I got a long day ahead of me. \* Don't jerk me around, kid. \*
He puts the mic back in Ian's face. \*
TAD (CONT'D) \*
Do - you - pledge? \*
IAN \*
Um... Okay. I guess I pledge. \*
Lance throws up his hands in disgust. The crowd goes wild. \*
TAD \*
I'm proud of you! Keep a wrinkle \* in it, dog! \*
The dancers lead Ian out the back of the stage. \*
EXT. SHOW TENT \*
Ian exits through a flap at the back of the tent, looking \* shell-shocked. Lance and Felicia sprint around the outside \* of the tent, laughing. \*
LANCE \*
I can't believe you just took an \* abstinence pledge! \*
IAN \*
I did not! \*
FELICIA \*
You did too! Right in front of God \* and everybody! You pledged! \*
IAN \*
I didn't even know what he was \* talking about! That doesn't count, \* does it? \*
Script provided for educational purposes. More scripts can be found here: http://www.sellingyourscreenplay.com/library
LANCE \*
That was hilarious! \*
Mandy comes around the corner. She trots up and hugs Ian. \*
MANDY \*
Ian! You did it! Oh my gosh, I am \* so proud of you. \*
Ian squirms out of her grasp. \*
IAN \*
Jesus! Get away from me! Is this \* what you do here? Go out and flirt \* with geeks like me so you can lure \* them into your little abstinence \* club? \*
MANDY \*
Ian. It's not like that. \*
IAN \*
Just go away. \*
Lance steps up and puts a supportive hand on Ian's shoulder. \* Mandy steps away, then stops and turns to glare at Ian. \*
MANDY \*
I would have blown you, you know. \*
FELICIA \*
Wow. \*
LANCE \*
Ouch. \*
MANDY \*
And you can keep your stupid \* flipping lollypop! \*
Mandy fires the huge lollypop at Ian but it misses him, \* cracking Felicia in the teeth, knocking her backward to the \* ground. Felicia touches her hand to her mouth and sees that \* it's bleeding. She scrambles to her feet. \*
FELICIA \*
Oh, you are DEAD, psycho-virgin! \*
Felicia goes after Mandy but Lance and Ian hold her back. \* Mandy runs away. \* Script provided for educational purposes. More scripts can be found here: http://www.sellingyourscreenplay.com/library
INT. THE JUDGE - DAY \*
Lance drives. Ian sits with Felicia in the back seat. He \* holds a cloth to her mouth with one hand and works his phone \* with the other, looking for a dental listing. \*
IAN \*
There's a dentist at the next exit. \*
LANCE \*
You sure you want to get dental \* work done in Kentucky? \*
FELICIA \*
My toof id broke! Just get us \* there. \*
Ian checks his watch. \*
FELICIA (CONT'D) \*
I'm thorry I'm making you late for \* your grandma. \*
IAN \*
No. God. This is all my fault. \*
FELICIA \*
Id's really thweet how you're so \* worried about her. You're a good \* guy, Ian. \*
Ian and Lance exchange shamed glances in the rear-view. \*
IAN \*
Yeah, well...try not bleed on the \* seat. Rex is gonna kill me enough. \*
EXT. IAN'S STREET - DAY \*
Ian's neighborhood is peaceful and deserted. The chirps of \* song birds are gradually drowned out by A HIGH PITCHED BUZZ. \* Rex speeds down the street on a dirtbike. As he nears his \* house, he locks up the brakes. Before the bike stops, he \* coolly steps off, letting it ghost ride for a few yards \* before it lays down, spinning and sparking to a stop. \* Rex runs up to the garage and pulls it up manually. Before \* it clears his eyes, he takes a deep, hopeful breath. He \* opens it the rest of the way. No Judge. \* MOTHERFUCKIN' BITCH-ASS COCKSUCKER! \* Script provided for educational purposes. More scripts can be found here: http://www.sellingyourscreenplay.com/library Rex pitches a tantrum for the ages. He violently shakes the \* garage door, tearing it off it's rails. It lowers enough for \* him to start kicking it. He breaks it. He reaches inside \* and pulls out Ian's bike and starts slamming it against the \* driveway. Once out of steam, he stomps down the driveway and \* across the street. \* As he crosses, he holds up a "halt" hand. Offscreen we hear \* a car go into a shrieking skid. Rex is unfazed as he marches \* up Felicia's driveway. The car rolls by behind him. \* Rex arrives on Felicia's porch. He rings the bell and seethes and swears under his breath while he waits. Felicia's mother opens the door. His face instantly transitions to sweet and neighborly. She smiles back.
FELICIA'S MOTHER
Why, hello Rex. How are things?
REX
Good, good. Listen, Mrs. Alpine, is Felicia here by any chance?
FELICIA'S MOTHER
Oh no, hon, she and Ian and that Lance went on a little road trip.
REX
Really. A road trip. Super. Any idea where they might be heading?
FELICIA'S MOTHER
You know, I wanna say she said something about Knoxville but I can't be sure. Is that helpful?
REX
You bet it is. Thanks much, Mrs. A.
FELICIA'S MOTHER
Oh, not at all. My pleasure. You have a good day, now.
The second the door closes, Rex returns to fury. He turns and stomps back toward his house. In the wide shot we see a neighbor watering his yard next door.
NEIGHBOR
Hey, Knievel! What's say you get your bike out of the freakin' road!
Rex doesn't break stride; he just turns hard left, redirecting right at the neighbor. (Think Terminator 2) The man starts to backpedal and then run as Rex closes in. Script provided for educational purposes. More scripts can be found here: http://www.sellingyourscreenplay.com/library
EXT. DENTAL OFFICE PARKING LOT - DAY
The Judge pulls into the lot. Ian opens his door, he gets out and pulls the seat up for Felicia. She steps out and starts limping toward the office. Ian picks her up.
FELICIA
Whad are you doing? Pud me down! My feet are fine.
IAN
Shut up. You're so stubborn.
He carries her across the parking lot in slow motion. She relents and settles in. An old woman who is exiting smiles and holds the door for them. Ian carries Felicia in.
INT. DENTAL OFFICE WAITING ROOM - DAY
This is a po-dunk dental office in rural Kentucky. Several paintings of clowns adorn the walls. A magazine rack features People, Us, Oprah and Guns & Ammo. Felicia sits in a chair, holding her mouth with one hand and toweling off her feet with the other. Ian stands at reception, rattling off a text message while he waits: "Tasty. Running a little behind. Need a couple more hours. Better make it 8pm. C-U-Soon. - IAN." A half-awake receptionist with very bad teeth, returns to hand Ian some forms. She speaks in a thick southern accent.
RECEPTIONIST
Do y'all know your writin' and your ABC's and such?
IAN
Um. Yeah.
RECEPTIONIST
Good. Just fill out this, this, this, this, and these. Dr. Jasper will be with y'all present-like.
Ian returns to Felicia with the clipboard. He sits next to her and hands her the forms.
FELICIA
Okay. Fine. You were righd. My feet are killing me. I shouldn't have tossed my shoes.
Script provided for educational purposes. More scripts can be found here: http://www.sellingyourscreenplay.com/library
IAN
No, come on. I love that you did that. That's premium Felicia.
She smiles, then tries to fill in her name on a form but her hand shakes. Ian sets his phone down on the coffee table and takes the clipboard. He starts to fill the forms for her.
IAN
You want me to put your dad's address down too?
FELICIA
Yeah. It's four twenty one--
IAN
I know. Four twenty one, Twin Oaks, Rockford, six one one oh (thinks for a beat) seven.
Felicia smiles.
IAN
And you're allergic to amoxicillin but nothing else, right?
She nods. Push in on Felicia's face as she realizes that this is the one person who truly knows everything about her. Ian is oblivious to the moment she is having.
IAN
I think the only things you would check in the list is Migraine Headaches (she nods) and the Herpes, of course.
She laughs and slugs him playfully in the arm.
DR. JASPER (O.S.)
Felicia Alpine?
Felicia gathers up some of her things and places them in her purse as she stands to greet the dentist. She's is relieved to see that Dr. Jasper doesn't look like a hayseed. He looks like a kind, ethical doctor in his mid forties.
DR. JASPER
Now, what are we doing today?
Felicia removes her hand from her face and opens up. Doctor Jasper pushes her lower teeth down with the side of his index finger, revealing that his knuckles and hands are ridiculously hairy! Felicia winces as the dentist probes his wolfman fingers around in her mouth. Script provided for educational purposes. More scripts can be found here: http://www.sellingyourscreenplay.com/library
DR. JASPER
Hmmm. Some hot and cold sensitivity? Uh, huh?
Felicia closes her mouth and tries to spit out a hair. The doctor turns to Ian.
DR. JASPER
What'd you do to her?
IAN
What?
DR. JASPER
You slap her around? She gets out of line and you crack her one? You think that makes you a big man?
IAN
No. I didn't, I--
DR. JASPER
Ha! Gotcha! Ha, Ha. You should have seen your face. "No! I didn't I, I, I!" Oh, funny.
He cracks up. Ian and Felicia try to laugh along.
DR. JASPER
He didn't though, did he?
INT. DENTAL OFFICE OPERATORY
Felicia sits in the dental chair. Ian sits in a chair nearby. Dr. Jasper is just finishing giving her a shot.
DR. JASPER
I'll just give you a few minutes to numb up. Be right back.
He exits. Ian smiles. She smiles back with her half tooth. The novocaine causes her to slur more and more throughout the scene.
FELICIA
Ian. You know last spring at Darren Hume's bonfire?
IAN
Hmmm. Um...Was I there?
Script provided for educational purposes. More scripts can be found here: http://www.sellingyourscreenplay.com/library
FELICIA
Ian, please. You know the only reason... is because I don't ever want to ruin our friendship.
IAN
Totally. Friendship is... awesome. Yeah. Friendship. Good call.
FELICIA
I don't know what I'd do if I ever lost you, Ian.
She squeezes his hand.
IAN
You won't.
FELICIA
(half-joking)
I don't know. Maybe I should have just kissed you back that night.
They regard one another for a long awkward beat. Ian tries to decide if she's serious. He laughs nervously. A string of drool drops from her numb lip.
IAN
Oh. Um. You got a little...loogie.
FELICIA
Oh God!
She grabs her bib and wipes her face. The doctor returns.
IAN
You know what? I'll just be out there. Yeah. Good. Okay.
EXT. DENTAL OFFICE PARKING LOT - LATER
The office is in a small strip mall next to a gas station convenience store. Ian comes out of the convenience store with a bag of stuff. He crosses to the Judge. The passenger door is open. Lance sits in the passenger seat with his feet on the ground and his head in his hands. Ian arrives with a smile and a spring in his step.
LANCE
What's with you?
Script provided for educational purposes. More scripts can be found here: http://www.sellingyourscreenplay.com/library
IAN
I'm thinking maybe we head back.
LANCE
Why?
IAN
Well, Felicia and I were just talking in there and, I don't know, We kinda had a moment.
LANCE
A moment? Oh shit, Ian. I knew she was gonna do this. She sees you with that chick and now she's tightening your leash. She's just afraid to lose the undivided attention of the one guy who always listens to her problems.
IAN
No. We were really connecting in there and she...
LANCE
Ian, you see the punks she dates. I'm sorry but she doesn't want a guy like you. She wants to take some dark, brooding asshole and turn him into a guy like you.
IAN
What if you're wrong?
LANCE
I'm not wrong. I'm right. And I'm not going to let her fuck this up for you. We're going to Knoxville and you're gonna get your nut.
IAN
Whatever, Lance. I'm gonna text Tasty and tell her I'm not coming.
Ian reaches into his pockets. No phone. Just then, Felicia emerges from the office. She stops to check her fixed tooth in her reflection in the window. She then marches out to the Judge. She tosses Ian his phone.
IAN
Oh, good. You had it. Here, I got you something.
Script provided for educational purposes. More scripts can be found here: http://www.sellingyourscreenplay.com/library He hands Felicia the bag. She takes it but doesn't bother to look inside.
FELICIA
A message came in. Your grandma's pretty excited to see you. Wet even. She's thinking about your hands on her body. Sounds 'Tasty.'
Felicia tosses the bag onto the floor of the front seat and then climbs into the back and sits, looking petulant. Ian wilts. Lance pats Ian on the back before climbing in.
LANCE
Good deal. Let's go to Knoxville.
EXT. HIGHWAY ON-RAMP - EVENING
The Judge is pulling onto HWY 75-North.
FELICIA (V.O.)
Ian. You're going the wrong way.
IAN (V.O.)
We're going home.
INT. THE JUDGE
FELICIA
What? No, no, no. Don't turn around because of me. I'm dying to see Ms. Tasty. This is gonna be hilarious. She's probably a guy.
IAN
So you snooped around in my phone. That's a total violation.
LANCE
He's violated.
FELICIA
Hey, you're the one telling lies about grandmas and CANCER.
LANCE
That was a bit much.
IAN
Okay, I'm sorry. I was embarrassed and I knew you'd make fun of me.
Script provided for educational purposes. More scripts can be found here: http://www.sellingyourscreenplay.com/library
FELICIA
Of course. How could I not? You told her you play football at NORTHWESTERN!? I mean, Jesus Ian.
LANCE
You told her that? That's bold.
FELICIA
And those text messages are soooo dickish. I can't believe she even invited you when you come off like such an a-hole.
LANCE
Hold on - she invited him out because he came off like such an a- hole. Dude got that part right.
FELICIA
I can't believe you guys.
IAN
Look, I said we're going home.
LANCE
Oh, man. I knew you'd find a way to bitch out on this.
FELICIA
Yeah, Ian. You obviously stole Rex's car and drove halfway across the country. This must be what you want. So go do it, chicken shit.
LANCE
Fuckin' A, chicken shit.
IAN
Fine! You don't think I'll do it!? I'll fuckin' do it! I'll turn this car around and go pork that girl right now! Is that what you want?
FELICIA
Yeah, Ian. That's what I want.
Suddenly he cranks the wheel. They drive full speed into the grassy median. They slide sideways onto the other side of the highway and head back south.
LANCE
Sweet! Now step on it. We can still make it.
Script provided for educational purposes. More scripts can be found here: http://www.sellingyourscreenplay.com/library Although she pushed for it, Felicia is not as happy. She lies down in the back seat, looking terribly sad. Cue: "Teenagers (Scare The Living Shit Out Of Me)" by My Chemical Romance. The Judge moves down the highway as the sun lowers in the sky. Ian passes several cars. He looks over at the car to his left - the pimped out Honda (that had tossed the milkshake earlier) is back and edging by him. Ian's had enough. He glares back and jumps on the gas. Felicia sits up.
FELICIA
What are you doing? Don't race him. That's ridiculous.
IAN
(trying to be tough)
It's gonna be ridiculous how much I win because I'm driving faster than he is.
The cars race neck and neck. Ian's speedometer creeps up. Ian must fall back to pass a slower car in the right lane. He tries to pass the Honda but it weaves back and forth, not letting him in. He finally gets an opening and tucks in. They are again neck and neck. Ian starts to pull away.
IAN
Yeah, that's right, fucker.
The Honda slows down, letting Ian blast away.
LANCE
He's tagging out! Wooo!
Ian and Lance five one another.
FELICIA
IAN! Look out!
A fox is walking across the highway! Ian slams on the breaks but the car smacks it. All triumph falls from Ian's face, replaced by desperate regret.
IAN
Oh, no! Oh, no!
EXT. COUNTRY HIGHWAY - EVENING
The Judge screeches to a halt. Ian leaps out and runs back, looking around frantically. Felicia gets out and follows. Script provided for educational purposes. More scripts can be found here: http://www.sellingyourscreenplay.com/library Cars and trucks occasionally woosh by. Ian finds the animal on the shoulder. He drops to his knees, his eyes tearing up.
IAN
God damn it. What were you doing? Oh, shit man. Shit.
Felicia sits down nearby, watching Ian's emotional response. He's genuinely a wreck over what he has done. Push in on Felicia as her heart goes out to him. She tears up.
LANCE
Take it easy, bro. It wasn't your fault. The thing ran right out--
IAN
Just shut up, okay!? Of course it's my fault!
LANCE
Okay. But, dude, Ms. Tasty - we gotta keep moving.
IAN
He's not dead, Lance! I'm not just gonna leave him out here suffering all by himself.
LANCE
Okay. You're right.
Lance goes back to the car and returns with a tire-iron. He walks up next to Ian and raises it over his head. Ian turns to Lance, deadly serious. He pushes Lance away.
IAN
Don't fuckin' touch him!
LANCE
Jesus Christ, man! I was just gonna put him out of his misery so we can go already.
Felicia is appalled by Lance's inability to be affected by this.
IAN
Fuck you! You don't give a shit about him!
Ian grabs the tire iron, returns to the animal and kneels \* before it, raising the tool over his head. His hand shakes. \* Script provided for educational purposes. More scripts can be found here: http://www.sellingyourscreenplay.com/library
IAN (CONT'D) \*
I'm sorry. \*
Ian hits it hard, stands, and walks away with his face in his \* hand. After a beat: \*
FELICIA \*
Um...Ian? \*
Ian turns, exasperated to see the fox is still alive. He \* returns and swings two more times. Again, he walks away in \* agony. Felicia clears her throat - still alive. \*
IAN \*
Jesus! \*
Ian drags himself back and swings again. \*
LANCE \*
Boy, he's really hanging in there. \*
Ian loses it, beating it severely. As he does, he's bathed \* in red and blue flashing light. \*
IAN \*
God damn it! I'm trying to help \* you out, here! Why won't you just \* die, for fucks sake!? \*
He raises the tire iron once more but stops as he notices a \* cop standing in front of him. \*
INT. POLICE STATION - NIGHT \*
Ian and Lance are being led down the hall by the cop. \*
IAN \*
I swear I didn't know it was an \* endangered species. \*
LANCE \*
The vet said there's a good chance \* it might pull through. \*
COP #1 \*
You better hope so. \*
INT. JAIL CELL
The holding cell is modern and industrial with bright fluorescent lights and a single steel toilet. Script provided for educational purposes. More scripts can be found here: http://www.sellingyourscreenplay.com/library The benches are occupied by six other captives who await bail or arraignment. Ian is scared shitless and it shows.
LANCE
(sotto to Ian)
Dude. Man up. They think you're shittin' your pants, they'll fuck with you.
Ian does a terrible impersonation of a tough guy. After a beat, a man rolls up on Lance, posturing like he means harm.
PRISONER #1
Yo, man--
LANCE
Whoa! Sit your ass the fuck back down or you and me - we're gonna have a fuckin' problem!
The guy backs off.
PRISONER #1
Shit, man. Chill. Damn.
He sits. Ian can't believe what he just saw. Lance gives him a look, "See what I mean?" A moment later, a man on Ian's side is tapping on his own watch. He notices Ian is wearing a watch. He stands to approach Ian.
PRISONER #2
Excuse me. What--
IAN
Yo! Back that shit up, bitch!
WHAP!!! The guy lays Ian out.
PRISONER #2
All I wanted was the goddamn time.
IAN (O.S.)
(from the floor)
Ten after six.
PRISONER #2
Thanks.
IAN (O.S.)
Don't mention it.
Script provided for educational purposes. More scripts can be found here: http://www.sellingyourscreenplay.com/library
INT. POLICE STATION
Two bored desk cops play with one of our hero's phones.
COP #1
Well, I'll be damned. You can watch yourself a picture show on this here telephone unit.
COP #2
Ya probably ought not mess with it.
COP #1
Ooohh - Sharky's Machine.
COP #2
Well, shit. Fire it up.
He does. The intro music kicks in. After a moment, the phone rings. They're not sure what to do.
INT. JAIL CELL
Ian checks his watch.
IAN
Well, It's over. No Ms. Tasty, Felicia hates me, got a nice beat down coming from Rex. Good trip.
Ian sighs hard as he steps over to the toilet. His expression is distant and haggard but also slightly more mature. He starts to pee. Lance looks over, surprised.
LANCE
Dude.
IAN
What?
LANCE
You're peeing in front of a bunch of people.
Ian looks around, appreciating the moment.
IAN
Hey, I am. I'm just standing here takin' a whiz. Like it's nothing.
LANCE
And that guy's looking straight at your dick.
Script provided for educational purposes. More scripts can be found here: http://www.sellingyourscreenplay.com/library
PRISONER #1
Atta boy.
Ian wraps up and rejoins Lance.
LANCE
Look at you. You're a new man.
IAN
No I'm not.
LANCE
Dude. You stole a car, you got \* arrested, got in a fight, sort of. \* Hey, you killed an endangered \* species with your bare hands. \* That's gotta count for something. \*
The prisoner next to them gives Ian a look of approval.
LANCE
Now you're pissin' like a big dog. There's only one thing left...
IAN
Well, that's out. I was supposed to meet her three hours ago.
LANCE
Look, when we get out of here, just tell her you got pinched and you've been in the hard yard. She'll think that's badass.
INT. WOMEN'S JAIL CELL
Felicia sits among four other prisoners of varied ages and degrees of nasty. They sit on the benches, arranged around Felicia, like The View. Felicia is sad.
FEMALE PRISONER #1
Shit! This Ian boy sound to me like he got no balls at all.
FEMALE PRISONER #2
Why? 'Cause he got to fussin' some over a sufferin' critter? I think that's real sweet.
FEMALE PRISONER #3
Well, I say this Lance sounds like a real hunk of man cake.
Script provided for educational purposes. More scripts can be found here: http://www.sellingyourscreenplay.com/library
FEMALE PRISONER #3
Only way to keep his kind around is to get his babies in you, pronto.
FEMALE PRISONER #2
But he got no respect for bitches.
Felicia is uncharacteristically comfortable sharing. She plays along gamely with their vocabulary.
FELICIA
Shathayd's right. No respect for bitches. None whatsoever.
FEMALE PRISONER #1
Girl. Oprah says you just got to tell the universe what you want.
FEMALE PRISONER #3
Yep. You gotta manifest that shit. Ain't you read The Promise?
FELICIA
No.
FEMALE PRISONER #3
You gotta read The Promise. That's how I got my shit straight.
Felicia starts to cry.
FEMALE PRISONER #3
Oh, baby. Come here.
#3 holds out her arms to Felicia but Felicia waves her off. #3 is a bit offended. A wider shot reveals that #3 is seated on the steel toilet, pants around her ankles.
INT. JAIL CELL
A cop opens the cell door.
COP #1
Ian Lafferty, Lance Nesbitt? Your bail's been posted.
IAN
Shit.
LANCE
What?
IAN
Rex.
Script provided for educational purposes. More scripts can be found here: http://www.sellingyourscreenplay.com/library Ian and Lance stand and reluctantly exit.
INT. POLICE STATION
Felicia is being led out of the women's cell down the hall. They meet in the middle. Felicia and Ian have calmed down and they exchange humbled smiles. They all turn to see MARY signing forms at the desk. She's still dressed Amish. Lance lights up like a kid on Christmas morning.
LANCE
No way! Mary!
He runs to her. They hug. Ian and Felicia join them at the counter. An officer slides over three envelopes.
COP #2
Personal effects. Sign here.
They sign. Ian takes his phone. He turns it on. In the background we hear:
LANCE (O.S.)
How'd you know we were here?
MARY (O.S.)
I called your phone and someone here answered it.
COP #1 (O.S.)
Wasn't me.
Ian's phone displays, "New Text Message From: Ms. Tasty." He clicks it. It brings up a message, "Stood out here 4 an hour and a half. UR an ASSHOLE!" Ian deflates. He steps outside, clicking on-line with his phone.
INT. MYSPACE CYBER RAVE
Ms. Tasty stands talking to some other guy with a cool car. Ian appears. She turns to glare at him.
IAN
Hey.
MS. TASTY
Get lost and leave me alone.
She waves a hand, he disappears. She turns. He reappears in front of her. Script provided for educational purposes. More scripts can be found here: http://www.sellingyourscreenplay.com/library
IAN
Tasty, just hear me out.
A suspicious stance but doesn't wave him off.
IAN
I got arrested. I've been on lock- down for the last four hours.
MS. TASTY
For what?
IAN
Um...Street racing?
MS. TASTY
Really?
IAN
Yeah. No helmet. Open intoxicants - dangerous. But I'm out now.
MS. TASTY
I bet you haven't even left Chicago. You know, I've never done this before but I think you're just playin' me.
IAN
I swear, I'm just about an hour away. You want me to turn around?
She considers this for a moment.
MS. TASTY
No. Eleven o'clock at the Shakey's. But, no more excuses. If you're one minute late, I'm gone.
She disappears.
EXT. POLICE STATION - NIGHT
Ian leans against the Judge, wrapping up his texting session. Lance, Felicia and Mary are walking toward him.
LANCE
So? What's the plan?
IAN
We're going to Knoxville.
Script provided for educational purposes. More scripts can be found here: http://www.sellingyourscreenplay.com/library
LANCE
Yes!
Ian gets in the car. Lance excitedly ushers Mary to the car. None of them see Felicia's look disappointment.
INT. THE JUDGE - HIGHWAY - NIGHT
Ian and Felicia sit in the front, silent and far apart. Lance and Mary are in back, snuggling like the love struck teens they are. They pass a sign that reads, "Knoxville 17 mi." Ian checks his watch. Felicia quietly reaches down for the bag that Ian had given her. She checks that he's not looking. She peeks inside. It's a pair of flip-flops with little daisies on them. Her feet are still bare. She gets glassy-eyed. Ian looks over. Felicia looks away. She is clearly moved by the gift.
EXT. EST. HARLAN'S FANTASY INN - NIGHT
An old single level motel has been converted into "fantasy" rooms. The sign reads, "22 Romantic Fantasy Theme Rooms to Choose From!" It's right across the street from the Shakey's. The Judge is parked in front of a room.
INT. HARLAN'S FANTASY INN - THE "BLAZE" ROOM
The walls are painted with flames. The room is decorated with firefighter memorabilia including hoses, axes, helmets and a life-size cardboard cut-out of a sexy shirtless fireman. There's a thick brass pole in one corner. The bed looks like a wide fire engine. The clock on the wall reads, ten minutes to eleven. Ian is brushing his teeth and getting ready to go. Felicia sits on the bed, watching TV. She's wearing the flip-flops Ian bought for her. Ian takes one more look in the mirror. He's unsure of himself.
FELICIA
You look good.
IAN
Thanks.
He puts on his jacket and steps to the door. Script provided for educational purposes. More scripts can be found here: http://www.sellingyourscreenplay.com/library
FELICIA
Ian... Don't do this, okay? Don't turn into Lance. You're a nice guy.
IAN
That's why I'm still a virgin.
FELICIA
So what if you're a virgin? It's just sex, Ian.
IAN
It's not about the sex. I'm weird. I'm the only virgin I know. I gotta get this done so everyone can stop freaking out about it. I know you don't approve but I'm sorry, I'm not going home a virgin.
He turns to exit.
FELICIA
Okay. Then do it with me.
He turns back, baffled.
IAN
What?
Felicia downplays; this is not a sexy offer.
FELICIA
Do it with me, not some total stranger. I mean, we're friends, you know you won't get some nasty disease. Crabs or whatever.
IAN
Wow. I'd rather stay a virgin than lose it on pity-sex.
FELICIA
I'm not talking about pity-sex.
IAN
Then what are you talking about?
FELICIA
I don't know. Sex. It doesn't have to mean anything. It doesn't have to jeopardize our friendship.
Ian sighs hard. He can't take hearing that word again. Script provided for educational purposes. More scripts can be found here: http://www.sellingyourscreenplay.com/library
IAN
You know what, Felicia? Fuck the friendship. I'm sorry, but I can't be the guy you talk to about your boyfriends anymore. I can't be the guy you cry to when they hurt you. And I won't be your back-up plan. Maybe I'm just selfish but it's not enough. Now, I'm gonna go have meaningless sex with some random chick I met on the internet, unless you got something to say to me.
Felicia gets up and heads out the door. She stops and tries to find the right words. After a beat, she gives up and walks out, slamming the door behind her.
IAN
That's what I thought.
Ian plops down on the bed, considering what he's done. He looks at the clock. Three minutes to eleven. He takes a deep breath, stands and walks to the door. He takes another beat to decide. He opens the door, revealing REX! He's removing a motorcycle helmet. A dirtbike is on its side, still spinning in the parking lot. Rex pushes Ian back into the room. Ian falls backwards onto the bed. Rex flings his helmet at Ian.
IAN
Rex. What are you doing here?
REX
You ever heard of Lo-Jack, cheese- dick!? (re: room) What the fuck?
Rex rushes Ian, grabbing him by the neck, lifting him to his feet, spinning him around and administering a brutal wedgie.
IAN
Rex, wait! The girl - the one I told you about. She's right across the street! She wants to do it with me and everything!
Rex throws Ian into the dresser, shattering a lamp.
REX
Like I give shit. Get your stuff, dick-cheese. We're going home!
Rex picks up Ian's suitcase and throws it at him. Script provided for educational purposes. More scripts can be found here: http://www.sellingyourscreenplay.com/library
IAN
Okay. Fine. It probably wouldn't have stopped all these feelings I've been having anyway.
Rex stops, curious.
REX
What are you talking about?
IAN
You know - feelings, curiosities...about men.
Ian motions to the Firefighter cut-out.
REX
What!? Ah shit, Ian!
IAN
Just lately, you know? I think you were right, Rex. I think I might be getting gay.
Rex picks Ian up by the shirt.
IAN
I don't have any luck with girls. Maybe it's a sign.
REX
Uh, uh! No way is my brother taking it in the chili ring!
Rex boils like he might explode.
REX
Alright. You take the car and go bang a female woman like the good lord intended. You got one hour.
He releases Ian and pushes him toward the door.
REX
But, Ian...not up the butt!
Ian runs out.
INT. THE JUDGE
Ian jumps in the car. He checks his watch - 10:59. He starts it up and races across the street. He slowly pulls into the lot, looking all around for Tasty. No sign of her. Script provided for educational purposes. More scripts can be found here: http://www.sellingyourscreenplay.com/library He does spot a CREEPY old fat guy, standing in the parking lot, watching him drive in. The guy waves to Ian.
CREEPY
That's a sweet GTO.
IAN
So, you're Ms. Tasty?
CREEPY
You give me a ride in that and you can call me whatever you like.
Ian bangs his head against the steering wheel.
MS. TASTY (O.S.)
Ian! Oh my gosh! Hey!
Ian turns to see the real Ms. Tasty stepping out of vintage Dodge Charger. She's even hotter than her picture and she speaks in a sweet southern accent that we didn't hear in cyberspace. She trots over to the car.
MS. TASTY
I was sure you were standing me up.
She jumps into the passenger side. Ian is terrified.
MS. TASTY
But, here you are. Look at you.
IAN
Yeah. Look at me.
MS. TASTY
You look kinda different than your picture.
IAN
Yeah. I, um, lost some weight 'cause I had the runs-- The flu. And I went to get my haircut and--
MS. TASTY
Well, you're mighty cute.
IAN
Oh. Good. What do you wanna do?
MS. TASTY
Hmmm. I LOVE your car. Why don't you take me for a ride.
Ian pulls out of the lot. Tasty cuddles up to him. Script provided for educational purposes. More scripts can be found here: http://www.sellingyourscreenplay.com/library
IAN
So, Ms. Tasty. What's your real name?
MS. TASTY
I'll tell you after.
She kisses his neck. Ian smiles through his fear. They drive on. She rubs his chest and nuzzles his ear. Behind them a head slowly peeks up from the back seat - Felicia! She sees Ms. Tasty kiss Ian's cheek. She ditches back down.
INT. HARLAN'S FANTASY INN - THE "JUNGLE" ROOM
Lance and Mary's room is thick with fake jungle foliage. Jungle noises play. The headboard of the bed is an exotic fish aquarium. Lance and Mary lie on the bed. She cradles him like a child.
LANCE
I've just never felt this way about anyone before. I think I'm falling--
She kisses him.
MARY
Lance, I can't. It doesn't work that way. If I don't go back, I'll be shunned. I'd never see my family again.
LANCE
This Amish thing is a real motherfucker.
MARY
Tell me about it.
EXT. CITY PARK - NIGHT
Ian and Tasty lie on the grass, next to the Judge. They look up at the stars, using the foam Donut costume as a pillow.
IAN
I don't get it. Why would a girl like you be meeting people on the internet? I mean, you could have any guy you wanted.
MS. TASTY
I've had some mighty bad luck when it comes to guys.
Script provided for educational purposes. More scripts can be found here: http://www.sellingyourscreenplay.com/library
MS. TASTY
Dated a lot of greaseballs. I decided I wanted to communicate with someone, before... Well, before this.
She kisses him. Ian's eyes remain wide open as they kiss. Pan over to the Judge. The windows are rolled down and Felicia is peeking out from the back seat.
MS. TASTY
(whispers)
Ian, why don't you take your clothes off.
IAN
Really?
She sits up and removes her shirt, revealing her terrifyingly perfect breasts. In the car, Felicia glances down at her own flatter chest. Ian sits up, facing Tasty. He maintains hard, deliberate eye- contact. She giggles.
MS. TASTY
Ian, you can look if you like.
Ian looks down. After a beat, he takes his out glasses and puts them on. Now he can't look away. She gently pushes him backward, climbs over him on all fours and tugs at his pants. His phone falls out. He picks it up and the screen lights up with the photo of Felicia by the shoe tree. Ian looks at it, swallows hard and stuffs the phone back in his pocket.
IAN
Wait. Listen, I, um...I have to confess something.
She stops and looks at him.
IAN
I don't play football.
This makes Felicia smile and Tasty laugh.
MS. TASTY
Okay. I appreciate your honesty.
She continues tugging at his pants.
IAN
No, seriously. I don't even really watch football.
Script provided for educational purposes. More scripts can be found here: http://www.sellingyourscreenplay.com/library
IAN
I got all that stuff from Friday Night Lights. I'm not even in college yet.
MS. TASTY
Ian. What do you think? Everything on my profile is the god's honest truth? Now, come on, take your clothes off.
She tries to take his shirt off. Again, he stops her.
IAN
Wait. There's something else. Okay, there's this girl and we--
MS. TASTY
Ian. I have a boyfriend. This can be our little secret.
IAN
Well, no. The thing is. I think I might be in love with her...
Tasty sits back down in the grass and releases an annoyed sigh. Felicia is now tearing up through a giddy smile.
IAN
...and I know it's stupid, right? She probably won't ever even--
MS. TASTY
Ian. Just shut up and take your god damned clothes off. Jesus.
IAN
I'm sorry.
DEEP MAN VOICE (O.S.)
You heard the lady - strip.
Ian turns to see BOBBY JO, a huge, burly biker type, standing over him with a gun pointed at Ian's head. CUT TO:
EXT. CITY PARK - MOMENTS LATER
Bobby Jo climbs behind the wheel of the Judge. Tasty carries Ian's clothes into the passenger side. She slams the door and calls back to Ian, who now stands naked, balls-in-hands. Script provided for educational purposes. More scripts can be found here: http://www.sellingyourscreenplay.com/library
MS. TASTY
You were right, Ian. Sixty Nine Judge - You were worth the wait.
IAN
Please, no! It's not even my car!
MS. TASTY
Good luck with your ladyfriend!
They peel away, Ian sees Felicia's terrified face pop up from the back seat.
IAN
Felicia! Oh, shit! Oh, shit!
INT. THE JUDGE - MOMENTS LATER
Bobby Jo drives as Ms. Tasty grinds on him in the front seat.
MS. TASTY
Bobby Jo Calhoun, you were so awesome back there! God damn sixty nine Judge. I love you so much, baby. Now listen, I got me another car coming in any minute so drop me back to the Shakey's and get this Goat over to Luis. Remember he's on fifth and Crescent. Don't mess it up this time!
Meanwhile, Felicia is lying in the back seat, furiously texting on her phone.
INT. HARLAN'S FANTASY INN - THE "JUNGLE" ROOM
Lance's phone sits on the night stand, blinking a text message that goes unseen as Lance and Mary are having sex. She's getting crazy on top. Lance is in heaven.
LANCE
I'm banging an Amish chick. I mean, what are the odds?
EXT. SHAKEY'S PARKING LOT - NIGHT
The Judge pulls into the lot. Tasty jumps out just in time to greet a car that's pulling in - THE PIMPED OUT HONDA. She trots over to it. Script provided for educational purposes. More scripts can be found here: http://www.sellingyourscreenplay.com/library
MS. TASTY
Hey, boys! You finally made it!
The window lowers revealing ANDY & RANDY!
ANDY
You Ms. Tasty?
RANDY
Damn, you're hot as fuck.
ANDY
We got beers and rubbers.
RANDY
And some lotion for your tits.
INT. THE JUDGE
Bobby Jo is about to pull away when he hears a beeping sound. He looks around, then rifles through Ian's clothes. He pulls out Ian's phone. A text message is flashing: "Ian! I'm in the back seat! Help!" Bobby Jo looks over the seat to see Felicia lying on the floor. She gives him a sheepish wave.
BOBBY JO
What the hell?
EXT. SHAKEY'S PARKING LOT - HONDA
Tasty is talking to Andy & Randy, who are now far more timid.
ANDY
So, wait. You do wanna party?
RANDY
With us?
MS. TASTY
Oh, yeah. I want us all to get naked and party.
Andy & Randy exchange innocent, worried looks. This is not the reply they are used to. Andy looks away and zips up his hoodie as far as it will go. Randy also diverts his eyes as he subtly reaches up to lock the door. Ms. Tasty looks down at the locked door button, confused. CRASH!!! In the background, the Judge is rocked as it is T- boned on the passenger side by a huge, jacked-up pick-up. Tasty spins around, "What the hell?" Andy and Randy raise the windows behind her. Script provided for educational purposes. More scripts can be found here: http://www.sellingyourscreenplay.com/library
INT. HARLAN'S FANTASY INN - THE "BLAZE" ROOM
Rex heard the noise. He looks out the window.
REX
Holy fuckballs!
EXT. SHAKEY'S PARKING LOT
A big hillbilly climbs out of the truck - it's Rick! (Brandy's boyfriend from the cornfield.)
RICK
Get your ass out of the car you motherfuckin'...motherfucker!
Bobby Jo climbs out of the Judge. Rick takes a step back.
RICK
Whoa. Who the fuck are you, man!?
Bobby Jo crosses to assess the damage. He speaks in a low, laid back and almost polite southern drawl.
BOBBY JO
God damn it.
RICK
Oh, shit. My bad. I thought you were someone else. Well, I wouldn't worry about it. A little Bondo will take care that.
Bobby Jo gives Rick's truck the once over.
BOBBY JO
Well, you done fouled up my ride, so I guess I'll be taking yours.
RICK
Fuck that shit.
Bobby Jo raises his gun to Rick's face. Rick tosses the keys.
RICK
It's three on the tree and the clutch sticks.
Rex runs into the scene. Bobby Jo points the gun at him but Rex doesn't even notice. He rushes to the Judge and strokes it like an injured child. Script provided for educational purposes. More scripts can be found here: http://www.sellingyourscreenplay.com/library
BOBBY JO
Take a step back, boy.
Rex turns. No fear. He steps to Bobby Jo.
REX
Bite my dick, asswipe.
CRACK! Bobby Jo pistol whips Rex, who goes down hard.
REX
Aahhgg! Jesus Christ! What'd you do that for, man!?
Lance then rounds the corner, stops cold and goes wide-eyed at the crazy scene.
RICK
That's the sum-bitch I was looking for!
LANCE
(shitting bricks)
Rick. Rickster. How'd you find us?
Rick takes out the Google maps and whips them at Lance. Rex, still on the ground, calls out to Lance.
REX
Lance!? What's going on here, faggot!?
LANCE
I have absolutely no idea.
Ms. Tasty looks on, trying to decide whether she should engage in the situation. Something gets her attention - Felicia is sneaking out of the back seat. Tasty has had enough of this mess.
MS. TASTY
Bobby Jo! Who the hell is that!?
BOBBY JO
Oh, yeah. That's Felicia. Turns out she was hiding out in the back.
MS. TASTY
Well shit, boy! Then she heard everything! Hello!
Script provided for educational purposes. More scripts can be found here: http://www.sellingyourscreenplay.com/library
BOBBY JO
Damn it. You're right. Come here darlin'.
Felicia tries to bolt but Bobby Jo grabs her by the hair and pulls her back kicking and screaming toward the truck.
IAN (O.S.)
Take your hands off her!
Bobby Jo looks around. Nobody. He turns just in time to see Señor Donut diving through the air. Bobby Jo raises his hands. Ian crashes into him. The gun falls, bounces off the pavement and discharges, taking out Andy & Randy's windshield. They bail out. Everyone hits the deck. Bobby Jo looks up to see that the gun is now at Ian's feet. Ian is struggling to bend down for it. Bobby Jo goes after it but Ian beats him to it and levels the gun at Bobby Jo.
IAN
(working the mouth)
Everybody get back! Get back, man!
Bobby Jo stands and backs up.
IAN
(working the mouth)
Okay! Good! Everybody just be cool! Tasty! Get over there!
LANCE
Ian, you're working the mouth.
IAN
(working the mouth)
I don't care! Felicia, are you okay!?
Felicia nods. A phone rings. Everyone looks around. Bobby Jo's shirt pocket is glowing.
IAN
My phone! Answer it! Now!
RICK
You best do what he says. That donut ain't fuckin' around.
BOBBY JO
(answering)
Hello? Um yes, sir... I believe he's right here...
Script provided for educational purposes. More scripts can be found here: http://www.sellingyourscreenplay.com/library
BOBBY JO
Um, I believe he's wearing it now... Yes, sir, a cruller pert near four foot 'round.
IAN
Is that Ron?
BOBBY JO
Yes, sir and he sounds mighty ticked. Why don't I just put y'all on speaker.
Bobby Jo holds up the phone.
RON (V.O.)
Ian? Listen chief, I need my costume back, toot-sweet.
IAN
Ron, I'll be in on Tuesday.
RON
Not gonna cut it, Ian. Bring it back first thing in the morning or you're fired.
IAN
(working the mouth again)
I'm fired? I'm the best employee you got! I stay late all the time, I cover for you when you have your D & D tournaments, I'm the only one who knows how to fix the register spool! Fuck you! I dare you to fire me!
Rex and Lance exchange a glance - they're impressed.
RON
Okay. Don't get all testy. I was just horsing around. Just bring 'er in when you can, amigo.
IAN
Hang it up! (Bobby Jo does) Okay! Here's what's gonna happen! Rex! You're gonna get the Judge outta here! Rick! You can punch Lance but just once.
LANCE
What the fuck, dude?
Script provided for educational purposes. More scripts can be found here: http://www.sellingyourscreenplay.com/library
IAN
You nailed his girlfriend!
LANCE
Not exactly. But okay. Fair enough. Not in the nuts, okay?
WHAP! Rick punches Lance in the head. Lance goes back but not down. He holds himself up with his hands on his knees.
LANCE
Holy god. Good punch.
IAN
Now get in your truck and get out of here!
RICK
He's got my keys.
IAN
Give him his fuckin' keys!
Bobby Jo walks toward Ian.
BOBBY JO
You ain't gonna kill nobody.
REX
Smoke that cocksucker, Ian!
IAN
Stop! I'm serious!
BOBBY JO
I bet you don't even know how shoot that thing.
Ian fires the gun in the air. Bobby Jo stops.
BOBBY JO
Okay. But anybody can shoot a gun in the air.
Bobby Jo keeps coming.
IAN
I'll shoot you in the leg!
BOBBY JO
I don't think so.
BANG! Ian shoots him in the leg. Bobby Jo writhes in pain. Script provided for educational purposes. More scripts can be found here: http://www.sellingyourscreenplay.com/library
BOBBY JO
(wincing)
Okay! Okay! But anybody can shoot someone in the leg.
Bobby Jo limps toward Ian.
IAN
Jesus, man! What do I gotta do?
Suddenly, a squad car slides sideways into the parking lot. Mary is in the back seat. Another squad car pulls in behind it. Ms. Tasty makes a break for it. She passes Andy & Randy. Andy trips her and she eats shit. A tall, thin cop grabs her and handcuffs her. A fat, dim cop leaps out of the first car, pumps his rifle and aims it over his hood at Ian.
FAT COP
Drop the weapon, donut man!
Ian drops the gun. Everyone flinches but it doesn't go off again.
FAT COP
Okay! Hands on your head!
Ian puts his right hand on Señor Donut's head.
FAT COP
Both hands, asshole!
IAN
I can't move the other arm!
FAT COP
Who said that!?
IAN
(working the mouth)
I can't move the other arm!
His partner covers everyone else as the fat cop cautiously crosses toward Ian. When he reaches him, he whips out a stun gun and zaps Ian but he's protected by the foam donut.
IAN
(working the mouth)
Okay! I'm not resisting!
The cop zaps him again, then sprays pepper spray into the plastic eyes on top. It splashes back at the cop, who covers his eyes and falls backward. Script provided for educational purposes. More scripts can be found here: http://www.sellingyourscreenplay.com/library
FAT COP
The big Mexican won't go down! Take your shot!
BLAM! The other cop fires at Ian, blowing off his fake arm. Felicia runs to stand in front of him.
FELICIA
Jesus Christ! He's not the bad guy here! She's the car thief!
The cop looks at Ms. Tasty.
THIN COP
Say Dan. Ain't she the perp from the FBI bulletin? The one who's stealing cars with her computer.
The fat cop squints up at her.
FAT COP
Shit the tub.
EXT. SHAKEY'S PARKING LOT - LATER
A few more squad cars are there. Ms. Tasty and Bobby Jo are being read their rights while a medic bandages up Bobby Jo's leg. Felicia gives an eyewitness report to a cop.
FELICIA
...and there's some guy named Luis who was waiting for them at Fifth and Crescent...
Andy and Randy are being interviewed by a hot blonde news reporter.
REPORTER
I understand you gentlemen got a good look at the perpetrators.
ANDY
We got more than a good look.
RANDY
Yeah. We were banging that chick in our car.
ANDY
Totally banging her. Hard.
Script provided for educational purposes. More scripts can be found here: http://www.sellingyourscreenplay.com/library
REPORTER
Alright! Jesus Christ! Shut it down guys. We got any witnesses who aren't retarded!?
CAMERMAN
We're live, Judy.
RANDY
(to cameraman)
You bangin' her?
ANDY
We'd totally bang her.
Ian sits on the hood of a squad car, still in the donut suit. Felicia steps up, unzips Ian and helps him get his head out. \*
FELICIA
Thanks for coming for me.
IAN
What were you doing in the back seat?
FELICIA
I don't know.
IAN
You don't know. Jesus. Why can't you just say it?
FELICIA
You first.
IAN
Fine. You love me.
FELICIA
Okay. Well, you love me too then.
He kisses her. Then a longer one. Rex walks by.
REX
Thank god.
DISSOLVE TO:
EXT. AMISH BARN - DAY
Ian, Rex, Lance and Felicia are milking cows. Rex is grossed out. They are all filthy and sweaty. They look like they've been at it a while. Script provided for educational purposes. More scripts can be found here: http://www.sellingyourscreenplay.com/library VROOOM!! They look over to see the Judge being rolled out of the barn. The side damage is as good as new and now there are flames on the side. Rex stands, very pleased. They all run to the car. Ezekiel climbs out and pulls off some extra masking tape around the moulding.
REX
(to Ian)
Okay. I guess you get to live.
EXT. AMISH BARN - LATER
Ian and Felicia are in the Judge. Rex kick starts his dirtbike.
REX
Straight home, pussy! And keep your god damn phone on!
Rex takes off. Lance and Mary are kissing near the barn. Ian honks the horn. Lance runs over.
IAN
Dude, we gotta go.
LANCE
You two go ahead. I'm gonna hang here and kick it Amish style.
IAN
What are you talking about?
LANCE
Hard work, fresh air, missionary position - sounds good.
FELICIA
Lance. Give me a break.
Ian sees in Lance's eyes that he's serious. Ian gets out and gives Lance a hug.
LANCE
Now, you two go 'visit grandma.'
Lance walks back to Mary. Ian and Felicia drive off into the summer evening. DISSOLVE TO: Script provided for educational purposes. More scripts can be found here: http://www.sellingyourscreenplay.com/library Close on Ian and Felicia, face to face, nothing but blue sky behind them. She kisses him.
FELICIA
Are you sure you're ready to do this?
IAN
Yeah.
A wide shot reveals that we are along a:
EXT. COUNTRY ROAD - SUNSET
Ian tosses his shoes into the shoe tree. Felicia cheers. They stand and look for a moment more, then walk to the car barefooted. Felicia is fine but Ian is tip-towing and wincing as his tender feet feel every pebble.
EXT. COUNTRY HIGHWAY - DUSK
The Judge rolls down the road. Felicia snuggles up to Ian in the front seat. They look deeply contented.
IAN (V.O.)
A few weeks later, I was Felicia's date to Tiffany's wedding. This time it wasn't a just-friends thing.
Cutaway to Ian and Felicia dancing together at the wedding. He kisses her.
IAN (V.O.)
Tiffany was right, Felicia did ruin all the pictures.
Cutaway to a photo of the wedding party. Zoom in on Felicia. She is smiling but her hand is subtly giving the finger.
IAN (V.O.)
That night, Felicia and I finally 'visited grandma.'
Cutaway to Ian's basement. Felicia's yellow dress is on the floor. They lie together, winded and sweaty, on the old couch. After a beat, she pulls Ian back on top of her.
IAN (V.O.)
...Twice.
Script provided for educational purposes. More scripts can be found here: http://www.sellingyourscreenplay.com/library Track past them and up the stairs. Rex stands at the top. He lights a pack of firecrackers, tosses them down the stairs and laughs his ass off as they pop off.
IAN (V.O.)
Rex did make my life hell for a while. But two years later he finally came out to the family.
Cutaway to thanksgiving dinner. Rex stands and makes a tearful announcement. His mother cries; his father upends the turkey and storms out.
IAN (V.O.)
My parents got used to the idea. And Rex is a actually a pretty great guy these days. Now he only uses the word 'faggot' during sex.
Cutaway to Christmas dinner. Now Rex happily sits next to a handsome man. Mom and Dad smile and hand them a gift. Rex and his boyfriend delight as they unwrap a juicer.
IAN (V.O.)
Let's see. What else. Oh, my dad made Dylan take my old job.
Cutaway to Dylan, working the counter at Senor Donut. Ron is smelling his finger with great interest.
IAN (V.O.)
Andy & Randy finally got a girlfriend.
Cutaway to Andy and Randy with their arms around a slightly heavy young girl. They are gushing with pride.
IAN (V.O.)
...and as for Lance's new simpler life among the Amish...
We return to where we left off, as Ian and Felicia drive away in the Judge. Ian's phone rings. He answers.
IAN
(into the phone)
Hello?... What do you mean it's not working out? You've been Amish for forty five minutes!
The Judge turns around and drives back the other way. FADE OUT.: Script provided for educational purposes. More scripts can be found here: http://www.sellingyourscreenplay.com/library THE END Script provided for educational purposes. More scripts can be found here: http://www.sellingyourscreenplay.com/library
|
The Sex Drive Screenplay by Sean Anders
&
John Morris
(FIRST DRAFT)
(first revision)
7.23.2007
Based on "All The Way"
By Andy Behrens Script provided for educational purposes. More scripts can be found here: http://www.sellingyourscreenplay.com/library
INT. MASSIVE RAVE - NIGHT
Techno music thumps as we snake through a crowded party. All we see are people and lights. Everyone is either dancing, talking or making out. Arrive behind a petit brunette with a body that has precipitated many a boner. MS. TASTY turns revealing a sweet, stunning twenty-year-old smile.
MS. TASTY
Ian! Hey, sweetie! (Strikes a sexy pose) So? What do you think?
Reverse to show who she's posing for, but IAN is silhouetted, backlit by disco lights. He speaks with smug confidence.
IAN
Not bad. I've seen better, but you make it work.
She's not put off by the back-handed compliment. On the contrary, it seems to make her try harder.
MS. TASTY
Jerk. So when do I get to check out your big, sexy bod? L-O-L!
Her face rotates unnaturally ninety degrees on it's side and winks ;) Pull back hard to reveal thousands, maybe millions of people at this party. The heads become pixels on Ms. Tasty's MySpace page on a computer in:
INT. IAN'S BEDROOM - NIGHT
The real Ian lies in bed with his laptop, wearing a Darth Vader t-shirt, Chicago Cubs pajama bottoms and reading glasses. He's eighteen but could pass for sixteen. He's a sweet kid with the kind of thoughtful, approachable face you might seek when in need of directions. Close on her words on the screen: "JERK. SO WHEN DO I GET TO CHECK OUT YOUR BIG, SEXY BOD? L-O-L!" Ian lets out a nervous giggle. He types his reply, "IT'S NOT REALLY THAT SEXY." He stops and deletes that.
IAN
(whispering to himself)
God. Don't be a dork. Act cool. Be a dick. Just be a dick.
He retypes, "DAMN, UR SO PUSHY. I'LL UPLOAD MY PIC IN A SEC." MAIN TITLES OVER: Script provided for educational purposes. More scripts can be found here: http://www.sellingyourscreenplay.com/library Ian opens a picture of himself in PhotoShop. He borrows some facial hair from a photo of Brad Pitt and places it on his own face. He opens a folder called "Family Pics," then a subfolder titled, "REX." He opens a picture of a cocky tough guy leaning against a shiny orange 1969 GTO Judge. Ian places his own head on the tough guy's body. As he does this work, we get a look at the room, which is divided by a line of electrical tape running down the wall marked, "DYLAN'S SIDE - IAN KEEP OUT!!!" Ian's side is neat and sparsely decorated with a few band posters and some Lord of the Rings merch. The other side of the room is cluttered and decorated with extreme sports and bikini girl posters. Several motocross and snowboarding trophies are proudly displayed. Ian's brother DYLAN (14) sleeps in a twin bed. His Tiger Beat face even looks confident while asleep. A clock reads 12:21 a.m. END TITLES Ian clicks "Upload Pic" and we return to the:
INT. MYSPACE CYBER RAVE
Now some of Ms. Tasty's MySpace bio stats float in the air next to her: "MsTasty, 5' 5" / Age:20 / Home: Knoxville, TN / Here For: Friends / Occupation: College Student / Interests: Cars, Bikes, Music, Horses, Football and Mad Partying!!!" Ian materializes next to her, now with the cool facial hair and leaning against the car. Before Tasty even turns to see him, LANCE materializes out of thin air, landing between them. Lance is eighteen, good looking, built and dressed cool.
LANCE
Ian? Dude. What's with this picture!? Holy shit, that's funny!
Next to Lance, FELICIA materializes. Also eighteen, she's a \* petit, pretty girl with her own unique, artsy look and a \* definite edge on her attitude. \*
FELICIA
Oh my god, Ian. That's hilarious!
IAN
Yeah. Funny, right? Just a joke. Can't talk right now though.
Ian is antsy, trying to see past them to Tasty. Tasty remains oblivious to this entire exchange. Script provided for educational purposes. More scripts can be found here: http://www.sellingyourscreenplay.com/library
FELICIA \*
Wait! Emergency. My evil bitch \* cousin is staying with us this \* weekend, doing a bunch of wedding \* prep crap. \*
LANCE
Your hot cousin?
FELICIA
She's the Antichrist, Lance.
IAN
She's still hot.
FELICIA
Well, I NEED to get out.
IAN
We can hang at my house. The whole family is taking Dylan to his moto- cross nationals this weekend.
FELICIA
Sweet! You rock.
IAN
Thanks. Now I gotta go.
LANCE
Dude, you working tom--
Ian waves a hand at Lance and Felicia. They each disappear with a click. Finally Ian can see Ms. Tasty again.
IAN
So, Tasty. Feast your eyes, sugar biscuit.
INTERCUT - IAN'S BEDROOM / MYSPACE CYBER RAVE Back in reality, Ian slaps his own head.
IAN
Sugar biscuit? You idiot.
Back in cyberspace, Tasty looks over at Ian and his car.
MS. TASTY
Nice. O.M.G. Your car is sick!
IAN
Sixty-nine GTO Judge.
Script provided for educational purposes. More scripts can be found here: http://www.sellingyourscreenplay.com/library
MS. TASTY
(dirty smile)
Mmmm. I love sixty-nines.
Back in his bedroom, Ian is stunned. He stands and nervously paces, muttering to himself. He takes off his glasses.
IAN
Whoa. Sixty-nines; she likes those. Okay, don't puss out. Be a dick
Back in cyberspace, Ian continues to act cool.
IAN
Whatever. I gotta blow. Coach's got us running two-a-days. Peace.
Ian disappears - to Tasty's great disappointment.
INT. IAN'S BEDROOM
Ian stares at her picture and her last line, "I LUV 69's." He checks that Dylan is sleeping. He grabs a roll of toilet paper from under his bed. He reaches into his pajama pants.
DYLAN (O.S.)
Are you spankin' it over there!
Ian stops.
IAN
No! I was just scratching my leg. It's itchy...this blanket.
INT. IAN'S HOUSE - HALLWAY - MORNING
Ian wanders groggily out of his room. He opens the bathroom door but stops cold with the door open only three inches. His eyes go like saucers - he's now wide awake. Ian's POV through the door: A gorgeous, naked woman is bent over and towelling off her hair. Ian watches with nervous curiosity. She turns toward him but the towel covers her face. As she rubs the towel on her head, her boobs jiggle. Ian is in a trance until...
WOMAN'S VOICE (O.S.)
Ian!?
Ian turns to see that his parents are standing at the end of the hall and looking his way. Script provided for educational purposes. More scripts can be found here: http://www.sellingyourscreenplay.com/library
IAN'S FATHER
Were you just peeping on your sister?
The girl screams and the bathroom door slams shut.
IAN
No! I was just gonna use the...
His father raises an eyebrow as if to say, "Well, what about that?" A wider shot of Ian reveals that he has pitched an unmistakable tent in his pajama pants.
IAN'S FATHER
Alright! Family meeting!
INT. IAN'S HOUSE - DINING ROOM - MOMENTS LATER
Ian's Father, STEPMOTHER and brother Dylan sit at the table. Also at the table is REX, Ian's older brother from the photo. He's a twenty-four-year-old big lug whose thinning hair is highlighted and spiky. Next to him is JESSICA, the hot girl from the shower. She's about twenty and wearing a pink baby- doll T printed with sorority symbols. She talks on her cell as Ian arrives at the table.
JESSICA
(into her phone)
No, I gotta go. My new stepbrother was spying on me in the shower and playing with himself or something. ...Yeah, I'll call you after.
Ian timidly sits. His father sends a stern look his way.
IAN'S FATHER
Listen, mister--
IAN'S STEPMOTHER
(interrupting sweetly)
Ian. You and your brothers have made me feel so welcome in your family. And now that Jessica is home from Princeton, I hope you'll be able to see her as your sister.
IAN
No. I do. I just--
REX
You don't look at your sister and pop a stiffy, Ian. That is NOT normal.
Script provided for educational purposes. More scripts can be found here: http://www.sellingyourscreenplay.com/library
IAN'S STEPMOTHER
Rex, please. Let's just all do our best to respect one another's privacy. Okay, honey?
IAN'S FATHER
Now apologize to Jessica.
IAN
Um....I'm sorry.
IAN'S FATHER
For what?
IAN
I'm sorry for...seeing you naked.
IAN'S FATHER
And?
IAN
Um...and getting a...um...
IAN'S FATHER
That's it. You're grounded, bub.
IAN
What!?
REX
I gotta go. If you fags want a ride, you better hustle up.
We track out the window and across the street to:
INT. FELICIA'S HOUSE
A modest but nice suburban home. Felicia is coming down the stairs. She wears a black t-shirt that reads, "I'm begging you to shut up." She stops when she hears voices. She peers around the corner into the dining room. Her MOTHER sits at the kitchen table with AUNT CAROL. Standing on the other side of the table is TIFFANY, a blonde Brittany Spears type about Felicia's age. Tiffany is arranging some Barbie & Ken dolls in a make-believe wedding ceremony.
TIFFANY
I don't know. Maybe just six bridesmaids?
Tiffany removes a black-haired Barbie from the line-up. From her perch, Felicia enthusiastically nods her agreement. Script provided for educational purposes. More scripts can be found here: http://www.sellingyourscreenplay.com/library
AUNT CAROL
Sweetie, marriage is about family. Felicia's your cousin.
TIFFANY
I know. But she never smiles. She'll ruin all the pictures.
FELICIA
(whispering to herself)
She's right, I will. Listen to her. She's making some solid points.
FELICIA'S MOTHER
Don't worry, dear. I'll speak to Felicia.
Felicia tip-toes down the steps and sneaks out the front door. She nearly makes it out when her mother spots her.
FELICIA'S MOTHER
Hon? Come say hi to your cousin and your Aunt Carol.
Felicia hangs her head, sighs and goes back inside. We pull away and cross the street again to the home next to Ian's.
INT. LANCE'S HOUSE - KITCHEN
We find Lance at the breakfast table working on a bowl of Count Chocula. LANCE'S FATHER enters, talking on his cell phone. He's dressed a little too cool for his age.
LANCE'S FATHER
Judy! What do you want from me? The boy's eighteen now. These aren't my problems anymore. Hello?
He looks at the phone. Obviously she hung up. He grabs a bowl, sits down and pours himself some cereal.
LANCE'S FATHER
Your mom's still batshit crazy.
Lance shakes his head, eating and reading Maxim.
LANCE'S FATHER
Oh, what, she never trash talks me?
LANCE
Actually, she doesn't. Ever.
Script provided for educational purposes. More scripts can be found here: http://www.sellingyourscreenplay.com/library
LANCE'S FATHER
Well, in any case, take my advice, chief, never get married. Just an endless parade of nonsense. And for god's sake always wear a rubber. Jesus H.
Lance walks out, taking the comment personally.
LANCE'S FATHER
Oh, come on, pal, I didn't mean it that way!
EXT. SUBURBAN ROAD - MORNING
Cue: "Let's Get it Up" by AC/DC. THE JUDGE (the shiny orange 69 Pontiac GTO from Ian's photo) now rumbles aggressively through the Chicago suburbs.
INT. THE JUDGE
Rex drives and sings loudly. Dylan rides shotgun. Ian sits in back; he's now dressed in a purple polo and visor, embroidered with a "Señor Donut" logo. Rex turns the radio down.
REX
Ian - question. And I want a straight answer. You queer?
IAN
What?
REX
God damn it! I knew it!
IAN
I didn't say anything!
REX
Exactly. When someone asks if you're a pole-smoker, you deny it right off. No pause! No fartin' around! Jesus, Ian!
IAN
Rex, I'm not gay.
DYLAN
You're eighteen and you ain't even had one girlfriend.
Script provided for educational purposes. More scripts can be found here: http://www.sellingyourscreenplay.com/library
REX
That's how people wind up getting gay, ya know.
IAN
I don't think that's really how it happens. But anyway, I'm not gay.
DYLAN
Well, Dad thinks you're are.
IAN
What!?
REX
You're breaking the old man's heart.
IAN
Look, there's this girl I've been kinda getting to know on MySpace.
REX
MySpace? Oh, for fuck's sake! Don't you watch Dateline? She's probably a guy, Ian! Some fat old dude who wants to pound you up the tailpipe!
EXT. MALL PARKING LOT
The Judge stops and Ian climbs out.
REX
Have fun at work. Try not to come home any gayer than you are now.
INT. MALL FOOD COURT - SEÑOR DONUT
RON is prepping the donut shop for another day. He's a \* middle-aged man in a tight button-up manager's shirt that \* shows off his gut. Ian enters the store. \*
RON
(sarcastic)
Ian! So good of you to bless me with your presence. Gee, I hope I'm not putting you out.
IAN
Sorry, Ron. My brother drove and... It's only eight oh-three.
Script provided for educational purposes. More scripts can be found here: http://www.sellingyourscreenplay.com/library
RON
Oh-three. Oh-three, huh? Yeah. That's not gonna cut the cheese around here, captain. At Señor Donut we plan to be ten minutes early. That way if we miss it by an oh three, we're still early by an oh-six. Comprendé?
IAN
Right. Sorry.
Ian puts on an apron and begins prepping the counter. Cue "Got You Where I Want You" by the Flys as several lovely female mall employees arrive and walk by in slow motion. Ian sneaks longing looks at each of them. Several quick close up shots of hair, smiles, exposed thongs and the impressions of bras and hard nipples through tight shirts. Finally a cute, detached girl about Ian's age shows up wearing the same Señor Donut uniform and looking tired. Ian gives her a friendly smile. She doesn't return the favor.
IAN
Hey, Becca.
BECCA
Hey. Hey, Ron. Sorry I'm late.
RON
No worries, girlfriend.
Ian gives Ron a "what the fuck?" look.
RON
(lascivious)
Looks like you had a long, nasty night. Ron and Ian want the four- one-uno.
BECCA
Whatever. You guys are gross.
IAN
I'm not gross. I didn't say anything.
Becca rolls her eyes and goes into the back.
INT. SEÑOR DONUT - BACK ROOM
Becca is taking a huge foam Señor Donut mascot costume out of a box. Ian comes in to get a bag of powdered sugar. Script provided for educational purposes. More scripts can be found here: http://www.sellingyourscreenplay.com/library
BECCA
(holding up the suit)
Ian?
IAN
No way, Becca. I did coupon rounds yesterday.
BECCA
(hugging him)
Oh, Ian. Come on. You'd so be my hero. I'd love you so, so much.
INT. MALL FOOD COURT - DAY
A giant foam donut walks through the food court, handing out coupons. Señor Donut wears a small sombrero, black tights and a purple cape. Ian's right arm sticks out of the suit. The left arm is fake as Ian's real left arm is kept inside the suit to operate the mouth. (Like the Big Bird suit.) He tries to hand out coupons but he's a soft, timid sell.
IAN
Hi. Would you like a coupon for six free-- No? Okay, cool. Sorry.
Ian turns to find Ron in his way, arms folded.
RON
Hmmm. You don't sound like Señor Donut. You sound more like Mr.-I- don't-take-pride-in-my-job-because- I'm-a-spoiled-suburban-kid-who's- had-everything-handed-to-me-Donut.
IAN
Ron, come on. I suck at doing the voice. Please?
Ron gives Ian a stern look and then points to a woman coming their way. Ian turns to her and in a lame Mexican accent...
IAN
Hola. Theees eeez a coupon for seeex free donuts. Es Mui Bueno!
The woman stares back uncomfortably and then looks to her left. Ian turns to see what she's looking at. A Mexican family is standing nearby and glaring at Ian.
IAN
(normal voice)
I'm sorry. I didn't mean any...
Script provided for educational purposes. More scripts can be found here: http://www.sellingyourscreenplay.com/library The family walks away, offended. Ian sighs.
INT. MALL DRESS SHOP
Felicia steps out of a fitting room, wearing a poofy yellow dress with a huge bow. She looks miserable. Tiffany circles, nodding her approval.
TIFFANY
Oh, my, god. That is sooo cute on you. You could be hot if you quit dressing like so... agro. Now that you're eighteen you should totally be thinking about getting those boobs done too. You know?
Tiff gestures to her own fake boobs, then turns away to flip through a rack of dresses. Felicia mimes plunging a knife into Tiff's back over and over. Tiff turns to look at Felicia, who stops killing her and smiles back innocently.
TIFFANY
You know?
FELICIA
Yeah. Boobs. Good. Made a note.
Felicia notices Señor Donut out in the mall, going up the escalator. He's surrounded by a group of white ten-year-old gang-banger-wannabes. They push Ian and he falls sideways, rolling down to the bottom and out entrance. The kids follow him down.
INT. MALL
Felicia jogs from the shop, holding her dress off the ground. As she arrives, the kids are stomping Ian like a narc.
FELICIA
Aright, piss off, mallrats.
They stop. Their leader steps to Felicia with a precocious swagger. He's a foot shorter than she.
MALLRAT
Yo, banana-ass-lookin' bitch. Y'all ain't gonna roll up on our shit and start bustin' out to-dos.
His friends laugh until Felicia grabs him by the ear and twists until he grimaces in pain. Script provided for educational purposes. More scripts can be found here: http://www.sellingyourscreenplay.com/library
FELICIA
Listen, Trevor or Logan or Cody or whatever the fuck your name is, look at this dress. Do I look like I'm in the mood for your bullshit?
MALLRAT
Owie. Owie.
FELICIA
Yeah, that's right, owie.
She releases him.
FELICIA
And take the god damn price tag off your hat.
She rips the price sticker off the bill of his baseball cap.
MALLRAT
Damn, shorty!
He stands down and tries to maintain his strut as he leads his gang away.
FELICIA
You alright, Ian?
IAN
Yeah. Wow. You look pretty.
FELICIA
Oh, god! Shut up.
Just then, Lance appears next to them.
LANCE
Damn. Tough day for donut boy.
FELICIA
Not a word about the dress. I swear to fucking god.
Ian flounders on the floor, unable to stand.
IAN
A little help?
Felicia and Lance help him up.
IAN
This job sucks so hard.
Script provided for educational purposes. More scripts can be found here: http://www.sellingyourscreenplay.com/library
FELICIA
Ian, why don't you just quit?
IAN
I can't just quit, Felicia. I only got two weeks left to save for college. Tuition's gone up to--
Lance interrupts, pointing to the donut mouth that Ian is flapping as he speaks.
LANCE
Ian, why you gotta do that - work the mouth when you talk to us?
FELICIA
(sarcastic)
You can't fool us, Ian. We know you're not really a big Mexican donut.
IAN
(not working the mouth)
Sorry. Habit. Here, give me a hand with this.
Ian struggles to get his head out of the back of the suit. He sits on a bench. Lance helps. Ian takes a deep breath.
LANCE
So, how's it going with that chick at work?
IAN
Becca. Not that great.
FELICIA
Good. She's totally wrong for you, anyway.
IAN
That's what you say about everyone.
Tiffany waves Felicia back into the store.
FELICIA
I gotta go. Satan calls.
LANCE
Looks like Satan got new titties.
FELICIA \*
So, we're still on for tomorrow? \*
Script provided for educational purposes. More scripts can be found here: http://www.sellingyourscreenplay.com/library
IAN \*
Got the place to myself, I promise. \*
FELICIA \*
Awesome. You always come through \* for me. \*
(leaning in) \* Hey, it won't be weird for you if I \* stay over Saturday? \*
IAN \*
Why would it be weird? \*
SLAM CUT TO: \*:
EXT. HIGH SCHOOL BONFIRE PARTY - NIGHT
TITLE: "FIVE MONTHS AGO" Ian stands alone by the fire. Felicia stumbles over and hugs him. She's a bit drunk.
FELICIA
Ian. Hey, dude. Guess what.
IAN
What?
FELICIA
I have a secret. Girl secret. Can you deal?
IAN
Sure. What do you got?
Felicia is flustered, giggly and uncharacteristically girly.
FELICIA
I...Duh. This is so lame.
IAN
Look at you acting like such a girl. You're creeping me out.
FELICIA
I know. Okay, okay, okay, okay. Here it is. I have a crush on someone. A boy. A guy.
IAN
Really. Wow. Who?
Script provided for educational purposes. More scripts can be found here: http://www.sellingyourscreenplay.com/library
FELICIA
Oh, I bet you know who. You know me better than anyone. So guess.
A look of great understanding comes over Ian's face.
IAN
I think I know.
He nervously leans in for a kiss. Felicia sobers, pulling away. Her face is awash with confusion and pity. Ian has made a terrible mistake. He lamely tries to back-pedal.
IAN
Kidding. Got you.
FELICIA
Ian. You're my best friend. I just don't think we--
IAN
I know. Totally kidding. I mean, "whatever" right? Yeah...
He's not fooling anyone.
IAN
So, who is it? Who's the lucky...
FELICIA
Oh, nobody. I was kidding too.
IAN
Oh. That's funny. I guess.
Pull back, as they stand together in an awkward silence as several kids party around them.
SLAM CUT BACK TO PRESENT: INT. MALL \*
FELICIA \*
Okay, see you guys tomorrow. \*
Felicia trots back to the dress shop. Ian pushes his head \* back into the suit. He and Lance walk through the mall \* together. Ian occasionally hands off a coupon to someone. \*
LANCE \*
So, this Becca chick - you been \* doing like I told you? Being a \* dick? \*
Script provided for educational purposes. More scripts can be found here: http://www.sellingyourscreenplay.com/library
IAN
Yeah, kinda. Kind of a dick.
LANCE
She made you wear the costume again, didn't she? (off Ian's lack of reply) See? Your nice guy thing works for shit. If you'da told her to fuck off, she'd be two knuckles deep, day-dreaming about your bone right now.
A woman with two little kids, glares at them.
IAN
Lance, I'm actually at work. Can we not do this here?
LANCE
I'm just sayin', if you ever want to get laid, you're going to have to quit worrying about what chicks think of you. Look at Andy and Randy over there. Those guys could give a fuck.
Two awkward, dim-faced, badly dressed teenage boys stand outside an arcade. Oblivious to their own lack of appeal, every girl that passes gets hit on.
IAN
Andy and Randy? Those guys are total nards.
LANCE
For real. But pay attention.
A pretty, fresh-faced girl is carrying a box marked, "Holy Cross Children's Fund." She approaches ANDY & RANDY.
CHRISTIAN GIRL
Hi. Would you like to help the underprivileged children?
They converge on her like velociraptors. They both speak in the same, rapid-fire monotone.
ANDY
Not really.
RANDY
You wanna party?
Script provided for educational purposes. More scripts can be found here: http://www.sellingyourscreenplay.com/library
CHRISTIAN GIRL
Um. No. I'm kinda working.
ANDY
When are you done?
RANDY
What are you doing after?
CHRISTIAN GIRL
Um, I have a church thing tonight.
ANDY
Kick ass. We'll come.
RANDY
Yeah, where is it?
ANDY
There gonna be more hot chicks like you there?
Lance and Ian look on.
IAN
So, what? They never get anywhere.
LANCE
That's because they don't know how to close. But their ability to open is god damned heroic. Absolutely no fear of rejection.
Andy and Randy keep up the pressure, following her away.
RANDY
Do you wear thong underpants?
ANDY
You want us to take our shirts off?
INT. SEÑOR DONUT - BACK ROOM - EVENING
Ian, still dressed in the donut suit, hassles with his locker. He breaks off his key. Ron appears in the doorway.
RON
Oh, Ian. What am I going to do with you, laddie? You can wear it home, but take good care of it. That costume costs more than you make in a year.
Script provided for educational purposes. More scripts can be found here: http://www.sellingyourscreenplay.com/library
EXT. MALL - EVENING
Rex pulls up to the curb in the Judge. Ian runs up to the car, still in the donut suit and working the mouth.
IAN
Rex. It's me!
REX
What the fuck is that shit?
IAN
I broke off the key in my locker.
REX
Well I ain't gonna be seen driving around with Señor Numbnut. Stow that shit in the trunk.
Ian pops the trunk and bashfully strips off the costume, leaving him just in his t-shirt and tighty-whities. Several passing shoppers glance over. Ian stuffs the costume in the trunk and dashes for the passenger door. Rex slowly pulls ahead, Ian runs along side. Rex laughs way too hard.
REX
Come on! Get in, fairy!
Ian reaches for the door but Rex stays just far enough ahead. Ian runs faster and opens the door. Before he can jump in, Rex slams on the brakes. Ian bounces off the inside of the door and falls flat on his back in the street.
REX
Ha!!! You suck, Ian!
Ian lies there groaning.
REX
Don't be such a puss! Seriously, quit dickin' around and get in.
EXT. IAN'S HOUSE - EVENING
The Judge pulls into the driveway. Ian gets out. A car pulls in behind him. IT'S BECCA! She climbs out. Ian coyly pulls his shirt down over his grunds. This is awkward.
IAN
Becca. Hey. I didn't know you were coming over. I didn't even know you knew where I lived.
Script provided for educational purposes. More scripts can be found here: http://www.sellingyourscreenplay.com/library
BECCA
Yeah. I do, so...
She looks down at his lack of pants.
IAN
Oh. Funny story. I broke my key--
BECCA
Is Dylan here?
IAN
What? Dylan. My brother Dylan?
BECCA
Yeah. Is he here?
IAN
My fourteen-year-old brother Dylan?
Becca scowls at Ian. Dylan opens the front door and waves to Becca. She sends him a big smile and starts off toward him.
IAN
You know he's fourteen, right?
DYLAN
Nice underpants, Ian! He's probably cooking up a big wicked bacon strip in there.
Becca and Rex laugh.
INT. IAN'S BEDROOM - LATER
Ian is putting on a pair of sweatpants. Dylan and Becca come in, making out.
DYLAN
Ian. Get out of my room!
IAN
It's my room too. You guys can go downstairs.
DYLAN
No way. The couch down there reeks like grandma farts. DAD! Ian's spying on us!
IAN'S FATHER (O.S.)
Ian! Quit being a perv and give your brother some privacy!
Script provided for educational purposes. More scripts can be found here: http://www.sellingyourscreenplay.com/library
INT. IAN'S HOUSE - BASEMENT - MOMENTS LATER
The basement is unfinished. The old mismatched furniture clashes with the shag carpet. Rex's weight bench and punching bag are set up in one corner. Ian sits down at a desk, dons his glasses and fires up an old, yellowed computer. A sign taped to the monitor reads, "Dad's Computer - No Surfing the World Wide Internets!" A Windows 98 logo comes up. Ian sighs as the dial-up tones sputter and beep. INTERCUT - MYSPACE CYBER RAVE / IAN'S BASEMENT Again we move through the crowd until we arrive on Ms. Tasty.
MS. TASTY
Ian, baby!
IAN
What up, Tasty?
MS. TASTY
I've been in bed all day, thinking about you.
Cut to Ian in the real world. He's wide-eyed and freaked.
IAN
Really?
Back to cool, flirty cyber-Ian.
IAN
Really.
MS. TASTY
I have an idea. You should jump in that tight ride of yours and drive it down to Knoxville this weekend so we can hook up in person.
IAN
Yeah, whatever. I don't know. Knoxville's a long way.
MS. TASTY
I think I can make it worth the drive.
Back in reality, Ian's jaw drops. He types the word, "HOW?" He takes a deep breath before clicking "Send." Push in on Ian's expectant face as the reply comes in: "MsTasty: U DRIVE ALL THE WAY HERE 4 ME AND I'll GO ALL THE WAY WITH U." Ian stares back at the screen, wide-eyed. Script provided for educational purposes. More scripts can be found here: http://www.sellingyourscreenplay.com/library
IAN
All the way. She wants to go all the way. With me. (HUGE GRIN) She wants to go all the way with me!
Cut to a vinyl record dropping on dad's old turntable. After a moment of crackling, cue "Da Ya Think I'm Sexy" by Rod Stewart. Ian dances in wild celebration, performing moves that are as sexually suggestive as they are awkward. He sings along. He starts punching Rex's punching bag, then he starts humping it as part of the dance. He freezes when he hears the need scrape off the record. Ian's dad stands at the turntable. Ian lamely tries to morph the dance into acting casual. He's out of breath.
IAN
Hey, I was just...exercising.
IAN'S FATHER
What'd I tell you about monkeying with my 45s?
Dad takes the record and moves on. Ian drops his head. A moment later, Dylan enters.
DYLAN
Dude. Becca just left.
IAN
So?
DYLAN
You wanna smell my finger?
Ian glares back, annoyed. After a beat:
IAN
Yeah, okay.
Ian takes a whiff, then winces.
IAN
Ugh. Are you sure you got the right hole?
Dylan looks slightly alarmed and confused. He sniffs it.
INT. DRUG STORE - DAY
Close on the condom section - several shelves filled with all manner of rubbers. Ian nonchalantly breezes by, reading the boxes as he passes. Script provided for educational purposes. More scripts can be found here: http://www.sellingyourscreenplay.com/library Further down the aisle, he puts a few items in his basket. He breezes by again, tries to stop, too uncomfortable, keeps moving. A moment later he returns. A cart is parked between Ian and the condoms. A soccer mom drifts down the aisle, away from the cart, leaving her cute-as-a-button two-year-old girl perched in the cart seat.
LITTLE GIRL
Hi.
Ian gives her a strained smile as he reaches over her for a box. He inadvertently triggers an electronic display. A ten- inch condom-man dances, waves it's arms and hollers: CONGRATULATIONS! YOU CHOSE RAMSES FOR MAXIMUM STIMULATION! Ian snaps his hand away, knocking several boxes of condoms into the cart. The child's mother turns to give Ian a suspicious glance. Ian musters a smile back. Mom starts back his way. Ian grabs one box and bolts. When the mom returns, her baby girl presents her with a box of Magnums.
LITTLE GIRL'S MOM
Yeah, I wish.
INT. DRUG STORE - CASHIER LINE
Ian now has a pile of junk in his basket. He gets into the line of a frumpy, middle-aged cashier. Suddenly, another lane is opened by a beautiful, bubbly woman.
HOT CASHIER
I can help the next person.
IAN
Oh, that's okay. I'll just--
HOT CASHIER
Oh, come on now. Let's get you taken care of.
She comes out and takes Ian's basket, leading him to her aisle. She starts ringing up his items.
HOT CASHIER
You don't remember me, do you Ian? Terry? I used to babysit you.
Script provided for educational purposes. More scripts can be found here: http://www.sellingyourscreenplay.com/library
IAN
Oh. Sure. Terry. Wow.
HOT CASHIER
You've gotten so big. I used to change your poopy diapers.
IAN
Oh, yeah. I don't really do that anymore. I just use the ah...
Ian nervously eyes the condoms. Horror movie suspense music builds as she excavates them, item by item. Finally she reaches for the box, but just then:
CASHIER BOY (O.S.)
Terry. Phone call.
HOT CASHIER
Oh. Well, it was nice to see you, Ian. Say, "Hi" to your mom for me.
Ian breathes a sigh of relief as she steps away.
IAN
Definitely.
Another employee takes over, a big good-looking skater guy about Ian's age.
CASHIER BOY
Dude. Weren't you in my gym class? What is it - Egan?
IAN
Ian. Yeah. Hey, Jordan.
Jordan isn't excited to see Ian. He picks up the box of condoms. He cracks up laughing.
CASHIER BOY
Oh, right! Whatever, scrote! You can't get your fist pregnant!
He raises the box high and calls out to another boy, working thirty feet away.
CASHIER BOY
Russ, man! Check it out, yo! Look who's buying jimmies!
Russ cracks up. Ian looks around. Terry, the little girl, her mom, and three old ladies all stare back at him. Script provided for educational purposes. More scripts can be found here: http://www.sellingyourscreenplay.com/library
CASHIER BOY
You want these gift wrapped?
Ian snatches the box back. Russ taps him on the shoulder and snaps a picture with his camera phone. Freeze on the awful picture of Ian, looking surprised and holding up the condoms.
EXT. DRUG STORE
The doors slide open, the laughters escape along with Ian. He steps out to find Andy & Randy sitting on the curb out front. A girl passes them on her way into the store.
ANDY
Hey, baby, you wanna party?
RANDY
You wanna make out with us?
She ignores them, which doesn't bother them a bit. Something compels Ian to stop, but he's not sure what to say.
RANDY
Why don't you take a picture, Ian?
ANDY
Yeah, and post it on total-fuckin'- awesomeness-dot-com.
IAN
Can I ask you guys a question?
RANDY
You just did.
IAN
Okay. Can I ask you another question?
ANDY
You just did! Ha!
They giggle and high-five. Ian turns to go.
RANDY
No. Dude, what?
IAN
Okay. Where do you guys get the confidence to, you know, like hit on every girl you see?
Script provided for educational purposes. More scripts can be found here: http://www.sellingyourscreenplay.com/library
ANDY
'Cause we're the shit.
RANDY
You oughts to know that, bitch.
ANDY
So, where's Felate-cha?
RANDY
Felate-cha. You bangin' her?
IAN
We're just friends.
ANDY
I thought you took her to prom.
IAN
Yeah, but it was a 'just-friends' kind of thing.
RANDY
I don't get it.
ANDY
You should bang her. We would.
RANDY
Dude, we would bang her so hard.
ANDY
Tell her we'll bang her.
Ian walks away.
RANDY
Yeah, hard.
EXT. IAN'S HOUSE - DAY
Rex, Dylan and Dad are loading luggage and dirtbikes into a trailer, towed by a huge SUV, parked in the street. Ian rides his bike into the garage, carrying his bag from the drug store. Ian's stepmother comes out with a cooler.
IAN'S STEPMOTHER
Ian, sweetie. Are you sure you don't want to come along and cheer on your little brother?
Ian looks over. Dylan gives him the finger. Script provided for educational purposes. More scripts can be found here: http://www.sellingyourscreenplay.com/library
IAN
Yeah. Sounds fun but I gotta work.
IAN'S STEPMOTHER
Okay, sweetie. There's a taco casserole in the freezer and I put forty dollars in the cow for fun money. Be safe, okay?
She kisses him on the cheek. Ian smiles. Ian's dad calls over from the truck.
IAN'S DAD
Where's Jessica? We're burning daylight, people!
INT. IAN'S BEDROOM - MOMENTS LATER
Ian puts the box of condoms on the desk, sits down and stares at them. He lifts some Google maps from the printer - the route from Bartlett, IL to Knoxville, TN. Also, a list titled, "Things to Bring On Trip to Have Sex:" 1) Maps and directions 2) Condoms 3) New black shirt - cool 4) Phone 5) Phone charger 6) iPod 7) iPod charger 8) Money 9) This list Ian cracks open the box of condoms, removes one from its pouch and starts to unroll it. It rolls out longer and longer until it's about a foot long. Ian stares at it, distressed. After a beat, he looks up. Jessica stands in the hall, holding a duffel bag. She's looking in, disturbed. She walks on. Ian throws the rubber in the waste basket. He considers the box for a second. He throws the whole box away, along with the maps and the list. He gets up and exits his room.
INT. IAN'S HOUSE - KITCHEN
Lance walks in as Ian is coming downstairs. Lance has his phone to his ear but isn't speaking into it.
LANCE
Dude! What is going on with you? You bought rubbers!?
Script provided for educational purposes. More scripts can be found here: http://www.sellingyourscreenplay.com/library
IAN
How'd you know that?
LANCE
It's on Russ Miller's blog.
QUICK INSERT: A screenshot of a blog called Miller's High Life - decorated with pot leaves. Top story says, "Ian Lafferty Wastes Money on Jimmies!" The story features the phone photo of Ian, holding the box of condoms.
IAN
Jesus! That was like (checks his watch) eleven minutes ago.
LANCE
So, what the F!?
INT. IAN'S BEDROOM - MOMENTS LATER
Close on the photo of Ms. Tasty. Lance's gaping mouth is reflected on the screen next to her picture.
LANCE
Duuuuude. This chick? For reals?
IAN
She wants me to meet her tonight at the Shakey's in Knoxville.
LANCE
So, why isn't your ass on it's way to Tennessee right now?
IAN
I thought about it. That's why I bought the... those. (re: rubbers) But, I can't. I'm grounded.
LANCE
Grounded? What are you, nine?
IAN
(re: phone) What are you, on hold?
LANCE
No. Robbie Dibbitz called me accidentally. I can hear him talking to somebody. I wanna hear if he shit-talks me.
Ian gives an incredulous look that has no effect on Lance. Script provided for educational purposes. More scripts can be found here: http://www.sellingyourscreenplay.com/library
LANCE
Oh my God, Ian. Do you remember what I said when you blew your chance to rack up some clutch experience with a very shit-faced Lindsay McKay?
IAN
I had to give Felicia a ride home that night. She was sick, remember?
Ian starts flossing nervously.
LANCE
And what did I say?
IAN
That I was a pussy?
LANCE
A raging pussy. And I said, "What do you want, a written invitation?" Guess what dipshit - this IS a written invitation! So kick it in the ass, G!
Lance removes the condoms and maps from the trash.
IAN
Lance. She doesn't want me, okay? She wants him...
Ian clicks a button and brings up the doctored photo of himself.
LANCE
Ohhhh. That's what that picture was all about.
Lance lets out a short burst of laughter before catching himself. Ian walks out.
INT. IAN'S HOUSE - KITCHEN
Ian comes downstairs into the kitchen. Lance follows.
LANCE
Ian! It's not that bad. You look like that picture...more or less.
IAN
Lance. Let it go.
Script provided for educational purposes. More scripts can be found here: http://www.sellingyourscreenplay.com/library
LANCE
Dude, I've been trying to get you laid every summer since my dad moved here. Now, sack-up, bro.
IAN
Seriously, just forget it. Ms. Tasty's probably a guy anyway.
LANCE
Maybe. But what if she's not?
Ian cracks a smile.
IAN
She's pretty, eh?
LANCE
Pretty? Yeah. Pretty fuckin' hot.
Lance hears something in the phone he doesn't like.
LANCE
That motherfucker. (yelling into his phone) I heard that Robbie, you backstabbin' prick!
Lance hangs up. After a beat, he's right back on task.
LANCE
Dude, come on! You already opened. I can help you close. We just need one thing...
INT. IAN'S HOUSE - GARAGE
Ian and Lance stare at the Judge. It sparkles and shines.
LANCE
You roll up in this fucker and she'll drop an egg right in the Shakey's parking lot.
IAN
Rex'll never let me take the Judge.
LANCE
You don't know if you don't ask.
Outside, Ian's dad fires up the SUV. Rex jogs into the garage. Script provided for educational purposes. More scripts can be found here: http://www.sellingyourscreenplay.com/library
REX
Yo. Fuckstick. Heed these words: That car moves so much as a dick- hair, a fly so much as farts on it and you die a brutal death, fag.
Rex punches Ian in the arm. Ian rubs his arm as Rex stomps off, laughing. Ian gestures toward him as if to tell Lance, "I told you so." Rex points the clicker over his shoulder, closing the garage door with Ian and Lance still inside.
LANCE
What a dick. You should take his car just on principle.
IAN
I don't even have a key, Lance.
Lance turns and begins probing the underside of the car along the edges. Just ahead of the rear wheel, he hits paydirt - a small, black, magnetic box, printed with a Hide-a-Key logo. He slides the box open, producing the car key.
IAN
Lance, no. Didn't you hear him?
LANCE
Ian. Look at me. Yes. Rex might find out. And he might kick the holy shit out of you. But this is your last chance. You don't step up now, you're a college virgin.
Ian stares back gravely, thinking it over.
LANCE
She's nine short hours away. We head down tonight, you pound that va-jay, and we're back tomorrow, Rex'll never even know it was gone. You lose your virginity tonight, Ian. To-night.
CLANK!! Ian and Lance startle as the garage door opener kicks in. The door begins to rise, exposing Rex's boots and slowly more of him. They fumble with the key box as the door inches higher. Ian dives to put it back.
LANCE
No! It was back here!
Lance points to where he found it. Ian reaches out, dropping the key box. Lance turns to get it, accidentally kicking it under the car. The door is up to Rex's chest! Script provided for educational purposes. More scripts can be found here: http://www.sellingyourscreenplay.com/library Ian lunges under the car but it's just out of his reach. He painfully stretches out, his finger tips tickle the key box. Finally he gets it and tosses it back to Lance who puts it in place. Ian scrambles out from under the Judge. Rex's POV as the door clears his eyes. Ian is on his knees as though he might blow Lance. He peeks around Lance at Rex.
REX
For god's sake. You two rump rangers couldn't wait five minutes.
Rex shakes his head as he steps in. He retrieves the key box from under the car. He points a warning finger at Ian and Lance as he walks backwards to the SUV. They drive off.
LANCE
Shit!
Cue "Let's Get It Up" - balls-out-loud as Ian gives Lance a dubious smiles. Ian holds up the key.
EXT. IAN'S HOUSE - GARAGE - DAY
The Judge thunders to life and pulls out over the camera like the Star Destroyer at the top of Star Wars. The car stops as Felicia is now standing in the way. She's holding a bag of groceries and videos. She crosses to Ian's open window.
FELICIA
Ian? Are you on crack? Rex is going to castrate you.
IAN
True that.
FELICIA
You two better not be bitchin' out on me. You promised.
IAN
We're not.
FELICIA
Okay. So, where we going?
Lance tries to wave Ian off from telling Felicia.
IAN
Um...Knoxville, Tennessee.
Felicia considers the destination for a moment. Script provided for educational purposes. More scripts can be found here: http://www.sellingyourscreenplay.com/library
FELICIA
(unfazed)
Yeah, okay. Lemmie get my stuff.
She hands Ian the bag of goodies and then bolts to her house.
LANCE
Dude. You do not want Felicia along. I know you guys are friends but she's always cock-blocking you.
IAN
No she isn't. She doesn't even have...one.
LANCE
Fine, twat-blocking you then. You know what I mean.
IAN
Yeah. But, her cousin-- I kinda promised. She'll be mad.
LANCE
She'll get over it. Be a man.
Felicia throws her bag in and jumps in the back. \*
LANCE (CONT'D) \*
I thought you had a wedding this \* weekend. You sure you can go? \*
FELICIA \*
The wedding's not 'til next month. \* So, what's in Tennessee? \*
IAN
(stammering)
Um...Cancer.
FELICIA
Cancer?
IAN
Yeah. My grandma's got some cancer.
FELICIA
Nana Lafferty?
IAN
No, my other grandma. I'm going to visit her. It's probably gonna suck. You know, old people stuff. You don't have to go.
Script provided for educational purposes. More scripts can be found here: http://www.sellingyourscreenplay.com/library
FELICIA
Oh my god, Grammy K? Of course I'll go. Is she...
Felicia's eyes well up with tears. Ian realizes he well overshot the lie.
IAN
Oh! No! It's not like fatal. It's just, um...foot cancer.
LANCE
Foot cancer.
FELICIA
What's she doing in Tennessee?
IAN
Oh, there's this really kick ass cancer center there. It's like famous. If you ever get any cancer (trailing off) you should totally check it out...
Ian realizes he blew it and he's stuck with her. He shrugs to Lance, who just shakes his head.
INT. THE JUDGE - LATER
They fly along the highway. Felicia sits in back, leaning against the window. Her iPod earbuds are in. Lance takes the Google maps out of his pocket and flips through them.
LANCE
What are we on - 294? So, you want I-80 east. Then 65 south all the way through Indiana.
Felicia emits an unintended guttural hum along with her music. She sounds like a retarded zombie. Ian and Lance laugh. She pulls an earbud out.
FELICIA
What? What's so funny?
IAN
Nothing. There was just a guy going by going all like...
She puts the earbud back in. A moment later, she's humming again. Ian checks his watch. He speaks quietly to Lance. Script provided for educational purposes. More scripts can be found here: http://www.sellingyourscreenplay.com/library
IAN
I'm meeting her at eight thirty. If we only stop for gas, we should be able to make that.
LANCE
Nice. So? How's it feel?
IAN
What?
LANCE
I don't know - Breaking some rules? Talkin' some shit? Driving the Judge to get some poon?
IAN
(smiles)
Feels pretty good.
Cue: "Steady At The Wheel" by Shooter Jennings. They pass a "Welcome to Indiana" sign. The country flies by. Ian effortlessly blows by a camper. Several drivers take notice of the classic muscle car, some even wave or give a thumbs up. A hot girl in a convertible smiles. They pass through Indianapolis. Ian leans back, feeling like a badass. FADE MUSIC Felicia points to a passing billboard for a new romantic comedy called, "What Part of No?" It features a knockout blonde with her arms folded and her back to a fat, nerdy guy who looks as though he's got a plan to seduce her.
FELICIA
Are you guys gonna go see that?
LANCE
Pass. That's just another movie where the girl's hot and the guy's a dork but he's persistent. So he comes on with a bunch of cute, zany shit that, in the real world, would get you arrested.
IAN
Right. But he wears her down until she falls in love with him over a game of putt-putt or something.
LANCE
Pure bullshit. Nobody's ever gotten laid off mini-golf.
Script provided for educational purposes. More scripts can be found here: http://www.sellingyourscreenplay.com/library
FELICIA
Yeah, and the girl, who's supposed to be so great, always has some boyfriend who's a total rod.
IAN
That's the only realistic part.
FELICIA
Shut up. It is not.
IAN \*
Oh, really? Your last three \* boyfriends - All major, supreme \* dicks. \*
Felicia smiles, she can't deny it. \*
LANCE \*
It's not her fault. People like a \* challenge. Everybody wants what \* they can't get. \*
This point makes Ian and Felicia uncomfortable. \*
FELICIA \*
Yeah, well, those guys didn't start \* off as dicks. They turned into \* dicks. That's what all you guys \* are - instant shithead kits - just \* add love. \*
The Judge moves through rural Indiana. Ian tries to pass a \* pimped out Honda with black windows but the car speeds up. \*
LANCE
Dude wants to race. (Out the window.) Let's go, pussy!
IAN
Lance! Don't start shit. You don't know who's in there.
LANCE
Bring 'em on!
IAN
Cut it out, man.
LANCE
You've never been in a fight, have you Ian?
Script provided for educational purposes. More scripts can be found here: http://www.sellingyourscreenplay.com/library
IAN
So? Fighting's stupid.
LANCE
True. But everybody should get in at least one fight. It's good for you. That includes you, Leesh.
FELICIA
Oh yeah? What if you get the shit kicked out of you?
LANCE
That's even better for you.
The driver gives Ian the finger out his sunroof.
FELICIA
(sarcastic)
Uh, oh. I'm pretty sure that's a direct challenge to your manhood.
LANCE
Yeah! Come on, bury this jag-off!
IAN
I'm not racing in my brother's car.
The Honda swerves toward them. Ian swerves out of the way.
IAN
Jesus! What the fuck!?
Honda boy heaves a huge Hardee's cup out the sunroof. It lands on Ian's side and blankets pink milk-shake across the Judge's entire windshield. Ian, Lance and Felicia scream as they are driving blind. Ian turns on the wipers but they only slosh the shake around. Lance sticks his head out the window, they are about to hit a parked camper.
WINNEBAGO!
AHHHHGGG!!
Ian slams on the brakes, sending Felicia flying over the seat and onto the floor at Lance's feet. The Judge swerves, barely missing the camper. The cars behind them weave chaotically. The Judge finally stops in the grassy median. Everyone catches their breath. Felicia rises up from the floor of the front seat. Lance reaches out and dips his finger into the liquid on the windshield. He tastes it. Script provided for educational purposes. More scripts can be found here: http://www.sellingyourscreenplay.com/library
LANCE
Strawberry. You're telling me we couldn't have wasted some dildo who drinks strawberry fuckin' shakes?
EXT. TRUCKSTOP - DAY
Lance is washing the windshield. Ian gives Felicia some cash. He's bouncing on his heels, desperate to pee.
IAN
I really gotta take a whiz. Can you put some gas in?
FELICIA
No problemo. Go take that whiz.
INT. TRUCKSTOP
Felicia walks in. A pretty, blonde hick cashier in her early twenties stands behind the counter, crying. Her raccoon eyes suggest this has been going on a while. Her name tag says, "BRANDY."
FELICIA
Um... You okay?
BRANDY
Do I look like I'm okay? Fuck.
She continues crying for a long awkward moment.
FELICIA
You know what might make you feel better? Putting forty on pump two.
Brandy snatches Felicia's money and slams it into the drawer. Felicia rolls her eyes and steps out as Lance is coming in.
EXT. TRUCKSTOP
Felicia returns to the gas pump. She realizes that the Judge's gas tank is on the other side. She gets in the car.
INT. TRUCKSTOP RESTROOM
Ian stands before a urinal. Script provided for educational purposes. More scripts can be found here: http://www.sellingyourscreenplay.com/library
IAN
(whispering to himself)
Come on, come on, come on. Before anyone comes in.
The door kicks open and a huge TRUCKER walks in. Out of ten urinals, he picks the one right next to Ian.
TRUCKER
Woo! My back teeth are snorkeling!
The trucker immediately starts peeing. After a beat, he notices Ian isn't. He looks over.
TRUCKER
You got the shy bladder?
IAN
Yeah.
TRUCKER
I used to have it something fierce. They call it Paruresis. You see your mind is conditioned to react to certain situations by building a wall of fear all around you. The only way to crumble those bricks of anxiety is to give yourself permission to be vulnerable. (still peeing) Know what I'm saying?
EXT. TRUCKSTOP
Felicia does a U-turn but before she can get back, a shit-box mini-van pulls up to Felicia's pump. A nasty red-haired REDNECK WOMAN in a transparent visor climbs out, followed by several creepy children. She starts pumping Felicia's gas into her van as she lights a cigarette. (She's also wearing a nicotine patch.) Felicia gets out and steps up to her.
FELICIA
Excuse me, ma'am? That was my pump.
REDNECK WOMAN
Hey! Tough shit. Move your meat, lose your seat. (to her kid) Don't you eat that, Logan! You'll ruin your appetite!
Her creepy seven-year-old is scraping a discarded, melted Rolo off the ground. He does eat it. Script provided for educational purposes. More scripts can be found here: http://www.sellingyourscreenplay.com/library
FELICIA
Listen, Reba, if you value either one of those teeth you got left, shut off the pump.
Felicia is smaller than the woman but her face is all fire. The woman considers her for a long beat.
INT. TRUCKSTOP RESTROOM
The trucker is still peeing. Ian still isn't.
TRUCKER
...so I said to my daddy, "That's it. I ain't gonna be bossed around no more. Not by you, not by my wife and sure as hell not by my bladder." You know what he said?
Ian walks out. The trucker looks slighted. Still peeing.
EXT. TRUCKSTOP
Ian comes outside. Felicia is finishing up pumping the gas. She smiles like nothing happened. Lance comes out of the truckstop with his arm around Brandy, the counter girl, who's still crying. Ian and Felicia exchange annoyed expressions.
LANCE
It's okay, Brandy. Yeah, you let it out, baby. He's a bastard.
You'd swear Lance's heart was breaking too until he covertly smiles and raises a triumphant thumbs-up to Ian. Lance opens the door of the Judge and escorts her into the back seat.
LANCE
Don't worry, Lancey's gonna get you home and into a nice hot bath.
Lance closes her door and walks around to climb in the other side, but Ian stops him halfway and whisper-yells.
IAN
Lance, what are you doing?
LANCE
Dude, I'm just trying to show another human being some compassion...and my dick.
Script provided for educational purposes. More scripts can be found here: http://www.sellingyourscreenplay.com/library
IAN
No! We're already off the schedule!
LANCE
The whole trip can't just be about you, Ian.
INT. THE JUDGE - DAY
The Judge drives past endless rows of corn. Ian and Felicia are pissed. In the back, Lance is making out with Brandy.
BRANDY
It's just at the end of this cornfield.
IAN
This cornfield? The one that's been going by for the last twenty minutes? Alrighty.
No reply as Lance and Brandy fall down, out of sight.
EXT. EST. BRANDY'S MOBILE HOME - DAY
The run-down trailer sits on a patchy yard in a small trailer park. Several toys and car parts litter the ground.
INT. BRANDY'S MOBILE HOME - LIVING ROOM
The place is nasty. Dark wood panelling, ratty carpet, framed pictures of the Virgin Mary and Brittany Spears. An old obese woman and an older skinny man sit fully reclined in two ratty recliners. They're watching "Wheel of Fortune" and drinking some off-brand soda. The old man intermittently and violently scratches his balls. Ian and Felicia sit together uncomfortably on a small, low chest. Lance and Brandy's dirty giggles can be heard through the wall. Felicia whispers in Ian's ear.
FELICIA
It stinks in here.
Ian gestures toward a cat that is pissing on the carpet, next to a cat box that has not been cleaned out in a long time.
FAT LADY
You kids want to help yourself to a can of purple?
Script provided for educational purposes. More scripts can be found here: http://www.sellingyourscreenplay.com/library
FELICIA
(standing)
That sounds good. I could go for a purple. Ian? Purple?
INT. BRANDY'S BEDROOM
Brandy's tiny room is not much of an improvement over the living room. Lance and Brandy are rolling around on her faux- brass bed. She pulls out some handcuffs.
LANCE
You're a dirty girl, aren't you?
BRANDY
Just wait.
INT. BRANDY'S MOBILE HOME - KITCHEN
Felicia sits down at the kitchen table, looking surly. The kitchen is cluttered and filthy. Ian opens the fridge and removes a can of the generic soda.
IAN
Wow. It actually says, "Purple Soda." Where do you buy Purple soda?
He cracks it open and takes a tentative sip. Yuck. He offers it to Felicia, who waves it off. Ian stands and looks over the items that are stuck to the fridge. A report card is marked with three D's, an F and a C-. Next to the C- is a happy face and the words, "Nice Werk!"
IAN
I think she's got a kid.
Felicia points to a picture of Brandy with three kids - each varies in ethnicity.
FELICIA
Uh, yeah. I think she's got a few.
INT. BRANDY'S BEDROOM
Two pairs of handcuffs now lock Lance's hands to the metal bars of the headboard. He's loving it.
BRANDY
You ever had a Cincinnati Spitball?
Script provided for educational purposes. More scripts can be found here: http://www.sellingyourscreenplay.com/library
LANCE
Sure. Plenty of times. What else is on the menu?
BRANDY
Okay, how 'bout a Peppermint Fatty?
LANCE
Mmmm. That sounds good. I'll have that.
She tosses some Altoids in her mouth and goes down.
LANCE
Oooooh. That is curiously strong.
INT. BRANDY'S MOBILE HOME - KITCHEN
Felicia and Ian hear the groan. Felicia seethes.
IAN
You like him don't you?
FELICIA
What? Who?
IAN
Lance. You've got a thing for him don't you?
Felicia sits up straight like a shot. She couldn't look more guilty but she makes a weak attempt to cover.
FELICIA
Oh my God, Ian. Gross. You guys are like brothers to me. Whatever.
Ian just stares back for an awkward moment. Suddenly he's distracted by a monster truck pulling up outside.
IAN
Uh, oh. I think this might be the guy she was bawling about.
A moment later, RICK enters through the kitchen screen door. He's a huge burly guy around thirty. He wears a ball cap that reads, "Fun-Time Midways." He carries a single rose wrapped in pink cellophane. He stops short when he sees Ian and Felicia.
RICK
Oh, shit. Howdy.
Script provided for educational purposes. More scripts can be found here: http://www.sellingyourscreenplay.com/library Ian and Felicia just stare back, blankly.
IAN
Howdy.
FELICIA
Howdy.
RICK
Where the fuck's Brandy at?
INT. BRANDY'S BEDROOM
Lance is still cuffed to the bed. Brandy stands over him.
BRANDY
You ever had a Rolling Brown Out?
LANCE
Oooh, no. Let's have some of that. (then) Wait. Brown? Hold on. Nothing brown.
Lance starts to squirm violently.
INT. BRANDY'S MOBILE HOME
Lance screams in horror from the other room. OH, GOD, NOOOOOO!!! Everyone looks over except the old couple who remain oblivious to this entire scene. Rick heads for the bedroom door. Felicia fearlessly jumps into his path.
RICK
I don't know who the hell you are but you best get your skinny ass out of the way!
FELICIA
Or what!? You gonna hit a girl?
RICK
No. (beat.) But, I'll pummel his ass real good. (re: Ian)
Without hesitation, Ian yanks Felicia out of Rick's path.
IAN
There you go. Our bad.
Rick pulls on Bandy's door. It's locked. He backs up and kicks it open. Script provided for educational purposes. More scripts can be found here: http://www.sellingyourscreenplay.com/library He steps in and is immediately knocked back on his ass by Lance bursting out, butt-naked and carrying the headboard that he is still cuffed to. Lance runs out the front door but the headboard bridges across the door-frame, trapping him on the porch but also blocking Rick. Rick punches at him through the bars but can't reach. Rick grabs the headboard and pulls it back in, Lance with it. Lance turns the headboard sideways, smacking Rick. Lance runs out, raising the headboard over his head. He runs naked past several mobile homes.
INT. MOBILE HOME #2
A little boy watches Lance sprint by. He points out the window and calls to his mother.
LITTLE BOY
Weiner!
LITTLE BOY'S MOTHER
Oh, hush up. You just had lunch.
EXT. CORNFIELD
Lance takes cover in the bordering cornfield. He drops to one knee and painfully works his left hand out of its cuff. The right one is too tight. Suddenly he hears rumbling. He stands to see. It's Rick's monster truck coming right for him. Lance hits the deck. The truck rolls over him, leaving him untouched but running over one side of the headboard. When Lance stands, the headboard comes apart and he's able to slip the remaining cuff off of the bar it had clung to. With one set of cuffs dangling from his right wrist, Lance runs down the rows. Extreme close up on a blade of corn stalk, as it slashes Lance's arm like a paper cut. Then another cuts his face.
LANCE
Ahhhgg! Shit that hurts!
The truck corners into the frame behind Lance. Lance runs toward us like Indiana Jones running from that huge ball. Just as the truck is about to hit him, he dives out of the way. Rick slams on the brakes, spitting dirt everywhere as he does a reverse donut to turn around. Lance now cuts and dodges through different rows but he's running out of steam. He stops to catch his breath. Script provided for educational purposes. More scripts can be found here: http://www.sellingyourscreenplay.com/library After a beat, he looks up to find Rick, out of his truck and stomping toward him with a baseball bat. Lance lamely backpedals, covering his junk with his hands.
LANCE
Hey, man. Come on. She's not worth it. You get back with her, and she's just gonna shit all over you. Trust me.
Rick raises the bat. Just then the Judge pulls up next to Lance. Ian pulls him into the passenger seat. The car showers dirt all over Rick as it peels away.
INT. THE JUDGE
The car races blindly through the field. Hundreds of corn stalks thump over the hood as they plow through. Lance, still naked, rides shotgun. Felicia is in the back seat.
IAN
Where the hell's the road!?
FELICIA
It feels like left.
EXT. CORNFIELD
Cut to an aerial shot of the Judge, leaving a trail of trampled corn. The road is just a few rows to its left.
LANCE (V.O.)
No! Go right! For sure!
The car turns right, plunging them further into the field. The shot pulls back to reveal that the Judge and Rick's truck are now on a collision course!
INT. THE JUDGE
Lance is putting a t-shirt on. He spots something coming their way.
LANCE
Ian?
IAN
I told you we didn't have time for this! But all you care about is your dick!
Script provided for educational purposes. More scripts can be found here: http://www.sellingyourscreenplay.com/library
IAN
You leave us out there with her crazy mom and her ball scratcher dad and their weird soda--
LANCE
Ian! Whip a shitty!
The truck appears in front of them. Ian cranks the wheel.
EXT. CORNFIELD
Back to the aerial view as the Judge and the truck circle. Ian breaks right but the truck soon falls into his path.
INT. THE JUDGE
Felicia is watching out the back.
FELICIA
You're not gonna lose him, Ian. He's following our corn wake.
LANCE
Corn wake?
FELICIA
Whatever!
Ian slams on the brakes.
LANCE
What are you doing!? Go!
EXT. CORNFIELD
Ian backs up and turns left down a perpendicular path that they had previously trampled. Rick catches up but ends up lost in a dead end of corn. Ian turns hard right. The Judge bursts out of the corn, up the side of the ditch and jumps, landing back on the road. Lance and Felicia cheer.
LANCE
Duuuuuude! That's how you do that!
FELICIA
Awesome driving, Ian! You're amazing!
She kisses Ian's head, then smacks Lance upside his. Script provided for educational purposes. More scripts can be found here: http://www.sellingyourscreenplay.com/library
FELICIA
You suck, Lance!
LANCE
I'm sorry! But Ian, seriously, thanks for coming for, brother.
Lance puts a hand on Ian's shoulder.
IAN
Would you just put some pants on?
FELICIA
Anyone know where we are?
IAN
No idea. Where's the Google Maps?
LANCE
They're in my pants. Back there.
IAN
Great!
They crest the hill - nothing but farmland and country lanes. A hippy HITCHHIKER (40ish) stands along the road up ahead.
LANCE
Hey, pick this guy up. Maybe he can get us back to the highway.
FELICIA
Ian! Do NOT pick up a hitchhiker.
IAN
Don't worry.
Suddenly, the car sputters and dies. They roll to a stop right next to the hitchhiker. He runs to Lance's window.
HITCHHIKER
Whoa! Thanks! I ain't seen a car in hours. (looks down at Lance) Oh, goin' commando? Right on.
IAN
Yeah. Listen, we didn't actually--
LANCE
You know where we can pick up I-65?
HITCHHIKER
Nope.
Script provided for educational purposes. More scripts can be found here: http://www.sellingyourscreenplay.com/library Another clunk and steam rolls out from under the hood. Ian gets out, slamming his door.
EXT. ROADSIDE - MIDDLE OF NOWHERE - MOMENTS LATER
The Hitchhiker sits in the back seat. Felicia leans against the car, trying her phone. Lance (now in pants) and Ian stand over the open hood, staring blankly at the engine. Two cows stand just across a fence, watching.
LANCE
What do you think?
IAN
What do I think? I think we know dick about cars. (re: cows) We might as well ask them. (to cows) What do you think fellas?
Felicia walks up, holding up her phone.
FELICIA
Nothing. No bars whatsoever.
She looks at the engine.
FELICIA
It probably just needs water. Is there any in the trunk?
Ian shakes his head.
FELICIA
My brother's car overheated once and he peed in the radiator.
Ian and Lance shrug to one another. Ian reaches to remove the radiator cap.
LANCE
It says not to open it hot. Maybe we should let it cool down a while.
IAN
Yeah well, thanks to you, we don't have time for that.
Ian turns the radiator cap. THOOOP! It explodes out of it's coupling, ricocheting off the underside of the hood and then dinging off Ian's head. He goes down hard.
IAN
Aaaahhhhgg! GOD DAMN IT!
Script provided for educational purposes. More scripts can be found here: http://www.sellingyourscreenplay.com/library Ian rolls around holding his forehead.
LANCE
There's a lesson learned.
Lance unzips his pants. Felicia turns away.
LANCE
You can watch. I don't care.
FELICIA
Gee. No thanks.
Lance pees into the radiator. He finishes with way too many extra 'shakes.'
LANCE
Ian. You're up.
Ian struggles to his feet, a red spot is now on his forehead. He stands before the radiator. Lance stands next to him.
LANCE
Well? Grip it and rip it.
IAN
Okay. Go away.
LANCE
Why?
IAN
I can't pee with you standing there.
LANCE
Seriously?
Lance shakes his head and steps away to join Felicia around the side of the car. Ian closes his eyes, takes deep breaths and tries to relax.
IAN
(whispering to himself)
Come on, come on, come on. Okay, good. Here it comes.
LANCE (O.S.)
Yo stagefright, how we doin'?
Ian looses his start. Script provided for educational purposes. More scripts can be found here: http://www.sellingyourscreenplay.com/library
IAN
Damn it, Lance! Just give me a minute.
Cut to Lance and Felicia. After a beat, we hear a subtle stream of peeing just beginning when:
LANCE
There it is!
The pee sound stops again.
IAN (O.S.)
Shit! Would you please shut up and let me do this!?
After a moment, the pee restarts. Lance puts a finger to his lips, indicating to Felicia to keep quiet. When Ian wraps up, Lance looks into the back seat, where the hitchhiker has hunkered down.
LANCE
Dude. We need you to piss in the radiator.
HITCHHIKER
Why?
LANCE
We just do.
HITCHHIKER
I'm real sorry. I just took a leak a few minutes ago. You want me to shit in it?
Lance just slams the door. He rounds to the front of the car. Felicia's looking into the radiator.
FELICIA
I don't think that's enough.
LANCE
Our new friend's got nothing left in the tank.
Lance and Ian eyeball Felicia.
FELICIA
What? No way. I don't have the aim you guys have.
LANCE
Every drop helps.
Script provided for educational purposes. More scripts can be found here: http://www.sellingyourscreenplay.com/library She shakes her head, considering it. Suddenly the hitchhiker jumps out of the back seat and calls out to them.
HITCHHIKER
Hey! Look what I had in my bag!
He's holding a half-full bottle of water.
FELICIA
Oh, thank god.
He starts chugging the water.
IAN
No!
FELICIA
Wait!
He polishes off the water with a refreshed, "ahhhh."
HITCHHIKER
Now just give me twenty minutes and I'll be all set.
Felicia sighs and crosses to the front of the car.
FELICIA
Any of you pervs peek and I swear it'll be your last conscious act.
Ian, Lance and the hitchhiker lean against the side of the car. Ian excitedly waves to an approaching car. The small, white car slows down. A family of very proper church folks smile as they pull along side.
CHURCH DAD
You kids need some help?
From the family's POV, as they roll to a stop, they see Felicia standing on the bumper, pants down and squatting over the radiator. Their faces drop. They take off. Felicia slams the hood.
FELICIA
Just try it.
Ian climbs in, takes a deep breath and turns the key. It starts. The temperature gauge creeps up but levels off just shy of the red. They all breathe a sigh of relief. Lance and Felicia climb in. The hitchhiker reaches for the door but Ian reaches back and locks it.
HITCHHIKER
What the hell, man?
Script provided for educational purposes. More scripts can be found here: http://www.sellingyourscreenplay.com/library
IAN
Look, I'm sorry. We can't give you a ride.
HITCHHIKER
What? You can't just leave me out here in the middle of nowhere.
IAN
You already were out here in the middle of nowhere. Really. I wish I could, but it's my brother's car and I can't take any chances.
He leans into Ian's open window and gives Ian a crazy look.
HITCHHIKER
I'm only gonna say this one time. Unlock that fuckin' door or, god as my witness, I'll chop you up into little tiny pieces.
FELICIA
Go, Ian. Just go!
Ian throws the car in gear and lays on the gas. The car lurches forward about two feet before stopping hard and stalling out. Ian and Felicia bounce off the dash. The hitchhiker steps back to Ian's window. Ian turns the key. Nothing. After a beat, the hitchhiker cracks up.
HITCHHIKER
Ha! That's funny! Serves you little peckers right!
He walks away, laughing. Ian breathes a sigh of relief but a second later the hitchhiker bursts back into Ian's face.
HITCHHIKER
Oh! And here's that piss you ordered!
He pisses all over the side of the car. Ian frantically rolls up the window. He gives them double fingers as he walks away, down the road.
EXT. COUNTRY ROAD - LATER
TITLE: AN HOUR AND A HALF LATER Ian, Felicia and Lance are leaning against the car, sweating in the heat. Script provided for educational purposes. More scripts can be found here: http://www.sellingyourscreenplay.com/library
FELICIA \*
God, it's hot out here. \*
IAN \*
How can nobody go down a road for \* an hour and a half? Why did they \* even make this road? I can't \* believe I let you talk me into \* taking the Judge. Ohhh, what the \* hell was I thinking? \*
LANCE \*
Dude, just relax. \*
IAN \*
Oh, right. Relax. My brother's \* car has hitchhiker piss all over \* the door and our piss in the \* radiator and strawberry shake in \* the vent! What am I supposed to \* tell Rex, that I accidental drove \* it through a cornfield!? You know \* Rex is insane, right? \*
Ian starts walking away.
FELICIA
Where you going?
IAN
I'm going for help. I'm not standing around here all day waiting for the hitchhiker piss to eat away the paint.
LANCE
Wait up, I'll go with you.
IAN
No, just stay with the car.
LANCE
Why don't you go with him?
Felicia watches Ian go, deciding if she should join him.
EXT. COUNTRY ROAD - TWO MILES AHEAD - LATER
Ian and Felicia walk silently down the road. Ian keeps checking his phone - no bars. Felicia smiles at him. He turns to her. The word HOT is imprinted mirror image in his forehead from the radiator cap. Felicia cracks up. Script provided for educational purposes. More scripts can be found here: http://www.sellingyourscreenplay.com/library
FELICIA
Oh my god, your head. I'm sorry. Does it hurt?
IAN
Yes. Fuckin' Lance.
FELICIA
Yeah. Lance. (beat) Still, that was some pretty badass driving back there, Luke Duke.
IAN
Really? Thanks.
She smiles at him; then she notices something down the road.
FELICIA
Dude. What's that?
IAN
Whoa.
They squint with curiosity and move toward whatever it is.
EXT. COUNTRY ROAD - A FEW MILES BACK
A buggy drawn by two horses clops up next to the Judge. EZEKIEL, an Amish man in his late-twenties, steps out of the buggy. Ezekiel doesn't speak with any noticeable accent.
EZEKIEL
Need some help?
LANCE
Yeah, but... I mean, all due respect there, champ.
EZEKIEL
Oh, right. I'm Amish. So I probably wouldn't know anything about your 69 GTO Judge 427 Big Block with Ram Air 6 packs and 4/10 posi. Well, good luck with your new-fangled horseless carriage there, English.
The buggy starts to pull away.
LANCE
No. Dude, wait!
Script provided for educational purposes. More scripts can be found here: http://www.sellingyourscreenplay.com/library
EXT. COUNTRY ROAD - MILES AHEAD - LATER
Felicia and Ian smile in awe as they arrive at a massive tree alongside the road. It is covered with shoes of every shape, size and color, each dangling by its laces. It's an oddly breathtaking sight in the setting sun.
IAN
Wow. Cool.
FELICIA
It's beautiful. Take my picture.
Ian snaps a picture of her with his phone, then starts walking again. Felicia remains behind. Ian turns. She takes off her shoes and starts tieing them together.
IAN
No. Bad idea. You don't know how far we have to walk. Seriously, you're going to regret this...
She flings her shoes into the tree.
IAN
I can't believe you just did that.
FELICIA
Now you.
IAN
No way.
FELICIA
Oh come on, Ian. You never do anything crazy.
IAN
Hey, I'm driving halfway across the country just to-- um.
FELICIA
To visit your grandma? Yeah, you're a madman. Trust me. Do it. It's feel great and you'll always remember this moment.
IAN
I'd rather remember having really good arch support.
She smiles at him, still encouraging him to do it. Script provided for educational purposes. More scripts can be found here: http://www.sellingyourscreenplay.com/library
IAN
No. You know what's gonna happen? You're gonna cut your foot open on a broken bottle or something and then I'll have to rush you to the emergency room where you'll get seventeen stitches and a staph infection. Then you're dead. But it was worth it because your shoes are in a tree.
FELICIA
I'll be fine. I like being barefoot.
She stubbornly walks on.
INT. BUGGY - LATER
Ian and Ezekiel ride in the buggy, which is towing the Judge.
LANCE
So, he met her on the internet and--
EZEKIEL
The internet?
LANCE
Oh. You see, the internet is a bunch of computers that are--
EZEKIEL
Computers?
LANCE
Right. Computers are like big calculators with pictures--
EZEKIEL
Hey, I'm kidding. I know what the internet is. You ever heard of Rumspringa?
LANCE
Is it anything like a rolling brown out?
EZEKIEL
No. It means, "run wild." It's an Amish tradition where, when we turn sixteen, we can go live like you heathens for a while.
Script provided for educational purposes. More scripts can be found here: http://www.sellingyourscreenplay.com/library
EZEKIEL
Cars, movies, video games, booze, Scrabble, you name it.
LANCE
You guys can't even play Scrabble?
EZEKIEL
Nope. Apparently, triple word scores lead to pride. Anyway, you go nuts and party for a few months or years, until your folks start hassling you and then it's back to the stone ages.
LANCE
So if you're on Rumspringa, why the buggy?
EZEKIEL
I'm not. I was. For five years - a village record. But not anymore. I shouldn't even be talking to you.
LANCE
Whoa. So what do you miss most?
EZEKIEL
Hmm. Lots of things. I miss Sarcasm. It's mostly lost on my people. Gambling. Went to Vegas once... (after a long beat) Oh. Buttfucking. Got some real nice memories there.
EXT. COUNTRY ROAD - FURTHER DOWN
Ian and Felicia are walking away from the tree. A truck is coming! Ian steps into the road and waves his arms. The truck slows down and stops a hundred feet past them. They run for it.
IAN
Hey! Thanks! We were just--
The hitchhiker leans out the passenger window and gives them double fingers.
HITCHHIKER
Have a nice walk, shitbirds!
The truck peels out, pelting Ian and Felicia with gravel. Script provided for educational purposes. More scripts can be found here: http://www.sellingyourscreenplay.com/library
IAN
Shiiiiiiit!
As the dust settles, Ian and Felicia hear horses hooves behind them. They turn to see Ezekiel and Lance clopping toward them, towing the judge. As they near, we hear Ezekiel continuing his list of what he misses.
EZEKIEL
...Shrooms. Used to do tons of shrooms. Whisky dick. Haven't had that in a while. Loansharking...
LANCE
Ian, Felicia! This is my boy Ezekiel.
EZEKIEL
What up, English?
Ian and Felicia just look dumbfounded.
INT. MYSPACE CYBER RAVE
Ian appears before Tasty but this time he's fuzzy and crackling - his signal is not so strong.
MS. TASTY
Hey! Where are you? I'm so excited to see you.
IAN
Yeah. I don't think I'm gonna make it tonight. I'm making a little pit stop to party with some friends I made along the way.
MS. TASTY
Ian, you said tonight. I could have gone to Virginia beach with my friends. I stayed behind for you.
IAN
Come on, don't hassle it. I'll be there tomorrow. Let's say six - the same Shakey's? Trust me - I'm worth the wait. Now, I gotta go, I'm losing my signal.
MS. TASTY
Okay. Tomorrow then. Don't be late!
Script provided for educational purposes. More scripts can be found here: http://www.sellingyourscreenplay.com/library
IAN
Peace.
Ian crackles and fades out.
INT. AMISH BARN - EVENING
Ian puts his phone back in his pocket and walks over to Lance, Felicia, Ezekiel and the Judge. A bunch of Amish kids are working on a few lesser muscle cars. Some dress like secular kids; some wear traditional Amish clothes. They are all excited to see the Judge. JEREMIAH, a young Rumspringa kid, pulls the oil dipstick out and shows it to Ian.
JEREMIAH
You see that creamy stuff? You blew your head-gasket. Not good.
IAN
Shit.
EZEKIEL
We can fix that.
IAN
Really? Oh, man. Thanks!
EZEKIEL
No worries. These guys are stoked just to get a look at a sixty-nine Judge. Gonna take a couple hours.
JEREMIAH
There's a party coming together next door. You guys are welcome to hang out over there while we work on this.
EXT. RUMSPRINGA PARTY - EVENING
Ian, Lance and Felicia walk up to the barn.
IAN
Something tells me this party is gonna suck.
LANCE
I don't know. Ezekiel made it sound like this Rumspringa thing is pretty sick.
Script provided for educational purposes. More scripts can be found here: http://www.sellingyourscreenplay.com/library
FELICIA
Right. I'm sure it's gonna be a one rad quilting bee.
They round the corner to see a beer truck unloading several kegs. Lance points to a parked tour bus. The door opens and the members of Foo Fighters pile out. Dave Grohl nods to them on his way by.
FELICIA
No F-ing way.
INT. RUMSPRINGA PARTY - NIGHT
Foo Fighters are rocking the shit out of "All My Life." Hundreds of Amish, aged sixteen to nineteen (dressed in degrees from all Amish to all English) are dancing, moshing, drinking, smoking, taking rips off bongs, etc. A wet T-shirt contest is happening in one corner. It's like Entourage in the boondocks.
DAVE GROHL
(scream singing)
DONE, DONE AND ON TO THE NEXT ONE! DONE, DONE AND ON TO THE NEXT ONE! Lance, Ian and Felicia are moshing and having a blast.
IAN
This is insane!
The band slows down and plays the acoustic version of "Everlong." Lance looks around, taking it all in. Suddenly, he's thunderstruck by the sight of the hottest girl ever born Amish. She and her friends enter the barn in slow motion. She's dressed English but she has the kind of natural, make- up-free beauty that would make most women want to punch her in the head. Lance is smitten. Felicia takes discontented notice of this. Ian takes his own discontented notice of Felicia's reaction. Lance crosses to her. Ian and Felicia watch as Lance fearlessly launches his opening line. The girl smiles, says one thing to him and then turns back to the band. Lance timidly makes his way back to Ian and Felicia.
IAN
Did you even get her name?
LANCE
Not unless her name is "go fuck yourself." I think I'm in love.
Script provided for educational purposes. More scripts can be found here: http://www.sellingyourscreenplay.com/library
IAN
I'm gonna go check on the car.
Ian walks out.
LANCE
Hey, Felicia. Dance?
FELICIA
Forget it. I'm not gonna be your consolation prize.
LANCE
Come on. Don't be hatin'.
Lance pulls her arm. She can't hide her smile.
INT. AMISH BARN - NIGHT
Ian enters. The Judge is now in pieces all over the floor of the barn. Ezekiel, Jeremiah and three other guys sift through the parts. Ian starts to freak out.
IAN
Holy shit! Holy shit, you guys! What the hell!? Why are the seats out!? Oh, I'm dead. I'm a dead man. My brother's going to lop my nuts off! Jesus Christ!
EZEKIEL
Dude, settle down. We can fix it.
JEREMIAH
And we'd appreciate it if you didn't take the Lord's name in vain.
IAN
Are you shitting me!?
INT. RUMSPRINGA PARTY - NIGHT
Ian stomps in, looking for his friends. He spots them slow dancing together. This bothers him more than he would have guessed. He looks away but can't help but torture himself by watching them dance. Lance says something that makes Felicia laugh. She lays her head on his chest and smiles.
DAVE GROHL
If everything could ever feel this real forever...
Script provided for educational purposes. More scripts can be found here: http://www.sellingyourscreenplay.com/library Finally Ian turns and walks out. Felicia has now settled into the dance. She smiles blissfully. The Amish girl looks over.
LANCE
Check it out. It's working.
LANCE
(re: Amish girl)
Look at her. She is IN. You're the best wingman ever. Watch this.
The song kicks in heavier. Felicia hides her humiliation as she takes a step back. Lance walks away. He passes the Amish girl, she stops him and he kicks-in his game. Felicia walks out.
EXT. RUMSPRINGA PARTY - NIGHT
Ian sits on a hay bail, depressed, alone and nursing his beer. Felicia sits down next to him, looking equally sad.
FELICIA
Is the car ready? Can we go?
IAN
I'm going to be ritually murdered. And I deserve it. You know what? Here's a little tip to take with you. If you ever have car trouble - don't go to the Amish. You want a barn raised, or Foo Fighters to play a show out in the middle of fucking nowhere, apparently the Amish are your hook-up. But car repair - not so much.
Ian turns to her. She looks possibly more upset than he.
IAN
What? What's wrong with you?
FELICIA
Nothing. I'm fine.
IAN
Lance, right? He's in there with that Amish girl and you're...
FELICIA
Wrong. But thanks for playing.
Script provided for educational purposes. More scripts can be found here: http://www.sellingyourscreenplay.com/library Ian's not in the mood to do his usual sweet boy routine.
IAN
Leesh, why don't you just drop the hard ass thing for once. It's okay. You're into Lance.
FELICIA
Right. He's a shallow, pretty-boy, player. I am so not into that.
She looks at Ian, he can see right through her. Her expression turns sad and vulnerable. She hangs her head.
FELICIA
You must think I'm such an idiot.
IAN \*
You're not an idiot. People like \* Lance. I like Lance. \*
Ian offers a cautious hug that is at first awkward, but \* Felicia's guard comes down and she cries on his shoulder. \*
FELICIA \*
Promise me, you'll never be like \* Lance. I mean, I know he likes to \* give you advice but you're the only \* truly good person I know. Don't \* let him contaminate you, okay? \*
Ian looks a bit ashamed.
IAN
Dude, what's wrong with us? There's a kick ass Amish hash bash going on twenty feet away. Come on. Let's go have some fun.
FELICIA
No. You go ahead.
Ian speaks in the quiet sing-song way that one might use to cheer up a child with offers of ice cream.
IAN
I bet they have crack in there. Would you like some Amish crack? Would that make you feel better? I'm sure the donkey show is coming up. I bet if you're good, they'll let you have sex with it. Doesn't that sound nice? Donkey love?
Script provided for educational purposes. More scripts can be found here: http://www.sellingyourscreenplay.com/library Finally she laughs.
INT. RUMSPRINGA PARTY - LATER
Ian and Felicia are dancing and laughing and getting wasted. Montage through the night as they down more and more drinks and get crazy with the Amish. At one point Ian even stage dives and gets body-passed over the crowd. Meanwhile, Lance and MARY, the Amish beauty, dance and hang out together. FADE TO BLACK.:
INT. JUDGE - DAY
POV - from the back seat: Ian is driving alone, looking surly as he sails past the other cars on the highway. Ian lifts a messy burger to his face. Ketchup, mustard and mayo drip on to the seats. He takes a huge gulp off his soda and tosses the half-full cup into the back seat. Ian picks his nose and rubs it on the ceiling of the car. He holds up a gay porn mag, letting the centerfold unfurl. He looks at the sexy naked man, unaware that railroad gates are lowering ahead. Ian turns and looks straight into the camera, laughing maniacally. The train starts crossing. At the split second that we're about to hit the train... Rex (in bed) sits up hard, waking from this NIGHTMARE in a...
INT. HOTEL ROOM - NIGHT \*
Rex huffs and puffs and orients himself. He leaps out of \* bed, digs the key box out of his jeans and opens it. EMPTY! \*
IAN!
GOD DAMN IT!
EXT. AMISH BARN - MORNING
The open field is filled with cars and campers. Kids sleep everywhere - in the vehicles, in the barn and right on the ground. Ian wakes to find that he's lying in the bed of a pick-up truck. Lance is sprawled out in the cab. Ian sits up and rubs his pounding head. Felicia is limping toward him, still barefoot, a pained expression on her face. Script provided for educational purposes. More scripts can be found here: http://www.sellingyourscreenplay.com/library
IAN
Ugh. My head hurts. But my feet feel spectacular. So, cozy. Like they're wrapped in baby bunnies.
FELICIA
Mine too.
She stubbornly corrects her walk and expression but her feet are a mess - cut, blistered and filthy.
IAN
Leesh, you were dancing barefoot for like four hours last night. Look at your feet.
FELICIA
I'm fine, pussyfoot.
IAN
Fine, you're tough but your big toe looks like Yoda's nuts. He's got five, you know.
Lance sits up in the cab, groggy and rubbing his messy hair. He leans through the open back window.
LANCE
Hey. So, what's the plan?
IAN
I might as well call Rex so he can get on with killing me.
FELICIA
What about visiting your grandma?
LANCE
Yeah, Ian. You've been putting off 'visiting grandma' for way too long. It's time you 'visit grandma.'
IAN
I do wanna...you know - 'visit grandma' but Rex is gonna kill me.
LANCE
He's going to kill you either way. We're halfway there. I can't stress enough how much you'll enjoy 'visiting grandma.' Trust me. I 'visit my grandma' all the time and it's pretty fucking awesome.
Script provided for educational purposes. More scripts can be found here: http://www.sellingyourscreenplay.com/library Felicia is a little confused by Ian and Lance's code talk.
IAN
Lance, what am I supposed to do? Our transportation is all over the floor of that barn.
VROOOOOM!!! They all turn to see the Judge pulling out of the barn. It's more powerful and tuned than ever. The Amish grease monkeys look spent but triumphant. Ezekiel jumps out of the Judge.
IAN
Dude. You fixed it?
EZEKIEL
We hit a few snags but she's bangin' like a champ now. You should know though, we couldn't get our hands on the right carburetor so Jeremiah whittled one for you.
IAN
Really? That's amazing.
EZEKIEL
I'm just fucking with you, dude.
Lance spots Mary walking with two girlfriends. They are all in traditional Amish dresses and bonnets. Mary even looks hot in this. Lance runs over to her.
LANCE
Hey! Mary! Wait up.
She breaks ranks with her friends and steps to Lance with a gorgeous smile.
LANCE
You look beautiful.
MARY
Yeah right. Please. These are unflattering by design.
LANCE
Still, you make it hot somehow. Seriously. You wearing that, churning some butter. Are you kidding me? (singing) Sexy.
She laughs. Script provided for educational purposes. More scripts can be found here: http://www.sellingyourscreenplay.com/library
LANCE
So, listen, I had the best time with you last night.
MARY
Yeah, me too.
LANCE
You're going to call me, right?
MARY
Um...No.
LANCE
No?
MARY
Lance. Rumspringa's over for me.
Lance looks devastated. Meanwhile, a short distance away, Ian speaks to Ezekiel.
IAN
So you guys were up all night? I don't know what to say. I don't really have a lot of money.
EZEKIEL
Ahh, we're good. The opportunity to help a neighbor - that's a gift.
IAN
Wow. Thank you.
EZEKIEL
Of course, if you felt like you had to reciprocate in some way, there's plenty of chores that need doing.
IAN
Ooohh. We're kind of behind schedule, but can we hit you on our way back through?
EZEKIEL
(guilt-tripping)
Sure, sure. You probably should get going. I mean, hey, you've got a smooth-running vehicle now...you know - because we fixed it.
IAN
But we're good?
Script provided for educational purposes. More scripts can be found here: http://www.sellingyourscreenplay.com/library
EZEKIEL
Sure, we're good. Technically.
IAN
I mean it. We'll come back. I promise.
EZEKIEL
Looking forward to it.
IAN
No, seriously. We will.
EZEKIEL
Of course. Should I hold my breath?
Ian stands there. Not sure how to take the sarcasm.
INT. THE JUDGE - DAY
Ian drives down the highway. Felicia rides shotgun. Lance sits in back, looking depressed.
LANCE
I've never met anyone like her. This sucks full ass.
FELICIA
I wouldn't worry about it. In fifteen minutes, you probably won't even remember her name.
LANCE
Don't say that. Do NOT say that. This girl is really special.
FELICIA
Lance. Listen to yourself. People want what they can't get. Remember your little theory? Forbidden fruit - that's all she is.
LANCE
No. This is different. Mary and I made some kind of cosmic, spiritual connection. It's real and it's beautiful and it's awesome as fuck.
Ian's phone starts vibrating.
IAN
Cool. I got a signal.
Script provided for educational purposes. More scripts can be found here: http://www.sellingyourscreenplay.com/library He squints at the screen. It reads, "22 NEW MESSAGES."
IAN
Oh, shit.
Ian calls his voice-mail. We hear what he's listening to: IAN!! IF YOU TOOK MY FUCKING CAR YOU ARE FUCKING DEAD!! WHERE THE HELL ARE YOU!? (nice) Call me. Ian erases the message. BEEP! PICK UP THE PHONE, FUCKHEAD! I'M GONNA POP YOUR FUCKIN' BALLS!! Ian erases this message too. BEEP! GOD DAMN IT, IAN! YOU-- BEEP!
REX (V.O.)
Okay. If you call me back, I won't kill you. NO! FUCK THAT! YOU'RE A FUCKIN' CORPSE! WHERE THE FUCK ARE YOU!? SHIT!!!
BEEP!
RON (V.O.)
Ian, Ron. I need my Señor Donut costume back, pronto. So, get it--
BEEP! YOU FAGGOT ASS MOTHERF-- BEEP!
AAAAGGH!!
SHIT!!!
Ian hangs up. He looks catatonic.
FELICIA
What? What is it?
IAN
Rex. He knows I took his car.
Script provided for educational purposes. More scripts can be found here: http://www.sellingyourscreenplay.com/library
FELICIA
So? You're going to visit your Grandma. He'll understand that.
IAN
I don't think so.
Ian's phone rings.
LANCE
Don't answer it.
They sit and listen to it ring.
IAN
Oh, shit. I'm so dead.
LANCE
Not yet. Stay strong, buddy. You know what you need? A Corn dog!
He points to a small carnival set up in grocery store parking \* lot off the interstate. \*
IAN
We don't have time for corn dogs.
LANCE
We got tons of time. You're not meeting her for six hours. Your grandma, I mean. Come on. Corn dogs! Cooooorn Doooogs!
EXT. CARNIVAL - PICNIC TABLES - DAY
Ian and Lance sit at a picnic table. Lance has his head in his hands. A group of hot girls go by.
IAN
Can you believe the girls around here?
Lance doesn't even react.
IAN
Lance. You gotta pull it together. I need your help to get this thing done. You're no good to me if you're acting like...me.
LANCE
Oh, man. I am acting like you, aren't I? Balls.
Script provided for educational purposes. More scripts can be found here: http://www.sellingyourscreenplay.com/library
LANCE
(then) But where am I ever gonna find another girl as cool as Mary?
Ian motions toward Felicia, who's getting the food.
IAN
What about Felicia?
LANCE
What about her?
IAN
Dude. She's into you.
LANCE
Yeah, I know.
IAN
You know? So? What is she - not good enough?
LANCE
Felicia's awesome. But you like her.
IAN
What? No. We're just friends.
LANCE
Dude. (oh, please)
IAN
Seriously. We grew up together. I don't...like, like her.
LANCE
Again - dude.
IAN
Well, she's not into me anyway.
LANCE
Doesn't matter. I still wouldn't do that to you. (then) But you do know she's not into you, right?
IAN
Yeah. Well, I mean, except we have this pledge that if we're both not married when we're thirty...it's actually kind of cute, we just--
Script provided for educational purposes. More scripts can be found here: http://www.sellingyourscreenplay.com/library
LANCE
No. It's not cute. It's bullshit. It's never gonna happen, so don't fuck yourself up waiting for her.
IAN
I know. But sometimes she--
LANCE
Ian, I'm only saying this as your friend. Never. Okay? You're her friend. That's like quicksand. There's no digging your way out of friend-sand. She already knows all your bullshit. I bet you've even cried in front of her before, haven't you?
Ian looks down. Guilty as charged.
LANCE
Oh, fuck me. Well, there you go. You know what every chick I've ever boned had in common? I wasn't friends with any of them.
IAN
(shaking it off)
Yeah. Well, what do I care, right? I got Ms. Tasty to look forward to.
LANCE
Fuckin' A. Let's keep the focus on your balls in her mouth.
Felicia returns with the food. She sits down next to Ian. There's an uncomfortable silence.
FELICIA
What?
EXT. CARNIVAL - MIDWAY - LATER
Ian, Lance and Felicia walk though the midway. Felicia points to a carnival game. It's a short rope ladder at a slight incline. Everyone who tries to scale it, flips the ladder over, landing in a pile of hay.
IAN
You think I can do it?
FELICIA
No way. That game is so rigged.
Script provided for educational purposes. More scripts can be found here: http://www.sellingyourscreenplay.com/library Ian gives the barker a five and scales the ladder \* effortlessly. The buzzer goes off, attracting a crowd. The \* carny begrudgingly hands Ian a massive lollypop. Lance and \* Felicia cheer and clap. \*
FELICIA (CONT'D) \*
Wow! That's amazing! \*
IAN \*
We had one of these at Boy Scout \* camp. I kinda mastered it. \*
Ian hands the lollypop to Felicia. She smiles and glows \* until a gorgeous teen girl steps up to Ian. MANDY wears a \* skin tight shirt and a short red skirt. \*
MANDY \*
Hey. What's your secret? \*
She smiles as she hands her money to the carny and mounts the \* ladder. Felicia looks slightly jealous as all of Ian's \* attention shifts to Mandy. \*
IAN \*
Just hold all your weight on your \* left hand and your right foot. \*
She holds her shaky position, her skirt is so short that, as \* she bends, her thong is exposed. Ian gulps. \*
IAN (CONT'D) \*
Now shift both at the same time. \*
She takes a step, wobbles, flips over and lands on her back. \* She smiles at Ian, who helps her up. Felicia is annoyed. \*
MANDY \*
Oh, well. I'm Mandy. \*
IAN \*
Ian. (big smile) \*
MANDY \*
You've got great balance, Ian. \*
Lance steps in, acting as wingman. \*
LANCE \*
Well, what do you expect from an \* Olympic snowboarder? \*
MANDY \*
No way. \*
Script provided for educational purposes. More scripts can be found here: http://www.sellingyourscreenplay.com/library
LANCE \*
Way. \*
Lance covertly yanks the lollypop out of Felicia's hand and \* taps it against Ian's arm, encouraging him to give it to \* Mandy. Ian does. She smiles as she accepts it. \*
MANDY \*
Thanks. Wow. I'm sorry, I gotta \* go. My dance troop is performing \* at the AIM tent in a few minutes. \* You should come watch. \*
FELICIA \*
Well, actually we were just... \*
LANCE \*
Definitely. He'll be front row \* center. \*
Mandy gives one more cute smile before she bops away. \*
INT. SHOW TENT - LATER \*
A stage is set up at one end; hundreds of people sit in \* folding chairs facing it. Ian, Felicia and Lance take seats \* (in that order) in the front row. Felicia checks her watch. \*
FELICIA \*
Do we really have time for this, \* Ian? \*
Lance elbows her and they speak sotto, away from Ian. \*
LANCE \*
Stop doing that. \*
FELICIA \*
Doing what? \*
LANCE \*
Twat blocking Ian. \*
FELICIA \*
I am not tw...doing that. \*
Loud techno music kicks in and the side flaps of the tent \* drop, making it very dark inside. \* On stage an elaborate light show illuminates a line of young, \* beautiful girls who perform a sexy hip-hop dance routine. A \* huge video screen behind them shows crazy graphics of fun \* activities and extreme sports over an "AIM" logo. \* Script provided for educational purposes. More scripts can be found here: http://www.sellingyourscreenplay.com/library The dancers are joined by TAD, a cool Ryan Seacrest type with \* a microphone. He busts out some dance moves of his own as \* the routine's finale. \*
TAD \*
What up, yo!? I am called Tad \* Jawarski! \*
The crowd goes nuts. \*
TAD (CONT'D) \*
Yo! Where my first victim at? \*
The crowd laughs. \*
TAD (CONT'D) \*
Come on, let's get a volunteer up \* in here! \*
Mandy waves to Ian. He waves back. Tad sees his hand go up. \*
TAD (CONT'D) \*
Yeah, boy! Get on up here, dog! \*
The spotlight hits Ian. Mandy jumps for joy that Ian \* volunteered. Ian tries to wave them off but Mandy and the \* dancers come down and pull him to the stage. The crowd \* cheers. Lance and Felicia cheer the loudest. \* Ian now stands center stage with Tad. Ian smiles like an \* idiot, unaware when the video screen behind him changes to a \* logo that reads, "AIM - ABSTINENCE IN MOTION!" Lance and \* Felicia's jaws drop. They look at one another and crack up. \* On stage, Ian is oblivious. The dancers dance all around him \* and he's digging it, even half-dancing along with them. The \* music finally stops and Tad puts an arm around Ian. \*
TAD (CONT'D) \*
What's your name, gangsta? \*
IAN \*
Um, Ian. Ian Lafferty. \*
TAD \*
Tell me something, Ian. Are you \* ready to get your pledge on!? \*
The music kicks in and Tad dances. Ian is confused. Lance \* and Felicia can barely watch. \*
IAN \*
Um... I don't know. What are we-- \*
Script provided for educational purposes. More scripts can be found here: http://www.sellingyourscreenplay.com/library
TAD \*
You don't know!? He don't know, \* y'all! \*
The crowd boos playfully. \*
TAD (CONT'D) \*
Ian, I'd like you to meet my \* friend, Steve. \*
The screen changes to a black and white clinical photo of a \* man's deformed, pocked genitalia. We see it for just a \* second as Tad turns Ian around, then his head blocks it. Ian \* gasps, along with the audience. This is NOT what he \* expected. \*
TAD (CONT'D) \*
How 'bout that, dog? \*
IAN \*
(baffled) \*
Uh... I, I don't... Uh... \*
TAD \*
Now meet some more of my homies. \*
Close on Ian's mortified face. The light changes on his \* face, indicating each new horror. Each image elicits a gasp \* from the crowd. Tad turns Ian back around, stunned. \*
TAD (CONT'D) \*
How old are you, bro? \*
IAN \*
Eighteen. \*
TAD \*
And you're a virgin? \*
IAN \*
What? Um... \*
TAD \*
You don't wanna turn out like my \* boys from the pictures do you? \*
IAN \*
No. \*
TAD \*
Then let's hear you pledge! \*
Script provided for educational purposes. More scripts can be found here: http://www.sellingyourscreenplay.com/library The girls start dancing around him. Ian's head is spinning. \* BAM! With a blast of light and sound - silence. A single \* spotlight hits them. \*
IAN \*
(sotto to Tad) \*
Pledge what? \* Tad leans in and speaks off the mic. \*
TAD \*
I got a long day ahead of me. \* Don't jerk me around, kid. \*
He puts the mic back in Ian's face. \*
TAD (CONT'D) \*
Do - you - pledge? \*
IAN \*
Um... Okay. I guess I pledge. \*
Lance throws up his hands in disgust. The crowd goes wild. \*
TAD \*
I'm proud of you! Keep a wrinkle \* in it, dog! \*
The dancers lead Ian out the back of the stage. \*
EXT. SHOW TENT \*
Ian exits through a flap at the back of the tent, looking \* shell-shocked. Lance and Felicia sprint around the outside \* of the tent, laughing. \*
LANCE \*
I can't believe you just took an \* abstinence pledge! \*
IAN \*
I did not! \*
FELICIA \*
You did too! Right in front of God \* and everybody! You pledged! \*
IAN \*
I didn't even know what he was \* talking about! That doesn't count, \* does it? \*
Script provided for educational purposes. More scripts can be found here: http://www.sellingyourscreenplay.com/library
LANCE \*
That was hilarious! \*
Mandy comes around the corner. She trots up and hugs Ian. \*
MANDY \*
Ian! You did it! Oh my gosh, I am \* so proud of you. \*
Ian squirms out of her grasp. \*
IAN \*
Jesus! Get away from me! Is this \* what you do here? Go out and flirt \* with geeks like me so you can lure \* them into your little abstinence \* club? \*
MANDY \*
Ian. It's not like that. \*
IAN \*
Just go away. \*
Lance steps up and puts a supportive hand on Ian's shoulder. \* Mandy steps away, then stops and turns to glare at Ian. \*
MANDY \*
I would have blown you, you know. \*
FELICIA \*
Wow. \*
LANCE \*
Ouch. \*
MANDY \*
And you can keep your stupid \* flipping lollypop! \*
Mandy fires the huge lollypop at Ian but it misses him, \* cracking Felicia in the teeth, knocking her backward to the \* ground. Felicia touches her hand to her mouth and sees that \* it's bleeding. She scrambles to her feet. \*
FELICIA \*
Oh, you are DEAD, psycho-virgin! \*
Felicia goes after Mandy but Lance and Ian hold her back. \* Mandy runs away. \* Script provided for educational purposes. More scripts can be found here: http://www.sellingyourscreenplay.com/library
INT. THE JUDGE - DAY \*
Lance drives. Ian sits with Felicia in the back seat. He \* holds a cloth to her mouth with one hand and works his phone \* with the other, looking for a dental listing. \*
IAN \*
There's a dentist at the next exit. \*
LANCE \*
You sure you want to get dental \* work done in Kentucky? \*
FELICIA \*
My toof id broke! Just get us \* there. \*
Ian checks his watch. \*
FELICIA (CONT'D) \*
I'm thorry I'm making you late for \* your grandma. \*
IAN \*
No. God. This is all my fault. \*
FELICIA \*
Id's really thweet how you're so \* worried about her. You're a good \* guy, Ian. \*
Ian and Lance exchange shamed glances in the rear-view. \*
IAN \*
Yeah, well...try not bleed on the \* seat. Rex is gonna kill me enough. \*
EXT. IAN'S STREET - DAY \*
Ian's neighborhood is peaceful and deserted. The chirps of \* song birds are gradually drowned out by A HIGH PITCHED BUZZ. \* Rex speeds down the street on a dirtbike. As he nears his \* house, he locks up the brakes. Before the bike stops, he \* coolly steps off, letting it ghost ride for a few yards \* before it lays down, spinning and sparking to a stop. \* Rex runs up to the garage and pulls it up manually. Before \* it clears his eyes, he takes a deep, hopeful breath. He \* opens it the rest of the way. No Judge. \* MOTHERFUCKIN' BITCH-ASS COCKSUCKER! \* Script provided for educational purposes. More scripts can be found here: http://www.sellingyourscreenplay.com/library Rex pitches a tantrum for the ages. He violently shakes the \* garage door, tearing it off it's rails. It lowers enough for \* him to start kicking it. He breaks it. He reaches inside \* and pulls out Ian's bike and starts slamming it against the \* driveway. Once out of steam, he stomps down the driveway and \* across the street. \* As he crosses, he holds up a "halt" hand. Offscreen we hear \* a car go into a shrieking skid. Rex is unfazed as he marches \* up Felicia's driveway. The car rolls by behind him. \* Rex arrives on Felicia's porch. He rings the bell and seethes and swears under his breath while he waits. Felicia's mother opens the door. His face instantly transitions to sweet and neighborly. She smiles back.
FELICIA'S MOTHER
Why, hello Rex. How are things?
REX
Good, good. Listen, Mrs. Alpine, is Felicia here by any chance?
FELICIA'S MOTHER
Oh no, hon, she and Ian and that Lance went on a little road trip.
REX
Really. A road trip. Super. Any idea where they might be heading?
FELICIA'S MOTHER
You know, I wanna say she said something about Knoxville but I can't be sure. Is that helpful?
REX
You bet it is. Thanks much, Mrs. A.
FELICIA'S MOTHER
Oh, not at all. My pleasure. You have a good day, now.
The second the door closes, Rex returns to fury. He turns and stomps back toward his house. In the wide shot we see a neighbor watering his yard next door.
NEIGHBOR
Hey, Knievel! What's say you get your bike out of the freakin' road!
Rex doesn't break stride; he just turns hard left, redirecting right at the neighbor. (Think Terminator 2) The man starts to backpedal and then run as Rex closes in. Script provided for educational purposes. More scripts can be found here: http://www.sellingyourscreenplay.com/library
EXT. DENTAL OFFICE PARKING LOT - DAY
The Judge pulls into the lot. Ian opens his door, he gets out and pulls the seat up for Felicia. She steps out and starts limping toward the office. Ian picks her up.
FELICIA
Whad are you doing? Pud me down! My feet are fine.
IAN
Shut up. You're so stubborn.
He carries her across the parking lot in slow motion. She relents and settles in. An old woman who is exiting smiles and holds the door for them. Ian carries Felicia in.
INT. DENTAL OFFICE WAITING ROOM - DAY
This is a po-dunk dental office in rural Kentucky. Several paintings of clowns adorn the walls. A magazine rack features People, Us, Oprah and Guns & Ammo. Felicia sits in a chair, holding her mouth with one hand and toweling off her feet with the other. Ian stands at reception, rattling off a text message while he waits: "Tasty. Running a little behind. Need a couple more hours. Better make it 8pm. C-U-Soon. - IAN." A half-awake receptionist with very bad teeth, returns to hand Ian some forms. She speaks in a thick southern accent.
RECEPTIONIST
Do y'all know your writin' and your ABC's and such?
IAN
Um. Yeah.
RECEPTIONIST
Good. Just fill out this, this, this, this, and these. Dr. Jasper will be with y'all present-like.
Ian returns to Felicia with the clipboard. He sits next to her and hands her the forms.
FELICIA
Okay. Fine. You were righd. My feet are killing me. I shouldn't have tossed my shoes.
Script provided for educational purposes. More scripts can be found here: http://www.sellingyourscreenplay.com/library
IAN
No, come on. I love that you did that. That's premium Felicia.
She smiles, then tries to fill in her name on a form but her hand shakes. Ian sets his phone down on the coffee table and takes the clipboard. He starts to fill the forms for her.
IAN
You want me to put your dad's address down too?
FELICIA
Yeah. It's four twenty one--
IAN
I know. Four twenty one, Twin Oaks, Rockford, six one one oh (thinks for a beat) seven.
Felicia smiles.
IAN
And you're allergic to amoxicillin but nothing else, right?
She nods. Push in on Felicia's face as she realizes that this is the one person who truly knows everything about her. Ian is oblivious to the moment she is having.
IAN
I think the only things you would check in the list is Migraine Headaches (she nods) and the Herpes, of course.
She laughs and slugs him playfully in the arm.
DR. JASPER (O.S.)
Felicia Alpine?
Felicia gathers up some of her things and places them in her purse as she stands to greet the dentist. She's is relieved to see that Dr. Jasper doesn't look like a hayseed. He looks like a kind, ethical doctor in his mid forties.
DR. JASPER
Now, what are we doing today?
Felicia removes her hand from her face and opens up. Doctor Jasper pushes her lower teeth down with the side of his index finger, revealing that his knuckles and hands are ridiculously hairy! Felicia winces as the dentist probes his wolfman fingers around in her mouth. Script provided for educational purposes. More scripts can be found here: http://www.sellingyourscreenplay.com/library
DR. JASPER
Hmmm. Some hot and cold sensitivity? Uh, huh?
Felicia closes her mouth and tries to spit out a hair. The doctor turns to Ian.
DR. JASPER
What'd you do to her?
IAN
What?
DR. JASPER
You slap her around? She gets out of line and you crack her one? You think that makes you a big man?
IAN
No. I didn't, I--
DR. JASPER
Ha! Gotcha! Ha, Ha. You should have seen your face. "No! I didn't I, I, I!" Oh, funny.
He cracks up. Ian and Felicia try to laugh along.
DR. JASPER
He didn't though, did he?
INT. DENTAL OFFICE OPERATORY
Felicia sits in the dental chair. Ian sits in a chair nearby. Dr. Jasper is just finishing giving her a shot.
DR. JASPER
I'll just give you a few minutes to numb up. Be right back.
He exits. Ian smiles. She smiles back with her half tooth. The novocaine causes her to slur more and more throughout the scene.
FELICIA
Ian. You know last spring at Darren Hume's bonfire?
IAN
Hmmm. Um...Was I there?
Script provided for educational purposes. More scripts can be found here: http://www.sellingyourscreenplay.com/library
FELICIA
Ian, please. You know the only reason... is because I don't ever want to ruin our friendship.
IAN
Totally. Friendship is... awesome. Yeah. Friendship. Good call.
FELICIA
I don't know what I'd do if I ever lost you, Ian.
She squeezes his hand.
IAN
You won't.
FELICIA
(half-joking)
I don't know. Maybe I should have just kissed you back that night.
They regard one another for a long awkward beat. Ian tries to decide if she's serious. He laughs nervously. A string of drool drops from her numb lip.
IAN
Oh. Um. You got a little...loogie.
FELICIA
Oh God!
She grabs her bib and wipes her face. The doctor returns.
IAN
You know what? I'll just be out there. Yeah. Good. Okay.
EXT. DENTAL OFFICE PARKING LOT - LATER
The office is in a small strip mall next to a gas station convenience store. Ian comes out of the convenience store with a bag of stuff. He crosses to the Judge. The passenger door is open. Lance sits in the passenger seat with his feet on the ground and his head in his hands. Ian arrives with a smile and a spring in his step.
LANCE
What's with you?
Script provided for educational purposes. More scripts can be found here: http://www.sellingyourscreenplay.com/library
IAN
I'm thinking maybe we head back.
LANCE
Why?
IAN
Well, Felicia and I were just talking in there and, I don't know, We kinda had a moment.
LANCE
A moment? Oh shit, Ian. I knew she was gonna do this. She sees you with that chick and now she's tightening your leash. She's just afraid to lose the undivided attention of the one guy who always listens to her problems.
IAN
No. We were really connecting in there and she...
LANCE
Ian, you see the punks she dates. I'm sorry but she doesn't want a guy like you. She wants to take some dark, brooding asshole and turn him into a guy like you.
IAN
What if you're wrong?
LANCE
I'm not wrong. I'm right. And I'm not going to let her fuck this up for you. We're going to Knoxville and you're gonna get your nut.
IAN
Whatever, Lance. I'm gonna text Tasty and tell her I'm not coming.
Ian reaches into his pockets. No phone. Just then, Felicia emerges from the office. She stops to check her fixed tooth in her reflection in the window. She then marches out to the Judge. She tosses Ian his phone.
IAN
Oh, good. You had it. Here, I got you something.
Script provided for educational purposes. More scripts can be found here: http://www.sellingyourscreenplay.com/library He hands Felicia the bag. She takes it but doesn't bother to look inside.
FELICIA
A message came in. Your grandma's pretty excited to see you. Wet even. She's thinking about your hands on her body. Sounds 'Tasty.'
Felicia tosses the bag onto the floor of the front seat and then climbs into the back and sits, looking petulant. Ian wilts. Lance pats Ian on the back before climbing in.
LANCE
Good deal. Let's go to Knoxville.
EXT. HIGHWAY ON-RAMP - EVENING
The Judge is pulling onto HWY 75-North.
FELICIA (V.O.)
Ian. You're going the wrong way.
IAN (V.O.)
We're going home.
INT. THE JUDGE
FELICIA
What? No, no, no. Don't turn around because of me. I'm dying to see Ms. Tasty. This is gonna be hilarious. She's probably a guy.
IAN
So you snooped around in my phone. That's a total violation.
LANCE
He's violated.
FELICIA
Hey, you're the one telling lies about grandmas and CANCER.
LANCE
That was a bit much.
IAN
Okay, I'm sorry. I was embarrassed and I knew you'd make fun of me.
Script provided for educational purposes. More scripts can be found here: http://www.sellingyourscreenplay.com/library
FELICIA
Of course. How could I not? You told her you play football at NORTHWESTERN!? I mean, Jesus Ian.
LANCE
You told her that? That's bold.
FELICIA
And those text messages are soooo dickish. I can't believe she even invited you when you come off like such an a-hole.
LANCE
Hold on - she invited him out because he came off like such an a- hole. Dude got that part right.
FELICIA
I can't believe you guys.
IAN
Look, I said we're going home.
LANCE
Oh, man. I knew you'd find a way to bitch out on this.
FELICIA
Yeah, Ian. You obviously stole Rex's car and drove halfway across the country. This must be what you want. So go do it, chicken shit.
LANCE
Fuckin' A, chicken shit.
IAN
Fine! You don't think I'll do it!? I'll fuckin' do it! I'll turn this car around and go pork that girl right now! Is that what you want?
FELICIA
Yeah, Ian. That's what I want.
Suddenly he cranks the wheel. They drive full speed into the grassy median. They slide sideways onto the other side of the highway and head back south.
LANCE
Sweet! Now step on it. We can still make it.
Script provided for educational purposes. More scripts can be found here: http://www.sellingyourscreenplay.com/library Although she pushed for it, Felicia is not as happy. She lies down in the back seat, looking terribly sad. Cue: "Teenagers (Scare The Living Shit Out Of Me)" by My Chemical Romance. The Judge moves down the highway as the sun lowers in the sky. Ian passes several cars. He looks over at the car to his left - the pimped out Honda (that had tossed the milkshake earlier) is back and edging by him. Ian's had enough. He glares back and jumps on the gas. Felicia sits up.
FELICIA
What are you doing? Don't race him. That's ridiculous.
IAN
(trying to be tough)
It's gonna be ridiculous how much I win because I'm driving faster than he is.
The cars race neck and neck. Ian's speedometer creeps up. Ian must fall back to pass a slower car in the right lane. He tries to pass the Honda but it weaves back and forth, not letting him in. He finally gets an opening and tucks in. They are again neck and neck. Ian starts to pull away.
IAN
Yeah, that's right, fucker.
The Honda slows down, letting Ian blast away.
LANCE
He's tagging out! Wooo!
Ian and Lance five one another.
FELICIA
IAN! Look out!
A fox is walking across the highway! Ian slams on the breaks but the car smacks it. All triumph falls from Ian's face, replaced by desperate regret.
IAN
Oh, no! Oh, no!
EXT. COUNTRY HIGHWAY - EVENING
The Judge screeches to a halt. Ian leaps out and runs back, looking around frantically. Felicia gets out and follows. Script provided for educational purposes. More scripts can be found here: http://www.sellingyourscreenplay.com/library Cars and trucks occasionally woosh by. Ian finds the animal on the shoulder. He drops to his knees, his eyes tearing up.
IAN
God damn it. What were you doing? Oh, shit man. Shit.
Felicia sits down nearby, watching Ian's emotional response. He's genuinely a wreck over what he has done. Push in on Felicia as her heart goes out to him. She tears up.
LANCE
Take it easy, bro. It wasn't your fault. The thing ran right out--
IAN
Just shut up, okay!? Of course it's my fault!
LANCE
Okay. But, dude, Ms. Tasty - we gotta keep moving.
IAN
He's not dead, Lance! I'm not just gonna leave him out here suffering all by himself.
LANCE
Okay. You're right.
Lance goes back to the car and returns with a tire-iron. He walks up next to Ian and raises it over his head. Ian turns to Lance, deadly serious. He pushes Lance away.
IAN
Don't fuckin' touch him!
LANCE
Jesus Christ, man! I was just gonna put him out of his misery so we can go already.
Felicia is appalled by Lance's inability to be affected by this.
IAN
Fuck you! You don't give a shit about him!
Ian grabs the tire iron, returns to the animal and kneels \* before it, raising the tool over his head. His hand shakes. \* Script provided for educational purposes. More scripts can be found here: http://www.sellingyourscreenplay.com/library
IAN (CONT'D) \*
I'm sorry. \*
Ian hits it hard, stands, and walks away with his face in his \* hand. After a beat: \*
FELICIA \*
Um...Ian? \*
Ian turns, exasperated to see the fox is still alive. He \* returns and swings two more times. Again, he walks away in \* agony. Felicia clears her throat - still alive. \*
IAN \*
Jesus! \*
Ian drags himself back and swings again. \*
LANCE \*
Boy, he's really hanging in there. \*
Ian loses it, beating it severely. As he does, he's bathed \* in red and blue flashing light. \*
IAN \*
God damn it! I'm trying to help \* you out, here! Why won't you just \* die, for fucks sake!? \*
He raises the tire iron once more but stops as he notices a \* cop standing in front of him. \*
INT. POLICE STATION - NIGHT \*
Ian and Lance are being led down the hall by the cop. \*
IAN \*
I swear I didn't know it was an \* endangered species. \*
LANCE \*
The vet said there's a good chance \* it might pull through. \*
COP #1 \*
You better hope so. \*
INT. JAIL CELL
The holding cell is modern and industrial with bright fluorescent lights and a single steel toilet. Script provided for educational purposes. More scripts can be found here: http://www.sellingyourscreenplay.com/library The benches are occupied by six other captives who await bail or arraignment. Ian is scared shitless and it shows.
LANCE
(sotto to Ian)
Dude. Man up. They think you're shittin' your pants, they'll fuck with you.
Ian does a terrible impersonation of a tough guy. After a beat, a man rolls up on Lance, posturing like he means harm.
PRISONER #1
Yo, man--
LANCE
Whoa! Sit your ass the fuck back down or you and me - we're gonna have a fuckin' problem!
The guy backs off.
PRISONER #1
Shit, man. Chill. Damn.
He sits. Ian can't believe what he just saw. Lance gives him a look, "See what I mean?" A moment later, a man on Ian's side is tapping on his own watch. He notices Ian is wearing a watch. He stands to approach Ian.
PRISONER #2
Excuse me. What--
IAN
Yo! Back that shit up, bitch!
WHAP!!! The guy lays Ian out.
PRISONER #2
All I wanted was the goddamn time.
IAN (O.S.)
(from the floor)
Ten after six.
PRISONER #2
Thanks.
IAN (O.S.)
Don't mention it.
Script provided for educational purposes. More scripts can be found here: http://www.sellingyourscreenplay.com/library
INT. POLICE STATION
Two bored desk cops play with one of our hero's phones.
COP #1
Well, I'll be damned. You can watch yourself a picture show on this here telephone unit.
COP #2
Ya probably ought not mess with it.
COP #1
Ooohh - Sharky's Machine.
COP #2
Well, shit. Fire it up.
He does. The intro music kicks in. After a moment, the phone rings. They're not sure what to do.
INT. JAIL CELL
Ian checks his watch.
IAN
Well, It's over. No Ms. Tasty, Felicia hates me, got a nice beat down coming from Rex. Good trip.
Ian sighs hard as he steps over to the toilet. His expression is distant and haggard but also slightly more mature. He starts to pee. Lance looks over, surprised.
LANCE
Dude.
IAN
What?
LANCE
You're peeing in front of a bunch of people.
Ian looks around, appreciating the moment.
IAN
Hey, I am. I'm just standing here takin' a whiz. Like it's nothing.
LANCE
And that guy's looking straight at your dick.
Script provided for educational purposes. More scripts can be found here: http://www.sellingyourscreenplay.com/library
PRISONER #1
Atta boy.
Ian wraps up and rejoins Lance.
LANCE
Look at you. You're a new man.
IAN
No I'm not.
LANCE
Dude. You stole a car, you got \* arrested, got in a fight, sort of. \* Hey, you killed an endangered \* species with your bare hands. \* That's gotta count for something. \*
The prisoner next to them gives Ian a look of approval.
LANCE
Now you're pissin' like a big dog. There's only one thing left...
IAN
Well, that's out. I was supposed to meet her three hours ago.
LANCE
Look, when we get out of here, just tell her you got pinched and you've been in the hard yard. She'll think that's badass.
INT. WOMEN'S JAIL CELL
Felicia sits among four other prisoners of varied ages and degrees of nasty. They sit on the benches, arranged around Felicia, like The View. Felicia is sad.
FEMALE PRISONER #1
Shit! This Ian boy sound to me like he got no balls at all.
FEMALE PRISONER #2
Why? 'Cause he got to fussin' some over a sufferin' critter? I think that's real sweet.
FEMALE PRISONER #3
Well, I say this Lance sounds like a real hunk of man cake.
Script provided for educational purposes. More scripts can be found here: http://www.sellingyourscreenplay.com/library
FEMALE PRISONER #3
Only way to keep his kind around is to get his babies in you, pronto.
FEMALE PRISONER #2
But he got no respect for bitches.
Felicia is uncharacteristically comfortable sharing. She plays along gamely with their vocabulary.
FELICIA
Shathayd's right. No respect for bitches. None whatsoever.
FEMALE PRISONER #1
Girl. Oprah says you just got to tell the universe what you want.
FEMALE PRISONER #3
Yep. You gotta manifest that shit. Ain't you read The Promise?
FELICIA
No.
FEMALE PRISONER #3
You gotta read The Promise. That's how I got my shit straight.
Felicia starts to cry.
FEMALE PRISONER #3
Oh, baby. Come here.
#3 holds out her arms to Felicia but Felicia waves her off. #3 is a bit offended. A wider shot reveals that #3 is seated on the steel toilet, pants around her ankles.
INT. JAIL CELL
A cop opens the cell door.
COP #1
Ian Lafferty, Lance Nesbitt? Your bail's been posted.
IAN
Shit.
LANCE
What?
IAN
Rex.
Script provided for educational purposes. More scripts can be found here: http://www.sellingyourscreenplay.com/library Ian and Lance stand and reluctantly exit.
INT. POLICE STATION
Felicia is being led out of the women's cell down the hall. They meet in the middle. Felicia and Ian have calmed down and they exchange humbled smiles. They all turn to see MARY signing forms at the desk. She's still dressed Amish. Lance lights up like a kid on Christmas morning.
LANCE
No way! Mary!
He runs to her. They hug. Ian and Felicia join them at the counter. An officer slides over three envelopes.
COP #2
Personal effects. Sign here.
They sign. Ian takes his phone. He turns it on. In the background we hear:
LANCE (O.S.)
How'd you know we were here?
MARY (O.S.)
I called your phone and someone here answered it.
COP #1 (O.S.)
Wasn't me.
Ian's phone displays, "New Text Message From: Ms. Tasty." He clicks it. It brings up a message, "Stood out here 4 an hour and a half. UR an ASSHOLE!" Ian deflates. He steps outside, clicking on-line with his phone.
INT. MYSPACE CYBER RAVE
Ms. Tasty stands talking to some other guy with a cool car. Ian appears. She turns to glare at him.
IAN
Hey.
MS. TASTY
Get lost and leave me alone.
She waves a hand, he disappears. She turns. He reappears in front of her. Script provided for educational purposes. More scripts can be found here: http://www.sellingyourscreenplay.com/library
IAN
Tasty, just hear me out.
A suspicious stance but doesn't wave him off.
IAN
I got arrested. I've been on lock- down for the last four hours.
MS. TASTY
For what?
IAN
Um...Street racing?
MS. TASTY
Really?
IAN
Yeah. No helmet. Open intoxicants - dangerous. But I'm out now.
MS. TASTY
I bet you haven't even left Chicago. You know, I've never done this before but I think you're just playin' me.
IAN
I swear, I'm just about an hour away. You want me to turn around?
She considers this for a moment.
MS. TASTY
No. Eleven o'clock at the Shakey's. But, no more excuses. If you're one minute late, I'm gone.
She disappears.
EXT. POLICE STATION - NIGHT
Ian leans against the Judge, wrapping up his texting session. Lance, Felicia and Mary are walking toward him.
LANCE
So? What's the plan?
IAN
We're going to Knoxville.
Script provided for educational purposes. More scripts can be found here: http://www.sellingyourscreenplay.com/library
LANCE
Yes!
Ian gets in the car. Lance excitedly ushers Mary to the car. None of them see Felicia's look disappointment.
INT. THE JUDGE - HIGHWAY - NIGHT
Ian and Felicia sit in the front, silent and far apart. Lance and Mary are in back, snuggling like the love struck teens they are. They pass a sign that reads, "Knoxville 17 mi." Ian checks his watch. Felicia quietly reaches down for the bag that Ian had given her. She checks that he's not looking. She peeks inside. It's a pair of flip-flops with little daisies on them. Her feet are still bare. She gets glassy-eyed. Ian looks over. Felicia looks away. She is clearly moved by the gift.
EXT. EST. HARLAN'S FANTASY INN - NIGHT
An old single level motel has been converted into "fantasy" rooms. The sign reads, "22 Romantic Fantasy Theme Rooms to Choose From!" It's right across the street from the Shakey's. The Judge is parked in front of a room.
INT. HARLAN'S FANTASY INN - THE "BLAZE" ROOM
The walls are painted with flames. The room is decorated with firefighter memorabilia including hoses, axes, helmets and a life-size cardboard cut-out of a sexy shirtless fireman. There's a thick brass pole in one corner. The bed looks like a wide fire engine. The clock on the wall reads, ten minutes to eleven. Ian is brushing his teeth and getting ready to go. Felicia sits on the bed, watching TV. She's wearing the flip-flops Ian bought for her. Ian takes one more look in the mirror. He's unsure of himself.
FELICIA
You look good.
IAN
Thanks.
He puts on his jacket and steps to the door. Script provided for educational purposes. More scripts can be found here: http://www.sellingyourscreenplay.com/library
FELICIA
Ian... Don't do this, okay? Don't turn into Lance. You're a nice guy.
IAN
That's why I'm still a virgin.
FELICIA
So what if you're a virgin? It's just sex, Ian.
IAN
It's not about the sex. I'm weird. I'm the only virgin I know. I gotta get this done so everyone can stop freaking out about it. I know you don't approve but I'm sorry, I'm not going home a virgin.
He turns to exit.
FELICIA
Okay. Then do it with me.
He turns back, baffled.
IAN
What?
Felicia downplays; this is not a sexy offer.
FELICIA
Do it with me, not some total stranger. I mean, we're friends, you know you won't get some nasty disease. Crabs or whatever.
IAN
Wow. I'd rather stay a virgin than lose it on pity-sex.
FELICIA
I'm not talking about pity-sex.
IAN
Then what are you talking about?
FELICIA
I don't know. Sex. It doesn't have to mean anything. It doesn't have to jeopardize our friendship.
Ian sighs hard. He can't take hearing that word again. Script provided for educational purposes. More scripts can be found here: http://www.sellingyourscreenplay.com/library
IAN
You know what, Felicia? Fuck the friendship. I'm sorry, but I can't be the guy you talk to about your boyfriends anymore. I can't be the guy you cry to when they hurt you. And I won't be your back-up plan. Maybe I'm just selfish but it's not enough. Now, I'm gonna go have meaningless sex with some random chick I met on the internet, unless you got something to say to me.
Felicia gets up and heads out the door. She stops and tries to find the right words. After a beat, she gives up and walks out, slamming the door behind her.
IAN
That's what I thought.
Ian plops down on the bed, considering what he's done. He looks at the clock. Three minutes to eleven. He takes a deep breath, stands and walks to the door. He takes another beat to decide. He opens the door, revealing REX! He's removing a motorcycle helmet. A dirtbike is on its side, still spinning in the parking lot. Rex pushes Ian back into the room. Ian falls backwards onto the bed. Rex flings his helmet at Ian.
IAN
Rex. What are you doing here?
REX
You ever heard of Lo-Jack, cheese- dick!? (re: room) What the fuck?
Rex rushes Ian, grabbing him by the neck, lifting him to his feet, spinning him around and administering a brutal wedgie.
IAN
Rex, wait! The girl - the one I told you about. She's right across the street! She wants to do it with me and everything!
Rex throws Ian into the dresser, shattering a lamp.
REX
Like I give shit. Get your stuff, dick-cheese. We're going home!
Rex picks up Ian's suitcase and throws it at him. Script provided for educational purposes. More scripts can be found here: http://www.sellingyourscreenplay.com/library
IAN
Okay. Fine. It probably wouldn't have stopped all these feelings I've been having anyway.
Rex stops, curious.
REX
What are you talking about?
IAN
You know - feelings, curiosities...about men.
Ian motions to the Firefighter cut-out.
REX
What!? Ah shit, Ian!
IAN
Just lately, you know? I think you were right, Rex. I think I might be getting gay.
Rex picks Ian up by the shirt.
IAN
I don't have any luck with girls. Maybe it's a sign.
REX
Uh, uh! No way is my brother taking it in the chili ring!
Rex boils like he might explode.
REX
Alright. You take the car and go bang a female woman like the good lord intended. You got one hour.
He releases Ian and pushes him toward the door.
REX
But, Ian...not up the butt!
Ian runs out.
INT. THE JUDGE
Ian jumps in the car. He checks his watch - 10:59. He starts it up and races across the street. He slowly pulls into the lot, looking all around for Tasty. No sign of her. Script provided for educational purposes. More scripts can be found here: http://www.sellingyourscreenplay.com/library He does spot a CREEPY old fat guy, standing in the parking lot, watching him drive in. The guy waves to Ian.
CREEPY
That's a sweet GTO.
IAN
So, you're Ms. Tasty?
CREEPY
You give me a ride in that and you can call me whatever you like.
Ian bangs his head against the steering wheel.
MS. TASTY (O.S.)
Ian! Oh my gosh! Hey!
Ian turns to see the real Ms. Tasty stepping out of vintage Dodge Charger. She's even hotter than her picture and she speaks in a sweet southern accent that we didn't hear in cyberspace. She trots over to the car.
MS. TASTY
I was sure you were standing me up.
She jumps into the passenger side. Ian is terrified.
MS. TASTY
But, here you are. Look at you.
IAN
Yeah. Look at me.
MS. TASTY
You look kinda different than your picture.
IAN
Yeah. I, um, lost some weight 'cause I had the runs-- The flu. And I went to get my haircut and--
MS. TASTY
Well, you're mighty cute.
IAN
Oh. Good. What do you wanna do?
MS. TASTY
Hmmm. I LOVE your car. Why don't you take me for a ride.
Ian pulls out of the lot. Tasty cuddles up to him. Script provided for educational purposes. More scripts can be found here: http://www.sellingyourscreenplay.com/library
IAN
So, Ms. Tasty. What's your real name?
MS. TASTY
I'll tell you after.
She kisses his neck. Ian smiles through his fear. They drive on. She rubs his chest and nuzzles his ear. Behind them a head slowly peeks up from the back seat - Felicia! She sees Ms. Tasty kiss Ian's cheek. She ditches back down.
INT. HARLAN'S FANTASY INN - THE "JUNGLE" ROOM
Lance and Mary's room is thick with fake jungle foliage. Jungle noises play. The headboard of the bed is an exotic fish aquarium. Lance and Mary lie on the bed. She cradles him like a child.
LANCE
I've just never felt this way about anyone before. I think I'm falling--
She kisses him.
MARY
Lance, I can't. It doesn't work that way. If I don't go back, I'll be shunned. I'd never see my family again.
LANCE
This Amish thing is a real motherfucker.
MARY
Tell me about it.
EXT. CITY PARK - NIGHT
Ian and Tasty lie on the grass, next to the Judge. They look up at the stars, using the foam Donut costume as a pillow.
IAN
I don't get it. Why would a girl like you be meeting people on the internet? I mean, you could have any guy you wanted.
MS. TASTY
I've had some mighty bad luck when it comes to guys.
Script provided for educational purposes. More scripts can be found here: http://www.sellingyourscreenplay.com/library
MS. TASTY
Dated a lot of greaseballs. I decided I wanted to communicate with someone, before... Well, before this.
She kisses him. Ian's eyes remain wide open as they kiss. Pan over to the Judge. The windows are rolled down and Felicia is peeking out from the back seat.
MS. TASTY
(whispers)
Ian, why don't you take your clothes off.
IAN
Really?
She sits up and removes her shirt, revealing her terrifyingly perfect breasts. In the car, Felicia glances down at her own flatter chest. Ian sits up, facing Tasty. He maintains hard, deliberate eye- contact. She giggles.
MS. TASTY
Ian, you can look if you like.
Ian looks down. After a beat, he takes his out glasses and puts them on. Now he can't look away. She gently pushes him backward, climbs over him on all fours and tugs at his pants. His phone falls out. He picks it up and the screen lights up with the photo of Felicia by the shoe tree. Ian looks at it, swallows hard and stuffs the phone back in his pocket.
IAN
Wait. Listen, I, um...I have to confess something.
She stops and looks at him.
IAN
I don't play football.
This makes Felicia smile and Tasty laugh.
MS. TASTY
Okay. I appreciate your honesty.
She continues tugging at his pants.
IAN
No, seriously. I don't even really watch football.
Script provided for educational purposes. More scripts can be found here: http://www.sellingyourscreenplay.com/library
IAN
I got all that stuff from Friday Night Lights. I'm not even in college yet.
MS. TASTY
Ian. What do you think? Everything on my profile is the god's honest truth? Now, come on, take your clothes off.
She tries to take his shirt off. Again, he stops her.
IAN
Wait. There's something else. Okay, there's this girl and we--
MS. TASTY
Ian. I have a boyfriend. This can be our little secret.
IAN
Well, no. The thing is. I think I might be in love with her...
Tasty sits back down in the grass and releases an annoyed sigh. Felicia is now tearing up through a giddy smile.
IAN
...and I know it's stupid, right? She probably won't ever even--
MS. TASTY
Ian. Just shut up and take your god damned clothes off. Jesus.
IAN
I'm sorry.
DEEP MAN VOICE (O.S.)
You heard the lady - strip.
Ian turns to see BOBBY JO, a huge, burly biker type, standing over him with a gun pointed at Ian's head. CUT TO:
EXT. CITY PARK - MOMENTS LATER
Bobby Jo climbs behind the wheel of the Judge. Tasty carries Ian's clothes into the passenger side. She slams the door and calls back to Ian, who now stands naked, balls-in-hands. Script provided for educational purposes. More scripts can be found here: http://www.sellingyourscreenplay.com/library
MS. TASTY
You were right, Ian. Sixty Nine Judge - You were worth the wait.
IAN
Please, no! It's not even my car!
MS. TASTY
Good luck with your ladyfriend!
They peel away, Ian sees Felicia's terrified face pop up from the back seat.
IAN
Felicia! Oh, shit! Oh, shit!
INT. THE JUDGE - MOMENTS LATER
Bobby Jo drives as Ms. Tasty grinds on him in the front seat.
MS. TASTY
Bobby Jo Calhoun, you were so awesome back there! God damn sixty nine Judge. I love you so much, baby. Now listen, I got me another car coming in any minute so drop me back to the Shakey's and get this Goat over to Luis. Remember he's on fifth and Crescent. Don't mess it up this time!
Meanwhile, Felicia is lying in the back seat, furiously texting on her phone.
INT. HARLAN'S FANTASY INN - THE "JUNGLE" ROOM
Lance's phone sits on the night stand, blinking a text message that goes unseen as Lance and Mary are having sex. She's getting crazy on top. Lance is in heaven.
LANCE
I'm banging an Amish chick. I mean, what are the odds?
EXT. SHAKEY'S PARKING LOT - NIGHT
The Judge pulls into the lot. Tasty jumps out just in time to greet a car that's pulling in - THE PIMPED OUT HONDA. She trots over to it. Script provided for educational purposes. More scripts can be found here: http://www.sellingyourscreenplay.com/library
MS. TASTY
Hey, boys! You finally made it!
The window lowers revealing ANDY & RANDY!
ANDY
You Ms. Tasty?
RANDY
Damn, you're hot as fuck.
ANDY
We got beers and rubbers.
RANDY
And some lotion for your tits.
INT. THE JUDGE
Bobby Jo is about to pull away when he hears a beeping sound. He looks around, then rifles through Ian's clothes. He pulls out Ian's phone. A text message is flashing: "Ian! I'm in the back seat! Help!" Bobby Jo looks over the seat to see Felicia lying on the floor. She gives him a sheepish wave.
BOBBY JO
What the hell?
EXT. SHAKEY'S PARKING LOT - HONDA
Tasty is talking to Andy & Randy, who are now far more timid.
ANDY
So, wait. You do wanna party?
RANDY
With us?
MS. TASTY
Oh, yeah. I want us all to get naked and party.
Andy & Randy exchange innocent, worried looks. This is not the reply they are used to. Andy looks away and zips up his hoodie as far as it will go. Randy also diverts his eyes as he subtly reaches up to lock the door. Ms. Tasty looks down at the locked door button, confused. CRASH!!! In the background, the Judge is rocked as it is T- boned on the passenger side by a huge, jacked-up pick-up. Tasty spins around, "What the hell?" Andy and Randy raise the windows behind her. Script provided for educational purposes. More scripts can be found here: http://www.sellingyourscreenplay.com/library
INT. HARLAN'S FANTASY INN - THE "BLAZE" ROOM
Rex heard the noise. He looks out the window.
REX
Holy fuckballs!
EXT. SHAKEY'S PARKING LOT
A big hillbilly climbs out of the truck - it's Rick! (Brandy's boyfriend from the cornfield.)
RICK
Get your ass out of the car you motherfuckin'...motherfucker!
Bobby Jo climbs out of the Judge. Rick takes a step back.
RICK
Whoa. Who the fuck are you, man!?
Bobby Jo crosses to assess the damage. He speaks in a low, laid back and almost polite southern drawl.
BOBBY JO
God damn it.
RICK
Oh, shit. My bad. I thought you were someone else. Well, I wouldn't worry about it. A little Bondo will take care that.
Bobby Jo gives Rick's truck the once over.
BOBBY JO
Well, you done fouled up my ride, so I guess I'll be taking yours.
RICK
Fuck that shit.
Bobby Jo raises his gun to Rick's face. Rick tosses the keys.
RICK
It's three on the tree and the clutch sticks.
Rex runs into the scene. Bobby Jo points the gun at him but Rex doesn't even notice. He rushes to the Judge and strokes it like an injured child. Script provided for educational purposes. More scripts can be found here: http://www.sellingyourscreenplay.com/library
BOBBY JO
Take a step back, boy.
Rex turns. No fear. He steps to Bobby Jo.
REX
Bite my dick, asswipe.
CRACK! Bobby Jo pistol whips Rex, who goes down hard.
REX
Aahhgg! Jesus Christ! What'd you do that for, man!?
Lance then rounds the corner, stops cold and goes wide-eyed at the crazy scene.
RICK
That's the sum-bitch I was looking for!
LANCE
(shitting bricks)
Rick. Rickster. How'd you find us?
Rick takes out the Google maps and whips them at Lance. Rex, still on the ground, calls out to Lance.
REX
Lance!? What's going on here, faggot!?
LANCE
I have absolutely no idea.
Ms. Tasty looks on, trying to decide whether she should engage in the situation. Something gets her attention - Felicia is sneaking out of the back seat. Tasty has had enough of this mess.
MS. TASTY
Bobby Jo! Who the hell is that!?
BOBBY JO
Oh, yeah. That's Felicia. Turns out she was hiding out in the back.
MS. TASTY
Well shit, boy! Then she heard everything! Hello!
Script provided for educational purposes. More scripts can be found here: http://www.sellingyourscreenplay.com/library
BOBBY JO
Damn it. You're right. Come here darlin'.
Felicia tries to bolt but Bobby Jo grabs her by the hair and pulls her back kicking and screaming toward the truck.
IAN (O.S.)
Take your hands off her!
Bobby Jo looks around. Nobody. He turns just in time to see Señor Donut diving through the air. Bobby Jo raises his hands. Ian crashes into him. The gun falls, bounces off the pavement and discharges, taking out Andy & Randy's windshield. They bail out. Everyone hits the deck. Bobby Jo looks up to see that the gun is now at Ian's feet. Ian is struggling to bend down for it. Bobby Jo goes after it but Ian beats him to it and levels the gun at Bobby Jo.
IAN
(working the mouth)
Everybody get back! Get back, man!
Bobby Jo stands and backs up.
IAN
(working the mouth)
Okay! Good! Everybody just be cool! Tasty! Get over there!
LANCE
Ian, you're working the mouth.
IAN
(working the mouth)
I don't care! Felicia, are you okay!?
Felicia nods. A phone rings. Everyone looks around. Bobby Jo's shirt pocket is glowing.
IAN
My phone! Answer it! Now!
RICK
You best do what he says. That donut ain't fuckin' around.
BOBBY JO
(answering)
Hello? Um yes, sir... I believe he's right here...
Script provided for educational purposes. More scripts can be found here: http://www.sellingyourscreenplay.com/library
BOBBY JO
Um, I believe he's wearing it now... Yes, sir, a cruller pert near four foot 'round.
IAN
Is that Ron?
BOBBY JO
Yes, sir and he sounds mighty ticked. Why don't I just put y'all on speaker.
Bobby Jo holds up the phone.
RON (V.O.)
Ian? Listen chief, I need my costume back, toot-sweet.
IAN
Ron, I'll be in on Tuesday.
RON
Not gonna cut it, Ian. Bring it back first thing in the morning or you're fired.
IAN
(working the mouth again)
I'm fired? I'm the best employee you got! I stay late all the time, I cover for you when you have your D & D tournaments, I'm the only one who knows how to fix the register spool! Fuck you! I dare you to fire me!
Rex and Lance exchange a glance - they're impressed.
RON
Okay. Don't get all testy. I was just horsing around. Just bring 'er in when you can, amigo.
IAN
Hang it up! (Bobby Jo does) Okay! Here's what's gonna happen! Rex! You're gonna get the Judge outta here! Rick! You can punch Lance but just once.
LANCE
What the fuck, dude?
Script provided for educational purposes. More scripts can be found here: http://www.sellingyourscreenplay.com/library
IAN
You nailed his girlfriend!
LANCE
Not exactly. But okay. Fair enough. Not in the nuts, okay?
WHAP! Rick punches Lance in the head. Lance goes back but not down. He holds himself up with his hands on his knees.
LANCE
Holy god. Good punch.
IAN
Now get in your truck and get out of here!
RICK
He's got my keys.
IAN
Give him his fuckin' keys!
Bobby Jo walks toward Ian.
BOBBY JO
You ain't gonna kill nobody.
REX
Smoke that cocksucker, Ian!
IAN
Stop! I'm serious!
BOBBY JO
I bet you don't even know how shoot that thing.
Ian fires the gun in the air. Bobby Jo stops.
BOBBY JO
Okay. But anybody can shoot a gun in the air.
Bobby Jo keeps coming.
IAN
I'll shoot you in the leg!
BOBBY JO
I don't think so.
BANG! Ian shoots him in the leg. Bobby Jo writhes in pain. Script provided for educational purposes. More scripts can be found here: http://www.sellingyourscreenplay.com/library
BOBBY JO
(wincing)
Okay! Okay! But anybody can shoot someone in the leg.
Bobby Jo limps toward Ian.
IAN
Jesus, man! What do I gotta do?
Suddenly, a squad car slides sideways into the parking lot. Mary is in the back seat. Another squad car pulls in behind it. Ms. Tasty makes a break for it. She passes Andy & Randy. Andy trips her and she eats shit. A tall, thin cop grabs her and handcuffs her. A fat, dim cop leaps out of the first car, pumps his rifle and aims it over his hood at Ian.
FAT COP
Drop the weapon, donut man!
Ian drops the gun. Everyone flinches but it doesn't go off again.
FAT COP
Okay! Hands on your head!
Ian puts his right hand on Señor Donut's head.
FAT COP
Both hands, asshole!
IAN
I can't move the other arm!
FAT COP
Who said that!?
IAN
(working the mouth)
I can't move the other arm!
His partner covers everyone else as the fat cop cautiously crosses toward Ian. When he reaches him, he whips out a stun gun and zaps Ian but he's protected by the foam donut.
IAN
(working the mouth)
Okay! I'm not resisting!
The cop zaps him again, then sprays pepper spray into the plastic eyes on top. It splashes back at the cop, who covers his eyes and falls backward. Script provided for educational purposes. More scripts can be found here: http://www.sellingyourscreenplay.com/library
FAT COP
The big Mexican won't go down! Take your shot!
BLAM! The other cop fires at Ian, blowing off his fake arm. Felicia runs to stand in front of him.
FELICIA
Jesus Christ! He's not the bad guy here! She's the car thief!
The cop looks at Ms. Tasty.
THIN COP
Say Dan. Ain't she the perp from the FBI bulletin? The one who's stealing cars with her computer.
The fat cop squints up at her.
FAT COP
Shit the tub.
EXT. SHAKEY'S PARKING LOT - LATER
A few more squad cars are there. Ms. Tasty and Bobby Jo are being read their rights while a medic bandages up Bobby Jo's leg. Felicia gives an eyewitness report to a cop.
FELICIA
...and there's some guy named Luis who was waiting for them at Fifth and Crescent...
Andy and Randy are being interviewed by a hot blonde news reporter.
REPORTER
I understand you gentlemen got a good look at the perpetrators.
ANDY
We got more than a good look.
RANDY
Yeah. We were banging that chick in our car.
ANDY
Totally banging her. Hard.
Script provided for educational purposes. More scripts can be found here: http://www.sellingyourscreenplay.com/library
REPORTER
Alright! Jesus Christ! Shut it down guys. We got any witnesses who aren't retarded!?
CAMERMAN
We're live, Judy.
RANDY
(to cameraman)
You bangin' her?
ANDY
We'd totally bang her.
Ian sits on the hood of a squad car, still in the donut suit. Felicia steps up, unzips Ian and helps him get his head out. \*
FELICIA
Thanks for coming for me.
IAN
What were you doing in the back seat?
FELICIA
I don't know.
IAN
You don't know. Jesus. Why can't you just say it?
FELICIA
You first.
IAN
Fine. You love me.
FELICIA
Okay. Well, you love me too then.
He kisses her. Then a longer one. Rex walks by.
REX
Thank god.
EXT. AMISH BARN - DAY
Ian, Rex, Lance and Felicia are milking cows. Rex is grossed out. They are all filthy and sweaty. They look like they've been at it a while. Script provided for educational purposes. More scripts can be found here: http://www.sellingyourscreenplay.com/library VROOOM!! They look over to see the Judge being rolled out of the barn. The side damage is as good as new and now there are flames on the side. Rex stands, very pleased. They all run to the car. Ezekiel climbs out and pulls off some extra masking tape around the moulding.
REX
(to Ian)
Okay. I guess you get to live.
EXT. AMISH BARN - LATER
Ian and Felicia are in the Judge. Rex kick starts his dirtbike.
REX
Straight home, pussy! And keep your god damn phone on!
Rex takes off. Lance and Mary are kissing near the barn. Ian honks the horn. Lance runs over.
IAN
Dude, we gotta go.
LANCE
You two go ahead. I'm gonna hang here and kick it Amish style.
IAN
What are you talking about?
LANCE
Hard work, fresh air, missionary position - sounds good.
FELICIA
Lance. Give me a break.
Ian sees in Lance's eyes that he's serious. Ian gets out and gives Lance a hug.
LANCE
Now, you two go 'visit grandma.'
Lance walks back to Mary. Ian and Felicia drive off into the summer evening. DISSOLVE TO: Script provided for educational purposes. More scripts can be found here: http://www.sellingyourscreenplay.com/library Close on Ian and Felicia, face to face, nothing but blue sky behind them. She kisses him.
FELICIA
Are you sure you're ready to do this?
IAN
Yeah.
A wide shot reveals that we are along a:
EXT. COUNTRY ROAD - SUNSET
Ian tosses his shoes into the shoe tree. Felicia cheers. They stand and look for a moment more, then walk to the car barefooted. Felicia is fine but Ian is tip-towing and wincing as his tender feet feel every pebble.
EXT. COUNTRY HIGHWAY - DUSK
The Judge rolls down the road. Felicia snuggles up to Ian in the front seat. They look deeply contented.
IAN (V.O.)
A few weeks later, I was Felicia's date to Tiffany's wedding. This time it wasn't a just-friends thing.
Cutaway to Ian and Felicia dancing together at the wedding. He kisses her.
IAN (V.O.)
Tiffany was right, Felicia did ruin all the pictures.
Cutaway to a photo of the wedding party. Zoom in on Felicia. She is smiling but her hand is subtly giving the finger.
IAN (V.O.)
That night, Felicia and I finally 'visited grandma.'
Cutaway to Ian's basement. Felicia's yellow dress is on the floor. They lie together, winded and sweaty, on the old couch. After a beat, she pulls Ian back on top of her.
IAN (V.O.)
...Twice.
Script provided for educational purposes. More scripts can be found here: http://www.sellingyourscreenplay.com/library Track past them and up the stairs. Rex stands at the top. He lights a pack of firecrackers, tosses them down the stairs and laughs his ass off as they pop off.
IAN (V.O.)
Rex did make my life hell for a while. But two years later he finally came out to the family.
Cutaway to thanksgiving dinner. Rex stands and makes a tearful announcement. His mother cries; his father upends the turkey and storms out.
IAN (V.O.)
My parents got used to the idea. And Rex is a actually a pretty great guy these days. Now he only uses the word 'faggot' during sex.
Cutaway to Christmas dinner. Now Rex happily sits next to a handsome man. Mom and Dad smile and hand them a gift. Rex and his boyfriend delight as they unwrap a juicer.
IAN (V.O.)
Let's see. What else. Oh, my dad made Dylan take my old job.
Cutaway to Dylan, working the counter at Senor Donut. Ron is smelling his finger with great interest.
IAN (V.O.)
Andy & Randy finally got a girlfriend.
Cutaway to Andy and Randy with their arms around a slightly heavy young girl. They are gushing with pride.
IAN (V.O.)
...and as for Lance's new simpler life among the Amish...
We return to where we left off, as Ian and Felicia drive away in the Judge. Ian's phone rings. He answers.
IAN
(into the phone)
Hello?... What do you mean it's not working out? You've been Amish for forty five minutes!
The Judge turns around and drives back the other way. FADE OUT.: Script provided for educational purposes. More scripts can be found here: http://www.sellingyourscreenplay.com/library THE END Script provided for educational purposes. More scripts can be found here: http://www.sellingyourscreenplay.com/library
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While We're Young_2014
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tt1791682
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While We're Young
| 2,014 |
Middle-aged couple Josh and Cornelia Srebnick are filmmakers living in a shaky marriage in New York City. Josh has spent the last 10 years struggling on the post-production of his documentary film about leftist intellectual Ira Mandelstam while not letting his producer wife help him with the project. After finishing a lecture at the college where he teaches, Josh is approached by Jamie and Darby Massey, a young couple who invite him and Cornelia out to dinner. Jamie claims to be a fan of Josh's work and the works of his accomplished documentary filmmaker father-in-law, Leslie Breitbart. Josh is immediately awestruck by Jamie and Darby's non-conservative outlook on life as he and Cornelia begin spending more and more time with them, joining in on their bohemian lifestyle. An aspiring filmmaker himself, Jamie talks with Josh about their projects, including Josh's own documentary. This inspires Jamie to make a film about connecting with an old high school friend that he found on Facebook. Jamie and Darby invite Josh and Cornelia to an ayahuasca ceremony where a hallucinating Cornelia kisses Jamie while Jamie receives Josh's approval in helping with the production of his film. Cornelia agrees to produce the film. Jamie and Josh find the old friend, Kent Arlington, who is in the hospital after a suicide attempt. Josh and Jamie discover that Kent was involved in a civilian massacre during an Army tour in Afghanistan, creating an even bigger story for Jamie's film. While pitching his own film, Josh is dismayed when he cannot engage a potential hedge fund investor with the concept of his intellectual documentary. He goes to Leslie for a second opinion. When Leslie's criticisms and suggestions are brought down by Josh, they get into an argument over Josh and Cornelia's inability to have children, as well as Josh calling himself a disappointment to him. Josh attends a party for a screening of Jamie's film, which is met far more positively by Leslie and the hedge fund investor. A jealous Josh argues with Cornelia over Jamie's success, and they separate. Josh meets up with Darby, who is sick of Jamie's increasingly self-centered attitude and tells him about Cornelia kissing Jamie. Josh confronts Cornelia the next morning and denounces Jamie. While teaming up with his editor on cutting his film, Josh comes across footage for Jamie's film, finding evidence that suggests the meeting with Kent was actually staged. Finding him, Kent reveals that he was really friends with Darby, not Jamie, and that he was contacted by Jamie weeks before their shoot. Capturing his confession on camera, Josh goes to Jamie and Darby to confront him only to discover that a fed-up Darby is moving out and that Jamie is at the tribute celebrating Leslie at Lincoln Center. Josh confronts Jamie in private at the event, admonishing him for compromising the truth and genuineness of his story for dramatic purposes. Josh forces Jamie to admit the truth to Leslie, who excuses it, saying that it's a good story regardless of the fabrication. Defeated, Josh admits to Leslie he was right about the edits needed on his film. Outside, Josh and Cornelia reconcile. One year later, Josh and Cornelia drive to the airport for a flight to Port-au-Prince, Haiti where they will adopt a newborn baby. Josh finds an article in a magazine lauding Jamie as a filmmaking genius, which Cornelia and Josh pass off by admitting, "He's not evil, he's just young." They then watch a young child at the gate playing with an iPhone, studying him as if to imply that yet another generation with disparate ethics and morals is approaching.
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<script>
<scene>
<scene_description>While We're Young Noah Baumbach WHITE DRAFT 8-13-13 BLUE REVISIONS 9-16-13 PINK REVISIONS 9-30-13</scene_description>
<character>SOLNESS:</character>
<dialogue>The funny thing is that I've become so disturbed by younger</dialogue>
<scene_description>people! HILDE: What? Younger people?</scene_description>
<character>SOLNESS:</character>
<dialogue>Yes, they upset me so much that I've sort of closed my doors here and locked myself in. Because I'm afraid they're going to come</dialogue>
<scene_description>here, and they're going to knock on the door, and then they're going to break in.</scene_description>
<character>HILDE:</character>
<dialogue>Well, I think maybe you should open the door and let them in.</dialogue>
<character>SOLNESS:</character>
<dialogue>Open the door?</dialogue>
<scene_description>HILDE: Yes - so that they can just gently and quietly come inside, and it can be something good for you. . .</scene_description>
<character>SOLNESS:</character>
<dialogue>Open the door?</dialogue>
<scene_description>-- from Wallace Shawn's adaptation of Henrik Ibsen's "The Master Builder" Stones's song "Under My Thumb." CLOSE on the peaceful face of a sleeping baby, gently floating.</scene_description>
</scene>
<scene>
<stage_direction>INT. FLETCHER/MARINA APT. - LIVING ROOM, BROOKLYN. DAY 1 \*</stage_direction>
<scene_description>CLOSE on Cornelia Srebnick, 41. She's humming softly. We MOVE out slowly to see she's rocking the infant on a big comfortable couch fionlled with baby blankets, stuffed \* animals and children's books. We MOVE over to see Josh Srebnick, 44, on the floor watching her -- his expression a kind of awe. She looks at him, hesitating, taken by the intensity of his look. A moment of connection and warmth passes through her. He smiles softly back.</scene_description>
<character>CORNELIA</character>
<parenthetical>(to the baby)</parenthetical>
<dialogue>There were three little pigs and they made a house out of twigs and the wolf came and...</dialogue>
<parenthetical>(to Josh)</parenthetical>
<dialogue>Do you remember how it goes?</dialogue>
<character>JOSH</character>
<dialogue>He blows it down?</dialogue>
<scene_description>The baby starts to fuss.</scene_description>
<character>CORNELIA</character>
<dialogue>Yeah. But, what happens in the middle?</dialogue>
<character>JOSH</character>
<parenthetical>(thinks)</parenthetical>
<dialogue>I keep wanting to do this little piggie went to market but that's with the toes.</dialogue>
<scene_description>The baby starts to cry.</scene_description>
<character>CORNELIA</character>
<dialogue>The wolf keeps blowing the house in. The pigs keep making different houses.</dialogue>
<parenthetical>(rocks the baby)</parenthetical>
<dialogue>Oh...shh, shh, shh.</dialogue>
<scene_description>The baby is wailing. Cornelia rocks her faster. She looks panicked. What the fuck do we do? Josh doesn't know. Bang, a door opens and a woman comes in with a boppy strapped around her waist. This is Marina, \* 30's.</scene_description>
<character>MARINA \*</character>
<dialogue>Okay, who's ready to eat?</dialogue>
<character>JOSH</character>
<dialogue>Are we taking in or --</dialogue>
<character>MARINA</character>
<dialogue>Who's ready to eat?</dialogue>
<scene_description>She sits down on the couch next to Cornelia, lifts the sobbing infant from out of Cornelia's arms and places it on the boppy. The baby's onesie has an image from The Clash's first album across the chest. Marina opens her bra and gives \* the baby her breast. The baby nurses, stretches and stops crying.</scene_description>
<character>MARINA \*</character>
<dialogue>Ha! I love how she stretches...it's just like we do... It's so funny. It never occurred to me that stretching is innate.</dialogue>
<scene_description>She stretches, imitating the baby. Cornelia smiles politely. A curly haired man with glasses, early 40's, enters. Fletcher.</scene_description>
<character>FLETCHER</character>
<dialogue>You want to see it?</dialogue>
<character>JOSH</character>
<dialogue>Yeah.</dialogue>
<scene_description>Fletcher sits near Josh.</scene_description>
<character>FLETCHER</character>
<dialogue>It got infected with staph but it's not the bad staph.</dialogue>
<scene_description>He pushes up his sleeve to reveal a square black and white tattoo on his bicep.</scene_description>
<character>CORNELIA</character>
<dialogue>What is it?</dialogue>
<character>FLETCHER</character>
<dialogue>Guess.</dialogue>
<parenthetical>(to Josh)</parenthetical>
<dialogue>You can come closer it's not the bad staph.</dialogue>
<dialogue>I still don't want the baby touching it.</dialogue>
<scene_description>He shoves his shoulder in Josh's face.</scene_description>
<character>JOSH</character>
<dialogue>I can't...tell.</dialogue>
<character>FLETCHER</character>
<dialogue>It's Willow's sonogram.</dialogue>
<character>JOSH</character>
<dialogue>Oh...okay.</dialogue>
<character>FLETCHER</character>
<dialogue>I did it for Marina. I was so \* fucking proud of her.</dialogue>
<character>MARINA \*</character>
<dialogue>Why it's for me, I still don't understand.</dialogue>
<character>JOSH</character>
<dialogue>Where do you even go for a tattoo?</dialogue>
<character>FLETCHER</character>
<dialogue>I asked a guy at work and he told me where his kids went. Place in Williamsburg. Where else?</dialogue>
<parenthetical>(pause)</parenthetical>
<dialogue>You know, she didn't get the epidurol.</dialogue>
<character>MARINA \*</character>
<dialogue>It's a mother fucker -- it's a ring of fucking fire -- but it was the most beautiful experience of my life.</dialogue>
<character>FLETCHER</character>
<dialogue>And I fell in love immediately. A love I've never felt. I mean, don't take that the wrong way, Marina -- \*</dialogue>
<character>MARINA \*</character>
<dialogue>No, I know exactly what you mean. It's pure.</dialogue>
<character>CORNELIA</character>
<parenthetical>(how sweet)</parenthetical>
<dialogue>Aww...</dialogue>
<parenthetical>(can't help herself)</parenthetical>
<dialogue>Oh, you guys should do it!</dialogue>
<character>FLETCHER</character>
<dialogue>Yeah!</dialogue>
<character>MARINA \*</character>
<dialogue>You'd make such good parents.</dialogue>
<parenthetical>(catching herself)</parenthetical>
<dialogue>I'm sorry, I'm sorry!</dialogue>
<character>CORNELIA</character>
<dialogue>No, it's fine. You know, we --</dialogue>
<scene_description>She looks at Josh.</scene_description>
<character>JOSH</character>
<dialogue>We...</dialogue>
<character>MARINA</character>
<dialogue>It's just such a game changer!</dialogue>
<scene_description>We STAY on Josh and Cornelia's faces.</scene_description>
<character>FLETCHER (O.S.)</character>
<dialogue>When I saw her, I thought: "I know you."</dialogue>
<character>MARINA (O.S.) \*</character>
<dialogue>It's true, I recognized her immediately.</dialogue>
<character>FLETCHER (O.S.)</character>
<dialogue>And because I'd been reading to her in the womb, she knew my voice immediately.</dialogue>
<character>MARINA (O.S.)</character>
<dialogue>It's like in one moment, everything is different.</dialogue>
<character>FLETCHER (O.S.)</character>
<dialogue>I read her Stephen King's The Tommyknockers.</dialogue>
<character>FLETCHER (O.S.)</character>
<dialogue>It's like all the stuff before, fine, you know, we're figuring it out, but now: Okay, real life. You know?</dialogue>
<scene_description>Josh and Cornelia nod.</scene_description>
</scene>
<scene>
<stage_direction>A2 EXT. COBBLE HILL STREETS, BROOKLYN. DAY A2</stage_direction>
<scene_description>Cornelia and Josh walk home. They enter. An open floor-through of a brownstone. The room, separated by large wooden pocket doors, looks half- finished, framed pictures lean against the wall, projects undertaken and abandoned. Some nice stuff, a couple of antique chairs or a table. A water stain untended to on the ceiling. I can't remember Goldilocks either anymore. The porridge part, but not what happens.</scene_description>
<character>JOSH</character>
<dialogue>She gets eaten, right?</dialogue>
<character>CORNELIA</character>
<dialogue>Does she?</dialogue>
<character>JOSH</character>
<dialogue>There's like an oven that's too hot.</dialogue>
<scene_description>Josh shrugs. Silence.</scene_description>
<character>CORNELIA</character>
<dialogue>You don't want kids, right?</dialogue>
<parenthetical>(Josh hesitates)</parenthetical>
<dialogue>Because I don't.</dialogue>
<parenthetical>(they both hesitate)</parenthetical>
<dialogue>I'm sorry, I feel so guilty for saying that. I mean, I did. If we'd had the magic sexy version and one day suddenly had a baby... But all those drugs and shots and miscarriages -- I don't want to do it again and it not to work.</dialogue>
<character>JOSH</character>
<dialogue>I know.</dialogue>
<parenthetical>(beat)</parenthetical>
<dialogue>And I like our life as it is.</dialogue>
<character>CORNELIA</character>
<parenthetical>(relieved)</parenthetical>
<dialogue>Me too.</dialogue>
<character>JOSH</character>
<dialogue>I don't want things to be different than they are right now.</dialogue>
<character>CORNELIA</character>
<dialogue>I know. I mean, if we wanted to take off for Paris tomorrow, we could.</dialogue>
<character>JOSH</character>
<dialogue>Yeah, I mean I think it would be hard to find an affordable fare on such short notice, but yeah...</dialogue>
<character>CORNELIA</character>
<dialogue>No, I know and I couldn't leave work.</dialogue>
<dialogue>If we were going to do it we should plan it at least a month in advance.</dialogue>
<character>CORNELIA</character>
<dialogue>A month is still in the realm of spontaneity.</dialogue>
<character>JOSH</character>
<dialogue>No, I know. I mean, the time we spent in Rome, what was that --</dialogue>
<character>CORNELIA</character>
<dialogue>JOSH</dialogue>
<parenthetical>(can't believe it)</parenthetical>
<dialogue>It wasn't 2006.</dialogue>
<character>CORNELIA</character>
<dialogue>Yeah because I was working with my dad on his dance film.</dialogue>
<character>JOSH</character>
<dialogue>Rome was eight years ago already? Shit.</dialogue>
<character>CORNELIA</character>
<dialogue>Yeah, I looked at the pictures recently and we're two younger people standing at the Treve Fountain.</dialogue>
<character>JOSH</character>
<dialogue>We look similar.</dialogue>
<character>CORNELIA</character>
<dialogue>We look younger.</dialogue>
<parenthetical>(pause)</parenthetical>
<dialogue>I tried to get you to go to Mexico last summer --</dialogue>
<character>JOSH</character>
<dialogue>I needed to finish my documentary.</dialogue>
<character>CORNELIA</character>
<dialogue>But you didn't finish it!</dialogue>
<scene_description>They both take a deep breath. Pause.</scene_description>
<character>JOSH</character>
<dialogue>Well, maybe the point is we have the freedom. What we do with it isn't that important.</dialogue>
<scene_description>Marina said they haven't had sex in \* nearly a year. Fletcher was too weirded out by the pregnancy.</scene_description>
<character>JOSH</character>
<dialogue>God.</dialogue>
</scene>
<scene>
<stage_direction>A3 INT. DINING ROOM. NIGHT A3</stage_direction>
<scene_description>They eat Thai take-out at a table set for two.</scene_description>
</scene>
<scene>
<stage_direction>B3 INT. KITCHEN. NIGHT B3</stage_direction>
<scene_description>They do dishes.</scene_description>
</scene>
<scene>
<stage_direction>INT. JOSH/CORNELIA APT. - BEDROOM, COBBLE HILL, BROOKLYN.</stage_direction>
<character>NIGHT</character>
<dialogue>Josh, in his boxers, takes off his watch and puts it on the night table. Cornelia undresses.</dialogue>
<dialogue>They move about in silence, finishing their nighttime routines. Only the sounds of footsteps, water running, clothes coming off and going on, bed squeaks.</dialogue>
<dialogue>Josh lies on his back and shuts his eyes.</dialogue>
<dialogue>Cornelia gets in bed and clicks on her bedside lamp which lights up nearly everything. Josh places his arm over his eyes.</dialogue>
<character>JOSH</character>
<dialogue>What is that, a seventy-five watt?</dialogue>
<scene_description>She looks under the shade.</scene_description>
<character>CORNELIA</character>
<dialogue>I can't see, it's too bright.</dialogue>
<character>JOSH</character>
<dialogue>It's too high a wattage.</dialogue>
<character>CORNELIA</character>
<dialogue>I'll change it tomorrow.</dialogue>
</scene>
<scene>
<stage_direction>INT. JOSH/CORNELIA APT. - HOME OFFICE. DAY</stage_direction>
<scene_description>Josh paces back and forth in his home-office. His editor, Tim, early 30's, sits at a desk-top attached to a series of drives. A tousled scholar, Ira Mandelstam, 50's, talks gravely on a TV screen. There was a poll conducted in 1987 in which people were given a series of phrases and asked which ones could be found in the US Constitution --</scene_description>
<character>JOSH</character>
<dialogue>Let me see the continuity...</dialogue>
<character>SCHOLAR (ON SCREEN)</character>
<dialogue>One of the phrases that got the highest percentage of votes was: "From each according to his ability, to each according to his need." This, of course, is not to be found in the Constitution, but is the famous Communist credo popularized by Karl Marx.</dialogue>
<scene_description>Josh takes the sheet and holds it about two feet from his face. He squints.</scene_description>
<character>JOSH</character>
<dialogue>Why do they type this stuff so small?</dialogue>
<character>TIM</character>
<dialogue>I think that's 12 point. That's normal.</dialogue>
<character>SCHOLAR (ON SCREEN)</character>
<dialogue>However, when this phrase was presented to people as a tenet of Communism, they, of course, overwhelmingly rejected it.</dialogue>
<character>JOSH</character>
<dialogue>That is not 12, that's at most eight. Look at it, it's tiny.</dialogue>
<character>TIM</character>
<dialogue>We need to cut away from Ira here because...</dialogue>
<scene_description>We hear a ringing. On the SCREEN: the scholar goes into his pants pocket and retrieves a cell phone from a few years ago.</scene_description>
<character>SCHOLAR (ON SCREEN)</character>
<dialogue>Hold on...</dialogue>
<scene_description>He looks at it like he's never seen anything like it before. He puts on reading glasses and very deliberately presses Talk.</scene_description>
<character>SCHOLAR (ON SCREEN)</character>
<dialogue>Hello?...Evelyn, I'm doing an interview...Did you look in the car? This is every fucking day, sweety!</dialogue>
<scene_description>fucking chain around your neck! (mouths to the camera) Sorry. (back to the phone) Sweety, if you don't stop this, I'm going to fucking screa -- Tim freezes the image on the screen.</scene_description>
<character>JOSH</character>
<dialogue>We could cut to me asking the question about hermeneutics?</dialogue>
<character>TIM</character>
<dialogue>We could, but you look like this in that footage --</dialogue>
<scene_description>He shows an image of a younger Josh in a goatee and Jew-fro.</scene_description>
<character>TIM</character>
<dialogue>It's from eight years ago. And the previous shot of you asking any relevant questions is this --</dialogue>
<scene_description>He pulls up an image of Josh with short hair and his arm in a sling.</scene_description>
<character>JOSH</character>
<dialogue>That's from when I fell down the subway stairs at Grand Army Plaza. The blizzard of 06? You remember how icy that was?</dialogue>
<scene_description>We CUT between a series of Joshes from over the years. Different hair lengths, a beard, a brief moustache, a black eye.</scene_description>
<character>JOSH</character>
<dialogue>You remember, I was trying my part on the other side.</dialogue>
<scene_description>Tim doesn't.</scene_description>
<character>JOSH</character>
<dialogue>God, eight years ago. Has it been that long?</dialogue>
<character>TIM</character>
<dialogue>It's been ten.</dialogue>
<character>JOSH</character>
<parenthetical>(counting in his head, rationalizing)</parenthetical>
<dialogue>Look at my jaw -- I had more baby fat.</dialogue>
<parenthetical>(looks at his reflection in the computer screen)</parenthetical>
<dialogue>Are my eyes getting hollows?</dialogue>
<character>TIM</character>
<dialogue>I don't know.</dialogue>
<character>JOSH</character>
<parenthetical>(trying to be positive)</parenthetical>
<dialogue>Well...we're getting there.</dialogue>
<scene_description>Tim looks at him, totally skeptical.</scene_description>
<character>JOSH</character>
<dialogue>When the rest of the grant money comes in, we'll reshoot me asking the questions along with the trip to Istanbul.</dialogue>
<character>TIM</character>
<dialogue>Hey, Josh, I hate to bring this up, but I'm gonna need a little money soon.</dialogue>
<character>JOSH</character>
<dialogue>No, I know, you've been patient. I'm just waiting for the rest of this last grant money.</dialogue>
<character>TIM</character>
<dialogue>But soon?</dialogue>
<character>JOSH</character>
<dialogue>Yeah, I'll get you.</dialogue>
<scene_description>Goes into his wallet.</scene_description>
<character>JOSH</character>
<dialogue>You need anything now?</dialogue>
<scene_description>He hands Tim a couple of twenties.</scene_description>
<character>JOSH</character>
<dialogue>You know, get Maggie some flowers or...</dialogue>
<character>TIM</character>
<dialogue>I'm going to use it to buy food.</dialogue>
<character>JOSH</character>
<dialogue>Oh, yeah, yeah...good idea.</dialogue>
<scene_description>A room with about fifty chairs, about seven of them occupied by people over 50. Josh stands at a lectern with a lap top. A blank TV screen behind him.</scene_description>
<character>JOSH</character>
<dialogue>"Le documentaire, c'est ce qui arrive aux autres, la fiction, c'est ce qui m'arrive à moi." "Documentary is about someone else. Fiction is about me."</dialogue>
<parenthetical>(glances out at the small crowd, having made it through the French part)</parenthetical>
<dialogue>This is a quote from Jean-Luc Godard. Now, what do we think about this? Can a documentary be personal? Documentaries, I want to say to you today, can and should be about me.</dialogue>
<scene_description>Josh hesitates. A guy in the audience wearing a porkpie hat is filming him with a portable camera. Josh is momentarily distracted.</scene_description>
<character>JOSH</character>
<dialogue>Me meaning all of us.</dialogue>
<parenthetical>(to the room)</parenthetical>
<dialogue>Lights.</dialogue>
<parenthetical>(pause)</parenthetical>
<dialogue>Frank, can you just hit that switch?</dialogue>
<scene_description>An elderly gentleman obliges. Josh hits a button on his lap top.</scene_description>
<character>JOSH</character>
<dialogue>This is an image from --</dialogue>
<scene_description>Nothing happens on the screen behind him. Josh presses the button again. Nothing.</scene_description>
<character>JOSH</character>
<dialogue>Well...shit...this should be an image of seal hunting from "Nanook of The North."</dialogue>
<scene_description>CUT TO: Josh collects his things from a chair at the foot of the stage. A squat woman, 50's, who runs the lecture series, shrugs and smiles tightly at him.</scene_description>
<character>SQUAT WOMAN</character>
<dialogue>Sorry.</dialogue>
<parenthetical>(suddenly paranoid)</parenthetical>
<dialogue>About what? his mussed hair under his porkpie hat, an old plaid shirt hanging out over slacks, and beat up boots. This is Jamie.</dialogue>
<character>JAMIE</character>
<dialogue>Hey. Beautiful class.</dialogue>
<character>JOSH</character>
<dialogue>Oh...thanks. I don't know why the power point didn't work, but...</dialogue>
<character>JAMIE</character>
<dialogue>I loved what you said about "hyper- reality." I'm Jamie.</dialogue>
<character>JOSH</character>
<dialogue>Josh Srebnick.</dialogue>
<character>JAMIE</character>
<dialogue>This is my wife, Darby.</dialogue>
<scene_description>A girl, 23, in a high waisted dress and lace up boots comes forward.</scene_description>
<character>DARBY</character>
<dialogue>Hi. Nice to meet you. It was interesting.</dialogue>
<character>JOSH</character>
<dialogue>Thanks. I'm not sure why the power point didn't work... How did you get in here?</dialogue>
<character>JAMIE</character>
<dialogue>We're auditing your class.</dialogue>
<character>JOSH</character>
<dialogue>It's a continuing education class, you can't audit a continuing education class.</dialogue>
<character>JAMIE</character>
<parenthetical>(shrugs)</parenthetical>
<dialogue>I'm a fan. And hey, I really loved your film, Power Elite.</dialogue>
<character>JOSH</character>
<parenthetical>(taken aback, can't hide his pleasure)</parenthetical>
<dialogue>You've seen it? Hey...thanks.</dialogue>
<character>JAMIE</character>
<dialogue>It's everything I aspire to and you make it look so easy.</dialogue>
<character>JOSH</character>
<dialogue>Do you make documentaries?</dialogue>
<dialogue>I shoot stuff, you know, with friends, yeah. Nothing like you're doing.</dialogue>
<character>DARBY</character>
<dialogue>He's always shooting.</dialogue>
<character>JOSH</character>
<dialogue>Um, don't take this the wrong way, but how did you see Power Elite?</dialogue>
<character>JAMIE</character>
<dialogue>I found a VHS on Ebay. I paid like sixty dollars for it. You know what was great, was that scene with the dogs around the garbage? How did you stage that?</dialogue>
<character>JOSH</character>
<dialogue>Oh...those dogs were just there and I said, "Hey shoot those dogs."</dialogue>
<parenthetical>(not a great story)</parenthetical>
<dialogue>And...we did.</dialogue>
<character>JAMIE</character>
<parenthetical>(claps his hands together)</parenthetical>
<dialogue>Beautiful.</dialogue>
<character>JOSH</character>
<dialogue>I've been working on this other one for...about eight years now but I think I'm zeroing in on it.</dialogue>
<character>JAMIE</character>
<dialogue>I'd love to see it.</dialogue>
<character>DARBY</character>
<dialogue>When I was a child my dog was killed in front of me by two rottweilers.</dialogue>
<parenthetical>(she starts to laugh)</parenthetical>
<dialogue>I don't know why I'm laughing. It's not funny. I was five. My dad and I were walking our poodle which I had named Toto and these two rottweilers came bounding out of an open gate and just attacked. My dad flagged down a passing car and we climbed in the back and he covered my eyes so I couldn't see Toto get mauled.</dialogue>
<scene_description>She covers her face, she's still laughing. (hesitates) I'm sorry to hear that.</scene_description>
<character>JAMIE</character>
<dialogue>You want to come get a bite with us?</dialogue>
<character>JOSH</character>
<dialogue>Oh...I'm meeting my...wife around the corner at this Chinese place.</dialogue>
<character>JAMIE</character>
<dialogue>Hey, my wife and I are going to the same goddamn place!</dialogue>
</scene>
<scene>
<stage_direction>INT. CHINESE RESTAURANT. EVENING</stage_direction>
<scene_description>Josh and Cornelia sit next to each other. Josh is in the middle of talking to Jamie and Darby who face them across the table.</scene_description>
<character>JOSH</character>
<dialogue>...I've learned along the way that you can discover more by not knowing the answers, by allowing yourself to be surprised by what you encounter.</dialogue>
<scene_description>Jamie nods with great interest.</scene_description>
<character>JAMIE</character>
<dialogue>Yeah, yeah.</dialogue>
<character>JOSH</character>
<dialogue>Sometimes that means waiting years for something to happen. I don't know. I could go on about this stuff for days.</dialogue>
<character>JAMIE</character>
<dialogue>How did you start out, like who influenced you?</dialogue>
<character>JOSH</character>
<dialogue>Oh, I steal from everyone, you know, Maysles, Wiseman, Pennebaker... My first job out of graduate school was working for Leslie Breitbart.</dialogue>
<character>JAMIE</character>
<parenthetical>(impressed)</parenthetical>
<dialogue>Jeez Louise.</dialogue>
<scene_description>That's also incidentally how I met Cornelia. He's her dad.</scene_description>
<character>JAMIE</character>
<dialogue>What?!</dialogue>
<character>CORNELIA</character>
<dialogue>This is before they hated each other.</dialogue>
<character>JOSH</character>
<dialogue>We don't hate each other. Cornelia produces her dad's films.</dialogue>
<character>JAMIE</character>
<dialogue>He's amazing.</dialogue>
<character>CORNELIA</character>
<dialogue>Yeah, he's kind of annoying me right now, but...yeah.</dialogue>
<character>JAMIE</character>
<dialogue>He's a giant. He's a guy I'd love to meet. Do you also produce Josh's films?</dialogue>
<character>CORNELIA</character>
<dialogue>No, Josh likes to work alone.</dialogue>
<character>JAMIE</character>
<parenthetical>(again with real interest, to Josh)</parenthetical>
<dialogue>Josh, what's your new film about?</dialogue>
<character>JOSH</character>
<dialogue>Well, I'm trying to solve the problem that Eisenstein never solved -- that is how to make a film that is both materialist and intellectual at the same time --</dialogue>
<scene_description>Darby gets a text and starts to reply. Jamie yawns openly. Josh feels he's losing his audience but keeps going.</scene_description>
<character>JOSH</character>
<dialogue>It's about the distinctly American relationship between biography and history, theory and method and how that relates to power and class in our country, particularly the political, military and economic elite.</dialogue>
<parenthetical>(sensing he's lost them)</parenthetical>
<dialogue>It's really about America.</dialogue>
<character>JAMIE</character>
<dialogue>Eisenstein is astonishing. I just saw Strike! I'm obsessed with Europe in the 20's, see. The interwar period, ex-patriots, that sort of thing.</dialogue>
<character>DARBY</character>
<dialogue>I keep trying to get Jamie to do something with before and afters. All humans love before and afters. Any TV show with before and afters will succeed.</dialogue>
<character>JAMIE</character>
<parenthetical>(smiles broadly)</parenthetical>
<dialogue>Before you said that.</dialogue>
<parenthetical>(Jamie frowns)</parenthetical>
<dialogue>After you said that.</dialogue>
<character>DARBY</character>
<parenthetical>(shakes her head)</parenthetical>
<dialogue>Fuck you.</dialogue>
<scene_description>He grabs her breast she smacks his hand playfully and returns to her phone and answers a text. Cornelia tries an accommodating smile.</scene_description>
<character>CORNELIA</character>
<dialogue>What do you do, Darby?</dialogue>
<character>JAMIE</character>
<dialogue>Darby makes ice cream.</dialogue>
<character>CORNELIA</character>
<dialogue>Oh, yeah?</dialogue>
<character>DARBY</character>
<parenthetical>(shrugs, texting)</parenthetical>
<dialogue>Yeah, I make ice cream.</dialogue>
<character>JAMIE</character>
<dialogue>I brought it over to the Whole Foods near us and they're pumped.</dialogue>
<character>DARBY</character>
<dialogue>It's Jamie's idea to sell it, I just do it because I like it.</dialogue>
<character>CORNELIA</character>
<dialogue>And you guys are married?</dialogue>
<dialogue>That's so nice and old fashioned.</dialogue>
<character>JAMIE</character>
<dialogue>Yeah. We said our vows in an empty water tower in Harlem.</dialogue>
<character>CORNELIA</character>
<dialogue>Oh.</dialogue>
<character>DARBY</character>
<dialogue>There was a mariachi band and a slip and slide.</dialogue>
<character>JOSH</character>
<dialogue>Wow.</dialogue>
<character>DARBY</character>
<dialogue>Jamie wanted a big wedding.</dialogue>
<character>JAMIE</character>
<dialogue>It was amazing. Some rituals exist for a reason, you know.</dialogue>
<character>CORNELIA</character>
<parenthetical>(glances at Josh)</parenthetical>
<dialogue>Yeah. We did it at city hall.</dialogue>
<character>DARBY</character>
<parenthetical>(looking up from a text)</parenthetical>
<dialogue>Isaac and Benny are walking the tracks.</dialogue>
<character>JAMIE</character>
<dialogue>Have you guys done this? We walked through the subway tunnels on the D line last week.</dialogue>
<character>JOSH</character>
<parenthetical>(as if it's commonplace)</parenthetical>
<dialogue>No, no, we haven't.</dialogue>
<character>DARBY</character>
<dialogue>They're at a Bar on Essex. You want to come?</dialogue>
<character>JOSH</character>
<parenthetical>(to Cornelia)</parenthetical>
<dialogue>Oh, do we -- ?</dialogue>
<character>CORNELIA</character>
<dialogue>It's already past our bedtime.</dialogue>
<character>JOSH</character>
<parenthetical>(sheepishly)</parenthetical>
<dialogue>Yeah, we're usually in bed by eleven.</dialogue>
<scene_description>resistance, Josh puts his hand on the check.</scene_description>
<character>JOSH</character>
<dialogue>Let me get it.</dialogue>
<character>JAMIE</character>
<parenthetical>(eagerly)</parenthetical>
<dialogue>Thanks.</dialogue>
<character>DARBY</character>
<dialogue>Yeah, thanks.</dialogue>
<scene_description>Josh's hand remains on the check in preparation for it to be taken from him. Nothing happens.</scene_description>
<character>JOSH</character>
<dialogue>No, yeah, I'll get it.</dialogue>
</scene>
<scene>
<stage_direction>EXT. CHINESE RESTAURANT. EVENING</stage_direction>
<scene_description>Jamie and Darby unlock their bikes which are chained to a street-sign with old-school bike chains. Jamie attaches the chain to his pants like an accessory.</scene_description>
<character>JAMIE</character>
<dialogue>If you've got any time -- and I know you're super busy -- I'd love to show you what I'm working on.</dialogue>
<character>DARBY</character>
<dialogue>Come by our place this weekend.</dialogue>
<parenthetical>(to Cornelia)</parenthetical>
<dialogue>I have my fall flavors.</dialogue>
<scene_description>Jamie gives Josh an old Polaroid of himself and writes his number on it with a sharpie. His handwriting is in all caps, very precise.</scene_description>
<character>JAMIE</character>
<dialogue>They don't make this film anymore. I bought four hundred packs before they discontinued it.</dialogue>
<scene_description>Jamie, without a helmet, hops on his bike which has a crocheted seat. Darby is still tying her helmet.</scene_description>
<character>JAMIE</character>
<dialogue>Let's go, worm!</dialogue>
<parenthetical>(to Josh and Cornelia)</parenthetical>
<dialogue>Peace.</dialogue>
<parenthetical>(to Josh and Cornelia)</parenthetical>
<dialogue>Jamie is always moving. I can't leap as fast as that kid. I don't move as quickly.</dialogue>
<scene_description>They both pedal into the center of the street. The streetlight giving them a kind of glow. We MOVE in on Josh and Cornelia. They don't know what hit them.</scene_description>
<character>JOSH (V.O.)</character>
<dialogue>I like how engaged they are in everything.</dialogue>
</scene>
<scene>
<stage_direction>INT. JOSH/CORNELIA APT. - BEDROOM. NIGHT</stage_direction>
<scene_description>Cornelia is reading on her Kindle. Josh stands in the bathroom doorway.</scene_description>
<character>CORNELIA</character>
<dialogue>Mm.</dialogue>
<character>JOSH</character>
<dialogue>They're all making things and they're so excited for each other. It's selfless. They were so respectful of us. I mean, compared to when we go out with Fletcher and Marina I feel \* like we're all just talking about ourselves... They asked questions.</dialogue>
<character>CORNELIA</character>
<dialogue>They didn't ask me any questions.</dialogue>
<character>JOSH</character>
<dialogue>When I was their age I would never have come up to me like that and invited me out. I would have been too scared... They're really not nervous.</dialogue>
<character>CORNELIA</character>
<dialogue>I wish you hadn't told him I work with my dad.</dialogue>
<character>JOSH</character>
<dialogue>Why?</dialogue>
<character>CORNELIA</character>
<dialogue>I don't know, he seems ambitious.</dialogue>
<character>JOSH</character>
<dialogue>No! I don't think he thinks that way. It's about process.</dialogue>
<scene_description>How has he even seen anything of yours?</scene_description>
<character>JOSH</character>
<parenthetical>(like it should be obvious)</parenthetical>
<dialogue>Ebay.</dialogue>
<parenthetical>(scanning the room)</parenthetical>
<dialogue>I love his shoes. I have some wing tips here somewhere.</dialogue>
<scene_description>He climbs into bed.</scene_description>
<character>CORNELIA</character>
<dialogue>It was almost like he was studying you.</dialogue>
<character>JOSH</character>
<dialogue>Can we go to their place this weekend?</dialogue>
<character>CORNELIA</character>
<dialogue>We never see our real friends, why are we suddenly going to hang out with a couple of twenty-five year olds.</dialogue>
<character>JOSH</character>
<dialogue>We were just twenty-five. I mean, we weren't, but you know. It'll be fun.</dialogue>
<scene_description>CUT TO: CLOSE on a woman, 25, scrolling through the addresses on her phone.</scene_description>
<character>GIRL #1</character>
<dialogue>Um, let's see, it would probably be...Richard Dreyfuss. He's an old friend of my parents.</dialogue>
<character>GUY #1</character>
<dialogue>Um, this girl who was a writer on that show, Medium.</dialogue>
<scene_description>YELLOW BLOCK TEXT on the screen: Who's the most famous person in your cell phone?</scene_description>
<character>GIRL #2</character>
<dialogue>Doug Liman.</dialogue>
<character>GUY #2</character>
<dialogue>Bill Clinton. But I think it's probably his office.</dialogue>
<character>GUY #3</character>
<dialogue>Patrick Ewing's brother. Carl.</dialogue>
<parenthetical>(now on his phone)</parenthetical>
<dialogue>Ringing.</dialogue>
<parenthetical>(pause)</parenthetical>
<dialogue>Yeah, it's his office.</dialogue>
<character>GIRL #3</character>
<dialogue>Robert Downey. Senior.</dialogue>
</scene>
<scene>
<stage_direction>INT. JAMIE/DARBY APT, BUSHWICK. DAY</stage_direction>
<scene_description>Jamie watches Josh and Cornelia watch the short on his computer. They're both smiling. Darby hovers in the background, holding a white kitten, she's seen it.</scene_description>
<character>JOSH</character>
<dialogue>That's really funny.</dialogue>
<character>CORNELIA</character>
<dialogue>Yeah. I like Robert Downey. Senior.</dialogue>
<character>JAMIE</character>
<dialogue>That's the latest anyway. I'm also doing people describing scenes from movies that they like but haven't seen in a while. Darby's going to do Rosemary's Baby, see.</dialogue>
<scene_description>Josh and Cornelia look back at Darby. She obliges:</scene_description>
<character>DARBY</character>
<dialogue>What have you done to its eyes!?</dialogue>
<character>JOSH</character>
<parenthetical>(playing along)</parenthetical>
<dialogue>He has his father's eyes.</dialogue>
<scene_description>Cornelia pets the kitten in Darby's arms.</scene_description>
<character>CORNELIA</character>
<dialogue>I want a kitten!</dialogue>
<character>DARBY</character>
<dialogue>That's Bad Cop. Where's Good Cop?</dialogue>
<scene_description>A black kitten comes out from under the couch. Darby hands the white one to Cornelia and gathers the other one.</scene_description>
<character>DARBY</character>
<dialogue>I love these kittens, but I hope they don't grow up to be assholes because that can happen.</dialogue>
<scene_description>This is a great space. You know I think I've only been to Williamsburg once before.</scene_description>
<character>DARBY</character>
<dialogue>This isn't even Williamsburg, it's Bushwick. We were in Williamsburg, before then Park Slope, now we're here.</dialogue>
<parenthetical>(shrugs)</parenthetical>
<dialogue>We live where we're supposed to live.</dialogue>
<scene_description>She indicates a series of old typewriters.</scene_description>
<character>DARBY</character>
<dialogue>Jamie's a collector. My decorating sensibilities veer towards 4th grade teacher. I like bulletin boards.</dialogue>
<scene_description>We see the place now. It's old, open, and has the feel of being haphazardly curated: from the mouse trap stuck to the molding to the flea market furniture to the VHS tapes of random movies stacked against the wall. A framed NY Times front page of the moon landing. A framed Polish poster of the Bob Dylan doc "Don't Look Back." A photo of Darby going down a slip and slide in her wedding dress. Josh looks at a stack of records. Velvet Underground, Kinks, John Coltrane, Suicide, Serge Gainsbourg, Thin Lizzy...</scene_description>
<character>JOSH</character>
<dialogue>This looks like my record collection. Except mine are CD's. It took me years to discover this stuff.</dialogue>
<scene_description>Jamie smiles and puts a record on the turntable. A Notorious B.I.G/Miley Cyrus mash-up. Josh admires a long wooden desk with a computer and editing equipment.</scene_description>
<character>JOSH</character>
<dialogue>I need to buy a new desk.</dialogue>
<character>JAMIE</character>
<dialogue>You should come with me to the lumber yard. We'll make one.</dialogue>
<character>JOSH</character>
<dialogue>A whole desk?</dialogue>
<character>JAMIE</character>
<dialogue>It's so much cheaper than buying one, see. And more fun.</dialogue>
<scene_description>farm like a chump. A dark haired girl, 26, appears, in underwear and a T-shirt with the drawing of a gun as if it's tucked into her pants.</scene_description>
<character>TIPPER</character>
<dialogue>Darby, can I borrow your bike, I'm going to the deli for Goldfish.</dialogue>
<character>DARBY</character>
<dialogue>Okay --</dialogue>
<scene_description>Tipper lifts her long bare leg and scratches the bottom of her foot.</scene_description>
<character>JAMIE</character>
<dialogue>Tipper, did you feed Nico?</dialogue>
<character>TIPPER</character>
<parenthetical>(disappearing into the other room)</parenthetical>
<dialogue>I forgot.</dialogue>
<scene_description>Off Cornelia's perplexed look:</scene_description>
<character>DARBY</character>
<parenthetical>(with a hint of disdain)</parenthetical>
<dialogue>That's our roommate, Tipper.</dialogue>
<scene_description>Jamie grabs a bag of bird seed from a counter, he opens a small door that leads to an outdoor landing. A chicken paces in a cage. Cornelia hesitates.</scene_description>
<character>CORNELIA</character>
<dialogue>Nico's a chicken.</dialogue>
<scene_description>CUT TO: They sit around a small table. Darby prepares something in the kitchen.</scene_description>
<character>JOSH</character>
<dialogue>I have to say I really admire how you guys are so in the moment and just enjoying doing and making things. It's inspiring.</dialogue>
<character>JAMIE</character>
<dialogue>Thanks, Joshy.</dialogue>
<character>JOSH</character>
<dialogue>The people our age are so success and results oriented, they've forgotten about process.</dialogue>
<dialogue>Josh, are you success oriented?</dialogue>
<character>JOSH</character>
<dialogue>No.</dialogue>
<character>CORNELIA</character>
<dialogue>Totally.</dialogue>
<scene_description>Josh looks at Cornelia, surprised. A crash from the kitchen. Darby reenters, shaking her head.</scene_description>
<character>DARBY</character>
<dialogue>I feel like there are people who don't drop things as much as I do.</dialogue>
<parenthetical>(to Cornelia)</parenthetical>
<dialogue>I don't keep things yar.</dialogue>
<character>JAMIE</character>
<dialogue>She's a mess. And an ugly eater. I say that with love.</dialogue>
<character>DARBY</character>
<parenthetical>(playful)</parenthetical>
<dialogue>Fuck you.</dialogue>
<scene_description>Darby places down a home-made container with a hipster cow on it and four spoons. She and Jamie eat straight from the container. Josh and Cornelia follow.</scene_description>
<character>DARBY</character>
<dialogue>It's an avocado and almond milk sorbet. Benny designed the container.</dialogue>
<character>JAMIE</character>
<dialogue>It tastes like that candy that they sometimes make into pigs or little fruits.</dialogue>
<character>JOSH</character>
<dialogue>Yeah, it's... Shit. I know that.</dialogue>
<character>CORNELIA</character>
<dialogue>I keep wanting to say baklava, but that's a Greek dessert.</dialogue>
<character>JAMIE</character>
<dialogue>Right... "The almond tasting pigs and fruits are made of..."</dialogue>
<scene_description>Josh pulls out his phone.</scene_description>
<character>JOSH</character>
<parenthetical>(realizes, excited)</parenthetical>
<dialogue>I'll look it up.</dialogue>
<scene_description>No, that's too easy.</scene_description>
<character>DARBY</character>
<dialogue>Let's try to remember it.</dialogue>
<scene_description>They all sit in silence, racking their brains.</scene_description>
<character>CORNELIA</character>
<dialogue>How long until we decide we don't know?</dialogue>
<character>JOSH</character>
<parenthetical>(re: his phone)</parenthetical>
<dialogue>Can I...now?</dialogue>
<character>JAMIE</character>
<dialogue>No, let's just not know what it is.</dialogue>
<scene_description>CUT TO: Technology MONTAGE:</scene_description>
</scene>
<scene>
<stage_direction>A10 INT. JOSH/CORNELIA APT. DAY A10</stage_direction>
<scene_description>Cornelia reads her Kindle. Josh watches a Daily Show video on his phone.</scene_description>
</scene>
<scene>
<stage_direction>B10 INT. JAMIE/DARBY APT. DAY B10</stage_direction>
<scene_description>Jamie removes a VHS tape of The Howling from a beat up box and slides it into the VCR.</scene_description>
</scene>
<scene>
<stage_direction>C10 INT. JOSH/CORNELIA APT. DAY C10</stage_direction>
<scene_description>Josh streams a movie on Apple TV.</scene_description>
</scene>
<scene>
<stage_direction>D10 INT. JAMIE/DARBY APT. DAY D10</stage_direction>
<scene_description>Darby puts a worn Kris Kristofferson record on a turntable. She secures old-fashioned headphones to her head.</scene_description>
</scene>
<scene>
<stage_direction>E10 INT. JOSH/CORNELIA APT. DAY E10</stage_direction>
<scene_description>Cornelia selects a NPR podcast from her iPod mini and puts on her sleek noise-reduction Bose headphones.</scene_description>
</scene>
<scene>
<stage_direction>F10 INT. JAMIE/DARBY APT. DAY F10</stage_direction>
<scene_description>Jamie types a letter on an old IBM Selectric typewriter.</scene_description>
</scene>
<scene>
<stage_direction>G10 INT. JOSH/CORNELIA APT. - LIVING ROOM. DAY G10</stage_direction>
<scene_description>Josh plays a video game on his iPad.</scene_description>
</scene>
<scene>
<stage_direction>H10 INT. JAMIE/DARBY APT. DAY H10</stage_direction>
</scene>
<scene>
<stage_direction>I10 EXT. BUSHWICK - STREET BEACH. DAY I10</stage_direction>
<scene_description>CUT TO: CLOSE on a text being typed: Joshy, street beach in effect! get your goddamn self to the bush of wick for bourbon and ice creeeeem. CUT TO: CLOSE on a hand receiving the same text.</scene_description>
<character>FLETCHER (V.O.)</character>
<dialogue>We have news!</dialogue>
</scene>
<scene>
<stage_direction>INT. RESTAURANT, SMITH ST. BROOKLYN. LATE DAY</stage_direction>
<scene_description>Josh sneaks a look at his text, smiles. Fletcher and Marina, \* Josh and Cornelia sit at a table at the window. Throughout the conversation, everyone is dealing with his/her phone.</scene_description>
<character>FLETCHER</character>
<dialogue>I decided, with Marina going back to \* work, I'm taking a leave of absence from the firm and am going to take care of Willow.</dialogue>
<character>JOSH</character>
<dialogue>Oh...cool. How long?</dialogue>
<character>FLETCHER</character>
<dialogue>Indefinite.</dialogue>
<character>MARINA \*</character>
<dialogue>It's such a load off and I'm making enough --</dialogue>
<character>FLETCHER</character>
<dialogue>Yeah, it's really just my ego at stake.</dialogue>
<character>JOSH</character>
<dialogue>Time to rewatch Mr. Mom.</dialogue>
<character>FLETCHER</character>
<dialogue>Already Netflixed it. some laughs.</dialogue>
<character>MARINA \*</character>
<dialogue>We're the boring couple with the baby. What have you guys been doing? Tell us something fun!</dialogue>
<character>JOSH</character>
<dialogue>Well, we met this interesting couple. Jamie and Darby. He's a young documentarian and she makes ice cream.</dialogue>
<scene_description>I don't know what to make of them honestly. I like her.</scene_description>
<character>JOSH</character>
<dialogue>They make everything. It's infectious. For about twelve hours I thought I could build my own desk.</dialogue>
<character>CORNELIA</character>
<dialogue>There is something about being around them that...that energizes you. You know?</dialogue>
<character>MARINA \*</character>
<dialogue>How old are they?</dialogue>
<character>CORNELIA</character>
<dialogue>(looks to Josh)</dialogue>
<character>JOSH</character>
<dialogue>26 or 27.</dialogue>
<scene_description>I think around 26.</scene_description>
<character>MARINA \*</character>
<dialogue>They're children!</dialogue>
<character>FLETCHER</character>
<dialogue>Nine years ago, they couldn't vote.</dialogue>
<character>CORNELIA</character>
<dialogue>But they're married.</dialogue>
<character>FLETCHER</character>
<dialogue>Why?</dialogue>
<scene_description>Josh squints at his menu. He picks up a candle and holds it close to the menu in order to read.</scene_description>
<character>JOSH</character>
<dialogue>You should see this guy's record collection. It's Jay-Z, it's Thin Lizzy, it's Mozart. Their taste is democratic. It's The Goonies and Citizen Kane. They don't distinguish between high and low, it's wonderful.</dialogue>
<character>FLETCHER</character>
<dialogue>When did The Goonies become a good movie?</dialogue>
<character>CORNELIA</character>
<dialogue>It's like their apartment is full of everything we once threw out but it looks so good the way they have it.</dialogue>
<scene_description>Everyone else takes this opportunity to text as well. Fletcher looks up.</scene_description>
<character>FLETCHER</character>
<parenthetical>(re: texting)</parenthetical>
<dialogue>Why is it once one person goes on their phone everyone else has to.</dialogue>
<character>CORNELIA</character>
<dialogue>(distracted, on her phone)</dialogue>
<character>MARINA</character>
<dialogue>(distracted, on her phone)</dialogue>
<scene_description>I just have a quick thing-- I'm not on my phone. I'm just... The baby.</scene_description>
<character>FLETCHER</character>
<dialogue>Each of us is so certain that we've got the most important thing to do right now...</dialogue>
<character>CORNELIA</character>
<parenthetical>(texting)</parenthetical>
<dialogue>I know, it's rude.</dialogue>
<character>FLETCHER</character>
<parenthetical>(texting)</parenthetical>
<dialogue>It's not anymore. It used to be but now it's accepted. It's like showing your ankles in the 1800's.</dialogue>
<scene_description>Josh gets a text. He lights up.</scene_description>
<character>JOSH</character>
<dialogue>The almond tasting pigs and fruits are made of...</dialogue>
<scene_description>CLOSE: Marzipan! He and Cornelia both exclaim, laughing:</scene_description>
<character>JOSH/CORNELIA</character>
<dialogue>Marzipan!</dialogue>
</scene>
<scene>
<stage_direction>EXT. SMITH STREET, BROOKLYN. LATE DAY</stage_direction>
<scene_description>It's still light out. They emerge from the restaurant.</scene_description>
<character>JOSH</character>
<dialogue>(to Fletcher and Marina) \*</dialogue>
<scene_description>You guys want to hit this street beach with us? I don't know what you're saying.</scene_description>
<character>JOSH</character>
<dialogue>Something Jamie and Darby are doing.</dialogue>
<character>FLETCHER</character>
<dialogue>Since when do you guys do two things in an evening? You never go anywhere.</dialogue>
<parenthetical>(defensive)</parenthetical>
<dialogue>We go anywhere.</dialogue>
<character>MARINA \*</character>
<dialogue>We have to get back for the sitter...Scratch that, we want to get back.</dialogue>
<character>FLETCHER</character>
<dialogue>I hate being away from her!</dialogue>
<character>JOSH</character>
<dialogue>The sitter?</dialogue>
<character>FLETCHER</character>
<dialogue>Yeah!</dialogue>
<parenthetical>(beat)</parenthetical>
<dialogue>No, Willow.</dialogue>
<character>MARINA</character>
<dialogue>You should see how much he cries when he has to leave her.</dialogue>
<character>FLETCHER</character>
<dialogue>It's true.</dialogue>
<character>CORNELIA</character>
<dialogue>Oh, we've lost you to the baby!</dialogue>
<character>MARINA</character>
<dialogue>You guys have to come see her again! She's already a</dialogue>
<character>FLETCHER</character>
<dialogue>We're always home so just stop by!</dialogue>
<scene_description>different person. They kiss and hug goodbye. They part ways.</scene_description>
<character>CORNELIA</character>
<parenthetical>(now to Josh)</parenthetical>
<dialogue>We have lost them to the baby.</dialogue>
<character>JOSH</character>
<dialogue>We go anywhere. Right?</dialogue>
<character>CORNELIA</character>
<dialogue>We never go anywhere.</dialogue>
<character>TIPPER (V.O.)</character>
<dialogue>High kick contest!</dialogue>
</scene>
<scene>
<stage_direction>EXT. BUSHWICK. LATE DAY</stage_direction>
<scene_description>CLOSE on an open fire hydrant hemorrhaging water. says I've Been To A Lot of Hard Rock Cafes, kicks her leg high in the air. Guys in vintage plaid shorts and porkpie hats and beards and bare feet try to kick higher. Most everyone is filming everyone. Young women in swim suits toss a beach ball. Jamie, with an apron that says Kiss the Chef, finishes kicking and sees Josh and Cornelia approaching. He brightens and waves.</scene_description>
<character>JAMIE</character>
<dialogue>What's the rumpus, Srebnicks?</dialogue>
<scene_description>Darby hands Cornelia a pinkish drink in a clear plastic cup.</scene_description>
<character>DARBY</character>
<dialogue>Have you tried this? Someone at college figured out that if you put Jolly Ranchers in vodka for twenty- four hours -- it's awesome.</dialogue>
<parenthetical>(nods to herself)</parenthetical>
<dialogue>Some kind of date rape genius.</dialogue>
<scene_description>Cornelia drinks, she nods.</scene_description>
<character>CORNELIA</character>
<dialogue>I'd rape me.</dialogue>
<character>DARBY</character>
<dialogue>You want to take a dance class with me?</dialogue>
<character>BENNY (O.S.)</character>
<dialogue>Ow fuck!</dialogue>
<scene_description>Benny, a bearded white kid in an afro, sits at the curb, wincing and pulling a piece of glass out of his foot. Jamie and Josh wade through the bathers to a hibachi grill.</scene_description>
<character>JAMIE</character>
<dialogue>Can I run an idea by you?</dialogue>
<character>JOSH</character>
<dialogue>Sure, what?</dialogue>
<character>JAMIE</character>
<dialogue>It's a project I want to shoot.</dialogue>
<character>JOSH</character>
<dialogue>Okay.</dialogue>
<dialogue>I've never done Facebook, it's not my thing, see --</dialogue>
<character>JOSH</character>
<dialogue>Oh, really? I was against it at first...but it's actually quite a useful tool. It makes me feel like I'm really connected. And there's pictures--</dialogue>
<scene_description>A beach-ball hits Josh in the head.</scene_description>
<character>JOSH</character>
<dialogue>What the shit? Watch it!</dialogue>
<scene_description>He realizes very quickly that he over-reacted, tries to be a good sport and tosses the ball back with a forced laugh.</scene_description>
<character>JOSH</character>
<dialogue>Ha! Back atcha!</dialogue>
<character>JAMIE</character>
<dialogue>It's lame, yeah. That's why I'm doing this new thing with it: I'm going to start a profile and wait for people to contact me.</dialogue>
<character>JOSH</character>
<dialogue>Well, that part's normal, that's Facebook.</dialogue>
<scene_description>Josh is doused with water from some splashing partiers. He tries to continue unfettered. He wrings out his shirt sleeves.</scene_description>
<character>JAMIE</character>
<dialogue>And whoever the first person is from my childhood -- someone I'm no longer in touch with -- who contacts me...instead of responding on Facebook, see. I'm going to go find them in person. With my camera.</dialogue>
<character>JOSH</character>
<dialogue>Okay.</dialogue>
<character>JAMIE</character>
<dialogue>Like make Facebook real. It's like you want to talk to me, let's talk.</dialogue>
<character>JOSH</character>
<dialogue>Kind of just like real life?</dialogue>
<scene_description>Exactly.</scene_description>
<character>JOSH</character>
<dialogue>Well, real was there before Facebook.</dialogue>
<character>JAMIE</character>
<dialogue>Right!</dialogue>
<character>JOSH</character>
<dialogue>It sounds interesting. I'm not sure it's enough --</dialogue>
<character>JAMIE</character>
<dialogue>What do you mean?</dialogue>
<character>JOSH</character>
<dialogue>Well, think about what you want to say. I mean, what are you hoping to find?</dialogue>
<character>JAMIE</character>
<dialogue>I'll know when I get there. You said, we should be open to surprises, right?</dialogue>
<character>JOSH</character>
<dialogue>It's a nice beginning. But it might not be a full enough meal yet, you know? Keep digging.</dialogue>
<scene_description>Jamie nods, trying to mask his disappointment.</scene_description>
<character>SCHOLAR (V.O.)</character>
<dialogue>When I criticize quantitative analysis, it's not because statistics don't tell us anything.</dialogue>
</scene>
<scene>
<stage_direction>INT. IRA'S LIVING ROOM. DAY</stage_direction>
<scene_description>Books and papers and yapping dogs. Tim holds a boom. Josh looks through the eye piece of a digital camera on a tripod. Ira, the scholar, older than we saw him on the Avid, now sports a mostly gray goatee. He has stained khakis, cheap running sneakers and a band-aid on his forehead.</scene_description>
<character>SCHOLAR</character>
<dialogue>On the contrary, I'd say that they are often very revealing. Indeed, they are often most revealing when --</dialogue>
<parenthetical>(pause)</parenthetical>
<dialogue>I have to go to the gents.</dialogue>
<dialogue>Okay.</dialogue>
<scene_description>The scholar gets up --</scene_description>
<character>JOSH/TIM</character>
<dialogue>Wait, wait/Wait!</dialogue>
<scene_description>The scholar is yanked back by the lavaliere mike pinned to his lapel. Josh and Tim both rush to his aid, unhooking him. He shuffles to the bathroom and pees with the door open.</scene_description>
<character>JOSH</character>
<dialogue>I guess he's just doing that.</dialogue>
<character>TIM</character>
<dialogue>Yeah. Hey, Josh, how's that grant money doing?</dialogue>
<scene_description>Josh immediately goes into his wallet.</scene_description>
<character>JOSH</character>
<dialogue>I'm expecting an email any day now which should confirm --</dialogue>
<scene_description>Josh offers him a few twenties.</scene_description>
<character>TIM</character>
<dialogue>No, thanks, but the rest of the grant money is coming, yes?</dialogue>
<character>JOSH</character>
<dialogue>Ye-s. Assuming they're funded again for the next calendar year</dialogue>
<character>TIM</character>
<dialogue>What does that mean?</dialogue>
<character>JOSH</character>
<dialogue>I don't know, one of the donors left his wife and...I don't know -- they're confirming the funding.</dialogue>
<character>TIM</character>
<dialogue>Why'd he leave his wife?</dialogue>
</scene>
<scene>
<stage_direction>EXT. BROOKLYN STREET. DAY</stage_direction>
<scene_description>Cornelia carries a grocery bag, she listens to her iPod, singing aloud. She sees someone off-camera and smiles broadly.</scene_description>
<character>CORNELIA</character>
<dialogue>Hey Fox!</dialogue>
<scene_description>Baby Bjorn next to two other younger mothers, early 30's, holding young children.</scene_description>
<character>MARINA \*</character>
<dialogue>Hey Foxy Fox!</dialogue>
<character>CORNELIA</character>
<dialogue>I was just going to call you to see if you wanted to get lunch.</dialogue>
<character>MARINA \*</character>
<dialogue>Oh, how sweet. This is Pepper and Elise. This is Cornelia.</dialogue>
<character>CORNELIA</character>
<dialogue>Hey.</dialogue>
<character>PEPPER/ELISE</character>
<dialogue>Hi./Nice to meet you.</dialogue>
<character>MARINA \*</character>
<dialogue>We're going to a music class.</dialogue>
<character>ELISE</character>
<dialogue>It's really just for the mothers, they don't do anything yet.</dialogue>
<character>MARINA \*</character>
<dialogue>Do you want to come?</dialogue>
<character>CORNELIA</character>
<dialogue>Oh...maybe...</dialogue>
<character>MARINA \*</character>
<dialogue>Come on, then!</dialogue>
<scene_description>Cornelia starts walking with the mothers.</scene_description>
<character>ELISE</character>
<dialogue>How old are your kids?</dialogue>
<character>CORNELIA</character>
<dialogue>Mine? I don't have any.</dialogue>
<character>ELISE</character>
<dialogue>Oh...I didn't...you were just coming to hang out. Cool.</dialogue>
<character>MARINA \*</character>
<dialogue>It's adorable. If you didn't know better you think they're having seizures!</dialogue>
<scene_description>Brightly lit with solid primary colors. A guy, 20's and a girl, 20's sing a song about trains as mothers and nannies bounce their babies and sing along. Cornelia, her lap empty, sits next to Marina, less enthusiastically singing along. \* She looks embarrassed and miserable. Cornelia whispers something in Marina's ear. Marina \* protests, but Cornelia is insistent. Cornelia gets up and winds her way through singing mommies and babies.</scene_description>
</scene>
<scene>
<stage_direction>EXT. BROOKLYN STREET. DAY</stage_direction>
<scene_description>Cornelia comes out of the building, her breathing raspy and shallow. She leans against the brick and composes herself.</scene_description>
<character>CORNELIA</character>
<dialogue>Holy shit...</dialogue>
<scene_description>She takes out her phone and dials a number --</scene_description>
</scene>
<scene>
<stage_direction>EXT. STREET IN REDHOOK. DAY</stage_direction>
<scene_description>Darby and Cornelia walk together.</scene_description>
<character>CORNELIA</character>
<dialogue>I mean, I love her, she's a great mom, but I always felt like if I had a baby, the baby would just fold into to my life. I mean, if you spend all your time at baby classes, you become a baby. It's like the mothers are infantilized. You know?</dialogue>
<character>DARBY</character>
<parenthetical>(talking generally)</parenthetical>
<dialogue>I know, just like: have a baby. You're cool, you know cool people who have a house and, I don't know, just have a baby. You're going to Mexican food and there's a baby on the floor.</dialogue>
<character>CORNELIA</character>
<dialogue>I know. That's how I grew up.</dialogue>
<character>DARBY</character>
<dialogue>I want a baby. Maybe I'll just have a baby right now.</dialogue>
<character>CORNELIA</character>
<dialogue>You should. You can.</dialogue>
<dialogue>I like kids who don't speak English.</dialogue>
<parenthetical>(pause)</parenthetical>
<dialogue>When are you going to have babies?</dialogue>
<character>CORNELIA</character>
<parenthetical>(hesitates)</parenthetical>
<dialogue>A couple of times I got pregnant but it didn't happen.</dialogue>
<character>DARBY</character>
<dialogue>I'm sorry.</dialogue>
<character>CORNELIA</character>
<dialogue>The longest only went four weeks. After thirty-five it's a shit-show.</dialogue>
<character>DARBY</character>
<dialogue>I'm sorry. You don't have to tell me.</dialogue>
<character>CORNELIA</character>
<dialogue>No, it's okay. It's what happened. I like telling you.</dialogue>
<parenthetical>(smiles, shrugs)</parenthetical>
<dialogue>I like our life as it is. I think. Even if we did have a kid, neither of us can cook. You can't get baby take- out.</dialogue>
<scene_description>Darby opens a door to a building and they start up a narrow staircase.</scene_description>
</scene>
<scene>
<stage_direction>INT. HIP HOP CLASS. CONTINUOUS</stage_direction>
<character>DARBY</character>
<dialogue>I like how you give Josh a hard time.</dialogue>
<character>CORNELIA</character>
<dialogue>I don't think I give him a hard time.</dialogue>
<scene_description>They enter a dance room filled almost entirely with black, Filipino and Latina women.</scene_description>
<character>DARBY</character>
<dialogue>It reminds me of my mom.</dialogue>
<character>CORNELIA</character>
<dialogue>How she was with your dad?</dialogue>
<character>DARBY</character>
<dialogue>No, with my brother.</dialogue>
<scene_description>Cornelia frowns. Yeah, she'd yell at him but iron all his weird racing T-shirts. I mother Jamie. Darby smells her underarms and makes a face.</scene_description>
<character>DARBY</character>
<dialogue>Sorry, I stink.</dialogue>
<scene_description>She changes into a tank-top and baggy track pants. Cornelia puts on a leotard.</scene_description>
<character>CORNELIA</character>
<dialogue>What kind of class is this again?</dialogue>
<scene_description>They enter a crowded dance studio.</scene_description>
<character>DARBY</character>
<dialogue>Hip hop.</dialogue>
<scene_description>Tupac's "Hit Em Up" blasts on and the women start doing 90's music video dance moves. Cornelia tries to keep up, but looks less like a fly girl than a farmer doing a hoe-down. Tupac continues over:</scene_description>
</scene>
<scene>
<stage_direction>EXT. HAT STORE, BROOKLYN. DAY</stage_direction>
<scene_description>Josh and Jamie admire the hats in the window. Josh points to an Irish cap. Jamie shakes his head.</scene_description>
</scene>
<scene>
<stage_direction>EXT. SUBWAY TRACKS. DAY</stage_direction>
<scene_description>Jamie, Darby, Cornelia and Josh (in his new porkpie hat which he'll wear from now on) walk along the outdoor tracks. A train rushes by on another track. Darby squeals with delight. Jamie whoops. Cornelia and Josh look terrified.</scene_description>
</scene>
<scene>
<stage_direction>EXT. HOUSING PROJECTS, BASKETBALL COURT. DAY</stage_direction>
<scene_description>Jamie is the only white guy in a pick-up game on an asphalt court.</scene_description>
</scene>
<scene>
<stage_direction>INT. GYM. DAY</stage_direction>
<scene_description>Josh runs on a treadmill.</scene_description>
</scene>
<scene>
<stage_direction>INT. JOSH AND CORNELIA'S APARTMENT. NIGHT</stage_direction>
<scene_description>Josh tosses his hat onto a chair. He pulls Cornelia's shirt over her head. She unbuttons his pants. Their open mouths crash into one another. They make love on the floor. Jamie and Josh browse different bikes. Josh checks out an elaborate ten speed. Jamie shakes his head and points to a single speed vintage, shitty-looking Raleigh.</scene_description>
</scene>
<scene>
<stage_direction>EXT. BUSHWICK STREETS. DAY</stage_direction>
<scene_description>Josh, a helmet strapped to his head, and Jamie, helmetless, ride their bikes. Jamie lifts up his arms, soaking it all in. Josh tries to do the same. Josh looks suddenly disconcerted and grabs his side. He slows to a stop as we CONTINUE with Jamie soaring onward.</scene_description>
</scene>
<scene>
<stage_direction>INT. DOCTOR'S OFFICE. DAY</stage_direction>
<scene_description>Josh sits on an examining table. A bald doctor is inspecting his legs.</scene_description>
<character>DR. NAGATO</character>
<dialogue>Well, it's a just strained muscle. But the more concerning thing here is your arthritis.</dialogue>
<character>JOSH</character>
<dialogue>Arthritis?</dialogue>
<character>DR. NAGATO</character>
<dialogue>Yes. You have arthritis in your knee.</dialogue>
<character>JOSH</character>
<dialogue>Is arthritis a catch-all for some kind of injury to the --</dialogue>
<character>DR. NAGATO</character>
<dialogue>No, arthritis is a degradation of the joints.</dialogue>
<character>JOSH</character>
<dialogue>I know what traditional arthritis is.</dialogue>
<character>DR. NAGATO</character>
<dialogue>I'm not sure what you mean by "traditional," but this is arthritis.</dialogue>
<character>JOSH</character>
<dialogue>Arthritis arthritis?</dialogue>
<character>DR. NAGATO</character>
<dialogue>Yes, I usually just say it once.</dialogue>
<character>JOSH</character>
<dialogue>At my age?</dialogue>
<dialogue>You're what, 42?</dialogue>
<character>JOSH</character>
<dialogue>DR. NAGATO</dialogue>
<scene_description>Well, it happens at 42 and it happens at 44.</scene_description>
<character>JOSH</character>
<dialogue>Uh huh.</dialogue>
<character>DR. NAGATO</character>
<dialogue>I'm going to get you a prescription for Paracetamol. We'll start there and see how it progresses, okay?</dialogue>
<scene_description>He hands a prescription sheet to Josh. Josh holds it about a foot away and squints.</scene_description>
<character>DR. NAGATO</character>
<dialogue>Have you had your eyes checked recently?</dialogue>
<character>JOSH</character>
<dialogue>I have genetically great eyes.</dialogue>
<character>DR. NAGATO</character>
<parenthetical>(shrugs)</parenthetical>
<dialogue>You're growing up.</dialogue>
</scene>
<scene>
<stage_direction>INT. WILLIAMSBURG RESTAURANT. DAY</stage_direction>
<scene_description>We start on Jamie yawning open mouthed. We MOVE out to find Josh in black rimmed glasses and his porkpie hat talking across the table from him.</scene_description>
<character>JOSH</character>
<dialogue>It's weird...you know, I'm at that age where the things you think are only going to happen when you get older are actually happening.</dialogue>
<character>JAMIE</character>
<dialogue>If I'm going to be totally honest with myself, I don't think I'm ever going to die. I know that's crazy.</dialogue>
<character>JOSH</character>
<dialogue>It's crazy.</dialogue>
<character>JAMIE</character>
<dialogue>I think I'm pathologically happy.</dialogue>
<parenthetical>(hesitates)</parenthetical>
<dialogue>I mean, Cornelia and I...for a while the fact that we got married was so amazing...I mean, we were married! Now we're just married, you know? Did you feel that way?</dialogue>
<character>JAMIE</character>
<dialogue>Best decision I ever made.</dialogue>
<character>JOSH</character>
<parenthetical>(glancing around)</parenthetical>
<dialogue>I really like this place.</dialogue>
<character>JAMIE</character>
<parenthetical>(excited)</parenthetical>
<dialogue>Oh, hey, I got my first response on Facebook.</dialogue>
<character>JOSH</character>
<dialogue>Yeah?</dialogue>
<character>JAMIE</character>
<dialogue>This guy, Kent Arlington. I haven't seen him since highschool in Santa Cruz.</dialogue>
<character>JOSH</character>
<dialogue>Did you flesh it out more, the idea?</dialogue>
<character>JAMIE</character>
<dialogue>A little, yeah. He's living in Poughkeepsie. Tipper and I will train it up there and find him.</dialogue>
<scene_description>A shaggy white haired man, late 60's, in a jean jacket and jeans enters the restaurant.</scene_description>
<character>JOSH</character>
<dialogue>Shit.</dialogue>
<character>JAMIE</character>
<dialogue>What?</dialogue>
<character>JOSH</character>
<dialogue>My father-in-law.</dialogue>
<scene_description>Jamie yanks his head around.</scene_description>
<character>JAMIE</character>
<dialogue>Where?</dialogue>
<scene_description>Josh half-rises to shake his hand.</scene_description>
<character>BREITBART</character>
<dialogue>How are you?</dialogue>
<character>JOSH</character>
<dialogue>Good, Leslie, you?</dialogue>
<character>BREITBART</character>
<dialogue>Good. Gearing up for my memorial.</dialogue>
<character>JOSH</character>
<parenthetical>(to Jamie)</parenthetical>
<dialogue>Leslie is having a tribute at Lincoln Center next month.</dialogue>
<parenthetical>(to Leslie)</parenthetical>
<dialogue>What are you doing here? How do you even know about this place?</dialogue>
<character>BREITBART</character>
<dialogue>Are you kidding? I've been coming here for the speck since it opened.</dialogue>
<character>JOSH</character>
<dialogue>This is Jamie, a friend of mine.</dialogue>
<scene_description>Jamie stands up and shakes Breitbart's hand.</scene_description>
<character>JAMIE</character>
<dialogue>I'm sure you hear this all the time, but both "Wedding" and "Giving Arlo a Bath" changed my life. It made me want to tell stories in a non-fiction mode.</dialogue>
<character>BREITBART</character>
<dialogue>Thank you.</dialogue>
<character>JAMIE</character>
<dialogue>Thank you for your films.</dialogue>
<character>BREITBART</character>
<parenthetical>(to Josh)</parenthetical>
<dialogue>How are the grandkids?</dialogue>
<character>JOSH</character>
<dialogue>Still don't exist.</dialogue>
<character>BREITBART</character>
<dialogue>You'll never regret it.</dialogue>
<parenthetical>(beat)</parenthetical>
<dialogue>How's my daughter?</dialogue>
<dialogue>How does she seem to you?</dialogue>
<character>BREITBART</character>
<dialogue>I think she seems well.</dialogue>
<character>JOSH</character>
<dialogue>So, why are you asking me?</dialogue>
<character>BREITBART</character>
<dialogue>Cornelia says you're looking for finishing money.</dialogue>
<character>JOSH</character>
<dialogue>Um...maybe...it depends on this grant, if this guy leaves his wife or not...</dialogue>
<character>BREITBART</character>
<dialogue>I met a guy, hedge fund or something or other, he's looking to put money in docs. I'll arrange a meeting if you're interested.</dialogue>
<character>JOSH</character>
<dialogue>Uh...</dialogue>
<character>BREITBART</character>
<dialogue>Don't be proud, Josh. I'll call you tomorrow with his number.</dialogue>
<character>JOSH</character>
<parenthetical>(defeated)</parenthetical>
<dialogue>Okay.</dialogue>
<character>BREITBART</character>
<parenthetical>(to Jamie)</parenthetical>
<dialogue>Nice to meet you.</dialogue>
<scene_description>He walks to another table in the back and is greeted by another man in a suit.</scene_description>
<character>JAMIE</character>
<dialogue>Jeez Louise, working with him must've been astonishing.</dialogue>
<character>JOSH</character>
<dialogue>It's complicated, I felt I was seen as his protege and...I married his daughter, I needed to establish my own voice. I think he thought I rejected him, that I was arrogant. Maybe I was.</dialogue>
<scene_description>Jamie yawns and texts. But you'll take that meeting --</scene_description>
<character>JOSH</character>
<dialogue>Probably not.</dialogue>
<character>JAMIE</character>
<dialogue>You have to, Yosh. I mean, money's money, right?</dialogue>
<character>JOSH</character>
<dialogue>Yeah, but I never pitch...I just don't think in sound-bites...</dialogue>
<parenthetical>(musing)</parenthetical>
<dialogue>I understand we're a culture of sound- bites, but --</dialogue>
<character>JAMIE</character>
<parenthetical>(interrupting)</parenthetical>
<dialogue>I'll help you. You know, make it sound beautiful -- it is beautiful -- but beautiful to some suit.</dialogue>
<character>JOSH</character>
<dialogue>Maybe.</dialogue>
<scene_description>Josh looks over at Breitbart chatting with his lunch companion.</scene_description>
<character>JAMIE</character>
<dialogue>You can totally say No to this, but would you have any interest in co- directing with me?</dialogue>
<character>JOSH</character>
<dialogue>Oh... No, it's your thing, it should be your thing.</dialogue>
<character>JAMIE</character>
<parenthetical>(quickly)</parenthetical>
<dialogue>I totally get it, yeah --</dialogue>
<character>JOSH</character>
<parenthetical>(hesitates)</parenthetical>
<dialogue>Yeah...it should be your thing.</dialogue>
<scene_description>Josh puts his hand on the check.</scene_description>
<character>JOSH</character>
<dialogue>I got it.</dialogue>
<character>JAMIE</character>
<dialogue>Cool.</dialogue>
<scene_description>something, but gets nothing. He hesitates then throws down cash.</scene_description>
<character>JOSH</character>
<dialogue>Shall we go?</dialogue>
<character>JAMIE</character>
<dialogue>You go ahead, I gotta take a leak.</dialogue>
<scene_description>They embrace. We MOVE with Josh to the door. Something occurs to him. He turns around -- Jamie's at Breitbart's table. He gestures animatedly. Breitbart laughs heartily. Josh watches. Finally, he turns and exits.</scene_description>
</scene>
<scene>
<stage_direction>INT. JOSH AND CORNELIA'S APARTMENT. DAY</stage_direction>
<scene_description>Josh is laying random white items of clothing on the bed. Cornelia practices a hip hop routine.</scene_description>
<character>JOSH</character>
<dialogue>He just offered it to me like it was nothing. I've been trained to hoard credit, these kids are so generous.</dialogue>
<character>CORNELIA</character>
<dialogue>I know.</dialogue>
<character>JOSH</character>
<dialogue>Yeah. What do you mean, you know? Which part?</dialogue>
<character>CORNELIA</character>
<dialogue>About credit. My dad always said that about you. You don't collaborate well.</dialogue>
<character>JOSH</character>
<dialogue>He "always" said that? What's "always?"</dialogue>
<character>CORNELIA</character>
<dialogue>I don't know, twice. I wanted to do that thing about the public school in the Bronx and you were really excited about it until I suggested we do it together and then you kind of dropped it.</dialogue>
<scene_description>Josh is about to defend himself. He hesitates. Maybe we should have done it. We still could.</scene_description>
<character>CORNELIA</character>
<dialogue>The time has past.</dialogue>
<character>JOSH</character>
<dialogue>I'm sorry about that. I want to be better about that stuff.</dialogue>
<character>CORNELIA</character>
<parenthetical>(hesitates, touched)</parenthetical>
<dialogue>Thanks.</dialogue>
<scene_description>Cornelia's phone rings. She dances over to it. Josh regards her.</scene_description>
<character>JOSH</character>
<dialogue>What is that, a hoe-down?</dialogue>
<character>CORNELIA</character>
<dialogue>No! It's hip-hop.</dialogue>
<scene_description>Cornelia finds her phone.</scene_description>
<character>CORNELIA</character>
<parenthetical>(into phone)</parenthetical>
<dialogue>Hey Fox!</dialogue>
</scene>
<scene>
<stage_direction>INT. FLETCHER AND MARINA'S APARTMENT. INTERCUT 29 \*</stage_direction>
<scene_description>Marina nurses the baby. \*</scene_description>
<character>MARINA \*</character>
<dialogue>Fox! Do you guys want to come to the Connecticut house this weekend?</dialogue>
<scene_description>Josh starts hip hop dancing with Cornelia.</scene_description>
<character>CORNELIA</character>
<parenthetical>(laughing)</parenthetical>
<dialogue>Connecticut this weekend?</dialogue>
<character>JOSH</character>
<parenthetical>(loud whisper)</parenthetical>
<dialogue>No, we have the ayawasca.</dialogue>
<scene_description>Fletcher walks by in the background.</scene_description>
<character>FLETCHER</character>
<dialogue>Where's the cardboard sleeve</dialogue>
<character>MARINA</character>
<dialogue>What's on it?</dialogue>
<scene_description>for this Wilco CD? The same image that's on the Why do you need it? The CD CD. is right here. \*</scene_description>
<character>FLETCHER</character>
<dialogue>I don't know. It makes it special.</dialogue>
<character>MARINA</character>
<dialogue>It'll be us and Pepper and her husband Reade and Elise and Dwight. And then Willow, Oscar and Peter who they're calling Nemo.</dialogue>
<character>CORNELIA</character>
<dialogue>That's a lot of people.</dialogue>
<character>MARINA \*</character>
<dialogue>Well, the last three are infants.</dialogue>
<scene_description>Josh shakes his head, No and dances more vehemently.</scene_description>
<character>CORNELIA</character>
<parenthetical>(trying not to laugh)</parenthetical>
<dialogue>Oh...you know... Actually, we're doing this ayawasca ceremony with Jamie and Darby.</dialogue>
<character>MARINA \*</character>
<dialogue>What's an ayawasca ceremony?</dialogue>
<character>CORNELIA</character>
<dialogue>I guess...there's a shaman and you drink this sludgy liquid made from a Peruvian root and you hallucinate and vomit up your demons.</dialogue>
<character>MARINA \*</character>
<dialogue>Oh... Okay. We're just having a cookout and maybe playing charades so...</dialogue>
<character>CORNELIA</character>
<dialogue>It sounds great. Just bad timing.</dialogue>
<scene_description>Josh and Cornelia are both laughing now and doing some combination of hip-hop/hoe-down.</scene_description>
<character>MARINA \*</character>
<parenthetical>(clearly disappointed)</parenthetical>
<dialogue>Yeah.</dialogue>
</scene>
<scene>
<stage_direction>INT. VICTORIAN HOUSE, BROOKLYN. NIGHT</stage_direction>
<scene_description>A circle of kneeling people all dressed in white. It's whatever white they had available at home so it's mismatched, kneels at a make-shift shrine. This is the shaman. In front of him is an altar decorated with crystals and laminated cards of St. Francis, Gandhi, Merlin, King Tut. Josh leans over to Cornelia:</scene_description>
<character>JOSH</character>
<dialogue>How did King Tut become magical all of a sudden?</dialogue>
<scene_description>Jamie, in a white Puma track-suit, leans forward over a couple of people on Josh's other side.</scene_description>
<character>JAMIE</character>
<dialogue>It's because they discovered his tomb in the occult boom of the 20's.</dialogue>
<scene_description>"Shhh!" from the group. The shaman pops open what looks like a Coke bottle and pours a brown sludgy liquid into a shot glass. He says a benediction. People, in succession, crawl over to him, he does a blessing of sorts on their forehead and hands them the glass. They drink and return to their original spots. We watch as Jamie, Darby, Cornelia and Josh drink the dark sludge. Jamie drinks without thought. Darby does the quotes thing in the air before she drinks.</scene_description>
<character>DARBY</character>
<dialogue>This is our twenties!</dialogue>
<character>CORNELIA</character>
<dialogue>I'm forty-one.</dialogue>
<scene_description>Cornelia sips it. She looks up at the shaman who smiles encouragingly. She downs it and hands it back to him proudly. Josh hesitates, looks back at the group. He shrugs and downs it, a significant portion missing his mouth. He quickly wipes at his chin and tries to get the spillage back into his mouth. He licks his fingers and palm and the sides of the glass then hands the glass back to the shaman, who looks mildly irritated. They're back in their circle. The woman next to Josh whispers: Supposedly everyone sees Egyptian imagery.</scene_description>
<character>JOSH</character>
<dialogue>Oh yeah?</dialogue>
<character>WOMAN</character>
<dialogue>I want to clear some father issues. You?</dialogue>
<character>JOSH</character>
<dialogue>Oh, I don't know.</dialogue>
<character>WOMAN</character>
<dialogue>It's good to have a focus.</dialogue>
<character>JOSH</character>
<parenthetical>(thinks about it)</parenthetical>
<dialogue>Fear of death? You know, linear time not being such a big deal.</dialogue>
<scene_description>The lights are lowered. The shaman's assistant clears the air with an eagle feather.</scene_description>
<character>JOSH</character>
<parenthetical>(whispers)</parenthetical>
<dialogue>What's the bucket for?</dialogue>
<character>WOMAN</character>
<dialogue>Puking.</dialogue>
<scene_description>People "shhh" Josh. The shaman goes around the room and makes a cross on everyone's forehead. Josh closes his eyes. The FOLLOWING is in choppy, almost impressionistic images: People start to trip. Darby gets up and joins a couple who is dancing.</scene_description>
<character>SHAMAN</character>
<dialogue>We are purging dark energies, past pain.</dialogue>
<scene_description>He plays some bongos and shakes a shaker.</scene_description>
<character>DARBY</character>
<parenthetical>(under her breath)</parenthetical>
<dialogue>This shaman is kind of a d-bag.</dialogue>
<scene_description>The woman next to Josh grabs a bucket and pukes.</scene_description>
<character>JOSH</character>
<dialogue>That's my bucket.</dialogue>
<scene_description>I'm puking out your shit! Josh crawls next to Cornelia.</scene_description>
<character>JOSH</character>
<dialogue>I feel it! Oh my God, I see a fucking pyramid. And a sphinx. It's true, you see Egyptian shit. Honey, what are you seeing?</dialogue>
<character>CORNELIA</character>
<dialogue>I'm in a deli in Bensonhurst.</dialogue>
<character>JOSH</character>
<dialogue>The serpent, Apep is speaking to me. He's saying, go to the cattle of Ra. The Celestial Cow is waiting.</dialogue>
<character>CORNELIA</character>
<dialogue>I'm purchasing a bag of Sun Chips.</dialogue>
<scene_description>CUT TO: Jamie stands with the shaman.</scene_description>
<character>JAMIE</character>
<dialogue>I don't believe in any state supported art. I think you need to just do it yourself.</dialogue>
<scene_description>He vomits.</scene_description>
<character>JAMIE</character>
<parenthetical>(gargling vomit)</parenthetical>
<dialogue>I voted for Romney.</dialogue>
<scene_description>Everyone vomits. We see this in succession.</scene_description>
<character>SHAMAN</character>
<dialogue>Watch the carpet!</dialogue>
<scene_description>CUT TO: Josh opens his eyes. The room is a blur -- white figures drifting past. Josh gets up. Cornelia talks with the shaman in a corner. Josh waves her over madly. She excuses herself.</scene_description>
<character>JOSH</character>
<dialogue>Maybe don't flirt with the shaman.</dialogue>
<character>CORNELIA</character>
<dialogue>He was telling me about his boat.</dialogue>
<scene_description>Cornelia grows quiet. Her eyes are glazed. What?</scene_description>
<character>CORNELIA</character>
<dialogue>I wish you'd look at me the way you look at Jamie and Darby.</dialogue>
<character>JOSH</character>
<dialogue>I look at you that way...</dialogue>
<character>CORNELIA</character>
<dialogue>No, you don't. You used to. When we first met you were like you are with them, you wooed me with romantic emails...</dialogue>
<character>JOSH</character>
<dialogue>There's no point in us emailing now...we're in the same room all of the time.</dialogue>
<character>CORNELIA</character>
<parenthetical>(hesitates)</parenthetical>
<dialogue>I don't want to take away your enthusiasm for Jamie and Darby, I'm glad you like them so much...I just wish I could feel that energy from you once in a while.</dialogue>
<scene_description>CUT TO: Darby leans her head against the wall. She talks to the man next to her.</scene_description>
<character>DARBY</character>
<dialogue>I was falling asleep today on the L train and you know how your brain gets in these loops? I couldn't remember the shape of a pineapple: "Are they like pears?" No, they're like footballs with the ends cut off. It's hard to call to mind the shapes of things. Do you find that?</dialogue>
<scene_description>She vomits. CUT TO:</scene_description>
</scene>
<scene>
<stage_direction>INT. VICTORIAN HOUSE - DARK ROOM. NIGHT</stage_direction>
<scene_description>Cornelia wanders into a dark room. She sees Josh coming toward her.</scene_description>
<character>CORNELIA</character>
<dialogue>Josh, I'm sorry.</dialogue>
<scene_description>Cornelia kisses Josh on the mouth, long and passionate. She hesitates.</scene_description>
<character>CORNELIA</character>
<dialogue>You taste different.</dialogue>
<scene_description>Cornelia pulls back.</scene_description>
<character>CORNELIA</character>
<dialogue>Josh?</dialogue>
<character>JAMIE</character>
<dialogue>It's me.</dialogue>
<character>CORNELIA</character>
<dialogue>Jamie, shit. I thought you were Josh. I'm so fucked up. I'm sorry.</dialogue>
<scene_description>She puts her head on his shoulder.</scene_description>
<character>CORNELIA</character>
<dialogue>Ugh, how embarrassing.</dialogue>
<character>JAMIE</character>
<dialogue>It's okay, worm.</dialogue>
<scene_description>She looks up at him and they kiss again. She stops.</scene_description>
<character>CORNELIA</character>
<dialogue>Let's never do that again.</dialogue>
<scene_description>She walks away. CUT TO:</scene_description>
</scene>
<scene>
<stage_direction>INT. VICTORIAN HOUSE - HALLWAY. NIGHT</stage_direction>
<scene_description>Josh drifts down a hallway. His eyes blinded by drifting geometric shapes and figures.</scene_description>
<character>JOSH</character>
<dialogue>It stopped working. Cornelia, mine stopped working anymore!</dialogue>
<scene_description>But Cornelia isn't there. He slips and rights himself with the wall.</scene_description>
<character>JOSH</character>
<dialogue>Nothing is happening.</dialogue>
<scene_description>He trips and hits the floor with a thud. Jamie is picking Josh up -- How you doing, Yosh?</scene_description>
<character>JOSH</character>
<dialogue>Is yours working? Mine isn't working.</dialogue>
<character>JAMIE</character>
<dialogue>Mine's working.</dialogue>
<character>JOSH</character>
<dialogue>What if I don't find anything out?</dialogue>
<scene_description>He looks at Jamie, tears rolling down his face. He now sees that Jamie is filming him.</scene_description>
<character>JAMIE</character>
<dialogue>Just roll with it. You're going to be fine, see.</dialogue>
<character>JOSH</character>
<dialogue>Thanks, Jamie. You're so kind. And so generous. I'm so proud and selfish. I want to be generous like you. I want to help you with your film. I'll come with you to film the guy. I don't want credit or anything, just to help out.</dialogue>
<character>JAMIE</character>
<dialogue>Thanks Joshy, that's beautiful.</dialogue>
<character>JOSH</character>
<dialogue>Before we met, the only two feelings I had left were...wistful and disdainful. And being around you...I see what's possible again. Is that corny?</dialogue>
<character>JAMIE</character>
<dialogue>It's goddamn corny, Joshy.</dialogue>
<character>JOSH</character>
<dialogue>Yeah, I guess it is. I'm a cornball.</dialogue>
<parenthetical>(pause)</parenthetical>
<dialogue>I've felt like a failure for years. I wish Cornelia and I had had kids.</dialogue>
<character>JAMIE</character>
<dialogue>It's not too late, is it?</dialogue>
<scene_description>Josh vomits. Jamie holds his head while he retches. Thanks.</scene_description>
<character>JAMIE</character>
<dialogue>No problem, Jussle.</dialogue>
<scene_description>Jamie vomits.</scene_description>
</scene>
<scene>
<stage_direction>EXT. VICTORIAN HOUSE - FRONT PORCH. MORNING</stage_direction>
<scene_description>Cornelia sits on the stairs. She looks exhausted. People on the street are starting their day, taking kids out, moving cars.</scene_description>
<character>JOSH (O.S.)</character>
<dialogue>It's still tonight for us, but it's tomorrow for everyone else.</dialogue>
<scene_description>Josh sits beside her. He looks tired, pale, worse for wear.</scene_description>
<character>JOSH</character>
<dialogue>Let's have kids! Or a kid. Something.</dialogue>
<character>CORNELIA</character>
<dialogue>Did the Celestial Cow tell you this?</dialogue>
<character>JOSH</character>
<parenthetical>(pause)</parenthetical>
<dialogue>Yeah, but that doesn't make it any less true.</dialogue>
<scene_description>Cornelia picks at the dry skin on her lip.</scene_description>
<character>JOSH</character>
<parenthetical>(re: the houses and pedestrians)</parenthetical>
<dialogue>All these people have babies -- what's the big deal?</dialogue>
<character>CORNELIA</character>
<dialogue>I thought we'd decided... I don't want this to be every time you take a hallucinogen you want to have a baby.</dialogue>
<character>JOSH</character>
<dialogue>Not every time.</dialogue>
<character>CORNELIA</character>
<dialogue>We missed our chance. I missed my chance. I'm fine with that.</dialogue>
<parenthetical>(pause)</parenthetical>
<dialogue>The serpent suggested we could adopt.</dialogue>
<character>CORNELIA</character>
<dialogue>He didn't tell me that.</dialogue>
<character>JOSH</character>
<dialogue>You don't want to?</dialogue>
<scene_description>She slowly shakes her head. Pause. Josh notices something.</scene_description>
<character>JOSH</character>
<dialogue>Is that the shaman's Vespa?</dialogue>
</scene>
<scene>
<stage_direction>INT. FLETCHER/MARINA'S BUILDING - ELEVATOR. EVE 34 \*</stage_direction>
<scene_description>Josh and Cornelia, dressed casually. She holds a couple of take-out bags. Another couple, dressed up, stands next to them holding a bag with a ribbon.</scene_description>
<character>CORNELIA</character>
<dialogue>He's been cooped up at home with a baby, and she loves these soup dumplings. This will be a great surprise.</dialogue>
<character>JOSH</character>
<dialogue>I haven't spoken to Fletcher for a while. I think he's exhausted.</dialogue>
<character>CORNELIA</character>
<parenthetical>(laughs)</parenthetical>
<dialogue>We'll probably be waking them up!</dialogue>
<scene_description>The doors open. Both couples exit.</scene_description>
</scene>
<scene>
<stage_direction>INT. FLETCHER/MARINA BUILDING - DOORWAY/LIVING ROOM. EVE 35 \*</stage_direction>
<scene_description>Josh and Cornelia approach the apartment. Josh starts to clock the other couple walking right next to them. They all reach an apartment door. Voices and music from inside. Cornelia frowns. Josh rings. He looks at the other couple who smile. Marina opens the door in a party dress, beaming and holding a \* white wine. Party guests mingle behind her.</scene_description>
<character>MARINA \*</character>
<parenthetical>(horrified)</parenthetical>
<dialogue>Cornelia...Josh.</dialogue>
<parenthetical>(welcoming)</parenthetical>
<dialogue>Gaby, Mike!</dialogue>
<scene_description>Hi.</scene_description>
<character>COUPLE</character>
<dialogue>You look amazing!</dialogue>
<scene_description>The other couple enters the party. Fletcher appears in the background loudly bantering with another guy.</scene_description>
<character>FLETCHER</character>
<dialogue>...I know! I felt like I was in one of those sci-fi movies where everyone is ranked by intellect --</dialogue>
<scene_description>His face drops when he sees Josh and Cornelia.</scene_description>
<character>FLETCHER</character>
<dialogue>Oh...fucking shit...</dialogue>
<scene_description>He and Marina come out into the hallway, the door ajar behind \* them.</scene_description>
<character>CORNELIA</character>
<dialogue>Did we...I guess you're having a thing.</dialogue>
<character>MARINA \*</character>
<dialogue>Uh...yeah. We... God, this is embarrassing.</dialogue>
<character>CORNELIA</character>
<dialogue>Is it a baby thing or...?</dialogue>
<character>MARINA \*</character>
<dialogue>No, actually...Willow's at my mother's.</dialogue>
<character>CORNELIA</character>
<dialogue>Oh...</dialogue>
<character>JOSH</character>
<dialogue>We weren't invited.</dialogue>
<character>FLETCHER</character>
<dialogue>Well...we didn't think...</dialogue>
<character>MARINA \*</character>
<dialogue>Oh, God, I don't know what to say...</dialogue>
<scene_description>Another couple appears behind Josh and Cornelia.</scene_description>
<character>COUPLE #2</character>
<dialogue>Hey, girly girl. You look fiiiine!</dialogue>
<character>WOMAN</character>
<dialogue>Hey Cornelia, how are you?</dialogue>
<character>CORNELIA</character>
<dialogue>Fine, Grace, you?</dialogue>
<character>WOMAN</character>
<dialogue>Great.</dialogue>
<character>MARINA \*</character>
<parenthetical>(to the other couple)</parenthetical>
<dialogue>Come inside, there's a full bar --</dialogue>
<scene_description>The other couple enters the apartment.</scene_description>
<character>CORNELIA</character>
<dialogue>What is going on?</dialogue>
<character>MARINA \*</character>
<dialogue>I'm sorry...we didn't think you'd want to come or...</dialogue>
<character>JOSH</character>
<dialogue>Why?</dialogue>
<character>MARINA \*</character>
<dialogue>Well, for one thing these are people our own age.</dialogue>
<character>CORNELIA</character>
<dialogue>Oh, come on!</dialogue>
<character>FLETCHER</character>
<dialogue>And maybe you have a titseeka ceremony or something.</dialogue>
<character>JOSH</character>
<dialogue>Ayawasca! It was therapeutic. I learned some shit. I think Cornelia did too.</dialogue>
<character>CORNELIA</character>
<parenthetical>(awkwardly)</parenthetical>
<dialogue>I did too. Learn some shit.</dialogue>
<character>FLETCHER</character>
<dialogue>You guys were wacked out on Peruvian mescallen, of course you're going to learn some shit. I went under during a colonoscopy last week and I learned some shit.</dialogue>
<dialogue>Don't patronize us, man.</dialogue>
<character>FLETCHER</character>
<dialogue>Listen, we don't know how else to say this, but...we're worried about you guys.</dialogue>
<character>MARINA \*</character>
<dialogue>Yeah, you know...I mean, it's cool you don't want to have kids --</dialogue>
<character>CORNELIA</character>
<dialogue>Don't make this about the baby cult, Marina. Okay? I don't appreciate \* that kind of superior attitude. It's really ugly.</dialogue>
<character>MARINA \*</character>
<dialogue>That's not what I'm saying! I can't help it if I want you to have kids.</dialogue>
<character>FLETCHER</character>
<dialogue>We think you guys would really benefit from it. That's all.</dialogue>
<character>CORNELIA</character>
<parenthetical>(suddenly emotional)</parenthetical>
<dialogue>But you don't realize how inappropriate it is to say it like you say it. Not everyone wants a baby! Not everyone can have one all the time!</dialogue>
<character>COUPLE (O.S.)</character>
<dialogue>Hi sexy lady!</dialogue>
<scene_description>Yet another couple, Elise and her husband, arrives, kisses Marina and Fletcher. \*</scene_description>
<character>MARINA \*</character>
<parenthetical>(smiling hostess)</parenthetical>
<dialogue>Elise! Come in! Come in!</dialogue>
<scene_description>They enter. Marina brings her voice down: \*</scene_description>
<character>MARINA \*</character>
<dialogue>Since we've had the baby, I feel you pulling away, Cornelia. I just do.</dialogue>
<character>CORNELIA</character>
<dialogue>I went to a fucking baby music class with you! Do you know how humiliating that is?</dialogue>
<character>FLETCHER</character>
<dialogue>(to Josh) What's with the hat?</dialogue>
<scene_description>What?</scene_description>
<character>FLETCHER</character>
<dialogue>You look like assholes we went to highschool with who would cruise by the prom but not go in.</dialogue>
<character>MARINA</character>
<dialogue>Why is it humiliating? is my life now!</dialogue>
<character>MARINA \*</character>
<parenthetical>(getting emotional)</parenthetical>
<dialogue>It can be very isolating and lonely when you have a kid.</dialogue>
<character>CORNELIA</character>
<parenthetical>(re: the crowd inside)</parenthetical>
<dialogue>Yeah, I can tell.</dialogue>
<character>FLETCHER</character>
<dialogue>We're old men, Josh.</dialogue>
<character>JOSH</character>
<dialogue>Speak for yourself.</dialogue>
<character>FLETCHER</character>
<dialogue>You're an old man with a hat.</dialogue>
<character>CORNELIA</character>
<parenthetical>(sadly)</parenthetical>
<dialogue>Let's go, Josh.</dialogue>
<character>FLETCHER</character>
<dialogue>Stay, you're here...come in.</dialogue>
<character>JOSH</character>
<parenthetical>(emphatic)</parenthetical>
<dialogue>There is no way we're coming in.</dialogue>
<scene_description>CUT TO:</scene_description>
</scene>
<scene>
<stage_direction>INT. FLETCHER/MARINA APT. - LIVING ROOM. EVE 36 \*</stage_direction>
<scene_description>Inside the APARTMENT. Josh and Cornelia sit alone by the window. People are laughing, talking loudly. Cornelia downs her wine in one. Josh looks furious.</scene_description>
<character>JAMIE (V.O.)</character>
<parenthetical>(sings)</parenthetical>
<dialogue>"You're playing Nintendo."</dialogue>
</scene>
<scene>
<stage_direction>INT. JAMIE'S CAR. DAY</stage_direction>
<scene_description>Jamie drives, Josh next to him. Cornelia, Darby and Tipper, who wears a T-shirt that reads: Some Crappy Band, are squeezed in the back. Jamie sings and Tipper responds: (sings) "That's not what I'm doing, that's not what I'm doing."</scene_description>
<character>JAMIE</character>
<dialogue>"You're surfing the web."</dialogue>
<character>TIPPER</character>
<dialogue>"That's not what I'm doing, that's not what I'm doing."</dialogue>
<character>JAMIE</character>
<dialogue>"You're crying your eyes out."</dialogue>
<character>TIPPER</character>
<dialogue>"That's not what I'm doing, that's not what I'm doing."</dialogue>
<character>TIPPER</character>
<parenthetical>(she beats the back of Josh's seat three times)</parenthetical>
<dialogue>"I'm making a sandwich!"</dialogue>
<scene_description>Both of them, flush and beaming look around the car.</scene_description>
<character>JOSH</character>
<dialogue>Nice.</dialogue>
<character>CORNELIA</character>
<parenthetical>(trying to be positive)</parenthetical>
<dialogue>Fun.</dialogue>
<scene_description>Darby grumbles. She turns to Cornelia.</scene_description>
<character>DARBY</character>
<dialogue>Connecticut has the best thrifting. He'll drop us off before they do their filming.</dialogue>
<character>JAMIE</character>
<dialogue>Tipper and I started a band called Cookie O'Puss. Have you seen that on YouTube?</dialogue>
<character>JOSH</character>
<parenthetical>(a bit annoyed)</parenthetical>
<dialogue>That was a commercial when I was a kid.</dialogue>
<character>JAMIE</character>
<dialogue>It's fucking hilarious.</dialogue>
<character>JOSH</character>
<parenthetical>(trying to own it)</parenthetical>
<dialogue>I know, we used to always do his voice.</dialogue>
<character>TIPPER</character>
<dialogue>"My name is Cookie O'Puss!"</dialogue>
<parenthetical>(trying to do it first)</parenthetical>
<dialogue>"My name is Cookie O'Puss."</dialogue>
<character>JAMIE</character>
<dialogue>"My name is Cookie O'Puss."</dialogue>
<character>JOSH</character>
<dialogue>Right.</dialogue>
<character>JAMIE</character>
<dialogue>It's the name of our band.</dialogue>
</scene>
<scene>
<stage_direction>EXT. POUGHKEEPSIE STREET. DAY</stage_direction>
<scene_description>Josh films Jamie as he gets out of the car. Tipper films the house.</scene_description>
<character>JAMIE</character>
<dialogue>He was this kind of amazing combination of jock and brain and he could sing, he was in the acapella group called the Night Owls. I mean kind of the perfect guy.</dialogue>
</scene>
<scene>
<stage_direction>EXT. CLAPBOARD HOUSE. DAY</stage_direction>
<scene_description>The three of them wait at the door. Tipper films. Jamie knocks. A skinny woman in her 30's appears.</scene_description>
<character>JAMIE</character>
<dialogue>Hey, I called, my name's Jamie, I'm a friend of Kent's.</dialogue>
<character>SISTER</character>
<dialogue>Kent isn't here.</dialogue>
<character>JAMIE</character>
<dialogue>Oh...well, will he be back soon?</dialogue>
<scene_description>She shakes her head. She looks over at Tipper who's filming.</scene_description>
<character>SISTER</character>
<dialogue>What's --</dialogue>
<character>JAMIE</character>
<dialogue>We went to school together. It's been a while, but he contacted me recently on Facebook. It would mean a lot to me if I could see him.</dialogue>
<scene_description>The sister hesitates. She's debating something in her head. Jamie, Josh and Tipper are led by an orderly down a long sterile hallway. They reach a set of automatic doors. A loud buzz. They go through the doors to another set of doors. Another loud buzz. They open.</scene_description>
</scene>
<scene>
<stage_direction>INT. HOSPITAL ROOM</stage_direction>
<scene_description>Kent, 20's, pale and thin, lies in bed watching a cooking show. He's eating ice cream out of a container. Jamie, Tipper and Josh enter. He looks up as they approach, placing the ice cream on the bed-side table. CUT TO: Josh shoots Jamie. Tipper shoots Kent. Kent sits up in bed, he talks somberly. Jamie sits at his bed-side.</scene_description>
<character>KENT</character>
<dialogue>A ceramic platter didn't break and accidentally cut both my wrists.</dialogue>
<character>JAMIE</character>
<dialogue>No?</dialogue>
<character>KENT</character>
<dialogue>No. I've been unhappy. I did it to myself. I cut my wrists.</dialogue>
<character>JAMIE</character>
<dialogue>You broke a ceramic platter and used the shards to cut your wrists?</dialogue>
<scene_description>Josh starts to say something, he knows where Kent's going with this, but he holds himself back.</scene_description>
<character>KENT</character>
<dialogue>No, there was no ceramic platter. I mean, there is, I had one in mind when I was telling the story.</dialogue>
<character>JAMIE</character>
<dialogue>But the shards were from the platter?</dialogue>
<character>JOSH</character>
<parenthetical>(can't help himself)</parenthetical>
<dialogue>What Kent is saying is he imagined an actual platter to make his story feel more authentic, but really he just cut his wrists with what, probably a razor blade?</dialogue>
<scene_description>Kent and Jamie look over at Josh. Kent looks annoyed. (to Jamie) Who is he? CUT TO: Jamie leans in. Kent seems emotional.</scene_description>
<character>JAMIE</character>
<dialogue>You were the guy, you know. You were beautiful. I mean you dated Jenny Pepperdine!</dialogue>
<scene_description>Kent flashes a weary smile.</scene_description>
<character>JAMIE</character>
<dialogue>You know I bought a necklace like the one you used to wear --</dialogue>
<character>KENT</character>
<dialogue>My puka shells?</dialogue>
<character>JAMIE</character>
<dialogue>Yeah. You know, I was going through a tough time in highschool, my mom was really sick with ovarian cancer, I was pretty promiscuous, but I couldn't love anyone, I had body issues --</dialogue>
<scene_description>We slowly ZOOM in on Jamie as he talks. Josh's closed eye opens. While keeping the camera trained on Jamie, he inspects it, bewildered. He's not pressing anything. He sees -- Jamie holds a small remote in his hand. He's zooming in on himself.</scene_description>
<character>JAMIE</character>
<dialogue>You had written a poem for English, you were this athlete and you wrote this beautiful poem. Do you know what poem I'm talking about?</dialogue>
<character>KENT</character>
<dialogue>I wrote a lot of poems.</dialogue>
<character>JAMIE</character>
<dialogue>It was a line, very simple, but effective, "I want to be unbridgeable." That one line got me through my mother's illness.</dialogue>
<scene_description>Yeah? I don't know why I stopped writing poetry. I stopped doing a lot of things. Why do we stop doing things? I guess life happens.</scene_description>
<character>JAMIE</character>
<dialogue>Life is other plans.</dialogue>
<character>KENT</character>
<dialogue>Yeah.</dialogue>
<character>JOSH</character>
<parenthetical>(from behind the camera)</parenthetical>
<dialogue>Life is what happens when you're making other plans.</dialogue>
<scene_description>Jamie and Kent both startle and turn to the camera.</scene_description>
<character>KENT</character>
<parenthetical>(again annoyed)</parenthetical>
<dialogue>Who is he?</dialogue>
<character>DARBY (V.O.)</character>
<dialogue>I keep trying to get people to agree with me on this: I hate Tipper.</dialogue>
</scene>
<scene>
<stage_direction>INT. OLD BARN</stage_direction>
<scene_description>Antiques and vintage clothing. Darby helps Cornelia lace up a corset.</scene_description>
<character>DARBY</character>
<dialogue>She ends every word she can with "ish." I thought she was making fun of this way of talking until it was clear that she wasn't.</dialogue>
<character>CORNELIA</character>
<dialogue>She tries too hard.</dialogue>
<character>DARBY</character>
<dialogue>Exactly! But it's low-key so you don't notice it. I shouldn't shit- talk Tipper. I have so many things.</dialogue>
<character>CORNELIA</character>
<dialogue>You and Jamie were highschool sweethearts?</dialogue>
<character>DARBY</character>
<dialogue>No, Jamie was only in Santa Cruz for a semester.</dialogue>
<scene_description>company that was contracted by the army and they were never in one place very long. Jamie can be at home anywhere.</scene_description>
<character>CORNELIA</character>
<dialogue>Josh is only at home at home.</dialogue>
<scene_description>the mirror. She's horrified.</scene_description>
</scene>
<scene>
<stage_direction>INT. DINER, HUDSON, NY. DAY</stage_direction>
<scene_description>The four of them and Tipper in a booth. Jamie and Tipper have just finished telling Darby and Cornelia about the day. Josh is looking at something on his phone.</scene_description>
<character>TIPPER</character>
<dialogue>He was soulful-ish, you know.</dialogue>
<character>JAMIE</character>
<dialogue>Sister, that's an understatement. You can tell he's been to some dark places.</dialogue>
<character>DARBY</character>
<parenthetical>(petulant)</parenthetical>
<dialogue>We went to some dark places too. I bought a dress. Cornelia didn't buy a corset.</dialogue>
<character>JAMIE</character>
<parenthetical>(eating)</parenthetical>
<dialogue>Mm, this burger is in-cred-ible.</dialogue>
<character>JOSH</character>
<parenthetical>(re: his phone)</parenthetical>
<dialogue>Holy shit.</dialogue>
<character>CORNELIA</character>
<dialogue>What's wrong?</dialogue>
<character>JOSH</character>
<dialogue>No...nothing...I just Googled Kent...</dialogue>
<parenthetical>(looks up to Jamie)</parenthetical>
<dialogue>Did you Google him?</dialogue>
<character>JAMIE</character>
<dialogue>No, I wanted it to be fresh.</dialogue>
<character>JOSH</character>
<dialogue>This...it's there's a picture, it's the same guy. He was in Afghanistan.</dialogue>
<character>JAMIE</character>
<parenthetical>(surprised)</parenthetical>
<dialogue>Really?</dialogue>
<character>JOSH</character>
<dialogue>Yeah...he...this article says he was part of a massacre in Wanat.</dialogue>
<scene_description>civilians... He then spoke out publicly about it and then he refused to fight. He was jailed briefly then he returned to battle, was injured and given the Purple Heart.</scene_description>
<character>JAMIE</character>
<dialogue>You're kidding?</dialogue>
<scene_description>Josh hands Jamie his phone. Jamie beams.</scene_description>
<character>JAMIE</character>
<dialogue>It says two men in his unit have killed themselves. Tipper --</dialogue>
<scene_description>Tipper gets out the camera and turns it on Josh. Josh looks into the lens strangely.</scene_description>
<character>JAMIE</character>
<dialogue>Do it again, what you did.</dialogue>
<character>JOSH</character>
<dialogue>Which part?</dialogue>
<character>JAMIE</character>
<dialogue>The phone, the discovery, everything.</dialogue>
<character>JOSH</character>
<dialogue>Oh...</dialogue>
<scene_description>Josh awkwardly looks at his phone then back up. The four of them are waiting.</scene_description>
<character>JOSH</character>
<parenthetical>(stilted)</parenthetical>
<dialogue>It's the same guy... Is that what I said? How did I say it?</dialogue>
<scene_description>Jamie yawns, impatiently. Josh tries again:</scene_description>
<character>JOSH</character>
<parenthetical>(acting now)</parenthetical>
<dialogue>It's the same guy! Holy shit. Jamie, take a look at this.</dialogue>
<scene_description>Tipper swings the camera at Jamie. He grabs Josh's phone and reacts almost identically.</scene_description>
<character>JAMIE</character>
<dialogue>It says two men in his unit have killed themselves.</dialogue>
<parenthetical>(excited, getting the hang of it)</parenthetical>
<dialogue>We have to go back!</dialogue>
<character>JAMIE</character>
<dialogue>Yeah?</dialogue>
<character>JOSH</character>
<dialogue>We have to get him talking about this. This is the movie! Now it's not just some stupid Facebook thing.</dialogue>
<scene_description>Jamie looks at Josh oddly. Josh backtracks:</scene_description>
<character>JOSH</character>
<dialogue>Not that that wasn't a good idea too. But, and I hate this expression, but you stepped in shit!</dialogue>
<parenthetical>(suddenly)</parenthetical>
<dialogue>Cornelia!</dialogue>
<character>CORNELIA</character>
<parenthetical>(caught off guard)</parenthetical>
<dialogue>What?!</dialogue>
<scene_description>Josh kisses her.</scene_description>
<character>JOSH</character>
<dialogue>I don't know!</dialogue>
<scene_description>Jamie digs into his food.</scene_description>
<character>JAMIE</character>
<dialogue>Thank God I've got you, Joshy! We did what you said: we didn't know the answers, we discovered it. I should get a good book on Afghanistan. And war in general. I really know so little about it.</dialogue>
<character>JOSH</character>
<parenthetical>(decides to go for it)</parenthetical>
<dialogue>You know who you should talk to. Ira Mandelstam, the guy in my film he could tell you a lot about war and the politics of war.</dialogue>
<character>JAMIE</character>
<dialogue>That's your guy, though, Joshy. I can't take your guy.</dialogue>
<scene_description>I don't care. I want to share him with you. (to the table) Look ma, I'm sharing!</scene_description>
<character>JAMIE</character>
<dialogue>Jeez Louise, that would be fucking beautiful.</dialogue>
<character>CORNELIA</character>
<parenthetical>(suddenly, caught up in the whole thing)</parenthetical>
<dialogue>You know, if you want help... I could help or...produce this for you...</dialogue>
<scene_description>Josh looks at Cornelia, surprised. He smiles.</scene_description>
<character>CORNELIA</character>
<dialogue>My dad's between things now...</dialogue>
<character>JAMIE</character>
<dialogue>Oh, my God. Are you kidding, I'd be so pumped. Thank you, thank you.</dialogue>
<scene_description>Josh keeps smiling. He wants very badly for this to feel good.</scene_description>
</scene>
<scene>
<stage_direction>INT. SCHOLAR'S APARTMENT</stage_direction>
<scene_description>Ira, the scholar, is talking about the power structure of the United States. Jamie shoots him. Tipper holds a boom. She wears a T-shirt that reads in generic lettering: A College I Didn't Go To. Cornelia stands close by. Josh sits in a chair in the back, listening through headphones. His eyes drift away from the scholar and turn inward. He looks almost afraid.</scene_description>
</scene>
<scene>
<stage_direction>INT. SCHOLAR'S BEDROOM</stage_direction>
<scene_description>A mess of books and clothes and dogs and dog beds. Josh pulls Cornelia inside and shuts the door.</scene_description>
<character>CORNELIA</character>
<dialogue>What?</dialogue>
<character>JOSH</character>
<parenthetical>(hushed)</parenthetical>
<dialogue>Can I say something I'm ashamed of?</dialogue>
<character>CORNELIA</character>
<dialogue>Yeah.</dialogue>
<scene_description>It's not generous. And I probably don't really mean it.</scene_description>
<character>CORNELIA</character>
<dialogue>Okay. Go.</dialogue>
<character>JOSH</character>
<dialogue>And I think Jamie's great so --</dialogue>
<character>CORNELIA</character>
<dialogue>Say it!</dialogue>
<character>JOSH</character>
<parenthetical>(snapping)</parenthetical>
<dialogue>I can't fucking believe his idiotic Facebook idea paid off! It's so fucking stupid! And my thing is a mess. A total fucking mess.</dialogue>
<parenthetical>(pause)</parenthetical>
<dialogue>Sorry, I feel bad saying that. But I also hate the fact he's calling his band Cookie O'Puss.</dialogue>
<character>CORNELIA</character>
<dialogue>What's wrong with that?</dialogue>
<character>JOSH</character>
<dialogue>It's just some funny old kitschy thing to him he saw on YouTube. But that was my commercial. I actually experienced it. You know?</dialogue>
<character>CORNELIA</character>
<dialogue>I don't know from Cookie Puss.</dialogue>
<character>JOSH</character>
<dialogue>Really? It was for Carvel. Cookie Puss was the original one but they did an ice cream cake for Saint Patrick's Day and it was this floating green Irish cake that said, "My name is Cookie O'Puss."</dialogue>
<scene_description>Cornelia is silent.</scene_description>
<character>JOSH</character>
<parenthetical>(exhales)</parenthetical>
<dialogue>I'm being ridiculous. I probably don't mean any of it.</dialogue>
<character>CORNELIA</character>
<dialogue>My dad likes to say, "The more, the more."</dialogue>
<scene_description>That's because your dad has everything. And then he gets more. (off her look) No, he's right. There's enough to go around for everyone.</scene_description>
<character>JAMIE</character>
<dialogue>Yo, Yosh! You got a pitch you got to attend!</dialogue>
<scene_description>She kisses him.</scene_description>
<character>CORNELIA</character>
<dialogue>Good luck.</dialogue>
</scene>
<scene>
<stage_direction>EXT. FINANCIAL DISTRICT. DAY</stage_direction>
<scene_description>Jamie walks with Josh through stopped traffic toward the Goldman Sachs building.</scene_description>
<character>JAMIE</character>
<dialogue>Remember, ask him questions. You're interviewing him. He'd be goddamn lucky to invest in your film.</dialogue>
<character>JOSH</character>
<dialogue>Okay.</dialogue>
<character>JAMIE</character>
<dialogue>And talk about shit he understands, see. Short and to the point.</dialogue>
<scene_description>A bike messenger swerves by them on the sidewalk.</scene_description>
<character>JAMIE</character>
<parenthetical>(suddenly furious)</parenthetical>
<dialogue>Ride on the street, man!</dialogue>
<parenthetical>(and then back to Josh not missing a beat)</parenthetical>
<dialogue>Psych him up. Talk about money. Talk about war. Power. Race. Make it relevant to him.</dialogue>
<character>JOSH</character>
<dialogue>Right.</dialogue>
<character>JAMIE</character>
<dialogue>Be yourself, everyone else is taken.</dialogue>
<scene_description>Jamie straightens Josh's jacket collar. Ira was beautiful today. I'm gonna have a screening of the cut footage at the apartment on Friday.</scene_description>
<character>JOSH</character>
<dialogue>You cut it already? We just shot it two days ago.</dialogue>
<character>JAMIE</character>
<dialogue>I know. I was up all night.</dialogue>
<parenthetical>(patting Josh on the back)</parenthetical>
<dialogue>We'll be okay, Joshy. Don't you fret.</dialogue>
<character>JOSH</character>
<dialogue>Maybe take a day or two to make sure you like it.</dialogue>
<character>JAMIE</character>
<dialogue>Or I can take ten years.</dialogue>
<scene_description>Josh hesitates, taken aback. Jamie laughs.</scene_description>
<character>JAMIE</character>
<dialogue>I'm fucking with you, Joshy. Your thing is going to be totally brilliant.</dialogue>
<scene_description>They reach the doorway of the office building. Jamie takes the big headphones from around his neck and puts them on Josh. Jamie presses Play. "Eye of The Tiger" by Survivor.</scene_description>
<character>JOSH</character>
<dialogue>I remember when this song was just considered bad! But it's working.</dialogue>
<character>JAMIE</character>
<dialogue>Remember, he's lucky to have this opportunity. You're friggin' Josh Srebnick.</dialogue>
<character>JOSH</character>
<dialogue>My name sounds so much better when you say it.</dialogue>
</scene>
<scene>
<stage_direction>INT. OFFICE, HEDGE FUND. DAY</stage_direction>
<scene_description>Josh shakes hands with a bulky fratty looking hedge fund guy, 30's, in a suit. This is Dave. Josh sits on a couch, Dave in an armchair. Dave drinks from a highball glass. You see Mad Men?</scene_description>
<character>JOSH</character>
<dialogue>No.</dialogue>
<character>HEDGE FUND DAVE</character>
<parenthetical>(waves it off)</parenthetical>
<dialogue>It's really apple juice. Nah, it's whiskey. Nah, it's not. It is.</dialogue>
<scene_description>He drinks.</scene_description>
<character>HEDGE FUND DAVE</character>
<dialogue>So, tell me more about your project.</dialogue>
<character>JOSH</character>
<dialogue>Well, maybe a good way to start is by asking you a question.</dialogue>
<character>HEDGE FUND DAVE</character>
<dialogue>Hey, they were all raped when I got there.</dialogue>
<scene_description>Josh stares at him blankly.</scene_description>
<character>HEDGE FUND DAVE</character>
<parenthetical>(re: highball)</parenthetical>
<dialogue>This is my second in twenty minutes. Shoot.</dialogue>
<character>JOSH</character>
<dialogue>Do you know the percentage of African American adult males currently in jail?</dialogue>
<character>HEDGE FUND DAVE</character>
<dialogue>I don't.</dialogue>
<character>JOSH</character>
<dialogue>Take a guess.</dialogue>
<character>HEDGE FUND DAVE</character>
<parenthetical>(playing along but not really thinking)</parenthetical>
<dialogue>Like 60%?</dialogue>
<character>JOSH</character>
<dialogue>Jesus, no!</dialogue>
<parenthetical>(pause)</parenthetical>
<dialogue>It's over 9%. That's nearly 1 in 10 African American adult males, nearly a million and half.</dialogue>
<scene_description>A million and a half is a lot.</scene_description>
<character>JOSH</character>
<dialogue>It's insane, but people don't realize this. They think because we have a black president...</dialogue>
<character>HEDGE FUND DAVE</character>
<parenthetical>(as if he's helping Josh out)</parenthetical>
<dialogue>So this is about prison. Like a black Shawshank. But real. A real, black Shawshank.</dialogue>
<character>JOSH</character>
<parenthetical>(thrown)</parenthetical>
<dialogue>No, not...no.</dialogue>
<parenthetical>(pause and then speaking quickly)</parenthetical>
<dialogue>There's a section, an Entr'acte really, on the function of race in the prison industrial complex...</dialogue>
<parenthetical>(trying to get back on track)</parenthetical>
<dialogue>But the film is really about how power in America works... Do you know the historian, Ira Mandelstam?</dialogue>
<character>HEDGE FUND DAVE</character>
<dialogue>Yeah.</dialogue>
<character>JOSH</character>
<parenthetical>(pleased)</parenthetical>
<dialogue>Really?</dialogue>
<character>HEDGE FUND DAVE</character>
<dialogue>No.</dialogue>
<character>JOSH</character>
<dialogue>Well, we have over a hundred hours of interviews with him. Now --</dialogue>
<character>HEDGE FUND DAVE</character>
<dialogue>The movie's a hundred hours?</dialogue>
<character>JOSH</character>
<dialogue>No, we'll cut it. Now, this guy, he's not particularly charismatic, he's kind of anti-social, maybe asbergers, but not interesting asbergers. He's kind of boring even. But he's a charismatic thinker.</dialogue>
<scene_description>How do you show what he thinks? Cartoons?</scene_description>
<character>JOSH</character>
<parenthetical>(what?!)</parenthetical>
<dialogue>No, not cartoons. He says it.</dialogue>
<character>HEDGE FUND DAVE</character>
<dialogue>But he's boring.</dialogue>
<character>JOSH</character>
<dialogue>Well...yes, but like many boring things, the longer you watch it, it takes on a different dimension --</dialogue>
<scene_description>Josh wipes the sweat that has now accumulated on his face. Dave's glance goes to his Blackberry. He types something quickly.</scene_description>
<character>HEDGE FUND DAVE</character>
<dialogue>Mmm hmm. So, what's it about?</dialogue>
<character>JOSH</character>
<dialogue>It's really a very simple idea. The three sections correspond to the three nodes of what Mills called the power elite: the political, military and economic. But, and this is key, each part has to interconnect to show how none of these three nodes functions without the other.</dialogue>
<scene_description>Dave tries to surreptitiously glance at his Blackberry.</scene_description>
<character>JOSH</character>
<dialogue>It's a linear film of course, but I imagine it as a kind of hypertext. To be clear, the film is really about the working class and, I can't speak on behalf of the working class. I can't make their film, of course. They have to be felt as the impossible subject of the text. Through an examination of the power structure the voice of the working class has to be revealed in the margins through its very absence. If that makes sense.</dialogue>
<scene_description>The phone rings. Both Dave and Josh look at it.</scene_description>
<character>HEDGE FUND DAVE</character>
<dialogue>Hey, I'm suddenly so popular.</dialogue>
<parenthetical>(barrels on)</parenthetical>
<dialogue>But it's not even really about the power structure but about what it means to make a film about it. It's about the very possibility of making this film...It's really about America.</dialogue>
<scene_description>Dave can't help it. He lunges for the phone. The sound of KNOCKING.</scene_description>
</scene>
<scene>
<stage_direction>INT. BREITBART'S APARTMENT - DOORWAY. DAY</stage_direction>
<scene_description>Josh stands in the doorway, he wears his bike helmet and holds his hat. Breitbart smiles.</scene_description>
<character>BREITBART</character>
<dialogue>I was just working on my speech for my memorial. What's on your mind, son?</dialogue>
<scene_description>Josh nervously unstraps his bike helmet and puts on his hat. An awkward exchange as he has trouble holding both. He exhales. Breitbart finally accommodates by taking the helmet.</scene_description>
<character>JOSH</character>
<dialogue>Would you watch what I have? I think I'm at a point where I need a new set of eyes.</dialogue>
<character>BREITBART</character>
<dialogue>Ten years with the same project will do that to you.</dialogue>
<character>JOSH</character>
<dialogue>Yeah.</dialogue>
<character>BREITBART</character>
<parenthetical>(warmly)</parenthetical>
<dialogue>Of course I'll watch it. Come in, son.</dialogue>
<scene_description>CUT TO:</scene_description>
</scene>
<scene>
<stage_direction>INT. BREITBART'S APARTMENT - LIVING ROOM/KITCHEN. DAY</stage_direction>
<scene_description>They watch the scholar on Breitbart's new TV. Josh can't look at the screen, his eyes on are Breitbart. CUT TO: Josh, still watching Breitbart. The movie ends. Breitbart nods, shuts off the TV with a remote.</scene_description>
<character>BREITBART</character>
<dialogue>I just got this TV. It's a smart TV.</dialogue>
<scene_description>so long.</scene_description>
<character>BREITBART</character>
<dialogue>I'll put a kettle on. You want some tea?</dialogue>
<character>JOSH</character>
<dialogue>Okay.</dialogue>
<scene_description>Breitbart goes to his kitchen. Josh waits, impatiently.</scene_description>
<character>BREITBART (O.S.)</character>
<dialogue>Well, you have a lot of good material there.</dialogue>
<character>JOSH</character>
<dialogue>Uh huh.</dialogue>
<character>BREITBART (O.S.)</character>
<dialogue>Lots to think about. I need to process it.</dialogue>
<character>JOSH</character>
<dialogue>Uh huh.</dialogue>
<scene_description>Breitbart reappears in the kitchen doorway.</scene_description>
<character>BREITBART</character>
<dialogue>Do you need the stuff about Turkish politics?</dialogue>
<character>JOSH</character>
<dialogue>Yes, because it connects to what he's saying about the shift in power in the contemporary global economy. And, of course, it relates back to the earlier stuff on the Ottoman Empire.</dialogue>
<character>BREITBART</character>
<dialogue>Right, but it feels like a detour. What about the lengthy history of the Triangle Shirtwaste Factory Fire? Do you need that?</dialogue>
<character>JOSH</character>
<dialogue>The interview with Tillie Kupferschmidst's great great niece? That's the emotional center of the movie. That's where things come together. Without that scene...why make the film at all?</dialogue>
<scene_description>But it's too long.</scene_description>
<character>JOSH</character>
<dialogue>It has to be long. The point is it makes you uncomfortable.</dialogue>
<character>BREITBART</character>
<parenthetical>(gently)</parenthetical>
<dialogue>I wasn't uncomfortable, I was bored.</dialogue>
<scene_description>The kettle goes off. Breitbart goes back into the kitchen. Josh follows him in.</scene_description>
<character>JOSH</character>
<dialogue>Well, maybe boredom is your defense from the discomfort.</dialogue>
<character>BREITBART</character>
<parenthetical>(growing impatient)</parenthetical>
<dialogue>You just showed me a six and a half hour movie that runs about seven hours too long. I'm trying to help.</dialogue>
<character>JOSH</character>
<dialogue>I understand, I understand. I think I need to shoot some more interviews --</dialogue>
<character>BREITBART</character>
<parenthetical>(quickly)</parenthetical>
<dialogue>Don't shoot anymore! You have enough.</dialogue>
<character>JOSH</character>
<dialogue>Yeah? I just don't think you're getting it or maybe there's something about me or what you saw that's clouding your judgement.</dialogue>
<character>BREITBART</character>
<dialogue>I'm telling you what I really feel.</dialogue>
<character>JOSH</character>
<dialogue>I don't believe it. I think you're being deliberately critical.</dialogue>
<character>BREITBART</character>
<dialogue>Josh, I'm trying to help you.</dialogue>
<character>JOSH</character>
<dialogue>Bullshit! Is it because Cornelia and I didn't have children?</dialogue>
<character>BREITBART</character>
<dialogue>Oh, come on, Josh.</dialogue>
<dialogue>We tried. There were miscarriages. I had to give her a shot in her ass every day for three months. It's a huge fucking needle.</dialogue>
<character>BREITBART</character>
<dialogue>I didn't know you tried so hard. She didn't tell me. I thought you guys didn't want kids.</dialogue>
<character>JOSH</character>
<dialogue>We didn't want to hope for something we probably couldn't have.</dialogue>
<parenthetical>(collecting his things)</parenthetical>
<dialogue>This was a mistake.</dialogue>
<character>BREITBART</character>
<dialogue>I'm sorry you feel that way.</dialogue>
<scene_description>Josh starts for door.</scene_description>
<character>JOSH</character>
<dialogue>I know you think I didn't reach my potential.</dialogue>
<character>BREITBART</character>
<dialogue>No, son, no I don't think you did.</dialogue>
<parenthetical>(beat)</parenthetical>
<dialogue>Your first film was so wonderful and entertaining. We recognized ourselves in it. This is ungenerous, it's like you took your ball and went home.</dialogue>
<character>JOSH</character>
<dialogue>You know what? I'm sorry I didn't become you.</dialogue>
<character>BREITBART</character>
<dialogue>I don't want you to be me, Josh.</dialogue>
<character>JOSH</character>
<dialogue>Yeah, right.</dialogue>
<character>BREITBART</character>
<dialogue>I'll see you at Thanksgiving.</dialogue>
<character>JOSH</character>
<dialogue>I'm not going to eat another fucking fried turkey FYI.</dialogue>
<character>BREITBART</character>
<dialogue>Then make your own.</dialogue>
</scene>
<scene>
<stage_direction>EXT. WEST END AVENUE. DAY</stage_direction>
<scene_description>Josh walks up to a sign-post. His chain-link chain has been severed in half. His bike is gone.</scene_description>
<character>JOSH</character>
<dialogue>Fuck!</dialogue>
</scene>
<scene>
<stage_direction>EXT. HOUSING PROJECTS, BASKETBALL COURT. DAY</stage_direction>
<scene_description>Jamie aggressively drives to the basket, pulls back and makes a jump shot over a leaping defender. He fist bumps his teammates as they hurry back on defense. Josh watches through a chain link fence. CUT TO: Jamie, sweating, sees Josh through the fence. He jogs over and they talk through the chain-link.</scene_description>
<character>JAMIE</character>
<dialogue>Yosh! How did you find me?</dialogue>
<character>JOSH</character>
<parenthetical>(sheepishly)</parenthetical>
<dialogue>There's like eight different ways to find out where you are on the internet. And also through people we both know.</dialogue>
<character>JAMIE</character>
<dialogue>Ha! You want to play?</dialogue>
<character>JOSH</character>
<dialogue>Nah, I don't have the right shoes.</dialogue>
<parenthetical>(pause)</parenthetical>
<dialogue>Hey, I was thinking...you know how you asked...maybe, if you're still up for it, I will co-direct with you...</dialogue>
<scene_description>Jamie hesitates.</scene_description>
<character>JOSH</character>
<dialogue>You know...if that's still cool?</dialogue>
<character>JAMIE</character>
<dialogue>I'm not sure, Yoshy, I'm...at this point, I'm kind of in it, you know?</dialogue>
<character>JOSH</character>
<parenthetical>(his face turning red)</parenthetical>
<dialogue>Uh huh.</dialogue>
<scene_description>I mean, I'm kind of into doing it all now... I mean...you know? Uh huh.</scene_description>
<character>JAMIE</character>
<dialogue>I better get back to the game. I'll see you tonight, yeah?</dialogue>
<character>JOSH</character>
<parenthetical>(quickly)</parenthetical>
<dialogue>Yeah.</dialogue>
</scene>
<scene>
<stage_direction>INT. JAMIE AND DARBY'S APARTMENT, BUSHWICK. DAY</stage_direction>
<scene_description>Josh enters -- he's late. The space is packed -- mostly with a sea of 20-something kids who lie on top of each other on the floor watching Jamie's movie. Tipper, dressed up in a sort of Mary Jane outfit and horn-rimmed glasses, perched up on a table, watching very seriously, her arms wrapped around her long bent legs. Jamie stands in back, he looks nervous. Darby a few feet away from him is texting. Cornelia waves from a crowded corner. Josh smiles wearily. Kent talks soberly on screen.</scene_description>
<character>KENT (ON SCREEN)</character>
<dialogue>In the report it says we followed procedure. A flashlight, three flares, and the hand signals...</dialogue>
<scene_description>A quick jerky zoom into Kent, missing his face and then adjusting to find him. He does the hand signals, punctuating them with:</scene_description>
<character>KENT (ON SCREEN)</character>
<dialogue>...bum, bum, bum...but that's not how I remember it. It was sheer fucking panic when the bus approached the convoy. We opened fire --</dialogue>
<scene_description>Josh moves closer, looking for a place to sit or stand. He steps over a couple lying on the floor.</scene_description>
<character>BENNY</character>
<dialogue>Ow. Those are my fingers.</dialogue>
<character>JOSH</character>
<dialogue>Sorry, sorry.</dialogue>
<scene_description>Josh stops in his tracks. Over on the side, the Moon Landing headline above his head, stands Breitbart. To his right, the hedge fund dude, Dave. straight at him. She gives him a sad smile. Josh looks back at the screen. CLOSE: Josh's scholar, Ira, talking about the politics of war. CUT TO: The movie is over. The mostly 20-something crowd laughs, drinks beers. Breitbart picks an Oreo from a bowl of Oreos on a table. Josh pushes through the kids to find Jamie.</scene_description>
<character>JAMIE</character>
<dialogue>Yoshy!</dialogue>
<character>JOSH</character>
<dialogue>You invited Breitbart?</dialogue>
<character>JAMIE</character>
<dialogue>Yeah, he called me after you introduced us.</dialogue>
<character>JOSH</character>
<dialogue>He called you?</dialogue>
<character>JAMIE</character>
<dialogue>Yeah...and at our dinner I invited him to tonight.</dialogue>
<character>JOSH</character>
<dialogue>At "our dinner?" Dinner with him? When did you have dinner?</dialogue>
<character>JAMIE</character>
<dialogue>After he called me, he suggested we get dinner.</dialogue>
<character>JOSH</character>
<dialogue>Uh huh.</dialogue>
<parenthetical>(pause)</parenthetical>
<dialogue>Where'd you go?</dialogue>
<character>JAMIE</character>
<dialogue>This beautiful joint, um, on the Upper West Side --</dialogue>
<character>JOSH</character>
<dialogue>Jackson Hole.</dialogue>
<character>JAMIE</character>
<dialogue>Yeah! How'd you know?</dialogue>
<character>JOSH</character>
<dialogue>That's where he goes.</dialogue>
<dialogue>Great burgers. Have you been there?</dialogue>
<character>JOSH</character>
<dialogue>Yes, I've been there with him a million times.</dialogue>
<character>JAMIE</character>
<dialogue>Have you gotten the Buffalo burger?</dialogue>
<character>JOSH</character>
<dialogue>Of course!</dialogue>
<character>JAMIE</character>
<dialogue>He dug the footage.</dialogue>
<parenthetical>(pause)</parenthetical>
<dialogue>Is something wrong?</dialogue>
<character>JOSH</character>
<dialogue>I guess I wish you'd asked me before you just went to him...</dialogue>
<character>JAMIE</character>
<dialogue>Hey, I'm sorry. I called him actually just to ask him a question about how he shot something and we just got to talking, see, and he asked me what I was working on...</dialogue>
<character>JOSH</character>
<dialogue>So you called him?</dialogue>
<character>JAMIE</character>
<dialogue>What?</dialogue>
<character>JOSH</character>
<dialogue>You said he called you.</dialogue>
<character>JAMIE</character>
<dialogue>He called me back, yeah.</dialogue>
<character>JOSH</character>
<dialogue>Does Cornelia know?</dialogue>
<character>HEDGE FUND DAVE (O.S.)</character>
<dialogue>Very cool! Very cool.</dialogue>
<scene_description>The hedge fund guy, Dave, does a double fist bump with Jamie which they mime exploding.</scene_description>
<character>HEDGE FUND DAVE</character>
<dialogue>I'm proud to be part of it.</dialogue>
<dialogue>Dave, you know Josh.</dialogue>
<character>HEDGE FUND DAVE</character>
<parenthetical>(barely looking at Josh)</parenthetical>
<dialogue>Nice to meet you.</dialogue>
<parenthetical>(to Jamie)</parenthetical>
<dialogue>Seriously dude, this movie is kill- aaahhhh.</dialogue>
<parenthetical>(does a little dance)</parenthetical>
<dialogue>We're going to Afghanistan, we're going to Afghanistan...</dialogue>
<character>JOSH</character>
<parenthetical>(taken aback)</parenthetical>
<dialogue>You're going to Afghanistan?</dialogue>
<character>JAMIE</character>
<dialogue>To interview soldiers in Kent's unit. We've got a butt-load of work to do before we go. I'm going to need help.</dialogue>
<character>HEDGE FUND DAVE</character>
<dialogue>Afghanistan, Afghanistan!</dialogue>
<scene_description>Josh starts to retreat into the crowd. He hesitates. It pains him to say this, but:</scene_description>
<character>JOSH</character>
<dialogue>Um, if you have any other editing work, my guy Tim, is great and could use some cash.</dialogue>
<character>JAMIE</character>
<dialogue>That would be beautiful.</dialogue>
<character>JOSH</character>
<parenthetical>(defeated)</parenthetical>
<dialogue>I'll text you his info.</dialogue>
<character>HEDGE FUND DAVE</character>
<parenthetical>(to Jamie)</parenthetical>
<dialogue>Dude, I want you to meet Diane, she's a reporter for the Times.</dialogue>
<scene_description>Dave drags Jamie across the room. Darby takes Jamie's arm as he passes, she asks him a question. He replies tersely back. She walks away, pissed. Dave pulls Jamie onward. We MOVE in on Josh. Color vanishes from his face as a terrible sinking feeling enters his body. Two hands wrap around his neck like choking. He reacts. Ahh! It's Cornelia. She smokes a cigarette.</scene_description>
<character>CORNELIA</character>
<dialogue>I've been looking for you.</dialogue>
<character>JOSH</character>
<dialogue>You're smoking?</dialogue>
<parenthetical>(re: everything)</parenthetical>
<dialogue>What's going on? This is like a fucking bad dream. Everyone is here doing weird shit. Where's my highschool algebra teacher, Mr. Morelli riding a fucking turtle?</dialogue>
<scene_description>Across the room, Breitbart is approached by Dave and Jamie.</scene_description>
<character>CORNELIA</character>
<parenthetical>(re: her dad)</parenthetical>
<dialogue>I had no idea Dad was coming. I saw him when I got here.</dialogue>
<character>JOSH</character>
<dialogue>Are you sure? Are you sure you're not just saying that?</dialogue>
<character>CORNELIA</character>
<dialogue>Yes, Josh! Why would I lie to you?</dialogue>
<character>JOSH</character>
<dialogue>Do you think Jamie came to my talk because he knew I was married to you? That this was all so he could meet your dad?</dialogue>
<character>CORNELIA</character>
<dialogue>Josh, you know, the world isn't a conspiracy against you.</dialogue>
<character>JOSH</character>
<dialogue>You know, fuck you.</dialogue>
<character>CORNELIA</character>
<dialogue>Fuck you. Don't talk to me like that.</dialogue>
<character>JOSH</character>
<dialogue>I'm saying "Fuck you" in that way Jamie and Darby say it where it's not a real Fuck you, it's a semi-playful Fuck you.</dialogue>
<scene_description>We're not Jamie and Darby. We don't talk to each other that way. If you say Fuck you to me it feels like a real Fuck you.</scene_description>
<character>JOSH</character>
<dialogue>It is real.</dialogue>
<character>CORNELIA</character>
<dialogue>Fuck you. And not semi-playfully either!</dialogue>
<character>JOSH</character>
<dialogue>Fuck you. Total real, cutting to the core: Fuck you.</dialogue>
</scene>
<scene>
<stage_direction>EXT. JAMIE AND DARBY'S BUILDING. NIGHT</stage_direction>
<scene_description>Josh comes outside, furious. Darby is making out with a Latino guy who looks like a gang member.</scene_description>
<character>JOSH</character>
<dialogue>Darby?</dialogue>
<scene_description>Darby lets go of the guy and looks at Josh.</scene_description>
<character>DARBY</character>
<dialogue>Hey, sir.</dialogue>
<character>JOSH</character>
<dialogue>Are you okay?</dialogue>
<character>DARBY</character>
<dialogue>Shit's bad.</dialogue>
<parenthetical>(pause)</parenthetical>
<dialogue>You want to get some goat?</dialogue>
</scene>
<scene>
<stage_direction>INT. CARIBBEAN RESTAURANT, BUSHWICK. NIGHT</stage_direction>
<scene_description>Josh and Darby eat at a table.</scene_description>
<character>DARBY</character>
<dialogue>Crushes fade. Things lose their luster, you know? Maybe I'm just down on relationships right now.</dialogue>
<character>JOSH</character>
<dialogue>What about Jamie?</dialogue>
<character>DARBY</character>
<dialogue>Jamie's in love with Jamie.</dialogue>
<scene_description>I thought you guys seemed great.</scene_description>
<character>DARBY</character>
<dialogue>You know how no one will ever pick up just a male hitchhiker? But if it's a couple, you might pull over? I'm the girl so you'll pull over and pick up Jamie.</dialogue>
<parenthetical>(pause)</parenthetical>
<dialogue>Doing ayawasca I realized I never forgave my mom for dying and until I do I'll never have a decent relationship with a guy.</dialogue>
<character>JOSH</character>
<dialogue>When did she die?</dialogue>
<character>DARBY</character>
<dialogue>When I was in highschool. She had ovarian cancer.</dialogue>
<character>JOSH</character>
<dialogue>I'm sorry...</dialogue>
<parenthetical>(realizing)</parenthetical>
<dialogue>Isn't that also how Jamie's mom died? He talks about it in the film.</dialogue>
<scene_description>Darby hesitates.</scene_description>
<character>DARBY</character>
<dialogue>Why'd you let Jamie use your scholar?</dialogue>
<character>JOSH</character>
<dialogue>I was trying out being generous. He'd do the same for me. That's how you guys are.</dialogue>
<character>DARBY</character>
<parenthetical>(with sympathy)</parenthetical>
<dialogue>Oh, Josh... You're such a man-fox.</dialogue>
<character>JOSH</character>
<dialogue>A man-fox? I wish it didn't need the "man" qualifier?</dialogue>
<character>DARBY</character>
<dialogue>Because you're like a hot dad. Without children.</dialogue>
<scene_description>Suddenly, she pulls her chair over to him, leans in, and kisses him on the mouth. He slowly moves away. We shouldn't... She slides her chair back to her side of the table. She hesitates, embarrassed.</scene_description>
<character>DARBY</character>
<dialogue>This is the part where I say, "I was a bet?!"</dialogue>
<character>JOSH</character>
<dialogue>What?</dialogue>
<character>DARBY</character>
<dialogue>You know those romantic comedies where the girl was a bet?</dialogue>
<scene_description>He nods. She nods too.</scene_description>
<character>DARBY</character>
<dialogue>Yeah. Just because they did, doesn't mean we have to.</dialogue>
<character>JOSH</character>
<dialogue>What...what do you mean?</dialogue>
<character>DARBY</character>
<dialogue>She never told you? Jamie and Cornelia made out at the ayawasca. It was in the Papyrus reeds behind the pyramids.</dialogue>
<scene_description>Josh looks staggered.</scene_description>
<character>DARBY</character>
<dialogue>I'm sorry, I stole one of Tipper's adderalls. You want to go dancing?</dialogue>
<character>JOSH</character>
<parenthetical>(now getting angry)</parenthetical>
<dialogue>Yeah, I'm not going home tonight.</dialogue>
</scene>
<scene>
<stage_direction>INT. AFTER HOURS GAY CLUB. LATE NIGHT</stage_direction>
<scene_description>Darby dances with Josh amidst muscular shirtless gay men. He throws himself into it, trying to lose himself completely.</scene_description>
<character>JAMIE (V.O.)</character>
<dialogue>Thanks for meeting me so early.</dialogue>
</scene>
<scene>
<stage_direction>INT. JACKSON HOLE RESTAURANT. MORNING</stage_direction>
<scene_description>Jamie sits across from Cornelia. She looks tired and distracted. We've got a butt-load to do. Dave needs a budget for Afghanistan.</scene_description>
<character>CORNELIA</character>
<dialogue>I'm almost finished with it.</dialogue>
<character>JAMIE</character>
<dialogue>I've been reading a lot about Afghanistan. It's crazy. You know no one's ever been able to successfully occupy Afghanistan.</dialogue>
<character>CORNELIA</character>
<parenthetical>(looking at her phone to see if anyone called)</parenthetical>
<dialogue>Yeah...I've heard that.</dialogue>
<character>JAMIE</character>
<dialogue>I think we got something now. With your help, it can really be something.</dialogue>
<parenthetical>(pause)</parenthetical>
<dialogue>Leslie's notes were awesome.</dialogue>
<character>CORNELIA</character>
<dialogue>He's smart that way.</dialogue>
<character>JAMIE</character>
<dialogue>And he's really chill to kick it with.</dialogue>
<scene_description>She hesitates, she wipes a tear from her chin.</scene_description>
<character>CORNELIA</character>
<dialogue>I'm sorry. Josh and I had a fight last night and...he didn't come home.</dialogue>
<scene_description>Cornelia starts to cry. Jamie hands her a napkin.</scene_description>
<character>JAMIE</character>
<dialogue>Hey, hey, it's going to be okay. Joshy will come back.</dialogue>
<character>CORNELIA</character>
<parenthetical>(wipes her face)</parenthetical>
<dialogue>Thank you. I'm sorry I'm like this.</dialogue>
<character>JAMIE</character>
<dialogue>Hey, no worries.</dialogue>
<parenthetical>(his eyes avert her)</parenthetical>
<dialogue>I was thinking, maybe you and your dad would want to work on my thing together.</dialogue>
<scene_description>might be kind of great, right? A moment, Cornelia studies him. Jamie inspects his fork.</scene_description>
<character>JAMIE</character>
<dialogue>I mean, you're producing, but he could bless it essentially...</dialogue>
<character>CORNELIA</character>
<dialogue>Bless it? Like a sneeze?</dialogue>
<character>JAMIE</character>
<parenthetical>(smiles)</parenthetical>
<dialogue>I was thinking more like the Pope.</dialogue>
<character>CORNELIA</character>
<dialogue>He doesn't do that kind of thing --</dialogue>
<character>JAMIE</character>
<dialogue>I think if you asked him, he might.</dialogue>
<scene_description>Cornelia hesitates. She says, suddenly:</scene_description>
<character>CORNELIA</character>
<dialogue>Did you ever see Power Elite?</dialogue>
<scene_description>Jamie gets up and exchanges his fork with one on another table.</scene_description>
<character>JAMIE</character>
<dialogue>What's that?</dialogue>
<scene_description>The corner of Cornelia's mouth turns up.</scene_description>
<character>JAMIE</character>
<parenthetical>(catching himself)</parenthetical>
<dialogue>Josh's movie! Goddamn, yes. I told him that. I loved that scene with the dogs.</dialogue>
<scene_description>Jamie returns with the new fork.</scene_description>
<character>CORNELIA</character>
<dialogue>When you went to Josh's class, you knew Josh and I were married, didn't you? And that Leslie was my dad.</dialogue>
<character>JAMIE</character>
<parenthetical>(hesitates)</parenthetical>
<dialogue>Hey, I admire lots of people, I want lots of things. You know what I mean. We all want stuff -- it doesn't mean we're douche bags.</dialogue>
<scene_description>you're married to my friend, but I get it --</scene_description>
<character>CORNELIA</character>
<dialogue>I thought you were Josh.</dialogue>
<character>JAMIE</character>
<dialogue>The first time.</dialogue>
<scene_description>Cornelia stiffens.</scene_description>
<character>JAMIE</character>
<dialogue>You know, but out of context, if other people heard about it, it might be misconstrued.</dialogue>
<scene_description>Cornelia looks out the window. Josh is across the street.</scene_description>
</scene>
<scene>
<stage_direction>EXT. JACKSON HOLE RESTAURANT. MORNING</stage_direction>
<scene_description>Cornelia approaches Josh, he's in the same clothes from last night. She's furious.</scene_description>
<character>CORNELIA</character>
<dialogue>Where were you last night?</dialogue>
<character>JOSH</character>
<dialogue>I went dancing with Darby at an after hours gay club.</dialogue>
<parenthetical>(angry and suspicious)</parenthetical>
<dialogue>Is this some kind of private meeting?</dialogue>
<character>CORNELIA</character>
<dialogue>Did you follow me here?</dialogue>
<character>JOSH</character>
<dialogue>I follow him on Twitter! You can't lie like we used to lie anymore. Everything is reported. Nothing is private.</dialogue>
<character>CORNELIA</character>
<dialogue>There's nothing going on --</dialogue>
<character>JOSH</character>
<dialogue>Don't lie to me. You kissed him. I know all about it.</dialogue>
<character>CORNELIA</character>
<dialogue>I thought he was you, Joshy.</dialogue>
<scene_description>Don't call me Joshy! You don't call me Joshy. Sorry.</scene_description>
<character>JOSH</character>
<dialogue>It's all a pose...it's like he once saw a sincere person and has been imitating him ever since! And you're falling for it.</dialogue>
<character>CORNELIA</character>
<parenthetical>(shakes her head)</parenthetical>
<dialogue>I didn't even like them! You convinced me how awesome they were.</dialogue>
<character>JOSH</character>
<dialogue>They're entitled little brats. And don't you see, this is all a plan. He wants to destroy me.</dialogue>
<scene_description>Jamie appears across the street, he holds a small video camera. He waves at Josh.</scene_description>
<character>JOSH</character>
<dialogue>Go back inside!</dialogue>
<scene_description>Josh takes off his porkpie hat.</scene_description>
<character>JOSH</character>
<dialogue>You and your father can have him. You always wanted a more successful me, so go for it.</dialogue>
<character>CORNELIA</character>
<dialogue>What is wrong with you?</dialogue>
<character>JOSH</character>
<dialogue>I didn't know when we got married that you also wanted to play kissy face with the twenty-five year olds. I didn't know you wouldn't want to have kids.</dialogue>
<character>CORNELIA</character>
<dialogue>I didn't know it either. I didn't know you'd never finish your movie.</dialogue>
<character>JOSH</character>
<dialogue>I'll finish it! I want to get it right.</dialogue>
<character>CORNELIA</character>
<dialogue>It's obsession. It's fear. I don't know.</dialogue>
<scene_description>anything. At least Jamie makes something!</scene_description>
<character>JOSH</character>
<dialogue>Do NOT compare what I do with him.</dialogue>
<character>CORNELIA</character>
<dialogue>Why not? When you felt a part of it, you loved it.</dialogue>
<parenthetical>(Josh says nothing)</parenthetical>
<dialogue>And you use your career as an excuse not to do anything. We don't make decisions, we don't go on vacations, we don't have kids.</dialogue>
<character>JOSH</character>
<dialogue>I want a kid.</dialogue>
<character>CORNELIA</character>
<dialogue>You want it now that it's impossible.</dialogue>
<character>JOSH</character>
<dialogue>It's not impossible.</dialogue>
<character>CORNELIA</character>
<dialogue>No. It's over. It's done. I'm not putting myself through that anymore.</dialogue>
<parenthetical>(indicating her body)</parenthetical>
<dialogue>This is closed.</dialogue>
<scene_description>Josh hesitates and then throws his hat into a garbage can. He starts to walk away. He turns around, retrieves the hat from the garbage and walks away for real.</scene_description>
</scene>
<scene>
<stage_direction>INT. FLETCHER/MARINA APT. - LIVING ROOM. NIGHT 58 \*</stage_direction>
<scene_description>Josh blows into an air mattress.</scene_description>
<character>FLETCHER (O.S.)</character>
<dialogue>Marina's at a work dinner. \*</dialogue>
<scene_description>Fletcher enters with a couple of old looking sheets. Willow, the baby, sleeps in a moby wrapped around Fletcher's torso.</scene_description>
<character>FLETCHER</character>
<dialogue>They're both top-sheets but...you know...</dialogue>
<character>JOSH</character>
<dialogue>Thanks.</dialogue>
<scene_description>You might wake up when I come through here for Willow's 2 AM feeding. And then 5 AM. And then all the other times she wakes up.</scene_description>
<character>JOSH</character>
<dialogue>That's okay.</dialogue>
<scene_description>Fletcher pours them both whiskeys. Josh picks up a cardboard sleeve from a Wilco CD off of a table. He smiles.</scene_description>
<character>JOSH</character>
<parenthetical>(re: the baby)</parenthetical>
<dialogue>How is she?</dialogue>
<character>FLETCHER</character>
<parenthetical>(looks down at her)</parenthetical>
<dialogue>Pretty good. Cool baby. To be honest, though, it's a little hard for me to relate to an infant.</dialogue>
<character>JOSH</character>
<dialogue>It seems kind of cool though.</dialogue>
<character>FLETCHER</character>
<dialogue>It's like the pregnancy is its own thing. You get so used to it. After a while I just felt, we did this, we don't actually need the baby.</dialogue>
<character>JOSH</character>
<parenthetical>(nods)</parenthetical>
<dialogue>I'm sorry if I've appeared crazy or...I don't know...</dialogue>
<character>FLETCHER</character>
<dialogue>I'm sorry we didn't invite you to the party.</dialogue>
<character>JOSH</character>
<parenthetical>(shrugs)</parenthetical>
<dialogue>I think I've been jealous of you guys having a kid...</dialogue>
<character>FLETCHER</character>
<dialogue>You know, before you have a kid, everyone tells you, "It's the best thing you'll ever do." As soon as you bring that baby back from the hospital, the same people say, "Don't worry, it gets better." It's like, what the fuck was that all about before?</dialogue>
<scene_description>Having Willow must have changed your whole perspective on life.</scene_description>
<character>FLETCHER</character>
<parenthetical>(pause)</parenthetical>
<dialogue>Not as much as I hoped it would.</dialogue>
<parenthetical>(lowering his voice)</parenthetical>
<dialogue>I love my kid but I'm still the most important person in my life.</dialogue>
<scene_description>Fletcher winces as he sits in a chair.</scene_description>
<character>FLETCHER</character>
<dialogue>Did I tell you I have a herniated disk, C5 or some shit... I'm getting an epidurol on Monday.</dialogue>
<character>JOSH</character>
<parenthetical>(laughing)</parenthetical>
<dialogue>I have arthritis in my knees.</dialogue>
<character>FLETCHER</character>
<dialogue>What the fuck is happening to us?</dialogue>
</scene>
<scene>
<stage_direction>INT. TIM'S APARTMENT BUILDING - HALLWAY, BROOKLYN. DAY</stage_direction>
<scene_description>Josh waits outside an apartment door. A shirtless eight year old boy opens the door. Josh nods at him. Tim opens the door further.</scene_description>
<character>JOSH</character>
<dialogue>Hey, man, I'm sorry about...not paying you.</dialogue>
<character>TIM</character>
<dialogue>Yeah...</dialogue>
<character>JOSH</character>
<dialogue>I mean, I hoped the money would come in... It didn't. I kind of fudged that.</dialogue>
<character>TIM</character>
<dialogue>I just can't work for nothing, you know?</dialogue>
<scene_description>The kid shakes Josh's hand.</scene_description>
<character>TIM</character>
<dialogue>But thanks for hooking me up with Jamie, I've been freelancing a bit for him.</dialogue>
<dialogue>If you're not too busy there, I want to hire you back for a couple of weeks. I can pay you.</dialogue>
<character>TIM</character>
<dialogue>Did the grant money come in?</dialogue>
<character>JOSH</character>
<dialogue>No, I sold all my CD's. And some other things.</dialogue>
</scene>
<scene>
<stage_direction>INT. JOSH/CORNELIA APT. - HOME OFFICE. DAY</stage_direction>
<scene_description>Tim and Josh sit in front of the screen.</scene_description>
<character>JOSH</character>
<dialogue>Leslie suggested we cut the bit on Turkish politics, I told him it was crucial because of --</dialogue>
<character>TIM</character>
<parenthetical>(immediately)</parenthetical>
<dialogue>I think it's a good idea.</dialogue>
<character>JOSH</character>
<dialogue>Yeah?</dialogue>
<character>TIM</character>
<dialogue>Yeah. We got to cut something.</dialogue>
<character>JOSH</character>
<parenthetical>(relents)</parenthetical>
<dialogue>Okay, let's try it.</dialogue>
<scene_description>Tim puts up an image on the SCREEN. It's Kent.</scene_description>
<character>TIM</character>
<dialogue>Oh, this is Jamie's footage. Stuff I was working on... Let me...</dialogue>
<scene_description>He moves to take it down.</scene_description>
<character>JOSH</character>
<dialogue>Wait --</dialogue>
<character>TIM</character>
<dialogue>What?</dialogue>
<character>JOSH</character>
<dialogue>Hold on that image of Kent.</dialogue>
<character>TIM</character>
<dialogue>Okay.</dialogue>
<character>JOSH</character>
<parenthetical>(dramatically)</parenthetical>
<dialogue>Blow it up.</dialogue>
<character>TIM</character>
<dialogue>I can't do that on this machine.</dialogue>
<character>JOSH</character>
<dialogue>Really?</dialogue>
<character>TIM</character>
<dialogue>No.</dialogue>
<scene_description>Josh leans in. He squints. His POV: CLOSE on the home-made ice cream container in Kent's hand. The hipster cow.</scene_description>
<character>JOSH</character>
<dialogue>That's Darby's ice cream.</dialogue>
<character>TIM</character>
<dialogue>It looks like mint of some kind.</dialogue>
<character>JOSH</character>
<parenthetical>(distracted)</parenthetical>
<dialogue>It's avocado.</dialogue>
<scene_description>Tim unfreezes the image. We ZOOM in on Jamie.</scene_description>
<character>JAMIE (ON SCREEN)</character>
<dialogue>...my mom was really sick with ovarian cancer, I was pretty promiscuous, but I couldn't love anyone, I had body issues --</dialogue>
<character>JOSH</character>
<dialogue>Darby was there before we were. Don't you see, she brought Kent the ice cream.</dialogue>
<character>TIM</character>
<parenthetical>(confused)</parenthetical>
<dialogue>I know Jamie's your friend, but to be honest, he's kind of a prick.</dialogue>
<scene_description>On SCREEN, Jamie's open, earnest expression, his eyes watery and full of emotion.</scene_description>
</scene>
<scene>
<stage_direction>INT. RENTAL CAR. DAY</stage_direction>
<scene_description>CLOSE on Josh. His face is intense, his arms grip the wheel. (absent-mindedly singing) "You're playing Nintendo. That's not what I'm doing, that's not what I'm fuck-ing doing -- He bangs the wheel three times.</scene_description>
<character>JOSH</character>
<dialogue>I'm fucking exposing your shit, mother fuck-ahhhhh --"</dialogue>
</scene>
<scene>
<stage_direction>EXT. KENT'S HOUSE, POUGHKEEPSIE. DAY</stage_direction>
<scene_description>Josh rings the bell. The sister appears behind the glass. She wears a party hat.</scene_description>
<character>JOSH</character>
<dialogue>Hey. Is Kent here?</dialogue>
</scene>
<scene>
<stage_direction>INT. KENT'S HOUSE/EXT. BACKYARD. DAY</stage_direction>
<scene_description>Josh is lead by Kent's sister through the house. We hear screaming in the backyard.</scene_description>
<character>JOSH</character>
<dialogue>Is everything okay?</dialogue>
<character>SISTER</character>
<dialogue>My son turns seven today.</dialogue>
<character>JOSH</character>
<dialogue>Oh, happy birthday.</dialogue>
<scene_description>They walk through the small space, stepping over toys and discarded plates of food and reach a cramped, uncultivated backyard. Kent, in a top coat and tails is pulling an endless streamer out of his mouth. The kids scream with delight.</scene_description>
</scene>
<scene>
<stage_direction>INT. BREITBART'S APARTMENT. SAME</stage_direction>
<scene_description>CLOSE: Cornelia stares intently into her father's eyes. They're inches apart.</scene_description>
<character>BREITBART</character>
<dialogue>You're so intense.</dialogue>
<character>CORNELIA</character>
<dialogue>I'm focusing.</dialogue>
<scene_description>We see now: Cornelia ties her Dad's bow-tie. She's very concentrated on the action. (finishing) There.</scene_description>
<character>BREITBART</character>
<dialogue>Thank you.</dialogue>
<scene_description>He looks at himself in the mirror and approves.</scene_description>
<character>BREITBART</character>
<dialogue>It's been very strange looking back over my career. How did I accomplish all of that? If I'm honest with myself: it sometimes took being a selfish prick. Of course, you can't say that. In my speech I attribute it to talent, work and luck. It's something I don't think your husband realizes. He still believes the speeches.</dialogue>
<character>CORNELIA</character>
<dialogue>When I first started dating him, he reminded me so much of you.</dialogue>
<character>BREITBART</character>
<dialogue>His problem is he wants what I have but he's not merciless enough to get it.</dialogue>
<character>CORNELIA</character>
<parenthetical>(simply and sadly)</parenthetical>
<dialogue>You know I am disappointed in Josh. On some level I feel like he failed. But I don't know if I actually feel that because I feel that or I feel it because he does. Either way it's a terrible thing to think about your husband.</dialogue>
<character>BREITBART</character>
<dialogue>You know, Josh told me... I didn't know you miscarried.</dialogue>
<character>CORNELIA</character>
<dialogue>A few times. The magic of youth is that every decision is the right one and you don't have to make any of them. The terror of adulthood is there are limited options and you have to pick.</dialogue>
<scene_description>There's no magic in being old. Some asshole tried to offer me a seat on the subway yesterday. She smiles. She takes her phone from her pocket and checks it. No calls.</scene_description>
<character>BREITBART</character>
<dialogue>You young people are always checking your devices.</dialogue>
<character>CORNELIA</character>
<parenthetical>(embarrassed)</parenthetical>
<dialogue>I'm sorry...it's habit.</dialogue>
</scene>
<scene>
<stage_direction>EXT. KENT'S BACKYARD. DAY</stage_direction>
<scene_description>The kids smash a pinata with a baseball bat. Josh eats birthday cake off of a Space themed plate. Kent, still in his magician clothes, does tricks for kids as they come by.</scene_description>
<character>KENT</character>
<dialogue>I learned magic from a dude, Elvin, over in Afghanistan. He was shredded by a land mine.</dialogue>
<character>JOSH</character>
<dialogue>That's terrible.</dialogue>
<character>KENT</character>
<dialogue>I'm more old fashioned in my approach. I don't lock myself in a box or anything, it's mostly cards and balls. I learn from YouTube videos. It keeps me from going out of my head.</dialogue>
<character>JOSH</character>
<dialogue>Yeah...we need distractions. For me it's the internet. I'm trying to go on less, you know. You know, it's like how many times can I check the Huffington Post?</dialogue>
<scene_description>Kent does a card trick for some kids.</scene_description>
<character>KID</character>
<dialogue>It's in your other hand!</dialogue>
<scene_description>Kent opens his hand, the card is gone. How did you fucking do that?</scene_description>
<character>SISTER</character>
<dialogue>Louis!</dialogue>
<character>KID</character>
<dialogue>Sorry.</dialogue>
<character>JOSH</character>
<dialogue>What made you contact Jamie on Facebook?</dialogue>
<scene_description>Kent looks at Josh strangely. Josh shovels a piece of cake into his mouth.</scene_description>
<character>KENT</character>
<dialogue>What do you mean?</dialogue>
<character>JOSH</character>
<parenthetical>(clears his throat)</parenthetical>
<dialogue>What made you reach out to him?</dialogue>
<character>KENT</character>
<dialogue>I didn't. He contacted me.</dialogue>
<scene_description>Kent indicates to Josh that he has icing on his face. Josh wipes at it.</scene_description>
<character>KENT</character>
<dialogue>Other side. I had no idea who he was.</dialogue>
<character>JOSH</character>
<dialogue>Really?</dialogue>
<character>KENT</character>
<dialogue>He said he lived with Darby and that we'd gone to school in Santa Cruz together for a short time in the 90's.</dialogue>
<scene_description>A kid hits Josh in the leg with the bat.</scene_description>
<character>JOSH</character>
<dialogue>Ow! Fuck!</dialogue>
<character>KENT</character>
<dialogue>Louis, don't be a prick!</dialogue>
<character>KID</character>
<dialogue>Sorry.</dialogue>
<character>KENT</character>
<parenthetical>(to Josh)</parenthetical>
<dialogue>And you, language.</dialogue>
<dialogue>Sorry.</dialogue>
<parenthetical>(beat)</parenthetical>
<dialogue>But you remembered Darby...</dialogue>
<character>KENT</character>
<dialogue>Darby's been a good friend for years. We'd Skype sometimes when I was in Kandahar. The reception was really shitty though. It would freeze up all the time.</dialogue>
<character>JOSH</character>
<dialogue>Did she know about...that you were in the hospital?</dialogue>
<scene_description>Kent hesitates.</scene_description>
<character>KENT</character>
<dialogue>Who are you again?</dialogue>
<character>JOSH</character>
<dialogue>I'm Jamie's cameraman.</dialogue>
<character>KENT</character>
<dialogue>And why are you asking this stuff?</dialogue>
<character>JOSH</character>
<dialogue>Fact checking the movie?</dialogue>
<character>KENT</character>
<dialogue>Uh huh. Yeah, Darby knew. Darby was the first person I called. She came to visit a few times before you guys arrived.</dialogue>
<scene_description>Some kids knock Kent's top hat off and run with it across the garden.</scene_description>
<character>KENT</character>
<dialogue>Bring that back, you fuckers!</dialogue>
<character>SISTER</character>
<dialogue>Kent!</dialogue>
<character>KENT</character>
<dialogue>Sorry.</dialogue>
<character>JOSH</character>
<dialogue>What did you think when Jamie talked about Darby's childhood as if it was his own?</dialogue>
<character>KENT</character>
<dialogue>He said he was playing a part.</dialogue>
<scene_description>He said that when?</scene_description>
<character>KENT</character>
<dialogue>He called me a week or so before you guys came up and filmed me.</dialogue>
<scene_description>Josh reaches into his pocket and takes out a small portable video camera. He turns it on and shoots Kent.</scene_description>
<character>JOSH</character>
<dialogue>Can you say that again?</dialogue>
</scene>
<scene>
<stage_direction>INT. BREITBART'S APARTMENT. DAY</stage_direction>
<scene_description>Cornelia, on her phone, has stepped away from her Dad who practices his speech in the background. She gets Josh's voice-mail.</scene_description>
<character>CORNELIA</character>
<dialogue>Josh...it's me...again...I just...I am so sorry...I hope you come to my Dad's thing, he'd like it and I'd like it and...I'm so sorry for all the things we said and I said and...I haven't said and...I've said but haven't said to you. This sounds cryptic, and maybe insane, but it's not. I just, can you call me back? Can you come, please?</dialogue>
<parenthetical>(beat)</parenthetical>
<dialogue>Where are you, Josh?</dialogue>
<scene_description>The doorbell rings. She brightens.</scene_description>
<character>CORNELIA</character>
<dialogue>Wait! Maybe this is you!</dialogue>
<scene_description>She hangs up and hurries to the door.</scene_description>
<character>CORNELIA</character>
<dialogue>I got it!</dialogue>
<scene_description>She opens the door: a hand extends from behind the wall, clutching a dozen roses. She is touched:</scene_description>
<character>CORNELIA</character>
<dialogue>Josh, I...</dialogue>
<scene_description>Jamie steps into the door-frame.</scene_description>
<character>JAMIE</character>
<dialogue>Jamie, actually. Don't worry, it's not weird. These are for your dad.</dialogue>
<character>BREITBART (O.S.)</character>
<dialogue>There he is!</dialogue>
</scene>
<scene>
<stage_direction>EXT. JAMIE AND DARBY'S APARTMENT, BUSHWICK. LATE DAY</stage_direction>
<scene_description>Josh leans on the buzzer.</scene_description>
</scene>
<scene>
<stage_direction>INT. JAMIE AND DARBY'S APARTMENT. LATE DAY</stage_direction>
<scene_description>Darby opens the door. A duffle bag and suitcase, computer and cat carrier with mewing cats are at her feet. Josh enters. He's sweaty and dirty and angry and out of breath from the trip.</scene_description>
<character>JOSH</character>
<dialogue>I've got to talk to Jamie!</dialogue>
<character>DARBY</character>
<dialogue>He's not here.</dialogue>
<character>JOSH</character>
<dialogue>Are you going somewhere?</dialogue>
<character>DARBY</character>
<parenthetical>(embarrassed)</parenthetical>
<dialogue>Tampa. If I stay here any longer I'll girl interrupt.</dialogue>
<character>JOSH</character>
<dialogue>I was just with Kent.</dialogue>
<character>DARBY</character>
<parenthetical>(with real feeling)</parenthetical>
<dialogue>Oh...Kent...I love Kent...</dialogue>
<character>JOSH</character>
<dialogue>I saw your ice cream in Jamie's video.</dialogue>
<scene_description>Darby nods. She smiles sadly.</scene_description>
<character>DARBY</character>
<dialogue>Well played, sir.</dialogue>
<character>JOSH</character>
<dialogue>He let me think I was the one who found out about Kent in Afghanistan. Why?</dialogue>
<character>DARBY</character>
<dialogue>Jamie doesn't want to disappoint you. None of us want to disappoint you.</dialogue>
<scene_description>never have made the movie without Afghanistan. When I told him about Kent and the massacre he thought it would make a good movie. He just had to figure out how to tell it.</scene_description>
<character>JOSH</character>
<dialogue>But why not tell it honestly?</dialogue>
<character>DARBY</character>
<dialogue>It's more entertaining this way.</dialogue>
<parenthetical>(beat)</parenthetical>
<dialogue>And now it has a before and after which, as you know, Americans love.</dialogue>
<character>JOSH</character>
<dialogue>Of course he had body issues, they were yours.</dialogue>
<parenthetical>(off her look)</parenthetical>
<dialogue>I don't mean, of course you had body issues, but...</dialogue>
<parenthetical>(pause)</parenthetical>
<dialogue>People have to know. He can't get away with this.</dialogue>
<character>DARBY</character>
<dialogue>Jamie does whatever he wants.</dialogue>
<character>JOSH</character>
<dialogue>This goes against everything he said he admired in me. The whole principle of making a doc. Darby, you don't understand. This is fraud. It's a big deal. People are jailed for this kind of thing.</dialogue>
<character>DARBY</character>
<dialogue>I don't like to meddle with people. If they're going to change, they'll change.</dialogue>
<character>JOSH</character>
<dialogue>Where is he?</dialogue>
<character>DARBY</character>
<dialogue>He's at your father-in-law's tribute.</dialogue>
<character>JOSH</character>
<parenthetical>(realizes)</parenthetical>
<dialogue>Oh, shit! That's now! And I returned the rental car.</dialogue>
<parenthetical>(re: his appearance)</parenthetical>
<dialogue>I'm a mess.</dialogue>
<scene_description>I can give you a jacket. And you can take Jamie's roller blades.</scene_description>
<character>JOSH</character>
<dialogue>Thanks.</dialogue>
<character>DARBY</character>
<parenthetical>(she goes to retrieve the items)</parenthetical>
<dialogue>You know, me and Jamie always wondered how are we going to get old and the answer is: just like everyone else.</dialogue>
</scene>
<scene>
<stage_direction>EXT. BUSHWICK STREETS. LATE DAY</stage_direction>
<scene_description>Josh, in a thrift store jacket over a hoody, jeans and sneakers attempts to roller blade, trying to get some momentum, but he can't really skate. A woman, 50's, on a Citi Bike whizzes by him. A little kid on a scooter rolls past.</scene_description>
</scene>
<scene>
<stage_direction>EXT. LINCOLN CENTER. SAME</stage_direction>
<scene_description>Breitbart and Cornelia enter the building among suited patrons. Photographers shoot Breitbart who wears a suit with a scarf. Jamie hangs back. He's more dapper than we've seen him in a suit and wide colorful tie.</scene_description>
<character>PHOTOGRAPHER</character>
<dialogue>Can we get one with you and your daughter!</dialogue>
<scene_description>Breitbart takes Cornelia's hand. Cameras click. Then Jamie steps into the shot. More cameras click. A photographer leans in to Jamie, holding a pad and pen.</scene_description>
<character>PHOTOGRAPHER</character>
<dialogue>What's your name?</dialogue>
<character>JAMIE</character>
<dialogue>Me? Jamie Massey.</dialogue>
<scene_description>OMITTED</scene_description>
</scene>
<scene>
<stage_direction>INT. LINCOLN CENTER. LATE DAY</stage_direction>
<scene_description>Tables are set up for a big dinner. Breitbart and Cornelia take their seats. Dave leans over from an adjacent table and shakes Breitbart's hand. Jamie plops down next to Cornelia. Jeez Louise. I've never been to a rat fuck like this. Did you see Lou Reed?</scene_description>
</scene>
<scene>
<stage_direction>E73 EXT. BUSHWICK STREETS. LATE DAY E73</stage_direction>
<scene_description>We see Josh appear on the horizon, blading toward us. He's getting the hang of it now. We come in CLOSE on his intense, determined face. He can do this!</scene_description>
</scene>
<scene>
<stage_direction>D73 INT/EXT. JEFFERSON AVENUE SUBWAY STATION STEPS D73</stage_direction>
<scene_description>Josh, jerkily descends sideways, clutching the railing.</scene_description>
</scene>
<scene>
<stage_direction>C73 INT. JEFFERSON AVENUE SUBWAY STATION TURNSTILE C73</stage_direction>
<scene_description>Josh rolls through, swiping as the passes.</scene_description>
</scene>
<scene>
<stage_direction>B73 INT. SUBWAY CAR B73</stage_direction>
<scene_description>Josh stands in his blades holding onto the bar.</scene_description>
</scene>
<scene>
<stage_direction>A73 EXT. STREETS OUTSIDE LINCOLN CENTER. NIGHT A73</stage_direction>
<scene_description>Josh stands in his blades pushing the walk button. Cars whizz in front of him. Josh blades across the plaza.</scene_description>
</scene>
<scene>
<stage_direction>INT. DINING HALL. NIGHT</stage_direction>
<scene_description>Josh enters from the back, disheveled and on his blades. He rolls to a railing that looks over the reception. The lights have dimmed and on a screen: A black and white CLIP from the 60's of a little boy getting a bath. Josh scans the tables and finds Breitbart's group. The CLIP ends to applause. Jamie leans over and says something to Cornelia. She nods. Her gaze goes in Josh's direction. Josh rolls backward and steps behind the bar.</scene_description>
<character>OLDER PATRON</character>
<dialogue>Can I get a Shirley Temple?</dialogue>
<scene_description>Josh nods and starts to pour her drink. The bartender stares at him.</scene_description>
<character>BARTENDER</character>
<dialogue>What are you doing, dude?</dialogue>
<scene_description>Can I stand here for a second?</scene_description>
<character>BARTENDER</character>
<dialogue>No.</dialogue>
<scene_description>Josh grabs a bottle of whiskey and rolls behind a plant. He removes his blades and stashes them in the planter. Jamie gets up from the table and walks toward the rest-rooms. Josh slugs from his whiskey bottle, and follows along the back of the hall.</scene_description>
</scene>
<scene>
<stage_direction>INT. LOBBY</stage_direction>
<scene_description>A wide carpeted room with high ceilings. A view of the park. Jamie looks out the window. Josh appears behind him. Jamie turns around, startled.</scene_description>
<character>JAMIE</character>
<dialogue>Yoshy!</dialogue>
<parenthetical>(beat)</parenthetical>
<dialogue>You okay? Is that my jacket? Are those my blades?</dialogue>
<character>JOSH</character>
<parenthetical>(sarcastic)</parenthetical>
<dialogue>Are they? Who knows, maybe they're Darby's. Darby's, yours, mine. Cookie O'Puss.</dialogue>
<character>JAMIE</character>
<parenthetical>(unfazed by Josh's dig)</parenthetical>
<dialogue>Where have you been? Everyone's asking about you.</dialogue>
<character>JOSH</character>
<parenthetical>(slugs from the bottle)</parenthetical>
<dialogue>I was in Poughkeepsie.</dialogue>
<character>JAMIE</character>
<dialogue>Okay.</dialogue>
<scene_description>Jamie watches Josh for a beat.</scene_description>
<character>JOSH</character>
<dialogue>It seems like you made a whole lot of stuff up.</dialogue>
<scene_description>Applause from the other room.</scene_description>
<character>JAMIE</character>
<dialogue>I don't want to miss his speech</dialogue>
<scene_description>CUT TO: Breitbart takes the stage.</scene_description>
<character>BREITBART</character>
<dialogue>I've been thinking of tonight as my memorial for so long I had completely forgotten I had to actually be alive for it.</dialogue>
<parenthetical>(laughter)</parenthetical>
<dialogue>I was hoping I could just sleep through it...</dialogue>
<scene_description>CUT TO:</scene_description>
</scene>
<scene>
<stage_direction>INT. LOBBY. NIGHT</stage_direction>
<scene_description>Josh and Jamie.</scene_description>
<character>JOSH</character>
<dialogue>You know, it's your responsibility to be honest. People are going to believe it.</dialogue>
<character>JAMIE</character>
<dialogue>I didn't do anything nobody else does --</dialogue>
<character>JOSH</character>
<parenthetical>(trying to make sense of that sentence)</parenthetical>
<dialogue>"I didn't do anything nobody else..." You reveal everything and nothing.</dialogue>
<parenthetical>(beat, composes himself)</parenthetical>
<dialogue>You said you wanted to be a real documentarian.</dialogue>
<character>JAMIE</character>
<dialogue>I do.</dialogue>
<character>JOSH</character>
<dialogue>I thought you were about process. Process and...ice cream. But you really will do anything to be successful...</dialogue>
<character>JAMIE</character>
<dialogue>Success isn't my thing, Josh. It's yours.</dialogue>
<scene_description>Josh is about respond, he hesitates. Nods. Yeah, you're right, it is my thing. I have a fucked up relationship with success. I want it and I don't have it. But what you have scares the shit out of me. You're not uncomfortable at all.</scene_description>
<character>JAMIE</character>
<dialogue>Why should I be uncomfortable?</dialogue>
<character>JOSH</character>
<dialogue>See, that I just find weird.</dialogue>
<character>JAMIE</character>
<dialogue>You're the only person who is weird about this. I asked you to co-direct --</dialogue>
<character>JOSH</character>
<dialogue>Yeah, because you knew I'd say, No!</dialogue>
<scene_description>CUT TO:</scene_description>
</scene>
<scene>
<stage_direction>INT. DINING HALL. NIGHT</stage_direction>
<scene_description>Breitbart's speech.</scene_description>
<character>BREITBART</character>
<dialogue>Now people have criticized me and some of my colleagues saying that we were pretending to be objective when there is no objectivity.</dialogue>
<scene_description>CUT TO:</scene_description>
</scene>
<scene>
<stage_direction>INT. LOBBY. NIGHT</stage_direction>
<scene_description>Josh and Jamie.</scene_description>
<character>JAMIE</character>
<dialogue>Jeez, Joshy. Everyone does this kind of thing.</dialogue>
<character>JOSH</character>
<dialogue>I don't. I don't do something like this. I'm trying to make movies to figure out the truth.</dialogue>
<character>JAMIE</character>
<parenthetical>(incredulous)</parenthetical>
<dialogue>Really?</dialogue>
<scene_description>Yes! CUT TO:</scene_description>
</scene>
<scene>
<stage_direction>INT. DINING HALL. NIGHT</stage_direction>
<scene_description>Breitbart.</scene_description>
<character>BREITBART</character>
<dialogue>Okay, we were trying to capture truth, but the truth of experience, of being in the moment, of seeing something as it happens.</dialogue>
<scene_description>CUT TO:</scene_description>
</scene>
<scene>
<stage_direction>INT. LOBBY. NIGHT</stage_direction>
<scene_description>Josh and Jamie.</scene_description>
<character>JOSH</character>
<parenthetical>(sadly)</parenthetical>
<dialogue>I do know that documentaries are over.</dialogue>
<character>JAMIE</character>
<dialogue>Are you kidding? It's what everyone is doing.</dialogue>
<character>JOSH</character>
<parenthetical>(indicating Breitbart)</parenthetical>
<dialogue>His documentaries are over. What you're doing is something else. If everyone is filming everything, what's a documentary anymore? It has no meaning, it's just shit you recorded! Is that old man talk? Maybe it is. You kids have been told you can do anything. You can't.</dialogue>
<parenthetical>(beat)</parenthetical>
<dialogue>Well, you, Jamie, can, but most people can't.</dialogue>
<scene_description>Jamie shrugs. Josh, annoyed, imitates him by shrugging back. CUT TO:</scene_description>
</scene>
<scene>
<stage_direction>INT. DINING HALL. NIGHT</stage_direction>
<scene_description>Breitbart. What we were trying to say as filmmakers is that what we were filming was more interesting than we were... CUT TO:</scene_description>
</scene>
<scene>
<stage_direction>INT. LOBBY. NIGHT</stage_direction>
<scene_description>Josh and Jamie.</scene_description>
<character>JOSH</character>
<dialogue>You think everything is out there for you to have. It's not.</dialogue>
<character>JAMIE</character>
<dialogue>Nobody owns anything. If I hear a song I like, or a story, it's mine. It's mine to use. It's everybody's.</dialogue>
<character>JOSH</character>
<dialogue>No it isn't! That's not sharing Jamie, that's...stealing.</dialogue>
<character>JAMIE</character>
<dialogue>That's old man talk.</dialogue>
<character>JOSH</character>
<dialogue>I am an old man!</dialogue>
<scene_description>Applause as Breitbart finishes his speech. Josh, emboldened, turns to Jamie.</scene_description>
<character>JOSH</character>
<dialogue>I can't let Cornelia and Leslie walk down this road with you. I want you to go in there and tell them what you've done. If you won't, I'll do it for you.</dialogue>
<scene_description>For a brief moment, Jamie's face elicits what looks like fear. It passes.</scene_description>
<character>JAMIE</character>
<dialogue>Okay.</dialogue>
<character>JOSH</character>
<dialogue>I'm sorry, kid. But there are standards, there are...standards.</dialogue>
<character>INT. DINING HALL. NIGHT</character>
<dialogue>behind him.</dialogue>
<character>CORNELIA</character>
<dialogue>Josh!</dialogue>
<character>JOSH</character>
<dialogue>Sorry I'm late.</dialogue>
<parenthetical>(to Breitbart)</parenthetical>
<dialogue>Leslie, I caught your speech from the lobby, though and it was really inspiring, spot on...</dialogue>
<character>BREITBART</character>
<dialogue>Are you okay, son? Do you want to sit down?</dialogue>
<character>JOSH</character>
<dialogue>Jamie has something he wants to tell all of you.</dialogue>
<scene_description>Josh takes a seat and crosses his legs comfortably.</scene_description>
<character>JOSH</character>
<dialogue>Go ahead.</dialogue>
<scene_description>They all look at him and then Jamie blankly.</scene_description>
<character>JAMIE</character>
<dialogue>Not all of the stuff in my movie happened exactly as I said it did.</dialogue>
<parenthetical>(sighs)</parenthetical>
<dialogue>I played around with some of the time- line.</dialogue>
<character>BREITBART</character>
<dialogue>Okay.</dialogue>
<character>JAMIE</character>
<parenthetical>(humbly)</parenthetical>
<dialogue>Yeah...</dialogue>
<character>JOSH</character>
<dialogue>"Yeah?" And...</dialogue>
<character>JAMIE</character>
<dialogue>And what?</dialogue>
<character>JOSH</character>
<dialogue>You did a lot more than that, come on.</dialogue>
<scene_description>Josh stands back up. He says to the table: He didn't even know Kent. Darby did. And Darby's mother died of ovarian cancer. Jamie's mom is probably alive and kicking in Idaho. He sits back down.</scene_description>
<character>BREITBART</character>
<parenthetical>(trying to put an end to it)</parenthetical>
<dialogue>Josh, this is kind of my night --</dialogue>
<character>JOSH</character>
<dialogue>You just need to hear this.</dialogue>
<character>JAMIE</character>
<dialogue>That's basically it.</dialogue>
<scene_description>Josh leaps back up.</scene_description>
<character>JOSH</character>
<dialogue>No, that's not basically it! You knew that Kent had tried to kill himself...</dialogue>
<character>JAMIE</character>
<dialogue>Right.</dialogue>
<character>JOSH</character>
<dialogue>Say it!</dialogue>
<character>BREITBART</character>
<dialogue>Josh, come on, let him speak.</dialogue>
<character>JAMIE</character>
<dialogue>The gist is the same. I authored a bit of how we came to it. I mean, I'm not that good a writer. If I made it all up, I'd be the best writer in Hollywood and...and Kent would be Marlon Brando.</dialogue>
<scene_description>Breitbart laughs. Hedge Fund Dave laughs harder.</scene_description>
<character>JOSH</character>
<dialogue>I never said it was amazing. I just said it was faked.</dialogue>
<character>JAMIE</character>
<dialogue>And some of the time-line was adjusted --</dialogue>
<dialogue>Stop with the time-line crap!</dialogue>
<scene_description>Josh pulls out his video camera and gestures with it.</scene_description>
<character>JOSH</character>
<dialogue>Jamie knew that Kent tried to kill himself. That he'd been in Afghanistan. We didn't just stumble upon it. It was rigged. Jamie invented the whole Facebook thing because he knew it would play better.</dialogue>
<character>HEDGE FUND DAVE</character>
<dialogue>Kent wasn't in Afghanistan?</dialogue>
<character>JOSH</character>
<dialogue>No, Kent was in Afghanistan.</dialogue>
<character>HEDGE FUND DAVE</character>
<dialogue>So, what's the problem?</dialogue>
<character>JOSH</character>
<dialogue>It's...it's...the way, the way he said that he found him is not true.</dialogue>
<character>HEDGE FUND DAVE</character>
<dialogue>Kent served our country, you're being offensive.</dialogue>
<scene_description>Breitbart looks at Jamie.</scene_description>
<character>BREITBART</character>
<dialogue>Is what Josh is saying true?</dialogue>
<character>JAMIE</character>
<dialogue>Well...I did know, but I don't think it really matters though, the movie's not about that.</dialogue>
<character>JOSH</character>
<dialogue>Of course it matters. Leslie, explain...</dialogue>
<character>BREITBART</character>
<dialogue>I don't know that it matters totally in this case.</dialogue>
<character>JOSH</character>
<parenthetical>(shocked)</parenthetical>
<dialogue>What?</dialogue>
<scene_description>Dave leans in from the next table. I don't care.</scene_description>
<character>JOSH</character>
<parenthetical>(dismissive)</parenthetical>
<dialogue>I didn't expect you to care.</dialogue>
<parenthetical>(quickly back to Leslie)</parenthetical>
<dialogue>Leslie, are you kidding me? You don't care? You just gave a speech about authenticity!</dialogue>
<character>HEDGE FUND DAVE</character>
<parenthetical>(thinks about it again)</parenthetical>
<dialogue>Yeah, I don't care.</dialogue>
<character>BREITBART</character>
<dialogue>I just think the movie works on many levels, the happenstance of it, to be honest, I find the least interesting part.</dialogue>
<scene_description>Josh sputters, practically stomps his foot.</scene_description>
<character>JOSH</character>
<dialogue>I can't believe it! This movie isn't worth the...RAM...it's...stored on.</dialogue>
<parenthetical>(pointing at Jamie)</parenthetical>
<dialogue>He's a con artist. Leslie, your generation of sit-ins and protesters and...pack rats would be horrified by this...demon!</dialogue>
<character>BREITBART</character>
<dialogue>You're hysterical, Josh.</dialogue>
<character>JOSH</character>
<parenthetical>(hysterically)</parenthetical>
<dialogue>I'm not hysterical!</dialogue>
<scene_description>He swings his arm, gesturing, knocking a tray full of food and glasses out of a waiter's arms. It goes crashing to the ground.</scene_description>
<character>JOSH</character>
<dialogue>Shit, I'm sorry, I'm sorry.</dialogue>
<scene_description>He helps the waiter pick up the plates. Everyone at the table waits. Josh finally gets back up.</scene_description>
<character>JOSH</character>
<dialogue>Cornelia...</dialogue>
<dialogue>I don't know. I think he's an asshole, but the movie's pretty good. And I'm sorry I think that.</dialogue>
<scene_description>Jamie takes a seat and starts eating the dessert that was placed in front of him.</scene_description>
<character>JOSH</character>
<dialogue>This is so frustrating! I'm going to get no satisfaction here, am I? This guy's just going to win no matter what.</dialogue>
<scene_description>Everyone at the table stares at Josh. His says with certainty:</scene_description>
<character>JOSH</character>
<dialogue>This is not how the world works.</dialogue>
<scene_description>We MOVE in on Josh. His face fills with emotion.</scene_description>
<character>BREITBART</character>
<dialogue>Why does it have to be one thing or another? Things change. Different things matter now.</dialogue>
<character>JOSH</character>
<dialogue>Forget ethics then. What about me?! You played me. I was played.</dialogue>
<character>JAMIE</character>
<parenthetical>(under his breath)</parenthetical>
<dialogue>But you acted in it.</dialogue>
<character>JOSH</character>
<dialogue>Only because I thought it was real!</dialogue>
<parenthetical>(pause, with genuine feeling)</parenthetical>
<dialogue>I loved you.</dialogue>
<character>JAMIE</character>
<dialogue>I like you too! We're friends.</dialogue>
<character>JOSH</character>
<parenthetical>(sadly)</parenthetical>
<dialogue>I really believed it.</dialogue>
<parenthetical>(his throat full of sadness)</parenthetical>
<dialogue>I was a bet!</dialogue>
<character>BREITBART</character>
<dialogue>Are you okay, son?</dialogue>
<character>JOSH</character>
<dialogue>I'm not crying. I'm not.</dialogue>
<scene_description>Josh's attention goes to a tiny camera in Jamie's lap aimed right at him.</scene_description>
<character>JOSH</character>
<dialogue>Are you filming this?!</dialogue>
<character>BREITBART</character>
<dialogue>Josh, your sleeve is on fire.</dialogue>
<scene_description>Josh's sweatshirt has dipped into the flame of a candle on the table and is indeed on fire. Jamie stands, grabs a pitcher of water and douses Josh. Josh drips, soaked. He shakes his head like a wet dog and, dejected, moves to leave. He hesitates and turns to Breitbart:</scene_description>
<character>JOSH</character>
<dialogue>I took your note by the way. I cut the stuff on Turkish politics out of my film. You were right, I don't need it.</dialogue>
<character>BREITBART</character>
<dialogue>I'm glad to hear that, son.</dialogue>
</scene>
<scene>
<stage_direction>EXT. LINCOLN CENTER</stage_direction>
<scene_description>CLOSE: Kent, in his magician outfit, speaks to the camera. DELETE? comes up on the SCREEN. YES is selected. The file is deleted. Josh puts the video camera back in his tote. He sits on the steps with his roller blades and whiskey bottle. Cornelia arrives. She holds a plate with a napkin covering it. She hands it to Josh.</scene_description>
<character>CORNELIA</character>
<dialogue>It doesn't matter that it's faked.</dialogue>
<parenthetical>(Josh nods)</parenthetical>
<dialogue>It doesn't matter because it's not about Afghanistan and it's not about Kent it's about Jamie.</dialogue>
<character>JOSH</character>
<parenthetical>(sighs)</parenthetical>
<dialogue>In my head, when I was blading over, I swept in here and exposed everything. I was such a hero.</dialogue>
<scene_description>cake drizzled with chocolate sauce and a fork.</scene_description>
<character>JOSH</character>
<dialogue>Thanks.</dialogue>
<scene_description>Cornelia takes a swig from the bottle.</scene_description>
<character>CORNELIA</character>
<dialogue>When we first started seeing each other I was so jealous. I would get so upset when you'd talk to another girl at a party.</dialogue>
<character>JOSH</character>
<dialogue>I know! I liked that...</dialogue>
<character>CORNELIA</character>
<dialogue>I was so sure you'd fall in love with someone else and leave me.</dialogue>
<character>JOSH</character>
<dialogue>Did you want me to?</dialogue>
<character>CORNELIA</character>
<dialogue>I think I wanted to know that I wasn't your only option. But you didn't fall in love with someone else. Until you did. And then it was two people.</dialogue>
<parenthetical>(beat)</parenthetical>
<dialogue>I'm so sorry I kissed him. I really did think it was you at first...then I kind of kissed him again. I don't know why I did it. I wanted to like him as much as you did.</dialogue>
<scene_description>Josh starts to eat the cake.</scene_description>
<character>JOSH</character>
<parenthetical>(mouth full)</parenthetical>
<dialogue>I wanted so badly...I wanted to be admired. I wanted a protege.</dialogue>
<character>CORNELIA</character>
<dialogue>I know.</dialogue>
<character>JOSH</character>
<dialogue>He looked at me like I was a real grown-up person. Someone who has done things. For the first time in my life I stopped thinking of myself as a child imitating an adult.</dialogue>
<dialogue>You feel that way too?</dialogue>
<character>JOSH</character>
<parenthetical>(nods)</parenthetical>
<dialogue>I'm forty-four and there are things I will never do. Things I won't have.</dialogue>
<parenthetical>(pause)</parenthetical>
<dialogue>What's the opposite of "the world's your oyster?"</dialogue>
<scene_description>Cornelia's eyes water. She nods.</scene_description>
<character>CORNELIA</character>
<dialogue>I think I stopped taking you in.</dialogue>
<character>JOSH</character>
<dialogue>Am I a failure?</dialogue>
<character>CORNELIA</character>
<dialogue>You've never failed me.</dialogue>
<character>JOSH</character>
<dialogue>But am I a failure?</dialogue>
<character>CORNELIA</character>
<dialogue>I feel like I failed you. I wish we could go back and meet each other all over again.</dialogue>
<character>JOSH</character>
<dialogue>I'd present myself differently. So I didn't get your hopes up. Maybe not use the expression "conquer the world" so often.</dialogue>
<character>CORNELIA</character>
<dialogue>You said that a lot.</dialogue>
<character>JOSH</character>
<dialogue>I think it's hard for me to have something be great every day and to acknowledge it.</dialogue>
<parenthetical>(smiles at her)</parenthetical>
<dialogue>I have something great every day. If we were different people, I'd ask you to renew our vows.</dialogue>
<character>CORNELIA</character>
<dialogue>I think it's nice to renew vows.</dialogue>
<character>JOSH</character>
<dialogue>Maybe we are different people.</dialogue>
<character>CORNELIA</character>
<dialogue>What are you thinking about?</dialogue>
<character>JOSH</character>
<dialogue>Twenty years ago I was twenty-four. In twenty years I'll be sixty-four.</dialogue>
</scene>
<scene>
<stage_direction>INT. CAR/EXT. JFK AIRPORT. DAY</stage_direction>
<scene_description>CLOSE on Willow, a year older, in a car seat.</scene_description>
<character>TITLE: A YEAR LATER</character>
<dialogue>Cornelia in the back with Willow. Fletcher pulls up to the terminal.</dialogue>
<character>MARINA \*</character>
<dialogue>Call when you get there!</dialogue>
<character>CORNELIA</character>
<dialogue>We will, Fox.</dialogue>
<scene_description>Josh and Cornelia get out of the car and grab the bags from the trunk. Marina joins them. Fletcher steps out of the \* car, but hangs by the door.</scene_description>
<character>MARINA \*</character>
<dialogue>You're going to be such great parents.</dialogue>
<character>FLETCHER</character>
<dialogue>The guy is waving at me, we have to move, Marina! They changed the \* rules.</dialogue>
<parenthetical>(to Josh and Cornelia)</parenthetical>
<dialogue>See you when you get back.</dialogue>
<scene_description>Marina hugs both of them. \*</scene_description>
<character>MARINA \*</character>
<dialogue>Oh, Fox, I'm going to cry.</dialogue>
<character>FLETCHER</character>
<dialogue>The cop is coming, Marina!</dialogue>
<character>JOSH</character>
<dialogue>We'll be back in a week.</dialogue>
<character>MARINA \*</character>
<dialogue>Send pictures of the little man! We love you guys.</dialogue>
<character>CORNELIA</character>
<dialogue>We love you too!</dialogue>
<character>JOSH</character>
<dialogue>I love you, Fletcher.</dialogue>
<character>FLETCHER</character>
<dialogue>I love you too but I'm not getting arrested for you. Marina! \*</dialogue>
</scene>
<scene>
<stage_direction>INT. AIRPORT TERMINAL. DAY</stage_direction>
<scene_description>CLOSE: An airplane departure screen. JFK to Port-au-Prince, Haiti. game on his phone. Cornelia sits down next to him with a stack of magazines. She hands Josh a yogurt.</scene_description>
<character>JOSH</character>
<dialogue>Thanks.</dialogue>
<parenthetical>(re: her stack of magazines)</parenthetical>
<dialogue>You really need ten?</dialogue>
<character>CORNELIA</character>
<dialogue>It's three and half hours to Port-au- Prince.</dialogue>
<scene_description>Cornelia slides a photo of a Haitian baby out from between the pages of a hard cover book. She smiles.</scene_description>
<character>CORNELIA</character>
<dialogue>I can't believe it.</dialogue>
<character>JOSH</character>
<dialogue>Me neither.</dialogue>
<scene_description>He takes the photo from her. He gazes happily at it. She opens a magazine.</scene_description>
<character>CORNELIA</character>
<dialogue>Oh...look who it is.</dialogue>
<scene_description>She presents the magazine for Josh to see: CLOSE on a PHOTO of Jamie at Sundance. CLOSE on the PULL QUOTE: "Are you a hipster?" "Well, I'm of a certain age and I wear tight jeans." CUT TO:</scene_description>
</scene>
<scene>
<stage_direction>INT. HOTEL LOBBY - SUNDANCE</stage_direction>
<scene_description>Jamie, in a black trenchcoat and a knit cap, is being interviewed by a cute interviewer in a parka.</scene_description>
<character>JAMIE</character>
<dialogue>But I'm just about out of the cool- age demographic.</dialogue>
<character>INTERVIEWER</character>
<dialogue>What happens when you exit the cool- age demographic?</dialogue>
<scene_description>Jamie thinks about this. I enter the power-age demographic. We MOVE down to Jamie's lap. He holds a small video camera trained on the interviewer. CUT BACK TO:</scene_description>
</scene>
<scene>
<stage_direction>INT. AIRPORT TERMINAL. DAY</stage_direction>
<scene_description>Josh hands the magazine back to Cornelia.</scene_description>
<character>CORNELIA</character>
<dialogue>It's out there. The evil is unleashed.</dialogue>
<character>JOSH</character>
<dialogue>No, you were right, he's not evil. He's just young.</dialogue>
<character>CORNELIA</character>
<dialogue>I heard from Darby, she Facebooked me.</dialogue>
<scene_description>CUT TO:</scene_description>
</scene>
<scene>
<stage_direction>EXT. TAMPA ECO PARK. DAY</stage_direction>
<scene_description>Darby, her hair in a braid, a name-tag on her shirt which has a parrot on it, runs a net through mud. A motorboat behind her.</scene_description>
<character>CORNELIA (V.O.)</character>
<dialogue>She's an eco-tourguide at a wildlife refuge.</dialogue>
<character>DARBY</character>
<dialogue>This mud is filled with organisms.</dialogue>
<scene_description>She sticks her hand in the mud and pulls out a worm-like thing.</scene_description>
<character>DARBY</character>
<dialogue>This is a nudibranch. And if you keep your eyes peeled you might spot a gopher tortoise or a woodstork.</dialogue>
<scene_description>CUT BACK TO:</scene_description>
</scene>
<scene>
<stage_direction>INT. AIRPORT TERMINAL. DAY</stage_direction>
<scene_description>Josh opens his yogurt. He pauses for a moment, looking at the container. (frowns) What's wrong?</scene_description>
<character>JOSH</character>
<dialogue>No. Nothing. We'll have a baby before this yogurt expires.</dialogue>
<scene_description>Cornelia suddenly leans in hard, her face colliding with Josh's.</scene_description>
<character>JOSH</character>
<parenthetical>(laughs)</parenthetical>
<dialogue>Oww, your teeth.</dialogue>
<scene_description>They kiss long, intimately. Finally, they release. Both are grinning. In the row of seats across from them: A mom is going through her tickets and itinerary. Her toe-headed one year old son is on his iPhone. Josh and Cornelia watch the little boy -- his fingers move quickly, gracefully on the keys. He's totally immersed in what he's doing. Nothing else exists. Then he puts it to his ear. We CUT TO: BLACK. As the CREDITS ROLL we CUT TO:</scene_description>
</scene>
<scene>
<stage_direction>INT. JOSH/CORNELIA APT. DAY</stage_direction>
<scene_description>A VIDEO IMAGE of Josh. He sits in an armchair looking at the camera. He consults a piece of loose-leaf paper, and with Cornelia's help from behind the camera, re-asks his ten years-</scene_description>
</scene>
</script>
|
While We're Young Noah Baumbach WHITE DRAFT 8-13-13 BLUE REVISIONS 9-16-13 PINK REVISIONS 9-30-13
SOLNESS:
The funny thing is that I've become so disturbed by younger
people! HILDE: What? Younger people?
SOLNESS:
Yes, they upset me so much that I've sort of closed my doors here and locked myself in. Because I'm afraid they're going to come
here, and they're going to knock on the door, and then they're going to break in.
HILDE:
Well, I think maybe you should open the door and let them in.
SOLNESS:
Open the door?
HILDE: Yes - so that they can just gently and quietly come inside, and it can be something good for you. . .
SOLNESS:
Open the door?
-- from Wallace Shawn's adaptation of Henrik Ibsen's "The Master Builder" Stones's song "Under My Thumb." CLOSE on the peaceful face of a sleeping baby, gently floating.
INT. FLETCHER/MARINA APT. - LIVING ROOM, BROOKLYN. DAY 1 \*
CLOSE on Cornelia Srebnick, 41. She's humming softly. We MOVE out slowly to see she's rocking the infant on a big comfortable couch fionlled with baby blankets, stuffed \* animals and children's books. We MOVE over to see Josh Srebnick, 44, on the floor watching her -- his expression a kind of awe. She looks at him, hesitating, taken by the intensity of his look. A moment of connection and warmth passes through her. He smiles softly back.
CORNELIA
(to the baby)
There were three little pigs and they made a house out of twigs and the wolf came and...
(to Josh)
Do you remember how it goes?
JOSH
He blows it down?
The baby starts to fuss.
CORNELIA
Yeah. But, what happens in the middle?
JOSH
(thinks)
I keep wanting to do this little piggie went to market but that's with the toes.
The baby starts to cry.
CORNELIA
The wolf keeps blowing the house in. The pigs keep making different houses.
(rocks the baby)
Oh...shh, shh, shh.
The baby is wailing. Cornelia rocks her faster. She looks panicked. What the fuck do we do? Josh doesn't know. Bang, a door opens and a woman comes in with a boppy strapped around her waist. This is Marina, \* 30's.
MARINA \*
Okay, who's ready to eat?
JOSH
Are we taking in or --
MARINA
Who's ready to eat?
She sits down on the couch next to Cornelia, lifts the sobbing infant from out of Cornelia's arms and places it on the boppy. The baby's onesie has an image from The Clash's first album across the chest. Marina opens her bra and gives \* the baby her breast. The baby nurses, stretches and stops crying.
MARINA \*
Ha! I love how she stretches...it's just like we do... It's so funny. It never occurred to me that stretching is innate.
She stretches, imitating the baby. Cornelia smiles politely. A curly haired man with glasses, early 40's, enters. Fletcher.
FLETCHER
You want to see it?
JOSH
Yeah.
Fletcher sits near Josh.
FLETCHER
It got infected with staph but it's not the bad staph.
He pushes up his sleeve to reveal a square black and white tattoo on his bicep.
CORNELIA
What is it?
FLETCHER
Guess.
(to Josh)
You can come closer it's not the bad staph.
I still don't want the baby touching it.
He shoves his shoulder in Josh's face.
JOSH
I can't...tell.
FLETCHER
It's Willow's sonogram.
JOSH
Oh...okay.
FLETCHER
I did it for Marina. I was so \* fucking proud of her.
MARINA \*
Why it's for me, I still don't understand.
JOSH
Where do you even go for a tattoo?
FLETCHER
I asked a guy at work and he told me where his kids went. Place in Williamsburg. Where else?
(pause)
You know, she didn't get the epidurol.
MARINA \*
It's a mother fucker -- it's a ring of fucking fire -- but it was the most beautiful experience of my life.
FLETCHER
And I fell in love immediately. A love I've never felt. I mean, don't take that the wrong way, Marina -- \*
MARINA \*
No, I know exactly what you mean. It's pure.
CORNELIA
(how sweet)
Aww...
(can't help herself)
Oh, you guys should do it!
FLETCHER
Yeah!
MARINA \*
You'd make such good parents.
(catching herself)
I'm sorry, I'm sorry!
CORNELIA
No, it's fine. You know, we --
She looks at Josh.
JOSH
We...
MARINA
It's just such a game changer!
We STAY on Josh and Cornelia's faces.
FLETCHER (O.S.)
When I saw her, I thought: "I know you."
MARINA (O.S.) \*
It's true, I recognized her immediately.
FLETCHER (O.S.)
And because I'd been reading to her in the womb, she knew my voice immediately.
MARINA (O.S.)
It's like in one moment, everything is different.
FLETCHER (O.S.)
I read her Stephen King's The Tommyknockers.
FLETCHER (O.S.)
It's like all the stuff before, fine, you know, we're figuring it out, but now: Okay, real life. You know?
Josh and Cornelia nod.
A2 EXT. COBBLE HILL STREETS, BROOKLYN. DAY A2
Cornelia and Josh walk home. They enter. An open floor-through of a brownstone. The room, separated by large wooden pocket doors, looks half- finished, framed pictures lean against the wall, projects undertaken and abandoned. Some nice stuff, a couple of antique chairs or a table. A water stain untended to on the ceiling. I can't remember Goldilocks either anymore. The porridge part, but not what happens.
JOSH
She gets eaten, right?
CORNELIA
Does she?
JOSH
There's like an oven that's too hot.
Josh shrugs. Silence.
CORNELIA
You don't want kids, right?
(Josh hesitates)
Because I don't.
(they both hesitate)
I'm sorry, I feel so guilty for saying that. I mean, I did. If we'd had the magic sexy version and one day suddenly had a baby... But all those drugs and shots and miscarriages -- I don't want to do it again and it not to work.
JOSH
I know.
(beat)
And I like our life as it is.
CORNELIA
(relieved)
Me too.
JOSH
I don't want things to be different than they are right now.
CORNELIA
I know. I mean, if we wanted to take off for Paris tomorrow, we could.
JOSH
Yeah, I mean I think it would be hard to find an affordable fare on such short notice, but yeah...
CORNELIA
No, I know and I couldn't leave work.
If we were going to do it we should plan it at least a month in advance.
CORNELIA
A month is still in the realm of spontaneity.
JOSH
No, I know. I mean, the time we spent in Rome, what was that --
CORNELIA
JOSH
(can't believe it)
It wasn't 2006.
CORNELIA
Yeah because I was working with my dad on his dance film.
JOSH
Rome was eight years ago already? Shit.
CORNELIA
Yeah, I looked at the pictures recently and we're two younger people standing at the Treve Fountain.
JOSH
We look similar.
CORNELIA
We look younger.
(pause)
I tried to get you to go to Mexico last summer --
JOSH
I needed to finish my documentary.
CORNELIA
But you didn't finish it!
They both take a deep breath. Pause.
JOSH
Well, maybe the point is we have the freedom. What we do with it isn't that important.
Marina said they haven't had sex in \* nearly a year. Fletcher was too weirded out by the pregnancy.
JOSH
God.
A3 INT. DINING ROOM. NIGHT A3
They eat Thai take-out at a table set for two.
B3 INT. KITCHEN. NIGHT B3
They do dishes.
INT. JOSH/CORNELIA APT. - BEDROOM, COBBLE HILL, BROOKLYN.
NIGHT
Josh, in his boxers, takes off his watch and puts it on the night table. Cornelia undresses.
They move about in silence, finishing their nighttime routines. Only the sounds of footsteps, water running, clothes coming off and going on, bed squeaks.
Josh lies on his back and shuts his eyes.
Cornelia gets in bed and clicks on her bedside lamp which lights up nearly everything. Josh places his arm over his eyes.
JOSH
What is that, a seventy-five watt?
She looks under the shade.
CORNELIA
I can't see, it's too bright.
JOSH
It's too high a wattage.
CORNELIA
I'll change it tomorrow.
INT. JOSH/CORNELIA APT. - HOME OFFICE. DAY
Josh paces back and forth in his home-office. His editor, Tim, early 30's, sits at a desk-top attached to a series of drives. A tousled scholar, Ira Mandelstam, 50's, talks gravely on a TV screen. There was a poll conducted in 1987 in which people were given a series of phrases and asked which ones could be found in the US Constitution --
JOSH
Let me see the continuity...
SCHOLAR (ON SCREEN)
One of the phrases that got the highest percentage of votes was: "From each according to his ability, to each according to his need." This, of course, is not to be found in the Constitution, but is the famous Communist credo popularized by Karl Marx.
Josh takes the sheet and holds it about two feet from his face. He squints.
JOSH
Why do they type this stuff so small?
TIM
I think that's 12 point. That's normal.
SCHOLAR (ON SCREEN)
However, when this phrase was presented to people as a tenet of Communism, they, of course, overwhelmingly rejected it.
JOSH
That is not 12, that's at most eight. Look at it, it's tiny.
TIM
We need to cut away from Ira here because...
We hear a ringing. On the SCREEN: the scholar goes into his pants pocket and retrieves a cell phone from a few years ago.
SCHOLAR (ON SCREEN)
Hold on...
He looks at it like he's never seen anything like it before. He puts on reading glasses and very deliberately presses Talk.
SCHOLAR (ON SCREEN)
Hello?...Evelyn, I'm doing an interview...Did you look in the car? This is every fucking day, sweety!
fucking chain around your neck! (mouths to the camera) Sorry. (back to the phone) Sweety, if you don't stop this, I'm going to fucking screa -- Tim freezes the image on the screen.
JOSH
We could cut to me asking the question about hermeneutics?
TIM
We could, but you look like this in that footage --
He shows an image of a younger Josh in a goatee and Jew-fro.
TIM
It's from eight years ago. And the previous shot of you asking any relevant questions is this --
He pulls up an image of Josh with short hair and his arm in a sling.
JOSH
That's from when I fell down the subway stairs at Grand Army Plaza. The blizzard of 06? You remember how icy that was?
We CUT between a series of Joshes from over the years. Different hair lengths, a beard, a brief moustache, a black eye.
JOSH
You remember, I was trying my part on the other side.
Tim doesn't.
JOSH
God, eight years ago. Has it been that long?
TIM
It's been ten.
JOSH
(counting in his head, rationalizing)
Look at my jaw -- I had more baby fat.
(looks at his reflection in the computer screen)
Are my eyes getting hollows?
TIM
I don't know.
JOSH
(trying to be positive)
Well...we're getting there.
Tim looks at him, totally skeptical.
JOSH
When the rest of the grant money comes in, we'll reshoot me asking the questions along with the trip to Istanbul.
TIM
Hey, Josh, I hate to bring this up, but I'm gonna need a little money soon.
JOSH
No, I know, you've been patient. I'm just waiting for the rest of this last grant money.
TIM
But soon?
JOSH
Yeah, I'll get you.
Goes into his wallet.
JOSH
You need anything now?
He hands Tim a couple of twenties.
JOSH
You know, get Maggie some flowers or...
TIM
I'm going to use it to buy food.
JOSH
Oh, yeah, yeah...good idea.
A room with about fifty chairs, about seven of them occupied by people over 50. Josh stands at a lectern with a lap top. A blank TV screen behind him.
JOSH
"Le documentaire, c'est ce qui arrive aux autres, la fiction, c'est ce qui m'arrive à moi." "Documentary is about someone else. Fiction is about me."
(glances out at the small crowd, having made it through the French part)
This is a quote from Jean-Luc Godard. Now, what do we think about this? Can a documentary be personal? Documentaries, I want to say to you today, can and should be about me.
Josh hesitates. A guy in the audience wearing a porkpie hat is filming him with a portable camera. Josh is momentarily distracted.
JOSH
Me meaning all of us.
(to the room)
Lights.
(pause)
Frank, can you just hit that switch?
An elderly gentleman obliges. Josh hits a button on his lap top.
JOSH
This is an image from --
Nothing happens on the screen behind him. Josh presses the button again. Nothing.
JOSH
Well...shit...this should be an image of seal hunting from "Nanook of The North."
CUT TO: Josh collects his things from a chair at the foot of the stage. A squat woman, 50's, who runs the lecture series, shrugs and smiles tightly at him.
SQUAT WOMAN
Sorry.
(suddenly paranoid)
About what? his mussed hair under his porkpie hat, an old plaid shirt hanging out over slacks, and beat up boots. This is Jamie.
JAMIE
Hey. Beautiful class.
JOSH
Oh...thanks. I don't know why the power point didn't work, but...
JAMIE
I loved what you said about "hyper- reality." I'm Jamie.
JOSH
Josh Srebnick.
JAMIE
This is my wife, Darby.
A girl, 23, in a high waisted dress and lace up boots comes forward.
DARBY
Hi. Nice to meet you. It was interesting.
JOSH
Thanks. I'm not sure why the power point didn't work... How did you get in here?
JAMIE
We're auditing your class.
JOSH
It's a continuing education class, you can't audit a continuing education class.
JAMIE
(shrugs)
I'm a fan. And hey, I really loved your film, Power Elite.
JOSH
(taken aback, can't hide his pleasure)
You've seen it? Hey...thanks.
JAMIE
It's everything I aspire to and you make it look so easy.
JOSH
Do you make documentaries?
I shoot stuff, you know, with friends, yeah. Nothing like you're doing.
DARBY
He's always shooting.
JOSH
Um, don't take this the wrong way, but how did you see Power Elite?
JAMIE
I found a VHS on Ebay. I paid like sixty dollars for it. You know what was great, was that scene with the dogs around the garbage? How did you stage that?
JOSH
Oh...those dogs were just there and I said, "Hey shoot those dogs."
(not a great story)
And...we did.
JAMIE
(claps his hands together)
Beautiful.
JOSH
I've been working on this other one for...about eight years now but I think I'm zeroing in on it.
JAMIE
I'd love to see it.
DARBY
When I was a child my dog was killed in front of me by two rottweilers.
(she starts to laugh)
I don't know why I'm laughing. It's not funny. I was five. My dad and I were walking our poodle which I had named Toto and these two rottweilers came bounding out of an open gate and just attacked. My dad flagged down a passing car and we climbed in the back and he covered my eyes so I couldn't see Toto get mauled.
She covers her face, she's still laughing. (hesitates) I'm sorry to hear that.
JAMIE
You want to come get a bite with us?
JOSH
Oh...I'm meeting my...wife around the corner at this Chinese place.
JAMIE
Hey, my wife and I are going to the same goddamn place!
INT. CHINESE RESTAURANT. EVENING
Josh and Cornelia sit next to each other. Josh is in the middle of talking to Jamie and Darby who face them across the table.
JOSH
...I've learned along the way that you can discover more by not knowing the answers, by allowing yourself to be surprised by what you encounter.
Jamie nods with great interest.
JAMIE
Yeah, yeah.
JOSH
Sometimes that means waiting years for something to happen. I don't know. I could go on about this stuff for days.
JAMIE
How did you start out, like who influenced you?
JOSH
Oh, I steal from everyone, you know, Maysles, Wiseman, Pennebaker... My first job out of graduate school was working for Leslie Breitbart.
JAMIE
(impressed)
Jeez Louise.
That's also incidentally how I met Cornelia. He's her dad.
JAMIE
What?!
CORNELIA
This is before they hated each other.
JOSH
We don't hate each other. Cornelia produces her dad's films.
JAMIE
He's amazing.
CORNELIA
Yeah, he's kind of annoying me right now, but...yeah.
JAMIE
He's a giant. He's a guy I'd love to meet. Do you also produce Josh's films?
CORNELIA
No, Josh likes to work alone.
JAMIE
(again with real interest, to Josh)
Josh, what's your new film about?
JOSH
Well, I'm trying to solve the problem that Eisenstein never solved -- that is how to make a film that is both materialist and intellectual at the same time --
Darby gets a text and starts to reply. Jamie yawns openly. Josh feels he's losing his audience but keeps going.
JOSH
It's about the distinctly American relationship between biography and history, theory and method and how that relates to power and class in our country, particularly the political, military and economic elite.
(sensing he's lost them)
It's really about America.
JAMIE
Eisenstein is astonishing. I just saw Strike! I'm obsessed with Europe in the 20's, see. The interwar period, ex-patriots, that sort of thing.
DARBY
I keep trying to get Jamie to do something with before and afters. All humans love before and afters. Any TV show with before and afters will succeed.
JAMIE
(smiles broadly)
Before you said that.
(Jamie frowns)
After you said that.
DARBY
(shakes her head)
Fuck you.
He grabs her breast she smacks his hand playfully and returns to her phone and answers a text. Cornelia tries an accommodating smile.
CORNELIA
What do you do, Darby?
JAMIE
Darby makes ice cream.
CORNELIA
Oh, yeah?
DARBY
(shrugs, texting)
Yeah, I make ice cream.
JAMIE
I brought it over to the Whole Foods near us and they're pumped.
DARBY
It's Jamie's idea to sell it, I just do it because I like it.
CORNELIA
And you guys are married?
That's so nice and old fashioned.
JAMIE
Yeah. We said our vows in an empty water tower in Harlem.
CORNELIA
Oh.
DARBY
There was a mariachi band and a slip and slide.
JOSH
Wow.
DARBY
Jamie wanted a big wedding.
JAMIE
It was amazing. Some rituals exist for a reason, you know.
CORNELIA
(glances at Josh)
Yeah. We did it at city hall.
DARBY
(looking up from a text)
Isaac and Benny are walking the tracks.
JAMIE
Have you guys done this? We walked through the subway tunnels on the D line last week.
JOSH
(as if it's commonplace)
No, no, we haven't.
DARBY
They're at a Bar on Essex. You want to come?
JOSH
(to Cornelia)
Oh, do we -- ?
CORNELIA
It's already past our bedtime.
JOSH
(sheepishly)
Yeah, we're usually in bed by eleven.
resistance, Josh puts his hand on the check.
JOSH
Let me get it.
JAMIE
(eagerly)
Thanks.
DARBY
Yeah, thanks.
Josh's hand remains on the check in preparation for it to be taken from him. Nothing happens.
JOSH
No, yeah, I'll get it.
EXT. CHINESE RESTAURANT. EVENING
Jamie and Darby unlock their bikes which are chained to a street-sign with old-school bike chains. Jamie attaches the chain to his pants like an accessory.
JAMIE
If you've got any time -- and I know you're super busy -- I'd love to show you what I'm working on.
DARBY
Come by our place this weekend.
(to Cornelia)
I have my fall flavors.
Jamie gives Josh an old Polaroid of himself and writes his number on it with a sharpie. His handwriting is in all caps, very precise.
JAMIE
They don't make this film anymore. I bought four hundred packs before they discontinued it.
Jamie, without a helmet, hops on his bike which has a crocheted seat. Darby is still tying her helmet.
JAMIE
Let's go, worm!
(to Josh and Cornelia)
Peace.
(to Josh and Cornelia)
Jamie is always moving. I can't leap as fast as that kid. I don't move as quickly.
They both pedal into the center of the street. The streetlight giving them a kind of glow. We MOVE in on Josh and Cornelia. They don't know what hit them.
JOSH (V.O.)
I like how engaged they are in everything.
INT. JOSH/CORNELIA APT. - BEDROOM. NIGHT
Cornelia is reading on her Kindle. Josh stands in the bathroom doorway.
CORNELIA
Mm.
JOSH
They're all making things and they're so excited for each other. It's selfless. They were so respectful of us. I mean, compared to when we go out with Fletcher and Marina I feel \* like we're all just talking about ourselves... They asked questions.
CORNELIA
They didn't ask me any questions.
JOSH
When I was their age I would never have come up to me like that and invited me out. I would have been too scared... They're really not nervous.
CORNELIA
I wish you hadn't told him I work with my dad.
JOSH
Why?
CORNELIA
I don't know, he seems ambitious.
JOSH
No! I don't think he thinks that way. It's about process.
How has he even seen anything of yours?
JOSH
(like it should be obvious)
Ebay.
(scanning the room)
I love his shoes. I have some wing tips here somewhere.
He climbs into bed.
CORNELIA
It was almost like he was studying you.
JOSH
Can we go to their place this weekend?
CORNELIA
We never see our real friends, why are we suddenly going to hang out with a couple of twenty-five year olds.
JOSH
We were just twenty-five. I mean, we weren't, but you know. It'll be fun.
CUT TO: CLOSE on a woman, 25, scrolling through the addresses on her phone.
GIRL #1
Um, let's see, it would probably be...Richard Dreyfuss. He's an old friend of my parents.
GUY #1
Um, this girl who was a writer on that show, Medium.
YELLOW BLOCK TEXT on the screen: Who's the most famous person in your cell phone?
GIRL #2
Doug Liman.
GUY #2
Bill Clinton. But I think it's probably his office.
GUY #3
Patrick Ewing's brother. Carl.
(now on his phone)
Ringing.
(pause)
Yeah, it's his office.
GIRL #3
Robert Downey. Senior.
INT. JAMIE/DARBY APT, BUSHWICK. DAY
Jamie watches Josh and Cornelia watch the short on his computer. They're both smiling. Darby hovers in the background, holding a white kitten, she's seen it.
JOSH
That's really funny.
CORNELIA
Yeah. I like Robert Downey. Senior.
JAMIE
That's the latest anyway. I'm also doing people describing scenes from movies that they like but haven't seen in a while. Darby's going to do Rosemary's Baby, see.
Josh and Cornelia look back at Darby. She obliges:
DARBY
What have you done to its eyes!?
JOSH
(playing along)
He has his father's eyes.
Cornelia pets the kitten in Darby's arms.
CORNELIA
I want a kitten!
DARBY
That's Bad Cop. Where's Good Cop?
A black kitten comes out from under the couch. Darby hands the white one to Cornelia and gathers the other one.
DARBY
I love these kittens, but I hope they don't grow up to be assholes because that can happen.
This is a great space. You know I think I've only been to Williamsburg once before.
DARBY
This isn't even Williamsburg, it's Bushwick. We were in Williamsburg, before then Park Slope, now we're here.
(shrugs)
We live where we're supposed to live.
She indicates a series of old typewriters.
DARBY
Jamie's a collector. My decorating sensibilities veer towards 4th grade teacher. I like bulletin boards.
We see the place now. It's old, open, and has the feel of being haphazardly curated: from the mouse trap stuck to the molding to the flea market furniture to the VHS tapes of random movies stacked against the wall. A framed NY Times front page of the moon landing. A framed Polish poster of the Bob Dylan doc "Don't Look Back." A photo of Darby going down a slip and slide in her wedding dress. Josh looks at a stack of records. Velvet Underground, Kinks, John Coltrane, Suicide, Serge Gainsbourg, Thin Lizzy...
JOSH
This looks like my record collection. Except mine are CD's. It took me years to discover this stuff.
Jamie smiles and puts a record on the turntable. A Notorious B.I.G/Miley Cyrus mash-up. Josh admires a long wooden desk with a computer and editing equipment.
JOSH
I need to buy a new desk.
JAMIE
You should come with me to the lumber yard. We'll make one.
JOSH
A whole desk?
JAMIE
It's so much cheaper than buying one, see. And more fun.
farm like a chump. A dark haired girl, 26, appears, in underwear and a T-shirt with the drawing of a gun as if it's tucked into her pants.
TIPPER
Darby, can I borrow your bike, I'm going to the deli for Goldfish.
DARBY
Okay --
Tipper lifts her long bare leg and scratches the bottom of her foot.
JAMIE
Tipper, did you feed Nico?
TIPPER
(disappearing into the other room)
I forgot.
Off Cornelia's perplexed look:
DARBY
(with a hint of disdain)
That's our roommate, Tipper.
Jamie grabs a bag of bird seed from a counter, he opens a small door that leads to an outdoor landing. A chicken paces in a cage. Cornelia hesitates.
CORNELIA
Nico's a chicken.
CUT TO: They sit around a small table. Darby prepares something in the kitchen.
JOSH
I have to say I really admire how you guys are so in the moment and just enjoying doing and making things. It's inspiring.
JAMIE
Thanks, Joshy.
JOSH
The people our age are so success and results oriented, they've forgotten about process.
Josh, are you success oriented?
JOSH
No.
CORNELIA
Totally.
Josh looks at Cornelia, surprised. A crash from the kitchen. Darby reenters, shaking her head.
DARBY
I feel like there are people who don't drop things as much as I do.
(to Cornelia)
I don't keep things yar.
JAMIE
She's a mess. And an ugly eater. I say that with love.
DARBY
(playful)
Fuck you.
Darby places down a home-made container with a hipster cow on it and four spoons. She and Jamie eat straight from the container. Josh and Cornelia follow.
DARBY
It's an avocado and almond milk sorbet. Benny designed the container.
JAMIE
It tastes like that candy that they sometimes make into pigs or little fruits.
JOSH
Yeah, it's... Shit. I know that.
CORNELIA
I keep wanting to say baklava, but that's a Greek dessert.
JAMIE
Right... "The almond tasting pigs and fruits are made of..."
Josh pulls out his phone.
JOSH
(realizes, excited)
I'll look it up.
No, that's too easy.
DARBY
Let's try to remember it.
They all sit in silence, racking their brains.
CORNELIA
How long until we decide we don't know?
JOSH
(re: his phone)
Can I...now?
JAMIE
No, let's just not know what it is.
CUT TO: Technology MONTAGE:
A10 INT. JOSH/CORNELIA APT. DAY A10
Cornelia reads her Kindle. Josh watches a Daily Show video on his phone.
B10 INT. JAMIE/DARBY APT. DAY B10
Jamie removes a VHS tape of The Howling from a beat up box and slides it into the VCR.
C10 INT. JOSH/CORNELIA APT. DAY C10
Josh streams a movie on Apple TV.
D10 INT. JAMIE/DARBY APT. DAY D10
Darby puts a worn Kris Kristofferson record on a turntable. She secures old-fashioned headphones to her head.
E10 INT. JOSH/CORNELIA APT. DAY E10
Cornelia selects a NPR podcast from her iPod mini and puts on her sleek noise-reduction Bose headphones.
F10 INT. JAMIE/DARBY APT. DAY F10
Jamie types a letter on an old IBM Selectric typewriter.
G10 INT. JOSH/CORNELIA APT. - LIVING ROOM. DAY G10
Josh plays a video game on his iPad.
H10 INT. JAMIE/DARBY APT. DAY H10
I10 EXT. BUSHWICK - STREET BEACH. DAY I10
CUT TO: CLOSE on a text being typed: Joshy, street beach in effect! get your goddamn self to the bush of wick for bourbon and ice creeeeem. CUT TO: CLOSE on a hand receiving the same text.
FLETCHER (V.O.)
We have news!
INT. RESTAURANT, SMITH ST. BROOKLYN. LATE DAY
Josh sneaks a look at his text, smiles. Fletcher and Marina, \* Josh and Cornelia sit at a table at the window. Throughout the conversation, everyone is dealing with his/her phone.
FLETCHER
I decided, with Marina going back to \* work, I'm taking a leave of absence from the firm and am going to take care of Willow.
JOSH
Oh...cool. How long?
FLETCHER
Indefinite.
MARINA \*
It's such a load off and I'm making enough --
FLETCHER
Yeah, it's really just my ego at stake.
JOSH
Time to rewatch Mr. Mom.
FLETCHER
Already Netflixed it. some laughs.
MARINA \*
We're the boring couple with the baby. What have you guys been doing? Tell us something fun!
JOSH
Well, we met this interesting couple. Jamie and Darby. He's a young documentarian and she makes ice cream.
I don't know what to make of them honestly. I like her.
JOSH
They make everything. It's infectious. For about twelve hours I thought I could build my own desk.
CORNELIA
There is something about being around them that...that energizes you. You know?
MARINA \*
How old are they?
CORNELIA
(looks to Josh)
JOSH
26 or 27.
I think around 26.
MARINA \*
They're children!
FLETCHER
Nine years ago, they couldn't vote.
CORNELIA
But they're married.
FLETCHER
Why?
Josh squints at his menu. He picks up a candle and holds it close to the menu in order to read.
JOSH
You should see this guy's record collection. It's Jay-Z, it's Thin Lizzy, it's Mozart. Their taste is democratic. It's The Goonies and Citizen Kane. They don't distinguish between high and low, it's wonderful.
FLETCHER
When did The Goonies become a good movie?
CORNELIA
It's like their apartment is full of everything we once threw out but it looks so good the way they have it.
Everyone else takes this opportunity to text as well. Fletcher looks up.
FLETCHER
(re: texting)
Why is it once one person goes on their phone everyone else has to.
CORNELIA
(distracted, on her phone)
MARINA
(distracted, on her phone)
I just have a quick thing-- I'm not on my phone. I'm just... The baby.
FLETCHER
Each of us is so certain that we've got the most important thing to do right now...
CORNELIA
(texting)
I know, it's rude.
FLETCHER
(texting)
It's not anymore. It used to be but now it's accepted. It's like showing your ankles in the 1800's.
Josh gets a text. He lights up.
JOSH
The almond tasting pigs and fruits are made of...
CLOSE: Marzipan! He and Cornelia both exclaim, laughing:
JOSH/CORNELIA
Marzipan!
EXT. SMITH STREET, BROOKLYN. LATE DAY
It's still light out. They emerge from the restaurant.
JOSH
(to Fletcher and Marina) \*
You guys want to hit this street beach with us? I don't know what you're saying.
JOSH
Something Jamie and Darby are doing.
FLETCHER
Since when do you guys do two things in an evening? You never go anywhere.
(defensive)
We go anywhere.
MARINA \*
We have to get back for the sitter...Scratch that, we want to get back.
FLETCHER
I hate being away from her!
JOSH
The sitter?
FLETCHER
Yeah!
(beat)
No, Willow.
MARINA
You should see how much he cries when he has to leave her.
FLETCHER
It's true.
CORNELIA
Oh, we've lost you to the baby!
MARINA
You guys have to come see her again! She's already a
FLETCHER
We're always home so just stop by!
different person. They kiss and hug goodbye. They part ways.
CORNELIA
(now to Josh)
We have lost them to the baby.
JOSH
We go anywhere. Right?
CORNELIA
We never go anywhere.
TIPPER (V.O.)
High kick contest!
EXT. BUSHWICK. LATE DAY
CLOSE on an open fire hydrant hemorrhaging water. says I've Been To A Lot of Hard Rock Cafes, kicks her leg high in the air. Guys in vintage plaid shorts and porkpie hats and beards and bare feet try to kick higher. Most everyone is filming everyone. Young women in swim suits toss a beach ball. Jamie, with an apron that says Kiss the Chef, finishes kicking and sees Josh and Cornelia approaching. He brightens and waves.
JAMIE
What's the rumpus, Srebnicks?
Darby hands Cornelia a pinkish drink in a clear plastic cup.
DARBY
Have you tried this? Someone at college figured out that if you put Jolly Ranchers in vodka for twenty- four hours -- it's awesome.
(nods to herself)
Some kind of date rape genius.
Cornelia drinks, she nods.
CORNELIA
I'd rape me.
DARBY
You want to take a dance class with me?
BENNY (O.S.)
Ow fuck!
Benny, a bearded white kid in an afro, sits at the curb, wincing and pulling a piece of glass out of his foot. Jamie and Josh wade through the bathers to a hibachi grill.
JAMIE
Can I run an idea by you?
JOSH
Sure, what?
JAMIE
It's a project I want to shoot.
JOSH
Okay.
I've never done Facebook, it's not my thing, see --
JOSH
Oh, really? I was against it at first...but it's actually quite a useful tool. It makes me feel like I'm really connected. And there's pictures--
A beach-ball hits Josh in the head.
JOSH
What the shit? Watch it!
He realizes very quickly that he over-reacted, tries to be a good sport and tosses the ball back with a forced laugh.
JOSH
Ha! Back atcha!
JAMIE
It's lame, yeah. That's why I'm doing this new thing with it: I'm going to start a profile and wait for people to contact me.
JOSH
Well, that part's normal, that's Facebook.
Josh is doused with water from some splashing partiers. He tries to continue unfettered. He wrings out his shirt sleeves.
JAMIE
And whoever the first person is from my childhood -- someone I'm no longer in touch with -- who contacts me...instead of responding on Facebook, see. I'm going to go find them in person. With my camera.
JOSH
Okay.
JAMIE
Like make Facebook real. It's like you want to talk to me, let's talk.
JOSH
Kind of just like real life?
Exactly.
JOSH
Well, real was there before Facebook.
JAMIE
Right!
JOSH
It sounds interesting. I'm not sure it's enough --
JAMIE
What do you mean?
JOSH
Well, think about what you want to say. I mean, what are you hoping to find?
JAMIE
I'll know when I get there. You said, we should be open to surprises, right?
JOSH
It's a nice beginning. But it might not be a full enough meal yet, you know? Keep digging.
Jamie nods, trying to mask his disappointment.
SCHOLAR (V.O.)
When I criticize quantitative analysis, it's not because statistics don't tell us anything.
INT. IRA'S LIVING ROOM. DAY
Books and papers and yapping dogs. Tim holds a boom. Josh looks through the eye piece of a digital camera on a tripod. Ira, the scholar, older than we saw him on the Avid, now sports a mostly gray goatee. He has stained khakis, cheap running sneakers and a band-aid on his forehead.
SCHOLAR
On the contrary, I'd say that they are often very revealing. Indeed, they are often most revealing when --
(pause)
I have to go to the gents.
Okay.
The scholar gets up --
JOSH/TIM
Wait, wait/Wait!
The scholar is yanked back by the lavaliere mike pinned to his lapel. Josh and Tim both rush to his aid, unhooking him. He shuffles to the bathroom and pees with the door open.
JOSH
I guess he's just doing that.
TIM
Yeah. Hey, Josh, how's that grant money doing?
Josh immediately goes into his wallet.
JOSH
I'm expecting an email any day now which should confirm --
Josh offers him a few twenties.
TIM
No, thanks, but the rest of the grant money is coming, yes?
JOSH
Ye-s. Assuming they're funded again for the next calendar year
TIM
What does that mean?
JOSH
I don't know, one of the donors left his wife and...I don't know -- they're confirming the funding.
TIM
Why'd he leave his wife?
EXT. BROOKLYN STREET. DAY
Cornelia carries a grocery bag, she listens to her iPod, singing aloud. She sees someone off-camera and smiles broadly.
CORNELIA
Hey Fox!
Baby Bjorn next to two other younger mothers, early 30's, holding young children.
MARINA \*
Hey Foxy Fox!
CORNELIA
I was just going to call you to see if you wanted to get lunch.
MARINA \*
Oh, how sweet. This is Pepper and Elise. This is Cornelia.
CORNELIA
Hey.
PEPPER/ELISE
Hi./Nice to meet you.
MARINA \*
We're going to a music class.
ELISE
It's really just for the mothers, they don't do anything yet.
MARINA \*
Do you want to come?
CORNELIA
Oh...maybe...
MARINA \*
Come on, then!
Cornelia starts walking with the mothers.
ELISE
How old are your kids?
CORNELIA
Mine? I don't have any.
ELISE
Oh...I didn't...you were just coming to hang out. Cool.
MARINA \*
It's adorable. If you didn't know better you think they're having seizures!
Brightly lit with solid primary colors. A guy, 20's and a girl, 20's sing a song about trains as mothers and nannies bounce their babies and sing along. Cornelia, her lap empty, sits next to Marina, less enthusiastically singing along. \* She looks embarrassed and miserable. Cornelia whispers something in Marina's ear. Marina \* protests, but Cornelia is insistent. Cornelia gets up and winds her way through singing mommies and babies.
EXT. BROOKLYN STREET. DAY
Cornelia comes out of the building, her breathing raspy and shallow. She leans against the brick and composes herself.
CORNELIA
Holy shit...
She takes out her phone and dials a number --
EXT. STREET IN REDHOOK. DAY
Darby and Cornelia walk together.
CORNELIA
I mean, I love her, she's a great mom, but I always felt like if I had a baby, the baby would just fold into to my life. I mean, if you spend all your time at baby classes, you become a baby. It's like the mothers are infantilized. You know?
DARBY
(talking generally)
I know, just like: have a baby. You're cool, you know cool people who have a house and, I don't know, just have a baby. You're going to Mexican food and there's a baby on the floor.
CORNELIA
I know. That's how I grew up.
DARBY
I want a baby. Maybe I'll just have a baby right now.
CORNELIA
You should. You can.
I like kids who don't speak English.
(pause)
When are you going to have babies?
CORNELIA
(hesitates)
A couple of times I got pregnant but it didn't happen.
DARBY
I'm sorry.
CORNELIA
The longest only went four weeks. After thirty-five it's a shit-show.
DARBY
I'm sorry. You don't have to tell me.
CORNELIA
No, it's okay. It's what happened. I like telling you.
(smiles, shrugs)
I like our life as it is. I think. Even if we did have a kid, neither of us can cook. You can't get baby take- out.
Darby opens a door to a building and they start up a narrow staircase.
INT. HIP HOP CLASS. CONTINUOUS
DARBY
I like how you give Josh a hard time.
CORNELIA
I don't think I give him a hard time.
They enter a dance room filled almost entirely with black, Filipino and Latina women.
DARBY
It reminds me of my mom.
CORNELIA
How she was with your dad?
DARBY
No, with my brother.
Cornelia frowns. Yeah, she'd yell at him but iron all his weird racing T-shirts. I mother Jamie. Darby smells her underarms and makes a face.
DARBY
Sorry, I stink.
She changes into a tank-top and baggy track pants. Cornelia puts on a leotard.
CORNELIA
What kind of class is this again?
They enter a crowded dance studio.
DARBY
Hip hop.
Tupac's "Hit Em Up" blasts on and the women start doing 90's music video dance moves. Cornelia tries to keep up, but looks less like a fly girl than a farmer doing a hoe-down. Tupac continues over:
EXT. HAT STORE, BROOKLYN. DAY
Josh and Jamie admire the hats in the window. Josh points to an Irish cap. Jamie shakes his head.
EXT. SUBWAY TRACKS. DAY
Jamie, Darby, Cornelia and Josh (in his new porkpie hat which he'll wear from now on) walk along the outdoor tracks. A train rushes by on another track. Darby squeals with delight. Jamie whoops. Cornelia and Josh look terrified.
EXT. HOUSING PROJECTS, BASKETBALL COURT. DAY
Jamie is the only white guy in a pick-up game on an asphalt court.
INT. GYM. DAY
Josh runs on a treadmill.
INT. JOSH AND CORNELIA'S APARTMENT. NIGHT
Josh tosses his hat onto a chair. He pulls Cornelia's shirt over her head. She unbuttons his pants. Their open mouths crash into one another. They make love on the floor. Jamie and Josh browse different bikes. Josh checks out an elaborate ten speed. Jamie shakes his head and points to a single speed vintage, shitty-looking Raleigh.
EXT. BUSHWICK STREETS. DAY
Josh, a helmet strapped to his head, and Jamie, helmetless, ride their bikes. Jamie lifts up his arms, soaking it all in. Josh tries to do the same. Josh looks suddenly disconcerted and grabs his side. He slows to a stop as we CONTINUE with Jamie soaring onward.
INT. DOCTOR'S OFFICE. DAY
Josh sits on an examining table. A bald doctor is inspecting his legs.
DR. NAGATO
Well, it's a just strained muscle. But the more concerning thing here is your arthritis.
JOSH
Arthritis?
DR. NAGATO
Yes. You have arthritis in your knee.
JOSH
Is arthritis a catch-all for some kind of injury to the --
DR. NAGATO
No, arthritis is a degradation of the joints.
JOSH
I know what traditional arthritis is.
DR. NAGATO
I'm not sure what you mean by "traditional," but this is arthritis.
JOSH
Arthritis arthritis?
DR. NAGATO
Yes, I usually just say it once.
JOSH
At my age?
You're what, 42?
JOSH
DR. NAGATO
Well, it happens at 42 and it happens at 44.
JOSH
Uh huh.
DR. NAGATO
I'm going to get you a prescription for Paracetamol. We'll start there and see how it progresses, okay?
He hands a prescription sheet to Josh. Josh holds it about a foot away and squints.
DR. NAGATO
Have you had your eyes checked recently?
JOSH
I have genetically great eyes.
DR. NAGATO
(shrugs)
You're growing up.
INT. WILLIAMSBURG RESTAURANT. DAY
We start on Jamie yawning open mouthed. We MOVE out to find Josh in black rimmed glasses and his porkpie hat talking across the table from him.
JOSH
It's weird...you know, I'm at that age where the things you think are only going to happen when you get older are actually happening.
JAMIE
If I'm going to be totally honest with myself, I don't think I'm ever going to die. I know that's crazy.
JOSH
It's crazy.
JAMIE
I think I'm pathologically happy.
(hesitates)
I mean, Cornelia and I...for a while the fact that we got married was so amazing...I mean, we were married! Now we're just married, you know? Did you feel that way?
JAMIE
Best decision I ever made.
JOSH
(glancing around)
I really like this place.
JAMIE
(excited)
Oh, hey, I got my first response on Facebook.
JOSH
Yeah?
JAMIE
This guy, Kent Arlington. I haven't seen him since highschool in Santa Cruz.
JOSH
Did you flesh it out more, the idea?
JAMIE
A little, yeah. He's living in Poughkeepsie. Tipper and I will train it up there and find him.
A shaggy white haired man, late 60's, in a jean jacket and jeans enters the restaurant.
JOSH
Shit.
JAMIE
What?
JOSH
My father-in-law.
Jamie yanks his head around.
JAMIE
Where?
Josh half-rises to shake his hand.
BREITBART
How are you?
JOSH
Good, Leslie, you?
BREITBART
Good. Gearing up for my memorial.
JOSH
(to Jamie)
Leslie is having a tribute at Lincoln Center next month.
(to Leslie)
What are you doing here? How do you even know about this place?
BREITBART
Are you kidding? I've been coming here for the speck since it opened.
JOSH
This is Jamie, a friend of mine.
Jamie stands up and shakes Breitbart's hand.
JAMIE
I'm sure you hear this all the time, but both "Wedding" and "Giving Arlo a Bath" changed my life. It made me want to tell stories in a non-fiction mode.
BREITBART
Thank you.
JAMIE
Thank you for your films.
BREITBART
(to Josh)
How are the grandkids?
JOSH
Still don't exist.
BREITBART
You'll never regret it.
(beat)
How's my daughter?
How does she seem to you?
BREITBART
I think she seems well.
JOSH
So, why are you asking me?
BREITBART
Cornelia says you're looking for finishing money.
JOSH
Um...maybe...it depends on this grant, if this guy leaves his wife or not...
BREITBART
I met a guy, hedge fund or something or other, he's looking to put money in docs. I'll arrange a meeting if you're interested.
JOSH
Uh...
BREITBART
Don't be proud, Josh. I'll call you tomorrow with his number.
JOSH
(defeated)
Okay.
BREITBART
(to Jamie)
Nice to meet you.
He walks to another table in the back and is greeted by another man in a suit.
JAMIE
Jeez Louise, working with him must've been astonishing.
JOSH
It's complicated, I felt I was seen as his protege and...I married his daughter, I needed to establish my own voice. I think he thought I rejected him, that I was arrogant. Maybe I was.
Jamie yawns and texts. But you'll take that meeting --
JOSH
Probably not.
JAMIE
You have to, Yosh. I mean, money's money, right?
JOSH
Yeah, but I never pitch...I just don't think in sound-bites...
(musing)
I understand we're a culture of sound- bites, but --
JAMIE
(interrupting)
I'll help you. You know, make it sound beautiful -- it is beautiful -- but beautiful to some suit.
JOSH
Maybe.
Josh looks over at Breitbart chatting with his lunch companion.
JAMIE
You can totally say No to this, but would you have any interest in co- directing with me?
JOSH
Oh... No, it's your thing, it should be your thing.
JAMIE
(quickly)
I totally get it, yeah --
JOSH
(hesitates)
Yeah...it should be your thing.
Josh puts his hand on the check.
JOSH
I got it.
JAMIE
Cool.
something, but gets nothing. He hesitates then throws down cash.
JOSH
Shall we go?
JAMIE
You go ahead, I gotta take a leak.
They embrace. We MOVE with Josh to the door. Something occurs to him. He turns around -- Jamie's at Breitbart's table. He gestures animatedly. Breitbart laughs heartily. Josh watches. Finally, he turns and exits.
INT. JOSH AND CORNELIA'S APARTMENT. DAY
Josh is laying random white items of clothing on the bed. Cornelia practices a hip hop routine.
JOSH
He just offered it to me like it was nothing. I've been trained to hoard credit, these kids are so generous.
CORNELIA
I know.
JOSH
Yeah. What do you mean, you know? Which part?
CORNELIA
About credit. My dad always said that about you. You don't collaborate well.
JOSH
He "always" said that? What's "always?"
CORNELIA
I don't know, twice. I wanted to do that thing about the public school in the Bronx and you were really excited about it until I suggested we do it together and then you kind of dropped it.
Josh is about to defend himself. He hesitates. Maybe we should have done it. We still could.
CORNELIA
The time has past.
JOSH
I'm sorry about that. I want to be better about that stuff.
CORNELIA
(hesitates, touched)
Thanks.
Cornelia's phone rings. She dances over to it. Josh regards her.
JOSH
What is that, a hoe-down?
CORNELIA
No! It's hip-hop.
Cornelia finds her phone.
CORNELIA
(into phone)
Hey Fox!
INT. FLETCHER AND MARINA'S APARTMENT. INTERCUT 29 \*
Marina nurses the baby. \*
MARINA \*
Fox! Do you guys want to come to the Connecticut house this weekend?
Josh starts hip hop dancing with Cornelia.
CORNELIA
(laughing)
Connecticut this weekend?
JOSH
(loud whisper)
No, we have the ayawasca.
Fletcher walks by in the background.
FLETCHER
Where's the cardboard sleeve
MARINA
What's on it?
for this Wilco CD? The same image that's on the Why do you need it? The CD CD. is right here. \*
FLETCHER
I don't know. It makes it special.
MARINA
It'll be us and Pepper and her husband Reade and Elise and Dwight. And then Willow, Oscar and Peter who they're calling Nemo.
CORNELIA
That's a lot of people.
MARINA \*
Well, the last three are infants.
Josh shakes his head, No and dances more vehemently.
CORNELIA
(trying not to laugh)
Oh...you know... Actually, we're doing this ayawasca ceremony with Jamie and Darby.
MARINA \*
What's an ayawasca ceremony?
CORNELIA
I guess...there's a shaman and you drink this sludgy liquid made from a Peruvian root and you hallucinate and vomit up your demons.
MARINA \*
Oh... Okay. We're just having a cookout and maybe playing charades so...
CORNELIA
It sounds great. Just bad timing.
Josh and Cornelia are both laughing now and doing some combination of hip-hop/hoe-down.
MARINA \*
(clearly disappointed)
Yeah.
INT. VICTORIAN HOUSE, BROOKLYN. NIGHT
A circle of kneeling people all dressed in white. It's whatever white they had available at home so it's mismatched, kneels at a make-shift shrine. This is the shaman. In front of him is an altar decorated with crystals and laminated cards of St. Francis, Gandhi, Merlin, King Tut. Josh leans over to Cornelia:
JOSH
How did King Tut become magical all of a sudden?
Jamie, in a white Puma track-suit, leans forward over a couple of people on Josh's other side.
JAMIE
It's because they discovered his tomb in the occult boom of the 20's.
"Shhh!" from the group. The shaman pops open what looks like a Coke bottle and pours a brown sludgy liquid into a shot glass. He says a benediction. People, in succession, crawl over to him, he does a blessing of sorts on their forehead and hands them the glass. They drink and return to their original spots. We watch as Jamie, Darby, Cornelia and Josh drink the dark sludge. Jamie drinks without thought. Darby does the quotes thing in the air before she drinks.
DARBY
This is our twenties!
CORNELIA
I'm forty-one.
Cornelia sips it. She looks up at the shaman who smiles encouragingly. She downs it and hands it back to him proudly. Josh hesitates, looks back at the group. He shrugs and downs it, a significant portion missing his mouth. He quickly wipes at his chin and tries to get the spillage back into his mouth. He licks his fingers and palm and the sides of the glass then hands the glass back to the shaman, who looks mildly irritated. They're back in their circle. The woman next to Josh whispers: Supposedly everyone sees Egyptian imagery.
JOSH
Oh yeah?
WOMAN
I want to clear some father issues. You?
JOSH
Oh, I don't know.
WOMAN
It's good to have a focus.
JOSH
(thinks about it)
Fear of death? You know, linear time not being such a big deal.
The lights are lowered. The shaman's assistant clears the air with an eagle feather.
JOSH
(whispers)
What's the bucket for?
WOMAN
Puking.
People "shhh" Josh. The shaman goes around the room and makes a cross on everyone's forehead. Josh closes his eyes. The FOLLOWING is in choppy, almost impressionistic images: People start to trip. Darby gets up and joins a couple who is dancing.
SHAMAN
We are purging dark energies, past pain.
He plays some bongos and shakes a shaker.
DARBY
(under her breath)
This shaman is kind of a d-bag.
The woman next to Josh grabs a bucket and pukes.
JOSH
That's my bucket.
I'm puking out your shit! Josh crawls next to Cornelia.
JOSH
I feel it! Oh my God, I see a fucking pyramid. And a sphinx. It's true, you see Egyptian shit. Honey, what are you seeing?
CORNELIA
I'm in a deli in Bensonhurst.
JOSH
The serpent, Apep is speaking to me. He's saying, go to the cattle of Ra. The Celestial Cow is waiting.
CORNELIA
I'm purchasing a bag of Sun Chips.
CUT TO: Jamie stands with the shaman.
JAMIE
I don't believe in any state supported art. I think you need to just do it yourself.
He vomits.
JAMIE
(gargling vomit)
I voted for Romney.
Everyone vomits. We see this in succession.
SHAMAN
Watch the carpet!
CUT TO: Josh opens his eyes. The room is a blur -- white figures drifting past. Josh gets up. Cornelia talks with the shaman in a corner. Josh waves her over madly. She excuses herself.
JOSH
Maybe don't flirt with the shaman.
CORNELIA
He was telling me about his boat.
Cornelia grows quiet. Her eyes are glazed. What?
CORNELIA
I wish you'd look at me the way you look at Jamie and Darby.
JOSH
I look at you that way...
CORNELIA
No, you don't. You used to. When we first met you were like you are with them, you wooed me with romantic emails...
JOSH
There's no point in us emailing now...we're in the same room all of the time.
CORNELIA
(hesitates)
I don't want to take away your enthusiasm for Jamie and Darby, I'm glad you like them so much...I just wish I could feel that energy from you once in a while.
CUT TO: Darby leans her head against the wall. She talks to the man next to her.
DARBY
I was falling asleep today on the L train and you know how your brain gets in these loops? I couldn't remember the shape of a pineapple: "Are they like pears?" No, they're like footballs with the ends cut off. It's hard to call to mind the shapes of things. Do you find that?
She vomits. CUT TO:
INT. VICTORIAN HOUSE - DARK ROOM. NIGHT
Cornelia wanders into a dark room. She sees Josh coming toward her.
CORNELIA
Josh, I'm sorry.
Cornelia kisses Josh on the mouth, long and passionate. She hesitates.
CORNELIA
You taste different.
Cornelia pulls back.
CORNELIA
Josh?
JAMIE
It's me.
CORNELIA
Jamie, shit. I thought you were Josh. I'm so fucked up. I'm sorry.
She puts her head on his shoulder.
CORNELIA
Ugh, how embarrassing.
JAMIE
It's okay, worm.
She looks up at him and they kiss again. She stops.
CORNELIA
Let's never do that again.
She walks away. CUT TO:
INT. VICTORIAN HOUSE - HALLWAY. NIGHT
Josh drifts down a hallway. His eyes blinded by drifting geometric shapes and figures.
JOSH
It stopped working. Cornelia, mine stopped working anymore!
But Cornelia isn't there. He slips and rights himself with the wall.
JOSH
Nothing is happening.
He trips and hits the floor with a thud. Jamie is picking Josh up -- How you doing, Yosh?
JOSH
Is yours working? Mine isn't working.
JAMIE
Mine's working.
JOSH
What if I don't find anything out?
He looks at Jamie, tears rolling down his face. He now sees that Jamie is filming him.
JAMIE
Just roll with it. You're going to be fine, see.
JOSH
Thanks, Jamie. You're so kind. And so generous. I'm so proud and selfish. I want to be generous like you. I want to help you with your film. I'll come with you to film the guy. I don't want credit or anything, just to help out.
JAMIE
Thanks Joshy, that's beautiful.
JOSH
Before we met, the only two feelings I had left were...wistful and disdainful. And being around you...I see what's possible again. Is that corny?
JAMIE
It's goddamn corny, Joshy.
JOSH
Yeah, I guess it is. I'm a cornball.
(pause)
I've felt like a failure for years. I wish Cornelia and I had had kids.
JAMIE
It's not too late, is it?
Josh vomits. Jamie holds his head while he retches. Thanks.
JAMIE
No problem, Jussle.
Jamie vomits.
EXT. VICTORIAN HOUSE - FRONT PORCH. MORNING
Cornelia sits on the stairs. She looks exhausted. People on the street are starting their day, taking kids out, moving cars.
JOSH (O.S.)
It's still tonight for us, but it's tomorrow for everyone else.
Josh sits beside her. He looks tired, pale, worse for wear.
JOSH
Let's have kids! Or a kid. Something.
CORNELIA
Did the Celestial Cow tell you this?
JOSH
(pause)
Yeah, but that doesn't make it any less true.
Cornelia picks at the dry skin on her lip.
JOSH
(re: the houses and pedestrians)
All these people have babies -- what's the big deal?
CORNELIA
I thought we'd decided... I don't want this to be every time you take a hallucinogen you want to have a baby.
JOSH
Not every time.
CORNELIA
We missed our chance. I missed my chance. I'm fine with that.
(pause)
The serpent suggested we could adopt.
CORNELIA
He didn't tell me that.
JOSH
You don't want to?
She slowly shakes her head. Pause. Josh notices something.
JOSH
Is that the shaman's Vespa?
INT. FLETCHER/MARINA'S BUILDING - ELEVATOR. EVE 34 \*
Josh and Cornelia, dressed casually. She holds a couple of take-out bags. Another couple, dressed up, stands next to them holding a bag with a ribbon.
CORNELIA
He's been cooped up at home with a baby, and she loves these soup dumplings. This will be a great surprise.
JOSH
I haven't spoken to Fletcher for a while. I think he's exhausted.
CORNELIA
(laughs)
We'll probably be waking them up!
The doors open. Both couples exit.
INT. FLETCHER/MARINA BUILDING - DOORWAY/LIVING ROOM. EVE 35 \*
Josh and Cornelia approach the apartment. Josh starts to clock the other couple walking right next to them. They all reach an apartment door. Voices and music from inside. Cornelia frowns. Josh rings. He looks at the other couple who smile. Marina opens the door in a party dress, beaming and holding a \* white wine. Party guests mingle behind her.
MARINA \*
(horrified)
Cornelia...Josh.
(welcoming)
Gaby, Mike!
Hi.
COUPLE
You look amazing!
The other couple enters the party. Fletcher appears in the background loudly bantering with another guy.
FLETCHER
...I know! I felt like I was in one of those sci-fi movies where everyone is ranked by intellect --
His face drops when he sees Josh and Cornelia.
FLETCHER
Oh...fucking shit...
He and Marina come out into the hallway, the door ajar behind \* them.
CORNELIA
Did we...I guess you're having a thing.
MARINA \*
Uh...yeah. We... God, this is embarrassing.
CORNELIA
Is it a baby thing or...?
MARINA \*
No, actually...Willow's at my mother's.
CORNELIA
Oh...
JOSH
We weren't invited.
FLETCHER
Well...we didn't think...
MARINA \*
Oh, God, I don't know what to say...
Another couple appears behind Josh and Cornelia.
COUPLE #2
Hey, girly girl. You look fiiiine!
WOMAN
Hey Cornelia, how are you?
CORNELIA
Fine, Grace, you?
WOMAN
Great.
MARINA \*
(to the other couple)
Come inside, there's a full bar --
The other couple enters the apartment.
CORNELIA
What is going on?
MARINA \*
I'm sorry...we didn't think you'd want to come or...
JOSH
Why?
MARINA \*
Well, for one thing these are people our own age.
CORNELIA
Oh, come on!
FLETCHER
And maybe you have a titseeka ceremony or something.
JOSH
Ayawasca! It was therapeutic. I learned some shit. I think Cornelia did too.
CORNELIA
(awkwardly)
I did too. Learn some shit.
FLETCHER
You guys were wacked out on Peruvian mescallen, of course you're going to learn some shit. I went under during a colonoscopy last week and I learned some shit.
Don't patronize us, man.
FLETCHER
Listen, we don't know how else to say this, but...we're worried about you guys.
MARINA \*
Yeah, you know...I mean, it's cool you don't want to have kids --
CORNELIA
Don't make this about the baby cult, Marina. Okay? I don't appreciate \* that kind of superior attitude. It's really ugly.
MARINA \*
That's not what I'm saying! I can't help it if I want you to have kids.
FLETCHER
We think you guys would really benefit from it. That's all.
CORNELIA
(suddenly emotional)
But you don't realize how inappropriate it is to say it like you say it. Not everyone wants a baby! Not everyone can have one all the time!
COUPLE (O.S.)
Hi sexy lady!
Yet another couple, Elise and her husband, arrives, kisses Marina and Fletcher. \*
MARINA \*
(smiling hostess)
Elise! Come in! Come in!
They enter. Marina brings her voice down: \*
MARINA \*
Since we've had the baby, I feel you pulling away, Cornelia. I just do.
CORNELIA
I went to a fucking baby music class with you! Do you know how humiliating that is?
FLETCHER
(to Josh) What's with the hat?
What?
FLETCHER
You look like assholes we went to highschool with who would cruise by the prom but not go in.
MARINA
Why is it humiliating? is my life now!
MARINA \*
(getting emotional)
It can be very isolating and lonely when you have a kid.
CORNELIA
(re: the crowd inside)
Yeah, I can tell.
FLETCHER
We're old men, Josh.
JOSH
Speak for yourself.
FLETCHER
You're an old man with a hat.
CORNELIA
(sadly)
Let's go, Josh.
FLETCHER
Stay, you're here...come in.
JOSH
(emphatic)
There is no way we're coming in.
CUT TO:
INT. FLETCHER/MARINA APT. - LIVING ROOM. EVE 36 \*
Inside the APARTMENT. Josh and Cornelia sit alone by the window. People are laughing, talking loudly. Cornelia downs her wine in one. Josh looks furious.
JAMIE (V.O.)
(sings)
"You're playing Nintendo."
INT. JAMIE'S CAR. DAY
Jamie drives, Josh next to him. Cornelia, Darby and Tipper, who wears a T-shirt that reads: Some Crappy Band, are squeezed in the back. Jamie sings and Tipper responds: (sings) "That's not what I'm doing, that's not what I'm doing."
JAMIE
"You're surfing the web."
TIPPER
"That's not what I'm doing, that's not what I'm doing."
JAMIE
"You're crying your eyes out."
TIPPER
"That's not what I'm doing, that's not what I'm doing."
TIPPER
(she beats the back of Josh's seat three times)
"I'm making a sandwich!"
Both of them, flush and beaming look around the car.
JOSH
Nice.
CORNELIA
(trying to be positive)
Fun.
Darby grumbles. She turns to Cornelia.
DARBY
Connecticut has the best thrifting. He'll drop us off before they do their filming.
JAMIE
Tipper and I started a band called Cookie O'Puss. Have you seen that on YouTube?
JOSH
(a bit annoyed)
That was a commercial when I was a kid.
JAMIE
It's fucking hilarious.
JOSH
(trying to own it)
I know, we used to always do his voice.
TIPPER
"My name is Cookie O'Puss!"
(trying to do it first)
"My name is Cookie O'Puss."
JAMIE
"My name is Cookie O'Puss."
JOSH
Right.
JAMIE
It's the name of our band.
EXT. POUGHKEEPSIE STREET. DAY
Josh films Jamie as he gets out of the car. Tipper films the house.
JAMIE
He was this kind of amazing combination of jock and brain and he could sing, he was in the acapella group called the Night Owls. I mean kind of the perfect guy.
EXT. CLAPBOARD HOUSE. DAY
The three of them wait at the door. Tipper films. Jamie knocks. A skinny woman in her 30's appears.
JAMIE
Hey, I called, my name's Jamie, I'm a friend of Kent's.
SISTER
Kent isn't here.
JAMIE
Oh...well, will he be back soon?
She shakes her head. She looks over at Tipper who's filming.
SISTER
What's --
JAMIE
We went to school together. It's been a while, but he contacted me recently on Facebook. It would mean a lot to me if I could see him.
The sister hesitates. She's debating something in her head. Jamie, Josh and Tipper are led by an orderly down a long sterile hallway. They reach a set of automatic doors. A loud buzz. They go through the doors to another set of doors. Another loud buzz. They open.
INT. HOSPITAL ROOM
Kent, 20's, pale and thin, lies in bed watching a cooking show. He's eating ice cream out of a container. Jamie, Tipper and Josh enter. He looks up as they approach, placing the ice cream on the bed-side table. CUT TO: Josh shoots Jamie. Tipper shoots Kent. Kent sits up in bed, he talks somberly. Jamie sits at his bed-side.
KENT
A ceramic platter didn't break and accidentally cut both my wrists.
JAMIE
No?
KENT
No. I've been unhappy. I did it to myself. I cut my wrists.
JAMIE
You broke a ceramic platter and used the shards to cut your wrists?
Josh starts to say something, he knows where Kent's going with this, but he holds himself back.
KENT
No, there was no ceramic platter. I mean, there is, I had one in mind when I was telling the story.
JAMIE
But the shards were from the platter?
JOSH
(can't help himself)
What Kent is saying is he imagined an actual platter to make his story feel more authentic, but really he just cut his wrists with what, probably a razor blade?
Kent and Jamie look over at Josh. Kent looks annoyed. (to Jamie) Who is he? CUT TO: Jamie leans in. Kent seems emotional.
JAMIE
You were the guy, you know. You were beautiful. I mean you dated Jenny Pepperdine!
Kent flashes a weary smile.
JAMIE
You know I bought a necklace like the one you used to wear --
KENT
My puka shells?
JAMIE
Yeah. You know, I was going through a tough time in highschool, my mom was really sick with ovarian cancer, I was pretty promiscuous, but I couldn't love anyone, I had body issues --
We slowly ZOOM in on Jamie as he talks. Josh's closed eye opens. While keeping the camera trained on Jamie, he inspects it, bewildered. He's not pressing anything. He sees -- Jamie holds a small remote in his hand. He's zooming in on himself.
JAMIE
You had written a poem for English, you were this athlete and you wrote this beautiful poem. Do you know what poem I'm talking about?
KENT
I wrote a lot of poems.
JAMIE
It was a line, very simple, but effective, "I want to be unbridgeable." That one line got me through my mother's illness.
Yeah? I don't know why I stopped writing poetry. I stopped doing a lot of things. Why do we stop doing things? I guess life happens.
JAMIE
Life is other plans.
KENT
Yeah.
JOSH
(from behind the camera)
Life is what happens when you're making other plans.
Jamie and Kent both startle and turn to the camera.
KENT
(again annoyed)
Who is he?
DARBY (V.O.)
I keep trying to get people to agree with me on this: I hate Tipper.
INT. OLD BARN
Antiques and vintage clothing. Darby helps Cornelia lace up a corset.
DARBY
She ends every word she can with "ish." I thought she was making fun of this way of talking until it was clear that she wasn't.
CORNELIA
She tries too hard.
DARBY
Exactly! But it's low-key so you don't notice it. I shouldn't shit- talk Tipper. I have so many things.
CORNELIA
You and Jamie were highschool sweethearts?
DARBY
No, Jamie was only in Santa Cruz for a semester.
company that was contracted by the army and they were never in one place very long. Jamie can be at home anywhere.
CORNELIA
Josh is only at home at home.
the mirror. She's horrified.
INT. DINER, HUDSON, NY. DAY
The four of them and Tipper in a booth. Jamie and Tipper have just finished telling Darby and Cornelia about the day. Josh is looking at something on his phone.
TIPPER
He was soulful-ish, you know.
JAMIE
Sister, that's an understatement. You can tell he's been to some dark places.
DARBY
(petulant)
We went to some dark places too. I bought a dress. Cornelia didn't buy a corset.
JAMIE
(eating)
Mm, this burger is in-cred-ible.
JOSH
(re: his phone)
Holy shit.
CORNELIA
What's wrong?
JOSH
No...nothing...I just Googled Kent...
(looks up to Jamie)
Did you Google him?
JAMIE
No, I wanted it to be fresh.
JOSH
This...it's there's a picture, it's the same guy. He was in Afghanistan.
JAMIE
(surprised)
Really?
JOSH
Yeah...he...this article says he was part of a massacre in Wanat.
civilians... He then spoke out publicly about it and then he refused to fight. He was jailed briefly then he returned to battle, was injured and given the Purple Heart.
JAMIE
You're kidding?
Josh hands Jamie his phone. Jamie beams.
JAMIE
It says two men in his unit have killed themselves. Tipper --
Tipper gets out the camera and turns it on Josh. Josh looks into the lens strangely.
JAMIE
Do it again, what you did.
JOSH
Which part?
JAMIE
The phone, the discovery, everything.
JOSH
Oh...
Josh awkwardly looks at his phone then back up. The four of them are waiting.
JOSH
(stilted)
It's the same guy... Is that what I said? How did I say it?
Jamie yawns, impatiently. Josh tries again:
JOSH
(acting now)
It's the same guy! Holy shit. Jamie, take a look at this.
Tipper swings the camera at Jamie. He grabs Josh's phone and reacts almost identically.
JAMIE
It says two men in his unit have killed themselves.
(excited, getting the hang of it)
We have to go back!
JAMIE
Yeah?
JOSH
We have to get him talking about this. This is the movie! Now it's not just some stupid Facebook thing.
Jamie looks at Josh oddly. Josh backtracks:
JOSH
Not that that wasn't a good idea too. But, and I hate this expression, but you stepped in shit!
(suddenly)
Cornelia!
CORNELIA
(caught off guard)
What?!
Josh kisses her.
JOSH
I don't know!
Jamie digs into his food.
JAMIE
Thank God I've got you, Joshy! We did what you said: we didn't know the answers, we discovered it. I should get a good book on Afghanistan. And war in general. I really know so little about it.
JOSH
(decides to go for it)
You know who you should talk to. Ira Mandelstam, the guy in my film he could tell you a lot about war and the politics of war.
JAMIE
That's your guy, though, Joshy. I can't take your guy.
I don't care. I want to share him with you. (to the table) Look ma, I'm sharing!
JAMIE
Jeez Louise, that would be fucking beautiful.
CORNELIA
(suddenly, caught up in the whole thing)
You know, if you want help... I could help or...produce this for you...
Josh looks at Cornelia, surprised. He smiles.
CORNELIA
My dad's between things now...
JAMIE
Oh, my God. Are you kidding, I'd be so pumped. Thank you, thank you.
Josh keeps smiling. He wants very badly for this to feel good.
INT. SCHOLAR'S APARTMENT
Ira, the scholar, is talking about the power structure of the United States. Jamie shoots him. Tipper holds a boom. She wears a T-shirt that reads in generic lettering: A College I Didn't Go To. Cornelia stands close by. Josh sits in a chair in the back, listening through headphones. His eyes drift away from the scholar and turn inward. He looks almost afraid.
INT. SCHOLAR'S BEDROOM
A mess of books and clothes and dogs and dog beds. Josh pulls Cornelia inside and shuts the door.
CORNELIA
What?
JOSH
(hushed)
Can I say something I'm ashamed of?
CORNELIA
Yeah.
It's not generous. And I probably don't really mean it.
CORNELIA
Okay. Go.
JOSH
And I think Jamie's great so --
CORNELIA
Say it!
JOSH
(snapping)
I can't fucking believe his idiotic Facebook idea paid off! It's so fucking stupid! And my thing is a mess. A total fucking mess.
(pause)
Sorry, I feel bad saying that. But I also hate the fact he's calling his band Cookie O'Puss.
CORNELIA
What's wrong with that?
JOSH
It's just some funny old kitschy thing to him he saw on YouTube. But that was my commercial. I actually experienced it. You know?
CORNELIA
I don't know from Cookie Puss.
JOSH
Really? It was for Carvel. Cookie Puss was the original one but they did an ice cream cake for Saint Patrick's Day and it was this floating green Irish cake that said, "My name is Cookie O'Puss."
Cornelia is silent.
JOSH
(exhales)
I'm being ridiculous. I probably don't mean any of it.
CORNELIA
My dad likes to say, "The more, the more."
That's because your dad has everything. And then he gets more. (off her look) No, he's right. There's enough to go around for everyone.
JAMIE
Yo, Yosh! You got a pitch you got to attend!
She kisses him.
CORNELIA
Good luck.
EXT. FINANCIAL DISTRICT. DAY
Jamie walks with Josh through stopped traffic toward the Goldman Sachs building.
JAMIE
Remember, ask him questions. You're interviewing him. He'd be goddamn lucky to invest in your film.
JOSH
Okay.
JAMIE
And talk about shit he understands, see. Short and to the point.
A bike messenger swerves by them on the sidewalk.
JAMIE
(suddenly furious)
Ride on the street, man!
(and then back to Josh not missing a beat)
Psych him up. Talk about money. Talk about war. Power. Race. Make it relevant to him.
JOSH
Right.
JAMIE
Be yourself, everyone else is taken.
Jamie straightens Josh's jacket collar. Ira was beautiful today. I'm gonna have a screening of the cut footage at the apartment on Friday.
JOSH
You cut it already? We just shot it two days ago.
JAMIE
I know. I was up all night.
(patting Josh on the back)
We'll be okay, Joshy. Don't you fret.
JOSH
Maybe take a day or two to make sure you like it.
JAMIE
Or I can take ten years.
Josh hesitates, taken aback. Jamie laughs.
JAMIE
I'm fucking with you, Joshy. Your thing is going to be totally brilliant.
They reach the doorway of the office building. Jamie takes the big headphones from around his neck and puts them on Josh. Jamie presses Play. "Eye of The Tiger" by Survivor.
JOSH
I remember when this song was just considered bad! But it's working.
JAMIE
Remember, he's lucky to have this opportunity. You're friggin' Josh Srebnick.
JOSH
My name sounds so much better when you say it.
INT. OFFICE, HEDGE FUND. DAY
Josh shakes hands with a bulky fratty looking hedge fund guy, 30's, in a suit. This is Dave. Josh sits on a couch, Dave in an armchair. Dave drinks from a highball glass. You see Mad Men?
JOSH
No.
HEDGE FUND DAVE
(waves it off)
It's really apple juice. Nah, it's whiskey. Nah, it's not. It is.
He drinks.
HEDGE FUND DAVE
So, tell me more about your project.
JOSH
Well, maybe a good way to start is by asking you a question.
HEDGE FUND DAVE
Hey, they were all raped when I got there.
Josh stares at him blankly.
HEDGE FUND DAVE
(re: highball)
This is my second in twenty minutes. Shoot.
JOSH
Do you know the percentage of African American adult males currently in jail?
HEDGE FUND DAVE
I don't.
JOSH
Take a guess.
HEDGE FUND DAVE
(playing along but not really thinking)
Like 60%?
JOSH
Jesus, no!
(pause)
It's over 9%. That's nearly 1 in 10 African American adult males, nearly a million and half.
A million and a half is a lot.
JOSH
It's insane, but people don't realize this. They think because we have a black president...
HEDGE FUND DAVE
(as if he's helping Josh out)
So this is about prison. Like a black Shawshank. But real. A real, black Shawshank.
JOSH
(thrown)
No, not...no.
(pause and then speaking quickly)
There's a section, an Entr'acte really, on the function of race in the prison industrial complex...
(trying to get back on track)
But the film is really about how power in America works... Do you know the historian, Ira Mandelstam?
HEDGE FUND DAVE
Yeah.
JOSH
(pleased)
Really?
HEDGE FUND DAVE
No.
JOSH
Well, we have over a hundred hours of interviews with him. Now --
HEDGE FUND DAVE
The movie's a hundred hours?
JOSH
No, we'll cut it. Now, this guy, he's not particularly charismatic, he's kind of anti-social, maybe asbergers, but not interesting asbergers. He's kind of boring even. But he's a charismatic thinker.
How do you show what he thinks? Cartoons?
JOSH
(what?!)
No, not cartoons. He says it.
HEDGE FUND DAVE
But he's boring.
JOSH
Well...yes, but like many boring things, the longer you watch it, it takes on a different dimension --
Josh wipes the sweat that has now accumulated on his face. Dave's glance goes to his Blackberry. He types something quickly.
HEDGE FUND DAVE
Mmm hmm. So, what's it about?
JOSH
It's really a very simple idea. The three sections correspond to the three nodes of what Mills called the power elite: the political, military and economic. But, and this is key, each part has to interconnect to show how none of these three nodes functions without the other.
Dave tries to surreptitiously glance at his Blackberry.
JOSH
It's a linear film of course, but I imagine it as a kind of hypertext. To be clear, the film is really about the working class and, I can't speak on behalf of the working class. I can't make their film, of course. They have to be felt as the impossible subject of the text. Through an examination of the power structure the voice of the working class has to be revealed in the margins through its very absence. If that makes sense.
The phone rings. Both Dave and Josh look at it.
HEDGE FUND DAVE
Hey, I'm suddenly so popular.
(barrels on)
But it's not even really about the power structure but about what it means to make a film about it. It's about the very possibility of making this film...It's really about America.
Dave can't help it. He lunges for the phone. The sound of KNOCKING.
INT. BREITBART'S APARTMENT - DOORWAY. DAY
Josh stands in the doorway, he wears his bike helmet and holds his hat. Breitbart smiles.
BREITBART
I was just working on my speech for my memorial. What's on your mind, son?
Josh nervously unstraps his bike helmet and puts on his hat. An awkward exchange as he has trouble holding both. He exhales. Breitbart finally accommodates by taking the helmet.
JOSH
Would you watch what I have? I think I'm at a point where I need a new set of eyes.
BREITBART
Ten years with the same project will do that to you.
JOSH
Yeah.
BREITBART
(warmly)
Of course I'll watch it. Come in, son.
CUT TO:
INT. BREITBART'S APARTMENT - LIVING ROOM/KITCHEN. DAY
They watch the scholar on Breitbart's new TV. Josh can't look at the screen, his eyes on are Breitbart. CUT TO: Josh, still watching Breitbart. The movie ends. Breitbart nods, shuts off the TV with a remote.
BREITBART
I just got this TV. It's a smart TV.
so long.
BREITBART
I'll put a kettle on. You want some tea?
JOSH
Okay.
Breitbart goes to his kitchen. Josh waits, impatiently.
BREITBART (O.S.)
Well, you have a lot of good material there.
JOSH
Uh huh.
BREITBART (O.S.)
Lots to think about. I need to process it.
JOSH
Uh huh.
Breitbart reappears in the kitchen doorway.
BREITBART
Do you need the stuff about Turkish politics?
JOSH
Yes, because it connects to what he's saying about the shift in power in the contemporary global economy. And, of course, it relates back to the earlier stuff on the Ottoman Empire.
BREITBART
Right, but it feels like a detour. What about the lengthy history of the Triangle Shirtwaste Factory Fire? Do you need that?
JOSH
The interview with Tillie Kupferschmidst's great great niece? That's the emotional center of the movie. That's where things come together. Without that scene...why make the film at all?
But it's too long.
JOSH
It has to be long. The point is it makes you uncomfortable.
BREITBART
(gently)
I wasn't uncomfortable, I was bored.
The kettle goes off. Breitbart goes back into the kitchen. Josh follows him in.
JOSH
Well, maybe boredom is your defense from the discomfort.
BREITBART
(growing impatient)
You just showed me a six and a half hour movie that runs about seven hours too long. I'm trying to help.
JOSH
I understand, I understand. I think I need to shoot some more interviews --
BREITBART
(quickly)
Don't shoot anymore! You have enough.
JOSH
Yeah? I just don't think you're getting it or maybe there's something about me or what you saw that's clouding your judgement.
BREITBART
I'm telling you what I really feel.
JOSH
I don't believe it. I think you're being deliberately critical.
BREITBART
Josh, I'm trying to help you.
JOSH
Bullshit! Is it because Cornelia and I didn't have children?
BREITBART
Oh, come on, Josh.
We tried. There were miscarriages. I had to give her a shot in her ass every day for three months. It's a huge fucking needle.
BREITBART
I didn't know you tried so hard. She didn't tell me. I thought you guys didn't want kids.
JOSH
We didn't want to hope for something we probably couldn't have.
(collecting his things)
This was a mistake.
BREITBART
I'm sorry you feel that way.
Josh starts for door.
JOSH
I know you think I didn't reach my potential.
BREITBART
No, son, no I don't think you did.
(beat)
Your first film was so wonderful and entertaining. We recognized ourselves in it. This is ungenerous, it's like you took your ball and went home.
JOSH
You know what? I'm sorry I didn't become you.
BREITBART
I don't want you to be me, Josh.
JOSH
Yeah, right.
BREITBART
I'll see you at Thanksgiving.
JOSH
I'm not going to eat another fucking fried turkey FYI.
BREITBART
Then make your own.
EXT. WEST END AVENUE. DAY
Josh walks up to a sign-post. His chain-link chain has been severed in half. His bike is gone.
JOSH
Fuck!
EXT. HOUSING PROJECTS, BASKETBALL COURT. DAY
Jamie aggressively drives to the basket, pulls back and makes a jump shot over a leaping defender. He fist bumps his teammates as they hurry back on defense. Josh watches through a chain link fence. CUT TO: Jamie, sweating, sees Josh through the fence. He jogs over and they talk through the chain-link.
JAMIE
Yosh! How did you find me?
JOSH
(sheepishly)
There's like eight different ways to find out where you are on the internet. And also through people we both know.
JAMIE
Ha! You want to play?
JOSH
Nah, I don't have the right shoes.
(pause)
Hey, I was thinking...you know how you asked...maybe, if you're still up for it, I will co-direct with you...
Jamie hesitates.
JOSH
You know...if that's still cool?
JAMIE
I'm not sure, Yoshy, I'm...at this point, I'm kind of in it, you know?
JOSH
(his face turning red)
Uh huh.
I mean, I'm kind of into doing it all now... I mean...you know? Uh huh.
JAMIE
I better get back to the game. I'll see you tonight, yeah?
JOSH
(quickly)
Yeah.
INT. JAMIE AND DARBY'S APARTMENT, BUSHWICK. DAY
Josh enters -- he's late. The space is packed -- mostly with a sea of 20-something kids who lie on top of each other on the floor watching Jamie's movie. Tipper, dressed up in a sort of Mary Jane outfit and horn-rimmed glasses, perched up on a table, watching very seriously, her arms wrapped around her long bent legs. Jamie stands in back, he looks nervous. Darby a few feet away from him is texting. Cornelia waves from a crowded corner. Josh smiles wearily. Kent talks soberly on screen.
KENT (ON SCREEN)
In the report it says we followed procedure. A flashlight, three flares, and the hand signals...
A quick jerky zoom into Kent, missing his face and then adjusting to find him. He does the hand signals, punctuating them with:
KENT (ON SCREEN)
...bum, bum, bum...but that's not how I remember it. It was sheer fucking panic when the bus approached the convoy. We opened fire --
Josh moves closer, looking for a place to sit or stand. He steps over a couple lying on the floor.
BENNY
Ow. Those are my fingers.
JOSH
Sorry, sorry.
Josh stops in his tracks. Over on the side, the Moon Landing headline above his head, stands Breitbart. To his right, the hedge fund dude, Dave. straight at him. She gives him a sad smile. Josh looks back at the screen. CLOSE: Josh's scholar, Ira, talking about the politics of war. CUT TO: The movie is over. The mostly 20-something crowd laughs, drinks beers. Breitbart picks an Oreo from a bowl of Oreos on a table. Josh pushes through the kids to find Jamie.
JAMIE
Yoshy!
JOSH
You invited Breitbart?
JAMIE
Yeah, he called me after you introduced us.
JOSH
He called you?
JAMIE
Yeah...and at our dinner I invited him to tonight.
JOSH
At "our dinner?" Dinner with him? When did you have dinner?
JAMIE
After he called me, he suggested we get dinner.
JOSH
Uh huh.
(pause)
Where'd you go?
JAMIE
This beautiful joint, um, on the Upper West Side --
JOSH
Jackson Hole.
JAMIE
Yeah! How'd you know?
JOSH
That's where he goes.
Great burgers. Have you been there?
JOSH
Yes, I've been there with him a million times.
JAMIE
Have you gotten the Buffalo burger?
JOSH
Of course!
JAMIE
He dug the footage.
(pause)
Is something wrong?
JOSH
I guess I wish you'd asked me before you just went to him...
JAMIE
Hey, I'm sorry. I called him actually just to ask him a question about how he shot something and we just got to talking, see, and he asked me what I was working on...
JOSH
So you called him?
JAMIE
What?
JOSH
You said he called you.
JAMIE
He called me back, yeah.
JOSH
Does Cornelia know?
HEDGE FUND DAVE (O.S.)
Very cool! Very cool.
The hedge fund guy, Dave, does a double fist bump with Jamie which they mime exploding.
HEDGE FUND DAVE
I'm proud to be part of it.
Dave, you know Josh.
HEDGE FUND DAVE
(barely looking at Josh)
Nice to meet you.
(to Jamie)
Seriously dude, this movie is kill- aaahhhh.
(does a little dance)
We're going to Afghanistan, we're going to Afghanistan...
JOSH
(taken aback)
You're going to Afghanistan?
JAMIE
To interview soldiers in Kent's unit. We've got a butt-load of work to do before we go. I'm going to need help.
HEDGE FUND DAVE
Afghanistan, Afghanistan!
Josh starts to retreat into the crowd. He hesitates. It pains him to say this, but:
JOSH
Um, if you have any other editing work, my guy Tim, is great and could use some cash.
JAMIE
That would be beautiful.
JOSH
(defeated)
I'll text you his info.
HEDGE FUND DAVE
(to Jamie)
Dude, I want you to meet Diane, she's a reporter for the Times.
Dave drags Jamie across the room. Darby takes Jamie's arm as he passes, she asks him a question. He replies tersely back. She walks away, pissed. Dave pulls Jamie onward. We MOVE in on Josh. Color vanishes from his face as a terrible sinking feeling enters his body. Two hands wrap around his neck like choking. He reacts. Ahh! It's Cornelia. She smokes a cigarette.
CORNELIA
I've been looking for you.
JOSH
You're smoking?
(re: everything)
What's going on? This is like a fucking bad dream. Everyone is here doing weird shit. Where's my highschool algebra teacher, Mr. Morelli riding a fucking turtle?
Across the room, Breitbart is approached by Dave and Jamie.
CORNELIA
(re: her dad)
I had no idea Dad was coming. I saw him when I got here.
JOSH
Are you sure? Are you sure you're not just saying that?
CORNELIA
Yes, Josh! Why would I lie to you?
JOSH
Do you think Jamie came to my talk because he knew I was married to you? That this was all so he could meet your dad?
CORNELIA
Josh, you know, the world isn't a conspiracy against you.
JOSH
You know, fuck you.
CORNELIA
Fuck you. Don't talk to me like that.
JOSH
I'm saying "Fuck you" in that way Jamie and Darby say it where it's not a real Fuck you, it's a semi-playful Fuck you.
We're not Jamie and Darby. We don't talk to each other that way. If you say Fuck you to me it feels like a real Fuck you.
JOSH
It is real.
CORNELIA
Fuck you. And not semi-playfully either!
JOSH
Fuck you. Total real, cutting to the core: Fuck you.
EXT. JAMIE AND DARBY'S BUILDING. NIGHT
Josh comes outside, furious. Darby is making out with a Latino guy who looks like a gang member.
JOSH
Darby?
Darby lets go of the guy and looks at Josh.
DARBY
Hey, sir.
JOSH
Are you okay?
DARBY
Shit's bad.
(pause)
You want to get some goat?
INT. CARIBBEAN RESTAURANT, BUSHWICK. NIGHT
Josh and Darby eat at a table.
DARBY
Crushes fade. Things lose their luster, you know? Maybe I'm just down on relationships right now.
JOSH
What about Jamie?
DARBY
Jamie's in love with Jamie.
I thought you guys seemed great.
DARBY
You know how no one will ever pick up just a male hitchhiker? But if it's a couple, you might pull over? I'm the girl so you'll pull over and pick up Jamie.
(pause)
Doing ayawasca I realized I never forgave my mom for dying and until I do I'll never have a decent relationship with a guy.
JOSH
When did she die?
DARBY
When I was in highschool. She had ovarian cancer.
JOSH
I'm sorry...
(realizing)
Isn't that also how Jamie's mom died? He talks about it in the film.
Darby hesitates.
DARBY
Why'd you let Jamie use your scholar?
JOSH
I was trying out being generous. He'd do the same for me. That's how you guys are.
DARBY
(with sympathy)
Oh, Josh... You're such a man-fox.
JOSH
A man-fox? I wish it didn't need the "man" qualifier?
DARBY
Because you're like a hot dad. Without children.
Suddenly, she pulls her chair over to him, leans in, and kisses him on the mouth. He slowly moves away. We shouldn't... She slides her chair back to her side of the table. She hesitates, embarrassed.
DARBY
This is the part where I say, "I was a bet?!"
JOSH
What?
DARBY
You know those romantic comedies where the girl was a bet?
He nods. She nods too.
DARBY
Yeah. Just because they did, doesn't mean we have to.
JOSH
What...what do you mean?
DARBY
She never told you? Jamie and Cornelia made out at the ayawasca. It was in the Papyrus reeds behind the pyramids.
Josh looks staggered.
DARBY
I'm sorry, I stole one of Tipper's adderalls. You want to go dancing?
JOSH
(now getting angry)
Yeah, I'm not going home tonight.
INT. AFTER HOURS GAY CLUB. LATE NIGHT
Darby dances with Josh amidst muscular shirtless gay men. He throws himself into it, trying to lose himself completely.
JAMIE (V.O.)
Thanks for meeting me so early.
INT. JACKSON HOLE RESTAURANT. MORNING
Jamie sits across from Cornelia. She looks tired and distracted. We've got a butt-load to do. Dave needs a budget for Afghanistan.
CORNELIA
I'm almost finished with it.
JAMIE
I've been reading a lot about Afghanistan. It's crazy. You know no one's ever been able to successfully occupy Afghanistan.
CORNELIA
(looking at her phone to see if anyone called)
Yeah...I've heard that.
JAMIE
I think we got something now. With your help, it can really be something.
(pause)
Leslie's notes were awesome.
CORNELIA
He's smart that way.
JAMIE
And he's really chill to kick it with.
She hesitates, she wipes a tear from her chin.
CORNELIA
I'm sorry. Josh and I had a fight last night and...he didn't come home.
Cornelia starts to cry. Jamie hands her a napkin.
JAMIE
Hey, hey, it's going to be okay. Joshy will come back.
CORNELIA
(wipes her face)
Thank you. I'm sorry I'm like this.
JAMIE
Hey, no worries.
(his eyes avert her)
I was thinking, maybe you and your dad would want to work on my thing together.
might be kind of great, right? A moment, Cornelia studies him. Jamie inspects his fork.
JAMIE
I mean, you're producing, but he could bless it essentially...
CORNELIA
Bless it? Like a sneeze?
JAMIE
(smiles)
I was thinking more like the Pope.
CORNELIA
He doesn't do that kind of thing --
JAMIE
I think if you asked him, he might.
Cornelia hesitates. She says, suddenly:
CORNELIA
Did you ever see Power Elite?
Jamie gets up and exchanges his fork with one on another table.
JAMIE
What's that?
The corner of Cornelia's mouth turns up.
JAMIE
(catching himself)
Josh's movie! Goddamn, yes. I told him that. I loved that scene with the dogs.
Jamie returns with the new fork.
CORNELIA
When you went to Josh's class, you knew Josh and I were married, didn't you? And that Leslie was my dad.
JAMIE
(hesitates)
Hey, I admire lots of people, I want lots of things. You know what I mean. We all want stuff -- it doesn't mean we're douche bags.
you're married to my friend, but I get it --
CORNELIA
I thought you were Josh.
JAMIE
The first time.
Cornelia stiffens.
JAMIE
You know, but out of context, if other people heard about it, it might be misconstrued.
Cornelia looks out the window. Josh is across the street.
EXT. JACKSON HOLE RESTAURANT. MORNING
Cornelia approaches Josh, he's in the same clothes from last night. She's furious.
CORNELIA
Where were you last night?
JOSH
I went dancing with Darby at an after hours gay club.
(angry and suspicious)
Is this some kind of private meeting?
CORNELIA
Did you follow me here?
JOSH
I follow him on Twitter! You can't lie like we used to lie anymore. Everything is reported. Nothing is private.
CORNELIA
There's nothing going on --
JOSH
Don't lie to me. You kissed him. I know all about it.
CORNELIA
I thought he was you, Joshy.
Don't call me Joshy! You don't call me Joshy. Sorry.
JOSH
It's all a pose...it's like he once saw a sincere person and has been imitating him ever since! And you're falling for it.
CORNELIA
(shakes her head)
I didn't even like them! You convinced me how awesome they were.
JOSH
They're entitled little brats. And don't you see, this is all a plan. He wants to destroy me.
Jamie appears across the street, he holds a small video camera. He waves at Josh.
JOSH
Go back inside!
Josh takes off his porkpie hat.
JOSH
You and your father can have him. You always wanted a more successful me, so go for it.
CORNELIA
What is wrong with you?
JOSH
I didn't know when we got married that you also wanted to play kissy face with the twenty-five year olds. I didn't know you wouldn't want to have kids.
CORNELIA
I didn't know it either. I didn't know you'd never finish your movie.
JOSH
I'll finish it! I want to get it right.
CORNELIA
It's obsession. It's fear. I don't know.
anything. At least Jamie makes something!
JOSH
Do NOT compare what I do with him.
CORNELIA
Why not? When you felt a part of it, you loved it.
(Josh says nothing)
And you use your career as an excuse not to do anything. We don't make decisions, we don't go on vacations, we don't have kids.
JOSH
I want a kid.
CORNELIA
You want it now that it's impossible.
JOSH
It's not impossible.
CORNELIA
No. It's over. It's done. I'm not putting myself through that anymore.
(indicating her body)
This is closed.
Josh hesitates and then throws his hat into a garbage can. He starts to walk away. He turns around, retrieves the hat from the garbage and walks away for real.
INT. FLETCHER/MARINA APT. - LIVING ROOM. NIGHT 58 \*
Josh blows into an air mattress.
FLETCHER (O.S.)
Marina's at a work dinner. \*
Fletcher enters with a couple of old looking sheets. Willow, the baby, sleeps in a moby wrapped around Fletcher's torso.
FLETCHER
They're both top-sheets but...you know...
JOSH
Thanks.
You might wake up when I come through here for Willow's 2 AM feeding. And then 5 AM. And then all the other times she wakes up.
JOSH
That's okay.
Fletcher pours them both whiskeys. Josh picks up a cardboard sleeve from a Wilco CD off of a table. He smiles.
JOSH
(re: the baby)
How is she?
FLETCHER
(looks down at her)
Pretty good. Cool baby. To be honest, though, it's a little hard for me to relate to an infant.
JOSH
It seems kind of cool though.
FLETCHER
It's like the pregnancy is its own thing. You get so used to it. After a while I just felt, we did this, we don't actually need the baby.
JOSH
(nods)
I'm sorry if I've appeared crazy or...I don't know...
FLETCHER
I'm sorry we didn't invite you to the party.
JOSH
(shrugs)
I think I've been jealous of you guys having a kid...
FLETCHER
You know, before you have a kid, everyone tells you, "It's the best thing you'll ever do." As soon as you bring that baby back from the hospital, the same people say, "Don't worry, it gets better." It's like, what the fuck was that all about before?
Having Willow must have changed your whole perspective on life.
FLETCHER
(pause)
Not as much as I hoped it would.
(lowering his voice)
I love my kid but I'm still the most important person in my life.
Fletcher winces as he sits in a chair.
FLETCHER
Did I tell you I have a herniated disk, C5 or some shit... I'm getting an epidurol on Monday.
JOSH
(laughing)
I have arthritis in my knees.
FLETCHER
What the fuck is happening to us?
INT. TIM'S APARTMENT BUILDING - HALLWAY, BROOKLYN. DAY
Josh waits outside an apartment door. A shirtless eight year old boy opens the door. Josh nods at him. Tim opens the door further.
JOSH
Hey, man, I'm sorry about...not paying you.
TIM
Yeah...
JOSH
I mean, I hoped the money would come in... It didn't. I kind of fudged that.
TIM
I just can't work for nothing, you know?
The kid shakes Josh's hand.
TIM
But thanks for hooking me up with Jamie, I've been freelancing a bit for him.
If you're not too busy there, I want to hire you back for a couple of weeks. I can pay you.
TIM
Did the grant money come in?
JOSH
No, I sold all my CD's. And some other things.
INT. JOSH/CORNELIA APT. - HOME OFFICE. DAY
Tim and Josh sit in front of the screen.
JOSH
Leslie suggested we cut the bit on Turkish politics, I told him it was crucial because of --
TIM
(immediately)
I think it's a good idea.
JOSH
Yeah?
TIM
Yeah. We got to cut something.
JOSH
(relents)
Okay, let's try it.
Tim puts up an image on the SCREEN. It's Kent.
TIM
Oh, this is Jamie's footage. Stuff I was working on... Let me...
He moves to take it down.
JOSH
Wait --
TIM
What?
JOSH
Hold on that image of Kent.
TIM
Okay.
JOSH
(dramatically)
Blow it up.
TIM
I can't do that on this machine.
JOSH
Really?
TIM
No.
Josh leans in. He squints. His POV: CLOSE on the home-made ice cream container in Kent's hand. The hipster cow.
JOSH
That's Darby's ice cream.
TIM
It looks like mint of some kind.
JOSH
(distracted)
It's avocado.
Tim unfreezes the image. We ZOOM in on Jamie.
JAMIE (ON SCREEN)
...my mom was really sick with ovarian cancer, I was pretty promiscuous, but I couldn't love anyone, I had body issues --
JOSH
Darby was there before we were. Don't you see, she brought Kent the ice cream.
TIM
(confused)
I know Jamie's your friend, but to be honest, he's kind of a prick.
On SCREEN, Jamie's open, earnest expression, his eyes watery and full of emotion.
INT. RENTAL CAR. DAY
CLOSE on Josh. His face is intense, his arms grip the wheel. (absent-mindedly singing) "You're playing Nintendo. That's not what I'm doing, that's not what I'm fuck-ing doing -- He bangs the wheel three times.
JOSH
I'm fucking exposing your shit, mother fuck-ahhhhh --"
EXT. KENT'S HOUSE, POUGHKEEPSIE. DAY
Josh rings the bell. The sister appears behind the glass. She wears a party hat.
JOSH
Hey. Is Kent here?
INT. KENT'S HOUSE/EXT. BACKYARD. DAY
Josh is lead by Kent's sister through the house. We hear screaming in the backyard.
JOSH
Is everything okay?
SISTER
My son turns seven today.
JOSH
Oh, happy birthday.
They walk through the small space, stepping over toys and discarded plates of food and reach a cramped, uncultivated backyard. Kent, in a top coat and tails is pulling an endless streamer out of his mouth. The kids scream with delight.
INT. BREITBART'S APARTMENT. SAME
CLOSE: Cornelia stares intently into her father's eyes. They're inches apart.
BREITBART
You're so intense.
CORNELIA
I'm focusing.
We see now: Cornelia ties her Dad's bow-tie. She's very concentrated on the action. (finishing) There.
BREITBART
Thank you.
He looks at himself in the mirror and approves.
BREITBART
It's been very strange looking back over my career. How did I accomplish all of that? If I'm honest with myself: it sometimes took being a selfish prick. Of course, you can't say that. In my speech I attribute it to talent, work and luck. It's something I don't think your husband realizes. He still believes the speeches.
CORNELIA
When I first started dating him, he reminded me so much of you.
BREITBART
His problem is he wants what I have but he's not merciless enough to get it.
CORNELIA
(simply and sadly)
You know I am disappointed in Josh. On some level I feel like he failed. But I don't know if I actually feel that because I feel that or I feel it because he does. Either way it's a terrible thing to think about your husband.
BREITBART
You know, Josh told me... I didn't know you miscarried.
CORNELIA
A few times. The magic of youth is that every decision is the right one and you don't have to make any of them. The terror of adulthood is there are limited options and you have to pick.
There's no magic in being old. Some asshole tried to offer me a seat on the subway yesterday. She smiles. She takes her phone from her pocket and checks it. No calls.
BREITBART
You young people are always checking your devices.
CORNELIA
(embarrassed)
I'm sorry...it's habit.
EXT. KENT'S BACKYARD. DAY
The kids smash a pinata with a baseball bat. Josh eats birthday cake off of a Space themed plate. Kent, still in his magician clothes, does tricks for kids as they come by.
KENT
I learned magic from a dude, Elvin, over in Afghanistan. He was shredded by a land mine.
JOSH
That's terrible.
KENT
I'm more old fashioned in my approach. I don't lock myself in a box or anything, it's mostly cards and balls. I learn from YouTube videos. It keeps me from going out of my head.
JOSH
Yeah...we need distractions. For me it's the internet. I'm trying to go on less, you know. You know, it's like how many times can I check the Huffington Post?
Kent does a card trick for some kids.
KID
It's in your other hand!
Kent opens his hand, the card is gone. How did you fucking do that?
SISTER
Louis!
KID
Sorry.
JOSH
What made you contact Jamie on Facebook?
Kent looks at Josh strangely. Josh shovels a piece of cake into his mouth.
KENT
What do you mean?
JOSH
(clears his throat)
What made you reach out to him?
KENT
I didn't. He contacted me.
Kent indicates to Josh that he has icing on his face. Josh wipes at it.
KENT
Other side. I had no idea who he was.
JOSH
Really?
KENT
He said he lived with Darby and that we'd gone to school in Santa Cruz together for a short time in the 90's.
A kid hits Josh in the leg with the bat.
JOSH
Ow! Fuck!
KENT
Louis, don't be a prick!
KID
Sorry.
KENT
(to Josh)
And you, language.
Sorry.
(beat)
But you remembered Darby...
KENT
Darby's been a good friend for years. We'd Skype sometimes when I was in Kandahar. The reception was really shitty though. It would freeze up all the time.
JOSH
Did she know about...that you were in the hospital?
Kent hesitates.
KENT
Who are you again?
JOSH
I'm Jamie's cameraman.
KENT
And why are you asking this stuff?
JOSH
Fact checking the movie?
KENT
Uh huh. Yeah, Darby knew. Darby was the first person I called. She came to visit a few times before you guys arrived.
Some kids knock Kent's top hat off and run with it across the garden.
KENT
Bring that back, you fuckers!
SISTER
Kent!
KENT
Sorry.
JOSH
What did you think when Jamie talked about Darby's childhood as if it was his own?
KENT
He said he was playing a part.
He said that when?
KENT
He called me a week or so before you guys came up and filmed me.
Josh reaches into his pocket and takes out a small portable video camera. He turns it on and shoots Kent.
JOSH
Can you say that again?
INT. BREITBART'S APARTMENT. DAY
Cornelia, on her phone, has stepped away from her Dad who practices his speech in the background. She gets Josh's voice-mail.
CORNELIA
Josh...it's me...again...I just...I am so sorry...I hope you come to my Dad's thing, he'd like it and I'd like it and...I'm so sorry for all the things we said and I said and...I haven't said and...I've said but haven't said to you. This sounds cryptic, and maybe insane, but it's not. I just, can you call me back? Can you come, please?
(beat)
Where are you, Josh?
The doorbell rings. She brightens.
CORNELIA
Wait! Maybe this is you!
She hangs up and hurries to the door.
CORNELIA
I got it!
She opens the door: a hand extends from behind the wall, clutching a dozen roses. She is touched:
CORNELIA
Josh, I...
Jamie steps into the door-frame.
JAMIE
Jamie, actually. Don't worry, it's not weird. These are for your dad.
BREITBART (O.S.)
There he is!
EXT. JAMIE AND DARBY'S APARTMENT, BUSHWICK. LATE DAY
Josh leans on the buzzer.
INT. JAMIE AND DARBY'S APARTMENT. LATE DAY
Darby opens the door. A duffle bag and suitcase, computer and cat carrier with mewing cats are at her feet. Josh enters. He's sweaty and dirty and angry and out of breath from the trip.
JOSH
I've got to talk to Jamie!
DARBY
He's not here.
JOSH
Are you going somewhere?
DARBY
(embarrassed)
Tampa. If I stay here any longer I'll girl interrupt.
JOSH
I was just with Kent.
DARBY
(with real feeling)
Oh...Kent...I love Kent...
JOSH
I saw your ice cream in Jamie's video.
Darby nods. She smiles sadly.
DARBY
Well played, sir.
JOSH
He let me think I was the one who found out about Kent in Afghanistan. Why?
DARBY
Jamie doesn't want to disappoint you. None of us want to disappoint you.
never have made the movie without Afghanistan. When I told him about Kent and the massacre he thought it would make a good movie. He just had to figure out how to tell it.
JOSH
But why not tell it honestly?
DARBY
It's more entertaining this way.
(beat)
And now it has a before and after which, as you know, Americans love.
JOSH
Of course he had body issues, they were yours.
(off her look)
I don't mean, of course you had body issues, but...
(pause)
People have to know. He can't get away with this.
DARBY
Jamie does whatever he wants.
JOSH
This goes against everything he said he admired in me. The whole principle of making a doc. Darby, you don't understand. This is fraud. It's a big deal. People are jailed for this kind of thing.
DARBY
I don't like to meddle with people. If they're going to change, they'll change.
JOSH
Where is he?
DARBY
He's at your father-in-law's tribute.
JOSH
(realizes)
Oh, shit! That's now! And I returned the rental car.
(re: his appearance)
I'm a mess.
I can give you a jacket. And you can take Jamie's roller blades.
JOSH
Thanks.
DARBY
(she goes to retrieve the items)
You know, me and Jamie always wondered how are we going to get old and the answer is: just like everyone else.
EXT. BUSHWICK STREETS. LATE DAY
Josh, in a thrift store jacket over a hoody, jeans and sneakers attempts to roller blade, trying to get some momentum, but he can't really skate. A woman, 50's, on a Citi Bike whizzes by him. A little kid on a scooter rolls past.
EXT. LINCOLN CENTER. SAME
Breitbart and Cornelia enter the building among suited patrons. Photographers shoot Breitbart who wears a suit with a scarf. Jamie hangs back. He's more dapper than we've seen him in a suit and wide colorful tie.
PHOTOGRAPHER
Can we get one with you and your daughter!
Breitbart takes Cornelia's hand. Cameras click. Then Jamie steps into the shot. More cameras click. A photographer leans in to Jamie, holding a pad and pen.
PHOTOGRAPHER
What's your name?
JAMIE
Me? Jamie Massey.
OMITTED
INT. LINCOLN CENTER. LATE DAY
Tables are set up for a big dinner. Breitbart and Cornelia take their seats. Dave leans over from an adjacent table and shakes Breitbart's hand. Jamie plops down next to Cornelia. Jeez Louise. I've never been to a rat fuck like this. Did you see Lou Reed?
E73 EXT. BUSHWICK STREETS. LATE DAY E73
We see Josh appear on the horizon, blading toward us. He's getting the hang of it now. We come in CLOSE on his intense, determined face. He can do this!
D73 INT/EXT. JEFFERSON AVENUE SUBWAY STATION STEPS D73
Josh, jerkily descends sideways, clutching the railing.
C73 INT. JEFFERSON AVENUE SUBWAY STATION TURNSTILE C73
Josh rolls through, swiping as the passes.
B73 INT. SUBWAY CAR B73
Josh stands in his blades holding onto the bar.
A73 EXT. STREETS OUTSIDE LINCOLN CENTER. NIGHT A73
Josh stands in his blades pushing the walk button. Cars whizz in front of him. Josh blades across the plaza.
INT. DINING HALL. NIGHT
Josh enters from the back, disheveled and on his blades. He rolls to a railing that looks over the reception. The lights have dimmed and on a screen: A black and white CLIP from the 60's of a little boy getting a bath. Josh scans the tables and finds Breitbart's group. The CLIP ends to applause. Jamie leans over and says something to Cornelia. She nods. Her gaze goes in Josh's direction. Josh rolls backward and steps behind the bar.
OLDER PATRON
Can I get a Shirley Temple?
Josh nods and starts to pour her drink. The bartender stares at him.
BARTENDER
What are you doing, dude?
Can I stand here for a second?
BARTENDER
No.
Josh grabs a bottle of whiskey and rolls behind a plant. He removes his blades and stashes them in the planter. Jamie gets up from the table and walks toward the rest-rooms. Josh slugs from his whiskey bottle, and follows along the back of the hall.
INT. LOBBY
A wide carpeted room with high ceilings. A view of the park. Jamie looks out the window. Josh appears behind him. Jamie turns around, startled.
JAMIE
Yoshy!
(beat)
You okay? Is that my jacket? Are those my blades?
JOSH
(sarcastic)
Are they? Who knows, maybe they're Darby's. Darby's, yours, mine. Cookie O'Puss.
JAMIE
(unfazed by Josh's dig)
Where have you been? Everyone's asking about you.
JOSH
(slugs from the bottle)
I was in Poughkeepsie.
JAMIE
Okay.
Jamie watches Josh for a beat.
JOSH
It seems like you made a whole lot of stuff up.
Applause from the other room.
JAMIE
I don't want to miss his speech
CUT TO: Breitbart takes the stage.
BREITBART
I've been thinking of tonight as my memorial for so long I had completely forgotten I had to actually be alive for it.
(laughter)
I was hoping I could just sleep through it...
CUT TO:
INT. LOBBY. NIGHT
Josh and Jamie.
JOSH
You know, it's your responsibility to be honest. People are going to believe it.
JAMIE
I didn't do anything nobody else does --
JOSH
(trying to make sense of that sentence)
"I didn't do anything nobody else..." You reveal everything and nothing.
(beat, composes himself)
You said you wanted to be a real documentarian.
JAMIE
I do.
JOSH
I thought you were about process. Process and...ice cream. But you really will do anything to be successful...
JAMIE
Success isn't my thing, Josh. It's yours.
Josh is about respond, he hesitates. Nods. Yeah, you're right, it is my thing. I have a fucked up relationship with success. I want it and I don't have it. But what you have scares the shit out of me. You're not uncomfortable at all.
JAMIE
Why should I be uncomfortable?
JOSH
See, that I just find weird.
JAMIE
You're the only person who is weird about this. I asked you to co-direct --
JOSH
Yeah, because you knew I'd say, No!
CUT TO:
INT. DINING HALL. NIGHT
Breitbart's speech.
BREITBART
Now people have criticized me and some of my colleagues saying that we were pretending to be objective when there is no objectivity.
CUT TO:
INT. LOBBY. NIGHT
Josh and Jamie.
JAMIE
Jeez, Joshy. Everyone does this kind of thing.
JOSH
I don't. I don't do something like this. I'm trying to make movies to figure out the truth.
JAMIE
(incredulous)
Really?
Yes! CUT TO:
INT. DINING HALL. NIGHT
Breitbart.
BREITBART
Okay, we were trying to capture truth, but the truth of experience, of being in the moment, of seeing something as it happens.
CUT TO:
INT. LOBBY. NIGHT
Josh and Jamie.
JOSH
(sadly)
I do know that documentaries are over.
JAMIE
Are you kidding? It's what everyone is doing.
JOSH
(indicating Breitbart)
His documentaries are over. What you're doing is something else. If everyone is filming everything, what's a documentary anymore? It has no meaning, it's just shit you recorded! Is that old man talk? Maybe it is. You kids have been told you can do anything. You can't.
(beat)
Well, you, Jamie, can, but most people can't.
Jamie shrugs. Josh, annoyed, imitates him by shrugging back. CUT TO:
INT. DINING HALL. NIGHT
Breitbart. What we were trying to say as filmmakers is that what we were filming was more interesting than we were... CUT TO:
INT. LOBBY. NIGHT
Josh and Jamie.
JOSH
You think everything is out there for you to have. It's not.
JAMIE
Nobody owns anything. If I hear a song I like, or a story, it's mine. It's mine to use. It's everybody's.
JOSH
No it isn't! That's not sharing Jamie, that's...stealing.
JAMIE
That's old man talk.
JOSH
I am an old man!
Applause as Breitbart finishes his speech. Josh, emboldened, turns to Jamie.
JOSH
I can't let Cornelia and Leslie walk down this road with you. I want you to go in there and tell them what you've done. If you won't, I'll do it for you.
For a brief moment, Jamie's face elicits what looks like fear. It passes.
JAMIE
Okay.
JOSH
I'm sorry, kid. But there are standards, there are...standards.
INT. DINING HALL. NIGHT
behind him.
CORNELIA
Josh!
JOSH
Sorry I'm late.
(to Breitbart)
Leslie, I caught your speech from the lobby, though and it was really inspiring, spot on...
BREITBART
Are you okay, son? Do you want to sit down?
JOSH
Jamie has something he wants to tell all of you.
Josh takes a seat and crosses his legs comfortably.
JOSH
Go ahead.
They all look at him and then Jamie blankly.
JAMIE
Not all of the stuff in my movie happened exactly as I said it did.
(sighs)
I played around with some of the time- line.
BREITBART
Okay.
JAMIE
(humbly)
Yeah...
JOSH
"Yeah?" And...
JAMIE
And what?
JOSH
You did a lot more than that, come on.
Josh stands back up. He says to the table: He didn't even know Kent. Darby did. And Darby's mother died of ovarian cancer. Jamie's mom is probably alive and kicking in Idaho. He sits back down.
BREITBART
(trying to put an end to it)
Josh, this is kind of my night --
JOSH
You just need to hear this.
JAMIE
That's basically it.
Josh leaps back up.
JOSH
No, that's not basically it! You knew that Kent had tried to kill himself...
JAMIE
Right.
JOSH
Say it!
BREITBART
Josh, come on, let him speak.
JAMIE
The gist is the same. I authored a bit of how we came to it. I mean, I'm not that good a writer. If I made it all up, I'd be the best writer in Hollywood and...and Kent would be Marlon Brando.
Breitbart laughs. Hedge Fund Dave laughs harder.
JOSH
I never said it was amazing. I just said it was faked.
JAMIE
And some of the time-line was adjusted --
Stop with the time-line crap!
Josh pulls out his video camera and gestures with it.
JOSH
Jamie knew that Kent tried to kill himself. That he'd been in Afghanistan. We didn't just stumble upon it. It was rigged. Jamie invented the whole Facebook thing because he knew it would play better.
HEDGE FUND DAVE
Kent wasn't in Afghanistan?
JOSH
No, Kent was in Afghanistan.
HEDGE FUND DAVE
So, what's the problem?
JOSH
It's...it's...the way, the way he said that he found him is not true.
HEDGE FUND DAVE
Kent served our country, you're being offensive.
Breitbart looks at Jamie.
BREITBART
Is what Josh is saying true?
JAMIE
Well...I did know, but I don't think it really matters though, the movie's not about that.
JOSH
Of course it matters. Leslie, explain...
BREITBART
I don't know that it matters totally in this case.
JOSH
(shocked)
What?
Dave leans in from the next table. I don't care.
JOSH
(dismissive)
I didn't expect you to care.
(quickly back to Leslie)
Leslie, are you kidding me? You don't care? You just gave a speech about authenticity!
HEDGE FUND DAVE
(thinks about it again)
Yeah, I don't care.
BREITBART
I just think the movie works on many levels, the happenstance of it, to be honest, I find the least interesting part.
Josh sputters, practically stomps his foot.
JOSH
I can't believe it! This movie isn't worth the...RAM...it's...stored on.
(pointing at Jamie)
He's a con artist. Leslie, your generation of sit-ins and protesters and...pack rats would be horrified by this...demon!
BREITBART
You're hysterical, Josh.
JOSH
(hysterically)
I'm not hysterical!
He swings his arm, gesturing, knocking a tray full of food and glasses out of a waiter's arms. It goes crashing to the ground.
JOSH
Shit, I'm sorry, I'm sorry.
He helps the waiter pick up the plates. Everyone at the table waits. Josh finally gets back up.
JOSH
Cornelia...
I don't know. I think he's an asshole, but the movie's pretty good. And I'm sorry I think that.
Jamie takes a seat and starts eating the dessert that was placed in front of him.
JOSH
This is so frustrating! I'm going to get no satisfaction here, am I? This guy's just going to win no matter what.
Everyone at the table stares at Josh. His says with certainty:
JOSH
This is not how the world works.
We MOVE in on Josh. His face fills with emotion.
BREITBART
Why does it have to be one thing or another? Things change. Different things matter now.
JOSH
Forget ethics then. What about me?! You played me. I was played.
JAMIE
(under his breath)
But you acted in it.
JOSH
Only because I thought it was real!
(pause, with genuine feeling)
I loved you.
JAMIE
I like you too! We're friends.
JOSH
(sadly)
I really believed it.
(his throat full of sadness)
I was a bet!
BREITBART
Are you okay, son?
JOSH
I'm not crying. I'm not.
Josh's attention goes to a tiny camera in Jamie's lap aimed right at him.
JOSH
Are you filming this?!
BREITBART
Josh, your sleeve is on fire.
Josh's sweatshirt has dipped into the flame of a candle on the table and is indeed on fire. Jamie stands, grabs a pitcher of water and douses Josh. Josh drips, soaked. He shakes his head like a wet dog and, dejected, moves to leave. He hesitates and turns to Breitbart:
JOSH
I took your note by the way. I cut the stuff on Turkish politics out of my film. You were right, I don't need it.
BREITBART
I'm glad to hear that, son.
EXT. LINCOLN CENTER
CLOSE: Kent, in his magician outfit, speaks to the camera. DELETE? comes up on the SCREEN. YES is selected. The file is deleted. Josh puts the video camera back in his tote. He sits on the steps with his roller blades and whiskey bottle. Cornelia arrives. She holds a plate with a napkin covering it. She hands it to Josh.
CORNELIA
It doesn't matter that it's faked.
(Josh nods)
It doesn't matter because it's not about Afghanistan and it's not about Kent it's about Jamie.
JOSH
(sighs)
In my head, when I was blading over, I swept in here and exposed everything. I was such a hero.
cake drizzled with chocolate sauce and a fork.
JOSH
Thanks.
Cornelia takes a swig from the bottle.
CORNELIA
When we first started seeing each other I was so jealous. I would get so upset when you'd talk to another girl at a party.
JOSH
I know! I liked that...
CORNELIA
I was so sure you'd fall in love with someone else and leave me.
JOSH
Did you want me to?
CORNELIA
I think I wanted to know that I wasn't your only option. But you didn't fall in love with someone else. Until you did. And then it was two people.
(beat)
I'm so sorry I kissed him. I really did think it was you at first...then I kind of kissed him again. I don't know why I did it. I wanted to like him as much as you did.
Josh starts to eat the cake.
JOSH
(mouth full)
I wanted so badly...I wanted to be admired. I wanted a protege.
CORNELIA
I know.
JOSH
He looked at me like I was a real grown-up person. Someone who has done things. For the first time in my life I stopped thinking of myself as a child imitating an adult.
You feel that way too?
JOSH
(nods)
I'm forty-four and there are things I will never do. Things I won't have.
(pause)
What's the opposite of "the world's your oyster?"
Cornelia's eyes water. She nods.
CORNELIA
I think I stopped taking you in.
JOSH
Am I a failure?
CORNELIA
You've never failed me.
JOSH
But am I a failure?
CORNELIA
I feel like I failed you. I wish we could go back and meet each other all over again.
JOSH
I'd present myself differently. So I didn't get your hopes up. Maybe not use the expression "conquer the world" so often.
CORNELIA
You said that a lot.
JOSH
I think it's hard for me to have something be great every day and to acknowledge it.
(smiles at her)
I have something great every day. If we were different people, I'd ask you to renew our vows.
CORNELIA
I think it's nice to renew vows.
JOSH
Maybe we are different people.
CORNELIA
What are you thinking about?
JOSH
Twenty years ago I was twenty-four. In twenty years I'll be sixty-four.
INT. CAR/EXT. JFK AIRPORT. DAY
CLOSE on Willow, a year older, in a car seat.
TITLE: A YEAR LATER
Cornelia in the back with Willow. Fletcher pulls up to the terminal.
MARINA \*
Call when you get there!
CORNELIA
We will, Fox.
Josh and Cornelia get out of the car and grab the bags from the trunk. Marina joins them. Fletcher steps out of the \* car, but hangs by the door.
MARINA \*
You're going to be such great parents.
FLETCHER
The guy is waving at me, we have to move, Marina! They changed the \* rules.
(to Josh and Cornelia)
See you when you get back.
Marina hugs both of them. \*
MARINA \*
Oh, Fox, I'm going to cry.
FLETCHER
The cop is coming, Marina!
JOSH
We'll be back in a week.
MARINA \*
Send pictures of the little man! We love you guys.
CORNELIA
We love you too!
JOSH
I love you, Fletcher.
FLETCHER
I love you too but I'm not getting arrested for you. Marina! \*
INT. AIRPORT TERMINAL. DAY
CLOSE: An airplane departure screen. JFK to Port-au-Prince, Haiti. game on his phone. Cornelia sits down next to him with a stack of magazines. She hands Josh a yogurt.
JOSH
Thanks.
(re: her stack of magazines)
You really need ten?
CORNELIA
It's three and half hours to Port-au- Prince.
Cornelia slides a photo of a Haitian baby out from between the pages of a hard cover book. She smiles.
CORNELIA
I can't believe it.
JOSH
Me neither.
He takes the photo from her. He gazes happily at it. She opens a magazine.
CORNELIA
Oh...look who it is.
She presents the magazine for Josh to see: CLOSE on a PHOTO of Jamie at Sundance. CLOSE on the PULL QUOTE: "Are you a hipster?" "Well, I'm of a certain age and I wear tight jeans." CUT TO:
INT. HOTEL LOBBY - SUNDANCE
Jamie, in a black trenchcoat and a knit cap, is being interviewed by a cute interviewer in a parka.
JAMIE
But I'm just about out of the cool- age demographic.
INTERVIEWER
What happens when you exit the cool- age demographic?
Jamie thinks about this. I enter the power-age demographic. We MOVE down to Jamie's lap. He holds a small video camera trained on the interviewer. CUT BACK TO:
INT. AIRPORT TERMINAL. DAY
Josh hands the magazine back to Cornelia.
CORNELIA
It's out there. The evil is unleashed.
JOSH
No, you were right, he's not evil. He's just young.
CORNELIA
I heard from Darby, she Facebooked me.
CUT TO:
EXT. TAMPA ECO PARK. DAY
Darby, her hair in a braid, a name-tag on her shirt which has a parrot on it, runs a net through mud. A motorboat behind her.
CORNELIA (V.O.)
She's an eco-tourguide at a wildlife refuge.
DARBY
This mud is filled with organisms.
She sticks her hand in the mud and pulls out a worm-like thing.
DARBY
This is a nudibranch. And if you keep your eyes peeled you might spot a gopher tortoise or a woodstork.
CUT BACK TO:
INT. AIRPORT TERMINAL. DAY
Josh opens his yogurt. He pauses for a moment, looking at the container. (frowns) What's wrong?
JOSH
No. Nothing. We'll have a baby before this yogurt expires.
Cornelia suddenly leans in hard, her face colliding with Josh's.
JOSH
(laughs)
Oww, your teeth.
They kiss long, intimately. Finally, they release. Both are grinning. In the row of seats across from them: A mom is going through her tickets and itinerary. Her toe-headed one year old son is on his iPhone. Josh and Cornelia watch the little boy -- his fingers move quickly, gracefully on the keys. He's totally immersed in what he's doing. Nothing else exists. Then he puts it to his ear. We CUT TO: BLACK. As the CREDITS ROLL we CUT TO:
INT. JOSH/CORNELIA APT. DAY
A VIDEO IMAGE of Josh. He sits in an armchair looking at the camera. He consults a piece of loose-leaf paper, and with Cornelia's help from behind the camera, re-asks his ten years-
|
While We're Young Noah Baumbach WHITE DRAFT 8-13-13 BLUE REVISIONS 9-16-13 PINK REVISIONS 9-30-13
SOLNESS:
The funny thing is that I've become so disturbed by younger
people! HILDE: What? Younger people?
SOLNESS:
Yes, they upset me so much that I've sort of closed my doors here and locked myself in. Because I'm afraid they're going to come
here, and they're going to knock on the door, and then they're going to break in.
HILDE:
Well, I think maybe you should open the door and let them in.
SOLNESS:
Open the door?
HILDE: Yes - so that they can just gently and quietly come inside, and it can be something good for you. . .
SOLNESS:
Open the door?
-- from Wallace Shawn's adaptation of Henrik Ibsen's "The Master Builder" Stones's song "Under My Thumb." CLOSE on the peaceful face of a sleeping baby, gently floating.
INT. FLETCHER/MARINA APT. - LIVING ROOM, BROOKLYN. DAY 1 \*
CLOSE on Cornelia Srebnick, 41. She's humming softly. We MOVE out slowly to see she's rocking the infant on a big comfortable couch fionlled with baby blankets, stuffed \* animals and children's books. We MOVE over to see Josh Srebnick, 44, on the floor watching her -- his expression a kind of awe. She looks at him, hesitating, taken by the intensity of his look. A moment of connection and warmth passes through her. He smiles softly back.
CORNELIA
(to the baby)
There were three little pigs and they made a house out of twigs and the wolf came and...
(to Josh)
Do you remember how it goes?
JOSH
He blows it down?
The baby starts to fuss.
CORNELIA
Yeah. But, what happens in the middle?
JOSH
(thinks)
I keep wanting to do this little piggie went to market but that's with the toes.
The baby starts to cry.
CORNELIA
The wolf keeps blowing the house in. The pigs keep making different houses.
(rocks the baby)
Oh...shh, shh, shh.
The baby is wailing. Cornelia rocks her faster. She looks panicked. What the fuck do we do? Josh doesn't know. Bang, a door opens and a woman comes in with a boppy strapped around her waist. This is Marina, \* 30's.
MARINA \*
Okay, who's ready to eat?
JOSH
Are we taking in or --
MARINA
Who's ready to eat?
She sits down on the couch next to Cornelia, lifts the sobbing infant from out of Cornelia's arms and places it on the boppy. The baby's onesie has an image from The Clash's first album across the chest. Marina opens her bra and gives \* the baby her breast. The baby nurses, stretches and stops crying.
MARINA \*
Ha! I love how she stretches...it's just like we do... It's so funny. It never occurred to me that stretching is innate.
She stretches, imitating the baby. Cornelia smiles politely. A curly haired man with glasses, early 40's, enters. Fletcher.
FLETCHER
You want to see it?
JOSH
Yeah.
Fletcher sits near Josh.
FLETCHER
It got infected with staph but it's not the bad staph.
He pushes up his sleeve to reveal a square black and white tattoo on his bicep.
CORNELIA
What is it?
FLETCHER
Guess.
(to Josh)
You can come closer it's not the bad staph.
I still don't want the baby touching it.
He shoves his shoulder in Josh's face.
JOSH
I can't...tell.
FLETCHER
It's Willow's sonogram.
JOSH
Oh...okay.
FLETCHER
I did it for Marina. I was so \* fucking proud of her.
MARINA \*
Why it's for me, I still don't understand.
JOSH
Where do you even go for a tattoo?
FLETCHER
I asked a guy at work and he told me where his kids went. Place in Williamsburg. Where else?
(pause)
You know, she didn't get the epidurol.
MARINA \*
It's a mother fucker -- it's a ring of fucking fire -- but it was the most beautiful experience of my life.
FLETCHER
And I fell in love immediately. A love I've never felt. I mean, don't take that the wrong way, Marina -- \*
MARINA \*
No, I know exactly what you mean. It's pure.
CORNELIA
(how sweet)
Aww...
(can't help herself)
Oh, you guys should do it!
FLETCHER
Yeah!
MARINA \*
You'd make such good parents.
(catching herself)
I'm sorry, I'm sorry!
CORNELIA
No, it's fine. You know, we --
She looks at Josh.
JOSH
We...
MARINA
It's just such a game changer!
We STAY on Josh and Cornelia's faces.
FLETCHER (O.S.)
When I saw her, I thought: "I know you."
MARINA (O.S.) \*
It's true, I recognized her immediately.
FLETCHER (O.S.)
And because I'd been reading to her in the womb, she knew my voice immediately.
MARINA (O.S.)
It's like in one moment, everything is different.
FLETCHER (O.S.)
I read her Stephen King's The Tommyknockers.
FLETCHER (O.S.)
It's like all the stuff before, fine, you know, we're figuring it out, but now: Okay, real life. You know?
Josh and Cornelia nod.
A2 EXT. COBBLE HILL STREETS, BROOKLYN. DAY A2
Cornelia and Josh walk home. They enter. An open floor-through of a brownstone. The room, separated by large wooden pocket doors, looks half- finished, framed pictures lean against the wall, projects undertaken and abandoned. Some nice stuff, a couple of antique chairs or a table. A water stain untended to on the ceiling. I can't remember Goldilocks either anymore. The porridge part, but not what happens.
JOSH
She gets eaten, right?
CORNELIA
Does she?
JOSH
There's like an oven that's too hot.
Josh shrugs. Silence.
CORNELIA
You don't want kids, right?
(Josh hesitates)
Because I don't.
(they both hesitate)
I'm sorry, I feel so guilty for saying that. I mean, I did. If we'd had the magic sexy version and one day suddenly had a baby... But all those drugs and shots and miscarriages -- I don't want to do it again and it not to work.
JOSH
I know.
(beat)
And I like our life as it is.
CORNELIA
(relieved)
Me too.
JOSH
I don't want things to be different than they are right now.
CORNELIA
I know. I mean, if we wanted to take off for Paris tomorrow, we could.
JOSH
Yeah, I mean I think it would be hard to find an affordable fare on such short notice, but yeah...
CORNELIA
No, I know and I couldn't leave work.
If we were going to do it we should plan it at least a month in advance.
CORNELIA
A month is still in the realm of spontaneity.
JOSH
No, I know. I mean, the time we spent in Rome, what was that --
CORNELIA
JOSH
(can't believe it)
It wasn't 2006.
CORNELIA
Yeah because I was working with my dad on his dance film.
JOSH
Rome was eight years ago already? Shit.
CORNELIA
Yeah, I looked at the pictures recently and we're two younger people standing at the Treve Fountain.
JOSH
We look similar.
CORNELIA
We look younger.
(pause)
I tried to get you to go to Mexico last summer --
JOSH
I needed to finish my documentary.
CORNELIA
But you didn't finish it!
They both take a deep breath. Pause.
JOSH
Well, maybe the point is we have the freedom. What we do with it isn't that important.
Marina said they haven't had sex in \* nearly a year. Fletcher was too weirded out by the pregnancy.
JOSH
God.
A3 INT. DINING ROOM. NIGHT A3
They eat Thai take-out at a table set for two.
B3 INT. KITCHEN. NIGHT B3
They do dishes.
INT. JOSH/CORNELIA APT. - BEDROOM, COBBLE HILL, BROOKLYN.
NIGHT
Josh, in his boxers, takes off his watch and puts it on the night table. Cornelia undresses.
They move about in silence, finishing their nighttime routines. Only the sounds of footsteps, water running, clothes coming off and going on, bed squeaks.
Josh lies on his back and shuts his eyes.
Cornelia gets in bed and clicks on her bedside lamp which lights up nearly everything. Josh places his arm over his eyes.
JOSH
What is that, a seventy-five watt?
She looks under the shade.
CORNELIA
I can't see, it's too bright.
JOSH
It's too high a wattage.
CORNELIA
I'll change it tomorrow.
INT. JOSH/CORNELIA APT. - HOME OFFICE. DAY
Josh paces back and forth in his home-office. His editor, Tim, early 30's, sits at a desk-top attached to a series of drives. A tousled scholar, Ira Mandelstam, 50's, talks gravely on a TV screen. There was a poll conducted in 1987 in which people were given a series of phrases and asked which ones could be found in the US Constitution --
JOSH
Let me see the continuity...
SCHOLAR (ON SCREEN)
One of the phrases that got the highest percentage of votes was: "From each according to his ability, to each according to his need." This, of course, is not to be found in the Constitution, but is the famous Communist credo popularized by Karl Marx.
Josh takes the sheet and holds it about two feet from his face. He squints.
JOSH
Why do they type this stuff so small?
TIM
I think that's 12 point. That's normal.
SCHOLAR (ON SCREEN)
However, when this phrase was presented to people as a tenet of Communism, they, of course, overwhelmingly rejected it.
JOSH
That is not 12, that's at most eight. Look at it, it's tiny.
TIM
We need to cut away from Ira here because...
We hear a ringing. On the SCREEN: the scholar goes into his pants pocket and retrieves a cell phone from a few years ago.
SCHOLAR (ON SCREEN)
Hold on...
He looks at it like he's never seen anything like it before. He puts on reading glasses and very deliberately presses Talk.
SCHOLAR (ON SCREEN)
Hello?...Evelyn, I'm doing an interview...Did you look in the car? This is every fucking day, sweety!
fucking chain around your neck! (mouths to the camera) Sorry. (back to the phone) Sweety, if you don't stop this, I'm going to fucking screa -- Tim freezes the image on the screen.
JOSH
We could cut to me asking the question about hermeneutics?
TIM
We could, but you look like this in that footage --
He shows an image of a younger Josh in a goatee and Jew-fro.
TIM
It's from eight years ago. And the previous shot of you asking any relevant questions is this --
He pulls up an image of Josh with short hair and his arm in a sling.
JOSH
That's from when I fell down the subway stairs at Grand Army Plaza. The blizzard of 06? You remember how icy that was?
We CUT between a series of Joshes from over the years. Different hair lengths, a beard, a brief moustache, a black eye.
JOSH
You remember, I was trying my part on the other side.
Tim doesn't.
JOSH
God, eight years ago. Has it been that long?
TIM
It's been ten.
JOSH
(counting in his head, rationalizing)
Look at my jaw -- I had more baby fat.
(looks at his reflection in the computer screen)
Are my eyes getting hollows?
TIM
I don't know.
JOSH
(trying to be positive)
Well...we're getting there.
Tim looks at him, totally skeptical.
JOSH
When the rest of the grant money comes in, we'll reshoot me asking the questions along with the trip to Istanbul.
TIM
Hey, Josh, I hate to bring this up, but I'm gonna need a little money soon.
JOSH
No, I know, you've been patient. I'm just waiting for the rest of this last grant money.
TIM
But soon?
JOSH
Yeah, I'll get you.
Goes into his wallet.
JOSH
You need anything now?
He hands Tim a couple of twenties.
JOSH
You know, get Maggie some flowers or...
TIM
I'm going to use it to buy food.
JOSH
Oh, yeah, yeah...good idea.
A room with about fifty chairs, about seven of them occupied by people over 50. Josh stands at a lectern with a lap top. A blank TV screen behind him.
JOSH
"Le documentaire, c'est ce qui arrive aux autres, la fiction, c'est ce qui m'arrive à moi." "Documentary is about someone else. Fiction is about me."
(glances out at the small crowd, having made it through the French part)
This is a quote from Jean-Luc Godard. Now, what do we think about this? Can a documentary be personal? Documentaries, I want to say to you today, can and should be about me.
Josh hesitates. A guy in the audience wearing a porkpie hat is filming him with a portable camera. Josh is momentarily distracted.
JOSH
Me meaning all of us.
(to the room)
Lights.
(pause)
Frank, can you just hit that switch?
An elderly gentleman obliges. Josh hits a button on his lap top.
JOSH
This is an image from --
Nothing happens on the screen behind him. Josh presses the button again. Nothing.
JOSH
Well...shit...this should be an image of seal hunting from "Nanook of The North."
CUT TO: Josh collects his things from a chair at the foot of the stage. A squat woman, 50's, who runs the lecture series, shrugs and smiles tightly at him.
SQUAT WOMAN
Sorry.
(suddenly paranoid)
About what? his mussed hair under his porkpie hat, an old plaid shirt hanging out over slacks, and beat up boots. This is Jamie.
JAMIE
Hey. Beautiful class.
JOSH
Oh...thanks. I don't know why the power point didn't work, but...
JAMIE
I loved what you said about "hyper- reality." I'm Jamie.
JOSH
Josh Srebnick.
JAMIE
This is my wife, Darby.
A girl, 23, in a high waisted dress and lace up boots comes forward.
DARBY
Hi. Nice to meet you. It was interesting.
JOSH
Thanks. I'm not sure why the power point didn't work... How did you get in here?
JAMIE
We're auditing your class.
JOSH
It's a continuing education class, you can't audit a continuing education class.
JAMIE
(shrugs)
I'm a fan. And hey, I really loved your film, Power Elite.
JOSH
(taken aback, can't hide his pleasure)
You've seen it? Hey...thanks.
JAMIE
It's everything I aspire to and you make it look so easy.
JOSH
Do you make documentaries?
I shoot stuff, you know, with friends, yeah. Nothing like you're doing.
DARBY
He's always shooting.
JOSH
Um, don't take this the wrong way, but how did you see Power Elite?
JAMIE
I found a VHS on Ebay. I paid like sixty dollars for it. You know what was great, was that scene with the dogs around the garbage? How did you stage that?
JOSH
Oh...those dogs were just there and I said, "Hey shoot those dogs."
(not a great story)
And...we did.
JAMIE
(claps his hands together)
Beautiful.
JOSH
I've been working on this other one for...about eight years now but I think I'm zeroing in on it.
JAMIE
I'd love to see it.
DARBY
When I was a child my dog was killed in front of me by two rottweilers.
(she starts to laugh)
I don't know why I'm laughing. It's not funny. I was five. My dad and I were walking our poodle which I had named Toto and these two rottweilers came bounding out of an open gate and just attacked. My dad flagged down a passing car and we climbed in the back and he covered my eyes so I couldn't see Toto get mauled.
She covers her face, she's still laughing. (hesitates) I'm sorry to hear that.
JAMIE
You want to come get a bite with us?
JOSH
Oh...I'm meeting my...wife around the corner at this Chinese place.
JAMIE
Hey, my wife and I are going to the same goddamn place!
INT. CHINESE RESTAURANT. EVENING
Josh and Cornelia sit next to each other. Josh is in the middle of talking to Jamie and Darby who face them across the table.
JOSH
...I've learned along the way that you can discover more by not knowing the answers, by allowing yourself to be surprised by what you encounter.
Jamie nods with great interest.
JAMIE
Yeah, yeah.
JOSH
Sometimes that means waiting years for something to happen. I don't know. I could go on about this stuff for days.
JAMIE
How did you start out, like who influenced you?
JOSH
Oh, I steal from everyone, you know, Maysles, Wiseman, Pennebaker... My first job out of graduate school was working for Leslie Breitbart.
JAMIE
(impressed)
Jeez Louise.
That's also incidentally how I met Cornelia. He's her dad.
JAMIE
What?!
CORNELIA
This is before they hated each other.
JOSH
We don't hate each other. Cornelia produces her dad's films.
JAMIE
He's amazing.
CORNELIA
Yeah, he's kind of annoying me right now, but...yeah.
JAMIE
He's a giant. He's a guy I'd love to meet. Do you also produce Josh's films?
CORNELIA
No, Josh likes to work alone.
JAMIE
(again with real interest, to Josh)
Josh, what's your new film about?
JOSH
Well, I'm trying to solve the problem that Eisenstein never solved -- that is how to make a film that is both materialist and intellectual at the same time --
Darby gets a text and starts to reply. Jamie yawns openly. Josh feels he's losing his audience but keeps going.
JOSH
It's about the distinctly American relationship between biography and history, theory and method and how that relates to power and class in our country, particularly the political, military and economic elite.
(sensing he's lost them)
It's really about America.
JAMIE
Eisenstein is astonishing. I just saw Strike! I'm obsessed with Europe in the 20's, see. The interwar period, ex-patriots, that sort of thing.
DARBY
I keep trying to get Jamie to do something with before and afters. All humans love before and afters. Any TV show with before and afters will succeed.
JAMIE
(smiles broadly)
Before you said that.
(Jamie frowns)
After you said that.
DARBY
(shakes her head)
Fuck you.
He grabs her breast she smacks his hand playfully and returns to her phone and answers a text. Cornelia tries an accommodating smile.
CORNELIA
What do you do, Darby?
JAMIE
Darby makes ice cream.
CORNELIA
Oh, yeah?
DARBY
(shrugs, texting)
Yeah, I make ice cream.
JAMIE
I brought it over to the Whole Foods near us and they're pumped.
DARBY
It's Jamie's idea to sell it, I just do it because I like it.
CORNELIA
And you guys are married?
That's so nice and old fashioned.
JAMIE
Yeah. We said our vows in an empty water tower in Harlem.
CORNELIA
Oh.
DARBY
There was a mariachi band and a slip and slide.
JOSH
Wow.
DARBY
Jamie wanted a big wedding.
JAMIE
It was amazing. Some rituals exist for a reason, you know.
CORNELIA
(glances at Josh)
Yeah. We did it at city hall.
DARBY
(looking up from a text)
Isaac and Benny are walking the tracks.
JAMIE
Have you guys done this? We walked through the subway tunnels on the D line last week.
JOSH
(as if it's commonplace)
No, no, we haven't.
DARBY
They're at a Bar on Essex. You want to come?
JOSH
(to Cornelia)
Oh, do we -- ?
CORNELIA
It's already past our bedtime.
JOSH
(sheepishly)
Yeah, we're usually in bed by eleven.
resistance, Josh puts his hand on the check.
JOSH
Let me get it.
JAMIE
(eagerly)
Thanks.
DARBY
Yeah, thanks.
Josh's hand remains on the check in preparation for it to be taken from him. Nothing happens.
JOSH
No, yeah, I'll get it.
EXT. CHINESE RESTAURANT. EVENING
Jamie and Darby unlock their bikes which are chained to a street-sign with old-school bike chains. Jamie attaches the chain to his pants like an accessory.
JAMIE
If you've got any time -- and I know you're super busy -- I'd love to show you what I'm working on.
DARBY
Come by our place this weekend.
(to Cornelia)
I have my fall flavors.
Jamie gives Josh an old Polaroid of himself and writes his number on it with a sharpie. His handwriting is in all caps, very precise.
JAMIE
They don't make this film anymore. I bought four hundred packs before they discontinued it.
Jamie, without a helmet, hops on his bike which has a crocheted seat. Darby is still tying her helmet.
JAMIE
Let's go, worm!
(to Josh and Cornelia)
Peace.
(to Josh and Cornelia)
Jamie is always moving. I can't leap as fast as that kid. I don't move as quickly.
They both pedal into the center of the street. The streetlight giving them a kind of glow. We MOVE in on Josh and Cornelia. They don't know what hit them.
JOSH (V.O.)
I like how engaged they are in everything.
INT. JOSH/CORNELIA APT. - BEDROOM. NIGHT
Cornelia is reading on her Kindle. Josh stands in the bathroom doorway.
CORNELIA
Mm.
JOSH
They're all making things and they're so excited for each other. It's selfless. They were so respectful of us. I mean, compared to when we go out with Fletcher and Marina I feel \* like we're all just talking about ourselves... They asked questions.
CORNELIA
They didn't ask me any questions.
JOSH
When I was their age I would never have come up to me like that and invited me out. I would have been too scared... They're really not nervous.
CORNELIA
I wish you hadn't told him I work with my dad.
JOSH
Why?
CORNELIA
I don't know, he seems ambitious.
JOSH
No! I don't think he thinks that way. It's about process.
How has he even seen anything of yours?
JOSH
(like it should be obvious)
Ebay.
(scanning the room)
I love his shoes. I have some wing tips here somewhere.
He climbs into bed.
CORNELIA
It was almost like he was studying you.
JOSH
Can we go to their place this weekend?
CORNELIA
We never see our real friends, why are we suddenly going to hang out with a couple of twenty-five year olds.
JOSH
We were just twenty-five. I mean, we weren't, but you know. It'll be fun.
CUT TO: CLOSE on a woman, 25, scrolling through the addresses on her phone.
GIRL #1
Um, let's see, it would probably be...Richard Dreyfuss. He's an old friend of my parents.
GUY #1
Um, this girl who was a writer on that show, Medium.
YELLOW BLOCK TEXT on the screen: Who's the most famous person in your cell phone?
GIRL #2
Doug Liman.
GUY #2
Bill Clinton. But I think it's probably his office.
GUY #3
Patrick Ewing's brother. Carl.
(now on his phone)
Ringing.
(pause)
Yeah, it's his office.
GIRL #3
Robert Downey. Senior.
INT. JAMIE/DARBY APT, BUSHWICK. DAY
Jamie watches Josh and Cornelia watch the short on his computer. They're both smiling. Darby hovers in the background, holding a white kitten, she's seen it.
JOSH
That's really funny.
CORNELIA
Yeah. I like Robert Downey. Senior.
JAMIE
That's the latest anyway. I'm also doing people describing scenes from movies that they like but haven't seen in a while. Darby's going to do Rosemary's Baby, see.
Josh and Cornelia look back at Darby. She obliges:
DARBY
What have you done to its eyes!?
JOSH
(playing along)
He has his father's eyes.
Cornelia pets the kitten in Darby's arms.
CORNELIA
I want a kitten!
DARBY
That's Bad Cop. Where's Good Cop?
A black kitten comes out from under the couch. Darby hands the white one to Cornelia and gathers the other one.
DARBY
I love these kittens, but I hope they don't grow up to be assholes because that can happen.
This is a great space. You know I think I've only been to Williamsburg once before.
DARBY
This isn't even Williamsburg, it's Bushwick. We were in Williamsburg, before then Park Slope, now we're here.
(shrugs)
We live where we're supposed to live.
She indicates a series of old typewriters.
DARBY
Jamie's a collector. My decorating sensibilities veer towards 4th grade teacher. I like bulletin boards.
We see the place now. It's old, open, and has the feel of being haphazardly curated: from the mouse trap stuck to the molding to the flea market furniture to the VHS tapes of random movies stacked against the wall. A framed NY Times front page of the moon landing. A framed Polish poster of the Bob Dylan doc "Don't Look Back." A photo of Darby going down a slip and slide in her wedding dress. Josh looks at a stack of records. Velvet Underground, Kinks, John Coltrane, Suicide, Serge Gainsbourg, Thin Lizzy...
JOSH
This looks like my record collection. Except mine are CD's. It took me years to discover this stuff.
Jamie smiles and puts a record on the turntable. A Notorious B.I.G/Miley Cyrus mash-up. Josh admires a long wooden desk with a computer and editing equipment.
JOSH
I need to buy a new desk.
JAMIE
You should come with me to the lumber yard. We'll make one.
JOSH
A whole desk?
JAMIE
It's so much cheaper than buying one, see. And more fun.
farm like a chump. A dark haired girl, 26, appears, in underwear and a T-shirt with the drawing of a gun as if it's tucked into her pants.
TIPPER
Darby, can I borrow your bike, I'm going to the deli for Goldfish.
DARBY
Okay --
Tipper lifts her long bare leg and scratches the bottom of her foot.
JAMIE
Tipper, did you feed Nico?
TIPPER
(disappearing into the other room)
I forgot.
Off Cornelia's perplexed look:
DARBY
(with a hint of disdain)
That's our roommate, Tipper.
Jamie grabs a bag of bird seed from a counter, he opens a small door that leads to an outdoor landing. A chicken paces in a cage. Cornelia hesitates.
CORNELIA
Nico's a chicken.
CUT TO: They sit around a small table. Darby prepares something in the kitchen.
JOSH
I have to say I really admire how you guys are so in the moment and just enjoying doing and making things. It's inspiring.
JAMIE
Thanks, Joshy.
JOSH
The people our age are so success and results oriented, they've forgotten about process.
Josh, are you success oriented?
JOSH
No.
CORNELIA
Totally.
Josh looks at Cornelia, surprised. A crash from the kitchen. Darby reenters, shaking her head.
DARBY
I feel like there are people who don't drop things as much as I do.
(to Cornelia)
I don't keep things yar.
JAMIE
She's a mess. And an ugly eater. I say that with love.
DARBY
(playful)
Fuck you.
Darby places down a home-made container with a hipster cow on it and four spoons. She and Jamie eat straight from the container. Josh and Cornelia follow.
DARBY
It's an avocado and almond milk sorbet. Benny designed the container.
JAMIE
It tastes like that candy that they sometimes make into pigs or little fruits.
JOSH
Yeah, it's... Shit. I know that.
CORNELIA
I keep wanting to say baklava, but that's a Greek dessert.
JAMIE
Right... "The almond tasting pigs and fruits are made of..."
Josh pulls out his phone.
JOSH
(realizes, excited)
I'll look it up.
No, that's too easy.
DARBY
Let's try to remember it.
They all sit in silence, racking their brains.
CORNELIA
How long until we decide we don't know?
JOSH
(re: his phone)
Can I...now?
JAMIE
No, let's just not know what it is.
CUT TO: Technology MONTAGE:
A10 INT. JOSH/CORNELIA APT. DAY A10
Cornelia reads her Kindle. Josh watches a Daily Show video on his phone.
B10 INT. JAMIE/DARBY APT. DAY B10
Jamie removes a VHS tape of The Howling from a beat up box and slides it into the VCR.
C10 INT. JOSH/CORNELIA APT. DAY C10
Josh streams a movie on Apple TV.
D10 INT. JAMIE/DARBY APT. DAY D10
Darby puts a worn Kris Kristofferson record on a turntable. She secures old-fashioned headphones to her head.
E10 INT. JOSH/CORNELIA APT. DAY E10
Cornelia selects a NPR podcast from her iPod mini and puts on her sleek noise-reduction Bose headphones.
F10 INT. JAMIE/DARBY APT. DAY F10
Jamie types a letter on an old IBM Selectric typewriter.
G10 INT. JOSH/CORNELIA APT. - LIVING ROOM. DAY G10
Josh plays a video game on his iPad.
H10 INT. JAMIE/DARBY APT. DAY H10
I10 EXT. BUSHWICK - STREET BEACH. DAY I10
CUT TO: CLOSE on a text being typed: Joshy, street beach in effect! get your goddamn self to the bush of wick for bourbon and ice creeeeem. CUT TO: CLOSE on a hand receiving the same text.
FLETCHER (V.O.)
We have news!
INT. RESTAURANT, SMITH ST. BROOKLYN. LATE DAY
Josh sneaks a look at his text, smiles. Fletcher and Marina, \* Josh and Cornelia sit at a table at the window. Throughout the conversation, everyone is dealing with his/her phone.
FLETCHER
I decided, with Marina going back to \* work, I'm taking a leave of absence from the firm and am going to take care of Willow.
JOSH
Oh...cool. How long?
FLETCHER
Indefinite.
MARINA \*
It's such a load off and I'm making enough --
FLETCHER
Yeah, it's really just my ego at stake.
JOSH
Time to rewatch Mr. Mom.
FLETCHER
Already Netflixed it. some laughs.
MARINA \*
We're the boring couple with the baby. What have you guys been doing? Tell us something fun!
JOSH
Well, we met this interesting couple. Jamie and Darby. He's a young documentarian and she makes ice cream.
I don't know what to make of them honestly. I like her.
JOSH
They make everything. It's infectious. For about twelve hours I thought I could build my own desk.
CORNELIA
There is something about being around them that...that energizes you. You know?
MARINA \*
How old are they?
CORNELIA
(looks to Josh)
JOSH
26 or 27.
I think around 26.
MARINA \*
They're children!
FLETCHER
Nine years ago, they couldn't vote.
CORNELIA
But they're married.
FLETCHER
Why?
Josh squints at his menu. He picks up a candle and holds it close to the menu in order to read.
JOSH
You should see this guy's record collection. It's Jay-Z, it's Thin Lizzy, it's Mozart. Their taste is democratic. It's The Goonies and Citizen Kane. They don't distinguish between high and low, it's wonderful.
FLETCHER
When did The Goonies become a good movie?
CORNELIA
It's like their apartment is full of everything we once threw out but it looks so good the way they have it.
Everyone else takes this opportunity to text as well. Fletcher looks up.
FLETCHER
(re: texting)
Why is it once one person goes on their phone everyone else has to.
CORNELIA
(distracted, on her phone)
MARINA
(distracted, on her phone)
I just have a quick thing-- I'm not on my phone. I'm just... The baby.
FLETCHER
Each of us is so certain that we've got the most important thing to do right now...
CORNELIA
(texting)
I know, it's rude.
FLETCHER
(texting)
It's not anymore. It used to be but now it's accepted. It's like showing your ankles in the 1800's.
Josh gets a text. He lights up.
JOSH
The almond tasting pigs and fruits are made of...
CLOSE: Marzipan! He and Cornelia both exclaim, laughing:
JOSH/CORNELIA
Marzipan!
EXT. SMITH STREET, BROOKLYN. LATE DAY
It's still light out. They emerge from the restaurant.
JOSH
(to Fletcher and Marina) \*
You guys want to hit this street beach with us? I don't know what you're saying.
JOSH
Something Jamie and Darby are doing.
FLETCHER
Since when do you guys do two things in an evening? You never go anywhere.
(defensive)
We go anywhere.
MARINA \*
We have to get back for the sitter...Scratch that, we want to get back.
FLETCHER
I hate being away from her!
JOSH
The sitter?
FLETCHER
Yeah!
(beat)
No, Willow.
MARINA
You should see how much he cries when he has to leave her.
FLETCHER
It's true.
CORNELIA
Oh, we've lost you to the baby!
MARINA
You guys have to come see her again! She's already a
FLETCHER
We're always home so just stop by!
different person. They kiss and hug goodbye. They part ways.
CORNELIA
(now to Josh)
We have lost them to the baby.
JOSH
We go anywhere. Right?
CORNELIA
We never go anywhere.
TIPPER (V.O.)
High kick contest!
EXT. BUSHWICK. LATE DAY
CLOSE on an open fire hydrant hemorrhaging water. says I've Been To A Lot of Hard Rock Cafes, kicks her leg high in the air. Guys in vintage plaid shorts and porkpie hats and beards and bare feet try to kick higher. Most everyone is filming everyone. Young women in swim suits toss a beach ball. Jamie, with an apron that says Kiss the Chef, finishes kicking and sees Josh and Cornelia approaching. He brightens and waves.
JAMIE
What's the rumpus, Srebnicks?
Darby hands Cornelia a pinkish drink in a clear plastic cup.
DARBY
Have you tried this? Someone at college figured out that if you put Jolly Ranchers in vodka for twenty- four hours -- it's awesome.
(nods to herself)
Some kind of date rape genius.
Cornelia drinks, she nods.
CORNELIA
I'd rape me.
DARBY
You want to take a dance class with me?
BENNY (O.S.)
Ow fuck!
Benny, a bearded white kid in an afro, sits at the curb, wincing and pulling a piece of glass out of his foot. Jamie and Josh wade through the bathers to a hibachi grill.
JAMIE
Can I run an idea by you?
JOSH
Sure, what?
JAMIE
It's a project I want to shoot.
JOSH
Okay.
I've never done Facebook, it's not my thing, see --
JOSH
Oh, really? I was against it at first...but it's actually quite a useful tool. It makes me feel like I'm really connected. And there's pictures--
A beach-ball hits Josh in the head.
JOSH
What the shit? Watch it!
He realizes very quickly that he over-reacted, tries to be a good sport and tosses the ball back with a forced laugh.
JOSH
Ha! Back atcha!
JAMIE
It's lame, yeah. That's why I'm doing this new thing with it: I'm going to start a profile and wait for people to contact me.
JOSH
Well, that part's normal, that's Facebook.
Josh is doused with water from some splashing partiers. He tries to continue unfettered. He wrings out his shirt sleeves.
JAMIE
And whoever the first person is from my childhood -- someone I'm no longer in touch with -- who contacts me...instead of responding on Facebook, see. I'm going to go find them in person. With my camera.
JOSH
Okay.
JAMIE
Like make Facebook real. It's like you want to talk to me, let's talk.
JOSH
Kind of just like real life?
Exactly.
JOSH
Well, real was there before Facebook.
JAMIE
Right!
JOSH
It sounds interesting. I'm not sure it's enough --
JAMIE
What do you mean?
JOSH
Well, think about what you want to say. I mean, what are you hoping to find?
JAMIE
I'll know when I get there. You said, we should be open to surprises, right?
JOSH
It's a nice beginning. But it might not be a full enough meal yet, you know? Keep digging.
Jamie nods, trying to mask his disappointment.
SCHOLAR (V.O.)
When I criticize quantitative analysis, it's not because statistics don't tell us anything.
INT. IRA'S LIVING ROOM. DAY
Books and papers and yapping dogs. Tim holds a boom. Josh looks through the eye piece of a digital camera on a tripod. Ira, the scholar, older than we saw him on the Avid, now sports a mostly gray goatee. He has stained khakis, cheap running sneakers and a band-aid on his forehead.
SCHOLAR
On the contrary, I'd say that they are often very revealing. Indeed, they are often most revealing when --
(pause)
I have to go to the gents.
Okay.
The scholar gets up --
JOSH/TIM
Wait, wait/Wait!
The scholar is yanked back by the lavaliere mike pinned to his lapel. Josh and Tim both rush to his aid, unhooking him. He shuffles to the bathroom and pees with the door open.
JOSH
I guess he's just doing that.
TIM
Yeah. Hey, Josh, how's that grant money doing?
Josh immediately goes into his wallet.
JOSH
I'm expecting an email any day now which should confirm --
Josh offers him a few twenties.
TIM
No, thanks, but the rest of the grant money is coming, yes?
JOSH
Ye-s. Assuming they're funded again for the next calendar year
TIM
What does that mean?
JOSH
I don't know, one of the donors left his wife and...I don't know -- they're confirming the funding.
TIM
Why'd he leave his wife?
EXT. BROOKLYN STREET. DAY
Cornelia carries a grocery bag, she listens to her iPod, singing aloud. She sees someone off-camera and smiles broadly.
CORNELIA
Hey Fox!
Baby Bjorn next to two other younger mothers, early 30's, holding young children.
MARINA \*
Hey Foxy Fox!
CORNELIA
I was just going to call you to see if you wanted to get lunch.
MARINA \*
Oh, how sweet. This is Pepper and Elise. This is Cornelia.
CORNELIA
Hey.
PEPPER/ELISE
Hi./Nice to meet you.
MARINA \*
We're going to a music class.
ELISE
It's really just for the mothers, they don't do anything yet.
MARINA \*
Do you want to come?
CORNELIA
Oh...maybe...
MARINA \*
Come on, then!
Cornelia starts walking with the mothers.
ELISE
How old are your kids?
CORNELIA
Mine? I don't have any.
ELISE
Oh...I didn't...you were just coming to hang out. Cool.
MARINA \*
It's adorable. If you didn't know better you think they're having seizures!
Brightly lit with solid primary colors. A guy, 20's and a girl, 20's sing a song about trains as mothers and nannies bounce their babies and sing along. Cornelia, her lap empty, sits next to Marina, less enthusiastically singing along. \* She looks embarrassed and miserable. Cornelia whispers something in Marina's ear. Marina \* protests, but Cornelia is insistent. Cornelia gets up and winds her way through singing mommies and babies.
EXT. BROOKLYN STREET. DAY
Cornelia comes out of the building, her breathing raspy and shallow. She leans against the brick and composes herself.
CORNELIA
Holy shit...
She takes out her phone and dials a number --
EXT. STREET IN REDHOOK. DAY
Darby and Cornelia walk together.
CORNELIA
I mean, I love her, she's a great mom, but I always felt like if I had a baby, the baby would just fold into to my life. I mean, if you spend all your time at baby classes, you become a baby. It's like the mothers are infantilized. You know?
DARBY
(talking generally)
I know, just like: have a baby. You're cool, you know cool people who have a house and, I don't know, just have a baby. You're going to Mexican food and there's a baby on the floor.
CORNELIA
I know. That's how I grew up.
DARBY
I want a baby. Maybe I'll just have a baby right now.
CORNELIA
You should. You can.
I like kids who don't speak English.
(pause)
When are you going to have babies?
CORNELIA
(hesitates)
A couple of times I got pregnant but it didn't happen.
DARBY
I'm sorry.
CORNELIA
The longest only went four weeks. After thirty-five it's a shit-show.
DARBY
I'm sorry. You don't have to tell me.
CORNELIA
No, it's okay. It's what happened. I like telling you.
(smiles, shrugs)
I like our life as it is. I think. Even if we did have a kid, neither of us can cook. You can't get baby take- out.
Darby opens a door to a building and they start up a narrow staircase.
INT. HIP HOP CLASS. CONTINUOUS
DARBY
I like how you give Josh a hard time.
CORNELIA
I don't think I give him a hard time.
They enter a dance room filled almost entirely with black, Filipino and Latina women.
DARBY
It reminds me of my mom.
CORNELIA
How she was with your dad?
DARBY
No, with my brother.
Cornelia frowns. Yeah, she'd yell at him but iron all his weird racing T-shirts. I mother Jamie. Darby smells her underarms and makes a face.
DARBY
Sorry, I stink.
She changes into a tank-top and baggy track pants. Cornelia puts on a leotard.
CORNELIA
What kind of class is this again?
They enter a crowded dance studio.
DARBY
Hip hop.
Tupac's "Hit Em Up" blasts on and the women start doing 90's music video dance moves. Cornelia tries to keep up, but looks less like a fly girl than a farmer doing a hoe-down. Tupac continues over:
EXT. HAT STORE, BROOKLYN. DAY
Josh and Jamie admire the hats in the window. Josh points to an Irish cap. Jamie shakes his head.
EXT. SUBWAY TRACKS. DAY
Jamie, Darby, Cornelia and Josh (in his new porkpie hat which he'll wear from now on) walk along the outdoor tracks. A train rushes by on another track. Darby squeals with delight. Jamie whoops. Cornelia and Josh look terrified.
EXT. HOUSING PROJECTS, BASKETBALL COURT. DAY
Jamie is the only white guy in a pick-up game on an asphalt court.
INT. GYM. DAY
Josh runs on a treadmill.
INT. JOSH AND CORNELIA'S APARTMENT. NIGHT
Josh tosses his hat onto a chair. He pulls Cornelia's shirt over her head. She unbuttons his pants. Their open mouths crash into one another. They make love on the floor. Jamie and Josh browse different bikes. Josh checks out an elaborate ten speed. Jamie shakes his head and points to a single speed vintage, shitty-looking Raleigh.
EXT. BUSHWICK STREETS. DAY
Josh, a helmet strapped to his head, and Jamie, helmetless, ride their bikes. Jamie lifts up his arms, soaking it all in. Josh tries to do the same. Josh looks suddenly disconcerted and grabs his side. He slows to a stop as we CONTINUE with Jamie soaring onward.
INT. DOCTOR'S OFFICE. DAY
Josh sits on an examining table. A bald doctor is inspecting his legs.
DR. NAGATO
Well, it's a just strained muscle. But the more concerning thing here is your arthritis.
JOSH
Arthritis?
DR. NAGATO
Yes. You have arthritis in your knee.
JOSH
Is arthritis a catch-all for some kind of injury to the --
DR. NAGATO
No, arthritis is a degradation of the joints.
JOSH
I know what traditional arthritis is.
DR. NAGATO
I'm not sure what you mean by "traditional," but this is arthritis.
JOSH
Arthritis arthritis?
DR. NAGATO
Yes, I usually just say it once.
JOSH
At my age?
You're what, 42?
JOSH
DR. NAGATO
Well, it happens at 42 and it happens at 44.
JOSH
Uh huh.
DR. NAGATO
I'm going to get you a prescription for Paracetamol. We'll start there and see how it progresses, okay?
He hands a prescription sheet to Josh. Josh holds it about a foot away and squints.
DR. NAGATO
Have you had your eyes checked recently?
JOSH
I have genetically great eyes.
DR. NAGATO
(shrugs)
You're growing up.
INT. WILLIAMSBURG RESTAURANT. DAY
We start on Jamie yawning open mouthed. We MOVE out to find Josh in black rimmed glasses and his porkpie hat talking across the table from him.
JOSH
It's weird...you know, I'm at that age where the things you think are only going to happen when you get older are actually happening.
JAMIE
If I'm going to be totally honest with myself, I don't think I'm ever going to die. I know that's crazy.
JOSH
It's crazy.
JAMIE
I think I'm pathologically happy.
(hesitates)
I mean, Cornelia and I...for a while the fact that we got married was so amazing...I mean, we were married! Now we're just married, you know? Did you feel that way?
JAMIE
Best decision I ever made.
JOSH
(glancing around)
I really like this place.
JAMIE
(excited)
Oh, hey, I got my first response on Facebook.
JOSH
Yeah?
JAMIE
This guy, Kent Arlington. I haven't seen him since highschool in Santa Cruz.
JOSH
Did you flesh it out more, the idea?
JAMIE
A little, yeah. He's living in Poughkeepsie. Tipper and I will train it up there and find him.
A shaggy white haired man, late 60's, in a jean jacket and jeans enters the restaurant.
JOSH
Shit.
JAMIE
What?
JOSH
My father-in-law.
Jamie yanks his head around.
JAMIE
Where?
Josh half-rises to shake his hand.
BREITBART
How are you?
JOSH
Good, Leslie, you?
BREITBART
Good. Gearing up for my memorial.
JOSH
(to Jamie)
Leslie is having a tribute at Lincoln Center next month.
(to Leslie)
What are you doing here? How do you even know about this place?
BREITBART
Are you kidding? I've been coming here for the speck since it opened.
JOSH
This is Jamie, a friend of mine.
Jamie stands up and shakes Breitbart's hand.
JAMIE
I'm sure you hear this all the time, but both "Wedding" and "Giving Arlo a Bath" changed my life. It made me want to tell stories in a non-fiction mode.
BREITBART
Thank you.
JAMIE
Thank you for your films.
BREITBART
(to Josh)
How are the grandkids?
JOSH
Still don't exist.
BREITBART
You'll never regret it.
(beat)
How's my daughter?
How does she seem to you?
BREITBART
I think she seems well.
JOSH
So, why are you asking me?
BREITBART
Cornelia says you're looking for finishing money.
JOSH
Um...maybe...it depends on this grant, if this guy leaves his wife or not...
BREITBART
I met a guy, hedge fund or something or other, he's looking to put money in docs. I'll arrange a meeting if you're interested.
JOSH
Uh...
BREITBART
Don't be proud, Josh. I'll call you tomorrow with his number.
JOSH
(defeated)
Okay.
BREITBART
(to Jamie)
Nice to meet you.
He walks to another table in the back and is greeted by another man in a suit.
JAMIE
Jeez Louise, working with him must've been astonishing.
JOSH
It's complicated, I felt I was seen as his protege and...I married his daughter, I needed to establish my own voice. I think he thought I rejected him, that I was arrogant. Maybe I was.
Jamie yawns and texts. But you'll take that meeting --
JOSH
Probably not.
JAMIE
You have to, Yosh. I mean, money's money, right?
JOSH
Yeah, but I never pitch...I just don't think in sound-bites...
(musing)
I understand we're a culture of sound- bites, but --
JAMIE
(interrupting)
I'll help you. You know, make it sound beautiful -- it is beautiful -- but beautiful to some suit.
JOSH
Maybe.
Josh looks over at Breitbart chatting with his lunch companion.
JAMIE
You can totally say No to this, but would you have any interest in co- directing with me?
JOSH
Oh... No, it's your thing, it should be your thing.
JAMIE
(quickly)
I totally get it, yeah --
JOSH
(hesitates)
Yeah...it should be your thing.
Josh puts his hand on the check.
JOSH
I got it.
JAMIE
Cool.
something, but gets nothing. He hesitates then throws down cash.
JOSH
Shall we go?
JAMIE
You go ahead, I gotta take a leak.
They embrace. We MOVE with Josh to the door. Something occurs to him. He turns around -- Jamie's at Breitbart's table. He gestures animatedly. Breitbart laughs heartily. Josh watches. Finally, he turns and exits.
INT. JOSH AND CORNELIA'S APARTMENT. DAY
Josh is laying random white items of clothing on the bed. Cornelia practices a hip hop routine.
JOSH
He just offered it to me like it was nothing. I've been trained to hoard credit, these kids are so generous.
CORNELIA
I know.
JOSH
Yeah. What do you mean, you know? Which part?
CORNELIA
About credit. My dad always said that about you. You don't collaborate well.
JOSH
He "always" said that? What's "always?"
CORNELIA
I don't know, twice. I wanted to do that thing about the public school in the Bronx and you were really excited about it until I suggested we do it together and then you kind of dropped it.
Josh is about to defend himself. He hesitates. Maybe we should have done it. We still could.
CORNELIA
The time has past.
JOSH
I'm sorry about that. I want to be better about that stuff.
CORNELIA
(hesitates, touched)
Thanks.
Cornelia's phone rings. She dances over to it. Josh regards her.
JOSH
What is that, a hoe-down?
CORNELIA
No! It's hip-hop.
Cornelia finds her phone.
CORNELIA
(into phone)
Hey Fox!
INT. FLETCHER AND MARINA'S APARTMENT. INTERCUT 29 \*
Marina nurses the baby. \*
MARINA \*
Fox! Do you guys want to come to the Connecticut house this weekend?
Josh starts hip hop dancing with Cornelia.
CORNELIA
(laughing)
Connecticut this weekend?
JOSH
(loud whisper)
No, we have the ayawasca.
Fletcher walks by in the background.
FLETCHER
Where's the cardboard sleeve
MARINA
What's on it?
for this Wilco CD? The same image that's on the Why do you need it? The CD CD. is right here. \*
FLETCHER
I don't know. It makes it special.
MARINA
It'll be us and Pepper and her husband Reade and Elise and Dwight. And then Willow, Oscar and Peter who they're calling Nemo.
CORNELIA
That's a lot of people.
MARINA \*
Well, the last three are infants.
Josh shakes his head, No and dances more vehemently.
CORNELIA
(trying not to laugh)
Oh...you know... Actually, we're doing this ayawasca ceremony with Jamie and Darby.
MARINA \*
What's an ayawasca ceremony?
CORNELIA
I guess...there's a shaman and you drink this sludgy liquid made from a Peruvian root and you hallucinate and vomit up your demons.
MARINA \*
Oh... Okay. We're just having a cookout and maybe playing charades so...
CORNELIA
It sounds great. Just bad timing.
Josh and Cornelia are both laughing now and doing some combination of hip-hop/hoe-down.
MARINA \*
(clearly disappointed)
Yeah.
INT. VICTORIAN HOUSE, BROOKLYN. NIGHT
A circle of kneeling people all dressed in white. It's whatever white they had available at home so it's mismatched, kneels at a make-shift shrine. This is the shaman. In front of him is an altar decorated with crystals and laminated cards of St. Francis, Gandhi, Merlin, King Tut. Josh leans over to Cornelia:
JOSH
How did King Tut become magical all of a sudden?
Jamie, in a white Puma track-suit, leans forward over a couple of people on Josh's other side.
JAMIE
It's because they discovered his tomb in the occult boom of the 20's.
"Shhh!" from the group. The shaman pops open what looks like a Coke bottle and pours a brown sludgy liquid into a shot glass. He says a benediction. People, in succession, crawl over to him, he does a blessing of sorts on their forehead and hands them the glass. They drink and return to their original spots. We watch as Jamie, Darby, Cornelia and Josh drink the dark sludge. Jamie drinks without thought. Darby does the quotes thing in the air before she drinks.
DARBY
This is our twenties!
CORNELIA
I'm forty-one.
Cornelia sips it. She looks up at the shaman who smiles encouragingly. She downs it and hands it back to him proudly. Josh hesitates, looks back at the group. He shrugs and downs it, a significant portion missing his mouth. He quickly wipes at his chin and tries to get the spillage back into his mouth. He licks his fingers and palm and the sides of the glass then hands the glass back to the shaman, who looks mildly irritated. They're back in their circle. The woman next to Josh whispers: Supposedly everyone sees Egyptian imagery.
JOSH
Oh yeah?
WOMAN
I want to clear some father issues. You?
JOSH
Oh, I don't know.
WOMAN
It's good to have a focus.
JOSH
(thinks about it)
Fear of death? You know, linear time not being such a big deal.
The lights are lowered. The shaman's assistant clears the air with an eagle feather.
JOSH
(whispers)
What's the bucket for?
WOMAN
Puking.
People "shhh" Josh. The shaman goes around the room and makes a cross on everyone's forehead. Josh closes his eyes. The FOLLOWING is in choppy, almost impressionistic images: People start to trip. Darby gets up and joins a couple who is dancing.
SHAMAN
We are purging dark energies, past pain.
He plays some bongos and shakes a shaker.
DARBY
(under her breath)
This shaman is kind of a d-bag.
The woman next to Josh grabs a bucket and pukes.
JOSH
That's my bucket.
I'm puking out your shit! Josh crawls next to Cornelia.
JOSH
I feel it! Oh my God, I see a fucking pyramid. And a sphinx. It's true, you see Egyptian shit. Honey, what are you seeing?
CORNELIA
I'm in a deli in Bensonhurst.
JOSH
The serpent, Apep is speaking to me. He's saying, go to the cattle of Ra. The Celestial Cow is waiting.
CORNELIA
I'm purchasing a bag of Sun Chips.
CUT TO: Jamie stands with the shaman.
JAMIE
I don't believe in any state supported art. I think you need to just do it yourself.
He vomits.
JAMIE
(gargling vomit)
I voted for Romney.
Everyone vomits. We see this in succession.
SHAMAN
Watch the carpet!
CUT TO: Josh opens his eyes. The room is a blur -- white figures drifting past. Josh gets up. Cornelia talks with the shaman in a corner. Josh waves her over madly. She excuses herself.
JOSH
Maybe don't flirt with the shaman.
CORNELIA
He was telling me about his boat.
Cornelia grows quiet. Her eyes are glazed. What?
CORNELIA
I wish you'd look at me the way you look at Jamie and Darby.
JOSH
I look at you that way...
CORNELIA
No, you don't. You used to. When we first met you were like you are with them, you wooed me with romantic emails...
JOSH
There's no point in us emailing now...we're in the same room all of the time.
CORNELIA
(hesitates)
I don't want to take away your enthusiasm for Jamie and Darby, I'm glad you like them so much...I just wish I could feel that energy from you once in a while.
CUT TO: Darby leans her head against the wall. She talks to the man next to her.
DARBY
I was falling asleep today on the L train and you know how your brain gets in these loops? I couldn't remember the shape of a pineapple: "Are they like pears?" No, they're like footballs with the ends cut off. It's hard to call to mind the shapes of things. Do you find that?
She vomits. CUT TO:
INT. VICTORIAN HOUSE - DARK ROOM. NIGHT
Cornelia wanders into a dark room. She sees Josh coming toward her.
CORNELIA
Josh, I'm sorry.
Cornelia kisses Josh on the mouth, long and passionate. She hesitates.
CORNELIA
You taste different.
Cornelia pulls back.
CORNELIA
Josh?
JAMIE
It's me.
CORNELIA
Jamie, shit. I thought you were Josh. I'm so fucked up. I'm sorry.
She puts her head on his shoulder.
CORNELIA
Ugh, how embarrassing.
JAMIE
It's okay, worm.
She looks up at him and they kiss again. She stops.
CORNELIA
Let's never do that again.
She walks away. CUT TO:
INT. VICTORIAN HOUSE - HALLWAY. NIGHT
Josh drifts down a hallway. His eyes blinded by drifting geometric shapes and figures.
JOSH
It stopped working. Cornelia, mine stopped working anymore!
But Cornelia isn't there. He slips and rights himself with the wall.
JOSH
Nothing is happening.
He trips and hits the floor with a thud. Jamie is picking Josh up -- How you doing, Yosh?
JOSH
Is yours working? Mine isn't working.
JAMIE
Mine's working.
JOSH
What if I don't find anything out?
He looks at Jamie, tears rolling down his face. He now sees that Jamie is filming him.
JAMIE
Just roll with it. You're going to be fine, see.
JOSH
Thanks, Jamie. You're so kind. And so generous. I'm so proud and selfish. I want to be generous like you. I want to help you with your film. I'll come with you to film the guy. I don't want credit or anything, just to help out.
JAMIE
Thanks Joshy, that's beautiful.
JOSH
Before we met, the only two feelings I had left were...wistful and disdainful. And being around you...I see what's possible again. Is that corny?
JAMIE
It's goddamn corny, Joshy.
JOSH
Yeah, I guess it is. I'm a cornball.
(pause)
I've felt like a failure for years. I wish Cornelia and I had had kids.
JAMIE
It's not too late, is it?
Josh vomits. Jamie holds his head while he retches. Thanks.
JAMIE
No problem, Jussle.
Jamie vomits.
EXT. VICTORIAN HOUSE - FRONT PORCH. MORNING
Cornelia sits on the stairs. She looks exhausted. People on the street are starting their day, taking kids out, moving cars.
JOSH (O.S.)
It's still tonight for us, but it's tomorrow for everyone else.
Josh sits beside her. He looks tired, pale, worse for wear.
JOSH
Let's have kids! Or a kid. Something.
CORNELIA
Did the Celestial Cow tell you this?
JOSH
(pause)
Yeah, but that doesn't make it any less true.
Cornelia picks at the dry skin on her lip.
JOSH
(re: the houses and pedestrians)
All these people have babies -- what's the big deal?
CORNELIA
I thought we'd decided... I don't want this to be every time you take a hallucinogen you want to have a baby.
JOSH
Not every time.
CORNELIA
We missed our chance. I missed my chance. I'm fine with that.
(pause)
The serpent suggested we could adopt.
CORNELIA
He didn't tell me that.
JOSH
You don't want to?
She slowly shakes her head. Pause. Josh notices something.
JOSH
Is that the shaman's Vespa?
INT. FLETCHER/MARINA'S BUILDING - ELEVATOR. EVE 34 \*
Josh and Cornelia, dressed casually. She holds a couple of take-out bags. Another couple, dressed up, stands next to them holding a bag with a ribbon.
CORNELIA
He's been cooped up at home with a baby, and she loves these soup dumplings. This will be a great surprise.
JOSH
I haven't spoken to Fletcher for a while. I think he's exhausted.
CORNELIA
(laughs)
We'll probably be waking them up!
The doors open. Both couples exit.
INT. FLETCHER/MARINA BUILDING - DOORWAY/LIVING ROOM. EVE 35 \*
Josh and Cornelia approach the apartment. Josh starts to clock the other couple walking right next to them. They all reach an apartment door. Voices and music from inside. Cornelia frowns. Josh rings. He looks at the other couple who smile. Marina opens the door in a party dress, beaming and holding a \* white wine. Party guests mingle behind her.
MARINA \*
(horrified)
Cornelia...Josh.
(welcoming)
Gaby, Mike!
Hi.
COUPLE
You look amazing!
The other couple enters the party. Fletcher appears in the background loudly bantering with another guy.
FLETCHER
...I know! I felt like I was in one of those sci-fi movies where everyone is ranked by intellect --
His face drops when he sees Josh and Cornelia.
FLETCHER
Oh...fucking shit...
He and Marina come out into the hallway, the door ajar behind \* them.
CORNELIA
Did we...I guess you're having a thing.
MARINA \*
Uh...yeah. We... God, this is embarrassing.
CORNELIA
Is it a baby thing or...?
MARINA \*
No, actually...Willow's at my mother's.
CORNELIA
Oh...
JOSH
We weren't invited.
FLETCHER
Well...we didn't think...
MARINA \*
Oh, God, I don't know what to say...
Another couple appears behind Josh and Cornelia.
COUPLE #2
Hey, girly girl. You look fiiiine!
WOMAN
Hey Cornelia, how are you?
CORNELIA
Fine, Grace, you?
WOMAN
Great.
MARINA \*
(to the other couple)
Come inside, there's a full bar --
The other couple enters the apartment.
CORNELIA
What is going on?
MARINA \*
I'm sorry...we didn't think you'd want to come or...
JOSH
Why?
MARINA \*
Well, for one thing these are people our own age.
CORNELIA
Oh, come on!
FLETCHER
And maybe you have a titseeka ceremony or something.
JOSH
Ayawasca! It was therapeutic. I learned some shit. I think Cornelia did too.
CORNELIA
(awkwardly)
I did too. Learn some shit.
FLETCHER
You guys were wacked out on Peruvian mescallen, of course you're going to learn some shit. I went under during a colonoscopy last week and I learned some shit.
Don't patronize us, man.
FLETCHER
Listen, we don't know how else to say this, but...we're worried about you guys.
MARINA \*
Yeah, you know...I mean, it's cool you don't want to have kids --
CORNELIA
Don't make this about the baby cult, Marina. Okay? I don't appreciate \* that kind of superior attitude. It's really ugly.
MARINA \*
That's not what I'm saying! I can't help it if I want you to have kids.
FLETCHER
We think you guys would really benefit from it. That's all.
CORNELIA
(suddenly emotional)
But you don't realize how inappropriate it is to say it like you say it. Not everyone wants a baby! Not everyone can have one all the time!
COUPLE (O.S.)
Hi sexy lady!
Yet another couple, Elise and her husband, arrives, kisses Marina and Fletcher. \*
MARINA \*
(smiling hostess)
Elise! Come in! Come in!
They enter. Marina brings her voice down: \*
MARINA \*
Since we've had the baby, I feel you pulling away, Cornelia. I just do.
CORNELIA
I went to a fucking baby music class with you! Do you know how humiliating that is?
FLETCHER
(to Josh) What's with the hat?
What?
FLETCHER
You look like assholes we went to highschool with who would cruise by the prom but not go in.
MARINA
Why is it humiliating? is my life now!
MARINA \*
(getting emotional)
It can be very isolating and lonely when you have a kid.
CORNELIA
(re: the crowd inside)
Yeah, I can tell.
FLETCHER
We're old men, Josh.
JOSH
Speak for yourself.
FLETCHER
You're an old man with a hat.
CORNELIA
(sadly)
Let's go, Josh.
FLETCHER
Stay, you're here...come in.
JOSH
(emphatic)
There is no way we're coming in.
INT. FLETCHER/MARINA APT. - LIVING ROOM. EVE 36 \*
Inside the APARTMENT. Josh and Cornelia sit alone by the window. People are laughing, talking loudly. Cornelia downs her wine in one. Josh looks furious.
JAMIE (V.O.)
(sings)
"You're playing Nintendo."
INT. JAMIE'S CAR. DAY
Jamie drives, Josh next to him. Cornelia, Darby and Tipper, who wears a T-shirt that reads: Some Crappy Band, are squeezed in the back. Jamie sings and Tipper responds: (sings) "That's not what I'm doing, that's not what I'm doing."
JAMIE
"You're surfing the web."
TIPPER
"That's not what I'm doing, that's not what I'm doing."
JAMIE
"You're crying your eyes out."
TIPPER
"That's not what I'm doing, that's not what I'm doing."
TIPPER
(she beats the back of Josh's seat three times)
"I'm making a sandwich!"
Both of them, flush and beaming look around the car.
JOSH
Nice.
CORNELIA
(trying to be positive)
Fun.
Darby grumbles. She turns to Cornelia.
DARBY
Connecticut has the best thrifting. He'll drop us off before they do their filming.
JAMIE
Tipper and I started a band called Cookie O'Puss. Have you seen that on YouTube?
JOSH
(a bit annoyed)
That was a commercial when I was a kid.
JAMIE
It's fucking hilarious.
JOSH
(trying to own it)
I know, we used to always do his voice.
TIPPER
"My name is Cookie O'Puss!"
(trying to do it first)
"My name is Cookie O'Puss."
JAMIE
"My name is Cookie O'Puss."
JOSH
Right.
JAMIE
It's the name of our band.
EXT. POUGHKEEPSIE STREET. DAY
Josh films Jamie as he gets out of the car. Tipper films the house.
JAMIE
He was this kind of amazing combination of jock and brain and he could sing, he was in the acapella group called the Night Owls. I mean kind of the perfect guy.
EXT. CLAPBOARD HOUSE. DAY
The three of them wait at the door. Tipper films. Jamie knocks. A skinny woman in her 30's appears.
JAMIE
Hey, I called, my name's Jamie, I'm a friend of Kent's.
SISTER
Kent isn't here.
JAMIE
Oh...well, will he be back soon?
She shakes her head. She looks over at Tipper who's filming.
SISTER
What's --
JAMIE
We went to school together. It's been a while, but he contacted me recently on Facebook. It would mean a lot to me if I could see him.
The sister hesitates. She's debating something in her head. Jamie, Josh and Tipper are led by an orderly down a long sterile hallway. They reach a set of automatic doors. A loud buzz. They go through the doors to another set of doors. Another loud buzz. They open.
INT. HOSPITAL ROOM
Kent, 20's, pale and thin, lies in bed watching a cooking show. He's eating ice cream out of a container. Jamie, Tipper and Josh enter. He looks up as they approach, placing the ice cream on the bed-side table. CUT TO: Josh shoots Jamie. Tipper shoots Kent. Kent sits up in bed, he talks somberly. Jamie sits at his bed-side.
KENT
A ceramic platter didn't break and accidentally cut both my wrists.
JAMIE
No?
KENT
No. I've been unhappy. I did it to myself. I cut my wrists.
JAMIE
You broke a ceramic platter and used the shards to cut your wrists?
Josh starts to say something, he knows where Kent's going with this, but he holds himself back.
KENT
No, there was no ceramic platter. I mean, there is, I had one in mind when I was telling the story.
JAMIE
But the shards were from the platter?
JOSH
(can't help himself)
What Kent is saying is he imagined an actual platter to make his story feel more authentic, but really he just cut his wrists with what, probably a razor blade?
Kent and Jamie look over at Josh. Kent looks annoyed. (to Jamie) Who is he? CUT TO: Jamie leans in. Kent seems emotional.
JAMIE
You were the guy, you know. You were beautiful. I mean you dated Jenny Pepperdine!
Kent flashes a weary smile.
JAMIE
You know I bought a necklace like the one you used to wear --
KENT
My puka shells?
JAMIE
Yeah. You know, I was going through a tough time in highschool, my mom was really sick with ovarian cancer, I was pretty promiscuous, but I couldn't love anyone, I had body issues --
We slowly ZOOM in on Jamie as he talks. Josh's closed eye opens. While keeping the camera trained on Jamie, he inspects it, bewildered. He's not pressing anything. He sees -- Jamie holds a small remote in his hand. He's zooming in on himself.
JAMIE
You had written a poem for English, you were this athlete and you wrote this beautiful poem. Do you know what poem I'm talking about?
KENT
I wrote a lot of poems.
JAMIE
It was a line, very simple, but effective, "I want to be unbridgeable." That one line got me through my mother's illness.
Yeah? I don't know why I stopped writing poetry. I stopped doing a lot of things. Why do we stop doing things? I guess life happens.
JAMIE
Life is other plans.
KENT
Yeah.
JOSH
(from behind the camera)
Life is what happens when you're making other plans.
Jamie and Kent both startle and turn to the camera.
KENT
(again annoyed)
Who is he?
DARBY (V.O.)
I keep trying to get people to agree with me on this: I hate Tipper.
INT. OLD BARN
Antiques and vintage clothing. Darby helps Cornelia lace up a corset.
DARBY
She ends every word she can with "ish." I thought she was making fun of this way of talking until it was clear that she wasn't.
CORNELIA
She tries too hard.
DARBY
Exactly! But it's low-key so you don't notice it. I shouldn't shit- talk Tipper. I have so many things.
CORNELIA
You and Jamie were highschool sweethearts?
DARBY
No, Jamie was only in Santa Cruz for a semester.
company that was contracted by the army and they were never in one place very long. Jamie can be at home anywhere.
CORNELIA
Josh is only at home at home.
the mirror. She's horrified.
INT. DINER, HUDSON, NY. DAY
The four of them and Tipper in a booth. Jamie and Tipper have just finished telling Darby and Cornelia about the day. Josh is looking at something on his phone.
TIPPER
He was soulful-ish, you know.
JAMIE
Sister, that's an understatement. You can tell he's been to some dark places.
DARBY
(petulant)
We went to some dark places too. I bought a dress. Cornelia didn't buy a corset.
JAMIE
(eating)
Mm, this burger is in-cred-ible.
JOSH
(re: his phone)
Holy shit.
CORNELIA
What's wrong?
JOSH
No...nothing...I just Googled Kent...
(looks up to Jamie)
Did you Google him?
JAMIE
No, I wanted it to be fresh.
JOSH
This...it's there's a picture, it's the same guy. He was in Afghanistan.
JAMIE
(surprised)
Really?
JOSH
Yeah...he...this article says he was part of a massacre in Wanat.
civilians... He then spoke out publicly about it and then he refused to fight. He was jailed briefly then he returned to battle, was injured and given the Purple Heart.
JAMIE
You're kidding?
Josh hands Jamie his phone. Jamie beams.
JAMIE
It says two men in his unit have killed themselves. Tipper --
Tipper gets out the camera and turns it on Josh. Josh looks into the lens strangely.
JAMIE
Do it again, what you did.
JOSH
Which part?
JAMIE
The phone, the discovery, everything.
JOSH
Oh...
Josh awkwardly looks at his phone then back up. The four of them are waiting.
JOSH
(stilted)
It's the same guy... Is that what I said? How did I say it?
Jamie yawns, impatiently. Josh tries again:
JOSH
(acting now)
It's the same guy! Holy shit. Jamie, take a look at this.
Tipper swings the camera at Jamie. He grabs Josh's phone and reacts almost identically.
JAMIE
It says two men in his unit have killed themselves.
(excited, getting the hang of it)
We have to go back!
JAMIE
Yeah?
JOSH
We have to get him talking about this. This is the movie! Now it's not just some stupid Facebook thing.
Jamie looks at Josh oddly. Josh backtracks:
JOSH
Not that that wasn't a good idea too. But, and I hate this expression, but you stepped in shit!
(suddenly)
Cornelia!
CORNELIA
(caught off guard)
What?!
Josh kisses her.
JOSH
I don't know!
Jamie digs into his food.
JAMIE
Thank God I've got you, Joshy! We did what you said: we didn't know the answers, we discovered it. I should get a good book on Afghanistan. And war in general. I really know so little about it.
JOSH
(decides to go for it)
You know who you should talk to. Ira Mandelstam, the guy in my film he could tell you a lot about war and the politics of war.
JAMIE
That's your guy, though, Joshy. I can't take your guy.
I don't care. I want to share him with you. (to the table) Look ma, I'm sharing!
JAMIE
Jeez Louise, that would be fucking beautiful.
CORNELIA
(suddenly, caught up in the whole thing)
You know, if you want help... I could help or...produce this for you...
Josh looks at Cornelia, surprised. He smiles.
CORNELIA
My dad's between things now...
JAMIE
Oh, my God. Are you kidding, I'd be so pumped. Thank you, thank you.
Josh keeps smiling. He wants very badly for this to feel good.
INT. SCHOLAR'S APARTMENT
Ira, the scholar, is talking about the power structure of the United States. Jamie shoots him. Tipper holds a boom. She wears a T-shirt that reads in generic lettering: A College I Didn't Go To. Cornelia stands close by. Josh sits in a chair in the back, listening through headphones. His eyes drift away from the scholar and turn inward. He looks almost afraid.
INT. SCHOLAR'S BEDROOM
A mess of books and clothes and dogs and dog beds. Josh pulls Cornelia inside and shuts the door.
CORNELIA
What?
JOSH
(hushed)
Can I say something I'm ashamed of?
CORNELIA
Yeah.
It's not generous. And I probably don't really mean it.
CORNELIA
Okay. Go.
JOSH
And I think Jamie's great so --
CORNELIA
Say it!
JOSH
(snapping)
I can't fucking believe his idiotic Facebook idea paid off! It's so fucking stupid! And my thing is a mess. A total fucking mess.
(pause)
Sorry, I feel bad saying that. But I also hate the fact he's calling his band Cookie O'Puss.
CORNELIA
What's wrong with that?
JOSH
It's just some funny old kitschy thing to him he saw on YouTube. But that was my commercial. I actually experienced it. You know?
CORNELIA
I don't know from Cookie Puss.
JOSH
Really? It was for Carvel. Cookie Puss was the original one but they did an ice cream cake for Saint Patrick's Day and it was this floating green Irish cake that said, "My name is Cookie O'Puss."
Cornelia is silent.
JOSH
(exhales)
I'm being ridiculous. I probably don't mean any of it.
CORNELIA
My dad likes to say, "The more, the more."
That's because your dad has everything. And then he gets more. (off her look) No, he's right. There's enough to go around for everyone.
JAMIE
Yo, Yosh! You got a pitch you got to attend!
She kisses him.
CORNELIA
Good luck.
EXT. FINANCIAL DISTRICT. DAY
Jamie walks with Josh through stopped traffic toward the Goldman Sachs building.
JAMIE
Remember, ask him questions. You're interviewing him. He'd be goddamn lucky to invest in your film.
JOSH
Okay.
JAMIE
And talk about shit he understands, see. Short and to the point.
A bike messenger swerves by them on the sidewalk.
JAMIE
(suddenly furious)
Ride on the street, man!
(and then back to Josh not missing a beat)
Psych him up. Talk about money. Talk about war. Power. Race. Make it relevant to him.
JOSH
Right.
JAMIE
Be yourself, everyone else is taken.
Jamie straightens Josh's jacket collar. Ira was beautiful today. I'm gonna have a screening of the cut footage at the apartment on Friday.
JOSH
You cut it already? We just shot it two days ago.
JAMIE
I know. I was up all night.
(patting Josh on the back)
We'll be okay, Joshy. Don't you fret.
JOSH
Maybe take a day or two to make sure you like it.
JAMIE
Or I can take ten years.
Josh hesitates, taken aback. Jamie laughs.
JAMIE
I'm fucking with you, Joshy. Your thing is going to be totally brilliant.
They reach the doorway of the office building. Jamie takes the big headphones from around his neck and puts them on Josh. Jamie presses Play. "Eye of The Tiger" by Survivor.
JOSH
I remember when this song was just considered bad! But it's working.
JAMIE
Remember, he's lucky to have this opportunity. You're friggin' Josh Srebnick.
JOSH
My name sounds so much better when you say it.
INT. OFFICE, HEDGE FUND. DAY
Josh shakes hands with a bulky fratty looking hedge fund guy, 30's, in a suit. This is Dave. Josh sits on a couch, Dave in an armchair. Dave drinks from a highball glass. You see Mad Men?
JOSH
No.
HEDGE FUND DAVE
(waves it off)
It's really apple juice. Nah, it's whiskey. Nah, it's not. It is.
He drinks.
HEDGE FUND DAVE
So, tell me more about your project.
JOSH
Well, maybe a good way to start is by asking you a question.
HEDGE FUND DAVE
Hey, they were all raped when I got there.
Josh stares at him blankly.
HEDGE FUND DAVE
(re: highball)
This is my second in twenty minutes. Shoot.
JOSH
Do you know the percentage of African American adult males currently in jail?
HEDGE FUND DAVE
I don't.
JOSH
Take a guess.
HEDGE FUND DAVE
(playing along but not really thinking)
Like 60%?
JOSH
Jesus, no!
(pause)
It's over 9%. That's nearly 1 in 10 African American adult males, nearly a million and half.
A million and a half is a lot.
JOSH
It's insane, but people don't realize this. They think because we have a black president...
HEDGE FUND DAVE
(as if he's helping Josh out)
So this is about prison. Like a black Shawshank. But real. A real, black Shawshank.
JOSH
(thrown)
No, not...no.
(pause and then speaking quickly)
There's a section, an Entr'acte really, on the function of race in the prison industrial complex...
(trying to get back on track)
But the film is really about how power in America works... Do you know the historian, Ira Mandelstam?
HEDGE FUND DAVE
Yeah.
JOSH
(pleased)
Really?
HEDGE FUND DAVE
No.
JOSH
Well, we have over a hundred hours of interviews with him. Now --
HEDGE FUND DAVE
The movie's a hundred hours?
JOSH
No, we'll cut it. Now, this guy, he's not particularly charismatic, he's kind of anti-social, maybe asbergers, but not interesting asbergers. He's kind of boring even. But he's a charismatic thinker.
How do you show what he thinks? Cartoons?
JOSH
(what?!)
No, not cartoons. He says it.
HEDGE FUND DAVE
But he's boring.
JOSH
Well...yes, but like many boring things, the longer you watch it, it takes on a different dimension --
Josh wipes the sweat that has now accumulated on his face. Dave's glance goes to his Blackberry. He types something quickly.
HEDGE FUND DAVE
Mmm hmm. So, what's it about?
JOSH
It's really a very simple idea. The three sections correspond to the three nodes of what Mills called the power elite: the political, military and economic. But, and this is key, each part has to interconnect to show how none of these three nodes functions without the other.
Dave tries to surreptitiously glance at his Blackberry.
JOSH
It's a linear film of course, but I imagine it as a kind of hypertext. To be clear, the film is really about the working class and, I can't speak on behalf of the working class. I can't make their film, of course. They have to be felt as the impossible subject of the text. Through an examination of the power structure the voice of the working class has to be revealed in the margins through its very absence. If that makes sense.
The phone rings. Both Dave and Josh look at it.
HEDGE FUND DAVE
Hey, I'm suddenly so popular.
(barrels on)
But it's not even really about the power structure but about what it means to make a film about it. It's about the very possibility of making this film...It's really about America.
Dave can't help it. He lunges for the phone. The sound of KNOCKING.
INT. BREITBART'S APARTMENT - DOORWAY. DAY
Josh stands in the doorway, he wears his bike helmet and holds his hat. Breitbart smiles.
BREITBART
I was just working on my speech for my memorial. What's on your mind, son?
Josh nervously unstraps his bike helmet and puts on his hat. An awkward exchange as he has trouble holding both. He exhales. Breitbart finally accommodates by taking the helmet.
JOSH
Would you watch what I have? I think I'm at a point where I need a new set of eyes.
BREITBART
Ten years with the same project will do that to you.
JOSH
Yeah.
BREITBART
(warmly)
Of course I'll watch it. Come in, son.
INT. BREITBART'S APARTMENT - LIVING ROOM/KITCHEN. DAY
They watch the scholar on Breitbart's new TV. Josh can't look at the screen, his eyes on are Breitbart. CUT TO: Josh, still watching Breitbart. The movie ends. Breitbart nods, shuts off the TV with a remote.
BREITBART
I just got this TV. It's a smart TV.
so long.
BREITBART
I'll put a kettle on. You want some tea?
JOSH
Okay.
Breitbart goes to his kitchen. Josh waits, impatiently.
BREITBART (O.S.)
Well, you have a lot of good material there.
JOSH
Uh huh.
BREITBART (O.S.)
Lots to think about. I need to process it.
JOSH
Uh huh.
Breitbart reappears in the kitchen doorway.
BREITBART
Do you need the stuff about Turkish politics?
JOSH
Yes, because it connects to what he's saying about the shift in power in the contemporary global economy. And, of course, it relates back to the earlier stuff on the Ottoman Empire.
BREITBART
Right, but it feels like a detour. What about the lengthy history of the Triangle Shirtwaste Factory Fire? Do you need that?
JOSH
The interview with Tillie Kupferschmidst's great great niece? That's the emotional center of the movie. That's where things come together. Without that scene...why make the film at all?
But it's too long.
JOSH
It has to be long. The point is it makes you uncomfortable.
BREITBART
(gently)
I wasn't uncomfortable, I was bored.
The kettle goes off. Breitbart goes back into the kitchen. Josh follows him in.
JOSH
Well, maybe boredom is your defense from the discomfort.
BREITBART
(growing impatient)
You just showed me a six and a half hour movie that runs about seven hours too long. I'm trying to help.
JOSH
I understand, I understand. I think I need to shoot some more interviews --
BREITBART
(quickly)
Don't shoot anymore! You have enough.
JOSH
Yeah? I just don't think you're getting it or maybe there's something about me or what you saw that's clouding your judgement.
BREITBART
I'm telling you what I really feel.
JOSH
I don't believe it. I think you're being deliberately critical.
BREITBART
Josh, I'm trying to help you.
JOSH
Bullshit! Is it because Cornelia and I didn't have children?
BREITBART
Oh, come on, Josh.
We tried. There were miscarriages. I had to give her a shot in her ass every day for three months. It's a huge fucking needle.
BREITBART
I didn't know you tried so hard. She didn't tell me. I thought you guys didn't want kids.
JOSH
We didn't want to hope for something we probably couldn't have.
(collecting his things)
This was a mistake.
BREITBART
I'm sorry you feel that way.
Josh starts for door.
JOSH
I know you think I didn't reach my potential.
BREITBART
No, son, no I don't think you did.
(beat)
Your first film was so wonderful and entertaining. We recognized ourselves in it. This is ungenerous, it's like you took your ball and went home.
JOSH
You know what? I'm sorry I didn't become you.
BREITBART
I don't want you to be me, Josh.
JOSH
Yeah, right.
BREITBART
I'll see you at Thanksgiving.
JOSH
I'm not going to eat another fucking fried turkey FYI.
BREITBART
Then make your own.
EXT. WEST END AVENUE. DAY
Josh walks up to a sign-post. His chain-link chain has been severed in half. His bike is gone.
JOSH
Fuck!
EXT. HOUSING PROJECTS, BASKETBALL COURT. DAY
Jamie aggressively drives to the basket, pulls back and makes a jump shot over a leaping defender. He fist bumps his teammates as they hurry back on defense. Josh watches through a chain link fence. CUT TO: Jamie, sweating, sees Josh through the fence. He jogs over and they talk through the chain-link.
JAMIE
Yosh! How did you find me?
JOSH
(sheepishly)
There's like eight different ways to find out where you are on the internet. And also through people we both know.
JAMIE
Ha! You want to play?
JOSH
Nah, I don't have the right shoes.
(pause)
Hey, I was thinking...you know how you asked...maybe, if you're still up for it, I will co-direct with you...
Jamie hesitates.
JOSH
You know...if that's still cool?
JAMIE
I'm not sure, Yoshy, I'm...at this point, I'm kind of in it, you know?
JOSH
(his face turning red)
Uh huh.
I mean, I'm kind of into doing it all now... I mean...you know? Uh huh.
JAMIE
I better get back to the game. I'll see you tonight, yeah?
JOSH
(quickly)
Yeah.
INT. JAMIE AND DARBY'S APARTMENT, BUSHWICK. DAY
Josh enters -- he's late. The space is packed -- mostly with a sea of 20-something kids who lie on top of each other on the floor watching Jamie's movie. Tipper, dressed up in a sort of Mary Jane outfit and horn-rimmed glasses, perched up on a table, watching very seriously, her arms wrapped around her long bent legs. Jamie stands in back, he looks nervous. Darby a few feet away from him is texting. Cornelia waves from a crowded corner. Josh smiles wearily. Kent talks soberly on screen.
KENT (ON SCREEN)
In the report it says we followed procedure. A flashlight, three flares, and the hand signals...
A quick jerky zoom into Kent, missing his face and then adjusting to find him. He does the hand signals, punctuating them with:
KENT (ON SCREEN)
...bum, bum, bum...but that's not how I remember it. It was sheer fucking panic when the bus approached the convoy. We opened fire --
Josh moves closer, looking for a place to sit or stand. He steps over a couple lying on the floor.
BENNY
Ow. Those are my fingers.
JOSH
Sorry, sorry.
Josh stops in his tracks. Over on the side, the Moon Landing headline above his head, stands Breitbart. To his right, the hedge fund dude, Dave. straight at him. She gives him a sad smile. Josh looks back at the screen. CLOSE: Josh's scholar, Ira, talking about the politics of war. CUT TO: The movie is over. The mostly 20-something crowd laughs, drinks beers. Breitbart picks an Oreo from a bowl of Oreos on a table. Josh pushes through the kids to find Jamie.
JAMIE
Yoshy!
JOSH
You invited Breitbart?
JAMIE
Yeah, he called me after you introduced us.
JOSH
He called you?
JAMIE
Yeah...and at our dinner I invited him to tonight.
JOSH
At "our dinner?" Dinner with him? When did you have dinner?
JAMIE
After he called me, he suggested we get dinner.
JOSH
Uh huh.
(pause)
Where'd you go?
JAMIE
This beautiful joint, um, on the Upper West Side --
JOSH
Jackson Hole.
JAMIE
Yeah! How'd you know?
JOSH
That's where he goes.
Great burgers. Have you been there?
JOSH
Yes, I've been there with him a million times.
JAMIE
Have you gotten the Buffalo burger?
JOSH
Of course!
JAMIE
He dug the footage.
(pause)
Is something wrong?
JOSH
I guess I wish you'd asked me before you just went to him...
JAMIE
Hey, I'm sorry. I called him actually just to ask him a question about how he shot something and we just got to talking, see, and he asked me what I was working on...
JOSH
So you called him?
JAMIE
What?
JOSH
You said he called you.
JAMIE
He called me back, yeah.
JOSH
Does Cornelia know?
HEDGE FUND DAVE (O.S.)
Very cool! Very cool.
The hedge fund guy, Dave, does a double fist bump with Jamie which they mime exploding.
HEDGE FUND DAVE
I'm proud to be part of it.
Dave, you know Josh.
HEDGE FUND DAVE
(barely looking at Josh)
Nice to meet you.
(to Jamie)
Seriously dude, this movie is kill- aaahhhh.
(does a little dance)
We're going to Afghanistan, we're going to Afghanistan...
JOSH
(taken aback)
You're going to Afghanistan?
JAMIE
To interview soldiers in Kent's unit. We've got a butt-load of work to do before we go. I'm going to need help.
HEDGE FUND DAVE
Afghanistan, Afghanistan!
Josh starts to retreat into the crowd. He hesitates. It pains him to say this, but:
JOSH
Um, if you have any other editing work, my guy Tim, is great and could use some cash.
JAMIE
That would be beautiful.
JOSH
(defeated)
I'll text you his info.
HEDGE FUND DAVE
(to Jamie)
Dude, I want you to meet Diane, she's a reporter for the Times.
Dave drags Jamie across the room. Darby takes Jamie's arm as he passes, she asks him a question. He replies tersely back. She walks away, pissed. Dave pulls Jamie onward. We MOVE in on Josh. Color vanishes from his face as a terrible sinking feeling enters his body. Two hands wrap around his neck like choking. He reacts. Ahh! It's Cornelia. She smokes a cigarette.
CORNELIA
I've been looking for you.
JOSH
You're smoking?
(re: everything)
What's going on? This is like a fucking bad dream. Everyone is here doing weird shit. Where's my highschool algebra teacher, Mr. Morelli riding a fucking turtle?
Across the room, Breitbart is approached by Dave and Jamie.
CORNELIA
(re: her dad)
I had no idea Dad was coming. I saw him when I got here.
JOSH
Are you sure? Are you sure you're not just saying that?
CORNELIA
Yes, Josh! Why would I lie to you?
JOSH
Do you think Jamie came to my talk because he knew I was married to you? That this was all so he could meet your dad?
CORNELIA
Josh, you know, the world isn't a conspiracy against you.
JOSH
You know, fuck you.
CORNELIA
Fuck you. Don't talk to me like that.
JOSH
I'm saying "Fuck you" in that way Jamie and Darby say it where it's not a real Fuck you, it's a semi-playful Fuck you.
We're not Jamie and Darby. We don't talk to each other that way. If you say Fuck you to me it feels like a real Fuck you.
JOSH
It is real.
CORNELIA
Fuck you. And not semi-playfully either!
JOSH
Fuck you. Total real, cutting to the core: Fuck you.
EXT. JAMIE AND DARBY'S BUILDING. NIGHT
Josh comes outside, furious. Darby is making out with a Latino guy who looks like a gang member.
JOSH
Darby?
Darby lets go of the guy and looks at Josh.
DARBY
Hey, sir.
JOSH
Are you okay?
DARBY
Shit's bad.
(pause)
You want to get some goat?
INT. CARIBBEAN RESTAURANT, BUSHWICK. NIGHT
Josh and Darby eat at a table.
DARBY
Crushes fade. Things lose their luster, you know? Maybe I'm just down on relationships right now.
JOSH
What about Jamie?
DARBY
Jamie's in love with Jamie.
I thought you guys seemed great.
DARBY
You know how no one will ever pick up just a male hitchhiker? But if it's a couple, you might pull over? I'm the girl so you'll pull over and pick up Jamie.
(pause)
Doing ayawasca I realized I never forgave my mom for dying and until I do I'll never have a decent relationship with a guy.
JOSH
When did she die?
DARBY
When I was in highschool. She had ovarian cancer.
JOSH
I'm sorry...
(realizing)
Isn't that also how Jamie's mom died? He talks about it in the film.
Darby hesitates.
DARBY
Why'd you let Jamie use your scholar?
JOSH
I was trying out being generous. He'd do the same for me. That's how you guys are.
DARBY
(with sympathy)
Oh, Josh... You're such a man-fox.
JOSH
A man-fox? I wish it didn't need the "man" qualifier?
DARBY
Because you're like a hot dad. Without children.
Suddenly, she pulls her chair over to him, leans in, and kisses him on the mouth. He slowly moves away. We shouldn't... She slides her chair back to her side of the table. She hesitates, embarrassed.
DARBY
This is the part where I say, "I was a bet?!"
JOSH
What?
DARBY
You know those romantic comedies where the girl was a bet?
He nods. She nods too.
DARBY
Yeah. Just because they did, doesn't mean we have to.
JOSH
What...what do you mean?
DARBY
She never told you? Jamie and Cornelia made out at the ayawasca. It was in the Papyrus reeds behind the pyramids.
Josh looks staggered.
DARBY
I'm sorry, I stole one of Tipper's adderalls. You want to go dancing?
JOSH
(now getting angry)
Yeah, I'm not going home tonight.
INT. AFTER HOURS GAY CLUB. LATE NIGHT
Darby dances with Josh amidst muscular shirtless gay men. He throws himself into it, trying to lose himself completely.
JAMIE (V.O.)
Thanks for meeting me so early.
INT. JACKSON HOLE RESTAURANT. MORNING
Jamie sits across from Cornelia. She looks tired and distracted. We've got a butt-load to do. Dave needs a budget for Afghanistan.
CORNELIA
I'm almost finished with it.
JAMIE
I've been reading a lot about Afghanistan. It's crazy. You know no one's ever been able to successfully occupy Afghanistan.
CORNELIA
(looking at her phone to see if anyone called)
Yeah...I've heard that.
JAMIE
I think we got something now. With your help, it can really be something.
(pause)
Leslie's notes were awesome.
CORNELIA
He's smart that way.
JAMIE
And he's really chill to kick it with.
She hesitates, she wipes a tear from her chin.
CORNELIA
I'm sorry. Josh and I had a fight last night and...he didn't come home.
Cornelia starts to cry. Jamie hands her a napkin.
JAMIE
Hey, hey, it's going to be okay. Joshy will come back.
CORNELIA
(wipes her face)
Thank you. I'm sorry I'm like this.
JAMIE
Hey, no worries.
(his eyes avert her)
I was thinking, maybe you and your dad would want to work on my thing together.
might be kind of great, right? A moment, Cornelia studies him. Jamie inspects his fork.
JAMIE
I mean, you're producing, but he could bless it essentially...
CORNELIA
Bless it? Like a sneeze?
JAMIE
(smiles)
I was thinking more like the Pope.
CORNELIA
He doesn't do that kind of thing --
JAMIE
I think if you asked him, he might.
Cornelia hesitates. She says, suddenly:
CORNELIA
Did you ever see Power Elite?
Jamie gets up and exchanges his fork with one on another table.
JAMIE
What's that?
The corner of Cornelia's mouth turns up.
JAMIE
(catching himself)
Josh's movie! Goddamn, yes. I told him that. I loved that scene with the dogs.
Jamie returns with the new fork.
CORNELIA
When you went to Josh's class, you knew Josh and I were married, didn't you? And that Leslie was my dad.
JAMIE
(hesitates)
Hey, I admire lots of people, I want lots of things. You know what I mean. We all want stuff -- it doesn't mean we're douche bags.
you're married to my friend, but I get it --
CORNELIA
I thought you were Josh.
JAMIE
The first time.
Cornelia stiffens.
JAMIE
You know, but out of context, if other people heard about it, it might be misconstrued.
Cornelia looks out the window. Josh is across the street.
EXT. JACKSON HOLE RESTAURANT. MORNING
Cornelia approaches Josh, he's in the same clothes from last night. She's furious.
CORNELIA
Where were you last night?
JOSH
I went dancing with Darby at an after hours gay club.
(angry and suspicious)
Is this some kind of private meeting?
CORNELIA
Did you follow me here?
JOSH
I follow him on Twitter! You can't lie like we used to lie anymore. Everything is reported. Nothing is private.
CORNELIA
There's nothing going on --
JOSH
Don't lie to me. You kissed him. I know all about it.
CORNELIA
I thought he was you, Joshy.
Don't call me Joshy! You don't call me Joshy. Sorry.
JOSH
It's all a pose...it's like he once saw a sincere person and has been imitating him ever since! And you're falling for it.
CORNELIA
(shakes her head)
I didn't even like them! You convinced me how awesome they were.
JOSH
They're entitled little brats. And don't you see, this is all a plan. He wants to destroy me.
Jamie appears across the street, he holds a small video camera. He waves at Josh.
JOSH
Go back inside!
Josh takes off his porkpie hat.
JOSH
You and your father can have him. You always wanted a more successful me, so go for it.
CORNELIA
What is wrong with you?
JOSH
I didn't know when we got married that you also wanted to play kissy face with the twenty-five year olds. I didn't know you wouldn't want to have kids.
CORNELIA
I didn't know it either. I didn't know you'd never finish your movie.
JOSH
I'll finish it! I want to get it right.
CORNELIA
It's obsession. It's fear. I don't know.
anything. At least Jamie makes something!
JOSH
Do NOT compare what I do with him.
CORNELIA
Why not? When you felt a part of it, you loved it.
(Josh says nothing)
And you use your career as an excuse not to do anything. We don't make decisions, we don't go on vacations, we don't have kids.
JOSH
I want a kid.
CORNELIA
You want it now that it's impossible.
JOSH
It's not impossible.
CORNELIA
No. It's over. It's done. I'm not putting myself through that anymore.
(indicating her body)
This is closed.
Josh hesitates and then throws his hat into a garbage can. He starts to walk away. He turns around, retrieves the hat from the garbage and walks away for real.
INT. FLETCHER/MARINA APT. - LIVING ROOM. NIGHT 58 \*
Josh blows into an air mattress.
FLETCHER (O.S.)
Marina's at a work dinner. \*
Fletcher enters with a couple of old looking sheets. Willow, the baby, sleeps in a moby wrapped around Fletcher's torso.
FLETCHER
They're both top-sheets but...you know...
JOSH
Thanks.
You might wake up when I come through here for Willow's 2 AM feeding. And then 5 AM. And then all the other times she wakes up.
JOSH
That's okay.
Fletcher pours them both whiskeys. Josh picks up a cardboard sleeve from a Wilco CD off of a table. He smiles.
JOSH
(re: the baby)
How is she?
FLETCHER
(looks down at her)
Pretty good. Cool baby. To be honest, though, it's a little hard for me to relate to an infant.
JOSH
It seems kind of cool though.
FLETCHER
It's like the pregnancy is its own thing. You get so used to it. After a while I just felt, we did this, we don't actually need the baby.
JOSH
(nods)
I'm sorry if I've appeared crazy or...I don't know...
FLETCHER
I'm sorry we didn't invite you to the party.
JOSH
(shrugs)
I think I've been jealous of you guys having a kid...
FLETCHER
You know, before you have a kid, everyone tells you, "It's the best thing you'll ever do." As soon as you bring that baby back from the hospital, the same people say, "Don't worry, it gets better." It's like, what the fuck was that all about before?
Having Willow must have changed your whole perspective on life.
FLETCHER
(pause)
Not as much as I hoped it would.
(lowering his voice)
I love my kid but I'm still the most important person in my life.
Fletcher winces as he sits in a chair.
FLETCHER
Did I tell you I have a herniated disk, C5 or some shit... I'm getting an epidurol on Monday.
JOSH
(laughing)
I have arthritis in my knees.
FLETCHER
What the fuck is happening to us?
INT. TIM'S APARTMENT BUILDING - HALLWAY, BROOKLYN. DAY
Josh waits outside an apartment door. A shirtless eight year old boy opens the door. Josh nods at him. Tim opens the door further.
JOSH
Hey, man, I'm sorry about...not paying you.
TIM
Yeah...
JOSH
I mean, I hoped the money would come in... It didn't. I kind of fudged that.
TIM
I just can't work for nothing, you know?
The kid shakes Josh's hand.
TIM
But thanks for hooking me up with Jamie, I've been freelancing a bit for him.
If you're not too busy there, I want to hire you back for a couple of weeks. I can pay you.
TIM
Did the grant money come in?
JOSH
No, I sold all my CD's. And some other things.
INT. JOSH/CORNELIA APT. - HOME OFFICE. DAY
Tim and Josh sit in front of the screen.
JOSH
Leslie suggested we cut the bit on Turkish politics, I told him it was crucial because of --
TIM
(immediately)
I think it's a good idea.
JOSH
Yeah?
TIM
Yeah. We got to cut something.
JOSH
(relents)
Okay, let's try it.
Tim puts up an image on the SCREEN. It's Kent.
TIM
Oh, this is Jamie's footage. Stuff I was working on... Let me...
He moves to take it down.
JOSH
Wait --
TIM
What?
JOSH
Hold on that image of Kent.
TIM
Okay.
JOSH
(dramatically)
Blow it up.
TIM
I can't do that on this machine.
JOSH
Really?
TIM
No.
Josh leans in. He squints. His POV: CLOSE on the home-made ice cream container in Kent's hand. The hipster cow.
JOSH
That's Darby's ice cream.
TIM
It looks like mint of some kind.
JOSH
(distracted)
It's avocado.
Tim unfreezes the image. We ZOOM in on Jamie.
JAMIE (ON SCREEN)
...my mom was really sick with ovarian cancer, I was pretty promiscuous, but I couldn't love anyone, I had body issues --
JOSH
Darby was there before we were. Don't you see, she brought Kent the ice cream.
TIM
(confused)
I know Jamie's your friend, but to be honest, he's kind of a prick.
On SCREEN, Jamie's open, earnest expression, his eyes watery and full of emotion.
INT. RENTAL CAR. DAY
CLOSE on Josh. His face is intense, his arms grip the wheel. (absent-mindedly singing) "You're playing Nintendo. That's not what I'm doing, that's not what I'm fuck-ing doing -- He bangs the wheel three times.
JOSH
I'm fucking exposing your shit, mother fuck-ahhhhh --"
EXT. KENT'S HOUSE, POUGHKEEPSIE. DAY
Josh rings the bell. The sister appears behind the glass. She wears a party hat.
JOSH
Hey. Is Kent here?
INT. KENT'S HOUSE/EXT. BACKYARD. DAY
Josh is lead by Kent's sister through the house. We hear screaming in the backyard.
JOSH
Is everything okay?
SISTER
My son turns seven today.
JOSH
Oh, happy birthday.
They walk through the small space, stepping over toys and discarded plates of food and reach a cramped, uncultivated backyard. Kent, in a top coat and tails is pulling an endless streamer out of his mouth. The kids scream with delight.
INT. BREITBART'S APARTMENT. SAME
CLOSE: Cornelia stares intently into her father's eyes. They're inches apart.
BREITBART
You're so intense.
CORNELIA
I'm focusing.
We see now: Cornelia ties her Dad's bow-tie. She's very concentrated on the action. (finishing) There.
BREITBART
Thank you.
He looks at himself in the mirror and approves.
BREITBART
It's been very strange looking back over my career. How did I accomplish all of that? If I'm honest with myself: it sometimes took being a selfish prick. Of course, you can't say that. In my speech I attribute it to talent, work and luck. It's something I don't think your husband realizes. He still believes the speeches.
CORNELIA
When I first started dating him, he reminded me so much of you.
BREITBART
His problem is he wants what I have but he's not merciless enough to get it.
CORNELIA
(simply and sadly)
You know I am disappointed in Josh. On some level I feel like he failed. But I don't know if I actually feel that because I feel that or I feel it because he does. Either way it's a terrible thing to think about your husband.
BREITBART
You know, Josh told me... I didn't know you miscarried.
CORNELIA
A few times. The magic of youth is that every decision is the right one and you don't have to make any of them. The terror of adulthood is there are limited options and you have to pick.
There's no magic in being old. Some asshole tried to offer me a seat on the subway yesterday. She smiles. She takes her phone from her pocket and checks it. No calls.
BREITBART
You young people are always checking your devices.
CORNELIA
(embarrassed)
I'm sorry...it's habit.
EXT. KENT'S BACKYARD. DAY
The kids smash a pinata with a baseball bat. Josh eats birthday cake off of a Space themed plate. Kent, still in his magician clothes, does tricks for kids as they come by.
KENT
I learned magic from a dude, Elvin, over in Afghanistan. He was shredded by a land mine.
JOSH
That's terrible.
KENT
I'm more old fashioned in my approach. I don't lock myself in a box or anything, it's mostly cards and balls. I learn from YouTube videos. It keeps me from going out of my head.
JOSH
Yeah...we need distractions. For me it's the internet. I'm trying to go on less, you know. You know, it's like how many times can I check the Huffington Post?
Kent does a card trick for some kids.
KID
It's in your other hand!
Kent opens his hand, the card is gone. How did you fucking do that?
SISTER
Louis!
KID
Sorry.
JOSH
What made you contact Jamie on Facebook?
Kent looks at Josh strangely. Josh shovels a piece of cake into his mouth.
KENT
What do you mean?
JOSH
(clears his throat)
What made you reach out to him?
KENT
I didn't. He contacted me.
Kent indicates to Josh that he has icing on his face. Josh wipes at it.
KENT
Other side. I had no idea who he was.
JOSH
Really?
KENT
He said he lived with Darby and that we'd gone to school in Santa Cruz together for a short time in the 90's.
A kid hits Josh in the leg with the bat.
JOSH
Ow! Fuck!
KENT
Louis, don't be a prick!
KID
Sorry.
KENT
(to Josh)
And you, language.
Sorry.
(beat)
But you remembered Darby...
KENT
Darby's been a good friend for years. We'd Skype sometimes when I was in Kandahar. The reception was really shitty though. It would freeze up all the time.
JOSH
Did she know about...that you were in the hospital?
Kent hesitates.
KENT
Who are you again?
JOSH
I'm Jamie's cameraman.
KENT
And why are you asking this stuff?
JOSH
Fact checking the movie?
KENT
Uh huh. Yeah, Darby knew. Darby was the first person I called. She came to visit a few times before you guys arrived.
Some kids knock Kent's top hat off and run with it across the garden.
KENT
Bring that back, you fuckers!
SISTER
Kent!
KENT
Sorry.
JOSH
What did you think when Jamie talked about Darby's childhood as if it was his own?
KENT
He said he was playing a part.
He said that when?
KENT
He called me a week or so before you guys came up and filmed me.
Josh reaches into his pocket and takes out a small portable video camera. He turns it on and shoots Kent.
JOSH
Can you say that again?
INT. BREITBART'S APARTMENT. DAY
Cornelia, on her phone, has stepped away from her Dad who practices his speech in the background. She gets Josh's voice-mail.
CORNELIA
Josh...it's me...again...I just...I am so sorry...I hope you come to my Dad's thing, he'd like it and I'd like it and...I'm so sorry for all the things we said and I said and...I haven't said and...I've said but haven't said to you. This sounds cryptic, and maybe insane, but it's not. I just, can you call me back? Can you come, please?
(beat)
Where are you, Josh?
The doorbell rings. She brightens.
CORNELIA
Wait! Maybe this is you!
She hangs up and hurries to the door.
CORNELIA
I got it!
She opens the door: a hand extends from behind the wall, clutching a dozen roses. She is touched:
CORNELIA
Josh, I...
Jamie steps into the door-frame.
JAMIE
Jamie, actually. Don't worry, it's not weird. These are for your dad.
BREITBART (O.S.)
There he is!
EXT. JAMIE AND DARBY'S APARTMENT, BUSHWICK. LATE DAY
Josh leans on the buzzer.
INT. JAMIE AND DARBY'S APARTMENT. LATE DAY
Darby opens the door. A duffle bag and suitcase, computer and cat carrier with mewing cats are at her feet. Josh enters. He's sweaty and dirty and angry and out of breath from the trip.
JOSH
I've got to talk to Jamie!
DARBY
He's not here.
JOSH
Are you going somewhere?
DARBY
(embarrassed)
Tampa. If I stay here any longer I'll girl interrupt.
JOSH
I was just with Kent.
DARBY
(with real feeling)
Oh...Kent...I love Kent...
JOSH
I saw your ice cream in Jamie's video.
Darby nods. She smiles sadly.
DARBY
Well played, sir.
JOSH
He let me think I was the one who found out about Kent in Afghanistan. Why?
DARBY
Jamie doesn't want to disappoint you. None of us want to disappoint you.
never have made the movie without Afghanistan. When I told him about Kent and the massacre he thought it would make a good movie. He just had to figure out how to tell it.
JOSH
But why not tell it honestly?
DARBY
It's more entertaining this way.
(beat)
And now it has a before and after which, as you know, Americans love.
JOSH
Of course he had body issues, they were yours.
(off her look)
I don't mean, of course you had body issues, but...
(pause)
People have to know. He can't get away with this.
DARBY
Jamie does whatever he wants.
JOSH
This goes against everything he said he admired in me. The whole principle of making a doc. Darby, you don't understand. This is fraud. It's a big deal. People are jailed for this kind of thing.
DARBY
I don't like to meddle with people. If they're going to change, they'll change.
JOSH
Where is he?
DARBY
He's at your father-in-law's tribute.
JOSH
(realizes)
Oh, shit! That's now! And I returned the rental car.
(re: his appearance)
I'm a mess.
I can give you a jacket. And you can take Jamie's roller blades.
JOSH
Thanks.
DARBY
(she goes to retrieve the items)
You know, me and Jamie always wondered how are we going to get old and the answer is: just like everyone else.
EXT. BUSHWICK STREETS. LATE DAY
Josh, in a thrift store jacket over a hoody, jeans and sneakers attempts to roller blade, trying to get some momentum, but he can't really skate. A woman, 50's, on a Citi Bike whizzes by him. A little kid on a scooter rolls past.
EXT. LINCOLN CENTER. SAME
Breitbart and Cornelia enter the building among suited patrons. Photographers shoot Breitbart who wears a suit with a scarf. Jamie hangs back. He's more dapper than we've seen him in a suit and wide colorful tie.
PHOTOGRAPHER
Can we get one with you and your daughter!
Breitbart takes Cornelia's hand. Cameras click. Then Jamie steps into the shot. More cameras click. A photographer leans in to Jamie, holding a pad and pen.
PHOTOGRAPHER
What's your name?
JAMIE
Me? Jamie Massey.
OMITTED
INT. LINCOLN CENTER. LATE DAY
Tables are set up for a big dinner. Breitbart and Cornelia take their seats. Dave leans over from an adjacent table and shakes Breitbart's hand. Jamie plops down next to Cornelia. Jeez Louise. I've never been to a rat fuck like this. Did you see Lou Reed?
E73 EXT. BUSHWICK STREETS. LATE DAY E73
We see Josh appear on the horizon, blading toward us. He's getting the hang of it now. We come in CLOSE on his intense, determined face. He can do this!
D73 INT/EXT. JEFFERSON AVENUE SUBWAY STATION STEPS D73
Josh, jerkily descends sideways, clutching the railing.
C73 INT. JEFFERSON AVENUE SUBWAY STATION TURNSTILE C73
Josh rolls through, swiping as the passes.
B73 INT. SUBWAY CAR B73
Josh stands in his blades holding onto the bar.
A73 EXT. STREETS OUTSIDE LINCOLN CENTER. NIGHT A73
Josh stands in his blades pushing the walk button. Cars whizz in front of him. Josh blades across the plaza.
INT. DINING HALL. NIGHT
Josh enters from the back, disheveled and on his blades. He rolls to a railing that looks over the reception. The lights have dimmed and on a screen: A black and white CLIP from the 60's of a little boy getting a bath. Josh scans the tables and finds Breitbart's group. The CLIP ends to applause. Jamie leans over and says something to Cornelia. She nods. Her gaze goes in Josh's direction. Josh rolls backward and steps behind the bar.
OLDER PATRON
Can I get a Shirley Temple?
Josh nods and starts to pour her drink. The bartender stares at him.
BARTENDER
What are you doing, dude?
Can I stand here for a second?
BARTENDER
No.
Josh grabs a bottle of whiskey and rolls behind a plant. He removes his blades and stashes them in the planter. Jamie gets up from the table and walks toward the rest-rooms. Josh slugs from his whiskey bottle, and follows along the back of the hall.
INT. LOBBY
A wide carpeted room with high ceilings. A view of the park. Jamie looks out the window. Josh appears behind him. Jamie turns around, startled.
JAMIE
Yoshy!
(beat)
You okay? Is that my jacket? Are those my blades?
JOSH
(sarcastic)
Are they? Who knows, maybe they're Darby's. Darby's, yours, mine. Cookie O'Puss.
JAMIE
(unfazed by Josh's dig)
Where have you been? Everyone's asking about you.
JOSH
(slugs from the bottle)
I was in Poughkeepsie.
JAMIE
Okay.
Jamie watches Josh for a beat.
JOSH
It seems like you made a whole lot of stuff up.
Applause from the other room.
JAMIE
I don't want to miss his speech
CUT TO: Breitbart takes the stage.
BREITBART
I've been thinking of tonight as my memorial for so long I had completely forgotten I had to actually be alive for it.
(laughter)
I was hoping I could just sleep through it...
INT. LOBBY. NIGHT
Josh and Jamie.
JOSH
You know, it's your responsibility to be honest. People are going to believe it.
JAMIE
I didn't do anything nobody else does --
JOSH
(trying to make sense of that sentence)
"I didn't do anything nobody else..." You reveal everything and nothing.
(beat, composes himself)
You said you wanted to be a real documentarian.
JAMIE
I do.
JOSH
I thought you were about process. Process and...ice cream. But you really will do anything to be successful...
JAMIE
Success isn't my thing, Josh. It's yours.
Josh is about respond, he hesitates. Nods. Yeah, you're right, it is my thing. I have a fucked up relationship with success. I want it and I don't have it. But what you have scares the shit out of me. You're not uncomfortable at all.
JAMIE
Why should I be uncomfortable?
JOSH
See, that I just find weird.
JAMIE
You're the only person who is weird about this. I asked you to co-direct --
JOSH
Yeah, because you knew I'd say, No!
INT. DINING HALL. NIGHT
Breitbart's speech.
BREITBART
Now people have criticized me and some of my colleagues saying that we were pretending to be objective when there is no objectivity.
INT. LOBBY. NIGHT
Josh and Jamie.
JAMIE
Jeez, Joshy. Everyone does this kind of thing.
JOSH
I don't. I don't do something like this. I'm trying to make movies to figure out the truth.
JAMIE
(incredulous)
Really?
Yes! CUT TO:
INT. DINING HALL. NIGHT
Breitbart.
BREITBART
Okay, we were trying to capture truth, but the truth of experience, of being in the moment, of seeing something as it happens.
INT. LOBBY. NIGHT
Josh and Jamie.
JOSH
(sadly)
I do know that documentaries are over.
JAMIE
Are you kidding? It's what everyone is doing.
JOSH
(indicating Breitbart)
His documentaries are over. What you're doing is something else. If everyone is filming everything, what's a documentary anymore? It has no meaning, it's just shit you recorded! Is that old man talk? Maybe it is. You kids have been told you can do anything. You can't.
(beat)
Well, you, Jamie, can, but most people can't.
Jamie shrugs. Josh, annoyed, imitates him by shrugging back. CUT TO:
INT. DINING HALL. NIGHT
Breitbart. What we were trying to say as filmmakers is that what we were filming was more interesting than we were... CUT TO:
INT. LOBBY. NIGHT
Josh and Jamie.
JOSH
You think everything is out there for you to have. It's not.
JAMIE
Nobody owns anything. If I hear a song I like, or a story, it's mine. It's mine to use. It's everybody's.
JOSH
No it isn't! That's not sharing Jamie, that's...stealing.
JAMIE
That's old man talk.
JOSH
I am an old man!
Applause as Breitbart finishes his speech. Josh, emboldened, turns to Jamie.
JOSH
I can't let Cornelia and Leslie walk down this road with you. I want you to go in there and tell them what you've done. If you won't, I'll do it for you.
For a brief moment, Jamie's face elicits what looks like fear. It passes.
JAMIE
Okay.
JOSH
I'm sorry, kid. But there are standards, there are...standards.
INT. DINING HALL. NIGHT
behind him.
CORNELIA
Josh!
JOSH
Sorry I'm late.
(to Breitbart)
Leslie, I caught your speech from the lobby, though and it was really inspiring, spot on...
BREITBART
Are you okay, son? Do you want to sit down?
JOSH
Jamie has something he wants to tell all of you.
Josh takes a seat and crosses his legs comfortably.
JOSH
Go ahead.
They all look at him and then Jamie blankly.
JAMIE
Not all of the stuff in my movie happened exactly as I said it did.
(sighs)
I played around with some of the time- line.
BREITBART
Okay.
JAMIE
(humbly)
Yeah...
JOSH
"Yeah?" And...
JAMIE
And what?
JOSH
You did a lot more than that, come on.
Josh stands back up. He says to the table: He didn't even know Kent. Darby did. And Darby's mother died of ovarian cancer. Jamie's mom is probably alive and kicking in Idaho. He sits back down.
BREITBART
(trying to put an end to it)
Josh, this is kind of my night --
JOSH
You just need to hear this.
JAMIE
That's basically it.
Josh leaps back up.
JOSH
No, that's not basically it! You knew that Kent had tried to kill himself...
JAMIE
Right.
JOSH
Say it!
BREITBART
Josh, come on, let him speak.
JAMIE
The gist is the same. I authored a bit of how we came to it. I mean, I'm not that good a writer. If I made it all up, I'd be the best writer in Hollywood and...and Kent would be Marlon Brando.
Breitbart laughs. Hedge Fund Dave laughs harder.
JOSH
I never said it was amazing. I just said it was faked.
JAMIE
And some of the time-line was adjusted --
Stop with the time-line crap!
Josh pulls out his video camera and gestures with it.
JOSH
Jamie knew that Kent tried to kill himself. That he'd been in Afghanistan. We didn't just stumble upon it. It was rigged. Jamie invented the whole Facebook thing because he knew it would play better.
HEDGE FUND DAVE
Kent wasn't in Afghanistan?
JOSH
No, Kent was in Afghanistan.
HEDGE FUND DAVE
So, what's the problem?
JOSH
It's...it's...the way, the way he said that he found him is not true.
HEDGE FUND DAVE
Kent served our country, you're being offensive.
Breitbart looks at Jamie.
BREITBART
Is what Josh is saying true?
JAMIE
Well...I did know, but I don't think it really matters though, the movie's not about that.
JOSH
Of course it matters. Leslie, explain...
BREITBART
I don't know that it matters totally in this case.
JOSH
(shocked)
What?
Dave leans in from the next table. I don't care.
JOSH
(dismissive)
I didn't expect you to care.
(quickly back to Leslie)
Leslie, are you kidding me? You don't care? You just gave a speech about authenticity!
HEDGE FUND DAVE
(thinks about it again)
Yeah, I don't care.
BREITBART
I just think the movie works on many levels, the happenstance of it, to be honest, I find the least interesting part.
Josh sputters, practically stomps his foot.
JOSH
I can't believe it! This movie isn't worth the...RAM...it's...stored on.
(pointing at Jamie)
He's a con artist. Leslie, your generation of sit-ins and protesters and...pack rats would be horrified by this...demon!
BREITBART
You're hysterical, Josh.
JOSH
(hysterically)
I'm not hysterical!
He swings his arm, gesturing, knocking a tray full of food and glasses out of a waiter's arms. It goes crashing to the ground.
JOSH
Shit, I'm sorry, I'm sorry.
He helps the waiter pick up the plates. Everyone at the table waits. Josh finally gets back up.
JOSH
Cornelia...
I don't know. I think he's an asshole, but the movie's pretty good. And I'm sorry I think that.
Jamie takes a seat and starts eating the dessert that was placed in front of him.
JOSH
This is so frustrating! I'm going to get no satisfaction here, am I? This guy's just going to win no matter what.
Everyone at the table stares at Josh. His says with certainty:
JOSH
This is not how the world works.
We MOVE in on Josh. His face fills with emotion.
BREITBART
Why does it have to be one thing or another? Things change. Different things matter now.
JOSH
Forget ethics then. What about me?! You played me. I was played.
JAMIE
(under his breath)
But you acted in it.
JOSH
Only because I thought it was real!
(pause, with genuine feeling)
I loved you.
JAMIE
I like you too! We're friends.
JOSH
(sadly)
I really believed it.
(his throat full of sadness)
I was a bet!
BREITBART
Are you okay, son?
JOSH
I'm not crying. I'm not.
Josh's attention goes to a tiny camera in Jamie's lap aimed right at him.
JOSH
Are you filming this?!
BREITBART
Josh, your sleeve is on fire.
Josh's sweatshirt has dipped into the flame of a candle on the table and is indeed on fire. Jamie stands, grabs a pitcher of water and douses Josh. Josh drips, soaked. He shakes his head like a wet dog and, dejected, moves to leave. He hesitates and turns to Breitbart:
JOSH
I took your note by the way. I cut the stuff on Turkish politics out of my film. You were right, I don't need it.
BREITBART
I'm glad to hear that, son.
EXT. LINCOLN CENTER
CLOSE: Kent, in his magician outfit, speaks to the camera. DELETE? comes up on the SCREEN. YES is selected. The file is deleted. Josh puts the video camera back in his tote. He sits on the steps with his roller blades and whiskey bottle. Cornelia arrives. She holds a plate with a napkin covering it. She hands it to Josh.
CORNELIA
It doesn't matter that it's faked.
(Josh nods)
It doesn't matter because it's not about Afghanistan and it's not about Kent it's about Jamie.
JOSH
(sighs)
In my head, when I was blading over, I swept in here and exposed everything. I was such a hero.
cake drizzled with chocolate sauce and a fork.
JOSH
Thanks.
Cornelia takes a swig from the bottle.
CORNELIA
When we first started seeing each other I was so jealous. I would get so upset when you'd talk to another girl at a party.
JOSH
I know! I liked that...
CORNELIA
I was so sure you'd fall in love with someone else and leave me.
JOSH
Did you want me to?
CORNELIA
I think I wanted to know that I wasn't your only option. But you didn't fall in love with someone else. Until you did. And then it was two people.
(beat)
I'm so sorry I kissed him. I really did think it was you at first...then I kind of kissed him again. I don't know why I did it. I wanted to like him as much as you did.
Josh starts to eat the cake.
JOSH
(mouth full)
I wanted so badly...I wanted to be admired. I wanted a protege.
CORNELIA
I know.
JOSH
He looked at me like I was a real grown-up person. Someone who has done things. For the first time in my life I stopped thinking of myself as a child imitating an adult.
You feel that way too?
JOSH
(nods)
I'm forty-four and there are things I will never do. Things I won't have.
(pause)
What's the opposite of "the world's your oyster?"
Cornelia's eyes water. She nods.
CORNELIA
I think I stopped taking you in.
JOSH
Am I a failure?
CORNELIA
You've never failed me.
JOSH
But am I a failure?
CORNELIA
I feel like I failed you. I wish we could go back and meet each other all over again.
JOSH
I'd present myself differently. So I didn't get your hopes up. Maybe not use the expression "conquer the world" so often.
CORNELIA
You said that a lot.
JOSH
I think it's hard for me to have something be great every day and to acknowledge it.
(smiles at her)
I have something great every day. If we were different people, I'd ask you to renew our vows.
CORNELIA
I think it's nice to renew vows.
JOSH
Maybe we are different people.
CORNELIA
What are you thinking about?
JOSH
Twenty years ago I was twenty-four. In twenty years I'll be sixty-four.
INT. CAR/EXT. JFK AIRPORT. DAY
CLOSE on Willow, a year older, in a car seat.
TITLE: A YEAR LATER
Cornelia in the back with Willow. Fletcher pulls up to the terminal.
MARINA \*
Call when you get there!
CORNELIA
We will, Fox.
Josh and Cornelia get out of the car and grab the bags from the trunk. Marina joins them. Fletcher steps out of the \* car, but hangs by the door.
MARINA \*
You're going to be such great parents.
FLETCHER
The guy is waving at me, we have to move, Marina! They changed the \* rules.
(to Josh and Cornelia)
See you when you get back.
Marina hugs both of them. \*
MARINA \*
Oh, Fox, I'm going to cry.
FLETCHER
The cop is coming, Marina!
JOSH
We'll be back in a week.
MARINA \*
Send pictures of the little man! We love you guys.
CORNELIA
We love you too!
JOSH
I love you, Fletcher.
FLETCHER
I love you too but I'm not getting arrested for you. Marina! \*
INT. AIRPORT TERMINAL. DAY
CLOSE: An airplane departure screen. JFK to Port-au-Prince, Haiti. game on his phone. Cornelia sits down next to him with a stack of magazines. She hands Josh a yogurt.
JOSH
Thanks.
(re: her stack of magazines)
You really need ten?
CORNELIA
It's three and half hours to Port-au- Prince.
Cornelia slides a photo of a Haitian baby out from between the pages of a hard cover book. She smiles.
CORNELIA
I can't believe it.
JOSH
Me neither.
He takes the photo from her. He gazes happily at it. She opens a magazine.
CORNELIA
Oh...look who it is.
She presents the magazine for Josh to see: CLOSE on a PHOTO of Jamie at Sundance. CLOSE on the PULL QUOTE: "Are you a hipster?" "Well, I'm of a certain age and I wear tight jeans." CUT TO:
INT. HOTEL LOBBY - SUNDANCE
Jamie, in a black trenchcoat and a knit cap, is being interviewed by a cute interviewer in a parka.
JAMIE
But I'm just about out of the cool- age demographic.
INTERVIEWER
What happens when you exit the cool- age demographic?
Jamie thinks about this. I enter the power-age demographic. We MOVE down to Jamie's lap. He holds a small video camera trained on the interviewer. CUT BACK TO:
INT. AIRPORT TERMINAL. DAY
Josh hands the magazine back to Cornelia.
CORNELIA
It's out there. The evil is unleashed.
JOSH
No, you were right, he's not evil. He's just young.
CORNELIA
I heard from Darby, she Facebooked me.
EXT. TAMPA ECO PARK. DAY
Darby, her hair in a braid, a name-tag on her shirt which has a parrot on it, runs a net through mud. A motorboat behind her.
CORNELIA (V.O.)
She's an eco-tourguide at a wildlife refuge.
DARBY
This mud is filled with organisms.
She sticks her hand in the mud and pulls out a worm-like thing.
DARBY
This is a nudibranch. And if you keep your eyes peeled you might spot a gopher tortoise or a woodstork.
CUT BACK TO:
INT. AIRPORT TERMINAL. DAY
Josh opens his yogurt. He pauses for a moment, looking at the container. (frowns) What's wrong?
JOSH
No. Nothing. We'll have a baby before this yogurt expires.
Cornelia suddenly leans in hard, her face colliding with Josh's.
JOSH
(laughs)
Oww, your teeth.
They kiss long, intimately. Finally, they release. Both are grinning. In the row of seats across from them: A mom is going through her tickets and itinerary. Her toe-headed one year old son is on his iPhone. Josh and Cornelia watch the little boy -- his fingers move quickly, gracefully on the keys. He's totally immersed in what he's doing. Nothing else exists. Then he puts it to his ear. We CUT TO: BLACK. As the CREDITS ROLL we CUT TO:
INT. JOSH/CORNELIA APT. DAY
A VIDEO IMAGE of Josh. He sits in an armchair looking at the camera. He consults a piece of loose-leaf paper, and with Cornelia's help from behind the camera, re-asks his ten years-
| 0 | 0 |
Final Destination 2_2003
|
tt0309593
|
Final Destination 2
| 2,003 |
Exactly one year after the explosion of Flight 180, college student Kimberly Corman is heading to Daytona Beach, Florida for spring break with her friends, Shaina McKlank, Dano Estevez, and Frankie Whitman. While waiting on the entrance ramp to Route 23, she has a premonition of a deadly pileup, caused by a semi carrying logs. She stalls her car on the entrance ramp, preventing several people from entering the highway, including lottery winner Evan Lewis; widow Nora Carpenter and her fifteen-year-old son Tim; businesswoman Kat Jennings; stoner Rory Peters; pregnant Isabella Hudson; high school teacher Eugene Dix; and Deputy Marshal Thomas Burke. While Officer Burke questions Kimberly, the pileup occurs. Shaina, Dano, and Frankie are killed by a speeding truck, but Kimberly is saved by Officer Burke at the last second. The survivors are brought to the police station, where they learn about the curse of Flight 180. Later, a chain reaction causes a fire in Evan's apartment which he barely escapes; but when Evan slips, the fire escape ladder falls and impales his eye. Officer Burke researches the survivors of Flight 180, and discovers that Alex Browning was killed by a falling brick. Kimberly visits Clear Rivers, the last survivor of Flight 180, who is now a voluntary patient at a psychiatric ward. Clear refuses to help, but while arguing with Kimberly she realizes that the survivors are dying in reverse, and warns Kimberly to look out for "signs" of Death. Upon returning home, Kimberly has a vision of a flock of pigeons attacking her and she and Officer Burke rush to save Nora and Tim, but they arrive too late; Tim is crushed by a glass pane while leaving the dentist. Clear decides to help and introduces Kimberly and Officer Burke to mortician William Bludworth, who tells them that only "new life" can defeat Death. They believe that if Isabella has her baby it will ruin Death's plan and they will all be safe. Isabella is accused of driving a stolen van and taken into custody, while the other survivors reunite for safety. After Nora is decapitated by malfunctioning elevator doors, the group leaves to track down Isabella, who has gone into labor at the police station, while the officer on duty rushes Isabella to the hospital in her van. Along the way, they realize they have all cheated death prior to the Route 23 incident, due to the Flight 180 survivors, which explains why Death is working backwards. Since Officer Burke saved Kimberly from being hit by the truck earlier, she is last on Death's list. The survivors' vehicle suffers a blowout, prompting them to swerve onto a farm. The back of the car is penetrated by PVC pipes which injure Eugene, and he is rushed to the hospital. As rescuers arrive at the scene, Brian Gibbons, the son of a farm owner, is nearly killed by a speeding news van, but Rory saves him at the last second. Using the Jaws of Life, Kat's rescuer accidentally activates the airbag and her head is impaled by a pipe protruding from her headrest. Her cigarette falls out of her hand and into a gasoline leak leading to the news van, causing the van to explode, and sends a barbed wire fence flying through the air, killing Rory. Kimberly, Clear, and Officer Burke rush to the hospital, and Kimberly has another vision of Dr. Ellen Kalarjian "strangling" Isabella. After Burke immobilizes Dr. Kalarjian, they witness Isabella give birth and assume they have cheated death. However, Kimberly has another vision of someone with bloody hands in a submerging van and realizes that Isabella was never meant to die in the pileup. Clear searches for Eugene, but accidentally causes his room to explode from an oxygen combustion, killing them both. Kimberly realizes the person in her vision was herself and immerses a van in a lake to drown herself. Kimberly is rescued by Burke and resuscitated by Kalarjian, which was her actual premonition, thus granting her new life. Sometime later, Kimberly and Burke have a picnic with Brian's family and Kimberly's father to celebrate their survival. There they learn of Brian's deterrence from Death when his father tells them he was almost hit by a van, but Rory saved him. The group then see a malfunctioning barbecue grill explode, killing Brian.
|
<script>
<scene>
<stage_direction>INT. DARK ROOM - NIGHT</stage_direction>
<scene_description>A padded wall is papered with NEWSPAPER CLIPPINGS that date back to the early 1900s : `` LOCAL FOWLER BROTHERS LOSE $ 35 TICKETS TO BOARD TITANIC '' appears over `` FOWLER BROTHERS KILLED IN COAL MINE MISHAP . '' Another series of articles reads , `` JEWISH PROFESSOR DENIED ADMITTANCE TO HINDENBURG '' and `` PROFESSOR RABINOWITZ KILLED IN AVALANCHE . '' Etc . Continuing along the wall , the newspaper articles all focus on the fates of the original SURVIVORS of the FLIGHT 180 CRASH . We DISSOLVE between the various headlines depicting the gruesome deaths of Tod , Terry , Ms. Lewton , Billy Hitchcock , Carter and Alex Browning . Also in the mix are various CRIME SCENE PHOTOS of the deaths . Decapitated torsos , crushed , mangled bodies , the charred remains of another and the face - down body of Alex Browning . MAPS line the walls as well , pinpointing the locations of numerous deaths , perhaps seeking a pattern . Charts that timeline bizarre deaths , seating charts of downed aircraft , etc . LATEX - GLOVED HANDS tear out the last article , apply fun - tack to its corners and place it in the center of all the others : A REMEMBRANCE FOR THE VICTIMS OF FLIGHT 180 Friday marks one year anniversary . END TITLES . FLASH TO BLACK as a HAND ENTERS FRAME , PULL BACK TO REVEAL :</scene_description>
</scene>
<scene>
<stage_direction>EXT. KIMBERLY'S NEIGHBORHOOD - DAY</stage_direction>
<scene_description>KIMBERLY BURROUGHS , 19 , puts a folded AAA map in her mouth . She opens the back of a RED NISSAN SUV , and pla ces her duffel bag inside . That done , she lets the map drop from her mouth , catches it in her free hand and turns to hug her father , MR. BURROUGHS .</scene_description>
<character>KIMBERLY</character>
<dialogue>Thanks, Dad. I'll call you.</dialogue>
<character>MR. BU RROUGHS</character>
<dialogue>You have everything, Kimberly? Credit card, cell phone, AAA card?</dialogue>
<character>KIMBERLY</character>
<dialogue>Relax, Dad. It's Daytona, not Mongolia.</dialogue>
<character>MR. BURROUGHS</character>
<parenthetical>( playful . )</parenthetical>
<dialogue>Fix - A - flat? Road flares? Sunblock? Mace?</dialogue>
<character>SHAINA</character>
<parenthetical>( O.S . )</parenthetical>
<dialogue>Condoms, handcuffs, lube?</dialogue>
<scene_description>Kimberly and Mr. Burroughs turn to see - SHAINA , 19 , tall leggy brunette . Tan , tight tube top revealing her pierced navel , Kimberly 's best friend . She walks up the driveway with her bags .</scene_description>
<character>SHAINA</character>
<dialogue>Just kidding, Mr. B. Do n't worry, I'll keep an eye on her.</dialogue>
<character>MR. BURROUGHS</character>
<parenthetical>( sarcastic . )</parenthetical>
<dialogue>Oh, that makes me feel a lot better.</dialogue>
<scene_description>Shaina throws her bags in , shuts the back and climbs in the SUV . Kimberly hugs her dad , kissing him on the cheek .</scene_description>
<character>KIMBERLY</character>
<dialogue>I know this is the first time we've been apart since. But everything's gon na be okay.</dialogue>
<character>MR. BURROUGHS</character>
<dialogue>I know, honey. I just -</dialogue>
<scene_description>Kimberly hugs him tighter . Cutting him off .</scene_description>
<character>MR. BURROUGHS</character>
<dialogue>Your mother would have been so proud of the way you've handled yourself through all of this.</dialogue>
<character>KIMBERLY</character>
<parenthetical>( softly . )</parenthetical>
<dialogue>I know, Dad.</dialogue>
<character>SHAINA</character>
<parenthetical>( O.S . )</parenthetical>
<dialogue>Hello, the guys are waiting!</dialogue>
<scene_description>Kimberly gives him a quick kiss , jumps behind the wheel , starts the car and pulls away as Shaina cranks up the stereo .</scene_description>
<character>MR. BURROUGHS</character>
<dialogue>Buckle up!</dialogue>
<scene_description>Mr. Burroughs waves as the girls roar off . As he looks down he spots an OIL STAIN left by Kimberly 's SUV . As he drags his shoe across the stain , a SLIGHT BREEZE blows past his face . CAMERA PUSHES IN as a look of concern crosses his face .</scene_description>
</scene>
<scene>
<stage_direction>EXT. HIGHWAY ON RAMP - DAY</stage_direction>
<scene_description>ON OLD WOMAN As she pushes her supermarket cart up the on ramp . A SQUEAKY WHEEL is shrill and disturbing . DRIVERS of several waiting vehicles avoid staring at her weathered face as she passes . Up ahead waiting in line , is Kimberly 's red SUV . UP AHEAD Waiting in line , is Kimberly 's red SUV .</scene_description>
<character>SHAINA</character>
<parenthetical>( O.S . )</parenthetical>
<dialogue>Watch it!</dialogue>
<scene_description>Kimberly accidentally KISSES the bumper in front of her while daydreaming . She calls out to the driver in front :</scene_description>
<character>KIMBERLY</character>
<dialogue>Sorry! My fault!</dialogue>
<scene_description>Shaina looks over , concerned . In the backseat , the guys DANO and FRANKIE laugh hard and some of Frankie 's milkshake comes out of his nose .</scene_description>
<character>SHAINA</character>
<dialogue>Want me to drive?</dialogue>
<character>KIMBERLY</character>
<dialogue>No, I'm good.</dialogue>
<scene_description>Shaina looks at Kimberly as a HAND suddenly hits Kimberly 's window . Kimberly spins around , startled . Kimberly stares transfixed at the Old Woman , who stares back with chilling intensity . The kids ad - lib `` Let 's go '' and `` Fucking freak . '' The Old Woman 's PLASTIC BAG BREAKS , sending oranges rolling down the on - ramp . The Old Woman breaks eye contact with Kimberly as she rushes to retrieve them . The signal turns from red to flashing yellow . Kimberly pulls the SU V onto the highway , looking in the side view mirror to see the Old Woman look up at her in SLOW - MO. .</scene_description>
<character>FRANKIE</character>
<dialogue>Dano, should n't we go back and help your mother?</dialogue>
<character>DANO</character>
<dialogue>Blo w me.</dialogue>
<scene_description>CU ON KIMBERLY As she looks back from the mirror and reacts to an ominous electronic road sign that flashes `` WARNING : CONSTRUCTION NEXT 180 FEET '' . NISSAN SUV Kimberly merging into traffic , NEARLY COLLIDES with a speeding yellow mini - bus carrying a high - school football team . Kimberly nervously jerks the wheel to the right , then realizing she 's speeding towards the road construction barrels , she swerves back left , right behind the mini - bus at the last moment . CLOSE . Kimberly pulls around the mini - bus as rowdy football players tackle each other , yelling :</scene_description>
<character>FOOTBALL PLAYERS</character>
<dialogue>Pile up! Pile up! Pile up!</dialogue>
<scene_description>Kimberly flicks on the radio and we hear HIGHWAY TO HELL by AC/DC at earsplitting volume . Kimberly and Shaina jump from the shock and reach to lower the volume . Kimberly , disturbed by this , hits SEEK - an oldies station . A GRISLY CAR CRASH from Nervous Norvus ' TRANSFUSION album .</scene_description>
<character>DANO</character>
<dialogue>Christ, is this tribute to Princess Di Day or what?</dialogue>
<scene_description>Kimberly passes a car WEAVING on her right . The driver reaching into the back seat to quiet a BARKING DOG hanging on its head out the window .</scene_description>
<character>KIMBERLY</character>
<parenthetical>( unnerved . )</parenthetical>
<dialogue>Jesus, all the crazies are out today.</dialogue>
<scene_description>A CLOUD passes Kimberly 's head . She smells it and turns around , taking her eyes off the road to see Dano smoking a joint .</scene_description>
<character>KIMBERLY</character>
<dialogue>I told you no drugs in the car! My dad will freak!</dialogue>
<scene_description>Dano and Frankie exchange looks , God , what a geek !</scene_description>
<character>DANO</character>
<parenthetical>( laughs . )</parenthetical>
<dialogue>Calm down, Kimmy. It's not drugs, just weed.</dialogue>
<character>FRANKIE</character>
<dialogue>Yeah, you should have specified.</dialogue>
<scene_description>Kimberly turns to Shaina , helpless . Shaina spins around , her eyes wordlessly tell Dano , I know she 's a priss , but put it out . Then Kimberly 's CELL PHONE RINGS . She hits the speaker button .</scene_description>
<character>MR. BURROUGHS</character>
<parenthetical>( V.O . )</parenthetical>
<dialogue>Kimberly? It's Dad.</dialogue>
<character>KIMBERLY</character>
<dialogue>Hey, Dad. What's up?</dialogue>
<scene_description>Dano defiantly blows more smoke toward Kimberly , then breaks into an unexpected coughing fit - looking over to see a HELLS ANGEL laughing at hi m . The biker 's trashy GIRLFRIEND , also laughing , quickly FLASHES HER TITS at Dano over :</scene_description>
<character>MR. BURROUGHS</character>
<parenthetical>( V.O . )</parenthetical>
<dialogue>Your car's leaking either transmission or brake fluid. I want you to have it checked ASAP at a gas station.</dialogue>
<character>KIMBERLY</character>
<dialogue>You got it, Dad. I'll call you if I have a problem.</dialogue>
<character>MR. BURROUGHS</character>
<parenthetical>( V.O . )</parenthetical>
<dialogue>I mean it. Take care of it.</dialogue>
<character>KIMBERLY</character>
<dialogue>I will, Dad. Bye, luv you.</dialogue>
<scene_description>Kimberly passes a STATION WAGON on her right , the DRIVER squinting at a map while driving . A mattress and some furniture tied to the top SHIFT as the wagon hits a bump .</scene_description>
<character>SHAINA</character>
<dialogue>Um, Kimberly, your dad's not gon na call like every ten minutes is he?</dialogue>
<scene_description>Before Kimberly can answer , Dano sees a CHP speeding up behind him . He lowers the joint at once .</scene_description>
<character>DANO</character>
<parenthetical>( hiding bag of weed in pants . )</parenthetical>
<dialogue>Shit! There's a cop behind us. Pull into the right lane now!</dialogue>
<scene_description>Kimberly , scared , does as she 's told nearly colliding with a speeding flat bed semi hauling a huge load of logs ! A HORN BLASTS . The truck swerves . Then speeds by on the right . A COILED CHAIN drops down to the highway .</scene_description>
<character>DANO</character>
<dialogue>Look first, idiot!</dialogue>
<scene_description>Shaina turns up the radio and leans over to Kimberly .</scene_description>
<character>SHAINA</character>
<dialogue>Ignore'em.</dialogue>
<scene_description>ON LOG TRUCK One end of the RUSTY CHAIN holding the logs in place rattles on the pavement , sparking . Looking in her rearview mirror , Kimberly turns pale - the COP pulls in behind her .</scene_description>
<character>KIMBERLY</character>
<dialogue>Dano, put that out NOW.</dialogue>
<scene_description>Dano takes one last drag and flicks the joint out the window . It bounces on the windshield of a FORD EXPEDITION to their left . INSIDE THE EXPEDITION KAT , 28 , very corporate America , wears a navy blue power suit and speaks into a phone headset while smoking a cigarette .</scene_description>
<character>KAT</character>
<dialogue>No, I'm stuck on Jury Duty so I wo n't be able to pitch the campaign. Let's get Silverstein to come in and.</dialogue>
<scene_description>Kat sees the joint that smoulders in the dried leaves beneath her windshield wipers . A moment later , a small FLAME crackles .</scene_description>
<character>KAT</character>
<dialogue>What the hell? No, not you.</dialogue>
<scene_description>Kat flicks on her WINDSHIELD WIPER FLUID , successfully putting out the joint , but her worn wipers smear ash and fluid around , impairing her vision . Kat turns and looks at - DANO , dead serious all of a sudden . Staring straight ahead .</scene_description>
<character>DANO</character>
<dialogue>What's the cop doing? Did he see that?</dialogue>
<scene_description>Kat sees the tailgating CHP , smiles , then resumes her conversation .</scene_description>
<character>KAT</character>
<dialogue>Forget it, I'll call him myself.</dialogue>
<scene_description>Kat hangs up , then looks down at her cell phone , squints and dials a number . PAN OFF KAT TO OFFICER THOMAS BURKE Early 20 's , rookie cop , who seems to have missed the entire exchange . INSIDE THE POLICE CAR Thomas speaks into his radio .</scene_description>
<character>THOMAS</character>
<dialogue>I was supposed to be off today. How did I get screwed?</dialogue>
<character>DISPATCHER</character>
<parenthetical>( O.S . )</parenthetical>
<dialogue>No biggie. Drake called in sick.</dialogue>
<character>THOMAS</character>
<dialogue>Copy that.</dialogue>
<parenthetical>( switches off ; annoyed . )</parenthetical>
<dialogue>Go on, sleep it off Drake.</dialogue>
<scene_description>Thomas tries to sip from a McDonald 's coffee cup on the dashboard , but it 's TOO HOT . He places it back on the dash . The VIBRATIONS of the road make the COFFEE CUP slide closer and closer to the edge of the dashboard . BACK TO KIMBERLY 'S SUV Dano nervously looks back .</scene_description>
<character>FRANKIE</character>
<dialogue>Relax, dude.</dialogue>
<scene_description>But Kimberly still looks uneasy as her dashboard `` Check Engine '' light begins flickering . Kimberly spots a road sign - Next Service 18 Miles .</scene_description>
<character>KIMBERLY</character>
<dialogue>This trip better be wor th it. What's the guy - girl ratio again?</dialogue>
<character>SHAINA</character>
<dialogue>Get ready to smile, five guys per girl.</dialogue>
<character>KIMBERLY</character>
<dialogue>I can live with thaaaa -</dialogue>
<scene_description>Kimberly stops mid - sentence when the WHITE VAN in front of her suddenly SLAMS ON ITS BRAKES and pulls onto the shoulder for no reason . Kimberly SCREAMS , swerving around the van just in time to avoid an accident . Frankie instinctively SHOUTS at the van .</scene_description>
<character>FRANKIE</character>
<dialogue>What's your problem, ya fuckin' crack baby?!</dialogue>
<scene_description>INSIDE THE WHITE VAN ISABELLA CRUZ , late 20 's and VERY PREGNANT , drives a delivery van full of funeral wreaths , crosses and classic rose urns . Most are marked : In Memory of Flight 180 . She chokes back sobs into a cell phone as she pulls over .</scene_description>
<character>ISABELLA</character>
<dialogue>could n't Keep your dick in check for another month? I knew this would happen when I got pregnant.</dialogue>
<scene_description>She pounds the steering wheel , furious .</scene_description>
<character>ISABELLA</character>
<dialogue>What'd the doctor say? I have to come in to test for STDs? Goddamn you, Jorge.</dialogue>
<scene_description>A CRATE in the back of her van topples over and CRASHES and a flurry of sunflower petals sails out the window . Isabella jumps in surprise and , wiping tears from her eyes , rolls up the windows as petals shower the visor of - EUGENE , the Harley Rider , who smears the petals -LRB- and some squashed bugs -RRB- around his visor and drops back . INSIDE NISSAN SUV Kimberly falls back into the right lane and looks uneasy as she sees a TRUCK DRIVER guzzling from a flask as it passes the SUV , revealing its side is an ad for FIRESTONE TIRES . It finally clears frame , revealing a highway billboard that reads , `` DRUNK DRIVING KILLS . '' Kimberly reaches back and pulls on her seatbelt in spite of laughter from the back seat . Up ahead , the RUSTY CHAIN seems to have more give to it . LOGS STRAIN against it . Suddenly , a black cloud of exhaust from a blue '83 Chevette in front of them causes everyone to roll up their windows . OIL DRIPS from its rusty exhaust pipe . The thick exhaust BLINDS Kimberly .</scene_description>
<character>FRANKIE</character>
<dialogue>Gas it around these idiots. We do have 1200 miles to go, you know.</dialogue>
<scene_description>Kimberly tires to enter the passing lane , but she 's blocked by a SUBURU WAGON . In the front seat , a seven - year old kid is sadistically SMASHING two toy cars together . Kimberly passes the Suburu and pulls up to a PACER . The Harley roars by , startling her . INSIDE PACER NORA KESNER , 35 , and her son TIM , 15 . Tim drums on the dashboard with two ten - ounce Naya bottles .</scene_description>
<character>NORA</character>
<dialogue>Tim, will you cut that out? I ca n't even hear myself think.</dialogue>
<scene_description>Tim frowns and then winces , holding his jaw .</scene_description>
<character>TIM</character>
<dialogue>Damn, it really hurts, Mom.</dialogue>
<character>NORA</character>
<dialogue>I know, we'll be there soon.</dialogue>
<scene_description>Tim drops the Naya bottles on the seat . One of them quietly falls to the floor , rolls a bit , finally settling UNDER THE BRAKE PEDAL . INSIDE NISSAN SUV Kimberly is still behind the smoke - spewing Chevette . She passes it on the left . Frankie rolls down his window .</scene_description>
<character>FRANKIE</character>
<parenthetical>( yells to driver . )</parenthetical>
<dialogue>Ever hear of the Ozone layer, asshole?</dialogue>
<scene_description>INSIDE CHEVETTE RORY , 27 , leans down to snort a line of coke off a Def Leppard CD case . S he looks up to see the Patrol Car is now behind him , he reflexively taps the brakes . Rory , eyes like saucers , sits rigidly transfixed at the wheel and nonchalantly wipes the CD clean on his pants . INSIDE NISSAN SUV She has dropped back behind the Chevette and CHP car and is running down along side of a BLACK TRANS AM . Up ahead she sees the Hig hway Patrol Car flick on its LIGHTS and pull into the shoulder around the Chevette and behind the Semi loaded with logs . INSIDE THE COP CAR As Thomas pulls in behind the log truck , his coffee cup lurches forward , spilling hot coffee all over his lap and the floor .</scene_description>
<character>THOMAS</character>
<dialogue>Son of a bitch.</dialogue>
<scene_description>INSIDE TRANS AM Its driver , EVAN SCHAEFFER , 21 , flashes a cocky smile at Kimberly , clearly making Frankie jealous .</scene_description>
<character>FRANKIE</character>
<dialogue>A Trans Am. That shit went out with New Kids on the Block.</dialogue>
<character>DANO</character>
<dialogue>Yeah. Who does he think he is? Knight Rider?</dialogue>
<character>FRANKIE</character>
<parenthetical>( laughs ; then . )</parenthetical>
<dialogue>Who?</dialogue>
<scene_description>Frankie leans out and tosses milkshake on Evan 's window .</scene_description>
<character>DANO</character>
<dialogue>You know, Hasselhoff before he did Baywatch.</dialogue>
<scene_description>Evan , pissed off , flips off Frankie . The windshield wipers smear around the thick milky fluid . The sun blinding him .</scene_description>
<character>KIMBERLY</character>
<dialogue>What's the chance of finding a nice mature guy once we get to Daytona?</dialogue>
<character>SHAINA</character>
<dialogue>How does a nice mature fuck sound?</dialogue>
<scene_description>Kimberly laughs , then leans in close to Shaina .</scene_description>
<character>KIMBERLY</character>
<dialogue>Hey, thanks for talking me into this trip. Ever since my mom. I dunno, I just feel like I'm starting to live again, you know?</dialogue>
<scene_description>Shaina smiles in understanding . INSIDE POLICE CRUISER Thomas bends to wipe up the mess . He only glances at the road as he tries to soak up the coffee . Suddenly up ahead , THE RUSTY CHAIN SNAPS ! The logs roll off the side of the truck onto the highway . One bounces as it hits , and slams through Thomas ' front winshield and out the back , taking Thomas ' head with it . EUGENE slams on his brakes . His Harley slides out and he is SLAMMED to the ground , sliding at 60 miles per hour across the highway , right in front of the yellow mini - bus . The MINI - BUS DRIVER brakes to avoid Eugene . The FOOTBALL PLAYERS tumble forward and hit him in the head . He loses control and slides off the road onto the grass median . He blows a front tire and the mini - bus begins to flip , ROLLING several times int o the oncoming lanes of traffic , and is HIT by a MACK TRUCK . Eugene slides into a huge log , and hits it with a sickening crunch . Only to be HIT and CRUSHED by his sliding motorcycle . Rory looks up too late and REAR ENDS Thomas ' car , EXPLODING the gas tank and HURLING Rory 's dead body halfway through the windshield where it remains half in/half onto the hood . KAT , dialing , looks up , slams on her brakes , but SKIDS on oil from the Chevette . She swerves into Kimberly , SIDE SWIPES her , then swerves to miss a huge log - only to run head on into two more , flipping the Expedition end over end right next to Kimberly . Kimberly swerves back from being hit by Kat , just in time to see a huge log ahead . She tries to turn hard to the right to avoid it , but hits it broadside - Sending the SUV FLIPPING OVER the top of the log and SLIDING down the road . Inside , Shaina , Dano and Frankie are tossed around like rag dolls , shredded by glass and shrapnel - Frankie is EJECTED out the side window . Kimberly 's SUV slides to a stop on its side . She looks back to her mangled but still alive friends and up in time to see NORA 'S PACER Nora sees the collisions ahead and slams on the brakes but the fallen Naya bottle prevents her from braking , and she SLAMS into the back of Kat 's Expedition . The crash test dummy collision folds her Pacer and it EXPLODES into a huge fireball . EVAN , blinded by the smeared windshield , is too late . He swerves his Trans Am around the burning cars onto the wet grass . Kimberly sees the topless Trans Am slowly roll out of a huge WALL OF FIRE and coast to a stop . Evan comes up battered and bloody but still alive . He is trapped in his burning car , screaming and trying to release the seatbelt . Then , just when she thought it was over , a HUGE SEMI slides thro ugh the wall of fire , SMASHING the Trans Am out of the way , SPINNING it like a top . With the back sliding at 90 degrees it keeps on coming . KIMBERLY 'S POV The semi 's grill comes right at her ! CU ON KIMBERLY She screams and we - THE HIGHWAY O N RAMP - NISSAN SUV - 8 MINUTES EARLIER Sweating profusely , Kimberly 's eyes dart around , taking in her surroundings .</scene_description>
<character>DANO</character>
<parenthetical>( O.S . )</parenthetical>
<dialogue>Flight 180. You know, that plane crash with those kids from Mount Abraham.</dialogue>
<scene_description>The Old Woman BUMPS the window - scaring the shit out of everyone . The kids ad - lib `` Let 's go '' and `` Fucking Freak ! '' Kimberly stares in horror as the Old Woman flashes an evil grin . Kimberly 's eyes lower to the bag of oranges - Which BREAKS , exactly like before , and the Old Woman scurries after them . The signal turns from red to flashing yellow .</scene_description>
<character>FRANKIE</character>
<dialogue>Dano, should n't we stop and help your mother?</dialogue>
<character>DANO</character>
<dialogue>Blow me. Yellow means go, Kimberly.</dialogue>
<scene_description>Kimberly hyperventilates in the driver 's seat . Freaking . A yellow mini - bus with football players speeds past .</scene_description>
<character>KIMBERLY</character>
<dialogue>Oh my god, oh my god.</dialogue>
<scene_description>Dano , confused , rolls a joint .</scene_description>
<character>SHAINA</character>
<dialogue>What is it? What are you?</dialogue>
<character>KIMBERLY</character>
<dialogue>There's going to be a huge accident! Everyone's gon na die. All of us! I saw it!</dialogue>
<scene_description>Dano hums the Twilight Zone theme .</scene_description>
<character>FRANKIE</character>
<dialogue>That's it. My turn to drive.</dialogue>
<scene_description>CLOSE UP - KIMBERLY SCREAMS ! AND WE 'RE BACK THE HIGHWAY ON RAMP Sweating profusely , Kimberly 's eyes dart around , taking in her surroundings .</scene_description>
<character>DANO</character>
<parenthetical>( O.S . )</parenthetical>
<dialogue>Flight 180. Y' know, that plane crash with those kids from Mt. Abraham?</dialogue>
<scene_description>The Old Woman BUMPS the window - scaring the shit out of everyone . The kids ad - lib `` Let 's go '' , `` Fucking freak . '' Kimberly stares in horror as the Old Woman flashes an evil grin . Kimberly 's eyes lower to the bag of oranges , which breaks , exactly like before and the Old Woman scurries after them . The signal turns from red to flashing yellow .</scene_description>
<character>FRANKIE</character>
<dialogue>Dano, should n't we stop and help your mother?</dialogue>
<character>DANO</character>
<dialogue>Blow me. Yellow means go, Kimmy.</dialogue>
<scene_description>Kimberly hyperventilates in the driver 's seat . Freaking . A yellow mini - bus with football players speeds by .</scene_description>
<character>KIMBERLY</character>
<dialogue>Oh my God, oh my God.</dialogue>
<scene_description>Dano , confused , rolls a joint .</scene_description>
<character>SHAINA</character>
<dialogue>What is it? What are you?</dialogue>
<character>KIMBERLY</character>
<dialogue>There's going to be a huge accident! Everyone's gon na die, all of us, I saw it!</dialogue>
<scene_description>Dano hums the Twilight Zone theme .</scene_description>
<character>FRANKIE</character>
<dialogue>That's it. My turn to drive.</dialogue>
<scene_description>HONK ! The drivers behind them start leaning on their horns . Kimberly leans out the window and sees the Chevette , the Pacer , The White Van , the Trans Am , the Harley . all the familiar vehicles from the pile up . She turns on the radio , frantically scans the dial .</scene_description>
<character>SHAINA</character>
<dialogue>Relax, you need to chill the fuck out.</dialogue>
<character>KIMBERLY</character>
<dialogue>Highway to Hell, Highway to Hell.</dialogue>
<character>SHAINA</character>
<dialogue>For Christ sakes girl, take a breath.</dialogue>
<character>D.J.</character>
<parenthetical>( O.S . )</parenthetical>
<dialogue>Taking you into an all request weekend with a classic from AC/DC.</dialogue>
<scene_description>The opening guitar riff to HIGHWAY TO HELL blares from the speakers . Kimberly turns to Shaina with a `` believe me know ? '' look , but Shaina 's nowhere near on the same page . HONKING behind them . Kimberly , shaking like a leaf , pulls the SUV forwards , turning it sideways to block off all traffic .</scene_description>
<character>DANO</character>
<dialogue>What the hell are you doing?</dialogue>
<scene_description>Dano shifts in his seat and sees - a Highway Pat rol Car ominously cruising up the shoulder of the onramp . He shoves a bag of weed , along with the joint , down his pants .</scene_description>
<character>DANO</character>
<dialogue>Five - O's coming! Let's fucking roll, man!</dialogue>
<scene_description>Officer Thomas Burke stops the car behind them .</scene_description>
<character>FRANKIE</character>
<dialogue>Jesus Christ! Here he comes! Move!</dialogue>
<character>KIMBERLY</character>
<dialogue>No! We'll all die if we do!</dialogue>
<scene_description>The cop turns on his FLASHERS .</scene_description>
<character>DANO</character>
<dialogue>I told you she'd ruin everything!</dialogue>
<character>SHAINA</character>
<dialogue>Shut up, Dano, just stay cool.</dialogue>
<parenthetical>( to Kimberly . )</parenthetical>
<dialogue>He's just stoned.</dialogue>
<scene_description>Officer Thomas Burke exits his car and approaches the passenger side of the SUV , hand on weapon . Thomas taps the window with his knuckle .</scene_description>
<character>THOMAS</character>
<dialogue>What's going on here?</dialogue>
<character>KIMBERLY</character>
<parenthetical>( incoherent , through tears . )</parenthetical>
<dialogue>There's going to be a pile up. Logs. Bodies everywhere. I saw it happen. It happened.</dialogue>
<scene_description>Thomas looks to the guys in back who shrug , `` we do n't know her . ''</scene_description>
<character>THOMAS</character>
<dialogue>Miss, please step out of the vehicle.</dialogue>
<scene_description>As she does , Thomas discretely unsnaps his holster . RORY nervously eyes the action . Sneaks a paper bundle into his sock . ISABELLA , the pregnant woman in the White Van , gets out . She gives Thomas her friendliest smile , milking the pregnant belly .</scene_description>
<character>ISABELLA</character>
<dialogue>Excuse me, but is there some way we could just drive around? I have a delivery.</dialogue>
<scene_description>Her CELL PHONE RINGS and she leans back inside to answer it .</scene_description>
<character>ISABELLA</character>
<dialogue>Hey hon, you got a mysterious caller on the answering machine from Planned Parenthood. What's going on?</dialogue>
<scene_description>As she listens , growing agitated , the Harley Rider dismounts and pulls off his helmet . Revealing EUGENE DIX , 35 , a nebbishy school teacher in cool leathers . INSIDE PACER NORA watches the SUV , distressed .</scene_description>
<character>NORA</character>
<dialogue>What on Earth are they doing?</dialogue>
<character>TIM</character>
<parenthetical>( picking up two Naya bottles . )</parenthetical>
<dialogue>Who am I, David Blane?</dialogue>
<scene_description>Nora gives Tim a hard stare , then they both break into smiles . Nora tousles his hair . And does n't stop .</scene_description>
<character>TIM</character>
<parenthetical>( good - natured laughter . )</parenthetical>
<dialogue>Okay, quit it already.</dialogue>
<scene_description>As he laughs , something pains his jaw and he winces . THOMAS is n't quite sure what kind of insanity he 's dealing with yet . Dano and Frankie , no help , stare dead ahead .</scene_description>
<character>KIMBERLY</character>
<parenthetical>( trying to calm herself . )</parenthetical>
<dialogue>The radio played the same songs, the old lady's bag broke the exact same way it did in my premonition.</dialogue>
<scene_description>Kimberly erupts into a panic when she sees the LOG TRUCK speed past . She grabs at Thomas for emphasis .</scene_description>
<character>KIMBERLY</character>
<dialogue>THAT's the truck that's going to kill everyone!</dialogue>
<character>THOMAS</character>
<dialogue>Alright miss, calm down. I just need this lane open. I need you to pull your vehicle onto the shoulder!</dialogue>
<character>KIMBERLY</character>
<dialogue>You're not listening to me! You have to do something!</dialogue>
<scene_description>EVAN impatiently yells out the window of his TRANS AM .</scene_description>
<character>EVAN</character>
<dialogue>Arrest this whack - job, wouldja? Some of us have lives, y' know.</dialogue>
<scene_description>Kimberly looks to Shaina for support , but even Shaina ca n't meet her eyes .</scene_description>
<character>KIMBERLY</character>
<dialogue>Why wo n't anyone listen to me?</dialogue>
<scene_description>Thomas , subtly reaching for his cuffs .</scene_description>
<character>THOMAS</character>
<dialogue>I'm not going to tell you to calm down again -</dialogue>
<scene_description>A SERIES OF CRASHES AND EXPLOSIONS ARE HEARD . In the distance . It 's neverending . Horrific . Kimberly 's face crumbles . She screams in horror and collapses against the SUV . Thomas runs to his patrol car . The White Delivery Van makes a J - turn out of the line of cars and SPEEDS down the onramp in reverse , Isabella screaming angrily into her cell phone .</scene_description>
<character>ISABELLA</character>
<dialogue>You could n't keep your dick in check for a month?!</dialogue>
<scene_description>The other drivers exit their cars , craning their necks to see what 's happened up ahead . Kat takes a deep drag off her smoke .</scene_description>
<character>KAT</character>
<dialogue>Great, now I'm really gon na be late.</dialogue>
<scene_description>Thomas barks into the radio handset -</scene_description>
<character>THOMAS</character>
<dialogue>L.A. 51, I need assistance and requesting paramedics for a major T.A.. At -</dialogue>
<scene_description>INSIDE THE SUV Frankie watches the traffic start to back up as a couple of passing cars BRAKE HARD . Shaina anxiously watches Kimberly pacing behind the SUV .</scene_description>
<character>SHAINA</character>
<dialogue>Kimberly, what's going on?</dialogue>
<scene_description>Kimberly moves toward Shaina 's window . As she leans her head into Shaina 's window , an ominous BREEZE blows back their hair and we hear the BLARING HORN of a TRUCK . And Kimberly is unexpectedly yanked backward by Thomas ! From nowhere , a SHRIEK of BRAKES as a JACK - KNIFED TRUCK plow s the SUV across the frame ! CRASH ! Flying debris misses Kimberly and Thomas by inches ! Kimberly cries in horror into Thomas ' shoulder as her friends burn up in the wreckage .</scene_description>
</scene>
<scene>
<stage_direction>EXT. POLICE STATION - ESTABLISHING SHOT</stage_direction>
</scene>
<scene>
<stage_direction>INT. POLICE STATION - CONTINUOUS</stage_direction>
<scene_description>CHAOS . Evan , the driver of the Trans Am , impatiently speaks to DETECTIVE SUBY , late 40s , professional with an open face that makes him a great listener .</scene_description>
<character>EVAN</character>
<dialogue>I do n't know what you want from me. Some crazy chic k blocks the highway with her car, said there'd be an accident and there was. Big deal. Even a broken watch is right twice a day.</dialogue>
<scene_description>Officer Thomas Burke passes by , heading into -</scene_description>
</scene>
<scene>
<stage_direction>INT. A ROOM - CONTINUOUS</stage_direction>
<scene_description>Kat , Eugene , Nora , Tim , and Rory sit in a large room , waiting to give statements . Unlike Evan , these witnesses are clearly distraught .</scene_description>
<character>KAT</character>
<dialogue>Not to sound insensitive, but how much longer is this going to take?</dialogue>
<character>EUGENE</character>
<dialogue>If I do n't get back to my classroom soon, the kids'll tear the room apart.</dialogue>
<character>NORA</character>
<dialogue>Those poor people. To think it would've been us if not for.</dialogue>
<scene_description>PAN OVER TO REVEAL KIMBERLY . She 's still in shock , her mind far away . Thomas sits close to her , speaking softly .</scene_description>
<character>THOMAS</character>
<dialogue>Tell me again how it started.</dialogue>
<character>KIMBERLY</character>
<dialogue>Like I said, it was like I was there. I remember everything. The sounds of the crashes, the smells, the look on Shaina's face.</dialogue>
<character>THOMAS</character>
<dialogue>Do you remember what triggered it all?</dialogue>
<character>KIMBERLY</character>
<dialogue>The log truck. and everybody I guess. Everyone was driving like a maniac. And somehow I knew something horrible was going to happen, even before it did.</dialogue>
<scene_description>Something clicks for Thomas , but he forces himself to speak calmly , like a lawyer leading a friendly witness .</scene_description>
<character>THOMAS</character>
<dialogue>You knew? You just mean a hunch, right? A bad vibe, maybe?</dialogue>
<scene_description>The other drivers stare at Kimberly .</scene_description>
<character>KIMBERLY</character>
<dialogue>More than that. All the songs on the radio were about car crashes. Some kid's banging toy cars together.</dialogue>
<parenthetical>( lookin g at her . )</parenthetical>
<dialogue>She was dialing her cell phone with her headset on.</dialogue>
<parenthetical>( points to Rory . )</parenthetical>
<dialogue>His car was leaking oil all over the road.</dialogue>
<character>RORY</character>
<dialogue>Hey, do n't be knockin' the Chevette.</dialogue>
<scene_description>But the others listen intently now . Especially Kat , who spies her headset buried deep in her purse .</scene_description>
<character>KIMBERLY</character>
<dialogue>Billboards about accidents. Kids yelling `` pile up'' for no reason. It all felt. just wrong. Just like.</dialogue>
<parenthetical>( swallows ; hesitates . )</parenthetical>
<dialogue />
<character>THOMAS</character>
<dialogue>Like what?</dialogue>
<scene_description>Kimberly sighs and looks down . The room becomes eerily silent , except for the FLICKER of a florescent light .</scene_description>
<character>KIMBERLY</character>
<dialogue>I know this sounds crazy. but you all heard about Flight 180, right? The kid who got off the plane?</dialogue>
<scene_description>Thomas ' eyes widen - then a startling CRASH as Rory , le aning back in his chair , tips over . Thomas rolls his eyes as Rory grins sheepishly and picks himself up .</scene_description>
<character>THOMAS</character>
<dialogue>You mean Alex Browning.</dialogue>
<character>KIMBERLY</character>
<parenthetical>( looking down . )</parenthetical>
<dialogue>. My Premonition was just like his.</dialogue>
<character>NORA</character>
<dialogue>What are you talking about?</dialogue>
<character>EUGENE</character>
<parenthetical>( sarcastic . )</parenthetical>
<dialogue>Oh, you must have read about that kid who had a dream about a plane crash so he got his buddies off the plane? Then the thing blew up just like in the dream?</dialogue>
<character>NORA</character>
<dialogue>Maybe.</dialogue>
<scene_description>Eugene sees Nora and Tim are hooked and speaks in scary campfire tones .</scene_description>
<character>EUGENE</character>
<dialogue>But this is where it starts to get freaky. So a month goes by, everything seems cool, but then the survivors start dying one boy one.'Cause when your number's up, it's up, right? Some people said Death itself started coming for them, hunting down every last one, until they were all dead.</dialogue>
<scene_description>Everyone tenses up .</scene_description>
<character>THOMAS</character>
<dialogue>Well, not quite all of them. Clear Rivers checked herself into a padded room at Stoneybrook.</dialogue>
<scene_description>Kimberly , affected , looks to Thomas for confirmation .</scene_description>
<character>KIMBERLY</character>
<dialogue>You do believe me, do n't you?</dialogue>
<scene_description>BANG ! Everyone jumps as Detective Suby pounds on the door and opens it .</scene_description>
<character>DETECTIVE SUBY</character>
<dialogue>Officer Burke? Could I see you in here?</dialogue>
</scene>
<scene>
<stage_direction>INT. OBSERVATION ROOM - CONTINUOUS</stage_direction>
<scene_description>The DOOR OPENS . Detective Suby enters , leading Thomas . Through a two - way mirror , they can see the others chatting anxiously .</scene_description>
<character>DETECTIVE SUBY</character>
<dialogue>Tell me you did n't start up on that Flight 180 shit again.</dialogue>
<parenthetical>( beat . )</parenthetical>
<dialogue>Did you?</dialogue>
<character>THOMAS</character>
<dialogue>Of course not. That would be irresponsible and unprofessional.</dialogue>
<scene_description>Detective Suby 's persistent glare makes Thomas uncomfortable .</scene_description>
<character>THOMAS</character>
<dialogue>Look, you were n't there. It was weird. She knew that log truck was gon na cause an accident, she knew.</dialogue>
<parenthetical>( beat . )</parenthetical>
<dialogue>Never mind.</dialogue>
<character>DETECTIVE SUBY</character>
<dialogue>I thought we we re finished with this bullshit. This is police work, not the psychic Hot Line.</dialogue>
<scene_description>But Thomas is n't listening . He 's glued to Kimberly 's words . When Detective Suby realizes this , he stops and listens .</scene_description>
<character>KIMBER LY</character>
<dialogue>But if I was never meant to pull over, then we all should have died in the pile up.</dialogue>
<character>TIM</character>
<dialogue>Which means Death could be coming for us.</dialogue>
<scene_description>Detective Suby looks pissed o ff .</scene_description>
<character>DETECTIVE SUBY</character>
<dialogue>Way to console the witnesses Burke.</dialogue>
<scene_description>At the same time , we watch Evan enter the other room , grab his jacket and wave goodbye to the others .</scene_description>
<character>DETECTIVE SUBY</character>
<dialogue>You got'em thinking Death is after them? Shit, they're the luckiest sons o' bitches on the planet. Get this guy Evan Shaeffer ; Yesterday the kid wins the lotto and today some looney bitch b locks traffic and he avoids the worst pile up in years. I should be so damn unlucky.</dialogue>
</scene>
<scene>
<stage_direction>INT. A ROOM - CONTINUOUS</stage_direction>
<scene_description>Kimberly , Nora , Tim , Kat , Eugene and Rory now seem affected by what they 've heard .</scene_description>
<character>KAT</character>
<dialogue>What if it's true? What if it's happening all over again?</dialogue>
<scene_description>The fluorescent light above FLICKERS ominously . Nora , disturbed , stands up in a huff , grabbing Tim 's arm .</scene_description>
<character>NORA</character>
<dialogue>You're all certifiable, you know that? I ca n't believe I've been listening to this crap. Come on, Tim, let's go outside.</dialogue>
<character>TIM</character>
<dialogue>Jeez, Mom, stop trippin'.</dialogue>
<character>EUGENE</character>
<dialogue>Look lady, we're just yankin' your chain.</dialogue>
<character>RORY</character>
<dialogue>Yeah, you're acting like we all just got the Diff ` rent Strokes curse or something.</dialogue>
<scene_description>Eugene and Rory burst out laughin g. Nora shakes her head , disgusted .</scene_description>
<character>NORA</character>
<dialogue>What's wrong with you people?</dialogue>
<scene_description>Nora pulls a reluctant Tim out of the room . As she opens the door , the others watch Detective Suby and Thomas appear from nowhere to calm her down . When the door swings shut , an awkward silence . Suddenly , the door opens again and Thomas leads Mr. Burroughs inside . Mr. Burroughs sees Kimberly and chokes back tears .</scene_description>
<character>MR. BURROUGHS</character>
<dialogue>Kimberly.</dialogue>
<scene_description>The sight of her fath er crying is enough to make Kimberly 's own dam burst . She rushes over to him and buries her head in his chest , sobbing .</scene_description>
<character>MR. BURROUGHS</character>
<dialogue>Can I take her home?</dialogue>
<scene_description>Thomas nods .</scene_description>
<character>DETECTIVE SUBY</character>
<dialogue>Sure, you can all go.</dialogue>
<scene_description>By now , the fluorescent light flickers out of control . When Rory , Kat and Eugene stand up , Thomas looks helpless .</scene_description>
<character>KAT</character>
<dialogue>First I'm stuck with Jury Duty, now this nonsense.</dialogue>
<character>RORY</character>
<dialogue>Yeah, I hate to love and leave ya, but I've been over this X - Files shit since the sixth season.</dialogue>
<scene_description>As Thomas watches them file out , the fluorescent light POPS . Then DARKNESS .</scene_description>
</scene>
<scene>
<stage_direction>INT. KITCHEN - DAY</stage_direction>
<scene_description>Kimberly sits at the table . Mr. Burroughs sets down a cup of tea before her . Both are shaken .</scene_description>
<character>KIMBERLY</character>
<dialogue>I know it's crazy, but I'm really scared for the others. I've got this terrible feeling.</dialogue>
<character>MR. BURROUGHS</character>
<dialogue>What feeling?</dialogue>
<character>KIMBERLY</character>
<dialogue>That it's not over yet.</dialogue>
<scene_description>She picks up the tea , it clatters in her trembling hands .</scene_description>
<character>MR. BURROUGHS</character>
<dialogue>Don' t worry. Everything will be fine, you'll see.</dialogue>
</scene>
<scene>
<stage_direction>INT. EVAN'S STAIRWELL - DAY</stage_direction>
<scene_description>A dingy singly light bulb illuminates the narrow stairwell . Evan appears in the darkness , carrying a brand new television with some packages on top . He 's unable to s ee the long rickety stairwell he climbs . The stairs are littered with Chinese take out MENUS and a TONKA TRUCK apparently left by some kids . As Evan slowly climbs the staircase , a FAT MAN comes down , forcing Evan to lean against - THE RAILING - which CREAKS and BENDS . After the FAT MAN passes , Evan slowly continues up again , TEARING HIS SHIRT on a nail .</scene_description>
<character>EVAN</character>
<dialogue>Motherfucker.</dialogue>
<scene_description>A HEATING DUCT CLICKS ON . The air blows a TONKA TRUCK slowly toward the center of the staircase , directly in Evan 's path - but Evan just misses it ! He continues past MORE TOYS , nearing the top stair - The Airduct coughs , sending menus fluttering toward Evan 's feet and he slips on them ! He juggles the TV - but ultimately rights himself and continues down the hallway .</scene_description>
</scene>
<scene>
<stage_direction>INT. EVAN'S APARTMENT - CONTINUOUS</stage_direction>
<scene_description>Dim , cheap , probably roach - infested . As Evan enters , the small packages fall off the TV box and onto the floor . Evan places the TV by the door , looks at his torn shirt , but fuck it , who cares ; he 's on a natural high . He peels his shirt off , revealing his PIERCED NIPPLES , flicks on the radio and DANCES his way over to the fridge and grabs a drink . In the tiny kitchenette area , a small swarm of flies hovers over a grease - filled frying pan . Evan recoils , throws open the window and throws the grease to the sidewalk five stories below . An ominous BREEZE enters - And a kitchen cabinet slowly BLOWS OPEN . Some FORKS and KNIVES slide forward on poorly stacked plates . Daring to fall into the toaster . Evan spills some cooking oil on the range while pouring it into the frying pan , then dumps in some frozen mozzarella sticks . Evan puts the frying pan on the stove and turns it on HIGH . He then grabs a container of CHINESE FOOD and rests it on the counter next to the fridge . On the fridge , several colorful MAGNETS spell out HEY E. PUSH IN on the H - which mysteriously drops into the Chinese food - the word EY E remaining . Oblivious , Evan puts the food in the microwave and turns it on . ANGLE ON STOVE The cooki ng oil creeps toward the range . Evan hits PLAY on his answering machine and rushes across the room to tear open his packages .</scene_description>
<character>VOICE</character>
<parenthetical>( O.S . )</parenthetical>
<dialogue>Dude! You suck! You buy one fucking ticket in your whole life and win twenty grand? We're going whoring in Prague, you know this!</dialogue>
<parenthetical>( whisper . )</parenthetical>
<dialogue>Hold on, the boss is coming.</dialogue>
<scene_description>A CLICK , then hold MUZAK : AC/DC 's HIGHWAY TO HELL . ANGLE ON MAGNET in Chinese fo od . SPARKING . It pops and fizzles . And ugly sound . As many similar messages continue , Evan unwraps a new ROLEX ! He slides it over his wrist , admiring it . ANGLE ON KNIFE Lazily sliding off the shelf and into the toaster , protruding about an inch and a half . Hardly noticeable . By now , Evan has opened the next package ; a gaudy gold and diamond encrusted horseshoe ring . He carries the ring into the kitchenette , sees the Chinese food is FLAMING , and his hands flash out to turn it off - A SMALL EXPLOSION from the microwave startles him . The RING falls into his drain/garbage disposal !</scene_description>
<character>EVAN</character>
<dialogue>Damn it!</dialogue>
<scene_description>Evan reaches INTO THE DRAIN , his fingers searching for the ring . When he tries to pull his hand back out , the ROLEX CATCHES . Another small EXPLOSION from the microwave , this one cracking the GLASS . A Solo Plastic Cup nearby begins to melt . Flames sputter around the rim of the frying pan . In moments , the oil from the pan IGNITES . A small fire . Evan sees all this and YANKS with all his might . No use . As the FIRE slowly spreads to nearby cereal boxes , Evan starts to panic . He continues yanking . Stuck . He sees a bottle of PALMOLIVE on the other end of the counter . His fingers reach for it . Slightly out of his grasp . But his fingertips are just long enough to knock the bottle backwards - where it rests against TWO SWITCHES . The FIRE ALARM goes off . The PHONE RINGS . Evan desperately lifts his leg and tries to use his foot to edge the Palmolive over . By pushing the bottle up against the wall , it threatens to turn on one of the switches . ANGLE ON FINGERS In the GARBAGE DISPOSAL . A SWITCH is flipped - but the light goes on . And the Palmolive lazily falls , resting on the remaining switch .</scene_description>
<character>EVAN</character>
<dialogue>Come on, come on.</dialogue>
<scene_description>Evan makes one last push with his foot - accidently flipping the SWITCH - the GARBAGE DISPOSAL GRINDS METAL ! Evan , horrified , miraculously yanks his hand free , brushing against the knife in the toaster . When the SHOCK goes through Evan 's body , his other hand jerks out , knocking the flaming frying pan to the floor . The entire kitchen is in flames , including the new TV blocking the door . The window slams SHUT ! The room fills with smoke .</scene_description>
<character>EVAN</character>
<dialogue>Jesus Christ!</dialogue>
<scene_description>Evan grabs a fire extinguisher . A mere dribble of foam comes out . He begins COUGHING in the smoke . Evan tries the window - STUCK ! He has no choice but to smash the kitchenette window with the fire extinguisher to get to the fire escape . He dr ops the fire extinguisher , starts to climb out the window , hears a creak and looks up just as - A large jagged shard of glass comes CRASHING down at him - Evan jumps back just in time as it shatters before him . The fire completely engulfs the kitchen . He bravely jumps through the window pane , landing on the fire escape . He runs down the fire escape from floor to floor . A LARGE BLAST from his window showers him with glass and brick shrapnel , but ultimately , he makes it to the fire escape 's lowest level , intact . He tries to lower the rusty metal ladder to the ground . It budges once , then twice , but wo n't go down . So he climbs over the railing and gently drops to the ground . Safe and sound , he breathes a sigh of relief and turns to walk - SUDDENLY he s lips on the very grease he threw out the window , his legs shoot out from under him and he lands on his back . The rusty ladder suddenly dislodges and hurls downward - coming right for Evan 's face - but stops halfway ! As Evan laughs , breathing a final sigh of relief , it suddenly PLUMMETS again - impaling Evan through his eye socket !</scene_description>
</scene>
<scene>
<stage_direction>INT. POLICE STATION - COMPUTER ROOM - NIGHT</stage_direction>
<scene_description>Thomas sits at the computer terminal . He checks to make sure no one 's watching as he enters a SEARCH for Alex Browning . Ten websites come up , all devoted to the Flight 180 Curse . Thomas scrolls around , seeing the death pix and autopsy photos of Flight 180 `` survivors '' . Headlines blare , `` Freak Accident ? '' `` Bizarre Coincidence ? '' describing the way the victims died . As Thomas begins a localized search of the word , `` PREMONITION '' - SPOOKY HUMMING from behind him . Thomas whirls around to see Det. Suby looking over his shoulder , humming the music from an old monster movie . Suby presses one hand to his forehead , the other polishing an apple against his vest .</scene_description>
<character>DETECTIVE SUBY</character>
<parenthetical>( as if entranced . )</parenthetical>
<dialogue>Ooooh, I see it now. Your future. A transfer to another department.</dialogue>
<scene_description>Suby bites the apple , casually offering nothing more . Thomas , embarrassed , flicks off the computer , stands .</scene_description>
<character>THOMAS</character>
<dialogue>You've made your point.</dialogue>
<character>DETECTIVE SUBY</character>
<dialogue>Good. Cause we just got some new info and I do n't ne ed you getting freaky on me.</dialogue>
<character>THOMAS</character>
<dialogue>What?</dialogue>
<character>DETECTIVE SUBY</character>
<dialogue>Evan Shaeffer's dead. Guess he was n't as lucky as we thought.</dialogue>
<scene_description>Detective Suby shrugs and walks away , munching the apple . Thomas looks stunned .</scene_description>
</scene>
<scene>
<stage_direction>INT. KAT'S ROOM - NIGHT</stage_direction>
<scene_description>Kat cradles a phone to her shoulder . She watches television and crushes Oreos into a bowl of ice - cream .</scene_description>
<character>KAT</character>
<dialogue>No, Mom. Just turn on any station, they've been playing it all day.</dialogue>
<parenthetical>( beat ; rolls her eyes . )</parenthetical>
<dialogue>Yes, Mother. Channel four will do just fine. Here it is, got ta go.</dialogue>
<scene_description>She hangs up the phone , mesmerized by the report : FOOTAGE FROM A HELICOPTER shows the pile up wreckage .</scene_description>
<character>ANCHOR MAN</character>
<parenthetical>( V.O . )</parenthetical>
<dialogue>Route 18 was backed up for almost nine hours today when a record breaking pile up.</dialogue>
</scene>
<scene>
<stage_direction>INT. NORA'S LIVING ROOM - CONTINUOUS</stage_direction>
<scene_description>Nora and Tim watch the same report .</scene_description>
<character>ANCHOR MAN</character>
<parenthetical>( V.O . )</parenthetical>
<dialogue>killed An estimated 18 people. Emergency crews spent hours sifting through the wreckage.</dialogue>
</scene>
<scene>
<stage_direction>INT. EUGENE'S LIVING ROOM - CONTINUOUS</stage_direction>
<scene_description>Eugene looks up from grading midterm bluebooks to watch .</scene_description>
<character>ANCHOR MAN</character>
<parenthetical>( V.O . )</parenthetical>
<dialogue>hoping To recover any survivors from this tragic collision. So far, the police are refusing to release the names of the victims until their families are notified.</dialogue>
</scene>
<scene>
<stage_direction>INT. KIMBERLY'S HOUSE - CONTINUOUS</stage_direction>
<scene_description>Mr. Burroughs numbly watches the same report . He does n't see Kimberly enter behind him from the kitchen .</scene_description>
<character>ANCHOR WOMAN</character>
<parenthetical>( O.S . )</parenthetical>
<dialogue>The camera of a highway patrol car managed to catch this shocking footage -</dialogue>
<scene_description>B/W CAMERA FOOTAGE from Thomas ' car shows Thomas tackling Kimberly to the ground just as a jack - knifed truck plows into the SUV .</scene_description>
<character>MR. BURROUGHS</character>
<dialogue>My Lord.</dialogue>
<scene_description>A GASP from behind him . Mr. Burroughs spins to see Kimberly fighting back tears and picks up the remote , prepared to click of the TV - but she stops him .</scene_description>
<character>KIMBERLY</character>
<dialogue>Do n't. I have to see this.</dialogue>
<scene_description>Mr. Burroughs reluctantly keeps the newscast on .</scene_description>
</scene>
<scene>
<stage_direction>INT. RORY'S APARTMENT - CONTINUOUS</stage_direction>
<scene_description>It 's a party . Rory , surrounded by BUDDIES , shakes a triumphant fist at the television . HE WHOOPS with delight , spilling popcorn everywhere .</scene_description>
<character>RORY</character>
<dialogue>Whoohoo! You see that shit? Right there? That's my fuckin' car right there! Oh God, that's dope.</dialogue>
<scene_description>After high - fiving his peeps , he bends to table level and snorts a freshly chopped line .</scene_description>
<character>ANCHOR MAN</character>
<parenthetical>( O.S . )</parenthetical>
<dialogue>In other news, a freak accident took the life of a lotto winner.</dialogue>
<scene_description>Rory looks up to see the DMV photo of Evan . As he takes in the report , his mood radically shifts . He looks like he 's been hit by a train . MONTAGE Of Kimberly , Nora , Tim , Eugene and Kat watching . They all take the news very hard as the FOOTAGE shows Evan 's BODY being carried away by EMT workers . Eugene , however , shakes his head sadly but goes back to grading blue books . TIM 'S BEDROOM - LATER Tim 's eyes are glued to the latest Stephen King novel . Nora peers in .</scene_description>
<character>NORA</character>
<dialogue>Come on, Tim, lights out already.</dialogue>
<scene_description>Tim starts at her voice , then reluctantly puts down the book .</scene_description>
<character>TIM</character>
<dialogue>Mom?</dialogue>
<character>NORA</character>
<dialogue>Yeah?</dialogue>
<character>TIM</character>
<dialogue>You think. You think those guys were b.s. - ing us today or what?</dialogue>
<scene_description>Nora swallows , trying to seem brave .</scene_description>
<character>NORA</character>
<dialogue>Oh, please. Some people just need some serious rewiring, that's all.</dialogue>
<scene_description>But neither of them are convinced .</scene_description>
<character>NORA</character>
<dialogue>Get some sleep.</dialogue>
<scene_description>Nora kisses his forehead and leaves the room . After she leaves , Tim opens his nightstand drawer , pulls out a dusty nightlight and plugs it in .</scene_description>
</scene>
<scene>
<stage_direction>INT. NORA'S BEDROOM - MOMENTS LATER</stage_direction>
<scene_description>Nora closes her bedroom door . And locks it . She nervously checks the closet and even lowers the blinds . Finally , she takes out a business card and dials a number . She hangs up , then dials again .</scene_description>
<character>NORA</character>
<dialogue>Officer Burke, please?</dialogue>
</scene>
<scene>
<stage_direction>INT. KIMBERLY'S ROOM - CONTINUOUS</stage_direction>
<scene_description>Mr. Burroughs tucks a still - shaken Kimberly into bed . In one of his hands is a nearly empty glass of scotch .</scene_description>
<character>KIMBERLY</character>
<dialogue>It's okay, Dad. I'm not ten anymore.</dialogue>
<scene_description>Mr. Burroughs catches himself being overprotective .</scene_description>
<character>MR. BURROUGHS</character>
<dialogue>I'm sorry. I'm just so happy that you're safe.</dialogue>
<character>KIMBERLY</character>
<dialogue>I love you too, Dad. Goodnight.</dialogue>
<scene_description>But Mr. Burroughs is n't ready to leave . He finishes his drink .</scene_description>
<character>MR. BURROUGHS</character>
<dialogue>You know, after your mother died.</dialogue>
<scene_description>Kimberly tenses , bracing for the worst .</scene_description>
<character>MR. BURROUGHS</character>
<dialogue>There were so many times I did n't think I could last another day. I ca n't even tell you some of the things I th ought about.</dialogue>
<character>KIMBERLY</character>
<dialogue>I used to have those feelings, too. But that's when I'd think of Mom. Her strength. and courage. And I'd pray that maybe I'd grow up to be as brave as she was. And the bad thoughts would go away.</dialogue>
<character>MR. BURROUGHS</character>
<parenthetical>( choking up . )</parenthetical>
<dialogue>I do n't know what I'd do if I lost you.</dialogue>
<scene_description>Mr. Burroughs leans over , kisses her forehead and leaves . Just as he 's out the door , he braces at the distant sound of a CAR SKIDDING out of control . The ENDLESS SCREECH is nerve shattering . Mr. Burroughs stands frozen , tensing for the inevitable crunch . But there is none . And he leaves .</scene_description>
</scene>
<scene>
<stage_direction>INT. KIMBERLY'S ROOM - NIGHT</stage_direction>
<scene_description>The room is dark except for one burning candle . Kimberly tosses and turns . The wind sends a single branch scraping against her window . A porch swing SQUEAKS back and forth . Adding to her anxiety . A BREEZE ENTERS , sputtering out the candle . Kimberly sits upright in bed and sees the WINDOW IS SHUT . Huh ? She lights a match and sees the candle wax dripped onto her table , forming the gooey shape of a . 180 ? The match goes out in her hand . The room is dark again . Headlights fr om passing cars cast eerie shadows on her ceiling . Shadows resembling PLANES seem to transform into a SKULL . Kimberly , freaked out , looks around to see the blinking light from the VCR : it flashes 18:0 a few times , then 12:00 . She ca n't take it anymore . She yanks the VCR cord from the wall and flicks on the lights , ridding the room of shadows . And anxiously turns on her computer .</scene_description>
</scene>
<scene>
<stage_direction>EXT. STONEYBROOK HOSPITAL - DAY</stage_direction>
<scene_description>Kimberly drives a beat up Hyundai through an eerie morning mist that surrounds the grounds of the Stoneybrook Hospital . ANGLE ON A computer printout in the shotgun seat : MAPQUEST directions to `` Stoneybrook Hospital '' . As Kimberly drives through the gate , the mist almost seems to follow her inside . A SIGN offers a choice between `` Emergency/Medica l Care '' or `` Psychiatric Treatment Center . '' Kimberly drives to the mental ward .</scene_description>
</scene>
<scene>
<stage_direction>INT. MENTAL WARD - DAY</stage_direction>
<scene_description>A PHYSICIAN in a lab coat leads a nervous Kimberly down the center of a long corridor . The Physician consults a clipboard .</scene_description>
<character>PHYSICIAN</character>
<dialogue>at the request of the patient, you are to relinquish any sharp objects such as nail files, pencils, pens, safety pins, bobby pins, no matches, lighters, belts, belt buckles, earrings, chokers, shoelaces.</dialogue>
<scene_description>Kimberly watches carefully as the Physician comes to a door and punches `` 4514 '' into the electronic lock . They continue down another corridor . Lights flicker , patients cackle and moan in the B.G.</scene_description>
<character>PHYSICIAN</character>
<dialogue>paper clips, watches, food, drinks, keys, poisons, pills and medications.</dialogue>
<parenthetical>( looks at Kimberly . )</parenthetical>
<dialogue>You have a cell phone on you?</dialogue>
<scene_description>Kimberly nods , hands it over .</scene_description>
<character>PHYSICIAN</character>
<dialogue>Then I think we're all done.</dialogue>
<scene_description>They arrive at a door to a padded room . The Physician punches in another code .</scene_description>
<character>KIMBERLY</character>
<dialogue>Wait. Is she. dangerous or something?</dialogue>
<character>PHYSICIAN</character>
<dialogue>No honey, but she expects you are.</dialogue>
<character>KIMBERLY</character>
<dialogue>Jesus, how long are you going to keep her locked up this way?</dialogue>
<character>PHYSICIAN</character>
<dialogue>Depends on her, I guess. She's voluntary.</dialogue>
<scene_description>The door hisses open .</scene_description>
</scene>
<scene>
<stage_direction>INT. CLEAR'S PADDED ROOM - CONTINUOUS</stage_direction>
<scene_description>REVEAL CLEAR RIVERS While still beautiful , this young woman bears few traces of her former self . Her eyes dart around suspiciously , maddened by chronic paranoia . Her hair is patchy , her eyes dark and haunted . Bordering on savage . Her movements are fidgety , erratic , always distracted by something unseen .</scene_description>
<character>KIMBERLY</character>
<dialogue>Clear Rivers?</dialogue>
<scene_description>Clear looks Kimberly up and down and steps back , allowing her inside her inner sanctum . A mattress on the floor , a plastic bottle of water , some paperbacks and a bedpan . Kimberly 's jaw drops when she sees the far wall : a SHRINE to flight 180 . The wall is papered with art icles about all the survivors -LRB- as seen in the opening title montage -RRB- . The door SLAMS . Kimberly jumps .</scene_description>
<character>CLEAR</character>
<dialogue>Kimberly Burroughs, eh? What do you want?</dialogue>
<character>KIMBERLY</character>
<dialogue>I thought. I thought you might be able to help me.</dialogue>
<character>CLEAR</character>
<parenthetical>( snicker . )</parenthetical>
<dialogue>Yeah, how?</dialogue>
<character>KIMBERLY</character>
<dialogue>I had a premonition about the Route 18 pile up. I saved some people. And now I think Death is after me.</dialogue>
<character>CLEAR</character>
<dialogue>Nice work. Maybe if you're real lucky, you'll wind up in here with me.</dialogue>
<parenthetical>( gives Kimberly the once over . )</parenthetical>
<dialogue>But I doubt you'll survive that long.</dialogue>
<scene_description>Kimberly flinches .</scene_description>
<character>KIMBERLY</character>
<dialogue>It's not just about me. Someone I saved died last night in a freak accident. What if the others are in danger, too?</dialogue>
<character>CLEAR</character>
<dialogue>Well, if you put them on the list, they're already tits up.</dialogue>
<character>KIMBERLY</character>
<dialogue>What list?</dialogue>
<character>CLEAR</character>
<dialogue>Death's list. The precise order you're going to die in.</dialogue>
<scene_description>Clear 's eyes bore into a terrified Kimberly 's .</scene_description>
<character>CLEAR</character>
<dialogue>The survivors of Flight 180 died in the exact order they were originally meant to die in the plane crash. That was Death's original design.</dialogue>
<character>KIMBERLY</character>
<parenthetical>( sudden realization . )</parenthetical>
<dialogue>Exact order? Then I'm next! I was meant to die with my friends, so I'm next!</dialogue>
<scene_description>Clear backs away from Kimberly as if she were lethal , then stops short .</scene_description>
<character>CLEAR</character>
<dialogue>But you said someone else died last night. That means Death skipped past you. Someone must have intervened.</dialogue>
<parenthetical>( off Kimberly 's confusion . )</parenthetical>
<dialogue>Sometime yesterday you must have nearly died, but someone saved you.</dialogue>
<scene_description>Kimberly nods , recalling the events .</scene_description>
<character>KIMBERLY</character>
<dialogue>Officer Burke pulled me away from the crash that killed my friends.</dialogue>
<character>CLEAR</character>
<dialogue>Congratufuckinglations. That makes you last to go. But do n't worry, once the others are dead, it'll come back for you. Always does.</dialogue>
<character>KIMBERLY</character>
<dialogue>That still does n't make sense. You said you die in the same order you were originally meant to. But Evan Shaeffer died last in my premonition, not first.</dialogue>
<scene_description>Clear seems very disturbed by that .</scene_description>
<character>CLEAR</character>
<dialogue>It's moving backwards? Are you sure?</dialogue>
<scene_description>Kimberly reluctantly strains to remember something . THE FINAL MOMENTS OF THE PILE UP Nora 's Pacer folds like an accordion , then EXPLODES , followed by Evan screaming in the Trans Am , which gets CREAMED by the semi ! Kimberly , shaken , does the math .</scene_description>
<character>KIMBERLY</character>
<dialogue>Yes. In my premonition that Nora woman and her kid died first, then Evan and then. my friends.</dialogue>
<scene_description>Clear is oblivious when Kimberly breaks into silent sobs .</scene_description>
<character>CLEAR</character>
<dialogue>Backwards. that's new.</dialogue>
<scene_description>Clear sees Kimberly crying and softens .</scene_description>
<character>CLEAR</character>
<dialogue>That's good. Get all your tears out now, you'll need your eyes.</dialogue>
<parenthetical>( off Kimberly 's confusion . )</parenthetical>
<dialogue>For the signs.</dialogue>
<character>KIMBERLY</character>
<dialogue>Signs?</dialogue>
<character>CLEAR</character>
<dialogue>If you have the same power as Alex, you'll be seeing signs soon. When you see anything creepy or ominous, an in - your - face irony kinda thing? Do n't ignore it. It usually means the difference between life and death.</dialogue>
<character>KIMBERLY</character>
<parenthetical>( to herself . )</parenthetical>
<dialogue>The songs on the radio.</dialogue>
<parenthetical>( to Clear . )</parenthetical>
<dialogue>But wait. I do n't understand. Why is this even happening to me?</dialogue>
<character>CLEAR</character>
<dialogue>That's what Alex used to ask himself right up until.</dialogue>
<scene_description>For an instant , we see a gentle side of Clear .</scene_description>
<character>KIMBERLY</character>
<dialogue>It's obvious you know what you're talking about. You beat it. You have to help us.</dialogue>
<scene_description>Clear suddenly toughens up , an abrupt mood shift .</scene_description>
<character>CLEAR</character>
<dialogue>I did n't beat it ; I hid from it. If you were smart you'd put a down payment on a burial plot and say goodbye to the dog, because what little life you have left is over as you know it. Do n't make new friends, do n't fall in love, and do n't ever bother trying to save others. That's the worst killer of them all.</dialogue>
<character>KIMBERLY</character>
<dialogue>How can you say that? What kind of monster are you?</dialogue>
<scene_description>At once , Clear , enraged , is in her face , speaking through clenched teeth .</scene_description>
<character>CLEAR</character>
<dialogue>My family is dead. My friends are dead. And Alex.</dialogue>
<scene_description>Clear angrily peels a Polaroid off the wall and shows it to Kimberly . While we do n't see the photo , Kimberly 's horrified face paints a gruesome picture on its own .</scene_description>
<character>CLEAR</character>
<dialogue>And yes, that's the blade of a fucking ceiling fan in his head.</dialogue>
<scene_description>Clear pounds on the door , apparently done with Kimberly . A GUARD opens the door . Kimberly , devastated , turns to leave , then summons her courage and turns back to Clear .</scene_description>
<character>KIMBERLY</character>
<dialogue>Know what? I think you're a coward. I think you hide out in here because you're too damn bitter and selfish to care about another living soul. In my opinion, you're already dead.</dialogue>
<scene_description>Kimberly leaves , giving Clear something to think about .</scene_description>
</scene>
<scene>
<stage_direction>EXT. KIMBERLY'S HOUSE - DAY</stage_direction>
<scene_description>As Kimberly pulls into her driveway , she 's surprised to see a STRANGE CAR parked there . Then - THOMAS , wearing street clothes , peers through the front window of the house . He guiltily backs away as Kimberly gets out .</scene_description>
<character>THOMAS</character>
<dialogue>I tried calling last night but your father -</dialogue>
<character>KIMBERLY</character>
<dialogue>Evan Shaeffer's dead.</dialogue>
<scene_description>Thoma s nods and leans against the large glass windows that reflect the sky behind them .</scene_description>
<character>THOMAS</character>
<dialogue>I know. I've gotten calls all morning from everyone who was on the onramp. We're all meeting at my apartment tonight.</dialogue>
<character>KIMBERLY</character>
<dialogue>Then you believe all this? That Death is working off a list?</dialogue>
<scene_description>Thomas hesitates before answering .</scene_description>
<character>THOMAS</character>
<dialogue>I did n't. Until I was dispatched to clean up one of the Flight 180 survivors.</dialogue>
<character>KIMBERLY</character>
<dialogue>Clean up? I do n't.</dialogue>
<scene_description>Suddenly through the reflection of the window glass , Kimberly sees hundreds of pigeons dive bomb her at once ! Like a scene out of THE BIRDS , Kimberly must duck and cover as the pigeons assault her from every angle . But when Kimberly turns away from the reflection , toward the actual pigeons , THEY 'RE GONE . ALL IN HER HEAD .</scene_description>
<character>KI MBERLY</character>
<dialogue>Did you see that?</dialogue>
<scene_description>Thomas , concerned for her , saw nothing .</scene_description>
<character>KIMBERLY</character>
<dialogue>Pigeons. It's a sign! If Clear's right about the order, then Nora and Tim are going to be attacke d by Pigeons!</dialogue>
<character>THOMAS</character>
<dialogue>I'm not following you -</dialogue>
<character>KIMBERLY</character>
<dialogue>They're next on the list. We have to find them.</dialogue>
</scene>
<scene>
<stage_direction>EXT. MEDICAL COMPLEX - DAY</stage_direction>
<scene_description>ANGLE ON Woman 's N ike shoe on a down - moving escalator . Reveal Nora taking her son Tim to a dentist 's office . The SHOELACE snags on a bolt of one of the steel side panels , untying it .</scene_description>
<character>TIM</character>
<parenthetical>( mischievous smile . )</parenthetical>
<dialogue>You think the tooth fairy's gon na come tonight? I'm thinkin' like fifteen bucks.</dialogue>
<character>NORA</character>
<dialogue>Nice try, kiddo.</dialogue>
<scene_description>Tim smiles , then winces from the pain in his mouth . THE DANGLING SHOELACE heads straight for the escalator grate . IT GETS SWALLOWED UP . As Tim steps off , Nora TRIPS forward . Her caught sneaker is pulled tighter into the innards of the metal staircase .</scene_description>
<character>TIM</character>
<dialogue>Mom!</dialogue>
<scene_description>Tim watches helplessly as Nora reaches down , tug ging at her sneaker , fear mounting . Tim also grabs her sneaker and yanks . Finally , the shoelace SNAPS , and Nora 's free again .</scene_description>
<character>TIM</character>
<dialogue>You okay?</dialogue>
<scene_description>Nora puts on a brave face and begins tying one long shoelace to the stubby one .</scene_description>
<character>NORA</character>
<dialogue>Sure hon. I'm fine. Let's shake it, we're late.</dialogue>
<scene_description>Tim nods . The wind picks up as they continue past a - CONSTRUCTION CREW Who apply industrial suction cups to large , thick sheets of PLATED GLASS . Tim stares in childlike fascination as they pass JACKHAMMERS , a CEMENT MIXER , and an EXCAVATOR .</scene_description>
</scene>
<scene>
<stage_direction>INT. CLEAR'S PADDED ROOM - DAY</stage_direction>
<scene_description>Clear Rivers applies fun - tack to the back of a newspaper article and sticks it on the wall devoted to Flight 180 . REVEAL A photo of Eva , `` Lotto Winner Killed By Ladder '' . Clear backs away , pausing to look at a group photo of the Survivors of Flight 180 just before take off . Smiling faces .</scene_description>
<character>TIM</character>
<dialogue>Not so much.</dialogue>
<scene_description>Dr. Lees keeps a skeptical smile to himself .</scene_description>
</scene>
<scene>
<stage_direction>INT. WAITING ROOM - CONTINUOUS</stage_direction>
<scene_description>The RECEPTIONIST appears next to the fallen fish food with a VACUUM . She plugs it in an outlet below the fishtank . A startling GRIND as the vacuum turns on and coughs up a nail . She vacuums up the fish food around Nora 's feet . The DEAD FISH gets sucked into the water filter in the fishtank which sputters and stops . The water level RISES , spilling water over the side of the tank . The water TRICKLES closer to the outlet .</scene_description>
</scene>
<scene>
<stage_direction>EXT. SUBURBAN STREET - DAY</stage_direction>
<scene_description>Thomas drives his car into a friendly neighborhood . Kimberly , riding shotgun , hangs up her cell phone .</scene_description>
<character>KIMBERLY</character>
<dialogue>Turn around. The cleaning woman said they're at the dentist's. 14th and Main.</dialogue>
<character>THOMAS</character>
<dialogue>Hold on.</dialogue>
<scene_description>Thomas expertly skids into a U - turn .</scene_description>
</scene>
<scene>
<stage_direction>INT. DENTIST OFFICE - CONTINUOUS</stage_direction>
<scene_description>Tim looks petrified as Dr. Lees unveils a tray full of PICS , CARVERS and EXTRACTING FORCEPS . The KA - CHUNG of construction outside makes it im possible to concentrate , but , hands trembling slightly , Dr. Lees picks up a pic and mirror and starts examining Tim 's mouth . CU of PIC gently prodding Tim 's teeth .</scene_description>
<character>DR. LEES</character>
<parenthetical>( O.S . )</parenthetical>
<dialogue>I'm a little disappointed, Tim. Does your mom know you've been smoking?</dialogue>
<scene_description>Tim groans `` uh - uh '' , then suddenly flinches .</scene_description>
<character>DR. LEES</character>
<parenthetical>( O.S . )</parenthetical>
<dialogue>Yeah, that'll have to be filled.</dialogue>
<scene_description>A BANG from the window startles Dr. Lees . His HAND JERKS , but luckily the pic was removed from Tim 's mouth . Dr. Lees whips around in time to see a PIGEON flutter away from the window .</scene_description>
<character>DR. LEES</character>
<dialogue>Jesus. Every day at the same damn time. Now this'll only sting for a moment.</dialogue>
<scene_description>Dr. Lees picks up a large SYRINGE and moves it toward Tim 's open mouth .</scene_description>
<character>DR. LEES</character>
<dialogue>Open big. Wiiiiider.</dialogue>
<scene_description>Tim 's eyes radiate fear . The MOUTH OPENS . Reluctantly . Tim nervously eyes the window as the needle enters . ANGLE ON NEEDLE heading toward his gumline - BANG ! Another pigeon takes a header into the reflection . Dr. Lees ' hand jerks , nearly jabbing Tim 's tongue . Tim squirms violently . Dr. Lees looks towards the window angrily .</scene_description>
<character>DR. LEES</character>
<dialogue>How the hell do they expect me to. Would you rather have the laughing gas?</dialogue>
<scene_description>Tim nods his head ferociously .</scene_description>
<character>DR. LEES</character>
<dialogue>Jean? I need you in here.</dialogue>
<parenthetical>( waits . )</parenthetical>
<dialogue>Jean?!</dialogue>
</scene>
<scene>
<stage_direction>INT. WAITING ROOM - CONTINUOUS</stage_direction>
<scene_description>Jean continues vacuuming . The vacuum makes contact with Nora 's foot .</scene_description>
</scene>
<scene>
<stage_direction>INT. DENTIST OFFICE - CONTINUOUS</stage_direction>
<scene_description>After a minute , Dr. Lees angrily switches on two compressors : Oxygen and Nitrous Oxide . By now , the NO mask has been attached around Tim 's nose . As Tim drifts off , Dr. Lees lowers a DRILL into his mouth .</scene_description>
<character>DR. LEES</character>
<dialogue>Open big. Wiiiiiider.</dialogue>
<scene_description>Excruciating SOUNDS of the drill going through enamel . INTERCUT KIMBERLY AND THOMAS Racing to the medical complex throughout . THE WAITING ROOM The WATER TRICKLES into the outlet . The vacuum sparks and dies just as - BACK IN DR. LEES ' OFFICE BANG ! SFX : BROKEN GLASS - it sounds like a pigeon finally crashed through the window . In the other room .</scene_description>
<character>DR. LEES</character>
<dialogue>Goddamn it already.</dialogue>
<scene_description>Dr. Lees marches out of the room to investigate . Another quick electrical surge and the OXYGEN COMPRESSOR flutters off . The needle drops . But the NITROUS flow remains strong . ANGLE ON FISH MOBILE Spinning from a new breeze . Suddenly , a small round PUFFER FISH FALLS directly into Tim 's mouth . Soft , gurgling and choking .</scene_description>
</scene>
<scene>
<stage_direction>INT. WAITING ROOM - CONTINUOUS</stage_direction>
<scene_description>Nora stares at a pigeon with a broken wing frantically trying to fly right . Dr. Lees makes a half - hearted attempt to soothe and catch it . BACK IN DR. LEES ' OFFICE SLOW DOLLY up to Tim . Choking , gurgling . His eyes are open , but rolled up . His hand limply reaches up . then drops . Sounds of commotion in the next room seem to fade away as we continue our SLOW DOLLY into Tim 's eyes . They GLAZE OVER . the choking stops . And a HAND reaches into frame and pulls the puffer fish out of Tim 's mouth . REVEAL JEAN looking petrified at the close call , looking around to make sure nobody saw .</scene_description>
</scene>
<scene>
<stage_direction>EXT. MEDICAL COMPLEX - LATER</stage_direction>
<scene_description>Nora and Tim , feeling better now , walk past the CONSTRUCTION CREW . A CRANE OPERATOR smiles at Tim , who smiles back . From across the mall , the tiny running figures of Kimberly and Thomas appear in the dis tance , pointing and screaming .</scene_description>
<character>TIM</character>
<dialogue>What are they doing here? And why are they yelling `` pigeons''?</dialogue>
<scene_description>Just then , Tim and Nora walk into a large cluster of PIGEONS who suddenly burst into flight , startling the Crane Operator , whose hand inadvertently jerks a lever - A METALLIC CHAIN RATTLE fills the air and Tim looks up just as a HUGE SHEET OF GLASS PLUMMETS downward toward him and CRUSHES him , his mangled body visible underneath . As two pearly whites roll around on the sidewalk , NORA SCREAMS .</scene_description>
</scene>
<scene>
<stage_direction>EXT. MEDICAL COMPLEX - LATER</stage_direction>
<scene_description>Emergency vehicles everywhere . Thomas seems exhausted as he walks back to Kimberly , who stands by his car . In the BG , EMTs load a stretcher into an ambulance .</scene_description>
<character>THOMAS</character>
<parenthetical>( shaking his head . )</parenthetical>
<dialogue>Nora's not coming. She refuses to leave her son.</dialogue>
<character>KIMBERLY</character>
<dialogue>We have to tell her she's in danger!</dialogue>
<character>THOMAS</character>
<parenthetical>( sadly . )</parenthetical>
<dialogue>I did. And right now, I do n't think she cares.</dialogue>
</scene>
<scene>
<stage_direction>EXT. KIMBERLY'S HOUSE - DAY</stage_direction>
<scene_description>Thomas ' car turns into the driveway and parks . Kimberly holds up her hand and watches it tremble .</scene_description>
<character>KIMBERLY</character>
<dialogue>It's happening again. It's fucking happening again. I hoped we'd get there and they'd be okay, that Clear Rivers was full of shit and Evan's death was just a freak accident.</dialogue>
<scene_description>Thomas kills the engine to listen .</scene_description>
<character>KIMBERLY</character>
<dialogue>But we're all going to die. We ca n't stop it. It's just a matter of time. I'm so scared.</dialogue>
<scene_description>Thomas takes her hand and squeeze s it reassuringly .</scene_description>
<character>THOMAS</character>
<dialogue>I am too. But you can use that fear. It'll sharpen your instincts. Keep you alert fro signs. It's the only way you'll be able to sav e the others. and me.</dialogue>
<scene_description>Kimberly , seeming overwhelmed , pulls her hand back . Thomas senses he 's losing her , and softens her approach .</scene_description>
<character>THOMAS</character>
<dialogue>I know you did n't ask for any of this, Kimberly. But I do n't think you have it in you to quit either.</dialogue>
<scene_description>Kimberly stares straight ahead , the weight of the world sinking in . BANG ! A startling pound on the roof of Thomas ' car . Kimberly jumps , then spins around to see : CLEAR RIVERS - standing in the driveway . A determined , powerful presence . Kimberly exits the car . A MOMENT where Kimberly and Clear stare each other down .</scene_description>
<character>KIMBERLY</character>
<dialogue>Clear/Thomas. Thomas/Clear.</dialogue>
<scene_description>Clear nods absently to Thomas , still focused on Kimberly .</scene_description>
<character>KIMBERLY</character>
<parenthetical>( bitter . )</parenthetical>
<dialogue>The second one just dies. A 16 year old kid.</dialogue>
<character>CLEAR</character>
<parenthetical>( nods ; a faint trace of guilt . )</parenthetical>
<dialogue>I hope you're ready for this.</dialogue>
</scene>
<scene>
<stage_direction>EXT. FUNERAL HOME - DAY</stage_direction>
<scene_description>Thomas ' car pulls into a partially filled parking lot . Kimberly , Thomas and Clear file out and head to the door .</scene_description>
<character>KIMBERLY</character>
<dialogue>This is cheery.</dialogue>
<character>THOMAS</character>
<dialogue>Who is this guy, anyway?</dialogue>
<character>CLEAR</character>
<dialogue>A mortician. He seemed to know a hell of a lot more about death than he ever told us.</dialogue>
<character>THOMAS</character>
<dialogue>Should we knock?</dialogue>
<character>CLEAR</character>
<parenthetical>( looking ill . )</parenthetical>
<dialogue>He probably already knows we're coming.</dialogue>
</scene>
<scene>
<stage_direction>INT. FUNERAL HOME - MOMENTS LATER</stage_direction>
<scene_description>Kimberly , Thomas and Clear open the large wooden doors into a small chapel , creat ing a loud CREAK . A corpse in an open casket sits at the front of the chapel , post - wake . Kimberly , Thomas and Clear are forced to walk around the dead body to get to a side door .</scene_description>
</scene>
<scene>
<stage_direction>INT. CORRIDOR - MOMENTS LATER</stage_direction>
<scene_description>The three slowly edge towards a room at the end of a creepy hallway . An ORANGE GLOW flickers from the far room . The unmistakable sounds of a furnace make it all the more eerie . As they near the door , they 're able to see inside the room ; the shadow of a figure looms against a steel oven . They edge closer . They peek inside the -</scene_description>
</scene>
<scene>
<stage_direction>INT. CREMATORIUM</stage_direction>
<scene_description>Oddly there is no one there . As they enter , passing the furnace , a momentary WHOOSH of flames startles them all ! They jump back - bumping right into : MR. BLUDWORTH , the dark , sinister mortician from FD1 , who has inexplicably appear BEHIND THEM .</scene_description>
<character>MORTICIAN</character>
<dialogue>Hello, Clear. I've been keeping an eye out for you.</dialogue>
<scene_description>The mortician rolls a metal gurney carrying EVAN 'S EYELESS BODY toward the firing oven . Kimberly and Thomas are scared .</scene_description>
<character>KIMBERLY</character>
<dialogue>Oh my God. That's Evan Shaeffer.</dialogue>
<scene_description>Clear , however , seems to expect nothing less .</scene_description>
<character>MORTICIAN</character>
<dialogue>Come to. Pick my brain?</dialogue>
<scene_description>The Mortician slides a gleaming set of medical pliers into Evan 's mouth . And YANKS out a gold tooth . Kimberly recoils as he discards the bloody tooth on a metal tray .</scene_description>
<character>MORTICIAN</character>
<parenthetical>( to Kimberly . )</parenthetical>
<dialogue>Flesh and bone require 1,600 degrees for cremation. Gold, prosthetics and other metals must be removed before the final -</dialogue>
<character>CLEAR</character>
<parenthetical>( not falling for this again . )</parenthetical>
<dialogue>Just a simple question and we'll leave you alone with your new friend.</dialogue>
<scene_description>The Mortician grins ; he likes the new Clear . He crosses the room and hits a LEVER . KA - CHUNK ! The oven begins to blaze .</scene_description>
<character>MORTICIAN</character>
<dialogue>Fire away.</dialogue>
<character>CLEAR</character>
<dialogue>How do you cheat Death once and for all?</dialogue>
<scene_description>The Mortician , recrossing the room , passes Kimberly and stoops down to sniff , no INHALE , a terrified Kimberly 's essence .</scene_description>
<character>MORTICIAN</character>
<dialogue>Dead. But still fresh.</dialogue>
<scene_description>Kimberly shudders as the Mortician moves back to Evan 's body . Clear has had about enough .</scene_description>
<character>CLEAR</character>
<parenthetical>( to the Mortician . )</parenthetical>
<dialogue>Look, we drove a long way to get here. So if you happen to know how to get this death monkey off our backs, it sure would be swell if you told us.</dialogue>
<scene_description>The Mortician now CLAMPS THE PLIERS around Evan 's NIPPLE RING .</scene_description>
<character>MORTICIAN</character>
<dialogue>For what purpose? You seek a back way out of a room with but one door. You ca n't cheat Death ; there are no escapes.</dialogue>
<character>CLEAR</character>
<dialogue>Bullshit. You told me Death has a distinct design, a blueprint, unalterable. But Alex and I cheated Death not once, but dozens of times. If the design is flawed, it can be beaten.</dialogue>
<scene_description>A sick smile crosses the Mortician 's lips . He yanks the nipple ring OFF ! Kimberly looks on both horrified and awed when Clear does n't flinch back from the pliers , where a bloody nub dangles .</scene_description>
<character>MORTICIAN</character>
<dialogue>Such fire in you now. People are always most alive just before they die. Do n't you think?</dialogue>
<scene_description>Clear steps back from him , hate flashing in her eyes .</scene_description>
<character>CLEAR</character>
<dialogue>It can be beaten. And you know it.</dialogue>
<scene_description>CREEEAAAK - SLAM ! The Mortician rolls Evan 's body into the oven .</scene_description>
<character>MORTICIAN</character>
<dialogue>Some say that there is a balance to everything. An equilibrium that is the connective tissue of the universe. They say that for every lif e there is a death, and for every death a life.</dialogue>
<scene_description>His words hang in the air . An ominous BREEZE enters .</scene_description>
<character>MORTICIAN</character>
<dialogue>Solus novus anima licet evinco mortis ; Only new life can defeat death.</dialogue>
<parenthetical>( off their confusion . )</parenthetical>
<dialogue>The list of life is forever set by the Divine Plan, the guiding hand that plots the course of the universe, down to its tiniest element s.</dialogue>
<scene_description>Thomas looks to Clear ; what 's he talking about ? The Mortician focuses on Kimberly as if the others had ceased to exist .</scene_description>
<character>MORTICIAN</character>
<dialogue>The list accounts for every life ; from the dawn of man to the great apocalypse. But the introduction of life that was not meant to be, a soul forbidden to roam the earth, that could invalidate Death's list, shatter its very existence.</dialogue>
<scene_description>Evan 's other eye POPS , startling Thomas and Kimberly .</scene_description>
<character>THOMAS</character>
<dialogue>What the hell does that mean?</dialogue>
<character>MORTICIAN</character>
<parenthetical>( with finality . )</parenthetical>
<dialogue>To figure that out you'll have to follow the sign s.</dialogue>
<scene_description>The Mortician grabs Kimberly .</scene_description>
<character>MORTICIAN</character>
<dialogue>But be warned. To disrupt the grand design is to unravel the tapestry of the universe. When you pull all the threads apart, you may find yourself hanging from them.</dialogue>
<scene_description>The Mortician finally lets Kimberly go .</scene_description>
<character>CLEAR</character>
<dialogue>One last question. Why is Death working backwards this time?</dialogue>
<scene_description>The Mortician glances at his watch - Evan 's bran d new Rolex .</scene_description>
<character>MORTICIAN</character>
<parenthetical>( shakes head ; a sick smile . )</parenthetical>
<dialogue>Sorry, time's up.</dialogue>
</scene>
<scene>
<stage_direction>EXT. GAS STATION - DAY</stage_direction>
<scene_description>CLOSE UP - GAS DRIPPING From the nozzle in Thomas ' car . Thomas fills the tank , watching for signs of danger . Clear 's hand is poised over the gas pumps ' EMERGENCY CUT - OFF VALVE Some SKATE RATS exit the mini - mart with a pack of Camels , followed by Kimberly , who carries a couple of Red Bulls and hands them out .</scene_description>
<character>THOMAS</character>
<dialogue>New life defeats death? Follow the signs? Where the hell did you find that guy?</dialogue>
<character>KIMBERLY</character>
<dialogue>Yeah, I thought he was supposed to be helpful.</dialogue>
<character>CLEAR</character>
<dialogue>He was. If we can use your ability to see the signs, we can cheat Death long enough to figure out what `` new life'' means.</dialogue>
<parenthetical>( off their looks . )</parenthetical>
<dialogue>I know, it worries me that I understand him.</dialogue>
<scene_description>Thomas tops off the tank . Some gas spills to the ground . Quick looks all around - sure enough , one of the Skate Rats is about to strike a match . CLEAR 'S HAND SLAPS the kid in the back of the head , stopping him mid - motion .</scene_description>
<character>CLEAR</character>
<dialogue>What the fuck are you thinking?</dialogue>
<scene_description>The startled Skate Rat shrinks back from Clear 's rage .</scene_description>
<character>SKATE RAT</character>
<dialogue>I'm thinkin', suck my junk, bee yatch.</dialogue>
<scene_description>Thomas chuckles to himself and looks at Kimberly who -</scene_description>
</scene>
<scene>
<stage_direction>EXT. LAKE - DAY</stage_direction>
<scene_description>POV DRIVER . Grease - covered female hands reach out toward a steering wheel of a white van speeding out of control TOWARD A LAKE ! The van crashes through a railing and PLUNGES into the water . In moments , the van fills with water , the driver inside trapped . Drowning . Horrible .</scene_description>
</scene>
<scene>
<stage_direction>INT. GAS STATION - DAY</stage_direction>
<scene_description>KIMBERLY Comes to Thomas ' arms - GASPING uncontrollably for breath . Terror - stricken . She begins hyperventilating .</scene_description>
<character>THOMAS</character>
<dialogue>What is it? What did you see?</dialogue>
<scene_description>It 's so bad , Kimberly ca n't speak . She coughs and gags as if recently drowned . Clear scans the perimeter for immediate dangers . A POWER REPAIRMAN On a cherry picker messes with the transformer , a LAWN BOY pull - starts a WEED WHACKER close to broken glass , a MECHANIC on a tall ladder changes out the gas price numbers , a female DOG WALKER with three dogs approaches the ladder .</scene_description>
<character>CLEAR</character>
<dialogue>You have to tell us now.</dialogue>
<character>KIMBERLY</character>
<dialogue>I. I.</dialogue>
<scene_description>Clear shakes her head by the shoulders and barks commands like an angry drill sergeant .</scene_description>
<character>CLEAR</character>
<dialogue>You're strong. Do you hear me? You're a fucking warrior. Nothing scares you. In fact you happen to be the single most powerful woman on earth. Now what did you see?</dialogue>
<scene_description>The words slowly take affect . Kimberly becomes centered , getting her breath back , and speaks without a hitch .</scene_description>
<character>KIMBERLY</character>
<dialogue>I was driving a white van. It must've gone out of control because it crashed into a lake and I drowned. It was. horrible.</dialogue>
<character>CLEAR</character>
<dialogue>You were there?</dialogue>
<character>KIMBERLY</character>
<dialogue>I can practically taste the water in my throat. And something else. The smell of flowers.</dialogue>
<character>CLEAR</character>
<parenthetical>( confused . )</parenthetical>
<dialogue>Then it was n't just a sign. It was a premonition?</dialogue>
<scene_description>Thomas gently releases her , paces .</scene_description>
<character>THOMAS</character>
<dialogue>Remember the onramp? There was a pregnant woman in a white delivery van.</dialogue>
<character>CLEAR</character>
<dialogue>Holy shit. He said `` only new life can defeat death.''</dialogue>
<parenthetical>( off looks . )</parenthetical>
<dialogue>If she gives birth to a baby that was never meant to be born, a brand new soul that was never part of Death's Design.</dialogue>
<character>KIMBERLY</character>
<dialogue>It throws the entire Death list out of whack. And a new list has to be rewritten f rom scratch. We all start over with a clean slate.</dialogue>
<character>THOMAS</character>
<dialogue>It sounds all well and good, but what if we're wrong?</dialogue>
<character>CLEAR</character>
<dialogue>Please, what else could it mean?</dialogue>
<character>KIMBERLY</character>
<parenthetical>( to Thomas . )</parenthetical>
<dialogue>So if you give us the pregnant lady's number, we can warn her about the lake and she'll live long enough to have the baby.</dialogue>
<character>CLEAR</character>
<dialogue>So let's do it.</dialogue>
<character>THOMAS</character>
<parenthetical>( realization . )</parenthetical>
<dialogue>Shit, I do n't have her number. She was never interviewed. She took off right after the accident.</dialogue>
<character>KIMBERLY</character>
<dialogue>How are we going to find her? There must be thousands of white vans in this state.</dialogue>
<character>THOMAS</character>
<dialogue>Hey, I'm a police officer, remember?</dialogue>
</scene>
<scene>
<stage_direction>INT. A/V ROOM - POLICE STATION - LATER</stage_direction>
<scene_description>Thomas works a VCR , scanning BACKWARDS through the video footage from the patrol car camera . We see the SUV 's explosive collision with the jack - knifed semi . Kimberly is taken by surprise by the sight of the crash .</scene_description>
<character>KIMBERLY</character>
<dialogue>Oh God.</dialogue>
<scene_description>Thomas sees Kimberly and quickly flicks off the monitor .</scene_description>
<character>THOMAS</character>
<dialogue>I, uh. sorry.</dialogue>
<scene_description>Kimberly notices Clear watching her and toughens up . She forces back the tears and qui ckly wipes the rest away .</scene_description>
<character>KIMBERLY</character>
<dialogue>I know, I know. We need my eyes.</dialogue>
<scene_description>Clear sits beside Kimberly .</scene_description>
<character>CLEAR</character>
<dialogue>It's all right. I'll take watch.</dialogue>
<scene_description>Kimberly looks grateful , and a moment passes between them , but she 's already buried the need to cry .</scene_description>
<character>KIMBERLY</character>
<dialogue>I'm okay. Just caught me by surprise. Put it back on.</dialogue>
<scene_description>Clear does , watching the cars seemingly pass in reverse .</scene_description>
<character>CLEAR</character>
<dialogue>Make sure all these people will be at the meeting tonight.</dialogue>
<character>THOMAS</character>
<dialogue>Taken care of.</dialogue>
<scene_description>THE MONITOR Back , back , back until the Patrol Car slowly creeps backwards down the onramp .</scene_description>
<character>KIMBERLY</character>
<dialogue>There it is.</dialogue>
<character>THOMAS</character>
<dialogue>Got it.</dialogue>
<scene_description>Thomas hits play and we see footage from the patrol car cruising past the White Van . A clean shot of the license plate . Jackpot . As Thomas slides his chair to a data base and types in the plate number , the pause function dislodges , slowly advancing the tape frame by frame .</scene_description>
<character>CLEAR</character>
<dialogue>I do n't get it. Why is everything happening so fast? After Flight 180. A month went by before anyone died. And now five people are dead in less than a day.</dialogue>
<scene_description>Thomas ' computer screen finally fills with information .</scene_description>
<character>THOMAS</character>
<dialogue>Here we go. The vehicle's a delivery van registered to Jorge and Isabella Cruz. And Christ, there's almost a dozen domestic disturbance complaints on these two.</dialogue>
<character>CLEAR</character>
<dialogue>We need to hurry.</dialogue>
<scene_description>They all get up and leave . Ominously , THE MONITOR shows the NEXT VEHICLE creeping behind Nora 's Pacer - a white van !</scene_description>
</scene>
<scene>
<stage_direction>INT. CRUZ HOUSE - NIGHT</stage_direction>
<scene_description>Thomas pulls up to an upper - middle class house . Thomas , Kimberly and Clear get out and start up the unlit path . It 's dark , hard to see where they 're going , so they negotiate by feeling the bushes aligning the walkway .</scene_description>
<character>THOMAS</character>
<dialogue>Let's lay this on her gently now. The stress alone could upset the pregnancy.</dialogue>
<scene_description>Kimberly nods , ever creeping closer to the front door - when AUTOMATIC LIGHTS FLASH from over the garage . All three freeze for a moment , during which we hear STOMPING emanate from within the house , and the lights SHUT OFF . But nothing else happens . No one comes to a door . Thomas sighs , and as if suddenly remembering his status , he walks fearlessly and purposefully to the front door . He makes a fist , is about to knock - when the DOOR FLINGS OPEN and a ROTTWEILER LUNGES for his throat - only to have its collar snagged at the last second by its owner - JORGE CRUZ , late 30 's , handsome , cocky . He speaks above Rotty 's</scene_description>
<character>JORGE</character>
<dialogue>What?</dialogue>
<character>THOMAS</character>
<dialogue>I'm Officer Burke. I'm looking for an Isabella Cruz.</dialogue>
<scene_description>Suddenly , with an unexpected fury , Jorge SCREAMS at his dog .</scene_description>
<character>JORGE</character>
<dialogue>Shut up!</dialogue>
<scene_description>The Rottweiler cowers , and Jorge shoves it to the floor , where it lands on its feet and fearfully trots away . Jorge 's face is once again pleasant , but it 's a thin veneer . Jorge sees Clear and Kimberly behind Thomas and frowns .</scene_description>
<character>THOMAS</character>
<dialogue>Are you Jorge Cruz?</dialogue>
<character>JORGE</character>
<dialogue>Maybe. What's this about?</dialogue>
<character>THOMAS</character>
<dialogue>May we come in?</dialogue>
<character>JORGE</character>
<dialogue>No. What's this about?</dialogue>
<scene_description>ANGLE ON CLEAR - eyeing what appears to be DROPS OF BLOOD on the tile floor . She takes in what she can see of - THE ROOM As if a tornado had hit it . Wedding photos smashed and torn . Furniture over - turned .</scene_description>
<character>THOMAS</character>
<parenthetical>( a little stern . )</parenthetical>
<dialogue>It's about your wife, Isabella. Now is she here?</dialogue>
<scene_description>Jorge 's eyes flicker ever - so - involuntarily behind him .</scene_description>
<character>JORGE</character>
<dialogue>No. I'm alone.</dialogue>
<scene_description>But by now , Thomas has seen everything Clear has and more . He stares through the house , into a bedroom and sees - A FEMALE FOOT lying half0buried under the bedspr ead .</scene_description>
<character>THOMAS</character>
<dialogue>Look, pal, it's probably nothing. But I need to see -</dialogue>
<scene_description>Jorge is already closing the door .</scene_description>
<character>JORGE</character>
<dialogue>Forget it. You'll need a warrant. I know, I'm a lawyer.</dialogue>
<scene_description>Clear rushes the door , shoulders it and expertly wriggles past Jorge 's grasp .</scene_description>
<character>JORGE</character>
<dialogue>Stop! You ca n't go in there!</dialogue>
<scene_description>Clear tears into the bedroom , grabs the bedspread and THROWS it to the floor to reveal a YOUNG WOMAN , naked , trembling with fear , takes a closer look at Clear .</scene_description>
<character>YOUNG WOMAN</character>
<dialogue>We never meant to hurt you Isa. You're not Isabella!</dialogue>
<scene_description>Meanwhile , Jorge yells at Thomas .</scene_description>
<character>JORGE</character>
<dialogue>I'm going to sue your ass!</dialogue>
<character>KIMBERLY</character>
<dialogue>Whose blood is that on the floor?</dialogue>
<scene_description>Defensively , Jorge holds up his arm . Freshly cut .</scene_description>
<character>JORGE</character>
<dialogue>Mine, you idiot. The dog went nuts this afternoon. Now arrest her!</dialogue>
<character>KIMBERLY</character>
<dialogue>Where's Isabella? Did you finally kill her you fucking wife beater?</dialogue>
<scene_description>Jorge flinches . It 's time to come clean .</scene_description>
<character>JORGE</character>
<dialogue>We had a fight. Some things got broken, the dog went crazy, she left me. Would n't say where she was going.</dialogue>
<character>THOMAS</character>
<dialogue>What was the fight about?</dialogue>
<character>JORGE</character>
<dialogue>Take a guess.</dialogue>
<character>THOMAS</character>
<dialogue>Does she have a cell phone? A way we can contact her?</dialogue>
<character>JORGE</character>
<dialogue>She did.</dialogue>
<scene_description>He eyes a SHATTERED CELL PHONE on the floor .</scene_description>
<character>CLEAR</character>
<dialogue>We're wasting time with this piece of shit. Let's just get to the meeting.</dialogue>
<scene_description>Jorge turns to soothe the frightened Young Woman in the bed .</scene_description>
<character>JORGE</character>
<dialogue>Hey, when you find her, tell her the kid's half mine.</dialogue>
<scene_description>Clear mutters something as they exit the house .</scene_description>
<character>CLEAR</character>
<dialogue>We can only pray it does n't come out retarded.</dialogue>
<scene_description>Jorge hisses something at the Rotty , which CHARGES them and SPRINGS ! But Thomas slams the door on the frothing dog just in time .</scene_description>
</scene>
<scene>
<stage_direction>EXT. THOMAS' APARTMENT BUILDING - NIGHT</stage_direction>
<scene_description>Rory sits in his Chevette outside an apartment building , staring up at the address . He quickly snorts some powder off his key and wipes his nostrils free of crystals . He takes a breath and exits the car .</scene_description>
</scene>
<scene>
<stage_direction>INT. THOMAS' APARTMENT BUILDING - NIGHT</stage_direction>
<scene_description>Rory follows some PEOPLE into the elevator . The elevator doors close on his shoe - trapping Rory in an awkward position . One MAN frantically pushes the DOORS OPEN button to no avail . Finally , as the elevator rises , Rory YANKS his foot free .</scene_description>
<character>MAN</character>
<dialogue>Jesus Christ. I wrote to management two weeks ago about these friggin' bumpers.</dialogue>
<scene_description>Rory bends down and inspects his shoe .</scene_description>
<character>RORY</character>
<dialogue>Damn, is that dogshit?</dialogue>
<scene_description>Rory briefly holds the shoe too close to the Man 's face - see ? - before disgustedly slipping it back on . DING . The doors open . The man hurries out and the elevator DOORS CLOSE on Rory 's smirking face .</scene_description>
</scene>
<scene>
<stage_direction>INT. THOMAS' APARTMENT - LATER</stage_direction>
<scene_description>REVEAL - Nora , Rory , and Kat , mortified , sit on a couch . It 's obvious the bomb 's been dropped , reality has set in . Clear and Kimberly await their reactions . Nora raises a trembling hand .</scene_description>
<character>NORA</character>
<dialogue>Does anybody have a Valium?</dialogue>
<scene_description>Kat opens her purse and hands her a blue pill .</scene_description>
<character>KAT</character>
<dialogue>You'll want to take -</dialogue>
<scene_description>Nora pops it in her mouth .</scene_description>
<character>KAT</character>
<dialogue>- half of that.</dialogue>
<scene_description>Nora chews , her eyes half dead from bereavement . Across the loft , Thomas paces , phone in hand .</scene_description>
<character>THOMAS</character>
<parenthetical>( quietly , into phone . )</parenthetical>
<dialogue>Any word yet on the Dodge van? Damn.</dialogue>
<scene_description>Eugene alone seems unafraid . He uses a GRABBER - a long pole with movable claw on the end - to OPEN THE SKYLIGHT . When done , he balances the long pole precariously against the wall . An OMINOUS BREEZE enters . Clear notices MAGAZINE PAGES blowing over the desk by the couch .</scene_description>
<character>NORA</character>
<dialogue>So that would mean. I'm next.</dialogue>
<character>EUGENE</character>
<dialogue>Nobody's next. This is crazy. First death's stalking us and now premonitions?</dialogue>
<character>KAT</character>
<dialogue>This ca n't be happening. My career's at a peak, I finally met a cute guy, I just bought a new house.</dialogue>
<character>RORY</character>
<dialogue>Just shut the fuck up and maybe you'll live.</dialogue>
<scene_description>Kat 's hands ball into fists . The hatred is mutual . Clear reaches for a nearby cardboard box on the desk , noticing MAGAZINE PAGES blowing over until their weight tips over a PENCIL HOLDER which spills pens out . She takes the box to Nora .</scene_description>
<character>CLEAR</character>
<dialogue>You're not next, Nora. Nobody has to be next. That's the point. Last time, we did n't plan. We were n't organized. Now we can help each other.</dialogue>
<scene_description>She reaches into the box and passes out cell phones to Nora and the others .</scene_description>
<character>CLEAR</character>
<dialogue>Think what would have happened if Kimberly had been able to warn you with the word pigeons.</dialogue>
<scene_description>Nora 's head falls . Kimberly senses her anguish and takes over .</scene_description>
<character>KIMBERLY</character>
<dialogue>The point is, as long as you know what to beware of, you have a fighting chance. It can be beaten. If I call you and say subway, get to a high rise fast. A place where no subway could possibly go, get it?</dialogue>
<scene_description>Everyone nods in understanding . Rory fidgets , sniffling , then POUNDS the table in frustration . Startling Kat .</scene_description>
<character>RORY</character>
<dialogue>Why the hell did I ever get on Route 18 in the first place? That's me, Mr. Dumb Fucking Luck.</dialogue>
<scene_description>Clear , very alert , looks at the tipped PENCIL HOLDER . PENS ROLL toward the end of the desk , toward a large White Pages directory which hangs precariously off the edge just so .</scene_description>
<character>CLEAR</character>
<dialogue>Anyone read today's paper? The article on Evan Shaeffer?</dialogue>
<scene_description>No one says a word .</scene_description>
<character>CLEAR</character>
<dialogue>The only reason he was on Route 18 was because he own the lottery and had to collect the winnings.</dialogue>
<character>RORY</character>
<dialogue>That lucky bastard.</dialogue>
<character>CLEAR</character>
<dialogue>What about the rest of you? Kimberly, you were driving to Daytona. Was Route 18 your first choice?</dialogue>
<character>KIMBERLY</character>
<dialogue>The new freeway was faster, but Route 18 was the way my mom used to take, so.</dialogue>
<scene_description>They take turns going around the room .</scene_description>
<character>THOMAS</character>
<dialogue>Route 18 is Drake's assignment, but he called in sick so I got.</dialogue>
<parenthetical>( blanches . )</parenthetical>
<dialogue>Drake's never sick.</dialogue>
<character>KAT</character>
<dialogue>I was my first day of jury duty.</dialogue>
<character>EUGENE</character>
<dialogue>Jury duty? That's randomly selected by social security numbers.</dialogue>
<character>CLEAR</character>
<dialogue>Random, sure.</dialogue>
<character>EUGENE</character>
<dialogue>What, you think Death planned for each of us to die in the pile up weeks ago? You're nuts.</dialogue>
<scene_description>Clear fumes . Rory looks ill and reaches into his wallet .</scene_description>
<character>RORY</character>
<dialogue>Last July I dialed a wrong number and got a radio station by accident. They asked me what number means `` good luck'' in Jewish.</dialogue>
<character>KAT</character>
<dialogue>Eighteen. And it's `` Hebrew''.</dialogue>
<character>RORY</character>
<dialogue>Anyway, I guessed it right and won these.</dialogue>
<scene_description>Rory holds up two Yankee tickets .</scene_description>
<character>RORY</character>
<dialogue>The best way to get to Yankee Stadium is Route 18.</dialogue>
<character>KIMBERLY</character>
<dialogue>I do n't know what's weirder, the dialing a wrong number part or that Death would set you up nine months in advance.</dialogue>
<character>THOMAS</character>
<parenthetical>( realization . )</parenthetical>
<dialogue>Whoa, nine months?</dialogue>
<character>KIMBERLY</character>
<dialogue>Are you thinking what I'm thinking?</dialogue>
</scene>
<scene>
<stage_direction>INT. CHEAP MOTEL - NIGHT</stage_direction>
<scene_description>ANGLE ON ISABELLA 'S PREGNANT BELLY . REVEAL she 's lying down , binging on take - out food , while speaking on the motel phone . A disturbing metallic SQUEAK SCRAPE - SQUEAK can be heard , nearly drowning out the SCREAMING COUPLE next door .</scene_description>
<character>ISABELLA</character>
<dialogue>Yes, I'd like to report a domestic squabble - my name? Isabella Cruz why, does it matter? I'm at the Super 8 motel. Yes, I own a white van. So what? Just get over here.</dialogue>
<scene_description>Isabella hangs up , recoiling at VIOLENT THUMPS against her wall . PULL BACK AND UP TO REVEAL the source of the unsettling SQUEAK is a rickety , wobbling CEILING FAN .</scene_description>
</scene>
<scene>
<stage_direction>INT. THOMAS' APARTMENT - NIGHT</stage_direction>
<scene_description>Kimberly whispers into the phone .</scene_description>
<character>KIMBERLY</character>
<dialogue>I'm sorry, Dad, we're having a hard time with Shaina's eulogy. I'll stay here at Virginia's tonight and see you tomorrow. I love you too.</dialogue>
<scene_description>She hangs up , looking guilty for having lied to her father . Clear keeps her eyes on the pens that ROLL on the slightly canted table into the about - to - fall White Pages directory .</scene_description>
<character>CLEAR</character>
<dialogue>Remember everyone, just because Kimberly's got the power does n't mean we're not all capable of seeing signs to some extent.</dialogue>
<scene_description>The pens softly tap the phone book one by one until it lazily tips over and PLOPS HEAVILY onto a GOOSE - DOWN THROW PILLOW . Small feathers from the pillow are carried upwards by the breeze . Everyone in the room watches them rise .</scene_description>
<character>RORY</character>
<dialogue>It's like Forrest Gump.</dialogue>
<scene_description>They float across the room , ultimately landing on a MOUSETRAP ! SNAP ! The trap flies over and knocks into the base of the unstable Grabber - which tips and slowly slides down the wall . Clear , in a chair , looks directly above her head at a LARGE SWORDFISH mounted on the wall . The Grabber picks up speed , arcs downward and hits the mounted SWORDFISH . The supporting brackets give , causing the SWORDFISH TO TIP and SLIDE DOWNWARD ! Clear lurches back in her chair just in time - the razor sharp bill impales the seat cushion between her legs !</scene_description>
<character>CLEAR</character>
<dialogue>Fuck. Should have seen that coming. The institution's made me soft.</dialogue>
<scene_description>Clear gets up , carefully easing herself around the swordfish . Eugene is n't quite sure what to make of what he 's just seen .</scene_description>
<character>EUGENE</character>
<dialogue>If Death has got such a hard - on for you, maybe you should get the hell away from us.</dialogue>
<character>KIMBERLY</character>
<dialogue>We need her. She's the only one who's dealt with this before, idiot!</dialogue>
<scene_description>Kimberly looks self - conscious by her outburst . Clear , however , looks grateful .</scene_description>
<character>CLEAR</character>
<dialogue>We're all going to have to open our eyes from now on. Look out for each other. Sleep in shifts.</dialogue>
<parenthetical>( looks around apartment . )</parenthetical>
<dialogue>And we've got to safeproof this deathtrap.</dialogue>
<scene_description>MONTAGE - SAFEPROOFING THE APARTMENT Everyone but Nora and Eugene helps unplug appliances , put out the fire , take down hanging objects , switch off the gas , put sharp objects away , affix padding to chart corners . Kat , placing poisonous cleansers and flammable liquids in a box , nervously pulls out a pack of smokes . Thomas watches as he takes a hanging mirror off the wall .</scene_description>
<character>KAT</character>
<dialogue>Screw this. I'm going outside for a smoke.</dialogue>
<character>THOMAS</character>
<dialogue>You think you should? It's not safe out there.</dialogue>
<character>KAT</character>
<dialogue>So? Nora's got ta bite it before me anyway, right?</dialogue>
<scene_description>Kat steps towards the front door , then remembers the cell phone and grabs it just in case . Thomas smiles ` good job ' at her . Kimberly , unscrewing the light bulb , looks up when Nora rises from the couch in a stupor and struggles to put on her jacket . Kimberly looks concerned .</scene_description>
<character>KIMBERLY</character>
<dialogue>Where are you going, Nora? You okay?</dialogue>
<scene_description>Nora fights the sleeve , dazed and defeated .</scene_description>
<character>NORA</character>
<dialogue>Four years ago my husband died. Now Tim. There's nothing left for me.</dialogue>
<scene_description>Kimberly stops pouring liquor down the drain .</scene_description>
<character>KIMBERLY</character>
<dialogue>Do n't say that. Once you lose hope, it's already too late.</dialogue>
<scene_description>Eugene snickers . Nora looks up , anger surfacing .</scene_description>
<character>NORA</character>
<dialogue>If it's my time to go, to be in heaven with my family, then I can accept that.</dialogue>
<character>KIMBERLY</character>
<dialogue>You ca n't give up. Do n't accept Death's plan. Trust me, you can fight this. If we can just survive long enough until that baby is born, we can -</dialogue>
<scene_description>Nora looks more resolute than ever .</scene_description>
<character>NORA</character>
<dialogue>If you'll excuse me, I have a funeral to prepare.</dialogue>
<scene_description>Everyone looks crushed when Nora heads for the door . Except Eugene , who stands up as well .</scene_description>
<character>EUGENE</character>
<dialogue>Yeah, why am I listening to a girl who just got out of the nut house?</dialogue>
<scene_description>As Eugene heads out , Kimberly becomes enraged and grabs him .</scene_description>
<character>KIMBERLY</character>
<dialogue>Seeing you die once was enough for me.</dialogue>
<character>EUGENE</character>
<dialogue>Whatever. I control my life, not fate.</dialogue>
<character>CLEAR</character>
<dialogue>I'll be sure to put that on your tombstone.</dialogue>
<scene_description>Rory presses a cell phone into Eugene 's hand on his way out .</scene_description>
<character>RORY</character>
<dialogue>Be careful. And even if you do n't believe, give this to Nora.</dialogue>
</scene>
<scene>
<stage_direction>INT. THOMAS' APARTMENT BUILDING - NIGHT</stage_direction>
<scene_description>Eugene pushes the elevator button a thousand times . Nora nervously ties her long hair back in a single braid .</scene_description>
</scene>
<scene>
<stage_direction>INT. THOMAS' APARTMENT - CONTINUOUS</stage_direction>
<scene_description>The nervous group finishes safe - proofing the apartment . RORY , standing on the couch , pulls a POLICE ACADEMY DIPLOMA off the wall - and slips - stumbling BACKWARDS into the closet . Staggering , he accidentally knocks some COAT HANGARS and a VOLLEYBALL TROPHY from the high shelf to the floor . Thomas whips around and sees that Rory 's not hurt . He then lowers his gaze and sees - The figurine of a VOLLEYBALL TROPHY is framed by a tangled jumble of wire COAT HANGARS . Suddenly , STREETLIGHT FLICKERS ON for the evening . Oddly , it only illuminates the Trophy/Hangar array . From Rory 's vantage point , it looks like a surreal sculpture of a man with hooks emanating from his body . The sodium vapor lamp casts an OMINOUS GLOW around the image .</scene_description>
<character>RORY</character>
<dialogue>man with hooks. I see a man with hooks. Someone?!?!</dialogue>
<scene_description>The others look over , trying to see what he does .</scene_description>
<character>THOMAS</character>
<parenthetical>( unsure . )</parenthetical>
<dialogue>I kinda see it, yeah. So. Nora's going to be killed by a man with hooks?</dialogue>
<scene_description>Kimberly and Clear stare at the volleyball trophy - the street lamp ominously FLICKERS OUT AND DIES . Everyone looks around for a hesitant beat , then Thomas picks up his cell phone . Clear first walks , then RUNS out the door .</scene_description>
</scene>
<scene>
<stage_direction>INT. THOMAS' APARTMENT BUILDING - CONTINUOUS</stage_direction>
<scene_description>The elevator finally comes . Eugene and Nora get inside , standing in front of a gaunt looking man holding a cardboard box full of PROSTHETIC LIMBS . MUZAK plays AC/DC 's HIGHWAY TO HELL .</scene_description>
<character>EUGENE</character>
<dialogue>Going down, right?</dialogue>
<scene_description>The Gaunt Man says nothing . The DOORS CLOSE .</scene_description>
</scene>
<scene>
<stage_direction>INT. ELEVATOR - CONTINUOUS</stage_direction>
<scene_description>Eugene stares blankly at the CONCAVE MIRROR in the upper corner . He 's disturbed by the WARPED REFLECTION OF : THE GAUNT MAN leans closer to Nora 's hair and as the doors finally close , he leans over and SMELLS it . Creepy .</scene_description>
<character>EUGENE</character>
<dialogue>Um, by the way, your shoe's untied.</dialogue>
<scene_description>Nora bends down to tie her shoelace -LRB- the one that snapped -RRB- . She tries tying the long dangling shoelace to the stubby one as Eugene 's cell phone VIBRATES in his hand . Startled , he drops it to the floor . Then looks embarrassed .</scene_description>
<character>EUGENE</character>
<dialogue>Probably for you, anyway.</dialogue>
<scene_description>Nora picks it up . STATIC CRACKLES . It 's hard to make out Thomas ' yelling .</scene_description>
<character>NORA</character>
<dialogue>Officer Burke? I ca n't hear.</dialogue>
<scene_description>A beat of confusion , then she slowly turns to see the clawed hooks and hands of the Prosthetic limbs . Terror . She freezes .</scene_description>
<character>EUGENE</character>
<dialogue>What is it? What's wrong?</dialogue>
<scene_description>But Nora 's too frightened to speak . Eugene grabs the phone , hearing unintelligible STATIC . INTERCUT CLEAR As she frantically hits the elevator button . When it fails to come , she runs downstairs .</scene_description>
</scene>
<scene>
<stage_direction>INT. ELEVATOR - CONTINUOUS</stage_direction>
<scene_description>Nora slowly rises to her feet , feverishly mouthing a prayer . As the door opens , Nora rushes out - unseen to her , her long braid gets snagged on one of the PROSTHETIC HOOKS , YANKING her backwards .</scene_description>
<character>NORA</character>
<dialogue>Let me go let me go!</dialogue>
<character>EUGENE</character>
<dialogue>Oh, watch it, you've caught your uh.</dialogue>
<scene_description>The Guant Man 's sweet voice and demeanor are a clear contrast to his outward appearance .</scene_description>
<character>MAN</character>
<dialogue>Goodness gracious, darling, let me help you with.</dialogue>
<scene_description>Nora panic , s as Eugene and the Man try to untangle her braid . Nora desperately spins her body around , sticking her head back inside the elevator . Kat appears in the lobby , smoking a cigarette .</scene_description>
<character>KAT</character>
<dialogue>You alright, Nora?</dialogue>
<scene_description>The elevator DOORS begin to close , and CLAMP around Nora 's neck , her head inside , body outside the elevator . Eugene pounds on the BUMPERS , but they do n't seem to work !</scene_description>
<character>NORA</character>
<dialogue>My God, someone please let me out of this -</dialogue>
<scene_description>INTERCUT The UP BUTTON is lit . Clear rushes to the lobby . The Elevator RISES ! INSIDE THE ELEVATOR , Eugene watches Nora 's head drop to floor level - then he pounds the Emergency Button - which SHORTS OUT ! Nora 's body lifts upwards from the force of the elevator floor ! Nora 's screams of terror and agony fill the air as the elevator repeatedly LURCHES UPWARDS . Kat gasps in horror to see this poor woman suspended above the floor . It lurches . And lurches . And lurches . The horror never ends . Clear comes from the stairwell and is shocked by the sight . She runs to the elevator doors , trying to pry them apart to no avail . All Kat can do , crying , is grab hold of Nora 's flailing legs and try to pull her back down . The elevator lurches a final time . NORA 'S HEADLESS BODY fall down into Kat 's arms , knocking her to the floor . Kat freaks , skittering away as the body convulses . INSIDE THE ELEVATOR Eugene balls his hands to his mouth in undeniable fear . A bloodcurdling moan escapes him . He stares transfixed as Nora 's head , still aghast in terror , rolls around the floor . The sight clearly sends Eugene over the edge . He SCREAMS , CLAWS AND POUNDS , desperate to escape the elevator .</scene_description>
</scene>
<scene>
<stage_direction>INT. THOMAS' APARTMENT - MOMENTS LATER</stage_direction>
<scene_description>Eugene suddenly bursts through the door , babbling incoherently . Kimberly , Thomas and Rory look on , bewildered .</scene_description>
<character>EUGENE</character>
<dialogue>no escapes my ass. I control my fate. I die on my terms, hear me Reaper cockscuker?!</dialogue>
<scene_description>Eugene 's in another world . He approaches Thomas and lunges for his GUN - yanking it from the holster !</scene_description>
<character>THOMAS</character>
<dialogue>What the hell are you?</dialogue>
<character>EUGENE</character>
<dialogue>Ai n't going out like that. On my terms!</dialogue>
<character>THOMAS</character>
<dialogue>Just take it easy!</dialogue>
<scene_description>A twisted insane smile comes to Eugene 's face as he jams the gunbarrel to his temple . The others shrink back in terror . He PULLS THE TRIGGER . CLICK ! Eugene tries again . CLICK ! Thomas looks stunned as Eugene goes through every round , CLICK CLICK CLICK CLICK CLICK CLI CK . Kimberly breaths a sigh of relief .</scene_description>
<character>KIMBERLY</character>
<dialogue>You do n't keep it loaded?</dialogue>
<scene_description>Thomas ' eyes disagree . He reaches in and GRABS the gun away from Eugene , who stands there trembling . Thomas cracks open the cylinder . Loaded .</scene_description>
<character>RORY</character>
<dialogue>Maybe they were all duds.</dialogue>
<character>THOMAS</character>
<dialogue>Six in a row? Never. Impossible. That's like.</dialogue>
<parenthetical>( sinking realization . )</parenthetical>
<dialogue>. winning the lottery.</dialogue>
<character>CLEAR</character>
<parenthetical>( O.S . )</parenthetical>
<dialogue>It was n't his turn to die.</dialogue>
<scene_description>Everyone turns to see Clear and Kat , standing in the doorway , DRENCHED IN BLOOD . Kat trembles uncontrollably .</scene_description>
<character>KAT</character>
<dialogue>Can we find the pregnant woman, please?</dialogue>
</scene>
<scene>
<stage_direction>INT. THOMAS' APARTMENT - DAWN</stage_direction>
<scene_description>Flashing lights from rescue vehicles illuminate the living room . In the newly conformed safe house , Kat and Clear relax as best they can in Thomas ' dry clothes . Thomas makes another phone call . In the corner , Eugene shivers to himself . Desperately looking for signs of danger . He looks over to Clear .</scene_description>
<character>EUGENE</character>
<dialogue>Um, Clear? I'm sorry. about before. I.</dialogue>
<character>CLEAR</character>
<dialogue>Your entire world view just went out the window. I could n't expect a religious conversation overnight. We'll get through this.</dialogue>
<parenthetical>( beat . )</parenthetical>
<dialogue>I promise.</dialogue>
<scene_description>Eugene looks immensely relieved . Rory ambles over to Kimberly , his typical callousness gone .</scene_description>
<character>RORY</character>
<dialogue>Can I ask you a question?</dialogue>
<character>KIMBERLY</character>
<dialogue>Sure.</dialogue>
<character>RORY</character>
<dialogue>When I die. Is it gon na hurt?</dialogue>
<character>KIMBERLY</character>
<dialogue>I. I do n't know.</dialogue>
<scene_description>Rory nods . He expected as much . He fishes his LICENSE and KEYS out of his pocket .</scene_description>
<character>RORY</character>
<dialogue>And you're gon na die after me, right?</dialogue>
<character>KIMBERLY</character>
<dialogue>I guess so.</dialogue>
<character>RORY</character>
<parenthetical>( re : keys and license . )</parenthetical>
<dialogue>Would you take these? And if I die.</dialogue>
<parenthetical>( tears well up . )</parenthetical>
<dialogue>Could you throw all my drugs out? Paraphernalia, porno, you know. Anything that would break my mom's heart.</dialogue>
<scene_description>Kimberly looks deeply into his eyes , looking for the punchline . When she does n't see one , she nods tenderly and takes the keys . The PHONE RINGS . Rory jumps at the sound , paranoid eyes in scan mode . Thomas answers , speaks softly , hangs up .</scene_description>
<character>THOMAS</character>
<dialogue>A one very pissed off Ms. Isabella Cruz is being detained up in Greenwood. Let's finish this thing.</dialogue>
</scene>
<scene>
<stage_direction>EXT. COUNTRY ROADS - DAY</stage_direction>
<scene_description>Kat 's Ford Expedition winds its way through rural New York . A SPORTS CAR speeds past on the left , then as it pulls in front of the Exped ition , its slipstream sucks over some debris from the shoulder ; a thin metal piece of trim , which bounces in front of Kat 's Expedition 's left front tire . CU KAT 'S WHEEL WELL - the metal trim is shot upward into the wheel well , where it lodges firmly , its sharp metal edge GRINDING AGAINST THE RUBBER . INSIDE THE CAR Kat drives , Thomas reading directions in the shotgun seat . Kimberly , Eugene and Rory ride in back . In the CARGO area , Clear scans out the rear window for danger . Rory fidgets .</scene_description>
<character>RORY</character>
<dialogue>Is this safe, guys? I mean, someone in this car is about to get whacked. Do the rest of us really feel like sitting next to him?</dialogue>
<parenthetical>( off Kat 's glare . )</parenthetical>
<dialogue>Or her. Hopefully her.</dialogue>
<scene_description>An uncomfortable beat .</scene_description>
<character>THOMAS</character>
<dialogue>Guys, let's not panic. Isabella's safe.</dialogue>
<character>KIMBERLY</character>
<dialogue>How do you know?</dialogue>
<character>THOMAS</character>
<dialogue>You said she was going to drive into a lake. How can she when she's in protective custody?</dialogue>
</scene>
<scene>
<stage_direction>INT. SHERIFF'S STATION - DAY</stage_direction>
<scene_description>Isabella , pissed , is in a holding tank . Small town deputy STEVE ADAMS , 30 's , CLEANS HIS GUN in her direction .</scene_description>
<character>ISABELLA</character>
<dialogue>What do you mean `` grand theft auto?'' This is insane.</dialogue>
<character>STEVE</character>
<dialogue>Hopefully the district judge can straighten it all out by Monday mor ning.</dialogue>
<character>ISABELLA</character>
<parenthetical>( figures it out . )</parenthetical>
<dialogue>Jorge. When I get out of here I'm going to sue his cheating ass off.</dialogue>
<scene_description>As she fumes , a rivulet of WATER streaks down her leg .</scene_description>
<character>IS ABELLA</character>
<dialogue>Oh my God.</dialogue>
<scene_description>Steve , at first confused , sees the water and gasps .</scene_description>
<character>STEVE</character>
<dialogue>Are you kidding me?! Oh, man.</dialogue>
<scene_description>He rushes across the room , pulls a lever , unlocking the cell .</scene_description>
<character>STEVE</character>
<dialogue>C'mon. Let's go.</dialogue>
<scene_description>As Steve throws on his jacket , we reveal its prominent emblem : GREENWOOD LAKE SHERIFF DEPARTMENT .</scene_description>
</scene>
<scene>
<stage_direction>EXT. SHERIFF'S STATION - MOMENTS LATER</stage_direction>
<scene_description>Small town station . Only one patrol car . In the patrol car , Isabella buckles up in the sho tgun seat , the belt stretched tightly across her belly . Deputy Steve tries the ignition , but the car wo n't start .</scene_description>
<character>STEVE</character>
<dialogue>Damn, they always stick me with the clunker.</dialogue>
<character>ISABELLA</character>
<dialogue>Take my van!</dialogue>
</scene>
<scene>
<stage_direction>EXT. WESTCHESTER COUNTY - DAY</stage_direction>
<scene_description>KAT 'S EXPEDITION speeds through a yellow light and continues on . CLOSE ON EXPEDITION 'S LEFT TIRE Metal sheers away more rubber . INSIDE THE EXPEDITION Rory , antsy , rubbing his nostrils , stares at two Yankee tickets .</scene_description>
<character>RORY</character>
<dialogue>Here's what I do n't get. For nine months, Death does all this shit to make sure I win these tickets and end up on Route 18 at exactly the right time for the pile up.</dialogue>
<character>KAT</character>
<dialogue>Yeah?</dialogue>
<character>RORY</character>
<dialogue>But why single me out? What am I in the great scheme of things? You'd think I stepped off Flight 180 or something. Fucking weird, man.</dialogue>
<character>THOMAS</character>
<dialogue>You want weird? Last year, my partner and I were heading out for the graveyard shift. A call comes in about a train wreck and Frank decides to let me handle it alone.</dialogue>
<parenthetical>( beat . )</parenthetical>
<dialogue>Frank died that night in a shootout. I'd be dead too if that call had come in just ten seconds later.</dialogue>
<scene_description>Everyone nods in that ` life 's weird ' reverence kind of way .</scene_description>
<character>KAT</character>
<dialogue>I got that beat. So like, last May, I was supposed to stay at this cheesy bed and breakfast in Pennsylvania. There was a major gas leak no one knew about and all the guests suffocated during the night.</dialogue>
<character>RORY</character>
<dialogue>Yeah, so what happened?</dialogue>
<character>KAT</character>
<dialogue>I never mad it. The Greyhound bus I was on splattered some chick all over the road and we had to stop.</dialogue>
<character>CLEAR</character>
<dialogue>Was that in Mt. Abraham?</dialogue>
<character>KAT</character>
<dialogue>Yeah. How did you know?</dialogue>
<character>CLEAR</character>
<parenthetical>( sinking realization . )</parenthetical>
<dialogue>That bus you were on? It killed Terry Mathers. She was supposed to die on Flight 180.</dialogue>
<character>KAT</character>
<dialogue>I'm not sure I -</dialogue>
<character>THOMAS</character>
<dialogue>Shit. The call about the train wreck that saved my life? That was the night I scraped up Billy Hitchcock.</dialogue>
<character>RORY</character>
<dialogue>Who?</dialogue>
<character>KIMBERLY</character>
<dialogue>Another kid from Flight 180.</dialogue>
<scene_description>A chill passes over the group .</scene_description>
</scene>
<scene>
<stage_direction>INT. WINDING ROADS - DAY</stage_direction>
<scene_description>Deputy Steve speeds the White Van up the narrow winding road . Isabella breathes Lamaze - style through intense pain .</scene_description>
<character>ISABELLA</character>
<dialogue>Promise me. I wo n't have the baby. in this van.</dialogue>
<scene_description>Speeding up the incline , Steve tries to speed around a Volkswagon Beetle , but cars scream by in the opposite direction .</scene_description>
<character>ISABELLA</character>
<dialogue>Get around it!</dialogue>
<scene_description>Steve leans on the horn and stomps the gas , dangerously riding the shoulder around the Beetle . Way ahead of the Beetle , on the left side , is a LAKE .</scene_description>
</scene>
<scene>
<stage_direction>EXT. WINDING ROADS</stage_direction>
<scene_description>BRIAN GIBBONS , 15 , cheerfully drives a TRACTOR hauling a WHOODCHIPPER across the high crest of the empty road toward a pile of thick branches . The Tractor unexpectedly stalls in the middle of the road . He tries the ignition , pumps the gas . Nothing . Only by standing on the tractor can Brian see the White Van speeding up the hill toward him . He jumps down and frantically tires starting the tractor . Once , twice , nothing .</scene_description>
</scene>
<scene>
<stage_direction>EXT. KAT'S EXPEDITION - CONTINUOUS</stage_direction>
<scene_description>CU FRONT TIRE - METAL shreds away more rubber .</scene_description>
</scene>
<scene>
<stage_direction>INT. KAT'S EXPEDITION - CONTINUOUS</stage_direction>
<scene_description>Rory excitedly makes a connection .</scene_description>
<character>RORY</character>
<dialogue>Remember the theater in Paris that collapsed last year, killed everyone inside?</dialogue>
<scene_description>Everyone nods , anticipating .</scene_description>
<character>RORY</character>
<dialogue>I had tickets to go, but one day I'm in Paris, trippin' on acid, sippin' lattes an' such, and this dude gets whacked by a falling sign.</dialogue>
<character>CLEAR</character>
<dialogue>Carter.</dialogue>
<character>RORY</character>
<dialogue>Freaked me out so bad I hid in a shopping cart for four hours. ` Course, missed the show.</dialogue>
<character>CLEAR</character>
<dialogue>What about you, Kimberly? Did you anyone from Flight -?</dialogue>
<scene_description>Clear stops when she sees all the color has drained from Kimberly 's face . Even Eugene looks concerned .</scene_description>
<character>EUGENE</character>
<dialogue>Are you okay?</dialogue>
<scene_description>The car becomes completely silent -LRB- except for the slight SCRAPING -RRB- as Kimberly prepares to tell her story .</scene_description>
<character>KIMBERLY</character>
<dialogue>A little over a year ago, my mother and I went to the mall. I was supposed to meet her outside, but I got caught up watching some news report about some kid who committed suicide. I kept thinking, `` How can you strangle yourself in a bathtub?'' That's retarded.</dialogue>
<scene_description>Thomas mouths , `` Tod ? '' to Clear . Clear nods .</scene_description>
<character>KIMBERLY</character>
<dialogue>It felt wrong. And yet.</dialogue>
<parenthetical>( continuing . )</parenthetical>
<dialogue>There were gunshots outside and I ran.</dialogue>
<parenthetical>( chokes up . )</parenthetical>
<dialogue>Some kids tried to jack her car. She fought them off - she was a fighter - and they killed her.</dialogue>
<scene_description>Kimberly looks to Clear .</scene_description>
<character>KIMBERLY</character>
<dialogue>After the funeral I had this overwhelming feeling that it should have been me. I figured that's how everyone must feel. But I guess I was right.</dialogue>
<scene_description>Thomas reaches between the seats and takes Kimberly 's hand . As he looks into her eyes , Kat takes her own eyes off the road to light a cigarette . INTERCUT BRIAN The tractor is safely off the road next to a wood pile . Brian grabs a cord and starts up the whoodchipper .</scene_description>
</scene>
<scene>
<stage_direction>INT. KAT'S EXPEDITION - CONTINUOUS</stage_direction>
<character>CLEAR</character>
<dialogue>It's all starting to come together. When Alex got us off Flight 180, it did n't just change our lives. It affected everyone and everything we've come into contact with ever since.</dialogue>
<character>EUGENE</character>
<dialogue>I'm not sure I understand.</dialogue>
<character>CLEAR</character>
<dialogue>Being alive after our time caused an outward ripple - a rift in Death's design.</dialogue>
<scene_description>Eugene nods , slowly getting it .</scene_description>
<character>EUGENE</character>
<dialogue>So if you never got off the plane, none of us would be ali ve in the first place.</dialogue>
<character>CLEAR</character>
<dialogue>That's why Death is working backwards. It's tying up all the loose ends, sealing the rift once and for all -</dialogue>
<scene_description>This chapter of the screenplay contains scene -LRB- s -RRB- that do not appear or occur elsewhere in the final movie . In order to maintain the integrity of the screenplay , it has not been edited . CU LEFT TIRE A thick retread sheers itself onto the pavement . BRIAN The wood chipper roar s loudly . Suddenly , some forgotten stray chunk SHOOTS from the spout - The airborne chunk of WOOD CRACKS the White Van 's windshield . Steve veers out of control . Kat sees the White Van ahead swerving into HER LANE . She quickly jerks the wheel to the right . Kat 's LEFT FRONT TIRE BLOWS ! It sends rubber flying and the entire SUV pulls hard to the left , spinning her out of control into the oncoming lane of traffic - toward the White Van ! Isabella SCREAMS ! Steve jerks the wheel to the left ! The White Van has a close near miss with the Expedition , and goes off the road toward a LAKE !</scene_description>
<character>STEVE</character>
<dialogue>Hang on!</dialogue>
<scene_description>The SUV misses the tractor - but sails off the other side of the embankment , spinning and rolling towards - THE GIBBONS ' FARM At the bottom of the hill of a large rural farm , a PROPANE TANK sits at the edge of the property ! The SUV barrels down the hill - coming right for it ! INSIDE THE SUV All Kat can do is cover her head with her arms . THE WHITE VAN Speeding toward the lake ! Isabella SCREAMS , in pain , not fear . The White Van is ready for splashdown . Steve finesses the hand brake while tapping the accelerator . He 's able to right the van away from the water without so much as a hard jerk .</scene_description>
<character>STEVE</character>
<dialogue>We're okay, we're okay.</dialogue>
<scene_description>THE PROPANE TANK It 's about to get creamed - but the bouncing Expedition just barely misses it ! It continues , backwards , CRASHING through a temporary fence and right into - AN AGRICULTURAL CONSTRUCTION SITE ! The Expedition plows past earth movers , crashing through irrigation ditches and pipes , shrapnel flying everywhere . Just as the Expedition comes to a stop , an IRRIGATION PIPE ROCKETS through the rear window - miraculously missing Clear and Rory - coming to a rest just behind Kat 's head . INSIDE THE WHITE VAN Steve sees the wreckage on the other side of the highway and slows down . Isabella squeezes his hand white .</scene_description>
<character>ISABELLA</character>
<dialogue>Please. It's not going to wait.</dialogue>
<character>STEVE</character>
<dialogue>I've got to stop and help those people.</dialogue>
<character>ISABELLA</character>
<dialogue>Do you want to deliver this baby?</dialogue>
<scene_description>Steve looks ill , then sees another car stopping by the crash . He floors it and speaks into the shoulder mic of his cop radio . THE EXPEDITION The dust settles in the silent car . The only sound is a QUIET , WET WHEEZE . Clear , dazed , looks around carefully , avoiding the METAL SPIKE that skewers the vehicle . Rory holds his trembling hand before his eyes as if amazed to see it . Kimberly shakes her hair , spilling glass onto the floor . Kat tries to open the door , but it wo n't budge .</scene_description>
<character>KAT</character>
<dialogue>Not my time. Amazing.</dialogue>
<character>THOMAS</character>
<dialogue>Is everybody alright?</dialogue>
<scene_description>A BLOODY HAND SEIZES HIS SHOULDER ! Thomas turns to see Eugene SPASMING in the back seat ! He clutches his ribcage in agony and wheezes ! Blood trickles from his mouth .</scene_description>
<character>KAT</character>
<dialogue>He ca n't breathe! He ca n't breathe!</dialogue>
<character>CLEAR</character>
<dialogue>Oh my god, Eugene!?</dialogue>
<scene_description>Eugene 's head tilts forward , unconscious .</scene_description>
</scene>
<scene>
<stage_direction>EXT. GIBBONS' FARM - DAY</stage_direction>
<scene_description>BRIAN GIBBONS jumps off the tractor and sprints down the hill toward the accident . At the edge of the property is a common farm FENCE made from wooden posts bridged by two thick wires . Brian skillfully climbs between the wires and runs past a DEAD OAK TREE ten feet inside the fence . In the BG , MR. GIBBONS darts inside a double - wide construction trailer .</scene_description>
<character>MR. GIBBONS</character>
<parenthetical>( O.S . )</parenthetical>
<dialogue>Call 9 - 1 - 1!</dialogue>
<scene_description>WE FOLLOW BRIAN To the crash site . Brian 's jaw drops as he absorbs the chilling sight of a guy and a girl dragging a blood - soaked man from the back seat to perform CPR on him . Around Brian , voices mesh in a surreal haze .</scene_description>
<character>THOMAS</character>
<dialogue>Stop it, do n't move him!</dialogue>
<character>KIMBERLY</character>
<dialogue>He ca n't breathe damn it. I think his lung's collapsed!</dialogue>
<character>CLEAR</character>
<dialogue>Someone call for help!</dialogue>
<scene_description>We STEADICAM around Brian to reveal a woman screaming from the driver 's seat . The sound is surreal .</scene_description>
<character>KAT</character>
<dialogue>I ca n't move my fucking leg! Please get me out of here before it explodes!</dialogue>
<scene_description>The color drains from Brian 's face as the dying man on the ground coughs blood and the girl performing CPR recoils . The moment is still surreal as Brian steps back , further away from the horrors he ca n't face . Into the street - And Rory yanks him back from imminent death as an AMBULANCE SPEEDS onto the property .</scene_description>
<character>RORY</character>
<dialogue>Watch it, dude!</dialogue>
<scene_description>That SNAPS Brian back to reality . Sounds become normal again . Brian collects himself and SNIFFS the air . He then drops to ground level , looking under the Expedition for something .</scene_description>
<character>KIMBERLY</character>
<dialogue>Help us, we need help over here!</dialogue>
<character>BRIAN</character>
<parenthetical>( to Kat , reassuringly . )</parenthetical>
<dialogue>I do n't smell any gas. And none's dripping, either.</dialogue>
<scene_description>Brian sticks his head in Kat 's window and peers down at her trapped leg . He swipes the broken glass away from the window with this thick flannel sleeve , reaches in , and tries to YANK the door open with all his might . No good , Kat SCREAMS in pain .</scene_description>
<character>KAT</character>
<dialogue>Stop that! I still need this foot, thank you.</dialogue>
<scene_description>Brian steps back as the emergency vehicle speeds over .</scene_description>
</scene>
<scene>
<stage_direction>EXT. GIBBON'S FARM - LATER</stage_direction>
<scene_description>Clear watches two EMTS lo ad Eugene into the back of an ambulance . An oxygen mask has been placed over his mouth .</scene_description>
<character>CLEAR</character>
<dialogue>Be careful with that, check the gages on the regulator and be mindful of overdoses. Oh, watch for potholes and puddles.</dialogue>
<scene_description>As Clear continues , the exasperated Paramedics do their best to ignore her . When she tries to climb inside , she is pushed away .</scene_description>
<character>CLEAR</character>
<dialogue>Look, I made him a promise -</dialogue>
<character>PARAMEDIC</character>
<dialogue>Sorry. There's no room.</dialogue>
<scene_description>Again , she 's shoved away and steps back , helpless . Thomas and Kimberly stand by Kat , still trapped in the SUV .</scene_description>
<character>THOMAS</character>
<dialogue>Get that over here! Move move move!</dialogue>
<scene_description>A RESCUE WORKER carries the JAWS of LIFE past Clear towards the Expedition .</scene_description>
<character>RESCUE WORKER</character>
<dialogue>Excuse me, hot soup coming through.</dialogue>
<scene_description>The hydraulic hose that leads back to the Power Unite WRAPS AROUND CLEAR 'S LEG . As the hose tightens , Clear realizes she 's surrounded by shards of glass and metal . She quickly WRESTLES herself free of the hose and watches the Paramedics lock Eugene 's gurney into place .</scene_description>
<character>CLEAR</character>
<dialogue>One more thing. Watch out for power lines.</dialogue>
<scene_description>The doors slam , revealing the PHELPS MEMORIAL HOSPITAL logo . The ambulance speeds off , spraying gravel at her . She reaches into her pocket and withdraws a CRUSHED cell phone . Shit . She runs back over to Thomas .</scene_description>
<character>CLEAR</character>
<dialogue>We have to contact Isabella now!</dialogue>
<scene_description>A NEWS VAN tries to weave through the emergency vehicles to get closer to teh accident . ANGLE ON NEWS VAN UNDERCARRIAGE It sinks into the loose dirt , SCRAPING A LARGE ROCK . The gas tank PUNCTURES . EMT 'S angrily wave the news van back to the road , where it parks near the twin wire fence opposite the DEAD OAK TREE . Immediately , A CAMERA CREW exits the van to catch the action . Rory steps behind the News Van , making sure he ca n't be seen , and digs into his sock , coming up with a bindle . A SMILE .</scene_description>
<character>THOMAS</character>
<parenthetical>( O.S . )</parenthetical>
<dialogue>Rory!</dialogue>
<scene_description>Rory cringes at his name , pockets his stash , then EXITS FRAME . WE PUSH IN , the news van gas tank is leaking . A SMALL DRIP .</scene_description>
</scene>
<scene>
<stage_direction>EXT. GIBBON'S FARM - CONTINUOUS</stage_direction>
<scene_description>Thomas , Kimberly , Clear and Rory watch the JAWS OF LIFE being clamped onto Kat 's door .</scene_description>
<character>THOMAS</character>
<dialogue>Where's the cell phone Clear gave you?</dialogue>
<character>RORY</character>
<dialogue>I dunno. I think I gave it to Eugene back at your place.</dialogue>
<character>THOMAS</character>
<dialogue>Damn it. We have to call the Greenwood Police Station and warn Isabella.</dialogue>
<scene_description>Thomas runs in the direction of some local POLICE . After he leaves , Rory drifts away from the pack , hand in pocket . Kimberly moves back to Kat , who chain - smokes in the front seat of the Expedition .</scene_description>
<character>KIMBERLY</character>
<dialogue>You doing alright in there?</dialogue>
<character>KAT</character>
<dialogue>My legs are starting to cramp up. And God, why am I so thirsty? Does anyone have any Fiji?</dialogue>
<scene_description>The KA - CHUNK of the Jaws of Life next to Kat startles her half to death .</scene_description>
<character>KAT</character>
<dialogue>Christ, you wan na give me a heads up next time, pal?</dialogue>
<scene_description>Brian and Mr. Gibbons approach with a cup of tap water . They hand it to kat , who frowns but drinks anyway . THE DRIP Of the leaking gas becomes a steady trickle . GAS SLITHERS over packed dirt , around debris , toward the crash site . THOMAS DARK ROOM Speaks to another COP who clicks off his radio .</scene_description>
<character>COP</character>
<dialogue>She's at Phelps Memorial. They're prepping her to give birth right now.</dialogue>
<character>THOMAS</character>
<dialogue>Where's that?</dialogue>
<character>COP</character>
<dialogue>A few miles up the road. Near the docks.</dialogue>
<scene_description>KAT Lights one cigarette off the other KA - CHUCNK ! The sound makes her flinch , dropping the cigarette on the floor .</scene_description>
<character>KAT</character>
<dialogue>Damn, ca n't you be quieter with that thing?</dialogue>
<character>RESCUE WORKER</character>
<parenthetical>( dripping scorn . )</parenthetical>
<dialogue>Sure, I'll just set it to the `` quiet'' mode.</dialogue>
<scene_description>Kat rescues the glowing cigarette from around her feet and inhales . KA - CHUNK ! She jumps again , but maintains her composure . MEANWHILE The gasoline purposefully trickles down corrugated steel , through pipes , closer and closer to the Expedition . At one point , the gas even disappears into a hole in the ground , only to resurface twenty feet closer to the site . KIMBERLY Looks confused to watch Rory climb between the fence wires and drift the Dead Oak Tree into the field . Thomas runs down the hill toward Kimberly .</scene_description>
<character>THOMAS</character>
<dialogue>We got ta go now. Isabella's in labor.</dialogue>
<scene_description>Rescue Workers pull off a large chunk of door . KA - CHUNK ! Kat Flinches .</scene_description>
<character>KIMBERLY</character>
<dialogue>What about that?</dialogue>
<character>CLEAR</character>
<parenthetical>( calls over to Kat . )</parenthetical>
<dialogue>How you doing in there, hero?</dialogue>
<character>KAT</character>
<parenthetical>( re : spike behind head . )</parenthetical>
<dialogue>I guess it could be worse.</dialogue>
<scene_description>Brian hands out drinks to Rescue Workers .</scene_description>
<character>THOMAS</character>
<dialogue>So let's go. Where the hell is Rory?!</dialogue>
<scene_description>Thomas sees Rory in the field and angrily hops the fence , heading directly under the dead Oak Tree . Rory , his back to everyone , finally opens the BINDLE . Enraptured , he delicately unfolds it . KIMBERLY Is put on alert by a fresh BREEZE . Her attention is caught by the WINDOW of an emergency vehicle . IN THE REFLECTION , Kimberly sees a man sitting on the Expedition , but when she spins ar ound , there 's no one there . KA - CHUNG ! The door comes off the Expedition , finally freeing Kat ! Everyone applauds !</scene_description>
<character>KIMBERLY</character>
<dialogue>Wait!</dialogue>
<scene_description>Mr. Gibbons , applauding with everyone else , chooses that very moment to sit on the bumper . DEPLOYING THE AIRBAG ! SLAMMING Kat 's head backwards through the spike , HEAD - KABOB . Kat 's dead limp hand drops her last cigarette - which bounces along the hard dirt - toward the oncoming gas . Closer , closer , . The BREEZE KICKS UP , aiding the cigarette . WHOOSH , the gas fuse catches . The blusih flame travels through pipes , over rocks , racing toward the news VAN . Kimberly , half - traumatized , watches an ominous BREEZE rustle through the field , up to the trees , toward Thomas . The GAS BURNS up an incline , and disappears into the ground . And pops up twenty feet closer to the News Van . Kimberly follows the BREEZE to the dead oak tree under which Thomas stands . And blows a large branch until it snaps ! A startled Thomas sees it fall just in time to DIVE to safety . Clear , seeing the flame , instinctively runs from the van .</scene_description>
<character>CLEAR</character>
<dialogue>Get back!</dialogue>
<scene_description>BOOM ! The news van 's explosion hurls two fence posts just over Thomas ' head , end over end , the two lengths of wire stretched between them . The flying garrote heads directly for - Rory , who sorts hard , stands up with a satisfied smile - and is sliced into three sharp cuts of beef . The silence from the emergency crew is deafening . Mr. Gibbons starts crying hysterically .</scene_description>
<character>MR. GIBBONS</character>
<dialogue>I did n't mean to do it - I did n't know.</dialogue>
<scene_description>Kimberly numbly stares at the fallen branch , the one that caused Thomas to step out of the path of the flying fence .</scene_description>
<character>KIMBERLY</character>
<parenthetical>( to herself . )</parenthetical>
<dialogue>It was n't his turn. And it's not my turn.</dialogue>
<scene_description>Kimberly sees the corpses of Kat and Rory , buries the pain , and approaches Mr. Gibbons .</scene_description>
<character>KIMBERLY</character>
<dialogue>Give me the keys to your truck. Now!</dialogue>
<character>MR. GIBBONS</character>
<parenthetical>( hysterical . )</parenthetical>
<dialogue>Anything you want. Anything. I wish I knew. I did n't.</dialogue>
<scene_description>Mr. Gibbons hands Kimberly the keys .</scene_description>
</scene>
<scene>
<stage_direction>EXT. WESTCHESTER COUNTY - MOMENTS LATER</stage_direction>
<scene_description>Kimberly drives Thomas and Clear in the Gibbons ' truck . All are numb .</scene_description>
<character>THOMAS</character>
<parenthetical>( buckling up . )</parenthetical>
<dialogue>Hurry up. There's no time. She's about to give birth.</dialogue>
<scene_description>Kimberly unbuckles her seatbelt and floors it .</scene_description>
<character>CLEAR</character>
<dialogue>What are you doing? You're going to kill us!</dialogue>
<character>KIMBERLY</character>
<dialogue>No. If anyone dies from a crash now, it'll be me. But I ca n't die if Eugene and Isabella are still alive. I'm last on Death's list.</dialogue>
<character>CLEAR</character>
<dialogue>Are you crazy? What makes you think you'd survive?</dialogue>
<character>KIMBERLY</character>
<dialogue>What happened when Eugene tried to kill himself out of turn?</dialogue>
<character>CLEAR</character>
<parenthetical>( considering . )</parenthetical>
<dialogue>Six duds in a row.</dialogue>
<character>KIMBERLY</character>
<dialogue>And when it was Rory's turn to die, and Thomas was in the way?</dialogue>
<character>THOMAS</character>
<dialogue>That branch fell and saved my life. You're right, Death's maintaining the order.</dialogue>
<character>KIMBERLY</character>
<dialogue>Let's pray that Isabella's still alive.</dialogue>
<scene_description>The truck speeds into the horizon .</scene_description>
</scene>
<scene>
<stage_direction>EXT. PHELP'S MEMORIAL HOSPITAL - ESTABLISHING SHOT</stage_direction>
</scene>
<scene>
<stage_direction>INT. DELIVERY ROOM - DAY</stage_direction>
<scene_description>Typical chatter as the staff preps Isabella . Steve paces nervously in the background .</scene_description>
<character>STAFF</character>
<dialogue>contractions coming quicker now. Take her pressure and CTG. One centimeter dilation. Prep the epidural stat.</dialogue>
<scene_description>Isabella breathes Lamaze style in the hospital bed , her feet in stirrups . A NURSE rocks Isabella 's body back and forth , until her back arches almost unnaturally forward . In the BG , an OBSTETRICIAN , 50s , sterilizes his hands in a scrub sink . A female ANESTHESIOLOGIST hustles over , swabbing a LONG EPIDURAL NEEDLE . The nurse places a mask over Isabella 's face . The Anesthesiologist lowers the needle to the base of Isabella 's spine .</scene_description>
<character>ANESTHESIOLOGIST</character>
<dialogue>She's going to have to stop moving if I'm going to -</dialogue>
<scene_description>The Nurse SNEEZES .</scene_description>
<character>ANESTHESIOLOGIST</character>
<dialogue>Goddamn it, keep her still!</dialogue>
<character>NURSE</character>
<dialogue>Sorry, doctor.</dialogue>
<scene_description>XCU NEEDLE Tracing skin between Isabella 's constantly moving vertebra . ANGLE ON BUMBLEBEE It buzzes about the room , darting between the he ads of the doctors and nurses , hovering above the - ANESTHESIOLOGIST , who traces the long needle down Isabella 's spine , finding the proper vertebrae .</scene_description>
<character>ANESTHESIOLOGIST</character>
<dialogue>Perfectly still now.</dialogue>
<scene_description>Everyone freezes . SILENCE . As the tip of the needle presses the skin down - The BEE lands on the Anesthesiologist 's ear . And STINGS ! FLINCH ! The NEEDLE SINKS IN - a NURSE GASPS . Did something go wrong ?</scene_description>
<character>ANESTHESIOLOGIST</character>
<dialogue>Done.</dialogue>
<parenthetical>( tears welling . )</parenthetical>
<dialogue>Now could someone please find the open window and fucking close it?</dialogue>
</scene>
<scene>
<stage_direction>EXT. SUBURBAN STREET - CONTINUOUS</stage_direction>
<scene_description>Kimberly speeds the truck down some dangerously twisty roads slick from wet leaves .</scene_description>
<character>KIMBERLY</character>
<dialogue>This makes no sense. Isabella was supposed to crash her van into a lake. Could we have altered her destiny when we had her arrested?</dialogue>
<character>CLEAR</character>
<dialogue>I do n't think so. Alex's premonitions happened exactly as he saw them no matter how much we tried to change it.</dialogue>
<character>THOMAS</character>
<dialogue>Then the only way to survive is to get to the hospital and protect Eugene and Isabella for as long as we can.</dialogue>
<character>CLEAR</character>
<dialogue>If only Alex and I had done that with the others, Alex might still be.</dialogue>
<scene_description>A somber beat . Then Thomas looks over at the speedometer .</scene_description>
<character>THOMAS</character>
<dialogue>Um, Kimberly? This is a neighborhood. You may wan na slow it down.</dialogue>
<character>KIMBERLY</character>
<dialogue>Do n't worry. Nothing can happen to us.</dialogue>
<character>THOMAS</character>
<dialogue>I was n't worried about us.</dialogue>
<scene_description>Suddenly , Kimberly clutches her throat !</scene_description>
</scene>
<scene>
<stage_direction>INT. HOSPITAL ROOM - DAY</stage_direction>
<scene_description>UNKNOWN POV A NURSE hovers over us in a hospital , WRESTLING us down by the look of things . There is SCREAMING all around . The image comes at us so fast , we see only the briefest glimpse of the NAMETAG on her uniform : KALARJIAN</scene_description>
<character>THOMAS</character>
<parenthetical>( O.S . )</parenthetical>
<dialogue>Kimberly! Slow down!</dialogue>
</scene>
<scene>
<stage_direction>INT. TRUCK - CONTINUOUS</stage_direction>
<scene_description>Kimberly `` comes to '' at the wheel - FLAILING DESPERATELY at the steering wheel . She even claws at Thomas who tries to control the neglected steering wheel .</scene_description>
<character>CLEAR</character>
<dialogue>Slow down! We're.</dialogue>
<scene_description>Kimberly looks up as the truck comes around a blind curve , where cars are backed up at a stop sign . Kimberly screams and SLAMS on the brakes . The truck SKIDS on wet leaves , completely out of control , towards a LANDSCAPING TRUCK parked on the shoulder . Kimberly 's truck hits the loading ramps and launches itself twenty feet into the air , DUKES OF HAZZARD - style . And lands miraculously without a scratch ! On a parallel road . And keeps going . Dumb , insane fucking luck . Kimberly shakes off her premonition and looks out the rear window . She turns around with a cocky smile . She rubs her throat and FLOORS IT again to Thomas ' horror , more determined .</scene_description>
<character>CLEAR</character>
<parenthetical>( eyes darting . )</parenthetical>
<dialogue>What did you see? What am I looking for?</dialogue>
<character>KIMBERLY</character>
<dialogue>No, it's not here. This one was different. More like the pile up and the van going into the lake. It was n't just a sign, I was there.</dialogue>
<character>CLEAR</character>
<parenthetical>( confused . )</parenthetical>
<dialogue>Another premonition?</dialogue>
<character>KIMBERLY</character>
<dialogue>Yes. I was in a hospital. There was screaming. A nurse was choking me. I could n't tell wh at she looked like, but the name tag was right in my face. Kalarjian.</dialogue>
<character>THOMAS</character>
<dialogue>Kalarjian?</dialogue>
<character>KIMBERLY</character>
<dialogue>I think a nurse named Kalarjian is going to choke Isabella to death!</dialogue>
</scene>
<scene>
<stage_direction>INT. PRIVATE ROOM - DAY</stage_direction>
<scene_description>WIPING FRAME , a NURSE enters a room and reads a clipboard on an unseen patient 's bed . REVEAL EUGENE lying in a hospital bed , wired to the latest medical hardware . Nearby , a RESPIRATOR plunges up and do wn , the RESPIRATOR TUBE snaking down Eugene 's throat . The NURSE 'S HAND reaches down to Eugene 's neck . Eugene WINCES when the Nurse gives the tube a friendly little SHAKE to check if it 's stable .</scene_description>
<character>NURSE</character>
<dialogue>Sorry. Can you feel that in your trachea?</dialogue>
<scene_description>Eugene rolls his eyes . Stupid question .</scene_description>
<character>NURSE</character>
<dialogue>Quite complaining. I got burnt babies in the Children's Ward braver than you.</dialogue>
<scene_description>She sticks an electri c thermometer in his ear . Eugene opens his mouth as if to speak .</scene_description>
<character>NURSE</character>
<dialogue>Do n't bother. You wo n't be talking for at least a month. Think you can handle that, Jabberjaw?</dialogue>
<scene_description>Eugene looks ready to cry . The Nurse sits on the bed , jarring Eugene enough to make him WINCE again .</scene_description>
<character>NURSE</character>
<dialogue>Do n't worry. Everyone learns to love me once they get used to my sense of humor, okay?</dialogue>
<scene_description>Eugene looks grat eful to see a humane side to this creature .</scene_description>
</scene>
<scene>
<stage_direction>EXT. WINDY ROADS - DAY</stage_direction>
<scene_description>The pick up truck races to the hospital . As Kimberly speeds past a billboard , a POLICE CAR pulls in hot pursuit .</scene_description>
<character>KIMBERLY</character>
<dialogue>Should n't we pull over?</dialogue>
<character>THOMAS</character>
<dialogue>No time. Keep going. I would n't know how to explain any of this anyway.</dialogue>
<scene_description>At the next intersection , TWO MORE COP CARS APPEAR .</scene_description>
<character>KIMBERLY</character>
<dialogue>Oh come on.</dialogue>
<scene_description>The pick up truck blows by the second pair of cop cars , which instantly join the high speed chase . Kimberly takes a long look in the rearview mirror at the TAILGATING COPS . She then inspects the road ahead . UP IN THE DISTANCE A busy six - lane intersection .</scene_description>
<character>KIMBERLY</character>
<dialogue>What do you want me to do?</dialogue>
<character>CLEAR</character>
<parenthetical>( hesitated beat . )</parenthetical>
<dialogue>Speed up.</dialogue>
<character>KIMBERLY</character>
<dialogue>Yeah, fuck'em.</dialogue>
<parenthetical>( to Thomas . )</parenthetical>
<dialogue>No offense.</dialogue>
<scene_description>Kimberly SPEEDS toward the intersection . She pulls her seatbelt aside , making sure it offers ZERO protection . Thomas jumps in the backseat , buckles up .</scene_description>
<character>CLEAR</character>
<dialogue>Be alive, Isabella, please be alive.</dialogue>
<scene_description>Kimberly 's eyes widen in fear . Her foot hesitates over the brake pedal as - The truck blindly blazes through the busy intersection , miraculously missing every car ! The police are just barely able to fishtail into 90 degree turns , avoiding the intersection completely . Kimberly 's eyes open and she lets out a victory cry .</scene_description>
</scene>
<scene>
<stage_direction>INT. PRIVATE ROOM - DAY</stage_direction>
<scene_description>ANGLE ON Oxygen valve . PAN OVER AND DOWN TO Eugene tries to watch a news flash of HIS accident on the TV across the room , but a bulky ORDERLY blocks his view .</scene_description>
<character>ANCHOR MAN</character>
<parenthetical>( O.S . )</parenthetical>
<dialogue>ironically impaled through the head as a result of an emergency airbag deploying.</dialogue>
<scene_description>As Eugene shudders with dread , the Orderly pushes a huge cart in front of him , again obscuring his view . Eugene frantically pantomimes writing .</scene_description>
<character>ORDERLY</character>
<dialogue>Need a pen? Sure. If you like, I'll bring crosswords for you, too.</dialogue>
<scene_description>Eugene tries nodding his thanks , but the tube in his throat hampers his movement .</scene_description>
<character>ANCHOR WOMAN</character>
<parenthetical>( O.S . )</parenthetical>
<dialogue>police Have speculated that one of the deaths may have been narcotics related and urge children to stay away from d rugs.</dialogue>
<scene_description>Finally , the Orderly pushes the cart away , revealing the TV . An ANCHOR MAN taps his pages on the desktop .</scene_description>
<character>ANCHOR MAN</character>
<dialogue>Good advice, Sue. And stay in school. Up next, Johnny Showers has the weather.</dialogue>
<scene_description>A WEATHERMAN dressed as a frog points out cloud formations . Eugene , tormented , stares at the screen as the Orderly begins pushing the huge cart out of the room . The sound of a SKIDDING CAR fills the room . It comes from the TV which shows a PSA featuring CRASH TEST DUMMIES .</scene_description>
<character>ORDERLY</character>
<dialogue>Jeez, it's freezing in here.</dialogue>
<scene_description>The Orderly flicks the thermostat and one by one , VENTS CLOSE just below the ceiling . Eugene 's eyes fill with terror - he knows something 's wrong . ANGLE ON OXYGEN HOSE - Bursting . It HISSES softly . We follow the OBLIVIOUS ORDERLY out of the room .</scene_description>
</scene>
<scene>
<stage_direction>INT. HOSPITAL CORRIDOR - CONTINUOUS</stage_direction>
<scene_description>A hospital ADMINISTRATOR briskly strides up to the Orderly .</scene_description>
<character>ADMINISTRATOR</character>
<dialogue>What are you doing? The Henzels are still waiting for you in the Children's Ward -</dialogue>
<scene_description>The Orderly smacks his forehead - shit . Totally forgot .</scene_description>
<character>ORDERLY</character>
<dialogue>Right, right, right. Gregory's big day.</dialogue>
<character>ADMINISTRATOR</character>
<dialogue>And Mrs. Dempsey in hydrotherapy ca n't feel her legs.</dialogue>
<scene_description>The Orderly , nodding rapidly , is halfway down the hall by now . The Administrator shakes his head in disgust and walks past . The HUGE CART . Which now blocks the door on Eugene 's room .</scene_description>
</scene>
<scene>
<stage_direction>EXT. PHELPS MEMORIAL HOSPITAL - CONTINUOUS</stage_direction>
<scene_description>Kimberly seems to have ditched the cops . She speeds the pick up through the medical facility .</scene_description>
</scene>
<scene>
<stage_direction>EXT. EMERGENCY ROOM - DAY</stage_direction>
<scene_description>The pick up skids to a halt in front of the hospital . Kimberly , Thomas and Clear run outside and into the building .</scene_description>
</scene>
<scene>
<stage_direction>INT. PRIVATE ROOM - DAY</stage_direction>
<scene_description>The OXYGEN HOSE hisses , but is drowned out by the volume of the TV . Eugene 's eyes dart frantically as a blaring fast food commercial ends . The n , a NEWS REPORT comes on . The BANNER : ROUTE 18 TRAGEDY Footage showing grieving families , wreaths on doors , yellow ribbons , and emergency crews pulling wreckage apart , dissolve together over :</scene_description>
<character>ANCHOR WOMAN</character>
<parenthetical>( O.S . )</parenthetical>
<dialogue>Mor e tears were shed this morning in the wake of yesterday's tragedy that rocked the Tri - State area.</dialogue>
<scene_description>Suddenly , the FRAYED ELECTRIC CORD of Eugene 's TV begins sparking . The sound DROPS OUT , the picture SPUTTERS . Eugene goes white with terror . He looks back to - The broken OXYGEN TUBE . HISSING softly . The BEEPS of the EEG machine frantically increase . Eugene reaches for the nurse call switch . Mockingly out of reach by mere millimeters .</scene_description>
</scene>
<scene>
<stage_direction>INT. NURSES STATION - DAY</stage_direction>
<scene_description>Clear , Kimberly and Thomas dash toward the main desk .</scene_description>
<character>CLEAR</character>
<dialogue>Isabella Cruz. What room's she in?</dialogue>
<character>RECEPTIONIST</character>
<dialogue>I'm sorry, I ca n't give out that info unless you're a relative.</dialogue>
<character>CLEAR</character>
<dialogue>I'm her sister.</dialogue>
<scene_description>The Receptionist eyes her dubiously .</scene_description>
<character>RECEPTIONIST</character>
<dialogue>I'll have to see your ID, Ms. Cruz.</dialogue>
<scene_description>Clear vaults over the counter , straight - arms the Receptionist and seizes the computer . Thomas and Kimberly look on , stunned .</scene_description>
<character>CLEAR</character>
<dialogue>Delivery rooms are downstairs. I'll find Eugene and catch up with you.</dialogue>
<scene_description>Kimberly and Thomas hurry to the elevator banks . then reconsider and enter the stairwell .</scene_description>
</scene>
<scene>
<stage_direction>INT. PRIVATE ROOM - CONTINUOUS</stage_direction>
<scene_description>Eugene scratches the top sheet of the bed , trying to inch the call - switch closer and closer to him . But it wo n't budge . A RAT APPEARS behind Eugene 's pillow , CRAWLS over his chest and disappears by his stomach ! He pounds desperately on the empty food tray , his side rails , looks toward the door -</scene_description>
</scene>
<scene>
<stage_direction>INT. HOSPITAL CORRIDOR - CONTINUOUS</stage_direction>
<scene_description>Outside the door , you ca n't hear a thing in the bustling hallway as people rush by . Kimberly and Thomas rush past his door , lost .</scene_description>
<character>THOMAS</character>
<dialogue>Hurry, I think she's this way.</dialogue>
<scene_description>BACK TO EUGENE His eyes scream insanely , but he respirator tube prevents any sound from escaping him . And that 's when the RAT appears on the floor and begins gnawing on the respirator 's power cord ! When Eugene sees this , the EEG machine climbs off the charts .</scene_description>
</scene>
<scene>
<stage_direction>INT. NURSES STATION - CONTINUOUS</stage_direction>
<scene_description>Clear takes off down the hallway . The Receptionist , shaken , dials her phone .</scene_description>
<character>RECEPTIONIST</character>
<dialogue>Security?</dialogue>
</scene>
<scene>
<stage_direction>INT. DELIVERY ROOM - CONTINUOUS</stage_direction>
<scene_description>The Obstetrician voices concern .</scene_description>
<character>OBSTETRICIAN</character>
<dialogue>Listen to me, Isabella, I need you to stop pushing.</dialogue>
<character>ISABELLA</character>
<dialogue>What's wrong? IS the baby all right?</dialogue>
<character>OBSTETRICIAN</character>
<dialogue>It's a breach. If I ca n't reverse it, we may need to do a Caesarian.</dialogue>
<scene_description>The Obstetrician 's hands go to work . Steve looks ill .</scene_description>
<character>STEVE</character>
<dialogue>Maybe I should step outside.</dialogue>
<scene_description>INTERCUT KIMBERLY AND THOMAS Running down the corridor .</scene_description>
<character>PA ANNOUNCEMENT</character>
<dialogue>Code Blue in Delivery Room 6. Code Blue!</dialogue>
</scene>
<scene>
<stage_direction>INT. PRIVATE ROOM - DAY</stage_direction>
<scene_description>The rat GNAWS away at Eugene 's power cord , Eugene looks trapped , helpless , tortured . His eyes dart from the sparking TV to the gnawed power cord to the useless call - switch .</scene_description>
</scene>
<scene>
<stage_direction>INT. HOSPITAL CORRIDOR - CONTINUOUS</stage_direction>
<scene_description>Clear walks up and down the corridor , scanning room numbers as she passes . A - 169 , A - 171 , A - 173 .</scene_description>
<character>CLEAR</character>
<dialogue>B - 187. B - 187.</dialogue>
<scene_description>A HAND suddenly GRABS Clear and shoves her against the wall . REVEAL A SECURITY GUARD leering at her .</scene_description>
<character>SECURITY GUARD</character>
<dialogue>Just where do you think you're going?</dialogue>
<scene_description>Clear struggles to get away , getting sympathetic looks from an OLD MAN walking a rolling IV STAND down the corridor .</scene_description>
</scene>
<scene>
<stage_direction>INT. DELIVERY ROOM - CONTINUOUS</stage_direction>
<scene_description>Isabella is pushing again .</scene_description>
<character>OBSTETRICIAN</character>
<dialogue>Almost there. I see the head.</dialogue>
<scene_description>The NURSE takes a pair of SCISSORS off a tray .</scene_description>
</scene>
<scene>
<stage_direction>INT. HOSPITAL CORRIDOR - CONTINUOUS</stage_direction>
<scene_description>Clear plays possum , offering no resistance to the Security Guard as the Old Man wheels his IV STAND along . Suddenly , Clear grabs the stand - and WHAMS the heavy wheeled base into the Guard 's BALLS ! As the Guard recoils , she thoughtfully hands the IV back to the Old Man and runs .</scene_description>
</scene>
<scene>
<stage_direction>INT. DELIVERY ROOM 0 CON</stage_direction>
<scene_description>The Nurse is startled when Kimberly and Thomas BURST THROUGH the door . In the BG , a puzzled Steve peeks inside until Kimberly pulls the door closed .</scene_description>
<character>NURSE</character>
<dialogue>What are you doing in here? Get the hell out! Right now!</dialogue>
<scene_description>Finally we hear the BABY CRY ! The Nurse immediately moves in to swaddle the newborn . Dr. Kalarjian beams at the very groggy looking Isabella .</scene_description>
<character>OBSTETRICIAN</character>
<dialogue>Isabella, look down and see your son.</dialogue>
<scene_description>To the confusion of everyone around them , Kimberly and Thomas BURST INTO CHEERS ! They jump , dance and hug each other . It 's a magical moment -</scene_description>
</scene>
<scene>
<stage_direction>EXT. EUGENE'S PRIVATE ROOM - CONTINUOUS</stage_direction>
<scene_description>The RAT stops gnawing . The TV stops sparking . A wave of intense relief washes over Eugene . He pantomimes reaching into his shirt pocket and lighting a victory cigar .</scene_description>
</scene>
<scene>
<stage_direction>INT. HOSPITAL CORRIDOR - CONTINUOUS</stage_direction>
<scene_description>Relaxed and invigorated , Kimberly and Thomas giddily exit the delivery room as Clear runs up to them .</scene_description>
<character>CLEAR</character>
<dialogue>A guard grabbed me before I could find Eugene.</dialogue>
<character>THOMAS</character>
<dialogue>Do n't sweat it. It's over.</dialogue>
<character>CLEAR</character>
<dialogue>She had the baby?</dialogue>
<character>KIMBERLY</character>
<dialogue>New life defeats death. We've done it. Death has to rewrite the list. We're safe.</dialogue>
<scene_description>Steve watches , confused , as Clear whoops with delight and HUGS the others . Clear laughs with a relief that seems completely foreign to her . Kimberly laughs with her , then is suddenly rocked by a vision - UNKOWN POV Looking up a the EEG machine . Flatlined !</scene_description>
<character>THOMAS</character>
<parenthetical>( O.S . )</parenthetical>
<dialogue>Kimberly! Are you okay?!</dialogue>
</scene>
<scene>
<stage_direction>INT. HOSPITAL CORRIDOR - BACK TO PRESENT</stage_direction>
<scene_description>Kimberly , on the ground , looks frazzled as she SNAPS out of her trance . Thomas helps her to her feet .</scene_description>
<character>THOMAS</character>
<dialogue>Are you okay? You just face planted!</dialogue>
<character>KIMBERLY</character>
<dialogue>I know how it feels to be dead.</dialogue>
<scene_description>Her lips blue , Kimberly shivers uncontrollably . Clear sees TWO SECURITY GUARDS round a distant corner and quickly walks the others toward an EMERGENCY LOADING ZONE .</scene_description>
<character>CLEAR</character>
<dialogue>What did you see?</dialogue>
<character>KIMBERLY</character>
<dialogue>I was dead. And came back to life. An EEG machine. Where's Eugene?</dialogue>
<character>THOMAS</character>
<dialogue>But it's over. Isabella's baby was the key. You saw her die and everything, right?</dialogue>
<character>KIMBERLY</character>
<dialogue>I do n't. what if I made a mistake?</dialogue>
<character>THOMAS</character>
<dialogue>Impossible. She was on the onramp.</dialogue>
<scene_description>Kimberly reluctantly closes her eyes and remembers . PREVIOUSLY UNSEEN Moment of the pile - up premonition . A WHITE VAN in fr ont of Kimberly suddenly slams on its brakes and pulls onto the shoulder . Kimberly screams , swerving around the van just in time to avoid an accident . Kimberly , overcome with self - doubt .</scene_description>
<character>KIMBERLY</character>
<dialogue>I'm not sure. I do n't think Isabella was ever destined to die in the pile - up.</dialogue>
<character>THOMAS</character>
<dialogue>Then what's the premonition of the lake supposed to mean?</dialogue>
<character>CLEAR</character>
<dialogue>Can you remember anything about it?</dialogue>
<scene_description>Kimberly shuts her eyes , remembering :</scene_description>
</scene>
<scene>
<stage_direction>EXT. LAKE - DAY</stage_direction>
<scene_description>POV DRIVER Grease - covered hands reach out toward a steering wheel of a white van speeding out of control TOWARD A LAKE ! The van crashes through a railing and PLUNGES into the water . In moments , the van fills with water , the driver inside trapped . Drowning . Horrible . And on the rearview mirror , six floral scented AIR - FRESHNERS . Kimberly looks down at her grease - covered hands and looks ill .</scene_description>
<character>KIMBERLY</character>
<dialogue>the Same hands from the van.</dialogue>
<scene_description>Finally everything makes sense to Clear .</scene_description>
<character>CLEAR</character>
<dialogue>It's you Kimberly. The premonitions are about you.</dialogue>
<scene_description>Kimberly trembles , refusing to accept what she 's hearing .</scene_description>
<character>KIMBERLY</character>
<dialogue>No! It ca n't be.</dialogue>
<character>CLEAR</character>
<parenthetical>( suddenly remembering . )</parenthetical>
<dialogue>I have to save Eugene!</dialogue>
<scene_description>Clear leaves Kimberly and Thomas together . Kimberly verges on tears and Thomas consoles her with a hug . IN THE BACKGROUND Clear looks at passing room numbers while hurrying down the corridor . She comes to a room with a HUGE CART parked outside , blocking the door . She looks up to see - B - 187 . Clear leans into it , pushing it out of the way of the door .</scene_description>
<character>CLEAR</character>
<dialogue>Eugene? Are you in there?</dialogue>
<scene_description>EUGENE 'S ROOM Eugene strains to hear through the thick door .</scene_description>
<character>CLEAR</character>
<parenthetical>( O.S . )</parenthetical>
<dialogue>Can you hear me? I'm coming in.</dialogue>
<scene_description>An intense wave of relief washes over Eugene . As Kimberly hugs Thomas , she watches Clear push the cart past the door .</scene_description>
<character>ORDERLY</character>
<parenthetical>( O.S . )</parenthetical>
<dialogue>Make way, make way lovebirds.</dialogue>
<scene_description>Kimberly spins as Eugene 's Orderly passes her ; a paper , pen and a crossword book in one hand , A BIRTHDAY CAKE in the other . The CAKE reads `` Happy Birthday Gregory '' . The THIRTEEN SPARKLING CANDLES on top ODDLY FRAME Clear 's head .</scene_description>
<character>KIMBERLY</character>
<dialogue>Oh no.</dialogue>
<scene_description>The Orderly speeds down the corridor toward Clear , whose hand reaches for Eugene 's door handle . She leans into it -</scene_description>
<character>ORDERLY</character>
<parenthetical>( to Clear . )</parenthetical>
<dialogue>Thanks hon, the Henzels are going crazy for this thing.</dialogue>
<scene_description>THOMAS AND KIMBERLY Watch as Clear opens the door , briefly revealing Eugene , a whoosh of Oxygen - BOOM ! Clear 's body is obscenely hurled END OVER END towards the CAMERA , heading straight for Kimberly and Thomas ! Thomas throws himself and Kimberly around the corner to prevent being crushed by Clear 's lifeless body ! The hospital erupts in total chaos . Just as Kimberly is about to break down completely , she sees - A WOMAN hurrying down the hallway in their direction , pushing a crash cart . Kimberly sees the nametag : KALARJIAN .</scene_description>
<character>KIMBERLY</character>
<dialogue>Nurse Kalarjian.</dialogue>
<character>DR. KALARJIAN</character>
<dialogue>Doctor Kalarjian. Excuse me, please.</dialogue>
<scene_description>ANGLE ON CART DEFRIBULATOR PADDLES rest on top . And then Dr. Kalarjian passes them toward the area of the explosion . KIMBERLY OMINOUSLY TURNS , the camera following her view , until she sees a small lake across the street from the hospital .</scene_description>
<character>KIMBERLY</character>
<dialogue>Oh my God. That's it. The lake. The EEG machine. Nurse Kalarjian.</dialogue>
<character>THOMAS</character>
<dialogue>What?</dialogue>
<scene_description>Just then , an AMBULANCE SKIDS up to the nearest entrance . PARAMEDICS jump out and run towards the blast site .</scene_description>
<character>KIMBERLY</character>
<dialogue>You ca n't cheat destiny. I know what I have to do to save us. I have to die.</dialogue>
<character>THOMAS</character>
<dialogue>That's crazy. You ca n't give up now. We can still fight this thing.</dialogue>
<scene_description>But Kimberly is n't listening . She stares through the glass doors at the - AMBULANCE A red stripe down the side , but the hood is completely white . Six floral scented air - fresheners hang from the rearview . The ` van ' from her vision ! And it 's running !</scene_description>
<character>KIMBERLY</character>
<dialogue>I have to do this.</dialogue>
<scene_description>Kimberly wipes tears from her eyes , kisses Thomas ' cheek , then turns and runs before he can speak .</scene_description>
</scene>
<scene>
<stage_direction>EXT. HOSPITAL ENTRANCE - CONTINUOUS</stage_direction>
<scene_description>Kimberly heads right for the open ambulance . The driver 's door almost seems to swing open for her as she gets in .</scene_description>
</scene>
<scene>
<stage_direction>INT. HOSPITAL ENTRANCE - CONTINUOUS</stage_direction>
<scene_description>Thomas frantically tries to get through the electric doors , which SPARK and short out . He struggles to pry them apart .</scene_description>
</scene>
<scene>
<stage_direction>EXT. HOSPITAL ENTRANCE - CONTINUOUS</stage_direction>
<scene_description>Kimberly shifts into gear and speeds off . Thomas squeezes through the doors and runs after her . An EMT , the driver of the stolen ambulance , rushes outside .</scene_description>
<character>EMT</character>
<dialogue>What the fuck?!</dialogue>
</scene>
<scene>
<stage_direction>EXT. LAKE - DAY</stage_direction>
<scene_description>Thomas chases the ambulance , watching helplessly as it barrels over curbs , pylons and a fence , ultimately plunging straight into the lake ! Thomas sprints to the lake as fast as he can - the EMT trailing far behind . INSIDE THE AMBULANCE Kimberly panics as the ambulance fills with water and she takes a final gasp of air - ON THE LAKE 'S EDGE Thomas stares in horror at the percolating air bubbles as the vehicle descends below the surface - and he dives in ! UNDERWATER Thomas swims into the dark , murky water . Deeper and deeper , he g ets to the ambulance and tries to open the door . Stuck . He withdraws his baton and BANGS on the glass - nothing ! He tries coming up for air , but his pants snag on the jagged metal of the twisted bumper . He squirms frantically . And as his exhausted body loses consciousness , everything - FADE TO BLACK .</scene_description>
</scene>
<scene>
<stage_direction>INT. HOSPITAL ROOM - DAY</stage_direction>
<scene_description>BLACKNESS .</scene_description>
<character>DR. KALARJIAN</character>
<parenthetical>( O.S . )</parenthetical>
<dialogue>Ready and. CLEAR!</dialogue>
<scene_description>The SHOCK of defribulator paddles brings Kimberly back to life . KIMBERLY 'S POV Looking up at Dr. Kalarjian , all she can see is part of a woman 's face and a partial nametage reading `` Kalarjian '' . It would appear as if she 's choking Kimberly , but - An EEG MONITOR turns from a flatline to a steady heartbeat , the same POV as the premonition .</scene_description>
<character>NURSE</character>
<dialogue>She's back!</dialogue>
<character>DR. KALARJIAN</character>
<dialogue>Five CC's of narcodon. I want her stabilized and prepped for ICU.</dialogue>
<scene_description>Kimberly turns her head to see THOMAS Unconscious , CPR being performed on him by the EMT -LRB- who 's now soaking wet -RRB- . Thomas does n't respond . An INTERN opens an eyelid , points a flashlight at his eyes . Shakes his head , nothing . The sopping wet EMT goes back to performing CPR . Finally , Thomas coughs up water , chokes , gasps for air , then BOLTS UPRIGHT .</scene_description>
<character>THOMAS</character>
<dialogue>Kimberly?!</dialogue>
<scene_description>He turns to see Kimberly reaching out for him . Immeasurably relieved , he takes her hand and allows himself to be eased back down to the platform . Kimberly 's eyes fill with tears .</scene_description>
<character>KIMBERLY</character>
<parenthetical>( whispering . )</parenthetical>
<dialogue>Welcome back. We did it. For real.</dialogue>
<character>THOMAS</character>
<dialogue>I know. I can feel it too.</dialogue>
<scene_description>Outside , a parting of dark clouds causes a shaft of sunlight to flood into the hospital . Its light covers Kimberly and Thomas with an ethereal glow . There are no more doubts ; they 've won . They exchange meek , yet triumphant smiles in the smoky , chaotic hospital .</scene_description>
</scene>
<scene>
<stage_direction>EXT. PARK - DAY</stage_direction>
<scene_description>We are at a summer barbecue . Frisbee , lawn darts , croquet , et . Everyone 's happy . TITLE CARD : FIVE MONTHS LATER ANGLE ON Shish - Kabob entering a mouth . REVEAL Kimberly taking a bite , relishing the taste and calmly pulling the metal skewer from her mouth .</scene_description>
<character>KIMBERLY</character>
<dialogue>My God, this is delicious. I ca n't believe I used to be a vegan.</dialogue>
<scene_description>Thomas , out of uniform , takes a bite of his own . As the metal skewer is deep in his mouth - A running FRISBEE PLAYER accidentally bumps into Thomas ! But no harm . Thomas gives the guy a friendly pat and goes back to rewrapping his mouth around the shish - kabob .</scene_description>
<character>MR. BURROUGHS</character>
<parenthetical>( O.S . )</parenthetical>
<dialogue>So what's the deal, Thomas? Three months and you still have n't asked my daughter out on a date.</dialogue>
<scene_description>Kimberly turns red as Mr. Burroughs appears and takes a seat .</scene_description>
<character>THOMAS</character>
<dialogue>What's wrong with a platonic relationship?</dialogue>
<character>MR. GIBBONS</character>
<dialogue>Platonic my ass. That's for ugly women.</dialogue>
<character>KIMBERLY</character>
<dialogue>For God's sake, leave him alone, Dad.</dialogue>
<character>THOMAS</character>
<parenthetical>( smiling . )</parenthetical>
<dialogue>Yeah, do n't make me cite you for harassment.</dialogue>
<character>MR. GIBBONS</character>
<dialogue>Oh please. I'm not hurting anyone.</dialogue>
<parenthetical>( looking around , lowering voice . )</parenthetical>
<dialogue>Besides, if you can beat Death, what's he got to worry about me for?</dialogue>
<scene_description>Mr. Gibbons sits down at the table with two plates of food . His wife , MRS. GIBBONS , joins .</scene_description>
<character>MR. GIBBONS</character>
<dialogue>You know, you still never explained to us how you did it.</dialogue>
<scene_description>It seems by now everyone 's familiar with the concept .</scene_description>
<character>THOMAS</character>
<dialogue>Well, technically when we died, we gave Death what it wanted. And by the time we were revived, it had already moved on to graver pastures.</dialogue>
<scene_description>Mrs. Gibbons makes a face , finding the discourse distasteful . She changes the conversation .</scene_description>
<character>MRS. GIBBONS</character>
<dialogue>You know, I'm having the greatest day?</dialogue>
<character>KIMBERLY</character>
<dialogue>Food's great too, Mrs. Gibbons. Big props to you and Brian.</dialogue>
<character>MRS. GIBBONS</character>
<dialogue>Our. pleasure. So, ready for the back - to - school season? NYU, right?</dialogue>
<character>KIMBERLY</character>
<dialogue>Three short glorious weeks away.</dialogue>
<character>MRS. GIBBONS</character>
<dialogue>Sounds wonderful. I wish I were going myself.</dialogue>
<character>MR. GIBBONS</character>
<parenthetical>( to Mr. Burroughs . )</parenthetical>
<dialogue>You may want to think twice about letting her live in the village, Bob. Our eldest daughter moved there and came back with piercings all over her face.</dialogue>
<parenthetical>( looks grave . )</parenthetical>
<dialogue>Among other places.</dialogue>
<scene_description>A chorus of friendly laughter .</scene_description>
<character>BRIAN</character>
<parenthetical>( O.S . )</parenthetical>
<dialogue>Dad used to call her the pincushion. From Hellraiser.</dialogue>
<scene_description>BRIAN enters frame , soaking up fresh laughter . He holds a plate full of raw chicken fillets and some long , wooden matches .</scene_description>
<character>BRIAN</character>
<dialogue>Dad, you had the spatula last, right?</dialogue>
<character>MR. GIBBONS</character>
<dialogue>Sure, here.</dialogue>
<scene_description>Mr. Gibbons hands it over and Brian saunters away from camera , SLIGHTLY OUT OF FOCUS , toward the barbecue , his body framed between Kimberly and Thomas ' heads .</scene_description>
<character>KIMBERLY</character>
<dialogue>Brian looks like he's having fun.</dialogue>
<character>MR. GIBBONS</character>
<dialogue>Sure does. Owes it to that friend of yours, in a way.</dialogue>
<scene_description>Mr. Gibbons immediately regrets having said that .</scene_description>
<character>KIMBERLY</character>
<dialogue>How's that?</dialogue>
<character>MR. GIBBONS</character>
<dialogue>Well, Brian was nearly hit by an ambulance the day. but your friend Rory pulled him back at the last second.</dialogue>
<scene_description>Kimberly and Thomas ominously turn their heads around . In the BG , Brian fidgets in front of the barbecue .</scene_description>
<character>MRS. GIBBONS</character>
<dialogue>You never told me that, Peter. Boy, that was lucky.</dialogue>
<scene_description>BOOM ! The PROPANE TANK blows Brian to smithereens . A deafening silence follows , punctuated when Brian 's ARM lands on Mrs. Gibbons ' plate . PLOP . FADE TO BLACK . END CREDITS .</scene_description>
</scene>
</script>
|
INT. DARK ROOM - NIGHT
A padded wall is papered with NEWSPAPER CLIPPINGS that date back to the early 1900s : `` LOCAL FOWLER BROTHERS LOSE $ 35 TICKETS TO BOARD TITANIC '' appears over `` FOWLER BROTHERS KILLED IN COAL MINE MISHAP . '' Another series of articles reads , `` JEWISH PROFESSOR DENIED ADMITTANCE TO HINDENBURG '' and `` PROFESSOR RABINOWITZ KILLED IN AVALANCHE . '' Etc . Continuing along the wall , the newspaper articles all focus on the fates of the original SURVIVORS of the FLIGHT 180 CRASH . We DISSOLVE between the various headlines depicting the gruesome deaths of Tod , Terry , Ms. Lewton , Billy Hitchcock , Carter and Alex Browning . Also in the mix are various CRIME SCENE PHOTOS of the deaths . Decapitated torsos , crushed , mangled bodies , the charred remains of another and the face - down body of Alex Browning . MAPS line the walls as well , pinpointing the locations of numerous deaths , perhaps seeking a pattern . Charts that timeline bizarre deaths , seating charts of downed aircraft , etc . LATEX - GLOVED HANDS tear out the last article , apply fun - tack to its corners and place it in the center of all the others : A REMEMBRANCE FOR THE VICTIMS OF FLIGHT 180 Friday marks one year anniversary . END TITLES . FLASH TO BLACK as a HAND ENTERS FRAME , PULL BACK TO REVEAL :
EXT. KIMBERLY'S NEIGHBORHOOD - DAY
KIMBERLY BURROUGHS , 19 , puts a folded AAA map in her mouth . She opens the back of a RED NISSAN SUV , and pla ces her duffel bag inside . That done , she lets the map drop from her mouth , catches it in her free hand and turns to hug her father , MR. BURROUGHS .
KIMBERLY
Thanks, Dad. I'll call you.
MR. BU RROUGHS
You have everything, Kimberly? Credit card, cell phone, AAA card?
KIMBERLY
Relax, Dad. It's Daytona, not Mongolia.
MR. BURROUGHS
( playful . )
Fix - A - flat? Road flares? Sunblock? Mace?
SHAINA
( O.S . )
Condoms, handcuffs, lube?
Kimberly and Mr. Burroughs turn to see - SHAINA , 19 , tall leggy brunette . Tan , tight tube top revealing her pierced navel , Kimberly 's best friend . She walks up the driveway with her bags .
SHAINA
Just kidding, Mr. B. Do n't worry, I'll keep an eye on her.
MR. BURROUGHS
( sarcastic . )
Oh, that makes me feel a lot better.
Shaina throws her bags in , shuts the back and climbs in the SUV . Kimberly hugs her dad , kissing him on the cheek .
KIMBERLY
I know this is the first time we've been apart since. But everything's gon na be okay.
MR. BURROUGHS
I know, honey. I just -
Kimberly hugs him tighter . Cutting him off .
MR. BURROUGHS
Your mother would have been so proud of the way you've handled yourself through all of this.
KIMBERLY
( softly . )
I know, Dad.
SHAINA
( O.S . )
Hello, the guys are waiting!
Kimberly gives him a quick kiss , jumps behind the wheel , starts the car and pulls away as Shaina cranks up the stereo .
MR. BURROUGHS
Buckle up!
Mr. Burroughs waves as the girls roar off . As he looks down he spots an OIL STAIN left by Kimberly 's SUV . As he drags his shoe across the stain , a SLIGHT BREEZE blows past his face . CAMERA PUSHES IN as a look of concern crosses his face .
EXT. HIGHWAY ON RAMP - DAY
ON OLD WOMAN As she pushes her supermarket cart up the on ramp . A SQUEAKY WHEEL is shrill and disturbing . DRIVERS of several waiting vehicles avoid staring at her weathered face as she passes . Up ahead waiting in line , is Kimberly 's red SUV . UP AHEAD Waiting in line , is Kimberly 's red SUV .
SHAINA
( O.S . )
Watch it!
Kimberly accidentally KISSES the bumper in front of her while daydreaming . She calls out to the driver in front :
KIMBERLY
Sorry! My fault!
Shaina looks over , concerned . In the backseat , the guys DANO and FRANKIE laugh hard and some of Frankie 's milkshake comes out of his nose .
SHAINA
Want me to drive?
KIMBERLY
No, I'm good.
Shaina looks at Kimberly as a HAND suddenly hits Kimberly 's window . Kimberly spins around , startled . Kimberly stares transfixed at the Old Woman , who stares back with chilling intensity . The kids ad - lib `` Let 's go '' and `` Fucking freak . '' The Old Woman 's PLASTIC BAG BREAKS , sending oranges rolling down the on - ramp . The Old Woman breaks eye contact with Kimberly as she rushes to retrieve them . The signal turns from red to flashing yellow . Kimberly pulls the SU V onto the highway , looking in the side view mirror to see the Old Woman look up at her in SLOW - MO. .
FRANKIE
Dano, should n't we go back and help your mother?
DANO
Blo w me.
CU ON KIMBERLY As she looks back from the mirror and reacts to an ominous electronic road sign that flashes `` WARNING : CONSTRUCTION NEXT 180 FEET '' . NISSAN SUV Kimberly merging into traffic , NEARLY COLLIDES with a speeding yellow mini - bus carrying a high - school football team . Kimberly nervously jerks the wheel to the right , then realizing she 's speeding towards the road construction barrels , she swerves back left , right behind the mini - bus at the last moment . CLOSE . Kimberly pulls around the mini - bus as rowdy football players tackle each other , yelling :
FOOTBALL PLAYERS
Pile up! Pile up! Pile up!
Kimberly flicks on the radio and we hear HIGHWAY TO HELL by AC/DC at earsplitting volume . Kimberly and Shaina jump from the shock and reach to lower the volume . Kimberly , disturbed by this , hits SEEK - an oldies station . A GRISLY CAR CRASH from Nervous Norvus ' TRANSFUSION album .
DANO
Christ, is this tribute to Princess Di Day or what?
Kimberly passes a car WEAVING on her right . The driver reaching into the back seat to quiet a BARKING DOG hanging on its head out the window .
KIMBERLY
( unnerved . )
Jesus, all the crazies are out today.
A CLOUD passes Kimberly 's head . She smells it and turns around , taking her eyes off the road to see Dano smoking a joint .
KIMBERLY
I told you no drugs in the car! My dad will freak!
Dano and Frankie exchange looks , God , what a geek !
DANO
( laughs . )
Calm down, Kimmy. It's not drugs, just weed.
FRANKIE
Yeah, you should have specified.
Kimberly turns to Shaina , helpless . Shaina spins around , her eyes wordlessly tell Dano , I know she 's a priss , but put it out . Then Kimberly 's CELL PHONE RINGS . She hits the speaker button .
MR. BURROUGHS
( V.O . )
Kimberly? It's Dad.
KIMBERLY
Hey, Dad. What's up?
Dano defiantly blows more smoke toward Kimberly , then breaks into an unexpected coughing fit - looking over to see a HELLS ANGEL laughing at hi m . The biker 's trashy GIRLFRIEND , also laughing , quickly FLASHES HER TITS at Dano over :
MR. BURROUGHS
( V.O . )
Your car's leaking either transmission or brake fluid. I want you to have it checked ASAP at a gas station.
KIMBERLY
You got it, Dad. I'll call you if I have a problem.
MR. BURROUGHS
( V.O . )
I mean it. Take care of it.
KIMBERLY
I will, Dad. Bye, luv you.
Kimberly passes a STATION WAGON on her right , the DRIVER squinting at a map while driving . A mattress and some furniture tied to the top SHIFT as the wagon hits a bump .
SHAINA
Um, Kimberly, your dad's not gon na call like every ten minutes is he?
Before Kimberly can answer , Dano sees a CHP speeding up behind him . He lowers the joint at once .
DANO
( hiding bag of weed in pants . )
Shit! There's a cop behind us. Pull into the right lane now!
Kimberly , scared , does as she 's told nearly colliding with a speeding flat bed semi hauling a huge load of logs ! A HORN BLASTS . The truck swerves . Then speeds by on the right . A COILED CHAIN drops down to the highway .
DANO
Look first, idiot!
Shaina turns up the radio and leans over to Kimberly .
SHAINA
Ignore'em.
ON LOG TRUCK One end of the RUSTY CHAIN holding the logs in place rattles on the pavement , sparking . Looking in her rearview mirror , Kimberly turns pale - the COP pulls in behind her .
KIMBERLY
Dano, put that out NOW.
Dano takes one last drag and flicks the joint out the window . It bounces on the windshield of a FORD EXPEDITION to their left . INSIDE THE EXPEDITION KAT , 28 , very corporate America , wears a navy blue power suit and speaks into a phone headset while smoking a cigarette .
KAT
No, I'm stuck on Jury Duty so I wo n't be able to pitch the campaign. Let's get Silverstein to come in and.
Kat sees the joint that smoulders in the dried leaves beneath her windshield wipers . A moment later , a small FLAME crackles .
KAT
What the hell? No, not you.
Kat flicks on her WINDSHIELD WIPER FLUID , successfully putting out the joint , but her worn wipers smear ash and fluid around , impairing her vision . Kat turns and looks at - DANO , dead serious all of a sudden . Staring straight ahead .
DANO
What's the cop doing? Did he see that?
Kat sees the tailgating CHP , smiles , then resumes her conversation .
KAT
Forget it, I'll call him myself.
Kat hangs up , then looks down at her cell phone , squints and dials a number . PAN OFF KAT TO OFFICER THOMAS BURKE Early 20 's , rookie cop , who seems to have missed the entire exchange . INSIDE THE POLICE CAR Thomas speaks into his radio .
THOMAS
I was supposed to be off today. How did I get screwed?
DISPATCHER
( O.S . )
No biggie. Drake called in sick.
THOMAS
Copy that.
( switches off ; annoyed . )
Go on, sleep it off Drake.
Thomas tries to sip from a McDonald 's coffee cup on the dashboard , but it 's TOO HOT . He places it back on the dash . The VIBRATIONS of the road make the COFFEE CUP slide closer and closer to the edge of the dashboard . BACK TO KIMBERLY 'S SUV Dano nervously looks back .
FRANKIE
Relax, dude.
But Kimberly still looks uneasy as her dashboard `` Check Engine '' light begins flickering . Kimberly spots a road sign - Next Service 18 Miles .
KIMBERLY
This trip better be wor th it. What's the guy - girl ratio again?
SHAINA
Get ready to smile, five guys per girl.
KIMBERLY
I can live with thaaaa -
Kimberly stops mid - sentence when the WHITE VAN in front of her suddenly SLAMS ON ITS BRAKES and pulls onto the shoulder for no reason . Kimberly SCREAMS , swerving around the van just in time to avoid an accident . Frankie instinctively SHOUTS at the van .
FRANKIE
What's your problem, ya fuckin' crack baby?!
INSIDE THE WHITE VAN ISABELLA CRUZ , late 20 's and VERY PREGNANT , drives a delivery van full of funeral wreaths , crosses and classic rose urns . Most are marked : In Memory of Flight 180 . She chokes back sobs into a cell phone as she pulls over .
ISABELLA
could n't Keep your dick in check for another month? I knew this would happen when I got pregnant.
She pounds the steering wheel , furious .
ISABELLA
What'd the doctor say? I have to come in to test for STDs? Goddamn you, Jorge.
A CRATE in the back of her van topples over and CRASHES and a flurry of sunflower petals sails out the window . Isabella jumps in surprise and , wiping tears from her eyes , rolls up the windows as petals shower the visor of - EUGENE , the Harley Rider , who smears the petals -LRB- and some squashed bugs -RRB- around his visor and drops back . INSIDE NISSAN SUV Kimberly falls back into the right lane and looks uneasy as she sees a TRUCK DRIVER guzzling from a flask as it passes the SUV , revealing its side is an ad for FIRESTONE TIRES . It finally clears frame , revealing a highway billboard that reads , `` DRUNK DRIVING KILLS . '' Kimberly reaches back and pulls on her seatbelt in spite of laughter from the back seat . Up ahead , the RUSTY CHAIN seems to have more give to it . LOGS STRAIN against it . Suddenly , a black cloud of exhaust from a blue '83 Chevette in front of them causes everyone to roll up their windows . OIL DRIPS from its rusty exhaust pipe . The thick exhaust BLINDS Kimberly .
FRANKIE
Gas it around these idiots. We do have 1200 miles to go, you know.
Kimberly tires to enter the passing lane , but she 's blocked by a SUBURU WAGON . In the front seat , a seven - year old kid is sadistically SMASHING two toy cars together . Kimberly passes the Suburu and pulls up to a PACER . The Harley roars by , startling her . INSIDE PACER NORA KESNER , 35 , and her son TIM , 15 . Tim drums on the dashboard with two ten - ounce Naya bottles .
NORA
Tim, will you cut that out? I ca n't even hear myself think.
Tim frowns and then winces , holding his jaw .
TIM
Damn, it really hurts, Mom.
NORA
I know, we'll be there soon.
Tim drops the Naya bottles on the seat . One of them quietly falls to the floor , rolls a bit , finally settling UNDER THE BRAKE PEDAL . INSIDE NISSAN SUV Kimberly is still behind the smoke - spewing Chevette . She passes it on the left . Frankie rolls down his window .
FRANKIE
( yells to driver . )
Ever hear of the Ozone layer, asshole?
INSIDE CHEVETTE RORY , 27 , leans down to snort a line of coke off a Def Leppard CD case . S he looks up to see the Patrol Car is now behind him , he reflexively taps the brakes . Rory , eyes like saucers , sits rigidly transfixed at the wheel and nonchalantly wipes the CD clean on his pants . INSIDE NISSAN SUV She has dropped back behind the Chevette and CHP car and is running down along side of a BLACK TRANS AM . Up ahead she sees the Hig hway Patrol Car flick on its LIGHTS and pull into the shoulder around the Chevette and behind the Semi loaded with logs . INSIDE THE COP CAR As Thomas pulls in behind the log truck , his coffee cup lurches forward , spilling hot coffee all over his lap and the floor .
THOMAS
Son of a bitch.
INSIDE TRANS AM Its driver , EVAN SCHAEFFER , 21 , flashes a cocky smile at Kimberly , clearly making Frankie jealous .
FRANKIE
A Trans Am. That shit went out with New Kids on the Block.
DANO
Yeah. Who does he think he is? Knight Rider?
FRANKIE
( laughs ; then . )
Who?
Frankie leans out and tosses milkshake on Evan 's window .
DANO
You know, Hasselhoff before he did Baywatch.
Evan , pissed off , flips off Frankie . The windshield wipers smear around the thick milky fluid . The sun blinding him .
KIMBERLY
What's the chance of finding a nice mature guy once we get to Daytona?
SHAINA
How does a nice mature fuck sound?
Kimberly laughs , then leans in close to Shaina .
KIMBERLY
Hey, thanks for talking me into this trip. Ever since my mom. I dunno, I just feel like I'm starting to live again, you know?
Shaina smiles in understanding . INSIDE POLICE CRUISER Thomas bends to wipe up the mess . He only glances at the road as he tries to soak up the coffee . Suddenly up ahead , THE RUSTY CHAIN SNAPS ! The logs roll off the side of the truck onto the highway . One bounces as it hits , and slams through Thomas ' front winshield and out the back , taking Thomas ' head with it . EUGENE slams on his brakes . His Harley slides out and he is SLAMMED to the ground , sliding at 60 miles per hour across the highway , right in front of the yellow mini - bus . The MINI - BUS DRIVER brakes to avoid Eugene . The FOOTBALL PLAYERS tumble forward and hit him in the head . He loses control and slides off the road onto the grass median . He blows a front tire and the mini - bus begins to flip , ROLLING several times int o the oncoming lanes of traffic , and is HIT by a MACK TRUCK . Eugene slides into a huge log , and hits it with a sickening crunch . Only to be HIT and CRUSHED by his sliding motorcycle . Rory looks up too late and REAR ENDS Thomas ' car , EXPLODING the gas tank and HURLING Rory 's dead body halfway through the windshield where it remains half in/half onto the hood . KAT , dialing , looks up , slams on her brakes , but SKIDS on oil from the Chevette . She swerves into Kimberly , SIDE SWIPES her , then swerves to miss a huge log - only to run head on into two more , flipping the Expedition end over end right next to Kimberly . Kimberly swerves back from being hit by Kat , just in time to see a huge log ahead . She tries to turn hard to the right to avoid it , but hits it broadside - Sending the SUV FLIPPING OVER the top of the log and SLIDING down the road . Inside , Shaina , Dano and Frankie are tossed around like rag dolls , shredded by glass and shrapnel - Frankie is EJECTED out the side window . Kimberly 's SUV slides to a stop on its side . She looks back to her mangled but still alive friends and up in time to see NORA 'S PACER Nora sees the collisions ahead and slams on the brakes but the fallen Naya bottle prevents her from braking , and she SLAMS into the back of Kat 's Expedition . The crash test dummy collision folds her Pacer and it EXPLODES into a huge fireball . EVAN , blinded by the smeared windshield , is too late . He swerves his Trans Am around the burning cars onto the wet grass . Kimberly sees the topless Trans Am slowly roll out of a huge WALL OF FIRE and coast to a stop . Evan comes up battered and bloody but still alive . He is trapped in his burning car , screaming and trying to release the seatbelt . Then , just when she thought it was over , a HUGE SEMI slides thro ugh the wall of fire , SMASHING the Trans Am out of the way , SPINNING it like a top . With the back sliding at 90 degrees it keeps on coming . KIMBERLY 'S POV The semi 's grill comes right at her ! CU ON KIMBERLY She screams and we - THE HIGHWAY O N RAMP - NISSAN SUV - 8 MINUTES EARLIER Sweating profusely , Kimberly 's eyes dart around , taking in her surroundings .
DANO
( O.S . )
Flight 180. You know, that plane crash with those kids from Mount Abraham.
The Old Woman BUMPS the window - scaring the shit out of everyone . The kids ad - lib `` Let 's go '' and `` Fucking Freak ! '' Kimberly stares in horror as the Old Woman flashes an evil grin . Kimberly 's eyes lower to the bag of oranges - Which BREAKS , exactly like before , and the Old Woman scurries after them . The signal turns from red to flashing yellow .
FRANKIE
Dano, should n't we stop and help your mother?
DANO
Blow me. Yellow means go, Kimberly.
Kimberly hyperventilates in the driver 's seat . Freaking . A yellow mini - bus with football players speeds past .
KIMBERLY
Oh my god, oh my god.
Dano , confused , rolls a joint .
SHAINA
What is it? What are you?
KIMBERLY
There's going to be a huge accident! Everyone's gon na die. All of us! I saw it!
Dano hums the Twilight Zone theme .
FRANKIE
That's it. My turn to drive.
CLOSE UP - KIMBERLY SCREAMS ! AND WE 'RE BACK THE HIGHWAY ON RAMP Sweating profusely , Kimberly 's eyes dart around , taking in her surroundings .
DANO
( O.S . )
Flight 180. Y' know, that plane crash with those kids from Mt. Abraham?
The Old Woman BUMPS the window - scaring the shit out of everyone . The kids ad - lib `` Let 's go '' , `` Fucking freak . '' Kimberly stares in horror as the Old Woman flashes an evil grin . Kimberly 's eyes lower to the bag of oranges , which breaks , exactly like before and the Old Woman scurries after them . The signal turns from red to flashing yellow .
FRANKIE
Dano, should n't we stop and help your mother?
DANO
Blow me. Yellow means go, Kimmy.
Kimberly hyperventilates in the driver 's seat . Freaking . A yellow mini - bus with football players speeds by .
KIMBERLY
Oh my God, oh my God.
Dano , confused , rolls a joint .
SHAINA
What is it? What are you?
KIMBERLY
There's going to be a huge accident! Everyone's gon na die, all of us, I saw it!
Dano hums the Twilight Zone theme .
FRANKIE
That's it. My turn to drive.
HONK ! The drivers behind them start leaning on their horns . Kimberly leans out the window and sees the Chevette , the Pacer , The White Van , the Trans Am , the Harley . all the familiar vehicles from the pile up . She turns on the radio , frantically scans the dial .
SHAINA
Relax, you need to chill the fuck out.
KIMBERLY
Highway to Hell, Highway to Hell.
SHAINA
For Christ sakes girl, take a breath.
D.J.
( O.S . )
Taking you into an all request weekend with a classic from AC/DC.
The opening guitar riff to HIGHWAY TO HELL blares from the speakers . Kimberly turns to Shaina with a `` believe me know ? '' look , but Shaina 's nowhere near on the same page . HONKING behind them . Kimberly , shaking like a leaf , pulls the SUV forwards , turning it sideways to block off all traffic .
DANO
What the hell are you doing?
Dano shifts in his seat and sees - a Highway Pat rol Car ominously cruising up the shoulder of the onramp . He shoves a bag of weed , along with the joint , down his pants .
DANO
Five - O's coming! Let's fucking roll, man!
Officer Thomas Burke stops the car behind them .
FRANKIE
Jesus Christ! Here he comes! Move!
KIMBERLY
No! We'll all die if we do!
The cop turns on his FLASHERS .
DANO
I told you she'd ruin everything!
SHAINA
Shut up, Dano, just stay cool.
( to Kimberly . )
He's just stoned.
Officer Thomas Burke exits his car and approaches the passenger side of the SUV , hand on weapon . Thomas taps the window with his knuckle .
THOMAS
What's going on here?
KIMBERLY
( incoherent , through tears . )
There's going to be a pile up. Logs. Bodies everywhere. I saw it happen. It happened.
Thomas looks to the guys in back who shrug , `` we do n't know her . ''
THOMAS
Miss, please step out of the vehicle.
As she does , Thomas discretely unsnaps his holster . RORY nervously eyes the action . Sneaks a paper bundle into his sock . ISABELLA , the pregnant woman in the White Van , gets out . She gives Thomas her friendliest smile , milking the pregnant belly .
ISABELLA
Excuse me, but is there some way we could just drive around? I have a delivery.
Her CELL PHONE RINGS and she leans back inside to answer it .
ISABELLA
Hey hon, you got a mysterious caller on the answering machine from Planned Parenthood. What's going on?
As she listens , growing agitated , the Harley Rider dismounts and pulls off his helmet . Revealing EUGENE DIX , 35 , a nebbishy school teacher in cool leathers . INSIDE PACER NORA watches the SUV , distressed .
NORA
What on Earth are they doing?
TIM
( picking up two Naya bottles . )
Who am I, David Blane?
Nora gives Tim a hard stare , then they both break into smiles . Nora tousles his hair . And does n't stop .
TIM
( good - natured laughter . )
Okay, quit it already.
As he laughs , something pains his jaw and he winces . THOMAS is n't quite sure what kind of insanity he 's dealing with yet . Dano and Frankie , no help , stare dead ahead .
KIMBERLY
( trying to calm herself . )
The radio played the same songs, the old lady's bag broke the exact same way it did in my premonition.
Kimberly erupts into a panic when she sees the LOG TRUCK speed past . She grabs at Thomas for emphasis .
KIMBERLY
THAT's the truck that's going to kill everyone!
THOMAS
Alright miss, calm down. I just need this lane open. I need you to pull your vehicle onto the shoulder!
KIMBERLY
You're not listening to me! You have to do something!
EVAN impatiently yells out the window of his TRANS AM .
EVAN
Arrest this whack - job, wouldja? Some of us have lives, y' know.
Kimberly looks to Shaina for support , but even Shaina ca n't meet her eyes .
KIMBERLY
Why wo n't anyone listen to me?
Thomas , subtly reaching for his cuffs .
THOMAS
I'm not going to tell you to calm down again -
A SERIES OF CRASHES AND EXPLOSIONS ARE HEARD . In the distance . It 's neverending . Horrific . Kimberly 's face crumbles . She screams in horror and collapses against the SUV . Thomas runs to his patrol car . The White Delivery Van makes a J - turn out of the line of cars and SPEEDS down the onramp in reverse , Isabella screaming angrily into her cell phone .
ISABELLA
You could n't keep your dick in check for a month?!
The other drivers exit their cars , craning their necks to see what 's happened up ahead . Kat takes a deep drag off her smoke .
KAT
Great, now I'm really gon na be late.
Thomas barks into the radio handset -
THOMAS
L.A. 51, I need assistance and requesting paramedics for a major T.A.. At -
INSIDE THE SUV Frankie watches the traffic start to back up as a couple of passing cars BRAKE HARD . Shaina anxiously watches Kimberly pacing behind the SUV .
SHAINA
Kimberly, what's going on?
Kimberly moves toward Shaina 's window . As she leans her head into Shaina 's window , an ominous BREEZE blows back their hair and we hear the BLARING HORN of a TRUCK . And Kimberly is unexpectedly yanked backward by Thomas ! From nowhere , a SHRIEK of BRAKES as a JACK - KNIFED TRUCK plow s the SUV across the frame ! CRASH ! Flying debris misses Kimberly and Thomas by inches ! Kimberly cries in horror into Thomas ' shoulder as her friends burn up in the wreckage .
EXT. POLICE STATION - ESTABLISHING SHOT
INT. POLICE STATION - CONTINUOUS
CHAOS . Evan , the driver of the Trans Am , impatiently speaks to DETECTIVE SUBY , late 40s , professional with an open face that makes him a great listener .
EVAN
I do n't know what you want from me. Some crazy chic k blocks the highway with her car, said there'd be an accident and there was. Big deal. Even a broken watch is right twice a day.
Officer Thomas Burke passes by , heading into -
INT. A ROOM - CONTINUOUS
Kat , Eugene , Nora , Tim , and Rory sit in a large room , waiting to give statements . Unlike Evan , these witnesses are clearly distraught .
KAT
Not to sound insensitive, but how much longer is this going to take?
EUGENE
If I do n't get back to my classroom soon, the kids'll tear the room apart.
NORA
Those poor people. To think it would've been us if not for.
PAN OVER TO REVEAL KIMBERLY . She 's still in shock , her mind far away . Thomas sits close to her , speaking softly .
THOMAS
Tell me again how it started.
KIMBERLY
Like I said, it was like I was there. I remember everything. The sounds of the crashes, the smells, the look on Shaina's face.
THOMAS
Do you remember what triggered it all?
KIMBERLY
The log truck. and everybody I guess. Everyone was driving like a maniac. And somehow I knew something horrible was going to happen, even before it did.
Something clicks for Thomas , but he forces himself to speak calmly , like a lawyer leading a friendly witness .
THOMAS
You knew? You just mean a hunch, right? A bad vibe, maybe?
The other drivers stare at Kimberly .
KIMBERLY
More than that. All the songs on the radio were about car crashes. Some kid's banging toy cars together.
( lookin g at her . )
She was dialing her cell phone with her headset on.
( points to Rory . )
His car was leaking oil all over the road.
RORY
Hey, do n't be knockin' the Chevette.
But the others listen intently now . Especially Kat , who spies her headset buried deep in her purse .
KIMBERLY
Billboards about accidents. Kids yelling `` pile up'' for no reason. It all felt. just wrong. Just like.
( swallows ; hesitates . )
THOMAS
Like what?
Kimberly sighs and looks down . The room becomes eerily silent , except for the FLICKER of a florescent light .
KIMBERLY
I know this sounds crazy. but you all heard about Flight 180, right? The kid who got off the plane?
Thomas ' eyes widen - then a startling CRASH as Rory , le aning back in his chair , tips over . Thomas rolls his eyes as Rory grins sheepishly and picks himself up .
THOMAS
You mean Alex Browning.
KIMBERLY
( looking down . )
. My Premonition was just like his.
NORA
What are you talking about?
EUGENE
( sarcastic . )
Oh, you must have read about that kid who had a dream about a plane crash so he got his buddies off the plane? Then the thing blew up just like in the dream?
NORA
Maybe.
Eugene sees Nora and Tim are hooked and speaks in scary campfire tones .
EUGENE
But this is where it starts to get freaky. So a month goes by, everything seems cool, but then the survivors start dying one boy one.'Cause when your number's up, it's up, right? Some people said Death itself started coming for them, hunting down every last one, until they were all dead.
Everyone tenses up .
THOMAS
Well, not quite all of them. Clear Rivers checked herself into a padded room at Stoneybrook.
Kimberly , affected , looks to Thomas for confirmation .
KIMBERLY
You do believe me, do n't you?
BANG ! Everyone jumps as Detective Suby pounds on the door and opens it .
DETECTIVE SUBY
Officer Burke? Could I see you in here?
INT. OBSERVATION ROOM - CONTINUOUS
The DOOR OPENS . Detective Suby enters , leading Thomas . Through a two - way mirror , they can see the others chatting anxiously .
DETECTIVE SUBY
Tell me you did n't start up on that Flight 180 shit again.
( beat . )
Did you?
THOMAS
Of course not. That would be irresponsible and unprofessional.
Detective Suby 's persistent glare makes Thomas uncomfortable .
THOMAS
Look, you were n't there. It was weird. She knew that log truck was gon na cause an accident, she knew.
( beat . )
Never mind.
DETECTIVE SUBY
I thought we we re finished with this bullshit. This is police work, not the psychic Hot Line.
But Thomas is n't listening . He 's glued to Kimberly 's words . When Detective Suby realizes this , he stops and listens .
KIMBER LY
But if I was never meant to pull over, then we all should have died in the pile up.
TIM
Which means Death could be coming for us.
Detective Suby looks pissed o ff .
DETECTIVE SUBY
Way to console the witnesses Burke.
At the same time , we watch Evan enter the other room , grab his jacket and wave goodbye to the others .
DETECTIVE SUBY
You got'em thinking Death is after them? Shit, they're the luckiest sons o' bitches on the planet. Get this guy Evan Shaeffer ; Yesterday the kid wins the lotto and today some looney bitch b locks traffic and he avoids the worst pile up in years. I should be so damn unlucky.
INT. A ROOM - CONTINUOUS
Kimberly , Nora , Tim , Kat , Eugene and Rory now seem affected by what they 've heard .
KAT
What if it's true? What if it's happening all over again?
The fluorescent light above FLICKERS ominously . Nora , disturbed , stands up in a huff , grabbing Tim 's arm .
NORA
You're all certifiable, you know that? I ca n't believe I've been listening to this crap. Come on, Tim, let's go outside.
TIM
Jeez, Mom, stop trippin'.
EUGENE
Look lady, we're just yankin' your chain.
RORY
Yeah, you're acting like we all just got the Diff ` rent Strokes curse or something.
Eugene and Rory burst out laughin g. Nora shakes her head , disgusted .
NORA
What's wrong with you people?
Nora pulls a reluctant Tim out of the room . As she opens the door , the others watch Detective Suby and Thomas appear from nowhere to calm her down . When the door swings shut , an awkward silence . Suddenly , the door opens again and Thomas leads Mr. Burroughs inside . Mr. Burroughs sees Kimberly and chokes back tears .
MR. BURROUGHS
Kimberly.
The sight of her fath er crying is enough to make Kimberly 's own dam burst . She rushes over to him and buries her head in his chest , sobbing .
MR. BURROUGHS
Can I take her home?
Thomas nods .
DETECTIVE SUBY
Sure, you can all go.
By now , the fluorescent light flickers out of control . When Rory , Kat and Eugene stand up , Thomas looks helpless .
KAT
First I'm stuck with Jury Duty, now this nonsense.
RORY
Yeah, I hate to love and leave ya, but I've been over this X - Files shit since the sixth season.
As Thomas watches them file out , the fluorescent light POPS . Then DARKNESS .
INT. KITCHEN - DAY
Kimberly sits at the table . Mr. Burroughs sets down a cup of tea before her . Both are shaken .
KIMBERLY
I know it's crazy, but I'm really scared for the others. I've got this terrible feeling.
MR. BURROUGHS
What feeling?
KIMBERLY
That it's not over yet.
She picks up the tea , it clatters in her trembling hands .
MR. BURROUGHS
Don' t worry. Everything will be fine, you'll see.
INT. EVAN'S STAIRWELL - DAY
A dingy singly light bulb illuminates the narrow stairwell . Evan appears in the darkness , carrying a brand new television with some packages on top . He 's unable to s ee the long rickety stairwell he climbs . The stairs are littered with Chinese take out MENUS and a TONKA TRUCK apparently left by some kids . As Evan slowly climbs the staircase , a FAT MAN comes down , forcing Evan to lean against - THE RAILING - which CREAKS and BENDS . After the FAT MAN passes , Evan slowly continues up again , TEARING HIS SHIRT on a nail .
EVAN
Motherfucker.
A HEATING DUCT CLICKS ON . The air blows a TONKA TRUCK slowly toward the center of the staircase , directly in Evan 's path - but Evan just misses it ! He continues past MORE TOYS , nearing the top stair - The Airduct coughs , sending menus fluttering toward Evan 's feet and he slips on them ! He juggles the TV - but ultimately rights himself and continues down the hallway .
INT. EVAN'S APARTMENT - CONTINUOUS
Dim , cheap , probably roach - infested . As Evan enters , the small packages fall off the TV box and onto the floor . Evan places the TV by the door , looks at his torn shirt , but fuck it , who cares ; he 's on a natural high . He peels his shirt off , revealing his PIERCED NIPPLES , flicks on the radio and DANCES his way over to the fridge and grabs a drink . In the tiny kitchenette area , a small swarm of flies hovers over a grease - filled frying pan . Evan recoils , throws open the window and throws the grease to the sidewalk five stories below . An ominous BREEZE enters - And a kitchen cabinet slowly BLOWS OPEN . Some FORKS and KNIVES slide forward on poorly stacked plates . Daring to fall into the toaster . Evan spills some cooking oil on the range while pouring it into the frying pan , then dumps in some frozen mozzarella sticks . Evan puts the frying pan on the stove and turns it on HIGH . He then grabs a container of CHINESE FOOD and rests it on the counter next to the fridge . On the fridge , several colorful MAGNETS spell out HEY E. PUSH IN on the H - which mysteriously drops into the Chinese food - the word EY E remaining . Oblivious , Evan puts the food in the microwave and turns it on . ANGLE ON STOVE The cooki ng oil creeps toward the range . Evan hits PLAY on his answering machine and rushes across the room to tear open his packages .
VOICE
( O.S . )
Dude! You suck! You buy one fucking ticket in your whole life and win twenty grand? We're going whoring in Prague, you know this!
( whisper . )
Hold on, the boss is coming.
A CLICK , then hold MUZAK : AC/DC 's HIGHWAY TO HELL . ANGLE ON MAGNET in Chinese fo od . SPARKING . It pops and fizzles . And ugly sound . As many similar messages continue , Evan unwraps a new ROLEX ! He slides it over his wrist , admiring it . ANGLE ON KNIFE Lazily sliding off the shelf and into the toaster , protruding about an inch and a half . Hardly noticeable . By now , Evan has opened the next package ; a gaudy gold and diamond encrusted horseshoe ring . He carries the ring into the kitchenette , sees the Chinese food is FLAMING , and his hands flash out to turn it off - A SMALL EXPLOSION from the microwave startles him . The RING falls into his drain/garbage disposal !
EVAN
Damn it!
Evan reaches INTO THE DRAIN , his fingers searching for the ring . When he tries to pull his hand back out , the ROLEX CATCHES . Another small EXPLOSION from the microwave , this one cracking the GLASS . A Solo Plastic Cup nearby begins to melt . Flames sputter around the rim of the frying pan . In moments , the oil from the pan IGNITES . A small fire . Evan sees all this and YANKS with all his might . No use . As the FIRE slowly spreads to nearby cereal boxes , Evan starts to panic . He continues yanking . Stuck . He sees a bottle of PALMOLIVE on the other end of the counter . His fingers reach for it . Slightly out of his grasp . But his fingertips are just long enough to knock the bottle backwards - where it rests against TWO SWITCHES . The FIRE ALARM goes off . The PHONE RINGS . Evan desperately lifts his leg and tries to use his foot to edge the Palmolive over . By pushing the bottle up against the wall , it threatens to turn on one of the switches . ANGLE ON FINGERS In the GARBAGE DISPOSAL . A SWITCH is flipped - but the light goes on . And the Palmolive lazily falls , resting on the remaining switch .
EVAN
Come on, come on.
Evan makes one last push with his foot - accidently flipping the SWITCH - the GARBAGE DISPOSAL GRINDS METAL ! Evan , horrified , miraculously yanks his hand free , brushing against the knife in the toaster . When the SHOCK goes through Evan 's body , his other hand jerks out , knocking the flaming frying pan to the floor . The entire kitchen is in flames , including the new TV blocking the door . The window slams SHUT ! The room fills with smoke .
EVAN
Jesus Christ!
Evan grabs a fire extinguisher . A mere dribble of foam comes out . He begins COUGHING in the smoke . Evan tries the window - STUCK ! He has no choice but to smash the kitchenette window with the fire extinguisher to get to the fire escape . He dr ops the fire extinguisher , starts to climb out the window , hears a creak and looks up just as - A large jagged shard of glass comes CRASHING down at him - Evan jumps back just in time as it shatters before him . The fire completely engulfs the kitchen . He bravely jumps through the window pane , landing on the fire escape . He runs down the fire escape from floor to floor . A LARGE BLAST from his window showers him with glass and brick shrapnel , but ultimately , he makes it to the fire escape 's lowest level , intact . He tries to lower the rusty metal ladder to the ground . It budges once , then twice , but wo n't go down . So he climbs over the railing and gently drops to the ground . Safe and sound , he breathes a sigh of relief and turns to walk - SUDDENLY he s lips on the very grease he threw out the window , his legs shoot out from under him and he lands on his back . The rusty ladder suddenly dislodges and hurls downward - coming right for Evan 's face - but stops halfway ! As Evan laughs , breathing a final sigh of relief , it suddenly PLUMMETS again - impaling Evan through his eye socket !
INT. POLICE STATION - COMPUTER ROOM - NIGHT
Thomas sits at the computer terminal . He checks to make sure no one 's watching as he enters a SEARCH for Alex Browning . Ten websites come up , all devoted to the Flight 180 Curse . Thomas scrolls around , seeing the death pix and autopsy photos of Flight 180 `` survivors '' . Headlines blare , `` Freak Accident ? '' `` Bizarre Coincidence ? '' describing the way the victims died . As Thomas begins a localized search of the word , `` PREMONITION '' - SPOOKY HUMMING from behind him . Thomas whirls around to see Det. Suby looking over his shoulder , humming the music from an old monster movie . Suby presses one hand to his forehead , the other polishing an apple against his vest .
DETECTIVE SUBY
( as if entranced . )
Ooooh, I see it now. Your future. A transfer to another department.
Suby bites the apple , casually offering nothing more . Thomas , embarrassed , flicks off the computer , stands .
THOMAS
You've made your point.
DETECTIVE SUBY
Good. Cause we just got some new info and I do n't ne ed you getting freaky on me.
THOMAS
What?
DETECTIVE SUBY
Evan Shaeffer's dead. Guess he was n't as lucky as we thought.
Detective Suby shrugs and walks away , munching the apple . Thomas looks stunned .
INT. KAT'S ROOM - NIGHT
Kat cradles a phone to her shoulder . She watches television and crushes Oreos into a bowl of ice - cream .
KAT
No, Mom. Just turn on any station, they've been playing it all day.
( beat ; rolls her eyes . )
Yes, Mother. Channel four will do just fine. Here it is, got ta go.
She hangs up the phone , mesmerized by the report : FOOTAGE FROM A HELICOPTER shows the pile up wreckage .
ANCHOR MAN
( V.O . )
Route 18 was backed up for almost nine hours today when a record breaking pile up.
INT. NORA'S LIVING ROOM - CONTINUOUS
Nora and Tim watch the same report .
ANCHOR MAN
( V.O . )
killed An estimated 18 people. Emergency crews spent hours sifting through the wreckage.
INT. EUGENE'S LIVING ROOM - CONTINUOUS
Eugene looks up from grading midterm bluebooks to watch .
ANCHOR MAN
( V.O . )
hoping To recover any survivors from this tragic collision. So far, the police are refusing to release the names of the victims until their families are notified.
INT. KIMBERLY'S HOUSE - CONTINUOUS
Mr. Burroughs numbly watches the same report . He does n't see Kimberly enter behind him from the kitchen .
ANCHOR WOMAN
( O.S . )
The camera of a highway patrol car managed to catch this shocking footage -
B/W CAMERA FOOTAGE from Thomas ' car shows Thomas tackling Kimberly to the ground just as a jack - knifed truck plows into the SUV .
MR. BURROUGHS
My Lord.
A GASP from behind him . Mr. Burroughs spins to see Kimberly fighting back tears and picks up the remote , prepared to click of the TV - but she stops him .
KIMBERLY
Do n't. I have to see this.
Mr. Burroughs reluctantly keeps the newscast on .
INT. RORY'S APARTMENT - CONTINUOUS
It 's a party . Rory , surrounded by BUDDIES , shakes a triumphant fist at the television . HE WHOOPS with delight , spilling popcorn everywhere .
RORY
Whoohoo! You see that shit? Right there? That's my fuckin' car right there! Oh God, that's dope.
After high - fiving his peeps , he bends to table level and snorts a freshly chopped line .
ANCHOR MAN
( O.S . )
In other news, a freak accident took the life of a lotto winner.
Rory looks up to see the DMV photo of Evan . As he takes in the report , his mood radically shifts . He looks like he 's been hit by a train . MONTAGE Of Kimberly , Nora , Tim , Eugene and Kat watching . They all take the news very hard as the FOOTAGE shows Evan 's BODY being carried away by EMT workers . Eugene , however , shakes his head sadly but goes back to grading blue books . TIM 'S BEDROOM - LATER Tim 's eyes are glued to the latest Stephen King novel . Nora peers in .
NORA
Come on, Tim, lights out already.
Tim starts at her voice , then reluctantly puts down the book .
TIM
Mom?
NORA
Yeah?
TIM
You think. You think those guys were b.s. - ing us today or what?
Nora swallows , trying to seem brave .
NORA
Oh, please. Some people just need some serious rewiring, that's all.
But neither of them are convinced .
NORA
Get some sleep.
Nora kisses his forehead and leaves the room . After she leaves , Tim opens his nightstand drawer , pulls out a dusty nightlight and plugs it in .
INT. NORA'S BEDROOM - MOMENTS LATER
Nora closes her bedroom door . And locks it . She nervously checks the closet and even lowers the blinds . Finally , she takes out a business card and dials a number . She hangs up , then dials again .
NORA
Officer Burke, please?
INT. KIMBERLY'S ROOM - CONTINUOUS
Mr. Burroughs tucks a still - shaken Kimberly into bed . In one of his hands is a nearly empty glass of scotch .
KIMBERLY
It's okay, Dad. I'm not ten anymore.
Mr. Burroughs catches himself being overprotective .
MR. BURROUGHS
I'm sorry. I'm just so happy that you're safe.
KIMBERLY
I love you too, Dad. Goodnight.
But Mr. Burroughs is n't ready to leave . He finishes his drink .
MR. BURROUGHS
You know, after your mother died.
Kimberly tenses , bracing for the worst .
MR. BURROUGHS
There were so many times I did n't think I could last another day. I ca n't even tell you some of the things I th ought about.
KIMBERLY
I used to have those feelings, too. But that's when I'd think of Mom. Her strength. and courage. And I'd pray that maybe I'd grow up to be as brave as she was. And the bad thoughts would go away.
MR. BURROUGHS
( choking up . )
I do n't know what I'd do if I lost you.
Mr. Burroughs leans over , kisses her forehead and leaves . Just as he 's out the door , he braces at the distant sound of a CAR SKIDDING out of control . The ENDLESS SCREECH is nerve shattering . Mr. Burroughs stands frozen , tensing for the inevitable crunch . But there is none . And he leaves .
INT. KIMBERLY'S ROOM - NIGHT
The room is dark except for one burning candle . Kimberly tosses and turns . The wind sends a single branch scraping against her window . A porch swing SQUEAKS back and forth . Adding to her anxiety . A BREEZE ENTERS , sputtering out the candle . Kimberly sits upright in bed and sees the WINDOW IS SHUT . Huh ? She lights a match and sees the candle wax dripped onto her table , forming the gooey shape of a . 180 ? The match goes out in her hand . The room is dark again . Headlights fr om passing cars cast eerie shadows on her ceiling . Shadows resembling PLANES seem to transform into a SKULL . Kimberly , freaked out , looks around to see the blinking light from the VCR : it flashes 18:0 a few times , then 12:00 . She ca n't take it anymore . She yanks the VCR cord from the wall and flicks on the lights , ridding the room of shadows . And anxiously turns on her computer .
EXT. STONEYBROOK HOSPITAL - DAY
Kimberly drives a beat up Hyundai through an eerie morning mist that surrounds the grounds of the Stoneybrook Hospital . ANGLE ON A computer printout in the shotgun seat : MAPQUEST directions to `` Stoneybrook Hospital '' . As Kimberly drives through the gate , the mist almost seems to follow her inside . A SIGN offers a choice between `` Emergency/Medica l Care '' or `` Psychiatric Treatment Center . '' Kimberly drives to the mental ward .
INT. MENTAL WARD - DAY
A PHYSICIAN in a lab coat leads a nervous Kimberly down the center of a long corridor . The Physician consults a clipboard .
PHYSICIAN
at the request of the patient, you are to relinquish any sharp objects such as nail files, pencils, pens, safety pins, bobby pins, no matches, lighters, belts, belt buckles, earrings, chokers, shoelaces.
Kimberly watches carefully as the Physician comes to a door and punches `` 4514 '' into the electronic lock . They continue down another corridor . Lights flicker , patients cackle and moan in the B.G.
PHYSICIAN
paper clips, watches, food, drinks, keys, poisons, pills and medications.
( looks at Kimberly . )
You have a cell phone on you?
Kimberly nods , hands it over .
PHYSICIAN
Then I think we're all done.
They arrive at a door to a padded room . The Physician punches in another code .
KIMBERLY
Wait. Is she. dangerous or something?
PHYSICIAN
No honey, but she expects you are.
KIMBERLY
Jesus, how long are you going to keep her locked up this way?
PHYSICIAN
Depends on her, I guess. She's voluntary.
The door hisses open .
INT. CLEAR'S PADDED ROOM - CONTINUOUS
REVEAL CLEAR RIVERS While still beautiful , this young woman bears few traces of her former self . Her eyes dart around suspiciously , maddened by chronic paranoia . Her hair is patchy , her eyes dark and haunted . Bordering on savage . Her movements are fidgety , erratic , always distracted by something unseen .
KIMBERLY
Clear Rivers?
Clear looks Kimberly up and down and steps back , allowing her inside her inner sanctum . A mattress on the floor , a plastic bottle of water , some paperbacks and a bedpan . Kimberly 's jaw drops when she sees the far wall : a SHRINE to flight 180 . The wall is papered with art icles about all the survivors -LRB- as seen in the opening title montage -RRB- . The door SLAMS . Kimberly jumps .
CLEAR
Kimberly Burroughs, eh? What do you want?
KIMBERLY
I thought. I thought you might be able to help me.
CLEAR
( snicker . )
Yeah, how?
KIMBERLY
I had a premonition about the Route 18 pile up. I saved some people. And now I think Death is after me.
CLEAR
Nice work. Maybe if you're real lucky, you'll wind up in here with me.
( gives Kimberly the once over . )
But I doubt you'll survive that long.
Kimberly flinches .
KIMBERLY
It's not just about me. Someone I saved died last night in a freak accident. What if the others are in danger, too?
CLEAR
Well, if you put them on the list, they're already tits up.
KIMBERLY
What list?
CLEAR
Death's list. The precise order you're going to die in.
Clear 's eyes bore into a terrified Kimberly 's .
CLEAR
The survivors of Flight 180 died in the exact order they were originally meant to die in the plane crash. That was Death's original design.
KIMBERLY
( sudden realization . )
Exact order? Then I'm next! I was meant to die with my friends, so I'm next!
Clear backs away from Kimberly as if she were lethal , then stops short .
CLEAR
But you said someone else died last night. That means Death skipped past you. Someone must have intervened.
( off Kimberly 's confusion . )
Sometime yesterday you must have nearly died, but someone saved you.
Kimberly nods , recalling the events .
KIMBERLY
Officer Burke pulled me away from the crash that killed my friends.
CLEAR
Congratufuckinglations. That makes you last to go. But do n't worry, once the others are dead, it'll come back for you. Always does.
KIMBERLY
That still does n't make sense. You said you die in the same order you were originally meant to. But Evan Shaeffer died last in my premonition, not first.
Clear seems very disturbed by that .
CLEAR
It's moving backwards? Are you sure?
Kimberly reluctantly strains to remember something . THE FINAL MOMENTS OF THE PILE UP Nora 's Pacer folds like an accordion , then EXPLODES , followed by Evan screaming in the Trans Am , which gets CREAMED by the semi ! Kimberly , shaken , does the math .
KIMBERLY
Yes. In my premonition that Nora woman and her kid died first, then Evan and then. my friends.
Clear is oblivious when Kimberly breaks into silent sobs .
CLEAR
Backwards. that's new.
Clear sees Kimberly crying and softens .
CLEAR
That's good. Get all your tears out now, you'll need your eyes.
( off Kimberly 's confusion . )
For the signs.
KIMBERLY
Signs?
CLEAR
If you have the same power as Alex, you'll be seeing signs soon. When you see anything creepy or ominous, an in - your - face irony kinda thing? Do n't ignore it. It usually means the difference between life and death.
KIMBERLY
( to herself . )
The songs on the radio.
( to Clear . )
But wait. I do n't understand. Why is this even happening to me?
CLEAR
That's what Alex used to ask himself right up until.
For an instant , we see a gentle side of Clear .
KIMBERLY
It's obvious you know what you're talking about. You beat it. You have to help us.
Clear suddenly toughens up , an abrupt mood shift .
CLEAR
I did n't beat it ; I hid from it. If you were smart you'd put a down payment on a burial plot and say goodbye to the dog, because what little life you have left is over as you know it. Do n't make new friends, do n't fall in love, and do n't ever bother trying to save others. That's the worst killer of them all.
KIMBERLY
How can you say that? What kind of monster are you?
At once , Clear , enraged , is in her face , speaking through clenched teeth .
CLEAR
My family is dead. My friends are dead. And Alex.
Clear angrily peels a Polaroid off the wall and shows it to Kimberly . While we do n't see the photo , Kimberly 's horrified face paints a gruesome picture on its own .
CLEAR
And yes, that's the blade of a fucking ceiling fan in his head.
Clear pounds on the door , apparently done with Kimberly . A GUARD opens the door . Kimberly , devastated , turns to leave , then summons her courage and turns back to Clear .
KIMBERLY
Know what? I think you're a coward. I think you hide out in here because you're too damn bitter and selfish to care about another living soul. In my opinion, you're already dead.
Kimberly leaves , giving Clear something to think about .
EXT. KIMBERLY'S HOUSE - DAY
As Kimberly pulls into her driveway , she 's surprised to see a STRANGE CAR parked there . Then - THOMAS , wearing street clothes , peers through the front window of the house . He guiltily backs away as Kimberly gets out .
THOMAS
I tried calling last night but your father -
KIMBERLY
Evan Shaeffer's dead.
Thoma s nods and leans against the large glass windows that reflect the sky behind them .
THOMAS
I know. I've gotten calls all morning from everyone who was on the onramp. We're all meeting at my apartment tonight.
KIMBERLY
Then you believe all this? That Death is working off a list?
Thomas hesitates before answering .
THOMAS
I did n't. Until I was dispatched to clean up one of the Flight 180 survivors.
KIMBERLY
Clean up? I do n't.
Suddenly through the reflection of the window glass , Kimberly sees hundreds of pigeons dive bomb her at once ! Like a scene out of THE BIRDS , Kimberly must duck and cover as the pigeons assault her from every angle . But when Kimberly turns away from the reflection , toward the actual pigeons , THEY 'RE GONE . ALL IN HER HEAD .
KI MBERLY
Did you see that?
Thomas , concerned for her , saw nothing .
KIMBERLY
Pigeons. It's a sign! If Clear's right about the order, then Nora and Tim are going to be attacke d by Pigeons!
THOMAS
I'm not following you -
KIMBERLY
They're next on the list. We have to find them.
EXT. MEDICAL COMPLEX - DAY
ANGLE ON Woman 's N ike shoe on a down - moving escalator . Reveal Nora taking her son Tim to a dentist 's office . The SHOELACE snags on a bolt of one of the steel side panels , untying it .
TIM
( mischievous smile . )
You think the tooth fairy's gon na come tonight? I'm thinkin' like fifteen bucks.
NORA
Nice try, kiddo.
Tim smiles , then winces from the pain in his mouth . THE DANGLING SHOELACE heads straight for the escalator grate . IT GETS SWALLOWED UP . As Tim steps off , Nora TRIPS forward . Her caught sneaker is pulled tighter into the innards of the metal staircase .
TIM
Mom!
Tim watches helplessly as Nora reaches down , tug ging at her sneaker , fear mounting . Tim also grabs her sneaker and yanks . Finally , the shoelace SNAPS , and Nora 's free again .
TIM
You okay?
Nora puts on a brave face and begins tying one long shoelace to the stubby one .
NORA
Sure hon. I'm fine. Let's shake it, we're late.
Tim nods . The wind picks up as they continue past a - CONSTRUCTION CREW Who apply industrial suction cups to large , thick sheets of PLATED GLASS . Tim stares in childlike fascination as they pass JACKHAMMERS , a CEMENT MIXER , and an EXCAVATOR .
INT. CLEAR'S PADDED ROOM - DAY
Clear Rivers applies fun - tack to the back of a newspaper article and sticks it on the wall devoted to Flight 180 . REVEAL A photo of Eva , `` Lotto Winner Killed By Ladder '' . Clear backs away , pausing to look at a group photo of the Survivors of Flight 180 just before take off . Smiling faces .
TIM
Not so much.
Dr. Lees keeps a skeptical smile to himself .
INT. WAITING ROOM - CONTINUOUS
The RECEPTIONIST appears next to the fallen fish food with a VACUUM . She plugs it in an outlet below the fishtank . A startling GRIND as the vacuum turns on and coughs up a nail . She vacuums up the fish food around Nora 's feet . The DEAD FISH gets sucked into the water filter in the fishtank which sputters and stops . The water level RISES , spilling water over the side of the tank . The water TRICKLES closer to the outlet .
EXT. SUBURBAN STREET - DAY
Thomas drives his car into a friendly neighborhood . Kimberly , riding shotgun , hangs up her cell phone .
KIMBERLY
Turn around. The cleaning woman said they're at the dentist's. 14th and Main.
THOMAS
Hold on.
Thomas expertly skids into a U - turn .
INT. DENTIST OFFICE - CONTINUOUS
Tim looks petrified as Dr. Lees unveils a tray full of PICS , CARVERS and EXTRACTING FORCEPS . The KA - CHUNG of construction outside makes it im possible to concentrate , but , hands trembling slightly , Dr. Lees picks up a pic and mirror and starts examining Tim 's mouth . CU of PIC gently prodding Tim 's teeth .
DR. LEES
( O.S . )
I'm a little disappointed, Tim. Does your mom know you've been smoking?
Tim groans `` uh - uh '' , then suddenly flinches .
DR. LEES
( O.S . )
Yeah, that'll have to be filled.
A BANG from the window startles Dr. Lees . His HAND JERKS , but luckily the pic was removed from Tim 's mouth . Dr. Lees whips around in time to see a PIGEON flutter away from the window .
DR. LEES
Jesus. Every day at the same damn time. Now this'll only sting for a moment.
Dr. Lees picks up a large SYRINGE and moves it toward Tim 's open mouth .
DR. LEES
Open big. Wiiiiider.
Tim 's eyes radiate fear . The MOUTH OPENS . Reluctantly . Tim nervously eyes the window as the needle enters . ANGLE ON NEEDLE heading toward his gumline - BANG ! Another pigeon takes a header into the reflection . Dr. Lees ' hand jerks , nearly jabbing Tim 's tongue . Tim squirms violently . Dr. Lees looks towards the window angrily .
DR. LEES
How the hell do they expect me to. Would you rather have the laughing gas?
Tim nods his head ferociously .
DR. LEES
Jean? I need you in here.
( waits . )
Jean?!
INT. WAITING ROOM - CONTINUOUS
Jean continues vacuuming . The vacuum makes contact with Nora 's foot .
INT. DENTIST OFFICE - CONTINUOUS
After a minute , Dr. Lees angrily switches on two compressors : Oxygen and Nitrous Oxide . By now , the NO mask has been attached around Tim 's nose . As Tim drifts off , Dr. Lees lowers a DRILL into his mouth .
DR. LEES
Open big. Wiiiiiider.
Excruciating SOUNDS of the drill going through enamel . INTERCUT KIMBERLY AND THOMAS Racing to the medical complex throughout . THE WAITING ROOM The WATER TRICKLES into the outlet . The vacuum sparks and dies just as - BACK IN DR. LEES ' OFFICE BANG ! SFX : BROKEN GLASS - it sounds like a pigeon finally crashed through the window . In the other room .
DR. LEES
Goddamn it already.
Dr. Lees marches out of the room to investigate . Another quick electrical surge and the OXYGEN COMPRESSOR flutters off . The needle drops . But the NITROUS flow remains strong . ANGLE ON FISH MOBILE Spinning from a new breeze . Suddenly , a small round PUFFER FISH FALLS directly into Tim 's mouth . Soft , gurgling and choking .
INT. WAITING ROOM - CONTINUOUS
Nora stares at a pigeon with a broken wing frantically trying to fly right . Dr. Lees makes a half - hearted attempt to soothe and catch it . BACK IN DR. LEES ' OFFICE SLOW DOLLY up to Tim . Choking , gurgling . His eyes are open , but rolled up . His hand limply reaches up . then drops . Sounds of commotion in the next room seem to fade away as we continue our SLOW DOLLY into Tim 's eyes . They GLAZE OVER . the choking stops . And a HAND reaches into frame and pulls the puffer fish out of Tim 's mouth . REVEAL JEAN looking petrified at the close call , looking around to make sure nobody saw .
EXT. MEDICAL COMPLEX - LATER
Nora and Tim , feeling better now , walk past the CONSTRUCTION CREW . A CRANE OPERATOR smiles at Tim , who smiles back . From across the mall , the tiny running figures of Kimberly and Thomas appear in the dis tance , pointing and screaming .
TIM
What are they doing here? And why are they yelling `` pigeons''?
Just then , Tim and Nora walk into a large cluster of PIGEONS who suddenly burst into flight , startling the Crane Operator , whose hand inadvertently jerks a lever - A METALLIC CHAIN RATTLE fills the air and Tim looks up just as a HUGE SHEET OF GLASS PLUMMETS downward toward him and CRUSHES him , his mangled body visible underneath . As two pearly whites roll around on the sidewalk , NORA SCREAMS .
EXT. MEDICAL COMPLEX - LATER
Emergency vehicles everywhere . Thomas seems exhausted as he walks back to Kimberly , who stands by his car . In the BG , EMTs load a stretcher into an ambulance .
THOMAS
( shaking his head . )
Nora's not coming. She refuses to leave her son.
KIMBERLY
We have to tell her she's in danger!
THOMAS
( sadly . )
I did. And right now, I do n't think she cares.
EXT. KIMBERLY'S HOUSE - DAY
Thomas ' car turns into the driveway and parks . Kimberly holds up her hand and watches it tremble .
KIMBERLY
It's happening again. It's fucking happening again. I hoped we'd get there and they'd be okay, that Clear Rivers was full of shit and Evan's death was just a freak accident.
Thomas kills the engine to listen .
KIMBERLY
But we're all going to die. We ca n't stop it. It's just a matter of time. I'm so scared.
Thomas takes her hand and squeeze s it reassuringly .
THOMAS
I am too. But you can use that fear. It'll sharpen your instincts. Keep you alert fro signs. It's the only way you'll be able to sav e the others. and me.
Kimberly , seeming overwhelmed , pulls her hand back . Thomas senses he 's losing her , and softens her approach .
THOMAS
I know you did n't ask for any of this, Kimberly. But I do n't think you have it in you to quit either.
Kimberly stares straight ahead , the weight of the world sinking in . BANG ! A startling pound on the roof of Thomas ' car . Kimberly jumps , then spins around to see : CLEAR RIVERS - standing in the driveway . A determined , powerful presence . Kimberly exits the car . A MOMENT where Kimberly and Clear stare each other down .
KIMBERLY
Clear/Thomas. Thomas/Clear.
Clear nods absently to Thomas , still focused on Kimberly .
KIMBERLY
( bitter . )
The second one just dies. A 16 year old kid.
CLEAR
( nods ; a faint trace of guilt . )
I hope you're ready for this.
EXT. FUNERAL HOME - DAY
Thomas ' car pulls into a partially filled parking lot . Kimberly , Thomas and Clear file out and head to the door .
KIMBERLY
This is cheery.
THOMAS
Who is this guy, anyway?
CLEAR
A mortician. He seemed to know a hell of a lot more about death than he ever told us.
THOMAS
Should we knock?
CLEAR
( looking ill . )
He probably already knows we're coming.
INT. FUNERAL HOME - MOMENTS LATER
Kimberly , Thomas and Clear open the large wooden doors into a small chapel , creat ing a loud CREAK . A corpse in an open casket sits at the front of the chapel , post - wake . Kimberly , Thomas and Clear are forced to walk around the dead body to get to a side door .
INT. CORRIDOR - MOMENTS LATER
The three slowly edge towards a room at the end of a creepy hallway . An ORANGE GLOW flickers from the far room . The unmistakable sounds of a furnace make it all the more eerie . As they near the door , they 're able to see inside the room ; the shadow of a figure looms against a steel oven . They edge closer . They peek inside the -
INT. CREMATORIUM
Oddly there is no one there . As they enter , passing the furnace , a momentary WHOOSH of flames startles them all ! They jump back - bumping right into : MR. BLUDWORTH , the dark , sinister mortician from FD1 , who has inexplicably appear BEHIND THEM .
MORTICIAN
Hello, Clear. I've been keeping an eye out for you.
The mortician rolls a metal gurney carrying EVAN 'S EYELESS BODY toward the firing oven . Kimberly and Thomas are scared .
KIMBERLY
Oh my God. That's Evan Shaeffer.
Clear , however , seems to expect nothing less .
MORTICIAN
Come to. Pick my brain?
The Mortician slides a gleaming set of medical pliers into Evan 's mouth . And YANKS out a gold tooth . Kimberly recoils as he discards the bloody tooth on a metal tray .
MORTICIAN
( to Kimberly . )
Flesh and bone require 1,600 degrees for cremation. Gold, prosthetics and other metals must be removed before the final -
CLEAR
( not falling for this again . )
Just a simple question and we'll leave you alone with your new friend.
The Mortician grins ; he likes the new Clear . He crosses the room and hits a LEVER . KA - CHUNK ! The oven begins to blaze .
MORTICIAN
Fire away.
CLEAR
How do you cheat Death once and for all?
The Mortician , recrossing the room , passes Kimberly and stoops down to sniff , no INHALE , a terrified Kimberly 's essence .
MORTICIAN
Dead. But still fresh.
Kimberly shudders as the Mortician moves back to Evan 's body . Clear has had about enough .
CLEAR
( to the Mortician . )
Look, we drove a long way to get here. So if you happen to know how to get this death monkey off our backs, it sure would be swell if you told us.
The Mortician now CLAMPS THE PLIERS around Evan 's NIPPLE RING .
MORTICIAN
For what purpose? You seek a back way out of a room with but one door. You ca n't cheat Death ; there are no escapes.
CLEAR
Bullshit. You told me Death has a distinct design, a blueprint, unalterable. But Alex and I cheated Death not once, but dozens of times. If the design is flawed, it can be beaten.
A sick smile crosses the Mortician 's lips . He yanks the nipple ring OFF ! Kimberly looks on both horrified and awed when Clear does n't flinch back from the pliers , where a bloody nub dangles .
MORTICIAN
Such fire in you now. People are always most alive just before they die. Do n't you think?
Clear steps back from him , hate flashing in her eyes .
CLEAR
It can be beaten. And you know it.
CREEEAAAK - SLAM ! The Mortician rolls Evan 's body into the oven .
MORTICIAN
Some say that there is a balance to everything. An equilibrium that is the connective tissue of the universe. They say that for every lif e there is a death, and for every death a life.
His words hang in the air . An ominous BREEZE enters .
MORTICIAN
Solus novus anima licet evinco mortis ; Only new life can defeat death.
( off their confusion . )
The list of life is forever set by the Divine Plan, the guiding hand that plots the course of the universe, down to its tiniest element s.
Thomas looks to Clear ; what 's he talking about ? The Mortician focuses on Kimberly as if the others had ceased to exist .
MORTICIAN
The list accounts for every life ; from the dawn of man to the great apocalypse. But the introduction of life that was not meant to be, a soul forbidden to roam the earth, that could invalidate Death's list, shatter its very existence.
Evan 's other eye POPS , startling Thomas and Kimberly .
THOMAS
What the hell does that mean?
MORTICIAN
( with finality . )
To figure that out you'll have to follow the sign s.
The Mortician grabs Kimberly .
MORTICIAN
But be warned. To disrupt the grand design is to unravel the tapestry of the universe. When you pull all the threads apart, you may find yourself hanging from them.
The Mortician finally lets Kimberly go .
CLEAR
One last question. Why is Death working backwards this time?
The Mortician glances at his watch - Evan 's bran d new Rolex .
MORTICIAN
( shakes head ; a sick smile . )
Sorry, time's up.
EXT. GAS STATION - DAY
CLOSE UP - GAS DRIPPING From the nozzle in Thomas ' car . Thomas fills the tank , watching for signs of danger . Clear 's hand is poised over the gas pumps ' EMERGENCY CUT - OFF VALVE Some SKATE RATS exit the mini - mart with a pack of Camels , followed by Kimberly , who carries a couple of Red Bulls and hands them out .
THOMAS
New life defeats death? Follow the signs? Where the hell did you find that guy?
KIMBERLY
Yeah, I thought he was supposed to be helpful.
CLEAR
He was. If we can use your ability to see the signs, we can cheat Death long enough to figure out what `` new life'' means.
( off their looks . )
I know, it worries me that I understand him.
Thomas tops off the tank . Some gas spills to the ground . Quick looks all around - sure enough , one of the Skate Rats is about to strike a match . CLEAR 'S HAND SLAPS the kid in the back of the head , stopping him mid - motion .
CLEAR
What the fuck are you thinking?
The startled Skate Rat shrinks back from Clear 's rage .
SKATE RAT
I'm thinkin', suck my junk, bee yatch.
Thomas chuckles to himself and looks at Kimberly who -
EXT. LAKE - DAY
POV DRIVER . Grease - covered female hands reach out toward a steering wheel of a white van speeding out of control TOWARD A LAKE ! The van crashes through a railing and PLUNGES into the water . In moments , the van fills with water , the driver inside trapped . Drowning . Horrible .
INT. GAS STATION - DAY
KIMBERLY Comes to Thomas ' arms - GASPING uncontrollably for breath . Terror - stricken . She begins hyperventilating .
THOMAS
What is it? What did you see?
It 's so bad , Kimberly ca n't speak . She coughs and gags as if recently drowned . Clear scans the perimeter for immediate dangers . A POWER REPAIRMAN On a cherry picker messes with the transformer , a LAWN BOY pull - starts a WEED WHACKER close to broken glass , a MECHANIC on a tall ladder changes out the gas price numbers , a female DOG WALKER with three dogs approaches the ladder .
CLEAR
You have to tell us now.
KIMBERLY
I. I.
Clear shakes her head by the shoulders and barks commands like an angry drill sergeant .
CLEAR
You're strong. Do you hear me? You're a fucking warrior. Nothing scares you. In fact you happen to be the single most powerful woman on earth. Now what did you see?
The words slowly take affect . Kimberly becomes centered , getting her breath back , and speaks without a hitch .
KIMBERLY
I was driving a white van. It must've gone out of control because it crashed into a lake and I drowned. It was. horrible.
CLEAR
You were there?
KIMBERLY
I can practically taste the water in my throat. And something else. The smell of flowers.
CLEAR
( confused . )
Then it was n't just a sign. It was a premonition?
Thomas gently releases her , paces .
THOMAS
Remember the onramp? There was a pregnant woman in a white delivery van.
CLEAR
Holy shit. He said `` only new life can defeat death.''
( off looks . )
If she gives birth to a baby that was never meant to be born, a brand new soul that was never part of Death's Design.
KIMBERLY
It throws the entire Death list out of whack. And a new list has to be rewritten f rom scratch. We all start over with a clean slate.
THOMAS
It sounds all well and good, but what if we're wrong?
CLEAR
Please, what else could it mean?
KIMBERLY
( to Thomas . )
So if you give us the pregnant lady's number, we can warn her about the lake and she'll live long enough to have the baby.
CLEAR
So let's do it.
THOMAS
( realization . )
Shit, I do n't have her number. She was never interviewed. She took off right after the accident.
KIMBERLY
How are we going to find her? There must be thousands of white vans in this state.
THOMAS
Hey, I'm a police officer, remember?
INT. A/V ROOM - POLICE STATION - LATER
Thomas works a VCR , scanning BACKWARDS through the video footage from the patrol car camera . We see the SUV 's explosive collision with the jack - knifed semi . Kimberly is taken by surprise by the sight of the crash .
KIMBERLY
Oh God.
Thomas sees Kimberly and quickly flicks off the monitor .
THOMAS
I, uh. sorry.
Kimberly notices Clear watching her and toughens up . She forces back the tears and qui ckly wipes the rest away .
KIMBERLY
I know, I know. We need my eyes.
Clear sits beside Kimberly .
CLEAR
It's all right. I'll take watch.
Kimberly looks grateful , and a moment passes between them , but she 's already buried the need to cry .
KIMBERLY
I'm okay. Just caught me by surprise. Put it back on.
Clear does , watching the cars seemingly pass in reverse .
CLEAR
Make sure all these people will be at the meeting tonight.
THOMAS
Taken care of.
THE MONITOR Back , back , back until the Patrol Car slowly creeps backwards down the onramp .
KIMBERLY
There it is.
THOMAS
Got it.
Thomas hits play and we see footage from the patrol car cruising past the White Van . A clean shot of the license plate . Jackpot . As Thomas slides his chair to a data base and types in the plate number , the pause function dislodges , slowly advancing the tape frame by frame .
CLEAR
I do n't get it. Why is everything happening so fast? After Flight 180. A month went by before anyone died. And now five people are dead in less than a day.
Thomas ' computer screen finally fills with information .
THOMAS
Here we go. The vehicle's a delivery van registered to Jorge and Isabella Cruz. And Christ, there's almost a dozen domestic disturbance complaints on these two.
CLEAR
We need to hurry.
They all get up and leave . Ominously , THE MONITOR shows the NEXT VEHICLE creeping behind Nora 's Pacer - a white van !
INT. CRUZ HOUSE - NIGHT
Thomas pulls up to an upper - middle class house . Thomas , Kimberly and Clear get out and start up the unlit path . It 's dark , hard to see where they 're going , so they negotiate by feeling the bushes aligning the walkway .
THOMAS
Let's lay this on her gently now. The stress alone could upset the pregnancy.
Kimberly nods , ever creeping closer to the front door - when AUTOMATIC LIGHTS FLASH from over the garage . All three freeze for a moment , during which we hear STOMPING emanate from within the house , and the lights SHUT OFF . But nothing else happens . No one comes to a door . Thomas sighs , and as if suddenly remembering his status , he walks fearlessly and purposefully to the front door . He makes a fist , is about to knock - when the DOOR FLINGS OPEN and a ROTTWEILER LUNGES for his throat - only to have its collar snagged at the last second by its owner - JORGE CRUZ , late 30 's , handsome , cocky . He speaks above Rotty 's
JORGE
What?
THOMAS
I'm Officer Burke. I'm looking for an Isabella Cruz.
Suddenly , with an unexpected fury , Jorge SCREAMS at his dog .
JORGE
Shut up!
The Rottweiler cowers , and Jorge shoves it to the floor , where it lands on its feet and fearfully trots away . Jorge 's face is once again pleasant , but it 's a thin veneer . Jorge sees Clear and Kimberly behind Thomas and frowns .
THOMAS
Are you Jorge Cruz?
JORGE
Maybe. What's this about?
THOMAS
May we come in?
JORGE
No. What's this about?
ANGLE ON CLEAR - eyeing what appears to be DROPS OF BLOOD on the tile floor . She takes in what she can see of - THE ROOM As if a tornado had hit it . Wedding photos smashed and torn . Furniture over - turned .
THOMAS
( a little stern . )
It's about your wife, Isabella. Now is she here?
Jorge 's eyes flicker ever - so - involuntarily behind him .
JORGE
No. I'm alone.
But by now , Thomas has seen everything Clear has and more . He stares through the house , into a bedroom and sees - A FEMALE FOOT lying half0buried under the bedspr ead .
THOMAS
Look, pal, it's probably nothing. But I need to see -
Jorge is already closing the door .
JORGE
Forget it. You'll need a warrant. I know, I'm a lawyer.
Clear rushes the door , shoulders it and expertly wriggles past Jorge 's grasp .
JORGE
Stop! You ca n't go in there!
Clear tears into the bedroom , grabs the bedspread and THROWS it to the floor to reveal a YOUNG WOMAN , naked , trembling with fear , takes a closer look at Clear .
YOUNG WOMAN
We never meant to hurt you Isa. You're not Isabella!
Meanwhile , Jorge yells at Thomas .
JORGE
I'm going to sue your ass!
KIMBERLY
Whose blood is that on the floor?
Defensively , Jorge holds up his arm . Freshly cut .
JORGE
Mine, you idiot. The dog went nuts this afternoon. Now arrest her!
KIMBERLY
Where's Isabella? Did you finally kill her you fucking wife beater?
Jorge flinches . It 's time to come clean .
JORGE
We had a fight. Some things got broken, the dog went crazy, she left me. Would n't say where she was going.
THOMAS
What was the fight about?
JORGE
Take a guess.
THOMAS
Does she have a cell phone? A way we can contact her?
JORGE
She did.
He eyes a SHATTERED CELL PHONE on the floor .
CLEAR
We're wasting time with this piece of shit. Let's just get to the meeting.
Jorge turns to soothe the frightened Young Woman in the bed .
JORGE
Hey, when you find her, tell her the kid's half mine.
Clear mutters something as they exit the house .
CLEAR
We can only pray it does n't come out retarded.
Jorge hisses something at the Rotty , which CHARGES them and SPRINGS ! But Thomas slams the door on the frothing dog just in time .
EXT. THOMAS' APARTMENT BUILDING - NIGHT
Rory sits in his Chevette outside an apartment building , staring up at the address . He quickly snorts some powder off his key and wipes his nostrils free of crystals . He takes a breath and exits the car .
INT. THOMAS' APARTMENT BUILDING - NIGHT
Rory follows some PEOPLE into the elevator . The elevator doors close on his shoe - trapping Rory in an awkward position . One MAN frantically pushes the DOORS OPEN button to no avail . Finally , as the elevator rises , Rory YANKS his foot free .
MAN
Jesus Christ. I wrote to management two weeks ago about these friggin' bumpers.
Rory bends down and inspects his shoe .
RORY
Damn, is that dogshit?
Rory briefly holds the shoe too close to the Man 's face - see ? - before disgustedly slipping it back on . DING . The doors open . The man hurries out and the elevator DOORS CLOSE on Rory 's smirking face .
INT. THOMAS' APARTMENT - LATER
REVEAL - Nora , Rory , and Kat , mortified , sit on a couch . It 's obvious the bomb 's been dropped , reality has set in . Clear and Kimberly await their reactions . Nora raises a trembling hand .
NORA
Does anybody have a Valium?
Kat opens her purse and hands her a blue pill .
KAT
You'll want to take -
Nora pops it in her mouth .
KAT
- half of that.
Nora chews , her eyes half dead from bereavement . Across the loft , Thomas paces , phone in hand .
THOMAS
( quietly , into phone . )
Any word yet on the Dodge van? Damn.
Eugene alone seems unafraid . He uses a GRABBER - a long pole with movable claw on the end - to OPEN THE SKYLIGHT . When done , he balances the long pole precariously against the wall . An OMINOUS BREEZE enters . Clear notices MAGAZINE PAGES blowing over the desk by the couch .
NORA
So that would mean. I'm next.
EUGENE
Nobody's next. This is crazy. First death's stalking us and now premonitions?
KAT
This ca n't be happening. My career's at a peak, I finally met a cute guy, I just bought a new house.
RORY
Just shut the fuck up and maybe you'll live.
Kat 's hands ball into fists . The hatred is mutual . Clear reaches for a nearby cardboard box on the desk , noticing MAGAZINE PAGES blowing over until their weight tips over a PENCIL HOLDER which spills pens out . She takes the box to Nora .
CLEAR
You're not next, Nora. Nobody has to be next. That's the point. Last time, we did n't plan. We were n't organized. Now we can help each other.
She reaches into the box and passes out cell phones to Nora and the others .
CLEAR
Think what would have happened if Kimberly had been able to warn you with the word pigeons.
Nora 's head falls . Kimberly senses her anguish and takes over .
KIMBERLY
The point is, as long as you know what to beware of, you have a fighting chance. It can be beaten. If I call you and say subway, get to a high rise fast. A place where no subway could possibly go, get it?
Everyone nods in understanding . Rory fidgets , sniffling , then POUNDS the table in frustration . Startling Kat .
RORY
Why the hell did I ever get on Route 18 in the first place? That's me, Mr. Dumb Fucking Luck.
Clear , very alert , looks at the tipped PENCIL HOLDER . PENS ROLL toward the end of the desk , toward a large White Pages directory which hangs precariously off the edge just so .
CLEAR
Anyone read today's paper? The article on Evan Shaeffer?
No one says a word .
CLEAR
The only reason he was on Route 18 was because he own the lottery and had to collect the winnings.
RORY
That lucky bastard.
CLEAR
What about the rest of you? Kimberly, you were driving to Daytona. Was Route 18 your first choice?
KIMBERLY
The new freeway was faster, but Route 18 was the way my mom used to take, so.
They take turns going around the room .
THOMAS
Route 18 is Drake's assignment, but he called in sick so I got.
( blanches . )
Drake's never sick.
KAT
I was my first day of jury duty.
EUGENE
Jury duty? That's randomly selected by social security numbers.
CLEAR
Random, sure.
EUGENE
What, you think Death planned for each of us to die in the pile up weeks ago? You're nuts.
Clear fumes . Rory looks ill and reaches into his wallet .
RORY
Last July I dialed a wrong number and got a radio station by accident. They asked me what number means `` good luck'' in Jewish.
KAT
Eighteen. And it's `` Hebrew''.
RORY
Anyway, I guessed it right and won these.
Rory holds up two Yankee tickets .
RORY
The best way to get to Yankee Stadium is Route 18.
KIMBERLY
I do n't know what's weirder, the dialing a wrong number part or that Death would set you up nine months in advance.
THOMAS
( realization . )
Whoa, nine months?
KIMBERLY
Are you thinking what I'm thinking?
INT. CHEAP MOTEL - NIGHT
ANGLE ON ISABELLA 'S PREGNANT BELLY . REVEAL she 's lying down , binging on take - out food , while speaking on the motel phone . A disturbing metallic SQUEAK SCRAPE - SQUEAK can be heard , nearly drowning out the SCREAMING COUPLE next door .
ISABELLA
Yes, I'd like to report a domestic squabble - my name? Isabella Cruz why, does it matter? I'm at the Super 8 motel. Yes, I own a white van. So what? Just get over here.
Isabella hangs up , recoiling at VIOLENT THUMPS against her wall . PULL BACK AND UP TO REVEAL the source of the unsettling SQUEAK is a rickety , wobbling CEILING FAN .
INT. THOMAS' APARTMENT - NIGHT
Kimberly whispers into the phone .
KIMBERLY
I'm sorry, Dad, we're having a hard time with Shaina's eulogy. I'll stay here at Virginia's tonight and see you tomorrow. I love you too.
She hangs up , looking guilty for having lied to her father . Clear keeps her eyes on the pens that ROLL on the slightly canted table into the about - to - fall White Pages directory .
CLEAR
Remember everyone, just because Kimberly's got the power does n't mean we're not all capable of seeing signs to some extent.
The pens softly tap the phone book one by one until it lazily tips over and PLOPS HEAVILY onto a GOOSE - DOWN THROW PILLOW . Small feathers from the pillow are carried upwards by the breeze . Everyone in the room watches them rise .
RORY
It's like Forrest Gump.
They float across the room , ultimately landing on a MOUSETRAP ! SNAP ! The trap flies over and knocks into the base of the unstable Grabber - which tips and slowly slides down the wall . Clear , in a chair , looks directly above her head at a LARGE SWORDFISH mounted on the wall . The Grabber picks up speed , arcs downward and hits the mounted SWORDFISH . The supporting brackets give , causing the SWORDFISH TO TIP and SLIDE DOWNWARD ! Clear lurches back in her chair just in time - the razor sharp bill impales the seat cushion between her legs !
CLEAR
Fuck. Should have seen that coming. The institution's made me soft.
Clear gets up , carefully easing herself around the swordfish . Eugene is n't quite sure what to make of what he 's just seen .
EUGENE
If Death has got such a hard - on for you, maybe you should get the hell away from us.
KIMBERLY
We need her. She's the only one who's dealt with this before, idiot!
Kimberly looks self - conscious by her outburst . Clear , however , looks grateful .
CLEAR
We're all going to have to open our eyes from now on. Look out for each other. Sleep in shifts.
( looks around apartment . )
And we've got to safeproof this deathtrap.
MONTAGE - SAFEPROOFING THE APARTMENT Everyone but Nora and Eugene helps unplug appliances , put out the fire , take down hanging objects , switch off the gas , put sharp objects away , affix padding to chart corners . Kat , placing poisonous cleansers and flammable liquids in a box , nervously pulls out a pack of smokes . Thomas watches as he takes a hanging mirror off the wall .
KAT
Screw this. I'm going outside for a smoke.
THOMAS
You think you should? It's not safe out there.
KAT
So? Nora's got ta bite it before me anyway, right?
Kat steps towards the front door , then remembers the cell phone and grabs it just in case . Thomas smiles ` good job ' at her . Kimberly , unscrewing the light bulb , looks up when Nora rises from the couch in a stupor and struggles to put on her jacket . Kimberly looks concerned .
KIMBERLY
Where are you going, Nora? You okay?
Nora fights the sleeve , dazed and defeated .
NORA
Four years ago my husband died. Now Tim. There's nothing left for me.
Kimberly stops pouring liquor down the drain .
KIMBERLY
Do n't say that. Once you lose hope, it's already too late.
Eugene snickers . Nora looks up , anger surfacing .
NORA
If it's my time to go, to be in heaven with my family, then I can accept that.
KIMBERLY
You ca n't give up. Do n't accept Death's plan. Trust me, you can fight this. If we can just survive long enough until that baby is born, we can -
Nora looks more resolute than ever .
NORA
If you'll excuse me, I have a funeral to prepare.
Everyone looks crushed when Nora heads for the door . Except Eugene , who stands up as well .
EUGENE
Yeah, why am I listening to a girl who just got out of the nut house?
As Eugene heads out , Kimberly becomes enraged and grabs him .
KIMBERLY
Seeing you die once was enough for me.
EUGENE
Whatever. I control my life, not fate.
CLEAR
I'll be sure to put that on your tombstone.
Rory presses a cell phone into Eugene 's hand on his way out .
RORY
Be careful. And even if you do n't believe, give this to Nora.
INT. THOMAS' APARTMENT BUILDING - NIGHT
Eugene pushes the elevator button a thousand times . Nora nervously ties her long hair back in a single braid .
INT. THOMAS' APARTMENT - CONTINUOUS
The nervous group finishes safe - proofing the apartment . RORY , standing on the couch , pulls a POLICE ACADEMY DIPLOMA off the wall - and slips - stumbling BACKWARDS into the closet . Staggering , he accidentally knocks some COAT HANGARS and a VOLLEYBALL TROPHY from the high shelf to the floor . Thomas whips around and sees that Rory 's not hurt . He then lowers his gaze and sees - The figurine of a VOLLEYBALL TROPHY is framed by a tangled jumble of wire COAT HANGARS . Suddenly , STREETLIGHT FLICKERS ON for the evening . Oddly , it only illuminates the Trophy/Hangar array . From Rory 's vantage point , it looks like a surreal sculpture of a man with hooks emanating from his body . The sodium vapor lamp casts an OMINOUS GLOW around the image .
RORY
man with hooks. I see a man with hooks. Someone?!?!
The others look over , trying to see what he does .
THOMAS
( unsure . )
I kinda see it, yeah. So. Nora's going to be killed by a man with hooks?
Kimberly and Clear stare at the volleyball trophy - the street lamp ominously FLICKERS OUT AND DIES . Everyone looks around for a hesitant beat , then Thomas picks up his cell phone . Clear first walks , then RUNS out the door .
INT. THOMAS' APARTMENT BUILDING - CONTINUOUS
The elevator finally comes . Eugene and Nora get inside , standing in front of a gaunt looking man holding a cardboard box full of PROSTHETIC LIMBS . MUZAK plays AC/DC 's HIGHWAY TO HELL .
EUGENE
Going down, right?
The Gaunt Man says nothing . The DOORS CLOSE .
INT. ELEVATOR - CONTINUOUS
Eugene stares blankly at the CONCAVE MIRROR in the upper corner . He 's disturbed by the WARPED REFLECTION OF : THE GAUNT MAN leans closer to Nora 's hair and as the doors finally close , he leans over and SMELLS it . Creepy .
EUGENE
Um, by the way, your shoe's untied.
Nora bends down to tie her shoelace -LRB- the one that snapped -RRB- . She tries tying the long dangling shoelace to the stubby one as Eugene 's cell phone VIBRATES in his hand . Startled , he drops it to the floor . Then looks embarrassed .
EUGENE
Probably for you, anyway.
Nora picks it up . STATIC CRACKLES . It 's hard to make out Thomas ' yelling .
NORA
Officer Burke? I ca n't hear.
A beat of confusion , then she slowly turns to see the clawed hooks and hands of the Prosthetic limbs . Terror . She freezes .
EUGENE
What is it? What's wrong?
But Nora 's too frightened to speak . Eugene grabs the phone , hearing unintelligible STATIC . INTERCUT CLEAR As she frantically hits the elevator button . When it fails to come , she runs downstairs .
INT. ELEVATOR - CONTINUOUS
Nora slowly rises to her feet , feverishly mouthing a prayer . As the door opens , Nora rushes out - unseen to her , her long braid gets snagged on one of the PROSTHETIC HOOKS , YANKING her backwards .
NORA
Let me go let me go!
EUGENE
Oh, watch it, you've caught your uh.
The Guant Man 's sweet voice and demeanor are a clear contrast to his outward appearance .
MAN
Goodness gracious, darling, let me help you with.
Nora panic , s as Eugene and the Man try to untangle her braid . Nora desperately spins her body around , sticking her head back inside the elevator . Kat appears in the lobby , smoking a cigarette .
KAT
You alright, Nora?
The elevator DOORS begin to close , and CLAMP around Nora 's neck , her head inside , body outside the elevator . Eugene pounds on the BUMPERS , but they do n't seem to work !
NORA
My God, someone please let me out of this -
INTERCUT The UP BUTTON is lit . Clear rushes to the lobby . The Elevator RISES ! INSIDE THE ELEVATOR , Eugene watches Nora 's head drop to floor level - then he pounds the Emergency Button - which SHORTS OUT ! Nora 's body lifts upwards from the force of the elevator floor ! Nora 's screams of terror and agony fill the air as the elevator repeatedly LURCHES UPWARDS . Kat gasps in horror to see this poor woman suspended above the floor . It lurches . And lurches . And lurches . The horror never ends . Clear comes from the stairwell and is shocked by the sight . She runs to the elevator doors , trying to pry them apart to no avail . All Kat can do , crying , is grab hold of Nora 's flailing legs and try to pull her back down . The elevator lurches a final time . NORA 'S HEADLESS BODY fall down into Kat 's arms , knocking her to the floor . Kat freaks , skittering away as the body convulses . INSIDE THE ELEVATOR Eugene balls his hands to his mouth in undeniable fear . A bloodcurdling moan escapes him . He stares transfixed as Nora 's head , still aghast in terror , rolls around the floor . The sight clearly sends Eugene over the edge . He SCREAMS , CLAWS AND POUNDS , desperate to escape the elevator .
INT. THOMAS' APARTMENT - MOMENTS LATER
Eugene suddenly bursts through the door , babbling incoherently . Kimberly , Thomas and Rory look on , bewildered .
EUGENE
no escapes my ass. I control my fate. I die on my terms, hear me Reaper cockscuker?!
Eugene 's in another world . He approaches Thomas and lunges for his GUN - yanking it from the holster !
THOMAS
What the hell are you?
EUGENE
Ai n't going out like that. On my terms!
THOMAS
Just take it easy!
A twisted insane smile comes to Eugene 's face as he jams the gunbarrel to his temple . The others shrink back in terror . He PULLS THE TRIGGER . CLICK ! Eugene tries again . CLICK ! Thomas looks stunned as Eugene goes through every round , CLICK CLICK CLICK CLICK CLICK CLI CK . Kimberly breaths a sigh of relief .
KIMBERLY
You do n't keep it loaded?
Thomas ' eyes disagree . He reaches in and GRABS the gun away from Eugene , who stands there trembling . Thomas cracks open the cylinder . Loaded .
RORY
Maybe they were all duds.
THOMAS
Six in a row? Never. Impossible. That's like.
( sinking realization . )
. winning the lottery.
CLEAR
( O.S . )
It was n't his turn to die.
Everyone turns to see Clear and Kat , standing in the doorway , DRENCHED IN BLOOD . Kat trembles uncontrollably .
KAT
Can we find the pregnant woman, please?
INT. THOMAS' APARTMENT - DAWN
Flashing lights from rescue vehicles illuminate the living room . In the newly conformed safe house , Kat and Clear relax as best they can in Thomas ' dry clothes . Thomas makes another phone call . In the corner , Eugene shivers to himself . Desperately looking for signs of danger . He looks over to Clear .
EUGENE
Um, Clear? I'm sorry. about before. I.
CLEAR
Your entire world view just went out the window. I could n't expect a religious conversation overnight. We'll get through this.
( beat . )
I promise.
Eugene looks immensely relieved . Rory ambles over to Kimberly , his typical callousness gone .
RORY
Can I ask you a question?
KIMBERLY
Sure.
RORY
When I die. Is it gon na hurt?
KIMBERLY
I. I do n't know.
Rory nods . He expected as much . He fishes his LICENSE and KEYS out of his pocket .
RORY
And you're gon na die after me, right?
KIMBERLY
I guess so.
RORY
( re : keys and license . )
Would you take these? And if I die.
( tears well up . )
Could you throw all my drugs out? Paraphernalia, porno, you know. Anything that would break my mom's heart.
Kimberly looks deeply into his eyes , looking for the punchline . When she does n't see one , she nods tenderly and takes the keys . The PHONE RINGS . Rory jumps at the sound , paranoid eyes in scan mode . Thomas answers , speaks softly , hangs up .
THOMAS
A one very pissed off Ms. Isabella Cruz is being detained up in Greenwood. Let's finish this thing.
EXT. COUNTRY ROADS - DAY
Kat 's Ford Expedition winds its way through rural New York . A SPORTS CAR speeds past on the left , then as it pulls in front of the Exped ition , its slipstream sucks over some debris from the shoulder ; a thin metal piece of trim , which bounces in front of Kat 's Expedition 's left front tire . CU KAT 'S WHEEL WELL - the metal trim is shot upward into the wheel well , where it lodges firmly , its sharp metal edge GRINDING AGAINST THE RUBBER . INSIDE THE CAR Kat drives , Thomas reading directions in the shotgun seat . Kimberly , Eugene and Rory ride in back . In the CARGO area , Clear scans out the rear window for danger . Rory fidgets .
RORY
Is this safe, guys? I mean, someone in this car is about to get whacked. Do the rest of us really feel like sitting next to him?
( off Kat 's glare . )
Or her. Hopefully her.
An uncomfortable beat .
THOMAS
Guys, let's not panic. Isabella's safe.
KIMBERLY
How do you know?
THOMAS
You said she was going to drive into a lake. How can she when she's in protective custody?
INT. SHERIFF'S STATION - DAY
Isabella , pissed , is in a holding tank . Small town deputy STEVE ADAMS , 30 's , CLEANS HIS GUN in her direction .
ISABELLA
What do you mean `` grand theft auto?'' This is insane.
STEVE
Hopefully the district judge can straighten it all out by Monday mor ning.
ISABELLA
( figures it out . )
Jorge. When I get out of here I'm going to sue his cheating ass off.
As she fumes , a rivulet of WATER streaks down her leg .
IS ABELLA
Oh my God.
Steve , at first confused , sees the water and gasps .
STEVE
Are you kidding me?! Oh, man.
He rushes across the room , pulls a lever , unlocking the cell .
STEVE
C'mon. Let's go.
As Steve throws on his jacket , we reveal its prominent emblem : GREENWOOD LAKE SHERIFF DEPARTMENT .
EXT. SHERIFF'S STATION - MOMENTS LATER
Small town station . Only one patrol car . In the patrol car , Isabella buckles up in the sho tgun seat , the belt stretched tightly across her belly . Deputy Steve tries the ignition , but the car wo n't start .
STEVE
Damn, they always stick me with the clunker.
ISABELLA
Take my van!
EXT. WESTCHESTER COUNTY - DAY
KAT 'S EXPEDITION speeds through a yellow light and continues on . CLOSE ON EXPEDITION 'S LEFT TIRE Metal sheers away more rubber . INSIDE THE EXPEDITION Rory , antsy , rubbing his nostrils , stares at two Yankee tickets .
RORY
Here's what I do n't get. For nine months, Death does all this shit to make sure I win these tickets and end up on Route 18 at exactly the right time for the pile up.
KAT
Yeah?
RORY
But why single me out? What am I in the great scheme of things? You'd think I stepped off Flight 180 or something. Fucking weird, man.
THOMAS
You want weird? Last year, my partner and I were heading out for the graveyard shift. A call comes in about a train wreck and Frank decides to let me handle it alone.
( beat . )
Frank died that night in a shootout. I'd be dead too if that call had come in just ten seconds later.
Everyone nods in that ` life 's weird ' reverence kind of way .
KAT
I got that beat. So like, last May, I was supposed to stay at this cheesy bed and breakfast in Pennsylvania. There was a major gas leak no one knew about and all the guests suffocated during the night.
RORY
Yeah, so what happened?
KAT
I never mad it. The Greyhound bus I was on splattered some chick all over the road and we had to stop.
CLEAR
Was that in Mt. Abraham?
KAT
Yeah. How did you know?
CLEAR
( sinking realization . )
That bus you were on? It killed Terry Mathers. She was supposed to die on Flight 180.
KAT
I'm not sure I -
THOMAS
Shit. The call about the train wreck that saved my life? That was the night I scraped up Billy Hitchcock.
RORY
Who?
KIMBERLY
Another kid from Flight 180.
A chill passes over the group .
INT. WINDING ROADS - DAY
Deputy Steve speeds the White Van up the narrow winding road . Isabella breathes Lamaze - style through intense pain .
ISABELLA
Promise me. I wo n't have the baby. in this van.
Speeding up the incline , Steve tries to speed around a Volkswagon Beetle , but cars scream by in the opposite direction .
ISABELLA
Get around it!
Steve leans on the horn and stomps the gas , dangerously riding the shoulder around the Beetle . Way ahead of the Beetle , on the left side , is a LAKE .
EXT. WINDING ROADS
BRIAN GIBBONS , 15 , cheerfully drives a TRACTOR hauling a WHOODCHIPPER across the high crest of the empty road toward a pile of thick branches . The Tractor unexpectedly stalls in the middle of the road . He tries the ignition , pumps the gas . Nothing . Only by standing on the tractor can Brian see the White Van speeding up the hill toward him . He jumps down and frantically tires starting the tractor . Once , twice , nothing .
EXT. KAT'S EXPEDITION - CONTINUOUS
CU FRONT TIRE - METAL shreds away more rubber .
INT. KAT'S EXPEDITION - CONTINUOUS
Rory excitedly makes a connection .
RORY
Remember the theater in Paris that collapsed last year, killed everyone inside?
Everyone nods , anticipating .
RORY
I had tickets to go, but one day I'm in Paris, trippin' on acid, sippin' lattes an' such, and this dude gets whacked by a falling sign.
CLEAR
Carter.
RORY
Freaked me out so bad I hid in a shopping cart for four hours. ` Course, missed the show.
CLEAR
What about you, Kimberly? Did you anyone from Flight -?
Clear stops when she sees all the color has drained from Kimberly 's face . Even Eugene looks concerned .
EUGENE
Are you okay?
The car becomes completely silent -LRB- except for the slight SCRAPING -RRB- as Kimberly prepares to tell her story .
KIMBERLY
A little over a year ago, my mother and I went to the mall. I was supposed to meet her outside, but I got caught up watching some news report about some kid who committed suicide. I kept thinking, `` How can you strangle yourself in a bathtub?'' That's retarded.
Thomas mouths , `` Tod ? '' to Clear . Clear nods .
KIMBERLY
It felt wrong. And yet.
( continuing . )
There were gunshots outside and I ran.
( chokes up . )
Some kids tried to jack her car. She fought them off - she was a fighter - and they killed her.
Kimberly looks to Clear .
KIMBERLY
After the funeral I had this overwhelming feeling that it should have been me. I figured that's how everyone must feel. But I guess I was right.
Thomas reaches between the seats and takes Kimberly 's hand . As he looks into her eyes , Kat takes her own eyes off the road to light a cigarette . INTERCUT BRIAN The tractor is safely off the road next to a wood pile . Brian grabs a cord and starts up the whoodchipper .
INT. KAT'S EXPEDITION - CONTINUOUS
CLEAR
It's all starting to come together. When Alex got us off Flight 180, it did n't just change our lives. It affected everyone and everything we've come into contact with ever since.
EUGENE
I'm not sure I understand.
CLEAR
Being alive after our time caused an outward ripple - a rift in Death's design.
Eugene nods , slowly getting it .
EUGENE
So if you never got off the plane, none of us would be ali ve in the first place.
CLEAR
That's why Death is working backwards. It's tying up all the loose ends, sealing the rift once and for all -
This chapter of the screenplay contains scene -LRB- s -RRB- that do not appear or occur elsewhere in the final movie . In order to maintain the integrity of the screenplay , it has not been edited . CU LEFT TIRE A thick retread sheers itself onto the pavement . BRIAN The wood chipper roar s loudly . Suddenly , some forgotten stray chunk SHOOTS from the spout - The airborne chunk of WOOD CRACKS the White Van 's windshield . Steve veers out of control . Kat sees the White Van ahead swerving into HER LANE . She quickly jerks the wheel to the right . Kat 's LEFT FRONT TIRE BLOWS ! It sends rubber flying and the entire SUV pulls hard to the left , spinning her out of control into the oncoming lane of traffic - toward the White Van ! Isabella SCREAMS ! Steve jerks the wheel to the left ! The White Van has a close near miss with the Expedition , and goes off the road toward a LAKE !
STEVE
Hang on!
The SUV misses the tractor - but sails off the other side of the embankment , spinning and rolling towards - THE GIBBONS ' FARM At the bottom of the hill of a large rural farm , a PROPANE TANK sits at the edge of the property ! The SUV barrels down the hill - coming right for it ! INSIDE THE SUV All Kat can do is cover her head with her arms . THE WHITE VAN Speeding toward the lake ! Isabella SCREAMS , in pain , not fear . The White Van is ready for splashdown . Steve finesses the hand brake while tapping the accelerator . He 's able to right the van away from the water without so much as a hard jerk .
STEVE
We're okay, we're okay.
THE PROPANE TANK It 's about to get creamed - but the bouncing Expedition just barely misses it ! It continues , backwards , CRASHING through a temporary fence and right into - AN AGRICULTURAL CONSTRUCTION SITE ! The Expedition plows past earth movers , crashing through irrigation ditches and pipes , shrapnel flying everywhere . Just as the Expedition comes to a stop , an IRRIGATION PIPE ROCKETS through the rear window - miraculously missing Clear and Rory - coming to a rest just behind Kat 's head . INSIDE THE WHITE VAN Steve sees the wreckage on the other side of the highway and slows down . Isabella squeezes his hand white .
ISABELLA
Please. It's not going to wait.
STEVE
I've got to stop and help those people.
ISABELLA
Do you want to deliver this baby?
Steve looks ill , then sees another car stopping by the crash . He floors it and speaks into the shoulder mic of his cop radio . THE EXPEDITION The dust settles in the silent car . The only sound is a QUIET , WET WHEEZE . Clear , dazed , looks around carefully , avoiding the METAL SPIKE that skewers the vehicle . Rory holds his trembling hand before his eyes as if amazed to see it . Kimberly shakes her hair , spilling glass onto the floor . Kat tries to open the door , but it wo n't budge .
KAT
Not my time. Amazing.
THOMAS
Is everybody alright?
A BLOODY HAND SEIZES HIS SHOULDER ! Thomas turns to see Eugene SPASMING in the back seat ! He clutches his ribcage in agony and wheezes ! Blood trickles from his mouth .
KAT
He ca n't breathe! He ca n't breathe!
CLEAR
Oh my god, Eugene!?
Eugene 's head tilts forward , unconscious .
EXT. GIBBONS' FARM - DAY
BRIAN GIBBONS jumps off the tractor and sprints down the hill toward the accident . At the edge of the property is a common farm FENCE made from wooden posts bridged by two thick wires . Brian skillfully climbs between the wires and runs past a DEAD OAK TREE ten feet inside the fence . In the BG , MR. GIBBONS darts inside a double - wide construction trailer .
MR. GIBBONS
( O.S . )
Call 9 - 1 - 1!
WE FOLLOW BRIAN To the crash site . Brian 's jaw drops as he absorbs the chilling sight of a guy and a girl dragging a blood - soaked man from the back seat to perform CPR on him . Around Brian , voices mesh in a surreal haze .
THOMAS
Stop it, do n't move him!
KIMBERLY
He ca n't breathe damn it. I think his lung's collapsed!
CLEAR
Someone call for help!
We STEADICAM around Brian to reveal a woman screaming from the driver 's seat . The sound is surreal .
KAT
I ca n't move my fucking leg! Please get me out of here before it explodes!
The color drains from Brian 's face as the dying man on the ground coughs blood and the girl performing CPR recoils . The moment is still surreal as Brian steps back , further away from the horrors he ca n't face . Into the street - And Rory yanks him back from imminent death as an AMBULANCE SPEEDS onto the property .
RORY
Watch it, dude!
That SNAPS Brian back to reality . Sounds become normal again . Brian collects himself and SNIFFS the air . He then drops to ground level , looking under the Expedition for something .
KIMBERLY
Help us, we need help over here!
BRIAN
( to Kat , reassuringly . )
I do n't smell any gas. And none's dripping, either.
Brian sticks his head in Kat 's window and peers down at her trapped leg . He swipes the broken glass away from the window with this thick flannel sleeve , reaches in , and tries to YANK the door open with all his might . No good , Kat SCREAMS in pain .
KAT
Stop that! I still need this foot, thank you.
Brian steps back as the emergency vehicle speeds over .
EXT. GIBBON'S FARM - LATER
Clear watches two EMTS lo ad Eugene into the back of an ambulance . An oxygen mask has been placed over his mouth .
CLEAR
Be careful with that, check the gages on the regulator and be mindful of overdoses. Oh, watch for potholes and puddles.
As Clear continues , the exasperated Paramedics do their best to ignore her . When she tries to climb inside , she is pushed away .
CLEAR
Look, I made him a promise -
PARAMEDIC
Sorry. There's no room.
Again , she 's shoved away and steps back , helpless . Thomas and Kimberly stand by Kat , still trapped in the SUV .
THOMAS
Get that over here! Move move move!
A RESCUE WORKER carries the JAWS of LIFE past Clear towards the Expedition .
RESCUE WORKER
Excuse me, hot soup coming through.
The hydraulic hose that leads back to the Power Unite WRAPS AROUND CLEAR 'S LEG . As the hose tightens , Clear realizes she 's surrounded by shards of glass and metal . She quickly WRESTLES herself free of the hose and watches the Paramedics lock Eugene 's gurney into place .
CLEAR
One more thing. Watch out for power lines.
The doors slam , revealing the PHELPS MEMORIAL HOSPITAL logo . The ambulance speeds off , spraying gravel at her . She reaches into her pocket and withdraws a CRUSHED cell phone . Shit . She runs back over to Thomas .
CLEAR
We have to contact Isabella now!
A NEWS VAN tries to weave through the emergency vehicles to get closer to teh accident . ANGLE ON NEWS VAN UNDERCARRIAGE It sinks into the loose dirt , SCRAPING A LARGE ROCK . The gas tank PUNCTURES . EMT 'S angrily wave the news van back to the road , where it parks near the twin wire fence opposite the DEAD OAK TREE . Immediately , A CAMERA CREW exits the van to catch the action . Rory steps behind the News Van , making sure he ca n't be seen , and digs into his sock , coming up with a bindle . A SMILE .
THOMAS
( O.S . )
Rory!
Rory cringes at his name , pockets his stash , then EXITS FRAME . WE PUSH IN , the news van gas tank is leaking . A SMALL DRIP .
EXT. GIBBON'S FARM - CONTINUOUS
Thomas , Kimberly , Clear and Rory watch the JAWS OF LIFE being clamped onto Kat 's door .
THOMAS
Where's the cell phone Clear gave you?
RORY
I dunno. I think I gave it to Eugene back at your place.
THOMAS
Damn it. We have to call the Greenwood Police Station and warn Isabella.
Thomas runs in the direction of some local POLICE . After he leaves , Rory drifts away from the pack , hand in pocket . Kimberly moves back to Kat , who chain - smokes in the front seat of the Expedition .
KIMBERLY
You doing alright in there?
KAT
My legs are starting to cramp up. And God, why am I so thirsty? Does anyone have any Fiji?
The KA - CHUNK of the Jaws of Life next to Kat startles her half to death .
KAT
Christ, you wan na give me a heads up next time, pal?
Brian and Mr. Gibbons approach with a cup of tap water . They hand it to kat , who frowns but drinks anyway . THE DRIP Of the leaking gas becomes a steady trickle . GAS SLITHERS over packed dirt , around debris , toward the crash site . THOMAS DARK ROOM Speaks to another COP who clicks off his radio .
COP
She's at Phelps Memorial. They're prepping her to give birth right now.
THOMAS
Where's that?
COP
A few miles up the road. Near the docks.
KAT Lights one cigarette off the other KA - CHUCNK ! The sound makes her flinch , dropping the cigarette on the floor .
KAT
Damn, ca n't you be quieter with that thing?
RESCUE WORKER
( dripping scorn . )
Sure, I'll just set it to the `` quiet'' mode.
Kat rescues the glowing cigarette from around her feet and inhales . KA - CHUNK ! She jumps again , but maintains her composure . MEANWHILE The gasoline purposefully trickles down corrugated steel , through pipes , closer and closer to the Expedition . At one point , the gas even disappears into a hole in the ground , only to resurface twenty feet closer to the site . KIMBERLY Looks confused to watch Rory climb between the fence wires and drift the Dead Oak Tree into the field . Thomas runs down the hill toward Kimberly .
THOMAS
We got ta go now. Isabella's in labor.
Rescue Workers pull off a large chunk of door . KA - CHUNK ! Kat Flinches .
KIMBERLY
What about that?
CLEAR
( calls over to Kat . )
How you doing in there, hero?
KAT
( re : spike behind head . )
I guess it could be worse.
Brian hands out drinks to Rescue Workers .
THOMAS
So let's go. Where the hell is Rory?!
Thomas sees Rory in the field and angrily hops the fence , heading directly under the dead Oak Tree . Rory , his back to everyone , finally opens the BINDLE . Enraptured , he delicately unfolds it . KIMBERLY Is put on alert by a fresh BREEZE . Her attention is caught by the WINDOW of an emergency vehicle . IN THE REFLECTION , Kimberly sees a man sitting on the Expedition , but when she spins ar ound , there 's no one there . KA - CHUNG ! The door comes off the Expedition , finally freeing Kat ! Everyone applauds !
KIMBERLY
Wait!
Mr. Gibbons , applauding with everyone else , chooses that very moment to sit on the bumper . DEPLOYING THE AIRBAG ! SLAMMING Kat 's head backwards through the spike , HEAD - KABOB . Kat 's dead limp hand drops her last cigarette - which bounces along the hard dirt - toward the oncoming gas . Closer , closer , . The BREEZE KICKS UP , aiding the cigarette . WHOOSH , the gas fuse catches . The blusih flame travels through pipes , over rocks , racing toward the news VAN . Kimberly , half - traumatized , watches an ominous BREEZE rustle through the field , up to the trees , toward Thomas . The GAS BURNS up an incline , and disappears into the ground . And pops up twenty feet closer to the News Van . Kimberly follows the BREEZE to the dead oak tree under which Thomas stands . And blows a large branch until it snaps ! A startled Thomas sees it fall just in time to DIVE to safety . Clear , seeing the flame , instinctively runs from the van .
CLEAR
Get back!
BOOM ! The news van 's explosion hurls two fence posts just over Thomas ' head , end over end , the two lengths of wire stretched between them . The flying garrote heads directly for - Rory , who sorts hard , stands up with a satisfied smile - and is sliced into three sharp cuts of beef . The silence from the emergency crew is deafening . Mr. Gibbons starts crying hysterically .
MR. GIBBONS
I did n't mean to do it - I did n't know.
Kimberly numbly stares at the fallen branch , the one that caused Thomas to step out of the path of the flying fence .
KIMBERLY
( to herself . )
It was n't his turn. And it's not my turn.
Kimberly sees the corpses of Kat and Rory , buries the pain , and approaches Mr. Gibbons .
KIMBERLY
Give me the keys to your truck. Now!
MR. GIBBONS
( hysterical . )
Anything you want. Anything. I wish I knew. I did n't.
Mr. Gibbons hands Kimberly the keys .
EXT. WESTCHESTER COUNTY - MOMENTS LATER
Kimberly drives Thomas and Clear in the Gibbons ' truck . All are numb .
THOMAS
( buckling up . )
Hurry up. There's no time. She's about to give birth.
Kimberly unbuckles her seatbelt and floors it .
CLEAR
What are you doing? You're going to kill us!
KIMBERLY
No. If anyone dies from a crash now, it'll be me. But I ca n't die if Eugene and Isabella are still alive. I'm last on Death's list.
CLEAR
Are you crazy? What makes you think you'd survive?
KIMBERLY
What happened when Eugene tried to kill himself out of turn?
CLEAR
( considering . )
Six duds in a row.
KIMBERLY
And when it was Rory's turn to die, and Thomas was in the way?
THOMAS
That branch fell and saved my life. You're right, Death's maintaining the order.
KIMBERLY
Let's pray that Isabella's still alive.
The truck speeds into the horizon .
EXT. PHELP'S MEMORIAL HOSPITAL - ESTABLISHING SHOT
INT. DELIVERY ROOM - DAY
Typical chatter as the staff preps Isabella . Steve paces nervously in the background .
STAFF
contractions coming quicker now. Take her pressure and CTG. One centimeter dilation. Prep the epidural stat.
Isabella breathes Lamaze style in the hospital bed , her feet in stirrups . A NURSE rocks Isabella 's body back and forth , until her back arches almost unnaturally forward . In the BG , an OBSTETRICIAN , 50s , sterilizes his hands in a scrub sink . A female ANESTHESIOLOGIST hustles over , swabbing a LONG EPIDURAL NEEDLE . The nurse places a mask over Isabella 's face . The Anesthesiologist lowers the needle to the base of Isabella 's spine .
ANESTHESIOLOGIST
She's going to have to stop moving if I'm going to -
The Nurse SNEEZES .
ANESTHESIOLOGIST
Goddamn it, keep her still!
NURSE
Sorry, doctor.
XCU NEEDLE Tracing skin between Isabella 's constantly moving vertebra . ANGLE ON BUMBLEBEE It buzzes about the room , darting between the he ads of the doctors and nurses , hovering above the - ANESTHESIOLOGIST , who traces the long needle down Isabella 's spine , finding the proper vertebrae .
ANESTHESIOLOGIST
Perfectly still now.
Everyone freezes . SILENCE . As the tip of the needle presses the skin down - The BEE lands on the Anesthesiologist 's ear . And STINGS ! FLINCH ! The NEEDLE SINKS IN - a NURSE GASPS . Did something go wrong ?
ANESTHESIOLOGIST
Done.
( tears welling . )
Now could someone please find the open window and fucking close it?
EXT. SUBURBAN STREET - CONTINUOUS
Kimberly speeds the truck down some dangerously twisty roads slick from wet leaves .
KIMBERLY
This makes no sense. Isabella was supposed to crash her van into a lake. Could we have altered her destiny when we had her arrested?
CLEAR
I do n't think so. Alex's premonitions happened exactly as he saw them no matter how much we tried to change it.
THOMAS
Then the only way to survive is to get to the hospital and protect Eugene and Isabella for as long as we can.
CLEAR
If only Alex and I had done that with the others, Alex might still be.
A somber beat . Then Thomas looks over at the speedometer .
THOMAS
Um, Kimberly? This is a neighborhood. You may wan na slow it down.
KIMBERLY
Do n't worry. Nothing can happen to us.
THOMAS
I was n't worried about us.
Suddenly , Kimberly clutches her throat !
INT. HOSPITAL ROOM - DAY
UNKNOWN POV A NURSE hovers over us in a hospital , WRESTLING us down by the look of things . There is SCREAMING all around . The image comes at us so fast , we see only the briefest glimpse of the NAMETAG on her uniform : KALARJIAN
THOMAS
( O.S . )
Kimberly! Slow down!
INT. TRUCK - CONTINUOUS
Kimberly `` comes to '' at the wheel - FLAILING DESPERATELY at the steering wheel . She even claws at Thomas who tries to control the neglected steering wheel .
CLEAR
Slow down! We're.
Kimberly looks up as the truck comes around a blind curve , where cars are backed up at a stop sign . Kimberly screams and SLAMS on the brakes . The truck SKIDS on wet leaves , completely out of control , towards a LANDSCAPING TRUCK parked on the shoulder . Kimberly 's truck hits the loading ramps and launches itself twenty feet into the air , DUKES OF HAZZARD - style . And lands miraculously without a scratch ! On a parallel road . And keeps going . Dumb , insane fucking luck . Kimberly shakes off her premonition and looks out the rear window . She turns around with a cocky smile . She rubs her throat and FLOORS IT again to Thomas ' horror , more determined .
CLEAR
( eyes darting . )
What did you see? What am I looking for?
KIMBERLY
No, it's not here. This one was different. More like the pile up and the van going into the lake. It was n't just a sign, I was there.
CLEAR
( confused . )
Another premonition?
KIMBERLY
Yes. I was in a hospital. There was screaming. A nurse was choking me. I could n't tell wh at she looked like, but the name tag was right in my face. Kalarjian.
THOMAS
Kalarjian?
KIMBERLY
I think a nurse named Kalarjian is going to choke Isabella to death!
INT. PRIVATE ROOM - DAY
WIPING FRAME , a NURSE enters a room and reads a clipboard on an unseen patient 's bed . REVEAL EUGENE lying in a hospital bed , wired to the latest medical hardware . Nearby , a RESPIRATOR plunges up and do wn , the RESPIRATOR TUBE snaking down Eugene 's throat . The NURSE 'S HAND reaches down to Eugene 's neck . Eugene WINCES when the Nurse gives the tube a friendly little SHAKE to check if it 's stable .
NURSE
Sorry. Can you feel that in your trachea?
Eugene rolls his eyes . Stupid question .
NURSE
Quite complaining. I got burnt babies in the Children's Ward braver than you.
She sticks an electri c thermometer in his ear . Eugene opens his mouth as if to speak .
NURSE
Do n't bother. You wo n't be talking for at least a month. Think you can handle that, Jabberjaw?
Eugene looks ready to cry . The Nurse sits on the bed , jarring Eugene enough to make him WINCE again .
NURSE
Do n't worry. Everyone learns to love me once they get used to my sense of humor, okay?
Eugene looks grat eful to see a humane side to this creature .
EXT. WINDY ROADS - DAY
The pick up truck races to the hospital . As Kimberly speeds past a billboard , a POLICE CAR pulls in hot pursuit .
KIMBERLY
Should n't we pull over?
THOMAS
No time. Keep going. I would n't know how to explain any of this anyway.
At the next intersection , TWO MORE COP CARS APPEAR .
KIMBERLY
Oh come on.
The pick up truck blows by the second pair of cop cars , which instantly join the high speed chase . Kimberly takes a long look in the rearview mirror at the TAILGATING COPS . She then inspects the road ahead . UP IN THE DISTANCE A busy six - lane intersection .
KIMBERLY
What do you want me to do?
CLEAR
( hesitated beat . )
Speed up.
KIMBERLY
Yeah, fuck'em.
( to Thomas . )
No offense.
Kimberly SPEEDS toward the intersection . She pulls her seatbelt aside , making sure it offers ZERO protection . Thomas jumps in the backseat , buckles up .
CLEAR
Be alive, Isabella, please be alive.
Kimberly 's eyes widen in fear . Her foot hesitates over the brake pedal as - The truck blindly blazes through the busy intersection , miraculously missing every car ! The police are just barely able to fishtail into 90 degree turns , avoiding the intersection completely . Kimberly 's eyes open and she lets out a victory cry .
INT. PRIVATE ROOM - DAY
ANGLE ON Oxygen valve . PAN OVER AND DOWN TO Eugene tries to watch a news flash of HIS accident on the TV across the room , but a bulky ORDERLY blocks his view .
ANCHOR MAN
( O.S . )
ironically impaled through the head as a result of an emergency airbag deploying.
As Eugene shudders with dread , the Orderly pushes a huge cart in front of him , again obscuring his view . Eugene frantically pantomimes writing .
ORDERLY
Need a pen? Sure. If you like, I'll bring crosswords for you, too.
Eugene tries nodding his thanks , but the tube in his throat hampers his movement .
ANCHOR WOMAN
( O.S . )
police Have speculated that one of the deaths may have been narcotics related and urge children to stay away from d rugs.
Finally , the Orderly pushes the cart away , revealing the TV . An ANCHOR MAN taps his pages on the desktop .
ANCHOR MAN
Good advice, Sue. And stay in school. Up next, Johnny Showers has the weather.
A WEATHERMAN dressed as a frog points out cloud formations . Eugene , tormented , stares at the screen as the Orderly begins pushing the huge cart out of the room . The sound of a SKIDDING CAR fills the room . It comes from the TV which shows a PSA featuring CRASH TEST DUMMIES .
ORDERLY
Jeez, it's freezing in here.
The Orderly flicks the thermostat and one by one , VENTS CLOSE just below the ceiling . Eugene 's eyes fill with terror - he knows something 's wrong . ANGLE ON OXYGEN HOSE - Bursting . It HISSES softly . We follow the OBLIVIOUS ORDERLY out of the room .
INT. HOSPITAL CORRIDOR - CONTINUOUS
A hospital ADMINISTRATOR briskly strides up to the Orderly .
ADMINISTRATOR
What are you doing? The Henzels are still waiting for you in the Children's Ward -
The Orderly smacks his forehead - shit . Totally forgot .
ORDERLY
Right, right, right. Gregory's big day.
ADMINISTRATOR
And Mrs. Dempsey in hydrotherapy ca n't feel her legs.
The Orderly , nodding rapidly , is halfway down the hall by now . The Administrator shakes his head in disgust and walks past . The HUGE CART . Which now blocks the door on Eugene 's room .
EXT. PHELPS MEMORIAL HOSPITAL - CONTINUOUS
Kimberly seems to have ditched the cops . She speeds the pick up through the medical facility .
EXT. EMERGENCY ROOM - DAY
The pick up skids to a halt in front of the hospital . Kimberly , Thomas and Clear run outside and into the building .
INT. PRIVATE ROOM - DAY
The OXYGEN HOSE hisses , but is drowned out by the volume of the TV . Eugene 's eyes dart frantically as a blaring fast food commercial ends . The n , a NEWS REPORT comes on . The BANNER : ROUTE 18 TRAGEDY Footage showing grieving families , wreaths on doors , yellow ribbons , and emergency crews pulling wreckage apart , dissolve together over :
ANCHOR WOMAN
( O.S . )
Mor e tears were shed this morning in the wake of yesterday's tragedy that rocked the Tri - State area.
Suddenly , the FRAYED ELECTRIC CORD of Eugene 's TV begins sparking . The sound DROPS OUT , the picture SPUTTERS . Eugene goes white with terror . He looks back to - The broken OXYGEN TUBE . HISSING softly . The BEEPS of the EEG machine frantically increase . Eugene reaches for the nurse call switch . Mockingly out of reach by mere millimeters .
INT. NURSES STATION - DAY
Clear , Kimberly and Thomas dash toward the main desk .
CLEAR
Isabella Cruz. What room's she in?
RECEPTIONIST
I'm sorry, I ca n't give out that info unless you're a relative.
CLEAR
I'm her sister.
The Receptionist eyes her dubiously .
RECEPTIONIST
I'll have to see your ID, Ms. Cruz.
Clear vaults over the counter , straight - arms the Receptionist and seizes the computer . Thomas and Kimberly look on , stunned .
CLEAR
Delivery rooms are downstairs. I'll find Eugene and catch up with you.
Kimberly and Thomas hurry to the elevator banks . then reconsider and enter the stairwell .
INT. PRIVATE ROOM - CONTINUOUS
Eugene scratches the top sheet of the bed , trying to inch the call - switch closer and closer to him . But it wo n't budge . A RAT APPEARS behind Eugene 's pillow , CRAWLS over his chest and disappears by his stomach ! He pounds desperately on the empty food tray , his side rails , looks toward the door -
INT. HOSPITAL CORRIDOR - CONTINUOUS
Outside the door , you ca n't hear a thing in the bustling hallway as people rush by . Kimberly and Thomas rush past his door , lost .
THOMAS
Hurry, I think she's this way.
BACK TO EUGENE His eyes scream insanely , but he respirator tube prevents any sound from escaping him . And that 's when the RAT appears on the floor and begins gnawing on the respirator 's power cord ! When Eugene sees this , the EEG machine climbs off the charts .
INT. NURSES STATION - CONTINUOUS
Clear takes off down the hallway . The Receptionist , shaken , dials her phone .
RECEPTIONIST
Security?
INT. DELIVERY ROOM - CONTINUOUS
The Obstetrician voices concern .
OBSTETRICIAN
Listen to me, Isabella, I need you to stop pushing.
ISABELLA
What's wrong? IS the baby all right?
OBSTETRICIAN
It's a breach. If I ca n't reverse it, we may need to do a Caesarian.
The Obstetrician 's hands go to work . Steve looks ill .
STEVE
Maybe I should step outside.
INTERCUT KIMBERLY AND THOMAS Running down the corridor .
PA ANNOUNCEMENT
Code Blue in Delivery Room 6. Code Blue!
INT. PRIVATE ROOM - DAY
The rat GNAWS away at Eugene 's power cord , Eugene looks trapped , helpless , tortured . His eyes dart from the sparking TV to the gnawed power cord to the useless call - switch .
INT. HOSPITAL CORRIDOR - CONTINUOUS
Clear walks up and down the corridor , scanning room numbers as she passes . A - 169 , A - 171 , A - 173 .
CLEAR
B - 187. B - 187.
A HAND suddenly GRABS Clear and shoves her against the wall . REVEAL A SECURITY GUARD leering at her .
SECURITY GUARD
Just where do you think you're going?
Clear struggles to get away , getting sympathetic looks from an OLD MAN walking a rolling IV STAND down the corridor .
INT. DELIVERY ROOM - CONTINUOUS
Isabella is pushing again .
OBSTETRICIAN
Almost there. I see the head.
The NURSE takes a pair of SCISSORS off a tray .
INT. HOSPITAL CORRIDOR - CONTINUOUS
Clear plays possum , offering no resistance to the Security Guard as the Old Man wheels his IV STAND along . Suddenly , Clear grabs the stand - and WHAMS the heavy wheeled base into the Guard 's BALLS ! As the Guard recoils , she thoughtfully hands the IV back to the Old Man and runs .
INT. DELIVERY ROOM 0 CON
The Nurse is startled when Kimberly and Thomas BURST THROUGH the door . In the BG , a puzzled Steve peeks inside until Kimberly pulls the door closed .
NURSE
What are you doing in here? Get the hell out! Right now!
Finally we hear the BABY CRY ! The Nurse immediately moves in to swaddle the newborn . Dr. Kalarjian beams at the very groggy looking Isabella .
OBSTETRICIAN
Isabella, look down and see your son.
To the confusion of everyone around them , Kimberly and Thomas BURST INTO CHEERS ! They jump , dance and hug each other . It 's a magical moment -
EXT. EUGENE'S PRIVATE ROOM - CONTINUOUS
The RAT stops gnawing . The TV stops sparking . A wave of intense relief washes over Eugene . He pantomimes reaching into his shirt pocket and lighting a victory cigar .
INT. HOSPITAL CORRIDOR - CONTINUOUS
Relaxed and invigorated , Kimberly and Thomas giddily exit the delivery room as Clear runs up to them .
CLEAR
A guard grabbed me before I could find Eugene.
THOMAS
Do n't sweat it. It's over.
CLEAR
She had the baby?
KIMBERLY
New life defeats death. We've done it. Death has to rewrite the list. We're safe.
Steve watches , confused , as Clear whoops with delight and HUGS the others . Clear laughs with a relief that seems completely foreign to her . Kimberly laughs with her , then is suddenly rocked by a vision - UNKOWN POV Looking up a the EEG machine . Flatlined !
THOMAS
( O.S . )
Kimberly! Are you okay?!
INT. HOSPITAL CORRIDOR - BACK TO PRESENT
Kimberly , on the ground , looks frazzled as she SNAPS out of her trance . Thomas helps her to her feet .
THOMAS
Are you okay? You just face planted!
KIMBERLY
I know how it feels to be dead.
Her lips blue , Kimberly shivers uncontrollably . Clear sees TWO SECURITY GUARDS round a distant corner and quickly walks the others toward an EMERGENCY LOADING ZONE .
CLEAR
What did you see?
KIMBERLY
I was dead. And came back to life. An EEG machine. Where's Eugene?
THOMAS
But it's over. Isabella's baby was the key. You saw her die and everything, right?
KIMBERLY
I do n't. what if I made a mistake?
THOMAS
Impossible. She was on the onramp.
Kimberly reluctantly closes her eyes and remembers . PREVIOUSLY UNSEEN Moment of the pile - up premonition . A WHITE VAN in fr ont of Kimberly suddenly slams on its brakes and pulls onto the shoulder . Kimberly screams , swerving around the van just in time to avoid an accident . Kimberly , overcome with self - doubt .
KIMBERLY
I'm not sure. I do n't think Isabella was ever destined to die in the pile - up.
THOMAS
Then what's the premonition of the lake supposed to mean?
CLEAR
Can you remember anything about it?
Kimberly shuts her eyes , remembering :
EXT. LAKE - DAY
POV DRIVER Grease - covered hands reach out toward a steering wheel of a white van speeding out of control TOWARD A LAKE ! The van crashes through a railing and PLUNGES into the water . In moments , the van fills with water , the driver inside trapped . Drowning . Horrible . And on the rearview mirror , six floral scented AIR - FRESHNERS . Kimberly looks down at her grease - covered hands and looks ill .
KIMBERLY
the Same hands from the van.
Finally everything makes sense to Clear .
CLEAR
It's you Kimberly. The premonitions are about you.
Kimberly trembles , refusing to accept what she 's hearing .
KIMBERLY
No! It ca n't be.
CLEAR
( suddenly remembering . )
I have to save Eugene!
Clear leaves Kimberly and Thomas together . Kimberly verges on tears and Thomas consoles her with a hug . IN THE BACKGROUND Clear looks at passing room numbers while hurrying down the corridor . She comes to a room with a HUGE CART parked outside , blocking the door . She looks up to see - B - 187 . Clear leans into it , pushing it out of the way of the door .
CLEAR
Eugene? Are you in there?
EUGENE 'S ROOM Eugene strains to hear through the thick door .
CLEAR
( O.S . )
Can you hear me? I'm coming in.
An intense wave of relief washes over Eugene . As Kimberly hugs Thomas , she watches Clear push the cart past the door .
ORDERLY
( O.S . )
Make way, make way lovebirds.
Kimberly spins as Eugene 's Orderly passes her ; a paper , pen and a crossword book in one hand , A BIRTHDAY CAKE in the other . The CAKE reads `` Happy Birthday Gregory '' . The THIRTEEN SPARKLING CANDLES on top ODDLY FRAME Clear 's head .
KIMBERLY
Oh no.
The Orderly speeds down the corridor toward Clear , whose hand reaches for Eugene 's door handle . She leans into it -
ORDERLY
( to Clear . )
Thanks hon, the Henzels are going crazy for this thing.
THOMAS AND KIMBERLY Watch as Clear opens the door , briefly revealing Eugene , a whoosh of Oxygen - BOOM ! Clear 's body is obscenely hurled END OVER END towards the CAMERA , heading straight for Kimberly and Thomas ! Thomas throws himself and Kimberly around the corner to prevent being crushed by Clear 's lifeless body ! The hospital erupts in total chaos . Just as Kimberly is about to break down completely , she sees - A WOMAN hurrying down the hallway in their direction , pushing a crash cart . Kimberly sees the nametag : KALARJIAN .
KIMBERLY
Nurse Kalarjian.
DR. KALARJIAN
Doctor Kalarjian. Excuse me, please.
ANGLE ON CART DEFRIBULATOR PADDLES rest on top . And then Dr. Kalarjian passes them toward the area of the explosion . KIMBERLY OMINOUSLY TURNS , the camera following her view , until she sees a small lake across the street from the hospital .
KIMBERLY
Oh my God. That's it. The lake. The EEG machine. Nurse Kalarjian.
THOMAS
What?
Just then , an AMBULANCE SKIDS up to the nearest entrance . PARAMEDICS jump out and run towards the blast site .
KIMBERLY
You ca n't cheat destiny. I know what I have to do to save us. I have to die.
THOMAS
That's crazy. You ca n't give up now. We can still fight this thing.
But Kimberly is n't listening . She stares through the glass doors at the - AMBULANCE A red stripe down the side , but the hood is completely white . Six floral scented air - fresheners hang from the rearview . The ` van ' from her vision ! And it 's running !
KIMBERLY
I have to do this.
Kimberly wipes tears from her eyes , kisses Thomas ' cheek , then turns and runs before he can speak .
EXT. HOSPITAL ENTRANCE - CONTINUOUS
Kimberly heads right for the open ambulance . The driver 's door almost seems to swing open for her as she gets in .
INT. HOSPITAL ENTRANCE - CONTINUOUS
Thomas frantically tries to get through the electric doors , which SPARK and short out . He struggles to pry them apart .
EXT. HOSPITAL ENTRANCE - CONTINUOUS
Kimberly shifts into gear and speeds off . Thomas squeezes through the doors and runs after her . An EMT , the driver of the stolen ambulance , rushes outside .
EMT
What the fuck?!
EXT. LAKE - DAY
Thomas chases the ambulance , watching helplessly as it barrels over curbs , pylons and a fence , ultimately plunging straight into the lake ! Thomas sprints to the lake as fast as he can - the EMT trailing far behind . INSIDE THE AMBULANCE Kimberly panics as the ambulance fills with water and she takes a final gasp of air - ON THE LAKE 'S EDGE Thomas stares in horror at the percolating air bubbles as the vehicle descends below the surface - and he dives in ! UNDERWATER Thomas swims into the dark , murky water . Deeper and deeper , he g ets to the ambulance and tries to open the door . Stuck . He withdraws his baton and BANGS on the glass - nothing ! He tries coming up for air , but his pants snag on the jagged metal of the twisted bumper . He squirms frantically . And as his exhausted body loses consciousness , everything - FADE TO BLACK .
INT. HOSPITAL ROOM - DAY
BLACKNESS .
DR. KALARJIAN
( O.S . )
Ready and. CLEAR!
The SHOCK of defribulator paddles brings Kimberly back to life . KIMBERLY 'S POV Looking up at Dr. Kalarjian , all she can see is part of a woman 's face and a partial nametage reading `` Kalarjian '' . It would appear as if she 's choking Kimberly , but - An EEG MONITOR turns from a flatline to a steady heartbeat , the same POV as the premonition .
NURSE
She's back!
DR. KALARJIAN
Five CC's of narcodon. I want her stabilized and prepped for ICU.
Kimberly turns her head to see THOMAS Unconscious , CPR being performed on him by the EMT -LRB- who 's now soaking wet -RRB- . Thomas does n't respond . An INTERN opens an eyelid , points a flashlight at his eyes . Shakes his head , nothing . The sopping wet EMT goes back to performing CPR . Finally , Thomas coughs up water , chokes , gasps for air , then BOLTS UPRIGHT .
THOMAS
Kimberly?!
He turns to see Kimberly reaching out for him . Immeasurably relieved , he takes her hand and allows himself to be eased back down to the platform . Kimberly 's eyes fill with tears .
KIMBERLY
( whispering . )
Welcome back. We did it. For real.
THOMAS
I know. I can feel it too.
Outside , a parting of dark clouds causes a shaft of sunlight to flood into the hospital . Its light covers Kimberly and Thomas with an ethereal glow . There are no more doubts ; they 've won . They exchange meek , yet triumphant smiles in the smoky , chaotic hospital .
EXT. PARK - DAY
We are at a summer barbecue . Frisbee , lawn darts , croquet , et . Everyone 's happy . TITLE CARD : FIVE MONTHS LATER ANGLE ON Shish - Kabob entering a mouth . REVEAL Kimberly taking a bite , relishing the taste and calmly pulling the metal skewer from her mouth .
KIMBERLY
My God, this is delicious. I ca n't believe I used to be a vegan.
Thomas , out of uniform , takes a bite of his own . As the metal skewer is deep in his mouth - A running FRISBEE PLAYER accidentally bumps into Thomas ! But no harm . Thomas gives the guy a friendly pat and goes back to rewrapping his mouth around the shish - kabob .
MR. BURROUGHS
( O.S . )
So what's the deal, Thomas? Three months and you still have n't asked my daughter out on a date.
Kimberly turns red as Mr. Burroughs appears and takes a seat .
THOMAS
What's wrong with a platonic relationship?
MR. GIBBONS
Platonic my ass. That's for ugly women.
KIMBERLY
For God's sake, leave him alone, Dad.
THOMAS
( smiling . )
Yeah, do n't make me cite you for harassment.
MR. GIBBONS
Oh please. I'm not hurting anyone.
( looking around , lowering voice . )
Besides, if you can beat Death, what's he got to worry about me for?
Mr. Gibbons sits down at the table with two plates of food . His wife , MRS. GIBBONS , joins .
MR. GIBBONS
You know, you still never explained to us how you did it.
It seems by now everyone 's familiar with the concept .
THOMAS
Well, technically when we died, we gave Death what it wanted. And by the time we were revived, it had already moved on to graver pastures.
Mrs. Gibbons makes a face , finding the discourse distasteful . She changes the conversation .
MRS. GIBBONS
You know, I'm having the greatest day?
KIMBERLY
Food's great too, Mrs. Gibbons. Big props to you and Brian.
MRS. GIBBONS
Our. pleasure. So, ready for the back - to - school season? NYU, right?
KIMBERLY
Three short glorious weeks away.
MRS. GIBBONS
Sounds wonderful. I wish I were going myself.
MR. GIBBONS
( to Mr. Burroughs . )
You may want to think twice about letting her live in the village, Bob. Our eldest daughter moved there and came back with piercings all over her face.
( looks grave . )
Among other places.
A chorus of friendly laughter .
BRIAN
( O.S . )
Dad used to call her the pincushion. From Hellraiser.
BRIAN enters frame , soaking up fresh laughter . He holds a plate full of raw chicken fillets and some long , wooden matches .
BRIAN
Dad, you had the spatula last, right?
MR. GIBBONS
Sure, here.
Mr. Gibbons hands it over and Brian saunters away from camera , SLIGHTLY OUT OF FOCUS , toward the barbecue , his body framed between Kimberly and Thomas ' heads .
KIMBERLY
Brian looks like he's having fun.
MR. GIBBONS
Sure does. Owes it to that friend of yours, in a way.
Mr. Gibbons immediately regrets having said that .
KIMBERLY
How's that?
MR. GIBBONS
Well, Brian was nearly hit by an ambulance the day. but your friend Rory pulled him back at the last second.
Kimberly and Thomas ominously turn their heads around . In the BG , Brian fidgets in front of the barbecue .
MRS. GIBBONS
You never told me that, Peter. Boy, that was lucky.
BOOM ! The PROPANE TANK blows Brian to smithereens . A deafening silence follows , punctuated when Brian 's ARM lands on Mrs. Gibbons ' plate . PLOP . FADE TO BLACK . END CREDITS .
|
INT. DARK ROOM - NIGHT
A padded wall is papered with NEWSPAPER CLIPPINGS that date back to the early 1900s : `` LOCAL FOWLER BROTHERS LOSE $ 35 TICKETS TO BOARD TITANIC '' appears over `` FOWLER BROTHERS KILLED IN COAL MINE MISHAP . '' Another series of articles reads , `` JEWISH PROFESSOR DENIED ADMITTANCE TO HINDENBURG '' and `` PROFESSOR RABINOWITZ KILLED IN AVALANCHE . '' Etc . Continuing along the wall , the newspaper articles all focus on the fates of the original SURVIVORS of the FLIGHT 180 CRASH . We DISSOLVE between the various headlines depicting the gruesome deaths of Tod , Terry , Ms. Lewton , Billy Hitchcock , Carter and Alex Browning . Also in the mix are various CRIME SCENE PHOTOS of the deaths . Decapitated torsos , crushed , mangled bodies , the charred remains of another and the face - down body of Alex Browning . MAPS line the walls as well , pinpointing the locations of numerous deaths , perhaps seeking a pattern . Charts that timeline bizarre deaths , seating charts of downed aircraft , etc . LATEX - GLOVED HANDS tear out the last article , apply fun - tack to its corners and place it in the center of all the others : A REMEMBRANCE FOR THE VICTIMS OF FLIGHT 180 Friday marks one year anniversary . END TITLES . FLASH TO BLACK as a HAND ENTERS FRAME , PULL BACK TO REVEAL :
EXT. KIMBERLY'S NEIGHBORHOOD - DAY
KIMBERLY BURROUGHS , 19 , puts a folded AAA map in her mouth . She opens the back of a RED NISSAN SUV , and pla ces her duffel bag inside . That done , she lets the map drop from her mouth , catches it in her free hand and turns to hug her father , MR. BURROUGHS .
KIMBERLY
Thanks, Dad. I'll call you.
MR. BU RROUGHS
You have everything, Kimberly? Credit card, cell phone, AAA card?
KIMBERLY
Relax, Dad. It's Daytona, not Mongolia.
MR. BURROUGHS
( playful . )
Fix - A - flat? Road flares? Sunblock? Mace?
SHAINA
( O.S . )
Condoms, handcuffs, lube?
Kimberly and Mr. Burroughs turn to see - SHAINA , 19 , tall leggy brunette . Tan , tight tube top revealing her pierced navel , Kimberly 's best friend . She walks up the driveway with her bags .
SHAINA
Just kidding, Mr. B. Do n't worry, I'll keep an eye on her.
MR. BURROUGHS
( sarcastic . )
Oh, that makes me feel a lot better.
Shaina throws her bags in , shuts the back and climbs in the SUV . Kimberly hugs her dad , kissing him on the cheek .
KIMBERLY
I know this is the first time we've been apart since. But everything's gon na be okay.
MR. BURROUGHS
I know, honey. I just -
Kimberly hugs him tighter . Cutting him off .
MR. BURROUGHS
Your mother would have been so proud of the way you've handled yourself through all of this.
KIMBERLY
( softly . )
I know, Dad.
SHAINA
( O.S . )
Hello, the guys are waiting!
Kimberly gives him a quick kiss , jumps behind the wheel , starts the car and pulls away as Shaina cranks up the stereo .
MR. BURROUGHS
Buckle up!
Mr. Burroughs waves as the girls roar off . As he looks down he spots an OIL STAIN left by Kimberly 's SUV . As he drags his shoe across the stain , a SLIGHT BREEZE blows past his face . CAMERA PUSHES IN as a look of concern crosses his face .
EXT. HIGHWAY ON RAMP - DAY
ON OLD WOMAN As she pushes her supermarket cart up the on ramp . A SQUEAKY WHEEL is shrill and disturbing . DRIVERS of several waiting vehicles avoid staring at her weathered face as she passes . Up ahead waiting in line , is Kimberly 's red SUV . UP AHEAD Waiting in line , is Kimberly 's red SUV .
SHAINA
( O.S . )
Watch it!
Kimberly accidentally KISSES the bumper in front of her while daydreaming . She calls out to the driver in front :
KIMBERLY
Sorry! My fault!
Shaina looks over , concerned . In the backseat , the guys DANO and FRANKIE laugh hard and some of Frankie 's milkshake comes out of his nose .
SHAINA
Want me to drive?
KIMBERLY
No, I'm good.
Shaina looks at Kimberly as a HAND suddenly hits Kimberly 's window . Kimberly spins around , startled . Kimberly stares transfixed at the Old Woman , who stares back with chilling intensity . The kids ad - lib `` Let 's go '' and `` Fucking freak . '' The Old Woman 's PLASTIC BAG BREAKS , sending oranges rolling down the on - ramp . The Old Woman breaks eye contact with Kimberly as she rushes to retrieve them . The signal turns from red to flashing yellow . Kimberly pulls the SU V onto the highway , looking in the side view mirror to see the Old Woman look up at her in SLOW - MO. .
FRANKIE
Dano, should n't we go back and help your mother?
DANO
Blo w me.
CU ON KIMBERLY As she looks back from the mirror and reacts to an ominous electronic road sign that flashes `` WARNING : CONSTRUCTION NEXT 180 FEET '' . NISSAN SUV Kimberly merging into traffic , NEARLY COLLIDES with a speeding yellow mini - bus carrying a high - school football team . Kimberly nervously jerks the wheel to the right , then realizing she 's speeding towards the road construction barrels , she swerves back left , right behind the mini - bus at the last moment . CLOSE . Kimberly pulls around the mini - bus as rowdy football players tackle each other , yelling :
FOOTBALL PLAYERS
Pile up! Pile up! Pile up!
Kimberly flicks on the radio and we hear HIGHWAY TO HELL by AC/DC at earsplitting volume . Kimberly and Shaina jump from the shock and reach to lower the volume . Kimberly , disturbed by this , hits SEEK - an oldies station . A GRISLY CAR CRASH from Nervous Norvus ' TRANSFUSION album .
DANO
Christ, is this tribute to Princess Di Day or what?
Kimberly passes a car WEAVING on her right . The driver reaching into the back seat to quiet a BARKING DOG hanging on its head out the window .
KIMBERLY
( unnerved . )
Jesus, all the crazies are out today.
A CLOUD passes Kimberly 's head . She smells it and turns around , taking her eyes off the road to see Dano smoking a joint .
KIMBERLY
I told you no drugs in the car! My dad will freak!
Dano and Frankie exchange looks , God , what a geek !
DANO
( laughs . )
Calm down, Kimmy. It's not drugs, just weed.
FRANKIE
Yeah, you should have specified.
Kimberly turns to Shaina , helpless . Shaina spins around , her eyes wordlessly tell Dano , I know she 's a priss , but put it out . Then Kimberly 's CELL PHONE RINGS . She hits the speaker button .
MR. BURROUGHS
( V.O . )
Kimberly? It's Dad.
KIMBERLY
Hey, Dad. What's up?
Dano defiantly blows more smoke toward Kimberly , then breaks into an unexpected coughing fit - looking over to see a HELLS ANGEL laughing at hi m . The biker 's trashy GIRLFRIEND , also laughing , quickly FLASHES HER TITS at Dano over :
MR. BURROUGHS
( V.O . )
Your car's leaking either transmission or brake fluid. I want you to have it checked ASAP at a gas station.
KIMBERLY
You got it, Dad. I'll call you if I have a problem.
MR. BURROUGHS
( V.O . )
I mean it. Take care of it.
KIMBERLY
I will, Dad. Bye, luv you.
Kimberly passes a STATION WAGON on her right , the DRIVER squinting at a map while driving . A mattress and some furniture tied to the top SHIFT as the wagon hits a bump .
SHAINA
Um, Kimberly, your dad's not gon na call like every ten minutes is he?
Before Kimberly can answer , Dano sees a CHP speeding up behind him . He lowers the joint at once .
DANO
( hiding bag of weed in pants . )
Shit! There's a cop behind us. Pull into the right lane now!
Kimberly , scared , does as she 's told nearly colliding with a speeding flat bed semi hauling a huge load of logs ! A HORN BLASTS . The truck swerves . Then speeds by on the right . A COILED CHAIN drops down to the highway .
DANO
Look first, idiot!
Shaina turns up the radio and leans over to Kimberly .
SHAINA
Ignore'em.
ON LOG TRUCK One end of the RUSTY CHAIN holding the logs in place rattles on the pavement , sparking . Looking in her rearview mirror , Kimberly turns pale - the COP pulls in behind her .
KIMBERLY
Dano, put that out NOW.
Dano takes one last drag and flicks the joint out the window . It bounces on the windshield of a FORD EXPEDITION to their left . INSIDE THE EXPEDITION KAT , 28 , very corporate America , wears a navy blue power suit and speaks into a phone headset while smoking a cigarette .
KAT
No, I'm stuck on Jury Duty so I wo n't be able to pitch the campaign. Let's get Silverstein to come in and.
Kat sees the joint that smoulders in the dried leaves beneath her windshield wipers . A moment later , a small FLAME crackles .
KAT
What the hell? No, not you.
Kat flicks on her WINDSHIELD WIPER FLUID , successfully putting out the joint , but her worn wipers smear ash and fluid around , impairing her vision . Kat turns and looks at - DANO , dead serious all of a sudden . Staring straight ahead .
DANO
What's the cop doing? Did he see that?
Kat sees the tailgating CHP , smiles , then resumes her conversation .
KAT
Forget it, I'll call him myself.
Kat hangs up , then looks down at her cell phone , squints and dials a number . PAN OFF KAT TO OFFICER THOMAS BURKE Early 20 's , rookie cop , who seems to have missed the entire exchange . INSIDE THE POLICE CAR Thomas speaks into his radio .
THOMAS
I was supposed to be off today. How did I get screwed?
DISPATCHER
( O.S . )
No biggie. Drake called in sick.
THOMAS
Copy that.
( switches off ; annoyed . )
Go on, sleep it off Drake.
Thomas tries to sip from a McDonald 's coffee cup on the dashboard , but it 's TOO HOT . He places it back on the dash . The VIBRATIONS of the road make the COFFEE CUP slide closer and closer to the edge of the dashboard . BACK TO KIMBERLY 'S SUV Dano nervously looks back .
FRANKIE
Relax, dude.
But Kimberly still looks uneasy as her dashboard `` Check Engine '' light begins flickering . Kimberly spots a road sign - Next Service 18 Miles .
KIMBERLY
This trip better be wor th it. What's the guy - girl ratio again?
SHAINA
Get ready to smile, five guys per girl.
KIMBERLY
I can live with thaaaa -
Kimberly stops mid - sentence when the WHITE VAN in front of her suddenly SLAMS ON ITS BRAKES and pulls onto the shoulder for no reason . Kimberly SCREAMS , swerving around the van just in time to avoid an accident . Frankie instinctively SHOUTS at the van .
FRANKIE
What's your problem, ya fuckin' crack baby?!
INSIDE THE WHITE VAN ISABELLA CRUZ , late 20 's and VERY PREGNANT , drives a delivery van full of funeral wreaths , crosses and classic rose urns . Most are marked : In Memory of Flight 180 . She chokes back sobs into a cell phone as she pulls over .
ISABELLA
could n't Keep your dick in check for another month? I knew this would happen when I got pregnant.
She pounds the steering wheel , furious .
ISABELLA
What'd the doctor say? I have to come in to test for STDs? Goddamn you, Jorge.
A CRATE in the back of her van topples over and CRASHES and a flurry of sunflower petals sails out the window . Isabella jumps in surprise and , wiping tears from her eyes , rolls up the windows as petals shower the visor of - EUGENE , the Harley Rider , who smears the petals -LRB- and some squashed bugs -RRB- around his visor and drops back . INSIDE NISSAN SUV Kimberly falls back into the right lane and looks uneasy as she sees a TRUCK DRIVER guzzling from a flask as it passes the SUV , revealing its side is an ad for FIRESTONE TIRES . It finally clears frame , revealing a highway billboard that reads , `` DRUNK DRIVING KILLS . '' Kimberly reaches back and pulls on her seatbelt in spite of laughter from the back seat . Up ahead , the RUSTY CHAIN seems to have more give to it . LOGS STRAIN against it . Suddenly , a black cloud of exhaust from a blue '83 Chevette in front of them causes everyone to roll up their windows . OIL DRIPS from its rusty exhaust pipe . The thick exhaust BLINDS Kimberly .
FRANKIE
Gas it around these idiots. We do have 1200 miles to go, you know.
Kimberly tires to enter the passing lane , but she 's blocked by a SUBURU WAGON . In the front seat , a seven - year old kid is sadistically SMASHING two toy cars together . Kimberly passes the Suburu and pulls up to a PACER . The Harley roars by , startling her . INSIDE PACER NORA KESNER , 35 , and her son TIM , 15 . Tim drums on the dashboard with two ten - ounce Naya bottles .
NORA
Tim, will you cut that out? I ca n't even hear myself think.
Tim frowns and then winces , holding his jaw .
TIM
Damn, it really hurts, Mom.
NORA
I know, we'll be there soon.
Tim drops the Naya bottles on the seat . One of them quietly falls to the floor , rolls a bit , finally settling UNDER THE BRAKE PEDAL . INSIDE NISSAN SUV Kimberly is still behind the smoke - spewing Chevette . She passes it on the left . Frankie rolls down his window .
FRANKIE
( yells to driver . )
Ever hear of the Ozone layer, asshole?
INSIDE CHEVETTE RORY , 27 , leans down to snort a line of coke off a Def Leppard CD case . S he looks up to see the Patrol Car is now behind him , he reflexively taps the brakes . Rory , eyes like saucers , sits rigidly transfixed at the wheel and nonchalantly wipes the CD clean on his pants . INSIDE NISSAN SUV She has dropped back behind the Chevette and CHP car and is running down along side of a BLACK TRANS AM . Up ahead she sees the Hig hway Patrol Car flick on its LIGHTS and pull into the shoulder around the Chevette and behind the Semi loaded with logs . INSIDE THE COP CAR As Thomas pulls in behind the log truck , his coffee cup lurches forward , spilling hot coffee all over his lap and the floor .
THOMAS
Son of a bitch.
INSIDE TRANS AM Its driver , EVAN SCHAEFFER , 21 , flashes a cocky smile at Kimberly , clearly making Frankie jealous .
FRANKIE
A Trans Am. That shit went out with New Kids on the Block.
DANO
Yeah. Who does he think he is? Knight Rider?
FRANKIE
( laughs ; then . )
Who?
Frankie leans out and tosses milkshake on Evan 's window .
DANO
You know, Hasselhoff before he did Baywatch.
Evan , pissed off , flips off Frankie . The windshield wipers smear around the thick milky fluid . The sun blinding him .
KIMBERLY
What's the chance of finding a nice mature guy once we get to Daytona?
SHAINA
How does a nice mature fuck sound?
Kimberly laughs , then leans in close to Shaina .
KIMBERLY
Hey, thanks for talking me into this trip. Ever since my mom. I dunno, I just feel like I'm starting to live again, you know?
Shaina smiles in understanding . INSIDE POLICE CRUISER Thomas bends to wipe up the mess . He only glances at the road as he tries to soak up the coffee . Suddenly up ahead , THE RUSTY CHAIN SNAPS ! The logs roll off the side of the truck onto the highway . One bounces as it hits , and slams through Thomas ' front winshield and out the back , taking Thomas ' head with it . EUGENE slams on his brakes . His Harley slides out and he is SLAMMED to the ground , sliding at 60 miles per hour across the highway , right in front of the yellow mini - bus . The MINI - BUS DRIVER brakes to avoid Eugene . The FOOTBALL PLAYERS tumble forward and hit him in the head . He loses control and slides off the road onto the grass median . He blows a front tire and the mini - bus begins to flip , ROLLING several times int o the oncoming lanes of traffic , and is HIT by a MACK TRUCK . Eugene slides into a huge log , and hits it with a sickening crunch . Only to be HIT and CRUSHED by his sliding motorcycle . Rory looks up too late and REAR ENDS Thomas ' car , EXPLODING the gas tank and HURLING Rory 's dead body halfway through the windshield where it remains half in/half onto the hood . KAT , dialing , looks up , slams on her brakes , but SKIDS on oil from the Chevette . She swerves into Kimberly , SIDE SWIPES her , then swerves to miss a huge log - only to run head on into two more , flipping the Expedition end over end right next to Kimberly . Kimberly swerves back from being hit by Kat , just in time to see a huge log ahead . She tries to turn hard to the right to avoid it , but hits it broadside - Sending the SUV FLIPPING OVER the top of the log and SLIDING down the road . Inside , Shaina , Dano and Frankie are tossed around like rag dolls , shredded by glass and shrapnel - Frankie is EJECTED out the side window . Kimberly 's SUV slides to a stop on its side . She looks back to her mangled but still alive friends and up in time to see NORA 'S PACER Nora sees the collisions ahead and slams on the brakes but the fallen Naya bottle prevents her from braking , and she SLAMS into the back of Kat 's Expedition . The crash test dummy collision folds her Pacer and it EXPLODES into a huge fireball . EVAN , blinded by the smeared windshield , is too late . He swerves his Trans Am around the burning cars onto the wet grass . Kimberly sees the topless Trans Am slowly roll out of a huge WALL OF FIRE and coast to a stop . Evan comes up battered and bloody but still alive . He is trapped in his burning car , screaming and trying to release the seatbelt . Then , just when she thought it was over , a HUGE SEMI slides thro ugh the wall of fire , SMASHING the Trans Am out of the way , SPINNING it like a top . With the back sliding at 90 degrees it keeps on coming . KIMBERLY 'S POV The semi 's grill comes right at her ! CU ON KIMBERLY She screams and we - THE HIGHWAY O N RAMP - NISSAN SUV - 8 MINUTES EARLIER Sweating profusely , Kimberly 's eyes dart around , taking in her surroundings .
DANO
( O.S . )
Flight 180. You know, that plane crash with those kids from Mount Abraham.
The Old Woman BUMPS the window - scaring the shit out of everyone . The kids ad - lib `` Let 's go '' and `` Fucking Freak ! '' Kimberly stares in horror as the Old Woman flashes an evil grin . Kimberly 's eyes lower to the bag of oranges - Which BREAKS , exactly like before , and the Old Woman scurries after them . The signal turns from red to flashing yellow .
FRANKIE
Dano, should n't we stop and help your mother?
DANO
Blow me. Yellow means go, Kimberly.
Kimberly hyperventilates in the driver 's seat . Freaking . A yellow mini - bus with football players speeds past .
KIMBERLY
Oh my god, oh my god.
Dano , confused , rolls a joint .
SHAINA
What is it? What are you?
KIMBERLY
There's going to be a huge accident! Everyone's gon na die. All of us! I saw it!
Dano hums the Twilight Zone theme .
FRANKIE
That's it. My turn to drive.
CLOSE UP - KIMBERLY SCREAMS ! AND WE 'RE BACK THE HIGHWAY ON RAMP Sweating profusely , Kimberly 's eyes dart around , taking in her surroundings .
DANO
( O.S . )
Flight 180. Y' know, that plane crash with those kids from Mt. Abraham?
The Old Woman BUMPS the window - scaring the shit out of everyone . The kids ad - lib `` Let 's go '' , `` Fucking freak . '' Kimberly stares in horror as the Old Woman flashes an evil grin . Kimberly 's eyes lower to the bag of oranges , which breaks , exactly like before and the Old Woman scurries after them . The signal turns from red to flashing yellow .
FRANKIE
Dano, should n't we stop and help your mother?
DANO
Blow me. Yellow means go, Kimmy.
Kimberly hyperventilates in the driver 's seat . Freaking . A yellow mini - bus with football players speeds by .
KIMBERLY
Oh my God, oh my God.
Dano , confused , rolls a joint .
SHAINA
What is it? What are you?
KIMBERLY
There's going to be a huge accident! Everyone's gon na die, all of us, I saw it!
Dano hums the Twilight Zone theme .
FRANKIE
That's it. My turn to drive.
HONK ! The drivers behind them start leaning on their horns . Kimberly leans out the window and sees the Chevette , the Pacer , The White Van , the Trans Am , the Harley . all the familiar vehicles from the pile up . She turns on the radio , frantically scans the dial .
SHAINA
Relax, you need to chill the fuck out.
KIMBERLY
Highway to Hell, Highway to Hell.
SHAINA
For Christ sakes girl, take a breath.
D.J.
( O.S . )
Taking you into an all request weekend with a classic from AC/DC.
The opening guitar riff to HIGHWAY TO HELL blares from the speakers . Kimberly turns to Shaina with a `` believe me know ? '' look , but Shaina 's nowhere near on the same page . HONKING behind them . Kimberly , shaking like a leaf , pulls the SUV forwards , turning it sideways to block off all traffic .
DANO
What the hell are you doing?
Dano shifts in his seat and sees - a Highway Pat rol Car ominously cruising up the shoulder of the onramp . He shoves a bag of weed , along with the joint , down his pants .
DANO
Five - O's coming! Let's fucking roll, man!
Officer Thomas Burke stops the car behind them .
FRANKIE
Jesus Christ! Here he comes! Move!
KIMBERLY
No! We'll all die if we do!
The cop turns on his FLASHERS .
DANO
I told you she'd ruin everything!
SHAINA
Shut up, Dano, just stay cool.
( to Kimberly . )
He's just stoned.
Officer Thomas Burke exits his car and approaches the passenger side of the SUV , hand on weapon . Thomas taps the window with his knuckle .
THOMAS
What's going on here?
KIMBERLY
( incoherent , through tears . )
There's going to be a pile up. Logs. Bodies everywhere. I saw it happen. It happened.
Thomas looks to the guys in back who shrug , `` we do n't know her . ''
THOMAS
Miss, please step out of the vehicle.
As she does , Thomas discretely unsnaps his holster . RORY nervously eyes the action . Sneaks a paper bundle into his sock . ISABELLA , the pregnant woman in the White Van , gets out . She gives Thomas her friendliest smile , milking the pregnant belly .
ISABELLA
Excuse me, but is there some way we could just drive around? I have a delivery.
Her CELL PHONE RINGS and she leans back inside to answer it .
ISABELLA
Hey hon, you got a mysterious caller on the answering machine from Planned Parenthood. What's going on?
As she listens , growing agitated , the Harley Rider dismounts and pulls off his helmet . Revealing EUGENE DIX , 35 , a nebbishy school teacher in cool leathers . INSIDE PACER NORA watches the SUV , distressed .
NORA
What on Earth are they doing?
TIM
( picking up two Naya bottles . )
Who am I, David Blane?
Nora gives Tim a hard stare , then they both break into smiles . Nora tousles his hair . And does n't stop .
TIM
( good - natured laughter . )
Okay, quit it already.
As he laughs , something pains his jaw and he winces . THOMAS is n't quite sure what kind of insanity he 's dealing with yet . Dano and Frankie , no help , stare dead ahead .
KIMBERLY
( trying to calm herself . )
The radio played the same songs, the old lady's bag broke the exact same way it did in my premonition.
Kimberly erupts into a panic when she sees the LOG TRUCK speed past . She grabs at Thomas for emphasis .
KIMBERLY
THAT's the truck that's going to kill everyone!
THOMAS
Alright miss, calm down. I just need this lane open. I need you to pull your vehicle onto the shoulder!
KIMBERLY
You're not listening to me! You have to do something!
EVAN impatiently yells out the window of his TRANS AM .
EVAN
Arrest this whack - job, wouldja? Some of us have lives, y' know.
Kimberly looks to Shaina for support , but even Shaina ca n't meet her eyes .
KIMBERLY
Why wo n't anyone listen to me?
Thomas , subtly reaching for his cuffs .
THOMAS
I'm not going to tell you to calm down again -
A SERIES OF CRASHES AND EXPLOSIONS ARE HEARD . In the distance . It 's neverending . Horrific . Kimberly 's face crumbles . She screams in horror and collapses against the SUV . Thomas runs to his patrol car . The White Delivery Van makes a J - turn out of the line of cars and SPEEDS down the onramp in reverse , Isabella screaming angrily into her cell phone .
ISABELLA
You could n't keep your dick in check for a month?!
The other drivers exit their cars , craning their necks to see what 's happened up ahead . Kat takes a deep drag off her smoke .
KAT
Great, now I'm really gon na be late.
Thomas barks into the radio handset -
THOMAS
L.A. 51, I need assistance and requesting paramedics for a major T.A.. At -
INSIDE THE SUV Frankie watches the traffic start to back up as a couple of passing cars BRAKE HARD . Shaina anxiously watches Kimberly pacing behind the SUV .
SHAINA
Kimberly, what's going on?
Kimberly moves toward Shaina 's window . As she leans her head into Shaina 's window , an ominous BREEZE blows back their hair and we hear the BLARING HORN of a TRUCK . And Kimberly is unexpectedly yanked backward by Thomas ! From nowhere , a SHRIEK of BRAKES as a JACK - KNIFED TRUCK plow s the SUV across the frame ! CRASH ! Flying debris misses Kimberly and Thomas by inches ! Kimberly cries in horror into Thomas ' shoulder as her friends burn up in the wreckage .
EXT. POLICE STATION - ESTABLISHING SHOT
INT. POLICE STATION - CONTINUOUS
CHAOS . Evan , the driver of the Trans Am , impatiently speaks to DETECTIVE SUBY , late 40s , professional with an open face that makes him a great listener .
EVAN
I do n't know what you want from me. Some crazy chic k blocks the highway with her car, said there'd be an accident and there was. Big deal. Even a broken watch is right twice a day.
Officer Thomas Burke passes by , heading into -
INT. A ROOM - CONTINUOUS
Kat , Eugene , Nora , Tim , and Rory sit in a large room , waiting to give statements . Unlike Evan , these witnesses are clearly distraught .
KAT
Not to sound insensitive, but how much longer is this going to take?
EUGENE
If I do n't get back to my classroom soon, the kids'll tear the room apart.
NORA
Those poor people. To think it would've been us if not for.
PAN OVER TO REVEAL KIMBERLY . She 's still in shock , her mind far away . Thomas sits close to her , speaking softly .
THOMAS
Tell me again how it started.
KIMBERLY
Like I said, it was like I was there. I remember everything. The sounds of the crashes, the smells, the look on Shaina's face.
THOMAS
Do you remember what triggered it all?
KIMBERLY
The log truck. and everybody I guess. Everyone was driving like a maniac. And somehow I knew something horrible was going to happen, even before it did.
Something clicks for Thomas , but he forces himself to speak calmly , like a lawyer leading a friendly witness .
THOMAS
You knew? You just mean a hunch, right? A bad vibe, maybe?
The other drivers stare at Kimberly .
KIMBERLY
More than that. All the songs on the radio were about car crashes. Some kid's banging toy cars together.
( lookin g at her . )
She was dialing her cell phone with her headset on.
( points to Rory . )
His car was leaking oil all over the road.
RORY
Hey, do n't be knockin' the Chevette.
But the others listen intently now . Especially Kat , who spies her headset buried deep in her purse .
KIMBERLY
Billboards about accidents. Kids yelling `` pile up'' for no reason. It all felt. just wrong. Just like.
( swallows ; hesitates . )
THOMAS
Like what?
Kimberly sighs and looks down . The room becomes eerily silent , except for the FLICKER of a florescent light .
KIMBERLY
I know this sounds crazy. but you all heard about Flight 180, right? The kid who got off the plane?
Thomas ' eyes widen - then a startling CRASH as Rory , le aning back in his chair , tips over . Thomas rolls his eyes as Rory grins sheepishly and picks himself up .
THOMAS
You mean Alex Browning.
KIMBERLY
( looking down . )
. My Premonition was just like his.
NORA
What are you talking about?
EUGENE
( sarcastic . )
Oh, you must have read about that kid who had a dream about a plane crash so he got his buddies off the plane? Then the thing blew up just like in the dream?
NORA
Maybe.
Eugene sees Nora and Tim are hooked and speaks in scary campfire tones .
EUGENE
But this is where it starts to get freaky. So a month goes by, everything seems cool, but then the survivors start dying one boy one.'Cause when your number's up, it's up, right? Some people said Death itself started coming for them, hunting down every last one, until they were all dead.
Everyone tenses up .
THOMAS
Well, not quite all of them. Clear Rivers checked herself into a padded room at Stoneybrook.
Kimberly , affected , looks to Thomas for confirmation .
KIMBERLY
You do believe me, do n't you?
BANG ! Everyone jumps as Detective Suby pounds on the door and opens it .
DETECTIVE SUBY
Officer Burke? Could I see you in here?
INT. OBSERVATION ROOM - CONTINUOUS
The DOOR OPENS . Detective Suby enters , leading Thomas . Through a two - way mirror , they can see the others chatting anxiously .
DETECTIVE SUBY
Tell me you did n't start up on that Flight 180 shit again.
( beat . )
Did you?
THOMAS
Of course not. That would be irresponsible and unprofessional.
Detective Suby 's persistent glare makes Thomas uncomfortable .
THOMAS
Look, you were n't there. It was weird. She knew that log truck was gon na cause an accident, she knew.
( beat . )
Never mind.
DETECTIVE SUBY
I thought we we re finished with this bullshit. This is police work, not the psychic Hot Line.
But Thomas is n't listening . He 's glued to Kimberly 's words . When Detective Suby realizes this , he stops and listens .
KIMBER LY
But if I was never meant to pull over, then we all should have died in the pile up.
TIM
Which means Death could be coming for us.
Detective Suby looks pissed o ff .
DETECTIVE SUBY
Way to console the witnesses Burke.
At the same time , we watch Evan enter the other room , grab his jacket and wave goodbye to the others .
DETECTIVE SUBY
You got'em thinking Death is after them? Shit, they're the luckiest sons o' bitches on the planet. Get this guy Evan Shaeffer ; Yesterday the kid wins the lotto and today some looney bitch b locks traffic and he avoids the worst pile up in years. I should be so damn unlucky.
INT. A ROOM - CONTINUOUS
Kimberly , Nora , Tim , Kat , Eugene and Rory now seem affected by what they 've heard .
KAT
What if it's true? What if it's happening all over again?
The fluorescent light above FLICKERS ominously . Nora , disturbed , stands up in a huff , grabbing Tim 's arm .
NORA
You're all certifiable, you know that? I ca n't believe I've been listening to this crap. Come on, Tim, let's go outside.
TIM
Jeez, Mom, stop trippin'.
EUGENE
Look lady, we're just yankin' your chain.
RORY
Yeah, you're acting like we all just got the Diff ` rent Strokes curse or something.
Eugene and Rory burst out laughin g. Nora shakes her head , disgusted .
NORA
What's wrong with you people?
Nora pulls a reluctant Tim out of the room . As she opens the door , the others watch Detective Suby and Thomas appear from nowhere to calm her down . When the door swings shut , an awkward silence . Suddenly , the door opens again and Thomas leads Mr. Burroughs inside . Mr. Burroughs sees Kimberly and chokes back tears .
MR. BURROUGHS
Kimberly.
The sight of her fath er crying is enough to make Kimberly 's own dam burst . She rushes over to him and buries her head in his chest , sobbing .
MR. BURROUGHS
Can I take her home?
Thomas nods .
DETECTIVE SUBY
Sure, you can all go.
By now , the fluorescent light flickers out of control . When Rory , Kat and Eugene stand up , Thomas looks helpless .
KAT
First I'm stuck with Jury Duty, now this nonsense.
RORY
Yeah, I hate to love and leave ya, but I've been over this X - Files shit since the sixth season.
As Thomas watches them file out , the fluorescent light POPS . Then DARKNESS .
INT. KITCHEN - DAY
Kimberly sits at the table . Mr. Burroughs sets down a cup of tea before her . Both are shaken .
KIMBERLY
I know it's crazy, but I'm really scared for the others. I've got this terrible feeling.
MR. BURROUGHS
What feeling?
KIMBERLY
That it's not over yet.
She picks up the tea , it clatters in her trembling hands .
MR. BURROUGHS
Don' t worry. Everything will be fine, you'll see.
INT. EVAN'S STAIRWELL - DAY
A dingy singly light bulb illuminates the narrow stairwell . Evan appears in the darkness , carrying a brand new television with some packages on top . He 's unable to s ee the long rickety stairwell he climbs . The stairs are littered with Chinese take out MENUS and a TONKA TRUCK apparently left by some kids . As Evan slowly climbs the staircase , a FAT MAN comes down , forcing Evan to lean against - THE RAILING - which CREAKS and BENDS . After the FAT MAN passes , Evan slowly continues up again , TEARING HIS SHIRT on a nail .
EVAN
Motherfucker.
A HEATING DUCT CLICKS ON . The air blows a TONKA TRUCK slowly toward the center of the staircase , directly in Evan 's path - but Evan just misses it ! He continues past MORE TOYS , nearing the top stair - The Airduct coughs , sending menus fluttering toward Evan 's feet and he slips on them ! He juggles the TV - but ultimately rights himself and continues down the hallway .
INT. EVAN'S APARTMENT - CONTINUOUS
Dim , cheap , probably roach - infested . As Evan enters , the small packages fall off the TV box and onto the floor . Evan places the TV by the door , looks at his torn shirt , but fuck it , who cares ; he 's on a natural high . He peels his shirt off , revealing his PIERCED NIPPLES , flicks on the radio and DANCES his way over to the fridge and grabs a drink . In the tiny kitchenette area , a small swarm of flies hovers over a grease - filled frying pan . Evan recoils , throws open the window and throws the grease to the sidewalk five stories below . An ominous BREEZE enters - And a kitchen cabinet slowly BLOWS OPEN . Some FORKS and KNIVES slide forward on poorly stacked plates . Daring to fall into the toaster . Evan spills some cooking oil on the range while pouring it into the frying pan , then dumps in some frozen mozzarella sticks . Evan puts the frying pan on the stove and turns it on HIGH . He then grabs a container of CHINESE FOOD and rests it on the counter next to the fridge . On the fridge , several colorful MAGNETS spell out HEY E. PUSH IN on the H - which mysteriously drops into the Chinese food - the word EY E remaining . Oblivious , Evan puts the food in the microwave and turns it on . ANGLE ON STOVE The cooki ng oil creeps toward the range . Evan hits PLAY on his answering machine and rushes across the room to tear open his packages .
VOICE
( O.S . )
Dude! You suck! You buy one fucking ticket in your whole life and win twenty grand? We're going whoring in Prague, you know this!
( whisper . )
Hold on, the boss is coming.
A CLICK , then hold MUZAK : AC/DC 's HIGHWAY TO HELL . ANGLE ON MAGNET in Chinese fo od . SPARKING . It pops and fizzles . And ugly sound . As many similar messages continue , Evan unwraps a new ROLEX ! He slides it over his wrist , admiring it . ANGLE ON KNIFE Lazily sliding off the shelf and into the toaster , protruding about an inch and a half . Hardly noticeable . By now , Evan has opened the next package ; a gaudy gold and diamond encrusted horseshoe ring . He carries the ring into the kitchenette , sees the Chinese food is FLAMING , and his hands flash out to turn it off - A SMALL EXPLOSION from the microwave startles him . The RING falls into his drain/garbage disposal !
EVAN
Damn it!
Evan reaches INTO THE DRAIN , his fingers searching for the ring . When he tries to pull his hand back out , the ROLEX CATCHES . Another small EXPLOSION from the microwave , this one cracking the GLASS . A Solo Plastic Cup nearby begins to melt . Flames sputter around the rim of the frying pan . In moments , the oil from the pan IGNITES . A small fire . Evan sees all this and YANKS with all his might . No use . As the FIRE slowly spreads to nearby cereal boxes , Evan starts to panic . He continues yanking . Stuck . He sees a bottle of PALMOLIVE on the other end of the counter . His fingers reach for it . Slightly out of his grasp . But his fingertips are just long enough to knock the bottle backwards - where it rests against TWO SWITCHES . The FIRE ALARM goes off . The PHONE RINGS . Evan desperately lifts his leg and tries to use his foot to edge the Palmolive over . By pushing the bottle up against the wall , it threatens to turn on one of the switches . ANGLE ON FINGERS In the GARBAGE DISPOSAL . A SWITCH is flipped - but the light goes on . And the Palmolive lazily falls , resting on the remaining switch .
EVAN
Come on, come on.
Evan makes one last push with his foot - accidently flipping the SWITCH - the GARBAGE DISPOSAL GRINDS METAL ! Evan , horrified , miraculously yanks his hand free , brushing against the knife in the toaster . When the SHOCK goes through Evan 's body , his other hand jerks out , knocking the flaming frying pan to the floor . The entire kitchen is in flames , including the new TV blocking the door . The window slams SHUT ! The room fills with smoke .
EVAN
Jesus Christ!
Evan grabs a fire extinguisher . A mere dribble of foam comes out . He begins COUGHING in the smoke . Evan tries the window - STUCK ! He has no choice but to smash the kitchenette window with the fire extinguisher to get to the fire escape . He dr ops the fire extinguisher , starts to climb out the window , hears a creak and looks up just as - A large jagged shard of glass comes CRASHING down at him - Evan jumps back just in time as it shatters before him . The fire completely engulfs the kitchen . He bravely jumps through the window pane , landing on the fire escape . He runs down the fire escape from floor to floor . A LARGE BLAST from his window showers him with glass and brick shrapnel , but ultimately , he makes it to the fire escape 's lowest level , intact . He tries to lower the rusty metal ladder to the ground . It budges once , then twice , but wo n't go down . So he climbs over the railing and gently drops to the ground . Safe and sound , he breathes a sigh of relief and turns to walk - SUDDENLY he s lips on the very grease he threw out the window , his legs shoot out from under him and he lands on his back . The rusty ladder suddenly dislodges and hurls downward - coming right for Evan 's face - but stops halfway ! As Evan laughs , breathing a final sigh of relief , it suddenly PLUMMETS again - impaling Evan through his eye socket !
INT. POLICE STATION - COMPUTER ROOM - NIGHT
Thomas sits at the computer terminal . He checks to make sure no one 's watching as he enters a SEARCH for Alex Browning . Ten websites come up , all devoted to the Flight 180 Curse . Thomas scrolls around , seeing the death pix and autopsy photos of Flight 180 `` survivors '' . Headlines blare , `` Freak Accident ? '' `` Bizarre Coincidence ? '' describing the way the victims died . As Thomas begins a localized search of the word , `` PREMONITION '' - SPOOKY HUMMING from behind him . Thomas whirls around to see Det. Suby looking over his shoulder , humming the music from an old monster movie . Suby presses one hand to his forehead , the other polishing an apple against his vest .
DETECTIVE SUBY
( as if entranced . )
Ooooh, I see it now. Your future. A transfer to another department.
Suby bites the apple , casually offering nothing more . Thomas , embarrassed , flicks off the computer , stands .
THOMAS
You've made your point.
DETECTIVE SUBY
Good. Cause we just got some new info and I do n't ne ed you getting freaky on me.
THOMAS
What?
DETECTIVE SUBY
Evan Shaeffer's dead. Guess he was n't as lucky as we thought.
Detective Suby shrugs and walks away , munching the apple . Thomas looks stunned .
INT. KAT'S ROOM - NIGHT
Kat cradles a phone to her shoulder . She watches television and crushes Oreos into a bowl of ice - cream .
KAT
No, Mom. Just turn on any station, they've been playing it all day.
( beat ; rolls her eyes . )
Yes, Mother. Channel four will do just fine. Here it is, got ta go.
She hangs up the phone , mesmerized by the report : FOOTAGE FROM A HELICOPTER shows the pile up wreckage .
ANCHOR MAN
( V.O . )
Route 18 was backed up for almost nine hours today when a record breaking pile up.
INT. NORA'S LIVING ROOM - CONTINUOUS
Nora and Tim watch the same report .
ANCHOR MAN
( V.O . )
killed An estimated 18 people. Emergency crews spent hours sifting through the wreckage.
INT. EUGENE'S LIVING ROOM - CONTINUOUS
Eugene looks up from grading midterm bluebooks to watch .
ANCHOR MAN
( V.O . )
hoping To recover any survivors from this tragic collision. So far, the police are refusing to release the names of the victims until their families are notified.
INT. KIMBERLY'S HOUSE - CONTINUOUS
Mr. Burroughs numbly watches the same report . He does n't see Kimberly enter behind him from the kitchen .
ANCHOR WOMAN
( O.S . )
The camera of a highway patrol car managed to catch this shocking footage -
B/W CAMERA FOOTAGE from Thomas ' car shows Thomas tackling Kimberly to the ground just as a jack - knifed truck plows into the SUV .
MR. BURROUGHS
My Lord.
A GASP from behind him . Mr. Burroughs spins to see Kimberly fighting back tears and picks up the remote , prepared to click of the TV - but she stops him .
KIMBERLY
Do n't. I have to see this.
Mr. Burroughs reluctantly keeps the newscast on .
INT. RORY'S APARTMENT - CONTINUOUS
It 's a party . Rory , surrounded by BUDDIES , shakes a triumphant fist at the television . HE WHOOPS with delight , spilling popcorn everywhere .
RORY
Whoohoo! You see that shit? Right there? That's my fuckin' car right there! Oh God, that's dope.
After high - fiving his peeps , he bends to table level and snorts a freshly chopped line .
ANCHOR MAN
( O.S . )
In other news, a freak accident took the life of a lotto winner.
Rory looks up to see the DMV photo of Evan . As he takes in the report , his mood radically shifts . He looks like he 's been hit by a train . MONTAGE Of Kimberly , Nora , Tim , Eugene and Kat watching . They all take the news very hard as the FOOTAGE shows Evan 's BODY being carried away by EMT workers . Eugene , however , shakes his head sadly but goes back to grading blue books . TIM 'S BEDROOM - LATER Tim 's eyes are glued to the latest Stephen King novel . Nora peers in .
NORA
Come on, Tim, lights out already.
Tim starts at her voice , then reluctantly puts down the book .
TIM
Mom?
NORA
Yeah?
TIM
You think. You think those guys were b.s. - ing us today or what?
Nora swallows , trying to seem brave .
NORA
Oh, please. Some people just need some serious rewiring, that's all.
But neither of them are convinced .
NORA
Get some sleep.
Nora kisses his forehead and leaves the room . After she leaves , Tim opens his nightstand drawer , pulls out a dusty nightlight and plugs it in .
INT. NORA'S BEDROOM - MOMENTS LATER
Nora closes her bedroom door . And locks it . She nervously checks the closet and even lowers the blinds . Finally , she takes out a business card and dials a number . She hangs up , then dials again .
NORA
Officer Burke, please?
INT. KIMBERLY'S ROOM - CONTINUOUS
Mr. Burroughs tucks a still - shaken Kimberly into bed . In one of his hands is a nearly empty glass of scotch .
KIMBERLY
It's okay, Dad. I'm not ten anymore.
Mr. Burroughs catches himself being overprotective .
MR. BURROUGHS
I'm sorry. I'm just so happy that you're safe.
KIMBERLY
I love you too, Dad. Goodnight.
But Mr. Burroughs is n't ready to leave . He finishes his drink .
MR. BURROUGHS
You know, after your mother died.
Kimberly tenses , bracing for the worst .
MR. BURROUGHS
There were so many times I did n't think I could last another day. I ca n't even tell you some of the things I th ought about.
KIMBERLY
I used to have those feelings, too. But that's when I'd think of Mom. Her strength. and courage. And I'd pray that maybe I'd grow up to be as brave as she was. And the bad thoughts would go away.
MR. BURROUGHS
( choking up . )
I do n't know what I'd do if I lost you.
Mr. Burroughs leans over , kisses her forehead and leaves . Just as he 's out the door , he braces at the distant sound of a CAR SKIDDING out of control . The ENDLESS SCREECH is nerve shattering . Mr. Burroughs stands frozen , tensing for the inevitable crunch . But there is none . And he leaves .
INT. KIMBERLY'S ROOM - NIGHT
The room is dark except for one burning candle . Kimberly tosses and turns . The wind sends a single branch scraping against her window . A porch swing SQUEAKS back and forth . Adding to her anxiety . A BREEZE ENTERS , sputtering out the candle . Kimberly sits upright in bed and sees the WINDOW IS SHUT . Huh ? She lights a match and sees the candle wax dripped onto her table , forming the gooey shape of a . 180 ? The match goes out in her hand . The room is dark again . Headlights fr om passing cars cast eerie shadows on her ceiling . Shadows resembling PLANES seem to transform into a SKULL . Kimberly , freaked out , looks around to see the blinking light from the VCR : it flashes 18:0 a few times , then 12:00 . She ca n't take it anymore . She yanks the VCR cord from the wall and flicks on the lights , ridding the room of shadows . And anxiously turns on her computer .
EXT. STONEYBROOK HOSPITAL - DAY
Kimberly drives a beat up Hyundai through an eerie morning mist that surrounds the grounds of the Stoneybrook Hospital . ANGLE ON A computer printout in the shotgun seat : MAPQUEST directions to `` Stoneybrook Hospital '' . As Kimberly drives through the gate , the mist almost seems to follow her inside . A SIGN offers a choice between `` Emergency/Medica l Care '' or `` Psychiatric Treatment Center . '' Kimberly drives to the mental ward .
INT. MENTAL WARD - DAY
A PHYSICIAN in a lab coat leads a nervous Kimberly down the center of a long corridor . The Physician consults a clipboard .
PHYSICIAN
at the request of the patient, you are to relinquish any sharp objects such as nail files, pencils, pens, safety pins, bobby pins, no matches, lighters, belts, belt buckles, earrings, chokers, shoelaces.
Kimberly watches carefully as the Physician comes to a door and punches `` 4514 '' into the electronic lock . They continue down another corridor . Lights flicker , patients cackle and moan in the B.G.
PHYSICIAN
paper clips, watches, food, drinks, keys, poisons, pills and medications.
( looks at Kimberly . )
You have a cell phone on you?
Kimberly nods , hands it over .
PHYSICIAN
Then I think we're all done.
They arrive at a door to a padded room . The Physician punches in another code .
KIMBERLY
Wait. Is she. dangerous or something?
PHYSICIAN
No honey, but she expects you are.
KIMBERLY
Jesus, how long are you going to keep her locked up this way?
PHYSICIAN
Depends on her, I guess. She's voluntary.
The door hisses open .
INT. CLEAR'S PADDED ROOM - CONTINUOUS
REVEAL CLEAR RIVERS While still beautiful , this young woman bears few traces of her former self . Her eyes dart around suspiciously , maddened by chronic paranoia . Her hair is patchy , her eyes dark and haunted . Bordering on savage . Her movements are fidgety , erratic , always distracted by something unseen .
KIMBERLY
Clear Rivers?
Clear looks Kimberly up and down and steps back , allowing her inside her inner sanctum . A mattress on the floor , a plastic bottle of water , some paperbacks and a bedpan . Kimberly 's jaw drops when she sees the far wall : a SHRINE to flight 180 . The wall is papered with art icles about all the survivors -LRB- as seen in the opening title montage -RRB- . The door SLAMS . Kimberly jumps .
CLEAR
Kimberly Burroughs, eh? What do you want?
KIMBERLY
I thought. I thought you might be able to help me.
CLEAR
( snicker . )
Yeah, how?
KIMBERLY
I had a premonition about the Route 18 pile up. I saved some people. And now I think Death is after me.
CLEAR
Nice work. Maybe if you're real lucky, you'll wind up in here with me.
( gives Kimberly the once over . )
But I doubt you'll survive that long.
Kimberly flinches .
KIMBERLY
It's not just about me. Someone I saved died last night in a freak accident. What if the others are in danger, too?
CLEAR
Well, if you put them on the list, they're already tits up.
KIMBERLY
What list?
CLEAR
Death's list. The precise order you're going to die in.
Clear 's eyes bore into a terrified Kimberly 's .
CLEAR
The survivors of Flight 180 died in the exact order they were originally meant to die in the plane crash. That was Death's original design.
KIMBERLY
( sudden realization . )
Exact order? Then I'm next! I was meant to die with my friends, so I'm next!
Clear backs away from Kimberly as if she were lethal , then stops short .
CLEAR
But you said someone else died last night. That means Death skipped past you. Someone must have intervened.
( off Kimberly 's confusion . )
Sometime yesterday you must have nearly died, but someone saved you.
Kimberly nods , recalling the events .
KIMBERLY
Officer Burke pulled me away from the crash that killed my friends.
CLEAR
Congratufuckinglations. That makes you last to go. But do n't worry, once the others are dead, it'll come back for you. Always does.
KIMBERLY
That still does n't make sense. You said you die in the same order you were originally meant to. But Evan Shaeffer died last in my premonition, not first.
Clear seems very disturbed by that .
CLEAR
It's moving backwards? Are you sure?
Kimberly reluctantly strains to remember something . THE FINAL MOMENTS OF THE PILE UP Nora 's Pacer folds like an accordion , then EXPLODES , followed by Evan screaming in the Trans Am , which gets CREAMED by the semi ! Kimberly , shaken , does the math .
KIMBERLY
Yes. In my premonition that Nora woman and her kid died first, then Evan and then. my friends.
Clear is oblivious when Kimberly breaks into silent sobs .
CLEAR
Backwards. that's new.
Clear sees Kimberly crying and softens .
CLEAR
That's good. Get all your tears out now, you'll need your eyes.
( off Kimberly 's confusion . )
For the signs.
KIMBERLY
Signs?
CLEAR
If you have the same power as Alex, you'll be seeing signs soon. When you see anything creepy or ominous, an in - your - face irony kinda thing? Do n't ignore it. It usually means the difference between life and death.
KIMBERLY
( to herself . )
The songs on the radio.
( to Clear . )
But wait. I do n't understand. Why is this even happening to me?
CLEAR
That's what Alex used to ask himself right up until.
For an instant , we see a gentle side of Clear .
KIMBERLY
It's obvious you know what you're talking about. You beat it. You have to help us.
Clear suddenly toughens up , an abrupt mood shift .
CLEAR
I did n't beat it ; I hid from it. If you were smart you'd put a down payment on a burial plot and say goodbye to the dog, because what little life you have left is over as you know it. Do n't make new friends, do n't fall in love, and do n't ever bother trying to save others. That's the worst killer of them all.
KIMBERLY
How can you say that? What kind of monster are you?
At once , Clear , enraged , is in her face , speaking through clenched teeth .
CLEAR
My family is dead. My friends are dead. And Alex.
Clear angrily peels a Polaroid off the wall and shows it to Kimberly . While we do n't see the photo , Kimberly 's horrified face paints a gruesome picture on its own .
CLEAR
And yes, that's the blade of a fucking ceiling fan in his head.
Clear pounds on the door , apparently done with Kimberly . A GUARD opens the door . Kimberly , devastated , turns to leave , then summons her courage and turns back to Clear .
KIMBERLY
Know what? I think you're a coward. I think you hide out in here because you're too damn bitter and selfish to care about another living soul. In my opinion, you're already dead.
Kimberly leaves , giving Clear something to think about .
EXT. KIMBERLY'S HOUSE - DAY
As Kimberly pulls into her driveway , she 's surprised to see a STRANGE CAR parked there . Then - THOMAS , wearing street clothes , peers through the front window of the house . He guiltily backs away as Kimberly gets out .
THOMAS
I tried calling last night but your father -
KIMBERLY
Evan Shaeffer's dead.
Thoma s nods and leans against the large glass windows that reflect the sky behind them .
THOMAS
I know. I've gotten calls all morning from everyone who was on the onramp. We're all meeting at my apartment tonight.
KIMBERLY
Then you believe all this? That Death is working off a list?
Thomas hesitates before answering .
THOMAS
I did n't. Until I was dispatched to clean up one of the Flight 180 survivors.
KIMBERLY
Clean up? I do n't.
Suddenly through the reflection of the window glass , Kimberly sees hundreds of pigeons dive bomb her at once ! Like a scene out of THE BIRDS , Kimberly must duck and cover as the pigeons assault her from every angle . But when Kimberly turns away from the reflection , toward the actual pigeons , THEY 'RE GONE . ALL IN HER HEAD .
KI MBERLY
Did you see that?
Thomas , concerned for her , saw nothing .
KIMBERLY
Pigeons. It's a sign! If Clear's right about the order, then Nora and Tim are going to be attacke d by Pigeons!
THOMAS
I'm not following you -
KIMBERLY
They're next on the list. We have to find them.
EXT. MEDICAL COMPLEX - DAY
ANGLE ON Woman 's N ike shoe on a down - moving escalator . Reveal Nora taking her son Tim to a dentist 's office . The SHOELACE snags on a bolt of one of the steel side panels , untying it .
TIM
( mischievous smile . )
You think the tooth fairy's gon na come tonight? I'm thinkin' like fifteen bucks.
NORA
Nice try, kiddo.
Tim smiles , then winces from the pain in his mouth . THE DANGLING SHOELACE heads straight for the escalator grate . IT GETS SWALLOWED UP . As Tim steps off , Nora TRIPS forward . Her caught sneaker is pulled tighter into the innards of the metal staircase .
TIM
Mom!
Tim watches helplessly as Nora reaches down , tug ging at her sneaker , fear mounting . Tim also grabs her sneaker and yanks . Finally , the shoelace SNAPS , and Nora 's free again .
TIM
You okay?
Nora puts on a brave face and begins tying one long shoelace to the stubby one .
NORA
Sure hon. I'm fine. Let's shake it, we're late.
Tim nods . The wind picks up as they continue past a - CONSTRUCTION CREW Who apply industrial suction cups to large , thick sheets of PLATED GLASS . Tim stares in childlike fascination as they pass JACKHAMMERS , a CEMENT MIXER , and an EXCAVATOR .
INT. CLEAR'S PADDED ROOM - DAY
Clear Rivers applies fun - tack to the back of a newspaper article and sticks it on the wall devoted to Flight 180 . REVEAL A photo of Eva , `` Lotto Winner Killed By Ladder '' . Clear backs away , pausing to look at a group photo of the Survivors of Flight 180 just before take off . Smiling faces .
TIM
Not so much.
Dr. Lees keeps a skeptical smile to himself .
INT. WAITING ROOM - CONTINUOUS
The RECEPTIONIST appears next to the fallen fish food with a VACUUM . She plugs it in an outlet below the fishtank . A startling GRIND as the vacuum turns on and coughs up a nail . She vacuums up the fish food around Nora 's feet . The DEAD FISH gets sucked into the water filter in the fishtank which sputters and stops . The water level RISES , spilling water over the side of the tank . The water TRICKLES closer to the outlet .
EXT. SUBURBAN STREET - DAY
Thomas drives his car into a friendly neighborhood . Kimberly , riding shotgun , hangs up her cell phone .
KIMBERLY
Turn around. The cleaning woman said they're at the dentist's. 14th and Main.
THOMAS
Hold on.
Thomas expertly skids into a U - turn .
INT. DENTIST OFFICE - CONTINUOUS
Tim looks petrified as Dr. Lees unveils a tray full of PICS , CARVERS and EXTRACTING FORCEPS . The KA - CHUNG of construction outside makes it im possible to concentrate , but , hands trembling slightly , Dr. Lees picks up a pic and mirror and starts examining Tim 's mouth . CU of PIC gently prodding Tim 's teeth .
DR. LEES
( O.S . )
I'm a little disappointed, Tim. Does your mom know you've been smoking?
Tim groans `` uh - uh '' , then suddenly flinches .
DR. LEES
( O.S . )
Yeah, that'll have to be filled.
A BANG from the window startles Dr. Lees . His HAND JERKS , but luckily the pic was removed from Tim 's mouth . Dr. Lees whips around in time to see a PIGEON flutter away from the window .
DR. LEES
Jesus. Every day at the same damn time. Now this'll only sting for a moment.
Dr. Lees picks up a large SYRINGE and moves it toward Tim 's open mouth .
DR. LEES
Open big. Wiiiiider.
Tim 's eyes radiate fear . The MOUTH OPENS . Reluctantly . Tim nervously eyes the window as the needle enters . ANGLE ON NEEDLE heading toward his gumline - BANG ! Another pigeon takes a header into the reflection . Dr. Lees ' hand jerks , nearly jabbing Tim 's tongue . Tim squirms violently . Dr. Lees looks towards the window angrily .
DR. LEES
How the hell do they expect me to. Would you rather have the laughing gas?
Tim nods his head ferociously .
DR. LEES
Jean? I need you in here.
( waits . )
Jean?!
INT. WAITING ROOM - CONTINUOUS
Jean continues vacuuming . The vacuum makes contact with Nora 's foot .
INT. DENTIST OFFICE - CONTINUOUS
After a minute , Dr. Lees angrily switches on two compressors : Oxygen and Nitrous Oxide . By now , the NO mask has been attached around Tim 's nose . As Tim drifts off , Dr. Lees lowers a DRILL into his mouth .
DR. LEES
Open big. Wiiiiiider.
Excruciating SOUNDS of the drill going through enamel . INTERCUT KIMBERLY AND THOMAS Racing to the medical complex throughout . THE WAITING ROOM The WATER TRICKLES into the outlet . The vacuum sparks and dies just as - BACK IN DR. LEES ' OFFICE BANG ! SFX : BROKEN GLASS - it sounds like a pigeon finally crashed through the window . In the other room .
DR. LEES
Goddamn it already.
Dr. Lees marches out of the room to investigate . Another quick electrical surge and the OXYGEN COMPRESSOR flutters off . The needle drops . But the NITROUS flow remains strong . ANGLE ON FISH MOBILE Spinning from a new breeze . Suddenly , a small round PUFFER FISH FALLS directly into Tim 's mouth . Soft , gurgling and choking .
INT. WAITING ROOM - CONTINUOUS
Nora stares at a pigeon with a broken wing frantically trying to fly right . Dr. Lees makes a half - hearted attempt to soothe and catch it . BACK IN DR. LEES ' OFFICE SLOW DOLLY up to Tim . Choking , gurgling . His eyes are open , but rolled up . His hand limply reaches up . then drops . Sounds of commotion in the next room seem to fade away as we continue our SLOW DOLLY into Tim 's eyes . They GLAZE OVER . the choking stops . And a HAND reaches into frame and pulls the puffer fish out of Tim 's mouth . REVEAL JEAN looking petrified at the close call , looking around to make sure nobody saw .
EXT. MEDICAL COMPLEX - LATER
Nora and Tim , feeling better now , walk past the CONSTRUCTION CREW . A CRANE OPERATOR smiles at Tim , who smiles back . From across the mall , the tiny running figures of Kimberly and Thomas appear in the dis tance , pointing and screaming .
TIM
What are they doing here? And why are they yelling `` pigeons''?
Just then , Tim and Nora walk into a large cluster of PIGEONS who suddenly burst into flight , startling the Crane Operator , whose hand inadvertently jerks a lever - A METALLIC CHAIN RATTLE fills the air and Tim looks up just as a HUGE SHEET OF GLASS PLUMMETS downward toward him and CRUSHES him , his mangled body visible underneath . As two pearly whites roll around on the sidewalk , NORA SCREAMS .
EXT. MEDICAL COMPLEX - LATER
Emergency vehicles everywhere . Thomas seems exhausted as he walks back to Kimberly , who stands by his car . In the BG , EMTs load a stretcher into an ambulance .
THOMAS
( shaking his head . )
Nora's not coming. She refuses to leave her son.
KIMBERLY
We have to tell her she's in danger!
THOMAS
( sadly . )
I did. And right now, I do n't think she cares.
EXT. KIMBERLY'S HOUSE - DAY
Thomas ' car turns into the driveway and parks . Kimberly holds up her hand and watches it tremble .
KIMBERLY
It's happening again. It's fucking happening again. I hoped we'd get there and they'd be okay, that Clear Rivers was full of shit and Evan's death was just a freak accident.
Thomas kills the engine to listen .
KIMBERLY
But we're all going to die. We ca n't stop it. It's just a matter of time. I'm so scared.
Thomas takes her hand and squeeze s it reassuringly .
THOMAS
I am too. But you can use that fear. It'll sharpen your instincts. Keep you alert fro signs. It's the only way you'll be able to sav e the others. and me.
Kimberly , seeming overwhelmed , pulls her hand back . Thomas senses he 's losing her , and softens her approach .
THOMAS
I know you did n't ask for any of this, Kimberly. But I do n't think you have it in you to quit either.
Kimberly stares straight ahead , the weight of the world sinking in . BANG ! A startling pound on the roof of Thomas ' car . Kimberly jumps , then spins around to see : CLEAR RIVERS - standing in the driveway . A determined , powerful presence . Kimberly exits the car . A MOMENT where Kimberly and Clear stare each other down .
KIMBERLY
Clear/Thomas. Thomas/Clear.
Clear nods absently to Thomas , still focused on Kimberly .
KIMBERLY
( bitter . )
The second one just dies. A 16 year old kid.
CLEAR
( nods ; a faint trace of guilt . )
I hope you're ready for this.
EXT. FUNERAL HOME - DAY
Thomas ' car pulls into a partially filled parking lot . Kimberly , Thomas and Clear file out and head to the door .
KIMBERLY
This is cheery.
THOMAS
Who is this guy, anyway?
CLEAR
A mortician. He seemed to know a hell of a lot more about death than he ever told us.
THOMAS
Should we knock?
CLEAR
( looking ill . )
He probably already knows we're coming.
INT. FUNERAL HOME - MOMENTS LATER
Kimberly , Thomas and Clear open the large wooden doors into a small chapel , creat ing a loud CREAK . A corpse in an open casket sits at the front of the chapel , post - wake . Kimberly , Thomas and Clear are forced to walk around the dead body to get to a side door .
INT. CORRIDOR - MOMENTS LATER
The three slowly edge towards a room at the end of a creepy hallway . An ORANGE GLOW flickers from the far room . The unmistakable sounds of a furnace make it all the more eerie . As they near the door , they 're able to see inside the room ; the shadow of a figure looms against a steel oven . They edge closer . They peek inside the -
INT. CREMATORIUM
Oddly there is no one there . As they enter , passing the furnace , a momentary WHOOSH of flames startles them all ! They jump back - bumping right into : MR. BLUDWORTH , the dark , sinister mortician from FD1 , who has inexplicably appear BEHIND THEM .
MORTICIAN
Hello, Clear. I've been keeping an eye out for you.
The mortician rolls a metal gurney carrying EVAN 'S EYELESS BODY toward the firing oven . Kimberly and Thomas are scared .
KIMBERLY
Oh my God. That's Evan Shaeffer.
Clear , however , seems to expect nothing less .
MORTICIAN
Come to. Pick my brain?
The Mortician slides a gleaming set of medical pliers into Evan 's mouth . And YANKS out a gold tooth . Kimberly recoils as he discards the bloody tooth on a metal tray .
MORTICIAN
( to Kimberly . )
Flesh and bone require 1,600 degrees for cremation. Gold, prosthetics and other metals must be removed before the final -
CLEAR
( not falling for this again . )
Just a simple question and we'll leave you alone with your new friend.
The Mortician grins ; he likes the new Clear . He crosses the room and hits a LEVER . KA - CHUNK ! The oven begins to blaze .
MORTICIAN
Fire away.
CLEAR
How do you cheat Death once and for all?
The Mortician , recrossing the room , passes Kimberly and stoops down to sniff , no INHALE , a terrified Kimberly 's essence .
MORTICIAN
Dead. But still fresh.
Kimberly shudders as the Mortician moves back to Evan 's body . Clear has had about enough .
CLEAR
( to the Mortician . )
Look, we drove a long way to get here. So if you happen to know how to get this death monkey off our backs, it sure would be swell if you told us.
The Mortician now CLAMPS THE PLIERS around Evan 's NIPPLE RING .
MORTICIAN
For what purpose? You seek a back way out of a room with but one door. You ca n't cheat Death ; there are no escapes.
CLEAR
Bullshit. You told me Death has a distinct design, a blueprint, unalterable. But Alex and I cheated Death not once, but dozens of times. If the design is flawed, it can be beaten.
A sick smile crosses the Mortician 's lips . He yanks the nipple ring OFF ! Kimberly looks on both horrified and awed when Clear does n't flinch back from the pliers , where a bloody nub dangles .
MORTICIAN
Such fire in you now. People are always most alive just before they die. Do n't you think?
Clear steps back from him , hate flashing in her eyes .
CLEAR
It can be beaten. And you know it.
CREEEAAAK - SLAM ! The Mortician rolls Evan 's body into the oven .
MORTICIAN
Some say that there is a balance to everything. An equilibrium that is the connective tissue of the universe. They say that for every lif e there is a death, and for every death a life.
His words hang in the air . An ominous BREEZE enters .
MORTICIAN
Solus novus anima licet evinco mortis ; Only new life can defeat death.
( off their confusion . )
The list of life is forever set by the Divine Plan, the guiding hand that plots the course of the universe, down to its tiniest element s.
Thomas looks to Clear ; what 's he talking about ? The Mortician focuses on Kimberly as if the others had ceased to exist .
MORTICIAN
The list accounts for every life ; from the dawn of man to the great apocalypse. But the introduction of life that was not meant to be, a soul forbidden to roam the earth, that could invalidate Death's list, shatter its very existence.
Evan 's other eye POPS , startling Thomas and Kimberly .
THOMAS
What the hell does that mean?
MORTICIAN
( with finality . )
To figure that out you'll have to follow the sign s.
The Mortician grabs Kimberly .
MORTICIAN
But be warned. To disrupt the grand design is to unravel the tapestry of the universe. When you pull all the threads apart, you may find yourself hanging from them.
The Mortician finally lets Kimberly go .
CLEAR
One last question. Why is Death working backwards this time?
The Mortician glances at his watch - Evan 's bran d new Rolex .
MORTICIAN
( shakes head ; a sick smile . )
Sorry, time's up.
EXT. GAS STATION - DAY
CLOSE UP - GAS DRIPPING From the nozzle in Thomas ' car . Thomas fills the tank , watching for signs of danger . Clear 's hand is poised over the gas pumps ' EMERGENCY CUT - OFF VALVE Some SKATE RATS exit the mini - mart with a pack of Camels , followed by Kimberly , who carries a couple of Red Bulls and hands them out .
THOMAS
New life defeats death? Follow the signs? Where the hell did you find that guy?
KIMBERLY
Yeah, I thought he was supposed to be helpful.
CLEAR
He was. If we can use your ability to see the signs, we can cheat Death long enough to figure out what `` new life'' means.
( off their looks . )
I know, it worries me that I understand him.
Thomas tops off the tank . Some gas spills to the ground . Quick looks all around - sure enough , one of the Skate Rats is about to strike a match . CLEAR 'S HAND SLAPS the kid in the back of the head , stopping him mid - motion .
CLEAR
What the fuck are you thinking?
The startled Skate Rat shrinks back from Clear 's rage .
SKATE RAT
I'm thinkin', suck my junk, bee yatch.
Thomas chuckles to himself and looks at Kimberly who -
EXT. LAKE - DAY
POV DRIVER . Grease - covered female hands reach out toward a steering wheel of a white van speeding out of control TOWARD A LAKE ! The van crashes through a railing and PLUNGES into the water . In moments , the van fills with water , the driver inside trapped . Drowning . Horrible .
INT. GAS STATION - DAY
KIMBERLY Comes to Thomas ' arms - GASPING uncontrollably for breath . Terror - stricken . She begins hyperventilating .
THOMAS
What is it? What did you see?
It 's so bad , Kimberly ca n't speak . She coughs and gags as if recently drowned . Clear scans the perimeter for immediate dangers . A POWER REPAIRMAN On a cherry picker messes with the transformer , a LAWN BOY pull - starts a WEED WHACKER close to broken glass , a MECHANIC on a tall ladder changes out the gas price numbers , a female DOG WALKER with three dogs approaches the ladder .
CLEAR
You have to tell us now.
KIMBERLY
I. I.
Clear shakes her head by the shoulders and barks commands like an angry drill sergeant .
CLEAR
You're strong. Do you hear me? You're a fucking warrior. Nothing scares you. In fact you happen to be the single most powerful woman on earth. Now what did you see?
The words slowly take affect . Kimberly becomes centered , getting her breath back , and speaks without a hitch .
KIMBERLY
I was driving a white van. It must've gone out of control because it crashed into a lake and I drowned. It was. horrible.
CLEAR
You were there?
KIMBERLY
I can practically taste the water in my throat. And something else. The smell of flowers.
CLEAR
( confused . )
Then it was n't just a sign. It was a premonition?
Thomas gently releases her , paces .
THOMAS
Remember the onramp? There was a pregnant woman in a white delivery van.
CLEAR
Holy shit. He said `` only new life can defeat death.''
( off looks . )
If she gives birth to a baby that was never meant to be born, a brand new soul that was never part of Death's Design.
KIMBERLY
It throws the entire Death list out of whack. And a new list has to be rewritten f rom scratch. We all start over with a clean slate.
THOMAS
It sounds all well and good, but what if we're wrong?
CLEAR
Please, what else could it mean?
KIMBERLY
( to Thomas . )
So if you give us the pregnant lady's number, we can warn her about the lake and she'll live long enough to have the baby.
CLEAR
So let's do it.
THOMAS
( realization . )
Shit, I do n't have her number. She was never interviewed. She took off right after the accident.
KIMBERLY
How are we going to find her? There must be thousands of white vans in this state.
THOMAS
Hey, I'm a police officer, remember?
INT. A/V ROOM - POLICE STATION - LATER
Thomas works a VCR , scanning BACKWARDS through the video footage from the patrol car camera . We see the SUV 's explosive collision with the jack - knifed semi . Kimberly is taken by surprise by the sight of the crash .
KIMBERLY
Oh God.
Thomas sees Kimberly and quickly flicks off the monitor .
THOMAS
I, uh. sorry.
Kimberly notices Clear watching her and toughens up . She forces back the tears and qui ckly wipes the rest away .
KIMBERLY
I know, I know. We need my eyes.
Clear sits beside Kimberly .
CLEAR
It's all right. I'll take watch.
Kimberly looks grateful , and a moment passes between them , but she 's already buried the need to cry .
KIMBERLY
I'm okay. Just caught me by surprise. Put it back on.
Clear does , watching the cars seemingly pass in reverse .
CLEAR
Make sure all these people will be at the meeting tonight.
THOMAS
Taken care of.
THE MONITOR Back , back , back until the Patrol Car slowly creeps backwards down the onramp .
KIMBERLY
There it is.
THOMAS
Got it.
Thomas hits play and we see footage from the patrol car cruising past the White Van . A clean shot of the license plate . Jackpot . As Thomas slides his chair to a data base and types in the plate number , the pause function dislodges , slowly advancing the tape frame by frame .
CLEAR
I do n't get it. Why is everything happening so fast? After Flight 180. A month went by before anyone died. And now five people are dead in less than a day.
Thomas ' computer screen finally fills with information .
THOMAS
Here we go. The vehicle's a delivery van registered to Jorge and Isabella Cruz. And Christ, there's almost a dozen domestic disturbance complaints on these two.
CLEAR
We need to hurry.
They all get up and leave . Ominously , THE MONITOR shows the NEXT VEHICLE creeping behind Nora 's Pacer - a white van !
INT. CRUZ HOUSE - NIGHT
Thomas pulls up to an upper - middle class house . Thomas , Kimberly and Clear get out and start up the unlit path . It 's dark , hard to see where they 're going , so they negotiate by feeling the bushes aligning the walkway .
THOMAS
Let's lay this on her gently now. The stress alone could upset the pregnancy.
Kimberly nods , ever creeping closer to the front door - when AUTOMATIC LIGHTS FLASH from over the garage . All three freeze for a moment , during which we hear STOMPING emanate from within the house , and the lights SHUT OFF . But nothing else happens . No one comes to a door . Thomas sighs , and as if suddenly remembering his status , he walks fearlessly and purposefully to the front door . He makes a fist , is about to knock - when the DOOR FLINGS OPEN and a ROTTWEILER LUNGES for his throat - only to have its collar snagged at the last second by its owner - JORGE CRUZ , late 30 's , handsome , cocky . He speaks above Rotty 's
JORGE
What?
THOMAS
I'm Officer Burke. I'm looking for an Isabella Cruz.
Suddenly , with an unexpected fury , Jorge SCREAMS at his dog .
JORGE
Shut up!
The Rottweiler cowers , and Jorge shoves it to the floor , where it lands on its feet and fearfully trots away . Jorge 's face is once again pleasant , but it 's a thin veneer . Jorge sees Clear and Kimberly behind Thomas and frowns .
THOMAS
Are you Jorge Cruz?
JORGE
Maybe. What's this about?
THOMAS
May we come in?
JORGE
No. What's this about?
ANGLE ON CLEAR - eyeing what appears to be DROPS OF BLOOD on the tile floor . She takes in what she can see of - THE ROOM As if a tornado had hit it . Wedding photos smashed and torn . Furniture over - turned .
THOMAS
( a little stern . )
It's about your wife, Isabella. Now is she here?
Jorge 's eyes flicker ever - so - involuntarily behind him .
JORGE
No. I'm alone.
But by now , Thomas has seen everything Clear has and more . He stares through the house , into a bedroom and sees - A FEMALE FOOT lying half0buried under the bedspr ead .
THOMAS
Look, pal, it's probably nothing. But I need to see -
Jorge is already closing the door .
JORGE
Forget it. You'll need a warrant. I know, I'm a lawyer.
Clear rushes the door , shoulders it and expertly wriggles past Jorge 's grasp .
JORGE
Stop! You ca n't go in there!
Clear tears into the bedroom , grabs the bedspread and THROWS it to the floor to reveal a YOUNG WOMAN , naked , trembling with fear , takes a closer look at Clear .
YOUNG WOMAN
We never meant to hurt you Isa. You're not Isabella!
Meanwhile , Jorge yells at Thomas .
JORGE
I'm going to sue your ass!
KIMBERLY
Whose blood is that on the floor?
Defensively , Jorge holds up his arm . Freshly cut .
JORGE
Mine, you idiot. The dog went nuts this afternoon. Now arrest her!
KIMBERLY
Where's Isabella? Did you finally kill her you fucking wife beater?
Jorge flinches . It 's time to come clean .
JORGE
We had a fight. Some things got broken, the dog went crazy, she left me. Would n't say where she was going.
THOMAS
What was the fight about?
JORGE
Take a guess.
THOMAS
Does she have a cell phone? A way we can contact her?
JORGE
She did.
He eyes a SHATTERED CELL PHONE on the floor .
CLEAR
We're wasting time with this piece of shit. Let's just get to the meeting.
Jorge turns to soothe the frightened Young Woman in the bed .
JORGE
Hey, when you find her, tell her the kid's half mine.
Clear mutters something as they exit the house .
CLEAR
We can only pray it does n't come out retarded.
Jorge hisses something at the Rotty , which CHARGES them and SPRINGS ! But Thomas slams the door on the frothing dog just in time .
EXT. THOMAS' APARTMENT BUILDING - NIGHT
Rory sits in his Chevette outside an apartment building , staring up at the address . He quickly snorts some powder off his key and wipes his nostrils free of crystals . He takes a breath and exits the car .
INT. THOMAS' APARTMENT BUILDING - NIGHT
Rory follows some PEOPLE into the elevator . The elevator doors close on his shoe - trapping Rory in an awkward position . One MAN frantically pushes the DOORS OPEN button to no avail . Finally , as the elevator rises , Rory YANKS his foot free .
MAN
Jesus Christ. I wrote to management two weeks ago about these friggin' bumpers.
Rory bends down and inspects his shoe .
RORY
Damn, is that dogshit?
Rory briefly holds the shoe too close to the Man 's face - see ? - before disgustedly slipping it back on . DING . The doors open . The man hurries out and the elevator DOORS CLOSE on Rory 's smirking face .
INT. THOMAS' APARTMENT - LATER
REVEAL - Nora , Rory , and Kat , mortified , sit on a couch . It 's obvious the bomb 's been dropped , reality has set in . Clear and Kimberly await their reactions . Nora raises a trembling hand .
NORA
Does anybody have a Valium?
Kat opens her purse and hands her a blue pill .
KAT
You'll want to take -
Nora pops it in her mouth .
KAT
- half of that.
Nora chews , her eyes half dead from bereavement . Across the loft , Thomas paces , phone in hand .
THOMAS
( quietly , into phone . )
Any word yet on the Dodge van? Damn.
Eugene alone seems unafraid . He uses a GRABBER - a long pole with movable claw on the end - to OPEN THE SKYLIGHT . When done , he balances the long pole precariously against the wall . An OMINOUS BREEZE enters . Clear notices MAGAZINE PAGES blowing over the desk by the couch .
NORA
So that would mean. I'm next.
EUGENE
Nobody's next. This is crazy. First death's stalking us and now premonitions?
KAT
This ca n't be happening. My career's at a peak, I finally met a cute guy, I just bought a new house.
RORY
Just shut the fuck up and maybe you'll live.
Kat 's hands ball into fists . The hatred is mutual . Clear reaches for a nearby cardboard box on the desk , noticing MAGAZINE PAGES blowing over until their weight tips over a PENCIL HOLDER which spills pens out . She takes the box to Nora .
CLEAR
You're not next, Nora. Nobody has to be next. That's the point. Last time, we did n't plan. We were n't organized. Now we can help each other.
She reaches into the box and passes out cell phones to Nora and the others .
CLEAR
Think what would have happened if Kimberly had been able to warn you with the word pigeons.
Nora 's head falls . Kimberly senses her anguish and takes over .
KIMBERLY
The point is, as long as you know what to beware of, you have a fighting chance. It can be beaten. If I call you and say subway, get to a high rise fast. A place where no subway could possibly go, get it?
Everyone nods in understanding . Rory fidgets , sniffling , then POUNDS the table in frustration . Startling Kat .
RORY
Why the hell did I ever get on Route 18 in the first place? That's me, Mr. Dumb Fucking Luck.
Clear , very alert , looks at the tipped PENCIL HOLDER . PENS ROLL toward the end of the desk , toward a large White Pages directory which hangs precariously off the edge just so .
CLEAR
Anyone read today's paper? The article on Evan Shaeffer?
No one says a word .
CLEAR
The only reason he was on Route 18 was because he own the lottery and had to collect the winnings.
RORY
That lucky bastard.
CLEAR
What about the rest of you? Kimberly, you were driving to Daytona. Was Route 18 your first choice?
KIMBERLY
The new freeway was faster, but Route 18 was the way my mom used to take, so.
They take turns going around the room .
THOMAS
Route 18 is Drake's assignment, but he called in sick so I got.
( blanches . )
Drake's never sick.
KAT
I was my first day of jury duty.
EUGENE
Jury duty? That's randomly selected by social security numbers.
CLEAR
Random, sure.
EUGENE
What, you think Death planned for each of us to die in the pile up weeks ago? You're nuts.
Clear fumes . Rory looks ill and reaches into his wallet .
RORY
Last July I dialed a wrong number and got a radio station by accident. They asked me what number means `` good luck'' in Jewish.
KAT
Eighteen. And it's `` Hebrew''.
RORY
Anyway, I guessed it right and won these.
Rory holds up two Yankee tickets .
RORY
The best way to get to Yankee Stadium is Route 18.
KIMBERLY
I do n't know what's weirder, the dialing a wrong number part or that Death would set you up nine months in advance.
THOMAS
( realization . )
Whoa, nine months?
KIMBERLY
Are you thinking what I'm thinking?
INT. CHEAP MOTEL - NIGHT
ANGLE ON ISABELLA 'S PREGNANT BELLY . REVEAL she 's lying down , binging on take - out food , while speaking on the motel phone . A disturbing metallic SQUEAK SCRAPE - SQUEAK can be heard , nearly drowning out the SCREAMING COUPLE next door .
ISABELLA
Yes, I'd like to report a domestic squabble - my name? Isabella Cruz why, does it matter? I'm at the Super 8 motel. Yes, I own a white van. So what? Just get over here.
Isabella hangs up , recoiling at VIOLENT THUMPS against her wall . PULL BACK AND UP TO REVEAL the source of the unsettling SQUEAK is a rickety , wobbling CEILING FAN .
INT. THOMAS' APARTMENT - NIGHT
Kimberly whispers into the phone .
KIMBERLY
I'm sorry, Dad, we're having a hard time with Shaina's eulogy. I'll stay here at Virginia's tonight and see you tomorrow. I love you too.
She hangs up , looking guilty for having lied to her father . Clear keeps her eyes on the pens that ROLL on the slightly canted table into the about - to - fall White Pages directory .
CLEAR
Remember everyone, just because Kimberly's got the power does n't mean we're not all capable of seeing signs to some extent.
The pens softly tap the phone book one by one until it lazily tips over and PLOPS HEAVILY onto a GOOSE - DOWN THROW PILLOW . Small feathers from the pillow are carried upwards by the breeze . Everyone in the room watches them rise .
RORY
It's like Forrest Gump.
They float across the room , ultimately landing on a MOUSETRAP ! SNAP ! The trap flies over and knocks into the base of the unstable Grabber - which tips and slowly slides down the wall . Clear , in a chair , looks directly above her head at a LARGE SWORDFISH mounted on the wall . The Grabber picks up speed , arcs downward and hits the mounted SWORDFISH . The supporting brackets give , causing the SWORDFISH TO TIP and SLIDE DOWNWARD ! Clear lurches back in her chair just in time - the razor sharp bill impales the seat cushion between her legs !
CLEAR
Fuck. Should have seen that coming. The institution's made me soft.
Clear gets up , carefully easing herself around the swordfish . Eugene is n't quite sure what to make of what he 's just seen .
EUGENE
If Death has got such a hard - on for you, maybe you should get the hell away from us.
KIMBERLY
We need her. She's the only one who's dealt with this before, idiot!
Kimberly looks self - conscious by her outburst . Clear , however , looks grateful .
CLEAR
We're all going to have to open our eyes from now on. Look out for each other. Sleep in shifts.
( looks around apartment . )
And we've got to safeproof this deathtrap.
MONTAGE - SAFEPROOFING THE APARTMENT Everyone but Nora and Eugene helps unplug appliances , put out the fire , take down hanging objects , switch off the gas , put sharp objects away , affix padding to chart corners . Kat , placing poisonous cleansers and flammable liquids in a box , nervously pulls out a pack of smokes . Thomas watches as he takes a hanging mirror off the wall .
KAT
Screw this. I'm going outside for a smoke.
THOMAS
You think you should? It's not safe out there.
KAT
So? Nora's got ta bite it before me anyway, right?
Kat steps towards the front door , then remembers the cell phone and grabs it just in case . Thomas smiles ` good job ' at her . Kimberly , unscrewing the light bulb , looks up when Nora rises from the couch in a stupor and struggles to put on her jacket . Kimberly looks concerned .
KIMBERLY
Where are you going, Nora? You okay?
Nora fights the sleeve , dazed and defeated .
NORA
Four years ago my husband died. Now Tim. There's nothing left for me.
Kimberly stops pouring liquor down the drain .
KIMBERLY
Do n't say that. Once you lose hope, it's already too late.
Eugene snickers . Nora looks up , anger surfacing .
NORA
If it's my time to go, to be in heaven with my family, then I can accept that.
KIMBERLY
You ca n't give up. Do n't accept Death's plan. Trust me, you can fight this. If we can just survive long enough until that baby is born, we can -
Nora looks more resolute than ever .
NORA
If you'll excuse me, I have a funeral to prepare.
Everyone looks crushed when Nora heads for the door . Except Eugene , who stands up as well .
EUGENE
Yeah, why am I listening to a girl who just got out of the nut house?
As Eugene heads out , Kimberly becomes enraged and grabs him .
KIMBERLY
Seeing you die once was enough for me.
EUGENE
Whatever. I control my life, not fate.
CLEAR
I'll be sure to put that on your tombstone.
Rory presses a cell phone into Eugene 's hand on his way out .
RORY
Be careful. And even if you do n't believe, give this to Nora.
INT. THOMAS' APARTMENT BUILDING - NIGHT
Eugene pushes the elevator button a thousand times . Nora nervously ties her long hair back in a single braid .
INT. THOMAS' APARTMENT - CONTINUOUS
The nervous group finishes safe - proofing the apartment . RORY , standing on the couch , pulls a POLICE ACADEMY DIPLOMA off the wall - and slips - stumbling BACKWARDS into the closet . Staggering , he accidentally knocks some COAT HANGARS and a VOLLEYBALL TROPHY from the high shelf to the floor . Thomas whips around and sees that Rory 's not hurt . He then lowers his gaze and sees - The figurine of a VOLLEYBALL TROPHY is framed by a tangled jumble of wire COAT HANGARS . Suddenly , STREETLIGHT FLICKERS ON for the evening . Oddly , it only illuminates the Trophy/Hangar array . From Rory 's vantage point , it looks like a surreal sculpture of a man with hooks emanating from his body . The sodium vapor lamp casts an OMINOUS GLOW around the image .
RORY
man with hooks. I see a man with hooks. Someone?!?!
The others look over , trying to see what he does .
THOMAS
( unsure . )
I kinda see it, yeah. So. Nora's going to be killed by a man with hooks?
Kimberly and Clear stare at the volleyball trophy - the street lamp ominously FLICKERS OUT AND DIES . Everyone looks around for a hesitant beat , then Thomas picks up his cell phone . Clear first walks , then RUNS out the door .
INT. THOMAS' APARTMENT BUILDING - CONTINUOUS
The elevator finally comes . Eugene and Nora get inside , standing in front of a gaunt looking man holding a cardboard box full of PROSTHETIC LIMBS . MUZAK plays AC/DC 's HIGHWAY TO HELL .
EUGENE
Going down, right?
The Gaunt Man says nothing . The DOORS CLOSE .
INT. ELEVATOR - CONTINUOUS
Eugene stares blankly at the CONCAVE MIRROR in the upper corner . He 's disturbed by the WARPED REFLECTION OF : THE GAUNT MAN leans closer to Nora 's hair and as the doors finally close , he leans over and SMELLS it . Creepy .
EUGENE
Um, by the way, your shoe's untied.
Nora bends down to tie her shoelace -LRB- the one that snapped -RRB- . She tries tying the long dangling shoelace to the stubby one as Eugene 's cell phone VIBRATES in his hand . Startled , he drops it to the floor . Then looks embarrassed .
EUGENE
Probably for you, anyway.
Nora picks it up . STATIC CRACKLES . It 's hard to make out Thomas ' yelling .
NORA
Officer Burke? I ca n't hear.
A beat of confusion , then she slowly turns to see the clawed hooks and hands of the Prosthetic limbs . Terror . She freezes .
EUGENE
What is it? What's wrong?
But Nora 's too frightened to speak . Eugene grabs the phone , hearing unintelligible STATIC . INTERCUT CLEAR As she frantically hits the elevator button . When it fails to come , she runs downstairs .
INT. ELEVATOR - CONTINUOUS
Nora slowly rises to her feet , feverishly mouthing a prayer . As the door opens , Nora rushes out - unseen to her , her long braid gets snagged on one of the PROSTHETIC HOOKS , YANKING her backwards .
NORA
Let me go let me go!
EUGENE
Oh, watch it, you've caught your uh.
The Guant Man 's sweet voice and demeanor are a clear contrast to his outward appearance .
MAN
Goodness gracious, darling, let me help you with.
Nora panic , s as Eugene and the Man try to untangle her braid . Nora desperately spins her body around , sticking her head back inside the elevator . Kat appears in the lobby , smoking a cigarette .
KAT
You alright, Nora?
The elevator DOORS begin to close , and CLAMP around Nora 's neck , her head inside , body outside the elevator . Eugene pounds on the BUMPERS , but they do n't seem to work !
NORA
My God, someone please let me out of this -
INTERCUT The UP BUTTON is lit . Clear rushes to the lobby . The Elevator RISES ! INSIDE THE ELEVATOR , Eugene watches Nora 's head drop to floor level - then he pounds the Emergency Button - which SHORTS OUT ! Nora 's body lifts upwards from the force of the elevator floor ! Nora 's screams of terror and agony fill the air as the elevator repeatedly LURCHES UPWARDS . Kat gasps in horror to see this poor woman suspended above the floor . It lurches . And lurches . And lurches . The horror never ends . Clear comes from the stairwell and is shocked by the sight . She runs to the elevator doors , trying to pry them apart to no avail . All Kat can do , crying , is grab hold of Nora 's flailing legs and try to pull her back down . The elevator lurches a final time . NORA 'S HEADLESS BODY fall down into Kat 's arms , knocking her to the floor . Kat freaks , skittering away as the body convulses . INSIDE THE ELEVATOR Eugene balls his hands to his mouth in undeniable fear . A bloodcurdling moan escapes him . He stares transfixed as Nora 's head , still aghast in terror , rolls around the floor . The sight clearly sends Eugene over the edge . He SCREAMS , CLAWS AND POUNDS , desperate to escape the elevator .
INT. THOMAS' APARTMENT - MOMENTS LATER
Eugene suddenly bursts through the door , babbling incoherently . Kimberly , Thomas and Rory look on , bewildered .
EUGENE
no escapes my ass. I control my fate. I die on my terms, hear me Reaper cockscuker?!
Eugene 's in another world . He approaches Thomas and lunges for his GUN - yanking it from the holster !
THOMAS
What the hell are you?
EUGENE
Ai n't going out like that. On my terms!
THOMAS
Just take it easy!
A twisted insane smile comes to Eugene 's face as he jams the gunbarrel to his temple . The others shrink back in terror . He PULLS THE TRIGGER . CLICK ! Eugene tries again . CLICK ! Thomas looks stunned as Eugene goes through every round , CLICK CLICK CLICK CLICK CLICK CLI CK . Kimberly breaths a sigh of relief .
KIMBERLY
You do n't keep it loaded?
Thomas ' eyes disagree . He reaches in and GRABS the gun away from Eugene , who stands there trembling . Thomas cracks open the cylinder . Loaded .
RORY
Maybe they were all duds.
THOMAS
Six in a row? Never. Impossible. That's like.
( sinking realization . )
. winning the lottery.
CLEAR
( O.S . )
It was n't his turn to die.
Everyone turns to see Clear and Kat , standing in the doorway , DRENCHED IN BLOOD . Kat trembles uncontrollably .
KAT
Can we find the pregnant woman, please?
INT. THOMAS' APARTMENT - DAWN
Flashing lights from rescue vehicles illuminate the living room . In the newly conformed safe house , Kat and Clear relax as best they can in Thomas ' dry clothes . Thomas makes another phone call . In the corner , Eugene shivers to himself . Desperately looking for signs of danger . He looks over to Clear .
EUGENE
Um, Clear? I'm sorry. about before. I.
CLEAR
Your entire world view just went out the window. I could n't expect a religious conversation overnight. We'll get through this.
( beat . )
I promise.
Eugene looks immensely relieved . Rory ambles over to Kimberly , his typical callousness gone .
RORY
Can I ask you a question?
KIMBERLY
Sure.
RORY
When I die. Is it gon na hurt?
KIMBERLY
I. I do n't know.
Rory nods . He expected as much . He fishes his LICENSE and KEYS out of his pocket .
RORY
And you're gon na die after me, right?
KIMBERLY
I guess so.
RORY
( re : keys and license . )
Would you take these? And if I die.
( tears well up . )
Could you throw all my drugs out? Paraphernalia, porno, you know. Anything that would break my mom's heart.
Kimberly looks deeply into his eyes , looking for the punchline . When she does n't see one , she nods tenderly and takes the keys . The PHONE RINGS . Rory jumps at the sound , paranoid eyes in scan mode . Thomas answers , speaks softly , hangs up .
THOMAS
A one very pissed off Ms. Isabella Cruz is being detained up in Greenwood. Let's finish this thing.
EXT. COUNTRY ROADS - DAY
Kat 's Ford Expedition winds its way through rural New York . A SPORTS CAR speeds past on the left , then as it pulls in front of the Exped ition , its slipstream sucks over some debris from the shoulder ; a thin metal piece of trim , which bounces in front of Kat 's Expedition 's left front tire . CU KAT 'S WHEEL WELL - the metal trim is shot upward into the wheel well , where it lodges firmly , its sharp metal edge GRINDING AGAINST THE RUBBER . INSIDE THE CAR Kat drives , Thomas reading directions in the shotgun seat . Kimberly , Eugene and Rory ride in back . In the CARGO area , Clear scans out the rear window for danger . Rory fidgets .
RORY
Is this safe, guys? I mean, someone in this car is about to get whacked. Do the rest of us really feel like sitting next to him?
( off Kat 's glare . )
Or her. Hopefully her.
An uncomfortable beat .
THOMAS
Guys, let's not panic. Isabella's safe.
KIMBERLY
How do you know?
THOMAS
You said she was going to drive into a lake. How can she when she's in protective custody?
INT. SHERIFF'S STATION - DAY
Isabella , pissed , is in a holding tank . Small town deputy STEVE ADAMS , 30 's , CLEANS HIS GUN in her direction .
ISABELLA
What do you mean `` grand theft auto?'' This is insane.
STEVE
Hopefully the district judge can straighten it all out by Monday mor ning.
ISABELLA
( figures it out . )
Jorge. When I get out of here I'm going to sue his cheating ass off.
As she fumes , a rivulet of WATER streaks down her leg .
IS ABELLA
Oh my God.
Steve , at first confused , sees the water and gasps .
STEVE
Are you kidding me?! Oh, man.
He rushes across the room , pulls a lever , unlocking the cell .
STEVE
C'mon. Let's go.
As Steve throws on his jacket , we reveal its prominent emblem : GREENWOOD LAKE SHERIFF DEPARTMENT .
EXT. SHERIFF'S STATION - MOMENTS LATER
Small town station . Only one patrol car . In the patrol car , Isabella buckles up in the sho tgun seat , the belt stretched tightly across her belly . Deputy Steve tries the ignition , but the car wo n't start .
STEVE
Damn, they always stick me with the clunker.
ISABELLA
Take my van!
EXT. WESTCHESTER COUNTY - DAY
KAT 'S EXPEDITION speeds through a yellow light and continues on . CLOSE ON EXPEDITION 'S LEFT TIRE Metal sheers away more rubber . INSIDE THE EXPEDITION Rory , antsy , rubbing his nostrils , stares at two Yankee tickets .
RORY
Here's what I do n't get. For nine months, Death does all this shit to make sure I win these tickets and end up on Route 18 at exactly the right time for the pile up.
KAT
Yeah?
RORY
But why single me out? What am I in the great scheme of things? You'd think I stepped off Flight 180 or something. Fucking weird, man.
THOMAS
You want weird? Last year, my partner and I were heading out for the graveyard shift. A call comes in about a train wreck and Frank decides to let me handle it alone.
( beat . )
Frank died that night in a shootout. I'd be dead too if that call had come in just ten seconds later.
Everyone nods in that ` life 's weird ' reverence kind of way .
KAT
I got that beat. So like, last May, I was supposed to stay at this cheesy bed and breakfast in Pennsylvania. There was a major gas leak no one knew about and all the guests suffocated during the night.
RORY
Yeah, so what happened?
KAT
I never mad it. The Greyhound bus I was on splattered some chick all over the road and we had to stop.
CLEAR
Was that in Mt. Abraham?
KAT
Yeah. How did you know?
CLEAR
( sinking realization . )
That bus you were on? It killed Terry Mathers. She was supposed to die on Flight 180.
KAT
I'm not sure I -
THOMAS
Shit. The call about the train wreck that saved my life? That was the night I scraped up Billy Hitchcock.
RORY
Who?
KIMBERLY
Another kid from Flight 180.
A chill passes over the group .
INT. WINDING ROADS - DAY
Deputy Steve speeds the White Van up the narrow winding road . Isabella breathes Lamaze - style through intense pain .
ISABELLA
Promise me. I wo n't have the baby. in this van.
Speeding up the incline , Steve tries to speed around a Volkswagon Beetle , but cars scream by in the opposite direction .
ISABELLA
Get around it!
Steve leans on the horn and stomps the gas , dangerously riding the shoulder around the Beetle . Way ahead of the Beetle , on the left side , is a LAKE .
EXT. WINDING ROADS
BRIAN GIBBONS , 15 , cheerfully drives a TRACTOR hauling a WHOODCHIPPER across the high crest of the empty road toward a pile of thick branches . The Tractor unexpectedly stalls in the middle of the road . He tries the ignition , pumps the gas . Nothing . Only by standing on the tractor can Brian see the White Van speeding up the hill toward him . He jumps down and frantically tires starting the tractor . Once , twice , nothing .
EXT. KAT'S EXPEDITION - CONTINUOUS
CU FRONT TIRE - METAL shreds away more rubber .
INT. KAT'S EXPEDITION - CONTINUOUS
Rory excitedly makes a connection .
RORY
Remember the theater in Paris that collapsed last year, killed everyone inside?
Everyone nods , anticipating .
RORY
I had tickets to go, but one day I'm in Paris, trippin' on acid, sippin' lattes an' such, and this dude gets whacked by a falling sign.
CLEAR
Carter.
RORY
Freaked me out so bad I hid in a shopping cart for four hours. ` Course, missed the show.
CLEAR
What about you, Kimberly? Did you anyone from Flight -?
Clear stops when she sees all the color has drained from Kimberly 's face . Even Eugene looks concerned .
EUGENE
Are you okay?
The car becomes completely silent -LRB- except for the slight SCRAPING -RRB- as Kimberly prepares to tell her story .
KIMBERLY
A little over a year ago, my mother and I went to the mall. I was supposed to meet her outside, but I got caught up watching some news report about some kid who committed suicide. I kept thinking, `` How can you strangle yourself in a bathtub?'' That's retarded.
Thomas mouths , `` Tod ? '' to Clear . Clear nods .
KIMBERLY
It felt wrong. And yet.
( continuing . )
There were gunshots outside and I ran.
( chokes up . )
Some kids tried to jack her car. She fought them off - she was a fighter - and they killed her.
Kimberly looks to Clear .
KIMBERLY
After the funeral I had this overwhelming feeling that it should have been me. I figured that's how everyone must feel. But I guess I was right.
Thomas reaches between the seats and takes Kimberly 's hand . As he looks into her eyes , Kat takes her own eyes off the road to light a cigarette . INTERCUT BRIAN The tractor is safely off the road next to a wood pile . Brian grabs a cord and starts up the whoodchipper .
INT. KAT'S EXPEDITION - CONTINUOUS
CLEAR
It's all starting to come together. When Alex got us off Flight 180, it did n't just change our lives. It affected everyone and everything we've come into contact with ever since.
EUGENE
I'm not sure I understand.
CLEAR
Being alive after our time caused an outward ripple - a rift in Death's design.
Eugene nods , slowly getting it .
EUGENE
So if you never got off the plane, none of us would be ali ve in the first place.
CLEAR
That's why Death is working backwards. It's tying up all the loose ends, sealing the rift once and for all -
This chapter of the screenplay contains scene -LRB- s -RRB- that do not appear or occur elsewhere in the final movie . In order to maintain the integrity of the screenplay , it has not been edited . CU LEFT TIRE A thick retread sheers itself onto the pavement . BRIAN The wood chipper roar s loudly . Suddenly , some forgotten stray chunk SHOOTS from the spout - The airborne chunk of WOOD CRACKS the White Van 's windshield . Steve veers out of control . Kat sees the White Van ahead swerving into HER LANE . She quickly jerks the wheel to the right . Kat 's LEFT FRONT TIRE BLOWS ! It sends rubber flying and the entire SUV pulls hard to the left , spinning her out of control into the oncoming lane of traffic - toward the White Van ! Isabella SCREAMS ! Steve jerks the wheel to the left ! The White Van has a close near miss with the Expedition , and goes off the road toward a LAKE !
STEVE
Hang on!
The SUV misses the tractor - but sails off the other side of the embankment , spinning and rolling towards - THE GIBBONS ' FARM At the bottom of the hill of a large rural farm , a PROPANE TANK sits at the edge of the property ! The SUV barrels down the hill - coming right for it ! INSIDE THE SUV All Kat can do is cover her head with her arms . THE WHITE VAN Speeding toward the lake ! Isabella SCREAMS , in pain , not fear . The White Van is ready for splashdown . Steve finesses the hand brake while tapping the accelerator . He 's able to right the van away from the water without so much as a hard jerk .
STEVE
We're okay, we're okay.
THE PROPANE TANK It 's about to get creamed - but the bouncing Expedition just barely misses it ! It continues , backwards , CRASHING through a temporary fence and right into - AN AGRICULTURAL CONSTRUCTION SITE ! The Expedition plows past earth movers , crashing through irrigation ditches and pipes , shrapnel flying everywhere . Just as the Expedition comes to a stop , an IRRIGATION PIPE ROCKETS through the rear window - miraculously missing Clear and Rory - coming to a rest just behind Kat 's head . INSIDE THE WHITE VAN Steve sees the wreckage on the other side of the highway and slows down . Isabella squeezes his hand white .
ISABELLA
Please. It's not going to wait.
STEVE
I've got to stop and help those people.
ISABELLA
Do you want to deliver this baby?
Steve looks ill , then sees another car stopping by the crash . He floors it and speaks into the shoulder mic of his cop radio . THE EXPEDITION The dust settles in the silent car . The only sound is a QUIET , WET WHEEZE . Clear , dazed , looks around carefully , avoiding the METAL SPIKE that skewers the vehicle . Rory holds his trembling hand before his eyes as if amazed to see it . Kimberly shakes her hair , spilling glass onto the floor . Kat tries to open the door , but it wo n't budge .
KAT
Not my time. Amazing.
THOMAS
Is everybody alright?
A BLOODY HAND SEIZES HIS SHOULDER ! Thomas turns to see Eugene SPASMING in the back seat ! He clutches his ribcage in agony and wheezes ! Blood trickles from his mouth .
KAT
He ca n't breathe! He ca n't breathe!
CLEAR
Oh my god, Eugene!?
Eugene 's head tilts forward , unconscious .
EXT. GIBBONS' FARM - DAY
BRIAN GIBBONS jumps off the tractor and sprints down the hill toward the accident . At the edge of the property is a common farm FENCE made from wooden posts bridged by two thick wires . Brian skillfully climbs between the wires and runs past a DEAD OAK TREE ten feet inside the fence . In the BG , MR. GIBBONS darts inside a double - wide construction trailer .
MR. GIBBONS
( O.S . )
Call 9 - 1 - 1!
WE FOLLOW BRIAN To the crash site . Brian 's jaw drops as he absorbs the chilling sight of a guy and a girl dragging a blood - soaked man from the back seat to perform CPR on him . Around Brian , voices mesh in a surreal haze .
THOMAS
Stop it, do n't move him!
KIMBERLY
He ca n't breathe damn it. I think his lung's collapsed!
CLEAR
Someone call for help!
We STEADICAM around Brian to reveal a woman screaming from the driver 's seat . The sound is surreal .
KAT
I ca n't move my fucking leg! Please get me out of here before it explodes!
The color drains from Brian 's face as the dying man on the ground coughs blood and the girl performing CPR recoils . The moment is still surreal as Brian steps back , further away from the horrors he ca n't face . Into the street - And Rory yanks him back from imminent death as an AMBULANCE SPEEDS onto the property .
RORY
Watch it, dude!
That SNAPS Brian back to reality . Sounds become normal again . Brian collects himself and SNIFFS the air . He then drops to ground level , looking under the Expedition for something .
KIMBERLY
Help us, we need help over here!
BRIAN
( to Kat , reassuringly . )
I do n't smell any gas. And none's dripping, either.
Brian sticks his head in Kat 's window and peers down at her trapped leg . He swipes the broken glass away from the window with this thick flannel sleeve , reaches in , and tries to YANK the door open with all his might . No good , Kat SCREAMS in pain .
KAT
Stop that! I still need this foot, thank you.
Brian steps back as the emergency vehicle speeds over .
EXT. GIBBON'S FARM - LATER
Clear watches two EMTS lo ad Eugene into the back of an ambulance . An oxygen mask has been placed over his mouth .
CLEAR
Be careful with that, check the gages on the regulator and be mindful of overdoses. Oh, watch for potholes and puddles.
As Clear continues , the exasperated Paramedics do their best to ignore her . When she tries to climb inside , she is pushed away .
CLEAR
Look, I made him a promise -
PARAMEDIC
Sorry. There's no room.
Again , she 's shoved away and steps back , helpless . Thomas and Kimberly stand by Kat , still trapped in the SUV .
THOMAS
Get that over here! Move move move!
A RESCUE WORKER carries the JAWS of LIFE past Clear towards the Expedition .
RESCUE WORKER
Excuse me, hot soup coming through.
The hydraulic hose that leads back to the Power Unite WRAPS AROUND CLEAR 'S LEG . As the hose tightens , Clear realizes she 's surrounded by shards of glass and metal . She quickly WRESTLES herself free of the hose and watches the Paramedics lock Eugene 's gurney into place .
CLEAR
One more thing. Watch out for power lines.
The doors slam , revealing the PHELPS MEMORIAL HOSPITAL logo . The ambulance speeds off , spraying gravel at her . She reaches into her pocket and withdraws a CRUSHED cell phone . Shit . She runs back over to Thomas .
CLEAR
We have to contact Isabella now!
A NEWS VAN tries to weave through the emergency vehicles to get closer to teh accident . ANGLE ON NEWS VAN UNDERCARRIAGE It sinks into the loose dirt , SCRAPING A LARGE ROCK . The gas tank PUNCTURES . EMT 'S angrily wave the news van back to the road , where it parks near the twin wire fence opposite the DEAD OAK TREE . Immediately , A CAMERA CREW exits the van to catch the action . Rory steps behind the News Van , making sure he ca n't be seen , and digs into his sock , coming up with a bindle . A SMILE .
THOMAS
( O.S . )
Rory!
Rory cringes at his name , pockets his stash , then EXITS FRAME . WE PUSH IN , the news van gas tank is leaking . A SMALL DRIP .
EXT. GIBBON'S FARM - CONTINUOUS
Thomas , Kimberly , Clear and Rory watch the JAWS OF LIFE being clamped onto Kat 's door .
THOMAS
Where's the cell phone Clear gave you?
RORY
I dunno. I think I gave it to Eugene back at your place.
THOMAS
Damn it. We have to call the Greenwood Police Station and warn Isabella.
Thomas runs in the direction of some local POLICE . After he leaves , Rory drifts away from the pack , hand in pocket . Kimberly moves back to Kat , who chain - smokes in the front seat of the Expedition .
KIMBERLY
You doing alright in there?
KAT
My legs are starting to cramp up. And God, why am I so thirsty? Does anyone have any Fiji?
The KA - CHUNK of the Jaws of Life next to Kat startles her half to death .
KAT
Christ, you wan na give me a heads up next time, pal?
Brian and Mr. Gibbons approach with a cup of tap water . They hand it to kat , who frowns but drinks anyway . THE DRIP Of the leaking gas becomes a steady trickle . GAS SLITHERS over packed dirt , around debris , toward the crash site . THOMAS DARK ROOM Speaks to another COP who clicks off his radio .
COP
She's at Phelps Memorial. They're prepping her to give birth right now.
THOMAS
Where's that?
COP
A few miles up the road. Near the docks.
KAT Lights one cigarette off the other KA - CHUCNK ! The sound makes her flinch , dropping the cigarette on the floor .
KAT
Damn, ca n't you be quieter with that thing?
RESCUE WORKER
( dripping scorn . )
Sure, I'll just set it to the `` quiet'' mode.
Kat rescues the glowing cigarette from around her feet and inhales . KA - CHUNK ! She jumps again , but maintains her composure . MEANWHILE The gasoline purposefully trickles down corrugated steel , through pipes , closer and closer to the Expedition . At one point , the gas even disappears into a hole in the ground , only to resurface twenty feet closer to the site . KIMBERLY Looks confused to watch Rory climb between the fence wires and drift the Dead Oak Tree into the field . Thomas runs down the hill toward Kimberly .
THOMAS
We got ta go now. Isabella's in labor.
Rescue Workers pull off a large chunk of door . KA - CHUNK ! Kat Flinches .
KIMBERLY
What about that?
CLEAR
( calls over to Kat . )
How you doing in there, hero?
KAT
( re : spike behind head . )
I guess it could be worse.
Brian hands out drinks to Rescue Workers .
THOMAS
So let's go. Where the hell is Rory?!
Thomas sees Rory in the field and angrily hops the fence , heading directly under the dead Oak Tree . Rory , his back to everyone , finally opens the BINDLE . Enraptured , he delicately unfolds it . KIMBERLY Is put on alert by a fresh BREEZE . Her attention is caught by the WINDOW of an emergency vehicle . IN THE REFLECTION , Kimberly sees a man sitting on the Expedition , but when she spins ar ound , there 's no one there . KA - CHUNG ! The door comes off the Expedition , finally freeing Kat ! Everyone applauds !
KIMBERLY
Wait!
Mr. Gibbons , applauding with everyone else , chooses that very moment to sit on the bumper . DEPLOYING THE AIRBAG ! SLAMMING Kat 's head backwards through the spike , HEAD - KABOB . Kat 's dead limp hand drops her last cigarette - which bounces along the hard dirt - toward the oncoming gas . Closer , closer , . The BREEZE KICKS UP , aiding the cigarette . WHOOSH , the gas fuse catches . The blusih flame travels through pipes , over rocks , racing toward the news VAN . Kimberly , half - traumatized , watches an ominous BREEZE rustle through the field , up to the trees , toward Thomas . The GAS BURNS up an incline , and disappears into the ground . And pops up twenty feet closer to the News Van . Kimberly follows the BREEZE to the dead oak tree under which Thomas stands . And blows a large branch until it snaps ! A startled Thomas sees it fall just in time to DIVE to safety . Clear , seeing the flame , instinctively runs from the van .
CLEAR
Get back!
BOOM ! The news van 's explosion hurls two fence posts just over Thomas ' head , end over end , the two lengths of wire stretched between them . The flying garrote heads directly for - Rory , who sorts hard , stands up with a satisfied smile - and is sliced into three sharp cuts of beef . The silence from the emergency crew is deafening . Mr. Gibbons starts crying hysterically .
MR. GIBBONS
I did n't mean to do it - I did n't know.
Kimberly numbly stares at the fallen branch , the one that caused Thomas to step out of the path of the flying fence .
KIMBERLY
( to herself . )
It was n't his turn. And it's not my turn.
Kimberly sees the corpses of Kat and Rory , buries the pain , and approaches Mr. Gibbons .
KIMBERLY
Give me the keys to your truck. Now!
MR. GIBBONS
( hysterical . )
Anything you want. Anything. I wish I knew. I did n't.
Mr. Gibbons hands Kimberly the keys .
EXT. WESTCHESTER COUNTY - MOMENTS LATER
Kimberly drives Thomas and Clear in the Gibbons ' truck . All are numb .
THOMAS
( buckling up . )
Hurry up. There's no time. She's about to give birth.
Kimberly unbuckles her seatbelt and floors it .
CLEAR
What are you doing? You're going to kill us!
KIMBERLY
No. If anyone dies from a crash now, it'll be me. But I ca n't die if Eugene and Isabella are still alive. I'm last on Death's list.
CLEAR
Are you crazy? What makes you think you'd survive?
KIMBERLY
What happened when Eugene tried to kill himself out of turn?
CLEAR
( considering . )
Six duds in a row.
KIMBERLY
And when it was Rory's turn to die, and Thomas was in the way?
THOMAS
That branch fell and saved my life. You're right, Death's maintaining the order.
KIMBERLY
Let's pray that Isabella's still alive.
The truck speeds into the horizon .
EXT. PHELP'S MEMORIAL HOSPITAL - ESTABLISHING SHOT
INT. DELIVERY ROOM - DAY
Typical chatter as the staff preps Isabella . Steve paces nervously in the background .
STAFF
contractions coming quicker now. Take her pressure and CTG. One centimeter dilation. Prep the epidural stat.
Isabella breathes Lamaze style in the hospital bed , her feet in stirrups . A NURSE rocks Isabella 's body back and forth , until her back arches almost unnaturally forward . In the BG , an OBSTETRICIAN , 50s , sterilizes his hands in a scrub sink . A female ANESTHESIOLOGIST hustles over , swabbing a LONG EPIDURAL NEEDLE . The nurse places a mask over Isabella 's face . The Anesthesiologist lowers the needle to the base of Isabella 's spine .
ANESTHESIOLOGIST
She's going to have to stop moving if I'm going to -
The Nurse SNEEZES .
ANESTHESIOLOGIST
Goddamn it, keep her still!
NURSE
Sorry, doctor.
XCU NEEDLE Tracing skin between Isabella 's constantly moving vertebra . ANGLE ON BUMBLEBEE It buzzes about the room , darting between the he ads of the doctors and nurses , hovering above the - ANESTHESIOLOGIST , who traces the long needle down Isabella 's spine , finding the proper vertebrae .
ANESTHESIOLOGIST
Perfectly still now.
Everyone freezes . SILENCE . As the tip of the needle presses the skin down - The BEE lands on the Anesthesiologist 's ear . And STINGS ! FLINCH ! The NEEDLE SINKS IN - a NURSE GASPS . Did something go wrong ?
ANESTHESIOLOGIST
Done.
( tears welling . )
Now could someone please find the open window and fucking close it?
EXT. SUBURBAN STREET - CONTINUOUS
Kimberly speeds the truck down some dangerously twisty roads slick from wet leaves .
KIMBERLY
This makes no sense. Isabella was supposed to crash her van into a lake. Could we have altered her destiny when we had her arrested?
CLEAR
I do n't think so. Alex's premonitions happened exactly as he saw them no matter how much we tried to change it.
THOMAS
Then the only way to survive is to get to the hospital and protect Eugene and Isabella for as long as we can.
CLEAR
If only Alex and I had done that with the others, Alex might still be.
A somber beat . Then Thomas looks over at the speedometer .
THOMAS
Um, Kimberly? This is a neighborhood. You may wan na slow it down.
KIMBERLY
Do n't worry. Nothing can happen to us.
THOMAS
I was n't worried about us.
Suddenly , Kimberly clutches her throat !
INT. HOSPITAL ROOM - DAY
UNKNOWN POV A NURSE hovers over us in a hospital , WRESTLING us down by the look of things . There is SCREAMING all around . The image comes at us so fast , we see only the briefest glimpse of the NAMETAG on her uniform : KALARJIAN
THOMAS
( O.S . )
Kimberly! Slow down!
INT. TRUCK - CONTINUOUS
Kimberly `` comes to '' at the wheel - FLAILING DESPERATELY at the steering wheel . She even claws at Thomas who tries to control the neglected steering wheel .
CLEAR
Slow down! We're.
Kimberly looks up as the truck comes around a blind curve , where cars are backed up at a stop sign . Kimberly screams and SLAMS on the brakes . The truck SKIDS on wet leaves , completely out of control , towards a LANDSCAPING TRUCK parked on the shoulder . Kimberly 's truck hits the loading ramps and launches itself twenty feet into the air , DUKES OF HAZZARD - style . And lands miraculously without a scratch ! On a parallel road . And keeps going . Dumb , insane fucking luck . Kimberly shakes off her premonition and looks out the rear window . She turns around with a cocky smile . She rubs her throat and FLOORS IT again to Thomas ' horror , more determined .
CLEAR
( eyes darting . )
What did you see? What am I looking for?
KIMBERLY
No, it's not here. This one was different. More like the pile up and the van going into the lake. It was n't just a sign, I was there.
CLEAR
( confused . )
Another premonition?
KIMBERLY
Yes. I was in a hospital. There was screaming. A nurse was choking me. I could n't tell wh at she looked like, but the name tag was right in my face. Kalarjian.
THOMAS
Kalarjian?
KIMBERLY
I think a nurse named Kalarjian is going to choke Isabella to death!
INT. PRIVATE ROOM - DAY
WIPING FRAME , a NURSE enters a room and reads a clipboard on an unseen patient 's bed . REVEAL EUGENE lying in a hospital bed , wired to the latest medical hardware . Nearby , a RESPIRATOR plunges up and do wn , the RESPIRATOR TUBE snaking down Eugene 's throat . The NURSE 'S HAND reaches down to Eugene 's neck . Eugene WINCES when the Nurse gives the tube a friendly little SHAKE to check if it 's stable .
NURSE
Sorry. Can you feel that in your trachea?
Eugene rolls his eyes . Stupid question .
NURSE
Quite complaining. I got burnt babies in the Children's Ward braver than you.
She sticks an electri c thermometer in his ear . Eugene opens his mouth as if to speak .
NURSE
Do n't bother. You wo n't be talking for at least a month. Think you can handle that, Jabberjaw?
Eugene looks ready to cry . The Nurse sits on the bed , jarring Eugene enough to make him WINCE again .
NURSE
Do n't worry. Everyone learns to love me once they get used to my sense of humor, okay?
Eugene looks grat eful to see a humane side to this creature .
EXT. WINDY ROADS - DAY
The pick up truck races to the hospital . As Kimberly speeds past a billboard , a POLICE CAR pulls in hot pursuit .
KIMBERLY
Should n't we pull over?
THOMAS
No time. Keep going. I would n't know how to explain any of this anyway.
At the next intersection , TWO MORE COP CARS APPEAR .
KIMBERLY
Oh come on.
The pick up truck blows by the second pair of cop cars , which instantly join the high speed chase . Kimberly takes a long look in the rearview mirror at the TAILGATING COPS . She then inspects the road ahead . UP IN THE DISTANCE A busy six - lane intersection .
KIMBERLY
What do you want me to do?
CLEAR
( hesitated beat . )
Speed up.
KIMBERLY
Yeah, fuck'em.
( to Thomas . )
No offense.
Kimberly SPEEDS toward the intersection . She pulls her seatbelt aside , making sure it offers ZERO protection . Thomas jumps in the backseat , buckles up .
CLEAR
Be alive, Isabella, please be alive.
Kimberly 's eyes widen in fear . Her foot hesitates over the brake pedal as - The truck blindly blazes through the busy intersection , miraculously missing every car ! The police are just barely able to fishtail into 90 degree turns , avoiding the intersection completely . Kimberly 's eyes open and she lets out a victory cry .
INT. PRIVATE ROOM - DAY
ANGLE ON Oxygen valve . PAN OVER AND DOWN TO Eugene tries to watch a news flash of HIS accident on the TV across the room , but a bulky ORDERLY blocks his view .
ANCHOR MAN
( O.S . )
ironically impaled through the head as a result of an emergency airbag deploying.
As Eugene shudders with dread , the Orderly pushes a huge cart in front of him , again obscuring his view . Eugene frantically pantomimes writing .
ORDERLY
Need a pen? Sure. If you like, I'll bring crosswords for you, too.
Eugene tries nodding his thanks , but the tube in his throat hampers his movement .
ANCHOR WOMAN
( O.S . )
police Have speculated that one of the deaths may have been narcotics related and urge children to stay away from d rugs.
Finally , the Orderly pushes the cart away , revealing the TV . An ANCHOR MAN taps his pages on the desktop .
ANCHOR MAN
Good advice, Sue. And stay in school. Up next, Johnny Showers has the weather.
A WEATHERMAN dressed as a frog points out cloud formations . Eugene , tormented , stares at the screen as the Orderly begins pushing the huge cart out of the room . The sound of a SKIDDING CAR fills the room . It comes from the TV which shows a PSA featuring CRASH TEST DUMMIES .
ORDERLY
Jeez, it's freezing in here.
The Orderly flicks the thermostat and one by one , VENTS CLOSE just below the ceiling . Eugene 's eyes fill with terror - he knows something 's wrong . ANGLE ON OXYGEN HOSE - Bursting . It HISSES softly . We follow the OBLIVIOUS ORDERLY out of the room .
INT. HOSPITAL CORRIDOR - CONTINUOUS
A hospital ADMINISTRATOR briskly strides up to the Orderly .
ADMINISTRATOR
What are you doing? The Henzels are still waiting for you in the Children's Ward -
The Orderly smacks his forehead - shit . Totally forgot .
ORDERLY
Right, right, right. Gregory's big day.
ADMINISTRATOR
And Mrs. Dempsey in hydrotherapy ca n't feel her legs.
The Orderly , nodding rapidly , is halfway down the hall by now . The Administrator shakes his head in disgust and walks past . The HUGE CART . Which now blocks the door on Eugene 's room .
EXT. PHELPS MEMORIAL HOSPITAL - CONTINUOUS
Kimberly seems to have ditched the cops . She speeds the pick up through the medical facility .
EXT. EMERGENCY ROOM - DAY
The pick up skids to a halt in front of the hospital . Kimberly , Thomas and Clear run outside and into the building .
INT. PRIVATE ROOM - DAY
The OXYGEN HOSE hisses , but is drowned out by the volume of the TV . Eugene 's eyes dart frantically as a blaring fast food commercial ends . The n , a NEWS REPORT comes on . The BANNER : ROUTE 18 TRAGEDY Footage showing grieving families , wreaths on doors , yellow ribbons , and emergency crews pulling wreckage apart , dissolve together over :
ANCHOR WOMAN
( O.S . )
Mor e tears were shed this morning in the wake of yesterday's tragedy that rocked the Tri - State area.
Suddenly , the FRAYED ELECTRIC CORD of Eugene 's TV begins sparking . The sound DROPS OUT , the picture SPUTTERS . Eugene goes white with terror . He looks back to - The broken OXYGEN TUBE . HISSING softly . The BEEPS of the EEG machine frantically increase . Eugene reaches for the nurse call switch . Mockingly out of reach by mere millimeters .
INT. NURSES STATION - DAY
Clear , Kimberly and Thomas dash toward the main desk .
CLEAR
Isabella Cruz. What room's she in?
RECEPTIONIST
I'm sorry, I ca n't give out that info unless you're a relative.
CLEAR
I'm her sister.
The Receptionist eyes her dubiously .
RECEPTIONIST
I'll have to see your ID, Ms. Cruz.
Clear vaults over the counter , straight - arms the Receptionist and seizes the computer . Thomas and Kimberly look on , stunned .
CLEAR
Delivery rooms are downstairs. I'll find Eugene and catch up with you.
Kimberly and Thomas hurry to the elevator banks . then reconsider and enter the stairwell .
INT. PRIVATE ROOM - CONTINUOUS
Eugene scratches the top sheet of the bed , trying to inch the call - switch closer and closer to him . But it wo n't budge . A RAT APPEARS behind Eugene 's pillow , CRAWLS over his chest and disappears by his stomach ! He pounds desperately on the empty food tray , his side rails , looks toward the door -
INT. HOSPITAL CORRIDOR - CONTINUOUS
Outside the door , you ca n't hear a thing in the bustling hallway as people rush by . Kimberly and Thomas rush past his door , lost .
THOMAS
Hurry, I think she's this way.
BACK TO EUGENE His eyes scream insanely , but he respirator tube prevents any sound from escaping him . And that 's when the RAT appears on the floor and begins gnawing on the respirator 's power cord ! When Eugene sees this , the EEG machine climbs off the charts .
INT. NURSES STATION - CONTINUOUS
Clear takes off down the hallway . The Receptionist , shaken , dials her phone .
RECEPTIONIST
Security?
INT. DELIVERY ROOM - CONTINUOUS
The Obstetrician voices concern .
OBSTETRICIAN
Listen to me, Isabella, I need you to stop pushing.
ISABELLA
What's wrong? IS the baby all right?
OBSTETRICIAN
It's a breach. If I ca n't reverse it, we may need to do a Caesarian.
The Obstetrician 's hands go to work . Steve looks ill .
STEVE
Maybe I should step outside.
INTERCUT KIMBERLY AND THOMAS Running down the corridor .
PA ANNOUNCEMENT
Code Blue in Delivery Room 6. Code Blue!
INT. PRIVATE ROOM - DAY
The rat GNAWS away at Eugene 's power cord , Eugene looks trapped , helpless , tortured . His eyes dart from the sparking TV to the gnawed power cord to the useless call - switch .
INT. HOSPITAL CORRIDOR - CONTINUOUS
Clear walks up and down the corridor , scanning room numbers as she passes . A - 169 , A - 171 , A - 173 .
CLEAR
B - 187. B - 187.
A HAND suddenly GRABS Clear and shoves her against the wall . REVEAL A SECURITY GUARD leering at her .
SECURITY GUARD
Just where do you think you're going?
Clear struggles to get away , getting sympathetic looks from an OLD MAN walking a rolling IV STAND down the corridor .
INT. DELIVERY ROOM - CONTINUOUS
Isabella is pushing again .
OBSTETRICIAN
Almost there. I see the head.
The NURSE takes a pair of SCISSORS off a tray .
INT. HOSPITAL CORRIDOR - CONTINUOUS
Clear plays possum , offering no resistance to the Security Guard as the Old Man wheels his IV STAND along . Suddenly , Clear grabs the stand - and WHAMS the heavy wheeled base into the Guard 's BALLS ! As the Guard recoils , she thoughtfully hands the IV back to the Old Man and runs .
INT. DELIVERY ROOM 0 CON
The Nurse is startled when Kimberly and Thomas BURST THROUGH the door . In the BG , a puzzled Steve peeks inside until Kimberly pulls the door closed .
NURSE
What are you doing in here? Get the hell out! Right now!
Finally we hear the BABY CRY ! The Nurse immediately moves in to swaddle the newborn . Dr. Kalarjian beams at the very groggy looking Isabella .
OBSTETRICIAN
Isabella, look down and see your son.
To the confusion of everyone around them , Kimberly and Thomas BURST INTO CHEERS ! They jump , dance and hug each other . It 's a magical moment -
EXT. EUGENE'S PRIVATE ROOM - CONTINUOUS
The RAT stops gnawing . The TV stops sparking . A wave of intense relief washes over Eugene . He pantomimes reaching into his shirt pocket and lighting a victory cigar .
INT. HOSPITAL CORRIDOR - CONTINUOUS
Relaxed and invigorated , Kimberly and Thomas giddily exit the delivery room as Clear runs up to them .
CLEAR
A guard grabbed me before I could find Eugene.
THOMAS
Do n't sweat it. It's over.
CLEAR
She had the baby?
KIMBERLY
New life defeats death. We've done it. Death has to rewrite the list. We're safe.
Steve watches , confused , as Clear whoops with delight and HUGS the others . Clear laughs with a relief that seems completely foreign to her . Kimberly laughs with her , then is suddenly rocked by a vision - UNKOWN POV Looking up a the EEG machine . Flatlined !
THOMAS
( O.S . )
Kimberly! Are you okay?!
INT. HOSPITAL CORRIDOR - BACK TO PRESENT
Kimberly , on the ground , looks frazzled as she SNAPS out of her trance . Thomas helps her to her feet .
THOMAS
Are you okay? You just face planted!
KIMBERLY
I know how it feels to be dead.
Her lips blue , Kimberly shivers uncontrollably . Clear sees TWO SECURITY GUARDS round a distant corner and quickly walks the others toward an EMERGENCY LOADING ZONE .
CLEAR
What did you see?
KIMBERLY
I was dead. And came back to life. An EEG machine. Where's Eugene?
THOMAS
But it's over. Isabella's baby was the key. You saw her die and everything, right?
KIMBERLY
I do n't. what if I made a mistake?
THOMAS
Impossible. She was on the onramp.
Kimberly reluctantly closes her eyes and remembers . PREVIOUSLY UNSEEN Moment of the pile - up premonition . A WHITE VAN in fr ont of Kimberly suddenly slams on its brakes and pulls onto the shoulder . Kimberly screams , swerving around the van just in time to avoid an accident . Kimberly , overcome with self - doubt .
KIMBERLY
I'm not sure. I do n't think Isabella was ever destined to die in the pile - up.
THOMAS
Then what's the premonition of the lake supposed to mean?
CLEAR
Can you remember anything about it?
Kimberly shuts her eyes , remembering :
EXT. LAKE - DAY
POV DRIVER Grease - covered hands reach out toward a steering wheel of a white van speeding out of control TOWARD A LAKE ! The van crashes through a railing and PLUNGES into the water . In moments , the van fills with water , the driver inside trapped . Drowning . Horrible . And on the rearview mirror , six floral scented AIR - FRESHNERS . Kimberly looks down at her grease - covered hands and looks ill .
KIMBERLY
the Same hands from the van.
Finally everything makes sense to Clear .
CLEAR
It's you Kimberly. The premonitions are about you.
Kimberly trembles , refusing to accept what she 's hearing .
KIMBERLY
No! It ca n't be.
CLEAR
( suddenly remembering . )
I have to save Eugene!
Clear leaves Kimberly and Thomas together . Kimberly verges on tears and Thomas consoles her with a hug . IN THE BACKGROUND Clear looks at passing room numbers while hurrying down the corridor . She comes to a room with a HUGE CART parked outside , blocking the door . She looks up to see - B - 187 . Clear leans into it , pushing it out of the way of the door .
CLEAR
Eugene? Are you in there?
EUGENE 'S ROOM Eugene strains to hear through the thick door .
CLEAR
( O.S . )
Can you hear me? I'm coming in.
An intense wave of relief washes over Eugene . As Kimberly hugs Thomas , she watches Clear push the cart past the door .
ORDERLY
( O.S . )
Make way, make way lovebirds.
Kimberly spins as Eugene 's Orderly passes her ; a paper , pen and a crossword book in one hand , A BIRTHDAY CAKE in the other . The CAKE reads `` Happy Birthday Gregory '' . The THIRTEEN SPARKLING CANDLES on top ODDLY FRAME Clear 's head .
KIMBERLY
Oh no.
The Orderly speeds down the corridor toward Clear , whose hand reaches for Eugene 's door handle . She leans into it -
ORDERLY
( to Clear . )
Thanks hon, the Henzels are going crazy for this thing.
THOMAS AND KIMBERLY Watch as Clear opens the door , briefly revealing Eugene , a whoosh of Oxygen - BOOM ! Clear 's body is obscenely hurled END OVER END towards the CAMERA , heading straight for Kimberly and Thomas ! Thomas throws himself and Kimberly around the corner to prevent being crushed by Clear 's lifeless body ! The hospital erupts in total chaos . Just as Kimberly is about to break down completely , she sees - A WOMAN hurrying down the hallway in their direction , pushing a crash cart . Kimberly sees the nametag : KALARJIAN .
KIMBERLY
Nurse Kalarjian.
DR. KALARJIAN
Doctor Kalarjian. Excuse me, please.
ANGLE ON CART DEFRIBULATOR PADDLES rest on top . And then Dr. Kalarjian passes them toward the area of the explosion . KIMBERLY OMINOUSLY TURNS , the camera following her view , until she sees a small lake across the street from the hospital .
KIMBERLY
Oh my God. That's it. The lake. The EEG machine. Nurse Kalarjian.
THOMAS
What?
Just then , an AMBULANCE SKIDS up to the nearest entrance . PARAMEDICS jump out and run towards the blast site .
KIMBERLY
You ca n't cheat destiny. I know what I have to do to save us. I have to die.
THOMAS
That's crazy. You ca n't give up now. We can still fight this thing.
But Kimberly is n't listening . She stares through the glass doors at the - AMBULANCE A red stripe down the side , but the hood is completely white . Six floral scented air - fresheners hang from the rearview . The ` van ' from her vision ! And it 's running !
KIMBERLY
I have to do this.
Kimberly wipes tears from her eyes , kisses Thomas ' cheek , then turns and runs before he can speak .
EXT. HOSPITAL ENTRANCE - CONTINUOUS
Kimberly heads right for the open ambulance . The driver 's door almost seems to swing open for her as she gets in .
INT. HOSPITAL ENTRANCE - CONTINUOUS
Thomas frantically tries to get through the electric doors , which SPARK and short out . He struggles to pry them apart .
EXT. HOSPITAL ENTRANCE - CONTINUOUS
Kimberly shifts into gear and speeds off . Thomas squeezes through the doors and runs after her . An EMT , the driver of the stolen ambulance , rushes outside .
EMT
What the fuck?!
EXT. LAKE - DAY
Thomas chases the ambulance , watching helplessly as it barrels over curbs , pylons and a fence , ultimately plunging straight into the lake ! Thomas sprints to the lake as fast as he can - the EMT trailing far behind . INSIDE THE AMBULANCE Kimberly panics as the ambulance fills with water and she takes a final gasp of air - ON THE LAKE 'S EDGE Thomas stares in horror at the percolating air bubbles as the vehicle descends below the surface - and he dives in ! UNDERWATER Thomas swims into the dark , murky water . Deeper and deeper , he g ets to the ambulance and tries to open the door . Stuck . He withdraws his baton and BANGS on the glass - nothing ! He tries coming up for air , but his pants snag on the jagged metal of the twisted bumper . He squirms frantically . And as his exhausted body loses consciousness , everything - FADE TO BLACK .
INT. HOSPITAL ROOM - DAY
BLACKNESS .
DR. KALARJIAN
( O.S . )
Ready and. CLEAR!
The SHOCK of defribulator paddles brings Kimberly back to life . KIMBERLY 'S POV Looking up at Dr. Kalarjian , all she can see is part of a woman 's face and a partial nametage reading `` Kalarjian '' . It would appear as if she 's choking Kimberly , but - An EEG MONITOR turns from a flatline to a steady heartbeat , the same POV as the premonition .
NURSE
She's back!
DR. KALARJIAN
Five CC's of narcodon. I want her stabilized and prepped for ICU.
Kimberly turns her head to see THOMAS Unconscious , CPR being performed on him by the EMT -LRB- who 's now soaking wet -RRB- . Thomas does n't respond . An INTERN opens an eyelid , points a flashlight at his eyes . Shakes his head , nothing . The sopping wet EMT goes back to performing CPR . Finally , Thomas coughs up water , chokes , gasps for air , then BOLTS UPRIGHT .
THOMAS
Kimberly?!
He turns to see Kimberly reaching out for him . Immeasurably relieved , he takes her hand and allows himself to be eased back down to the platform . Kimberly 's eyes fill with tears .
KIMBERLY
( whispering . )
Welcome back. We did it. For real.
THOMAS
I know. I can feel it too.
Outside , a parting of dark clouds causes a shaft of sunlight to flood into the hospital . Its light covers Kimberly and Thomas with an ethereal glow . There are no more doubts ; they 've won . They exchange meek , yet triumphant smiles in the smoky , chaotic hospital .
EXT. PARK - DAY
We are at a summer barbecue . Frisbee , lawn darts , croquet , et . Everyone 's happy . TITLE CARD : FIVE MONTHS LATER ANGLE ON Shish - Kabob entering a mouth . REVEAL Kimberly taking a bite , relishing the taste and calmly pulling the metal skewer from her mouth .
KIMBERLY
My God, this is delicious. I ca n't believe I used to be a vegan.
Thomas , out of uniform , takes a bite of his own . As the metal skewer is deep in his mouth - A running FRISBEE PLAYER accidentally bumps into Thomas ! But no harm . Thomas gives the guy a friendly pat and goes back to rewrapping his mouth around the shish - kabob .
MR. BURROUGHS
( O.S . )
So what's the deal, Thomas? Three months and you still have n't asked my daughter out on a date.
Kimberly turns red as Mr. Burroughs appears and takes a seat .
THOMAS
What's wrong with a platonic relationship?
MR. GIBBONS
Platonic my ass. That's for ugly women.
KIMBERLY
For God's sake, leave him alone, Dad.
THOMAS
( smiling . )
Yeah, do n't make me cite you for harassment.
MR. GIBBONS
Oh please. I'm not hurting anyone.
( looking around , lowering voice . )
Besides, if you can beat Death, what's he got to worry about me for?
Mr. Gibbons sits down at the table with two plates of food . His wife , MRS. GIBBONS , joins .
MR. GIBBONS
You know, you still never explained to us how you did it.
It seems by now everyone 's familiar with the concept .
THOMAS
Well, technically when we died, we gave Death what it wanted. And by the time we were revived, it had already moved on to graver pastures.
Mrs. Gibbons makes a face , finding the discourse distasteful . She changes the conversation .
MRS. GIBBONS
You know, I'm having the greatest day?
KIMBERLY
Food's great too, Mrs. Gibbons. Big props to you and Brian.
MRS. GIBBONS
Our. pleasure. So, ready for the back - to - school season? NYU, right?
KIMBERLY
Three short glorious weeks away.
MRS. GIBBONS
Sounds wonderful. I wish I were going myself.
MR. GIBBONS
( to Mr. Burroughs . )
You may want to think twice about letting her live in the village, Bob. Our eldest daughter moved there and came back with piercings all over her face.
( looks grave . )
Among other places.
A chorus of friendly laughter .
BRIAN
( O.S . )
Dad used to call her the pincushion. From Hellraiser.
BRIAN enters frame , soaking up fresh laughter . He holds a plate full of raw chicken fillets and some long , wooden matches .
BRIAN
Dad, you had the spatula last, right?
MR. GIBBONS
Sure, here.
Mr. Gibbons hands it over and Brian saunters away from camera , SLIGHTLY OUT OF FOCUS , toward the barbecue , his body framed between Kimberly and Thomas ' heads .
KIMBERLY
Brian looks like he's having fun.
MR. GIBBONS
Sure does. Owes it to that friend of yours, in a way.
Mr. Gibbons immediately regrets having said that .
KIMBERLY
How's that?
MR. GIBBONS
Well, Brian was nearly hit by an ambulance the day. but your friend Rory pulled him back at the last second.
Kimberly and Thomas ominously turn their heads around . In the BG , Brian fidgets in front of the barbecue .
MRS. GIBBONS
You never told me that, Peter. Boy, that was lucky.
BOOM ! The PROPANE TANK blows Brian to smithereens . A deafening silence follows , punctuated when Brian 's ARM lands on Mrs. Gibbons ' plate . PLOP . FADE TO BLACK . END CREDITS .
| 0 | 0 |
Raiders of the Lost Ark_1981
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tt0082971
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Raiders of the Lost Ark
| 1,981 |
In 1936, American archaeologist Indiana Jones recovers a Golden Idol from a booby-trapped Peruvian temple. Rival archaeologist René Belloq corners him and steals the idol; Jones escapes in a waiting float plane. After returning to the United States, Jones is briefed by two Army Intelligence agents that Nazi German forces are excavating at Tanis, Egypt, and one of their telegrams mentions Jones' former mentor Abner Ravenwood. Jones deduces that the Nazis are seeking the Ark of the Covenant, which Adolf Hitler believes will make their army invincible. The agents recruit Jones to recover the Ark first. At a bar in Nepal, Jones reunites with Ravenwood's daughter Marion, with whom Jones once had an illicit relationship, and learns that Ravenwood is dead. The bar is set ablaze during a scuffle with Gestapo agent Arnold Toht, who arrives to take a medallion from Marion. Toht attempts to recover the medallion from the flames, but only burns its image into his hand. Jones and Marion take the medallion and escape. Traveling to Cairo, the pair meet Jones's friend Sallah. Sallah reveals Belloq is assisting the Nazis, who have fashioned an incomplete replica medallion from the burns on Toht's hand. Nazi soldiers and mercenaries attack Jones, and Marion is seemingly killed, leaving Jones despondent. An imam deciphers the medallion for Jones, revealing that one side bears a warning against disturbing the Ark, and the other bears the complete measurements for the "staff of Ra", an item used to locate the Ark. Jones and Sallah realize that the Nazis are digging in the wrong location, infiltrate the Nazi dig site, and use the medallion and the correctly sized staff of Ra to locate the Well of Souls, the Ark's resting place. They recover the Ark, a golden, intricately decorated chest, but Belloq and the Nazis discover them and seize it. Jones and Marion, whom Belloq has held captive, are sealed inside the well, but the pair escape and Jones captures a truck carrying the Ark. Alongside Marion, Jones arranges to transport the Ark to London aboard a tramp steamer. A German U-boat intercepts the steamer and seizes the Ark and Marion; Jones covertly boards the U-boat. The vessel travels to an island in the Aegean Sea, where Belloq intends to test the power of the Ark before presenting it to Hitler. On the island, Jones ambushes the Nazi group and threatens to destroy the Ark but surrenders after Belloq deduces that Jones would never destroy something so historically significant, also surmising that Jones wants to know if the Ark's power is real. The Nazis restrain Jones and Marion at the testing site as Belloq ceremonially opens the Ark but finds only sand inside. At Jones' instruction, he and Marion close their eyes to avoid looking at the opened Ark, as it releases spirits, flames, and bolts of energy that kill Belloq, Toht, and the assembled Nazis before sealing itself shut. Jones and Marion open their eyes to find the area cleared of bodies and their bindings removed. Back in Washington, D.C., the United States government rewards Jones for securing the Ark. Despite Jones' insistence, the agents state only that the Ark has been moved to an undisclosed location for "top men" to study. In a vast warehouse, the Ark is crated up and stored among countless other crates.
|
<script>
<scene>
<character>RAIDERS OF THE LOST ARK</character>
<dialogue>Screenplay by</dialogue>
<scene_description>Lawrence Kasdan Story by George Lucas REVISED THIRD DRAFT AUGUST 1979 This screenplay is the property of</scene_description>
<character>MEDWAY PRODUCTIONS, INC.</character>
<dialogue>And is intended solely for company</dialogue>
<scene_description>Personnel. Distribution to any Unauthorized persons is prohibited.</scene_description>
<character>MEDWAY PRODUCTIONS, INC.</character>
<dialogue>P.O. BOX 8669</dialogue>
<scene_description>Universal City, CA. 95608 FADE IN:</scene_description>
</scene>
<scene>
<stage_direction>EXT. PERU - HIGH JUNGLE - DAY</stage_direction>
<scene_description>The dense, lush rain forests of the eastern slopes of the Andes, the place known as "The Eyebrow of the Jungle". Ragged, jutting canyon walls are half-hidden by the thick mists. The MAIN TITLE is followed by this:</scene_description>
<character>PERU</character>
<dialogue>A narrow trail across the green face of the canyon. A group of men make their way along it. At the head of the party is an American, INDIANA JONES. He wears a short leather jacket, a flapped holster, and a brimmed felt hat with a weird feather stuck in the band. Behind him come two Spanish Peruvians, SATIPO and BARRANCA. Bringing up the rear are five Yagua INDIANS. They act as porters and are wrangling the two heavily-packed llamas. The Indians become increasingly nervous. They speak to each other in bursts of Quechua. The American, who is known to his friends as Indy, glances back at them.</dialogue>
<character>BARRANCA</character>
<parenthetical>(irritated)</parenthetical>
<dialogue>They're talking about the Curse again!</dialogue>
<scene_description>He turns and yells at the Indians in Quechua, his anger giving an indication of his own fears. The party reaches a break in the canyon wall and takes the trail through it. When they emerge, their destination is revealed to them in the distance. Beyond a thick stand of trees is the vegetation- enshrouded TEMPLE OF THE CHACHAPOYAN WARRIORS, 2000 years old. The entire party is struck by the sight. The Indians, terrified now, chatter away. Suddenly the three at the back turn and run, dropping their packs as they go. Barranca yells at the fleeing Indians and pulls his pistol out. He starts to raise his arm to aim but Indy restrains it in a muscular grip.</scene_description>
<character>INDY</character>
<dialogue>No.</dialogue>
<scene_description>Barranca looks evilly at Indy's hand upon him. Indy releases him and smiles in a friendly way.</scene_description>
<character>INDY</character>
<dialogue>We don't need them.</dialogue>
<scene_description>Satipo watches this confrontation with some concern.</scene_description>
<character>BARRANCA</character>
<dialogue>I do not carry supplies.</dialogue>
<character>INDY</character>
<dialogue>We'll leave them. Once we've got it, we'll be able to reach the plane by dusk.</dialogue>
<scene_description>He turns back to the trail. Satipo gets the two remaining Indians moving behind Indy. Satipo and Barranca then have a fast, silent communication: Barranca indicates his desire to slit Indy's throat; Satipo gives him a look that says "Be patient, you idiot" THE APPROACH TO THE TEMPLE The party fans out to fight their way through the entwined trees that guard the temple. Visibility is cut to five feet in the heavy mist. Satipo extracts a short, native dart from a tree and examines the point gingerly.</scene_description>
<character>SATIPO</character>
<parenthetical>(showing Indy)</parenthetical>
<dialogue>The Hovitos are near. The poison is still fresh...three days. They're following us, I tell you.</dialogue>
<character>INDY</character>
<dialogue>If they knew we were here, they would have killed us already.</dialogue>
<scene_description>The two Indians jabber in Quechua, near hysteria. Barranca is sweating profusely, eyes darting. He yells at the Indians in Quechua to "shut up". In the undergrowth, there is slithering movement. Indian #1 draws aside a branch and is face with a horrific stone sculpture of a Chachapoyan demon. The Indian is so frightened no sound comes out when he screams. He turns and runs silently away. Indian #2 calls to his friend. Getting no response, he steps in that direction. A huge macaw, flushed from the undergrowth, screams and flies away. Indian #2 does exactly the same thing, never to be seen again. Indy, Satipo and Barranca, just clearing the trees, look back in that direction. They all turn to face the Temple. It is dark and awesome. Vegatation curls from every crevice, over each elaborate frieze. The entrance - round, open and black - has been designed to look like open jaws.</scene_description>
<character>INDY</character>
<dialogue>So this is where Forrestal cashed in.</dialogue>
<character>SATIPO</character>
<dialogue>A friend of yours?</dialogue>
<character>INDY</character>
<dialogue>Competitor. He was good, very good.</dialogue>
<character>BARRANCA</character>
<parenthetical>(nervous)</parenthetical>
<dialogue>No one has ever come out of there alive. Why should we put our faith in you?</dialogue>
<scene_description>Indy takes the weird feather from the band of his hat. From around its point, he slips a tightly rolled piece of parchment. Barranca and Satipo exchange a quick "So that's where is was!" look. They all kneel as Indy spreads out the parchment. On it is one-half of a crude floorplan of the Temple.</scene_description>
<character>INDY</character>
<dialogue>No one ever had what we have... partners.</dialogue>
<scene_description>Indy fixes them with an expectant stare. Satipo produces a similar, but folded, piece of parchment. He lays it - the other half of the floorplan - next to Indy's. They all regard it for a moment, then Indy stands and walks toward the Temple. Barranca's eyes are shining as they dart between the floorplan and Satipo.</scene_description>
<character>INDY</character>
<parenthetical>(back turned)</parenthetical>
<dialogue>Assuming that pillar there marks the corner and...</dialogue>
<scene_description>Barranca is suddenly on his feet, quietly drawing his pistol. He raises it toward Indy as Satipo realizes with alarm what he's doing. Too late. Indy's head turns and he sees Barranca. Indy's next move is amazing, graceful and fast, yet totally unhurried. His right hand slides up under the back of his leather jacket and emerges grasping the handle of a neatly curled bullwhip. With the same fluid move that brings Indy's body around to face the Peruvian, the whip uncoils to its full ten foor lengeth and flashes out. The fall of the whip (the unplaited strip at the end of the lash) wraps itself around Barranca's hand and pistol. He could not drop the gun now if he tried. Indy gives the whip a short pull and Barranca's arm is jerked down, where it involuntarily discharges the gun into the dirt. Barranca is amazed, but feels some slack in the whip and immediately raises the gun toward Indy again, cocking it with his free hand. Indy's face goes hard. And sad. Indy sweeps his arm in a wide arc. Barranca spins around, enclosed in the whip, his gun hand stuck tight against his body. Indy gives one more short jerk on the whip handle and Barranca's gun fires. Barranca falls dead. Indy looks quickly at Satipo, who is shocked and frightened. He raises his arms in supplication.</scene_description>
<character>SATIPO</character>
<dialogue>I knew nothing! He was crazy! Please!</dialogue>
<scene_description>Indy looks him over, then nods. He frees the whip from Barranca's body and picks up the man. His eyes sweep the surrounding woods.</scene_description>
<character>INDY</character>
<dialogue>Let's go.</dialogue>
</scene>
<scene>
<stage_direction>INT. TEMPLE - INCLINED PASSAGE - DAY</stage_direction>
<scene_description>Indy and Satipo, carrying a torch, walk up the slightly inclined, tubular passage from the main entrance. The interior is wet and dark, hanging with plant life and stalactites. Their echoing footsteps intermittently overpower the sounds of loud dripping, whistling air drafts and scampering claws. HALL OF SHADOWS Indy leads the way down a twisting hallway, Satipo's torch barely lighting his way from behind. Indy disappears in a shadow and when he reappears a moment later a huge black tarantula is crawling up the back of his jacket. Indy doesn't notice and disappears into another shadow, emerging with two more tarantulas on his back. Satipo sees them and makes a frightened grunting sound. Indy looks at him, sees what he's pointing at and casually brushes all three spiders off with his rolled whip, as he would a fly. Satipo pirouettes for an inspection and Indy flicks one off the Peruvian's back. Indy begins picking up little pocket-sized artifacts from the niches and ledges of the Temple. He continues to do this as the men penetrate the Temple. His collecting is quick and expert, evaluating the pieces in an instant, discarding some, stuffing others into his clothes, and never stopping his forward progress. CHAMBER OF LIGHT The men reach an arch in the hall. The small chamber ahead, which interrupts the hall, is brightly lit by a shaft of sunlight from high above. Indy stops, looks it over.</scene_description>
<character>SATIPO</character>
<dialogue>What's wrong? Are you lost?</dialogue>
<scene_description>Indy picks up a stick and throws it through the shaft of light. Giant spikes spring together from the sides of the chamber with a ferocious CLANG! And impaled on the spikes are the remains of a white man, half-fleshed, half skeleton, in explorer-type garb. Indy reaches out and takes hold of the man's carcass. As the spikes slowly retract, Indy pulls it free and seats the remains gently on the floor.</scene_description>
<character>INDY</character>
<dialogue>Forrestal.</dialogue>
<character>SATIPO</character>
<parenthetical>(gulps)</parenthetical>
<dialogue>We can go no further.</dialogue>
<character>INDY</character>
<dialogue>Now, Satipo, we don't want to be discouraged by every little thing.</dialogue>
<scene_description>Indy steps sideways into the chamber. His back pressed against the very points of the retracted spikes, he moves along the edge of the light beam, and steps clear on the other side. Satipo grimaces and begins sweating his way through. STAIRWAY Indy and Satipo come down stone stairs to a tight landing. Framing the entry are a carefully strung network of dead vines, each somehow hooked into the wall, narrowing the opening even more.</scene_description>
<character>INDY</character>
<parenthetical>(taking the torch)</parenthetical>
<dialogue>Let me see that.</dialogue>
<scene_description>He lowers the torch to the floor of the landing. The landing is carpeted with human skeletons, one on top of another, all squashed flat as cardboard. Satipo gasps. Indy looks up at the ceiling of the landing, then steps onto the skeletons, which make a cracking noise under his feet.</scene_description>
<character>INDY</character>
<dialogue>Try not to touch the vines.</dialogue>
<scene_description>FOYER OF THE SANTUARY The men are in a high, straight hallway 50 feet long. The door at the end is flooded with sunlight.</scene_description>
<character>SATIPO</character>
<dialogue>Senor, I think we are very close.</dialogue>
<scene_description>Indy stands still looking at the hall.</scene_description>
<character>SATIPO</character>
<parenthetical>(impatient)</parenthetical>
<dialogue>Let us hurry. There is nothing to fear here.</dialogue>
<character>INDY</character>
<dialogue>That's what scares me.</dialogue>
<scene_description>They begin walking down the hall side by side. Satipo has inched a little ahead. Suddenly his lead foot comes down and through the floor! As Satipo beings to pitch forward, Indy grabs him by the belt and pulls him back. They both look down at the "floor". Indy swings his whip across the floor. Fifteen feet of it cuts open beneath the lash, falling away to reveal a black pit as wide as the hall. The illusory floor was made of dust- covered cobwebs. Satipo picks up a stone and drops it down the pit. No sound. The two men exchange glances. Indy looks up at the high roof of the hall. He swings the whip up around a support beam, tests its strength with a pull and swings over the pit on the whip. From the other side he swings the whip back to Satipo, who throws Indy the torch. Satipo swings across. When they are both standing on solid floor there is a moment of quiet in which they hear, from far, far below-- SPLASH! Indy wedges the whip handle into the wall and leaves it strung to the beam for quick retreat. THE SANTUARY A large, domed room. Ten evenly-spaced skylights send their shafts of sunlight down to a unique tiled floor: white and black tiles laid out in a lovely, intricate pattern. Indy and Satipo stand at the door and look across the wide room at the alter. There, in the supreme hallowed spot, is a tiny jeweled figurine, Indy's real objective. Two torches, many years old, are in holders by the door. Indy takes one down and lights it. He gives the regular torch to Satipo.</scene_description>
<character>SATIPO</character>
<dialogue>There's plenty of light, amigo.</dialogue>
<scene_description>Indy kneels and uses the unit end of the torch to reach out and tap a white tile. It is solid. He taps a black tile. There is a whizzing sound and a tiny dart sticks in the torch. Satipo points to the wall nearby: there is a recessed hole there.</scene_description>
<character>SATIPO</character>
<dialogue>From that hole!</dialogue>
<scene_description>Indy nods, stands and looks around the sanctuary. The entire room is honey-combed with the same kind of hole. Satipo sees it too and is properly impressed.</scene_description>
<character>INDY</character>
<dialogue>You wait here.</dialogue>
<character>SATIPO</character>
<dialogue>If you insist, senor.</dialogue>
<scene_description>Torch in hand, Indy beings his careful walk across the sanctuary. Stepping only on the white tiles, he almost appears to be doing a martial arts kata. Before each big move he waves the torch in front of him head to toe, looking at the flame. Halfway out, he sees something on the floor and kneels to look at it. A dead bird lies on one of the white tiles. Its body is riddled with little deadly darts. This has great significance to Indy and he stands with even greater caution. He waves the torch ahead of him and at waist height an air current whips at the flame. Indy ducks under it and leaves a burn mark on the white tile beneath it. Satipo watches, wide-eyed and mystified. Indy reaches the alter. The tiny idol looks both fierce and beautiful. It rests on a pedestal of polished stone. Indy looks the whole set-up over very carefully. From his jacket he takes a small, canvas drawstring bag. He begins filling it with dirt from around the case of the alter. When he has created a weight that he thinks approximates the weight of the idol, he bounces it a couple times in his palm concentrating. It's clear he wants to replace the idol with the bag as smoothly as possible. His hand seems ready to do that once, when he stops, takes a breath and loosens his shoulder muscles. Now he sets himself again. And makes the switch! The idol is now in his hand, the bag on the pedestal. For a long moment it sits there, then the polished stone beneath the bag drops five inches. This sets off an AURAL CHAIN REACTION of steadily increasing volume as some huge mysterious mechanism rumbles into action deep in the temple. Indy spins and starts his kata back across the sanctuary at four times the speed. THE RETREAT - INTERCUTTING INDY AND SATIPO The sanctuary has begun to rumble and shake in response to the mysterious mechanism. Just as Indy goes out the door, a rock shakes loose from the wall and rolls onto the tile's floor. Immediately, a noisy torrent of poison darts fills the room. IN THE FOYER, Satipo swings acorss the pit. He makes it just as the whip comes undone from the beam, leaving Indy without an escape. Satipo, extremely nervous, regards the whip a moment then turns back to face Indy, who has run up to the far side of the pit.</scene_description>
<character>SATIPO</character>
<dialogue>No time to argue. Throw me the idol, I throw you the whip.</dialogue>
<scene_description>Indy hesitates, eyeing the rumbling walls.</scene_description>
<character>SATIPO</character>
<dialogue>You have no choice! Hurry!</dialogue>
<scene_description>Indy concurs with that assessment. He tosses the idol across the pit to Satipo. Satipo stuffs it in the front pocket of his jacket, gives Indy a look, then drops the whip on the floor and runs.</scene_description>
<character>SATIPO</character>
<dialogue>Adios, amigo!</dialogue>
<scene_description>Indy grimaces. He had a feeling this might happen. He looks around. AT THE VINED LANDING, Satipo flies through like a chubby ballet dancer and takes the steps five at a time. IN THE FOYER, Indy runs in full stride to the edge of the pit and broad jumps into space. He doesn't make it. His body hits the far side of the pit and he begins to slide out of view. Only wild clawing with his fingers at the edge of the pit stops his descent. With just the tips of his fingers over the edge, he begins pulling himself up. AT THE CHAMBER OF LIGHT, Satipo has slowed down. He begins to edge carefully around the light shaft. AT THE VINED LANDING, Indy sails through sideways and rolls to stop at the bottom of the steps. His whip is grasped in his hand. As he raises himself, he hears, from above the giant spikes of the Chamber of Light CLANG! And an abrupt, sickening rendition of SATIPO'S LAST SCREAM. Indy runs up the steps. The rumbling sound grows louder. AT THE CHAMBER OF LIGHT, Indy slides to a stop. The spikes have retracted, taking Satipo's body to one side. Indy edges into the chamber with his back to the shaft of light. Soon he is face to face with the dead Satipo; spikes protrude from several vital spots in the Peruvian's body. Indy removes the idol from Satipo's pocket and moves quickly out the other side.</scene_description>
<character>INDY</character>
<dialogue>Adios.</dialogue>
<scene_description>THE INCLINED PASSAGE Indy shoots out of a cut-off hallway and turns toward the exit. The rumbling is very loud and now we see why: right behind Indy a huge boulder comes roaring around a corner of the passage, perfectly form-fitted to the passageway. It obliterates everything before it, sending the stalactites shooting ahead like missiles. Indy dashes for the light of the exit. His hat flies off his head. Almost immediately it is crushed by the boulder. Indy dives out the end of the passage as the boulder slams to a perfect fit at the entrance, sealing the Temple.</scene_description>
</scene>
<scene>
<stage_direction>EXT. FRONT OF THE TEMPLE - DAY</stage_direction>
<scene_description>Indy lies on the ground, gasping for air. A shadow falls across him and he looks up. WHAT HE SEES. Looming above him are three figures. Two are HOVITOS WARRIORS in full battle paint and loin cloths. They carry long blow guns. But the man in the center draws Indy's attention. He is a tall, impressive white man, dressed in a full safari outfit including pith helmet. His name is EMILE BELLOQ. His face is thin, powerful; his eyes hypnotic; his smile charming, yet lethal. His heavily French-accented speech is deep, mellifluous, wonderful. Back beyond Belloq and his two escorts, thirty more Hovitos Warriors hover at the edge of the trees.</scene_description>
<character>BELLOQ</character>
<dialogue>Dr. Jones, you choose the wrong friends. This time it will cost you.</dialogue>
<scene_description>Belloq extends his hand. Indy looks at it, then produces the idol and hands it to Belloq. Belloq extends his other hand, smiling. Indy hands over his gun. Belloq sticks it in his jacket.</scene_description>
<character>BELLOQ</character>
<dialogue>And you thought I'd given up.</dialogue>
<character>INDY</character>
<parenthetical>(eyeing the Hovitos)</parenthetical>
<dialogue>Too bad they don't know you like I do, Belloq.</dialogue>
<character>BELLOQ</character>
<parenthetical>(smiles)</parenthetical>
<dialogue>Yes, too bad. You could warn them... if only you spoke Hovitos.</dialogue>
<scene_description>With that, Belloq turns dramatically and holds the idol high for all the Hovitos to see and says something in Hovitos. There is a murmur of recognition and all the Indians, including Belloq's escorts, prostrate themselves upon the ground, heads down. Indy is immediately up and running toward the edge of the clearing.</scene_description>
<character>BELLOQ</character>
<parenthetical>(in Hovitos)</parenthetical>
<dialogue>Kill him!</dialogue>
<scene_description>AT THE EDGE OF THE CLEARING, Indy disappears into the foliage. An instant later, the leaves are peppered with a rain of poison darts and spears.</scene_description>
</scene>
<scene>
<stage_direction>EXT. THE JUNGLE - INDY'S RUN - VARIOUS SPOTS - DAY</stage_direction>
<scene_description>Indy runs like hell through steadily falling terrain. And always close behind, a swift gang of angry Hovitos. Occasionally they get close enough to send a dart or spear whizzing past Indy's head.</scene_description>
</scene>
<scene>
<stage_direction>EXT. THE URUBAMBA RIVER - DUSK</stage_direction>
<scene_description>An amphibian plane sits in the water beneath a green cliff. Sitting on the wing is JOCK, the British pilot. Indy breaks out of some distant brush and runs along the path at the top of the cliff.</scene_description>
<character>INDY</character>
<parenthetical>(yelling)</parenthetical>
<dialogue>Get it going! Get it going!</dialogue>
<scene_description>Jock hops in and fires up the plane's engines. Indy reaches a spot on the cliff above the place, glances back, then jumps into the river. He comes up, swims to the plane and grabs a strut.</scene_description>
<character>INDY</character>
<dialogue>GO!</dialogue>
<scene_description>Jock starts the plane moving across the water as Indy walks across the wing and falls into the passenger compartment. OMIT OMIT</scene_description>
</scene>
<scene>
<stage_direction>INT. JOCK'S PLANE - DUSK</stage_direction>
<scene_description>Indy relaxes and lies across the seat, a big smile on his face. One hand drops to the floor of the cabin and Indy jumps, hitting his head. On the floor of the cabin is a huge boa constrictor. Indy tries to get his whole body onto the seat. Jock sees what's happening.</scene_description>
<character>JOCK</character>
<dialogue>Don't mind him. That's Reggie. Wouldn't hurt a soul.</dialogue>
<character>INDY</character>
<dialogue>I can't stand snakes.</dialogue>
<character>JOCK</character>
<dialogue>The world's full of them, you know.</dialogue>
<character>INDY</character>
<dialogue>I hate them.</dialogue>
<character>JOCK</character>
<dialogue>Come on now, Sport. Show a little of the old backbone.</dialogue>
</scene>
<scene>
<stage_direction>EXT. JOCK'S PLANE - TWILIGHT</stage_direction>
<scene_description>It soars off over the dark jungle.</scene_description>
</scene>
<scene>
<stage_direction>INT. INDY'S OFFICE, SMALL EASTERN COLLEGE - DAY</stage_direction>
<scene_description>It's autumn and the pretty, New England campus out Indy's window reflects it in dazzling color. A few weeks before the start of classes. Activity just picking up. Some students about. Indy is at a bookcase near the window and he looks quite different in this setting. His outfit is tweedy, slightly rumpled in the professional style. Part of his attention is focused in a book and he wears glasses to see the fine print. The office is cramped, absolutely innundated with books, maps, etchings and archeological artifacts. In fact, the only neat spot in the room right now is Indy's desk, which has been cleared off expressly for the benefit of-- MARCUS BRODY, the Curator of the National Museum in Washington D.C. Brody is examining the small artifacts Indy pocketed on his way into the Peruvian Temple. He occasionally uses a jeweller's eyepiece to get a closer look. But he is distracted, his concerns elsewhere, and it is this that his old friend Indy senses from across the room.</scene_description>
<character>BRODY</character>
<dialogue>Do you think the idol will ever show up?</dialogue>
<character>INDY</character>
<dialogue>I don't know. Just because Belloq had it doesn't mean he kept it.</dialogue>
<scene_description>Indy snaps the book closed and puts it on the shelf. He takes his glasses off and focuses on Brody. At the windowed door to his office, two pretty COEDS pause for a moment, look in at their sexy Archeology professor, giggle and disappear.</scene_description>
<character>INDY</character>
<dialogue>Getting it away from those Indians would be a neat trick.</dialogue>
<parenthetical>(a hard look)</parenthetical>
<dialogue>I hope they got him.</dialogue>
<scene_description>A young male graduate student, Indy's TEACHING ASSISTANT, taps on the door and then pushes his way in with an arm-load of reference books. Indy helps him find a spot for them.</scene_description>
<character>TEACHING ASSISTANT</character>
<dialogue>I couldn't get the McNabe, Professor. Someone's got it checked out 'till next month when classes start.</dialogue>
<character>INDY</character>
<dialogue>That's all right, Phil. Thanks a lot.</dialogue>
<character>TEACHING ASSISTANT</character>
<parenthetical>(eager to please)</parenthetical>
<dialogue>Will there be anything else?</dialogue>
<character>INDY</character>
<dialogue>No. I'll see you Thursday.</dialogue>
<scene_description>The Teaching Assistant leaves. Brody is scowling as he examines the last of the artifacts.</scene_description>
<character>INDY</character>
<dialogue>Hey, if you don't like them, I can always return them.</dialogue>
<character>BRODY</character>
<dialogue>No, they're beautiful. The Museum will buy them as usual. No questions asked.</dialogue>
<character>INDY</character>
<dialogue>Then what's wrong?</dialogue>
<character>BRODY</character>
<dialogue>I brought along some people today.</dialogue>
<character>INDY</character>
<dialogue>What kind of people?</dialogue>
<character>BRODY</character>
<dialogue>Government.</dialogue>
<character>INDY</character>
<parenthetical>(concerned)</parenthetical>
<dialogue>Government?</dialogue>
<character>BRODY</character>
<dialogue>Don't worry, it's not about your business.</dialogue>
<parenthetical>(indicates the artifacts)</parenthetical>
<dialogue>They're from the Army.</dialogue>
<character>INDY</character>
<dialogue>I've already served.</dialogue>
<character>BRODY</character>
<dialogue>Army Intelligence. They're looking for Abner.</dialogue>
</scene>
<scene>
<stage_direction>INT. INDY'S LECTURE HALL/CLASSROOM - DAY</stage_direction>
<scene_description>Indy's course - a combination of archeology and anthropology - is taught in this amplitheater-type lecture hall. His desk and lectern hold large reference books; blackboards line the wall. Bones, maps, charts fasten on the walls. Indy leans against his desk talking with Brody and two uniformed Army officers, COLONEL MUSGROVE and MAJOR EATON, who are situated around the first seats in the classroom.</scene_description>
<character>MUSGROVE</character>
<dialogue>...but you did study under Professor Ravenwood at the University of Chicago?</dialogue>
<character>INDY</character>
<parenthetical>(nods)</parenthetical>
<dialogue>We haven't spoken in ten years. I'm afraid we had a bit of a falling out.</dialogue>
<character>EATON</character>
<dialogue>You know nothing of his whereabouts?</dialogue>
<character>INDY</character>
<parenthetical>(negative)</parenthetical>
<dialogue>Just rumors. Somewhere in Asia, last I heard.</dialogue>
<scene_description>Musgrove and Eaton exchange a look; they're disappointed.</scene_description>
<character>EATON</character>
<parenthetical>(to Musgrove)</parenthetical>
<dialogue>Maybe Dr. Jones can make sense of it.</dialogue>
<scene_description>Again, the military men have a silent communication, deciding what to reveal.</scene_description>
<character>MUSGROVE</character>
<dialogue>Well... you must understand, Dr. Jones, this is all strictly confidential.</dialogue>
<character>INDY</character>
<dialogue>I understand.</dialogue>
<character>MUSGROVE</character>
<dialogue>Yesterday, one of our European sections intercepted a Nazi communique from Cairo to Berlin. We don't quite know what to make of it.</dialogue>
<scene_description>Musgrove takes a sheet from his briefcase.</scene_description>
<character>MUSGROVE</character>
<dialogue>Here it is - "Tanis development proceeding. Acquire headpiece, Staff of Ra, General Tengtu Hok, Shanghai. Locate Abner Ravenwood, U.S."</dialogue>
<scene_description>Brody is excited. He looks at Indy.</scene_description>
<character>BRODY</character>
<dialogue>Tanis. They must have discovered the lost ruins.</dialogue>
<scene_description>Indy contemplates this big news; he's impressed.</scene_description>
<character>INDY</character>
<parenthetical>(to himself)</parenthetical>
<dialogue>Tanis. Ain't that somethin'!</dialogue>
<character>EATON</character>
<dialogue>Frankly, we're a little suspicious... An American being mentioned so prominently in a secret Nazi cable.</dialogue>
<character>INDY</character>
<dialogue>Ah, Ravenwood's no Nazi.</dialogue>
<character>EATON</character>
<dialogue>Then what do they want him for?</dialogue>
<character>INDY</character>
<dialogue>They're looking for the headpiece to the Staff of Ra.</dialogue>
<character>MUSGROVE</character>
<parenthetical>(indicates his sheet)</parenthetical>
<dialogue>But it says here that's in China.</dialogue>
<character>INDY</character>
<dialogue>Only half of it. Ravenwood had the</dialogue>
<scene_description>other half.</scene_description>
<character>EATON</character>
<dialogue>What would the Nazis want with this - this Staff of Ra?</dialogue>
<character>BRODY</character>
<dialogue>I can tell you that. Over the last two years the Nazis have had teams of archeologists running around the world looking for all kinds of religious artifacts.</dialogue>
<character>MUSGROVE</character>
<dialogue>That's right. Hitler's a nut on the subject. Crazy. He's obsessed with the occult.</dialogue>
<character>EATON</character>
<dialogue>What is this Staff of Ra, anyway?</dialogue>
<character>INDY</character>
<dialogue>It all has to do with the Ark of the Covenant.</dialogue>
<parenthetical>(the Army guys look mystified)</parenthetical>
<dialogue>The chest the Hebrews used to carry around the Ten Commandments.</dialogue>
<scene_description>Now it's the Army men who are impressed.</scene_description>
<character>INDY</character>
<dialogue>An Egyptian pharoah stole the Ark from Jerusalem and took it back to the city of Tanis. A short time later, Tanis was consumed by the desert in a sandstorm that lasted a year.</dialogue>
<character>INDY</character>
<dialogue>But before that, the Pharoah had the Ark hidden away in a secret chamber called the Well of the Souls. Which is where the Staff of Ra comes in.</dialogue>
<scene_description>Indy moves to the blackboard and makes a quick sketch to give a rough idea of the system as he describes it. (And we get a glimpse of what an interesting and enthusiastic teacher he must be)</scene_description>
<character>INDY</character>
<dialogue>Now this was rather clever. The Staff was really just a big stick - oh, I don't know, say like this -</dialogue>
<parenthetical>(he indicates about six feet)</parenthetical>
<dialogue>- no one really knows for sure. Anyway, it was capped by an elaborate headpiece with a carving of the sun at the top. What you had to do was take the Staff to a special room in Tanis - it had the whole city laid out in miniature on the floor. When you placed the Staff in a certain spot in the room, at a certain time of day, the sun would shine through a hole here in the headpiece and then send a beam of light down here - to the map - giving you the location of the Well of the Souls...</dialogue>
<character>MUSGROVE</character>
<dialogue>... where the Ark of the Covenant was kept.</dialogue>
<character>INDY</character>
<parenthetical>(nods)</parenthetical>
<dialogue>Which is probably what the Nazis are after.</dialogue>
<character>EATON</character>
<dialogue>What's this Ark look like?</dialogue>
<character>INDY</character>
<dialogue>Look like? Why, it's right here...</dialogue>
<scene_description>Indy pulls a big format book from the stack on his lectern and flips through the pages until he finds a large color print. The other men gather to look. THE PRINT fills the screen. It shows a Biblical battle. The Israelite Army is vanquishing an opposition force. At the forefront of the Israelite ranks, two men carry the Ark of the Covenant, a beautiful gold chest, crowned by two sculptured gold angels. The men do not touch the Ark itself; rather they carry it by use of two long wooden poles which pass through rings in the corners of the Ark. The painting is very dramatic, full of smoke, tumult and sinewy dying men. But the most astonishing thing in the picture is the brilliant jet of white light and flame issuing from the wings of the angels. It pierces deep into the ranks of the retreating enemy, wrecking devastation and terror.</scene_description>
<character>EATON</character>
<dialogue>Good God!</dialogue>
<character>INDY</character>
<dialogue>Yes. That's what the Hebrews thought.</dialogue>
<character>MUSGROVE</character>
<dialogue>What's that supposed to be coming out of there?</dialogue>
<character>INDY</character>
<dialogue>Who knows... lightning... fire... the power of God.</dialogue>
<character>EATON</character>
<dialogue>I'm beginning to understand Hitler's interest in this thing.</dialogue>
<character>INDY</character>
<dialogue>Oh yes. The Bible tells of it leveling mountains and wasting entire regions. Moses promised that when the Ark was with you, "your enemies will be scattered and your foes fell before you".</dialogue>
<parenthetical>(pause)</parenthetical>
<dialogue>An army which carries the Ark before it is invincible.</dialogue>
<scene_description>Eaton and Musgrove exchange worried looks.</scene_description>
<character>INDY</character>
<dialogue>Oh, there's one other thing that Hitler undoubtedly believes about the Ark...</dialogue>
<parenthetical>(a long, pregnant pause)</parenthetical>
<dialogue>It's said that the Lost Ark will be recovered at the time of the coming of the True Messiah.</dialogue>
<character>MUSGROVE</character>
<dialogue>Dr. Jones, you've been very helpful. I hope we can call on you again if we have questions.</dialogue>
<character>INDY</character>
<dialogue>Most certainly.</dialogue>
<scene_description>Brody and Indy exchange a look as they all shake and Brody starts to leave with the Army men.</scene_description>
</scene>
<scene>
<stage_direction>EXT. FRONT DOOR, INDY'S HOUSE - NIGHT</stage_direction>
<scene_description>Indy's English Tudor, upper middle class home. Quite toney; well beyond the financial reach of an honest college professor. Marcy Brody has already rung the bell. Indy opens the door. He is dressed in a tuxedo.</scene_description>
<character>BRODY</character>
<dialogue>I've got to talk to you.</dialogue>
<character>INDY</character>
<dialogue>This isn't really a good time.</dialogue>
<character>BRODY</character>
<dialogue>Indy, it's important.</dialogue>
<character>INDY</character>
<dialogue>All right. Come on in.</dialogue>
</scene>
<scene>
<stage_direction>INT. FOYER, INDY'S HOUSE</stage_direction>
<scene_description>The lush tone continues here in Art Deco and shiny marble. Indy motions Brody toward the study to one side.</scene_description>
<character>INDY</character>
<dialogue>I'll be in in a moment.</dialogue>
<scene_description>As Brody passes the entrance to the expansive living room, he spots a beautiful, silk-gowned Harlow-type lounging on the sofa in front of a roaring fire. She is sipping champagne.</scene_description>
</scene>
<scene>
<stage_direction>INT. STUDY, INDY'S HOUSE</stage_direction>
<scene_description>Brody enters the book-lined, dark-wooded study. He paces for a moment before the fire which is dying in the fireplace, then spots something and goes over to Indy's big desk. The surface is covered with open books, monographs, maps and drawings - all about the Ark of the Covenant. Brody smiles; he knows his friend very well. Indy comes in, closing the door behind him. Brody turns to him with a triumphant expression.</scene_description>
<character>BRODY</character>
<dialogue>They want you to go for it. And they'll pay.</dialogue>
<character>INDY</character>
<parenthetical>(smiles)</parenthetical>
<dialogue>Good work, Marcus. I had a feeling this would happen. And, of course, the Museum gets the Ark when we're done.</dialogue>
<character>BRODY</character>
<parenthetical>(smiles)</parenthetical>
<dialogue>Of course.</dialogue>
<scene_description>Indy's manner is vigorous, aggressive.</scene_description>
<character>INDY</character>
<dialogue>Okay, here's the way it's gonna be. First, I'll high-tail it to Shanghai and get the piece from General Hok. Then I think I know where I can find Ravenwood. If only I can get...</dialogue>
<character>BRODY</character>
<dialogue>General Hok's a tough customer. They don't call him the Wild Boar for nothing. And he's tied in with the Japanese.</dialogue>
<character>INDY</character>
<dialogue>I'll worry about that when the time comes. My only hope is to find the Well of the Souls before the Nazis do.</dialogue>
<scene_description>WIPE TO:</scene_description>
</scene>
<scene>
<stage_direction>EXT. IN THE AIR - DAY/NIGHT</stage_direction>
<scene_description>A Pan Am Clipper flies west over the Pacific. WIPE TO:</scene_description>
</scene>
<scene>
<stage_direction>INT. KEHOE'S CAR (SHANGHAI AIRPORT) - DAY</stage_direction>
<scene_description>Indy is barely into the front seat of a dilapidated Ford as the driver, BUZZ KEHOE, is peeling out into traffic. In the back seat is a Chinese named BANG CHOW. Kehoe zigs crazily through traffic with only his left hand as he reaches over to shake with Indy.</scene_description>
<character>KEHOE</character>
<dialogue>Buzz Kehoe, Army Intelligence. You've met Bang Chow.</dialogue>
<character>INDY</character>
<dialogue>What's the hurry?</dialogue>
<character>KEHOE</character>
<dialogue>Some German agents got here two hours ago. Luckily, Bang was able to have them detained at Customs. We'll have to hurry.</dialogue>
<scene_description>OMIT OMIT OMIT OMIT</scene_description>
</scene>
<scene>
<stage_direction>EXT. HOK'S STREET - DAY</stage_direction>
<scene_description>Kehoe's car emerges from an alley. Down the block is Tengtu Hok's modest, walled palace. Kehoe's car slows a bit and Bang steps from the moving car with a small black suitcase in his hand. While he heads down the street toward Hok's place, Kehoe's car continues across the street and into an alley on the other side.</scene_description>
</scene>
<scene>
<stage_direction>EXT. HOK'S STREET - IN FRONT OF THE PALACE - DAY</stage_direction>
<scene_description>A Mercedes limousine appears round a corner and squeals to a stop at the front gate of the palace, which is manned by a sturdy Chinese Gateman. There are three Germans inside, one the driver.</scene_description>
</scene>
<scene>
<stage_direction>EXT. ALLEY BEHIND HOK'S MUSEUM - DAY</stage_direction>
<scene_description>Kehoe, alone now, pushes a trash container casually into a position to hide a newly created hole in the rear wall of Hok's Museum where several stone blocks have been removed. He looks around and ambles back to the car.</scene_description>
</scene>
<scene>
<stage_direction>INT. HOK'S PALACE - ENTRY HALL</stage_direction>
<scene_description>The three Germans wait impatiently in a magnificent foyer. A chime sounds and huge double doors open to reveal TENGTU HOK, flanked by two uniformed Japanese Soldiers and a roved Chinese Advisor. He wears a fantastic gold ornamental robe. Despite the majesty, however, nothing can disguise the fact that Hok is basically a wild, fat barbarian; an animal. Hok and his escort group bow in what is the beginning of a long welcoming ceremony. The Germans exchange impatient glances but decide they should play it as it comes. They bow.</scene_description>
</scene>
<scene>
<stage_direction>INT. HOK'S MUSEUM</stage_direction>
<scene_description>No person in sight. Instead, we see a magnificent display of ancient artifacts. Glass cases hold the velvet-couched pieces at random spots on the shining marble floor. We hear an odd sound. Near the floor on the rear wall of the museum, a steel ventilation grate moves. A hand slides it gently across the marble. Indy sticks his head out and looks around.</scene_description>
</scene>
<scene>
<stage_direction>INT. HOK'S PALACE - TEA ROOM</stage_direction>
<scene_description>The three Germans are being served tea and exotic delicacies. A pleased Tengtu Hok watches from a throne-cushion. When the tray of tiny delicacies is presented to him, he takes a massive handful, crushing them together on their way to his smiling mouth.</scene_description>
</scene>
<scene>
<stage_direction>INT. HOK'S MUSEUM</stage_direction>
<scene_description>A huge golden gong, seven feet in diameter, is suspended from the ceiling by a hook. An enormous hammer hangs poised above it, from which emanate myraid tiny threads which run up and across the ceiling, then down to the various display cases. Indy looks up at the gong, then continues his quick, quiet foray among the cases. Beyond him, a high window.</scene_description>
</scene>
<scene>
<stage_direction>INT. HOK'S PALACE - TEA ROOM</stage_direction>
<scene_description>Hok and his visitors stand to go. The Germans' pleased expressions make it clear they're finally on their way to the museum.</scene_description>
</scene>
<scene>
<stage_direction>INT. HOK'S MUSEUM</stage_direction>
<scene_description>Indy arrives at his destination. The lovely, carved gold section of the headpiece is nested on purple velvet in a glass case. At the bottom of the piece is a round hollow where the staff would fit. There is a grunting sound behind Indy and he spins, already reaching for his revolver. A fierce Japanese Samurai is running at Indy full speed down an aisle of display cases. His sword is raised over his shoulder ready to cut Indy in half. He's six feet away when Indy's gun levels and fires twice, blasting him backwards. Indy is still looking over his gun when another samurai sword comes down from the side and knocks the pistol brutally out of Indy's grip; his hand avoids amputation by a quarter of an inch. An amazed Indy backs away from the crossing aisle as the Second Samurai steps in to face him, sword raised. Indy backs away into an open space and his bullwhip appears in his hand. He gives it one savage CRACK! to announce its arrival and the Samurai slows down, eyeing it curiously. The Samurai does not look unhappy about this confrontation. How pure it is - The Sword versus The Whip.</scene_description>
</scene>
<scene>
<stage_direction>EXT. HOK'S PALACE - SECOND FLOOR WALKWAY - DAY</stage_direction>
<scene_description>Tengtu Hok and the Germans have obviously heard something. They are hurrying along the walkway at the side of the building, Hok in the lead. Up ahead is the foot bridge which crosses from the palace to the museum entrance over a moat.</scene_description>
</scene>
<scene>
<stage_direction>EXT. STREET IN FRONT OF THE PALACE - DAY</stage_direction>
<scene_description>The lovely Mercedes limousine blows up.</scene_description>
</scene>
<scene>
<stage_direction>EXT. HOK'S PALACE - SECOND FLOOR WALKWAY - DAY</stage_direction>
<scene_description>The Germans spin toward the blast. Drawing weapons, they run back to investigate. Hok follows them, confused.</scene_description>
</scene>
<scene>
<stage_direction>INT. HOK'S MUSEUM</stage_direction>
<scene_description>Indy and the Samurai face each other. They're both breathing hard from previous, no-contact passes at each other. Now Indy begins swinging the whip over his head again. It whizzes out toward the Samurai's face. The Samurai take two lightning- quick cuts at the leather, but misses. Indy swings for the Samurai's feet; the Samurai jumps nimbly, slashing at the whip. Indy does it gain. The Samurai hops it. Once more. The Samurai is concentrating on hopping it. Indy sees it. The split second he wants. The whip flashes up from the floor and wraps solidly and irrevocably around the Samurai's neck. Indy gives it a murderous pull and the Samurai is dead on his feet.</scene_description>
</scene>
<scene>
<stage_direction>EXT. HOK'S PALACE - SECOND FLOOR WALKWAY - DAY</stage_direction>
<scene_description>Hok and the three Germans are looking down at the flaming remains of the Mercedes. A look of concern crosses Hok's face. He turns and runs back toward his beloved museum.</scene_description>
</scene>
<scene>
<stage_direction>INT. HOK'S MUSEUM</stage_direction>
<scene_description>Indy is at the case containing the headpiece. He smashes the glass with a samurai sword, reaches in and grabs the piece. Immediately, behind him, the huge hammer falls and the sound of the gong thunders through the museum.</scene_description>
</scene>
<scene>
<stage_direction>EXT. HOK'S PALACE - SECOND FLOOR WALKWAY - DAY</stage_direction>
<scene_description>At the sound of the gong, the running Hok skids to a halt with a crazed expression on his face. He disappears for two seconds in an alcove and emerges holding a big, black Thompson Submachine Gun. He runs across the foot bridge and is just barely over it when it blows up. Hok, safe, looks behind him in amazement and then turns to the museum.</scene_description>
</scene>
<scene>
<stage_direction>INT. HOK'S MUSEUM</stage_direction>
<scene_description>The double doors at the entrance slam open to reveal Hok. Indy is halfway along an unprotected wall back to his ventilation entry route. Hok opens up on him, cutting off his retreat. Indy jumps behind a marble column, which is promptly blasted with machine gun fire. Indy looks above him, sees the giant disk of the gong. Reaching up, pushing with tremendous effort, he maneuvers it off the hook. It bounces to the floor on its side, chipping the marble with its monstrous weight. Indy steadies it and then puts his whole body into rolling it across the room toward the window. As it starts to roll, Indy slips behind it and runs across the room with it. Hok can see the rolling gong. He opens up on it. The vicious cacophony of machine gun fire is joined by the musical reports of bullets hitting the gong and ricocheting away. Very, very noisy. Behind the gong, Indy gauges his move. As the gong is about to be stopped by a marble bench, Indy takes a long stride onto a bench and dives through the glass of the high window. Hok's bullets hit the wall.</scene_description>
</scene>
<scene>
<stage_direction>EXT. ROOF - DAY</stage_direction>
<scene_description>Indy lands in a shower of glass on the jutting roof of the museum's first floor. He rolls to a crouch and is immediately being fired upon. The Germans, cut off from the museum, are standing on the palace walkway firing at him. Indy takes off fast for the rear of the museum.</scene_description>
</scene>
<scene>
<stage_direction>EXT. ALLEY BEHIND HOK'S MUSEUM - DAY</stage_direction>
<scene_description>Kehoe, craning to locate Indy, has the Ford rolling slowly along the back of the museum. Bang scouts from the back seat. Indy appears on the roof at a run, gauges the movement of the car and jumps from the roof of the museum to the roof of the sedan. Unfortunately, the roof of the old car can't take it and Indy's legs knife right on through to the interior, where he scares the hell out of Kehoe.</scene_description>
</scene>
<scene>
<stage_direction>INT. KEHOE'S CAR - DAY</stage_direction>
<scene_description>Indy squirms his way down into the front seat.</scene_description>
<character>KEHOE</character>
<dialogue>Jesus! Are you all right?</dialogue>
<character>INDY</character>
<parenthetical>(he's felt better)</parenthetical>
<dialogue>Great. Got it.</dialogue>
<scene_description>Kehoe guns it, throwing Indy back against the cushions.</scene_description>
<character>KEHOE</character>
<dialogue>What now?</dialogue>
<character>INDY</character>
<dialogue>I've got to get to Nepal.</dialogue>
<scene_description>OMIT WIPE TO:</scene_description>
</scene>
<scene>
<stage_direction>EXT. DC-3 IN THE AIR - DUSK</stage_direction>
<scene_description>The plane flies west into the sunset.</scene_description>
</scene>
<scene>
<stage_direction>INT. DC-3 - NIGHT</stage_direction>
<scene_description>Under a meager seat light, Indy is pouring over a journal article by Abner Ravenwood and a related map of Nepal. A few rows back, across the aisle, a trenchcoated European Spy eyes Indy. WIPE TO:</scene_description>
</scene>
<scene>
<stage_direction>INT. "THE RAVEN" SALOON - PATAN, NEPAL - NIGHT</stage_direction>
<scene_description>A huge stuffed raven, wings spread wide, is mounted behind the long bar in the noisy, crowded saloon. A lively mix of patrons is represented in the late hour tableau: Nepalese natives, fierce Sherpa mountain guides, sleazy international smugglers and fugitives, and, of course, mountain climbers from every corner of the earth. A tall Nepalese, MAHDLO, is the bartender. In a corner near the fireplace trouble breaks out suddenly between the groups at two neighboring tables. Ferocious representatives from each table - one a wild-looking SHERPA, the other a muscular Australian CLIMBER - jump up to face each other. As the two contenders stand posed for action, their representative supporters shift in their places, fondling lethal ice axes and clubs.</scene_description>
<character>SHERPA</character>
<dialogue>Gmoiska! Shurga rintoik!</dialogue>
<character>CLIMBER</character>
<dialogue>Aye! That'll be your last word.</dialogue>
<scene_description>The bar has quieted ominously and so we hear with startling clarity when - a door behind the bar slams open with a huge BANG! and some Presence, too small to be seen as it moves through the forest of towering patrons, makes a beeline for the troubled corner of the bar. A path clears for it. The Sherpa and the Climber are about to kill each other when the Presence arrives directly between them: she is MARION RAVENWOOD, twenty-five years old, beautiful, if a bit hard- looking. At this moment, however, that look does not hurt. She is not intimidated by the combatants; she jabs accusatory fingers into their chests. She is angry as hell. The patrons shrink under her gaze.</scene_description>
<character>MARION</character>
<dialogue>That does it! I've been patient with you no-goods long enough. I'm not open at 2 o'clock for myself, you know. It's all for you. And how do you repay me: Trouble and noise and blood on my floor! I won't have it. Everybody out! Out! Out! We're closed. Closed! Do your killing outside! And don't leave any bodies on the porch!</dialogue>
<scene_description>The place clears quickly. Stragglers and grumblers are given special attention by Marion and Mahdlo, who has come from behind the bar carrying a big axe handle. Mahdlo herds the crowd out the front door as Marion turns and walks behind the bar. A scowl on her lovely face, she has just begun clearing the bar of glasses when she notices one remaining Patron huddled over a glass at the far end of the bar. Grimacing in exasperation, she heads that way like a locomotive.</scene_description>
<character>MARION</character>
<dialogue>Hey you, deaf one! I said out of place. I don't meant next Easter, I mean now--</dialogue>
<scene_description>She is almost on him when Indy looks up smiling. Marion stops, stares, shocked.</scene_description>
<character>INDY</character>
<dialogue>Hello, Marion.</dialogue>
<scene_description>She hits him with a solid right to the jaw, knocking him off the barstool on the floor. He rubs his jaw and smiles up at her.</scene_description>
<character>INDY</character>
<dialogue>Nice to see you, too.</dialogue>
<character>MARION</character>
<dialogue>Get up and get out.</dialogue>
<character>INDY</character>
<parenthetical>(getting up)</parenthetical>
<dialogue>Take it easy. I'm looking for your father.</dialogue>
<character>MARION</character>
<parenthetical>(bitterly)</parenthetical>
<dialogue>Well you're two years too late.</dialogue>
<scene_description>Indy's attitude changes instantly. This is sad news. He is silent for a long time. Mahdlo comes in the front door and hurries forward when he sees Indy with Marion. He looks to her for guidance, but she stays him with a gesture.</scene_description>
<character>MARION</character>
<dialogue>Go home, Mahdlo. I'll see you tomorrow.</dialogue>
<scene_description>Mahdlo is hesitant, but lays the axe handle on the bar and goes out. Indy has been barely aware of him. Now he settles again on the barstool. Marion has a vindictive look. She'll let him stay, but she wants to inflict as much pain as possible.</scene_description>
<character>INDY</character>
<dialogue>What happened?</dialogue>
<character>MARION</character>
<dialogue>Avalanche. Up there. He was digging. What else? He spent his whole life digging. Dragging me all over this rotten earth. For what?</dialogue>
<character>INDY</character>
<dialogue>Did you find him?</dialogue>
<character>MARION</character>
<dialogue>Hell no. He's buried where he was working. Probably preserved real good, too. In the snow.</dialogue>
<scene_description>Suddenly the hardness cracks. She is on the verge of tears and does not want him to see them. She turns away and takes a whiskey bottle from the shelf, then turns back to pour herself a drink.</scene_description>
<character>INDY</character>
<dialogue>Not a bad way to go. Doing what he loved.</dialogue>
<character>MARION</character>
<parenthetical>(vitriolic)</parenthetical>
<dialogue>Don't give me that stuff!</dialogue>
<character>MARION</character>
<dialogue>What do you know?</dialogue>
<parenthetical>(she takes a drink)</parenthetical>
<dialogue>I'm the one that was left in a bad way. He didn't have a penny. Guess how I lived, Mister Jones. I worked here. And I wasn't the bartender.</dialogue>
<parenthetical>(another swallow)</parenthetical>
<dialogue>Finally the guy that owned the joint went crazy. Snow crazy. They took him away screaming. As they dragged him out, he said the place was all mine for life.</dialogue>
<scene_description>She looks around the saloon.</scene_description>
<character>MARION</character>
<dialogue>Can you imagine a more evil curse?</dialogue>
<parenthetical>(pause)</parenthetical>
<dialogue>So far, it's working.</dialogue>
<character>INDY</character>
<dialogue>Why not leave? Go back to the States.</dialogue>
<character>MARION</character>
<dialogue>I'll go back. I'll get there. Not that there's a soul there who knows my name of cares. But I'll go. And when I do, they'll know me. 'Cause I'm going to go back in style. With money. A soddamn lady!</dialogue>
<character>INDY</character>
<dialogue>Where you gonna get it?</dialogue>
<character>MARION</character>
<dialogue>If I knew that, you think I'd still be running this dive?</dialogue>
<scene_description>Indy looks at her, thinking. Under his gaze, she blushes, for reasons only she understands. She looks into her glass and, for a moment, she softens.</scene_description>
<character>MARION</character>
<dialogue>I'll tell you something, Indy. I've learned to hate you in the last ten years. But somehow, no matter how much I hated you, I always knew that someday you'd come through that door. I never doubted that. Something made it inevitable.</dialogue>
<parenthetical>(hopefully)</parenthetical>
<dialogue>Why are you here... now... tonight?</dialogue>
<scene_description>Indy takes a long time to answer.</scene_description>
<character>INDY</character>
<dialogue>I need one of the pieces your father collected.</dialogue>
<scene_description>Marion's eyes go icy. She swings at him again with her right, but this time he catches her at the wrist. Then he stops her left, which she has brought up to slap him.</scene_description>
<character>MARION</character>
<dialogue>You son-of-a-bitch! You know what you did to me, to my life? This is your handiwork.</dialogue>
<character>INDY</character>
<dialogue>I never meant to hurt you.</dialogue>
<character>MARION</character>
<dialogue>I was a child!</dialogue>
<character>INDY</character>
<dialogue>You knew what you were doing.</dialogue>
<character>MARION</character>
<dialogue>I was in love.</dialogue>
<character>INDY</character>
<dialogue>I guess that depends on your definition.</dialogue>
<character>MARION</character>
<dialogue>It was wrong. You knew it.</dialogue>
<scene_description>Indy releases her arms.</scene_description>
<character>INDY</character>
<dialogue>Look, I did what I did. I don't expect you to be happy about it. But maybe we can do each other some good.</dialogue>
<character>MARION</character>
<dialogue>Why start now?</dialogue>
<character>INDY</character>
<dialogue>Shut up and listen for a second. I want that piece your father had. I've got money.</dialogue>
<scene_description>That stops her.</scene_description>
<character>MARION</character>
<dialogue>How much?</dialogue>
<character>INDY</character>
<dialogue>Enough to get you back to the States. Where are his things?</dialogue>
<character>MARION</character>
<dialogue>Gone. I sold it all. It was all junk. The junk he wasted his life on.</dialogue>
<character>INDY</character>
<dialogue>Everything?</dialogue>
<scene_description>Marion nods.</scene_description>
<character>INDY</character>
<parenthetical>(giving up)</parenthetical>
<dialogue>That's too bad.</dialogue>
<scene_description>Indy feels tired, defeated. Marion is pleased.</scene_description>
<character>MARION</character>
<dialogue>You look disappointed. I like that. How's it feel?</dialogue>
<scene_description>Indy has to smile at her glee.</scene_description>
<character>MARION</character>
<parenthetical>(nods at his empty glass)</parenthetical>
<dialogue>What are you drinking?</dialogue>
<character>INDY</character>
<dialogue>Seltzer.</dialogue>
<character>MARION</character>
<parenthetical>(refilling his glass)</parenthetical>
<dialogue>Real man's drink. Me, I like scotch. And I like bourbon. And vodka and gin. I'm not much for brandy. I'm off that.</dialogue>
<scene_description>She pours herself another as Indy watches, amused.</scene_description>
<character>INDY</character>
<dialogue>You're a tough broad now, aren't you?</dialogue>
<character>MARION</character>
<dialogue>It's no act, pal. This ain't Schenectady.</dialogue>
<character>INDY</character>
<dialogue>I can only say I'm sorry so many times.</dialogue>
<scene_description>Marion looks at him thoughtfully, takes a drink.</scene_description>
<character>MARION</character>
<dialogue>You really have money? You don't look rich.</dialogue>
<parenthetical>(Indy nods)</parenthetical>
<dialogue>I may be able to locate some of his things. I know who's got them. What do you want?</dialogue>
<character>INDY</character>
<dialogue>A bronze piece, about this size. In the shape of the sun. Probably broken off at the bottom. Has a little hole in it, off-center. Does that sound familiar.</dialogue>
<scene_description>Marion thinks, nods slowly.</scene_description>
<character>INDY</character>
<dialogue>Do you know where it is?</dialogue>
<character>MARION</character>
<dialogue>Maybe. How much?</dialogue>
<character>INDY</character>
<dialogue>Three thousand. American.</dialogue>
<character>MARION</character>
<parenthetical>(negative)</parenthetical>
<dialogue>That'll get me back, but not in style. This doodad must be pretty important.</dialogue>
<character>INDY</character>
<dialogue>Maybe.</dialogue>
<scene_description>A huge smile lights up Marion's face.</scene_description>
<character>MARION</character>
<dialogue>I knew it would happen eventually. I knew it. Something had to go my way.</dialogue>
<parenthetical>(pours herself another drink)</parenthetical>
<dialogue>I've got to think this out. I'm used to bargaining with yaks.</dialogue>
<character>INDY</character>
<dialogue>Okay. Five thousand. That's all I can give you now. I can get you more when you land in the States.</dialogue>
<character>MARION</character>
<dialogue>Your word, huh?</dialogue>
<parenthetical>(Indy nods)</parenthetical>
<dialogue>Just like you said you'd be back last time? That was your word too.</dialogue>
<character>INDY</character>
<dialogue>I'm back, aren't I?</dialogue>
<scene_description>Marion sneers and they smile together.</scene_description>
<character>INDY</character>
<dialogue>You can trust me.</dialogue>
<character>MARION</character>
<dialogue>Come back tomorrow.</dialogue>
<character>INDY</character>
<dialogue>Why?</dialogue>
<character>MARION</character>
<dialogue>Because I said so, that's why. It's about time I called the shots in this relationship.</dialogue>
<scene_description>Indy nods, gets up to go.</scene_description>
<character>MARION</character>
<dialogue>Wait a minute. Leave the five thousand here.</dialogue>
<parenthetical>(Indy hesitates)</parenthetical>
<dialogue>You want trust, give some. I want to smell your money.</dialogue>
<scene_description>Indy thinks about this a moment, then reaches inside his shirt and pulls out cash from a money belt. He lays five grand on the bar.</scene_description>
<character>INDY</character>
<dialogue>I trust you.</dialogue>
<character>MARION</character>
<dialogue>You're an idiot.</dialogue>
<character>INDY</character>
<dialogue>I've heard that.</dialogue>
<scene_description>Indy starts for the door. Marion takes another drink. She's getting high.</scene_description>
<character>MARION</character>
<dialogue>Hold it. Come here.</dialogue>
<character>INDY</character>
<parenthetical>(moving back)</parenthetical>
<dialogue>Bossy, aren't you?</dialogue>
<character>MARION</character>
<dialogue>That's right. Give me a kiss.</dialogue>
<scene_description>Indy looks into her eyes, then leans over the bar and kisses her deeply. When the kiss ends, their faces are very close. Marion is flushed. She liked it and would like more. She raises her glass between them to discipline herself.</scene_description>
<character>MARION</character>
<dialogue>Get out of my place.</dialogue>
<scene_description>Indy smiles and walks to the front door. Then, without looking back-</scene_description>
<character>INDY</character>
<dialogue>Tomorrow.</dialogue>
<scene_description>He's gone. Marion stares after him, thinking. She takes a drink. Then slowly, her hand comes up to loose the scarf that is draped around her throat. It falls away, revealing her graceful neck above the dipping top of her blouse. Hanging there on a gold chain against her white skin is a sun-shaped golden medallion. The bottom looks broken off. Marion lifts the medallion so she can see it in her hand, then looks thoughtfully after Indy.</scene_description>
</scene>
<scene>
<stage_direction>EXT. STREETS OUTSIDE "THE RAVEN" - NIGHT</stage_direction>
<scene_description>Indy sits thinking at the wheel of an old car. Finally, he puts the car in gear and drives away. Across the street, the shadow in a doorway comes to life. A dark form steps out to look at Indy's departing car; it is the European Spy from the DC-3. He hurries off in the opposite direction. DISSOLVE TO:</scene_description>
</scene>
<scene>
<stage_direction>INT. "THE RAVEN" - NIGHT</stage_direction>
<scene_description>Marion stands before the fire that is shrinking in the fireplace. She jabs at it abstractedly with a poker, thinking. Suddenly tears well up in her eyes. She lets the poker slip from her hand, wipes away the tears. She walks across the room to the end of the bar, still cluttered with bottles and glasses, and stops at the pile of American money Indy has left. She takes the chain from around her neck and lets the medallion slide off it into her hand. She places it on the bar next to the pile of money, thinking. Then, having reached some decision, she picks up the pile of bills, walks up the back of the bar and pulls a small wooden box from under the bar. She flips open the top, puts the cash inside and closes the top. She leaves the box on the bar and starts back toward the medallion. The front door of the saloon bursts open and Four Bad Men come in. Marion, halfway between the valuable possessions and not wishing to draw attention to either, stops where she is. The Four Bad Men who advance on her are: 1) the obvious leader, a short, vile, sadistic German in spectacles by the name of BELZIG. 2) a trenchcoated SECOND NAZI. 3) a ratty-looking NEPALESSE and 4) a mean MONGOLIAN. The second NAZI and the MONGOLIAN both carry submachine gungs.</scene_description>
<character>BELZIG</character>
<dialogue>Good evening, Fraulein.</dialogue>
<character>MARION</character>
<dialogue>The bar's closed.</dialogue>
<character>BELZIG</character>
<dialogue>We are not thirsty.</dialogue>
<scene_description>The Mongolian and the Nepalese poke around, checking to make sure there's no one else there. Down at the end of the bar, the medallion lies partially hidden by surrounding glasses and bottles. The Second Nazi stops very near it, but turns his back to it to face Belzig and Marion.</scene_description>
<character>MARION</character>
<dialogue>What do you want?</dialogue>
<character>BELZIG</character>
<dialogue>The same thing your friend Dr. Jones wanted. Surely he told you there would be other interested parties.</dialogue>
<scene_description>Marion shakes her head.</scene_description>
<character>BELZIG</character>
<dialogue>Ah, the man is nefarious. I hope for your sake he has not yet acquired it.</dialogue>
<character>MARION</character>
<dialogue>Why, are you willing to offer more?</dialogue>
<character>BELZIG</character>
<dialogue>Almost certainly. Do you still have it?</dialogue>
<character>MARION</character>
<dialogue>No. But I know where it is.</dialogue>
<scene_description>Belzig's smile fades at this news. He's not a patient sort. Marion is chilled by the look. She turns and moves to the shelf of bottles behind her, reaching high for one, very near the large stuffed raven. Her hand lingers there a moment and we see - From an angle behind the stuffed raven, that the left wing spread hides a Baretta automatic pistol. Marion's hand is very near it, but withdraws with only a whiskey bottle as the Mongolian walks toward her behind the bar. Marion opens the bottle before Belzig, who watches her intently.</scene_description>
<character>MARION</character>
<dialogue>How 'bout a drink for you and your men?</dialogue>
<scene_description>The Second Nazi lights up at this suggestion. Belzig gives him a withering look.</scene_description>
<character>BELZIG</character>
<dialogue>We will stick to the business at hand, Fraulein.</dialogue>
<character>MARION</character>
<parenthetical>(tough)</parenthetical>
<dialogue>Fine. Why don't you come back tomorrow when Jones is here and we'll have an auction?</dialogue>
<scene_description>Belzig gives her a cold look then turns and walks toward the fireplace. As soon as his back is turned, the Second Nazi grabs the nearest whiskey bottle and takes a quick pull. In so doing, he leaves the medallion completely exposed. Marion is aware of this as she looks at him. But he quickly puts the bottle down again, obscuring the medallion, when Belzig speaks from the fireplace.</scene_description>
<character>BELZIG</character>
<dialogue>I'm afraid an auction is not possible.</dialogue>
<parenthetical>(pause)</parenthetical>
<dialogue>Your fire is dying here, Fraulein.</dialogue>
<parenthetical>(a beat, then threatening)</parenthetical>
<dialogue>Why don't you tell us where the piece is right now?</dialogue>
<character>MARION</character>
<dialogue>Listen, Herr Mac, I don't know who you're used to dealing with, but no one tells me what to do in my place.</dialogue>
<scene_description>Belzig, still looking in the fire, sneers and shakes his head.</scene_description>
<character>BELZIG</character>
<dialogue>Americans! You're all alike. Fraulein Ravenwood. I'll show you what I'm used to.</dialogue>
<scene_description>He motions with his hand. The Mongolian moves up behind Marion and lifts her roughly over the top of the bar, knocking over bottles and spilling liquor. He deposits her on the other side, where the Nepalese and the Second Nazi flank her and hold her cruelly, arms behind her back. Marion raises a ruckus. Belzig turns from the fireplace. In his hand is the poker, its end glowing orange. He advances on Marion. Marion stops yelling, her eyes widen in terror.</scene_description>
<character>MARION</character>
<dialogue>Wait! I can be reasonable-</dialogue>
<character>BELZIG</character>
<dialogue>That time is passed.</dialogue>
<scene_description>The glowing poker point moves inexorably across the room toward Marion's face.</scene_description>
<character>MARION</character>
<dialogue>You don't need that. I'll tell you everything!</dialogue>
<character>BELZIG</character>
<dialogue>Yes, I know you will.</dialogue>
<scene_description>Belzig has no intention of stopping now. The glowing tip is approaching Marion's face. The Nepalese watches with savage glee. The tip of the poker is five inches from Marion's nose when there is a loud CRACK! and the fall of Indy's bullwhip wraps around the middle of the poker and tears it out of Belzig's hands. The poker sails high across the room, free of the whip, and lands in the heavy curtains that over one window. The curtains immediately burst into flame. The four Bad Men look in surprise toward the front entrance. Indy is poised there, the whip in his right hand, a .45 Automatic raised toward them in his left.</scene_description>
<character>INDY</character>
<dialogue>Hello.</dialogue>
<scene_description>Now everything begins to happen very fast- The Mongolian had just come around the bar at the end opposite the medallion. He dives back to crouch behind the end of the bar, raising his submachine gun. Belzig and the Second German dive behind the tables near the bar. The Nepalese is slower to leave Marion, he draws a Luger. Indy's .45 barks and the Nepalese dies spinning against the bar. Indy fires in the direction of the Mongolian. Marion swings up over the top of her bar. Belzig fires at her, but his bullets smash bottles behind the bar and thud into the raven. Marion flattens out on the floor behind the bar as bullets hit above her. She reaches up, snatches the axe handle from where Mahdlo left it, and begins crawling down the length of the bar toward- The Mongolian, who sticks his submachine gun out and fires blindly in Indy's direction. Indy is in a crouch behind a table, trying to get a shot at someone. He doesn't notice in the din and confusion when the door bursts open. An incredible, fearsome GIANT SHERPA, almost seven feet tall, soars in and tackles Indy from behind. The whip flies from Indy's hand as he and the Giant Sherpa roll across the floor, upsetting furniture. The Mongolian, seeing this, stands up confidently. Marion rises behind him and bashes him over the head with the axe handle. He goes down and out. Fire has completely engulfed the curtains and is working across the ceiling on decorative yak skin bunting. A burning fragment drops to the top of the bar, which immediately lights up, fueled by the spilled alcohol. Full whiskey bottles explode like Molotov cocktails. Rolling on the floor, Indy and the Giant Sherpa are fighting for control of Indy's .45. Belzig sees this and shout to the Second Nazi, who is rising from cover with the submachine gun in hand.</scene_description>
<character>BELZIG</character>
<dialogue>Shoot them both!</dialogue>
<character>SECOND NAZI</character>
<dialogue>He's our man!</dialogue>
<character>BELZIG</character>
<dialogue>Do as I say!</dialogue>
<scene_description>Both the Giant Sherpa and Indy hear this. The Giant Sherpa exchanges an alarmed look with Indy and together they swing the .45 around toward the surprised Second Nazi. Two blasts blow him away. That done, Indy brings a brass spittoon down on the Giant Sherpa's wrist and the .45 slides away. Indy jumps up and kicks the Giant Sherpa, who barely seems to feel it. He grabs Indy and flips him effortlessly onto a table. Belzig now has a clear shot at Indy. He raises his Lugar. Marion, at the end of the bar, finally gets the hand of the Mongolian's submachine gun. It roars to life in the general direction of the ceiling. Belzig runs for cover as Marion gets control of the gun and levels it. Belzig dives around the end of the bar opposite Marion. When he has set himself, he peeks up over the edge of the scorched bar. The alcohol fire has moved down the bar and now, much to Belzig's surprise, he finds himself staring at the fire-blackened sun-shaped medallion! His eyes widen. He cannot believe his good fortune. Without hesitation he picks up the metal medallion, palming it. Immediately there is a sickening searing sound and Belzig's expression changes from joy to agony. He screams in pain and tries to shake the red-hot medallion from his skin. Marion opens up and the bar starts to splinter in front of Belzig. The medallion comes free of Belzig's hand and rolls across the floor. Belzig has had enough. In excruciating pain, he turns, sees a window, runs and dives through the glass. An exhausted Indy uses his whole body to upend the Giant Sherpa, who lands hard on his back. They are surrounded by flames.</scene_description>
</scene>
<scene>
<stage_direction>EXT. "THE RAVEN" - SNOW BANK - NIGHT</stage_direction>
<scene_description>Belzig has his burned hand stuck deep in the snow. Now he withdraws it, steaming, and scurries off into the night like a wounded animal.</scene_description>
</scene>
<scene>
<stage_direction>INT. "THE RAVEN" - NIGHT</stage_direction>
<scene_description>Marion throws down the empty submachine gun and moves through the flames to the center of the bar where she left the box with the five grand. She finds the remains of the box and its contents: a shapeless pile of ash and charred wood.</scene_description>
<character>MARION</character>
<dialogue>Unbelievable!</dialogue>
<scene_description>At the end of the bar, the Mongolian has come back to life. He shakes out his head, then reaches inside his coat and pulls out a Mauser pistol. Indy smashes a chair over the head of the Giant Sherpa and the huge creature goes down. The Mongolian points his Mauser through the smoke and flame at Indy. Suddenly, the Mongolian is shot dead. Marion stands beneath her stuffed raven with the Baretta. Indy moves quickly through the flames, his eyes scanning the floor. He picks up his bullwhip and his crumpled felt hat. He peers through the smoke till he spots Marion moving among the burning furniture.</scene_description>
<character>INDY</character>
<dialogue>Let's get out of here!</dialogue>
<character>MARION</character>
<dialogue>Not without that piece you want!</dialogue>
<character>INDY</character>
<dialogue>It's here?</dialogue>
<scene_description>Marion nods, kicks aside a burning chair. Another burning beam falls from the roof. Indy pulls Marion close to him protectively.</scene_description>
<character>INDY</character>
<dialogue>Forget it! I want you out of here. Now!</dialogue>
<scene_description>He beings dragging her out.</scene_description>
<character>MARION</character>
<parenthetical>(pointing)</parenthetical>
<dialogue>There!</dialogue>
<scene_description>She breaks away from him, darts back and picks the hot medallion up in the loose cloth of her blouse.</scene_description>
<character>INDY</character>
<dialogue>Let's go!</dialogue>
<character>MARION</character>
<parenthetical>(looking around)</parenthetical>
<dialogue>You burned down my place!</dialogue>
<character>INDY</character>
<parenthetical>(figuratively)</parenthetical>
<dialogue>I owe you plenty!</dialogue>
<character>MARION</character>
<parenthetical>(literally)</parenthetical>
<dialogue>You owe me plenty!</dialogue>
<character>INDY</character>
<parenthetical>(smiles)</parenthetical>
<dialogue>You're something.</dialogue>
<character>MARION</character>
<dialogue>I am something. And I'll tell you exactly what-</dialogue>
<scene_description>She holds up the medallion possessively.</scene_description>
<character>MARION</character>
<dialogue>I'm your partner!</dialogue>
</scene>
<scene>
<stage_direction>EXT. CAIRO - VARIOUS SHOTS - DAY</stage_direction>
<scene_description>First we see the sprawl, the soaring minarets, the ancient skyline. Then we're closer, in the narrow, exotic streets, teeming with life: fierce-looking men in tattered galabiyas, black- gowned women with veiled face, ragged, barefoot children. OMIT</scene_description>
</scene>
<scene>
<stage_direction>INT. DINING ROOM - SALLAH'S HOUSE (OLD CAIRO)</stage_direction>
<scene_description>Indy and Marion have been welcomed like family into the crowded home of SALLAH, his wife FAYAH, and their NINE CHILDREN (ages 4 - 18). Fayah, a huge, imposing woman, appears, at first glance, to be the power in the house. Sallah, a small, cheerful, energetic fellow in his forties defers to his wife in all matters of little importance. Suddenly the general liveliness at the children's table esculates into pandemonium, attracting the attention of the adults.</scene_description>
<character>FAYAH</character>
<dialogue>Silence!</dialogue>
<parenthetical>(there is silence)</parenthetical>
<dialogue>Why do you forget yourselves?</dialogue>
<scene_description>The gaggle of grinning off-spring parts to reveal in their midst- a MONKEY. It is munching some flat Arab bread.</scene_description>
<character>FAYAH</character>
<dialogue>What is this? Who brought this animal in?</dialogue>
<scene_description>All the children chatter their innocence at once. The Monkey chatters too; it's an entertainer. The Monkey jumps from the children's table to the adults' and struts slowly up to Marion, who thinks it's the cutest thing she ever saw. When it reaches her, it takes off its turban and does a deep, grand bow to her. She is delighted and takes the Monkey into her arms. The Monkey kisses her cheek. The children laugh.</scene_description>
<character>MARION</character>
<dialogue>Why, thank you. I like you too.</dialogue>
<character>FAYAH</character>
<dialogue>Then it shall be welcome in our house.</dialogue>
<character>MARION</character>
<dialogue>Oh, no! You don't have to have it around if you don't want it-</dialogue>
<character>SALLAH</character>
<parenthetical>(cheerfully)</parenthetical>
<dialogue>All of Allah's creatures are welcome here. You please us by letting us please you.</dialogue>
<scene_description>OMIT</scene_description>
</scene>
<scene>
<stage_direction>EXT. COURTYARD - SALLAH'S HOUSE - NIGHT</stage_direction>
<scene_description>Indy and Sallah sit in the small, protected courtyard. Sallah holds the two sections of the headpiece, the medallion and the base, and has for the first time fitted them together. They fit perfectly and complete the headpiece. He peruses the markings on the headpiece quizzically. Indy is cleaning and loading a .45 automatic.</scene_description>
<character>INDY</character>
<dialogue>I knew the Germans would hire you, Sallah. They couldn't have an excavation in the desert without the best digger in Egypt.</dialogue>
<character>SALLAH</character>
<dialogue>All Arabs look alike to them, Indy.</dialogue>
<character>INDY</character>
<dialogue>Tell me about the map room at Tanis.</dialogue>
<character>SALLAH</character>
<dialogue>We found it three days ago. I broke through myself.</dialogue>
<character>INDY</character>
<dialogue>Those Nazis are moving awfully fast.</dialogue>
<character>SALLAH</character>
<dialogue>The Frenchman is helping them.</dialogue>
<scene_description>Indy reacts.</scene_description>
<character>INDY</character>
<dialogue>Belloq. So he got away from the Indians. This is going to be more interesting than I thought.</dialogue>
<character>SALLAH</character>
<dialogue>I'm afraid this has put the Germans close to finding the Well of the Souls.</dialogue>
<character>INDY</character>
<parenthetical>(indicates the headpiece)</parenthetical>
<dialogue>Even Belloq won't be able to find it without that. Can you make anything of those markings? They're nothing I'm familiar with.</dialogue>
<character>SALLAH</character>
<parenthetical>(shakes his head "no")</parenthetical>
<dialogue>But I know someone who might. You can go to see him tomorrow.</dialogue>
<parenthetical>(a worried expression)</parenthetical>
<dialogue>Indy... something bothers me.</dialogue>
<character>INDY</character>
<dialogue>What it is, my friend?</dialogue>
<scene_description>Sallah finds it hard to say. When he finally speaks, his words are accompanied by a strange, eerie, foreboding rush of wind through the courtyard. Just a coincidence we might suppose.</scene_description>
<character>SALLAH</character>
<dialogue>It is the Ark. If it is there, at Tanis... It is not something man was meant to disturb... Death has always surrounded it. It is not of this earth.</dialogue>
<scene_description>The wind dies down. Indy shakes off a chill and stares thoughtfully at his friend.</scene_description>
</scene>
<scene>
<stage_direction>EXT. HEAVILY TRAFFICKED CAIRO STREET - DAY</stage_direction>
<scene_description>Indy and Marion are briskly walking along one of Cairo's busy bazaar streets. Vendors with fine cloth, pottery, baskets, jewelry, etc line the street. Marion has the Monkey from Sallah's house on her shoulder.</scene_description>
<character>INDY</character>
<dialogue>Do you really need that monkey?</dialogue>
<character>MARION</character>
<dialogue>I'm surprised at you, Indy. Talking that way about our baby. He's got your looks, too.</dialogue>
<character>INDY</character>
<dialogue>And your brains.</dialogue>
<scene_description>As Indy and Marion turn a corner, the Monkey seems to notice something and immediately jumps from Marion's shoulder and hurries off at a frantic pace down the street.</scene_description>
<character>MARION</character>
<parenthetical>(looking disappointed)</parenthetical>
<dialogue>Hey! Hey! ... where're you going?</dialogue>
<character>INDY</character>
<parenthetical>(dragging Marion along)</parenthetical>
<dialogue>He'll be OK. Come on. Come on.</dialogue>
</scene>
<scene>
<stage_direction>EXT. ANOTHER CAIRO STREET - DAY</stage_direction>
<scene_description>The Monkey is seen running around another corner and jumps into the waiting arms of MONKEY MAN, who appears to be like a beggar with a dirty turban and an eye patch. MONKEY MAN immediately hurries down the street and passes into a building. In the building are two GERMAN AGENTS. MONKEY MAN and the MONKEY both give the Heil Hitler salute and engage in quick talk. MONKEY MAN quickly leaves the two GERMAN AGENTS and gets back to the street. He is obviously shadowing Indy and Marion. Indy and Marion are just now passing by and the MONKEY MAN ducks back behind some baskets.</scene_description>
</scene>
<scene>
<stage_direction>EXT. ANOTHER BUSY CAIRO STREET - DAY</stage_direction>
<scene_description>Indy and Marion are passing under a balcony where a lone GERMAN AGENT stands watch. After they pass, the AGENT nods to some BAD ARABS who are hiding in the shadows of the street. In a moment, Indy and Marion pass by the break. Monkey Man turns and looks up at a roof further down the alley. He waves with his hand. Someone up there waves back.</scene_description>
</scene>
<scene>
<stage_direction>EXT. A SMALL BAZAAR - DAY</stage_direction>
<scene_description>Indy and Marion have reached a tiny square, made even more cramped by its use as a small bazaar. They have started working their way through the crowd when several Bad Arabs and a German Agent begin to converge on them. Indy immediately sees what's happening and pulls the bull whip from his jacket. The first Bad Arab to reach them gets hit in the mouth by the handle of the whip. Now all hell breaks loose, with Bad Arabs, Innocent Shoppers, baskets of fruit and tables of good flying every which way in the constricted space.</scene_description>
<character>INDY</character>
<parenthetical>(to Marion)</parenthetical>
<dialogue>Run! Get out of here!</dialogue>
<scene_description>Indy catches a dagger-wielding Bad Arab around the legs with the whip and flips him. Marion is reluctant to leave Indy.</scene_description>
<character>INDY</character>
<dialogue>Go, damnit! Go!</dialogue>
<scene_description>Marion goes. She runs off between two buildings. A Bad Arab takes off after her. Monkey Man, now standing at the edge of the square, points at Marion. The Monkey jumps off his shoulder and follows Marion.</scene_description>
</scene>
<scene>
<stage_direction>EXT. BETWEEN THE BUILDINGS - DAY</stage_direction>
<scene_description>Marion runs along the narrow space and soon encounters a five foot wall. She flops over it. The Bad Arab is right on her heels. He reaches the wall and vaults over. On the other side of the wall, the Bad Arab lands in a crouch, looks ahead and doesn't see Marion. Immediately a heavy earthen pot smashes over his head, putting him out. Marion steps from an alcove and starts to run toward the street at the other end of the walkway. Suddenly another Bad Arab and a new German Agent appear in the street at that end. Before they can spot her, Marion retreats to the alcove again. There is a huge rattan basket sitting there. Marion climbs in and closes the top above her. The only witness: the Monkey, who is now perched on the five foot wall.</scene_description>
</scene>
<scene>
<stage_direction>EXT. THE SMALL BAZAAR - DAY</stage_direction>
<scene_description>Chaos. An entire booth of pots and pans collapses on a Bad Arab and a German Agent as Indy whips away a support.</scene_description>
</scene>
<scene>
<stage_direction>EXT. BETWEEN THE BUILDINGS - DAY</stage_direction>
<scene_description>The chattering Monkey leads a German Agent and two Bad Arabs to Marion's hiding place, gesturing manically.</scene_description>
</scene>
<scene>
<stage_direction>EXT. THE SMALL BAZAAR - DAY</stage_direction>
<scene_description>Indy ducks under the swinging blade of a huge Arabian sword and kicks the Bad Arab Swordsman in the groin.</scene_description>
</scene>
<scene>
<stage_direction>EXT. SIDE STREET - DAY</stage_direction>
<scene_description>The German Agent leads the way as the two Bad Arabs carry the huge basket above their heads. The basket top has been fastened closed, but Marion is making a fuss inside. As the place where the street cuts across the far side of the bazaar, Marion is able to wedge the top open one inch and screams-</scene_description>
<character>MARION</character>
<dialogue>Indy-y-y-y!</dialogue>
</scene>
<scene>
<stage_direction>EXT. THE SMALL BAZAAR - DAY</stage_direction>
<scene_description>Indy has heard her. He looks across the square as the basket and its escorts disappear beyond a building. One last Bad Arab rises before him. Indy's whip flashes and the Bad Arab's robe falls down to his ankles. Indy frantically pushes his way through the panicked mass of humanity in the direction the basket has gone.</scene_description>
</scene>
<scene>
<stage_direction>EXT. THE FOOT CHASE - INTERCUTTING INDY AND THE MOVING BASKET</stage_direction>
<character>- DAY</character>
<dialogue>The Bad Guys move the basket as fast as they can through streets, alleys and passageways thick with people. Indy always seems to round a corner just in time to catch a glimpse of the basket before it disappears around a new corner. Indy must fight a flow of humanity as powerful as an ocean riptide. Finally, at the head of one particularly crowded alley, Indy leaps up onto a wall for a clearer view. Whatever he sees gives him an idea and he cuts between two buildings rather than following the basket.</dialogue>
</scene>
<scene>
<stage_direction>EXT. DESERTED ALLEY - DAY</stage_direction>
<scene_description>Two Bad Arabs come running down the alley with the basket between them. Suddenly, Indy's whip flashes out sending both Arabs and the basket tumbling. Indy steps into view, his .45 trained on the sprawled Arabs, and looks at the basket. The top has come flying off and the contents have clattered onto the cobblestone: inside is not Marion, but a load of contraband pistols, rifles and ammo. Indy is advancing on the trembling Bad Arabs with an ugly look when suddenly he hears Marion scream around the corner.</scene_description>
</scene>
<scene>
<stage_direction>EXT. DESERTED SQUARE - DAY</stage_direction>
<scene_description>Indy rounds the corner and is immediately driven back by machine gun fire. Taking cover, he gets quick, intermittent glimpses of this scene: At the far corner of the large, deserted square is a canvas-covered trunk. Two Bad Arabs are hurrying toward it with a large rattan basket between them, Marion screaming inside. A German Agent is covering the retreat with a machine gun from the cab of the truck. Indy runs up to see the rattan basket being heaved into the back of the truck.</scene_description>
</scene>
<scene>
<stage_direction>EXT. BACK OF THE TRUCK - DAY</stage_direction>
<scene_description>What Indy cannot see is that basket lands among an ominous load of German munitions, dynamite and firearms. The truck immediately peels out.</scene_description>
</scene>
<scene>
<stage_direction>EXT. DESERTED SQUARE - DAY</stage_direction>
<scene_description>The German Agent has stopped firing in order to drive. He floors it, aiming for a street at the corner of the square. Indy uses the lull to take careful aim at the German Agent's profile and fire off three careful shots. The German Agent is hit, blasted dead against the steering wheel. The speeding truck swerves, hits a wall, rolls over and explodes in an enormous, multi-leveled eruption as its contents ignite. Several surrounding buildings are leveled. Indy, blown back across the square, looks on, astonished and horror-stricken.</scene_description>
<character>INDY</character>
<dialogue>Marion.</dialogue>
</scene>
<scene>
<stage_direction>INT. ARAB BAR - NIGHT</stage_direction>
<scene_description>A dark, smoke-filled den on iniquity. The patrons, almost all fearsome Arabs, sit in small shadowy groups around the room. Indy stands at the bar finishing off a fifth of bourbon. He is drunk. The ARAB BARTENDER places a new bottle of expensive bourbon in front of him. Indy eyes it queerly.</scene_description>
<character>ARAB BARTENDER</character>
<dialogue>The gentleman in the corner sent it. He would like you to join him.</dialogue>
<character>INDY</character>
<parenthetical>(doesn't even look)</parenthetical>
<dialogue>Too bad. I'm drinking alone.</dialogue>
<scene_description>The Arab Bartender does a take, looking at the three, tough GERMAN HENCHMEN who have surrounded Indy from out of the smoke, their hands stuffed in bulging trenchcoat pockets. Indy notices them now with a bleary glance. He decides he's in no shape to kill or be killed and moves with them across the room, taking his bottle with him. The Arab patrons take this in and mind their own business. The occupant of the smoke-shrouded corner table becomes visible only as Indy reaches there: it is Emile Belloq. He is drinking wine.</scene_description>
<character>INDY</character>
<dialogue>Belloq</dialogue>
<character>BELLOQ</character>
<dialogue>Good evening, Dr. Jones.</dialogue>
<character>INDY</character>
<dialogue>I ought to kill you right now.</dialogue>
<character>BELLOQ</character>
<dialogue>It was not I who brought the girl into this dirty business.</dialogue>
<scene_description>Indy knows its true; that's what's tearing him up.</scene_description>
<character>BELLOQ</character>
<dialogue>Sit down, please, before you fall down. We can behave as civilized people. I'm afraid it will be your last opportunity.</dialogue>
<scene_description>Indy sits, glancing at the German Henchmen, who settle nearby, just out of earshot.</scene_description>
<character>INDY</character>
<dialogue>Not a very private place for a murder.</dialogue>
<character>BELLOQ</character>
<parenthetical>(looking around)</parenthetical>
<dialogue>These Arabs will not interfere in the white man's business. They do not care if we kill each other off.</dialogue>
<character>BELLOQ</character>
<parenthetical>(takes a sip of wine, refers to it)</parenthetical>
<dialogue>Terribly difficult finding a descent vintage here. You were quite vigorous in Shanghai. Unfortunately, our friend the Wild Boar had taken the precaution of making several copies of the piece.</dialogue>
<scene_description>Indy registers this as he takes a drink. Belloq watches him with disdainful amusement.</scene_description>
<character>BELLOQ</character>
<dialogue>encounters. I almost</dialogue>
<scene_description>regret it. Where shall I find a new adversary so close to my own level?</scene_description>
<character>INDY</character>
<dialogue>Try the local sewer.</dialogue>
<character>BELLOQ</character>
<dialogue>I know you despise me. We always hate in others that which we most fear in ourselves. And you and I are very much alike.</dialogue>
<character>INDY</character>
<dialogue>Now you're getting nasty.</dialogue>
<character>BELLOQ</character>
<dialogue>We have always done the same kind of work. Our methods have not differed as much as you pretend. I am a shadowy reflection of you. But it would have taken only a nudge to make you the same as me, to push you out of the light.</dialogue>
<scene_description>There is a certain amount of truth to this; the recognition of it flickers across Indy's bleary eyes. Belloq sees it there.</scene_description>
<character>BELLOQ</character>
<dialogue>You know it to be true! How nice. And how ironic the timing.</dialogue>
<scene_description>Belloq leans forward, eyes shining, voice suddenly different.</scene_description>
<character>BELLOQ</character>
<dialogue>Do you realize what the Ark is?</dialogue>
<parenthetical>(very intense)</parenthetical>
<dialogue>It's a transmitter.</dialogue>
<character>BELLOQ</character>
<dialogue>A radio for talking to God! And now it is within my grasp.</dialogue>
<character>INDY</character>
<dialogue>What about your boss, Der Fuhrer? I thought he was waiting to take possession.</dialogue>
<scene_description>Belloq glances in the gloom at the German Henchmen.</scene_description>
<character>BELLOQ</character>
<parenthetical>(quieter)</parenthetical>
<dialogue>When the time is right. When I am finished with it.</dialogue>
<character>INDY</character>
<dialogue>I hope your friends are patient. Dangerous work, Belloq.</dialogue>
<character>BELLOQ</character>
<dialogue>Yes. Very. You may consider yourself fortunate that your involvement concludes here.</dialogue>
<character>INDY</character>
<dialogue>Tell me, did you get away with the idol?</dialogue>
<character>BELLOQ</character>
<parenthetical>(negative)</parenthetical>
<dialogue>I was lucky to get away with my life. The Hovitos proved quite narrow-minded about the whole matter.</dialogue>
<scene_description>Indy takes a drink.</scene_description>
<character>INDY</character>
<dialogue>You know, if it's God you want to talk to, maybe I can arrange it.</dialogue>
<character>BELLOQ</character>
<parenthetical>(smiles)</parenthetical>
<dialogue>You have not changed. But, please, do not reach for your weapon until you are ready to die.</dialogue>
<scene_description>The front door of the bar slams open and all nine of SALLAH'S CHILDREN scamper in and over to a surprised Indy. Two of the smallest hop into his lap.</scene_description>
<character>LITTLE SON</character>
<dialogue>Uncle Indy, we have been looking for you.</dialogue>
<character>LITTLE DAUGHTER</character>
<dialogue>Come home now, Uncle. Hurry!</dialogue>
<scene_description>Suddenly the Arab patrons of the bar take an intense interest in the situation, shifting their weapons.</scene_description>
<character>INDY</character>
<dialogue>Yes. Yes, I'll come now.</dialogue>
<scene_description>Indy stands up. The German Henchmen are poised. Belloq eyes the Arab patrons and signals for the Henchmen to relax.</scene_description>
<character>BELLOQ</character>
<dialogue>Next time, Indiana Jones, it will take more than children to save you.</dialogue>
<scene_description>The children usher Indy out.</scene_description>
</scene>
<scene>
<stage_direction>INT. SALLAH'S TRUCK - IN FRONT OF ARAB BAR - NIGHT</stage_direction>
<scene_description>Indy climbs into the cab of Sallah's truck with a smiling Sallah as the children pile into the back. Sallah pulls out.</scene_description>
<character>SALLAH</character>
<dialogue>I thought we would find you there.</dialogue>
<parenthetical>(indicating the kids)</parenthetical>
<dialogue>Better than the United States Marines, eh?</dialogue>
<character>INDY</character>
<parenthetical>(nods)</parenthetical>
<dialogue>Thank you.</dialogue>
<parenthetical>(grave)</parenthetical>
<dialogue>Marion's dead.</dialogue>
<character>SALLAH</character>
<dialogue>Yes, I know. I am sorry.</dialogue>
<parenthetical>(pause)</parenthetical>
<dialogue>More reason than ever to beat the bastards.</dialogue>
<parenthetical>(he touches Indy)</parenthetical>
<dialogue>Life goes on, Indy.</dialogue>
<parenthetical>(indicates the kids again)</parenthetical>
<dialogue>There is the proof.</dialogue>
<scene_description>Indy looks back there, nods.</scene_description>
<character>SALLAH</character>
<dialogue>I have much to tell you, Indy.</dialogue>
<scene_description>\*\*\*\*\*\*\*\*\*\*\*\*\*\*\*\*\*\*\*\*\*\*\*\*\*\*\*\*\*\*\*\*\*\*\*\*\* PAGE 53 MISSING \*\*\*\*\*\*\*\*\*\*\*\*\*\*\*\*\*\*\*\*\*\*\*\*\*\*\*\*\*\*\*\*\*\*\*\*\* Fayah brings in a tray of food and puts it on the table. The bowl of dates is in one corner. As Fayah leaves the room, the Monkey slips out of Sallah's lap and disappears under the table. Indy leans over the food tray, his hand hovering over the dates. But he chooses some cheese and bread instead.</scene_description>
<character>INDY</character>
<dialogue>And they made the calculation in the map room?</dialogue>
<character>SALLAH</character>
<parenthetical>(nods vigorously)</parenthetical>
<dialogue>This morning. Belloq and the boss German, Shliemann. When they came out of the map room, we were given a new spot in which to dig...out away from the camp.</dialogue>
<character>INDY</character>
<parenthetical>(resigned)</parenthetical>
<dialogue>The Well of the Souls.</dialogue>
<scene_description>Sallah nods, moves to the food. He picks up a date, then changes his mind and drops it, taking a bunch of grapes instead. Indy picks up a chicken leg in one hand and a date in the other, his mind distracted. Fayah enters the room just in time to see Indy flip the date high into the air and try to catch it in his mouth. It bounces off his chin and falls to the floor. Indy looks sheepishly at Fayah. Fayah picks up the fallen date and puts it in the dirty ash tray she is now removing. Amir speaks in a slow, raspy voice without looking up.</scene_description>
<character>AMIR</character>
<dialogue>Come. Look.</dialogue>
<scene_description>The two men go and huddle over the old man. The Monkey peeks up over the edge of the table at the array of food. He picks up a date and disappears below the table. Amir points to some markings on the lower part of the headpiece.</scene_description>
<character>AMIR</character>
<dialogue>This is a warning... not to disturb the Ark of the Covenant.</dialogue>
<character>INDY</character>
<dialogue>Just what I need.</dialogue>
<scene_description>The Monkey's paw comes up over the edge of the table and grabs another date.</scene_description>
<character>INDY</character>
<dialogue>How 'bout the height of the staff? Did Belloq get it off of there?</dialogue>
<character>AMIR</character>
<dialogue>Yes... it is here.</dialogue>
<scene_description>Indy, nervous, goes back to the food tray, picks up another date. When he turns back to the men, the Monkey's paw grabs another date. We see the headpiece in closeup on the table. Amir's crooked fingers trace a line of markings along the bottom section to the break in the piece.</scene_description>
<character>AMIR</character>
<dialogue>It says it is... ten jamirs high...</dialogue>
<character>SALLAH</character>
<dialogue>About seventy-five inches.</dialogue>
<character>AMIR</character>
<dialogue>Wait! I am not finished...</dialogue>
<scene_description>Amir's finger moves across the break as the markings continue on the sun medallion.</scene_description>
<character>AMIR</character>
<parenthetical>(reading)</parenthetical>
<dialogue>"And one jamir to honor the Hebrew God whose Ark this is."</dialogue>
<scene_description>Indy, still holding the date, exchanges a long look with Sallah.</scene_description>
<character>INDY</character>
<dialogue>You said their top section was blank. Are you absolutely sure?</dialogue>
<scene_description>Sallah nods.</scene_description>
<character>INDY</character>
<dialogue>Belloq's staff is seven and a half inches short. They're digging in the wrong spot!</dialogue>
<scene_description>Sallah and Indy begin to laugh. Amir gives them a glance and returns to his wine. Sallah leans over and kisses the old man.</scene_description>
<character>SALLAH</character>
<parenthetical>(to Amir)</parenthetical>
<dialogue>A home run, my friend, grand slam!</dialogue>
<parenthetical>(to Indy)</parenthetical>
<dialogue>We have a saying -- "A little luck is better than much smartness." Indy, pardner, you are very lucky fellow.</dialogue>
<scene_description>Indy hoots. Then he takes the date in his hand and flips it high in the air. He opens his mouth to catch it, but it doesn't come down. He has inadvertently thrown it into a bowl of a hanging lamp. This makes the men laugh even harder. Indy goes over and picks up another date. He turns laughing to Sallah and doesn't see as the Monkey's paw comes up, slowly, takes another date and begins to withdraw. Suddenly the paw is stricken with palsy and the unseen Monkey goes into its death throws. Sallah watches the paw as though hypnotized. Finally the paw slips from sight and we hear a solid THUMP! on the floor. Sallah walks around the table and looks at the floor. The Monkey lies dead among a mess of date pits. Indy is in a happy world of his own. He throws his date high in the air. He positions himself under it and waits for it to drop in. Here it comes. Right on target. As it's about to disappear into Indy's mouth, Sallah's hand flashes in and grabs it. Indy looks mystified and disappointed. Sallah motions toward the dead Monkey.</scene_description>
<character>SALLAH</character>
<dialogue>Bad dates.</dialogue>
</scene>
<scene>
<stage_direction>EXT. DESERT ROAD - MORNING</stage_direction>
<scene_description>Two old trucks come down a narrow mountain road and onto the flat surface of the desert. Further out into the desert, the one in the lead, Sallah's truck, stops and the second one, Omar's truck, pulls up beside it. There are half dozen Arab Diggers in Omar's truck. Indy, dressed as an Arab, gets out of the cab of Sallah's truck and moves over to confer with OMAR, another old friend. They point off into the desert and reach some conclusion. Indy gives him a pat on the back; Omar turns off the road and drives into the desert with his workers. Indy hops back in the car of Sallah's truck with Sallah. As they move down the road we see that the back of the truck holds three other Arab Diggers.</scene_description>
</scene>
<scene>
<stage_direction>EXT. RISE ABOVE THE TANIS DIG - MORNING</stage_direction>
<scene_description>Indy and Sallah are lying in classic shouting fashion at the top of the rise looking down on the Tanis Digs. Down behind them, Sallah's truck is parked with the three Arab Diggers.</scene_description>
<character>INDY</character>
<dialogue>My God! They aren't kidding!</dialogue>
<scene_description>WHAT HE SEES. The Tanis Digs are laid out below like a painting. Trucks, bulldozers, Arab workers and German supervisors are everywhere. The excavations themselves are extensive and somewhat random - holes have been dug and then abandoned, foundations and passageways unearthed and then deserted. Beyond the main digs, a crude airstrip has been created. Sallah points to what appears to be a mound of dirt with a hole in it near the center of the activity.</scene_description>
<character>SALLAH</character>
<dialogue>There! That is the map room!</dialogue>
<character>INDY</character>
<dialogue>What time does the sun hit the map?</dialogue>
<character>SALLAH</character>
<dialogue>Just after eight.</dialogue>
<character>INDY</character>
<dialogue>We haven't got much time. Where are the Germans digging for the Well of the Souls?</dialogue>
<scene_description>Sallah points out into the desert a short way beyond the main area of activity. The desert turns to sand dunes out there, the surface undulating into the distance. Several trucks and men are out there and a bulldozer is lumbering noisily toward it.</scene_description>
<character>INDY</character>
<dialogue>Okay. Let's go.</dialogue>
</scene>
<scene>
<stage_direction>EXT. THE TANIS DIGS - MORNING</stage_direction>
<scene_description>Sallah's truck drives through the camp, one of the Arab Diggers at the wheel. Indy and Sallah are in the back and look just like the other two Arab Diggers. Sallah's truck goes behind a tent and when it appears on the other side, Indy and Sallah are gone.</scene_description>
</scene>
<scene>
<stage_direction>EXT. AMONG THE TENTS - MORNING</stage_direction>
<scene_description>Indy and Sallah move stealthily among the tents. Indy carries a smooth wooden staff almost seven feet tall. They stop between two tents and look across a path at the entrance to the map room. What appeared to be a mound of dirt is actually the roof on the ancient building. The hole/entrance is a five- foot square skylight. Indy looks around, then walks casually to the edge of the hole and looks inside. Sallah joins him, producing a length of rope from his robes. Indy drops the staff into the unseen map room as Sallah ties the rope around an oil drum. When it's secure, Indy wastes no time disappearing down it into the map room.</scene_description>
</scene>
<scene>
<stage_direction>INT. MAP ROOM</stage_direction>
<scene_description>Indy is down the twenty feet to the floor of the room in seconds. He tugs on the rope and it immediately gets pulled up. Indy looks around with real wonder and excitement. The room is lovely, with elaborate wall carvings and frescoes, all lit by the bright stream of sunlight flooding in from above. This beam of light leads Indy's eye to the far end, and the room's truly remarkable feature: built into the floor in meticulous relief is a miniature stone model of the ancient city of Tanis. Already, the sunlight has worked its way down the far wall and is edging onto the miniature of the city. On the floor, to the skylight side of the miniature, is an elaborate line created by embedded mosaic tiles. The evenly spaced slots in the line, each accompanied by a symbol of a time of year, are for the base of the staff. Indy pulls the headpiece from his robes -- it has been welded together -- and reaches for the staff.</scene_description>
</scene>
<scene>
<stage_direction>EXT. ABOVE THE MAP ROOM - DAY</stage_direction>
<scene_description>An extremely nervous Sallah has the gathered rope in his hands and is trying to appear casual as he inches back toward the oil drum. There is now a good bit of activity going on up here.</scene_description>
<character>JEEP GERMAN (O.S.)</character>
<dialogue>Hey! You, the skinny one!</dialogue>
<scene_description>Sallah jumps about three feet. The JEEP GERMAN is standing in an open space ten yards away looking at Sallah.</scene_description>
<character>JEEP GERMAN</character>
<dialogue>Yes, you. What are you doing there?</dialogue>
<scene_description>Sallah gestures his innocence.</scene_description>
<character>JEEP GERMAN</character>
<dialogue>Well bring that rope over here, you cur.</dialogue>
<scene_description>The Jeep German starts back toward his major concern: his jeep is stuck in some sand beyond the next tent. Some Arab Workers are trying in vain to budge it. Now another German has backed his truck up to it. Sallah can think of nothing to do except obey. With a worried glance at the map room, he begins untying the rope from the oil drum.</scene_description>
</scene>
<scene>
<stage_direction>INT. THE MAP ROOM</stage_direction>
<scene_description>Indy is examining the results of Belloq's work. Red paint marks one of the miniature buildings in the layout and a white calibrated tape has been strung from that building back to a miniature of the map room. Now Indy begins examining the mosaic base line for the staff. Sunlight has moved further down across the miniature.</scene_description>
</scene>
<scene>
<stage_direction>EXT. IN THE CAMP - DAY</stage_direction>
<scene_description>Sallah watches nervously as his precious rope is pulled taut between the pulling truck and the stuck jeep. He doesn't notice that he has chosen to stand next to a large, steaming kettle of food until --</scene_description>
<character>HUNGRY GERMAN (O.S.)</character>
<dialogue>Bring us some of that!</dialogue>
<scene_description>He points to the kettle. Sallah looks frantically from the rope, back to the skylight of the map room, to the kettle of food.</scene_description>
<character>HUNGRY GERMAN</character>
<dialogue>Now, idiot!</dialogue>
<scene_description>Sallah picks up some serving pieces and gets to work.</scene_description>
</scene>
<scene>
<stage_direction>INT. THE MAP ROOM</stage_direction>
<scene_description>The moment has arrived. Even the tension of the circumstances cannot distract Indy from the purity of what he is about to do. All his calculations are adjustments complete, Indy takes the Staff of Ra and places it -- CLINK! -- in the right depression on the base line. This is as active and exciting moment as any archeologist can dream of and, at heart, that is exactly what Indy is. The sunlight catches the very top of the headpiece and moves within a fraction of an inch of the tiny hole in its sun. The edge of the sunlight moving across the miniature city is still a good two feet beyond the spot Belloq has settled on. And now that line of light is broken by the shadow of an ornate sun at the top of the staff. Indy's face reflects his concentration. And then his immense pleasure. He sees what he came for. Out of the miniature city, one small building is being lit by a tiny beam of sunlight in the center of the shadow of the metal sun. And by some trick of ancient artistry, this one building responds to the sunlight like none of the others. The golden light permeates it: it seems to glow. The building is in a direct line with Belloq's -- all of the Frenchman's other calculations were right -- but it is a foot and a half beyond it.</scene_description>
</scene>
<scene>
<stage_direction>EXT. IN THE CAMP - DAY</stage_direction>
<scene_description>Sallah, sweating profusely, has finished serving the line of Breakfasting Germans and now heads back to replace the kettle and get away.</scene_description>
<character>HUNGRY GERMAN</character>
<dialogue>Water. Bring us water.</dialogue>
</scene>
<scene>
<stage_direction>INT. MAP ROOM</stage_direction>
<scene_description>Indy is on his knees at the miniature city, a special tape measure in his hand. Indy has the tape strung from Belloq's mistaken spot to his own correct spot. He gets his reading, leaps up and crosses to the erect staff. He pulls the headpiece off the staff and hides it in his robes. He quickly breaks the wooden staff in two and throws the pieces behind a pile of debris. Then he moves quickly to beneath the skylight.</scene_description>
<character>INDY</character>
<parenthetical>(stage whisper)</parenthetical>
<dialogue>Sallah.</dialogue>
<parenthetical>(he waits, then louder)</parenthetical>
<dialogue>Sallah!</dialogue>
<scene_description>More waiting. Nothing. Indy looks around for some alternative means of escape. The room doesn't offer any. He looks up at the skylight again.</scene_description>
<character>INDY</character>
<parenthetical>(loudest)</parenthetical>
<dialogue>Sallah!</dialogue>
<scene_description>A long pause. Then something comes down. A makeshift rope. Really just a bunch of clothing tied together -- tunics, robes, pants. But what we see first and most prominently, the first section of Indy's escape rope, is a bright Nazi flag. Indy beams and climbs.</scene_description>
</scene>
<scene>
<stage_direction>EXT. ABOVE THE MAP ROOM - DAY</stage_direction>
<scene_description>Indy sticks his head out the skylight, sees it clear and flops his body out. Sallah, crouching behind the oil drum, immediately starts pulling in the makeshift rope. Sallah stuffs the rope in the oil drum and the two men begin walking toward some tents.</scene_description>
<character>HUNGRY GERMAN (O.S.)</character>
<dialogue>Hey, you! More water over here!</dialogue>
<scene_description>Sallah glances at Indy, then hurries back in that direction. The Hungry German focuses on Indy.</scene_description>
<character>HUNGRY GERMAN</character>
<dialogue>Why aren't you at the digs? Come here!</dialogue>
<scene_description>Indy bows in wild subservience and hurries off in the opposite direction.</scene_description>
<character>HUNGRY GERMAN</character>
<parenthetical>(yelling after him, irriated)</parenthetical>
<dialogue>No, dummkopf, I said come!</dialogue>
</scene>
<scene>
<stage_direction>EXT. BETWEEN TWO TENTS - DAY</stage_direction>
<scene_description>Indy hustles between the tents. Up ahead, two German Officers stop to talk, blocking his exit. He moves along the side of one of the tents until he finds an opening and slips inside.</scene_description>
</scene>
<scene>
<stage_direction>INT. THE TENT</stage_direction>
<scene_description>Indy finds himself in a tent set up for rather comfortable living. He has just started to cross it when he hears a loud, excited grunting. He turns toward the sound. In the corner, tied to a chair and gagged is Marion. Indy rushes to her, snatches the gag from her mouth and embraces her. They kiss, deep and long.</scene_description>
<character>INDY</character>
<dialogue>I thought you were dead.</dialogue>
<character>MARION</character>
<dialogue>They were throwing me around like a rag doll.</dialogue>
<character>INDY</character>
<dialogue>They must have switched baskets. Thank god for that! Bless those bastards. Have they hurt you?</dialogue>
<character>MARION</character>
<dialogue>No. Not since I got here. They just asked about you -- what you knew. The Frenchman's got the hot's for me. I've been playing that along. Oh, Indy, get me out of here.</dialogue>
<scene_description>Indy pulls out a knife and then stops suddenly, thinking.</scene_description>
<character>MARION</character>
<dialogue>What's wrong?</dialogue>
<character>INDY</character>
<parenthetical>(putting the knife away)</parenthetical>
<dialogue>I have to leave you here for a little while. I know where the Ark is. If I take you out of here they'll start combing the place for us.</dialogue>
<character>MARION</character>
<parenthetical>(louder)</parenthetical>
<dialogue>Cut me loose!</dialogue>
<character>INDY</character>
<dialogue>Keep your voice down.</dialogue>
<character>MARION</character>
<parenthetical>(screaming)</parenthetical>
<dialogue>I said get me out of --</dialogue>
<scene_description>Indy pops the gag back in her mouth. Her eyes widen in fury and she grunts obscenities at him.</scene_description>
<character>INDY</character>
<dialogue>Look, you don't know how glad I am to see you. And I don't like doing this. But the whole thing will be shot if you don't just sit here quietly. They haven't hurt you in the last twenty-four hours, they aren't going to start now. I'll be back to get you in no time.</dialogue>
<scene_description>He kisses her forehead, jumps up and hurries out of the tent.</scene_description>
</scene>
<scene>
<stage_direction>EXT. SAND DUNE OUTSIDE DIGS - DAY</stage_direction>
<scene_description>With the digs behind them, Indy and Sallah run up to the ridge of the dune and over the top. At the bottom of the far side, Omar's truck is parked. Omar and his men are waiting.</scene_description>
</scene>
<scene>
<stage_direction>EXT. DIFFERENT DUNE - DAY</stage_direction>
<scene_description>This new spot gives Indy a higher, better view of the whole scene. Indy is using a surveyor's instrument to take a reading -- WHAT HE SEES. Looking through the instrument, Indy gets a line from the map room through the site where the Nazis are digging in the dunes to a spot several dunes over. We focus on that virgin spot of well-hidden sand as --</scene_description>
<character>INDY</character>
<dialogue>There!</dialogue>
</scene>
<scene>
<stage_direction>EXT. INDY'S DIG - DAY</stage_direction>
<scene_description>Omar's truck is parked at the stop just viewed from afar. Dunes rise on either side. One of Omar's men has been posted as a lookout up on a ridge. Everybody else -- Indy, Sallah, Omar, and his men -- have begun digging for the Well of the Souls. DISSOLVE TO: SAME SCENE, NIGHT. They continue to dig furiously, all of them drenched in sweat. The hole has grown but this is slow, back-breaking work.</scene_description>
</scene>
<scene>
<stage_direction>INT. COMMAND TENT - TANIS DIGS - NIGHT</stage_direction>
<scene_description>Belloq, SHLIEMANN the ranking Nazi, and Shliemann's Aide, GOBLER, come into the tent, which is full of charts and maps, drawings of the Ark, radio equipment, liquor and food. The men have been out digging for the Well all day. They are tired, discouraged, testy. In all matters, Gobler shows his alliance with Shliemann against Belloq with small looks and body language. The Frenchman has disappointed them and he is feelings the isolation of a scapegoat. Belloq gets himself a drink as Shliemann towels off his face.</scene_description>
<character>BELLOQ</character>
<dialogue>I cautioned you about being premature with that communique to Berlin. Archeology is not an exact science. It does not adhere to time schedules.</dialogue>
<character>SHLIEMANN</character>
<dialogue>The Fuhrer is not a patient man. He demands constant reports and he expects progress. You led me to believe --</dialogue>
<character>BELLOQ</character>
<dialogue>Nothing. I have made no promises. I said only that it looked very favorable. Perhaps the Ark will still be found in an adjoining chamber. Based on the information in our possession, my calculations were correct. Perhaps some bit of evidence still eludes us. Perhaps --</dialogue>
<character>GOBLER</character>
<dialogue>Perhaps the girl can help us.</dialogue>
<scene_description>Belloq shoots him an angry look.</scene_description>
<character>SHLIEMANN</character>
<dialogue>My feeling exactly. She was in possession of the original piece for years. She may know much.</dialogue>
<parenthetical>(really evil)</parenthetical>
<dialogue>If properly motivated...</dialogue>
<character>BELLOQ</character>
<dialogue>I tell you, she knows nothing useful.</dialogue>
<character>SHLIEMANN</character>
<dialogue>I'm surprised to find you squeamish. That is not your reputation. But it needn't concern you. I have the perfect man for this kind of work.</dialogue>
<scene_description>Shliemann signals Gobler, who steps outside the tent a moment, calls someone and then reappears. Belloq looks warily at the entrance. After a moment Belzig enters, reeking villiany. When his eyes find Shliemann, his superior, he snaps a crisp "Heil, Hitler!" at him, holding his palm rigid a long time, exposing a burned scar in the perfect shape of the sun medallion.</scene_description>
</scene>
<scene>
<stage_direction>EXT. INDY'S DIG - NIGHT</stage_direction>
<scene_description>In the eerie conjunction of moonlight and torchlight, Indy and the other men step back in awe of their discovery: there, flush with the bottom of their pit, is a heavy stone entry door to an underground chamber. Special prying tools are produced. With two men assigned to each of the two long tools, they work in unison to open the vault. They open it a foot and the two other men rush in to flop the heavy door completely open. Down inside, only blackness. The men quickly prostrate themselves around the edge of the entry to look inside. Indy and Sallah each take a torch and hold them down the hole. WHAT THEY SEE. The Well of the Souls is a spooky chamber thirty feet deep. The walls are covered with hieroglyphics and carvings. The roof is supported intermittently by stone pillars, the closest of which hits the roof very near the entry hole. The Well is quite large; as Indy and Sallah wave their torches, more and more of the room is revealed. Now the far end of the chamber comes into view. There is a stone altar down there and on this elaborated carved platform is a stone chest, big enough to enclose the Lost Ark and protect it from the ravages of time. This altar appears to be the only place on the floor of the Well that is not covered by a strange, dark carpet of some kind.</scene_description>
<character>INDY</character>
<dialogue>The Ark must be in that stone case. What's that gray stuff all over the floor --</dialogue>
<scene_description>He breaks off realizing exactly what that carpet is. He blanches. Indiana Jones blanches. Indy drops his torch to the floor of the Well. This is answered by the most horrific HISSING imaginable. WHAT HE SEES. That thick dark carpet is moving. It's alive. It's thousands and thousands of deadly poisonous snakes -- Egyptian asps. And the only thing that seems capable of avoiding this venomous groundcover is the altar. The snakes ebb and flow near it, but never encroach on it, as though repelled by some invisible force. Indy shakes his head and talks to himself.</scene_description>
<character>INDY</character>
<dialogue>Why snakes? Why did it have to be snakes? Anything else.</dialogue>
<scene_description>After a moment of this, he stops. He gathers his energy and resolve and gets back to the task.</scene_description>
<character>SALLAH</character>
<dialogue>Asps. Very dangerous.</dialogue>
<scene_description>Where Indy's torch has landed is a circle of snake-free floor. The snakes hate the flame; they stay away.</scene_description>
<character>INDY</character>
<dialogue>Lots of torches. And oil. I want a landing strip down there.</dialogue>
</scene>
<scene>
<stage_direction>INT. THE WELL OF THE SOULS</stage_direction>
<scene_description>Fifteen torches have been dropped to the floor of the chamber, combining to make a good-sized clear zone. Smoke begins to fill the room. Several canisters of oil have been lowered into this space. Now, a large wooden crate is lowered slowly by rope. Rope handles are attached to each end of the crate. Up at the hole, Indy gives Sallah a reassuring pat, takes a breath, and swings carefully onto a rope hanging from the hole. Despite his care, he swings a bit and his feet hit the stone pillar which is so near the entry. Surprisingly, the pillar casually moves a bit, showering a light rain of crumbled stone to the floor below. Indy lands on the floor of the Well. He looks at the altar over a sea of undulating death. He picks up an oil canister and splashes two parallel lines of oil and lights them. A path six feet wide beings to open the altar. Behind Indy, Sallah comes quickly down the rope. We beging to INTERCUT all the action in the Well from here on with insert shots of the snakes outside the flames. Snakes and snakes. We see: snakes piled and entwined six inches deep; mother snakes laying snake eggs; snake eggs hatching little snakes; snakes cannibalizing other snakes. OMIT</scene_description>
</scene>
<scene>
<stage_direction>INT. MARION'S TENT</stage_direction>
<scene_description>Belloq has been talking to the still-bound Marion. He has removed her gag. He is impatient, angry, uncomfortable. Caught between two forces.</scene_description>
<character>BELLOQ</character>
<dialogue>Believe me, you made a mistake. If you would just give me something to placate them. Some bit of information.</dialogue>
<character>MARION</character>
<dialogue>I swear to you, I know nothing more. I have no loyalty to Jones. He's brought me only trouble.</dialogue>
<scene_description>He wants to believe her.</scene_description>
<character>BELLOQ</character>
<dialogue>I cannot control them.</dialogue>
<scene_description>Marion's frightened look shifts suddenly to the entrance of the tent. There are a few new arrivals there -- Shliemann, Govler and Belzig. Belzig carries a black leather case. He steps forward and smiles at Marion.</scene_description>
<character>BELZIG</character>
<dialogue>We meet again, Fraulein.</dialogue>
</scene>
<scene>
<stage_direction>EXT. INDY'S DIG - JUST BEFORE DAWN</stage_direction>
<scene_description>The sky is just beginning to lighten over the dunes to the east, making dangerously obvious the thin column of smoke rising from the entrance to the Well. Omar and his men are peering through the smoke down into the Well.</scene_description>
</scene>
<scene>
<stage_direction>INT. THE WELL OF THE SOULS</stage_direction>
<scene_description>Indy and Sallah are on the altar. Pushing together with all their strength, the heavy stone top of the protective chest begins to slide away. Indy and Sallah exchange slightly wary but very excited looks, then continue to push. As the Ark begins to be exposed, the air seems to almost vibrate, to become electrostatically charged. We hear what sounds like a low HUM. The sea of snakes around the altar draws back further from this presence. As the top of the stone chest is pushed completely off and slams down beside it, we see THE LOST ARK OF THE COVENANT. It is awesomely beautiful, breathtaking. 4 feet long, 2.5 feet wide and 2.5 feet high. It's height, however, is increased by the two sculptured gold angels mounted facing each other on the top. Though the body of the Ark is acacia wood, it has been overlaid with gold. An elaborate gold crown surrounds the top edge and gold carrying rings are attached to each corner. Sallah is mesmerized by the sight. His hand starts to reach out and touch one of the angels, but Indy grabs it.</scene_description>
<character>INDY</character>
<dialogue>Don't touch it! Never touch it!</dialogue>
<scene_description>The wooden crate stands open next to the stone chest. Now Indy extracts the wooden poles from its rings and begins fitting them through the rings in the Ark. This takes some maneuvering by the two men, but soon they are able to lift the Ark clear of the stone chest and into the wooden crate. They extract the poles, fasten the top of the crate and stick the poles through the rings of the wooden crate. They start back toward the space under the hole. The fire strips have begun to dwindle, as have some of the torches. The snakes move slowly in toward the clear spaces. Indy and Sallah eye them nervously as they hurry along with their heavy load. Under the hole, they hurriedly attach ropes to the wooden crate and it is pulled up. Indy's concentration is on the tide of snakes.</scene_description>
<character>INDY</character>
<dialogue>Hurry up! Why did it have to be snakes?</dialogue>
<scene_description>Sallah takes the next rope and climbs quickly out of the Well. Indy has picked up a torch and now throws it at a pool of snakes who are too close for his comfort. He turns and takes hold of the exit rope. He gives it a first tug and it falls down into the Well, landing partly beyond the ring of fire where it instantly disappears in a tangle of angry, hissing asps. Indy looks up at the hole.</scene_description>
<character>INDY</character>
<dialogue>What the --</dialogue>
<scene_description>Smiling down at him from the perimeter of the entry are Belloq, Shliemann and Gobler.</scene_description>
<character>BELLOQ</character>
<dialogue>Why, Dr. Jones, whatever are you doing in such a nasty place?</dialogue>
<scene_description>Belloq and the Germans laugh.</scene_description>
<character>INDY</character>
<dialogue>Why don't you fellows come down here? I'll show you.</dialogue>
<character>BELLOQ</character>
<dialogue>No thank you, my friend.</dialogue>
<parenthetical>(he glances around him)</parenthetical>
<character>BELLOQ</character>
<dialogue>I think we are all very comfortable up here.</dialogue>
</scene>
<scene>
<stage_direction>EXT. INDY'S DIG - DAWN</stage_direction>
<scene_description>Sunlight is flooding this tableau: Sallah, Omar and his men are being held at bay by ten armed Nazis. The wooden crate sits safely nearby. Belzig and another Nazi have the gagged Marion held in their rough grasp.</scene_description>
<character>BELLOQ</character>
<parenthetical>(down to Indy)</parenthetical>
<dialogue>After all these years, it is most considerate of you to aid me in this way.</dialogue>
<scene_description>As Belloq speaks, Shliemann exchanges a look with Belzig. Belzig smiles and takes the gag from Marion's mouth.</scene_description>
</scene>
<scene>
<stage_direction>INT. WELL OF THE SOULS</stage_direction>
<scene_description>Shliemann smiles down at Indy.</scene_description>
<character>SHLIEMANN</character>
<dialogue>I'm afraid we must be going now, Dr. Jones. Our prize is awaited in Berlin. But I do not wish to leave you down in that awful place...</dialogue>
<parenthetical>(he gives a sign)</parenthetical>
<dialogue>... all alone.</dialogue>
<scene_description>Belzig and the Nazi move Marion to the hole and, to Belloq's surprise, push her in. Marion falls thirty feet screaming. Indy drops the torch, braces, and catches her! Her weight knocks him to the ground, almost into the snakes. She looks around at the snakes, clinging to him more desperately as he struggles to his feet trying to unload her.</scene_description>
<character>MARION</character>
<dialogue>Don't put me down!</dialogue>
<scene_description>Up at the hole, there's plenty of dissension.</scene_description>
<character>BELLOQ</character>
<dialogue>The girl was mine!</dialogue>
<character>SHLIEMANN</character>
<dialogue>She is of no use to us. Only our mission for the Fuhrer matters.</dialogue>
<scene_description>Shliemann glances meaningfully around at the other Nazis.</scene_description>
<character>SHLIEMANN</character>
<dialogue>I wonder sometimes, Monsieur, if you have that clearly in mind.</dialogue>
<scene_description>Belloq feels how much he is the outsider, his own vulnerability. He backs down with the wisdom of survival. He turns to look down at Indy and Marion. His manner is gallant.</scene_description>
<character>BELLOQ</character>
<dialogue>Goodbye, mademoiselle.</dialogue>
<parenthetical>(a pause, then with respect)</parenthetical>
<dialogue>Indiana Jones... adieu!</dialogue>
<scene_description>Belloq and the others step back from the hole and unseen Nazis slam the heavy stone door into place. Marion screams. Her scream is accompanied by -- A huge WHOOSH! as air is sucked out and the chamber is sealed. Half of the torches still burning go out with the sound. The remaining torches continue to extinguish at punctuating intervals throughout the following action and the snakes immediately flood into the newly-darkened spaces. Indy puts Marion down and snatches up two burning torches. He hands one to Marion.</scene_description>
<character>INDY</character>
<dialogue>Don't panic. There's plenty of time for that later. Wave that at anything that slithers.</dialogue>
<scene_description>Indy holds his torch out like a lantern and begins a slow 360o turn, his eyes peering into the gloom, examining every inch of the wall and ceiling.</scene_description>
<character>MARION</character>
<dialogue>What are you doing?</dialogue>
<character>INDY</character>
<dialogue>Just watch the floor.</dialogue>
<scene_description>Reminded of the encroaching snakes, Marion waves her torch at the nearest edge of their circle. She looks faint. Indy continues his slow turn.</scene_description>
<character>MARION</character>
<dialogue>Whatever you're doing, do it faster.</dialogue>
<character>INDY</character>
<parenthetical>(he spots something)</parenthetical>
<dialogue>There!</dialogue>
<scene_description>His head whips around, looking at the pillars around the room. He sees what he wants. He grabs one of the oil canisters, looks back to the spot on the wall he's chosen and splashes oil on the floor in that direction, then lights it. A path opens toward that wall.</scene_description>
<character>INDY</character>
<dialogue>Come on!</dialogue>
<scene_description>Marion is frozen in her spot. Indy drags her after him. He splashes oil the rest of the way to the wall. It lights and Indy pulls Marion over to the wall. He pours the remaining oil in a circle around them, creating a safe zone there.</scene_description>
<character>INDY</character>
<dialogue>Stay here!</dialogue>
<character>MARION</character>
<parenthetical>(grabbing him)</parenthetical>
<dialogue>Where are you going?</dialogue>
<character>INDY</character>
<dialogue>I'll be back in a minute. We're going through this wall.</dialogue>
<scene_description>Marion looks at the wall, which looks like all the rest to her. She thinks he's crazy.</scene_description>
<character>INDY</character>
<dialogue>Just keep your eyes open and get ready to run. No matter what happens to me.</dialogue>
<character>MARION</character>
<parenthetical>(panicked)</parenthetical>
<dialogue>What do you mean?</dialogue>
<scene_description>Too late. Indy runs back through the path of flames to the center of the room. Snakes strike at his flying heels. Indy reaches the base of the pillar which he touched briefly on his original descent. He uses the torch to clear away the scattered snakes climbing on it, then pulls out his whip. He draws it back, then wraps it solidly around the pillar 15 feet up. With the torch in his mouth, he beings climbing the pillar. It moves ominously under his weight. The last two torches still burning on the floor go out. Now the only light in the chamber is provided by the torches held by Indy and Marion and the dwindling oil flames. Snakes move in and surrond the base of Indy's pillar. The path between Marion and the center of the room is overrun. The circle of flame around Marion is dying down. She looks beyond it with terror-widened eyes, then up through the increasing smoke at the distant Indy. Near the top of the pillar, Indy's hands strain along his taut whip, which he has moved higher. A snake slithers into view there, inches from Indy's straining face. Indy turns his head so the torch in his mouth can burn it. The snake falls from the pillar. Indy's torch is dwindling. Indy works his body around so that he's in on the side of the pillar away from Marion. The pillar moves, showering dust. Indy looks at the chamber wall five feet away, takes a breath and swings his legs up against it. He is now braced between the pillar and wall.</scene_description>
<character>MARION (O.S.)</character>
<parenthetical>(screaming)</parenthetical>
<dialogue>Where are you?!</dialogue>
<scene_description>Snakes are moving in force up the pillar toward Indy's dwindling torch. Indy grasps the pillar for dear life, grimaces with exertion and pushes against the wall with all he's got. The pillar begins to break loose of the ceiling, then stops. Indy's eyes are on the torch. It is just a spot of flame now. Snakes are sliding up toward his hands. Indy again pushes against the wall and torch falls out of his mouth. The pillar goes! In the dim light, we see it fall like a tree directly at Marion. Indy rides it down. The top hits the wall three feet from a cringing Marion and smashes through to a black chamber beyond. Indy flies off into the darkness. Gone. Marion clutches her torch at the black hole.</scene_description>
<character>MARION</character>
<dialogue>Indy! Where are you?! Please Lord!</dialogue>
<scene_description>There is a moment that seems an eternity, then Indy appears like an apparition out of the void.</scene_description>
<character>INDY</character>
<dialogue>Come on!</dialogue>
<scene_description>He grabs her and helps her over the remains of the wall into - -</scene_description>
</scene>
<scene>
<stage_direction>INT. THE CATACOMBS</stage_direction>
<scene_description>The winding string of connected chambers is revealed to them only a few feet at a time as their torch lights the way.</scene_description>
<character>MARION</character>
<dialogue>The snakes... are they here?</dialogue>
<character>INDY</character>
<dialogue>I guess not. I think I'd be dead.</dialogue>
<character>MARION</character>
<dialogue>Do you know where you're going?</dialogue>
<character>INDY</character>
<dialogue>Absolutely.</dialogue>
<character>MARION</character>
<dialogue>Thank god. Where?</dialogue>
<character>INDY</character>
<dialogue>Out.</dialogue>
<scene_description>They round a corner and flush a covey of bats. Marion screams.</scene_description>
<character>INDY</character>
<dialogue>Don't do that. It scares me.</dialogue>
<scene_description>Marion gives him a look. They round a corner and begin a walk through a maze of chambers that present for their inspection: moldering mummies and stacked saracophagi; a room decorated with a thousand human skulls; a wall crawling with huge scarabaeid beetles. Marion is quite naturally a nervous wreck; she jumps when Indy grabs her suddenly and points.</scene_description>
<character>INDY</character>
<dialogue>Look!</dialogue>
<scene_description>WHAT THEY SEE. There, coming through the crack in the corner of the next chamber, is white blessed sunlight.</scene_description>
</scene>
<scene>
<stage_direction>EXT. THE TANIS DIGS - NEAR AIRSTRIP - DAY</stage_direction>
<scene_description>Indy and Marion peek out into the light from the shadows of an abandoned excavation. Before them is the improvised airstrip serving the digs: a crude runway, a tent supply depot, two fuel tank trucks. Down by the fuel trucks a German Mechanic is looking skyward. Now Indy and Marion look there too, drawn by the roaring sound of -- A Flying Wing, which is circling over the digs in preparation to landing. Now a new figure approaches the German Mechanic. It is Gobler; he yells to the mechanic, indicating the plane.</scene_description>
<character>GOBLER</character>
<dialogue>Get it gassed immediately! It has an important cargo to take out!</dialogue>
<scene_description>In the distance, the Flying Wing lands and rolls toward the men. Gobler spins and heads back toward the main camp, which is hidden from view by a rise. Indy and Marion watch him go.</scene_description>
<character>INDY</character>
<dialogue>When the Ark gets loaded, we're already going to be on that plane.</dialogue>
<scene_description>The Flying Wing rolls up into the space near the fuel trucks. The German Mechanic puts blue blocks in front of the tires as the engines continue to roar. Indy and Marion run in a crouch to a hiding spot closer to the plane, near the supply tent. Suddenly, a Second German Mechanic appears behind them. He is as surprised as they are, but recovers quickly and swings a monkey wrench at Indy. Indy grabs the swinging arm and the two men tumble out into the open, wrestling. Marion remains hidden, moving fast among the crates. The first German mechanic, who is just pulling the fuel hose from the tank truck to the plane, sees the combatants and runs to help his countryman. He is almost upon them when Indy puts the Second German away with a devastating left -- right - - left combination. He turns to find the first German Mechanic flying at him. The roll toward the rear of the Flying Wing and its lethally spinning reversed propellers. In the cockpit of the Flying Wing, the Pilot has been fiddling with his gauges just prior to shutting off his engines. Now he notices the fight going on outside. The fistfight between Indy and the German Mechanic has taken on a new stomach-tightening dimension. The men are fighting and flailing in and out between the spinning props at the back of the plane's wings. Each man comes within inches of the becoming instant mincement. The Pilot slides away the top of his cockpit and stands up. He pulls a Lugar from his side and points it, waiting for a clear shot at Indy. The German Mechanic kicks Indy away from him and the Pilot aims his pistol. Suddenly, Marion appears behind the Pilot, standing on the opposite wing, and bashes him over the head with one of the blue blocks that was holding the tires. The Pilot drops down into the cockpit, his body falling on the throttle. The engines roar louder, revving up. The plane begins to roll, rotating around its one still-blocked set of tires. Marion grabs onto the cockpit to keep from slipping into the props. She bends into the cockpit, trying to pull the Pilot's body off the throttle. No luck. She grimaces and climbs inside. Her shoulder bumps the top of the cockpit; it slides tightly shut above her. Under the moving wing, Indy delivers a knockout right cross to the German Mechanic which sends him staggering back toward a roaring propeller. Indy's grimace registers the man's demise and a fine mist of blood wafts toward him. Indy spins toward the sound of crumpling metal and sees -- The other top of the Flying Wing slice into a tank truck. The airplane fuel inside floods out onto the pavement, surrounding the plane. Indy backpedals away from the plane, his eyes searching the scene for Marion. Suddenly, he is shocked to see her in the cockpit. He runs toward her, skidding through the gasoline.</scene_description>
<character>INDY</character>
<dialogue>Get out! Get out!</dialogue>
<scene_description>Marion is struggling with the top of the cockpit. She can't budge it. She's trapped.</scene_description>
</scene>
<scene>
<stage_direction>EXT. THE COMMAND TENT - DAY</stage_direction>
<scene_description>Three Armed Nazis stand guard around the wooden crate containing the Ark. It is sitting near the flopped-open entrance to the Command Tent and there is furious activity going on here. Belloq, Shliemann, Golber, Belzig and assorted Aides are packing up all the papers and personal items in preparation for a hasty departure. A large crowd of Arab Diggers are milling about among the tents. They all want to get a look at the Ark. Sallah is among them. All at once, there is an earthshaking explosion. All eyes turn toward the rise that hides the airstrip. A huge fireball floats into view over there. Everyone starts running toward it. Shliemann yells at Belzig and the Armed Nazis.</scene_description>
<character>SHLIEMANN</character>
<dialogue>Stay with the Ark!</dialogue>
</scene>
<scene>
<stage_direction>EXT. THE RISE ABOVE AIRSTRIP - DAY</stage_direction>
<scene_description>Almost all the Arabs and Germans in the digs have congregated here and are staring at the burning remains of the Flying Wing. Belloq and Shliemann arrive just as the second fuel tank blows up. The concussion knocks many of the observers flat. Belloq, Shliemann and Gobler watch the scene in alarm.</scene_description>
<character>SHLIEMANN</character>
<dialogue>Sabotage!</dialogue>
<character>BELLOQ</character>
<dialogue>We must get the Ark away from this place immediately!</dialogue>
<character>SHLIEMANN</character>
<parenthetical>(to Gobler)</parenthetical>
<dialogue>Have it put on the truck. We'll fly out of Cairo.</dialogue>
<scene_description>Gobler snaps his heels, turns to go.</scene_description>
<character>SHLIEMANN</character>
<dialogue>And Gobler --</dialogue>
<parenthetical>(Gobler stops)</parenthetical>
<dialogue>-- I want plenty of protection.</dialogue>
<scene_description>Gobler nods and runs off. Shliemann heads back toward camp. Belloq hesitates a long moment, studying the burning wreckage with an odd, suspicious look. Finally, he turns and leaves, passing a nearby stack of barrels. When he has passed, Sallah appears from among the barrels. He searches the crowd for his people and starts a broken field run along some tents to avoid a group of Germans and is running flat-out when someone sticks out a leg and sends him flipping. Sallah, dust all over his face, looks angrily toward the concealed culprit. At once, a flashing white grin splits his darkened face. Indy and Marion, splotched with soot and oil, are hiding in the flap of a tent. Sallah runs into their arms and the three embrace warmly. When they break --</scene_description>
<character>SALLAH</character>
<dialogue>Holy smoke, my friends! I am so pleased you are not dead.</dialogue>
<character>MARION</character>
<dialogue>Us too.</dialogue>
<character>SALLAH</character>
<parenthetical>(suddenly remembering)</parenthetical>
<dialogue>The Ark! They're taking it on a truck to Cairo.</dialogue>
<character>INDY</character>
<dialogue>Where is it?</dialogue>
<scene_description>Sallah gestures to follow and all three run off stealthily through the mostly deserted camp.</scene_description>
</scene>
<scene>
<stage_direction>EXT. AMONG THE TENTS - DAY</stage_direction>
<scene_description>Sallah, Indy and Marion run into a hiding spot behind some water barrels near the Command Tent. They peek out at this activity -- In the big space near the Command Tent is parked an open German staff car; inside is a Blond Driver and an Armed Guard. Directly behind it is a canvas-topped troop truck. At this moment, Belloq and Shliemann are supervising the careful placement of the crated Ark in the back of the truck. When it is securely placed inside, we hear an ominous marching sound and Nine Armed Nazis appear at a trot from between some tents and climb into the back of the truck with the Ark. Behind the water barrels, Sallah and Marion exchange hapless looks, but Indy just concentrates on -- The scene by the truck: Belloq and Shliemann are about to climb into the front staff car when they pause to check out the final component of the convoy. Rolling into place behind the truck is another open staff car. But this one is special - - mounted in the back is a big, black machine gun, manned by a Gunner. At the wheel of the car is Gobler and next to him sits Belzig. Sallah and Marion look at Indy. Belloq and Shliemann climb in the back seat of the front car and the caravan pulls out. Indy watches it go, thinking hard.</scene_description>
<character>INDY</character>
<dialogue>You two get back to Cairo quick and get us transportation to England -- a plane, a ship, anything.</dialogue>
<character>MARION</character>
<dialogue>What about you?</dialogue>
<character>INDY</character>
<dialogue>I'm going to get that truck. I'll meet you at Omar's. Be ready for me.</dialogue>
<scene_description>Sallah nods. Marion looks at him like he's nuts. Indy jumps up, looks around desperately.</scene_description>
<character>MARION</character>
<dialogue>How are you going to get that truck?</dialogue>
<character>INDY</character>
<parenthetical>(still searching)</parenthetical>
<dialogue>I don't know. I'm making this up as I go.</dialogue>
<scene_description>He runs away between two tents.</scene_description>
</scene>
<scene>
<stage_direction>EXT. AT THE EDGE OF THE DIGS - DAY</stage_direction>
<scene_description>From among the tents, Indy suddenly bursts into view, happily astride a magnificent white Arabian stallion. He gallops off across the desert.</scene_description>
</scene>
<scene>
<stage_direction>EXT. THE DESERT (VARIOUS SHOTS) - DAY</stage_direction>
<scene_description>Indy cuts cross-country avoiding the road the convoy has taken. He leaps gullies, climbs dunes, slides down slopes. Soon the convoy comes into view far below him. He tears along a parallel ridge, like an Indian shadowing a wagon train.</scene_description>
</scene>
<scene>
<stage_direction>EXT. DESERT ROAD - DAY</stage_direction>
<scene_description>The convoy is entering rougher country. The narrow mountain road we've seen earlier ascends ahead. To the wide of the road are tall boulders. Suddenly, Indy shoots out from between two rocks and rides directly for the truck. The Armed Nazis in the back of the truck can see nothing because the canvas hides their view. But Gobler, Belzig and the Gunner in the rear staff car have a brief line on him. Belzig points and the Gunner fires away at Indy, the bullets kicking up sand near Indy's horse. The Armed Guard in the cab of the truck leans out to see what's happening. Indy has been riding alongside. Now he stands on the horse and leaps to the cab. In a second, he has flipped the Armed Guard out of the truck. He slides into the cab and begins grappling with the Truck Driver. The Truck Driver tries to hit the brakes, but Inyd kicks his foot away and floors the gas pedal. The truck doubles its speed and shoots onto the steep mountain road.</scene_description>
</scene>
<scene>
<stage_direction>EXT. MOUNTAIN ROAD - DAY</stage_direction>
<scene_description>The Blond Driver of the front staff car sees the truck move up on him in the rearview mirror and speeds up. Belloq, Shliemann and the Armed Guard in the car twist around to look at the struggle in the truck. The Blond Driver begins what will be a continuing preview of the twists in the road. He turns his wheel sharply and takes the lead car around a bend. In the cab of the truck, Indy and the Truck Driver stop their fight temporarily and cooperate in turning the steering wheel. The truck barely stays on the road. A full view reveals the incredible geography of this ride. The convoy is tiny against the spectacular mountainside, the cliffs drop hundreds of feet. At the wheel of the rear car, Gobler swerves to stay on the road and accidentally sideswipes a boulder. The Gunner perched in the back is flipped head over heels out of the road through all the dust the convoy is picking up. The lead staff car reaches the summit of the road and barely makes the hairpin turn there, delivering a destructive blow to the guard rail that has been placed there. The guard rail is now bent. In the cab of the truck, Indy and the Truck Driver again stop trying to choke each other long enough to negotiate the turn together. The bumper of the truck hits the broken guard rail and sends it flying off the cliff. The truck, however, holds the road. In the rear car, Golber and Belzig are trying to see through the thick clouds of dust. Suddenly is clears completely. Unfortunately for them, this happens because their car has shot out into space at the hairpin turn. They are flying to their final reward. Belzig, eyes wide behind his evil spectacles, screams as he goes. In the cab of the truck, the Truck Driver is distracted by the sight of the flying staff car. Indy plasters him and he tumbles out. Far, far below, Belzig's staff car explodes on the rocks. In the back of the truck, a TOUGH SERGEANT takes command of the situation. He picks out six Armed Nazis and motions for them to start climbing around the outside of the truck to the cab. With some trepidation the lucky ones begin that maneuver. The truck is swerving like crazy. In the front staff car, the Armed Guard aims his submachine gun back at Indy, alone now in the truck's cab. Shliemann knocks the barrel roughly away.</scene_description>
<character>SHLIEMANN</character>
<parenthetical>(yelling)</parenthetical>
<dialogue>If anything happens to that Ark, we're all dead men! The Fuhrer will see to it!</dialogue>
<scene_description>Indy sees this from the cab and reacts by speeding up, putting even more pressure on the Blond Driver. Along the back of the truck, Armed Nazis are edging up toward the cab, three on each side. They hang on as the truck rounds a corner and goes into a straightaway that leads through a short tunnel. In the cab, Indy has been concentrating on the lead staff car. Now, just before entering the tunnel, he looks in the side view mirror and sees the Nazis on his side. A quick glance to the other mirror reveals the others. As the truck sweeps into the tunnel, we see Indy just start to turn his steering wheel -- he's going to sideswipe the walls of the tunnel. At the other end of the tunnel, we hear the roar of the two engines and two long, screeching, scraping sounds. The lead staff car shoots out of the tunnel, then the truck, its sides cleaned of Nazis. In the rear of the truck, the Tough Sergeant is looking with distaste back at the tunnel. There remains only him and two Armed Nazis with the Ark. He sends these two climbing up over the top of the truck. In the lead car, the Blond Driver is being pressed hard by Indy, who now edges up to bump them from the rear. Suddenly the Armed Guard next to the Driver sees the two Armed Nazis appear on the top of the truck. Without thinking, he starts to point them out to Shliemann, then realizes his stupidity. In the cab, Indy has seen this and is at first mystified. He checks his side-view mirrors. Then he figures it out and slams on his brakes. The brakes lock, the wheels burn and the truck skids to a dusty halt. The two Armed Nazis fly off the truck, over the cab to the road in front. Indy immediately hits the gas again. The two Armed Nazis, just aiming their weapons, get wiped out. In the rear of the truck, the crated Ark is bouncing all along, no one in sight, because -- The Tough Sergeant is on the top of the truck, making his way steadily forward. This guy clearly knows what he's doing. A submachine gun is slung acorss his back. The truck and the staff car race through a series of S- curves. In the staff car, Belloq and Shliemann spot the Tough Sergeant as he reaches the front of the truck's top and begins to lower his submachine gun barrel toward the cab. Indy is unaware. Belloq and Shliemann exchange looks. Then Shliemann yells to the Armed Guard in the front seat. The Touch Sergeant has a line on Indy. He points his gun. The Armed Guard blasts away at the truck. The Tough Sergeant dies in a hail of bullets and flies off. Indy, who has ducked the gunfire, is confued. But when he sees the Armed Guard up front lower his gun, Indy again floors it and begins bumping the staff car in earnest. The road is almost down to a level now. In the distance -- Cairo. The road takes a little dogleg just before reaching level ground again. Just as the staff car is about to make the turn, Indy smashes them from behind. The staff car flies off the road and down a twenty foot embankment. Indy takes the truck speeding down the road and off toward Cairo. In the staff car, the occupants are bruised but safe. Shliemann points at the departing truck and yells at the Blond Driver. The staff car fishtails out of its sandy resting place and takes off after the truck.</scene_description>
</scene>
<scene>
<stage_direction>EXT. OUTSKIRTS OF CAIRO (VARIOUS SHOTS) - DAY</stage_direction>
<scene_description>Indy had an ever-decreasing lead on the staff car as the race thunders into the narrow streets. People and animals leap out of the way; carts and barrels go flying helter skelter. Indy takes the truck down a street so narrow there are only inches to spare on each side. Pedestrians jump into doorways.</scene_description>
</scene>
<scene>
<stage_direction>EXT. OMAR'S SQUARE - DAY</stage_direction>
<scene_description>When the truck clears the narrow street, it is in a small square. Omar's garage is gaping open on the opposite side. Indy hits the brakes and the truck skids across the square and into the garage. The garage door slams shut and tenting drops from the building to hide the door. Various Arabs, friends of Omar, rush out with fruit carts and baskets and set up a mini-bazaar in seconds. Two Arab Boys sweep the tracks of the truck into oblivion. They throw aside their brooms just as the staff car appears from the narrow street. Belloq and Shliemann look around desperately as the Blond Driver steers the car through the square and out the other side.</scene_description>
</scene>
<scene>
<stage_direction>EXT. CAIRO DOCKS - NIGHT</stage_direction>
<scene_description>The waterfront is dark and misty. An old tramp steamer, THE BANTU WIND, sits by the pier. Several fierce Black African Pirates, the crewmembers, are taking on final stores. A small light illuminates the top of the gangplank. In its circle, Indy and Marion exchange long, warm embraces with Sallah. A short distance away the ship's Captain, a handsome, powerful black named SIMON KATANGA, watches the rail, smoking a pipe. DISSOLVE TO:</scene_description>
</scene>
<scene>
<stage_direction>EXT. OPEN SEA - THE MEDITERRANEAN - NIGHT</stage_direction>
<scene_description>The Batu Wind is bathed in moonlight as it cuts across the even seas.</scene_description>
</scene>
<scene>
<stage_direction>INT. INDY'S CABIN - NIGHT</stage_direction>
<scene_description>Indy comes in, takes off his hat, jacket, whip and holster. The door which connects this cabin to the next opens and Marion appears. She is carrying a half-full glass of liquor, but what you notice is the long, snow-white, high-necked nightgown she is wearing. It is very prim. Very innocent. And very sexy. Marion does a slightly embarrassed model's turn for Indy.</scene_description>
<character>MARION</character>
<dialogue>I have a feeling I'm not the first woman to travel with these pirates. There's a whole wardrobe in there.</dialogue>
<character>INDY</character>
<dialogue>It's lovely.</dialogue>
<scene_description>Indy sits on the cot, takes off his boots. He leans back against the wall and rubs his eyes. Marion sits on the bed, leans back against the wall with him and looks down at her white nightgown. She chuckles.</scene_description>
<character>MARION</character>
<dialogue>I feel like a virgin bride in this.</dialogue>
<character>INDY</character>
<dialogue>That's what you look like.</dialogue>
<character>MARION</character>
<parenthetical>(takes a drink)</parenthetical>
<dialogue>There are some things you can recapture in this life, but that isn't one of them.</dialogue>
<character>INDY</character>
<dialogue>What would you like to recapture?</dialogue>
<character>MARION</character>
<parenthetical>(after a long pause)</parenthetical>
<dialogue>Nothing. That is the way it is.</dialogue>
<scene_description>He watches her closely as she drains her glass and puts it down.</scene_description>
<character>INDY</character>
<dialogue>Did I ever say I was sorry I burned down your tavern?</dialogue>
<scene_description>She turns so their lips are very close.</scene_description>
<character>MARION</character>
<dialogue>No. Then again, I burned up that plane.</dialogue>
<character>INDY</character>
<dialogue>You saved my life.</dialogue>
<character>MARION</character>
<dialogue>And you saved mine.</dialogue>
<character>INDY</character>
<dialogue>Seems things have worked out kind of even.</dialogue>
<character>MARION</character>
<dialogue>That's the way I like them.</dialogue>
<character>INDY</character>
<dialogue>Maybe we should consider all past accounts closed.</dialogue>
<scene_description>Marion thinks about this a long time.</scene_description>
<character>MARION</character>
<dialogue>No. Not yet.</dialogue>
<character>INDY</character>
<dialogue>What else?</dialogue>
<scene_description>She looks into his eyes. A smile jumps from her lips to his. He kisses her and they sink slowly to the cot.</scene_description>
</scene>
<scene>
<stage_direction>INT. IN THE HOLD</stage_direction>
<scene_description>The ship's rats are agitated. They tremble and chitter at the edges of the compartment, darting about. Out in the center of the hold, sitting all by itself, is the crated Ark. HUM-M-M- M.</scene_description>
</scene>
<scene>
<stage_direction>INT. INDY'S CABIN - DAY</stage_direction>
<scene_description>Marion awakes with a start, alone in the cot. Something's wrong. The ship is quiet. Indy is strapping on his holster. He pulls his whip and jacket from a hook.</scene_description>
<character>MARION</character>
<dialogue>What is it?</dialogue>
<character>INDY</character>
<dialogue>The engines have shut down.</dialogue>
<character>MARION</character>
<dialogue>Why?</dialogue>
<character>INDY</character>
<dialogue>I'm going to find out.</dialogue>
</scene>
<scene>
<stage_direction>EXT. LOWER DECK - DAY</stage_direction>
<scene_description>Indy runs toward the bow, then climbs some steps four at a time. A MESSENGER PIRATE is hurrying to get him, but flies by him on the steps. By the time the Pirate stops himself, Indy is gone.</scene_description>
<character>MESSENGER PIRATE</character>
<dialogue>Mister Jones! The Captain he say --</dialogue>
</scene>
<scene>
<stage_direction>EXT. THE BRIDGE - DAY</stage_direction>
<scene_description>Captain Katanga is looking with concern ahead of the ship. Indy appears behind him.</scene_description>
<character>INDY</character>
<dialogue>What's wrong?</dialogue>
<character>KATANGA</character>
<dialogue>You have most important friends.</dialogue>
<scene_description>Katanga turns quickly, pointing with a sweeping hand. Indy looks. Arrayed in a rough semicircle around the ship are ten German Wolf Submarines. All of their deck guns are manned and trained on the Bantu Wind. Worse, at least five heavily-armed boarding parties in rafts are closing quickly on the ship.</scene_description>
<character>INDY</character>
<dialogue>Holy shit.</dialogue>
<character>KATANGA</character>
<parenthetical>(fast)</parenthetical>
<dialogue>I sent my man for you. You and the girl must disappear. We have a place in the hold. Go, my friend!</dialogue>
</scene>
<scene>
<stage_direction>EXT. UPPER DECK - DAY</stage_direction>
<scene_description>Indy tears along the deck. He looks over the rail and sees two Nazi rafts already next to the ship.</scene_description>
</scene>
<scene>
<stage_direction>EXT. LOWER DECK - DAY</stage_direction>
<scene_description>Indy flies down some stairs and starts to round a corner. Suddenly he throws himself backwards, out of view. Three uniformed Nazis are clustered near a cabin door holding the Messanger Pirate. Now two more come out of the cabin trying to maintain their grasp on a kicking, yelling Marion. She is still wearing her white nightgown. More Nazis clamber onto the deck and head toward Indy, slamming open doors, rousting Pirates, spouting racial epithets. Indy steps backwards and fades into the maze of the ship.</scene_description>
</scene>
<scene>
<stage_direction>EXT./INT. THE BANTU WIND (VARIOUS SHOTS) - DAY</stage_direction>
<scene_description>The ship is swarming with Nazis. The Black Pirates are herded forward, subjected to rough physical and verbal abuse by the Aryan Supermen. The Pirates are clearly under orders not to resist, but not one of these strong men likes it. They'd gladly give their lives to rip the throat out of a few Krauts. In the hold, the door slams open and Nazis pour in; they smile at the sight of the crated Ark.</scene_description>
</scene>
<scene>
<stage_direction>EXT. THE BRIDGE - DAY</stage_direction>
<scene_description>Captain Katanga watches as his crew is crowded into a circle of Nazis on the wide deck below him. He is surrounded by Belloq, Shliemann and several Nazis, two of whom are holding Marion. Now the Nazis from the hold appear on the lower deck carrying the crated Ark by means of the long poles. Belloq's eyes shine at the sight.</scene_description>
<character>SHLIEMANN</character>
<dialogue>Take it aboard the Wurrfler!</dialogue>
<character>BELLOQ</character>
<dialogue>And be very careful!</dialogue>
<scene_description>The Ark is taken away.</scene_description>
<character>SHLIEMANN</character>
<parenthetical>(to a Sergeant below)</parenthetical>
<dialogue>What about Jones?</dialogue>
<character>SERGEANT</character>
<dialogue>Not a trace yet, sir!</dialogue>
<character>KATANGA</character>
<dialogue>Jones is dead.</dialogue>
<scene_description>Belloq and Shliemann regard him suspiciously.</scene_description>
<character>KATANGA</character>
<dialogue>We killed him. He was of no use to us. The girl, however, has certain value where we are headed. She will bring a very good price. If that cargo you have taken was your goal, then go in peace with it. But leave us the girl. It will reduce our loss on this trip.</dialogue>
<character>SHLIEMANN</character>
<dialogue>Savage. You are not in a position to ask for anything. We will take what we wish and then decide whether or not to blow your ship from the water.</dialogue>
<scene_description>Belloq steps forward and puts a proprietory hand on Marion's arm, fixing Shliemann with a steady look.</scene_description>
<character>BELLOQ</character>
<dialogue>That girl goes with me. It will be part of my compensation. I'm sure the Fuhrer would approve.</dialogue>
<scene_description>Shliemann considers.</scene_description>
<character>BELLOQ</character>
<dialogue>If she fails to please me, you can do with her as you wish.</dialogue>
<scene_description>This appeals to Shliemann's nature. He signals his agreement with a gesture. Belloq ushers Marion away with her two keepers. DISSOLVE TO:</scene_description>
</scene>
<scene>
<stage_direction>EXT. "THE WURRFLER" - CONNING TOWER - DAY</stage_direction>
<scene_description>The Nazis have returned to their subs. Shliemann is on the bridge with THE WURRFLER'S CAPTAIN and the Captain's Aides. The Captain is an honorable career Navy man.</scene_description>
<character>THE WURRFLER'S CAPTAIN</character>
<dialogue>Colonel Shliemann, all torpedoes are loaded.</dialogue>
<scene_description>Shielmann nods and continues to stare at the Bantu Wind, as does the Captain. The Pirate crew is all lined across the bow. Towering above the others, standing on the rail, proud and defiant, is Katanga. Shliemann looks at the Wurrfler's Captain a moment.</scene_description>
<character>SHLIEMANN</character>
<dialogue>What do you think, Captain?</dialogue>
<character>THE WURRFLER'S CAPTAIN</character>
<parenthetical>(earnestly)</parenthetical>
<dialogue>I think not, Colonel. Nothing is to be gained. We are not at war.</dialogue>
<scene_description>Shliemann mulls this, then turns to the hatch.</scene_description>
<character>SHLIEMANN</character>
<dialogue>... yet. Let the vermin live. We must be on our way.</dialogue>
<scene_description>Shliemann disappears down the hatch. The Captain is pleased. A Radioman speaks into his headset, then follows the other Aides down the hatch. In the distance the other subs begin to move away from the ship. The Captain, alone on the bridge, looks once more at Katanga. On the Bantu Wind, Katanga executes what might be taken for a salute. The Wurrfler's Captain smiles, salutes crisply, then goes below, pulling the hatch closed. Immediately, the Wurrfler begins to move. And as it does, we see the rail at the aft of the main deck. From nowhere, a wet sleeve appears and a hand grabs the rail! Indy pulls his dripping body onto the sub's main deck. He has lost his felt hat once and for all. Other than that, his outfit is the same as always, just wetter. Suddenly, water is washing over his feet; the Wurrfler is beginning to submerge. Indy runs through quickly deepening water toward the haven of the conning tower. Halfway there, he slips and goes down. Only by grabbing the base of the aftmast light does he keep from being swept away. He struggles to his feet and sloshes through knee-deep water to the base of the conning tower. Indy climbs the ladder to the bridge of the conning tower and looks down. The water is rising toward him fast. Indy climbs the ladder to the top of the turret and braces himself between the two uprights there - the 7 foot radio mast and the 20 foot periscope. Still the ocean comes up to meet him. Soon the top of the turret is under water and radio mast is disappearing. Indy shifts his grip to the periscope, working his way up it and hanging on for dear life as the ocean whips at his body. The periscope is quickly going under. Indy hangs on to the top three feet, all that remains above. The forward movement of the sub continues, but, to Indy's slowly dawning delight, the dive stops. No more of the periscope goes under. Indy smiles; it's a pretty good smile, too, given the circumstances. Indy pulls out his bullwhip and begins tying himself to the periscope.</scene_description>
</scene>
<scene>
<stage_direction>EXT. THE PERISCOPE - AFTERNOON</stage_direction>
<scene_description>The sun warms that part of his body Indy has contrived to keep out of the water. The rest floats out behind. Indy isn't comfortable, but all in all, it's not as terrible as he might have feared. DISSOLVE TO:</scene_description>
</scene>
<scene>
<stage_direction>EXT. THE PERISCOPE - DUSK</stage_direction>
<scene_description>It's as terrible as Indy might have feared. He looks wasted. Waterlogged and exhausted. The wet leather of the whip is contracting and he must struggle constantly to keep it from cutting into his skin. DISSOLVE TO:</scene_description>
</scene>
<scene>
<stage_direction>EXT. THE OCEAN - NIGHT</stage_direction>
<scene_description>Several shark fins cut the surface, appearing and disappearing in the bright moonlight. They are shadowing --</scene_description>
</scene>
<scene>
<stage_direction>EXT. THE PERISCOPE - NIGHT</stage_direction>
<scene_description>Indy looks through barely open eyes at the sharks running alongside. There is nothing to be done. His eyes close. FADE OUT.: FADE IN:</scene_description>
</scene>
<scene>
<stage_direction>EXT. THE PERISCOPE - NIGHT</stage_direction>
<scene_description>The submarine has stopped. The water is calm. The moon is bright. A gentle swell splashes Indy awake. He blinks, tries to regain his senses. He makes an inventory of his body. Surprised to find himself intact, his spirits lift. Some hidden reserve of energy flows through him. He frees his aching arms from the wet leather of his whip, leaving only one loop around his waist to hold him to the sub. He rubs his hands and stretches. Once again, he has survived. To fight again. He looks around. WHAT HE SEES. A lovely island. No sign of man's presence. The sub has stopped at the mouth of a wide cove completely ringed by tall white rock cliffs. Suddenly the sub begins to move again. It is headed directly toward the center of the cliffs. Indy holds on, mystified, alert. When the cliffs are very close, the sub begins to dive.</scene_description>
<character>INDY</character>
<dialogue>Damn!</dialogue>
<scene_description>He thinks hard. Inspiration hits just before the water. Indy flips his leather jacket up over his head and holds the jacket out in front of him. His head is hidden by the jacket as he goes under water.</scene_description>
</scene>
<scene>
<stage_direction>INT. THE UNDERWATER TUNNEL - NIGHT</stage_direction>
<scene_description>The sub enters an underwater tunnel that penetrates into the cliffs. Indy is held to the periscope by his crossed legs and the whip. His improptu air bubble is working, but it's a struggle to maintain it. The sub begins to cut through thick marine vegetation. Each dangling growth pulls at Indy's body and slaps at his leather bubble. Now a clump of entwined seaweed rips the leather out of his hands and his bubble of air rises away. Indy hangs on, holding his breath, but the vegetation gets denser. Finally, it pulls him off the periscope. The sub moves on, disappearing ahead. Indy rises desperately through the dark water, his hand outstretched. Then, almost simultaneously, hand and head hit solid rock. But no air. Indy feels along the ceiling of rock. Nothing. It's all submerged. Indy dives, stroking deep into the tunnel. When he has descended 15 feet, he grabs a vine and steadies himself. His eyes search the dim roof of the tunnel. He sees his last hope in the distance -- a small blue circle, an air pocket. He swims for it. In the air pocket, Indy's head breaks the surface and smashes into rock again. The pocket is only six inches deep. No matter. Indy loves it. He'd like to move in. He gulps air.</scene_description>
</scene>
<scene>
<stage_direction>INT. THE SUB BASE - DOCKING BAY</stage_direction>
<scene_description>The Wurrfler has arrived at an extraordinary base built in the hollow interior of the island. This chamber, with the docking bay, is almost all water. A huge natural cavern, it has been reinforced and enlarged by the Germans. The Wurrfler sits surfaced at the dock. The Ark has been unloaded and placed on a cart. Shliemann, Belloq and Marion have just disembarked and been met by a Nazi contingent from the base. Marion looks worse for the trip. Her white nightgown is now ripped and smudged. One of the greeting Nazis, a TALL CAPTAIN, salutes Shliemann and Belloq. As he speaks to them, we notice that right behind this group, just above a great deal of sub unloading activity, Indy's whip hangs from the periscope. Working Nazis pass within feet of it unaware; the Tall Captain would see it in a moment if he were not so focused on the new arrivals.</scene_description>
<character>TALL CAPTAIN</character>
<parenthetical>(to Belloq)</parenthetical>
<dialogue>The tents have been arranged in accordance with your radioed instructions, sir.</dialogue>
<character>BELLOQ</character>
<dialogue>Good. We must take the Ark there now.</dialogue>
<scene_description>Shliemann looks a little unhappy about this exchange, but says nothing. The groups moves swiftly toward the end of a mine train arrangement. The train, consisting of small, separate, electric-powered cars, sits on a track which disappears into a tunnel cut in the rock. On the turret of the Wurrfler, the Wurrfler's Captain lights a cigarette as he watches the mine train disappear, then returns his attention to the activity on the dock. He leans idly against the periscope, his head two feet below Indy's dangling whip. Something catches his eye, he yells an order and climbs down from the turret to deal with the matter. We hold on the whip for a long moment, until its owner's hand appears and quickly reclaims it.</scene_description>
</scene>
<scene>
<stage_direction>INT. TRAIN TUNNEL</stage_direction>
<scene_description>The Ark and its entourage are moving slowly up the tight dark tunnel, their way lit by intermittent lanterns. The tunnel is irregular, but generally about 7 feet wide. It's height varies from an average of about 7 feet to a low of only about 4.5 feet at the points (every 40 feet) where support beams cross the track. The result is that there is only about a foot of clearance above the mine cars at those points; passengers must duck to keep from being hit in the head. Shliemann, looking worried, and Belloq, very excited, are focused on the Ark in the car ahead.</scene_description>
<character>SHLIEMANN</character>
<dialogue>I am uncomfortable with the thought of this --</dialogue>
<parenthetical>(spitting it out)</parenthetical>
<dialogue>-- Jewish ritual. Are you sure it's necessary?</dialogue>
<character>BELLOQ</character>
<parenthetical>(playing him)</parenthetical>
<dialogue>Let me ask you this -- Would you be more comfortable opening the Ark in Berlin -- for the Fuhrer -- and finding out only then if the sacred pieces of the Covenant are inside? Knowing, only then, whether you have accomplished your mission and obtained the one, true Ark?</dialogue>
<scene_description>Shliemann doesn't like any of his alternatives. He looks at Belloq with some suspicions as the train comes into bright light.</scene_description>
</scene>
<scene>
<stage_direction>INT. COMMAND CENTER</stage_direction>
<scene_description>A second natural cavern, even bigger than the first, has been worked over by the Germans into a rectangular, three-story high supply center around a huge, open, center court. Uniformed Nazi Soldiers are everywhere, wrangling supplies and ammunition, monitoring electronic equipment. At the far end of the court, a second train tunnel disappears into the rock. Across the open court, Belloq sees his destination: a large, brilliant white silk tent has been erected in the midst of all this hardware. It looks incongruous, and more than a little eerie. It is the Tabernacle.</scene_description>
</scene>
<scene>
<stage_direction>INT. TRAIN TUNNEL</stage_direction>
<scene_description>Indy is making his way up the tunnel. He hears cars coming from up ahead and steps into the shadows. A mine car passes with several laughing Nazis. Indy continues on his way.</scene_description>
</scene>
<scene>
<stage_direction>INT. THE TABERNACLE</stage_direction>
<scene_description>The light in here is lovely, unearthly. Oil lamps burn. The Tabernacle is really several concentric, silk tents, which creates a flowing maze effect. The innermost tent has at its center a 3-foot high, tapestry-covered altar. Belloq watches with gleaming, obsessed eyes as two Nazis carefully lift the actual Ark out of its crate by means of the long poles. The Ark dazzles the eye, seeming to glow gold in this strange light. The two Nazis place it carefully on the altar. Shliemann and some Aides hang back. Marion is nowhere to be seen.</scene_description>
</scene>
<scene>
<stage_direction>INT. COMMAND CENTER - END OF TUNNEL</stage_direction>
<scene_description>Indy makes a fast break from the shadows of the tunnel to the protection of a high stack of supplies. He climbs the back of the stack, peeks over and surveys the area. WHAT HE SEES. In addition to the Tabernacle, the second train tunnel entrance, and all the activity, Indy's glance rests momentarily on a large, heavy metal door halfway down one wall toward the Tabernacle. It bears the words in German: DANGER - MUNITIONS. Indy continues to scan the scene.</scene_description>
</scene>
<scene>
<stage_direction>INT. THE TABERNACLE</stage_direction>
<scene_description>In the central area with the Ark, Shliemann and the other Nazis wait impatiently, eyeing the Ark with some discomfort. Belloq is not visible, because at the moment he is-- In the folds of the Tabernacle, the silk of the tents undulating around him. The light is even stranger, the scene almost dreamlike. With the help of the Tall Captain, Belloq lets an extraordinary, gold-embroidered, ceremonial robe fall over his head and onto his body. Belloq looks transported, possessed. The Tall Captain unlatches a wooden case and takes from it a sturdy ivory rod about 5 feet long, elaborately engraved. Belloq takes it from him, turns and slips back through the silk. The Tall Captain stays in the folds. Back in the central area, Shliemann and the other Nazis are taken aback by Belloq's appearance in the rove. They exchange looks. From one knot of men there is muttering about "Juden" and such, but when Belloq turns a fiery gaze on them there is immediate silence. Shliemann looks uncertain in this presence. Belloq approaches the Ark. He stops a few feet from it and begins murmuring an invocation in Hebrew. After a few moments of this he advances a step and is about to place the ivory rod in a notch under the lid of the Ark itself. The end of the rod is an inch from the notch when-- Indy steps into the Tabernacle. On his shoulder is a bazooka and it is aimed directly at the Ark.</scene_description>
<character>INDY</character>
<dialogue>Hold it.</dialogue>
<parenthetical>(the Nazi react)</parenthetical>
<dialogue>One move from anybody and I blow that box back to Moses.</dialogue>
<scene_description>Shliemann makes it clear to the other Nazis that Indy is to be obeyed.</scene_description>
<character>BELLOQ</character>
<dialogue>Jones, your persistence surprises even me. You are going to give mercenaries a bad name.</dialogue>
<character>INDY</character>
<dialogue>What about you? Talked to God yet?</dialogue>
<parenthetical>(Belloq's eyes flash)</parenthetical>
<dialogue>Where's the girl?</dialogue>
<character>SHLIEMANN</character>
<dialogue>Doctor Jones, surely you don't think you can escape from this base.</dialogue>
<character>INDY</character>
<dialogue>That depends on how reasonable we're all willing to be. All I want is the girl. We'll keep possession of the Ark only till we've got safe transport to England. Then it's all yours.</dialogue>
<character>SHLIEMANN</character>
<dialogue>If we refuse?</dialogue>
<character>INDY</character>
<dialogue>Then the Ark and some of us are going up in a big bang. I don't think Hitler would like that a bit. Now I don't want to talk about this anymore. Show me that girl in five seconds or--</dialogue>
<scene_description>The Tall Captain flies out of the silk and takes Indy down by the neck. The bazooka clatters across the cement floor as two other Nazis help subdue Indy. The three Nazis take Indy's pistol from his holster and raise him roughly in their grasp.</scene_description>
<character>SHLIEMANN</character>
<dialogue>Jones, this is the second time I have seen you looking very foolish.</dialogue>
<character>INDY</character>
<dialogue>It's a bad habit. I'm trying to break it.</dialogue>
<scene_description>Shliemann draws his Luger.</scene_description>
<character>SHLIEMANN</character>
<dialogue>I'll help you. This time I'll kill you myself.</dialogue>
<scene_description>Shliemann raises the pistol.</scene_description>
<character>BELLOQ</character>
<dialogue>No! Not in the presence of the Ark! Take him outside.</dialogue>
<scene_description>Shliemann eyes Belloq, then the Ark. He lowers the pistol, motions for the Nazis to take Indy out ahead of him. They stop a moment only when Belloq speaks.</scene_description>
<character>BELLOQ</character>
<dialogue>Indiana Jones, I salute you. I am even a little sorry you will miss this moment.</dialogue>
<character>INDY</character>
<dialogue>Thanks. If you talk to Him, tell Him I'm on my way up.</dialogue>
<scene_description>Shliemann motions them out and follows. Belloq turns back to the Ark, raising the ivory rod.</scene_description>
</scene>
<scene>
<stage_direction>INT. COMMAND CENTER</stage_direction>
<scene_description>Shliemann, the Tall Captain, Indy and the two Nazis holding him emerge from the Tabernacle. Shliemann points to a nearby wall and the group starts that way with Shliemann and the Tall Captain slightly ahead.</scene_description>
</scene>
<scene>
<stage_direction>INT. THE TABERNACLE</stage_direction>
<scene_description>Belloq has the ivory rod inserted in the notch under the lid of the Ark. He utters a short phrase in Hebrew and begins to press down on his end of the rod. The lid of the Ark begins to lift. It's difficult work. Belloq puts his whole weight into one big press on his end and the lid opens two feet. Inside the Ark of the Covenant is a preview of the end of the world. A light so bright, a power so fearsome, a charge so jolting, that there is nothing in our world to compare to it. It's as though this magnificent golden box has been gathering electric energy for three thousand years, waiting for just this crack of the lid to release it all in one fast, cleansing explosion of pure force. Blinding arcs of light shoot out across the Tabernacle instantly killing all the Nazis inside and turning the white silk to flame. But it is Belloq in his obsession who takes the full blast. His whole body seems lit by a million volt current and, for a moment, his complete form is white, then blue, then maybe green, but it is hard to tell because our eyes are blinded now too. Two aspects of this ghastly, beautiful display are somehow communicated in the chaos, although the communication is subliminal. First, that Belloq, in the instant of his destruction, has experienced some kind of sublime, transcendental knowledge. If a death's-head can smile and look satisfied, that is how Belloq's incandescent face would be described. Secondly, this event is accomplished by a sound like no other. A sound so intense and so odd and so haunting that the suggestible among us might imagine it were the whisper of God.</scene_description>
</scene>
<scene>
<stage_direction>INT. COMMAND CENTER</stage_direction>
<scene_description>Chaos. Shliemann and the Tall Captain have been temporarily blinded by the light from the Tabernacle. Indy makes short work of his two escorts. He bashes their heads together. When only one goes down at this, Indy uses the handle of his bullwhip, which has appeared instantly in his hand, to put the second one down. Shliemann, hand on his eyes, aims his Luger blindly at the scuffle. Indy pushes the Tall Captain at Shliemann, who fires on impact, killing the Tall Captain. Indy knocks out Shliemann. Behind Indy, the brilliant light and weird noise of the Ark have suddenly ceased, but the Tabernacle is ablaze and the fire has quickly spread to stacks of supplies on either side. Smoke is already starting to fill the cavern. Nazis are running around, yelling for firefighting water. A burning crate at the side of the Tabernacle is pushed over, only to knock over a drum of heavy black oil. A river of flame shoots across the cement. Indy grabs a rifle with bayonet from the prostrate body of one of his former escorts and runs back into the flaming Tabernacle.</scene_description>
</scene>
<scene>
<stage_direction>INT. THE TABERNACLE</stage_direction>
<scene_description>Indy jumps through the flames into what is now a tent of fire. He looks around at the dead bodies, then at the Ark. The lid has slammed down shut again and the Ark shines gold in the flames. Before it, where Belloq once stood, is a pile of ash and charred debris. Indy registers this, then continues to scan the scene.</scene_description>
<character>INDY</character>
<dialogue>Marion! Marion, can you hear me?</dialogue>
<scene_description>Suddenly, Indy looks as-- The far side of the Tabernacle burns completely away, revealing Marion, tied spread-eagle between two upright posts. Her nightgown is now in tatters, black with soot. She is gagged but her eyes are screaming, focused on the flaming river of black oil which is about to engulf her feet. Indy rushes toward her, unaware of a uniformed Nazi who has appeared from the flames. Marion looks up to see Indy and the Nazi leveling his submachine gun at Indy. She motions desperately with her eyes. Indy dives and rolls through the flames just as the Nazi opens fire. From the floor, Indy blasts the Nazi. The river of burning oil is only a foot from Marion. Indy jumps up and runs toward the bound Marion, his bayonet aimed directly at her. Her wide eyes flash between the flames and the shining blade. Expertly, Indy slashes down both sides at Marion, cutting all four bindings. Marion falls backwards, away from the flames, but before she hits the ground, Indy is there, catching her in his arms. They embrace. They kiss. They break.</scene_description>
<character>INDY</character>
<dialogue>Hi.</dialogue>
<character>MARION</character>
<dialogue>Oh, Indy! Thank god you're here.</dialogue>
<character>INDY</character>
<dialogue>Glad I could make it.</dialogue>
<scene_description>Indy rises, pulling her up with him. The Tabernacle is burning away so fast that soon Indy and Marion will be completely exposed. Indy rushes over and grabs the submachine gun and a Luger from the dead Nazi.</scene_description>
<character>INDY</character>
<dialogue>Let's get out of here.</dialogue>
<character>MARION</character>
<dialogue>What about the Ark?</dialogue>
<scene_description>Indy stops, startled by her spunky attitude. He's considering their chances.</scene_description>
<character>INDY</character>
<dialogue>Are you game?</dialogue>
<character>MARION</character>
<dialogue>Hell yes! We've made it this far.</dialogue>
<character>INDY</character>
<parenthetical>(grins at her)</parenthetical>
<dialogue>Okay. Let's do it.</dialogue>
<scene_description>They approach the altar through the dying flames, Indy slinging the submachine gun over his back. The long carrying poles are still in place.</scene_description>
<character>INDY</character>
<dialogue>Whatever you do, don't touch it. Let's put it on the floor.</dialogue>
<scene_description>Marion nods. Each taking an end with the poles, they lift the Ark from the altar and lower it to the floor. Marion grunts under the weight. Indy registers this, hands her the submachine gun. He pulls out his whip, motions her back, and sweeps the whip tightly around the body of the Ark. The fall wraps snugly around the plaiting and Indy ties it off. The Ark is now harnessed to the whip handle. Indy gives it an experimental pull and the Ark slides across the smooth cement. Indy indicates the direction of the second train tunnel.</scene_description>
<character>INDY</character>
<dialogue>We'll go down that side. Shoot anyone who looks at us crosseyed.</dialogue>
</scene>
<scene>
<stage_direction>INT. COMMAND CENTER</stage_direction>
<scene_description>Two huge stacks of goods are ablaze and the Nazis are having trouble getting water to them. The Nazis' main concern at this point is an enormous, neat stack of wooden cartridge boxes which are piled down the wall from one of the already blazing, and now teetering, stacks of general goods. Nervous Nazis are moving the heavy cartridge boxes as fast as they can, but it's slow work and the threatening fire is close. Indy and Marion make their way along the side of the center court, Indy grimacing with the strain of pulling the Ark. One Nazi stops directly in front of them, looking at them queerly. Indy knocks him out with the butt of his Luger just as Marion is about to fire. Out in the court, Shliemann has regained his eyesight. Now he crouches, scanning the scene desperately for Indy. He looks into the remains of the Tabernacle and spots the empty altar. Beyond it, the unoccupied posts where Marion was bound. At the entrance to the second train tunnel, Indy and Marion struggle to lift the Ark into a mine car. Marion has the submachine gun slung over her back. The Ark drops heavily into the bottom of the car. The noise attracts the attention of five water-carrying Nazis. They see what's going on and reach for their side-arms. Indy grabs Marion, pulls her in front of him -- as though to use her as a shield -- and flips the submachine gun, still on her back, toward the Nazis. He opens fire, turning Marion's body so he can mow all five down. Shliemann spins around and looks at the tunnel entrance. He points at Indy and Marion, who have just hopped into the mine car with the Ark.</scene_description>
<character>SHLIEMANN</character>
<dialogue>Stop them! Kill them!</dialogue>
<scene_description>A dozen Nazis spin and look at the mine car. Marion is just leveling the submachine gun. Indy pushes forward the throttle and the mine car moves toward the tunnel, picking up speed. As the Nazis raise their guns to fire, Marion and Indy both open up, peppering the area with lead. As the mine car is about to disappear into the tunnel--</scene_description>
<character>INDY</character>
<parenthetical>(to Marion)</parenthetical>
<dialogue>Get down!</dialogue>
<scene_description>As the car disappears, bullets pock the entrance of the tunnel. Shliemann runs up with three Nazis. They jump into the next mine car and take off, disappearing into the tunnel. Over at the burning stack of goods, some terrified firefighters scurry away as the burning pile of general goods falls over onto the stack of cartridge boxes. The wooden boxes immediately start burning. Many of the Nazis just want to get out of there, but a couple of disciplined OFFICERS are trying to salvage the situation. They point to the far side of the court, the walls are lines with oil and gas drums.</scene_description>
<character>OFFICER</character>
<dialogue>We must cover the drums! Protect them from the bullets!</dialogue>
<scene_description>INTERCUTTING Indy and Marion with Shliemann and the Nazis, we see a most extraordinary pursuit. This tunnel is of identical design to the first, except more twisty. This early section goes slightly uphill, as though headed for the summit of a rollercoaster. The low cross beams and the higher sections in between are causing the Nazis to alternately stand and duck in their efforts to get a clear shot at the lead car. One German times it wrong and gets whacked. Indy is unhappy with the speed of his car and he's right, the Nazis are moving faster and gaining. When both cars are in the same high section, the Nazis blast away at them. The noise is deafening, with barking guns, splintering rock, and twanging ricochets contributing to the din. As Marion fires a return volley low over the Ark, Indy kicks at the throttle, convinced it is jammed.</scene_description>
</scene>
<scene>
<stage_direction>INT. COMMAND CENTER</stage_direction>
<scene_description>The Officers are directing the placement of every moveable item in front of the oil drums. Desks, crates, chairs, food, all are heaped in front of the fuel. All the workers cast frequent glances back at the burning cartridge boxes across the court. Suddenly the worst begins to happen at the cartridge boxes. Hundreds of thousands of live cartridges begin exploding, flying around the court like shrapnel. Hot lead begins to zing off the exposed fuel drums, leaving big dents.</scene_description>
</scene>
<scene>
<stage_direction>INT. TRAIN TUNNEL - LONG STRAIGHTWAY</stage_direction>
<scene_description>The car with Indy and Marion looks almost sluggish compared to the pursuing Nazi car as they both make their way into an unusually long straightaway. Marion discards her empty submachine gun as Indy kicks at his throttle and casts a worried look back at Shliemann. Shliemann, sensing victory, smiles evilly and carefully takes aim. Indy and Marion will be easy targets until they reach that approaching low cross beam, which is the crest of the rising tunnel.</scene_description>
</scene>
<scene>
<stage_direction>INT. COMMAND CENTER - CLOSE ON FUEL DRUM</stage_direction>
<scene_description>A fuel drum, already pocked by bullets is finally penetrated by high velocity hot lead. It explodes in a ball of flame. And then its neighbor. Then all is exploding flame.</scene_description>
</scene>
<scene>
<stage_direction>INT. TRAIN TUNNEL - LONG STRAIGHTWAY</stage_direction>
<scene_description>Shliemann and his cohorts hear the explosions behind them and look back that way. Indy kicks the throttle one more time and it goes! Their car doubles its speed and shoots under the low cross beam at the same instant as-- A huge dragon of all-consuming fire shoots up the tunnel behind the Nazis, catches their car and incinerates Shliemann and his men. The tunnel collapses in this section, burying the fried Nazis forever.</scene_description>
</scene>
<scene>
<stage_direction>INT. TRAIN TUNNEL</stage_direction>
<scene_description>Indy and Marion look back at the low cross beam as the last tongue of flame makes it there and then is doused by falling rock and dirt. They look at each other, then turn their attention back to their own predicament. Their mine car is going incredibly fast as it moves into a downward section of wildly twisting tunnel.</scene_description>
<character>MARION</character>
<dialogue>Slow it down!</dialogue>
<scene_description>Indy is already pulling the throttle. It moves easily. Unfortunately, it is no longer attached to the motor. The mine car is out of control. After several moments, far ahead, appears a circle of bright daylight-- the end of the tunnel! It approaches at a frightening rate. Indy reaches out grasps Marion's hand. They exchange looks and then turn to look ahead. THEIR POV. We're taking this last stretch with them. It's a familiar nightmare. It has to do with a rollercoaster that ends suddenly and disastrously. The shocking brightness of sunlight rushes up to engulf us, blinding us in its glare.</scene_description>
</scene>
<scene>
<stage_direction>EXT. THE ISLAND - END OF TRACKS, DOCK</stage_direction>
<scene_description>High up on the slope of the island, Indy and Marion's mine car shoots out of the black tunnel and roars down toward a little dock at the end of the tracks. A small Nazi transport launch, carefully disguised as a Greek fishing boat, sits bobbing by the dock. The only human: a Nazi Sentry dressed as a Greek peasant. He is perched on a pile of seed bags which are stacked at the very end of the train tracks. As the mine care barrels noisily down toward him, he throws away some burlap to reveal a mounted machine gun which he spins quickly around toward the approaching mine car. He opens fire. In the out-of-control mine car, Indy pulls Marion down with him. They are squashed into the corner trying to avoid contact with the bouncing Ark. Bullets clang against the outside of the car and whiz inches overhead. Indy and Marion are forced into a tighter and tighter embrace of life. At the machine gun post, the Nazi Sentry has been firing like crazy, but now there is terror in his eyes. He realizes the car is not going to stop. He lacks faith in his stronghold. Too late. The mine car smashes into the seed bag bunker. And right on through. The Nazi Sentry, his machine gun and a dozen bursting seed bags are slammed into the ocean in a wild, hurtling mass. The mine car jumps, bounces and spins around, then slides to a stop in a cloud of seed at the edge of the water.</scene_description>
</scene>
<scene>
<stage_direction>INT. COMMAND CENTER</stage_direction>
<scene_description>Fire. Everywhere. No sign of life. A large gaping doorway, flames ringing it, blazing into the room beyond. Hanging by one hinge there, its metal blasted and jagged, is a heavy door with the signed lettering, in German, DANGER - MUNITIONS. The first explosion happens. It's a baby compared to what's coming yet is rocks the earth. It's terrible. And then, almost immediately, another. The long, irregular, ever-larger chain of explosions begins.</scene_description>
</scene>
<scene>
<stage_direction>EXT. THE ISLAND - VARIOUS SHOTS - DAY</stage_direction>
<scene_description>The island rumbles and shakes. From fissures and small natural caves, dirt and rock shoot out like spraying water. Still the explosion continues. A huge chunk of white cliff falls away into the turbulent sea. Birds scream and soar, afraid to land. Finally, we settle on a full shot of the island. We can recognize that the small opening high on the slope from which a cloud of smoke and dust is billowing is the end of the mine tunnel. And there below it, quite small from this distance is the dock. And the boat that looks like a Greek fishing boat. There can be no mistake even from this far away -- the boat is chugging out to sea.</scene_description>
</scene>
<scene>
<stage_direction>INT. THE PENTAGON - DAY</stage_direction>
<scene_description>Indy, Brody and Marion, looking very stylish, are seated in Colonel Musgrove's huge office. Sun pours in a window, through which Washington can be seen sparkling across the Potomac. Everything is neat and clean and regular. Including the three men who are arrayed around the office. Two we know - - Col. Musgrove and Maj. Eaton. The third is an unnamed Bureaucrat. He hangs back, smiling and genial, his features obscured by the glare of the window. He doesn't say anything, yet you have a sense that the others defer to him in the matter at hand. He is the essence of all that is Byzantine and inscrutable in our scrubbed government machine. Indy and Brody are dissatisfied with the way the meeting has gone. Marion, on the other hand, is very happy and eager to get out of there. Eaton's manner is irritatingly cheery.</scene_description>
<character>MUSGROVE</character>
<dialogue>You've done your country a great service.</dialogue>
<character>EATON</character>
<dialogue>--And we trust you found the settlement satisfactory?</dialogue>
<character>MARION</character>
<dialogue>Quite.</dialogue>
<character>EATON</character>
<dialogue>Good, good.</dialogue>
<parenthetical>(glances around at the others)</parenthetical>
<dialogue>Then I guess that about does it.</dialogue>
<character>BRODY</character>
<dialogue>When can we have the Ark?</dialogue>
<scene_description>Eaton's glance flicks over to the mysterious Bureaucrat, then back to Brody.</scene_description>
<character>EATON</character>
<dialogue>I thought we answered that. It's someplace very safe--</dialogue>
<character>INDY</character>
<parenthetical>(heated)</parenthetical>
<dialogue>That's a powerful force. Research should be done--</dialogue>
<character>EATON</character>
<dialogue>Oh, it will be, Dr. Jones, I assure you. We have top men working on it right now.</dialogue>
<character>INDY</character>
<dialogue>Who?</dialogue>
<character>EATON</character>
<dialogue>Top men.</dialogue>
<scene_description>Indy exchanges a look with Brody.</scene_description>
<character>INDY</character>
<dialogue>We may be able to help.</dialogue>
<character>EATON</character>
<dialogue>We appreciate that. And we won't hesitate to call on you.</dialogue>
<character>MUSGROVE</character>
<parenthetical>(dismissing them)</parenthetical>
<dialogue>Thank you all. Thank you again.</dialogue>
<scene_description>Indy looks them over coldly. He gets up, sullen.</scene_description>
</scene>
<scene>
<stage_direction>EXT. PENTAGON STEPS - DAY</stage_direction>
<scene_description>Indy, Brody and Marion emerge from the building. Brody bids them farewell and moves off in another direction. Marion clings to Indy's arm in an energetic, very feminine way, scolding him.</scene_description>
<character>MARION</character>
<dialogue>--Well they aren't going to tell you, so why don't you just forget it. I'd think you'd had enough of that damn Ark. Just put your mind on something else.</dialogue>
<scene_description>Indy stops, looking across the river, his mind occupied.</scene_description>
<character>INDY</character>
<dialogue>Yeah, like what?</dialogue>
<scene_description>Marion makes a face, then puts her arms around his neck and plants a humdinger of a a kiss on his mouth. It goes on a while. Finally they break.</scene_description>
<character>INDY</character>
<dialogue>It's not the Ark...but it'll have to do.</dialogue>
<scene_description>They move down the steps, smiling.</scene_description>
</scene>
<scene>
<stage_direction>INT. GOVERMENT WAREHOUSE</stage_direction>
<scene_description>The Ark of the Covenant sits in a wooden crate. A wooden lid comes down and hides it from view. The lid is solidly nailed to the crate as we read the stenciled message on top-- TOP SECRET:</scene_description>
<character>ARMY INTEL. #9906753</character>
<dialogue>DO NOT OPEN!</dialogue>
<scene_description>The hammering is completed and hands shift the heavy crate onto a dolly.</scene_description>
<character>THE END CREDITS ROLL AS WE SEE--</character>
<dialogue>A Little Old Government Warehouseman begins pushing the crated Ark down an aisle. Soon we see that the aisle is formed by huge stacks of crates. They come in many shapes and sizes, but when it comes right down to it, they all look like the one that holds the Ark. All have markings like the message we've just seen. Pretty soon we're far enough and high enough away from the Little Old Government Warehouseman to see that this is one of the biggest rooms in the world. And it is full. Crates and crates. All looking alike. All gathering dust.</dialogue>
<scene_description>And then we notice that the Little Old Government Warehouseman, pushing his new crate ahead of him, has turned into another aisle and disappeared from view. FADE OUT.:</scene_description>
<character>THE END</character>
</scene>
</script>
|
RAIDERS OF THE LOST ARK
Screenplay by
Lawrence Kasdan Story by George Lucas REVISED THIRD DRAFT AUGUST 1979 This screenplay is the property of
MEDWAY PRODUCTIONS, INC.
And is intended solely for company
Personnel. Distribution to any Unauthorized persons is prohibited.
MEDWAY PRODUCTIONS, INC.
P.O. BOX 8669
Universal City, CA. 95608 FADE IN:
EXT. PERU - HIGH JUNGLE - DAY
The dense, lush rain forests of the eastern slopes of the Andes, the place known as "The Eyebrow of the Jungle". Ragged, jutting canyon walls are half-hidden by the thick mists. The MAIN TITLE is followed by this:
PERU
A narrow trail across the green face of the canyon. A group of men make their way along it. At the head of the party is an American, INDIANA JONES. He wears a short leather jacket, a flapped holster, and a brimmed felt hat with a weird feather stuck in the band. Behind him come two Spanish Peruvians, SATIPO and BARRANCA. Bringing up the rear are five Yagua INDIANS. They act as porters and are wrangling the two heavily-packed llamas. The Indians become increasingly nervous. They speak to each other in bursts of Quechua. The American, who is known to his friends as Indy, glances back at them.
BARRANCA
(irritated)
They're talking about the Curse again!
He turns and yells at the Indians in Quechua, his anger giving an indication of his own fears. The party reaches a break in the canyon wall and takes the trail through it. When they emerge, their destination is revealed to them in the distance. Beyond a thick stand of trees is the vegetation- enshrouded TEMPLE OF THE CHACHAPOYAN WARRIORS, 2000 years old. The entire party is struck by the sight. The Indians, terrified now, chatter away. Suddenly the three at the back turn and run, dropping their packs as they go. Barranca yells at the fleeing Indians and pulls his pistol out. He starts to raise his arm to aim but Indy restrains it in a muscular grip.
INDY
No.
Barranca looks evilly at Indy's hand upon him. Indy releases him and smiles in a friendly way.
INDY
We don't need them.
Satipo watches this confrontation with some concern.
BARRANCA
I do not carry supplies.
INDY
We'll leave them. Once we've got it, we'll be able to reach the plane by dusk.
He turns back to the trail. Satipo gets the two remaining Indians moving behind Indy. Satipo and Barranca then have a fast, silent communication: Barranca indicates his desire to slit Indy's throat; Satipo gives him a look that says "Be patient, you idiot" THE APPROACH TO THE TEMPLE The party fans out to fight their way through the entwined trees that guard the temple. Visibility is cut to five feet in the heavy mist. Satipo extracts a short, native dart from a tree and examines the point gingerly.
SATIPO
(showing Indy)
The Hovitos are near. The poison is still fresh...three days. They're following us, I tell you.
INDY
If they knew we were here, they would have killed us already.
The two Indians jabber in Quechua, near hysteria. Barranca is sweating profusely, eyes darting. He yells at the Indians in Quechua to "shut up". In the undergrowth, there is slithering movement. Indian #1 draws aside a branch and is face with a horrific stone sculpture of a Chachapoyan demon. The Indian is so frightened no sound comes out when he screams. He turns and runs silently away. Indian #2 calls to his friend. Getting no response, he steps in that direction. A huge macaw, flushed from the undergrowth, screams and flies away. Indian #2 does exactly the same thing, never to be seen again. Indy, Satipo and Barranca, just clearing the trees, look back in that direction. They all turn to face the Temple. It is dark and awesome. Vegatation curls from every crevice, over each elaborate frieze. The entrance - round, open and black - has been designed to look like open jaws.
INDY
So this is where Forrestal cashed in.
SATIPO
A friend of yours?
INDY
Competitor. He was good, very good.
BARRANCA
(nervous)
No one has ever come out of there alive. Why should we put our faith in you?
Indy takes the weird feather from the band of his hat. From around its point, he slips a tightly rolled piece of parchment. Barranca and Satipo exchange a quick "So that's where is was!" look. They all kneel as Indy spreads out the parchment. On it is one-half of a crude floorplan of the Temple.
INDY
No one ever had what we have... partners.
Indy fixes them with an expectant stare. Satipo produces a similar, but folded, piece of parchment. He lays it - the other half of the floorplan - next to Indy's. They all regard it for a moment, then Indy stands and walks toward the Temple. Barranca's eyes are shining as they dart between the floorplan and Satipo.
INDY
(back turned)
Assuming that pillar there marks the corner and...
Barranca is suddenly on his feet, quietly drawing his pistol. He raises it toward Indy as Satipo realizes with alarm what he's doing. Too late. Indy's head turns and he sees Barranca. Indy's next move is amazing, graceful and fast, yet totally unhurried. His right hand slides up under the back of his leather jacket and emerges grasping the handle of a neatly curled bullwhip. With the same fluid move that brings Indy's body around to face the Peruvian, the whip uncoils to its full ten foor lengeth and flashes out. The fall of the whip (the unplaited strip at the end of the lash) wraps itself around Barranca's hand and pistol. He could not drop the gun now if he tried. Indy gives the whip a short pull and Barranca's arm is jerked down, where it involuntarily discharges the gun into the dirt. Barranca is amazed, but feels some slack in the whip and immediately raises the gun toward Indy again, cocking it with his free hand. Indy's face goes hard. And sad. Indy sweeps his arm in a wide arc. Barranca spins around, enclosed in the whip, his gun hand stuck tight against his body. Indy gives one more short jerk on the whip handle and Barranca's gun fires. Barranca falls dead. Indy looks quickly at Satipo, who is shocked and frightened. He raises his arms in supplication.
SATIPO
I knew nothing! He was crazy! Please!
Indy looks him over, then nods. He frees the whip from Barranca's body and picks up the man. His eyes sweep the surrounding woods.
INDY
Let's go.
INT. TEMPLE - INCLINED PASSAGE - DAY
Indy and Satipo, carrying a torch, walk up the slightly inclined, tubular passage from the main entrance. The interior is wet and dark, hanging with plant life and stalactites. Their echoing footsteps intermittently overpower the sounds of loud dripping, whistling air drafts and scampering claws. HALL OF SHADOWS Indy leads the way down a twisting hallway, Satipo's torch barely lighting his way from behind. Indy disappears in a shadow and when he reappears a moment later a huge black tarantula is crawling up the back of his jacket. Indy doesn't notice and disappears into another shadow, emerging with two more tarantulas on his back. Satipo sees them and makes a frightened grunting sound. Indy looks at him, sees what he's pointing at and casually brushes all three spiders off with his rolled whip, as he would a fly. Satipo pirouettes for an inspection and Indy flicks one off the Peruvian's back. Indy begins picking up little pocket-sized artifacts from the niches and ledges of the Temple. He continues to do this as the men penetrate the Temple. His collecting is quick and expert, evaluating the pieces in an instant, discarding some, stuffing others into his clothes, and never stopping his forward progress. CHAMBER OF LIGHT The men reach an arch in the hall. The small chamber ahead, which interrupts the hall, is brightly lit by a shaft of sunlight from high above. Indy stops, looks it over.
SATIPO
What's wrong? Are you lost?
Indy picks up a stick and throws it through the shaft of light. Giant spikes spring together from the sides of the chamber with a ferocious CLANG! And impaled on the spikes are the remains of a white man, half-fleshed, half skeleton, in explorer-type garb. Indy reaches out and takes hold of the man's carcass. As the spikes slowly retract, Indy pulls it free and seats the remains gently on the floor.
INDY
Forrestal.
SATIPO
(gulps)
We can go no further.
INDY
Now, Satipo, we don't want to be discouraged by every little thing.
Indy steps sideways into the chamber. His back pressed against the very points of the retracted spikes, he moves along the edge of the light beam, and steps clear on the other side. Satipo grimaces and begins sweating his way through. STAIRWAY Indy and Satipo come down stone stairs to a tight landing. Framing the entry are a carefully strung network of dead vines, each somehow hooked into the wall, narrowing the opening even more.
INDY
(taking the torch)
Let me see that.
He lowers the torch to the floor of the landing. The landing is carpeted with human skeletons, one on top of another, all squashed flat as cardboard. Satipo gasps. Indy looks up at the ceiling of the landing, then steps onto the skeletons, which make a cracking noise under his feet.
INDY
Try not to touch the vines.
FOYER OF THE SANTUARY The men are in a high, straight hallway 50 feet long. The door at the end is flooded with sunlight.
SATIPO
Senor, I think we are very close.
Indy stands still looking at the hall.
SATIPO
(impatient)
Let us hurry. There is nothing to fear here.
INDY
That's what scares me.
They begin walking down the hall side by side. Satipo has inched a little ahead. Suddenly his lead foot comes down and through the floor! As Satipo beings to pitch forward, Indy grabs him by the belt and pulls him back. They both look down at the "floor". Indy swings his whip across the floor. Fifteen feet of it cuts open beneath the lash, falling away to reveal a black pit as wide as the hall. The illusory floor was made of dust- covered cobwebs. Satipo picks up a stone and drops it down the pit. No sound. The two men exchange glances. Indy looks up at the high roof of the hall. He swings the whip up around a support beam, tests its strength with a pull and swings over the pit on the whip. From the other side he swings the whip back to Satipo, who throws Indy the torch. Satipo swings across. When they are both standing on solid floor there is a moment of quiet in which they hear, from far, far below-- SPLASH! Indy wedges the whip handle into the wall and leaves it strung to the beam for quick retreat. THE SANTUARY A large, domed room. Ten evenly-spaced skylights send their shafts of sunlight down to a unique tiled floor: white and black tiles laid out in a lovely, intricate pattern. Indy and Satipo stand at the door and look across the wide room at the alter. There, in the supreme hallowed spot, is a tiny jeweled figurine, Indy's real objective. Two torches, many years old, are in holders by the door. Indy takes one down and lights it. He gives the regular torch to Satipo.
SATIPO
There's plenty of light, amigo.
Indy kneels and uses the unit end of the torch to reach out and tap a white tile. It is solid. He taps a black tile. There is a whizzing sound and a tiny dart sticks in the torch. Satipo points to the wall nearby: there is a recessed hole there.
SATIPO
From that hole!
Indy nods, stands and looks around the sanctuary. The entire room is honey-combed with the same kind of hole. Satipo sees it too and is properly impressed.
INDY
You wait here.
SATIPO
If you insist, senor.
Torch in hand, Indy beings his careful walk across the sanctuary. Stepping only on the white tiles, he almost appears to be doing a martial arts kata. Before each big move he waves the torch in front of him head to toe, looking at the flame. Halfway out, he sees something on the floor and kneels to look at it. A dead bird lies on one of the white tiles. Its body is riddled with little deadly darts. This has great significance to Indy and he stands with even greater caution. He waves the torch ahead of him and at waist height an air current whips at the flame. Indy ducks under it and leaves a burn mark on the white tile beneath it. Satipo watches, wide-eyed and mystified. Indy reaches the alter. The tiny idol looks both fierce and beautiful. It rests on a pedestal of polished stone. Indy looks the whole set-up over very carefully. From his jacket he takes a small, canvas drawstring bag. He begins filling it with dirt from around the case of the alter. When he has created a weight that he thinks approximates the weight of the idol, he bounces it a couple times in his palm concentrating. It's clear he wants to replace the idol with the bag as smoothly as possible. His hand seems ready to do that once, when he stops, takes a breath and loosens his shoulder muscles. Now he sets himself again. And makes the switch! The idol is now in his hand, the bag on the pedestal. For a long moment it sits there, then the polished stone beneath the bag drops five inches. This sets off an AURAL CHAIN REACTION of steadily increasing volume as some huge mysterious mechanism rumbles into action deep in the temple. Indy spins and starts his kata back across the sanctuary at four times the speed. THE RETREAT - INTERCUTTING INDY AND SATIPO The sanctuary has begun to rumble and shake in response to the mysterious mechanism. Just as Indy goes out the door, a rock shakes loose from the wall and rolls onto the tile's floor. Immediately, a noisy torrent of poison darts fills the room. IN THE FOYER, Satipo swings acorss the pit. He makes it just as the whip comes undone from the beam, leaving Indy without an escape. Satipo, extremely nervous, regards the whip a moment then turns back to face Indy, who has run up to the far side of the pit.
SATIPO
No time to argue. Throw me the idol, I throw you the whip.
Indy hesitates, eyeing the rumbling walls.
SATIPO
You have no choice! Hurry!
Indy concurs with that assessment. He tosses the idol across the pit to Satipo. Satipo stuffs it in the front pocket of his jacket, gives Indy a look, then drops the whip on the floor and runs.
SATIPO
Adios, amigo!
Indy grimaces. He had a feeling this might happen. He looks around. AT THE VINED LANDING, Satipo flies through like a chubby ballet dancer and takes the steps five at a time. IN THE FOYER, Indy runs in full stride to the edge of the pit and broad jumps into space. He doesn't make it. His body hits the far side of the pit and he begins to slide out of view. Only wild clawing with his fingers at the edge of the pit stops his descent. With just the tips of his fingers over the edge, he begins pulling himself up. AT THE CHAMBER OF LIGHT, Satipo has slowed down. He begins to edge carefully around the light shaft. AT THE VINED LANDING, Indy sails through sideways and rolls to stop at the bottom of the steps. His whip is grasped in his hand. As he raises himself, he hears, from above the giant spikes of the Chamber of Light CLANG! And an abrupt, sickening rendition of SATIPO'S LAST SCREAM. Indy runs up the steps. The rumbling sound grows louder. AT THE CHAMBER OF LIGHT, Indy slides to a stop. The spikes have retracted, taking Satipo's body to one side. Indy edges into the chamber with his back to the shaft of light. Soon he is face to face with the dead Satipo; spikes protrude from several vital spots in the Peruvian's body. Indy removes the idol from Satipo's pocket and moves quickly out the other side.
INDY
Adios.
THE INCLINED PASSAGE Indy shoots out of a cut-off hallway and turns toward the exit. The rumbling is very loud and now we see why: right behind Indy a huge boulder comes roaring around a corner of the passage, perfectly form-fitted to the passageway. It obliterates everything before it, sending the stalactites shooting ahead like missiles. Indy dashes for the light of the exit. His hat flies off his head. Almost immediately it is crushed by the boulder. Indy dives out the end of the passage as the boulder slams to a perfect fit at the entrance, sealing the Temple.
EXT. FRONT OF THE TEMPLE - DAY
Indy lies on the ground, gasping for air. A shadow falls across him and he looks up. WHAT HE SEES. Looming above him are three figures. Two are HOVITOS WARRIORS in full battle paint and loin cloths. They carry long blow guns. But the man in the center draws Indy's attention. He is a tall, impressive white man, dressed in a full safari outfit including pith helmet. His name is EMILE BELLOQ. His face is thin, powerful; his eyes hypnotic; his smile charming, yet lethal. His heavily French-accented speech is deep, mellifluous, wonderful. Back beyond Belloq and his two escorts, thirty more Hovitos Warriors hover at the edge of the trees.
BELLOQ
Dr. Jones, you choose the wrong friends. This time it will cost you.
Belloq extends his hand. Indy looks at it, then produces the idol and hands it to Belloq. Belloq extends his other hand, smiling. Indy hands over his gun. Belloq sticks it in his jacket.
BELLOQ
And you thought I'd given up.
INDY
(eyeing the Hovitos)
Too bad they don't know you like I do, Belloq.
BELLOQ
(smiles)
Yes, too bad. You could warn them... if only you spoke Hovitos.
With that, Belloq turns dramatically and holds the idol high for all the Hovitos to see and says something in Hovitos. There is a murmur of recognition and all the Indians, including Belloq's escorts, prostrate themselves upon the ground, heads down. Indy is immediately up and running toward the edge of the clearing.
BELLOQ
(in Hovitos)
Kill him!
AT THE EDGE OF THE CLEARING, Indy disappears into the foliage. An instant later, the leaves are peppered with a rain of poison darts and spears.
EXT. THE JUNGLE - INDY'S RUN - VARIOUS SPOTS - DAY
Indy runs like hell through steadily falling terrain. And always close behind, a swift gang of angry Hovitos. Occasionally they get close enough to send a dart or spear whizzing past Indy's head.
EXT. THE URUBAMBA RIVER - DUSK
An amphibian plane sits in the water beneath a green cliff. Sitting on the wing is JOCK, the British pilot. Indy breaks out of some distant brush and runs along the path at the top of the cliff.
INDY
(yelling)
Get it going! Get it going!
Jock hops in and fires up the plane's engines. Indy reaches a spot on the cliff above the place, glances back, then jumps into the river. He comes up, swims to the plane and grabs a strut.
INDY
GO!
Jock starts the plane moving across the water as Indy walks across the wing and falls into the passenger compartment. OMIT OMIT
INT. JOCK'S PLANE - DUSK
Indy relaxes and lies across the seat, a big smile on his face. One hand drops to the floor of the cabin and Indy jumps, hitting his head. On the floor of the cabin is a huge boa constrictor. Indy tries to get his whole body onto the seat. Jock sees what's happening.
JOCK
Don't mind him. That's Reggie. Wouldn't hurt a soul.
INDY
I can't stand snakes.
JOCK
The world's full of them, you know.
INDY
I hate them.
JOCK
Come on now, Sport. Show a little of the old backbone.
EXT. JOCK'S PLANE - TWILIGHT
It soars off over the dark jungle.
INT. INDY'S OFFICE, SMALL EASTERN COLLEGE - DAY
It's autumn and the pretty, New England campus out Indy's window reflects it in dazzling color. A few weeks before the start of classes. Activity just picking up. Some students about. Indy is at a bookcase near the window and he looks quite different in this setting. His outfit is tweedy, slightly rumpled in the professional style. Part of his attention is focused in a book and he wears glasses to see the fine print. The office is cramped, absolutely innundated with books, maps, etchings and archeological artifacts. In fact, the only neat spot in the room right now is Indy's desk, which has been cleared off expressly for the benefit of-- MARCUS BRODY, the Curator of the National Museum in Washington D.C. Brody is examining the small artifacts Indy pocketed on his way into the Peruvian Temple. He occasionally uses a jeweller's eyepiece to get a closer look. But he is distracted, his concerns elsewhere, and it is this that his old friend Indy senses from across the room.
BRODY
Do you think the idol will ever show up?
INDY
I don't know. Just because Belloq had it doesn't mean he kept it.
Indy snaps the book closed and puts it on the shelf. He takes his glasses off and focuses on Brody. At the windowed door to his office, two pretty COEDS pause for a moment, look in at their sexy Archeology professor, giggle and disappear.
INDY
Getting it away from those Indians would be a neat trick.
(a hard look)
I hope they got him.
A young male graduate student, Indy's TEACHING ASSISTANT, taps on the door and then pushes his way in with an arm-load of reference books. Indy helps him find a spot for them.
TEACHING ASSISTANT
I couldn't get the McNabe, Professor. Someone's got it checked out 'till next month when classes start.
INDY
That's all right, Phil. Thanks a lot.
TEACHING ASSISTANT
(eager to please)
Will there be anything else?
INDY
No. I'll see you Thursday.
The Teaching Assistant leaves. Brody is scowling as he examines the last of the artifacts.
INDY
Hey, if you don't like them, I can always return them.
BRODY
No, they're beautiful. The Museum will buy them as usual. No questions asked.
INDY
Then what's wrong?
BRODY
I brought along some people today.
INDY
What kind of people?
BRODY
Government.
INDY
(concerned)
Government?
BRODY
Don't worry, it's not about your business.
(indicates the artifacts)
They're from the Army.
INDY
I've already served.
BRODY
Army Intelligence. They're looking for Abner.
INT. INDY'S LECTURE HALL/CLASSROOM - DAY
Indy's course - a combination of archeology and anthropology - is taught in this amplitheater-type lecture hall. His desk and lectern hold large reference books; blackboards line the wall. Bones, maps, charts fasten on the walls. Indy leans against his desk talking with Brody and two uniformed Army officers, COLONEL MUSGROVE and MAJOR EATON, who are situated around the first seats in the classroom.
MUSGROVE
...but you did study under Professor Ravenwood at the University of Chicago?
INDY
(nods)
We haven't spoken in ten years. I'm afraid we had a bit of a falling out.
EATON
You know nothing of his whereabouts?
INDY
(negative)
Just rumors. Somewhere in Asia, last I heard.
Musgrove and Eaton exchange a look; they're disappointed.
EATON
(to Musgrove)
Maybe Dr. Jones can make sense of it.
Again, the military men have a silent communication, deciding what to reveal.
MUSGROVE
Well... you must understand, Dr. Jones, this is all strictly confidential.
INDY
I understand.
MUSGROVE
Yesterday, one of our European sections intercepted a Nazi communique from Cairo to Berlin. We don't quite know what to make of it.
Musgrove takes a sheet from his briefcase.
MUSGROVE
Here it is - "Tanis development proceeding. Acquire headpiece, Staff of Ra, General Tengtu Hok, Shanghai. Locate Abner Ravenwood, U.S."
Brody is excited. He looks at Indy.
BRODY
Tanis. They must have discovered the lost ruins.
Indy contemplates this big news; he's impressed.
INDY
(to himself)
Tanis. Ain't that somethin'!
EATON
Frankly, we're a little suspicious... An American being mentioned so prominently in a secret Nazi cable.
INDY
Ah, Ravenwood's no Nazi.
EATON
Then what do they want him for?
INDY
They're looking for the headpiece to the Staff of Ra.
MUSGROVE
(indicates his sheet)
But it says here that's in China.
INDY
Only half of it. Ravenwood had the
other half.
EATON
What would the Nazis want with this - this Staff of Ra?
BRODY
I can tell you that. Over the last two years the Nazis have had teams of archeologists running around the world looking for all kinds of religious artifacts.
MUSGROVE
That's right. Hitler's a nut on the subject. Crazy. He's obsessed with the occult.
EATON
What is this Staff of Ra, anyway?
INDY
It all has to do with the Ark of the Covenant.
(the Army guys look mystified)
The chest the Hebrews used to carry around the Ten Commandments.
Now it's the Army men who are impressed.
INDY
An Egyptian pharoah stole the Ark from Jerusalem and took it back to the city of Tanis. A short time later, Tanis was consumed by the desert in a sandstorm that lasted a year.
INDY
But before that, the Pharoah had the Ark hidden away in a secret chamber called the Well of the Souls. Which is where the Staff of Ra comes in.
Indy moves to the blackboard and makes a quick sketch to give a rough idea of the system as he describes it. (And we get a glimpse of what an interesting and enthusiastic teacher he must be)
INDY
Now this was rather clever. The Staff was really just a big stick - oh, I don't know, say like this -
(he indicates about six feet)
- no one really knows for sure. Anyway, it was capped by an elaborate headpiece with a carving of the sun at the top. What you had to do was take the Staff to a special room in Tanis - it had the whole city laid out in miniature on the floor. When you placed the Staff in a certain spot in the room, at a certain time of day, the sun would shine through a hole here in the headpiece and then send a beam of light down here - to the map - giving you the location of the Well of the Souls...
MUSGROVE
... where the Ark of the Covenant was kept.
INDY
(nods)
Which is probably what the Nazis are after.
EATON
What's this Ark look like?
INDY
Look like? Why, it's right here...
Indy pulls a big format book from the stack on his lectern and flips through the pages until he finds a large color print. The other men gather to look. THE PRINT fills the screen. It shows a Biblical battle. The Israelite Army is vanquishing an opposition force. At the forefront of the Israelite ranks, two men carry the Ark of the Covenant, a beautiful gold chest, crowned by two sculptured gold angels. The men do not touch the Ark itself; rather they carry it by use of two long wooden poles which pass through rings in the corners of the Ark. The painting is very dramatic, full of smoke, tumult and sinewy dying men. But the most astonishing thing in the picture is the brilliant jet of white light and flame issuing from the wings of the angels. It pierces deep into the ranks of the retreating enemy, wrecking devastation and terror.
EATON
Good God!
INDY
Yes. That's what the Hebrews thought.
MUSGROVE
What's that supposed to be coming out of there?
INDY
Who knows... lightning... fire... the power of God.
EATON
I'm beginning to understand Hitler's interest in this thing.
INDY
Oh yes. The Bible tells of it leveling mountains and wasting entire regions. Moses promised that when the Ark was with you, "your enemies will be scattered and your foes fell before you".
(pause)
An army which carries the Ark before it is invincible.
Eaton and Musgrove exchange worried looks.
INDY
Oh, there's one other thing that Hitler undoubtedly believes about the Ark...
(a long, pregnant pause)
It's said that the Lost Ark will be recovered at the time of the coming of the True Messiah.
MUSGROVE
Dr. Jones, you've been very helpful. I hope we can call on you again if we have questions.
INDY
Most certainly.
Brody and Indy exchange a look as they all shake and Brody starts to leave with the Army men.
EXT. FRONT DOOR, INDY'S HOUSE - NIGHT
Indy's English Tudor, upper middle class home. Quite toney; well beyond the financial reach of an honest college professor. Marcy Brody has already rung the bell. Indy opens the door. He is dressed in a tuxedo.
BRODY
I've got to talk to you.
INDY
This isn't really a good time.
BRODY
Indy, it's important.
INDY
All right. Come on in.
INT. FOYER, INDY'S HOUSE
The lush tone continues here in Art Deco and shiny marble. Indy motions Brody toward the study to one side.
INDY
I'll be in in a moment.
As Brody passes the entrance to the expansive living room, he spots a beautiful, silk-gowned Harlow-type lounging on the sofa in front of a roaring fire. She is sipping champagne.
INT. STUDY, INDY'S HOUSE
Brody enters the book-lined, dark-wooded study. He paces for a moment before the fire which is dying in the fireplace, then spots something and goes over to Indy's big desk. The surface is covered with open books, monographs, maps and drawings - all about the Ark of the Covenant. Brody smiles; he knows his friend very well. Indy comes in, closing the door behind him. Brody turns to him with a triumphant expression.
BRODY
They want you to go for it. And they'll pay.
INDY
(smiles)
Good work, Marcus. I had a feeling this would happen. And, of course, the Museum gets the Ark when we're done.
BRODY
(smiles)
Of course.
Indy's manner is vigorous, aggressive.
INDY
Okay, here's the way it's gonna be. First, I'll high-tail it to Shanghai and get the piece from General Hok. Then I think I know where I can find Ravenwood. If only I can get...
BRODY
General Hok's a tough customer. They don't call him the Wild Boar for nothing. And he's tied in with the Japanese.
INDY
I'll worry about that when the time comes. My only hope is to find the Well of the Souls before the Nazis do.
WIPE TO:
EXT. IN THE AIR - DAY/NIGHT
A Pan Am Clipper flies west over the Pacific. WIPE TO:
INT. KEHOE'S CAR (SHANGHAI AIRPORT) - DAY
Indy is barely into the front seat of a dilapidated Ford as the driver, BUZZ KEHOE, is peeling out into traffic. In the back seat is a Chinese named BANG CHOW. Kehoe zigs crazily through traffic with only his left hand as he reaches over to shake with Indy.
KEHOE
Buzz Kehoe, Army Intelligence. You've met Bang Chow.
INDY
What's the hurry?
KEHOE
Some German agents got here two hours ago. Luckily, Bang was able to have them detained at Customs. We'll have to hurry.
OMIT OMIT OMIT OMIT
EXT. HOK'S STREET - DAY
Kehoe's car emerges from an alley. Down the block is Tengtu Hok's modest, walled palace. Kehoe's car slows a bit and Bang steps from the moving car with a small black suitcase in his hand. While he heads down the street toward Hok's place, Kehoe's car continues across the street and into an alley on the other side.
EXT. HOK'S STREET - IN FRONT OF THE PALACE - DAY
A Mercedes limousine appears round a corner and squeals to a stop at the front gate of the palace, which is manned by a sturdy Chinese Gateman. There are three Germans inside, one the driver.
EXT. ALLEY BEHIND HOK'S MUSEUM - DAY
Kehoe, alone now, pushes a trash container casually into a position to hide a newly created hole in the rear wall of Hok's Museum where several stone blocks have been removed. He looks around and ambles back to the car.
INT. HOK'S PALACE - ENTRY HALL
The three Germans wait impatiently in a magnificent foyer. A chime sounds and huge double doors open to reveal TENGTU HOK, flanked by two uniformed Japanese Soldiers and a roved Chinese Advisor. He wears a fantastic gold ornamental robe. Despite the majesty, however, nothing can disguise the fact that Hok is basically a wild, fat barbarian; an animal. Hok and his escort group bow in what is the beginning of a long welcoming ceremony. The Germans exchange impatient glances but decide they should play it as it comes. They bow.
INT. HOK'S MUSEUM
No person in sight. Instead, we see a magnificent display of ancient artifacts. Glass cases hold the velvet-couched pieces at random spots on the shining marble floor. We hear an odd sound. Near the floor on the rear wall of the museum, a steel ventilation grate moves. A hand slides it gently across the marble. Indy sticks his head out and looks around.
INT. HOK'S PALACE - TEA ROOM
The three Germans are being served tea and exotic delicacies. A pleased Tengtu Hok watches from a throne-cushion. When the tray of tiny delicacies is presented to him, he takes a massive handful, crushing them together on their way to his smiling mouth.
INT. HOK'S MUSEUM
A huge golden gong, seven feet in diameter, is suspended from the ceiling by a hook. An enormous hammer hangs poised above it, from which emanate myraid tiny threads which run up and across the ceiling, then down to the various display cases. Indy looks up at the gong, then continues his quick, quiet foray among the cases. Beyond him, a high window.
INT. HOK'S PALACE - TEA ROOM
Hok and his visitors stand to go. The Germans' pleased expressions make it clear they're finally on their way to the museum.
INT. HOK'S MUSEUM
Indy arrives at his destination. The lovely, carved gold section of the headpiece is nested on purple velvet in a glass case. At the bottom of the piece is a round hollow where the staff would fit. There is a grunting sound behind Indy and he spins, already reaching for his revolver. A fierce Japanese Samurai is running at Indy full speed down an aisle of display cases. His sword is raised over his shoulder ready to cut Indy in half. He's six feet away when Indy's gun levels and fires twice, blasting him backwards. Indy is still looking over his gun when another samurai sword comes down from the side and knocks the pistol brutally out of Indy's grip; his hand avoids amputation by a quarter of an inch. An amazed Indy backs away from the crossing aisle as the Second Samurai steps in to face him, sword raised. Indy backs away into an open space and his bullwhip appears in his hand. He gives it one savage CRACK! to announce its arrival and the Samurai slows down, eyeing it curiously. The Samurai does not look unhappy about this confrontation. How pure it is - The Sword versus The Whip.
EXT. HOK'S PALACE - SECOND FLOOR WALKWAY - DAY
Tengtu Hok and the Germans have obviously heard something. They are hurrying along the walkway at the side of the building, Hok in the lead. Up ahead is the foot bridge which crosses from the palace to the museum entrance over a moat.
EXT. STREET IN FRONT OF THE PALACE - DAY
The lovely Mercedes limousine blows up.
EXT. HOK'S PALACE - SECOND FLOOR WALKWAY - DAY
The Germans spin toward the blast. Drawing weapons, they run back to investigate. Hok follows them, confused.
INT. HOK'S MUSEUM
Indy and the Samurai face each other. They're both breathing hard from previous, no-contact passes at each other. Now Indy begins swinging the whip over his head again. It whizzes out toward the Samurai's face. The Samurai take two lightning- quick cuts at the leather, but misses. Indy swings for the Samurai's feet; the Samurai jumps nimbly, slashing at the whip. Indy does it gain. The Samurai hops it. Once more. The Samurai is concentrating on hopping it. Indy sees it. The split second he wants. The whip flashes up from the floor and wraps solidly and irrevocably around the Samurai's neck. Indy gives it a murderous pull and the Samurai is dead on his feet.
EXT. HOK'S PALACE - SECOND FLOOR WALKWAY - DAY
Hok and the three Germans are looking down at the flaming remains of the Mercedes. A look of concern crosses Hok's face. He turns and runs back toward his beloved museum.
INT. HOK'S MUSEUM
Indy is at the case containing the headpiece. He smashes the glass with a samurai sword, reaches in and grabs the piece. Immediately, behind him, the huge hammer falls and the sound of the gong thunders through the museum.
EXT. HOK'S PALACE - SECOND FLOOR WALKWAY - DAY
At the sound of the gong, the running Hok skids to a halt with a crazed expression on his face. He disappears for two seconds in an alcove and emerges holding a big, black Thompson Submachine Gun. He runs across the foot bridge and is just barely over it when it blows up. Hok, safe, looks behind him in amazement and then turns to the museum.
INT. HOK'S MUSEUM
The double doors at the entrance slam open to reveal Hok. Indy is halfway along an unprotected wall back to his ventilation entry route. Hok opens up on him, cutting off his retreat. Indy jumps behind a marble column, which is promptly blasted with machine gun fire. Indy looks above him, sees the giant disk of the gong. Reaching up, pushing with tremendous effort, he maneuvers it off the hook. It bounces to the floor on its side, chipping the marble with its monstrous weight. Indy steadies it and then puts his whole body into rolling it across the room toward the window. As it starts to roll, Indy slips behind it and runs across the room with it. Hok can see the rolling gong. He opens up on it. The vicious cacophony of machine gun fire is joined by the musical reports of bullets hitting the gong and ricocheting away. Very, very noisy. Behind the gong, Indy gauges his move. As the gong is about to be stopped by a marble bench, Indy takes a long stride onto a bench and dives through the glass of the high window. Hok's bullets hit the wall.
EXT. ROOF - DAY
Indy lands in a shower of glass on the jutting roof of the museum's first floor. He rolls to a crouch and is immediately being fired upon. The Germans, cut off from the museum, are standing on the palace walkway firing at him. Indy takes off fast for the rear of the museum.
EXT. ALLEY BEHIND HOK'S MUSEUM - DAY
Kehoe, craning to locate Indy, has the Ford rolling slowly along the back of the museum. Bang scouts from the back seat. Indy appears on the roof at a run, gauges the movement of the car and jumps from the roof of the museum to the roof of the sedan. Unfortunately, the roof of the old car can't take it and Indy's legs knife right on through to the interior, where he scares the hell out of Kehoe.
INT. KEHOE'S CAR - DAY
Indy squirms his way down into the front seat.
KEHOE
Jesus! Are you all right?
INDY
(he's felt better)
Great. Got it.
Kehoe guns it, throwing Indy back against the cushions.
KEHOE
What now?
INDY
I've got to get to Nepal.
OMIT WIPE TO:
EXT. DC-3 IN THE AIR - DUSK
The plane flies west into the sunset.
INT. DC-3 - NIGHT
Under a meager seat light, Indy is pouring over a journal article by Abner Ravenwood and a related map of Nepal. A few rows back, across the aisle, a trenchcoated European Spy eyes Indy. WIPE TO:
INT. "THE RAVEN" SALOON - PATAN, NEPAL - NIGHT
A huge stuffed raven, wings spread wide, is mounted behind the long bar in the noisy, crowded saloon. A lively mix of patrons is represented in the late hour tableau: Nepalese natives, fierce Sherpa mountain guides, sleazy international smugglers and fugitives, and, of course, mountain climbers from every corner of the earth. A tall Nepalese, MAHDLO, is the bartender. In a corner near the fireplace trouble breaks out suddenly between the groups at two neighboring tables. Ferocious representatives from each table - one a wild-looking SHERPA, the other a muscular Australian CLIMBER - jump up to face each other. As the two contenders stand posed for action, their representative supporters shift in their places, fondling lethal ice axes and clubs.
SHERPA
Gmoiska! Shurga rintoik!
CLIMBER
Aye! That'll be your last word.
The bar has quieted ominously and so we hear with startling clarity when - a door behind the bar slams open with a huge BANG! and some Presence, too small to be seen as it moves through the forest of towering patrons, makes a beeline for the troubled corner of the bar. A path clears for it. The Sherpa and the Climber are about to kill each other when the Presence arrives directly between them: she is MARION RAVENWOOD, twenty-five years old, beautiful, if a bit hard- looking. At this moment, however, that look does not hurt. She is not intimidated by the combatants; she jabs accusatory fingers into their chests. She is angry as hell. The patrons shrink under her gaze.
MARION
That does it! I've been patient with you no-goods long enough. I'm not open at 2 o'clock for myself, you know. It's all for you. And how do you repay me: Trouble and noise and blood on my floor! I won't have it. Everybody out! Out! Out! We're closed. Closed! Do your killing outside! And don't leave any bodies on the porch!
The place clears quickly. Stragglers and grumblers are given special attention by Marion and Mahdlo, who has come from behind the bar carrying a big axe handle. Mahdlo herds the crowd out the front door as Marion turns and walks behind the bar. A scowl on her lovely face, she has just begun clearing the bar of glasses when she notices one remaining Patron huddled over a glass at the far end of the bar. Grimacing in exasperation, she heads that way like a locomotive.
MARION
Hey you, deaf one! I said out of place. I don't meant next Easter, I mean now--
She is almost on him when Indy looks up smiling. Marion stops, stares, shocked.
INDY
Hello, Marion.
She hits him with a solid right to the jaw, knocking him off the barstool on the floor. He rubs his jaw and smiles up at her.
INDY
Nice to see you, too.
MARION
Get up and get out.
INDY
(getting up)
Take it easy. I'm looking for your father.
MARION
(bitterly)
Well you're two years too late.
Indy's attitude changes instantly. This is sad news. He is silent for a long time. Mahdlo comes in the front door and hurries forward when he sees Indy with Marion. He looks to her for guidance, but she stays him with a gesture.
MARION
Go home, Mahdlo. I'll see you tomorrow.
Mahdlo is hesitant, but lays the axe handle on the bar and goes out. Indy has been barely aware of him. Now he settles again on the barstool. Marion has a vindictive look. She'll let him stay, but she wants to inflict as much pain as possible.
INDY
What happened?
MARION
Avalanche. Up there. He was digging. What else? He spent his whole life digging. Dragging me all over this rotten earth. For what?
INDY
Did you find him?
MARION
Hell no. He's buried where he was working. Probably preserved real good, too. In the snow.
Suddenly the hardness cracks. She is on the verge of tears and does not want him to see them. She turns away and takes a whiskey bottle from the shelf, then turns back to pour herself a drink.
INDY
Not a bad way to go. Doing what he loved.
MARION
(vitriolic)
Don't give me that stuff!
MARION
What do you know?
(she takes a drink)
I'm the one that was left in a bad way. He didn't have a penny. Guess how I lived, Mister Jones. I worked here. And I wasn't the bartender.
(another swallow)
Finally the guy that owned the joint went crazy. Snow crazy. They took him away screaming. As they dragged him out, he said the place was all mine for life.
She looks around the saloon.
MARION
Can you imagine a more evil curse?
(pause)
So far, it's working.
INDY
Why not leave? Go back to the States.
MARION
I'll go back. I'll get there. Not that there's a soul there who knows my name of cares. But I'll go. And when I do, they'll know me. 'Cause I'm going to go back in style. With money. A soddamn lady!
INDY
Where you gonna get it?
MARION
If I knew that, you think I'd still be running this dive?
Indy looks at her, thinking. Under his gaze, she blushes, for reasons only she understands. She looks into her glass and, for a moment, she softens.
MARION
I'll tell you something, Indy. I've learned to hate you in the last ten years. But somehow, no matter how much I hated you, I always knew that someday you'd come through that door. I never doubted that. Something made it inevitable.
(hopefully)
Why are you here... now... tonight?
Indy takes a long time to answer.
INDY
I need one of the pieces your father collected.
Marion's eyes go icy. She swings at him again with her right, but this time he catches her at the wrist. Then he stops her left, which she has brought up to slap him.
MARION
You son-of-a-bitch! You know what you did to me, to my life? This is your handiwork.
INDY
I never meant to hurt you.
MARION
I was a child!
INDY
You knew what you were doing.
MARION
I was in love.
INDY
I guess that depends on your definition.
MARION
It was wrong. You knew it.
Indy releases her arms.
INDY
Look, I did what I did. I don't expect you to be happy about it. But maybe we can do each other some good.
MARION
Why start now?
INDY
Shut up and listen for a second. I want that piece your father had. I've got money.
That stops her.
MARION
How much?
INDY
Enough to get you back to the States. Where are his things?
MARION
Gone. I sold it all. It was all junk. The junk he wasted his life on.
INDY
Everything?
Marion nods.
INDY
(giving up)
That's too bad.
Indy feels tired, defeated. Marion is pleased.
MARION
You look disappointed. I like that. How's it feel?
Indy has to smile at her glee.
MARION
(nods at his empty glass)
What are you drinking?
INDY
Seltzer.
MARION
(refilling his glass)
Real man's drink. Me, I like scotch. And I like bourbon. And vodka and gin. I'm not much for brandy. I'm off that.
She pours herself another as Indy watches, amused.
INDY
You're a tough broad now, aren't you?
MARION
It's no act, pal. This ain't Schenectady.
INDY
I can only say I'm sorry so many times.
Marion looks at him thoughtfully, takes a drink.
MARION
You really have money? You don't look rich.
(Indy nods)
I may be able to locate some of his things. I know who's got them. What do you want?
INDY
A bronze piece, about this size. In the shape of the sun. Probably broken off at the bottom. Has a little hole in it, off-center. Does that sound familiar.
Marion thinks, nods slowly.
INDY
Do you know where it is?
MARION
Maybe. How much?
INDY
Three thousand. American.
MARION
(negative)
That'll get me back, but not in style. This doodad must be pretty important.
INDY
Maybe.
A huge smile lights up Marion's face.
MARION
I knew it would happen eventually. I knew it. Something had to go my way.
(pours herself another drink)
I've got to think this out. I'm used to bargaining with yaks.
INDY
Okay. Five thousand. That's all I can give you now. I can get you more when you land in the States.
MARION
Your word, huh?
(Indy nods)
Just like you said you'd be back last time? That was your word too.
INDY
I'm back, aren't I?
Marion sneers and they smile together.
INDY
You can trust me.
MARION
Come back tomorrow.
INDY
Why?
MARION
Because I said so, that's why. It's about time I called the shots in this relationship.
Indy nods, gets up to go.
MARION
Wait a minute. Leave the five thousand here.
(Indy hesitates)
You want trust, give some. I want to smell your money.
Indy thinks about this a moment, then reaches inside his shirt and pulls out cash from a money belt. He lays five grand on the bar.
INDY
I trust you.
MARION
You're an idiot.
INDY
I've heard that.
Indy starts for the door. Marion takes another drink. She's getting high.
MARION
Hold it. Come here.
INDY
(moving back)
Bossy, aren't you?
MARION
That's right. Give me a kiss.
Indy looks into her eyes, then leans over the bar and kisses her deeply. When the kiss ends, their faces are very close. Marion is flushed. She liked it and would like more. She raises her glass between them to discipline herself.
MARION
Get out of my place.
Indy smiles and walks to the front door. Then, without looking back-
INDY
Tomorrow.
He's gone. Marion stares after him, thinking. She takes a drink. Then slowly, her hand comes up to loose the scarf that is draped around her throat. It falls away, revealing her graceful neck above the dipping top of her blouse. Hanging there on a gold chain against her white skin is a sun-shaped golden medallion. The bottom looks broken off. Marion lifts the medallion so she can see it in her hand, then looks thoughtfully after Indy.
EXT. STREETS OUTSIDE "THE RAVEN" - NIGHT
Indy sits thinking at the wheel of an old car. Finally, he puts the car in gear and drives away. Across the street, the shadow in a doorway comes to life. A dark form steps out to look at Indy's departing car; it is the European Spy from the DC-3. He hurries off in the opposite direction. DISSOLVE TO:
INT. "THE RAVEN" - NIGHT
Marion stands before the fire that is shrinking in the fireplace. She jabs at it abstractedly with a poker, thinking. Suddenly tears well up in her eyes. She lets the poker slip from her hand, wipes away the tears. She walks across the room to the end of the bar, still cluttered with bottles and glasses, and stops at the pile of American money Indy has left. She takes the chain from around her neck and lets the medallion slide off it into her hand. She places it on the bar next to the pile of money, thinking. Then, having reached some decision, she picks up the pile of bills, walks up the back of the bar and pulls a small wooden box from under the bar. She flips open the top, puts the cash inside and closes the top. She leaves the box on the bar and starts back toward the medallion. The front door of the saloon bursts open and Four Bad Men come in. Marion, halfway between the valuable possessions and not wishing to draw attention to either, stops where she is. The Four Bad Men who advance on her are: 1) the obvious leader, a short, vile, sadistic German in spectacles by the name of BELZIG. 2) a trenchcoated SECOND NAZI. 3) a ratty-looking NEPALESSE and 4) a mean MONGOLIAN. The second NAZI and the MONGOLIAN both carry submachine gungs.
BELZIG
Good evening, Fraulein.
MARION
The bar's closed.
BELZIG
We are not thirsty.
The Mongolian and the Nepalese poke around, checking to make sure there's no one else there. Down at the end of the bar, the medallion lies partially hidden by surrounding glasses and bottles. The Second Nazi stops very near it, but turns his back to it to face Belzig and Marion.
MARION
What do you want?
BELZIG
The same thing your friend Dr. Jones wanted. Surely he told you there would be other interested parties.
Marion shakes her head.
BELZIG
Ah, the man is nefarious. I hope for your sake he has not yet acquired it.
MARION
Why, are you willing to offer more?
BELZIG
Almost certainly. Do you still have it?
MARION
No. But I know where it is.
Belzig's smile fades at this news. He's not a patient sort. Marion is chilled by the look. She turns and moves to the shelf of bottles behind her, reaching high for one, very near the large stuffed raven. Her hand lingers there a moment and we see - From an angle behind the stuffed raven, that the left wing spread hides a Baretta automatic pistol. Marion's hand is very near it, but withdraws with only a whiskey bottle as the Mongolian walks toward her behind the bar. Marion opens the bottle before Belzig, who watches her intently.
MARION
How 'bout a drink for you and your men?
The Second Nazi lights up at this suggestion. Belzig gives him a withering look.
BELZIG
We will stick to the business at hand, Fraulein.
MARION
(tough)
Fine. Why don't you come back tomorrow when Jones is here and we'll have an auction?
Belzig gives her a cold look then turns and walks toward the fireplace. As soon as his back is turned, the Second Nazi grabs the nearest whiskey bottle and takes a quick pull. In so doing, he leaves the medallion completely exposed. Marion is aware of this as she looks at him. But he quickly puts the bottle down again, obscuring the medallion, when Belzig speaks from the fireplace.
BELZIG
I'm afraid an auction is not possible.
(pause)
Your fire is dying here, Fraulein.
(a beat, then threatening)
Why don't you tell us where the piece is right now?
MARION
Listen, Herr Mac, I don't know who you're used to dealing with, but no one tells me what to do in my place.
Belzig, still looking in the fire, sneers and shakes his head.
BELZIG
Americans! You're all alike. Fraulein Ravenwood. I'll show you what I'm used to.
He motions with his hand. The Mongolian moves up behind Marion and lifts her roughly over the top of the bar, knocking over bottles and spilling liquor. He deposits her on the other side, where the Nepalese and the Second Nazi flank her and hold her cruelly, arms behind her back. Marion raises a ruckus. Belzig turns from the fireplace. In his hand is the poker, its end glowing orange. He advances on Marion. Marion stops yelling, her eyes widen in terror.
MARION
Wait! I can be reasonable-
BELZIG
That time is passed.
The glowing poker point moves inexorably across the room toward Marion's face.
MARION
You don't need that. I'll tell you everything!
BELZIG
Yes, I know you will.
Belzig has no intention of stopping now. The glowing tip is approaching Marion's face. The Nepalese watches with savage glee. The tip of the poker is five inches from Marion's nose when there is a loud CRACK! and the fall of Indy's bullwhip wraps around the middle of the poker and tears it out of Belzig's hands. The poker sails high across the room, free of the whip, and lands in the heavy curtains that over one window. The curtains immediately burst into flame. The four Bad Men look in surprise toward the front entrance. Indy is poised there, the whip in his right hand, a .45 Automatic raised toward them in his left.
INDY
Hello.
Now everything begins to happen very fast- The Mongolian had just come around the bar at the end opposite the medallion. He dives back to crouch behind the end of the bar, raising his submachine gun. Belzig and the Second German dive behind the tables near the bar. The Nepalese is slower to leave Marion, he draws a Luger. Indy's .45 barks and the Nepalese dies spinning against the bar. Indy fires in the direction of the Mongolian. Marion swings up over the top of her bar. Belzig fires at her, but his bullets smash bottles behind the bar and thud into the raven. Marion flattens out on the floor behind the bar as bullets hit above her. She reaches up, snatches the axe handle from where Mahdlo left it, and begins crawling down the length of the bar toward- The Mongolian, who sticks his submachine gun out and fires blindly in Indy's direction. Indy is in a crouch behind a table, trying to get a shot at someone. He doesn't notice in the din and confusion when the door bursts open. An incredible, fearsome GIANT SHERPA, almost seven feet tall, soars in and tackles Indy from behind. The whip flies from Indy's hand as he and the Giant Sherpa roll across the floor, upsetting furniture. The Mongolian, seeing this, stands up confidently. Marion rises behind him and bashes him over the head with the axe handle. He goes down and out. Fire has completely engulfed the curtains and is working across the ceiling on decorative yak skin bunting. A burning fragment drops to the top of the bar, which immediately lights up, fueled by the spilled alcohol. Full whiskey bottles explode like Molotov cocktails. Rolling on the floor, Indy and the Giant Sherpa are fighting for control of Indy's .45. Belzig sees this and shout to the Second Nazi, who is rising from cover with the submachine gun in hand.
BELZIG
Shoot them both!
SECOND NAZI
He's our man!
BELZIG
Do as I say!
Both the Giant Sherpa and Indy hear this. The Giant Sherpa exchanges an alarmed look with Indy and together they swing the .45 around toward the surprised Second Nazi. Two blasts blow him away. That done, Indy brings a brass spittoon down on the Giant Sherpa's wrist and the .45 slides away. Indy jumps up and kicks the Giant Sherpa, who barely seems to feel it. He grabs Indy and flips him effortlessly onto a table. Belzig now has a clear shot at Indy. He raises his Lugar. Marion, at the end of the bar, finally gets the hand of the Mongolian's submachine gun. It roars to life in the general direction of the ceiling. Belzig runs for cover as Marion gets control of the gun and levels it. Belzig dives around the end of the bar opposite Marion. When he has set himself, he peeks up over the edge of the scorched bar. The alcohol fire has moved down the bar and now, much to Belzig's surprise, he finds himself staring at the fire-blackened sun-shaped medallion! His eyes widen. He cannot believe his good fortune. Without hesitation he picks up the metal medallion, palming it. Immediately there is a sickening searing sound and Belzig's expression changes from joy to agony. He screams in pain and tries to shake the red-hot medallion from his skin. Marion opens up and the bar starts to splinter in front of Belzig. The medallion comes free of Belzig's hand and rolls across the floor. Belzig has had enough. In excruciating pain, he turns, sees a window, runs and dives through the glass. An exhausted Indy uses his whole body to upend the Giant Sherpa, who lands hard on his back. They are surrounded by flames.
EXT. "THE RAVEN" - SNOW BANK - NIGHT
Belzig has his burned hand stuck deep in the snow. Now he withdraws it, steaming, and scurries off into the night like a wounded animal.
INT. "THE RAVEN" - NIGHT
Marion throws down the empty submachine gun and moves through the flames to the center of the bar where she left the box with the five grand. She finds the remains of the box and its contents: a shapeless pile of ash and charred wood.
MARION
Unbelievable!
At the end of the bar, the Mongolian has come back to life. He shakes out his head, then reaches inside his coat and pulls out a Mauser pistol. Indy smashes a chair over the head of the Giant Sherpa and the huge creature goes down. The Mongolian points his Mauser through the smoke and flame at Indy. Suddenly, the Mongolian is shot dead. Marion stands beneath her stuffed raven with the Baretta. Indy moves quickly through the flames, his eyes scanning the floor. He picks up his bullwhip and his crumpled felt hat. He peers through the smoke till he spots Marion moving among the burning furniture.
INDY
Let's get out of here!
MARION
Not without that piece you want!
INDY
It's here?
Marion nods, kicks aside a burning chair. Another burning beam falls from the roof. Indy pulls Marion close to him protectively.
INDY
Forget it! I want you out of here. Now!
He beings dragging her out.
MARION
(pointing)
There!
She breaks away from him, darts back and picks the hot medallion up in the loose cloth of her blouse.
INDY
Let's go!
MARION
(looking around)
You burned down my place!
INDY
(figuratively)
I owe you plenty!
MARION
(literally)
You owe me plenty!
INDY
(smiles)
You're something.
MARION
I am something. And I'll tell you exactly what-
She holds up the medallion possessively.
MARION
I'm your partner!
EXT. CAIRO - VARIOUS SHOTS - DAY
First we see the sprawl, the soaring minarets, the ancient skyline. Then we're closer, in the narrow, exotic streets, teeming with life: fierce-looking men in tattered galabiyas, black- gowned women with veiled face, ragged, barefoot children. OMIT
INT. DINING ROOM - SALLAH'S HOUSE (OLD CAIRO)
Indy and Marion have been welcomed like family into the crowded home of SALLAH, his wife FAYAH, and their NINE CHILDREN (ages 4 - 18). Fayah, a huge, imposing woman, appears, at first glance, to be the power in the house. Sallah, a small, cheerful, energetic fellow in his forties defers to his wife in all matters of little importance. Suddenly the general liveliness at the children's table esculates into pandemonium, attracting the attention of the adults.
FAYAH
Silence!
(there is silence)
Why do you forget yourselves?
The gaggle of grinning off-spring parts to reveal in their midst- a MONKEY. It is munching some flat Arab bread.
FAYAH
What is this? Who brought this animal in?
All the children chatter their innocence at once. The Monkey chatters too; it's an entertainer. The Monkey jumps from the children's table to the adults' and struts slowly up to Marion, who thinks it's the cutest thing she ever saw. When it reaches her, it takes off its turban and does a deep, grand bow to her. She is delighted and takes the Monkey into her arms. The Monkey kisses her cheek. The children laugh.
MARION
Why, thank you. I like you too.
FAYAH
Then it shall be welcome in our house.
MARION
Oh, no! You don't have to have it around if you don't want it-
SALLAH
(cheerfully)
All of Allah's creatures are welcome here. You please us by letting us please you.
OMIT
EXT. COURTYARD - SALLAH'S HOUSE - NIGHT
Indy and Sallah sit in the small, protected courtyard. Sallah holds the two sections of the headpiece, the medallion and the base, and has for the first time fitted them together. They fit perfectly and complete the headpiece. He peruses the markings on the headpiece quizzically. Indy is cleaning and loading a .45 automatic.
INDY
I knew the Germans would hire you, Sallah. They couldn't have an excavation in the desert without the best digger in Egypt.
SALLAH
All Arabs look alike to them, Indy.
INDY
Tell me about the map room at Tanis.
SALLAH
We found it three days ago. I broke through myself.
INDY
Those Nazis are moving awfully fast.
SALLAH
The Frenchman is helping them.
Indy reacts.
INDY
Belloq. So he got away from the Indians. This is going to be more interesting than I thought.
SALLAH
I'm afraid this has put the Germans close to finding the Well of the Souls.
INDY
(indicates the headpiece)
Even Belloq won't be able to find it without that. Can you make anything of those markings? They're nothing I'm familiar with.
SALLAH
(shakes his head "no")
But I know someone who might. You can go to see him tomorrow.
(a worried expression)
Indy... something bothers me.
INDY
What it is, my friend?
Sallah finds it hard to say. When he finally speaks, his words are accompanied by a strange, eerie, foreboding rush of wind through the courtyard. Just a coincidence we might suppose.
SALLAH
It is the Ark. If it is there, at Tanis... It is not something man was meant to disturb... Death has always surrounded it. It is not of this earth.
The wind dies down. Indy shakes off a chill and stares thoughtfully at his friend.
EXT. HEAVILY TRAFFICKED CAIRO STREET - DAY
Indy and Marion are briskly walking along one of Cairo's busy bazaar streets. Vendors with fine cloth, pottery, baskets, jewelry, etc line the street. Marion has the Monkey from Sallah's house on her shoulder.
INDY
Do you really need that monkey?
MARION
I'm surprised at you, Indy. Talking that way about our baby. He's got your looks, too.
INDY
And your brains.
As Indy and Marion turn a corner, the Monkey seems to notice something and immediately jumps from Marion's shoulder and hurries off at a frantic pace down the street.
MARION
(looking disappointed)
Hey! Hey! ... where're you going?
INDY
(dragging Marion along)
He'll be OK. Come on. Come on.
EXT. ANOTHER CAIRO STREET - DAY
The Monkey is seen running around another corner and jumps into the waiting arms of MONKEY MAN, who appears to be like a beggar with a dirty turban and an eye patch. MONKEY MAN immediately hurries down the street and passes into a building. In the building are two GERMAN AGENTS. MONKEY MAN and the MONKEY both give the Heil Hitler salute and engage in quick talk. MONKEY MAN quickly leaves the two GERMAN AGENTS and gets back to the street. He is obviously shadowing Indy and Marion. Indy and Marion are just now passing by and the MONKEY MAN ducks back behind some baskets.
EXT. ANOTHER BUSY CAIRO STREET - DAY
Indy and Marion are passing under a balcony where a lone GERMAN AGENT stands watch. After they pass, the AGENT nods to some BAD ARABS who are hiding in the shadows of the street. In a moment, Indy and Marion pass by the break. Monkey Man turns and looks up at a roof further down the alley. He waves with his hand. Someone up there waves back.
EXT. A SMALL BAZAAR - DAY
Indy and Marion have reached a tiny square, made even more cramped by its use as a small bazaar. They have started working their way through the crowd when several Bad Arabs and a German Agent begin to converge on them. Indy immediately sees what's happening and pulls the bull whip from his jacket. The first Bad Arab to reach them gets hit in the mouth by the handle of the whip. Now all hell breaks loose, with Bad Arabs, Innocent Shoppers, baskets of fruit and tables of good flying every which way in the constricted space.
INDY
(to Marion)
Run! Get out of here!
Indy catches a dagger-wielding Bad Arab around the legs with the whip and flips him. Marion is reluctant to leave Indy.
INDY
Go, damnit! Go!
Marion goes. She runs off between two buildings. A Bad Arab takes off after her. Monkey Man, now standing at the edge of the square, points at Marion. The Monkey jumps off his shoulder and follows Marion.
EXT. BETWEEN THE BUILDINGS - DAY
Marion runs along the narrow space and soon encounters a five foot wall. She flops over it. The Bad Arab is right on her heels. He reaches the wall and vaults over. On the other side of the wall, the Bad Arab lands in a crouch, looks ahead and doesn't see Marion. Immediately a heavy earthen pot smashes over his head, putting him out. Marion steps from an alcove and starts to run toward the street at the other end of the walkway. Suddenly another Bad Arab and a new German Agent appear in the street at that end. Before they can spot her, Marion retreats to the alcove again. There is a huge rattan basket sitting there. Marion climbs in and closes the top above her. The only witness: the Monkey, who is now perched on the five foot wall.
EXT. THE SMALL BAZAAR - DAY
Chaos. An entire booth of pots and pans collapses on a Bad Arab and a German Agent as Indy whips away a support.
EXT. BETWEEN THE BUILDINGS - DAY
The chattering Monkey leads a German Agent and two Bad Arabs to Marion's hiding place, gesturing manically.
EXT. THE SMALL BAZAAR - DAY
Indy ducks under the swinging blade of a huge Arabian sword and kicks the Bad Arab Swordsman in the groin.
EXT. SIDE STREET - DAY
The German Agent leads the way as the two Bad Arabs carry the huge basket above their heads. The basket top has been fastened closed, but Marion is making a fuss inside. As the place where the street cuts across the far side of the bazaar, Marion is able to wedge the top open one inch and screams-
MARION
Indy-y-y-y!
EXT. THE SMALL BAZAAR - DAY
Indy has heard her. He looks across the square as the basket and its escorts disappear beyond a building. One last Bad Arab rises before him. Indy's whip flashes and the Bad Arab's robe falls down to his ankles. Indy frantically pushes his way through the panicked mass of humanity in the direction the basket has gone.
EXT. THE FOOT CHASE - INTERCUTTING INDY AND THE MOVING BASKET
- DAY
The Bad Guys move the basket as fast as they can through streets, alleys and passageways thick with people. Indy always seems to round a corner just in time to catch a glimpse of the basket before it disappears around a new corner. Indy must fight a flow of humanity as powerful as an ocean riptide. Finally, at the head of one particularly crowded alley, Indy leaps up onto a wall for a clearer view. Whatever he sees gives him an idea and he cuts between two buildings rather than following the basket.
EXT. DESERTED ALLEY - DAY
Two Bad Arabs come running down the alley with the basket between them. Suddenly, Indy's whip flashes out sending both Arabs and the basket tumbling. Indy steps into view, his .45 trained on the sprawled Arabs, and looks at the basket. The top has come flying off and the contents have clattered onto the cobblestone: inside is not Marion, but a load of contraband pistols, rifles and ammo. Indy is advancing on the trembling Bad Arabs with an ugly look when suddenly he hears Marion scream around the corner.
EXT. DESERTED SQUARE - DAY
Indy rounds the corner and is immediately driven back by machine gun fire. Taking cover, he gets quick, intermittent glimpses of this scene: At the far corner of the large, deserted square is a canvas-covered trunk. Two Bad Arabs are hurrying toward it with a large rattan basket between them, Marion screaming inside. A German Agent is covering the retreat with a machine gun from the cab of the truck. Indy runs up to see the rattan basket being heaved into the back of the truck.
EXT. BACK OF THE TRUCK - DAY
What Indy cannot see is that basket lands among an ominous load of German munitions, dynamite and firearms. The truck immediately peels out.
EXT. DESERTED SQUARE - DAY
The German Agent has stopped firing in order to drive. He floors it, aiming for a street at the corner of the square. Indy uses the lull to take careful aim at the German Agent's profile and fire off three careful shots. The German Agent is hit, blasted dead against the steering wheel. The speeding truck swerves, hits a wall, rolls over and explodes in an enormous, multi-leveled eruption as its contents ignite. Several surrounding buildings are leveled. Indy, blown back across the square, looks on, astonished and horror-stricken.
INDY
Marion.
INT. ARAB BAR - NIGHT
A dark, smoke-filled den on iniquity. The patrons, almost all fearsome Arabs, sit in small shadowy groups around the room. Indy stands at the bar finishing off a fifth of bourbon. He is drunk. The ARAB BARTENDER places a new bottle of expensive bourbon in front of him. Indy eyes it queerly.
ARAB BARTENDER
The gentleman in the corner sent it. He would like you to join him.
INDY
(doesn't even look)
Too bad. I'm drinking alone.
The Arab Bartender does a take, looking at the three, tough GERMAN HENCHMEN who have surrounded Indy from out of the smoke, their hands stuffed in bulging trenchcoat pockets. Indy notices them now with a bleary glance. He decides he's in no shape to kill or be killed and moves with them across the room, taking his bottle with him. The Arab patrons take this in and mind their own business. The occupant of the smoke-shrouded corner table becomes visible only as Indy reaches there: it is Emile Belloq. He is drinking wine.
INDY
Belloq
BELLOQ
Good evening, Dr. Jones.
INDY
I ought to kill you right now.
BELLOQ
It was not I who brought the girl into this dirty business.
Indy knows its true; that's what's tearing him up.
BELLOQ
Sit down, please, before you fall down. We can behave as civilized people. I'm afraid it will be your last opportunity.
Indy sits, glancing at the German Henchmen, who settle nearby, just out of earshot.
INDY
Not a very private place for a murder.
BELLOQ
(looking around)
These Arabs will not interfere in the white man's business. They do not care if we kill each other off.
BELLOQ
(takes a sip of wine, refers to it)
Terribly difficult finding a descent vintage here. You were quite vigorous in Shanghai. Unfortunately, our friend the Wild Boar had taken the precaution of making several copies of the piece.
Indy registers this as he takes a drink. Belloq watches him with disdainful amusement.
BELLOQ
encounters. I almost
regret it. Where shall I find a new adversary so close to my own level?
INDY
Try the local sewer.
BELLOQ
I know you despise me. We always hate in others that which we most fear in ourselves. And you and I are very much alike.
INDY
Now you're getting nasty.
BELLOQ
We have always done the same kind of work. Our methods have not differed as much as you pretend. I am a shadowy reflection of you. But it would have taken only a nudge to make you the same as me, to push you out of the light.
There is a certain amount of truth to this; the recognition of it flickers across Indy's bleary eyes. Belloq sees it there.
BELLOQ
You know it to be true! How nice. And how ironic the timing.
Belloq leans forward, eyes shining, voice suddenly different.
BELLOQ
Do you realize what the Ark is?
(very intense)
It's a transmitter.
BELLOQ
A radio for talking to God! And now it is within my grasp.
INDY
What about your boss, Der Fuhrer? I thought he was waiting to take possession.
Belloq glances in the gloom at the German Henchmen.
BELLOQ
(quieter)
When the time is right. When I am finished with it.
INDY
I hope your friends are patient. Dangerous work, Belloq.
BELLOQ
Yes. Very. You may consider yourself fortunate that your involvement concludes here.
INDY
Tell me, did you get away with the idol?
BELLOQ
(negative)
I was lucky to get away with my life. The Hovitos proved quite narrow-minded about the whole matter.
Indy takes a drink.
INDY
You know, if it's God you want to talk to, maybe I can arrange it.
BELLOQ
(smiles)
You have not changed. But, please, do not reach for your weapon until you are ready to die.
The front door of the bar slams open and all nine of SALLAH'S CHILDREN scamper in and over to a surprised Indy. Two of the smallest hop into his lap.
LITTLE SON
Uncle Indy, we have been looking for you.
LITTLE DAUGHTER
Come home now, Uncle. Hurry!
Suddenly the Arab patrons of the bar take an intense interest in the situation, shifting their weapons.
INDY
Yes. Yes, I'll come now.
Indy stands up. The German Henchmen are poised. Belloq eyes the Arab patrons and signals for the Henchmen to relax.
BELLOQ
Next time, Indiana Jones, it will take more than children to save you.
The children usher Indy out.
INT. SALLAH'S TRUCK - IN FRONT OF ARAB BAR - NIGHT
Indy climbs into the cab of Sallah's truck with a smiling Sallah as the children pile into the back. Sallah pulls out.
SALLAH
I thought we would find you there.
(indicating the kids)
Better than the United States Marines, eh?
INDY
(nods)
Thank you.
(grave)
Marion's dead.
SALLAH
Yes, I know. I am sorry.
(pause)
More reason than ever to beat the bastards.
(he touches Indy)
Life goes on, Indy.
(indicates the kids again)
There is the proof.
Indy looks back there, nods.
SALLAH
I have much to tell you, Indy.
\*\*\*\*\*\*\*\*\*\*\*\*\*\*\*\*\*\*\*\*\*\*\*\*\*\*\*\*\*\*\*\*\*\*\*\*\* PAGE 53 MISSING \*\*\*\*\*\*\*\*\*\*\*\*\*\*\*\*\*\*\*\*\*\*\*\*\*\*\*\*\*\*\*\*\*\*\*\*\* Fayah brings in a tray of food and puts it on the table. The bowl of dates is in one corner. As Fayah leaves the room, the Monkey slips out of Sallah's lap and disappears under the table. Indy leans over the food tray, his hand hovering over the dates. But he chooses some cheese and bread instead.
INDY
And they made the calculation in the map room?
SALLAH
(nods vigorously)
This morning. Belloq and the boss German, Shliemann. When they came out of the map room, we were given a new spot in which to dig...out away from the camp.
INDY
(resigned)
The Well of the Souls.
Sallah nods, moves to the food. He picks up a date, then changes his mind and drops it, taking a bunch of grapes instead. Indy picks up a chicken leg in one hand and a date in the other, his mind distracted. Fayah enters the room just in time to see Indy flip the date high into the air and try to catch it in his mouth. It bounces off his chin and falls to the floor. Indy looks sheepishly at Fayah. Fayah picks up the fallen date and puts it in the dirty ash tray she is now removing. Amir speaks in a slow, raspy voice without looking up.
AMIR
Come. Look.
The two men go and huddle over the old man. The Monkey peeks up over the edge of the table at the array of food. He picks up a date and disappears below the table. Amir points to some markings on the lower part of the headpiece.
AMIR
This is a warning... not to disturb the Ark of the Covenant.
INDY
Just what I need.
The Monkey's paw comes up over the edge of the table and grabs another date.
INDY
How 'bout the height of the staff? Did Belloq get it off of there?
AMIR
Yes... it is here.
Indy, nervous, goes back to the food tray, picks up another date. When he turns back to the men, the Monkey's paw grabs another date. We see the headpiece in closeup on the table. Amir's crooked fingers trace a line of markings along the bottom section to the break in the piece.
AMIR
It says it is... ten jamirs high...
SALLAH
About seventy-five inches.
AMIR
Wait! I am not finished...
Amir's finger moves across the break as the markings continue on the sun medallion.
AMIR
(reading)
"And one jamir to honor the Hebrew God whose Ark this is."
Indy, still holding the date, exchanges a long look with Sallah.
INDY
You said their top section was blank. Are you absolutely sure?
Sallah nods.
INDY
Belloq's staff is seven and a half inches short. They're digging in the wrong spot!
Sallah and Indy begin to laugh. Amir gives them a glance and returns to his wine. Sallah leans over and kisses the old man.
SALLAH
(to Amir)
A home run, my friend, grand slam!
(to Indy)
We have a saying -- "A little luck is better than much smartness." Indy, pardner, you are very lucky fellow.
Indy hoots. Then he takes the date in his hand and flips it high in the air. He opens his mouth to catch it, but it doesn't come down. He has inadvertently thrown it into a bowl of a hanging lamp. This makes the men laugh even harder. Indy goes over and picks up another date. He turns laughing to Sallah and doesn't see as the Monkey's paw comes up, slowly, takes another date and begins to withdraw. Suddenly the paw is stricken with palsy and the unseen Monkey goes into its death throws. Sallah watches the paw as though hypnotized. Finally the paw slips from sight and we hear a solid THUMP! on the floor. Sallah walks around the table and looks at the floor. The Monkey lies dead among a mess of date pits. Indy is in a happy world of his own. He throws his date high in the air. He positions himself under it and waits for it to drop in. Here it comes. Right on target. As it's about to disappear into Indy's mouth, Sallah's hand flashes in and grabs it. Indy looks mystified and disappointed. Sallah motions toward the dead Monkey.
SALLAH
Bad dates.
EXT. DESERT ROAD - MORNING
Two old trucks come down a narrow mountain road and onto the flat surface of the desert. Further out into the desert, the one in the lead, Sallah's truck, stops and the second one, Omar's truck, pulls up beside it. There are half dozen Arab Diggers in Omar's truck. Indy, dressed as an Arab, gets out of the cab of Sallah's truck and moves over to confer with OMAR, another old friend. They point off into the desert and reach some conclusion. Indy gives him a pat on the back; Omar turns off the road and drives into the desert with his workers. Indy hops back in the car of Sallah's truck with Sallah. As they move down the road we see that the back of the truck holds three other Arab Diggers.
EXT. RISE ABOVE THE TANIS DIG - MORNING
Indy and Sallah are lying in classic shouting fashion at the top of the rise looking down on the Tanis Digs. Down behind them, Sallah's truck is parked with the three Arab Diggers.
INDY
My God! They aren't kidding!
WHAT HE SEES. The Tanis Digs are laid out below like a painting. Trucks, bulldozers, Arab workers and German supervisors are everywhere. The excavations themselves are extensive and somewhat random - holes have been dug and then abandoned, foundations and passageways unearthed and then deserted. Beyond the main digs, a crude airstrip has been created. Sallah points to what appears to be a mound of dirt with a hole in it near the center of the activity.
SALLAH
There! That is the map room!
INDY
What time does the sun hit the map?
SALLAH
Just after eight.
INDY
We haven't got much time. Where are the Germans digging for the Well of the Souls?
Sallah points out into the desert a short way beyond the main area of activity. The desert turns to sand dunes out there, the surface undulating into the distance. Several trucks and men are out there and a bulldozer is lumbering noisily toward it.
INDY
Okay. Let's go.
EXT. THE TANIS DIGS - MORNING
Sallah's truck drives through the camp, one of the Arab Diggers at the wheel. Indy and Sallah are in the back and look just like the other two Arab Diggers. Sallah's truck goes behind a tent and when it appears on the other side, Indy and Sallah are gone.
EXT. AMONG THE TENTS - MORNING
Indy and Sallah move stealthily among the tents. Indy carries a smooth wooden staff almost seven feet tall. They stop between two tents and look across a path at the entrance to the map room. What appeared to be a mound of dirt is actually the roof on the ancient building. The hole/entrance is a five- foot square skylight. Indy looks around, then walks casually to the edge of the hole and looks inside. Sallah joins him, producing a length of rope from his robes. Indy drops the staff into the unseen map room as Sallah ties the rope around an oil drum. When it's secure, Indy wastes no time disappearing down it into the map room.
INT. MAP ROOM
Indy is down the twenty feet to the floor of the room in seconds. He tugs on the rope and it immediately gets pulled up. Indy looks around with real wonder and excitement. The room is lovely, with elaborate wall carvings and frescoes, all lit by the bright stream of sunlight flooding in from above. This beam of light leads Indy's eye to the far end, and the room's truly remarkable feature: built into the floor in meticulous relief is a miniature stone model of the ancient city of Tanis. Already, the sunlight has worked its way down the far wall and is edging onto the miniature of the city. On the floor, to the skylight side of the miniature, is an elaborate line created by embedded mosaic tiles. The evenly spaced slots in the line, each accompanied by a symbol of a time of year, are for the base of the staff. Indy pulls the headpiece from his robes -- it has been welded together -- and reaches for the staff.
EXT. ABOVE THE MAP ROOM - DAY
An extremely nervous Sallah has the gathered rope in his hands and is trying to appear casual as he inches back toward the oil drum. There is now a good bit of activity going on up here.
JEEP GERMAN (O.S.)
Hey! You, the skinny one!
Sallah jumps about three feet. The JEEP GERMAN is standing in an open space ten yards away looking at Sallah.
JEEP GERMAN
Yes, you. What are you doing there?
Sallah gestures his innocence.
JEEP GERMAN
Well bring that rope over here, you cur.
The Jeep German starts back toward his major concern: his jeep is stuck in some sand beyond the next tent. Some Arab Workers are trying in vain to budge it. Now another German has backed his truck up to it. Sallah can think of nothing to do except obey. With a worried glance at the map room, he begins untying the rope from the oil drum.
INT. THE MAP ROOM
Indy is examining the results of Belloq's work. Red paint marks one of the miniature buildings in the layout and a white calibrated tape has been strung from that building back to a miniature of the map room. Now Indy begins examining the mosaic base line for the staff. Sunlight has moved further down across the miniature.
EXT. IN THE CAMP - DAY
Sallah watches nervously as his precious rope is pulled taut between the pulling truck and the stuck jeep. He doesn't notice that he has chosen to stand next to a large, steaming kettle of food until --
HUNGRY GERMAN (O.S.)
Bring us some of that!
He points to the kettle. Sallah looks frantically from the rope, back to the skylight of the map room, to the kettle of food.
HUNGRY GERMAN
Now, idiot!
Sallah picks up some serving pieces and gets to work.
INT. THE MAP ROOM
The moment has arrived. Even the tension of the circumstances cannot distract Indy from the purity of what he is about to do. All his calculations are adjustments complete, Indy takes the Staff of Ra and places it -- CLINK! -- in the right depression on the base line. This is as active and exciting moment as any archeologist can dream of and, at heart, that is exactly what Indy is. The sunlight catches the very top of the headpiece and moves within a fraction of an inch of the tiny hole in its sun. The edge of the sunlight moving across the miniature city is still a good two feet beyond the spot Belloq has settled on. And now that line of light is broken by the shadow of an ornate sun at the top of the staff. Indy's face reflects his concentration. And then his immense pleasure. He sees what he came for. Out of the miniature city, one small building is being lit by a tiny beam of sunlight in the center of the shadow of the metal sun. And by some trick of ancient artistry, this one building responds to the sunlight like none of the others. The golden light permeates it: it seems to glow. The building is in a direct line with Belloq's -- all of the Frenchman's other calculations were right -- but it is a foot and a half beyond it.
EXT. IN THE CAMP - DAY
Sallah, sweating profusely, has finished serving the line of Breakfasting Germans and now heads back to replace the kettle and get away.
HUNGRY GERMAN
Water. Bring us water.
INT. MAP ROOM
Indy is on his knees at the miniature city, a special tape measure in his hand. Indy has the tape strung from Belloq's mistaken spot to his own correct spot. He gets his reading, leaps up and crosses to the erect staff. He pulls the headpiece off the staff and hides it in his robes. He quickly breaks the wooden staff in two and throws the pieces behind a pile of debris. Then he moves quickly to beneath the skylight.
INDY
(stage whisper)
Sallah.
(he waits, then louder)
Sallah!
More waiting. Nothing. Indy looks around for some alternative means of escape. The room doesn't offer any. He looks up at the skylight again.
INDY
(loudest)
Sallah!
A long pause. Then something comes down. A makeshift rope. Really just a bunch of clothing tied together -- tunics, robes, pants. But what we see first and most prominently, the first section of Indy's escape rope, is a bright Nazi flag. Indy beams and climbs.
EXT. ABOVE THE MAP ROOM - DAY
Indy sticks his head out the skylight, sees it clear and flops his body out. Sallah, crouching behind the oil drum, immediately starts pulling in the makeshift rope. Sallah stuffs the rope in the oil drum and the two men begin walking toward some tents.
HUNGRY GERMAN (O.S.)
Hey, you! More water over here!
Sallah glances at Indy, then hurries back in that direction. The Hungry German focuses on Indy.
HUNGRY GERMAN
Why aren't you at the digs? Come here!
Indy bows in wild subservience and hurries off in the opposite direction.
HUNGRY GERMAN
(yelling after him, irriated)
No, dummkopf, I said come!
EXT. BETWEEN TWO TENTS - DAY
Indy hustles between the tents. Up ahead, two German Officers stop to talk, blocking his exit. He moves along the side of one of the tents until he finds an opening and slips inside.
INT. THE TENT
Indy finds himself in a tent set up for rather comfortable living. He has just started to cross it when he hears a loud, excited grunting. He turns toward the sound. In the corner, tied to a chair and gagged is Marion. Indy rushes to her, snatches the gag from her mouth and embraces her. They kiss, deep and long.
INDY
I thought you were dead.
MARION
They were throwing me around like a rag doll.
INDY
They must have switched baskets. Thank god for that! Bless those bastards. Have they hurt you?
MARION
No. Not since I got here. They just asked about you -- what you knew. The Frenchman's got the hot's for me. I've been playing that along. Oh, Indy, get me out of here.
Indy pulls out a knife and then stops suddenly, thinking.
MARION
What's wrong?
INDY
(putting the knife away)
I have to leave you here for a little while. I know where the Ark is. If I take you out of here they'll start combing the place for us.
MARION
(louder)
Cut me loose!
INDY
Keep your voice down.
MARION
(screaming)
I said get me out of --
Indy pops the gag back in her mouth. Her eyes widen in fury and she grunts obscenities at him.
INDY
Look, you don't know how glad I am to see you. And I don't like doing this. But the whole thing will be shot if you don't just sit here quietly. They haven't hurt you in the last twenty-four hours, they aren't going to start now. I'll be back to get you in no time.
He kisses her forehead, jumps up and hurries out of the tent.
EXT. SAND DUNE OUTSIDE DIGS - DAY
With the digs behind them, Indy and Sallah run up to the ridge of the dune and over the top. At the bottom of the far side, Omar's truck is parked. Omar and his men are waiting.
EXT. DIFFERENT DUNE - DAY
This new spot gives Indy a higher, better view of the whole scene. Indy is using a surveyor's instrument to take a reading -- WHAT HE SEES. Looking through the instrument, Indy gets a line from the map room through the site where the Nazis are digging in the dunes to a spot several dunes over. We focus on that virgin spot of well-hidden sand as --
INDY
There!
EXT. INDY'S DIG - DAY
Omar's truck is parked at the stop just viewed from afar. Dunes rise on either side. One of Omar's men has been posted as a lookout up on a ridge. Everybody else -- Indy, Sallah, Omar, and his men -- have begun digging for the Well of the Souls. DISSOLVE TO: SAME SCENE, NIGHT. They continue to dig furiously, all of them drenched in sweat. The hole has grown but this is slow, back-breaking work.
INT. COMMAND TENT - TANIS DIGS - NIGHT
Belloq, SHLIEMANN the ranking Nazi, and Shliemann's Aide, GOBLER, come into the tent, which is full of charts and maps, drawings of the Ark, radio equipment, liquor and food. The men have been out digging for the Well all day. They are tired, discouraged, testy. In all matters, Gobler shows his alliance with Shliemann against Belloq with small looks and body language. The Frenchman has disappointed them and he is feelings the isolation of a scapegoat. Belloq gets himself a drink as Shliemann towels off his face.
BELLOQ
I cautioned you about being premature with that communique to Berlin. Archeology is not an exact science. It does not adhere to time schedules.
SHLIEMANN
The Fuhrer is not a patient man. He demands constant reports and he expects progress. You led me to believe --
BELLOQ
Nothing. I have made no promises. I said only that it looked very favorable. Perhaps the Ark will still be found in an adjoining chamber. Based on the information in our possession, my calculations were correct. Perhaps some bit of evidence still eludes us. Perhaps --
GOBLER
Perhaps the girl can help us.
Belloq shoots him an angry look.
SHLIEMANN
My feeling exactly. She was in possession of the original piece for years. She may know much.
(really evil)
If properly motivated...
BELLOQ
I tell you, she knows nothing useful.
SHLIEMANN
I'm surprised to find you squeamish. That is not your reputation. But it needn't concern you. I have the perfect man for this kind of work.
Shliemann signals Gobler, who steps outside the tent a moment, calls someone and then reappears. Belloq looks warily at the entrance. After a moment Belzig enters, reeking villiany. When his eyes find Shliemann, his superior, he snaps a crisp "Heil, Hitler!" at him, holding his palm rigid a long time, exposing a burned scar in the perfect shape of the sun medallion.
EXT. INDY'S DIG - NIGHT
In the eerie conjunction of moonlight and torchlight, Indy and the other men step back in awe of their discovery: there, flush with the bottom of their pit, is a heavy stone entry door to an underground chamber. Special prying tools are produced. With two men assigned to each of the two long tools, they work in unison to open the vault. They open it a foot and the two other men rush in to flop the heavy door completely open. Down inside, only blackness. The men quickly prostrate themselves around the edge of the entry to look inside. Indy and Sallah each take a torch and hold them down the hole. WHAT THEY SEE. The Well of the Souls is a spooky chamber thirty feet deep. The walls are covered with hieroglyphics and carvings. The roof is supported intermittently by stone pillars, the closest of which hits the roof very near the entry hole. The Well is quite large; as Indy and Sallah wave their torches, more and more of the room is revealed. Now the far end of the chamber comes into view. There is a stone altar down there and on this elaborated carved platform is a stone chest, big enough to enclose the Lost Ark and protect it from the ravages of time. This altar appears to be the only place on the floor of the Well that is not covered by a strange, dark carpet of some kind.
INDY
The Ark must be in that stone case. What's that gray stuff all over the floor --
He breaks off realizing exactly what that carpet is. He blanches. Indiana Jones blanches. Indy drops his torch to the floor of the Well. This is answered by the most horrific HISSING imaginable. WHAT HE SEES. That thick dark carpet is moving. It's alive. It's thousands and thousands of deadly poisonous snakes -- Egyptian asps. And the only thing that seems capable of avoiding this venomous groundcover is the altar. The snakes ebb and flow near it, but never encroach on it, as though repelled by some invisible force. Indy shakes his head and talks to himself.
INDY
Why snakes? Why did it have to be snakes? Anything else.
After a moment of this, he stops. He gathers his energy and resolve and gets back to the task.
SALLAH
Asps. Very dangerous.
Where Indy's torch has landed is a circle of snake-free floor. The snakes hate the flame; they stay away.
INDY
Lots of torches. And oil. I want a landing strip down there.
INT. THE WELL OF THE SOULS
Fifteen torches have been dropped to the floor of the chamber, combining to make a good-sized clear zone. Smoke begins to fill the room. Several canisters of oil have been lowered into this space. Now, a large wooden crate is lowered slowly by rope. Rope handles are attached to each end of the crate. Up at the hole, Indy gives Sallah a reassuring pat, takes a breath, and swings carefully onto a rope hanging from the hole. Despite his care, he swings a bit and his feet hit the stone pillar which is so near the entry. Surprisingly, the pillar casually moves a bit, showering a light rain of crumbled stone to the floor below. Indy lands on the floor of the Well. He looks at the altar over a sea of undulating death. He picks up an oil canister and splashes two parallel lines of oil and lights them. A path six feet wide beings to open the altar. Behind Indy, Sallah comes quickly down the rope. We beging to INTERCUT all the action in the Well from here on with insert shots of the snakes outside the flames. Snakes and snakes. We see: snakes piled and entwined six inches deep; mother snakes laying snake eggs; snake eggs hatching little snakes; snakes cannibalizing other snakes. OMIT
INT. MARION'S TENT
Belloq has been talking to the still-bound Marion. He has removed her gag. He is impatient, angry, uncomfortable. Caught between two forces.
BELLOQ
Believe me, you made a mistake. If you would just give me something to placate them. Some bit of information.
MARION
I swear to you, I know nothing more. I have no loyalty to Jones. He's brought me only trouble.
He wants to believe her.
BELLOQ
I cannot control them.
Marion's frightened look shifts suddenly to the entrance of the tent. There are a few new arrivals there -- Shliemann, Govler and Belzig. Belzig carries a black leather case. He steps forward and smiles at Marion.
BELZIG
We meet again, Fraulein.
EXT. INDY'S DIG - JUST BEFORE DAWN
The sky is just beginning to lighten over the dunes to the east, making dangerously obvious the thin column of smoke rising from the entrance to the Well. Omar and his men are peering through the smoke down into the Well.
INT. THE WELL OF THE SOULS
Indy and Sallah are on the altar. Pushing together with all their strength, the heavy stone top of the protective chest begins to slide away. Indy and Sallah exchange slightly wary but very excited looks, then continue to push. As the Ark begins to be exposed, the air seems to almost vibrate, to become electrostatically charged. We hear what sounds like a low HUM. The sea of snakes around the altar draws back further from this presence. As the top of the stone chest is pushed completely off and slams down beside it, we see THE LOST ARK OF THE COVENANT. It is awesomely beautiful, breathtaking. 4 feet long, 2.5 feet wide and 2.5 feet high. It's height, however, is increased by the two sculptured gold angels mounted facing each other on the top. Though the body of the Ark is acacia wood, it has been overlaid with gold. An elaborate gold crown surrounds the top edge and gold carrying rings are attached to each corner. Sallah is mesmerized by the sight. His hand starts to reach out and touch one of the angels, but Indy grabs it.
INDY
Don't touch it! Never touch it!
The wooden crate stands open next to the stone chest. Now Indy extracts the wooden poles from its rings and begins fitting them through the rings in the Ark. This takes some maneuvering by the two men, but soon they are able to lift the Ark clear of the stone chest and into the wooden crate. They extract the poles, fasten the top of the crate and stick the poles through the rings of the wooden crate. They start back toward the space under the hole. The fire strips have begun to dwindle, as have some of the torches. The snakes move slowly in toward the clear spaces. Indy and Sallah eye them nervously as they hurry along with their heavy load. Under the hole, they hurriedly attach ropes to the wooden crate and it is pulled up. Indy's concentration is on the tide of snakes.
INDY
Hurry up! Why did it have to be snakes?
Sallah takes the next rope and climbs quickly out of the Well. Indy has picked up a torch and now throws it at a pool of snakes who are too close for his comfort. He turns and takes hold of the exit rope. He gives it a first tug and it falls down into the Well, landing partly beyond the ring of fire where it instantly disappears in a tangle of angry, hissing asps. Indy looks up at the hole.
INDY
What the --
Smiling down at him from the perimeter of the entry are Belloq, Shliemann and Gobler.
BELLOQ
Why, Dr. Jones, whatever are you doing in such a nasty place?
Belloq and the Germans laugh.
INDY
Why don't you fellows come down here? I'll show you.
BELLOQ
No thank you, my friend.
(he glances around him)
BELLOQ
I think we are all very comfortable up here.
EXT. INDY'S DIG - DAWN
Sunlight is flooding this tableau: Sallah, Omar and his men are being held at bay by ten armed Nazis. The wooden crate sits safely nearby. Belzig and another Nazi have the gagged Marion held in their rough grasp.
BELLOQ
(down to Indy)
After all these years, it is most considerate of you to aid me in this way.
As Belloq speaks, Shliemann exchanges a look with Belzig. Belzig smiles and takes the gag from Marion's mouth.
INT. WELL OF THE SOULS
Shliemann smiles down at Indy.
SHLIEMANN
I'm afraid we must be going now, Dr. Jones. Our prize is awaited in Berlin. But I do not wish to leave you down in that awful place...
(he gives a sign)
... all alone.
Belzig and the Nazi move Marion to the hole and, to Belloq's surprise, push her in. Marion falls thirty feet screaming. Indy drops the torch, braces, and catches her! Her weight knocks him to the ground, almost into the snakes. She looks around at the snakes, clinging to him more desperately as he struggles to his feet trying to unload her.
MARION
Don't put me down!
Up at the hole, there's plenty of dissension.
BELLOQ
The girl was mine!
SHLIEMANN
She is of no use to us. Only our mission for the Fuhrer matters.
Shliemann glances meaningfully around at the other Nazis.
SHLIEMANN
I wonder sometimes, Monsieur, if you have that clearly in mind.
Belloq feels how much he is the outsider, his own vulnerability. He backs down with the wisdom of survival. He turns to look down at Indy and Marion. His manner is gallant.
BELLOQ
Goodbye, mademoiselle.
(a pause, then with respect)
Indiana Jones... adieu!
Belloq and the others step back from the hole and unseen Nazis slam the heavy stone door into place. Marion screams. Her scream is accompanied by -- A huge WHOOSH! as air is sucked out and the chamber is sealed. Half of the torches still burning go out with the sound. The remaining torches continue to extinguish at punctuating intervals throughout the following action and the snakes immediately flood into the newly-darkened spaces. Indy puts Marion down and snatches up two burning torches. He hands one to Marion.
INDY
Don't panic. There's plenty of time for that later. Wave that at anything that slithers.
Indy holds his torch out like a lantern and begins a slow 360o turn, his eyes peering into the gloom, examining every inch of the wall and ceiling.
MARION
What are you doing?
INDY
Just watch the floor.
Reminded of the encroaching snakes, Marion waves her torch at the nearest edge of their circle. She looks faint. Indy continues his slow turn.
MARION
Whatever you're doing, do it faster.
INDY
(he spots something)
There!
His head whips around, looking at the pillars around the room. He sees what he wants. He grabs one of the oil canisters, looks back to the spot on the wall he's chosen and splashes oil on the floor in that direction, then lights it. A path opens toward that wall.
INDY
Come on!
Marion is frozen in her spot. Indy drags her after him. He splashes oil the rest of the way to the wall. It lights and Indy pulls Marion over to the wall. He pours the remaining oil in a circle around them, creating a safe zone there.
INDY
Stay here!
MARION
(grabbing him)
Where are you going?
INDY
I'll be back in a minute. We're going through this wall.
Marion looks at the wall, which looks like all the rest to her. She thinks he's crazy.
INDY
Just keep your eyes open and get ready to run. No matter what happens to me.
MARION
(panicked)
What do you mean?
Too late. Indy runs back through the path of flames to the center of the room. Snakes strike at his flying heels. Indy reaches the base of the pillar which he touched briefly on his original descent. He uses the torch to clear away the scattered snakes climbing on it, then pulls out his whip. He draws it back, then wraps it solidly around the pillar 15 feet up. With the torch in his mouth, he beings climbing the pillar. It moves ominously under his weight. The last two torches still burning on the floor go out. Now the only light in the chamber is provided by the torches held by Indy and Marion and the dwindling oil flames. Snakes move in and surrond the base of Indy's pillar. The path between Marion and the center of the room is overrun. The circle of flame around Marion is dying down. She looks beyond it with terror-widened eyes, then up through the increasing smoke at the distant Indy. Near the top of the pillar, Indy's hands strain along his taut whip, which he has moved higher. A snake slithers into view there, inches from Indy's straining face. Indy turns his head so the torch in his mouth can burn it. The snake falls from the pillar. Indy's torch is dwindling. Indy works his body around so that he's in on the side of the pillar away from Marion. The pillar moves, showering dust. Indy looks at the chamber wall five feet away, takes a breath and swings his legs up against it. He is now braced between the pillar and wall.
MARION (O.S.)
(screaming)
Where are you?!
Snakes are moving in force up the pillar toward Indy's dwindling torch. Indy grasps the pillar for dear life, grimaces with exertion and pushes against the wall with all he's got. The pillar begins to break loose of the ceiling, then stops. Indy's eyes are on the torch. It is just a spot of flame now. Snakes are sliding up toward his hands. Indy again pushes against the wall and torch falls out of his mouth. The pillar goes! In the dim light, we see it fall like a tree directly at Marion. Indy rides it down. The top hits the wall three feet from a cringing Marion and smashes through to a black chamber beyond. Indy flies off into the darkness. Gone. Marion clutches her torch at the black hole.
MARION
Indy! Where are you?! Please Lord!
There is a moment that seems an eternity, then Indy appears like an apparition out of the void.
INDY
Come on!
He grabs her and helps her over the remains of the wall into - -
INT. THE CATACOMBS
The winding string of connected chambers is revealed to them only a few feet at a time as their torch lights the way.
MARION
The snakes... are they here?
INDY
I guess not. I think I'd be dead.
MARION
Do you know where you're going?
INDY
Absolutely.
MARION
Thank god. Where?
INDY
Out.
They round a corner and flush a covey of bats. Marion screams.
INDY
Don't do that. It scares me.
Marion gives him a look. They round a corner and begin a walk through a maze of chambers that present for their inspection: moldering mummies and stacked saracophagi; a room decorated with a thousand human skulls; a wall crawling with huge scarabaeid beetles. Marion is quite naturally a nervous wreck; she jumps when Indy grabs her suddenly and points.
INDY
Look!
WHAT THEY SEE. There, coming through the crack in the corner of the next chamber, is white blessed sunlight.
EXT. THE TANIS DIGS - NEAR AIRSTRIP - DAY
Indy and Marion peek out into the light from the shadows of an abandoned excavation. Before them is the improvised airstrip serving the digs: a crude runway, a tent supply depot, two fuel tank trucks. Down by the fuel trucks a German Mechanic is looking skyward. Now Indy and Marion look there too, drawn by the roaring sound of -- A Flying Wing, which is circling over the digs in preparation to landing. Now a new figure approaches the German Mechanic. It is Gobler; he yells to the mechanic, indicating the plane.
GOBLER
Get it gassed immediately! It has an important cargo to take out!
In the distance, the Flying Wing lands and rolls toward the men. Gobler spins and heads back toward the main camp, which is hidden from view by a rise. Indy and Marion watch him go.
INDY
When the Ark gets loaded, we're already going to be on that plane.
The Flying Wing rolls up into the space near the fuel trucks. The German Mechanic puts blue blocks in front of the tires as the engines continue to roar. Indy and Marion run in a crouch to a hiding spot closer to the plane, near the supply tent. Suddenly, a Second German Mechanic appears behind them. He is as surprised as they are, but recovers quickly and swings a monkey wrench at Indy. Indy grabs the swinging arm and the two men tumble out into the open, wrestling. Marion remains hidden, moving fast among the crates. The first German mechanic, who is just pulling the fuel hose from the tank truck to the plane, sees the combatants and runs to help his countryman. He is almost upon them when Indy puts the Second German away with a devastating left -- right - - left combination. He turns to find the first German Mechanic flying at him. The roll toward the rear of the Flying Wing and its lethally spinning reversed propellers. In the cockpit of the Flying Wing, the Pilot has been fiddling with his gauges just prior to shutting off his engines. Now he notices the fight going on outside. The fistfight between Indy and the German Mechanic has taken on a new stomach-tightening dimension. The men are fighting and flailing in and out between the spinning props at the back of the plane's wings. Each man comes within inches of the becoming instant mincement. The Pilot slides away the top of his cockpit and stands up. He pulls a Lugar from his side and points it, waiting for a clear shot at Indy. The German Mechanic kicks Indy away from him and the Pilot aims his pistol. Suddenly, Marion appears behind the Pilot, standing on the opposite wing, and bashes him over the head with one of the blue blocks that was holding the tires. The Pilot drops down into the cockpit, his body falling on the throttle. The engines roar louder, revving up. The plane begins to roll, rotating around its one still-blocked set of tires. Marion grabs onto the cockpit to keep from slipping into the props. She bends into the cockpit, trying to pull the Pilot's body off the throttle. No luck. She grimaces and climbs inside. Her shoulder bumps the top of the cockpit; it slides tightly shut above her. Under the moving wing, Indy delivers a knockout right cross to the German Mechanic which sends him staggering back toward a roaring propeller. Indy's grimace registers the man's demise and a fine mist of blood wafts toward him. Indy spins toward the sound of crumpling metal and sees -- The other top of the Flying Wing slice into a tank truck. The airplane fuel inside floods out onto the pavement, surrounding the plane. Indy backpedals away from the plane, his eyes searching the scene for Marion. Suddenly, he is shocked to see her in the cockpit. He runs toward her, skidding through the gasoline.
INDY
Get out! Get out!
Marion is struggling with the top of the cockpit. She can't budge it. She's trapped.
EXT. THE COMMAND TENT - DAY
Three Armed Nazis stand guard around the wooden crate containing the Ark. It is sitting near the flopped-open entrance to the Command Tent and there is furious activity going on here. Belloq, Shliemann, Golber, Belzig and assorted Aides are packing up all the papers and personal items in preparation for a hasty departure. A large crowd of Arab Diggers are milling about among the tents. They all want to get a look at the Ark. Sallah is among them. All at once, there is an earthshaking explosion. All eyes turn toward the rise that hides the airstrip. A huge fireball floats into view over there. Everyone starts running toward it. Shliemann yells at Belzig and the Armed Nazis.
SHLIEMANN
Stay with the Ark!
EXT. THE RISE ABOVE AIRSTRIP - DAY
Almost all the Arabs and Germans in the digs have congregated here and are staring at the burning remains of the Flying Wing. Belloq and Shliemann arrive just as the second fuel tank blows up. The concussion knocks many of the observers flat. Belloq, Shliemann and Gobler watch the scene in alarm.
SHLIEMANN
Sabotage!
BELLOQ
We must get the Ark away from this place immediately!
SHLIEMANN
(to Gobler)
Have it put on the truck. We'll fly out of Cairo.
Gobler snaps his heels, turns to go.
SHLIEMANN
And Gobler --
(Gobler stops)
-- I want plenty of protection.
Gobler nods and runs off. Shliemann heads back toward camp. Belloq hesitates a long moment, studying the burning wreckage with an odd, suspicious look. Finally, he turns and leaves, passing a nearby stack of barrels. When he has passed, Sallah appears from among the barrels. He searches the crowd for his people and starts a broken field run along some tents to avoid a group of Germans and is running flat-out when someone sticks out a leg and sends him flipping. Sallah, dust all over his face, looks angrily toward the concealed culprit. At once, a flashing white grin splits his darkened face. Indy and Marion, splotched with soot and oil, are hiding in the flap of a tent. Sallah runs into their arms and the three embrace warmly. When they break --
SALLAH
Holy smoke, my friends! I am so pleased you are not dead.
MARION
Us too.
SALLAH
(suddenly remembering)
The Ark! They're taking it on a truck to Cairo.
INDY
Where is it?
Sallah gestures to follow and all three run off stealthily through the mostly deserted camp.
EXT. AMONG THE TENTS - DAY
Sallah, Indy and Marion run into a hiding spot behind some water barrels near the Command Tent. They peek out at this activity -- In the big space near the Command Tent is parked an open German staff car; inside is a Blond Driver and an Armed Guard. Directly behind it is a canvas-topped troop truck. At this moment, Belloq and Shliemann are supervising the careful placement of the crated Ark in the back of the truck. When it is securely placed inside, we hear an ominous marching sound and Nine Armed Nazis appear at a trot from between some tents and climb into the back of the truck with the Ark. Behind the water barrels, Sallah and Marion exchange hapless looks, but Indy just concentrates on -- The scene by the truck: Belloq and Shliemann are about to climb into the front staff car when they pause to check out the final component of the convoy. Rolling into place behind the truck is another open staff car. But this one is special - - mounted in the back is a big, black machine gun, manned by a Gunner. At the wheel of the car is Gobler and next to him sits Belzig. Sallah and Marion look at Indy. Belloq and Shliemann climb in the back seat of the front car and the caravan pulls out. Indy watches it go, thinking hard.
INDY
You two get back to Cairo quick and get us transportation to England -- a plane, a ship, anything.
MARION
What about you?
INDY
I'm going to get that truck. I'll meet you at Omar's. Be ready for me.
Sallah nods. Marion looks at him like he's nuts. Indy jumps up, looks around desperately.
MARION
How are you going to get that truck?
INDY
(still searching)
I don't know. I'm making this up as I go.
He runs away between two tents.
EXT. AT THE EDGE OF THE DIGS - DAY
From among the tents, Indy suddenly bursts into view, happily astride a magnificent white Arabian stallion. He gallops off across the desert.
EXT. THE DESERT (VARIOUS SHOTS) - DAY
Indy cuts cross-country avoiding the road the convoy has taken. He leaps gullies, climbs dunes, slides down slopes. Soon the convoy comes into view far below him. He tears along a parallel ridge, like an Indian shadowing a wagon train.
EXT. DESERT ROAD - DAY
The convoy is entering rougher country. The narrow mountain road we've seen earlier ascends ahead. To the wide of the road are tall boulders. Suddenly, Indy shoots out from between two rocks and rides directly for the truck. The Armed Nazis in the back of the truck can see nothing because the canvas hides their view. But Gobler, Belzig and the Gunner in the rear staff car have a brief line on him. Belzig points and the Gunner fires away at Indy, the bullets kicking up sand near Indy's horse. The Armed Guard in the cab of the truck leans out to see what's happening. Indy has been riding alongside. Now he stands on the horse and leaps to the cab. In a second, he has flipped the Armed Guard out of the truck. He slides into the cab and begins grappling with the Truck Driver. The Truck Driver tries to hit the brakes, but Inyd kicks his foot away and floors the gas pedal. The truck doubles its speed and shoots onto the steep mountain road.
EXT. MOUNTAIN ROAD - DAY
The Blond Driver of the front staff car sees the truck move up on him in the rearview mirror and speeds up. Belloq, Shliemann and the Armed Guard in the car twist around to look at the struggle in the truck. The Blond Driver begins what will be a continuing preview of the twists in the road. He turns his wheel sharply and takes the lead car around a bend. In the cab of the truck, Indy and the Truck Driver stop their fight temporarily and cooperate in turning the steering wheel. The truck barely stays on the road. A full view reveals the incredible geography of this ride. The convoy is tiny against the spectacular mountainside, the cliffs drop hundreds of feet. At the wheel of the rear car, Gobler swerves to stay on the road and accidentally sideswipes a boulder. The Gunner perched in the back is flipped head over heels out of the road through all the dust the convoy is picking up. The lead staff car reaches the summit of the road and barely makes the hairpin turn there, delivering a destructive blow to the guard rail that has been placed there. The guard rail is now bent. In the cab of the truck, Indy and the Truck Driver again stop trying to choke each other long enough to negotiate the turn together. The bumper of the truck hits the broken guard rail and sends it flying off the cliff. The truck, however, holds the road. In the rear car, Golber and Belzig are trying to see through the thick clouds of dust. Suddenly is clears completely. Unfortunately for them, this happens because their car has shot out into space at the hairpin turn. They are flying to their final reward. Belzig, eyes wide behind his evil spectacles, screams as he goes. In the cab of the truck, the Truck Driver is distracted by the sight of the flying staff car. Indy plasters him and he tumbles out. Far, far below, Belzig's staff car explodes on the rocks. In the back of the truck, a TOUGH SERGEANT takes command of the situation. He picks out six Armed Nazis and motions for them to start climbing around the outside of the truck to the cab. With some trepidation the lucky ones begin that maneuver. The truck is swerving like crazy. In the front staff car, the Armed Guard aims his submachine gun back at Indy, alone now in the truck's cab. Shliemann knocks the barrel roughly away.
SHLIEMANN
(yelling)
If anything happens to that Ark, we're all dead men! The Fuhrer will see to it!
Indy sees this from the cab and reacts by speeding up, putting even more pressure on the Blond Driver. Along the back of the truck, Armed Nazis are edging up toward the cab, three on each side. They hang on as the truck rounds a corner and goes into a straightaway that leads through a short tunnel. In the cab, Indy has been concentrating on the lead staff car. Now, just before entering the tunnel, he looks in the side view mirror and sees the Nazis on his side. A quick glance to the other mirror reveals the others. As the truck sweeps into the tunnel, we see Indy just start to turn his steering wheel -- he's going to sideswipe the walls of the tunnel. At the other end of the tunnel, we hear the roar of the two engines and two long, screeching, scraping sounds. The lead staff car shoots out of the tunnel, then the truck, its sides cleaned of Nazis. In the rear of the truck, the Tough Sergeant is looking with distaste back at the tunnel. There remains only him and two Armed Nazis with the Ark. He sends these two climbing up over the top of the truck. In the lead car, the Blond Driver is being pressed hard by Indy, who now edges up to bump them from the rear. Suddenly the Armed Guard next to the Driver sees the two Armed Nazis appear on the top of the truck. Without thinking, he starts to point them out to Shliemann, then realizes his stupidity. In the cab, Indy has seen this and is at first mystified. He checks his side-view mirrors. Then he figures it out and slams on his brakes. The brakes lock, the wheels burn and the truck skids to a dusty halt. The two Armed Nazis fly off the truck, over the cab to the road in front. Indy immediately hits the gas again. The two Armed Nazis, just aiming their weapons, get wiped out. In the rear of the truck, the crated Ark is bouncing all along, no one in sight, because -- The Tough Sergeant is on the top of the truck, making his way steadily forward. This guy clearly knows what he's doing. A submachine gun is slung acorss his back. The truck and the staff car race through a series of S- curves. In the staff car, Belloq and Shliemann spot the Tough Sergeant as he reaches the front of the truck's top and begins to lower his submachine gun barrel toward the cab. Indy is unaware. Belloq and Shliemann exchange looks. Then Shliemann yells to the Armed Guard in the front seat. The Touch Sergeant has a line on Indy. He points his gun. The Armed Guard blasts away at the truck. The Tough Sergeant dies in a hail of bullets and flies off. Indy, who has ducked the gunfire, is confued. But when he sees the Armed Guard up front lower his gun, Indy again floors it and begins bumping the staff car in earnest. The road is almost down to a level now. In the distance -- Cairo. The road takes a little dogleg just before reaching level ground again. Just as the staff car is about to make the turn, Indy smashes them from behind. The staff car flies off the road and down a twenty foot embankment. Indy takes the truck speeding down the road and off toward Cairo. In the staff car, the occupants are bruised but safe. Shliemann points at the departing truck and yells at the Blond Driver. The staff car fishtails out of its sandy resting place and takes off after the truck.
EXT. OUTSKIRTS OF CAIRO (VARIOUS SHOTS) - DAY
Indy had an ever-decreasing lead on the staff car as the race thunders into the narrow streets. People and animals leap out of the way; carts and barrels go flying helter skelter. Indy takes the truck down a street so narrow there are only inches to spare on each side. Pedestrians jump into doorways.
EXT. OMAR'S SQUARE - DAY
When the truck clears the narrow street, it is in a small square. Omar's garage is gaping open on the opposite side. Indy hits the brakes and the truck skids across the square and into the garage. The garage door slams shut and tenting drops from the building to hide the door. Various Arabs, friends of Omar, rush out with fruit carts and baskets and set up a mini-bazaar in seconds. Two Arab Boys sweep the tracks of the truck into oblivion. They throw aside their brooms just as the staff car appears from the narrow street. Belloq and Shliemann look around desperately as the Blond Driver steers the car through the square and out the other side.
EXT. CAIRO DOCKS - NIGHT
The waterfront is dark and misty. An old tramp steamer, THE BANTU WIND, sits by the pier. Several fierce Black African Pirates, the crewmembers, are taking on final stores. A small light illuminates the top of the gangplank. In its circle, Indy and Marion exchange long, warm embraces with Sallah. A short distance away the ship's Captain, a handsome, powerful black named SIMON KATANGA, watches the rail, smoking a pipe. DISSOLVE TO:
EXT. OPEN SEA - THE MEDITERRANEAN - NIGHT
The Batu Wind is bathed in moonlight as it cuts across the even seas.
INT. INDY'S CABIN - NIGHT
Indy comes in, takes off his hat, jacket, whip and holster. The door which connects this cabin to the next opens and Marion appears. She is carrying a half-full glass of liquor, but what you notice is the long, snow-white, high-necked nightgown she is wearing. It is very prim. Very innocent. And very sexy. Marion does a slightly embarrassed model's turn for Indy.
MARION
I have a feeling I'm not the first woman to travel with these pirates. There's a whole wardrobe in there.
INDY
It's lovely.
Indy sits on the cot, takes off his boots. He leans back against the wall and rubs his eyes. Marion sits on the bed, leans back against the wall with him and looks down at her white nightgown. She chuckles.
MARION
I feel like a virgin bride in this.
INDY
That's what you look like.
MARION
(takes a drink)
There are some things you can recapture in this life, but that isn't one of them.
INDY
What would you like to recapture?
MARION
(after a long pause)
Nothing. That is the way it is.
He watches her closely as she drains her glass and puts it down.
INDY
Did I ever say I was sorry I burned down your tavern?
She turns so their lips are very close.
MARION
No. Then again, I burned up that plane.
INDY
You saved my life.
MARION
And you saved mine.
INDY
Seems things have worked out kind of even.
MARION
That's the way I like them.
INDY
Maybe we should consider all past accounts closed.
Marion thinks about this a long time.
MARION
No. Not yet.
INDY
What else?
She looks into his eyes. A smile jumps from her lips to his. He kisses her and they sink slowly to the cot.
INT. IN THE HOLD
The ship's rats are agitated. They tremble and chitter at the edges of the compartment, darting about. Out in the center of the hold, sitting all by itself, is the crated Ark. HUM-M-M- M.
INT. INDY'S CABIN - DAY
Marion awakes with a start, alone in the cot. Something's wrong. The ship is quiet. Indy is strapping on his holster. He pulls his whip and jacket from a hook.
MARION
What is it?
INDY
The engines have shut down.
MARION
Why?
INDY
I'm going to find out.
EXT. LOWER DECK - DAY
Indy runs toward the bow, then climbs some steps four at a time. A MESSENGER PIRATE is hurrying to get him, but flies by him on the steps. By the time the Pirate stops himself, Indy is gone.
MESSENGER PIRATE
Mister Jones! The Captain he say --
EXT. THE BRIDGE - DAY
Captain Katanga is looking with concern ahead of the ship. Indy appears behind him.
INDY
What's wrong?
KATANGA
You have most important friends.
Katanga turns quickly, pointing with a sweeping hand. Indy looks. Arrayed in a rough semicircle around the ship are ten German Wolf Submarines. All of their deck guns are manned and trained on the Bantu Wind. Worse, at least five heavily-armed boarding parties in rafts are closing quickly on the ship.
INDY
Holy shit.
KATANGA
(fast)
I sent my man for you. You and the girl must disappear. We have a place in the hold. Go, my friend!
EXT. UPPER DECK - DAY
Indy tears along the deck. He looks over the rail and sees two Nazi rafts already next to the ship.
EXT. LOWER DECK - DAY
Indy flies down some stairs and starts to round a corner. Suddenly he throws himself backwards, out of view. Three uniformed Nazis are clustered near a cabin door holding the Messanger Pirate. Now two more come out of the cabin trying to maintain their grasp on a kicking, yelling Marion. She is still wearing her white nightgown. More Nazis clamber onto the deck and head toward Indy, slamming open doors, rousting Pirates, spouting racial epithets. Indy steps backwards and fades into the maze of the ship.
EXT./INT. THE BANTU WIND (VARIOUS SHOTS) - DAY
The ship is swarming with Nazis. The Black Pirates are herded forward, subjected to rough physical and verbal abuse by the Aryan Supermen. The Pirates are clearly under orders not to resist, but not one of these strong men likes it. They'd gladly give their lives to rip the throat out of a few Krauts. In the hold, the door slams open and Nazis pour in; they smile at the sight of the crated Ark.
EXT. THE BRIDGE - DAY
Captain Katanga watches as his crew is crowded into a circle of Nazis on the wide deck below him. He is surrounded by Belloq, Shliemann and several Nazis, two of whom are holding Marion. Now the Nazis from the hold appear on the lower deck carrying the crated Ark by means of the long poles. Belloq's eyes shine at the sight.
SHLIEMANN
Take it aboard the Wurrfler!
BELLOQ
And be very careful!
The Ark is taken away.
SHLIEMANN
(to a Sergeant below)
What about Jones?
SERGEANT
Not a trace yet, sir!
KATANGA
Jones is dead.
Belloq and Shliemann regard him suspiciously.
KATANGA
We killed him. He was of no use to us. The girl, however, has certain value where we are headed. She will bring a very good price. If that cargo you have taken was your goal, then go in peace with it. But leave us the girl. It will reduce our loss on this trip.
SHLIEMANN
Savage. You are not in a position to ask for anything. We will take what we wish and then decide whether or not to blow your ship from the water.
Belloq steps forward and puts a proprietory hand on Marion's arm, fixing Shliemann with a steady look.
BELLOQ
That girl goes with me. It will be part of my compensation. I'm sure the Fuhrer would approve.
Shliemann considers.
BELLOQ
If she fails to please me, you can do with her as you wish.
This appeals to Shliemann's nature. He signals his agreement with a gesture. Belloq ushers Marion away with her two keepers. DISSOLVE TO:
EXT. "THE WURRFLER" - CONNING TOWER - DAY
The Nazis have returned to their subs. Shliemann is on the bridge with THE WURRFLER'S CAPTAIN and the Captain's Aides. The Captain is an honorable career Navy man.
THE WURRFLER'S CAPTAIN
Colonel Shliemann, all torpedoes are loaded.
Shielmann nods and continues to stare at the Bantu Wind, as does the Captain. The Pirate crew is all lined across the bow. Towering above the others, standing on the rail, proud and defiant, is Katanga. Shliemann looks at the Wurrfler's Captain a moment.
SHLIEMANN
What do you think, Captain?
THE WURRFLER'S CAPTAIN
(earnestly)
I think not, Colonel. Nothing is to be gained. We are not at war.
Shliemann mulls this, then turns to the hatch.
SHLIEMANN
... yet. Let the vermin live. We must be on our way.
Shliemann disappears down the hatch. The Captain is pleased. A Radioman speaks into his headset, then follows the other Aides down the hatch. In the distance the other subs begin to move away from the ship. The Captain, alone on the bridge, looks once more at Katanga. On the Bantu Wind, Katanga executes what might be taken for a salute. The Wurrfler's Captain smiles, salutes crisply, then goes below, pulling the hatch closed. Immediately, the Wurrfler begins to move. And as it does, we see the rail at the aft of the main deck. From nowhere, a wet sleeve appears and a hand grabs the rail! Indy pulls his dripping body onto the sub's main deck. He has lost his felt hat once and for all. Other than that, his outfit is the same as always, just wetter. Suddenly, water is washing over his feet; the Wurrfler is beginning to submerge. Indy runs through quickly deepening water toward the haven of the conning tower. Halfway there, he slips and goes down. Only by grabbing the base of the aftmast light does he keep from being swept away. He struggles to his feet and sloshes through knee-deep water to the base of the conning tower. Indy climbs the ladder to the bridge of the conning tower and looks down. The water is rising toward him fast. Indy climbs the ladder to the top of the turret and braces himself between the two uprights there - the 7 foot radio mast and the 20 foot periscope. Still the ocean comes up to meet him. Soon the top of the turret is under water and radio mast is disappearing. Indy shifts his grip to the periscope, working his way up it and hanging on for dear life as the ocean whips at his body. The periscope is quickly going under. Indy hangs on to the top three feet, all that remains above. The forward movement of the sub continues, but, to Indy's slowly dawning delight, the dive stops. No more of the periscope goes under. Indy smiles; it's a pretty good smile, too, given the circumstances. Indy pulls out his bullwhip and begins tying himself to the periscope.
EXT. THE PERISCOPE - AFTERNOON
The sun warms that part of his body Indy has contrived to keep out of the water. The rest floats out behind. Indy isn't comfortable, but all in all, it's not as terrible as he might have feared. DISSOLVE TO:
EXT. THE PERISCOPE - DUSK
It's as terrible as Indy might have feared. He looks wasted. Waterlogged and exhausted. The wet leather of the whip is contracting and he must struggle constantly to keep it from cutting into his skin. DISSOLVE TO:
EXT. THE OCEAN - NIGHT
Several shark fins cut the surface, appearing and disappearing in the bright moonlight. They are shadowing --
EXT. THE PERISCOPE - NIGHT
Indy looks through barely open eyes at the sharks running alongside. There is nothing to be done. His eyes close. FADE OUT.: FADE IN:
EXT. THE PERISCOPE - NIGHT
The submarine has stopped. The water is calm. The moon is bright. A gentle swell splashes Indy awake. He blinks, tries to regain his senses. He makes an inventory of his body. Surprised to find himself intact, his spirits lift. Some hidden reserve of energy flows through him. He frees his aching arms from the wet leather of his whip, leaving only one loop around his waist to hold him to the sub. He rubs his hands and stretches. Once again, he has survived. To fight again. He looks around. WHAT HE SEES. A lovely island. No sign of man's presence. The sub has stopped at the mouth of a wide cove completely ringed by tall white rock cliffs. Suddenly the sub begins to move again. It is headed directly toward the center of the cliffs. Indy holds on, mystified, alert. When the cliffs are very close, the sub begins to dive.
INDY
Damn!
He thinks hard. Inspiration hits just before the water. Indy flips his leather jacket up over his head and holds the jacket out in front of him. His head is hidden by the jacket as he goes under water.
INT. THE UNDERWATER TUNNEL - NIGHT
The sub enters an underwater tunnel that penetrates into the cliffs. Indy is held to the periscope by his crossed legs and the whip. His improptu air bubble is working, but it's a struggle to maintain it. The sub begins to cut through thick marine vegetation. Each dangling growth pulls at Indy's body and slaps at his leather bubble. Now a clump of entwined seaweed rips the leather out of his hands and his bubble of air rises away. Indy hangs on, holding his breath, but the vegetation gets denser. Finally, it pulls him off the periscope. The sub moves on, disappearing ahead. Indy rises desperately through the dark water, his hand outstretched. Then, almost simultaneously, hand and head hit solid rock. But no air. Indy feels along the ceiling of rock. Nothing. It's all submerged. Indy dives, stroking deep into the tunnel. When he has descended 15 feet, he grabs a vine and steadies himself. His eyes search the dim roof of the tunnel. He sees his last hope in the distance -- a small blue circle, an air pocket. He swims for it. In the air pocket, Indy's head breaks the surface and smashes into rock again. The pocket is only six inches deep. No matter. Indy loves it. He'd like to move in. He gulps air.
INT. THE SUB BASE - DOCKING BAY
The Wurrfler has arrived at an extraordinary base built in the hollow interior of the island. This chamber, with the docking bay, is almost all water. A huge natural cavern, it has been reinforced and enlarged by the Germans. The Wurrfler sits surfaced at the dock. The Ark has been unloaded and placed on a cart. Shliemann, Belloq and Marion have just disembarked and been met by a Nazi contingent from the base. Marion looks worse for the trip. Her white nightgown is now ripped and smudged. One of the greeting Nazis, a TALL CAPTAIN, salutes Shliemann and Belloq. As he speaks to them, we notice that right behind this group, just above a great deal of sub unloading activity, Indy's whip hangs from the periscope. Working Nazis pass within feet of it unaware; the Tall Captain would see it in a moment if he were not so focused on the new arrivals.
TALL CAPTAIN
(to Belloq)
The tents have been arranged in accordance with your radioed instructions, sir.
BELLOQ
Good. We must take the Ark there now.
Shliemann looks a little unhappy about this exchange, but says nothing. The groups moves swiftly toward the end of a mine train arrangement. The train, consisting of small, separate, electric-powered cars, sits on a track which disappears into a tunnel cut in the rock. On the turret of the Wurrfler, the Wurrfler's Captain lights a cigarette as he watches the mine train disappear, then returns his attention to the activity on the dock. He leans idly against the periscope, his head two feet below Indy's dangling whip. Something catches his eye, he yells an order and climbs down from the turret to deal with the matter. We hold on the whip for a long moment, until its owner's hand appears and quickly reclaims it.
INT. TRAIN TUNNEL
The Ark and its entourage are moving slowly up the tight dark tunnel, their way lit by intermittent lanterns. The tunnel is irregular, but generally about 7 feet wide. It's height varies from an average of about 7 feet to a low of only about 4.5 feet at the points (every 40 feet) where support beams cross the track. The result is that there is only about a foot of clearance above the mine cars at those points; passengers must duck to keep from being hit in the head. Shliemann, looking worried, and Belloq, very excited, are focused on the Ark in the car ahead.
SHLIEMANN
I am uncomfortable with the thought of this --
(spitting it out)
-- Jewish ritual. Are you sure it's necessary?
BELLOQ
(playing him)
Let me ask you this -- Would you be more comfortable opening the Ark in Berlin -- for the Fuhrer -- and finding out only then if the sacred pieces of the Covenant are inside? Knowing, only then, whether you have accomplished your mission and obtained the one, true Ark?
Shliemann doesn't like any of his alternatives. He looks at Belloq with some suspicions as the train comes into bright light.
INT. COMMAND CENTER
A second natural cavern, even bigger than the first, has been worked over by the Germans into a rectangular, three-story high supply center around a huge, open, center court. Uniformed Nazi Soldiers are everywhere, wrangling supplies and ammunition, monitoring electronic equipment. At the far end of the court, a second train tunnel disappears into the rock. Across the open court, Belloq sees his destination: a large, brilliant white silk tent has been erected in the midst of all this hardware. It looks incongruous, and more than a little eerie. It is the Tabernacle.
INT. TRAIN TUNNEL
Indy is making his way up the tunnel. He hears cars coming from up ahead and steps into the shadows. A mine car passes with several laughing Nazis. Indy continues on his way.
INT. THE TABERNACLE
The light in here is lovely, unearthly. Oil lamps burn. The Tabernacle is really several concentric, silk tents, which creates a flowing maze effect. The innermost tent has at its center a 3-foot high, tapestry-covered altar. Belloq watches with gleaming, obsessed eyes as two Nazis carefully lift the actual Ark out of its crate by means of the long poles. The Ark dazzles the eye, seeming to glow gold in this strange light. The two Nazis place it carefully on the altar. Shliemann and some Aides hang back. Marion is nowhere to be seen.
INT. COMMAND CENTER - END OF TUNNEL
Indy makes a fast break from the shadows of the tunnel to the protection of a high stack of supplies. He climbs the back of the stack, peeks over and surveys the area. WHAT HE SEES. In addition to the Tabernacle, the second train tunnel entrance, and all the activity, Indy's glance rests momentarily on a large, heavy metal door halfway down one wall toward the Tabernacle. It bears the words in German: DANGER - MUNITIONS. Indy continues to scan the scene.
INT. THE TABERNACLE
In the central area with the Ark, Shliemann and the other Nazis wait impatiently, eyeing the Ark with some discomfort. Belloq is not visible, because at the moment he is-- In the folds of the Tabernacle, the silk of the tents undulating around him. The light is even stranger, the scene almost dreamlike. With the help of the Tall Captain, Belloq lets an extraordinary, gold-embroidered, ceremonial robe fall over his head and onto his body. Belloq looks transported, possessed. The Tall Captain unlatches a wooden case and takes from it a sturdy ivory rod about 5 feet long, elaborately engraved. Belloq takes it from him, turns and slips back through the silk. The Tall Captain stays in the folds. Back in the central area, Shliemann and the other Nazis are taken aback by Belloq's appearance in the rove. They exchange looks. From one knot of men there is muttering about "Juden" and such, but when Belloq turns a fiery gaze on them there is immediate silence. Shliemann looks uncertain in this presence. Belloq approaches the Ark. He stops a few feet from it and begins murmuring an invocation in Hebrew. After a few moments of this he advances a step and is about to place the ivory rod in a notch under the lid of the Ark itself. The end of the rod is an inch from the notch when-- Indy steps into the Tabernacle. On his shoulder is a bazooka and it is aimed directly at the Ark.
INDY
Hold it.
(the Nazi react)
One move from anybody and I blow that box back to Moses.
Shliemann makes it clear to the other Nazis that Indy is to be obeyed.
BELLOQ
Jones, your persistence surprises even me. You are going to give mercenaries a bad name.
INDY
What about you? Talked to God yet?
(Belloq's eyes flash)
Where's the girl?
SHLIEMANN
Doctor Jones, surely you don't think you can escape from this base.
INDY
That depends on how reasonable we're all willing to be. All I want is the girl. We'll keep possession of the Ark only till we've got safe transport to England. Then it's all yours.
SHLIEMANN
If we refuse?
INDY
Then the Ark and some of us are going up in a big bang. I don't think Hitler would like that a bit. Now I don't want to talk about this anymore. Show me that girl in five seconds or--
The Tall Captain flies out of the silk and takes Indy down by the neck. The bazooka clatters across the cement floor as two other Nazis help subdue Indy. The three Nazis take Indy's pistol from his holster and raise him roughly in their grasp.
SHLIEMANN
Jones, this is the second time I have seen you looking very foolish.
INDY
It's a bad habit. I'm trying to break it.
Shliemann draws his Luger.
SHLIEMANN
I'll help you. This time I'll kill you myself.
Shliemann raises the pistol.
BELLOQ
No! Not in the presence of the Ark! Take him outside.
Shliemann eyes Belloq, then the Ark. He lowers the pistol, motions for the Nazis to take Indy out ahead of him. They stop a moment only when Belloq speaks.
BELLOQ
Indiana Jones, I salute you. I am even a little sorry you will miss this moment.
INDY
Thanks. If you talk to Him, tell Him I'm on my way up.
Shliemann motions them out and follows. Belloq turns back to the Ark, raising the ivory rod.
INT. COMMAND CENTER
Shliemann, the Tall Captain, Indy and the two Nazis holding him emerge from the Tabernacle. Shliemann points to a nearby wall and the group starts that way with Shliemann and the Tall Captain slightly ahead.
INT. THE TABERNACLE
Belloq has the ivory rod inserted in the notch under the lid of the Ark. He utters a short phrase in Hebrew and begins to press down on his end of the rod. The lid of the Ark begins to lift. It's difficult work. Belloq puts his whole weight into one big press on his end and the lid opens two feet. Inside the Ark of the Covenant is a preview of the end of the world. A light so bright, a power so fearsome, a charge so jolting, that there is nothing in our world to compare to it. It's as though this magnificent golden box has been gathering electric energy for three thousand years, waiting for just this crack of the lid to release it all in one fast, cleansing explosion of pure force. Blinding arcs of light shoot out across the Tabernacle instantly killing all the Nazis inside and turning the white silk to flame. But it is Belloq in his obsession who takes the full blast. His whole body seems lit by a million volt current and, for a moment, his complete form is white, then blue, then maybe green, but it is hard to tell because our eyes are blinded now too. Two aspects of this ghastly, beautiful display are somehow communicated in the chaos, although the communication is subliminal. First, that Belloq, in the instant of his destruction, has experienced some kind of sublime, transcendental knowledge. If a death's-head can smile and look satisfied, that is how Belloq's incandescent face would be described. Secondly, this event is accomplished by a sound like no other. A sound so intense and so odd and so haunting that the suggestible among us might imagine it were the whisper of God.
INT. COMMAND CENTER
Chaos. Shliemann and the Tall Captain have been temporarily blinded by the light from the Tabernacle. Indy makes short work of his two escorts. He bashes their heads together. When only one goes down at this, Indy uses the handle of his bullwhip, which has appeared instantly in his hand, to put the second one down. Shliemann, hand on his eyes, aims his Luger blindly at the scuffle. Indy pushes the Tall Captain at Shliemann, who fires on impact, killing the Tall Captain. Indy knocks out Shliemann. Behind Indy, the brilliant light and weird noise of the Ark have suddenly ceased, but the Tabernacle is ablaze and the fire has quickly spread to stacks of supplies on either side. Smoke is already starting to fill the cavern. Nazis are running around, yelling for firefighting water. A burning crate at the side of the Tabernacle is pushed over, only to knock over a drum of heavy black oil. A river of flame shoots across the cement. Indy grabs a rifle with bayonet from the prostrate body of one of his former escorts and runs back into the flaming Tabernacle.
INT. THE TABERNACLE
Indy jumps through the flames into what is now a tent of fire. He looks around at the dead bodies, then at the Ark. The lid has slammed down shut again and the Ark shines gold in the flames. Before it, where Belloq once stood, is a pile of ash and charred debris. Indy registers this, then continues to scan the scene.
INDY
Marion! Marion, can you hear me?
Suddenly, Indy looks as-- The far side of the Tabernacle burns completely away, revealing Marion, tied spread-eagle between two upright posts. Her nightgown is now in tatters, black with soot. She is gagged but her eyes are screaming, focused on the flaming river of black oil which is about to engulf her feet. Indy rushes toward her, unaware of a uniformed Nazi who has appeared from the flames. Marion looks up to see Indy and the Nazi leveling his submachine gun at Indy. She motions desperately with her eyes. Indy dives and rolls through the flames just as the Nazi opens fire. From the floor, Indy blasts the Nazi. The river of burning oil is only a foot from Marion. Indy jumps up and runs toward the bound Marion, his bayonet aimed directly at her. Her wide eyes flash between the flames and the shining blade. Expertly, Indy slashes down both sides at Marion, cutting all four bindings. Marion falls backwards, away from the flames, but before she hits the ground, Indy is there, catching her in his arms. They embrace. They kiss. They break.
INDY
Hi.
MARION
Oh, Indy! Thank god you're here.
INDY
Glad I could make it.
Indy rises, pulling her up with him. The Tabernacle is burning away so fast that soon Indy and Marion will be completely exposed. Indy rushes over and grabs the submachine gun and a Luger from the dead Nazi.
INDY
Let's get out of here.
MARION
What about the Ark?
Indy stops, startled by her spunky attitude. He's considering their chances.
INDY
Are you game?
MARION
Hell yes! We've made it this far.
INDY
(grins at her)
Okay. Let's do it.
They approach the altar through the dying flames, Indy slinging the submachine gun over his back. The long carrying poles are still in place.
INDY
Whatever you do, don't touch it. Let's put it on the floor.
Marion nods. Each taking an end with the poles, they lift the Ark from the altar and lower it to the floor. Marion grunts under the weight. Indy registers this, hands her the submachine gun. He pulls out his whip, motions her back, and sweeps the whip tightly around the body of the Ark. The fall wraps snugly around the plaiting and Indy ties it off. The Ark is now harnessed to the whip handle. Indy gives it an experimental pull and the Ark slides across the smooth cement. Indy indicates the direction of the second train tunnel.
INDY
We'll go down that side. Shoot anyone who looks at us crosseyed.
INT. COMMAND CENTER
Two huge stacks of goods are ablaze and the Nazis are having trouble getting water to them. The Nazis' main concern at this point is an enormous, neat stack of wooden cartridge boxes which are piled down the wall from one of the already blazing, and now teetering, stacks of general goods. Nervous Nazis are moving the heavy cartridge boxes as fast as they can, but it's slow work and the threatening fire is close. Indy and Marion make their way along the side of the center court, Indy grimacing with the strain of pulling the Ark. One Nazi stops directly in front of them, looking at them queerly. Indy knocks him out with the butt of his Luger just as Marion is about to fire. Out in the court, Shliemann has regained his eyesight. Now he crouches, scanning the scene desperately for Indy. He looks into the remains of the Tabernacle and spots the empty altar. Beyond it, the unoccupied posts where Marion was bound. At the entrance to the second train tunnel, Indy and Marion struggle to lift the Ark into a mine car. Marion has the submachine gun slung over her back. The Ark drops heavily into the bottom of the car. The noise attracts the attention of five water-carrying Nazis. They see what's going on and reach for their side-arms. Indy grabs Marion, pulls her in front of him -- as though to use her as a shield -- and flips the submachine gun, still on her back, toward the Nazis. He opens fire, turning Marion's body so he can mow all five down. Shliemann spins around and looks at the tunnel entrance. He points at Indy and Marion, who have just hopped into the mine car with the Ark.
SHLIEMANN
Stop them! Kill them!
A dozen Nazis spin and look at the mine car. Marion is just leveling the submachine gun. Indy pushes forward the throttle and the mine car moves toward the tunnel, picking up speed. As the Nazis raise their guns to fire, Marion and Indy both open up, peppering the area with lead. As the mine car is about to disappear into the tunnel--
INDY
(to Marion)
Get down!
As the car disappears, bullets pock the entrance of the tunnel. Shliemann runs up with three Nazis. They jump into the next mine car and take off, disappearing into the tunnel. Over at the burning stack of goods, some terrified firefighters scurry away as the burning pile of general goods falls over onto the stack of cartridge boxes. The wooden boxes immediately start burning. Many of the Nazis just want to get out of there, but a couple of disciplined OFFICERS are trying to salvage the situation. They point to the far side of the court, the walls are lines with oil and gas drums.
OFFICER
We must cover the drums! Protect them from the bullets!
INTERCUTTING Indy and Marion with Shliemann and the Nazis, we see a most extraordinary pursuit. This tunnel is of identical design to the first, except more twisty. This early section goes slightly uphill, as though headed for the summit of a rollercoaster. The low cross beams and the higher sections in between are causing the Nazis to alternately stand and duck in their efforts to get a clear shot at the lead car. One German times it wrong and gets whacked. Indy is unhappy with the speed of his car and he's right, the Nazis are moving faster and gaining. When both cars are in the same high section, the Nazis blast away at them. The noise is deafening, with barking guns, splintering rock, and twanging ricochets contributing to the din. As Marion fires a return volley low over the Ark, Indy kicks at the throttle, convinced it is jammed.
INT. COMMAND CENTER
The Officers are directing the placement of every moveable item in front of the oil drums. Desks, crates, chairs, food, all are heaped in front of the fuel. All the workers cast frequent glances back at the burning cartridge boxes across the court. Suddenly the worst begins to happen at the cartridge boxes. Hundreds of thousands of live cartridges begin exploding, flying around the court like shrapnel. Hot lead begins to zing off the exposed fuel drums, leaving big dents.
INT. TRAIN TUNNEL - LONG STRAIGHTWAY
The car with Indy and Marion looks almost sluggish compared to the pursuing Nazi car as they both make their way into an unusually long straightaway. Marion discards her empty submachine gun as Indy kicks at his throttle and casts a worried look back at Shliemann. Shliemann, sensing victory, smiles evilly and carefully takes aim. Indy and Marion will be easy targets until they reach that approaching low cross beam, which is the crest of the rising tunnel.
INT. COMMAND CENTER - CLOSE ON FUEL DRUM
A fuel drum, already pocked by bullets is finally penetrated by high velocity hot lead. It explodes in a ball of flame. And then its neighbor. Then all is exploding flame.
INT. TRAIN TUNNEL - LONG STRAIGHTWAY
Shliemann and his cohorts hear the explosions behind them and look back that way. Indy kicks the throttle one more time and it goes! Their car doubles its speed and shoots under the low cross beam at the same instant as-- A huge dragon of all-consuming fire shoots up the tunnel behind the Nazis, catches their car and incinerates Shliemann and his men. The tunnel collapses in this section, burying the fried Nazis forever.
INT. TRAIN TUNNEL
Indy and Marion look back at the low cross beam as the last tongue of flame makes it there and then is doused by falling rock and dirt. They look at each other, then turn their attention back to their own predicament. Their mine car is going incredibly fast as it moves into a downward section of wildly twisting tunnel.
MARION
Slow it down!
Indy is already pulling the throttle. It moves easily. Unfortunately, it is no longer attached to the motor. The mine car is out of control. After several moments, far ahead, appears a circle of bright daylight-- the end of the tunnel! It approaches at a frightening rate. Indy reaches out grasps Marion's hand. They exchange looks and then turn to look ahead. THEIR POV. We're taking this last stretch with them. It's a familiar nightmare. It has to do with a rollercoaster that ends suddenly and disastrously. The shocking brightness of sunlight rushes up to engulf us, blinding us in its glare.
EXT. THE ISLAND - END OF TRACKS, DOCK
High up on the slope of the island, Indy and Marion's mine car shoots out of the black tunnel and roars down toward a little dock at the end of the tracks. A small Nazi transport launch, carefully disguised as a Greek fishing boat, sits bobbing by the dock. The only human: a Nazi Sentry dressed as a Greek peasant. He is perched on a pile of seed bags which are stacked at the very end of the train tracks. As the mine care barrels noisily down toward him, he throws away some burlap to reveal a mounted machine gun which he spins quickly around toward the approaching mine car. He opens fire. In the out-of-control mine car, Indy pulls Marion down with him. They are squashed into the corner trying to avoid contact with the bouncing Ark. Bullets clang against the outside of the car and whiz inches overhead. Indy and Marion are forced into a tighter and tighter embrace of life. At the machine gun post, the Nazi Sentry has been firing like crazy, but now there is terror in his eyes. He realizes the car is not going to stop. He lacks faith in his stronghold. Too late. The mine car smashes into the seed bag bunker. And right on through. The Nazi Sentry, his machine gun and a dozen bursting seed bags are slammed into the ocean in a wild, hurtling mass. The mine car jumps, bounces and spins around, then slides to a stop in a cloud of seed at the edge of the water.
INT. COMMAND CENTER
Fire. Everywhere. No sign of life. A large gaping doorway, flames ringing it, blazing into the room beyond. Hanging by one hinge there, its metal blasted and jagged, is a heavy door with the signed lettering, in German, DANGER - MUNITIONS. The first explosion happens. It's a baby compared to what's coming yet is rocks the earth. It's terrible. And then, almost immediately, another. The long, irregular, ever-larger chain of explosions begins.
EXT. THE ISLAND - VARIOUS SHOTS - DAY
The island rumbles and shakes. From fissures and small natural caves, dirt and rock shoot out like spraying water. Still the explosion continues. A huge chunk of white cliff falls away into the turbulent sea. Birds scream and soar, afraid to land. Finally, we settle on a full shot of the island. We can recognize that the small opening high on the slope from which a cloud of smoke and dust is billowing is the end of the mine tunnel. And there below it, quite small from this distance is the dock. And the boat that looks like a Greek fishing boat. There can be no mistake even from this far away -- the boat is chugging out to sea.
INT. THE PENTAGON - DAY
Indy, Brody and Marion, looking very stylish, are seated in Colonel Musgrove's huge office. Sun pours in a window, through which Washington can be seen sparkling across the Potomac. Everything is neat and clean and regular. Including the three men who are arrayed around the office. Two we know - - Col. Musgrove and Maj. Eaton. The third is an unnamed Bureaucrat. He hangs back, smiling and genial, his features obscured by the glare of the window. He doesn't say anything, yet you have a sense that the others defer to him in the matter at hand. He is the essence of all that is Byzantine and inscrutable in our scrubbed government machine. Indy and Brody are dissatisfied with the way the meeting has gone. Marion, on the other hand, is very happy and eager to get out of there. Eaton's manner is irritatingly cheery.
MUSGROVE
You've done your country a great service.
EATON
--And we trust you found the settlement satisfactory?
MARION
Quite.
EATON
Good, good.
(glances around at the others)
Then I guess that about does it.
BRODY
When can we have the Ark?
Eaton's glance flicks over to the mysterious Bureaucrat, then back to Brody.
EATON
I thought we answered that. It's someplace very safe--
INDY
(heated)
That's a powerful force. Research should be done--
EATON
Oh, it will be, Dr. Jones, I assure you. We have top men working on it right now.
INDY
Who?
EATON
Top men.
Indy exchanges a look with Brody.
INDY
We may be able to help.
EATON
We appreciate that. And we won't hesitate to call on you.
MUSGROVE
(dismissing them)
Thank you all. Thank you again.
Indy looks them over coldly. He gets up, sullen.
EXT. PENTAGON STEPS - DAY
Indy, Brody and Marion emerge from the building. Brody bids them farewell and moves off in another direction. Marion clings to Indy's arm in an energetic, very feminine way, scolding him.
MARION
--Well they aren't going to tell you, so why don't you just forget it. I'd think you'd had enough of that damn Ark. Just put your mind on something else.
Indy stops, looking across the river, his mind occupied.
INDY
Yeah, like what?
Marion makes a face, then puts her arms around his neck and plants a humdinger of a a kiss on his mouth. It goes on a while. Finally they break.
INDY
It's not the Ark...but it'll have to do.
They move down the steps, smiling.
INT. GOVERMENT WAREHOUSE
The Ark of the Covenant sits in a wooden crate. A wooden lid comes down and hides it from view. The lid is solidly nailed to the crate as we read the stenciled message on top-- TOP SECRET:
ARMY INTEL. #9906753
DO NOT OPEN!
The hammering is completed and hands shift the heavy crate onto a dolly.
THE END CREDITS ROLL AS WE SEE--
A Little Old Government Warehouseman begins pushing the crated Ark down an aisle. Soon we see that the aisle is formed by huge stacks of crates. They come in many shapes and sizes, but when it comes right down to it, they all look like the one that holds the Ark. All have markings like the message we've just seen. Pretty soon we're far enough and high enough away from the Little Old Government Warehouseman to see that this is one of the biggest rooms in the world. And it is full. Crates and crates. All looking alike. All gathering dust.
And then we notice that the Little Old Government Warehouseman, pushing his new crate ahead of him, has turned into another aisle and disappeared from view. FADE OUT.:
THE END
|
RAIDERS OF THE LOST ARK
Screenplay by
Lawrence Kasdan Story by George Lucas REVISED THIRD DRAFT AUGUST 1979 This screenplay is the property of
MEDWAY PRODUCTIONS, INC.
And is intended solely for company
Personnel. Distribution to any Unauthorized persons is prohibited.
MEDWAY PRODUCTIONS, INC.
P.O. BOX 8669
Universal City, CA. 95608 FADE IN:
EXT. PERU - HIGH JUNGLE - DAY
The dense, lush rain forests of the eastern slopes of the Andes, the place known as "The Eyebrow of the Jungle". Ragged, jutting canyon walls are half-hidden by the thick mists. The MAIN TITLE is followed by this:
PERU
A narrow trail across the green face of the canyon. A group of men make their way along it. At the head of the party is an American, INDIANA JONES. He wears a short leather jacket, a flapped holster, and a brimmed felt hat with a weird feather stuck in the band. Behind him come two Spanish Peruvians, SATIPO and BARRANCA. Bringing up the rear are five Yagua INDIANS. They act as porters and are wrangling the two heavily-packed llamas. The Indians become increasingly nervous. They speak to each other in bursts of Quechua. The American, who is known to his friends as Indy, glances back at them.
BARRANCA
(irritated)
They're talking about the Curse again!
He turns and yells at the Indians in Quechua, his anger giving an indication of his own fears. The party reaches a break in the canyon wall and takes the trail through it. When they emerge, their destination is revealed to them in the distance. Beyond a thick stand of trees is the vegetation- enshrouded TEMPLE OF THE CHACHAPOYAN WARRIORS, 2000 years old. The entire party is struck by the sight. The Indians, terrified now, chatter away. Suddenly the three at the back turn and run, dropping their packs as they go. Barranca yells at the fleeing Indians and pulls his pistol out. He starts to raise his arm to aim but Indy restrains it in a muscular grip.
INDY
No.
Barranca looks evilly at Indy's hand upon him. Indy releases him and smiles in a friendly way.
INDY
We don't need them.
Satipo watches this confrontation with some concern.
BARRANCA
I do not carry supplies.
INDY
We'll leave them. Once we've got it, we'll be able to reach the plane by dusk.
He turns back to the trail. Satipo gets the two remaining Indians moving behind Indy. Satipo and Barranca then have a fast, silent communication: Barranca indicates his desire to slit Indy's throat; Satipo gives him a look that says "Be patient, you idiot" THE APPROACH TO THE TEMPLE The party fans out to fight their way through the entwined trees that guard the temple. Visibility is cut to five feet in the heavy mist. Satipo extracts a short, native dart from a tree and examines the point gingerly.
SATIPO
(showing Indy)
The Hovitos are near. The poison is still fresh...three days. They're following us, I tell you.
INDY
If they knew we were here, they would have killed us already.
The two Indians jabber in Quechua, near hysteria. Barranca is sweating profusely, eyes darting. He yells at the Indians in Quechua to "shut up". In the undergrowth, there is slithering movement. Indian #1 draws aside a branch and is face with a horrific stone sculpture of a Chachapoyan demon. The Indian is so frightened no sound comes out when he screams. He turns and runs silently away. Indian #2 calls to his friend. Getting no response, he steps in that direction. A huge macaw, flushed from the undergrowth, screams and flies away. Indian #2 does exactly the same thing, never to be seen again. Indy, Satipo and Barranca, just clearing the trees, look back in that direction. They all turn to face the Temple. It is dark and awesome. Vegatation curls from every crevice, over each elaborate frieze. The entrance - round, open and black - has been designed to look like open jaws.
INDY
So this is where Forrestal cashed in.
SATIPO
A friend of yours?
INDY
Competitor. He was good, very good.
BARRANCA
(nervous)
No one has ever come out of there alive. Why should we put our faith in you?
Indy takes the weird feather from the band of his hat. From around its point, he slips a tightly rolled piece of parchment. Barranca and Satipo exchange a quick "So that's where is was!" look. They all kneel as Indy spreads out the parchment. On it is one-half of a crude floorplan of the Temple.
INDY
No one ever had what we have... partners.
Indy fixes them with an expectant stare. Satipo produces a similar, but folded, piece of parchment. He lays it - the other half of the floorplan - next to Indy's. They all regard it for a moment, then Indy stands and walks toward the Temple. Barranca's eyes are shining as they dart between the floorplan and Satipo.
INDY
(back turned)
Assuming that pillar there marks the corner and...
Barranca is suddenly on his feet, quietly drawing his pistol. He raises it toward Indy as Satipo realizes with alarm what he's doing. Too late. Indy's head turns and he sees Barranca. Indy's next move is amazing, graceful and fast, yet totally unhurried. His right hand slides up under the back of his leather jacket and emerges grasping the handle of a neatly curled bullwhip. With the same fluid move that brings Indy's body around to face the Peruvian, the whip uncoils to its full ten foor lengeth and flashes out. The fall of the whip (the unplaited strip at the end of the lash) wraps itself around Barranca's hand and pistol. He could not drop the gun now if he tried. Indy gives the whip a short pull and Barranca's arm is jerked down, where it involuntarily discharges the gun into the dirt. Barranca is amazed, but feels some slack in the whip and immediately raises the gun toward Indy again, cocking it with his free hand. Indy's face goes hard. And sad. Indy sweeps his arm in a wide arc. Barranca spins around, enclosed in the whip, his gun hand stuck tight against his body. Indy gives one more short jerk on the whip handle and Barranca's gun fires. Barranca falls dead. Indy looks quickly at Satipo, who is shocked and frightened. He raises his arms in supplication.
SATIPO
I knew nothing! He was crazy! Please!
Indy looks him over, then nods. He frees the whip from Barranca's body and picks up the man. His eyes sweep the surrounding woods.
INDY
Let's go.
INT. TEMPLE - INCLINED PASSAGE - DAY
Indy and Satipo, carrying a torch, walk up the slightly inclined, tubular passage from the main entrance. The interior is wet and dark, hanging with plant life and stalactites. Their echoing footsteps intermittently overpower the sounds of loud dripping, whistling air drafts and scampering claws. HALL OF SHADOWS Indy leads the way down a twisting hallway, Satipo's torch barely lighting his way from behind. Indy disappears in a shadow and when he reappears a moment later a huge black tarantula is crawling up the back of his jacket. Indy doesn't notice and disappears into another shadow, emerging with two more tarantulas on his back. Satipo sees them and makes a frightened grunting sound. Indy looks at him, sees what he's pointing at and casually brushes all three spiders off with his rolled whip, as he would a fly. Satipo pirouettes for an inspection and Indy flicks one off the Peruvian's back. Indy begins picking up little pocket-sized artifacts from the niches and ledges of the Temple. He continues to do this as the men penetrate the Temple. His collecting is quick and expert, evaluating the pieces in an instant, discarding some, stuffing others into his clothes, and never stopping his forward progress. CHAMBER OF LIGHT The men reach an arch in the hall. The small chamber ahead, which interrupts the hall, is brightly lit by a shaft of sunlight from high above. Indy stops, looks it over.
SATIPO
What's wrong? Are you lost?
Indy picks up a stick and throws it through the shaft of light. Giant spikes spring together from the sides of the chamber with a ferocious CLANG! And impaled on the spikes are the remains of a white man, half-fleshed, half skeleton, in explorer-type garb. Indy reaches out and takes hold of the man's carcass. As the spikes slowly retract, Indy pulls it free and seats the remains gently on the floor.
INDY
Forrestal.
SATIPO
(gulps)
We can go no further.
INDY
Now, Satipo, we don't want to be discouraged by every little thing.
Indy steps sideways into the chamber. His back pressed against the very points of the retracted spikes, he moves along the edge of the light beam, and steps clear on the other side. Satipo grimaces and begins sweating his way through. STAIRWAY Indy and Satipo come down stone stairs to a tight landing. Framing the entry are a carefully strung network of dead vines, each somehow hooked into the wall, narrowing the opening even more.
INDY
(taking the torch)
Let me see that.
He lowers the torch to the floor of the landing. The landing is carpeted with human skeletons, one on top of another, all squashed flat as cardboard. Satipo gasps. Indy looks up at the ceiling of the landing, then steps onto the skeletons, which make a cracking noise under his feet.
INDY
Try not to touch the vines.
FOYER OF THE SANTUARY The men are in a high, straight hallway 50 feet long. The door at the end is flooded with sunlight.
SATIPO
Senor, I think we are very close.
Indy stands still looking at the hall.
SATIPO
(impatient)
Let us hurry. There is nothing to fear here.
INDY
That's what scares me.
They begin walking down the hall side by side. Satipo has inched a little ahead. Suddenly his lead foot comes down and through the floor! As Satipo beings to pitch forward, Indy grabs him by the belt and pulls him back. They both look down at the "floor". Indy swings his whip across the floor. Fifteen feet of it cuts open beneath the lash, falling away to reveal a black pit as wide as the hall. The illusory floor was made of dust- covered cobwebs. Satipo picks up a stone and drops it down the pit. No sound. The two men exchange glances. Indy looks up at the high roof of the hall. He swings the whip up around a support beam, tests its strength with a pull and swings over the pit on the whip. From the other side he swings the whip back to Satipo, who throws Indy the torch. Satipo swings across. When they are both standing on solid floor there is a moment of quiet in which they hear, from far, far below-- SPLASH! Indy wedges the whip handle into the wall and leaves it strung to the beam for quick retreat. THE SANTUARY A large, domed room. Ten evenly-spaced skylights send their shafts of sunlight down to a unique tiled floor: white and black tiles laid out in a lovely, intricate pattern. Indy and Satipo stand at the door and look across the wide room at the alter. There, in the supreme hallowed spot, is a tiny jeweled figurine, Indy's real objective. Two torches, many years old, are in holders by the door. Indy takes one down and lights it. He gives the regular torch to Satipo.
SATIPO
There's plenty of light, amigo.
Indy kneels and uses the unit end of the torch to reach out and tap a white tile. It is solid. He taps a black tile. There is a whizzing sound and a tiny dart sticks in the torch. Satipo points to the wall nearby: there is a recessed hole there.
SATIPO
From that hole!
Indy nods, stands and looks around the sanctuary. The entire room is honey-combed with the same kind of hole. Satipo sees it too and is properly impressed.
INDY
You wait here.
SATIPO
If you insist, senor.
Torch in hand, Indy beings his careful walk across the sanctuary. Stepping only on the white tiles, he almost appears to be doing a martial arts kata. Before each big move he waves the torch in front of him head to toe, looking at the flame. Halfway out, he sees something on the floor and kneels to look at it. A dead bird lies on one of the white tiles. Its body is riddled with little deadly darts. This has great significance to Indy and he stands with even greater caution. He waves the torch ahead of him and at waist height an air current whips at the flame. Indy ducks under it and leaves a burn mark on the white tile beneath it. Satipo watches, wide-eyed and mystified. Indy reaches the alter. The tiny idol looks both fierce and beautiful. It rests on a pedestal of polished stone. Indy looks the whole set-up over very carefully. From his jacket he takes a small, canvas drawstring bag. He begins filling it with dirt from around the case of the alter. When he has created a weight that he thinks approximates the weight of the idol, he bounces it a couple times in his palm concentrating. It's clear he wants to replace the idol with the bag as smoothly as possible. His hand seems ready to do that once, when he stops, takes a breath and loosens his shoulder muscles. Now he sets himself again. And makes the switch! The idol is now in his hand, the bag on the pedestal. For a long moment it sits there, then the polished stone beneath the bag drops five inches. This sets off an AURAL CHAIN REACTION of steadily increasing volume as some huge mysterious mechanism rumbles into action deep in the temple. Indy spins and starts his kata back across the sanctuary at four times the speed. THE RETREAT - INTERCUTTING INDY AND SATIPO The sanctuary has begun to rumble and shake in response to the mysterious mechanism. Just as Indy goes out the door, a rock shakes loose from the wall and rolls onto the tile's floor. Immediately, a noisy torrent of poison darts fills the room. IN THE FOYER, Satipo swings acorss the pit. He makes it just as the whip comes undone from the beam, leaving Indy without an escape. Satipo, extremely nervous, regards the whip a moment then turns back to face Indy, who has run up to the far side of the pit.
SATIPO
No time to argue. Throw me the idol, I throw you the whip.
Indy hesitates, eyeing the rumbling walls.
SATIPO
You have no choice! Hurry!
Indy concurs with that assessment. He tosses the idol across the pit to Satipo. Satipo stuffs it in the front pocket of his jacket, gives Indy a look, then drops the whip on the floor and runs.
SATIPO
Adios, amigo!
Indy grimaces. He had a feeling this might happen. He looks around. AT THE VINED LANDING, Satipo flies through like a chubby ballet dancer and takes the steps five at a time. IN THE FOYER, Indy runs in full stride to the edge of the pit and broad jumps into space. He doesn't make it. His body hits the far side of the pit and he begins to slide out of view. Only wild clawing with his fingers at the edge of the pit stops his descent. With just the tips of his fingers over the edge, he begins pulling himself up. AT THE CHAMBER OF LIGHT, Satipo has slowed down. He begins to edge carefully around the light shaft. AT THE VINED LANDING, Indy sails through sideways and rolls to stop at the bottom of the steps. His whip is grasped in his hand. As he raises himself, he hears, from above the giant spikes of the Chamber of Light CLANG! And an abrupt, sickening rendition of SATIPO'S LAST SCREAM. Indy runs up the steps. The rumbling sound grows louder. AT THE CHAMBER OF LIGHT, Indy slides to a stop. The spikes have retracted, taking Satipo's body to one side. Indy edges into the chamber with his back to the shaft of light. Soon he is face to face with the dead Satipo; spikes protrude from several vital spots in the Peruvian's body. Indy removes the idol from Satipo's pocket and moves quickly out the other side.
INDY
Adios.
THE INCLINED PASSAGE Indy shoots out of a cut-off hallway and turns toward the exit. The rumbling is very loud and now we see why: right behind Indy a huge boulder comes roaring around a corner of the passage, perfectly form-fitted to the passageway. It obliterates everything before it, sending the stalactites shooting ahead like missiles. Indy dashes for the light of the exit. His hat flies off his head. Almost immediately it is crushed by the boulder. Indy dives out the end of the passage as the boulder slams to a perfect fit at the entrance, sealing the Temple.
EXT. FRONT OF THE TEMPLE - DAY
Indy lies on the ground, gasping for air. A shadow falls across him and he looks up. WHAT HE SEES. Looming above him are three figures. Two are HOVITOS WARRIORS in full battle paint and loin cloths. They carry long blow guns. But the man in the center draws Indy's attention. He is a tall, impressive white man, dressed in a full safari outfit including pith helmet. His name is EMILE BELLOQ. His face is thin, powerful; his eyes hypnotic; his smile charming, yet lethal. His heavily French-accented speech is deep, mellifluous, wonderful. Back beyond Belloq and his two escorts, thirty more Hovitos Warriors hover at the edge of the trees.
BELLOQ
Dr. Jones, you choose the wrong friends. This time it will cost you.
Belloq extends his hand. Indy looks at it, then produces the idol and hands it to Belloq. Belloq extends his other hand, smiling. Indy hands over his gun. Belloq sticks it in his jacket.
BELLOQ
And you thought I'd given up.
INDY
(eyeing the Hovitos)
Too bad they don't know you like I do, Belloq.
BELLOQ
(smiles)
Yes, too bad. You could warn them... if only you spoke Hovitos.
With that, Belloq turns dramatically and holds the idol high for all the Hovitos to see and says something in Hovitos. There is a murmur of recognition and all the Indians, including Belloq's escorts, prostrate themselves upon the ground, heads down. Indy is immediately up and running toward the edge of the clearing.
BELLOQ
(in Hovitos)
Kill him!
AT THE EDGE OF THE CLEARING, Indy disappears into the foliage. An instant later, the leaves are peppered with a rain of poison darts and spears.
EXT. THE JUNGLE - INDY'S RUN - VARIOUS SPOTS - DAY
Indy runs like hell through steadily falling terrain. And always close behind, a swift gang of angry Hovitos. Occasionally they get close enough to send a dart or spear whizzing past Indy's head.
EXT. THE URUBAMBA RIVER - DUSK
An amphibian plane sits in the water beneath a green cliff. Sitting on the wing is JOCK, the British pilot. Indy breaks out of some distant brush and runs along the path at the top of the cliff.
INDY
(yelling)
Get it going! Get it going!
Jock hops in and fires up the plane's engines. Indy reaches a spot on the cliff above the place, glances back, then jumps into the river. He comes up, swims to the plane and grabs a strut.
INDY
GO!
Jock starts the plane moving across the water as Indy walks across the wing and falls into the passenger compartment. OMIT OMIT
INT. JOCK'S PLANE - DUSK
Indy relaxes and lies across the seat, a big smile on his face. One hand drops to the floor of the cabin and Indy jumps, hitting his head. On the floor of the cabin is a huge boa constrictor. Indy tries to get his whole body onto the seat. Jock sees what's happening.
JOCK
Don't mind him. That's Reggie. Wouldn't hurt a soul.
INDY
I can't stand snakes.
JOCK
The world's full of them, you know.
INDY
I hate them.
JOCK
Come on now, Sport. Show a little of the old backbone.
EXT. JOCK'S PLANE - TWILIGHT
It soars off over the dark jungle.
INT. INDY'S OFFICE, SMALL EASTERN COLLEGE - DAY
It's autumn and the pretty, New England campus out Indy's window reflects it in dazzling color. A few weeks before the start of classes. Activity just picking up. Some students about. Indy is at a bookcase near the window and he looks quite different in this setting. His outfit is tweedy, slightly rumpled in the professional style. Part of his attention is focused in a book and he wears glasses to see the fine print. The office is cramped, absolutely innundated with books, maps, etchings and archeological artifacts. In fact, the only neat spot in the room right now is Indy's desk, which has been cleared off expressly for the benefit of-- MARCUS BRODY, the Curator of the National Museum in Washington D.C. Brody is examining the small artifacts Indy pocketed on his way into the Peruvian Temple. He occasionally uses a jeweller's eyepiece to get a closer look. But he is distracted, his concerns elsewhere, and it is this that his old friend Indy senses from across the room.
BRODY
Do you think the idol will ever show up?
INDY
I don't know. Just because Belloq had it doesn't mean he kept it.
Indy snaps the book closed and puts it on the shelf. He takes his glasses off and focuses on Brody. At the windowed door to his office, two pretty COEDS pause for a moment, look in at their sexy Archeology professor, giggle and disappear.
INDY
Getting it away from those Indians would be a neat trick.
(a hard look)
I hope they got him.
A young male graduate student, Indy's TEACHING ASSISTANT, taps on the door and then pushes his way in with an arm-load of reference books. Indy helps him find a spot for them.
TEACHING ASSISTANT
I couldn't get the McNabe, Professor. Someone's got it checked out 'till next month when classes start.
INDY
That's all right, Phil. Thanks a lot.
TEACHING ASSISTANT
(eager to please)
Will there be anything else?
INDY
No. I'll see you Thursday.
The Teaching Assistant leaves. Brody is scowling as he examines the last of the artifacts.
INDY
Hey, if you don't like them, I can always return them.
BRODY
No, they're beautiful. The Museum will buy them as usual. No questions asked.
INDY
Then what's wrong?
BRODY
I brought along some people today.
INDY
What kind of people?
BRODY
Government.
INDY
(concerned)
Government?
BRODY
Don't worry, it's not about your business.
(indicates the artifacts)
They're from the Army.
INDY
I've already served.
BRODY
Army Intelligence. They're looking for Abner.
INT. INDY'S LECTURE HALL/CLASSROOM - DAY
Indy's course - a combination of archeology and anthropology - is taught in this amplitheater-type lecture hall. His desk and lectern hold large reference books; blackboards line the wall. Bones, maps, charts fasten on the walls. Indy leans against his desk talking with Brody and two uniformed Army officers, COLONEL MUSGROVE and MAJOR EATON, who are situated around the first seats in the classroom.
MUSGROVE
...but you did study under Professor Ravenwood at the University of Chicago?
INDY
(nods)
We haven't spoken in ten years. I'm afraid we had a bit of a falling out.
EATON
You know nothing of his whereabouts?
INDY
(negative)
Just rumors. Somewhere in Asia, last I heard.
Musgrove and Eaton exchange a look; they're disappointed.
EATON
(to Musgrove)
Maybe Dr. Jones can make sense of it.
Again, the military men have a silent communication, deciding what to reveal.
MUSGROVE
Well... you must understand, Dr. Jones, this is all strictly confidential.
INDY
I understand.
MUSGROVE
Yesterday, one of our European sections intercepted a Nazi communique from Cairo to Berlin. We don't quite know what to make of it.
Musgrove takes a sheet from his briefcase.
MUSGROVE
Here it is - "Tanis development proceeding. Acquire headpiece, Staff of Ra, General Tengtu Hok, Shanghai. Locate Abner Ravenwood, U.S."
Brody is excited. He looks at Indy.
BRODY
Tanis. They must have discovered the lost ruins.
Indy contemplates this big news; he's impressed.
INDY
(to himself)
Tanis. Ain't that somethin'!
EATON
Frankly, we're a little suspicious... An American being mentioned so prominently in a secret Nazi cable.
INDY
Ah, Ravenwood's no Nazi.
EATON
Then what do they want him for?
INDY
They're looking for the headpiece to the Staff of Ra.
MUSGROVE
(indicates his sheet)
But it says here that's in China.
INDY
Only half of it. Ravenwood had the
other half.
EATON
What would the Nazis want with this - this Staff of Ra?
BRODY
I can tell you that. Over the last two years the Nazis have had teams of archeologists running around the world looking for all kinds of religious artifacts.
MUSGROVE
That's right. Hitler's a nut on the subject. Crazy. He's obsessed with the occult.
EATON
What is this Staff of Ra, anyway?
INDY
It all has to do with the Ark of the Covenant.
(the Army guys look mystified)
The chest the Hebrews used to carry around the Ten Commandments.
Now it's the Army men who are impressed.
INDY
An Egyptian pharoah stole the Ark from Jerusalem and took it back to the city of Tanis. A short time later, Tanis was consumed by the desert in a sandstorm that lasted a year.
INDY
But before that, the Pharoah had the Ark hidden away in a secret chamber called the Well of the Souls. Which is where the Staff of Ra comes in.
Indy moves to the blackboard and makes a quick sketch to give a rough idea of the system as he describes it. (And we get a glimpse of what an interesting and enthusiastic teacher he must be)
INDY
Now this was rather clever. The Staff was really just a big stick - oh, I don't know, say like this -
(he indicates about six feet)
- no one really knows for sure. Anyway, it was capped by an elaborate headpiece with a carving of the sun at the top. What you had to do was take the Staff to a special room in Tanis - it had the whole city laid out in miniature on the floor. When you placed the Staff in a certain spot in the room, at a certain time of day, the sun would shine through a hole here in the headpiece and then send a beam of light down here - to the map - giving you the location of the Well of the Souls...
MUSGROVE
... where the Ark of the Covenant was kept.
INDY
(nods)
Which is probably what the Nazis are after.
EATON
What's this Ark look like?
INDY
Look like? Why, it's right here...
Indy pulls a big format book from the stack on his lectern and flips through the pages until he finds a large color print. The other men gather to look. THE PRINT fills the screen. It shows a Biblical battle. The Israelite Army is vanquishing an opposition force. At the forefront of the Israelite ranks, two men carry the Ark of the Covenant, a beautiful gold chest, crowned by two sculptured gold angels. The men do not touch the Ark itself; rather they carry it by use of two long wooden poles which pass through rings in the corners of the Ark. The painting is very dramatic, full of smoke, tumult and sinewy dying men. But the most astonishing thing in the picture is the brilliant jet of white light and flame issuing from the wings of the angels. It pierces deep into the ranks of the retreating enemy, wrecking devastation and terror.
EATON
Good God!
INDY
Yes. That's what the Hebrews thought.
MUSGROVE
What's that supposed to be coming out of there?
INDY
Who knows... lightning... fire... the power of God.
EATON
I'm beginning to understand Hitler's interest in this thing.
INDY
Oh yes. The Bible tells of it leveling mountains and wasting entire regions. Moses promised that when the Ark was with you, "your enemies will be scattered and your foes fell before you".
(pause)
An army which carries the Ark before it is invincible.
Eaton and Musgrove exchange worried looks.
INDY
Oh, there's one other thing that Hitler undoubtedly believes about the Ark...
(a long, pregnant pause)
It's said that the Lost Ark will be recovered at the time of the coming of the True Messiah.
MUSGROVE
Dr. Jones, you've been very helpful. I hope we can call on you again if we have questions.
INDY
Most certainly.
Brody and Indy exchange a look as they all shake and Brody starts to leave with the Army men.
EXT. FRONT DOOR, INDY'S HOUSE - NIGHT
Indy's English Tudor, upper middle class home. Quite toney; well beyond the financial reach of an honest college professor. Marcy Brody has already rung the bell. Indy opens the door. He is dressed in a tuxedo.
BRODY
I've got to talk to you.
INDY
This isn't really a good time.
BRODY
Indy, it's important.
INDY
All right. Come on in.
INT. FOYER, INDY'S HOUSE
The lush tone continues here in Art Deco and shiny marble. Indy motions Brody toward the study to one side.
INDY
I'll be in in a moment.
As Brody passes the entrance to the expansive living room, he spots a beautiful, silk-gowned Harlow-type lounging on the sofa in front of a roaring fire. She is sipping champagne.
INT. STUDY, INDY'S HOUSE
Brody enters the book-lined, dark-wooded study. He paces for a moment before the fire which is dying in the fireplace, then spots something and goes over to Indy's big desk. The surface is covered with open books, monographs, maps and drawings - all about the Ark of the Covenant. Brody smiles; he knows his friend very well. Indy comes in, closing the door behind him. Brody turns to him with a triumphant expression.
BRODY
They want you to go for it. And they'll pay.
INDY
(smiles)
Good work, Marcus. I had a feeling this would happen. And, of course, the Museum gets the Ark when we're done.
BRODY
(smiles)
Of course.
Indy's manner is vigorous, aggressive.
INDY
Okay, here's the way it's gonna be. First, I'll high-tail it to Shanghai and get the piece from General Hok. Then I think I know where I can find Ravenwood. If only I can get...
BRODY
General Hok's a tough customer. They don't call him the Wild Boar for nothing. And he's tied in with the Japanese.
INDY
I'll worry about that when the time comes. My only hope is to find the Well of the Souls before the Nazis do.
WIPE TO:
EXT. IN THE AIR - DAY/NIGHT
A Pan Am Clipper flies west over the Pacific. WIPE TO:
INT. KEHOE'S CAR (SHANGHAI AIRPORT) - DAY
Indy is barely into the front seat of a dilapidated Ford as the driver, BUZZ KEHOE, is peeling out into traffic. In the back seat is a Chinese named BANG CHOW. Kehoe zigs crazily through traffic with only his left hand as he reaches over to shake with Indy.
KEHOE
Buzz Kehoe, Army Intelligence. You've met Bang Chow.
INDY
What's the hurry?
KEHOE
Some German agents got here two hours ago. Luckily, Bang was able to have them detained at Customs. We'll have to hurry.
OMIT OMIT OMIT OMIT
EXT. HOK'S STREET - DAY
Kehoe's car emerges from an alley. Down the block is Tengtu Hok's modest, walled palace. Kehoe's car slows a bit and Bang steps from the moving car with a small black suitcase in his hand. While he heads down the street toward Hok's place, Kehoe's car continues across the street and into an alley on the other side.
EXT. HOK'S STREET - IN FRONT OF THE PALACE - DAY
A Mercedes limousine appears round a corner and squeals to a stop at the front gate of the palace, which is manned by a sturdy Chinese Gateman. There are three Germans inside, one the driver.
EXT. ALLEY BEHIND HOK'S MUSEUM - DAY
Kehoe, alone now, pushes a trash container casually into a position to hide a newly created hole in the rear wall of Hok's Museum where several stone blocks have been removed. He looks around and ambles back to the car.
INT. HOK'S PALACE - ENTRY HALL
The three Germans wait impatiently in a magnificent foyer. A chime sounds and huge double doors open to reveal TENGTU HOK, flanked by two uniformed Japanese Soldiers and a roved Chinese Advisor. He wears a fantastic gold ornamental robe. Despite the majesty, however, nothing can disguise the fact that Hok is basically a wild, fat barbarian; an animal. Hok and his escort group bow in what is the beginning of a long welcoming ceremony. The Germans exchange impatient glances but decide they should play it as it comes. They bow.
INT. HOK'S MUSEUM
No person in sight. Instead, we see a magnificent display of ancient artifacts. Glass cases hold the velvet-couched pieces at random spots on the shining marble floor. We hear an odd sound. Near the floor on the rear wall of the museum, a steel ventilation grate moves. A hand slides it gently across the marble. Indy sticks his head out and looks around.
INT. HOK'S PALACE - TEA ROOM
The three Germans are being served tea and exotic delicacies. A pleased Tengtu Hok watches from a throne-cushion. When the tray of tiny delicacies is presented to him, he takes a massive handful, crushing them together on their way to his smiling mouth.
INT. HOK'S MUSEUM
A huge golden gong, seven feet in diameter, is suspended from the ceiling by a hook. An enormous hammer hangs poised above it, from which emanate myraid tiny threads which run up and across the ceiling, then down to the various display cases. Indy looks up at the gong, then continues his quick, quiet foray among the cases. Beyond him, a high window.
INT. HOK'S PALACE - TEA ROOM
Hok and his visitors stand to go. The Germans' pleased expressions make it clear they're finally on their way to the museum.
INT. HOK'S MUSEUM
Indy arrives at his destination. The lovely, carved gold section of the headpiece is nested on purple velvet in a glass case. At the bottom of the piece is a round hollow where the staff would fit. There is a grunting sound behind Indy and he spins, already reaching for his revolver. A fierce Japanese Samurai is running at Indy full speed down an aisle of display cases. His sword is raised over his shoulder ready to cut Indy in half. He's six feet away when Indy's gun levels and fires twice, blasting him backwards. Indy is still looking over his gun when another samurai sword comes down from the side and knocks the pistol brutally out of Indy's grip; his hand avoids amputation by a quarter of an inch. An amazed Indy backs away from the crossing aisle as the Second Samurai steps in to face him, sword raised. Indy backs away into an open space and his bullwhip appears in his hand. He gives it one savage CRACK! to announce its arrival and the Samurai slows down, eyeing it curiously. The Samurai does not look unhappy about this confrontation. How pure it is - The Sword versus The Whip.
EXT. HOK'S PALACE - SECOND FLOOR WALKWAY - DAY
Tengtu Hok and the Germans have obviously heard something. They are hurrying along the walkway at the side of the building, Hok in the lead. Up ahead is the foot bridge which crosses from the palace to the museum entrance over a moat.
EXT. STREET IN FRONT OF THE PALACE - DAY
The lovely Mercedes limousine blows up.
EXT. HOK'S PALACE - SECOND FLOOR WALKWAY - DAY
The Germans spin toward the blast. Drawing weapons, they run back to investigate. Hok follows them, confused.
INT. HOK'S MUSEUM
Indy and the Samurai face each other. They're both breathing hard from previous, no-contact passes at each other. Now Indy begins swinging the whip over his head again. It whizzes out toward the Samurai's face. The Samurai take two lightning- quick cuts at the leather, but misses. Indy swings for the Samurai's feet; the Samurai jumps nimbly, slashing at the whip. Indy does it gain. The Samurai hops it. Once more. The Samurai is concentrating on hopping it. Indy sees it. The split second he wants. The whip flashes up from the floor and wraps solidly and irrevocably around the Samurai's neck. Indy gives it a murderous pull and the Samurai is dead on his feet.
EXT. HOK'S PALACE - SECOND FLOOR WALKWAY - DAY
Hok and the three Germans are looking down at the flaming remains of the Mercedes. A look of concern crosses Hok's face. He turns and runs back toward his beloved museum.
INT. HOK'S MUSEUM
Indy is at the case containing the headpiece. He smashes the glass with a samurai sword, reaches in and grabs the piece. Immediately, behind him, the huge hammer falls and the sound of the gong thunders through the museum.
EXT. HOK'S PALACE - SECOND FLOOR WALKWAY - DAY
At the sound of the gong, the running Hok skids to a halt with a crazed expression on his face. He disappears for two seconds in an alcove and emerges holding a big, black Thompson Submachine Gun. He runs across the foot bridge and is just barely over it when it blows up. Hok, safe, looks behind him in amazement and then turns to the museum.
INT. HOK'S MUSEUM
The double doors at the entrance slam open to reveal Hok. Indy is halfway along an unprotected wall back to his ventilation entry route. Hok opens up on him, cutting off his retreat. Indy jumps behind a marble column, which is promptly blasted with machine gun fire. Indy looks above him, sees the giant disk of the gong. Reaching up, pushing with tremendous effort, he maneuvers it off the hook. It bounces to the floor on its side, chipping the marble with its monstrous weight. Indy steadies it and then puts his whole body into rolling it across the room toward the window. As it starts to roll, Indy slips behind it and runs across the room with it. Hok can see the rolling gong. He opens up on it. The vicious cacophony of machine gun fire is joined by the musical reports of bullets hitting the gong and ricocheting away. Very, very noisy. Behind the gong, Indy gauges his move. As the gong is about to be stopped by a marble bench, Indy takes a long stride onto a bench and dives through the glass of the high window. Hok's bullets hit the wall.
EXT. ROOF - DAY
Indy lands in a shower of glass on the jutting roof of the museum's first floor. He rolls to a crouch and is immediately being fired upon. The Germans, cut off from the museum, are standing on the palace walkway firing at him. Indy takes off fast for the rear of the museum.
EXT. ALLEY BEHIND HOK'S MUSEUM - DAY
Kehoe, craning to locate Indy, has the Ford rolling slowly along the back of the museum. Bang scouts from the back seat. Indy appears on the roof at a run, gauges the movement of the car and jumps from the roof of the museum to the roof of the sedan. Unfortunately, the roof of the old car can't take it and Indy's legs knife right on through to the interior, where he scares the hell out of Kehoe.
INT. KEHOE'S CAR - DAY
Indy squirms his way down into the front seat.
KEHOE
Jesus! Are you all right?
INDY
(he's felt better)
Great. Got it.
Kehoe guns it, throwing Indy back against the cushions.
KEHOE
What now?
INDY
I've got to get to Nepal.
OMIT WIPE TO:
EXT. DC-3 IN THE AIR - DUSK
The plane flies west into the sunset.
INT. DC-3 - NIGHT
Under a meager seat light, Indy is pouring over a journal article by Abner Ravenwood and a related map of Nepal. A few rows back, across the aisle, a trenchcoated European Spy eyes Indy. WIPE TO:
INT. "THE RAVEN" SALOON - PATAN, NEPAL - NIGHT
A huge stuffed raven, wings spread wide, is mounted behind the long bar in the noisy, crowded saloon. A lively mix of patrons is represented in the late hour tableau: Nepalese natives, fierce Sherpa mountain guides, sleazy international smugglers and fugitives, and, of course, mountain climbers from every corner of the earth. A tall Nepalese, MAHDLO, is the bartender. In a corner near the fireplace trouble breaks out suddenly between the groups at two neighboring tables. Ferocious representatives from each table - one a wild-looking SHERPA, the other a muscular Australian CLIMBER - jump up to face each other. As the two contenders stand posed for action, their representative supporters shift in their places, fondling lethal ice axes and clubs.
SHERPA
Gmoiska! Shurga rintoik!
CLIMBER
Aye! That'll be your last word.
The bar has quieted ominously and so we hear with startling clarity when - a door behind the bar slams open with a huge BANG! and some Presence, too small to be seen as it moves through the forest of towering patrons, makes a beeline for the troubled corner of the bar. A path clears for it. The Sherpa and the Climber are about to kill each other when the Presence arrives directly between them: she is MARION RAVENWOOD, twenty-five years old, beautiful, if a bit hard- looking. At this moment, however, that look does not hurt. She is not intimidated by the combatants; she jabs accusatory fingers into their chests. She is angry as hell. The patrons shrink under her gaze.
MARION
That does it! I've been patient with you no-goods long enough. I'm not open at 2 o'clock for myself, you know. It's all for you. And how do you repay me: Trouble and noise and blood on my floor! I won't have it. Everybody out! Out! Out! We're closed. Closed! Do your killing outside! And don't leave any bodies on the porch!
The place clears quickly. Stragglers and grumblers are given special attention by Marion and Mahdlo, who has come from behind the bar carrying a big axe handle. Mahdlo herds the crowd out the front door as Marion turns and walks behind the bar. A scowl on her lovely face, she has just begun clearing the bar of glasses when she notices one remaining Patron huddled over a glass at the far end of the bar. Grimacing in exasperation, she heads that way like a locomotive.
MARION
Hey you, deaf one! I said out of place. I don't meant next Easter, I mean now--
She is almost on him when Indy looks up smiling. Marion stops, stares, shocked.
INDY
Hello, Marion.
She hits him with a solid right to the jaw, knocking him off the barstool on the floor. He rubs his jaw and smiles up at her.
INDY
Nice to see you, too.
MARION
Get up and get out.
INDY
(getting up)
Take it easy. I'm looking for your father.
MARION
(bitterly)
Well you're two years too late.
Indy's attitude changes instantly. This is sad news. He is silent for a long time. Mahdlo comes in the front door and hurries forward when he sees Indy with Marion. He looks to her for guidance, but she stays him with a gesture.
MARION
Go home, Mahdlo. I'll see you tomorrow.
Mahdlo is hesitant, but lays the axe handle on the bar and goes out. Indy has been barely aware of him. Now he settles again on the barstool. Marion has a vindictive look. She'll let him stay, but she wants to inflict as much pain as possible.
INDY
What happened?
MARION
Avalanche. Up there. He was digging. What else? He spent his whole life digging. Dragging me all over this rotten earth. For what?
INDY
Did you find him?
MARION
Hell no. He's buried where he was working. Probably preserved real good, too. In the snow.
Suddenly the hardness cracks. She is on the verge of tears and does not want him to see them. She turns away and takes a whiskey bottle from the shelf, then turns back to pour herself a drink.
INDY
Not a bad way to go. Doing what he loved.
MARION
(vitriolic)
Don't give me that stuff!
MARION
What do you know?
(she takes a drink)
I'm the one that was left in a bad way. He didn't have a penny. Guess how I lived, Mister Jones. I worked here. And I wasn't the bartender.
(another swallow)
Finally the guy that owned the joint went crazy. Snow crazy. They took him away screaming. As they dragged him out, he said the place was all mine for life.
She looks around the saloon.
MARION
Can you imagine a more evil curse?
(pause)
So far, it's working.
INDY
Why not leave? Go back to the States.
MARION
I'll go back. I'll get there. Not that there's a soul there who knows my name of cares. But I'll go. And when I do, they'll know me. 'Cause I'm going to go back in style. With money. A soddamn lady!
INDY
Where you gonna get it?
MARION
If I knew that, you think I'd still be running this dive?
Indy looks at her, thinking. Under his gaze, she blushes, for reasons only she understands. She looks into her glass and, for a moment, she softens.
MARION
I'll tell you something, Indy. I've learned to hate you in the last ten years. But somehow, no matter how much I hated you, I always knew that someday you'd come through that door. I never doubted that. Something made it inevitable.
(hopefully)
Why are you here... now... tonight?
Indy takes a long time to answer.
INDY
I need one of the pieces your father collected.
Marion's eyes go icy. She swings at him again with her right, but this time he catches her at the wrist. Then he stops her left, which she has brought up to slap him.
MARION
You son-of-a-bitch! You know what you did to me, to my life? This is your handiwork.
INDY
I never meant to hurt you.
MARION
I was a child!
INDY
You knew what you were doing.
MARION
I was in love.
INDY
I guess that depends on your definition.
MARION
It was wrong. You knew it.
Indy releases her arms.
INDY
Look, I did what I did. I don't expect you to be happy about it. But maybe we can do each other some good.
MARION
Why start now?
INDY
Shut up and listen for a second. I want that piece your father had. I've got money.
That stops her.
MARION
How much?
INDY
Enough to get you back to the States. Where are his things?
MARION
Gone. I sold it all. It was all junk. The junk he wasted his life on.
INDY
Everything?
Marion nods.
INDY
(giving up)
That's too bad.
Indy feels tired, defeated. Marion is pleased.
MARION
You look disappointed. I like that. How's it feel?
Indy has to smile at her glee.
MARION
(nods at his empty glass)
What are you drinking?
INDY
Seltzer.
MARION
(refilling his glass)
Real man's drink. Me, I like scotch. And I like bourbon. And vodka and gin. I'm not much for brandy. I'm off that.
She pours herself another as Indy watches, amused.
INDY
You're a tough broad now, aren't you?
MARION
It's no act, pal. This ain't Schenectady.
INDY
I can only say I'm sorry so many times.
Marion looks at him thoughtfully, takes a drink.
MARION
You really have money? You don't look rich.
(Indy nods)
I may be able to locate some of his things. I know who's got them. What do you want?
INDY
A bronze piece, about this size. In the shape of the sun. Probably broken off at the bottom. Has a little hole in it, off-center. Does that sound familiar.
Marion thinks, nods slowly.
INDY
Do you know where it is?
MARION
Maybe. How much?
INDY
Three thousand. American.
MARION
(negative)
That'll get me back, but not in style. This doodad must be pretty important.
INDY
Maybe.
A huge smile lights up Marion's face.
MARION
I knew it would happen eventually. I knew it. Something had to go my way.
(pours herself another drink)
I've got to think this out. I'm used to bargaining with yaks.
INDY
Okay. Five thousand. That's all I can give you now. I can get you more when you land in the States.
MARION
Your word, huh?
(Indy nods)
Just like you said you'd be back last time? That was your word too.
INDY
I'm back, aren't I?
Marion sneers and they smile together.
INDY
You can trust me.
MARION
Come back tomorrow.
INDY
Why?
MARION
Because I said so, that's why. It's about time I called the shots in this relationship.
Indy nods, gets up to go.
MARION
Wait a minute. Leave the five thousand here.
(Indy hesitates)
You want trust, give some. I want to smell your money.
Indy thinks about this a moment, then reaches inside his shirt and pulls out cash from a money belt. He lays five grand on the bar.
INDY
I trust you.
MARION
You're an idiot.
INDY
I've heard that.
Indy starts for the door. Marion takes another drink. She's getting high.
MARION
Hold it. Come here.
INDY
(moving back)
Bossy, aren't you?
MARION
That's right. Give me a kiss.
Indy looks into her eyes, then leans over the bar and kisses her deeply. When the kiss ends, their faces are very close. Marion is flushed. She liked it and would like more. She raises her glass between them to discipline herself.
MARION
Get out of my place.
Indy smiles and walks to the front door. Then, without looking back-
INDY
Tomorrow.
He's gone. Marion stares after him, thinking. She takes a drink. Then slowly, her hand comes up to loose the scarf that is draped around her throat. It falls away, revealing her graceful neck above the dipping top of her blouse. Hanging there on a gold chain against her white skin is a sun-shaped golden medallion. The bottom looks broken off. Marion lifts the medallion so she can see it in her hand, then looks thoughtfully after Indy.
EXT. STREETS OUTSIDE "THE RAVEN" - NIGHT
Indy sits thinking at the wheel of an old car. Finally, he puts the car in gear and drives away. Across the street, the shadow in a doorway comes to life. A dark form steps out to look at Indy's departing car; it is the European Spy from the DC-3. He hurries off in the opposite direction. DISSOLVE TO:
INT. "THE RAVEN" - NIGHT
Marion stands before the fire that is shrinking in the fireplace. She jabs at it abstractedly with a poker, thinking. Suddenly tears well up in her eyes. She lets the poker slip from her hand, wipes away the tears. She walks across the room to the end of the bar, still cluttered with bottles and glasses, and stops at the pile of American money Indy has left. She takes the chain from around her neck and lets the medallion slide off it into her hand. She places it on the bar next to the pile of money, thinking. Then, having reached some decision, she picks up the pile of bills, walks up the back of the bar and pulls a small wooden box from under the bar. She flips open the top, puts the cash inside and closes the top. She leaves the box on the bar and starts back toward the medallion. The front door of the saloon bursts open and Four Bad Men come in. Marion, halfway between the valuable possessions and not wishing to draw attention to either, stops where she is. The Four Bad Men who advance on her are: 1) the obvious leader, a short, vile, sadistic German in spectacles by the name of BELZIG. 2) a trenchcoated SECOND NAZI. 3) a ratty-looking NEPALESSE and 4) a mean MONGOLIAN. The second NAZI and the MONGOLIAN both carry submachine gungs.
BELZIG
Good evening, Fraulein.
MARION
The bar's closed.
BELZIG
We are not thirsty.
The Mongolian and the Nepalese poke around, checking to make sure there's no one else there. Down at the end of the bar, the medallion lies partially hidden by surrounding glasses and bottles. The Second Nazi stops very near it, but turns his back to it to face Belzig and Marion.
MARION
What do you want?
BELZIG
The same thing your friend Dr. Jones wanted. Surely he told you there would be other interested parties.
Marion shakes her head.
BELZIG
Ah, the man is nefarious. I hope for your sake he has not yet acquired it.
MARION
Why, are you willing to offer more?
BELZIG
Almost certainly. Do you still have it?
MARION
No. But I know where it is.
Belzig's smile fades at this news. He's not a patient sort. Marion is chilled by the look. She turns and moves to the shelf of bottles behind her, reaching high for one, very near the large stuffed raven. Her hand lingers there a moment and we see - From an angle behind the stuffed raven, that the left wing spread hides a Baretta automatic pistol. Marion's hand is very near it, but withdraws with only a whiskey bottle as the Mongolian walks toward her behind the bar. Marion opens the bottle before Belzig, who watches her intently.
MARION
How 'bout a drink for you and your men?
The Second Nazi lights up at this suggestion. Belzig gives him a withering look.
BELZIG
We will stick to the business at hand, Fraulein.
MARION
(tough)
Fine. Why don't you come back tomorrow when Jones is here and we'll have an auction?
Belzig gives her a cold look then turns and walks toward the fireplace. As soon as his back is turned, the Second Nazi grabs the nearest whiskey bottle and takes a quick pull. In so doing, he leaves the medallion completely exposed. Marion is aware of this as she looks at him. But he quickly puts the bottle down again, obscuring the medallion, when Belzig speaks from the fireplace.
BELZIG
I'm afraid an auction is not possible.
(pause)
Your fire is dying here, Fraulein.
(a beat, then threatening)
Why don't you tell us where the piece is right now?
MARION
Listen, Herr Mac, I don't know who you're used to dealing with, but no one tells me what to do in my place.
Belzig, still looking in the fire, sneers and shakes his head.
BELZIG
Americans! You're all alike. Fraulein Ravenwood. I'll show you what I'm used to.
He motions with his hand. The Mongolian moves up behind Marion and lifts her roughly over the top of the bar, knocking over bottles and spilling liquor. He deposits her on the other side, where the Nepalese and the Second Nazi flank her and hold her cruelly, arms behind her back. Marion raises a ruckus. Belzig turns from the fireplace. In his hand is the poker, its end glowing orange. He advances on Marion. Marion stops yelling, her eyes widen in terror.
MARION
Wait! I can be reasonable-
BELZIG
That time is passed.
The glowing poker point moves inexorably across the room toward Marion's face.
MARION
You don't need that. I'll tell you everything!
BELZIG
Yes, I know you will.
Belzig has no intention of stopping now. The glowing tip is approaching Marion's face. The Nepalese watches with savage glee. The tip of the poker is five inches from Marion's nose when there is a loud CRACK! and the fall of Indy's bullwhip wraps around the middle of the poker and tears it out of Belzig's hands. The poker sails high across the room, free of the whip, and lands in the heavy curtains that over one window. The curtains immediately burst into flame. The four Bad Men look in surprise toward the front entrance. Indy is poised there, the whip in his right hand, a .45 Automatic raised toward them in his left.
INDY
Hello.
Now everything begins to happen very fast- The Mongolian had just come around the bar at the end opposite the medallion. He dives back to crouch behind the end of the bar, raising his submachine gun. Belzig and the Second German dive behind the tables near the bar. The Nepalese is slower to leave Marion, he draws a Luger. Indy's .45 barks and the Nepalese dies spinning against the bar. Indy fires in the direction of the Mongolian. Marion swings up over the top of her bar. Belzig fires at her, but his bullets smash bottles behind the bar and thud into the raven. Marion flattens out on the floor behind the bar as bullets hit above her. She reaches up, snatches the axe handle from where Mahdlo left it, and begins crawling down the length of the bar toward- The Mongolian, who sticks his submachine gun out and fires blindly in Indy's direction. Indy is in a crouch behind a table, trying to get a shot at someone. He doesn't notice in the din and confusion when the door bursts open. An incredible, fearsome GIANT SHERPA, almost seven feet tall, soars in and tackles Indy from behind. The whip flies from Indy's hand as he and the Giant Sherpa roll across the floor, upsetting furniture. The Mongolian, seeing this, stands up confidently. Marion rises behind him and bashes him over the head with the axe handle. He goes down and out. Fire has completely engulfed the curtains and is working across the ceiling on decorative yak skin bunting. A burning fragment drops to the top of the bar, which immediately lights up, fueled by the spilled alcohol. Full whiskey bottles explode like Molotov cocktails. Rolling on the floor, Indy and the Giant Sherpa are fighting for control of Indy's .45. Belzig sees this and shout to the Second Nazi, who is rising from cover with the submachine gun in hand.
BELZIG
Shoot them both!
SECOND NAZI
He's our man!
BELZIG
Do as I say!
Both the Giant Sherpa and Indy hear this. The Giant Sherpa exchanges an alarmed look with Indy and together they swing the .45 around toward the surprised Second Nazi. Two blasts blow him away. That done, Indy brings a brass spittoon down on the Giant Sherpa's wrist and the .45 slides away. Indy jumps up and kicks the Giant Sherpa, who barely seems to feel it. He grabs Indy and flips him effortlessly onto a table. Belzig now has a clear shot at Indy. He raises his Lugar. Marion, at the end of the bar, finally gets the hand of the Mongolian's submachine gun. It roars to life in the general direction of the ceiling. Belzig runs for cover as Marion gets control of the gun and levels it. Belzig dives around the end of the bar opposite Marion. When he has set himself, he peeks up over the edge of the scorched bar. The alcohol fire has moved down the bar and now, much to Belzig's surprise, he finds himself staring at the fire-blackened sun-shaped medallion! His eyes widen. He cannot believe his good fortune. Without hesitation he picks up the metal medallion, palming it. Immediately there is a sickening searing sound and Belzig's expression changes from joy to agony. He screams in pain and tries to shake the red-hot medallion from his skin. Marion opens up and the bar starts to splinter in front of Belzig. The medallion comes free of Belzig's hand and rolls across the floor. Belzig has had enough. In excruciating pain, he turns, sees a window, runs and dives through the glass. An exhausted Indy uses his whole body to upend the Giant Sherpa, who lands hard on his back. They are surrounded by flames.
EXT. "THE RAVEN" - SNOW BANK - NIGHT
Belzig has his burned hand stuck deep in the snow. Now he withdraws it, steaming, and scurries off into the night like a wounded animal.
INT. "THE RAVEN" - NIGHT
Marion throws down the empty submachine gun and moves through the flames to the center of the bar where she left the box with the five grand. She finds the remains of the box and its contents: a shapeless pile of ash and charred wood.
MARION
Unbelievable!
At the end of the bar, the Mongolian has come back to life. He shakes out his head, then reaches inside his coat and pulls out a Mauser pistol. Indy smashes a chair over the head of the Giant Sherpa and the huge creature goes down. The Mongolian points his Mauser through the smoke and flame at Indy. Suddenly, the Mongolian is shot dead. Marion stands beneath her stuffed raven with the Baretta. Indy moves quickly through the flames, his eyes scanning the floor. He picks up his bullwhip and his crumpled felt hat. He peers through the smoke till he spots Marion moving among the burning furniture.
INDY
Let's get out of here!
MARION
Not without that piece you want!
INDY
It's here?
Marion nods, kicks aside a burning chair. Another burning beam falls from the roof. Indy pulls Marion close to him protectively.
INDY
Forget it! I want you out of here. Now!
He beings dragging her out.
MARION
(pointing)
There!
She breaks away from him, darts back and picks the hot medallion up in the loose cloth of her blouse.
INDY
Let's go!
MARION
(looking around)
You burned down my place!
INDY
(figuratively)
I owe you plenty!
MARION
(literally)
You owe me plenty!
INDY
(smiles)
You're something.
MARION
I am something. And I'll tell you exactly what-
She holds up the medallion possessively.
MARION
I'm your partner!
EXT. CAIRO - VARIOUS SHOTS - DAY
First we see the sprawl, the soaring minarets, the ancient skyline. Then we're closer, in the narrow, exotic streets, teeming with life: fierce-looking men in tattered galabiyas, black- gowned women with veiled face, ragged, barefoot children. OMIT
INT. DINING ROOM - SALLAH'S HOUSE (OLD CAIRO)
Indy and Marion have been welcomed like family into the crowded home of SALLAH, his wife FAYAH, and their NINE CHILDREN (ages 4 - 18). Fayah, a huge, imposing woman, appears, at first glance, to be the power in the house. Sallah, a small, cheerful, energetic fellow in his forties defers to his wife in all matters of little importance. Suddenly the general liveliness at the children's table esculates into pandemonium, attracting the attention of the adults.
FAYAH
Silence!
(there is silence)
Why do you forget yourselves?
The gaggle of grinning off-spring parts to reveal in their midst- a MONKEY. It is munching some flat Arab bread.
FAYAH
What is this? Who brought this animal in?
All the children chatter their innocence at once. The Monkey chatters too; it's an entertainer. The Monkey jumps from the children's table to the adults' and struts slowly up to Marion, who thinks it's the cutest thing she ever saw. When it reaches her, it takes off its turban and does a deep, grand bow to her. She is delighted and takes the Monkey into her arms. The Monkey kisses her cheek. The children laugh.
MARION
Why, thank you. I like you too.
FAYAH
Then it shall be welcome in our house.
MARION
Oh, no! You don't have to have it around if you don't want it-
SALLAH
(cheerfully)
All of Allah's creatures are welcome here. You please us by letting us please you.
OMIT
EXT. COURTYARD - SALLAH'S HOUSE - NIGHT
Indy and Sallah sit in the small, protected courtyard. Sallah holds the two sections of the headpiece, the medallion and the base, and has for the first time fitted them together. They fit perfectly and complete the headpiece. He peruses the markings on the headpiece quizzically. Indy is cleaning and loading a .45 automatic.
INDY
I knew the Germans would hire you, Sallah. They couldn't have an excavation in the desert without the best digger in Egypt.
SALLAH
All Arabs look alike to them, Indy.
INDY
Tell me about the map room at Tanis.
SALLAH
We found it three days ago. I broke through myself.
INDY
Those Nazis are moving awfully fast.
SALLAH
The Frenchman is helping them.
Indy reacts.
INDY
Belloq. So he got away from the Indians. This is going to be more interesting than I thought.
SALLAH
I'm afraid this has put the Germans close to finding the Well of the Souls.
INDY
(indicates the headpiece)
Even Belloq won't be able to find it without that. Can you make anything of those markings? They're nothing I'm familiar with.
SALLAH
(shakes his head "no")
But I know someone who might. You can go to see him tomorrow.
(a worried expression)
Indy... something bothers me.
INDY
What it is, my friend?
Sallah finds it hard to say. When he finally speaks, his words are accompanied by a strange, eerie, foreboding rush of wind through the courtyard. Just a coincidence we might suppose.
SALLAH
It is the Ark. If it is there, at Tanis... It is not something man was meant to disturb... Death has always surrounded it. It is not of this earth.
The wind dies down. Indy shakes off a chill and stares thoughtfully at his friend.
EXT. HEAVILY TRAFFICKED CAIRO STREET - DAY
Indy and Marion are briskly walking along one of Cairo's busy bazaar streets. Vendors with fine cloth, pottery, baskets, jewelry, etc line the street. Marion has the Monkey from Sallah's house on her shoulder.
INDY
Do you really need that monkey?
MARION
I'm surprised at you, Indy. Talking that way about our baby. He's got your looks, too.
INDY
And your brains.
As Indy and Marion turn a corner, the Monkey seems to notice something and immediately jumps from Marion's shoulder and hurries off at a frantic pace down the street.
MARION
(looking disappointed)
Hey! Hey! ... where're you going?
INDY
(dragging Marion along)
He'll be OK. Come on. Come on.
EXT. ANOTHER CAIRO STREET - DAY
The Monkey is seen running around another corner and jumps into the waiting arms of MONKEY MAN, who appears to be like a beggar with a dirty turban and an eye patch. MONKEY MAN immediately hurries down the street and passes into a building. In the building are two GERMAN AGENTS. MONKEY MAN and the MONKEY both give the Heil Hitler salute and engage in quick talk. MONKEY MAN quickly leaves the two GERMAN AGENTS and gets back to the street. He is obviously shadowing Indy and Marion. Indy and Marion are just now passing by and the MONKEY MAN ducks back behind some baskets.
EXT. ANOTHER BUSY CAIRO STREET - DAY
Indy and Marion are passing under a balcony where a lone GERMAN AGENT stands watch. After they pass, the AGENT nods to some BAD ARABS who are hiding in the shadows of the street. In a moment, Indy and Marion pass by the break. Monkey Man turns and looks up at a roof further down the alley. He waves with his hand. Someone up there waves back.
EXT. A SMALL BAZAAR - DAY
Indy and Marion have reached a tiny square, made even more cramped by its use as a small bazaar. They have started working their way through the crowd when several Bad Arabs and a German Agent begin to converge on them. Indy immediately sees what's happening and pulls the bull whip from his jacket. The first Bad Arab to reach them gets hit in the mouth by the handle of the whip. Now all hell breaks loose, with Bad Arabs, Innocent Shoppers, baskets of fruit and tables of good flying every which way in the constricted space.
INDY
(to Marion)
Run! Get out of here!
Indy catches a dagger-wielding Bad Arab around the legs with the whip and flips him. Marion is reluctant to leave Indy.
INDY
Go, damnit! Go!
Marion goes. She runs off between two buildings. A Bad Arab takes off after her. Monkey Man, now standing at the edge of the square, points at Marion. The Monkey jumps off his shoulder and follows Marion.
EXT. BETWEEN THE BUILDINGS - DAY
Marion runs along the narrow space and soon encounters a five foot wall. She flops over it. The Bad Arab is right on her heels. He reaches the wall and vaults over. On the other side of the wall, the Bad Arab lands in a crouch, looks ahead and doesn't see Marion. Immediately a heavy earthen pot smashes over his head, putting him out. Marion steps from an alcove and starts to run toward the street at the other end of the walkway. Suddenly another Bad Arab and a new German Agent appear in the street at that end. Before they can spot her, Marion retreats to the alcove again. There is a huge rattan basket sitting there. Marion climbs in and closes the top above her. The only witness: the Monkey, who is now perched on the five foot wall.
EXT. THE SMALL BAZAAR - DAY
Chaos. An entire booth of pots and pans collapses on a Bad Arab and a German Agent as Indy whips away a support.
EXT. BETWEEN THE BUILDINGS - DAY
The chattering Monkey leads a German Agent and two Bad Arabs to Marion's hiding place, gesturing manically.
EXT. THE SMALL BAZAAR - DAY
Indy ducks under the swinging blade of a huge Arabian sword and kicks the Bad Arab Swordsman in the groin.
EXT. SIDE STREET - DAY
The German Agent leads the way as the two Bad Arabs carry the huge basket above their heads. The basket top has been fastened closed, but Marion is making a fuss inside. As the place where the street cuts across the far side of the bazaar, Marion is able to wedge the top open one inch and screams-
MARION
Indy-y-y-y!
EXT. THE SMALL BAZAAR - DAY
Indy has heard her. He looks across the square as the basket and its escorts disappear beyond a building. One last Bad Arab rises before him. Indy's whip flashes and the Bad Arab's robe falls down to his ankles. Indy frantically pushes his way through the panicked mass of humanity in the direction the basket has gone.
EXT. THE FOOT CHASE - INTERCUTTING INDY AND THE MOVING BASKET
DAY
The Bad Guys move the basket as fast as they can through streets, alleys and passageways thick with people. Indy always seems to round a corner just in time to catch a glimpse of the basket before it disappears around a new corner. Indy must fight a flow of humanity as powerful as an ocean riptide. Finally, at the head of one particularly crowded alley, Indy leaps up onto a wall for a clearer view. Whatever he sees gives him an idea and he cuts between two buildings rather than following the basket.
EXT. DESERTED ALLEY - DAY
Two Bad Arabs come running down the alley with the basket between them. Suddenly, Indy's whip flashes out sending both Arabs and the basket tumbling. Indy steps into view, his .45 trained on the sprawled Arabs, and looks at the basket. The top has come flying off and the contents have clattered onto the cobblestone: inside is not Marion, but a load of contraband pistols, rifles and ammo. Indy is advancing on the trembling Bad Arabs with an ugly look when suddenly he hears Marion scream around the corner.
EXT. DESERTED SQUARE - DAY
Indy rounds the corner and is immediately driven back by machine gun fire. Taking cover, he gets quick, intermittent glimpses of this scene: At the far corner of the large, deserted square is a canvas-covered trunk. Two Bad Arabs are hurrying toward it with a large rattan basket between them, Marion screaming inside. A German Agent is covering the retreat with a machine gun from the cab of the truck. Indy runs up to see the rattan basket being heaved into the back of the truck.
EXT. BACK OF THE TRUCK - DAY
What Indy cannot see is that basket lands among an ominous load of German munitions, dynamite and firearms. The truck immediately peels out.
EXT. DESERTED SQUARE - DAY
The German Agent has stopped firing in order to drive. He floors it, aiming for a street at the corner of the square. Indy uses the lull to take careful aim at the German Agent's profile and fire off three careful shots. The German Agent is hit, blasted dead against the steering wheel. The speeding truck swerves, hits a wall, rolls over and explodes in an enormous, multi-leveled eruption as its contents ignite. Several surrounding buildings are leveled. Indy, blown back across the square, looks on, astonished and horror-stricken.
INDY
Marion.
INT. ARAB BAR - NIGHT
A dark, smoke-filled den on iniquity. The patrons, almost all fearsome Arabs, sit in small shadowy groups around the room. Indy stands at the bar finishing off a fifth of bourbon. He is drunk. The ARAB BARTENDER places a new bottle of expensive bourbon in front of him. Indy eyes it queerly.
ARAB BARTENDER
The gentleman in the corner sent it. He would like you to join him.
INDY
(doesn't even look)
Too bad. I'm drinking alone.
The Arab Bartender does a take, looking at the three, tough GERMAN HENCHMEN who have surrounded Indy from out of the smoke, their hands stuffed in bulging trenchcoat pockets. Indy notices them now with a bleary glance. He decides he's in no shape to kill or be killed and moves with them across the room, taking his bottle with him. The Arab patrons take this in and mind their own business. The occupant of the smoke-shrouded corner table becomes visible only as Indy reaches there: it is Emile Belloq. He is drinking wine.
INDY
Belloq
BELLOQ
Good evening, Dr. Jones.
INDY
I ought to kill you right now.
BELLOQ
It was not I who brought the girl into this dirty business.
Indy knows its true; that's what's tearing him up.
BELLOQ
Sit down, please, before you fall down. We can behave as civilized people. I'm afraid it will be your last opportunity.
Indy sits, glancing at the German Henchmen, who settle nearby, just out of earshot.
INDY
Not a very private place for a murder.
BELLOQ
(looking around)
These Arabs will not interfere in the white man's business. They do not care if we kill each other off.
BELLOQ
(takes a sip of wine, refers to it)
Terribly difficult finding a descent vintage here. You were quite vigorous in Shanghai. Unfortunately, our friend the Wild Boar had taken the precaution of making several copies of the piece.
Indy registers this as he takes a drink. Belloq watches him with disdainful amusement.
BELLOQ
encounters. I almost
regret it. Where shall I find a new adversary so close to my own level?
INDY
Try the local sewer.
BELLOQ
I know you despise me. We always hate in others that which we most fear in ourselves. And you and I are very much alike.
INDY
Now you're getting nasty.
BELLOQ
We have always done the same kind of work. Our methods have not differed as much as you pretend. I am a shadowy reflection of you. But it would have taken only a nudge to make you the same as me, to push you out of the light.
There is a certain amount of truth to this; the recognition of it flickers across Indy's bleary eyes. Belloq sees it there.
BELLOQ
You know it to be true! How nice. And how ironic the timing.
Belloq leans forward, eyes shining, voice suddenly different.
BELLOQ
Do you realize what the Ark is?
(very intense)
It's a transmitter.
BELLOQ
A radio for talking to God! And now it is within my grasp.
INDY
What about your boss, Der Fuhrer? I thought he was waiting to take possession.
Belloq glances in the gloom at the German Henchmen.
BELLOQ
(quieter)
When the time is right. When I am finished with it.
INDY
I hope your friends are patient. Dangerous work, Belloq.
BELLOQ
Yes. Very. You may consider yourself fortunate that your involvement concludes here.
INDY
Tell me, did you get away with the idol?
BELLOQ
(negative)
I was lucky to get away with my life. The Hovitos proved quite narrow-minded about the whole matter.
Indy takes a drink.
INDY
You know, if it's God you want to talk to, maybe I can arrange it.
BELLOQ
(smiles)
You have not changed. But, please, do not reach for your weapon until you are ready to die.
The front door of the bar slams open and all nine of SALLAH'S CHILDREN scamper in and over to a surprised Indy. Two of the smallest hop into his lap.
LITTLE SON
Uncle Indy, we have been looking for you.
LITTLE DAUGHTER
Come home now, Uncle. Hurry!
Suddenly the Arab patrons of the bar take an intense interest in the situation, shifting their weapons.
INDY
Yes. Yes, I'll come now.
Indy stands up. The German Henchmen are poised. Belloq eyes the Arab patrons and signals for the Henchmen to relax.
BELLOQ
Next time, Indiana Jones, it will take more than children to save you.
The children usher Indy out.
INT. SALLAH'S TRUCK - IN FRONT OF ARAB BAR - NIGHT
Indy climbs into the cab of Sallah's truck with a smiling Sallah as the children pile into the back. Sallah pulls out.
SALLAH
I thought we would find you there.
(indicating the kids)
Better than the United States Marines, eh?
INDY
(nods)
Thank you.
(grave)
Marion's dead.
SALLAH
Yes, I know. I am sorry.
(pause)
More reason than ever to beat the bastards.
(he touches Indy)
Life goes on, Indy.
(indicates the kids again)
There is the proof.
Indy looks back there, nods.
SALLAH
I have much to tell you, Indy.
\*\*\*\*\*\*\*\*\*\*\*\*\*\*\*\*\*\*\*\*\*\*\*\*\*\*\*\*\*\*\*\*\*\*\*\*\* PAGE 53 MISSING \*\*\*\*\*\*\*\*\*\*\*\*\*\*\*\*\*\*\*\*\*\*\*\*\*\*\*\*\*\*\*\*\*\*\*\*\* Fayah brings in a tray of food and puts it on the table. The bowl of dates is in one corner. As Fayah leaves the room, the Monkey slips out of Sallah's lap and disappears under the table. Indy leans over the food tray, his hand hovering over the dates. But he chooses some cheese and bread instead.
INDY
And they made the calculation in the map room?
SALLAH
(nods vigorously)
This morning. Belloq and the boss German, Shliemann. When they came out of the map room, we were given a new spot in which to dig...out away from the camp.
INDY
(resigned)
The Well of the Souls.
Sallah nods, moves to the food. He picks up a date, then changes his mind and drops it, taking a bunch of grapes instead. Indy picks up a chicken leg in one hand and a date in the other, his mind distracted. Fayah enters the room just in time to see Indy flip the date high into the air and try to catch it in his mouth. It bounces off his chin and falls to the floor. Indy looks sheepishly at Fayah. Fayah picks up the fallen date and puts it in the dirty ash tray she is now removing. Amir speaks in a slow, raspy voice without looking up.
AMIR
Come. Look.
The two men go and huddle over the old man. The Monkey peeks up over the edge of the table at the array of food. He picks up a date and disappears below the table. Amir points to some markings on the lower part of the headpiece.
AMIR
This is a warning... not to disturb the Ark of the Covenant.
INDY
Just what I need.
The Monkey's paw comes up over the edge of the table and grabs another date.
INDY
How 'bout the height of the staff? Did Belloq get it off of there?
AMIR
Yes... it is here.
Indy, nervous, goes back to the food tray, picks up another date. When he turns back to the men, the Monkey's paw grabs another date. We see the headpiece in closeup on the table. Amir's crooked fingers trace a line of markings along the bottom section to the break in the piece.
AMIR
It says it is... ten jamirs high...
SALLAH
About seventy-five inches.
AMIR
Wait! I am not finished...
Amir's finger moves across the break as the markings continue on the sun medallion.
AMIR
(reading)
"And one jamir to honor the Hebrew God whose Ark this is."
Indy, still holding the date, exchanges a long look with Sallah.
INDY
You said their top section was blank. Are you absolutely sure?
Sallah nods.
INDY
Belloq's staff is seven and a half inches short. They're digging in the wrong spot!
Sallah and Indy begin to laugh. Amir gives them a glance and returns to his wine. Sallah leans over and kisses the old man.
SALLAH
(to Amir)
A home run, my friend, grand slam!
(to Indy)
We have a saying -- "A little luck is better than much smartness." Indy, pardner, you are very lucky fellow.
Indy hoots. Then he takes the date in his hand and flips it high in the air. He opens his mouth to catch it, but it doesn't come down. He has inadvertently thrown it into a bowl of a hanging lamp. This makes the men laugh even harder. Indy goes over and picks up another date. He turns laughing to Sallah and doesn't see as the Monkey's paw comes up, slowly, takes another date and begins to withdraw. Suddenly the paw is stricken with palsy and the unseen Monkey goes into its death throws. Sallah watches the paw as though hypnotized. Finally the paw slips from sight and we hear a solid THUMP! on the floor. Sallah walks around the table and looks at the floor. The Monkey lies dead among a mess of date pits. Indy is in a happy world of his own. He throws his date high in the air. He positions himself under it and waits for it to drop in. Here it comes. Right on target. As it's about to disappear into Indy's mouth, Sallah's hand flashes in and grabs it. Indy looks mystified and disappointed. Sallah motions toward the dead Monkey.
SALLAH
Bad dates.
EXT. DESERT ROAD - MORNING
Two old trucks come down a narrow mountain road and onto the flat surface of the desert. Further out into the desert, the one in the lead, Sallah's truck, stops and the second one, Omar's truck, pulls up beside it. There are half dozen Arab Diggers in Omar's truck. Indy, dressed as an Arab, gets out of the cab of Sallah's truck and moves over to confer with OMAR, another old friend. They point off into the desert and reach some conclusion. Indy gives him a pat on the back; Omar turns off the road and drives into the desert with his workers. Indy hops back in the car of Sallah's truck with Sallah. As they move down the road we see that the back of the truck holds three other Arab Diggers.
EXT. RISE ABOVE THE TANIS DIG - MORNING
Indy and Sallah are lying in classic shouting fashion at the top of the rise looking down on the Tanis Digs. Down behind them, Sallah's truck is parked with the three Arab Diggers.
INDY
My God! They aren't kidding!
WHAT HE SEES. The Tanis Digs are laid out below like a painting. Trucks, bulldozers, Arab workers and German supervisors are everywhere. The excavations themselves are extensive and somewhat random - holes have been dug and then abandoned, foundations and passageways unearthed and then deserted. Beyond the main digs, a crude airstrip has been created. Sallah points to what appears to be a mound of dirt with a hole in it near the center of the activity.
SALLAH
There! That is the map room!
INDY
What time does the sun hit the map?
SALLAH
Just after eight.
INDY
We haven't got much time. Where are the Germans digging for the Well of the Souls?
Sallah points out into the desert a short way beyond the main area of activity. The desert turns to sand dunes out there, the surface undulating into the distance. Several trucks and men are out there and a bulldozer is lumbering noisily toward it.
INDY
Okay. Let's go.
EXT. THE TANIS DIGS - MORNING
Sallah's truck drives through the camp, one of the Arab Diggers at the wheel. Indy and Sallah are in the back and look just like the other two Arab Diggers. Sallah's truck goes behind a tent and when it appears on the other side, Indy and Sallah are gone.
EXT. AMONG THE TENTS - MORNING
Indy and Sallah move stealthily among the tents. Indy carries a smooth wooden staff almost seven feet tall. They stop between two tents and look across a path at the entrance to the map room. What appeared to be a mound of dirt is actually the roof on the ancient building. The hole/entrance is a five- foot square skylight. Indy looks around, then walks casually to the edge of the hole and looks inside. Sallah joins him, producing a length of rope from his robes. Indy drops the staff into the unseen map room as Sallah ties the rope around an oil drum. When it's secure, Indy wastes no time disappearing down it into the map room.
INT. MAP ROOM
Indy is down the twenty feet to the floor of the room in seconds. He tugs on the rope and it immediately gets pulled up. Indy looks around with real wonder and excitement. The room is lovely, with elaborate wall carvings and frescoes, all lit by the bright stream of sunlight flooding in from above. This beam of light leads Indy's eye to the far end, and the room's truly remarkable feature: built into the floor in meticulous relief is a miniature stone model of the ancient city of Tanis. Already, the sunlight has worked its way down the far wall and is edging onto the miniature of the city. On the floor, to the skylight side of the miniature, is an elaborate line created by embedded mosaic tiles. The evenly spaced slots in the line, each accompanied by a symbol of a time of year, are for the base of the staff. Indy pulls the headpiece from his robes -- it has been welded together -- and reaches for the staff.
EXT. ABOVE THE MAP ROOM - DAY
An extremely nervous Sallah has the gathered rope in his hands and is trying to appear casual as he inches back toward the oil drum. There is now a good bit of activity going on up here.
JEEP GERMAN (O.S.)
Hey! You, the skinny one!
Sallah jumps about three feet. The JEEP GERMAN is standing in an open space ten yards away looking at Sallah.
JEEP GERMAN
Yes, you. What are you doing there?
Sallah gestures his innocence.
JEEP GERMAN
Well bring that rope over here, you cur.
The Jeep German starts back toward his major concern: his jeep is stuck in some sand beyond the next tent. Some Arab Workers are trying in vain to budge it. Now another German has backed his truck up to it. Sallah can think of nothing to do except obey. With a worried glance at the map room, he begins untying the rope from the oil drum.
INT. THE MAP ROOM
Indy is examining the results of Belloq's work. Red paint marks one of the miniature buildings in the layout and a white calibrated tape has been strung from that building back to a miniature of the map room. Now Indy begins examining the mosaic base line for the staff. Sunlight has moved further down across the miniature.
EXT. IN THE CAMP - DAY
Sallah watches nervously as his precious rope is pulled taut between the pulling truck and the stuck jeep. He doesn't notice that he has chosen to stand next to a large, steaming kettle of food until --
HUNGRY GERMAN (O.S.)
Bring us some of that!
He points to the kettle. Sallah looks frantically from the rope, back to the skylight of the map room, to the kettle of food.
HUNGRY GERMAN
Now, idiot!
Sallah picks up some serving pieces and gets to work.
INT. THE MAP ROOM
The moment has arrived. Even the tension of the circumstances cannot distract Indy from the purity of what he is about to do. All his calculations are adjustments complete, Indy takes the Staff of Ra and places it -- CLINK! -- in the right depression on the base line. This is as active and exciting moment as any archeologist can dream of and, at heart, that is exactly what Indy is. The sunlight catches the very top of the headpiece and moves within a fraction of an inch of the tiny hole in its sun. The edge of the sunlight moving across the miniature city is still a good two feet beyond the spot Belloq has settled on. And now that line of light is broken by the shadow of an ornate sun at the top of the staff. Indy's face reflects his concentration. And then his immense pleasure. He sees what he came for. Out of the miniature city, one small building is being lit by a tiny beam of sunlight in the center of the shadow of the metal sun. And by some trick of ancient artistry, this one building responds to the sunlight like none of the others. The golden light permeates it: it seems to glow. The building is in a direct line with Belloq's -- all of the Frenchman's other calculations were right -- but it is a foot and a half beyond it.
EXT. IN THE CAMP - DAY
Sallah, sweating profusely, has finished serving the line of Breakfasting Germans and now heads back to replace the kettle and get away.
HUNGRY GERMAN
Water. Bring us water.
INT. MAP ROOM
Indy is on his knees at the miniature city, a special tape measure in his hand. Indy has the tape strung from Belloq's mistaken spot to his own correct spot. He gets his reading, leaps up and crosses to the erect staff. He pulls the headpiece off the staff and hides it in his robes. He quickly breaks the wooden staff in two and throws the pieces behind a pile of debris. Then he moves quickly to beneath the skylight.
INDY
(stage whisper)
Sallah.
(he waits, then louder)
Sallah!
More waiting. Nothing. Indy looks around for some alternative means of escape. The room doesn't offer any. He looks up at the skylight again.
INDY
(loudest)
Sallah!
A long pause. Then something comes down. A makeshift rope. Really just a bunch of clothing tied together -- tunics, robes, pants. But what we see first and most prominently, the first section of Indy's escape rope, is a bright Nazi flag. Indy beams and climbs.
EXT. ABOVE THE MAP ROOM - DAY
Indy sticks his head out the skylight, sees it clear and flops his body out. Sallah, crouching behind the oil drum, immediately starts pulling in the makeshift rope. Sallah stuffs the rope in the oil drum and the two men begin walking toward some tents.
HUNGRY GERMAN (O.S.)
Hey, you! More water over here!
Sallah glances at Indy, then hurries back in that direction. The Hungry German focuses on Indy.
HUNGRY GERMAN
Why aren't you at the digs? Come here!
Indy bows in wild subservience and hurries off in the opposite direction.
HUNGRY GERMAN
(yelling after him, irriated)
No, dummkopf, I said come!
EXT. BETWEEN TWO TENTS - DAY
Indy hustles between the tents. Up ahead, two German Officers stop to talk, blocking his exit. He moves along the side of one of the tents until he finds an opening and slips inside.
INT. THE TENT
Indy finds himself in a tent set up for rather comfortable living. He has just started to cross it when he hears a loud, excited grunting. He turns toward the sound. In the corner, tied to a chair and gagged is Marion. Indy rushes to her, snatches the gag from her mouth and embraces her. They kiss, deep and long.
INDY
I thought you were dead.
MARION
They were throwing me around like a rag doll.
INDY
They must have switched baskets. Thank god for that! Bless those bastards. Have they hurt you?
MARION
No. Not since I got here. They just asked about you -- what you knew. The Frenchman's got the hot's for me. I've been playing that along. Oh, Indy, get me out of here.
Indy pulls out a knife and then stops suddenly, thinking.
MARION
What's wrong?
INDY
(putting the knife away)
I have to leave you here for a little while. I know where the Ark is. If I take you out of here they'll start combing the place for us.
MARION
(louder)
Cut me loose!
INDY
Keep your voice down.
MARION
(screaming)
I said get me out of --
Indy pops the gag back in her mouth. Her eyes widen in fury and she grunts obscenities at him.
INDY
Look, you don't know how glad I am to see you. And I don't like doing this. But the whole thing will be shot if you don't just sit here quietly. They haven't hurt you in the last twenty-four hours, they aren't going to start now. I'll be back to get you in no time.
He kisses her forehead, jumps up and hurries out of the tent.
EXT. SAND DUNE OUTSIDE DIGS - DAY
With the digs behind them, Indy and Sallah run up to the ridge of the dune and over the top. At the bottom of the far side, Omar's truck is parked. Omar and his men are waiting.
EXT. DIFFERENT DUNE - DAY
This new spot gives Indy a higher, better view of the whole scene. Indy is using a surveyor's instrument to take a reading -- WHAT HE SEES. Looking through the instrument, Indy gets a line from the map room through the site where the Nazis are digging in the dunes to a spot several dunes over. We focus on that virgin spot of well-hidden sand as --
INDY
There!
EXT. INDY'S DIG - DAY
Omar's truck is parked at the stop just viewed from afar. Dunes rise on either side. One of Omar's men has been posted as a lookout up on a ridge. Everybody else -- Indy, Sallah, Omar, and his men -- have begun digging for the Well of the Souls. DISSOLVE TO: SAME SCENE, NIGHT. They continue to dig furiously, all of them drenched in sweat. The hole has grown but this is slow, back-breaking work.
INT. COMMAND TENT - TANIS DIGS - NIGHT
Belloq, SHLIEMANN the ranking Nazi, and Shliemann's Aide, GOBLER, come into the tent, which is full of charts and maps, drawings of the Ark, radio equipment, liquor and food. The men have been out digging for the Well all day. They are tired, discouraged, testy. In all matters, Gobler shows his alliance with Shliemann against Belloq with small looks and body language. The Frenchman has disappointed them and he is feelings the isolation of a scapegoat. Belloq gets himself a drink as Shliemann towels off his face.
BELLOQ
I cautioned you about being premature with that communique to Berlin. Archeology is not an exact science. It does not adhere to time schedules.
SHLIEMANN
The Fuhrer is not a patient man. He demands constant reports and he expects progress. You led me to believe --
BELLOQ
Nothing. I have made no promises. I said only that it looked very favorable. Perhaps the Ark will still be found in an adjoining chamber. Based on the information in our possession, my calculations were correct. Perhaps some bit of evidence still eludes us. Perhaps --
GOBLER
Perhaps the girl can help us.
Belloq shoots him an angry look.
SHLIEMANN
My feeling exactly. She was in possession of the original piece for years. She may know much.
(really evil)
If properly motivated...
BELLOQ
I tell you, she knows nothing useful.
SHLIEMANN
I'm surprised to find you squeamish. That is not your reputation. But it needn't concern you. I have the perfect man for this kind of work.
Shliemann signals Gobler, who steps outside the tent a moment, calls someone and then reappears. Belloq looks warily at the entrance. After a moment Belzig enters, reeking villiany. When his eyes find Shliemann, his superior, he snaps a crisp "Heil, Hitler!" at him, holding his palm rigid a long time, exposing a burned scar in the perfect shape of the sun medallion.
EXT. INDY'S DIG - NIGHT
In the eerie conjunction of moonlight and torchlight, Indy and the other men step back in awe of their discovery: there, flush with the bottom of their pit, is a heavy stone entry door to an underground chamber. Special prying tools are produced. With two men assigned to each of the two long tools, they work in unison to open the vault. They open it a foot and the two other men rush in to flop the heavy door completely open. Down inside, only blackness. The men quickly prostrate themselves around the edge of the entry to look inside. Indy and Sallah each take a torch and hold them down the hole. WHAT THEY SEE. The Well of the Souls is a spooky chamber thirty feet deep. The walls are covered with hieroglyphics and carvings. The roof is supported intermittently by stone pillars, the closest of which hits the roof very near the entry hole. The Well is quite large; as Indy and Sallah wave their torches, more and more of the room is revealed. Now the far end of the chamber comes into view. There is a stone altar down there and on this elaborated carved platform is a stone chest, big enough to enclose the Lost Ark and protect it from the ravages of time. This altar appears to be the only place on the floor of the Well that is not covered by a strange, dark carpet of some kind.
INDY
The Ark must be in that stone case. What's that gray stuff all over the floor --
He breaks off realizing exactly what that carpet is. He blanches. Indiana Jones blanches. Indy drops his torch to the floor of the Well. This is answered by the most horrific HISSING imaginable. WHAT HE SEES. That thick dark carpet is moving. It's alive. It's thousands and thousands of deadly poisonous snakes -- Egyptian asps. And the only thing that seems capable of avoiding this venomous groundcover is the altar. The snakes ebb and flow near it, but never encroach on it, as though repelled by some invisible force. Indy shakes his head and talks to himself.
INDY
Why snakes? Why did it have to be snakes? Anything else.
After a moment of this, he stops. He gathers his energy and resolve and gets back to the task.
SALLAH
Asps. Very dangerous.
Where Indy's torch has landed is a circle of snake-free floor. The snakes hate the flame; they stay away.
INDY
Lots of torches. And oil. I want a landing strip down there.
INT. THE WELL OF THE SOULS
Fifteen torches have been dropped to the floor of the chamber, combining to make a good-sized clear zone. Smoke begins to fill the room. Several canisters of oil have been lowered into this space. Now, a large wooden crate is lowered slowly by rope. Rope handles are attached to each end of the crate. Up at the hole, Indy gives Sallah a reassuring pat, takes a breath, and swings carefully onto a rope hanging from the hole. Despite his care, he swings a bit and his feet hit the stone pillar which is so near the entry. Surprisingly, the pillar casually moves a bit, showering a light rain of crumbled stone to the floor below. Indy lands on the floor of the Well. He looks at the altar over a sea of undulating death. He picks up an oil canister and splashes two parallel lines of oil and lights them. A path six feet wide beings to open the altar. Behind Indy, Sallah comes quickly down the rope. We beging to INTERCUT all the action in the Well from here on with insert shots of the snakes outside the flames. Snakes and snakes. We see: snakes piled and entwined six inches deep; mother snakes laying snake eggs; snake eggs hatching little snakes; snakes cannibalizing other snakes. OMIT
INT. MARION'S TENT
Belloq has been talking to the still-bound Marion. He has removed her gag. He is impatient, angry, uncomfortable. Caught between two forces.
BELLOQ
Believe me, you made a mistake. If you would just give me something to placate them. Some bit of information.
MARION
I swear to you, I know nothing more. I have no loyalty to Jones. He's brought me only trouble.
He wants to believe her.
BELLOQ
I cannot control them.
Marion's frightened look shifts suddenly to the entrance of the tent. There are a few new arrivals there -- Shliemann, Govler and Belzig. Belzig carries a black leather case. He steps forward and smiles at Marion.
BELZIG
We meet again, Fraulein.
EXT. INDY'S DIG - JUST BEFORE DAWN
The sky is just beginning to lighten over the dunes to the east, making dangerously obvious the thin column of smoke rising from the entrance to the Well. Omar and his men are peering through the smoke down into the Well.
INT. THE WELL OF THE SOULS
Indy and Sallah are on the altar. Pushing together with all their strength, the heavy stone top of the protective chest begins to slide away. Indy and Sallah exchange slightly wary but very excited looks, then continue to push. As the Ark begins to be exposed, the air seems to almost vibrate, to become electrostatically charged. We hear what sounds like a low HUM. The sea of snakes around the altar draws back further from this presence. As the top of the stone chest is pushed completely off and slams down beside it, we see THE LOST ARK OF THE COVENANT. It is awesomely beautiful, breathtaking. 4 feet long, 2.5 feet wide and 2.5 feet high. It's height, however, is increased by the two sculptured gold angels mounted facing each other on the top. Though the body of the Ark is acacia wood, it has been overlaid with gold. An elaborate gold crown surrounds the top edge and gold carrying rings are attached to each corner. Sallah is mesmerized by the sight. His hand starts to reach out and touch one of the angels, but Indy grabs it.
INDY
Don't touch it! Never touch it!
The wooden crate stands open next to the stone chest. Now Indy extracts the wooden poles from its rings and begins fitting them through the rings in the Ark. This takes some maneuvering by the two men, but soon they are able to lift the Ark clear of the stone chest and into the wooden crate. They extract the poles, fasten the top of the crate and stick the poles through the rings of the wooden crate. They start back toward the space under the hole. The fire strips have begun to dwindle, as have some of the torches. The snakes move slowly in toward the clear spaces. Indy and Sallah eye them nervously as they hurry along with their heavy load. Under the hole, they hurriedly attach ropes to the wooden crate and it is pulled up. Indy's concentration is on the tide of snakes.
INDY
Hurry up! Why did it have to be snakes?
Sallah takes the next rope and climbs quickly out of the Well. Indy has picked up a torch and now throws it at a pool of snakes who are too close for his comfort. He turns and takes hold of the exit rope. He gives it a first tug and it falls down into the Well, landing partly beyond the ring of fire where it instantly disappears in a tangle of angry, hissing asps. Indy looks up at the hole.
INDY
What the --
Smiling down at him from the perimeter of the entry are Belloq, Shliemann and Gobler.
BELLOQ
Why, Dr. Jones, whatever are you doing in such a nasty place?
Belloq and the Germans laugh.
INDY
Why don't you fellows come down here? I'll show you.
BELLOQ
No thank you, my friend.
(he glances around him)
BELLOQ
I think we are all very comfortable up here.
EXT. INDY'S DIG - DAWN
Sunlight is flooding this tableau: Sallah, Omar and his men are being held at bay by ten armed Nazis. The wooden crate sits safely nearby. Belzig and another Nazi have the gagged Marion held in their rough grasp.
BELLOQ
(down to Indy)
After all these years, it is most considerate of you to aid me in this way.
As Belloq speaks, Shliemann exchanges a look with Belzig. Belzig smiles and takes the gag from Marion's mouth.
INT. WELL OF THE SOULS
Shliemann smiles down at Indy.
SHLIEMANN
I'm afraid we must be going now, Dr. Jones. Our prize is awaited in Berlin. But I do not wish to leave you down in that awful place...
(he gives a sign)
... all alone.
Belzig and the Nazi move Marion to the hole and, to Belloq's surprise, push her in. Marion falls thirty feet screaming. Indy drops the torch, braces, and catches her! Her weight knocks him to the ground, almost into the snakes. She looks around at the snakes, clinging to him more desperately as he struggles to his feet trying to unload her.
MARION
Don't put me down!
Up at the hole, there's plenty of dissension.
BELLOQ
The girl was mine!
SHLIEMANN
She is of no use to us. Only our mission for the Fuhrer matters.
Shliemann glances meaningfully around at the other Nazis.
SHLIEMANN
I wonder sometimes, Monsieur, if you have that clearly in mind.
Belloq feels how much he is the outsider, his own vulnerability. He backs down with the wisdom of survival. He turns to look down at Indy and Marion. His manner is gallant.
BELLOQ
Goodbye, mademoiselle.
(a pause, then with respect)
Indiana Jones... adieu!
Belloq and the others step back from the hole and unseen Nazis slam the heavy stone door into place. Marion screams. Her scream is accompanied by -- A huge WHOOSH! as air is sucked out and the chamber is sealed. Half of the torches still burning go out with the sound. The remaining torches continue to extinguish at punctuating intervals throughout the following action and the snakes immediately flood into the newly-darkened spaces. Indy puts Marion down and snatches up two burning torches. He hands one to Marion.
INDY
Don't panic. There's plenty of time for that later. Wave that at anything that slithers.
Indy holds his torch out like a lantern and begins a slow 360o turn, his eyes peering into the gloom, examining every inch of the wall and ceiling.
MARION
What are you doing?
INDY
Just watch the floor.
Reminded of the encroaching snakes, Marion waves her torch at the nearest edge of their circle. She looks faint. Indy continues his slow turn.
MARION
Whatever you're doing, do it faster.
INDY
(he spots something)
There!
His head whips around, looking at the pillars around the room. He sees what he wants. He grabs one of the oil canisters, looks back to the spot on the wall he's chosen and splashes oil on the floor in that direction, then lights it. A path opens toward that wall.
INDY
Come on!
Marion is frozen in her spot. Indy drags her after him. He splashes oil the rest of the way to the wall. It lights and Indy pulls Marion over to the wall. He pours the remaining oil in a circle around them, creating a safe zone there.
INDY
Stay here!
MARION
(grabbing him)
Where are you going?
INDY
I'll be back in a minute. We're going through this wall.
Marion looks at the wall, which looks like all the rest to her. She thinks he's crazy.
INDY
Just keep your eyes open and get ready to run. No matter what happens to me.
MARION
(panicked)
What do you mean?
Too late. Indy runs back through the path of flames to the center of the room. Snakes strike at his flying heels. Indy reaches the base of the pillar which he touched briefly on his original descent. He uses the torch to clear away the scattered snakes climbing on it, then pulls out his whip. He draws it back, then wraps it solidly around the pillar 15 feet up. With the torch in his mouth, he beings climbing the pillar. It moves ominously under his weight. The last two torches still burning on the floor go out. Now the only light in the chamber is provided by the torches held by Indy and Marion and the dwindling oil flames. Snakes move in and surrond the base of Indy's pillar. The path between Marion and the center of the room is overrun. The circle of flame around Marion is dying down. She looks beyond it with terror-widened eyes, then up through the increasing smoke at the distant Indy. Near the top of the pillar, Indy's hands strain along his taut whip, which he has moved higher. A snake slithers into view there, inches from Indy's straining face. Indy turns his head so the torch in his mouth can burn it. The snake falls from the pillar. Indy's torch is dwindling. Indy works his body around so that he's in on the side of the pillar away from Marion. The pillar moves, showering dust. Indy looks at the chamber wall five feet away, takes a breath and swings his legs up against it. He is now braced between the pillar and wall.
MARION (O.S.)
(screaming)
Where are you?!
Snakes are moving in force up the pillar toward Indy's dwindling torch. Indy grasps the pillar for dear life, grimaces with exertion and pushes against the wall with all he's got. The pillar begins to break loose of the ceiling, then stops. Indy's eyes are on the torch. It is just a spot of flame now. Snakes are sliding up toward his hands. Indy again pushes against the wall and torch falls out of his mouth. The pillar goes! In the dim light, we see it fall like a tree directly at Marion. Indy rides it down. The top hits the wall three feet from a cringing Marion and smashes through to a black chamber beyond. Indy flies off into the darkness. Gone. Marion clutches her torch at the black hole.
MARION
Indy! Where are you?! Please Lord!
There is a moment that seems an eternity, then Indy appears like an apparition out of the void.
INDY
Come on!
He grabs her and helps her over the remains of the wall into - -
INT. THE CATACOMBS
The winding string of connected chambers is revealed to them only a few feet at a time as their torch lights the way.
MARION
The snakes... are they here?
INDY
I guess not. I think I'd be dead.
MARION
Do you know where you're going?
INDY
Absolutely.
MARION
Thank god. Where?
INDY
Out.
They round a corner and flush a covey of bats. Marion screams.
INDY
Don't do that. It scares me.
Marion gives him a look. They round a corner and begin a walk through a maze of chambers that present for their inspection: moldering mummies and stacked saracophagi; a room decorated with a thousand human skulls; a wall crawling with huge scarabaeid beetles. Marion is quite naturally a nervous wreck; she jumps when Indy grabs her suddenly and points.
INDY
Look!
WHAT THEY SEE. There, coming through the crack in the corner of the next chamber, is white blessed sunlight.
EXT. THE TANIS DIGS - NEAR AIRSTRIP - DAY
Indy and Marion peek out into the light from the shadows of an abandoned excavation. Before them is the improvised airstrip serving the digs: a crude runway, a tent supply depot, two fuel tank trucks. Down by the fuel trucks a German Mechanic is looking skyward. Now Indy and Marion look there too, drawn by the roaring sound of -- A Flying Wing, which is circling over the digs in preparation to landing. Now a new figure approaches the German Mechanic. It is Gobler; he yells to the mechanic, indicating the plane.
GOBLER
Get it gassed immediately! It has an important cargo to take out!
In the distance, the Flying Wing lands and rolls toward the men. Gobler spins and heads back toward the main camp, which is hidden from view by a rise. Indy and Marion watch him go.
INDY
When the Ark gets loaded, we're already going to be on that plane.
The Flying Wing rolls up into the space near the fuel trucks. The German Mechanic puts blue blocks in front of the tires as the engines continue to roar. Indy and Marion run in a crouch to a hiding spot closer to the plane, near the supply tent. Suddenly, a Second German Mechanic appears behind them. He is as surprised as they are, but recovers quickly and swings a monkey wrench at Indy. Indy grabs the swinging arm and the two men tumble out into the open, wrestling. Marion remains hidden, moving fast among the crates. The first German mechanic, who is just pulling the fuel hose from the tank truck to the plane, sees the combatants and runs to help his countryman. He is almost upon them when Indy puts the Second German away with a devastating left -- right - - left combination. He turns to find the first German Mechanic flying at him. The roll toward the rear of the Flying Wing and its lethally spinning reversed propellers. In the cockpit of the Flying Wing, the Pilot has been fiddling with his gauges just prior to shutting off his engines. Now he notices the fight going on outside. The fistfight between Indy and the German Mechanic has taken on a new stomach-tightening dimension. The men are fighting and flailing in and out between the spinning props at the back of the plane's wings. Each man comes within inches of the becoming instant mincement. The Pilot slides away the top of his cockpit and stands up. He pulls a Lugar from his side and points it, waiting for a clear shot at Indy. The German Mechanic kicks Indy away from him and the Pilot aims his pistol. Suddenly, Marion appears behind the Pilot, standing on the opposite wing, and bashes him over the head with one of the blue blocks that was holding the tires. The Pilot drops down into the cockpit, his body falling on the throttle. The engines roar louder, revving up. The plane begins to roll, rotating around its one still-blocked set of tires. Marion grabs onto the cockpit to keep from slipping into the props. She bends into the cockpit, trying to pull the Pilot's body off the throttle. No luck. She grimaces and climbs inside. Her shoulder bumps the top of the cockpit; it slides tightly shut above her. Under the moving wing, Indy delivers a knockout right cross to the German Mechanic which sends him staggering back toward a roaring propeller. Indy's grimace registers the man's demise and a fine mist of blood wafts toward him. Indy spins toward the sound of crumpling metal and sees -- The other top of the Flying Wing slice into a tank truck. The airplane fuel inside floods out onto the pavement, surrounding the plane. Indy backpedals away from the plane, his eyes searching the scene for Marion. Suddenly, he is shocked to see her in the cockpit. He runs toward her, skidding through the gasoline.
INDY
Get out! Get out!
Marion is struggling with the top of the cockpit. She can't budge it. She's trapped.
EXT. THE COMMAND TENT - DAY
Three Armed Nazis stand guard around the wooden crate containing the Ark. It is sitting near the flopped-open entrance to the Command Tent and there is furious activity going on here. Belloq, Shliemann, Golber, Belzig and assorted Aides are packing up all the papers and personal items in preparation for a hasty departure. A large crowd of Arab Diggers are milling about among the tents. They all want to get a look at the Ark. Sallah is among them. All at once, there is an earthshaking explosion. All eyes turn toward the rise that hides the airstrip. A huge fireball floats into view over there. Everyone starts running toward it. Shliemann yells at Belzig and the Armed Nazis.
SHLIEMANN
Stay with the Ark!
EXT. THE RISE ABOVE AIRSTRIP - DAY
Almost all the Arabs and Germans in the digs have congregated here and are staring at the burning remains of the Flying Wing. Belloq and Shliemann arrive just as the second fuel tank blows up. The concussion knocks many of the observers flat. Belloq, Shliemann and Gobler watch the scene in alarm.
SHLIEMANN
Sabotage!
BELLOQ
We must get the Ark away from this place immediately!
SHLIEMANN
(to Gobler)
Have it put on the truck. We'll fly out of Cairo.
Gobler snaps his heels, turns to go.
SHLIEMANN
And Gobler --
(Gobler stops)
-- I want plenty of protection.
Gobler nods and runs off. Shliemann heads back toward camp. Belloq hesitates a long moment, studying the burning wreckage with an odd, suspicious look. Finally, he turns and leaves, passing a nearby stack of barrels. When he has passed, Sallah appears from among the barrels. He searches the crowd for his people and starts a broken field run along some tents to avoid a group of Germans and is running flat-out when someone sticks out a leg and sends him flipping. Sallah, dust all over his face, looks angrily toward the concealed culprit. At once, a flashing white grin splits his darkened face. Indy and Marion, splotched with soot and oil, are hiding in the flap of a tent. Sallah runs into their arms and the three embrace warmly. When they break --
SALLAH
Holy smoke, my friends! I am so pleased you are not dead.
MARION
Us too.
SALLAH
(suddenly remembering)
The Ark! They're taking it on a truck to Cairo.
INDY
Where is it?
Sallah gestures to follow and all three run off stealthily through the mostly deserted camp.
EXT. AMONG THE TENTS - DAY
Sallah, Indy and Marion run into a hiding spot behind some water barrels near the Command Tent. They peek out at this activity -- In the big space near the Command Tent is parked an open German staff car; inside is a Blond Driver and an Armed Guard. Directly behind it is a canvas-topped troop truck. At this moment, Belloq and Shliemann are supervising the careful placement of the crated Ark in the back of the truck. When it is securely placed inside, we hear an ominous marching sound and Nine Armed Nazis appear at a trot from between some tents and climb into the back of the truck with the Ark. Behind the water barrels, Sallah and Marion exchange hapless looks, but Indy just concentrates on -- The scene by the truck: Belloq and Shliemann are about to climb into the front staff car when they pause to check out the final component of the convoy. Rolling into place behind the truck is another open staff car. But this one is special - - mounted in the back is a big, black machine gun, manned by a Gunner. At the wheel of the car is Gobler and next to him sits Belzig. Sallah and Marion look at Indy. Belloq and Shliemann climb in the back seat of the front car and the caravan pulls out. Indy watches it go, thinking hard.
INDY
You two get back to Cairo quick and get us transportation to England -- a plane, a ship, anything.
MARION
What about you?
INDY
I'm going to get that truck. I'll meet you at Omar's. Be ready for me.
Sallah nods. Marion looks at him like he's nuts. Indy jumps up, looks around desperately.
MARION
How are you going to get that truck?
INDY
(still searching)
I don't know. I'm making this up as I go.
He runs away between two tents.
EXT. AT THE EDGE OF THE DIGS - DAY
From among the tents, Indy suddenly bursts into view, happily astride a magnificent white Arabian stallion. He gallops off across the desert.
EXT. THE DESERT (VARIOUS SHOTS) - DAY
Indy cuts cross-country avoiding the road the convoy has taken. He leaps gullies, climbs dunes, slides down slopes. Soon the convoy comes into view far below him. He tears along a parallel ridge, like an Indian shadowing a wagon train.
EXT. DESERT ROAD - DAY
The convoy is entering rougher country. The narrow mountain road we've seen earlier ascends ahead. To the wide of the road are tall boulders. Suddenly, Indy shoots out from between two rocks and rides directly for the truck. The Armed Nazis in the back of the truck can see nothing because the canvas hides their view. But Gobler, Belzig and the Gunner in the rear staff car have a brief line on him. Belzig points and the Gunner fires away at Indy, the bullets kicking up sand near Indy's horse. The Armed Guard in the cab of the truck leans out to see what's happening. Indy has been riding alongside. Now he stands on the horse and leaps to the cab. In a second, he has flipped the Armed Guard out of the truck. He slides into the cab and begins grappling with the Truck Driver. The Truck Driver tries to hit the brakes, but Inyd kicks his foot away and floors the gas pedal. The truck doubles its speed and shoots onto the steep mountain road.
EXT. MOUNTAIN ROAD - DAY
The Blond Driver of the front staff car sees the truck move up on him in the rearview mirror and speeds up. Belloq, Shliemann and the Armed Guard in the car twist around to look at the struggle in the truck. The Blond Driver begins what will be a continuing preview of the twists in the road. He turns his wheel sharply and takes the lead car around a bend. In the cab of the truck, Indy and the Truck Driver stop their fight temporarily and cooperate in turning the steering wheel. The truck barely stays on the road. A full view reveals the incredible geography of this ride. The convoy is tiny against the spectacular mountainside, the cliffs drop hundreds of feet. At the wheel of the rear car, Gobler swerves to stay on the road and accidentally sideswipes a boulder. The Gunner perched in the back is flipped head over heels out of the road through all the dust the convoy is picking up. The lead staff car reaches the summit of the road and barely makes the hairpin turn there, delivering a destructive blow to the guard rail that has been placed there. The guard rail is now bent. In the cab of the truck, Indy and the Truck Driver again stop trying to choke each other long enough to negotiate the turn together. The bumper of the truck hits the broken guard rail and sends it flying off the cliff. The truck, however, holds the road. In the rear car, Golber and Belzig are trying to see through the thick clouds of dust. Suddenly is clears completely. Unfortunately for them, this happens because their car has shot out into space at the hairpin turn. They are flying to their final reward. Belzig, eyes wide behind his evil spectacles, screams as he goes. In the cab of the truck, the Truck Driver is distracted by the sight of the flying staff car. Indy plasters him and he tumbles out. Far, far below, Belzig's staff car explodes on the rocks. In the back of the truck, a TOUGH SERGEANT takes command of the situation. He picks out six Armed Nazis and motions for them to start climbing around the outside of the truck to the cab. With some trepidation the lucky ones begin that maneuver. The truck is swerving like crazy. In the front staff car, the Armed Guard aims his submachine gun back at Indy, alone now in the truck's cab. Shliemann knocks the barrel roughly away.
SHLIEMANN
(yelling)
If anything happens to that Ark, we're all dead men! The Fuhrer will see to it!
Indy sees this from the cab and reacts by speeding up, putting even more pressure on the Blond Driver. Along the back of the truck, Armed Nazis are edging up toward the cab, three on each side. They hang on as the truck rounds a corner and goes into a straightaway that leads through a short tunnel. In the cab, Indy has been concentrating on the lead staff car. Now, just before entering the tunnel, he looks in the side view mirror and sees the Nazis on his side. A quick glance to the other mirror reveals the others. As the truck sweeps into the tunnel, we see Indy just start to turn his steering wheel -- he's going to sideswipe the walls of the tunnel. At the other end of the tunnel, we hear the roar of the two engines and two long, screeching, scraping sounds. The lead staff car shoots out of the tunnel, then the truck, its sides cleaned of Nazis. In the rear of the truck, the Tough Sergeant is looking with distaste back at the tunnel. There remains only him and two Armed Nazis with the Ark. He sends these two climbing up over the top of the truck. In the lead car, the Blond Driver is being pressed hard by Indy, who now edges up to bump them from the rear. Suddenly the Armed Guard next to the Driver sees the two Armed Nazis appear on the top of the truck. Without thinking, he starts to point them out to Shliemann, then realizes his stupidity. In the cab, Indy has seen this and is at first mystified. He checks his side-view mirrors. Then he figures it out and slams on his brakes. The brakes lock, the wheels burn and the truck skids to a dusty halt. The two Armed Nazis fly off the truck, over the cab to the road in front. Indy immediately hits the gas again. The two Armed Nazis, just aiming their weapons, get wiped out. In the rear of the truck, the crated Ark is bouncing all along, no one in sight, because -- The Tough Sergeant is on the top of the truck, making his way steadily forward. This guy clearly knows what he's doing. A submachine gun is slung acorss his back. The truck and the staff car race through a series of S- curves. In the staff car, Belloq and Shliemann spot the Tough Sergeant as he reaches the front of the truck's top and begins to lower his submachine gun barrel toward the cab. Indy is unaware. Belloq and Shliemann exchange looks. Then Shliemann yells to the Armed Guard in the front seat. The Touch Sergeant has a line on Indy. He points his gun. The Armed Guard blasts away at the truck. The Tough Sergeant dies in a hail of bullets and flies off. Indy, who has ducked the gunfire, is confued. But when he sees the Armed Guard up front lower his gun, Indy again floors it and begins bumping the staff car in earnest. The road is almost down to a level now. In the distance -- Cairo. The road takes a little dogleg just before reaching level ground again. Just as the staff car is about to make the turn, Indy smashes them from behind. The staff car flies off the road and down a twenty foot embankment. Indy takes the truck speeding down the road and off toward Cairo. In the staff car, the occupants are bruised but safe. Shliemann points at the departing truck and yells at the Blond Driver. The staff car fishtails out of its sandy resting place and takes off after the truck.
EXT. OUTSKIRTS OF CAIRO (VARIOUS SHOTS) - DAY
Indy had an ever-decreasing lead on the staff car as the race thunders into the narrow streets. People and animals leap out of the way; carts and barrels go flying helter skelter. Indy takes the truck down a street so narrow there are only inches to spare on each side. Pedestrians jump into doorways.
EXT. OMAR'S SQUARE - DAY
When the truck clears the narrow street, it is in a small square. Omar's garage is gaping open on the opposite side. Indy hits the brakes and the truck skids across the square and into the garage. The garage door slams shut and tenting drops from the building to hide the door. Various Arabs, friends of Omar, rush out with fruit carts and baskets and set up a mini-bazaar in seconds. Two Arab Boys sweep the tracks of the truck into oblivion. They throw aside their brooms just as the staff car appears from the narrow street. Belloq and Shliemann look around desperately as the Blond Driver steers the car through the square and out the other side.
EXT. CAIRO DOCKS - NIGHT
The waterfront is dark and misty. An old tramp steamer, THE BANTU WIND, sits by the pier. Several fierce Black African Pirates, the crewmembers, are taking on final stores. A small light illuminates the top of the gangplank. In its circle, Indy and Marion exchange long, warm embraces with Sallah. A short distance away the ship's Captain, a handsome, powerful black named SIMON KATANGA, watches the rail, smoking a pipe. DISSOLVE TO:
EXT. OPEN SEA - THE MEDITERRANEAN - NIGHT
The Batu Wind is bathed in moonlight as it cuts across the even seas.
INT. INDY'S CABIN - NIGHT
Indy comes in, takes off his hat, jacket, whip and holster. The door which connects this cabin to the next opens and Marion appears. She is carrying a half-full glass of liquor, but what you notice is the long, snow-white, high-necked nightgown she is wearing. It is very prim. Very innocent. And very sexy. Marion does a slightly embarrassed model's turn for Indy.
MARION
I have a feeling I'm not the first woman to travel with these pirates. There's a whole wardrobe in there.
INDY
It's lovely.
Indy sits on the cot, takes off his boots. He leans back against the wall and rubs his eyes. Marion sits on the bed, leans back against the wall with him and looks down at her white nightgown. She chuckles.
MARION
I feel like a virgin bride in this.
INDY
That's what you look like.
MARION
(takes a drink)
There are some things you can recapture in this life, but that isn't one of them.
INDY
What would you like to recapture?
MARION
(after a long pause)
Nothing. That is the way it is.
He watches her closely as she drains her glass and puts it down.
INDY
Did I ever say I was sorry I burned down your tavern?
She turns so their lips are very close.
MARION
No. Then again, I burned up that plane.
INDY
You saved my life.
MARION
And you saved mine.
INDY
Seems things have worked out kind of even.
MARION
That's the way I like them.
INDY
Maybe we should consider all past accounts closed.
Marion thinks about this a long time.
MARION
No. Not yet.
INDY
What else?
She looks into his eyes. A smile jumps from her lips to his. He kisses her and they sink slowly to the cot.
INT. IN THE HOLD
The ship's rats are agitated. They tremble and chitter at the edges of the compartment, darting about. Out in the center of the hold, sitting all by itself, is the crated Ark. HUM-M-M- M.
INT. INDY'S CABIN - DAY
Marion awakes with a start, alone in the cot. Something's wrong. The ship is quiet. Indy is strapping on his holster. He pulls his whip and jacket from a hook.
MARION
What is it?
INDY
The engines have shut down.
MARION
Why?
INDY
I'm going to find out.
EXT. LOWER DECK - DAY
Indy runs toward the bow, then climbs some steps four at a time. A MESSENGER PIRATE is hurrying to get him, but flies by him on the steps. By the time the Pirate stops himself, Indy is gone.
MESSENGER PIRATE
Mister Jones! The Captain he say --
EXT. THE BRIDGE - DAY
Captain Katanga is looking with concern ahead of the ship. Indy appears behind him.
INDY
What's wrong?
KATANGA
You have most important friends.
Katanga turns quickly, pointing with a sweeping hand. Indy looks. Arrayed in a rough semicircle around the ship are ten German Wolf Submarines. All of their deck guns are manned and trained on the Bantu Wind. Worse, at least five heavily-armed boarding parties in rafts are closing quickly on the ship.
INDY
Holy shit.
KATANGA
(fast)
I sent my man for you. You and the girl must disappear. We have a place in the hold. Go, my friend!
EXT. UPPER DECK - DAY
Indy tears along the deck. He looks over the rail and sees two Nazi rafts already next to the ship.
EXT. LOWER DECK - DAY
Indy flies down some stairs and starts to round a corner. Suddenly he throws himself backwards, out of view. Three uniformed Nazis are clustered near a cabin door holding the Messanger Pirate. Now two more come out of the cabin trying to maintain their grasp on a kicking, yelling Marion. She is still wearing her white nightgown. More Nazis clamber onto the deck and head toward Indy, slamming open doors, rousting Pirates, spouting racial epithets. Indy steps backwards and fades into the maze of the ship.
EXT./INT. THE BANTU WIND (VARIOUS SHOTS) - DAY
The ship is swarming with Nazis. The Black Pirates are herded forward, subjected to rough physical and verbal abuse by the Aryan Supermen. The Pirates are clearly under orders not to resist, but not one of these strong men likes it. They'd gladly give their lives to rip the throat out of a few Krauts. In the hold, the door slams open and Nazis pour in; they smile at the sight of the crated Ark.
EXT. THE BRIDGE - DAY
Captain Katanga watches as his crew is crowded into a circle of Nazis on the wide deck below him. He is surrounded by Belloq, Shliemann and several Nazis, two of whom are holding Marion. Now the Nazis from the hold appear on the lower deck carrying the crated Ark by means of the long poles. Belloq's eyes shine at the sight.
SHLIEMANN
Take it aboard the Wurrfler!
BELLOQ
And be very careful!
The Ark is taken away.
SHLIEMANN
(to a Sergeant below)
What about Jones?
SERGEANT
Not a trace yet, sir!
KATANGA
Jones is dead.
Belloq and Shliemann regard him suspiciously.
KATANGA
We killed him. He was of no use to us. The girl, however, has certain value where we are headed. She will bring a very good price. If that cargo you have taken was your goal, then go in peace with it. But leave us the girl. It will reduce our loss on this trip.
SHLIEMANN
Savage. You are not in a position to ask for anything. We will take what we wish and then decide whether or not to blow your ship from the water.
Belloq steps forward and puts a proprietory hand on Marion's arm, fixing Shliemann with a steady look.
BELLOQ
That girl goes with me. It will be part of my compensation. I'm sure the Fuhrer would approve.
Shliemann considers.
BELLOQ
If she fails to please me, you can do with her as you wish.
This appeals to Shliemann's nature. He signals his agreement with a gesture. Belloq ushers Marion away with her two keepers. DISSOLVE TO:
EXT. "THE WURRFLER" - CONNING TOWER - DAY
The Nazis have returned to their subs. Shliemann is on the bridge with THE WURRFLER'S CAPTAIN and the Captain's Aides. The Captain is an honorable career Navy man.
THE WURRFLER'S CAPTAIN
Colonel Shliemann, all torpedoes are loaded.
Shielmann nods and continues to stare at the Bantu Wind, as does the Captain. The Pirate crew is all lined across the bow. Towering above the others, standing on the rail, proud and defiant, is Katanga. Shliemann looks at the Wurrfler's Captain a moment.
SHLIEMANN
What do you think, Captain?
THE WURRFLER'S CAPTAIN
(earnestly)
I think not, Colonel. Nothing is to be gained. We are not at war.
Shliemann mulls this, then turns to the hatch.
SHLIEMANN
... yet. Let the vermin live. We must be on our way.
Shliemann disappears down the hatch. The Captain is pleased. A Radioman speaks into his headset, then follows the other Aides down the hatch. In the distance the other subs begin to move away from the ship. The Captain, alone on the bridge, looks once more at Katanga. On the Bantu Wind, Katanga executes what might be taken for a salute. The Wurrfler's Captain smiles, salutes crisply, then goes below, pulling the hatch closed. Immediately, the Wurrfler begins to move. And as it does, we see the rail at the aft of the main deck. From nowhere, a wet sleeve appears and a hand grabs the rail! Indy pulls his dripping body onto the sub's main deck. He has lost his felt hat once and for all. Other than that, his outfit is the same as always, just wetter. Suddenly, water is washing over his feet; the Wurrfler is beginning to submerge. Indy runs through quickly deepening water toward the haven of the conning tower. Halfway there, he slips and goes down. Only by grabbing the base of the aftmast light does he keep from being swept away. He struggles to his feet and sloshes through knee-deep water to the base of the conning tower. Indy climbs the ladder to the bridge of the conning tower and looks down. The water is rising toward him fast. Indy climbs the ladder to the top of the turret and braces himself between the two uprights there - the 7 foot radio mast and the 20 foot periscope. Still the ocean comes up to meet him. Soon the top of the turret is under water and radio mast is disappearing. Indy shifts his grip to the periscope, working his way up it and hanging on for dear life as the ocean whips at his body. The periscope is quickly going under. Indy hangs on to the top three feet, all that remains above. The forward movement of the sub continues, but, to Indy's slowly dawning delight, the dive stops. No more of the periscope goes under. Indy smiles; it's a pretty good smile, too, given the circumstances. Indy pulls out his bullwhip and begins tying himself to the periscope.
EXT. THE PERISCOPE - AFTERNOON
The sun warms that part of his body Indy has contrived to keep out of the water. The rest floats out behind. Indy isn't comfortable, but all in all, it's not as terrible as he might have feared. DISSOLVE TO:
EXT. THE PERISCOPE - DUSK
It's as terrible as Indy might have feared. He looks wasted. Waterlogged and exhausted. The wet leather of the whip is contracting and he must struggle constantly to keep it from cutting into his skin. DISSOLVE TO:
EXT. THE OCEAN - NIGHT
Several shark fins cut the surface, appearing and disappearing in the bright moonlight. They are shadowing --
EXT. THE PERISCOPE - NIGHT
Indy looks through barely open eyes at the sharks running alongside. There is nothing to be done. His eyes close. FADE OUT.: FADE IN:
EXT. THE PERISCOPE - NIGHT
The submarine has stopped. The water is calm. The moon is bright. A gentle swell splashes Indy awake. He blinks, tries to regain his senses. He makes an inventory of his body. Surprised to find himself intact, his spirits lift. Some hidden reserve of energy flows through him. He frees his aching arms from the wet leather of his whip, leaving only one loop around his waist to hold him to the sub. He rubs his hands and stretches. Once again, he has survived. To fight again. He looks around. WHAT HE SEES. A lovely island. No sign of man's presence. The sub has stopped at the mouth of a wide cove completely ringed by tall white rock cliffs. Suddenly the sub begins to move again. It is headed directly toward the center of the cliffs. Indy holds on, mystified, alert. When the cliffs are very close, the sub begins to dive.
INDY
Damn!
He thinks hard. Inspiration hits just before the water. Indy flips his leather jacket up over his head and holds the jacket out in front of him. His head is hidden by the jacket as he goes under water.
INT. THE UNDERWATER TUNNEL - NIGHT
The sub enters an underwater tunnel that penetrates into the cliffs. Indy is held to the periscope by his crossed legs and the whip. His improptu air bubble is working, but it's a struggle to maintain it. The sub begins to cut through thick marine vegetation. Each dangling growth pulls at Indy's body and slaps at his leather bubble. Now a clump of entwined seaweed rips the leather out of his hands and his bubble of air rises away. Indy hangs on, holding his breath, but the vegetation gets denser. Finally, it pulls him off the periscope. The sub moves on, disappearing ahead. Indy rises desperately through the dark water, his hand outstretched. Then, almost simultaneously, hand and head hit solid rock. But no air. Indy feels along the ceiling of rock. Nothing. It's all submerged. Indy dives, stroking deep into the tunnel. When he has descended 15 feet, he grabs a vine and steadies himself. His eyes search the dim roof of the tunnel. He sees his last hope in the distance -- a small blue circle, an air pocket. He swims for it. In the air pocket, Indy's head breaks the surface and smashes into rock again. The pocket is only six inches deep. No matter. Indy loves it. He'd like to move in. He gulps air.
INT. THE SUB BASE - DOCKING BAY
The Wurrfler has arrived at an extraordinary base built in the hollow interior of the island. This chamber, with the docking bay, is almost all water. A huge natural cavern, it has been reinforced and enlarged by the Germans. The Wurrfler sits surfaced at the dock. The Ark has been unloaded and placed on a cart. Shliemann, Belloq and Marion have just disembarked and been met by a Nazi contingent from the base. Marion looks worse for the trip. Her white nightgown is now ripped and smudged. One of the greeting Nazis, a TALL CAPTAIN, salutes Shliemann and Belloq. As he speaks to them, we notice that right behind this group, just above a great deal of sub unloading activity, Indy's whip hangs from the periscope. Working Nazis pass within feet of it unaware; the Tall Captain would see it in a moment if he were not so focused on the new arrivals.
TALL CAPTAIN
(to Belloq)
The tents have been arranged in accordance with your radioed instructions, sir.
BELLOQ
Good. We must take the Ark there now.
Shliemann looks a little unhappy about this exchange, but says nothing. The groups moves swiftly toward the end of a mine train arrangement. The train, consisting of small, separate, electric-powered cars, sits on a track which disappears into a tunnel cut in the rock. On the turret of the Wurrfler, the Wurrfler's Captain lights a cigarette as he watches the mine train disappear, then returns his attention to the activity on the dock. He leans idly against the periscope, his head two feet below Indy's dangling whip. Something catches his eye, he yells an order and climbs down from the turret to deal with the matter. We hold on the whip for a long moment, until its owner's hand appears and quickly reclaims it.
INT. TRAIN TUNNEL
The Ark and its entourage are moving slowly up the tight dark tunnel, their way lit by intermittent lanterns. The tunnel is irregular, but generally about 7 feet wide. It's height varies from an average of about 7 feet to a low of only about 4.5 feet at the points (every 40 feet) where support beams cross the track. The result is that there is only about a foot of clearance above the mine cars at those points; passengers must duck to keep from being hit in the head. Shliemann, looking worried, and Belloq, very excited, are focused on the Ark in the car ahead.
SHLIEMANN
I am uncomfortable with the thought of this --
(spitting it out)
-- Jewish ritual. Are you sure it's necessary?
BELLOQ
(playing him)
Let me ask you this -- Would you be more comfortable opening the Ark in Berlin -- for the Fuhrer -- and finding out only then if the sacred pieces of the Covenant are inside? Knowing, only then, whether you have accomplished your mission and obtained the one, true Ark?
Shliemann doesn't like any of his alternatives. He looks at Belloq with some suspicions as the train comes into bright light.
INT. COMMAND CENTER
A second natural cavern, even bigger than the first, has been worked over by the Germans into a rectangular, three-story high supply center around a huge, open, center court. Uniformed Nazi Soldiers are everywhere, wrangling supplies and ammunition, monitoring electronic equipment. At the far end of the court, a second train tunnel disappears into the rock. Across the open court, Belloq sees his destination: a large, brilliant white silk tent has been erected in the midst of all this hardware. It looks incongruous, and more than a little eerie. It is the Tabernacle.
INT. TRAIN TUNNEL
Indy is making his way up the tunnel. He hears cars coming from up ahead and steps into the shadows. A mine car passes with several laughing Nazis. Indy continues on his way.
INT. THE TABERNACLE
The light in here is lovely, unearthly. Oil lamps burn. The Tabernacle is really several concentric, silk tents, which creates a flowing maze effect. The innermost tent has at its center a 3-foot high, tapestry-covered altar. Belloq watches with gleaming, obsessed eyes as two Nazis carefully lift the actual Ark out of its crate by means of the long poles. The Ark dazzles the eye, seeming to glow gold in this strange light. The two Nazis place it carefully on the altar. Shliemann and some Aides hang back. Marion is nowhere to be seen.
INT. COMMAND CENTER - END OF TUNNEL
Indy makes a fast break from the shadows of the tunnel to the protection of a high stack of supplies. He climbs the back of the stack, peeks over and surveys the area. WHAT HE SEES. In addition to the Tabernacle, the second train tunnel entrance, and all the activity, Indy's glance rests momentarily on a large, heavy metal door halfway down one wall toward the Tabernacle. It bears the words in German: DANGER - MUNITIONS. Indy continues to scan the scene.
INT. THE TABERNACLE
In the central area with the Ark, Shliemann and the other Nazis wait impatiently, eyeing the Ark with some discomfort. Belloq is not visible, because at the moment he is-- In the folds of the Tabernacle, the silk of the tents undulating around him. The light is even stranger, the scene almost dreamlike. With the help of the Tall Captain, Belloq lets an extraordinary, gold-embroidered, ceremonial robe fall over his head and onto his body. Belloq looks transported, possessed. The Tall Captain unlatches a wooden case and takes from it a sturdy ivory rod about 5 feet long, elaborately engraved. Belloq takes it from him, turns and slips back through the silk. The Tall Captain stays in the folds. Back in the central area, Shliemann and the other Nazis are taken aback by Belloq's appearance in the rove. They exchange looks. From one knot of men there is muttering about "Juden" and such, but when Belloq turns a fiery gaze on them there is immediate silence. Shliemann looks uncertain in this presence. Belloq approaches the Ark. He stops a few feet from it and begins murmuring an invocation in Hebrew. After a few moments of this he advances a step and is about to place the ivory rod in a notch under the lid of the Ark itself. The end of the rod is an inch from the notch when-- Indy steps into the Tabernacle. On his shoulder is a bazooka and it is aimed directly at the Ark.
INDY
Hold it.
(the Nazi react)
One move from anybody and I blow that box back to Moses.
Shliemann makes it clear to the other Nazis that Indy is to be obeyed.
BELLOQ
Jones, your persistence surprises even me. You are going to give mercenaries a bad name.
INDY
What about you? Talked to God yet?
(Belloq's eyes flash)
Where's the girl?
SHLIEMANN
Doctor Jones, surely you don't think you can escape from this base.
INDY
That depends on how reasonable we're all willing to be. All I want is the girl. We'll keep possession of the Ark only till we've got safe transport to England. Then it's all yours.
SHLIEMANN
If we refuse?
INDY
Then the Ark and some of us are going up in a big bang. I don't think Hitler would like that a bit. Now I don't want to talk about this anymore. Show me that girl in five seconds or--
The Tall Captain flies out of the silk and takes Indy down by the neck. The bazooka clatters across the cement floor as two other Nazis help subdue Indy. The three Nazis take Indy's pistol from his holster and raise him roughly in their grasp.
SHLIEMANN
Jones, this is the second time I have seen you looking very foolish.
INDY
It's a bad habit. I'm trying to break it.
Shliemann draws his Luger.
SHLIEMANN
I'll help you. This time I'll kill you myself.
Shliemann raises the pistol.
BELLOQ
No! Not in the presence of the Ark! Take him outside.
Shliemann eyes Belloq, then the Ark. He lowers the pistol, motions for the Nazis to take Indy out ahead of him. They stop a moment only when Belloq speaks.
BELLOQ
Indiana Jones, I salute you. I am even a little sorry you will miss this moment.
INDY
Thanks. If you talk to Him, tell Him I'm on my way up.
Shliemann motions them out and follows. Belloq turns back to the Ark, raising the ivory rod.
INT. COMMAND CENTER
Shliemann, the Tall Captain, Indy and the two Nazis holding him emerge from the Tabernacle. Shliemann points to a nearby wall and the group starts that way with Shliemann and the Tall Captain slightly ahead.
INT. THE TABERNACLE
Belloq has the ivory rod inserted in the notch under the lid of the Ark. He utters a short phrase in Hebrew and begins to press down on his end of the rod. The lid of the Ark begins to lift. It's difficult work. Belloq puts his whole weight into one big press on his end and the lid opens two feet. Inside the Ark of the Covenant is a preview of the end of the world. A light so bright, a power so fearsome, a charge so jolting, that there is nothing in our world to compare to it. It's as though this magnificent golden box has been gathering electric energy for three thousand years, waiting for just this crack of the lid to release it all in one fast, cleansing explosion of pure force. Blinding arcs of light shoot out across the Tabernacle instantly killing all the Nazis inside and turning the white silk to flame. But it is Belloq in his obsession who takes the full blast. His whole body seems lit by a million volt current and, for a moment, his complete form is white, then blue, then maybe green, but it is hard to tell because our eyes are blinded now too. Two aspects of this ghastly, beautiful display are somehow communicated in the chaos, although the communication is subliminal. First, that Belloq, in the instant of his destruction, has experienced some kind of sublime, transcendental knowledge. If a death's-head can smile and look satisfied, that is how Belloq's incandescent face would be described. Secondly, this event is accomplished by a sound like no other. A sound so intense and so odd and so haunting that the suggestible among us might imagine it were the whisper of God.
INT. COMMAND CENTER
Chaos. Shliemann and the Tall Captain have been temporarily blinded by the light from the Tabernacle. Indy makes short work of his two escorts. He bashes their heads together. When only one goes down at this, Indy uses the handle of his bullwhip, which has appeared instantly in his hand, to put the second one down. Shliemann, hand on his eyes, aims his Luger blindly at the scuffle. Indy pushes the Tall Captain at Shliemann, who fires on impact, killing the Tall Captain. Indy knocks out Shliemann. Behind Indy, the brilliant light and weird noise of the Ark have suddenly ceased, but the Tabernacle is ablaze and the fire has quickly spread to stacks of supplies on either side. Smoke is already starting to fill the cavern. Nazis are running around, yelling for firefighting water. A burning crate at the side of the Tabernacle is pushed over, only to knock over a drum of heavy black oil. A river of flame shoots across the cement. Indy grabs a rifle with bayonet from the prostrate body of one of his former escorts and runs back into the flaming Tabernacle.
INT. THE TABERNACLE
Indy jumps through the flames into what is now a tent of fire. He looks around at the dead bodies, then at the Ark. The lid has slammed down shut again and the Ark shines gold in the flames. Before it, where Belloq once stood, is a pile of ash and charred debris. Indy registers this, then continues to scan the scene.
INDY
Marion! Marion, can you hear me?
Suddenly, Indy looks as-- The far side of the Tabernacle burns completely away, revealing Marion, tied spread-eagle between two upright posts. Her nightgown is now in tatters, black with soot. She is gagged but her eyes are screaming, focused on the flaming river of black oil which is about to engulf her feet. Indy rushes toward her, unaware of a uniformed Nazi who has appeared from the flames. Marion looks up to see Indy and the Nazi leveling his submachine gun at Indy. She motions desperately with her eyes. Indy dives and rolls through the flames just as the Nazi opens fire. From the floor, Indy blasts the Nazi. The river of burning oil is only a foot from Marion. Indy jumps up and runs toward the bound Marion, his bayonet aimed directly at her. Her wide eyes flash between the flames and the shining blade. Expertly, Indy slashes down both sides at Marion, cutting all four bindings. Marion falls backwards, away from the flames, but before she hits the ground, Indy is there, catching her in his arms. They embrace. They kiss. They break.
INDY
Hi.
MARION
Oh, Indy! Thank god you're here.
INDY
Glad I could make it.
Indy rises, pulling her up with him. The Tabernacle is burning away so fast that soon Indy and Marion will be completely exposed. Indy rushes over and grabs the submachine gun and a Luger from the dead Nazi.
INDY
Let's get out of here.
MARION
What about the Ark?
Indy stops, startled by her spunky attitude. He's considering their chances.
INDY
Are you game?
MARION
Hell yes! We've made it this far.
INDY
(grins at her)
Okay. Let's do it.
They approach the altar through the dying flames, Indy slinging the submachine gun over his back. The long carrying poles are still in place.
INDY
Whatever you do, don't touch it. Let's put it on the floor.
Marion nods. Each taking an end with the poles, they lift the Ark from the altar and lower it to the floor. Marion grunts under the weight. Indy registers this, hands her the submachine gun. He pulls out his whip, motions her back, and sweeps the whip tightly around the body of the Ark. The fall wraps snugly around the plaiting and Indy ties it off. The Ark is now harnessed to the whip handle. Indy gives it an experimental pull and the Ark slides across the smooth cement. Indy indicates the direction of the second train tunnel.
INDY
We'll go down that side. Shoot anyone who looks at us crosseyed.
INT. COMMAND CENTER
Two huge stacks of goods are ablaze and the Nazis are having trouble getting water to them. The Nazis' main concern at this point is an enormous, neat stack of wooden cartridge boxes which are piled down the wall from one of the already blazing, and now teetering, stacks of general goods. Nervous Nazis are moving the heavy cartridge boxes as fast as they can, but it's slow work and the threatening fire is close. Indy and Marion make their way along the side of the center court, Indy grimacing with the strain of pulling the Ark. One Nazi stops directly in front of them, looking at them queerly. Indy knocks him out with the butt of his Luger just as Marion is about to fire. Out in the court, Shliemann has regained his eyesight. Now he crouches, scanning the scene desperately for Indy. He looks into the remains of the Tabernacle and spots the empty altar. Beyond it, the unoccupied posts where Marion was bound. At the entrance to the second train tunnel, Indy and Marion struggle to lift the Ark into a mine car. Marion has the submachine gun slung over her back. The Ark drops heavily into the bottom of the car. The noise attracts the attention of five water-carrying Nazis. They see what's going on and reach for their side-arms. Indy grabs Marion, pulls her in front of him -- as though to use her as a shield -- and flips the submachine gun, still on her back, toward the Nazis. He opens fire, turning Marion's body so he can mow all five down. Shliemann spins around and looks at the tunnel entrance. He points at Indy and Marion, who have just hopped into the mine car with the Ark.
SHLIEMANN
Stop them! Kill them!
A dozen Nazis spin and look at the mine car. Marion is just leveling the submachine gun. Indy pushes forward the throttle and the mine car moves toward the tunnel, picking up speed. As the Nazis raise their guns to fire, Marion and Indy both open up, peppering the area with lead. As the mine car is about to disappear into the tunnel--
INDY
(to Marion)
Get down!
As the car disappears, bullets pock the entrance of the tunnel. Shliemann runs up with three Nazis. They jump into the next mine car and take off, disappearing into the tunnel. Over at the burning stack of goods, some terrified firefighters scurry away as the burning pile of general goods falls over onto the stack of cartridge boxes. The wooden boxes immediately start burning. Many of the Nazis just want to get out of there, but a couple of disciplined OFFICERS are trying to salvage the situation. They point to the far side of the court, the walls are lines with oil and gas drums.
OFFICER
We must cover the drums! Protect them from the bullets!
INTERCUTTING Indy and Marion with Shliemann and the Nazis, we see a most extraordinary pursuit. This tunnel is of identical design to the first, except more twisty. This early section goes slightly uphill, as though headed for the summit of a rollercoaster. The low cross beams and the higher sections in between are causing the Nazis to alternately stand and duck in their efforts to get a clear shot at the lead car. One German times it wrong and gets whacked. Indy is unhappy with the speed of his car and he's right, the Nazis are moving faster and gaining. When both cars are in the same high section, the Nazis blast away at them. The noise is deafening, with barking guns, splintering rock, and twanging ricochets contributing to the din. As Marion fires a return volley low over the Ark, Indy kicks at the throttle, convinced it is jammed.
INT. COMMAND CENTER
The Officers are directing the placement of every moveable item in front of the oil drums. Desks, crates, chairs, food, all are heaped in front of the fuel. All the workers cast frequent glances back at the burning cartridge boxes across the court. Suddenly the worst begins to happen at the cartridge boxes. Hundreds of thousands of live cartridges begin exploding, flying around the court like shrapnel. Hot lead begins to zing off the exposed fuel drums, leaving big dents.
INT. TRAIN TUNNEL - LONG STRAIGHTWAY
The car with Indy and Marion looks almost sluggish compared to the pursuing Nazi car as they both make their way into an unusually long straightaway. Marion discards her empty submachine gun as Indy kicks at his throttle and casts a worried look back at Shliemann. Shliemann, sensing victory, smiles evilly and carefully takes aim. Indy and Marion will be easy targets until they reach that approaching low cross beam, which is the crest of the rising tunnel.
INT. COMMAND CENTER - CLOSE ON FUEL DRUM
A fuel drum, already pocked by bullets is finally penetrated by high velocity hot lead. It explodes in a ball of flame. And then its neighbor. Then all is exploding flame.
INT. TRAIN TUNNEL - LONG STRAIGHTWAY
Shliemann and his cohorts hear the explosions behind them and look back that way. Indy kicks the throttle one more time and it goes! Their car doubles its speed and shoots under the low cross beam at the same instant as-- A huge dragon of all-consuming fire shoots up the tunnel behind the Nazis, catches their car and incinerates Shliemann and his men. The tunnel collapses in this section, burying the fried Nazis forever.
INT. TRAIN TUNNEL
Indy and Marion look back at the low cross beam as the last tongue of flame makes it there and then is doused by falling rock and dirt. They look at each other, then turn their attention back to their own predicament. Their mine car is going incredibly fast as it moves into a downward section of wildly twisting tunnel.
MARION
Slow it down!
Indy is already pulling the throttle. It moves easily. Unfortunately, it is no longer attached to the motor. The mine car is out of control. After several moments, far ahead, appears a circle of bright daylight-- the end of the tunnel! It approaches at a frightening rate. Indy reaches out grasps Marion's hand. They exchange looks and then turn to look ahead. THEIR POV. We're taking this last stretch with them. It's a familiar nightmare. It has to do with a rollercoaster that ends suddenly and disastrously. The shocking brightness of sunlight rushes up to engulf us, blinding us in its glare.
EXT. THE ISLAND - END OF TRACKS, DOCK
High up on the slope of the island, Indy and Marion's mine car shoots out of the black tunnel and roars down toward a little dock at the end of the tracks. A small Nazi transport launch, carefully disguised as a Greek fishing boat, sits bobbing by the dock. The only human: a Nazi Sentry dressed as a Greek peasant. He is perched on a pile of seed bags which are stacked at the very end of the train tracks. As the mine care barrels noisily down toward him, he throws away some burlap to reveal a mounted machine gun which he spins quickly around toward the approaching mine car. He opens fire. In the out-of-control mine car, Indy pulls Marion down with him. They are squashed into the corner trying to avoid contact with the bouncing Ark. Bullets clang against the outside of the car and whiz inches overhead. Indy and Marion are forced into a tighter and tighter embrace of life. At the machine gun post, the Nazi Sentry has been firing like crazy, but now there is terror in his eyes. He realizes the car is not going to stop. He lacks faith in his stronghold. Too late. The mine car smashes into the seed bag bunker. And right on through. The Nazi Sentry, his machine gun and a dozen bursting seed bags are slammed into the ocean in a wild, hurtling mass. The mine car jumps, bounces and spins around, then slides to a stop in a cloud of seed at the edge of the water.
INT. COMMAND CENTER
Fire. Everywhere. No sign of life. A large gaping doorway, flames ringing it, blazing into the room beyond. Hanging by one hinge there, its metal blasted and jagged, is a heavy door with the signed lettering, in German, DANGER - MUNITIONS. The first explosion happens. It's a baby compared to what's coming yet is rocks the earth. It's terrible. And then, almost immediately, another. The long, irregular, ever-larger chain of explosions begins.
EXT. THE ISLAND - VARIOUS SHOTS - DAY
The island rumbles and shakes. From fissures and small natural caves, dirt and rock shoot out like spraying water. Still the explosion continues. A huge chunk of white cliff falls away into the turbulent sea. Birds scream and soar, afraid to land. Finally, we settle on a full shot of the island. We can recognize that the small opening high on the slope from which a cloud of smoke and dust is billowing is the end of the mine tunnel. And there below it, quite small from this distance is the dock. And the boat that looks like a Greek fishing boat. There can be no mistake even from this far away -- the boat is chugging out to sea.
INT. THE PENTAGON - DAY
Indy, Brody and Marion, looking very stylish, are seated in Colonel Musgrove's huge office. Sun pours in a window, through which Washington can be seen sparkling across the Potomac. Everything is neat and clean and regular. Including the three men who are arrayed around the office. Two we know - - Col. Musgrove and Maj. Eaton. The third is an unnamed Bureaucrat. He hangs back, smiling and genial, his features obscured by the glare of the window. He doesn't say anything, yet you have a sense that the others defer to him in the matter at hand. He is the essence of all that is Byzantine and inscrutable in our scrubbed government machine. Indy and Brody are dissatisfied with the way the meeting has gone. Marion, on the other hand, is very happy and eager to get out of there. Eaton's manner is irritatingly cheery.
MUSGROVE
You've done your country a great service.
EATON
--And we trust you found the settlement satisfactory?
MARION
Quite.
EATON
Good, good.
(glances around at the others)
Then I guess that about does it.
BRODY
When can we have the Ark?
Eaton's glance flicks over to the mysterious Bureaucrat, then back to Brody.
EATON
I thought we answered that. It's someplace very safe--
INDY
(heated)
That's a powerful force. Research should be done--
EATON
Oh, it will be, Dr. Jones, I assure you. We have top men working on it right now.
INDY
Who?
EATON
Top men.
Indy exchanges a look with Brody.
INDY
We may be able to help.
EATON
We appreciate that. And we won't hesitate to call on you.
MUSGROVE
(dismissing them)
Thank you all. Thank you again.
Indy looks them over coldly. He gets up, sullen.
EXT. PENTAGON STEPS - DAY
Indy, Brody and Marion emerge from the building. Brody bids them farewell and moves off in another direction. Marion clings to Indy's arm in an energetic, very feminine way, scolding him.
MARION
--Well they aren't going to tell you, so why don't you just forget it. I'd think you'd had enough of that damn Ark. Just put your mind on something else.
Indy stops, looking across the river, his mind occupied.
INDY
Yeah, like what?
Marion makes a face, then puts her arms around his neck and plants a humdinger of a a kiss on his mouth. It goes on a while. Finally they break.
INDY
It's not the Ark...but it'll have to do.
They move down the steps, smiling.
INT. GOVERMENT WAREHOUSE
The Ark of the Covenant sits in a wooden crate. A wooden lid comes down and hides it from view. The lid is solidly nailed to the crate as we read the stenciled message on top-- TOP SECRET:
ARMY INTEL. #9906753
DO NOT OPEN!
The hammering is completed and hands shift the heavy crate onto a dolly.
THE END CREDITS ROLL AS WE SEE--
A Little Old Government Warehouseman begins pushing the crated Ark down an aisle. Soon we see that the aisle is formed by huge stacks of crates. They come in many shapes and sizes, but when it comes right down to it, they all look like the one that holds the Ark. All have markings like the message we've just seen. Pretty soon we're far enough and high enough away from the Little Old Government Warehouseman to see that this is one of the biggest rooms in the world. And it is full. Crates and crates. All looking alike. All gathering dust.
And then we notice that the Little Old Government Warehouseman, pushing his new crate ahead of him, has turned into another aisle and disappeared from view. FADE OUT.:
THE END
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Peggy Sue Got Married_1986
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tt0091738
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Peggy Sue Got Married
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In 1985, Peggy Sue Bodell attends her 25-year high school reunion, accompanied by her daughter, Beth, rather than her husband, Charlie, who was her high-school sweetheart. She and Charlie married right after graduation when Peggy Sue became pregnant, but have recently separated due to Charlie's infidelity. At the reunion, Peggy reconnects with her old high school girlfriends, Maddy and Carol. She ignores Charlie when he unexpectedly arrives. The emcee then announces the reunion's “king and queen": Richard Norvik, the former class geek who is now a billionaire inventor, and Peggy Sue. Overwhelmed, she faints onstage while being crowned. Peggy Sue awakens, only it is now 1960, her senior year of high school. Confused and disoriented, she decides to go home to her parents and act like everything is normal. Hoping that Richard Norvik can shed light on her situation, she befriends him and relates what happened. He disbelieves her story until Peggy Sue begins giving details about the future. She later decides to break up with Charlie. However, she wants to sleep with him after a party, but he panics and reminds her that she rebuffed him the weekend before. He takes her home, but instead of going inside, she goes to an all-night café where she sees fellow student Michael Fitzsimmons, an artsy loner who she always wished she had slept with. As they sit and talk, Peggy Sue learns they have much in common. They leave on his motorcycle and later have sex under the stars. The next night at a music bar, Michael wants Peggy to go to Utah with him and another woman for a polygamous relationship where the two women support him while he writes. She declines, telling him to use their night together as inspiration for his writing. Charlie happens to be singing at the bar, and she sees there is more to him than she realized. Charlie comes off the stage and speaks to a music agent who is there to evaluate him, but the agent is unimpressed. The next day, Peggy Sue tries to talk to Charlie but he lashes out, upset over failing to secure a record deal. She leaves to say goodbye to Richard, stating that she wants to stop ruining her life and everyone's around her, especially Charlie's, since the reason he stopped singing is because she got pregnant. Richard proposes, but she turns him down, not wanting to marry so young or derail his future. Peggy Sue visits her grandparents on her 18th birthday. Upon learning that her grandmother is psychic, she tells them her story. Her grandfather takes her to his Masonic lodge, where the members perform a ritual to return her to 1985. Charlie enters the lodge and—when lights go out—picks up and runs out with Peggy Sue, leaving everyone inside believing the ritual worked. Charlie tells her that he has given up singing and has been given 10% of the family business. He then proposes and gives her the locket she was wearing at the beginning of the film. She looks inside and sees baby pictures of herself and Charlie, which resemble their children. Peggy Sue realizes they love each other. They have sex, proving that she would make the same choices again. Peggy Sue awakens in a hospital back in 1985, with Charlie at her side. Charlie shows Peggy Sue the book Michael has written with the dedication, "To Peggy Sue and a Starry Night" (indicating that Peggy possibly did travel back in time). Charlie deeply regrets his infidelity and wants her back. Peggy Sue recalls her grandfather saying, "It's your grandma's strudel that's kept this family together," so she invites Charlie to dinner and says, "I'll bake a strudel."
|
<script>
<scene>
<character>PEGGY SUE GOT MARRIED</character>
<dialogue>an original screenplay by</dialogue>
<scene_description>Jerry Leichtling and Arlene Sarner REHEARSAL DRAFT - August 14, 1985 Over BLACK, we HEAR the sounds of an old TAPE RECORDING. Young VOICES are filtered amid a noticeable hum, hiss and crackle. We HEAR giggling and then someone named Charlie making vows of love to someone named Peggy Sue.</scene_description>
<character>CHARLIE (0.S).</character>
<dialogue>Hi this is Charlie and.... Come on, say your name.</dialogue>
<character>PEGGY (O.S.)</character>
<dialogue>Peggy Sue.</dialogue>
<character>CHARLIE (O.S.)</character>
<dialogue>And we're here on the couch....</dialogue>
<character>PEGGY (O.S.)</character>
<dialogue>Don't say that....</dialogue>
</scene>
<scene>
<stage_direction>EXT. PEGGY'S NEIGHBORHOOD DAY</stage_direction>
<scene_description>A split-level house on a slight grade of lawn. A red Honda the driveway.</scene_description>
<character>CHARLIE (O.S.)</character>
<dialogue>We're here on the sofa bed....</dialogue>
<character>PEGGY (O.S.)</character>
<dialogue>Charlie....</dialogue>
<character>CHARLIE (O.S.)</character>
<dialogue>....to record how much we love each other. Sitting beside me is the cutest majorette in the history of the world. And she would Like to say something.</dialogue>
<scene_description>A real estate agent, a WOMAN, carries a "For Sale" sign to the center of the lawn and begins driving it in with a hammer.</scene_description>
<character>CHARLIE (O.S.)</character>
<dialogue>Come on Peggy. Say what we rehearsed.</dialogue>
<character>PEGGY (O.S.)</character>
<dialogue>I can't. I'm too embarrassed.</dialogue>
</scene>
<scene>
<stage_direction>INT. BODELL HOUSE</stage_direction>
<scene_description>MOVING VIEW, revealing the empty house. We HEAR the RECORDING LOUDER.</scene_description>
<character>CHARLIE (O.S.)</character>
<dialogue>But you love me don't you?</dialogue>
<character>PEGGY (O.S.)</character>
<dialogue>Yeah. Come on Charlie, turn it off.</dialogue>
<character>CHARLIE (O.S.)</character>
<dialogue>And nothing will ever change that.</dialogue>
<scene_description>Charlie starts giggling. We HEAR fumbling and tickling. CLOSE VIEW INTO THE KITCHEN - First we see a woman's hand, on the floor. It is partially covered with flour. MOVING VIEW reveals PEGGY BODELL, in her early 40's, fainted from heartbreak while baking a cake. Flour is scattered on the floor. She recovers from her faint. Confused, she steadies herself and brushes the flour from her dress.</scene_description>
</scene>
<scene>
<stage_direction>INT. GARAGE -- DAY</stage_direction>
<scene_description>Peggy's son, SCOTT, 16, is playing an old reel to reel tape recorder. There are stacks of boxes filled with personal things and records. His sister, BETH, 23, is packing.</scene_description>
<character>SCOTT</character>
<dialogue>Boy, have they changed. Who gets it?</dialogue>
<character>BETH</character>
<dialogue>I don't know, just put it back.</dialogue>
<character>CHARLIE (O.S.)</character>
<dialogue>Oh, gotta go. Here's a little makeout music.</dialogue>
<scene_description>A record starts: "You Belong to Me" by the Duprees.</scene_description>
</scene>
<scene>
<stage_direction>INT. CHARLIE'S APARTMENT</stage_direction>
<scene_description>CHARLIE BODELL, early 40's, singing the same song. He can't hit a high note, turns off the water and steps out of the shower. JANET, his young, buxom girlfriend is in the bedroom.</scene_description>
<character>CHARLIE</character>
<dialogue>Goddamnit, I just can't hit those high notes anymore.</dialogue>
<character>JANET</character>
<dialogue>You know Charlie, if you're serious about this, I know a great vocal coach.</dialogue>
<scene_description>Charlie's perplexed reaction.</scene_description>
</scene>
<scene>
<stage_direction>EXT. BODELL HOUSE - DAY</stage_direction>
<scene_description>"Crazy Charlie's Discount Appliances" truck has parked in front of the house. WORKMEN are loading boxes of records, tapes, etc. Charlie pulls up, waves to workmen.</scene_description>
</scene>
<scene>
<stage_direction>INT. KITCHEN/HALLWAY</stage_direction>
<scene_description>Peggy is loading the oddshaped cakes into boxes. We note the grandfather clock tolling nine.</scene_description>
<character>VIEW IN HALLWAY</character>
<dialogue>Beth meets her father at the door.</dialogue>
<character>BETH</character>
<dialogue>Hi Dad, can I have 100 dollars for a brake job?</dialogue>
<character>CHARLIE</character>
<dialogue>Did I hear 70 dollars? What do you need 50 dollars for? How's your Mom?</dialogue>
<scene_description>Peggy comes out of the kitchen. Charlie has stopped conspicuously at the threshold. A workman comes from behind Peggy.</scene_description>
<character>WORKER</character>
<dialogue>Coming through.</dialogue>
<character>CHARLIE</character>
<dialogue>Frank, watch the clock.</dialogue>
<scene_description>Peggy looks outside.</scene_description>
</scene>
<scene>
<stage_direction>EXT. HOUSE PEGGY'S POV</stage_direction>
<scene_description>Janet is seated in Charlie's car.</scene_description>
</scene>
<scene>
<stage_direction>INT. HOUSE</stage_direction>
<character>PEGGY</character>
<dialogue>There's something pathetic parked in front of my house.</dialogue>
<character>CHARLIE</character>
<dialogue>Come off it, Peggy. And what do you mean your house? This is my house.</dialogue>
<scene_description>I paid for it, I'm still paying for it.</scene_description>
<character>PEGGY</character>
<dialogue>I'm still waiting for the mortgage check.</dialogue>
<character>CHARLIE</character>
<dialogue>I mailed it to you on Wednesday.</dialogue>
<character>PEGGY</character>
<dialogue>Well, today's Saturday and it's still not here.</dialogue>
<character>CHARLIE</character>
<dialogue>Jesus, Peggy. Take it easy. I'm not used to that stuff. You always did the bills. Blame the damn post office.</dialogue>
<scene_description>A workman approaches carrying an old mono record player: black and white, a real fifties artifact. For a moment their mutual resentment melts, as they look at each other.</scene_description>
<character>PEGGY</character>
<dialogue>That stays.</dialogue>
<scene_description>The workman looks to Charlie for approval. Charlie nods. The workman shrugs, and heads back to the basement.</scene_description>
<character>CHARLIE</character>
<dialogue>You got a Tab?</dialogue>
<character>PEGGY</character>
<dialogue>I don't buy them anymore. You were the only one who drank them.</dialogue>
</scene>
<scene>
<stage_direction>INT. REC ROOM</stage_direction>
<scene_description>Peggy leads the way. At the far end, she flips a light switch that turns on a wall sculpture of lava lamps.</scene_description>
<character>CHARLIE</character>
<dialogue>You don't want them? They're going to make a big comeback any minute.</dialogue>
<scene_description>Mark my words, these lamps are going to...</scene_description>
<character>PEGGY</character>
<dialogue>I know. Put Scott through college.</dialogue>
<character>CHARLIE</character>
<dialogue>I'll think of a way to sell, them.</dialogue>
<parenthetical>(beat)</parenthetical>
<dialogue>One day.</dialogue>
<scene_description>Peggy opens a box filled with records. She closes it and moves to another. Charlie checks the contents of another box on the other side of the room.</scene_description>
<character>PEGGY</character>
<dialogue>Are you taking Janet to the reunion tonight?</dialogue>
<character>CHARLIE</character>
<dialogue>I'm not going.</dialogue>
<scene_description>Scott calls from the top of the stairs.</scene_description>
<character>SCOTT</character>
<dialogue>Come on Dad!</dialogue>
<character>CHARLIE</character>
<dialogue>Be right there. I'll go through the rest of this stuff next weekend.</dialogue>
<character>SCOTT</character>
<dialogue>Bye Mom.</dialogue>
<character>PEGGY</character>
<dialogue>Bye sweetheart.</dialogue>
<scene_description>Peggy and Charlie look at each other as Scott leaves.</scene_description>
<character>CHARLIE</character>
<parenthetical>(with real, regret)</parenthetical>
<dialogue>I never thought it would go this far.</dialogue>
<scene_description>Charlie exits. Peggy looks around. She slaps the flap of a box down, to close it, but it jumps back up. DISSOLVE:</scene_description>
</scene>
<scene>
<stage_direction>EXT. PEGGY'S DRIVEWAY</stage_direction>
<scene_description>Peggy and Beth carry the cake boxes into the car A NEIGHBOR trimming the hedge watches them lasciviously. Peggy and Beth drive off.</scene_description>
</scene>
<scene>
<stage_direction>EXT. STREET</stage_direction>
<scene_description>Peggy's car rounds a corner into the business section of town.</scene_description>
</scene>
<scene>
<stage_direction>EXT. LOVIN' OVEN BAKE SHOP</stage_direction>
<scene_description>Peggy pulls up to the front door of The Lovin' Oven, her bake shop. Bags of bread and rolls lean against the door. Beth jumps out and opens the door of the shop. Peggy stacks the boxes in Beth's arms and opens the door for her.</scene_description>
<character>PEGGY</character>
<dialogue>If the pastries aren't here by nine thirty, call Monica and threaten her life.</dialogue>
<scene_description>Peggy gets into the car, and blows a kiss to Beth.</scene_description>
<character>PEGGY</character>
<dialogue>I'll be back by noon.</dialogue>
<scene_description>Peggy drives off as MONICA drives up. She exits her car and begins to unpack cake boxes.</scene_description>
<character>BETH</character>
<dialogue>Hi Monica. You just missed Mom.</dialogue>
<character>MONICA</character>
<dialogue>Sorry I'm late. My Bobo's back in town.</dialogue>
</scene>
<scene>
<stage_direction>EXT. KRISTIN'S COIFFURES HAIR SALON</stage_direction>
<scene_description>INSERT: Sign: KRISTIN'S COIFFURES Peggy exits with a fifties flip. From a distance she looks like a fifties teenager. She nervously looks at her reflection. Maybe this was a mistake. Too late now.</scene_description>
</scene>
<scene>
<stage_direction>INT. PEGGY'S CAR DRIVING</stage_direction>
<scene_description>Peggy is driving. On her car radio, we HEAR a local PHONEIN TALK SHOW.</scene_description>
<character>WOMAN'S VOICE (V.O.)</character>
<dialogue>Hi. I'm Dolores Dodge. We're taking calls today on surrogate mothers.</dialogue>
<scene_description>Wombs for rent. I want to know how you feel.</scene_description>
<character>PEGGY</character>
<dialogue>Oh, Dolores.</dialogue>
<scene_description>Peggy switches stations until she finds the news.</scene_description>
</scene>
<scene>
<stage_direction>EXT. STREET CORNER</stage_direction>
<scene_description>Peggy stops for a red light. Her eye is caught by a Mercedes stopped next to her. Behind the wheel is a striking woman of her age, CAROL HEATH. They stare curiously for a beat, then:</scene_description>
<character>PEGGY</character>
<dialogue>Carol!</dialogue>
<character>CAROL</character>
<dialogue>Peggy Sue!</dialogue>
<scene_description>They pull over to the side of the road.</scene_description>
</scene>
<scene>
<stage_direction>EXT. SIDE OF ROAD</stage_direction>
<scene_description>Exiting the cars, they hug.</scene_description>
<character>CAROL</character>
<dialogue>I haven't seen you in years. In all that time, haven't you at least tried another hair style?</dialogue>
<scene_description>Peggy tries to laugh off her embarrassment.</scene_description>
<character>PEGGY</character>
<dialogue>1 just did it for the reunion. I thought it would be fun.</dialogue>
<character>CAROL</character>
<dialogue>You're probably the only one who could carry it off.</dialogue>
</scene>
<scene>
<stage_direction>INT. LOVIN' OVEN DAY</stage_direction>
<scene_description>Peggy and Carol enter as Beth finishes up with a customer. Peggy walks behind the counter as the customer exits.</scene_description>
<character>BETH</character>
<dialogue>Where were you? You said you'd be back at twelve.</dialogue>
<character>PEGGY</character>
<dialogue>This is my old friend Carol. I told you about her.</dialogue>
<scene_description>Beth and Carol exchange hellos.</scene_description>
<character>BETH</character>
<dialogue>r was worried about you You didn't even call. You're always on my case if I don't call.</dialogue>
<character>PEGGY</character>
<dialogue>How do you like my hair?</dialogue>
<character>BETH</character>
<dialogue>It looks great. Don't change the subject. You know how busy Saturdays are. And I can't do the icing. I always mess up the roses. You're not being very responsible.</dialogue>
<scene_description>Peggy takes over the work of decorating the large pennant shaped cake in silver icing: 25th Reunion Buchanan High.'</scene_description>
<character>CAROL</character>
<dialogue>Who's the mother around here?</dialogue>
<character>BETH</character>
<dialogue>Sometimes I wonder.</dialogue>
</scene>
<scene>
<stage_direction>INT. TELEVISION STUDIO</stage_direction>
<scene_description>A television studio set made up of platforms covered with black cloth. Placed around the platforms on different levels are projection TVs, regular TVs, microwave ovens and other expensive, futuristic appliances. Charlie sits at one of them (or a table) as a CHINESE WAITER rushes in and puts a tray of fortune cookies down.</scene_description>
<character>WAITER</character>
<dialogue>Here Charlie, extra fortune cookies. Good luck.</dialogue>
<character>CHARLIE</character>
<dialogue>Thanks.</dialogue>
<scene_description>Charlie grabs a cookie and puts it on the table in front of him, smashing it with his fist. He picks up and reads the fortune:</scene_description>
<character>CHARLIE</character>
<parenthetical>(manic)</parenthetical>
<dialogue>Next week you'll be selling Sanyo remote control VCRs for three hundred and ninetynine dollars? Oh no!</dialogue>
<parenthetical>(sings)</parenthetical>
<dialogue>Crazy Charlie...</dialogue>
<scene_description>He grabs and smashes another fortune cookie.</scene_description>
<character>CHARLIE</character>
<dialogue>You'll give away Mitsubishi giant screen TVs for twelve hundred and ninetyfive dollars! Oh no! I'll go broke!</dialogue>
<parenthetical>(sings)</parenthetical>
<dialogue>Crazy Charlie...</dialogue>
<scene_description>He grabs and smashes another cookie.</scene_description>
<character>CHARLIE</character>
<dialogue>You won't be undersold on stereos, videos, microwaves or blenders!</dialogue>
<parenthetical>(sings)</parenthetical>
<dialogue>Crazy Charlie, Crazy Charlie, I'm not breaking cookies, I'm smashing prices.</dialogue>
<parenthetical>(rolling his eyes like Fabian)</parenthetical>
<dialogue>Crazy Charlie, he insane.</dialogue>
<scene_description>The waiter hits a big gong. Beth laughs.</scene_description>
<character>PEGGY (O.S.)</character>
<dialogue>Turn that off.</dialogue>
</scene>
<scene>
<stage_direction>INT. PEGGY'S BEDROOM NIGHT</stage_direction>
<scene_description>CAMERA PULLS BACK from the TV into Peggy's bedroom. Beth gets up from the bed and turns off the TV. Peggy enters from the adjoining bathroom, wearing a robe, and bobby socks with saddle shoes. She picks up a gold Locket from the dresser, and puts it on.</scene_description>
<character>BETS</character>
<dialogue>When are you going to stop being so mad at Dad? How do you think that makes me feel?</dialogue>
<character>PEGGY</character>
<dialogue>I have a lot of unresolved feelings about him. I don't trust him. Besides, I hate those commercials.</dialogue>
<character>BETH</character>
<dialogue>I'm sorry I asked. We don't have time for another heartto heart. Here, try on the dress.</dialogue>
<scene_description>Peggy tries on the fifties dress lying on the bed.</scene_description>
<character>PEGGY</character>
<dialogue>But I want you and Scott to understand.</dialogue>
<parenthetical>(beat)</parenthetical>
<dialogue>Do you think he loves Janet? Maybe he's smashed too many fortune cookies.</dialogue>
<character>BETH</character>
<dialogue>Come on Mom. Give him a break. He's missing the reunion because of you. You know he wants to go.</dialogue>
<character>PEGGY</character>
<dialogue>Then we'd both have a miserable time. What do you think?</dialogue>
<scene_description>She looks exactly like a sixties teenager.</scene_description>
<character>BETH</character>
<dialogue>Hey, you're a hip chick. You look like you stepped right out of Life magazine. Any time you want to borrow it again, just ask.</dialogue>
<character>PEGGY</character>
<dialogue>Borrow?! This was my dress.</dialogue>
<parenthetical>(beat)</parenthetical>
<dialogue>Maybe it's a mistake. What if I'm the only one? I don't even want to go. Everybody's just going to say...</dialogue>
<parenthetical>(imitating commercial)</parenthetical>
<dialogue>Hi. Where's Crazy Charlie?</dialogue>
<character>BETH</character>
<dialogue>Mom, lots of people are separated and divorced.</dialogue>
<character>PEGGY</character>
<dialogue>Not from the guy with the lowest prices in town.</dialogue>
</scene>
<scene>
<stage_direction>EXT. HIGH SCHOOL ENTRANCE - NIGHT</stage_direction>
<scene_description>Couples are walking up the stairs into the school. Peggy and Beth are at the bottom of the stairs, staring at the banner hung across the entrance. It reads: WELCOME CLASS OF '60.</scene_description>
<character>PEGGY</character>
<dialogue>I feel ridiculous. Maybe I should go home and change.</dialogue>
<character>BETH</character>
<dialogue>Why are you so nervous? What is the matter with you today?</dialogue>
<character>PEGGY</character>
<dialogue>I don't know. Reunions do funny things to people.</dialogue>
<scene_description>At that moment they're joined by MADDY.(Madeline) and ARTHUR NAGLE, coming up behind them. A typical polyester couple. Hellos all around and hugs. Arthur puts his arms around Beth and Peggy and leads them up the stairs.</scene_description>
<character>MADDY</character>
<dialogue>You two look like that soap commercial. Which one's the daughter and which one's the mother?</dialogue>
<character>ARTHUR</character>
<dialogue>You took this seriously. You're a real blast from the past.</dialogue>
<character>PEGGY</character>
<dialogue>It was Beth's idea.</dialogue>
<character>MADDY</character>
<dialogue>I wish I had the nerve. And the figure.</dialogue>
<character>ARTHUR</character>
<dialogue>You always were a crazy little gal, Peg.</dialogue>
<character>PEGGY</character>
<dialogue>Arthur, please don't call me Peg.</dialogue>
</scene>
<scene>
<stage_direction>INT. SCHOOL HALLWAY NIGHT</stage_direction>
<scene_description>A large table in the lobby holds plastic nametags. A sign reads: LADIES IF YOU CAN'T FIND TOUR TAG, LOOK UNDER YOUR MAIDEN NAME. Several people are bending over the table looking for their tags. A HOSTESS is sitting behind the table. Peggy, Beth, Maddy and Arthur enter. Hellos all around.</scene_description>
<character>PEGGY</character>
<dialogue>Beth's boyfriend is playing in the band.</dialogue>
<character>MADDY</character>
<dialogue>It must run in the family.</dialogue>
<character>BETH</character>
<dialogue>What does?</dialogue>
<character>ARTHUR</character>
<dialogue>You and your mother both seem to fall for musicians.</dialogue>
<scene_description>Maddy and Arthur laugh. Peggy is not amused. The hostess hands them their name tags and turns to welcome new arrivals. As they proceed down the hallway, Peggy SEES a distinguished man enter, RICHARD NORVIK. With him is his pregnant wife SHARON. Richard smiles at Peggy. She can't place him. Peggy turns back to her group and continues down the hall. The fifties MUSIC GETS LOUDER AND LOUDER.</scene_description>
</scene>
<scene>
<stage_direction>INT. GYM</stage_direction>
<scene_description>The gym is packed with people dancing, chatting, greeting lost friends. A bar is set up at one end. On the walls are black and white blowups of the 1960 yearbook. On a table is a buffet and Peggy' s cake. The BAND is PLAYING and SINGING old rock and roll songs. Couples slow dance, jive and stroll. Peggy, Beth, Maddy and Arthur enter. Beth leaves the group.</scene_description>
<character>ARTHUR</character>
<dialogue>Hey, there's Terry and Leon.</dialogue>
<character>MADDY</character>
<dialogue>Peggy, would you find a table?</dialogue>
<scene_description>We'll see you in a little while.</scene_description>
<character>PEGGY</character>
<dialogue>Okay.</dialogue>
<scene_description>They walk away into the crowd, leaving Peggy alone.</scene_description>
</scene>
<scene>
<stage_direction>INT. GYM NEAR WALL</stage_direction>
<scene_description>CLOSE VIEW A photo of the majorettes. Peggy is in the middle, twirling her baton. Her reverie is interrupted by:</scene_description>
<character>RICHARD (O.S.)</character>
<dialogue>Are you Peggy Sue Kelcher?</dialogue>
<character>PEGGY</character>
<dialogue>I was once. Richard!? Richard Norvik? I didn't recognize you.</dialogue>
<character>RICHARD</character>
<dialogue>You look exactly the same.</dialogue>
<character>PEGGY</character>
<dialogue>I just did it for tonight. I don't normally dress like this.</dialogue>
<character>SHARON</character>
<dialogue>It's adorable.</dialogue>
<character>RICHARD</character>
<dialogue>Oh, I'm sorry. Peggy Sue Kelcher, my wife Sharon.</dialogue>
<character>PEGGY</character>
<dialogue>Hello. Nice to meet you. Please call me Peggy. I'm Peggy Bodell now.</dialogue>
<character>RICHARD</character>
<dialogue>Where's Charlie? I was in town about a year ago and caught one of his commercials. Really made me laugh.</dialogue>
<character>PEGGY</character>
<dialogue>He's not here. We're getting divorced.</dialogue>
<character>RICHARD</character>
<dialogue>Gee. I'm sorry to hear that.</dialogue>
<scene_description>NEW VIEW A large, beefy HAND is THRUST INTO FRAME.</scene_description>
<character>MAN'S VOICE (O.S.)</character>
<dialogue>Mr. Norvik.</dialogue>
<scene_description>CAMERA PULLS BACK TO INCLUDE DOUG SNELL, a paunchy, overbearing man, shaking Richard's hand.</scene_description>
<character>DOUG</character>
<dialogue>Or, uhh, Richard? David Snell, Merrill Lynch. I read about the Cordex deal in Business Week. Congratulations.</dialogue>
<character>RICHARD</character>
<dialogue>Thank you, Doug.</dialogue>
<character>DOUG</character>
<dialogue>Hi Peggy. How are you? How's Char1ie?</dialogue>
</scene>
<scene>
<stage_direction>INT. GYM</stage_direction>
<scene_description>VIEWS ON Carol and Walter. They play a standoffish game, each noticing the other, but pretending not to. We HEAR and SEE bits of conversations:</scene_description>
<character>SANDY</character>
<parenthetical>(gleeful)</parenthetical>
<dialogue>I can't believe how she let herself go. She was so beautiful in high school.</dialogue>
<character>CAROL</character>
<dialogue>Everyone's got a gold Rolex. I had this one specially made in platinum.</dialogue>
<scene_description>Richard is standing with three men. They hang on his every word. Beside them, a very DRUNK MAN overhears:</scene_description>
<character>RICHARD</character>
<dialogue>....fifth generation core capacities are going to cause another shakeout in the smaller companies.</dialogue>
<character>DRUNK MAN</character>
<parenthetical>(to Richard)</parenthetical>
<dialogue>Your damn computers put me out of business. You're a billionaire, and I'm a goddamn failure.</dialogue>
<scene_description>Another man gently restrains the drunk and leads him away. Richard is shaken.</scene_description>
<character>NEW VIEW</character>
<dialogue>Carol and Peggy.</dialogue>
<character>CAROL</character>
<parenthetical>(chuckling)</parenthetical>
<dialogue>Welcome to the singles scene.</dialogue>
<character>PEGGY</character>
<dialogue>I don't know how you do it. I've never even dated anybody but Charlie.</dialogue>
<character>CAROL</character>
<dialogue>You just have to remember.... men</dialogue>
<character>CAROL</character>
<dialogue>are like houses and trade upwards.... I thought you had a pretty good marriage.</dialogue>
<character>PEGGY</character>
<dialogue>We did for a long time. We just got married too young, and ended up blaming each other for missing out on things.</dialogue>
<character>CAROL</character>
<dialogue>So he started having affairs, and you got depressed.</dialogue>
<scene_description>Peggy nods.</scene_description>
<character>CAROL</character>
<dialogue>You should have left here years ago, like I did.</dialogue>
<character>PEGGY</character>
<dialogue>It's not the place. I don't buy that.</dialogue>
<parenthetical>(melodramatic)</parenthetical>
<dialogue>Trapped in the same town forever.</dialogue>
<scene_description>The price she would pay for her teenage lust.</scene_description>
<character>CAROL</character>
<dialogue>After you got knocked up, my mother didn't want me to talk to you. She thought it was contagious.</dialogue>
<character>PEGGY</character>
<dialogue>Oh, it's not so bad. I have two wonderful kids, my own business.</dialogue>
<parenthetical>(beat)</parenthetical>
<dialogue>Still, knowing what I know now, if I had the chance to do it all over again, I'd sure do things a lot differently.</dialogue>
<character>CAROL</character>
<dialogue>Wouldn't we all.</dialogue>
</scene>
<scene>
<stage_direction>INT. GYM OFFICE (ADJACENT TO GYM)</stage_direction>
<scene_description>DOLORES DODGE is about to interview Maddy and Arthur; she turns on the tape machine and holds up the microphone.</scene_description>
<character>DOLORES</character>
<dialogue>Madeline Hutton and Arthur Nagle were high school sweethearts.</dialogue>
<character>DOLORES</character>
<dialogue>Married right after graduation, they're still together. In this day and age, that's remarkable.... Maddy, Arthur, how does it feel to have missed the sexual revolution?</dialogue>
<character>MADDY</character>
<parenthetical>(incensed)</parenthetical>
<dialogue>What kind of question is that? It has nothing to do with the reunion.</dialogue>
<character>ARTHUR</character>
<parenthetical>(thoughtfully into mike)</parenthetical>
<dialogue>I'm glad you asked, Dolores. Four years ago Maddy and I found Jesus....</dialogue>
<character>DOLORES</character>
<dialogue>Spiritual renewal. That's what reunions are all about. Familiar faces, forgotten memories, ancient dance steps and music....the great time machine.</dialogue>
</scene>
<scene>
<stage_direction>INT. GYM</stage_direction>
<scene_description>CAMERA PANS the gym and FINDS: Carol dancing with WALTER GETZ, slim, handsome, with a big toothy grin. Carol's old high school boyfriend, he's now a dentist and a fabulous dancer. They make a great team. Couples dancing around them react appreciatively.</scene_description>
<character>CAROL</character>
<dialogue>I never could keep up with you.</dialogue>
<character>WALTER</character>
<parenthetical>(with a quick tap step)</parenthetical>
<dialogue>Just call me Walter the dancing dentist. Taps and caps. My specialty.</dialogue>
</scene>
<scene>
<stage_direction>INT. GYM ANOTHER AREA</stage_direction>
<scene_description>PEGGY'S TABLE. Peggy sits with Richard, Sharon, and two other couples, TERRY and LISA and LEON and SANDY. A hand gently touches Peggy on the shoulder. Peggy turns around and sees ROSALIE TESTA, a small woman with close cropped hair. She's in a wheelchair. She wears a plastic badge: REUNION COMMITTEE.</scene_description>
<character>ROSALIE</character>
<dialogue>I remember that dress.</dialogue>
<character>PEGGY</character>
<dialogue>Rosalie Testa!</dialogue>
<scene_description>'HELLOS' all, around. Peggy helps Rosalie position her wheelchair at the table.</scene_description>
<character>ROSALIE</character>
<dialogue>I remember when you got that locket, too. You were so excited I think you showed it to the whole school.</dialogue>
<character>PEGGY</character>
<dialogue>You have an incredible memory.</dialogue>
<character>SHARON</character>
<dialogue>It's beautiful. Does it open?</dialogue>
<character>PEGGY</character>
<dialogue>Yes. These are my children. But they're not babies anymore.</dialogue>
<scene_description>INSERT - LOCKET Inside are photos of Beth and Scott as babies.</scene_description>
<character>ROSALIE</character>
<parenthetical>(laughing)</parenthetical>
<dialogue>I think you got married when you were three.</dialogue>
</scene>
<scene>
<stage_direction>INT. GYM OFFICE</stage_direction>
<scene_description>Dolores interviewing Walter and Carol.</scene_description>
<character>DOLORES</character>
<dialogue>Carol Pritchard Heath and Walter Getz were high school steadies who went their separate ways. After twenty years and four divorces between them, they meet again Walter a successful dentist, Carol a mature career woman. Carol, why did you really come back for this reunion?</dialogue>
<character>CAROL</character>
<dialogue>Curiosity mostly. I heard you finally found a man of your own. Too bad he's married.</dialogue>
<character>WALTER</character>
<parenthetical>(cracking up)</parenthetical>
<dialogue>Whoa! Cat fight! Purse war!</dialogue>
</scene>
<scene>
<stage_direction>INT. GYM PEGGY'S TABLE</stage_direction>
<scene_description>THEIR POV: Dolores walks resolutely towards their table. Maddy and. Arthur leave the table as Dolores approaches, putting her tape machine on the table. She ignores everyone, focusing on Richard.</scene_description>
<character>DOLORES</character>
<dialogue>Hello everyone. Richard Norvik? I'm Dolores Dodge with KARP Radio.</dialogue>
<scene_description>Could I have a minute of your time?</scene_description>
<character>RICHARD</character>
<dialogue>Sure. I remember you.</dialogue>
</scene>
<scene>
<stage_direction>INT. GYM SERIES OF SHOTS</stage_direction>
<scene_description>The BAND is PLAYING and SINGING the SONG "GOOD OLD ROCK AND ROLL." Peggy and Sharon walk through the gym looking at the photo blowups on the wall. Peggy is stopped and hugged by several people. Maddy and Arthur are dancing. Despite the frantic beat, they are slow dancing. Seth is hanging around the stage, bringing a drink to the guitar player. Walter is dancing with Rosalie in her wheelchair.</scene_description>
<character>OVERWEIGHT, BEARDED MAN</character>
<dialogue>Turns out I love business. Every morning I wake up, thank God I'm alive, and say Who am I gonna screw today?</dialogue>
<character>LEON</character>
<dialogue>Let's play "Rate the Moment". I give tonight an eighty-seven. Better than sex, not as good as racquetball.</dialogue>
</scene>
<scene>
<stage_direction>INT. GYM OFFICE</stage_direction>
<scene_description>Dolores has left. Walter lays out lines of cocaine on the back of the clipboard, as Carol watches.</scene_description>
<character>WALTER</character>
<dialogue>The best thing about being a dentist. Pure pharmaceutical grade. A couple of lines of this, I can drill my own teeth....</dialogue>
<parenthetical>(looks at her for a moment)</parenthetical>
<dialogue>Hi.</dialogue>
<character>CAROL</character>
<dialogue>Hi.</dialogue>
</scene>
<scene>
<stage_direction>INT. GYM INTERCUT - SERIES OF SHOTS</stage_direction>
<character>SERIOUS MAN</character>
<parenthetical>(to his wife)</parenthetical>
<dialogue>Joe would have enjoyed this. God, I still miss him.</dialogue>
<character>MADDY</character>
<parenthetical>(to Carol)</parenthetical>
<dialogue>Peggy was a mess right after they separated, but I think she's coming out of it... It seems to be pretty friendly now.</dialogue>
<character>CAROL</character>
<dialogue>Sometimes it's easier when you hate them.</dialogue>
<character>GREASY DRUNK CREEP</character>
<dialogue>I can't remember. Did I make it with you in high school?</dialogue>
<character>LISA</character>
<dialogue>Doesn't it feel like it was yesterday?</dialogue>
<character>TERRY</character>
<dialogue>Youth is like an amputated leg. Long after it's gone, you still feel it.</dialogue>
<character>SAME BEARDED MAN</character>
<dialogue>My wife's a cow, my son has shit for brains, and my daughter's in India with Mother Teresa.</dialogue>
<character>WOMAN</character>
<dialogue>My husband's a pig. But my son's in social work and my daughter, God bless her, is in India with Mother Teresa.</dialogue>
<character>LEON</character>
<dialogue>For the fitness generation, we've sure got a lot of porkers.</dialogue>
<character>SANDY</character>
<dialogue>I don't remember anything about the seventies.</dialogue>
<character>LISA</character>
<dialogue>Breaking up was horrible. I said we had a very special attachment, he said, so does a Hoover.</dialogue>
<character>LEON</character>
<dialogue>I don't know why I came back. I hated high school.</dialogue>
<scene_description>The group around him all answer "So did I" or "Me too."</scene_description>
<character>ROSALIE</character>
<dialogue>I enjoyed it.</dialogue>
</scene>
<scene>
<stage_direction>INT. GYM NEAR WALL</stage_direction>
<scene_description>Peggy (loose, holding a drink) and Sharon stand in front of a PHOTO of the 1960 Cross Country Team. VIEW ON PHOTO - off to one side stands MICHAEL FITZSIMMONS. His hair is longer, his gaze intense and non-smiling.</scene_description>
<character>SHARON</character>
<dialogue>Who's the one with the hair?</dialogue>
<character>PEGGY</character>
<dialogue>Michael Fitzsimmons. I had such a crush on him.</dialogue>
<scene_description>Carol and Maddy join them, still panting from dancing.</scene_description>
<character>CAROL</character>
<dialogue>Hi, Peggy. God, that Walter Getz can still dance.</dialogue>
<character>PEGGY</character>
<dialogue>Your first boyfriend. What do you think? Any sparks left?</dialogue>
<character>CAROL</character>
<dialogue>Who knows. Remember...</dialogue>
<parenthetical>(a beat)</parenthetical>
<dialogue>Whatever Walter wants...</dialogue>
<scene_description>CAROL, PEGGY AND MADDY</scene_description>
<character>(LAUGHING)</character>
<dialogue>Walter Getz.</dialogue>
<character>PEGGY</character>
<dialogue>Sharon Norvik this is Carol Heath, and Maddy Nagle. My oldest and dearest friends. Sharon's married to Richard.</dialogue>
<character>CAROL</character>
<dialogue>Lucky lady. Hi.</dialogue>
<character>MADDY</character>
<parenthetical>(looking at the photo)</parenthetical>
<dialogue>Michael Fitzsimmons! Is he here?</dialogue>
<character>PEGGY</character>
<dialogue>No. I asked Rosalie. She couldn't track him down.</dialogue>
<character>CAROL.</character>
<dialogue>Too bad.</dialogue>
<character>SHARON</character>
<dialogue>He must have been quite a guy.</dialogue>
<character>PEGGY</character>
<dialogue>He was the only one in high school I wished I'd gone to bed with.</dialogue>
<character>CAROL</character>
<dialogue>The only one?</dialogue>
<character>PEGGY</character>
<dialogue>Well, besides Charlie, of course.</dialogue>
<scene_description>We HOLD on the photo of Michael and... DISSOLVE:</scene_description>
</scene>
<scene>
<stage_direction>INT. GYM LATER</stage_direction>
<scene_description>The BAND is PLAYING AND SINGING the SONG, "JUST BECAUSE." Couples axe slow dancing. Dolores is still interviewing Richard. Peggy, Sharon and Carol walk back to their table.</scene_description>
<character>SHARON</character>
<dialogue>Peggy, would you please rescue Richard? Ask him to dance.</dialogue>
<character>RICHARD</character>
<dialogue>Are we through Dolores? Good.</dialogue>
<character>DOLORES</character>
<dialogue>Well...</dialogue>
<scene_description>Richard stands and helps Sharon to a chair.</scene_description>
<character>RICHARD</character>
<parenthetical>(to Sharon)</parenthetical>
<dialogue>You'll be okay?</dialogue>
<character>SHARON</character>
<dialogue>Yes. You go ahead.</dialogue>
<scene_description>Peggy and Richard head onto the crowded floor, and begin to dance.</scene_description>
<character>RICHARD</character>
<dialogue>The only time people like Dolores used to pay any attention to me was to laugh at me or insult me. That guy, Doug Snell, who shook my hand when we walked in, he used to call me a four-eyed worm.</dialogue>
<character>PEGGY</character>
<dialogue>Well, you showed them. You're rich and famous and successful. And you have a beautiful wife.</dialogue>
<character>RICHARD</character>
<dialogue>You were always friendly to me. I appreciated that.</dialogue>
<parenthetical>(beat)</parenthetical>
<dialogue>You know, this used to be a fantasy of mine.</dialogue>
<character>PEGGY</character>
<dialogue>What was?</dialogue>
<character>RICHARD</character>
<dialogue>Dancing with you.</dialogue>
<character>PEGGY</character>
<dialogue>You're a sweet man, Richard.</dialogue>
<character>RICHARD</character>
<dialogue>I guess part of us never really leaves high school.</dialogue>
<character>PEGGY</character>
<dialogue>You know, I never told anybody this, but I always had a feeling that when you die, before you go to heaven, you get a chance to fly around high school for a while.</dialogue>
<scene_description>CAMERA PULLS BACK SLOWLY as Peggy and Richard become part of the sea of dancers, all Lost in nostalgic reverie. BY DOOR Charlie enters and stands by the door. He's tentative, looking around for his friends. Almost immediately he is joined by Arthur, Walter, Terry and Leon. They shake hands, glad to see each other.</scene_description>
<character>TERRY</character>
<dialogue>Here comes the life of the party.</dialogue>
<character>LEON</character>
<dialogue>I knew you couldn't stay away.</dialogue>
<scene_description>Everyone's happy to see Charlie. His eyes meet Peggy's - he gives her a tentative, sheepish wave. Terry looks at the band.</scene_description>
<character>TERRY</character>
<dialogue>You know, they could've at least asked us to sing. We'd refuse, of course, but they could've asked us.</dialogue>
<character>CLOSE ON PEGGY</character>
<dialogue>Looking at Charlie.</dialogue>
<character>BY STAGE</character>
<dialogue>Arthur walks onstage, placing a hatbox on the amplifier. He's a ChamberofCommerce type.</dialogue>
<character>ARTHUR</character>
<parenthetical>(into microphone)</parenthetical>
<dialogue>Hello. Can I have your attention, please.</dialogue>
<scene_description>The BUZZ in the room DIMS, Peggy and Richard head back to their table.</scene_description>
<character>ARTHUR</character>
<dialogue>I know it's getting kind of late, and some of you have a long drive home, so the reunion committee decided it was time for the moment you've all been waiting for. You don't know what you've been waiting for because we didn't tell you, but the committee has selected a King and Queen. Now don't worry, I took care of it so the band's gonna keep playing for at least another hour, and my old pal Judge Crystal said that the bar can stay open as long as we want.</dialogue>
<scene_description>Everyone applauds. VIEW ON PEGGY AND CHARLIE At opposite ends of the reunion, but aware of each other.</scene_description>
<character>ARTHUR</character>
<dialogue>And while you're at it, let's have a nice big hand for the Little Lady that did such a great job supervising all the decorations, Rosalie Testa.</dialogue>
<scene_description>More applause. VIEW on Rosalie in her wheelchair.</scene_description>
<character>ARTHUR</character>
<dialogue>Now back to business. The members of the committee have given this a lot of thought and decided on the two people who best represent the spirit of Buchanan High's Class of '60. The king is someone who, in more ways than one, has come a long, long way since he left here.</dialogue>
<scene_description>ANGLE - PEGGY'S TABLE They all look to Richard, knowing he's the obvious choice.</scene_description>
<character>ARTHUR</character>
<dialogue>We're proud to welcome him back, Richard Norvik! Come on up here, King Richard!</dialogue>
<scene_description>The band PLAYS a FANFARE and DRUM ROLL. Richard gets up, and walks to the stage as everyone APPLAUDS. The band PLAYS a chorus of "Get a Job." VIEW ON WALTER</scene_description>
<character>WALTER</character>
<parenthetical>(kidding)</parenthetical>
<dialogue>I demand a recount.</dialogue>
<parenthetical>(laughs)</parenthetical>
<character>VIEW ON STAGE</character>
<dialogue>Arthur places the gold cardboard crown on Richard's head as they shake hands.</dialogue>
<character>RICHARD</character>
<dialogue>Sharon and I thank you all for making us feel so welcome. It's good to be back.</dialogue>
<scene_description>MORE APPLAUSE as Richard steps back.</scene_description>
<character>ARTHUR</character>
<dialogue>Every king deserves a queen. Now, we had a Lot at worthwhile candidates. And I don't want any of you ladies to feel left out, 'cause you're all beautiful. But when we sent out the invitations, we didn't mention anything about this being a costume party.</dialogue>
<scene_description>Peggy's embarrassed reaction, realizing everyone's looking at her.</scene_description>
<character>ARTHUR</character>
<dialogue>Maybe we should have, 'cause just looking at her brings it all back for us. Ladies and gentlemen, I give you our queen, Peggy Sue Kelcher Bodell. Come on up here, Peggy Sue.</dialogue>
<scene_description>The band begins the song PEGGY SUE. Peggy looks pained. She doesn't move.</scene_description>
<character>CAROL</character>
<dialogue>They're waiting. Come on.</dialogue>
<character>PEGGY</character>
<parenthetical>(close to tears)</parenthetical>
<dialogue>I can't. It's all too much.</dialogue>
<character>CAROL</character>
<dialogue>Go on. You can do it.</dialogue>
<scene_description>Charlie and Beth stand together: Beth is worried about Peggy. CAMERA TRACKS Peggy as she haltingly makes her way to the stage. As she does, she notices another blow-up on the wall: Peggy and Charlie, as King and Queen of the 1960 prom. Arthur gives the crown to Richard who places it on Peggy's head. He kisses her cheek and stands back, beaming.</scene_description>
<character>PEGGY</character>
<parenthetical>(into mike, overwhelmed)</parenthetical>
<dialogue>Thank you. Thank you very much.</dialogue>
<scene_description>The lights dim, leaving Peggy in the spotlight. Continued APPLAUSE as the singer steps up to his mike and begins to SING the song PEGGY SUE. PEGGY ON STAGE INTERCUT WITH HER POV People starting to clap and sing along. Carol and Carol's POV: a blowup on the wall of Carol in the senior play. Walter and Walter's POV: a photo of Walter on the basketball team. People leaving their tables, surging towards the stage, drawn by the music. Maddy and Maddy's POV: a photo of Maddy and friends mugging for the camera in the cafeteria. Charlie talking to Carol. Peggy begins to cry softly. The images begin to melt together, pulsing to the music. Peggy is the focus of everyone's nostalgia. A wave of time washes over them. She remains onstage, looking past the crowd to the photo of her and Charlie. Peggy onstage, eyes closed, swaying to the music. Walter and Carol join hands, walking towards the stage. Rosalie in her wheelchair, doing the hand jive, crying. The entire crowd swaying to the music, looking to Peggy, repeating the chorus over and over. Beth notices her mother's state of emotion. Peggy collapses onstage. We hear SHOUTS and SCREAMS. Richard, Arthur and several others crowd over Peggy. Beth rushes to the stage, reaching out to her mother. Charlie too. MUSIC STOPS.</scene_description>
</scene>
<scene>
<stage_direction>INT. GYM - ECU A THIN TUBE FILLED WITH BLOOD INSERTED</stage_direction>
<scene_description>INTO PEGGY'S ARM - DAY CAMERA PULLS BACK to INCLUDE Peggy lying on a cot. She wears the same dress she had on at the reunion. She's terrified. We NEAR a smattering of background noises: NAMES are CALLED, NURSES helping, etc. Looking up she sees: The IV. The NURSE taking the IV out of her arm, and placing a vial of blood on a tray with several others. Peggy sits up slowly, dazed and frightened. She looks at the nurse.</scene_description>
<character>NURSE</character>
<dialogue>Would you like your Twinkie now?</dialogue>
<scene_description>Peggy takes the Twinkie, staring at it blankly. Looking around she SEES students giving blood to the Red Cross. Several have tubes in their arms. Nurses attend to them. Carol sits up drinking a cup of juice, waving weakly at Peggy. Maddy, now a brunette, slowly rolls down her sleeve. Arthur, Dolores, Walter and several others from the reunion. Everyone is younger but instantly recognizable. Charlie walks over to Peggy. He grins at her, revealing wax vampire fangs in his mouth, hair Brylcreemed to death.</scene_description>
<character>CHARLIE</character>
<dialogue>I vant to suck your blood. I also vant to suck your Twinkie.</dialogue>
<character>PEGGY</character>
<dialogue>Charlie! Am I dead?</dialogue>
<character>CHARLIE</character>
<dialogue>No. You are the undead. You will live forever if you give me your Twinkie.</dialogue>
<parenthetical>(normal voice)</parenthetical>
<dialogue>Come on, let's have it. You hate them anyway.</dialogue>
<scene_description>Mechanically, Peggy hands over the Twinkie. Charlie bends over to nuzzle her neck. The nurse's hand COMES INTO FRAME and grabs Charlie by the scruff of the neck, pulling him up.</scene_description>
<character>NURSE</character>
<dialogue>Young man, stop that.</dialogue>
<scene_description>The SCHOOL BELL RINGS.</scene_description>
<character>CHARLIE</character>
<dialogue>Hey! I just made a deposit in your blood bank. Now I want to make a withdrawal.</dialogue>
<character>NURSE</character>
<dialogue>I think it's time for your next class -</dialogue>
<character>CHARLIE</character>
<dialogue>I'm changing banks!</dialogue>
<scene_description>Charlie walks away towards Walter and Arthur. Peggy gazes after him, his body blocking her view of a portion of a banner hung on the wall. It reads: "Support the Buchanan High Blood Drive..." As Charlie exits, the final words come into view: "Spring 1960." Peggy gasps. She begins to tremble.</scene_description>
<character>NURSE</character>
<dialogue>Lie back down and take a deep breath.</dialogue>
<character>PEGGY</character>
<dialogue>What's going on? Where am I?</dialogue>
<character>NURSE</character>
<dialogue>You passed out for a moment.</dialogue>
<scene_description>Nothing to worry about.</scene_description>
<character>PEGGY</character>
<dialogue>How did I get here?</dialogue>
<scene_description>Maddy and Carol approach, carrying their books.</scene_description>
<character>NURSE</character>
<dialogue>Why don't you let your friends help you?</dialogue>
<parenthetical>(to Maddy and Carol)</parenthetical>
<dialogue>Take her into the washroom and splash some cold water on her face. That should perk her up.</dialogue>
<character>MADDY</character>
<dialogue>Yes, ma' am.</dialogue>
<scene_description>They help Peggy up and lead her across the gym.</scene_description>
</scene>
<scene>
<stage_direction>INT. GIRLS' WASHROOM ADJACENT TO GYM</stage_direction>
<scene_description>The girls enter. Carol immediately lights up a cigarette. Peggy crosses to the mirror.</scene_description>
<character>CAROL</character>
<parenthetical>(to Peggy)</parenthetical>
<dialogue>Wanna smoke? That's the worst thing for her.</dialogue>
<character>PEGGY</character>
<dialogue>No thanks. I gave them up years ago.</dialogue>
<scene_description>Maddy and Carol react as Peggy takes a closer look at herself and the girls' reflections. She places a hand to her throat, noticing the locket is gone.</scene_description>
<character>PEGGY</character>
<dialogue>Where is it?</dialogue>
<character>CAROL</character>
<dialogue>We're taking you back to the nurse.</dialogue>
<character>PEGGY</character>
<dialogue>Maddy, what did you do to your hair?</dialogue>
<scene_description>Maddy looks in the mirror.</scene_description>
</scene>
<scene>
<stage_direction>INT. SCHOOL HALLWAY - NURSE'S OFFICE</stage_direction>
<scene_description>Maddy and Carol are waiting. Peggy exits the office, clutching a note which she hands blankly to Maddy. They walk towards the exit, Peggy glued to the wall for support.</scene_description>
<character>CAROL</character>
<dialogue>We're going to take you home.</dialogue>
<character>PEGGY</character>
<dialogue>That's okay. I'm sure I'll remember the way.</dialogue>
</scene>
<scene>
<stage_direction>EXT. SCHOOL SIDE DOOR</stage_direction>
<scene_description>The girls walk outside. Peggy looks around at the old cars in the parking lot. The most noticeable a blue Chevrolet Impala convertible. Peggy stares at it for a beat, shivering with recognition, as she follows Carol and Maddy to a 1955 Ford. Maddy helps Peggy into the back seat.</scene_description>
</scene>
<scene>
<stage_direction>EXT. STREET DRIVING</stage_direction>
<scene_description>Carol drives and chats with Maddy, while in the back seat Peggy looks out at the world as it she were on a ride at Disneyland. She says things like "That's not here anymore".</scene_description>
</scene>
<scene>
<stage_direction>EXT. SUBURBAN STREET - KELCHER HOUSE</stage_direction>
<scene_description>The car pulls up to the curb. Peggy gets out of the car. Maddy hands her the note and her books; she twirls her finger next to her head.</scene_description>
<character>CAROL</character>
<dialogue>I'll call you Later.</dialogue>
<character>PEGGY</character>
<dialogue>Yes. Let's stay in touch.</dialogue>
<scene_description>Peggy walks up to the door, a sleepwalker in suspended animation. She waits a beat and knocks softly.</scene_description>
<character>WOMAN'S VOICE (O.S.)</character>
<dialogue>Who is it?</dialogue>
<character>PEGGY</character>
<dialogue>Peggy.</dialogue>
<parenthetical>(shuddering)</parenthetical>
<dialogue>Peggy Sue.</dialogue>
<character>WOMAN'S VOICE (0.5.)</character>
<dialogue>Come on in. It's open.</dialogue>
<scene_description>Peggy slowly opens the door.</scene_description>
</scene>
<scene>
<stage_direction>INT. HALLWAY KELCHER HOUSE</stage_direction>
<scene_description>Peggy enters and looks down the hallway into the kitchen. EVELYN KELCHER is a lovely woman in her midforties. She turns around from the sink and approaches Peggy.</scene_description>
<character>PEGGY</character>
<parenthetical>(helplessly)</parenthetical>
<dialogue>Mom!</dialogue>
<character>MRS. KELCHER</character>
<dialogue>The nurse called and said you'd be coming home.</dialogue>
<scene_description>Peggy stares blankly at her for a beat, then holds up the note, as she moves towards her mother.</scene_description>
<character>PEGGY</character>
<dialogue>I have a note.</dialogue>
<character>MRS. KELCHER</character>
<dialogue>How do you feel?</dialogue>
<character>PEGGY</character>
<dialogue>I'm excused.</dialogue>
<character>MRS. KELCHER</character>
<dialogue>Why don't you go lie down for a while.</dialogue>
<character>PEGGY</character>
<dialogue>Mom!</dialogue>
<scene_description>Peggy embraces her mother, holding on for dear life, inhaling her scent.</scene_description>
<character>PEGGY</character>
<dialogue>Chanel Number Five. That always reminds me of home.</dialogue>
<character>MRS. KELCHER</character>
<dialogue>Of course, dear. You're home now.</dialogue>
<character>PEGGY</character>
<dialogue>I'm home now.</dialogue>
</scene>
<scene>
<stage_direction>INT. PEGGY'S ROOM</stage_direction>
<scene_description>Peggy enters warily, looking around, a fifties museum of teenage artifacts. She walks around the room gently touching her old belongings including the record player from opening scene. She looks in the mirror to make sure she's still there. Suddenly, she turns around.</scene_description>
<character>PEGGY</character>
<dialogue>Okay, I'm alone now. Is anyone here?</dialogue>
<scene_description>She opens the closet door expectantly, then closes it shaking her head.</scene_description>
<character>PEGGY</character>
<dialogue>No. This is crazy. Is somebody going to tell me what's going on? Why me? What happened? You don't have to show up. I don't have to see you. Just send me a sign.</dialogue>
<parenthetical>(beat)</parenthetical>
<dialogue>Thanks a lot. 1 guess I'm on my own.</dialogue>
<scene_description>NANCY, Peggy's twelve-year old sister, peeks in the room.</scene_description>
<character>PEGGY</character>
<dialogue>Nancy! Come here.</dialogue>
<scene_description>Nancy tentatively approaches. Peggy hugs her.</scene_description>
<character>NANCY</character>
<dialogue>What are you doing?</dialogue>
<character>PEGGY</character>
<dialogue>I'm just happy to see you.</dialogue>
<character>NANCY</character>
<dialogue>Come on! Mom said you were sick. You're never happy to see me.</dialogue>
<character>PEGGY</character>
<dialogue>I'm sorry about that. I really want us to be closer. I have enough unresolved relationships in my... life.</dialogue>
<character>NANCY</character>
<dialogue>Teenagers are weird. And you're the weirdest.</dialogue>
<character>PEGGY</character>
<dialogue>Let's do something together. Do you want to play Monopoly? Or Careers... Clue... Snakes and Ladders?</dialogue>
<character>NANCY</character>
<parenthetical>(suspicious)</parenthetical>
<dialogue>Okay, what do you want? What dumb favor do you want me to do?</dialogue>
</scene>
<scene>
<stage_direction>INT. LIVING ROOM</stage_direction>
<scene_description>On a small black and white TV, Dick Clark introduces a spotlight dance. Peggy and Nancy are sitting on the sofa, watching. Nancy is eating small candies, like M&M's.</scene_description>
<character>PEGGY</character>
<dialogue>It's unbelievable. The man never ages.</dialogue>
<character>NANCY</character>
<dialogue>Look at Kenny Rossi. Isn't he dreamy? I wish he'd break up with Arlene. She thinks she's so great.</dialogue>
<character>PEGGY</character>
<dialogue>Don't eat the red ones.</dialogue>
<character>NANCY</character>
<dialogue>Why not? They're my favorite.</dialogue>
<character>PEGGY</character>
<dialogue>They're bad for you. They cause...red lips. (red dye \*2)</dialogue>
<scene_description>Nancy react, as Peggy stands. CAMERA TRACKS HER to the den.</scene_description>
<character>DEN</character>
<dialogue>Peggy opens the liquor cabinet and takes out a bottle of Scotch and a glass, noticing the family photos on the wall.</dialogue>
<character>PEGGY</character>
<dialogue>Can't hurt. I'm already dead.</dialogue>
<scene_description>She belts down several drinks.</scene_description>
<character>NANCY (Q.S.)</character>
<dialogue>Peggy Sue! Hurry up. Fabian!</dialogue>
<scene_description>Peggy steadies herself as CAMERA TRACKS her back into the living room. LIVING ROOM Peggy collapses on the Naugahyde recliner. Unexpectedly, it leans back, shooting Peggy's legs up.</scene_description>
<character>MRS. KELCHER</character>
<parenthetical>(from the kitchen)</parenthetical>
<dialogue>I put your laundry on your beds. Don't forget to put it away.</dialogue>
<character>NANCY</character>
<dialogue>What's for dinner?</dialogue>
<character>MRS. KELCHER</character>
<dialogue>Meatloaf.</dialogue>
<character>NANCY</character>
<dialogue>Yeech, not again.</dialogue>
<scene_description>Peggy leans forward in the recliner eating the candies. Bemused, she looks at Nancy watching TV and into the kitchen where her mother is slapping together meatloaf. ANGLE - HALLWAY - THE FRONT DOOR OPENS JACK KELCHER Peggy's father, enters the hallway.</scene_description>
<character>MR. KELCHER</character>
<dialogue>Girls? Evelyn? Who left this thing outside?</dialogue>
<scene_description>He turns and heads back outside.</scene_description>
<character>MRS. KELCHER</character>
<dialogue>What is it?</dialogue>
<scene_description>Mrs. Kelcher and Nancy follow him outside. Peggy staggers to the front door and leans against the door jamb looking out at the family.</scene_description>
</scene>
<scene>
<stage_direction>EXT. DRIVEWAY</stage_direction>
<scene_description>PEGGY'S POV: The family admires a new red and white Edsel.</scene_description>
<character>MR. KELCHER</character>
<dialogue>What do you think?</dialogue>
<character>MRS KELCHER</character>
<parenthetical>(disturbed)</parenthetical>
<dialogue>Oh, Jack.</dialogue>
<character>NANCY</character>
<dialogue>Like wow! Wait till I tell Diane.</dialogue>
<scene_description>She's always bragging about her father's Cadillac.</scene_description>
<character>MR. KELCHER</character>
<dialogue>Peggy Sue, what do you think?</dialogue>
<character>PEGGY</character>
<dialogue>Oh, Daddy. You were always doing things like that.</dialogue>
<parenthetical>(cracking up)</parenthetical>
<dialogue>That's funny! That's really funny.</dialogue>
<scene_description>She staggers over to the car and falls against it laughing. Mr. Kelcher crosses to her and catches a whiff of her breath.</scene_description>
<character>MR. KELCHER</character>
<dialogue>Young lady, you're drunk!</dialogue>
<character>PEGGY</character>
<parenthetical>(laughing)</parenthetical>
<dialogue>Just a little. I've had a tough day.</dialogue>
<character>MR. KELCHER</character>
<dialogue>I don't see the humor in this. Go to your room immediately. You're grounded.</dialogue>
<character>PEGGY</character>
<parenthetical>(tipsy)</parenthetical>
<dialogue>Grounded? Ha! The story of my life. I don't wanna go to my room. I wanna import Japanese cars. I wanna go to Liverpool and discover the Beatles.</dialogue>
<character>MRS. KELCHER</character>
<dialogue>Jack, take it easy. She gave blood at school today. Maybe she's just a little lightheaded.</dialogue>
<character>MR. KELCHER</character>
<dialogue>This is not giving blood. This is drunk.</dialogue>
<character>PEGGY</character>
<dialogue>Dad, I never knew you had a sense of humor.</dialogue>
<character>MR. KELCHER</character>
<dialogue>Evelyn, put her to bed.</dialogue>
</scene>
<scene>
<stage_direction>INT. PEGGY'S BEDROOM</stage_direction>
<scene_description>Peggy lies in bed, her mother tucking her in.</scene_description>
<character>MRS. KELCHER</character>
<dialogue>My little baby. Don't try to grow up so fast.</dialogue>
<character>PEGGY</character>
<dialogue>Oh Mom, I forgot you were ever so young.</dialogue>
<scene_description>CLOSE ON PEGGY She hears her mother walk down the stairs.</scene_description>
<character>MRS. KELCHER (O.S.)</character>
<dialogue>A new car. We can't afford a new car.</dialogue>
<character>MR. KELCHER (O.S.)</character>
<dialogue>Don't worry, it's just a seasonal slump.</dialogue>
<character>MRS. KELCHER (O.S.)</character>
<dialogue>You have four seasons, you have four slumps.</dialogue>
</scene>
<scene>
<stage_direction>INT. PEGGY'S BEDROOM - MORNING</stage_direction>
<scene_description>Peggy emerges from the bathroom wearing a towel. VIEW FROM BACK At a full length mirror she drops the towel and happily appraises her eighteen year old body.</scene_description>
<character>PEGGY</character>
<dialogue>Let's get physical!... Let's get metaphysical!</dialogue>
<scene_description>Nancy comes in dressed for school.</scene_description>
<character>PEGGY</character>
<dialogue>Good morning.</dialogue>
<scene_description>Nancy goes to Peggy's closet.</scene_description>
<character>NANCY</character>
<dialogue>Can I borrow this sweater?</dialogue>
<character>PEGGY</character>
<dialogue>Yeah, but take good care of it. I'm saving it for my daughter. She loves this stuff.</dialogue>
</scene>
<scene>
<stage_direction>INT. KITCHEN - MORNING</stage_direction>
<scene_description>Mr. Kelcher and Nancy sit at the table eating breakfast. Mrs. Kelcher stands at the sink scraping toast. Peggy bounces her hair in her adult, natural look. "GOOD MORNINGS" all around.</scene_description>
<character>MRS. KELCHER</character>
<dialogue>What happened to your hair? You have such a pretty face. Why are you always trying to cover it up?</dialogue>
<character>PEGGY</character>
<dialogue>Oh. I forgot.</dialogue>
<scene_description>Mrs. Kelcher takes an elastic band from around the faucet and hands it to Peggy as she sits at the table. Peggy makes a ponytail.</scene_description>
<character>MRS. KELCHER</character>
<dialogue>You're looking pretty chipper this morning.</dialogue>
<character>PEGGY</character>
<dialogue>I'm still here, aren't I? I may as well enjoy myself. I'm going to go to school today.</dialogue>
<parenthetical>(beat)</parenthetical>
<dialogue>Dad, I want to apologize for yesterday. The car is a classic. Use it in the best of health.</dialogue>
<character>MR. KELCHER</character>
<dialogue>Thank you. I accept your apology with the hope that what went on yesterday will never happen again.</dialogue>
<character>PEGGY</character>
<dialogue>That would be impossible.</dialogue>
<character>MR. KELCHER</character>
<dialogue>You're so young, this is not the time to start acquiring bad habits.</dialogue>
<character>PEGGY</character>
<dialogue>Mom, is there any coffee left?</dialogue>
<scene_description>Mrs. Kelcher begins to pour the coffee, then pulls back, spilling some on Mr. Kelcher.</scene_description>
<character>MRS. KELCHER</character>
<dialogue>When did you start drinking coffee?</dialogue>
<character>PEGGY</character>
<dialogue>Oh. Ah... recently. All the kids drink it.</dialogue>
<character>MR. KELCHER</character>
<dialogue>If all the kids jumped off a bridge, would you do that too?</dialogue>
<character>PEGGY</character>
<dialogue>I think I'm way ahead of them.</dialogue>
<character>NANCY</character>
<dialogue>Pass the toast, please.</dialogue>
<scene_description>Peggy passes Nancy the toast.</scene_description>
<character>NANCY</character>
<dialogue>And the butter.</dialogue>
<character>PEGGY</character>
<dialogue>You know, you two are wonderful parents. I'm really going to try to behave myself.</dialogue>
<character>MR. KELCHER</character>
<dialogue>Well, at least you stopped calling me DaddyO.</dialogue>
<character>NANCY</character>
<parenthetical>(correcting him)</parenthetical>
<dialogue>DADDYo.</dialogue>
<character>PEGGY</character>
<dialogue>Mom, sit down for a minute. This is so nice, all of us being together again like this.</dialogue>
<character>NANCY</character>
<dialogue>Can I tell Diane that Peggy Sue got drunk or is that a deep family secret?</dialogue>
<parenthetical>(silence)</parenthetical>
<dialogue>Well?</dialogue>
<character>MRS. KELCHER</character>
<dialogue>How does Diane like her braces?</dialogue>
<character>R31.NCY</character>
<dialogue>She hates them. Nobody likes braces. Thy just call you junkyard face and Miss Metal Mouth. I gotta go.</dialogue>
<scene_description>Nancy jumps up, grabbing her lunch on the counter, as she exits. "GOODBYES' all around. We HEAR a HORN HONKING outside a five note musical phrase BEBOPALUBOP.</scene_description>
<character>PEGGY</character>
<dialogue>Oh yeah. Charlie. How am I going to handle him?</dialogue>
<character>MRS. KELCHER</character>
<dialogue>What's the matter? Did you two have a fight?</dialogue>
<character>PEGGY</character>
<dialogue>Sort of.</dialogue>
<character>MRS. KELCHER</character>
<dialogue>What about?</dialogue>
<character>PEGGY</character>
<dialogue>The house payments.</dialogue>
</scene>
<scene>
<stage_direction>EXT. KELCHER HOUSE</stage_direction>
<scene_description>Peggy exits the house wincing at the sight of Charlie's car, the blue Impala she'd seen the day before. Charlie sits, one arm on the wheel, the other over the back of the seat.</scene_description>
<character>CHARLIE</character>
<dialogue>How do you feel?</dialogue>
<character>PEGGY</character>
<dialogue>Pretty strange.</dialogue>
<scene_description>Peggy hesitates, unsure how to handle her accumulated ambivalence towards Charlie.</scene_description>
<character>CHARLIE</character>
<dialogue>Come on. Get in. I can take care of that.</dialogue>
<scene_description>Peggy warily gets in. Charlie leans over to kiss her, but she pushes him away. No dice.</scene_description>
<character>PEGGY</character>
<dialogue>Not now, Charlie. I've got a headache. Get used to the word. Roll it around your tongue for a years.</dialogue>
<character>CHARLIE</character>
<dialogue>Hey, I can take a hint. You look great today.</dialogue>
<scene_description>Charlie starts the car, burns rubber and peels out.</scene_description>
<character>PEGGY</character>
<dialogue>You drive like a maniac!</dialogue>
<character>CHARLIE</character>
<dialogue>I call this the staccato.</dialogue>
<parenthetical>(does tricks)</parenthetical>
</scene>
<scene>
<stage_direction>INT. CHARLIE'S CAR DAY - DRIVING</stage_direction>
<character>CHARLIE</character>
<parenthetical>(earnest)</parenthetical>
<dialogue>Not that I'm glad you were sick, but I had a chance to do some thinking last night.</dialogue>
<character>PEGGY</character>
<dialogue>Oh yeah?</dialogue>
<character>CHARLIE</character>
<dialogue>You know. About what we said on Tuesday. It makes a lot of sense.</dialogue>
<character>PEGGY</character>
<dialogue>Refresh my memory.</dialogue>
<character>CHARLIE</character>
<dialogue>How could you forget? We talk about seeing other people and you forget?</dialogue>
<character>PEGGY</character>
<dialogue>Maybe I blocked it out.</dialogue>
<character>CHARLIE</character>
<dialogue>I can understand that. But please don't start crying again.</dialogue>
</scene>
<scene>
<stage_direction>EXT. SCHOOL PARKING LOT</stage_direction>
<scene_description>Charlie's car pulls up.</scene_description>
<character>CHARLIE</character>
<dialogue>It's not going to be forever. I figure three years is long enough. I can see if the music pans out.</dialogue>
<parenthetical>(more tentative)</parenthetical>
<dialogue>And right after graduation we should start seeing other people. Kind of comparison shop before we settle down and get married. Know what I mean?</dialogue>
<character>PEGGY</character>
<dialogue>Why wait?</dialogue>
<character>CHARLIE</character>
<parenthetical>(surprised)</parenthetical>
<dialogue>Well, we got the prom coming up, all these parties. We shouldn't upset our parents?</dialogue>
<character>PEGGY</character>
<dialogue>They'll learn to live with it.</dialogue>
<scene_description>Peggy exits the car and heads towards the school. Charlie sits, stunned.</scene_description>
</scene>
<scene>
<stage_direction>EXT. HIGH SCHOOL LOT</stage_direction>
<scene_description>They are surrounded by friends as they head into school. Near the door Walter and Leon are having a contest, hoisting themselves onto the sign pole, trying to get their bodies parallel to the ground. A crowd urges them on. We SEE taps on the bottom of Walter's shoes.</scene_description>
</scene>
<scene>
<stage_direction>INT. SCHOOL HALLWAY</stage_direction>
<scene_description>Peggy stands bewildered in the hallway. Charlie walks back, takes her by the hand and leads her to a locker.</scene_description>
<character>CHARLIE</character>
<dialogue>You're more shook up than you want to admit. You'll get used to it, we'll still see each other 2, 3 times a week.</dialogue>
<scene_description>Charlie opens the locker. Peggy watches carefully, memorizing tho combination. He takes out a few books as Peggy notices her schedule on the locker door.</scene_description>
<character>CHARLIE</character>
<dialogue>Want me to drive you home later?</dialogue>
<character>PEGGY</character>
<dialogue>Would you?</dialogue>
<character>CHARLIE</character>
<parenthetical>(growling)</parenthetical>
<dialogue>Would I?!! Why I oughta.</dialogue>
<scene_description>Unaccountably, this cracks Charlie up. He walks away laughing. Peggy looks completely puzzled. She is surrounded by a sea of people, who say hello. She can't remember their names.</scene_description>
</scene>
<scene>
<stage_direction>INT. CLASSROOM - MORNING</stage_direction>
<scene_description>We SEE Peggy, Maddy, Dolores, Arthur and Carol, singing MY COUNTRY TIS OF THEE. They all mumble, except for Peggy who delivers a stirring rendition. The class thinks she's crazy. Peggy's decided to have a good time. Announcements begin over the PA system. No one pays attention, except Peggy.</scene_description>
<character>MAN'S VOICE (V.O.)</character>
<dialogue>Good morning, students. This is Mr. Mosey. Our girls diving team is competing today in the county finals at Commander Beck High School.</dialogue>
<character>MAN'S VOICE (V.O.)</character>
<dialogue>We know they'll put forth a splendid effort so let's wish them luck.</dialogue>
<character>PEGGY</character>
<dialogue>Where's Rosalie Testa?</dialogue>
<character>CAROL</character>
<dialogue>Probably at the diving meet.</dialogue>
<character>MAN'S VOICE (V.O.)</character>
<dialogue>Finally, congratulations go to Richard Norvik for placing first in the Statewide Math Contest. We're proud of you, Richard...That's all, students.</dialogue>
<scene_description>Several students boo Richard's name. The BELL RINGS.</scene_description>
</scene>
<scene>
<stage_direction>INT. ANOTHER CLASSROOM</stage_direction>
<scene_description>Maddy, Dolores and Peggy enter the room. Peggy stands at the door till most are seated. She sees an empty seat between Maddy and Dolores and, assuming it's hers, sits down.</scene_description>
<character>DOLORES</character>
<dialogue>Did you study for the test?</dialogue>
<character>PEGGY</character>
<parenthetical>(horrified)</parenthetical>
<dialogue>Test?</dialogue>
</scene>
<scene>
<stage_direction>INT. CLASSROOM - TWENTY MINUTES LATER</stage_direction>
<scene_description>MR. SNELGROVE, an officious little creep, is standing by his desk.</scene_description>
<character>SNELGROVE</character>
<dialogue>All right, class. Time's up.</dialogue>
<scene_description>He walks along the aisles collecting the papers. When he gets to Peggy he picks up her blank sheet.</scene_description>
<character>SNELGROVE</character>
<dialogue>What's the meaning of this, Peggy Sue?</dialogue>
<character>PEGGY</character>
<parenthetical>(patiently)</parenthetical>
<dialogue>Mr. Snelgrove, I happen to know that in the future, I will never have the slightest use for algebra. And I speak from experience.</dialogue>
<scene_description>The class gasps, a few students APPLAUD, and Mr. Snelgrove's jaw drops.</scene_description>
</scene>
<scene>
<stage_direction>INT. ANOTHER CLASSROOM DAY</stage_direction>
<scene_description>MR. GILFOND is teaching The Old Man and the Sea. MICHAEL FITZSIMMONS (from reunion crosscountry photo) is speaking. He always wears black.</scene_description>
<character>MICHAEL</character>
<dialogue>Santiago comes back, with nothing there's no meat on the bone. It's Hemingway's ego defending itself again; he's trying to prove he can still perform.</dialogue>
<character>GILFOND</character>
<dialogue>What Hemingway's saying, Michael, is that we are alone that when we go out too far we're vulnerable. The irony, that Santiago is beaten by the sharks, doesn't make him less of a hero.</dialogue>
<scene_description>THE BELL RINGS. The class begins to exit.</scene_description>
<character>GILFOND</character>
<dialogue>Over the weekend read the first four chapters of The Great Gatsbv. I hope you enjoy it.</dialogue>
<scene_description>Peggy hesitates. She walks up to Gilfond.</scene_description>
<character>PEGGY</character>
<dialogue>Mr. Gilfond, can I talk to you?</dialogue>
<character>GILFOND</character>
<dialogue>Sure, Peggy Sue. What's on your mind?</dialogue>
<character>PEGGY</character>
<dialogue>I just wanted to tell you how much I enjoy your class. You taught me a lot and... you're a very fine teacher.</dialogue>
<character>GILFOND</character>
<dialogue>That's very kind of you. Thank you.</dialogue>
<character>PEGGY</character>
<dialogue>Thank you. Um, I also think you're underpaid.</dialogue>
<scene_description>LUNCH AREA Walter, Charlie and Arthur sit at a long table.</scene_description>
<character>WALTER</character>
<dialogue>Why does your father take inventory on Sunday night? That's poker night. You always got out of it before.</dialogue>
<character>CHARLIE</character>
<dialogue>I've got to string him along for a while. It's for his own good.</dialogue>
<character>ARTHUR</character>
<dialogue>But you're not going into his business. When're you going to tell him?</dialogue>
<character>CHARLIE</character>
<dialogue>Soon. I can't tall everybody everything all at once.</dialogue>
<scene_description>Peggy, Carol and Maddy walk over and sit down with trays. Peggy deliberately avoids the empty sear next to Charlie. They're uneasy with each other. Peggy looks with disgust at the slop on the tray.</scene_description>
<character>WALTER</character>
<dialogue>Strange rumors are sweeping the school about you.</dialogue>
<character>PEGGY</character>
<parenthetical>(wary)</parenthetical>
<dialogue>What do you mean?</dialogue>
<character>WALTER</character>
<dialogue>Prom what I hear, you really gave it to old Smellgrove.</dialogue>
<character>MADDY</character>
<dialogue>I was there. She told the creep off right to his face.</dialogue>
<character>ARTHUR</character>
<dialogue>Atta girl, Peg.</dialogue>
<character>PEGGY</character>
<dialogue>Arthur, please don't call me Peg.</dialogue>
<character>ARTHUR</character>
<dialogue>Why I oughta....</dialogue>
<scene_description>Charlie, Walter and Arthur crack up.</scene_description>
<character>PEGGY</character>
<dialogue>I don't get it.</dialogue>
<character>CAROL</character>
<dialogue>That's because you' re not a total moron like they are.</dialogue>
<character>MADDY</character>
<dialogue>It's some stupid old movie thing they just started.</dialogue>
<character>WALTER</character>
<dialogue>That's enough out of you, little lady.</dialogue>
<character>CHARLIE</character>
<dialogue>I'll throw the book at you!</dialogue>
<character>ARTHUR</character>
<dialogue>Why I oughta...</dialogue>
<scene_description>The boys crack up again. The girls think they're hopeless. Peggy SEES Michael Fitzsimmons, buried in a book. He looks at Peggy with a penetrating gaze, then back down. Richard Norvik, also sitting alone, working with a slide ruler on a book of mathematical puzzles, dressed in early Nerd. Peggy gets up from the table. She looks back to Charlie and the table.</scene_description>
<character>PEGGY</character>
<dialogue>I'll be right back.</dialogue>
<scene_description>CAMERA TRACKS PEGGY TO RICHARD ANOTHER ANGLE</scene_description>
<character>WALTER</character>
<dialogue>She's not wasting any time. Peggy Sue and Mr. Square Root?</dialogue>
<character>CHARLIE</character>
<dialogue>He's a nice guy. You know he's writing a book?</dialogue>
<character>WALTER</character>
<dialogue>Oh, a book... Excuse me for a second.</dialogue>
<parenthetical>(fakes gagging)</parenthetical>
<scene_description>ANOTHER ANGLE Peggy stands over Richard. He looks up nervously, pushing his glasses up the bridge of his nose, a constant habit.</scene_description>
<character>PEGGY</character>
<dialogue>Congratulations on the math contest, Richard.</dialogue>
<character>RICHARD</character>
<dialogue>It really wasn't that difficult.</dialogue>
<scene_description>Doug Snell (of Merrill Lynch, at the reunion) walks past.</scene_description>
<character>DOUG</character>
<dialogue>What're you doing, Peggy Sue? Fishing for four-eyed worms?</dialogue>
<character>PEGGY</character>
<dialogue>Get lost you macho shmuck.</dialogue>
<scene_description>Doug and Richard react.</scene_description>
<character>PEGGY</character>
<dialogue>I have to talk to you. It's very important.</dialogue>
<character>RICHARD</character>
<dialogue>I'm not doing any tutoring this year. I'm too busy.</dialogue>
<character>PEGGY</character>
<dialogue>It's not that. Can we meet after school? Please?</dialogue>
<character>RICHARD</character>
<dialogue>All right. I'll be in the physics lab. Make it four-thirty. I have a rocket club meeting.</dialogue>
</scene>
<scene>
<stage_direction>INT. CLASSROOM - A FAMILY LIVING CLASS</stage_direction>
<scene_description>On the walls are several charts: Basic Food Groups, Tips on Grooming, and prominently displayed, The Happy Home Corporation, i.e. husband as president, wife, vicepresident, children, employees, grandparents as board members. MISS OTTO stands by her desk. Standing in the front of the room is:</scene_description>
<character>MADDY</character>
<dialogue>Therefore, the key to a successful children's party can be summed up in one word planning.</dialogue>
<character>MADDY</character>
<dialogue>With proper planning, a successful, inexpensive happy birthday party can be had by all. Including the mother.</dialogue>
<scene_description>She walks back to her seat.</scene_description>
<character>MISS OTTO</character>
<dialogue>That was very comprehensive, Madeline. Thank you. Now...</dialogue>
<parenthetical>(beat)</parenthetical>
<dialogue>Peggy Sue, your topic was 'How To Choose A Nursery School.' Are you prepared?</dialogue>
<character>PEGGY</character>
<dialogue>All... Okay. Sure.</dialogue>
<scene_description>Peggy walks to the front and faces the class, smiling primly.</scene_description>
<character>PEGGY</character>
<dialogue>Choosing a good nursery school can be one of the most important decisions you can make. It will often determine your child's attitude towards education and schooling.</dialogue>
<parenthetical>(proud of herself)</parenthetical>
<dialogue>Of course, the lessons learned are primarily social sharing, being considerate of others.</dialogue>
<parenthetical>(remembering)</parenthetical>
<dialogue>And they're so cute when they're little. They bring you back their Little masterpieces every day and you put 'em on the refrigerator door. They're so proud, and their names are all misspelled. Scott would always print his S backwards, and Beth would make her sweet little flowers.</dialogue>
<scene_description>Peggy wipes away a tear. At the stunned reaction of the class and Miss Otto.</scene_description>
</scene>
<scene>
<stage_direction>EXT. PLAYING' FIELD</stage_direction>
<scene_description>The baseball team practices. Michael Fitzsimmons runs laps with the track team. One lone boy kicks a soccer ball. CLOSE - A BATON TWIRLING IN THE AIR WIDEN to INCLUDE the baton spinning down, falling into the hands of a uniformed majorette who deftly passes it through her legs and twirls it back into the air. Another baton it rises, spinning awkwardly and falls through Peggy's hands onto the ground. Six MAJORETTES in uniform are practicing. Dolores is one of them.</scene_description>
<character>DOLORES</character>
<parenthetical>(to Peggy)</parenthetical>
<dialogue>What a girl. What a twirl. You know, PegLeggy, you're gonna get demoted to hall monitor -</dialogue>
<character>HEAD MAJORETTE</character>
<dialogue>Come on, Peggy Sue. Try it again. You haven't been practicing.</dialogue>
<scene_description>Peggy gamely tries it again and manages at least to catch the baton and continue twirling. She continues, enjoying herself. Michael runs by, the lonely long distance runner.</scene_description>
</scene>
<scene>
<stage_direction>EXT. PLAYING FIELD LATER</stage_direction>
<scene_description>The group of majorettes heads toward the school. Peggy sees Charlie leaning against the car, waving her over.</scene_description>
<character>CHARLIE</character>
<dialogue>Looking good out there.</dialogue>
<character>PEGGY</character>
<dialogue>Thanks.</dialogue>
<character>CHARLIE</character>
<dialogue>I noticed you were giving me the silent treatment at lunch. I guess I deserved it. I've been thinking about my three year plan and I think it's unworkable. I must have been delirious.</dialogue>
<character>PEGGY</character>
<dialogue>I thought it had a lot of merit.</dialogue>
<character>CHARLIE</character>
<dialogue>In the abstract maybe. Get a grip on yourself! But when I imagine you going out with other guys, I feel... ah...</dialogue>
<character>PEGGY</character>
<dialogue>Rejected, worthless, miserable.</dialogue>
<character>CHARLIE</character>
<dialogue>Yeah. Like that.</dialogue>
<character>PEGGY</character>
<dialogue>Good.</dialogue>
<scene_description>Peggy turns, and walks away. Charlie looks miserable.</scene_description>
</scene>
<scene>
<stage_direction>INT. PHYSICS LAB</stage_direction>
<scene_description>Peggy enters and approaches Richard. He is too engrossed constructing an elaborate kite to notice her.</scene_description>
<character>PEGGY</character>
<dialogue>What a great kite.</dialogue>
<character>RICHARD</character>
<dialogue>I'm writing a book on kite construction. What did you want to talk about?</dialogue>
<character>PEGGY</character>
<dialogue>I want to ask you a question.</dialogue>
<parenthetical>(beat)</parenthetical>
<dialogue>Do you think.... time travel is possible?</dialogue>
<character>RICHARD</character>
<dialogue>Are you doing some kind of science project?</dialogue>
<character>PEGGY</character>
<dialogue>Sort of.</dialogue>
<character>RICHARD</character>
<dialogue>Well... in a Newtonian framework, the possibilities were limited, but with the advent of relativity theory, the idea of absolute time can no longer be reasonably affirmed.</dialogue>
<scene_description>Peggy hasn't understood a word.</scene_description>
<character>RICHARD</character>
<dialogue>And then, there's Richard's Burrito.</dialogue>
<character>PEGGY</character>
<dialogue>What's that?</dialogue>
<character>RICHARD</character>
<dialogue>That's my own theory based on a Mexican food called the burrito.</dialogue>
<character>RICHARD</character>
<dialogue>I had it once when my parents took me to Disneyland.</dialogue>
<character>PEGGY</character>
<dialogue>I know what a burrito is.</dialogue>
<character>RICHARD</character>
<dialogue>Well, I think time is like a burrito. Sometimes it just folds over on itself and one part touches the other.</dialogue>
<character>PEGGY</character>
<dialogue>What's inside?</dialogue>
<character>RICHARD</character>
<dialogue>You can till it with whatever you want. From illusions to memory, from experience to innocence, from happiness to the entire universes</dialogue>
<character>PEGGY</character>
<dialogue>So you think time travel is possible? For people?</dialogue>
<character>RICHARD</character>
<dialogue>Absolutely. People, dogs, elephants.</dialogue>
<character>PEGGY</character>
<dialogue>Listen, you've gotta keep this a secret. You can't tell a soul. Promise?</dialogue>
<character>RICHARD</character>
<dialogue>Okay. I promise.</dialogue>
<character>PEGGY</character>
<dialogue>This is serious. Nobody can know. Ah, I've returned from the future. I traveled back here 25 years.</dialogue>
<character>RICHARD</character>
<dialogue>You probably are crazy. Wait a minute. Is this some kind of joke? I know what you all, think of me.</dialogue>
<character>PEGGY</character>
<dialogue>No. Really. You're the smartest person I know. It sounds unbelievable. But I can prove it.</dialogue>
<character>RICHARD</character>
<dialogue>Oh yeah?</dialogue>
<character>PEGGY</character>
<dialogue>You have a blind grandfather. One day you're going to invent a machine that reads books for blind people. I read about it. You're going to be famous. You're going to invent a lot of things.</dialogue>
<character>RICHARD</character>
<dialogue>How, did you know about my grandfather?</dialogue>
<character>PEGGY</character>
<dialogue>Because I'm telling you the truth. I know what's going to happen. There's going to be test tube babies and heart transplants. And an American named Neil Armstrong is going to walk on the moon. On July 20, 1969.</dialogue>
<character>RICHARD</character>
<dialogue>Holy Toledo! That's six years ahead of schedule!</dialogue>
</scene>
<scene>
<stage_direction>EXT. STREET</stage_direction>
<scene_description>Peggy and Richard are walking, carrying their books.</scene_description>
<character>RICHARD</character>
<dialogue>But when did you leave? Are you here until then? Were you there until now? What direction are you going in? Are you a moving point on an infinite line extending into the past? Can anyone do it?</dialogue>
<character>PEGGY</character>
<dialogue>I don't know.</dialogue>
<scene_description>Oblivious, Peggy and Richard walk by Shower's Cafe. Inside, Dolores and Carol see them.</scene_description>
</scene>
<scene>
<stage_direction>EXT. ANOTHER STREET APPROACHING RICHARD'S HOUSE</stage_direction>
<character>RICHARD</character>
<dialogue>I'd be very careful if I were you. You don't want to fall into the clutches of some madman with plans to manipulate your brain.</dialogue>
<character>PEGGY</character>
<dialogue>That's why I was getting a divorce.</dialogue>
<parenthetical>(beat)</parenthetical>
<dialogue>What I really think is that I had a heart attack at the reunion and died.</dialogue>
</scene>
<scene>
<stage_direction>EXT. RICHARD'S DRIVEWAY</stage_direction>
<character>RICHARD</character>
<dialogue>You look pretty good for a corpse.</dialogue>
<character>PEGGY</character>
<dialogue>Come on, Richard, I'm serious.</dialogue>
<character>RICHARD</character>
<dialogue>You're giving me the creeps.</dialogue>
<character>PEGGY</character>
<dialogue>Am I dead or not?</dialogue>
<character>RICHARD</character>
<dialogue>There's one way to find out.</dialogue>
<scene_description>Richard stops and throws down his books. He steps in front of Peggy, throwing down her books, dragging her to the curb.</scene_description>
<character>PEGGY</character>
<dialogue>What're you doing?</dialogue>
<character>RICHARD</character>
<dialogue>Confucious says, The way out is through the door. There's a truck. There's your door.</dialogue>
<scene_description>A large truck speeds towards them.</scene_description>
<character>RICHARD</character>
<dialogue>Step in front of the truck! If you're dead, it won't matter. The truck'll go right through you. Go ahead! You're dead!</dialogue>
<scene_description>Peggy takes one step off the curb. The truck is getting closer. The truck BLOWS A LOUD SUSTAINED WAIL.</scene_description>
<character>PEGGY</character>
<dialogue>No! I don't want to die!</dialogue>
</scene>
<scene>
<stage_direction>INT. RICHARD'S GARAGE</stage_direction>
<scene_description>A completely outfitted laboratory, kites decorate the walls.</scene_description>
<character>RICHARD</character>
<dialogue>Okay, you're not dead, but according to every law of science what you say happened to you is impossible.</dialogue>
<character>PEGGY</character>
<dialogue>What if it's beyond science? What it it's God?</dialogue>
<character>RICHARD</character>
<dialogue>Einstein said "God doesn't play dice with the universe." I'm a scientist. I believe that there's an order to things. Why would God bring you back as a high school girl?</dialogue>
<character>PEGGY</character>
<dialogue>I don't know.</dialogue>
<character>RICHARD</character>
<dialogue>You're a molecule in chaos, a discontinuent aberration. Maybe you've just got powers of precognition. Well, maybe you're just out of whack.</dialogue>
<character>PEGGY</character>
<dialogue>I told you, I've already lived my life. I don't know how or why I'm here, but you have to help me get back. I want to get back to my real life!</dialogue>
<character>RICHARD</character>
<dialogue>All right, I'll work on it, I'll, do some research. But in the meantime, don't get crazy.</dialogue>
<character>PEGGY</character>
<dialogue>I'm trying. I'll see you tomorrow.</dialogue>
<parenthetical>(heads out the door)</parenthetical>
<character>RICHARD</character>
<dialogue>What if you're not here tomorrow?</dialogue>
</scene>
<scene>
<stage_direction>INT. KELCHER HALLWAY</stage_direction>
<scene_description>Peggy comes home, enters hallway.</scene_description>
<character>MRS. KELCHER (O.S.)</character>
<dialogue>This necklace is sapphire, it was my Grandmother's.</dialogue>
<scene_description>Peggy looks into the living room. PEGGY'S POV: Her mother is sitting on the sofa with a strange MAN in a suit. She's served him tea. There are several, pieces of old jewelry spread on a cloth on the coffee table. The man is examining one of the pieces. Mrs. Kelcher seems surprised that Peggy's home from school. Peggy moves on into the kitchen.</scene_description>
</scene>
<scene>
<stage_direction>INT. KELCHER KITCHEN</stage_direction>
<scene_description>Peggy hears her mother let the man out. She enters the kitchen.</scene_description>
<character>PEGGY</character>
<dialogue>Who was that man?</dialogue>
<character>MRS. KELCHER</character>
<dialogue>It was nobody. Ah... he's a poll, taker. I'm thinking of voting Democrat this year. But don't mention it to your father. How was school today?</dialogue>
<character>PEGGY</character>
<dialogue>It was great to see everybody again. But it's so boring and regimented. Most of what they teach is useless. The worst thing was lunch.</dialogue>
<scene_description>The TELEPHONE RINGS.</scene_description>
<character>MRS. KELCHER</character>
<dialogue>Would you get that, dear?</dialogue>
<character>PEGGY</character>
<dialogue>Sure, Mom.</dialogue>
<parenthetical>(picking up the phone)</parenthetical>
<dialogue>Hello.</dialogue>
<scene_description>Peggy gasps. Mrs. Kelcher turns to her.</scene_description>
<character>MRS. KELCHER</character>
<dialogue>Peggy! What's the matter? Who is it?</dialogue>
<character>PEGGY</character>
<parenthetical>(shaken)</parenthetical>
<dialogue>It's Grandma. I can't talk to her now.</dialogue>
<character>PEGGY</character>
<parenthetical>(into phone)</parenthetical>
<dialogue>I'm sorry, Grandma.</dialogue>
<scene_description>Peggy hands the receiver to her mother and runs out of the room sobbing. Her first confrontation with mortality.</scene_description>
</scene>
<scene>
<stage_direction>INT. HALLWAY</stage_direction>
<scene_description>Peggy climbs the stairs, in tears.</scene_description>
<character>MRS. KELCHER (O.S.)</character>
<dialogue>Peggy Sue! What is it?</dialogue>
<scene_description>Forcing herself to regain her composure, she sits down at the top of the landing as Mrs. Kelcher joins her.</scene_description>
<character>MRS. KELCHER</character>
<dialogue>What happened to you?</dialogue>
<character>PEGGY</character>
<dialogue>I had a dream that Grandma died.</dialogue>
<character>MRS. KELCHER</character>
<dialogue>Well, she is getting on, but she's fine. I told her you weren't feeling well yesterday. She called to find out how you are.</dialogue>
<character>PEGGY</character>
<dialogue>She did? I love her so much, and I haven't seen her in such a long time. And Grandpa Barney. Is he all, right?</dialogue>
<character>MRS. KELCHER</character>
<dialogue>Yes, he's fine, too. You saw them at Easter.</dialogue>
<character>PEGGY</character>
<dialogue>I'm sorry, Mom. I'll call Grandma back and apologize.</dialogue>
<character>MRS. KELCHER</character>
<dialogue>That's a good girl... I hate to see you so upset.</dialogue>
<parenthetical>(beat)</parenthetical>
<dialogue>Tell me, sweetheart. Are you having problems with Charlie? You mentioned something this morning.</dialogue>
<character>PEGGY</character>
<dialogue>I'm confused about a lot of things right now. Charlie's only one of them.</dialogue>
<scene_description>Two beats.</scene_description>
<character>MRS. KELCHER</character>
<dialogue>Is Charlie pressuring you to do things you don't think you should be doing?</dialogue>
<character>PEGGY</character>
<dialogue>What do you mean?</dialogue>
<character>MRS. KELCHER</character>
<dialogue>Peggy, do you know what a penis is?</dialogue>
<parenthetical>(Peggy's jaw drops)</parenthetical>
<dialogue>Stay away from it.</dialogue>
</scene>
<scene>
<stage_direction>EXT. KELCHER HOUSE NIGHT</stage_direction>
<scene_description>Charlie pulls up to the curb, opens the glove compartment, extracts a can of Old Spice aerosol, sprays the seat; and exits his car, throwing a kiss to it as he walks up to the door. CLOSER VIEW He's wearing a hideous orange and turquoise sweater.</scene_description>
</scene>
<scene>
<stage_direction>INT. KELCHER HOUSE HALLWAY</stage_direction>
<scene_description>Mr. Kelcher opens the door, Charlie enters.</scene_description>
<character>MR. KELCHER</character>
<dialogue>Hello, Charlie.</dialogue>
<character>CHARLIE</character>
<dialogue>Hello, sir. How are things at the hat store?</dialogue>
<character>MR. KELCHER</character>
<dialogue>Fine, thanks. Come on in. I want to talk to you.</dialogue>
<scene_description>CAMERA TRACKS Charlie and Mr. Kelcher into the living room. Mr. Kelcher sits on his recliner, Charlie, nervous, on the couch. Nancy is on the rug, studying.</scene_description>
<character>MR. KELCHER</character>
<dialogue>You may have noticed that Peggy Sue's been acting a little strange lately.</dialogue>
<character>NANCY</character>
<dialogue>She's distorted.</dialogue>
<character>CHARLIE</character>
<dialogue>Yes, sir.</dialogue>
<character>MR. KELCHER</character>
<dialogue>She seems confused, irresponsible, overemotional. My wife says that's the way girls act sometimes.</dialogue>
<character>NANCY</character>
<dialogue>She's almost a juvenile delinquent.</dialogue>
<scene_description>Mr. Kelcher gives Nancy a look and points to the door. Without her father noticing, Nancy creeps up behind him and makes rabbit ears behind his head. Charlie tries hard not to laugh. Nancy continues to clown.</scene_description>
<character>CHARLIE</character>
<dialogue>Yes, sir. But that's what I like about her. She's not like all the other girls at school.</dialogue>
<character>MR. KELCHER</character>
<dialogue>Charles, in spite of your adolescent infatuation with music, we've always regarded you a a fine young man. We've trusted you with our daughter.</dialogue>
<character>CHARLIE</character>
<dialogue>Yes, sir. Trust is a twoway street. In the past two years I've been pleased to note that you and Mrs. Kelcher have, uh, fulfilled your sacred trust of being good parents to the, uh, woman I plan to take off your hands.</dialogue>
<scene_description>Mr. Kelcher looks as if he's witnessing the latest attack of teenage weirdness.</scene_description>
</scene>
<scene>
<stage_direction>INT. PEGGY'S BEDROOM</stage_direction>
<scene_description>Peggy is changing a record. She sees the dress she was wearing the day before (and at the reunion) slung across a chair. As Peggy picks it up, a book of matches falls out. Peggy picks it up, excited. INSERT: MATCHBOOK which reads: FINISH HIGH SCHOOL IN YOUR SPARE TIME. Peggy frantically searches the dress pockets and slowly draws out two joints. She stares at them for a beat.</scene_description>
<character>PEGGY</character>
<parenthetical>(worrying)</parenthetical>
<dialogue>Oh, Beth.</dialogue>
<scene_description>There's a knock at the door. Peggy quickly hides the joints. Mrs. Kelcher opens the door.</scene_description>
<character>MRS. KELCHER</character>
<dialogue>Charlie's downstairs. Why aren't you ready?</dialogue>
<character>PEGGY</character>
<dialogue>For what?</dialogue>
<character>MRS. KELCHER</character>
<dialogue>Maddy's party.</dialogue>
<character>PEGGY</character>
<dialogue>I don't feel very festive.</dialogue>
<character>MRS. KELCHER</character>
<dialogue>You accepted an invitation, Maddy's one of your best friends, and I baked the Rice Krispie squares.</dialogue>
<scene_description>Peggy laughs.</scene_description>
<character>MRS. KELCHER</character>
<dialogue>Enjoy yourself! This is the best time of your life. And the sooner you learn to handle Charlie the better. Get dressed.</dialogue>
<scene_description>Mrs. Kelcher closes the door.</scene_description>
</scene>
<scene>
<stage_direction>INT. LIVING ROOM</stage_direction>
<character>MR. KELCHER</character>
<dialogue>We think this party might cheer her up. Just make sure you know what's expected of you.</dialogue>
<character>CHARLIE</character>
<dialogue>What would that be, sir?</dialogue>
<character>MR. KELCHER</character>
<dialogue>Show her a good time, but for God's sake restrain yourself.</dialogue>
<character>CHARLIE</character>
<parenthetical>(surprised)</parenthetical>
<dialogue>Of course.</dialogue>
<scene_description>ANGLE ON PEGGY walking downstairs, surprised by Charlie and Dad talking.</scene_description>
</scene>
<scene>
<stage_direction>EXT. KELCHER HOUSE - NIGHT</stage_direction>
<scene_description>Peggy and Charlie exit and walk towards his car. Peggy's holding a pan of Rice Krispie squares. Charlie slips Peggy's sweater back on her shoulder. He's trying hard to make up.</scene_description>
<character>PEGGY</character>
<dialogue>Where did you get that sweater?</dialogue>
<character>CHARLIE</character>
<dialogue>Great, isn't it?</dialogue>
<character>PEGGY</character>
<dialogue>It's really Fifties. You sort of clash with the world.</dialogue>
<character>CHARLIE</character>
<dialogue>Hey! What's the fun of being a teenager if you can't dress weird? And we're going to have fun tonight, right?</dialogue>
<character>PEGGY</character>
<dialogue>Right. I promised my mother.</dialogue>
</scene>
<scene>
<stage_direction>INT. CHARLIE'S CAR NIGHT - DRIVING</stage_direction>
<character>CHARLIE</character>
<dialogue>Is this slow enough for you?</dialogue>
<character>PEGGY</character>
<parenthetical>(serious)</parenthetical>
<dialogue>Charlie, how are you?</dialogue>
<character>CHARLIE</character>
<dialogue>I'm fine Peggy Sue. And how are you? Are we talking on the phone? Are we pen pals?</dialogue>
<character>PEGGY</character>
<dialogue>Seriously. What's it like to be eighteen?</dialogue>
<scene_description>Charlie looks thoughtful, then guns the engine.</scene_description>
<character>CHARLIE</character>
<dialogue>It's great. I cleaned the car, do you like it?</dialogue>
<character>CHARLIE</character>
<dialogue>Oh, I got tickets for Fabian on your birthday, you like him, right? He's cool. Eighteen is half of thirty six. It's "Gentlemen start your engines", vroom, like I'm gassed up ready for the race. I've got the girl, I've got the car, I've got the talent, but I don't know. Do I date, get married, join the army, cut a record, go to college? I got a million choices, but nobody teaches you how to choose. But it's different for a girl. You're Lucky. You just have to wait for me.</dialogue>
</scene>
<scene>
<stage_direction>INT. MADDY'S HOUSE BASEMENT</stage_direction>
<scene_description>Thirty kids are dancing, talking, snacking. One couple makes out. Walter, Leon, Terry and Doug Snell are crowded around a TV, watching an old western with Eugene Pallette or Edgar Buchanan. The boys laugh as Pallette or Buchanan growls a western cliche.</scene_description>
<character>DOUG</character>
<dialogue>Gol'darnit, dag nab it, dad burn it, dad blame it.</dialogue>
</scene>
<scene>
<stage_direction>INT. MADDY'S HOUSE HALLWAY TO BASEMENT</stage_direction>
<scene_description>Charlie and Peggy are poised at the door.</scene_description>
<character>CHARLIE</character>
<dialogue>Here comes the life of the party.</dialogue>
</scene>
<scene>
<stage_direction>INT. MADDY'S HOUSE BASEMENT</stage_direction>
<scene_description>Arthur and a few others stand by the bar, where bottles of Coke are lined up. Arthur carefully pours rum from a hip flask directly into the bottles. Peggy and Charlie enter.</scene_description>
<character>LEON</character>
<dialogue>Goes down, smooth. Hey, look what the cat dragged in.</dialogue>
<character>CHARLIE</character>
<dialogue>Have no fear. Charlie's here.</dialogue>
<character>WALTER</character>
<dialogue>Oh, it's you is it.</dialogue>
<character>TERRY</character>
<dialogue>Jumping Jehosophat!</dialogue>
<character>DOUG</character>
<dialogue>It's a miracle!</dialogue>
<character>PEGGY</character>
<dialogue>Hi, guys.</dialogue>
<character>ARTHUR</character>
<dialogue>Now that's a purty little heifer.</dialogue>
<character>CHARLIE</character>
<dialogue>Why Pete's the best darn cook on the Panhandle!</dialogue>
<character>PEGGY</character>
<dialogue>Why I oughta!</dialogue>
<scene_description>The boys all crack up. THE PARTY LATER Walter, Leon, Charlie and Terry crowd around Arthur who has an open, widemouthed bottle of beer in his hand.</scene_description>
<character>CHARLIE</character>
<dialogue>Ready. Set. Go -</dialogue>
<scene_description>Arthur rapidly chugalugs the entire beer and immediately recites from memory as the boys urge him on:</scene_description>
<character>ARTHUR</character>
<parenthetical>(going: for speed)</parenthetical>
<dialogue>HiYo Silver! A cloud of dust, a galloping horse with the speed of light, a hearty Hi-Yo Silver! The Lone Ranger! With his faithful Indian companion Tonto, the daring and resourceful Masked Rider of the Plains came to Earth with powers- and abilities far beyond those of mortal men. Return with us now to those thrilling days of yesteryear - from out of the...</dialogue>
<scene_description>Arthur lets out a huge belch. Everybody cracks up.</scene_description>
<character>LEON</character>
<dialogue>You doorknob! You threw in Superman!</dialogue>
<character>CHARLIE</character>
<dialogue>Too bad. Close to a record.</dialogue>
<character>ARTHUR</character>
<parenthetical>(foaming at the nose)</parenthetical>
<dialogue>I hate it when the beer comes out my nose.</dialogue>
<character>ANOTHER AREA</character>
<dialogue>Peggy, Carol and Maddy bemusedly watching the boys.</dialogue>
<character>MADDY</character>
<dialogue>Can you believe I want to marry that dork?</dialogue>
<character>CAROL</character>
<dialogue>Why do guys do such stupid things?</dialogue>
<character>PEGGY</character>
<dialogue>You know, I never could figure that one out.</dialogue>
</scene>
<scene>
<stage_direction>INT. BASEMENT - ANOTHER ANGLE</stage_direction>
<scene_description>Maddy, Arthur, Walter, Carol, Charlie and Peggy sit on a couch. Maddy and Carol sit in their boyfriends' laps. Peggy sits distractedly on the couch arm. They cross talk boys to boys girls to girls.</scene_description>
<character>MADDY</character>
<dialogue>I was thinking of four ushers and four bridesmaids.</dialogue>
<character>WALTER</character>
<dialogue>The Yanks got the hitting but the Sox got the defense.</dialogue>
<character>CAROL</character>
<dialogue>What are your colors, going to be?</dialogue>
<character>ARTHUR</character>
<dialogue>I'l1 take Kubek and Richardson over Fox and Aparicio.</dialogue>
<character>MADDY</character>
<dialogue>I'm thinking of pink and green.</dialogue>
<character>ANOTHER ANGLE</character>
<dialogue>Dolores and Terry standing in a corner kissing passionately.</dialogue>
<character>MADDY</character>
<dialogue>Look at Dolores. What a tramp.</dialogue>
<character>CHARLIE</character>
<dialogue>Pitching wins pennants. The Tigers got four potential twenty game winners.</dialogue>
<character>CAROL</character>
<dialogue>You'd be surprised at how many girls in school aren't virgins.</dialogue>
<character>WALTER AND ARTHUR</character>
<parenthetical>(to Carol)</parenthetical>
<dialogue>Like who?</dialogue>
<character>CHARLIE</character>
<dialogue>Don Mossi, Frank Lary, Jim Sunning and Paul Foytack.</dialogue>
</scene>
<scene>
<stage_direction>INT. BASEMENT LATER</stage_direction>
<character>ARTHUR</character>
<dialogue>And now, direct from three weeks of rehearsal in Walter's garage, four guys who have dedicated their lives to becoming the greatest singing group in the world... (beat)</dialogue>
<scene_description>Charlie, Walter, Leon and Terry. The Definitions. Applause as the group enters from the furnace room. They all wear black pants and iridescent sharkskin jackets. Charlie is in the center of the group as they position themselves.</scene_description>
<character>CHARLIE</character>
<dialogue>One, two, three-...</dialogue>
<scene_description>The group begins to SING an A CAPELLA version of RAMA LAMA DING DONG (or I WONDER WHY). Charlie sings lead, backed up by the other three. Walter dances insane, Temptationlike steps. The crowd huddles around them, clapping and grooving. Peggy is on the planet of lost innocence, removed and melancholy.</scene_description>
<character>CAROL</character>
<dialogue>Charlie really has a great voice.</dialogue>
<character>MADDY</character>
<dialogue>Maybe they'll be the next Dion and the Belmonts.</dialogue>
<character>PEGGY</character>
<dialogue>Don't get your hopes up.</dialogue>
<character>MADDY</character>
<dialogue>Come on, where's your enthusiasm?</dialogue>
<scene_description>Charlie SINGS directly to Peggy, grinning at her. In spite of herself, she smiles back at him. She's starting to realize why she fell in love with him. He's irresistible.</scene_description>
<character>PEGGY</character>
<dialogue>He is kind of cute, isn't he?</dialogue>
<character>CAROL</character>
<dialogue>Yeah. You're so lucky. He really loves you, too. He's always telling Walter how wonderful you are.</dialogue>
<character>PEGGY</character>
<dialogue>He does?</dialogue>
<scene_description>The group finishes the song. Charlie blows Peggy a kiss. The crowd APPLAUDS, including Peggy. Dolores joins Peggy, Carol and Maddy.</scene_description>
<character>DOLORES</character>
<dialogue>Carol and I saw you with that creep, Richard, today.</dialogue>
<character>PEGGY</character>
<dialogue>First of all, Richard is not a Creep. He happens to be an exceptional person. If any of you gave him half a chance, you'd find that out.</dialogue>
<character>DOLORES</character>
<dialogue>God, Peggy, you're so unformed you're practically fetal. You're just taking pity on him 'cause he has no friends.</dialogue>
<character>PEGGY</character>
<dialogue>Dolores, can't you be a little kinder to people? You don't even know the boy. If you weren't so neurotic and insecure, maybe you'd shut up for a while and show some compassion.</dialogue>
<character>DOLORES</character>
<dialogue>Are you for real?</dialogue>
<character>PEGGY</character>
<dialogue>Touchy, touchy!</dialogue>
<scene_description>Dolores storms away.</scene_description>
<character>MADDY</character>
<parenthetical>(to Peggy)</parenthetical>
<dialogue>I don't know what you said to her, but I wish I'd said it.</dialogue>
<scene_description>Charlie and Walter walk over and accept "BRAVOS" from the girls. Walter does his James Dean imitation.</scene_description>
<character>PEGGY</character>
<dialogue>Charlie, what do you think of Richard Norvik?</dialogue>
<character>CHARLIE</character>
<dialogue>Is he gonna help you with that physics stuff?</dialogue>
<character>PEGGY</character>
<dialogue>He's trying.</dialogue>
<character>CHARLIE</character>
<dialogue>Hey! Who needs physics when we've got chemistry?</dialogue>
<character>PEGGY</character>
<parenthetical>(charmed)</parenthetical>
<dialogue>Come on, let's dance.</dialogue>
<character>WALTER</character>
<dialogue>Put on some makeout music, and kill the lights.</dialogue>
<scene_description>We HEAR a RECORD SCRATCH. A slow song begins. The lights are dimmed. Coupler begin to slow dance. Charlie holds Peggy close, barely moving. Peggy is mistyeyed, moved by being in Charlie's arms again.</scene_description>
<character>CHARLIE</character>
<dialogue>There isn't a girl in school that can hold a candle to you.</dialogue>
<character>PEGGY</character>
<dialogue>You're pretty charming when you want to be.</dialogue>
<character>CHARLIE</character>
<dialogue>Yeah I know. But I don't have to flatter you. It just feels right. You're the perfect girl for me. As in is, was and always will be. I'm glad dancing was invented. You know the first dances were rituals. Like fertility rites.</dialogue>
<scene_description>As they dance Charlie gets embarrassed by an erection, and moves his hips away from Peggy. She surprises him by grabbing his tush and pulling him into her.</scene_description>
</scene>
<scene>
<stage_direction>INT. MADDY'S BASEMENT - LATER</stage_direction>
<scene_description>MUSIC FADES INTO the song "PARTY DOLL" by Buddy Knox. Peggy is doing the Twist, showing Charlie and several others. Walter gets the hang of it, twisting on one leg. Carol tries to keep up. Maddy and Arthur are always a beat behind.</scene_description>
<character>DOLORES</character>
<dialogue>Hey Terry, what is that? Did Peggy make it up? I've never seen that on Bandstand.</dialogue>
<character>TERRY</character>
<dialogue>What if we're witnessing the end of touch dancing?</dialogue>
</scene>
<scene>
<stage_direction>INT. CHARLIE'S CAR - DESERTED LANE - NIGHT</stage_direction>
<scene_description>The windows are fogged. Peggy and Charlie kiss tenderly.</scene_description>
<character>PEGGY</character>
<dialogue>Mmm. This is nice. I always loved the way you kiss. I missed you.</dialogue>
<character>CHARLIE</character>
<dialogue>Your eyes look like silver pools of moonlight. And the tide rushes in.</dialogue>
<character>PEGGY</character>
<dialogue>You really love me, don't you?</dialogue>
<character>CHARLIE</character>
<dialogue>You know I do. I even wrote you into my will.</dialogue>
<character>PEGGY</character>
<parenthetical>(tentatively)</parenthetical>
<dialogue>Charlie, let's make love.</dialogue>
<character>CHARLIE</character>
<dialogue>What?! You mean sex?! Intercourse?</dialogue>
<parenthetical>(nonbelieving)</parenthetical>
<dialogue>You want to have intercourse! Last weekend you said... What time is it?</dialogue>
<character>PEGGY</character>
<dialogue>A lot's happened since last weekend.</dialogue>
<character>CHARLIE</character>
<dialogue>But you're the one who wanted to wait till we got married. And you were right. We should wait.</dialogue>
<character>PEGGY</character>
<parenthetical>(flustered)</parenthetical>
<dialogue>I probably meant it when I said it.</dialogue>
<parenthetical>(beat; coyly)</parenthetical>
<dialogue>Doesn't Lucky Chuckie want to come out?</dialogue>
<character>CHARLIE</character>
<dialogue>Who?</dialogue>
<scene_description>Peggy starts to GIGGLE, realizing the absurdity of the situation. The more she GIGGLES, the more agitated Charlie gets. Peggy starts to unbutton Charlie's shirt.</scene_description>
<character>PEGGY</character>
<dialogue>You know. Your love machine... the throbbing thrill hammer... your thing!</dialogue>
<character>CHARLIE</character>
<dialogue>You mean my wang? Listen, it's running real late.</dialogue>
<scene_description>Charlie pushes her away, angry.</scene_description>
<character>CHARLIE</character>
<dialogue>What is this? What the hell is going on? One week you say, "If you love me you won't", now you say "If you love me you will".</dialogue>
<parenthetical>(beat)</parenthetical>
<dialogue>Excuse me. That's a guy's line!</dialogue>
<scene_description>Peggy realizes she's blown it. Charlie isn't ready for this.</scene_description>
<character>PEGGY</character>
<dialogue>This is a mistake. We better forget it.</dialogue>
<character>CHARLIE</character>
<dialogue>You're damn right! Jesus! Peggy! You sure know how to spoil a mood.</dialogue>
<scene_description>Charlie straightens himself up, starts the car and burns out.</scene_description>
</scene>
<scene>
<stage_direction>EXT. KELCHER HOUSE NIGHT</stage_direction>
<scene_description>Charlie drops her off.</scene_description>
<character>PEGGY</character>
<dialogue>I'm sorry Charlie.</dialogue>
<character>CHARLIE</character>
<dialogue>Save it.</dialogue>
<scene_description>Peggy watches him go. Looking at her darkened house, she turns and walks down the street.</scene_description>
</scene>
<scene>
<stage_direction>EXT. STREET SHOWER'S CAFE</stage_direction>
<scene_description>Peggy peeks in the window. The kids from the party are eating and laughing. Rosalie Testa is dancing. Shaken by Rosalie, she turns away. In the distance she SEES the lights of: ART'S DONUT HOLE. OPEN 24 HOURS.</scene_description>
</scene>
<scene>
<stage_direction>INT. ART'S DONUT HOLE</stage_direction>
<scene_description>A few people linger over coffee. The waitress serving them is Monica (the same but younger woman from LOVIN' OVEN). In a corner, Michael Fitzsimmons, in a red leather jacket, sits alone, reading. He looks up to check on his motorcycle parked outside. He's splendid in his isolation. Peggy enters, taking a seat at the counter, startled to see Monica, who doesn't know her.</scene_description>
<character>MONICA</character>
<dialogue>What would you like?</dialogue>
<character>PEGGY</character>
<dialogue>Monica? Aren't you Monica Hines?</dialogue>
<character>MONICA</character>
<dialogue>Yes. Who are you?</dialogue>
<character>PEGGY</character>
<dialogue>Ah... never mind. Can I have a coffee, please? And a cinnamon cruller.</dialogue>
<parenthetical>(sotto)</parenthetical>
<dialogue>How's Bobo?</dialogue>
<scene_description>Peggy notices Michael staring at her. Peggy smiles, Michael doesn't. Monica brings Peggy her coffee and donut.</scene_description>
<character>MONICA</character>
<dialogue>Twenty cents, please.</dialogue>
<character>PEGGY</character>
<dialogue>You're kidding?</dialogue>
<scene_description>Picking up her donut and coffee, she walks over to Michael's table and sits opposite him.</scene_description>
<character>PEGGY</character>
<dialogue>I was impressed with what you said in English class today.</dialogue>
<character>MICHAEL</character>
<dialogue>Gilfond's okay, except he thinks Hemingway's great Literature.</dialogue>
<character>PEGGY</character>
<dialogue>You don't?</dialogue>
<character>MICHAEL</character>
<parenthetical>(contemptuously)</parenthetical>
<dialogue>He's a fisherman! The most overrated writer of the century. I mean, he's the perfect American author fat, violent, drunk...</dialogue>
<character>PEGGY</character>
<dialogue>Maybe you're confusing his life with his work.</dialogue>
<character>MICHAEL</character>
<dialogue>A writer's life is his work. Jack Kerouac doesn't have to kill a bull to have something to write about. He's out there feeling, burning.... grooving on life!</dialogue>
<scene_description>Michael leans back in his chair. He's said his piece. Peggy studies him for a beat.</scene_description>
<character>PEGGY</character>
<dialogue>The young man leaned back in his chair. No bulls would die today.</dialogue>
<character>MICHAEL</character>
<dialogue>What're you doing here anyway?</dialogue>
<character>PEGGY</character>
<dialogue>Coffee and a donut.</dialogue>
<character>MICHAEL</character>
<dialogue>I thought chicks like you traveled in packs.</dialogue>
<character>PEGGY</character>
<dialogue>Hey, man, I'm a hip chick.</dialogue>
</scene>
<scene>
<stage_direction>EXT. ART'S DONUT HOLE</stage_direction>
<scene_description>Long shot of the brightly lit donut shop. Michael and Peggy are clearly visible.</scene_description>
</scene>
<scene>
<stage_direction>INT. CAR</stage_direction>
<scene_description>Dolores and Terry are driving by.</scene_description>
<character>DOLORES</character>
<dialogue>Terry, slow down.</dialogue>
<character>TERRY</character>
<dialogue>Okay.</dialogue>
<character>DOLORES</character>
<dialogue>Terry! Slow down.</dialogue>
<character>TERRY</character>
<dialogue>What, why?</dialogue>
</scene>
<scene>
<stage_direction>EXT. ART'S DONUT HOLE DOLORES'S POV:</stage_direction>
<scene_description>Peggy and Michael leave the donut shop, get on Michael's motorcycle.</scene_description>
<character>DOLORES</character>
<dialogue>There's Peggy with Michael Fitzsimmons.</dialogue>
<character>TERRY</character>
<dialogue>That commie beatnik? What's she doing with him? Wait'll I tell Charlie.</dialogue>
<character>DOLORES</character>
<dialogue>First a nerd and then a weirdo. What a bunch of nose pickers. I'll tell Charlie.</dialogue>
</scene>
<scene>
<stage_direction>EXT. STREET - NIGHT DRIVING</stage_direction>
<scene_description>Peggy on Michael's bike, clasped around him. Her eyes closed, enjoying the wind blowing in her hair. They head out of town.</scene_description>
</scene>
<scene>
<stage_direction>EXT. GAS STATION</stage_direction>
<scene_description>Michael pumps gas. Peggy walks to the washrooms. Looking around she waits a beat, then enters the men's.</scene_description>
</scene>
<scene>
<stage_direction>INT. MEN'S WASHROOM</stage_direction>
<scene_description>With all the aplomb of a divorcee, Peggy takes a quarter and deposits it in a condom machine. She puts the packet in her skirt pocket, pulls out the joints and stares at them for a beat. She checks her hair in the mirror and exits.</scene_description>
</scene>
<scene>
<stage_direction>EXT. GAS STATION</stage_direction>
<scene_description>Michael pumps air into the tires, bunched against a building. Peggy approaches him, holding up a joint, smiling conspiratorially. She lights it, inhales deeply, then passes it to him. He smiles back at her, a bit surprised, but still takes the joint and inhales.</scene_description>
</scene>
<scene>
<stage_direction>EXT. MOUNTAIN ROAD</stage_direction>
<scene_description>They drive up to a mountain top, Peggy wearing the leather jacket. She directs Michael with one arm. The motorcycle is parked. Peggy and Michael lie on the grass, staring down at the town lights below. Michael inhales the joint, then passes it to Peggy.</scene_description>
<character>MICHAEL</character>
<dialogue>This is great reefer.</dialogue>
<character>PEGGY</character>
<dialogue>Yeah. I'm surprised. It's really old....</dialogue>
<parenthetical>(inhales)</parenthetical>
<dialogue>Travels well though.</dialogue>
<parenthetical>(beat)</parenthetical>
<dialogue>You know, the world looks a lot better from up here.</dialogue>
<character>MICHAEL</character>
<dialogue>The world is fantastic. It's the ultimate absurd circus. I am shot from a cannon into the energy.</dialogue>
<character>PEGGY</character>
<dialogue>What are you shooting for?</dialogue>
<character>MICHAEL</character>
<dialogue>Maximum intensity. Yeah. I can't wait to get out of here. I'm gonna write. I'm gonna check out of this bourgeois motel. Push myself away from the dinner table and say 'No more JellO for me, Mom.'</dialogue>
<character>PEGGY</character>
<dialogue>Don't you get along with your parents?</dialogue>
<character>MICHAEL</character>
<dialogue>The only thing my father digs is cold, green money. All my mother cares about is her standing at the country club.</dialogue>
<character>PEGGY</character>
<dialogue>They care about you. They're just a different generation.</dialogue>
<character>MICHAEL</character>
<dialogue>Hey what's with you? I thought you were cool. You rode my bike. You blew some pot.</dialogue>
<parenthetical>(beat)</parenthetical>
<dialogue>What's your scene Miss Majorette? You gonna marry Mr. Blue Impala and graze around with all the other sheep for the rest of your life?</dialogue>
<character>PEGGY</character>
<dialogue>I already did that. I want to be a dancer, I want to dance.</dialogue>
<scene_description>Peggy takes off her sweater, kicks off her shoes and begins to dance. Her eyes are closed, her body silhouetted by the moon. Michael is transfixed. After a few beats, he walks over to her. He stretches out his arms and places them around her neck. They sway together for several beats, their bodies touching. Peggy opens her eyes and sees Michael gazing at her tenderly.</scene_description>
<character>MICHAEL</character>
<dialogue>You know, I had you pegged all wrong.</dialogue>
<scene_description>Michael kisses Peggy. She responds passionately.</scene_description>
<character>MICHAEL</character>
<dialogue>A ray of oneness piercing the solitude. Falling bodies in the ecstasy of flesh. You'll be a chapter in my memoirs of desire.</dialogue>
<character>PEGGY</character>
<dialogue>Is that one of your poems?</dialogue>
<character>MICHAEL</character>
<dialogue>No, I just made that up. Do you want to hear one?</dialogue>
<character>PEGGY</character>
<dialogue>I'd love to.</dialogue>
<character>MICHAEL</character>
<parenthetical>(eyes ablaze)</parenthetical>
<dialogue>Okay. Here's a new one. It's called Tenderness.</dialogue>
<parenthetical>(beat)</parenthetical>
<dialogue>I couldn't sleep so I thought I'd scream Betrayed by a kiss, sucking pods of bitterness. In the madhouse of Dr. Dread Razor shreds of rat puke fall On my bare arms</dialogue>
<parenthetical>(sees Peggy grimace; he calms down)</parenthetical>
<dialogue>I'm sorry. I guess I was trying to impress you.</dialogue>
<parenthetical>(kisses her)</parenthetical>
<dialogue>Peggy is falling for it. He fumbles with her bra straps.</dialogue>
<character>PEGGY</character>
<dialogue>Michael... you're as good as you looked.</dialogue>
<scene_description>His other hand reaches to undo her skirt.</scene_description>
<character>MICHAEL</character>
<dialogue>I'll respect you for eternity.</dialogue>
<parenthetical>(reciting tenderly)</parenthetical>
<dialogue>'When you are old and gray, and full of sleep, And nodding by the fire, Take down this book, and slowly read, And dream of the soft look your eyes had once."</dialogue>
<parenthetical>(beat)</parenthetical>
<dialogue>I didn't write that. That's Yeats.</dialogue>
<scene_description>Peggy is moved by the beauty of the poem. She sits up, leans over Michael, runs her hand through his hair, almost motherly.</scene_description>
<character>PEGGY</character>
<dialogue>I envy you. You have your whole life ahead of you and you know exactly what you want to do.</dialogue>
<character>PEGGY</character>
<parenthetical>(beat)</parenthetical>
<dialogue>But forget the rat puke; write something beautiful.</dialogue>
<scene_description>Peggy lies back down on the ground. Michael takes her hand and kisses it.</scene_description>
<character>PEGGY</character>
<dialogue>You know, this isn't really happening.</dialogue>
<scene_description>CAMERA PULLS BACK to include the entire, perfect tableau: the starry night, the motorcycle, the clouds racing across the moon and the two lovers on the mountaintop.</scene_description>
</scene>
<scene>
<stage_direction>EXT. STREET DAWN</stage_direction>
<scene_description>Michael stops at the corner of Peggy's street. She gets off the bike and kisses Michael goodbye. He takes off.</scene_description>
</scene>
<scene>
<stage_direction>EXT. KELCHER HOUSE</stage_direction>
<scene_description>Peggy walks up the path as the MILKMAN approaches.</scene_description>
<character>MILKMAN</character>
<dialogue>Your parents are waiting up. You know, I see a lot of this in the spring. Good luck.</dialogue>
<character>PEGGY</character>
<dialogue>Thanks, Ralph.</dialogue>
</scene>
<scene>
<stage_direction>INT. KELCHER HOUSE</stage_direction>
<scene_description>Peggy enters, trying to be quiet. Mr. Kelcher stands in the kitchen doorway in his bathrobe waiting for her, steaming. CAMERA TRACKS Peggy into kitchen. She grabs a cup of coffee before sitting down.</scene_description>
<character>MRS. KELCHER</character>
<dialogue>Where have you been?</dialogue>
<character>PEGGY</character>
<dialogue>I went for a drive. Up in the hills.</dialogue>
<character>MR. KELCHER</character>
<dialogue>Damn that Charlie I....</dialogue>
<character>PEGGY</character>
<dialogue>It's not Charlie. It's me.</dialogue>
<character>MR. KELCHER</character>
<parenthetical>(nervously)</parenthetical>
<dialogue>Peggy, let me ask you something.</dialogue>
<parenthetical>(beat)</parenthetical>
<dialogue>You're not.... expecting are you?</dialogue>
<character>PEGGY</character>
<dialogue>At my age? Don't be silly.</dialogue>
<character>MR. KELCHER</character>
<dialogue>Thank God for that.</dialogue>
<character>PEGGY</character>
<dialogue>Dad, it's not a big deal. Didn't you ever stay out all night when you were young?</dialogue>
<character>MR. KELCHER</character>
<dialogue>Yes but I was a boy. And I still had hell to pay.</dialogue>
<character>PEGGY</character>
<dialogue>Calm down. Just listen for a minute. Please.</dialogue>
<character>MR. KELCHER</character>
<dialogue>All right. But this better be good.</dialogue>
<character>PEGGY</character>
<dialogue>I want to help with the family finances. I want you to buy some stocks. And gold. By 1980 gold is going to be worth eight hundred dollars an ounce. Then you sell.</dialogue>
<character>MR. KELCHER</character>
<dialogue>Do you know how ridiculous you sound? First of all, it's illegal for U.S. citizens to buy gold. And in the second place, the price of gold is regulated by the government.</dialogue>
<character>PEGGY</character>
<dialogue>I think they're going to deregulate it.</dialogue>
<character>MR. KELCHER</character>
<dialogue>That's your problems. The more women think, the more trouble they get into.</dialogue>
<character>PEGGY</character>
<dialogue>Oh boy, that's another thing that's going to change.</dialogue>
<character>PEGGY</character>
<dialogue>Who's going to think for us? Our husbands? You know, you treat Mom like a maid. It's not entirely your fault. Those were the attitudes in the fifties, and that's the way you raised me. But give Nancy a break, encourage her to go to art school.</dialogue>
<character>MR. KELCHER</character>
<dialogue>I've heard just about enough of this lunacy! Go to your room!</dialogue>
<character>PEGGY</character>
<dialogue>Listen Dad, please. Buy IBM, buy Polaroid, buy Apple Computer. No, no. Not yet. Buy Xerox!</dialogue>
<character>MR. KELCHER</character>
<dialogue>Evelyn, take her to her room!</dialogue>
<scene_description>Peggy stalks out of the kitchen to the front door.</scene_description>
<character>MRS. KELCHER</character>
<dialogue>I'm not the maid!</dialogue>
<character>PEGGY</character>
<dialogue>Way to go, Mom!</dialogue>
<scene_description>The Kelchers glare at each other. We HEAR the DOOR SLAM.</scene_description>
</scene>
<scene>
<stage_direction>INT. SHOWER'S CAFE DAY</stage_direction>
<scene_description>Peggy and Richard sit in a booth. Richard's kite is hung on a coat rack.</scene_description>
<character>RICHARD</character>
<dialogue>The way I see it, you have an unparalleled opportunity to become the richest woman in the world.</dialogue>
<character>PEGGY</character>
<dialogue>I'm just not the type. Besides, I want to get out of here.</dialogue>
<character>RICHARD</character>
<dialogue>But you have a vision. Don't you want to help your parents?</dialogue>
<character>PEGGY</character>
<dialogue>I tried to tell them, but they wouldn't listen to me.</dialogue>
<character>RICHARD</character>
<dialogue>I'm talking about invention, no investment. I know what people think of me. Mr. Spasmatician. Dick the Square Root. I'll show them. You said I was going to be a millionaire. And you're gonna help!</dialogue>
<character>PEGGY</character>
<dialogue>Richard, take it easy.</dialogue>
<character>RICHARD</character>
<dialogue>No offense, but for a person who says she's lived an extra lifetime, you certainly are thick. Money is power. Money makes people respect you...</dialogue>
<character>PEGGY</character>
<dialogue>How come you never ask me any important questions? Don't you wonder if there's going to be a nuclear war? Or a cure for cancer? What about your family? What about people?</dialogue>
<character>RICHARD</character>
<dialogue>I'm curious, but I don't want to know. Jeez, I hope you haven't been telling people what's going to happen to them.</dialogue>
<character>PEGGY</character>
<dialogue>Give me some credit, will you?</dialogue>
<character>RICHARD</character>
<dialogue>Good. You're discreet. I like that in a partner.</dialogue>
<character>PEGGY</character>
<dialogue>Wbat're you talking about?</dialogue>
<character>RICHARD</character>
<dialogue>Look it's very simple. You tell me everything that hasn't been invented yet, and I'll invent it. We'll be partners. Fifty-fifty.</dialogue>
<character>PEGGY</character>
<dialogue>Sixty-forty.</dialogue>
<character>RI CHARD</character>
<dialogue>That's not fair.</dialogue>
<character>PEGGY</character>
<dialogue>Okay, find yourself another vision.</dialogue>
<character>RICHARD</character>
<dialogue>You're taking advantage of a minor.</dialogue>
<character>PEGGY</character>
<dialogue>When do we start?</dialogue>
<scene_description>A WAITRESS approaches their table.</scene_description>
<character>WAITRESS</character>
<dialogue>Do you know what you want?</dialogue>
<character>RICHARD</character>
<dialogue>A Ton on a Bun, with fries.</dialogue>
<character>WAITRESS</character>
<dialogue>And you?</dialogue>
<character>PEGGY</character>
<dialogue>Quiche Lorraine, spinach salad and a Perrier.</dialogue>
</scene>
<scene>
<stage_direction>EXT. DOWNTOWN STREET</stage_direction>
<scene_description>The street is filled with Saturday shoppers. Peggy holds the kite, Richard takes notes as they windowshop. They stop in front of a dry cleaners.</scene_description>
<character>PEGGY</character>
<dialogue>Dry cleaners. No real change. Just higher prices.</dialogue>
<scene_description>They move next door to a shoe store.</scene_description>
<character>PEGGY</character>
<dialogue>Ah. This is a biggie. Forget sneakers. Running shoes, jogging shoes, tennis shoes. Fifty to two hundred dollars a pair.</dialogue>
<character>RICHARD</character>
<dialogue>Come on. You can't be serious.</dialogue>
<character>PEGGY</character>
<dialogue>There are major fortunes to be made here. Leisure time and lifestyles.</dialogue>
<character>RICHARD</character>
<dialogue>Are you talking about exercise? Like gym?</dialogue>
<character>PEGGY</character>
<dialogue>Not for you. Okay, there's lots more.</dialogue>
<scene_description>They move along to the next window, an appliance store. The window is filled with old televisions, record players, large rotisseriebroilers, etc. The store sign reads: BODELL'S TV AND APPLIANCES. Another sign reads: COME IN AND LISTEN TO STEREOPHONIC SOUND.</scene_description>
<character>PEGGY</character>
<dialogue>Look at that stuff. It's like the dark ages. This is more your speed. And boy, do I know this business.</dialogue>
<scene_description>Peggy peers into the store again and catches a g1impse of Charlie serving a customer.</scene_description>
</scene>
<scene>
<stage_direction>EXT. STREET BUS STOP</stage_direction>
<scene_description>Peggy and Richard sit on the bench next to TWO OLD. LADIES. Richard reads from his list.</scene_description>
<character>RICHARD</character>
<dialogue>Let's see...</dialogue>
<parenthetical>(looking around)</parenthetical>
<dialogue>icrowavemays, ocketpay alculatorcays...</dialogue>
<scene_description>The two ladies react.</scene_description>
<character>PEGGY</character>
<dialogue>You don't have to use pig Latin!</dialogue>
<scene_description>Nobody could possibly know what we're talking about.</scene_description>
<character>RICHARD</character>
<dialogue>All right. These are the choices: microwave ovens, pocket calculators, Walkmans, digital watches and miniature TV's.</dialogue>
<character>PEGGY</character>
<dialogue>Oh. And huge portable radios. Everything else gets small, but for some reason, portable radios get enormous.</dialogue>
<scene_description>Peggy looks up and sees a lingerie store across the street. She heads towards it, calling:</scene_description>
<character>PEGGY</character>
<dialogue>I'll be right back.</dialogue>
<scene_description>Peggy enters the Lingerie store. After a beat, Peggy emerges from the store, excited and empty handed. Dodging traffic, she hurries back to Richard.</scene_description>
<character>PEGGY</character>
<dialogue>Richard! They don't have any! They never heard of them! Isn't that wonderful?</dialogue>
<character>RICHARD</character>
<dialogue>What are you talking about?</dialogue>
<character>PEGGY</character>
<dialogue>The wave of the future! I've decided on our first fortune! I'll see you later. You just think high tech.</dialogue>
<character>RICHARD</character>
<dialogue>High tech. I like the sound of that.</dialogue>
</scene>
<scene>
<stage_direction>EXT. APPLIANCE STORE DUSK</stage_direction>
<scene_description>At the back is a small record department, complete with a listening booth. Charlie is waiting on a customer. Peggy enters. CHARLIE'S FATHER is waiting on a buxom YOUNG WOMAN, his arm around her shoulder. He turns around as she enters. She has a shock of recognition.</scene_description>
<character>MR. BODELL</character>
<parenthetical>(to young woman)</parenthetical>
<dialogue>Look at that freezer chest. What capacity.</dialogue>
<parenthetical>(to Peggy, embarrassed)</parenthetical>
<dialogue>Hello Peggy Sue.</dialogue>
<character>PEGGY</character>
<dialogue>Woody! How ya doing?</dialogue>
<character>MR. BODELL</character>
<dialogue>Fine, just fine.</dialogue>
<scene_description>Peggy gives him a big hug and a kiss on the cheek.</scene_description>
<character>PEGGY</character>
<dialogue>Nice to see you.</dialogue>
<character>MR. BODELL</character>
<dialogue>Charlie's in the back.</dialogue>
<scene_description>Peggy walks towards the back as Mr. Bodell explains:</scene_description>
<character>MR. BODELL</character>
<dialogue>My future daughterinlaw. Very affectionate girl.</dialogue>
</scene>
<scene>
<stage_direction>INT. RECORD DEPT. APPLIANCE STORE</stage_direction>
<scene_description>Charlie talks to on ELDERLY GENTLEMAN.</scene_description>
<character>GENTLEMAN</character>
<dialogue>I'll just take the Ravel.</dialogue>
<character>CHARLIE</character>
<dialogue>Take the Shostakovich home and listen to it. Let it grow on you. Everyone that's bought it has come back and said, "This is definitive Shostakovich. Thank you for encouraging me to investigate it."</dialogue>
<character>GENTLEMAN</character>
<dialogue>Well, I did enjoy the Dvorak you suggested. Young man, you talked me into it.</dialogue>
<scene_description>Charlie points Peggy to the listening booth.</scene_description>
<character>CHARLIE</character>
<dialogue>You'll like it. I kid you not.</dialogue>
</scene>
<scene>
<stage_direction>INT. LISTENING BOOTH</stage_direction>
<scene_description>Peggy sits on the chair. A turntable sits on a small desk. Record covers decorate the walls. Charlie enters and sits on the desk, his feet resting on Peggy's chair.</scene_description>
<character>PEGGY</character>
<dialogue>What do you know about classical music?</dialogue>
<character>CHARLIE</character>
<dialogue>Nothing. Selling is selling.</dialogue>
<character>PEGGY</character>
<dialogue>Charlie. About last nights.</dialogue>
<character>CHARLIE</character>
<dialogue>Forget it. I've been thinking. Girls must go through that stuff too. Sometimes when I look at you I feel like an animal. Maybe my dad's right. Teenagers are nuts.</dialogue>
<character>PEGGY</character>
<dialogue>But I'm not. I'm a grown woman with a lifetime of emotional experiences you couldn't possibly understand.</dialogue>
<character>CHARLIE</character>
<dialogue>Yeah, I know. Girls mature faster than guys. But last night, I was the one who put on the brakes. And you know why?</dialogue>
<character>PEGGY</character>
<dialogue>Why?</dialogue>
<scene_description>Charlie cups her face in his hands, pouring out his heart.</scene_description>
<character>CHARLIE</character>
<dialogue>Because nothing else matters. That's the great thing about love. Every time we argue, every time something goes wrong, and I know that I'm not perfect either, things just work out better in the end. Cause you're my baby and I love you.</dialogue>
<character>PEGGY</character>
<dialogue>What am I going to do with you?</dialogue>
<character>CHARLIE</character>
<dialogue>Don't be cruel to a heart that's true.</dialogue>
</scene>
<scene>
<stage_direction>INT. KELCHER HAT STORE KELCHER'S HATS - LATE AFTERNOON</stage_direction>
<scene_description>Alone in the store, Mr. Kelcher is going through some receipts. Peggy enters carrying a shopping bag.</scene_description>
<character>PEGGY</character>
<dialogue>Hi, Dad.</dialogue>
<character>MR. KELCHER</character>
<dialogue>Doing some shopping?</dialogue>
<scene_description>Peggy reaches into the shopping bag and pulls out a small wrapped box.</scene_description>
<character>MR. KELCHER</character>
<dialogue>For me?</dialogue>
<character>PEGGY</character>
<dialogue>Open it.</dialogue>
<scene_description>He opens the present. Inside are a pair of miniature golf ball cufflinks.</scene_description>
<character>MR. KELCHER</character>
<dialogue>Sweetheart, they're beautiful. But they must've been expensive.</dialogue>
<scene_description>Across the street an ice cream truck pulls up. Mothers, fathers and children crowd around the back as the driver exit the cab.</scene_description>
<character>PEGGY</character>
<dialogue>I closed my Christmas club.</dialogue>
<character>MR. KELCHER</character>
<dialogue>Good, you got your money out of that greedy bank.</dialogue>
<character>PEGGY</character>
<dialogue>I wanted to apologize for this morning.</dialogue>
<character>MR. KELCHER</character>
<dialogue>It's hard to believe you're going to be eighteen.</dialogue>
<parenthetical>(looks out the window)</parenthetical>
<dialogue>Want an eskimo pie? Or a creamsicle? I'd come home from the store and there's little you running up to me. I'd give you a dime and you'd promise never to grow up.</dialogue>
<character>PEGGY</character>
<dialogue>Quiet today?</dialogue>
<character>MR. KELCHER</character>
<dialogue>This morning was good.</dialogue>
<character>PEGGY</character>
<dialogue>The hat business is in trouble.</dialogue>
<character>MR. KELCHER</character>
<dialogue>I, that what all that nonsense was about this morning? You're worried about my business?</dialogue>
<character>PEGGY</character>
<dialogue>Yes.</dialogue>
<character>MR. KELCHER</character>
<dialogue>That's very thoughtful, honey. It's just a slump. Things will pick up.</dialogue>
<character>PEGGY</character>
<dialogue>But when John F. Kennedy's elected President, men'1l stop wearing hats.</dialogue>
<character>MR. KELCHER</character>
<dialogue>Kennedy's a Catholic. He'll never win.</dialogue>
<character>PEGGY</character>
<parenthetical>(gravely; closing her eyes)</parenthetical>
<dialogue>He'll win.</dialogue>
<character>MR. KELCHER</character>
<dialogue>Richard Nixon's going to be President. Nixon wears hats.</dialogue>
</scene>
<scene>
<stage_direction>INT. NANCY'S ROOM</stage_direction>
<scene_description>Peggy is helping her sister Nancy with an art project.</scene_description>
<character>NANCY</character>
<dialogue>You think this'll cheer Dad up?</dialogue>
<character>PEGGY</character>
<dialogue>Of course, he'll love it. You're a terrific artist.</dialogue>
<scene_description>We HEAR Mr. Kelcher arguing loudly from downstairs. The two girls freeze.</scene_description>
<character>MR. KELCHER (O.S.)</character>
<dialogue>I don't need your charity. I don't need your grandmother's jewelry or your parents money -how could you do that?</dialogue>
<character>MRS. KELCHER</character>
<dialogue>Please don't shout.</dialogue>
<scene_description>Peggy opens the door, Nancy cautiously behind.</scene_description>
<character>MR. KELCHER (O.S.)</character>
<dialogue>I'm not shouting. Have we ever starved? Have we ever missed a mea1?</dialogue>
</scene>
<scene>
<stage_direction>INT. DOWNSTAIRS PEGGY'S POV:</stage_direction>
<scene_description>Mrs. Kelcher moves around the room, closing the windows.</scene_description>
<character>MRS. KELCHER</character>
<dialogue>Does everybody have to hear?</dialogue>
<character>MR. KELCHER</character>
<dialogue>I want everybody to hear because I don't have anything to be ashamed of.</dialogue>
<scene_description>Mr. Kelcher collapses into his barcalounger, red as a beet.</scene_description>
<character>MRS. KELCHER</character>
<dialogue>Jack, I was just trying to help.</dialogue>
<character>MR. KELCHER</character>
<dialogue>We'll make it, we'll be fine.</dialogue>
</scene>
<scene>
<stage_direction>INT. NANCY'S ROOM</stage_direction>
<scene_description>Nancy is frightened.</scene_description>
<character>NANCY</character>
<dialogue>Does this mean we're going to be poor?</dialogue>
<scene_description>Peggy leads her back into her room without letting her parents know they were there.</scene_description>
</scene>
<scene>
<stage_direction>INT. PEGGY'S ROOM</stage_direction>
<scene_description>We HEAR the song "Stranger in Paradise" from Kismet on the old black and white record player from opening scene. Peggy sits on the floor, surrounded by stockings, leotards and a sewing basket. She cuts the legs oft a pair of leotards. In one hand she holds up the top half of the leotards, in the other hand, a pair of nylon stockings. We HEAR a KNOCK on the bedroom door. Peggy pushes everything under the bed as Maddy and Carol enter.</scene_description>
<character>CAROL</character>
<dialogue>All right. What's the scoop?</dialogue>
<character>PEGGY</character>
<dialogue>On what?</dialogue>
<character>MADDY</character>
<dialogue>How come we're your best friends and we had to find out about you and Michael Fitzsimmons from Dolores?</dialogue>
<character>PEGGY</character>
<dialogue>She's unbelievable. Who needs satellites when we've got Dolores's mouth?</dialogue>
<character>CAROL</character>
<dialogue>I hear she does more than talk with her mouth.</dialogue>
<character>MADDY</character>
<dialogue>That's disgusting!</dialogue>
<character>CAROL</character>
<parenthetical>(brushing her hair))</parenthetical>
<dialogue>Oh, Maddy, grow up. It says in LOVE WITHOUT FEAR that "the tongue kiss as a means of genital stimulation is widely practiced and has much to commend it". Page eightysix.</dialogue>
<character>PEGGY</character>
<dialogue>Did you memorize the whole book or only the good parts?</dialogue>
<character>CAROL</character>
<dialogue>Just what you underlined.</dialogue>
<character>PEGGY</character>
<dialogue>You're kidding...? Carol, you have beautiful hair.</dialogue>
<character>CAROL</character>
<dialogue>Come on. What's with you and Michael?</dialogue>
<character>MADDY</character>
<dialogue>Yeah. He's so cool and mysterious.</dialogue>
<character>PEGGY</character>
<dialogue>He's very interesting. For all his pretending to be a tough guy, he's really got the soul of a poet.</dialogue>
<character>CAROL</character>
<dialogue>I bet Dolores told Charlie.</dialogue>
<character>PEGGY</character>
<dialogue>That loudmouthed little bitch</dialogue>
<character>MADDY</character>
<dialogue>Peggy Sue!</dialogue>
<character>CAROL</character>
<dialogue>You better watch out for her. She's after Charlie.</dialogue>
<character>PEGGY</character>
<dialogue>Cool it kids. He's free to see other girls, if he wants.</dialogue>
<character>MADDY</character>
<dialogue>But I always thought that you would marry Charlie, Carol would marry Walter, and I would marry Arthur. We'd all live on the same street and take our kids to the park together and have barbecues every Sunday. It'll spoil everything if you and Charlie break up. That Michael doesn't look like the barbecue type.</dialogue>
<character>PEGGY</character>
<dialogue>I'm not going to marry him. I just went out with him once.</dialogue>
<parenthetical>(beat)</parenthetical>
<dialogue>I know! Why don't we go to the movies tonight. Just us girls. It'll be fun.</dialogue>
<character>CAROL</character>
<dialogue>Don't be silly. It's Saturday. Date night!</dialogue>
<character>MADDY</character>
<dialogue>Yeah. I've gotta go. Arthur's picking me up soon.</dialogue>
<character>PEGGY</character>
<dialogue>Okay. But let's have a girls night soon. Maybe a pajama party.</dialogue>
<character>CAROL</character>
<dialogue>Aren't we a little old for that?</dialogue>
<character>MADDY</character>
<dialogue>Sometimes you're so immature.</dialogue>
</scene>
<scene>
<stage_direction>INT. KELCHER LIVING ROOM - NIGHT</stage_direction>
<scene_description>Peggy turns to face her parents, holding up her homemade pantyhose with a flourish.</scene_description>
<character>PEGGY</character>
<dialogue>Ta da! Pantyhose! The death of the garter belt! Of course, once they're manufactured they'll look better than this. What do you think?</dialogue>
<character>MR. KELCHER</character>
<dialogue>This is your great invention?</dialogue>
<parenthetical>(to Mrs. Kelcher)</parenthetical>
<dialogue>Would you wear those things?</dialogue>
<character>MRS. KELCHER</character>
<dialogue>Would they go over my girdle or under?</dialogue>
<character>PEGGY</character>
<dialogue>Instead of a girdle. And light as a feather.</dialogue>
<character>MRS. KELCHER</character>
<dialogue>Jack, I think she's got something there.</dialogue>
<character>PEGGY</character>
<dialogue>And we won't just sell them in department stores. We'll market them in drug stores and supermarkets.</dialogue>
<character>MR. KELCHER</character>
<dialogue>That's all well and good, but we don't have the money to manufacture them.</dialogue>
<character>PEGGY</character>
<dialogue>You need a partner. There's a friend of mine at school whose father makes seat covers for cars, Mr. Fitzsimmons. I've invited him and his family over for dinner tomorrow night.</dialogue>
<character>MRS. KELCHER</character>
<dialogue>Isn't that awfully forward?</dialogue>
<character>PEGGY</character>
<dialogue>We've got to move fast. This is an idea whose time has come.</dialogue>
<character>MR. KELCHER</character>
<dialogue>You mean to tell me that you invited this Mr. Fitzsimmons over to talk about investing his money in your cockamamie idea?</dialogue>
<character>PEGGY</character>
<dialogue>Wrong, Dad. Your idea.</dialogue>
</scene>
<scene>
<stage_direction>INT. PEGGY'S BEDROOM NIGHT</stage_direction>
<scene_description>A breeze blows through the open window Peggy sleeps fitfully, tossing off the covers. We HEAR NOISES from outside her window. A figure appears outside and silently climbs into the bedroom. Peggy mumbles Charlie's name. The man walks over to her bed as Peggy reaches out for him, tenderly, as if they were still married.</scene_description>
<character>PEGGY</character>
<dialogue>Charlie. I just had the strangest dream.</dialogue>
<character>CHARLIE</character>
<parenthetical>(whispering)</parenthetical>
<dialogue>I have to talk to you.</dialogue>
<scene_description>Through her sleep clouded eyes, Peggy begins to focus on the face of the younger Charlie. Suddenly, she remembers.</scene_description>
<character>PEGGY</character>
<dialogue>What are you doing here?</dialogue>
<character>CHARLIE</character>
<parenthetical>(angry)</parenthetical>
<dialogue>Let's go down to the basement.</dialogue>
</scene>
<scene>
<stage_direction>INT. BASEMENT</stage_direction>
<scene_description>Peggy enters, flicks on the light and leads Charlie in. Peggy senses Charlie's anger, and steels herself for the inevitable confrontation.</scene_description>
<character>CHARLIE</character>
<dialogue>I want to know what's going on. Dolores told me that you and that scuzzball Michael Fitzsimmons....</dialogue>
<character>PEGGY</character>
<dialogue>I bumped into him after you dropped me off Last night. I didn't feel like going home, so we went for a ride.</dialogue>
<character>CHARLIE</character>
<parenthetical>(furious)</parenthetical>
<dialogue>Then it's true, dammit! I had a miserable time tonight 'cause of you. When the Monotones did "Book of Love Chapter Four you break up, won't you give it just one more chance...." I'm thinking did we break up? 'Cause if we did, I don't even know about it! I thought we cleared all that up yesterday. Did that Maynard G. Beatnik give you what you wanted?</dialogue>
<character>PEGGY</character>
<dialogue>You know I never could stand your sarcasm.</dialogue>
<character>CHARLIE</character>
<dialogue>You're going to blow it, Peggy Sue. Nobody treats Charlie Bodell like this.</dialogue>
<character>PEGGY</character>
<dialogue>And why do you always refer to yourself in the third person, like Napoleon? How come it always turns into an argument with you?</dialogue>
<character>CHARLIE</character>
<dialogue>Look, I've got the hair, got the eyes, got the teeth, I got the car. I'm the lead singer, I'm the man.</dialogue>
<character>PEGGY</character>
<dialogue>Charlie,. I've been trying to postpone this. But what's the point? It's over.</dialogue>
<parenthetical>(crying)</parenthetical>
<dialogue>I don't want to hurt you. This is very hard for me. I'm doing this for both of us. I really want you to be happy.</dialogue>
<character>CHARLIE</character>
<dialogue>I will be happy if I have you. I love you.</dialogue>
<character>PEGGY</character>
<dialogue>That won't make any difference. We just can't live together. And you had the nerve to drive up with that bimbo Janet.</dialogue>
<character>CHARLIE</character>
<dialogue>What are you talking about? Who's Janet?</dialogue>
<character>PEGGY</character>
<dialogue>I just can't trust you anymore.</dialogue>
<character>CHARLIE</character>
<dialogue>What about everything I said to you this afternoon?</dialogue>
<character>PEGGY</character>
<dialogue>That's just it. You can always get to me. There's this window in my heart and every time I leave it open, you climb in. Unless I close it now, nothing's ever going to be different!</dialogue>
<character>CHARLIE</character>
<dialogue>But what has to be different?</dialogue>
<character>PEGGY</character>
<dialogue>Everything. I have a good head for business, I should be franchising the bakery. And I want you to give me your word that whatever happens, you'll go to college. And finish.</dialogue>
<character>CHARLIE</character>
<dialogue>What! What about the group and my singing career? What about me?</dialogue>
<character>PEGGY</character>
<dialogue>I'm trying to save you years of frustration.... waiting for a big break.... no. Waiting for that big disappointment so you could blame it all on me.</dialogue>
<character>CHARLIE</character>
<dialogue>You don't know zip! You think I'm going to end up selling appliances like my father? Chasing women around the store. I've got to give it a shot. Why are you trying to kill the two things that mean the most to me? Until yesterday you loved me and you loved us.</dialogue>
<parenthetical>(opening the door))</parenthetical>
<dialogue>What the hell has changed? For two years I've done nothing but love you. I'll show you, I'm going to be just like Fabian!</dialogue>
<scene_description>Charlie exits. Peggy slumps back, drained. Getting up, she crosses to the mounted swordfish. Standing on a chair she reaches into the mouth of the fish and pulls out a package of Pall Malls. She puts a cigarette in her mouth and picks up a table lighter and flicks it. As it lights, the tiny music box inside PLAYS SMOKE GETS IN YOUR EYES.</scene_description>
</scene>
<scene>
<stage_direction>INT. KELCHER KITCHEN - MORNING</stage_direction>
<scene_description>We HEAR distant CHURCH BELLS. Peggy sits down to scan the large Sunday newspaper. Seeing her mother's phone book, she finds the number she needs and picks up the phone. She dials slowly.</scene_description>
<character>PEGGY</character>
<parenthetical>(very nervous)</parenthetical>
<dialogue>Hello, Grandma. It's Peggy Sue. Much better. How are you? I'm very sorry about the other day.</dialogue>
</scene>
<scene>
<stage_direction>EXT. STREET APPROACHING RICHARD'S HOUSE</stage_direction>
<scene_description>Peggy jogs towards Richard. He is watering the front lawn.</scene_description>
<character>PEGGY</character>
<parenthetical>(breathless)</parenthetical>
<dialogue>Hi, Richard.</dialogue>
<character>RICHARD</character>
<dialogue>What are you doing?</dialogue>
<character>PEGGY</character>
<dialogue>Jogging. I was running, now I'm jogging.</dialogue>
<character>RICHARD</character>
<dialogue>That's what you were talking about yesterday? Everybody does that in the future?</dialogue>
<character>PEGGY</character>
<dialogue>Yep. It's going to be a law.</dialogue>
<parenthetical>(beat)</parenthetical>
<dialogue>I broke up with Charlie last night.</dialogue>
<character>RICHARD</character>
<dialogue>That's terrific. You did it. You really changed the course of your destiny.</dialogue>
<character>PEGGY</character>
<dialogue>It was an unfair fight. He didn't have a chance. I'm taking a real gamble. I loved him for a long, long time.</dialogue>
<character>RICHARD</character>
<dialogue>Cheer up. Now you can give some other guy a shot. Make it up to him later and buy him a yacht.</dialogue>
<character>PEGGY</character>
<dialogue>For God's sake, forget the money! I'm going crazy! I'm a walking anachronism.</dialogue>
<character>PEGGY</character>
<dialogue>I'm a puddle of deja I'm worried about my kids, Scott must be scared to death, I think my daughter's doing drugs again. I can't have any fun here, I don't have that innocence any more. I can't keep all this in anymore. I feel Like I'm going to explode.</dialogue>
<character>RICHARD</character>
<dialogue>Look, the best scientific mind in this country is working on your case. May I make a suggestion?</dialogue>
<character>PEGGY</character>
<dialogue>Like what?</dialogue>
<character>RICHARD</character>
<parenthetical>(excited)</parenthetical>
<dialogue>Suggestion! Hypnotic suggestion! Why didn't I think of that before?</dialogue>
<character>PEGGY</character>
<dialogue>What do you know about hypnosis?</dialogue>
<character>RICHARD</character>
<dialogue>Everything. This is perfect. The subconscious mind remembers all. You can give me more information on microchips and then pinpoint what happened at the reunion. Maybe that'll give us a clue on how to get you back.</dialogue>
<character>PEGGY</character>
<dialogue>Look, I'm desperate. I'll try anything. But what if you can't snap me out of it?</dialogue>
<character>RICHARD</character>
<dialogue>No offense, but you're pretty out of it now.</dialogue>
</scene>
<scene>
<stage_direction>INT. RICHARD'S GARAGE</stage_direction>
<scene_description>Peggy sits in an old recliner. Richard holds a small, battery operated revolving disc up in front of Peggy's closed eyes, then puts it down and picks up a notepad and pen.</scene_description>
<character>RICHARD</character>
<dialogue>You are completely relaxed. When I count to three, you will open your eyes. One... two... three.</dialogue>
<parenthetical>(Peggy's eyes flutter open)</parenthetical>
<dialogue>We'll start with something easy. What is your name?</dialogue>
<character>PEGGY</character>
<parenthetical>(trancelike)</parenthetical>
<dialogue>Peggy Sue Kelcher.</dialogue>
<parenthetical>(beat)</parenthetical>
<dialogue>Or, Peggy Bodell.</dialogue>
<parenthetical>(beat)</parenthetical>
<dialogue>I'm not sure.</dialogue>
<character>RICHARD</character>
<dialogue>Oh boy. Peggy, what are microchips?</dialogue>
<character>PEGGY</character>
<dialogue>Ah.... they're very tiny... they look like a fingernail made out of an erector set...</dialogue>
<character>RICHARD</character>
<dialogue>What will they be made of?</dialogue>
<character>PEGGY</character>
<dialogue>I think it's called silicon. Charlie told me that.</dialogue>
<character>RICHARD</character>
<dialogue>Silicon is from sand.</dialogue>
<character>PEGGY</character>
<dialogue>We were lying in the sand. It was my eighteenth birthday... We were so awkward... I would have married him anyway...</dialogue>
<scene_description>Peggy starts to shift in the chair. Her shorts hike up, her legs spread slightly. This is not lost on Richard. Weird, guttural sounds begin to emanate from his throat.</scene_description>
<character>RICHARD</character>
<dialogue>In the future, will you have to marry a girl before you have sex with her?</dialogue>
<character>PEGGY</character>
<dialogue>No. The Pill will change all that. Then he wouldn't have blamed me. We were just too young.</dialogue>
<character>RICHARD</character>
<dialogue>You mean you'll give a girl a pill and she'll want to have sex?</dialogue>
<character>PEGGY</character>
<dialogue>No. The Pill will be for birth control. But girls do like sex. Maybe not the first time.</dialogue>
<character>RICHARD</character>
<dialogue>Will you take of f your blouse?</dialogue>
<character>PEGGY</character>
<dialogue>Yes, every day.</dialogue>
<parenthetical>(taking her blouse off getting spaced)</parenthetical>
<dialogue>Maybe I shouldn't have worn that dress? I told Beth it was a bad idea. That's why they made me Queen.</dialogue>
<scene_description>Peggy's meandering makes Richard nervous.</scene_description>
<character>MAN'S VOICE (O.S.)</character>
<dialogue>Richard, are you in there?</dialogue>
<scene_description>Richard frantically tries to put Peggy's blouse back on. She's limp and unresponsive.</scene_description>
<character>RICHARD</character>
<parenthetical>(shouting)</parenthetical>
<dialogue>No! Yes! I'll be right out, Dad.</dialogue>
<parenthetical>(urgent)</parenthetical>
<dialogue>Oh shit! Peggy, I'm going to snap you out of it.</dialogue>
<character>PEGGY</character>
<dialogue>I couldn't help it I loved him.</dialogue>
<character>RICHARD</character>
<dialogue>One... two... three.</dialogue>
<parenthetical>(claps twice)</parenthetical>
<dialogue>You are now awake.</dialogue>
<scene_description>Richard kneels on top of Peggy as she wakes up, fumbling the buttons at her breasts. Peggy comes to, as Richard jumps off. She buttons her blouse, furious.</scene_description>
<character>PEGGY</character>
<dialogue>Richard! You should be ashamed of yourself.</dialogue>
<character>RICHARD</character>
<dialogue>Me? You went crazy! You started taking your clothes off. I was putting them back on for you.</dialogue>
<character>PEGGY</character>
<dialogue>That's just perfect isn't it? Did it work? Did you find out why I came back?</dialogue>
<character>RICHARD</character>
<dialogue>I think it has something to do with your birthday. You were rambling. I didn't understand the rest.</dialogue>
<character>PEGGY</character>
<dialogue>God dammit! How'm I gonna got out of here?</dialogue>
<scene_description>Peggy grabs a glass beaker and hurls it against the wall.</scene_description>
<character>RICHARD</character>
<dialogue>Hey! Do you have any idea how much those beakers cost? I usually charge for hypnosis.</dialogue>
<character>PEGGY</character>
<dialogue>Oh, go feel up your hamsters! I hear rodents put out.</dialogue>
<scene_description>Peggy storms out.</scene_description>
</scene>
<scene>
<stage_direction>INT. KELCHER HOUSE</stage_direction>
<scene_description>Mrs. Kelcher stands at the counter preparing a pot roast. Peggy's making a chocolate mousse.</scene_description>
<character>MRS. KELCHER</character>
<dialogue>You know, dear, I think the pantyhose is a wonderful idea, but the next time you come up with something, please don't stay out all night. Just tell us. We'll believe you.</dialogue>
<character>PEGGY</character>
<dialogue>Mom, how about a machine that's like your blender, only it slices vegetables, kneads dough, chops meat and even make fresh pasta?</dialogue>
<character>MRS KELCHER</character>
<dialogue>What's pasta?</dialogue>
</scene>
<scene>
<stage_direction>INT. KELCHER DINING ROOM</stage_direction>
<scene_description>Peggy and Mrs. Kelcher are setting the table, taking the good china out of the cabinet. A dozen red roses grace the table.</scene_description>
<character>MRS. KELCHER</character>
<dialogue>These roses are beautiful. And so romantic'. Who is this Michael? Is he a friend of Charlie's?</dialogue>
<scene_description>She moves the Jell-O mold.</scene_description>
<character>PEGGY</character>
<dialogue>No, just a friend of mine. I don't think he Likes JellO.</dialogue>
<character>MRS. KELCHER</character>
<dialogue>What does Charlie think about that?</dialogue>
<character>PEGGY</character>
<dialogue>You know Mom, it's okay to have male friends. Besides, it's over with me and Charlie.</dialogue>
<character>MRS. KELCHER</character>
<parenthetical>(shocked)</parenthetical>
<dialogue>What? When did it happen? Your dad and I always expected you two to get married.</dialogue>
<character>PEGGY</character>
<dialogue>Yeah, I know Peggy Sue gets married. Case closed. Period. Mom, if you could live your life over again, would you do the same thing? Get married and settle down after high school?</dialogue>
<character>MRS KELCHER</character>
<dialogue>Of course I loved your Lather. I remember once being offered a scholarship to art school. But I turned it down.</dialogue>
<character>PEGGY</character>
<dialogue>Why?</dialogue>
<character>MRS. KELCHER</character>
<dialogue>All the college girls I knew were so well, dressed. I was worried that I wouldn't fit in. I didn't have the right clothes. I was so silly.</dialogue>
<character>MRS. KELCHER</character>
<dialogue>But, I don't have many regrets, and besides, I don't have time to worry about the past. But Charlie. I hope you know what you're doing.</dialogue>
</scene>
<scene>
<stage_direction>INT. DINING ROOM TWO HOURS LATER</stage_direction>
<scene_description>Michael, DORIS and ED FITZSIMMONS sit at the table with the Kelchers. They have just finished dessert.</scene_description>
<character>MR. FITZSIMMONS</character>
<dialogue>Moose? I never thought I'd have moose for desert.</dialogue>
<scene_description>The adults laugh. Michael looks bored.</scene_description>
<character>MR. KELCHER</character>
<dialogue>Peggy Sue cooked the whole dinner.</dialogue>
<character>NANCY</character>
<dialogue>But Mom helped.</dialogue>
<character>MR. FITZSIMMONS</character>
<dialogue>You know, you should open a restaurant.</dialogue>
<character>PEGGY</character>
<dialogue>It's incredibly difficult to make money in the restaurant business.</dialogue>
<scene_description>You have to get up at five in the morning to go to the market, you have problems with spoilage, employee pilferage, and just try and collect from the credit card companies. They take months to pay. The whole table is astonished.</scene_description>
<character>MR. FITZSIMMONS</character>
<dialogue>How does a young gal like you know so much about business?</dialogue>
<character>PEGGY</character>
<dialogue>Oh, I just picked it up from my dad. He's a wonderful businessman.</dialogue>
<character>MR. FITZSIMMONS</character>
<dialogue>Really?</dialogue>
<scene_description>Peggy gives her father a go get him look. Michael's writing in a pocket notebook.</scene_description>
<character>MR. KELCHER</character>
<dialogue>Ah, Ed, why don't you and I adjourn to the den for a while?</dialogue>
</scene>
<scene>
<stage_direction>EXT. KELCHER HOUSE</stage_direction>
<scene_description>Peggy and Michael stand by Michael's motorcycle, passing a cigarette.</scene_description>
<character>MICHAEL</character>
<dialogue>That was quite an evening.</dialogue>
<scene_description>Bourgeois, phony, decadent, stupid.</scene_description>
<character>PEGGY</character>
<dialogue>I shouldn't have put you through that. It must have been agony. Let's do something.</dialogue>
<scene_description>Michael makes a move towards Peggy, with lust in his eyes.</scene_description>
<character>PEGGY</character>
<dialogue>No. Something else. I'm too full. Besides, it's a school night.</dialogue>
</scene>
<scene>
<stage_direction>EXT. GHETTO STREET - NIGHT</stage_direction>
<scene_description>Michael and Peggy pull up on the motorcycle in front of Lena's Lounge, a seedy bar in the town's black ghetto. Half a dozen blacks are banging around outside. They eye Peggy and Michael suspiciously.</scene_description>
</scene>
<scene>
<stage_direction>INT. LENA'S LOUNGE</stage_direction>
<scene_description>The room has a bar at one side, booths and tables in the rest of the room. A stage is at the far end. On stage, an all black group, The FourMations, is performing the song GOOD TIMIN' The people in the club are dancing the Twist. Peggy and Michael sit in the last booth. Several people wave hello to Michael. Although Peggy and Michael can see the stage, their booth is not visible from the stage.</scene_description>
<character>MICHAEL</character>
<dialogue>Five more weeks of school. And ten minutes past graduation I'm gone.</dialogue>
<parenthetical>(he raises his glass)</parenthetical>
<dialogue>To freedom.</dialogue>
<character>PEGGY</character>
<parenthetical>(looking around at the crowd clinking glasses)</parenthetical>
<dialogue>For everyone.</dialogue>
<character>MICHAEL</character>
<dialogue>Now listen, this is the plan. As soon as school is finished we go to Utah and...</dialogue>
<character>PEGGY</character>
<dialogue>Utah? I thought you'd be going to New York or Paris. What's in Utah?</dialogue>
<character>MICHAEL</character>
<dialogue>Rita. I met her last summer. She's cool. You'll really dig her. She's got this great little cabin in the hills, just outside of Provo where she raises chickens. I'll write and the two of you can take care of the chickens to support us.</dialogue>
<character>PEGGY</character>
<parenthetical>(astounded)</parenthetical>
<dialogue>I can't do that.</dialogue>
<character>MICHAEL</character>
<dialogue>Why not? Polygamy's legal in Utah.</dialogue>
<character>PEGGY</character>
<dialogue>I hate chickens.</dialogue>
<scene_description>ANGLE THE STAGE On stage, the FourNations have concluded their song. We HEAR APPLAUSE.</scene_description>
<character>SINGER</character>
<dialogue>Thank you. Now we're happy to introduce, a friend of ours. He's one damn fine singer, Mr. Charlie Dell!</dialogue>
<scene_description>We HEAR the GROVE BEGIN the SONG SEA OF LOVE.</scene_description>
<character>MICHAEL</character>
<dialogue>But what about the other night? We were like two stars in the same constellation.</dialogue>
<character>PEGGY</character>
<dialogue>Michael, you and I are light years apart. You should go, but not with me.</dialogue>
<character>MICHAEL</character>
<dialogue>But we had heat baby. Passion! Fire! We owe it to ourselves to fuse together.</dialogue>
<character>(BEAT)</character>
<dialogue>At least one more time.</dialogue>
<character>PEGGY</character>
<dialogue>That's a terrific line. You're going to be a wonderful writer.</dialogue>
<character>MICHAEL</character>
<dialogue>You think so?</dialogue>
<character>PEGGY</character>
<dialogue>Yes. We had a glorious night together. One day you'll remember and write about it.</dialogue>
<character>MICHAEL</character>
<dialogue>I can dig that. Bittersweet perfection. Dogs of lust on leashes of memory... yeah.</dialogue>
<scene_description>Suddenly distracted by the familiar voice, Peggy looks up to the stage and sees that the lead singer, Charlie Bell, is in fact, Charlie Bodell. PEGGY'S POV: THE STAGE CHARLIE SINGING</scene_description>
<character>PEGGY (O.S.)</character>
<dialogue>It's Charlie!</dialogue>
<character>MICHAEL (O.S.)</character>
<dialogue>What a treat.</dialogue>
<scene_description>INTERCUT - CHARLIE SINGING WITH REACTIONS OF PEGGY AND MICHAEL. Michael observes Peggy's intimate reaction to Charlie's singing.</scene_description>
<character>MICHAEL</character>
<dialogue>Now I get it.</dialogue>
<character>PEGGY</character>
<dialogue>Ssh. He's great.</dialogue>
<character>MICHAEL</character>
<dialogue>Peggy Sue's still stuck on treble without a cause.</dialogue>
<scene_description>Charlie finishes the song as the audience goes wild. He beams.</scene_description>
<character>PEGGY</character>
<dialogue>I thought I knew everything about him.</dialogue>
<character>MICHAEL</character>
<dialogue>Can we split now?</dialogue>
<scene_description>Peggy and Michael unobtrusively slip out of the club. Charlie leaves the stage. He's met by a greasy looking MAN. They sit down at a booth to talk.</scene_description>
</scene>
<scene>
<stage_direction>EXT. KELCHER HOUSE NIGHT</stage_direction>
<scene_description>Michael and Peggy pull up. Peggy gets off the bike and gives Michael a goodnight kiss.</scene_description>
<character>MICHAEL</character>
<dialogue>I can dig you being uptight about Rita and Utah. That's cool. But I've got to warn you about something.</dialogue>
<character>PEGGY</character>
<dialogue>What?</dialogue>
<character>MICHAEL</character>
<dialogue>My father. He's not just the ultimate square. He's a total crook.</dialogue>
</scene>
<scene>
<stage_direction>INT. KELCHER KITCHEN</stage_direction>
<scene_description>Mrs. Kelcher finishes the dishes, with rubber gloves on. Mr. Kelcher sits, cleaning his pipe. Peggy enters.</scene_description>
<character>PEGGY</character>
<dialogue>How did it go with the pantyhose?</dialogue>
<character>MR. KELCHER</character>
<dialogue>It's the darndest thing. Ed knew what they were immediately.</dialogue>
<character>MR. KELCHER</character>
<dialogue>As a matter of fact, he said he's got a product like that in development right now.</dialogue>
<character>PEGGY</character>
<dialogue>Oh no!</dialogue>
<character>MR. KELCHER</character>
<dialogue>Didn't call, them pantyhose, though. What was it, Evelyn?</dialogue>
<character>MRS. KELCHER</character>
<dialogue>Sheerotards. Catchy name, isn't it? Like leotards.</dialogue>
<character>PEGGY</character>
<dialogue>He's a liar! He has no such thing! It's my own fault. I should have had it patented first. He's a crook, damnit.</dialogue>
<character>MR. KELCHER</character>
<dialogue>Peggy Sue, watch your mouth.</dialogue>
<character>MRS. KELCHER</character>
<dialogue>Mr. Fitzsimmons is a very prominent man.</dialogue>
<character>PEGGY</character>
<dialogue>Oh, you're both so naive.</dialogue>
<character>MR. KELCHER</character>
<dialogue>Look young lady, I grew up through the depression. I fought in the second World War. Six days a week I get up and deal with the public, the bank and the bill collectors.</dialogue>
<scene_description>And on the seventh day, when God rests, I don't have to listen to my daughter calling me a fool!</scene_description>
<character>MRS. KELCHER</character>
<dialogue>You have a point, dear.</dialogue>
</scene>
<scene>
<stage_direction>INT. PEGGY'S ROOM</stage_direction>
<scene_description>(POSS. OMIT THIS SCENE) Peggy lies in bed in the darkness, her eyes wide open. The bedside clock reads: 2:47. Peggy gets out of bed. CAMERA TRACKS Peggy into Nancy's room. Peggy looks down at Nancy sleeping. Gently pulling back the blankets, Peggy gets into bed with her.</scene_description>
</scene>
<scene>
<stage_direction>EXT. CHARLIE'S STREET MORNING</stage_direction>
<scene_description>Peggy walks down a residential street, much like her parents'. She stops when she sees Charlie's car parked in a driveway, and leans against a tree next to his car. Moments later, Charlie exits his house, a dog trailing behind him. The dog runs up to Peggy. Charlie is wary and distant.</scene_description>
<character>CHARLIE</character>
<dialogue>What're you doing here?</dialogue>
<character>PEGGY</character>
<dialogue>I wanted to talk to you, and I have one last thing to take care of at school. Then I'm going to...</dialogue>
<parenthetical>(pats dog)</parenthetical>
<dialogue>Good dog, Rusty. Good dog.</dialogue>
<character>CHARLIE</character>
<dialogue>Rusty's dead. That's Ajax</dialogue>
<scene_description>Charlie throws a stick. Ajax chases it, never comes back.</scene_description>
<character>PEGGY</character>
<dialogue>Oh. I guess I always liked Rusty better.</dialogue>
<parenthetical>(beat)</parenthetical>
<dialogue>Could you give me a ride to school?</dialogue>
<character>CHARLIE</character>
<dialogue>Sorry, the Blue Thunder's out of commission for a while.</dialogue>
<character>PEGGY</character>
<dialogue>Well, how about a walk, Charlie Bell.</dialogue>
<character>CHARLIE</character>
<dialogue>How'd you know about that?</dialogue>
<character>PEGGY</character>
<dialogue>I was at Lena's last night. You were terrific.</dialogue>
<character>CHARLIE</character>
<dialogue>Not terrific enough. What were you doing in that part of town? Who were you with?</dialogue>
<character>PEGGY</character>
<dialogue>What were You doing there? You never told me you were singing with an R and B group.</dialogue>
<character>CHARLIE</character>
<dialogue>Hey. I guess there's a lot of things we don't know about each other.</dialogue>
<scene_description>Charlie and Peggy walking.</scene_description>
<character>PEGGY</character>
<dialogue>I'd forgotten how much music meant to you.</dialogue>
<character>CHARLIE</character>
<dialogue>That's real big of you.</dialogue>
<character>PEGGY</character>
<dialogue>Stop being defensive. I want to help you. I wrote a song for you.</dialogue>
<character>CHARLIE</character>
<dialogue>You're kidding. You wrote a song? Is it about a guilty girl and a trusting guy... she wants to hurt him, and he wonders why?</dialogue>
<scene_description>Peggy takes a piece of paper from her purse.</scene_description>
<character>PEGGY</character>
<dialogue>Not exactly, but with your great voice, it'll be a huge hit. Honest.</dialogue>
<character>CHARLIE</character>
<dialogue>Fat chance. You know, Lee Wilkins came to hear me last night. He told me to forget it. You told me to forget it. My parents tell me to forget it.</dialogue>
<character>PEGGY</character>
<dialogue>Just take a look at it.</dialogue>
<parenthetical>(hands him the lyric)</parenthetical>
<character>CHARLIE</character>
<dialogue>If you took the trouble to write it, then sure, I'll take a look at it. But I'm beginning to think that maybe there's more to life than music. I wonder if people would still like me if I stopped being Mr. Excitement?</dialogue>
</scene>
<scene>
<stage_direction>INT. SCHOOL HALLWAY</stage_direction>
<scene_description>Peggy and Charlie stand by their open locker.</scene_description>
<character>CHARLIE</character>
<dialogue>Does this mean you like me again?</dialogue>
<character>PEGGY</character>
<dialogue>It means I care about you and what happens to you.</dialogue>
<character>CHARLIE</character>
<dialogue>That's all I wanted to hear. 'Cause I'm never going to give up on us.</dialogue>
<scene_description>It's easy to fall apart in a crisis. It's easy to be selfish and say goodbye and good luck. But this is more than love. This is a mental decision. Just wait till tomorrow, when you see your birthday present. Then you'll understand. Charlie walks away as Peggy reaches into the locker for her books.</scene_description>
<character>CAROL</character>
<dialogue>Peggy, I have to talk to you.</dialogue>
<scene_description>Peggy turns to Carol. They walk down the hallway together.</scene_description>
<character>PEGGY</character>
<dialogue>What's the matter?</dialogue>
<character>CAROL</character>
<dialogue>It's that jerk Walter.</dialogue>
<character>PEGGY</character>
<dialogue>What happened?</dialogue>
<character>CAROL</character>
<dialogue>After Charlie told Walter that he broke up with you because he wanted to play the field, Walter decided he should do the same thing.</dialogue>
<character>PEGGY</character>
<dialogue>Welcome to the singles' scene.</dialogue>
<character>CAROL</character>
<dialogue>What a I going to do for the rest of my life? I don't have a boyfriend anymore.</dialogue>
<character>PEGGY</character>
<dialogue>Look, Carol, maybe Walter's done you a big favor. You always said you wanted to get out of town. Go for it. And be happy, goddamnit, I'm rooting for you.</dialogue>
<character>ANOTHER ANGLE</character>
<dialogue>Walter walks up to Charlie.</dialogue>
<character>WALTER</character>
<dialogue>Hey Charlie, what do you think of this?</dialogue>
<scene_description>Walter does a totally demented dance step, finishing by strumming his leg like a guitar. He stands there grinning.</scene_description>
<character>CHARLIE</character>
<dialogue>Walter, maybe you should be a dentist.</dialogue>
</scene>
<scene>
<stage_direction>INT. CLASSROOM</stage_direction>
<scene_description>Peggy sits at her desk, organizing her books. We hear the end of the ANNOUNCEMENTS over the P.A. SYSTEM.</scene_description>
<character>MR. MOSEY (V.O.)</character>
<dialogue>And finally, our heartiest congratulations to our girls diving team for placing second in the county finals last Friday. And a special accolade to Rosalie Testa who placed first in every one of her events. We're proud of you, Rosalie.</dialogue>
<scene_description>Everybody turns toward Rosalie and applauds. Peggy turns to Rosalie, trembling. The BELL RINGS as the class starts to leave, still crowded around Rosalie. Peggy stares after her, frozen in her seat Dolores approaches.</scene_description>
<character>DOLORES</character>
<dialogue>What's the matter, princess? Lost your prince?</dialogue>
<scene_description>Peggy looks up at Dolores and starts to seethe. She stands up slowly and faces Dolores.</scene_description>
<character>PEGGY</character>
<dialogue>You know Dolores, there's a lot of things I could say to you, but you're not worth the effort.</dialogue>
<scene_description>Peggy reaches down to up her books. On the top of the pile is an open fountain pen, which she picks up, pul1ing the release lever, squirting ink all over Dolores's dress. Dolores drops her books, looks down at her dress, horrified.</scene_description>
<character>PEGGY</character>
<dialogue>Sorry. These fountain pens are so tricky.</dialogue>
<character>DOLORES</character>
<parenthetical>(screams)</parenthetical>
<dialogue>Oh! You did that on purpose! I hate you. Go gargle with razor blades!</dialogue>
<character>PEGGY</character>
<dialogue>I beg your pardon?</dialogue>
<character>DOLORES</character>
<dialogue>Take a long walk on a short pier.</dialogue>
<character>PEGGY</character>
<dialogue>Have a nice day.</dialogue>
</scene>
<scene>
<stage_direction>INT. GIRLS' LOCKER ROOM</stage_direction>
<scene_description>Peggy sits disconsolate on a bench, watching the other girls changing into their swim suits. Rosalie is in the shower room, wetting down her suit. She accepts congratulations from a number of the girls. The BELL RINGS as the girls begin to exit to the pool.</scene_description>
<character>PEGGY</character>
<dialogue>Rosalie! Wait!</dialogue>
<scene_description>Rosalie turns at the door, smiling. They are alone.</scene_description>
<character>ROSALIE</character>
<dialogue>What's up?</dialogue>
<character>PEGGY</character>
<dialogue>I think you should give up diving. It's dangerous.</dialogue>
<character>ROSALIE</character>
<dialogue>Don't be silly, I'm the best in the county.</dialogue>
<character>PEGGY</character>
<dialogue>I know you are, but you have to stop. I couldn't tell you before, I didn't know if I should. But you have to stop before you hurt yourself.</dialogue>
<character>ROSALIE</character>
<dialogue>I spend three hours a day practicing. I have trainers, I know what I'm doing.</dialogue>
<character>PEGGY</character>
<dialogue>But accidents can happen.</dialogue>
<character>ROSALIE</character>
<dialogue>Not to me they don't. I'm going to win the State, then the. Nationals, and then I'm going to the Olympics.</dialogue>
<character>PEGGY</character>
<dialogue>Rosalie, please, listen to me! You have to stop.</dialogue>
<character>ROSALIE</character>
<dialogue>You're sick. You should go to the nurse. I'm going to tell Miss Dennis.</dialogue>
<scene_description>Rosalie exits into the pool area. Peggy feels helpless.</scene_description>
</scene>
<scene>
<stage_direction>INT. HALLWAY</stage_direction>
<scene_description>Peggy walks down the hall, a set of double doors, leading to the pool, just ahead of her through them she sees Rosalie diving through the air with the careless innocence of youth. Burdened with the inevitability of it all, she rushes through the hall, and is stopped by Richard.</scene_description>
<character>RICHARD</character>
<dialogue>What's the matter?</dialogue>
<character>PEGGY</character>
<dialogue>It's all, gone wrong, nothing's working out.</dialogue>
<character>RICHARD</character>
<dialogue>Not true. I think I'm making real progress on the microchip.</dialogue>
<character>PEGGY</character>
<dialogue>You were meant to. You're one of those fortunate people that good things happen to. I have to get out of here.</dialogue>
<scene_description>She starts to walk away.</scene_description>
<character>RICHARD</character>
<dialogue>Peggy, I believe you. I believe everything you told me. It's wonderful. You're the exception that proves the rule.</dialogue>
<scene_description>She kisses him on the forehead.</scene_description>
<character>PEGGY</character>
<dialogue>I love you too, Richard. Thanks for trying.</dialogue>
<scene_description>She continues down the hallway.</scene_description>
</scene>
<scene>
<stage_direction>EXT. AUDITORIUM - DAY</stage_direction>
<scene_description>Peggy heads out the door, sees Charlie.</scene_description>
<character>CHARLIE</character>
<dialogue>Hey, Peggy. Wait a minute.</dialogue>
<scene_description>Peggy stops on the landing. Charlie joins her, so eager. He doesn't notice how distraught she is.</scene_description>
<character>CHARLIE</character>
<dialogue>I cut shop and did some work on your song. You know, it's not half bad for your first try. Of course, I changed all the "yeahs" to "oohs". Listen to this.</dialogue>
<scene_description>Charlie begins to sing an R&B version of SHE LOVES YOU.</scene_description>
<character>PEGGY</character>
<dialogue>Forget it, it'll never work.</dialogue>
<character>CHARLIE</character>
<dialogue>Okay. Listen, I cancelled the tickets for Fabian. I thought it would be better for your birthday to eat at a nice restaurant, Chez Tres.</dialogue>
<scene_description>Walter, Arthur, Maddy and Carol watch as Peggy runs away.</scene_description>
</scene>
<scene>
<stage_direction>INT./EXT. BUS OR TRAIN - HIGHWAY</stage_direction>
<scene_description>INTERCUT the bus, Peggy looking out the window, the rural scenery: pastures, barns, etc., the other passengers.</scene_description>
</scene>
<scene>
<stage_direction>EXT. STATION</stage_direction>
<scene_description>Peggy's grandparents, ELIZABETH and BARNEY ALVORG , wait in the front of the station.</scene_description>
</scene>
<scene>
<stage_direction>INT. BUS</stage_direction>
<scene_description>Peggy sees her grandparents waiting for her. She grips the window rail tightly, trying to hold herself together.</scene_description>
<character>BUS DRIVER</character>
<dialogue>Everybody gettin' off at Dumont. Here we are.</dialogue>
<scene_description>Peggy stands and reaches above to take down her suitcase. Nervous, she drops it. A MAN, getting off the bus, helps her, picking it up.</scene_description>
<character>PEGGY</character>
<dialogue>Thank you.</dialogue>
<character>MAN</character>
<dialogue>No trouble at all.</dialogue>
<scene_description>The man gets off the bus.</scene_description>
</scene>
<scene>
<stage_direction>EXT. GENERAL STORE</stage_direction>
<scene_description>Peggy stands at the door of the bus, hesitant. Elizabeth and Barney approach the bus, waving and smiling up at her.</scene_description>
<character>BARNEY</character>
<dialogue>Hello, Lilla!</dialogue>
<character>ELIZABETH</character>
<dialogue>Peggy Sue!</dialogue>
<scene_description>Peggy slowly walks down the steps, moved to tears. She approaches her grandparents and drops her suitcases. She hugs them tightly. The bus door closes and the bus pulls away behind them.</scene_description>
</scene>
<scene>
<stage_direction>INT. CAR DRIVING</stage_direction>
<scene_description>Barney is behind the wheel of a 1951 Plymouth. Elizabeth is in front, Peggy curled up in the back, regressing.</scene_description>
<character>BARNEY</character>
<dialogue>Quite a bit more rain than usual</dialogue>
<character>BARNEY</character>
<dialogue>this year. I hope it doesn't spoil the rhubarb.</dialogue>
<character>ELIZABETH</character>
<dialogue>I've already got some in. I was thinking of making a pie for dinner tonight.</dialogue>
<parenthetical>(turning around to Peggy)</parenthetical>
<dialogue>How would you like that?</dialogue>
<character>PEGGY</character>
<parenthetical>(like a little girl)</parenthetical>
<dialogue>Fine.</dialogue>
<parenthetical>(beat))</parenthetical>
<dialogue>Grandma, would you teach me how to make strudel?</dialogue>
<character>ELIZABETH</character>
<dialogue>That's a day's work. But if that's what you want, maybe we can do it tomorrow for your birthday.</dialogue>
</scene>
<scene>
<stage_direction>INT. FARMHOUSE/KITCHEN - NIGHT</stage_direction>
<scene_description>Peggy and Elizabeth finish up the dishes, chatting.</scene_description>
</scene>
<scene>
<stage_direction>INT. LIVING ROOM</stage_direction>
<scene_description>A fire blazes in the fireplace. A grandfather clock stands prominently in the room. The clock from Peggy's house. Peggy sits with Elizabeth, learning how to knit. Barney laughs at "The Burns and Allen Show" on TV. Suddenly, Peggy places her hand over her heart and shivers with fear.</scene_description>
<character>BARNEY</character>
<dialogue>What's the matter, Lilla? Somebody jump on your grave?</dialogue>
<scene_description>Peggy shivers again and shakes her head.</scene_description>
</scene>
<scene>
<stage_direction>INT. LIVING ROOM - LATER</stage_direction>
<scene_description>Barney reading. Elizabeth enters, carrying a tray with cups of cocoa. They each take a cup.</scene_description>
<character>ELIZABETH</character>
<dialogue>You know, Peggy Sue, your mother said you had a dream that I died.</dialogue>
<character>PEGGY</character>
<dialogue>I wish she hadn't.</dialogue>
<character>ELIZABETH</character>
<dialogue>I'm not afraid. I know exactly when I'm going to die.</dialogue>
<scene_description>Peggy is perplexed by her grandmother's apparent lack of fear.</scene_description>
<character>BARNEY</character>
<dialogue>What's it going to be, Elizabeth? Seventy-five? Eighty?</dialogue>
<character>ELIZABETH</character>
<dialogue>I'm not telling.</dialogue>
<character>BARNEY</character>
<dialogue>I've been trying to drag it out of her for years.</dialogue>
<parenthetical>(beat)</parenthetical>
<dialogue>You know, dreams are fascinating business. 'Specially where you see the future.</dialogue>
<character>PEGGY</character>
<dialogue>Do you believe in all of that?</dialogue>
<character>BARNEY</character>
<dialogue>Well, I like to speculate. This book I'm reading right now, a woman in Colorado says she lived in Ireland a hundred and fifty years ago. her name was Bridey Murphy- and she gives names and dates and where she lived. She was hypnotized. Big bestseller.</dialogue>
<character>PEGGY</character>
<dialogue>I remember that book!</dialogue>
<parenthetical>(beat)</parenthetical>
<dialogue>Grandpa, Grandma, I want to tell you something.</dialogue>
</scene>
<scene>
<stage_direction>EXT. FARMHOUSE KITCHEN DAY</stage_direction>
<scene_description>Peggy and Elizabeth are making strudel.</scene_description>
<character>ELIZABETH</character>
<dialogue>If you believe it, darling, then I believe. Being young can be just as confusing as being old. The things that happened to me fifty years ago are more on my mind than what happened yesterday.</dialogue>
<character>PEGGY</character>
<dialogue>But I'm remembering the future.</dialogue>
<character>ELIZABETH</character>
<dialogue>Right now you're just browsing through time. Choose the things you'll be proud of. The things that Last.</dialogue>
<character>PEGGY</character>
<dialogue>My children make me happy. I miss them so much.</dialogue>
<parenthetical>(beat)</parenthetical>
<dialogue>Beth. Scott and Beth.</dialogue>
<parenthetical>(beat)</parenthetical>
<dialogue>I'm going to name my daughter after you.</dialogue>
</scene>
<scene>
<stage_direction>EXT. FARMHOUSE DRIVEWAY DUSK</stage_direction>
<scene_description>Peggy and Barney are washing the car at a standpipe, two hundred feet from the house.</scene_description>
<character>BARNEY</character>
<dialogue>It's gonna rain again. Every time I wash the car, it rains.</dialogue>
<character>PEGGY</character>
<dialogue>That never changes.</dialogue>
<parenthetical>(beat)</parenthetical>
<dialogue>You know, when you and Grandma are gone, the family's gone. I never see the cousins anymore.</dialogue>
<character>BARNEY</character>
<dialogue>It's your grandma's strudel that's kept this family together.</dialogue>
<character>PEGGY</character>
<dialogue>Grandpa, if you had a chance to do it all again, what would you do?</dialogue>
<character>BARNEY</character>
<parenthetical>(jawing)</parenthetical>
<dialogue>I'd take better care of my teeth.</dialogue>
</scene>
<scene>
<stage_direction>INT. LIVING ROOM</stage_direction>
<scene_description>Elizabeth is tying Barney's bow tie. Peggy is sitting with a jacket on.</scene_description>
<character>ELIZABETH</character>
<dialogue>What's Peggy Sue going to do at your lodge meeting?</dialogue>
<character>BARNEY</character>
<dialogue>It's her 18th birthday, I want to show her off.</dialogue>
<scene_description>Barney turns and winks at Peggy.</scene_description>
<character>PEGGY</character>
<dialogue>It was my idea, Grandma. I always wondered what went on at those lodge meetings.</dialogue>
<character>ELIZABETH</character>
<dialogue>He won't tell me, but I've got my suspicions. And I don't want any of that. Don't keep her out late.</dialogue>
<character>BARNEY</character>
<dialogue>Let's go.</dialogue>
<character>PEGGY</character>
<parenthetical>(hugging Elizabeth)</parenthetical>
<dialogue>Goodbye, Grandma.</dialogue>
<character>ELIZABETH</character>
<dialogue>Have a good time.</dialogue>
<scene_description>Barney and Peggy open the door and exit.</scene_description>
</scene>
<scene>
<stage_direction>EXT. FARMHOUSE DRIVEWAY</stage_direction>
<scene_description>Peggy and Barney approach the car.</scene_description>
<character>PEGGY</character>
<dialogue>What does Grandma think you do at your meetings?</dialogue>
<character>BARNEY</character>
<dialogue>Stag movies. Smokers.</dialogue>
<scene_description>Peggy chuckles as they get into the car. The car proceeds along the driveway and turns onto the highway.</scene_description>
</scene>
<scene>
<stage_direction>INT. CAR DRIVING</stage_direction>
<scene_description>Barney is at the wheel.</scene_description>
<character>BARNEY</character>
<dialogue>I may be an old fool, but I think we can help you.</dialogue>
<character>PEGGY</character>
<dialogue>I hope so. At least I got to see you and Grandma.</dialogue>
<parenthetical>(beat)</parenthetical>
<dialogue>Has it ever worked before?</dialogue>
<character>BARNEY</character>
<dialogue>The last one was six hundred years ago. It's about time for another one.</dialogue>
</scene>
<scene>
<stage_direction>INT. LODGE - NIGHT</stage_direction>
<scene_description>A one-story, pitch roof building. The sign over the entrance reads.: THE ORDER OF THE GOLDEN DAWN. Underneath the sign is a logo of a spreading sunrise. Peggy and Barney pull up to the front, exit the car and enter the building.</scene_description>
</scene>
<scene>
<stage_direction>INT. LODGE ANTEROOM</stage_direction>
<scene_description>Thirty old men are congregating around the cloak room. Most are already dressed in long, purple robes with the sunrise logo over their hearts. They either wear or carry tricorner hats. Peggy and Barney enter. Several men approach them. Peggy nervously clings to Barney' s arm.</scene_description>
<character>GEORGE</character>
<dialogue>Welcome, Peggy Sue. It's nice to have you with us.</dialogue>
<character>PEGGY</character>
<dialogue>Thank you.</dialogue>
<character>HENRY</character>
<dialogue>You know, you're a lucky girl. You could lay a bear trap in the aisle of the cathedral and never catch a better man than your grandfather.</dialogue>
<character>PEGGY</character>
<dialogue>Ah... thank you.</dialogue>
<character>BARNEY</character>
<dialogue>Let me take your jacket, Lilla.</dialogue>
<character>BARNEY</character>
<dialogue>I've got, to get my robe.</dialogue>
<scene_description>Peggy hands him her jacket as he heads over to the cloak, room.</scene_description>
<character>AL</character>
<dialogue>You know, this is very exciting for all of us.</dialogue>
<character>GEORGE</character>
<dialogue>We've been waiting a long time for someone like you.</dialogue>
<scene_description>Barney rejoins them, wearing his hat and robe. The group begins to enter the main room.</scene_description>
<character>PEGGY</character>
<parenthetical>(nervous)</parenthetical>
<dialogue>Do you have to wear that hat?</dialogue>
<character>BARNEY</character>
<dialogue>It wouldn't be a lodge without hats.</dialogue>
<scene_description>Barney takes her hand and squeezes it. They walk slowly through the doorway.</scene_description>
<character>BARNEY</character>
<dialogue>Don't you worry. I'll be watching after you.</dialogue>
</scene>
<scene>
<stage_direction>INT. LODGE MAIN ROOM</stage_direction>
<scene_description>A large meeting hall. The room is draped, and brightly lit with fluorescent lights. at one end sits a large, gold painted wood throne. On either side are large candle holders, with lit candles. A small table serves as an altar in front of the platform. On a footstool is a potted plane with an artificial bird perched on its top. The throne and altar look like a set left over from a summer stock "Macbeth". Peggy and Barney enter. Several men lead Peggy away from Barney to the throne. One man places a go1den cape around her shoulders. They lead her up the platform to the throne.</scene_description>
<character>HENRY</character>
<dialogue>Hey, George. Get the lights.</dialogue>
<scene_description>The LIGHTS are DIMMED. The room is lit by the candles. The men form a semicircle around Peggy. Old men at the end of their lives, they are serious and passionate about the possibilities of life beyond this world. One by one, four men from either end of the line approach the altar with offerings: a cup of wine; an egg; a gold coin; and a rose. The men rejoin the line. LEO COOPER, a tall, white-haired man, takes two steps forward. The other men begin to sing a Gregorian chant.</scene_description>
<character>LEO</character>
<parenthetical>(to Peggy)</parenthetical>
<dialogue>Are you ready, dear?</dialogue>
<character>PEGGY</character>
<dialogue>Yes, sir.</dialogue>
<scene_description>Leo steps back, closes his eyes and spreads his arms.</scene_description>
<character>PEGGY</character>
<dialogue>Fasten your seat belts. Here we go.</dialogue>
<character>LEO</character>
<dialogue>Lord of the Universe, Vast and Mighty One. Ruler of Light, King ofthe sun. Creator of earth, air, fire and water.</dialogue>
<parenthetical>(kneeling down)</parenthetical>
<dialogue>We adore thee and invoke thee!</dialogue>
<scene_description>Grant thine aid. Look with favor upon us as we witness the regeneration of man. We behold the innocent endeavors of singleminded men and women. For we are the company of unbodied souls and immortal angels. We ask thy intervention, that this girl may return to thee on the wings of your Love.</scene_description>
<character>PEGGY</character>
<parenthetical>(sotto)</parenthetical>
<dialogue>This is never going to work.</dialogue>
<scene_description>The old men form a circle in front of Peggy. They begin to circumambulate east to west, intoning together, their heads bowed. As Barney passes in front of Peggy, he winks at her. She smiles back.</scene_description>
<character>MEN</character>
<dialogue>Fount of life, Chariot of the Spirit, Womb of the Mother, reclaim thy child of light.</dialogue>
<scene_description>We HEAR a clap of distant THUNDER. Peggy trembles. The artificial bird falls off the plant. Peggy is struck with amazement. She begins to glow, poised to take off. The men continue to chant while:</scene_description>
<character>LEO (O.S.)</character>
<dialogue>The name of your love is sacrifice. We offer up this girl, that her soul may find its home.</dialogue>
<scene_description>Suddenly a door is opened, a gust of wind pours in and extinguishes the candles, plunging the hall into darkness.</scene_description>
<character>LEO (O.S.)</character>
<dialogue>Nothing to worry about. Somebody get the lights.</dialogue>
<scene_description>The LIGHTS are TURNED ON. All the men look to the throne. Peggy is gone. They are speechless for a couple of beats.</scene_description>
<character>GEORGE</character>
<parenthetical>(chipper)</parenthetical>
<dialogue>Well, the girl's gone. Let's play some poker.</dialogue>
<scene_description>CLOSE ON BARNEY He smiles, happy that she made it. George crosses to the wall, reaches behind the drapes and presses a button. The wall slides open to reveal a fullyequipped card room. The men shuffle in.</scene_description>
</scene>
<scene>
<stage_direction>EXT. BEHIND THE LODGE</stage_direction>
<scene_description>Charlie carries Peggy off towards his car, one hand covering her mouth. Peggy struggles. When they reach the car, he puts her down. She's still wrapped in her golden robe.</scene_description>
<character>PEGGY</character>
<dialogue>What the hell did you do that for? What are you doing here?</dialogue>
<character>CHARLIE</character>
<dialogue>I was trying to save you. They were going to vaporize you.</dialogue>
<character>PEGGY</character>
<dialogue>Don't be ridiculous! They're just a bunch of harmless old men. My grandfather was in there.</dialogue>
<character>CHARLIE</character>
<dialogue>You're going to listen to me.</dialogue>
<scene_description>Charlie tries to Lead Peggy into the car.</scene_description>
<character>PEGGY</character>
<dialogue>I'm not getting in that blue monstrosity.</dialogue>
<scene_description>Charlie pushes her inside, Peggy climbs back out. Charlie takes her hand and drags her up a hill behind the lodge hall.</scene_description>
<character>PEGGY</character>
<dialogue>Let me got! Where are you taking me?</dialogue>
<character>CHARLIE</character>
<dialogue>Right here. Now sit down.</dialogue>
<scene_description>Charlie sits her down on the ground. She's impatient and hopping mad.</scene_description>
<character>CHARLIE</character>
<dialogue>Look. I wanna tell you. I forgive you for everything. I know what you've been going through. You're just scared. I was scared, too, but I'm not anymore.</dialogue>
<character>PEGGY</character>
<dialogue>How could you possibly know what I've been going through?</dialogue>
<scene_description>Thunder and lightning. It starts to rain.</scene_description>
<character>CHARLIE</character>
<dialogue>Because I love you, damnit! I had a long talk with your father yesterday and we decided that the best thing for us to do is get married and settle down. Right away.</dialogue>
<scene_description>Peggy jumps up, exploding to Charlie.</scene_description>
<character>PEGGY</character>
<dialogue>What do you mean you and my father decided? Who the hell are you to plan my life? Let's get married and live happily ever after. Bullshit. I got knocked up. I had to marry you. I never had a choice.</dialogue>
<character>CHARLIE</character>
<dialogue>What?</dialogue>
<character>PEGGY</character>
<dialogue>You betrayed me, Charlie. You were never there for me or the children.</dialogue>
<character>PEGGY</character>
<dialogue>And now you come and tell me, "Peggy, you're scared." Of course I'm scared. If you knew what I knew you'd be scared shitless.</dialogue>
<character>CHARLIE</character>
<dialogue>You're crazy! You're really out of your mind!</dialogue>
<character>PEGGY</character>
<dialogue>I might be crazy, but I'm not crazy enough to marry you twice. There's a lot of things I can't change. I can't even think about them. I tried. But I couldn't even help Rosalie.</dialogue>
<parenthetical>(tears start)</parenthetical>
<dialogue>I don't want to be bitter. I'm a naturally optimistic person. But you took advantage of that.</dialogue>
<scene_description>Charlie bends down to comfort her, in tears. He hugs Peggy and strokes her hair.</scene_description>
<character>CHARLIE</character>
<dialogue>Oh, Peggy. My poor Peggy. It's all my fault. I'm so sorry. I won't bother you anymore. I promise.</dialogue>
<scene_description>Please stop crying. Please. Peggy starts to compose herself.</scene_description>
<character>PEGGY</character>
<dialogue>Will you take me back to my grandparents?</dialogue>
<character>CHARLIE</character>
<dialogue>Of course.</dialogue>
<scene_description>Charlie helps her up. Be reaches into his pocket and takes out a small box, handing it to Peggy.</scene_description>
<character>CHARLIE</character>
<dialogue>It's almost your birthday. I wasn't sure when you were coming back, so I brought your present up here.</dialogue>
<scene_description>With a slow, growing remembrance, Peggy opens the box. Inside is the gold locket Peggy was wearing at the reunion.</scene_description>
<character>PEGGY</character>
<parenthetical>(anguished)</parenthetical>
<dialogue>Oh, Charlie.</dialogue>
<character>CHARLIE</character>
<dialogue>It opens, too. Look inside.</dialogue>
<scene_description>Peggy opens the locket. She shivers with recognition.</scene_description>
<character>INSERT - LOCKET</character>
<dialogue>Two photos, one of Peggy, one of Charlie, as children.</dialogue>
<character>PEGGY</character>
<dialogue>Scott and Beth. Where did you get these?</dialogue>
<character>CHARM E</character>
<dialogue>Who's Scott and Beth? Your mother gave me our picture. That's you and me.</dialogue>
<character>PEGGY</character>
<dialogue>So are Scott and Beth.</dialogue>
<scene_description>Peggy leans into Charlie, throwing her arms around him, holding on for dear life. She looks up at him, their foreheads touching.</scene_description>
<character>CHARLIE</character>
<parenthetical>(tenderly)</parenthetical>
<dialogue>I love you.</dialogue>
<character>PEGGY</character>
<dialogue>I know.</dialogue>
<scene_description>Charlie kisses her, passionately. The locket drops to the ground. HOLD on the locket, and... DISSOLVE:</scene_description>
</scene>
<scene>
<stage_direction>EXT. ON THE HILL - LATER</stage_direction>
<scene_description>Charlie and Peggy are lying on the ground, gazing up. A flash of lightning streaks across the sky.</scene_description>
<character>CHARLIE</character>
<dialogue>I think we should get out of here.</dialogue>
<scene_description>It's going to rain.</scene_description>
<character>PEGGY</character>
<parenthetical>(musing)</parenthetical>
<dialogue>Do you think anybody in the Fifties ever made love on a bed?</dialogue>
<character>CHARLIE</character>
<dialogue>What the hell is that?</dialogue>
<scene_description>Flying high above them is an enormous, glowing, liquid neon kite. The center of the kite inscribed in lights, flashing like a marquee: HAPPY BIRTHDAY PEGGY SUE. The kite begins to descend towards them. Peggy jumps to her feet and races towards it. She grabs the tail and starts to sail away with the kite. Charlie chases after her.</scene_description>
<character>CHARLIE</character>
<dialogue>Peggy! Where're you going? Come back!</dialogue>
<character>PEGGY</character>
<dialogue>I've got to go now.</dialogue>
<character>CHARLIE</character>
<dialogue>But I love you. I'll love you forever.</dialogue>
<character>PEGGY</character>
<dialogue>I'll love you, too, Charlie. I'll love you for twenty years.</dialogue>
<character>CHARLIE</character>
<dialogue>Come back to me.</dialogue>
<character>PEGGY</character>
<dialogue>I'm trying.</dialogue>
<scene_description>As Charlie watches helplessly, a huge bolt of lightning strikes his car. Peggy smiles. The men from the lodge run outside. They look up and above the blazing car and see Peggy floating away. Peggy sees her grandfather in the crowd and blows him a kiss. Charlie begins to run, following the kite cord to its source. He finds Richard, struggling to restrain the runaway kite.</scene_description>
<character>CHARLIE</character>
<dialogue>Richard, do something!</dialogue>
<character>RICHARD</character>
<dialogue>I can't! It's out of control!</dialogue>
<scene_description>Suddenly the cord breaks. Peggy floats away.</scene_description>
<character>CHARLIE</character>
<dialogue>Peggy!</dialogue>
<scene_description>Charlie, Richard and the old men behold Peggy, bobbing and dipping playfully in the sky. We begin to HEAR Charlie's VOICE singing "Peggy Sue" O.S. Peggy looks down with wonder at the earth, and then like a comet, soars into the blackness. In an instant she becomes a star. FINAL SCENE DISSOLVE/: OPTICAL: HOSPITAL ROOM - DAY Moving from two to C.U. Peggy, fragments of the reunion, the cake coming towards her, fragments of words in echo effect: 'Your heart stopped for a while..." Father's voice: 'You're a very lucky young lady...' Doctor: 'A (explain) of the head...' Mom's voice: 'But you're going to be all right now, the paramedics got there...' Mom, 'We were so worried..." Echoing of, until once voice is left. Charlie. Sitting opposite her bed, as he has been every minute of her illness. He looks wan and old, worried sick, but trying to sing 'Peggy Sue' for her.</scene_description>
<character>CHARLIE</character>
<parenthetical>(singing softly)</parenthetical>
<dialogue>Peggy Sue, I love you, and I need you Peggy Sue...</dialogue>
<character>PEGGY</character>
<dialogue>Charlie? Was I dead?</dialogue>
<character>CHARLIE</character>
<dialogue>I thought you were... for a while.</dialogue>
<character>PEGGY</character>
<parenthetical>(affectionately)</parenthetical>
<dialogue>You look awful, like you haven't slept in days. And so old.</dialogue>
<character>CHARLIE</character>
<dialogue>But happy. Very happy, Peggy Sue.</dialogue>
<character>PEGGY</character>
<dialogue>Charlie, I thought I knew everything about you.</dialogue>
<character>CHARLIE</character>
<dialogue>I wanted to apologize. I can't live without you.</dialogue>
<character>PEGGY</character>
<dialogue>What about Janet?</dialogue>
<character>CHARLIE</character>
<dialogue>That's over. I got tired of translating everything. She thought the Big Hopper was a hamburger.</dialogue>
<scene_description>Charlie laughs uncomfortably and Peggy Sue looks around her hospital room.</scene_description>
<character>PEGGY</character>
<dialogue>Who are all the flowers from?</dialogue>
<scene_description>Charlie pushes himself out of his chair and moves toward the dresser.</scene_description>
<character>CHARLIE</character>
<dialogue>Everyone. Maddie and Arthur, Carol and Walter. Richard Norvick. And here's a book, by that guy from high school, Michael Fitzsimmons.</dialogue>
<scene_description>He dedicated it to you. Charlie returns to Peggy's bedside and opens the front cover of the book. ANGLE ON BOOK: the front page bears the title "The Pilgrim Soul" and the dedication reads "to Peggy Sue and a Starry Night". Peggy smiles but shakes her head.</scene_description>
<character>PEGGY</character>
<dialogue>It couldn't be me. I hardly knew him.</dialogue>
<character>CHARLIE</character>
<dialogue>I'll just set it right here.</dialogue>
<scene_description>He places the book on her bedside table as he sits back down.</scene_description>
<character>PEGGY</character>
<dialogue>Charlie, I had a strange experience. I went back to high school. And I spent a lot of time with you. And you and Walter and Leon were singing "I Wonder Why".</dialogue>
<character>CHARLIE</character>
<dialogue>Oh, God, Dion.</dialogue>
<character>PEGGY</character>
<dialogue>You were terrific. And I kept trying to push you away but you wouldn't give up.</dialogue>
<character>CHARLIE</character>
<dialogue>I'll never give up.</dialogue>
<character>PEGGY</character>
<dialogue>Then hold me.</dialogue>
<scene_description>He holds her hand.</scene_description>
<character>CHARLIE</character>
<dialogue>I loved you since the day I met you, and I haven't stopped.</dialogue>
<character>PEGGY</character>
<dialogue>Don't try to charm me, Charlie Bodell.</dialogue>
<character>CHARLIE</character>
<dialogue>Listen, I don't expect all the troubles between us can just vanish away. But I would do what I can...</dialogue>
<character>PIGGY</character>
<dialogue>Charlie, please, I need some time.</dialogue>
<character>CHARLIE</character>
<dialogue>Well, I'll let you get some rest...so long.</dialogue>
<scene_description>The VIEW PULLS BACK past the flowers. Charlie starts to exit. Checks himself in the mirror.</scene_description>
<character>PEGGY</character>
<dialogue>Charlie, I would like to invite you to dinner at home, on Sunday, with your kids. I will make a strudel.</dialogue>
<scene_description>He hurries back to her, kisses her again. They hang on to each other as Beth enters the room. FADE OUT.:</scene_description>
<character>THE END</character>
<dialogue>PEGGY AND RICHARD SCENE</dialogue>
<scene_description>To be inserted after Dolores/Peggy scene and to replace the goodbye to Richard scene.</scene_description>
</scene>
<scene>
<stage_direction>INT. SCHOOL LIBRARY - DAY</stage_direction>
<scene_description>Empty except for Richard who sits alone in a study warren, surrounded by books. Peggy approaches. Be puts down the book he's reading. He smiles.</scene_description>
<character>RICHARD</character>
<dialogue>You know, Peggy, there's so many things to look forward to in the future.</dialogue>
<scene_description>Peggy leans over and kisses him, sadly, on the forehead.</scene_description>
<character>PEGGY</character>
<dialogue>I came to say goodbye.</dialogue>
<character>RICHARD</character>
<dialogue>Goodbye? Where're you going? What about our partnership? I'm making real progress with the microchip.</dialogue>
<character>PEGGY</character>
<dialogue>You were meant to You're one of</dialogue>
<scene_description>those fortunate people that good things happen to.</scene_description>
<character>RICHARD</character>
<dialogue>So are you. You've got a vision.</dialogue>
<character>PEGGY</character>
<parenthetical>(manic)</parenthetical>
<dialogue>Vision? I'm a walking anachronism!</dialogue>
<scene_description>I've upset my parents. I miss my kids. I could be trapped here forever! And poor Charlie...I got pregnant on my 18th birthday and we had to get married. Tomorrow's my birthday! I've got to get out of here now.</scene_description>
<character>RICHARD</character>
<dialogue>Did you break up with Charlie?</dialogue>
<character>PEGGY</character>
<dialogue>Yeah, yeah. I'm taking a big gamble. I've loved him for a long, long time.</dialogue>
<character>RICHARD</character>
<dialogue>Okay. Why don't we do something visionary? Change your destiny, Peggy Sue. Change your destiny and marry me.</dialogue>
<character>PEGGY</character>
<parenthetical>(slamming down book)</parenthetical>
<dialogue>No! No! No! Peggy Sue got married! Case closed. I don't want to marry anybody. Goodbye Richard.</dialogue>
<character>RICHARD</character>
<dialogue>Wait! I'll go with you!</dialogue>
<character>PEGGY</character>
<dialogue>You can't. You're going to be Valedictorian.</dialogue>
</scene>
</script>
|
PEGGY SUE GOT MARRIED
an original screenplay by
Jerry Leichtling and Arlene Sarner REHEARSAL DRAFT - August 14, 1985 Over BLACK, we HEAR the sounds of an old TAPE RECORDING. Young VOICES are filtered amid a noticeable hum, hiss and crackle. We HEAR giggling and then someone named Charlie making vows of love to someone named Peggy Sue.
CHARLIE (0.S).
Hi this is Charlie and.... Come on, say your name.
PEGGY (O.S.)
Peggy Sue.
CHARLIE (O.S.)
And we're here on the couch....
PEGGY (O.S.)
Don't say that....
EXT. PEGGY'S NEIGHBORHOOD DAY
A split-level house on a slight grade of lawn. A red Honda the driveway.
CHARLIE (O.S.)
We're here on the sofa bed....
PEGGY (O.S.)
Charlie....
CHARLIE (O.S.)
....to record how much we love each other. Sitting beside me is the cutest majorette in the history of the world. And she would Like to say something.
A real estate agent, a WOMAN, carries a "For Sale" sign to the center of the lawn and begins driving it in with a hammer.
CHARLIE (O.S.)
Come on Peggy. Say what we rehearsed.
PEGGY (O.S.)
I can't. I'm too embarrassed.
INT. BODELL HOUSE
MOVING VIEW, revealing the empty house. We HEAR the RECORDING LOUDER.
CHARLIE (O.S.)
But you love me don't you?
PEGGY (O.S.)
Yeah. Come on Charlie, turn it off.
CHARLIE (O.S.)
And nothing will ever change that.
Charlie starts giggling. We HEAR fumbling and tickling. CLOSE VIEW INTO THE KITCHEN - First we see a woman's hand, on the floor. It is partially covered with flour. MOVING VIEW reveals PEGGY BODELL, in her early 40's, fainted from heartbreak while baking a cake. Flour is scattered on the floor. She recovers from her faint. Confused, she steadies herself and brushes the flour from her dress.
INT. GARAGE -- DAY
Peggy's son, SCOTT, 16, is playing an old reel to reel tape recorder. There are stacks of boxes filled with personal things and records. His sister, BETH, 23, is packing.
SCOTT
Boy, have they changed. Who gets it?
BETH
I don't know, just put it back.
CHARLIE (O.S.)
Oh, gotta go. Here's a little makeout music.
A record starts: "You Belong to Me" by the Duprees.
INT. CHARLIE'S APARTMENT
CHARLIE BODELL, early 40's, singing the same song. He can't hit a high note, turns off the water and steps out of the shower. JANET, his young, buxom girlfriend is in the bedroom.
CHARLIE
Goddamnit, I just can't hit those high notes anymore.
JANET
You know Charlie, if you're serious about this, I know a great vocal coach.
Charlie's perplexed reaction.
EXT. BODELL HOUSE - DAY
"Crazy Charlie's Discount Appliances" truck has parked in front of the house. WORKMEN are loading boxes of records, tapes, etc. Charlie pulls up, waves to workmen.
INT. KITCHEN/HALLWAY
Peggy is loading the oddshaped cakes into boxes. We note the grandfather clock tolling nine.
VIEW IN HALLWAY
Beth meets her father at the door.
BETH
Hi Dad, can I have 100 dollars for a brake job?
CHARLIE
Did I hear 70 dollars? What do you need 50 dollars for? How's your Mom?
Peggy comes out of the kitchen. Charlie has stopped conspicuously at the threshold. A workman comes from behind Peggy.
WORKER
Coming through.
CHARLIE
Frank, watch the clock.
Peggy looks outside.
EXT. HOUSE PEGGY'S POV
Janet is seated in Charlie's car.
INT. HOUSE
PEGGY
There's something pathetic parked in front of my house.
CHARLIE
Come off it, Peggy. And what do you mean your house? This is my house.
I paid for it, I'm still paying for it.
PEGGY
I'm still waiting for the mortgage check.
CHARLIE
I mailed it to you on Wednesday.
PEGGY
Well, today's Saturday and it's still not here.
CHARLIE
Jesus, Peggy. Take it easy. I'm not used to that stuff. You always did the bills. Blame the damn post office.
A workman approaches carrying an old mono record player: black and white, a real fifties artifact. For a moment their mutual resentment melts, as they look at each other.
PEGGY
That stays.
The workman looks to Charlie for approval. Charlie nods. The workman shrugs, and heads back to the basement.
CHARLIE
You got a Tab?
PEGGY
I don't buy them anymore. You were the only one who drank them.
INT. REC ROOM
Peggy leads the way. At the far end, she flips a light switch that turns on a wall sculpture of lava lamps.
CHARLIE
You don't want them? They're going to make a big comeback any minute.
Mark my words, these lamps are going to...
PEGGY
I know. Put Scott through college.
CHARLIE
I'll think of a way to sell, them.
(beat)
One day.
Peggy opens a box filled with records. She closes it and moves to another. Charlie checks the contents of another box on the other side of the room.
PEGGY
Are you taking Janet to the reunion tonight?
CHARLIE
I'm not going.
Scott calls from the top of the stairs.
SCOTT
Come on Dad!
CHARLIE
Be right there. I'll go through the rest of this stuff next weekend.
SCOTT
Bye Mom.
PEGGY
Bye sweetheart.
Peggy and Charlie look at each other as Scott leaves.
CHARLIE
(with real, regret)
I never thought it would go this far.
Charlie exits. Peggy looks around. She slaps the flap of a box down, to close it, but it jumps back up. DISSOLVE:
EXT. PEGGY'S DRIVEWAY
Peggy and Beth carry the cake boxes into the car A NEIGHBOR trimming the hedge watches them lasciviously. Peggy and Beth drive off.
EXT. STREET
Peggy's car rounds a corner into the business section of town.
EXT. LOVIN' OVEN BAKE SHOP
Peggy pulls up to the front door of The Lovin' Oven, her bake shop. Bags of bread and rolls lean against the door. Beth jumps out and opens the door of the shop. Peggy stacks the boxes in Beth's arms and opens the door for her.
PEGGY
If the pastries aren't here by nine thirty, call Monica and threaten her life.
Peggy gets into the car, and blows a kiss to Beth.
PEGGY
I'll be back by noon.
Peggy drives off as MONICA drives up. She exits her car and begins to unpack cake boxes.
BETH
Hi Monica. You just missed Mom.
MONICA
Sorry I'm late. My Bobo's back in town.
EXT. KRISTIN'S COIFFURES HAIR SALON
INSERT: Sign: KRISTIN'S COIFFURES Peggy exits with a fifties flip. From a distance she looks like a fifties teenager. She nervously looks at her reflection. Maybe this was a mistake. Too late now.
INT. PEGGY'S CAR DRIVING
Peggy is driving. On her car radio, we HEAR a local PHONEIN TALK SHOW.
WOMAN'S VOICE (V.O.)
Hi. I'm Dolores Dodge. We're taking calls today on surrogate mothers.
Wombs for rent. I want to know how you feel.
PEGGY
Oh, Dolores.
Peggy switches stations until she finds the news.
EXT. STREET CORNER
Peggy stops for a red light. Her eye is caught by a Mercedes stopped next to her. Behind the wheel is a striking woman of her age, CAROL HEATH. They stare curiously for a beat, then:
PEGGY
Carol!
CAROL
Peggy Sue!
They pull over to the side of the road.
EXT. SIDE OF ROAD
Exiting the cars, they hug.
CAROL
I haven't seen you in years. In all that time, haven't you at least tried another hair style?
Peggy tries to laugh off her embarrassment.
PEGGY
1 just did it for the reunion. I thought it would be fun.
CAROL
You're probably the only one who could carry it off.
INT. LOVIN' OVEN DAY
Peggy and Carol enter as Beth finishes up with a customer. Peggy walks behind the counter as the customer exits.
BETH
Where were you? You said you'd be back at twelve.
PEGGY
This is my old friend Carol. I told you about her.
Beth and Carol exchange hellos.
BETH
r was worried about you You didn't even call. You're always on my case if I don't call.
PEGGY
How do you like my hair?
BETH
It looks great. Don't change the subject. You know how busy Saturdays are. And I can't do the icing. I always mess up the roses. You're not being very responsible.
Peggy takes over the work of decorating the large pennant shaped cake in silver icing: 25th Reunion Buchanan High.'
CAROL
Who's the mother around here?
BETH
Sometimes I wonder.
INT. TELEVISION STUDIO
A television studio set made up of platforms covered with black cloth. Placed around the platforms on different levels are projection TVs, regular TVs, microwave ovens and other expensive, futuristic appliances. Charlie sits at one of them (or a table) as a CHINESE WAITER rushes in and puts a tray of fortune cookies down.
WAITER
Here Charlie, extra fortune cookies. Good luck.
CHARLIE
Thanks.
Charlie grabs a cookie and puts it on the table in front of him, smashing it with his fist. He picks up and reads the fortune:
CHARLIE
(manic)
Next week you'll be selling Sanyo remote control VCRs for three hundred and ninetynine dollars? Oh no!
(sings)
Crazy Charlie...
He grabs and smashes another fortune cookie.
CHARLIE
You'll give away Mitsubishi giant screen TVs for twelve hundred and ninetyfive dollars! Oh no! I'll go broke!
(sings)
Crazy Charlie...
He grabs and smashes another cookie.
CHARLIE
You won't be undersold on stereos, videos, microwaves or blenders!
(sings)
Crazy Charlie, Crazy Charlie, I'm not breaking cookies, I'm smashing prices.
(rolling his eyes like Fabian)
Crazy Charlie, he insane.
The waiter hits a big gong. Beth laughs.
PEGGY (O.S.)
Turn that off.
INT. PEGGY'S BEDROOM NIGHT
CAMERA PULLS BACK from the TV into Peggy's bedroom. Beth gets up from the bed and turns off the TV. Peggy enters from the adjoining bathroom, wearing a robe, and bobby socks with saddle shoes. She picks up a gold Locket from the dresser, and puts it on.
BETS
When are you going to stop being so mad at Dad? How do you think that makes me feel?
PEGGY
I have a lot of unresolved feelings about him. I don't trust him. Besides, I hate those commercials.
BETH
I'm sorry I asked. We don't have time for another heartto heart. Here, try on the dress.
Peggy tries on the fifties dress lying on the bed.
PEGGY
But I want you and Scott to understand.
(beat)
Do you think he loves Janet? Maybe he's smashed too many fortune cookies.
BETH
Come on Mom. Give him a break. He's missing the reunion because of you. You know he wants to go.
PEGGY
Then we'd both have a miserable time. What do you think?
She looks exactly like a sixties teenager.
BETH
Hey, you're a hip chick. You look like you stepped right out of Life magazine. Any time you want to borrow it again, just ask.
PEGGY
Borrow?! This was my dress.
(beat)
Maybe it's a mistake. What if I'm the only one? I don't even want to go. Everybody's just going to say...
(imitating commercial)
Hi. Where's Crazy Charlie?
BETH
Mom, lots of people are separated and divorced.
PEGGY
Not from the guy with the lowest prices in town.
EXT. HIGH SCHOOL ENTRANCE - NIGHT
Couples are walking up the stairs into the school. Peggy and Beth are at the bottom of the stairs, staring at the banner hung across the entrance. It reads: WELCOME CLASS OF '60.
PEGGY
I feel ridiculous. Maybe I should go home and change.
BETH
Why are you so nervous? What is the matter with you today?
PEGGY
I don't know. Reunions do funny things to people.
At that moment they're joined by MADDY.(Madeline) and ARTHUR NAGLE, coming up behind them. A typical polyester couple. Hellos all around and hugs. Arthur puts his arms around Beth and Peggy and leads them up the stairs.
MADDY
You two look like that soap commercial. Which one's the daughter and which one's the mother?
ARTHUR
You took this seriously. You're a real blast from the past.
PEGGY
It was Beth's idea.
MADDY
I wish I had the nerve. And the figure.
ARTHUR
You always were a crazy little gal, Peg.
PEGGY
Arthur, please don't call me Peg.
INT. SCHOOL HALLWAY NIGHT
A large table in the lobby holds plastic nametags. A sign reads: LADIES IF YOU CAN'T FIND TOUR TAG, LOOK UNDER YOUR MAIDEN NAME. Several people are bending over the table looking for their tags. A HOSTESS is sitting behind the table. Peggy, Beth, Maddy and Arthur enter. Hellos all around.
PEGGY
Beth's boyfriend is playing in the band.
MADDY
It must run in the family.
BETH
What does?
ARTHUR
You and your mother both seem to fall for musicians.
Maddy and Arthur laugh. Peggy is not amused. The hostess hands them their name tags and turns to welcome new arrivals. As they proceed down the hallway, Peggy SEES a distinguished man enter, RICHARD NORVIK. With him is his pregnant wife SHARON. Richard smiles at Peggy. She can't place him. Peggy turns back to her group and continues down the hall. The fifties MUSIC GETS LOUDER AND LOUDER.
INT. GYM
The gym is packed with people dancing, chatting, greeting lost friends. A bar is set up at one end. On the walls are black and white blowups of the 1960 yearbook. On a table is a buffet and Peggy' s cake. The BAND is PLAYING and SINGING old rock and roll songs. Couples slow dance, jive and stroll. Peggy, Beth, Maddy and Arthur enter. Beth leaves the group.
ARTHUR
Hey, there's Terry and Leon.
MADDY
Peggy, would you find a table?
We'll see you in a little while.
PEGGY
Okay.
They walk away into the crowd, leaving Peggy alone.
INT. GYM NEAR WALL
CLOSE VIEW A photo of the majorettes. Peggy is in the middle, twirling her baton. Her reverie is interrupted by:
RICHARD (O.S.)
Are you Peggy Sue Kelcher?
PEGGY
I was once. Richard!? Richard Norvik? I didn't recognize you.
RICHARD
You look exactly the same.
PEGGY
I just did it for tonight. I don't normally dress like this.
SHARON
It's adorable.
RICHARD
Oh, I'm sorry. Peggy Sue Kelcher, my wife Sharon.
PEGGY
Hello. Nice to meet you. Please call me Peggy. I'm Peggy Bodell now.
RICHARD
Where's Charlie? I was in town about a year ago and caught one of his commercials. Really made me laugh.
PEGGY
He's not here. We're getting divorced.
RICHARD
Gee. I'm sorry to hear that.
NEW VIEW A large, beefy HAND is THRUST INTO FRAME.
MAN'S VOICE (O.S.)
Mr. Norvik.
CAMERA PULLS BACK TO INCLUDE DOUG SNELL, a paunchy, overbearing man, shaking Richard's hand.
DOUG
Or, uhh, Richard? David Snell, Merrill Lynch. I read about the Cordex deal in Business Week. Congratulations.
RICHARD
Thank you, Doug.
DOUG
Hi Peggy. How are you? How's Char1ie?
INT. GYM
VIEWS ON Carol and Walter. They play a standoffish game, each noticing the other, but pretending not to. We HEAR and SEE bits of conversations:
SANDY
(gleeful)
I can't believe how she let herself go. She was so beautiful in high school.
CAROL
Everyone's got a gold Rolex. I had this one specially made in platinum.
Richard is standing with three men. They hang on his every word. Beside them, a very DRUNK MAN overhears:
RICHARD
....fifth generation core capacities are going to cause another shakeout in the smaller companies.
DRUNK MAN
(to Richard)
Your damn computers put me out of business. You're a billionaire, and I'm a goddamn failure.
Another man gently restrains the drunk and leads him away. Richard is shaken.
NEW VIEW
Carol and Peggy.
CAROL
(chuckling)
Welcome to the singles scene.
PEGGY
I don't know how you do it. I've never even dated anybody but Charlie.
CAROL
You just have to remember.... men
CAROL
are like houses and trade upwards.... I thought you had a pretty good marriage.
PEGGY
We did for a long time. We just got married too young, and ended up blaming each other for missing out on things.
CAROL
So he started having affairs, and you got depressed.
Peggy nods.
CAROL
You should have left here years ago, like I did.
PEGGY
It's not the place. I don't buy that.
(melodramatic)
Trapped in the same town forever.
The price she would pay for her teenage lust.
CAROL
After you got knocked up, my mother didn't want me to talk to you. She thought it was contagious.
PEGGY
Oh, it's not so bad. I have two wonderful kids, my own business.
(beat)
Still, knowing what I know now, if I had the chance to do it all over again, I'd sure do things a lot differently.
CAROL
Wouldn't we all.
INT. GYM OFFICE (ADJACENT TO GYM)
DOLORES DODGE is about to interview Maddy and Arthur; she turns on the tape machine and holds up the microphone.
DOLORES
Madeline Hutton and Arthur Nagle were high school sweethearts.
DOLORES
Married right after graduation, they're still together. In this day and age, that's remarkable.... Maddy, Arthur, how does it feel to have missed the sexual revolution?
MADDY
(incensed)
What kind of question is that? It has nothing to do with the reunion.
ARTHUR
(thoughtfully into mike)
I'm glad you asked, Dolores. Four years ago Maddy and I found Jesus....
DOLORES
Spiritual renewal. That's what reunions are all about. Familiar faces, forgotten memories, ancient dance steps and music....the great time machine.
INT. GYM
CAMERA PANS the gym and FINDS: Carol dancing with WALTER GETZ, slim, handsome, with a big toothy grin. Carol's old high school boyfriend, he's now a dentist and a fabulous dancer. They make a great team. Couples dancing around them react appreciatively.
CAROL
I never could keep up with you.
WALTER
(with a quick tap step)
Just call me Walter the dancing dentist. Taps and caps. My specialty.
INT. GYM ANOTHER AREA
PEGGY'S TABLE. Peggy sits with Richard, Sharon, and two other couples, TERRY and LISA and LEON and SANDY. A hand gently touches Peggy on the shoulder. Peggy turns around and sees ROSALIE TESTA, a small woman with close cropped hair. She's in a wheelchair. She wears a plastic badge: REUNION COMMITTEE.
ROSALIE
I remember that dress.
PEGGY
Rosalie Testa!
'HELLOS' all, around. Peggy helps Rosalie position her wheelchair at the table.
ROSALIE
I remember when you got that locket, too. You were so excited I think you showed it to the whole school.
PEGGY
You have an incredible memory.
SHARON
It's beautiful. Does it open?
PEGGY
Yes. These are my children. But they're not babies anymore.
INSERT - LOCKET Inside are photos of Beth and Scott as babies.
ROSALIE
(laughing)
I think you got married when you were three.
INT. GYM OFFICE
Dolores interviewing Walter and Carol.
DOLORES
Carol Pritchard Heath and Walter Getz were high school steadies who went their separate ways. After twenty years and four divorces between them, they meet again Walter a successful dentist, Carol a mature career woman. Carol, why did you really come back for this reunion?
CAROL
Curiosity mostly. I heard you finally found a man of your own. Too bad he's married.
WALTER
(cracking up)
Whoa! Cat fight! Purse war!
INT. GYM PEGGY'S TABLE
THEIR POV: Dolores walks resolutely towards their table. Maddy and. Arthur leave the table as Dolores approaches, putting her tape machine on the table. She ignores everyone, focusing on Richard.
DOLORES
Hello everyone. Richard Norvik? I'm Dolores Dodge with KARP Radio.
Could I have a minute of your time?
RICHARD
Sure. I remember you.
INT. GYM SERIES OF SHOTS
The BAND is PLAYING and SINGING the SONG "GOOD OLD ROCK AND ROLL." Peggy and Sharon walk through the gym looking at the photo blowups on the wall. Peggy is stopped and hugged by several people. Maddy and Arthur are dancing. Despite the frantic beat, they are slow dancing. Seth is hanging around the stage, bringing a drink to the guitar player. Walter is dancing with Rosalie in her wheelchair.
OVERWEIGHT, BEARDED MAN
Turns out I love business. Every morning I wake up, thank God I'm alive, and say Who am I gonna screw today?
LEON
Let's play "Rate the Moment". I give tonight an eighty-seven. Better than sex, not as good as racquetball.
INT. GYM OFFICE
Dolores has left. Walter lays out lines of cocaine on the back of the clipboard, as Carol watches.
WALTER
The best thing about being a dentist. Pure pharmaceutical grade. A couple of lines of this, I can drill my own teeth....
(looks at her for a moment)
Hi.
CAROL
Hi.
INT. GYM INTERCUT - SERIES OF SHOTS
SERIOUS MAN
(to his wife)
Joe would have enjoyed this. God, I still miss him.
MADDY
(to Carol)
Peggy was a mess right after they separated, but I think she's coming out of it... It seems to be pretty friendly now.
CAROL
Sometimes it's easier when you hate them.
GREASY DRUNK CREEP
I can't remember. Did I make it with you in high school?
LISA
Doesn't it feel like it was yesterday?
TERRY
Youth is like an amputated leg. Long after it's gone, you still feel it.
SAME BEARDED MAN
My wife's a cow, my son has shit for brains, and my daughter's in India with Mother Teresa.
WOMAN
My husband's a pig. But my son's in social work and my daughter, God bless her, is in India with Mother Teresa.
LEON
For the fitness generation, we've sure got a lot of porkers.
SANDY
I don't remember anything about the seventies.
LISA
Breaking up was horrible. I said we had a very special attachment, he said, so does a Hoover.
LEON
I don't know why I came back. I hated high school.
The group around him all answer "So did I" or "Me too."
ROSALIE
I enjoyed it.
INT. GYM NEAR WALL
Peggy (loose, holding a drink) and Sharon stand in front of a PHOTO of the 1960 Cross Country Team. VIEW ON PHOTO - off to one side stands MICHAEL FITZSIMMONS. His hair is longer, his gaze intense and non-smiling.
SHARON
Who's the one with the hair?
PEGGY
Michael Fitzsimmons. I had such a crush on him.
Carol and Maddy join them, still panting from dancing.
CAROL
Hi, Peggy. God, that Walter Getz can still dance.
PEGGY
Your first boyfriend. What do you think? Any sparks left?
CAROL
Who knows. Remember...
(a beat)
Whatever Walter wants...
CAROL, PEGGY AND MADDY
(LAUGHING)
Walter Getz.
PEGGY
Sharon Norvik this is Carol Heath, and Maddy Nagle. My oldest and dearest friends. Sharon's married to Richard.
CAROL
Lucky lady. Hi.
MADDY
(looking at the photo)
Michael Fitzsimmons! Is he here?
PEGGY
No. I asked Rosalie. She couldn't track him down.
CAROL.
Too bad.
SHARON
He must have been quite a guy.
PEGGY
He was the only one in high school I wished I'd gone to bed with.
CAROL
The only one?
PEGGY
Well, besides Charlie, of course.
We HOLD on the photo of Michael and... DISSOLVE:
INT. GYM LATER
The BAND is PLAYING AND SINGING the SONG, "JUST BECAUSE." Couples axe slow dancing. Dolores is still interviewing Richard. Peggy, Sharon and Carol walk back to their table.
SHARON
Peggy, would you please rescue Richard? Ask him to dance.
RICHARD
Are we through Dolores? Good.
DOLORES
Well...
Richard stands and helps Sharon to a chair.
RICHARD
(to Sharon)
You'll be okay?
SHARON
Yes. You go ahead.
Peggy and Richard head onto the crowded floor, and begin to dance.
RICHARD
The only time people like Dolores used to pay any attention to me was to laugh at me or insult me. That guy, Doug Snell, who shook my hand when we walked in, he used to call me a four-eyed worm.
PEGGY
Well, you showed them. You're rich and famous and successful. And you have a beautiful wife.
RICHARD
You were always friendly to me. I appreciated that.
(beat)
You know, this used to be a fantasy of mine.
PEGGY
What was?
RICHARD
Dancing with you.
PEGGY
You're a sweet man, Richard.
RICHARD
I guess part of us never really leaves high school.
PEGGY
You know, I never told anybody this, but I always had a feeling that when you die, before you go to heaven, you get a chance to fly around high school for a while.
CAMERA PULLS BACK SLOWLY as Peggy and Richard become part of the sea of dancers, all Lost in nostalgic reverie. BY DOOR Charlie enters and stands by the door. He's tentative, looking around for his friends. Almost immediately he is joined by Arthur, Walter, Terry and Leon. They shake hands, glad to see each other.
TERRY
Here comes the life of the party.
LEON
I knew you couldn't stay away.
Everyone's happy to see Charlie. His eyes meet Peggy's - he gives her a tentative, sheepish wave. Terry looks at the band.
TERRY
You know, they could've at least asked us to sing. We'd refuse, of course, but they could've asked us.
CLOSE ON PEGGY
Looking at Charlie.
BY STAGE
Arthur walks onstage, placing a hatbox on the amplifier. He's a ChamberofCommerce type.
ARTHUR
(into microphone)
Hello. Can I have your attention, please.
The BUZZ in the room DIMS, Peggy and Richard head back to their table.
ARTHUR
I know it's getting kind of late, and some of you have a long drive home, so the reunion committee decided it was time for the moment you've all been waiting for. You don't know what you've been waiting for because we didn't tell you, but the committee has selected a King and Queen. Now don't worry, I took care of it so the band's gonna keep playing for at least another hour, and my old pal Judge Crystal said that the bar can stay open as long as we want.
Everyone applauds. VIEW ON PEGGY AND CHARLIE At opposite ends of the reunion, but aware of each other.
ARTHUR
And while you're at it, let's have a nice big hand for the Little Lady that did such a great job supervising all the decorations, Rosalie Testa.
More applause. VIEW on Rosalie in her wheelchair.
ARTHUR
Now back to business. The members of the committee have given this a lot of thought and decided on the two people who best represent the spirit of Buchanan High's Class of '60. The king is someone who, in more ways than one, has come a long, long way since he left here.
ANGLE - PEGGY'S TABLE They all look to Richard, knowing he's the obvious choice.
ARTHUR
We're proud to welcome him back, Richard Norvik! Come on up here, King Richard!
The band PLAYS a FANFARE and DRUM ROLL. Richard gets up, and walks to the stage as everyone APPLAUDS. The band PLAYS a chorus of "Get a Job." VIEW ON WALTER
WALTER
(kidding)
I demand a recount.
(laughs)
VIEW ON STAGE
Arthur places the gold cardboard crown on Richard's head as they shake hands.
RICHARD
Sharon and I thank you all for making us feel so welcome. It's good to be back.
MORE APPLAUSE as Richard steps back.
ARTHUR
Every king deserves a queen. Now, we had a Lot at worthwhile candidates. And I don't want any of you ladies to feel left out, 'cause you're all beautiful. But when we sent out the invitations, we didn't mention anything about this being a costume party.
Peggy's embarrassed reaction, realizing everyone's looking at her.
ARTHUR
Maybe we should have, 'cause just looking at her brings it all back for us. Ladies and gentlemen, I give you our queen, Peggy Sue Kelcher Bodell. Come on up here, Peggy Sue.
The band begins the song PEGGY SUE. Peggy looks pained. She doesn't move.
CAROL
They're waiting. Come on.
PEGGY
(close to tears)
I can't. It's all too much.
CAROL
Go on. You can do it.
Charlie and Beth stand together: Beth is worried about Peggy. CAMERA TRACKS Peggy as she haltingly makes her way to the stage. As she does, she notices another blow-up on the wall: Peggy and Charlie, as King and Queen of the 1960 prom. Arthur gives the crown to Richard who places it on Peggy's head. He kisses her cheek and stands back, beaming.
PEGGY
(into mike, overwhelmed)
Thank you. Thank you very much.
The lights dim, leaving Peggy in the spotlight. Continued APPLAUSE as the singer steps up to his mike and begins to SING the song PEGGY SUE. PEGGY ON STAGE INTERCUT WITH HER POV People starting to clap and sing along. Carol and Carol's POV: a blowup on the wall of Carol in the senior play. Walter and Walter's POV: a photo of Walter on the basketball team. People leaving their tables, surging towards the stage, drawn by the music. Maddy and Maddy's POV: a photo of Maddy and friends mugging for the camera in the cafeteria. Charlie talking to Carol. Peggy begins to cry softly. The images begin to melt together, pulsing to the music. Peggy is the focus of everyone's nostalgia. A wave of time washes over them. She remains onstage, looking past the crowd to the photo of her and Charlie. Peggy onstage, eyes closed, swaying to the music. Walter and Carol join hands, walking towards the stage. Rosalie in her wheelchair, doing the hand jive, crying. The entire crowd swaying to the music, looking to Peggy, repeating the chorus over and over. Beth notices her mother's state of emotion. Peggy collapses onstage. We hear SHOUTS and SCREAMS. Richard, Arthur and several others crowd over Peggy. Beth rushes to the stage, reaching out to her mother. Charlie too. MUSIC STOPS.
INT. GYM - ECU A THIN TUBE FILLED WITH BLOOD INSERTED
INTO PEGGY'S ARM - DAY CAMERA PULLS BACK to INCLUDE Peggy lying on a cot. She wears the same dress she had on at the reunion. She's terrified. We NEAR a smattering of background noises: NAMES are CALLED, NURSES helping, etc. Looking up she sees: The IV. The NURSE taking the IV out of her arm, and placing a vial of blood on a tray with several others. Peggy sits up slowly, dazed and frightened. She looks at the nurse.
NURSE
Would you like your Twinkie now?
Peggy takes the Twinkie, staring at it blankly. Looking around she SEES students giving blood to the Red Cross. Several have tubes in their arms. Nurses attend to them. Carol sits up drinking a cup of juice, waving weakly at Peggy. Maddy, now a brunette, slowly rolls down her sleeve. Arthur, Dolores, Walter and several others from the reunion. Everyone is younger but instantly recognizable. Charlie walks over to Peggy. He grins at her, revealing wax vampire fangs in his mouth, hair Brylcreemed to death.
CHARLIE
I vant to suck your blood. I also vant to suck your Twinkie.
PEGGY
Charlie! Am I dead?
CHARLIE
No. You are the undead. You will live forever if you give me your Twinkie.
(normal voice)
Come on, let's have it. You hate them anyway.
Mechanically, Peggy hands over the Twinkie. Charlie bends over to nuzzle her neck. The nurse's hand COMES INTO FRAME and grabs Charlie by the scruff of the neck, pulling him up.
NURSE
Young man, stop that.
The SCHOOL BELL RINGS.
CHARLIE
Hey! I just made a deposit in your blood bank. Now I want to make a withdrawal.
NURSE
I think it's time for your next class -
CHARLIE
I'm changing banks!
Charlie walks away towards Walter and Arthur. Peggy gazes after him, his body blocking her view of a portion of a banner hung on the wall. It reads: "Support the Buchanan High Blood Drive..." As Charlie exits, the final words come into view: "Spring 1960." Peggy gasps. She begins to tremble.
NURSE
Lie back down and take a deep breath.
PEGGY
What's going on? Where am I?
NURSE
You passed out for a moment.
Nothing to worry about.
PEGGY
How did I get here?
Maddy and Carol approach, carrying their books.
NURSE
Why don't you let your friends help you?
(to Maddy and Carol)
Take her into the washroom and splash some cold water on her face. That should perk her up.
MADDY
Yes, ma' am.
They help Peggy up and lead her across the gym.
INT. GIRLS' WASHROOM ADJACENT TO GYM
The girls enter. Carol immediately lights up a cigarette. Peggy crosses to the mirror.
CAROL
(to Peggy)
Wanna smoke? That's the worst thing for her.
PEGGY
No thanks. I gave them up years ago.
Maddy and Carol react as Peggy takes a closer look at herself and the girls' reflections. She places a hand to her throat, noticing the locket is gone.
PEGGY
Where is it?
CAROL
We're taking you back to the nurse.
PEGGY
Maddy, what did you do to your hair?
Maddy looks in the mirror.
INT. SCHOOL HALLWAY - NURSE'S OFFICE
Maddy and Carol are waiting. Peggy exits the office, clutching a note which she hands blankly to Maddy. They walk towards the exit, Peggy glued to the wall for support.
CAROL
We're going to take you home.
PEGGY
That's okay. I'm sure I'll remember the way.
EXT. SCHOOL SIDE DOOR
The girls walk outside. Peggy looks around at the old cars in the parking lot. The most noticeable a blue Chevrolet Impala convertible. Peggy stares at it for a beat, shivering with recognition, as she follows Carol and Maddy to a 1955 Ford. Maddy helps Peggy into the back seat.
EXT. STREET DRIVING
Carol drives and chats with Maddy, while in the back seat Peggy looks out at the world as it she were on a ride at Disneyland. She says things like "That's not here anymore".
EXT. SUBURBAN STREET - KELCHER HOUSE
The car pulls up to the curb. Peggy gets out of the car. Maddy hands her the note and her books; she twirls her finger next to her head.
CAROL
I'll call you Later.
PEGGY
Yes. Let's stay in touch.
Peggy walks up to the door, a sleepwalker in suspended animation. She waits a beat and knocks softly.
WOMAN'S VOICE (O.S.)
Who is it?
PEGGY
Peggy.
(shuddering)
Peggy Sue.
WOMAN'S VOICE (0.5.)
Come on in. It's open.
Peggy slowly opens the door.
INT. HALLWAY KELCHER HOUSE
Peggy enters and looks down the hallway into the kitchen. EVELYN KELCHER is a lovely woman in her midforties. She turns around from the sink and approaches Peggy.
PEGGY
(helplessly)
Mom!
MRS. KELCHER
The nurse called and said you'd be coming home.
Peggy stares blankly at her for a beat, then holds up the note, as she moves towards her mother.
PEGGY
I have a note.
MRS. KELCHER
How do you feel?
PEGGY
I'm excused.
MRS. KELCHER
Why don't you go lie down for a while.
PEGGY
Mom!
Peggy embraces her mother, holding on for dear life, inhaling her scent.
PEGGY
Chanel Number Five. That always reminds me of home.
MRS. KELCHER
Of course, dear. You're home now.
PEGGY
I'm home now.
INT. PEGGY'S ROOM
Peggy enters warily, looking around, a fifties museum of teenage artifacts. She walks around the room gently touching her old belongings including the record player from opening scene. She looks in the mirror to make sure she's still there. Suddenly, she turns around.
PEGGY
Okay, I'm alone now. Is anyone here?
She opens the closet door expectantly, then closes it shaking her head.
PEGGY
No. This is crazy. Is somebody going to tell me what's going on? Why me? What happened? You don't have to show up. I don't have to see you. Just send me a sign.
(beat)
Thanks a lot. 1 guess I'm on my own.
NANCY, Peggy's twelve-year old sister, peeks in the room.
PEGGY
Nancy! Come here.
Nancy tentatively approaches. Peggy hugs her.
NANCY
What are you doing?
PEGGY
I'm just happy to see you.
NANCY
Come on! Mom said you were sick. You're never happy to see me.
PEGGY
I'm sorry about that. I really want us to be closer. I have enough unresolved relationships in my... life.
NANCY
Teenagers are weird. And you're the weirdest.
PEGGY
Let's do something together. Do you want to play Monopoly? Or Careers... Clue... Snakes and Ladders?
NANCY
(suspicious)
Okay, what do you want? What dumb favor do you want me to do?
INT. LIVING ROOM
On a small black and white TV, Dick Clark introduces a spotlight dance. Peggy and Nancy are sitting on the sofa, watching. Nancy is eating small candies, like M&M's.
PEGGY
It's unbelievable. The man never ages.
NANCY
Look at Kenny Rossi. Isn't he dreamy? I wish he'd break up with Arlene. She thinks she's so great.
PEGGY
Don't eat the red ones.
NANCY
Why not? They're my favorite.
PEGGY
They're bad for you. They cause...red lips. (red dye \*2)
Nancy react, as Peggy stands. CAMERA TRACKS HER to the den.
DEN
Peggy opens the liquor cabinet and takes out a bottle of Scotch and a glass, noticing the family photos on the wall.
PEGGY
Can't hurt. I'm already dead.
She belts down several drinks.
NANCY (Q.S.)
Peggy Sue! Hurry up. Fabian!
Peggy steadies herself as CAMERA TRACKS her back into the living room. LIVING ROOM Peggy collapses on the Naugahyde recliner. Unexpectedly, it leans back, shooting Peggy's legs up.
MRS. KELCHER
(from the kitchen)
I put your laundry on your beds. Don't forget to put it away.
NANCY
What's for dinner?
MRS. KELCHER
Meatloaf.
NANCY
Yeech, not again.
Peggy leans forward in the recliner eating the candies. Bemused, she looks at Nancy watching TV and into the kitchen where her mother is slapping together meatloaf. ANGLE - HALLWAY - THE FRONT DOOR OPENS JACK KELCHER Peggy's father, enters the hallway.
MR. KELCHER
Girls? Evelyn? Who left this thing outside?
He turns and heads back outside.
MRS. KELCHER
What is it?
Mrs. Kelcher and Nancy follow him outside. Peggy staggers to the front door and leans against the door jamb looking out at the family.
EXT. DRIVEWAY
PEGGY'S POV: The family admires a new red and white Edsel.
MR. KELCHER
What do you think?
MRS KELCHER
(disturbed)
Oh, Jack.
NANCY
Like wow! Wait till I tell Diane.
She's always bragging about her father's Cadillac.
MR. KELCHER
Peggy Sue, what do you think?
PEGGY
Oh, Daddy. You were always doing things like that.
(cracking up)
That's funny! That's really funny.
She staggers over to the car and falls against it laughing. Mr. Kelcher crosses to her and catches a whiff of her breath.
MR. KELCHER
Young lady, you're drunk!
PEGGY
(laughing)
Just a little. I've had a tough day.
MR. KELCHER
I don't see the humor in this. Go to your room immediately. You're grounded.
PEGGY
(tipsy)
Grounded? Ha! The story of my life. I don't wanna go to my room. I wanna import Japanese cars. I wanna go to Liverpool and discover the Beatles.
MRS. KELCHER
Jack, take it easy. She gave blood at school today. Maybe she's just a little lightheaded.
MR. KELCHER
This is not giving blood. This is drunk.
PEGGY
Dad, I never knew you had a sense of humor.
MR. KELCHER
Evelyn, put her to bed.
INT. PEGGY'S BEDROOM
Peggy lies in bed, her mother tucking her in.
MRS. KELCHER
My little baby. Don't try to grow up so fast.
PEGGY
Oh Mom, I forgot you were ever so young.
CLOSE ON PEGGY She hears her mother walk down the stairs.
MRS. KELCHER (O.S.)
A new car. We can't afford a new car.
MR. KELCHER (O.S.)
Don't worry, it's just a seasonal slump.
MRS. KELCHER (O.S.)
You have four seasons, you have four slumps.
INT. PEGGY'S BEDROOM - MORNING
Peggy emerges from the bathroom wearing a towel. VIEW FROM BACK At a full length mirror she drops the towel and happily appraises her eighteen year old body.
PEGGY
Let's get physical!... Let's get metaphysical!
Nancy comes in dressed for school.
PEGGY
Good morning.
Nancy goes to Peggy's closet.
NANCY
Can I borrow this sweater?
PEGGY
Yeah, but take good care of it. I'm saving it for my daughter. She loves this stuff.
INT. KITCHEN - MORNING
Mr. Kelcher and Nancy sit at the table eating breakfast. Mrs. Kelcher stands at the sink scraping toast. Peggy bounces her hair in her adult, natural look. "GOOD MORNINGS" all around.
MRS. KELCHER
What happened to your hair? You have such a pretty face. Why are you always trying to cover it up?
PEGGY
Oh. I forgot.
Mrs. Kelcher takes an elastic band from around the faucet and hands it to Peggy as she sits at the table. Peggy makes a ponytail.
MRS. KELCHER
You're looking pretty chipper this morning.
PEGGY
I'm still here, aren't I? I may as well enjoy myself. I'm going to go to school today.
(beat)
Dad, I want to apologize for yesterday. The car is a classic. Use it in the best of health.
MR. KELCHER
Thank you. I accept your apology with the hope that what went on yesterday will never happen again.
PEGGY
That would be impossible.
MR. KELCHER
You're so young, this is not the time to start acquiring bad habits.
PEGGY
Mom, is there any coffee left?
Mrs. Kelcher begins to pour the coffee, then pulls back, spilling some on Mr. Kelcher.
MRS. KELCHER
When did you start drinking coffee?
PEGGY
Oh. Ah... recently. All the kids drink it.
MR. KELCHER
If all the kids jumped off a bridge, would you do that too?
PEGGY
I think I'm way ahead of them.
NANCY
Pass the toast, please.
Peggy passes Nancy the toast.
NANCY
And the butter.
PEGGY
You know, you two are wonderful parents. I'm really going to try to behave myself.
MR. KELCHER
Well, at least you stopped calling me DaddyO.
NANCY
(correcting him)
DADDYo.
PEGGY
Mom, sit down for a minute. This is so nice, all of us being together again like this.
NANCY
Can I tell Diane that Peggy Sue got drunk or is that a deep family secret?
(silence)
Well?
MRS. KELCHER
How does Diane like her braces?
R31.NCY
She hates them. Nobody likes braces. Thy just call you junkyard face and Miss Metal Mouth. I gotta go.
Nancy jumps up, grabbing her lunch on the counter, as she exits. "GOODBYES' all around. We HEAR a HORN HONKING outside a five note musical phrase BEBOPALUBOP.
PEGGY
Oh yeah. Charlie. How am I going to handle him?
MRS. KELCHER
What's the matter? Did you two have a fight?
PEGGY
Sort of.
MRS. KELCHER
What about?
PEGGY
The house payments.
EXT. KELCHER HOUSE
Peggy exits the house wincing at the sight of Charlie's car, the blue Impala she'd seen the day before. Charlie sits, one arm on the wheel, the other over the back of the seat.
CHARLIE
How do you feel?
PEGGY
Pretty strange.
Peggy hesitates, unsure how to handle her accumulated ambivalence towards Charlie.
CHARLIE
Come on. Get in. I can take care of that.
Peggy warily gets in. Charlie leans over to kiss her, but she pushes him away. No dice.
PEGGY
Not now, Charlie. I've got a headache. Get used to the word. Roll it around your tongue for a years.
CHARLIE
Hey, I can take a hint. You look great today.
Charlie starts the car, burns rubber and peels out.
PEGGY
You drive like a maniac!
CHARLIE
I call this the staccato.
(does tricks)
INT. CHARLIE'S CAR DAY - DRIVING
CHARLIE
(earnest)
Not that I'm glad you were sick, but I had a chance to do some thinking last night.
PEGGY
Oh yeah?
CHARLIE
You know. About what we said on Tuesday. It makes a lot of sense.
PEGGY
Refresh my memory.
CHARLIE
How could you forget? We talk about seeing other people and you forget?
PEGGY
Maybe I blocked it out.
CHARLIE
I can understand that. But please don't start crying again.
EXT. SCHOOL PARKING LOT
Charlie's car pulls up.
CHARLIE
It's not going to be forever. I figure three years is long enough. I can see if the music pans out.
(more tentative)
And right after graduation we should start seeing other people. Kind of comparison shop before we settle down and get married. Know what I mean?
PEGGY
Why wait?
CHARLIE
(surprised)
Well, we got the prom coming up, all these parties. We shouldn't upset our parents?
PEGGY
They'll learn to live with it.
Peggy exits the car and heads towards the school. Charlie sits, stunned.
EXT. HIGH SCHOOL LOT
They are surrounded by friends as they head into school. Near the door Walter and Leon are having a contest, hoisting themselves onto the sign pole, trying to get their bodies parallel to the ground. A crowd urges them on. We SEE taps on the bottom of Walter's shoes.
INT. SCHOOL HALLWAY
Peggy stands bewildered in the hallway. Charlie walks back, takes her by the hand and leads her to a locker.
CHARLIE
You're more shook up than you want to admit. You'll get used to it, we'll still see each other 2, 3 times a week.
Charlie opens the locker. Peggy watches carefully, memorizing tho combination. He takes out a few books as Peggy notices her schedule on the locker door.
CHARLIE
Want me to drive you home later?
PEGGY
Would you?
CHARLIE
(growling)
Would I?!! Why I oughta.
Unaccountably, this cracks Charlie up. He walks away laughing. Peggy looks completely puzzled. She is surrounded by a sea of people, who say hello. She can't remember their names.
INT. CLASSROOM - MORNING
We SEE Peggy, Maddy, Dolores, Arthur and Carol, singing MY COUNTRY TIS OF THEE. They all mumble, except for Peggy who delivers a stirring rendition. The class thinks she's crazy. Peggy's decided to have a good time. Announcements begin over the PA system. No one pays attention, except Peggy.
MAN'S VOICE (V.O.)
Good morning, students. This is Mr. Mosey. Our girls diving team is competing today in the county finals at Commander Beck High School.
MAN'S VOICE (V.O.)
We know they'll put forth a splendid effort so let's wish them luck.
PEGGY
Where's Rosalie Testa?
CAROL
Probably at the diving meet.
MAN'S VOICE (V.O.)
Finally, congratulations go to Richard Norvik for placing first in the Statewide Math Contest. We're proud of you, Richard...That's all, students.
Several students boo Richard's name. The BELL RINGS.
INT. ANOTHER CLASSROOM
Maddy, Dolores and Peggy enter the room. Peggy stands at the door till most are seated. She sees an empty seat between Maddy and Dolores and, assuming it's hers, sits down.
DOLORES
Did you study for the test?
PEGGY
(horrified)
Test?
INT. CLASSROOM - TWENTY MINUTES LATER
MR. SNELGROVE, an officious little creep, is standing by his desk.
SNELGROVE
All right, class. Time's up.
He walks along the aisles collecting the papers. When he gets to Peggy he picks up her blank sheet.
SNELGROVE
What's the meaning of this, Peggy Sue?
PEGGY
(patiently)
Mr. Snelgrove, I happen to know that in the future, I will never have the slightest use for algebra. And I speak from experience.
The class gasps, a few students APPLAUD, and Mr. Snelgrove's jaw drops.
INT. ANOTHER CLASSROOM DAY
MR. GILFOND is teaching The Old Man and the Sea. MICHAEL FITZSIMMONS (from reunion crosscountry photo) is speaking. He always wears black.
MICHAEL
Santiago comes back, with nothing there's no meat on the bone. It's Hemingway's ego defending itself again; he's trying to prove he can still perform.
GILFOND
What Hemingway's saying, Michael, is that we are alone that when we go out too far we're vulnerable. The irony, that Santiago is beaten by the sharks, doesn't make him less of a hero.
THE BELL RINGS. The class begins to exit.
GILFOND
Over the weekend read the first four chapters of The Great Gatsbv. I hope you enjoy it.
Peggy hesitates. She walks up to Gilfond.
PEGGY
Mr. Gilfond, can I talk to you?
GILFOND
Sure, Peggy Sue. What's on your mind?
PEGGY
I just wanted to tell you how much I enjoy your class. You taught me a lot and... you're a very fine teacher.
GILFOND
That's very kind of you. Thank you.
PEGGY
Thank you. Um, I also think you're underpaid.
LUNCH AREA Walter, Charlie and Arthur sit at a long table.
WALTER
Why does your father take inventory on Sunday night? That's poker night. You always got out of it before.
CHARLIE
I've got to string him along for a while. It's for his own good.
ARTHUR
But you're not going into his business. When're you going to tell him?
CHARLIE
Soon. I can't tall everybody everything all at once.
Peggy, Carol and Maddy walk over and sit down with trays. Peggy deliberately avoids the empty sear next to Charlie. They're uneasy with each other. Peggy looks with disgust at the slop on the tray.
WALTER
Strange rumors are sweeping the school about you.
PEGGY
(wary)
What do you mean?
WALTER
Prom what I hear, you really gave it to old Smellgrove.
MADDY
I was there. She told the creep off right to his face.
ARTHUR
Atta girl, Peg.
PEGGY
Arthur, please don't call me Peg.
ARTHUR
Why I oughta....
Charlie, Walter and Arthur crack up.
PEGGY
I don't get it.
CAROL
That's because you' re not a total moron like they are.
MADDY
It's some stupid old movie thing they just started.
WALTER
That's enough out of you, little lady.
CHARLIE
I'll throw the book at you!
ARTHUR
Why I oughta...
The boys crack up again. The girls think they're hopeless. Peggy SEES Michael Fitzsimmons, buried in a book. He looks at Peggy with a penetrating gaze, then back down. Richard Norvik, also sitting alone, working with a slide ruler on a book of mathematical puzzles, dressed in early Nerd. Peggy gets up from the table. She looks back to Charlie and the table.
PEGGY
I'll be right back.
CAMERA TRACKS PEGGY TO RICHARD ANOTHER ANGLE
WALTER
She's not wasting any time. Peggy Sue and Mr. Square Root?
CHARLIE
He's a nice guy. You know he's writing a book?
WALTER
Oh, a book... Excuse me for a second.
(fakes gagging)
ANOTHER ANGLE Peggy stands over Richard. He looks up nervously, pushing his glasses up the bridge of his nose, a constant habit.
PEGGY
Congratulations on the math contest, Richard.
RICHARD
It really wasn't that difficult.
Doug Snell (of Merrill Lynch, at the reunion) walks past.
DOUG
What're you doing, Peggy Sue? Fishing for four-eyed worms?
PEGGY
Get lost you macho shmuck.
Doug and Richard react.
PEGGY
I have to talk to you. It's very important.
RICHARD
I'm not doing any tutoring this year. I'm too busy.
PEGGY
It's not that. Can we meet after school? Please?
RICHARD
All right. I'll be in the physics lab. Make it four-thirty. I have a rocket club meeting.
INT. CLASSROOM - A FAMILY LIVING CLASS
On the walls are several charts: Basic Food Groups, Tips on Grooming, and prominently displayed, The Happy Home Corporation, i.e. husband as president, wife, vicepresident, children, employees, grandparents as board members. MISS OTTO stands by her desk. Standing in the front of the room is:
MADDY
Therefore, the key to a successful children's party can be summed up in one word planning.
MADDY
With proper planning, a successful, inexpensive happy birthday party can be had by all. Including the mother.
She walks back to her seat.
MISS OTTO
That was very comprehensive, Madeline. Thank you. Now...
(beat)
Peggy Sue, your topic was 'How To Choose A Nursery School.' Are you prepared?
PEGGY
All... Okay. Sure.
Peggy walks to the front and faces the class, smiling primly.
PEGGY
Choosing a good nursery school can be one of the most important decisions you can make. It will often determine your child's attitude towards education and schooling.
(proud of herself)
Of course, the lessons learned are primarily social sharing, being considerate of others.
(remembering)
And they're so cute when they're little. They bring you back their Little masterpieces every day and you put 'em on the refrigerator door. They're so proud, and their names are all misspelled. Scott would always print his S backwards, and Beth would make her sweet little flowers.
Peggy wipes away a tear. At the stunned reaction of the class and Miss Otto.
EXT. PLAYING' FIELD
The baseball team practices. Michael Fitzsimmons runs laps with the track team. One lone boy kicks a soccer ball. CLOSE - A BATON TWIRLING IN THE AIR WIDEN to INCLUDE the baton spinning down, falling into the hands of a uniformed majorette who deftly passes it through her legs and twirls it back into the air. Another baton it rises, spinning awkwardly and falls through Peggy's hands onto the ground. Six MAJORETTES in uniform are practicing. Dolores is one of them.
DOLORES
(to Peggy)
What a girl. What a twirl. You know, PegLeggy, you're gonna get demoted to hall monitor -
HEAD MAJORETTE
Come on, Peggy Sue. Try it again. You haven't been practicing.
Peggy gamely tries it again and manages at least to catch the baton and continue twirling. She continues, enjoying herself. Michael runs by, the lonely long distance runner.
EXT. PLAYING FIELD LATER
The group of majorettes heads toward the school. Peggy sees Charlie leaning against the car, waving her over.
CHARLIE
Looking good out there.
PEGGY
Thanks.
CHARLIE
I noticed you were giving me the silent treatment at lunch. I guess I deserved it. I've been thinking about my three year plan and I think it's unworkable. I must have been delirious.
PEGGY
I thought it had a lot of merit.
CHARLIE
In the abstract maybe. Get a grip on yourself! But when I imagine you going out with other guys, I feel... ah...
PEGGY
Rejected, worthless, miserable.
CHARLIE
Yeah. Like that.
PEGGY
Good.
Peggy turns, and walks away. Charlie looks miserable.
INT. PHYSICS LAB
Peggy enters and approaches Richard. He is too engrossed constructing an elaborate kite to notice her.
PEGGY
What a great kite.
RICHARD
I'm writing a book on kite construction. What did you want to talk about?
PEGGY
I want to ask you a question.
(beat)
Do you think.... time travel is possible?
RICHARD
Are you doing some kind of science project?
PEGGY
Sort of.
RICHARD
Well... in a Newtonian framework, the possibilities were limited, but with the advent of relativity theory, the idea of absolute time can no longer be reasonably affirmed.
Peggy hasn't understood a word.
RICHARD
And then, there's Richard's Burrito.
PEGGY
What's that?
RICHARD
That's my own theory based on a Mexican food called the burrito.
RICHARD
I had it once when my parents took me to Disneyland.
PEGGY
I know what a burrito is.
RICHARD
Well, I think time is like a burrito. Sometimes it just folds over on itself and one part touches the other.
PEGGY
What's inside?
RICHARD
You can till it with whatever you want. From illusions to memory, from experience to innocence, from happiness to the entire universes
PEGGY
So you think time travel is possible? For people?
RICHARD
Absolutely. People, dogs, elephants.
PEGGY
Listen, you've gotta keep this a secret. You can't tell a soul. Promise?
RICHARD
Okay. I promise.
PEGGY
This is serious. Nobody can know. Ah, I've returned from the future. I traveled back here 25 years.
RICHARD
You probably are crazy. Wait a minute. Is this some kind of joke? I know what you all, think of me.
PEGGY
No. Really. You're the smartest person I know. It sounds unbelievable. But I can prove it.
RICHARD
Oh yeah?
PEGGY
You have a blind grandfather. One day you're going to invent a machine that reads books for blind people. I read about it. You're going to be famous. You're going to invent a lot of things.
RICHARD
How, did you know about my grandfather?
PEGGY
Because I'm telling you the truth. I know what's going to happen. There's going to be test tube babies and heart transplants. And an American named Neil Armstrong is going to walk on the moon. On July 20, 1969.
RICHARD
Holy Toledo! That's six years ahead of schedule!
EXT. STREET
Peggy and Richard are walking, carrying their books.
RICHARD
But when did you leave? Are you here until then? Were you there until now? What direction are you going in? Are you a moving point on an infinite line extending into the past? Can anyone do it?
PEGGY
I don't know.
Oblivious, Peggy and Richard walk by Shower's Cafe. Inside, Dolores and Carol see them.
EXT. ANOTHER STREET APPROACHING RICHARD'S HOUSE
RICHARD
I'd be very careful if I were you. You don't want to fall into the clutches of some madman with plans to manipulate your brain.
PEGGY
That's why I was getting a divorce.
(beat)
What I really think is that I had a heart attack at the reunion and died.
EXT. RICHARD'S DRIVEWAY
RICHARD
You look pretty good for a corpse.
PEGGY
Come on, Richard, I'm serious.
RICHARD
You're giving me the creeps.
PEGGY
Am I dead or not?
RICHARD
There's one way to find out.
Richard stops and throws down his books. He steps in front of Peggy, throwing down her books, dragging her to the curb.
PEGGY
What're you doing?
RICHARD
Confucious says, The way out is through the door. There's a truck. There's your door.
A large truck speeds towards them.
RICHARD
Step in front of the truck! If you're dead, it won't matter. The truck'll go right through you. Go ahead! You're dead!
Peggy takes one step off the curb. The truck is getting closer. The truck BLOWS A LOUD SUSTAINED WAIL.
PEGGY
No! I don't want to die!
INT. RICHARD'S GARAGE
A completely outfitted laboratory, kites decorate the walls.
RICHARD
Okay, you're not dead, but according to every law of science what you say happened to you is impossible.
PEGGY
What if it's beyond science? What it it's God?
RICHARD
Einstein said "God doesn't play dice with the universe." I'm a scientist. I believe that there's an order to things. Why would God bring you back as a high school girl?
PEGGY
I don't know.
RICHARD
You're a molecule in chaos, a discontinuent aberration. Maybe you've just got powers of precognition. Well, maybe you're just out of whack.
PEGGY
I told you, I've already lived my life. I don't know how or why I'm here, but you have to help me get back. I want to get back to my real life!
RICHARD
All right, I'll work on it, I'll, do some research. But in the meantime, don't get crazy.
PEGGY
I'm trying. I'll see you tomorrow.
(heads out the door)
RICHARD
What if you're not here tomorrow?
INT. KELCHER HALLWAY
Peggy comes home, enters hallway.
MRS. KELCHER (O.S.)
This necklace is sapphire, it was my Grandmother's.
Peggy looks into the living room. PEGGY'S POV: Her mother is sitting on the sofa with a strange MAN in a suit. She's served him tea. There are several, pieces of old jewelry spread on a cloth on the coffee table. The man is examining one of the pieces. Mrs. Kelcher seems surprised that Peggy's home from school. Peggy moves on into the kitchen.
INT. KELCHER KITCHEN
Peggy hears her mother let the man out. She enters the kitchen.
PEGGY
Who was that man?
MRS. KELCHER
It was nobody. Ah... he's a poll, taker. I'm thinking of voting Democrat this year. But don't mention it to your father. How was school today?
PEGGY
It was great to see everybody again. But it's so boring and regimented. Most of what they teach is useless. The worst thing was lunch.
The TELEPHONE RINGS.
MRS. KELCHER
Would you get that, dear?
PEGGY
Sure, Mom.
(picking up the phone)
Hello.
Peggy gasps. Mrs. Kelcher turns to her.
MRS. KELCHER
Peggy! What's the matter? Who is it?
PEGGY
(shaken)
It's Grandma. I can't talk to her now.
PEGGY
(into phone)
I'm sorry, Grandma.
Peggy hands the receiver to her mother and runs out of the room sobbing. Her first confrontation with mortality.
INT. HALLWAY
Peggy climbs the stairs, in tears.
MRS. KELCHER (O.S.)
Peggy Sue! What is it?
Forcing herself to regain her composure, she sits down at the top of the landing as Mrs. Kelcher joins her.
MRS. KELCHER
What happened to you?
PEGGY
I had a dream that Grandma died.
MRS. KELCHER
Well, she is getting on, but she's fine. I told her you weren't feeling well yesterday. She called to find out how you are.
PEGGY
She did? I love her so much, and I haven't seen her in such a long time. And Grandpa Barney. Is he all, right?
MRS. KELCHER
Yes, he's fine, too. You saw them at Easter.
PEGGY
I'm sorry, Mom. I'll call Grandma back and apologize.
MRS. KELCHER
That's a good girl... I hate to see you so upset.
(beat)
Tell me, sweetheart. Are you having problems with Charlie? You mentioned something this morning.
PEGGY
I'm confused about a lot of things right now. Charlie's only one of them.
Two beats.
MRS. KELCHER
Is Charlie pressuring you to do things you don't think you should be doing?
PEGGY
What do you mean?
MRS. KELCHER
Peggy, do you know what a penis is?
(Peggy's jaw drops)
Stay away from it.
EXT. KELCHER HOUSE NIGHT
Charlie pulls up to the curb, opens the glove compartment, extracts a can of Old Spice aerosol, sprays the seat; and exits his car, throwing a kiss to it as he walks up to the door. CLOSER VIEW He's wearing a hideous orange and turquoise sweater.
INT. KELCHER HOUSE HALLWAY
Mr. Kelcher opens the door, Charlie enters.
MR. KELCHER
Hello, Charlie.
CHARLIE
Hello, sir. How are things at the hat store?
MR. KELCHER
Fine, thanks. Come on in. I want to talk to you.
CAMERA TRACKS Charlie and Mr. Kelcher into the living room. Mr. Kelcher sits on his recliner, Charlie, nervous, on the couch. Nancy is on the rug, studying.
MR. KELCHER
You may have noticed that Peggy Sue's been acting a little strange lately.
NANCY
She's distorted.
CHARLIE
Yes, sir.
MR. KELCHER
She seems confused, irresponsible, overemotional. My wife says that's the way girls act sometimes.
NANCY
She's almost a juvenile delinquent.
Mr. Kelcher gives Nancy a look and points to the door. Without her father noticing, Nancy creeps up behind him and makes rabbit ears behind his head. Charlie tries hard not to laugh. Nancy continues to clown.
CHARLIE
Yes, sir. But that's what I like about her. She's not like all the other girls at school.
MR. KELCHER
Charles, in spite of your adolescent infatuation with music, we've always regarded you a a fine young man. We've trusted you with our daughter.
CHARLIE
Yes, sir. Trust is a twoway street. In the past two years I've been pleased to note that you and Mrs. Kelcher have, uh, fulfilled your sacred trust of being good parents to the, uh, woman I plan to take off your hands.
Mr. Kelcher looks as if he's witnessing the latest attack of teenage weirdness.
INT. PEGGY'S BEDROOM
Peggy is changing a record. She sees the dress she was wearing the day before (and at the reunion) slung across a chair. As Peggy picks it up, a book of matches falls out. Peggy picks it up, excited. INSERT: MATCHBOOK which reads: FINISH HIGH SCHOOL IN YOUR SPARE TIME. Peggy frantically searches the dress pockets and slowly draws out two joints. She stares at them for a beat.
PEGGY
(worrying)
Oh, Beth.
There's a knock at the door. Peggy quickly hides the joints. Mrs. Kelcher opens the door.
MRS. KELCHER
Charlie's downstairs. Why aren't you ready?
PEGGY
For what?
MRS. KELCHER
Maddy's party.
PEGGY
I don't feel very festive.
MRS. KELCHER
You accepted an invitation, Maddy's one of your best friends, and I baked the Rice Krispie squares.
Peggy laughs.
MRS. KELCHER
Enjoy yourself! This is the best time of your life. And the sooner you learn to handle Charlie the better. Get dressed.
Mrs. Kelcher closes the door.
INT. LIVING ROOM
MR. KELCHER
We think this party might cheer her up. Just make sure you know what's expected of you.
CHARLIE
What would that be, sir?
MR. KELCHER
Show her a good time, but for God's sake restrain yourself.
CHARLIE
(surprised)
Of course.
ANGLE ON PEGGY walking downstairs, surprised by Charlie and Dad talking.
EXT. KELCHER HOUSE - NIGHT
Peggy and Charlie exit and walk towards his car. Peggy's holding a pan of Rice Krispie squares. Charlie slips Peggy's sweater back on her shoulder. He's trying hard to make up.
PEGGY
Where did you get that sweater?
CHARLIE
Great, isn't it?
PEGGY
It's really Fifties. You sort of clash with the world.
CHARLIE
Hey! What's the fun of being a teenager if you can't dress weird? And we're going to have fun tonight, right?
PEGGY
Right. I promised my mother.
INT. CHARLIE'S CAR NIGHT - DRIVING
CHARLIE
Is this slow enough for you?
PEGGY
(serious)
Charlie, how are you?
CHARLIE
I'm fine Peggy Sue. And how are you? Are we talking on the phone? Are we pen pals?
PEGGY
Seriously. What's it like to be eighteen?
Charlie looks thoughtful, then guns the engine.
CHARLIE
It's great. I cleaned the car, do you like it?
CHARLIE
Oh, I got tickets for Fabian on your birthday, you like him, right? He's cool. Eighteen is half of thirty six. It's "Gentlemen start your engines", vroom, like I'm gassed up ready for the race. I've got the girl, I've got the car, I've got the talent, but I don't know. Do I date, get married, join the army, cut a record, go to college? I got a million choices, but nobody teaches you how to choose. But it's different for a girl. You're Lucky. You just have to wait for me.
INT. MADDY'S HOUSE BASEMENT
Thirty kids are dancing, talking, snacking. One couple makes out. Walter, Leon, Terry and Doug Snell are crowded around a TV, watching an old western with Eugene Pallette or Edgar Buchanan. The boys laugh as Pallette or Buchanan growls a western cliche.
DOUG
Gol'darnit, dag nab it, dad burn it, dad blame it.
INT. MADDY'S HOUSE HALLWAY TO BASEMENT
Charlie and Peggy are poised at the door.
CHARLIE
Here comes the life of the party.
INT. MADDY'S HOUSE BASEMENT
Arthur and a few others stand by the bar, where bottles of Coke are lined up. Arthur carefully pours rum from a hip flask directly into the bottles. Peggy and Charlie enter.
LEON
Goes down, smooth. Hey, look what the cat dragged in.
CHARLIE
Have no fear. Charlie's here.
WALTER
Oh, it's you is it.
TERRY
Jumping Jehosophat!
DOUG
It's a miracle!
PEGGY
Hi, guys.
ARTHUR
Now that's a purty little heifer.
CHARLIE
Why Pete's the best darn cook on the Panhandle!
PEGGY
Why I oughta!
The boys all crack up. THE PARTY LATER Walter, Leon, Charlie and Terry crowd around Arthur who has an open, widemouthed bottle of beer in his hand.
CHARLIE
Ready. Set. Go -
Arthur rapidly chugalugs the entire beer and immediately recites from memory as the boys urge him on:
ARTHUR
(going: for speed)
HiYo Silver! A cloud of dust, a galloping horse with the speed of light, a hearty Hi-Yo Silver! The Lone Ranger! With his faithful Indian companion Tonto, the daring and resourceful Masked Rider of the Plains came to Earth with powers- and abilities far beyond those of mortal men. Return with us now to those thrilling days of yesteryear - from out of the...
Arthur lets out a huge belch. Everybody cracks up.
LEON
You doorknob! You threw in Superman!
CHARLIE
Too bad. Close to a record.
ARTHUR
(foaming at the nose)
I hate it when the beer comes out my nose.
ANOTHER AREA
Peggy, Carol and Maddy bemusedly watching the boys.
MADDY
Can you believe I want to marry that dork?
CAROL
Why do guys do such stupid things?
PEGGY
You know, I never could figure that one out.
INT. BASEMENT - ANOTHER ANGLE
Maddy, Arthur, Walter, Carol, Charlie and Peggy sit on a couch. Maddy and Carol sit in their boyfriends' laps. Peggy sits distractedly on the couch arm. They cross talk boys to boys girls to girls.
MADDY
I was thinking of four ushers and four bridesmaids.
WALTER
The Yanks got the hitting but the Sox got the defense.
CAROL
What are your colors, going to be?
ARTHUR
I'l1 take Kubek and Richardson over Fox and Aparicio.
MADDY
I'm thinking of pink and green.
ANOTHER ANGLE
Dolores and Terry standing in a corner kissing passionately.
MADDY
Look at Dolores. What a tramp.
CHARLIE
Pitching wins pennants. The Tigers got four potential twenty game winners.
CAROL
You'd be surprised at how many girls in school aren't virgins.
WALTER AND ARTHUR
(to Carol)
Like who?
CHARLIE
Don Mossi, Frank Lary, Jim Sunning and Paul Foytack.
INT. BASEMENT LATER
ARTHUR
And now, direct from three weeks of rehearsal in Walter's garage, four guys who have dedicated their lives to becoming the greatest singing group in the world... (beat)
Charlie, Walter, Leon and Terry. The Definitions. Applause as the group enters from the furnace room. They all wear black pants and iridescent sharkskin jackets. Charlie is in the center of the group as they position themselves.
CHARLIE
One, two, three-...
The group begins to SING an A CAPELLA version of RAMA LAMA DING DONG (or I WONDER WHY). Charlie sings lead, backed up by the other three. Walter dances insane, Temptationlike steps. The crowd huddles around them, clapping and grooving. Peggy is on the planet of lost innocence, removed and melancholy.
CAROL
Charlie really has a great voice.
MADDY
Maybe they'll be the next Dion and the Belmonts.
PEGGY
Don't get your hopes up.
MADDY
Come on, where's your enthusiasm?
Charlie SINGS directly to Peggy, grinning at her. In spite of herself, she smiles back at him. She's starting to realize why she fell in love with him. He's irresistible.
PEGGY
He is kind of cute, isn't he?
CAROL
Yeah. You're so lucky. He really loves you, too. He's always telling Walter how wonderful you are.
PEGGY
He does?
The group finishes the song. Charlie blows Peggy a kiss. The crowd APPLAUDS, including Peggy. Dolores joins Peggy, Carol and Maddy.
DOLORES
Carol and I saw you with that creep, Richard, today.
PEGGY
First of all, Richard is not a Creep. He happens to be an exceptional person. If any of you gave him half a chance, you'd find that out.
DOLORES
God, Peggy, you're so unformed you're practically fetal. You're just taking pity on him 'cause he has no friends.
PEGGY
Dolores, can't you be a little kinder to people? You don't even know the boy. If you weren't so neurotic and insecure, maybe you'd shut up for a while and show some compassion.
DOLORES
Are you for real?
PEGGY
Touchy, touchy!
Dolores storms away.
MADDY
(to Peggy)
I don't know what you said to her, but I wish I'd said it.
Charlie and Walter walk over and accept "BRAVOS" from the girls. Walter does his James Dean imitation.
PEGGY
Charlie, what do you think of Richard Norvik?
CHARLIE
Is he gonna help you with that physics stuff?
PEGGY
He's trying.
CHARLIE
Hey! Who needs physics when we've got chemistry?
PEGGY
(charmed)
Come on, let's dance.
WALTER
Put on some makeout music, and kill the lights.
We HEAR a RECORD SCRATCH. A slow song begins. The lights are dimmed. Coupler begin to slow dance. Charlie holds Peggy close, barely moving. Peggy is mistyeyed, moved by being in Charlie's arms again.
CHARLIE
There isn't a girl in school that can hold a candle to you.
PEGGY
You're pretty charming when you want to be.
CHARLIE
Yeah I know. But I don't have to flatter you. It just feels right. You're the perfect girl for me. As in is, was and always will be. I'm glad dancing was invented. You know the first dances were rituals. Like fertility rites.
As they dance Charlie gets embarrassed by an erection, and moves his hips away from Peggy. She surprises him by grabbing his tush and pulling him into her.
INT. MADDY'S BASEMENT - LATER
MUSIC FADES INTO the song "PARTY DOLL" by Buddy Knox. Peggy is doing the Twist, showing Charlie and several others. Walter gets the hang of it, twisting on one leg. Carol tries to keep up. Maddy and Arthur are always a beat behind.
DOLORES
Hey Terry, what is that? Did Peggy make it up? I've never seen that on Bandstand.
TERRY
What if we're witnessing the end of touch dancing?
INT. CHARLIE'S CAR - DESERTED LANE - NIGHT
The windows are fogged. Peggy and Charlie kiss tenderly.
PEGGY
Mmm. This is nice. I always loved the way you kiss. I missed you.
CHARLIE
Your eyes look like silver pools of moonlight. And the tide rushes in.
PEGGY
You really love me, don't you?
CHARLIE
You know I do. I even wrote you into my will.
PEGGY
(tentatively)
Charlie, let's make love.
CHARLIE
What?! You mean sex?! Intercourse?
(nonbelieving)
You want to have intercourse! Last weekend you said... What time is it?
PEGGY
A lot's happened since last weekend.
CHARLIE
But you're the one who wanted to wait till we got married. And you were right. We should wait.
PEGGY
(flustered)
I probably meant it when I said it.
(beat; coyly)
Doesn't Lucky Chuckie want to come out?
CHARLIE
Who?
Peggy starts to GIGGLE, realizing the absurdity of the situation. The more she GIGGLES, the more agitated Charlie gets. Peggy starts to unbutton Charlie's shirt.
PEGGY
You know. Your love machine... the throbbing thrill hammer... your thing!
CHARLIE
You mean my wang? Listen, it's running real late.
Charlie pushes her away, angry.
CHARLIE
What is this? What the hell is going on? One week you say, "If you love me you won't", now you say "If you love me you will".
(beat)
Excuse me. That's a guy's line!
Peggy realizes she's blown it. Charlie isn't ready for this.
PEGGY
This is a mistake. We better forget it.
CHARLIE
You're damn right! Jesus! Peggy! You sure know how to spoil a mood.
Charlie straightens himself up, starts the car and burns out.
EXT. KELCHER HOUSE NIGHT
Charlie drops her off.
PEGGY
I'm sorry Charlie.
CHARLIE
Save it.
Peggy watches him go. Looking at her darkened house, she turns and walks down the street.
EXT. STREET SHOWER'S CAFE
Peggy peeks in the window. The kids from the party are eating and laughing. Rosalie Testa is dancing. Shaken by Rosalie, she turns away. In the distance she SEES the lights of: ART'S DONUT HOLE. OPEN 24 HOURS.
INT. ART'S DONUT HOLE
A few people linger over coffee. The waitress serving them is Monica (the same but younger woman from LOVIN' OVEN). In a corner, Michael Fitzsimmons, in a red leather jacket, sits alone, reading. He looks up to check on his motorcycle parked outside. He's splendid in his isolation. Peggy enters, taking a seat at the counter, startled to see Monica, who doesn't know her.
MONICA
What would you like?
PEGGY
Monica? Aren't you Monica Hines?
MONICA
Yes. Who are you?
PEGGY
Ah... never mind. Can I have a coffee, please? And a cinnamon cruller.
(sotto)
How's Bobo?
Peggy notices Michael staring at her. Peggy smiles, Michael doesn't. Monica brings Peggy her coffee and donut.
MONICA
Twenty cents, please.
PEGGY
You're kidding?
Picking up her donut and coffee, she walks over to Michael's table and sits opposite him.
PEGGY
I was impressed with what you said in English class today.
MICHAEL
Gilfond's okay, except he thinks Hemingway's great Literature.
PEGGY
You don't?
MICHAEL
(contemptuously)
He's a fisherman! The most overrated writer of the century. I mean, he's the perfect American author fat, violent, drunk...
PEGGY
Maybe you're confusing his life with his work.
MICHAEL
A writer's life is his work. Jack Kerouac doesn't have to kill a bull to have something to write about. He's out there feeling, burning.... grooving on life!
Michael leans back in his chair. He's said his piece. Peggy studies him for a beat.
PEGGY
The young man leaned back in his chair. No bulls would die today.
MICHAEL
What're you doing here anyway?
PEGGY
Coffee and a donut.
MICHAEL
I thought chicks like you traveled in packs.
PEGGY
Hey, man, I'm a hip chick.
EXT. ART'S DONUT HOLE
Long shot of the brightly lit donut shop. Michael and Peggy are clearly visible.
INT. CAR
Dolores and Terry are driving by.
DOLORES
Terry, slow down.
TERRY
Okay.
DOLORES
Terry! Slow down.
TERRY
What, why?
EXT. ART'S DONUT HOLE DOLORES'S POV:
Peggy and Michael leave the donut shop, get on Michael's motorcycle.
DOLORES
There's Peggy with Michael Fitzsimmons.
TERRY
That commie beatnik? What's she doing with him? Wait'll I tell Charlie.
DOLORES
First a nerd and then a weirdo. What a bunch of nose pickers. I'll tell Charlie.
EXT. STREET - NIGHT DRIVING
Peggy on Michael's bike, clasped around him. Her eyes closed, enjoying the wind blowing in her hair. They head out of town.
EXT. GAS STATION
Michael pumps gas. Peggy walks to the washrooms. Looking around she waits a beat, then enters the men's.
INT. MEN'S WASHROOM
With all the aplomb of a divorcee, Peggy takes a quarter and deposits it in a condom machine. She puts the packet in her skirt pocket, pulls out the joints and stares at them for a beat. She checks her hair in the mirror and exits.
EXT. GAS STATION
Michael pumps air into the tires, bunched against a building. Peggy approaches him, holding up a joint, smiling conspiratorially. She lights it, inhales deeply, then passes it to him. He smiles back at her, a bit surprised, but still takes the joint and inhales.
EXT. MOUNTAIN ROAD
They drive up to a mountain top, Peggy wearing the leather jacket. She directs Michael with one arm. The motorcycle is parked. Peggy and Michael lie on the grass, staring down at the town lights below. Michael inhales the joint, then passes it to Peggy.
MICHAEL
This is great reefer.
PEGGY
Yeah. I'm surprised. It's really old....
(inhales)
Travels well though.
(beat)
You know, the world looks a lot better from up here.
MICHAEL
The world is fantastic. It's the ultimate absurd circus. I am shot from a cannon into the energy.
PEGGY
What are you shooting for?
MICHAEL
Maximum intensity. Yeah. I can't wait to get out of here. I'm gonna write. I'm gonna check out of this bourgeois motel. Push myself away from the dinner table and say 'No more JellO for me, Mom.'
PEGGY
Don't you get along with your parents?
MICHAEL
The only thing my father digs is cold, green money. All my mother cares about is her standing at the country club.
PEGGY
They care about you. They're just a different generation.
MICHAEL
Hey what's with you? I thought you were cool. You rode my bike. You blew some pot.
(beat)
What's your scene Miss Majorette? You gonna marry Mr. Blue Impala and graze around with all the other sheep for the rest of your life?
PEGGY
I already did that. I want to be a dancer, I want to dance.
Peggy takes off her sweater, kicks off her shoes and begins to dance. Her eyes are closed, her body silhouetted by the moon. Michael is transfixed. After a few beats, he walks over to her. He stretches out his arms and places them around her neck. They sway together for several beats, their bodies touching. Peggy opens her eyes and sees Michael gazing at her tenderly.
MICHAEL
You know, I had you pegged all wrong.
Michael kisses Peggy. She responds passionately.
MICHAEL
A ray of oneness piercing the solitude. Falling bodies in the ecstasy of flesh. You'll be a chapter in my memoirs of desire.
PEGGY
Is that one of your poems?
MICHAEL
No, I just made that up. Do you want to hear one?
PEGGY
I'd love to.
MICHAEL
(eyes ablaze)
Okay. Here's a new one. It's called Tenderness.
(beat)
I couldn't sleep so I thought I'd scream Betrayed by a kiss, sucking pods of bitterness. In the madhouse of Dr. Dread Razor shreds of rat puke fall On my bare arms
(sees Peggy grimace; he calms down)
I'm sorry. I guess I was trying to impress you.
(kisses her)
Peggy is falling for it. He fumbles with her bra straps.
PEGGY
Michael... you're as good as you looked.
His other hand reaches to undo her skirt.
MICHAEL
I'll respect you for eternity.
(reciting tenderly)
'When you are old and gray, and full of sleep, And nodding by the fire, Take down this book, and slowly read, And dream of the soft look your eyes had once."
(beat)
I didn't write that. That's Yeats.
Peggy is moved by the beauty of the poem. She sits up, leans over Michael, runs her hand through his hair, almost motherly.
PEGGY
I envy you. You have your whole life ahead of you and you know exactly what you want to do.
PEGGY
(beat)
But forget the rat puke; write something beautiful.
Peggy lies back down on the ground. Michael takes her hand and kisses it.
PEGGY
You know, this isn't really happening.
CAMERA PULLS BACK to include the entire, perfect tableau: the starry night, the motorcycle, the clouds racing across the moon and the two lovers on the mountaintop.
EXT. STREET DAWN
Michael stops at the corner of Peggy's street. She gets off the bike and kisses Michael goodbye. He takes off.
EXT. KELCHER HOUSE
Peggy walks up the path as the MILKMAN approaches.
MILKMAN
Your parents are waiting up. You know, I see a lot of this in the spring. Good luck.
PEGGY
Thanks, Ralph.
INT. KELCHER HOUSE
Peggy enters, trying to be quiet. Mr. Kelcher stands in the kitchen doorway in his bathrobe waiting for her, steaming. CAMERA TRACKS Peggy into kitchen. She grabs a cup of coffee before sitting down.
MRS. KELCHER
Where have you been?
PEGGY
I went for a drive. Up in the hills.
MR. KELCHER
Damn that Charlie I....
PEGGY
It's not Charlie. It's me.
MR. KELCHER
(nervously)
Peggy, let me ask you something.
(beat)
You're not.... expecting are you?
PEGGY
At my age? Don't be silly.
MR. KELCHER
Thank God for that.
PEGGY
Dad, it's not a big deal. Didn't you ever stay out all night when you were young?
MR. KELCHER
Yes but I was a boy. And I still had hell to pay.
PEGGY
Calm down. Just listen for a minute. Please.
MR. KELCHER
All right. But this better be good.
PEGGY
I want to help with the family finances. I want you to buy some stocks. And gold. By 1980 gold is going to be worth eight hundred dollars an ounce. Then you sell.
MR. KELCHER
Do you know how ridiculous you sound? First of all, it's illegal for U.S. citizens to buy gold. And in the second place, the price of gold is regulated by the government.
PEGGY
I think they're going to deregulate it.
MR. KELCHER
That's your problems. The more women think, the more trouble they get into.
PEGGY
Oh boy, that's another thing that's going to change.
PEGGY
Who's going to think for us? Our husbands? You know, you treat Mom like a maid. It's not entirely your fault. Those were the attitudes in the fifties, and that's the way you raised me. But give Nancy a break, encourage her to go to art school.
MR. KELCHER
I've heard just about enough of this lunacy! Go to your room!
PEGGY
Listen Dad, please. Buy IBM, buy Polaroid, buy Apple Computer. No, no. Not yet. Buy Xerox!
MR. KELCHER
Evelyn, take her to her room!
Peggy stalks out of the kitchen to the front door.
MRS. KELCHER
I'm not the maid!
PEGGY
Way to go, Mom!
The Kelchers glare at each other. We HEAR the DOOR SLAM.
INT. SHOWER'S CAFE DAY
Peggy and Richard sit in a booth. Richard's kite is hung on a coat rack.
RICHARD
The way I see it, you have an unparalleled opportunity to become the richest woman in the world.
PEGGY
I'm just not the type. Besides, I want to get out of here.
RICHARD
But you have a vision. Don't you want to help your parents?
PEGGY
I tried to tell them, but they wouldn't listen to me.
RICHARD
I'm talking about invention, no investment. I know what people think of me. Mr. Spasmatician. Dick the Square Root. I'll show them. You said I was going to be a millionaire. And you're gonna help!
PEGGY
Richard, take it easy.
RICHARD
No offense, but for a person who says she's lived an extra lifetime, you certainly are thick. Money is power. Money makes people respect you...
PEGGY
How come you never ask me any important questions? Don't you wonder if there's going to be a nuclear war? Or a cure for cancer? What about your family? What about people?
RICHARD
I'm curious, but I don't want to know. Jeez, I hope you haven't been telling people what's going to happen to them.
PEGGY
Give me some credit, will you?
RICHARD
Good. You're discreet. I like that in a partner.
PEGGY
Wbat're you talking about?
RICHARD
Look it's very simple. You tell me everything that hasn't been invented yet, and I'll invent it. We'll be partners. Fifty-fifty.
PEGGY
Sixty-forty.
RI CHARD
That's not fair.
PEGGY
Okay, find yourself another vision.
RICHARD
You're taking advantage of a minor.
PEGGY
When do we start?
A WAITRESS approaches their table.
WAITRESS
Do you know what you want?
RICHARD
A Ton on a Bun, with fries.
WAITRESS
And you?
PEGGY
Quiche Lorraine, spinach salad and a Perrier.
EXT. DOWNTOWN STREET
The street is filled with Saturday shoppers. Peggy holds the kite, Richard takes notes as they windowshop. They stop in front of a dry cleaners.
PEGGY
Dry cleaners. No real change. Just higher prices.
They move next door to a shoe store.
PEGGY
Ah. This is a biggie. Forget sneakers. Running shoes, jogging shoes, tennis shoes. Fifty to two hundred dollars a pair.
RICHARD
Come on. You can't be serious.
PEGGY
There are major fortunes to be made here. Leisure time and lifestyles.
RICHARD
Are you talking about exercise? Like gym?
PEGGY
Not for you. Okay, there's lots more.
They move along to the next window, an appliance store. The window is filled with old televisions, record players, large rotisseriebroilers, etc. The store sign reads: BODELL'S TV AND APPLIANCES. Another sign reads: COME IN AND LISTEN TO STEREOPHONIC SOUND.
PEGGY
Look at that stuff. It's like the dark ages. This is more your speed. And boy, do I know this business.
Peggy peers into the store again and catches a g1impse of Charlie serving a customer.
EXT. STREET BUS STOP
Peggy and Richard sit on the bench next to TWO OLD. LADIES. Richard reads from his list.
RICHARD
Let's see...
(looking around)
icrowavemays, ocketpay alculatorcays...
The two ladies react.
PEGGY
You don't have to use pig Latin!
Nobody could possibly know what we're talking about.
RICHARD
All right. These are the choices: microwave ovens, pocket calculators, Walkmans, digital watches and miniature TV's.
PEGGY
Oh. And huge portable radios. Everything else gets small, but for some reason, portable radios get enormous.
Peggy looks up and sees a lingerie store across the street. She heads towards it, calling:
PEGGY
I'll be right back.
Peggy enters the Lingerie store. After a beat, Peggy emerges from the store, excited and empty handed. Dodging traffic, she hurries back to Richard.
PEGGY
Richard! They don't have any! They never heard of them! Isn't that wonderful?
RICHARD
What are you talking about?
PEGGY
The wave of the future! I've decided on our first fortune! I'll see you later. You just think high tech.
RICHARD
High tech. I like the sound of that.
EXT. APPLIANCE STORE DUSK
At the back is a small record department, complete with a listening booth. Charlie is waiting on a customer. Peggy enters. CHARLIE'S FATHER is waiting on a buxom YOUNG WOMAN, his arm around her shoulder. He turns around as she enters. She has a shock of recognition.
MR. BODELL
(to young woman)
Look at that freezer chest. What capacity.
(to Peggy, embarrassed)
Hello Peggy Sue.
PEGGY
Woody! How ya doing?
MR. BODELL
Fine, just fine.
Peggy gives him a big hug and a kiss on the cheek.
PEGGY
Nice to see you.
MR. BODELL
Charlie's in the back.
Peggy walks towards the back as Mr. Bodell explains:
MR. BODELL
My future daughterinlaw. Very affectionate girl.
INT. RECORD DEPT. APPLIANCE STORE
Charlie talks to on ELDERLY GENTLEMAN.
GENTLEMAN
I'll just take the Ravel.
CHARLIE
Take the Shostakovich home and listen to it. Let it grow on you. Everyone that's bought it has come back and said, "This is definitive Shostakovich. Thank you for encouraging me to investigate it."
GENTLEMAN
Well, I did enjoy the Dvorak you suggested. Young man, you talked me into it.
Charlie points Peggy to the listening booth.
CHARLIE
You'll like it. I kid you not.
INT. LISTENING BOOTH
Peggy sits on the chair. A turntable sits on a small desk. Record covers decorate the walls. Charlie enters and sits on the desk, his feet resting on Peggy's chair.
PEGGY
What do you know about classical music?
CHARLIE
Nothing. Selling is selling.
PEGGY
Charlie. About last nights.
CHARLIE
Forget it. I've been thinking. Girls must go through that stuff too. Sometimes when I look at you I feel like an animal. Maybe my dad's right. Teenagers are nuts.
PEGGY
But I'm not. I'm a grown woman with a lifetime of emotional experiences you couldn't possibly understand.
CHARLIE
Yeah, I know. Girls mature faster than guys. But last night, I was the one who put on the brakes. And you know why?
PEGGY
Why?
Charlie cups her face in his hands, pouring out his heart.
CHARLIE
Because nothing else matters. That's the great thing about love. Every time we argue, every time something goes wrong, and I know that I'm not perfect either, things just work out better in the end. Cause you're my baby and I love you.
PEGGY
What am I going to do with you?
CHARLIE
Don't be cruel to a heart that's true.
INT. KELCHER HAT STORE KELCHER'S HATS - LATE AFTERNOON
Alone in the store, Mr. Kelcher is going through some receipts. Peggy enters carrying a shopping bag.
PEGGY
Hi, Dad.
MR. KELCHER
Doing some shopping?
Peggy reaches into the shopping bag and pulls out a small wrapped box.
MR. KELCHER
For me?
PEGGY
Open it.
He opens the present. Inside are a pair of miniature golf ball cufflinks.
MR. KELCHER
Sweetheart, they're beautiful. But they must've been expensive.
Across the street an ice cream truck pulls up. Mothers, fathers and children crowd around the back as the driver exit the cab.
PEGGY
I closed my Christmas club.
MR. KELCHER
Good, you got your money out of that greedy bank.
PEGGY
I wanted to apologize for this morning.
MR. KELCHER
It's hard to believe you're going to be eighteen.
(looks out the window)
Want an eskimo pie? Or a creamsicle? I'd come home from the store and there's little you running up to me. I'd give you a dime and you'd promise never to grow up.
PEGGY
Quiet today?
MR. KELCHER
This morning was good.
PEGGY
The hat business is in trouble.
MR. KELCHER
I, that what all that nonsense was about this morning? You're worried about my business?
PEGGY
Yes.
MR. KELCHER
That's very thoughtful, honey. It's just a slump. Things will pick up.
PEGGY
But when John F. Kennedy's elected President, men'1l stop wearing hats.
MR. KELCHER
Kennedy's a Catholic. He'll never win.
PEGGY
(gravely; closing her eyes)
He'll win.
MR. KELCHER
Richard Nixon's going to be President. Nixon wears hats.
INT. NANCY'S ROOM
Peggy is helping her sister Nancy with an art project.
NANCY
You think this'll cheer Dad up?
PEGGY
Of course, he'll love it. You're a terrific artist.
We HEAR Mr. Kelcher arguing loudly from downstairs. The two girls freeze.
MR. KELCHER (O.S.)
I don't need your charity. I don't need your grandmother's jewelry or your parents money -how could you do that?
MRS. KELCHER
Please don't shout.
Peggy opens the door, Nancy cautiously behind.
MR. KELCHER (O.S.)
I'm not shouting. Have we ever starved? Have we ever missed a mea1?
INT. DOWNSTAIRS PEGGY'S POV:
Mrs. Kelcher moves around the room, closing the windows.
MRS. KELCHER
Does everybody have to hear?
MR. KELCHER
I want everybody to hear because I don't have anything to be ashamed of.
Mr. Kelcher collapses into his barcalounger, red as a beet.
MRS. KELCHER
Jack, I was just trying to help.
MR. KELCHER
We'll make it, we'll be fine.
INT. NANCY'S ROOM
Nancy is frightened.
NANCY
Does this mean we're going to be poor?
Peggy leads her back into her room without letting her parents know they were there.
INT. PEGGY'S ROOM
We HEAR the song "Stranger in Paradise" from Kismet on the old black and white record player from opening scene. Peggy sits on the floor, surrounded by stockings, leotards and a sewing basket. She cuts the legs oft a pair of leotards. In one hand she holds up the top half of the leotards, in the other hand, a pair of nylon stockings. We HEAR a KNOCK on the bedroom door. Peggy pushes everything under the bed as Maddy and Carol enter.
CAROL
All right. What's the scoop?
PEGGY
On what?
MADDY
How come we're your best friends and we had to find out about you and Michael Fitzsimmons from Dolores?
PEGGY
She's unbelievable. Who needs satellites when we've got Dolores's mouth?
CAROL
I hear she does more than talk with her mouth.
MADDY
That's disgusting!
CAROL
(brushing her hair))
Oh, Maddy, grow up. It says in LOVE WITHOUT FEAR that "the tongue kiss as a means of genital stimulation is widely practiced and has much to commend it". Page eightysix.
PEGGY
Did you memorize the whole book or only the good parts?
CAROL
Just what you underlined.
PEGGY
You're kidding...? Carol, you have beautiful hair.
CAROL
Come on. What's with you and Michael?
MADDY
Yeah. He's so cool and mysterious.
PEGGY
He's very interesting. For all his pretending to be a tough guy, he's really got the soul of a poet.
CAROL
I bet Dolores told Charlie.
PEGGY
That loudmouthed little bitch
MADDY
Peggy Sue!
CAROL
You better watch out for her. She's after Charlie.
PEGGY
Cool it kids. He's free to see other girls, if he wants.
MADDY
But I always thought that you would marry Charlie, Carol would marry Walter, and I would marry Arthur. We'd all live on the same street and take our kids to the park together and have barbecues every Sunday. It'll spoil everything if you and Charlie break up. That Michael doesn't look like the barbecue type.
PEGGY
I'm not going to marry him. I just went out with him once.
(beat)
I know! Why don't we go to the movies tonight. Just us girls. It'll be fun.
CAROL
Don't be silly. It's Saturday. Date night!
MADDY
Yeah. I've gotta go. Arthur's picking me up soon.
PEGGY
Okay. But let's have a girls night soon. Maybe a pajama party.
CAROL
Aren't we a little old for that?
MADDY
Sometimes you're so immature.
INT. KELCHER LIVING ROOM - NIGHT
Peggy turns to face her parents, holding up her homemade pantyhose with a flourish.
PEGGY
Ta da! Pantyhose! The death of the garter belt! Of course, once they're manufactured they'll look better than this. What do you think?
MR. KELCHER
This is your great invention?
(to Mrs. Kelcher)
Would you wear those things?
MRS. KELCHER
Would they go over my girdle or under?
PEGGY
Instead of a girdle. And light as a feather.
MRS. KELCHER
Jack, I think she's got something there.
PEGGY
And we won't just sell them in department stores. We'll market them in drug stores and supermarkets.
MR. KELCHER
That's all well and good, but we don't have the money to manufacture them.
PEGGY
You need a partner. There's a friend of mine at school whose father makes seat covers for cars, Mr. Fitzsimmons. I've invited him and his family over for dinner tomorrow night.
MRS. KELCHER
Isn't that awfully forward?
PEGGY
We've got to move fast. This is an idea whose time has come.
MR. KELCHER
You mean to tell me that you invited this Mr. Fitzsimmons over to talk about investing his money in your cockamamie idea?
PEGGY
Wrong, Dad. Your idea.
INT. PEGGY'S BEDROOM NIGHT
A breeze blows through the open window Peggy sleeps fitfully, tossing off the covers. We HEAR NOISES from outside her window. A figure appears outside and silently climbs into the bedroom. Peggy mumbles Charlie's name. The man walks over to her bed as Peggy reaches out for him, tenderly, as if they were still married.
PEGGY
Charlie. I just had the strangest dream.
CHARLIE
(whispering)
I have to talk to you.
Through her sleep clouded eyes, Peggy begins to focus on the face of the younger Charlie. Suddenly, she remembers.
PEGGY
What are you doing here?
CHARLIE
(angry)
Let's go down to the basement.
INT. BASEMENT
Peggy enters, flicks on the light and leads Charlie in. Peggy senses Charlie's anger, and steels herself for the inevitable confrontation.
CHARLIE
I want to know what's going on. Dolores told me that you and that scuzzball Michael Fitzsimmons....
PEGGY
I bumped into him after you dropped me off Last night. I didn't feel like going home, so we went for a ride.
CHARLIE
(furious)
Then it's true, dammit! I had a miserable time tonight 'cause of you. When the Monotones did "Book of Love Chapter Four you break up, won't you give it just one more chance...." I'm thinking did we break up? 'Cause if we did, I don't even know about it! I thought we cleared all that up yesterday. Did that Maynard G. Beatnik give you what you wanted?
PEGGY
You know I never could stand your sarcasm.
CHARLIE
You're going to blow it, Peggy Sue. Nobody treats Charlie Bodell like this.
PEGGY
And why do you always refer to yourself in the third person, like Napoleon? How come it always turns into an argument with you?
CHARLIE
Look, I've got the hair, got the eyes, got the teeth, I got the car. I'm the lead singer, I'm the man.
PEGGY
Charlie,. I've been trying to postpone this. But what's the point? It's over.
(crying)
I don't want to hurt you. This is very hard for me. I'm doing this for both of us. I really want you to be happy.
CHARLIE
I will be happy if I have you. I love you.
PEGGY
That won't make any difference. We just can't live together. And you had the nerve to drive up with that bimbo Janet.
CHARLIE
What are you talking about? Who's Janet?
PEGGY
I just can't trust you anymore.
CHARLIE
What about everything I said to you this afternoon?
PEGGY
That's just it. You can always get to me. There's this window in my heart and every time I leave it open, you climb in. Unless I close it now, nothing's ever going to be different!
CHARLIE
But what has to be different?
PEGGY
Everything. I have a good head for business, I should be franchising the bakery. And I want you to give me your word that whatever happens, you'll go to college. And finish.
CHARLIE
What! What about the group and my singing career? What about me?
PEGGY
I'm trying to save you years of frustration.... waiting for a big break.... no. Waiting for that big disappointment so you could blame it all on me.
CHARLIE
You don't know zip! You think I'm going to end up selling appliances like my father? Chasing women around the store. I've got to give it a shot. Why are you trying to kill the two things that mean the most to me? Until yesterday you loved me and you loved us.
(opening the door))
What the hell has changed? For two years I've done nothing but love you. I'll show you, I'm going to be just like Fabian!
Charlie exits. Peggy slumps back, drained. Getting up, she crosses to the mounted swordfish. Standing on a chair she reaches into the mouth of the fish and pulls out a package of Pall Malls. She puts a cigarette in her mouth and picks up a table lighter and flicks it. As it lights, the tiny music box inside PLAYS SMOKE GETS IN YOUR EYES.
INT. KELCHER KITCHEN - MORNING
We HEAR distant CHURCH BELLS. Peggy sits down to scan the large Sunday newspaper. Seeing her mother's phone book, she finds the number she needs and picks up the phone. She dials slowly.
PEGGY
(very nervous)
Hello, Grandma. It's Peggy Sue. Much better. How are you? I'm very sorry about the other day.
EXT. STREET APPROACHING RICHARD'S HOUSE
Peggy jogs towards Richard. He is watering the front lawn.
PEGGY
(breathless)
Hi, Richard.
RICHARD
What are you doing?
PEGGY
Jogging. I was running, now I'm jogging.
RICHARD
That's what you were talking about yesterday? Everybody does that in the future?
PEGGY
Yep. It's going to be a law.
(beat)
I broke up with Charlie last night.
RICHARD
That's terrific. You did it. You really changed the course of your destiny.
PEGGY
It was an unfair fight. He didn't have a chance. I'm taking a real gamble. I loved him for a long, long time.
RICHARD
Cheer up. Now you can give some other guy a shot. Make it up to him later and buy him a yacht.
PEGGY
For God's sake, forget the money! I'm going crazy! I'm a walking anachronism.
PEGGY
I'm a puddle of deja I'm worried about my kids, Scott must be scared to death, I think my daughter's doing drugs again. I can't have any fun here, I don't have that innocence any more. I can't keep all this in anymore. I feel Like I'm going to explode.
RICHARD
Look, the best scientific mind in this country is working on your case. May I make a suggestion?
PEGGY
Like what?
RICHARD
(excited)
Suggestion! Hypnotic suggestion! Why didn't I think of that before?
PEGGY
What do you know about hypnosis?
RICHARD
Everything. This is perfect. The subconscious mind remembers all. You can give me more information on microchips and then pinpoint what happened at the reunion. Maybe that'll give us a clue on how to get you back.
PEGGY
Look, I'm desperate. I'll try anything. But what if you can't snap me out of it?
RICHARD
No offense, but you're pretty out of it now.
INT. RICHARD'S GARAGE
Peggy sits in an old recliner. Richard holds a small, battery operated revolving disc up in front of Peggy's closed eyes, then puts it down and picks up a notepad and pen.
RICHARD
You are completely relaxed. When I count to three, you will open your eyes. One... two... three.
(Peggy's eyes flutter open)
We'll start with something easy. What is your name?
PEGGY
(trancelike)
Peggy Sue Kelcher.
(beat)
Or, Peggy Bodell.
(beat)
I'm not sure.
RICHARD
Oh boy. Peggy, what are microchips?
PEGGY
Ah.... they're very tiny... they look like a fingernail made out of an erector set...
RICHARD
What will they be made of?
PEGGY
I think it's called silicon. Charlie told me that.
RICHARD
Silicon is from sand.
PEGGY
We were lying in the sand. It was my eighteenth birthday... We were so awkward... I would have married him anyway...
Peggy starts to shift in the chair. Her shorts hike up, her legs spread slightly. This is not lost on Richard. Weird, guttural sounds begin to emanate from his throat.
RICHARD
In the future, will you have to marry a girl before you have sex with her?
PEGGY
No. The Pill will change all that. Then he wouldn't have blamed me. We were just too young.
RICHARD
You mean you'll give a girl a pill and she'll want to have sex?
PEGGY
No. The Pill will be for birth control. But girls do like sex. Maybe not the first time.
RICHARD
Will you take of f your blouse?
PEGGY
Yes, every day.
(taking her blouse off getting spaced)
Maybe I shouldn't have worn that dress? I told Beth it was a bad idea. That's why they made me Queen.
Peggy's meandering makes Richard nervous.
MAN'S VOICE (O.S.)
Richard, are you in there?
Richard frantically tries to put Peggy's blouse back on. She's limp and unresponsive.
RICHARD
(shouting)
No! Yes! I'll be right out, Dad.
(urgent)
Oh shit! Peggy, I'm going to snap you out of it.
PEGGY
I couldn't help it I loved him.
RICHARD
One... two... three.
(claps twice)
You are now awake.
Richard kneels on top of Peggy as she wakes up, fumbling the buttons at her breasts. Peggy comes to, as Richard jumps off. She buttons her blouse, furious.
PEGGY
Richard! You should be ashamed of yourself.
RICHARD
Me? You went crazy! You started taking your clothes off. I was putting them back on for you.
PEGGY
That's just perfect isn't it? Did it work? Did you find out why I came back?
RICHARD
I think it has something to do with your birthday. You were rambling. I didn't understand the rest.
PEGGY
God dammit! How'm I gonna got out of here?
Peggy grabs a glass beaker and hurls it against the wall.
RICHARD
Hey! Do you have any idea how much those beakers cost? I usually charge for hypnosis.
PEGGY
Oh, go feel up your hamsters! I hear rodents put out.
Peggy storms out.
INT. KELCHER HOUSE
Mrs. Kelcher stands at the counter preparing a pot roast. Peggy's making a chocolate mousse.
MRS. KELCHER
You know, dear, I think the pantyhose is a wonderful idea, but the next time you come up with something, please don't stay out all night. Just tell us. We'll believe you.
PEGGY
Mom, how about a machine that's like your blender, only it slices vegetables, kneads dough, chops meat and even make fresh pasta?
MRS KELCHER
What's pasta?
INT. KELCHER DINING ROOM
Peggy and Mrs. Kelcher are setting the table, taking the good china out of the cabinet. A dozen red roses grace the table.
MRS. KELCHER
These roses are beautiful. And so romantic'. Who is this Michael? Is he a friend of Charlie's?
She moves the Jell-O mold.
PEGGY
No, just a friend of mine. I don't think he Likes JellO.
MRS. KELCHER
What does Charlie think about that?
PEGGY
You know Mom, it's okay to have male friends. Besides, it's over with me and Charlie.
MRS. KELCHER
(shocked)
What? When did it happen? Your dad and I always expected you two to get married.
PEGGY
Yeah, I know Peggy Sue gets married. Case closed. Period. Mom, if you could live your life over again, would you do the same thing? Get married and settle down after high school?
MRS KELCHER
Of course I loved your Lather. I remember once being offered a scholarship to art school. But I turned it down.
PEGGY
Why?
MRS. KELCHER
All the college girls I knew were so well, dressed. I was worried that I wouldn't fit in. I didn't have the right clothes. I was so silly.
MRS. KELCHER
But, I don't have many regrets, and besides, I don't have time to worry about the past. But Charlie. I hope you know what you're doing.
INT. DINING ROOM TWO HOURS LATER
Michael, DORIS and ED FITZSIMMONS sit at the table with the Kelchers. They have just finished dessert.
MR. FITZSIMMONS
Moose? I never thought I'd have moose for desert.
The adults laugh. Michael looks bored.
MR. KELCHER
Peggy Sue cooked the whole dinner.
NANCY
But Mom helped.
MR. FITZSIMMONS
You know, you should open a restaurant.
PEGGY
It's incredibly difficult to make money in the restaurant business.
You have to get up at five in the morning to go to the market, you have problems with spoilage, employee pilferage, and just try and collect from the credit card companies. They take months to pay. The whole table is astonished.
MR. FITZSIMMONS
How does a young gal like you know so much about business?
PEGGY
Oh, I just picked it up from my dad. He's a wonderful businessman.
MR. FITZSIMMONS
Really?
Peggy gives her father a go get him look. Michael's writing in a pocket notebook.
MR. KELCHER
Ah, Ed, why don't you and I adjourn to the den for a while?
EXT. KELCHER HOUSE
Peggy and Michael stand by Michael's motorcycle, passing a cigarette.
MICHAEL
That was quite an evening.
Bourgeois, phony, decadent, stupid.
PEGGY
I shouldn't have put you through that. It must have been agony. Let's do something.
Michael makes a move towards Peggy, with lust in his eyes.
PEGGY
No. Something else. I'm too full. Besides, it's a school night.
EXT. GHETTO STREET - NIGHT
Michael and Peggy pull up on the motorcycle in front of Lena's Lounge, a seedy bar in the town's black ghetto. Half a dozen blacks are banging around outside. They eye Peggy and Michael suspiciously.
INT. LENA'S LOUNGE
The room has a bar at one side, booths and tables in the rest of the room. A stage is at the far end. On stage, an all black group, The FourMations, is performing the song GOOD TIMIN' The people in the club are dancing the Twist. Peggy and Michael sit in the last booth. Several people wave hello to Michael. Although Peggy and Michael can see the stage, their booth is not visible from the stage.
MICHAEL
Five more weeks of school. And ten minutes past graduation I'm gone.
(he raises his glass)
To freedom.
PEGGY
(looking around at the crowd clinking glasses)
For everyone.
MICHAEL
Now listen, this is the plan. As soon as school is finished we go to Utah and...
PEGGY
Utah? I thought you'd be going to New York or Paris. What's in Utah?
MICHAEL
Rita. I met her last summer. She's cool. You'll really dig her. She's got this great little cabin in the hills, just outside of Provo where she raises chickens. I'll write and the two of you can take care of the chickens to support us.
PEGGY
(astounded)
I can't do that.
MICHAEL
Why not? Polygamy's legal in Utah.
PEGGY
I hate chickens.
ANGLE THE STAGE On stage, the FourNations have concluded their song. We HEAR APPLAUSE.
SINGER
Thank you. Now we're happy to introduce, a friend of ours. He's one damn fine singer, Mr. Charlie Dell!
We HEAR the GROVE BEGIN the SONG SEA OF LOVE.
MICHAEL
But what about the other night? We were like two stars in the same constellation.
PEGGY
Michael, you and I are light years apart. You should go, but not with me.
MICHAEL
But we had heat baby. Passion! Fire! We owe it to ourselves to fuse together.
(BEAT)
At least one more time.
PEGGY
That's a terrific line. You're going to be a wonderful writer.
MICHAEL
You think so?
PEGGY
Yes. We had a glorious night together. One day you'll remember and write about it.
MICHAEL
I can dig that. Bittersweet perfection. Dogs of lust on leashes of memory... yeah.
Suddenly distracted by the familiar voice, Peggy looks up to the stage and sees that the lead singer, Charlie Bell, is in fact, Charlie Bodell. PEGGY'S POV: THE STAGE CHARLIE SINGING
PEGGY (O.S.)
It's Charlie!
MICHAEL (O.S.)
What a treat.
INTERCUT - CHARLIE SINGING WITH REACTIONS OF PEGGY AND MICHAEL. Michael observes Peggy's intimate reaction to Charlie's singing.
MICHAEL
Now I get it.
PEGGY
Ssh. He's great.
MICHAEL
Peggy Sue's still stuck on treble without a cause.
Charlie finishes the song as the audience goes wild. He beams.
PEGGY
I thought I knew everything about him.
MICHAEL
Can we split now?
Peggy and Michael unobtrusively slip out of the club. Charlie leaves the stage. He's met by a greasy looking MAN. They sit down at a booth to talk.
EXT. KELCHER HOUSE NIGHT
Michael and Peggy pull up. Peggy gets off the bike and gives Michael a goodnight kiss.
MICHAEL
I can dig you being uptight about Rita and Utah. That's cool. But I've got to warn you about something.
PEGGY
What?
MICHAEL
My father. He's not just the ultimate square. He's a total crook.
INT. KELCHER KITCHEN
Mrs. Kelcher finishes the dishes, with rubber gloves on. Mr. Kelcher sits, cleaning his pipe. Peggy enters.
PEGGY
How did it go with the pantyhose?
MR. KELCHER
It's the darndest thing. Ed knew what they were immediately.
MR. KELCHER
As a matter of fact, he said he's got a product like that in development right now.
PEGGY
Oh no!
MR. KELCHER
Didn't call, them pantyhose, though. What was it, Evelyn?
MRS. KELCHER
Sheerotards. Catchy name, isn't it? Like leotards.
PEGGY
He's a liar! He has no such thing! It's my own fault. I should have had it patented first. He's a crook, damnit.
MR. KELCHER
Peggy Sue, watch your mouth.
MRS. KELCHER
Mr. Fitzsimmons is a very prominent man.
PEGGY
Oh, you're both so naive.
MR. KELCHER
Look young lady, I grew up through the depression. I fought in the second World War. Six days a week I get up and deal with the public, the bank and the bill collectors.
And on the seventh day, when God rests, I don't have to listen to my daughter calling me a fool!
MRS. KELCHER
You have a point, dear.
INT. PEGGY'S ROOM
(POSS. OMIT THIS SCENE) Peggy lies in bed in the darkness, her eyes wide open. The bedside clock reads: 2:47. Peggy gets out of bed. CAMERA TRACKS Peggy into Nancy's room. Peggy looks down at Nancy sleeping. Gently pulling back the blankets, Peggy gets into bed with her.
EXT. CHARLIE'S STREET MORNING
Peggy walks down a residential street, much like her parents'. She stops when she sees Charlie's car parked in a driveway, and leans against a tree next to his car. Moments later, Charlie exits his house, a dog trailing behind him. The dog runs up to Peggy. Charlie is wary and distant.
CHARLIE
What're you doing here?
PEGGY
I wanted to talk to you, and I have one last thing to take care of at school. Then I'm going to...
(pats dog)
Good dog, Rusty. Good dog.
CHARLIE
Rusty's dead. That's Ajax
Charlie throws a stick. Ajax chases it, never comes back.
PEGGY
Oh. I guess I always liked Rusty better.
(beat)
Could you give me a ride to school?
CHARLIE
Sorry, the Blue Thunder's out of commission for a while.
PEGGY
Well, how about a walk, Charlie Bell.
CHARLIE
How'd you know about that?
PEGGY
I was at Lena's last night. You were terrific.
CHARLIE
Not terrific enough. What were you doing in that part of town? Who were you with?
PEGGY
What were You doing there? You never told me you were singing with an R and B group.
CHARLIE
Hey. I guess there's a lot of things we don't know about each other.
Charlie and Peggy walking.
PEGGY
I'd forgotten how much music meant to you.
CHARLIE
That's real big of you.
PEGGY
Stop being defensive. I want to help you. I wrote a song for you.
CHARLIE
You're kidding. You wrote a song? Is it about a guilty girl and a trusting guy... she wants to hurt him, and he wonders why?
Peggy takes a piece of paper from her purse.
PEGGY
Not exactly, but with your great voice, it'll be a huge hit. Honest.
CHARLIE
Fat chance. You know, Lee Wilkins came to hear me last night. He told me to forget it. You told me to forget it. My parents tell me to forget it.
PEGGY
Just take a look at it.
(hands him the lyric)
CHARLIE
If you took the trouble to write it, then sure, I'll take a look at it. But I'm beginning to think that maybe there's more to life than music. I wonder if people would still like me if I stopped being Mr. Excitement?
INT. SCHOOL HALLWAY
Peggy and Charlie stand by their open locker.
CHARLIE
Does this mean you like me again?
PEGGY
It means I care about you and what happens to you.
CHARLIE
That's all I wanted to hear. 'Cause I'm never going to give up on us.
It's easy to fall apart in a crisis. It's easy to be selfish and say goodbye and good luck. But this is more than love. This is a mental decision. Just wait till tomorrow, when you see your birthday present. Then you'll understand. Charlie walks away as Peggy reaches into the locker for her books.
CAROL
Peggy, I have to talk to you.
Peggy turns to Carol. They walk down the hallway together.
PEGGY
What's the matter?
CAROL
It's that jerk Walter.
PEGGY
What happened?
CAROL
After Charlie told Walter that he broke up with you because he wanted to play the field, Walter decided he should do the same thing.
PEGGY
Welcome to the singles' scene.
CAROL
What a I going to do for the rest of my life? I don't have a boyfriend anymore.
PEGGY
Look, Carol, maybe Walter's done you a big favor. You always said you wanted to get out of town. Go for it. And be happy, goddamnit, I'm rooting for you.
ANOTHER ANGLE
Walter walks up to Charlie.
WALTER
Hey Charlie, what do you think of this?
Walter does a totally demented dance step, finishing by strumming his leg like a guitar. He stands there grinning.
CHARLIE
Walter, maybe you should be a dentist.
INT. CLASSROOM
Peggy sits at her desk, organizing her books. We hear the end of the ANNOUNCEMENTS over the P.A. SYSTEM.
MR. MOSEY (V.O.)
And finally, our heartiest congratulations to our girls diving team for placing second in the county finals last Friday. And a special accolade to Rosalie Testa who placed first in every one of her events. We're proud of you, Rosalie.
Everybody turns toward Rosalie and applauds. Peggy turns to Rosalie, trembling. The BELL RINGS as the class starts to leave, still crowded around Rosalie. Peggy stares after her, frozen in her seat Dolores approaches.
DOLORES
What's the matter, princess? Lost your prince?
Peggy looks up at Dolores and starts to seethe. She stands up slowly and faces Dolores.
PEGGY
You know Dolores, there's a lot of things I could say to you, but you're not worth the effort.
Peggy reaches down to up her books. On the top of the pile is an open fountain pen, which she picks up, pul1ing the release lever, squirting ink all over Dolores's dress. Dolores drops her books, looks down at her dress, horrified.
PEGGY
Sorry. These fountain pens are so tricky.
DOLORES
(screams)
Oh! You did that on purpose! I hate you. Go gargle with razor blades!
PEGGY
I beg your pardon?
DOLORES
Take a long walk on a short pier.
PEGGY
Have a nice day.
INT. GIRLS' LOCKER ROOM
Peggy sits disconsolate on a bench, watching the other girls changing into their swim suits. Rosalie is in the shower room, wetting down her suit. She accepts congratulations from a number of the girls. The BELL RINGS as the girls begin to exit to the pool.
PEGGY
Rosalie! Wait!
Rosalie turns at the door, smiling. They are alone.
ROSALIE
What's up?
PEGGY
I think you should give up diving. It's dangerous.
ROSALIE
Don't be silly, I'm the best in the county.
PEGGY
I know you are, but you have to stop. I couldn't tell you before, I didn't know if I should. But you have to stop before you hurt yourself.
ROSALIE
I spend three hours a day practicing. I have trainers, I know what I'm doing.
PEGGY
But accidents can happen.
ROSALIE
Not to me they don't. I'm going to win the State, then the. Nationals, and then I'm going to the Olympics.
PEGGY
Rosalie, please, listen to me! You have to stop.
ROSALIE
You're sick. You should go to the nurse. I'm going to tell Miss Dennis.
Rosalie exits into the pool area. Peggy feels helpless.
INT. HALLWAY
Peggy walks down the hall, a set of double doors, leading to the pool, just ahead of her through them she sees Rosalie diving through the air with the careless innocence of youth. Burdened with the inevitability of it all, she rushes through the hall, and is stopped by Richard.
RICHARD
What's the matter?
PEGGY
It's all, gone wrong, nothing's working out.
RICHARD
Not true. I think I'm making real progress on the microchip.
PEGGY
You were meant to. You're one of those fortunate people that good things happen to. I have to get out of here.
She starts to walk away.
RICHARD
Peggy, I believe you. I believe everything you told me. It's wonderful. You're the exception that proves the rule.
She kisses him on the forehead.
PEGGY
I love you too, Richard. Thanks for trying.
She continues down the hallway.
EXT. AUDITORIUM - DAY
Peggy heads out the door, sees Charlie.
CHARLIE
Hey, Peggy. Wait a minute.
Peggy stops on the landing. Charlie joins her, so eager. He doesn't notice how distraught she is.
CHARLIE
I cut shop and did some work on your song. You know, it's not half bad for your first try. Of course, I changed all the "yeahs" to "oohs". Listen to this.
Charlie begins to sing an R&B version of SHE LOVES YOU.
PEGGY
Forget it, it'll never work.
CHARLIE
Okay. Listen, I cancelled the tickets for Fabian. I thought it would be better for your birthday to eat at a nice restaurant, Chez Tres.
Walter, Arthur, Maddy and Carol watch as Peggy runs away.
INT./EXT. BUS OR TRAIN - HIGHWAY
INTERCUT the bus, Peggy looking out the window, the rural scenery: pastures, barns, etc., the other passengers.
EXT. STATION
Peggy's grandparents, ELIZABETH and BARNEY ALVORG , wait in the front of the station.
INT. BUS
Peggy sees her grandparents waiting for her. She grips the window rail tightly, trying to hold herself together.
BUS DRIVER
Everybody gettin' off at Dumont. Here we are.
Peggy stands and reaches above to take down her suitcase. Nervous, she drops it. A MAN, getting off the bus, helps her, picking it up.
PEGGY
Thank you.
MAN
No trouble at all.
The man gets off the bus.
EXT. GENERAL STORE
Peggy stands at the door of the bus, hesitant. Elizabeth and Barney approach the bus, waving and smiling up at her.
BARNEY
Hello, Lilla!
ELIZABETH
Peggy Sue!
Peggy slowly walks down the steps, moved to tears. She approaches her grandparents and drops her suitcases. She hugs them tightly. The bus door closes and the bus pulls away behind them.
INT. CAR DRIVING
Barney is behind the wheel of a 1951 Plymouth. Elizabeth is in front, Peggy curled up in the back, regressing.
BARNEY
Quite a bit more rain than usual
BARNEY
this year. I hope it doesn't spoil the rhubarb.
ELIZABETH
I've already got some in. I was thinking of making a pie for dinner tonight.
(turning around to Peggy)
How would you like that?
PEGGY
(like a little girl)
Fine.
(beat))
Grandma, would you teach me how to make strudel?
ELIZABETH
That's a day's work. But if that's what you want, maybe we can do it tomorrow for your birthday.
INT. FARMHOUSE/KITCHEN - NIGHT
Peggy and Elizabeth finish up the dishes, chatting.
INT. LIVING ROOM
A fire blazes in the fireplace. A grandfather clock stands prominently in the room. The clock from Peggy's house. Peggy sits with Elizabeth, learning how to knit. Barney laughs at "The Burns and Allen Show" on TV. Suddenly, Peggy places her hand over her heart and shivers with fear.
BARNEY
What's the matter, Lilla? Somebody jump on your grave?
Peggy shivers again and shakes her head.
INT. LIVING ROOM - LATER
Barney reading. Elizabeth enters, carrying a tray with cups of cocoa. They each take a cup.
ELIZABETH
You know, Peggy Sue, your mother said you had a dream that I died.
PEGGY
I wish she hadn't.
ELIZABETH
I'm not afraid. I know exactly when I'm going to die.
Peggy is perplexed by her grandmother's apparent lack of fear.
BARNEY
What's it going to be, Elizabeth? Seventy-five? Eighty?
ELIZABETH
I'm not telling.
BARNEY
I've been trying to drag it out of her for years.
(beat)
You know, dreams are fascinating business. 'Specially where you see the future.
PEGGY
Do you believe in all of that?
BARNEY
Well, I like to speculate. This book I'm reading right now, a woman in Colorado says she lived in Ireland a hundred and fifty years ago. her name was Bridey Murphy- and she gives names and dates and where she lived. She was hypnotized. Big bestseller.
PEGGY
I remember that book!
(beat)
Grandpa, Grandma, I want to tell you something.
EXT. FARMHOUSE KITCHEN DAY
Peggy and Elizabeth are making strudel.
ELIZABETH
If you believe it, darling, then I believe. Being young can be just as confusing as being old. The things that happened to me fifty years ago are more on my mind than what happened yesterday.
PEGGY
But I'm remembering the future.
ELIZABETH
Right now you're just browsing through time. Choose the things you'll be proud of. The things that Last.
PEGGY
My children make me happy. I miss them so much.
(beat)
Beth. Scott and Beth.
(beat)
I'm going to name my daughter after you.
EXT. FARMHOUSE DRIVEWAY DUSK
Peggy and Barney are washing the car at a standpipe, two hundred feet from the house.
BARNEY
It's gonna rain again. Every time I wash the car, it rains.
PEGGY
That never changes.
(beat)
You know, when you and Grandma are gone, the family's gone. I never see the cousins anymore.
BARNEY
It's your grandma's strudel that's kept this family together.
PEGGY
Grandpa, if you had a chance to do it all again, what would you do?
BARNEY
(jawing)
I'd take better care of my teeth.
INT. LIVING ROOM
Elizabeth is tying Barney's bow tie. Peggy is sitting with a jacket on.
ELIZABETH
What's Peggy Sue going to do at your lodge meeting?
BARNEY
It's her 18th birthday, I want to show her off.
Barney turns and winks at Peggy.
PEGGY
It was my idea, Grandma. I always wondered what went on at those lodge meetings.
ELIZABETH
He won't tell me, but I've got my suspicions. And I don't want any of that. Don't keep her out late.
BARNEY
Let's go.
PEGGY
(hugging Elizabeth)
Goodbye, Grandma.
ELIZABETH
Have a good time.
Barney and Peggy open the door and exit.
EXT. FARMHOUSE DRIVEWAY
Peggy and Barney approach the car.
PEGGY
What does Grandma think you do at your meetings?
BARNEY
Stag movies. Smokers.
Peggy chuckles as they get into the car. The car proceeds along the driveway and turns onto the highway.
INT. CAR DRIVING
Barney is at the wheel.
BARNEY
I may be an old fool, but I think we can help you.
PEGGY
I hope so. At least I got to see you and Grandma.
(beat)
Has it ever worked before?
BARNEY
The last one was six hundred years ago. It's about time for another one.
INT. LODGE - NIGHT
A one-story, pitch roof building. The sign over the entrance reads.: THE ORDER OF THE GOLDEN DAWN. Underneath the sign is a logo of a spreading sunrise. Peggy and Barney pull up to the front, exit the car and enter the building.
INT. LODGE ANTEROOM
Thirty old men are congregating around the cloak room. Most are already dressed in long, purple robes with the sunrise logo over their hearts. They either wear or carry tricorner hats. Peggy and Barney enter. Several men approach them. Peggy nervously clings to Barney' s arm.
GEORGE
Welcome, Peggy Sue. It's nice to have you with us.
PEGGY
Thank you.
HENRY
You know, you're a lucky girl. You could lay a bear trap in the aisle of the cathedral and never catch a better man than your grandfather.
PEGGY
Ah... thank you.
BARNEY
Let me take your jacket, Lilla.
BARNEY
I've got, to get my robe.
Peggy hands him her jacket as he heads over to the cloak, room.
AL
You know, this is very exciting for all of us.
GEORGE
We've been waiting a long time for someone like you.
Barney rejoins them, wearing his hat and robe. The group begins to enter the main room.
PEGGY
(nervous)
Do you have to wear that hat?
BARNEY
It wouldn't be a lodge without hats.
Barney takes her hand and squeezes it. They walk slowly through the doorway.
BARNEY
Don't you worry. I'll be watching after you.
INT. LODGE MAIN ROOM
A large meeting hall. The room is draped, and brightly lit with fluorescent lights. at one end sits a large, gold painted wood throne. On either side are large candle holders, with lit candles. A small table serves as an altar in front of the platform. On a footstool is a potted plane with an artificial bird perched on its top. The throne and altar look like a set left over from a summer stock "Macbeth". Peggy and Barney enter. Several men lead Peggy away from Barney to the throne. One man places a go1den cape around her shoulders. They lead her up the platform to the throne.
HENRY
Hey, George. Get the lights.
The LIGHTS are DIMMED. The room is lit by the candles. The men form a semicircle around Peggy. Old men at the end of their lives, they are serious and passionate about the possibilities of life beyond this world. One by one, four men from either end of the line approach the altar with offerings: a cup of wine; an egg; a gold coin; and a rose. The men rejoin the line. LEO COOPER, a tall, white-haired man, takes two steps forward. The other men begin to sing a Gregorian chant.
LEO
(to Peggy)
Are you ready, dear?
PEGGY
Yes, sir.
Leo steps back, closes his eyes and spreads his arms.
PEGGY
Fasten your seat belts. Here we go.
LEO
Lord of the Universe, Vast and Mighty One. Ruler of Light, King ofthe sun. Creator of earth, air, fire and water.
(kneeling down)
We adore thee and invoke thee!
Grant thine aid. Look with favor upon us as we witness the regeneration of man. We behold the innocent endeavors of singleminded men and women. For we are the company of unbodied souls and immortal angels. We ask thy intervention, that this girl may return to thee on the wings of your Love.
PEGGY
(sotto)
This is never going to work.
The old men form a circle in front of Peggy. They begin to circumambulate east to west, intoning together, their heads bowed. As Barney passes in front of Peggy, he winks at her. She smiles back.
MEN
Fount of life, Chariot of the Spirit, Womb of the Mother, reclaim thy child of light.
We HEAR a clap of distant THUNDER. Peggy trembles. The artificial bird falls off the plant. Peggy is struck with amazement. She begins to glow, poised to take off. The men continue to chant while:
LEO (O.S.)
The name of your love is sacrifice. We offer up this girl, that her soul may find its home.
Suddenly a door is opened, a gust of wind pours in and extinguishes the candles, plunging the hall into darkness.
LEO (O.S.)
Nothing to worry about. Somebody get the lights.
The LIGHTS are TURNED ON. All the men look to the throne. Peggy is gone. They are speechless for a couple of beats.
GEORGE
(chipper)
Well, the girl's gone. Let's play some poker.
CLOSE ON BARNEY He smiles, happy that she made it. George crosses to the wall, reaches behind the drapes and presses a button. The wall slides open to reveal a fullyequipped card room. The men shuffle in.
EXT. BEHIND THE LODGE
Charlie carries Peggy off towards his car, one hand covering her mouth. Peggy struggles. When they reach the car, he puts her down. She's still wrapped in her golden robe.
PEGGY
What the hell did you do that for? What are you doing here?
CHARLIE
I was trying to save you. They were going to vaporize you.
PEGGY
Don't be ridiculous! They're just a bunch of harmless old men. My grandfather was in there.
CHARLIE
You're going to listen to me.
Charlie tries to Lead Peggy into the car.
PEGGY
I'm not getting in that blue monstrosity.
Charlie pushes her inside, Peggy climbs back out. Charlie takes her hand and drags her up a hill behind the lodge hall.
PEGGY
Let me got! Where are you taking me?
CHARLIE
Right here. Now sit down.
Charlie sits her down on the ground. She's impatient and hopping mad.
CHARLIE
Look. I wanna tell you. I forgive you for everything. I know what you've been going through. You're just scared. I was scared, too, but I'm not anymore.
PEGGY
How could you possibly know what I've been going through?
Thunder and lightning. It starts to rain.
CHARLIE
Because I love you, damnit! I had a long talk with your father yesterday and we decided that the best thing for us to do is get married and settle down. Right away.
Peggy jumps up, exploding to Charlie.
PEGGY
What do you mean you and my father decided? Who the hell are you to plan my life? Let's get married and live happily ever after. Bullshit. I got knocked up. I had to marry you. I never had a choice.
CHARLIE
What?
PEGGY
You betrayed me, Charlie. You were never there for me or the children.
PEGGY
And now you come and tell me, "Peggy, you're scared." Of course I'm scared. If you knew what I knew you'd be scared shitless.
CHARLIE
You're crazy! You're really out of your mind!
PEGGY
I might be crazy, but I'm not crazy enough to marry you twice. There's a lot of things I can't change. I can't even think about them. I tried. But I couldn't even help Rosalie.
(tears start)
I don't want to be bitter. I'm a naturally optimistic person. But you took advantage of that.
Charlie bends down to comfort her, in tears. He hugs Peggy and strokes her hair.
CHARLIE
Oh, Peggy. My poor Peggy. It's all my fault. I'm so sorry. I won't bother you anymore. I promise.
Please stop crying. Please. Peggy starts to compose herself.
PEGGY
Will you take me back to my grandparents?
CHARLIE
Of course.
Charlie helps her up. Be reaches into his pocket and takes out a small box, handing it to Peggy.
CHARLIE
It's almost your birthday. I wasn't sure when you were coming back, so I brought your present up here.
With a slow, growing remembrance, Peggy opens the box. Inside is the gold locket Peggy was wearing at the reunion.
PEGGY
(anguished)
Oh, Charlie.
CHARLIE
It opens, too. Look inside.
Peggy opens the locket. She shivers with recognition.
INSERT - LOCKET
Two photos, one of Peggy, one of Charlie, as children.
PEGGY
Scott and Beth. Where did you get these?
CHARM E
Who's Scott and Beth? Your mother gave me our picture. That's you and me.
PEGGY
So are Scott and Beth.
Peggy leans into Charlie, throwing her arms around him, holding on for dear life. She looks up at him, their foreheads touching.
CHARLIE
(tenderly)
I love you.
PEGGY
I know.
Charlie kisses her, passionately. The locket drops to the ground. HOLD on the locket, and... DISSOLVE:
EXT. ON THE HILL - LATER
Charlie and Peggy are lying on the ground, gazing up. A flash of lightning streaks across the sky.
CHARLIE
I think we should get out of here.
It's going to rain.
PEGGY
(musing)
Do you think anybody in the Fifties ever made love on a bed?
CHARLIE
What the hell is that?
Flying high above them is an enormous, glowing, liquid neon kite. The center of the kite inscribed in lights, flashing like a marquee: HAPPY BIRTHDAY PEGGY SUE. The kite begins to descend towards them. Peggy jumps to her feet and races towards it. She grabs the tail and starts to sail away with the kite. Charlie chases after her.
CHARLIE
Peggy! Where're you going? Come back!
PEGGY
I've got to go now.
CHARLIE
But I love you. I'll love you forever.
PEGGY
I'll love you, too, Charlie. I'll love you for twenty years.
CHARLIE
Come back to me.
PEGGY
I'm trying.
As Charlie watches helplessly, a huge bolt of lightning strikes his car. Peggy smiles. The men from the lodge run outside. They look up and above the blazing car and see Peggy floating away. Peggy sees her grandfather in the crowd and blows him a kiss. Charlie begins to run, following the kite cord to its source. He finds Richard, struggling to restrain the runaway kite.
CHARLIE
Richard, do something!
RICHARD
I can't! It's out of control!
Suddenly the cord breaks. Peggy floats away.
CHARLIE
Peggy!
Charlie, Richard and the old men behold Peggy, bobbing and dipping playfully in the sky. We begin to HEAR Charlie's VOICE singing "Peggy Sue" O.S. Peggy looks down with wonder at the earth, and then like a comet, soars into the blackness. In an instant she becomes a star. FINAL SCENE DISSOLVE/: OPTICAL: HOSPITAL ROOM - DAY Moving from two to C.U. Peggy, fragments of the reunion, the cake coming towards her, fragments of words in echo effect: 'Your heart stopped for a while..." Father's voice: 'You're a very lucky young lady...' Doctor: 'A (explain) of the head...' Mom's voice: 'But you're going to be all right now, the paramedics got there...' Mom, 'We were so worried..." Echoing of, until once voice is left. Charlie. Sitting opposite her bed, as he has been every minute of her illness. He looks wan and old, worried sick, but trying to sing 'Peggy Sue' for her.
CHARLIE
(singing softly)
Peggy Sue, I love you, and I need you Peggy Sue...
PEGGY
Charlie? Was I dead?
CHARLIE
I thought you were... for a while.
PEGGY
(affectionately)
You look awful, like you haven't slept in days. And so old.
CHARLIE
But happy. Very happy, Peggy Sue.
PEGGY
Charlie, I thought I knew everything about you.
CHARLIE
I wanted to apologize. I can't live without you.
PEGGY
What about Janet?
CHARLIE
That's over. I got tired of translating everything. She thought the Big Hopper was a hamburger.
Charlie laughs uncomfortably and Peggy Sue looks around her hospital room.
PEGGY
Who are all the flowers from?
Charlie pushes himself out of his chair and moves toward the dresser.
CHARLIE
Everyone. Maddie and Arthur, Carol and Walter. Richard Norvick. And here's a book, by that guy from high school, Michael Fitzsimmons.
He dedicated it to you. Charlie returns to Peggy's bedside and opens the front cover of the book. ANGLE ON BOOK: the front page bears the title "The Pilgrim Soul" and the dedication reads "to Peggy Sue and a Starry Night". Peggy smiles but shakes her head.
PEGGY
It couldn't be me. I hardly knew him.
CHARLIE
I'll just set it right here.
He places the book on her bedside table as he sits back down.
PEGGY
Charlie, I had a strange experience. I went back to high school. And I spent a lot of time with you. And you and Walter and Leon were singing "I Wonder Why".
CHARLIE
Oh, God, Dion.
PEGGY
You were terrific. And I kept trying to push you away but you wouldn't give up.
CHARLIE
I'll never give up.
PEGGY
Then hold me.
He holds her hand.
CHARLIE
I loved you since the day I met you, and I haven't stopped.
PEGGY
Don't try to charm me, Charlie Bodell.
CHARLIE
Listen, I don't expect all the troubles between us can just vanish away. But I would do what I can...
PIGGY
Charlie, please, I need some time.
CHARLIE
Well, I'll let you get some rest...so long.
The VIEW PULLS BACK past the flowers. Charlie starts to exit. Checks himself in the mirror.
PEGGY
Charlie, I would like to invite you to dinner at home, on Sunday, with your kids. I will make a strudel.
He hurries back to her, kisses her again. They hang on to each other as Beth enters the room. FADE OUT.:
THE END
PEGGY AND RICHARD SCENE
To be inserted after Dolores/Peggy scene and to replace the goodbye to Richard scene.
INT. SCHOOL LIBRARY - DAY
Empty except for Richard who sits alone in a study warren, surrounded by books. Peggy approaches. Be puts down the book he's reading. He smiles.
RICHARD
You know, Peggy, there's so many things to look forward to in the future.
Peggy leans over and kisses him, sadly, on the forehead.
PEGGY
I came to say goodbye.
RICHARD
Goodbye? Where're you going? What about our partnership? I'm making real progress with the microchip.
PEGGY
You were meant to You're one of
those fortunate people that good things happen to.
RICHARD
So are you. You've got a vision.
PEGGY
(manic)
Vision? I'm a walking anachronism!
I've upset my parents. I miss my kids. I could be trapped here forever! And poor Charlie...I got pregnant on my 18th birthday and we had to get married. Tomorrow's my birthday! I've got to get out of here now.
RICHARD
Did you break up with Charlie?
PEGGY
Yeah, yeah. I'm taking a big gamble. I've loved him for a long, long time.
RICHARD
Okay. Why don't we do something visionary? Change your destiny, Peggy Sue. Change your destiny and marry me.
PEGGY
(slamming down book)
No! No! No! Peggy Sue got married! Case closed. I don't want to marry anybody. Goodbye Richard.
RICHARD
Wait! I'll go with you!
PEGGY
You can't. You're going to be Valedictorian.
|
PEGGY SUE GOT MARRIED
an original screenplay by
Jerry Leichtling and Arlene Sarner REHEARSAL DRAFT - August 14, 1985 Over BLACK, we HEAR the sounds of an old TAPE RECORDING. Young VOICES are filtered amid a noticeable hum, hiss and crackle. We HEAR giggling and then someone named Charlie making vows of love to someone named Peggy Sue.
CHARLIE (0.S).
Hi this is Charlie and.... Come on, say your name.
PEGGY (O.S.)
Peggy Sue.
CHARLIE (O.S.)
And we're here on the couch....
PEGGY (O.S.)
Don't say that....
EXT. PEGGY'S NEIGHBORHOOD DAY
A split-level house on a slight grade of lawn. A red Honda the driveway.
CHARLIE (O.S.)
We're here on the sofa bed....
PEGGY (O.S.)
Charlie....
CHARLIE (O.S.)
....to record how much we love each other. Sitting beside me is the cutest majorette in the history of the world. And she would Like to say something.
A real estate agent, a WOMAN, carries a "For Sale" sign to the center of the lawn and begins driving it in with a hammer.
CHARLIE (O.S.)
Come on Peggy. Say what we rehearsed.
PEGGY (O.S.)
I can't. I'm too embarrassed.
INT. BODELL HOUSE
MOVING VIEW, revealing the empty house. We HEAR the RECORDING LOUDER.
CHARLIE (O.S.)
But you love me don't you?
PEGGY (O.S.)
Yeah. Come on Charlie, turn it off.
CHARLIE (O.S.)
And nothing will ever change that.
Charlie starts giggling. We HEAR fumbling and tickling. CLOSE VIEW INTO THE KITCHEN - First we see a woman's hand, on the floor. It is partially covered with flour. MOVING VIEW reveals PEGGY BODELL, in her early 40's, fainted from heartbreak while baking a cake. Flour is scattered on the floor. She recovers from her faint. Confused, she steadies herself and brushes the flour from her dress.
INT. GARAGE - DAY
Peggy's son, SCOTT, 16, is playing an old reel to reel tape recorder. There are stacks of boxes filled with personal things and records. His sister, BETH, 23, is packing.
SCOTT
Boy, have they changed. Who gets it?
BETH
I don't know, just put it back.
CHARLIE (O.S.)
Oh, gotta go. Here's a little makeout music.
A record starts: "You Belong to Me" by the Duprees.
INT. CHARLIE'S APARTMENT
CHARLIE BODELL, early 40's, singing the same song. He can't hit a high note, turns off the water and steps out of the shower. JANET, his young, buxom girlfriend is in the bedroom.
CHARLIE
Goddamnit, I just can't hit those high notes anymore.
JANET
You know Charlie, if you're serious about this, I know a great vocal coach.
Charlie's perplexed reaction.
EXT. BODELL HOUSE - DAY
"Crazy Charlie's Discount Appliances" truck has parked in front of the house. WORKMEN are loading boxes of records, tapes, etc. Charlie pulls up, waves to workmen.
INT. KITCHEN/HALLWAY
Peggy is loading the oddshaped cakes into boxes. We note the grandfather clock tolling nine.
VIEW IN HALLWAY
Beth meets her father at the door.
BETH
Hi Dad, can I have 100 dollars for a brake job?
CHARLIE
Did I hear 70 dollars? What do you need 50 dollars for? How's your Mom?
Peggy comes out of the kitchen. Charlie has stopped conspicuously at the threshold. A workman comes from behind Peggy.
WORKER
Coming through.
CHARLIE
Frank, watch the clock.
Peggy looks outside.
EXT. HOUSE PEGGY'S POV
Janet is seated in Charlie's car.
INT. HOUSE
PEGGY
There's something pathetic parked in front of my house.
CHARLIE
Come off it, Peggy. And what do you mean your house? This is my house.
I paid for it, I'm still paying for it.
PEGGY
I'm still waiting for the mortgage check.
CHARLIE
I mailed it to you on Wednesday.
PEGGY
Well, today's Saturday and it's still not here.
CHARLIE
Jesus, Peggy. Take it easy. I'm not used to that stuff. You always did the bills. Blame the damn post office.
A workman approaches carrying an old mono record player: black and white, a real fifties artifact. For a moment their mutual resentment melts, as they look at each other.
PEGGY
That stays.
The workman looks to Charlie for approval. Charlie nods. The workman shrugs, and heads back to the basement.
CHARLIE
You got a Tab?
PEGGY
I don't buy them anymore. You were the only one who drank them.
INT. REC ROOM
Peggy leads the way. At the far end, she flips a light switch that turns on a wall sculpture of lava lamps.
CHARLIE
You don't want them? They're going to make a big comeback any minute.
Mark my words, these lamps are going to...
PEGGY
I know. Put Scott through college.
CHARLIE
I'll think of a way to sell, them.
(beat)
One day.
Peggy opens a box filled with records. She closes it and moves to another. Charlie checks the contents of another box on the other side of the room.
PEGGY
Are you taking Janet to the reunion tonight?
CHARLIE
I'm not going.
Scott calls from the top of the stairs.
SCOTT
Come on Dad!
CHARLIE
Be right there. I'll go through the rest of this stuff next weekend.
SCOTT
Bye Mom.
PEGGY
Bye sweetheart.
Peggy and Charlie look at each other as Scott leaves.
CHARLIE
(with real, regret)
I never thought it would go this far.
Charlie exits. Peggy looks around. She slaps the flap of a box down, to close it, but it jumps back up. DISSOLVE:
EXT. PEGGY'S DRIVEWAY
Peggy and Beth carry the cake boxes into the car A NEIGHBOR trimming the hedge watches them lasciviously. Peggy and Beth drive off.
EXT. STREET
Peggy's car rounds a corner into the business section of town.
EXT. LOVIN' OVEN BAKE SHOP
Peggy pulls up to the front door of The Lovin' Oven, her bake shop. Bags of bread and rolls lean against the door. Beth jumps out and opens the door of the shop. Peggy stacks the boxes in Beth's arms and opens the door for her.
PEGGY
If the pastries aren't here by nine thirty, call Monica and threaten her life.
Peggy gets into the car, and blows a kiss to Beth.
PEGGY
I'll be back by noon.
Peggy drives off as MONICA drives up. She exits her car and begins to unpack cake boxes.
BETH
Hi Monica. You just missed Mom.
MONICA
Sorry I'm late. My Bobo's back in town.
EXT. KRISTIN'S COIFFURES HAIR SALON
INSERT: Sign: KRISTIN'S COIFFURES Peggy exits with a fifties flip. From a distance she looks like a fifties teenager. She nervously looks at her reflection. Maybe this was a mistake. Too late now.
INT. PEGGY'S CAR DRIVING
Peggy is driving. On her car radio, we HEAR a local PHONEIN TALK SHOW.
WOMAN'S VOICE (V.O.)
Hi. I'm Dolores Dodge. We're taking calls today on surrogate mothers.
Wombs for rent. I want to know how you feel.
PEGGY
Oh, Dolores.
Peggy switches stations until she finds the news.
EXT. STREET CORNER
Peggy stops for a red light. Her eye is caught by a Mercedes stopped next to her. Behind the wheel is a striking woman of her age, CAROL HEATH. They stare curiously for a beat, then:
PEGGY
Carol!
CAROL
Peggy Sue!
They pull over to the side of the road.
EXT. SIDE OF ROAD
Exiting the cars, they hug.
CAROL
I haven't seen you in years. In all that time, haven't you at least tried another hair style?
Peggy tries to laugh off her embarrassment.
PEGGY
1 just did it for the reunion. I thought it would be fun.
CAROL
You're probably the only one who could carry it off.
INT. LOVIN' OVEN DAY
Peggy and Carol enter as Beth finishes up with a customer. Peggy walks behind the counter as the customer exits.
BETH
Where were you? You said you'd be back at twelve.
PEGGY
This is my old friend Carol. I told you about her.
Beth and Carol exchange hellos.
BETH
r was worried about you You didn't even call. You're always on my case if I don't call.
PEGGY
How do you like my hair?
BETH
It looks great. Don't change the subject. You know how busy Saturdays are. And I can't do the icing. I always mess up the roses. You're not being very responsible.
Peggy takes over the work of decorating the large pennant shaped cake in silver icing: 25th Reunion Buchanan High.'
CAROL
Who's the mother around here?
BETH
Sometimes I wonder.
INT. TELEVISION STUDIO
A television studio set made up of platforms covered with black cloth. Placed around the platforms on different levels are projection TVs, regular TVs, microwave ovens and other expensive, futuristic appliances. Charlie sits at one of them (or a table) as a CHINESE WAITER rushes in and puts a tray of fortune cookies down.
WAITER
Here Charlie, extra fortune cookies. Good luck.
CHARLIE
Thanks.
Charlie grabs a cookie and puts it on the table in front of him, smashing it with his fist. He picks up and reads the fortune:
CHARLIE
(manic)
Next week you'll be selling Sanyo remote control VCRs for three hundred and ninetynine dollars? Oh no!
(sings)
Crazy Charlie...
He grabs and smashes another fortune cookie.
CHARLIE
You'll give away Mitsubishi giant screen TVs for twelve hundred and ninetyfive dollars! Oh no! I'll go broke!
(sings)
Crazy Charlie...
He grabs and smashes another cookie.
CHARLIE
You won't be undersold on stereos, videos, microwaves or blenders!
(sings)
Crazy Charlie, Crazy Charlie, I'm not breaking cookies, I'm smashing prices.
(rolling his eyes like Fabian)
Crazy Charlie, he insane.
The waiter hits a big gong. Beth laughs.
PEGGY (O.S.)
Turn that off.
INT. PEGGY'S BEDROOM NIGHT
CAMERA PULLS BACK from the TV into Peggy's bedroom. Beth gets up from the bed and turns off the TV. Peggy enters from the adjoining bathroom, wearing a robe, and bobby socks with saddle shoes. She picks up a gold Locket from the dresser, and puts it on.
BETS
When are you going to stop being so mad at Dad? How do you think that makes me feel?
PEGGY
I have a lot of unresolved feelings about him. I don't trust him. Besides, I hate those commercials.
BETH
I'm sorry I asked. We don't have time for another heartto heart. Here, try on the dress.
Peggy tries on the fifties dress lying on the bed.
PEGGY
But I want you and Scott to understand.
(beat)
Do you think he loves Janet? Maybe he's smashed too many fortune cookies.
BETH
Come on Mom. Give him a break. He's missing the reunion because of you. You know he wants to go.
PEGGY
Then we'd both have a miserable time. What do you think?
She looks exactly like a sixties teenager.
BETH
Hey, you're a hip chick. You look like you stepped right out of Life magazine. Any time you want to borrow it again, just ask.
PEGGY
Borrow?! This was my dress.
(beat)
Maybe it's a mistake. What if I'm the only one? I don't even want to go. Everybody's just going to say...
(imitating commercial)
Hi. Where's Crazy Charlie?
BETH
Mom, lots of people are separated and divorced.
PEGGY
Not from the guy with the lowest prices in town.
EXT. HIGH SCHOOL ENTRANCE - NIGHT
Couples are walking up the stairs into the school. Peggy and Beth are at the bottom of the stairs, staring at the banner hung across the entrance. It reads: WELCOME CLASS OF '60.
PEGGY
I feel ridiculous. Maybe I should go home and change.
BETH
Why are you so nervous? What is the matter with you today?
PEGGY
I don't know. Reunions do funny things to people.
At that moment they're joined by MADDY.(Madeline) and ARTHUR NAGLE, coming up behind them. A typical polyester couple. Hellos all around and hugs. Arthur puts his arms around Beth and Peggy and leads them up the stairs.
MADDY
You two look like that soap commercial. Which one's the daughter and which one's the mother?
ARTHUR
You took this seriously. You're a real blast from the past.
PEGGY
It was Beth's idea.
MADDY
I wish I had the nerve. And the figure.
ARTHUR
You always were a crazy little gal, Peg.
PEGGY
Arthur, please don't call me Peg.
INT. SCHOOL HALLWAY NIGHT
A large table in the lobby holds plastic nametags. A sign reads: LADIES IF YOU CAN'T FIND TOUR TAG, LOOK UNDER YOUR MAIDEN NAME. Several people are bending over the table looking for their tags. A HOSTESS is sitting behind the table. Peggy, Beth, Maddy and Arthur enter. Hellos all around.
PEGGY
Beth's boyfriend is playing in the band.
MADDY
It must run in the family.
BETH
What does?
ARTHUR
You and your mother both seem to fall for musicians.
Maddy and Arthur laugh. Peggy is not amused. The hostess hands them their name tags and turns to welcome new arrivals. As they proceed down the hallway, Peggy SEES a distinguished man enter, RICHARD NORVIK. With him is his pregnant wife SHARON. Richard smiles at Peggy. She can't place him. Peggy turns back to her group and continues down the hall. The fifties MUSIC GETS LOUDER AND LOUDER.
INT. GYM
The gym is packed with people dancing, chatting, greeting lost friends. A bar is set up at one end. On the walls are black and white blowups of the 1960 yearbook. On a table is a buffet and Peggy' s cake. The BAND is PLAYING and SINGING old rock and roll songs. Couples slow dance, jive and stroll. Peggy, Beth, Maddy and Arthur enter. Beth leaves the group.
ARTHUR
Hey, there's Terry and Leon.
MADDY
Peggy, would you find a table?
We'll see you in a little while.
PEGGY
Okay.
They walk away into the crowd, leaving Peggy alone.
INT. GYM NEAR WALL
CLOSE VIEW A photo of the majorettes. Peggy is in the middle, twirling her baton. Her reverie is interrupted by:
RICHARD (O.S.)
Are you Peggy Sue Kelcher?
PEGGY
I was once. Richard!? Richard Norvik? I didn't recognize you.
RICHARD
You look exactly the same.
PEGGY
I just did it for tonight. I don't normally dress like this.
SHARON
It's adorable.
RICHARD
Oh, I'm sorry. Peggy Sue Kelcher, my wife Sharon.
PEGGY
Hello. Nice to meet you. Please call me Peggy. I'm Peggy Bodell now.
RICHARD
Where's Charlie? I was in town about a year ago and caught one of his commercials. Really made me laugh.
PEGGY
He's not here. We're getting divorced.
RICHARD
Gee. I'm sorry to hear that.
NEW VIEW A large, beefy HAND is THRUST INTO FRAME.
MAN'S VOICE (O.S.)
Mr. Norvik.
CAMERA PULLS BACK TO INCLUDE DOUG SNELL, a paunchy, overbearing man, shaking Richard's hand.
DOUG
Or, uhh, Richard? David Snell, Merrill Lynch. I read about the Cordex deal in Business Week. Congratulations.
RICHARD
Thank you, Doug.
DOUG
Hi Peggy. How are you? How's Char1ie?
INT. GYM
VIEWS ON Carol and Walter. They play a standoffish game, each noticing the other, but pretending not to. We HEAR and SEE bits of conversations:
SANDY
(gleeful)
I can't believe how she let herself go. She was so beautiful in high school.
CAROL
Everyone's got a gold Rolex. I had this one specially made in platinum.
Richard is standing with three men. They hang on his every word. Beside them, a very DRUNK MAN overhears:
RICHARD
....fifth generation core capacities are going to cause another shakeout in the smaller companies.
DRUNK MAN
(to Richard)
Your damn computers put me out of business. You're a billionaire, and I'm a goddamn failure.
Another man gently restrains the drunk and leads him away. Richard is shaken.
NEW VIEW
Carol and Peggy.
CAROL
(chuckling)
Welcome to the singles scene.
PEGGY
I don't know how you do it. I've never even dated anybody but Charlie.
CAROL
You just have to remember.... men
CAROL
are like houses and trade upwards.... I thought you had a pretty good marriage.
PEGGY
We did for a long time. We just got married too young, and ended up blaming each other for missing out on things.
CAROL
So he started having affairs, and you got depressed.
Peggy nods.
CAROL
You should have left here years ago, like I did.
PEGGY
It's not the place. I don't buy that.
(melodramatic)
Trapped in the same town forever.
The price she would pay for her teenage lust.
CAROL
After you got knocked up, my mother didn't want me to talk to you. She thought it was contagious.
PEGGY
Oh, it's not so bad. I have two wonderful kids, my own business.
(beat)
Still, knowing what I know now, if I had the chance to do it all over again, I'd sure do things a lot differently.
CAROL
Wouldn't we all.
INT. GYM OFFICE (ADJACENT TO GYM)
DOLORES DODGE is about to interview Maddy and Arthur; she turns on the tape machine and holds up the microphone.
DOLORES
Madeline Hutton and Arthur Nagle were high school sweethearts.
DOLORES
Married right after graduation, they're still together. In this day and age, that's remarkable.... Maddy, Arthur, how does it feel to have missed the sexual revolution?
MADDY
(incensed)
What kind of question is that? It has nothing to do with the reunion.
ARTHUR
(thoughtfully into mike)
I'm glad you asked, Dolores. Four years ago Maddy and I found Jesus....
DOLORES
Spiritual renewal. That's what reunions are all about. Familiar faces, forgotten memories, ancient dance steps and music....the great time machine.
INT. GYM
CAMERA PANS the gym and FINDS: Carol dancing with WALTER GETZ, slim, handsome, with a big toothy grin. Carol's old high school boyfriend, he's now a dentist and a fabulous dancer. They make a great team. Couples dancing around them react appreciatively.
CAROL
I never could keep up with you.
WALTER
(with a quick tap step)
Just call me Walter the dancing dentist. Taps and caps. My specialty.
INT. GYM ANOTHER AREA
PEGGY'S TABLE. Peggy sits with Richard, Sharon, and two other couples, TERRY and LISA and LEON and SANDY. A hand gently touches Peggy on the shoulder. Peggy turns around and sees ROSALIE TESTA, a small woman with close cropped hair. She's in a wheelchair. She wears a plastic badge: REUNION COMMITTEE.
ROSALIE
I remember that dress.
PEGGY
Rosalie Testa!
'HELLOS' all, around. Peggy helps Rosalie position her wheelchair at the table.
ROSALIE
I remember when you got that locket, too. You were so excited I think you showed it to the whole school.
PEGGY
You have an incredible memory.
SHARON
It's beautiful. Does it open?
PEGGY
Yes. These are my children. But they're not babies anymore.
INSERT - LOCKET Inside are photos of Beth and Scott as babies.
ROSALIE
(laughing)
I think you got married when you were three.
INT. GYM OFFICE
Dolores interviewing Walter and Carol.
DOLORES
Carol Pritchard Heath and Walter Getz were high school steadies who went their separate ways. After twenty years and four divorces between them, they meet again Walter a successful dentist, Carol a mature career woman. Carol, why did you really come back for this reunion?
CAROL
Curiosity mostly. I heard you finally found a man of your own. Too bad he's married.
WALTER
(cracking up)
Whoa! Cat fight! Purse war!
INT. GYM PEGGY'S TABLE
THEIR POV: Dolores walks resolutely towards their table. Maddy and. Arthur leave the table as Dolores approaches, putting her tape machine on the table. She ignores everyone, focusing on Richard.
DOLORES
Hello everyone. Richard Norvik? I'm Dolores Dodge with KARP Radio.
Could I have a minute of your time?
RICHARD
Sure. I remember you.
INT. GYM SERIES OF SHOTS
The BAND is PLAYING and SINGING the SONG "GOOD OLD ROCK AND ROLL." Peggy and Sharon walk through the gym looking at the photo blowups on the wall. Peggy is stopped and hugged by several people. Maddy and Arthur are dancing. Despite the frantic beat, they are slow dancing. Seth is hanging around the stage, bringing a drink to the guitar player. Walter is dancing with Rosalie in her wheelchair.
OVERWEIGHT, BEARDED MAN
Turns out I love business. Every morning I wake up, thank God I'm alive, and say Who am I gonna screw today?
LEON
Let's play "Rate the Moment". I give tonight an eighty-seven. Better than sex, not as good as racquetball.
INT. GYM OFFICE
Dolores has left. Walter lays out lines of cocaine on the back of the clipboard, as Carol watches.
WALTER
The best thing about being a dentist. Pure pharmaceutical grade. A couple of lines of this, I can drill my own teeth....
(looks at her for a moment)
Hi.
CAROL
Hi.
INT. GYM INTERCUT - SERIES OF SHOTS
SERIOUS MAN
(to his wife)
Joe would have enjoyed this. God, I still miss him.
MADDY
(to Carol)
Peggy was a mess right after they separated, but I think she's coming out of it... It seems to be pretty friendly now.
CAROL
Sometimes it's easier when you hate them.
GREASY DRUNK CREEP
I can't remember. Did I make it with you in high school?
LISA
Doesn't it feel like it was yesterday?
TERRY
Youth is like an amputated leg. Long after it's gone, you still feel it.
SAME BEARDED MAN
My wife's a cow, my son has shit for brains, and my daughter's in India with Mother Teresa.
WOMAN
My husband's a pig. But my son's in social work and my daughter, God bless her, is in India with Mother Teresa.
LEON
For the fitness generation, we've sure got a lot of porkers.
SANDY
I don't remember anything about the seventies.
LISA
Breaking up was horrible. I said we had a very special attachment, he said, so does a Hoover.
LEON
I don't know why I came back. I hated high school.
The group around him all answer "So did I" or "Me too."
ROSALIE
I enjoyed it.
INT. GYM NEAR WALL
Peggy (loose, holding a drink) and Sharon stand in front of a PHOTO of the 1960 Cross Country Team. VIEW ON PHOTO - off to one side stands MICHAEL FITZSIMMONS. His hair is longer, his gaze intense and non-smiling.
SHARON
Who's the one with the hair?
PEGGY
Michael Fitzsimmons. I had such a crush on him.
Carol and Maddy join them, still panting from dancing.
CAROL
Hi, Peggy. God, that Walter Getz can still dance.
PEGGY
Your first boyfriend. What do you think? Any sparks left?
CAROL
Who knows. Remember...
(a beat)
Whatever Walter wants...
CAROL, PEGGY AND MADDY
(LAUGHING)
Walter Getz.
PEGGY
Sharon Norvik this is Carol Heath, and Maddy Nagle. My oldest and dearest friends. Sharon's married to Richard.
CAROL
Lucky lady. Hi.
MADDY
(looking at the photo)
Michael Fitzsimmons! Is he here?
PEGGY
No. I asked Rosalie. She couldn't track him down.
CAROL.
Too bad.
SHARON
He must have been quite a guy.
PEGGY
He was the only one in high school I wished I'd gone to bed with.
CAROL
The only one?
PEGGY
Well, besides Charlie, of course.
We HOLD on the photo of Michael and... DISSOLVE:
INT. GYM LATER
The BAND is PLAYING AND SINGING the SONG, "JUST BECAUSE." Couples axe slow dancing. Dolores is still interviewing Richard. Peggy, Sharon and Carol walk back to their table.
SHARON
Peggy, would you please rescue Richard? Ask him to dance.
RICHARD
Are we through Dolores? Good.
DOLORES
Well...
Richard stands and helps Sharon to a chair.
RICHARD
(to Sharon)
You'll be okay?
SHARON
Yes. You go ahead.
Peggy and Richard head onto the crowded floor, and begin to dance.
RICHARD
The only time people like Dolores used to pay any attention to me was to laugh at me or insult me. That guy, Doug Snell, who shook my hand when we walked in, he used to call me a four-eyed worm.
PEGGY
Well, you showed them. You're rich and famous and successful. And you have a beautiful wife.
RICHARD
You were always friendly to me. I appreciated that.
(beat)
You know, this used to be a fantasy of mine.
PEGGY
What was?
RICHARD
Dancing with you.
PEGGY
You're a sweet man, Richard.
RICHARD
I guess part of us never really leaves high school.
PEGGY
You know, I never told anybody this, but I always had a feeling that when you die, before you go to heaven, you get a chance to fly around high school for a while.
CAMERA PULLS BACK SLOWLY as Peggy and Richard become part of the sea of dancers, all Lost in nostalgic reverie. BY DOOR Charlie enters and stands by the door. He's tentative, looking around for his friends. Almost immediately he is joined by Arthur, Walter, Terry and Leon. They shake hands, glad to see each other.
TERRY
Here comes the life of the party.
LEON
I knew you couldn't stay away.
Everyone's happy to see Charlie. His eyes meet Peggy's - he gives her a tentative, sheepish wave. Terry looks at the band.
TERRY
You know, they could've at least asked us to sing. We'd refuse, of course, but they could've asked us.
CLOSE ON PEGGY
Looking at Charlie.
BY STAGE
Arthur walks onstage, placing a hatbox on the amplifier. He's a ChamberofCommerce type.
ARTHUR
(into microphone)
Hello. Can I have your attention, please.
The BUZZ in the room DIMS, Peggy and Richard head back to their table.
ARTHUR
I know it's getting kind of late, and some of you have a long drive home, so the reunion committee decided it was time for the moment you've all been waiting for. You don't know what you've been waiting for because we didn't tell you, but the committee has selected a King and Queen. Now don't worry, I took care of it so the band's gonna keep playing for at least another hour, and my old pal Judge Crystal said that the bar can stay open as long as we want.
Everyone applauds. VIEW ON PEGGY AND CHARLIE At opposite ends of the reunion, but aware of each other.
ARTHUR
And while you're at it, let's have a nice big hand for the Little Lady that did such a great job supervising all the decorations, Rosalie Testa.
More applause. VIEW on Rosalie in her wheelchair.
ARTHUR
Now back to business. The members of the committee have given this a lot of thought and decided on the two people who best represent the spirit of Buchanan High's Class of '60. The king is someone who, in more ways than one, has come a long, long way since he left here.
ANGLE - PEGGY'S TABLE They all look to Richard, knowing he's the obvious choice.
ARTHUR
We're proud to welcome him back, Richard Norvik! Come on up here, King Richard!
The band PLAYS a FANFARE and DRUM ROLL. Richard gets up, and walks to the stage as everyone APPLAUDS. The band PLAYS a chorus of "Get a Job." VIEW ON WALTER
WALTER
(kidding)
I demand a recount.
(laughs)
VIEW ON STAGE
Arthur places the gold cardboard crown on Richard's head as they shake hands.
RICHARD
Sharon and I thank you all for making us feel so welcome. It's good to be back.
MORE APPLAUSE as Richard steps back.
ARTHUR
Every king deserves a queen. Now, we had a Lot at worthwhile candidates. And I don't want any of you ladies to feel left out, 'cause you're all beautiful. But when we sent out the invitations, we didn't mention anything about this being a costume party.
Peggy's embarrassed reaction, realizing everyone's looking at her.
ARTHUR
Maybe we should have, 'cause just looking at her brings it all back for us. Ladies and gentlemen, I give you our queen, Peggy Sue Kelcher Bodell. Come on up here, Peggy Sue.
The band begins the song PEGGY SUE. Peggy looks pained. She doesn't move.
CAROL
They're waiting. Come on.
PEGGY
(close to tears)
I can't. It's all too much.
CAROL
Go on. You can do it.
Charlie and Beth stand together: Beth is worried about Peggy. CAMERA TRACKS Peggy as she haltingly makes her way to the stage. As she does, she notices another blow-up on the wall: Peggy and Charlie, as King and Queen of the 1960 prom. Arthur gives the crown to Richard who places it on Peggy's head. He kisses her cheek and stands back, beaming.
PEGGY
(into mike, overwhelmed)
Thank you. Thank you very much.
The lights dim, leaving Peggy in the spotlight. Continued APPLAUSE as the singer steps up to his mike and begins to SING the song PEGGY SUE. PEGGY ON STAGE INTERCUT WITH HER POV People starting to clap and sing along. Carol and Carol's POV: a blowup on the wall of Carol in the senior play. Walter and Walter's POV: a photo of Walter on the basketball team. People leaving their tables, surging towards the stage, drawn by the music. Maddy and Maddy's POV: a photo of Maddy and friends mugging for the camera in the cafeteria. Charlie talking to Carol. Peggy begins to cry softly. The images begin to melt together, pulsing to the music. Peggy is the focus of everyone's nostalgia. A wave of time washes over them. She remains onstage, looking past the crowd to the photo of her and Charlie. Peggy onstage, eyes closed, swaying to the music. Walter and Carol join hands, walking towards the stage. Rosalie in her wheelchair, doing the hand jive, crying. The entire crowd swaying to the music, looking to Peggy, repeating the chorus over and over. Beth notices her mother's state of emotion. Peggy collapses onstage. We hear SHOUTS and SCREAMS. Richard, Arthur and several others crowd over Peggy. Beth rushes to the stage, reaching out to her mother. Charlie too. MUSIC STOPS.
INT. GYM - ECU A THIN TUBE FILLED WITH BLOOD INSERTED
INTO PEGGY'S ARM - DAY CAMERA PULLS BACK to INCLUDE Peggy lying on a cot. She wears the same dress she had on at the reunion. She's terrified. We NEAR a smattering of background noises: NAMES are CALLED, NURSES helping, etc. Looking up she sees: The IV. The NURSE taking the IV out of her arm, and placing a vial of blood on a tray with several others. Peggy sits up slowly, dazed and frightened. She looks at the nurse.
NURSE
Would you like your Twinkie now?
Peggy takes the Twinkie, staring at it blankly. Looking around she SEES students giving blood to the Red Cross. Several have tubes in their arms. Nurses attend to them. Carol sits up drinking a cup of juice, waving weakly at Peggy. Maddy, now a brunette, slowly rolls down her sleeve. Arthur, Dolores, Walter and several others from the reunion. Everyone is younger but instantly recognizable. Charlie walks over to Peggy. He grins at her, revealing wax vampire fangs in his mouth, hair Brylcreemed to death.
CHARLIE
I vant to suck your blood. I also vant to suck your Twinkie.
PEGGY
Charlie! Am I dead?
CHARLIE
No. You are the undead. You will live forever if you give me your Twinkie.
(normal voice)
Come on, let's have it. You hate them anyway.
Mechanically, Peggy hands over the Twinkie. Charlie bends over to nuzzle her neck. The nurse's hand COMES INTO FRAME and grabs Charlie by the scruff of the neck, pulling him up.
NURSE
Young man, stop that.
The SCHOOL BELL RINGS.
CHARLIE
Hey! I just made a deposit in your blood bank. Now I want to make a withdrawal.
NURSE
I think it's time for your next class -
CHARLIE
I'm changing banks!
Charlie walks away towards Walter and Arthur. Peggy gazes after him, his body blocking her view of a portion of a banner hung on the wall. It reads: "Support the Buchanan High Blood Drive..." As Charlie exits, the final words come into view: "Spring 1960." Peggy gasps. She begins to tremble.
NURSE
Lie back down and take a deep breath.
PEGGY
What's going on? Where am I?
NURSE
You passed out for a moment.
Nothing to worry about.
PEGGY
How did I get here?
Maddy and Carol approach, carrying their books.
NURSE
Why don't you let your friends help you?
(to Maddy and Carol)
Take her into the washroom and splash some cold water on her face. That should perk her up.
MADDY
Yes, ma' am.
They help Peggy up and lead her across the gym.
INT. GIRLS' WASHROOM ADJACENT TO GYM
The girls enter. Carol immediately lights up a cigarette. Peggy crosses to the mirror.
CAROL
(to Peggy)
Wanna smoke? That's the worst thing for her.
PEGGY
No thanks. I gave them up years ago.
Maddy and Carol react as Peggy takes a closer look at herself and the girls' reflections. She places a hand to her throat, noticing the locket is gone.
PEGGY
Where is it?
CAROL
We're taking you back to the nurse.
PEGGY
Maddy, what did you do to your hair?
Maddy looks in the mirror.
INT. SCHOOL HALLWAY - NURSE'S OFFICE
Maddy and Carol are waiting. Peggy exits the office, clutching a note which she hands blankly to Maddy. They walk towards the exit, Peggy glued to the wall for support.
CAROL
We're going to take you home.
PEGGY
That's okay. I'm sure I'll remember the way.
EXT. SCHOOL SIDE DOOR
The girls walk outside. Peggy looks around at the old cars in the parking lot. The most noticeable a blue Chevrolet Impala convertible. Peggy stares at it for a beat, shivering with recognition, as she follows Carol and Maddy to a 1955 Ford. Maddy helps Peggy into the back seat.
EXT. STREET DRIVING
Carol drives and chats with Maddy, while in the back seat Peggy looks out at the world as it she were on a ride at Disneyland. She says things like "That's not here anymore".
EXT. SUBURBAN STREET - KELCHER HOUSE
The car pulls up to the curb. Peggy gets out of the car. Maddy hands her the note and her books; she twirls her finger next to her head.
CAROL
I'll call you Later.
PEGGY
Yes. Let's stay in touch.
Peggy walks up to the door, a sleepwalker in suspended animation. She waits a beat and knocks softly.
WOMAN'S VOICE (O.S.)
Who is it?
PEGGY
Peggy.
(shuddering)
Peggy Sue.
WOMAN'S VOICE (0.5.)
Come on in. It's open.
Peggy slowly opens the door.
INT. HALLWAY KELCHER HOUSE
Peggy enters and looks down the hallway into the kitchen. EVELYN KELCHER is a lovely woman in her midforties. She turns around from the sink and approaches Peggy.
PEGGY
(helplessly)
Mom!
MRS. KELCHER
The nurse called and said you'd be coming home.
Peggy stares blankly at her for a beat, then holds up the note, as she moves towards her mother.
PEGGY
I have a note.
MRS. KELCHER
How do you feel?
PEGGY
I'm excused.
MRS. KELCHER
Why don't you go lie down for a while.
PEGGY
Mom!
Peggy embraces her mother, holding on for dear life, inhaling her scent.
PEGGY
Chanel Number Five. That always reminds me of home.
MRS. KELCHER
Of course, dear. You're home now.
PEGGY
I'm home now.
INT. PEGGY'S ROOM
Peggy enters warily, looking around, a fifties museum of teenage artifacts. She walks around the room gently touching her old belongings including the record player from opening scene. She looks in the mirror to make sure she's still there. Suddenly, she turns around.
PEGGY
Okay, I'm alone now. Is anyone here?
She opens the closet door expectantly, then closes it shaking her head.
PEGGY
No. This is crazy. Is somebody going to tell me what's going on? Why me? What happened? You don't have to show up. I don't have to see you. Just send me a sign.
(beat)
Thanks a lot. 1 guess I'm on my own.
NANCY, Peggy's twelve-year old sister, peeks in the room.
PEGGY
Nancy! Come here.
Nancy tentatively approaches. Peggy hugs her.
NANCY
What are you doing?
PEGGY
I'm just happy to see you.
NANCY
Come on! Mom said you were sick. You're never happy to see me.
PEGGY
I'm sorry about that. I really want us to be closer. I have enough unresolved relationships in my... life.
NANCY
Teenagers are weird. And you're the weirdest.
PEGGY
Let's do something together. Do you want to play Monopoly? Or Careers... Clue... Snakes and Ladders?
NANCY
(suspicious)
Okay, what do you want? What dumb favor do you want me to do?
INT. LIVING ROOM
On a small black and white TV, Dick Clark introduces a spotlight dance. Peggy and Nancy are sitting on the sofa, watching. Nancy is eating small candies, like M&M's.
PEGGY
It's unbelievable. The man never ages.
NANCY
Look at Kenny Rossi. Isn't he dreamy? I wish he'd break up with Arlene. She thinks she's so great.
PEGGY
Don't eat the red ones.
NANCY
Why not? They're my favorite.
PEGGY
They're bad for you. They cause...red lips. (red dye \*2)
Nancy react, as Peggy stands. CAMERA TRACKS HER to the den.
DEN
Peggy opens the liquor cabinet and takes out a bottle of Scotch and a glass, noticing the family photos on the wall.
PEGGY
Can't hurt. I'm already dead.
She belts down several drinks.
NANCY (Q.S.)
Peggy Sue! Hurry up. Fabian!
Peggy steadies herself as CAMERA TRACKS her back into the living room. LIVING ROOM Peggy collapses on the Naugahyde recliner. Unexpectedly, it leans back, shooting Peggy's legs up.
MRS. KELCHER
(from the kitchen)
I put your laundry on your beds. Don't forget to put it away.
NANCY
What's for dinner?
MRS. KELCHER
Meatloaf.
NANCY
Yeech, not again.
Peggy leans forward in the recliner eating the candies. Bemused, she looks at Nancy watching TV and into the kitchen where her mother is slapping together meatloaf. ANGLE - HALLWAY - THE FRONT DOOR OPENS JACK KELCHER Peggy's father, enters the hallway.
MR. KELCHER
Girls? Evelyn? Who left this thing outside?
He turns and heads back outside.
MRS. KELCHER
What is it?
Mrs. Kelcher and Nancy follow him outside. Peggy staggers to the front door and leans against the door jamb looking out at the family.
EXT. DRIVEWAY
PEGGY'S POV: The family admires a new red and white Edsel.
MR. KELCHER
What do you think?
MRS KELCHER
(disturbed)
Oh, Jack.
NANCY
Like wow! Wait till I tell Diane.
She's always bragging about her father's Cadillac.
MR. KELCHER
Peggy Sue, what do you think?
PEGGY
Oh, Daddy. You were always doing things like that.
(cracking up)
That's funny! That's really funny.
She staggers over to the car and falls against it laughing. Mr. Kelcher crosses to her and catches a whiff of her breath.
MR. KELCHER
Young lady, you're drunk!
PEGGY
(laughing)
Just a little. I've had a tough day.
MR. KELCHER
I don't see the humor in this. Go to your room immediately. You're grounded.
PEGGY
(tipsy)
Grounded? Ha! The story of my life. I don't wanna go to my room. I wanna import Japanese cars. I wanna go to Liverpool and discover the Beatles.
MRS. KELCHER
Jack, take it easy. She gave blood at school today. Maybe she's just a little lightheaded.
MR. KELCHER
This is not giving blood. This is drunk.
PEGGY
Dad, I never knew you had a sense of humor.
MR. KELCHER
Evelyn, put her to bed.
INT. PEGGY'S BEDROOM
Peggy lies in bed, her mother tucking her in.
MRS. KELCHER
My little baby. Don't try to grow up so fast.
PEGGY
Oh Mom, I forgot you were ever so young.
CLOSE ON PEGGY She hears her mother walk down the stairs.
MRS. KELCHER (O.S.)
A new car. We can't afford a new car.
MR. KELCHER (O.S.)
Don't worry, it's just a seasonal slump.
MRS. KELCHER (O.S.)
You have four seasons, you have four slumps.
INT. PEGGY'S BEDROOM - MORNING
Peggy emerges from the bathroom wearing a towel. VIEW FROM BACK At a full length mirror she drops the towel and happily appraises her eighteen year old body.
PEGGY
Let's get physical!... Let's get metaphysical!
Nancy comes in dressed for school.
PEGGY
Good morning.
Nancy goes to Peggy's closet.
NANCY
Can I borrow this sweater?
PEGGY
Yeah, but take good care of it. I'm saving it for my daughter. She loves this stuff.
INT. KITCHEN - MORNING
Mr. Kelcher and Nancy sit at the table eating breakfast. Mrs. Kelcher stands at the sink scraping toast. Peggy bounces her hair in her adult, natural look. "GOOD MORNINGS" all around.
MRS. KELCHER
What happened to your hair? You have such a pretty face. Why are you always trying to cover it up?
PEGGY
Oh. I forgot.
Mrs. Kelcher takes an elastic band from around the faucet and hands it to Peggy as she sits at the table. Peggy makes a ponytail.
MRS. KELCHER
You're looking pretty chipper this morning.
PEGGY
I'm still here, aren't I? I may as well enjoy myself. I'm going to go to school today.
(beat)
Dad, I want to apologize for yesterday. The car is a classic. Use it in the best of health.
MR. KELCHER
Thank you. I accept your apology with the hope that what went on yesterday will never happen again.
PEGGY
That would be impossible.
MR. KELCHER
You're so young, this is not the time to start acquiring bad habits.
PEGGY
Mom, is there any coffee left?
Mrs. Kelcher begins to pour the coffee, then pulls back, spilling some on Mr. Kelcher.
MRS. KELCHER
When did you start drinking coffee?
PEGGY
Oh. Ah... recently. All the kids drink it.
MR. KELCHER
If all the kids jumped off a bridge, would you do that too?
PEGGY
I think I'm way ahead of them.
NANCY
Pass the toast, please.
Peggy passes Nancy the toast.
NANCY
And the butter.
PEGGY
You know, you two are wonderful parents. I'm really going to try to behave myself.
MR. KELCHER
Well, at least you stopped calling me DaddyO.
NANCY
(correcting him)
DADDYo.
PEGGY
Mom, sit down for a minute. This is so nice, all of us being together again like this.
NANCY
Can I tell Diane that Peggy Sue got drunk or is that a deep family secret?
(silence)
Well?
MRS. KELCHER
How does Diane like her braces?
R31.NCY
She hates them. Nobody likes braces. Thy just call you junkyard face and Miss Metal Mouth. I gotta go.
Nancy jumps up, grabbing her lunch on the counter, as she exits. "GOODBYES' all around. We HEAR a HORN HONKING outside a five note musical phrase BEBOPALUBOP.
PEGGY
Oh yeah. Charlie. How am I going to handle him?
MRS. KELCHER
What's the matter? Did you two have a fight?
PEGGY
Sort of.
MRS. KELCHER
What about?
PEGGY
The house payments.
EXT. KELCHER HOUSE
Peggy exits the house wincing at the sight of Charlie's car, the blue Impala she'd seen the day before. Charlie sits, one arm on the wheel, the other over the back of the seat.
CHARLIE
How do you feel?
PEGGY
Pretty strange.
Peggy hesitates, unsure how to handle her accumulated ambivalence towards Charlie.
CHARLIE
Come on. Get in. I can take care of that.
Peggy warily gets in. Charlie leans over to kiss her, but she pushes him away. No dice.
PEGGY
Not now, Charlie. I've got a headache. Get used to the word. Roll it around your tongue for a years.
CHARLIE
Hey, I can take a hint. You look great today.
Charlie starts the car, burns rubber and peels out.
PEGGY
You drive like a maniac!
CHARLIE
I call this the staccato.
(does tricks)
INT. CHARLIE'S CAR DAY - DRIVING
CHARLIE
(earnest)
Not that I'm glad you were sick, but I had a chance to do some thinking last night.
PEGGY
Oh yeah?
CHARLIE
You know. About what we said on Tuesday. It makes a lot of sense.
PEGGY
Refresh my memory.
CHARLIE
How could you forget? We talk about seeing other people and you forget?
PEGGY
Maybe I blocked it out.
CHARLIE
I can understand that. But please don't start crying again.
EXT. SCHOOL PARKING LOT
Charlie's car pulls up.
CHARLIE
It's not going to be forever. I figure three years is long enough. I can see if the music pans out.
(more tentative)
And right after graduation we should start seeing other people. Kind of comparison shop before we settle down and get married. Know what I mean?
PEGGY
Why wait?
CHARLIE
(surprised)
Well, we got the prom coming up, all these parties. We shouldn't upset our parents?
PEGGY
They'll learn to live with it.
Peggy exits the car and heads towards the school. Charlie sits, stunned.
EXT. HIGH SCHOOL LOT
They are surrounded by friends as they head into school. Near the door Walter and Leon are having a contest, hoisting themselves onto the sign pole, trying to get their bodies parallel to the ground. A crowd urges them on. We SEE taps on the bottom of Walter's shoes.
INT. SCHOOL HALLWAY
Peggy stands bewildered in the hallway. Charlie walks back, takes her by the hand and leads her to a locker.
CHARLIE
You're more shook up than you want to admit. You'll get used to it, we'll still see each other 2, 3 times a week.
Charlie opens the locker. Peggy watches carefully, memorizing tho combination. He takes out a few books as Peggy notices her schedule on the locker door.
CHARLIE
Want me to drive you home later?
PEGGY
Would you?
CHARLIE
(growling)
Would I?!! Why I oughta.
Unaccountably, this cracks Charlie up. He walks away laughing. Peggy looks completely puzzled. She is surrounded by a sea of people, who say hello. She can't remember their names.
INT. CLASSROOM - MORNING
We SEE Peggy, Maddy, Dolores, Arthur and Carol, singing MY COUNTRY TIS OF THEE. They all mumble, except for Peggy who delivers a stirring rendition. The class thinks she's crazy. Peggy's decided to have a good time. Announcements begin over the PA system. No one pays attention, except Peggy.
MAN'S VOICE (V.O.)
Good morning, students. This is Mr. Mosey. Our girls diving team is competing today in the county finals at Commander Beck High School.
MAN'S VOICE (V.O.)
We know they'll put forth a splendid effort so let's wish them luck.
PEGGY
Where's Rosalie Testa?
CAROL
Probably at the diving meet.
MAN'S VOICE (V.O.)
Finally, congratulations go to Richard Norvik for placing first in the Statewide Math Contest. We're proud of you, Richard...That's all, students.
Several students boo Richard's name. The BELL RINGS.
INT. ANOTHER CLASSROOM
Maddy, Dolores and Peggy enter the room. Peggy stands at the door till most are seated. She sees an empty seat between Maddy and Dolores and, assuming it's hers, sits down.
DOLORES
Did you study for the test?
PEGGY
(horrified)
Test?
INT. CLASSROOM - TWENTY MINUTES LATER
MR. SNELGROVE, an officious little creep, is standing by his desk.
SNELGROVE
All right, class. Time's up.
He walks along the aisles collecting the papers. When he gets to Peggy he picks up her blank sheet.
SNELGROVE
What's the meaning of this, Peggy Sue?
PEGGY
(patiently)
Mr. Snelgrove, I happen to know that in the future, I will never have the slightest use for algebra. And I speak from experience.
The class gasps, a few students APPLAUD, and Mr. Snelgrove's jaw drops.
INT. ANOTHER CLASSROOM DAY
MR. GILFOND is teaching The Old Man and the Sea. MICHAEL FITZSIMMONS (from reunion crosscountry photo) is speaking. He always wears black.
MICHAEL
Santiago comes back, with nothing there's no meat on the bone. It's Hemingway's ego defending itself again; he's trying to prove he can still perform.
GILFOND
What Hemingway's saying, Michael, is that we are alone that when we go out too far we're vulnerable. The irony, that Santiago is beaten by the sharks, doesn't make him less of a hero.
THE BELL RINGS. The class begins to exit.
GILFOND
Over the weekend read the first four chapters of The Great Gatsbv. I hope you enjoy it.
Peggy hesitates. She walks up to Gilfond.
PEGGY
Mr. Gilfond, can I talk to you?
GILFOND
Sure, Peggy Sue. What's on your mind?
PEGGY
I just wanted to tell you how much I enjoy your class. You taught me a lot and... you're a very fine teacher.
GILFOND
That's very kind of you. Thank you.
PEGGY
Thank you. Um, I also think you're underpaid.
LUNCH AREA Walter, Charlie and Arthur sit at a long table.
WALTER
Why does your father take inventory on Sunday night? That's poker night. You always got out of it before.
CHARLIE
I've got to string him along for a while. It's for his own good.
ARTHUR
But you're not going into his business. When're you going to tell him?
CHARLIE
Soon. I can't tall everybody everything all at once.
Peggy, Carol and Maddy walk over and sit down with trays. Peggy deliberately avoids the empty sear next to Charlie. They're uneasy with each other. Peggy looks with disgust at the slop on the tray.
WALTER
Strange rumors are sweeping the school about you.
PEGGY
(wary)
What do you mean?
WALTER
Prom what I hear, you really gave it to old Smellgrove.
MADDY
I was there. She told the creep off right to his face.
ARTHUR
Atta girl, Peg.
PEGGY
Arthur, please don't call me Peg.
ARTHUR
Why I oughta....
Charlie, Walter and Arthur crack up.
PEGGY
I don't get it.
CAROL
That's because you' re not a total moron like they are.
MADDY
It's some stupid old movie thing they just started.
WALTER
That's enough out of you, little lady.
CHARLIE
I'll throw the book at you!
ARTHUR
Why I oughta...
The boys crack up again. The girls think they're hopeless. Peggy SEES Michael Fitzsimmons, buried in a book. He looks at Peggy with a penetrating gaze, then back down. Richard Norvik, also sitting alone, working with a slide ruler on a book of mathematical puzzles, dressed in early Nerd. Peggy gets up from the table. She looks back to Charlie and the table.
PEGGY
I'll be right back.
CAMERA TRACKS PEGGY TO RICHARD ANOTHER ANGLE
WALTER
She's not wasting any time. Peggy Sue and Mr. Square Root?
CHARLIE
He's a nice guy. You know he's writing a book?
WALTER
Oh, a book... Excuse me for a second.
(fakes gagging)
ANOTHER ANGLE Peggy stands over Richard. He looks up nervously, pushing his glasses up the bridge of his nose, a constant habit.
PEGGY
Congratulations on the math contest, Richard.
RICHARD
It really wasn't that difficult.
Doug Snell (of Merrill Lynch, at the reunion) walks past.
DOUG
What're you doing, Peggy Sue? Fishing for four-eyed worms?
PEGGY
Get lost you macho shmuck.
Doug and Richard react.
PEGGY
I have to talk to you. It's very important.
RICHARD
I'm not doing any tutoring this year. I'm too busy.
PEGGY
It's not that. Can we meet after school? Please?
RICHARD
All right. I'll be in the physics lab. Make it four-thirty. I have a rocket club meeting.
INT. CLASSROOM - A FAMILY LIVING CLASS
On the walls are several charts: Basic Food Groups, Tips on Grooming, and prominently displayed, The Happy Home Corporation, i.e. husband as president, wife, vicepresident, children, employees, grandparents as board members. MISS OTTO stands by her desk. Standing in the front of the room is:
MADDY
Therefore, the key to a successful children's party can be summed up in one word planning.
MADDY
With proper planning, a successful, inexpensive happy birthday party can be had by all. Including the mother.
She walks back to her seat.
MISS OTTO
That was very comprehensive, Madeline. Thank you. Now...
(beat)
Peggy Sue, your topic was 'How To Choose A Nursery School.' Are you prepared?
PEGGY
All... Okay. Sure.
Peggy walks to the front and faces the class, smiling primly.
PEGGY
Choosing a good nursery school can be one of the most important decisions you can make. It will often determine your child's attitude towards education and schooling.
(proud of herself)
Of course, the lessons learned are primarily social sharing, being considerate of others.
(remembering)
And they're so cute when they're little. They bring you back their Little masterpieces every day and you put 'em on the refrigerator door. They're so proud, and their names are all misspelled. Scott would always print his S backwards, and Beth would make her sweet little flowers.
Peggy wipes away a tear. At the stunned reaction of the class and Miss Otto.
EXT. PLAYING' FIELD
The baseball team practices. Michael Fitzsimmons runs laps with the track team. One lone boy kicks a soccer ball. CLOSE - A BATON TWIRLING IN THE AIR WIDEN to INCLUDE the baton spinning down, falling into the hands of a uniformed majorette who deftly passes it through her legs and twirls it back into the air. Another baton it rises, spinning awkwardly and falls through Peggy's hands onto the ground. Six MAJORETTES in uniform are practicing. Dolores is one of them.
DOLORES
(to Peggy)
What a girl. What a twirl. You know, PegLeggy, you're gonna get demoted to hall monitor -
HEAD MAJORETTE
Come on, Peggy Sue. Try it again. You haven't been practicing.
Peggy gamely tries it again and manages at least to catch the baton and continue twirling. She continues, enjoying herself. Michael runs by, the lonely long distance runner.
EXT. PLAYING FIELD LATER
The group of majorettes heads toward the school. Peggy sees Charlie leaning against the car, waving her over.
CHARLIE
Looking good out there.
PEGGY
Thanks.
CHARLIE
I noticed you were giving me the silent treatment at lunch. I guess I deserved it. I've been thinking about my three year plan and I think it's unworkable. I must have been delirious.
PEGGY
I thought it had a lot of merit.
CHARLIE
In the abstract maybe. Get a grip on yourself! But when I imagine you going out with other guys, I feel... ah...
PEGGY
Rejected, worthless, miserable.
CHARLIE
Yeah. Like that.
PEGGY
Good.
Peggy turns, and walks away. Charlie looks miserable.
INT. PHYSICS LAB
Peggy enters and approaches Richard. He is too engrossed constructing an elaborate kite to notice her.
PEGGY
What a great kite.
RICHARD
I'm writing a book on kite construction. What did you want to talk about?
PEGGY
I want to ask you a question.
(beat)
Do you think.... time travel is possible?
RICHARD
Are you doing some kind of science project?
PEGGY
Sort of.
RICHARD
Well... in a Newtonian framework, the possibilities were limited, but with the advent of relativity theory, the idea of absolute time can no longer be reasonably affirmed.
Peggy hasn't understood a word.
RICHARD
And then, there's Richard's Burrito.
PEGGY
What's that?
RICHARD
That's my own theory based on a Mexican food called the burrito.
RICHARD
I had it once when my parents took me to Disneyland.
PEGGY
I know what a burrito is.
RICHARD
Well, I think time is like a burrito. Sometimes it just folds over on itself and one part touches the other.
PEGGY
What's inside?
RICHARD
You can till it with whatever you want. From illusions to memory, from experience to innocence, from happiness to the entire universes
PEGGY
So you think time travel is possible? For people?
RICHARD
Absolutely. People, dogs, elephants.
PEGGY
Listen, you've gotta keep this a secret. You can't tell a soul. Promise?
RICHARD
Okay. I promise.
PEGGY
This is serious. Nobody can know. Ah, I've returned from the future. I traveled back here 25 years.
RICHARD
You probably are crazy. Wait a minute. Is this some kind of joke? I know what you all, think of me.
PEGGY
No. Really. You're the smartest person I know. It sounds unbelievable. But I can prove it.
RICHARD
Oh yeah?
PEGGY
You have a blind grandfather. One day you're going to invent a machine that reads books for blind people. I read about it. You're going to be famous. You're going to invent a lot of things.
RICHARD
How, did you know about my grandfather?
PEGGY
Because I'm telling you the truth. I know what's going to happen. There's going to be test tube babies and heart transplants. And an American named Neil Armstrong is going to walk on the moon. On July 20, 1969.
RICHARD
Holy Toledo! That's six years ahead of schedule!
EXT. STREET
Peggy and Richard are walking, carrying their books.
RICHARD
But when did you leave? Are you here until then? Were you there until now? What direction are you going in? Are you a moving point on an infinite line extending into the past? Can anyone do it?
PEGGY
I don't know.
Oblivious, Peggy and Richard walk by Shower's Cafe. Inside, Dolores and Carol see them.
EXT. ANOTHER STREET APPROACHING RICHARD'S HOUSE
RICHARD
I'd be very careful if I were you. You don't want to fall into the clutches of some madman with plans to manipulate your brain.
PEGGY
That's why I was getting a divorce.
(beat)
What I really think is that I had a heart attack at the reunion and died.
EXT. RICHARD'S DRIVEWAY
RICHARD
You look pretty good for a corpse.
PEGGY
Come on, Richard, I'm serious.
RICHARD
You're giving me the creeps.
PEGGY
Am I dead or not?
RICHARD
There's one way to find out.
Richard stops and throws down his books. He steps in front of Peggy, throwing down her books, dragging her to the curb.
PEGGY
What're you doing?
RICHARD
Confucious says, The way out is through the door. There's a truck. There's your door.
A large truck speeds towards them.
RICHARD
Step in front of the truck! If you're dead, it won't matter. The truck'll go right through you. Go ahead! You're dead!
Peggy takes one step off the curb. The truck is getting closer. The truck BLOWS A LOUD SUSTAINED WAIL.
PEGGY
No! I don't want to die!
INT. RICHARD'S GARAGE
A completely outfitted laboratory, kites decorate the walls.
RICHARD
Okay, you're not dead, but according to every law of science what you say happened to you is impossible.
PEGGY
What if it's beyond science? What it it's God?
RICHARD
Einstein said "God doesn't play dice with the universe." I'm a scientist. I believe that there's an order to things. Why would God bring you back as a high school girl?
PEGGY
I don't know.
RICHARD
You're a molecule in chaos, a discontinuent aberration. Maybe you've just got powers of precognition. Well, maybe you're just out of whack.
PEGGY
I told you, I've already lived my life. I don't know how or why I'm here, but you have to help me get back. I want to get back to my real life!
RICHARD
All right, I'll work on it, I'll, do some research. But in the meantime, don't get crazy.
PEGGY
I'm trying. I'll see you tomorrow.
(heads out the door)
RICHARD
What if you're not here tomorrow?
INT. KELCHER HALLWAY
Peggy comes home, enters hallway.
MRS. KELCHER (O.S.)
This necklace is sapphire, it was my Grandmother's.
Peggy looks into the living room. PEGGY'S POV: Her mother is sitting on the sofa with a strange MAN in a suit. She's served him tea. There are several, pieces of old jewelry spread on a cloth on the coffee table. The man is examining one of the pieces. Mrs. Kelcher seems surprised that Peggy's home from school. Peggy moves on into the kitchen.
INT. KELCHER KITCHEN
Peggy hears her mother let the man out. She enters the kitchen.
PEGGY
Who was that man?
MRS. KELCHER
It was nobody. Ah... he's a poll, taker. I'm thinking of voting Democrat this year. But don't mention it to your father. How was school today?
PEGGY
It was great to see everybody again. But it's so boring and regimented. Most of what they teach is useless. The worst thing was lunch.
The TELEPHONE RINGS.
MRS. KELCHER
Would you get that, dear?
PEGGY
Sure, Mom.
(picking up the phone)
Hello.
Peggy gasps. Mrs. Kelcher turns to her.
MRS. KELCHER
Peggy! What's the matter? Who is it?
PEGGY
(shaken)
It's Grandma. I can't talk to her now.
PEGGY
(into phone)
I'm sorry, Grandma.
Peggy hands the receiver to her mother and runs out of the room sobbing. Her first confrontation with mortality.
INT. HALLWAY
Peggy climbs the stairs, in tears.
MRS. KELCHER (O.S.)
Peggy Sue! What is it?
Forcing herself to regain her composure, she sits down at the top of the landing as Mrs. Kelcher joins her.
MRS. KELCHER
What happened to you?
PEGGY
I had a dream that Grandma died.
MRS. KELCHER
Well, she is getting on, but she's fine. I told her you weren't feeling well yesterday. She called to find out how you are.
PEGGY
She did? I love her so much, and I haven't seen her in such a long time. And Grandpa Barney. Is he all, right?
MRS. KELCHER
Yes, he's fine, too. You saw them at Easter.
PEGGY
I'm sorry, Mom. I'll call Grandma back and apologize.
MRS. KELCHER
That's a good girl... I hate to see you so upset.
(beat)
Tell me, sweetheart. Are you having problems with Charlie? You mentioned something this morning.
PEGGY
I'm confused about a lot of things right now. Charlie's only one of them.
Two beats.
MRS. KELCHER
Is Charlie pressuring you to do things you don't think you should be doing?
PEGGY
What do you mean?
MRS. KELCHER
Peggy, do you know what a penis is?
(Peggy's jaw drops)
Stay away from it.
EXT. KELCHER HOUSE NIGHT
Charlie pulls up to the curb, opens the glove compartment, extracts a can of Old Spice aerosol, sprays the seat; and exits his car, throwing a kiss to it as he walks up to the door. CLOSER VIEW He's wearing a hideous orange and turquoise sweater.
INT. KELCHER HOUSE HALLWAY
Mr. Kelcher opens the door, Charlie enters.
MR. KELCHER
Hello, Charlie.
CHARLIE
Hello, sir. How are things at the hat store?
MR. KELCHER
Fine, thanks. Come on in. I want to talk to you.
CAMERA TRACKS Charlie and Mr. Kelcher into the living room. Mr. Kelcher sits on his recliner, Charlie, nervous, on the couch. Nancy is on the rug, studying.
MR. KELCHER
You may have noticed that Peggy Sue's been acting a little strange lately.
NANCY
She's distorted.
CHARLIE
Yes, sir.
MR. KELCHER
She seems confused, irresponsible, overemotional. My wife says that's the way girls act sometimes.
NANCY
She's almost a juvenile delinquent.
Mr. Kelcher gives Nancy a look and points to the door. Without her father noticing, Nancy creeps up behind him and makes rabbit ears behind his head. Charlie tries hard not to laugh. Nancy continues to clown.
CHARLIE
Yes, sir. But that's what I like about her. She's not like all the other girls at school.
MR. KELCHER
Charles, in spite of your adolescent infatuation with music, we've always regarded you a a fine young man. We've trusted you with our daughter.
CHARLIE
Yes, sir. Trust is a twoway street. In the past two years I've been pleased to note that you and Mrs. Kelcher have, uh, fulfilled your sacred trust of being good parents to the, uh, woman I plan to take off your hands.
Mr. Kelcher looks as if he's witnessing the latest attack of teenage weirdness.
INT. PEGGY'S BEDROOM
Peggy is changing a record. She sees the dress she was wearing the day before (and at the reunion) slung across a chair. As Peggy picks it up, a book of matches falls out. Peggy picks it up, excited. INSERT: MATCHBOOK which reads: FINISH HIGH SCHOOL IN YOUR SPARE TIME. Peggy frantically searches the dress pockets and slowly draws out two joints. She stares at them for a beat.
PEGGY
(worrying)
Oh, Beth.
There's a knock at the door. Peggy quickly hides the joints. Mrs. Kelcher opens the door.
MRS. KELCHER
Charlie's downstairs. Why aren't you ready?
PEGGY
For what?
MRS. KELCHER
Maddy's party.
PEGGY
I don't feel very festive.
MRS. KELCHER
You accepted an invitation, Maddy's one of your best friends, and I baked the Rice Krispie squares.
Peggy laughs.
MRS. KELCHER
Enjoy yourself! This is the best time of your life. And the sooner you learn to handle Charlie the better. Get dressed.
Mrs. Kelcher closes the door.
INT. LIVING ROOM
MR. KELCHER
We think this party might cheer her up. Just make sure you know what's expected of you.
CHARLIE
What would that be, sir?
MR. KELCHER
Show her a good time, but for God's sake restrain yourself.
CHARLIE
(surprised)
Of course.
ANGLE ON PEGGY walking downstairs, surprised by Charlie and Dad talking.
EXT. KELCHER HOUSE - NIGHT
Peggy and Charlie exit and walk towards his car. Peggy's holding a pan of Rice Krispie squares. Charlie slips Peggy's sweater back on her shoulder. He's trying hard to make up.
PEGGY
Where did you get that sweater?
CHARLIE
Great, isn't it?
PEGGY
It's really Fifties. You sort of clash with the world.
CHARLIE
Hey! What's the fun of being a teenager if you can't dress weird? And we're going to have fun tonight, right?
PEGGY
Right. I promised my mother.
INT. CHARLIE'S CAR NIGHT - DRIVING
CHARLIE
Is this slow enough for you?
PEGGY
(serious)
Charlie, how are you?
CHARLIE
I'm fine Peggy Sue. And how are you? Are we talking on the phone? Are we pen pals?
PEGGY
Seriously. What's it like to be eighteen?
Charlie looks thoughtful, then guns the engine.
CHARLIE
It's great. I cleaned the car, do you like it?
CHARLIE
Oh, I got tickets for Fabian on your birthday, you like him, right? He's cool. Eighteen is half of thirty six. It's "Gentlemen start your engines", vroom, like I'm gassed up ready for the race. I've got the girl, I've got the car, I've got the talent, but I don't know. Do I date, get married, join the army, cut a record, go to college? I got a million choices, but nobody teaches you how to choose. But it's different for a girl. You're Lucky. You just have to wait for me.
INT. MADDY'S HOUSE BASEMENT
Thirty kids are dancing, talking, snacking. One couple makes out. Walter, Leon, Terry and Doug Snell are crowded around a TV, watching an old western with Eugene Pallette or Edgar Buchanan. The boys laugh as Pallette or Buchanan growls a western cliche.
DOUG
Gol'darnit, dag nab it, dad burn it, dad blame it.
INT. MADDY'S HOUSE HALLWAY TO BASEMENT
Charlie and Peggy are poised at the door.
CHARLIE
Here comes the life of the party.
INT. MADDY'S HOUSE BASEMENT
Arthur and a few others stand by the bar, where bottles of Coke are lined up. Arthur carefully pours rum from a hip flask directly into the bottles. Peggy and Charlie enter.
LEON
Goes down, smooth. Hey, look what the cat dragged in.
CHARLIE
Have no fear. Charlie's here.
WALTER
Oh, it's you is it.
TERRY
Jumping Jehosophat!
DOUG
It's a miracle!
PEGGY
Hi, guys.
ARTHUR
Now that's a purty little heifer.
CHARLIE
Why Pete's the best darn cook on the Panhandle!
PEGGY
Why I oughta!
The boys all crack up. THE PARTY LATER Walter, Leon, Charlie and Terry crowd around Arthur who has an open, widemouthed bottle of beer in his hand.
CHARLIE
Ready. Set. Go -
Arthur rapidly chugalugs the entire beer and immediately recites from memory as the boys urge him on:
ARTHUR
(going: for speed)
HiYo Silver! A cloud of dust, a galloping horse with the speed of light, a hearty Hi-Yo Silver! The Lone Ranger! With his faithful Indian companion Tonto, the daring and resourceful Masked Rider of the Plains came to Earth with powers- and abilities far beyond those of mortal men. Return with us now to those thrilling days of yesteryear - from out of the...
Arthur lets out a huge belch. Everybody cracks up.
LEON
You doorknob! You threw in Superman!
CHARLIE
Too bad. Close to a record.
ARTHUR
(foaming at the nose)
I hate it when the beer comes out my nose.
ANOTHER AREA
Peggy, Carol and Maddy bemusedly watching the boys.
MADDY
Can you believe I want to marry that dork?
CAROL
Why do guys do such stupid things?
PEGGY
You know, I never could figure that one out.
INT. BASEMENT - ANOTHER ANGLE
Maddy, Arthur, Walter, Carol, Charlie and Peggy sit on a couch. Maddy and Carol sit in their boyfriends' laps. Peggy sits distractedly on the couch arm. They cross talk boys to boys girls to girls.
MADDY
I was thinking of four ushers and four bridesmaids.
WALTER
The Yanks got the hitting but the Sox got the defense.
CAROL
What are your colors, going to be?
ARTHUR
I'l1 take Kubek and Richardson over Fox and Aparicio.
MADDY
I'm thinking of pink and green.
ANOTHER ANGLE
Dolores and Terry standing in a corner kissing passionately.
MADDY
Look at Dolores. What a tramp.
CHARLIE
Pitching wins pennants. The Tigers got four potential twenty game winners.
CAROL
You'd be surprised at how many girls in school aren't virgins.
WALTER AND ARTHUR
(to Carol)
Like who?
CHARLIE
Don Mossi, Frank Lary, Jim Sunning and Paul Foytack.
INT. BASEMENT LATER
ARTHUR
And now, direct from three weeks of rehearsal in Walter's garage, four guys who have dedicated their lives to becoming the greatest singing group in the world... (beat)
Charlie, Walter, Leon and Terry. The Definitions. Applause as the group enters from the furnace room. They all wear black pants and iridescent sharkskin jackets. Charlie is in the center of the group as they position themselves.
CHARLIE
One, two, three-...
The group begins to SING an A CAPELLA version of RAMA LAMA DING DONG (or I WONDER WHY). Charlie sings lead, backed up by the other three. Walter dances insane, Temptationlike steps. The crowd huddles around them, clapping and grooving. Peggy is on the planet of lost innocence, removed and melancholy.
CAROL
Charlie really has a great voice.
MADDY
Maybe they'll be the next Dion and the Belmonts.
PEGGY
Don't get your hopes up.
MADDY
Come on, where's your enthusiasm?
Charlie SINGS directly to Peggy, grinning at her. In spite of herself, she smiles back at him. She's starting to realize why she fell in love with him. He's irresistible.
PEGGY
He is kind of cute, isn't he?
CAROL
Yeah. You're so lucky. He really loves you, too. He's always telling Walter how wonderful you are.
PEGGY
He does?
The group finishes the song. Charlie blows Peggy a kiss. The crowd APPLAUDS, including Peggy. Dolores joins Peggy, Carol and Maddy.
DOLORES
Carol and I saw you with that creep, Richard, today.
PEGGY
First of all, Richard is not a Creep. He happens to be an exceptional person. If any of you gave him half a chance, you'd find that out.
DOLORES
God, Peggy, you're so unformed you're practically fetal. You're just taking pity on him 'cause he has no friends.
PEGGY
Dolores, can't you be a little kinder to people? You don't even know the boy. If you weren't so neurotic and insecure, maybe you'd shut up for a while and show some compassion.
DOLORES
Are you for real?
PEGGY
Touchy, touchy!
Dolores storms away.
MADDY
(to Peggy)
I don't know what you said to her, but I wish I'd said it.
Charlie and Walter walk over and accept "BRAVOS" from the girls. Walter does his James Dean imitation.
PEGGY
Charlie, what do you think of Richard Norvik?
CHARLIE
Is he gonna help you with that physics stuff?
PEGGY
He's trying.
CHARLIE
Hey! Who needs physics when we've got chemistry?
PEGGY
(charmed)
Come on, let's dance.
WALTER
Put on some makeout music, and kill the lights.
We HEAR a RECORD SCRATCH. A slow song begins. The lights are dimmed. Coupler begin to slow dance. Charlie holds Peggy close, barely moving. Peggy is mistyeyed, moved by being in Charlie's arms again.
CHARLIE
There isn't a girl in school that can hold a candle to you.
PEGGY
You're pretty charming when you want to be.
CHARLIE
Yeah I know. But I don't have to flatter you. It just feels right. You're the perfect girl for me. As in is, was and always will be. I'm glad dancing was invented. You know the first dances were rituals. Like fertility rites.
As they dance Charlie gets embarrassed by an erection, and moves his hips away from Peggy. She surprises him by grabbing his tush and pulling him into her.
INT. MADDY'S BASEMENT - LATER
MUSIC FADES INTO the song "PARTY DOLL" by Buddy Knox. Peggy is doing the Twist, showing Charlie and several others. Walter gets the hang of it, twisting on one leg. Carol tries to keep up. Maddy and Arthur are always a beat behind.
DOLORES
Hey Terry, what is that? Did Peggy make it up? I've never seen that on Bandstand.
TERRY
What if we're witnessing the end of touch dancing?
INT. CHARLIE'S CAR - DESERTED LANE - NIGHT
The windows are fogged. Peggy and Charlie kiss tenderly.
PEGGY
Mmm. This is nice. I always loved the way you kiss. I missed you.
CHARLIE
Your eyes look like silver pools of moonlight. And the tide rushes in.
PEGGY
You really love me, don't you?
CHARLIE
You know I do. I even wrote you into my will.
PEGGY
(tentatively)
Charlie, let's make love.
CHARLIE
What?! You mean sex?! Intercourse?
(nonbelieving)
You want to have intercourse! Last weekend you said... What time is it?
PEGGY
A lot's happened since last weekend.
CHARLIE
But you're the one who wanted to wait till we got married. And you were right. We should wait.
PEGGY
(flustered)
I probably meant it when I said it.
(beat; coyly)
Doesn't Lucky Chuckie want to come out?
CHARLIE
Who?
Peggy starts to GIGGLE, realizing the absurdity of the situation. The more she GIGGLES, the more agitated Charlie gets. Peggy starts to unbutton Charlie's shirt.
PEGGY
You know. Your love machine... the throbbing thrill hammer... your thing!
CHARLIE
You mean my wang? Listen, it's running real late.
Charlie pushes her away, angry.
CHARLIE
What is this? What the hell is going on? One week you say, "If you love me you won't", now you say "If you love me you will".
(beat)
Excuse me. That's a guy's line!
Peggy realizes she's blown it. Charlie isn't ready for this.
PEGGY
This is a mistake. We better forget it.
CHARLIE
You're damn right! Jesus! Peggy! You sure know how to spoil a mood.
Charlie straightens himself up, starts the car and burns out.
EXT. KELCHER HOUSE NIGHT
Charlie drops her off.
PEGGY
I'm sorry Charlie.
CHARLIE
Save it.
Peggy watches him go. Looking at her darkened house, she turns and walks down the street.
EXT. STREET SHOWER'S CAFE
Peggy peeks in the window. The kids from the party are eating and laughing. Rosalie Testa is dancing. Shaken by Rosalie, she turns away. In the distance she SEES the lights of: ART'S DONUT HOLE. OPEN 24 HOURS.
INT. ART'S DONUT HOLE
A few people linger over coffee. The waitress serving them is Monica (the same but younger woman from LOVIN' OVEN). In a corner, Michael Fitzsimmons, in a red leather jacket, sits alone, reading. He looks up to check on his motorcycle parked outside. He's splendid in his isolation. Peggy enters, taking a seat at the counter, startled to see Monica, who doesn't know her.
MONICA
What would you like?
PEGGY
Monica? Aren't you Monica Hines?
MONICA
Yes. Who are you?
PEGGY
Ah... never mind. Can I have a coffee, please? And a cinnamon cruller.
(sotto)
How's Bobo?
Peggy notices Michael staring at her. Peggy smiles, Michael doesn't. Monica brings Peggy her coffee and donut.
MONICA
Twenty cents, please.
PEGGY
You're kidding?
Picking up her donut and coffee, she walks over to Michael's table and sits opposite him.
PEGGY
I was impressed with what you said in English class today.
MICHAEL
Gilfond's okay, except he thinks Hemingway's great Literature.
PEGGY
You don't?
MICHAEL
(contemptuously)
He's a fisherman! The most overrated writer of the century. I mean, he's the perfect American author fat, violent, drunk...
PEGGY
Maybe you're confusing his life with his work.
MICHAEL
A writer's life is his work. Jack Kerouac doesn't have to kill a bull to have something to write about. He's out there feeling, burning.... grooving on life!
Michael leans back in his chair. He's said his piece. Peggy studies him for a beat.
PEGGY
The young man leaned back in his chair. No bulls would die today.
MICHAEL
What're you doing here anyway?
PEGGY
Coffee and a donut.
MICHAEL
I thought chicks like you traveled in packs.
PEGGY
Hey, man, I'm a hip chick.
EXT. ART'S DONUT HOLE
Long shot of the brightly lit donut shop. Michael and Peggy are clearly visible.
INT. CAR
Dolores and Terry are driving by.
DOLORES
Terry, slow down.
TERRY
Okay.
DOLORES
Terry! Slow down.
TERRY
What, why?
EXT. ART'S DONUT HOLE DOLORES'S POV:
Peggy and Michael leave the donut shop, get on Michael's motorcycle.
DOLORES
There's Peggy with Michael Fitzsimmons.
TERRY
That commie beatnik? What's she doing with him? Wait'll I tell Charlie.
DOLORES
First a nerd and then a weirdo. What a bunch of nose pickers. I'll tell Charlie.
EXT. STREET - NIGHT DRIVING
Peggy on Michael's bike, clasped around him. Her eyes closed, enjoying the wind blowing in her hair. They head out of town.
EXT. GAS STATION
Michael pumps gas. Peggy walks to the washrooms. Looking around she waits a beat, then enters the men's.
INT. MEN'S WASHROOM
With all the aplomb of a divorcee, Peggy takes a quarter and deposits it in a condom machine. She puts the packet in her skirt pocket, pulls out the joints and stares at them for a beat. She checks her hair in the mirror and exits.
EXT. GAS STATION
Michael pumps air into the tires, bunched against a building. Peggy approaches him, holding up a joint, smiling conspiratorially. She lights it, inhales deeply, then passes it to him. He smiles back at her, a bit surprised, but still takes the joint and inhales.
EXT. MOUNTAIN ROAD
They drive up to a mountain top, Peggy wearing the leather jacket. She directs Michael with one arm. The motorcycle is parked. Peggy and Michael lie on the grass, staring down at the town lights below. Michael inhales the joint, then passes it to Peggy.
MICHAEL
This is great reefer.
PEGGY
Yeah. I'm surprised. It's really old....
(inhales)
Travels well though.
(beat)
You know, the world looks a lot better from up here.
MICHAEL
The world is fantastic. It's the ultimate absurd circus. I am shot from a cannon into the energy.
PEGGY
What are you shooting for?
MICHAEL
Maximum intensity. Yeah. I can't wait to get out of here. I'm gonna write. I'm gonna check out of this bourgeois motel. Push myself away from the dinner table and say 'No more JellO for me, Mom.'
PEGGY
Don't you get along with your parents?
MICHAEL
The only thing my father digs is cold, green money. All my mother cares about is her standing at the country club.
PEGGY
They care about you. They're just a different generation.
MICHAEL
Hey what's with you? I thought you were cool. You rode my bike. You blew some pot.
(beat)
What's your scene Miss Majorette? You gonna marry Mr. Blue Impala and graze around with all the other sheep for the rest of your life?
PEGGY
I already did that. I want to be a dancer, I want to dance.
Peggy takes off her sweater, kicks off her shoes and begins to dance. Her eyes are closed, her body silhouetted by the moon. Michael is transfixed. After a few beats, he walks over to her. He stretches out his arms and places them around her neck. They sway together for several beats, their bodies touching. Peggy opens her eyes and sees Michael gazing at her tenderly.
MICHAEL
You know, I had you pegged all wrong.
Michael kisses Peggy. She responds passionately.
MICHAEL
A ray of oneness piercing the solitude. Falling bodies in the ecstasy of flesh. You'll be a chapter in my memoirs of desire.
PEGGY
Is that one of your poems?
MICHAEL
No, I just made that up. Do you want to hear one?
PEGGY
I'd love to.
MICHAEL
(eyes ablaze)
Okay. Here's a new one. It's called Tenderness.
(beat)
I couldn't sleep so I thought I'd scream Betrayed by a kiss, sucking pods of bitterness. In the madhouse of Dr. Dread Razor shreds of rat puke fall On my bare arms
(sees Peggy grimace; he calms down)
I'm sorry. I guess I was trying to impress you.
(kisses her)
Peggy is falling for it. He fumbles with her bra straps.
PEGGY
Michael... you're as good as you looked.
His other hand reaches to undo her skirt.
MICHAEL
I'll respect you for eternity.
(reciting tenderly)
'When you are old and gray, and full of sleep, And nodding by the fire, Take down this book, and slowly read, And dream of the soft look your eyes had once."
(beat)
I didn't write that. That's Yeats.
Peggy is moved by the beauty of the poem. She sits up, leans over Michael, runs her hand through his hair, almost motherly.
PEGGY
I envy you. You have your whole life ahead of you and you know exactly what you want to do.
PEGGY
(beat)
But forget the rat puke; write something beautiful.
Peggy lies back down on the ground. Michael takes her hand and kisses it.
PEGGY
You know, this isn't really happening.
CAMERA PULLS BACK to include the entire, perfect tableau: the starry night, the motorcycle, the clouds racing across the moon and the two lovers on the mountaintop.
EXT. STREET DAWN
Michael stops at the corner of Peggy's street. She gets off the bike and kisses Michael goodbye. He takes off.
EXT. KELCHER HOUSE
Peggy walks up the path as the MILKMAN approaches.
MILKMAN
Your parents are waiting up. You know, I see a lot of this in the spring. Good luck.
PEGGY
Thanks, Ralph.
INT. KELCHER HOUSE
Peggy enters, trying to be quiet. Mr. Kelcher stands in the kitchen doorway in his bathrobe waiting for her, steaming. CAMERA TRACKS Peggy into kitchen. She grabs a cup of coffee before sitting down.
MRS. KELCHER
Where have you been?
PEGGY
I went for a drive. Up in the hills.
MR. KELCHER
Damn that Charlie I....
PEGGY
It's not Charlie. It's me.
MR. KELCHER
(nervously)
Peggy, let me ask you something.
(beat)
You're not.... expecting are you?
PEGGY
At my age? Don't be silly.
MR. KELCHER
Thank God for that.
PEGGY
Dad, it's not a big deal. Didn't you ever stay out all night when you were young?
MR. KELCHER
Yes but I was a boy. And I still had hell to pay.
PEGGY
Calm down. Just listen for a minute. Please.
MR. KELCHER
All right. But this better be good.
PEGGY
I want to help with the family finances. I want you to buy some stocks. And gold. By 1980 gold is going to be worth eight hundred dollars an ounce. Then you sell.
MR. KELCHER
Do you know how ridiculous you sound? First of all, it's illegal for U.S. citizens to buy gold. And in the second place, the price of gold is regulated by the government.
PEGGY
I think they're going to deregulate it.
MR. KELCHER
That's your problems. The more women think, the more trouble they get into.
PEGGY
Oh boy, that's another thing that's going to change.
PEGGY
Who's going to think for us? Our husbands? You know, you treat Mom like a maid. It's not entirely your fault. Those were the attitudes in the fifties, and that's the way you raised me. But give Nancy a break, encourage her to go to art school.
MR. KELCHER
I've heard just about enough of this lunacy! Go to your room!
PEGGY
Listen Dad, please. Buy IBM, buy Polaroid, buy Apple Computer. No, no. Not yet. Buy Xerox!
MR. KELCHER
Evelyn, take her to her room!
Peggy stalks out of the kitchen to the front door.
MRS. KELCHER
I'm not the maid!
PEGGY
Way to go, Mom!
The Kelchers glare at each other. We HEAR the DOOR SLAM.
INT. SHOWER'S CAFE DAY
Peggy and Richard sit in a booth. Richard's kite is hung on a coat rack.
RICHARD
The way I see it, you have an unparalleled opportunity to become the richest woman in the world.
PEGGY
I'm just not the type. Besides, I want to get out of here.
RICHARD
But you have a vision. Don't you want to help your parents?
PEGGY
I tried to tell them, but they wouldn't listen to me.
RICHARD
I'm talking about invention, no investment. I know what people think of me. Mr. Spasmatician. Dick the Square Root. I'll show them. You said I was going to be a millionaire. And you're gonna help!
PEGGY
Richard, take it easy.
RICHARD
No offense, but for a person who says she's lived an extra lifetime, you certainly are thick. Money is power. Money makes people respect you...
PEGGY
How come you never ask me any important questions? Don't you wonder if there's going to be a nuclear war? Or a cure for cancer? What about your family? What about people?
RICHARD
I'm curious, but I don't want to know. Jeez, I hope you haven't been telling people what's going to happen to them.
PEGGY
Give me some credit, will you?
RICHARD
Good. You're discreet. I like that in a partner.
PEGGY
Wbat're you talking about?
RICHARD
Look it's very simple. You tell me everything that hasn't been invented yet, and I'll invent it. We'll be partners. Fifty-fifty.
PEGGY
Sixty-forty.
RI CHARD
That's not fair.
PEGGY
Okay, find yourself another vision.
RICHARD
You're taking advantage of a minor.
PEGGY
When do we start?
A WAITRESS approaches their table.
WAITRESS
Do you know what you want?
RICHARD
A Ton on a Bun, with fries.
WAITRESS
And you?
PEGGY
Quiche Lorraine, spinach salad and a Perrier.
EXT. DOWNTOWN STREET
The street is filled with Saturday shoppers. Peggy holds the kite, Richard takes notes as they windowshop. They stop in front of a dry cleaners.
PEGGY
Dry cleaners. No real change. Just higher prices.
They move next door to a shoe store.
PEGGY
Ah. This is a biggie. Forget sneakers. Running shoes, jogging shoes, tennis shoes. Fifty to two hundred dollars a pair.
RICHARD
Come on. You can't be serious.
PEGGY
There are major fortunes to be made here. Leisure time and lifestyles.
RICHARD
Are you talking about exercise? Like gym?
PEGGY
Not for you. Okay, there's lots more.
They move along to the next window, an appliance store. The window is filled with old televisions, record players, large rotisseriebroilers, etc. The store sign reads: BODELL'S TV AND APPLIANCES. Another sign reads: COME IN AND LISTEN TO STEREOPHONIC SOUND.
PEGGY
Look at that stuff. It's like the dark ages. This is more your speed. And boy, do I know this business.
Peggy peers into the store again and catches a g1impse of Charlie serving a customer.
EXT. STREET BUS STOP
Peggy and Richard sit on the bench next to TWO OLD. LADIES. Richard reads from his list.
RICHARD
Let's see...
(looking around)
icrowavemays, ocketpay alculatorcays...
The two ladies react.
PEGGY
You don't have to use pig Latin!
Nobody could possibly know what we're talking about.
RICHARD
All right. These are the choices: microwave ovens, pocket calculators, Walkmans, digital watches and miniature TV's.
PEGGY
Oh. And huge portable radios. Everything else gets small, but for some reason, portable radios get enormous.
Peggy looks up and sees a lingerie store across the street. She heads towards it, calling:
PEGGY
I'll be right back.
Peggy enters the Lingerie store. After a beat, Peggy emerges from the store, excited and empty handed. Dodging traffic, she hurries back to Richard.
PEGGY
Richard! They don't have any! They never heard of them! Isn't that wonderful?
RICHARD
What are you talking about?
PEGGY
The wave of the future! I've decided on our first fortune! I'll see you later. You just think high tech.
RICHARD
High tech. I like the sound of that.
EXT. APPLIANCE STORE DUSK
At the back is a small record department, complete with a listening booth. Charlie is waiting on a customer. Peggy enters. CHARLIE'S FATHER is waiting on a buxom YOUNG WOMAN, his arm around her shoulder. He turns around as she enters. She has a shock of recognition.
MR. BODELL
(to young woman)
Look at that freezer chest. What capacity.
(to Peggy, embarrassed)
Hello Peggy Sue.
PEGGY
Woody! How ya doing?
MR. BODELL
Fine, just fine.
Peggy gives him a big hug and a kiss on the cheek.
PEGGY
Nice to see you.
MR. BODELL
Charlie's in the back.
Peggy walks towards the back as Mr. Bodell explains:
MR. BODELL
My future daughterinlaw. Very affectionate girl.
INT. RECORD DEPT. APPLIANCE STORE
Charlie talks to on ELDERLY GENTLEMAN.
GENTLEMAN
I'll just take the Ravel.
CHARLIE
Take the Shostakovich home and listen to it. Let it grow on you. Everyone that's bought it has come back and said, "This is definitive Shostakovich. Thank you for encouraging me to investigate it."
GENTLEMAN
Well, I did enjoy the Dvorak you suggested. Young man, you talked me into it.
Charlie points Peggy to the listening booth.
CHARLIE
You'll like it. I kid you not.
INT. LISTENING BOOTH
Peggy sits on the chair. A turntable sits on a small desk. Record covers decorate the walls. Charlie enters and sits on the desk, his feet resting on Peggy's chair.
PEGGY
What do you know about classical music?
CHARLIE
Nothing. Selling is selling.
PEGGY
Charlie. About last nights.
CHARLIE
Forget it. I've been thinking. Girls must go through that stuff too. Sometimes when I look at you I feel like an animal. Maybe my dad's right. Teenagers are nuts.
PEGGY
But I'm not. I'm a grown woman with a lifetime of emotional experiences you couldn't possibly understand.
CHARLIE
Yeah, I know. Girls mature faster than guys. But last night, I was the one who put on the brakes. And you know why?
PEGGY
Why?
Charlie cups her face in his hands, pouring out his heart.
CHARLIE
Because nothing else matters. That's the great thing about love. Every time we argue, every time something goes wrong, and I know that I'm not perfect either, things just work out better in the end. Cause you're my baby and I love you.
PEGGY
What am I going to do with you?
CHARLIE
Don't be cruel to a heart that's true.
INT. KELCHER HAT STORE KELCHER'S HATS - LATE AFTERNOON
Alone in the store, Mr. Kelcher is going through some receipts. Peggy enters carrying a shopping bag.
PEGGY
Hi, Dad.
MR. KELCHER
Doing some shopping?
Peggy reaches into the shopping bag and pulls out a small wrapped box.
MR. KELCHER
For me?
PEGGY
Open it.
He opens the present. Inside are a pair of miniature golf ball cufflinks.
MR. KELCHER
Sweetheart, they're beautiful. But they must've been expensive.
Across the street an ice cream truck pulls up. Mothers, fathers and children crowd around the back as the driver exit the cab.
PEGGY
I closed my Christmas club.
MR. KELCHER
Good, you got your money out of that greedy bank.
PEGGY
I wanted to apologize for this morning.
MR. KELCHER
It's hard to believe you're going to be eighteen.
(looks out the window)
Want an eskimo pie? Or a creamsicle? I'd come home from the store and there's little you running up to me. I'd give you a dime and you'd promise never to grow up.
PEGGY
Quiet today?
MR. KELCHER
This morning was good.
PEGGY
The hat business is in trouble.
MR. KELCHER
I, that what all that nonsense was about this morning? You're worried about my business?
PEGGY
Yes.
MR. KELCHER
That's very thoughtful, honey. It's just a slump. Things will pick up.
PEGGY
But when John F. Kennedy's elected President, men'1l stop wearing hats.
MR. KELCHER
Kennedy's a Catholic. He'll never win.
PEGGY
(gravely; closing her eyes)
He'll win.
MR. KELCHER
Richard Nixon's going to be President. Nixon wears hats.
INT. NANCY'S ROOM
Peggy is helping her sister Nancy with an art project.
NANCY
You think this'll cheer Dad up?
PEGGY
Of course, he'll love it. You're a terrific artist.
We HEAR Mr. Kelcher arguing loudly from downstairs. The two girls freeze.
MR. KELCHER (O.S.)
I don't need your charity. I don't need your grandmother's jewelry or your parents money -how could you do that?
MRS. KELCHER
Please don't shout.
Peggy opens the door, Nancy cautiously behind.
MR. KELCHER (O.S.)
I'm not shouting. Have we ever starved? Have we ever missed a mea1?
INT. DOWNSTAIRS PEGGY'S POV:
Mrs. Kelcher moves around the room, closing the windows.
MRS. KELCHER
Does everybody have to hear?
MR. KELCHER
I want everybody to hear because I don't have anything to be ashamed of.
Mr. Kelcher collapses into his barcalounger, red as a beet.
MRS. KELCHER
Jack, I was just trying to help.
MR. KELCHER
We'll make it, we'll be fine.
INT. NANCY'S ROOM
Nancy is frightened.
NANCY
Does this mean we're going to be poor?
Peggy leads her back into her room without letting her parents know they were there.
INT. PEGGY'S ROOM
We HEAR the song "Stranger in Paradise" from Kismet on the old black and white record player from opening scene. Peggy sits on the floor, surrounded by stockings, leotards and a sewing basket. She cuts the legs oft a pair of leotards. In one hand she holds up the top half of the leotards, in the other hand, a pair of nylon stockings. We HEAR a KNOCK on the bedroom door. Peggy pushes everything under the bed as Maddy and Carol enter.
CAROL
All right. What's the scoop?
PEGGY
On what?
MADDY
How come we're your best friends and we had to find out about you and Michael Fitzsimmons from Dolores?
PEGGY
She's unbelievable. Who needs satellites when we've got Dolores's mouth?
CAROL
I hear she does more than talk with her mouth.
MADDY
That's disgusting!
CAROL
(brushing her hair))
Oh, Maddy, grow up. It says in LOVE WITHOUT FEAR that "the tongue kiss as a means of genital stimulation is widely practiced and has much to commend it". Page eightysix.
PEGGY
Did you memorize the whole book or only the good parts?
CAROL
Just what you underlined.
PEGGY
You're kidding...? Carol, you have beautiful hair.
CAROL
Come on. What's with you and Michael?
MADDY
Yeah. He's so cool and mysterious.
PEGGY
He's very interesting. For all his pretending to be a tough guy, he's really got the soul of a poet.
CAROL
I bet Dolores told Charlie.
PEGGY
That loudmouthed little bitch
MADDY
Peggy Sue!
CAROL
You better watch out for her. She's after Charlie.
PEGGY
Cool it kids. He's free to see other girls, if he wants.
MADDY
But I always thought that you would marry Charlie, Carol would marry Walter, and I would marry Arthur. We'd all live on the same street and take our kids to the park together and have barbecues every Sunday. It'll spoil everything if you and Charlie break up. That Michael doesn't look like the barbecue type.
PEGGY
I'm not going to marry him. I just went out with him once.
(beat)
I know! Why don't we go to the movies tonight. Just us girls. It'll be fun.
CAROL
Don't be silly. It's Saturday. Date night!
MADDY
Yeah. I've gotta go. Arthur's picking me up soon.
PEGGY
Okay. But let's have a girls night soon. Maybe a pajama party.
CAROL
Aren't we a little old for that?
MADDY
Sometimes you're so immature.
INT. KELCHER LIVING ROOM - NIGHT
Peggy turns to face her parents, holding up her homemade pantyhose with a flourish.
PEGGY
Ta da! Pantyhose! The death of the garter belt! Of course, once they're manufactured they'll look better than this. What do you think?
MR. KELCHER
This is your great invention?
(to Mrs. Kelcher)
Would you wear those things?
MRS. KELCHER
Would they go over my girdle or under?
PEGGY
Instead of a girdle. And light as a feather.
MRS. KELCHER
Jack, I think she's got something there.
PEGGY
And we won't just sell them in department stores. We'll market them in drug stores and supermarkets.
MR. KELCHER
That's all well and good, but we don't have the money to manufacture them.
PEGGY
You need a partner. There's a friend of mine at school whose father makes seat covers for cars, Mr. Fitzsimmons. I've invited him and his family over for dinner tomorrow night.
MRS. KELCHER
Isn't that awfully forward?
PEGGY
We've got to move fast. This is an idea whose time has come.
MR. KELCHER
You mean to tell me that you invited this Mr. Fitzsimmons over to talk about investing his money in your cockamamie idea?
PEGGY
Wrong, Dad. Your idea.
INT. PEGGY'S BEDROOM NIGHT
A breeze blows through the open window Peggy sleeps fitfully, tossing off the covers. We HEAR NOISES from outside her window. A figure appears outside and silently climbs into the bedroom. Peggy mumbles Charlie's name. The man walks over to her bed as Peggy reaches out for him, tenderly, as if they were still married.
PEGGY
Charlie. I just had the strangest dream.
CHARLIE
(whispering)
I have to talk to you.
Through her sleep clouded eyes, Peggy begins to focus on the face of the younger Charlie. Suddenly, she remembers.
PEGGY
What are you doing here?
CHARLIE
(angry)
Let's go down to the basement.
INT. BASEMENT
Peggy enters, flicks on the light and leads Charlie in. Peggy senses Charlie's anger, and steels herself for the inevitable confrontation.
CHARLIE
I want to know what's going on. Dolores told me that you and that scuzzball Michael Fitzsimmons....
PEGGY
I bumped into him after you dropped me off Last night. I didn't feel like going home, so we went for a ride.
CHARLIE
(furious)
Then it's true, dammit! I had a miserable time tonight 'cause of you. When the Monotones did "Book of Love Chapter Four you break up, won't you give it just one more chance...." I'm thinking did we break up? 'Cause if we did, I don't even know about it! I thought we cleared all that up yesterday. Did that Maynard G. Beatnik give you what you wanted?
PEGGY
You know I never could stand your sarcasm.
CHARLIE
You're going to blow it, Peggy Sue. Nobody treats Charlie Bodell like this.
PEGGY
And why do you always refer to yourself in the third person, like Napoleon? How come it always turns into an argument with you?
CHARLIE
Look, I've got the hair, got the eyes, got the teeth, I got the car. I'm the lead singer, I'm the man.
PEGGY
Charlie,. I've been trying to postpone this. But what's the point? It's over.
(crying)
I don't want to hurt you. This is very hard for me. I'm doing this for both of us. I really want you to be happy.
CHARLIE
I will be happy if I have you. I love you.
PEGGY
That won't make any difference. We just can't live together. And you had the nerve to drive up with that bimbo Janet.
CHARLIE
What are you talking about? Who's Janet?
PEGGY
I just can't trust you anymore.
CHARLIE
What about everything I said to you this afternoon?
PEGGY
That's just it. You can always get to me. There's this window in my heart and every time I leave it open, you climb in. Unless I close it now, nothing's ever going to be different!
CHARLIE
But what has to be different?
PEGGY
Everything. I have a good head for business, I should be franchising the bakery. And I want you to give me your word that whatever happens, you'll go to college. And finish.
CHARLIE
What! What about the group and my singing career? What about me?
PEGGY
I'm trying to save you years of frustration.... waiting for a big break.... no. Waiting for that big disappointment so you could blame it all on me.
CHARLIE
You don't know zip! You think I'm going to end up selling appliances like my father? Chasing women around the store. I've got to give it a shot. Why are you trying to kill the two things that mean the most to me? Until yesterday you loved me and you loved us.
(opening the door))
What the hell has changed? For two years I've done nothing but love you. I'll show you, I'm going to be just like Fabian!
Charlie exits. Peggy slumps back, drained. Getting up, she crosses to the mounted swordfish. Standing on a chair she reaches into the mouth of the fish and pulls out a package of Pall Malls. She puts a cigarette in her mouth and picks up a table lighter and flicks it. As it lights, the tiny music box inside PLAYS SMOKE GETS IN YOUR EYES.
INT. KELCHER KITCHEN - MORNING
We HEAR distant CHURCH BELLS. Peggy sits down to scan the large Sunday newspaper. Seeing her mother's phone book, she finds the number she needs and picks up the phone. She dials slowly.
PEGGY
(very nervous)
Hello, Grandma. It's Peggy Sue. Much better. How are you? I'm very sorry about the other day.
EXT. STREET APPROACHING RICHARD'S HOUSE
Peggy jogs towards Richard. He is watering the front lawn.
PEGGY
(breathless)
Hi, Richard.
RICHARD
What are you doing?
PEGGY
Jogging. I was running, now I'm jogging.
RICHARD
That's what you were talking about yesterday? Everybody does that in the future?
PEGGY
Yep. It's going to be a law.
(beat)
I broke up with Charlie last night.
RICHARD
That's terrific. You did it. You really changed the course of your destiny.
PEGGY
It was an unfair fight. He didn't have a chance. I'm taking a real gamble. I loved him for a long, long time.
RICHARD
Cheer up. Now you can give some other guy a shot. Make it up to him later and buy him a yacht.
PEGGY
For God's sake, forget the money! I'm going crazy! I'm a walking anachronism.
PEGGY
I'm a puddle of deja I'm worried about my kids, Scott must be scared to death, I think my daughter's doing drugs again. I can't have any fun here, I don't have that innocence any more. I can't keep all this in anymore. I feel Like I'm going to explode.
RICHARD
Look, the best scientific mind in this country is working on your case. May I make a suggestion?
PEGGY
Like what?
RICHARD
(excited)
Suggestion! Hypnotic suggestion! Why didn't I think of that before?
PEGGY
What do you know about hypnosis?
RICHARD
Everything. This is perfect. The subconscious mind remembers all. You can give me more information on microchips and then pinpoint what happened at the reunion. Maybe that'll give us a clue on how to get you back.
PEGGY
Look, I'm desperate. I'll try anything. But what if you can't snap me out of it?
RICHARD
No offense, but you're pretty out of it now.
INT. RICHARD'S GARAGE
Peggy sits in an old recliner. Richard holds a small, battery operated revolving disc up in front of Peggy's closed eyes, then puts it down and picks up a notepad and pen.
RICHARD
You are completely relaxed. When I count to three, you will open your eyes. One... two... three.
(Peggy's eyes flutter open)
We'll start with something easy. What is your name?
PEGGY
(trancelike)
Peggy Sue Kelcher.
(beat)
Or, Peggy Bodell.
(beat)
I'm not sure.
RICHARD
Oh boy. Peggy, what are microchips?
PEGGY
Ah.... they're very tiny... they look like a fingernail made out of an erector set...
RICHARD
What will they be made of?
PEGGY
I think it's called silicon. Charlie told me that.
RICHARD
Silicon is from sand.
PEGGY
We were lying in the sand. It was my eighteenth birthday... We were so awkward... I would have married him anyway...
Peggy starts to shift in the chair. Her shorts hike up, her legs spread slightly. This is not lost on Richard. Weird, guttural sounds begin to emanate from his throat.
RICHARD
In the future, will you have to marry a girl before you have sex with her?
PEGGY
No. The Pill will change all that. Then he wouldn't have blamed me. We were just too young.
RICHARD
You mean you'll give a girl a pill and she'll want to have sex?
PEGGY
No. The Pill will be for birth control. But girls do like sex. Maybe not the first time.
RICHARD
Will you take of f your blouse?
PEGGY
Yes, every day.
(taking her blouse off getting spaced)
Maybe I shouldn't have worn that dress? I told Beth it was a bad idea. That's why they made me Queen.
Peggy's meandering makes Richard nervous.
MAN'S VOICE (O.S.)
Richard, are you in there?
Richard frantically tries to put Peggy's blouse back on. She's limp and unresponsive.
RICHARD
(shouting)
No! Yes! I'll be right out, Dad.
(urgent)
Oh shit! Peggy, I'm going to snap you out of it.
PEGGY
I couldn't help it I loved him.
RICHARD
One... two... three.
(claps twice)
You are now awake.
Richard kneels on top of Peggy as she wakes up, fumbling the buttons at her breasts. Peggy comes to, as Richard jumps off. She buttons her blouse, furious.
PEGGY
Richard! You should be ashamed of yourself.
RICHARD
Me? You went crazy! You started taking your clothes off. I was putting them back on for you.
PEGGY
That's just perfect isn't it? Did it work? Did you find out why I came back?
RICHARD
I think it has something to do with your birthday. You were rambling. I didn't understand the rest.
PEGGY
God dammit! How'm I gonna got out of here?
Peggy grabs a glass beaker and hurls it against the wall.
RICHARD
Hey! Do you have any idea how much those beakers cost? I usually charge for hypnosis.
PEGGY
Oh, go feel up your hamsters! I hear rodents put out.
Peggy storms out.
INT. KELCHER HOUSE
Mrs. Kelcher stands at the counter preparing a pot roast. Peggy's making a chocolate mousse.
MRS. KELCHER
You know, dear, I think the pantyhose is a wonderful idea, but the next time you come up with something, please don't stay out all night. Just tell us. We'll believe you.
PEGGY
Mom, how about a machine that's like your blender, only it slices vegetables, kneads dough, chops meat and even make fresh pasta?
MRS KELCHER
What's pasta?
INT. KELCHER DINING ROOM
Peggy and Mrs. Kelcher are setting the table, taking the good china out of the cabinet. A dozen red roses grace the table.
MRS. KELCHER
These roses are beautiful. And so romantic'. Who is this Michael? Is he a friend of Charlie's?
She moves the Jell-O mold.
PEGGY
No, just a friend of mine. I don't think he Likes JellO.
MRS. KELCHER
What does Charlie think about that?
PEGGY
You know Mom, it's okay to have male friends. Besides, it's over with me and Charlie.
MRS. KELCHER
(shocked)
What? When did it happen? Your dad and I always expected you two to get married.
PEGGY
Yeah, I know Peggy Sue gets married. Case closed. Period. Mom, if you could live your life over again, would you do the same thing? Get married and settle down after high school?
MRS KELCHER
Of course I loved your Lather. I remember once being offered a scholarship to art school. But I turned it down.
PEGGY
Why?
MRS. KELCHER
All the college girls I knew were so well, dressed. I was worried that I wouldn't fit in. I didn't have the right clothes. I was so silly.
MRS. KELCHER
But, I don't have many regrets, and besides, I don't have time to worry about the past. But Charlie. I hope you know what you're doing.
INT. DINING ROOM TWO HOURS LATER
Michael, DORIS and ED FITZSIMMONS sit at the table with the Kelchers. They have just finished dessert.
MR. FITZSIMMONS
Moose? I never thought I'd have moose for desert.
The adults laugh. Michael looks bored.
MR. KELCHER
Peggy Sue cooked the whole dinner.
NANCY
But Mom helped.
MR. FITZSIMMONS
You know, you should open a restaurant.
PEGGY
It's incredibly difficult to make money in the restaurant business.
You have to get up at five in the morning to go to the market, you have problems with spoilage, employee pilferage, and just try and collect from the credit card companies. They take months to pay. The whole table is astonished.
MR. FITZSIMMONS
How does a young gal like you know so much about business?
PEGGY
Oh, I just picked it up from my dad. He's a wonderful businessman.
MR. FITZSIMMONS
Really?
Peggy gives her father a go get him look. Michael's writing in a pocket notebook.
MR. KELCHER
Ah, Ed, why don't you and I adjourn to the den for a while?
EXT. KELCHER HOUSE
Peggy and Michael stand by Michael's motorcycle, passing a cigarette.
MICHAEL
That was quite an evening.
Bourgeois, phony, decadent, stupid.
PEGGY
I shouldn't have put you through that. It must have been agony. Let's do something.
Michael makes a move towards Peggy, with lust in his eyes.
PEGGY
No. Something else. I'm too full. Besides, it's a school night.
EXT. GHETTO STREET - NIGHT
Michael and Peggy pull up on the motorcycle in front of Lena's Lounge, a seedy bar in the town's black ghetto. Half a dozen blacks are banging around outside. They eye Peggy and Michael suspiciously.
INT. LENA'S LOUNGE
The room has a bar at one side, booths and tables in the rest of the room. A stage is at the far end. On stage, an all black group, The FourMations, is performing the song GOOD TIMIN' The people in the club are dancing the Twist. Peggy and Michael sit in the last booth. Several people wave hello to Michael. Although Peggy and Michael can see the stage, their booth is not visible from the stage.
MICHAEL
Five more weeks of school. And ten minutes past graduation I'm gone.
(he raises his glass)
To freedom.
PEGGY
(looking around at the crowd clinking glasses)
For everyone.
MICHAEL
Now listen, this is the plan. As soon as school is finished we go to Utah and...
PEGGY
Utah? I thought you'd be going to New York or Paris. What's in Utah?
MICHAEL
Rita. I met her last summer. She's cool. You'll really dig her. She's got this great little cabin in the hills, just outside of Provo where she raises chickens. I'll write and the two of you can take care of the chickens to support us.
PEGGY
(astounded)
I can't do that.
MICHAEL
Why not? Polygamy's legal in Utah.
PEGGY
I hate chickens.
ANGLE THE STAGE On stage, the FourNations have concluded their song. We HEAR APPLAUSE.
SINGER
Thank you. Now we're happy to introduce, a friend of ours. He's one damn fine singer, Mr. Charlie Dell!
We HEAR the GROVE BEGIN the SONG SEA OF LOVE.
MICHAEL
But what about the other night? We were like two stars in the same constellation.
PEGGY
Michael, you and I are light years apart. You should go, but not with me.
MICHAEL
But we had heat baby. Passion! Fire! We owe it to ourselves to fuse together.
(BEAT)
At least one more time.
PEGGY
That's a terrific line. You're going to be a wonderful writer.
MICHAEL
You think so?
PEGGY
Yes. We had a glorious night together. One day you'll remember and write about it.
MICHAEL
I can dig that. Bittersweet perfection. Dogs of lust on leashes of memory... yeah.
Suddenly distracted by the familiar voice, Peggy looks up to the stage and sees that the lead singer, Charlie Bell, is in fact, Charlie Bodell. PEGGY'S POV: THE STAGE CHARLIE SINGING
PEGGY (O.S.)
It's Charlie!
MICHAEL (O.S.)
What a treat.
INTERCUT - CHARLIE SINGING WITH REACTIONS OF PEGGY AND MICHAEL. Michael observes Peggy's intimate reaction to Charlie's singing.
MICHAEL
Now I get it.
PEGGY
Ssh. He's great.
MICHAEL
Peggy Sue's still stuck on treble without a cause.
Charlie finishes the song as the audience goes wild. He beams.
PEGGY
I thought I knew everything about him.
MICHAEL
Can we split now?
Peggy and Michael unobtrusively slip out of the club. Charlie leaves the stage. He's met by a greasy looking MAN. They sit down at a booth to talk.
EXT. KELCHER HOUSE NIGHT
Michael and Peggy pull up. Peggy gets off the bike and gives Michael a goodnight kiss.
MICHAEL
I can dig you being uptight about Rita and Utah. That's cool. But I've got to warn you about something.
PEGGY
What?
MICHAEL
My father. He's not just the ultimate square. He's a total crook.
INT. KELCHER KITCHEN
Mrs. Kelcher finishes the dishes, with rubber gloves on. Mr. Kelcher sits, cleaning his pipe. Peggy enters.
PEGGY
How did it go with the pantyhose?
MR. KELCHER
It's the darndest thing. Ed knew what they were immediately.
MR. KELCHER
As a matter of fact, he said he's got a product like that in development right now.
PEGGY
Oh no!
MR. KELCHER
Didn't call, them pantyhose, though. What was it, Evelyn?
MRS. KELCHER
Sheerotards. Catchy name, isn't it? Like leotards.
PEGGY
He's a liar! He has no such thing! It's my own fault. I should have had it patented first. He's a crook, damnit.
MR. KELCHER
Peggy Sue, watch your mouth.
MRS. KELCHER
Mr. Fitzsimmons is a very prominent man.
PEGGY
Oh, you're both so naive.
MR. KELCHER
Look young lady, I grew up through the depression. I fought in the second World War. Six days a week I get up and deal with the public, the bank and the bill collectors.
And on the seventh day, when God rests, I don't have to listen to my daughter calling me a fool!
MRS. KELCHER
You have a point, dear.
INT. PEGGY'S ROOM
(POSS. OMIT THIS SCENE) Peggy lies in bed in the darkness, her eyes wide open. The bedside clock reads: 2:47. Peggy gets out of bed. CAMERA TRACKS Peggy into Nancy's room. Peggy looks down at Nancy sleeping. Gently pulling back the blankets, Peggy gets into bed with her.
EXT. CHARLIE'S STREET MORNING
Peggy walks down a residential street, much like her parents'. She stops when she sees Charlie's car parked in a driveway, and leans against a tree next to his car. Moments later, Charlie exits his house, a dog trailing behind him. The dog runs up to Peggy. Charlie is wary and distant.
CHARLIE
What're you doing here?
PEGGY
I wanted to talk to you, and I have one last thing to take care of at school. Then I'm going to...
(pats dog)
Good dog, Rusty. Good dog.
CHARLIE
Rusty's dead. That's Ajax
Charlie throws a stick. Ajax chases it, never comes back.
PEGGY
Oh. I guess I always liked Rusty better.
(beat)
Could you give me a ride to school?
CHARLIE
Sorry, the Blue Thunder's out of commission for a while.
PEGGY
Well, how about a walk, Charlie Bell.
CHARLIE
How'd you know about that?
PEGGY
I was at Lena's last night. You were terrific.
CHARLIE
Not terrific enough. What were you doing in that part of town? Who were you with?
PEGGY
What were You doing there? You never told me you were singing with an R and B group.
CHARLIE
Hey. I guess there's a lot of things we don't know about each other.
Charlie and Peggy walking.
PEGGY
I'd forgotten how much music meant to you.
CHARLIE
That's real big of you.
PEGGY
Stop being defensive. I want to help you. I wrote a song for you.
CHARLIE
You're kidding. You wrote a song? Is it about a guilty girl and a trusting guy... she wants to hurt him, and he wonders why?
Peggy takes a piece of paper from her purse.
PEGGY
Not exactly, but with your great voice, it'll be a huge hit. Honest.
CHARLIE
Fat chance. You know, Lee Wilkins came to hear me last night. He told me to forget it. You told me to forget it. My parents tell me to forget it.
PEGGY
Just take a look at it.
(hands him the lyric)
CHARLIE
If you took the trouble to write it, then sure, I'll take a look at it. But I'm beginning to think that maybe there's more to life than music. I wonder if people would still like me if I stopped being Mr. Excitement?
INT. SCHOOL HALLWAY
Peggy and Charlie stand by their open locker.
CHARLIE
Does this mean you like me again?
PEGGY
It means I care about you and what happens to you.
CHARLIE
That's all I wanted to hear. 'Cause I'm never going to give up on us.
It's easy to fall apart in a crisis. It's easy to be selfish and say goodbye and good luck. But this is more than love. This is a mental decision. Just wait till tomorrow, when you see your birthday present. Then you'll understand. Charlie walks away as Peggy reaches into the locker for her books.
CAROL
Peggy, I have to talk to you.
Peggy turns to Carol. They walk down the hallway together.
PEGGY
What's the matter?
CAROL
It's that jerk Walter.
PEGGY
What happened?
CAROL
After Charlie told Walter that he broke up with you because he wanted to play the field, Walter decided he should do the same thing.
PEGGY
Welcome to the singles' scene.
CAROL
What a I going to do for the rest of my life? I don't have a boyfriend anymore.
PEGGY
Look, Carol, maybe Walter's done you a big favor. You always said you wanted to get out of town. Go for it. And be happy, goddamnit, I'm rooting for you.
ANOTHER ANGLE
Walter walks up to Charlie.
WALTER
Hey Charlie, what do you think of this?
Walter does a totally demented dance step, finishing by strumming his leg like a guitar. He stands there grinning.
CHARLIE
Walter, maybe you should be a dentist.
INT. CLASSROOM
Peggy sits at her desk, organizing her books. We hear the end of the ANNOUNCEMENTS over the P.A. SYSTEM.
MR. MOSEY (V.O.)
And finally, our heartiest congratulations to our girls diving team for placing second in the county finals last Friday. And a special accolade to Rosalie Testa who placed first in every one of her events. We're proud of you, Rosalie.
Everybody turns toward Rosalie and applauds. Peggy turns to Rosalie, trembling. The BELL RINGS as the class starts to leave, still crowded around Rosalie. Peggy stares after her, frozen in her seat Dolores approaches.
DOLORES
What's the matter, princess? Lost your prince?
Peggy looks up at Dolores and starts to seethe. She stands up slowly and faces Dolores.
PEGGY
You know Dolores, there's a lot of things I could say to you, but you're not worth the effort.
Peggy reaches down to up her books. On the top of the pile is an open fountain pen, which she picks up, pul1ing the release lever, squirting ink all over Dolores's dress. Dolores drops her books, looks down at her dress, horrified.
PEGGY
Sorry. These fountain pens are so tricky.
DOLORES
(screams)
Oh! You did that on purpose! I hate you. Go gargle with razor blades!
PEGGY
I beg your pardon?
DOLORES
Take a long walk on a short pier.
PEGGY
Have a nice day.
INT. GIRLS' LOCKER ROOM
Peggy sits disconsolate on a bench, watching the other girls changing into their swim suits. Rosalie is in the shower room, wetting down her suit. She accepts congratulations from a number of the girls. The BELL RINGS as the girls begin to exit to the pool.
PEGGY
Rosalie! Wait!
Rosalie turns at the door, smiling. They are alone.
ROSALIE
What's up?
PEGGY
I think you should give up diving. It's dangerous.
ROSALIE
Don't be silly, I'm the best in the county.
PEGGY
I know you are, but you have to stop. I couldn't tell you before, I didn't know if I should. But you have to stop before you hurt yourself.
ROSALIE
I spend three hours a day practicing. I have trainers, I know what I'm doing.
PEGGY
But accidents can happen.
ROSALIE
Not to me they don't. I'm going to win the State, then the. Nationals, and then I'm going to the Olympics.
PEGGY
Rosalie, please, listen to me! You have to stop.
ROSALIE
You're sick. You should go to the nurse. I'm going to tell Miss Dennis.
Rosalie exits into the pool area. Peggy feels helpless.
INT. HALLWAY
Peggy walks down the hall, a set of double doors, leading to the pool, just ahead of her through them she sees Rosalie diving through the air with the careless innocence of youth. Burdened with the inevitability of it all, she rushes through the hall, and is stopped by Richard.
RICHARD
What's the matter?
PEGGY
It's all, gone wrong, nothing's working out.
RICHARD
Not true. I think I'm making real progress on the microchip.
PEGGY
You were meant to. You're one of those fortunate people that good things happen to. I have to get out of here.
She starts to walk away.
RICHARD
Peggy, I believe you. I believe everything you told me. It's wonderful. You're the exception that proves the rule.
She kisses him on the forehead.
PEGGY
I love you too, Richard. Thanks for trying.
She continues down the hallway.
EXT. AUDITORIUM - DAY
Peggy heads out the door, sees Charlie.
CHARLIE
Hey, Peggy. Wait a minute.
Peggy stops on the landing. Charlie joins her, so eager. He doesn't notice how distraught she is.
CHARLIE
I cut shop and did some work on your song. You know, it's not half bad for your first try. Of course, I changed all the "yeahs" to "oohs". Listen to this.
Charlie begins to sing an R&B version of SHE LOVES YOU.
PEGGY
Forget it, it'll never work.
CHARLIE
Okay. Listen, I cancelled the tickets for Fabian. I thought it would be better for your birthday to eat at a nice restaurant, Chez Tres.
Walter, Arthur, Maddy and Carol watch as Peggy runs away.
INT./EXT. BUS OR TRAIN - HIGHWAY
INTERCUT the bus, Peggy looking out the window, the rural scenery: pastures, barns, etc., the other passengers.
EXT. STATION
Peggy's grandparents, ELIZABETH and BARNEY ALVORG , wait in the front of the station.
INT. BUS
Peggy sees her grandparents waiting for her. She grips the window rail tightly, trying to hold herself together.
BUS DRIVER
Everybody gettin' off at Dumont. Here we are.
Peggy stands and reaches above to take down her suitcase. Nervous, she drops it. A MAN, getting off the bus, helps her, picking it up.
PEGGY
Thank you.
MAN
No trouble at all.
The man gets off the bus.
EXT. GENERAL STORE
Peggy stands at the door of the bus, hesitant. Elizabeth and Barney approach the bus, waving and smiling up at her.
BARNEY
Hello, Lilla!
ELIZABETH
Peggy Sue!
Peggy slowly walks down the steps, moved to tears. She approaches her grandparents and drops her suitcases. She hugs them tightly. The bus door closes and the bus pulls away behind them.
INT. CAR DRIVING
Barney is behind the wheel of a 1951 Plymouth. Elizabeth is in front, Peggy curled up in the back, regressing.
BARNEY
Quite a bit more rain than usual
BARNEY
this year. I hope it doesn't spoil the rhubarb.
ELIZABETH
I've already got some in. I was thinking of making a pie for dinner tonight.
(turning around to Peggy)
How would you like that?
PEGGY
(like a little girl)
Fine.
(beat))
Grandma, would you teach me how to make strudel?
ELIZABETH
That's a day's work. But if that's what you want, maybe we can do it tomorrow for your birthday.
INT. FARMHOUSE/KITCHEN - NIGHT
Peggy and Elizabeth finish up the dishes, chatting.
INT. LIVING ROOM
A fire blazes in the fireplace. A grandfather clock stands prominently in the room. The clock from Peggy's house. Peggy sits with Elizabeth, learning how to knit. Barney laughs at "The Burns and Allen Show" on TV. Suddenly, Peggy places her hand over her heart and shivers with fear.
BARNEY
What's the matter, Lilla? Somebody jump on your grave?
Peggy shivers again and shakes her head.
INT. LIVING ROOM - LATER
Barney reading. Elizabeth enters, carrying a tray with cups of cocoa. They each take a cup.
ELIZABETH
You know, Peggy Sue, your mother said you had a dream that I died.
PEGGY
I wish she hadn't.
ELIZABETH
I'm not afraid. I know exactly when I'm going to die.
Peggy is perplexed by her grandmother's apparent lack of fear.
BARNEY
What's it going to be, Elizabeth? Seventy-five? Eighty?
ELIZABETH
I'm not telling.
BARNEY
I've been trying to drag it out of her for years.
(beat)
You know, dreams are fascinating business. 'Specially where you see the future.
PEGGY
Do you believe in all of that?
BARNEY
Well, I like to speculate. This book I'm reading right now, a woman in Colorado says she lived in Ireland a hundred and fifty years ago. her name was Bridey Murphy- and she gives names and dates and where she lived. She was hypnotized. Big bestseller.
PEGGY
I remember that book!
(beat)
Grandpa, Grandma, I want to tell you something.
EXT. FARMHOUSE KITCHEN DAY
Peggy and Elizabeth are making strudel.
ELIZABETH
If you believe it, darling, then I believe. Being young can be just as confusing as being old. The things that happened to me fifty years ago are more on my mind than what happened yesterday.
PEGGY
But I'm remembering the future.
ELIZABETH
Right now you're just browsing through time. Choose the things you'll be proud of. The things that Last.
PEGGY
My children make me happy. I miss them so much.
(beat)
Beth. Scott and Beth.
(beat)
I'm going to name my daughter after you.
EXT. FARMHOUSE DRIVEWAY DUSK
Peggy and Barney are washing the car at a standpipe, two hundred feet from the house.
BARNEY
It's gonna rain again. Every time I wash the car, it rains.
PEGGY
That never changes.
(beat)
You know, when you and Grandma are gone, the family's gone. I never see the cousins anymore.
BARNEY
It's your grandma's strudel that's kept this family together.
PEGGY
Grandpa, if you had a chance to do it all again, what would you do?
BARNEY
(jawing)
I'd take better care of my teeth.
INT. LIVING ROOM
Elizabeth is tying Barney's bow tie. Peggy is sitting with a jacket on.
ELIZABETH
What's Peggy Sue going to do at your lodge meeting?
BARNEY
It's her 18th birthday, I want to show her off.
Barney turns and winks at Peggy.
PEGGY
It was my idea, Grandma. I always wondered what went on at those lodge meetings.
ELIZABETH
He won't tell me, but I've got my suspicions. And I don't want any of that. Don't keep her out late.
BARNEY
Let's go.
PEGGY
(hugging Elizabeth)
Goodbye, Grandma.
ELIZABETH
Have a good time.
Barney and Peggy open the door and exit.
EXT. FARMHOUSE DRIVEWAY
Peggy and Barney approach the car.
PEGGY
What does Grandma think you do at your meetings?
BARNEY
Stag movies. Smokers.
Peggy chuckles as they get into the car. The car proceeds along the driveway and turns onto the highway.
INT. CAR DRIVING
Barney is at the wheel.
BARNEY
I may be an old fool, but I think we can help you.
PEGGY
I hope so. At least I got to see you and Grandma.
(beat)
Has it ever worked before?
BARNEY
The last one was six hundred years ago. It's about time for another one.
INT. LODGE - NIGHT
A one-story, pitch roof building. The sign over the entrance reads.: THE ORDER OF THE GOLDEN DAWN. Underneath the sign is a logo of a spreading sunrise. Peggy and Barney pull up to the front, exit the car and enter the building.
INT. LODGE ANTEROOM
Thirty old men are congregating around the cloak room. Most are already dressed in long, purple robes with the sunrise logo over their hearts. They either wear or carry tricorner hats. Peggy and Barney enter. Several men approach them. Peggy nervously clings to Barney' s arm.
GEORGE
Welcome, Peggy Sue. It's nice to have you with us.
PEGGY
Thank you.
HENRY
You know, you're a lucky girl. You could lay a bear trap in the aisle of the cathedral and never catch a better man than your grandfather.
PEGGY
Ah... thank you.
BARNEY
Let me take your jacket, Lilla.
BARNEY
I've got, to get my robe.
Peggy hands him her jacket as he heads over to the cloak, room.
AL
You know, this is very exciting for all of us.
GEORGE
We've been waiting a long time for someone like you.
Barney rejoins them, wearing his hat and robe. The group begins to enter the main room.
PEGGY
(nervous)
Do you have to wear that hat?
BARNEY
It wouldn't be a lodge without hats.
Barney takes her hand and squeezes it. They walk slowly through the doorway.
BARNEY
Don't you worry. I'll be watching after you.
INT. LODGE MAIN ROOM
A large meeting hall. The room is draped, and brightly lit with fluorescent lights. at one end sits a large, gold painted wood throne. On either side are large candle holders, with lit candles. A small table serves as an altar in front of the platform. On a footstool is a potted plane with an artificial bird perched on its top. The throne and altar look like a set left over from a summer stock "Macbeth". Peggy and Barney enter. Several men lead Peggy away from Barney to the throne. One man places a go1den cape around her shoulders. They lead her up the platform to the throne.
HENRY
Hey, George. Get the lights.
The LIGHTS are DIMMED. The room is lit by the candles. The men form a semicircle around Peggy. Old men at the end of their lives, they are serious and passionate about the possibilities of life beyond this world. One by one, four men from either end of the line approach the altar with offerings: a cup of wine; an egg; a gold coin; and a rose. The men rejoin the line. LEO COOPER, a tall, white-haired man, takes two steps forward. The other men begin to sing a Gregorian chant.
LEO
(to Peggy)
Are you ready, dear?
PEGGY
Yes, sir.
Leo steps back, closes his eyes and spreads his arms.
PEGGY
Fasten your seat belts. Here we go.
LEO
Lord of the Universe, Vast and Mighty One. Ruler of Light, King ofthe sun. Creator of earth, air, fire and water.
(kneeling down)
We adore thee and invoke thee!
Grant thine aid. Look with favor upon us as we witness the regeneration of man. We behold the innocent endeavors of singleminded men and women. For we are the company of unbodied souls and immortal angels. We ask thy intervention, that this girl may return to thee on the wings of your Love.
PEGGY
(sotto)
This is never going to work.
The old men form a circle in front of Peggy. They begin to circumambulate east to west, intoning together, their heads bowed. As Barney passes in front of Peggy, he winks at her. She smiles back.
MEN
Fount of life, Chariot of the Spirit, Womb of the Mother, reclaim thy child of light.
We HEAR a clap of distant THUNDER. Peggy trembles. The artificial bird falls off the plant. Peggy is struck with amazement. She begins to glow, poised to take off. The men continue to chant while:
LEO (O.S.)
The name of your love is sacrifice. We offer up this girl, that her soul may find its home.
Suddenly a door is opened, a gust of wind pours in and extinguishes the candles, plunging the hall into darkness.
LEO (O.S.)
Nothing to worry about. Somebody get the lights.
The LIGHTS are TURNED ON. All the men look to the throne. Peggy is gone. They are speechless for a couple of beats.
GEORGE
(chipper)
Well, the girl's gone. Let's play some poker.
CLOSE ON BARNEY He smiles, happy that she made it. George crosses to the wall, reaches behind the drapes and presses a button. The wall slides open to reveal a fullyequipped card room. The men shuffle in.
EXT. BEHIND THE LODGE
Charlie carries Peggy off towards his car, one hand covering her mouth. Peggy struggles. When they reach the car, he puts her down. She's still wrapped in her golden robe.
PEGGY
What the hell did you do that for? What are you doing here?
CHARLIE
I was trying to save you. They were going to vaporize you.
PEGGY
Don't be ridiculous! They're just a bunch of harmless old men. My grandfather was in there.
CHARLIE
You're going to listen to me.
Charlie tries to Lead Peggy into the car.
PEGGY
I'm not getting in that blue monstrosity.
Charlie pushes her inside, Peggy climbs back out. Charlie takes her hand and drags her up a hill behind the lodge hall.
PEGGY
Let me got! Where are you taking me?
CHARLIE
Right here. Now sit down.
Charlie sits her down on the ground. She's impatient and hopping mad.
CHARLIE
Look. I wanna tell you. I forgive you for everything. I know what you've been going through. You're just scared. I was scared, too, but I'm not anymore.
PEGGY
How could you possibly know what I've been going through?
Thunder and lightning. It starts to rain.
CHARLIE
Because I love you, damnit! I had a long talk with your father yesterday and we decided that the best thing for us to do is get married and settle down. Right away.
Peggy jumps up, exploding to Charlie.
PEGGY
What do you mean you and my father decided? Who the hell are you to plan my life? Let's get married and live happily ever after. Bullshit. I got knocked up. I had to marry you. I never had a choice.
CHARLIE
What?
PEGGY
You betrayed me, Charlie. You were never there for me or the children.
PEGGY
And now you come and tell me, "Peggy, you're scared." Of course I'm scared. If you knew what I knew you'd be scared shitless.
CHARLIE
You're crazy! You're really out of your mind!
PEGGY
I might be crazy, but I'm not crazy enough to marry you twice. There's a lot of things I can't change. I can't even think about them. I tried. But I couldn't even help Rosalie.
(tears start)
I don't want to be bitter. I'm a naturally optimistic person. But you took advantage of that.
Charlie bends down to comfort her, in tears. He hugs Peggy and strokes her hair.
CHARLIE
Oh, Peggy. My poor Peggy. It's all my fault. I'm so sorry. I won't bother you anymore. I promise.
Please stop crying. Please. Peggy starts to compose herself.
PEGGY
Will you take me back to my grandparents?
CHARLIE
Of course.
Charlie helps her up. Be reaches into his pocket and takes out a small box, handing it to Peggy.
CHARLIE
It's almost your birthday. I wasn't sure when you were coming back, so I brought your present up here.
With a slow, growing remembrance, Peggy opens the box. Inside is the gold locket Peggy was wearing at the reunion.
PEGGY
(anguished)
Oh, Charlie.
CHARLIE
It opens, too. Look inside.
Peggy opens the locket. She shivers with recognition.
INSERT - LOCKET
Two photos, one of Peggy, one of Charlie, as children.
PEGGY
Scott and Beth. Where did you get these?
CHARM E
Who's Scott and Beth? Your mother gave me our picture. That's you and me.
PEGGY
So are Scott and Beth.
Peggy leans into Charlie, throwing her arms around him, holding on for dear life. She looks up at him, their foreheads touching.
CHARLIE
(tenderly)
I love you.
PEGGY
I know.
Charlie kisses her, passionately. The locket drops to the ground. HOLD on the locket, and... DISSOLVE:
EXT. ON THE HILL - LATER
Charlie and Peggy are lying on the ground, gazing up. A flash of lightning streaks across the sky.
CHARLIE
I think we should get out of here.
It's going to rain.
PEGGY
(musing)
Do you think anybody in the Fifties ever made love on a bed?
CHARLIE
What the hell is that?
Flying high above them is an enormous, glowing, liquid neon kite. The center of the kite inscribed in lights, flashing like a marquee: HAPPY BIRTHDAY PEGGY SUE. The kite begins to descend towards them. Peggy jumps to her feet and races towards it. She grabs the tail and starts to sail away with the kite. Charlie chases after her.
CHARLIE
Peggy! Where're you going? Come back!
PEGGY
I've got to go now.
CHARLIE
But I love you. I'll love you forever.
PEGGY
I'll love you, too, Charlie. I'll love you for twenty years.
CHARLIE
Come back to me.
PEGGY
I'm trying.
As Charlie watches helplessly, a huge bolt of lightning strikes his car. Peggy smiles. The men from the lodge run outside. They look up and above the blazing car and see Peggy floating away. Peggy sees her grandfather in the crowd and blows him a kiss. Charlie begins to run, following the kite cord to its source. He finds Richard, struggling to restrain the runaway kite.
CHARLIE
Richard, do something!
RICHARD
I can't! It's out of control!
Suddenly the cord breaks. Peggy floats away.
CHARLIE
Peggy!
Charlie, Richard and the old men behold Peggy, bobbing and dipping playfully in the sky. We begin to HEAR Charlie's VOICE singing "Peggy Sue" O.S. Peggy looks down with wonder at the earth, and then like a comet, soars into the blackness. In an instant she becomes a star. FINAL SCENE DISSOLVE/: OPTICAL: HOSPITAL ROOM - DAY Moving from two to C.U. Peggy, fragments of the reunion, the cake coming towards her, fragments of words in echo effect: 'Your heart stopped for a while..." Father's voice: 'You're a very lucky young lady...' Doctor: 'A (explain) of the head...' Mom's voice: 'But you're going to be all right now, the paramedics got there...' Mom, 'We were so worried..." Echoing of, until once voice is left. Charlie. Sitting opposite her bed, as he has been every minute of her illness. He looks wan and old, worried sick, but trying to sing 'Peggy Sue' for her.
CHARLIE
(singing softly)
Peggy Sue, I love you, and I need you Peggy Sue...
PEGGY
Charlie? Was I dead?
CHARLIE
I thought you were... for a while.
PEGGY
(affectionately)
You look awful, like you haven't slept in days. And so old.
CHARLIE
But happy. Very happy, Peggy Sue.
PEGGY
Charlie, I thought I knew everything about you.
CHARLIE
I wanted to apologize. I can't live without you.
PEGGY
What about Janet?
CHARLIE
That's over. I got tired of translating everything. She thought the Big Hopper was a hamburger.
Charlie laughs uncomfortably and Peggy Sue looks around her hospital room.
PEGGY
Who are all the flowers from?
Charlie pushes himself out of his chair and moves toward the dresser.
CHARLIE
Everyone. Maddie and Arthur, Carol and Walter. Richard Norvick. And here's a book, by that guy from high school, Michael Fitzsimmons.
He dedicated it to you. Charlie returns to Peggy's bedside and opens the front cover of the book. ANGLE ON BOOK: the front page bears the title "The Pilgrim Soul" and the dedication reads "to Peggy Sue and a Starry Night". Peggy smiles but shakes her head.
PEGGY
It couldn't be me. I hardly knew him.
CHARLIE
I'll just set it right here.
He places the book on her bedside table as he sits back down.
PEGGY
Charlie, I had a strange experience. I went back to high school. And I spent a lot of time with you. And you and Walter and Leon were singing "I Wonder Why".
CHARLIE
Oh, God, Dion.
PEGGY
You were terrific. And I kept trying to push you away but you wouldn't give up.
CHARLIE
I'll never give up.
PEGGY
Then hold me.
He holds her hand.
CHARLIE
I loved you since the day I met you, and I haven't stopped.
PEGGY
Don't try to charm me, Charlie Bodell.
CHARLIE
Listen, I don't expect all the troubles between us can just vanish away. But I would do what I can...
PIGGY
Charlie, please, I need some time.
CHARLIE
Well, I'll let you get some rest...so long.
The VIEW PULLS BACK past the flowers. Charlie starts to exit. Checks himself in the mirror.
PEGGY
Charlie, I would like to invite you to dinner at home, on Sunday, with your kids. I will make a strudel.
He hurries back to her, kisses her again. They hang on to each other as Beth enters the room. FADE OUT.:
THE END
PEGGY AND RICHARD SCENE
To be inserted after Dolores/Peggy scene and to replace the goodbye to Richard scene.
INT. SCHOOL LIBRARY - DAY
Empty except for Richard who sits alone in a study warren, surrounded by books. Peggy approaches. Be puts down the book he's reading. He smiles.
RICHARD
You know, Peggy, there's so many things to look forward to in the future.
Peggy leans over and kisses him, sadly, on the forehead.
PEGGY
I came to say goodbye.
RICHARD
Goodbye? Where're you going? What about our partnership? I'm making real progress with the microchip.
PEGGY
You were meant to You're one of
those fortunate people that good things happen to.
RICHARD
So are you. You've got a vision.
PEGGY
(manic)
Vision? I'm a walking anachronism!
I've upset my parents. I miss my kids. I could be trapped here forever! And poor Charlie...I got pregnant on my 18th birthday and we had to get married. Tomorrow's my birthday! I've got to get out of here now.
RICHARD
Did you break up with Charlie?
PEGGY
Yeah, yeah. I'm taking a big gamble. I've loved him for a long, long time.
RICHARD
Okay. Why don't we do something visionary? Change your destiny, Peggy Sue. Change your destiny and marry me.
PEGGY
(slamming down book)
No! No! No! Peggy Sue got married! Case closed. I don't want to marry anybody. Goodbye Richard.
RICHARD
Wait! I'll go with you!
PEGGY
You can't. You're going to be Valedictorian.
| 0 | 0 |
My Best Friend's Wedding_1997
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tt0119738
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My Best Friend's Wedding
| 1,997 |
Julianne Potter (Julia Roberts), a 27-year-old New York City restaurant critic, receives a call from her lifelong friend Michael O'Neal (Dermot Mulroney). In college, the two made an agreement that if neither of them were married by the time they turned 28, they would marry each other. Three weeks before her 28th birthday, Michael tells her that in four days, he will marry Kimmy Wallace (Cameron Diaz), a 20-year-old University of Chicago student from a wealthy family, and the daughter of the owner of the Chicago White Sox. Julianne is disappointed that Michael will marry someone whom she perceives as being so wrong for him, and someone he has known for such a short time. She realizes that she is in love with Michael, and heads to Chicago, intent on sabotaging his wedding. Soon after arriving she meets Kimmy, who asks her to be the maid of honor. This sets off a subplot in which Julianne must pretend to be the dutiful maid of honor while secretly scheming ways to prevent the wedding from happening. When trying on dresses, Michael walks in on Julianne in her underwear as he tells her that she looks great, leaving her to think that she still has a chance to get him back. She also engages in petty sabotage—for example, taking Kimmy and Michael to a karaoke bar after discovering that Kimmy is a terrible singer. When these tactics fail, Julianne enlists the aid of her gay friend, George (Rupert Everett) to help her break Michael and Kimmy up. George flies to Chicago to meet Julianne and persuades her to do the obvious: tell Michael that she is in love with him. While at a tailor shop, George convinces Julianne to tell Michael her true feelings before it’s too late. While she finally has the chance to tell him, she gets nervous and quickly tells him that she is engaged to George to get him jealous. Speechless, Michael is shocked about seeing Julianne with someone other than him. Since Julianne didn’t tell the truth, George tries to get back at her by embarrassing her. On the taxi ride to the church, he snuggles up to Julianne to make her uncomfortable in front of Michael. At a big family lunch with all of Kimmy's family in attendance, he also decides to embarrass Julianne by telling everyone an exaggerated tale of how they met, and sings “I Say a Little Prayer” as the whole restaurant joins in. After George leaves to catch his flight back home, Julianne tells Michael the truth about her and George not being together, and Michael admits to being jealous, thinking they were really engaged. Since it will be their last opportunity to spend time together before his new life as a married man, Michael gets Julianne to go on a boat ride with him. He expresses some skepticism about marrying Kimmy, explaining that he and Kimmy don't share a special song like he and Julianne do. Michael discreetly gives Julianne the invitation to tell him she's in love with him, but she lets the opportunity pass. Michael starts singing their song, “The Way You Look Tonight” in her ear as he grabs Julianne and holds her while they dance one last time. As the wedding date is approaching, Julianne becomes more desperate to win Michael. She uses Kimmy’s father's email account to forge a fake message to Michael's boss, and chooses to save it for later instead of deleting it — that way it will give Kimmy the opportunity to continue on with school and cause Michael to want to leave Kimmy if he can’t have his dream job. Realizing Kimmy’s father had sent out all of his emails, including the fake one Julianne wrote, she forces Michael to go back to his job so she can get the letter before he finds it. Since the place was closed, Julianne and Michael make their way back to the hotel. Unfortunately, Michael already received the letter and becomes upset, calling off the wedding and leaving Julianne alone as he goes for a walk. The next morning, the day of the wedding, Julianne tries to sabotage the situation further; as Michael and Kimmy are not speaking to each other, they communicate through Julianne, not realizing she is trying to manipulate them into breaking up for good. In spite of this, Michael and Kimmy decide they do love each other and want to get married after all. Feeling vulnerable, Julianne then takes a walk with Michael, during which she finally confesses her love to him. She asks him to marry her, and passionately kisses him. Kimmy witnesses this, and runs off, but Michael chases her while Julianne chases Michael. As Julianne is chasing after Michael in a truck, she frantically calls George explaining the situation, and George makes it clear to her that Kimmy is the one Michael loves because he is chasing after her and not Julianne. Julianne finds Michael at Chicago Union Station, where he is looking for Kimmy, and confesses all to him. Despite his anger at her deception, Michael forgives Julianne, and they split up to look for Kimmy. Julianne then tracks down Kimmy in the bathroom of Comiskey Park (Kimmy's family has a private viewing box at the stadium). Kimmy, rightly furious with Julianne, confronts her, while the other women watch, immediately siding with Kimmy and are disgusted with Julianne's dirty tactics. Julianne, however, apologizes and explains to Kimmy that she kissed Michael unexpectedly, but he didn't kiss her back because he was in love with Kimmy. Julianne declares that Kimmy has won, and that she accepts Michael's decision. Kimmy and Julianne reconcile with each other while the witnesses applaud. After the wedding, at the reception, Julianne gives a speech as Kimmys maid of honor and says that Michael and Kimmy can use Julianne and Michael's special song until they find one of their own, essentially acting like a true best friend. Julianne wishes them well, and she and Michael share their goodbyes, both of them finally moving on with their lives. Later, Julianne is surprised by George showing up at the wedding reception. The movie ends with the two of them happily sharing a dance together.
|
<script>
<scene>
<stage_direction>INT. BOULEY RESTAURANT, NEW YORK - NIGHT</stage_direction>
<scene_description>Dim lighting , crowd buzz , a long line of the rich , the celebrated , the congenitally impatient . Everyone in this queue holds a reservation at least an hour overdue . Tourists ca n't even make the line . PAN ahead to . the burnished dining room , the tables of power , the elegant service . Covertly , many eyes are drawn to the one table receiving by far the most lavish service of all . Captains hover , presenting delicacies , pouring wines , murmuring obsequiously to a guest whose person they screen from our view . We can see , however . the honored guest 's companion . Ignored , bemused , across the table . This is DIGGER DOWNES , 36 , darkly attractive . Kind eyes , an intellectual 's mouth , Saville Row 's most unobtrusive and conservative chalk - stripe suit . He is gay , but you would n't guess it . Loyal and wise and generous , and you might . He watches with a quiet twinkle , as the Captains now step back , revealing to us . their most unlikely icon . JULIANNE POTTER , almost 28 , wears her favorite bulky sweater over a bunch of other stuff she pulled together in fifteen seconds . She is unkempt , quick , volatile , scattered , and beneath it all , perhaps because of it all , an original beauty . Dark liquid eyes , a cynical mouth , slender expressive fingers , which point to .</scene_description>
<character>CAPTAIN</character>
<dialogue>A variation on our squid ink risotto. Trace of Moselle, to sweeten the stock.</dialogue>
<scene_description>She does n't like that idea at all . Shoots him a sharp look of doubt that makes him smile . Murmur .</scene_description>
<character>CAPTAIN</character>
<dialogue>Do n't kill us on this one, it's a long shot.</dialogue>
<scene_description>Places the moist lump of black rice before her . She takes a surprisingly small amount , rolls it over her tongue . Makes dead flat eye contact with Digger . And nods , it 's actually quite nice . The Captain breathes with relief . She turns her dark eyes to him . The tone says they 're pals .</scene_description>
<character>JULIANNE</character>
<dialogue>I'm writing it up as inventive and confident. Which it is. Off the record, I'll need an extra boat of the ink. Or a salt shaker.</dialogue>
<character>CAPTAIN</character>
<dialogue>I'll toss a coin.</dialogue>
<scene_description>As the Captain splits , Digger looks around at the other tables , which makes many pairs of eyes awkwardly glace away .</scene_description>
<character>DIGGER</character>
<dialogue>Is it ever embarrassing, having your bum kissed in public?</dialogue>
<character>JULIANNE</character>
<dialogue>If your ass is n't chapped, you are not a good - writer of note.</dialogue>
<scene_description>She glances at her two remaining waiters , who shamelessly fawn nearby .</scene_description>
<character>JULIANNE</character>
<dialogue>Is it sad to be an editor, and bask only in reflected insincerity?</dialogue>
<character>DIGGER</character>
<dialogue>I've adjusted, and thanks for asking.</dialogue>
<scene_description>She leans forward , as if sharing something conspiratorial .</scene_description>
<character>JULIANNE</character>
<dialogue>See the pull of a book like Twenty Chefs, is not who I put in. It's who I leave out.</dialogue>
<character>DIGGER</character>
<dialogue>Which is everyone you could n't get in.</dialogue>
<character>JULIANNE</character>
<dialogue>Plus some guys whose food I do n't like.</dialogue>
<scene_description>Pushes the risotte across to him . He lifts a fork .</scene_description>
<character>DIGGER</character>
<dialogue>This fellow from Newsday ever call?</dialogue>
<scene_description>She shrugs . Pulls a cellular out of a large , jumbled bag .</scene_description>
<character>JULIANNE</character>
<dialogue>I'll buzz my machine. Inventive and confident, yeh?</dialogue>
<scene_description>She dials . He tastes .</scene_description>
<character>DIGGER</character>
<dialogue>Needs salt.</dialogue>
<character>JULIANNE</character>
<dialogue>Is Newsday a real interview, or just some cute guy you're setting me up w.</dialogue>
<character>DIGGER</character>
<dialogue>I do n't send you men, anymore. You do n't know what to do with them.</dialogue>
<scene_description>She 's punching in her code .</scene_description>
<character>JULIANNE</character>
<dialogue>Sometimes I do. Like for two months.</dialogue>
<character>DIGGER</character>
<dialogue>weeks.</dialogue>
<scene_description>Over the phone , we hear her answering machine .</scene_description>
<character>MAN'S VOICE</character>
<parenthetical>( V.O. , soft . )</parenthetical>
<dialogue>Hey. It's Michael.</dialogue>
<scene_description>And her face changes . Warms . Just to hear the guileless voice .</scene_description>
<character>MICHAEL</character>
<parenthetical>( V.O . )</parenthetical>
<dialogue>God, it must be, what, months, huh? I ca n't wait to talk to you. I'm in Chicago at the Ritz Carlton.</dialogue>
<scene_description>She looks impressed and surprised . Fancy place for this guy .</scene_description>
<character>MICHAEL</character>
<parenthetical>( V.O . )</parenthetical>
<dialogue>Call me four in the morning, whatever, we got ta talk.</dialogue>
<scene_description>As she hangs up . She still has that look in her eye . Digger has never seen that , and he likes it very much .</scene_description>
<character>DIGGER</character>
<dialogue>Who called? The man of the moment?</dialogue>
<scene_description>She smiles . A sweet , natural smile that makes us like her , too . The Bohemian sophisticate has vanished .</scene_description>
<character>JULIANNE</character>
<dialogue>No, no, the opposite. That's my best friend, Michael O'Neal. He sounds desperate to talk.</dialogue>
<character>DIGGER</character>
<dialogue>The wandering sportswriter.</dialogue>
<scene_description>He pushes the risotto back her way .</scene_description>
<character>DIGGER</character>
<dialogue>I did n't know you two had a past.</dialogue>
<scene_description>Her gaze sharpens . Hmmn ?</scene_description>
<character>DIGGER</character>
<dialogue>The look in your eye.</dialogue>
<scene_description>She blushes . Shakes her head , no way .</scene_description>
<character>JULIANNE</character>
<dialogue>Sophomore year at Yale we had this one hot month. And, you know me, I got restless.</dialogue>
<scene_description>He knows her . She got restless .</scene_description>
<character>JULIANNE</character>
<dialogue>So I get up the nerve to break his heart. I tell him there's this dreamy exchange student from Pakistan who wants to, you know.</dialogue>
<scene_description>He knows .</scene_description>
<character>JULIANNE</character>
<dialogue>And he gets this. look. He says, `` I knew I could n't hold your interest'', which, of course, makes me feel like the shallow bitch I've always been.</dialogue>
<scene_description>He nods , yeah .</scene_description>
<character>JULIANNE</character>
<dialogue>Then he says, `` But what makes me want to cry. Is I'm losing the best friend I ever had.''</dialogue>
<scene_description>Hears the feeling . In her voice .</scene_description>
<character>JULIANNE</character>
<dialogue>And when he said it, I knew. I felt the same.</dialogue>
<scene_description>Silence now . She covers with a smile .</scene_description>
<character>JULIANNE</character>
<dialogue>So I cried. For maybe the third time in my life. And I kissed him. And we've been best friends ever since.</dialogue>
<scene_description>Ever since . Fingers turning her wine glass .</scene_description>
<character>JULIANNE</character>
<dialogue>Nine years, we've seen each other through everything. Losing jobs, losing parents, losing lovers. travelled all over, we've had the best times. The best times of my life, maybe. Just drinking and talking. Even over a phone.</dialogue>
<character>DIGGER</character>
<dialogue>Kindred spirits.</dialogue>
<character>JULIANNE</character>
<dialogue>No, he's nothing like me. He's like you. Only straight.</dialogue>
<scene_description>No offense taken .</scene_description>
<character>JULIANNE</character>
<dialogue>He's the salt of the earth. Kind and loyal and generous. The one constant thing in my life, is he'll always be there.</dialogue>
<character>DIGGER</character>
<dialogue>He's still in love with you.</dialogue>
<scene_description>That stops her . She has to say .</scene_description>
<character>JULIANNE</character>
<dialogue>Maybe. But it never gets in the way.</dialogue>
<scene_description>Something she probably has n't confessed out loud before . Digger understands .</scene_description>
<character>DIGGER</character>
<dialogue>Well, he has a true friend in you.</dialogue>
<scene_description>He wants her to know he sees that .</scene_description>
<character>DIGGER</character>
<dialogue>Whenever George tells someone how steadfast I am, he always makes me sound boring.</dialogue>
<character>JULIANNE</character>
<dialogue>Solid and genuine is not boring. Michael can be completely insane.</dialogue>
<scene_description>A young waiter arrives . Sets a boat of black squid ink beside her plate .</scene_description>
<character>JULIANNE</character>
<dialogue>There was this one night in Tucson, like six years ago. we got amazingly drunk, I mean, Keith Richards time.</dialogue>
<scene_description>The kid tops off her glass of meursault . Looking at her .</scene_description>
<character>JULIANNE</character>
<dialogue>God, I have n't thought of this in so long.</dialogue>
<scene_description>The waiter hanging now . Openly listening .</scene_description>
<character>JULIANNE</character>
<dialogue>I can even believe we did this.</dialogue>
<scene_description>Digger sees the guy listening , gestures to her with his eyes . So she looks up .</scene_description>
<character>JULIANNE</character>
<dialogue>Could you give us a minute?</dialogue>
<scene_description>The kid stunned , speechless . People lose jobs for a lot less .</scene_description>
<character>JULIANNE</character>
<dialogue>You wo n't miss much, I promise there was no sex.</dialogue>
<scene_description>He reddens and disappears .</scene_description>
<character>DIGGER</character>
<dialogue>I've lost interest.</dialogue>
<character>JULIANNE</character>
<dialogue>He takes a razor from his dinky little dopp kit, cuts his fingertip, takes my hand, does the same to me.</dialogue>
<scene_description>She places the tips of her index fingers together .</scene_description>
<character>DIGGER</character>
<dialogue>Blood oath.</dialogue>
<character>JULIANNE</character>
<dialogue>He says, `` Swear. When we're both 28, if we've never been married. we marry each other!''</dialogue>
<scene_description>And laughs again . Can you believe that ? But Digger is n't smiling . She wonders why . Begins to spoon black squid ink onto her risotto .</scene_description>
<character>JULIANNE</character>
<dialogue>See, he figured that would be a sign from God, or someone of comparable authority, that we'd misunderstood our destinies.</dialogue>
<scene_description>He still has this real serious look . She 's still spooning ink .</scene_description>
<character>JULIANNE</character>
<dialogue>We never talked about it again. I do n't know what made me think of.</dialogue>
<character>DIGGER</character>
<parenthetical>( quietly . )</parenthetical>
<dialogue>I do.</dialogue>
<scene_description>And everything . Stops . She lifts her spoon , mesmerized by the gravity of his tone .</scene_description>
<character>DIGGER</character>
<dialogue>You'll be 28 in three weeks. How old is he?</dialogue>
<scene_description>Holy . Fucking . Shit . It hits her like a ton of lead bricks . She shovels some swampy risotto into her mouth , without looking .</scene_description>
<character>JULIANNE</character>
<dialogue>You think.</dialogue>
<character>DIGGER</character>
<dialogue>Desperate. To talk.</dialogue>
<scene_description>She shovels in more drippy black goop . It is really disgusting .</scene_description>
<character>JULIANNE</character>
<dialogue>He's not proposing marriage, there's no way I'm buying one word of th.</dialogue>
<character>DIGGER</character>
<dialogue>Then why are you compulsively eating? If you're not hysterical?</dialogue>
<scene_description>More goes in . Her lips and mouth completely black . Like a circus clown .</scene_description>
<character>JULIANNE</character>
<dialogue>He ca n't do that to me!</dialogue>
<character>DIGGER</character>
<dialogue>We're about to find out.</dialogue>
<scene_description>Ink is now dribbling out of the black hole of her mouth and down her face . She absently dabs a napkin , keeping some of it from reaching her sweater .</scene_description>
<character>JULIANNE</character>
<dialogue>When I turn him down.</dialogue>
<scene_description>She realizes the full weight of the truth .</scene_description>
<character>JULIANNE</character>
<dialogue>We'll never be the same.</dialogue>
<character>DIGGER</character>
<dialogue>I have a suggestion.</dialogue>
<character>JULIANNE</character>
<dialogue>I'll have to kill myself before I call him.</dialogue>
<scene_description>Staring in each other 's eyes .</scene_description>
<character>DIGGER</character>
<parenthetical>( sadly . )</parenthetical>
<dialogue>That was it.</dialogue>
</scene>
<scene>
<stage_direction>INT. JULIANNE'S BATHROOM - LATE NIGHT</stage_direction>
<scene_description>Julianne furiously scrubs her blackened tongue with a toothbrush . Gray foam pours from her mouth , spattering the oversized basketball jersey she wears as a nightshirt . In the mirror , her troubled eyes dwell on Michael , flick to the cordless phone standing ominously on the closed toilet lid . She spits , sticks her tongue way out . Incredibly black . Great . Depressed , terrified , and disfigured for life . She snatches up the hated phone , and wanders aimlessly into . her bedroom . West Village view . Defiantly jumbled , aggres - sively eclectic . Traces of wonderful taste mixed with I - like - it - you - got - a - problem - with - that ? She stumbles around , rehearsing .</scene_description>
<character>JULIANNE</character>
<dialogue>This is awkward timing, Michael, I just joined this convent, and they never give your deposit ba.</dialogue>
<scene_description>Stops . Full - length mirror . She straightens her hair , to look her best .</scene_description>
<character>JULIANNE</character>
<dialogue>Michael, I'm married.</dialogue>
<scene_description>Not enough .</scene_description>
<character>JULIANNE</character>
<dialogue>and I have two weeks to live.</dialogue>
<scene_description>Changes tone .</scene_description>
<character>JULIANNE</character>
<dialogue>Michael, I'm trying to be gay, do n't confuse me.</dialogue>
<scene_description>She turns to continue pacing , and walks straight INTO a dresser . Stuns her , momentarily . Enough , already ! She punches up the number , primping absently in the mirror . When it connects .</scene_description>
<character>JULIANNE</character>
<dialogue>I was calling Michael O'Neal, but seeing it's so late, I could just leave a mes.</dialogue>
<scene_description>No such luck . Cut off . Waits . And then .</scene_description>
<character>JULIANNE</character>
<parenthetical>( soft . )</parenthetical>
<dialogue>Good evening, sir. You've been enrolled in the Obscene Call Of The Month Club, and th.</dialogue>
<character>MICHAEL</character>
<parenthetical>( V.O . )</parenthetical>
<dialogue>Hey! God, it's so good to hear your voice.</dialogue>
<scene_description>She forgets herself . Because it 's good to hear his , too .</scene_description>
<character>MICHAEL</character>
<parenthetical>( V.O . )</parenthetical>
<dialogue>I've been calling for days!</dialogue>
<character>JULIANNE</character>
<dialogue>Yeh, well my old machine kept eating messages. I tried constructively ignoring it in hopes of improvement, but finally.</dialogue>
<character>MICHAEL</character>
<parenthetical>( V.O. , urgent . )</parenthetical>
<dialogue>Look, I have to ask you something.</dialogue>
<scene_description>She swallows .</scene_description>
<character>MICHAEL</character>
<parenthetical>( V.O . )</parenthetical>
<dialogue>Something so incredibly important, that if you turn me down, I do n't know what I'll d.</dialogue>
<character>JULIANNE</character>
<parenthetical>( bright . )</parenthetical>
<dialogue>I just have to tell you this one thing first, okay? I mean this will hand you the biggest laugh of your adult life.</dialogue>
<scene_description>Silence . Come on girl , suck it up .</scene_description>
<character>JULIANNE</character>
<dialogue>I was thinking about you, and I remembered this unbelievably insane night we spent together in Tucson, like a thousand years ago?</dialogue>
<scene_description>More silence . Really quiet .</scene_description>
<character>JULIANNE</character>
<dialogue>I mean, there's no way you could possibly remember the.</dialogue>
<character>MICHAEL</character>
<parenthetical>( V.O. , soft . )</parenthetical>
<dialogue>Are you kidding?</dialogue>
<scene_description>Stops her . Like a brick wall . The sweetness in his voice .</scene_description>
<character>MICHAEL</character>
<parenthetical>( V.O . )</parenthetical>
<dialogue>I think about that night all the time.</dialogue>
<scene_description>She 's going to have a heart attack .</scene_description>
<character>MICHAEL</character>
<parenthetical>( V.O . )</parenthetical>
<dialogue>But it's not why I called.</dialogue>
<scene_description>She blinks . It 's not . And just as a tsunami of relief begins to sweep away .</scene_description>
<character>MICHAEL</character>
<parenthetical>( V.O . )</parenthetical>
<dialogue>I called because I met someone.</dialogue>
<scene_description>And her smiles breaks off . Like a spine snapping . Because there is something in his voice .</scene_description>
<character>JULIANNE</character>
<dialogue>Well, that's great. You have n't really had anybody since Dingbat Jennylee.</dialogue>
<character>MICHAEL</character>
<parenthetical>( V.O . )</parenthetical>
<dialogue>You do n't understand. I've never felt this way about anybody!</dialogue>
<scene_description>Never . She sits down , hard . Right on the floor .</scene_description>
<character>MICHAEL</character>
<parenthetical>( V.O . )</parenthetical>
<dialogue>And she's all wrong for me!</dialogue>
<character>JULIANNE</character>
<dialogue>Well, somet.</dialogue>
<character>MICHAEL</character>
<parenthetical>( V.O . )</parenthetical>
<dialogue>I mean she's a junior at Chicago University, she's twenty years old! Like when I first met you.</dialogue>
<scene_description>Like when . Julianne 's mouth is suddenly dry .</scene_description>
<character>MICHAEL</character>
<parenthetical>( V.O . )</parenthetical>
<dialogue>And her dad is like this billionaire who owns the White Sox and some cable empire, and you know how I've always been miserably awkward around those kinda stuffed suits.</dialogue>
<scene_description>She 's finally making her mouth work .</scene_description>
<character>JULIANNE</character>
<dialogue>Well, sure.</dialogue>
<character>MICHAEL</character>
<parenthetical>( V.O . )</parenthetical>
<dialogue>But they're so down to earth, such wonderful people.</dialogue>
<character>JULIANNE</character>
<dialogue>You've met her parents.</dialogue>
<character>MICHAEL</character>
<parenthetical>( V.O. , quiet . )</parenthetical>
<dialogue>Well. Sure.</dialogue>
<scene_description>Wow .</scene_description>
<character>MICHAEL</character>
<parenthetical>( V.O . )</parenthetical>
<dialogue>See. We're getting married. This Sunday.</dialogue>
<scene_description>There 's a knife in her heart . She can scarcely breathe .</scene_description>
<character>JULIANNE</character>
<dialogue>Michael, it's Wednesday night, you ca n't possibly be getting married on Su.</dialogue>
<character>MICHAEL</character>
<parenthetical>( V.O . )</parenthetical>
<dialogue>Actually, it all starts tomorrow. It's one of those four - day weddings, with all the traditional events, and ten million people flying in from Madagascar such.</dialogue>
<character>JULIANNE</character>
<parenthetical>( incredibly lame . )</parenthetical>
<dialogue>Are n't you. working this weekend? I mean, is that responsible?</dialogue>
<character>MICHAEL</character>
<parenthetical>( V.O . )</parenthetical>
<dialogue>Well, the Sox are at home. SI's letting me do a profile on the Big Hurt. That's Frank.</dialogue>
<character>JULIANNE</character>
<parenthetical>( barely audible . )</parenthetical>
<dialogue>. Thomas, yeh.</dialogue>
<scene_description>She 's staring at herself in the mirror .</scene_description>
<character>MICHAEL</character>
<parenthetical>( V.O . )</parenthetical>
<dialogue>Jules. I'm scared.</dialogue>
<scene_description>A straw to lunge at .</scene_description>
<character>JULIANNE</character>
<dialogue>Well, maybe we should talk ab.</dialogue>
<character>MICHAEL</character>
<parenthetical>( V.O . )</parenthetical>
<dialogue>I need you.</dialogue>
<scene_description>So heartfelt . A lifetime of emotion welling in her eyes .</scene_description>
<character>MICHAEL</character>
<parenthetical>( V.O . )</parenthetical>
<dialogue>If you ca n't come. And hold my hand. I'll never get through this.</dialogue>
<scene_description>Oh .</scene_description>
<character>MICHAEL</character>
<parenthetical>( V.O . )</parenthetical>
<dialogue>Please come, please.</dialogue>
<character>JULIANNE</character>
<dialogue>W.</dialogue>
<character>MICHAEL</character>
<parenthetical>( V.O . )</parenthetical>
<dialogue>I ca n't wait for you to meet her!</dialogue>
<scene_description>HOLD ON Julianne . Staring in the mirror . Like watching the end of her life .</scene_description>
</scene>
<scene>
<stage_direction>INT. BEDROOM - LATER</stage_direction>
<scene_description>The closet , the armoire , all the drawers are wide open . Two huge suitcases open on the bed , into which Julianne is flinging clothes , as she fumbles to smoke and dial at the same time . Over the phone , now .</scene_description>
<character>DIGGER</character>
<parenthetical>( V.O. , machine . )</parenthetical>
<dialogue>You've reached Digger and George. Brevity will be appreciated.</dialogue>
<scene_description>BEEP .</scene_description>
<character>JULIANNE</character>
<parenthetical>( in a rage . )</parenthetical>
<dialogue>IT'S ME AGAIN, WHY ARE N'T YOU GUYS UP HAVING SAFE SEX?</dialogue>
<scene_description>SNATCHES up a tiny , clingy , sexy dress . Pouts at it .</scene_description>
<character>JULIANNE</character>
<dialogue>OR, IN THE ALTERNATIVE, WHY ARE N'T YOU INTERRUPTING IT TO ANSWER THE PHONE?</dialogue>
<scene_description>She holds the dress against her body . It 's hot .</scene_description>
<character>JULIANNE</character>
<dialogue>YOU, YOU, YOU! IT'S ALL ABOUT YOU, IS N'T IT?</dialogue>
<scene_description>She clicks OFF . Checks the dress in the mirror . Raises the short skirt a little higher .</scene_description>
</scene>
<scene>
<stage_direction>INT. DIGGER'S CHEROKEE, JFK AIRPORT - EARLY MORNING</stage_direction>
<scene_description>Digger driving the open - air Cherokee up the ramp to United Airlines departures . Julianne , wind - whipped , trying to light a fresh cigarette from the butt of the last one . He glances over . Hates to see this .</scene_description>
<character>DIGGER</character>
<dialogue>You ca n't get lung cancer and die in four days. Go to Plan B.</dialogue>
<scene_description>She sucks deep . Really deep .</scene_description>
<character>JULIANNE</character>
<dialogue>You have no appropriate sense of emergency. My best friend is ruining his life.</dialogue>
<character>DIGGER</character>
<dialogue>No, he's ruining yours.</dialogue>
<character>JULIANNE</character>
<dialogue>Same difference. If you love someone, it's your duty to save them from themselves.</dialogue>
<character>DIGGER</character>
<dialogue>You have a real philosophy of life.</dialogue>
<character>JULIANNE</character>
<dialogue>It's called the Law of Love, asshole.</dialogue>
<scene_description>She is tight enough to snap . And at the edge of tears . Staring out at the skycaps , clinging to her cigarette , as he eases to the curb .</scene_description>
<character>DIGGER</character>
<parenthetical>( gently . )</parenthetical>
<dialogue>Why do n't we have a drink? You could catch a later fl.</dialogue>
<character>JULIANNE</character>
<dialogue>I'm a busy girl. I've got four days to break up a wedding, and steal the bride's fella.</dialogue>
<scene_description>She finally looks at him . He does n't say anything .</scene_description>
<character>JULIANNE</character>
<dialogue>He's adored me for nine goddamn years.</dialogue>
<character>DIGGER</character>
<dialogue>I can see why.</dialogue>
<character>JULIANNE</character>
<dialogue>She knows him maybe five seconds, plus she has billions of dollars, plus she's perfect, so do n't go feeling sorry for Miss Pre - Teen Illinois!</dialogue>
<scene_description>He 's not . So her voice softens . Which shows the hurt .</scene_description>
<character>JULIANNE</character>
<dialogue>And do n't go feeling sorry for me, you do n't know me that well. We're only friends.</dialogue>
<character>DIGGER</character>
<parenthetical>( softly . )</parenthetical>
<dialogue>I stand corrected.</dialogue>
<scene_description>Tears now . Stand in her eyes .</scene_description>
<character>JULIANNE</character>
<dialogue>I'm making a big mistake, huh?</dialogue>
<character>DIGGER</character>
<parenthetical>( shrugs . )</parenthetical>
<dialogue>Maybe you'll learn something.</dialogue>
<scene_description>He wraps his hand over hers . She looks down at it .</scene_description>
<character>JULIANNE</character>
<dialogue>I'm gon na bring him back, man. Against all odds, y' know. Cos if I do n't.</dialogue>
<scene_description>She wraps her fingers around his .</scene_description>
<character>JULIANNE</character>
<dialogue>I got ta live with it forever.</dialogue>
<scene_description>Looks in his eyes .</scene_description>
<character>JULIANNE</character>
<dialogue>And at my wedding. I'll be the only bride with her own best man.</dialogue>
<scene_description>And she kisses his cheek . Jumps out of his car . Before she cries . Yanks her bags from the back . Brave smile . They trade small salutes . And then she 's gone .</scene_description>
</scene>
<scene>
<stage_direction>INT. O'HARA AIRPORT, CHICAGO - MORNING</stage_direction>
<scene_description>The jetway disgorging passengers into the swarming ant colony called O'Hare . Julianne lugging multiple carry - ons , trying to pull fly - away strands of hair into place , nervous as a schoolgirl , looking all around , and . there he is . MICHAEL is tall and square - shouldered , a boyish grin , an unruly shock of hair . He looks gorgeous , sweet , and just dangerous enough to be irresistible . Worthwhile stakes . His face lights to see her , and she . RUNS to his arms , shedding bags along the way , slamming off heedless civilians , to be . SWEPT OFF the earth in strong arms , spun around , laughing like crazy , their cheeks tight together . When he sets her down . he kisses her nose . His arms are still around her .</scene_description>
<character>MICHAEL</character>
<parenthetical>( murmurs . )</parenthetical>
<dialogue>Can you believe it? Can you believe I'm actually gon na do this?</dialogue>
<character>JULIANNE</character>
<parenthetical>( lost in his eyes . )</parenthetical>
<dialogue>Not hardly.</dialogue>
<scene_description>He beams . Turns . She follows his gaze , and . there she is . KIMBERLY WALLACE is 20 , small and slender , but it is a body to die for . The face is striking , not at all perky and vapid , but lovely and interesting . Worst of all , intelligent . She walks toward them purposefully , her eyes locked to the woman in her fiancee 's arms . At the last moment , Michael releases Julianne and Kimmy . THROWS her arms around the startled visitor . HOLDS her tight , with such genuine warmth that Julianne can only , slowly , hug back . As Michael beams .</scene_description>
<character>KIMMY</character>
<dialogue>This just makes everything so perfect.</dialogue>
<scene_description>Her arms stay around the slightly dazed Julianne . The younger girl leans close , confides .</scene_description>
<character>KIMMY</character>
<dialogue>All I've heard, from the day I met Michael, is Julianne this, and Julianne that.</dialogue>
<character>JULIANNE</character>
<dialogue>Well, we're.</dialogue>
<character>KIMMY</character>
<dialogue>I think the best part of marrying this guy is finding you.</dialogue>
<scene_description>Pale gray eyes . Alive with joy and intimacy .</scene_description>
<character>KIMMY</character>
<dialogue>I've never had a sister.</dialogue>
</scene>
<scene>
<stage_direction>INT. KIMMY'S CONVERTIBLE - DAY</stage_direction>
<scene_description>Kimmy TEARING down the throughway in her Mercedes 500 SL , a dashing , confident driver . Julianne riding shotgun , hair flying , a total wreck , in the open convertible . Michael is happily crouched on the little platform behind their seats , hugging his knees . The roar of the wind makes it impossible for him to hear them .</scene_description>
<character>KIMMY</character>
<dialogue>My heart's in my throat, here. Right off, I have to ask this monstrous favor.</dialogue>
<character>JULIANNE</character>
<dialogue>You need a few dollars.</dialogue>
<scene_description>Kim glances over . At eighty miles an hour . A bittersweet look .</scene_description>
<character>KIMMY</character>
<dialogue>Dry. Just like he said.</dialogue>
<scene_description>Her eyes at once admiring and regretful .</scene_description>
<character>JULIANNE</character>
<dialogue>Excuse me?</dialogue>
<character>KIMMY</character>
<dialogue>I can be quick. I can even be funny.</dialogue>
<scene_description>Shakes her head . An endearing youngster .</scene_description>
<character>KIMMY</character>
<dialogue>But I ca n't be dry.</dialogue>
<character>JULIANNE</character>
<dialogue>Can you watch the road?</dialogue>
<character>KIMMY</character>
<dialogue>See. Dry. It's in the delivery.</dialogue>
<scene_description>She looks back to the highway .</scene_description>
<character>KIMMY</character>
<dialogue>This is a very presumptuous and burdensome fav.</dialogue>
<character>JULIANNE</character>
<dialogue>you want a menage on your wedding night.</dialogue>
<character>KIMMY</character>
<parenthetical>( straight back . )</parenthetical>
<dialogue>No, that would n't be burdensome.</dialogue>
<scene_description>Julianne studying the delicate , angular profile . Hard not to like this kid .</scene_description>
<character>KIMMY</character>
<dialogue>My classmate Angelique shattered her pelvis line dancing in Abeline on Spring Break.</dialogue>
<scene_description>Looks over . The sweetest smile .</scene_description>
<character>KIMMY</character>
<dialogue>Be my maid of honor.</dialogue>
<scene_description>Julianne just blinks .</scene_description>
<character>KIMMY</character>
<dialogue>You ca n't believe what it'd cost to bring in a temp.</dialogue>
<character>JULIANNE</character>
<dialogue>Uh. How about promoting a bridesmaid? Someone you know for at least forty - five minutes.</dialogue>
<scene_description>We CUT OFF a huge SEMI who BLASTS his horn . Kimmy fearless , oblivious , and analytical .</scene_description>
<character>KIMMY</character>
<dialogue>The bridesmaids are my only two female relatives under forty. Identical twin debutantes from Nashville, who are basically vengeful sluts. With amazing bodies!</dialogue>
<character>JULIANNE</character>
<dialogue>Which was the disqualifying factor?</dialogue>
<character>KIMMY</character>
<dialogue>The twin part. I like to remain impartial in my contempt.</dialogue>
<scene_description>Sees the off - ramp , and SLICES across FOUR LANES of speeding bullets in a heart - stopping nanosecond . This kid could drive for Penske . Julianne has to pound her chest to get her heart started . Looks back to see if Michael fell out . he is absurdly wind - blown . Gives her a beautiful grinning thumbs - up . Loves this stuff .</scene_description>
<character>KIMMY</character>
<dialogue>This means I have four days to make you my new best friend.</dialogue>
<scene_description>Brings Julianne 's eyes back .</scene_description>
<character>KIMMY</character>
<dialogue>And since I already know everything about you. Including intimate facts I'm mortified to have heard, but too envious to forget. It's time for you to learn about me.</dialogue>
<scene_description>Easing off the freeway . She meets Julianne 's glance .</scene_description>
<character>KIMMY</character>
<dialogue>Force yourself. To get personal.</dialogue>
<character>JULIANNE</character>
<parenthetical>( smiles . )</parenthetical>
<dialogue>Sounds like a plan.</dialogue>
</scene>
<scene>
<stage_direction>INT. DRESS SHOP, NORTH MICHIGAN AVENUE - MORNING</stage_direction>
<scene_description>The place is stunning . High - ceiling , soft light , large rococo mirrors , Louis Quatorze sofas and chairs . Michael wanders rest - lessly , fish out of water among designer displays and stylish female patrons . Takes a look at his watch .</scene_description>
</scene>
<scene>
<stage_direction>INT. DRESSING ROOM - MORNING</stage_direction>
<scene_description>A period sitting room , ringed with mirrors along its tapestried walls . Kimmy sits on a Louis Treize loveseat next to a stack of costly gowns . Watching with an expertise beyond her years , as . Julianne stands on a platform . A seamstress fitting her into a sleek pale daffodil - colored gown . There are pins everywhere , as the seamstress struggles toward a perfect fit . Continuously looking to Kim for approval .</scene_description>
<character>KIMMY</character>
<dialogue>If you'd rather the lilac.</dialogue>
<scene_description>Julianne shakes her head . This one is beautiful .</scene_description>
<character>JULIANNE</character>
<dialogue>I thought bridesmaids had to wear the same dress.</dialogue>
<character>KIMMY</character>
<dialogue>Not you. You wo n't be comfortable unless you're distinctive.</dialogue>
<scene_description>Julianne glances over .</scene_description>
<character>JULIANNE</character>
<dialogue>What else did he tell you.</dialogue>
<character>KIMMY</character>
<dialogue>you hate weddings, you never go.</dialogue>
<scene_description>Oh . Well , yeah .</scene_description>
<character>KIMMY</character>
<dialogue>You're not up for anything conventional, or popularly assumed to be female priorities. Including marriage. Or romance. Or even.</dialogue>
<scene_description>And she stops . Not wanting to offend .</scene_description>
<character>JULIANNE</character>
<parenthetical>( quietly . )</parenthetical>
<dialogue>not even love.</dialogue>
<scene_description>The look holds . The seamstress keeps working , as if she 's deaf .</scene_description>
<character>JULIANNE</character>
<dialogue>That's why Michael and I were the wrong fit. Right from the start.</dialogue>
<character>KIMMY</character>
<dialogue>He said that, too.</dialogue>
<scene_description>She stands up . Walks to the platform . Smooths her hand over the fabric down Julianne 's back , along her hips . Communicating to the seamstress with her irritated expression .</scene_description>
<character>KIMMY</character>
<dialogue>Well, I thought I was like you. And proud to be. Until I met rumpled, smelly old Michael.</dialogue>
<scene_description>Pins start to come out . Kimmy points , these , too !</scene_description>
<character>KIMMY</character>
<dialogue>And then I found I was just a sentimental schmuck. Like all those flighty nitwits I'd always pitied.</dialogue>
<scene_description>She leans forward . So they can look at each other .</scene_description>
<character>KIMMY</character>
<dialogue>Funny world, huh?</dialogue>
<scene_description>Julianne swallows . It is that .</scene_description>
<character>JULIANNE</character>
<dialogue>I need a smoke.</dialogue>
<scene_description>And before anyone can breathe , she steps OFF the platform RIPPING the living shit out of the gown , right down the side . The seam - stress ' eyes FLASH OPEN in abject horror . Julianne , a deer in headlights , looks quickly around at the evidence of her screw - up in six different mirrors . Kimberly just steps to her , fingers the tear .</scene_description>
<character>KIMMY</character>
<dialogue>It's mostly the seam. Let's get this to Carlos.</dialogue>
<scene_description>And UNZIPS Julianne down the back . In her rush to step out , Julianne STUMBLES , but her arms are pinned by the pulled - down dress and she just . TOPPLES like a felled oak , THUDDING on her face , the gown RIPPING some more , the seamstress SCREAMING like an idiot . Then . Silence . Julianne looking up helplessly , a trussed hog , bound in her dress .</scene_description>
<character>KIMMY</character>
<parenthetical>( firm . )</parenthetical>
<dialogue>Just. Do n't. Move.</dialogue>
<scene_description>Like you talk to a three - year - old . Deftly , Kimmy pulls the dress free , leaving Julianne in her underwear . Signals to the seamstress , let 's go .</scene_description>
<character>JULIANNE</character>
<dialogue>Do n't you have to be somewh.</dialogue>
<character>KIMMY</character>
<dialogue>just my bridal shower. And Michael has to meet our dads and the groomsmen at Comiskey for a one - thirty game.</dialogue>
<scene_description>Opens the door .</scene_description>
<character>KIMMY</character>
<dialogue>Other than that.</dialogue>
<scene_description>Closed SOLID . Gone .</scene_description>
</scene>
<scene>
<stage_direction>INT. DRESSING ROOM - LATER</stage_direction>
<scene_description>Julianne sits on the loveseat in her bra and panties , lighting one cigarette from the butt of another . Suddenly , she hears . an ARGUMENT outside the door . Strains to listen . It does sound like Michael and Kim . We ca n't make out the words . She jumps up , dashes for the door , STUBBING her toe on the platform , SHIT ! , falls heavily AGAINST the door with a THUD that makes her wince , and . the argument stops . Damn . She opens the door a crack . Sees nothing . Opens it wider to reveal . a teenaged BOY looking right at her . He sends a true shit - eating grin and she SLAMS the door hard enough to RATTLE walls . She PACES furiously , helplessly , arms around her half - naked self , until . soft knock . The door opens a crack , and her daffodil gown comes through it .</scene_description>
<character>JULIANNE</character>
<dialogue>Come in, and shut the.</dialogue>
<scene_description>Stops . Because it 's Michael who has entered . With the dress .</scene_description>
<character>JULIANNE</character>
<dialogue>door.</dialogue>
<scene_description>So he does . She flushes and SNATCHES up her own clothes , which were characteristically tangled in a heap , and tries desperately to untangle them enough to cover herself . He is amazed and amused by her embarrassment .</scene_description>
<character>MICHAEL</character>
<parenthetical>( laughing . )</parenthetical>
<dialogue>Should I turn around, or someth.</dialogue>
<character>JULIANNE</character>
<dialogue>Michael, I'm in my underwear!</dialogue>
<scene_description>She 's TEARING at her clothes , only making more of a mess .</scene_description>
<character>MICHAEL</character>
<dialogue>We've seen each other a lot more naked than this.</dialogue>
<scene_description>She seems ready to rip her clothes apart , so he gently takes them from her hands . She tries to stand unselfconsciously as he easily untangles them .</scene_description>
<character>MICHAEL</character>
<dialogue>I mean, we were skinny - dipping in Greece, just as pals, less than two years ago.</dialogue>
<scene_description>She GRABS the clothes and covers the front of herself . Looking at him with a mix of emotions she could n't begin to sort out .</scene_description>
<character>JULIANNE</character>
<dialogue>Things are different now.</dialogue>
<scene_description>He looks in her eyes . And nods , a little sadly . Guess they are .</scene_description>
<character>MICHAEL</character>
<parenthetical>( softly . )</parenthetical>
<dialogue>Well. I leave with two thoughts in my mind.</dialogue>
<scene_description>He walks to the door . Puts his hand on the latch . Looks back .</scene_description>
<character>MICHAEL</character>
<parenthetical>( even softer . )</parenthetical>
<dialogue>You're still a very pretty girl.</dialogue>
<scene_description>The look holds . And holds . There is such feeling on both sides , she does n't know what to make of it . She swallows .</scene_description>
<character>JULIANNE</character>
<dialogue>What's the sec.</dialogue>
<character>MICHAEL</character>
<dialogue>Mirrors.</dialogue>
<scene_description>And he 's gone . She looks around at six different VIEWS of her uncovered backside . Hmm .</scene_description>
</scene>
<scene>
<stage_direction>INT. HOTEL UNDERGROUND GARAGE - DAY</stage_direction>
<scene_description>The parking valets wait by their stand as the convertible pulls up . These girls must be late for something , the way they 're jumping out of the car .</scene_description>
<character>JULIANNE</character>
<dialogue>luckiest guy in the Northern Fucking Hemisphere, is all I'm s.</dialogue>
<character>KIMMY</character>
<dialogue>What? Because I'm a little understand.</dialogue>
<character>JULIANNE</character>
<dialogue>most sentimental schmucks I pity want a honeymoon after their wedding. Just to top it off.</dialogue>
<scene_description>The valet gives Kimmy her ticket .</scene_description>
<character>KIMMY</character>
<dialogue>I ca n't expect the NBA to hold up the playoffs.</dialogue>
<scene_description>They 're walking fast toward the garage elevators .</scene_description>
<character>KIMMY</character>
<dialogue>I'm excited Sports Illustrated gave him this kind of shot, he's only there a ye.</dialogue>
<character>JULIANNE</character>
<dialogue>So your honeymoon is exactly where?</dialogue>
<scene_description>Well .</scene_description>
<character>KIMMY</character>
<dialogue>It depends. If San Antonio sweeps Sacramento, we could start there. Or Phoenix. Or depending on Indiana - Clevel.</dialogue>
<character>JULIANNE</character>
<dialogue>garden sports, all. Little swing of maybe fifty degrees Fahrenheit, represents a packing challenge, but there's fine food and cocktails at a choice of Embassy Suit.</dialogue>
<scene_description>At the elevator . Kimmy SLAMS the button .</scene_description>
<character>KIMMY</character>
<dialogue>It's his career, I'm supportive. Look, I've been everywhere, I've seen the world, I've laid on a beach. I want to be with the man I love. That's what makes it a honeymoon.</dialogue>
<scene_description>End of story . Okay ?</scene_description>
<character>JULIANNE</character>
<dialogue>I'm just saying he's lucky.</dialogue>
<scene_description>An empty elevator arrives . They get in .</scene_description>
<character>JULIANNE</character>
<dialogue>Takes one woman in a billion to put up with his array of shit. The guy is a one - man festival of idiosync.</dialogue>
<scene_description>Kimmy SLAMS the penthouse button . Looks at her calmly . Go on .</scene_description>
<character>JULIANNE</character>
<dialogue>Well. You've been introduced to the symphonic range of.</dialogue>
<character>KIMMY</character>
<dialogue>his snoring, yeah. He says it's worse than ever. That snaffle one?</dialogue>
<scene_description>Julianne imitates an incredibly annoying high - pitched SNARL . Three times . Kimmy nods .</scene_description>
<character>KIMMY</character>
<dialogue>Well now it has this sorta phlegm rattle behind it.</dialogue>
<scene_description>Stopped at the lobby . A family of four gets in . Oblivious , Kimmy DEMONSTRATES the phlegm rattle . Really gets into it . As the family watches , Julianne tries her own version . Like that ? No . More like this . The family is looking at each other .</scene_description>
<character>KIMMY</character>
<dialogue>Guess what? Earplugs work.</dialogue>
<scene_description>Oh .</scene_description>
<character>JULIANNE</character>
<dialogue>How about.</dialogue>
<character>KIMMY</character>
<dialogue>cigars in bed? I broke him on that. But the bathroom's a swamp, he wears Reeboks to dinner, tells the same, admittedly funny, jokes three hundred times.</dialogue>
<scene_description>Sucks in a breath .</scene_description>
<character>KIMMY</character>
<dialogue>loves action movies, subscribes to Playboy for godsake, reads over my shoulder, ca n't keep track of the checks he writes.</dialogue>
<scene_description>Ninth floor . The family gets out . The door closes .</scene_description>
<character>KIMMY</character>
<dialogue>He sucks soup through his front teeth.</dialogue>
<character>JULIANNE</character>
<dialogue>A trademark move, do n't touch it.</dialogue>
<character>KIMMY</character>
<dialogue>But he sure can kiss.</dialogue>
<character>JULIANNE</character>
<dialogue>It's been awhile. I'll take your word.</dialogue>
<character>KIMMY</character>
<dialogue>After two weeks of cataloguing all his faults, I made a command decision that changed my life.</dialogue>
<scene_description>She SLAMS the EMERGENCY STOP button . We JOLT to a halt .</scene_description>
<character>KIMMY</character>
<dialogue>I threw the list away.</dialogue>
<scene_description>Shakes her head .</scene_description>
<character>KIMMY</character>
<dialogue>He's not a balance sheet, so many wonderful qualities, so many faults. He's Michael.</dialogue>
<scene_description>From her heart .</scene_description>
<character>KIMMY</character>
<dialogue>And loving him means loving all of this.</dialogue>
<character>JULIANNE</character>
<dialogue>Do you get nervous in small confined spaces?</dialogue>
<character>KIMMY</character>
<dialogue>So it's sweet of you to be protective.</dialogue>
<character>JULIANNE</character>
<dialogue>Let me rephrase that.</dialogue>
<character>KIMMY</character>
<dialogue>But nothing ever could, ever did, give me a moment's pause about this marriage.</dialogue>
<character>JULIANNE</character>
<dialogue>Do you get hysterical in small confined spa.</dialogue>
<character>KIMMY</character>
<dialogue>except one.</dialogue>
<scene_description>Julianne 's face . Stops .</scene_description>
<character>JULIANNE</character>
<dialogue>Oh, yeah?</dialogue>
<scene_description>Kimmy nods . Confides .</scene_description>
<character>KIMMY</character>
<dialogue>You.</dialogue>
<scene_description>A stopper .</scene_description>
<character>KIMMY</character>
<dialogue>You'll always be there. In his mind. The perfect creature he loved for all those y.</dialogue>
<character>JULIANNE</character>
<dialogue>Well, perfection can get wearing after whi.</dialogue>
<character>KIMMY</character>
<dialogue>I'm not joking. I had to face up to all my competitive drives, and believe me, I've got'em.</dialogue>
<character>JULIANNE</character>
<dialogue>No.</dialogue>
<character>KIMMY</character>
<dialogue>And the answer was so simple.</dialogue>
<character>JULIANNE</character>
<dialogue>I was gon na predict that.</dialogue>
<character>KIMMY</character>
<dialogue>You win.</dialogue>
<scene_description>Julianne blinks . Excuse me ?</scene_description>
<character>KIMMY</character>
<dialogue>You're enshrined in his heart and memory. Unassailable. Which works out great.</dialogue>
<character>JULIANNE</character>
<dialogue>I've missed a step.</dialogue>
<character>KIMMY</character>
<dialogue>He has you on a pedestal. And me in his arms.</dialogue>
<scene_description>Oh . Julianne smiles . LUNGES for the EMERGENCY button , YANKING it so hard it comes OFF in her hand . A terrifying BUZZER ensures .</scene_description>
<character>JULIANNE</character>
<dialogue>Jesus, we're trapped!</dialogue>
<character>KIMMY</character>
<dialogue>Ju.</dialogue>
<character>JULIANNE</character>
<dialogue>No, this happened to me once, almost, it was excruciating!</dialogue>
<scene_description>Begins BANGING random buttons , out of control . Kimmy watching this . Julianne looks WILDLY up .</scene_description>
<character>JULIANNE</character>
<dialogue>There's a panel up there, you could boost me.</dialogue>
<scene_description>RIPPING off her platform shoes .</scene_description>
<character>JULIANNE</character>
<dialogue>You know how little air is in these things? I've seen statistics! Once you're trapped between floors.</dialogue>
<scene_description>Kimmy taps her . Points to the lighted panel . It says PH , they 've reached the Penthouse .</scene_description>
<character>JULIANNE</character>
<dialogue>God! Then the door is jammed!</dialogue>
<scene_description>Takes a heavy platform and begins BANGING the metal door with all her strength , sending resounding BOOMS throughout the area , as Kimmy reaches and . presses DOOR OPEN . The metal doors part , opening directly onto the banquet room , just as a mighty blow comes down , and the platform FLIES from Julianne 's hand straight BETWEEN . two identical stunning YOUNG WOMEN , serving as twin hostesses for the shower . A beat of mutually - stupefied looks , and we hear the shoe CRASH somewhere , to a small spattering of SHRIEKS .</scene_description>
<character>MANDY</character>
<dialogue>Mah Gawd, it's the bride, and the woman she'll nevah live up to!</dialogue>
<character>KIMMY</character>
<parenthetical>( mutters to Julianne . )</parenthetical>
<dialogue>That would be us.</dialogue>
<character>SAMMY</character>
<dialogue>Did she say th' wrong thang agin? It is so in character!</dialogue>
<scene_description>AMANDA and SAMANTHA NEWHOUSE , 19 - year - old twins . True Southern belles , with the faces of angels and bodies made for hot oil wrestling . Mandy 's hair is dyed ash blonde , Sammy 's is amber . Otherwise , the experience is similar .</scene_description>
<character>JULIANNE</character>
<parenthetical>( thrusts out her hand . )</parenthetical>
<dialogue>I'm Julianne Potter, and.</dialogue>
<character>SAMMY</character>
<dialogue>we'd be the vengeful sluts. We came in complementary colors.</dialogue>
<character>MANDY</character>
<dialogue>Have you sized up the groomsmen, Jules? As M. of H., you get first fuck. Do n't pick the short, hairy, rich one.</dialogue>
<character>JULIANNE</character>
<dialogue>unless he has a hump.</dialogue>
<scene_description>The girls cast identical blank looks at Kimberly .</scene_description>
<character>KIMMY</character>
<parenthetical>( to the sluts . )</parenthetical>
<dialogue>Dry. I told you.</dialogue>
<character>WOMAN'S VOICE</character>
<parenthetical>( V.O . )</parenthetical>
<dialogue>Is this Michael's Julianne?</dialogue>
<scene_description>All eyes turn to an elegant woman of barely 40 . She has her daughter 's hair and eyes and slender form . But the bearing rules half an empire . Fonda would envy .</scene_description>
<character>ISABELLE</character>
<dialogue>I'm Isabelle Wallace, and my handsome new son scarcely did you justice, girl.</dialogue>
<scene_description>She takes both of Julianne 's hands , and our heroine is sort of magically charmed . As if touched by Glinda the Good Witch of the North .</scene_description>
<character>ISABELLE</character>
<dialogue>Now, my husband says to scoot you over to the ballpark, so you can hang with Michael. But first, you have to meet a lot of really old women.</dialogue>
<scene_description>Looking warmly in her eyes .</scene_description>
<character>ISABELLE</character>
<dialogue>That is, if you've absorbed enough profanity.</dialogue>
<scene_description>Flicks a glance at the twins . Leads Julianne off .</scene_description>
<character>MANDY</character>
<parenthetical>( O.S. , pouting . )</parenthetical>
<dialogue>We sayed one fuck.</dialogue>
</scene>
<scene>
<stage_direction>INT. TAXI, SOUTH SIDE - DAY</stage_direction>
<scene_description>Cab crawling toward COMISKEY PARK through stifling traffic . Julianne oblivious , cellular to her ear .</scene_description>
<character>JULIANNE</character>
<dialogue>Desperate measures! Do you hear me? Digger, are you the.</dialogue>
<scene_description>SQUAWK . Static . Then .</scene_description>
<character>JULIANNE</character>
<dialogue>I do n't know, hit men, whoopee cushions, saltpeter, something! The girl is impossibly impregnable. Even I want her to get the guy!</dialogue>
<scene_description>Listens .</scene_description>
<character>JULIANNE</character>
<dialogue>Tell him the what? The truth??</dialogue>
<scene_description>She shakes her head . What a guy .</scene_description>
<character>JULIANNE</character>
<dialogue>That desperate. May I never get.</dialogue>
</scene>
<scene>
<stage_direction>INT. LUXURY BOX, COMISKEY PARK - AFTERNOON</stage_direction>
<scene_description>Game in progress . Watched by Michael , three groomsmen his age , two middle - aged men , and one bodyguard . Suddenly , a dull THUMPING at the door . It keeps up . They finally all look over . The bodyguard gets the door , revealing .</scene_description>
<character>JULIANNE</character>
<dialogue>Which of you gents ordered two beers?</dialogue>
<scene_description>One single tray . Holding fourteen beers . Balancing on one hand . Michael JUMPS UP , terrified at the impending mayhem this sight suggests .</scene_description>
<character>MICHAEL</character>
<dialogue>Wow! Lem me give you a ha.</dialogue>
<character>JULIANNE</character>
<parenthetical>( sweetly . )</parenthetical>
<dialogue>Michael. You'll unwittingly imply that I'm clumsy.</dialogue>
<scene_description>He stops in his tracks . The guys whistle .</scene_description>
<character>MICHAEL</character>
<dialogue>Think of that. And as well as I know you.</dialogue>
<scene_description>She goes first to the bodyguard .</scene_description>
<character>BODYGUARD</character>
<dialogue>Sorry, ma'am, I'm on duty.</dialogue>
<character>JULIANNE</character>
<parenthetical>( lovely smile . )</parenthetical>
<dialogue>It's Miss.. And thanks. That leaves two for me.</dialogue>
<scene_description>Heads down the row .</scene_description>
<character>MICHAEL</character>
<dialogue>Julianne Potter, this is Hank and Gerry from SI, and you know Daniel.</dialogue>
<scene_description>She 's nodding , flawlessly plucking two beers each from perimeter of the tray , keeping the rest perfectly balanced in the center . Michael is flat dumbstruck . Next , a tall patrician gentleman with rolled - up sleeves on his hand - stitched silk shirt .</scene_description>
<character>MICHAEL</character>
<dialogue>Oh. This is my father - in - law, Walter.</dialogue>
<scene_description>Once again , she gracefully plucks two beers for the distinguished father - in - law .</scene_description>
<character>MICHAEL</character>
<dialogue>How are you doing this? You're on drugs.</dialogue>
<scene_description>Sets them down . The man has a smile wonderful in its ease . Murmurs .</scene_description>
<character>WALTER</character>
<dialogue>If he gives you grief, I'll have him skillfully beaten, where the wounds wo n't show.</dialogue>
<character>JULIANNE</character>
<dialogue>I guess getting him whacked would be politically out of the question.</dialogue>
<character>WALTER</character>
<dialogue>Under the circumstances. Charmed to know you, Jules.</dialogue>
<character>JULIANNE</character>
<dialogue>Nice meeting you, too, Walt.</dialogue>
<scene_description>A nod between equals . She moves on .</scene_description>
<character>MICHAEL</character>
<dialogue>And, this guy, you know.</dialogue>
<scene_description>She sure does , and effortlessly balancing her one - hand load , she dips to kiss a porky , balding guy with big - time shoulders . Straight on the lips .</scene_description>
<character>JULIANNE</character>
<dialogue>Papa Joe.</dialogue>
<scene_description>They go way back . He is uncomfortable at this rich man 's wedding , even as gracious as everyone has been . His watering eyes twinkle at her , and the voice has a trace of Boston .</scene_description>
<character>JOE</character>
<dialogue>You gon na be my boy's best man?</dialogue>
<scene_description>Despite SHOUTS from the others .</scene_description>
<character>JULIANNE</character>
<dialogue>Best everything, Joe. But I'm going to dance with you.</dialogue>
<character>MICHAEL</character>
<dialogue>Dance? You do n't dance! You learn to dance?</dialogue>
<scene_description>Her innocent smile .</scene_description>
<character>JULIANNE</character>
<dialogue>Moves. You've never seen.</dialogue>
<scene_description>BIG reaction from the guys , as she heads toward Michael with the last of the beers , not looking down at the FIELDER 'S MITT which lies right in her path , and as his lips part to scream a warning , she skips . neatly AROUND it . He 's in shock .</scene_description>
<character>MICHAEL</character>
<dialogue>You're an impostor! What have you done with my best friend?</dialogue>
<scene_description>As he takes away the remaining beers .</scene_description>
<character>MICHAEL</character>
<dialogue>And how was the hot dog?</dialogue>
<scene_description>Hot dog ? His eyes fix on her left breast . HUGE mustard stain . She ca n't believe it .</scene_description>
<character>MICHAEL</character>
<dialogue>Cheap and unnecessary. We were looking anyway.</dialogue>
</scene>
<scene>
<stage_direction>EXT. LUXURY BOX ROOF - DAY</stage_direction>
<scene_description>Michael and Julianne sit with their beers on the edge of the luxury box roof . The game , the stadium , spread out beneath them . Yet they are alone in the world . She dangles her legs , and we can hear her kicking the glass below .</scene_description>
<character>JULIANNE</character>
<dialogue>I just admire your maturity, that's all. I mean, there are people who would find that kind of perfection boring. Day after day, year after year.</dialogue>
<character>MICHAEL</character>
<dialogue>see, that's what I thought at first. How can you like someone that perfect? No potential for long - range livability.</dialogue>
<scene_description>Drinking their beers . Side by side . Both stare only at the game .</scene_description>
<character>MICHAEL</character>
<dialogue>Luckily. The closer I watched, the more the fault came into focus. Each imperfection its own adorable slice of vulnerability.</dialogue>
<character>JULIANNE</character>
<dialogue>Such as.</dialogue>
<character>MICHAEL</character>
<dialogue>She's too genuine.</dialogue>
<character>JULIANNE</character>
<dialogue>Hate that.</dialogue>
<character>MICHAEL</character>
<dialogue>How can you trust someone you can never mistrust?</dialogue>
<character>JULIANNE</character>
<dialogue>What's next?</dialogue>
<scene_description>Keep sipping . Never look at each other .</scene_description>
<character>MICHAEL</character>
<dialogue>No matter how many times I leave the toilet seat up, she forgets and puts it down.</dialogue>
<character>JULIANNE</character>
<dialogue>Endearingly absent - minded.</dialogue>
<character>MICHAEL</character>
<dialogue>My very point. Here's another one.</dialogue>
<scene_description>Shakes his head . This one really gets him .</scene_description>
<character>MICHAEL</character>
<dialogue>Every day. She makes the bed.</dialogue>
<character>JULIANNE</character>
<dialogue>Quite the little eccentric.</dialogue>
<character>MICHAEL</character>
<dialogue>At first, I thought it was a gag, but she's always done it!</dialogue>
<scene_description>This is not the ammunition Julianne was hoping for .</scene_description>
<character>JULIANNE</character>
<dialogue>Is there a coup de grace in here, somewh.</dialogue>
<character>MICHAEL</character>
<dialogue>She admires. Tommy Lasorda.</dialogue>
<character>JULIANNE</character>
<dialogue>Waiter! Check, please!</dialogue>
<character>MICHAEL</character>
<dialogue>She finds him `` personable.''</dialogue>
<character>JULIANNE</character>
<dialogue>Can that kind of defect be passed on genetically?</dialogue>
<scene_description>She looks over now . And Michael is looking back . Smiling the most wonderful smile . Her reaction shows that she thinks it 's for her , until .</scene_description>
<character>MICHAEL</character>
<dialogue>Then again. She has a few good traits.</dialogue>
<scene_description>Hating herself for asking , but seeing no way out .</scene_description>
<character>JULIANNE</character>
<dialogue>Gim me like, eight and nine off the top ten list.</dialogue>
<character>MICHAEL</character>
<dialogue>First girl I ever knew. Who lets me give her a bath.</dialogue>
<scene_description>The look in his eyes . She can hardly bear it .</scene_description>
<character>MICHAEL</character>
<dialogue>And when I hug her, even in public. I do n't have to let go right away. She lets me hold her as long as I want.</dialogue>
<scene_description>He seems so deeply in love .</scene_description>
<character>MICHAEL</character>
<dialogue>Nice kid, do n't you think?</dialogue>
<scene_description>A beat . A slow nod . A quiet .</scene_description>
<character>JULIANNE</character>
<dialogue>Looks like, from here.</dialogue>
</scene>
<scene>
<stage_direction>INT. SOUTH SIDE CLUB - NIGHT</stage_direction>
<scene_description>A slender black woman sings a SOARING Gospel number , backed by three ladies who could each solo in any church choir . It is mesmerizing , stirring , transcendent . The unseen audience CLAPPING FIERCELY in rhythm , SHOUTING support . SLOW PAN now . every face is black . We are n't in church at all , but a venerable blue club . One of those places you 'd swear everybody 's played , from Robert Johnson to Bessie Smith and back again . As the song ends , there is APPLAUSE , some RAPPING on tables with their knuckles or their drunks . We keep PANNING to a far corner . Three faces . Julianne leans across her beer to Kimmy .</scene_description>
<character>JULIANNE</character>
<dialogue>How'd you find this pl.</dialogue>
<scene_description>Kim shaking her head . Looks admiringly to Michael .</scene_description>
<character>KIMMY</character>
<dialogue>Lived here my whole life, never heard of it. Until our first date.</dialogue>
<scene_description>She reaches slender fingers . Traces one back along his hair .</scene_description>
<character>KIMMY</character>
<dialogue>He finds all these spots, everywhere he goes, it's a mystical gift.</dialogue>
<character>MICHAEL</character>
<parenthetical>( shy . )</parenthetical>
<dialogue>Jesus, one d - back from the Bears knows a place.</dialogue>
<character>KIMMY</character>
<dialogue>It's not just clubs. This guy always knows the best everything. The best guitar store, the best beef ribs, the best Horowitz record, was he always like the.</dialogue>
<character>JULIANNE</character>
<dialogue>always. The best dim sum, the best camping stuff.</dialogue>
<character>KIMMY</character>
<dialogue>Stop, we're embarrassing h.</dialogue>
<character>JULIANNE</character>
<dialogue>best valley in New Zealand, best. women's shoes.</dialogue>
<character>MICHAEL</character>
<dialogue>I tried those on. When you were n't looking.</dialogue>
<scene_description>Now he 's grinning at Julianne . And she likes that a lot .</scene_description>
<character>JULIANNE</character>
<dialogue>Where was that, Florence, huh?</dialogue>
<character>MICHAEL</character>
<dialogue>Firenze.</dialogue>
<scene_description>Together in the memory . As Kimmy watches .</scene_description>
<character>JULIANNE</character>
<dialogue>The Vespa? Me hanging on behind in the rain all night?</dialogue>
<character>MICHAEL</character>
<dialogue>Till the gas ran out.</dialogue>
<scene_description>And , the first sniff of left - out .</scene_description>
<character>KIMMY</character>
<dialogue>I love Florence.</dialogue>
<scene_description>Julianne 's eyes flicker . Could this be a teensy opening ? Keeps her eyes , her easy smile , and her killer instincts trained on Michael .</scene_description>
<character>JULIANNE</character>
<dialogue>Take her there.</dialogue>
<scene_description>He nods , okay .</scene_description>
<character>JULIANNE</character>
<dialogue>I mean, now. She's perky, she deserves a honeymoon.</dialogue>
<scene_description>He draws a breath .</scene_description>
<character>JULIANNE</character>
<dialogue>I heard. If San Antone sweeps Sacramento. What is this shit? You got ta get off the road by September anyway, when does Fall Quarter start?</dialogue>
<scene_description>And the happy couple look at each other . They are awkward . Julianne 's heart soar like eagle .</scene_description>
<character>KIMMY</character>
<dialogue>Uh. I'm not coming back. For senior year.</dialogue>
<scene_description>Could this be . The Mother Lode ?</scene_description>
<character>JULIANNE</character>
<dialogue>Do n't architects find a degree, sort of. an asset?</dialogue>
<scene_description>The couple still staring in each other 's eyes .</scene_description>
<character>KIMMY</character>
<dialogue>Well, the school will be here. Architecture will still be around. Right now.</dialogue>
<character>MICHAEL</character>
<dialogue>I travel every week. College ball, motor sports, training camps.</dialogue>
<character>KIMMY</character>
<dialogue>The most important thing. Is being together.</dialogue>
<scene_description>And she smiles . Beautifully .</scene_description>
<character>KIMMY</character>
<dialogue>I'm just a baby. I've got all. the time. in the world.</dialogue>
</scene>
<scene>
<stage_direction>EXT. CLUB - NIGHT</stage_direction>
<scene_description>Michael putting Kim in the back of a cab . As Julianne watches .</scene_description>
<character>MICHAEL</character>
<dialogue>Because I could come.</dialogue>
<character>KIMMY</character>
<dialogue>To the twins' soiree? So they can paw you and drool?</dialogue>
<character>JULIANNE</character>
<parenthetical>( calls out , helpful . )</parenthetical>
<dialogue>They're gon na drool anyway!</dialogue>
<scene_description>Kim smiles . He kisses her , tenderly , through the open window . She waves past him at Julianne .</scene_description>
<character>KIMMY</character>
<parenthetical>( to both . )</parenthetical>
<dialogue>Enjoy each other.</dialogue>
<scene_description>And drives off . As he watches after , Julianne comes up behind him . Slips her hand up onto his shoulder muscle . Starts giving a little massage .</scene_description>
<character>JULIANNE</character>
<dialogue>Should I whistle down a cab?</dialogue>
<character>MICHAEL</character>
<dialogue>Hey, cabs are expensive. I'm cheap, remember?</dialogue>
<scene_description>Turns his head , to see her . She 's still rubbing his shoulder .</scene_description>
<character>JULIANNE</character>
<dialogue>Sometimes. About the dumbest things.</dialogue>
<scene_description>Share a smile . As always , it covers a lot of years .</scene_description>
<character>MICHAEL</character>
<dialogue>The El's right down the street. Unless you're afraid of the neighborhood.</dialogue>
<scene_description>She looks around . It is an issue . But she remembers .</scene_description>
<character>JULIANNE</character>
<dialogue>No. I'm always safe with you.</dialogue>
<scene_description>She means that . He takes her by the hand . They begin walking .</scene_description>
<character>JULIANNE</character>
<dialogue>Pretty amazing girl, you've got. Make that kind of sacrifice.</dialogue>
<character>MICHAEL</character>
<dialogue>What, leaving school.</dialogue>
<character>JULIANNE</character>
<dialogue>all of it. She's leaving her family, her friends, everything she knows. She's putting her career on hold, and she seems a pretty ambitious, driven, kind of pers.</dialogue>
<character>MICHAEL</character>
<parenthetical>( quietly . )</parenthetical>
<dialogue>In her way.</dialogue>
<character>JULIANNE</character>
<dialogue>All to follow you in this dumb job, where you travel 52 weeks a year to College Station, Texas, and such. It's not a job for a grown man, Michael, Peter Pan never married.</dialogue>
<scene_description>He 's let go of her hand now . Looking down at the pavement before him , fists in his jacket pockets .</scene_description>
<character>JULIANNE</character>
<parenthetical>( softly . )</parenthetical>
<dialogue>I do n't think she's naturally the. submissive type. Are n't you afraid she's gon na choke on this stand - by - your - man shit after awhi.</dialogue>
<character>MICHAEL</character>
<parenthetical>( real quiet . )</parenthetical>
<dialogue>No.</dialogue>
<scene_description>Hit a nerve . This is promising .</scene_description>
<character>JULIANNE</character>
<dialogue>I mean Walter owns the Sox, cable sports. most girls in her spot would be angling to get Daddy to offer you some juicy gig right here in t.</dialogue>
<character>MICHAEL</character>
<dialogue>She would never. Never. Even think of that.</dialogue>
<scene_description>Paydirt . Julianne 's Geiger Counter is going berserk .</scene_description>
<character>JULIANNE</character>
<dialogue>I guess you're right. That would be deceitful. manipulative. controlling. emascula.</dialogue>
<character>MICHAEL</character>
<dialogue>I got the point.</dialogue>
<scene_description>He looks over at her . No smile on his face . An edge we have n't seen . She shrugs .</scene_description>
<character>JULIANNE</character>
<dialogue>Still. All's fair in love and w.</dialogue>
<character>MICHAEL</character>
<dialogue>That would be a girl. I do n't even know.</dialogue>
<scene_description>They 've reached the stairs to the El . A rickety train RATTLES above them . As they start up , she slips her arm around his waist .</scene_description>
<character>JULIANNE</character>
<parenthetical>( murmurs . )</parenthetical>
<dialogue>Forgive me, okay? I was talkin' crazy.</dialogue>
<scene_description>He slides his arm around her shoulder . Pals . They climb out of frame .</scene_description>
</scene>
<scene>
<stage_direction>INT. HOTEL BATHROOM - LATE NIGHT</stage_direction>
<scene_description>CLOSE on a shallow pool of water in a bathroom sink . Green powder pouring in , a hand SWIRLING it around , until .</scene_description>
<character>JULIANNE</character>
<parenthetical>( O.S . )</parenthetical>
<dialogue>It's Albanian, I think. Or Mongolian. Or Canadian. One of those. I bought it downstairs.</dialogue>
<scene_description>it becomes truly disgusting lumpy green mud .</scene_description>
<character>JULIANNE</character>
<parenthetical>( O.S . )</parenthetical>
<dialogue>I figure, what the hell. Can it make me look worse?</dialogue>
<scene_description>Follow the hand up as it SLATHERS the shit across her face in great green dripping gobs . She 's juggling the wall phone , trying to keep it mudless , as she assures Digger .</scene_description>
<character>JULIANNE</character>
<dialogue>Dig, of course. Of course, of course, of course, of course I have a plan. Certainment!</dialogue>
<scene_description>More green slime . The Julianne we know disappears .</scene_description>
<character>JULIANNE</character>
<dialogue>How? I ask myself, what would Lucy Ricardo do in this situa.</dialogue>
<scene_description>Desecrates three hotel towels , wiping her hand .</scene_description>
<character>JULIANNE</character>
<dialogue>Well, one worked, once.</dialogue>
<scene_description>THROWS them in the bathtub . Fastidiousness a short suit .</scene_description>
<character>JULIANNE</character>
<dialogue>Ricky would n't let her in the show.</dialogue>
<scene_description>Reaches for her toothbrush , absently . All her attention is on the conversation and the hideous green face in the mirror .</scene_description>
<character>JULIANNE</character>
<dialogue>I recall it differently, but we digress.</dialogue>
<scene_description>Without looking , picks up a tube of hotel shampoo .</scene_description>
<character>JULIANNE</character>
<dialogue>So in the version, you're Ethel, with better fashion instincts.</dialogue>
<scene_description>Squeezes it all over the toothbrush .</scene_description>
<character>JULIANNE</character>
<dialogue>This puts you in charge of Plan B, the unprincipled and insanely dangerous back - up plan.</dialogue>
<scene_description>Lifts it toward her mouth , liquid shampoo dripping from the bristles .</scene_description>
<character>JULIANNE</character>
<dialogue>In case simple lying does n't work.</dialogue>
<scene_description>At the last second . She stops . We do n't know why , because she 's still never looked at the brush .</scene_description>
<character>JULIANNE</character>
<dialogue>Question. What happens if you brush your teeth with shampoo?</dialogue>
<scene_description>Turns on the tap . Tries to scrub the toothbrush clean , and DROPS the phone into the green swamp , which SPATTERS all over her front . Euucch . She 's stymied , agitated , circling the sink , leaning down to it .</scene_description>
<character>JULIANNE</character>
<dialogue>HOLD ON. I'M COMING IN FOR YOU!</dialogue>
<scene_description>She sets the toothbrush down in her toiletries kit . Decides to YANK on the phone 's cord , and the receiver SPRINGS out , BOPPING her in the face . She 's so filthy at this point , she just wipes it clean on her nightshirt . Tells Digger .</scene_description>
<character>JULIANNE</character>
<dialogue>You okay? This is one of those problem phones.</dialogue>
<scene_description>Lifts the toothbrush and tube of paste from her kit .</scene_description>
<character>JULIANNE</character>
<dialogue>Right. Your role. You know guys from Sports Illustrated, yes? I mean, you can walk right in there.</dialogue>
<scene_description>Squeezes on the paste , lifts the brush to her mouth .</scene_description>
<character>JULIANNE</character>
<dialogue>You could get access to letterhead, for example.</dialogue>
<scene_description>JAMS it in her mouth , brushing as .</scene_description>
<character>JULIANNE</character>
<parenthetical>( mouthful . )</parenthetical>
<dialogue>or even, maybe, their fax.</dialogue>
<scene_description>Stops . The funniest look on her face . Down to the toothpaste tube . Which says BEN GAY . Oh .</scene_description>
</scene>
<scene>
<stage_direction>INT. TIFFANY'S - MORNING</stage_direction>
<scene_description>Julianne and Kimmy cruise the stately display cases . Everywhere , the Tiffany logo , the silent , watchful staff in morning coats . As they browse , Julianne takes a blueberry Danish from a paper sack , and begins to eat . The staff notices . So does Kim .</scene_description>
<character>JULIANNE</character>
<dialogue>It's an homage thing.</dialogue>
<scene_description>Hmm ?</scene_description>
<character>JULIANNE</character>
<dialogue>Awkward girls grow up on Audrey Hepburn movies. You would n't understand.</dialogue>
<scene_description>Kimmy does n't . But wipes a blue glob from Julianne 's face .</scene_description>
<character>KIMMY</character>
<dialogue>Anyway, I think you're wrong.</dialogue>
<scene_description>Wrong ?</scene_description>
<character>KIMMY</character>
<dialogue>What you were saying before.</dialogue>
<scene_description>Before ?</scene_description>
<character>KIMMY</character>
<dialogue>About Michael's job.</dialogue>
<character>JULIANNE</character>
<dialogue>Oh, that. I forgot I even said th.</dialogue>
<character>KIMMY</character>
<dialogue>I just think you're wrong, is all.</dialogue>
<character>JULIANNE</character>
<dialogue>Probably am. Forget I brought it up.</dialogue>
<scene_description>Points to some jade pins . Kimmy wrinkles her nose .</scene_description>
<character>KIMMY</character>
<dialogue>I mean, he loves his job.</dialogue>
<character>JULIANNE</character>
<dialogue>Bad games, bad towns, bad pay, bad flights, bad hotels, real bad food. Homeless, rootless, lonely, maybe your copy gets into one issue out of four.</dialogue>
<scene_description>Smiles .</scene_description>
<character>JULIANNE</character>
<dialogue>What's not to love?</dialogue>
<scene_description>None of this is lost on Kimmy . She 's wondered the same .</scene_description>
<character>KIMMY</character>
<dialogue>But he always says.</dialogue>
<character>JULIANNE</character>
<dialogue>whatever is manly and independent.</dialogue>
<scene_description>Kim nods slowly . Way ahead of her .</scene_description>
<character>JULIANNE</character>
<dialogue>Why would he trade that for running, say, a big piece of the PR at a powerful, complex, challenging conglomerate like your dad's?</dialogue>
<scene_description>Kim stares back . A strange look .</scene_description>
<character>KIMMY</character>
<dialogue>That's just the sort of thing my father and I discussed.</dialogue>
<scene_description>Julianne just blinks . Amazed .</scene_description>
<character>JULIANNE</character>
<dialogue>I'm not stupid. Say, how about this?</dialogue>
<scene_description>Pointing to tiny golden scissors in the novelty case . Kim so absorbed by the main topic , she has to force herself to focus on .</scene_description>
<character>KIMMY</character>
<dialogue>For the twins? What in the world is th.</dialogue>
<character>JULIANNE</character>
<dialogue>Gold nose hair clippers.</dialogue>
<scene_description>Points to the tiny hand - lettered sign . Indeed . Kimmy shrugs , not quite it .</scene_description>
<character>KIMMY</character>
<dialogue>So you do n't think Michael's as happy with his job as.</dialogue>
<scene_description>Julianne points to a matched pair of large .</scene_description>
<character>KIMMY</character>
<dialogue>Gold dog collars? They do n't have dogs.</dialogue>
<character>JULIANNE</character>
<dialogue>Hello.</dialogue>
<scene_description>Kim nods , oh . But ca n't keep her mind off .</scene_description>
<character>KIMMY</character>
<dialogue>You think he'd accept?</dialogue>
<scene_description>Hmm ?</scene_description>
<character>KIMMY</character>
<dialogue>Michael. A job like that.</dialogue>
<scene_description>Oh , well .</scene_description>
<character>JULIANNE</character>
<dialogue>By any yardstick that involves sanity, it would be the greatest thing that ever happened to him. Present company excepted.</dialogue>
<scene_description>Kimmy nodding slowly . Her yearing achingly apparent .</scene_description>
<character>JULIANNE</character>
<dialogue>On the other hand, he's proud. Last thing a man wants to admit, is being trapped in a dispiriting dead - end job that can never support a family.</dialogue>
<scene_description>A very sweet smile .</scene_description>
<character>JULIANNE</character>
<dialogue>Throw a man a life preserver. He'll say, `` Thanks, anyway, I'd rather drown.''</dialogue>
<scene_description>Kim nods again . Right . They are so bonded at this moment .</scene_description>
<character>KIMMY</character>
<dialogue>So. one almost has to.</dialogue>
<character>JULIANNE</character>
<dialogue>Exactly.</dialogue>
<character>KIMMY</character>
<dialogue>Exactly what?</dialogue>
<character>JULIANNE</character>
<dialogue>What you said. Make it appear that he's doing you the favor.</dialogue>
<scene_description>Kimmy bites her lip . Her eyes go down . Self - conscious to admit .</scene_description>
<character>JULIANNE</character>
<dialogue>I could n't really. do that. After, you know.</dialogue>
<scene_description>Her voice trails off .</scene_description>
<character>JULIANNE</character>
<parenthetical>( kind , but wise . )</parenthetical>
<dialogue>lying. All the time.</dialogue>
<scene_description>That brings the gray eyes up . Julianne bats her dark ones .</scene_description>
<character>JULIANNE</character>
<dialogue>Oh, darling, my pitiful desires and ambitions are dirt beneath the manly boots of your priorities!</dialogue>
<scene_description>Kimmy has to smile small . A self - awe gal .</scene_description>
<character>JULIANNE</character>
<parenthetical>( pouring it on . )</parenthetical>
<dialogue>Two hundred seedy motels a year? Dinners out of vending machines? Waiting for you in vermin - infested corridors of dark crotch - rot locker rooms? This stuff makes me hot!</dialogue>
<character>KIMMY</character>
<dialogue>The very words I've used.</dialogue>
<scene_description>Julianne ` thinks it over . ' Kimmy waits for guidance .</scene_description>
<character>JULIANNE</character>
<dialogue>We make Dad your co - conspirator. Michael does a favor for Walter.</dialogue>
<scene_description>Simple .</scene_description>
<character>JULIANNE</character>
<dialogue>Walter's reorganizing his public relations, needs a brilliant guy who's close to him, who he can completely trust.</dialogue>
<scene_description>Kimmy nodding . Hope overriding reason .</scene_description>
<character>JULIANNE</character>
<dialogue>So you beg. Michael, please do this for Daddy, please, please, please, blah, blah, blah. it's only for six months. it would mean so much to me to help him out.</dialogue>
<scene_description>Turns up her palms . Viola !</scene_description>
<character>KIMMY</character>
<dialogue>He'll see right through it.</dialogue>
<character>JULIANNE</character>
<dialogue>Only. If he wants to.</dialogue>
<scene_description>They share a smile .</scene_description>
<character>JULIANNE</character>
<dialogue>In six months, he'll be happy, settled, successful.</dialogue>
<character>KIMMY</character>
<dialogue>He wo n't get mad, huh?</dialogue>
<character>MR. MOONEY</character>
<parenthetical>( O.S . )</parenthetical>
<dialogue>May I be of any help, whatsoever?</dialogue>
<scene_description>Mr. Mooney is the most gracious Brit salesperson ever to offer kindness , intelligence and thoughtfulness to a customer . He is large , sixty , with disappearing hair , watering eyes , and a manner that makes you think of immediately hiring a butler .</scene_description>
<character>JULIANNE</character>
<dialogue>Bridesmaid gifts for two, well, assertive, outspoken, Tennessee debutantes.</dialogue>
<character>KIMMY</character>
<parenthetical>( still focused . )</parenthetical>
<dialogue>He wo n't be mad?</dialogue>
<character>JULIANNE</character>
<parenthetical>( to Mooney . )</parenthetical>
<dialogue>Nothing here seems to quite capture their distinctive personalities.</dialogue>
<character>MR. MOONEY</character>
<dialogue>Something customized, perhaps? We can fashion most any item from gold.</dialogue>
<scene_description>Ah . Julianne nodding . Reflecting .</scene_description>
<character>MR. MOONEY</character>
<dialogue>An object that might represent what is closest. To their heart.</dialogue>
<character>KIMMY</character>
<parenthetical>( under her breath . )</parenthetical>
<dialogue>Do n't even think dildo.</dialogue>
<scene_description>Julianne digs through her jumbled bag .</scene_description>
<character>JULIANNE</character>
<dialogue>Could you do this.</dialogue>
<scene_description>Tossing an object on the counter .</scene_description>
<character>JULIANNE</character>
<dialogue>In 24 carat?</dialogue>
<scene_description>It is a MASTERCARD . A gold one .</scene_description>
<character>KIMMY</character>
<parenthetical>( softly . )</parenthetical>
<dialogue>Bingo.</dialogue>
<scene_description>They smile at each other . More bonded than ever .</scene_description>
<character>KIMMY</character>
<dialogue>You do n't think he'll be mad.</dialogue>
<scene_description>A beat . Can Julianne even make herself do this ?</scene_description>
<character>JULIANNE</character>
<dialogue>Your call. You can live a lie. In a fabulous selection of Red Roof Inns. Or you can make one desperate stab at hap.</dialogue>
<character>KIMMY</character>
<dialogue>I just do n't want to freak him out.</dialogue>
<scene_description>What do you think ? Julianne stares into the soft gray eyes . It 's now or never . The smile of a dear sister .</scene_description>
<character>JULIANNE</character>
<dialogue>How mad could he get?</dialogue>
</scene>
<scene>
<stage_direction>INT. FASHION RESTAURANT - LUNCH HOUR</stage_direction>
<scene_description>Julianne enters with a really nervous Kimberly in tow . Approaches the maitre d' . We CLOSE to hear .</scene_description>
<character>MAITRE D'</character>
<dialogue>Oh, Mr. Wallace and his guests have retired to the humidor.</dialogue>
<scene_description>Points to an escalator , leading to the mezzanine . Behind a glass wall , what looks like a British men 's club . Thirty guys and a billion cigars . As Julianne starts toward it .</scene_description>
<character>MAITRE D'</character>
<dialogue>Oh. Mademoiselle.</dialogue>
<scene_description>She turns back . Loves this shit .</scene_description>
<character>MAITRE D'</character>
<dialogue>It's unofficial, of course. But, traditionally, the humidor is for gentlemen, only.</dialogue>
<character>JULIANNE</character>
<dialogue>Great. I've got this girlfriend at the Justice Department? With all this time on her hands?</dialogue>
<scene_description>Her look is every bit as hard as his . He gestures to the escalator . She takes Kimmy 's hand , and up they go . We can see Walter in a big leather chair , enjoying a major stogie . Kimmy licks her lips . They enter . Every head turns . A nice range of reactions , from offended to attracted and points in between .</scene_description>
<character>JULIANNE</character>
<parenthetical>( murmurs . )</parenthetical>
<dialogue>Piece of cake. I'll hang, and think happy thoughts.</dialogue>
<scene_description>Kimmy nods . Heads over toward her father . Julianne walks , confidently , even provocatively , to the wall lined with bins of cigars . Every eye in the place is on her butt . She runs her fingers over a few contenders . Plucks one out , examines it , puts it back . Walks a little farther . Selects another , big and black . Rolls it expertly in her fingers . Sniffs along its length . A guy comes over . Could be 40 , successful , a broker 's pin - stripe . Nearly as attractive as he thinks he is .</scene_description>
<character>GUY</character>
<dialogue>Know what you're looking for, little lady?</dialogue>
<scene_description>Little lady , huh ? She glances at his coven of buddies , who pretend not to notice . Then , straight to the guy 's blue eyes .</scene_description>
<character>JULIANNE</character>
<dialogue>Yeah. Do you?</dialogue>
<character>GUY</character>
<dialogue>I asked first.</dialogue>
<scene_description>Ah . Wit . She holds up her cigar .</scene_description>
<character>JULIANNE</character>
<dialogue>I like'em long and hard. Kind of. big around.</dialogue>
<scene_description>Runs it under her nose .</scene_description>
<character>JULIANNE</character>
<dialogue>Smell is important, I'm a believer in that.</dialogue>
<scene_description>Takes a match from a cut crystal bowl .</scene_description>
<character>JULIANNE</character>
<dialogue>But you never know what you've got. Till you run your tongue over it.</dialogue>
<scene_description>And she does . Moistening the full length of the cigar . The boys are laughing openly . She STRIKES the match . As she lights up .</scene_description>
<character>GUY</character>
<dialogue>I meant. What you're looking for in a man.</dialogue>
<scene_description>She glances at his wedding ring . Then , straight into his eyes .</scene_description>
<character>JULIANNE</character>
<dialogue>Actually, I'm partial to married gentlemen.</dialogue>
<scene_description>The way she says that . The guy swallows . We can see some of the air has been sucked from the room .</scene_description>
<character>GUY</character>
<dialogue>Why is that?</dialogue>
<character>JULIANNE</character>
<dialogue>It's so much time. When I phone the wives.</dialogue>
<scene_description>Explosive LAUGHTER from the peanut gallery . As she jams the big Clemente Churchill into her mouth , she sees Kimmy waving her over from across the room . Without even looking at the guy she 's just put away . she crosses the room , Walter stands politely , looking very dapper , very powerful , and focusing on her with considerable interest . He waits until she sits on the edge of a costly leather hassock .</scene_description>
<character>WALTER</character>
<parenthetical>( simply . )</parenthetical>
<dialogue>Your idea?</dialogue>
<scene_description>She ca n't read this guy . Maybe that 's how he built an empire . She nods , yeah .</scene_description>
<character>WALTER</character>
<dialogue>You're a woman of insight.</dialogue>
<scene_description>He sits on the arm of his chair . Close enough to speak quietly .</scene_description>
<character>WALTER</character>
<dialogue>My wife and I love this marriage, and deplore its circumstances.</dialogue>
<scene_description>He puffs his cigar . Julianne puffs her . Kimmy looks on , a kid watching the grown - ups .</scene_description>
<character>WALTER</character>
<dialogue>As you guessed, my daughter is unhappy about giving up her life. And, in my opinion, cowardly in avoiding the necessary confrontation.</dialogue>
<scene_description>Then he stops . As if reading Julianne 's eyes .</scene_description>
<character>WALTER</character>
<dialogue>Mike has a world of ability. I'd do anything to have him in my company.</dialogue>
<scene_description>One more puff .</scene_description>
<character>WALTER</character>
<dialogue>Except ask him.</dialogue>
<scene_description>Julianne is a little stunned . Kimmy looks helpless .</scene_description>
<character>WALTER</character>
<dialogue>He'd resent it. And me. And, most important, Kim.</dialogue>
<scene_description>No smile on his lips . Straight talk .</scene_description>
<character>WALTER</character>
<dialogue>He's a great kid, but he's still a kid. Instead of recognizing that his resistance comes from insecurity, he'd turn it to anger. To protect himself.</dialogue>
<scene_description>Spreads his hands .</scene_description>
<character>WALTER</character>
<dialogue>from realizing that he's ignoring my daughter's needs, despite how very much he loves her.</dialogue>
<scene_description>He looks to his daughter now .</scene_description>
<character>WALTER</character>
<dialogue>They both have some growing up to do. But they're good people, they're starting with love. They've got time.</dialogue>
<character>JULIANNE</character>
<parenthetical>( softly . )</parenthetical>
<dialogue>I think you're making a mistake, sir.</dialogue>
<scene_description>His eyes come back to her . A little sharply .</scene_description>
<character>WALTER</character>
<dialogue>And that interests me. How someone who knows him so well could be so wrong.</dialogue>
<scene_description>A formidable guy . She meets his gaze .</scene_description>
<character>JULIANNE</character>
<dialogue>See, I love him, too, as much as anyone here. And for a whole lot longer.</dialogue>
<scene_description>From her heart .</scene_description>
<character>JULIANNE</character>
<dialogue>I think I know best what would make him happy.</dialogue>
</scene>
<scene>
<stage_direction>INT. TOILET STALL - DAY</stage_direction>
<scene_description>Julianne , fully dressed , sits on the closed lid of a toilet seat . The stall is tiny enough to arouse claustrophobia in an astronaut . Her cellular phone pressed to her ear , she is listening angrily , smoking ferociously , every call in her body running at red - line .</scene_description>
<character>JULIANNE</character>
<dialogue>Okay, okay, okay, okay, I hear you, all right?</dialogue>
<scene_description>She closes her eyes .</scene_description>
<character>JULIANNE</character>
<dialogue>It is stupid, dishonest, desperate beyond belief, and ca n't possibly ever work. It can only end in humiliation and disgrace. Now can I say two words?</dialogue>
<scene_description>Deep drag on the cigarette . For strength .</scene_description>
<character>JULIANNE</character>
<dialogue>Do it! Do it! Do it! Do it! Do it! Do it!</dialogue>
<scene_description>She 's striped her gears . COUGHS horribly .</scene_description>
<character>JULIANNE</character>
<dialogue>All right, twelve words.</dialogue>
</scene>
<scene>
<stage_direction>INT. PUBLIC RESTROOM - DAY</stage_direction>
<scene_description>Julianne exits the stall . To face three BLACK TEENAGE GIRLS . Just staring at her .</scene_description>
<character>TEENAGER</character>
<parenthetical>( supportive . )</parenthetical>
<dialogue>You do it, girl.</dialogue>
<scene_description>Julianne nods to the kids . They nod back . Damn straight . She exits the restroom , into . glaring sunlight . We are in the middle of the BROOKFIELD ZOO . And sitting on a bench , eating popcorn from a bag .</scene_description>
<character>MICHAEL</character>
<dialogue>Wow. What was going on in there?</dialogue>
<scene_description>She shudders .</scene_description>
<character>JULIANNE</character>
<dialogue>Some crazy person.</dialogue>
</scene>
<scene>
<stage_direction>EXT. ZOO - DAY</stage_direction>
<scene_description>Michael and Julianne walking together . He 's eating his popcorn . She carries a cardboard container with nachos , a gooey fudge waffle cone , and a large drink .</scene_description>
<character>MICHAEL</character>
<dialogue>You're not eating.</dialogue>
<character>JULIANNE</character>
<dialogue>I never eat when I'm serene.</dialogue>
<character>MICHAEL</character>
<dialogue>You never eat when you're despondent.</dialogue>
<character>JULIANNE</character>
<dialogue>I switched that around when you were n't looking.</dialogue>
<scene_description>She swirls a single nacho chip in cheese . But her heart is n't in it .</scene_description>
<character>MICHAEL</character>
<dialogue>Last zoo we were in was. Beijing, yeah? Sure. The rhinos were fucking.</dialogue>
<character>JULIANNE</character>
<dialogue>Boy, those were the days.</dialogue>
<scene_description>And when she looks over . His eyes are waiting .</scene_description>
<character>MICHAEL</character>
<parenthetical>( softly . )</parenthetical>
<dialogue>Yeah, they were.</dialogue>
<scene_description>They 're passing the hippo pen . But they do n't notice .</scene_description>
<character>JULIANNE</character>
<dialogue>That was nice. The way you said that.</dialogue>
<scene_description>So was that . He 's feeling restless , something . Does n't know quite what to say .</scene_description>
<character>MICHAEL</character>
<dialogue>It's weird being the groom. All these things Kimmy has to take care of.</dialogue>
<character>JULIANNE</character>
<dialogue>You need a baby - sitter. That's what I'm here for.</dialogue>
<scene_description>He holds her eyes . Then looks down . Awkward . And the way he 's doing it begins to excite her .</scene_description>
<character>JULIANNE</character>
<dialogue>Say it.</dialogue>
<scene_description>He looks up , neither one of them noticing that as they walk , she is about to . CRASH into a chest - high metal stand that displays animal facts . We have followed him as she is WIPED from frame . His face from shock . to amusement .</scene_description>
<character>MICHAEL</character>
<dialogue>Now, there's my girl.</dialogue>
<scene_description>to tenderness . PAN back to see her wearing everything from her cardboard container . Nachos , fudge sauce , Diet Coke , the works . It is really awful . Kids , bystanders , laughing cruelly . Her eyes fill with tears , and she tries bravely to smile against it .</scene_description>
<character>JULIANNE</character>
<dialogue>See, I can only do it with beer.</dialogue>
<scene_description>He takes out his handkerchief . And with that and his hands , gently scoops the worst of the mess off her . The fact that he 's touching her breasts and her body is something they pretend not to notice . She laughs softly , and a few tears fall , even though she does n't know why . Such an odd , raw , confusing moment . To the world looking on , they are lovers .</scene_description>
<character>MICHAEL</character>
<parenthetical>( murmurs . )</parenthetical>
<dialogue>See, better already.</dialogue>
<scene_description>And he kisses her face . Not quite her lips . But only an inch away . We can feel her heart pounding . He strips off his shirt , only a tank top underneath .</scene_description>
<character>MICHAEL</character>
<dialogue>We'll go back to the bathroom, you'll put this on.</dialogue>
<scene_description>Okay ? She sniffles , okay . Swallows .</scene_description>
<character>JULIANNE</character>
<dialogue>Bet you're glad I'm here to take care of you.</dialogue>
<scene_description>He puts his arm around her .</scene_description>
<character>MICHAEL</character>
<dialogue>Bet I am.</dialogue>
<scene_description>Holds her close , as they start toward the restroom .</scene_description>
<character>MICHAEL</character>
<dialogue>Hope that crazy person's not still there.</dialogue>
<scene_description>We 're on their backs .</scene_description>
<character>JULIANNE</character>
<parenthetical>( O.S . )</parenthetical>
<dialogue>She does n't scare me.</dialogue>
</scene>
<scene>
<stage_direction>EXT. BEACH CLUB, LAKE MICHIGAN - SUNSET</stage_direction>
<scene_description>Julianne in T - shirt and shorts , rushes onto the deck of a sprawling beach club . Clutching her bag , she quickly surveys the scene . the entire beach has been taken over by the wedding party . Young folks , old folks , little kids , maybe 200 people . We SCAN with her to find a crowd around . a three - on - three volleyball game . Kimmy and two groomsmen on one side , facing Michael and the Tennessee debs . The twins wear spectacular bikinis and are surprisingly athletic , as well as predictably uninhabited . As the next point begins , Kimmy serves . Sammy in back makes a nice dig , lobbing to Mandy who sets for Michael 's vicious SPIKE straight THROUGH his best man 's hapless defense . The crowd cheers Michael , and as he turns , Mandy gives him a savage . CHEST BUMP of congratulation , that any NFL linebacker would be proud of . It puts the surprised Michael straight on his butt . Laughter , applause . The twins pull him up and Sammy gives him a hot kiss on his ear that makes the crowd react . Kim plays good sport . Julianne watches Michael 's body for a beat , then . dashes off . Down the beach , several barbecue grills have been set up . Manned by beach club staff and family alike . Michael 's pop , Joe , is dispensing beers from a keg . Kim 's mom , Isabelle , is coordinating the beans , potato salad and corn - on - the - cob table . Julianne races across the sand to . a huge smoky grill where Walter is basting baby back ribs , clearly enjoying himself . Julianne runs up to him , says something into his ear . He looks at her . Then turns his station over to a club steward , and follows Julianne down toward the lakeside . CLOSE now . As they stroll together , she 's a little breathless . He 's watching her profile , curious , silent . At the water 's edge .</scene_description>
<character>JULIANNE</character>
<parenthetical>( whispers . )</parenthetical>
<dialogue>Is anybody watching?</dialogue>
<character>WALTER</character>
<dialogue>I hope so. This is all too mysterious to waste on just me.</dialogue>
<scene_description>She reaches into her big bag . Pulls out a single folded sheet of paper .</scene_description>
<character>JULIANNE</character>
<dialogue>I picked up Michael's messages for him, at our hotel. I stole one.</dialogue>
<scene_description>His face darkens . The easy smile fades . He holds up his palms .</scene_description>
<character>WALTER</character>
<dialogue>Julianne, reading my son - in - law's mail, is not something.</dialogue>
<character>JULIANNE</character>
<dialogue>Sir, this is important! Have n't you ever in your life cut one corner, to make something important turn out right?</dialogue>
<scene_description>His smile returns . Just a little .</scene_description>
<character>WALTER</character>
<dialogue>Matter of fact, that's how I got married.</dialogue>
<scene_description>The look holds . She thrusts the paper out . He still does n't take it .</scene_description>
<character>JULIANNE</character>
<dialogue>It's a fax from Sports Illustrated from Ben Isaacson, Michael's boss.</dialogue>
<character>WALTER</character>
<parenthetical>( quickly . )</parenthetical>
<dialogue>I know Ben.</dialogue>
<scene_description>She opens the paper .</scene_description>
<character>JULIANNE</character>
<dialogue>`` Mike. We still have no answer to our E - mail of Wednesday. Which option do you select? I do n't mean to rush you, but Personnel needs to tie up the loose ends.''</dialogue>
<scene_description>He takes the paper . We see it now . Looks authentic .</scene_description>
<character>JULIANNE</character>
<dialogue>I think he's been fired.</dialogue>
<character>WALTER</character>
<dialogue>It does n't say th.</dialogue>
<character>JULIANNE</character>
<dialogue>He's said some things over the past few weeks. Look, this is why I came up with the idea of you offering him a job.</dialogue>
<scene_description>He looks up . He 's listening . Closely .</scene_description>
<character>JULIANNE</character>
<dialogue>And why I could n't say anything before in front of Kim.</dialogue>
<scene_description>She bites her lip . Seems so earnest .</scene_description>
<character>JULIANNE</character>
<dialogue>I just think of how. desperate he must be feeling. He's marrying a rich man's daughter, and he's about to become destitute. You know the kind of job market he'll be facing?</dialogue>
<scene_description>He does .</scene_description>
<character>WALTER</character>
<dialogue>And you think he's kept this to himself.</dialogue>
<character>JULIANNE</character>
<dialogue>He's too proud to beg for help. And if you wait till this comes out, your offer will be like charity. Completely humiliating.</dialogue>
<scene_description>He 's staring at her . But his mind is working behind his eyes .</scene_description>
<character>JULIANNE</character>
<dialogue>If you do it now, it's like he's helping you. He can accept with dignity.</dialogue>
<scene_description>He taps the paper with the back of his knuckles .</scene_description>
<character>WALTER</character>
<dialogue>This fax could mean. any number of things.</dialogue>
<scene_description>She nods . She knows that .</scene_description>
<character>WALTER</character>
<parenthetical>( softly . )</parenthetical>
<dialogue>Maybe. I should call Ben.</dialogue>
<character>JULIANNE</character>
<dialogue>Then it could all come out, sooner or later. Nobody should be in on this. Just you and me. Or, more correctly, I.</dialogue>
<scene_description>She takes the paper back .</scene_description>
<character>JULIANNE</character>
<dialogue>What if, what if I could find that E - mail?</dialogue>
<scene_description>The long straight look . Maybe he 's hooked .</scene_description>
<character>JULIANNE</character>
<dialogue>I never noticed. Kimmy has your eyes.</dialogue>
</scene>
<scene>
<stage_direction>INT. LOBBY, RITZ CARLTON HOTEL - TWILIGHT</stage_direction>
<scene_description>Tall , gangly , young DESK CLERK . Lank hair , pimples . He looks up , beams to see .</scene_description>
<character>JULIANNE</character>
<dialogue>Hello, again.</dialogue>
<scene_description>She 's flirting her ass off .</scene_description>
<character>JULIANNE</character>
<dialogue>You still have n't straightened that tie.</dialogue>
<scene_description>And she reaches across the desk with her lovely , slender hands . Does it for him . Her fingers brush his chest on the way back . We can assume a woody .</scene_description>
<character>JULIANNE</character>
<dialogue>You know, my friend, the one whose message I picked up?</dialogue>
<scene_description>He does . His eyes flick toward his stately female SUPERVISOR , helping another guest across the way .</scene_description>
<character>JULIANNE</character>
<dialogue>Well, he's still with the wedding party. And he asked me to get something he needs real badly from his room?</dialogue>
<scene_description>The boy swallows hard .</scene_description>
<character>JULIANNE</character>
<dialogue>He's in 1526. If you could just let me ha.</dialogue>
<character>BOY</character>
<dialogue>See that woman?</dialogue>
<scene_description>Not only does Julianne see her . The woman is looking back , while she 's talking to her customer . Not a pleasant look .</scene_description>
<character>BOY</character>
<dialogue>She said, if I ever pull a stunt like that again.</dialogue>
<character>JULIANNE</character>
<dialogue>You'll lose your job.</dialogue>
<character>BOY</character>
<dialogue>tear my pecker off. Is what she said.</dialogue>
</scene>
<scene>
<stage_direction>INT. HOTEL CORRIDOR - TWILIGHT</stage_direction>
<scene_description>An elevator OPENS , revealing Julianne , carrying a gym bag . She looks down the long hallway , sees a maid 's cart . Heads the other way , briskly , to . a small ALCOVE . Opens the gym bag , pulling out a bath towel . Begins to yank her top up OVER her head . ANGLE . the young MAID now pushing her cart down the hall , wheels SQUEAKING , and from nowhere . Julianne DARTS into her path , barely covered by the towel held tight across her , she is grinning , blushing .</scene_description>
<character>JULIANNE</character>
<dialogue>Help me!</dialogue>
<scene_description>The maid can only blink .</scene_description>
<character>JULIANNE</character>
<dialogue>I locked myself out, 1526, please hurry!</dialogue>
<scene_description>And looks frantically up the hall , mortified that any moment a stranger could happen upon her predicament . Her eyes dart back to the maid . PLEASE . The maid just stares . Stares .</scene_description>
<character>JULIANNE</character>
<dialogue>Uno - cinco - does - ses.</dialogue>
<scene_description>Oh .</scene_description>
</scene>
<scene>
<stage_direction>INT. MICHAEL'S ROOM - TWILIGHT</stage_direction>
<scene_description>Julianne alone in his room , looking around frantically . No worries about this guy making his bed every day , stuff , clothes , strewn everywhere , the bathroom looks like a cherry bomb just detonated . She 's tramping through a bachelor 's debris , wearing only her towel , looking , looking . There it is . The corner of his LAPTOP sticking out from beneath a discarded bedspread . She SNATCHES it up , OPENS it , sets it on the cluttered desk , and . stops . There are wallet - sized SNAPSHOTS of Kimmy . Some alone . Some as a little girl . Some with Michael . And next to them . the plastic fold - out wallet inset . That he has not yet quite rearranged . So she picks it up . Leafs through , until she finds what she was praying would be there . Julianne grinning . Michael 's arm around her . On the deck of a boat . They have drinks in their hands . Happiness in their eyes . And she stares at it . Jesus , God , how long has he carried this around ? She flips through further , all the rest have her in them . Maybe half a dozen . Her heart is throbbing . Her eyes are damp . Back to the one on the boat . She slips it from the plastic window . Holds it . Then , gently . puts it back where it belongs . PUNCHES up the goddamn laptop . This is it , girl ! Do or die .</scene_description>
<character>JULIANNE</character>
<parenthetical>( murmurs . )</parenthetical>
<dialogue>You would n't change your password, would you? You never change anything.</dialogue>
<scene_description>Those words make her bite her lip . Damn , I 'm becoming a senti - mental slob . TYPES in .</scene_description>
<character>JULIANNE</character>
<parenthetical>( murmurs . )</parenthetical>
<dialogue>Shoeless. Joe.</dialogue>
<scene_description>Yes ! We 're in ! Punching keys . Letters flying across the screen . Okay , we 're ready . Types .</scene_description>
<character>JULIANNE</character>
<parenthetical>( reads as she types . )</parenthetical>
<dialogue>Mike. I hate this downsizing shit as much as you do. But I know this ca n't become as a complete surprise.</dialogue>
</scene>
<scene>
<stage_direction>INT. BEACH CLUB CARD ROOM - EVENING</stage_direction>
<scene_description>Through the window , the wedding party barbecue has extended into night . Lanterns , music , lots more food , lots more drinks . In the distance , on the sand , Michael is slowdancing with Kimmy . Some - where nearby , the soft CLICKING of keys . We PULL BACK to see . a small clubby room . Books , leather , polished woods . Only two people here . Walter , looking on stony - faced , as a determined Julianne grimly `` struggles '' to `` find '' what she 's looking for in Michael 's laptop . And then . she stops typing . Looks at the text on the screen . Her eyes sharpen as she `` reads '' what Walter ca n't see . It 's an Oscar performance for our desperate girl . She turns the screen around .</scene_description>
<character>WALTER</character>
<parenthetical>( reads . )</parenthetical>
<dialogue>Mike. I hate this downsizing.</dialogue>
<scene_description>He reads . Reads . Reads . All the air comes out of him .</scene_description>
<character>WALTER</character>
<parenthetical>( softly . )</parenthetical>
<dialogue>And Kimmy does n't know.</dialogue>
<scene_description>She shakes her head . Nope . No way .</scene_description>
<character>WALTER</character>
<parenthetical>( signs . )</parenthetical>
<dialogue>I'll tell her I've reconsidered.</dialogue>
<scene_description>She nods , gravely . Right . He looks in her eyes .</scene_description>
<character>WALTER</character>
<dialogue>You're a smart girl, Jules.</dialogue>
<scene_description>She forces up a fleeting smile of gratitude . But Walter is n't smiling at all .</scene_description>
<character>WALTER</character>
<dialogue>Wish my daughter. Bad your guts.</dialogue>
</scene>
<scene>
<stage_direction>INT. CHARLES TROTTER'S BAR - NIGHT</stage_direction>
<scene_description>The hot saloon in Chinatown . Upscale , downscale , jammed , Michael and Kimmy at a small table in a far corner . CLOSE on them .</scene_description>
<character>MICHAEL</character>
<dialogue>Sure you're okay?</dialogue>
<scene_description>She looks really scared . Turns her drink in her hand . Looking down at it .</scene_description>
<character>MICHAEL</character>
<dialogue>It's not just a gag, huh?</dialogue>
<character>KIMMY</character>
<dialogue>No, it's, uh. a real big favor.</dialogue>
<scene_description>He takes her hand , tenderly .</scene_description>
<character>MICHAEL</character>
<dialogue>I wish you'd just. come out with it. I mean why are we waiting for Jules?</dialogue>
<scene_description>She smiles up at him . The best she can .</scene_description>
<character>KIMMY</character>
<dialogue>Moral support.</dialogue>
<scene_description>She loves him so much , and she is sick with worry .</scene_description>
<character>KIMMY</character>
<dialogue>What's good of having a big sister, if she.</dialogue>
<scene_description>Stops . Gestures with her eyes . Because her big sister has just entered . looking fabulous . Julianne wears a long sleek sarong , slightly see - through . Her hair is bound up with silver pins . As she moves through the room toward us , we can see that , for once , her make - up is flawless , understated . When she arrives at the table . Michael is beaming , admiringly . He stands up .</scene_description>
<character>MICHAEL</character>
<parenthetical>( softly . )</parenthetical>
<dialogue>Wow and wow. You have a date, after this?</dialogue>
<character>JULIANNE</character>
<dialogue>Never can tell.</dialogue>
<scene_description>He holds her chair . She exchanges an intimate smile with the anxious Kim .</scene_description>
<character>MICHAEL</character>
<dialogue>You make me think of that song, we used to.</dialogue>
<scene_description>And he starts humming . The song is , `` The Way You Look Tonight . ''</scene_description>
<character>MICHAEL</character>
<parenthetical>( singing . )</parenthetical>
<dialogue>Someday. When I'm awfully low.</dialogue>
<scene_description>They sit . He looks from Julianne to his bride .</scene_description>
<character>MICHAEL</character>
<dialogue>Okay, kid. You're on.</dialogue>
<scene_description>Kim 's eyes flick to Julianne , who nods , supportively . The kid takes a breath .</scene_description>
<character>KIMMY</character>
<dialogue>It's really my father. Who needs the favor.</dialogue>
<scene_description>His face sort of comes to a stop . Nothing she can read , yet . He nods , yeah ?</scene_description>
<character>KIMMY</character>
<dialogue>He's. he's reorganizing some of the divisions of the company.</dialogue>
<scene_description>His eyes flick to Julianne . She looks down .</scene_description>
<character>MICHAEL</character>
<parenthetical>( quiet . )</parenthetical>
<dialogue>He never mentioned that. Neither did y.</dialogue>
<character>KIMMY</character>
<parenthetical>( blurting . )</parenthetical>
<dialogue>. and public relations is a big problem area for him.</dialogue>
<scene_description>She can see it now . In his eyes . She just ca n't tell how bad .</scene_description>
<character>KIMMY</character>
<dialogue>He needs someone incredible, someone really close, who he can trust.</dialogue>
<character>MICHAEL</character>
<dialogue>Like family, huh?</dialogue>
<scene_description>So quiet . So cold . She is terrified .</scene_description>
<character>KIMMY</character>
<dialogue>It would only be, maybe, six months? Or three or four? It would mean so much to him.</dialogue>
<character>MICHAEL</character>
<dialogue>To him.</dialogue>
<scene_description>She swallows . Straightens her spine .</scene_description>
<character>KIMMY</character>
<dialogue>And to m.</dialogue>
<character>MICHAEL</character>
<parenthetical>( sharp , to Julianne . )</parenthetical>
<dialogue>. and you knew about this.</dialogue>
<scene_description>Real quiet . Against the noise of this place .</scene_description>
<character>JULIANNE</character>
<dialogue>I think you ought to listen to her, Michael. This is her life, too.</dialogue>
<scene_description>Just the thing . To bring that anger near the surface . He turns to Kim .</scene_description>
<character>MICHAEL</character>
<dialogue>Well, which is it?</dialogue>
<scene_description>A demand . Sharp . Accusing . She does n't like that .</scene_description>
<character>MICHAEL</character>
<dialogue>You gon na tell me Daddy thought this one up? All of a sudden, I'm the only jerk alive who can help him deal with the press?</dialogue>
<scene_description>She 's trapped . Angry , scared . A deer in headlights .</scene_description>
<character>MICHAEL</character>
<dialogue>Why do n't you start being honest for one fucking sec.</dialogue>
<character>JULIANNE</character>
<dialogue>Michael!</dialogue>
<character>KIMMY</character>
<parenthetical>( near tears . )</parenthetical>
<dialogue>I am honest!</dialogue>
<scene_description>Silence .</scene_description>
<character>KIMMY</character>
<dialogue>All of a sudden, I'm supposed to drop out of school, forget my family, forget my career, forget all the plans I had for my life.</dialogue>
<character>MICHAEL</character>
<dialogue>Well, forgive me for screwing up your plans!</dialogue>
<scene_description>He ca n't even believe he 's hearing this .</scene_description>
<character>MICHAEL</character>
<dialogue>I'm sure glad I'm hearing all this now, before it's too late!</dialogue>
<character>KIMMY</character>
<dialogue>What is that sup.</dialogue>
<character>MICHAEL</character>
<dialogue>And what am I supposed to do with my life, huh? I am 28 years old! I work in a low - paying, low - status, zero - respect job which, unfortunately, I happen to fucking love. How inconvenient.</dialogue>
<scene_description>Shrugs .</scene_description>
<character>MICHAEL</character>
<dialogue>No problem. A little bullshit about Daddy's `` needs,'' and presto, I'm a lap dog in high society.</dialogue>
<character>JULIANNE</character>
<parenthetical>( softly . )</parenthetical>
<dialogue>Michael, it sounds like a wonderful opportun.</dialogue>
<character>MICHAEL</character>
<parenthetical>( whips around . )</parenthetical>
<dialogue>Does it, really? How come you never took some sell - out establishment job? You had plenty of chances!</dialogue>
<scene_description>Glares in her eyes .</scene_description>
<character>MICHAEL</character>
<dialogue>I'll tell you why. Because that is n't you. And it is n't me, either! We're the same person!</dialogue>
<scene_description>Back to Kim .</scene_description>
<character>MICHAEL</character>
<dialogue>What a sweet little picture. Mommy and Daddy are n't losing a daughter, they're gaining a eunuch!</dialogue>
<character>KIMMY</character>
<dialogue>Well, if that's the way you f.</dialogue>
<character>MICHAEL</character>
<dialogue>Damn straight, it's how I feel! What's their wedding gift, a little gold collar that says `` Mikey - poo''? Or do I have to change my name to `` Binky''?</dialogue>
<scene_description>She 's crying now . Real tears on her face .</scene_description>
<character>MICHAEL</character>
<dialogue>Great! Tears! The big equalizer. You wait till two days before the wedding to drop this on me, and I'm just supposed to roll over and drool!</dialogue>
<scene_description>She is sobbing now . She ca n't help herself . Which makes him totally crazy . He jumps up .</scene_description>
<character>MICHAEL</character>
<dialogue>Fine. I'm an insensitive, chauvinist asshole, and you're well rid of m.</dialogue>
<character>KIMMY</character>
<dialogue>MICHAEL!</dialogue>
<scene_description>A wrenching cry from her heart . It stops him cold . And before Julianne 's astonished eyes , Kimmy reaches out a trembling hand .</scene_description>
<character>KIMMY</character>
<dialogue>Michael, you are so.</dialogue>
<scene_description>Choking back the sobs .</scene_description>
<character>KIMMY</character>
<dialogue>so right. And I am so very wrong.</dialogue>
<scene_description>Michael blinks . Julianne blinks . For different reasons .</scene_description>
<character>KIMMY</character>
<dialogue>We ca n't go down two roads. And still be together.</dialogue>
<scene_description>Her fingers stretch , beckoning .</scene_description>
<character>JULIANNE</character>
<dialogue>Uh, Kimmy?</dialogue>
<character>KIMMY</character>
<parenthetical>( ignores her . )</parenthetical>
<dialogue>We settled this. And I reneged. That was n't fair.</dialogue>
<scene_description>Please , please , take my hand .</scene_description>
<character>KIMMY</character>
<dialogue>You have to forgive me, and forget this ever happened.</dialogue>
<scene_description>People are watching , staring . These two see only each other .</scene_description>
<character>KIMMY</character>
<dialogue>or I'll die.</dialogue>
<scene_description>A frozen , forever moment . He steps to her . LIFTS her up in his arms . Into the deepest , most heartfelt KISS . And as she clings to him , people begins to APPLAUD , and whistle , and laugh . Julianne . In her pretty dress . Closes her eyes .</scene_description>
</scene>
<scene>
<stage_direction>INT.JULIANNE'S HOTEL ROOM - NIGHT</stage_direction>
<scene_description>Julianne in her nightshirt , her back to us , sobbing into her cellular as she paces the room .</scene_description>
<character>JULIANNE</character>
<dialogue>see that's what I never counted on! I never heard of a brilliant moron before!</dialogue>
<scene_description>We CLOSE as she WHIPS around , startling us with her grotesque day - glo PURPLE face mask . The green was better .</scene_description>
<character>JULIANNE</character>
<dialogue>I mean, the little twerp GROVELED!</dialogue>
<scene_description>Losing it . We know the drill .</scene_description>
<character>JULIANNE</character>
<dialogue>SHE IS SO WRONG FOR HIM!</dialogue>
<scene_description>Clutching the phone .</scene_description>
<character>JULIANNE</character>
<dialogue>Michael and I are the same person! Self - absorbed and imperfect and vaguely loveable! We deserve each other!</dialogue>
<scene_description>Tears are flowing . Which , over this mask , is not a pretty sight .</scene_description>
<character>JULIANNE</character>
<dialogue>I'm out of hope, I'm out of sneaky ideas, I'm at the end of my rapidly - fraying hysterical little rope! Help m.</dialogue>
<scene_description>She TRIPS over an open suitcase , and DISAPPEARS from frame . The THUD is slightly alarming .</scene_description>
<character>JULIANNE</character>
<parenthetical>( O.S . )</parenthetical>
<dialogue>God, I hate this hotel.</dialogue>
<scene_description>HOLD . On nothing is particular .</scene_description>
<character>JULIANNE</character>
<parenthetical>( O.S . )</parenthetical>
<dialogue>And I hate talking to your machine!</dialogue>
</scene>
<scene>
<stage_direction>INT. JULIANNE'S ROOM - EARLY MORNING</stage_direction>
<scene_description>REAR VIEW of Julianne asleep on the floor , sunlight streaming in . A soft knocking on a door , somewhere nearby . She barely stirs . The knock becomes a strong RAPPING , and she fights for conscious - ness . Her back still to us , she . rises , STUMBLES to the door , which is now pulsing with an insistent POUNDING , and THROWS it OPEN , as we SNAP to . REVERSE ANGLE . CLOSE on Julianne 's face , still encased in a now - decomposing PURPLE MASK , her eyes SPRINGING wide , she SCREAMS in shock , and we SNAP BACK to . ORIGINAL ANGLE . Digger , watching impassively at the high - strung SHRIEK . In the silence that follows .</scene_description>
<character>DIGGER</character>
<dialogue>You stole my line.</dialogue>
<scene_description>He touches his face , and she realizes !</scene_description>
<character>JULIANNE</character>
<dialogue>Oh, shit!</dialogue>
<scene_description>Starts CLAWING at the overripe mask , but he grabs her wrists .</scene_description>
<character>DIGGER</character>
<dialogue>Chill. We do n't want your face coming off with it.</dialogue>
<character>JULIANNE</character>
<dialogue>Chill? Since when do you say ch.</dialogue>
<character>DIGGER</character>
<dialogue>When I'm talking to children.</dialogue>
<scene_description>She looks in his eyes . Realizing at last .</scene_description>
<character>JULIANNE</character>
<dialogue>You flew all the way h.</dialogue>
<character>DIGGER</character>
<dialogue>I noticed. I'm on the noon back. We have this thing with George's family in the Hamptons.</dialogue>
<character>JULIANNE</character>
<parenthetical>( soft . )</parenthetical>
<dialogue>You're butting in.</dialogue>
<scene_description>He still holds her wrists . She brings one of his hands to her lips . Kisses his knuckles .</scene_description>
<character>JULIANNE</character>
<parenthetical>( softer . )</parenthetical>
<dialogue>I really resent this.</dialogue>
</scene>
<scene>
<stage_direction>INT. BATHROOM - MORNING</stage_direction>
<scene_description>Julianne seated at the sink , staring into the mirror , as Digger gently applies soup , cloth and water to easing away the mask . A paleontologist restoring a Bronze Age artifact . By the side of the half - filled sink , rests her plugged - in curling iron .</scene_description>
<character>JULIANNE</character>
<dialogue>What I mean, when I say annoyingly perfect, is that there is nothing annoying about her perfection. It is vulnerable and endearing. And that is annoying as shit.</dialogue>
<character>DIGGER</character>
<dialogue>You like her.</dialogue>
<character>JULIANNE</character>
<dialogue>If I did n't have to hate her, I'd adore her.</dialogue>
<scene_description>She looks up at him and WINCES , as the movement makes him scrape her face . He 's sorry .</scene_description>
<character>JULIANNE</character>
<dialogue>Last night, she was crying, these big, real tears, when she thought she'd lost him. It was like there was a knife in her heart.</dialogue>
<scene_description>Looking in his eyes . Needs him to hear .</scene_description>
<character>JULIANNE</character>
<dialogue>and I put it there. I hated myself, I grieved for her, I could n't enjoy one second of it! And then, when it did n't work.</dialogue>
<scene_description>Can you believe this ?</scene_description>
<character>JULIANNE</character>
<dialogue>I was devastated.</dialogue>
<character>DIGGER</character>
<parenthetical>( softly . )</parenthetical>
<dialogue>Go figure you.</dialogue>
<character>JULIANNE</character>
<dialogue>Because I realized. When I see him say `` I do,'' that knife will be in my heart. And it will be there every.</dialogue>
<scene_description>She holds his wrists now . To stop him . To plead for understanding . Forgiveness .</scene_description>
<character>JULIANNE</character>
<dialogue>every time I think of him, forever, which could be a lot.</dialogue>
<scene_description>She almost choked on that last part . So she composes herself .</scene_description>
<character>JULIANNE</character>
<dialogue>You watch a guy caress his girlfriend's butt. You see an Old Spice commercial. Sentimental moments are everywhere, when you're in the right frame of mind.</dialogue>
<scene_description>She swallows hard . Fights for a grip on her determination .</scene_description>
<character>JULIANNE</character>
<dialogue>There are 18,250 nights in the next 50 years.</dialogue>
<character>DIGGER</character>
<dialogue>You've been working on this, huh?</dialogue>
<character>JULIANNE</character>
<dialogue>and having `` done the right thing'' will only really be comforting, oh, maybe, five, six times.</dialogue>
<scene_description>She sets her jaw .</scene_description>
<character>JULIANNE</character>
<dialogue>This is my whole life's happiness. I have to be ruthless.</dialogue>
<character>DIGGER</character>
<parenthetical>( quietly . )</parenthetical>
<dialogue>And you believe that.</dialogue>
<character>JULIANNE</character>
<parenthetical>( unconvincing . )</parenthetical>
<dialogue>Sure.</dialogue>
<scene_description>His eyes are gentle and merciless at once . No way she gets off this hook .</scene_description>
<character>JULIANNE</character>
<dialogue>He was in love with me every day for nine years. I can make him happier than she can.</dialogue>
<character>DIGGER</character>
<dialogue>It's not his happiness you're feeling guilty about.</dialogue>
<character>JULIANNE</character>
<parenthetical>( proudly . )</parenthetical>
<dialogue>I do n't know the meaning of the word guilt!</dialogue>
<character>DIGGER</character>
<dialogue>Impressive.</dialogue>
<character>JULIANNE</character>
<dialogue>I am breaking her heart in the short run, but doing her a gigantic favor! She would be miserable tagging along after this insensitive doofus!</dialogue>
<character>DIGGER</character>
<dialogue>The man you love.</dialogue>
<character>JULIANNE</character>
<dialogue>Beyond reason. The feminist warrior will rise up in this kid, and she'll be standing over his sleeping form with a butcher knife, selecting from a short list of body parts!</dialogue>
<character>DIGGER</character>
<dialogue>Someday she'll thank you.</dialogue>
<character>JULIANNE</character>
<dialogue>Let's not get carried away.</dialogue>
<scene_description>And the defenses drain from her clay - ravaged features . The real Julianne is glimpsed .</scene_description>
<character>JULIANNE</character>
<dialogue>I'd settle for. Someday, I'll forgive myself.</dialogue>
<scene_description>For ?</scene_description>
<character>JULIANNE</character>
<dialogue>For doing this terrible thing.</dialogue>
<scene_description>Her eyes tear up .</scene_description>
<character>JULIANNE</character>
<dialogue>Which, by the way, I ca n't figure out how to do.</dialogue>
<scene_description>As the tears fall , he wipes at them , discovering .</scene_description>
<character>DIGGER</character>
<dialogue>Jesus. You're supposed to take your make - up off before you apply the m.</dialogue>
<character>JULIANNE</character>
<dialogue>I KNOW THAT! I WAS DISTRACTED BY GRIEF!</dialogue>
<scene_description>Oh .</scene_description>
<character>JULIANNE</character>
<dialogue>Guess what I brushed my teeth with last night?</dialogue>
<scene_description>He thinks about this . Following her eyes to the toiletries kit , he browses for a moment .</scene_description>
<character>DIGGER</character>
<dialogue>Zit cream?</dialogue>
<character>JULIANNE</character>
<dialogue>I wish.</dialogue>
<character>DIGGER</character>
<dialogue>Neosporin?</dialogue>
<character>JULIANNE</character>
<dialogue>Try less appropriate.</dialogue>
<character>DIGGER</character>
<dialogue>Ben Gay.</dialogue>
<character>JULIANNE</character>
<dialogue>That was Thursday.</dialogue>
<scene_description>He stops on that note .</scene_description>
<character>DIGGER</character>
<dialogue>Elmer's Glue?</dialogue>
<character>JULIANNE</character>
<dialogue>DO N'T BE RIDICULOUS, WE'RE HAVING A SERIOUS CONVERSATION!</dialogue>
<scene_description>She 's hysterical .</scene_description>
<character>DIGGER</character>
<dialogue>I give.</dialogue>
<character>JULIANNE</character>
<dialogue>I ca n't even say it.</dialogue>
<scene_description>Now . He 's curious .</scene_description>
<character>JULIANNE</character>
<dialogue>A hint. The first word is `` Preparation.'' Then comes a letter of the alphabet, perilously close to G.</dialogue>
<scene_description>She reaches to test her curling iron , BURNS her finger , SHIT ! KNOCKING the appliance into the half - filled sink . She LUNGES for it , and a terrified Digger GRASPS her arm .</scene_description>
<character>DIGGER</character>
<dialogue>Considering the circumstances, I'm not wholly against suicide.</dialogue>
<scene_description>Huh ?</scene_description>
<character>DIGGER</character>
<dialogue>Just not by electrocution in front of me!</dialogue>
<scene_description>Oh .</scene_description>
<character>DIGGER</character>
<dialogue>I've got this noon flight.</dialogue>
<scene_description>He reaches to pull the plug from the wall , and now she LUNGES to grab his arm , slipping , her face falling forward , stopping an inch above the sink .</scene_description>
<character>JULIANNE</character>
<dialogue>How do you know you can touch that plug? Are you a licensed contractor?</dialogue>
<character>DIGGER</character>
<dialogue>What do you suggest?</dialogue>
<scene_description>She looks from the plug down the cord , to the submerged curling iron . And back .</scene_description>
<character>JULIANNE</character>
<dialogue>Maybe they just seal off this room. They have others.</dialogue>
<scene_description>He 's staring at her . Sweet , but intense .</scene_description>
<character>DIGGER</character>
<dialogue>I did n't mean about that.</dialogue>
<scene_description>Oh . Again .</scene_description>
<character>JULIANNE</character>
<dialogue>If I hear the words `` tell the truth,'' or any paraphrase thereof, I dive into the sink and pull you with me.</dialogue>
<scene_description>Looking at her . Looking at her .</scene_description>
<character>DIGGER</character>
<dialogue>Let's go meet Michael. I'll wait downstairs.</dialogue>
</scene>
<scene>
<stage_direction>INT. ARMANI - MORNING</stage_direction>
<scene_description>Julianne has cleaned up pretty good . She sits with Digger on a fashion - fabric sofa . They are side - by - side , studying something with equal concentration . And slight concern .</scene_description>
<character>DIGGER</character>
<dialogue>I suppose it's too late to start over.</dialogue>
<character>JULIANNE</character>
<dialogue>It's too late to start over.</dialogue>
<scene_description>PULL BACK to reveal Michael in his wedding tux , submitting to a final fitting from a stylish fitter .</scene_description>
<character>MICHAEL</character>
<dialogue>You guys are heartless, my bride picked this out.</dialogue>
<character>JULIANNE</character>
<dialogue>Like I said, dazzling.</dialogue>
<character>DIGGER</character>
<dialogue>Is she going to dress you every day?</dialogue>
<scene_description>Michael smiles over . Digger smiles back . They live each other .</scene_description>
<character>MICHAEL</character>
<dialogue>Yeah, it's in the contract.</dialogue>
<character>DIGGER</character>
<parenthetical>( softly . )</parenthetical>
<dialogue>Well, then, I'll take it up with her.</dialogue>
<scene_description>Michael motions , okay , c'mon over . Digger rises , goes to Michael , the fitter steps back as Digger shows him .</scene_description>
<character>DIGGER</character>
<dialogue>The cut here, here. this line.</dialogue>
<scene_description>Fingers lightly traveling over the lapel , the side - stitching , the cloth straight down the spine .</scene_description>
<character>DIGGER</character>
<dialogue>trouser width, this is all classic. Which means safe, something I'd wear.</dialogue>
<character>MICHAEL</character>
<dialogue>I should look different.</dialogue>
<character>DIGGER</character>
<dialogue>You should look like you dressed yourself.</dialogue>
<scene_description>Yes ? Michael 's grin is back . Playful and friendly .</scene_description>
<character>MICHAEL</character>
<dialogue>And I'm supposed to respect your fashion tips, because you're what, a New Yorker?</dialogue>
<character>DIGGER</character>
<parenthetical>( quiet smile . )</parenthetical>
<dialogue>Something like that.</dialogue>
<scene_description>Julianne loves that the boy are getting on .</scene_description>
<character>MICHAEL</character>
<parenthetical>( means this . )</parenthetical>
<dialogue>Long trip. Pretty nice of you to come.</dialogue>
<character>DIGGER</character>
<dialogue>Well, I'm close to her. I wanted to meet the one that got away.</dialogue>
<scene_description>Said so naturally . That embarrasses Michael , who looks down , his smile suddenly awkward .</scene_description>
<character>DIGGER</character>
<dialogue>What?</dialogue>
<character>MICHAEL</character>
<dialogue>I'm just glad someone finally put this thing in its proper perspective.</dialogue>
<scene_description>Steals a glance at Julianne . She rolls her eyes . What a goofball , my outrageous friend .</scene_description>
<character>MICHAEL</character>
<parenthetical>( to Digger . )</parenthetical>
<dialogue>Stay, huh?</dialogue>
<character>DIGGER</character>
<dialogue>I honestly wish I could.</dialogue>
<character>MICHAEL</character>
<dialogue>I'll call George's parents. Tell them I need a best man who actually looks after me.</dialogue>
<scene_description>Julianne comes over .</scene_description>
<character>JULIANNE</character>
<parenthetical>( softly . )</parenthetical>
<dialogue>They'd say that's my job.</dialogue>
<scene_description>She runs her hands over his jacket , smoothing it everywhere . With tenderness that approaches transparency . Glances back at Digger .</scene_description>
<character>JULIANNE</character>
<dialogue>I'll take it home from here.</dialogue>
<scene_description>Pinches Michael 's ear . Looks in his eyes .</scene_description>
<character>DIGGER</character>
<dialogue>Two words.</dialogue>
<character>JULIANNE</character>
<dialogue>Major. Dish.</dialogue>
<character>DIGGER</character>
<dialogue>Manicure.</dialogue>
<scene_description>She looks down . Michael 's nails are unclipped , with layers of impacted dirt . She touches his fingertips , a little more softly than she may have intended .</scene_description>
<character>DIGGER</character>
<dialogue>Fly.</dialogue>
<scene_description>Everyone looks down . She ZIPS Michael up .</scene_description>
<character>MICHAEL</character>
<parenthetical>( to Digger . )</parenthetical>
<dialogue>You do n't miss much.</dialogue>
<character>DIGGER</character>
<dialogue>Part of being a New Yorker.</dialogue>
</scene>
<scene>
<stage_direction>INT. HAIR SALON - MORNING</stage_direction>
<scene_description>Cutting edge salon . Loud , PULSING MUSIC . Digger and Michael in adjacent chairs , heads back , each smoking impressive cigars as their hair is styled . Digger 's stylist is a hot trashy female . Michael 's is a tall , flamboyant male in a day - glo vest . Each man has one hand soaking , the other being worked on by a manicurist , so Julianne goes from one to the other , removing their cigars so they can exhale . A seraglio feel to the way she does this . Now she 's arguing with Michael 's stork - like stylist . We ca n't hear over the music , but she keeps tugging on Michael 's hair , pretty passionate about her point of view . Suddenly , she GRABS the scissors to do it herself , and Michael . BOLTS out of the chair . WHOA !</scene_description>
</scene>
<scene>
<stage_direction>EXT. O'HARA AIRPORT - DAY</stage_direction>
<scene_description>Skycaps , guests of impatient travelers , a bus offloading forty Japanese tourists . A taxi cuts off a van to reach the curb . Out jumps . Michael . Opening the door for Digger and Julianne . Digger says something , Michael gives him a strong HUG . Julianne raises one finger to Michael , back in a second . Leads Digger off by the hand . CLOSE on them now . Alone in the throng .</scene_description>
<character>JULIANNE</character>
<dialogue>Bye, handsome.</dialogue>
<scene_description>Digger just stares at her . Those maddening judgemental eyes .</scene_description>
<character>JULIANNE</character>
<dialogue>You're going to say it, are n't you?</dialogue>
<character>DIGGER</character>
<dialogue>Tell him you love him. With all your heart.</dialogue>
<character>JULIANNE</character>
<dialogue>I'm taking my next book to Viking.</dialogue>
<character>DIGGER</character>
<dialogue>Tell him you've loved him for nine years, but you were afraid to realize it.</dialogue>
<character>JULIANNE</character>
<dialogue>I'm moving this book to Viking.</dialogue>
<character>DIGGER</character>
<dialogue>Tell him you're afraid of love. Afraid of needing.</dialogue>
<character>JULIANNE</character>
<dialogue>Needing.</dialogue>
<character>DIGGER</character>
<dialogue>To belong to someone.</dialogue>
<scene_description>He touches her hair .</scene_description>
<character>DIGGER</character>
<dialogue>We all do, beautiful. I'm sorry about that.</dialogue>
<scene_description>Staring in her eyes . Even Julianne has run out of words .</scene_description>
<character>DIGGER</character>
<dialogue>Tell him you know this is the worst, dumbest, cruelest moment to do this to him. But there it is, and he has to choose.</dialogue>
<character>JULIANNE</character>
<dialogue>And what will he do?</dialogue>
<scene_description>Digger is n't smiling . His voice low , beneath the crowd .</scene_description>
<character>DIGGER</character>
<dialogue>He'll choose Kim. You'll stand by her at her wedding. You'll kiss him good - bye. And you'll go home.</dialogue>
<scene_description>He holds up one finger . Almost touching her nose .</scene_description>
<character>DIGGER</character>
<dialogue>This is what you've come to do. Now do it.</dialogue>
<scene_description>Wow . She looks frightened and moved , all at the same time . She kisses him on the lips . And walks away . He watches her go through the crowd . Take Michael 's hand . Lead him back toward the taxi .</scene_description>
</scene>
<scene>
<stage_direction>EXT. SKYLINE CRUISE BOAT - DAY</stage_direction>
<scene_description>The skyline of Chicago moves past us . Slowly . The NBC Tower , Cityfront Center .</scene_description>
<character>MICHAEL</character>
<parenthetical>( O.S . )</parenthetical>
<dialogue>Big weddings are so strange.</dialogue>
<character>JULIANNE</character>
<parenthetical>( O.S . )</parenthetical>
<dialogue>You keep saying that.</dialogue>
<scene_description>Up ahead , the Wrigley Building draws closer .</scene_description>
<character>MICHAEL</character>
<parenthetical>( O.S . )</parenthetical>
<dialogue>Kim has all this stuff to do, I hardly see her.</dialogue>
<character>JULIANNE</character>
<parenthetical>( O.S . )</parenthetical>
<dialogue>Well, you've got the rest of your lives.</dialogue>
<scene_description>REVERSE ANGLE . they lean on the rail of a cruise boat , easing down the Chicago River . Wind - blown . Close together .</scene_description>
<character>JULIANNE</character>
<dialogue>Getting your bed made. Every day.</dialogue>
<scene_description>They smile at each other . Seem so comfortable together .</scene_description>
<character>JULIANNE</character>
<dialogue>You miss her, huh?</dialogue>
<character>MICHAEL</character>
<dialogue>No. I've got you.</dialogue>
<scene_description>She nods . That you have . Staring in her eyes .</scene_description>
<character>MICHAEL</character>
<dialogue>Do n't you throw up on boat?</dialogue>
<character>JULIANNE</character>
<dialogue>If you like.</dialogue>
<scene_description>And she LURCHES over the railing , emitting a BARRAGE of incredibly disgusting sounds , her feet FLAILING in mid - air . He laughs , as he pulls her back down to the deck . Of course , it was all a joke . He brushes back her hair . Sighs . Stares .</scene_description>
<character>MICHAEL</character>
<dialogue>I've been thinking a lot the last couple days. About us, actually.</dialogue>
<character>JULIANNE</character>
<parenthetical>( casual . )</parenthetical>
<dialogue>Have you.</dialogue>
<scene_description>He has .</scene_description>
<character>JULIANNE</character>
<dialogue>Well. There's a lot of memories to choose from.</dialogue>
<character>MICHAEL</character>
<dialogue>It's more than that.</dialogue>
<scene_description>That tightens her throat pretty good . When she tries to speak , out comes a dry CROAK that makes him laugh again . Softer , this time .</scene_description>
<character>MICHAEL</character>
<dialogue>I mean, it's embarrassing to say it this way, but.</dialogue>
<scene_description>He stops . Her eyes WIDEN in a burlesque of anticipation . So he smiles . She knows how to put him at ease .</scene_description>
<character>MICHAEL</character>
<dialogue>You've sort of been. y' know, the woman in my life.</dialogue>
<character>JULIANNE</character>
<parenthetical>( straight back . )</parenthetical>
<dialogue>You've been the man in mine.</dialogue>
<scene_description>Passing under the Michigan Avenue Bridge . No one knows quite what to say .</scene_description>
<character>MICHAEL</character>
<dialogue>And I was thinking this could be our last time. Alone. Together. You know?</dialogue>
<character>JULIANNE</character>
<dialogue>Except for the hot affairs we'll have twice a year.</dialogue>
<character>MICHAEL</character>
<dialogue>Except for that.</dialogue>
<scene_description>She 's smiling so easily . Who would guess her stomach is double - knotted .</scene_description>
<character>MICHAEL</character>
<dialogue>I can hardly wait for your wedding.</dialogue>
<character>JULIANNE</character>
<dialogue>Me either.</dialogue>
<scene_description>She watches his surprise .</scene_description>
<character>MICHAEL</character>
<dialogue>Boy, I never thought I'd hear you say that. Can I come?</dialogue>
<scene_description>She holds herself together . Real soft with .</scene_description>
<character>JULIANNE</character>
<dialogue>I could n't have it without you.</dialogue>
<scene_description>He 's glad to hear that . And then .</scene_description>
<character>MICHAEL</character>
<dialogue>It's normal to have. second thoughts, huh? To be scared.</dialogue>
<scene_description>Is this a change of direction ? Or is it the direction she 's been praying for .</scene_description>
<character>JULIANNE</character>
<dialogue>I would n't know. I never had that many first thoughts.</dialogue>
<character>MICHAEL</character>
<dialogue>I mean, you commit to a wedding. And then it seems like. this. momentum, you know? You forget you. chose it.</dialogue>
<scene_description>She nods . Understands .</scene_description>
<character>MICHAEL</character>
<dialogue>You and I. I mean, in all our relationships with other people. We did n't use the word `` love'' a lot, did we?</dialogue>
<scene_description>We did n't .</scene_description>
<character>MICHAEL</character>
<dialogue>Kimmy says. When you love someone. You say it, you say it out loud. Right now. Or the moment.</dialogue>
<scene_description>Long beat .</scene_description>
<character>MICHAEL</character>
<dialogue>passes you by, yeah. She's a smart girl.</dialogue>
<scene_description>Off in distance , the Centennial Fountain SHOOTS an eight - foot JET of water across the river . For Michael and Julianne it goes unnoticed .</scene_description>
<character>MICHAEL</character>
<dialogue>We do n't have a song.</dialogue>
<scene_description>Hmm ?</scene_description>
<character>MICHAEL</character>
<dialogue>Kimmy and I. We do n't have a song. Is that a bad sign?</dialogue>
<scene_description>All Julianne can do is shrug . Then .</scene_description>
<character>MICHAEL</character>
<parenthetical>( sings , softly . )</parenthetical>
<dialogue>Someday, when I'm awfully low. And the world is cold.</dialogue>
<scene_description>She does n't want to cry . So she puts all the strength she has into fighting it back .</scene_description>
<character>MICHAEL</character>
<parenthetical>( sings . )</parenthetical>
<dialogue>I will feel a glow just Thinking of you. And the way you look. Tonight.</dialogue>
<scene_description>He stops . Smiles that sweet , boyish smile .</scene_description>
<character>MICHAEL</character>
<dialogue>Dance card filled?</dialogue>
<character>JULIANNE</character>
<dialogue>I'll check. I have it on powerbook, these days.</dialogue>
<scene_description>He holds up his arms . And she moves into them . He begins to dance with her , turning so slowly . And , yes , people are watching .</scene_description>
<character>MICHAEL</character>
<parenthetical>( sings in her ear . )</parenthetical>
<dialogue>With each word, your tenderness grows, Tearing my fears apart.</dialogue>
<scene_description>She holds him closer . Bites her lip .</scene_description>
<character>MICHAEL</character>
<parenthetical>( sings . )</parenthetical>
<dialogue>And that laugh That wrinkles your nose, Touches my foolish heart.</dialogue>
<scene_description>He stops . He looks at her . She 's still in his arms .</scene_description>
<character>MICHAEL</character>
<dialogue>Where did we first hear th.</dialogue>
<character>JULIANNE</character>
<parenthetical>( straight back . )</parenthetical>
<dialogue>The night we met.</dialogue>
<scene_description>Right to his eyes .</scene_description>
<character>JULIANNE</character>
<dialogue>The night we fell in love.</dialogue>
<scene_description>He does n't know what to do with that .</scene_description>
<character>MICHAEL</character>
<dialogue>So we heard it. like, right that. that first.</dialogue>
<character>JULIANNE</character>
<dialogue>We danced to it. Just like this.</dialogue>
<scene_description>Just like this . A long beat . And he has to say .</scene_description>
<character>MICHAEL</character>
<dialogue>I wo n't lose you, will I?</dialogue>
<scene_description>Her eyes close . Then open . Utterly lost in his .</scene_description>
<character>JULIANNE</character>
<dialogue>No. Because I wo n't let you.</dialogue>
</scene>
<scene>
<stage_direction>INT. WALLACE ENTERPRISES - DAY</stage_direction>
<scene_description>Julianne in crisp chalk - stripe trousers and a buttoned - up dress shirt . Her coat slung over her shoulder , she wanders through the Saturday - deserted office space . Desks , cubicles , monitors , silent . A row of executive offices standing empty , waiting for the custodian . Turning a corner , we hear . life , at the end of the hallway . A grand conference room with a glass wall . Walter , in shirtsleeves , running a strategy meeting for five . DEIDRE , his personal secretary , clicking every word into her laptop at warp speed . Walter sees Julianne through the glass . A comic take of pleased surprise . He comes out to greet her .</scene_description>
<character>WALTER</character>
<dialogue>I thought Michael was picking me up.</dialogue>
<character>JULIANNE</character>
<dialogue>I told him, get the important stuff, Kim's ring. I'll collect the inconsequentials.</dialogue>
<scene_description>Meaning , you . They smile at each other . Then .</scene_description>
<character>WALTER</character>
<dialogue>Kim said, when he turned down the job, there was no friction.</dialogue>
<scene_description>Julianne thinks back .</scene_description>
<character>JULIANNE</character>
<dialogue>Friction. No.</dialogue>
<scene_description>He smiles at her line reading . But his mind is always probing .</scene_description>
<character>WALTER</character>
<dialogue>I have n't caused. a problem, have I?</dialogue>
<character>JULIANNE</character>
<dialogue>Nobody has. So far.</dialogue>
<scene_description>Her bright grin . His eyes linger on it .</scene_description>
<character>WALTER</character>
<dialogue>Well, you're a little early.</dialogue>
<character>JULIANNE</character>
<dialogue>I need to make some calls. Could I use. your office?</dialogue>
</scene>
<scene>
<stage_direction>INT. WALTER'S OFFICE - DAY</stage_direction>
<scene_description>Julianne enters the spacious corner office , high above the city . Closes the door , quietly , behind her . So anxious , she is practically hyperventilating . She goes , slowly to the vacant cherrywood desk . Its computer and monitor standing silent . She is stalking it , like a deadly animal . And then . She is there . Talking to herself , her own desperate support network .</scene_description>
<character>JULIANNE</character>
<parenthetical>( softly . )</parenthetical>
<dialogue>You can do this.</dialogue>
<scene_description>Sacred , filled with doubt and conflict . Her hands clutch at each other . Then , one flicks out . And the computer goes ON . The screen GLOWS . Waits for her . Her mouth is sand , her stomach water . She pulls the paper from her pocket . looks at it . Looks to the monitor . And begins . To type .</scene_description>
<character>JULIANNE</character>
<parenthetical>( mumbling to herself . )</parenthetical>
<dialogue>E - mail address. To Ben Isaacson, Senior Editor, Sports Illustrated, from. Walter Wallace.</dialogue>
<scene_description>And stops . Her heart is thumping .</scene_description>
<character>JULIANNE</character>
<dialogue>See, you can do it. It's easy.</dialogue>
<scene_description>Does n't look easy . Licks her lips .</scene_description>
<character>JULIANNE</character>
<dialogue>You do it fast, it's over. Like it never happened.</dialogue>
<scene_description>She sits . And recites as she types .</scene_description>
<character>JULIANNE</character>
<dialogue>Ben. I need a favor.</dialogue>
<scene_description>Here we go . This is it . Types .</scene_description>
<character>JULIANNE</character>
<dialogue>My daughter's every happiness. And my wife's. And, least of all, my own, are in your hands.</dialogue>
<scene_description>Nods , okay . Breathing hard . Types .</scene_description>
<character>JULIANNE</character>
<dialogue>Knowing you value our friendship, and the. cooperative relationship between our companies. I am hopeful of your help.</dialogue>
<scene_description>Touch , that . Thinks . It has to be . Types .</scene_description>
<character>JULIANNE</character>
<dialogue>I have offered Mike O'Neal, my new son - in - law, a great opportunity in my company. This would also enable my daughter to settle in Chicago, near us, and pursue her dreams and plans.</dialogue>
<scene_description>Almost there . Almost . Types .</scene_description>
<character>JULIANNE</character>
<dialogue>To his own detriment, as well as ours, Michael will not accept our offer. While he works for you.</dialogue>
<scene_description>She stands up . Stares at the screen . Walks away . Walks back . Still standing , types .</scene_description>
<character>JULIANNE</character>
<dialogue>My daughter joins me in this plea for your cooperation and discretion.</dialogue>
<scene_description>Is there a SOUND ? Outside the door . She HOVERS over the ESCAPE key . Waits . Waits . Silence . Types .</scene_description>
<character>JULIANNE</character>
<dialogue>With gratitude. For your understanding. Walter.</dialogue>
<scene_description>She hits a KEY . The screen goes BLANK . The computer asks . DO YOU WISH TO SEND ? She tells the computer .</scene_description>
<character>JULIANNE</character>
<dialogue>Are you crazy? Get him fired?</dialogue>
<scene_description>Types NO . The computer asks HOLD FOR LATER ? And she types YES .</scene_description>
<character>JULIANNE</character>
<dialogue>Just till tonight when I bring him back. To look for.</dialogue>
<scene_description>She glances to her huge bag . Rummages through , pulling out a manila folder . Lays it by the blank computer . Fans out a few pages in a natural , disorderly way . Takes a step back . And stares . Struck to her gut . But when she has done .</scene_description>
</scene>
<scene>
<stage_direction>INT. CONFERENCE ROOM - DAY</stage_direction>
<scene_description>Walter alone with Deidre now , signing a stack of documents , as she efficiently places one after another before him . When he glances up , he sees Julianne wandering the halls . Stands , tells his secretary .</scene_description>
<character>WALTER</character>
<parenthetical>( going through stack . )</parenthetical>
<dialogue>Off to rehearsal. Send out this, and this, not this, this, and. that's it.</dialogue>
<scene_description>Slips on his coat . Oh . and by the way .</scene_description>
<character>WALTER</character>
<dialogue>I'm holding four or five E - mails I wrote over lunch.</dialogue>
<scene_description>On his way through the door .</scene_description>
<character>WALTER</character>
<dialogue>Send'em out.</dialogue>
</scene>
<scene>
<stage_direction>INT. CHAPEL, UNIVERSITY OF CHICAGO - DAY</stage_direction>
<scene_description>Julianne and Walter enter the rear of a striking Gothic CHAPEL , pastel light slanting in through stained glass windows . We now see the full effect of her outfit , a man 's - style chalk stripe SUIT , tailored to fit her body , set off by a bold silk tie . Solid dynamite . She hangs back , while Walter proceeds down the vaulted nave toward . Michael , Kimmy , Isabelle and Joe , who stand casually joking by the altar . Scattered around are assorted groomsmen , ushers , an obvious flowergirl . Coming toward us , up the aisle . the MINISTER , early 40s , lean and quite attractive . Mandy is HANGING on his arm , pressing her body against him as they walk , murmuring urgent murmurs close to his ear . He 's a really good sport , and really uncomfortable . Sammy is walking backwards , right in front of them , DROPS her bag , and BENDS to retrieve it , as if oblivious to major cleavage on immediate display . Julianne is so lost in her own anxiety , she does n't even notice , until .</scene_description>
<character>MANDY</character>
<dialogue>Reverend Dyer, this is Kimberly's somewhat butch maid of honor.</dialogue>
<character>SAMMY</character>
<dialogue>Mr. Julianne Potter, prominent New York drag queen.</dialogue>
<scene_description>Today , the girls ' voices are charmingly musically Southern , with none of the extreme accents we heard at the shower . The minister extends his hand .</scene_description>
<character>MINISTER</character>
<dialogue>Billy Dyer, Julianne. And I love the suit.</dialogue>
<scene_description>She shakes his hand , smiles graciously , but her eyes flick to Michael , now approaching up the aisle . The girls lead the minister away . Michael arrives . Looks her up and down .</scene_description>
<character>MICHAEL</character>
<parenthetical>( softly . )</parenthetical>
<dialogue>Takes me back.</dialogue>
<character>JULIANNE</character>
<dialogue>Well.</dialogue>
<scene_description>She smiles . One that glows a little .</scene_description>
<character>JULIANNE</character>
<dialogue>You sang the song. Least I could do was wear the outfit.</dialogue>
<scene_description>He nods .</scene_description>
<character>MICHAEL</character>
<dialogue>Except now you're better - looking.</dialogue>
<scene_description>Oh , yeah ? Yes , ma'am . As she loses herself in his eyes .</scene_description>
<character>MICHAEL</character>
<dialogue>I got the ring.</dialogue>
<scene_description>He pulls the box from his pocket . Somewhere , an ORGAN sounds . And as he is about to hand her the box .</scene_description>
<character>MANDY/SAMMY</character>
<parenthetical>( sing . )</parenthetical>
<dialogue>Swi - i - ng low - ow - ow. Wee - ee - eet Char - i - ot.</dialogue>
<scene_description>Such exquisite two - part harmony , Michael stops to watch .</scene_description>
<character>MANDY/SAMMY</character>
<parenthetical>( sing . )</parenthetical>
<dialogue>Comin', to car - ryyy Me ho - o - o - me.</dialogue>
<scene_description>It is amazing . Soulful vengeful sluts . He is enthralled . Julianne simply impatient . She wants his attention .</scene_description>
<character>JULIANNE</character>
<dialogue>No accents today.</dialogue>
<character>MICHAEL</character>
<dialogue>Yeah, Kim told me they were giving you their Dueling Scarlet's act. Actually, they're sophomores at Juilliard.</dialogue>
<scene_description>She takes the box from his hand . Opens it , as the singing CONTINUES throughout . The ring is delicate hammered gold . One of a kind .</scene_description>
<character>MICHAEL</character>
<dialogue>Will she like it?</dialogue>
<character>JULIANNE</character>
<parenthetical>( whisper . )</parenthetical>
<dialogue>Yes.</dialogue>
<scene_description>She 's staring at the ring .</scene_description>
<character>KIMMY</character>
<parenthetical>( O.S . )</parenthetical>
<dialogue>My groom - person! Your family needs you!</dialogue>
<scene_description>His master 's voice . He gives Julianne a smile . And goes . She 's left with the box . Gazes at the ring . Lifts it out .</scene_description>
<character>MANDY/SAMMY</character>
<parenthetical>( O.S. , singing . )</parenthetical>
<dialogue>Well, I look over yon - der, And what did I see - ee - ee?</dialogue>
<scene_description>Slips it on her left hand . Ring finger .</scene_description>
<character>MANDY/SAMMY</character>
<parenthetical>( O.S. , singing . )</parenthetical>
<dialogue>Comin too car - ryyy. Me ho - o - ome.</dialogue>
<scene_description>Touches it . Turns it on her finger . So many emotions .</scene_description>
<character>MANDY/SAMMY</character>
<parenthetical>( O.S. , singing . )</parenthetical>
<dialogue>It was a hand. Of a - a - angels. Coming' for me - e - ee.</dialogue>
<scene_description>Tries to pull it off .</scene_description>
<character>MANDY/SAMMY</character>
<parenthetical>( O.S. , singing . )</parenthetical>
<dialogue>Comin' for to carry me home.</dialogue>
<scene_description>It wo n't come . Not even close .</scene_description>
</scene>
<scene>
<stage_direction>INT. CRAB HOUSE - NIGHT</stage_direction>
<scene_description>CLOSE on a bowl filled with squares of butter . HEAR the butt of conversation from a rowdy , friendly joint . Julianne 's right hand REACHES to the bowl , fingers trace the rim innocently , then . SLIDE the bowl into Julianne 's lap beneath the table . Her right hand MASSAGES all the butter into a gooey revolving mess . We can pick out familiar voices now , family in distance , the twins closer . As , hidden from view , Julianne brings . her left hand from her pocket . Yep . The ring is still there . The finger already red and swollen from pacicky efforts to pull it off . And as APPLAUSE surrounds us , Julianne . PLUNGES her ring finger into the morass of grease , frantically TEARING at the ring , butter SPLURGING on her pants , everywhere , as we PULL BACK to see . the long table covered with butcher paper , the family at the far end , the twins down here with us , a mug of beer for each place , as team of waiters with heaping platters of CRABS , which they . FLING across the butcher paper , as APPLAUSE continues from everyone but Julianne , who still struggles secretly . As the waiters set huge wooden MALLETS in front of each guest , Joe O'Neal rises , POUNDS the table with his mallet for attention .</scene_description>
<character>JOE</character>
<dialogue>Like to welcome ever ` body to our little rehearsal supper.</dialogue>
<scene_description>He COUGHS , unaccustomed to public speaking . Walter and Isabelle clap and call out support . So Joe lifts his mallet .</scene_description>
<character>JOE</character>
<dialogue>Okay, everyone stand up!</dialogue>
<scene_description>And everyone does . With one exception . Trapped . She JAMS her left hand in her coat pocket , SMEARS her right palm sort of clean on the underside of the table , GRABS her mallet and JUMPS UP .</scene_description>
<character>JOE</character>
<dialogue>To the bride, uh, goes the honor. of cracking the first crab!</dialogue>
<scene_description>Everyone applauses by banging their mallets . Joe RAISES his high . Everybody imitates .</scene_description>
<character>KIMMY</character>
<dialogue>But first, a toast!</dialogue>
<scene_description>And everybody SNATCHES up their beers with their left hands , as Julianne DROPS her mallet with a HORRIFIC CRASH , grabbing her beer , looking up to .</scene_description>
<character>JULIANNE</character>
<parenthetical>( on the spot . )</parenthetical>
<dialogue>I'm right - handed.</dialogue>
<scene_description>A hugely embarrassing half - second . Bailed out by .</scene_description>
<character>KIMMY</character>
<dialogue>To our host, my cuddly Papa Joe.</dialogue>
<scene_description>All turns .</scene_description>
<character>KIMMY</character>
<dialogue>Who taught me to play `` Blue Hawaii.'' On my nose.</dialogue>
<scene_description>With a look at Julianne , Kim sets down her mallet gently , and performs a nasal HUM of the tropical standard , strikingly her nostril repeatedly for vibrato . It is charming , and everybody watches .</scene_description>
</scene>
<scene>
<stage_direction>INT. HOTEL BALLROOM - LATER</stage_direction>
<scene_description>CLOSE on an actual , living , if geriatric , LION . He blinks from his cage , bored as hell . HEAR the surrounding noise , chatter , LOUD Sinatra music , of a very large party . PULL BACK to see . and overdecorated BALLROOM , in dim and dramatic lighting , dripping with the trappings of ANCIENT ROME . The mingling guests are the neatly one hundred females of the wedding party , most of them older women . They are served by wandering well - built ATHLETES in Roman togas or gladiator costumes . PAN TO . Julianne , still in her suit , hiding by a table piled with a carload of grapes . Her left hand still buried in her pocket . The eyes of a hunted animal . From nowhere .</scene_description>
<character>MANDY/SAMMY</character>
<parenthetical>( O.S . )</parenthetical>
<dialogue>Boo!</dialogue>
<scene_description>She JUMPS a foot , both hands FLYING UP , left one awkwardly slamming back into its pocket . The girls have snuck up behind her . They have changed into hot gowns that are really only wide ribbons wrapped around their bodies .</scene_description>
<character>MANDY</character>
<dialogue>I know why you're scared of our party. It's too hip.</dialogue>
<scene_description>Sinatra singing `` Stranger In The Night . '' Hugely - muscled , half - naked black and white studs , serving enchanted blue - haired ladies .</scene_description>
<character>SAMMY</character>
<dialogue>Kimberly wanted to tickle the grandmas, so we figured, give'em a cheap thrill. Walter supplied the decorative touches.</dialogue>
<character>SAMMY</character>
<parenthetical>( points out the jokes . )</parenthetical>
<dialogue>Nose tackle from the Bears. power forward from the Bulls. defenseman from the Black Hawks. my personal favorite, the designated hitter.</dialogue>
<character>MANDY</character>
<dialogue>I'm partial to the tight end.</dialogue>
<character>SAMMY</character>
<dialogue>This is USDA Prime, largely available, beef. With no notice - able competition, present company excepted.</dialogue>
<scene_description>Now they stare at her . With identical , really odd , smiles .</scene_description>
<character>SAMMY</character>
<dialogue>And yet here you are. All celibate and reclusive.</dialogue>
<character>MANDY</character>
<dialogue>With those big, dark, haunted eyes. As if you were harborin' some. unspeakably. guilty. secret.</dialogue>
<scene_description>Oh .</scene_description>
<character>JULIANNE</character>
<dialogue>Well, I'm worried about something.</dialogue>
<scene_description>Something . Their expressions are deliciously , identically expectant .</scene_description>
<character>JULIANNE</character>
<dialogue>Oh. I left this really important file in Walter's office. I have to send my editor some.</dialogue>
<scene_description>Some .</scene_description>
<character>JULIANNE</character>
<dialogue>figures. On territorial sales. To close my book deal.</dialogue>
<scene_description>Uh - huh .</scene_description>
<character>JULIANNE</character>
<dialogue>So Kim gave me the key. And Michael's on his way, to drive me down to Wal.</dialogue>
<character>SAMMY</character>
<dialogue>Oh. We thought it was the ring.</dialogue>
<scene_description>Julianne blinks . Ring ?</scene_description>
<character>MANDY</character>
<dialogue>The one you better get the fuck off your third finger left hand.</dialogue>
<scene_description>Ah . That ring .</scene_description>
<character>JULIANNE</character>
<dialogue>Well. See. That was a. reflex to see if it would.</dialogue>
<character>MANDY</character>
<parenthetical>( helpful . )</parenthetical>
<dialogue>. look good on Kimberly.</dialogue>
<character>JULIANNE</character>
<dialogue>Right. And then it did n't want to come off. Exactly.</dialogue>
<character>SAMMY</character>
<dialogue>Maybe it's happy there.</dialogue>
<character>MANDY</character>
<dialogue>Oh the way out of the crab house? We asked Michael if we could see the ring?</dialogue>
<character>SAMMY</character>
<dialogue>He said you told him. It'd be safer with you.</dialogue>
<character>MANDY</character>
<dialogue>An so it is.</dialogue>
<scene_description>Julianne for once is speechless . To our amazement , the girls wear identical smiles of kindness and support .</scene_description>
<character>MANDY</character>
<dialogue>Shut up, sugar, he's on his way. Let's get to work.</dialogue>
</scene>
<scene>
<stage_direction>INT. HOTEL KITCHEN - NIGHT</stage_direction>
<scene_description>Huge gleaming chaotic kitchen . Cooks , waiters , working at top speed . The three women RACE in , look around frantically , half the guys stop to ogle the twins . CUT TO . ANGLES . and industrial - sized jar of peanut butter . Julianne 's hand PLUNGES in , halfway to the rolled - up sleeve at her elbow . SMOOCHES it around , real good . PULL BACK to reveal . she is surrounded by the twins and six guys , all SHOUTING conflicting instructions . Julianne FLINGS off the excess SLOP . Tugs for all she 's worth .</scene_description>
<character>EIGHT PEOPLE</character>
<dialogue>TWIST IT! TWIST IT!</dialogue>
<scene_description>Nada . It wo n't budge . A sous chef WIPES her hand with a towel , a janitor CRASHES a tool kit onto the counter . THROWS it open , pulls out . a spray can of WD - 40 . Instantly , her hand is BLACK . The guy TUGS . No movement . He ca n't believe it .</scene_description>
<character>JANITOR</character>
<dialogue>It's mental, lady, you ai n't trying!</dialogue>
<scene_description>Sammy is rummaging through her handbag , pulling out .</scene_description>
<character>SAMMY</character>
<dialogue>There is nothing so tight, this ca n't help it.</dialogue>
<scene_description>a tube of jelly . The letter K - Y. Julianne just gives her a look . Mandy pushes through with a butcher 's CLEAVER .</scene_description>
<character>MANDY</character>
<dialogue>I saw this on Hard Copy. People cut off body parts and the hospital sew'em back o.</dialogue>
<scene_description>The look has turned toward her .</scene_description>
<character>JULIANNE</character>
<parenthetical>( cold . )</parenthetical>
<dialogue>I saw the show.</dialogue>
<character>MANDY</character>
<dialogue>well, maybe it works on fingers, too.</dialogue>
<character>FLOWER GIRL</character>
<parenthetical>( O.S . )</parenthetical>
<dialogue>Aunt Mandy?</dialogue>
<scene_description>Everybody turns . The little girl in the doorway . Southern accent .</scene_description>
<character>FLOWER GIRL</character>
<dialogue>Mr. Michael's here.</dialogue>
<scene_description>Everything gets real quiet . Mandy takes charge . She rolls down Julianne 's left sleeve , RIPS the hem out of the cuff , so that it flaps down over her hand , covering the ring . Sammy wipes the black stuff from Julianne 's fingers .</scene_description>
<character>MANDY</character>
<dialogue>Do n't worry, baby. You could pick your nose with that finger and Michael would never notice. He's a man.</dialogue>
<scene_description>The twins lead her off . We 're on their backs for .</scene_description>
<character>MANDY</character>
<parenthetical>( O.S . )</parenthetical>
<dialogue>Personally, I think Mr. Michael's marrying the wrong girl.</dialogue>
<character>SAMMY</character>
<parenthetical>( O.S . )</parenthetical>
<dialogue>You're much more his type.</dialogue>
</scene>
<scene>
<stage_direction>EXT. DOWNTOWN STREET - NIGHT</stage_direction>
<scene_description>VIEW through a heavy glass door of the empty , dimly - lit lobby . PULL BACK to see Julianne , just as she . KICKS the shit out of the glass ! Almost breaks her foot .</scene_description>
<character>JULIANNE</character>
<dialogue>I ca n't believe this!</dialogue>
<scene_description>PULL BACK farther to see Michael still trying keys from a large key ring in the heavy lock . Sign over the door says WALLACE ENTERPRISES . Traffic hustles by , oblivious to her suffering .</scene_description>
<character>MICHAEL</character>
<dialogue>It's no big deal, she just gave you the wrong keys that's s.</dialogue>
<character>JULIANNE</character>
<dialogue>IS N'T THERE A GUARD? A JANITOR? A FUCKING CLEANING WOMAN? I'LL TAKE A BURGLAR! SOMEBODY'S GOT TA BE IN TH.</dialogue>
<scene_description>And she SLAMS her whole BODY against the glass , making it rattle ominously .</scene_description>
<character>JULIANNE</character>
<dialogue>WHERE'S A BRICK? FIND ME A GODDAMN BRICK!</dialogue>
<scene_description>She looks around wildly , hysterical .</scene_description>
<character>MICHAEL</character>
<dialogue>What is the big deal about getting this file tonight?</dialogue>
<scene_description>A good question . She needs a good answer .</scene_description>
<character>JULIANNE</character>
<dialogue>I promised Digger I'd E - mail him those figures.</dialogue>
<scene_description>From his face , that was n't it .</scene_description>
<character>JULIANNE</character>
<dialogue>They are very important figures.</dialogue>
<scene_description>Apparently . He 's just staring at her .</scene_description>
<character>JULIANNE</character>
<dialogue>I'm up against a deadline.</dialogue>
<character>MICHAEL</character>
<dialogue>Me, too. I'm getting married tomorrow.</dialogue>
<character>JULIANNE</character>
<dialogue>That's my point!</dialogue>
<scene_description>Now . He really does n't get it .</scene_description>
<character>JULIANNE</character>
<dialogue>I mean, tomorrow. we'll all be busy with more important things. So.</dialogue>
<scene_description>So ?</scene_description>
<character>JULIANNE</character>
<dialogue>tonight's my last chance.</dialogue>
<scene_description>He sighs .</scene_description>
<character>MICHAEL</character>
<dialogue>I forgot how cute you look. When you get impossible.</dialogue>
<character>JULIANNE</character>
<dialogue>It's just. up there. right in front of Walter's. y' know, computer. If memory serves.</dialogue>
<scene_description>Helpless .</scene_description>
<character>JULIANNE</character>
<dialogue>We could use. his computer, to. just E - mail those suckers right ou.</dialogue>
<character>MICHAEL</character>
<dialogue>Tomorrow is Sunday. Nobody's doing business. Crack of dawn, Monday, Walter'll take you up there.</dialogue>
<scene_description>Her eyes fill with tears . He is mystified . Smiles tenderly .</scene_description>
<character>MICHAEL</character>
<parenthetical>( softly . )</parenthetical>
<dialogue>Give it up, kid.</dialogue>
<scene_description>Touches her hair .</scene_description>
<character>MICHAEL</character>
<dialogue>You ca n't win'em all.</dialogue>
<scene_description>And slowly , he takes her hand . Leads her way . She takes one backward glance at the locked door . Her last dream dies .</scene_description>
</scene>
<scene>
<stage_direction>INT. LOBBY, RITZ CARLTON - NIGHT</stage_direction>
<scene_description>Michael and a disconsolate Julianne board the elevator . He presses 15 , she pushes 11 . Michael carries a handful of messages slips and an envelope . As the car starts up , she folds her arms across her chest , at the edge of tears . He does n't know what to do .</scene_description>
<character>MICHAEL</character>
<parenthetical>( gently . )</parenthetical>
<dialogue>Listen up, huh? Even if you blow this deal, how big could it be?</dialogue>
<character>JULIANNE</character>
<parenthetical>( voice nearly cracking . )</parenthetical>
<dialogue>You're right. Easy come, easy go.</dialogue>
<scene_description>He 's really concerned , ca n't bear to see her so upset .</scene_description>
<character>MICHAEL</character>
<parenthetical>( softly . )</parenthetical>
<dialogue>Jules?</dialogue>
<scene_description>She wo n't look at him . She wants to die . The bell RINGS , the doors open to her floor . She just walks out . And he follows . They stand now , she with her arms crossed , lip trembling . She ca n't believe how close she is to losing it .</scene_description>
<character>MICHAEL</character>
<dialogue>This thing means that much to y.</dialogue>
<character>JULIANNE</character>
<dialogue>It means a lot.</dialogue>
<scene_description>He nods . Okay .</scene_description>
<character>MICHAEL</character>
<dialogue>I'll call the house, Walter's probably not even asleep.</dialogue>
<scene_description>Her mouth drops . She ca n't believe this .</scene_description>
<character>MICHAEL</character>
<dialogue>I'll drive you out there, we'll get the key, we'll go back to the office.</dialogue>
<scene_description>She THROWS her arms around his , HUGGING him so hard , so close . He laughs , she is so weird . She pulls back , beaming , glowing .</scene_description>
<character>MICHAEL</character>
<dialogue>Come on, we'll call from your room.</dialogue>
<scene_description>She claps his hand . As they head down the hall .</scene_description>
<character>MICHAEL</character>
<dialogue>If I fall asleep on the altar tomorrow.</dialogue>
<scene_description>He 's trying to flip through the message slips in his free hand .</scene_description>
<character>MICHAEL</character>
<dialogue>you better be there to. funny, these are all from Ben.</dialogue>
<scene_description>She 's at her door , turning the key . He looks at the envelope .</scene_description>
<character>MICHAEL</character>
<dialogue>The fax is from Ben, too. Man, it's my wedding, and my boss ca n't leave me alone.</dialogue>
<character>JULIANNE</character>
<parenthetical>( entering her room . )</parenthetical>
<dialogue>. maybe it's congratulations.</dialogue>
<scene_description>He follows her in , opening the envelope . Stops . Reads . And his face suddenly . freezes . To stone .</scene_description>
<character>JULIANNE</character>
<parenthetical>( turning to him . )</parenthetical>
<dialogue>Michael? What ha.</dialogue>
<character>MICHAEL</character>
<parenthetical>( reading . )</parenthetical>
<dialogue>Mike. I ca n't believe I'm doing this to you on the night before your wedding. But I think you need and deserve to know.</dialogue>
<scene_description>And he looks up to her .</scene_description>
<character>MICHAEL</character>
<dialogue>what you're marrying into.</dialogue>
<scene_description>He hands it toward her . She takes it , hesitantly , and he walks past . Toward the phone .</scene_description>
<character>JULIANNE</character>
<parenthetical>( reading . )</parenthetical>
<dialogue>I received the following E - mail this afternoon. `` Ben, I need a favor. My daughter's every happiness.''</dialogue>
<scene_description>Her eyes BUG OUT of her head . Holy shit ! We can hear him DIALING the phone . She keeps reading , it 's all there . How did this happen ?</scene_description>
<character>MICHAEL</character>
<parenthetical>( O.S . )</parenthetical>
<dialogue>Isabelle? I need to talk to Kim.</dialogue>
<character>JULIANNE</character>
<parenthetical>( reading . )</parenthetical>
<dialogue>`` Mike, the funny thing is, he's offering you a gig you'd be stupid to turn down.''</dialogue>
<character>MICHAEL</character>
<parenthetical>( O.S . )</parenthetical>
<dialogue>I'm just tired. Please put her on? Thanks.</dialogue>
<character>JULIANNE</character>
<parenthetical>( reading . )</parenthetical>
<dialogue>`` Maybe you should take the job. And dump the girl.''</dialogue>
<scene_description>And when she turns .</scene_description>
<character>MICHAEL</character>
<dialogue>Jules. Could you give me a minute?</dialogue>
<scene_description>He looks more sick than angry . As if the heart has just been cut out of him . She does n't know what to say or do , so she just stands , staring dumbly .</scene_description>
<character>MICHAEL</character>
<dialogue>Please?</dialogue>
<scene_description>She nods , stumbles out of her room , closing the door behind her . Now she 's in the empty corridor , clutching her big jumbled bag , sinking down to sit on the carpet , her back against the door . She does n't look elated . She seems frightened , distraught , and most of all , confused . Because she ca n't understand why . She digs absently through her bag . Cigarettes . Box of matches . She lights up . Draws deeply . Somehow , she seems near tears , and laughs bitterly at that . Shakes her head at how fucked - up she finds herself . Squeaking wheels approach , but she is too lost to hear them .</scene_description>
<character>BELLMAN</character>
<dialogue>Miss, are you locked out, or something?</dialogue>
<scene_description>She looks up . A small , wiry man of nearly 60 , in a slightly faded but neatly - kept uniform . On his cart , a ton of bags .</scene_description>
<character>JULIANNE</character>
<dialogue>No, I just stepped out, because. it's a non - smoking room.</dialogue>
<scene_description>And inhales deeply . Leans back against the door , to look up at him more comfortably .</scene_description>
<character>BELLMAN</character>
<parenthetical>( politely . )</parenthetical>
<dialogue>Well, it's non - smoking floor, too. Maybe you could go to the.</dialogue>
<character>JULIANNE</character>
<parenthetical>( seriously . )</parenthetical>
<dialogue>Why do n't you have me arrested?</dialogue>
<scene_description>That was n't sarcastic . He does n't know what to say .</scene_description>
<character>JULIANNE</character>
<dialogue>I mean that. Arrested, convicted, put in solitary.</dialogue>
<scene_description>Another puff .</scene_description>
<character>JULIANNE</character>
<dialogue>See, I'm a dangerous, criminal person. I do bad things to honest people. This, see, this smoking? Tip of the iceberg.</dialogue>
<scene_description>Waves her hand .</scene_description>
<character>JULIANNE</character>
<dialogue>Make a citizen's arrest, I wo n't struggle. It'll be like getting Al Capone on tax evasion.</dialogue>
<scene_description>Now she seems angry . But not at him . Her eyes fill with tears .</scene_description>
<character>BELLMAN</character>
<dialogue>Can I. Can I help you, miss?</dialogue>
<scene_description>She squints at his nameplate .</scene_description>
<character>JULIANNE</character>
<dialogue>Do you smoke, Richard?</dialogue>
<character>BELLMAN</character>
<dialogue>Yes, ma'am, I do, but it's.</dialogue>
<character>JULIANNE</character>
<dialogue>a non - smoking floor, yeah. Well, you know what?</dialogue>
<scene_description>And she takes the cigarette from her lips . Turns it around , holds it out to him . Go ahead . He does n't move . Please ! And so . he reaches down , takes the cigarette from her hand . Staring in her eyes , he takes a deep drag . Savors an expert nostril - inhale of his exhaled smoke . Hands the cigarette back to her .</scene_description>
<character>BELLMAN</character>
<dialogue>My grandmother always said, `` This, too, shall pass.''</dialogue>
<scene_description>She swallows . Wipes at her eyes . Finds a smile .</scene_description>
<character>JULIANNE</character>
<dialogue>Thanks, Richard. If you were n't on duty, I'd buy you a drink.</dialogue>
<scene_description>He just nods . She waves . He waves back , pushes his cart down the hall . As she watches him go , the door behind her suddenly OPENS , and she . FALLS through it , flat on her back at Michael 's feet . Staring up at him , seeing that he looks as bad as she feels , she takes raw , deep drag .</scene_description>
<character>JULIANNE</character>
<dialogue>What happened?</dialogue>
<character>MICHAEL</character>
<parenthetical>( softly . )</parenthetical>
<dialogue>It's over.</dialogue>
<scene_description>And crouches down . Close beside her . The cigarette drops from her hand , unnoticed on the carpet . So he lifts it , crushes it on the heel of his shoe .</scene_description>
<character>MICHAEL</character>
<dialogue>I want you to quit this shit, it'll kill you.</dialogue>
<scene_description>She just nods , obediently . Okay , I will .</scene_description>
<character>MICHAEL</character>
<dialogue>She denied it. Said I was crazy and paranoid.</dialogue>
<character>JULIANNE</character>
<dialogue>A bad combination.</dialogue>
<scene_description>He tries to smile . It 's really hard .</scene_description>
<character>MICHAEL</character>
<dialogue>There's this big brunch tomorrow morning? At her place.</dialogue>
<scene_description>He lets the air out . Slow . So he wo n't cry .</scene_description>
<character>MICHAEL</character>
<dialogue>She said `` How can I call everything off, what do I tell everybody?''</dialogue>
<scene_description>Shakes his head . Can you imagine that ?</scene_description>
<character>JULIANNE</character>
<dialogue>Michael.</dialogue>
<character>MICHAEL</character>
<dialogue>No, it's for the best, it really is. We were so wrong for each other.</dialogue>
<character>JULIANNE</character>
<dialogue>Maybe tomorrow, you'll feel dif.</dialogue>
<character>MICHAEL</character>
<dialogue>The job thing would have broken us up, eventually, anyway. She could n't have lived with it. I know that now.</dialogue>
<scene_description>Julianne nods . Maybe that part is right . Maybe it would have ended anyway . Maybe she can pretend she 's not a monster .</scene_description>
<character>MICHAEL</character>
<dialogue>And she's right, I'm crazy to fall for someone. I hardly knew.</dialogue>
<scene_description>Looks deep in her eyes . He 's so glad she 's there .</scene_description>
<character>MICHAEL</character>
<dialogue>Hey. You still got that ring?</dialogue>
<scene_description>She holds up her left hand , the flapping sleeve falls away . The ring is on a finger that is swollen and raw .</scene_description>
<character>JULIANNE</character>
<dialogue>I tried it on. But it wo n't come off.</dialogue>
<scene_description>He smiles at that . A sad smile of friendship . Then takes her finger gently . into his mouth . It is something like a kiss . And when he removes her moistened finger . he pulls the ring OFF . Nothing to it . She blinks .</scene_description>
<character>JULIANNE</character>
<dialogue>It's mental, you know.</dialogue>
<scene_description>He does n't understand that .</scene_description>
<character>JULIANNE</character>
<dialogue>Should we take a walk? Or maybe some food sent up, or something.</dialogue>
<character>MICHAEL</character>
<dialogue>I just want to be alone. Is that okay?</dialogue>
<scene_description>She nods , sure . He kisses her cheek . Stands up .</scene_description>
<character>MICHAEL</character>
<dialogue>Maybe I'll go back to New York. Hang with you for awhile, huh? Ben'll understand.</dialogue>
<scene_description>She nods again . Whatever you say . He steps into the open doorway .</scene_description>
<character>MICHAEL</character>
<dialogue>Or we'll go somewhere. If you have the time.</dialogue>
<character>JULIANNE</character>
<dialogue>If San Antonio sweeps Sacramento.</dialogue>
<scene_description>They smiles at each other . For real .</scene_description>
<character>JULIANNE</character>
<dialogue>I've never been to Texas.</dialogue>
<scene_description>Imagine that . The look holds . Just above a whisper .</scene_description>
<character>MICHAEL</character>
<dialogue>Thanks for coming to my wedding.</dialogue>
<scene_description>And then he 's gone . IN.JULIANNE 'S BATHROOM - LATE NIGHT Julianne brushing out her hair in the bathroom mirror , eyeing her image with evident dissatisfaction , as she listens to the receiver RINGING .</scene_description>
<character>DIGGER</character>
<parenthetical>( V.O. MACHINE . )</parenthetical>
<dialogue>Digger and George are with family in the Hamptons until Monday morning. Brevity is even more in order than usual.</dialogue>
<scene_description>BEEP .</scene_description>
<character>JULIANNE</character>
<dialogue>Hey, handsome. Brevity this.</dialogue>
<scene_description>Her eyes find the pack of cigarettes . Next to her toiletries kit .</scene_description>
<character>JULIANNE</character>
<parenthetical>( softly . )</parenthetical>
<dialogue>I won.</dialogue>
<scene_description>Her fingers touch the pack . As if an object of significance . Takes it up .</scene_description>
<character>JULIANNE</character>
<dialogue>Amazing, huh? I did n't do things quite your way. But. I got it down.</dialogue>
<scene_description>Cradling the phone against her shoulder , she carefully tears the top of the pack completely open .</scene_description>
<character>JULIANNE</character>
<dialogue>And forty years and nine grand - children later, when I sit with Michael on some rustic porch, slogging through our sweet swamp of nostalgic memories.</dialogue>
<scene_description>Reaches the pack toward the toilet .</scene_description>
<character>JULIANNE</character>
<dialogue>No one is going to sweet the details.</dialogue>
<scene_description>Turns it upside down , emptying a dozen cigarettes into the john .</scene_description>
<character>JULIANNE</character>
<dialogue>Of one weekend in Chicago.</dialogue>
<scene_description>Drops the lid with a CLATTER . Hits the FLUSH .</scene_description>
<character>JULIANNE</character>
<dialogue>Talk about celebration.</dialogue>
<scene_description>She lifts a tube from her toiletries kit . Stares at it , real close .</scene_description>
<character>JULIANNE</character>
<dialogue>I'm gon na brush my teeth with actual toothpaste.</dialogue>
<scene_description>Turns it over , reads all the writing . Yep .</scene_description>
<character>JULIANNE</character>
<dialogue>I guess I'm too exhausted to feel the elation I so richly undeserve.</dialogue>
<scene_description>Squeezes some paste onto her brush . Carefully .</scene_description>
<character>JULIANNE</character>
<dialogue>So I'm gon na hold calls at the desk. while I get my.</dialogue>
<scene_description>Start brushing .</scene_description>
<character>JULIANNE</character>
<parenthetical>( around , her mouthful . )</parenthetical>
<dialogue>God, it is toothpaste, they should sell this stuff commercially! Anyway, a girl does need her.</dialogue>
<scene_description>Squints at her image . Laughs , spewing a little foam .</scene_description>
<character>JULIANNE</character>
<dialogue>well, we're a bit past worrying about beauty sleep. Let's just settle for not frightening small animals.</dialogue>
<scene_description>She SPITS . Tells Digger 's machine .</scene_description>
<character>JULIANNE</character>
<dialogue>Anyway, I could n't have done it without you. Even though I did, if you follow that.</dialogue>
<scene_description>Wipes her mouth . Stares off . The eyes a little dreamy .</scene_description>
<character>JULIANNE</character>
<dialogue>Three words : Happily. Ever. Well, you know.</dialogue>
</scene>
<scene>
<stage_direction>INT. BEDROOM - MORNING</stage_direction>
<scene_description>Julianne sprawled all over the bed , mouth open like a carp , sleeping mask against the daylight . A sudden RAPPING at the door , and she . sits BOLT UPRIGHT . Utterly disoriented , until she pulls off the mask . Stumbles out of bed , walking toward the firm KNOCKING , when . it stops . A message slip SLIDES beneath her door . She lifts it , barely conscious . This wakes her up . In one .</scene_description>
<character>JULIANNE</character>
<parenthetical>( to the slip . )</parenthetical>
<dialogue>You're going where?</dialogue>
</scene>
<scene>
<stage_direction>EXT. WALLACE ESTATE - DAY</stage_direction>
<scene_description>Julianne climbs from her taxi . Only slightly in awe , she sets off past the reflecting pool , which fronts a mansion of graceful stone and timber . It 's a hike today , because the circular drives is clogged deep with Bentleys , Mercedes , and waiting limos , vying for space with a score of delivery vehicles of all kinds , maintenance trucks , catering and florist and food vans .</scene_description>
</scene>
<scene>
<stage_direction>INT. GREAT ROOM - DAY</stage_direction>
<scene_description>Julianne escorted into an enormous room , where brunch is in progress for more than a hundred . She looks from the vaulted ceilings , to the frescoed walls , the inlaid floors , the massive pipe organ above the stone staircase , the oil portraits of Scottish ancestors and their favorite dogs . Isabelle has risen from the main table , and comes to her . All smiles . Julianne is in the Twilight Zone . What are these people laughing about ? Do they still think there 's a wedding ?</scene_description>
<character>ISABELLE</character>
<dialogue>Jules. We're so glad you slept in.</dialogue>
<scene_description>Takes her arm graciously . This woman would make Anne Bancroft look coarse . As they walk .</scene_description>
<character>ISABELLE</character>
<dialogue>Now, you have a choice. The idea is bride and groom should n't see each other on the magic day.</dialogue>
<scene_description>Julianne looking all around . Magic day it seems to be . Where the bell is a bride or a groom ?</scene_description>
<character>ISABELLE</character>
<dialogue>So Michael stays put in the garden. Kimmy stays in here.</dialogue>
<scene_description>Pointing . THERE she is , obscured by a cluster of the appropriately fawning . She has the same hunted eyes and false , slightly manic smile Julianne wore yesterday . This , at least , makes sense .</scene_description>
<character>ISABELLE</character>
<parenthetical>( O.S . )</parenthetical>
<dialogue>and the guests go back and forth. Where will you start?</dialogue>
<scene_description>CLOSE on Julianne . Watching the brave , frightened bride .</scene_description>
<character>JULIANNE</character>
<dialogue>She looks tense.</dialogue>
<character>ISABELLE</character>
<parenthetical>( O.S. , calmly . )</parenthetical>
<dialogue>Nerves. I would never have guessed.</dialogue>
</scene>
<scene>
<stage_direction>EXT. ROSE GARDEN - DAAY</stage_direction>
<scene_description>A steward leads Julianne to the edge of an expansive rose garden , altogether elegant and comfortable with its long white picnic tables , where nearly a hundred guests casually dine , served by rolling carts . There , at the head table , Michael staring at us . He looks like a poor attempt to cover a hard night . She locks onto his eyes . What the hell is going on ? He looks helpless , miserable . She gestures with her head , follow me . Stalks off .</scene_description>
</scene>
<scene>
<stage_direction>EXT. SCULPTURE GARDEN - DAY</stage_direction>
<scene_description>Bronze abstract pieces , some quite large , face a huge set of children 's swings , regulation playground size . Julianne sits in one , moving slightly back and forth . Trying to hold on to her temper and her sanity . In the distance , trucks are winding their way to and from the pond , where crews are setting up tents , lights , heaters for tonight . The circus has come to town . When she looks back . Michael approaches . Before he can draw a breath .</scene_description>
<character>JULIANNE</character>
<dialogue>I had the craziest dream last night? Walter and Kimmy had asked your boss to.</dialogue>
<character>MICHAEL</character>
<dialogue>Look, I came down here to face everybody. I did n't want to slink away like some coward.</dialogue>
<character>JULIANNE</character>
<dialogue>But the Scotch salmon was so fucking good, you decided to stay for brunch!</dialogue>
<character>MICHAEL</character>
<dialogue>She has n't told anybody, what am I supposed to do?</dialogue>
<character>JULIANNE</character>
<dialogue>Get married, apparently.</dialogue>
<scene_description>She comes OFF the swing , PUSHES him back two feet .</scene_description>
<character>JULIANNE</character>
<dialogue>What the hell are you thinking of, the goddamn wedding is SIX O'CLOCK!</dialogue>
<scene_description>He swallows hard . Trapped .</scene_description>
<character>MICHAEL</character>
<dialogue>This is her family and her fault.</dialogue>
<character>JULIANNE</character>
<dialogue>And your point?</dialogue>
<character>MICHAEL</character>
<parenthetical>( ten years old . )</parenthetical>
<dialogue>Well. How come she did n't.</dialogue>
<character>JULIANNE</character>
<dialogue>BECAUSE SHE'S AS CHICKENSHIT AS YOU ARE, YOU MORONS ARE MADE FOR EACH OTHER.</dialogue>
<scene_description>He just blinks .</scene_description>
<character>MICHAEL</character>
<dialogue>Hey. This is a serious matter.</dialogue>
<scene_description>Thank you . She POKES his chest , punctuating .</scene_description>
<character>JULIANNE</character>
<dialogue>I'll be right back.</dialogue>
</scene>
<scene>
<stage_direction>INT. KITCHEN - DAY</stage_direction>
<scene_description>A modern take on the Medieval castle kitchen , towering ceilings , dark wood , copper pots hanging , a series of walk - in coolers and freezers . The place is a madhouse of activity , as prep cooks slice , chop , sort , every kind of food imaginable , and delivery teams bring more . The girls walk through . Alone together in the eye of the hurricane . Kim choked with excess sentiment .</scene_description>
<character>KIMMY</character>
<dialogue>Look at all this beautiful food, so lovingly prepared.</dialogue>
<character>JULIANNE</character>
<dialogue>They'll eat it anyway, you ever been to a walk?</dialogue>
<scene_description>Kimmy 's lip trembles . This is not how she thought of her wedding . The din is so horrific , Kimmy leads them into a walk - in meat locker . Even here , two BUTCHERS are dressing Eastern - fresh corn - fed carcasses .</scene_description>
<character>JULIANNE</character>
<dialogue>You guys want to give us a minute?</dialogue>
<scene_description>The men blink at each other .</scene_description>
<character>JULIANNE</character>
<dialogue>We'd like to be alone with our pork.</dialogue>
<scene_description>On that basis . They leave . Kimmy sits on a stack of packaged frozen fowl parts . Stares up with big , sweet , wet eyes .</scene_description>
<character>KIMMY</character>
<dialogue>How's he doing?</dialogue>
<scene_description>Julianne can not believe this .</scene_description>
<character>JULIANNE</character>
<dialogue>Who? The jerk who's running your life?</dialogue>
<character>KIMMY</character>
<dialogue>This must be. very, very, hard on him.</dialogue>
<character>JULIANNE</character>
<dialogue>What with the psychosis and all, yeah.</dialogue>
<scene_description>Leans in . Listen .</scene_description>
<character>JULIANNE</character>
<dialogue>When are you gon na come clean with your folks?</dialogue>
<character>KIMMY</character>
<dialogue>Do n't you see.</dialogue>
<character>JULIANNE</character>
<dialogue>If you're waiting for `` Do you take this man?'', that's considered poor form.</dialogue>
<character>KIMMY</character>
<dialogue>that this is all my fault?</dialogue>
<scene_description>Stops Julianne cold . Your fault .</scene_description>
<character>KIMMY</character>
<dialogue>Whatever delusions I drove him to, there is truth at the heart of it. I want him to work for my father. I want to stay in school. I want a life of my own!</dialogue>
<scene_description>Harder and harder for Julianne to push . Her mouth is dry .</scene_description>
<character>JULIANNE</character>
<dialogue>Yeah, well, lots of couples are imcompat.</dialogue>
<character>KIMMY</character>
<dialogue>I love him.</dialogue>
<scene_description>Fragile and strong at once . A plea .</scene_description>
<character>KIMMY</character>
<dialogue>Tell him it's my fault and that I love him.</dialogue>
<scene_description>A long beat .</scene_description>
<character>JULIANNE</character>
<dialogue>I'll be right back.</dialogue>
</scene>
<scene>
<stage_direction>EXT. TENNIS COURT - DAY</stage_direction>
<scene_description>The court has become a giant holding pen for tonight 's BALLOONS . There are maybe a billion in assorted colors already blowing in all directions , under clear plastic sheeting which has ben spread across the top of the court 's chain - link fence . Michael stands outside the court , clutching the chain link like a prisoner , as Julianne comes through the gate . From somewhere , we hear high , squeaky , alien voice - like SOUNDS . Incongruous against .</scene_description>
<character>MICHAEL</character>
<dialogue>How is she?</dialogue>
<scene_description>Julianne absorbs this . As the bizarre SOUNDS continue , she WHIRLS around .</scene_description>
<character>JULIANNE</character>
<dialogue>KNOCK IT OFF!</dialogue>
<scene_description>We now see three STONER COLLEGE GUYS , who have been filling the endless array of balloons from helium tanks at center court . Clearly , they 've been inhaling their working materials .</scene_description>
<character>STONER KID</character>
<parenthetical>( Minnie Mouse . )</parenthetical>
<dialogue>YES, SIR!</dialogue>
<scene_description>A Nazi salute . When she turns back .</scene_description>
<character>MICHAEL</character>
<dialogue>I asked you.</dialogue>
<character>JULIANNE</character>
<dialogue>She admits it's her fault.</dialogue>
<scene_description>He absorbs that . And then .</scene_description>
<character>MICHAEL</character>
<dialogue>Do you think she still loves me?</dialogue>
<scene_description>We watch the struggle inside her . Her voice drops .</scene_description>
<character>JULIANNE</character>
<dialogue>Sure, she does. She's crazy about you.</dialogue>
<scene_description>Now tears stand in both their eyes . The stoners are doing their Alvin and the Chipmuks impersonation festival in the B.G. , singing in castrato harmony . But our two do n't notice .</scene_description>
<character>MICHAEL</character>
<dialogue>I keep asking, how can I explain what happened? And I keep getting that same answer all night long.</dialogue>
<scene_description>Which is .</scene_description>
<character>MICHAEL</character>
<dialogue>I ca n't. And it does n't matter. I drove her to it, because I want things my way. And even if she did something tricky and unfair. she was blinded by love, okay?</dialogue>
<scene_description>Julianne swallows . For obvious reasons .</scene_description>
<character>JULIANNE</character>
<dialogue>Does that make it right.</dialogue>
<character>MICHAEL</character>
<dialogue>Love does n't have to be right. It just has to be love.</dialogue>
<scene_description>The stoner are now helium - crooning `` Bridge Over Troubled Waters . '' Actually , they 're getting better .</scene_description>
<character>MICHAEL</character>
<dialogue>She's giving up half her life for me, and I'm bitching because it hurts her.</dialogue>
<character>STONERS</character>
<parenthetical>( singing . )</parenthetical>
<dialogue>Sail on silver girl Sail on by.</dialogue>
<character>MICHAEL</character>
<dialogue>She's a saint! And I'm a worthless ingrate!</dialogue>
<character>STONERS</character>
<parenthetical>( singing . )</parenthetical>
<dialogue>Your time has come to shine, All your dreams are on their way.</dialogue>
<character>MICHAEL</character>
<dialogue>Tell her. I'll marry her at six o'clock, if she'll still have me.</dialogue>
<scene_description>The stoners blend on the high note . It 's pretty moving .</scene_description>
<character>JULIANNE</character>
<dialogue>I'll be right back.</dialogue>
</scene>
<scene>
<stage_direction>INT. ORGAN LOFT - DAY</stage_direction>
<scene_description>PAN along a gigantic serpentine stack of wedding presents . Nearly twelve feet high , the pile curves along the balcony , high above the diners in the Great Room , extending al the way to . an organ loft . Alone , above the noise of the party , Julianne and Kimmy have just reached the top of the staircase . Trapped between ten tons of lavish gifts and the keyboard of the mammoth organ . Dwarfed by their surroundings , Kimmy draws the hardest breath of her life .</scene_description>
<character>KIMMY</character>
<parenthetical>( whispers . )</parenthetical>
<dialogue>So. What did he say?</dialogue>
<scene_description>Julianne 's eyes move over the young girl 's face .</scene_description>
<character>JULIANNE</character>
<dialogue>He said. Marry me.</dialogue>
<scene_description>Kimmy YELPS in her ecstasy , FLINGING herself against Julianne , and they go DOWN full length across the organ 's pedals , BLASTING the room with a MONSTER CHORD of china - rattling volume and horrifying disharmony . As grown men and women SCREAM in spontaneous terror below , Kimmy begins to . LAUGH . And KISS and hug her new sister . And holds her tight .</scene_description>
</scene>
<scene>
<stage_direction>EXT. WILLOW POND - DAY</stage_direction>
<scene_description>Julianne and Michael walk the gravel path beside a breathtaking POND , ringed with WILLOWS that dig heavy branches to the water 's surface . He is relieved , reflective . Head down , he never notices that she is . dangerously freaked . Too petrified even to hyperventilate , we 're lucky she 's breathing at all . We watch her life unraveling before her glassy eyes .</scene_description>
<character>MICHAEL</character>
<parenthetical>( never looks up . )</parenthetical>
<dialogue>Thank God you were here.</dialogue>
<character>JULIANNE</character>
<parenthetical>( mumbles to herself . )</parenthetical>
<dialogue>Oh, yeah.</dialogue>
<character>MICHAEL</character>
<dialogue>I was so confused, so conflicted, so. unstable.</dialogue>
<character>JULIANNE</character>
<dialogue>Well, it happens.</dialogue>
<scene_description>They pass an expanse of lawn which has become the event parking area . Family vehicles , delivery trucks , service vans . Everything that could n't fit on the circular front driveway .</scene_description>
<character>MICHAEL</character>
<dialogue>I might have thrown away.</dialogue>
<scene_description>Searching for the right words .</scene_description>
<character>JULIANNE</character>
<dialogue>your one chance for true happiness?</dialogue>
<character>MICHAEL</character>
<dialogue>yeah, that.</dialogue>
<character>JULIANNE</character>
<dialogue>You never want to do that, see, that's always a. costly turnover. As they say in the sport biz.</dialogue>
<scene_description>There 's a vague Stepford Wife quality to her voice . He hears that now , and looks at her . Maybe he ca n't tell she 's frightened . But he can tell she 's something .</scene_description>
<character>MICHAEL</character>
<parenthetical>( softly . )</parenthetical>
<dialogue>Are you okay?</dialogue>
<scene_description>She stops walking . She ca n't look at him , so she looks around . Across the lawn crews are moving equipment into the brightly - colored tents , unfolding and setting up stacks of tables and chairs , raising the poles between which all those balloons will be strung . At the center of it all . a huge topiary White Sox batter , just completing a murderous swing . He 's maybe fifteen feet tall . She points to it .</scene_description>
<character>JULIANNE</character>
<dialogue>The Big Hurt, huh?</dialogue>
<character>MICHAEL</character>
<dialogue>Nellie Fox. Walter likes the past. And he likes the little guys.</dialogue>
<scene_description>So Julianne nods . Because she does too . Squints up at Michael .</scene_description>
<character>JULIANNE</character>
<dialogue>Got a minute?</dialogue>
<scene_description>He nods , you bet . Worried for her . What is this ? She looks in another direction , and we now see that we have nearly reached . a stage that 's been set up for the band . Chairs , music stands , sound equipment . A gleaming dance floor , already in place over the lawn . Next to it , a shimmering white GAZEBO . Like the centerpiece of a wedding cake .</scene_description>
<character>JULIANNE</character>
<dialogue>Why is the dance floor by the gazebo?</dialogue>
<scene_description>She takes his hand . They walk toward it .</scene_description>
<character>MICHAEL</character>
<dialogue>Kimmy's idea. She thought it would be such a romantic place. For our wedding dance.</dialogue>
<scene_description>Looking down at her .</scene_description>
<character>MICHAEL</character>
<dialogue>What's up?</dialogue>
<character>JULIANNE</character>
<dialogue>Shhh.</dialogue>
<scene_description>Up the white steps now . Together . The gazebo floor has been covered with hardwood . The perfect place . For a wedding dance . And Julianne . turns , suddenly . He almost runs into her . She is staring up at him , so strangely , their bodies only inches apart . He is caught , transfixed by the intensity in her eyes .</scene_description>
<character>JULIANNE</character>
<dialogue>I have to say this quick, okay, or I'll have this massive coronary and you'll never have to hear it. Which you need to. Does that make any sense at all?</dialogue>
<scene_description>The coronary part does . We can feel her heart beating from here .</scene_description>
<character>MICHAEL</character>
<dialogue>Jules, what's wrong.</dialogue>
<character>JULIANNE</character>
<dialogue>This is the dumbest thing I will ever do. So dumb, in fact, that I ca n't. I do n't think.</dialogue>
<scene_description>And then , she does . She puts her hands flat on his chest . Looks in his eyes .</scene_description>
<character>JULIANNE</character>
<dialogue>Michael, I love you.</dialogue>
<scene_description>A heartbeat passes .</scene_description>
<character>JULIANNE</character>
<dialogue>I've loved you for nine years, but I was too arrogant and scared to realize it. Now I'm just scared.</dialogue>
<scene_description>He stares at her , dumbstruck . She moves even closer .</scene_description>
<character>JULIANNE</character>
<dialogue>I know this comes at an inopportune time, but I have to ask this one really gigantic favor, okay?</dialogue>
<scene_description>Holds her breath . And .</scene_description>
<character>JULIANNE</character>
<dialogue>Choose me. Marry me. Let me make you happy.</dialogue>
<scene_description>And in a half beat of excruciating silence .</scene_description>
<character>JULIANNE</character>
<dialogue>I know. It sounds like three favors.</dialogue>
<scene_description>His eyes are loving . They care for her . She swallows , lost in them .</scene_description>
<character>JULIANNE</character>
<dialogue>But when you think about it.</dialogue>
<scene_description>Slides her arms around his neck , and raises her mouth . to his . The most beautiful kiss she will ever offer . All of her heart is in this , and as his hands touch her body . a SCREAM rips the world to pieces . They whirl to see . KIMMY , halfway up the path . Her hands across her mouth , as if to stem the horror that pours forth as she SHRIEKS from her soul , and . runs . Back Down the path . Michael BOLTING after her , SHOUTING her name . A frozen moment , and . Julianne TAKES OFF after him . All three running , SCREAMING their various emotions at the top of their lungs , as workmen stop to watch from neighboring countries . Kimmy , staring from halfway there , has an insurmountable lead . LEAPS into her convertible and PEELS OUT , just TEARING up the gravel as she ROCKETS out of sight . No way to catch her . Still . Michael is racing for the cars . Julianne , sprinting her guts out , losing ground with every stride . Michael JUMPS into a Cherokee .</scene_description>
<character>JULIANNE</character>
<dialogue>MICHAEL, DO N'T, YOU'LL NEVER CATCH HER!</dialogue>
<scene_description>He GRINDS the gears . She keeps RUNNING . His engine FIRES .</scene_description>
<character>JULIANNE</character>
<dialogue>SHE HAS TOO BIG A LEAD AND SHE DRIVES LIKE A RABID ANIMAL!</dialogue>
<scene_description>He BLASTS OFF . She keeps going . Gasping for air , clutching her side , she 's dying here . Slams into a florist 's truck , looks inside , shit ! Next , a butcher 's van , looks inside , Jesus !</scene_description>
<character>JULIANNE</character>
<parenthetical>( to the world at large . )</parenthetical>
<dialogue>DOES N'T ANYBODY LEAVE KEYS ANYMORE? WHATEVER HAPPENED TO TRUST?</dialogue>
<scene_description>Up ahead , Michael has STALLED the Cherokee . She still has a chance , DASHES to the next van . BORNSTEIN EXTERMINATION , a handsome rendering of a rat above the TOXIC MATERIALS warning FLINGS the door open . Stumbles in . Keys !</scene_description>
<character>JULIANNE</character>
<parenthetical>( O.S . )</parenthetical>
<dialogue>THANK GOD, A SAMARITAN!</dialogue>
<scene_description>Michael SPEEDS away . She KICKS the ratmobile in gear . LURCHES off .</scene_description>
</scene>
<scene>
<stage_direction>INT. RATMOBILE, DOWNTOWN CHICAGO - DAY</stage_direction>
<scene_description>Julianne tearing through traffic , desperately struggling to keep Michael 's Cherokee in view , while she shrieks into her cellular .</scene_description>
<character>JULIANNE</character>
<dialogue>IT IS NOT GOING WELL!</dialogue>
<scene_description>Down the block , Michael WHIPS around a corner . We follow suit to see his destination dead ahead . Union Station . The DISPATCHER RADIO intrudes .</scene_description>
<character>DISPATCHER</character>
<parenthetical>( O.S . )</parenthetical>
<dialogue>Uh, Unit Four Baker Charlie, how we cookin' on that Skokiie infestation?</dialogue>
<scene_description>Now she 's steering the car , tearing at the radio controls , and screaming into the phone cradled on her shoulder .</scene_description>
<character>JULIANNE</character>
<dialogue>THIS IS WHAT COMES OF TELLING THE TRUTH!</dialogue>
<character>FIELD MAN</character>
<parenthetical>( O.S . )</parenthetical>
<dialogue>Copy, dispatcher.</dialogue>
<character>JULIANNE</character>
<dialogue>OR EVEN PART OF IT!</dialogue>
<character>FIELD MAN</character>
<parenthetical>( O.S . )</parenthetical>
<dialogue>Uh, what happens if you got that methyl - ethyl shit on your hands?</dialogue>
<scene_description>Michael RIPS into the train station 's parking lot . We SWERVE around a taxi , CUT OFF Harley , CAREEN into the lot .</scene_description>
<character>JULIANNE</character>
<dialogue>GETTING WHAT YOU DESERVE IS NOT FAIR!</dialogue>
<character>DISPATCHER</character>
<parenthetical>( O.S . )</parenthetical>
<dialogue>Uh, you got maybe thirty seconds before you're sterile. For God's sake do n't touch yourself, or anything.</dialogue>
<scene_description>Up ahead , Michael is OUT of his jeep and running .</scene_description>
<character>JULIANNE</character>
<dialogue>AND I HATE TALKING TO YOUR MACHINE!</dialogue>
<scene_description>She SLAMS on the brakes , THROWING herself against the wheel .</scene_description>
<character>YOUNGER FIELD MAN</character>
<parenthetical>( O.S . )</parenthetical>
<dialogue>Uh, this is One Monkey Zebra. It was n't bees in the gal's wall, it was cats!</dialogue>
<scene_description>She TEARS the door open . SCRAMBLE OUT .</scene_description>
<character>YOUNGER FIELD MAN</character>
<parenthetical>( O.S . )</parenthetical>
<dialogue>She says gas'em, anyway, she'll pay cash. Uh. how do I pay this?</dialogue>
<scene_description>WITH Julianne now , RACING through the lot , Michael vanishes INTO the Station , she PLUNGES in after him , BOUNCING off bystanders , apologizing , lunging on , gasping for breath , past exhaustion , threatening clumsily through the crowd like a staggering drunk , catching a lucky glimpse as he heads . DOWN a staircase to the TRACKS . My God , what 's he doing ? A second wind , fueled by panic , and she BOLTS after him , DANCING down the steep staircase somehow without killing herself , reaching the concourse to see him , running for . Track 29 , a train already RUMBLING , ready to pull out , she SPRINTS after him .</scene_description>
<character>JULIANNE</character>
<dialogue>MICHAEL!</dialogue>
<scene_description>He DISAPPEARS behind the train , she FALLS , skids , springs up , pushes through gaping onlookers , almost there , the train PULLS AWAY .</scene_description>
<character>JULIANNE</character>
<dialogue>NNNOOOO!</dialogue>
<scene_description>But he 's just standing there . His back to us . Watching it go . Her body nearly collapses with relief . She pushes herself on , but her legs are n't working right in their maxed - out fatigue , and she lopes and staggers until she comes up behind him . He 's still lost in thought , staring after the train . She tries to speak , but there 's no breath . So she puts her hands on her knees and just GASPS for air like a dog . Wheezing , panting , trying once more to speak , but she ca n't yet , and then he casually turns and . JUMPS out of his skin ! A heart attack seeing her .</scene_description>
<character>JULIANNE</character>
<parenthetical>( croaks . )</parenthetical>
<dialogue>Do n't speak!</dialogue>
<scene_description>He just blinks at this sweaty , ripped - up , maniacal figure .</scene_description>
<character>MICHAEL</character>
<dialogue>Uh. I saw that moving.</dialogue>
<character>JULIANNE</character>
<dialogue>DO N'T SPEAK!</dialogue>
<scene_description>FLINGING both her hands across his mouth . A frozen beat . He nods , okay . Cautiously , she takes her hands away . At least she has made him smile , in spite of everything . At least she 's done that .</scene_description>
<character>JULIANNE</character>
<dialogue>I have to make a confession. Another confession. Besides that I love you. This is even worse.</dialogue>
<scene_description>This . He 's waiting to hear .</scene_description>
<character>JULIANNE</character>
<dialogue>The E - mail? You thought Walter sent your boss? I wrote that.</dialogue>
<scene_description>You . WHAT ?! Synapse overload .</scene_description>
<character>MICHAEL</character>
<dialogue>You're not saying you actually. you're saying that y.</dialogue>
<character>JULIANNE</character>
<parenthetical>( stricken with remorse . )</parenthetical>
<dialogue>. wrote it, yeah. I'm the bad guy.</dialogue>
<character>MICHAEL</character>
<dialogue>ARE YOU CRAZY?</dialogue>
<scene_description>She nods her head wildly , hair flopping .</scene_description>
<character>MICHAEL</character>
<dialogue>ARE YOU ABSOLUTELY INSANE?</dialogue>
<scene_description>Bigger nodding .</scene_description>
<character>MICHAEL</character>
<dialogue>ARE YOU ON DRUGS?</dialogue>
<scene_description>Shakes her head , like a two - year - old .</scene_description>
<character>MICHAEL</character>
<parenthetical>( pacing in circles . )</parenthetical>
<dialogue>I mean, do you realize what you've. well, of course you realize, that's why you're confessing, I mean. I mean. how could you do that?</dialogue>
<character>JULIANNE</character>
<dialogue>I did n't know it would get sent. I just wanted you to. get mad at Kimmy. and.</dialogue>
<scene_description>And watching . As this begins to sink in .</scene_description>
<character>JULIANNE</character>
<dialogue>I've done nothing but slimy, underhanded, despicable, not even terribly imaginative, things. Ever since I got here. Trying to.</dialogue>
<scene_description>Staring in his eyes . Eyes she ca n't read at this point .</scene_description>
<character>JULIANNE</character>
<dialogue>to win you. To win you back.</dialogue>
<scene_description>Tears in her own eyes now . Big ones .</scene_description>
<character>JULIANNE</character>
<dialogue>And I was blinded by love. Like you said.</dialogue>
<scene_description>Shaking her head .</scene_description>
<character>JULIANNE</character>
<dialogue>But that does n't excuse any part of it. I am pond scum.</dialogue>
<scene_description>No .</scene_description>
<character>JULIANNE</character>
<dialogue>Actually. Lower. I am the fungus that feeds on pond scum. Lower. The layer of mucous that cruds up the fung.</dialogue>
<character>MICHAEL</character>
<dialogue>Lower.</dialogue>
<character>JULIANNE</character>
<parenthetical>( agreeing . )</parenthetical>
<dialogue>Lower.</dialogue>
<character>MICHAEL</character>
<dialogue>The pus that infects the mucous that cruds up the fungus.</dialogue>
<scene_description>And to her amazement . The trace of a smile .</scene_description>
<character>MICHAEL</character>
<parenthetical>( softly . )</parenthetical>
<dialogue>On the other hand, thank you.</dialogue>
<scene_description>She blinks at that . Which squeezes out a tear .</scene_description>
<character>MICHAEL</character>
<dialogue>For loving me that much, that way.</dialogue>
<scene_description>He shrugs . Just above a whisper .</scene_description>
<character>MICHEL</character>
<dialogue>It's pretty flattering.</dialogue>
<character>JULIANNE</character>
<dialogue>Except it makes me fungus.</dialogue>
<character>MICHAEL</character>
<dialogue>Well, that part I knew.</dialogue>
<scene_description>She 's never loved him more .</scene_description>
<character>JULIANNE</character>
<dialogue>So you have to marry Kim. Because she will actually make you happy. I, in contrast, am a shallow, neurotic psychopath, with relatively little to offer.</dialogue>
<scene_description>Okay ?</scene_description>
<character>JULIANNE</character>
<dialogue>Kim. Nod your head. Do as you're told.</dialogue>
<scene_description>He nods his head , still smiling . Her tears are running now . Maybe she does n't notice .</scene_description>
<character>JULIANNE</character>
<dialogue>Just promise you'll never tell me who you would have chosen. If I had n't confessed.</dialogue>
<scene_description>She chokes back a sob .</scene_description>
<character>JULIANNE</character>
<dialogue>Cos if you would have chosen me. Then I threw away a perfectly good life. Just to be a decent person. Which is a questionable trade - off. Right?</dialogue>
<scene_description>He nods , slowly . Because he 's supposed to .</scene_description>
<character>JULIANNE</character>
<dialogue>And if you would have chosen some 20 - year - old punk over me. I'd have to kill myself.</dialogue>
<scene_description>Ah . His smile keeps getting smaller . More loving . More wonderful .</scene_description>
<character>MICHAEL</character>
<parenthetical>( whispers . )</parenthetical>
<dialogue>I'll take it to my grave.</dialogue>
<scene_description>Good . She looks around .</scene_description>
<character>JULIANNE</character>
<dialogue>I'm so glad you did n't jump on that train, before.</dialogue>
<character>MICHAEL</character>
<dialogue>I came here, looking for her.</dialogue>
<scene_description>For her . The words leave a silence .</scene_description>
<character>JULIANNE</character>
<dialogue>Why would she come here.</dialogue>
<character>MICHAEL</character>
<dialogue>This is where I proposed.</dialogue>
<scene_description>Stares deep in her eyes . She needs to hear this .</scene_description>
<character>MICHAEL</character>
<dialogue>I had to cover a game in Milwaukee. She saw me off. And when the train started to leave. I jumped up on the step, I help the handle, and without.</dialogue>
<scene_description>He grins . Has to admit .</scene_description>
<character>MICHAEL</character>
<dialogue>without a thought in my head. I shouted, `` Marry me.''</dialogue>
<scene_description>I did . Now her eyes tear up again . And she does n't know why .</scene_description>
<character>MICHAEL</character>
<dialogue>And she gasped, and covered her mouth, and the train was pulling out, and suddenly she screamed YES! Just once. And blew me a kiss.</dialogue>
<scene_description>What a girl .</scene_description>
<character>MICHAEL</character>
<dialogue>I never forgot that.</dialogue>
<character>JULIANNE</character>
<dialogue>It's two weeks.</dialogue>
<character>MICHAEL</character>
<dialogue>Almost three.</dialogue>
<character>JULIANNE</character>
<dialogue>That is so romantic.</dialogue>
<scene_description>Which makes him reach and touch her hair .</scene_description>
<character>MICHAEL</character>
<dialogue>I just wonder if you know why.</dialogue>
<scene_description>Do you ?</scene_description>
<character>MICHAEL</character>
<dialogue>It's because romance is n't mystery, and tricks, and doubts, and halting, unspoken longings. That's not the real romance.</dialogue>
<scene_description>Tears in his eyes now . First time .</scene_description>
<character>MICHAEL</character>
<dialogue>The real romance is saying yes.</dialogue>
<scene_description>Does she know that now ? He looks at his watch .</scene_description>
<character>MICHAEL</character>
<parenthetical>( sighs . )</parenthetical>
<dialogue>Woulda been a nice wedding.</dialogue>
<scene_description>Oh . That .</scene_description>
<character>JULIANNE</character>
<parenthetical>( urgently . )</parenthetical>
<dialogue>You ca n't believe you've lost her! Sooner or later, you'll find her, and you'll look in each other's eyes, and you'll see all that love.</dialogue>
<character>JULIANNE</character>
<dialogue>Course, if it's later rather than sooner, I'd hate to be you at six o'clock.</dialogue>
<parenthetical>( beat . )</parenthetical>
<dialogue>You've got a lot of explaining to.</dialogue>
<character>MICHAEL</character>
<dialogue>I'm just thinking of how she's hurting. Lost. Alone. Like her life is over.</dialogue>
<character>JULIANNE</character>
<dialogue>That's little egotistical.</dialogue>
<scene_description>He glares at her .</scene_description>
<character>JULIANNE</character>
<dialogue>But, undoubtedly accurate.</dialogue>
<scene_description>She claps her hands , galvanized by the emergency .</scene_description>
<character>JULIANNE</character>
<dialogue>Okay, we'll split up. You go to every romantic place you guys have, I'll go. someplace brilliant, and the first one who.</dialogue>
<character>MICHAEL</character>
<dialogue>If you find her.</dialogue>
<scene_description>Strange tone . A gentle warning .</scene_description>
<character>MICHAEL</character>
<dialogue>The kiss. May be hard. For you to explain.</dialogue>
<parenthetical>( beat . )</parenthetical>
<dialogue>Because the only fear she really has, is.</dialogue>
<character>JULIANNE</character>
<dialogue>me, yeah. And she likes Tommy Lasorda. Case closed.</dialogue>
<scene_description>Looks at her own watch . Shit !</scene_description>
<character>MICHAEL</character>
<dialogue>But if you do get to her first.</dialogue>
<scene_description>She looks up .</scene_description>
<character>MICHAEL</character>
<dialogue>There is something you are authorized to say.</dialogue>
</scene>
<scene>
<stage_direction>EXT. TAXI STAND - DAY</stage_direction>
<scene_description>Julianne sits on the fender of this guy 's taxi . The driver smokes , paces , while she waits for a connection on her cellular . Then .</scene_description>
<character>MANDY</character>
<parenthetical>( V.O . )</parenthetical>
<dialogue>Wallace egregious residence, Mandy speaking.</dialogue>
<character>JULIANNE</character>
<dialogue>It's Jules, you guys have n't had a call from, say, Kimberly, have you?</dialogue>
<character>MANDY</character>
<parenthetical>( V.O . )</parenthetical>
<dialogue>Oh, she's slipped out, the little monkey. Prob ` ly with Michael, doin' the nasty.</dialogue>
<scene_description>A shallow laugh .</scene_description>
<character>MANDY</character>
<parenthetical>( V.O . )</parenthetical>
<dialogue>Or crying in her nachos, down at Comskey Park.</dialogue>
<scene_description>Julianne 's face SNAPS to alert .</scene_description>
<character>JULIANNE</character>
<dialogue>Ex - cuse me?</dialogue>
<character>MANDY</character>
<parenthetical>( V.O . )</parenthetical>
<dialogue>I had this crank call? From some guy who thinks he saw her? I said, what would a bride be doin', on her wedding.</dialogue>
<character>JULIANNE</character>
<dialogue>You are so right. What a nerve on that guy! Bring my dress to church, huh?</dialogue>
<scene_description>Signals the driver , let 's GO !</scene_description>
<character>JULIANNE</character>
<dialogue>I want to pick up a little something for the ceremony.</dialogue>
</scene>
<scene>
<stage_direction>INT. LUXURY BOX, COMISKEY PARK - AFTERNOON</stage_direction>
<scene_description>Game in progress . Julianne and the bodyguard stand in the doorway of the deserted skybox . Everyone Walter knows is going to a wedding . The box is empty except for one cardboard container of nachos , extra cheese , sitting alone before a pulled - back chair .</scene_description>
<character>BODYGUARD</character>
<dialogue>She would n't confide in me, so I called the house.</dialogue>
<scene_description>He sighs . Feels terrible about all this .</scene_description>
<character>BODYGUARD</character>
<dialogue>Luckily, I got her cousin.</dialogue>
<scene_description>Julianne nods . Yeah , big break , there .</scene_description>
<character>JULIANNE</character>
<dialogue>Going to the john, she said?</dialogue>
<character>BODYGUARD</character>
<dialogue>Could be there awhile.</dialogue>
</scene>
<scene>
<stage_direction>INT. WOMEN'S RESTROOM - AFTERNOON</stage_direction>
<scene_description>Julianne BURSTS into the enormous chaotic restroom . Looks around wildly , no sign of Kim .</scene_description>
<character>JULIANNE</character>
<dialogue>YO! IMMIGRATION!</dialogue>
<scene_description>Everybody stops . Pays attention .</scene_description>
<character>JULIANNE</character>
<dialogue>I GOT A WARRANT FOR MS. KIMBERLY WALLACE!</dialogue>
<scene_description>Silence . From the long line of stalls .</scene_description>
<character>KIMMY</character>
<parenthetical>( O.S. , sobbing . )</parenthetical>
<dialogue>In here, you bitch!</dialogue>
<scene_description>Now everybody 's really interested . Julianne ignores them , strides to the stall . KNOCKS , like it 's a door . No answer .</scene_description>
<character>JULIANNE</character>
<dialogue>Let me in, baby, or I'll rip this damn thing off its non - code - compliant hinges.</dialogue>
<character>WOMAN</character>
<parenthetical>( O.S . )</parenthetical>
<dialogue>GET THE FUCK OUTTA MY FACE OR I'M GON NA MESS YOUR SHIT UP!</dialogue>
<scene_description>Some scattered APPLAUSE . From down the line .</scene_description>
<character>KIMMY</character>
<parenthetical>( O.S. , still sobbing . )</parenthetical>
<dialogue>Over here, nitwit!</dialogue>
<scene_description>Oh . Scattered laughter . Julianne moves down the line . Stares at the door . We hear the soft , muted crying from within . Slowly , Julianne . drops to her knees . Bends her head low . PEERS under the door . What she sees , prompts a sad warning .</scene_description>
<character>JULIANNE</character>
<dialogue>Incoming.</dialogue>
<scene_description>And she crawls UNDER the door , on her belly . We go WITH her to see . Kim fully dressed , perched on the closed toilet lid , her knees drawn up , her arms around them .</scene_description>
<character>JULIANNE</character>
<dialogue>Pitiful.</dialogue>
<scene_description>And pulls herself up to her knees . Kimmy tries to glare , but it just is n't in her .</scene_description>
<character>KIMMY</character>
<dialogue>Have n't you done enough?</dialogue>
<scene_description>The world gets real quiet . An entire bathroom is listening . Julianne cocks her head to one side .</scene_description>
<character>JULIANNE</character>
<dialogue>In one minute. You are going to feel so foolish.</dialogue>
<character>KIMMY</character>
<dialogue>WHY DO N'T YOU JUST DRIVE A STAKE THROUGH MY HEART?</dialogue>
<character>JULIANNE</character>
<dialogue>Have you ever heard of. Irony?</dialogue>
<scene_description>Irony ? Kimmy sniffles .</scene_description>
<character>JULIANNE</character>
<dialogue>I threw my arms around your husband. And kissed him with all my heart. Because I was so happy. For you. Nitwit.</dialogue>
<scene_description>And leans close . As Kimmy flinches .</scene_description>
<character>JULIANNE</character>
<parenthetical>( whispers . )</parenthetical>
<dialogue>He's going to take.</dialogue>
<parenthetical>( big grin . )</parenthetical>
<dialogue>The job!</dialogue>
<scene_description>A stunned pole - axed moment . And Kimmy 's eyes SPRING open . You mean ?</scene_description>
<character>JULIANNE</character>
<parenthetical>( beaming . )</parenthetical>
<dialogue>With your dad, yeah. Can you guess why? Bitch?</dialogue>
<scene_description>Everything inside Kimmy BURSTS free in a torrent of tears .</scene_description>
<character>KIMMY</character>
<dialogue>HE LOVES ME!</dialogue>
<scene_description>And DISSOLVES , sobbing , into Julianne 's arms . A beat , for Julianne to reflect , and then she strokes her tenderly .</scene_description>
<character>JULIANNE</character>
<dialogue>Well, of course, he loves you.</dialogue>
<scene_description>Kisses the top of Kimmy 's head .</scene_description>
<character>JULIANNE</character>
<parenthetical>( very soft . )</parenthetical>
<dialogue>Hell, even I love you.</dialogue>
<scene_description>Kimmy holds her tight . From her heart .</scene_description>
<character>JULIANNE</character>
<dialogue>I never want to go through this again.</dialogue>
<character>KIMMY</character>
<dialogue>That's entirely understandable.</dialogue>
<scene_description>ANGLES . outside the stall . Julianne 's feet sticking out under the door .</scene_description>
<character>KIMMY</character>
<parenthetical>( O.S . )</parenthetical>
<dialogue>Shit! THE TIME!</dialogue>
<scene_description>The two BURST out of the stall , hand - in - hand , at a desperate DEAD RUN past us . HEAR them EXPLODE out the door , and . five stalls OPEN . Women exit , crying .</scene_description>
</scene>
<scene>
<stage_direction>EXT. UNIVERSITY CHAPEL - TWILIGHT</stage_direction>
<scene_description>A taxi pulls up in front of an ivy - covered CHAPEL , fronted by nearly a hundred souls , milling about in attitude ranging from overstimulated curiosity to clinical hyperanxiety . Our girls JUMP out of the cab , and half the crowd starts running toward us , twins in the lead .</scene_description>
<character>SAMMY</character>
<dialogue>Whatever hap.</dialogue>
<character>JULIANNE</character>
<parenthetical>( cutting this short . )</parenthetical>
<dialogue>We were bonding, we lost track, we're officially sorry, now let's put it behind us.</dialogue>
<scene_description>Kim WAVES at her mom by the chapel entrance . And takes Julianne 's hand for support .</scene_description>
<character>JULIANNE</character>
<dialogue>Believe me, we got a bride who's worth waiting for, yes?</dialogue>
<scene_description>Everybody nods .</scene_description>
<character>JULIANNE</character>
<dialogue>Out of our way.</dialogue>
</scene>
<scene>
<stage_direction>EXT. DRESSING ROOM - TWILIGHT</stage_direction>
<scene_description>White . Pure blinding white . Across FRAME floats more white , this gauzy and ethereal . It settles , its roots planting deeply in the bride 's hair . TILTS UP to . the face of the woman who placed it there . Julianne 's eyes , appraising this bride we can not see . And so softly .</scene_description>
<character>JULIANNE</character>
<dialogue>Do n't worry, sugar.</dialogue>
<scene_description>Do n't worry .</scene_description>
<character>JULIANNE</character>
<dialogue>When he looks at you, it will be as if.</dialogue>
<scene_description>The words stronger . Because there is no smile .</scene_description>
<character>JULIANNE</character>
<dialogue>he's never seen a woman before.</dialogue>
<scene_description>PAN DOWN the white until we are . CLOSE on the bride 's perfect slippers . HOLD . And .</scene_description>
</scene>
<scene>
<stage_direction>INT. CHAPEL - EVENING</stage_direction>
<scene_description>Begins to slowly PAN BACK UP the length of an exquisite gown . We can tell from the organ , the nearby thrum of expectant voices , that we are nearing the moment . We reach . Kimmy 's hand . Firmly clasping Walter 's . Keep PANNING , the bodice , the lace , her throat , and finally , we are CLOSE on . the face of the bride . Now we understand the word radiant . We also understand scared senseless . Our perfect , unflappable Kimmy is in a trance of emotional overload where bliss and panic seamlessly blend . The organ 's noddling stops . Kimmy 's eyes alerted , like a small animal bearing a predator approach her thicket . Suddenly , the CHORD . The Wedding March from Wagner 's Lohengrin . Here . Comes . The bride . And we SNAP TO . FULL ANGLE . Kim and Walter . This is it .</scene_description>
<character>WALTER</character>
<parenthetical>( whispers . )</parenthetical>
<dialogue>Left foot.</dialogue>
<scene_description>REVERSE ANGLE . Kim 's POV , the chapel , every pew packed , every neck craning this way , the white satin carpet down the endless aisle to where . Michael waits . Also in a zone of pseudo - consciousness . From which he attempts a smile . Not comforting . Kim 's POV WHIP PAN the groomsmen , the twins , LOCKING FOCUS on Julianne , standing strong and beautiful , a glow of her own in the daffodil dress . She sends her little sister a WINK across the trackless miles of aisle . You can do this , kid . So . Kimmy does . On her father 's arm , she walks the gauntlet of the world 's intrusive admiration . One step at a time . The most beautiful she will ever be . She is dazzling the crowd and managing to not throw up at the same time . And she 's there . At his side . She glances back to her maid of honor , just to make sure she 's not working without a net . So Julianne . CROSSES her eyes . Which lets the kid smile and finally take a breath . Have a little fun , huh ? Kim nods , got it , turns to . The Minister . Who stands before them with a calming presence . Thank God someone has done this before . The crowd has hushed . The Minister 's eyes are only for two . His words are for all .</scene_description>
<character>MINISTER</character>
<dialogue>Michael and Kimmy wrote these words. She asked me to confide, mostly Michael.</dialogue>
<scene_description>A ripple of laughter . Gentle and fine . They are setting in .</scene_description>
<character>MINISTER</character>
<dialogue>So he gets to say them.</dialogue>
<scene_description>A surprise . A pleasant one . The crowd adjust in its seats . As Michael begins .</scene_description>
<character>MICHAEL</character>
<dialogue>Why do people get married anymore?</dialogue>
<scene_description>And on these words . We SNAP to Julianne . Share her interest in the bluntness , the simplicity , the unorthodoxy of this beginning .</scene_description>
<character>MICHAEL</character>
<parenthetical>( O.S . )</parenthetical>
<dialogue>Why not live together amicably, with no sense of obligation beyond the moment?</dialogue>
<scene_description>Her eyes . She 's listening .</scene_description>
<character>MICHAEL</character>
<parenthetical>( O.S . )</parenthetical>
<dialogue>As long as the sex is good. As long as no one more interesting has wandered into view. As long as the thousand conflicts of two individual wills remain comfortably compromised.</dialogue>
<scene_description>PANNING now . Other faces . Isabelle . Proud to the bone .</scene_description>
<character>MICHAEL</character>
<parenthetical>( O.S . )</parenthetical>
<dialogue>And when one feels the urge to move on, to explore the new. No guilt, no disgrace, no promise broken.</dialogue>
<scene_description>Walter . His eyes damp . Against our expectation .</scene_description>
<character>MICHAEL</character>
<parenthetical>( O.S . )</parenthetical>
<dialogue>No agony of having dishonored a time. When our hearts. And the world were different.</dialogue>
<scene_description>Joe nods , as he hears .</scene_description>
<character>MICHAEL</character>
<parenthetical>( O.S . )</parenthetical>
<dialogue>Marriage is a lot to put up with.</dialogue>
<scene_description>Julianne once more . No breath . Rapt .</scene_description>
<character>MICHAEL</character>
<parenthetical>( O.S . )</parenthetical>
<dialogue>The answer must be. That there is some need basic to the human heart. That embracing. the obligation of commitment. fulfills.</dialogue>
<scene_description>Her eyes have clouded . As if Michael is talking to her .</scene_description>
<character>MICHAEL</character>
<parenthetical>( O.S . )</parenthetical>
<dialogue>Some need to belong to one another in a way which rages against the notion. that all is impermanent. Against the notion of mortality.</dialogue>
<scene_description>And suddenly , ALL the feeling rises in her throat .</scene_description>
<character>MICHAEL</character>
<parenthetical>( O.S . )</parenthetical>
<dialogue>Our love is bigger. And longer. Than life itself.</dialogue>
<scene_description>And the tears come . They come freely , unhidden , unnoticed . As if they were needed . Michael now . Looking at his bride .</scene_description>
<character>MICHAEL</character>
<dialogue>That's what we want. And marriage. Is what we do about it.</dialogue>
<scene_description>Kimmy smiles at him . With love bigger than life itself .</scene_description>
<character>MICHAEL</character>
<dialogue>We are fools in this. Thank God Almighty.</dialogue>
<scene_description>He is done . There is a silence .</scene_description>
<character>MINISTER</character>
<dialogue>Boy, that was good!</dialogue>
<scene_description>People LAUGH . The Minister holds up a sheet of paper . For the crowd to see . Mostly paragraphs crossed out in red ink .</scene_description>
<character>MINISTER</character>
<dialogue>Michael and Kim also edited what they want me to say.</dialogue>
<scene_description>More laughter .</scene_description>
<character>MINISTER</character>
<dialogue>The idea was, we're only marrying once. We have to remember it forever. Let's keep to the good stuff.</dialogue>
<parenthetical>( squints at the sheet . )</parenthetical>
<dialogue>You may kiss the bride.</dialogue>
<scene_description>Bigger LAUGHTER . The Minister waves this off , his little joke . Turns to the best man , pantomimes the ring . As the hammered gold circle is handed to Michael , Julianne absently scratches her still - swollen finger . Mandy taps Julianne on the arm , and produces . a matching ring . Take it ! Gives it to her . So Julianne steps forward . Places the second ring into Kimmy 's waiting hand . Their eyes meet , and hold throughout .</scene_description>
<character>MINISTER</character>
<parenthetical>( O.S . )</parenthetical>
<dialogue>If anyone here can show just cause why this man and woman should not be married, speak now. Or forever hold your peace.</dialogue>
<scene_description>Julianne CLEARS her throat . Kimmy 's heart flutters . In the silence . Julianne 's wonderful smile . Just kidding . Michael reaches for Kim 's hand , turns her gently to him . Places his ring on her finger . Holds her hands .</scene_description>
<character>MICHAEL</character>
<dialogue>Kimberly. I promise to love. And respect and comfort you. To hear your voice and your heart. Until we are parted by death.</dialogue>
<scene_description>She swallows . Smiles a fleeting , beautiful smile . Fumbles slightly , putting the ring on his finger .</scene_description>
<character>KIMMY</character>
<dialogue>Michael. I promise to love and respect and comfort you. To hear your voice and your heart. Until we are parted by death.</dialogue>
<scene_description>Staring in each other 's eyes . A moment so fragile , the Minister waits an extra beat .</scene_description>
<character>MINISTER</character>
<dialogue>For the record, you each agree to marry the other?</dialogue>
<character>KIMMY</character>
<parenthetical>( quickly . )</parenthetical>
<dialogue>I do!</dialogue>
<character>MICHAEL</character>
<parenthetical>( smiling . )</parenthetical>
<dialogue>I do.</dialogue>
<scene_description>The Minister joins their right hands .</scene_description>
<character>MINISTER</character>
<dialogue>We have n't said much about God this evening, I know. But He is here. And He is happy. To bless His wonderful children.</dialogue>
<scene_description>CLOSE now on Julianne . For the inevitable moment .</scene_description>
<character>MINISTER</character>
<parenthetical>( O.S . )</parenthetical>
<dialogue>In that Michael and Kimberly have given themselves to each other by solemn vows, and the exchanging of rings.</dialogue>
<scene_description>Unnoticed by the world . Her eyes are close .</scene_description>
<character>MINISTER</character>
<parenthetical>( O.S . )</parenthetical>
<dialogue>I pronounce them husband and wife. Those whom God has joined together, let no one put asunder.</dialogue>
<scene_description>The eyes open . Wet , brave , ready for .</scene_description>
<character>MINISTER</character>
<parenthetical>( O.S . )</parenthetical>
<dialogue>Now. Kiss the bride.</dialogue>
<scene_description>Julianne watching . As Michael does .</scene_description>
</scene>
<scene>
<stage_direction>EXT. WALLACE POND - NIGHT</stage_direction>
<scene_description>This is what all the preparation was for . Tables , lights , balloons , the guests dancing on the hardwood floor , at the base of the gazebo . The bride and groom among them , relaxed and happy . Two who are one . PAN TO . the stage , the band playing . Julianne conferring with the twins and the band leader , clear that she 's giving the instructions . Then , she takes her glass of champagne to the microphone . KLUNKS it , for silence . The band stops . The dancers follow . All eyes are comfortably turned to the maid of honor . She looks to the couple . Just below her . Then , to the crowd .</scene_description>
<character>JULIANNE</character>
<dialogue>I'm a writer, too, not as good as Michael. But I do steal from quality.</dialogue>
<scene_description>She raises her glass . Everyone at the table does the same .</scene_description>
<character>JULIANNE</character>
<dialogue>This is to my best friend. On the occasion of his wedding.</dialogue>
<scene_description>Shouts of support , a few whistles . Silence . She tells Michael .</scene_description>
<character>JULIANNE</character>
<dialogue>If I have truly come to know your bride as my new sister. This is in her heart.</dialogue>
<scene_description>She has to stop . Swallows . Because she will not let herself cry .</scene_description>
<character>JULIANNE</character>
<dialogue>`` Understand. I'll slip quietly away from the noisy crowd when I see the pale stars rising, blooming, over the oaks.''</dialogue>
<scene_description>Deep breath . Looks in his eyes .</scene_description>
<character>JULIANNE</character>
<dialogue>`` I'll pursue solitary pathways through the pale twilit meadows, with only this one dream : You come too.''</dialogue>
<scene_description>A hush . SHARP applause . From four hundred hands . But not from his . He is too moved . Too understanding of what he has heard .</scene_description>
<character>JULIANNE</character>
<dialogue>I do n't have a wedding gift. But this is on loan. Until you two find your song.</dialogue>
<scene_description>And with that the band begins . The opening phrases of a song we have come to know . Michael seems overwhelmed . Julianne nods toward the gazebo . Michael takes his bride 's hand , leads her up the stairs , into his arms , as the twins step to the microphone , and guests begin to applaud an unscheduled wedding dance .</scene_description>
<character>MANDY/SAMMY</character>
<parenthetical>( singing . )</parenthetical>
<dialogue>Someday, when I'm awfully low, And the world is cold, I will feel a glow just thinking of you, And the way you look tonight.</dialogue>
<scene_description>Soft two - part harmony . As perfect as the words .</scene_description>
<character>MANDY/SAMMY</character>
<parenthetical>( singing . )</parenthetical>
<dialogue>You're lovely. With your smile so warm, And your cheeks so soft, There is nothing for me but to love you, Just the way you look tonight.</dialogue>
<scene_description>Julianne can cry now . Because she 's tied with half the place .</scene_description>
<character>MANDY/SAMMY</character>
<parenthetical>( singing . )</parenthetical>
<dialogue>With each word, your tenderness grows, Tearing my fears apart. And the laugh that wrinkles your nose, Touches my foolish heart.</dialogue>
<scene_description>Julianne begins to sing . Unheard . Unseen . Even by the man she 's singing to .</scene_description>
<character>JULIANNE/MANDY/SAMMY</character>
<parenthetical>( singing . )</parenthetical>
<dialogue>You're lovely, please do n't ever change, Keep that breathless charm, Darling, please arrange it, cos I love you. Just the way you look tonight.</dialogue>
<scene_description>The band keeps playing . The dance goes on . Two people lost in each other . The way it 's supposed to be .</scene_description>
</scene>
<scene>
<stage_direction>INT. GREAT ROOM - LATE NIGHT</stage_direction>
<scene_description>Bedlam . Julianne caught in the middle of the throng . A young couple , dressed for travel , appear at the top of the staircase . The SHOUT are deafening . The bride has her bouquet . she spots Julianne far below . THROWS it her way , Julianne reflexively GOES FOR IT . not a fucking chance . The twins nearly TRAMPLE her in the stampede , Mandy WRESTING the prize from Sammy 's grasp . Everyone CHEERS , and then the couple is . FLYING down the stairs , RACING through the crowd with a protective phalanx of groomsmen bodyguards , heading for the door , for freedom . Julianne , trapped in the crush , loses sight of the couple , struggles against the flow , suddenly panicked by the certainty that she will never see him before . And then , he 's THERE . He has Julianne in his arms . Holding her so tight . An embrace so wonderful , so terrible , she could go mad from the confusion alone . Against the din , he murmurs in her ear .</scene_description>
<character>MICHAEL</character>
<dialogue>Wherever I go. However far.</dialogue>
<scene_description>She sobs . Holds him . Deep , deep breath .</scene_description>
<character>JULIANNE</character>
<dialogue>You win a few, you lose a few. Some get rained out.</dialogue>
<scene_description>And to her surprise .</scene_description>
<character>DIGGER</character>
<parenthetical>( V.O. , very softly . )</parenthetical>
<dialogue>You have a good time?</dialogue>
<scene_description>To her greater surprise . There are a few tears left , after all .</scene_description>
<character>JULIANNE</character>
<dialogue>I did what I came to do.</dialogue>
<character>DIGGER</character>
<parenthetical>( V.O. , even softer . )</parenthetical>
<dialogue>Good girl.</dialogue>
<scene_description>She just ca n't speak now . So she does n't .</scene_description>
<character>DIGGER</character>
<parenthetical>( V.O . )</parenthetical>
<dialogue>I was thinking. Maybe you might visit us for awhile. We've got the room made up.</dialogue>
<scene_description>This fucking guy . God , she loves him .</scene_description>
<character>JULIANNE</character>
<dialogue>I'll think about it. I'm okay.</dialogue>
<character>DIGGER</character>
<parenthetical>( V.O . )</parenthetical>
<dialogue>Oh, you're more than okay.</dialogue>
<scene_description>Just above a whisper .</scene_description>
<character>JULIANNE</character>
<dialogue>You, too.</dialogue>
<scene_description>And with the last of her strength .</scene_description>
<character>JULIANNE</character>
<dialogue>If the sun comes up, I'll see you tomorrow, huh?</dialogue>
<scene_description>A chuckle . At the other end .</scene_description>
<character>DIGGER</character>
<parenthetical>( V.O . )</parenthetical>
<dialogue>I'll play those odds. You have sweet dreams.</dialogue>
<scene_description>We hear the CLICK . She turns her back on the stars . Shoulders straight . Chin up . She walks from frame . FADE TO BLACK . HOLD END CREDITS .</scene_description>
</scene>
</script>
|
INT. BOULEY RESTAURANT, NEW YORK - NIGHT
Dim lighting , crowd buzz , a long line of the rich , the celebrated , the congenitally impatient . Everyone in this queue holds a reservation at least an hour overdue . Tourists ca n't even make the line . PAN ahead to . the burnished dining room , the tables of power , the elegant service . Covertly , many eyes are drawn to the one table receiving by far the most lavish service of all . Captains hover , presenting delicacies , pouring wines , murmuring obsequiously to a guest whose person they screen from our view . We can see , however . the honored guest 's companion . Ignored , bemused , across the table . This is DIGGER DOWNES , 36 , darkly attractive . Kind eyes , an intellectual 's mouth , Saville Row 's most unobtrusive and conservative chalk - stripe suit . He is gay , but you would n't guess it . Loyal and wise and generous , and you might . He watches with a quiet twinkle , as the Captains now step back , revealing to us . their most unlikely icon . JULIANNE POTTER , almost 28 , wears her favorite bulky sweater over a bunch of other stuff she pulled together in fifteen seconds . She is unkempt , quick , volatile , scattered , and beneath it all , perhaps because of it all , an original beauty . Dark liquid eyes , a cynical mouth , slender expressive fingers , which point to .
CAPTAIN
A variation on our squid ink risotto. Trace of Moselle, to sweeten the stock.
She does n't like that idea at all . Shoots him a sharp look of doubt that makes him smile . Murmur .
CAPTAIN
Do n't kill us on this one, it's a long shot.
Places the moist lump of black rice before her . She takes a surprisingly small amount , rolls it over her tongue . Makes dead flat eye contact with Digger . And nods , it 's actually quite nice . The Captain breathes with relief . She turns her dark eyes to him . The tone says they 're pals .
JULIANNE
I'm writing it up as inventive and confident. Which it is. Off the record, I'll need an extra boat of the ink. Or a salt shaker.
CAPTAIN
I'll toss a coin.
As the Captain splits , Digger looks around at the other tables , which makes many pairs of eyes awkwardly glace away .
DIGGER
Is it ever embarrassing, having your bum kissed in public?
JULIANNE
If your ass is n't chapped, you are not a good - writer of note.
She glances at her two remaining waiters , who shamelessly fawn nearby .
JULIANNE
Is it sad to be an editor, and bask only in reflected insincerity?
DIGGER
I've adjusted, and thanks for asking.
She leans forward , as if sharing something conspiratorial .
JULIANNE
See the pull of a book like Twenty Chefs, is not who I put in. It's who I leave out.
DIGGER
Which is everyone you could n't get in.
JULIANNE
Plus some guys whose food I do n't like.
Pushes the risotte across to him . He lifts a fork .
DIGGER
This fellow from Newsday ever call?
She shrugs . Pulls a cellular out of a large , jumbled bag .
JULIANNE
I'll buzz my machine. Inventive and confident, yeh?
She dials . He tastes .
DIGGER
Needs salt.
JULIANNE
Is Newsday a real interview, or just some cute guy you're setting me up w.
DIGGER
I do n't send you men, anymore. You do n't know what to do with them.
She 's punching in her code .
JULIANNE
Sometimes I do. Like for two months.
DIGGER
weeks.
Over the phone , we hear her answering machine .
MAN'S VOICE
( V.O. , soft . )
Hey. It's Michael.
And her face changes . Warms . Just to hear the guileless voice .
MICHAEL
( V.O . )
God, it must be, what, months, huh? I ca n't wait to talk to you. I'm in Chicago at the Ritz Carlton.
She looks impressed and surprised . Fancy place for this guy .
MICHAEL
( V.O . )
Call me four in the morning, whatever, we got ta talk.
As she hangs up . She still has that look in her eye . Digger has never seen that , and he likes it very much .
DIGGER
Who called? The man of the moment?
She smiles . A sweet , natural smile that makes us like her , too . The Bohemian sophisticate has vanished .
JULIANNE
No, no, the opposite. That's my best friend, Michael O'Neal. He sounds desperate to talk.
DIGGER
The wandering sportswriter.
He pushes the risotto back her way .
DIGGER
I did n't know you two had a past.
Her gaze sharpens . Hmmn ?
DIGGER
The look in your eye.
She blushes . Shakes her head , no way .
JULIANNE
Sophomore year at Yale we had this one hot month. And, you know me, I got restless.
He knows her . She got restless .
JULIANNE
So I get up the nerve to break his heart. I tell him there's this dreamy exchange student from Pakistan who wants to, you know.
He knows .
JULIANNE
And he gets this. look. He says, `` I knew I could n't hold your interest'', which, of course, makes me feel like the shallow bitch I've always been.
He nods , yeah .
JULIANNE
Then he says, `` But what makes me want to cry. Is I'm losing the best friend I ever had.''
Hears the feeling . In her voice .
JULIANNE
And when he said it, I knew. I felt the same.
Silence now . She covers with a smile .
JULIANNE
So I cried. For maybe the third time in my life. And I kissed him. And we've been best friends ever since.
Ever since . Fingers turning her wine glass .
JULIANNE
Nine years, we've seen each other through everything. Losing jobs, losing parents, losing lovers. travelled all over, we've had the best times. The best times of my life, maybe. Just drinking and talking. Even over a phone.
DIGGER
Kindred spirits.
JULIANNE
No, he's nothing like me. He's like you. Only straight.
No offense taken .
JULIANNE
He's the salt of the earth. Kind and loyal and generous. The one constant thing in my life, is he'll always be there.
DIGGER
He's still in love with you.
That stops her . She has to say .
JULIANNE
Maybe. But it never gets in the way.
Something she probably has n't confessed out loud before . Digger understands .
DIGGER
Well, he has a true friend in you.
He wants her to know he sees that .
DIGGER
Whenever George tells someone how steadfast I am, he always makes me sound boring.
JULIANNE
Solid and genuine is not boring. Michael can be completely insane.
A young waiter arrives . Sets a boat of black squid ink beside her plate .
JULIANNE
There was this one night in Tucson, like six years ago. we got amazingly drunk, I mean, Keith Richards time.
The kid tops off her glass of meursault . Looking at her .
JULIANNE
God, I have n't thought of this in so long.
The waiter hanging now . Openly listening .
JULIANNE
I can even believe we did this.
Digger sees the guy listening , gestures to her with his eyes . So she looks up .
JULIANNE
Could you give us a minute?
The kid stunned , speechless . People lose jobs for a lot less .
JULIANNE
You wo n't miss much, I promise there was no sex.
He reddens and disappears .
DIGGER
I've lost interest.
JULIANNE
He takes a razor from his dinky little dopp kit, cuts his fingertip, takes my hand, does the same to me.
She places the tips of her index fingers together .
DIGGER
Blood oath.
JULIANNE
He says, `` Swear. When we're both 28, if we've never been married. we marry each other!''
And laughs again . Can you believe that ? But Digger is n't smiling . She wonders why . Begins to spoon black squid ink onto her risotto .
JULIANNE
See, he figured that would be a sign from God, or someone of comparable authority, that we'd misunderstood our destinies.
He still has this real serious look . She 's still spooning ink .
JULIANNE
We never talked about it again. I do n't know what made me think of.
DIGGER
( quietly . )
I do.
And everything . Stops . She lifts her spoon , mesmerized by the gravity of his tone .
DIGGER
You'll be 28 in three weeks. How old is he?
Holy . Fucking . Shit . It hits her like a ton of lead bricks . She shovels some swampy risotto into her mouth , without looking .
JULIANNE
You think.
DIGGER
Desperate. To talk.
She shovels in more drippy black goop . It is really disgusting .
JULIANNE
He's not proposing marriage, there's no way I'm buying one word of th.
DIGGER
Then why are you compulsively eating? If you're not hysterical?
More goes in . Her lips and mouth completely black . Like a circus clown .
JULIANNE
He ca n't do that to me!
DIGGER
We're about to find out.
Ink is now dribbling out of the black hole of her mouth and down her face . She absently dabs a napkin , keeping some of it from reaching her sweater .
JULIANNE
When I turn him down.
She realizes the full weight of the truth .
JULIANNE
We'll never be the same.
DIGGER
I have a suggestion.
JULIANNE
I'll have to kill myself before I call him.
Staring in each other 's eyes .
DIGGER
( sadly . )
That was it.
INT. JULIANNE'S BATHROOM - LATE NIGHT
Julianne furiously scrubs her blackened tongue with a toothbrush . Gray foam pours from her mouth , spattering the oversized basketball jersey she wears as a nightshirt . In the mirror , her troubled eyes dwell on Michael , flick to the cordless phone standing ominously on the closed toilet lid . She spits , sticks her tongue way out . Incredibly black . Great . Depressed , terrified , and disfigured for life . She snatches up the hated phone , and wanders aimlessly into . her bedroom . West Village view . Defiantly jumbled , aggres - sively eclectic . Traces of wonderful taste mixed with I - like - it - you - got - a - problem - with - that ? She stumbles around , rehearsing .
JULIANNE
This is awkward timing, Michael, I just joined this convent, and they never give your deposit ba.
Stops . Full - length mirror . She straightens her hair , to look her best .
JULIANNE
Michael, I'm married.
Not enough .
JULIANNE
and I have two weeks to live.
Changes tone .
JULIANNE
Michael, I'm trying to be gay, do n't confuse me.
She turns to continue pacing , and walks straight INTO a dresser . Stuns her , momentarily . Enough , already ! She punches up the number , primping absently in the mirror . When it connects .
JULIANNE
I was calling Michael O'Neal, but seeing it's so late, I could just leave a mes.
No such luck . Cut off . Waits . And then .
JULIANNE
( soft . )
Good evening, sir. You've been enrolled in the Obscene Call Of The Month Club, and th.
MICHAEL
( V.O . )
Hey! God, it's so good to hear your voice.
She forgets herself . Because it 's good to hear his , too .
MICHAEL
( V.O . )
I've been calling for days!
JULIANNE
Yeh, well my old machine kept eating messages. I tried constructively ignoring it in hopes of improvement, but finally.
MICHAEL
( V.O. , urgent . )
Look, I have to ask you something.
She swallows .
MICHAEL
( V.O . )
Something so incredibly important, that if you turn me down, I do n't know what I'll d.
JULIANNE
( bright . )
I just have to tell you this one thing first, okay? I mean this will hand you the biggest laugh of your adult life.
Silence . Come on girl , suck it up .
JULIANNE
I was thinking about you, and I remembered this unbelievably insane night we spent together in Tucson, like a thousand years ago?
More silence . Really quiet .
JULIANNE
I mean, there's no way you could possibly remember the.
MICHAEL
( V.O. , soft . )
Are you kidding?
Stops her . Like a brick wall . The sweetness in his voice .
MICHAEL
( V.O . )
I think about that night all the time.
She 's going to have a heart attack .
MICHAEL
( V.O . )
But it's not why I called.
She blinks . It 's not . And just as a tsunami of relief begins to sweep away .
MICHAEL
( V.O . )
I called because I met someone.
And her smiles breaks off . Like a spine snapping . Because there is something in his voice .
JULIANNE
Well, that's great. You have n't really had anybody since Dingbat Jennylee.
MICHAEL
( V.O . )
You do n't understand. I've never felt this way about anybody!
Never . She sits down , hard . Right on the floor .
MICHAEL
( V.O . )
And she's all wrong for me!
JULIANNE
Well, somet.
MICHAEL
( V.O . )
I mean she's a junior at Chicago University, she's twenty years old! Like when I first met you.
Like when . Julianne 's mouth is suddenly dry .
MICHAEL
( V.O . )
And her dad is like this billionaire who owns the White Sox and some cable empire, and you know how I've always been miserably awkward around those kinda stuffed suits.
She 's finally making her mouth work .
JULIANNE
Well, sure.
MICHAEL
( V.O . )
But they're so down to earth, such wonderful people.
JULIANNE
You've met her parents.
MICHAEL
( V.O. , quiet . )
Well. Sure.
Wow .
MICHAEL
( V.O . )
See. We're getting married. This Sunday.
There 's a knife in her heart . She can scarcely breathe .
JULIANNE
Michael, it's Wednesday night, you ca n't possibly be getting married on Su.
MICHAEL
( V.O . )
Actually, it all starts tomorrow. It's one of those four - day weddings, with all the traditional events, and ten million people flying in from Madagascar such.
JULIANNE
( incredibly lame . )
Are n't you. working this weekend? I mean, is that responsible?
MICHAEL
( V.O . )
Well, the Sox are at home. SI's letting me do a profile on the Big Hurt. That's Frank.
JULIANNE
( barely audible . )
. Thomas, yeh.
She 's staring at herself in the mirror .
MICHAEL
( V.O . )
Jules. I'm scared.
A straw to lunge at .
JULIANNE
Well, maybe we should talk ab.
MICHAEL
( V.O . )
I need you.
So heartfelt . A lifetime of emotion welling in her eyes .
MICHAEL
( V.O . )
If you ca n't come. And hold my hand. I'll never get through this.
Oh .
MICHAEL
( V.O . )
Please come, please.
JULIANNE
W.
MICHAEL
( V.O . )
I ca n't wait for you to meet her!
HOLD ON Julianne . Staring in the mirror . Like watching the end of her life .
INT. BEDROOM - LATER
The closet , the armoire , all the drawers are wide open . Two huge suitcases open on the bed , into which Julianne is flinging clothes , as she fumbles to smoke and dial at the same time . Over the phone , now .
DIGGER
( V.O. , machine . )
You've reached Digger and George. Brevity will be appreciated.
BEEP .
JULIANNE
( in a rage . )
IT'S ME AGAIN, WHY ARE N'T YOU GUYS UP HAVING SAFE SEX?
SNATCHES up a tiny , clingy , sexy dress . Pouts at it .
JULIANNE
OR, IN THE ALTERNATIVE, WHY ARE N'T YOU INTERRUPTING IT TO ANSWER THE PHONE?
She holds the dress against her body . It 's hot .
JULIANNE
YOU, YOU, YOU! IT'S ALL ABOUT YOU, IS N'T IT?
She clicks OFF . Checks the dress in the mirror . Raises the short skirt a little higher .
INT. DIGGER'S CHEROKEE, JFK AIRPORT - EARLY MORNING
Digger driving the open - air Cherokee up the ramp to United Airlines departures . Julianne , wind - whipped , trying to light a fresh cigarette from the butt of the last one . He glances over . Hates to see this .
DIGGER
You ca n't get lung cancer and die in four days. Go to Plan B.
She sucks deep . Really deep .
JULIANNE
You have no appropriate sense of emergency. My best friend is ruining his life.
DIGGER
No, he's ruining yours.
JULIANNE
Same difference. If you love someone, it's your duty to save them from themselves.
DIGGER
You have a real philosophy of life.
JULIANNE
It's called the Law of Love, asshole.
She is tight enough to snap . And at the edge of tears . Staring out at the skycaps , clinging to her cigarette , as he eases to the curb .
DIGGER
( gently . )
Why do n't we have a drink? You could catch a later fl.
JULIANNE
I'm a busy girl. I've got four days to break up a wedding, and steal the bride's fella.
She finally looks at him . He does n't say anything .
JULIANNE
He's adored me for nine goddamn years.
DIGGER
I can see why.
JULIANNE
She knows him maybe five seconds, plus she has billions of dollars, plus she's perfect, so do n't go feeling sorry for Miss Pre - Teen Illinois!
He 's not . So her voice softens . Which shows the hurt .
JULIANNE
And do n't go feeling sorry for me, you do n't know me that well. We're only friends.
DIGGER
( softly . )
I stand corrected.
Tears now . Stand in her eyes .
JULIANNE
I'm making a big mistake, huh?
DIGGER
( shrugs . )
Maybe you'll learn something.
He wraps his hand over hers . She looks down at it .
JULIANNE
I'm gon na bring him back, man. Against all odds, y' know. Cos if I do n't.
She wraps her fingers around his .
JULIANNE
I got ta live with it forever.
Looks in his eyes .
JULIANNE
And at my wedding. I'll be the only bride with her own best man.
And she kisses his cheek . Jumps out of his car . Before she cries . Yanks her bags from the back . Brave smile . They trade small salutes . And then she 's gone .
INT. O'HARA AIRPORT, CHICAGO - MORNING
The jetway disgorging passengers into the swarming ant colony called O'Hare . Julianne lugging multiple carry - ons , trying to pull fly - away strands of hair into place , nervous as a schoolgirl , looking all around , and . there he is . MICHAEL is tall and square - shouldered , a boyish grin , an unruly shock of hair . He looks gorgeous , sweet , and just dangerous enough to be irresistible . Worthwhile stakes . His face lights to see her , and she . RUNS to his arms , shedding bags along the way , slamming off heedless civilians , to be . SWEPT OFF the earth in strong arms , spun around , laughing like crazy , their cheeks tight together . When he sets her down . he kisses her nose . His arms are still around her .
MICHAEL
( murmurs . )
Can you believe it? Can you believe I'm actually gon na do this?
JULIANNE
( lost in his eyes . )
Not hardly.
He beams . Turns . She follows his gaze , and . there she is . KIMBERLY WALLACE is 20 , small and slender , but it is a body to die for . The face is striking , not at all perky and vapid , but lovely and interesting . Worst of all , intelligent . She walks toward them purposefully , her eyes locked to the woman in her fiancee 's arms . At the last moment , Michael releases Julianne and Kimmy . THROWS her arms around the startled visitor . HOLDS her tight , with such genuine warmth that Julianne can only , slowly , hug back . As Michael beams .
KIMMY
This just makes everything so perfect.
Her arms stay around the slightly dazed Julianne . The younger girl leans close , confides .
KIMMY
All I've heard, from the day I met Michael, is Julianne this, and Julianne that.
JULIANNE
Well, we're.
KIMMY
I think the best part of marrying this guy is finding you.
Pale gray eyes . Alive with joy and intimacy .
KIMMY
I've never had a sister.
INT. KIMMY'S CONVERTIBLE - DAY
Kimmy TEARING down the throughway in her Mercedes 500 SL , a dashing , confident driver . Julianne riding shotgun , hair flying , a total wreck , in the open convertible . Michael is happily crouched on the little platform behind their seats , hugging his knees . The roar of the wind makes it impossible for him to hear them .
KIMMY
My heart's in my throat, here. Right off, I have to ask this monstrous favor.
JULIANNE
You need a few dollars.
Kim glances over . At eighty miles an hour . A bittersweet look .
KIMMY
Dry. Just like he said.
Her eyes at once admiring and regretful .
JULIANNE
Excuse me?
KIMMY
I can be quick. I can even be funny.
Shakes her head . An endearing youngster .
KIMMY
But I ca n't be dry.
JULIANNE
Can you watch the road?
KIMMY
See. Dry. It's in the delivery.
She looks back to the highway .
KIMMY
This is a very presumptuous and burdensome fav.
JULIANNE
you want a menage on your wedding night.
KIMMY
( straight back . )
No, that would n't be burdensome.
Julianne studying the delicate , angular profile . Hard not to like this kid .
KIMMY
My classmate Angelique shattered her pelvis line dancing in Abeline on Spring Break.
Looks over . The sweetest smile .
KIMMY
Be my maid of honor.
Julianne just blinks .
KIMMY
You ca n't believe what it'd cost to bring in a temp.
JULIANNE
Uh. How about promoting a bridesmaid? Someone you know for at least forty - five minutes.
We CUT OFF a huge SEMI who BLASTS his horn . Kimmy fearless , oblivious , and analytical .
KIMMY
The bridesmaids are my only two female relatives under forty. Identical twin debutantes from Nashville, who are basically vengeful sluts. With amazing bodies!
JULIANNE
Which was the disqualifying factor?
KIMMY
The twin part. I like to remain impartial in my contempt.
Sees the off - ramp , and SLICES across FOUR LANES of speeding bullets in a heart - stopping nanosecond . This kid could drive for Penske . Julianne has to pound her chest to get her heart started . Looks back to see if Michael fell out . he is absurdly wind - blown . Gives her a beautiful grinning thumbs - up . Loves this stuff .
KIMMY
This means I have four days to make you my new best friend.
Brings Julianne 's eyes back .
KIMMY
And since I already know everything about you. Including intimate facts I'm mortified to have heard, but too envious to forget. It's time for you to learn about me.
Easing off the freeway . She meets Julianne 's glance .
KIMMY
Force yourself. To get personal.
JULIANNE
( smiles . )
Sounds like a plan.
INT. DRESS SHOP, NORTH MICHIGAN AVENUE - MORNING
The place is stunning . High - ceiling , soft light , large rococo mirrors , Louis Quatorze sofas and chairs . Michael wanders rest - lessly , fish out of water among designer displays and stylish female patrons . Takes a look at his watch .
INT. DRESSING ROOM - MORNING
A period sitting room , ringed with mirrors along its tapestried walls . Kimmy sits on a Louis Treize loveseat next to a stack of costly gowns . Watching with an expertise beyond her years , as . Julianne stands on a platform . A seamstress fitting her into a sleek pale daffodil - colored gown . There are pins everywhere , as the seamstress struggles toward a perfect fit . Continuously looking to Kim for approval .
KIMMY
If you'd rather the lilac.
Julianne shakes her head . This one is beautiful .
JULIANNE
I thought bridesmaids had to wear the same dress.
KIMMY
Not you. You wo n't be comfortable unless you're distinctive.
Julianne glances over .
JULIANNE
What else did he tell you.
KIMMY
you hate weddings, you never go.
Oh . Well , yeah .
KIMMY
You're not up for anything conventional, or popularly assumed to be female priorities. Including marriage. Or romance. Or even.
And she stops . Not wanting to offend .
JULIANNE
( quietly . )
not even love.
The look holds . The seamstress keeps working , as if she 's deaf .
JULIANNE
That's why Michael and I were the wrong fit. Right from the start.
KIMMY
He said that, too.
She stands up . Walks to the platform . Smooths her hand over the fabric down Julianne 's back , along her hips . Communicating to the seamstress with her irritated expression .
KIMMY
Well, I thought I was like you. And proud to be. Until I met rumpled, smelly old Michael.
Pins start to come out . Kimmy points , these , too !
KIMMY
And then I found I was just a sentimental schmuck. Like all those flighty nitwits I'd always pitied.
She leans forward . So they can look at each other .
KIMMY
Funny world, huh?
Julianne swallows . It is that .
JULIANNE
I need a smoke.
And before anyone can breathe , she steps OFF the platform RIPPING the living shit out of the gown , right down the side . The seam - stress ' eyes FLASH OPEN in abject horror . Julianne , a deer in headlights , looks quickly around at the evidence of her screw - up in six different mirrors . Kimberly just steps to her , fingers the tear .
KIMMY
It's mostly the seam. Let's get this to Carlos.
And UNZIPS Julianne down the back . In her rush to step out , Julianne STUMBLES , but her arms are pinned by the pulled - down dress and she just . TOPPLES like a felled oak , THUDDING on her face , the gown RIPPING some more , the seamstress SCREAMING like an idiot . Then . Silence . Julianne looking up helplessly , a trussed hog , bound in her dress .
KIMMY
( firm . )
Just. Do n't. Move.
Like you talk to a three - year - old . Deftly , Kimmy pulls the dress free , leaving Julianne in her underwear . Signals to the seamstress , let 's go .
JULIANNE
Do n't you have to be somewh.
KIMMY
just my bridal shower. And Michael has to meet our dads and the groomsmen at Comiskey for a one - thirty game.
Opens the door .
KIMMY
Other than that.
Closed SOLID . Gone .
INT. DRESSING ROOM - LATER
Julianne sits on the loveseat in her bra and panties , lighting one cigarette from the butt of another . Suddenly , she hears . an ARGUMENT outside the door . Strains to listen . It does sound like Michael and Kim . We ca n't make out the words . She jumps up , dashes for the door , STUBBING her toe on the platform , SHIT ! , falls heavily AGAINST the door with a THUD that makes her wince , and . the argument stops . Damn . She opens the door a crack . Sees nothing . Opens it wider to reveal . a teenaged BOY looking right at her . He sends a true shit - eating grin and she SLAMS the door hard enough to RATTLE walls . She PACES furiously , helplessly , arms around her half - naked self , until . soft knock . The door opens a crack , and her daffodil gown comes through it .
JULIANNE
Come in, and shut the.
Stops . Because it 's Michael who has entered . With the dress .
JULIANNE
door.
So he does . She flushes and SNATCHES up her own clothes , which were characteristically tangled in a heap , and tries desperately to untangle them enough to cover herself . He is amazed and amused by her embarrassment .
MICHAEL
( laughing . )
Should I turn around, or someth.
JULIANNE
Michael, I'm in my underwear!
She 's TEARING at her clothes , only making more of a mess .
MICHAEL
We've seen each other a lot more naked than this.
She seems ready to rip her clothes apart , so he gently takes them from her hands . She tries to stand unselfconsciously as he easily untangles them .
MICHAEL
I mean, we were skinny - dipping in Greece, just as pals, less than two years ago.
She GRABS the clothes and covers the front of herself . Looking at him with a mix of emotions she could n't begin to sort out .
JULIANNE
Things are different now.
He looks in her eyes . And nods , a little sadly . Guess they are .
MICHAEL
( softly . )
Well. I leave with two thoughts in my mind.
He walks to the door . Puts his hand on the latch . Looks back .
MICHAEL
( even softer . )
You're still a very pretty girl.
The look holds . And holds . There is such feeling on both sides , she does n't know what to make of it . She swallows .
JULIANNE
What's the sec.
MICHAEL
Mirrors.
And he 's gone . She looks around at six different VIEWS of her uncovered backside . Hmm .
INT. HOTEL UNDERGROUND GARAGE - DAY
The parking valets wait by their stand as the convertible pulls up . These girls must be late for something , the way they 're jumping out of the car .
JULIANNE
luckiest guy in the Northern Fucking Hemisphere, is all I'm s.
KIMMY
What? Because I'm a little understand.
JULIANNE
most sentimental schmucks I pity want a honeymoon after their wedding. Just to top it off.
The valet gives Kimmy her ticket .
KIMMY
I ca n't expect the NBA to hold up the playoffs.
They 're walking fast toward the garage elevators .
KIMMY
I'm excited Sports Illustrated gave him this kind of shot, he's only there a ye.
JULIANNE
So your honeymoon is exactly where?
Well .
KIMMY
It depends. If San Antonio sweeps Sacramento, we could start there. Or Phoenix. Or depending on Indiana - Clevel.
JULIANNE
garden sports, all. Little swing of maybe fifty degrees Fahrenheit, represents a packing challenge, but there's fine food and cocktails at a choice of Embassy Suit.
At the elevator . Kimmy SLAMS the button .
KIMMY
It's his career, I'm supportive. Look, I've been everywhere, I've seen the world, I've laid on a beach. I want to be with the man I love. That's what makes it a honeymoon.
End of story . Okay ?
JULIANNE
I'm just saying he's lucky.
An empty elevator arrives . They get in .
JULIANNE
Takes one woman in a billion to put up with his array of shit. The guy is a one - man festival of idiosync.
Kimmy SLAMS the penthouse button . Looks at her calmly . Go on .
JULIANNE
Well. You've been introduced to the symphonic range of.
KIMMY
his snoring, yeah. He says it's worse than ever. That snaffle one?
Julianne imitates an incredibly annoying high - pitched SNARL . Three times . Kimmy nods .
KIMMY
Well now it has this sorta phlegm rattle behind it.
Stopped at the lobby . A family of four gets in . Oblivious , Kimmy DEMONSTRATES the phlegm rattle . Really gets into it . As the family watches , Julianne tries her own version . Like that ? No . More like this . The family is looking at each other .
KIMMY
Guess what? Earplugs work.
Oh .
JULIANNE
How about.
KIMMY
cigars in bed? I broke him on that. But the bathroom's a swamp, he wears Reeboks to dinner, tells the same, admittedly funny, jokes three hundred times.
Sucks in a breath .
KIMMY
loves action movies, subscribes to Playboy for godsake, reads over my shoulder, ca n't keep track of the checks he writes.
Ninth floor . The family gets out . The door closes .
KIMMY
He sucks soup through his front teeth.
JULIANNE
A trademark move, do n't touch it.
KIMMY
But he sure can kiss.
JULIANNE
It's been awhile. I'll take your word.
KIMMY
After two weeks of cataloguing all his faults, I made a command decision that changed my life.
She SLAMS the EMERGENCY STOP button . We JOLT to a halt .
KIMMY
I threw the list away.
Shakes her head .
KIMMY
He's not a balance sheet, so many wonderful qualities, so many faults. He's Michael.
From her heart .
KIMMY
And loving him means loving all of this.
JULIANNE
Do you get nervous in small confined spaces?
KIMMY
So it's sweet of you to be protective.
JULIANNE
Let me rephrase that.
KIMMY
But nothing ever could, ever did, give me a moment's pause about this marriage.
JULIANNE
Do you get hysterical in small confined spa.
KIMMY
except one.
Julianne 's face . Stops .
JULIANNE
Oh, yeah?
Kimmy nods . Confides .
KIMMY
You.
A stopper .
KIMMY
You'll always be there. In his mind. The perfect creature he loved for all those y.
JULIANNE
Well, perfection can get wearing after whi.
KIMMY
I'm not joking. I had to face up to all my competitive drives, and believe me, I've got'em.
JULIANNE
No.
KIMMY
And the answer was so simple.
JULIANNE
I was gon na predict that.
KIMMY
You win.
Julianne blinks . Excuse me ?
KIMMY
You're enshrined in his heart and memory. Unassailable. Which works out great.
JULIANNE
I've missed a step.
KIMMY
He has you on a pedestal. And me in his arms.
Oh . Julianne smiles . LUNGES for the EMERGENCY button , YANKING it so hard it comes OFF in her hand . A terrifying BUZZER ensures .
JULIANNE
Jesus, we're trapped!
KIMMY
Ju.
JULIANNE
No, this happened to me once, almost, it was excruciating!
Begins BANGING random buttons , out of control . Kimmy watching this . Julianne looks WILDLY up .
JULIANNE
There's a panel up there, you could boost me.
RIPPING off her platform shoes .
JULIANNE
You know how little air is in these things? I've seen statistics! Once you're trapped between floors.
Kimmy taps her . Points to the lighted panel . It says PH , they 've reached the Penthouse .
JULIANNE
God! Then the door is jammed!
Takes a heavy platform and begins BANGING the metal door with all her strength , sending resounding BOOMS throughout the area , as Kimmy reaches and . presses DOOR OPEN . The metal doors part , opening directly onto the banquet room , just as a mighty blow comes down , and the platform FLIES from Julianne 's hand straight BETWEEN . two identical stunning YOUNG WOMEN , serving as twin hostesses for the shower . A beat of mutually - stupefied looks , and we hear the shoe CRASH somewhere , to a small spattering of SHRIEKS .
MANDY
Mah Gawd, it's the bride, and the woman she'll nevah live up to!
KIMMY
( mutters to Julianne . )
That would be us.
SAMMY
Did she say th' wrong thang agin? It is so in character!
AMANDA and SAMANTHA NEWHOUSE , 19 - year - old twins . True Southern belles , with the faces of angels and bodies made for hot oil wrestling . Mandy 's hair is dyed ash blonde , Sammy 's is amber . Otherwise , the experience is similar .
JULIANNE
( thrusts out her hand . )
I'm Julianne Potter, and.
SAMMY
we'd be the vengeful sluts. We came in complementary colors.
MANDY
Have you sized up the groomsmen, Jules? As M. of H., you get first fuck. Do n't pick the short, hairy, rich one.
JULIANNE
unless he has a hump.
The girls cast identical blank looks at Kimberly .
KIMMY
( to the sluts . )
Dry. I told you.
WOMAN'S VOICE
( V.O . )
Is this Michael's Julianne?
All eyes turn to an elegant woman of barely 40 . She has her daughter 's hair and eyes and slender form . But the bearing rules half an empire . Fonda would envy .
ISABELLE
I'm Isabelle Wallace, and my handsome new son scarcely did you justice, girl.
She takes both of Julianne 's hands , and our heroine is sort of magically charmed . As if touched by Glinda the Good Witch of the North .
ISABELLE
Now, my husband says to scoot you over to the ballpark, so you can hang with Michael. But first, you have to meet a lot of really old women.
Looking warmly in her eyes .
ISABELLE
That is, if you've absorbed enough profanity.
Flicks a glance at the twins . Leads Julianne off .
MANDY
( O.S. , pouting . )
We sayed one fuck.
INT. TAXI, SOUTH SIDE - DAY
Cab crawling toward COMISKEY PARK through stifling traffic . Julianne oblivious , cellular to her ear .
JULIANNE
Desperate measures! Do you hear me? Digger, are you the.
SQUAWK . Static . Then .
JULIANNE
I do n't know, hit men, whoopee cushions, saltpeter, something! The girl is impossibly impregnable. Even I want her to get the guy!
Listens .
JULIANNE
Tell him the what? The truth??
She shakes her head . What a guy .
JULIANNE
That desperate. May I never get.
INT. LUXURY BOX, COMISKEY PARK - AFTERNOON
Game in progress . Watched by Michael , three groomsmen his age , two middle - aged men , and one bodyguard . Suddenly , a dull THUMPING at the door . It keeps up . They finally all look over . The bodyguard gets the door , revealing .
JULIANNE
Which of you gents ordered two beers?
One single tray . Holding fourteen beers . Balancing on one hand . Michael JUMPS UP , terrified at the impending mayhem this sight suggests .
MICHAEL
Wow! Lem me give you a ha.
JULIANNE
( sweetly . )
Michael. You'll unwittingly imply that I'm clumsy.
He stops in his tracks . The guys whistle .
MICHAEL
Think of that. And as well as I know you.
She goes first to the bodyguard .
BODYGUARD
Sorry, ma'am, I'm on duty.
JULIANNE
( lovely smile . )
It's Miss.. And thanks. That leaves two for me.
Heads down the row .
MICHAEL
Julianne Potter, this is Hank and Gerry from SI, and you know Daniel.
She 's nodding , flawlessly plucking two beers each from perimeter of the tray , keeping the rest perfectly balanced in the center . Michael is flat dumbstruck . Next , a tall patrician gentleman with rolled - up sleeves on his hand - stitched silk shirt .
MICHAEL
Oh. This is my father - in - law, Walter.
Once again , she gracefully plucks two beers for the distinguished father - in - law .
MICHAEL
How are you doing this? You're on drugs.
Sets them down . The man has a smile wonderful in its ease . Murmurs .
WALTER
If he gives you grief, I'll have him skillfully beaten, where the wounds wo n't show.
JULIANNE
I guess getting him whacked would be politically out of the question.
WALTER
Under the circumstances. Charmed to know you, Jules.
JULIANNE
Nice meeting you, too, Walt.
A nod between equals . She moves on .
MICHAEL
And, this guy, you know.
She sure does , and effortlessly balancing her one - hand load , she dips to kiss a porky , balding guy with big - time shoulders . Straight on the lips .
JULIANNE
Papa Joe.
They go way back . He is uncomfortable at this rich man 's wedding , even as gracious as everyone has been . His watering eyes twinkle at her , and the voice has a trace of Boston .
JOE
You gon na be my boy's best man?
Despite SHOUTS from the others .
JULIANNE
Best everything, Joe. But I'm going to dance with you.
MICHAEL
Dance? You do n't dance! You learn to dance?
Her innocent smile .
JULIANNE
Moves. You've never seen.
BIG reaction from the guys , as she heads toward Michael with the last of the beers , not looking down at the FIELDER 'S MITT which lies right in her path , and as his lips part to scream a warning , she skips . neatly AROUND it . He 's in shock .
MICHAEL
You're an impostor! What have you done with my best friend?
As he takes away the remaining beers .
MICHAEL
And how was the hot dog?
Hot dog ? His eyes fix on her left breast . HUGE mustard stain . She ca n't believe it .
MICHAEL
Cheap and unnecessary. We were looking anyway.
EXT. LUXURY BOX ROOF - DAY
Michael and Julianne sit with their beers on the edge of the luxury box roof . The game , the stadium , spread out beneath them . Yet they are alone in the world . She dangles her legs , and we can hear her kicking the glass below .
JULIANNE
I just admire your maturity, that's all. I mean, there are people who would find that kind of perfection boring. Day after day, year after year.
MICHAEL
see, that's what I thought at first. How can you like someone that perfect? No potential for long - range livability.
Drinking their beers . Side by side . Both stare only at the game .
MICHAEL
Luckily. The closer I watched, the more the fault came into focus. Each imperfection its own adorable slice of vulnerability.
JULIANNE
Such as.
MICHAEL
She's too genuine.
JULIANNE
Hate that.
MICHAEL
How can you trust someone you can never mistrust?
JULIANNE
What's next?
Keep sipping . Never look at each other .
MICHAEL
No matter how many times I leave the toilet seat up, she forgets and puts it down.
JULIANNE
Endearingly absent - minded.
MICHAEL
My very point. Here's another one.
Shakes his head . This one really gets him .
MICHAEL
Every day. She makes the bed.
JULIANNE
Quite the little eccentric.
MICHAEL
At first, I thought it was a gag, but she's always done it!
This is not the ammunition Julianne was hoping for .
JULIANNE
Is there a coup de grace in here, somewh.
MICHAEL
She admires. Tommy Lasorda.
JULIANNE
Waiter! Check, please!
MICHAEL
She finds him `` personable.''
JULIANNE
Can that kind of defect be passed on genetically?
She looks over now . And Michael is looking back . Smiling the most wonderful smile . Her reaction shows that she thinks it 's for her , until .
MICHAEL
Then again. She has a few good traits.
Hating herself for asking , but seeing no way out .
JULIANNE
Gim me like, eight and nine off the top ten list.
MICHAEL
First girl I ever knew. Who lets me give her a bath.
The look in his eyes . She can hardly bear it .
MICHAEL
And when I hug her, even in public. I do n't have to let go right away. She lets me hold her as long as I want.
He seems so deeply in love .
MICHAEL
Nice kid, do n't you think?
A beat . A slow nod . A quiet .
JULIANNE
Looks like, from here.
INT. SOUTH SIDE CLUB - NIGHT
A slender black woman sings a SOARING Gospel number , backed by three ladies who could each solo in any church choir . It is mesmerizing , stirring , transcendent . The unseen audience CLAPPING FIERCELY in rhythm , SHOUTING support . SLOW PAN now . every face is black . We are n't in church at all , but a venerable blue club . One of those places you 'd swear everybody 's played , from Robert Johnson to Bessie Smith and back again . As the song ends , there is APPLAUSE , some RAPPING on tables with their knuckles or their drunks . We keep PANNING to a far corner . Three faces . Julianne leans across her beer to Kimmy .
JULIANNE
How'd you find this pl.
Kim shaking her head . Looks admiringly to Michael .
KIMMY
Lived here my whole life, never heard of it. Until our first date.
She reaches slender fingers . Traces one back along his hair .
KIMMY
He finds all these spots, everywhere he goes, it's a mystical gift.
MICHAEL
( shy . )
Jesus, one d - back from the Bears knows a place.
KIMMY
It's not just clubs. This guy always knows the best everything. The best guitar store, the best beef ribs, the best Horowitz record, was he always like the.
JULIANNE
always. The best dim sum, the best camping stuff.
KIMMY
Stop, we're embarrassing h.
JULIANNE
best valley in New Zealand, best. women's shoes.
MICHAEL
I tried those on. When you were n't looking.
Now he 's grinning at Julianne . And she likes that a lot .
JULIANNE
Where was that, Florence, huh?
MICHAEL
Firenze.
Together in the memory . As Kimmy watches .
JULIANNE
The Vespa? Me hanging on behind in the rain all night?
MICHAEL
Till the gas ran out.
And , the first sniff of left - out .
KIMMY
I love Florence.
Julianne 's eyes flicker . Could this be a teensy opening ? Keeps her eyes , her easy smile , and her killer instincts trained on Michael .
JULIANNE
Take her there.
He nods , okay .
JULIANNE
I mean, now. She's perky, she deserves a honeymoon.
He draws a breath .
JULIANNE
I heard. If San Antone sweeps Sacramento. What is this shit? You got ta get off the road by September anyway, when does Fall Quarter start?
And the happy couple look at each other . They are awkward . Julianne 's heart soar like eagle .
KIMMY
Uh. I'm not coming back. For senior year.
Could this be . The Mother Lode ?
JULIANNE
Do n't architects find a degree, sort of. an asset?
The couple still staring in each other 's eyes .
KIMMY
Well, the school will be here. Architecture will still be around. Right now.
MICHAEL
I travel every week. College ball, motor sports, training camps.
KIMMY
The most important thing. Is being together.
And she smiles . Beautifully .
KIMMY
I'm just a baby. I've got all. the time. in the world.
EXT. CLUB - NIGHT
Michael putting Kim in the back of a cab . As Julianne watches .
MICHAEL
Because I could come.
KIMMY
To the twins' soiree? So they can paw you and drool?
JULIANNE
( calls out , helpful . )
They're gon na drool anyway!
Kim smiles . He kisses her , tenderly , through the open window . She waves past him at Julianne .
KIMMY
( to both . )
Enjoy each other.
And drives off . As he watches after , Julianne comes up behind him . Slips her hand up onto his shoulder muscle . Starts giving a little massage .
JULIANNE
Should I whistle down a cab?
MICHAEL
Hey, cabs are expensive. I'm cheap, remember?
Turns his head , to see her . She 's still rubbing his shoulder .
JULIANNE
Sometimes. About the dumbest things.
Share a smile . As always , it covers a lot of years .
MICHAEL
The El's right down the street. Unless you're afraid of the neighborhood.
She looks around . It is an issue . But she remembers .
JULIANNE
No. I'm always safe with you.
She means that . He takes her by the hand . They begin walking .
JULIANNE
Pretty amazing girl, you've got. Make that kind of sacrifice.
MICHAEL
What, leaving school.
JULIANNE
all of it. She's leaving her family, her friends, everything she knows. She's putting her career on hold, and she seems a pretty ambitious, driven, kind of pers.
MICHAEL
( quietly . )
In her way.
JULIANNE
All to follow you in this dumb job, where you travel 52 weeks a year to College Station, Texas, and such. It's not a job for a grown man, Michael, Peter Pan never married.
He 's let go of her hand now . Looking down at the pavement before him , fists in his jacket pockets .
JULIANNE
( softly . )
I do n't think she's naturally the. submissive type. Are n't you afraid she's gon na choke on this stand - by - your - man shit after awhi.
MICHAEL
( real quiet . )
No.
Hit a nerve . This is promising .
JULIANNE
I mean Walter owns the Sox, cable sports. most girls in her spot would be angling to get Daddy to offer you some juicy gig right here in t.
MICHAEL
She would never. Never. Even think of that.
Paydirt . Julianne 's Geiger Counter is going berserk .
JULIANNE
I guess you're right. That would be deceitful. manipulative. controlling. emascula.
MICHAEL
I got the point.
He looks over at her . No smile on his face . An edge we have n't seen . She shrugs .
JULIANNE
Still. All's fair in love and w.
MICHAEL
That would be a girl. I do n't even know.
They 've reached the stairs to the El . A rickety train RATTLES above them . As they start up , she slips her arm around his waist .
JULIANNE
( murmurs . )
Forgive me, okay? I was talkin' crazy.
He slides his arm around her shoulder . Pals . They climb out of frame .
INT. HOTEL BATHROOM - LATE NIGHT
CLOSE on a shallow pool of water in a bathroom sink . Green powder pouring in , a hand SWIRLING it around , until .
JULIANNE
( O.S . )
It's Albanian, I think. Or Mongolian. Or Canadian. One of those. I bought it downstairs.
it becomes truly disgusting lumpy green mud .
JULIANNE
( O.S . )
I figure, what the hell. Can it make me look worse?
Follow the hand up as it SLATHERS the shit across her face in great green dripping gobs . She 's juggling the wall phone , trying to keep it mudless , as she assures Digger .
JULIANNE
Dig, of course. Of course, of course, of course, of course I have a plan. Certainment!
More green slime . The Julianne we know disappears .
JULIANNE
How? I ask myself, what would Lucy Ricardo do in this situa.
Desecrates three hotel towels , wiping her hand .
JULIANNE
Well, one worked, once.
THROWS them in the bathtub . Fastidiousness a short suit .
JULIANNE
Ricky would n't let her in the show.
Reaches for her toothbrush , absently . All her attention is on the conversation and the hideous green face in the mirror .
JULIANNE
I recall it differently, but we digress.
Without looking , picks up a tube of hotel shampoo .
JULIANNE
So in the version, you're Ethel, with better fashion instincts.
Squeezes it all over the toothbrush .
JULIANNE
This puts you in charge of Plan B, the unprincipled and insanely dangerous back - up plan.
Lifts it toward her mouth , liquid shampoo dripping from the bristles .
JULIANNE
In case simple lying does n't work.
At the last second . She stops . We do n't know why , because she 's still never looked at the brush .
JULIANNE
Question. What happens if you brush your teeth with shampoo?
Turns on the tap . Tries to scrub the toothbrush clean , and DROPS the phone into the green swamp , which SPATTERS all over her front . Euucch . She 's stymied , agitated , circling the sink , leaning down to it .
JULIANNE
HOLD ON. I'M COMING IN FOR YOU!
She sets the toothbrush down in her toiletries kit . Decides to YANK on the phone 's cord , and the receiver SPRINGS out , BOPPING her in the face . She 's so filthy at this point , she just wipes it clean on her nightshirt . Tells Digger .
JULIANNE
You okay? This is one of those problem phones.
Lifts the toothbrush and tube of paste from her kit .
JULIANNE
Right. Your role. You know guys from Sports Illustrated, yes? I mean, you can walk right in there.
Squeezes on the paste , lifts the brush to her mouth .
JULIANNE
You could get access to letterhead, for example.
JAMS it in her mouth , brushing as .
JULIANNE
( mouthful . )
or even, maybe, their fax.
Stops . The funniest look on her face . Down to the toothpaste tube . Which says BEN GAY . Oh .
INT. TIFFANY'S - MORNING
Julianne and Kimmy cruise the stately display cases . Everywhere , the Tiffany logo , the silent , watchful staff in morning coats . As they browse , Julianne takes a blueberry Danish from a paper sack , and begins to eat . The staff notices . So does Kim .
JULIANNE
It's an homage thing.
Hmm ?
JULIANNE
Awkward girls grow up on Audrey Hepburn movies. You would n't understand.
Kimmy does n't . But wipes a blue glob from Julianne 's face .
KIMMY
Anyway, I think you're wrong.
Wrong ?
KIMMY
What you were saying before.
Before ?
KIMMY
About Michael's job.
JULIANNE
Oh, that. I forgot I even said th.
KIMMY
I just think you're wrong, is all.
JULIANNE
Probably am. Forget I brought it up.
Points to some jade pins . Kimmy wrinkles her nose .
KIMMY
I mean, he loves his job.
JULIANNE
Bad games, bad towns, bad pay, bad flights, bad hotels, real bad food. Homeless, rootless, lonely, maybe your copy gets into one issue out of four.
Smiles .
JULIANNE
What's not to love?
None of this is lost on Kimmy . She 's wondered the same .
KIMMY
But he always says.
JULIANNE
whatever is manly and independent.
Kim nods slowly . Way ahead of her .
JULIANNE
Why would he trade that for running, say, a big piece of the PR at a powerful, complex, challenging conglomerate like your dad's?
Kim stares back . A strange look .
KIMMY
That's just the sort of thing my father and I discussed.
Julianne just blinks . Amazed .
JULIANNE
I'm not stupid. Say, how about this?
Pointing to tiny golden scissors in the novelty case . Kim so absorbed by the main topic , she has to force herself to focus on .
KIMMY
For the twins? What in the world is th.
JULIANNE
Gold nose hair clippers.
Points to the tiny hand - lettered sign . Indeed . Kimmy shrugs , not quite it .
KIMMY
So you do n't think Michael's as happy with his job as.
Julianne points to a matched pair of large .
KIMMY
Gold dog collars? They do n't have dogs.
JULIANNE
Hello.
Kim nods , oh . But ca n't keep her mind off .
KIMMY
You think he'd accept?
Hmm ?
KIMMY
Michael. A job like that.
Oh , well .
JULIANNE
By any yardstick that involves sanity, it would be the greatest thing that ever happened to him. Present company excepted.
Kimmy nodding slowly . Her yearing achingly apparent .
JULIANNE
On the other hand, he's proud. Last thing a man wants to admit, is being trapped in a dispiriting dead - end job that can never support a family.
A very sweet smile .
JULIANNE
Throw a man a life preserver. He'll say, `` Thanks, anyway, I'd rather drown.''
Kim nods again . Right . They are so bonded at this moment .
KIMMY
So. one almost has to.
JULIANNE
Exactly.
KIMMY
Exactly what?
JULIANNE
What you said. Make it appear that he's doing you the favor.
Kimmy bites her lip . Her eyes go down . Self - conscious to admit .
JULIANNE
I could n't really. do that. After, you know.
Her voice trails off .
JULIANNE
( kind , but wise . )
lying. All the time.
That brings the gray eyes up . Julianne bats her dark ones .
JULIANNE
Oh, darling, my pitiful desires and ambitions are dirt beneath the manly boots of your priorities!
Kimmy has to smile small . A self - awe gal .
JULIANNE
( pouring it on . )
Two hundred seedy motels a year? Dinners out of vending machines? Waiting for you in vermin - infested corridors of dark crotch - rot locker rooms? This stuff makes me hot!
KIMMY
The very words I've used.
Julianne ` thinks it over . ' Kimmy waits for guidance .
JULIANNE
We make Dad your co - conspirator. Michael does a favor for Walter.
Simple .
JULIANNE
Walter's reorganizing his public relations, needs a brilliant guy who's close to him, who he can completely trust.
Kimmy nodding . Hope overriding reason .
JULIANNE
So you beg. Michael, please do this for Daddy, please, please, please, blah, blah, blah. it's only for six months. it would mean so much to me to help him out.
Turns up her palms . Viola !
KIMMY
He'll see right through it.
JULIANNE
Only. If he wants to.
They share a smile .
JULIANNE
In six months, he'll be happy, settled, successful.
KIMMY
He wo n't get mad, huh?
MR. MOONEY
( O.S . )
May I be of any help, whatsoever?
Mr. Mooney is the most gracious Brit salesperson ever to offer kindness , intelligence and thoughtfulness to a customer . He is large , sixty , with disappearing hair , watering eyes , and a manner that makes you think of immediately hiring a butler .
JULIANNE
Bridesmaid gifts for two, well, assertive, outspoken, Tennessee debutantes.
KIMMY
( still focused . )
He wo n't be mad?
JULIANNE
( to Mooney . )
Nothing here seems to quite capture their distinctive personalities.
MR. MOONEY
Something customized, perhaps? We can fashion most any item from gold.
Ah . Julianne nodding . Reflecting .
MR. MOONEY
An object that might represent what is closest. To their heart.
KIMMY
( under her breath . )
Do n't even think dildo.
Julianne digs through her jumbled bag .
JULIANNE
Could you do this.
Tossing an object on the counter .
JULIANNE
In 24 carat?
It is a MASTERCARD . A gold one .
KIMMY
( softly . )
Bingo.
They smile at each other . More bonded than ever .
KIMMY
You do n't think he'll be mad.
A beat . Can Julianne even make herself do this ?
JULIANNE
Your call. You can live a lie. In a fabulous selection of Red Roof Inns. Or you can make one desperate stab at hap.
KIMMY
I just do n't want to freak him out.
What do you think ? Julianne stares into the soft gray eyes . It 's now or never . The smile of a dear sister .
JULIANNE
How mad could he get?
INT. FASHION RESTAURANT - LUNCH HOUR
Julianne enters with a really nervous Kimberly in tow . Approaches the maitre d' . We CLOSE to hear .
MAITRE D'
Oh, Mr. Wallace and his guests have retired to the humidor.
Points to an escalator , leading to the mezzanine . Behind a glass wall , what looks like a British men 's club . Thirty guys and a billion cigars . As Julianne starts toward it .
MAITRE D'
Oh. Mademoiselle.
She turns back . Loves this shit .
MAITRE D'
It's unofficial, of course. But, traditionally, the humidor is for gentlemen, only.
JULIANNE
Great. I've got this girlfriend at the Justice Department? With all this time on her hands?
Her look is every bit as hard as his . He gestures to the escalator . She takes Kimmy 's hand , and up they go . We can see Walter in a big leather chair , enjoying a major stogie . Kimmy licks her lips . They enter . Every head turns . A nice range of reactions , from offended to attracted and points in between .
JULIANNE
( murmurs . )
Piece of cake. I'll hang, and think happy thoughts.
Kimmy nods . Heads over toward her father . Julianne walks , confidently , even provocatively , to the wall lined with bins of cigars . Every eye in the place is on her butt . She runs her fingers over a few contenders . Plucks one out , examines it , puts it back . Walks a little farther . Selects another , big and black . Rolls it expertly in her fingers . Sniffs along its length . A guy comes over . Could be 40 , successful , a broker 's pin - stripe . Nearly as attractive as he thinks he is .
GUY
Know what you're looking for, little lady?
Little lady , huh ? She glances at his coven of buddies , who pretend not to notice . Then , straight to the guy 's blue eyes .
JULIANNE
Yeah. Do you?
GUY
I asked first.
Ah . Wit . She holds up her cigar .
JULIANNE
I like'em long and hard. Kind of. big around.
Runs it under her nose .
JULIANNE
Smell is important, I'm a believer in that.
Takes a match from a cut crystal bowl .
JULIANNE
But you never know what you've got. Till you run your tongue over it.
And she does . Moistening the full length of the cigar . The boys are laughing openly . She STRIKES the match . As she lights up .
GUY
I meant. What you're looking for in a man.
She glances at his wedding ring . Then , straight into his eyes .
JULIANNE
Actually, I'm partial to married gentlemen.
The way she says that . The guy swallows . We can see some of the air has been sucked from the room .
GUY
Why is that?
JULIANNE
It's so much time. When I phone the wives.
Explosive LAUGHTER from the peanut gallery . As she jams the big Clemente Churchill into her mouth , she sees Kimmy waving her over from across the room . Without even looking at the guy she 's just put away . she crosses the room , Walter stands politely , looking very dapper , very powerful , and focusing on her with considerable interest . He waits until she sits on the edge of a costly leather hassock .
WALTER
( simply . )
Your idea?
She ca n't read this guy . Maybe that 's how he built an empire . She nods , yeah .
WALTER
You're a woman of insight.
He sits on the arm of his chair . Close enough to speak quietly .
WALTER
My wife and I love this marriage, and deplore its circumstances.
He puffs his cigar . Julianne puffs her . Kimmy looks on , a kid watching the grown - ups .
WALTER
As you guessed, my daughter is unhappy about giving up her life. And, in my opinion, cowardly in avoiding the necessary confrontation.
Then he stops . As if reading Julianne 's eyes .
WALTER
Mike has a world of ability. I'd do anything to have him in my company.
One more puff .
WALTER
Except ask him.
Julianne is a little stunned . Kimmy looks helpless .
WALTER
He'd resent it. And me. And, most important, Kim.
No smile on his lips . Straight talk .
WALTER
He's a great kid, but he's still a kid. Instead of recognizing that his resistance comes from insecurity, he'd turn it to anger. To protect himself.
Spreads his hands .
WALTER
from realizing that he's ignoring my daughter's needs, despite how very much he loves her.
He looks to his daughter now .
WALTER
They both have some growing up to do. But they're good people, they're starting with love. They've got time.
JULIANNE
( softly . )
I think you're making a mistake, sir.
His eyes come back to her . A little sharply .
WALTER
And that interests me. How someone who knows him so well could be so wrong.
A formidable guy . She meets his gaze .
JULIANNE
See, I love him, too, as much as anyone here. And for a whole lot longer.
From her heart .
JULIANNE
I think I know best what would make him happy.
INT. TOILET STALL - DAY
Julianne , fully dressed , sits on the closed lid of a toilet seat . The stall is tiny enough to arouse claustrophobia in an astronaut . Her cellular phone pressed to her ear , she is listening angrily , smoking ferociously , every call in her body running at red - line .
JULIANNE
Okay, okay, okay, okay, I hear you, all right?
She closes her eyes .
JULIANNE
It is stupid, dishonest, desperate beyond belief, and ca n't possibly ever work. It can only end in humiliation and disgrace. Now can I say two words?
Deep drag on the cigarette . For strength .
JULIANNE
Do it! Do it! Do it! Do it! Do it! Do it!
She 's striped her gears . COUGHS horribly .
JULIANNE
All right, twelve words.
INT. PUBLIC RESTROOM - DAY
Julianne exits the stall . To face three BLACK TEENAGE GIRLS . Just staring at her .
TEENAGER
( supportive . )
You do it, girl.
Julianne nods to the kids . They nod back . Damn straight . She exits the restroom , into . glaring sunlight . We are in the middle of the BROOKFIELD ZOO . And sitting on a bench , eating popcorn from a bag .
MICHAEL
Wow. What was going on in there?
She shudders .
JULIANNE
Some crazy person.
EXT. ZOO - DAY
Michael and Julianne walking together . He 's eating his popcorn . She carries a cardboard container with nachos , a gooey fudge waffle cone , and a large drink .
MICHAEL
You're not eating.
JULIANNE
I never eat when I'm serene.
MICHAEL
You never eat when you're despondent.
JULIANNE
I switched that around when you were n't looking.
She swirls a single nacho chip in cheese . But her heart is n't in it .
MICHAEL
Last zoo we were in was. Beijing, yeah? Sure. The rhinos were fucking.
JULIANNE
Boy, those were the days.
And when she looks over . His eyes are waiting .
MICHAEL
( softly . )
Yeah, they were.
They 're passing the hippo pen . But they do n't notice .
JULIANNE
That was nice. The way you said that.
So was that . He 's feeling restless , something . Does n't know quite what to say .
MICHAEL
It's weird being the groom. All these things Kimmy has to take care of.
JULIANNE
You need a baby - sitter. That's what I'm here for.
He holds her eyes . Then looks down . Awkward . And the way he 's doing it begins to excite her .
JULIANNE
Say it.
He looks up , neither one of them noticing that as they walk , she is about to . CRASH into a chest - high metal stand that displays animal facts . We have followed him as she is WIPED from frame . His face from shock . to amusement .
MICHAEL
Now, there's my girl.
to tenderness . PAN back to see her wearing everything from her cardboard container . Nachos , fudge sauce , Diet Coke , the works . It is really awful . Kids , bystanders , laughing cruelly . Her eyes fill with tears , and she tries bravely to smile against it .
JULIANNE
See, I can only do it with beer.
He takes out his handkerchief . And with that and his hands , gently scoops the worst of the mess off her . The fact that he 's touching her breasts and her body is something they pretend not to notice . She laughs softly , and a few tears fall , even though she does n't know why . Such an odd , raw , confusing moment . To the world looking on , they are lovers .
MICHAEL
( murmurs . )
See, better already.
And he kisses her face . Not quite her lips . But only an inch away . We can feel her heart pounding . He strips off his shirt , only a tank top underneath .
MICHAEL
We'll go back to the bathroom, you'll put this on.
Okay ? She sniffles , okay . Swallows .
JULIANNE
Bet you're glad I'm here to take care of you.
He puts his arm around her .
MICHAEL
Bet I am.
Holds her close , as they start toward the restroom .
MICHAEL
Hope that crazy person's not still there.
We 're on their backs .
JULIANNE
( O.S . )
She does n't scare me.
EXT. BEACH CLUB, LAKE MICHIGAN - SUNSET
Julianne in T - shirt and shorts , rushes onto the deck of a sprawling beach club . Clutching her bag , she quickly surveys the scene . the entire beach has been taken over by the wedding party . Young folks , old folks , little kids , maybe 200 people . We SCAN with her to find a crowd around . a three - on - three volleyball game . Kimmy and two groomsmen on one side , facing Michael and the Tennessee debs . The twins wear spectacular bikinis and are surprisingly athletic , as well as predictably uninhabited . As the next point begins , Kimmy serves . Sammy in back makes a nice dig , lobbing to Mandy who sets for Michael 's vicious SPIKE straight THROUGH his best man 's hapless defense . The crowd cheers Michael , and as he turns , Mandy gives him a savage . CHEST BUMP of congratulation , that any NFL linebacker would be proud of . It puts the surprised Michael straight on his butt . Laughter , applause . The twins pull him up and Sammy gives him a hot kiss on his ear that makes the crowd react . Kim plays good sport . Julianne watches Michael 's body for a beat , then . dashes off . Down the beach , several barbecue grills have been set up . Manned by beach club staff and family alike . Michael 's pop , Joe , is dispensing beers from a keg . Kim 's mom , Isabelle , is coordinating the beans , potato salad and corn - on - the - cob table . Julianne races across the sand to . a huge smoky grill where Walter is basting baby back ribs , clearly enjoying himself . Julianne runs up to him , says something into his ear . He looks at her . Then turns his station over to a club steward , and follows Julianne down toward the lakeside . CLOSE now . As they stroll together , she 's a little breathless . He 's watching her profile , curious , silent . At the water 's edge .
JULIANNE
( whispers . )
Is anybody watching?
WALTER
I hope so. This is all too mysterious to waste on just me.
She reaches into her big bag . Pulls out a single folded sheet of paper .
JULIANNE
I picked up Michael's messages for him, at our hotel. I stole one.
His face darkens . The easy smile fades . He holds up his palms .
WALTER
Julianne, reading my son - in - law's mail, is not something.
JULIANNE
Sir, this is important! Have n't you ever in your life cut one corner, to make something important turn out right?
His smile returns . Just a little .
WALTER
Matter of fact, that's how I got married.
The look holds . She thrusts the paper out . He still does n't take it .
JULIANNE
It's a fax from Sports Illustrated from Ben Isaacson, Michael's boss.
WALTER
( quickly . )
I know Ben.
She opens the paper .
JULIANNE
`` Mike. We still have no answer to our E - mail of Wednesday. Which option do you select? I do n't mean to rush you, but Personnel needs to tie up the loose ends.''
He takes the paper . We see it now . Looks authentic .
JULIANNE
I think he's been fired.
WALTER
It does n't say th.
JULIANNE
He's said some things over the past few weeks. Look, this is why I came up with the idea of you offering him a job.
He looks up . He 's listening . Closely .
JULIANNE
And why I could n't say anything before in front of Kim.
She bites her lip . Seems so earnest .
JULIANNE
I just think of how. desperate he must be feeling. He's marrying a rich man's daughter, and he's about to become destitute. You know the kind of job market he'll be facing?
He does .
WALTER
And you think he's kept this to himself.
JULIANNE
He's too proud to beg for help. And if you wait till this comes out, your offer will be like charity. Completely humiliating.
He 's staring at her . But his mind is working behind his eyes .
JULIANNE
If you do it now, it's like he's helping you. He can accept with dignity.
He taps the paper with the back of his knuckles .
WALTER
This fax could mean. any number of things.
She nods . She knows that .
WALTER
( softly . )
Maybe. I should call Ben.
JULIANNE
Then it could all come out, sooner or later. Nobody should be in on this. Just you and me. Or, more correctly, I.
She takes the paper back .
JULIANNE
What if, what if I could find that E - mail?
The long straight look . Maybe he 's hooked .
JULIANNE
I never noticed. Kimmy has your eyes.
INT. LOBBY, RITZ CARLTON HOTEL - TWILIGHT
Tall , gangly , young DESK CLERK . Lank hair , pimples . He looks up , beams to see .
JULIANNE
Hello, again.
She 's flirting her ass off .
JULIANNE
You still have n't straightened that tie.
And she reaches across the desk with her lovely , slender hands . Does it for him . Her fingers brush his chest on the way back . We can assume a woody .
JULIANNE
You know, my friend, the one whose message I picked up?
He does . His eyes flick toward his stately female SUPERVISOR , helping another guest across the way .
JULIANNE
Well, he's still with the wedding party. And he asked me to get something he needs real badly from his room?
The boy swallows hard .
JULIANNE
He's in 1526. If you could just let me ha.
BOY
See that woman?
Not only does Julianne see her . The woman is looking back , while she 's talking to her customer . Not a pleasant look .
BOY
She said, if I ever pull a stunt like that again.
JULIANNE
You'll lose your job.
BOY
tear my pecker off. Is what she said.
INT. HOTEL CORRIDOR - TWILIGHT
An elevator OPENS , revealing Julianne , carrying a gym bag . She looks down the long hallway , sees a maid 's cart . Heads the other way , briskly , to . a small ALCOVE . Opens the gym bag , pulling out a bath towel . Begins to yank her top up OVER her head . ANGLE . the young MAID now pushing her cart down the hall , wheels SQUEAKING , and from nowhere . Julianne DARTS into her path , barely covered by the towel held tight across her , she is grinning , blushing .
JULIANNE
Help me!
The maid can only blink .
JULIANNE
I locked myself out, 1526, please hurry!
And looks frantically up the hall , mortified that any moment a stranger could happen upon her predicament . Her eyes dart back to the maid . PLEASE . The maid just stares . Stares .
JULIANNE
Uno - cinco - does - ses.
Oh .
INT. MICHAEL'S ROOM - TWILIGHT
Julianne alone in his room , looking around frantically . No worries about this guy making his bed every day , stuff , clothes , strewn everywhere , the bathroom looks like a cherry bomb just detonated . She 's tramping through a bachelor 's debris , wearing only her towel , looking , looking . There it is . The corner of his LAPTOP sticking out from beneath a discarded bedspread . She SNATCHES it up , OPENS it , sets it on the cluttered desk , and . stops . There are wallet - sized SNAPSHOTS of Kimmy . Some alone . Some as a little girl . Some with Michael . And next to them . the plastic fold - out wallet inset . That he has not yet quite rearranged . So she picks it up . Leafs through , until she finds what she was praying would be there . Julianne grinning . Michael 's arm around her . On the deck of a boat . They have drinks in their hands . Happiness in their eyes . And she stares at it . Jesus , God , how long has he carried this around ? She flips through further , all the rest have her in them . Maybe half a dozen . Her heart is throbbing . Her eyes are damp . Back to the one on the boat . She slips it from the plastic window . Holds it . Then , gently . puts it back where it belongs . PUNCHES up the goddamn laptop . This is it , girl ! Do or die .
JULIANNE
( murmurs . )
You would n't change your password, would you? You never change anything.
Those words make her bite her lip . Damn , I 'm becoming a senti - mental slob . TYPES in .
JULIANNE
( murmurs . )
Shoeless. Joe.
Yes ! We 're in ! Punching keys . Letters flying across the screen . Okay , we 're ready . Types .
JULIANNE
( reads as she types . )
Mike. I hate this downsizing shit as much as you do. But I know this ca n't become as a complete surprise.
INT. BEACH CLUB CARD ROOM - EVENING
Through the window , the wedding party barbecue has extended into night . Lanterns , music , lots more food , lots more drinks . In the distance , on the sand , Michael is slowdancing with Kimmy . Some - where nearby , the soft CLICKING of keys . We PULL BACK to see . a small clubby room . Books , leather , polished woods . Only two people here . Walter , looking on stony - faced , as a determined Julianne grimly `` struggles '' to `` find '' what she 's looking for in Michael 's laptop . And then . she stops typing . Looks at the text on the screen . Her eyes sharpen as she `` reads '' what Walter ca n't see . It 's an Oscar performance for our desperate girl . She turns the screen around .
WALTER
( reads . )
Mike. I hate this downsizing.
He reads . Reads . Reads . All the air comes out of him .
WALTER
( softly . )
And Kimmy does n't know.
She shakes her head . Nope . No way .
WALTER
( signs . )
I'll tell her I've reconsidered.
She nods , gravely . Right . He looks in her eyes .
WALTER
You're a smart girl, Jules.
She forces up a fleeting smile of gratitude . But Walter is n't smiling at all .
WALTER
Wish my daughter. Bad your guts.
INT. CHARLES TROTTER'S BAR - NIGHT
The hot saloon in Chinatown . Upscale , downscale , jammed , Michael and Kimmy at a small table in a far corner . CLOSE on them .
MICHAEL
Sure you're okay?
She looks really scared . Turns her drink in her hand . Looking down at it .
MICHAEL
It's not just a gag, huh?
KIMMY
No, it's, uh. a real big favor.
He takes her hand , tenderly .
MICHAEL
I wish you'd just. come out with it. I mean why are we waiting for Jules?
She smiles up at him . The best she can .
KIMMY
Moral support.
She loves him so much , and she is sick with worry .
KIMMY
What's good of having a big sister, if she.
Stops . Gestures with her eyes . Because her big sister has just entered . looking fabulous . Julianne wears a long sleek sarong , slightly see - through . Her hair is bound up with silver pins . As she moves through the room toward us , we can see that , for once , her make - up is flawless , understated . When she arrives at the table . Michael is beaming , admiringly . He stands up .
MICHAEL
( softly . )
Wow and wow. You have a date, after this?
JULIANNE
Never can tell.
He holds her chair . She exchanges an intimate smile with the anxious Kim .
MICHAEL
You make me think of that song, we used to.
And he starts humming . The song is , `` The Way You Look Tonight . ''
MICHAEL
( singing . )
Someday. When I'm awfully low.
They sit . He looks from Julianne to his bride .
MICHAEL
Okay, kid. You're on.
Kim 's eyes flick to Julianne , who nods , supportively . The kid takes a breath .
KIMMY
It's really my father. Who needs the favor.
His face sort of comes to a stop . Nothing she can read , yet . He nods , yeah ?
KIMMY
He's. he's reorganizing some of the divisions of the company.
His eyes flick to Julianne . She looks down .
MICHAEL
( quiet . )
He never mentioned that. Neither did y.
KIMMY
( blurting . )
. and public relations is a big problem area for him.
She can see it now . In his eyes . She just ca n't tell how bad .
KIMMY
He needs someone incredible, someone really close, who he can trust.
MICHAEL
Like family, huh?
So quiet . So cold . She is terrified .
KIMMY
It would only be, maybe, six months? Or three or four? It would mean so much to him.
MICHAEL
To him.
She swallows . Straightens her spine .
KIMMY
And to m.
MICHAEL
( sharp , to Julianne . )
. and you knew about this.
Real quiet . Against the noise of this place .
JULIANNE
I think you ought to listen to her, Michael. This is her life, too.
Just the thing . To bring that anger near the surface . He turns to Kim .
MICHAEL
Well, which is it?
A demand . Sharp . Accusing . She does n't like that .
MICHAEL
You gon na tell me Daddy thought this one up? All of a sudden, I'm the only jerk alive who can help him deal with the press?
She 's trapped . Angry , scared . A deer in headlights .
MICHAEL
Why do n't you start being honest for one fucking sec.
JULIANNE
Michael!
KIMMY
( near tears . )
I am honest!
Silence .
KIMMY
All of a sudden, I'm supposed to drop out of school, forget my family, forget my career, forget all the plans I had for my life.
MICHAEL
Well, forgive me for screwing up your plans!
He ca n't even believe he 's hearing this .
MICHAEL
I'm sure glad I'm hearing all this now, before it's too late!
KIMMY
What is that sup.
MICHAEL
And what am I supposed to do with my life, huh? I am 28 years old! I work in a low - paying, low - status, zero - respect job which, unfortunately, I happen to fucking love. How inconvenient.
Shrugs .
MICHAEL
No problem. A little bullshit about Daddy's `` needs,'' and presto, I'm a lap dog in high society.
JULIANNE
( softly . )
Michael, it sounds like a wonderful opportun.
MICHAEL
( whips around . )
Does it, really? How come you never took some sell - out establishment job? You had plenty of chances!
Glares in her eyes .
MICHAEL
I'll tell you why. Because that is n't you. And it is n't me, either! We're the same person!
Back to Kim .
MICHAEL
What a sweet little picture. Mommy and Daddy are n't losing a daughter, they're gaining a eunuch!
KIMMY
Well, if that's the way you f.
MICHAEL
Damn straight, it's how I feel! What's their wedding gift, a little gold collar that says `` Mikey - poo''? Or do I have to change my name to `` Binky''?
She 's crying now . Real tears on her face .
MICHAEL
Great! Tears! The big equalizer. You wait till two days before the wedding to drop this on me, and I'm just supposed to roll over and drool!
She is sobbing now . She ca n't help herself . Which makes him totally crazy . He jumps up .
MICHAEL
Fine. I'm an insensitive, chauvinist asshole, and you're well rid of m.
KIMMY
MICHAEL!
A wrenching cry from her heart . It stops him cold . And before Julianne 's astonished eyes , Kimmy reaches out a trembling hand .
KIMMY
Michael, you are so.
Choking back the sobs .
KIMMY
so right. And I am so very wrong.
Michael blinks . Julianne blinks . For different reasons .
KIMMY
We ca n't go down two roads. And still be together.
Her fingers stretch , beckoning .
JULIANNE
Uh, Kimmy?
KIMMY
( ignores her . )
We settled this. And I reneged. That was n't fair.
Please , please , take my hand .
KIMMY
You have to forgive me, and forget this ever happened.
People are watching , staring . These two see only each other .
KIMMY
or I'll die.
A frozen , forever moment . He steps to her . LIFTS her up in his arms . Into the deepest , most heartfelt KISS . And as she clings to him , people begins to APPLAUD , and whistle , and laugh . Julianne . In her pretty dress . Closes her eyes .
INT.JULIANNE'S HOTEL ROOM - NIGHT
Julianne in her nightshirt , her back to us , sobbing into her cellular as she paces the room .
JULIANNE
see that's what I never counted on! I never heard of a brilliant moron before!
We CLOSE as she WHIPS around , startling us with her grotesque day - glo PURPLE face mask . The green was better .
JULIANNE
I mean, the little twerp GROVELED!
Losing it . We know the drill .
JULIANNE
SHE IS SO WRONG FOR HIM!
Clutching the phone .
JULIANNE
Michael and I are the same person! Self - absorbed and imperfect and vaguely loveable! We deserve each other!
Tears are flowing . Which , over this mask , is not a pretty sight .
JULIANNE
I'm out of hope, I'm out of sneaky ideas, I'm at the end of my rapidly - fraying hysterical little rope! Help m.
She TRIPS over an open suitcase , and DISAPPEARS from frame . The THUD is slightly alarming .
JULIANNE
( O.S . )
God, I hate this hotel.
HOLD . On nothing is particular .
JULIANNE
( O.S . )
And I hate talking to your machine!
INT. JULIANNE'S ROOM - EARLY MORNING
REAR VIEW of Julianne asleep on the floor , sunlight streaming in . A soft knocking on a door , somewhere nearby . She barely stirs . The knock becomes a strong RAPPING , and she fights for conscious - ness . Her back still to us , she . rises , STUMBLES to the door , which is now pulsing with an insistent POUNDING , and THROWS it OPEN , as we SNAP to . REVERSE ANGLE . CLOSE on Julianne 's face , still encased in a now - decomposing PURPLE MASK , her eyes SPRINGING wide , she SCREAMS in shock , and we SNAP BACK to . ORIGINAL ANGLE . Digger , watching impassively at the high - strung SHRIEK . In the silence that follows .
DIGGER
You stole my line.
He touches his face , and she realizes !
JULIANNE
Oh, shit!
Starts CLAWING at the overripe mask , but he grabs her wrists .
DIGGER
Chill. We do n't want your face coming off with it.
JULIANNE
Chill? Since when do you say ch.
DIGGER
When I'm talking to children.
She looks in his eyes . Realizing at last .
JULIANNE
You flew all the way h.
DIGGER
I noticed. I'm on the noon back. We have this thing with George's family in the Hamptons.
JULIANNE
( soft . )
You're butting in.
He still holds her wrists . She brings one of his hands to her lips . Kisses his knuckles .
JULIANNE
( softer . )
I really resent this.
INT. BATHROOM - MORNING
Julianne seated at the sink , staring into the mirror , as Digger gently applies soup , cloth and water to easing away the mask . A paleontologist restoring a Bronze Age artifact . By the side of the half - filled sink , rests her plugged - in curling iron .
JULIANNE
What I mean, when I say annoyingly perfect, is that there is nothing annoying about her perfection. It is vulnerable and endearing. And that is annoying as shit.
DIGGER
You like her.
JULIANNE
If I did n't have to hate her, I'd adore her.
She looks up at him and WINCES , as the movement makes him scrape her face . He 's sorry .
JULIANNE
Last night, she was crying, these big, real tears, when she thought she'd lost him. It was like there was a knife in her heart.
Looking in his eyes . Needs him to hear .
JULIANNE
and I put it there. I hated myself, I grieved for her, I could n't enjoy one second of it! And then, when it did n't work.
Can you believe this ?
JULIANNE
I was devastated.
DIGGER
( softly . )
Go figure you.
JULIANNE
Because I realized. When I see him say `` I do,'' that knife will be in my heart. And it will be there every.
She holds his wrists now . To stop him . To plead for understanding . Forgiveness .
JULIANNE
every time I think of him, forever, which could be a lot.
She almost choked on that last part . So she composes herself .
JULIANNE
You watch a guy caress his girlfriend's butt. You see an Old Spice commercial. Sentimental moments are everywhere, when you're in the right frame of mind.
She swallows hard . Fights for a grip on her determination .
JULIANNE
There are 18,250 nights in the next 50 years.
DIGGER
You've been working on this, huh?
JULIANNE
and having `` done the right thing'' will only really be comforting, oh, maybe, five, six times.
She sets her jaw .
JULIANNE
This is my whole life's happiness. I have to be ruthless.
DIGGER
( quietly . )
And you believe that.
JULIANNE
( unconvincing . )
Sure.
His eyes are gentle and merciless at once . No way she gets off this hook .
JULIANNE
He was in love with me every day for nine years. I can make him happier than she can.
DIGGER
It's not his happiness you're feeling guilty about.
JULIANNE
( proudly . )
I do n't know the meaning of the word guilt!
DIGGER
Impressive.
JULIANNE
I am breaking her heart in the short run, but doing her a gigantic favor! She would be miserable tagging along after this insensitive doofus!
DIGGER
The man you love.
JULIANNE
Beyond reason. The feminist warrior will rise up in this kid, and she'll be standing over his sleeping form with a butcher knife, selecting from a short list of body parts!
DIGGER
Someday she'll thank you.
JULIANNE
Let's not get carried away.
And the defenses drain from her clay - ravaged features . The real Julianne is glimpsed .
JULIANNE
I'd settle for. Someday, I'll forgive myself.
For ?
JULIANNE
For doing this terrible thing.
Her eyes tear up .
JULIANNE
Which, by the way, I ca n't figure out how to do.
As the tears fall , he wipes at them , discovering .
DIGGER
Jesus. You're supposed to take your make - up off before you apply the m.
JULIANNE
I KNOW THAT! I WAS DISTRACTED BY GRIEF!
Oh .
JULIANNE
Guess what I brushed my teeth with last night?
He thinks about this . Following her eyes to the toiletries kit , he browses for a moment .
DIGGER
Zit cream?
JULIANNE
I wish.
DIGGER
Neosporin?
JULIANNE
Try less appropriate.
DIGGER
Ben Gay.
JULIANNE
That was Thursday.
He stops on that note .
DIGGER
Elmer's Glue?
JULIANNE
DO N'T BE RIDICULOUS, WE'RE HAVING A SERIOUS CONVERSATION!
She 's hysterical .
DIGGER
I give.
JULIANNE
I ca n't even say it.
Now . He 's curious .
JULIANNE
A hint. The first word is `` Preparation.'' Then comes a letter of the alphabet, perilously close to G.
She reaches to test her curling iron , BURNS her finger , SHIT ! KNOCKING the appliance into the half - filled sink . She LUNGES for it , and a terrified Digger GRASPS her arm .
DIGGER
Considering the circumstances, I'm not wholly against suicide.
Huh ?
DIGGER
Just not by electrocution in front of me!
Oh .
DIGGER
I've got this noon flight.
He reaches to pull the plug from the wall , and now she LUNGES to grab his arm , slipping , her face falling forward , stopping an inch above the sink .
JULIANNE
How do you know you can touch that plug? Are you a licensed contractor?
DIGGER
What do you suggest?
She looks from the plug down the cord , to the submerged curling iron . And back .
JULIANNE
Maybe they just seal off this room. They have others.
He 's staring at her . Sweet , but intense .
DIGGER
I did n't mean about that.
Oh . Again .
JULIANNE
If I hear the words `` tell the truth,'' or any paraphrase thereof, I dive into the sink and pull you with me.
Looking at her . Looking at her .
DIGGER
Let's go meet Michael. I'll wait downstairs.
INT. ARMANI - MORNING
Julianne has cleaned up pretty good . She sits with Digger on a fashion - fabric sofa . They are side - by - side , studying something with equal concentration . And slight concern .
DIGGER
I suppose it's too late to start over.
JULIANNE
It's too late to start over.
PULL BACK to reveal Michael in his wedding tux , submitting to a final fitting from a stylish fitter .
MICHAEL
You guys are heartless, my bride picked this out.
JULIANNE
Like I said, dazzling.
DIGGER
Is she going to dress you every day?
Michael smiles over . Digger smiles back . They live each other .
MICHAEL
Yeah, it's in the contract.
DIGGER
( softly . )
Well, then, I'll take it up with her.
Michael motions , okay , c'mon over . Digger rises , goes to Michael , the fitter steps back as Digger shows him .
DIGGER
The cut here, here. this line.
Fingers lightly traveling over the lapel , the side - stitching , the cloth straight down the spine .
DIGGER
trouser width, this is all classic. Which means safe, something I'd wear.
MICHAEL
I should look different.
DIGGER
You should look like you dressed yourself.
Yes ? Michael 's grin is back . Playful and friendly .
MICHAEL
And I'm supposed to respect your fashion tips, because you're what, a New Yorker?
DIGGER
( quiet smile . )
Something like that.
Julianne loves that the boy are getting on .
MICHAEL
( means this . )
Long trip. Pretty nice of you to come.
DIGGER
Well, I'm close to her. I wanted to meet the one that got away.
Said so naturally . That embarrasses Michael , who looks down , his smile suddenly awkward .
DIGGER
What?
MICHAEL
I'm just glad someone finally put this thing in its proper perspective.
Steals a glance at Julianne . She rolls her eyes . What a goofball , my outrageous friend .
MICHAEL
( to Digger . )
Stay, huh?
DIGGER
I honestly wish I could.
MICHAEL
I'll call George's parents. Tell them I need a best man who actually looks after me.
Julianne comes over .
JULIANNE
( softly . )
They'd say that's my job.
She runs her hands over his jacket , smoothing it everywhere . With tenderness that approaches transparency . Glances back at Digger .
JULIANNE
I'll take it home from here.
Pinches Michael 's ear . Looks in his eyes .
DIGGER
Two words.
JULIANNE
Major. Dish.
DIGGER
Manicure.
She looks down . Michael 's nails are unclipped , with layers of impacted dirt . She touches his fingertips , a little more softly than she may have intended .
DIGGER
Fly.
Everyone looks down . She ZIPS Michael up .
MICHAEL
( to Digger . )
You do n't miss much.
DIGGER
Part of being a New Yorker.
INT. HAIR SALON - MORNING
Cutting edge salon . Loud , PULSING MUSIC . Digger and Michael in adjacent chairs , heads back , each smoking impressive cigars as their hair is styled . Digger 's stylist is a hot trashy female . Michael 's is a tall , flamboyant male in a day - glo vest . Each man has one hand soaking , the other being worked on by a manicurist , so Julianne goes from one to the other , removing their cigars so they can exhale . A seraglio feel to the way she does this . Now she 's arguing with Michael 's stork - like stylist . We ca n't hear over the music , but she keeps tugging on Michael 's hair , pretty passionate about her point of view . Suddenly , she GRABS the scissors to do it herself , and Michael . BOLTS out of the chair . WHOA !
EXT. O'HARA AIRPORT - DAY
Skycaps , guests of impatient travelers , a bus offloading forty Japanese tourists . A taxi cuts off a van to reach the curb . Out jumps . Michael . Opening the door for Digger and Julianne . Digger says something , Michael gives him a strong HUG . Julianne raises one finger to Michael , back in a second . Leads Digger off by the hand . CLOSE on them now . Alone in the throng .
JULIANNE
Bye, handsome.
Digger just stares at her . Those maddening judgemental eyes .
JULIANNE
You're going to say it, are n't you?
DIGGER
Tell him you love him. With all your heart.
JULIANNE
I'm taking my next book to Viking.
DIGGER
Tell him you've loved him for nine years, but you were afraid to realize it.
JULIANNE
I'm moving this book to Viking.
DIGGER
Tell him you're afraid of love. Afraid of needing.
JULIANNE
Needing.
DIGGER
To belong to someone.
He touches her hair .
DIGGER
We all do, beautiful. I'm sorry about that.
Staring in her eyes . Even Julianne has run out of words .
DIGGER
Tell him you know this is the worst, dumbest, cruelest moment to do this to him. But there it is, and he has to choose.
JULIANNE
And what will he do?
Digger is n't smiling . His voice low , beneath the crowd .
DIGGER
He'll choose Kim. You'll stand by her at her wedding. You'll kiss him good - bye. And you'll go home.
He holds up one finger . Almost touching her nose .
DIGGER
This is what you've come to do. Now do it.
Wow . She looks frightened and moved , all at the same time . She kisses him on the lips . And walks away . He watches her go through the crowd . Take Michael 's hand . Lead him back toward the taxi .
EXT. SKYLINE CRUISE BOAT - DAY
The skyline of Chicago moves past us . Slowly . The NBC Tower , Cityfront Center .
MICHAEL
( O.S . )
Big weddings are so strange.
JULIANNE
( O.S . )
You keep saying that.
Up ahead , the Wrigley Building draws closer .
MICHAEL
( O.S . )
Kim has all this stuff to do, I hardly see her.
JULIANNE
( O.S . )
Well, you've got the rest of your lives.
REVERSE ANGLE . they lean on the rail of a cruise boat , easing down the Chicago River . Wind - blown . Close together .
JULIANNE
Getting your bed made. Every day.
They smile at each other . Seem so comfortable together .
JULIANNE
You miss her, huh?
MICHAEL
No. I've got you.
She nods . That you have . Staring in her eyes .
MICHAEL
Do n't you throw up on boat?
JULIANNE
If you like.
And she LURCHES over the railing , emitting a BARRAGE of incredibly disgusting sounds , her feet FLAILING in mid - air . He laughs , as he pulls her back down to the deck . Of course , it was all a joke . He brushes back her hair . Sighs . Stares .
MICHAEL
I've been thinking a lot the last couple days. About us, actually.
JULIANNE
( casual . )
Have you.
He has .
JULIANNE
Well. There's a lot of memories to choose from.
MICHAEL
It's more than that.
That tightens her throat pretty good . When she tries to speak , out comes a dry CROAK that makes him laugh again . Softer , this time .
MICHAEL
I mean, it's embarrassing to say it this way, but.
He stops . Her eyes WIDEN in a burlesque of anticipation . So he smiles . She knows how to put him at ease .
MICHAEL
You've sort of been. y' know, the woman in my life.
JULIANNE
( straight back . )
You've been the man in mine.
Passing under the Michigan Avenue Bridge . No one knows quite what to say .
MICHAEL
And I was thinking this could be our last time. Alone. Together. You know?
JULIANNE
Except for the hot affairs we'll have twice a year.
MICHAEL
Except for that.
She 's smiling so easily . Who would guess her stomach is double - knotted .
MICHAEL
I can hardly wait for your wedding.
JULIANNE
Me either.
She watches his surprise .
MICHAEL
Boy, I never thought I'd hear you say that. Can I come?
She holds herself together . Real soft with .
JULIANNE
I could n't have it without you.
He 's glad to hear that . And then .
MICHAEL
It's normal to have. second thoughts, huh? To be scared.
Is this a change of direction ? Or is it the direction she 's been praying for .
JULIANNE
I would n't know. I never had that many first thoughts.
MICHAEL
I mean, you commit to a wedding. And then it seems like. this. momentum, you know? You forget you. chose it.
She nods . Understands .
MICHAEL
You and I. I mean, in all our relationships with other people. We did n't use the word `` love'' a lot, did we?
We did n't .
MICHAEL
Kimmy says. When you love someone. You say it, you say it out loud. Right now. Or the moment.
Long beat .
MICHAEL
passes you by, yeah. She's a smart girl.
Off in distance , the Centennial Fountain SHOOTS an eight - foot JET of water across the river . For Michael and Julianne it goes unnoticed .
MICHAEL
We do n't have a song.
Hmm ?
MICHAEL
Kimmy and I. We do n't have a song. Is that a bad sign?
All Julianne can do is shrug . Then .
MICHAEL
( sings , softly . )
Someday, when I'm awfully low. And the world is cold.
She does n't want to cry . So she puts all the strength she has into fighting it back .
MICHAEL
( sings . )
I will feel a glow just Thinking of you. And the way you look. Tonight.
He stops . Smiles that sweet , boyish smile .
MICHAEL
Dance card filled?
JULIANNE
I'll check. I have it on powerbook, these days.
He holds up his arms . And she moves into them . He begins to dance with her , turning so slowly . And , yes , people are watching .
MICHAEL
( sings in her ear . )
With each word, your tenderness grows, Tearing my fears apart.
She holds him closer . Bites her lip .
MICHAEL
( sings . )
And that laugh That wrinkles your nose, Touches my foolish heart.
He stops . He looks at her . She 's still in his arms .
MICHAEL
Where did we first hear th.
JULIANNE
( straight back . )
The night we met.
Right to his eyes .
JULIANNE
The night we fell in love.
He does n't know what to do with that .
MICHAEL
So we heard it. like, right that. that first.
JULIANNE
We danced to it. Just like this.
Just like this . A long beat . And he has to say .
MICHAEL
I wo n't lose you, will I?
Her eyes close . Then open . Utterly lost in his .
JULIANNE
No. Because I wo n't let you.
INT. WALLACE ENTERPRISES - DAY
Julianne in crisp chalk - stripe trousers and a buttoned - up dress shirt . Her coat slung over her shoulder , she wanders through the Saturday - deserted office space . Desks , cubicles , monitors , silent . A row of executive offices standing empty , waiting for the custodian . Turning a corner , we hear . life , at the end of the hallway . A grand conference room with a glass wall . Walter , in shirtsleeves , running a strategy meeting for five . DEIDRE , his personal secretary , clicking every word into her laptop at warp speed . Walter sees Julianne through the glass . A comic take of pleased surprise . He comes out to greet her .
WALTER
I thought Michael was picking me up.
JULIANNE
I told him, get the important stuff, Kim's ring. I'll collect the inconsequentials.
Meaning , you . They smile at each other . Then .
WALTER
Kim said, when he turned down the job, there was no friction.
Julianne thinks back .
JULIANNE
Friction. No.
He smiles at her line reading . But his mind is always probing .
WALTER
I have n't caused. a problem, have I?
JULIANNE
Nobody has. So far.
Her bright grin . His eyes linger on it .
WALTER
Well, you're a little early.
JULIANNE
I need to make some calls. Could I use. your office?
INT. WALTER'S OFFICE - DAY
Julianne enters the spacious corner office , high above the city . Closes the door , quietly , behind her . So anxious , she is practically hyperventilating . She goes , slowly to the vacant cherrywood desk . Its computer and monitor standing silent . She is stalking it , like a deadly animal . And then . She is there . Talking to herself , her own desperate support network .
JULIANNE
( softly . )
You can do this.
Sacred , filled with doubt and conflict . Her hands clutch at each other . Then , one flicks out . And the computer goes ON . The screen GLOWS . Waits for her . Her mouth is sand , her stomach water . She pulls the paper from her pocket . looks at it . Looks to the monitor . And begins . To type .
JULIANNE
( mumbling to herself . )
E - mail address. To Ben Isaacson, Senior Editor, Sports Illustrated, from. Walter Wallace.
And stops . Her heart is thumping .
JULIANNE
See, you can do it. It's easy.
Does n't look easy . Licks her lips .
JULIANNE
You do it fast, it's over. Like it never happened.
She sits . And recites as she types .
JULIANNE
Ben. I need a favor.
Here we go . This is it . Types .
JULIANNE
My daughter's every happiness. And my wife's. And, least of all, my own, are in your hands.
Nods , okay . Breathing hard . Types .
JULIANNE
Knowing you value our friendship, and the. cooperative relationship between our companies. I am hopeful of your help.
Touch , that . Thinks . It has to be . Types .
JULIANNE
I have offered Mike O'Neal, my new son - in - law, a great opportunity in my company. This would also enable my daughter to settle in Chicago, near us, and pursue her dreams and plans.
Almost there . Almost . Types .
JULIANNE
To his own detriment, as well as ours, Michael will not accept our offer. While he works for you.
She stands up . Stares at the screen . Walks away . Walks back . Still standing , types .
JULIANNE
My daughter joins me in this plea for your cooperation and discretion.
Is there a SOUND ? Outside the door . She HOVERS over the ESCAPE key . Waits . Waits . Silence . Types .
JULIANNE
With gratitude. For your understanding. Walter.
She hits a KEY . The screen goes BLANK . The computer asks . DO YOU WISH TO SEND ? She tells the computer .
JULIANNE
Are you crazy? Get him fired?
Types NO . The computer asks HOLD FOR LATER ? And she types YES .
JULIANNE
Just till tonight when I bring him back. To look for.
She glances to her huge bag . Rummages through , pulling out a manila folder . Lays it by the blank computer . Fans out a few pages in a natural , disorderly way . Takes a step back . And stares . Struck to her gut . But when she has done .
INT. CONFERENCE ROOM - DAY
Walter alone with Deidre now , signing a stack of documents , as she efficiently places one after another before him . When he glances up , he sees Julianne wandering the halls . Stands , tells his secretary .
WALTER
( going through stack . )
Off to rehearsal. Send out this, and this, not this, this, and. that's it.
Slips on his coat . Oh . and by the way .
WALTER
I'm holding four or five E - mails I wrote over lunch.
On his way through the door .
WALTER
Send'em out.
INT. CHAPEL, UNIVERSITY OF CHICAGO - DAY
Julianne and Walter enter the rear of a striking Gothic CHAPEL , pastel light slanting in through stained glass windows . We now see the full effect of her outfit , a man 's - style chalk stripe SUIT , tailored to fit her body , set off by a bold silk tie . Solid dynamite . She hangs back , while Walter proceeds down the vaulted nave toward . Michael , Kimmy , Isabelle and Joe , who stand casually joking by the altar . Scattered around are assorted groomsmen , ushers , an obvious flowergirl . Coming toward us , up the aisle . the MINISTER , early 40s , lean and quite attractive . Mandy is HANGING on his arm , pressing her body against him as they walk , murmuring urgent murmurs close to his ear . He 's a really good sport , and really uncomfortable . Sammy is walking backwards , right in front of them , DROPS her bag , and BENDS to retrieve it , as if oblivious to major cleavage on immediate display . Julianne is so lost in her own anxiety , she does n't even notice , until .
MANDY
Reverend Dyer, this is Kimberly's somewhat butch maid of honor.
SAMMY
Mr. Julianne Potter, prominent New York drag queen.
Today , the girls ' voices are charmingly musically Southern , with none of the extreme accents we heard at the shower . The minister extends his hand .
MINISTER
Billy Dyer, Julianne. And I love the suit.
She shakes his hand , smiles graciously , but her eyes flick to Michael , now approaching up the aisle . The girls lead the minister away . Michael arrives . Looks her up and down .
MICHAEL
( softly . )
Takes me back.
JULIANNE
Well.
She smiles . One that glows a little .
JULIANNE
You sang the song. Least I could do was wear the outfit.
He nods .
MICHAEL
Except now you're better - looking.
Oh , yeah ? Yes , ma'am . As she loses herself in his eyes .
MICHAEL
I got the ring.
He pulls the box from his pocket . Somewhere , an ORGAN sounds . And as he is about to hand her the box .
MANDY/SAMMY
( sing . )
Swi - i - ng low - ow - ow. Wee - ee - eet Char - i - ot.
Such exquisite two - part harmony , Michael stops to watch .
MANDY/SAMMY
( sing . )
Comin', to car - ryyy Me ho - o - o - me.
It is amazing . Soulful vengeful sluts . He is enthralled . Julianne simply impatient . She wants his attention .
JULIANNE
No accents today.
MICHAEL
Yeah, Kim told me they were giving you their Dueling Scarlet's act. Actually, they're sophomores at Juilliard.
She takes the box from his hand . Opens it , as the singing CONTINUES throughout . The ring is delicate hammered gold . One of a kind .
MICHAEL
Will she like it?
JULIANNE
( whisper . )
Yes.
She 's staring at the ring .
KIMMY
( O.S . )
My groom - person! Your family needs you!
His master 's voice . He gives Julianne a smile . And goes . She 's left with the box . Gazes at the ring . Lifts it out .
MANDY/SAMMY
( O.S. , singing . )
Well, I look over yon - der, And what did I see - ee - ee?
Slips it on her left hand . Ring finger .
MANDY/SAMMY
( O.S. , singing . )
Comin too car - ryyy. Me ho - o - ome.
Touches it . Turns it on her finger . So many emotions .
MANDY/SAMMY
( O.S. , singing . )
It was a hand. Of a - a - angels. Coming' for me - e - ee.
Tries to pull it off .
MANDY/SAMMY
( O.S. , singing . )
Comin' for to carry me home.
It wo n't come . Not even close .
INT. CRAB HOUSE - NIGHT
CLOSE on a bowl filled with squares of butter . HEAR the butt of conversation from a rowdy , friendly joint . Julianne 's right hand REACHES to the bowl , fingers trace the rim innocently , then . SLIDE the bowl into Julianne 's lap beneath the table . Her right hand MASSAGES all the butter into a gooey revolving mess . We can pick out familiar voices now , family in distance , the twins closer . As , hidden from view , Julianne brings . her left hand from her pocket . Yep . The ring is still there . The finger already red and swollen from pacicky efforts to pull it off . And as APPLAUSE surrounds us , Julianne . PLUNGES her ring finger into the morass of grease , frantically TEARING at the ring , butter SPLURGING on her pants , everywhere , as we PULL BACK to see . the long table covered with butcher paper , the family at the far end , the twins down here with us , a mug of beer for each place , as team of waiters with heaping platters of CRABS , which they . FLING across the butcher paper , as APPLAUSE continues from everyone but Julianne , who still struggles secretly . As the waiters set huge wooden MALLETS in front of each guest , Joe O'Neal rises , POUNDS the table with his mallet for attention .
JOE
Like to welcome ever ` body to our little rehearsal supper.
He COUGHS , unaccustomed to public speaking . Walter and Isabelle clap and call out support . So Joe lifts his mallet .
JOE
Okay, everyone stand up!
And everyone does . With one exception . Trapped . She JAMS her left hand in her coat pocket , SMEARS her right palm sort of clean on the underside of the table , GRABS her mallet and JUMPS UP .
JOE
To the bride, uh, goes the honor. of cracking the first crab!
Everyone applauses by banging their mallets . Joe RAISES his high . Everybody imitates .
KIMMY
But first, a toast!
And everybody SNATCHES up their beers with their left hands , as Julianne DROPS her mallet with a HORRIFIC CRASH , grabbing her beer , looking up to .
JULIANNE
( on the spot . )
I'm right - handed.
A hugely embarrassing half - second . Bailed out by .
KIMMY
To our host, my cuddly Papa Joe.
All turns .
KIMMY
Who taught me to play `` Blue Hawaii.'' On my nose.
With a look at Julianne , Kim sets down her mallet gently , and performs a nasal HUM of the tropical standard , strikingly her nostril repeatedly for vibrato . It is charming , and everybody watches .
INT. HOTEL BALLROOM - LATER
CLOSE on an actual , living , if geriatric , LION . He blinks from his cage , bored as hell . HEAR the surrounding noise , chatter , LOUD Sinatra music , of a very large party . PULL BACK to see . and overdecorated BALLROOM , in dim and dramatic lighting , dripping with the trappings of ANCIENT ROME . The mingling guests are the neatly one hundred females of the wedding party , most of them older women . They are served by wandering well - built ATHLETES in Roman togas or gladiator costumes . PAN TO . Julianne , still in her suit , hiding by a table piled with a carload of grapes . Her left hand still buried in her pocket . The eyes of a hunted animal . From nowhere .
MANDY/SAMMY
( O.S . )
Boo!
She JUMPS a foot , both hands FLYING UP , left one awkwardly slamming back into its pocket . The girls have snuck up behind her . They have changed into hot gowns that are really only wide ribbons wrapped around their bodies .
MANDY
I know why you're scared of our party. It's too hip.
Sinatra singing `` Stranger In The Night . '' Hugely - muscled , half - naked black and white studs , serving enchanted blue - haired ladies .
SAMMY
Kimberly wanted to tickle the grandmas, so we figured, give'em a cheap thrill. Walter supplied the decorative touches.
SAMMY
( points out the jokes . )
Nose tackle from the Bears. power forward from the Bulls. defenseman from the Black Hawks. my personal favorite, the designated hitter.
MANDY
I'm partial to the tight end.
SAMMY
This is USDA Prime, largely available, beef. With no notice - able competition, present company excepted.
Now they stare at her . With identical , really odd , smiles .
SAMMY
And yet here you are. All celibate and reclusive.
MANDY
With those big, dark, haunted eyes. As if you were harborin' some. unspeakably. guilty. secret.
Oh .
JULIANNE
Well, I'm worried about something.
Something . Their expressions are deliciously , identically expectant .
JULIANNE
Oh. I left this really important file in Walter's office. I have to send my editor some.
Some .
JULIANNE
figures. On territorial sales. To close my book deal.
Uh - huh .
JULIANNE
So Kim gave me the key. And Michael's on his way, to drive me down to Wal.
SAMMY
Oh. We thought it was the ring.
Julianne blinks . Ring ?
MANDY
The one you better get the fuck off your third finger left hand.
Ah . That ring .
JULIANNE
Well. See. That was a. reflex to see if it would.
MANDY
( helpful . )
. look good on Kimberly.
JULIANNE
Right. And then it did n't want to come off. Exactly.
SAMMY
Maybe it's happy there.
MANDY
Oh the way out of the crab house? We asked Michael if we could see the ring?
SAMMY
He said you told him. It'd be safer with you.
MANDY
An so it is.
Julianne for once is speechless . To our amazement , the girls wear identical smiles of kindness and support .
MANDY
Shut up, sugar, he's on his way. Let's get to work.
INT. HOTEL KITCHEN - NIGHT
Huge gleaming chaotic kitchen . Cooks , waiters , working at top speed . The three women RACE in , look around frantically , half the guys stop to ogle the twins . CUT TO . ANGLES . and industrial - sized jar of peanut butter . Julianne 's hand PLUNGES in , halfway to the rolled - up sleeve at her elbow . SMOOCHES it around , real good . PULL BACK to reveal . she is surrounded by the twins and six guys , all SHOUTING conflicting instructions . Julianne FLINGS off the excess SLOP . Tugs for all she 's worth .
EIGHT PEOPLE
TWIST IT! TWIST IT!
Nada . It wo n't budge . A sous chef WIPES her hand with a towel , a janitor CRASHES a tool kit onto the counter . THROWS it open , pulls out . a spray can of WD - 40 . Instantly , her hand is BLACK . The guy TUGS . No movement . He ca n't believe it .
JANITOR
It's mental, lady, you ai n't trying!
Sammy is rummaging through her handbag , pulling out .
SAMMY
There is nothing so tight, this ca n't help it.
a tube of jelly . The letter K - Y. Julianne just gives her a look . Mandy pushes through with a butcher 's CLEAVER .
MANDY
I saw this on Hard Copy. People cut off body parts and the hospital sew'em back o.
The look has turned toward her .
JULIANNE
( cold . )
I saw the show.
MANDY
well, maybe it works on fingers, too.
FLOWER GIRL
( O.S . )
Aunt Mandy?
Everybody turns . The little girl in the doorway . Southern accent .
FLOWER GIRL
Mr. Michael's here.
Everything gets real quiet . Mandy takes charge . She rolls down Julianne 's left sleeve , RIPS the hem out of the cuff , so that it flaps down over her hand , covering the ring . Sammy wipes the black stuff from Julianne 's fingers .
MANDY
Do n't worry, baby. You could pick your nose with that finger and Michael would never notice. He's a man.
The twins lead her off . We 're on their backs for .
MANDY
( O.S . )
Personally, I think Mr. Michael's marrying the wrong girl.
SAMMY
( O.S . )
You're much more his type.
EXT. DOWNTOWN STREET - NIGHT
VIEW through a heavy glass door of the empty , dimly - lit lobby . PULL BACK to see Julianne , just as she . KICKS the shit out of the glass ! Almost breaks her foot .
JULIANNE
I ca n't believe this!
PULL BACK farther to see Michael still trying keys from a large key ring in the heavy lock . Sign over the door says WALLACE ENTERPRISES . Traffic hustles by , oblivious to her suffering .
MICHAEL
It's no big deal, she just gave you the wrong keys that's s.
JULIANNE
IS N'T THERE A GUARD? A JANITOR? A FUCKING CLEANING WOMAN? I'LL TAKE A BURGLAR! SOMEBODY'S GOT TA BE IN TH.
And she SLAMS her whole BODY against the glass , making it rattle ominously .
JULIANNE
WHERE'S A BRICK? FIND ME A GODDAMN BRICK!
She looks around wildly , hysterical .
MICHAEL
What is the big deal about getting this file tonight?
A good question . She needs a good answer .
JULIANNE
I promised Digger I'd E - mail him those figures.
From his face , that was n't it .
JULIANNE
They are very important figures.
Apparently . He 's just staring at her .
JULIANNE
I'm up against a deadline.
MICHAEL
Me, too. I'm getting married tomorrow.
JULIANNE
That's my point!
Now . He really does n't get it .
JULIANNE
I mean, tomorrow. we'll all be busy with more important things. So.
So ?
JULIANNE
tonight's my last chance.
He sighs .
MICHAEL
I forgot how cute you look. When you get impossible.
JULIANNE
It's just. up there. right in front of Walter's. y' know, computer. If memory serves.
Helpless .
JULIANNE
We could use. his computer, to. just E - mail those suckers right ou.
MICHAEL
Tomorrow is Sunday. Nobody's doing business. Crack of dawn, Monday, Walter'll take you up there.
Her eyes fill with tears . He is mystified . Smiles tenderly .
MICHAEL
( softly . )
Give it up, kid.
Touches her hair .
MICHAEL
You ca n't win'em all.
And slowly , he takes her hand . Leads her way . She takes one backward glance at the locked door . Her last dream dies .
INT. LOBBY, RITZ CARLTON - NIGHT
Michael and a disconsolate Julianne board the elevator . He presses 15 , she pushes 11 . Michael carries a handful of messages slips and an envelope . As the car starts up , she folds her arms across her chest , at the edge of tears . He does n't know what to do .
MICHAEL
( gently . )
Listen up, huh? Even if you blow this deal, how big could it be?
JULIANNE
( voice nearly cracking . )
You're right. Easy come, easy go.
He 's really concerned , ca n't bear to see her so upset .
MICHAEL
( softly . )
Jules?
She wo n't look at him . She wants to die . The bell RINGS , the doors open to her floor . She just walks out . And he follows . They stand now , she with her arms crossed , lip trembling . She ca n't believe how close she is to losing it .
MICHAEL
This thing means that much to y.
JULIANNE
It means a lot.
He nods . Okay .
MICHAEL
I'll call the house, Walter's probably not even asleep.
Her mouth drops . She ca n't believe this .
MICHAEL
I'll drive you out there, we'll get the key, we'll go back to the office.
She THROWS her arms around his , HUGGING him so hard , so close . He laughs , she is so weird . She pulls back , beaming , glowing .
MICHAEL
Come on, we'll call from your room.
She claps his hand . As they head down the hall .
MICHAEL
If I fall asleep on the altar tomorrow.
He 's trying to flip through the message slips in his free hand .
MICHAEL
you better be there to. funny, these are all from Ben.
She 's at her door , turning the key . He looks at the envelope .
MICHAEL
The fax is from Ben, too. Man, it's my wedding, and my boss ca n't leave me alone.
JULIANNE
( entering her room . )
. maybe it's congratulations.
He follows her in , opening the envelope . Stops . Reads . And his face suddenly . freezes . To stone .
JULIANNE
( turning to him . )
Michael? What ha.
MICHAEL
( reading . )
Mike. I ca n't believe I'm doing this to you on the night before your wedding. But I think you need and deserve to know.
And he looks up to her .
MICHAEL
what you're marrying into.
He hands it toward her . She takes it , hesitantly , and he walks past . Toward the phone .
JULIANNE
( reading . )
I received the following E - mail this afternoon. `` Ben, I need a favor. My daughter's every happiness.''
Her eyes BUG OUT of her head . Holy shit ! We can hear him DIALING the phone . She keeps reading , it 's all there . How did this happen ?
MICHAEL
( O.S . )
Isabelle? I need to talk to Kim.
JULIANNE
( reading . )
`` Mike, the funny thing is, he's offering you a gig you'd be stupid to turn down.''
MICHAEL
( O.S . )
I'm just tired. Please put her on? Thanks.
JULIANNE
( reading . )
`` Maybe you should take the job. And dump the girl.''
And when she turns .
MICHAEL
Jules. Could you give me a minute?
He looks more sick than angry . As if the heart has just been cut out of him . She does n't know what to say or do , so she just stands , staring dumbly .
MICHAEL
Please?
She nods , stumbles out of her room , closing the door behind her . Now she 's in the empty corridor , clutching her big jumbled bag , sinking down to sit on the carpet , her back against the door . She does n't look elated . She seems frightened , distraught , and most of all , confused . Because she ca n't understand why . She digs absently through her bag . Cigarettes . Box of matches . She lights up . Draws deeply . Somehow , she seems near tears , and laughs bitterly at that . Shakes her head at how fucked - up she finds herself . Squeaking wheels approach , but she is too lost to hear them .
BELLMAN
Miss, are you locked out, or something?
She looks up . A small , wiry man of nearly 60 , in a slightly faded but neatly - kept uniform . On his cart , a ton of bags .
JULIANNE
No, I just stepped out, because. it's a non - smoking room.
And inhales deeply . Leans back against the door , to look up at him more comfortably .
BELLMAN
( politely . )
Well, it's non - smoking floor, too. Maybe you could go to the.
JULIANNE
( seriously . )
Why do n't you have me arrested?
That was n't sarcastic . He does n't know what to say .
JULIANNE
I mean that. Arrested, convicted, put in solitary.
Another puff .
JULIANNE
See, I'm a dangerous, criminal person. I do bad things to honest people. This, see, this smoking? Tip of the iceberg.
Waves her hand .
JULIANNE
Make a citizen's arrest, I wo n't struggle. It'll be like getting Al Capone on tax evasion.
Now she seems angry . But not at him . Her eyes fill with tears .
BELLMAN
Can I. Can I help you, miss?
She squints at his nameplate .
JULIANNE
Do you smoke, Richard?
BELLMAN
Yes, ma'am, I do, but it's.
JULIANNE
a non - smoking floor, yeah. Well, you know what?
And she takes the cigarette from her lips . Turns it around , holds it out to him . Go ahead . He does n't move . Please ! And so . he reaches down , takes the cigarette from her hand . Staring in her eyes , he takes a deep drag . Savors an expert nostril - inhale of his exhaled smoke . Hands the cigarette back to her .
BELLMAN
My grandmother always said, `` This, too, shall pass.''
She swallows . Wipes at her eyes . Finds a smile .
JULIANNE
Thanks, Richard. If you were n't on duty, I'd buy you a drink.
He just nods . She waves . He waves back , pushes his cart down the hall . As she watches him go , the door behind her suddenly OPENS , and she . FALLS through it , flat on her back at Michael 's feet . Staring up at him , seeing that he looks as bad as she feels , she takes raw , deep drag .
JULIANNE
What happened?
MICHAEL
( softly . )
It's over.
And crouches down . Close beside her . The cigarette drops from her hand , unnoticed on the carpet . So he lifts it , crushes it on the heel of his shoe .
MICHAEL
I want you to quit this shit, it'll kill you.
She just nods , obediently . Okay , I will .
MICHAEL
She denied it. Said I was crazy and paranoid.
JULIANNE
A bad combination.
He tries to smile . It 's really hard .
MICHAEL
There's this big brunch tomorrow morning? At her place.
He lets the air out . Slow . So he wo n't cry .
MICHAEL
She said `` How can I call everything off, what do I tell everybody?''
Shakes his head . Can you imagine that ?
JULIANNE
Michael.
MICHAEL
No, it's for the best, it really is. We were so wrong for each other.
JULIANNE
Maybe tomorrow, you'll feel dif.
MICHAEL
The job thing would have broken us up, eventually, anyway. She could n't have lived with it. I know that now.
Julianne nods . Maybe that part is right . Maybe it would have ended anyway . Maybe she can pretend she 's not a monster .
MICHAEL
And she's right, I'm crazy to fall for someone. I hardly knew.
Looks deep in her eyes . He 's so glad she 's there .
MICHAEL
Hey. You still got that ring?
She holds up her left hand , the flapping sleeve falls away . The ring is on a finger that is swollen and raw .
JULIANNE
I tried it on. But it wo n't come off.
He smiles at that . A sad smile of friendship . Then takes her finger gently . into his mouth . It is something like a kiss . And when he removes her moistened finger . he pulls the ring OFF . Nothing to it . She blinks .
JULIANNE
It's mental, you know.
He does n't understand that .
JULIANNE
Should we take a walk? Or maybe some food sent up, or something.
MICHAEL
I just want to be alone. Is that okay?
She nods , sure . He kisses her cheek . Stands up .
MICHAEL
Maybe I'll go back to New York. Hang with you for awhile, huh? Ben'll understand.
She nods again . Whatever you say . He steps into the open doorway .
MICHAEL
Or we'll go somewhere. If you have the time.
JULIANNE
If San Antonio sweeps Sacramento.
They smiles at each other . For real .
JULIANNE
I've never been to Texas.
Imagine that . The look holds . Just above a whisper .
MICHAEL
Thanks for coming to my wedding.
And then he 's gone . IN.JULIANNE 'S BATHROOM - LATE NIGHT Julianne brushing out her hair in the bathroom mirror , eyeing her image with evident dissatisfaction , as she listens to the receiver RINGING .
DIGGER
( V.O. MACHINE . )
Digger and George are with family in the Hamptons until Monday morning. Brevity is even more in order than usual.
BEEP .
JULIANNE
Hey, handsome. Brevity this.
Her eyes find the pack of cigarettes . Next to her toiletries kit .
JULIANNE
( softly . )
I won.
Her fingers touch the pack . As if an object of significance . Takes it up .
JULIANNE
Amazing, huh? I did n't do things quite your way. But. I got it down.
Cradling the phone against her shoulder , she carefully tears the top of the pack completely open .
JULIANNE
And forty years and nine grand - children later, when I sit with Michael on some rustic porch, slogging through our sweet swamp of nostalgic memories.
Reaches the pack toward the toilet .
JULIANNE
No one is going to sweet the details.
Turns it upside down , emptying a dozen cigarettes into the john .
JULIANNE
Of one weekend in Chicago.
Drops the lid with a CLATTER . Hits the FLUSH .
JULIANNE
Talk about celebration.
She lifts a tube from her toiletries kit . Stares at it , real close .
JULIANNE
I'm gon na brush my teeth with actual toothpaste.
Turns it over , reads all the writing . Yep .
JULIANNE
I guess I'm too exhausted to feel the elation I so richly undeserve.
Squeezes some paste onto her brush . Carefully .
JULIANNE
So I'm gon na hold calls at the desk. while I get my.
Start brushing .
JULIANNE
( around , her mouthful . )
God, it is toothpaste, they should sell this stuff commercially! Anyway, a girl does need her.
Squints at her image . Laughs , spewing a little foam .
JULIANNE
well, we're a bit past worrying about beauty sleep. Let's just settle for not frightening small animals.
She SPITS . Tells Digger 's machine .
JULIANNE
Anyway, I could n't have done it without you. Even though I did, if you follow that.
Wipes her mouth . Stares off . The eyes a little dreamy .
JULIANNE
Three words : Happily. Ever. Well, you know.
INT. BEDROOM - MORNING
Julianne sprawled all over the bed , mouth open like a carp , sleeping mask against the daylight . A sudden RAPPING at the door , and she . sits BOLT UPRIGHT . Utterly disoriented , until she pulls off the mask . Stumbles out of bed , walking toward the firm KNOCKING , when . it stops . A message slip SLIDES beneath her door . She lifts it , barely conscious . This wakes her up . In one .
JULIANNE
( to the slip . )
You're going where?
EXT. WALLACE ESTATE - DAY
Julianne climbs from her taxi . Only slightly in awe , she sets off past the reflecting pool , which fronts a mansion of graceful stone and timber . It 's a hike today , because the circular drives is clogged deep with Bentleys , Mercedes , and waiting limos , vying for space with a score of delivery vehicles of all kinds , maintenance trucks , catering and florist and food vans .
INT. GREAT ROOM - DAY
Julianne escorted into an enormous room , where brunch is in progress for more than a hundred . She looks from the vaulted ceilings , to the frescoed walls , the inlaid floors , the massive pipe organ above the stone staircase , the oil portraits of Scottish ancestors and their favorite dogs . Isabelle has risen from the main table , and comes to her . All smiles . Julianne is in the Twilight Zone . What are these people laughing about ? Do they still think there 's a wedding ?
ISABELLE
Jules. We're so glad you slept in.
Takes her arm graciously . This woman would make Anne Bancroft look coarse . As they walk .
ISABELLE
Now, you have a choice. The idea is bride and groom should n't see each other on the magic day.
Julianne looking all around . Magic day it seems to be . Where the bell is a bride or a groom ?
ISABELLE
So Michael stays put in the garden. Kimmy stays in here.
Pointing . THERE she is , obscured by a cluster of the appropriately fawning . She has the same hunted eyes and false , slightly manic smile Julianne wore yesterday . This , at least , makes sense .
ISABELLE
( O.S . )
and the guests go back and forth. Where will you start?
CLOSE on Julianne . Watching the brave , frightened bride .
JULIANNE
She looks tense.
ISABELLE
( O.S. , calmly . )
Nerves. I would never have guessed.
EXT. ROSE GARDEN - DAAY
A steward leads Julianne to the edge of an expansive rose garden , altogether elegant and comfortable with its long white picnic tables , where nearly a hundred guests casually dine , served by rolling carts . There , at the head table , Michael staring at us . He looks like a poor attempt to cover a hard night . She locks onto his eyes . What the hell is going on ? He looks helpless , miserable . She gestures with her head , follow me . Stalks off .
EXT. SCULPTURE GARDEN - DAY
Bronze abstract pieces , some quite large , face a huge set of children 's swings , regulation playground size . Julianne sits in one , moving slightly back and forth . Trying to hold on to her temper and her sanity . In the distance , trucks are winding their way to and from the pond , where crews are setting up tents , lights , heaters for tonight . The circus has come to town . When she looks back . Michael approaches . Before he can draw a breath .
JULIANNE
I had the craziest dream last night? Walter and Kimmy had asked your boss to.
MICHAEL
Look, I came down here to face everybody. I did n't want to slink away like some coward.
JULIANNE
But the Scotch salmon was so fucking good, you decided to stay for brunch!
MICHAEL
She has n't told anybody, what am I supposed to do?
JULIANNE
Get married, apparently.
She comes OFF the swing , PUSHES him back two feet .
JULIANNE
What the hell are you thinking of, the goddamn wedding is SIX O'CLOCK!
He swallows hard . Trapped .
MICHAEL
This is her family and her fault.
JULIANNE
And your point?
MICHAEL
( ten years old . )
Well. How come she did n't.
JULIANNE
BECAUSE SHE'S AS CHICKENSHIT AS YOU ARE, YOU MORONS ARE MADE FOR EACH OTHER.
He just blinks .
MICHAEL
Hey. This is a serious matter.
Thank you . She POKES his chest , punctuating .
JULIANNE
I'll be right back.
INT. KITCHEN - DAY
A modern take on the Medieval castle kitchen , towering ceilings , dark wood , copper pots hanging , a series of walk - in coolers and freezers . The place is a madhouse of activity , as prep cooks slice , chop , sort , every kind of food imaginable , and delivery teams bring more . The girls walk through . Alone together in the eye of the hurricane . Kim choked with excess sentiment .
KIMMY
Look at all this beautiful food, so lovingly prepared.
JULIANNE
They'll eat it anyway, you ever been to a walk?
Kimmy 's lip trembles . This is not how she thought of her wedding . The din is so horrific , Kimmy leads them into a walk - in meat locker . Even here , two BUTCHERS are dressing Eastern - fresh corn - fed carcasses .
JULIANNE
You guys want to give us a minute?
The men blink at each other .
JULIANNE
We'd like to be alone with our pork.
On that basis . They leave . Kimmy sits on a stack of packaged frozen fowl parts . Stares up with big , sweet , wet eyes .
KIMMY
How's he doing?
Julianne can not believe this .
JULIANNE
Who? The jerk who's running your life?
KIMMY
This must be. very, very, hard on him.
JULIANNE
What with the psychosis and all, yeah.
Leans in . Listen .
JULIANNE
When are you gon na come clean with your folks?
KIMMY
Do n't you see.
JULIANNE
If you're waiting for `` Do you take this man?'', that's considered poor form.
KIMMY
that this is all my fault?
Stops Julianne cold . Your fault .
KIMMY
Whatever delusions I drove him to, there is truth at the heart of it. I want him to work for my father. I want to stay in school. I want a life of my own!
Harder and harder for Julianne to push . Her mouth is dry .
JULIANNE
Yeah, well, lots of couples are imcompat.
KIMMY
I love him.
Fragile and strong at once . A plea .
KIMMY
Tell him it's my fault and that I love him.
A long beat .
JULIANNE
I'll be right back.
EXT. TENNIS COURT - DAY
The court has become a giant holding pen for tonight 's BALLOONS . There are maybe a billion in assorted colors already blowing in all directions , under clear plastic sheeting which has ben spread across the top of the court 's chain - link fence . Michael stands outside the court , clutching the chain link like a prisoner , as Julianne comes through the gate . From somewhere , we hear high , squeaky , alien voice - like SOUNDS . Incongruous against .
MICHAEL
How is she?
Julianne absorbs this . As the bizarre SOUNDS continue , she WHIRLS around .
JULIANNE
KNOCK IT OFF!
We now see three STONER COLLEGE GUYS , who have been filling the endless array of balloons from helium tanks at center court . Clearly , they 've been inhaling their working materials .
STONER KID
( Minnie Mouse . )
YES, SIR!
A Nazi salute . When she turns back .
MICHAEL
I asked you.
JULIANNE
She admits it's her fault.
He absorbs that . And then .
MICHAEL
Do you think she still loves me?
We watch the struggle inside her . Her voice drops .
JULIANNE
Sure, she does. She's crazy about you.
Now tears stand in both their eyes . The stoners are doing their Alvin and the Chipmuks impersonation festival in the B.G. , singing in castrato harmony . But our two do n't notice .
MICHAEL
I keep asking, how can I explain what happened? And I keep getting that same answer all night long.
Which is .
MICHAEL
I ca n't. And it does n't matter. I drove her to it, because I want things my way. And even if she did something tricky and unfair. she was blinded by love, okay?
Julianne swallows . For obvious reasons .
JULIANNE
Does that make it right.
MICHAEL
Love does n't have to be right. It just has to be love.
The stoner are now helium - crooning `` Bridge Over Troubled Waters . '' Actually , they 're getting better .
MICHAEL
She's giving up half her life for me, and I'm bitching because it hurts her.
STONERS
( singing . )
Sail on silver girl Sail on by.
MICHAEL
She's a saint! And I'm a worthless ingrate!
STONERS
( singing . )
Your time has come to shine, All your dreams are on their way.
MICHAEL
Tell her. I'll marry her at six o'clock, if she'll still have me.
The stoners blend on the high note . It 's pretty moving .
JULIANNE
I'll be right back.
INT. ORGAN LOFT - DAY
PAN along a gigantic serpentine stack of wedding presents . Nearly twelve feet high , the pile curves along the balcony , high above the diners in the Great Room , extending al the way to . an organ loft . Alone , above the noise of the party , Julianne and Kimmy have just reached the top of the staircase . Trapped between ten tons of lavish gifts and the keyboard of the mammoth organ . Dwarfed by their surroundings , Kimmy draws the hardest breath of her life .
KIMMY
( whispers . )
So. What did he say?
Julianne 's eyes move over the young girl 's face .
JULIANNE
He said. Marry me.
Kimmy YELPS in her ecstasy , FLINGING herself against Julianne , and they go DOWN full length across the organ 's pedals , BLASTING the room with a MONSTER CHORD of china - rattling volume and horrifying disharmony . As grown men and women SCREAM in spontaneous terror below , Kimmy begins to . LAUGH . And KISS and hug her new sister . And holds her tight .
EXT. WILLOW POND - DAY
Julianne and Michael walk the gravel path beside a breathtaking POND , ringed with WILLOWS that dig heavy branches to the water 's surface . He is relieved , reflective . Head down , he never notices that she is . dangerously freaked . Too petrified even to hyperventilate , we 're lucky she 's breathing at all . We watch her life unraveling before her glassy eyes .
MICHAEL
( never looks up . )
Thank God you were here.
JULIANNE
( mumbles to herself . )
Oh, yeah.
MICHAEL
I was so confused, so conflicted, so. unstable.
JULIANNE
Well, it happens.
They pass an expanse of lawn which has become the event parking area . Family vehicles , delivery trucks , service vans . Everything that could n't fit on the circular front driveway .
MICHAEL
I might have thrown away.
Searching for the right words .
JULIANNE
your one chance for true happiness?
MICHAEL
yeah, that.
JULIANNE
You never want to do that, see, that's always a. costly turnover. As they say in the sport biz.
There 's a vague Stepford Wife quality to her voice . He hears that now , and looks at her . Maybe he ca n't tell she 's frightened . But he can tell she 's something .
MICHAEL
( softly . )
Are you okay?
She stops walking . She ca n't look at him , so she looks around . Across the lawn crews are moving equipment into the brightly - colored tents , unfolding and setting up stacks of tables and chairs , raising the poles between which all those balloons will be strung . At the center of it all . a huge topiary White Sox batter , just completing a murderous swing . He 's maybe fifteen feet tall . She points to it .
JULIANNE
The Big Hurt, huh?
MICHAEL
Nellie Fox. Walter likes the past. And he likes the little guys.
So Julianne nods . Because she does too . Squints up at Michael .
JULIANNE
Got a minute?
He nods , you bet . Worried for her . What is this ? She looks in another direction , and we now see that we have nearly reached . a stage that 's been set up for the band . Chairs , music stands , sound equipment . A gleaming dance floor , already in place over the lawn . Next to it , a shimmering white GAZEBO . Like the centerpiece of a wedding cake .
JULIANNE
Why is the dance floor by the gazebo?
She takes his hand . They walk toward it .
MICHAEL
Kimmy's idea. She thought it would be such a romantic place. For our wedding dance.
Looking down at her .
MICHAEL
What's up?
JULIANNE
Shhh.
Up the white steps now . Together . The gazebo floor has been covered with hardwood . The perfect place . For a wedding dance . And Julianne . turns , suddenly . He almost runs into her . She is staring up at him , so strangely , their bodies only inches apart . He is caught , transfixed by the intensity in her eyes .
JULIANNE
I have to say this quick, okay, or I'll have this massive coronary and you'll never have to hear it. Which you need to. Does that make any sense at all?
The coronary part does . We can feel her heart beating from here .
MICHAEL
Jules, what's wrong.
JULIANNE
This is the dumbest thing I will ever do. So dumb, in fact, that I ca n't. I do n't think.
And then , she does . She puts her hands flat on his chest . Looks in his eyes .
JULIANNE
Michael, I love you.
A heartbeat passes .
JULIANNE
I've loved you for nine years, but I was too arrogant and scared to realize it. Now I'm just scared.
He stares at her , dumbstruck . She moves even closer .
JULIANNE
I know this comes at an inopportune time, but I have to ask this one really gigantic favor, okay?
Holds her breath . And .
JULIANNE
Choose me. Marry me. Let me make you happy.
And in a half beat of excruciating silence .
JULIANNE
I know. It sounds like three favors.
His eyes are loving . They care for her . She swallows , lost in them .
JULIANNE
But when you think about it.
Slides her arms around his neck , and raises her mouth . to his . The most beautiful kiss she will ever offer . All of her heart is in this , and as his hands touch her body . a SCREAM rips the world to pieces . They whirl to see . KIMMY , halfway up the path . Her hands across her mouth , as if to stem the horror that pours forth as she SHRIEKS from her soul , and . runs . Back Down the path . Michael BOLTING after her , SHOUTING her name . A frozen moment , and . Julianne TAKES OFF after him . All three running , SCREAMING their various emotions at the top of their lungs , as workmen stop to watch from neighboring countries . Kimmy , staring from halfway there , has an insurmountable lead . LEAPS into her convertible and PEELS OUT , just TEARING up the gravel as she ROCKETS out of sight . No way to catch her . Still . Michael is racing for the cars . Julianne , sprinting her guts out , losing ground with every stride . Michael JUMPS into a Cherokee .
JULIANNE
MICHAEL, DO N'T, YOU'LL NEVER CATCH HER!
He GRINDS the gears . She keeps RUNNING . His engine FIRES .
JULIANNE
SHE HAS TOO BIG A LEAD AND SHE DRIVES LIKE A RABID ANIMAL!
He BLASTS OFF . She keeps going . Gasping for air , clutching her side , she 's dying here . Slams into a florist 's truck , looks inside , shit ! Next , a butcher 's van , looks inside , Jesus !
JULIANNE
( to the world at large . )
DOES N'T ANYBODY LEAVE KEYS ANYMORE? WHATEVER HAPPENED TO TRUST?
Up ahead , Michael has STALLED the Cherokee . She still has a chance , DASHES to the next van . BORNSTEIN EXTERMINATION , a handsome rendering of a rat above the TOXIC MATERIALS warning FLINGS the door open . Stumbles in . Keys !
JULIANNE
( O.S . )
THANK GOD, A SAMARITAN!
Michael SPEEDS away . She KICKS the ratmobile in gear . LURCHES off .
INT. RATMOBILE, DOWNTOWN CHICAGO - DAY
Julianne tearing through traffic , desperately struggling to keep Michael 's Cherokee in view , while she shrieks into her cellular .
JULIANNE
IT IS NOT GOING WELL!
Down the block , Michael WHIPS around a corner . We follow suit to see his destination dead ahead . Union Station . The DISPATCHER RADIO intrudes .
DISPATCHER
( O.S . )
Uh, Unit Four Baker Charlie, how we cookin' on that Skokiie infestation?
Now she 's steering the car , tearing at the radio controls , and screaming into the phone cradled on her shoulder .
JULIANNE
THIS IS WHAT COMES OF TELLING THE TRUTH!
FIELD MAN
( O.S . )
Copy, dispatcher.
JULIANNE
OR EVEN PART OF IT!
FIELD MAN
( O.S . )
Uh, what happens if you got that methyl - ethyl shit on your hands?
Michael RIPS into the train station 's parking lot . We SWERVE around a taxi , CUT OFF Harley , CAREEN into the lot .
JULIANNE
GETTING WHAT YOU DESERVE IS NOT FAIR!
DISPATCHER
( O.S . )
Uh, you got maybe thirty seconds before you're sterile. For God's sake do n't touch yourself, or anything.
Up ahead , Michael is OUT of his jeep and running .
JULIANNE
AND I HATE TALKING TO YOUR MACHINE!
She SLAMS on the brakes , THROWING herself against the wheel .
YOUNGER FIELD MAN
( O.S . )
Uh, this is One Monkey Zebra. It was n't bees in the gal's wall, it was cats!
She TEARS the door open . SCRAMBLE OUT .
YOUNGER FIELD MAN
( O.S . )
She says gas'em, anyway, she'll pay cash. Uh. how do I pay this?
WITH Julianne now , RACING through the lot , Michael vanishes INTO the Station , she PLUNGES in after him , BOUNCING off bystanders , apologizing , lunging on , gasping for breath , past exhaustion , threatening clumsily through the crowd like a staggering drunk , catching a lucky glimpse as he heads . DOWN a staircase to the TRACKS . My God , what 's he doing ? A second wind , fueled by panic , and she BOLTS after him , DANCING down the steep staircase somehow without killing herself , reaching the concourse to see him , running for . Track 29 , a train already RUMBLING , ready to pull out , she SPRINTS after him .
JULIANNE
MICHAEL!
He DISAPPEARS behind the train , she FALLS , skids , springs up , pushes through gaping onlookers , almost there , the train PULLS AWAY .
JULIANNE
NNNOOOO!
But he 's just standing there . His back to us . Watching it go . Her body nearly collapses with relief . She pushes herself on , but her legs are n't working right in their maxed - out fatigue , and she lopes and staggers until she comes up behind him . He 's still lost in thought , staring after the train . She tries to speak , but there 's no breath . So she puts her hands on her knees and just GASPS for air like a dog . Wheezing , panting , trying once more to speak , but she ca n't yet , and then he casually turns and . JUMPS out of his skin ! A heart attack seeing her .
JULIANNE
( croaks . )
Do n't speak!
He just blinks at this sweaty , ripped - up , maniacal figure .
MICHAEL
Uh. I saw that moving.
JULIANNE
DO N'T SPEAK!
FLINGING both her hands across his mouth . A frozen beat . He nods , okay . Cautiously , she takes her hands away . At least she has made him smile , in spite of everything . At least she 's done that .
JULIANNE
I have to make a confession. Another confession. Besides that I love you. This is even worse.
This . He 's waiting to hear .
JULIANNE
The E - mail? You thought Walter sent your boss? I wrote that.
You . WHAT ?! Synapse overload .
MICHAEL
You're not saying you actually. you're saying that y.
JULIANNE
( stricken with remorse . )
. wrote it, yeah. I'm the bad guy.
MICHAEL
ARE YOU CRAZY?
She nods her head wildly , hair flopping .
MICHAEL
ARE YOU ABSOLUTELY INSANE?
Bigger nodding .
MICHAEL
ARE YOU ON DRUGS?
Shakes her head , like a two - year - old .
MICHAEL
( pacing in circles . )
I mean, do you realize what you've. well, of course you realize, that's why you're confessing, I mean. I mean. how could you do that?
JULIANNE
I did n't know it would get sent. I just wanted you to. get mad at Kimmy. and.
And watching . As this begins to sink in .
JULIANNE
I've done nothing but slimy, underhanded, despicable, not even terribly imaginative, things. Ever since I got here. Trying to.
Staring in his eyes . Eyes she ca n't read at this point .
JULIANNE
to win you. To win you back.
Tears in her own eyes now . Big ones .
JULIANNE
And I was blinded by love. Like you said.
Shaking her head .
JULIANNE
But that does n't excuse any part of it. I am pond scum.
No .
JULIANNE
Actually. Lower. I am the fungus that feeds on pond scum. Lower. The layer of mucous that cruds up the fung.
MICHAEL
Lower.
JULIANNE
( agreeing . )
Lower.
MICHAEL
The pus that infects the mucous that cruds up the fungus.
And to her amazement . The trace of a smile .
MICHAEL
( softly . )
On the other hand, thank you.
She blinks at that . Which squeezes out a tear .
MICHAEL
For loving me that much, that way.
He shrugs . Just above a whisper .
MICHEL
It's pretty flattering.
JULIANNE
Except it makes me fungus.
MICHAEL
Well, that part I knew.
She 's never loved him more .
JULIANNE
So you have to marry Kim. Because she will actually make you happy. I, in contrast, am a shallow, neurotic psychopath, with relatively little to offer.
Okay ?
JULIANNE
Kim. Nod your head. Do as you're told.
He nods his head , still smiling . Her tears are running now . Maybe she does n't notice .
JULIANNE
Just promise you'll never tell me who you would have chosen. If I had n't confessed.
She chokes back a sob .
JULIANNE
Cos if you would have chosen me. Then I threw away a perfectly good life. Just to be a decent person. Which is a questionable trade - off. Right?
He nods , slowly . Because he 's supposed to .
JULIANNE
And if you would have chosen some 20 - year - old punk over me. I'd have to kill myself.
Ah . His smile keeps getting smaller . More loving . More wonderful .
MICHAEL
( whispers . )
I'll take it to my grave.
Good . She looks around .
JULIANNE
I'm so glad you did n't jump on that train, before.
MICHAEL
I came here, looking for her.
For her . The words leave a silence .
JULIANNE
Why would she come here.
MICHAEL
This is where I proposed.
Stares deep in her eyes . She needs to hear this .
MICHAEL
I had to cover a game in Milwaukee. She saw me off. And when the train started to leave. I jumped up on the step, I help the handle, and without.
He grins . Has to admit .
MICHAEL
without a thought in my head. I shouted, `` Marry me.''
I did . Now her eyes tear up again . And she does n't know why .
MICHAEL
And she gasped, and covered her mouth, and the train was pulling out, and suddenly she screamed YES! Just once. And blew me a kiss.
What a girl .
MICHAEL
I never forgot that.
JULIANNE
It's two weeks.
MICHAEL
Almost three.
JULIANNE
That is so romantic.
Which makes him reach and touch her hair .
MICHAEL
I just wonder if you know why.
Do you ?
MICHAEL
It's because romance is n't mystery, and tricks, and doubts, and halting, unspoken longings. That's not the real romance.
Tears in his eyes now . First time .
MICHAEL
The real romance is saying yes.
Does she know that now ? He looks at his watch .
MICHAEL
( sighs . )
Woulda been a nice wedding.
Oh . That .
JULIANNE
( urgently . )
You ca n't believe you've lost her! Sooner or later, you'll find her, and you'll look in each other's eyes, and you'll see all that love.
JULIANNE
Course, if it's later rather than sooner, I'd hate to be you at six o'clock.
( beat . )
You've got a lot of explaining to.
MICHAEL
I'm just thinking of how she's hurting. Lost. Alone. Like her life is over.
JULIANNE
That's little egotistical.
He glares at her .
JULIANNE
But, undoubtedly accurate.
She claps her hands , galvanized by the emergency .
JULIANNE
Okay, we'll split up. You go to every romantic place you guys have, I'll go. someplace brilliant, and the first one who.
MICHAEL
If you find her.
Strange tone . A gentle warning .
MICHAEL
The kiss. May be hard. For you to explain.
( beat . )
Because the only fear she really has, is.
JULIANNE
me, yeah. And she likes Tommy Lasorda. Case closed.
Looks at her own watch . Shit !
MICHAEL
But if you do get to her first.
She looks up .
MICHAEL
There is something you are authorized to say.
EXT. TAXI STAND - DAY
Julianne sits on the fender of this guy 's taxi . The driver smokes , paces , while she waits for a connection on her cellular . Then .
MANDY
( V.O . )
Wallace egregious residence, Mandy speaking.
JULIANNE
It's Jules, you guys have n't had a call from, say, Kimberly, have you?
MANDY
( V.O . )
Oh, she's slipped out, the little monkey. Prob ` ly with Michael, doin' the nasty.
A shallow laugh .
MANDY
( V.O . )
Or crying in her nachos, down at Comskey Park.
Julianne 's face SNAPS to alert .
JULIANNE
Ex - cuse me?
MANDY
( V.O . )
I had this crank call? From some guy who thinks he saw her? I said, what would a bride be doin', on her wedding.
JULIANNE
You are so right. What a nerve on that guy! Bring my dress to church, huh?
Signals the driver , let 's GO !
JULIANNE
I want to pick up a little something for the ceremony.
INT. LUXURY BOX, COMISKEY PARK - AFTERNOON
Game in progress . Julianne and the bodyguard stand in the doorway of the deserted skybox . Everyone Walter knows is going to a wedding . The box is empty except for one cardboard container of nachos , extra cheese , sitting alone before a pulled - back chair .
BODYGUARD
She would n't confide in me, so I called the house.
He sighs . Feels terrible about all this .
BODYGUARD
Luckily, I got her cousin.
Julianne nods . Yeah , big break , there .
JULIANNE
Going to the john, she said?
BODYGUARD
Could be there awhile.
INT. WOMEN'S RESTROOM - AFTERNOON
Julianne BURSTS into the enormous chaotic restroom . Looks around wildly , no sign of Kim .
JULIANNE
YO! IMMIGRATION!
Everybody stops . Pays attention .
JULIANNE
I GOT A WARRANT FOR MS. KIMBERLY WALLACE!
Silence . From the long line of stalls .
KIMMY
( O.S. , sobbing . )
In here, you bitch!
Now everybody 's really interested . Julianne ignores them , strides to the stall . KNOCKS , like it 's a door . No answer .
JULIANNE
Let me in, baby, or I'll rip this damn thing off its non - code - compliant hinges.
WOMAN
( O.S . )
GET THE FUCK OUTTA MY FACE OR I'M GON NA MESS YOUR SHIT UP!
Some scattered APPLAUSE . From down the line .
KIMMY
( O.S. , still sobbing . )
Over here, nitwit!
Oh . Scattered laughter . Julianne moves down the line . Stares at the door . We hear the soft , muted crying from within . Slowly , Julianne . drops to her knees . Bends her head low . PEERS under the door . What she sees , prompts a sad warning .
JULIANNE
Incoming.
And she crawls UNDER the door , on her belly . We go WITH her to see . Kim fully dressed , perched on the closed toilet lid , her knees drawn up , her arms around them .
JULIANNE
Pitiful.
And pulls herself up to her knees . Kimmy tries to glare , but it just is n't in her .
KIMMY
Have n't you done enough?
The world gets real quiet . An entire bathroom is listening . Julianne cocks her head to one side .
JULIANNE
In one minute. You are going to feel so foolish.
KIMMY
WHY DO N'T YOU JUST DRIVE A STAKE THROUGH MY HEART?
JULIANNE
Have you ever heard of. Irony?
Irony ? Kimmy sniffles .
JULIANNE
I threw my arms around your husband. And kissed him with all my heart. Because I was so happy. For you. Nitwit.
And leans close . As Kimmy flinches .
JULIANNE
( whispers . )
He's going to take.
( big grin . )
The job!
A stunned pole - axed moment . And Kimmy 's eyes SPRING open . You mean ?
JULIANNE
( beaming . )
With your dad, yeah. Can you guess why? Bitch?
Everything inside Kimmy BURSTS free in a torrent of tears .
KIMMY
HE LOVES ME!
And DISSOLVES , sobbing , into Julianne 's arms . A beat , for Julianne to reflect , and then she strokes her tenderly .
JULIANNE
Well, of course, he loves you.
Kisses the top of Kimmy 's head .
JULIANNE
( very soft . )
Hell, even I love you.
Kimmy holds her tight . From her heart .
JULIANNE
I never want to go through this again.
KIMMY
That's entirely understandable.
ANGLES . outside the stall . Julianne 's feet sticking out under the door .
KIMMY
( O.S . )
Shit! THE TIME!
The two BURST out of the stall , hand - in - hand , at a desperate DEAD RUN past us . HEAR them EXPLODE out the door , and . five stalls OPEN . Women exit , crying .
EXT. UNIVERSITY CHAPEL - TWILIGHT
A taxi pulls up in front of an ivy - covered CHAPEL , fronted by nearly a hundred souls , milling about in attitude ranging from overstimulated curiosity to clinical hyperanxiety . Our girls JUMP out of the cab , and half the crowd starts running toward us , twins in the lead .
SAMMY
Whatever hap.
JULIANNE
( cutting this short . )
We were bonding, we lost track, we're officially sorry, now let's put it behind us.
Kim WAVES at her mom by the chapel entrance . And takes Julianne 's hand for support .
JULIANNE
Believe me, we got a bride who's worth waiting for, yes?
Everybody nods .
JULIANNE
Out of our way.
EXT. DRESSING ROOM - TWILIGHT
White . Pure blinding white . Across FRAME floats more white , this gauzy and ethereal . It settles , its roots planting deeply in the bride 's hair . TILTS UP to . the face of the woman who placed it there . Julianne 's eyes , appraising this bride we can not see . And so softly .
JULIANNE
Do n't worry, sugar.
Do n't worry .
JULIANNE
When he looks at you, it will be as if.
The words stronger . Because there is no smile .
JULIANNE
he's never seen a woman before.
PAN DOWN the white until we are . CLOSE on the bride 's perfect slippers . HOLD . And .
INT. CHAPEL - EVENING
Begins to slowly PAN BACK UP the length of an exquisite gown . We can tell from the organ , the nearby thrum of expectant voices , that we are nearing the moment . We reach . Kimmy 's hand . Firmly clasping Walter 's . Keep PANNING , the bodice , the lace , her throat , and finally , we are CLOSE on . the face of the bride . Now we understand the word radiant . We also understand scared senseless . Our perfect , unflappable Kimmy is in a trance of emotional overload where bliss and panic seamlessly blend . The organ 's noddling stops . Kimmy 's eyes alerted , like a small animal bearing a predator approach her thicket . Suddenly , the CHORD . The Wedding March from Wagner 's Lohengrin . Here . Comes . The bride . And we SNAP TO . FULL ANGLE . Kim and Walter . This is it .
WALTER
( whispers . )
Left foot.
REVERSE ANGLE . Kim 's POV , the chapel , every pew packed , every neck craning this way , the white satin carpet down the endless aisle to where . Michael waits . Also in a zone of pseudo - consciousness . From which he attempts a smile . Not comforting . Kim 's POV WHIP PAN the groomsmen , the twins , LOCKING FOCUS on Julianne , standing strong and beautiful , a glow of her own in the daffodil dress . She sends her little sister a WINK across the trackless miles of aisle . You can do this , kid . So . Kimmy does . On her father 's arm , she walks the gauntlet of the world 's intrusive admiration . One step at a time . The most beautiful she will ever be . She is dazzling the crowd and managing to not throw up at the same time . And she 's there . At his side . She glances back to her maid of honor , just to make sure she 's not working without a net . So Julianne . CROSSES her eyes . Which lets the kid smile and finally take a breath . Have a little fun , huh ? Kim nods , got it , turns to . The Minister . Who stands before them with a calming presence . Thank God someone has done this before . The crowd has hushed . The Minister 's eyes are only for two . His words are for all .
MINISTER
Michael and Kimmy wrote these words. She asked me to confide, mostly Michael.
A ripple of laughter . Gentle and fine . They are setting in .
MINISTER
So he gets to say them.
A surprise . A pleasant one . The crowd adjust in its seats . As Michael begins .
MICHAEL
Why do people get married anymore?
And on these words . We SNAP to Julianne . Share her interest in the bluntness , the simplicity , the unorthodoxy of this beginning .
MICHAEL
( O.S . )
Why not live together amicably, with no sense of obligation beyond the moment?
Her eyes . She 's listening .
MICHAEL
( O.S . )
As long as the sex is good. As long as no one more interesting has wandered into view. As long as the thousand conflicts of two individual wills remain comfortably compromised.
PANNING now . Other faces . Isabelle . Proud to the bone .
MICHAEL
( O.S . )
And when one feels the urge to move on, to explore the new. No guilt, no disgrace, no promise broken.
Walter . His eyes damp . Against our expectation .
MICHAEL
( O.S . )
No agony of having dishonored a time. When our hearts. And the world were different.
Joe nods , as he hears .
MICHAEL
( O.S . )
Marriage is a lot to put up with.
Julianne once more . No breath . Rapt .
MICHAEL
( O.S . )
The answer must be. That there is some need basic to the human heart. That embracing. the obligation of commitment. fulfills.
Her eyes have clouded . As if Michael is talking to her .
MICHAEL
( O.S . )
Some need to belong to one another in a way which rages against the notion. that all is impermanent. Against the notion of mortality.
And suddenly , ALL the feeling rises in her throat .
MICHAEL
( O.S . )
Our love is bigger. And longer. Than life itself.
And the tears come . They come freely , unhidden , unnoticed . As if they were needed . Michael now . Looking at his bride .
MICHAEL
That's what we want. And marriage. Is what we do about it.
Kimmy smiles at him . With love bigger than life itself .
MICHAEL
We are fools in this. Thank God Almighty.
He is done . There is a silence .
MINISTER
Boy, that was good!
People LAUGH . The Minister holds up a sheet of paper . For the crowd to see . Mostly paragraphs crossed out in red ink .
MINISTER
Michael and Kim also edited what they want me to say.
More laughter .
MINISTER
The idea was, we're only marrying once. We have to remember it forever. Let's keep to the good stuff.
( squints at the sheet . )
You may kiss the bride.
Bigger LAUGHTER . The Minister waves this off , his little joke . Turns to the best man , pantomimes the ring . As the hammered gold circle is handed to Michael , Julianne absently scratches her still - swollen finger . Mandy taps Julianne on the arm , and produces . a matching ring . Take it ! Gives it to her . So Julianne steps forward . Places the second ring into Kimmy 's waiting hand . Their eyes meet , and hold throughout .
MINISTER
( O.S . )
If anyone here can show just cause why this man and woman should not be married, speak now. Or forever hold your peace.
Julianne CLEARS her throat . Kimmy 's heart flutters . In the silence . Julianne 's wonderful smile . Just kidding . Michael reaches for Kim 's hand , turns her gently to him . Places his ring on her finger . Holds her hands .
MICHAEL
Kimberly. I promise to love. And respect and comfort you. To hear your voice and your heart. Until we are parted by death.
She swallows . Smiles a fleeting , beautiful smile . Fumbles slightly , putting the ring on his finger .
KIMMY
Michael. I promise to love and respect and comfort you. To hear your voice and your heart. Until we are parted by death.
Staring in each other 's eyes . A moment so fragile , the Minister waits an extra beat .
MINISTER
For the record, you each agree to marry the other?
KIMMY
( quickly . )
I do!
MICHAEL
( smiling . )
I do.
The Minister joins their right hands .
MINISTER
We have n't said much about God this evening, I know. But He is here. And He is happy. To bless His wonderful children.
CLOSE now on Julianne . For the inevitable moment .
MINISTER
( O.S . )
In that Michael and Kimberly have given themselves to each other by solemn vows, and the exchanging of rings.
Unnoticed by the world . Her eyes are close .
MINISTER
( O.S . )
I pronounce them husband and wife. Those whom God has joined together, let no one put asunder.
The eyes open . Wet , brave , ready for .
MINISTER
( O.S . )
Now. Kiss the bride.
Julianne watching . As Michael does .
EXT. WALLACE POND - NIGHT
This is what all the preparation was for . Tables , lights , balloons , the guests dancing on the hardwood floor , at the base of the gazebo . The bride and groom among them , relaxed and happy . Two who are one . PAN TO . the stage , the band playing . Julianne conferring with the twins and the band leader , clear that she 's giving the instructions . Then , she takes her glass of champagne to the microphone . KLUNKS it , for silence . The band stops . The dancers follow . All eyes are comfortably turned to the maid of honor . She looks to the couple . Just below her . Then , to the crowd .
JULIANNE
I'm a writer, too, not as good as Michael. But I do steal from quality.
She raises her glass . Everyone at the table does the same .
JULIANNE
This is to my best friend. On the occasion of his wedding.
Shouts of support , a few whistles . Silence . She tells Michael .
JULIANNE
If I have truly come to know your bride as my new sister. This is in her heart.
She has to stop . Swallows . Because she will not let herself cry .
JULIANNE
`` Understand. I'll slip quietly away from the noisy crowd when I see the pale stars rising, blooming, over the oaks.''
Deep breath . Looks in his eyes .
JULIANNE
`` I'll pursue solitary pathways through the pale twilit meadows, with only this one dream : You come too.''
A hush . SHARP applause . From four hundred hands . But not from his . He is too moved . Too understanding of what he has heard .
JULIANNE
I do n't have a wedding gift. But this is on loan. Until you two find your song.
And with that the band begins . The opening phrases of a song we have come to know . Michael seems overwhelmed . Julianne nods toward the gazebo . Michael takes his bride 's hand , leads her up the stairs , into his arms , as the twins step to the microphone , and guests begin to applaud an unscheduled wedding dance .
MANDY/SAMMY
( singing . )
Someday, when I'm awfully low, And the world is cold, I will feel a glow just thinking of you, And the way you look tonight.
Soft two - part harmony . As perfect as the words .
MANDY/SAMMY
( singing . )
You're lovely. With your smile so warm, And your cheeks so soft, There is nothing for me but to love you, Just the way you look tonight.
Julianne can cry now . Because she 's tied with half the place .
MANDY/SAMMY
( singing . )
With each word, your tenderness grows, Tearing my fears apart. And the laugh that wrinkles your nose, Touches my foolish heart.
Julianne begins to sing . Unheard . Unseen . Even by the man she 's singing to .
JULIANNE/MANDY/SAMMY
( singing . )
You're lovely, please do n't ever change, Keep that breathless charm, Darling, please arrange it, cos I love you. Just the way you look tonight.
The band keeps playing . The dance goes on . Two people lost in each other . The way it 's supposed to be .
INT. GREAT ROOM - LATE NIGHT
Bedlam . Julianne caught in the middle of the throng . A young couple , dressed for travel , appear at the top of the staircase . The SHOUT are deafening . The bride has her bouquet . she spots Julianne far below . THROWS it her way , Julianne reflexively GOES FOR IT . not a fucking chance . The twins nearly TRAMPLE her in the stampede , Mandy WRESTING the prize from Sammy 's grasp . Everyone CHEERS , and then the couple is . FLYING down the stairs , RACING through the crowd with a protective phalanx of groomsmen bodyguards , heading for the door , for freedom . Julianne , trapped in the crush , loses sight of the couple , struggles against the flow , suddenly panicked by the certainty that she will never see him before . And then , he 's THERE . He has Julianne in his arms . Holding her so tight . An embrace so wonderful , so terrible , she could go mad from the confusion alone . Against the din , he murmurs in her ear .
MICHAEL
Wherever I go. However far.
She sobs . Holds him . Deep , deep breath .
JULIANNE
You win a few, you lose a few. Some get rained out.
And to her surprise .
DIGGER
( V.O. , very softly . )
You have a good time?
To her greater surprise . There are a few tears left , after all .
JULIANNE
I did what I came to do.
DIGGER
( V.O. , even softer . )
Good girl.
She just ca n't speak now . So she does n't .
DIGGER
( V.O . )
I was thinking. Maybe you might visit us for awhile. We've got the room made up.
This fucking guy . God , she loves him .
JULIANNE
I'll think about it. I'm okay.
DIGGER
( V.O . )
Oh, you're more than okay.
Just above a whisper .
JULIANNE
You, too.
And with the last of her strength .
JULIANNE
If the sun comes up, I'll see you tomorrow, huh?
A chuckle . At the other end .
DIGGER
( V.O . )
I'll play those odds. You have sweet dreams.
We hear the CLICK . She turns her back on the stars . Shoulders straight . Chin up . She walks from frame . FADE TO BLACK . HOLD END CREDITS .
|
INT. BOULEY RESTAURANT, NEW YORK - NIGHT
Dim lighting , crowd buzz , a long line of the rich , the celebrated , the congenitally impatient . Everyone in this queue holds a reservation at least an hour overdue . Tourists ca n't even make the line . PAN ahead to . the burnished dining room , the tables of power , the elegant service . Covertly , many eyes are drawn to the one table receiving by far the most lavish service of all . Captains hover , presenting delicacies , pouring wines , murmuring obsequiously to a guest whose person they screen from our view . We can see , however . the honored guest 's companion . Ignored , bemused , across the table . This is DIGGER DOWNES , 36 , darkly attractive . Kind eyes , an intellectual 's mouth , Saville Row 's most unobtrusive and conservative chalk - stripe suit . He is gay , but you would n't guess it . Loyal and wise and generous , and you might . He watches with a quiet twinkle , as the Captains now step back , revealing to us . their most unlikely icon . JULIANNE POTTER , almost 28 , wears her favorite bulky sweater over a bunch of other stuff she pulled together in fifteen seconds . She is unkempt , quick , volatile , scattered , and beneath it all , perhaps because of it all , an original beauty . Dark liquid eyes , a cynical mouth , slender expressive fingers , which point to .
CAPTAIN
A variation on our squid ink risotto. Trace of Moselle, to sweeten the stock.
She does n't like that idea at all . Shoots him a sharp look of doubt that makes him smile . Murmur .
CAPTAIN
Do n't kill us on this one, it's a long shot.
Places the moist lump of black rice before her . She takes a surprisingly small amount , rolls it over her tongue . Makes dead flat eye contact with Digger . And nods , it 's actually quite nice . The Captain breathes with relief . She turns her dark eyes to him . The tone says they 're pals .
JULIANNE
I'm writing it up as inventive and confident. Which it is. Off the record, I'll need an extra boat of the ink. Or a salt shaker.
CAPTAIN
I'll toss a coin.
As the Captain splits , Digger looks around at the other tables , which makes many pairs of eyes awkwardly glace away .
DIGGER
Is it ever embarrassing, having your bum kissed in public?
JULIANNE
If your ass is n't chapped, you are not a good - writer of note.
She glances at her two remaining waiters , who shamelessly fawn nearby .
JULIANNE
Is it sad to be an editor, and bask only in reflected insincerity?
DIGGER
I've adjusted, and thanks for asking.
She leans forward , as if sharing something conspiratorial .
JULIANNE
See the pull of a book like Twenty Chefs, is not who I put in. It's who I leave out.
DIGGER
Which is everyone you could n't get in.
JULIANNE
Plus some guys whose food I do n't like.
Pushes the risotte across to him . He lifts a fork .
DIGGER
This fellow from Newsday ever call?
She shrugs . Pulls a cellular out of a large , jumbled bag .
JULIANNE
I'll buzz my machine. Inventive and confident, yeh?
She dials . He tastes .
DIGGER
Needs salt.
JULIANNE
Is Newsday a real interview, or just some cute guy you're setting me up w.
DIGGER
I do n't send you men, anymore. You do n't know what to do with them.
She 's punching in her code .
JULIANNE
Sometimes I do. Like for two months.
DIGGER
weeks.
Over the phone , we hear her answering machine .
MAN'S VOICE
( V.O. , soft . )
Hey. It's Michael.
And her face changes . Warms . Just to hear the guileless voice .
MICHAEL
( V.O . )
God, it must be, what, months, huh? I ca n't wait to talk to you. I'm in Chicago at the Ritz Carlton.
She looks impressed and surprised . Fancy place for this guy .
MICHAEL
( V.O . )
Call me four in the morning, whatever, we got ta talk.
As she hangs up . She still has that look in her eye . Digger has never seen that , and he likes it very much .
DIGGER
Who called? The man of the moment?
She smiles . A sweet , natural smile that makes us like her , too . The Bohemian sophisticate has vanished .
JULIANNE
No, no, the opposite. That's my best friend, Michael O'Neal. He sounds desperate to talk.
DIGGER
The wandering sportswriter.
He pushes the risotto back her way .
DIGGER
I did n't know you two had a past.
Her gaze sharpens . Hmmn ?
DIGGER
The look in your eye.
She blushes . Shakes her head , no way .
JULIANNE
Sophomore year at Yale we had this one hot month. And, you know me, I got restless.
He knows her . She got restless .
JULIANNE
So I get up the nerve to break his heart. I tell him there's this dreamy exchange student from Pakistan who wants to, you know.
He knows .
JULIANNE
And he gets this. look. He says, `` I knew I could n't hold your interest'', which, of course, makes me feel like the shallow bitch I've always been.
He nods , yeah .
JULIANNE
Then he says, `` But what makes me want to cry. Is I'm losing the best friend I ever had.''
Hears the feeling . In her voice .
JULIANNE
And when he said it, I knew. I felt the same.
Silence now . She covers with a smile .
JULIANNE
So I cried. For maybe the third time in my life. And I kissed him. And we've been best friends ever since.
Ever since . Fingers turning her wine glass .
JULIANNE
Nine years, we've seen each other through everything. Losing jobs, losing parents, losing lovers. travelled all over, we've had the best times. The best times of my life, maybe. Just drinking and talking. Even over a phone.
DIGGER
Kindred spirits.
JULIANNE
No, he's nothing like me. He's like you. Only straight.
No offense taken .
JULIANNE
He's the salt of the earth. Kind and loyal and generous. The one constant thing in my life, is he'll always be there.
DIGGER
He's still in love with you.
That stops her . She has to say .
JULIANNE
Maybe. But it never gets in the way.
Something she probably has n't confessed out loud before . Digger understands .
DIGGER
Well, he has a true friend in you.
He wants her to know he sees that .
DIGGER
Whenever George tells someone how steadfast I am, he always makes me sound boring.
JULIANNE
Solid and genuine is not boring. Michael can be completely insane.
A young waiter arrives . Sets a boat of black squid ink beside her plate .
JULIANNE
There was this one night in Tucson, like six years ago. we got amazingly drunk, I mean, Keith Richards time.
The kid tops off her glass of meursault . Looking at her .
JULIANNE
God, I have n't thought of this in so long.
The waiter hanging now . Openly listening .
JULIANNE
I can even believe we did this.
Digger sees the guy listening , gestures to her with his eyes . So she looks up .
JULIANNE
Could you give us a minute?
The kid stunned , speechless . People lose jobs for a lot less .
JULIANNE
You wo n't miss much, I promise there was no sex.
He reddens and disappears .
DIGGER
I've lost interest.
JULIANNE
He takes a razor from his dinky little dopp kit, cuts his fingertip, takes my hand, does the same to me.
She places the tips of her index fingers together .
DIGGER
Blood oath.
JULIANNE
He says, `` Swear. When we're both 28, if we've never been married. we marry each other!''
And laughs again . Can you believe that ? But Digger is n't smiling . She wonders why . Begins to spoon black squid ink onto her risotto .
JULIANNE
See, he figured that would be a sign from God, or someone of comparable authority, that we'd misunderstood our destinies.
He still has this real serious look . She 's still spooning ink .
JULIANNE
We never talked about it again. I do n't know what made me think of.
DIGGER
( quietly . )
I do.
And everything . Stops . She lifts her spoon , mesmerized by the gravity of his tone .
DIGGER
You'll be 28 in three weeks. How old is he?
Holy . Fucking . Shit . It hits her like a ton of lead bricks . She shovels some swampy risotto into her mouth , without looking .
JULIANNE
You think.
DIGGER
Desperate. To talk.
She shovels in more drippy black goop . It is really disgusting .
JULIANNE
He's not proposing marriage, there's no way I'm buying one word of th.
DIGGER
Then why are you compulsively eating? If you're not hysterical?
More goes in . Her lips and mouth completely black . Like a circus clown .
JULIANNE
He ca n't do that to me!
DIGGER
We're about to find out.
Ink is now dribbling out of the black hole of her mouth and down her face . She absently dabs a napkin , keeping some of it from reaching her sweater .
JULIANNE
When I turn him down.
She realizes the full weight of the truth .
JULIANNE
We'll never be the same.
DIGGER
I have a suggestion.
JULIANNE
I'll have to kill myself before I call him.
Staring in each other 's eyes .
DIGGER
( sadly . )
That was it.
INT. JULIANNE'S BATHROOM - LATE NIGHT
Julianne furiously scrubs her blackened tongue with a toothbrush . Gray foam pours from her mouth , spattering the oversized basketball jersey she wears as a nightshirt . In the mirror , her troubled eyes dwell on Michael , flick to the cordless phone standing ominously on the closed toilet lid . She spits , sticks her tongue way out . Incredibly black . Great . Depressed , terrified , and disfigured for life . She snatches up the hated phone , and wanders aimlessly into . her bedroom . West Village view . Defiantly jumbled , aggres - sively eclectic . Traces of wonderful taste mixed with I - like - it - you - got - a - problem - with - that ? She stumbles around , rehearsing .
JULIANNE
This is awkward timing, Michael, I just joined this convent, and they never give your deposit ba.
Stops . Full - length mirror . She straightens her hair , to look her best .
JULIANNE
Michael, I'm married.
Not enough .
JULIANNE
and I have two weeks to live.
Changes tone .
JULIANNE
Michael, I'm trying to be gay, do n't confuse me.
She turns to continue pacing , and walks straight INTO a dresser . Stuns her , momentarily . Enough , already ! She punches up the number , primping absently in the mirror . When it connects .
JULIANNE
I was calling Michael O'Neal, but seeing it's so late, I could just leave a mes.
No such luck . Cut off . Waits . And then .
JULIANNE
( soft . )
Good evening, sir. You've been enrolled in the Obscene Call Of The Month Club, and th.
MICHAEL
( V.O . )
Hey! God, it's so good to hear your voice.
She forgets herself . Because it 's good to hear his , too .
MICHAEL
( V.O . )
I've been calling for days!
JULIANNE
Yeh, well my old machine kept eating messages. I tried constructively ignoring it in hopes of improvement, but finally.
MICHAEL
( V.O. , urgent . )
Look, I have to ask you something.
She swallows .
MICHAEL
( V.O . )
Something so incredibly important, that if you turn me down, I do n't know what I'll d.
JULIANNE
( bright . )
I just have to tell you this one thing first, okay? I mean this will hand you the biggest laugh of your adult life.
Silence . Come on girl , suck it up .
JULIANNE
I was thinking about you, and I remembered this unbelievably insane night we spent together in Tucson, like a thousand years ago?
More silence . Really quiet .
JULIANNE
I mean, there's no way you could possibly remember the.
MICHAEL
( V.O. , soft . )
Are you kidding?
Stops her . Like a brick wall . The sweetness in his voice .
MICHAEL
( V.O . )
I think about that night all the time.
She 's going to have a heart attack .
MICHAEL
( V.O . )
But it's not why I called.
She blinks . It 's not . And just as a tsunami of relief begins to sweep away .
MICHAEL
( V.O . )
I called because I met someone.
And her smiles breaks off . Like a spine snapping . Because there is something in his voice .
JULIANNE
Well, that's great. You have n't really had anybody since Dingbat Jennylee.
MICHAEL
( V.O . )
You do n't understand. I've never felt this way about anybody!
Never . She sits down , hard . Right on the floor .
MICHAEL
( V.O . )
And she's all wrong for me!
JULIANNE
Well, somet.
MICHAEL
( V.O . )
I mean she's a junior at Chicago University, she's twenty years old! Like when I first met you.
Like when . Julianne 's mouth is suddenly dry .
MICHAEL
( V.O . )
And her dad is like this billionaire who owns the White Sox and some cable empire, and you know how I've always been miserably awkward around those kinda stuffed suits.
She 's finally making her mouth work .
JULIANNE
Well, sure.
MICHAEL
( V.O . )
But they're so down to earth, such wonderful people.
JULIANNE
You've met her parents.
MICHAEL
( V.O. , quiet . )
Well. Sure.
Wow .
MICHAEL
( V.O . )
See. We're getting married. This Sunday.
There 's a knife in her heart . She can scarcely breathe .
JULIANNE
Michael, it's Wednesday night, you ca n't possibly be getting married on Su.
MICHAEL
( V.O . )
Actually, it all starts tomorrow. It's one of those four - day weddings, with all the traditional events, and ten million people flying in from Madagascar such.
JULIANNE
( incredibly lame . )
Are n't you. working this weekend? I mean, is that responsible?
MICHAEL
( V.O . )
Well, the Sox are at home. SI's letting me do a profile on the Big Hurt. That's Frank.
JULIANNE
( barely audible . )
. Thomas, yeh.
She 's staring at herself in the mirror .
MICHAEL
( V.O . )
Jules. I'm scared.
A straw to lunge at .
JULIANNE
Well, maybe we should talk ab.
MICHAEL
( V.O . )
I need you.
So heartfelt . A lifetime of emotion welling in her eyes .
MICHAEL
( V.O . )
If you ca n't come. And hold my hand. I'll never get through this.
Oh .
MICHAEL
( V.O . )
Please come, please.
JULIANNE
W.
MICHAEL
( V.O . )
I ca n't wait for you to meet her!
HOLD ON Julianne . Staring in the mirror . Like watching the end of her life .
INT. BEDROOM - LATER
The closet , the armoire , all the drawers are wide open . Two huge suitcases open on the bed , into which Julianne is flinging clothes , as she fumbles to smoke and dial at the same time . Over the phone , now .
DIGGER
( V.O. , machine . )
You've reached Digger and George. Brevity will be appreciated.
BEEP .
JULIANNE
( in a rage . )
IT'S ME AGAIN, WHY ARE N'T YOU GUYS UP HAVING SAFE SEX?
SNATCHES up a tiny , clingy , sexy dress . Pouts at it .
JULIANNE
OR, IN THE ALTERNATIVE, WHY ARE N'T YOU INTERRUPTING IT TO ANSWER THE PHONE?
She holds the dress against her body . It 's hot .
JULIANNE
YOU, YOU, YOU! IT'S ALL ABOUT YOU, IS N'T IT?
She clicks OFF . Checks the dress in the mirror . Raises the short skirt a little higher .
INT. DIGGER'S CHEROKEE, JFK AIRPORT - EARLY MORNING
Digger driving the open - air Cherokee up the ramp to United Airlines departures . Julianne , wind - whipped , trying to light a fresh cigarette from the butt of the last one . He glances over . Hates to see this .
DIGGER
You ca n't get lung cancer and die in four days. Go to Plan B.
She sucks deep . Really deep .
JULIANNE
You have no appropriate sense of emergency. My best friend is ruining his life.
DIGGER
No, he's ruining yours.
JULIANNE
Same difference. If you love someone, it's your duty to save them from themselves.
DIGGER
You have a real philosophy of life.
JULIANNE
It's called the Law of Love, asshole.
She is tight enough to snap . And at the edge of tears . Staring out at the skycaps , clinging to her cigarette , as he eases to the curb .
DIGGER
( gently . )
Why do n't we have a drink? You could catch a later fl.
JULIANNE
I'm a busy girl. I've got four days to break up a wedding, and steal the bride's fella.
She finally looks at him . He does n't say anything .
JULIANNE
He's adored me for nine goddamn years.
DIGGER
I can see why.
JULIANNE
She knows him maybe five seconds, plus she has billions of dollars, plus she's perfect, so do n't go feeling sorry for Miss Pre - Teen Illinois!
He 's not . So her voice softens . Which shows the hurt .
JULIANNE
And do n't go feeling sorry for me, you do n't know me that well. We're only friends.
DIGGER
( softly . )
I stand corrected.
Tears now . Stand in her eyes .
JULIANNE
I'm making a big mistake, huh?
DIGGER
( shrugs . )
Maybe you'll learn something.
He wraps his hand over hers . She looks down at it .
JULIANNE
I'm gon na bring him back, man. Against all odds, y' know. Cos if I do n't.
She wraps her fingers around his .
JULIANNE
I got ta live with it forever.
Looks in his eyes .
JULIANNE
And at my wedding. I'll be the only bride with her own best man.
And she kisses his cheek . Jumps out of his car . Before she cries . Yanks her bags from the back . Brave smile . They trade small salutes . And then she 's gone .
INT. O'HARA AIRPORT, CHICAGO - MORNING
The jetway disgorging passengers into the swarming ant colony called O'Hare . Julianne lugging multiple carry - ons , trying to pull fly - away strands of hair into place , nervous as a schoolgirl , looking all around , and . there he is . MICHAEL is tall and square - shouldered , a boyish grin , an unruly shock of hair . He looks gorgeous , sweet , and just dangerous enough to be irresistible . Worthwhile stakes . His face lights to see her , and she . RUNS to his arms , shedding bags along the way , slamming off heedless civilians , to be . SWEPT OFF the earth in strong arms , spun around , laughing like crazy , their cheeks tight together . When he sets her down . he kisses her nose . His arms are still around her .
MICHAEL
( murmurs . )
Can you believe it? Can you believe I'm actually gon na do this?
JULIANNE
( lost in his eyes . )
Not hardly.
He beams . Turns . She follows his gaze , and . there she is . KIMBERLY WALLACE is 20 , small and slender , but it is a body to die for . The face is striking , not at all perky and vapid , but lovely and interesting . Worst of all , intelligent . She walks toward them purposefully , her eyes locked to the woman in her fiancee 's arms . At the last moment , Michael releases Julianne and Kimmy . THROWS her arms around the startled visitor . HOLDS her tight , with such genuine warmth that Julianne can only , slowly , hug back . As Michael beams .
KIMMY
This just makes everything so perfect.
Her arms stay around the slightly dazed Julianne . The younger girl leans close , confides .
KIMMY
All I've heard, from the day I met Michael, is Julianne this, and Julianne that.
JULIANNE
Well, we're.
KIMMY
I think the best part of marrying this guy is finding you.
Pale gray eyes . Alive with joy and intimacy .
KIMMY
I've never had a sister.
INT. KIMMY'S CONVERTIBLE - DAY
Kimmy TEARING down the throughway in her Mercedes 500 SL , a dashing , confident driver . Julianne riding shotgun , hair flying , a total wreck , in the open convertible . Michael is happily crouched on the little platform behind their seats , hugging his knees . The roar of the wind makes it impossible for him to hear them .
KIMMY
My heart's in my throat, here. Right off, I have to ask this monstrous favor.
JULIANNE
You need a few dollars.
Kim glances over . At eighty miles an hour . A bittersweet look .
KIMMY
Dry. Just like he said.
Her eyes at once admiring and regretful .
JULIANNE
Excuse me?
KIMMY
I can be quick. I can even be funny.
Shakes her head . An endearing youngster .
KIMMY
But I ca n't be dry.
JULIANNE
Can you watch the road?
KIMMY
See. Dry. It's in the delivery.
She looks back to the highway .
KIMMY
This is a very presumptuous and burdensome fav.
JULIANNE
you want a menage on your wedding night.
KIMMY
( straight back . )
No, that would n't be burdensome.
Julianne studying the delicate , angular profile . Hard not to like this kid .
KIMMY
My classmate Angelique shattered her pelvis line dancing in Abeline on Spring Break.
Looks over . The sweetest smile .
KIMMY
Be my maid of honor.
Julianne just blinks .
KIMMY
You ca n't believe what it'd cost to bring in a temp.
JULIANNE
Uh. How about promoting a bridesmaid? Someone you know for at least forty - five minutes.
We CUT OFF a huge SEMI who BLASTS his horn . Kimmy fearless , oblivious , and analytical .
KIMMY
The bridesmaids are my only two female relatives under forty. Identical twin debutantes from Nashville, who are basically vengeful sluts. With amazing bodies!
JULIANNE
Which was the disqualifying factor?
KIMMY
The twin part. I like to remain impartial in my contempt.
Sees the off - ramp , and SLICES across FOUR LANES of speeding bullets in a heart - stopping nanosecond . This kid could drive for Penske . Julianne has to pound her chest to get her heart started . Looks back to see if Michael fell out . he is absurdly wind - blown . Gives her a beautiful grinning thumbs - up . Loves this stuff .
KIMMY
This means I have four days to make you my new best friend.
Brings Julianne 's eyes back .
KIMMY
And since I already know everything about you. Including intimate facts I'm mortified to have heard, but too envious to forget. It's time for you to learn about me.
Easing off the freeway . She meets Julianne 's glance .
KIMMY
Force yourself. To get personal.
JULIANNE
( smiles . )
Sounds like a plan.
INT. DRESS SHOP, NORTH MICHIGAN AVENUE - MORNING
The place is stunning . High - ceiling , soft light , large rococo mirrors , Louis Quatorze sofas and chairs . Michael wanders rest - lessly , fish out of water among designer displays and stylish female patrons . Takes a look at his watch .
INT. DRESSING ROOM - MORNING
A period sitting room , ringed with mirrors along its tapestried walls . Kimmy sits on a Louis Treize loveseat next to a stack of costly gowns . Watching with an expertise beyond her years , as . Julianne stands on a platform . A seamstress fitting her into a sleek pale daffodil - colored gown . There are pins everywhere , as the seamstress struggles toward a perfect fit . Continuously looking to Kim for approval .
KIMMY
If you'd rather the lilac.
Julianne shakes her head . This one is beautiful .
JULIANNE
I thought bridesmaids had to wear the same dress.
KIMMY
Not you. You wo n't be comfortable unless you're distinctive.
Julianne glances over .
JULIANNE
What else did he tell you.
KIMMY
you hate weddings, you never go.
Oh . Well , yeah .
KIMMY
You're not up for anything conventional, or popularly assumed to be female priorities. Including marriage. Or romance. Or even.
And she stops . Not wanting to offend .
JULIANNE
( quietly . )
not even love.
The look holds . The seamstress keeps working , as if she 's deaf .
JULIANNE
That's why Michael and I were the wrong fit. Right from the start.
KIMMY
He said that, too.
She stands up . Walks to the platform . Smooths her hand over the fabric down Julianne 's back , along her hips . Communicating to the seamstress with her irritated expression .
KIMMY
Well, I thought I was like you. And proud to be. Until I met rumpled, smelly old Michael.
Pins start to come out . Kimmy points , these , too !
KIMMY
And then I found I was just a sentimental schmuck. Like all those flighty nitwits I'd always pitied.
She leans forward . So they can look at each other .
KIMMY
Funny world, huh?
Julianne swallows . It is that .
JULIANNE
I need a smoke.
And before anyone can breathe , she steps OFF the platform RIPPING the living shit out of the gown , right down the side . The seam - stress ' eyes FLASH OPEN in abject horror . Julianne , a deer in headlights , looks quickly around at the evidence of her screw - up in six different mirrors . Kimberly just steps to her , fingers the tear .
KIMMY
It's mostly the seam. Let's get this to Carlos.
And UNZIPS Julianne down the back . In her rush to step out , Julianne STUMBLES , but her arms are pinned by the pulled - down dress and she just . TOPPLES like a felled oak , THUDDING on her face , the gown RIPPING some more , the seamstress SCREAMING like an idiot . Then . Silence . Julianne looking up helplessly , a trussed hog , bound in her dress .
KIMMY
( firm . )
Just. Do n't. Move.
Like you talk to a three - year - old . Deftly , Kimmy pulls the dress free , leaving Julianne in her underwear . Signals to the seamstress , let 's go .
JULIANNE
Do n't you have to be somewh.
KIMMY
just my bridal shower. And Michael has to meet our dads and the groomsmen at Comiskey for a one - thirty game.
Opens the door .
KIMMY
Other than that.
Closed SOLID . Gone .
INT. DRESSING ROOM - LATER
Julianne sits on the loveseat in her bra and panties , lighting one cigarette from the butt of another . Suddenly , she hears . an ARGUMENT outside the door . Strains to listen . It does sound like Michael and Kim . We ca n't make out the words . She jumps up , dashes for the door , STUBBING her toe on the platform , SHIT ! , falls heavily AGAINST the door with a THUD that makes her wince , and . the argument stops . Damn . She opens the door a crack . Sees nothing . Opens it wider to reveal . a teenaged BOY looking right at her . He sends a true shit - eating grin and she SLAMS the door hard enough to RATTLE walls . She PACES furiously , helplessly , arms around her half - naked self , until . soft knock . The door opens a crack , and her daffodil gown comes through it .
JULIANNE
Come in, and shut the.
Stops . Because it 's Michael who has entered . With the dress .
JULIANNE
door.
So he does . She flushes and SNATCHES up her own clothes , which were characteristically tangled in a heap , and tries desperately to untangle them enough to cover herself . He is amazed and amused by her embarrassment .
MICHAEL
( laughing . )
Should I turn around, or someth.
JULIANNE
Michael, I'm in my underwear!
She 's TEARING at her clothes , only making more of a mess .
MICHAEL
We've seen each other a lot more naked than this.
She seems ready to rip her clothes apart , so he gently takes them from her hands . She tries to stand unselfconsciously as he easily untangles them .
MICHAEL
I mean, we were skinny - dipping in Greece, just as pals, less than two years ago.
She GRABS the clothes and covers the front of herself . Looking at him with a mix of emotions she could n't begin to sort out .
JULIANNE
Things are different now.
He looks in her eyes . And nods , a little sadly . Guess they are .
MICHAEL
( softly . )
Well. I leave with two thoughts in my mind.
He walks to the door . Puts his hand on the latch . Looks back .
MICHAEL
( even softer . )
You're still a very pretty girl.
The look holds . And holds . There is such feeling on both sides , she does n't know what to make of it . She swallows .
JULIANNE
What's the sec.
MICHAEL
Mirrors.
And he 's gone . She looks around at six different VIEWS of her uncovered backside . Hmm .
INT. HOTEL UNDERGROUND GARAGE - DAY
The parking valets wait by their stand as the convertible pulls up . These girls must be late for something , the way they 're jumping out of the car .
JULIANNE
luckiest guy in the Northern Fucking Hemisphere, is all I'm s.
KIMMY
What? Because I'm a little understand.
JULIANNE
most sentimental schmucks I pity want a honeymoon after their wedding. Just to top it off.
The valet gives Kimmy her ticket .
KIMMY
I ca n't expect the NBA to hold up the playoffs.
They 're walking fast toward the garage elevators .
KIMMY
I'm excited Sports Illustrated gave him this kind of shot, he's only there a ye.
JULIANNE
So your honeymoon is exactly where?
Well .
KIMMY
It depends. If San Antonio sweeps Sacramento, we could start there. Or Phoenix. Or depending on Indiana - Clevel.
JULIANNE
garden sports, all. Little swing of maybe fifty degrees Fahrenheit, represents a packing challenge, but there's fine food and cocktails at a choice of Embassy Suit.
At the elevator . Kimmy SLAMS the button .
KIMMY
It's his career, I'm supportive. Look, I've been everywhere, I've seen the world, I've laid on a beach. I want to be with the man I love. That's what makes it a honeymoon.
End of story . Okay ?
JULIANNE
I'm just saying he's lucky.
An empty elevator arrives . They get in .
JULIANNE
Takes one woman in a billion to put up with his array of shit. The guy is a one - man festival of idiosync.
Kimmy SLAMS the penthouse button . Looks at her calmly . Go on .
JULIANNE
Well. You've been introduced to the symphonic range of.
KIMMY
his snoring, yeah. He says it's worse than ever. That snaffle one?
Julianne imitates an incredibly annoying high - pitched SNARL . Three times . Kimmy nods .
KIMMY
Well now it has this sorta phlegm rattle behind it.
Stopped at the lobby . A family of four gets in . Oblivious , Kimmy DEMONSTRATES the phlegm rattle . Really gets into it . As the family watches , Julianne tries her own version . Like that ? No . More like this . The family is looking at each other .
KIMMY
Guess what? Earplugs work.
Oh .
JULIANNE
How about.
KIMMY
cigars in bed? I broke him on that. But the bathroom's a swamp, he wears Reeboks to dinner, tells the same, admittedly funny, jokes three hundred times.
Sucks in a breath .
KIMMY
loves action movies, subscribes to Playboy for godsake, reads over my shoulder, ca n't keep track of the checks he writes.
Ninth floor . The family gets out . The door closes .
KIMMY
He sucks soup through his front teeth.
JULIANNE
A trademark move, do n't touch it.
KIMMY
But he sure can kiss.
JULIANNE
It's been awhile. I'll take your word.
KIMMY
After two weeks of cataloguing all his faults, I made a command decision that changed my life.
She SLAMS the EMERGENCY STOP button . We JOLT to a halt .
KIMMY
I threw the list away.
Shakes her head .
KIMMY
He's not a balance sheet, so many wonderful qualities, so many faults. He's Michael.
From her heart .
KIMMY
And loving him means loving all of this.
JULIANNE
Do you get nervous in small confined spaces?
KIMMY
So it's sweet of you to be protective.
JULIANNE
Let me rephrase that.
KIMMY
But nothing ever could, ever did, give me a moment's pause about this marriage.
JULIANNE
Do you get hysterical in small confined spa.
KIMMY
except one.
Julianne 's face . Stops .
JULIANNE
Oh, yeah?
Kimmy nods . Confides .
KIMMY
You.
A stopper .
KIMMY
You'll always be there. In his mind. The perfect creature he loved for all those y.
JULIANNE
Well, perfection can get wearing after whi.
KIMMY
I'm not joking. I had to face up to all my competitive drives, and believe me, I've got'em.
JULIANNE
No.
KIMMY
And the answer was so simple.
JULIANNE
I was gon na predict that.
KIMMY
You win.
Julianne blinks . Excuse me ?
KIMMY
You're enshrined in his heart and memory. Unassailable. Which works out great.
JULIANNE
I've missed a step.
KIMMY
He has you on a pedestal. And me in his arms.
Oh . Julianne smiles . LUNGES for the EMERGENCY button , YANKING it so hard it comes OFF in her hand . A terrifying BUZZER ensures .
JULIANNE
Jesus, we're trapped!
KIMMY
Ju.
JULIANNE
No, this happened to me once, almost, it was excruciating!
Begins BANGING random buttons , out of control . Kimmy watching this . Julianne looks WILDLY up .
JULIANNE
There's a panel up there, you could boost me.
RIPPING off her platform shoes .
JULIANNE
You know how little air is in these things? I've seen statistics! Once you're trapped between floors.
Kimmy taps her . Points to the lighted panel . It says PH , they 've reached the Penthouse .
JULIANNE
God! Then the door is jammed!
Takes a heavy platform and begins BANGING the metal door with all her strength , sending resounding BOOMS throughout the area , as Kimmy reaches and . presses DOOR OPEN . The metal doors part , opening directly onto the banquet room , just as a mighty blow comes down , and the platform FLIES from Julianne 's hand straight BETWEEN . two identical stunning YOUNG WOMEN , serving as twin hostesses for the shower . A beat of mutually - stupefied looks , and we hear the shoe CRASH somewhere , to a small spattering of SHRIEKS .
MANDY
Mah Gawd, it's the bride, and the woman she'll nevah live up to!
KIMMY
( mutters to Julianne . )
That would be us.
SAMMY
Did she say th' wrong thang agin? It is so in character!
AMANDA and SAMANTHA NEWHOUSE , 19 - year - old twins . True Southern belles , with the faces of angels and bodies made for hot oil wrestling . Mandy 's hair is dyed ash blonde , Sammy 's is amber . Otherwise , the experience is similar .
JULIANNE
( thrusts out her hand . )
I'm Julianne Potter, and.
SAMMY
we'd be the vengeful sluts. We came in complementary colors.
MANDY
Have you sized up the groomsmen, Jules? As M. of H., you get first fuck. Do n't pick the short, hairy, rich one.
JULIANNE
unless he has a hump.
The girls cast identical blank looks at Kimberly .
KIMMY
( to the sluts . )
Dry. I told you.
WOMAN'S VOICE
( V.O . )
Is this Michael's Julianne?
All eyes turn to an elegant woman of barely 40 . She has her daughter 's hair and eyes and slender form . But the bearing rules half an empire . Fonda would envy .
ISABELLE
I'm Isabelle Wallace, and my handsome new son scarcely did you justice, girl.
She takes both of Julianne 's hands , and our heroine is sort of magically charmed . As if touched by Glinda the Good Witch of the North .
ISABELLE
Now, my husband says to scoot you over to the ballpark, so you can hang with Michael. But first, you have to meet a lot of really old women.
Looking warmly in her eyes .
ISABELLE
That is, if you've absorbed enough profanity.
Flicks a glance at the twins . Leads Julianne off .
MANDY
( O.S. , pouting . )
We sayed one fuck.
INT. TAXI, SOUTH SIDE - DAY
Cab crawling toward COMISKEY PARK through stifling traffic . Julianne oblivious , cellular to her ear .
JULIANNE
Desperate measures! Do you hear me? Digger, are you the.
SQUAWK . Static . Then .
JULIANNE
I do n't know, hit men, whoopee cushions, saltpeter, something! The girl is impossibly impregnable. Even I want her to get the guy!
Listens .
JULIANNE
Tell him the what? The truth??
She shakes her head . What a guy .
JULIANNE
That desperate. May I never get.
INT. LUXURY BOX, COMISKEY PARK - AFTERNOON
Game in progress . Watched by Michael , three groomsmen his age , two middle - aged men , and one bodyguard . Suddenly , a dull THUMPING at the door . It keeps up . They finally all look over . The bodyguard gets the door , revealing .
JULIANNE
Which of you gents ordered two beers?
One single tray . Holding fourteen beers . Balancing on one hand . Michael JUMPS UP , terrified at the impending mayhem this sight suggests .
MICHAEL
Wow! Lem me give you a ha.
JULIANNE
( sweetly . )
Michael. You'll unwittingly imply that I'm clumsy.
He stops in his tracks . The guys whistle .
MICHAEL
Think of that. And as well as I know you.
She goes first to the bodyguard .
BODYGUARD
Sorry, ma'am, I'm on duty.
JULIANNE
( lovely smile . )
It's Miss.. And thanks. That leaves two for me.
Heads down the row .
MICHAEL
Julianne Potter, this is Hank and Gerry from SI, and you know Daniel.
She 's nodding , flawlessly plucking two beers each from perimeter of the tray , keeping the rest perfectly balanced in the center . Michael is flat dumbstruck . Next , a tall patrician gentleman with rolled - up sleeves on his hand - stitched silk shirt .
MICHAEL
Oh. This is my father - in - law, Walter.
Once again , she gracefully plucks two beers for the distinguished father - in - law .
MICHAEL
How are you doing this? You're on drugs.
Sets them down . The man has a smile wonderful in its ease . Murmurs .
WALTER
If he gives you grief, I'll have him skillfully beaten, where the wounds wo n't show.
JULIANNE
I guess getting him whacked would be politically out of the question.
WALTER
Under the circumstances. Charmed to know you, Jules.
JULIANNE
Nice meeting you, too, Walt.
A nod between equals . She moves on .
MICHAEL
And, this guy, you know.
She sure does , and effortlessly balancing her one - hand load , she dips to kiss a porky , balding guy with big - time shoulders . Straight on the lips .
JULIANNE
Papa Joe.
They go way back . He is uncomfortable at this rich man 's wedding , even as gracious as everyone has been . His watering eyes twinkle at her , and the voice has a trace of Boston .
JOE
You gon na be my boy's best man?
Despite SHOUTS from the others .
JULIANNE
Best everything, Joe. But I'm going to dance with you.
MICHAEL
Dance? You do n't dance! You learn to dance?
Her innocent smile .
JULIANNE
Moves. You've never seen.
BIG reaction from the guys , as she heads toward Michael with the last of the beers , not looking down at the FIELDER 'S MITT which lies right in her path , and as his lips part to scream a warning , she skips . neatly AROUND it . He 's in shock .
MICHAEL
You're an impostor! What have you done with my best friend?
As he takes away the remaining beers .
MICHAEL
And how was the hot dog?
Hot dog ? His eyes fix on her left breast . HUGE mustard stain . She ca n't believe it .
MICHAEL
Cheap and unnecessary. We were looking anyway.
EXT. LUXURY BOX ROOF - DAY
Michael and Julianne sit with their beers on the edge of the luxury box roof . The game , the stadium , spread out beneath them . Yet they are alone in the world . She dangles her legs , and we can hear her kicking the glass below .
JULIANNE
I just admire your maturity, that's all. I mean, there are people who would find that kind of perfection boring. Day after day, year after year.
MICHAEL
see, that's what I thought at first. How can you like someone that perfect? No potential for long - range livability.
Drinking their beers . Side by side . Both stare only at the game .
MICHAEL
Luckily. The closer I watched, the more the fault came into focus. Each imperfection its own adorable slice of vulnerability.
JULIANNE
Such as.
MICHAEL
She's too genuine.
JULIANNE
Hate that.
MICHAEL
How can you trust someone you can never mistrust?
JULIANNE
What's next?
Keep sipping . Never look at each other .
MICHAEL
No matter how many times I leave the toilet seat up, she forgets and puts it down.
JULIANNE
Endearingly absent - minded.
MICHAEL
My very point. Here's another one.
Shakes his head . This one really gets him .
MICHAEL
Every day. She makes the bed.
JULIANNE
Quite the little eccentric.
MICHAEL
At first, I thought it was a gag, but she's always done it!
This is not the ammunition Julianne was hoping for .
JULIANNE
Is there a coup de grace in here, somewh.
MICHAEL
She admires. Tommy Lasorda.
JULIANNE
Waiter! Check, please!
MICHAEL
She finds him `` personable.''
JULIANNE
Can that kind of defect be passed on genetically?
She looks over now . And Michael is looking back . Smiling the most wonderful smile . Her reaction shows that she thinks it 's for her , until .
MICHAEL
Then again. She has a few good traits.
Hating herself for asking , but seeing no way out .
JULIANNE
Gim me like, eight and nine off the top ten list.
MICHAEL
First girl I ever knew. Who lets me give her a bath.
The look in his eyes . She can hardly bear it .
MICHAEL
And when I hug her, even in public. I do n't have to let go right away. She lets me hold her as long as I want.
He seems so deeply in love .
MICHAEL
Nice kid, do n't you think?
A beat . A slow nod . A quiet .
JULIANNE
Looks like, from here.
INT. SOUTH SIDE CLUB - NIGHT
A slender black woman sings a SOARING Gospel number , backed by three ladies who could each solo in any church choir . It is mesmerizing , stirring , transcendent . The unseen audience CLAPPING FIERCELY in rhythm , SHOUTING support . SLOW PAN now . every face is black . We are n't in church at all , but a venerable blue club . One of those places you 'd swear everybody 's played , from Robert Johnson to Bessie Smith and back again . As the song ends , there is APPLAUSE , some RAPPING on tables with their knuckles or their drunks . We keep PANNING to a far corner . Three faces . Julianne leans across her beer to Kimmy .
JULIANNE
How'd you find this pl.
Kim shaking her head . Looks admiringly to Michael .
KIMMY
Lived here my whole life, never heard of it. Until our first date.
She reaches slender fingers . Traces one back along his hair .
KIMMY
He finds all these spots, everywhere he goes, it's a mystical gift.
MICHAEL
( shy . )
Jesus, one d - back from the Bears knows a place.
KIMMY
It's not just clubs. This guy always knows the best everything. The best guitar store, the best beef ribs, the best Horowitz record, was he always like the.
JULIANNE
always. The best dim sum, the best camping stuff.
KIMMY
Stop, we're embarrassing h.
JULIANNE
best valley in New Zealand, best. women's shoes.
MICHAEL
I tried those on. When you were n't looking.
Now he 's grinning at Julianne . And she likes that a lot .
JULIANNE
Where was that, Florence, huh?
MICHAEL
Firenze.
Together in the memory . As Kimmy watches .
JULIANNE
The Vespa? Me hanging on behind in the rain all night?
MICHAEL
Till the gas ran out.
And , the first sniff of left - out .
KIMMY
I love Florence.
Julianne 's eyes flicker . Could this be a teensy opening ? Keeps her eyes , her easy smile , and her killer instincts trained on Michael .
JULIANNE
Take her there.
He nods , okay .
JULIANNE
I mean, now. She's perky, she deserves a honeymoon.
He draws a breath .
JULIANNE
I heard. If San Antone sweeps Sacramento. What is this shit? You got ta get off the road by September anyway, when does Fall Quarter start?
And the happy couple look at each other . They are awkward . Julianne 's heart soar like eagle .
KIMMY
Uh. I'm not coming back. For senior year.
Could this be . The Mother Lode ?
JULIANNE
Do n't architects find a degree, sort of. an asset?
The couple still staring in each other 's eyes .
KIMMY
Well, the school will be here. Architecture will still be around. Right now.
MICHAEL
I travel every week. College ball, motor sports, training camps.
KIMMY
The most important thing. Is being together.
And she smiles . Beautifully .
KIMMY
I'm just a baby. I've got all. the time. in the world.
EXT. CLUB - NIGHT
Michael putting Kim in the back of a cab . As Julianne watches .
MICHAEL
Because I could come.
KIMMY
To the twins' soiree? So they can paw you and drool?
JULIANNE
( calls out , helpful . )
They're gon na drool anyway!
Kim smiles . He kisses her , tenderly , through the open window . She waves past him at Julianne .
KIMMY
( to both . )
Enjoy each other.
And drives off . As he watches after , Julianne comes up behind him . Slips her hand up onto his shoulder muscle . Starts giving a little massage .
JULIANNE
Should I whistle down a cab?
MICHAEL
Hey, cabs are expensive. I'm cheap, remember?
Turns his head , to see her . She 's still rubbing his shoulder .
JULIANNE
Sometimes. About the dumbest things.
Share a smile . As always , it covers a lot of years .
MICHAEL
The El's right down the street. Unless you're afraid of the neighborhood.
She looks around . It is an issue . But she remembers .
JULIANNE
No. I'm always safe with you.
She means that . He takes her by the hand . They begin walking .
JULIANNE
Pretty amazing girl, you've got. Make that kind of sacrifice.
MICHAEL
What, leaving school.
JULIANNE
all of it. She's leaving her family, her friends, everything she knows. She's putting her career on hold, and she seems a pretty ambitious, driven, kind of pers.
MICHAEL
( quietly . )
In her way.
JULIANNE
All to follow you in this dumb job, where you travel 52 weeks a year to College Station, Texas, and such. It's not a job for a grown man, Michael, Peter Pan never married.
He 's let go of her hand now . Looking down at the pavement before him , fists in his jacket pockets .
JULIANNE
( softly . )
I do n't think she's naturally the. submissive type. Are n't you afraid she's gon na choke on this stand - by - your - man shit after awhi.
MICHAEL
( real quiet . )
No.
Hit a nerve . This is promising .
JULIANNE
I mean Walter owns the Sox, cable sports. most girls in her spot would be angling to get Daddy to offer you some juicy gig right here in t.
MICHAEL
She would never. Never. Even think of that.
Paydirt . Julianne 's Geiger Counter is going berserk .
JULIANNE
I guess you're right. That would be deceitful. manipulative. controlling. emascula.
MICHAEL
I got the point.
He looks over at her . No smile on his face . An edge we have n't seen . She shrugs .
JULIANNE
Still. All's fair in love and w.
MICHAEL
That would be a girl. I do n't even know.
They 've reached the stairs to the El . A rickety train RATTLES above them . As they start up , she slips her arm around his waist .
JULIANNE
( murmurs . )
Forgive me, okay? I was talkin' crazy.
He slides his arm around her shoulder . Pals . They climb out of frame .
INT. HOTEL BATHROOM - LATE NIGHT
CLOSE on a shallow pool of water in a bathroom sink . Green powder pouring in , a hand SWIRLING it around , until .
JULIANNE
( O.S . )
It's Albanian, I think. Or Mongolian. Or Canadian. One of those. I bought it downstairs.
it becomes truly disgusting lumpy green mud .
JULIANNE
( O.S . )
I figure, what the hell. Can it make me look worse?
Follow the hand up as it SLATHERS the shit across her face in great green dripping gobs . She 's juggling the wall phone , trying to keep it mudless , as she assures Digger .
JULIANNE
Dig, of course. Of course, of course, of course, of course I have a plan. Certainment!
More green slime . The Julianne we know disappears .
JULIANNE
How? I ask myself, what would Lucy Ricardo do in this situa.
Desecrates three hotel towels , wiping her hand .
JULIANNE
Well, one worked, once.
THROWS them in the bathtub . Fastidiousness a short suit .
JULIANNE
Ricky would n't let her in the show.
Reaches for her toothbrush , absently . All her attention is on the conversation and the hideous green face in the mirror .
JULIANNE
I recall it differently, but we digress.
Without looking , picks up a tube of hotel shampoo .
JULIANNE
So in the version, you're Ethel, with better fashion instincts.
Squeezes it all over the toothbrush .
JULIANNE
This puts you in charge of Plan B, the unprincipled and insanely dangerous back - up plan.
Lifts it toward her mouth , liquid shampoo dripping from the bristles .
JULIANNE
In case simple lying does n't work.
At the last second . She stops . We do n't know why , because she 's still never looked at the brush .
JULIANNE
Question. What happens if you brush your teeth with shampoo?
Turns on the tap . Tries to scrub the toothbrush clean , and DROPS the phone into the green swamp , which SPATTERS all over her front . Euucch . She 's stymied , agitated , circling the sink , leaning down to it .
JULIANNE
HOLD ON. I'M COMING IN FOR YOU!
She sets the toothbrush down in her toiletries kit . Decides to YANK on the phone 's cord , and the receiver SPRINGS out , BOPPING her in the face . She 's so filthy at this point , she just wipes it clean on her nightshirt . Tells Digger .
JULIANNE
You okay? This is one of those problem phones.
Lifts the toothbrush and tube of paste from her kit .
JULIANNE
Right. Your role. You know guys from Sports Illustrated, yes? I mean, you can walk right in there.
Squeezes on the paste , lifts the brush to her mouth .
JULIANNE
You could get access to letterhead, for example.
JAMS it in her mouth , brushing as .
JULIANNE
( mouthful . )
or even, maybe, their fax.
Stops . The funniest look on her face . Down to the toothpaste tube . Which says BEN GAY . Oh .
INT. TIFFANY'S - MORNING
Julianne and Kimmy cruise the stately display cases . Everywhere , the Tiffany logo , the silent , watchful staff in morning coats . As they browse , Julianne takes a blueberry Danish from a paper sack , and begins to eat . The staff notices . So does Kim .
JULIANNE
It's an homage thing.
Hmm ?
JULIANNE
Awkward girls grow up on Audrey Hepburn movies. You would n't understand.
Kimmy does n't . But wipes a blue glob from Julianne 's face .
KIMMY
Anyway, I think you're wrong.
Wrong ?
KIMMY
What you were saying before.
Before ?
KIMMY
About Michael's job.
JULIANNE
Oh, that. I forgot I even said th.
KIMMY
I just think you're wrong, is all.
JULIANNE
Probably am. Forget I brought it up.
Points to some jade pins . Kimmy wrinkles her nose .
KIMMY
I mean, he loves his job.
JULIANNE
Bad games, bad towns, bad pay, bad flights, bad hotels, real bad food. Homeless, rootless, lonely, maybe your copy gets into one issue out of four.
Smiles .
JULIANNE
What's not to love?
None of this is lost on Kimmy . She 's wondered the same .
KIMMY
But he always says.
JULIANNE
whatever is manly and independent.
Kim nods slowly . Way ahead of her .
JULIANNE
Why would he trade that for running, say, a big piece of the PR at a powerful, complex, challenging conglomerate like your dad's?
Kim stares back . A strange look .
KIMMY
That's just the sort of thing my father and I discussed.
Julianne just blinks . Amazed .
JULIANNE
I'm not stupid. Say, how about this?
Pointing to tiny golden scissors in the novelty case . Kim so absorbed by the main topic , she has to force herself to focus on .
KIMMY
For the twins? What in the world is th.
JULIANNE
Gold nose hair clippers.
Points to the tiny hand - lettered sign . Indeed . Kimmy shrugs , not quite it .
KIMMY
So you do n't think Michael's as happy with his job as.
Julianne points to a matched pair of large .
KIMMY
Gold dog collars? They do n't have dogs.
JULIANNE
Hello.
Kim nods , oh . But ca n't keep her mind off .
KIMMY
You think he'd accept?
Hmm ?
KIMMY
Michael. A job like that.
Oh , well .
JULIANNE
By any yardstick that involves sanity, it would be the greatest thing that ever happened to him. Present company excepted.
Kimmy nodding slowly . Her yearing achingly apparent .
JULIANNE
On the other hand, he's proud. Last thing a man wants to admit, is being trapped in a dispiriting dead - end job that can never support a family.
A very sweet smile .
JULIANNE
Throw a man a life preserver. He'll say, `` Thanks, anyway, I'd rather drown.''
Kim nods again . Right . They are so bonded at this moment .
KIMMY
So. one almost has to.
JULIANNE
Exactly.
KIMMY
Exactly what?
JULIANNE
What you said. Make it appear that he's doing you the favor.
Kimmy bites her lip . Her eyes go down . Self - conscious to admit .
JULIANNE
I could n't really. do that. After, you know.
Her voice trails off .
JULIANNE
( kind , but wise . )
lying. All the time.
That brings the gray eyes up . Julianne bats her dark ones .
JULIANNE
Oh, darling, my pitiful desires and ambitions are dirt beneath the manly boots of your priorities!
Kimmy has to smile small . A self - awe gal .
JULIANNE
( pouring it on . )
Two hundred seedy motels a year? Dinners out of vending machines? Waiting for you in vermin - infested corridors of dark crotch - rot locker rooms? This stuff makes me hot!
KIMMY
The very words I've used.
Julianne ` thinks it over . ' Kimmy waits for guidance .
JULIANNE
We make Dad your co - conspirator. Michael does a favor for Walter.
Simple .
JULIANNE
Walter's reorganizing his public relations, needs a brilliant guy who's close to him, who he can completely trust.
Kimmy nodding . Hope overriding reason .
JULIANNE
So you beg. Michael, please do this for Daddy, please, please, please, blah, blah, blah. it's only for six months. it would mean so much to me to help him out.
Turns up her palms . Viola !
KIMMY
He'll see right through it.
JULIANNE
Only. If he wants to.
They share a smile .
JULIANNE
In six months, he'll be happy, settled, successful.
KIMMY
He wo n't get mad, huh?
MR. MOONEY
( O.S . )
May I be of any help, whatsoever?
Mr. Mooney is the most gracious Brit salesperson ever to offer kindness , intelligence and thoughtfulness to a customer . He is large , sixty , with disappearing hair , watering eyes , and a manner that makes you think of immediately hiring a butler .
JULIANNE
Bridesmaid gifts for two, well, assertive, outspoken, Tennessee debutantes.
KIMMY
( still focused . )
He wo n't be mad?
JULIANNE
( to Mooney . )
Nothing here seems to quite capture their distinctive personalities.
MR. MOONEY
Something customized, perhaps? We can fashion most any item from gold.
Ah . Julianne nodding . Reflecting .
MR. MOONEY
An object that might represent what is closest. To their heart.
KIMMY
( under her breath . )
Do n't even think dildo.
Julianne digs through her jumbled bag .
JULIANNE
Could you do this.
Tossing an object on the counter .
JULIANNE
In 24 carat?
It is a MASTERCARD . A gold one .
KIMMY
( softly . )
Bingo.
They smile at each other . More bonded than ever .
KIMMY
You do n't think he'll be mad.
A beat . Can Julianne even make herself do this ?
JULIANNE
Your call. You can live a lie. In a fabulous selection of Red Roof Inns. Or you can make one desperate stab at hap.
KIMMY
I just do n't want to freak him out.
What do you think ? Julianne stares into the soft gray eyes . It 's now or never . The smile of a dear sister .
JULIANNE
How mad could he get?
INT. FASHION RESTAURANT - LUNCH HOUR
Julianne enters with a really nervous Kimberly in tow . Approaches the maitre d' . We CLOSE to hear .
MAITRE D'
Oh, Mr. Wallace and his guests have retired to the humidor.
Points to an escalator , leading to the mezzanine . Behind a glass wall , what looks like a British men 's club . Thirty guys and a billion cigars . As Julianne starts toward it .
MAITRE D'
Oh. Mademoiselle.
She turns back . Loves this shit .
MAITRE D'
It's unofficial, of course. But, traditionally, the humidor is for gentlemen, only.
JULIANNE
Great. I've got this girlfriend at the Justice Department? With all this time on her hands?
Her look is every bit as hard as his . He gestures to the escalator . She takes Kimmy 's hand , and up they go . We can see Walter in a big leather chair , enjoying a major stogie . Kimmy licks her lips . They enter . Every head turns . A nice range of reactions , from offended to attracted and points in between .
JULIANNE
( murmurs . )
Piece of cake. I'll hang, and think happy thoughts.
Kimmy nods . Heads over toward her father . Julianne walks , confidently , even provocatively , to the wall lined with bins of cigars . Every eye in the place is on her butt . She runs her fingers over a few contenders . Plucks one out , examines it , puts it back . Walks a little farther . Selects another , big and black . Rolls it expertly in her fingers . Sniffs along its length . A guy comes over . Could be 40 , successful , a broker 's pin - stripe . Nearly as attractive as he thinks he is .
GUY
Know what you're looking for, little lady?
Little lady , huh ? She glances at his coven of buddies , who pretend not to notice . Then , straight to the guy 's blue eyes .
JULIANNE
Yeah. Do you?
GUY
I asked first.
Ah . Wit . She holds up her cigar .
JULIANNE
I like'em long and hard. Kind of. big around.
Runs it under her nose .
JULIANNE
Smell is important, I'm a believer in that.
Takes a match from a cut crystal bowl .
JULIANNE
But you never know what you've got. Till you run your tongue over it.
And she does . Moistening the full length of the cigar . The boys are laughing openly . She STRIKES the match . As she lights up .
GUY
I meant. What you're looking for in a man.
She glances at his wedding ring . Then , straight into his eyes .
JULIANNE
Actually, I'm partial to married gentlemen.
The way she says that . The guy swallows . We can see some of the air has been sucked from the room .
GUY
Why is that?
JULIANNE
It's so much time. When I phone the wives.
Explosive LAUGHTER from the peanut gallery . As she jams the big Clemente Churchill into her mouth , she sees Kimmy waving her over from across the room . Without even looking at the guy she 's just put away . she crosses the room , Walter stands politely , looking very dapper , very powerful , and focusing on her with considerable interest . He waits until she sits on the edge of a costly leather hassock .
WALTER
( simply . )
Your idea?
She ca n't read this guy . Maybe that 's how he built an empire . She nods , yeah .
WALTER
You're a woman of insight.
He sits on the arm of his chair . Close enough to speak quietly .
WALTER
My wife and I love this marriage, and deplore its circumstances.
He puffs his cigar . Julianne puffs her . Kimmy looks on , a kid watching the grown - ups .
WALTER
As you guessed, my daughter is unhappy about giving up her life. And, in my opinion, cowardly in avoiding the necessary confrontation.
Then he stops . As if reading Julianne 's eyes .
WALTER
Mike has a world of ability. I'd do anything to have him in my company.
One more puff .
WALTER
Except ask him.
Julianne is a little stunned . Kimmy looks helpless .
WALTER
He'd resent it. And me. And, most important, Kim.
No smile on his lips . Straight talk .
WALTER
He's a great kid, but he's still a kid. Instead of recognizing that his resistance comes from insecurity, he'd turn it to anger. To protect himself.
Spreads his hands .
WALTER
from realizing that he's ignoring my daughter's needs, despite how very much he loves her.
He looks to his daughter now .
WALTER
They both have some growing up to do. But they're good people, they're starting with love. They've got time.
JULIANNE
( softly . )
I think you're making a mistake, sir.
His eyes come back to her . A little sharply .
WALTER
And that interests me. How someone who knows him so well could be so wrong.
A formidable guy . She meets his gaze .
JULIANNE
See, I love him, too, as much as anyone here. And for a whole lot longer.
From her heart .
JULIANNE
I think I know best what would make him happy.
INT. TOILET STALL - DAY
Julianne , fully dressed , sits on the closed lid of a toilet seat . The stall is tiny enough to arouse claustrophobia in an astronaut . Her cellular phone pressed to her ear , she is listening angrily , smoking ferociously , every call in her body running at red - line .
JULIANNE
Okay, okay, okay, okay, I hear you, all right?
She closes her eyes .
JULIANNE
It is stupid, dishonest, desperate beyond belief, and ca n't possibly ever work. It can only end in humiliation and disgrace. Now can I say two words?
Deep drag on the cigarette . For strength .
JULIANNE
Do it! Do it! Do it! Do it! Do it! Do it!
She 's striped her gears . COUGHS horribly .
JULIANNE
All right, twelve words.
INT. PUBLIC RESTROOM - DAY
Julianne exits the stall . To face three BLACK TEENAGE GIRLS . Just staring at her .
TEENAGER
( supportive . )
You do it, girl.
Julianne nods to the kids . They nod back . Damn straight . She exits the restroom , into . glaring sunlight . We are in the middle of the BROOKFIELD ZOO . And sitting on a bench , eating popcorn from a bag .
MICHAEL
Wow. What was going on in there?
She shudders .
JULIANNE
Some crazy person.
EXT. ZOO - DAY
Michael and Julianne walking together . He 's eating his popcorn . She carries a cardboard container with nachos , a gooey fudge waffle cone , and a large drink .
MICHAEL
You're not eating.
JULIANNE
I never eat when I'm serene.
MICHAEL
You never eat when you're despondent.
JULIANNE
I switched that around when you were n't looking.
She swirls a single nacho chip in cheese . But her heart is n't in it .
MICHAEL
Last zoo we were in was. Beijing, yeah? Sure. The rhinos were fucking.
JULIANNE
Boy, those were the days.
And when she looks over . His eyes are waiting .
MICHAEL
( softly . )
Yeah, they were.
They 're passing the hippo pen . But they do n't notice .
JULIANNE
That was nice. The way you said that.
So was that . He 's feeling restless , something . Does n't know quite what to say .
MICHAEL
It's weird being the groom. All these things Kimmy has to take care of.
JULIANNE
You need a baby - sitter. That's what I'm here for.
He holds her eyes . Then looks down . Awkward . And the way he 's doing it begins to excite her .
JULIANNE
Say it.
He looks up , neither one of them noticing that as they walk , she is about to . CRASH into a chest - high metal stand that displays animal facts . We have followed him as she is WIPED from frame . His face from shock . to amusement .
MICHAEL
Now, there's my girl.
to tenderness . PAN back to see her wearing everything from her cardboard container . Nachos , fudge sauce , Diet Coke , the works . It is really awful . Kids , bystanders , laughing cruelly . Her eyes fill with tears , and she tries bravely to smile against it .
JULIANNE
See, I can only do it with beer.
He takes out his handkerchief . And with that and his hands , gently scoops the worst of the mess off her . The fact that he 's touching her breasts and her body is something they pretend not to notice . She laughs softly , and a few tears fall , even though she does n't know why . Such an odd , raw , confusing moment . To the world looking on , they are lovers .
MICHAEL
( murmurs . )
See, better already.
And he kisses her face . Not quite her lips . But only an inch away . We can feel her heart pounding . He strips off his shirt , only a tank top underneath .
MICHAEL
We'll go back to the bathroom, you'll put this on.
Okay ? She sniffles , okay . Swallows .
JULIANNE
Bet you're glad I'm here to take care of you.
He puts his arm around her .
MICHAEL
Bet I am.
Holds her close , as they start toward the restroom .
MICHAEL
Hope that crazy person's not still there.
We 're on their backs .
JULIANNE
( O.S . )
She does n't scare me.
EXT. BEACH CLUB, LAKE MICHIGAN - SUNSET
Julianne in T - shirt and shorts , rushes onto the deck of a sprawling beach club . Clutching her bag , she quickly surveys the scene . the entire beach has been taken over by the wedding party . Young folks , old folks , little kids , maybe 200 people . We SCAN with her to find a crowd around . a three - on - three volleyball game . Kimmy and two groomsmen on one side , facing Michael and the Tennessee debs . The twins wear spectacular bikinis and are surprisingly athletic , as well as predictably uninhabited . As the next point begins , Kimmy serves . Sammy in back makes a nice dig , lobbing to Mandy who sets for Michael 's vicious SPIKE straight THROUGH his best man 's hapless defense . The crowd cheers Michael , and as he turns , Mandy gives him a savage . CHEST BUMP of congratulation , that any NFL linebacker would be proud of . It puts the surprised Michael straight on his butt . Laughter , applause . The twins pull him up and Sammy gives him a hot kiss on his ear that makes the crowd react . Kim plays good sport . Julianne watches Michael 's body for a beat , then . dashes off . Down the beach , several barbecue grills have been set up . Manned by beach club staff and family alike . Michael 's pop , Joe , is dispensing beers from a keg . Kim 's mom , Isabelle , is coordinating the beans , potato salad and corn - on - the - cob table . Julianne races across the sand to . a huge smoky grill where Walter is basting baby back ribs , clearly enjoying himself . Julianne runs up to him , says something into his ear . He looks at her . Then turns his station over to a club steward , and follows Julianne down toward the lakeside . CLOSE now . As they stroll together , she 's a little breathless . He 's watching her profile , curious , silent . At the water 's edge .
JULIANNE
( whispers . )
Is anybody watching?
WALTER
I hope so. This is all too mysterious to waste on just me.
She reaches into her big bag . Pulls out a single folded sheet of paper .
JULIANNE
I picked up Michael's messages for him, at our hotel. I stole one.
His face darkens . The easy smile fades . He holds up his palms .
WALTER
Julianne, reading my son - in - law's mail, is not something.
JULIANNE
Sir, this is important! Have n't you ever in your life cut one corner, to make something important turn out right?
His smile returns . Just a little .
WALTER
Matter of fact, that's how I got married.
The look holds . She thrusts the paper out . He still does n't take it .
JULIANNE
It's a fax from Sports Illustrated from Ben Isaacson, Michael's boss.
WALTER
( quickly . )
I know Ben.
She opens the paper .
JULIANNE
`` Mike. We still have no answer to our E - mail of Wednesday. Which option do you select? I do n't mean to rush you, but Personnel needs to tie up the loose ends.''
He takes the paper . We see it now . Looks authentic .
JULIANNE
I think he's been fired.
WALTER
It does n't say th.
JULIANNE
He's said some things over the past few weeks. Look, this is why I came up with the idea of you offering him a job.
He looks up . He 's listening . Closely .
JULIANNE
And why I could n't say anything before in front of Kim.
She bites her lip . Seems so earnest .
JULIANNE
I just think of how. desperate he must be feeling. He's marrying a rich man's daughter, and he's about to become destitute. You know the kind of job market he'll be facing?
He does .
WALTER
And you think he's kept this to himself.
JULIANNE
He's too proud to beg for help. And if you wait till this comes out, your offer will be like charity. Completely humiliating.
He 's staring at her . But his mind is working behind his eyes .
JULIANNE
If you do it now, it's like he's helping you. He can accept with dignity.
He taps the paper with the back of his knuckles .
WALTER
This fax could mean. any number of things.
She nods . She knows that .
WALTER
( softly . )
Maybe. I should call Ben.
JULIANNE
Then it could all come out, sooner or later. Nobody should be in on this. Just you and me. Or, more correctly, I.
She takes the paper back .
JULIANNE
What if, what if I could find that E - mail?
The long straight look . Maybe he 's hooked .
JULIANNE
I never noticed. Kimmy has your eyes.
INT. LOBBY, RITZ CARLTON HOTEL - TWILIGHT
Tall , gangly , young DESK CLERK . Lank hair , pimples . He looks up , beams to see .
JULIANNE
Hello, again.
She 's flirting her ass off .
JULIANNE
You still have n't straightened that tie.
And she reaches across the desk with her lovely , slender hands . Does it for him . Her fingers brush his chest on the way back . We can assume a woody .
JULIANNE
You know, my friend, the one whose message I picked up?
He does . His eyes flick toward his stately female SUPERVISOR , helping another guest across the way .
JULIANNE
Well, he's still with the wedding party. And he asked me to get something he needs real badly from his room?
The boy swallows hard .
JULIANNE
He's in 1526. If you could just let me ha.
BOY
See that woman?
Not only does Julianne see her . The woman is looking back , while she 's talking to her customer . Not a pleasant look .
BOY
She said, if I ever pull a stunt like that again.
JULIANNE
You'll lose your job.
BOY
tear my pecker off. Is what she said.
INT. HOTEL CORRIDOR - TWILIGHT
An elevator OPENS , revealing Julianne , carrying a gym bag . She looks down the long hallway , sees a maid 's cart . Heads the other way , briskly , to . a small ALCOVE . Opens the gym bag , pulling out a bath towel . Begins to yank her top up OVER her head . ANGLE . the young MAID now pushing her cart down the hall , wheels SQUEAKING , and from nowhere . Julianne DARTS into her path , barely covered by the towel held tight across her , she is grinning , blushing .
JULIANNE
Help me!
The maid can only blink .
JULIANNE
I locked myself out, 1526, please hurry!
And looks frantically up the hall , mortified that any moment a stranger could happen upon her predicament . Her eyes dart back to the maid . PLEASE . The maid just stares . Stares .
JULIANNE
Uno - cinco - does - ses.
Oh .
INT. MICHAEL'S ROOM - TWILIGHT
Julianne alone in his room , looking around frantically . No worries about this guy making his bed every day , stuff , clothes , strewn everywhere , the bathroom looks like a cherry bomb just detonated . She 's tramping through a bachelor 's debris , wearing only her towel , looking , looking . There it is . The corner of his LAPTOP sticking out from beneath a discarded bedspread . She SNATCHES it up , OPENS it , sets it on the cluttered desk , and . stops . There are wallet - sized SNAPSHOTS of Kimmy . Some alone . Some as a little girl . Some with Michael . And next to them . the plastic fold - out wallet inset . That he has not yet quite rearranged . So she picks it up . Leafs through , until she finds what she was praying would be there . Julianne grinning . Michael 's arm around her . On the deck of a boat . They have drinks in their hands . Happiness in their eyes . And she stares at it . Jesus , God , how long has he carried this around ? She flips through further , all the rest have her in them . Maybe half a dozen . Her heart is throbbing . Her eyes are damp . Back to the one on the boat . She slips it from the plastic window . Holds it . Then , gently . puts it back where it belongs . PUNCHES up the goddamn laptop . This is it , girl ! Do or die .
JULIANNE
( murmurs . )
You would n't change your password, would you? You never change anything.
Those words make her bite her lip . Damn , I 'm becoming a senti - mental slob . TYPES in .
JULIANNE
( murmurs . )
Shoeless. Joe.
Yes ! We 're in ! Punching keys . Letters flying across the screen . Okay , we 're ready . Types .
JULIANNE
( reads as she types . )
Mike. I hate this downsizing shit as much as you do. But I know this ca n't become as a complete surprise.
INT. BEACH CLUB CARD ROOM - EVENING
Through the window , the wedding party barbecue has extended into night . Lanterns , music , lots more food , lots more drinks . In the distance , on the sand , Michael is slowdancing with Kimmy . Some - where nearby , the soft CLICKING of keys . We PULL BACK to see . a small clubby room . Books , leather , polished woods . Only two people here . Walter , looking on stony - faced , as a determined Julianne grimly `` struggles '' to `` find '' what she 's looking for in Michael 's laptop . And then . she stops typing . Looks at the text on the screen . Her eyes sharpen as she `` reads '' what Walter ca n't see . It 's an Oscar performance for our desperate girl . She turns the screen around .
WALTER
( reads . )
Mike. I hate this downsizing.
He reads . Reads . Reads . All the air comes out of him .
WALTER
( softly . )
And Kimmy does n't know.
She shakes her head . Nope . No way .
WALTER
( signs . )
I'll tell her I've reconsidered.
She nods , gravely . Right . He looks in her eyes .
WALTER
You're a smart girl, Jules.
She forces up a fleeting smile of gratitude . But Walter is n't smiling at all .
WALTER
Wish my daughter. Bad your guts.
INT. CHARLES TROTTER'S BAR - NIGHT
The hot saloon in Chinatown . Upscale , downscale , jammed , Michael and Kimmy at a small table in a far corner . CLOSE on them .
MICHAEL
Sure you're okay?
She looks really scared . Turns her drink in her hand . Looking down at it .
MICHAEL
It's not just a gag, huh?
KIMMY
No, it's, uh. a real big favor.
He takes her hand , tenderly .
MICHAEL
I wish you'd just. come out with it. I mean why are we waiting for Jules?
She smiles up at him . The best she can .
KIMMY
Moral support.
She loves him so much , and she is sick with worry .
KIMMY
What's good of having a big sister, if she.
Stops . Gestures with her eyes . Because her big sister has just entered . looking fabulous . Julianne wears a long sleek sarong , slightly see - through . Her hair is bound up with silver pins . As she moves through the room toward us , we can see that , for once , her make - up is flawless , understated . When she arrives at the table . Michael is beaming , admiringly . He stands up .
MICHAEL
( softly . )
Wow and wow. You have a date, after this?
JULIANNE
Never can tell.
He holds her chair . She exchanges an intimate smile with the anxious Kim .
MICHAEL
You make me think of that song, we used to.
And he starts humming . The song is , `` The Way You Look Tonight . ''
MICHAEL
( singing . )
Someday. When I'm awfully low.
They sit . He looks from Julianne to his bride .
MICHAEL
Okay, kid. You're on.
Kim 's eyes flick to Julianne , who nods , supportively . The kid takes a breath .
KIMMY
It's really my father. Who needs the favor.
His face sort of comes to a stop . Nothing she can read , yet . He nods , yeah ?
KIMMY
He's. he's reorganizing some of the divisions of the company.
His eyes flick to Julianne . She looks down .
MICHAEL
( quiet . )
He never mentioned that. Neither did y.
KIMMY
( blurting . )
. and public relations is a big problem area for him.
She can see it now . In his eyes . She just ca n't tell how bad .
KIMMY
He needs someone incredible, someone really close, who he can trust.
MICHAEL
Like family, huh?
So quiet . So cold . She is terrified .
KIMMY
It would only be, maybe, six months? Or three or four? It would mean so much to him.
MICHAEL
To him.
She swallows . Straightens her spine .
KIMMY
And to m.
MICHAEL
( sharp , to Julianne . )
. and you knew about this.
Real quiet . Against the noise of this place .
JULIANNE
I think you ought to listen to her, Michael. This is her life, too.
Just the thing . To bring that anger near the surface . He turns to Kim .
MICHAEL
Well, which is it?
A demand . Sharp . Accusing . She does n't like that .
MICHAEL
You gon na tell me Daddy thought this one up? All of a sudden, I'm the only jerk alive who can help him deal with the press?
She 's trapped . Angry , scared . A deer in headlights .
MICHAEL
Why do n't you start being honest for one fucking sec.
JULIANNE
Michael!
KIMMY
( near tears . )
I am honest!
Silence .
KIMMY
All of a sudden, I'm supposed to drop out of school, forget my family, forget my career, forget all the plans I had for my life.
MICHAEL
Well, forgive me for screwing up your plans!
He ca n't even believe he 's hearing this .
MICHAEL
I'm sure glad I'm hearing all this now, before it's too late!
KIMMY
What is that sup.
MICHAEL
And what am I supposed to do with my life, huh? I am 28 years old! I work in a low - paying, low - status, zero - respect job which, unfortunately, I happen to fucking love. How inconvenient.
Shrugs .
MICHAEL
No problem. A little bullshit about Daddy's `` needs,'' and presto, I'm a lap dog in high society.
JULIANNE
( softly . )
Michael, it sounds like a wonderful opportun.
MICHAEL
( whips around . )
Does it, really? How come you never took some sell - out establishment job? You had plenty of chances!
Glares in her eyes .
MICHAEL
I'll tell you why. Because that is n't you. And it is n't me, either! We're the same person!
Back to Kim .
MICHAEL
What a sweet little picture. Mommy and Daddy are n't losing a daughter, they're gaining a eunuch!
KIMMY
Well, if that's the way you f.
MICHAEL
Damn straight, it's how I feel! What's their wedding gift, a little gold collar that says `` Mikey - poo''? Or do I have to change my name to `` Binky''?
She 's crying now . Real tears on her face .
MICHAEL
Great! Tears! The big equalizer. You wait till two days before the wedding to drop this on me, and I'm just supposed to roll over and drool!
She is sobbing now . She ca n't help herself . Which makes him totally crazy . He jumps up .
MICHAEL
Fine. I'm an insensitive, chauvinist asshole, and you're well rid of m.
KIMMY
MICHAEL!
A wrenching cry from her heart . It stops him cold . And before Julianne 's astonished eyes , Kimmy reaches out a trembling hand .
KIMMY
Michael, you are so.
Choking back the sobs .
KIMMY
so right. And I am so very wrong.
Michael blinks . Julianne blinks . For different reasons .
KIMMY
We ca n't go down two roads. And still be together.
Her fingers stretch , beckoning .
JULIANNE
Uh, Kimmy?
KIMMY
( ignores her . )
We settled this. And I reneged. That was n't fair.
Please , please , take my hand .
KIMMY
You have to forgive me, and forget this ever happened.
People are watching , staring . These two see only each other .
KIMMY
or I'll die.
A frozen , forever moment . He steps to her . LIFTS her up in his arms . Into the deepest , most heartfelt KISS . And as she clings to him , people begins to APPLAUD , and whistle , and laugh . Julianne . In her pretty dress . Closes her eyes .
INT.JULIANNE'S HOTEL ROOM - NIGHT
Julianne in her nightshirt , her back to us , sobbing into her cellular as she paces the room .
JULIANNE
see that's what I never counted on! I never heard of a brilliant moron before!
We CLOSE as she WHIPS around , startling us with her grotesque day - glo PURPLE face mask . The green was better .
JULIANNE
I mean, the little twerp GROVELED!
Losing it . We know the drill .
JULIANNE
SHE IS SO WRONG FOR HIM!
Clutching the phone .
JULIANNE
Michael and I are the same person! Self - absorbed and imperfect and vaguely loveable! We deserve each other!
Tears are flowing . Which , over this mask , is not a pretty sight .
JULIANNE
I'm out of hope, I'm out of sneaky ideas, I'm at the end of my rapidly - fraying hysterical little rope! Help m.
She TRIPS over an open suitcase , and DISAPPEARS from frame . The THUD is slightly alarming .
JULIANNE
( O.S . )
God, I hate this hotel.
HOLD . On nothing is particular .
JULIANNE
( O.S . )
And I hate talking to your machine!
INT. JULIANNE'S ROOM - EARLY MORNING
REAR VIEW of Julianne asleep on the floor , sunlight streaming in . A soft knocking on a door , somewhere nearby . She barely stirs . The knock becomes a strong RAPPING , and she fights for conscious - ness . Her back still to us , she . rises , STUMBLES to the door , which is now pulsing with an insistent POUNDING , and THROWS it OPEN , as we SNAP to . REVERSE ANGLE . CLOSE on Julianne 's face , still encased in a now - decomposing PURPLE MASK , her eyes SPRINGING wide , she SCREAMS in shock , and we SNAP BACK to . ORIGINAL ANGLE . Digger , watching impassively at the high - strung SHRIEK . In the silence that follows .
DIGGER
You stole my line.
He touches his face , and she realizes !
JULIANNE
Oh, shit!
Starts CLAWING at the overripe mask , but he grabs her wrists .
DIGGER
Chill. We do n't want your face coming off with it.
JULIANNE
Chill? Since when do you say ch.
DIGGER
When I'm talking to children.
She looks in his eyes . Realizing at last .
JULIANNE
You flew all the way h.
DIGGER
I noticed. I'm on the noon back. We have this thing with George's family in the Hamptons.
JULIANNE
( soft . )
You're butting in.
He still holds her wrists . She brings one of his hands to her lips . Kisses his knuckles .
JULIANNE
( softer . )
I really resent this.
INT. BATHROOM - MORNING
Julianne seated at the sink , staring into the mirror , as Digger gently applies soup , cloth and water to easing away the mask . A paleontologist restoring a Bronze Age artifact . By the side of the half - filled sink , rests her plugged - in curling iron .
JULIANNE
What I mean, when I say annoyingly perfect, is that there is nothing annoying about her perfection. It is vulnerable and endearing. And that is annoying as shit.
DIGGER
You like her.
JULIANNE
If I did n't have to hate her, I'd adore her.
She looks up at him and WINCES , as the movement makes him scrape her face . He 's sorry .
JULIANNE
Last night, she was crying, these big, real tears, when she thought she'd lost him. It was like there was a knife in her heart.
Looking in his eyes . Needs him to hear .
JULIANNE
and I put it there. I hated myself, I grieved for her, I could n't enjoy one second of it! And then, when it did n't work.
Can you believe this ?
JULIANNE
I was devastated.
DIGGER
( softly . )
Go figure you.
JULIANNE
Because I realized. When I see him say `` I do,'' that knife will be in my heart. And it will be there every.
She holds his wrists now . To stop him . To plead for understanding . Forgiveness .
JULIANNE
every time I think of him, forever, which could be a lot.
She almost choked on that last part . So she composes herself .
JULIANNE
You watch a guy caress his girlfriend's butt. You see an Old Spice commercial. Sentimental moments are everywhere, when you're in the right frame of mind.
She swallows hard . Fights for a grip on her determination .
JULIANNE
There are 18,250 nights in the next 50 years.
DIGGER
You've been working on this, huh?
JULIANNE
and having `` done the right thing'' will only really be comforting, oh, maybe, five, six times.
She sets her jaw .
JULIANNE
This is my whole life's happiness. I have to be ruthless.
DIGGER
( quietly . )
And you believe that.
JULIANNE
( unconvincing . )
Sure.
His eyes are gentle and merciless at once . No way she gets off this hook .
JULIANNE
He was in love with me every day for nine years. I can make him happier than she can.
DIGGER
It's not his happiness you're feeling guilty about.
JULIANNE
( proudly . )
I do n't know the meaning of the word guilt!
DIGGER
Impressive.
JULIANNE
I am breaking her heart in the short run, but doing her a gigantic favor! She would be miserable tagging along after this insensitive doofus!
DIGGER
The man you love.
JULIANNE
Beyond reason. The feminist warrior will rise up in this kid, and she'll be standing over his sleeping form with a butcher knife, selecting from a short list of body parts!
DIGGER
Someday she'll thank you.
JULIANNE
Let's not get carried away.
And the defenses drain from her clay - ravaged features . The real Julianne is glimpsed .
JULIANNE
I'd settle for. Someday, I'll forgive myself.
For ?
JULIANNE
For doing this terrible thing.
Her eyes tear up .
JULIANNE
Which, by the way, I ca n't figure out how to do.
As the tears fall , he wipes at them , discovering .
DIGGER
Jesus. You're supposed to take your make - up off before you apply the m.
JULIANNE
I KNOW THAT! I WAS DISTRACTED BY GRIEF!
Oh .
JULIANNE
Guess what I brushed my teeth with last night?
He thinks about this . Following her eyes to the toiletries kit , he browses for a moment .
DIGGER
Zit cream?
JULIANNE
I wish.
DIGGER
Neosporin?
JULIANNE
Try less appropriate.
DIGGER
Ben Gay.
JULIANNE
That was Thursday.
He stops on that note .
DIGGER
Elmer's Glue?
JULIANNE
DO N'T BE RIDICULOUS, WE'RE HAVING A SERIOUS CONVERSATION!
She 's hysterical .
DIGGER
I give.
JULIANNE
I ca n't even say it.
Now . He 's curious .
JULIANNE
A hint. The first word is `` Preparation.'' Then comes a letter of the alphabet, perilously close to G.
She reaches to test her curling iron , BURNS her finger , SHIT ! KNOCKING the appliance into the half - filled sink . She LUNGES for it , and a terrified Digger GRASPS her arm .
DIGGER
Considering the circumstances, I'm not wholly against suicide.
Huh ?
DIGGER
Just not by electrocution in front of me!
Oh .
DIGGER
I've got this noon flight.
He reaches to pull the plug from the wall , and now she LUNGES to grab his arm , slipping , her face falling forward , stopping an inch above the sink .
JULIANNE
How do you know you can touch that plug? Are you a licensed contractor?
DIGGER
What do you suggest?
She looks from the plug down the cord , to the submerged curling iron . And back .
JULIANNE
Maybe they just seal off this room. They have others.
He 's staring at her . Sweet , but intense .
DIGGER
I did n't mean about that.
Oh . Again .
JULIANNE
If I hear the words `` tell the truth,'' or any paraphrase thereof, I dive into the sink and pull you with me.
Looking at her . Looking at her .
DIGGER
Let's go meet Michael. I'll wait downstairs.
INT. ARMANI - MORNING
Julianne has cleaned up pretty good . She sits with Digger on a fashion - fabric sofa . They are side - by - side , studying something with equal concentration . And slight concern .
DIGGER
I suppose it's too late to start over.
JULIANNE
It's too late to start over.
PULL BACK to reveal Michael in his wedding tux , submitting to a final fitting from a stylish fitter .
MICHAEL
You guys are heartless, my bride picked this out.
JULIANNE
Like I said, dazzling.
DIGGER
Is she going to dress you every day?
Michael smiles over . Digger smiles back . They live each other .
MICHAEL
Yeah, it's in the contract.
DIGGER
( softly . )
Well, then, I'll take it up with her.
Michael motions , okay , c'mon over . Digger rises , goes to Michael , the fitter steps back as Digger shows him .
DIGGER
The cut here, here. this line.
Fingers lightly traveling over the lapel , the side - stitching , the cloth straight down the spine .
DIGGER
trouser width, this is all classic. Which means safe, something I'd wear.
MICHAEL
I should look different.
DIGGER
You should look like you dressed yourself.
Yes ? Michael 's grin is back . Playful and friendly .
MICHAEL
And I'm supposed to respect your fashion tips, because you're what, a New Yorker?
DIGGER
( quiet smile . )
Something like that.
Julianne loves that the boy are getting on .
MICHAEL
( means this . )
Long trip. Pretty nice of you to come.
DIGGER
Well, I'm close to her. I wanted to meet the one that got away.
Said so naturally . That embarrasses Michael , who looks down , his smile suddenly awkward .
DIGGER
What?
MICHAEL
I'm just glad someone finally put this thing in its proper perspective.
Steals a glance at Julianne . She rolls her eyes . What a goofball , my outrageous friend .
MICHAEL
( to Digger . )
Stay, huh?
DIGGER
I honestly wish I could.
MICHAEL
I'll call George's parents. Tell them I need a best man who actually looks after me.
Julianne comes over .
JULIANNE
( softly . )
They'd say that's my job.
She runs her hands over his jacket , smoothing it everywhere . With tenderness that approaches transparency . Glances back at Digger .
JULIANNE
I'll take it home from here.
Pinches Michael 's ear . Looks in his eyes .
DIGGER
Two words.
JULIANNE
Major. Dish.
DIGGER
Manicure.
She looks down . Michael 's nails are unclipped , with layers of impacted dirt . She touches his fingertips , a little more softly than she may have intended .
DIGGER
Fly.
Everyone looks down . She ZIPS Michael up .
MICHAEL
( to Digger . )
You do n't miss much.
DIGGER
Part of being a New Yorker.
INT. HAIR SALON - MORNING
Cutting edge salon . Loud , PULSING MUSIC . Digger and Michael in adjacent chairs , heads back , each smoking impressive cigars as their hair is styled . Digger 's stylist is a hot trashy female . Michael 's is a tall , flamboyant male in a day - glo vest . Each man has one hand soaking , the other being worked on by a manicurist , so Julianne goes from one to the other , removing their cigars so they can exhale . A seraglio feel to the way she does this . Now she 's arguing with Michael 's stork - like stylist . We ca n't hear over the music , but she keeps tugging on Michael 's hair , pretty passionate about her point of view . Suddenly , she GRABS the scissors to do it herself , and Michael . BOLTS out of the chair . WHOA !
EXT. O'HARA AIRPORT - DAY
Skycaps , guests of impatient travelers , a bus offloading forty Japanese tourists . A taxi cuts off a van to reach the curb . Out jumps . Michael . Opening the door for Digger and Julianne . Digger says something , Michael gives him a strong HUG . Julianne raises one finger to Michael , back in a second . Leads Digger off by the hand . CLOSE on them now . Alone in the throng .
JULIANNE
Bye, handsome.
Digger just stares at her . Those maddening judgemental eyes .
JULIANNE
You're going to say it, are n't you?
DIGGER
Tell him you love him. With all your heart.
JULIANNE
I'm taking my next book to Viking.
DIGGER
Tell him you've loved him for nine years, but you were afraid to realize it.
JULIANNE
I'm moving this book to Viking.
DIGGER
Tell him you're afraid of love. Afraid of needing.
JULIANNE
Needing.
DIGGER
To belong to someone.
He touches her hair .
DIGGER
We all do, beautiful. I'm sorry about that.
Staring in her eyes . Even Julianne has run out of words .
DIGGER
Tell him you know this is the worst, dumbest, cruelest moment to do this to him. But there it is, and he has to choose.
JULIANNE
And what will he do?
Digger is n't smiling . His voice low , beneath the crowd .
DIGGER
He'll choose Kim. You'll stand by her at her wedding. You'll kiss him good - bye. And you'll go home.
He holds up one finger . Almost touching her nose .
DIGGER
This is what you've come to do. Now do it.
Wow . She looks frightened and moved , all at the same time . She kisses him on the lips . And walks away . He watches her go through the crowd . Take Michael 's hand . Lead him back toward the taxi .
EXT. SKYLINE CRUISE BOAT - DAY
The skyline of Chicago moves past us . Slowly . The NBC Tower , Cityfront Center .
MICHAEL
( O.S . )
Big weddings are so strange.
JULIANNE
( O.S . )
You keep saying that.
Up ahead , the Wrigley Building draws closer .
MICHAEL
( O.S . )
Kim has all this stuff to do, I hardly see her.
JULIANNE
( O.S . )
Well, you've got the rest of your lives.
REVERSE ANGLE . they lean on the rail of a cruise boat , easing down the Chicago River . Wind - blown . Close together .
JULIANNE
Getting your bed made. Every day.
They smile at each other . Seem so comfortable together .
JULIANNE
You miss her, huh?
MICHAEL
No. I've got you.
She nods . That you have . Staring in her eyes .
MICHAEL
Do n't you throw up on boat?
JULIANNE
If you like.
And she LURCHES over the railing , emitting a BARRAGE of incredibly disgusting sounds , her feet FLAILING in mid - air . He laughs , as he pulls her back down to the deck . Of course , it was all a joke . He brushes back her hair . Sighs . Stares .
MICHAEL
I've been thinking a lot the last couple days. About us, actually.
JULIANNE
( casual . )
Have you.
He has .
JULIANNE
Well. There's a lot of memories to choose from.
MICHAEL
It's more than that.
That tightens her throat pretty good . When she tries to speak , out comes a dry CROAK that makes him laugh again . Softer , this time .
MICHAEL
I mean, it's embarrassing to say it this way, but.
He stops . Her eyes WIDEN in a burlesque of anticipation . So he smiles . She knows how to put him at ease .
MICHAEL
You've sort of been. y' know, the woman in my life.
JULIANNE
( straight back . )
You've been the man in mine.
Passing under the Michigan Avenue Bridge . No one knows quite what to say .
MICHAEL
And I was thinking this could be our last time. Alone. Together. You know?
JULIANNE
Except for the hot affairs we'll have twice a year.
MICHAEL
Except for that.
She 's smiling so easily . Who would guess her stomach is double - knotted .
MICHAEL
I can hardly wait for your wedding.
JULIANNE
Me either.
She watches his surprise .
MICHAEL
Boy, I never thought I'd hear you say that. Can I come?
She holds herself together . Real soft with .
JULIANNE
I could n't have it without you.
He 's glad to hear that . And then .
MICHAEL
It's normal to have. second thoughts, huh? To be scared.
Is this a change of direction ? Or is it the direction she 's been praying for .
JULIANNE
I would n't know. I never had that many first thoughts.
MICHAEL
I mean, you commit to a wedding. And then it seems like. this. momentum, you know? You forget you. chose it.
She nods . Understands .
MICHAEL
You and I. I mean, in all our relationships with other people. We did n't use the word `` love'' a lot, did we?
We did n't .
MICHAEL
Kimmy says. When you love someone. You say it, you say it out loud. Right now. Or the moment.
Long beat .
MICHAEL
passes you by, yeah. She's a smart girl.
Off in distance , the Centennial Fountain SHOOTS an eight - foot JET of water across the river . For Michael and Julianne it goes unnoticed .
MICHAEL
We do n't have a song.
Hmm ?
MICHAEL
Kimmy and I. We do n't have a song. Is that a bad sign?
All Julianne can do is shrug . Then .
MICHAEL
( sings , softly . )
Someday, when I'm awfully low. And the world is cold.
She does n't want to cry . So she puts all the strength she has into fighting it back .
MICHAEL
( sings . )
I will feel a glow just Thinking of you. And the way you look. Tonight.
He stops . Smiles that sweet , boyish smile .
MICHAEL
Dance card filled?
JULIANNE
I'll check. I have it on powerbook, these days.
He holds up his arms . And she moves into them . He begins to dance with her , turning so slowly . And , yes , people are watching .
MICHAEL
( sings in her ear . )
With each word, your tenderness grows, Tearing my fears apart.
She holds him closer . Bites her lip .
MICHAEL
( sings . )
And that laugh That wrinkles your nose, Touches my foolish heart.
He stops . He looks at her . She 's still in his arms .
MICHAEL
Where did we first hear th.
JULIANNE
( straight back . )
The night we met.
Right to his eyes .
JULIANNE
The night we fell in love.
He does n't know what to do with that .
MICHAEL
So we heard it. like, right that. that first.
JULIANNE
We danced to it. Just like this.
Just like this . A long beat . And he has to say .
MICHAEL
I wo n't lose you, will I?
Her eyes close . Then open . Utterly lost in his .
JULIANNE
No. Because I wo n't let you.
INT. WALLACE ENTERPRISES - DAY
Julianne in crisp chalk - stripe trousers and a buttoned - up dress shirt . Her coat slung over her shoulder , she wanders through the Saturday - deserted office space . Desks , cubicles , monitors , silent . A row of executive offices standing empty , waiting for the custodian . Turning a corner , we hear . life , at the end of the hallway . A grand conference room with a glass wall . Walter , in shirtsleeves , running a strategy meeting for five . DEIDRE , his personal secretary , clicking every word into her laptop at warp speed . Walter sees Julianne through the glass . A comic take of pleased surprise . He comes out to greet her .
WALTER
I thought Michael was picking me up.
JULIANNE
I told him, get the important stuff, Kim's ring. I'll collect the inconsequentials.
Meaning , you . They smile at each other . Then .
WALTER
Kim said, when he turned down the job, there was no friction.
Julianne thinks back .
JULIANNE
Friction. No.
He smiles at her line reading . But his mind is always probing .
WALTER
I have n't caused. a problem, have I?
JULIANNE
Nobody has. So far.
Her bright grin . His eyes linger on it .
WALTER
Well, you're a little early.
JULIANNE
I need to make some calls. Could I use. your office?
INT. WALTER'S OFFICE - DAY
Julianne enters the spacious corner office , high above the city . Closes the door , quietly , behind her . So anxious , she is practically hyperventilating . She goes , slowly to the vacant cherrywood desk . Its computer and monitor standing silent . She is stalking it , like a deadly animal . And then . She is there . Talking to herself , her own desperate support network .
JULIANNE
( softly . )
You can do this.
Sacred , filled with doubt and conflict . Her hands clutch at each other . Then , one flicks out . And the computer goes ON . The screen GLOWS . Waits for her . Her mouth is sand , her stomach water . She pulls the paper from her pocket . looks at it . Looks to the monitor . And begins . To type .
JULIANNE
( mumbling to herself . )
E - mail address. To Ben Isaacson, Senior Editor, Sports Illustrated, from. Walter Wallace.
And stops . Her heart is thumping .
JULIANNE
See, you can do it. It's easy.
Does n't look easy . Licks her lips .
JULIANNE
You do it fast, it's over. Like it never happened.
She sits . And recites as she types .
JULIANNE
Ben. I need a favor.
Here we go . This is it . Types .
JULIANNE
My daughter's every happiness. And my wife's. And, least of all, my own, are in your hands.
Nods , okay . Breathing hard . Types .
JULIANNE
Knowing you value our friendship, and the. cooperative relationship between our companies. I am hopeful of your help.
Touch , that . Thinks . It has to be . Types .
JULIANNE
I have offered Mike O'Neal, my new son - in - law, a great opportunity in my company. This would also enable my daughter to settle in Chicago, near us, and pursue her dreams and plans.
Almost there . Almost . Types .
JULIANNE
To his own detriment, as well as ours, Michael will not accept our offer. While he works for you.
She stands up . Stares at the screen . Walks away . Walks back . Still standing , types .
JULIANNE
My daughter joins me in this plea for your cooperation and discretion.
Is there a SOUND ? Outside the door . She HOVERS over the ESCAPE key . Waits . Waits . Silence . Types .
JULIANNE
With gratitude. For your understanding. Walter.
She hits a KEY . The screen goes BLANK . The computer asks . DO YOU WISH TO SEND ? She tells the computer .
JULIANNE
Are you crazy? Get him fired?
Types NO . The computer asks HOLD FOR LATER ? And she types YES .
JULIANNE
Just till tonight when I bring him back. To look for.
She glances to her huge bag . Rummages through , pulling out a manila folder . Lays it by the blank computer . Fans out a few pages in a natural , disorderly way . Takes a step back . And stares . Struck to her gut . But when she has done .
INT. CONFERENCE ROOM - DAY
Walter alone with Deidre now , signing a stack of documents , as she efficiently places one after another before him . When he glances up , he sees Julianne wandering the halls . Stands , tells his secretary .
WALTER
( going through stack . )
Off to rehearsal. Send out this, and this, not this, this, and. that's it.
Slips on his coat . Oh . and by the way .
WALTER
I'm holding four or five E - mails I wrote over lunch.
On his way through the door .
WALTER
Send'em out.
INT. CHAPEL, UNIVERSITY OF CHICAGO - DAY
Julianne and Walter enter the rear of a striking Gothic CHAPEL , pastel light slanting in through stained glass windows . We now see the full effect of her outfit , a man 's - style chalk stripe SUIT , tailored to fit her body , set off by a bold silk tie . Solid dynamite . She hangs back , while Walter proceeds down the vaulted nave toward . Michael , Kimmy , Isabelle and Joe , who stand casually joking by the altar . Scattered around are assorted groomsmen , ushers , an obvious flowergirl . Coming toward us , up the aisle . the MINISTER , early 40s , lean and quite attractive . Mandy is HANGING on his arm , pressing her body against him as they walk , murmuring urgent murmurs close to his ear . He 's a really good sport , and really uncomfortable . Sammy is walking backwards , right in front of them , DROPS her bag , and BENDS to retrieve it , as if oblivious to major cleavage on immediate display . Julianne is so lost in her own anxiety , she does n't even notice , until .
MANDY
Reverend Dyer, this is Kimberly's somewhat butch maid of honor.
SAMMY
Mr. Julianne Potter, prominent New York drag queen.
Today , the girls ' voices are charmingly musically Southern , with none of the extreme accents we heard at the shower . The minister extends his hand .
MINISTER
Billy Dyer, Julianne. And I love the suit.
She shakes his hand , smiles graciously , but her eyes flick to Michael , now approaching up the aisle . The girls lead the minister away . Michael arrives . Looks her up and down .
MICHAEL
( softly . )
Takes me back.
JULIANNE
Well.
She smiles . One that glows a little .
JULIANNE
You sang the song. Least I could do was wear the outfit.
He nods .
MICHAEL
Except now you're better - looking.
Oh , yeah ? Yes , ma'am . As she loses herself in his eyes .
MICHAEL
I got the ring.
He pulls the box from his pocket . Somewhere , an ORGAN sounds . And as he is about to hand her the box .
MANDY/SAMMY
( sing . )
Swi - i - ng low - ow - ow. Wee - ee - eet Char - i - ot.
Such exquisite two - part harmony , Michael stops to watch .
MANDY/SAMMY
( sing . )
Comin', to car - ryyy Me ho - o - o - me.
It is amazing . Soulful vengeful sluts . He is enthralled . Julianne simply impatient . She wants his attention .
JULIANNE
No accents today.
MICHAEL
Yeah, Kim told me they were giving you their Dueling Scarlet's act. Actually, they're sophomores at Juilliard.
She takes the box from his hand . Opens it , as the singing CONTINUES throughout . The ring is delicate hammered gold . One of a kind .
MICHAEL
Will she like it?
JULIANNE
( whisper . )
Yes.
She 's staring at the ring .
KIMMY
( O.S . )
My groom - person! Your family needs you!
His master 's voice . He gives Julianne a smile . And goes . She 's left with the box . Gazes at the ring . Lifts it out .
MANDY/SAMMY
( O.S. , singing . )
Well, I look over yon - der, And what did I see - ee - ee?
Slips it on her left hand . Ring finger .
MANDY/SAMMY
( O.S. , singing . )
Comin too car - ryyy. Me ho - o - ome.
Touches it . Turns it on her finger . So many emotions .
MANDY/SAMMY
( O.S. , singing . )
It was a hand. Of a - a - angels. Coming' for me - e - ee.
Tries to pull it off .
MANDY/SAMMY
( O.S. , singing . )
Comin' for to carry me home.
It wo n't come . Not even close .
INT. CRAB HOUSE - NIGHT
CLOSE on a bowl filled with squares of butter . HEAR the butt of conversation from a rowdy , friendly joint . Julianne 's right hand REACHES to the bowl , fingers trace the rim innocently , then . SLIDE the bowl into Julianne 's lap beneath the table . Her right hand MASSAGES all the butter into a gooey revolving mess . We can pick out familiar voices now , family in distance , the twins closer . As , hidden from view , Julianne brings . her left hand from her pocket . Yep . The ring is still there . The finger already red and swollen from pacicky efforts to pull it off . And as APPLAUSE surrounds us , Julianne . PLUNGES her ring finger into the morass of grease , frantically TEARING at the ring , butter SPLURGING on her pants , everywhere , as we PULL BACK to see . the long table covered with butcher paper , the family at the far end , the twins down here with us , a mug of beer for each place , as team of waiters with heaping platters of CRABS , which they . FLING across the butcher paper , as APPLAUSE continues from everyone but Julianne , who still struggles secretly . As the waiters set huge wooden MALLETS in front of each guest , Joe O'Neal rises , POUNDS the table with his mallet for attention .
JOE
Like to welcome ever ` body to our little rehearsal supper.
He COUGHS , unaccustomed to public speaking . Walter and Isabelle clap and call out support . So Joe lifts his mallet .
JOE
Okay, everyone stand up!
And everyone does . With one exception . Trapped . She JAMS her left hand in her coat pocket , SMEARS her right palm sort of clean on the underside of the table , GRABS her mallet and JUMPS UP .
JOE
To the bride, uh, goes the honor. of cracking the first crab!
Everyone applauses by banging their mallets . Joe RAISES his high . Everybody imitates .
KIMMY
But first, a toast!
And everybody SNATCHES up their beers with their left hands , as Julianne DROPS her mallet with a HORRIFIC CRASH , grabbing her beer , looking up to .
JULIANNE
( on the spot . )
I'm right - handed.
A hugely embarrassing half - second . Bailed out by .
KIMMY
To our host, my cuddly Papa Joe.
All turns .
KIMMY
Who taught me to play `` Blue Hawaii.'' On my nose.
With a look at Julianne , Kim sets down her mallet gently , and performs a nasal HUM of the tropical standard , strikingly her nostril repeatedly for vibrato . It is charming , and everybody watches .
INT. HOTEL BALLROOM - LATER
CLOSE on an actual , living , if geriatric , LION . He blinks from his cage , bored as hell . HEAR the surrounding noise , chatter , LOUD Sinatra music , of a very large party . PULL BACK to see . and overdecorated BALLROOM , in dim and dramatic lighting , dripping with the trappings of ANCIENT ROME . The mingling guests are the neatly one hundred females of the wedding party , most of them older women . They are served by wandering well - built ATHLETES in Roman togas or gladiator costumes . PAN TO . Julianne , still in her suit , hiding by a table piled with a carload of grapes . Her left hand still buried in her pocket . The eyes of a hunted animal . From nowhere .
MANDY/SAMMY
( O.S . )
Boo!
She JUMPS a foot , both hands FLYING UP , left one awkwardly slamming back into its pocket . The girls have snuck up behind her . They have changed into hot gowns that are really only wide ribbons wrapped around their bodies .
MANDY
I know why you're scared of our party. It's too hip.
Sinatra singing `` Stranger In The Night . '' Hugely - muscled , half - naked black and white studs , serving enchanted blue - haired ladies .
SAMMY
Kimberly wanted to tickle the grandmas, so we figured, give'em a cheap thrill. Walter supplied the decorative touches.
SAMMY
( points out the jokes . )
Nose tackle from the Bears. power forward from the Bulls. defenseman from the Black Hawks. my personal favorite, the designated hitter.
MANDY
I'm partial to the tight end.
SAMMY
This is USDA Prime, largely available, beef. With no notice - able competition, present company excepted.
Now they stare at her . With identical , really odd , smiles .
SAMMY
And yet here you are. All celibate and reclusive.
MANDY
With those big, dark, haunted eyes. As if you were harborin' some. unspeakably. guilty. secret.
Oh .
JULIANNE
Well, I'm worried about something.
Something . Their expressions are deliciously , identically expectant .
JULIANNE
Oh. I left this really important file in Walter's office. I have to send my editor some.
Some .
JULIANNE
figures. On territorial sales. To close my book deal.
Uh - huh .
JULIANNE
So Kim gave me the key. And Michael's on his way, to drive me down to Wal.
SAMMY
Oh. We thought it was the ring.
Julianne blinks . Ring ?
MANDY
The one you better get the fuck off your third finger left hand.
Ah . That ring .
JULIANNE
Well. See. That was a. reflex to see if it would.
MANDY
( helpful . )
. look good on Kimberly.
JULIANNE
Right. And then it did n't want to come off. Exactly.
SAMMY
Maybe it's happy there.
MANDY
Oh the way out of the crab house? We asked Michael if we could see the ring?
SAMMY
He said you told him. It'd be safer with you.
MANDY
An so it is.
Julianne for once is speechless . To our amazement , the girls wear identical smiles of kindness and support .
MANDY
Shut up, sugar, he's on his way. Let's get to work.
INT. HOTEL KITCHEN - NIGHT
Huge gleaming chaotic kitchen . Cooks , waiters , working at top speed . The three women RACE in , look around frantically , half the guys stop to ogle the twins . CUT TO . ANGLES . and industrial - sized jar of peanut butter . Julianne 's hand PLUNGES in , halfway to the rolled - up sleeve at her elbow . SMOOCHES it around , real good . PULL BACK to reveal . she is surrounded by the twins and six guys , all SHOUTING conflicting instructions . Julianne FLINGS off the excess SLOP . Tugs for all she 's worth .
EIGHT PEOPLE
TWIST IT! TWIST IT!
Nada . It wo n't budge . A sous chef WIPES her hand with a towel , a janitor CRASHES a tool kit onto the counter . THROWS it open , pulls out . a spray can of WD - 40 . Instantly , her hand is BLACK . The guy TUGS . No movement . He ca n't believe it .
JANITOR
It's mental, lady, you ai n't trying!
Sammy is rummaging through her handbag , pulling out .
SAMMY
There is nothing so tight, this ca n't help it.
a tube of jelly . The letter K - Y. Julianne just gives her a look . Mandy pushes through with a butcher 's CLEAVER .
MANDY
I saw this on Hard Copy. People cut off body parts and the hospital sew'em back o.
The look has turned toward her .
JULIANNE
( cold . )
I saw the show.
MANDY
well, maybe it works on fingers, too.
FLOWER GIRL
( O.S . )
Aunt Mandy?
Everybody turns . The little girl in the doorway . Southern accent .
FLOWER GIRL
Mr. Michael's here.
Everything gets real quiet . Mandy takes charge . She rolls down Julianne 's left sleeve , RIPS the hem out of the cuff , so that it flaps down over her hand , covering the ring . Sammy wipes the black stuff from Julianne 's fingers .
MANDY
Do n't worry, baby. You could pick your nose with that finger and Michael would never notice. He's a man.
The twins lead her off . We 're on their backs for .
MANDY
( O.S . )
Personally, I think Mr. Michael's marrying the wrong girl.
SAMMY
( O.S . )
You're much more his type.
EXT. DOWNTOWN STREET - NIGHT
VIEW through a heavy glass door of the empty , dimly - lit lobby . PULL BACK to see Julianne , just as she . KICKS the shit out of the glass ! Almost breaks her foot .
JULIANNE
I ca n't believe this!
PULL BACK farther to see Michael still trying keys from a large key ring in the heavy lock . Sign over the door says WALLACE ENTERPRISES . Traffic hustles by , oblivious to her suffering .
MICHAEL
It's no big deal, she just gave you the wrong keys that's s.
JULIANNE
IS N'T THERE A GUARD? A JANITOR? A FUCKING CLEANING WOMAN? I'LL TAKE A BURGLAR! SOMEBODY'S GOT TA BE IN TH.
And she SLAMS her whole BODY against the glass , making it rattle ominously .
JULIANNE
WHERE'S A BRICK? FIND ME A GODDAMN BRICK!
She looks around wildly , hysterical .
MICHAEL
What is the big deal about getting this file tonight?
A good question . She needs a good answer .
JULIANNE
I promised Digger I'd E - mail him those figures.
From his face , that was n't it .
JULIANNE
They are very important figures.
Apparently . He 's just staring at her .
JULIANNE
I'm up against a deadline.
MICHAEL
Me, too. I'm getting married tomorrow.
JULIANNE
That's my point!
Now . He really does n't get it .
JULIANNE
I mean, tomorrow. we'll all be busy with more important things. So.
So ?
JULIANNE
tonight's my last chance.
He sighs .
MICHAEL
I forgot how cute you look. When you get impossible.
JULIANNE
It's just. up there. right in front of Walter's. y' know, computer. If memory serves.
Helpless .
JULIANNE
We could use. his computer, to. just E - mail those suckers right ou.
MICHAEL
Tomorrow is Sunday. Nobody's doing business. Crack of dawn, Monday, Walter'll take you up there.
Her eyes fill with tears . He is mystified . Smiles tenderly .
MICHAEL
( softly . )
Give it up, kid.
Touches her hair .
MICHAEL
You ca n't win'em all.
And slowly , he takes her hand . Leads her way . She takes one backward glance at the locked door . Her last dream dies .
INT. LOBBY, RITZ CARLTON - NIGHT
Michael and a disconsolate Julianne board the elevator . He presses 15 , she pushes 11 . Michael carries a handful of messages slips and an envelope . As the car starts up , she folds her arms across her chest , at the edge of tears . He does n't know what to do .
MICHAEL
( gently . )
Listen up, huh? Even if you blow this deal, how big could it be?
JULIANNE
( voice nearly cracking . )
You're right. Easy come, easy go.
He 's really concerned , ca n't bear to see her so upset .
MICHAEL
( softly . )
Jules?
She wo n't look at him . She wants to die . The bell RINGS , the doors open to her floor . She just walks out . And he follows . They stand now , she with her arms crossed , lip trembling . She ca n't believe how close she is to losing it .
MICHAEL
This thing means that much to y.
JULIANNE
It means a lot.
He nods . Okay .
MICHAEL
I'll call the house, Walter's probably not even asleep.
Her mouth drops . She ca n't believe this .
MICHAEL
I'll drive you out there, we'll get the key, we'll go back to the office.
She THROWS her arms around his , HUGGING him so hard , so close . He laughs , she is so weird . She pulls back , beaming , glowing .
MICHAEL
Come on, we'll call from your room.
She claps his hand . As they head down the hall .
MICHAEL
If I fall asleep on the altar tomorrow.
He 's trying to flip through the message slips in his free hand .
MICHAEL
you better be there to. funny, these are all from Ben.
She 's at her door , turning the key . He looks at the envelope .
MICHAEL
The fax is from Ben, too. Man, it's my wedding, and my boss ca n't leave me alone.
JULIANNE
( entering her room . )
. maybe it's congratulations.
He follows her in , opening the envelope . Stops . Reads . And his face suddenly . freezes . To stone .
JULIANNE
( turning to him . )
Michael? What ha.
MICHAEL
( reading . )
Mike. I ca n't believe I'm doing this to you on the night before your wedding. But I think you need and deserve to know.
And he looks up to her .
MICHAEL
what you're marrying into.
He hands it toward her . She takes it , hesitantly , and he walks past . Toward the phone .
JULIANNE
( reading . )
I received the following E - mail this afternoon. `` Ben, I need a favor. My daughter's every happiness.''
Her eyes BUG OUT of her head . Holy shit ! We can hear him DIALING the phone . She keeps reading , it 's all there . How did this happen ?
MICHAEL
( O.S . )
Isabelle? I need to talk to Kim.
JULIANNE
( reading . )
`` Mike, the funny thing is, he's offering you a gig you'd be stupid to turn down.''
MICHAEL
( O.S . )
I'm just tired. Please put her on? Thanks.
JULIANNE
( reading . )
`` Maybe you should take the job. And dump the girl.''
And when she turns .
MICHAEL
Jules. Could you give me a minute?
He looks more sick than angry . As if the heart has just been cut out of him . She does n't know what to say or do , so she just stands , staring dumbly .
MICHAEL
Please?
She nods , stumbles out of her room , closing the door behind her . Now she 's in the empty corridor , clutching her big jumbled bag , sinking down to sit on the carpet , her back against the door . She does n't look elated . She seems frightened , distraught , and most of all , confused . Because she ca n't understand why . She digs absently through her bag . Cigarettes . Box of matches . She lights up . Draws deeply . Somehow , she seems near tears , and laughs bitterly at that . Shakes her head at how fucked - up she finds herself . Squeaking wheels approach , but she is too lost to hear them .
BELLMAN
Miss, are you locked out, or something?
She looks up . A small , wiry man of nearly 60 , in a slightly faded but neatly - kept uniform . On his cart , a ton of bags .
JULIANNE
No, I just stepped out, because. it's a non - smoking room.
And inhales deeply . Leans back against the door , to look up at him more comfortably .
BELLMAN
( politely . )
Well, it's non - smoking floor, too. Maybe you could go to the.
JULIANNE
( seriously . )
Why do n't you have me arrested?
That was n't sarcastic . He does n't know what to say .
JULIANNE
I mean that. Arrested, convicted, put in solitary.
Another puff .
JULIANNE
See, I'm a dangerous, criminal person. I do bad things to honest people. This, see, this smoking? Tip of the iceberg.
Waves her hand .
JULIANNE
Make a citizen's arrest, I wo n't struggle. It'll be like getting Al Capone on tax evasion.
Now she seems angry . But not at him . Her eyes fill with tears .
BELLMAN
Can I. Can I help you, miss?
She squints at his nameplate .
JULIANNE
Do you smoke, Richard?
BELLMAN
Yes, ma'am, I do, but it's.
JULIANNE
a non - smoking floor, yeah. Well, you know what?
And she takes the cigarette from her lips . Turns it around , holds it out to him . Go ahead . He does n't move . Please ! And so . he reaches down , takes the cigarette from her hand . Staring in her eyes , he takes a deep drag . Savors an expert nostril - inhale of his exhaled smoke . Hands the cigarette back to her .
BELLMAN
My grandmother always said, `` This, too, shall pass.''
She swallows . Wipes at her eyes . Finds a smile .
JULIANNE
Thanks, Richard. If you were n't on duty, I'd buy you a drink.
He just nods . She waves . He waves back , pushes his cart down the hall . As she watches him go , the door behind her suddenly OPENS , and she . FALLS through it , flat on her back at Michael 's feet . Staring up at him , seeing that he looks as bad as she feels , she takes raw , deep drag .
JULIANNE
What happened?
MICHAEL
( softly . )
It's over.
And crouches down . Close beside her . The cigarette drops from her hand , unnoticed on the carpet . So he lifts it , crushes it on the heel of his shoe .
MICHAEL
I want you to quit this shit, it'll kill you.
She just nods , obediently . Okay , I will .
MICHAEL
She denied it. Said I was crazy and paranoid.
JULIANNE
A bad combination.
He tries to smile . It 's really hard .
MICHAEL
There's this big brunch tomorrow morning? At her place.
He lets the air out . Slow . So he wo n't cry .
MICHAEL
She said `` How can I call everything off, what do I tell everybody?''
Shakes his head . Can you imagine that ?
JULIANNE
Michael.
MICHAEL
No, it's for the best, it really is. We were so wrong for each other.
JULIANNE
Maybe tomorrow, you'll feel dif.
MICHAEL
The job thing would have broken us up, eventually, anyway. She could n't have lived with it. I know that now.
Julianne nods . Maybe that part is right . Maybe it would have ended anyway . Maybe she can pretend she 's not a monster .
MICHAEL
And she's right, I'm crazy to fall for someone. I hardly knew.
Looks deep in her eyes . He 's so glad she 's there .
MICHAEL
Hey. You still got that ring?
She holds up her left hand , the flapping sleeve falls away . The ring is on a finger that is swollen and raw .
JULIANNE
I tried it on. But it wo n't come off.
He smiles at that . A sad smile of friendship . Then takes her finger gently . into his mouth . It is something like a kiss . And when he removes her moistened finger . he pulls the ring OFF . Nothing to it . She blinks .
JULIANNE
It's mental, you know.
He does n't understand that .
JULIANNE
Should we take a walk? Or maybe some food sent up, or something.
MICHAEL
I just want to be alone. Is that okay?
She nods , sure . He kisses her cheek . Stands up .
MICHAEL
Maybe I'll go back to New York. Hang with you for awhile, huh? Ben'll understand.
She nods again . Whatever you say . He steps into the open doorway .
MICHAEL
Or we'll go somewhere. If you have the time.
JULIANNE
If San Antonio sweeps Sacramento.
They smiles at each other . For real .
JULIANNE
I've never been to Texas.
Imagine that . The look holds . Just above a whisper .
MICHAEL
Thanks for coming to my wedding.
And then he 's gone . IN.JULIANNE 'S BATHROOM - LATE NIGHT Julianne brushing out her hair in the bathroom mirror , eyeing her image with evident dissatisfaction , as she listens to the receiver RINGING .
DIGGER
( V.O. MACHINE . )
Digger and George are with family in the Hamptons until Monday morning. Brevity is even more in order than usual.
BEEP .
JULIANNE
Hey, handsome. Brevity this.
Her eyes find the pack of cigarettes . Next to her toiletries kit .
JULIANNE
( softly . )
I won.
Her fingers touch the pack . As if an object of significance . Takes it up .
JULIANNE
Amazing, huh? I did n't do things quite your way. But. I got it down.
Cradling the phone against her shoulder , she carefully tears the top of the pack completely open .
JULIANNE
And forty years and nine grand - children later, when I sit with Michael on some rustic porch, slogging through our sweet swamp of nostalgic memories.
Reaches the pack toward the toilet .
JULIANNE
No one is going to sweet the details.
Turns it upside down , emptying a dozen cigarettes into the john .
JULIANNE
Of one weekend in Chicago.
Drops the lid with a CLATTER . Hits the FLUSH .
JULIANNE
Talk about celebration.
She lifts a tube from her toiletries kit . Stares at it , real close .
JULIANNE
I'm gon na brush my teeth with actual toothpaste.
Turns it over , reads all the writing . Yep .
JULIANNE
I guess I'm too exhausted to feel the elation I so richly undeserve.
Squeezes some paste onto her brush . Carefully .
JULIANNE
So I'm gon na hold calls at the desk. while I get my.
Start brushing .
JULIANNE
( around , her mouthful . )
God, it is toothpaste, they should sell this stuff commercially! Anyway, a girl does need her.
Squints at her image . Laughs , spewing a little foam .
JULIANNE
well, we're a bit past worrying about beauty sleep. Let's just settle for not frightening small animals.
She SPITS . Tells Digger 's machine .
JULIANNE
Anyway, I could n't have done it without you. Even though I did, if you follow that.
Wipes her mouth . Stares off . The eyes a little dreamy .
JULIANNE
Three words : Happily. Ever. Well, you know.
INT. BEDROOM - MORNING
Julianne sprawled all over the bed , mouth open like a carp , sleeping mask against the daylight . A sudden RAPPING at the door , and she . sits BOLT UPRIGHT . Utterly disoriented , until she pulls off the mask . Stumbles out of bed , walking toward the firm KNOCKING , when . it stops . A message slip SLIDES beneath her door . She lifts it , barely conscious . This wakes her up . In one .
JULIANNE
( to the slip . )
You're going where?
EXT. WALLACE ESTATE - DAY
Julianne climbs from her taxi . Only slightly in awe , she sets off past the reflecting pool , which fronts a mansion of graceful stone and timber . It 's a hike today , because the circular drives is clogged deep with Bentleys , Mercedes , and waiting limos , vying for space with a score of delivery vehicles of all kinds , maintenance trucks , catering and florist and food vans .
INT. GREAT ROOM - DAY
Julianne escorted into an enormous room , where brunch is in progress for more than a hundred . She looks from the vaulted ceilings , to the frescoed walls , the inlaid floors , the massive pipe organ above the stone staircase , the oil portraits of Scottish ancestors and their favorite dogs . Isabelle has risen from the main table , and comes to her . All smiles . Julianne is in the Twilight Zone . What are these people laughing about ? Do they still think there 's a wedding ?
ISABELLE
Jules. We're so glad you slept in.
Takes her arm graciously . This woman would make Anne Bancroft look coarse . As they walk .
ISABELLE
Now, you have a choice. The idea is bride and groom should n't see each other on the magic day.
Julianne looking all around . Magic day it seems to be . Where the bell is a bride or a groom ?
ISABELLE
So Michael stays put in the garden. Kimmy stays in here.
Pointing . THERE she is , obscured by a cluster of the appropriately fawning . She has the same hunted eyes and false , slightly manic smile Julianne wore yesterday . This , at least , makes sense .
ISABELLE
( O.S . )
and the guests go back and forth. Where will you start?
CLOSE on Julianne . Watching the brave , frightened bride .
JULIANNE
She looks tense.
ISABELLE
( O.S. , calmly . )
Nerves. I would never have guessed.
EXT. ROSE GARDEN - DAAY
A steward leads Julianne to the edge of an expansive rose garden , altogether elegant and comfortable with its long white picnic tables , where nearly a hundred guests casually dine , served by rolling carts . There , at the head table , Michael staring at us . He looks like a poor attempt to cover a hard night . She locks onto his eyes . What the hell is going on ? He looks helpless , miserable . She gestures with her head , follow me . Stalks off .
EXT. SCULPTURE GARDEN - DAY
Bronze abstract pieces , some quite large , face a huge set of children 's swings , regulation playground size . Julianne sits in one , moving slightly back and forth . Trying to hold on to her temper and her sanity . In the distance , trucks are winding their way to and from the pond , where crews are setting up tents , lights , heaters for tonight . The circus has come to town . When she looks back . Michael approaches . Before he can draw a breath .
JULIANNE
I had the craziest dream last night? Walter and Kimmy had asked your boss to.
MICHAEL
Look, I came down here to face everybody. I did n't want to slink away like some coward.
JULIANNE
But the Scotch salmon was so fucking good, you decided to stay for brunch!
MICHAEL
She has n't told anybody, what am I supposed to do?
JULIANNE
Get married, apparently.
She comes OFF the swing , PUSHES him back two feet .
JULIANNE
What the hell are you thinking of, the goddamn wedding is SIX O'CLOCK!
He swallows hard . Trapped .
MICHAEL
This is her family and her fault.
JULIANNE
And your point?
MICHAEL
( ten years old . )
Well. How come she did n't.
JULIANNE
BECAUSE SHE'S AS CHICKENSHIT AS YOU ARE, YOU MORONS ARE MADE FOR EACH OTHER.
He just blinks .
MICHAEL
Hey. This is a serious matter.
Thank you . She POKES his chest , punctuating .
JULIANNE
I'll be right back.
INT. KITCHEN - DAY
A modern take on the Medieval castle kitchen , towering ceilings , dark wood , copper pots hanging , a series of walk - in coolers and freezers . The place is a madhouse of activity , as prep cooks slice , chop , sort , every kind of food imaginable , and delivery teams bring more . The girls walk through . Alone together in the eye of the hurricane . Kim choked with excess sentiment .
KIMMY
Look at all this beautiful food, so lovingly prepared.
JULIANNE
They'll eat it anyway, you ever been to a walk?
Kimmy 's lip trembles . This is not how she thought of her wedding . The din is so horrific , Kimmy leads them into a walk - in meat locker . Even here , two BUTCHERS are dressing Eastern - fresh corn - fed carcasses .
JULIANNE
You guys want to give us a minute?
The men blink at each other .
JULIANNE
We'd like to be alone with our pork.
On that basis . They leave . Kimmy sits on a stack of packaged frozen fowl parts . Stares up with big , sweet , wet eyes .
KIMMY
How's he doing?
Julianne can not believe this .
JULIANNE
Who? The jerk who's running your life?
KIMMY
This must be. very, very, hard on him.
JULIANNE
What with the psychosis and all, yeah.
Leans in . Listen .
JULIANNE
When are you gon na come clean with your folks?
KIMMY
Do n't you see.
JULIANNE
If you're waiting for `` Do you take this man?'', that's considered poor form.
KIMMY
that this is all my fault?
Stops Julianne cold . Your fault .
KIMMY
Whatever delusions I drove him to, there is truth at the heart of it. I want him to work for my father. I want to stay in school. I want a life of my own!
Harder and harder for Julianne to push . Her mouth is dry .
JULIANNE
Yeah, well, lots of couples are imcompat.
KIMMY
I love him.
Fragile and strong at once . A plea .
KIMMY
Tell him it's my fault and that I love him.
A long beat .
JULIANNE
I'll be right back.
EXT. TENNIS COURT - DAY
The court has become a giant holding pen for tonight 's BALLOONS . There are maybe a billion in assorted colors already blowing in all directions , under clear plastic sheeting which has ben spread across the top of the court 's chain - link fence . Michael stands outside the court , clutching the chain link like a prisoner , as Julianne comes through the gate . From somewhere , we hear high , squeaky , alien voice - like SOUNDS . Incongruous against .
MICHAEL
How is she?
Julianne absorbs this . As the bizarre SOUNDS continue , she WHIRLS around .
JULIANNE
KNOCK IT OFF!
We now see three STONER COLLEGE GUYS , who have been filling the endless array of balloons from helium tanks at center court . Clearly , they 've been inhaling their working materials .
STONER KID
( Minnie Mouse . )
YES, SIR!
A Nazi salute . When she turns back .
MICHAEL
I asked you.
JULIANNE
She admits it's her fault.
He absorbs that . And then .
MICHAEL
Do you think she still loves me?
We watch the struggle inside her . Her voice drops .
JULIANNE
Sure, she does. She's crazy about you.
Now tears stand in both their eyes . The stoners are doing their Alvin and the Chipmuks impersonation festival in the B.G. , singing in castrato harmony . But our two do n't notice .
MICHAEL
I keep asking, how can I explain what happened? And I keep getting that same answer all night long.
Which is .
MICHAEL
I ca n't. And it does n't matter. I drove her to it, because I want things my way. And even if she did something tricky and unfair. she was blinded by love, okay?
Julianne swallows . For obvious reasons .
JULIANNE
Does that make it right.
MICHAEL
Love does n't have to be right. It just has to be love.
The stoner are now helium - crooning `` Bridge Over Troubled Waters . '' Actually , they 're getting better .
MICHAEL
She's giving up half her life for me, and I'm bitching because it hurts her.
STONERS
( singing . )
Sail on silver girl Sail on by.
MICHAEL
She's a saint! And I'm a worthless ingrate!
STONERS
( singing . )
Your time has come to shine, All your dreams are on their way.
MICHAEL
Tell her. I'll marry her at six o'clock, if she'll still have me.
The stoners blend on the high note . It 's pretty moving .
JULIANNE
I'll be right back.
INT. ORGAN LOFT - DAY
PAN along a gigantic serpentine stack of wedding presents . Nearly twelve feet high , the pile curves along the balcony , high above the diners in the Great Room , extending al the way to . an organ loft . Alone , above the noise of the party , Julianne and Kimmy have just reached the top of the staircase . Trapped between ten tons of lavish gifts and the keyboard of the mammoth organ . Dwarfed by their surroundings , Kimmy draws the hardest breath of her life .
KIMMY
( whispers . )
So. What did he say?
Julianne 's eyes move over the young girl 's face .
JULIANNE
He said. Marry me.
Kimmy YELPS in her ecstasy , FLINGING herself against Julianne , and they go DOWN full length across the organ 's pedals , BLASTING the room with a MONSTER CHORD of china - rattling volume and horrifying disharmony . As grown men and women SCREAM in spontaneous terror below , Kimmy begins to . LAUGH . And KISS and hug her new sister . And holds her tight .
EXT. WILLOW POND - DAY
Julianne and Michael walk the gravel path beside a breathtaking POND , ringed with WILLOWS that dig heavy branches to the water 's surface . He is relieved , reflective . Head down , he never notices that she is . dangerously freaked . Too petrified even to hyperventilate , we 're lucky she 's breathing at all . We watch her life unraveling before her glassy eyes .
MICHAEL
( never looks up . )
Thank God you were here.
JULIANNE
( mumbles to herself . )
Oh, yeah.
MICHAEL
I was so confused, so conflicted, so. unstable.
JULIANNE
Well, it happens.
They pass an expanse of lawn which has become the event parking area . Family vehicles , delivery trucks , service vans . Everything that could n't fit on the circular front driveway .
MICHAEL
I might have thrown away.
Searching for the right words .
JULIANNE
your one chance for true happiness?
MICHAEL
yeah, that.
JULIANNE
You never want to do that, see, that's always a. costly turnover. As they say in the sport biz.
There 's a vague Stepford Wife quality to her voice . He hears that now , and looks at her . Maybe he ca n't tell she 's frightened . But he can tell she 's something .
MICHAEL
( softly . )
Are you okay?
She stops walking . She ca n't look at him , so she looks around . Across the lawn crews are moving equipment into the brightly - colored tents , unfolding and setting up stacks of tables and chairs , raising the poles between which all those balloons will be strung . At the center of it all . a huge topiary White Sox batter , just completing a murderous swing . He 's maybe fifteen feet tall . She points to it .
JULIANNE
The Big Hurt, huh?
MICHAEL
Nellie Fox. Walter likes the past. And he likes the little guys.
So Julianne nods . Because she does too . Squints up at Michael .
JULIANNE
Got a minute?
He nods , you bet . Worried for her . What is this ? She looks in another direction , and we now see that we have nearly reached . a stage that 's been set up for the band . Chairs , music stands , sound equipment . A gleaming dance floor , already in place over the lawn . Next to it , a shimmering white GAZEBO . Like the centerpiece of a wedding cake .
JULIANNE
Why is the dance floor by the gazebo?
She takes his hand . They walk toward it .
MICHAEL
Kimmy's idea. She thought it would be such a romantic place. For our wedding dance.
Looking down at her .
MICHAEL
What's up?
JULIANNE
Shhh.
Up the white steps now . Together . The gazebo floor has been covered with hardwood . The perfect place . For a wedding dance . And Julianne . turns , suddenly . He almost runs into her . She is staring up at him , so strangely , their bodies only inches apart . He is caught , transfixed by the intensity in her eyes .
JULIANNE
I have to say this quick, okay, or I'll have this massive coronary and you'll never have to hear it. Which you need to. Does that make any sense at all?
The coronary part does . We can feel her heart beating from here .
MICHAEL
Jules, what's wrong.
JULIANNE
This is the dumbest thing I will ever do. So dumb, in fact, that I ca n't. I do n't think.
And then , she does . She puts her hands flat on his chest . Looks in his eyes .
JULIANNE
Michael, I love you.
A heartbeat passes .
JULIANNE
I've loved you for nine years, but I was too arrogant and scared to realize it. Now I'm just scared.
He stares at her , dumbstruck . She moves even closer .
JULIANNE
I know this comes at an inopportune time, but I have to ask this one really gigantic favor, okay?
Holds her breath . And .
JULIANNE
Choose me. Marry me. Let me make you happy.
And in a half beat of excruciating silence .
JULIANNE
I know. It sounds like three favors.
His eyes are loving . They care for her . She swallows , lost in them .
JULIANNE
But when you think about it.
Slides her arms around his neck , and raises her mouth . to his . The most beautiful kiss she will ever offer . All of her heart is in this , and as his hands touch her body . a SCREAM rips the world to pieces . They whirl to see . KIMMY , halfway up the path . Her hands across her mouth , as if to stem the horror that pours forth as she SHRIEKS from her soul , and . runs . Back Down the path . Michael BOLTING after her , SHOUTING her name . A frozen moment , and . Julianne TAKES OFF after him . All three running , SCREAMING their various emotions at the top of their lungs , as workmen stop to watch from neighboring countries . Kimmy , staring from halfway there , has an insurmountable lead . LEAPS into her convertible and PEELS OUT , just TEARING up the gravel as she ROCKETS out of sight . No way to catch her . Still . Michael is racing for the cars . Julianne , sprinting her guts out , losing ground with every stride . Michael JUMPS into a Cherokee .
JULIANNE
MICHAEL, DO N'T, YOU'LL NEVER CATCH HER!
He GRINDS the gears . She keeps RUNNING . His engine FIRES .
JULIANNE
SHE HAS TOO BIG A LEAD AND SHE DRIVES LIKE A RABID ANIMAL!
He BLASTS OFF . She keeps going . Gasping for air , clutching her side , she 's dying here . Slams into a florist 's truck , looks inside , shit ! Next , a butcher 's van , looks inside , Jesus !
JULIANNE
( to the world at large . )
DOES N'T ANYBODY LEAVE KEYS ANYMORE? WHATEVER HAPPENED TO TRUST?
Up ahead , Michael has STALLED the Cherokee . She still has a chance , DASHES to the next van . BORNSTEIN EXTERMINATION , a handsome rendering of a rat above the TOXIC MATERIALS warning FLINGS the door open . Stumbles in . Keys !
JULIANNE
( O.S . )
THANK GOD, A SAMARITAN!
Michael SPEEDS away . She KICKS the ratmobile in gear . LURCHES off .
INT. RATMOBILE, DOWNTOWN CHICAGO - DAY
Julianne tearing through traffic , desperately struggling to keep Michael 's Cherokee in view , while she shrieks into her cellular .
JULIANNE
IT IS NOT GOING WELL!
Down the block , Michael WHIPS around a corner . We follow suit to see his destination dead ahead . Union Station . The DISPATCHER RADIO intrudes .
DISPATCHER
( O.S . )
Uh, Unit Four Baker Charlie, how we cookin' on that Skokiie infestation?
Now she 's steering the car , tearing at the radio controls , and screaming into the phone cradled on her shoulder .
JULIANNE
THIS IS WHAT COMES OF TELLING THE TRUTH!
FIELD MAN
( O.S . )
Copy, dispatcher.
JULIANNE
OR EVEN PART OF IT!
FIELD MAN
( O.S . )
Uh, what happens if you got that methyl - ethyl shit on your hands?
Michael RIPS into the train station 's parking lot . We SWERVE around a taxi , CUT OFF Harley , CAREEN into the lot .
JULIANNE
GETTING WHAT YOU DESERVE IS NOT FAIR!
DISPATCHER
( O.S . )
Uh, you got maybe thirty seconds before you're sterile. For God's sake do n't touch yourself, or anything.
Up ahead , Michael is OUT of his jeep and running .
JULIANNE
AND I HATE TALKING TO YOUR MACHINE!
She SLAMS on the brakes , THROWING herself against the wheel .
YOUNGER FIELD MAN
( O.S . )
Uh, this is One Monkey Zebra. It was n't bees in the gal's wall, it was cats!
She TEARS the door open . SCRAMBLE OUT .
YOUNGER FIELD MAN
( O.S . )
She says gas'em, anyway, she'll pay cash. Uh. how do I pay this?
WITH Julianne now , RACING through the lot , Michael vanishes INTO the Station , she PLUNGES in after him , BOUNCING off bystanders , apologizing , lunging on , gasping for breath , past exhaustion , threatening clumsily through the crowd like a staggering drunk , catching a lucky glimpse as he heads . DOWN a staircase to the TRACKS . My God , what 's he doing ? A second wind , fueled by panic , and she BOLTS after him , DANCING down the steep staircase somehow without killing herself , reaching the concourse to see him , running for . Track 29 , a train already RUMBLING , ready to pull out , she SPRINTS after him .
JULIANNE
MICHAEL!
He DISAPPEARS behind the train , she FALLS , skids , springs up , pushes through gaping onlookers , almost there , the train PULLS AWAY .
JULIANNE
NNNOOOO!
But he 's just standing there . His back to us . Watching it go . Her body nearly collapses with relief . She pushes herself on , but her legs are n't working right in their maxed - out fatigue , and she lopes and staggers until she comes up behind him . He 's still lost in thought , staring after the train . She tries to speak , but there 's no breath . So she puts her hands on her knees and just GASPS for air like a dog . Wheezing , panting , trying once more to speak , but she ca n't yet , and then he casually turns and . JUMPS out of his skin ! A heart attack seeing her .
JULIANNE
( croaks . )
Do n't speak!
He just blinks at this sweaty , ripped - up , maniacal figure .
MICHAEL
Uh. I saw that moving.
JULIANNE
DO N'T SPEAK!
FLINGING both her hands across his mouth . A frozen beat . He nods , okay . Cautiously , she takes her hands away . At least she has made him smile , in spite of everything . At least she 's done that .
JULIANNE
I have to make a confession. Another confession. Besides that I love you. This is even worse.
This . He 's waiting to hear .
JULIANNE
The E - mail? You thought Walter sent your boss? I wrote that.
You . WHAT ?! Synapse overload .
MICHAEL
You're not saying you actually. you're saying that y.
JULIANNE
( stricken with remorse . )
. wrote it, yeah. I'm the bad guy.
MICHAEL
ARE YOU CRAZY?
She nods her head wildly , hair flopping .
MICHAEL
ARE YOU ABSOLUTELY INSANE?
Bigger nodding .
MICHAEL
ARE YOU ON DRUGS?
Shakes her head , like a two - year - old .
MICHAEL
( pacing in circles . )
I mean, do you realize what you've. well, of course you realize, that's why you're confessing, I mean. I mean. how could you do that?
JULIANNE
I did n't know it would get sent. I just wanted you to. get mad at Kimmy. and.
And watching . As this begins to sink in .
JULIANNE
I've done nothing but slimy, underhanded, despicable, not even terribly imaginative, things. Ever since I got here. Trying to.
Staring in his eyes . Eyes she ca n't read at this point .
JULIANNE
to win you. To win you back.
Tears in her own eyes now . Big ones .
JULIANNE
And I was blinded by love. Like you said.
Shaking her head .
JULIANNE
But that does n't excuse any part of it. I am pond scum.
No .
JULIANNE
Actually. Lower. I am the fungus that feeds on pond scum. Lower. The layer of mucous that cruds up the fung.
MICHAEL
Lower.
JULIANNE
( agreeing . )
Lower.
MICHAEL
The pus that infects the mucous that cruds up the fungus.
And to her amazement . The trace of a smile .
MICHAEL
( softly . )
On the other hand, thank you.
She blinks at that . Which squeezes out a tear .
MICHAEL
For loving me that much, that way.
He shrugs . Just above a whisper .
MICHEL
It's pretty flattering.
JULIANNE
Except it makes me fungus.
MICHAEL
Well, that part I knew.
She 's never loved him more .
JULIANNE
So you have to marry Kim. Because she will actually make you happy. I, in contrast, am a shallow, neurotic psychopath, with relatively little to offer.
Okay ?
JULIANNE
Kim. Nod your head. Do as you're told.
He nods his head , still smiling . Her tears are running now . Maybe she does n't notice .
JULIANNE
Just promise you'll never tell me who you would have chosen. If I had n't confessed.
She chokes back a sob .
JULIANNE
Cos if you would have chosen me. Then I threw away a perfectly good life. Just to be a decent person. Which is a questionable trade - off. Right?
He nods , slowly . Because he 's supposed to .
JULIANNE
And if you would have chosen some 20 - year - old punk over me. I'd have to kill myself.
Ah . His smile keeps getting smaller . More loving . More wonderful .
MICHAEL
( whispers . )
I'll take it to my grave.
Good . She looks around .
JULIANNE
I'm so glad you did n't jump on that train, before.
MICHAEL
I came here, looking for her.
For her . The words leave a silence .
JULIANNE
Why would she come here.
MICHAEL
This is where I proposed.
Stares deep in her eyes . She needs to hear this .
MICHAEL
I had to cover a game in Milwaukee. She saw me off. And when the train started to leave. I jumped up on the step, I help the handle, and without.
He grins . Has to admit .
MICHAEL
without a thought in my head. I shouted, `` Marry me.''
I did . Now her eyes tear up again . And she does n't know why .
MICHAEL
And she gasped, and covered her mouth, and the train was pulling out, and suddenly she screamed YES! Just once. And blew me a kiss.
What a girl .
MICHAEL
I never forgot that.
JULIANNE
It's two weeks.
MICHAEL
Almost three.
JULIANNE
That is so romantic.
Which makes him reach and touch her hair .
MICHAEL
I just wonder if you know why.
Do you ?
MICHAEL
It's because romance is n't mystery, and tricks, and doubts, and halting, unspoken longings. That's not the real romance.
Tears in his eyes now . First time .
MICHAEL
The real romance is saying yes.
Does she know that now ? He looks at his watch .
MICHAEL
( sighs . )
Woulda been a nice wedding.
Oh . That .
JULIANNE
( urgently . )
You ca n't believe you've lost her! Sooner or later, you'll find her, and you'll look in each other's eyes, and you'll see all that love.
JULIANNE
Course, if it's later rather than sooner, I'd hate to be you at six o'clock.
( beat . )
You've got a lot of explaining to.
MICHAEL
I'm just thinking of how she's hurting. Lost. Alone. Like her life is over.
JULIANNE
That's little egotistical.
He glares at her .
JULIANNE
But, undoubtedly accurate.
She claps her hands , galvanized by the emergency .
JULIANNE
Okay, we'll split up. You go to every romantic place you guys have, I'll go. someplace brilliant, and the first one who.
MICHAEL
If you find her.
Strange tone . A gentle warning .
MICHAEL
The kiss. May be hard. For you to explain.
( beat . )
Because the only fear she really has, is.
JULIANNE
me, yeah. And she likes Tommy Lasorda. Case closed.
Looks at her own watch . Shit !
MICHAEL
But if you do get to her first.
She looks up .
MICHAEL
There is something you are authorized to say.
EXT. TAXI STAND - DAY
Julianne sits on the fender of this guy 's taxi . The driver smokes , paces , while she waits for a connection on her cellular . Then .
MANDY
( V.O . )
Wallace egregious residence, Mandy speaking.
JULIANNE
It's Jules, you guys have n't had a call from, say, Kimberly, have you?
MANDY
( V.O . )
Oh, she's slipped out, the little monkey. Prob ` ly with Michael, doin' the nasty.
A shallow laugh .
MANDY
( V.O . )
Or crying in her nachos, down at Comskey Park.
Julianne 's face SNAPS to alert .
JULIANNE
Ex - cuse me?
MANDY
( V.O . )
I had this crank call? From some guy who thinks he saw her? I said, what would a bride be doin', on her wedding.
JULIANNE
You are so right. What a nerve on that guy! Bring my dress to church, huh?
Signals the driver , let 's GO !
JULIANNE
I want to pick up a little something for the ceremony.
INT. LUXURY BOX, COMISKEY PARK - AFTERNOON
Game in progress . Julianne and the bodyguard stand in the doorway of the deserted skybox . Everyone Walter knows is going to a wedding . The box is empty except for one cardboard container of nachos , extra cheese , sitting alone before a pulled - back chair .
BODYGUARD
She would n't confide in me, so I called the house.
He sighs . Feels terrible about all this .
BODYGUARD
Luckily, I got her cousin.
Julianne nods . Yeah , big break , there .
JULIANNE
Going to the john, she said?
BODYGUARD
Could be there awhile.
INT. WOMEN'S RESTROOM - AFTERNOON
Julianne BURSTS into the enormous chaotic restroom . Looks around wildly , no sign of Kim .
JULIANNE
YO! IMMIGRATION!
Everybody stops . Pays attention .
JULIANNE
I GOT A WARRANT FOR MS. KIMBERLY WALLACE!
Silence . From the long line of stalls .
KIMMY
( O.S. , sobbing . )
In here, you bitch!
Now everybody 's really interested . Julianne ignores them , strides to the stall . KNOCKS , like it 's a door . No answer .
JULIANNE
Let me in, baby, or I'll rip this damn thing off its non - code - compliant hinges.
WOMAN
( O.S . )
GET THE FUCK OUTTA MY FACE OR I'M GON NA MESS YOUR SHIT UP!
Some scattered APPLAUSE . From down the line .
KIMMY
( O.S. , still sobbing . )
Over here, nitwit!
Oh . Scattered laughter . Julianne moves down the line . Stares at the door . We hear the soft , muted crying from within . Slowly , Julianne . drops to her knees . Bends her head low . PEERS under the door . What she sees , prompts a sad warning .
JULIANNE
Incoming.
And she crawls UNDER the door , on her belly . We go WITH her to see . Kim fully dressed , perched on the closed toilet lid , her knees drawn up , her arms around them .
JULIANNE
Pitiful.
And pulls herself up to her knees . Kimmy tries to glare , but it just is n't in her .
KIMMY
Have n't you done enough?
The world gets real quiet . An entire bathroom is listening . Julianne cocks her head to one side .
JULIANNE
In one minute. You are going to feel so foolish.
KIMMY
WHY DO N'T YOU JUST DRIVE A STAKE THROUGH MY HEART?
JULIANNE
Have you ever heard of. Irony?
Irony ? Kimmy sniffles .
JULIANNE
I threw my arms around your husband. And kissed him with all my heart. Because I was so happy. For you. Nitwit.
And leans close . As Kimmy flinches .
JULIANNE
( whispers . )
He's going to take.
( big grin . )
The job!
A stunned pole - axed moment . And Kimmy 's eyes SPRING open . You mean ?
JULIANNE
( beaming . )
With your dad, yeah. Can you guess why? Bitch?
Everything inside Kimmy BURSTS free in a torrent of tears .
KIMMY
HE LOVES ME!
And DISSOLVES , sobbing , into Julianne 's arms . A beat , for Julianne to reflect , and then she strokes her tenderly .
JULIANNE
Well, of course, he loves you.
Kisses the top of Kimmy 's head .
JULIANNE
( very soft . )
Hell, even I love you.
Kimmy holds her tight . From her heart .
JULIANNE
I never want to go through this again.
KIMMY
That's entirely understandable.
ANGLES . outside the stall . Julianne 's feet sticking out under the door .
KIMMY
( O.S . )
Shit! THE TIME!
The two BURST out of the stall , hand - in - hand , at a desperate DEAD RUN past us . HEAR them EXPLODE out the door , and . five stalls OPEN . Women exit , crying .
EXT. UNIVERSITY CHAPEL - TWILIGHT
A taxi pulls up in front of an ivy - covered CHAPEL , fronted by nearly a hundred souls , milling about in attitude ranging from overstimulated curiosity to clinical hyperanxiety . Our girls JUMP out of the cab , and half the crowd starts running toward us , twins in the lead .
SAMMY
Whatever hap.
JULIANNE
( cutting this short . )
We were bonding, we lost track, we're officially sorry, now let's put it behind us.
Kim WAVES at her mom by the chapel entrance . And takes Julianne 's hand for support .
JULIANNE
Believe me, we got a bride who's worth waiting for, yes?
Everybody nods .
JULIANNE
Out of our way.
EXT. DRESSING ROOM - TWILIGHT
White . Pure blinding white . Across FRAME floats more white , this gauzy and ethereal . It settles , its roots planting deeply in the bride 's hair . TILTS UP to . the face of the woman who placed it there . Julianne 's eyes , appraising this bride we can not see . And so softly .
JULIANNE
Do n't worry, sugar.
Do n't worry .
JULIANNE
When he looks at you, it will be as if.
The words stronger . Because there is no smile .
JULIANNE
he's never seen a woman before.
PAN DOWN the white until we are . CLOSE on the bride 's perfect slippers . HOLD . And .
INT. CHAPEL - EVENING
Begins to slowly PAN BACK UP the length of an exquisite gown . We can tell from the organ , the nearby thrum of expectant voices , that we are nearing the moment . We reach . Kimmy 's hand . Firmly clasping Walter 's . Keep PANNING , the bodice , the lace , her throat , and finally , we are CLOSE on . the face of the bride . Now we understand the word radiant . We also understand scared senseless . Our perfect , unflappable Kimmy is in a trance of emotional overload where bliss and panic seamlessly blend . The organ 's noddling stops . Kimmy 's eyes alerted , like a small animal bearing a predator approach her thicket . Suddenly , the CHORD . The Wedding March from Wagner 's Lohengrin . Here . Comes . The bride . And we SNAP TO . FULL ANGLE . Kim and Walter . This is it .
WALTER
( whispers . )
Left foot.
REVERSE ANGLE . Kim 's POV , the chapel , every pew packed , every neck craning this way , the white satin carpet down the endless aisle to where . Michael waits . Also in a zone of pseudo - consciousness . From which he attempts a smile . Not comforting . Kim 's POV WHIP PAN the groomsmen , the twins , LOCKING FOCUS on Julianne , standing strong and beautiful , a glow of her own in the daffodil dress . She sends her little sister a WINK across the trackless miles of aisle . You can do this , kid . So . Kimmy does . On her father 's arm , she walks the gauntlet of the world 's intrusive admiration . One step at a time . The most beautiful she will ever be . She is dazzling the crowd and managing to not throw up at the same time . And she 's there . At his side . She glances back to her maid of honor , just to make sure she 's not working without a net . So Julianne . CROSSES her eyes . Which lets the kid smile and finally take a breath . Have a little fun , huh ? Kim nods , got it , turns to . The Minister . Who stands before them with a calming presence . Thank God someone has done this before . The crowd has hushed . The Minister 's eyes are only for two . His words are for all .
MINISTER
Michael and Kimmy wrote these words. She asked me to confide, mostly Michael.
A ripple of laughter . Gentle and fine . They are setting in .
MINISTER
So he gets to say them.
A surprise . A pleasant one . The crowd adjust in its seats . As Michael begins .
MICHAEL
Why do people get married anymore?
And on these words . We SNAP to Julianne . Share her interest in the bluntness , the simplicity , the unorthodoxy of this beginning .
MICHAEL
( O.S . )
Why not live together amicably, with no sense of obligation beyond the moment?
Her eyes . She 's listening .
MICHAEL
( O.S . )
As long as the sex is good. As long as no one more interesting has wandered into view. As long as the thousand conflicts of two individual wills remain comfortably compromised.
PANNING now . Other faces . Isabelle . Proud to the bone .
MICHAEL
( O.S . )
And when one feels the urge to move on, to explore the new. No guilt, no disgrace, no promise broken.
Walter . His eyes damp . Against our expectation .
MICHAEL
( O.S . )
No agony of having dishonored a time. When our hearts. And the world were different.
Joe nods , as he hears .
MICHAEL
( O.S . )
Marriage is a lot to put up with.
Julianne once more . No breath . Rapt .
MICHAEL
( O.S . )
The answer must be. That there is some need basic to the human heart. That embracing. the obligation of commitment. fulfills.
Her eyes have clouded . As if Michael is talking to her .
MICHAEL
( O.S . )
Some need to belong to one another in a way which rages against the notion. that all is impermanent. Against the notion of mortality.
And suddenly , ALL the feeling rises in her throat .
MICHAEL
( O.S . )
Our love is bigger. And longer. Than life itself.
And the tears come . They come freely , unhidden , unnoticed . As if they were needed . Michael now . Looking at his bride .
MICHAEL
That's what we want. And marriage. Is what we do about it.
Kimmy smiles at him . With love bigger than life itself .
MICHAEL
We are fools in this. Thank God Almighty.
He is done . There is a silence .
MINISTER
Boy, that was good!
People LAUGH . The Minister holds up a sheet of paper . For the crowd to see . Mostly paragraphs crossed out in red ink .
MINISTER
Michael and Kim also edited what they want me to say.
More laughter .
MINISTER
The idea was, we're only marrying once. We have to remember it forever. Let's keep to the good stuff.
( squints at the sheet . )
You may kiss the bride.
Bigger LAUGHTER . The Minister waves this off , his little joke . Turns to the best man , pantomimes the ring . As the hammered gold circle is handed to Michael , Julianne absently scratches her still - swollen finger . Mandy taps Julianne on the arm , and produces . a matching ring . Take it ! Gives it to her . So Julianne steps forward . Places the second ring into Kimmy 's waiting hand . Their eyes meet , and hold throughout .
MINISTER
( O.S . )
If anyone here can show just cause why this man and woman should not be married, speak now. Or forever hold your peace.
Julianne CLEARS her throat . Kimmy 's heart flutters . In the silence . Julianne 's wonderful smile . Just kidding . Michael reaches for Kim 's hand , turns her gently to him . Places his ring on her finger . Holds her hands .
MICHAEL
Kimberly. I promise to love. And respect and comfort you. To hear your voice and your heart. Until we are parted by death.
She swallows . Smiles a fleeting , beautiful smile . Fumbles slightly , putting the ring on his finger .
KIMMY
Michael. I promise to love and respect and comfort you. To hear your voice and your heart. Until we are parted by death.
Staring in each other 's eyes . A moment so fragile , the Minister waits an extra beat .
MINISTER
For the record, you each agree to marry the other?
KIMMY
( quickly . )
I do!
MICHAEL
( smiling . )
I do.
The Minister joins their right hands .
MINISTER
We have n't said much about God this evening, I know. But He is here. And He is happy. To bless His wonderful children.
CLOSE now on Julianne . For the inevitable moment .
MINISTER
( O.S . )
In that Michael and Kimberly have given themselves to each other by solemn vows, and the exchanging of rings.
Unnoticed by the world . Her eyes are close .
MINISTER
( O.S . )
I pronounce them husband and wife. Those whom God has joined together, let no one put asunder.
The eyes open . Wet , brave , ready for .
MINISTER
( O.S . )
Now. Kiss the bride.
Julianne watching . As Michael does .
EXT. WALLACE POND - NIGHT
This is what all the preparation was for . Tables , lights , balloons , the guests dancing on the hardwood floor , at the base of the gazebo . The bride and groom among them , relaxed and happy . Two who are one . PAN TO . the stage , the band playing . Julianne conferring with the twins and the band leader , clear that she 's giving the instructions . Then , she takes her glass of champagne to the microphone . KLUNKS it , for silence . The band stops . The dancers follow . All eyes are comfortably turned to the maid of honor . She looks to the couple . Just below her . Then , to the crowd .
JULIANNE
I'm a writer, too, not as good as Michael. But I do steal from quality.
She raises her glass . Everyone at the table does the same .
JULIANNE
This is to my best friend. On the occasion of his wedding.
Shouts of support , a few whistles . Silence . She tells Michael .
JULIANNE
If I have truly come to know your bride as my new sister. This is in her heart.
She has to stop . Swallows . Because she will not let herself cry .
JULIANNE
`` Understand. I'll slip quietly away from the noisy crowd when I see the pale stars rising, blooming, over the oaks.''
Deep breath . Looks in his eyes .
JULIANNE
`` I'll pursue solitary pathways through the pale twilit meadows, with only this one dream : You come too.''
A hush . SHARP applause . From four hundred hands . But not from his . He is too moved . Too understanding of what he has heard .
JULIANNE
I do n't have a wedding gift. But this is on loan. Until you two find your song.
And with that the band begins . The opening phrases of a song we have come to know . Michael seems overwhelmed . Julianne nods toward the gazebo . Michael takes his bride 's hand , leads her up the stairs , into his arms , as the twins step to the microphone , and guests begin to applaud an unscheduled wedding dance .
MANDY/SAMMY
( singing . )
Someday, when I'm awfully low, And the world is cold, I will feel a glow just thinking of you, And the way you look tonight.
Soft two - part harmony . As perfect as the words .
MANDY/SAMMY
( singing . )
You're lovely. With your smile so warm, And your cheeks so soft, There is nothing for me but to love you, Just the way you look tonight.
Julianne can cry now . Because she 's tied with half the place .
MANDY/SAMMY
( singing . )
With each word, your tenderness grows, Tearing my fears apart. And the laugh that wrinkles your nose, Touches my foolish heart.
Julianne begins to sing . Unheard . Unseen . Even by the man she 's singing to .
JULIANNE/MANDY/SAMMY
( singing . )
You're lovely, please do n't ever change, Keep that breathless charm, Darling, please arrange it, cos I love you. Just the way you look tonight.
The band keeps playing . The dance goes on . Two people lost in each other . The way it 's supposed to be .
INT. GREAT ROOM - LATE NIGHT
Bedlam . Julianne caught in the middle of the throng . A young couple , dressed for travel , appear at the top of the staircase . The SHOUT are deafening . The bride has her bouquet . she spots Julianne far below . THROWS it her way , Julianne reflexively GOES FOR IT . not a fucking chance . The twins nearly TRAMPLE her in the stampede , Mandy WRESTING the prize from Sammy 's grasp . Everyone CHEERS , and then the couple is . FLYING down the stairs , RACING through the crowd with a protective phalanx of groomsmen bodyguards , heading for the door , for freedom . Julianne , trapped in the crush , loses sight of the couple , struggles against the flow , suddenly panicked by the certainty that she will never see him before . And then , he 's THERE . He has Julianne in his arms . Holding her so tight . An embrace so wonderful , so terrible , she could go mad from the confusion alone . Against the din , he murmurs in her ear .
MICHAEL
Wherever I go. However far.
She sobs . Holds him . Deep , deep breath .
JULIANNE
You win a few, you lose a few. Some get rained out.
And to her surprise .
DIGGER
( V.O. , very softly . )
You have a good time?
To her greater surprise . There are a few tears left , after all .
JULIANNE
I did what I came to do.
DIGGER
( V.O. , even softer . )
Good girl.
She just ca n't speak now . So she does n't .
DIGGER
( V.O . )
I was thinking. Maybe you might visit us for awhile. We've got the room made up.
This fucking guy . God , she loves him .
JULIANNE
I'll think about it. I'm okay.
DIGGER
( V.O . )
Oh, you're more than okay.
Just above a whisper .
JULIANNE
You, too.
And with the last of her strength .
JULIANNE
If the sun comes up, I'll see you tomorrow, huh?
A chuckle . At the other end .
DIGGER
( V.O . )
I'll play those odds. You have sweet dreams.
We hear the CLICK . She turns her back on the stars . Shoulders straight . Chin up . She walks from frame . FADE TO BLACK . HOLD END CREDITS .
| 0 | 0 |
The Lord of the Rings: The Fellowship of the Ring_2001
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tt0120737
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The Lord of the Rings: The Fellowship of the Ring
| 2,001 |
In the Second Age of Middle-earth, the lords of Elves, Dwarves, and Men are given Rings of Power. Unbeknownst to them, the Dark Lord Sauron forges the One Ring in Mount Doom, installing into it a great part of his power to dominate the other Rings, so he might conquer Middle-earth. A final alliance of men and elves battles Sauron's forces in Mordor, where Prince Isildur of Gondor severs Sauron's finger, and the Ring with it, thereby destroying his physical form. With Sauron's first defeat, the Third Age of Middle-earth begins. Unfortunately, the Ring's influence corrupts Isildur, who takes it for himself. Isildur is later killed by Orcs, and the Ring is lost for 2,500 years, until it is found by Gollum, who owns it for five centuries. The Ring is then found by a hobbit named Bilbo Baggins, who turns invisible when he puts it on, but is unaware of its history. Sixty years later, Bilbo celebrates his 111th birthday in the Shire, reuniting with his old friend, Gandalf the Grey. Bilbo reveals that he intends to leave the Shire for one last adventure, and he leaves his inheritance, including the Ring, to his nephew, Frodo. Although Bilbo has begun to become corrupted by the Ring and tries to keep it for himself, Gandalf intervenes. Gandalf, suspicious of the Ring, tells Frodo to keep it secret and to keep it safe. Gandalf then investigates the Ring, discovers its true nature, and returns to warn Frodo. Gandalf also learns that Gollum was captured and tortured by Orcs, and that Gollum uttered two words during his interrogation: "Shire" and "Baggins." Gandalf instructs Frodo to leave the Shire, accompanied by his friend Samwise Gamgee. Gandalf rides to Isengard to meet with fellow wizard Saruman the White, but learns that he has joined forces with Sauron, who has dispatched his nine undead Nazgûl servants to find Frodo. After a brief battle, Saruman imprisons Gandalf. Frodo and Sam are joined by fellow hobbits Merry and Pippin, and they evade the Nazgûl, arriving in Bree, where they are meant to meet Gandalf. However, Gandalf never arrives, and they are instead aided by a ranger named Strider, a friend of Gandalf's, who promises to escort them to Rivendell. The hobbits are ambushed by the Nazgûl on Weathertop, and their leader, the Witch-King, stabs Frodo with a cursed Morgul blade. Arwen, an elf and Strider's betrothed, locates Aragorn and the Hobbits and aiding Frodo, rescuing him and incapacitating the Nazgûl. She takes him to Rivendell, where he is healed. Frodo meets Gandalf, who escaped Isengard with help from Gwaihir, a giant eagle. That night, Aragorn reunites with Arwen in Rivendell, where they confirm their love and commitment for each other. Arwen's father, Lord Elrond, holds a council that decides the Ring must be destroyed in Mount Doom. While the members argue, Frodo volunteers to take the Ring, accompanied by Gandalf, Sam, Merry, Pippin, elf Legolas, dwarf Gimli, Boromir of Gondor, and Strider, who is revealed to be Aragorn, Isildur's heir and the rightful King of Gondor. Bilbo gives Frodo his sword, Sting. The Fellowship of the Ring sets off, but Saruman's magic forces them to travel through the Mines of Moria, much to Gandalf's displeasure. The Fellowship discovers that the dwarves within Moria have been slain, and they are attacked by Orcs and a cave troll. They defeat them, but are confronted by Durin's Bane, a Balrog residing within the mines. Gandalf casts the Balrog into a vast chasm, but it drags Gandalf down into the darkness with it. The rest of the Fellowship, now led by Aragorn, reaches Lothlórien, home to elves Galadriel and Celeborn. Galadriel privately informs Frodo that only he can complete the quest, and that one of his friends will try to take the Ring. Meanwhile, Saruman creates an army of Uruk-hai to track down and kill the Fellowship. The Fellowship leaves Lothlórien by river to Parth Galen. Frodo wanders off and is confronted by Boromir, who tries to take the Ring in desperation. Afraid of the Ring corrupting his friends, Frodo decides to travel to Mordor alone. The Fellowship is then ambushed by the Uruk-hai. Merry and Pippin are taken captive, and Boromir is mortally wounded by the Uruk chieftain, Lurtz. Aragorn arrives and slays Lurtz, and watches Boromir die peacefully. Sam follows Frodo, accompanying him to keep his promise to Gandalf to protect Frodo, while Aragorn, Legolas, and Gimli go to rescue Merry and Pippin.
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<script>
<scene>
<stage_direction>The Lord of the Rings: The Fellowship of the Ring</stage_direction>
<scene_description>BLACK SCREEN SUPER : New Line Cinema Presents SUPER : A Wingnut Films Production BLACK CONTINUES . ELVISH SINGING . A WOMAN 'S VOICE IS whispering , tinged with SADNESS and REGRET :</scene_description>
<character>GALADRIEL</character>
<parenthetical>( V.O . )</parenthetical>
<parenthetical>( Elvish : subtitled . )</parenthetical>
<dialogue>`` I amar prestar sen : han mathon ne nen, han mathon ne chae. a han noston ned wilith.''</dialogue>
<parenthetical>( English : . )</parenthetical>
<dialogue>The world is changed : I feel it in the water, I feel it in the earth, I smell it in the air. Much that once was is lost, for none now live who remember it.</dialogue>
<scene_description>SUPER : THE LORD OF THE RINGS</scene_description>
</scene>
<scene>
<stage_direction>EXT. PROLOGUE -- DAY</stage_direction>
<scene_description>IMAGE : FLICKERING FIRELIGHT . The NOLDORIN FORGE in EREGION . MOLTEN GOLD POURS from the lip of an IRON LADLE .</scene_description>
<character>GALADRIEL</character>
<parenthetical>( V.O . )</parenthetical>
<dialogue>It began with the forging of the Great Rings.</dialogue>
<scene_description>IMAGE : THREE RINGS , each set with a single GEM , are received by the HIGH ELVES - GALADRIEL , GIL - GALAD and CIRDAN .</scene_description>
<character>GALADRIEL</character>
<parenthetical>( V.O. ; CONT 'D . )</parenthetical>
<dialogue>Three were given to the Elves, immortal, wisest. fairest of all beings.</dialogue>
<scene_description>IMAGE : SEVEN RINGS held aloft in triumph by the DWARF LORDS .</scene_description>
<character>GALADRIEL</character>
<parenthetical>( V.O. ; CONT 'D . )</parenthetical>
<dialogue>Seven to the Dwarf Lords, great miners and craftsmen of the mountain halls.</dialogue>
<scene_description>IMAGE : NINE RINGS clutched tightly by the KINGS OF MEN . as if holding - close a precious secret .</scene_description>
<character>GALADRIEL</character>
<parenthetical>( V.O. ; CONT 'D . )</parenthetical>
<dialogue>And Nine. nine rings were gifted to the race of Men who, above all else, desire power. For within these rings was bound the strength and will to govern each race.</dialogue>
<scene_description>FADE TO BLACK</scene_description>
<character>GALADRIEL</character>
<parenthetical>( V.O. ; CONT 'D . )</parenthetical>
<dialogue>But they were all of them deceived.</dialogue>
<scene_description>FADE UP : An ancient PARCHMENT MAP of MIDDLE EARTH . moving slowly across the MAP as if drawn by an unseen force the CAMERA closes in on a PLACE NAME . MORDOR .</scene_description>
<character>GALADRIEL</character>
<parenthetical>( V.O. ; CONT 'D . )</parenthetical>
<dialogue>for another ring was made.</dialogue>
<scene_description>TEASING SHOTS : SAURON forging the ONE RING in the CHAMBERS of SAMMATH NAUR .</scene_description>
<character>GALADRIEL</character>
<parenthetical>( V.O. ; CONT 'D . )</parenthetical>
<dialogue>In the land of Mordor, in the fires of Mount Doom, the Dark Lord Sauron forged in secret a Master Ring to control all others.</dialogue>
<scene_description>IMAGE : The ONE RING reflecting FIERY LAVA ! FIRE WRITING emerges on the plain BAND OF GOLD .</scene_description>
<character>GALADRIEL</character>
<parenthetical>( V.O. ; CONT 'D . )</parenthetical>
<dialogue>and into this Ring he poured his cruelty, his malice and his will to dominate all life.</dialogue>
<scene_description>IMAGE : THE ONE RING falls through SPACE and into flames .</scene_description>
<character>GALADRIEL</character>
<parenthetical>( V.O. ; CONT 'D . )</parenthetical>
<dialogue>One Ring to rule them all.</dialogue>
<scene_description>IMAGE : A GREAT SHADOW falls across the MAP . closing in around the realm of GONDOR . IMAGE : SCREAMING VILLAGERS , MEN , WOMEN , AND CHILDREN , RUN from their homes , pursued by ARMIES OF HIDEOUS ORCS .</scene_description>
<character>GALADRIEL</character>
<dialogue>One by one the Free lands of Middle earth fell to the power of the ring.</dialogue>
<scene_description>FADE TO BLACK</scene_description>
<character>GALADRIEL</character>
<parenthetical>( V.O. ; CONT 'D . )</parenthetical>
<dialogue>But there were some. who resisted.</dialogue>
<scene_description>FADE UP : ISILDUR , son of the KING OF GONDOR , leads an ARMY ACROSS the PLAINS OF DAGORLAD .</scene_description>
<character>GALADRIEL</character>
<parenthetical>( V.O. ; CONT 'D . )</parenthetical>
<dialogue>A last alliance of Men and Elves marched against the armies of Mordor.</dialogue>
<character>GALADRIEL</character>
<parenthetical>( V.O. ; CONT 'D . )</parenthetical>
<dialogue>On the slopes of Mount Doom they fought for the freedom of Middle - Earth.</dialogue>
<scene_description>TEASING SHOTS : THE BATTLE OF DAGORLAD . THE ELF LORD , ELROND , commands rank after rank of ELVEN ARCHERS . ORCS RETREATING before the ARMY of the LAST ALLIANCE . ELENDIL holds aloft the great sword . NARSIL !</scene_description>
<character>GALADRIEL</character>
<dialogue>Victory was near!</dialogue>
<scene_description>IMAGES : THE HUGE , DARK FIGURE OF SARURON , bearing the ONE RING on his finger , looms over the field of battle .</scene_description>
<character>GALADRIEL</character>
<parenthetical>( V.O. ; CONT 'D . )</parenthetical>
<dialogue>But the power of the Ring could not be undone.</dialogue>
<scene_description>IMAGE : SAURON lays waste to the armies of the LAST ALLIANCE . With desperate courage , ELENDIL leads a charge . THE BLACK MACE OF SAURON LASHES OUT ! IMAGE : ELENDIL 'S body falls like a crumpled rag doll . IMAGE : ISILDUR cradles the body of his father in his arms . The SHADOW OF SAURON falls over him .</scene_description>
<character>GALADRIEL</character>
<parenthetical>( V.O. ; CONT 'D . )</parenthetical>
<dialogue>It was in this moment. when all hope had faded, that Isildur, son of the king, took up his father's sword.</dialogue>
<scene_description>ISILDUR snatches up the BROKEN BLADE OF NARSIL . The BLADE severs SAURON 'S FINGERS . AND THE ONE RING FLIES from his body .</scene_description>
<character>GALADRIEL</character>
<parenthetical>( V.O. ; CONT 'D . )</parenthetical>
<dialogue>Sauron, the enemy of the Free Peoples of Middle Earth, was defeated. SAURON'S ARMOR clatters to the ground. His body</dialogue>
<scene_description>GONE . VAPORIZED ! CLOSE ON : ISILDUR picks up the SEVERED FINGER and removes the ONE RING . transfixed !</scene_description>
<character>GALADRIEL</character>
<parenthetical>( V.O. ; CONT 'D . )</parenthetical>
<dialogue>The Ring passed to Isildur. who had this one chance to destroy evil forever.</dialogue>
<scene_description>IMAGE : GLADDEN FIELD . ISILDUR leads a small column of men through DARKENING WOODS . the ONE RING glinting on a CHAIN around his neck .</scene_description>
<character>GALADRIEL</character>
<parenthetical>( V.O. ; CONT 'D . )</parenthetical>
<dialogue>But the hearts of Men are easily corrupted. And the Ring of Power has a will of its own.</dialogue>
<scene_description>SUDDENLY ! ARROWS FLY ! They are ambushed by ORCS . ISILDUR SCREAMS ! FADE TO BLACK FADE UP : ISILDUR MATERIALIZES UNDER WATER . as THE RING slips slowly from his finger . Ripples of LIGHT play across ISILDUR 'S PALE FACE . he is DEAD .</scene_description>
<character>GALADRIEL</character>
<parenthetical>( V.O. ; CONT 'D . )</parenthetical>
<dialogue>It betrayed Isildur to his death.</dialogue>
<scene_description>IMAGE : THE RING falls through the MURKY WATERS of the RIVER ANDUIN .</scene_description>
<character>GALADRIEL</character>
<parenthetical>( V.O. ; CONT 'D . )</parenthetical>
<dialogue>And some things that should not have been forgotten. were lost.</dialogue>
<scene_description>FADE TO BLACK</scene_description>
<character>GALADRIEL</character>
<parenthetical>( V.O. ; CONT 'D . )</parenthetical>
<dialogue>History became legend. legend became myth.</dialogue>
<scene_description>FADE UP : The waters of the ANDUIN RIVER lie dark and undisturbed .</scene_description>
<character>GALADRIEL</character>
<parenthetical>( V.O. ; CONT 'D . )</parenthetical>
<dialogue>And for two and a half thousand years the Ring passed out of all knowledge.</dialogue>
<scene_description>IMAGE : SILT SWIRLS . A THIN WHITE HAND reaches down . grasping the RING .</scene_description>
<character>GALADRIEL</character>
<parenthetical>( V.O. ; CONT 'D . )</parenthetical>
<dialogue>Until, when chance came, it ensnared a new bearer!</dialogue>
<scene_description>IMAGE : THE THIN WHITE HAND opens to reveal one ring .</scene_description>
<character>GOLLUM</character>
<parenthetical>( V.O . )</parenthetical>
<dialogue>My Precious.</dialogue>
<scene_description>IMAGE : MIST SHROUDED MOUNTAINS .</scene_description>
<character>GALADRIEL</character>
<parenthetical>( V.O . )</parenthetical>
<dialogue>The Ring came to the creature Gollum, who took it deep into the tunnels of the Misty Mountains.</dialogue>
<scene_description>IMAGE : THE GLOOM of a MOUNTAIN CAVERN . a MURKY POOL of WATER . in the DARKNESS the SHADOWY OUTLINE of an EMACIATED FIGURE .</scene_description>
<character>GALADRIEL</character>
<parenthetical>( V.O. ; CONT 'D . )</parenthetical>
<dialogue>And there, it consumed him. A RASPY VOICE mutters in the half light.</dialogue>
<character>GOLLUM</character>
<dialogue>It came to me. My own. My love.</dialogue>
<parenthetical>( ecstatic whisper . )</parenthetical>
<dialogue>My preciousness.</dialogue>
<character>GALADRIEL</character>
<parenthetical>( V.O . )</parenthetical>
<dialogue>The Ring brought to Gollum unnatural long life. For five hundred years it poisoned his mind. And in the gloom of Gollum's cave.</dialogue>
<scene_description>FADE TO BLACK</scene_description>
<character>GALADRIEL</character>
<parenthetical>( V.O. ; CONT 'D . )</parenthetical>
<dialogue>It waited.</dialogue>
<scene_description>FADE UP : Bathed in COLD MOONLIGHT , the WORLD lies DARK and STILL . the unsettled quiet before the storm .</scene_description>
<character>GALADRIEL</character>
<parenthetical>( V.O. ; CONT 'D . )</parenthetical>
<dialogue>Darkness crept back into the forests of the world. Rumor grew of a Shadow in the East. whispers of a nameless fear. And the Ring of Power perceived. its time had now come. It abandoned Gollum.</dialogue>
<scene_description>SLOW MOTION : unseen by its KEEPER . THE RING falls to the MUDDY FLOOR of a MOUNTAIN TUNNEL .</scene_description>
<character>GALADRIEL</character>
<parenthetical>( V.O. ; CONT 'D . )</parenthetical>
<dialogue>But something happened then the Ring did not intend.</dialogue>
<scene_description>FADE TO BLACK IMAGE : FUMBLING in the dark , a SMALL HAND closes over the RING .</scene_description>
<character>GALADRIEL</character>
<dialogue>It was picked up by the most unlikely creature imaginable.</dialogue>
<character>BILBO</character>
<parenthetical>( to himself . )</parenthetical>
<dialogue>What's this?</dialogue>
<scene_description>A YOUNGISH LOOKING BILBO BAGGINS peers down at what lies in his hand . PERPLEXED by what he has found .</scene_description>
<character>GALADRIEL</character>
<parenthetical>( V.O . )</parenthetical>
<dialogue>A Hobbit. Bilbo Baggins of the Shire.</dialogue>
<character>BILBO</character>
<parenthetical>( surprised . )</parenthetical>
<dialogue>A Ring.</dialogue>
<scene_description>SUDDENLY ! A VOICE SCREAMS . ITS ANGUISH RINGING through the COLD , DANK TUNNELS .</scene_description>
<character>GOLLUM</character>
<parenthetical>( V.O . )</parenthetical>
<dialogue>Lost! Lost! My Precious is lost!</dialogue>
<scene_description>Frightened Bilbo quickly POCKETS the ONE RING and hurries on . WIDE ON : THE CAMERA SOARS AWAY FROM THE MOUNTAINS . MOVING FASTER AND FASTER . THEIR DARK GREEN FORESTS AND JAGGED WHITE PEAKS RECEDING INTO THE SHROUD OF MIST</scene_description>
<character>GALADRIEL</character>
<parenthetical>( V.O . )</parenthetical>
<dialogue>For the time will soon come when Hobbits will shape the fortunes of all.</dialogue>
<scene_description>FADE TO BLACK</scene_description>
</scene>
<scene>
<stage_direction>EXT. HOBBITON WOODS -- DAY</stage_direction>
<scene_description>ANGLE ON : TWO HOBBIT FEET resting on a small rock . rising out of the LONG , OVERGROWN GRASSES SUPER : THE FELLOWSHIP OF THE RING SUPER : THE SHIRE . 60 YEARS LATER CAMERA TRACKS TO : a Figure lies beneath the dappled sunlight of an old tree . White flowers are scattered among the Well seeded grasses . An idyllic setting at the end of a long hot summer . the figure is reading a book . ON THE SOUNDTRACK : In the distance , growing louder . over the Gentle clip clop of an approaching cart and horse can be heard the HUMMING OF A DEEP VOICE to the tune of `` The Road Goes Ever On and On . '' SUDDENLY ! The figure in the grass sits up . looking straight at camera is a handsome young HOBBIT , with dark curly hair and deep blue eyes . This is FRODO BAGGINS . his EYES alight with EXCITEMENT ! Tossing away the long stem of grass in his mouth , Frodo runs off .</scene_description>
</scene>
<scene>
<stage_direction>EXT. SHIRE LANE -- DAY</stage_direction>
<scene_description>The cart rattles along a leafy lane , driven by a stooped figure in Grey . INTERCUT WITH ; SHOTS OF FRODO RUNNING . CAREERING DOWN A HILL . JUMPING OVER LOGS . DODGING TREE BRANCHES . The shambling OLD PONY snorts and rears as . SUDDENLY FRODO appears on a bank above the cart .</scene_description>
<character>FRODO</character>
<dialogue>You're late.</dialogue>
<scene_description>CLOSE ON : GANDALF glowers at the young Hobbit .</scene_description>
<character>GANDALF</character>
<dialogue>A Wizard is never late, Frodo Baggins, nor is he early. He arrives precisely when he means to.</dialogue>
<scene_description>They look at each other a moment . then both start laughing as FRODO 'S face breaks into a smile and he leaps on to the front seat of the cart .</scene_description>
<character>FRODO</character>
<dialogue>It's wonderful to see you, Gandalf!</dialogue>
<scene_description>Next to Gandalf , we see how small Hobbits are . Frodo is 3 foot 6 inches tall .</scene_description>
<character>GANDALF</character>
<dialogue>You did n't think I'd miss your Uncle Bilbo's birthday?</dialogue>
</scene>
<scene>
<stage_direction>EXT. HOBBITON FIELDS -- DAY</stage_direction>
<scene_description>Wide on : The cart rattles past a FIELD LUPIN being tended by HOBBITS .</scene_description>
<character>FRODO</character>
<dialogue>What news of the outside world? Tell me everything!</dialogue>
<scene_description>Gandalf looks down at Frodo , a twinkle in his eye .</scene_description>
<character>GANDALF</character>
<dialogue>What, everything? Far too eager and curious for a Hobbit. Most unnatural.</dialogue>
<scene_description>Wide on : The cart rattles over a Stone bridge towards a Busy Hobbit Marketplace .</scene_description>
<character>GANDALF</character>
<parenthetical>( V.O. ; CONT 'D . )</parenthetical>
<dialogue>Well, what can I tell you? Life in the wide world goes on much as if it has past age. Full of its own comings and goings, scarcely even aware of the existence of Hobbits.</dialogue>
<scene_description>Close on : Gandalf as he surveys the peaceful scene before him .</scene_description>
<character>GANDALF</character>
<parenthetical>( CONT 'D . )</parenthetical>
<dialogue>for which I am very thankful.</dialogue>
<scene_description>Hobbits look up exclaiming in wonder and excitement as the cart bearing Gandalf and Frodo rolls past the Green Dragon Inn . towards . Wide on : The party field . Where scOrcs of Hobbits are busy preparing for the big night .</scene_description>
<character>GANDALF</character>
<parenthetical>( CONT 'D . )</parenthetical>
<dialogue>Ah, the long expected party. So, how is the old rascal? I hear it's going to be a Party of Special Magnificence.</dialogue>
<character>FRODO</character>
<dialogue>You know Bilbo. he's got he whole place in an uproar.</dialogue>
<character>GANDALF</character>
<dialogue>Oh, well. that should please him.</dialogue>
<character>FRODO</character>
<dialogue>Half the Shire's been invited.</dialogue>
<character>GANDALF</character>
<dialogue>Good gracious, me.</dialogue>
<character>FRODO</character>
<dialogue>He's up to something.</dialogue>
<character>GANDALF</character>
<dialogue>Oh, really?</dialogue>
<scene_description>Frodo shoots a knowing look , as Gandalf averts his eyes .</scene_description>
<character>FRODO</character>
<dialogue>Alright then. keep your secrets. Before you came along we Bagginses were very well thought of.</dialogue>
<character>GANDALF</character>
<dialogue>Indeed?</dialogue>
<character>FRODO</character>
<dialogue>Never had any adventures or did anything unexpected.</dialogue>
<character>GANDALF</character>
<dialogue>If you're referring to the incident with the Dragon. I was barely involved. all I did was give your Uncle a little nudge out the door.</dialogue>
<character>FRODO</character>
<dialogue>Whatever you did. you've been officially labelled as a Disturber of the Peace.</dialogue>
<character>GANDALF</character>
<dialogue>Oh, really?</dialogue>
<scene_description>ODO PROUDFOOT looks up as the Cart passes by , deeply suspicious .</scene_description>
</scene>
<scene>
<stage_direction>EXT. HOBBITON -- DAY</stage_direction>
<scene_description>As the cart rattles into the small village of Hobbiton . a quaint rustic settlement , nestled amongst rolling green hills and large trees . The Hobbits live in Hobbit Holes : neat burrows dug into the grassy hillside , with round doors and cute front gardens . Excited children , chasing after the cart . Gandalf ignOrcs the children 's cries . The children stand deflated , watching Gandalf disappear up the lane . At that moment : spinning balls of bright color suddenly leap out of the cart , fizzing over the heads of the delighted children . Gandalf smiling to himself , well pleased with his joke . ODO PROUDFOOT is unable to suppress a chuckle . Frodo stands up in the cart as Gandalf reigns in the horse .</scene_description>
<character>FRODO</character>
<dialogue>Gandalf. I'm glad you're back. Frodo leaps expertly from the cart. Gandalf smiles.</dialogue>
<character>GANDALF</character>
<dialogue>So am I, dear boy. so am I</dialogue>
</scene>
<scene>
<stage_direction>EXT. BAG END -- DAY</stage_direction>
<scene_description>Wide on : GANDALF 'S CART pulls up outside the gate to BAG END . a particularly fine example of a Hobbit hole , with a large round front door set into a grassy hillside . There is a sign on the gate which reads : `` NO ADMITTANCE EXCEPT ON PARTY BUSINESS . '' Gandalf strides up to the garden path of Bag End . He raises his staff and raps on the front door . a voice calls out :</scene_description>
<character>BILBO</character>
<parenthetical>( O.S . )</parenthetical>
<dialogue>No, thank you! We do n't want any more visitors, well wishers, or distant relations.</dialogue>
<character>GANDALF</character>
<dialogue>And what about very old friends?</dialogue>
<scene_description>Suddenly the door opens and BILBO BAGGINS stands before him . He is a HOBBIT OF INDERTIMINATE AGE , with a mischievous Twinkle in his eye . Wearing a dashing brocade waist coat , he looks every inch the eccentric gentleman .</scene_description>
<character>BILBO</character>
<dialogue>Gandalf?</dialogue>
<character>GANDALF</character>
<dialogue>Bilbo Baggins!</dialogue>
<character>BILBO</character>
<dialogue>My dear Gandalf!</dialogue>
<scene_description>Gandalf drops to his knee to embrace his old friend .</scene_description>
<character>GANDALF</character>
<dialogue>It's good to see you. One hundred and eleven years old, who would believe it!</dialogue>
<scene_description>Gandalf looks at him more keenly .</scene_description>
<character>GANDALF</character>
<parenthetical>( CONT 'D . )</parenthetical>
<dialogue>You have n't aged a day! Gandalf and Bilbo laugh together and enter Bag End.</dialogue>
<character>BILBO</character>
<dialogue>Come on, come in! Welcome, welcome!</dialogue>
</scene>
<scene>
<stage_direction>INT. BAG END LIVING ROOM -- DAY</stage_direction>
<scene_description>Bilbo leads Gandalf into Bag End . cozy and cluttered with souvenirs of Bilbo 's travels . Gandalf has to stoop to avoid hitting his head on the low ceiling . Bilbo hangs up Gandalf 's hat on a peg and trots off down the hall .</scene_description>
<character>BILBO</character>
<parenthetical>( Calling . )</parenthetical>
<dialogue>Tea? Or maybe something stronger. I've a few bottles of the Old Winyard left, 1296. a very good year, almost as old as I am. It was laid down by my father. What say we open one, eh?</dialogue>
<scene_description>Bilbo disappears into the kitchen as Gandalf looks around . enjoying the familiarity of Bag End . he turns , knocking his head on the light and then walking into the wooden beam . He groans .</scene_description>
<character>BILBO</character>
<parenthetical>( O.S. ; CONT 'D . )</parenthetical>
<dialogue>I was expecting you some time last week. Not that it matters, you come and go as you please, always have done, always will. You've caught me a bit unprepared, I'm afraid. we've only got cold chicken, bit of pickle, some cheese here. ooh, no, that might be a little risky.</dialogue>
<scene_description>Gandalf stops in front of a framed map , charred in one corner . it is Thorin 's map of the Lonely Mountain , Gandalf smiles to himself .</scene_description>
<character>BILBO</character>
<parenthetical>( CONT 'D . )</parenthetical>
<dialogue>Er, we've got raspberry jam and apple tart. got some custard somewhere. Not much for Afters, I'm afraid. Oh no. we're alright. I've just found some sponge cake. Nice little snack. Hope it's enough.</dialogue>
<parenthetical>( comes into view . )</parenthetical>
<dialogue>I could do you some eggs if you like?</dialogue>
<scene_description>Bilbo jumps , a half eaten pork pie in his hand , as Gandalf mysteriously appears behind him .</scene_description>
<character>GANDALF</character>
<dialogue>Just tea, thank you.</dialogue>
<character>BILBO</character>
<dialogue>Oh. right. You do n't mind if?</dialogue>
<character>GANDALF</character>
<dialogue>No, not at all. Go ahead. A sudden loud knock on the front door.</dialogue>
<scene_description>MRS. SACKVILLE BAGGINS -LRB- O.S. -RRB- Bilbo Baggins , you open this door . I know you 're in there .</scene_description>
<character>BILBO</character>
<dialogue>I'm not home.</dialogue>
<scene_description>Gandalf watches , amused as Bilbo tries to hide .</scene_description>
<character>BILBO</character>
<parenthetical>( CONT 'D . )</parenthetical>
<dialogue>I've got to get away from these confounded relatives, hanging on the bell all day, never giving me a moment's peace. I want to see mountains again. mountains, Gandalf. and then find somewhere quiet where I can finish my book. Oh, Tea!</dialogue>
<character>GANDALF</character>
<dialogue>So, you mean to go through with your plan, then?</dialogue>
<character>BILBO</character>
<dialogue>Yes, yes. it's all inhand. All the arrangements are made.</dialogue>
<character>GANDALF</character>
<dialogue>Frodo suspects something.</dialogue>
<character>BILBO</character>
<dialogue>` Course he does, he's a Baggins. not some block headed Bracegirdle from Hardbottle!</dialogue>
<character>GANDALF</character>
<dialogue>You will tell him, wo n't you?</dialogue>
<character>BILBO</character>
<dialogue>Yes, yes.</dialogue>
<character>GANDALF</character>
<dialogue>He's very fond of you.</dialogue>
<character>BILBO</character>
<dialogue>I know. He'd probably come with me if I asked him. I think, in his heart, Frodo's still in love with the Shire, the woods and the fields. little rivers. Bilbo stands gazing out of the kitchen window.</dialogue>
<character>BILBO</character>
<parenthetical>( CONT 'D . )</parenthetical>
<dialogue>I am old, Gandalf. Bilbo looks at Gandalf sadly.</dialogue>
<character>BILBO</character>
<parenthetical>( CONT 'D . )</parenthetical>
<dialogue>I know I do n't look it, but I'm beginning to feel it in my heart.</dialogue>
<scene_description>Bilbo 's fingers close around his waistcoat pocket . gripping a small , unseen object .</scene_description>
<character>BILBO</character>
<parenthetical>( CONT 'D . )</parenthetical>
<dialogue>I feel thin. sort of stretched, like butter scraped over too much bread. I need a holiday. a very long holiday and I do n't expect I shall return. in fact, I mean not to.</dialogue>
</scene>
<scene>
<stage_direction>INT. BAG END -- EVENING</stage_direction>
<scene_description>Gandalf and Bilbo are sitting on the Bag End porch . Below them , final preparations are being made on the Party field . Bilbo strikes a match and lights his pipe .</scene_description>
<character>BILBO</character>
<dialogue>Old Toby, the finest weed in Southfarthing!</dialogue>
<scene_description>Bilbo blows a perfect smoke ring and watches it rise into the air . A tiny sailing ship with masts and sails glides through the Center of Bilbo 's smoke ring .</scene_description>
<character>BILBO</character>
<parenthetical>( CONT 'D . )</parenthetical>
<dialogue>Ohhhh.</dialogue>
<parenthetical>( smiles . )</parenthetical>
<dialogue>Gandalf my old friend. this will be a night to remember!</dialogue>
</scene>
<scene>
<stage_direction>EXT. PARTY FIELD, HOBBITON -- NIGHT</stage_direction>
<scene_description>BOOM ! A FIREWORK explodes into the night sky high above Hobbiton . in the shape of a great green tree with unfolding branches . TILT DOWN : with glowing flowers as they rain down from the branches . evaporating just above the up turned faces of the delighted party - goers 144 Hobbits , feasting and drinking Carts of beer and wine are scattered about , and the tables are piled high with steaming scones and savories . Gandalf hurries about , lighting fireworks with a blue spark that dances magically from his staff . Bilbo is greeting visitors . Frodo and SAM sit at a table drinking ale . Frodo notices Sam 's eyes keep flicking to another pretty Hobbit , Rosie Cotton , sitting some distance away .</scene_description>
<character>FRODO</character>
<dialogue>Go on, Sam, ask Rosie for a dance.</dialogue>
<character>SAM</character>
<parenthetical>( horrified . )</parenthetical>
<dialogue>I think I'll just have myself another ale.</dialogue>
<character>FRODO</character>
<dialogue>Oh, no you do n't. Go on.</dialogue>
<scene_description>Sam goes to drain his glass . suddenly it is snatched out of his hands as Frodo thrusts him into the middle of a passing throng of dancers . ANGLE ON : SAM 'S HORRIFIED FACE as he is Swept away . Frodo laughs and finishes Sam 's beer . Gandalf as he sets alight a particularly spectacular firework that draws gasps of admiration from the party guests . Close on : Bilbo is relating stories of his adventure to a group of young hobbit children .</scene_description>
<character>BILBO</character>
<parenthetical>( melodramatic . )</parenthetical>
<dialogue>So, there I was. at the mercy of three monstrous trolls. Have you ever heard of a troll? Do you know what a Troll is? Great big nasty twenty foot high smelly things. and they're arguing. arguing about how they were going to cook us!</dialogue>
<scene_description>ANGLE ON : A LITTLE HOBBIT GIRL 'S upturned face . her eyes growing larger and larger .</scene_description>
<character>BILBO</character>
<dialogue>Whether it be turned on a spit or minced in a pie or whether they were going to sit on us one by one and squash us into jelly! But they spent so long arguing the whether - to's and why - for's that the sun's first light crept over the top of the trees. and turned them all to stone!</dialogue>
<scene_description>STUNNED GASPS from his young Audience greet his astonishing feat ! Close on : MERRY AND PIPPIN , two mischievous Young Hobbits in their late teens . Pippin scrambles on to the back of Gandalf 's wagon , snatching up a small firework</scene_description>
<character>MERRY</character>
<parenthetical>( urgent whisper . )</parenthetical>
<dialogue>No, no. the big one. the big one! Pippin grabs a huge rocket. CLOSE ON : FIREWORK FUSE crackles with flame!</dialogue>
<scene_description>Merry is holding out the big rocket . he looks aghast at the fizzing fuse that Pippin has just lit .</scene_description>
<character>MERRY</character>
<parenthetical>( CONT 'D . )</parenthetical>
<parenthetical>( worried whisper . )</parenthetical>
<dialogue>You're supposed to stick it in the ground!</dialogue>
<character>PIPPIN</character>
<dialogue>It is in the ground.</dialogue>
<scene_description>Merry fearfully tosses the Rocket to Pippin ! The fuse sizzles angrily .</scene_description>
<character>MERRY</character>
<dialogue>Outside!</dialogue>
<character>PIPPIN</character>
<dialogue>It was your idea.</dialogue>
<scene_description>Pippin attempts to throw the fizzing rocket back to Merry . WHOOSH ! The two hobbits are suddenly blown off their feet in a shower of sparks as the rocket blasts off with frightening power . The ROCKET ZOOMS over the Party . It suddenly bursts apart , forming the shape of a great red golden Dragon ! Fire gushes from its nostrils as it turns back and Flies low towards the startled crowd . Close on : Frodo watches the Fireworks Dragon with alarm . but Bilbo is oblivious to the Panicking crowd and impending danger !</scene_description>
<character>FRODO</character>
<dialogue>Bilbo! Watch out for the dragon!</dialogue>
<character>BILBO</character>
<dialogue>Dragon? Nonsense. hasn1t been a dragon in these parts for a thousand years!</dialogue>
<scene_description>ANGLE ON : FRODO As he hurriedly pulls Bilbo to the ground , just as the dragon roars a few feet above their heads like a flaming express train ! Hobbits dive to the ground , tables overturn , tents collapse , food flies everywhere . The fireworks dragon turns a somersault and explodes over the hills with a deafening bang ! This gets the biggest Cheer of the night . ANGLE ON : MERRY AND PIPPIN , clothes and hair smoking .</scene_description>
<character>MERRY</character>
<dialogue>That was good!</dialogue>
<character>PIPPIN</character>
<dialogue>Let's get another one!</dialogue>
<scene_description>LARGE HANDS suddenly clamp down on Merry and Pippin 's ears . Low angle : Gandalf looking DOWN STERNLY !</scene_description>
<character>GANDALF</character>
<dialogue>Meridoc Brandybuck and Peregrin Took. I might have known!</dialogue>
<scene_description>MERRY AND PIPPIN Are leaning over a barrel , washing dishes in soapy water . with Gandalf sitting nearby , smoking his pipe and sipping an ale . Cries of `` SPEECH ! SPEECH '' erupt from the party . Bilbo stepping on a stool . he bows in gratitude at the applause .</scene_description>
<character>FRODO</character>
<dialogue>Speech!</dialogue>
<character>BILBO</character>
<parenthetical>( clearing throat . )</parenthetical>
<dialogue>My dear Bagginses, and Boffins, tooks and Brandybucks. Grubbs, Chubbs, Hornblowers, Bolgers, Bracegirdles and Proudfoots.</dialogue>
<scene_description>ANGLE ON : A HOBBIT WITH PARTICULARLY BIG FEET</scene_description>
<character>ODO PROUDFOOT</character>
<dialogue>Proudfeet!</dialogue>
<character>BILBO</character>
<dialogue>Today is my one hundred and eleventh birthday. Yes, and alas. Eleventy - one years is far too short a time to live among such excellent and admirable Hobbits! Tremendous outburst of approval!</dialogue>
<character>BILBO</character>
<parenthetical>( CONT 'D . )</parenthetical>
<dialogue>I do n't know half of you half as well as I should like ; and I like less than half of you as well as well as you deserve.</dialogue>
<scene_description>SCATTERED CLAPPING as the guests try to work out if that was a compliment or not . CLOSE ON : FRODO AND GANDALF smiling to themselves . CLOSE ON : Bilbo . a strange hum seems to fill his head . A bead of sweat rolls down his brow . Bilbo 's hand pulls something out of his waistcoat pocket and holds it behind his back .</scene_description>
<character>BILBO</character>
<parenthetical>( CONT 'D . )</parenthetical>
<dialogue>I have. things to do and I have put this off for far too long. CLOSE ON : BILBO'S knuckles turn white as he tightens his grip on the small object behind his back.</dialogue>
<character>BILBO</character>
<parenthetical>( CONT 'D . )</parenthetical>
<dialogue>I regret to announce, this is the end. I am going now. I bid you all a very fond farewell! Bilbo looks across at Frodo, hesitates. then.</dialogue>
<character>BILBO</character>
<parenthetical>( CONT 'D . )</parenthetical>
<parenthetical>( whisper . )</parenthetical>
<dialogue>Goodbye.</dialogue>
<scene_description>Bilbo instantly vanishes . The party explodes into an uproar . the crowd leaps to its feet . ANGLE ON : FRODO staring at the empty stool in disbelief .</scene_description>
</scene>
<scene>
<stage_direction>EXT. BAG END -- NIGHT</stage_direction>
<scene_description>The party is still in an excited uproar . some 50 yards away as we pan across a moonlit lane to the front door of Bag End . Door opens , pulled by an invisible hand .</scene_description>
</scene>
<scene>
<stage_direction>INT. BAG END -- NIGHT</stage_direction>
<scene_description>The door quietly closes . Bilbo materializes as he pulls a plain gold ring off his finger . Bilbo laughs as he tosses the ring in the air , then places it in his pocket . Bilbo emerges from the passage , carrying a walking stick . He finds Gandalf looming over him .</scene_description>
<character>GANDALF</character>
<dialogue>I suppose you think that was terribly clever?</dialogue>
<character>BILBO</character>
<dialogue>Come on, Gandalf! Did you see their faces?</dialogue>
<character>GANDALF</character>
<dialogue>There are many magic rings in the world, Bilbo Baggins, and none of them should be used lightly.</dialogue>
<character>BILBO</character>
<dialogue>It was just a bit of fun. Oh, you're probably right as usual.</dialogue>
<character>GANDALF</character>
<dialogue>You will keep an eye on Frodo, wo n't you?</dialogue>
<character>BILBO</character>
<dialogue>I'm leaving everything to him.</dialogue>
<character>GANDALF</character>
<dialogue>What about this ring of yours? Is that staying too?</dialogue>
<scene_description>Close on : Bilbo . he gives Gandalf a look and nods toward the mantelpiece .</scene_description>
<character>BILBO</character>
<dialogue>Yes, yes, it's in an envelope. over there on the mantelpiece. Gandalf frowns at the empty mantelpiece. Bilbo suddenly feels his waistcoat with a look of guilty surprise.</dialogue>
<character>BILBO</character>
<parenthetical>( CONT 'D . )</parenthetical>
<dialogue>No, wait. It's here in my pocket. Is n't that. is n't' that odd now? Yet, after all, why not? Why should n't I keep it?</dialogue>
<character>GANDALF</character>
<dialogue>I think you should leave the Ring behind, Bilbo. Is that so hard?</dialogue>
<character>BILBO</character>
<dialogue>Well, no. and yes. Now it comes to it, I do n't feel like parting with it. It's mine. I found it. It came to me!</dialogue>
<scene_description>ANGLE ON : GANDALF LOOKS DOWN AT BILBO WITH RISING CONCERN .</scene_description>
<character>GANDALF</character>
<dialogue>There's no need to get angry.</dialogue>
<character>BILBO</character>
<dialogue>Well, if I'm angry, it's your fault! It's mine. My own, my precious.</dialogue>
<character>GANDALF</character>
<dialogue>Precious? It's been called that before, but not by you.</dialogue>
<character>BILBO</character>
<dialogue>So? What business is it of yours what I do with my own things? Bilbo's voice, shape and manner have suddenly changed.</dialogue>
<character>GANDALF</character>
<dialogue>I think you've had that ring quite long enough.</dialogue>
<character>BILBO</character>
<dialogue>You want it for yourself!</dialogue>
<scene_description>Gandalf rises to his full height , his eyes flash , his shadow suddenly seems to fill the room</scene_description>
<character>GANDALF</character>
<dialogue>Bilbo Baggins do not take me for some conjurer of cheap tricks! Bilbo cowers from Gandalf, disarmed by his power. a frightened Hobbit. Gandalf's expression softens.</dialogue>
<character>GANDALF</character>
<parenthetical>( CONT 'D . )</parenthetical>
<dialogue>I am not trying to rob you. I am trying to help you. Sobbing, Bilbo runs to Gandalf and hugs him.</dialogue>
<character>GANDALF</character>
<parenthetical>( CONT 'D . )</parenthetical>
<dialogue>All you long years we've been friends. trust me as you once did. Let it go!</dialogue>
<character>BILBO</character>
<dialogue>You're right, Gandalf. the ring must go to Frodo.</dialogue>
<scene_description>Bilbo lifts his knapsack and heads for the front door .</scene_description>
<character>BILBO</character>
<parenthetical>( CONT 'D . )</parenthetical>
<dialogue>It's late, the road is long. yes, it is time.</dialogue>
<character>GANDALF</character>
<dialogue>Bilbo?</dialogue>
<character>BILBO</character>
<dialogue>Hmmm?</dialogue>
<character>GANDALF</character>
<dialogue>The ring is still in your pocket.</dialogue>
<scene_description>Bilbo hesitates . reaches into his pocket .</scene_description>
<character>BILBO</character>
<dialogue>Oh, yes.</dialogue>
<scene_description>CLOSE ON : Bilbo pulls out the ring . he stares at it in his palm . With all his will power , Bilbo allows the ring to slowly slide off his palm and drop to the floor . CLOSE ON : The tiny ring lands with a heavy thud on the wooden floor .</scene_description>
</scene>
<scene>
<stage_direction>EXT. BAG END -- NIGHT</stage_direction>
<scene_description>Bilbo staggering out of Bag end . he braces himself in the night air , Pale and Trembling , as if his loss of the ring has weakened him . Gandalf steps up behind .</scene_description>
<character>BILBO</character>
<dialogue>I've thought up and ending for my book. `` And he lived happily ever after to the end of his days.''</dialogue>
<character>GANDALF</character>
<dialogue>I'm sure you will, my dear friend.</dialogue>
<character>BILBO</character>
<dialogue>Goodbye, Gandalf.</dialogue>
<character>GANDALF</character>
<dialogue>Goodbye Bilbo.</dialogue>
<scene_description>Bilbo walks away from Bag End , disappearing into the night , softly singing : `` The Road goes on and on . ''</scene_description>
<character>GANDALF</character>
<parenthetical>( CONT 'D . )</parenthetical>
<parenthetical>( softly . )</parenthetical>
<dialogue>Until our next meeting.</dialogue>
</scene>
<scene>
<stage_direction>INT. BAG END LIVING ROOM -- NIGHT</stage_direction>
<scene_description>CLOSE ON : THE RING . Glinting on the floor . Gandalf circles around it , a Puzzled look on his face . Gandalf slowly reaches for the ring . His fingers barely touch the ring . the creepy Hum rises on the soundtrack . Gandalf is sitting in front of the fire , with his pipe . staring into the flickering flames .</scene_description>
<character>BILBO</character>
<parenthetical>( V.O . )</parenthetical>
<dialogue>It's mine, my own, my precious.</dialogue>
<character>GANDALF</character>
<parenthetical>( to himself . )</parenthetical>
<dialogue>Riddles in the dark.</dialogue>
<character>FRODO</character>
<parenthetical>( O.S . )</parenthetical>
<dialogue>Bilbo! Bilbo!</dialogue>
<scene_description>Frodo rushes into Bag End . he stops and picks up the ring at his feet . Gandalf continues staring into the fire , as if locked in thought .</scene_description>
<character>GANDALF</character>
<parenthetical>( to himself . )</parenthetical>
<dialogue>My precious. precious.</dialogue>
<character>FRODO</character>
<parenthetical>( quietly . )</parenthetical>
<dialogue>He's gone, has n't he? Frodo steps into the living room.</dialogue>
<character>FRODO</character>
<parenthetical>( CONT 'D . )</parenthetical>
<dialogue>He talked for so long about leaving. I did n't think he'd really do it.</dialogue>
<character>GANDALF</character>
<parenthetical>( mutters to himself . )</parenthetical>
<dialogue>. my own.</dialogue>
<character>FRODO</character>
<dialogue>Gandalf?</dialogue>
<scene_description>Gandalf turns . his eyes locking onto the ring in Frodo 's fingers .</scene_description>
<character>GANDALF</character>
<dialogue>Bilbo's ring.</dialogue>
<scene_description>Gandalf sorts hurriedly through Bilbo 's papers .</scene_description>
<character>GANDALF</character>
<parenthetical>( CONT 'D . )</parenthetical>
<dialogue>He's gone to stay with the Elves. He's left you Bag End.</dialogue>
<scene_description>Gandalf holds out the envelope . Frodo drops the ring into it .</scene_description>
<character>GANDALF</character>
<parenthetical>( CONT 'D . )</parenthetical>
<dialogue>along with all his possessions.</dialogue>
<scene_description>Gandolf seals the envelope with wax . He hands it to Frodo .</scene_description>
<character>GANDALF</character>
<parenthetical>( CONT 'D . )</parenthetical>
<dialogue>The ring is yours now. But it somewhere out of sight. Gandalf rises hurriedly and starts to gather his things.</dialogue>
<character>FRODO</character>
<dialogue>Where are you going?</dialogue>
<character>GANDALF</character>
<dialogue>I have some things I must see to.</dialogue>
<character>FRODO</character>
<dialogue>What things?</dialogue>
<character>GANDALF</character>
<dialogue>Questions. Questions that need answering.</dialogue>
<character>FRODO</character>
<dialogue>You've only just arrived! I do n't understand.</dialogue>
<scene_description>Gandalf is already at the door , he turns to Frodo .</scene_description>
<character>GANDALF</character>
<dialogue>Neither do I. Keep it secret, keep it safe.</dialogue>
<scene_description>Gandalf hurries out the door . leaving FRODO standing alone in the Bag End . ANGLE ON : THE ENVELOPE The camera pushes in . the hum of the ring comes up on the soundtrack . The camera pushes through the white paper to the ring . beneath the hum the whispered murmur of BLACK SPEECH can be heard .</scene_description>
</scene>
<scene>
<stage_direction>EXT. BARAD-DUR -- NIGHT</stage_direction>
<scene_description>The jagged ruins of '' BARAD - DUR . THE DARK TOWER ! TEASING IMAGES : THE HUGE DARK TOWER OF BARAD - DUR is being rebuilt ! Thousands of ORCS crawl over the surface , hauling stone and iron up the towering heights . WIDE ON : MOUNT DOOM . A HUGE , BILLOWING CLOUD OF BLACK FILTH grows and spreads across the red streaked sky . casting a shadowy pall over the nightmarish landscape .</scene_description>
<character>GOLLUM</character>
<parenthetical>( O.S . )</parenthetical>
<dialogue>Baggins! Shire!</dialogue>
</scene>
<scene>
<stage_direction>EXT. MINAS MORGUL -- NIGHT</stage_direction>
<scene_description>NINE BLACK RIDERS burst out of Minas Morgul and charge toward Camera .</scene_description>
</scene>
<scene>
<stage_direction>EXT. THE WEST ROAD, GONDOR -- DAY</stage_direction>
<scene_description>WIDE ON : A LONE HORSEMAN gallops to the crest of a hill on the west road . The main highway south to Minas Tirith . he looks toward the saw toothed mountains of Mordor . seeping out across the blood red sky , his face grave . He spurs his horse on .</scene_description>
</scene>
<scene>
<stage_direction>INT. CITADEL, MINAS TIRITH -- NIGHT</stage_direction>
<scene_description>ANGLE ON : GANDALF making is way down into the lower depths of the Citidel .</scene_description>
</scene>
<scene>
<stage_direction>INT. CITADEL CHAMBER, MINAS TIRITH -- NIGHT</stage_direction>
<scene_description>CLOSE ON : Pages flipping as Gandalf searches ancient scrolls and books placed high on a wooden table . His eyes settle on one old parchment . He murmurs hurriedly to himself , reading .</scene_description>
<character>GANDALF</character>
<parenthetical>( reading . )</parenthetical>
<dialogue>The year 3434 of the Second Age. here follows the account of Isildur, High King of Gondor, and the finding of the ring of power.</dialogue>
<scene_description>CLOSE ON : ISILDUR , TRIUMPHANT , REACHES FOR THE ONE RING , HIS EYES FIXATED ON IT .</scene_description>
<character>GANDALF</character>
<parenthetical>( reading . )</parenthetical>
<dialogue>It has come to me. the ring of power! It shall be an heirloom of my Kingdom. all those who follow in my bloodline shall be bound to its fate, for I will risk no hurt to the</dialogue>
<character>GANDALF</character>
<parenthetical>( CONT 'D . )</parenthetical>
<dialogue>ring. it is precious to me, though I buy it with great pain.</dialogue>
<scene_description>CLOSE ON : ELVISH LETTERING MARKS ON THE FADED OLD DOCUMENT IN GANDALF 'S HAND .</scene_description>
<character>GANDALF</character>
<parenthetical>( reading . )</parenthetical>
<dialogue>The marking upon the band begin to fade. the writing which at first was as clear as red flame, has all but disappeared. a secret now that only fire can tell.</dialogue>
</scene>
<scene>
<stage_direction>EXT. HOBBIT FARMHOUSE -- EVENING</stage_direction>
<scene_description>FARMER MAGGOT is chopping wood in his garden CLOSE ON : SNORTING HORSE NOSTRILS . as the shadow of a black rider looms over a Hobbit House . Terrified , FARMER MAGGOT cowers in his doorway . FANG , his dog , Whimpers and backs away .</scene_description>
<character>BLACK RIDER</character>
<parenthetical>( hissing . )</parenthetical>
<dialogue>Shire? Baggins?</dialogue>
<character>FARMER MAGGOT</character>
<parenthetical>( terrified . )</parenthetical>
<dialogue>There's no Bagginses around here! They are all up in Hobbiton. that way.</dialogue>
<scene_description>The BLACK RIDER GALLOPS AWAY AT SPEED</scene_description>
</scene>
<scene>
<stage_direction>INT. GREEN DRAGON INN -- NIGHT</stage_direction>
<scene_description>ANGLE ON : ROSIE COTTON bids the last of the Patron 's `` Goodnight '' . Sam meets her eyes for a moment as he and Frodo leave the inn .</scene_description>
</scene>
<scene>
<stage_direction>EXT. BAG END -- NIGHT</stage_direction>
<scene_description>WIDE ON : FRODO FAREWELLS SAM outside Bag End , and heads towards the front door . Creepy POV from inside Bag end : Frodo coming up the path .</scene_description>
</scene>
<scene>
<stage_direction>INT. BAG END HALLWAY -- NIGHT</stage_direction>
<scene_description>FRODO enters Bag End . he immediately Pauses , sensing that something is amiss . All is quiet . Frodo peers uneasily into the darkened living room . SUDDENLY ! A large figure looms out of the shadows , reaching for Frodo . Frodo lets out a startled cry , pulls himself free and spins around to face his Assailant . Gandalf steps into a shaft of moonlight . Paranoia blazes in his eyes . His clothes are dirty and ragged from much traveling . Hair and beard much longer an unkempt .</scene_description>
<character>GANDALF</character>
<parenthetical>( urgent whisper . )</parenthetical>
<dialogue>Is it secret? Is it safe?</dialogue>
</scene>
<scene>
<stage_direction>INT. BAG END LIVING ROOM -- NIGHT</stage_direction>
<scene_description>Frodo pulls the envelope out of an old chest . Gandalf , suspicious , Alert . Without a word , Gandalf takes the envelope and tosses it into the fireplace !</scene_description>
<character>FRODO</character>
<parenthetical>( bewildered . )</parenthetical>
<dialogue>What are you doing?</dialogue>
<scene_description>Flames instantly consume the envelope . revealing the ring , as it sinks into the red hot embers . Gandalf reaches into the fire with a pair of tongs . he lifts the ring out .</scene_description>
<character>GANDALF</character>
<dialogue>Hold out your hand, Frodo. it is quite cool.</dialogue>
<scene_description>Gandalf drops the ring into Frodo 's hand . he reacts to its weight .</scene_description>
<character>GANDALF</character>
<parenthetical>( CONT 'D . )</parenthetical>
<dialogue>What can you see? Can you see anything?</dialogue>
<character>FRODO</character>
<dialogue>Nothing. there's nothing. Wait.</dialogue>
<scene_description>CLOSE ON : The Gold Band of the ring as fiery letters begin to appear . a tiny inscription glows red . as if burning from within .</scene_description>
<character>GANDALF</character>
<dialogue>these are markings.</dialogue>
<scene_description>CLOSE ON : GANDALF . STILL . TENSE</scene_description>
<character>FRO DO</character>
<dialogue>It's some form of Elvish. I ca n't read it.</dialogue>
<character>GANDALF</character>
<parenthetical>( ominous . )</parenthetical>
<dialogue>There are few who can. the language is that of Mordor, which I will not utter here.</dialogue>
<scene_description>Mordor ?</scene_description>
<character>FRODO</character>
<dialogue>GANDALF</dialogue>
<scene_description>In the common tongue it says , `` One ring to rule them all , One ring to find them , One ring to bring them all , and in the darkness bind them . ''</scene_description>
</scene>
<scene>
<stage_direction>INT. BAG END KITCHEN -- NIGHT</stage_direction>
<scene_description>CLOSE ON : The ring lies on Frodo 's simple kitchen table .</scene_description>
<character>GANDALF</character>
<dialogue>This is the one ring forged by the dark lord, Sauron, in the fires of Mt Doom. taken by Isildur from the hand of Sauron himself.</dialogue>
<scene_description>CLOSE ON : FRODO . STUNNED</scene_description>
<character>FRODO</character>
<parenthetical>( quiet realization . )</parenthetical>
<dialogue>Bilbo found it. in Gollom's cave.</dialogue>
<character>GANDALF</character>
<dialogue>For sixty years the ring lay quiet in Bilbo's keeping, prolonging his life, delaying old age. but no longer, Frodo. Evil is stirring in Mordor. The ring has awoken. It has heard its master's call. AT THAT MOMENT : A FLEETING, LOW WHISPER of BLACK SPEECH</dialogue>
<scene_description>emanates from the Ring . Frodo looks at Gandalf , each knowing the other has heard it .</scene_description>
<character>FRODO</character>
<dialogue>But he was destroyed. Sauron was destroyed.</dialogue>
<scene_description>ANGLE ON : THE RING lies between them on the table .</scene_description>
<character>GANDALF</character>
<dialogue>No, Frodo. The spirit of Sauron has endured. His life force is bound to the ring and the ring survived. Sauron has returned. His Orcs have multiplied. his fortress of Barad - dur is rebuilt in the land of Mordor. Sauron needs only this ring to cover all the lands in the second darkness. He is seeking it, seeking it, all his thought is bent on it. For the ring yearns, above all else, to return to the hand of its master : they are one, the ring and the dark lord. Frodo, he must never find out. SUDDENLY Frodo scoops up the Ring.</dialogue>
<character>FRODO</character>
<dialogue>Alright!</dialogue>
</scene>
<scene>
<stage_direction>INT. BAG END LIVING ROOM -- NIGHT</stage_direction>
<scene_description>ANGLE ON : FRODO hurriedly entering the living room .</scene_description>
<character>FRODO</character>
<parenthetical>( thinking fast . )</parenthetical>
<dialogue>We put it away, we keep it hidden! We never speak of it again. No one know it's here, do they? Gandalf shifts uncomfortably.</dialogue>
<character>FRODO</character>
<parenthetical>( CONT 'D . )</parenthetical>
<dialogue>Do they, Gandalf?</dialogue>
<scene_description>Gandalf looks at Frodo , sadly .</scene_description>
<character>GANDALF</character>
<dialogue>There is one other who knew that Bilbo had the Ring. I looked everywhere for the creature Gollum, but the enemy found him first.</dialogue>
</scene>
<scene>
<stage_direction>INT. BARAD-DUR -- NIGHT</stage_direction>
<scene_description>CLOSE ON : A teasing Glimpse of Gollum being tortured by the Orcs . The wretched creature screams in pain .</scene_description>
<character>GANDALF</character>
<parenthetical>( V.O . )</parenthetical>
<dialogue>I do n't know how long they tortured him. but amidst the endless screams and inane babble, they discerned two words.</dialogue>
<character>GOLLUM</character>
<parenthetical>( screaming . )</parenthetical>
<dialogue>S. Shire! Baggins!</dialogue>
</scene>
<scene>
<stage_direction>INT. BAG END LIVING ROOM -- NIGHT</stage_direction>
<scene_description>CLOSE ON : FRODO 'S HORRIFIED FACE !</scene_description>
<character>FRODO</character>
<dialogue>Shire! Baggins! That will lead them here!</dialogue>
</scene>
<scene>
<stage_direction>EXT. SHIRE LANE, SOUTH FARTHING -- NIGHT</stage_direction>
<scene_description>IMAGE : On a dark country lane , a Hobbit bounder lifts his watch lantern in alarm .</scene_description>
<character>HOBBIT BOUNDER</character>
<dialogue>Halt! Who goes there?</dialogue>
<scene_description>Out of the darkness thunder two BLACK RIDERS . A LETHAL SWORD swings down at the small Hobbit bounder .</scene_description>
</scene>
<scene>
<stage_direction>INT. BAG END LIVING ROOM -- NIGHT</stage_direction>
<scene_description>FRODO thrusts the ring at Gandalf .</scene_description>
<character>FRODO</character>
<dialogue>Take it! Take it!</dialogue>
<character>GANDALF</character>
<dialogue>No, Frodo.</dialogue>
<character>FRODO</character>
<dialogue>You must take it.</dialogue>
<character>GANDALF</character>
<dialogue>You can not offer me this ring.</dialogue>
<character>FRODO</character>
<dialogue>I'm giving it to you!</dialogue>
<character>GANDALF</character>
<dialogue>Do n't tempt me, Frodo. I dare not take it, not even to keep it safe.</dialogue>
<scene_description>CLOSE ON : THE RING IN FRODO 'S HAND .</scene_description>
<character>GANDALF</character>
<dialogue>Understand, Frodo. I would use this Ring from a desire to do good. but through me, it would wield a power too great and terrible to imagine.</dialogue>
<character>FRODO</character>
<dialogue>But it can not stay in the Shire!</dialogue>
<character>GANDALF</character>
<dialogue>No, no it ca n't.</dialogue>
<scene_description>CLOSE ON : THE RING IN FRODO 'S CLENCHED HAND .</scene_description>
<character>FRODO</character>
<dialogue>What must I do?</dialogue>
</scene>
<scene>
<stage_direction>INT. FRODO'S BEDROOM -- NIGHT</stage_direction>
<scene_description>ANGLE ON : FRODO throwing clothes into a knapsack . Gandalf watches him , making plans .</scene_description>
<character>GANDALF</character>
<dialogue>You must leave, and leave quickly. Get out of the Shire.</dialogue>
<character>FRODO</character>
<dialogue>Where? Where shall I go?</dialogue>
<character>GANDALF</character>
<dialogue>Make for the village of Bree.</dialogue>
<character>FRODO</character>
<dialogue>Bree? What about you?</dialogue>
<character>GANDALF</character>
<dialogue>I will, be waiting for you at the Inn of the Prancing Pony. Frodo packs his food into his knapsack.</dialogue>
<character>FRODO</character>
<dialogue>And the ring will be safe there?</dialogue>
<character>GANDALF</character>
<dialogue>I do n't know, Frodo. I do n't have any answers. I must see the Head of my Order. He is both wise and powerful. Trust me, Frodo. He'll know what to go.</dialogue>
</scene>
<scene>
<stage_direction>INT. BAG END LIVING ROOM -- NIGHT</stage_direction>
<scene_description>Frodo is preparing to leave .</scene_description>
<character>GANDALF</character>
<dialogue>You'll have to leave the name of Baggins behind you. for that name is not safe outside the Shire. GANDALF helps FRODO into his coat.</dialogue>
<character>GANDALF</character>
<parenthetical>( CONT 'D . )</parenthetical>
<dialogue>Travel only by day and stay off the road.</dialogue>
<character>FRODO</character>
<parenthetical>( thinking . )</parenthetical>
<dialogue>I can cut across country easily enough.</dialogue>
<scene_description>Gandalf looks at the young Hobbit , moved by his courage .</scene_description>
<character>GANDALF</character>
<dialogue>My dear Frodo, Hobbits really are amazing creatures. You can learn all that there is to know about their ways in a month, and yet, after a hundred years, they can still surprise you.</dialogue>
<scene_description>SUDDENLY ! A SOUND from outside .</scene_description>
<character>GANDALF</character>
<parenthetical>( CONT 'D . )</parenthetical>
<dialogue>Get down!</dialogue>
<scene_description>GANDALF FREEZES . he moves quietly towards the window , eyes wide with tension . He raises his staff above the window , and slams it down on the intruder . THERE IS A YELP OF PAIN ! Gandalf hauls a small figure into the room . SAM GAMGEE sprawls across the floor ! He looks up in terror as Gandalf looms over him .</scene_description>
<character>GANDALF</character>
<parenthetical>( CONT 'D . )</parenthetical>
<parenthetical>( angry . )</parenthetical>
<dialogue>Confound it all! Samwise Gamgee, have you been eavesdropping?</dialogue>
<character>SAM</character>
<dialogue>I ai n't been dropping no eaves, sir! Honest. I was just cutting the grass under the window there, if you follow me.</dialogue>
<character>GANDALF</character>
<dialogue>It's a little late for trimming the hedges, do n't you think?</dialogue>
<character>SAM</character>
<dialogue>I heard raised voices.</dialogue>
<character>GANDALF</character>
<dialogue>What did you hear? Speak!</dialogue>
<character>SAM</character>
<parenthetical>( panicked . )</parenthetical>
<dialogue>Nothing important. that is, I heard a good deal about a ring. and a Dark Lord. And something about the end of the world, but. Please, Mr. Gandalf, sir, do n't hurt me! Do n't turn me into anything unnatural!</dialogue>
<character>GANDALF</character>
<dialogue>No?</dialogue>
<scene_description>FRODO SMILES</scene_description>
<character>GANDALF</character>
<dialogue>Perhaps not. I've thought of a better use for you.</dialogue>
</scene>
<scene>
<stage_direction>EXT. HOBBITON FIELDS -- PRE DAWN</stage_direction>
<scene_description>Wide on : HOBBITON . shrouded in a white veil of MIST . WIDER : To reveal Gandalf , Frodo and Sam hurrying across a ploughed field , away from Hobbiton ! Gandalf leads his Horse . Frodo and Sam are carrying knapsacks .</scene_description>
<character>GANDALF</character>
<parenthetical>( V.O . )</parenthetical>
<dialogue>Come along, Samwise. keep up.</dialogue>
</scene>
<scene>
<stage_direction>EXT. HOBBITON WOODS -- DAY</stage_direction>
<scene_description>Gandalf leads Frodo and Sam under the cover of Woods .</scene_description>
<character>GANDALF</character>
<parenthetical>( V.O . )</parenthetical>
<dialogue>Be careful, both of you. The Enemy has many spies in his service, many ways of hearing. birds, beasts.</dialogue>
<scene_description>Gandalf takes Frodo to one side .</scene_description>
<character>GANDALF</character>
<parenthetical>( CONT 'D . )</parenthetical>
<parenthetical>( low voice . )</parenthetical>
<dialogue>Is it safe?</dialogue>
<scene_description>FRODO NODS . he pats his pocket .</scene_description>
<character>GANDALF</character>
<parenthetical>( CONT 'D . )</parenthetical>
<dialogue>Never put it on, for then the agents of the Dark Lord will be drawn to its power. Always remember, Frodo, the ring is trying to get back to its master. it wants to be found. Gandalf wheels his horse and gallops away.</dialogue>
</scene>
<scene>
<stage_direction>EXT. GREEN HILL COUNTRY -- DAY</stage_direction>
<scene_description>MONTAGE : FRODO AND SAM hiking over the gentle Shire Countryside . wading through a shallow stream . heating a kettle over a small fire . clambering over stone walls .</scene_description>
</scene>
<scene>
<stage_direction>EXT. GREEN HILL COUNTRY -- AFTERNOON</stage_direction>
<scene_description>Sam stops short . taking stock of his surroundings . Sam looks back from where they came .</scene_description>
<character>SAM</character>
<dialogue>This is it.</dialogue>
<character>FRODO</character>
<dialogue>This is what?</dialogue>
<character>SAM</character>
<dialogue>If I take one more step it'll be the farthest away from home I've ever been.</dialogue>
<scene_description>FRODO gives Sam a pat on the shoulder .</scene_description>
<character>FRODO</character>
<dialogue>Come on, Sam.</dialogue>
<scene_description>Sam takes a deep breath and steps forward . CLOSE ON : SAM 'S brown , furry foot hits the ground . FRODO IS SMILING .</scene_description>
<character>FRODO</character>
<dialogue>Remember what Bilbo used to say. it's a dangerous business.</dialogue>
<scene_description>Frodo and Sam continue their journey .</scene_description>
<character>BILBO</character>
<parenthetical>( V.O . )</parenthetical>
<dialogue>it's a dangerous business, Frodo, going out your door. you step onto the road, and if you do n't keep your feet, there's not knowing where you might be swept off to.</dialogue>
</scene>
<scene>
<stage_direction>EXT. ISENGARD VALLEY -- DAY</stage_direction>
<scene_description>Gandalf is galloping along the outskirts of the ancient forest of Fangorn . Nestled in a basin at the foot of the distant Misty Mountains , the tall black tower of Orthanc is clearly visible</scene_description>
</scene>
<scene>
<stage_direction>EXT. ISENGARD VALLEY -- DAY</stage_direction>
<scene_description>Gandalf gallops through the gate , into the fortress of ISENGARD . a great ring - wall of stone , a mile from rim to rim , encloses beautiful trees and gardens , watered by streams that flow down from the mountains .</scene_description>
<character>SARUMAN</character>
<parenthetical>( V.O . )</parenthetical>
<dialogue>Smoke rises once more from the mountain of doom. the shadow takes shape in the darkness of Mordor ; the hour grows late. and Gandalf the Grey rides to Isengard seeking my counsel.</dialogue>
<scene_description>The strange tower of Orthanc . hewn from a solid pillar of black obsidian . rises up in the center of the Isengard Circle . Gandalf arrives at the foot of the Orthanc Stairs . ANGLE ON : SARUMAN , THE WHITE WIZARD he sweeps down the Orthanc stairs .</scene_description>
<character>SARUMAN</character>
<dialogue>For that is why you have come, is it not, my old friend?</dialogue>
<scene_description>Gandalf moves quickly towards him , grimy and weary from his long ride .</scene_description>
<character>GANDALF</character>
<dialogue>Saruman!</dialogue>
</scene>
<scene>
<stage_direction>EXT. ISENGARD GARDENS -- DAY</stage_direction>
<scene_description>Gandalf and Saruman walk slowly between the beautiful trees of Isengard , Saruman 's clean , white robe contrasts with Gandalf 's dusty grey robes .</scene_description>
<character>SARUMAN</character>
<dialogue>Are you sure of this?</dialogue>
<character>GANDALF</character>
<dialogue>Beyond any doubt.</dialogue>
<character>SARUMAN</character>
<dialogue>So the ring of power has been found?</dialogue>
<character>GANDALF</character>
<dialogue>All these long years it was in the Shire, under my very nose.</dialogue>
<character>SARUMAN</character>
<dialogue>And yet you did not have the wit to see it! Your love of the Halfling's leaf has clearly slowed your mind.</dialogue>
<character>GANDALF</character>
<dialogue>We still have time. time enough to counter Sauron. if we act quickly.</dialogue>
<character>SARUMAN</character>
<dialogue>Time? What time do you think we have?</dialogue>
</scene>
<scene>
<stage_direction>INT. ORTHANC ANTE-CHAMBER -- DAY</stage_direction>
<scene_description>Saruman and Gandalf are seated in a small , cluttered room to the side of the cavernous central chamber .</scene_description>
<character>SARUMAN</character>
<dialogue>Sauron has regained much of his former strength. He can not yet take physical form. but his spirit has lost none of its potency. Concealed within his fortress, the lord of Mordor sees all. His gaze pierces cloud, shadow, earth, and flesh. You know of what I speak, Gandalf. a great Eye, lidless, wreathed in flame.</dialogue>
<character>GANDALF</character>
<parenthetical>( softly . )</parenthetical>
<dialogue>The eye of Sauron.</dialogue>
<character>SARUMAN</character>
<dialogue>He is gathering all evil to him.</dialogue>
<character>SARUMAN</character>
<parenthetical>( CONT 'D . )</parenthetical>
<dialogue>Very soon he will have summoned an army great enough to launch an assault upon Middle earth.</dialogue>
<character>GANDALF</character>
<dialogue>You know this? How?</dialogue>
<character>SARUMAN</character>
<dialogue>I have seen it.</dialogue>
<scene_description>Gandalf and Saruman stride through Orthanc toward a stone plinth on which a sphere like shape is draped with a cloth .</scene_description>
<character>GANDALF</character>
<dialogue>A palantir is a dangerous tool, Saruman.</dialogue>
<scene_description>Saruman lifts the cloth to reveal the Palantir .</scene_description>
<character>SARUMAN</character>
<dialogue>Why? Why should we fear to use it?</dialogue>
<character>GANDALF</character>
<dialogue>They are not all accounted for, the lost seeing - stones. we do not know who else may be watching. Gandalf throws the cloth back over the Palantir.</dialogue>
<scene_description>FLASH IMAGE : A FIERY EYE ! Saruman sits upon his throne .</scene_description>
<character>SARUMAN</character>
<dialogue>The hour is later than you think. Sauron's forces are already moving. the Nine have left Minas Morgul.</dialogue>
<character>GANDALF</character>
<parenthetical>( shocked . )</parenthetical>
<dialogue>The nine!</dialogue>
<character>SARUMAN</character>
<dialogue>They crossed the river Isen in Midsummer's eve, disguised as riders in black.</dialogue>
<character>GANDALF</character>
<parenthetical>( alarmed . )</parenthetical>
<dialogue>They have reached the Shire? Saruman shrugs.</dialogue>
<character>SARUMAN</character>
<dialogue>They will find the ring. and kill the one who carries it.</dialogue>
<scene_description>Gandalf backs away and turns to run to the door . horrified as the doors suddenly slam shut .</scene_description>
<character>SARUMAN</character>
<parenthetical>( CONT 'D . )</parenthetical>
<dialogue>You did not seriously think a Hobbit could contend with the will of Sauron? There are none who can.</dialogue>
<scene_description>Gandalf slowly turns to Saruman . a look of dawning horror .</scene_description>
<character>SARUMAN</character>
<parenthetical>( CONT 'D . )</parenthetical>
<dialogue>Against the power of Mordor, there can be no victory. We must join with him, Gandalf. We must join with Sauron. It would be wise, my friend.</dialogue>
<character>GANDALF</character>
<parenthetical>( deadly . )</parenthetical>
<dialogue>Tell me, friend, when did Saruman the wise abandon reason for madness?</dialogue>
<scene_description>At that moment : Gandalf is suddenly blasted across the room ! He slams against the wall . pinned there by some unseen force . With sudden effort , Gandalf wrenches himself off the wall and swings his staff on Saruman . blasting him off his feet ! Gandalf and Saruman battle , powerful blasts throwing them across the room . SARUMAN SCREAMS , EYES BLAZING ! Gandalf 's staff is suddenly wrenched from his grasp . it flies across the chamber into Saruman 's hand ! Gandalf is flung to the floor .</scene_description>
<character>SARUMAN</character>
<dialogue>I gave you the chance of aiding me willingly, but you have elected the way of pain.</dialogue>
<scene_description>Gandalf is breathing hard on the floor , his eyes look into the madness of Saruman . Commanding two staffs , Saruman sends Gandalf into a sickening spin . Gandalf tumbles towards the top of the chamber . as if falling in reverse . Rushing POV : the roof of Orthanc rockets toward camera .</scene_description>
</scene>
<scene>
<stage_direction>EXT. FARMER'S FIELDS -- DAY</stage_direction>
<scene_description>Wide on : Frodo and Sam walking along a country lane which borders Farmer Maggot 's Fields . Sam is looking up . Frodo has disappeared around a corner in the lane .</scene_description>
<character>SAM</character>
<parenthetical>( panicked . )</parenthetical>
<dialogue>Mr. Frodo. Mr. Frodo! Frodo turns, surprised as Sam comes running towards him.</dialogue>
<character>SAM</character>
<parenthetical>( CONT 'D . )</parenthetical>
<parenthetical>( worried . )</parenthetical>
<dialogue>I thought I lost you. Frodo looks at Sam suspiciously. Sam glances down, embarrassed.</dialogue>
<character>FRODO</character>
<parenthetical>( teasing . )</parenthetical>
<dialogue>What are you talking about?</dialogue>
<character>SAM</character>
<parenthetical>( mumbling . )</parenthetical>
<dialogue>It's just something Gandalf said.</dialogue>
<character>FRODO</character>
<dialogue>What did he say?</dialogue>
<character>SAM</character>
<dialogue>He said. `` Do n't you leave him, Samwise Gamgee.''</dialogue>
<parenthetical>( looks at Frodo intently . )</parenthetical>
<dialogue>And I do n't mean to.</dialogue>
<character>FRODO</character>
<parenthetical>( laughing . )</parenthetical>
<dialogue>Sam. we're still in the Shire. what could possibly happen?</dialogue>
<scene_description>SUDDENLY ! A figure comes crashing out of a hedgerow sending Frodo flying . Frodo picks himself up , only to be knocked back down again by Pippin .</scene_description>
<character>PIPPIN</character>
<dialogue>Frodo! Merry, it's Frodo Baggins.</dialogue>
<character>MERRY</character>
<dialogue>Hello Frodo</dialogue>
<scene_description>Merry , Pippin , and Frodo picking themselves up . a variety of vegetables have scattered everywhere .</scene_description>
<character>SAM</character>
<dialogue>What's the meaning of this!</dialogue>
<character>MERRY</character>
<dialogue>Sam, hold this.</dialogue>
<scene_description>Merry gives Sam a large cabbage .</scene_description>
<character>SAM</character>
<parenthetical>( accusing . )</parenthetical>
<dialogue>You've been into Farmer Maggot's crop!</dialogue>
<scene_description>A large pitchfork can be seen racing towards them along the Hedgerow . angry shouts from Farmer Maggot .</scene_description>
<character>FARMER MAGGOT</character>
<parenthetical>( O.S . )</parenthetical>
<dialogue>Who's that in my field! Get out of it! Get out of my field, you young varmits! I'll show you. get out of my corn.</dialogue>
<scene_description>Merry and Pippin hurriedly gather their booty and race away . with Frodo and Sam on their heels .</scene_description>
<character>MERRY</character>
<parenthetical>( looking behind him . )</parenthetical>
<dialogue>I do n't know why he's so upset, it's only a couple of carrots.</dialogue>
<character>PIPPIN</character>
<dialogue>And some cabbages. and those three bags of potatoes that we lifted last week. And then the mushrooms the week before.</dialogue>
<character>MERRY</character>
<dialogue>Yes, Pippin, my point is, he's clearly over reacting.</dialogue>
<scene_description>The BAYING OF LARGE DOGS sounds !</scene_description>
<character>PIPPIN</character>
<dialogue>Run!</dialogue>
</scene>
<scene>
<stage_direction>EXT. WOODED ROAD -- DAY</stage_direction>
<scene_description>Frodo , Sam , and Merry and Pippin tumble head over heels down a bank , onto a dark , wooded road . CLOSE ON : A winded Pippin , his face inches away from a large pile of Horse droppings .</scene_description>
<character>PIPPIN</character>
<dialogue>That was close.</dialogue>
<scene_description>Frodo picks himself up and looks around quickly .</scene_description>
<character>MERRY</character>
<parenthetical>( groaning . )</parenthetical>
<dialogue>Ow. I think I've broken something.</dialogue>
<scene_description>Pulls a LARGE CARROT , almost broken through in the middle , out from his back pocket .</scene_description>
<character>MERRY</character>
<parenthetical>( CONT 'D . )</parenthetical>
<dialogue>Oh.</dialogue>
<character>SAM</character>
<parenthetical>( turning on Merry and Pippin . )</parenthetical>
<dialogue>Trust a Brandybuck and a Took.</dialogue>
<character>MERRY</character>
<dialogue>What? That was just a detour. a shortcut.</dialogue>
<character>SAM</character>
<dialogue>A shortcut to what?</dialogue>
<scene_description>Pippin has spied something under the trees on the far side of the road .</scene_description>
<character>PIPPIN</character>
<parenthetical>( excited . )</parenthetical>
<dialogue>Mushrooms!</dialogue>
<scene_description>CLOSE ON : SMALL , brown mushrooms growing amongst the Loamy undergrowth . Sam , Merry , and Pippin race toward the mushrooms ! Frodo is tense and watchful . He realizes they are on a wooded road . Scattered leaves rise into the air Whirling down the road as if blown by an invisible wind . SUDDENLY . THE SOUND OF HORSES HOOVES .</scene_description>
<character>FRODO</character>
<dialogue>I think we should get off the road.</dialogue>
<scene_description>A long drawn WAIL comes down the wind , like the cry of some evil and lonely creature .</scene_description>
<character>FRODO</character>
<parenthetical>( CONT 'D . )</parenthetical>
<parenthetical>( more urgency . )</parenthetical>
<dialogue>Get off the road!</dialogue>
<scene_description>Sam grabs Merry and Pippin as the Hobbits quickly scramble down the bank , hiding under a mossy log . THE SOUND OF HOOVES is close . A sinister MOUNTED RINGWRATH steps into view . hooded and faceless , mounted on a huge snarling black horse with insane eyes ! Frodo freezes in terror . The RINGWRAITH pauses right beside their hiding place . he sits very still with his head bowed , listening . From inside the hood comes a sniffing noise as if he is trying to catch an elusive scent ; his head turning from side to side . CLOSE ON : FRODO Beads of sweat gather on his brow . The ringwraith suddenly slides off his horse , leaning over the mossy log , peering suspiciously into the woods . CLOSE ON : FRODO He is drawing the ring out of his pocket , with trembling hands . his face fevered and sweating as if in the grip of some terrible INTERNAL STRUGGLE . The SOUND OF SNIFFING intensifies as the ringwraith darts his head from side to side like a bird of party . CLOSE ON : FRODO SQUEEZING HIS EYES SHUT . QUICK PSYCHIC BLASTS ! AND EVIL DARK TOWER . A GREAT EYE . A BURST OF FLAME . ANGLE ON : SAM LOOKING AT FRODO WITH CONCERN</scene_description>
<character>SAM</character>
<dialogue>Frodo?</dialogue>
<scene_description>Merry desperately hurls the mushrooms across the road . the ringwraith spins around at the sound , and darts to the far side of the road with frightening speed . Frodo instantly slumps . as if a PSYCHIC LINK had been broken</scene_description>
<character>MERRY</character>
<dialogue>What was that?</dialogue>
<scene_description>Frodo is staring , a look of shock on his face at the ring lying in the palm of his hand .</scene_description>
</scene>
<scene>
<stage_direction>EXT. FERRY LANE -- NIGHT</stage_direction>
<scene_description>Frodo , Sam , Merry , and Pippin hurry through the trees . slipping and sliding on the muddy ground .</scene_description>
<character>SAM</character>
<dialogue>Anything?</dialogue>
<character>FRODO</character>
<dialogue>Nothing.</dialogue>
<character>PIPPIN</character>
<dialogue>What is going on?</dialogue>
<scene_description>Merry moves past pippin , toward Frodo , watching intently . Sam keeps looking around nervously .</scene_description>
<character>MERRY</character>
<dialogue>The Black rider was looking for something. or someone. Frodo?</dialogue>
<character>SAM</character>
<dialogue>Get down!</dialogue>
<scene_description>The SILHOUETTE OF A BLACK RIDER looms against the skyline . The Four Hobbits . sprawled on the ground , holding their breath . The BLACK RIDER turns and departs .</scene_description>
<character>FRODO</character>
<dialogue>I have to leave the Shire. Sam and I must get to Bree.</dialogue>
<scene_description>Merry looks at his friend . realizing Frodo is in deep trouble .</scene_description>
<character>MERRY</character>
<dialogue>Right. Buckleberry Ferry. follow me!</dialogue>
<scene_description>The Hobbits break cover . SUDDENLY , A RINGWRAITH bursts out of the forest TOWARD THEM !</scene_description>
<character>MERRY</character>
<parenthetical>( CONT 'D . )</parenthetical>
<dialogue>There's another one! Frodo, this way!!</dialogue>
<scene_description>The Hobbits run THE RINGWRAITH SHRIEKS ! Black horse hooves . snarling horse mouths . a fleeting black cowl .</scene_description>
<character>MERRY</character>
<parenthetical>( CONT 'D . )</parenthetical>
<dialogue>Frodo, follow me!</dialogue>
</scene>
<scene>
<stage_direction>EXT. BUCKLEBERRY FERRY -- NIGHT</stage_direction>
<scene_description>FRODO , SAM , MERRY AND PIPPIN , are running towards the wide , placid Brandywine river . and the FERRY .</scene_description>
<character>MERRY</character>
<dialogue>Get the ropes, Sam.</dialogue>
<scene_description>QUICK ANGLES : STOMPING HOOVES . SNARLING HORSES . Four RINGWRAITHS are speeding through the Fog . converging on the FERRY CROSSING . The HOBBITS stampede across the Wharf and Tumble onto the Ferry .</scene_description>
<character>SAM</character>
<parenthetical>( screaming . )</parenthetical>
<dialogue>Frodo!</dialogue>
<scene_description>Frodo races across the Wooden Wharf , followed by the ringwraiths . He leaps into the Ferry . CLOSE ON : HOOVES THUNDER DOWN THE WOODEN WHARF ! Sam and Merry shove off with the poles . the ferry slides out into the river , just as the ringwraiths arrive . They pull up on the end of the wharf . shrieking with rage ! The Hobbits cover their ears . The Ringwraiths wheel their horses towards the north and Gallop away along the river bank , quickly disappearing into the fog .</scene_description>
<character>FRODO</character>
<dialogue>How far to the nearest crossing?</dialogue>
<character>MERRY</character>
<dialogue>The brandwine bridge. twenty miles.</dialogue>
</scene>
<scene>
<stage_direction>EXT. BREE GATE -- NIGHT</stage_direction>
<scene_description>Lights of Bree . a small village of stone and half timbered houses nestled against a low wooded hill . A thick hedge surrounds the village . a great gate bars the western entrance . FRODO , SAM , MERRY AND PIPPIN approaching the gatehouse . wild eyes , ragged , and out of breath .</scene_description>
<character>FRODO</character>
<dialogue>Come on.</dialogue>
<scene_description>A SURLY GATEKEEPER glances down at them .</scene_description>
<character>GATEKEEPER</character>
<dialogue>What do you want?</dialogue>
<character>FRODO</character>
<dialogue>We're headed for the prancing pony.</dialogue>
<scene_description>The gatekeeper swings his lantern onto the hobbits , bathing them in an uncomfortable yellow spotlight .</scene_description>
<character>GATEKEEPER</character>
<dialogue>Hobbits! Four Hobbits, and what's more, out of the Shire by your talk. What business brings you to Bree?</dialogue>
<character>FRODO</character>
<dialogue>We wish to stay at the inn. our business is our own. To Frodo's relief, the Gatekeeper unlocks the gate.</dialogue>
<character>GATEKEEPER</character>
<dialogue>All right, young sir, I meant no offense.</dialogue>
<scene_description>The Hobbits gratefully enter Bree . the gatekeeper eyeing them curiously in the lantern light .</scene_description>
<character>GATEKEEPER</character>
<parenthetical>( CONT 'D . )</parenthetical>
<dialogue>It's my job to ask questions after nightfall. There's talk of strange fold abroad. ca n't be too careful.</dialogue>
</scene>
<scene>
<stage_direction>EXT. BREE STREETS -- NIGHT</stage_direction>
<scene_description>The tall BREE FOLK loom over the nervous little hobbits as Frodo , Sam , Merry and Pippin make their way through the Narrow Streets . Tall buildings tower above them . lights glow dimly from behind thick curtains . Close on : The sign of the `` PRANCING PONY INN '' . Frodo , Sam , Merry , and Pippin hurry toward it .</scene_description>
</scene>
<scene>
<stage_direction>INT. "PRANCING PONY" RECEPTION -- NIGHT</stage_direction>
<scene_description>Frodo , Sam , Merry and Pippin come rushing in . Frodo attracts the INN KEEPERS 'S attention .</scene_description>
<character>FRODO</character>
<dialogue>Excuse me.</dialogue>
<character>BUTTERBUR</character>
<dialogue>Good evening, little masters. If you're seeking accommodation, we've got some nice, cozy Hobbit sized rooms available, Mr. ah.</dialogue>
<character>FRODO</character>
<dialogue>Underhill. my name's Underbill.</dialogue>
<character>BUTTERBUR</character>
<dialogue>Underhill? Hmmmm.</dialogue>
<character>FRODO</character>
<dialogue>We're friends of Gandalf the Grey. can you tell him we've arrived? BUTTERBUR frowns.</dialogue>
<character>BUTTERBUR</character>
<parenthetical>( Puzzled . )</parenthetical>
<dialogue>Gandalf. Gandalf. Oh.</dialogue>
<parenthetical>( recognition . )</parenthetical>
<dialogue>Oh yes! I remember. elderly chap. big grey beard. pointy hat? Frodo nods with relief. Butterbur shakes his head.</dialogue>
<character>BUTTERBUR</character>
<parenthetical>( CONT 'D . )</parenthetical>
<dialogue>Not seen him for six months. Frodo is shocked.</dialogue>
<character>SAM</character>
<parenthetical>( worried whisper . )</parenthetical>
<dialogue>What do we do now?</dialogue>
</scene>
<scene>
<stage_direction>INT. PRANCING PONY INN -- NIGHT</stage_direction>
<scene_description>Wide on : the noise , smokey Inn . It is dimly lit , cheifly from a blazing log fire . and crowded with a mixture of BIG FOLK , LOCAL HOBBITS , and a couple of dwarfs . Frodo , Sam , Merry and Pippin are sitting at a table against the wall . clearly trying to remain Quiet and inconspicuous . Sam ca n't help himself . he keeps casting nervous glances around .</scene_description>
<character>FRODO</character>
<dialogue>Sam, he'll be here. He'll come.</dialogue>
<scene_description>Merry ploinks himself down at a table , carrying a very large mug of beer .</scene_description>
<character>PIPPIN</character>
<dialogue>What's that?</dialogue>
<character>MERRY</character>
<dialogue>This, my friend, is a pint.</dialogue>
<character>PIPPIN</character>
<dialogue>It comes in pints? I'm getting one!</dialogue>
<scene_description>Sam watches Pippin rise unsteadily to his feet and head to the bar .</scene_description>
<character>SAM</character>
<dialogue>You've had a whole half already. Merry watches Pippin go.</dialogue>
<scene_description>A COUPLE OF SWARTHY MEN leaning against the bar glance at Frodo , then quickly look away .</scene_description>
<character>SAM</character>
<parenthetical>( CONT 'D . )</parenthetical>
<parenthetical>( tense . )</parenthetical>
<dialogue>That fellow's done nothing but stare at you since we've arrived.</dialogue>
<scene_description>Sam indicates a BROODING STRANGER who sits alone at a table in the far corner , smoking a curiously carved long stemmed pipe , peering from beneath a travel stained cowl with gleaming eyes . Frodo gestures to Butterbur .</scene_description>
<character>FRODO</character>
<dialogue>Excuse me, that man in the corner, who is he?</dialogue>
<character>BUTTERBUR</character>
<dialogue>He's one of them Rangers ; they're dangerous folk they are, wandering the wilds. What his right name is, I never heard, but round here he's known as Strider.</dialogue>
<character>FRODO</character>
<parenthetical>( to himself . )</parenthetical>
<dialogue>Strider.</dialogue>
<scene_description>BENEATH TABLE : FRODO 'S fingers are nervously TOYING WITH THE RING . CLOSE ON : FRODO Sweat runs down his brow . The Strange hum of the Ring spills into the Soundtrack . `` Baggins . Baggins . '' a creepy whisper seems to fill Frodo 's head . sound that dissolves into Pippin 's loud voice :</scene_description>
<character>PIPPIN</character>
<dialogue>Baggins? Sure, I know a Baggins. he's over there.</dialogue>
<scene_description>ANGLE ON : PIPPIN sitting at the bar , chatting with Locals . Frodo leaps to his feet and pushes his way towards the bar .</scene_description>
<character>PIPPIN</character>
<parenthetical>( loudly . )</parenthetical>
<dialogue>Frodo Baggins. He's my second cousin once removed, on his mother's side and my third cousin twice removed on his father's side. if you follow me.</dialogue>
<scene_description>Frodo grabs Pippin 's sleeve , spilling his beer .</scene_description>
<character>FRODO</character>
<dialogue>Pippin!</dialogue>
<character>PIPPIN</character>
<dialogue>Steady on, Frodo!</dialogue>
<scene_description>Pippin pushes Frodo away . he stumbles backwards , and falls to the floor . At that instant , the Inn goes silent and all the attention turns to Frodo . The ring . in agonizing Slow motion we watch as it seems to hang in the air for a split second . then crashes down onto his out stretched finger . FRODO VANISHES ! There is a sharp intake of breath . followed by total silence .</scene_description>
</scene>
<scene>
<stage_direction>EXT. BREE COUNTRYSIDE -- NIGHT</stage_direction>
<scene_description>The RINGWRAITHS turn sharply in their saddles . Instantly aware that the ring is being worn . They spur their horses towards the distant lights of Bree .</scene_description>
</scene>
<scene>
<stage_direction>INT. "PRANCING PONY" INN -- NIGHT</stage_direction>
<scene_description>Sam looks sick ; Pippin instantly sobers , realizing his folly ; the brooding stranger frowns . and the inn erupts into excited babble . FRODO : as he finds himself in the TWILIGHT WORLD of the ring : THE EXCITED CROWD ARE suddenly moving in slow motion . distorted voices . a weird photographic negative quality . FRODO is moving in real time ; against the slow motion background . He suddenly clutches his head as he is hit with quick images . of a GREAT EYE ! AN EVIL CAT - LIKE EYE , wreathed in flames . VOICE OF SAURON There is no life here in the void . only cold . only death . FRODO is terrified ! He rolls under a table , desperately pulling the ring from his finger . FRODO MATERIALIZES into the real world . AT THAT MOMENT : A LARGE HAND reaches under the table and Grabs Frodo by the collar , and DRAGS HIM AWAY !</scene_description>
</scene>
<scene>
<stage_direction>INT. PRANCING PONY--CORRIDOR -- NIGHT</stage_direction>
<scene_description>Frodo is roughly pushed against the wall . The Brooding stranger looms over him .</scene_description>
<character>STRIDER</character>
<dialogue>You draw far too much attention to yourself. Mr. Underhill</dialogue>
</scene>
<scene>
<stage_direction>INT. HOBBIT'S ROOM, PRANCING PONY -- NIGHT</stage_direction>
<scene_description>Frodo is pushed into the Hobbit 's room by Strider .</scene_description>
<character>FRODO</character>
<dialogue>What do you want?</dialogue>
<character>STRIDER</character>
<dialogue>A little more caution from you. that is no trinket you carry.</dialogue>
<character>FRODO</character>
<dialogue>I carry nothing.</dialogue>
<character>STRIDER</character>
<dialogue>Indeed? I can usually avoid being seen if I wish, but to disappear entirely. that is a rare gift.</dialogue>
<character>FRODO</character>
<dialogue>Who are you?</dialogue>
<character>STRIDER</character>
<dialogue>Are you frightened?</dialogue>
<character>FRODO</character>
<dialogue>Yes.</dialogue>
<character>STRIDER</character>
<dialogue>Not nearly frightened enough. I know what hunts you. Frodo jumps at the sound of a noise in the corridor. Strider deftly draws his sword.</dialogue>
<scene_description>The door bursts open and Sam , Merry and Pippin appear on the doorway . Sam is Squaring off with is fists , Merry brandishes a candlestick , and Pippin a chair .</scene_description>
<character>SAM</character>
<parenthetical>( angry . )</parenthetical>
<dialogue>Let him go or I'll have you, Longshanks!</dialogue>
<scene_description>STRIDER SHEATHS his sword , a slight smile playing on his lips .</scene_description>
<character>STRIDER</character>
<dialogue>You have a stout heart, little Hobbit, but that alone wo n't save you. You can no longer wait for the Wizard, Frodo. They're coming.</dialogue>
</scene>
<scene>
<stage_direction>EXT. GATEHOUSE, BREE -- NIGHT</stage_direction>
<scene_description>The gate keeper comes out of his Lodgings with a lantern . a look of fear on his face . He approaches the closed gate with great apprehension . CLOSE ON : The Gatekeeper peers out of his Peephole . CRASH ! The gate crashed down on the gatekeeper . as four RINGWRAITHS ride into Bree !</scene_description>
</scene>
<scene>
<stage_direction>EXT. BREE STREETS -- NIGHT</stage_direction>
<scene_description>The four RINGWRAITHS fly done the empty streets , like horsemen of the apocalypse .</scene_description>
</scene>
<scene>
<stage_direction>INT. PRANCING PONY INN -- NIGHT</stage_direction>
<scene_description>LOW ANGLE : the front door FLIES OPEN . The FOUR RINGWRAITHS rush into the PRANCING PONY with WICKED SWORDS DRAWN . CLOSE ON : BUTTERBUR hiding behind his bar . trembling and sweating in TERROR .</scene_description>
</scene>
<scene>
<stage_direction>INT. HOBBIT'S ROOM, PRANCING PONY -- NIGHT</stage_direction>
<scene_description>INSERT : MERRY SNORING SOFTLY ON HIS PILLOW . INSERT : PIPPIN stirs slightly , then settles back to sleep . WIDE ON : the door creaks open . THE FOUR RINGWRAITHS silently slide into the Hobbit 's room . The LOOM above each bed , raising their SHINING SWORDS ABOVE THE SLEEPING HOBBITS . QUICK INSERT : Sam 's eyes open wide . In unison , the RINGWRAITS STAB THE HOBBITS , in a Slashing , hacking frenzy .</scene_description>
</scene>
<scene>
<stage_direction>INT. STRIDER'S ROOM -- NIGHT</stage_direction>
<scene_description>Strider is grimly listening to the sounds from his room .</scene_description>
</scene>
<scene>
<stage_direction>INT. HOBBIT'S ROOM, PRANCING PONY -- NIGHT</stage_direction>
<scene_description>Wide on : the RINGWRAITHS step back from the slashed beds in triumph . CLOSE ON : a hacked blanket is pulled back to reveal nothing but a shredded pillow . The RINGWRAITHS SHRIEK WITH RAGE ! INSERTS : Sam sits up with a start ! Close on : Another shredded pillow is revealed ! More Shrieks of rage . INSERT : PIPPIN AND MERRY wake with a start .</scene_description>
</scene>
<scene>
<stage_direction>INT. STRIDER'S ROOM -- NIGHT</stage_direction>
<scene_description>WIDE ON : Sam , Merry , and Pippin have been sleeping on Strider 's bed . Frodo stands next to Strider by the window , peering out nervously as furious Ringwraith screeches echo across the courtyard from the Hobbits room .</scene_description>
<character>FRODO</character>
<dialogue>Where are they?</dialogue>
<character>STRIDER</character>
<dialogue>They were once men. Strider glances quickly at Frodo, then looks away.</dialogue>
<character>STRIDER</character>
<parenthetical>( V.O. ; CONT 'D . )</parenthetical>
<parenthetical>( quietly . )</parenthetical>
<dialogue>Great Kings of men. Then Sauron the deceiver gave to them Nine Rings of Power. Blinded by their greed they took them without question, one by one falling into darkness and now they are slaves to his will.</dialogue>
<scene_description>Strider looks from the window as the Ringwraiths gallop down the Bree Streets . CLOSE ON : Strider turns back to the Hobbits , his face lit faintly by the Glowing Embers of the Fire .</scene_description>
<character>STRIDER</character>
<parenthetical>( CONT 'D . )</parenthetical>
<dialogue>They are the Nazgul, Ringwraiths, neither living or dead. At all times they feel the presence of the ring. drawn to the power of the one. they will never stop hunting you.</dialogue>
</scene>
<scene>
<stage_direction>EXT. CHETWOOD FOREST -- DAY</stage_direction>
<scene_description>STRIDER , MERRY , PIPPIN , AND FRODO march through a gloomy , overgrown forest . Sam follows at the read leading `` Bill '' , a scrawny pony , who is laden with supplies .</scene_description>
<character>FRODO</character>
<dialogue>Where are you taking us?</dialogue>
<character>STRIDER</character>
<dialogue>Into the wild.</dialogue>
<scene_description>Frodo watches uneasily as Strider moves off into the cover of the trees .</scene_description>
<character>MERRY</character>
<parenthetical>( whispered aside . )</parenthetical>
<dialogue>How do, we know this Strider is a friend of Gandalf?</dialogue>
<character>FRODO</character>
<dialogue>We have no choice but to trust him.</dialogue>
<character>STRIDER</character>
<dialogue>But where is he leading us?</dialogue>
<scene_description>Strider stops , casts a glance back at Sam .</scene_description>
<character>STRIDER</character>
<parenthetical>( CONT 'D . )</parenthetical>
<dialogue>To Rivendell, Master Gamgee. to the house of Elrond.</dialogue>
<scene_description>SAM looks excited .</scene_description>
<character>SAM</character>
<dialogue>Did you hear that, Bill? Rivendell! We're going to see the Elves!</dialogue>
<scene_description>Strider leads the Hobbits through the gloom of the forest .</scene_description>
</scene>
<scene>
<stage_direction>EXT. MIDGEWATER MOORS -- DAY</stage_direction>
<scene_description>Aerial on : Strider leading Frodo , Sam , Merry , and Pippin across the windswept moors . The hobbits suddenly stop and unstrap their knapsacks .</scene_description>
<character>STRIDER</character>
<dialogue>Gentlemen, we do not stop until nightfall.</dialogue>
<character>PIPPIN</character>
<dialogue>What about breakfast?</dialogue>
<character>STRIDER</character>
<dialogue>You've already had it.</dialogue>
<character>PIPPIN</character>
<dialogue>We've had one, yes. but what about Second Breakfast?</dialogue>
<scene_description>Strider stares at Pippin blankly , then turns away , shaking his head .</scene_description>
<character>MERRY</character>
<dialogue>I do n't think he knows about second breakfast, Pip.</dialogue>
<character>PIPPIN</character>
<dialogue>What about Elvenses, Luncheon, Afternoon Tea, dinner. he knows about them, does n't he?</dialogue>
<character>MERRY</character>
<dialogue>I would n't count on it.</dialogue>
<scene_description>An apple is thrown to Merry , who deftly catches it . Another , aimed at Pippin , catches him on the forehead .</scene_description>
<character>MERRY</character>
<parenthetical>( CONT 'D . )</parenthetical>
<parenthetical>( exasperated . )</parenthetical>
<dialogue>Pippin!</dialogue>
<scene_description>The hobbits trudge through rain , looking tired , hungry , and miserable .</scene_description>
</scene>
<scene>
<stage_direction>INT. ORTHANC ANTE-CHAMBER -- NIGHT</stage_direction>
<scene_description>Saruman stands over the Palantir , his hands cupping the massive eye .</scene_description>
<character>SARUMAN</character>
<parenthetical>( whisper . )</parenthetical>
<dialogue>The power of Isengard is at your command, Sauron, Lord of the Earth.</dialogue>
<scene_description>ON THE SOUNDTRACK : BLACK SPEECH FILLS THE ROOM . ADMIST THE HARSH , GUTTURAL WORDS THE VOICE OF SARUMAN EMERGES .</scene_description>
<character>SARUMAN</character>
<dialogue>Build me an army worth of Mordor.</dialogue>
</scene>
<scene>
<stage_direction>INT. ORTHANC ANTE-CHAMBER -- NIGHT</stage_direction>
<scene_description>Saruman is seated as his ORC OVERSEER approaches .</scene_description>
<character>ORC OVERSEER</character>
<dialogue>What orders from Mordor, my Lord. What does the eye command?</dialogue>
<character>SARUMAN</character>
<dialogue>We have work to do.</dialogue>
</scene>
<scene>
<stage_direction>INT. ISENGARD -- NIGHT</stage_direction>
<scene_description>CLOSE ON : GANDALF . lying unconscious on a cold obsidian floor . He wakes to the sound of ripping and tearing . rising onto his knees . lifting his head . Gandalf stands as the camera pulls back to reveal him stranded on the summit of Orthanc . He is marooned on the tiny , flat peak , surrounded on all sides by a sheer 500 FOOT DROP . Another whispering wail rends the air . Gandalf crosses quickly to the edge and peers down : POV : One of the beautiful Isengard trees is being ripped from the ground by the ORCS . Gandalf looks on in Horror as ORCS hack into the trunk with axes . SARUMAN stands in Rain looking out into the dark night . the ORC overseer sidles up to him , axe in hand , sweating with exertion .</scene_description>
<character>ORC OVERSEER</character>
<dialogue>The trees are strong, my Lord. Their roots go deep.</dialogue>
<character>SARUMAN</character>
<dialogue>Rip them all down.</dialogue>
<scene_description>CAMERA CIRCLES SUMMIT : MORE AND MORE TREES are hauled down and killed . as Gandalf looks on in helpless despair .</scene_description>
</scene>
<scene>
<stage_direction>EXT. WEATHERHILLS -- DAY</stage_direction>
<scene_description>Wide on : The rugged countryside as the hobbits journey on , lead by Strider . Strider stops before a distant hill , topped by an Ancient Ruin .</scene_description>
<character>SARUMAN</character>
<dialogue>This was once the great Watchtower of Amon Sul. We shall rest here tonight.</dialogue>
</scene>
<scene>
<stage_direction>EXT. WEATHERTOP HOLLOW -- DUSK</stage_direction>
<scene_description>FRODO , MERRY , AND PIPPIN collapse into a small hollow , halfway up Weathertop . they are muddy and exhausted . Stider drops 4 small swords at the Hobbits feet .</scene_description>
<character>SARUMAN</character>
<dialogue>There are for you. Keep them close. I'm going to have a look around. Stay here.</dialogue>
</scene>
<scene>
<stage_direction>EXT. WEATHERTOP HOLLOW -- NIGHT</stage_direction>
<scene_description>Close on : Frodo . eyes flickering open . He suddenly sits up , sniffing the air . Sam , Merry , and Pippin huddled over a small fire . Sausages and bacon sizzle in a hot frying pan .</scene_description>
<character>FRODO</character>
<dialogue>What are you doing?</dialogue>
<character>MERRY</character>
<dialogue>Tomatoes, sausages, and crispy bacon.</dialogue>
<character>SAM</character>
<dialogue>We saved some for you, Mr. Frodo.</dialogue>
<character>FRODO</character>
<dialogue>Put it out, you fools! Put it out! Frodo desperately kicks dirt on the fire!</dialogue>
<character>PIPPIN</character>
<dialogue>Oh, that's nice. ash on my tomatoes!</dialogue>
<scene_description>A SUDDEN SHREIK ! FIVE RINGWRAITHS ON FOOT , running up the steep slope unnaturally fast .</scene_description>
<character>FRODO</character>
<dialogue>Go!!</dialogue>
<scene_description>Frodo , Sam , Merry and Pippin clamber desperately towards the summit , clutching their swords .</scene_description>
</scene>
<scene>
<stage_direction>EXT. WEATHERTOP SUMMIT -- NIGHT</stage_direction>
<scene_description>Frodo , Sam , Merry , and Pippin race into a RING OF BROKEN STONES on the summit or Weathertop . the ruined base of an ancient tower . The hobbits stand back - to - back in the centre of the Ring , waiting for the first assault . One by one , the 5 Ringwraiths appear . brandishing Gleaming swords , they move slowly towards the hobbits . In the center is their leader . the WITCH KING !</scene_description>
<character>SAM</character>
<dialogue>Back, you devils!</dialogue>
<scene_description>Sam rushes forward with a cry . He swings his sword at the Witch King , who blocks the blow with his own sword . Sam 's blade shatters . the WITCH KING lashes out with his fist , sending Sam flying . Merry and Pippin , overcome with terror , throw themselves flat on the ground . THE RINGWRAITHS close in on Frodo . a Venomous whisper dances in his head . Frodo shuts his eyes and staggers back , desperately resisting the WRAITH 'S WHISPERINGS . slow motion as his hand goes into his pocket and pulls out the ring . The 5 Ringwraiths utter a chilling SCREECH OF EXCITEMENT . Frodo is unable to resist any longer , falls to his knees and slips on the ring . He disappears .</scene_description>
<character>SAM</character>
<parenthetical>( CONT 'D . )</parenthetical>
<dialogue>No!</dialogue>
<scene_description>Frodo finds himself in the weird twilight world . he looks upon the Ringwraiths , now visible in their TRUE APPEARANCE : Five Ghouls dressed in long Grey robes , with white hair , and Pallid , ruthless faces . THE WITCH KING extends a haggard hand towards Frodo , reaching for the ring on his finger . Frodo 's trembling hand extends forward as if by the pull of the ring . he slides to the ground , unable to pull his hand away . The witch king snarls and springs forward . He stabs at Frodo with a wicked dagger ! Frodo winces as the tip of the dagger sinks into his shoulder . Suddenly , Strider charges at the RINGWRAITHS , wielding his sword in one hand , a flaming torch in the other . He moves in slow motion , visible through a sea of mist . Frodo sinks to the ground . Behind him is a faint image of a Ringwraith fleeing , his head engulfed in flames . With draining strength , Frodo manages to pull the ring off his finger . Appearing back in the real world , Sam rushes over to him .</scene_description>
<character>SAM</character>
<parenthetical>( CONT 'D . )</parenthetical>
<parenthetical>( horrified . )</parenthetical>
<dialogue>Frodo!</dialogue>
<scene_description>Another Ringwraith is burning and screaming . others screech fearfully at the flames , turn and flee form the Weathertop summit .</scene_description>
<character>SAM</character>
<parenthetical>( CONT 'D . )</parenthetical>
<parenthetical>( panicked . )</parenthetical>
<dialogue>Mr. Frodo!</dialogue>
<scene_description>Strider kneels before Frodo . He snatches up the Witch King 's Dagger from the ground , staring gravely at the long , thin , blade .</scene_description>
<character>SAM</character>
<parenthetical>( CONT 'D . )</parenthetical>
<dialogue>Help him, Strider!</dialogue>
<character>STRIDER</character>
<parenthetical>( grim . )</parenthetical>
<dialogue>He's been stabbed by a Morgul blade. The Morgul Blade suddenly melts. vanishing into the air like smoke. Strider throws the hilt down in disgust.</dialogue>
<character>SAM</character>
<dialogue>Do something.</dialogue>
<character>STRIDER</character>
<dialogue>This is beyond my skill to heal.</dialogue>
<parenthetical>( urgently . )</parenthetical>
<dialogue>He needs Elvish medicine. Strider lifts Frodo onto his shoulders.</dialogue>
</scene>
<scene>
<stage_direction>EXT. WEATHERHILLS -- NIGHT</stage_direction>
<scene_description>Strider is jogging grimly , carrying an ailing Frodo on his back . Sam , Merry , and Pippin are running to keep up . The hobbits are carrying Flaming torches for protection .</scene_description>
<character>STRIDER</character>
<dialogue>Hurry!</dialogue>
<character>SAM</character>
<dialogue>We are six days from Rivendell. Frodo groans.</dialogue>
<character>STRIDER</character>
<dialogue>Hold on, Frodo.</dialogue>
<character>SAM</character>
<dialogue>He'll never make it! Close on : Frodo. head lolling about, barely conscious.</dialogue>
<character>FRODO</character>
<parenthetical>( fevered calling . )</parenthetical>
<dialogue>Gandalf. Gandalf?</dialogue>
</scene>
<scene>
<stage_direction>EXT. ISENGARD -- NIGHT</stage_direction>
<scene_description>Low angle . looking up at ORTHANC . the tower of Isengard , gleaming in the moonlight . The camera rises to reveal the once beautiful gardens are not a pitted wasteland . with smoke and fire billowing out of numerous tunnels and vent holes that litter the forecourt of ORTHANC . Strange guttural chants echo up from deep underground . The camera is rising . a small moth flutters into shot . and leads the camera towards the summit or Orthanc . Gandalf lies slumped against the wall at the very top of Orthanc , surrounded by a sheer 500 foot drop . He looks Weak and Frail . and is seemingly asleep . The MOTH flutters close to Gandalf . His hand suddenly moves at lighting speed and SNATCHES THE MOTH . Gandalf brings his hand close to his face and opens it . The moth sits on the palm of his hand as Gandalf mutter strange words in a foreign tongue . Close on : THE MOTH 'S face . seemingly listening . It suddenly flutters away . CAMERA FOLLOWS the moth off the Orthanc summit , but drops past the moth . falling down , down , towards the pitted wasteland , straight into a fiery red tunnel !</scene_description>
</scene>
<scene>
<stage_direction>INT. CAVERNS BELOW ISENGARD -- NIGHT</stage_direction>
<scene_description>The dead trees of Isengard are fed into roaring furnaces . molten metal pours into casts . red hot metal , beaten my sweating orc blacksmiths . armor and weapons are forged from the great furnaces . Saruman strides among the ORCS and stands looking on a new born uruk - hai as it escapes its birthing membrane . this is LURTZ , who rises up to stand before his master .</scene_description>
</scene>
<scene>
<stage_direction>EXT. TROLLSHAW FOREST CLEARING -- NIGHT</stage_direction>
<scene_description>Close on : Frodo . his eyes flicker open . clouded , red - rimmed . his brow , beaded with sweat .</scene_description>
<character>PIPPIN</character>
<dialogue>Is he going to die? Frodo's breathing is getting shallow. Strider looks out into the darkness.</dialogue>
<character>STRIDER</character>
<dialogue>No. He is passing into the shadow world, he will soon become a wraith like them.</dialogue>
<scene_description>A DISTANT CRY of a RINGWRAITH carries through the air .</scene_description>
<character>MERRY</character>
<parenthetical>( nervous . )</parenthetical>
<dialogue>They're close.</dialogue>
<scene_description>Frodo gasps in sudden pain .</scene_description>
<character>STRIDER</character>
<parenthetical>( thinking hard . )</parenthetical>
<dialogue>Sam, do you know the Athelas plant? Sam looks blank.</dialogue>
<character>SAM</character>
<dialogue>Athelas?</dialogue>
<character>STRIDER</character>
<dialogue>Kingsfoil.</dialogue>
<character>SAM</character>
<dialogue>Kingsfoil. Aye. It's a weed.</dialogue>
<character>STRIDER</character>
<dialogue>It may help to slow the poison. Hurry!</dialogue>
</scene>
<scene>
<stage_direction>EXT. TROLLSHAW FOREST -- NIGHT</stage_direction>
<scene_description>Sam and Strider desperately search the dark forest floor for the Athelas plant . Close on : A small , white flowered plant ! Strider drops to one knee , carefully pulling it from the ground . SUDDENLY ! STRIDER FREEZES AS A SWORD BLADE TOUCHES HIS NECK .</scene_description>
<character>ARWEN</character>
<parenthetical>( O.S . )</parenthetical>
<dialogue>What is this? A Ranger caught off his guard?</dialogue>
<scene_description>Strider slowly looks up .</scene_description>
</scene>
<scene>
<stage_direction>EXT. TROLLSHAW FOREST CLEARING -- NIGHT</stage_direction>
<scene_description>Frodo is breathing hard , desperately ill . Frodo 's half - conscious POV : Surreal impression . a SHIMMERING FIGURE IN WHITE leaps off a horse . FLASH INSERT : An ethereal vision of ARWEN , as she appears on the other side .</scene_description>
<character>ARWEN</character>
<parenthetical>( ELVISH : with sub titles . )</parenthetical>
<dialogue>Frodo, Im Arwen. telin let thaed. I am Arwen, I have come here to help you.</dialogue>
<parenthetical>( urgent . )</parenthetical>
<dialogue>Lasto Beth nin, tolo Dan na ngalad. Hear my voice, come back to the light. Frodo's eyes close.</dialogue>
<character>PIPPIN</character>
<dialogue>Who is she?</dialogue>
<character>ARWEN</character>
<parenthetical>( worried . )</parenthetical>
<dialogue>Frodo?</dialogue>
<character>SAM</character>
<dialogue>She's an elf.</dialogue>
<scene_description>ANGLE ON : ARWEN Who now appears in her earth bound form , a young Elven woman with tousled hair , dressed in mud - splattered riding clothes .</scene_description>
<character>ARWEN</character>
<dialogue>He's fading. he's not gong to last. We must get him to my father. Strider quickly lifts Frodo. placing him on the horse.</dialogue>
<character>ARWEN</character>
<parenthetical>( CONT 'D . )</parenthetical>
<dialogue>I have been looking for you for two days.</dialogue>
<character>PIPPIN</character>
<dialogue>Where are you taking him?</dialogue>
<character>ARWEN</character>
<dialogue>There are five Wraiths behind you, where the other four are, I do not know.</dialogue>
<character>STRIDER</character>
<parenthetical>( ELVISH : with subtitles . )</parenthetical>
<dialogue>Dartho guin Berian. rych le ad tolthathon. Stay with the hobbits. I'11 send horses for you. Close on : Arwen grabbing the Reins of the horse.</dialogue>
<character>ARWEN</character>
<parenthetical>( ELVISH : w/subtitles . )</parenthetical>
<dialogue>Hon mabathon. Rochoh ellint im. I'll take him. I'm the faster rider. Strider clamps his hand over Arwen's.</dialogue>
<character>STRIDER</character>
<parenthetical>( elvish : subtitles . )</parenthetical>
<dialogue>Andelu I ven. The road is too dangerous.</dialogue>
<character>ARWEN</character>
<parenthetical>( Elvish : subtitles . )</parenthetical>
<dialogue>Frodo Fir. Ae anthradon I hir, tur gwaith nin beriatha hon. If I can cross the river, the power of my people can protect him.</dialogue>
<character>PIPPIN</character>
<dialogue>What are they saying?</dialogue>
<scene_description>CLOSE ON : Arwen reaches for Strider 's hand . looking deep into his eyes .</scene_description>
<character>ARWEN</character>
<dialogue>I do not fear them.</dialogue>
<scene_description>CLOSE ON : Strider . we see that it is hard for him to let her go . Arwen mounts her horse , ALSFORTH .</scene_description>
<character>STRIDER</character>
<dialogue>Arwen. ride hard, do n't look back.</dialogue>
<scene_description>Arwen looks down at Strider as she supports Frodo with one hand .</scene_description>
<character>ARWEN</character>
<parenthetical>( elvish . )</parenthetical>
<dialogue>Noro Lim, Asfaloth, Noro Lim!</dialogue>
<character>SAM</character>
<dialogue>What are you doing! Those Wraiths are still out there!</dialogue>
<scene_description>Asfaloth springs away , bearing Arwen and Frodo into the night .</scene_description>
</scene>
<scene>
<stage_direction>EXT. TROLLSHAW FOREST -- NIGHT</stage_direction>
<scene_description>SPEEDING POV : through the forest from the back of the White Horse . ANGLE ON : FRODO , BOUNCING IN THE SADDLE , he lifts his head weakly . SURREAL SLOW MOTION POV : THE HORSES HEAD BOBBING . trees sliding by . moonlight flickers through the trees .</scene_description>
</scene>
<scene>
<stage_direction>EXT. AERIAL OF ETTENMOORS ~ MORNING</stage_direction>
<scene_description>AERIAL : of Arwen 's white horse emerging from the trees . and galloping across the open land as the sun rises .</scene_description>
</scene>
<scene>
<stage_direction>EXT. PINE FOREST -- DAY</stage_direction>
<scene_description>The white horse charges through a Pine Forest . Suddenly 2 Galloping Ringwraiths emerge from the trees behind ! 2 more Ringwraiths slide in from different directions to join the chase . Arwen grits her teeth . urges the white horse to greater speed .</scene_description>
</scene>
<scene>
<stage_direction>EXT. THE EAST ROAD -- DAY</stage_direction>
<scene_description>The white horse speeds out of the pine trees . the 4 ringwraiths close behind PAN ONTO : 2 more ringwraiths galloping down the hillside ! AERIAL SHOT : 3 MORE RINGWRAITHS enter frame from different directions . a total of 9 RINGWRAITHS now pursuing Frodo and Arwen ! CLOSE ON : Panting head of the WHITE ELVEN HORSE .</scene_description>
<character>ARWEN</character>
<dialogue>Noro lim, Asfaloth!</dialogue>
</scene>
<scene>
<stage_direction>EXT. FORD OF BRUINEN -- DAY</stage_direction>
<scene_description>CRANE DOWN : As the White Horse races towards Camera , to Reveal the wide river Bruinen in the foreground . Without hesitation , the white horse leaps into the shallow water and thunders across the Ford . The 9 Ringwraiths pull up short of the Ford , clearly nervous of the water . The white horse reaches the other side . Arwen pulls up and turns to defiantly face the Ringwraiths from across the Ford .</scene_description>
<character>WITCH KING</character>
<dialogue>Give up the Halfling, she - elf! She draws her sword and yells at the Witch King.</dialogue>
<character>ARWEN</character>
<parenthetical>( yelling . )</parenthetical>
<dialogue>If you want him, come and claim him.</dialogue>
<scene_description>THE WITCH KING SCREECHES ANGRILY , draws his sword , and leads the Ringwraiths across the Ford . The water starts flowing faster . a distant rumble can be heard . Arwen waits until they are halfway across : she suddenly stands in the saddle arms raised !</scene_description>
<character>ARWEN</character>
<parenthetical>( CONT 'D . )</parenthetical>
<parenthetical>( Elvish . )</parenthetical>
<dialogue>Non o Chithaeglir, lasto Beth daer : Rimmo nin Briunen Dan in Ulaer! Nin o Chitaeglir, lasto Beth daer : Rimmo nin Bruinen Dan in Ulaer!</dialogue>
<scene_description>THE GROUND SUDDENLY TREMBLES . A MIGHTY ROAR FILLS THE AIR ! Frodo looks up weakly . to see a vast torrent of Water flooding down the river towards the ford . as if a dam had burst ! The Foaming water seems to form the shape of Dancing white horses with frothing manes ! The Ringwraiths scream in terror as they are swallowed up in the deluge . Their Piercing cries are drowned in the roaring of the river as it carries them away ! CLOSE ON : FRODO as he loses consciousness .</scene_description>
<character>ARWEN</character>
<parenthetical>( upset . )</parenthetical>
<dialogue>No, no. Frodo, no! Frodo, do n't give in. not now!</dialogue>
<scene_description>Arwen gathers the small Hobbit in her arms , feeling his life slip away .</scene_description>
</scene>
<scene>
<stage_direction>INT. FRODO'S DELIRIUM -- DAY</stage_direction>
<scene_description>DELIRIOUS IMAGES AND SOUNDS .</scene_description>
<character>ARWEN</character>
<parenthetical>( V.O . )</parenthetical>
<dialogue>What grace is given me, let it pass to him. Let him be spared. Save him.</dialogue>
<scene_description>IMAGE : A BRIGHT LIGHT suddenly flares . Frodo squeezes his eyes shut , gasping .</scene_description>
<character>FRODO</character>
<parenthetical>( frightened . )</parenthetical>
<dialogue>Where am I?</dialogue>
<scene_description>A FAMILIAR VOICE cuts through the swirl of sound .</scene_description>
<character>GANDALF</character>
<parenthetical>( O.S . )</parenthetical>
<dialogue>You are in the House of Elrond, and it is ten o'clock in the morning on October the twenty - fourth, if you want to know.</dialogue>
</scene>
<scene>
<stage_direction>INT. FRODO'S BEDROOM -- DAY</stage_direction>
<scene_description>Frodo 's eyes flicker Open He is lying in bed next to an Open Window . Dappled sunlight plays on richly carved timbers . the sound of a nearby waterfall drifts through the Vista of Fir Trees .</scene_description>
<character>FRODO</character>
<parenthetical>( weak relief . )</parenthetical>
<dialogue>Gandalf!</dialogue>
<scene_description>ANGLE ON : GANDALF IS SITTING NEXT TO FRODO 'S BED . softly puffing on his pipe . He smiles at Frodo .</scene_description>
<character>GANDALF</character>
<dialogue>Yes, I'm here and you're lucky to be here, too. A few more hours and you would have been beyond our aid. You have some strength in you, my dear Hobbit.</dialogue>
<scene_description>Frodo sits up , looking at Gandalf questioningly .</scene_description>
<character>FRODO</character>
<dialogue>What happened, Gandalf? Why did n't you meet us?</dialogue>
<character>GANDALF</character>
<dialogue>I'm sorry Frodo.</dialogue>
<scene_description>Close on : Gandalf . troubled . His eyes drift away .</scene_description>
<character>GANDALF</character>
<parenthetical>( CONT 'D . )</parenthetical>
<dialogue>I was delayed.</dialogue>
</scene>
<scene>
<stage_direction>EXT. ORTHANC SUMMIT -- NIGHT</stage_direction>
<scene_description>SARUMAN stands over Gandalf , gloating .</scene_description>
<character>SARUMAN</character>
<dialogue>Get up! So much for the power of the Ring or embrace your own destruction!</dialogue>
<scene_description>With the power of his staff , Saruman raises Gandalf from the ground , then sends him crashing to the floor .</scene_description>
<character>GANDALF</character>
<dialogue>There is only one Lord of the Ring. Only one who can bend it to his will. and he does not share power.</dialogue>
<scene_description>SUDDENLY ! GANDALF lurches to his feet and Throws himself off the Tower ! Saruman watches Gandalf fly away from Isengard . on the Back of a GIANT EAGLE .</scene_description>
<character>SARUMAN</character>
<parenthetical>( chilling . )</parenthetical>
<dialogue>So you have chosen death!</dialogue>
</scene>
<scene>
<stage_direction>EXT. SKIES OVER MOUNTAINS--DAWN</stage_direction>
<scene_description>Gwaihir the Eagle soars majestically over the mountains , carrying Gandalf towards the dawn .</scene_description>
</scene>
<scene>
<stage_direction>INT. FRODO'S BEDROOM--RIVENDELL</stage_direction>
<scene_description>Frodo raises himself up and looks at Gandalf .</scene_description>
<character>FRODO</character>
<dialogue>Gandalf! What is it? Gandalf returns his attention to Frodo.</dialogue>
<character>GANDALF</character>
<dialogue>Nothing, Frodo.</dialogue>
<scene_description>Sam runs to Frodo 's bedside . He is overjoyed to find Frodo awake .</scene_description>
<character>SAM</character>
<dialogue>Frodo! Frodo! Bless you, you're awake!</dialogue>
<character>GANDALF</character>
<dialogue>Sam has hardly left your side.</dialogue>
<character>SAM</character>
<dialogue>We were worried about you - were n't we, Mr. Gandalf?</dialogue>
<character>GANDALF</character>
<dialogue>By the skills of Lord Elrond, you're beginning to mend. ELROND, LORD OF THE HIGH ELVES, steps up to Frodo's</dialogue>
<scene_description>bedside . his face is neither old nor young , though in it is written the memory of many things both glad and sorrowful .</scene_description>
<character>ELROND</character>
<dialogue>Welcome to Rivendell, Frodo Baggins. Frodo sits up, looking at Elrond with awe.</dialogue>
</scene>
<scene>
<stage_direction>EXT. RIVENDELL VALLEY -- DAY</stage_direction>
<scene_description>WIDE ON : RIVENDELL . a small cluster of elegant Elven Buildings sitting in a Shangri - la like Valley below towering cliffs and snow capped mountains .</scene_description>
<character>ELROND</character>
<parenthetical>( V.O . )</parenthetical>
<dialogue>You have found your way to the last homely house east of the sea. The elves of Imladris have dwelt within this valley for three thousand years through few of my kin now remain. Frodo looks out from his balcony.</dialogue>
</scene>
<scene>
<stage_direction>EXT. RIVENDELL GARDENS -- DAY</stage_direction>
<scene_description>Frodo and Sam walk together . Suddenly , the voices of Merry and Pippin can be heard as they bound up to Frodo and throw their arms around him .</scene_description>
<character>MERRY</character>
<dialogue>Frodo! Frodo!</dialogue>
<scene_description>Sam looks past Frodo smiling . a bent figure sits alone on a bench , in the Sun . Close on : Frodo turning , following Sam 's gaze .</scene_description>
<character>FRODO</character>
<dialogue>Bilbo!</dialogue>
</scene>
<scene>
<stage_direction>EXT. RIVENDELL TERRACE -- DAY</stage_direction>
<scene_description>Close on : BILBO BAGGINS ! He breaks in to a broad grin as Frodo rushes forward to embrace him . Bilbo has aged significantly since we last saw him .</scene_description>
<character>BILBO</character>
<dialogue>Hello, Frodo, my lad!</dialogue>
<character>FRODO</character>
<dialogue>Bilbo!</dialogue>
<scene_description>LATER . Frodo is turning the neatly inscribed title page of a red leather bound journal :</scene_description>
<character>FRODO</character>
<parenthetical>( CONT 'D . )</parenthetical>
<parenthetical>( reading . )</parenthetical>
<dialogue>`` There and back again : A Hobbit's tale'' by Bilbo Baggins.</dialogue>
<scene_description>Bilbo smiles Proudly . He is sitting with Frodo on a terrace overlooking a Waterfall . Frodo looks at Page after page of beautiful Handwriting , with intricate Maps and Drawings .</scene_description>
<character>FRODO</character>
<parenthetical>( CONT 'D . )</parenthetical>
<dialogue>This is wonderful.</dialogue>
<character>BILBO</character>
<dialogue>I meant to go back. wander the paths of Mirkwood, visit Laketown, see the Lonely Mountain again. but age, it seems, has finally caught up with me.</dialogue>
<scene_description>Frodo turns a page . there before him , is a map of the Shire .</scene_description>
<character>FRODO</character>
<parenthetical>( quietly . )</parenthetical>
<dialogue>I miss the Shire. I spent all my childhood pretending I was off somewhere else. off with you, on one of your adventures.</dialogue>
<parenthetical>( Looks at Bilbo . )</parenthetical>
<dialogue>But my own adventure, turned out to be quite different. I'm not like you, Bilbo.</dialogue>
<character>BILBO</character>
<dialogue>My dear boy.</dialogue>
</scene>
<scene>
<stage_direction>EXT. RIVENDELL TERRACE -- EVENING</stage_direction>
<scene_description>Sam busily tries to stuff more and more things into his already full pack . pots and pans , blankets , cooking utensils , provisions , clothes .</scene_description>
<character>SAM</character>
<dialogue>No, what have I forgotten? Pull back to reveal Frodo, hands in his pocket, watching Sam.</dialogue>
<character>FRODO</character>
<dialogue>Packed already?</dialogue>
<scene_description>Sam looks up , startled .</scene_description>
<character>SAM</character>
<parenthetical>( slightly embarrassed . )</parenthetical>
<dialogue>No harm in being prepared. Frodo strolls to the edge of the Balcony.</dialogue>
<character>FRODO</character>
<dialogue>I thought you wanted to see the Elves, Sam?</dialogue>
<character>SAM</character>
<dialogue>I do.</dialogue>
<character>FRODO</character>
<dialogue>More than anything.</dialogue>
<character>SAM</character>
<dialogue>I did. It's just. we did what Gandalf wanted, did n't we? We got the Ring this far, to Rivendell. and I thought. seeing as how you're on the mend, we'd be off soon. Off home.</dialogue>
<character>FRODO</character>
<dialogue>You're right, Sam. Frodo looks at Sam.</dialogue>
<character>FRODO</character>
<parenthetical>( CONT 'D . )</parenthetical>
<dialogue>we did what we set out to do. Frodo opens his hand, the Ring sits in his Palm.</dialogue>
<character>FRODO</character>
<parenthetical>( CONT 'D . )</parenthetical>
<dialogue>The ring will be safe in Rivendell. I am ready to go home.</dialogue>
</scene>
<scene>
<stage_direction>EXT. ELROND'S CHAMBER, RIVENDELL -- DAY</stage_direction>
<scene_description>Gandalf and Elrond watch Frodo and Sam from Elrond 's balcony ,</scene_description>
<character>ELROND</character>
<dialogue>His strength returns.</dialogue>
<character>GANDALF</character>
<dialogue>That wound will never fully heal. He will carry it the rest of his life.</dialogue>
<character>ELROND</character>
<dialogue>And yet to have come so far still bearing the Ring. the hobbit has shown extraordinary resilience to its evil.</dialogue>
<character>GANDALF</character>
<dialogue>It is a burden he should never have to had to bear. We can ask no more of Frodo.</dialogue>
<character>ELROND</character>
<dialogue>Gandalf, the enemy is moving. Sauron's forces are massing in the east. His eye is fixed on Rivendell. And Saruman, you tell me, has betrayed us. Our list of allies grows thin.</dialogue>
<character>GANDALF</character>
<dialogue>His treachery runs deeper than you know. By foul craft, Saruman has crossed Orc with Goblin Men. he is breeding an army in the caverns of Isengard. An army that can move in Sunlight and cover great distance at speed. Saruman is coming for the Ring.</dialogue>
<scene_description>Elrond turns and walks away .</scene_description>
<character>ELROND</character>
<dialogue>This evil can not be concealed by the power of the Elves. We do not have the strength to fight both Mordor and Isengard. Gandalf. the ring can not stay here.</dialogue>
<scene_description>Gandalf turns and looks out the window . Sounds of arrivals . Gandalf watches as Boromir rides through Rivendell gate , followed by Legolas and Gimli .</scene_description>
<character>ELROND</character>
<parenthetical>( V.O. ; CONT 'D . )</parenthetical>
<dialogue>This peril belongs to all Middle earth. They must decide how to end it. Not just for themselves but for those who come after. Elrond approaches Gandalf.</dialogue>
<character>ELROND</character>
<parenthetical>( CONT 'D . )</parenthetical>
<dialogue>The time of the Elves is over. My people are leaving these shores. Who will you look to when we have gone? The dwarves? They hide in their mountains seeking riches. They care nothing for the troubles of others.</dialogue>
<character>GANDALF</character>
<dialogue>It is in Men that we must place our hope.</dialogue>
<character>ELROND</character>
<dialogue>Men? Men are weak. The race of Men is failing. The blood of Numenor is all but spent, its pride and dignity forgotten. It is because of men the Ring survives.</dialogue>
<scene_description>FLASH INSERT : With the broken sword , Isildur slices off Sauron 's finger . Elrond reacts .</scene_description>
<character>ELROND</character>
<parenthetical>( V.O. ; CONT 'D . )</parenthetical>
<dialogue>I was there, Gandalf. I was there three thousand years ago when Isildur took the ring.</dialogue>
<scene_description>FLASH INSERT : ISILDUR PICKS UP THE RING AND STARES AT IT , ENTRANCED .</scene_description>
<character>ELROND</character>
<dialogue>I was there the day the strength of Men failed.</dialogue>
</scene>
<scene>
<stage_direction>INT. CRACK OF DOOM -- DAY</stage_direction>
<character>ELROND</character>
<dialogue>Isildur. hurry. follow me! IMAGES : ELROND leads Isildur into the steaming volcano.</dialogue>
<character>ELROND</character>
<parenthetical>( V.O. ; CONT 'D . )</parenthetical>
<dialogue>I let Isildur into the heart of Mount Doom, where the ring was forged : the one place it could be destroyed.</dialogue>
<scene_description>FLASH INSERT : ELROND AND ISILDUR STAND BEFORE THE FIRES OF MT. DOOM .</scene_description>
<character>ELROND</character>
<dialogue>Cast it into the fire. destroy it!</dialogue>
<scene_description>CLOSE ON : ISILDUR . CAPTIVATED BY THE RING .</scene_description>
<character>ISILDUR</character>
<dialogue>No.</dialogue>
<scene_description>Isildur turns and walks away</scene_description>
<character>ELROND</character>
<dialogue>Isildur!</dialogue>
</scene>
<scene>
<stage_direction>INT. ENROND'S CHAMBER, RIVERDELL -- DAY</stage_direction>
<scene_description>Elrond turns to Gandalf .</scene_description>
<character>ELROND</character>
<dialogue>It should have ended that day, but evil was allowed to endure. Isildur kept the Ring. and the line of Kings was broken. There's no strength left in the world of Men. They're scattered, divided, leaderless.</dialogue>
<character>GANDALF</character>
<dialogue>There is one who could unite them, one who could re claim the thrown of Gondor.</dialogue>
<character>ELROND</character>
<dialogue>He turned from that path a long time ago. He has chosen exile.</dialogue>
</scene>
<scene>
<stage_direction>INT. ELROND'S CHAMBER, RIVENDELL -- NIGHT</stage_direction>
<scene_description>Strider watches from the shadows . as Boromir strolls through the darkened gallery . Boromir 's eyes are drawn to an old Fresco on the wall . depicting Isildur defeating Sauron . Boromir looks with Wonderment at Narsil , the Broken Blade of Elendil , which lies on a cloth - covered plinth .</scene_description>
<character>BOROMIR</character>
<parenthetical>( quiet awe . )</parenthetical>
<dialogue>The shards of Narsil. the blade that cut the Ring from Sauron's hand. Boromir picks up the sword and gently touches the Blade. Close on : a small bloom of blood appears on Boromir's finger.</dialogue>
<character>BOROMIR</character>
<parenthetical>( CONT 'D . )</parenthetical>
<dialogue>Still sharp.</dialogue>
<scene_description>Boromir senses Strider 's presence . he looks from the blade to Strider , as if sensing a connection .</scene_description>
<character>BOROMIR</character>
<parenthetical>( CONT 'D . )</parenthetical>
<dialogue>But no more than a broken heirloom.</dialogue>
<character>BOROMIR</character>
<parenthetical>( CONT 'D . )</parenthetical>
<dialogue>replaces the Broken blade, but it clatters to the floor. Boromir walks away, leaving Strider sitting alone.</dialogue>
<scene_description>Close on : Strider picks up the broken hilt , as Arwen appears behind him .</scene_description>
<character>ARWEN</character>
<dialogue>Why do you fear the past? You are Isildur's heir. not Isildur himself. You are not bound to his fate.</dialogue>
<character>STRIDER</character>
<dialogue>The same blood flows in my veins. the same weakness.</dialogue>
<character>ARWEN</character>
<dialogue>Your time will come. You will face the same evil. and you will defeat it.</dialogue>
<parenthetical>( Elvish : w/subtitles . )</parenthetical>
<dialogue>A si i - duath u - orthor, Aragorn. u or le a u or nin. The shadow does not hold sway yet. not over you and not over me.</dialogue>
</scene>
<scene>
<stage_direction>EXT. RIVENDELL VALLEY -- NIGHT</stage_direction>
<scene_description>Night falls upon the beautiful valley of Rivendell . still and quiet .</scene_description>
</scene>
<scene>
<stage_direction>EXT. RIVENDELL WATERFALL -- NIGHT</stage_direction>
<scene_description>Strider and Arwen stand upon a stone bridge . the Evenstar at Arwen 's breast shines in the moonlight .</scene_description>
<character>ARWEN</character>
<parenthetical>( Elvish : with subtitles . )</parenthetical>
<dialogue>Renech I lu I erui govannem? Do you remember when we first met?</dialogue>
<character>STRIDER</character>
<parenthetical>( Elvish : with subtitles . )</parenthetical>
<dialogue>Nauthannim I ned ol reniannen. I thought I had strayed into a dream.</dialogue>
<scene_description>Arwen reaches up and gently touches the Grey at Strider 's temples .</scene_description>
<character>ARWEN</character>
<parenthetical>( Elvish : with subtitles . )</parenthetical>
<dialogue>Gwenin in enniath. u - arnech in naeth I se celich. Long years have passed. you did not have the care you carry now.</dialogue>
<scene_description>Arwen looks into Strider 's eyes .</scene_description>
<character>ARWEN</character>
<parenthetical>( CONT 'D . )</parenthetical>
<parenthetical>( Elvish : with subtitles . )</parenthetical>
<dialogue>Renech I Beth I pennen? Do you remember what I told you? Arwen reaches for Strider's hand.</dialogue>
<character>STRIDER</character>
<parenthetical>( quietly . )</parenthetical>
<dialogue>You said you'd bind yourself to me, forsaking the immortal life of your people.</dialogue>
<character>ARWEN</character>
<parenthetical>( whisper . )</parenthetical>
<dialogue>And to that I hold. I would rather share one lifetime with you than face all the ages of this world alone. Strider looks down. In his hand lies the Evenstar.</dialogue>
<character>ARWEN</character>
<parenthetical>( CONT 'D . )</parenthetical>
<dialogue>I choose a mortal live.</dialogue>
<character>STRIDER</character>
<dialogue>You can not give me this.</dialogue>
<character>ARWEN</character>
<dialogue>It is mine to give to whom I will, like my heart.</dialogue>
<scene_description>Arwen closes Strider 's fingers around the jewel . Arwen leans towards Strider , gently kissing him .</scene_description>
</scene>
<scene>
<stage_direction>INT. COUNCIL CHAMBER, RIVENDELL -- DAY</stage_direction>
<scene_description>Elrond addresses the council .</scene_description>
<character>ELROND</character>
<dialogue>Strangers from distant lands. friends of old. You have been summoned here to answer the threat of Mordor. Middle - earth stands upon the brink of destruction. None can escape it. You will unite. or you will fall. Each race is bound to this fate. this one doom.</dialogue>
<scene_description>Frodo sits amongst a council of free - peoples of Middle earth , Elrond stands before them , addressing Gandalf , Strider , Legolas , and 20 other elves , Dwarves , and men .</scene_description>
<character>ELROND</character>
<parenthetical>( CONT 'D . )</parenthetical>
<dialogue>Bring forth the ring, Frodo.</dialogue>
<scene_description>Frodo steps forward and moves towards a stone Plinth . He places the ring on the plinth and returns to his seat .</scene_description>
<character>BOROMIR</character>
<parenthetical>( shocked . )</parenthetical>
<dialogue>So it is true!</dialogue>
<character>LEGOLAS</character>
<parenthetical>( disbelief . )</parenthetical>
<dialogue>Sauron's Ring! The ring of power!</dialogue>
<character>GIMLI</character>
<parenthetical>( grim . )</parenthetical>
<dialogue>The doom of man!</dialogue>
<character>BOROMIR</character>
<dialogue>It is a gift. a gift to the foes of Mordor! Why not use this Ring? Long has my father, the Steward of Gondor, held the forces of Mordor at bay. by the blood of our people are your lands kept safe. Give Gondor the weapon of the enemy. let us use it against him!</dialogue>
<character>STRIDER</character>
<dialogue>You can not wield it. None of us can. The one ring answers to Sauron alone. it has no other master. Boromir turns and looks at Strider, coolly.</dialogue>
<character>BOROMIR</character>
<dialogue>And what would a ranger know of this matter?</dialogue>
<scene_description>Strider says nothing and Boromir turns away dismissively . LEGOLAS stands .</scene_description>
<character>LEGOLAS</character>
<dialogue>This is no mere Ranger. He is Aragorn, son of Arathorn. You owe him your allegiance.</dialogue>
<scene_description>Frodo looks at Strider questioningly . Boromir turns sharply .</scene_description>
<character>BOROMIR</character>
<parenthetical>( quiet disbelief . )</parenthetical>
<dialogue>Aragorn? This is Isildur's heir?</dialogue>
<character>LEGOLAS</character>
<dialogue>And heir to the throne of Gondor.</dialogue>
<character>ARAGORN</character>
<parenthetical>( Elvish : with subtitles . )</parenthetical>
<dialogue>Havo dad, Legolas. Sit down, Legolas.</dialogue>
<character>BOROMIR</character>
<dialogue>Gondor needs no king.</dialogue>
<character>GANDALF</character>
<dialogue>Aragorn is right. we can not use it.</dialogue>
<character>ELROND</character>
<dialogue>You have only one choice. the ring must be destroyed.</dialogue>
<scene_description>The HUM OF THE RING seems to grow louder in Frodo 's ears . Gimli suddenly stands , excited .</scene_description>
<character>GIMLI</character>
<dialogue>Then. what are we waiting for?</dialogue>
<scene_description>Gimli suddenly rushes forward ! He swings his axe down on the ring . The axe shatters with a deafening crack ! Gimli falls backwards , staring in disbelief at the ring . unharmed ! Frodo winces as an angry image of the fiery eye hits him ! He slumps in this chair , clutching his forehead . Gandalf looks at him with concern .</scene_description>
<character>ELROND</character>
<dialogue>The ring can not be destroyed, Gimli, son of Gloin, by any craft that we</dialogue>
<character>ELROND</character>
<parenthetical>( CONT 'D . )</parenthetical>
<dialogue>here possess. The ring was made in the fires of Mount Doom. only there can it be unmade. It must be taken deep into Mordor, and cast back into the fiery chasm from whence it came. One of you must do this.</dialogue>
<scene_description>Stunned silence . the council sits with downcast eyes , as if a great dread has descended on them . Boromir addresses the council in a quiet voice</scene_description>
<character>BOROMIR</character>
<dialogue>One does not simply walk into Mordor. Its black gates are guarded by more than just Orcs. There is evil there that does not sleep and the Great Eye is ever watchful. It is a barren wasteland, riddled with fire and ash and dust. the very air you breathe is a poisonous fume. Not with ten thousand men could you do this. It is folly.</dialogue>
<character>LEGOLAS</character>
<dialogue>Have you heard nothing Lord Elrond has said? The ring must be destroyed.</dialogue>
<character>GIMLI</character>
<dialogue>And I suppose you think you're the one to do it?</dialogue>
<character>BOROMIR</character>
<dialogue>And if we fail, what then? What happens when Sauron takes back what is his?</dialogue>
<scene_description>Gimli leaps to his feet !</scene_description>
<character>GIMLI</character>
<dialogue>I will be dead before I see the Ring in the hands of an Elf! A STORM OF ARGUMENT erupts around the room. CLOSE ON : FRODO. sound disappears as he watches in slow</dialogue>
<scene_description>motion . the angry faces , the shaking fists , the accusatory fingers , his eyes move across to the ring . the hum grows louder in his head .</scene_description>
<character>GIMLI</character>
<parenthetical>( CONT 'D . )</parenthetical>
<parenthetical>( shouting . )</parenthetical>
<dialogue>Never trust an Elf!</dialogue>
<scene_description>CLOSE ON : THE RING fills the screen . streams of blood flow across the surface . flames flicker within the Gold Band .</scene_description>
<character>GANDALF</character>
<dialogue>Do you not understand? While we bicker among ourselves, Sauron's power grows! No one will escape it. You will all be destroyed, your homes burnt and your families put to the sword!</dialogue>
<scene_description>CLOSE ON : FRODO . breathing rapidly , Caught in the grip of his hideous vision . With a huge effort or will , Frodo tears his gaze upon the ring . Frodo suddenly stands . he speaks in a strong , clear voice .</scene_description>
<character>FRODO</character>
<dialogue>I will take it. I will take it. I will take the Ring to Mordor.</dialogue>
<scene_description>Sudden silence . Frodo looks around the room at the astounded faces .</scene_description>
<character>FRODO</character>
<parenthetical>( CONT 'D . )</parenthetical>
<parenthetical>( quietly . )</parenthetical>
<dialogue>Though. I do not know the way. Gandalf rises to his feet.</dialogue>
<character>GANDALF</character>
<dialogue>I will help you bear this burden, Frodo Baggins, as long as it is yours to bear.</dialogue>
<character>ARAGORN</character>
<dialogue>If, by my life or death, I can protect you, I will.</dialogue>
<parenthetical>( kneels before Frodo . )</parenthetical>
<dialogue>. you have my sword. Aragorn steps forward. followed by Legolas and Gimli.</dialogue>
<character>LEGOLAS</character>
<dialogue>And you have my bow.</dialogue>
<character>GIMLI</character>
<dialogue>And my axe.</dialogue>
<scene_description>Boromir looks at them all then walks towards Frodo .</scene_description>
<character>BOROMIR</character>
<dialogue>You carry the fate of us all, little one.</dialogue>
<scene_description>Boromir looks towards Elrond and Gandalf .</scene_description>
<character>BOROMIR</character>
<parenthetical>( CONT 'D . )</parenthetical>
<dialogue>If this is indeed the will of the Council, then Gondor will see it done.</dialogue>
<scene_description>Frodo stares in wonder as the Greatest Fighters in all Middle earth stand at his side .</scene_description>
<character>SAM</character>
<parenthetical>( unseen . )</parenthetical>
<dialogue>Here!</dialogue>
<scene_description>A Sudden Noise . Sam pops up from behind a Bush !</scene_description>
<character>SAM</character>
<parenthetical>( CONT 'D . )</parenthetical>
<dialogue>Mr. Frodo's not gong anywhere without me.</dialogue>
<character>ELROND</character>
<dialogue>No, Indeed. it is hardly possible to separate you. even when he is summoned to a secret council and you are not.</dialogue>
<scene_description>Merry and Pippin jump up from behind another bush !</scene_description>
<character>MERRY</character>
<dialogue>Oi! We're coming too! You'll have to send us home tied up in a sack to stop us.</dialogue>
<character>PIPPIN</character>
<dialogue>Anyway. you need people of intelligence on this sort of mission. quest. thing.</dialogue>
<character>MERRY</character>
<dialogue>Well, that rules you out, Pip.</dialogue>
<scene_description>ELROND SURVEYS THE GROUP</scene_description>
<character>ELROND</character>
<parenthetical>( thoughtfully . )</parenthetical>
<dialogue>Nine companions. so be it.</dialogue>
<parenthetical>( announcing . )</parenthetical>
<dialogue>You shall be the `` Fellowship of the ring''</dialogue>
<character>PIPPIN</character>
<dialogue>Great. Where are we going?</dialogue>
</scene>
<scene>
<stage_direction>INT. FRODO'S BEDROOM, RIVERDELL---DAWN</stage_direction>
<scene_description>Close on : An old sword sliding out of a shabby leather Scabbard . its polished , well tendered Blade glitters cold and bright .</scene_description>
<character>BILBO</character>
<dialogue>My old sword `` Sting''. here, take it!</dialogue>
<scene_description>Bilbo offers Sting to Frodo .</scene_description>
<character>FRODO</character>
<dialogue>It's so light!</dialogue>
<character>BILBO</character>
<dialogue>Yes, yes, made by the Elves, you know. The blade glows blue when Orcs are close. and it's times like that, my lad, when you have to be extra careful.</dialogue>
<scene_description>Bilbo unwraps a small shirt of close woven Mail .</scene_description>
<character>BILBO</character>
<parenthetical>( CONT 'D . )</parenthetical>
<dialogue>Here's a pretty thing. Mithril, as light as a feather, and as hard as dragon scales. Let me see you put it on. Come on.</dialogue>
<scene_description>CLOSE ON : Frodo peels off his shirt . revealing The Ring on the Chain around his neck .</scene_description>
<character>BILBO</character>
<parenthetical>( CONT 'D . )</parenthetical>
<parenthetical>( entranced . )</parenthetical>
<dialogue>Oh! My old Ring. Frodo frowns as Bilbo moves toward him.</dialogue>
<character>BILBO</character>
<parenthetical>( CONT 'D . )</parenthetical>
<dialogue>I should very much like to hold it again, one last time. Bilbo reaches forward, eyes locked on the ring.</dialogue>
<scene_description>Suddenly ! A shadow passes across Bilbo . for a split second he becomes a wrinkled creature with a hungry face and Bony , groping hands . Frodo pulls away , shocked . the shadow passes . Bilbo slumps into a chair , his head in his hands . Bilbo falters . his eyes filling with tears .</scene_description>
<character>BILBO</character>
<parenthetical>( CONT 'D . )</parenthetical>
<dialogue>Oh!</dialogue>
<character>BILBO</character>
<parenthetical>( CONT 'D . )</parenthetical>
<parenthetical>( sad . )</parenthetical>
<dialogue>I'm sorry, that I brought this upon you, my boy. I'm sorry that you must carry this burden. I'm sorry for everything.</dialogue>
<scene_description>Bilbo sobs and Frodo moves to comfort him .</scene_description>
</scene>
<scene>
<stage_direction>EXT. RIVENDELL VALLEY -- MORNING</stage_direction>
<scene_description>The Fellowship climb the long steep path out of the cloven vale of Rivendell .</scene_description>
</scene>
<scene>
<stage_direction>EXT. ROUGH COUNTRY, SOUTH OF RIVENDELL -- DAY</stage_direction>
<scene_description>The fellowship trekking through a land of Deep Valleys and turbulent waters . the misty mountains rise sharply to their left .</scene_description>
<character>GANDALF</character>
<parenthetical>( V.O . )</parenthetical>
<dialogue>We must hold to his course west of the misty Mountains for forty days. If our luck holds, the Gap of Rohan will still be open to us. From there, our road turns east, to Mordor.</dialogue>
</scene>
<scene>
<stage_direction>EXT. EREGION HILLS--DAWN</stage_direction>
<scene_description>CLOSE ON : Sam at the campfire . The sound of clashing swords ! Wider : Aragorn and Boromir are giving Pippin Sword tuition .</scene_description>
<character>BOROMIR</character>
<dialogue>Get away from the blade, Pippin. on your toes. good, very good. I want you to react, not think.</dialogue>
<character>SAM</character>
<dialogue>Should not be too hard.</dialogue>
<character>BOROMIR</character>
<dialogue>Move your feet.</dialogue>
<character>MERRY</character>
<dialogue>Quite good, Pippin.</dialogue>
<character>PIPPIN</character>
<dialogue>Thanks.</dialogue>
<scene_description>CLOSE ON : GIMLI has managed to corner Gandalf .</scene_description>
<character>GIMLI</character>
<dialogue>If anyone were to ask for my opinion, which I note they have not, I would say we are taking the long way round. Gandalf, we can pass through the Mines of Moria. My cousin, Balin, would give us a royal welcome. Gandalf clearly thinks that is a bad idea.</dialogue>
<character>GANDALF</character>
<dialogue>No, Gimli. I would not take the road through Moria unless I had no other choice.</dialogue>
<scene_description>Boromir thrusts , catching Pippin on the hand . Pippin throws down his sword , kicks and lunges at Boromir , tackling him to the ground . Much laughter . Legolas ' eyes are fixed on a distant Dark Patch which darts about the sky , like flying smoke in the wind .</scene_description>
<character>SAM</character>
<dialogue>What is that?</dialogue>
<character>GIMLI</character>
<dialogue>Nothing. it's just a wisp of a cloud.</dialogue>
<character>BOROMIR</character>
<parenthetical>( worried . )</parenthetical>
<dialogue>It's moving fast. against the wind.</dialogue>
<character>LEGOLAS</character>
<dialogue>Crebain from Dunland!</dialogue>
<character>ARAGORN</character>
<parenthetical>( urgently . )</parenthetical>
<dialogue>Hide!</dialogue>
<character>BOROMIR</character>
<dialogue>Merry. Pippin. Sam. take cover! WIDE ON : THE FELLOWSHIP scramble under what little cover</dialogue>
<scene_description>there is . as a regiment of Large crows fly low overhead at Great speed , wheeling and circling above . As their dark shadow passes over the fellowship , a single harsh croak is heard . and the crows suddenly wheel away , back towards the south . Gandalf staggers to his feet .</scene_description>
<character>GANDALF</character>
<parenthetical>( worried . )</parenthetical>
<dialogue>Spies of Saruman. The passage South is being watched.</dialogue>
<scene_description>Gandalf looks at Aragorn , turns to the others . gesturing towards a high mountain pass .</scene_description>
<character>GANDALF</character>
<parenthetical>( CONT 'D . )</parenthetical>
<dialogue>We must take the pass of Caradhras!</dialogue>
</scene>
<scene>
<stage_direction>EXT. SNOWY MOUNTAINSIDE -- DAY</stage_direction>
<scene_description>The Fellowship clamber through Rock and Snow . CLOSE ON : Frodo slips on some shale . as he scrambles to his feet , the Ring falls on the ground . CLOSE ON : the ring gleaming in the snow ! Boromir 's Hand picks it up by the chain . he stands , the ring dangling before his eyes . He seems to grow in stature , as if absorbing its power . Aragorn warily approaches Boromir . Boromir is motionless . he stares at the ring , as if transfixed .</scene_description>
<character>ARAGORN</character>
<dialogue>Boromir?</dialogue>
<character>BOROMIR</character>
<dialogue>It is a strange fate that we should suffer so much fear and doubt over so small a thing. such a little thing.</dialogue>
<character>ARAGORN</character>
<parenthetical>( quietly . )</parenthetical>
<dialogue>Boromir. give the ring to Frodo. ARAGORN'S HAND moves to his sword hilt.</dialogue>
<scene_description>Ring 's POV . looking up at Boromir 's face . The strange hum vibrates on the soundtrack . CLOSE ON : a Weird beatific smile lights up Boromir 's face . The HUM grows to a Deafening roar ! Boromir suddenly snaps out of his trance and hands the ring back to Frodo .</scene_description>
<character>BOROMIR</character>
<parenthetical>( lightly . )</parenthetical>
<dialogue>As you wish. I care not.</dialogue>
<scene_description>Boromir smiles at Frodo , ruffling his hair . CLOSE ON : ARAGON unhands his sword .</scene_description>
</scene>
<scene>
<stage_direction>EXT. ISENGARD -- DAY</stage_direction>
<scene_description>Following the crows as they race deeper and deeper , passing a vista of Industry , Hundreds of Orcs and writhing Birthsacks . flying past Saruman , who stands upon a wooden Gantry . CLOSE ON : Saruman , listening to the Cries of the crows .</scene_description>
<character>SARUMAN</character>
<dialogue>So, Gandalf. you try to lead them over Caradhras. And if that fails. where then will you go? THE FELLOWSHIP struggles through the snow.</dialogue>
<character>SARUMAN</character>
<parenthetical>( V.O. ; CONT 'D . )</parenthetical>
<dialogue>If the mountain defeats you, will you risk a more dangerous road?</dialogue>
</scene>
<scene>
<stage_direction>EXT. PASS OF CARADHRAS -- DAY</stage_direction>
<scene_description>THE FELLOWSHIP are struggling through a blinding blizzard , up towards the PASS OF CARADHRAS . Legolas the Elf moves lightly across the top of the snow . he suddenly pauses . Saruman 's voice sweeps by in the wind .</scene_description>
<character>LEGOLAS</character>
<parenthetical>( urgent . )</parenthetical>
<dialogue>There is a fell voice in the air.</dialogue>
<character>GANDALF</character>
<dialogue>It's Saruman.</dialogue>
<scene_description>THUNDER RUMBLES . ROCK and Shale fall from above .</scene_description>
<character>ARAGORN</character>
<parenthetical>( urgently . )</parenthetical>
<dialogue>He's trying to bring down the mountain. Gandalf! We must turn back!</dialogue>
<character>GANDALF</character>
<dialogue>No!</dialogue>
<scene_description>GANDALF RAISES HIS STAFF . HE CHANTS INTO THE WIND .</scene_description>
<character>GANDALF</character>
<parenthetical>( YELLING . )</parenthetical>
<dialogue>Losto Caradhras, sedho, hodo, nuitho I ruith. Sleep Caradhras, be still, lie still, hold your wrath.</dialogue>
</scene>
<scene>
<stage_direction>EXT. ISENGARD -- DAY</stage_direction>
<scene_description>CAMERA SWEEPS PAST SARUMAN . he stands on the summit of Orthanc , Chanting . CLOUDS ARE FLOWING FROM ALL DIRECTIONS . converging on the distant mountains in a stormy Malestrom .</scene_description>
</scene>
<scene>
<stage_direction>EXT. PASS OF CARADHRAS -- DAY</stage_direction>
<scene_description>Saruman 's voice strengthens . rolling past the fellowship like thunder . A LIGHTNING CRACK explodes on the mountainside above them . Frodo looks up in horror as a huge snow avalanche thunders down towards them ! The Fellowship throw themselves against the cliff face as snow crashes onto the narrow ledge . LEGOLAS pulls Gandalf to safety . Aragorn shields Frodo and Sam as snow piles around them . Within moments , the pass is blocked and the fellowship are enveloped in snow . Boromir and Aragorn frantically dig for the hobbits . who are pulled out Shivering and Fearful .</scene_description>
<character>BOROMIR</character>
<parenthetical>( urgent . )</parenthetical>
<dialogue>We must get off the mountain! Make for the gap of Rohan and take the West road to my city.</dialogue>
<character>ARAGORN</character>
<dialogue>The Gap of Rohan takes us too close to Isengard.</dialogue>
<character>GIMLI</character>
<dialogue>We can not pass over the mountain. Let us go under it. Let us go through the mines of Moria. Gandalf has a concerned look on his face.</dialogue>
<character>SARUMAN</character>
<parenthetical>( V.O . )</parenthetical>
<dialogue>Moria. You fear to go into those mines, do n't you? The dwarves delved too greedily and too deep.</dialogue>
<character>SARUMAN</character>
<parenthetical>( V.O. ; CONT 'D . )</parenthetical>
<dialogue>You know what they awoke in, the darkness of Khazad - dum. Shadow and flame.</dialogue>
<character>GANDALF</character>
<dialogue>Let the ringbearer decide.</dialogue>
<scene_description>CLOSE ON : FRODO , the weight of the decision weighing heavily upon him . CLOSE ON : MERRY and PIPPIN shivering in Boromir 's arms .</scene_description>
<character>GANDALF</character>
<parenthetical>( CONT 'D . )</parenthetical>
<dialogue>Frodo?</dialogue>
<scene_description>Frodo meets Gandalf 's eye .</scene_description>
<character>FRODO</character>
<dialogue>We will go through the mines. Gandalf slowly nods.</dialogue>
<character>GANDALF</character>
<dialogue>So be it.</dialogue>
</scene>
<scene>
<stage_direction>EXT. MORIA GATE -- NIGHT</stage_direction>
<scene_description>The Fellowship are walking along the far shore of dark lake . directly below great looming cliffs .</scene_description>
<character>GIMLI</character>
<parenthetical>( in awe . )</parenthetical>
<dialogue>The walls of Moria!</dialogue>
<scene_description>Footing is treacherous on the narrow strip of green and greasy stones . Gandalf touches the smooth rock wall between the trees . slowly , faint lines appear like slender veins of luminous silver running through the stone .</scene_description>
<character>GANDALF</character>
<dialogue>Itidin. it mirrors only starlight and moonlight.</dialogue>
<scene_description>A large moon rises over the mountains . The lines grow Broader and Clearer , forming a glowing arch of interlacing ancient letters and symbols .</scene_description>
<character>GANDALF</character>
<parenthetical>( CONT 'D . )</parenthetical>
<dialogue>It reads, `` The door of Durin, Lord of Moria. Speak, friend, and enter.''</dialogue>
<character>MERRY</character>
<dialogue>What do you suppose that means?</dialogue>
<character>GANDALF</character>
<parenthetical>( confident . )</parenthetical>
<dialogue>It's quite simple. If you are a friend, speak the password and the doors will open.</dialogue>
<scene_description>Gandalf raises his arms .</scene_description>
<character>GANDALF</character>
<parenthetical>( CONT 'D . )</parenthetical>
<parenthetical>( incanting . )</parenthetical>
<dialogue>Annon edhellen, edro hi ammen!</dialogue>
<scene_description>The cliff towers into the night , the wind blows cold , Frodo shivers . and the door stands fast ! GANDALF CONTINUES . Mumbling spells in his efforts to open the door . Sam packs pots and pans at his feet . watching sadly as Aragorn un - saddles Bill the pony . CLOSE ON : ARAGORN whispering to Bill the Pony .</scene_description>
<character>ARAGORN</character>
<parenthetical>( whispering . )</parenthetical>
<dialogue>Mines are no place for a Pony, even one so brave as Bill.</dialogue>
<character>SAM</character>
<dialogue>Bye, Bill.</dialogue>
<character>ARAGORN</character>
<dialogue>Go on, Bill, go on. do n't worry, Sam. he knows his way home. Aragorn slaps Bill on the rump. Bill goes trotting off. CLOSE ON : Sam watching Bill disappear into the darkness.</dialogue>
<character>SAM</character>
<dialogue>Goodbye, Bill.</dialogue>
<scene_description>SPLASH ! Merry and Pippin are tossing stones into the lake . Black Rippling rings slowly fan out . Pippin is about to throw another stone , but Aragorn grabs his arm .</scene_description>
<character>ARAGORN</character>
<parenthetical>( ominous . )</parenthetical>
<dialogue>Do not disturb the water.</dialogue>
<scene_description>Aragorn watches anxiously as the Ripples appear to grow . he exchanges a look with Boromir . Aragorn 's hand creeps towards his sword . Gandalf gives up in despair . he sits down beside Frodo . Close on : Frodo peers at the Elvish inscription . his face breaks into a smile of comprehension .</scene_description>
<character>FRODO</character>
<parenthetical>( quietly . )</parenthetical>
<dialogue>It's a riddle.</dialogue>
<scene_description>Gandalf raises his eyebrows .</scene_description>
<character>FRODO</character>
<parenthetical>( CONT 'D . )</parenthetical>
<parenthetical>( explaining . )</parenthetical>
<dialogue>Speak, friend, and enter. What's the Elvish for friend?</dialogue>
<character>GANDALF</character>
<dialogue>Oh. mellon.</dialogue>
<scene_description>With that , the rock face silently divides in the middle and two great Doors swing outwards . revealing a blackness deeper than the night . As the Fellowship enter the Blackness , something in the water stirs .</scene_description>
</scene>
<scene>
<stage_direction>INT. MORIA GATE -- NIGHT</stage_direction>
<scene_description>The Fellowship step warily into the darkness of Moria . a Dank cavern , with winding steps leading deeper into the mountain .</scene_description>
<character>GIMLI</character>
<dialogue>So, master elf, you will enjoy the fabled hospitality of the dwarves ; roaring fires, malt beer, red meat off the bone. This, my friend, is the home of my cousin, Balin. and they call this a Mine.</dialogue>
<parenthetical>( snorting . )</parenthetical>
<dialogue>A mine!</dialogue>
<scene_description>A Glow from Gandalf 's Staff suddenly lights the chamber . The Fellowship recoil in Horror ! Many dwarf Skeletons are strewn about , clearly the dead of some old battle . the rusting armor and shields are peppered with arrows and axes .</scene_description>
<character>BOROMIR</character>
<parenthetical>( grimly . )</parenthetical>
<dialogue>This is no mine. it's a tomb!</dialogue>
<character>GIMLI</character>
<parenthetical>( in horror . )</parenthetical>
<dialogue>Oh. no. no. no! Legolas pulls a crude arrow out of a skeleton.</dialogue>
<character>LEGOLAS</character>
<dialogue>Goblins!</dialogue>
<scene_description>The Fellowship draw swords and back away , towards the Entrance .</scene_description>
<character>BOROMIR</character>
<dialogue>We make for the Gap of Rohan. We should never have come here.</dialogue>
</scene>
<scene>
<stage_direction>EXT. MORIA GATE -- NIGHT</stage_direction>
<scene_description>Frodo is suddenly PULLED TO THE GROUND . A long sinuous Tentacle is wrapped around Frodo 's ankle and is dragging him towards the lake . FRODO CRIES OUT as Aragorn and Boromir rush forward ! Aragorn severs the Tentacle holding Frodo , and pulls him to safety . Boromir hacks at the other Writhing Limbs . 20 more tentacles ripple out of the Lake ! The dark water Boils as the hideous beast lashes out at the FELLOWSHIP ! Again the creature grabs Frodo and pulls him to the lake , Frodo is flung in the air as the Fellowship battle the creature . Aragorn hacks at a tentacle . Frodo is released , falling into Boromir 's arms .</scene_description>
<character>GANDALF</character>
<dialogue>Into the mines!</dialogue>
<character>BOROMIR</character>
<dialogue>Legolas!</dialogue>
<scene_description>Legolas shoots an Arrow into the creature 's head , gaining a few vital seconds for Aragorn and Boromir as they race out of the water with Frodo . The FELLOWSHIP hurriedly back away from the Creature . retreating into the Moria Chamber as many Coiling arms seize the large doors .</scene_description>
</scene>
<scene>
<stage_direction>INT. MORIA GATE -- NIGHT</stage_direction>
<scene_description>With a shattering echo , the creature rips the doors away , creating a rock slide that crashes down the Cliff Face . Within seconds , tons of rock seal the doorway . throwing the Fellowship into Pitch Blackness . A faint light rises from Gandalf 's staff , throwing a Creepy Glow across the old wizards face .</scene_description>
<character>GANDALF</character>
<parenthetical>( ominous . )</parenthetical>
<dialogue>We now have but one choice. we must face the long dark of Moria. Be on your guard. there are older and fouler things than the Orcs in the deep places of the world.</dialogue>
</scene>
<scene>
<stage_direction>INT. NEW CHAMBER, MORIA -- NIGHT</stage_direction>
<scene_description>WIDE ON : the Fellowship crossing a precarious bridge above deep mine workings .</scene_description>
<character>GANDALF</character>
<dialogue>Quietly, now. It's a four day journey to the other side. Let us hope that our presence will go unnoticed.</dialogue>
</scene>
<scene>
<stage_direction>INT. MORIA CEMETERY CAVERN -- NIGHT</stage_direction>
<scene_description>They continue up a steep stair , passing through a dwarf cemetery . The graves are despoiled . dwarf skeletons are strewn about and Goblin Graffiti is scrawled on monuments in dried Dwarf blood . The Atmosphere is very sinister .</scene_description>
</scene>
<scene>
<stage_direction>INT. MORIA TUNNEL FORK -- NIGHT</stage_direction>
<scene_description>The path splits into three passages . each disappearing into dark tunnels . Gandalf pauses , frowning .</scene_description>
<character>GANDALF</character>
<dialogue>I have no memory of this place.</dialogue>
<scene_description>LATER . The Fellowship are nervously waiting . while Gandalf sits , staring intently at the 3 tunnel mouths in front of him . He appears to be in some kind of trance . CLOSE ON : FRODO He turns at the sound of a faint noise down the tunnel behind them .</scene_description>
<character>PIPPIN</character>
<dialogue>Are we lost?</dialogue>
<character>MERRY</character>
<dialogue>No. I do n't think we are. Shhhh, Gandalf's thinking.</dialogue>
<character>PIPPIN</character>
<dialogue>Merry!</dialogue>
<character>MERRY</character>
<dialogue>What?</dialogue>
<character>PIPPIN</character>
<dialogue>I'm hungry.</dialogue>
<scene_description>Frodo 's POV : a sudden glimpse of a creature darting in the darkness . Frodo is nervous . he approaches Gandalf .</scene_description>
<character>FRO DO</character>
<parenthetical>( whispers . )</parenthetical>
<dialogue>There's something down there.</dialogue>
<character>GANDALF</character>
<parenthetical>( quietly . )</parenthetical>
<dialogue>It's Gollum.</dialogue>
<character>FRODO</character>
<dialogue>Gollum!</dialogue>
<character>GANDALF</character>
<dialogue>He's been following us for three days.</dialogue>
<scene_description>TEASING SHOT : and emaciated , leering creature .</scene_description>
<character>FRODO</character>
<parenthetical>( disbelieving . )</parenthetical>
<dialogue>He escaped the dungeons of Barad - dur?</dialogue>
<character>GANDALF</character>
<dialogue>Escaped. or was set loose. And now the Ring has drawn him here. he will never be rid of his need for it. He hates and loves the ring, as he hates and loves himself. Smeagol's life is a sad story. Gandalf catches Frodo's look of surprise.</dialogue>
<character>GANDALF</character>
<parenthetical>( CONT 'D . )</parenthetical>
<dialogue>Yes. Smeagol he was once called. Before the ring came to him, before it drove him mad.</dialogue>
<scene_description>Gollum 's withered fingers are gripping the cave wall . he is large , Luminous eyes blinking with malice .</scene_description>
<character>FRODO</character>
<parenthetical>( grim . )</parenthetical>
<dialogue>It's a pity Bilbo did n't kill him when he had the chance.</dialogue>
<character>GANDALF</character>
<dialogue>Pity? It was pity that stayed Bilbo's hand. Many that live deserve death, and some that die deserve life. Can you give it to them, Frodo? Frodo frowns.</dialogue>
<character>GANDALF</character>
<parenthetical>( CONT 'D . )</parenthetical>
<dialogue>Do not be too eager to deal out death in judgment. even the very wise can not see all ends. My heart tells me that Gollum has some part to play yet, for good or ill, before this is over. The pity of Bilbo may rule the fate of many.</dialogue>
<character>FRODO</character>
<dialogue>I wish the ring had never come to me. I wish none of this had happened.</dialogue>
<character>GANDALF</character>
<dialogue>So do all who live to see such times, but that is not for them to decide. All we have to decide is what to do with the time that is given to us. There is a note of finality in Gandalf's voice.</dialogue>
<character>GANDALF</character>
<parenthetical>( CONT 'D . )</parenthetical>
<dialogue>There are other forces at work in this world, Frodo, besides the will of evil. Bilbo was meant to find the ring. In which case, you also were meant to have it. and that is an encouraging thought.</dialogue>
<parenthetical>( sudden brightness . )</parenthetical>
<dialogue>Ah! That it's that way! Gandalf points at the right hand tunnel. the Fellowship scramble to their feet.</dialogue>
<character>MERRY</character>
<parenthetical>( relieved . )</parenthetical>
<dialogue>He's remembered!</dialogue>
<character>GANDALF</character>
<dialogue>No, but the air does n't smell so foul down there. If in doubt, Meriadoc, always follow your nose!</dialogue>
<parenthetical>( laughs . )</parenthetical>
<dialogue>Ye s.</dialogue>
</scene>
<scene>
<stage_direction>INT. DWAROWDELF CHAMBER, MORIA -- DAY</stage_direction>
<scene_description>The Fellowship pass under an arched doorway into a black and empty space . Gandalf pauses .</scene_description>
<character>GALADRIEL</character>
<dialogue>Let me risk a little more light. Gandalf taps his staff. for a brief moment a light</dialogue>
<scene_description>blazes . like a silent Flash of Lightning . Great shadows spring up and flee .</scene_description>
<character>GANDALF</character>
<dialogue>Behold! The great realm and Dwarf city of Dwarrowdelf! Frodo gasps at the brief sight of a vast roof, far above</dialogue>
<scene_description>their heads , upheld by many mighty pillars hewn of stone . Before them stretches a huge empty hall , with black walls , polished and smooth as glass .</scene_description>
<character>SAM</character>
<dialogue>Well, there's an eye opener and no mistake!</dialogue>
<scene_description>Ahead of them , a wooden door has been smashed . Black arrows are embedded in the timbers . Two goblin skeletons lie in the doorway . Gimli rushes ahead .</scene_description>
<character>GANDALF</character>
<dialogue>Gimli!</dialogue>
</scene>
<scene>
<stage_direction>INT. BALIN'S TOMB, MORIA -- DAY</stage_direction>
<scene_description>Gimli rushes into another vast empty chamber . lit with a narrow shaft of sunlight , beaming in from a small hole near the roof . Dwarf and Goblin skeletons are piled high . In the far corner sits a stone walled Well . A shaft of light falls directly onto a stone table in the middle of the room : a single oblong block , about 4 feet high , topped with a great slab of white stone . Gimli falls to his knees .</scene_description>
<character>GIMLI</character>
<dialogue>No. no. oh, no!</dialogue>
<scene_description>Gimli sobs . Gandalf quietly reads an inscription of runes , carved onto the white stone slab .</scene_description>
<character>GANDALF</character>
<dialogue>`` Here lies Balin, son of Fudin, Lord of Moria.'' He is dead, then. It's as I had feared.</dialogue>
<scene_description>Gandalf carefully lifts the rotting remains of a book from the white stone slab . It has been slashed and stabbed . and appears to be covered in Dried Blood . The pages crack and break as he opens it .</scene_description>
<character>LEGOLAS</character>
<parenthetical>( urgent whisper to Argorn . )</parenthetical>
<dialogue>We must move on, we can not linger.</dialogue>
<character>GANDALF</character>
<parenthetical>( reading . )</parenthetical>
<dialogue>`` They have taken the Bridge and the second hall : we have barred the gates. but can not hold them for long. the ground shakes. drums in the deep. we can not get out. A shadow moves in the dark. Will no - one save us? They are coming.''</dialogue>
<scene_description>Unnerved , Pippin backs away nervously . He stumbles against the well , sending a precariously balanced Armored skeleton tumbling in ! Merry reaches out , Grabbing hold of Pippin before he falls . The Fellowship freeze in stunned silence as the armored skeleton clatters down the deep well . echoing loudly !</scene_description>
</scene>
<scene>
<stage_direction>INT. MORIA CAVERNS -- DAY</stage_direction>
<scene_description>Gandalf turns angrily on Pippin .</scene_description>
<character>GANDALF</character>
<parenthetical>( angry . )</parenthetical>
<dialogue>Fool of a Took! Throw yourself in next time and rid us of your stupidity!</dialogue>
<scene_description>ANGLE ON : PIPPIN , CHASTENED . They fall silent . A low rolling boom rises from the depths below . growing louder . BOOM . BOOM . as if the caverns of Moria were turned into a vast drum . A great horn blasts nearby . Answering horns . running feet . harsh cries . Sam 's eyes glance at Frodo 's belt .</scene_description>
<character>SAM</character>
<parenthetical>( worried . )</parenthetical>
<dialogue>Mr. Frodo!</dialogue>
<scene_description>Frodo looks down . A cold blue glow is emanating from Sting 's Scabbard ! Frodo draws the Sword . and stares at its glowing blade !</scene_description>
<character>LEGOLAS</character>
<dialogue>Orcs!</dialogue>
<character>ARAGORN</character>
<parenthetical>( to the hobbits . )</parenthetical>
<dialogue>Get back! Stay close to Gandalf.</dialogue>
<scene_description>Aragorn and Boromir slam and wedge the doors . Boromir catches sight of something ; he turns to Aragorn with shock in his eyes .</scene_description>
<character>BOROMIR</character>
<dialogue>They have a cave troll!</dialogue>
<scene_description>Gimli snatches up two rusty dwarf axes and leaps onto the tomb .</scene_description>
<character>GIMLI</character>
<parenthetical>( yelling . )</parenthetical>
<dialogue>Let them come! There is one Dwarf yet in Moria who still draws breath!</dialogue>
<scene_description>BOOM ! The Door bursts open in a shower of wood fragments , and 20 Goblins charge into the tomb , followed by a huge cave troll ! Gimli ducks a blow and immediately buries his Axes in 2 Goblin helmets . Aragorn and Boromir wade into the mass of Goblins with their swords . Legolas fires deadly arrows into Goblin throats , desperately trying to Shield the Hobbits ! Gandalf is clutching his sword and joins in the battle ! The cave troll is sweeping his club at Aragorn . who stumbles backwards . the huge club descends for the killing blow . suddenly , in a flash of steel , Boromir 's long sword slices into the Scaly arm of the troll ; it rears back , spewing green blood ! Sam is backing up against a wall . a sword in one hand , a saucepan in the other . In desperation he swings wildly at a Goblin with a saucepan ! It keels over . Sam looks surprised . He wallops another Goblin and it too , drops .</scene_description>
<character>SAM</character>
<dialogue>I think I'm getting the hang of this.</dialogue>
<scene_description>The Cave Troll lunges forward , thrusting at Frodo 's chest with his spear .</scene_description>
<character>FRODO</character>
<dialogue>Aragorn! Aragorn!</dialogue>
<scene_description>Sam screams as Frodo is lifted off his feet by the spear tip and slammed against the wall .</scene_description>
<character>ARAGORN</character>
<parenthetical>( shocked yell . )</parenthetical>
<dialogue>Frodo!</dialogue>
<scene_description>The hobbits go crazy . Sam slashes at the cave troll 's knee , bringing him down . Merry and Pippin jump on him . Legolas fires an arrow . and the cave troll topples , dead . Aragorn rushes to Frodo 's side as he slumps to the floor . Frodo appears to be dead . Close on : Gandalf , Aragorn , Hobbits looking horrified . Suddenly Frodo coughs . takes a huge breath .</scene_description>
<character>SAM</character>
<dialogue>He's alive!</dialogue>
<character>FRODO</character>
<dialogue>I'm alright. I'm not hurt.</dialogue>
<character>ARAGORN</character>
<dialogue>You should be dead. That spear would've skewered a wild boar!</dialogue>
<character>GANDALF</character>
<dialogue>I think there's more to this hobbit than meets the eye.</dialogue>
<scene_description>Frodo open his shirt to reveal the Mithril Vest . The Troll Spear did not pierce the mithril . ''</scene_description>
<character>GIMLI</character>
<dialogue>Mithril! You are full of surprises, Master Baggins.</dialogue>
<scene_description>BOOM . BOOM . BOOM the sound of the drums rings out again ! Gandalf turns to the others .</scene_description>
<character>GANDALF</character>
<dialogue>To the bridge of Khazad - dum!</dialogue>
</scene>
<scene>
<stage_direction>INT. DWAROWDELF CHAMBER, MORIA -- DAY</stage_direction>
<scene_description>Gandalf leads the fellowship into the huge Dwarrowdelf Chamber .</scene_description>
<character>GANDALF</character>
<dialogue>This way!</dialogue>
<scene_description>They hurry towards a distant door . as Goblins start scuttling down the Pillars behind them , like cockroaches ! Frodo looks with horror at the overwhelming Goblin army that 's rushing toward them ! SUDDENLY ! A deafening roar fills the air ! A fiery light dances down the hallway . the pillars casting eerie shadows . The Goblins freeze . They back Fearfully away from the approaching beast . melting into the darkness .</scene_description>
<character>BOROMIR</character>
<dialogue>What is this new devilry?</dialogue>
<scene_description>A HUGE SHADOW , surrounded by flame , falls across the hall . the ground shakes . an unearthly sound rumbles .</scene_description>
<character>GANDALF</character>
<parenthetical>( quietly . )</parenthetical>
<dialogue>A Balrog. a demon of the ancient world! This foe is beyond any of you!</dialogue>
<parenthetical>( urgent yell . )</parenthetical>
<dialogue>Run! Quickly!</dialogue>
</scene>
<scene>
<stage_direction>INT. STAIRWAY OF KHASAD-DUM, MORIA -- DAY</stage_direction>
<scene_description>The BALROG , a massive creature rises from a chasm , a great 40 foot man - beast , with a mane of flames ! In one hand is a blade . like a stabbing tongue of fire ; in the other , a WHIP of many thongs . Aragorn leads the fellowship to the top of a dizzying stairway . Gandalf follows , leaning heavily on his staff . Close on : Aragorn looks at Gandalf , concerned .</scene_description>
<character>GANDALF</character>
<dialogue>Lead them on, Aragorn. The bridge is near.</dialogue>
<scene_description>Aragorn hesitates . Gandalf looks at him .</scene_description>
<character>GANDALF</character>
<parenthetical>( CONT 'D . )</parenthetical>
<dialogue>Do as I say ; swords are no more use here.</dialogue>
<scene_description>THE FELLOWSHIP race down the stairway , Aragorn picks up Frodo . leaping across a gaping chasm . A NARROW BRIDGE , spanning a bottomless pit . Gandalf yells to the others : Aragorn makes to throw Gimli across the Chasm .</scene_description>
<character>GIMLI</character>
<dialogue>Nobody tosses a dwarf! The BALROG smashes through the wall and spreads its vast wings. It swoops down past the Fellowship, disappearing into a flaming pit!</dialogue>
</scene>
<scene>
<stage_direction>INT. BRIDGE OF KHAZAD-DUM, MORIA -- DAY</stage_direction>
<scene_description>The Fellowship run into a hall . the floor is split with fissures that spit flame .</scene_description>
<character>GANDALF</character>
<parenthetical>( yelling . )</parenthetical>
<dialogue>Over the bridge! Fly!</dialogue>
<scene_description>They race towards the slender bridge of stone . without kerb or rail . at the far end of the hall . The Fellowship recklessly hurry over the dizzying bridge . but Gandalf . the last . pauses in the middle of the span . he faces the Balrog . staff in one hand . Sword in the other ! Frodo looks back in horror :</scene_description>
<character>GANDALF</character>
<parenthetical>( CONT 'D . )</parenthetical>
<dialogue>You can not pass!</dialogue>
<character>FRODO</character>
<parenthetical>( alarmed yell . )</parenthetical>
<dialogue>Gandalf!</dialogue>
<character>GANDALF</character>
<parenthetical>( yelling . )</parenthetical>
<dialogue>I am a servant of the Secret Fire, wielder of the flame of Anor. The dark fire will not avail you, flame of Udun.</dialogue>
<scene_description>Frodo watches as the Balrog puts one foot on the bridge and draws up to Full Height , wings spreading from wall - to - wall . Gandalf is a tiny figure , balanced precariously on the narrow bridge .</scene_description>
<character>GANDALF</character>
<parenthetical>( CONT 'D . )</parenthetical>
<dialogue>Go back to the shadow! The BALROG slashes at Gandalf with its Sword of</dialogue>
<scene_description>flame . Gandalf blocks with his sword . a ringing clash and the Balrog 's sword shatters into molten fragments !</scene_description>
<character>GANDALF</character>
<parenthetical>( CONT 'D . )</parenthetical>
<parenthetical>( booming . )</parenthetical>
<dialogue>You shall not pass! The Balrog places one foot onto the bridge. Aragorn and Boromir race forward, swords drawn.</dialogue>
<scene_description>GANDALF CRIES ALOUD as he summons up his LAST RESERVES OF STRENGTH ! He thumps the bridge with his staff . a blinding sheet of white flame springs up . the staff shatters . the bridge breaks . right at Balrog 's feet . The stone bridge drops away into the gulf . from under the Balrog . For a moment , the great Beast remains poised in the air . then it plunges down : in slow motion Relief floods Frodo 's face . Gandalf remains trembling on the lip of the broken bridge . Slow motion : As the Balrog falls , he lashes out with his whip of fire . Slow motion : The thongs of the whip lash and curl around Gandalf 's knees , dragging him over the brink ! Gandalf just manages to hand on by his fingertips</scene_description>
<character>FRODO</character>
<parenthetical>( screaming . )</parenthetical>
<dialogue>Gandalf!</dialogue>
<character>GANDALF</character>
<parenthetical>( fierce . )</parenthetical>
<dialogue>Fly, you fools!</dialogue>
<scene_description>CLOSE ON : Gandalf lets go his grip and falls away . following the Balrog into the bottomless Abyss ! Frodo cries out ! Boromir scoops him up and carries him away .</scene_description>
<character>FRODO</character>
<dialogue>No!</dialogue>
<character>ARAGORN</character>
<dialogue>Gandalf!</dialogue>
<scene_description>They rush towards an archway .</scene_description>
</scene>
<scene>
<stage_direction>EXT. DIMROLL DALE DOOR -- DAY</stage_direction>
<scene_description>The Fellowship tumble out of the Great Eastern Gate on to a grassy sunlit hillside . Sam , Merry , and Pippin fall slowly to the ground , Sobbing . Aragorn turns to Legolas and Gimli .</scene_description>
<character>ARAGORN</character>
<parenthetical>( urgent . )</parenthetical>
<dialogue>Legolas, get them up!</dialogue>
<character>BOROMIR</character>
<dialogue>Give them a moment. for pity's sake!</dialogue>
<character>ARAGORN</character>
<dialogue>By nightfall these hills will be swarming with Orcs! We must reach the woods of Lothlorien. Come, Boromir, Legolas, Gimli, get them up. On your feet, Sam. Boromir glances towards Frodo, then back at Aragorn. Frodo is walking away, as if in a daze.</dialogue>
<character>ARAGORN</character>
<parenthetical>( CONT 'D . )</parenthetical>
<dialogue>Frodo? Frodo!</dialogue>
<scene_description>CLOSE ON : FRODO SLOWLY TURNS . a look of numb shock on his devastated face . The Fellowship marches on .</scene_description>
</scene>
<scene>
<stage_direction>EXT. DIMRILL DALE HILLSIDE--DUSK</stage_direction>
<scene_description>Aragorn scours ahead of the company , as they stumble on in the fading light . in the distance the shimmer of a large forest can be seen . Lothlorien !</scene_description>
</scene>
<scene>
<stage_direction>EXT. EDGE OF LOTHLORIEN--DUSK</stage_direction>
<scene_description>WIDE ON : The fellowship run across a forest floor strewn with yellow flowers . above is a roof of golden leaves , held up by silver pillars . the trunks of huge , grey trees . Gimli looks nervously around .</scene_description>
<character>GIMLI</character>
<dialogue>Stay close, young hobbits. they say a Sorceress lives in these woods. An elf - witch of terrible power. All who look upon her fall under her spell.</dialogue>
<scene_description>Frodo hesitates . a STRANGE VOICE whispers in his head .</scene_description>
<character>GALADRIEL</character>
<parenthetical>( V.O . )</parenthetical>
<dialogue>Frodo.</dialogue>
<character>GIMLI</character>
<dialogue>And are never seen again!</dialogue>
<character>GALADRIEL</character>
<parenthetical>( V.O . )</parenthetical>
<dialogue>your coming to us is as the footsteps of doom. You bring great evil here, Ringbearer.</dialogue>
<character>SAM</character>
<dialogue>Mr. Frodo?</dialogue>
<character>GIMLI</character>
<dialogue>Well, here's one dwarf she wo n't ensnare so easily. I have the eyes of a hawk and the ears of a fox!</dialogue>
<scene_description>The FELLOWSHIP are suddenly surrounded by ARMED ELVES . Deadly arrows aimed at their heads . HALDIR , the Elvish captain steps forward . he looks at Gimli with disdain .</scene_description>
<character>HALDIR</character>
<dialogue>The dwarf breathes so loud we could have shot him in the dark.</dialogue>
<character>ARAGORN</character>
<parenthetical>( Elvish : with subtitles . )</parenthetical>
<dialogue>Haldir of Lorien, we come here for your help. We need your protection.</dialogue>
<character>GIMLI</character>
<dialogue>Aragorn! These woods are perilous. We should go back.</dialogue>
<character>HALDIR</character>
<dialogue>You have entered the realm of the Lady of the Wood. You can not go back.</dialogue>
<scene_description>Haldir 's eyes lock onto Frodo .</scene_description>
<character>HALDIR</character>
<parenthetical>( CONT 'D . )</parenthetical>
<dialogue>Come, she is waiting.</dialogue>
</scene>
<scene>
<stage_direction>EXT. LOTHLORIEN HILLTOP -- DAY</stage_direction>
<scene_description>Haldir leads the Fellowship onto a Hill Top . They look with wonderment at the vista spread before them . Several miles towards the South , a Large Hill rises out of the woods . Upon the hill rise many mighty Mallorn Trees , taller than any others . Nestled high in the crown of the mallorns is a Beautiful City . It Gleams in the low rays of the late afternoon sun . green , gold , and silver . To the east of Caras Galadhon , the Woods of Lorien run down the pale gleam of Anduin , the great river . Beyond the River , the land appears flat and empty , formless and vague , until far away , it rises again like a dark and dreary wall . The Sun that lies on Lothlorien has not power to enlighten the shadows that lie beyond .</scene_description>
</scene>
<scene>
<stage_direction>INT. CELEBORN'S CHAMBER, CARAS GALADHON -- NIGHT</stage_direction>
<scene_description>ANGLE ON : THE FELLOWSHIP step onto a wide fleet filled with a soft light . The walls are green and silver , the roof gold and in its midst is the trunk of the might Mallorn tree , now tapering toward its crown . Celeborn steps forward to greet the guests . His hair is long and silver , his face grave and beautiful , with no sign of age upon it . Next to him stands Galadriel , the Lady of the Elves . She has hair of deep gold and timeless , unsurpassed beauty . Celeborn looks hard at Aragorn .</scene_description>
<character>CELEBORN</character>
<dialogue>Eight there are, yet nine there were set out from Rivendell. Tell me, where is Gandalf, for I much desire to speak with him.</dialogue>
<scene_description>Frodo looks at Galadriel , standing silently beside Celeborn .</scene_description>
<character>GALADRIEL</character>
<parenthetical>( V.O . )</parenthetical>
<parenthetical>( softly aloud . )</parenthetical>
<dialogue>. he has fallen into shadow. Galadriel looks to Aragorn.</dialogue>
<character>GALADRIEL</character>
<parenthetical>( CONT 'D . )</parenthetical>
<dialogue>The Quest stands upon the edge of a knife. Stray but a little and it will fail, to the ruin of all. Yet hope remains while the company is true.</dialogue>
<scene_description>Galadriel 's eyes settle on Sam .</scene_description>
<character>GALADRIEL</character>
<parenthetical>( CONT 'D . )</parenthetical>
<dialogue>Do not let your hearts be troubled. Go now and rest for you are weary with sorrow and much toil. Galadriel's eyes turn to Frodo. her voice fades.</dialogue>
<character>GALADRIEL</character>
<parenthetical>( CONT 'D . )</parenthetical>
<dialogue>Tonight you will sleep in peace.</dialogue>
<parenthetical>( whispered v/o . )</parenthetical>
<dialogue>Welcome, Frodo of the Shire. CLOSE ON : FRODO looks at GALADRIEL. SUDDEN INSERT : GALADRIEL as she is on the other</dialogue>
<scene_description>side . Powerful , divine . no longer of this world . a Piercing white light surrounds her .</scene_description>
<character>GALADRIEL</character>
<parenthetical>( V.O. ; CONT 'D . )</parenthetical>
<dialogue>one who has seen the eye.</dialogue>
</scene>
<scene>
<stage_direction>EXT. CARAS GALADHON LAWN -- NIGHT</stage_direction>
<scene_description>Gimli , Legolas , Merry , Pippin , Frodo and Sam are in a pavilion set among the trees near the fountain . They lie on soft couches as Elves leave food and wine for them . MOURNFUL SINGING drifts down from the trees above .</scene_description>
<character>LEGOLAS</character>
<parenthetical>( sadly . )</parenthetical>
<dialogue>A lament for Gandalf.</dialogue>
<character>MERRY</character>
<dialogue>What do they say about him?</dialogue>
<character>LEGOLAS</character>
<dialogue>I have not the heart to tell you. For me, the grief is still too near. Boromir is sitting alone. Aragorn approaches him.</dialogue>
<character>ARAGORN</character>
<dialogue>Take some rest. these borders are well protected.</dialogue>
<scene_description>Moonlight catches the trace of tears on Boromir 's face . Aragorn kneels down beside him .</scene_description>
<character>BOROMIR</character>
<dialogue>I will find no rest here. I heard her voice inside my head. she spoke of my father and the fall of Gondor, and she said to me : `` Even now, there</dialogue>
<character>BOROMIR</character>
<parenthetical>( CONT 'D . )</parenthetical>
<dialogue>is hope left. But I can not see it. it is long since we had any hope.</dialogue>
<scene_description>CLOSE ON : BOROMIR looks at ARAGORN in despair .</scene_description>
<character>BOROMIR</character>
<parenthetical>( CONT 'D . )</parenthetical>
<dialogue>My father is a noble man, but his rule is failing and our. our people lose faith. He looks to me to make things right. and I would do it, I would see the glory of Gondor restored. Have you ever seen it, Aragorn? The White Tower of Ecthelion, glimmering like a spike of pearl and silver, its banners caught high in the morning breeze. have you ever been called home by the clear ringing of silver trumpets?</dialogue>
<character>ARAGORN</character>
<dialogue>I have seen the white city. long ago.</dialogue>
<scene_description>Boromir feels Aragorn 's love for Minas Tirith and takes heart ,</scene_description>
<character>BOROMIR</character>
<dialogue>One day our paths will lead us there, and the tower guards shall take up the call `` the Lords of Gondor have returned.''</dialogue>
<scene_description>Aragorn returns Boromir 's smile . betraying his disquiet sadness only when Boromir looks away . LATER . The Fellowship are asleep on their beds . Gimli is snoring loudly . CLOSE ON : BARE FEET tread soundlessly across the lawn . CLOSE ON : Frodo 's eyes flicker open . as if by instinct . GALADRIEL , her White dress glowing in the moonlight , glances at him . Frodo follows her . as if drawn by an invisible force .</scene_description>
</scene>
<scene>
<stage_direction>EXT. GALADRIELS GLADE, LORTHLORIEN -- NIGHT</stage_direction>
<scene_description>Upon a low stone pedestal , carved like a branching tree , sits a shallow Silver Basin . Galadriel leads Frodo into the small Glade .</scene_description>
<character>GALADRIEL</character>
<dialogue>Will you look into the mirror? Frodo looks with apprehension at the silver basin.</dialogue>
<character>FRODO</character>
<parenthetical>( warily . )</parenthetical>
<dialogue>What will I see?</dialogue>
<scene_description>Galadriel pours water into the basin from a silver jug . a glow rises from the water .</scene_description>
<character>GALADRIEL</character>
<dialogue>Even the wisest can not tell for the mirror shows many things. things that were. things that are. and some things that have not yet come to pass.</dialogue>
<scene_description>Frodo slowly steps up to the pedestal . he peers into the glossy surface . The night sky is reflected into the water . suddenly a figure takes form . the bowed figure of an old man , clad in white robes . He walks down a long road . Frodo leans closer to the mirror 's surface . CLOSE ON : GANDALF LIFTS HIS HEAD AND LOOKS DIRECTLY AT FRODO ! FRODO gasps , his face lighting up with hope .</scene_description>
<character>FRODO</character>
<parenthetical>( joyous . )</parenthetical>
<dialogue>Gandalf!</dialogue>
<scene_description>Gandalf looks at Frodo with a fierce intensity . Frodo reaches out his hand toward the surface of the mirror . Suddenly the image flares , burning out to white . The vision shifts . Frodo gasps in horror ! The Shire is in ruins ! The image suddenly widens to fill the screen . buildings burning . bodies strewn about . Dark Shapes of ORCS looting and destroying . Bag End , billowing in flames ! The Party tree is hacked down . Frodo reels back as the mirror seems to grow . the nightmarish image sweeps past his head , engulfing him entirely . IMAGE : Hobbiton . now an Industrial wasteland ! The fields and trees destroyed . replaced with Brick factories belching smoke ! IMAGE : ORCS brutally herd manacled Hobbits into the Factories ! We see Sam . Merry . and Rosie Cotton . Soot - stained and sobbing , they disappear into the factory hell - hole ! Suddenly , the mirror goes dark . and out of the black abyss a single eye grows . CLOSE ON : FRODO IS FROZEN . Unable to move or cry out . The ring dangles from his neck , inches above the water . not shimmering with curls of steam . Fire erupts around the eye . With a Yell , Frodo pushes himself away from the pedestal and collapses on the ground . Light instantly fades from the mirror . Frodo comes to his senses . he is shocked . Galadriel stands still as a statue , unmoved , untouched by the horror .</scene_description>
<character>GALADRIEL</character>
<dialogue>I know what it is you saw. for it is also in my mind. It is the future, Frodo. It is what will come to pass if you should fail.</dialogue>
<scene_description>Galadriel looks at Frodo intensely . Frodo looks down . in his hand he is clutching the ring . Frodo looks up at Galadriel .</scene_description>
<character>GALADRIEL</character>
<parenthetical>( CONT 'D . )</parenthetical>
<dialogue>The fellowship is breaking. It has already begun. He will try to take the ring. You know of whom I speak. One by one, it will destroy them all.</dialogue>
<character>FRODO</character>
<parenthetical>( V.O . )</parenthetical>
<dialogue>If you ask it of me, I will give you the One Ring.</dialogue>
<character>GALADRIEL</character>
<dialogue>You offer it to me freely. I do not deny that my heart has greatly desired this.</dialogue>
<scene_description>Galadriel suddenly seems to rise in stature before Frodo 's eyes . Frodo is suddenly afraid of her .</scene_description>
<character>GALADRIEL</character>
<parenthetical>( CONT 'D . )</parenthetical>
<dialogue>In place of the Dark Lord, you would have a Queen, not dark, but beautiful and terrible as the Dawn. Treacherous as the Sea! Stronger than the foundations of the earth. all shall love me and despair! Frodo takes a step away from Galadriel.</dialogue>
<scene_description>Galadriel suddenly laughs . a slender Elf - woman once more , clad in simple white , her voice soft and sad .</scene_description>
<character>GALADRIEL</character>
<parenthetical>( CONT 'D . )</parenthetical>
<parenthetical>( gently . )</parenthetical>
<dialogue>I pass the test.</dialogue>
<parenthetical>( laughs . )</parenthetical>
<dialogue>I will diminish and go into the west and remain Galadriel. Frodo's confidence drains away.</dialogue>
<character>FRODO</character>
<dialogue>I can not do this alone.</dialogue>
<character>GALADRIEL</character>
<dialogue>You are the ring - bearer, Frodo. to bear a ring of power is to be alone. This task was appointed to you, and if you do not find a way, no one will.</dialogue>
<scene_description>Frodo realizes what her message is .</scene_description>
<character>FRODO</character>
<dialogue>Then I know what I must do. It's just. I'm afraid to do it. Galadriel kneels down to Frodo's height, staring at him intently.</dialogue>
<character>GALADRIEL</character>
<dialogue>Even the smallest person can change the course of the future.</dialogue>
<scene_description>The Ring lies in the palm of Frodo 's hand . his fingers close over it .</scene_description>
</scene>
<scene>
<stage_direction>INT. ORTHANC CHAMBER -- DAY</stage_direction>
<scene_description>Naked , Lurtz 's eyes follow Saruman , alight with a mean intelligence .</scene_description>
<character>SARUMAN</character>
<parenthetical>( V.O . )</parenthetical>
<parenthetical>( smiles . )</parenthetical>
<dialogue>They were Elves once. Taken by the Dark Powers. tortured and mutilated. a ruined and terrible form of life. And now. perfected. My fighting Uruk - Hai. Whom do you serve?</dialogue>
<character>LURTZ</character>
<parenthetical>( gutteral rasp . )</parenthetical>
<dialogue>Saruman.</dialogue>
</scene>
<scene>
<stage_direction>INT. CAVERNS BELOW ISENGARD -- DAY</stage_direction>
<scene_description>QUICK CUTS : LURTZ is quickly armored . Breastplate . Leg guards , Helmet . a sword is thrust in Lurtz 's hand . The URUK - HAI are smearing themselves in white paint . a creepy ritualistic ceremony . the white hand of Isengard is smeared on bodies , faces , and armor . SARUMAN address a crowd of 200 fully armed URUK - HAI .</scene_description>
<character>SARUMAN</character>
<dialogue>Hunt them down. Do not stop until they are found. You do not know pain. You do not know fear. You will taste man - flesh. Saruman turns to Lurtz.</dialogue>
<character>SARUMAN</character>
<parenthetical>( CONT 'D . )</parenthetical>
<parenthetical>( coldly . )</parenthetical>
<dialogue>One of the Halflings carries something of great value. bring him to me. alive and unspoiled. kill the others.</dialogue>
</scene>
<scene>
<stage_direction>EXT. ISENGARD -- DAY</stage_direction>
<scene_description>Lurtz is leading 200 URUK - HAI out of Isengard . they run fast , their powerful legs carrying them at speed .</scene_description>
</scene>
<scene>
<stage_direction>EXT. SILVERLODE RIVER BANK--DAWN</stage_direction>
<scene_description>The Fellowship are in small elven boats . They row away from the Lothlorien Shore into the Silverlode river . Elves quietly watch them depart . Galadriel gives Frodo a small Crystal Phial .</scene_description>
<character>GALADRIEL</character>
<dialogue>Farewell, Frodo Baggins. I give you the light of Earendil, our most beloved star.</dialogue>
<scene_description>As the Fellowship 's boats drift past , Galadriel stands alone , watching from the banks of the river . In his head , Frodo still hears her voice .</scene_description>
<character>GALADRIEL</character>
<parenthetical>( V.O. ; CONT 'D . )</parenthetical>
<dialogue>May it be a light for you in dark places, when all other lights go out.</dialogue>
</scene>
<scene>
<stage_direction>EXT. RIVER ANDUIN -- DAY</stage_direction>
<scene_description>The boats pass into the great river Anduin . The Three Elven boats carry the Fellowship steadily southward . Green trees slowly give way to a brown and withered land .</scene_description>
</scene>
<scene>
<stage_direction>EXT. FOREST -- DAY</stage_direction>
<scene_description>The Uruk forces are running through the trees with deadly purpose .</scene_description>
</scene>
<scene>
<stage_direction>EXT. RIVER ANDUIN -- DAY</stage_direction>
<scene_description>A flock of birds circle high above , Black against the pale sky . Aragorn watches them with concern .</scene_description>
</scene>
<scene>
<stage_direction>EXT. PILLARS OF THE KINGS, RIVER ANDUIN--DAWN</stage_direction>
<scene_description>The Three Elven boats drift slowly through the steep rocky gorge in the Pre - dawn light . CLOSE ON : ARAGORN , slowly paddling in the stern .</scene_description>
<character>ARAGORN</character>
<parenthetical>( quietly . )</parenthetical>
<dialogue>Frodo.</dialogue>
<scene_description>Frodo slowly looks up , his eyes widening with amazement . Wide on : Two enormous rock statues , towering like 300 foot pinnacles on either side of the river . carved images of Gondorian kings of old . They loom over the boats with power and majesty .</scene_description>
<character>ARAGORN</character>
<parenthetical>( CONT 'D . )</parenthetical>
<dialogue>The Argonath.</dialogue>
<scene_description>Close on : Aragorn . strangely moved by the beauty of the silent sentinels . He speaks , almost as if to himself .</scene_description>
<character>ARAGORN</character>
<parenthetical>( CONT 'D . )</parenthetical>
<parenthetical>( deeply moved . )</parenthetical>
<dialogue>Long have I desired to look upon the kings of old. my kin.</dialogue>
<scene_description>The fellowship stare in stunned silence as the current takes them through the narrow gap between the Statues ' feet . Wide on : Craning up past the statues vast crumbling heads , to reveal a large lake only a mile down river .</scene_description>
</scene>
<scene>
<stage_direction>EXT. SHORE OF NEN HITHOEL -- DAY</stage_direction>
<scene_description>ANGLE ON : THE FELLOWSHIP As they leap out of the boats and clamber onto the wooded shore .</scene_description>
<character>ARAGORN</character>
<dialogue>We cross the lake at nightfall, hide the boats and continue on foot. we approach Mordor from the North.</dialogue>
<character>GIMLI</character>
<parenthetical>( gloomy . )</parenthetical>
<dialogue>Oh, yes, just a simple matter of finding our way through Emyn Muil, an impassable labyrinth of razor sharp rocks. And after that gets even better. a festering, stinking marshland, far as the eye can see.</dialogue>
<character>ARAGORN</character>
<dialogue>That is our Road. I suggest you take some rest and recover your strength, Master Dwarf.</dialogue>
<character>GIMLI</character>
<parenthetical>( indignant . )</parenthetical>
<dialogue>Recover my.</dialogue>
<scene_description>Legolas turns to Aragorn with urgency .</scene_description>
<character>LEGOLAS</character>
<dialogue>We should leave now.</dialogue>
<character>ARAGORN</character>
<dialogue>No. Orcs patrol the Eastern shore. We must wait for cover of darkness.</dialogue>
<character>LEGOLAS</character>
<dialogue>It is not the Eastern shore that worries me.</dialogue>
<scene_description>Legolas casts a glance around into the Parth Galen forest .</scene_description>
<character>LEGOLAS</character>
<parenthetical>( CONT 'D . )</parenthetical>
<dialogue>A shadow and a threat has been growing in my mind. Something draws near, I can feel it.</dialogue>
<scene_description>Aragorn looks at Legolas , knowing full well what he means . Sam has slumped asleep . Merry dumps a small pile of kindling at Gimli 's feet .</scene_description>
<character>MERRY</character>
<dialogue>Where's Frodo?</dialogue>
<scene_description>Sam sits up with a start . Aragorn 's head snaps round . his eyes fly to Boromir 's shield which lies abandoned by his camp bed . CLOSE ON : ARAGORN . as he realizes Boromir has gone !</scene_description>
</scene>
<scene>
<stage_direction>EXT. SLOPES OF AMON HEN -- DAY</stage_direction>
<scene_description>Frodo is walking beneath the trees . lost in thought . His feet hit the rough edge of an ancient stone slab . his eyes follow an overgrown path towards stone stairs leading to the summit of Amon Hen . the seeing seat . A CRACKLING SOUND ! Frodo freezes .</scene_description>
<character>BOROMIR</character>
<parenthetical>( quietly . )</parenthetical>
<dialogue>None of us should wander alone ; you least of all. So much depends on you. Frodo?</dialogue>
<scene_description>Frodo turns slowly . he stares at Boromir , tense , cautious .</scene_description>
<character>BOROMIR</character>
<parenthetical>( CONT 'D . )</parenthetical>
<dialogue>I know why you seek solitude. You suffer, I see it day by day. Are you sure you do not suffer needlessly?</dialogue>
<scene_description>Frodo stands silent for a moment . the murmur of the Wind in the trees and the distant roar of the falls of Rauros can be heard</scene_description>
<character>BOROMIR</character>
<parenthetical>( CONT 'D . )</parenthetical>
<dialogue>Let me help you. There are other ways, Frodo. other paths that we might take.</dialogue>
<character>FRODO</character>
<dialogue>I know what you would say, and it would seem like wisdom but for the warning of my heart.</dialogue>
<character>BOROMIR</character>
<dialogue>Warning? Against what?</dialogue>
<scene_description>Boromir has started forward towards Frodo , he pulls himself up .</scene_description>
<character>BOROMIR</character>
<parenthetical>( CONT 'D . )</parenthetical>
<dialogue>We are all afraid, Frodo. But to let that fear drive us to destroy what hope we have. do n't you see that is madness?</dialogue>
<character>FRODO</character>
<dialogue>There is no other way.</dialogue>
<character>BOROMIR</character>
<dialogue>I ask only for the strength to defend my people.</dialogue>
<parenthetical>( angrily drops the wood he has collected . )</parenthetical>
<dialogue>If you would but lend me the ring.</dialogue>
<character>FRODO</character>
<dialogue>No.</dialogue>
<scene_description>Frodo steps hurriedly away from Boromir .</scene_description>
<character>BOROMIR</character>
<dialogue>Why do you recoil? I am no thief.</dialogue>
<character>FRODO</character>
<parenthetical>( wary . )</parenthetical>
<dialogue>You are not yourself.</dialogue>
<character>BOROMIR</character>
<dialogue>What chance do you think you have? They will find you, they will take the ring and you will beg for death before the end.</dialogue>
<scene_description>Frodo turns to leave .</scene_description>
<character>BOROMIR</character>
<parenthetical>( CONT 'D . )</parenthetical>
<dialogue>You fool! It is not yours save by unhappy chance. it might have been mine. It should be mine. Give it to me! Give me the ring.</dialogue>
<scene_description>Boromir leaps on top of Frodo , grasping for the ring ! Frodo has only moments to act . Frodo rips the ring from around his neck . and rams it on his finger .</scene_description>
<character>FRODO DISAPPEARS</character>
<dialogue>Boromir spins wildly around, yelling into thin air!</dialogue>
<character>BOROMIR</character>
<dialogue>I see your mind. you will take the ring to Sauron. You will betray us! You go to your death and the death of us all. Curse you! Curse you and your Halflings! Boromir stumbles and falls. His body shakes as if in the Throes of a fit. slowly he comes to.</dialogue>
<character>BOROMIR</character>
<parenthetical>( CONT 'D . )</parenthetical>
<parenthetical>( Disoriented . )</parenthetical>
<dialogue>Frodo! Frodo! What have I done. Please, Frodo.</dialogue>
</scene>
<scene>
<stage_direction>EXT. SEEING SEAT -- DAY</stage_direction>
<scene_description>FRODO races through the misty twilight world , past the foggy shapes of twisted trees . Somewhere behind him , Boromir 's distraught voice carries from another dimension :</scene_description>
<character>BOROMIR</character>
<parenthetical>( O.S . )</parenthetical>
<dialogue>I'm sorry, Frodo. Frodo.</dialogue>
<scene_description>Frodo suddenly finds himself on the stone steps . he clambers up the stairs , onto a high seat , perched on four stone pillars . Frodo cowers on the seat , like a lost child upon the throne of mountain kings . The world of mist swirls around him . Frodo peers out from the seat . the world seems to shrink . In all directions , Views of far off lands telescope towards him through the mist . IMAGES : ORCS spilling out of holes in the misty mountains . flames rising from Mirkwood . grim faced easterlings march to war . black ships sailing into the south . All the power of the Dark Lord is in motion . Frodo moves his gaze towards the east . fire explodes against the smoke , as a huge mass of black battlements fills Frodo 's vision . A mountain of iron , immeasurably strong , tower of adamant : Barad - dur , FORTRESS OF SAURON ! SUDDENLY ! SAURON 'S EYE LEAPS TOWARD FRODO LIKE A FINGER OF LIGHT . SAURON -LRB- V.O. -RRB- -LRB- IN BLACK SPEECH -RRB- They will fall ! Frodo leaps off the seat , and tumbles down the stairs ! The eye sweeps Amon Hen like a searchlight , seeking its ring ! With a huge effort , Frodo wrenches the ring off his finger .</scene_description>
</scene>
<scene>
<stage_direction>EXT. SUMMIT OF AMON HEN -- DAY</stage_direction>
<scene_description>Frodo lies gasping on the summit of Amon Hen . below the ancient ruins of the seeing seat . AT THAT MOMENT : A BLACK BOOT STEPS INTO SHOT ! Frodo looks up as Aragorn towers over him .</scene_description>
<character>ARAGORN</character>
<dialogue>Frodo?</dialogue>
<character>FRODO</character>
<parenthetical>( numb . )</parenthetical>
<dialogue>It has taken Boromir. ARAGORN moves towards Frodo.</dialogue>
<character>ARAGORN</character>
<parenthetical>( urgent . )</parenthetical>
<dialogue>Where is the ring?</dialogue>
<scene_description>Frodo backs away from Aragorn . Aragorn is shocked by the movement .</scene_description>
<character>FRODO</character>
<dialogue>Stay away!</dialogue>
<character>ARAGORN</character>
<dialogue>Frodo. I swore to protect you.</dialogue>
<character>FRODO</character>
<dialogue>Can you protect me from yourself?</dialogue>
<scene_description>Frodo uncurls his fist . in is palm lies the ring ! It glints , gold and beautiful in the afternoon sun . Aragorn 's eyes are drawn to it .</scene_description>
<character>FRODO</character>
<parenthetical>( CONT 'D . )</parenthetical>
<dialogue>Would you destroy it?</dialogue>
<character>ARAGORN</character>
<parenthetical>( kneeling to Frodo . )</parenthetical>
<dialogue>I would have gone with you to the end. into the very fires of Mordor.</dialogue>
<character>FRODO</character>
<dialogue>I know. Look after the others, especially Sam. he will not understand.</dialogue>
<scene_description>Aragorn freezes ! He draws his sword .</scene_description>
<character>ARAGORN</character>
<parenthetical>( urgent . )</parenthetical>
<dialogue>Go, Frodo!</dialogue>
<scene_description>Frodo hesitates .</scene_description>
<character>ARAGORN</character>
<parenthetical>( CONT 'D . )</parenthetical>
<parenthetical>( yells . )</parenthetical>
<dialogue>Run! Run!</dialogue>
<scene_description>Frodo backs away into the trees . as 200 URUK - HAI SWARM onto Amon Hen behind Aragorn ! Aragorn attacks the leading URUK - HAI like a madman . he brings two down with his sword . leaping into the ruins as others close in on him . Frodo scrambles down the hillside , away from the fight . Aragorn battles the URUK - HAI , amongst the pillars and blocks of Amon Hen . Despite his bravery , he is quickly surrounded . SUDDENLY : ELVEN ARROWS smash into the URUK - HAI . Legolas races out of the woods , firing his bow . Gimli leaps into the battle , wielding his might axe .</scene_description>
</scene>
<scene>
<stage_direction>EXT. PARTH GALEN HILLSIDE -- DAY</stage_direction>
<scene_description>Frodo is darting down the steep hillside as heave feet thunder down behind him .</scene_description>
<character>SAM</character>
<dialogue>Mr. Frodo!</dialogue>
<scene_description>Sam looks around for Frodo . CLOSE ON : LURTZ ordering his URUKS .</scene_description>
<character>LURTZ</character>
<dialogue>Find the Halflings. find the halflings!</dialogue>
<scene_description>Frodo stumbles and falls . quickly he crawls behind a tree . above him the sound of Uruk - Hai crashing through the forest rings out .</scene_description>
<character>MERRY</character>
<parenthetical>( O.S . )</parenthetical>
<parenthetical>( urgent whisper . )</parenthetical>
<dialogue>Frodo!</dialogue>
<scene_description>Frodo turns to see Merry and Pippin hidden in a hollow , a few feet away .</scene_description>
<character>MERRY</character>
<parenthetical>( CONT 'D . )</parenthetical>
<dialogue>Hide here, quick!</dialogue>
<character>PIPPIN</character>
<dialogue>Come on.</dialogue>
<scene_description>Frodo looks at his friends . slowly shakes his head , a great sadness in his eyes .</scene_description>
<character>PIPPIN</character>
<parenthetical>( CONT 'D . )</parenthetical>
<dialogue>What's he doing?</dialogue>
<scene_description>Merry 's eyes meet Frodo 's . Understanding .</scene_description>
<character>MERRY</character>
<parenthetical>( softly . )</parenthetical>
<dialogue>He's leaving.</dialogue>
<character>PIPPIN</character>
<dialogue>No!</dialogue>
<scene_description>Pippin stands and makes a move toward Frodo . Merry grabs at his arm .</scene_description>
<character>MERRY</character>
<dialogue>Pippin!</dialogue>
<scene_description>THE ECHO OF BOROMIR 'S HORN reaches Aragorn , Legolas , and Gimli . they are battling their way down the Slopes towards the lake .</scene_description>
<character>LEGOLAS</character>
<dialogue>The horn of Gondor!</dialogue>
<character>ARAGORN</character>
<dialogue>Boromir!</dialogue>
<scene_description>Aragorn desperately slashes his way towards Boromir , felling URUK - HAI in his path . while Legolas and Gimli fight a rear guard action . MANY URUK - HAI fall to Boromir 's sword as he tries to protect Merry and Pippin .</scene_description>
<character>BOROMIR</character>
<dialogue>Run! Run!</dialogue>
<scene_description>Lurtz takes aim . A black arrow suddenly thuds into Boromir 's chest . Amazingly , Boromir continues fighting , but another arrow . and another , brings him to his knees . Merry and Pippin are scooped off their feet by URUK - HAI .</scene_description>
<character>MERRY & PIPPIN</character>
<dialogue>Aaaaagh! Boromir! Boromir!</dialogue>
<scene_description>Lurtz aims his bow at Boromir 's heart . suddenly Aragorn charges at him , smashing the Bow with his sword . They lock into a deadly battle . Aragorn cuts Lurtz down and races towards Boromir , who lies slumped against a tree . URUK - HAI arrows sticking out of his chest . At least 20 dead URUK - HAI lie heaped around Boromir . His horn lies at his feet . Cloven in two .</scene_description>
<character>BOROMIR</character>
<parenthetical>( painful gasp . )</parenthetical>
<dialogue>They took the little ones. Aragorn quickly tries to staunch the flow of Blood from Boromir's shoulder.</dialogue>
<character>BOROMIR</character>
<parenthetical>( CONT 'D . )</parenthetical>
<parenthetical>( panicked . )</parenthetical>
<dialogue>Frodo. where is Frodo?</dialogue>
<character>ARAGORN</character>
<dialogue>I let Frodo go.</dialogue>
<scene_description>Boromir holds Aragorn 's gaze .</scene_description>
<character>BOROMIR</character>
<dialogue>Then you did what I could not. I tried to take the ring from him.</dialogue>
<character>ARAGORN</character>
<dialogue>The ring is beyond our reach now.</dialogue>
<character>BOROMIR</character>
<dialogue>Forgive me, I did not see. I have failed you all.</dialogue>
<character>ARAGORN</character>
<dialogue>No, Boromir. You fought bravely. You have kept your honor. Aragorn tries to bind Boromir's wound.</dialogue>
<character>BOROMIR</character>
<dialogue>Leave it! It is over. the world of Men will fall and all will come to darkness and my city to ruin. Aragorn.</dialogue>
<character>ARAGORN</character>
<dialogue>I do not know what strength is in my blood, but I swear to you. I will not let the White City fall, nor your people fail.</dialogue>
<character>BOROMIR</character>
<dialogue>Our people. our people.</dialogue>
<scene_description>Aragorn places Boromir 's sword in his hand . Boromir 's fingers tighten around the hilt .</scene_description>
<character>BOROMIR</character>
<parenthetical>( CONT 'D . )</parenthetical>
<dialogue>I would have followed you, my brother. my captain, my King. Aragorn lays Boromir down. He is dead.</dialogue>
<character>ARAGORN</character>
<dialogue>Be at peace, son of Gondor. Aragorn bends and Kisses Boromir's forehead. Legolas and Gimli appear behind him. Aragorn stands.</dialogue>
<character>ARAGORN</character>
<parenthetical>( CONT 'D . )</parenthetical>
<dialogue>They will look for his coming from the white tower. but he will not return.</dialogue>
</scene>
<scene>
<stage_direction>EXT. SHORE OF NEN HITHOEL -- DAY</stage_direction>
<scene_description>On the lakeshore Frodo stands in front of one of the Elvish Boats , the ring in his palm . A distraught Sam . running as hard as he can through the forest .</scene_description>
<character>SAM</character>
<dialogue>Mr. Frodo!</dialogue>
<scene_description>Close on : Frodo looks to the far side of the river . the camera moves in on the ring .</scene_description>
<character>FRODO</character>
<parenthetical>( V.O . )</parenthetical>
<dialogue>I wish the ring had never come to me. I wish none of this had happened.</dialogue>
<scene_description>Tears fall down Frodo 's face .</scene_description>
<character>GANDALF</character>
<parenthetical>( V.O . )</parenthetical>
<dialogue>So do all who lie to see such times. but that is not for them to decide. All we have to decide is what to do with the time that is given us.</dialogue>
<scene_description>With renewed determination , Frodo tucks the ring inside his vest pocket . The small figure of Frodo pushing the Elvish boat into the water . Sam bursts through the trees and runs toward the lake . Frodo is already paddling away .</scene_description>
<character>SAM</character>
<parenthetical>( anguished . )</parenthetical>
<dialogue>Not alone, Frodo. Mr. Frodo! Frodo, in the boat, paddling steadfastly away from the</dialogue>
<scene_description>shore . tears in his eyes . the voice of Sam carried on the wind . Frodo whispers to himself</scene_description>
<character>FRODO</character>
<dialogue>No, Sam.</dialogue>
<scene_description>Sam looks at the water . then at the boat . SPLASH ! FRODO turns to see Sam launching himself into the water .</scene_description>
<character>FRODO</character>
<parenthetical>( CONT 'D . )</parenthetical>
<dialogue>Go back, Sam. I'm going to Mordor alone.</dialogue>
<scene_description>Sam splashes hopelessly toward the boat .</scene_description>
<character>SAM</character>
<dialogue>Of course you are. and I'm coming with you!</dialogue>
<character>FRODO</character>
<dialogue>You ca n't swim.</dialogue>
<scene_description>Sam starts to go under , spluttering and coughing . Frodo drops his paddle and scrambles backwards in the boat .</scene_description>
<character>FRODO</character>
<parenthetical>( CONT 'D . )</parenthetical>
<parenthetical>( frightened . )</parenthetical>
<dialogue>Sam!</dialogue>
<scene_description>Sam is underwater . hands flailing helplessly as he sinks . Close on : Frodo 's hand grasping Sam 's . Frodo pulls a bedraggled and half drowned Sam into the boat . Frodo and Sam look at each other , out of breath , tears and water streaming down both their faces .</scene_description>
<character>SAM</character>
<dialogue>I made a promise, Mr. Frodo. a promise.</dialogue>
<parenthetical>( fierce passion . )</parenthetical>
<dialogue>`` Do n't you leave him, Samwise Gamgee.''</dialogue>
<parenthetical>( sobs . )</parenthetical>
<dialogue>And I do n't mean to. I do n't mean to.</dialogue>
<character>FRODO</character>
<parenthetical>( crying . )</parenthetical>
<dialogue>Oh, Sam!</dialogue>
<scene_description>Frodo starts to laugh through his tears . the two friends hug .</scene_description>
<character>FRODO</character>
<parenthetical>( CONT 'D . )</parenthetical>
<dialogue>Come on then.</dialogue>
<scene_description>The two Hobbits row through the water .</scene_description>
</scene>
<scene>
<stage_direction>EXT. FALLS OF RAUROS AERIAL -- DAY</stage_direction>
<scene_description>Slow motion : Looking down on swiftly flowing water . Boromir 's body slides under camera . He is lying in one of the boats , his arms across his chest . his broken horn at his side . Suddenly . the boat drops away from camera . as it plunges over the massive falls of Rauros , disappearing into the vapor below .</scene_description>
<character>LEGOLAS</character>
<dialogue>If we are quick, we will catch Frodo and Sam before nightfall.</dialogue>
<scene_description>Aragorn looks towards the far shore ; Frodo and Sam 's small Boat can be seen lying on the distant Riverbank as Frodo and Sam make off into the forest beyond . He does n't react . Legolas turns and looks at Aragorn .</scene_description>
<character>LEGOLAS</character>
<parenthetical>( CONT 'D . )</parenthetical>
<dialogue>You mean not to follow them.</dialogue>
<character>ARAGORN</character>
<dialogue>Frodo's fate is no longer in our hands.</dialogue>
<character>GIMLI</character>
<dialogue>Then it has all been in vain. the fellowship has failed.</dialogue>
<character>ARAGORN</character>
<dialogue>Not if we hold true to each other. We will not abandon Merry and Pippin to torment and death, not while we have strength left.</dialogue>
<scene_description>Aragorn pulls a HUNTING KNIFE out of his pack and straps it on .</scene_description>
<character>ARAGORN</character>
<parenthetical>( CONT 'D . )</parenthetical>
<dialogue>Leave all that can be spared behind. CLOSE ON : ARAGORN. a steely light in his eye.</dialogue>
<character>ARAGORN</character>
<parenthetical>( CONT 'D . )</parenthetical>
<parenthetical>( grimly . )</parenthetical>
<dialogue>We travel light. Let's hunt some Orc.</dialogue>
<character>GIMLI</character>
<dialogue>Yes! Ha!</dialogue>
<scene_description>Aragorn , Legolas , and Gimli disappear into the Woods , following the URUK - HAI trail .</scene_description>
</scene>
<scene>
<stage_direction>EXT. EMYN MUIL HILLTOP -- DAY</stage_direction>
<scene_description>Frodo and Sam scramble onto a high ridge . A distant line of Saw toothed mountains below a dark , oppressive sky . Black volcanic smoke rises behind the mountains . MORDOR !</scene_description>
<character>FRODO</character>
<dialogue>Mordor! I hope the others find a safer road.</dialogue>
<character>SAM</character>
<parenthetical>( simply . )</parenthetical>
<dialogue>Strider'll look after them.</dialogue>
<character>FRODO</character>
<dialogue>I do n't suppose we'll ever see them again.</dialogue>
<character>SAM</character>
<dialogue>We may yet, Mr. Frodo. We may.</dialogue>
<character>FRODO</character>
<dialogue>Sam?</dialogue>
<scene_description>Frodo looks at Sam with great affection . despite the grim outlook , Sam is undeterred .</scene_description>
<character>FRODO</character>
<parenthetical>( CONT 'D . )</parenthetical>
<dialogue>I'm glad you're with me.</dialogue>
<scene_description>WIDE ON : THE TWO HOBBITS SETTING OFF TOWARD MORDOR . THE END</scene_description>
</scene>
</script>
|
The Lord of the Rings: The Fellowship of the Ring
BLACK SCREEN SUPER : New Line Cinema Presents SUPER : A Wingnut Films Production BLACK CONTINUES . ELVISH SINGING . A WOMAN 'S VOICE IS whispering , tinged with SADNESS and REGRET :
GALADRIEL
( V.O . )
( Elvish : subtitled . )
`` I amar prestar sen : han mathon ne nen, han mathon ne chae. a han noston ned wilith.''
( English : . )
The world is changed : I feel it in the water, I feel it in the earth, I smell it in the air. Much that once was is lost, for none now live who remember it.
SUPER : THE LORD OF THE RINGS
EXT. PROLOGUE -- DAY
IMAGE : FLICKERING FIRELIGHT . The NOLDORIN FORGE in EREGION . MOLTEN GOLD POURS from the lip of an IRON LADLE .
GALADRIEL
( V.O . )
It began with the forging of the Great Rings.
IMAGE : THREE RINGS , each set with a single GEM , are received by the HIGH ELVES - GALADRIEL , GIL - GALAD and CIRDAN .
GALADRIEL
( V.O. ; CONT 'D . )
Three were given to the Elves, immortal, wisest. fairest of all beings.
IMAGE : SEVEN RINGS held aloft in triumph by the DWARF LORDS .
GALADRIEL
( V.O. ; CONT 'D . )
Seven to the Dwarf Lords, great miners and craftsmen of the mountain halls.
IMAGE : NINE RINGS clutched tightly by the KINGS OF MEN . as if holding - close a precious secret .
GALADRIEL
( V.O. ; CONT 'D . )
And Nine. nine rings were gifted to the race of Men who, above all else, desire power. For within these rings was bound the strength and will to govern each race.
FADE TO BLACK
GALADRIEL
( V.O. ; CONT 'D . )
But they were all of them deceived.
FADE UP : An ancient PARCHMENT MAP of MIDDLE EARTH . moving slowly across the MAP as if drawn by an unseen force the CAMERA closes in on a PLACE NAME . MORDOR .
GALADRIEL
( V.O. ; CONT 'D . )
for another ring was made.
TEASING SHOTS : SAURON forging the ONE RING in the CHAMBERS of SAMMATH NAUR .
GALADRIEL
( V.O. ; CONT 'D . )
In the land of Mordor, in the fires of Mount Doom, the Dark Lord Sauron forged in secret a Master Ring to control all others.
IMAGE : The ONE RING reflecting FIERY LAVA ! FIRE WRITING emerges on the plain BAND OF GOLD .
GALADRIEL
( V.O. ; CONT 'D . )
and into this Ring he poured his cruelty, his malice and his will to dominate all life.
IMAGE : THE ONE RING falls through SPACE and into flames .
GALADRIEL
( V.O. ; CONT 'D . )
One Ring to rule them all.
IMAGE : A GREAT SHADOW falls across the MAP . closing in around the realm of GONDOR . IMAGE : SCREAMING VILLAGERS , MEN , WOMEN , AND CHILDREN , RUN from their homes , pursued by ARMIES OF HIDEOUS ORCS .
GALADRIEL
One by one the Free lands of Middle earth fell to the power of the ring.
FADE TO BLACK
GALADRIEL
( V.O. ; CONT 'D . )
But there were some. who resisted.
FADE UP : ISILDUR , son of the KING OF GONDOR , leads an ARMY ACROSS the PLAINS OF DAGORLAD .
GALADRIEL
( V.O. ; CONT 'D . )
A last alliance of Men and Elves marched against the armies of Mordor.
GALADRIEL
( V.O. ; CONT 'D . )
On the slopes of Mount Doom they fought for the freedom of Middle - Earth.
TEASING SHOTS : THE BATTLE OF DAGORLAD . THE ELF LORD , ELROND , commands rank after rank of ELVEN ARCHERS . ORCS RETREATING before the ARMY of the LAST ALLIANCE . ELENDIL holds aloft the great sword . NARSIL !
GALADRIEL
Victory was near!
IMAGES : THE HUGE , DARK FIGURE OF SARURON , bearing the ONE RING on his finger , looms over the field of battle .
GALADRIEL
( V.O. ; CONT 'D . )
But the power of the Ring could not be undone.
IMAGE : SAURON lays waste to the armies of the LAST ALLIANCE . With desperate courage , ELENDIL leads a charge . THE BLACK MACE OF SAURON LASHES OUT ! IMAGE : ELENDIL 'S body falls like a crumpled rag doll . IMAGE : ISILDUR cradles the body of his father in his arms . The SHADOW OF SAURON falls over him .
GALADRIEL
( V.O. ; CONT 'D . )
It was in this moment. when all hope had faded, that Isildur, son of the king, took up his father's sword.
ISILDUR snatches up the BROKEN BLADE OF NARSIL . The BLADE severs SAURON 'S FINGERS . AND THE ONE RING FLIES from his body .
GALADRIEL
( V.O. ; CONT 'D . )
Sauron, the enemy of the Free Peoples of Middle Earth, was defeated. SAURON'S ARMOR clatters to the ground. His body
GONE . VAPORIZED ! CLOSE ON : ISILDUR picks up the SEVERED FINGER and removes the ONE RING . transfixed !
GALADRIEL
( V.O. ; CONT 'D . )
The Ring passed to Isildur. who had this one chance to destroy evil forever.
IMAGE : GLADDEN FIELD . ISILDUR leads a small column of men through DARKENING WOODS . the ONE RING glinting on a CHAIN around his neck .
GALADRIEL
( V.O. ; CONT 'D . )
But the hearts of Men are easily corrupted. And the Ring of Power has a will of its own.
SUDDENLY ! ARROWS FLY ! They are ambushed by ORCS . ISILDUR SCREAMS ! FADE TO BLACK FADE UP : ISILDUR MATERIALIZES UNDER WATER . as THE RING slips slowly from his finger . Ripples of LIGHT play across ISILDUR 'S PALE FACE . he is DEAD .
GALADRIEL
( V.O. ; CONT 'D . )
It betrayed Isildur to his death.
IMAGE : THE RING falls through the MURKY WATERS of the RIVER ANDUIN .
GALADRIEL
( V.O. ; CONT 'D . )
And some things that should not have been forgotten. were lost.
FADE TO BLACK
GALADRIEL
( V.O. ; CONT 'D . )
History became legend. legend became myth.
FADE UP : The waters of the ANDUIN RIVER lie dark and undisturbed .
GALADRIEL
( V.O. ; CONT 'D . )
And for two and a half thousand years the Ring passed out of all knowledge.
IMAGE : SILT SWIRLS . A THIN WHITE HAND reaches down . grasping the RING .
GALADRIEL
( V.O. ; CONT 'D . )
Until, when chance came, it ensnared a new bearer!
IMAGE : THE THIN WHITE HAND opens to reveal one ring .
GOLLUM
( V.O . )
My Precious.
IMAGE : MIST SHROUDED MOUNTAINS .
GALADRIEL
( V.O . )
The Ring came to the creature Gollum, who took it deep into the tunnels of the Misty Mountains.
IMAGE : THE GLOOM of a MOUNTAIN CAVERN . a MURKY POOL of WATER . in the DARKNESS the SHADOWY OUTLINE of an EMACIATED FIGURE .
GALADRIEL
( V.O. ; CONT 'D . )
And there, it consumed him. A RASPY VOICE mutters in the half light.
GOLLUM
It came to me. My own. My love.
( ecstatic whisper . )
My preciousness.
GALADRIEL
( V.O . )
The Ring brought to Gollum unnatural long life. For five hundred years it poisoned his mind. And in the gloom of Gollum's cave.
FADE TO BLACK
GALADRIEL
( V.O. ; CONT 'D . )
It waited.
FADE UP : Bathed in COLD MOONLIGHT , the WORLD lies DARK and STILL . the unsettled quiet before the storm .
GALADRIEL
( V.O. ; CONT 'D . )
Darkness crept back into the forests of the world. Rumor grew of a Shadow in the East. whispers of a nameless fear. And the Ring of Power perceived. its time had now come. It abandoned Gollum.
SLOW MOTION : unseen by its KEEPER . THE RING falls to the MUDDY FLOOR of a MOUNTAIN TUNNEL .
GALADRIEL
( V.O. ; CONT 'D . )
But something happened then the Ring did not intend.
FADE TO BLACK IMAGE : FUMBLING in the dark , a SMALL HAND closes over the RING .
GALADRIEL
It was picked up by the most unlikely creature imaginable.
BILBO
( to himself . )
What's this?
A YOUNGISH LOOKING BILBO BAGGINS peers down at what lies in his hand . PERPLEXED by what he has found .
GALADRIEL
( V.O . )
A Hobbit. Bilbo Baggins of the Shire.
BILBO
( surprised . )
A Ring.
SUDDENLY ! A VOICE SCREAMS . ITS ANGUISH RINGING through the COLD , DANK TUNNELS .
GOLLUM
( V.O . )
Lost! Lost! My Precious is lost!
Frightened Bilbo quickly POCKETS the ONE RING and hurries on . WIDE ON : THE CAMERA SOARS AWAY FROM THE MOUNTAINS . MOVING FASTER AND FASTER . THEIR DARK GREEN FORESTS AND JAGGED WHITE PEAKS RECEDING INTO THE SHROUD OF MIST
GALADRIEL
( V.O . )
For the time will soon come when Hobbits will shape the fortunes of all.
FADE TO BLACK
EXT. HOBBITON WOODS -- DAY
ANGLE ON : TWO HOBBIT FEET resting on a small rock . rising out of the LONG , OVERGROWN GRASSES SUPER : THE FELLOWSHIP OF THE RING SUPER : THE SHIRE . 60 YEARS LATER CAMERA TRACKS TO : a Figure lies beneath the dappled sunlight of an old tree . White flowers are scattered among the Well seeded grasses . An idyllic setting at the end of a long hot summer . the figure is reading a book . ON THE SOUNDTRACK : In the distance , growing louder . over the Gentle clip clop of an approaching cart and horse can be heard the HUMMING OF A DEEP VOICE to the tune of `` The Road Goes Ever On and On . '' SUDDENLY ! The figure in the grass sits up . looking straight at camera is a handsome young HOBBIT , with dark curly hair and deep blue eyes . This is FRODO BAGGINS . his EYES alight with EXCITEMENT ! Tossing away the long stem of grass in his mouth , Frodo runs off .
EXT. SHIRE LANE -- DAY
The cart rattles along a leafy lane , driven by a stooped figure in Grey . INTERCUT WITH ; SHOTS OF FRODO RUNNING . CAREERING DOWN A HILL . JUMPING OVER LOGS . DODGING TREE BRANCHES . The shambling OLD PONY snorts and rears as . SUDDENLY FRODO appears on a bank above the cart .
FRODO
You're late.
CLOSE ON : GANDALF glowers at the young Hobbit .
GANDALF
A Wizard is never late, Frodo Baggins, nor is he early. He arrives precisely when he means to.
They look at each other a moment . then both start laughing as FRODO 'S face breaks into a smile and he leaps on to the front seat of the cart .
FRODO
It's wonderful to see you, Gandalf!
Next to Gandalf , we see how small Hobbits are . Frodo is 3 foot 6 inches tall .
GANDALF
You did n't think I'd miss your Uncle Bilbo's birthday?
EXT. HOBBITON FIELDS -- DAY
Wide on : The cart rattles past a FIELD LUPIN being tended by HOBBITS .
FRODO
What news of the outside world? Tell me everything!
Gandalf looks down at Frodo , a twinkle in his eye .
GANDALF
What, everything? Far too eager and curious for a Hobbit. Most unnatural.
Wide on : The cart rattles over a Stone bridge towards a Busy Hobbit Marketplace .
GANDALF
( V.O. ; CONT 'D . )
Well, what can I tell you? Life in the wide world goes on much as if it has past age. Full of its own comings and goings, scarcely even aware of the existence of Hobbits.
Close on : Gandalf as he surveys the peaceful scene before him .
GANDALF
( CONT 'D . )
for which I am very thankful.
Hobbits look up exclaiming in wonder and excitement as the cart bearing Gandalf and Frodo rolls past the Green Dragon Inn . towards . Wide on : The party field . Where scOrcs of Hobbits are busy preparing for the big night .
GANDALF
( CONT 'D . )
Ah, the long expected party. So, how is the old rascal? I hear it's going to be a Party of Special Magnificence.
FRODO
You know Bilbo. he's got he whole place in an uproar.
GANDALF
Oh, well. that should please him.
FRODO
Half the Shire's been invited.
GANDALF
Good gracious, me.
FRODO
He's up to something.
GANDALF
Oh, really?
Frodo shoots a knowing look , as Gandalf averts his eyes .
FRODO
Alright then. keep your secrets. Before you came along we Bagginses were very well thought of.
GANDALF
Indeed?
FRODO
Never had any adventures or did anything unexpected.
GANDALF
If you're referring to the incident with the Dragon. I was barely involved. all I did was give your Uncle a little nudge out the door.
FRODO
Whatever you did. you've been officially labelled as a Disturber of the Peace.
GANDALF
Oh, really?
ODO PROUDFOOT looks up as the Cart passes by , deeply suspicious .
EXT. HOBBITON -- DAY
As the cart rattles into the small village of Hobbiton . a quaint rustic settlement , nestled amongst rolling green hills and large trees . The Hobbits live in Hobbit Holes : neat burrows dug into the grassy hillside , with round doors and cute front gardens . Excited children , chasing after the cart . Gandalf ignOrcs the children 's cries . The children stand deflated , watching Gandalf disappear up the lane . At that moment : spinning balls of bright color suddenly leap out of the cart , fizzing over the heads of the delighted children . Gandalf smiling to himself , well pleased with his joke . ODO PROUDFOOT is unable to suppress a chuckle . Frodo stands up in the cart as Gandalf reigns in the horse .
FRODO
Gandalf. I'm glad you're back. Frodo leaps expertly from the cart. Gandalf smiles.
GANDALF
So am I, dear boy. so am I
EXT. BAG END -- DAY
Wide on : GANDALF 'S CART pulls up outside the gate to BAG END . a particularly fine example of a Hobbit hole , with a large round front door set into a grassy hillside . There is a sign on the gate which reads : `` NO ADMITTANCE EXCEPT ON PARTY BUSINESS . '' Gandalf strides up to the garden path of Bag End . He raises his staff and raps on the front door . a voice calls out :
BILBO
( O.S . )
No, thank you! We do n't want any more visitors, well wishers, or distant relations.
GANDALF
And what about very old friends?
Suddenly the door opens and BILBO BAGGINS stands before him . He is a HOBBIT OF INDERTIMINATE AGE , with a mischievous Twinkle in his eye . Wearing a dashing brocade waist coat , he looks every inch the eccentric gentleman .
BILBO
Gandalf?
GANDALF
Bilbo Baggins!
BILBO
My dear Gandalf!
Gandalf drops to his knee to embrace his old friend .
GANDALF
It's good to see you. One hundred and eleven years old, who would believe it!
Gandalf looks at him more keenly .
GANDALF
( CONT 'D . )
You have n't aged a day! Gandalf and Bilbo laugh together and enter Bag End.
BILBO
Come on, come in! Welcome, welcome!
INT. BAG END LIVING ROOM -- DAY
Bilbo leads Gandalf into Bag End . cozy and cluttered with souvenirs of Bilbo 's travels . Gandalf has to stoop to avoid hitting his head on the low ceiling . Bilbo hangs up Gandalf 's hat on a peg and trots off down the hall .
BILBO
( Calling . )
Tea? Or maybe something stronger. I've a few bottles of the Old Winyard left, 1296. a very good year, almost as old as I am. It was laid down by my father. What say we open one, eh?
Bilbo disappears into the kitchen as Gandalf looks around . enjoying the familiarity of Bag End . he turns , knocking his head on the light and then walking into the wooden beam . He groans .
BILBO
( O.S. ; CONT 'D . )
I was expecting you some time last week. Not that it matters, you come and go as you please, always have done, always will. You've caught me a bit unprepared, I'm afraid. we've only got cold chicken, bit of pickle, some cheese here. ooh, no, that might be a little risky.
Gandalf stops in front of a framed map , charred in one corner . it is Thorin 's map of the Lonely Mountain , Gandalf smiles to himself .
BILBO
( CONT 'D . )
Er, we've got raspberry jam and apple tart. got some custard somewhere. Not much for Afters, I'm afraid. Oh no. we're alright. I've just found some sponge cake. Nice little snack. Hope it's enough.
( comes into view . )
I could do you some eggs if you like?
Bilbo jumps , a half eaten pork pie in his hand , as Gandalf mysteriously appears behind him .
GANDALF
Just tea, thank you.
BILBO
Oh. right. You do n't mind if?
GANDALF
No, not at all. Go ahead. A sudden loud knock on the front door.
MRS. SACKVILLE BAGGINS -LRB- O.S. -RRB- Bilbo Baggins , you open this door . I know you 're in there .
BILBO
I'm not home.
Gandalf watches , amused as Bilbo tries to hide .
BILBO
( CONT 'D . )
I've got to get away from these confounded relatives, hanging on the bell all day, never giving me a moment's peace. I want to see mountains again. mountains, Gandalf. and then find somewhere quiet where I can finish my book. Oh, Tea!
GANDALF
So, you mean to go through with your plan, then?
BILBO
Yes, yes. it's all inhand. All the arrangements are made.
GANDALF
Frodo suspects something.
BILBO
` Course he does, he's a Baggins. not some block headed Bracegirdle from Hardbottle!
GANDALF
You will tell him, wo n't you?
BILBO
Yes, yes.
GANDALF
He's very fond of you.
BILBO
I know. He'd probably come with me if I asked him. I think, in his heart, Frodo's still in love with the Shire, the woods and the fields. little rivers. Bilbo stands gazing out of the kitchen window.
BILBO
( CONT 'D . )
I am old, Gandalf. Bilbo looks at Gandalf sadly.
BILBO
( CONT 'D . )
I know I do n't look it, but I'm beginning to feel it in my heart.
Bilbo 's fingers close around his waistcoat pocket . gripping a small , unseen object .
BILBO
( CONT 'D . )
I feel thin. sort of stretched, like butter scraped over too much bread. I need a holiday. a very long holiday and I do n't expect I shall return. in fact, I mean not to.
INT. BAG END -- EVENING
Gandalf and Bilbo are sitting on the Bag End porch . Below them , final preparations are being made on the Party field . Bilbo strikes a match and lights his pipe .
BILBO
Old Toby, the finest weed in Southfarthing!
Bilbo blows a perfect smoke ring and watches it rise into the air . A tiny sailing ship with masts and sails glides through the Center of Bilbo 's smoke ring .
BILBO
( CONT 'D . )
Ohhhh.
( smiles . )
Gandalf my old friend. this will be a night to remember!
EXT. PARTY FIELD, HOBBITON -- NIGHT
BOOM ! A FIREWORK explodes into the night sky high above Hobbiton . in the shape of a great green tree with unfolding branches . TILT DOWN : with glowing flowers as they rain down from the branches . evaporating just above the up turned faces of the delighted party - goers 144 Hobbits , feasting and drinking Carts of beer and wine are scattered about , and the tables are piled high with steaming scones and savories . Gandalf hurries about , lighting fireworks with a blue spark that dances magically from his staff . Bilbo is greeting visitors . Frodo and SAM sit at a table drinking ale . Frodo notices Sam 's eyes keep flicking to another pretty Hobbit , Rosie Cotton , sitting some distance away .
FRODO
Go on, Sam, ask Rosie for a dance.
SAM
( horrified . )
I think I'll just have myself another ale.
FRODO
Oh, no you do n't. Go on.
Sam goes to drain his glass . suddenly it is snatched out of his hands as Frodo thrusts him into the middle of a passing throng of dancers . ANGLE ON : SAM 'S HORRIFIED FACE as he is Swept away . Frodo laughs and finishes Sam 's beer . Gandalf as he sets alight a particularly spectacular firework that draws gasps of admiration from the party guests . Close on : Bilbo is relating stories of his adventure to a group of young hobbit children .
BILBO
( melodramatic . )
So, there I was. at the mercy of three monstrous trolls. Have you ever heard of a troll? Do you know what a Troll is? Great big nasty twenty foot high smelly things. and they're arguing. arguing about how they were going to cook us!
ANGLE ON : A LITTLE HOBBIT GIRL 'S upturned face . her eyes growing larger and larger .
BILBO
Whether it be turned on a spit or minced in a pie or whether they were going to sit on us one by one and squash us into jelly! But they spent so long arguing the whether - to's and why - for's that the sun's first light crept over the top of the trees. and turned them all to stone!
STUNNED GASPS from his young Audience greet his astonishing feat ! Close on : MERRY AND PIPPIN , two mischievous Young Hobbits in their late teens . Pippin scrambles on to the back of Gandalf 's wagon , snatching up a small firework
MERRY
( urgent whisper . )
No, no. the big one. the big one! Pippin grabs a huge rocket. CLOSE ON : FIREWORK FUSE crackles with flame!
Merry is holding out the big rocket . he looks aghast at the fizzing fuse that Pippin has just lit .
MERRY
( CONT 'D . )
( worried whisper . )
You're supposed to stick it in the ground!
PIPPIN
It is in the ground.
Merry fearfully tosses the Rocket to Pippin ! The fuse sizzles angrily .
MERRY
Outside!
PIPPIN
It was your idea.
Pippin attempts to throw the fizzing rocket back to Merry . WHOOSH ! The two hobbits are suddenly blown off their feet in a shower of sparks as the rocket blasts off with frightening power . The ROCKET ZOOMS over the Party . It suddenly bursts apart , forming the shape of a great red golden Dragon ! Fire gushes from its nostrils as it turns back and Flies low towards the startled crowd . Close on : Frodo watches the Fireworks Dragon with alarm . but Bilbo is oblivious to the Panicking crowd and impending danger !
FRODO
Bilbo! Watch out for the dragon!
BILBO
Dragon? Nonsense. hasn1t been a dragon in these parts for a thousand years!
ANGLE ON : FRODO As he hurriedly pulls Bilbo to the ground , just as the dragon roars a few feet above their heads like a flaming express train ! Hobbits dive to the ground , tables overturn , tents collapse , food flies everywhere . The fireworks dragon turns a somersault and explodes over the hills with a deafening bang ! This gets the biggest Cheer of the night . ANGLE ON : MERRY AND PIPPIN , clothes and hair smoking .
MERRY
That was good!
PIPPIN
Let's get another one!
LARGE HANDS suddenly clamp down on Merry and Pippin 's ears . Low angle : Gandalf looking DOWN STERNLY !
GANDALF
Meridoc Brandybuck and Peregrin Took. I might have known!
MERRY AND PIPPIN Are leaning over a barrel , washing dishes in soapy water . with Gandalf sitting nearby , smoking his pipe and sipping an ale . Cries of `` SPEECH ! SPEECH '' erupt from the party . Bilbo stepping on a stool . he bows in gratitude at the applause .
FRODO
Speech!
BILBO
( clearing throat . )
My dear Bagginses, and Boffins, tooks and Brandybucks. Grubbs, Chubbs, Hornblowers, Bolgers, Bracegirdles and Proudfoots.
ANGLE ON : A HOBBIT WITH PARTICULARLY BIG FEET
ODO PROUDFOOT
Proudfeet!
BILBO
Today is my one hundred and eleventh birthday. Yes, and alas. Eleventy - one years is far too short a time to live among such excellent and admirable Hobbits! Tremendous outburst of approval!
BILBO
( CONT 'D . )
I do n't know half of you half as well as I should like ; and I like less than half of you as well as well as you deserve.
SCATTERED CLAPPING as the guests try to work out if that was a compliment or not . CLOSE ON : FRODO AND GANDALF smiling to themselves . CLOSE ON : Bilbo . a strange hum seems to fill his head . A bead of sweat rolls down his brow . Bilbo 's hand pulls something out of his waistcoat pocket and holds it behind his back .
BILBO
( CONT 'D . )
I have. things to do and I have put this off for far too long. CLOSE ON : BILBO'S knuckles turn white as he tightens his grip on the small object behind his back.
BILBO
( CONT 'D . )
I regret to announce, this is the end. I am going now. I bid you all a very fond farewell! Bilbo looks across at Frodo, hesitates. then.
BILBO
( CONT 'D . )
( whisper . )
Goodbye.
Bilbo instantly vanishes . The party explodes into an uproar . the crowd leaps to its feet . ANGLE ON : FRODO staring at the empty stool in disbelief .
EXT. BAG END -- NIGHT
The party is still in an excited uproar . some 50 yards away as we pan across a moonlit lane to the front door of Bag End . Door opens , pulled by an invisible hand .
INT. BAG END -- NIGHT
The door quietly closes . Bilbo materializes as he pulls a plain gold ring off his finger . Bilbo laughs as he tosses the ring in the air , then places it in his pocket . Bilbo emerges from the passage , carrying a walking stick . He finds Gandalf looming over him .
GANDALF
I suppose you think that was terribly clever?
BILBO
Come on, Gandalf! Did you see their faces?
GANDALF
There are many magic rings in the world, Bilbo Baggins, and none of them should be used lightly.
BILBO
It was just a bit of fun. Oh, you're probably right as usual.
GANDALF
You will keep an eye on Frodo, wo n't you?
BILBO
I'm leaving everything to him.
GANDALF
What about this ring of yours? Is that staying too?
Close on : Bilbo . he gives Gandalf a look and nods toward the mantelpiece .
BILBO
Yes, yes, it's in an envelope. over there on the mantelpiece. Gandalf frowns at the empty mantelpiece. Bilbo suddenly feels his waistcoat with a look of guilty surprise.
BILBO
( CONT 'D . )
No, wait. It's here in my pocket. Is n't that. is n't' that odd now? Yet, after all, why not? Why should n't I keep it?
GANDALF
I think you should leave the Ring behind, Bilbo. Is that so hard?
BILBO
Well, no. and yes. Now it comes to it, I do n't feel like parting with it. It's mine. I found it. It came to me!
ANGLE ON : GANDALF LOOKS DOWN AT BILBO WITH RISING CONCERN .
GANDALF
There's no need to get angry.
BILBO
Well, if I'm angry, it's your fault! It's mine. My own, my precious.
GANDALF
Precious? It's been called that before, but not by you.
BILBO
So? What business is it of yours what I do with my own things? Bilbo's voice, shape and manner have suddenly changed.
GANDALF
I think you've had that ring quite long enough.
BILBO
You want it for yourself!
Gandalf rises to his full height , his eyes flash , his shadow suddenly seems to fill the room
GANDALF
Bilbo Baggins do not take me for some conjurer of cheap tricks! Bilbo cowers from Gandalf, disarmed by his power. a frightened Hobbit. Gandalf's expression softens.
GANDALF
( CONT 'D . )
I am not trying to rob you. I am trying to help you. Sobbing, Bilbo runs to Gandalf and hugs him.
GANDALF
( CONT 'D . )
All you long years we've been friends. trust me as you once did. Let it go!
BILBO
You're right, Gandalf. the ring must go to Frodo.
Bilbo lifts his knapsack and heads for the front door .
BILBO
( CONT 'D . )
It's late, the road is long. yes, it is time.
GANDALF
Bilbo?
BILBO
Hmmm?
GANDALF
The ring is still in your pocket.
Bilbo hesitates . reaches into his pocket .
BILBO
Oh, yes.
CLOSE ON : Bilbo pulls out the ring . he stares at it in his palm . With all his will power , Bilbo allows the ring to slowly slide off his palm and drop to the floor . CLOSE ON : The tiny ring lands with a heavy thud on the wooden floor .
EXT. BAG END -- NIGHT
Bilbo staggering out of Bag end . he braces himself in the night air , Pale and Trembling , as if his loss of the ring has weakened him . Gandalf steps up behind .
BILBO
I've thought up and ending for my book. `` And he lived happily ever after to the end of his days.''
GANDALF
I'm sure you will, my dear friend.
BILBO
Goodbye, Gandalf.
GANDALF
Goodbye Bilbo.
Bilbo walks away from Bag End , disappearing into the night , softly singing : `` The Road goes on and on . ''
GANDALF
( CONT 'D . )
( softly . )
Until our next meeting.
INT. BAG END LIVING ROOM -- NIGHT
CLOSE ON : THE RING . Glinting on the floor . Gandalf circles around it , a Puzzled look on his face . Gandalf slowly reaches for the ring . His fingers barely touch the ring . the creepy Hum rises on the soundtrack . Gandalf is sitting in front of the fire , with his pipe . staring into the flickering flames .
BILBO
( V.O . )
It's mine, my own, my precious.
GANDALF
( to himself . )
Riddles in the dark.
FRODO
( O.S . )
Bilbo! Bilbo!
Frodo rushes into Bag End . he stops and picks up the ring at his feet . Gandalf continues staring into the fire , as if locked in thought .
GANDALF
( to himself . )
My precious. precious.
FRODO
( quietly . )
He's gone, has n't he? Frodo steps into the living room.
FRODO
( CONT 'D . )
He talked for so long about leaving. I did n't think he'd really do it.
GANDALF
( mutters to himself . )
. my own.
FRODO
Gandalf?
Gandalf turns . his eyes locking onto the ring in Frodo 's fingers .
GANDALF
Bilbo's ring.
Gandalf sorts hurriedly through Bilbo 's papers .
GANDALF
( CONT 'D . )
He's gone to stay with the Elves. He's left you Bag End.
Gandalf holds out the envelope . Frodo drops the ring into it .
GANDALF
( CONT 'D . )
along with all his possessions.
Gandolf seals the envelope with wax . He hands it to Frodo .
GANDALF
( CONT 'D . )
The ring is yours now. But it somewhere out of sight. Gandalf rises hurriedly and starts to gather his things.
FRODO
Where are you going?
GANDALF
I have some things I must see to.
FRODO
What things?
GANDALF
Questions. Questions that need answering.
FRODO
You've only just arrived! I do n't understand.
Gandalf is already at the door , he turns to Frodo .
GANDALF
Neither do I. Keep it secret, keep it safe.
Gandalf hurries out the door . leaving FRODO standing alone in the Bag End . ANGLE ON : THE ENVELOPE The camera pushes in . the hum of the ring comes up on the soundtrack . The camera pushes through the white paper to the ring . beneath the hum the whispered murmur of BLACK SPEECH can be heard .
EXT. BARAD-DUR -- NIGHT
The jagged ruins of '' BARAD - DUR . THE DARK TOWER ! TEASING IMAGES : THE HUGE DARK TOWER OF BARAD - DUR is being rebuilt ! Thousands of ORCS crawl over the surface , hauling stone and iron up the towering heights . WIDE ON : MOUNT DOOM . A HUGE , BILLOWING CLOUD OF BLACK FILTH grows and spreads across the red streaked sky . casting a shadowy pall over the nightmarish landscape .
GOLLUM
( O.S . )
Baggins! Shire!
EXT. MINAS MORGUL -- NIGHT
NINE BLACK RIDERS burst out of Minas Morgul and charge toward Camera .
EXT. THE WEST ROAD, GONDOR -- DAY
WIDE ON : A LONE HORSEMAN gallops to the crest of a hill on the west road . The main highway south to Minas Tirith . he looks toward the saw toothed mountains of Mordor . seeping out across the blood red sky , his face grave . He spurs his horse on .
INT. CITADEL, MINAS TIRITH -- NIGHT
ANGLE ON : GANDALF making is way down into the lower depths of the Citidel .
INT. CITADEL CHAMBER, MINAS TIRITH -- NIGHT
CLOSE ON : Pages flipping as Gandalf searches ancient scrolls and books placed high on a wooden table . His eyes settle on one old parchment . He murmurs hurriedly to himself , reading .
GANDALF
( reading . )
The year 3434 of the Second Age. here follows the account of Isildur, High King of Gondor, and the finding of the ring of power.
CLOSE ON : ISILDUR , TRIUMPHANT , REACHES FOR THE ONE RING , HIS EYES FIXATED ON IT .
GANDALF
( reading . )
It has come to me. the ring of power! It shall be an heirloom of my Kingdom. all those who follow in my bloodline shall be bound to its fate, for I will risk no hurt to the
GANDALF
( CONT 'D . )
ring. it is precious to me, though I buy it with great pain.
CLOSE ON : ELVISH LETTERING MARKS ON THE FADED OLD DOCUMENT IN GANDALF 'S HAND .
GANDALF
( reading . )
The marking upon the band begin to fade. the writing which at first was as clear as red flame, has all but disappeared. a secret now that only fire can tell.
EXT. HOBBIT FARMHOUSE -- EVENING
FARMER MAGGOT is chopping wood in his garden CLOSE ON : SNORTING HORSE NOSTRILS . as the shadow of a black rider looms over a Hobbit House . Terrified , FARMER MAGGOT cowers in his doorway . FANG , his dog , Whimpers and backs away .
BLACK RIDER
( hissing . )
Shire? Baggins?
FARMER MAGGOT
( terrified . )
There's no Bagginses around here! They are all up in Hobbiton. that way.
The BLACK RIDER GALLOPS AWAY AT SPEED
INT. GREEN DRAGON INN -- NIGHT
ANGLE ON : ROSIE COTTON bids the last of the Patron 's `` Goodnight '' . Sam meets her eyes for a moment as he and Frodo leave the inn .
EXT. BAG END -- NIGHT
WIDE ON : FRODO FAREWELLS SAM outside Bag End , and heads towards the front door . Creepy POV from inside Bag end : Frodo coming up the path .
INT. BAG END HALLWAY -- NIGHT
FRODO enters Bag End . he immediately Pauses , sensing that something is amiss . All is quiet . Frodo peers uneasily into the darkened living room . SUDDENLY ! A large figure looms out of the shadows , reaching for Frodo . Frodo lets out a startled cry , pulls himself free and spins around to face his Assailant . Gandalf steps into a shaft of moonlight . Paranoia blazes in his eyes . His clothes are dirty and ragged from much traveling . Hair and beard much longer an unkempt .
GANDALF
( urgent whisper . )
Is it secret? Is it safe?
INT. BAG END LIVING ROOM -- NIGHT
Frodo pulls the envelope out of an old chest . Gandalf , suspicious , Alert . Without a word , Gandalf takes the envelope and tosses it into the fireplace !
FRODO
( bewildered . )
What are you doing?
Flames instantly consume the envelope . revealing the ring , as it sinks into the red hot embers . Gandalf reaches into the fire with a pair of tongs . he lifts the ring out .
GANDALF
Hold out your hand, Frodo. it is quite cool.
Gandalf drops the ring into Frodo 's hand . he reacts to its weight .
GANDALF
( CONT 'D . )
What can you see? Can you see anything?
FRODO
Nothing. there's nothing. Wait.
CLOSE ON : The Gold Band of the ring as fiery letters begin to appear . a tiny inscription glows red . as if burning from within .
GANDALF
these are markings.
CLOSE ON : GANDALF . STILL . TENSE
FRO DO
It's some form of Elvish. I ca n't read it.
GANDALF
( ominous . )
There are few who can. the language is that of Mordor, which I will not utter here.
Mordor ?
FRODO
GANDALF
In the common tongue it says , `` One ring to rule them all , One ring to find them , One ring to bring them all , and in the darkness bind them . ''
INT. BAG END KITCHEN -- NIGHT
CLOSE ON : The ring lies on Frodo 's simple kitchen table .
GANDALF
This is the one ring forged by the dark lord, Sauron, in the fires of Mt Doom. taken by Isildur from the hand of Sauron himself.
CLOSE ON : FRODO . STUNNED
FRODO
( quiet realization . )
Bilbo found it. in Gollom's cave.
GANDALF
For sixty years the ring lay quiet in Bilbo's keeping, prolonging his life, delaying old age. but no longer, Frodo. Evil is stirring in Mordor. The ring has awoken. It has heard its master's call. AT THAT MOMENT : A FLEETING, LOW WHISPER of BLACK SPEECH
emanates from the Ring . Frodo looks at Gandalf , each knowing the other has heard it .
FRODO
But he was destroyed. Sauron was destroyed.
ANGLE ON : THE RING lies between them on the table .
GANDALF
No, Frodo. The spirit of Sauron has endured. His life force is bound to the ring and the ring survived. Sauron has returned. His Orcs have multiplied. his fortress of Barad - dur is rebuilt in the land of Mordor. Sauron needs only this ring to cover all the lands in the second darkness. He is seeking it, seeking it, all his thought is bent on it. For the ring yearns, above all else, to return to the hand of its master : they are one, the ring and the dark lord. Frodo, he must never find out. SUDDENLY Frodo scoops up the Ring.
FRODO
Alright!
INT. BAG END LIVING ROOM -- NIGHT
ANGLE ON : FRODO hurriedly entering the living room .
FRODO
( thinking fast . )
We put it away, we keep it hidden! We never speak of it again. No one know it's here, do they? Gandalf shifts uncomfortably.
FRODO
( CONT 'D . )
Do they, Gandalf?
Gandalf looks at Frodo , sadly .
GANDALF
There is one other who knew that Bilbo had the Ring. I looked everywhere for the creature Gollum, but the enemy found him first.
INT. BARAD-DUR -- NIGHT
CLOSE ON : A teasing Glimpse of Gollum being tortured by the Orcs . The wretched creature screams in pain .
GANDALF
( V.O . )
I do n't know how long they tortured him. but amidst the endless screams and inane babble, they discerned two words.
GOLLUM
( screaming . )
S. Shire! Baggins!
INT. BAG END LIVING ROOM -- NIGHT
CLOSE ON : FRODO 'S HORRIFIED FACE !
FRODO
Shire! Baggins! That will lead them here!
EXT. SHIRE LANE, SOUTH FARTHING -- NIGHT
IMAGE : On a dark country lane , a Hobbit bounder lifts his watch lantern in alarm .
HOBBIT BOUNDER
Halt! Who goes there?
Out of the darkness thunder two BLACK RIDERS . A LETHAL SWORD swings down at the small Hobbit bounder .
INT. BAG END LIVING ROOM -- NIGHT
FRODO thrusts the ring at Gandalf .
FRODO
Take it! Take it!
GANDALF
No, Frodo.
FRODO
You must take it.
GANDALF
You can not offer me this ring.
FRODO
I'm giving it to you!
GANDALF
Do n't tempt me, Frodo. I dare not take it, not even to keep it safe.
CLOSE ON : THE RING IN FRODO 'S HAND .
GANDALF
Understand, Frodo. I would use this Ring from a desire to do good. but through me, it would wield a power too great and terrible to imagine.
FRODO
But it can not stay in the Shire!
GANDALF
No, no it ca n't.
CLOSE ON : THE RING IN FRODO 'S CLENCHED HAND .
FRODO
What must I do?
INT. FRODO'S BEDROOM -- NIGHT
ANGLE ON : FRODO throwing clothes into a knapsack . Gandalf watches him , making plans .
GANDALF
You must leave, and leave quickly. Get out of the Shire.
FRODO
Where? Where shall I go?
GANDALF
Make for the village of Bree.
FRODO
Bree? What about you?
GANDALF
I will, be waiting for you at the Inn of the Prancing Pony. Frodo packs his food into his knapsack.
FRODO
And the ring will be safe there?
GANDALF
I do n't know, Frodo. I do n't have any answers. I must see the Head of my Order. He is both wise and powerful. Trust me, Frodo. He'll know what to go.
INT. BAG END LIVING ROOM -- NIGHT
Frodo is preparing to leave .
GANDALF
You'll have to leave the name of Baggins behind you. for that name is not safe outside the Shire. GANDALF helps FRODO into his coat.
GANDALF
( CONT 'D . )
Travel only by day and stay off the road.
FRODO
( thinking . )
I can cut across country easily enough.
Gandalf looks at the young Hobbit , moved by his courage .
GANDALF
My dear Frodo, Hobbits really are amazing creatures. You can learn all that there is to know about their ways in a month, and yet, after a hundred years, they can still surprise you.
SUDDENLY ! A SOUND from outside .
GANDALF
( CONT 'D . )
Get down!
GANDALF FREEZES . he moves quietly towards the window , eyes wide with tension . He raises his staff above the window , and slams it down on the intruder . THERE IS A YELP OF PAIN ! Gandalf hauls a small figure into the room . SAM GAMGEE sprawls across the floor ! He looks up in terror as Gandalf looms over him .
GANDALF
( CONT 'D . )
( angry . )
Confound it all! Samwise Gamgee, have you been eavesdropping?
SAM
I ai n't been dropping no eaves, sir! Honest. I was just cutting the grass under the window there, if you follow me.
GANDALF
It's a little late for trimming the hedges, do n't you think?
SAM
I heard raised voices.
GANDALF
What did you hear? Speak!
SAM
( panicked . )
Nothing important. that is, I heard a good deal about a ring. and a Dark Lord. And something about the end of the world, but. Please, Mr. Gandalf, sir, do n't hurt me! Do n't turn me into anything unnatural!
GANDALF
No?
FRODO SMILES
GANDALF
Perhaps not. I've thought of a better use for you.
EXT. HOBBITON FIELDS -- PRE DAWN
Wide on : HOBBITON . shrouded in a white veil of MIST . WIDER : To reveal Gandalf , Frodo and Sam hurrying across a ploughed field , away from Hobbiton ! Gandalf leads his Horse . Frodo and Sam are carrying knapsacks .
GANDALF
( V.O . )
Come along, Samwise. keep up.
EXT. HOBBITON WOODS -- DAY
Gandalf leads Frodo and Sam under the cover of Woods .
GANDALF
( V.O . )
Be careful, both of you. The Enemy has many spies in his service, many ways of hearing. birds, beasts.
Gandalf takes Frodo to one side .
GANDALF
( CONT 'D . )
( low voice . )
Is it safe?
FRODO NODS . he pats his pocket .
GANDALF
( CONT 'D . )
Never put it on, for then the agents of the Dark Lord will be drawn to its power. Always remember, Frodo, the ring is trying to get back to its master. it wants to be found. Gandalf wheels his horse and gallops away.
EXT. GREEN HILL COUNTRY -- DAY
MONTAGE : FRODO AND SAM hiking over the gentle Shire Countryside . wading through a shallow stream . heating a kettle over a small fire . clambering over stone walls .
EXT. GREEN HILL COUNTRY -- AFTERNOON
Sam stops short . taking stock of his surroundings . Sam looks back from where they came .
SAM
This is it.
FRODO
This is what?
SAM
If I take one more step it'll be the farthest away from home I've ever been.
FRODO gives Sam a pat on the shoulder .
FRODO
Come on, Sam.
Sam takes a deep breath and steps forward . CLOSE ON : SAM 'S brown , furry foot hits the ground . FRODO IS SMILING .
FRODO
Remember what Bilbo used to say. it's a dangerous business.
Frodo and Sam continue their journey .
BILBO
( V.O . )
it's a dangerous business, Frodo, going out your door. you step onto the road, and if you do n't keep your feet, there's not knowing where you might be swept off to.
EXT. ISENGARD VALLEY -- DAY
Gandalf is galloping along the outskirts of the ancient forest of Fangorn . Nestled in a basin at the foot of the distant Misty Mountains , the tall black tower of Orthanc is clearly visible
EXT. ISENGARD VALLEY -- DAY
Gandalf gallops through the gate , into the fortress of ISENGARD . a great ring - wall of stone , a mile from rim to rim , encloses beautiful trees and gardens , watered by streams that flow down from the mountains .
SARUMAN
( V.O . )
Smoke rises once more from the mountain of doom. the shadow takes shape in the darkness of Mordor ; the hour grows late. and Gandalf the Grey rides to Isengard seeking my counsel.
The strange tower of Orthanc . hewn from a solid pillar of black obsidian . rises up in the center of the Isengard Circle . Gandalf arrives at the foot of the Orthanc Stairs . ANGLE ON : SARUMAN , THE WHITE WIZARD he sweeps down the Orthanc stairs .
SARUMAN
For that is why you have come, is it not, my old friend?
Gandalf moves quickly towards him , grimy and weary from his long ride .
GANDALF
Saruman!
EXT. ISENGARD GARDENS -- DAY
Gandalf and Saruman walk slowly between the beautiful trees of Isengard , Saruman 's clean , white robe contrasts with Gandalf 's dusty grey robes .
SARUMAN
Are you sure of this?
GANDALF
Beyond any doubt.
SARUMAN
So the ring of power has been found?
GANDALF
All these long years it was in the Shire, under my very nose.
SARUMAN
And yet you did not have the wit to see it! Your love of the Halfling's leaf has clearly slowed your mind.
GANDALF
We still have time. time enough to counter Sauron. if we act quickly.
SARUMAN
Time? What time do you think we have?
INT. ORTHANC ANTE-CHAMBER -- DAY
Saruman and Gandalf are seated in a small , cluttered room to the side of the cavernous central chamber .
SARUMAN
Sauron has regained much of his former strength. He can not yet take physical form. but his spirit has lost none of its potency. Concealed within his fortress, the lord of Mordor sees all. His gaze pierces cloud, shadow, earth, and flesh. You know of what I speak, Gandalf. a great Eye, lidless, wreathed in flame.
GANDALF
( softly . )
The eye of Sauron.
SARUMAN
He is gathering all evil to him.
SARUMAN
( CONT 'D . )
Very soon he will have summoned an army great enough to launch an assault upon Middle earth.
GANDALF
You know this? How?
SARUMAN
I have seen it.
Gandalf and Saruman stride through Orthanc toward a stone plinth on which a sphere like shape is draped with a cloth .
GANDALF
A palantir is a dangerous tool, Saruman.
Saruman lifts the cloth to reveal the Palantir .
SARUMAN
Why? Why should we fear to use it?
GANDALF
They are not all accounted for, the lost seeing - stones. we do not know who else may be watching. Gandalf throws the cloth back over the Palantir.
FLASH IMAGE : A FIERY EYE ! Saruman sits upon his throne .
SARUMAN
The hour is later than you think. Sauron's forces are already moving. the Nine have left Minas Morgul.
GANDALF
( shocked . )
The nine!
SARUMAN
They crossed the river Isen in Midsummer's eve, disguised as riders in black.
GANDALF
( alarmed . )
They have reached the Shire? Saruman shrugs.
SARUMAN
They will find the ring. and kill the one who carries it.
Gandalf backs away and turns to run to the door . horrified as the doors suddenly slam shut .
SARUMAN
( CONT 'D . )
You did not seriously think a Hobbit could contend with the will of Sauron? There are none who can.
Gandalf slowly turns to Saruman . a look of dawning horror .
SARUMAN
( CONT 'D . )
Against the power of Mordor, there can be no victory. We must join with him, Gandalf. We must join with Sauron. It would be wise, my friend.
GANDALF
( deadly . )
Tell me, friend, when did Saruman the wise abandon reason for madness?
At that moment : Gandalf is suddenly blasted across the room ! He slams against the wall . pinned there by some unseen force . With sudden effort , Gandalf wrenches himself off the wall and swings his staff on Saruman . blasting him off his feet ! Gandalf and Saruman battle , powerful blasts throwing them across the room . SARUMAN SCREAMS , EYES BLAZING ! Gandalf 's staff is suddenly wrenched from his grasp . it flies across the chamber into Saruman 's hand ! Gandalf is flung to the floor .
SARUMAN
I gave you the chance of aiding me willingly, but you have elected the way of pain.
Gandalf is breathing hard on the floor , his eyes look into the madness of Saruman . Commanding two staffs , Saruman sends Gandalf into a sickening spin . Gandalf tumbles towards the top of the chamber . as if falling in reverse . Rushing POV : the roof of Orthanc rockets toward camera .
EXT. FARMER'S FIELDS -- DAY
Wide on : Frodo and Sam walking along a country lane which borders Farmer Maggot 's Fields . Sam is looking up . Frodo has disappeared around a corner in the lane .
SAM
( panicked . )
Mr. Frodo. Mr. Frodo! Frodo turns, surprised as Sam comes running towards him.
SAM
( CONT 'D . )
( worried . )
I thought I lost you. Frodo looks at Sam suspiciously. Sam glances down, embarrassed.
FRODO
( teasing . )
What are you talking about?
SAM
( mumbling . )
It's just something Gandalf said.
FRODO
What did he say?
SAM
He said. `` Do n't you leave him, Samwise Gamgee.''
( looks at Frodo intently . )
And I do n't mean to.
FRODO
( laughing . )
Sam. we're still in the Shire. what could possibly happen?
SUDDENLY ! A figure comes crashing out of a hedgerow sending Frodo flying . Frodo picks himself up , only to be knocked back down again by Pippin .
PIPPIN
Frodo! Merry, it's Frodo Baggins.
MERRY
Hello Frodo
Merry , Pippin , and Frodo picking themselves up . a variety of vegetables have scattered everywhere .
SAM
What's the meaning of this!
MERRY
Sam, hold this.
Merry gives Sam a large cabbage .
SAM
( accusing . )
You've been into Farmer Maggot's crop!
A large pitchfork can be seen racing towards them along the Hedgerow . angry shouts from Farmer Maggot .
FARMER MAGGOT
( O.S . )
Who's that in my field! Get out of it! Get out of my field, you young varmits! I'll show you. get out of my corn.
Merry and Pippin hurriedly gather their booty and race away . with Frodo and Sam on their heels .
MERRY
( looking behind him . )
I do n't know why he's so upset, it's only a couple of carrots.
PIPPIN
And some cabbages. and those three bags of potatoes that we lifted last week. And then the mushrooms the week before.
MERRY
Yes, Pippin, my point is, he's clearly over reacting.
The BAYING OF LARGE DOGS sounds !
PIPPIN
Run!
EXT. WOODED ROAD -- DAY
Frodo , Sam , and Merry and Pippin tumble head over heels down a bank , onto a dark , wooded road . CLOSE ON : A winded Pippin , his face inches away from a large pile of Horse droppings .
PIPPIN
That was close.
Frodo picks himself up and looks around quickly .
MERRY
( groaning . )
Ow. I think I've broken something.
Pulls a LARGE CARROT , almost broken through in the middle , out from his back pocket .
MERRY
( CONT 'D . )
Oh.
SAM
( turning on Merry and Pippin . )
Trust a Brandybuck and a Took.
MERRY
What? That was just a detour. a shortcut.
SAM
A shortcut to what?
Pippin has spied something under the trees on the far side of the road .
PIPPIN
( excited . )
Mushrooms!
CLOSE ON : SMALL , brown mushrooms growing amongst the Loamy undergrowth . Sam , Merry , and Pippin race toward the mushrooms ! Frodo is tense and watchful . He realizes they are on a wooded road . Scattered leaves rise into the air Whirling down the road as if blown by an invisible wind . SUDDENLY . THE SOUND OF HORSES HOOVES .
FRODO
I think we should get off the road.
A long drawn WAIL comes down the wind , like the cry of some evil and lonely creature .
FRODO
( CONT 'D . )
( more urgency . )
Get off the road!
Sam grabs Merry and Pippin as the Hobbits quickly scramble down the bank , hiding under a mossy log . THE SOUND OF HOOVES is close . A sinister MOUNTED RINGWRATH steps into view . hooded and faceless , mounted on a huge snarling black horse with insane eyes ! Frodo freezes in terror . The RINGWRAITH pauses right beside their hiding place . he sits very still with his head bowed , listening . From inside the hood comes a sniffing noise as if he is trying to catch an elusive scent ; his head turning from side to side . CLOSE ON : FRODO Beads of sweat gather on his brow . The ringwraith suddenly slides off his horse , leaning over the mossy log , peering suspiciously into the woods . CLOSE ON : FRODO He is drawing the ring out of his pocket , with trembling hands . his face fevered and sweating as if in the grip of some terrible INTERNAL STRUGGLE . The SOUND OF SNIFFING intensifies as the ringwraith darts his head from side to side like a bird of party . CLOSE ON : FRODO SQUEEZING HIS EYES SHUT . QUICK PSYCHIC BLASTS ! AND EVIL DARK TOWER . A GREAT EYE . A BURST OF FLAME . ANGLE ON : SAM LOOKING AT FRODO WITH CONCERN
SAM
Frodo?
Merry desperately hurls the mushrooms across the road . the ringwraith spins around at the sound , and darts to the far side of the road with frightening speed . Frodo instantly slumps . as if a PSYCHIC LINK had been broken
MERRY
What was that?
Frodo is staring , a look of shock on his face at the ring lying in the palm of his hand .
EXT. FERRY LANE -- NIGHT
Frodo , Sam , Merry , and Pippin hurry through the trees . slipping and sliding on the muddy ground .
SAM
Anything?
FRODO
Nothing.
PIPPIN
What is going on?
Merry moves past pippin , toward Frodo , watching intently . Sam keeps looking around nervously .
MERRY
The Black rider was looking for something. or someone. Frodo?
SAM
Get down!
The SILHOUETTE OF A BLACK RIDER looms against the skyline . The Four Hobbits . sprawled on the ground , holding their breath . The BLACK RIDER turns and departs .
FRODO
I have to leave the Shire. Sam and I must get to Bree.
Merry looks at his friend . realizing Frodo is in deep trouble .
MERRY
Right. Buckleberry Ferry. follow me!
The Hobbits break cover . SUDDENLY , A RINGWRAITH bursts out of the forest TOWARD THEM !
MERRY
( CONT 'D . )
There's another one! Frodo, this way!!
The Hobbits run THE RINGWRAITH SHRIEKS ! Black horse hooves . snarling horse mouths . a fleeting black cowl .
MERRY
( CONT 'D . )
Frodo, follow me!
EXT. BUCKLEBERRY FERRY -- NIGHT
FRODO , SAM , MERRY AND PIPPIN , are running towards the wide , placid Brandywine river . and the FERRY .
MERRY
Get the ropes, Sam.
QUICK ANGLES : STOMPING HOOVES . SNARLING HORSES . Four RINGWRAITHS are speeding through the Fog . converging on the FERRY CROSSING . The HOBBITS stampede across the Wharf and Tumble onto the Ferry .
SAM
( screaming . )
Frodo!
Frodo races across the Wooden Wharf , followed by the ringwraiths . He leaps into the Ferry . CLOSE ON : HOOVES THUNDER DOWN THE WOODEN WHARF ! Sam and Merry shove off with the poles . the ferry slides out into the river , just as the ringwraiths arrive . They pull up on the end of the wharf . shrieking with rage ! The Hobbits cover their ears . The Ringwraiths wheel their horses towards the north and Gallop away along the river bank , quickly disappearing into the fog .
FRODO
How far to the nearest crossing?
MERRY
The brandwine bridge. twenty miles.
EXT. BREE GATE -- NIGHT
Lights of Bree . a small village of stone and half timbered houses nestled against a low wooded hill . A thick hedge surrounds the village . a great gate bars the western entrance . FRODO , SAM , MERRY AND PIPPIN approaching the gatehouse . wild eyes , ragged , and out of breath .
FRODO
Come on.
A SURLY GATEKEEPER glances down at them .
GATEKEEPER
What do you want?
FRODO
We're headed for the prancing pony.
The gatekeeper swings his lantern onto the hobbits , bathing them in an uncomfortable yellow spotlight .
GATEKEEPER
Hobbits! Four Hobbits, and what's more, out of the Shire by your talk. What business brings you to Bree?
FRODO
We wish to stay at the inn. our business is our own. To Frodo's relief, the Gatekeeper unlocks the gate.
GATEKEEPER
All right, young sir, I meant no offense.
The Hobbits gratefully enter Bree . the gatekeeper eyeing them curiously in the lantern light .
GATEKEEPER
( CONT 'D . )
It's my job to ask questions after nightfall. There's talk of strange fold abroad. ca n't be too careful.
EXT. BREE STREETS -- NIGHT
The tall BREE FOLK loom over the nervous little hobbits as Frodo , Sam , Merry and Pippin make their way through the Narrow Streets . Tall buildings tower above them . lights glow dimly from behind thick curtains . Close on : The sign of the `` PRANCING PONY INN '' . Frodo , Sam , Merry , and Pippin hurry toward it .
INT. "PRANCING PONY" RECEPTION -- NIGHT
Frodo , Sam , Merry and Pippin come rushing in . Frodo attracts the INN KEEPERS 'S attention .
FRODO
Excuse me.
BUTTERBUR
Good evening, little masters. If you're seeking accommodation, we've got some nice, cozy Hobbit sized rooms available, Mr. ah.
FRODO
Underhill. my name's Underbill.
BUTTERBUR
Underhill? Hmmmm.
FRODO
We're friends of Gandalf the Grey. can you tell him we've arrived? BUTTERBUR frowns.
BUTTERBUR
( Puzzled . )
Gandalf. Gandalf. Oh.
( recognition . )
Oh yes! I remember. elderly chap. big grey beard. pointy hat? Frodo nods with relief. Butterbur shakes his head.
BUTTERBUR
( CONT 'D . )
Not seen him for six months. Frodo is shocked.
SAM
( worried whisper . )
What do we do now?
INT. PRANCING PONY INN -- NIGHT
Wide on : the noise , smokey Inn . It is dimly lit , cheifly from a blazing log fire . and crowded with a mixture of BIG FOLK , LOCAL HOBBITS , and a couple of dwarfs . Frodo , Sam , Merry and Pippin are sitting at a table against the wall . clearly trying to remain Quiet and inconspicuous . Sam ca n't help himself . he keeps casting nervous glances around .
FRODO
Sam, he'll be here. He'll come.
Merry ploinks himself down at a table , carrying a very large mug of beer .
PIPPIN
What's that?
MERRY
This, my friend, is a pint.
PIPPIN
It comes in pints? I'm getting one!
Sam watches Pippin rise unsteadily to his feet and head to the bar .
SAM
You've had a whole half already. Merry watches Pippin go.
A COUPLE OF SWARTHY MEN leaning against the bar glance at Frodo , then quickly look away .
SAM
( CONT 'D . )
( tense . )
That fellow's done nothing but stare at you since we've arrived.
Sam indicates a BROODING STRANGER who sits alone at a table in the far corner , smoking a curiously carved long stemmed pipe , peering from beneath a travel stained cowl with gleaming eyes . Frodo gestures to Butterbur .
FRODO
Excuse me, that man in the corner, who is he?
BUTTERBUR
He's one of them Rangers ; they're dangerous folk they are, wandering the wilds. What his right name is, I never heard, but round here he's known as Strider.
FRODO
( to himself . )
Strider.
BENEATH TABLE : FRODO 'S fingers are nervously TOYING WITH THE RING . CLOSE ON : FRODO Sweat runs down his brow . The Strange hum of the Ring spills into the Soundtrack . `` Baggins . Baggins . '' a creepy whisper seems to fill Frodo 's head . sound that dissolves into Pippin 's loud voice :
PIPPIN
Baggins? Sure, I know a Baggins. he's over there.
ANGLE ON : PIPPIN sitting at the bar , chatting with Locals . Frodo leaps to his feet and pushes his way towards the bar .
PIPPIN
( loudly . )
Frodo Baggins. He's my second cousin once removed, on his mother's side and my third cousin twice removed on his father's side. if you follow me.
Frodo grabs Pippin 's sleeve , spilling his beer .
FRODO
Pippin!
PIPPIN
Steady on, Frodo!
Pippin pushes Frodo away . he stumbles backwards , and falls to the floor . At that instant , the Inn goes silent and all the attention turns to Frodo . The ring . in agonizing Slow motion we watch as it seems to hang in the air for a split second . then crashes down onto his out stretched finger . FRODO VANISHES ! There is a sharp intake of breath . followed by total silence .
EXT. BREE COUNTRYSIDE -- NIGHT
The RINGWRAITHS turn sharply in their saddles . Instantly aware that the ring is being worn . They spur their horses towards the distant lights of Bree .
INT. "PRANCING PONY" INN -- NIGHT
Sam looks sick ; Pippin instantly sobers , realizing his folly ; the brooding stranger frowns . and the inn erupts into excited babble . FRODO : as he finds himself in the TWILIGHT WORLD of the ring : THE EXCITED CROWD ARE suddenly moving in slow motion . distorted voices . a weird photographic negative quality . FRODO is moving in real time ; against the slow motion background . He suddenly clutches his head as he is hit with quick images . of a GREAT EYE ! AN EVIL CAT - LIKE EYE , wreathed in flames . VOICE OF SAURON There is no life here in the void . only cold . only death . FRODO is terrified ! He rolls under a table , desperately pulling the ring from his finger . FRODO MATERIALIZES into the real world . AT THAT MOMENT : A LARGE HAND reaches under the table and Grabs Frodo by the collar , and DRAGS HIM AWAY !
INT. PRANCING PONY--CORRIDOR -- NIGHT
Frodo is roughly pushed against the wall . The Brooding stranger looms over him .
STRIDER
You draw far too much attention to yourself. Mr. Underhill
INT. HOBBIT'S ROOM, PRANCING PONY -- NIGHT
Frodo is pushed into the Hobbit 's room by Strider .
FRODO
What do you want?
STRIDER
A little more caution from you. that is no trinket you carry.
FRODO
I carry nothing.
STRIDER
Indeed? I can usually avoid being seen if I wish, but to disappear entirely. that is a rare gift.
FRODO
Who are you?
STRIDER
Are you frightened?
FRODO
Yes.
STRIDER
Not nearly frightened enough. I know what hunts you. Frodo jumps at the sound of a noise in the corridor. Strider deftly draws his sword.
The door bursts open and Sam , Merry and Pippin appear on the doorway . Sam is Squaring off with is fists , Merry brandishes a candlestick , and Pippin a chair .
SAM
( angry . )
Let him go or I'll have you, Longshanks!
STRIDER SHEATHS his sword , a slight smile playing on his lips .
STRIDER
You have a stout heart, little Hobbit, but that alone wo n't save you. You can no longer wait for the Wizard, Frodo. They're coming.
EXT. GATEHOUSE, BREE -- NIGHT
The gate keeper comes out of his Lodgings with a lantern . a look of fear on his face . He approaches the closed gate with great apprehension . CLOSE ON : The Gatekeeper peers out of his Peephole . CRASH ! The gate crashed down on the gatekeeper . as four RINGWRAITHS ride into Bree !
EXT. BREE STREETS -- NIGHT
The four RINGWRAITHS fly done the empty streets , like horsemen of the apocalypse .
INT. PRANCING PONY INN -- NIGHT
LOW ANGLE : the front door FLIES OPEN . The FOUR RINGWRAITHS rush into the PRANCING PONY with WICKED SWORDS DRAWN . CLOSE ON : BUTTERBUR hiding behind his bar . trembling and sweating in TERROR .
INT. HOBBIT'S ROOM, PRANCING PONY -- NIGHT
INSERT : MERRY SNORING SOFTLY ON HIS PILLOW . INSERT : PIPPIN stirs slightly , then settles back to sleep . WIDE ON : the door creaks open . THE FOUR RINGWRAITHS silently slide into the Hobbit 's room . The LOOM above each bed , raising their SHINING SWORDS ABOVE THE SLEEPING HOBBITS . QUICK INSERT : Sam 's eyes open wide . In unison , the RINGWRAITS STAB THE HOBBITS , in a Slashing , hacking frenzy .
INT. STRIDER'S ROOM -- NIGHT
Strider is grimly listening to the sounds from his room .
INT. HOBBIT'S ROOM, PRANCING PONY -- NIGHT
Wide on : the RINGWRAITHS step back from the slashed beds in triumph . CLOSE ON : a hacked blanket is pulled back to reveal nothing but a shredded pillow . The RINGWRAITHS SHRIEK WITH RAGE ! INSERTS : Sam sits up with a start ! Close on : Another shredded pillow is revealed ! More Shrieks of rage . INSERT : PIPPIN AND MERRY wake with a start .
INT. STRIDER'S ROOM -- NIGHT
WIDE ON : Sam , Merry , and Pippin have been sleeping on Strider 's bed . Frodo stands next to Strider by the window , peering out nervously as furious Ringwraith screeches echo across the courtyard from the Hobbits room .
FRODO
Where are they?
STRIDER
They were once men. Strider glances quickly at Frodo, then looks away.
STRIDER
( V.O. ; CONT 'D . )
( quietly . )
Great Kings of men. Then Sauron the deceiver gave to them Nine Rings of Power. Blinded by their greed they took them without question, one by one falling into darkness and now they are slaves to his will.
Strider looks from the window as the Ringwraiths gallop down the Bree Streets . CLOSE ON : Strider turns back to the Hobbits , his face lit faintly by the Glowing Embers of the Fire .
STRIDER
( CONT 'D . )
They are the Nazgul, Ringwraiths, neither living or dead. At all times they feel the presence of the ring. drawn to the power of the one. they will never stop hunting you.
EXT. CHETWOOD FOREST -- DAY
STRIDER , MERRY , PIPPIN , AND FRODO march through a gloomy , overgrown forest . Sam follows at the read leading `` Bill '' , a scrawny pony , who is laden with supplies .
FRODO
Where are you taking us?
STRIDER
Into the wild.
Frodo watches uneasily as Strider moves off into the cover of the trees .
MERRY
( whispered aside . )
How do, we know this Strider is a friend of Gandalf?
FRODO
We have no choice but to trust him.
STRIDER
But where is he leading us?
Strider stops , casts a glance back at Sam .
STRIDER
( CONT 'D . )
To Rivendell, Master Gamgee. to the house of Elrond.
SAM looks excited .
SAM
Did you hear that, Bill? Rivendell! We're going to see the Elves!
Strider leads the Hobbits through the gloom of the forest .
EXT. MIDGEWATER MOORS -- DAY
Aerial on : Strider leading Frodo , Sam , Merry , and Pippin across the windswept moors . The hobbits suddenly stop and unstrap their knapsacks .
STRIDER
Gentlemen, we do not stop until nightfall.
PIPPIN
What about breakfast?
STRIDER
You've already had it.
PIPPIN
We've had one, yes. but what about Second Breakfast?
Strider stares at Pippin blankly , then turns away , shaking his head .
MERRY
I do n't think he knows about second breakfast, Pip.
PIPPIN
What about Elvenses, Luncheon, Afternoon Tea, dinner. he knows about them, does n't he?
MERRY
I would n't count on it.
An apple is thrown to Merry , who deftly catches it . Another , aimed at Pippin , catches him on the forehead .
MERRY
( CONT 'D . )
( exasperated . )
Pippin!
The hobbits trudge through rain , looking tired , hungry , and miserable .
INT. ORTHANC ANTE-CHAMBER -- NIGHT
Saruman stands over the Palantir , his hands cupping the massive eye .
SARUMAN
( whisper . )
The power of Isengard is at your command, Sauron, Lord of the Earth.
ON THE SOUNDTRACK : BLACK SPEECH FILLS THE ROOM . ADMIST THE HARSH , GUTTURAL WORDS THE VOICE OF SARUMAN EMERGES .
SARUMAN
Build me an army worth of Mordor.
INT. ORTHANC ANTE-CHAMBER -- NIGHT
Saruman is seated as his ORC OVERSEER approaches .
ORC OVERSEER
What orders from Mordor, my Lord. What does the eye command?
SARUMAN
We have work to do.
INT. ISENGARD -- NIGHT
CLOSE ON : GANDALF . lying unconscious on a cold obsidian floor . He wakes to the sound of ripping and tearing . rising onto his knees . lifting his head . Gandalf stands as the camera pulls back to reveal him stranded on the summit of Orthanc . He is marooned on the tiny , flat peak , surrounded on all sides by a sheer 500 FOOT DROP . Another whispering wail rends the air . Gandalf crosses quickly to the edge and peers down : POV : One of the beautiful Isengard trees is being ripped from the ground by the ORCS . Gandalf looks on in Horror as ORCS hack into the trunk with axes . SARUMAN stands in Rain looking out into the dark night . the ORC overseer sidles up to him , axe in hand , sweating with exertion .
ORC OVERSEER
The trees are strong, my Lord. Their roots go deep.
SARUMAN
Rip them all down.
CAMERA CIRCLES SUMMIT : MORE AND MORE TREES are hauled down and killed . as Gandalf looks on in helpless despair .
EXT. WEATHERHILLS -- DAY
Wide on : The rugged countryside as the hobbits journey on , lead by Strider . Strider stops before a distant hill , topped by an Ancient Ruin .
SARUMAN
This was once the great Watchtower of Amon Sul. We shall rest here tonight.
EXT. WEATHERTOP HOLLOW -- DUSK
FRODO , MERRY , AND PIPPIN collapse into a small hollow , halfway up Weathertop . they are muddy and exhausted . Stider drops 4 small swords at the Hobbits feet .
SARUMAN
There are for you. Keep them close. I'm going to have a look around. Stay here.
EXT. WEATHERTOP HOLLOW -- NIGHT
Close on : Frodo . eyes flickering open . He suddenly sits up , sniffing the air . Sam , Merry , and Pippin huddled over a small fire . Sausages and bacon sizzle in a hot frying pan .
FRODO
What are you doing?
MERRY
Tomatoes, sausages, and crispy bacon.
SAM
We saved some for you, Mr. Frodo.
FRODO
Put it out, you fools! Put it out! Frodo desperately kicks dirt on the fire!
PIPPIN
Oh, that's nice. ash on my tomatoes!
A SUDDEN SHREIK ! FIVE RINGWRAITHS ON FOOT , running up the steep slope unnaturally fast .
FRODO
Go!!
Frodo , Sam , Merry and Pippin clamber desperately towards the summit , clutching their swords .
EXT. WEATHERTOP SUMMIT -- NIGHT
Frodo , Sam , Merry , and Pippin race into a RING OF BROKEN STONES on the summit or Weathertop . the ruined base of an ancient tower . The hobbits stand back - to - back in the centre of the Ring , waiting for the first assault . One by one , the 5 Ringwraiths appear . brandishing Gleaming swords , they move slowly towards the hobbits . In the center is their leader . the WITCH KING !
SAM
Back, you devils!
Sam rushes forward with a cry . He swings his sword at the Witch King , who blocks the blow with his own sword . Sam 's blade shatters . the WITCH KING lashes out with his fist , sending Sam flying . Merry and Pippin , overcome with terror , throw themselves flat on the ground . THE RINGWRAITHS close in on Frodo . a Venomous whisper dances in his head . Frodo shuts his eyes and staggers back , desperately resisting the WRAITH 'S WHISPERINGS . slow motion as his hand goes into his pocket and pulls out the ring . The 5 Ringwraiths utter a chilling SCREECH OF EXCITEMENT . Frodo is unable to resist any longer , falls to his knees and slips on the ring . He disappears .
SAM
( CONT 'D . )
No!
Frodo finds himself in the weird twilight world . he looks upon the Ringwraiths , now visible in their TRUE APPEARANCE : Five Ghouls dressed in long Grey robes , with white hair , and Pallid , ruthless faces . THE WITCH KING extends a haggard hand towards Frodo , reaching for the ring on his finger . Frodo 's trembling hand extends forward as if by the pull of the ring . he slides to the ground , unable to pull his hand away . The witch king snarls and springs forward . He stabs at Frodo with a wicked dagger ! Frodo winces as the tip of the dagger sinks into his shoulder . Suddenly , Strider charges at the RINGWRAITHS , wielding his sword in one hand , a flaming torch in the other . He moves in slow motion , visible through a sea of mist . Frodo sinks to the ground . Behind him is a faint image of a Ringwraith fleeing , his head engulfed in flames . With draining strength , Frodo manages to pull the ring off his finger . Appearing back in the real world , Sam rushes over to him .
SAM
( CONT 'D . )
( horrified . )
Frodo!
Another Ringwraith is burning and screaming . others screech fearfully at the flames , turn and flee form the Weathertop summit .
SAM
( CONT 'D . )
( panicked . )
Mr. Frodo!
Strider kneels before Frodo . He snatches up the Witch King 's Dagger from the ground , staring gravely at the long , thin , blade .
SAM
( CONT 'D . )
Help him, Strider!
STRIDER
( grim . )
He's been stabbed by a Morgul blade. The Morgul Blade suddenly melts. vanishing into the air like smoke. Strider throws the hilt down in disgust.
SAM
Do something.
STRIDER
This is beyond my skill to heal.
( urgently . )
He needs Elvish medicine. Strider lifts Frodo onto his shoulders.
EXT. WEATHERHILLS -- NIGHT
Strider is jogging grimly , carrying an ailing Frodo on his back . Sam , Merry , and Pippin are running to keep up . The hobbits are carrying Flaming torches for protection .
STRIDER
Hurry!
SAM
We are six days from Rivendell. Frodo groans.
STRIDER
Hold on, Frodo.
SAM
He'll never make it! Close on : Frodo. head lolling about, barely conscious.
FRODO
( fevered calling . )
Gandalf. Gandalf?
EXT. ISENGARD -- NIGHT
Low angle . looking up at ORTHANC . the tower of Isengard , gleaming in the moonlight . The camera rises to reveal the once beautiful gardens are not a pitted wasteland . with smoke and fire billowing out of numerous tunnels and vent holes that litter the forecourt of ORTHANC . Strange guttural chants echo up from deep underground . The camera is rising . a small moth flutters into shot . and leads the camera towards the summit or Orthanc . Gandalf lies slumped against the wall at the very top of Orthanc , surrounded by a sheer 500 foot drop . He looks Weak and Frail . and is seemingly asleep . The MOTH flutters close to Gandalf . His hand suddenly moves at lighting speed and SNATCHES THE MOTH . Gandalf brings his hand close to his face and opens it . The moth sits on the palm of his hand as Gandalf mutter strange words in a foreign tongue . Close on : THE MOTH 'S face . seemingly listening . It suddenly flutters away . CAMERA FOLLOWS the moth off the Orthanc summit , but drops past the moth . falling down , down , towards the pitted wasteland , straight into a fiery red tunnel !
INT. CAVERNS BELOW ISENGARD -- NIGHT
The dead trees of Isengard are fed into roaring furnaces . molten metal pours into casts . red hot metal , beaten my sweating orc blacksmiths . armor and weapons are forged from the great furnaces . Saruman strides among the ORCS and stands looking on a new born uruk - hai as it escapes its birthing membrane . this is LURTZ , who rises up to stand before his master .
EXT. TROLLSHAW FOREST CLEARING -- NIGHT
Close on : Frodo . his eyes flicker open . clouded , red - rimmed . his brow , beaded with sweat .
PIPPIN
Is he going to die? Frodo's breathing is getting shallow. Strider looks out into the darkness.
STRIDER
No. He is passing into the shadow world, he will soon become a wraith like them.
A DISTANT CRY of a RINGWRAITH carries through the air .
MERRY
( nervous . )
They're close.
Frodo gasps in sudden pain .
STRIDER
( thinking hard . )
Sam, do you know the Athelas plant? Sam looks blank.
SAM
Athelas?
STRIDER
Kingsfoil.
SAM
Kingsfoil. Aye. It's a weed.
STRIDER
It may help to slow the poison. Hurry!
EXT. TROLLSHAW FOREST -- NIGHT
Sam and Strider desperately search the dark forest floor for the Athelas plant . Close on : A small , white flowered plant ! Strider drops to one knee , carefully pulling it from the ground . SUDDENLY ! STRIDER FREEZES AS A SWORD BLADE TOUCHES HIS NECK .
ARWEN
( O.S . )
What is this? A Ranger caught off his guard?
Strider slowly looks up .
EXT. TROLLSHAW FOREST CLEARING -- NIGHT
Frodo is breathing hard , desperately ill . Frodo 's half - conscious POV : Surreal impression . a SHIMMERING FIGURE IN WHITE leaps off a horse . FLASH INSERT : An ethereal vision of ARWEN , as she appears on the other side .
ARWEN
( ELVISH : with sub titles . )
Frodo, Im Arwen. telin let thaed. I am Arwen, I have come here to help you.
( urgent . )
Lasto Beth nin, tolo Dan na ngalad. Hear my voice, come back to the light. Frodo's eyes close.
PIPPIN
Who is she?
ARWEN
( worried . )
Frodo?
SAM
She's an elf.
ANGLE ON : ARWEN Who now appears in her earth bound form , a young Elven woman with tousled hair , dressed in mud - splattered riding clothes .
ARWEN
He's fading. he's not gong to last. We must get him to my father. Strider quickly lifts Frodo. placing him on the horse.
ARWEN
( CONT 'D . )
I have been looking for you for two days.
PIPPIN
Where are you taking him?
ARWEN
There are five Wraiths behind you, where the other four are, I do not know.
STRIDER
( ELVISH : with subtitles . )
Dartho guin Berian. rych le ad tolthathon. Stay with the hobbits. I'11 send horses for you. Close on : Arwen grabbing the Reins of the horse.
ARWEN
( ELVISH : w/subtitles . )
Hon mabathon. Rochoh ellint im. I'll take him. I'm the faster rider. Strider clamps his hand over Arwen's.
STRIDER
( elvish : subtitles . )
Andelu I ven. The road is too dangerous.
ARWEN
( Elvish : subtitles . )
Frodo Fir. Ae anthradon I hir, tur gwaith nin beriatha hon. If I can cross the river, the power of my people can protect him.
PIPPIN
What are they saying?
CLOSE ON : Arwen reaches for Strider 's hand . looking deep into his eyes .
ARWEN
I do not fear them.
CLOSE ON : Strider . we see that it is hard for him to let her go . Arwen mounts her horse , ALSFORTH .
STRIDER
Arwen. ride hard, do n't look back.
Arwen looks down at Strider as she supports Frodo with one hand .
ARWEN
( elvish . )
Noro Lim, Asfaloth, Noro Lim!
SAM
What are you doing! Those Wraiths are still out there!
Asfaloth springs away , bearing Arwen and Frodo into the night .
EXT. TROLLSHAW FOREST -- NIGHT
SPEEDING POV : through the forest from the back of the White Horse . ANGLE ON : FRODO , BOUNCING IN THE SADDLE , he lifts his head weakly . SURREAL SLOW MOTION POV : THE HORSES HEAD BOBBING . trees sliding by . moonlight flickers through the trees .
EXT. AERIAL OF ETTENMOORS ~ MORNING
AERIAL : of Arwen 's white horse emerging from the trees . and galloping across the open land as the sun rises .
EXT. PINE FOREST -- DAY
The white horse charges through a Pine Forest . Suddenly 2 Galloping Ringwraiths emerge from the trees behind ! 2 more Ringwraiths slide in from different directions to join the chase . Arwen grits her teeth . urges the white horse to greater speed .
EXT. THE EAST ROAD -- DAY
The white horse speeds out of the pine trees . the 4 ringwraiths close behind PAN ONTO : 2 more ringwraiths galloping down the hillside ! AERIAL SHOT : 3 MORE RINGWRAITHS enter frame from different directions . a total of 9 RINGWRAITHS now pursuing Frodo and Arwen ! CLOSE ON : Panting head of the WHITE ELVEN HORSE .
ARWEN
Noro lim, Asfaloth!
EXT. FORD OF BRUINEN -- DAY
CRANE DOWN : As the White Horse races towards Camera , to Reveal the wide river Bruinen in the foreground . Without hesitation , the white horse leaps into the shallow water and thunders across the Ford . The 9 Ringwraiths pull up short of the Ford , clearly nervous of the water . The white horse reaches the other side . Arwen pulls up and turns to defiantly face the Ringwraiths from across the Ford .
WITCH KING
Give up the Halfling, she - elf! She draws her sword and yells at the Witch King.
ARWEN
( yelling . )
If you want him, come and claim him.
THE WITCH KING SCREECHES ANGRILY , draws his sword , and leads the Ringwraiths across the Ford . The water starts flowing faster . a distant rumble can be heard . Arwen waits until they are halfway across : she suddenly stands in the saddle arms raised !
ARWEN
( CONT 'D . )
( Elvish . )
Non o Chithaeglir, lasto Beth daer : Rimmo nin Briunen Dan in Ulaer! Nin o Chitaeglir, lasto Beth daer : Rimmo nin Bruinen Dan in Ulaer!
THE GROUND SUDDENLY TREMBLES . A MIGHTY ROAR FILLS THE AIR ! Frodo looks up weakly . to see a vast torrent of Water flooding down the river towards the ford . as if a dam had burst ! The Foaming water seems to form the shape of Dancing white horses with frothing manes ! The Ringwraiths scream in terror as they are swallowed up in the deluge . Their Piercing cries are drowned in the roaring of the river as it carries them away ! CLOSE ON : FRODO as he loses consciousness .
ARWEN
( upset . )
No, no. Frodo, no! Frodo, do n't give in. not now!
Arwen gathers the small Hobbit in her arms , feeling his life slip away .
INT. FRODO'S DELIRIUM -- DAY
DELIRIOUS IMAGES AND SOUNDS .
ARWEN
( V.O . )
What grace is given me, let it pass to him. Let him be spared. Save him.
IMAGE : A BRIGHT LIGHT suddenly flares . Frodo squeezes his eyes shut , gasping .
FRODO
( frightened . )
Where am I?
A FAMILIAR VOICE cuts through the swirl of sound .
GANDALF
( O.S . )
You are in the House of Elrond, and it is ten o'clock in the morning on October the twenty - fourth, if you want to know.
INT. FRODO'S BEDROOM -- DAY
Frodo 's eyes flicker Open He is lying in bed next to an Open Window . Dappled sunlight plays on richly carved timbers . the sound of a nearby waterfall drifts through the Vista of Fir Trees .
FRODO
( weak relief . )
Gandalf!
ANGLE ON : GANDALF IS SITTING NEXT TO FRODO 'S BED . softly puffing on his pipe . He smiles at Frodo .
GANDALF
Yes, I'm here and you're lucky to be here, too. A few more hours and you would have been beyond our aid. You have some strength in you, my dear Hobbit.
Frodo sits up , looking at Gandalf questioningly .
FRODO
What happened, Gandalf? Why did n't you meet us?
GANDALF
I'm sorry Frodo.
Close on : Gandalf . troubled . His eyes drift away .
GANDALF
( CONT 'D . )
I was delayed.
EXT. ORTHANC SUMMIT -- NIGHT
SARUMAN stands over Gandalf , gloating .
SARUMAN
Get up! So much for the power of the Ring or embrace your own destruction!
With the power of his staff , Saruman raises Gandalf from the ground , then sends him crashing to the floor .
GANDALF
There is only one Lord of the Ring. Only one who can bend it to his will. and he does not share power.
SUDDENLY ! GANDALF lurches to his feet and Throws himself off the Tower ! Saruman watches Gandalf fly away from Isengard . on the Back of a GIANT EAGLE .
SARUMAN
( chilling . )
So you have chosen death!
EXT. SKIES OVER MOUNTAINS--DAWN
Gwaihir the Eagle soars majestically over the mountains , carrying Gandalf towards the dawn .
INT. FRODO'S BEDROOM--RIVENDELL
Frodo raises himself up and looks at Gandalf .
FRODO
Gandalf! What is it? Gandalf returns his attention to Frodo.
GANDALF
Nothing, Frodo.
Sam runs to Frodo 's bedside . He is overjoyed to find Frodo awake .
SAM
Frodo! Frodo! Bless you, you're awake!
GANDALF
Sam has hardly left your side.
SAM
We were worried about you - were n't we, Mr. Gandalf?
GANDALF
By the skills of Lord Elrond, you're beginning to mend. ELROND, LORD OF THE HIGH ELVES, steps up to Frodo's
bedside . his face is neither old nor young , though in it is written the memory of many things both glad and sorrowful .
ELROND
Welcome to Rivendell, Frodo Baggins. Frodo sits up, looking at Elrond with awe.
EXT. RIVENDELL VALLEY -- DAY
WIDE ON : RIVENDELL . a small cluster of elegant Elven Buildings sitting in a Shangri - la like Valley below towering cliffs and snow capped mountains .
ELROND
( V.O . )
You have found your way to the last homely house east of the sea. The elves of Imladris have dwelt within this valley for three thousand years through few of my kin now remain. Frodo looks out from his balcony.
EXT. RIVENDELL GARDENS -- DAY
Frodo and Sam walk together . Suddenly , the voices of Merry and Pippin can be heard as they bound up to Frodo and throw their arms around him .
MERRY
Frodo! Frodo!
Sam looks past Frodo smiling . a bent figure sits alone on a bench , in the Sun . Close on : Frodo turning , following Sam 's gaze .
FRODO
Bilbo!
EXT. RIVENDELL TERRACE -- DAY
Close on : BILBO BAGGINS ! He breaks in to a broad grin as Frodo rushes forward to embrace him . Bilbo has aged significantly since we last saw him .
BILBO
Hello, Frodo, my lad!
FRODO
Bilbo!
LATER . Frodo is turning the neatly inscribed title page of a red leather bound journal :
FRODO
( CONT 'D . )
( reading . )
`` There and back again : A Hobbit's tale'' by Bilbo Baggins.
Bilbo smiles Proudly . He is sitting with Frodo on a terrace overlooking a Waterfall . Frodo looks at Page after page of beautiful Handwriting , with intricate Maps and Drawings .
FRODO
( CONT 'D . )
This is wonderful.
BILBO
I meant to go back. wander the paths of Mirkwood, visit Laketown, see the Lonely Mountain again. but age, it seems, has finally caught up with me.
Frodo turns a page . there before him , is a map of the Shire .
FRODO
( quietly . )
I miss the Shire. I spent all my childhood pretending I was off somewhere else. off with you, on one of your adventures.
( Looks at Bilbo . )
But my own adventure, turned out to be quite different. I'm not like you, Bilbo.
BILBO
My dear boy.
EXT. RIVENDELL TERRACE -- EVENING
Sam busily tries to stuff more and more things into his already full pack . pots and pans , blankets , cooking utensils , provisions , clothes .
SAM
No, what have I forgotten? Pull back to reveal Frodo, hands in his pocket, watching Sam.
FRODO
Packed already?
Sam looks up , startled .
SAM
( slightly embarrassed . )
No harm in being prepared. Frodo strolls to the edge of the Balcony.
FRODO
I thought you wanted to see the Elves, Sam?
SAM
I do.
FRODO
More than anything.
SAM
I did. It's just. we did what Gandalf wanted, did n't we? We got the Ring this far, to Rivendell. and I thought. seeing as how you're on the mend, we'd be off soon. Off home.
FRODO
You're right, Sam. Frodo looks at Sam.
FRODO
( CONT 'D . )
we did what we set out to do. Frodo opens his hand, the Ring sits in his Palm.
FRODO
( CONT 'D . )
The ring will be safe in Rivendell. I am ready to go home.
EXT. ELROND'S CHAMBER, RIVENDELL -- DAY
Gandalf and Elrond watch Frodo and Sam from Elrond 's balcony ,
ELROND
His strength returns.
GANDALF
That wound will never fully heal. He will carry it the rest of his life.
ELROND
And yet to have come so far still bearing the Ring. the hobbit has shown extraordinary resilience to its evil.
GANDALF
It is a burden he should never have to had to bear. We can ask no more of Frodo.
ELROND
Gandalf, the enemy is moving. Sauron's forces are massing in the east. His eye is fixed on Rivendell. And Saruman, you tell me, has betrayed us. Our list of allies grows thin.
GANDALF
His treachery runs deeper than you know. By foul craft, Saruman has crossed Orc with Goblin Men. he is breeding an army in the caverns of Isengard. An army that can move in Sunlight and cover great distance at speed. Saruman is coming for the Ring.
Elrond turns and walks away .
ELROND
This evil can not be concealed by the power of the Elves. We do not have the strength to fight both Mordor and Isengard. Gandalf. the ring can not stay here.
Gandalf turns and looks out the window . Sounds of arrivals . Gandalf watches as Boromir rides through Rivendell gate , followed by Legolas and Gimli .
ELROND
( V.O. ; CONT 'D . )
This peril belongs to all Middle earth. They must decide how to end it. Not just for themselves but for those who come after. Elrond approaches Gandalf.
ELROND
( CONT 'D . )
The time of the Elves is over. My people are leaving these shores. Who will you look to when we have gone? The dwarves? They hide in their mountains seeking riches. They care nothing for the troubles of others.
GANDALF
It is in Men that we must place our hope.
ELROND
Men? Men are weak. The race of Men is failing. The blood of Numenor is all but spent, its pride and dignity forgotten. It is because of men the Ring survives.
FLASH INSERT : With the broken sword , Isildur slices off Sauron 's finger . Elrond reacts .
ELROND
( V.O. ; CONT 'D . )
I was there, Gandalf. I was there three thousand years ago when Isildur took the ring.
FLASH INSERT : ISILDUR PICKS UP THE RING AND STARES AT IT , ENTRANCED .
ELROND
I was there the day the strength of Men failed.
INT. CRACK OF DOOM -- DAY
ELROND
Isildur. hurry. follow me! IMAGES : ELROND leads Isildur into the steaming volcano.
ELROND
( V.O. ; CONT 'D . )
I let Isildur into the heart of Mount Doom, where the ring was forged : the one place it could be destroyed.
FLASH INSERT : ELROND AND ISILDUR STAND BEFORE THE FIRES OF MT. DOOM .
ELROND
Cast it into the fire. destroy it!
CLOSE ON : ISILDUR . CAPTIVATED BY THE RING .
ISILDUR
No.
Isildur turns and walks away
ELROND
Isildur!
INT. ENROND'S CHAMBER, RIVERDELL -- DAY
Elrond turns to Gandalf .
ELROND
It should have ended that day, but evil was allowed to endure. Isildur kept the Ring. and the line of Kings was broken. There's no strength left in the world of Men. They're scattered, divided, leaderless.
GANDALF
There is one who could unite them, one who could re claim the thrown of Gondor.
ELROND
He turned from that path a long time ago. He has chosen exile.
INT. ELROND'S CHAMBER, RIVENDELL -- NIGHT
Strider watches from the shadows . as Boromir strolls through the darkened gallery . Boromir 's eyes are drawn to an old Fresco on the wall . depicting Isildur defeating Sauron . Boromir looks with Wonderment at Narsil , the Broken Blade of Elendil , which lies on a cloth - covered plinth .
BOROMIR
( quiet awe . )
The shards of Narsil. the blade that cut the Ring from Sauron's hand. Boromir picks up the sword and gently touches the Blade. Close on : a small bloom of blood appears on Boromir's finger.
BOROMIR
( CONT 'D . )
Still sharp.
Boromir senses Strider 's presence . he looks from the blade to Strider , as if sensing a connection .
BOROMIR
( CONT 'D . )
But no more than a broken heirloom.
BOROMIR
( CONT 'D . )
replaces the Broken blade, but it clatters to the floor. Boromir walks away, leaving Strider sitting alone.
Close on : Strider picks up the broken hilt , as Arwen appears behind him .
ARWEN
Why do you fear the past? You are Isildur's heir. not Isildur himself. You are not bound to his fate.
STRIDER
The same blood flows in my veins. the same weakness.
ARWEN
Your time will come. You will face the same evil. and you will defeat it.
( Elvish : w/subtitles . )
A si i - duath u - orthor, Aragorn. u or le a u or nin. The shadow does not hold sway yet. not over you and not over me.
EXT. RIVENDELL VALLEY -- NIGHT
Night falls upon the beautiful valley of Rivendell . still and quiet .
EXT. RIVENDELL WATERFALL -- NIGHT
Strider and Arwen stand upon a stone bridge . the Evenstar at Arwen 's breast shines in the moonlight .
ARWEN
( Elvish : with subtitles . )
Renech I lu I erui govannem? Do you remember when we first met?
STRIDER
( Elvish : with subtitles . )
Nauthannim I ned ol reniannen. I thought I had strayed into a dream.
Arwen reaches up and gently touches the Grey at Strider 's temples .
ARWEN
( Elvish : with subtitles . )
Gwenin in enniath. u - arnech in naeth I se celich. Long years have passed. you did not have the care you carry now.
Arwen looks into Strider 's eyes .
ARWEN
( CONT 'D . )
( Elvish : with subtitles . )
Renech I Beth I pennen? Do you remember what I told you? Arwen reaches for Strider's hand.
STRIDER
( quietly . )
You said you'd bind yourself to me, forsaking the immortal life of your people.
ARWEN
( whisper . )
And to that I hold. I would rather share one lifetime with you than face all the ages of this world alone. Strider looks down. In his hand lies the Evenstar.
ARWEN
( CONT 'D . )
I choose a mortal live.
STRIDER
You can not give me this.
ARWEN
It is mine to give to whom I will, like my heart.
Arwen closes Strider 's fingers around the jewel . Arwen leans towards Strider , gently kissing him .
INT. COUNCIL CHAMBER, RIVENDELL -- DAY
Elrond addresses the council .
ELROND
Strangers from distant lands. friends of old. You have been summoned here to answer the threat of Mordor. Middle - earth stands upon the brink of destruction. None can escape it. You will unite. or you will fall. Each race is bound to this fate. this one doom.
Frodo sits amongst a council of free - peoples of Middle earth , Elrond stands before them , addressing Gandalf , Strider , Legolas , and 20 other elves , Dwarves , and men .
ELROND
( CONT 'D . )
Bring forth the ring, Frodo.
Frodo steps forward and moves towards a stone Plinth . He places the ring on the plinth and returns to his seat .
BOROMIR
( shocked . )
So it is true!
LEGOLAS
( disbelief . )
Sauron's Ring! The ring of power!
GIMLI
( grim . )
The doom of man!
BOROMIR
It is a gift. a gift to the foes of Mordor! Why not use this Ring? Long has my father, the Steward of Gondor, held the forces of Mordor at bay. by the blood of our people are your lands kept safe. Give Gondor the weapon of the enemy. let us use it against him!
STRIDER
You can not wield it. None of us can. The one ring answers to Sauron alone. it has no other master. Boromir turns and looks at Strider, coolly.
BOROMIR
And what would a ranger know of this matter?
Strider says nothing and Boromir turns away dismissively . LEGOLAS stands .
LEGOLAS
This is no mere Ranger. He is Aragorn, son of Arathorn. You owe him your allegiance.
Frodo looks at Strider questioningly . Boromir turns sharply .
BOROMIR
( quiet disbelief . )
Aragorn? This is Isildur's heir?
LEGOLAS
And heir to the throne of Gondor.
ARAGORN
( Elvish : with subtitles . )
Havo dad, Legolas. Sit down, Legolas.
BOROMIR
Gondor needs no king.
GANDALF
Aragorn is right. we can not use it.
ELROND
You have only one choice. the ring must be destroyed.
The HUM OF THE RING seems to grow louder in Frodo 's ears . Gimli suddenly stands , excited .
GIMLI
Then. what are we waiting for?
Gimli suddenly rushes forward ! He swings his axe down on the ring . The axe shatters with a deafening crack ! Gimli falls backwards , staring in disbelief at the ring . unharmed ! Frodo winces as an angry image of the fiery eye hits him ! He slumps in this chair , clutching his forehead . Gandalf looks at him with concern .
ELROND
The ring can not be destroyed, Gimli, son of Gloin, by any craft that we
ELROND
( CONT 'D . )
here possess. The ring was made in the fires of Mount Doom. only there can it be unmade. It must be taken deep into Mordor, and cast back into the fiery chasm from whence it came. One of you must do this.
Stunned silence . the council sits with downcast eyes , as if a great dread has descended on them . Boromir addresses the council in a quiet voice
BOROMIR
One does not simply walk into Mordor. Its black gates are guarded by more than just Orcs. There is evil there that does not sleep and the Great Eye is ever watchful. It is a barren wasteland, riddled with fire and ash and dust. the very air you breathe is a poisonous fume. Not with ten thousand men could you do this. It is folly.
LEGOLAS
Have you heard nothing Lord Elrond has said? The ring must be destroyed.
GIMLI
And I suppose you think you're the one to do it?
BOROMIR
And if we fail, what then? What happens when Sauron takes back what is his?
Gimli leaps to his feet !
GIMLI
I will be dead before I see the Ring in the hands of an Elf! A STORM OF ARGUMENT erupts around the room. CLOSE ON : FRODO. sound disappears as he watches in slow
motion . the angry faces , the shaking fists , the accusatory fingers , his eyes move across to the ring . the hum grows louder in his head .
GIMLI
( CONT 'D . )
( shouting . )
Never trust an Elf!
CLOSE ON : THE RING fills the screen . streams of blood flow across the surface . flames flicker within the Gold Band .
GANDALF
Do you not understand? While we bicker among ourselves, Sauron's power grows! No one will escape it. You will all be destroyed, your homes burnt and your families put to the sword!
CLOSE ON : FRODO . breathing rapidly , Caught in the grip of his hideous vision . With a huge effort or will , Frodo tears his gaze upon the ring . Frodo suddenly stands . he speaks in a strong , clear voice .
FRODO
I will take it. I will take it. I will take the Ring to Mordor.
Sudden silence . Frodo looks around the room at the astounded faces .
FRODO
( CONT 'D . )
( quietly . )
Though. I do not know the way. Gandalf rises to his feet.
GANDALF
I will help you bear this burden, Frodo Baggins, as long as it is yours to bear.
ARAGORN
If, by my life or death, I can protect you, I will.
( kneels before Frodo . )
. you have my sword. Aragorn steps forward. followed by Legolas and Gimli.
LEGOLAS
And you have my bow.
GIMLI
And my axe.
Boromir looks at them all then walks towards Frodo .
BOROMIR
You carry the fate of us all, little one.
Boromir looks towards Elrond and Gandalf .
BOROMIR
( CONT 'D . )
If this is indeed the will of the Council, then Gondor will see it done.
Frodo stares in wonder as the Greatest Fighters in all Middle earth stand at his side .
SAM
( unseen . )
Here!
A Sudden Noise . Sam pops up from behind a Bush !
SAM
( CONT 'D . )
Mr. Frodo's not gong anywhere without me.
ELROND
No, Indeed. it is hardly possible to separate you. even when he is summoned to a secret council and you are not.
Merry and Pippin jump up from behind another bush !
MERRY
Oi! We're coming too! You'll have to send us home tied up in a sack to stop us.
PIPPIN
Anyway. you need people of intelligence on this sort of mission. quest. thing.
MERRY
Well, that rules you out, Pip.
ELROND SURVEYS THE GROUP
ELROND
( thoughtfully . )
Nine companions. so be it.
( announcing . )
You shall be the `` Fellowship of the ring''
PIPPIN
Great. Where are we going?
INT. FRODO'S BEDROOM, RIVERDELL---DAWN
Close on : An old sword sliding out of a shabby leather Scabbard . its polished , well tendered Blade glitters cold and bright .
BILBO
My old sword `` Sting''. here, take it!
Bilbo offers Sting to Frodo .
FRODO
It's so light!
BILBO
Yes, yes, made by the Elves, you know. The blade glows blue when Orcs are close. and it's times like that, my lad, when you have to be extra careful.
Bilbo unwraps a small shirt of close woven Mail .
BILBO
( CONT 'D . )
Here's a pretty thing. Mithril, as light as a feather, and as hard as dragon scales. Let me see you put it on. Come on.
CLOSE ON : Frodo peels off his shirt . revealing The Ring on the Chain around his neck .
BILBO
( CONT 'D . )
( entranced . )
Oh! My old Ring. Frodo frowns as Bilbo moves toward him.
BILBO
( CONT 'D . )
I should very much like to hold it again, one last time. Bilbo reaches forward, eyes locked on the ring.
Suddenly ! A shadow passes across Bilbo . for a split second he becomes a wrinkled creature with a hungry face and Bony , groping hands . Frodo pulls away , shocked . the shadow passes . Bilbo slumps into a chair , his head in his hands . Bilbo falters . his eyes filling with tears .
BILBO
( CONT 'D . )
Oh!
BILBO
( CONT 'D . )
( sad . )
I'm sorry, that I brought this upon you, my boy. I'm sorry that you must carry this burden. I'm sorry for everything.
Bilbo sobs and Frodo moves to comfort him .
EXT. RIVENDELL VALLEY -- MORNING
The Fellowship climb the long steep path out of the cloven vale of Rivendell .
EXT. ROUGH COUNTRY, SOUTH OF RIVENDELL -- DAY
The fellowship trekking through a land of Deep Valleys and turbulent waters . the misty mountains rise sharply to their left .
GANDALF
( V.O . )
We must hold to his course west of the misty Mountains for forty days. If our luck holds, the Gap of Rohan will still be open to us. From there, our road turns east, to Mordor.
EXT. EREGION HILLS--DAWN
CLOSE ON : Sam at the campfire . The sound of clashing swords ! Wider : Aragorn and Boromir are giving Pippin Sword tuition .
BOROMIR
Get away from the blade, Pippin. on your toes. good, very good. I want you to react, not think.
SAM
Should not be too hard.
BOROMIR
Move your feet.
MERRY
Quite good, Pippin.
PIPPIN
Thanks.
CLOSE ON : GIMLI has managed to corner Gandalf .
GIMLI
If anyone were to ask for my opinion, which I note they have not, I would say we are taking the long way round. Gandalf, we can pass through the Mines of Moria. My cousin, Balin, would give us a royal welcome. Gandalf clearly thinks that is a bad idea.
GANDALF
No, Gimli. I would not take the road through Moria unless I had no other choice.
Boromir thrusts , catching Pippin on the hand . Pippin throws down his sword , kicks and lunges at Boromir , tackling him to the ground . Much laughter . Legolas ' eyes are fixed on a distant Dark Patch which darts about the sky , like flying smoke in the wind .
SAM
What is that?
GIMLI
Nothing. it's just a wisp of a cloud.
BOROMIR
( worried . )
It's moving fast. against the wind.
LEGOLAS
Crebain from Dunland!
ARAGORN
( urgently . )
Hide!
BOROMIR
Merry. Pippin. Sam. take cover! WIDE ON : THE FELLOWSHIP scramble under what little cover
there is . as a regiment of Large crows fly low overhead at Great speed , wheeling and circling above . As their dark shadow passes over the fellowship , a single harsh croak is heard . and the crows suddenly wheel away , back towards the south . Gandalf staggers to his feet .
GANDALF
( worried . )
Spies of Saruman. The passage South is being watched.
Gandalf looks at Aragorn , turns to the others . gesturing towards a high mountain pass .
GANDALF
( CONT 'D . )
We must take the pass of Caradhras!
EXT. SNOWY MOUNTAINSIDE -- DAY
The Fellowship clamber through Rock and Snow . CLOSE ON : Frodo slips on some shale . as he scrambles to his feet , the Ring falls on the ground . CLOSE ON : the ring gleaming in the snow ! Boromir 's Hand picks it up by the chain . he stands , the ring dangling before his eyes . He seems to grow in stature , as if absorbing its power . Aragorn warily approaches Boromir . Boromir is motionless . he stares at the ring , as if transfixed .
ARAGORN
Boromir?
BOROMIR
It is a strange fate that we should suffer so much fear and doubt over so small a thing. such a little thing.
ARAGORN
( quietly . )
Boromir. give the ring to Frodo. ARAGORN'S HAND moves to his sword hilt.
Ring 's POV . looking up at Boromir 's face . The strange hum vibrates on the soundtrack . CLOSE ON : a Weird beatific smile lights up Boromir 's face . The HUM grows to a Deafening roar ! Boromir suddenly snaps out of his trance and hands the ring back to Frodo .
BOROMIR
( lightly . )
As you wish. I care not.
Boromir smiles at Frodo , ruffling his hair . CLOSE ON : ARAGON unhands his sword .
EXT. ISENGARD -- DAY
Following the crows as they race deeper and deeper , passing a vista of Industry , Hundreds of Orcs and writhing Birthsacks . flying past Saruman , who stands upon a wooden Gantry . CLOSE ON : Saruman , listening to the Cries of the crows .
SARUMAN
So, Gandalf. you try to lead them over Caradhras. And if that fails. where then will you go? THE FELLOWSHIP struggles through the snow.
SARUMAN
( V.O. ; CONT 'D . )
If the mountain defeats you, will you risk a more dangerous road?
EXT. PASS OF CARADHRAS -- DAY
THE FELLOWSHIP are struggling through a blinding blizzard , up towards the PASS OF CARADHRAS . Legolas the Elf moves lightly across the top of the snow . he suddenly pauses . Saruman 's voice sweeps by in the wind .
LEGOLAS
( urgent . )
There is a fell voice in the air.
GANDALF
It's Saruman.
THUNDER RUMBLES . ROCK and Shale fall from above .
ARAGORN
( urgently . )
He's trying to bring down the mountain. Gandalf! We must turn back!
GANDALF
No!
GANDALF RAISES HIS STAFF . HE CHANTS INTO THE WIND .
GANDALF
( YELLING . )
Losto Caradhras, sedho, hodo, nuitho I ruith. Sleep Caradhras, be still, lie still, hold your wrath.
EXT. ISENGARD -- DAY
CAMERA SWEEPS PAST SARUMAN . he stands on the summit of Orthanc , Chanting . CLOUDS ARE FLOWING FROM ALL DIRECTIONS . converging on the distant mountains in a stormy Malestrom .
EXT. PASS OF CARADHRAS -- DAY
Saruman 's voice strengthens . rolling past the fellowship like thunder . A LIGHTNING CRACK explodes on the mountainside above them . Frodo looks up in horror as a huge snow avalanche thunders down towards them ! The Fellowship throw themselves against the cliff face as snow crashes onto the narrow ledge . LEGOLAS pulls Gandalf to safety . Aragorn shields Frodo and Sam as snow piles around them . Within moments , the pass is blocked and the fellowship are enveloped in snow . Boromir and Aragorn frantically dig for the hobbits . who are pulled out Shivering and Fearful .
BOROMIR
( urgent . )
We must get off the mountain! Make for the gap of Rohan and take the West road to my city.
ARAGORN
The Gap of Rohan takes us too close to Isengard.
GIMLI
We can not pass over the mountain. Let us go under it. Let us go through the mines of Moria. Gandalf has a concerned look on his face.
SARUMAN
( V.O . )
Moria. You fear to go into those mines, do n't you? The dwarves delved too greedily and too deep.
SARUMAN
( V.O. ; CONT 'D . )
You know what they awoke in, the darkness of Khazad - dum. Shadow and flame.
GANDALF
Let the ringbearer decide.
CLOSE ON : FRODO , the weight of the decision weighing heavily upon him . CLOSE ON : MERRY and PIPPIN shivering in Boromir 's arms .
GANDALF
( CONT 'D . )
Frodo?
Frodo meets Gandalf 's eye .
FRODO
We will go through the mines. Gandalf slowly nods.
GANDALF
So be it.
EXT. MORIA GATE -- NIGHT
The Fellowship are walking along the far shore of dark lake . directly below great looming cliffs .
GIMLI
( in awe . )
The walls of Moria!
Footing is treacherous on the narrow strip of green and greasy stones . Gandalf touches the smooth rock wall between the trees . slowly , faint lines appear like slender veins of luminous silver running through the stone .
GANDALF
Itidin. it mirrors only starlight and moonlight.
A large moon rises over the mountains . The lines grow Broader and Clearer , forming a glowing arch of interlacing ancient letters and symbols .
GANDALF
( CONT 'D . )
It reads, `` The door of Durin, Lord of Moria. Speak, friend, and enter.''
MERRY
What do you suppose that means?
GANDALF
( confident . )
It's quite simple. If you are a friend, speak the password and the doors will open.
Gandalf raises his arms .
GANDALF
( CONT 'D . )
( incanting . )
Annon edhellen, edro hi ammen!
The cliff towers into the night , the wind blows cold , Frodo shivers . and the door stands fast ! GANDALF CONTINUES . Mumbling spells in his efforts to open the door . Sam packs pots and pans at his feet . watching sadly as Aragorn un - saddles Bill the pony . CLOSE ON : ARAGORN whispering to Bill the Pony .
ARAGORN
( whispering . )
Mines are no place for a Pony, even one so brave as Bill.
SAM
Bye, Bill.
ARAGORN
Go on, Bill, go on. do n't worry, Sam. he knows his way home. Aragorn slaps Bill on the rump. Bill goes trotting off. CLOSE ON : Sam watching Bill disappear into the darkness.
SAM
Goodbye, Bill.
SPLASH ! Merry and Pippin are tossing stones into the lake . Black Rippling rings slowly fan out . Pippin is about to throw another stone , but Aragorn grabs his arm .
ARAGORN
( ominous . )
Do not disturb the water.
Aragorn watches anxiously as the Ripples appear to grow . he exchanges a look with Boromir . Aragorn 's hand creeps towards his sword . Gandalf gives up in despair . he sits down beside Frodo . Close on : Frodo peers at the Elvish inscription . his face breaks into a smile of comprehension .
FRODO
( quietly . )
It's a riddle.
Gandalf raises his eyebrows .
FRODO
( CONT 'D . )
( explaining . )
Speak, friend, and enter. What's the Elvish for friend?
GANDALF
Oh. mellon.
With that , the rock face silently divides in the middle and two great Doors swing outwards . revealing a blackness deeper than the night . As the Fellowship enter the Blackness , something in the water stirs .
INT. MORIA GATE -- NIGHT
The Fellowship step warily into the darkness of Moria . a Dank cavern , with winding steps leading deeper into the mountain .
GIMLI
So, master elf, you will enjoy the fabled hospitality of the dwarves ; roaring fires, malt beer, red meat off the bone. This, my friend, is the home of my cousin, Balin. and they call this a Mine.
( snorting . )
A mine!
A Glow from Gandalf 's Staff suddenly lights the chamber . The Fellowship recoil in Horror ! Many dwarf Skeletons are strewn about , clearly the dead of some old battle . the rusting armor and shields are peppered with arrows and axes .
BOROMIR
( grimly . )
This is no mine. it's a tomb!
GIMLI
( in horror . )
Oh. no. no. no! Legolas pulls a crude arrow out of a skeleton.
LEGOLAS
Goblins!
The Fellowship draw swords and back away , towards the Entrance .
BOROMIR
We make for the Gap of Rohan. We should never have come here.
EXT. MORIA GATE -- NIGHT
Frodo is suddenly PULLED TO THE GROUND . A long sinuous Tentacle is wrapped around Frodo 's ankle and is dragging him towards the lake . FRODO CRIES OUT as Aragorn and Boromir rush forward ! Aragorn severs the Tentacle holding Frodo , and pulls him to safety . Boromir hacks at the other Writhing Limbs . 20 more tentacles ripple out of the Lake ! The dark water Boils as the hideous beast lashes out at the FELLOWSHIP ! Again the creature grabs Frodo and pulls him to the lake , Frodo is flung in the air as the Fellowship battle the creature . Aragorn hacks at a tentacle . Frodo is released , falling into Boromir 's arms .
GANDALF
Into the mines!
BOROMIR
Legolas!
Legolas shoots an Arrow into the creature 's head , gaining a few vital seconds for Aragorn and Boromir as they race out of the water with Frodo . The FELLOWSHIP hurriedly back away from the Creature . retreating into the Moria Chamber as many Coiling arms seize the large doors .
INT. MORIA GATE -- NIGHT
With a shattering echo , the creature rips the doors away , creating a rock slide that crashes down the Cliff Face . Within seconds , tons of rock seal the doorway . throwing the Fellowship into Pitch Blackness . A faint light rises from Gandalf 's staff , throwing a Creepy Glow across the old wizards face .
GANDALF
( ominous . )
We now have but one choice. we must face the long dark of Moria. Be on your guard. there are older and fouler things than the Orcs in the deep places of the world.
INT. NEW CHAMBER, MORIA -- NIGHT
WIDE ON : the Fellowship crossing a precarious bridge above deep mine workings .
GANDALF
Quietly, now. It's a four day journey to the other side. Let us hope that our presence will go unnoticed.
INT. MORIA CEMETERY CAVERN -- NIGHT
They continue up a steep stair , passing through a dwarf cemetery . The graves are despoiled . dwarf skeletons are strewn about and Goblin Graffiti is scrawled on monuments in dried Dwarf blood . The Atmosphere is very sinister .
INT. MORIA TUNNEL FORK -- NIGHT
The path splits into three passages . each disappearing into dark tunnels . Gandalf pauses , frowning .
GANDALF
I have no memory of this place.
LATER . The Fellowship are nervously waiting . while Gandalf sits , staring intently at the 3 tunnel mouths in front of him . He appears to be in some kind of trance . CLOSE ON : FRODO He turns at the sound of a faint noise down the tunnel behind them .
PIPPIN
Are we lost?
MERRY
No. I do n't think we are. Shhhh, Gandalf's thinking.
PIPPIN
Merry!
MERRY
What?
PIPPIN
I'm hungry.
Frodo 's POV : a sudden glimpse of a creature darting in the darkness . Frodo is nervous . he approaches Gandalf .
FRO DO
( whispers . )
There's something down there.
GANDALF
( quietly . )
It's Gollum.
FRODO
Gollum!
GANDALF
He's been following us for three days.
TEASING SHOT : and emaciated , leering creature .
FRODO
( disbelieving . )
He escaped the dungeons of Barad - dur?
GANDALF
Escaped. or was set loose. And now the Ring has drawn him here. he will never be rid of his need for it. He hates and loves the ring, as he hates and loves himself. Smeagol's life is a sad story. Gandalf catches Frodo's look of surprise.
GANDALF
( CONT 'D . )
Yes. Smeagol he was once called. Before the ring came to him, before it drove him mad.
Gollum 's withered fingers are gripping the cave wall . he is large , Luminous eyes blinking with malice .
FRODO
( grim . )
It's a pity Bilbo did n't kill him when he had the chance.
GANDALF
Pity? It was pity that stayed Bilbo's hand. Many that live deserve death, and some that die deserve life. Can you give it to them, Frodo? Frodo frowns.
GANDALF
( CONT 'D . )
Do not be too eager to deal out death in judgment. even the very wise can not see all ends. My heart tells me that Gollum has some part to play yet, for good or ill, before this is over. The pity of Bilbo may rule the fate of many.
FRODO
I wish the ring had never come to me. I wish none of this had happened.
GANDALF
So do all who live to see such times, but that is not for them to decide. All we have to decide is what to do with the time that is given to us. There is a note of finality in Gandalf's voice.
GANDALF
( CONT 'D . )
There are other forces at work in this world, Frodo, besides the will of evil. Bilbo was meant to find the ring. In which case, you also were meant to have it. and that is an encouraging thought.
( sudden brightness . )
Ah! That it's that way! Gandalf points at the right hand tunnel. the Fellowship scramble to their feet.
MERRY
( relieved . )
He's remembered!
GANDALF
No, but the air does n't smell so foul down there. If in doubt, Meriadoc, always follow your nose!
( laughs . )
Ye s.
INT. DWAROWDELF CHAMBER, MORIA -- DAY
The Fellowship pass under an arched doorway into a black and empty space . Gandalf pauses .
GALADRIEL
Let me risk a little more light. Gandalf taps his staff. for a brief moment a light
blazes . like a silent Flash of Lightning . Great shadows spring up and flee .
GANDALF
Behold! The great realm and Dwarf city of Dwarrowdelf! Frodo gasps at the brief sight of a vast roof, far above
their heads , upheld by many mighty pillars hewn of stone . Before them stretches a huge empty hall , with black walls , polished and smooth as glass .
SAM
Well, there's an eye opener and no mistake!
Ahead of them , a wooden door has been smashed . Black arrows are embedded in the timbers . Two goblin skeletons lie in the doorway . Gimli rushes ahead .
GANDALF
Gimli!
INT. BALIN'S TOMB, MORIA -- DAY
Gimli rushes into another vast empty chamber . lit with a narrow shaft of sunlight , beaming in from a small hole near the roof . Dwarf and Goblin skeletons are piled high . In the far corner sits a stone walled Well . A shaft of light falls directly onto a stone table in the middle of the room : a single oblong block , about 4 feet high , topped with a great slab of white stone . Gimli falls to his knees .
GIMLI
No. no. oh, no!
Gimli sobs . Gandalf quietly reads an inscription of runes , carved onto the white stone slab .
GANDALF
`` Here lies Balin, son of Fudin, Lord of Moria.'' He is dead, then. It's as I had feared.
Gandalf carefully lifts the rotting remains of a book from the white stone slab . It has been slashed and stabbed . and appears to be covered in Dried Blood . The pages crack and break as he opens it .
LEGOLAS
( urgent whisper to Argorn . )
We must move on, we can not linger.
GANDALF
( reading . )
`` They have taken the Bridge and the second hall : we have barred the gates. but can not hold them for long. the ground shakes. drums in the deep. we can not get out. A shadow moves in the dark. Will no - one save us? They are coming.''
Unnerved , Pippin backs away nervously . He stumbles against the well , sending a precariously balanced Armored skeleton tumbling in ! Merry reaches out , Grabbing hold of Pippin before he falls . The Fellowship freeze in stunned silence as the armored skeleton clatters down the deep well . echoing loudly !
INT. MORIA CAVERNS -- DAY
Gandalf turns angrily on Pippin .
GANDALF
( angry . )
Fool of a Took! Throw yourself in next time and rid us of your stupidity!
ANGLE ON : PIPPIN , CHASTENED . They fall silent . A low rolling boom rises from the depths below . growing louder . BOOM . BOOM . as if the caverns of Moria were turned into a vast drum . A great horn blasts nearby . Answering horns . running feet . harsh cries . Sam 's eyes glance at Frodo 's belt .
SAM
( worried . )
Mr. Frodo!
Frodo looks down . A cold blue glow is emanating from Sting 's Scabbard ! Frodo draws the Sword . and stares at its glowing blade !
LEGOLAS
Orcs!
ARAGORN
( to the hobbits . )
Get back! Stay close to Gandalf.
Aragorn and Boromir slam and wedge the doors . Boromir catches sight of something ; he turns to Aragorn with shock in his eyes .
BOROMIR
They have a cave troll!
Gimli snatches up two rusty dwarf axes and leaps onto the tomb .
GIMLI
( yelling . )
Let them come! There is one Dwarf yet in Moria who still draws breath!
BOOM ! The Door bursts open in a shower of wood fragments , and 20 Goblins charge into the tomb , followed by a huge cave troll ! Gimli ducks a blow and immediately buries his Axes in 2 Goblin helmets . Aragorn and Boromir wade into the mass of Goblins with their swords . Legolas fires deadly arrows into Goblin throats , desperately trying to Shield the Hobbits ! Gandalf is clutching his sword and joins in the battle ! The cave troll is sweeping his club at Aragorn . who stumbles backwards . the huge club descends for the killing blow . suddenly , in a flash of steel , Boromir 's long sword slices into the Scaly arm of the troll ; it rears back , spewing green blood ! Sam is backing up against a wall . a sword in one hand , a saucepan in the other . In desperation he swings wildly at a Goblin with a saucepan ! It keels over . Sam looks surprised . He wallops another Goblin and it too , drops .
SAM
I think I'm getting the hang of this.
The Cave Troll lunges forward , thrusting at Frodo 's chest with his spear .
FRODO
Aragorn! Aragorn!
Sam screams as Frodo is lifted off his feet by the spear tip and slammed against the wall .
ARAGORN
( shocked yell . )
Frodo!
The hobbits go crazy . Sam slashes at the cave troll 's knee , bringing him down . Merry and Pippin jump on him . Legolas fires an arrow . and the cave troll topples , dead . Aragorn rushes to Frodo 's side as he slumps to the floor . Frodo appears to be dead . Close on : Gandalf , Aragorn , Hobbits looking horrified . Suddenly Frodo coughs . takes a huge breath .
SAM
He's alive!
FRODO
I'm alright. I'm not hurt.
ARAGORN
You should be dead. That spear would've skewered a wild boar!
GANDALF
I think there's more to this hobbit than meets the eye.
Frodo open his shirt to reveal the Mithril Vest . The Troll Spear did not pierce the mithril . ''
GIMLI
Mithril! You are full of surprises, Master Baggins.
BOOM . BOOM . BOOM the sound of the drums rings out again ! Gandalf turns to the others .
GANDALF
To the bridge of Khazad - dum!
INT. DWAROWDELF CHAMBER, MORIA -- DAY
Gandalf leads the fellowship into the huge Dwarrowdelf Chamber .
GANDALF
This way!
They hurry towards a distant door . as Goblins start scuttling down the Pillars behind them , like cockroaches ! Frodo looks with horror at the overwhelming Goblin army that 's rushing toward them ! SUDDENLY ! A deafening roar fills the air ! A fiery light dances down the hallway . the pillars casting eerie shadows . The Goblins freeze . They back Fearfully away from the approaching beast . melting into the darkness .
BOROMIR
What is this new devilry?
A HUGE SHADOW , surrounded by flame , falls across the hall . the ground shakes . an unearthly sound rumbles .
GANDALF
( quietly . )
A Balrog. a demon of the ancient world! This foe is beyond any of you!
( urgent yell . )
Run! Quickly!
INT. STAIRWAY OF KHASAD-DUM, MORIA -- DAY
The BALROG , a massive creature rises from a chasm , a great 40 foot man - beast , with a mane of flames ! In one hand is a blade . like a stabbing tongue of fire ; in the other , a WHIP of many thongs . Aragorn leads the fellowship to the top of a dizzying stairway . Gandalf follows , leaning heavily on his staff . Close on : Aragorn looks at Gandalf , concerned .
GANDALF
Lead them on, Aragorn. The bridge is near.
Aragorn hesitates . Gandalf looks at him .
GANDALF
( CONT 'D . )
Do as I say ; swords are no more use here.
THE FELLOWSHIP race down the stairway , Aragorn picks up Frodo . leaping across a gaping chasm . A NARROW BRIDGE , spanning a bottomless pit . Gandalf yells to the others : Aragorn makes to throw Gimli across the Chasm .
GIMLI
Nobody tosses a dwarf! The BALROG smashes through the wall and spreads its vast wings. It swoops down past the Fellowship, disappearing into a flaming pit!
INT. BRIDGE OF KHAZAD-DUM, MORIA -- DAY
The Fellowship run into a hall . the floor is split with fissures that spit flame .
GANDALF
( yelling . )
Over the bridge! Fly!
They race towards the slender bridge of stone . without kerb or rail . at the far end of the hall . The Fellowship recklessly hurry over the dizzying bridge . but Gandalf . the last . pauses in the middle of the span . he faces the Balrog . staff in one hand . Sword in the other ! Frodo looks back in horror :
GANDALF
( CONT 'D . )
You can not pass!
FRODO
( alarmed yell . )
Gandalf!
GANDALF
( yelling . )
I am a servant of the Secret Fire, wielder of the flame of Anor. The dark fire will not avail you, flame of Udun.
Frodo watches as the Balrog puts one foot on the bridge and draws up to Full Height , wings spreading from wall - to - wall . Gandalf is a tiny figure , balanced precariously on the narrow bridge .
GANDALF
( CONT 'D . )
Go back to the shadow! The BALROG slashes at Gandalf with its Sword of
flame . Gandalf blocks with his sword . a ringing clash and the Balrog 's sword shatters into molten fragments !
GANDALF
( CONT 'D . )
( booming . )
You shall not pass! The Balrog places one foot onto the bridge. Aragorn and Boromir race forward, swords drawn.
GANDALF CRIES ALOUD as he summons up his LAST RESERVES OF STRENGTH ! He thumps the bridge with his staff . a blinding sheet of white flame springs up . the staff shatters . the bridge breaks . right at Balrog 's feet . The stone bridge drops away into the gulf . from under the Balrog . For a moment , the great Beast remains poised in the air . then it plunges down : in slow motion Relief floods Frodo 's face . Gandalf remains trembling on the lip of the broken bridge . Slow motion : As the Balrog falls , he lashes out with his whip of fire . Slow motion : The thongs of the whip lash and curl around Gandalf 's knees , dragging him over the brink ! Gandalf just manages to hand on by his fingertips
FRODO
( screaming . )
Gandalf!
GANDALF
( fierce . )
Fly, you fools!
CLOSE ON : Gandalf lets go his grip and falls away . following the Balrog into the bottomless Abyss ! Frodo cries out ! Boromir scoops him up and carries him away .
FRODO
No!
ARAGORN
Gandalf!
They rush towards an archway .
EXT. DIMROLL DALE DOOR -- DAY
The Fellowship tumble out of the Great Eastern Gate on to a grassy sunlit hillside . Sam , Merry , and Pippin fall slowly to the ground , Sobbing . Aragorn turns to Legolas and Gimli .
ARAGORN
( urgent . )
Legolas, get them up!
BOROMIR
Give them a moment. for pity's sake!
ARAGORN
By nightfall these hills will be swarming with Orcs! We must reach the woods of Lothlorien. Come, Boromir, Legolas, Gimli, get them up. On your feet, Sam. Boromir glances towards Frodo, then back at Aragorn. Frodo is walking away, as if in a daze.
ARAGORN
( CONT 'D . )
Frodo? Frodo!
CLOSE ON : FRODO SLOWLY TURNS . a look of numb shock on his devastated face . The Fellowship marches on .
EXT. DIMRILL DALE HILLSIDE--DUSK
Aragorn scours ahead of the company , as they stumble on in the fading light . in the distance the shimmer of a large forest can be seen . Lothlorien !
EXT. EDGE OF LOTHLORIEN--DUSK
WIDE ON : The fellowship run across a forest floor strewn with yellow flowers . above is a roof of golden leaves , held up by silver pillars . the trunks of huge , grey trees . Gimli looks nervously around .
GIMLI
Stay close, young hobbits. they say a Sorceress lives in these woods. An elf - witch of terrible power. All who look upon her fall under her spell.
Frodo hesitates . a STRANGE VOICE whispers in his head .
GALADRIEL
( V.O . )
Frodo.
GIMLI
And are never seen again!
GALADRIEL
( V.O . )
your coming to us is as the footsteps of doom. You bring great evil here, Ringbearer.
SAM
Mr. Frodo?
GIMLI
Well, here's one dwarf she wo n't ensnare so easily. I have the eyes of a hawk and the ears of a fox!
The FELLOWSHIP are suddenly surrounded by ARMED ELVES . Deadly arrows aimed at their heads . HALDIR , the Elvish captain steps forward . he looks at Gimli with disdain .
HALDIR
The dwarf breathes so loud we could have shot him in the dark.
ARAGORN
( Elvish : with subtitles . )
Haldir of Lorien, we come here for your help. We need your protection.
GIMLI
Aragorn! These woods are perilous. We should go back.
HALDIR
You have entered the realm of the Lady of the Wood. You can not go back.
Haldir 's eyes lock onto Frodo .
HALDIR
( CONT 'D . )
Come, she is waiting.
EXT. LOTHLORIEN HILLTOP -- DAY
Haldir leads the Fellowship onto a Hill Top . They look with wonderment at the vista spread before them . Several miles towards the South , a Large Hill rises out of the woods . Upon the hill rise many mighty Mallorn Trees , taller than any others . Nestled high in the crown of the mallorns is a Beautiful City . It Gleams in the low rays of the late afternoon sun . green , gold , and silver . To the east of Caras Galadhon , the Woods of Lorien run down the pale gleam of Anduin , the great river . Beyond the River , the land appears flat and empty , formless and vague , until far away , it rises again like a dark and dreary wall . The Sun that lies on Lothlorien has not power to enlighten the shadows that lie beyond .
INT. CELEBORN'S CHAMBER, CARAS GALADHON -- NIGHT
ANGLE ON : THE FELLOWSHIP step onto a wide fleet filled with a soft light . The walls are green and silver , the roof gold and in its midst is the trunk of the might Mallorn tree , now tapering toward its crown . Celeborn steps forward to greet the guests . His hair is long and silver , his face grave and beautiful , with no sign of age upon it . Next to him stands Galadriel , the Lady of the Elves . She has hair of deep gold and timeless , unsurpassed beauty . Celeborn looks hard at Aragorn .
CELEBORN
Eight there are, yet nine there were set out from Rivendell. Tell me, where is Gandalf, for I much desire to speak with him.
Frodo looks at Galadriel , standing silently beside Celeborn .
GALADRIEL
( V.O . )
( softly aloud . )
. he has fallen into shadow. Galadriel looks to Aragorn.
GALADRIEL
( CONT 'D . )
The Quest stands upon the edge of a knife. Stray but a little and it will fail, to the ruin of all. Yet hope remains while the company is true.
Galadriel 's eyes settle on Sam .
GALADRIEL
( CONT 'D . )
Do not let your hearts be troubled. Go now and rest for you are weary with sorrow and much toil. Galadriel's eyes turn to Frodo. her voice fades.
GALADRIEL
( CONT 'D . )
Tonight you will sleep in peace.
( whispered v/o . )
Welcome, Frodo of the Shire. CLOSE ON : FRODO looks at GALADRIEL. SUDDEN INSERT : GALADRIEL as she is on the other
side . Powerful , divine . no longer of this world . a Piercing white light surrounds her .
GALADRIEL
( V.O. ; CONT 'D . )
one who has seen the eye.
EXT. CARAS GALADHON LAWN -- NIGHT
Gimli , Legolas , Merry , Pippin , Frodo and Sam are in a pavilion set among the trees near the fountain . They lie on soft couches as Elves leave food and wine for them . MOURNFUL SINGING drifts down from the trees above .
LEGOLAS
( sadly . )
A lament for Gandalf.
MERRY
What do they say about him?
LEGOLAS
I have not the heart to tell you. For me, the grief is still too near. Boromir is sitting alone. Aragorn approaches him.
ARAGORN
Take some rest. these borders are well protected.
Moonlight catches the trace of tears on Boromir 's face . Aragorn kneels down beside him .
BOROMIR
I will find no rest here. I heard her voice inside my head. she spoke of my father and the fall of Gondor, and she said to me : `` Even now, there
BOROMIR
( CONT 'D . )
is hope left. But I can not see it. it is long since we had any hope.
CLOSE ON : BOROMIR looks at ARAGORN in despair .
BOROMIR
( CONT 'D . )
My father is a noble man, but his rule is failing and our. our people lose faith. He looks to me to make things right. and I would do it, I would see the glory of Gondor restored. Have you ever seen it, Aragorn? The White Tower of Ecthelion, glimmering like a spike of pearl and silver, its banners caught high in the morning breeze. have you ever been called home by the clear ringing of silver trumpets?
ARAGORN
I have seen the white city. long ago.
Boromir feels Aragorn 's love for Minas Tirith and takes heart ,
BOROMIR
One day our paths will lead us there, and the tower guards shall take up the call `` the Lords of Gondor have returned.''
Aragorn returns Boromir 's smile . betraying his disquiet sadness only when Boromir looks away . LATER . The Fellowship are asleep on their beds . Gimli is snoring loudly . CLOSE ON : BARE FEET tread soundlessly across the lawn . CLOSE ON : Frodo 's eyes flicker open . as if by instinct . GALADRIEL , her White dress glowing in the moonlight , glances at him . Frodo follows her . as if drawn by an invisible force .
EXT. GALADRIELS GLADE, LORTHLORIEN -- NIGHT
Upon a low stone pedestal , carved like a branching tree , sits a shallow Silver Basin . Galadriel leads Frodo into the small Glade .
GALADRIEL
Will you look into the mirror? Frodo looks with apprehension at the silver basin.
FRODO
( warily . )
What will I see?
Galadriel pours water into the basin from a silver jug . a glow rises from the water .
GALADRIEL
Even the wisest can not tell for the mirror shows many things. things that were. things that are. and some things that have not yet come to pass.
Frodo slowly steps up to the pedestal . he peers into the glossy surface . The night sky is reflected into the water . suddenly a figure takes form . the bowed figure of an old man , clad in white robes . He walks down a long road . Frodo leans closer to the mirror 's surface . CLOSE ON : GANDALF LIFTS HIS HEAD AND LOOKS DIRECTLY AT FRODO ! FRODO gasps , his face lighting up with hope .
FRODO
( joyous . )
Gandalf!
Gandalf looks at Frodo with a fierce intensity . Frodo reaches out his hand toward the surface of the mirror . Suddenly the image flares , burning out to white . The vision shifts . Frodo gasps in horror ! The Shire is in ruins ! The image suddenly widens to fill the screen . buildings burning . bodies strewn about . Dark Shapes of ORCS looting and destroying . Bag End , billowing in flames ! The Party tree is hacked down . Frodo reels back as the mirror seems to grow . the nightmarish image sweeps past his head , engulfing him entirely . IMAGE : Hobbiton . now an Industrial wasteland ! The fields and trees destroyed . replaced with Brick factories belching smoke ! IMAGE : ORCS brutally herd manacled Hobbits into the Factories ! We see Sam . Merry . and Rosie Cotton . Soot - stained and sobbing , they disappear into the factory hell - hole ! Suddenly , the mirror goes dark . and out of the black abyss a single eye grows . CLOSE ON : FRODO IS FROZEN . Unable to move or cry out . The ring dangles from his neck , inches above the water . not shimmering with curls of steam . Fire erupts around the eye . With a Yell , Frodo pushes himself away from the pedestal and collapses on the ground . Light instantly fades from the mirror . Frodo comes to his senses . he is shocked . Galadriel stands still as a statue , unmoved , untouched by the horror .
GALADRIEL
I know what it is you saw. for it is also in my mind. It is the future, Frodo. It is what will come to pass if you should fail.
Galadriel looks at Frodo intensely . Frodo looks down . in his hand he is clutching the ring . Frodo looks up at Galadriel .
GALADRIEL
( CONT 'D . )
The fellowship is breaking. It has already begun. He will try to take the ring. You know of whom I speak. One by one, it will destroy them all.
FRODO
( V.O . )
If you ask it of me, I will give you the One Ring.
GALADRIEL
You offer it to me freely. I do not deny that my heart has greatly desired this.
Galadriel suddenly seems to rise in stature before Frodo 's eyes . Frodo is suddenly afraid of her .
GALADRIEL
( CONT 'D . )
In place of the Dark Lord, you would have a Queen, not dark, but beautiful and terrible as the Dawn. Treacherous as the Sea! Stronger than the foundations of the earth. all shall love me and despair! Frodo takes a step away from Galadriel.
Galadriel suddenly laughs . a slender Elf - woman once more , clad in simple white , her voice soft and sad .
GALADRIEL
( CONT 'D . )
( gently . )
I pass the test.
( laughs . )
I will diminish and go into the west and remain Galadriel. Frodo's confidence drains away.
FRODO
I can not do this alone.
GALADRIEL
You are the ring - bearer, Frodo. to bear a ring of power is to be alone. This task was appointed to you, and if you do not find a way, no one will.
Frodo realizes what her message is .
FRODO
Then I know what I must do. It's just. I'm afraid to do it. Galadriel kneels down to Frodo's height, staring at him intently.
GALADRIEL
Even the smallest person can change the course of the future.
The Ring lies in the palm of Frodo 's hand . his fingers close over it .
INT. ORTHANC CHAMBER -- DAY
Naked , Lurtz 's eyes follow Saruman , alight with a mean intelligence .
SARUMAN
( V.O . )
( smiles . )
They were Elves once. Taken by the Dark Powers. tortured and mutilated. a ruined and terrible form of life. And now. perfected. My fighting Uruk - Hai. Whom do you serve?
LURTZ
( gutteral rasp . )
Saruman.
INT. CAVERNS BELOW ISENGARD -- DAY
QUICK CUTS : LURTZ is quickly armored . Breastplate . Leg guards , Helmet . a sword is thrust in Lurtz 's hand . The URUK - HAI are smearing themselves in white paint . a creepy ritualistic ceremony . the white hand of Isengard is smeared on bodies , faces , and armor . SARUMAN address a crowd of 200 fully armed URUK - HAI .
SARUMAN
Hunt them down. Do not stop until they are found. You do not know pain. You do not know fear. You will taste man - flesh. Saruman turns to Lurtz.
SARUMAN
( CONT 'D . )
( coldly . )
One of the Halflings carries something of great value. bring him to me. alive and unspoiled. kill the others.
EXT. ISENGARD -- DAY
Lurtz is leading 200 URUK - HAI out of Isengard . they run fast , their powerful legs carrying them at speed .
EXT. SILVERLODE RIVER BANK--DAWN
The Fellowship are in small elven boats . They row away from the Lothlorien Shore into the Silverlode river . Elves quietly watch them depart . Galadriel gives Frodo a small Crystal Phial .
GALADRIEL
Farewell, Frodo Baggins. I give you the light of Earendil, our most beloved star.
As the Fellowship 's boats drift past , Galadriel stands alone , watching from the banks of the river . In his head , Frodo still hears her voice .
GALADRIEL
( V.O. ; CONT 'D . )
May it be a light for you in dark places, when all other lights go out.
EXT. RIVER ANDUIN -- DAY
The boats pass into the great river Anduin . The Three Elven boats carry the Fellowship steadily southward . Green trees slowly give way to a brown and withered land .
EXT. FOREST -- DAY
The Uruk forces are running through the trees with deadly purpose .
EXT. RIVER ANDUIN -- DAY
A flock of birds circle high above , Black against the pale sky . Aragorn watches them with concern .
EXT. PILLARS OF THE KINGS, RIVER ANDUIN--DAWN
The Three Elven boats drift slowly through the steep rocky gorge in the Pre - dawn light . CLOSE ON : ARAGORN , slowly paddling in the stern .
ARAGORN
( quietly . )
Frodo.
Frodo slowly looks up , his eyes widening with amazement . Wide on : Two enormous rock statues , towering like 300 foot pinnacles on either side of the river . carved images of Gondorian kings of old . They loom over the boats with power and majesty .
ARAGORN
( CONT 'D . )
The Argonath.
Close on : Aragorn . strangely moved by the beauty of the silent sentinels . He speaks , almost as if to himself .
ARAGORN
( CONT 'D . )
( deeply moved . )
Long have I desired to look upon the kings of old. my kin.
The fellowship stare in stunned silence as the current takes them through the narrow gap between the Statues ' feet . Wide on : Craning up past the statues vast crumbling heads , to reveal a large lake only a mile down river .
EXT. SHORE OF NEN HITHOEL -- DAY
ANGLE ON : THE FELLOWSHIP As they leap out of the boats and clamber onto the wooded shore .
ARAGORN
We cross the lake at nightfall, hide the boats and continue on foot. we approach Mordor from the North.
GIMLI
( gloomy . )
Oh, yes, just a simple matter of finding our way through Emyn Muil, an impassable labyrinth of razor sharp rocks. And after that gets even better. a festering, stinking marshland, far as the eye can see.
ARAGORN
That is our Road. I suggest you take some rest and recover your strength, Master Dwarf.
GIMLI
( indignant . )
Recover my.
Legolas turns to Aragorn with urgency .
LEGOLAS
We should leave now.
ARAGORN
No. Orcs patrol the Eastern shore. We must wait for cover of darkness.
LEGOLAS
It is not the Eastern shore that worries me.
Legolas casts a glance around into the Parth Galen forest .
LEGOLAS
( CONT 'D . )
A shadow and a threat has been growing in my mind. Something draws near, I can feel it.
Aragorn looks at Legolas , knowing full well what he means . Sam has slumped asleep . Merry dumps a small pile of kindling at Gimli 's feet .
MERRY
Where's Frodo?
Sam sits up with a start . Aragorn 's head snaps round . his eyes fly to Boromir 's shield which lies abandoned by his camp bed . CLOSE ON : ARAGORN . as he realizes Boromir has gone !
EXT. SLOPES OF AMON HEN -- DAY
Frodo is walking beneath the trees . lost in thought . His feet hit the rough edge of an ancient stone slab . his eyes follow an overgrown path towards stone stairs leading to the summit of Amon Hen . the seeing seat . A CRACKLING SOUND ! Frodo freezes .
BOROMIR
( quietly . )
None of us should wander alone ; you least of all. So much depends on you. Frodo?
Frodo turns slowly . he stares at Boromir , tense , cautious .
BOROMIR
( CONT 'D . )
I know why you seek solitude. You suffer, I see it day by day. Are you sure you do not suffer needlessly?
Frodo stands silent for a moment . the murmur of the Wind in the trees and the distant roar of the falls of Rauros can be heard
BOROMIR
( CONT 'D . )
Let me help you. There are other ways, Frodo. other paths that we might take.
FRODO
I know what you would say, and it would seem like wisdom but for the warning of my heart.
BOROMIR
Warning? Against what?
Boromir has started forward towards Frodo , he pulls himself up .
BOROMIR
( CONT 'D . )
We are all afraid, Frodo. But to let that fear drive us to destroy what hope we have. do n't you see that is madness?
FRODO
There is no other way.
BOROMIR
I ask only for the strength to defend my people.
( angrily drops the wood he has collected . )
If you would but lend me the ring.
FRODO
No.
Frodo steps hurriedly away from Boromir .
BOROMIR
Why do you recoil? I am no thief.
FRODO
( wary . )
You are not yourself.
BOROMIR
What chance do you think you have? They will find you, they will take the ring and you will beg for death before the end.
Frodo turns to leave .
BOROMIR
( CONT 'D . )
You fool! It is not yours save by unhappy chance. it might have been mine. It should be mine. Give it to me! Give me the ring.
Boromir leaps on top of Frodo , grasping for the ring ! Frodo has only moments to act . Frodo rips the ring from around his neck . and rams it on his finger .
FRODO DISAPPEARS
Boromir spins wildly around, yelling into thin air!
BOROMIR
I see your mind. you will take the ring to Sauron. You will betray us! You go to your death and the death of us all. Curse you! Curse you and your Halflings! Boromir stumbles and falls. His body shakes as if in the Throes of a fit. slowly he comes to.
BOROMIR
( CONT 'D . )
( Disoriented . )
Frodo! Frodo! What have I done. Please, Frodo.
EXT. SEEING SEAT -- DAY
FRODO races through the misty twilight world , past the foggy shapes of twisted trees . Somewhere behind him , Boromir 's distraught voice carries from another dimension :
BOROMIR
( O.S . )
I'm sorry, Frodo. Frodo.
Frodo suddenly finds himself on the stone steps . he clambers up the stairs , onto a high seat , perched on four stone pillars . Frodo cowers on the seat , like a lost child upon the throne of mountain kings . The world of mist swirls around him . Frodo peers out from the seat . the world seems to shrink . In all directions , Views of far off lands telescope towards him through the mist . IMAGES : ORCS spilling out of holes in the misty mountains . flames rising from Mirkwood . grim faced easterlings march to war . black ships sailing into the south . All the power of the Dark Lord is in motion . Frodo moves his gaze towards the east . fire explodes against the smoke , as a huge mass of black battlements fills Frodo 's vision . A mountain of iron , immeasurably strong , tower of adamant : Barad - dur , FORTRESS OF SAURON ! SUDDENLY ! SAURON 'S EYE LEAPS TOWARD FRODO LIKE A FINGER OF LIGHT . SAURON -LRB- V.O. -RRB- -LRB- IN BLACK SPEECH -RRB- They will fall ! Frodo leaps off the seat , and tumbles down the stairs ! The eye sweeps Amon Hen like a searchlight , seeking its ring ! With a huge effort , Frodo wrenches the ring off his finger .
EXT. SUMMIT OF AMON HEN -- DAY
Frodo lies gasping on the summit of Amon Hen . below the ancient ruins of the seeing seat . AT THAT MOMENT : A BLACK BOOT STEPS INTO SHOT ! Frodo looks up as Aragorn towers over him .
ARAGORN
Frodo?
FRODO
( numb . )
It has taken Boromir. ARAGORN moves towards Frodo.
ARAGORN
( urgent . )
Where is the ring?
Frodo backs away from Aragorn . Aragorn is shocked by the movement .
FRODO
Stay away!
ARAGORN
Frodo. I swore to protect you.
FRODO
Can you protect me from yourself?
Frodo uncurls his fist . in is palm lies the ring ! It glints , gold and beautiful in the afternoon sun . Aragorn 's eyes are drawn to it .
FRODO
( CONT 'D . )
Would you destroy it?
ARAGORN
( kneeling to Frodo . )
I would have gone with you to the end. into the very fires of Mordor.
FRODO
I know. Look after the others, especially Sam. he will not understand.
Aragorn freezes ! He draws his sword .
ARAGORN
( urgent . )
Go, Frodo!
Frodo hesitates .
ARAGORN
( CONT 'D . )
( yells . )
Run! Run!
Frodo backs away into the trees . as 200 URUK - HAI SWARM onto Amon Hen behind Aragorn ! Aragorn attacks the leading URUK - HAI like a madman . he brings two down with his sword . leaping into the ruins as others close in on him . Frodo scrambles down the hillside , away from the fight . Aragorn battles the URUK - HAI , amongst the pillars and blocks of Amon Hen . Despite his bravery , he is quickly surrounded . SUDDENLY : ELVEN ARROWS smash into the URUK - HAI . Legolas races out of the woods , firing his bow . Gimli leaps into the battle , wielding his might axe .
EXT. PARTH GALEN HILLSIDE -- DAY
Frodo is darting down the steep hillside as heave feet thunder down behind him .
SAM
Mr. Frodo!
Sam looks around for Frodo . CLOSE ON : LURTZ ordering his URUKS .
LURTZ
Find the Halflings. find the halflings!
Frodo stumbles and falls . quickly he crawls behind a tree . above him the sound of Uruk - Hai crashing through the forest rings out .
MERRY
( O.S . )
( urgent whisper . )
Frodo!
Frodo turns to see Merry and Pippin hidden in a hollow , a few feet away .
MERRY
( CONT 'D . )
Hide here, quick!
PIPPIN
Come on.
Frodo looks at his friends . slowly shakes his head , a great sadness in his eyes .
PIPPIN
( CONT 'D . )
What's he doing?
Merry 's eyes meet Frodo 's . Understanding .
MERRY
( softly . )
He's leaving.
PIPPIN
No!
Pippin stands and makes a move toward Frodo . Merry grabs at his arm .
MERRY
Pippin!
THE ECHO OF BOROMIR 'S HORN reaches Aragorn , Legolas , and Gimli . they are battling their way down the Slopes towards the lake .
LEGOLAS
The horn of Gondor!
ARAGORN
Boromir!
Aragorn desperately slashes his way towards Boromir , felling URUK - HAI in his path . while Legolas and Gimli fight a rear guard action . MANY URUK - HAI fall to Boromir 's sword as he tries to protect Merry and Pippin .
BOROMIR
Run! Run!
Lurtz takes aim . A black arrow suddenly thuds into Boromir 's chest . Amazingly , Boromir continues fighting , but another arrow . and another , brings him to his knees . Merry and Pippin are scooped off their feet by URUK - HAI .
MERRY & PIPPIN
Aaaaagh! Boromir! Boromir!
Lurtz aims his bow at Boromir 's heart . suddenly Aragorn charges at him , smashing the Bow with his sword . They lock into a deadly battle . Aragorn cuts Lurtz down and races towards Boromir , who lies slumped against a tree . URUK - HAI arrows sticking out of his chest . At least 20 dead URUK - HAI lie heaped around Boromir . His horn lies at his feet . Cloven in two .
BOROMIR
( painful gasp . )
They took the little ones. Aragorn quickly tries to staunch the flow of Blood from Boromir's shoulder.
BOROMIR
( CONT 'D . )
( panicked . )
Frodo. where is Frodo?
ARAGORN
I let Frodo go.
Boromir holds Aragorn 's gaze .
BOROMIR
Then you did what I could not. I tried to take the ring from him.
ARAGORN
The ring is beyond our reach now.
BOROMIR
Forgive me, I did not see. I have failed you all.
ARAGORN
No, Boromir. You fought bravely. You have kept your honor. Aragorn tries to bind Boromir's wound.
BOROMIR
Leave it! It is over. the world of Men will fall and all will come to darkness and my city to ruin. Aragorn.
ARAGORN
I do not know what strength is in my blood, but I swear to you. I will not let the White City fall, nor your people fail.
BOROMIR
Our people. our people.
Aragorn places Boromir 's sword in his hand . Boromir 's fingers tighten around the hilt .
BOROMIR
( CONT 'D . )
I would have followed you, my brother. my captain, my King. Aragorn lays Boromir down. He is dead.
ARAGORN
Be at peace, son of Gondor. Aragorn bends and Kisses Boromir's forehead. Legolas and Gimli appear behind him. Aragorn stands.
ARAGORN
( CONT 'D . )
They will look for his coming from the white tower. but he will not return.
EXT. SHORE OF NEN HITHOEL -- DAY
On the lakeshore Frodo stands in front of one of the Elvish Boats , the ring in his palm . A distraught Sam . running as hard as he can through the forest .
SAM
Mr. Frodo!
Close on : Frodo looks to the far side of the river . the camera moves in on the ring .
FRODO
( V.O . )
I wish the ring had never come to me. I wish none of this had happened.
Tears fall down Frodo 's face .
GANDALF
( V.O . )
So do all who lie to see such times. but that is not for them to decide. All we have to decide is what to do with the time that is given us.
With renewed determination , Frodo tucks the ring inside his vest pocket . The small figure of Frodo pushing the Elvish boat into the water . Sam bursts through the trees and runs toward the lake . Frodo is already paddling away .
SAM
( anguished . )
Not alone, Frodo. Mr. Frodo! Frodo, in the boat, paddling steadfastly away from the
shore . tears in his eyes . the voice of Sam carried on the wind . Frodo whispers to himself
FRODO
No, Sam.
Sam looks at the water . then at the boat . SPLASH ! FRODO turns to see Sam launching himself into the water .
FRODO
( CONT 'D . )
Go back, Sam. I'm going to Mordor alone.
Sam splashes hopelessly toward the boat .
SAM
Of course you are. and I'm coming with you!
FRODO
You ca n't swim.
Sam starts to go under , spluttering and coughing . Frodo drops his paddle and scrambles backwards in the boat .
FRODO
( CONT 'D . )
( frightened . )
Sam!
Sam is underwater . hands flailing helplessly as he sinks . Close on : Frodo 's hand grasping Sam 's . Frodo pulls a bedraggled and half drowned Sam into the boat . Frodo and Sam look at each other , out of breath , tears and water streaming down both their faces .
SAM
I made a promise, Mr. Frodo. a promise.
( fierce passion . )
`` Do n't you leave him, Samwise Gamgee.''
( sobs . )
And I do n't mean to. I do n't mean to.
FRODO
( crying . )
Oh, Sam!
Frodo starts to laugh through his tears . the two friends hug .
FRODO
( CONT 'D . )
Come on then.
The two Hobbits row through the water .
EXT. FALLS OF RAUROS AERIAL -- DAY
Slow motion : Looking down on swiftly flowing water . Boromir 's body slides under camera . He is lying in one of the boats , his arms across his chest . his broken horn at his side . Suddenly . the boat drops away from camera . as it plunges over the massive falls of Rauros , disappearing into the vapor below .
LEGOLAS
If we are quick, we will catch Frodo and Sam before nightfall.
Aragorn looks towards the far shore ; Frodo and Sam 's small Boat can be seen lying on the distant Riverbank as Frodo and Sam make off into the forest beyond . He does n't react . Legolas turns and looks at Aragorn .
LEGOLAS
( CONT 'D . )
You mean not to follow them.
ARAGORN
Frodo's fate is no longer in our hands.
GIMLI
Then it has all been in vain. the fellowship has failed.
ARAGORN
Not if we hold true to each other. We will not abandon Merry and Pippin to torment and death, not while we have strength left.
Aragorn pulls a HUNTING KNIFE out of his pack and straps it on .
ARAGORN
( CONT 'D . )
Leave all that can be spared behind. CLOSE ON : ARAGORN. a steely light in his eye.
ARAGORN
( CONT 'D . )
( grimly . )
We travel light. Let's hunt some Orc.
GIMLI
Yes! Ha!
Aragorn , Legolas , and Gimli disappear into the Woods , following the URUK - HAI trail .
EXT. EMYN MUIL HILLTOP -- DAY
Frodo and Sam scramble onto a high ridge . A distant line of Saw toothed mountains below a dark , oppressive sky . Black volcanic smoke rises behind the mountains . MORDOR !
FRODO
Mordor! I hope the others find a safer road.
SAM
( simply . )
Strider'll look after them.
FRODO
I do n't suppose we'll ever see them again.
SAM
We may yet, Mr. Frodo. We may.
FRODO
Sam?
Frodo looks at Sam with great affection . despite the grim outlook , Sam is undeterred .
FRODO
( CONT 'D . )
I'm glad you're with me.
WIDE ON : THE TWO HOBBITS SETTING OFF TOWARD MORDOR . THE END
|
The Lord of the Rings: The Fellowship of the Ring
BLACK SCREEN SUPER : New Line Cinema Presents SUPER : A Wingnut Films Production BLACK CONTINUES . ELVISH SINGING . A WOMAN 'S VOICE IS whispering , tinged with SADNESS and REGRET :
GALADRIEL
( V.O . )
( Elvish : subtitled . )
`` I amar prestar sen : han mathon ne nen, han mathon ne chae. a han noston ned wilith.''
( English : . )
The world is changed : I feel it in the water, I feel it in the earth, I smell it in the air. Much that once was is lost, for none now live who remember it.
SUPER : THE LORD OF THE RINGS
EXT. PROLOGUE - DAY
IMAGE : FLICKERING FIRELIGHT . The NOLDORIN FORGE in EREGION . MOLTEN GOLD POURS from the lip of an IRON LADLE .
GALADRIEL
( V.O . )
It began with the forging of the Great Rings.
IMAGE : THREE RINGS , each set with a single GEM , are received by the HIGH ELVES - GALADRIEL , GIL - GALAD and CIRDAN .
GALADRIEL
( V.O. ; CONT 'D . )
Three were given to the Elves, immortal, wisest. fairest of all beings.
IMAGE : SEVEN RINGS held aloft in triumph by the DWARF LORDS .
GALADRIEL
( V.O. ; CONT 'D . )
Seven to the Dwarf Lords, great miners and craftsmen of the mountain halls.
IMAGE : NINE RINGS clutched tightly by the KINGS OF MEN . as if holding - close a precious secret .
GALADRIEL
( V.O. ; CONT 'D . )
And Nine. nine rings were gifted to the race of Men who, above all else, desire power. For within these rings was bound the strength and will to govern each race.
FADE TO BLACK
GALADRIEL
( V.O. ; CONT 'D . )
But they were all of them deceived.
FADE UP : An ancient PARCHMENT MAP of MIDDLE EARTH . moving slowly across the MAP as if drawn by an unseen force the CAMERA closes in on a PLACE NAME . MORDOR .
GALADRIEL
( V.O. ; CONT 'D . )
for another ring was made.
TEASING SHOTS : SAURON forging the ONE RING in the CHAMBERS of SAMMATH NAUR .
GALADRIEL
( V.O. ; CONT 'D . )
In the land of Mordor, in the fires of Mount Doom, the Dark Lord Sauron forged in secret a Master Ring to control all others.
IMAGE : The ONE RING reflecting FIERY LAVA ! FIRE WRITING emerges on the plain BAND OF GOLD .
GALADRIEL
( V.O. ; CONT 'D . )
and into this Ring he poured his cruelty, his malice and his will to dominate all life.
IMAGE : THE ONE RING falls through SPACE and into flames .
GALADRIEL
( V.O. ; CONT 'D . )
One Ring to rule them all.
IMAGE : A GREAT SHADOW falls across the MAP . closing in around the realm of GONDOR . IMAGE : SCREAMING VILLAGERS , MEN , WOMEN , AND CHILDREN , RUN from their homes , pursued by ARMIES OF HIDEOUS ORCS .
GALADRIEL
One by one the Free lands of Middle earth fell to the power of the ring.
FADE TO BLACK
GALADRIEL
( V.O. ; CONT 'D . )
But there were some. who resisted.
FADE UP : ISILDUR , son of the KING OF GONDOR , leads an ARMY ACROSS the PLAINS OF DAGORLAD .
GALADRIEL
( V.O. ; CONT 'D . )
A last alliance of Men and Elves marched against the armies of Mordor.
GALADRIEL
( V.O. ; CONT 'D . )
On the slopes of Mount Doom they fought for the freedom of Middle - Earth.
TEASING SHOTS : THE BATTLE OF DAGORLAD . THE ELF LORD , ELROND , commands rank after rank of ELVEN ARCHERS . ORCS RETREATING before the ARMY of the LAST ALLIANCE . ELENDIL holds aloft the great sword . NARSIL !
GALADRIEL
Victory was near!
IMAGES : THE HUGE , DARK FIGURE OF SARURON , bearing the ONE RING on his finger , looms over the field of battle .
GALADRIEL
( V.O. ; CONT 'D . )
But the power of the Ring could not be undone.
IMAGE : SAURON lays waste to the armies of the LAST ALLIANCE . With desperate courage , ELENDIL leads a charge . THE BLACK MACE OF SAURON LASHES OUT ! IMAGE : ELENDIL 'S body falls like a crumpled rag doll . IMAGE : ISILDUR cradles the body of his father in his arms . The SHADOW OF SAURON falls over him .
GALADRIEL
( V.O. ; CONT 'D . )
It was in this moment. when all hope had faded, that Isildur, son of the king, took up his father's sword.
ISILDUR snatches up the BROKEN BLADE OF NARSIL . The BLADE severs SAURON 'S FINGERS . AND THE ONE RING FLIES from his body .
GALADRIEL
( V.O. ; CONT 'D . )
Sauron, the enemy of the Free Peoples of Middle Earth, was defeated. SAURON'S ARMOR clatters to the ground. His body
GONE . VAPORIZED ! CLOSE ON : ISILDUR picks up the SEVERED FINGER and removes the ONE RING . transfixed !
GALADRIEL
( V.O. ; CONT 'D . )
The Ring passed to Isildur. who had this one chance to destroy evil forever.
IMAGE : GLADDEN FIELD . ISILDUR leads a small column of men through DARKENING WOODS . the ONE RING glinting on a CHAIN around his neck .
GALADRIEL
( V.O. ; CONT 'D . )
But the hearts of Men are easily corrupted. And the Ring of Power has a will of its own.
SUDDENLY ! ARROWS FLY ! They are ambushed by ORCS . ISILDUR SCREAMS ! FADE TO BLACK FADE UP : ISILDUR MATERIALIZES UNDER WATER . as THE RING slips slowly from his finger . Ripples of LIGHT play across ISILDUR 'S PALE FACE . he is DEAD .
GALADRIEL
( V.O. ; CONT 'D . )
It betrayed Isildur to his death.
IMAGE : THE RING falls through the MURKY WATERS of the RIVER ANDUIN .
GALADRIEL
( V.O. ; CONT 'D . )
And some things that should not have been forgotten. were lost.
FADE TO BLACK
GALADRIEL
( V.O. ; CONT 'D . )
History became legend. legend became myth.
FADE UP : The waters of the ANDUIN RIVER lie dark and undisturbed .
GALADRIEL
( V.O. ; CONT 'D . )
And for two and a half thousand years the Ring passed out of all knowledge.
IMAGE : SILT SWIRLS . A THIN WHITE HAND reaches down . grasping the RING .
GALADRIEL
( V.O. ; CONT 'D . )
Until, when chance came, it ensnared a new bearer!
IMAGE : THE THIN WHITE HAND opens to reveal one ring .
GOLLUM
( V.O . )
My Precious.
IMAGE : MIST SHROUDED MOUNTAINS .
GALADRIEL
( V.O . )
The Ring came to the creature Gollum, who took it deep into the tunnels of the Misty Mountains.
IMAGE : THE GLOOM of a MOUNTAIN CAVERN . a MURKY POOL of WATER . in the DARKNESS the SHADOWY OUTLINE of an EMACIATED FIGURE .
GALADRIEL
( V.O. ; CONT 'D . )
And there, it consumed him. A RASPY VOICE mutters in the half light.
GOLLUM
It came to me. My own. My love.
( ecstatic whisper . )
My preciousness.
GALADRIEL
( V.O . )
The Ring brought to Gollum unnatural long life. For five hundred years it poisoned his mind. And in the gloom of Gollum's cave.
FADE TO BLACK
GALADRIEL
( V.O. ; CONT 'D . )
It waited.
FADE UP : Bathed in COLD MOONLIGHT , the WORLD lies DARK and STILL . the unsettled quiet before the storm .
GALADRIEL
( V.O. ; CONT 'D . )
Darkness crept back into the forests of the world. Rumor grew of a Shadow in the East. whispers of a nameless fear. And the Ring of Power perceived. its time had now come. It abandoned Gollum.
SLOW MOTION : unseen by its KEEPER . THE RING falls to the MUDDY FLOOR of a MOUNTAIN TUNNEL .
GALADRIEL
( V.O. ; CONT 'D . )
But something happened then the Ring did not intend.
FADE TO BLACK IMAGE : FUMBLING in the dark , a SMALL HAND closes over the RING .
GALADRIEL
It was picked up by the most unlikely creature imaginable.
BILBO
( to himself . )
What's this?
A YOUNGISH LOOKING BILBO BAGGINS peers down at what lies in his hand . PERPLEXED by what he has found .
GALADRIEL
( V.O . )
A Hobbit. Bilbo Baggins of the Shire.
BILBO
( surprised . )
A Ring.
SUDDENLY ! A VOICE SCREAMS . ITS ANGUISH RINGING through the COLD , DANK TUNNELS .
GOLLUM
( V.O . )
Lost! Lost! My Precious is lost!
Frightened Bilbo quickly POCKETS the ONE RING and hurries on . WIDE ON : THE CAMERA SOARS AWAY FROM THE MOUNTAINS . MOVING FASTER AND FASTER . THEIR DARK GREEN FORESTS AND JAGGED WHITE PEAKS RECEDING INTO THE SHROUD OF MIST
GALADRIEL
( V.O . )
For the time will soon come when Hobbits will shape the fortunes of all.
FADE TO BLACK
EXT. HOBBITON WOODS - DAY
ANGLE ON : TWO HOBBIT FEET resting on a small rock . rising out of the LONG , OVERGROWN GRASSES SUPER : THE FELLOWSHIP OF THE RING SUPER : THE SHIRE . 60 YEARS LATER CAMERA TRACKS TO : a Figure lies beneath the dappled sunlight of an old tree . White flowers are scattered among the Well seeded grasses . An idyllic setting at the end of a long hot summer . the figure is reading a book . ON THE SOUNDTRACK : In the distance , growing louder . over the Gentle clip clop of an approaching cart and horse can be heard the HUMMING OF A DEEP VOICE to the tune of `` The Road Goes Ever On and On . '' SUDDENLY ! The figure in the grass sits up . looking straight at camera is a handsome young HOBBIT , with dark curly hair and deep blue eyes . This is FRODO BAGGINS . his EYES alight with EXCITEMENT ! Tossing away the long stem of grass in his mouth , Frodo runs off .
EXT. SHIRE LANE - DAY
The cart rattles along a leafy lane , driven by a stooped figure in Grey . INTERCUT WITH ; SHOTS OF FRODO RUNNING . CAREERING DOWN A HILL . JUMPING OVER LOGS . DODGING TREE BRANCHES . The shambling OLD PONY snorts and rears as . SUDDENLY FRODO appears on a bank above the cart .
FRODO
You're late.
CLOSE ON : GANDALF glowers at the young Hobbit .
GANDALF
A Wizard is never late, Frodo Baggins, nor is he early. He arrives precisely when he means to.
They look at each other a moment . then both start laughing as FRODO 'S face breaks into a smile and he leaps on to the front seat of the cart .
FRODO
It's wonderful to see you, Gandalf!
Next to Gandalf , we see how small Hobbits are . Frodo is 3 foot 6 inches tall .
GANDALF
You did n't think I'd miss your Uncle Bilbo's birthday?
EXT. HOBBITON FIELDS - DAY
Wide on : The cart rattles past a FIELD LUPIN being tended by HOBBITS .
FRODO
What news of the outside world? Tell me everything!
Gandalf looks down at Frodo , a twinkle in his eye .
GANDALF
What, everything? Far too eager and curious for a Hobbit. Most unnatural.
Wide on : The cart rattles over a Stone bridge towards a Busy Hobbit Marketplace .
GANDALF
( V.O. ; CONT 'D . )
Well, what can I tell you? Life in the wide world goes on much as if it has past age. Full of its own comings and goings, scarcely even aware of the existence of Hobbits.
Close on : Gandalf as he surveys the peaceful scene before him .
GANDALF
( CONT 'D . )
for which I am very thankful.
Hobbits look up exclaiming in wonder and excitement as the cart bearing Gandalf and Frodo rolls past the Green Dragon Inn . towards . Wide on : The party field . Where scOrcs of Hobbits are busy preparing for the big night .
GANDALF
( CONT 'D . )
Ah, the long expected party. So, how is the old rascal? I hear it's going to be a Party of Special Magnificence.
FRODO
You know Bilbo. he's got he whole place in an uproar.
GANDALF
Oh, well. that should please him.
FRODO
Half the Shire's been invited.
GANDALF
Good gracious, me.
FRODO
He's up to something.
GANDALF
Oh, really?
Frodo shoots a knowing look , as Gandalf averts his eyes .
FRODO
Alright then. keep your secrets. Before you came along we Bagginses were very well thought of.
GANDALF
Indeed?
FRODO
Never had any adventures or did anything unexpected.
GANDALF
If you're referring to the incident with the Dragon. I was barely involved. all I did was give your Uncle a little nudge out the door.
FRODO
Whatever you did. you've been officially labelled as a Disturber of the Peace.
GANDALF
Oh, really?
ODO PROUDFOOT looks up as the Cart passes by , deeply suspicious .
EXT. HOBBITON - DAY
As the cart rattles into the small village of Hobbiton . a quaint rustic settlement , nestled amongst rolling green hills and large trees . The Hobbits live in Hobbit Holes : neat burrows dug into the grassy hillside , with round doors and cute front gardens . Excited children , chasing after the cart . Gandalf ignOrcs the children 's cries . The children stand deflated , watching Gandalf disappear up the lane . At that moment : spinning balls of bright color suddenly leap out of the cart , fizzing over the heads of the delighted children . Gandalf smiling to himself , well pleased with his joke . ODO PROUDFOOT is unable to suppress a chuckle . Frodo stands up in the cart as Gandalf reigns in the horse .
FRODO
Gandalf. I'm glad you're back. Frodo leaps expertly from the cart. Gandalf smiles.
GANDALF
So am I, dear boy. so am I
EXT. BAG END - DAY
Wide on : GANDALF 'S CART pulls up outside the gate to BAG END . a particularly fine example of a Hobbit hole , with a large round front door set into a grassy hillside . There is a sign on the gate which reads : `` NO ADMITTANCE EXCEPT ON PARTY BUSINESS . '' Gandalf strides up to the garden path of Bag End . He raises his staff and raps on the front door . a voice calls out :
BILBO
( O.S . )
No, thank you! We do n't want any more visitors, well wishers, or distant relations.
GANDALF
And what about very old friends?
Suddenly the door opens and BILBO BAGGINS stands before him . He is a HOBBIT OF INDERTIMINATE AGE , with a mischievous Twinkle in his eye . Wearing a dashing brocade waist coat , he looks every inch the eccentric gentleman .
BILBO
Gandalf?
GANDALF
Bilbo Baggins!
BILBO
My dear Gandalf!
Gandalf drops to his knee to embrace his old friend .
GANDALF
It's good to see you. One hundred and eleven years old, who would believe it!
Gandalf looks at him more keenly .
GANDALF
( CONT 'D . )
You have n't aged a day! Gandalf and Bilbo laugh together and enter Bag End.
BILBO
Come on, come in! Welcome, welcome!
INT. BAG END LIVING ROOM - DAY
Bilbo leads Gandalf into Bag End . cozy and cluttered with souvenirs of Bilbo 's travels . Gandalf has to stoop to avoid hitting his head on the low ceiling . Bilbo hangs up Gandalf 's hat on a peg and trots off down the hall .
BILBO
( Calling . )
Tea? Or maybe something stronger. I've a few bottles of the Old Winyard left, 1296. a very good year, almost as old as I am. It was laid down by my father. What say we open one, eh?
Bilbo disappears into the kitchen as Gandalf looks around . enjoying the familiarity of Bag End . he turns , knocking his head on the light and then walking into the wooden beam . He groans .
BILBO
( O.S. ; CONT 'D . )
I was expecting you some time last week. Not that it matters, you come and go as you please, always have done, always will. You've caught me a bit unprepared, I'm afraid. we've only got cold chicken, bit of pickle, some cheese here. ooh, no, that might be a little risky.
Gandalf stops in front of a framed map , charred in one corner . it is Thorin 's map of the Lonely Mountain , Gandalf smiles to himself .
BILBO
( CONT 'D . )
Er, we've got raspberry jam and apple tart. got some custard somewhere. Not much for Afters, I'm afraid. Oh no. we're alright. I've just found some sponge cake. Nice little snack. Hope it's enough.
( comes into view . )
I could do you some eggs if you like?
Bilbo jumps , a half eaten pork pie in his hand , as Gandalf mysteriously appears behind him .
GANDALF
Just tea, thank you.
BILBO
Oh. right. You do n't mind if?
GANDALF
No, not at all. Go ahead. A sudden loud knock on the front door.
MRS. SACKVILLE BAGGINS -LRB- O.S. -RRB- Bilbo Baggins , you open this door . I know you 're in there .
BILBO
I'm not home.
Gandalf watches , amused as Bilbo tries to hide .
BILBO
( CONT 'D . )
I've got to get away from these confounded relatives, hanging on the bell all day, never giving me a moment's peace. I want to see mountains again. mountains, Gandalf. and then find somewhere quiet where I can finish my book. Oh, Tea!
GANDALF
So, you mean to go through with your plan, then?
BILBO
Yes, yes. it's all inhand. All the arrangements are made.
GANDALF
Frodo suspects something.
BILBO
` Course he does, he's a Baggins. not some block headed Bracegirdle from Hardbottle!
GANDALF
You will tell him, wo n't you?
BILBO
Yes, yes.
GANDALF
He's very fond of you.
BILBO
I know. He'd probably come with me if I asked him. I think, in his heart, Frodo's still in love with the Shire, the woods and the fields. little rivers. Bilbo stands gazing out of the kitchen window.
BILBO
( CONT 'D . )
I am old, Gandalf. Bilbo looks at Gandalf sadly.
BILBO
( CONT 'D . )
I know I do n't look it, but I'm beginning to feel it in my heart.
Bilbo 's fingers close around his waistcoat pocket . gripping a small , unseen object .
BILBO
( CONT 'D . )
I feel thin. sort of stretched, like butter scraped over too much bread. I need a holiday. a very long holiday and I do n't expect I shall return. in fact, I mean not to.
INT. BAG END - EVENING
Gandalf and Bilbo are sitting on the Bag End porch . Below them , final preparations are being made on the Party field . Bilbo strikes a match and lights his pipe .
BILBO
Old Toby, the finest weed in Southfarthing!
Bilbo blows a perfect smoke ring and watches it rise into the air . A tiny sailing ship with masts and sails glides through the Center of Bilbo 's smoke ring .
BILBO
( CONT 'D . )
Ohhhh.
( smiles . )
Gandalf my old friend. this will be a night to remember!
EXT. PARTY FIELD, HOBBITON - NIGHT
BOOM ! A FIREWORK explodes into the night sky high above Hobbiton . in the shape of a great green tree with unfolding branches . TILT DOWN : with glowing flowers as they rain down from the branches . evaporating just above the up turned faces of the delighted party - goers 144 Hobbits , feasting and drinking Carts of beer and wine are scattered about , and the tables are piled high with steaming scones and savories . Gandalf hurries about , lighting fireworks with a blue spark that dances magically from his staff . Bilbo is greeting visitors . Frodo and SAM sit at a table drinking ale . Frodo notices Sam 's eyes keep flicking to another pretty Hobbit , Rosie Cotton , sitting some distance away .
FRODO
Go on, Sam, ask Rosie for a dance.
SAM
( horrified . )
I think I'll just have myself another ale.
FRODO
Oh, no you do n't. Go on.
Sam goes to drain his glass . suddenly it is snatched out of his hands as Frodo thrusts him into the middle of a passing throng of dancers . ANGLE ON : SAM 'S HORRIFIED FACE as he is Swept away . Frodo laughs and finishes Sam 's beer . Gandalf as he sets alight a particularly spectacular firework that draws gasps of admiration from the party guests . Close on : Bilbo is relating stories of his adventure to a group of young hobbit children .
BILBO
( melodramatic . )
So, there I was. at the mercy of three monstrous trolls. Have you ever heard of a troll? Do you know what a Troll is? Great big nasty twenty foot high smelly things. and they're arguing. arguing about how they were going to cook us!
ANGLE ON : A LITTLE HOBBIT GIRL 'S upturned face . her eyes growing larger and larger .
BILBO
Whether it be turned on a spit or minced in a pie or whether they were going to sit on us one by one and squash us into jelly! But they spent so long arguing the whether - to's and why - for's that the sun's first light crept over the top of the trees. and turned them all to stone!
STUNNED GASPS from his young Audience greet his astonishing feat ! Close on : MERRY AND PIPPIN , two mischievous Young Hobbits in their late teens . Pippin scrambles on to the back of Gandalf 's wagon , snatching up a small firework
MERRY
( urgent whisper . )
No, no. the big one. the big one! Pippin grabs a huge rocket. CLOSE ON : FIREWORK FUSE crackles with flame!
Merry is holding out the big rocket . he looks aghast at the fizzing fuse that Pippin has just lit .
MERRY
( CONT 'D . )
( worried whisper . )
You're supposed to stick it in the ground!
PIPPIN
It is in the ground.
Merry fearfully tosses the Rocket to Pippin ! The fuse sizzles angrily .
MERRY
Outside!
PIPPIN
It was your idea.
Pippin attempts to throw the fizzing rocket back to Merry . WHOOSH ! The two hobbits are suddenly blown off their feet in a shower of sparks as the rocket blasts off with frightening power . The ROCKET ZOOMS over the Party . It suddenly bursts apart , forming the shape of a great red golden Dragon ! Fire gushes from its nostrils as it turns back and Flies low towards the startled crowd . Close on : Frodo watches the Fireworks Dragon with alarm . but Bilbo is oblivious to the Panicking crowd and impending danger !
FRODO
Bilbo! Watch out for the dragon!
BILBO
Dragon? Nonsense. hasn1t been a dragon in these parts for a thousand years!
ANGLE ON : FRODO As he hurriedly pulls Bilbo to the ground , just as the dragon roars a few feet above their heads like a flaming express train ! Hobbits dive to the ground , tables overturn , tents collapse , food flies everywhere . The fireworks dragon turns a somersault and explodes over the hills with a deafening bang ! This gets the biggest Cheer of the night . ANGLE ON : MERRY AND PIPPIN , clothes and hair smoking .
MERRY
That was good!
PIPPIN
Let's get another one!
LARGE HANDS suddenly clamp down on Merry and Pippin 's ears . Low angle : Gandalf looking DOWN STERNLY !
GANDALF
Meridoc Brandybuck and Peregrin Took. I might have known!
MERRY AND PIPPIN Are leaning over a barrel , washing dishes in soapy water . with Gandalf sitting nearby , smoking his pipe and sipping an ale . Cries of `` SPEECH ! SPEECH '' erupt from the party . Bilbo stepping on a stool . he bows in gratitude at the applause .
FRODO
Speech!
BILBO
( clearing throat . )
My dear Bagginses, and Boffins, tooks and Brandybucks. Grubbs, Chubbs, Hornblowers, Bolgers, Bracegirdles and Proudfoots.
ANGLE ON : A HOBBIT WITH PARTICULARLY BIG FEET
ODO PROUDFOOT
Proudfeet!
BILBO
Today is my one hundred and eleventh birthday. Yes, and alas. Eleventy - one years is far too short a time to live among such excellent and admirable Hobbits! Tremendous outburst of approval!
BILBO
( CONT 'D . )
I do n't know half of you half as well as I should like ; and I like less than half of you as well as well as you deserve.
SCATTERED CLAPPING as the guests try to work out if that was a compliment or not . CLOSE ON : FRODO AND GANDALF smiling to themselves . CLOSE ON : Bilbo . a strange hum seems to fill his head . A bead of sweat rolls down his brow . Bilbo 's hand pulls something out of his waistcoat pocket and holds it behind his back .
BILBO
( CONT 'D . )
I have. things to do and I have put this off for far too long. CLOSE ON : BILBO'S knuckles turn white as he tightens his grip on the small object behind his back.
BILBO
( CONT 'D . )
I regret to announce, this is the end. I am going now. I bid you all a very fond farewell! Bilbo looks across at Frodo, hesitates. then.
BILBO
( CONT 'D . )
( whisper . )
Goodbye.
Bilbo instantly vanishes . The party explodes into an uproar . the crowd leaps to its feet . ANGLE ON : FRODO staring at the empty stool in disbelief .
EXT. BAG END - NIGHT
The party is still in an excited uproar . some 50 yards away as we pan across a moonlit lane to the front door of Bag End . Door opens , pulled by an invisible hand .
INT. BAG END - NIGHT
The door quietly closes . Bilbo materializes as he pulls a plain gold ring off his finger . Bilbo laughs as he tosses the ring in the air , then places it in his pocket . Bilbo emerges from the passage , carrying a walking stick . He finds Gandalf looming over him .
GANDALF
I suppose you think that was terribly clever?
BILBO
Come on, Gandalf! Did you see their faces?
GANDALF
There are many magic rings in the world, Bilbo Baggins, and none of them should be used lightly.
BILBO
It was just a bit of fun. Oh, you're probably right as usual.
GANDALF
You will keep an eye on Frodo, wo n't you?
BILBO
I'm leaving everything to him.
GANDALF
What about this ring of yours? Is that staying too?
Close on : Bilbo . he gives Gandalf a look and nods toward the mantelpiece .
BILBO
Yes, yes, it's in an envelope. over there on the mantelpiece. Gandalf frowns at the empty mantelpiece. Bilbo suddenly feels his waistcoat with a look of guilty surprise.
BILBO
( CONT 'D . )
No, wait. It's here in my pocket. Is n't that. is n't' that odd now? Yet, after all, why not? Why should n't I keep it?
GANDALF
I think you should leave the Ring behind, Bilbo. Is that so hard?
BILBO
Well, no. and yes. Now it comes to it, I do n't feel like parting with it. It's mine. I found it. It came to me!
ANGLE ON : GANDALF LOOKS DOWN AT BILBO WITH RISING CONCERN .
GANDALF
There's no need to get angry.
BILBO
Well, if I'm angry, it's your fault! It's mine. My own, my precious.
GANDALF
Precious? It's been called that before, but not by you.
BILBO
So? What business is it of yours what I do with my own things? Bilbo's voice, shape and manner have suddenly changed.
GANDALF
I think you've had that ring quite long enough.
BILBO
You want it for yourself!
Gandalf rises to his full height , his eyes flash , his shadow suddenly seems to fill the room
GANDALF
Bilbo Baggins do not take me for some conjurer of cheap tricks! Bilbo cowers from Gandalf, disarmed by his power. a frightened Hobbit. Gandalf's expression softens.
GANDALF
( CONT 'D . )
I am not trying to rob you. I am trying to help you. Sobbing, Bilbo runs to Gandalf and hugs him.
GANDALF
( CONT 'D . )
All you long years we've been friends. trust me as you once did. Let it go!
BILBO
You're right, Gandalf. the ring must go to Frodo.
Bilbo lifts his knapsack and heads for the front door .
BILBO
( CONT 'D . )
It's late, the road is long. yes, it is time.
GANDALF
Bilbo?
BILBO
Hmmm?
GANDALF
The ring is still in your pocket.
Bilbo hesitates . reaches into his pocket .
BILBO
Oh, yes.
CLOSE ON : Bilbo pulls out the ring . he stares at it in his palm . With all his will power , Bilbo allows the ring to slowly slide off his palm and drop to the floor . CLOSE ON : The tiny ring lands with a heavy thud on the wooden floor .
EXT. BAG END - NIGHT
Bilbo staggering out of Bag end . he braces himself in the night air , Pale and Trembling , as if his loss of the ring has weakened him . Gandalf steps up behind .
BILBO
I've thought up and ending for my book. `` And he lived happily ever after to the end of his days.''
GANDALF
I'm sure you will, my dear friend.
BILBO
Goodbye, Gandalf.
GANDALF
Goodbye Bilbo.
Bilbo walks away from Bag End , disappearing into the night , softly singing : `` The Road goes on and on . ''
GANDALF
( CONT 'D . )
( softly . )
Until our next meeting.
INT. BAG END LIVING ROOM - NIGHT
CLOSE ON : THE RING . Glinting on the floor . Gandalf circles around it , a Puzzled look on his face . Gandalf slowly reaches for the ring . His fingers barely touch the ring . the creepy Hum rises on the soundtrack . Gandalf is sitting in front of the fire , with his pipe . staring into the flickering flames .
BILBO
( V.O . )
It's mine, my own, my precious.
GANDALF
( to himself . )
Riddles in the dark.
FRODO
( O.S . )
Bilbo! Bilbo!
Frodo rushes into Bag End . he stops and picks up the ring at his feet . Gandalf continues staring into the fire , as if locked in thought .
GANDALF
( to himself . )
My precious. precious.
FRODO
( quietly . )
He's gone, has n't he? Frodo steps into the living room.
FRODO
( CONT 'D . )
He talked for so long about leaving. I did n't think he'd really do it.
GANDALF
( mutters to himself . )
. my own.
FRODO
Gandalf?
Gandalf turns . his eyes locking onto the ring in Frodo 's fingers .
GANDALF
Bilbo's ring.
Gandalf sorts hurriedly through Bilbo 's papers .
GANDALF
( CONT 'D . )
He's gone to stay with the Elves. He's left you Bag End.
Gandalf holds out the envelope . Frodo drops the ring into it .
GANDALF
( CONT 'D . )
along with all his possessions.
Gandolf seals the envelope with wax . He hands it to Frodo .
GANDALF
( CONT 'D . )
The ring is yours now. But it somewhere out of sight. Gandalf rises hurriedly and starts to gather his things.
FRODO
Where are you going?
GANDALF
I have some things I must see to.
FRODO
What things?
GANDALF
Questions. Questions that need answering.
FRODO
You've only just arrived! I do n't understand.
Gandalf is already at the door , he turns to Frodo .
GANDALF
Neither do I. Keep it secret, keep it safe.
Gandalf hurries out the door . leaving FRODO standing alone in the Bag End . ANGLE ON : THE ENVELOPE The camera pushes in . the hum of the ring comes up on the soundtrack . The camera pushes through the white paper to the ring . beneath the hum the whispered murmur of BLACK SPEECH can be heard .
EXT. BARAD-DUR - NIGHT
The jagged ruins of '' BARAD - DUR . THE DARK TOWER ! TEASING IMAGES : THE HUGE DARK TOWER OF BARAD - DUR is being rebuilt ! Thousands of ORCS crawl over the surface , hauling stone and iron up the towering heights . WIDE ON : MOUNT DOOM . A HUGE , BILLOWING CLOUD OF BLACK FILTH grows and spreads across the red streaked sky . casting a shadowy pall over the nightmarish landscape .
GOLLUM
( O.S . )
Baggins! Shire!
EXT. MINAS MORGUL - NIGHT
NINE BLACK RIDERS burst out of Minas Morgul and charge toward Camera .
EXT. THE WEST ROAD, GONDOR - DAY
WIDE ON : A LONE HORSEMAN gallops to the crest of a hill on the west road . The main highway south to Minas Tirith . he looks toward the saw toothed mountains of Mordor . seeping out across the blood red sky , his face grave . He spurs his horse on .
INT. CITADEL, MINAS TIRITH - NIGHT
ANGLE ON : GANDALF making is way down into the lower depths of the Citidel .
INT. CITADEL CHAMBER, MINAS TIRITH - NIGHT
CLOSE ON : Pages flipping as Gandalf searches ancient scrolls and books placed high on a wooden table . His eyes settle on one old parchment . He murmurs hurriedly to himself , reading .
GANDALF
( reading . )
The year 3434 of the Second Age. here follows the account of Isildur, High King of Gondor, and the finding of the ring of power.
CLOSE ON : ISILDUR , TRIUMPHANT , REACHES FOR THE ONE RING , HIS EYES FIXATED ON IT .
GANDALF
( reading . )
It has come to me. the ring of power! It shall be an heirloom of my Kingdom. all those who follow in my bloodline shall be bound to its fate, for I will risk no hurt to the
GANDALF
( CONT 'D . )
ring. it is precious to me, though I buy it with great pain.
CLOSE ON : ELVISH LETTERING MARKS ON THE FADED OLD DOCUMENT IN GANDALF 'S HAND .
GANDALF
( reading . )
The marking upon the band begin to fade. the writing which at first was as clear as red flame, has all but disappeared. a secret now that only fire can tell.
EXT. HOBBIT FARMHOUSE - EVENING
FARMER MAGGOT is chopping wood in his garden CLOSE ON : SNORTING HORSE NOSTRILS . as the shadow of a black rider looms over a Hobbit House . Terrified , FARMER MAGGOT cowers in his doorway . FANG , his dog , Whimpers and backs away .
BLACK RIDER
( hissing . )
Shire? Baggins?
FARMER MAGGOT
( terrified . )
There's no Bagginses around here! They are all up in Hobbiton. that way.
The BLACK RIDER GALLOPS AWAY AT SPEED
INT. GREEN DRAGON INN - NIGHT
ANGLE ON : ROSIE COTTON bids the last of the Patron 's `` Goodnight '' . Sam meets her eyes for a moment as he and Frodo leave the inn .
EXT. BAG END - NIGHT
WIDE ON : FRODO FAREWELLS SAM outside Bag End , and heads towards the front door . Creepy POV from inside Bag end : Frodo coming up the path .
INT. BAG END HALLWAY - NIGHT
FRODO enters Bag End . he immediately Pauses , sensing that something is amiss . All is quiet . Frodo peers uneasily into the darkened living room . SUDDENLY ! A large figure looms out of the shadows , reaching for Frodo . Frodo lets out a startled cry , pulls himself free and spins around to face his Assailant . Gandalf steps into a shaft of moonlight . Paranoia blazes in his eyes . His clothes are dirty and ragged from much traveling . Hair and beard much longer an unkempt .
GANDALF
( urgent whisper . )
Is it secret? Is it safe?
INT. BAG END LIVING ROOM - NIGHT
Frodo pulls the envelope out of an old chest . Gandalf , suspicious , Alert . Without a word , Gandalf takes the envelope and tosses it into the fireplace !
FRODO
( bewildered . )
What are you doing?
Flames instantly consume the envelope . revealing the ring , as it sinks into the red hot embers . Gandalf reaches into the fire with a pair of tongs . he lifts the ring out .
GANDALF
Hold out your hand, Frodo. it is quite cool.
Gandalf drops the ring into Frodo 's hand . he reacts to its weight .
GANDALF
( CONT 'D . )
What can you see? Can you see anything?
FRODO
Nothing. there's nothing. Wait.
CLOSE ON : The Gold Band of the ring as fiery letters begin to appear . a tiny inscription glows red . as if burning from within .
GANDALF
these are markings.
CLOSE ON : GANDALF . STILL . TENSE
FRO DO
It's some form of Elvish. I ca n't read it.
GANDALF
( ominous . )
There are few who can. the language is that of Mordor, which I will not utter here.
Mordor ?
FRODO
GANDALF
In the common tongue it says , `` One ring to rule them all , One ring to find them , One ring to bring them all , and in the darkness bind them . ''
INT. BAG END KITCHEN - NIGHT
CLOSE ON : The ring lies on Frodo 's simple kitchen table .
GANDALF
This is the one ring forged by the dark lord, Sauron, in the fires of Mt Doom. taken by Isildur from the hand of Sauron himself.
CLOSE ON : FRODO . STUNNED
FRODO
( quiet realization . )
Bilbo found it. in Gollom's cave.
GANDALF
For sixty years the ring lay quiet in Bilbo's keeping, prolonging his life, delaying old age. but no longer, Frodo. Evil is stirring in Mordor. The ring has awoken. It has heard its master's call. AT THAT MOMENT : A FLEETING, LOW WHISPER of BLACK SPEECH
emanates from the Ring . Frodo looks at Gandalf , each knowing the other has heard it .
FRODO
But he was destroyed. Sauron was destroyed.
ANGLE ON : THE RING lies between them on the table .
GANDALF
No, Frodo. The spirit of Sauron has endured. His life force is bound to the ring and the ring survived. Sauron has returned. His Orcs have multiplied. his fortress of Barad - dur is rebuilt in the land of Mordor. Sauron needs only this ring to cover all the lands in the second darkness. He is seeking it, seeking it, all his thought is bent on it. For the ring yearns, above all else, to return to the hand of its master : they are one, the ring and the dark lord. Frodo, he must never find out. SUDDENLY Frodo scoops up the Ring.
FRODO
Alright!
INT. BAG END LIVING ROOM - NIGHT
ANGLE ON : FRODO hurriedly entering the living room .
FRODO
( thinking fast . )
We put it away, we keep it hidden! We never speak of it again. No one know it's here, do they? Gandalf shifts uncomfortably.
FRODO
( CONT 'D . )
Do they, Gandalf?
Gandalf looks at Frodo , sadly .
GANDALF
There is one other who knew that Bilbo had the Ring. I looked everywhere for the creature Gollum, but the enemy found him first.
INT. BARAD-DUR - NIGHT
CLOSE ON : A teasing Glimpse of Gollum being tortured by the Orcs . The wretched creature screams in pain .
GANDALF
( V.O . )
I do n't know how long they tortured him. but amidst the endless screams and inane babble, they discerned two words.
GOLLUM
( screaming . )
S. Shire! Baggins!
INT. BAG END LIVING ROOM - NIGHT
CLOSE ON : FRODO 'S HORRIFIED FACE !
FRODO
Shire! Baggins! That will lead them here!
EXT. SHIRE LANE, SOUTH FARTHING - NIGHT
IMAGE : On a dark country lane , a Hobbit bounder lifts his watch lantern in alarm .
HOBBIT BOUNDER
Halt! Who goes there?
Out of the darkness thunder two BLACK RIDERS . A LETHAL SWORD swings down at the small Hobbit bounder .
INT. BAG END LIVING ROOM - NIGHT
FRODO thrusts the ring at Gandalf .
FRODO
Take it! Take it!
GANDALF
No, Frodo.
FRODO
You must take it.
GANDALF
You can not offer me this ring.
FRODO
I'm giving it to you!
GANDALF
Do n't tempt me, Frodo. I dare not take it, not even to keep it safe.
CLOSE ON : THE RING IN FRODO 'S HAND .
GANDALF
Understand, Frodo. I would use this Ring from a desire to do good. but through me, it would wield a power too great and terrible to imagine.
FRODO
But it can not stay in the Shire!
GANDALF
No, no it ca n't.
CLOSE ON : THE RING IN FRODO 'S CLENCHED HAND .
FRODO
What must I do?
INT. FRODO'S BEDROOM - NIGHT
ANGLE ON : FRODO throwing clothes into a knapsack . Gandalf watches him , making plans .
GANDALF
You must leave, and leave quickly. Get out of the Shire.
FRODO
Where? Where shall I go?
GANDALF
Make for the village of Bree.
FRODO
Bree? What about you?
GANDALF
I will, be waiting for you at the Inn of the Prancing Pony. Frodo packs his food into his knapsack.
FRODO
And the ring will be safe there?
GANDALF
I do n't know, Frodo. I do n't have any answers. I must see the Head of my Order. He is both wise and powerful. Trust me, Frodo. He'll know what to go.
INT. BAG END LIVING ROOM - NIGHT
Frodo is preparing to leave .
GANDALF
You'll have to leave the name of Baggins behind you. for that name is not safe outside the Shire. GANDALF helps FRODO into his coat.
GANDALF
( CONT 'D . )
Travel only by day and stay off the road.
FRODO
( thinking . )
I can cut across country easily enough.
Gandalf looks at the young Hobbit , moved by his courage .
GANDALF
My dear Frodo, Hobbits really are amazing creatures. You can learn all that there is to know about their ways in a month, and yet, after a hundred years, they can still surprise you.
SUDDENLY ! A SOUND from outside .
GANDALF
( CONT 'D . )
Get down!
GANDALF FREEZES . he moves quietly towards the window , eyes wide with tension . He raises his staff above the window , and slams it down on the intruder . THERE IS A YELP OF PAIN ! Gandalf hauls a small figure into the room . SAM GAMGEE sprawls across the floor ! He looks up in terror as Gandalf looms over him .
GANDALF
( CONT 'D . )
( angry . )
Confound it all! Samwise Gamgee, have you been eavesdropping?
SAM
I ai n't been dropping no eaves, sir! Honest. I was just cutting the grass under the window there, if you follow me.
GANDALF
It's a little late for trimming the hedges, do n't you think?
SAM
I heard raised voices.
GANDALF
What did you hear? Speak!
SAM
( panicked . )
Nothing important. that is, I heard a good deal about a ring. and a Dark Lord. And something about the end of the world, but. Please, Mr. Gandalf, sir, do n't hurt me! Do n't turn me into anything unnatural!
GANDALF
No?
FRODO SMILES
GANDALF
Perhaps not. I've thought of a better use for you.
EXT. HOBBITON FIELDS -- PRE DAWN
Wide on : HOBBITON . shrouded in a white veil of MIST . WIDER : To reveal Gandalf , Frodo and Sam hurrying across a ploughed field , away from Hobbiton ! Gandalf leads his Horse . Frodo and Sam are carrying knapsacks .
GANDALF
( V.O . )
Come along, Samwise. keep up.
EXT. HOBBITON WOODS - DAY
Gandalf leads Frodo and Sam under the cover of Woods .
GANDALF
( V.O . )
Be careful, both of you. The Enemy has many spies in his service, many ways of hearing. birds, beasts.
Gandalf takes Frodo to one side .
GANDALF
( CONT 'D . )
( low voice . )
Is it safe?
FRODO NODS . he pats his pocket .
GANDALF
( CONT 'D . )
Never put it on, for then the agents of the Dark Lord will be drawn to its power. Always remember, Frodo, the ring is trying to get back to its master. it wants to be found. Gandalf wheels his horse and gallops away.
EXT. GREEN HILL COUNTRY - DAY
MONTAGE : FRODO AND SAM hiking over the gentle Shire Countryside . wading through a shallow stream . heating a kettle over a small fire . clambering over stone walls .
EXT. GREEN HILL COUNTRY - AFTERNOON
Sam stops short . taking stock of his surroundings . Sam looks back from where they came .
SAM
This is it.
FRODO
This is what?
SAM
If I take one more step it'll be the farthest away from home I've ever been.
FRODO gives Sam a pat on the shoulder .
FRODO
Come on, Sam.
Sam takes a deep breath and steps forward . CLOSE ON : SAM 'S brown , furry foot hits the ground . FRODO IS SMILING .
FRODO
Remember what Bilbo used to say. it's a dangerous business.
Frodo and Sam continue their journey .
BILBO
( V.O . )
it's a dangerous business, Frodo, going out your door. you step onto the road, and if you do n't keep your feet, there's not knowing where you might be swept off to.
EXT. ISENGARD VALLEY - DAY
Gandalf is galloping along the outskirts of the ancient forest of Fangorn . Nestled in a basin at the foot of the distant Misty Mountains , the tall black tower of Orthanc is clearly visible
EXT. ISENGARD VALLEY - DAY
Gandalf gallops through the gate , into the fortress of ISENGARD . a great ring - wall of stone , a mile from rim to rim , encloses beautiful trees and gardens , watered by streams that flow down from the mountains .
SARUMAN
( V.O . )
Smoke rises once more from the mountain of doom. the shadow takes shape in the darkness of Mordor ; the hour grows late. and Gandalf the Grey rides to Isengard seeking my counsel.
The strange tower of Orthanc . hewn from a solid pillar of black obsidian . rises up in the center of the Isengard Circle . Gandalf arrives at the foot of the Orthanc Stairs . ANGLE ON : SARUMAN , THE WHITE WIZARD he sweeps down the Orthanc stairs .
SARUMAN
For that is why you have come, is it not, my old friend?
Gandalf moves quickly towards him , grimy and weary from his long ride .
GANDALF
Saruman!
EXT. ISENGARD GARDENS - DAY
Gandalf and Saruman walk slowly between the beautiful trees of Isengard , Saruman 's clean , white robe contrasts with Gandalf 's dusty grey robes .
SARUMAN
Are you sure of this?
GANDALF
Beyond any doubt.
SARUMAN
So the ring of power has been found?
GANDALF
All these long years it was in the Shire, under my very nose.
SARUMAN
And yet you did not have the wit to see it! Your love of the Halfling's leaf has clearly slowed your mind.
GANDALF
We still have time. time enough to counter Sauron. if we act quickly.
SARUMAN
Time? What time do you think we have?
INT. ORTHANC ANTE-CHAMBER - DAY
Saruman and Gandalf are seated in a small , cluttered room to the side of the cavernous central chamber .
SARUMAN
Sauron has regained much of his former strength. He can not yet take physical form. but his spirit has lost none of its potency. Concealed within his fortress, the lord of Mordor sees all. His gaze pierces cloud, shadow, earth, and flesh. You know of what I speak, Gandalf. a great Eye, lidless, wreathed in flame.
GANDALF
( softly . )
The eye of Sauron.
SARUMAN
He is gathering all evil to him.
SARUMAN
( CONT 'D . )
Very soon he will have summoned an army great enough to launch an assault upon Middle earth.
GANDALF
You know this? How?
SARUMAN
I have seen it.
Gandalf and Saruman stride through Orthanc toward a stone plinth on which a sphere like shape is draped with a cloth .
GANDALF
A palantir is a dangerous tool, Saruman.
Saruman lifts the cloth to reveal the Palantir .
SARUMAN
Why? Why should we fear to use it?
GANDALF
They are not all accounted for, the lost seeing - stones. we do not know who else may be watching. Gandalf throws the cloth back over the Palantir.
FLASH IMAGE : A FIERY EYE ! Saruman sits upon his throne .
SARUMAN
The hour is later than you think. Sauron's forces are already moving. the Nine have left Minas Morgul.
GANDALF
( shocked . )
The nine!
SARUMAN
They crossed the river Isen in Midsummer's eve, disguised as riders in black.
GANDALF
( alarmed . )
They have reached the Shire? Saruman shrugs.
SARUMAN
They will find the ring. and kill the one who carries it.
Gandalf backs away and turns to run to the door . horrified as the doors suddenly slam shut .
SARUMAN
( CONT 'D . )
You did not seriously think a Hobbit could contend with the will of Sauron? There are none who can.
Gandalf slowly turns to Saruman . a look of dawning horror .
SARUMAN
( CONT 'D . )
Against the power of Mordor, there can be no victory. We must join with him, Gandalf. We must join with Sauron. It would be wise, my friend.
GANDALF
( deadly . )
Tell me, friend, when did Saruman the wise abandon reason for madness?
At that moment : Gandalf is suddenly blasted across the room ! He slams against the wall . pinned there by some unseen force . With sudden effort , Gandalf wrenches himself off the wall and swings his staff on Saruman . blasting him off his feet ! Gandalf and Saruman battle , powerful blasts throwing them across the room . SARUMAN SCREAMS , EYES BLAZING ! Gandalf 's staff is suddenly wrenched from his grasp . it flies across the chamber into Saruman 's hand ! Gandalf is flung to the floor .
SARUMAN
I gave you the chance of aiding me willingly, but you have elected the way of pain.
Gandalf is breathing hard on the floor , his eyes look into the madness of Saruman . Commanding two staffs , Saruman sends Gandalf into a sickening spin . Gandalf tumbles towards the top of the chamber . as if falling in reverse . Rushing POV : the roof of Orthanc rockets toward camera .
EXT. FARMER'S FIELDS - DAY
Wide on : Frodo and Sam walking along a country lane which borders Farmer Maggot 's Fields . Sam is looking up . Frodo has disappeared around a corner in the lane .
SAM
( panicked . )
Mr. Frodo. Mr. Frodo! Frodo turns, surprised as Sam comes running towards him.
SAM
( CONT 'D . )
( worried . )
I thought I lost you. Frodo looks at Sam suspiciously. Sam glances down, embarrassed.
FRODO
( teasing . )
What are you talking about?
SAM
( mumbling . )
It's just something Gandalf said.
FRODO
What did he say?
SAM
He said. `` Do n't you leave him, Samwise Gamgee.''
( looks at Frodo intently . )
And I do n't mean to.
FRODO
( laughing . )
Sam. we're still in the Shire. what could possibly happen?
SUDDENLY ! A figure comes crashing out of a hedgerow sending Frodo flying . Frodo picks himself up , only to be knocked back down again by Pippin .
PIPPIN
Frodo! Merry, it's Frodo Baggins.
MERRY
Hello Frodo
Merry , Pippin , and Frodo picking themselves up . a variety of vegetables have scattered everywhere .
SAM
What's the meaning of this!
MERRY
Sam, hold this.
Merry gives Sam a large cabbage .
SAM
( accusing . )
You've been into Farmer Maggot's crop!
A large pitchfork can be seen racing towards them along the Hedgerow . angry shouts from Farmer Maggot .
FARMER MAGGOT
( O.S . )
Who's that in my field! Get out of it! Get out of my field, you young varmits! I'll show you. get out of my corn.
Merry and Pippin hurriedly gather their booty and race away . with Frodo and Sam on their heels .
MERRY
( looking behind him . )
I do n't know why he's so upset, it's only a couple of carrots.
PIPPIN
And some cabbages. and those three bags of potatoes that we lifted last week. And then the mushrooms the week before.
MERRY
Yes, Pippin, my point is, he's clearly over reacting.
The BAYING OF LARGE DOGS sounds !
PIPPIN
Run!
EXT. WOODED ROAD - DAY
Frodo , Sam , and Merry and Pippin tumble head over heels down a bank , onto a dark , wooded road . CLOSE ON : A winded Pippin , his face inches away from a large pile of Horse droppings .
PIPPIN
That was close.
Frodo picks himself up and looks around quickly .
MERRY
( groaning . )
Ow. I think I've broken something.
Pulls a LARGE CARROT , almost broken through in the middle , out from his back pocket .
MERRY
( CONT 'D . )
Oh.
SAM
( turning on Merry and Pippin . )
Trust a Brandybuck and a Took.
MERRY
What? That was just a detour. a shortcut.
SAM
A shortcut to what?
Pippin has spied something under the trees on the far side of the road .
PIPPIN
( excited . )
Mushrooms!
CLOSE ON : SMALL , brown mushrooms growing amongst the Loamy undergrowth . Sam , Merry , and Pippin race toward the mushrooms ! Frodo is tense and watchful . He realizes they are on a wooded road . Scattered leaves rise into the air Whirling down the road as if blown by an invisible wind . SUDDENLY . THE SOUND OF HORSES HOOVES .
FRODO
I think we should get off the road.
A long drawn WAIL comes down the wind , like the cry of some evil and lonely creature .
FRODO
( CONT 'D . )
( more urgency . )
Get off the road!
Sam grabs Merry and Pippin as the Hobbits quickly scramble down the bank , hiding under a mossy log . THE SOUND OF HOOVES is close . A sinister MOUNTED RINGWRATH steps into view . hooded and faceless , mounted on a huge snarling black horse with insane eyes ! Frodo freezes in terror . The RINGWRAITH pauses right beside their hiding place . he sits very still with his head bowed , listening . From inside the hood comes a sniffing noise as if he is trying to catch an elusive scent ; his head turning from side to side . CLOSE ON : FRODO Beads of sweat gather on his brow . The ringwraith suddenly slides off his horse , leaning over the mossy log , peering suspiciously into the woods . CLOSE ON : FRODO He is drawing the ring out of his pocket , with trembling hands . his face fevered and sweating as if in the grip of some terrible INTERNAL STRUGGLE . The SOUND OF SNIFFING intensifies as the ringwraith darts his head from side to side like a bird of party . CLOSE ON : FRODO SQUEEZING HIS EYES SHUT . QUICK PSYCHIC BLASTS ! AND EVIL DARK TOWER . A GREAT EYE . A BURST OF FLAME . ANGLE ON : SAM LOOKING AT FRODO WITH CONCERN
SAM
Frodo?
Merry desperately hurls the mushrooms across the road . the ringwraith spins around at the sound , and darts to the far side of the road with frightening speed . Frodo instantly slumps . as if a PSYCHIC LINK had been broken
MERRY
What was that?
Frodo is staring , a look of shock on his face at the ring lying in the palm of his hand .
EXT. FERRY LANE - NIGHT
Frodo , Sam , Merry , and Pippin hurry through the trees . slipping and sliding on the muddy ground .
SAM
Anything?
FRODO
Nothing.
PIPPIN
What is going on?
Merry moves past pippin , toward Frodo , watching intently . Sam keeps looking around nervously .
MERRY
The Black rider was looking for something. or someone. Frodo?
SAM
Get down!
The SILHOUETTE OF A BLACK RIDER looms against the skyline . The Four Hobbits . sprawled on the ground , holding their breath . The BLACK RIDER turns and departs .
FRODO
I have to leave the Shire. Sam and I must get to Bree.
Merry looks at his friend . realizing Frodo is in deep trouble .
MERRY
Right. Buckleberry Ferry. follow me!
The Hobbits break cover . SUDDENLY , A RINGWRAITH bursts out of the forest TOWARD THEM !
MERRY
( CONT 'D . )
There's another one! Frodo, this way!!
The Hobbits run THE RINGWRAITH SHRIEKS ! Black horse hooves . snarling horse mouths . a fleeting black cowl .
MERRY
( CONT 'D . )
Frodo, follow me!
EXT. BUCKLEBERRY FERRY - NIGHT
FRODO , SAM , MERRY AND PIPPIN , are running towards the wide , placid Brandywine river . and the FERRY .
MERRY
Get the ropes, Sam.
QUICK ANGLES : STOMPING HOOVES . SNARLING HORSES . Four RINGWRAITHS are speeding through the Fog . converging on the FERRY CROSSING . The HOBBITS stampede across the Wharf and Tumble onto the Ferry .
SAM
( screaming . )
Frodo!
Frodo races across the Wooden Wharf , followed by the ringwraiths . He leaps into the Ferry . CLOSE ON : HOOVES THUNDER DOWN THE WOODEN WHARF ! Sam and Merry shove off with the poles . the ferry slides out into the river , just as the ringwraiths arrive . They pull up on the end of the wharf . shrieking with rage ! The Hobbits cover their ears . The Ringwraiths wheel their horses towards the north and Gallop away along the river bank , quickly disappearing into the fog .
FRODO
How far to the nearest crossing?
MERRY
The brandwine bridge. twenty miles.
EXT. BREE GATE - NIGHT
Lights of Bree . a small village of stone and half timbered houses nestled against a low wooded hill . A thick hedge surrounds the village . a great gate bars the western entrance . FRODO , SAM , MERRY AND PIPPIN approaching the gatehouse . wild eyes , ragged , and out of breath .
FRODO
Come on.
A SURLY GATEKEEPER glances down at them .
GATEKEEPER
What do you want?
FRODO
We're headed for the prancing pony.
The gatekeeper swings his lantern onto the hobbits , bathing them in an uncomfortable yellow spotlight .
GATEKEEPER
Hobbits! Four Hobbits, and what's more, out of the Shire by your talk. What business brings you to Bree?
FRODO
We wish to stay at the inn. our business is our own. To Frodo's relief, the Gatekeeper unlocks the gate.
GATEKEEPER
All right, young sir, I meant no offense.
The Hobbits gratefully enter Bree . the gatekeeper eyeing them curiously in the lantern light .
GATEKEEPER
( CONT 'D . )
It's my job to ask questions after nightfall. There's talk of strange fold abroad. ca n't be too careful.
EXT. BREE STREETS - NIGHT
The tall BREE FOLK loom over the nervous little hobbits as Frodo , Sam , Merry and Pippin make their way through the Narrow Streets . Tall buildings tower above them . lights glow dimly from behind thick curtains . Close on : The sign of the `` PRANCING PONY INN '' . Frodo , Sam , Merry , and Pippin hurry toward it .
INT. "PRANCING PONY" RECEPTION - NIGHT
Frodo , Sam , Merry and Pippin come rushing in . Frodo attracts the INN KEEPERS 'S attention .
FRODO
Excuse me.
BUTTERBUR
Good evening, little masters. If you're seeking accommodation, we've got some nice, cozy Hobbit sized rooms available, Mr. ah.
FRODO
Underhill. my name's Underbill.
BUTTERBUR
Underhill? Hmmmm.
FRODO
We're friends of Gandalf the Grey. can you tell him we've arrived? BUTTERBUR frowns.
BUTTERBUR
( Puzzled . )
Gandalf. Gandalf. Oh.
( recognition . )
Oh yes! I remember. elderly chap. big grey beard. pointy hat? Frodo nods with relief. Butterbur shakes his head.
BUTTERBUR
( CONT 'D . )
Not seen him for six months. Frodo is shocked.
SAM
( worried whisper . )
What do we do now?
INT. PRANCING PONY INN - NIGHT
Wide on : the noise , smokey Inn . It is dimly lit , cheifly from a blazing log fire . and crowded with a mixture of BIG FOLK , LOCAL HOBBITS , and a couple of dwarfs . Frodo , Sam , Merry and Pippin are sitting at a table against the wall . clearly trying to remain Quiet and inconspicuous . Sam ca n't help himself . he keeps casting nervous glances around .
FRODO
Sam, he'll be here. He'll come.
Merry ploinks himself down at a table , carrying a very large mug of beer .
PIPPIN
What's that?
MERRY
This, my friend, is a pint.
PIPPIN
It comes in pints? I'm getting one!
Sam watches Pippin rise unsteadily to his feet and head to the bar .
SAM
You've had a whole half already. Merry watches Pippin go.
A COUPLE OF SWARTHY MEN leaning against the bar glance at Frodo , then quickly look away .
SAM
( CONT 'D . )
( tense . )
That fellow's done nothing but stare at you since we've arrived.
Sam indicates a BROODING STRANGER who sits alone at a table in the far corner , smoking a curiously carved long stemmed pipe , peering from beneath a travel stained cowl with gleaming eyes . Frodo gestures to Butterbur .
FRODO
Excuse me, that man in the corner, who is he?
BUTTERBUR
He's one of them Rangers ; they're dangerous folk they are, wandering the wilds. What his right name is, I never heard, but round here he's known as Strider.
FRODO
( to himself . )
Strider.
BENEATH TABLE : FRODO 'S fingers are nervously TOYING WITH THE RING . CLOSE ON : FRODO Sweat runs down his brow . The Strange hum of the Ring spills into the Soundtrack . `` Baggins . Baggins . '' a creepy whisper seems to fill Frodo 's head . sound that dissolves into Pippin 's loud voice :
PIPPIN
Baggins? Sure, I know a Baggins. he's over there.
ANGLE ON : PIPPIN sitting at the bar , chatting with Locals . Frodo leaps to his feet and pushes his way towards the bar .
PIPPIN
( loudly . )
Frodo Baggins. He's my second cousin once removed, on his mother's side and my third cousin twice removed on his father's side. if you follow me.
Frodo grabs Pippin 's sleeve , spilling his beer .
FRODO
Pippin!
PIPPIN
Steady on, Frodo!
Pippin pushes Frodo away . he stumbles backwards , and falls to the floor . At that instant , the Inn goes silent and all the attention turns to Frodo . The ring . in agonizing Slow motion we watch as it seems to hang in the air for a split second . then crashes down onto his out stretched finger . FRODO VANISHES ! There is a sharp intake of breath . followed by total silence .
EXT. BREE COUNTRYSIDE - NIGHT
The RINGWRAITHS turn sharply in their saddles . Instantly aware that the ring is being worn . They spur their horses towards the distant lights of Bree .
INT. "PRANCING PONY" INN - NIGHT
Sam looks sick ; Pippin instantly sobers , realizing his folly ; the brooding stranger frowns . and the inn erupts into excited babble . FRODO : as he finds himself in the TWILIGHT WORLD of the ring : THE EXCITED CROWD ARE suddenly moving in slow motion . distorted voices . a weird photographic negative quality . FRODO is moving in real time ; against the slow motion background . He suddenly clutches his head as he is hit with quick images . of a GREAT EYE ! AN EVIL CAT - LIKE EYE , wreathed in flames . VOICE OF SAURON There is no life here in the void . only cold . only death . FRODO is terrified ! He rolls under a table , desperately pulling the ring from his finger . FRODO MATERIALIZES into the real world . AT THAT MOMENT : A LARGE HAND reaches under the table and Grabs Frodo by the collar , and DRAGS HIM AWAY !
INT. PRANCING PONY--CORRIDOR - NIGHT
Frodo is roughly pushed against the wall . The Brooding stranger looms over him .
STRIDER
You draw far too much attention to yourself. Mr. Underhill
INT. HOBBIT'S ROOM, PRANCING PONY - NIGHT
Frodo is pushed into the Hobbit 's room by Strider .
FRODO
What do you want?
STRIDER
A little more caution from you. that is no trinket you carry.
FRODO
I carry nothing.
STRIDER
Indeed? I can usually avoid being seen if I wish, but to disappear entirely. that is a rare gift.
FRODO
Who are you?
STRIDER
Are you frightened?
FRODO
Yes.
STRIDER
Not nearly frightened enough. I know what hunts you. Frodo jumps at the sound of a noise in the corridor. Strider deftly draws his sword.
The door bursts open and Sam , Merry and Pippin appear on the doorway . Sam is Squaring off with is fists , Merry brandishes a candlestick , and Pippin a chair .
SAM
( angry . )
Let him go or I'll have you, Longshanks!
STRIDER SHEATHS his sword , a slight smile playing on his lips .
STRIDER
You have a stout heart, little Hobbit, but that alone wo n't save you. You can no longer wait for the Wizard, Frodo. They're coming.
EXT. GATEHOUSE, BREE - NIGHT
The gate keeper comes out of his Lodgings with a lantern . a look of fear on his face . He approaches the closed gate with great apprehension . CLOSE ON : The Gatekeeper peers out of his Peephole . CRASH ! The gate crashed down on the gatekeeper . as four RINGWRAITHS ride into Bree !
EXT. BREE STREETS - NIGHT
The four RINGWRAITHS fly done the empty streets , like horsemen of the apocalypse .
INT. PRANCING PONY INN - NIGHT
LOW ANGLE : the front door FLIES OPEN . The FOUR RINGWRAITHS rush into the PRANCING PONY with WICKED SWORDS DRAWN . CLOSE ON : BUTTERBUR hiding behind his bar . trembling and sweating in TERROR .
INT. HOBBIT'S ROOM, PRANCING PONY - NIGHT
INSERT : MERRY SNORING SOFTLY ON HIS PILLOW . INSERT : PIPPIN stirs slightly , then settles back to sleep . WIDE ON : the door creaks open . THE FOUR RINGWRAITHS silently slide into the Hobbit 's room . The LOOM above each bed , raising their SHINING SWORDS ABOVE THE SLEEPING HOBBITS . QUICK INSERT : Sam 's eyes open wide . In unison , the RINGWRAITS STAB THE HOBBITS , in a Slashing , hacking frenzy .
INT. STRIDER'S ROOM - NIGHT
Strider is grimly listening to the sounds from his room .
INT. HOBBIT'S ROOM, PRANCING PONY - NIGHT
Wide on : the RINGWRAITHS step back from the slashed beds in triumph . CLOSE ON : a hacked blanket is pulled back to reveal nothing but a shredded pillow . The RINGWRAITHS SHRIEK WITH RAGE ! INSERTS : Sam sits up with a start ! Close on : Another shredded pillow is revealed ! More Shrieks of rage . INSERT : PIPPIN AND MERRY wake with a start .
INT. STRIDER'S ROOM - NIGHT
WIDE ON : Sam , Merry , and Pippin have been sleeping on Strider 's bed . Frodo stands next to Strider by the window , peering out nervously as furious Ringwraith screeches echo across the courtyard from the Hobbits room .
FRODO
Where are they?
STRIDER
They were once men. Strider glances quickly at Frodo, then looks away.
STRIDER
( V.O. ; CONT 'D . )
( quietly . )
Great Kings of men. Then Sauron the deceiver gave to them Nine Rings of Power. Blinded by their greed they took them without question, one by one falling into darkness and now they are slaves to his will.
Strider looks from the window as the Ringwraiths gallop down the Bree Streets . CLOSE ON : Strider turns back to the Hobbits , his face lit faintly by the Glowing Embers of the Fire .
STRIDER
( CONT 'D . )
They are the Nazgul, Ringwraiths, neither living or dead. At all times they feel the presence of the ring. drawn to the power of the one. they will never stop hunting you.
EXT. CHETWOOD FOREST - DAY
STRIDER , MERRY , PIPPIN , AND FRODO march through a gloomy , overgrown forest . Sam follows at the read leading `` Bill '' , a scrawny pony , who is laden with supplies .
FRODO
Where are you taking us?
STRIDER
Into the wild.
Frodo watches uneasily as Strider moves off into the cover of the trees .
MERRY
( whispered aside . )
How do, we know this Strider is a friend of Gandalf?
FRODO
We have no choice but to trust him.
STRIDER
But where is he leading us?
Strider stops , casts a glance back at Sam .
STRIDER
( CONT 'D . )
To Rivendell, Master Gamgee. to the house of Elrond.
SAM looks excited .
SAM
Did you hear that, Bill? Rivendell! We're going to see the Elves!
Strider leads the Hobbits through the gloom of the forest .
EXT. MIDGEWATER MOORS - DAY
Aerial on : Strider leading Frodo , Sam , Merry , and Pippin across the windswept moors . The hobbits suddenly stop and unstrap their knapsacks .
STRIDER
Gentlemen, we do not stop until nightfall.
PIPPIN
What about breakfast?
STRIDER
You've already had it.
PIPPIN
We've had one, yes. but what about Second Breakfast?
Strider stares at Pippin blankly , then turns away , shaking his head .
MERRY
I do n't think he knows about second breakfast, Pip.
PIPPIN
What about Elvenses, Luncheon, Afternoon Tea, dinner. he knows about them, does n't he?
MERRY
I would n't count on it.
An apple is thrown to Merry , who deftly catches it . Another , aimed at Pippin , catches him on the forehead .
MERRY
( CONT 'D . )
( exasperated . )
Pippin!
The hobbits trudge through rain , looking tired , hungry , and miserable .
INT. ORTHANC ANTE-CHAMBER - NIGHT
Saruman stands over the Palantir , his hands cupping the massive eye .
SARUMAN
( whisper . )
The power of Isengard is at your command, Sauron, Lord of the Earth.
ON THE SOUNDTRACK : BLACK SPEECH FILLS THE ROOM . ADMIST THE HARSH , GUTTURAL WORDS THE VOICE OF SARUMAN EMERGES .
SARUMAN
Build me an army worth of Mordor.
INT. ORTHANC ANTE-CHAMBER - NIGHT
Saruman is seated as his ORC OVERSEER approaches .
ORC OVERSEER
What orders from Mordor, my Lord. What does the eye command?
SARUMAN
We have work to do.
INT. ISENGARD - NIGHT
CLOSE ON : GANDALF . lying unconscious on a cold obsidian floor . He wakes to the sound of ripping and tearing . rising onto his knees . lifting his head . Gandalf stands as the camera pulls back to reveal him stranded on the summit of Orthanc . He is marooned on the tiny , flat peak , surrounded on all sides by a sheer 500 FOOT DROP . Another whispering wail rends the air . Gandalf crosses quickly to the edge and peers down : POV : One of the beautiful Isengard trees is being ripped from the ground by the ORCS . Gandalf looks on in Horror as ORCS hack into the trunk with axes . SARUMAN stands in Rain looking out into the dark night . the ORC overseer sidles up to him , axe in hand , sweating with exertion .
ORC OVERSEER
The trees are strong, my Lord. Their roots go deep.
SARUMAN
Rip them all down.
CAMERA CIRCLES SUMMIT : MORE AND MORE TREES are hauled down and killed . as Gandalf looks on in helpless despair .
EXT. WEATHERHILLS - DAY
Wide on : The rugged countryside as the hobbits journey on , lead by Strider . Strider stops before a distant hill , topped by an Ancient Ruin .
SARUMAN
This was once the great Watchtower of Amon Sul. We shall rest here tonight.
EXT. WEATHERTOP HOLLOW - DUSK
FRODO , MERRY , AND PIPPIN collapse into a small hollow , halfway up Weathertop . they are muddy and exhausted . Stider drops 4 small swords at the Hobbits feet .
SARUMAN
There are for you. Keep them close. I'm going to have a look around. Stay here.
EXT. WEATHERTOP HOLLOW - NIGHT
Close on : Frodo . eyes flickering open . He suddenly sits up , sniffing the air . Sam , Merry , and Pippin huddled over a small fire . Sausages and bacon sizzle in a hot frying pan .
FRODO
What are you doing?
MERRY
Tomatoes, sausages, and crispy bacon.
SAM
We saved some for you, Mr. Frodo.
FRODO
Put it out, you fools! Put it out! Frodo desperately kicks dirt on the fire!
PIPPIN
Oh, that's nice. ash on my tomatoes!
A SUDDEN SHREIK ! FIVE RINGWRAITHS ON FOOT , running up the steep slope unnaturally fast .
FRODO
Go!!
Frodo , Sam , Merry and Pippin clamber desperately towards the summit , clutching their swords .
EXT. WEATHERTOP SUMMIT - NIGHT
Frodo , Sam , Merry , and Pippin race into a RING OF BROKEN STONES on the summit or Weathertop . the ruined base of an ancient tower . The hobbits stand back - to - back in the centre of the Ring , waiting for the first assault . One by one , the 5 Ringwraiths appear . brandishing Gleaming swords , they move slowly towards the hobbits . In the center is their leader . the WITCH KING !
SAM
Back, you devils!
Sam rushes forward with a cry . He swings his sword at the Witch King , who blocks the blow with his own sword . Sam 's blade shatters . the WITCH KING lashes out with his fist , sending Sam flying . Merry and Pippin , overcome with terror , throw themselves flat on the ground . THE RINGWRAITHS close in on Frodo . a Venomous whisper dances in his head . Frodo shuts his eyes and staggers back , desperately resisting the WRAITH 'S WHISPERINGS . slow motion as his hand goes into his pocket and pulls out the ring . The 5 Ringwraiths utter a chilling SCREECH OF EXCITEMENT . Frodo is unable to resist any longer , falls to his knees and slips on the ring . He disappears .
SAM
( CONT 'D . )
No!
Frodo finds himself in the weird twilight world . he looks upon the Ringwraiths , now visible in their TRUE APPEARANCE : Five Ghouls dressed in long Grey robes , with white hair , and Pallid , ruthless faces . THE WITCH KING extends a haggard hand towards Frodo , reaching for the ring on his finger . Frodo 's trembling hand extends forward as if by the pull of the ring . he slides to the ground , unable to pull his hand away . The witch king snarls and springs forward . He stabs at Frodo with a wicked dagger ! Frodo winces as the tip of the dagger sinks into his shoulder . Suddenly , Strider charges at the RINGWRAITHS , wielding his sword in one hand , a flaming torch in the other . He moves in slow motion , visible through a sea of mist . Frodo sinks to the ground . Behind him is a faint image of a Ringwraith fleeing , his head engulfed in flames . With draining strength , Frodo manages to pull the ring off his finger . Appearing back in the real world , Sam rushes over to him .
SAM
( CONT 'D . )
( horrified . )
Frodo!
Another Ringwraith is burning and screaming . others screech fearfully at the flames , turn and flee form the Weathertop summit .
SAM
( CONT 'D . )
( panicked . )
Mr. Frodo!
Strider kneels before Frodo . He snatches up the Witch King 's Dagger from the ground , staring gravely at the long , thin , blade .
SAM
( CONT 'D . )
Help him, Strider!
STRIDER
( grim . )
He's been stabbed by a Morgul blade. The Morgul Blade suddenly melts. vanishing into the air like smoke. Strider throws the hilt down in disgust.
SAM
Do something.
STRIDER
This is beyond my skill to heal.
( urgently . )
He needs Elvish medicine. Strider lifts Frodo onto his shoulders.
EXT. WEATHERHILLS - NIGHT
Strider is jogging grimly , carrying an ailing Frodo on his back . Sam , Merry , and Pippin are running to keep up . The hobbits are carrying Flaming torches for protection .
STRIDER
Hurry!
SAM
We are six days from Rivendell. Frodo groans.
STRIDER
Hold on, Frodo.
SAM
He'll never make it! Close on : Frodo. head lolling about, barely conscious.
FRODO
( fevered calling . )
Gandalf. Gandalf?
EXT. ISENGARD - NIGHT
Low angle . looking up at ORTHANC . the tower of Isengard , gleaming in the moonlight . The camera rises to reveal the once beautiful gardens are not a pitted wasteland . with smoke and fire billowing out of numerous tunnels and vent holes that litter the forecourt of ORTHANC . Strange guttural chants echo up from deep underground . The camera is rising . a small moth flutters into shot . and leads the camera towards the summit or Orthanc . Gandalf lies slumped against the wall at the very top of Orthanc , surrounded by a sheer 500 foot drop . He looks Weak and Frail . and is seemingly asleep . The MOTH flutters close to Gandalf . His hand suddenly moves at lighting speed and SNATCHES THE MOTH . Gandalf brings his hand close to his face and opens it . The moth sits on the palm of his hand as Gandalf mutter strange words in a foreign tongue . Close on : THE MOTH 'S face . seemingly listening . It suddenly flutters away . CAMERA FOLLOWS the moth off the Orthanc summit , but drops past the moth . falling down , down , towards the pitted wasteland , straight into a fiery red tunnel !
INT. CAVERNS BELOW ISENGARD - NIGHT
The dead trees of Isengard are fed into roaring furnaces . molten metal pours into casts . red hot metal , beaten my sweating orc blacksmiths . armor and weapons are forged from the great furnaces . Saruman strides among the ORCS and stands looking on a new born uruk - hai as it escapes its birthing membrane . this is LURTZ , who rises up to stand before his master .
EXT. TROLLSHAW FOREST CLEARING - NIGHT
Close on : Frodo . his eyes flicker open . clouded , red - rimmed . his brow , beaded with sweat .
PIPPIN
Is he going to die? Frodo's breathing is getting shallow. Strider looks out into the darkness.
STRIDER
No. He is passing into the shadow world, he will soon become a wraith like them.
A DISTANT CRY of a RINGWRAITH carries through the air .
MERRY
( nervous . )
They're close.
Frodo gasps in sudden pain .
STRIDER
( thinking hard . )
Sam, do you know the Athelas plant? Sam looks blank.
SAM
Athelas?
STRIDER
Kingsfoil.
SAM
Kingsfoil. Aye. It's a weed.
STRIDER
It may help to slow the poison. Hurry!
EXT. TROLLSHAW FOREST - NIGHT
Sam and Strider desperately search the dark forest floor for the Athelas plant . Close on : A small , white flowered plant ! Strider drops to one knee , carefully pulling it from the ground . SUDDENLY ! STRIDER FREEZES AS A SWORD BLADE TOUCHES HIS NECK .
ARWEN
( O.S . )
What is this? A Ranger caught off his guard?
Strider slowly looks up .
EXT. TROLLSHAW FOREST CLEARING - NIGHT
Frodo is breathing hard , desperately ill . Frodo 's half - conscious POV : Surreal impression . a SHIMMERING FIGURE IN WHITE leaps off a horse . FLASH INSERT : An ethereal vision of ARWEN , as she appears on the other side .
ARWEN
( ELVISH : with sub titles . )
Frodo, Im Arwen. telin let thaed. I am Arwen, I have come here to help you.
( urgent . )
Lasto Beth nin, tolo Dan na ngalad. Hear my voice, come back to the light. Frodo's eyes close.
PIPPIN
Who is she?
ARWEN
( worried . )
Frodo?
SAM
She's an elf.
ANGLE ON : ARWEN Who now appears in her earth bound form , a young Elven woman with tousled hair , dressed in mud - splattered riding clothes .
ARWEN
He's fading. he's not gong to last. We must get him to my father. Strider quickly lifts Frodo. placing him on the horse.
ARWEN
( CONT 'D . )
I have been looking for you for two days.
PIPPIN
Where are you taking him?
ARWEN
There are five Wraiths behind you, where the other four are, I do not know.
STRIDER
( ELVISH : with subtitles . )
Dartho guin Berian. rych le ad tolthathon. Stay with the hobbits. I'11 send horses for you. Close on : Arwen grabbing the Reins of the horse.
ARWEN
( ELVISH : w/subtitles . )
Hon mabathon. Rochoh ellint im. I'll take him. I'm the faster rider. Strider clamps his hand over Arwen's.
STRIDER
( elvish : subtitles . )
Andelu I ven. The road is too dangerous.
ARWEN
( Elvish : subtitles . )
Frodo Fir. Ae anthradon I hir, tur gwaith nin beriatha hon. If I can cross the river, the power of my people can protect him.
PIPPIN
What are they saying?
CLOSE ON : Arwen reaches for Strider 's hand . looking deep into his eyes .
ARWEN
I do not fear them.
CLOSE ON : Strider . we see that it is hard for him to let her go . Arwen mounts her horse , ALSFORTH .
STRIDER
Arwen. ride hard, do n't look back.
Arwen looks down at Strider as she supports Frodo with one hand .
ARWEN
( elvish . )
Noro Lim, Asfaloth, Noro Lim!
SAM
What are you doing! Those Wraiths are still out there!
Asfaloth springs away , bearing Arwen and Frodo into the night .
EXT. TROLLSHAW FOREST - NIGHT
SPEEDING POV : through the forest from the back of the White Horse . ANGLE ON : FRODO , BOUNCING IN THE SADDLE , he lifts his head weakly . SURREAL SLOW MOTION POV : THE HORSES HEAD BOBBING . trees sliding by . moonlight flickers through the trees .
EXT. AERIAL OF ETTENMOORS ~ MORNING
AERIAL : of Arwen 's white horse emerging from the trees . and galloping across the open land as the sun rises .
EXT. PINE FOREST - DAY
The white horse charges through a Pine Forest . Suddenly 2 Galloping Ringwraiths emerge from the trees behind ! 2 more Ringwraiths slide in from different directions to join the chase . Arwen grits her teeth . urges the white horse to greater speed .
EXT. THE EAST ROAD - DAY
The white horse speeds out of the pine trees . the 4 ringwraiths close behind PAN ONTO : 2 more ringwraiths galloping down the hillside ! AERIAL SHOT : 3 MORE RINGWRAITHS enter frame from different directions . a total of 9 RINGWRAITHS now pursuing Frodo and Arwen ! CLOSE ON : Panting head of the WHITE ELVEN HORSE .
ARWEN
Noro lim, Asfaloth!
EXT. FORD OF BRUINEN - DAY
CRANE DOWN : As the White Horse races towards Camera , to Reveal the wide river Bruinen in the foreground . Without hesitation , the white horse leaps into the shallow water and thunders across the Ford . The 9 Ringwraiths pull up short of the Ford , clearly nervous of the water . The white horse reaches the other side . Arwen pulls up and turns to defiantly face the Ringwraiths from across the Ford .
WITCH KING
Give up the Halfling, she - elf! She draws her sword and yells at the Witch King.
ARWEN
( yelling . )
If you want him, come and claim him.
THE WITCH KING SCREECHES ANGRILY , draws his sword , and leads the Ringwraiths across the Ford . The water starts flowing faster . a distant rumble can be heard . Arwen waits until they are halfway across : she suddenly stands in the saddle arms raised !
ARWEN
( CONT 'D . )
( Elvish . )
Non o Chithaeglir, lasto Beth daer : Rimmo nin Briunen Dan in Ulaer! Nin o Chitaeglir, lasto Beth daer : Rimmo nin Bruinen Dan in Ulaer!
THE GROUND SUDDENLY TREMBLES . A MIGHTY ROAR FILLS THE AIR ! Frodo looks up weakly . to see a vast torrent of Water flooding down the river towards the ford . as if a dam had burst ! The Foaming water seems to form the shape of Dancing white horses with frothing manes ! The Ringwraiths scream in terror as they are swallowed up in the deluge . Their Piercing cries are drowned in the roaring of the river as it carries them away ! CLOSE ON : FRODO as he loses consciousness .
ARWEN
( upset . )
No, no. Frodo, no! Frodo, do n't give in. not now!
Arwen gathers the small Hobbit in her arms , feeling his life slip away .
INT. FRODO'S DELIRIUM - DAY
DELIRIOUS IMAGES AND SOUNDS .
ARWEN
( V.O . )
What grace is given me, let it pass to him. Let him be spared. Save him.
IMAGE : A BRIGHT LIGHT suddenly flares . Frodo squeezes his eyes shut , gasping .
FRODO
( frightened . )
Where am I?
A FAMILIAR VOICE cuts through the swirl of sound .
GANDALF
( O.S . )
You are in the House of Elrond, and it is ten o'clock in the morning on October the twenty - fourth, if you want to know.
INT. FRODO'S BEDROOM - DAY
Frodo 's eyes flicker Open He is lying in bed next to an Open Window . Dappled sunlight plays on richly carved timbers . the sound of a nearby waterfall drifts through the Vista of Fir Trees .
FRODO
( weak relief . )
Gandalf!
ANGLE ON : GANDALF IS SITTING NEXT TO FRODO 'S BED . softly puffing on his pipe . He smiles at Frodo .
GANDALF
Yes, I'm here and you're lucky to be here, too. A few more hours and you would have been beyond our aid. You have some strength in you, my dear Hobbit.
Frodo sits up , looking at Gandalf questioningly .
FRODO
What happened, Gandalf? Why did n't you meet us?
GANDALF
I'm sorry Frodo.
Close on : Gandalf . troubled . His eyes drift away .
GANDALF
( CONT 'D . )
I was delayed.
EXT. ORTHANC SUMMIT - NIGHT
SARUMAN stands over Gandalf , gloating .
SARUMAN
Get up! So much for the power of the Ring or embrace your own destruction!
With the power of his staff , Saruman raises Gandalf from the ground , then sends him crashing to the floor .
GANDALF
There is only one Lord of the Ring. Only one who can bend it to his will. and he does not share power.
SUDDENLY ! GANDALF lurches to his feet and Throws himself off the Tower ! Saruman watches Gandalf fly away from Isengard . on the Back of a GIANT EAGLE .
SARUMAN
( chilling . )
So you have chosen death!
EXT. SKIES OVER MOUNTAINS - DAWN
Gwaihir the Eagle soars majestically over the mountains , carrying Gandalf towards the dawn .
INT. FRODO'S BEDROOM--RIVENDELL
Frodo raises himself up and looks at Gandalf .
FRODO
Gandalf! What is it? Gandalf returns his attention to Frodo.
GANDALF
Nothing, Frodo.
Sam runs to Frodo 's bedside . He is overjoyed to find Frodo awake .
SAM
Frodo! Frodo! Bless you, you're awake!
GANDALF
Sam has hardly left your side.
SAM
We were worried about you - were n't we, Mr. Gandalf?
GANDALF
By the skills of Lord Elrond, you're beginning to mend. ELROND, LORD OF THE HIGH ELVES, steps up to Frodo's
bedside . his face is neither old nor young , though in it is written the memory of many things both glad and sorrowful .
ELROND
Welcome to Rivendell, Frodo Baggins. Frodo sits up, looking at Elrond with awe.
EXT. RIVENDELL VALLEY - DAY
WIDE ON : RIVENDELL . a small cluster of elegant Elven Buildings sitting in a Shangri - la like Valley below towering cliffs and snow capped mountains .
ELROND
( V.O . )
You have found your way to the last homely house east of the sea. The elves of Imladris have dwelt within this valley for three thousand years through few of my kin now remain. Frodo looks out from his balcony.
EXT. RIVENDELL GARDENS - DAY
Frodo and Sam walk together . Suddenly , the voices of Merry and Pippin can be heard as they bound up to Frodo and throw their arms around him .
MERRY
Frodo! Frodo!
Sam looks past Frodo smiling . a bent figure sits alone on a bench , in the Sun . Close on : Frodo turning , following Sam 's gaze .
FRODO
Bilbo!
EXT. RIVENDELL TERRACE - DAY
Close on : BILBO BAGGINS ! He breaks in to a broad grin as Frodo rushes forward to embrace him . Bilbo has aged significantly since we last saw him .
BILBO
Hello, Frodo, my lad!
FRODO
Bilbo!
LATER . Frodo is turning the neatly inscribed title page of a red leather bound journal :
FRODO
( CONT 'D . )
( reading . )
`` There and back again : A Hobbit's tale'' by Bilbo Baggins.
Bilbo smiles Proudly . He is sitting with Frodo on a terrace overlooking a Waterfall . Frodo looks at Page after page of beautiful Handwriting , with intricate Maps and Drawings .
FRODO
( CONT 'D . )
This is wonderful.
BILBO
I meant to go back. wander the paths of Mirkwood, visit Laketown, see the Lonely Mountain again. but age, it seems, has finally caught up with me.
Frodo turns a page . there before him , is a map of the Shire .
FRODO
( quietly . )
I miss the Shire. I spent all my childhood pretending I was off somewhere else. off with you, on one of your adventures.
( Looks at Bilbo . )
But my own adventure, turned out to be quite different. I'm not like you, Bilbo.
BILBO
My dear boy.
EXT. RIVENDELL TERRACE - EVENING
Sam busily tries to stuff more and more things into his already full pack . pots and pans , blankets , cooking utensils , provisions , clothes .
SAM
No, what have I forgotten? Pull back to reveal Frodo, hands in his pocket, watching Sam.
FRODO
Packed already?
Sam looks up , startled .
SAM
( slightly embarrassed . )
No harm in being prepared. Frodo strolls to the edge of the Balcony.
FRODO
I thought you wanted to see the Elves, Sam?
SAM
I do.
FRODO
More than anything.
SAM
I did. It's just. we did what Gandalf wanted, did n't we? We got the Ring this far, to Rivendell. and I thought. seeing as how you're on the mend, we'd be off soon. Off home.
FRODO
You're right, Sam. Frodo looks at Sam.
FRODO
( CONT 'D . )
we did what we set out to do. Frodo opens his hand, the Ring sits in his Palm.
FRODO
( CONT 'D . )
The ring will be safe in Rivendell. I am ready to go home.
EXT. ELROND'S CHAMBER, RIVENDELL - DAY
Gandalf and Elrond watch Frodo and Sam from Elrond 's balcony ,
ELROND
His strength returns.
GANDALF
That wound will never fully heal. He will carry it the rest of his life.
ELROND
And yet to have come so far still bearing the Ring. the hobbit has shown extraordinary resilience to its evil.
GANDALF
It is a burden he should never have to had to bear. We can ask no more of Frodo.
ELROND
Gandalf, the enemy is moving. Sauron's forces are massing in the east. His eye is fixed on Rivendell. And Saruman, you tell me, has betrayed us. Our list of allies grows thin.
GANDALF
His treachery runs deeper than you know. By foul craft, Saruman has crossed Orc with Goblin Men. he is breeding an army in the caverns of Isengard. An army that can move in Sunlight and cover great distance at speed. Saruman is coming for the Ring.
Elrond turns and walks away .
ELROND
This evil can not be concealed by the power of the Elves. We do not have the strength to fight both Mordor and Isengard. Gandalf. the ring can not stay here.
Gandalf turns and looks out the window . Sounds of arrivals . Gandalf watches as Boromir rides through Rivendell gate , followed by Legolas and Gimli .
ELROND
( V.O. ; CONT 'D . )
This peril belongs to all Middle earth. They must decide how to end it. Not just for themselves but for those who come after. Elrond approaches Gandalf.
ELROND
( CONT 'D . )
The time of the Elves is over. My people are leaving these shores. Who will you look to when we have gone? The dwarves? They hide in their mountains seeking riches. They care nothing for the troubles of others.
GANDALF
It is in Men that we must place our hope.
ELROND
Men? Men are weak. The race of Men is failing. The blood of Numenor is all but spent, its pride and dignity forgotten. It is because of men the Ring survives.
FLASH INSERT : With the broken sword , Isildur slices off Sauron 's finger . Elrond reacts .
ELROND
( V.O. ; CONT 'D . )
I was there, Gandalf. I was there three thousand years ago when Isildur took the ring.
FLASH INSERT : ISILDUR PICKS UP THE RING AND STARES AT IT , ENTRANCED .
ELROND
I was there the day the strength of Men failed.
INT. CRACK OF DOOM - DAY
ELROND
Isildur. hurry. follow me! IMAGES : ELROND leads Isildur into the steaming volcano.
ELROND
( V.O. ; CONT 'D . )
I let Isildur into the heart of Mount Doom, where the ring was forged : the one place it could be destroyed.
FLASH INSERT : ELROND AND ISILDUR STAND BEFORE THE FIRES OF MT. DOOM .
ELROND
Cast it into the fire. destroy it!
CLOSE ON : ISILDUR . CAPTIVATED BY THE RING .
ISILDUR
No.
Isildur turns and walks away
ELROND
Isildur!
INT. ENROND'S CHAMBER, RIVERDELL - DAY
Elrond turns to Gandalf .
ELROND
It should have ended that day, but evil was allowed to endure. Isildur kept the Ring. and the line of Kings was broken. There's no strength left in the world of Men. They're scattered, divided, leaderless.
GANDALF
There is one who could unite them, one who could re claim the thrown of Gondor.
ELROND
He turned from that path a long time ago. He has chosen exile.
INT. ELROND'S CHAMBER, RIVENDELL - NIGHT
Strider watches from the shadows . as Boromir strolls through the darkened gallery . Boromir 's eyes are drawn to an old Fresco on the wall . depicting Isildur defeating Sauron . Boromir looks with Wonderment at Narsil , the Broken Blade of Elendil , which lies on a cloth - covered plinth .
BOROMIR
( quiet awe . )
The shards of Narsil. the blade that cut the Ring from Sauron's hand. Boromir picks up the sword and gently touches the Blade. Close on : a small bloom of blood appears on Boromir's finger.
BOROMIR
( CONT 'D . )
Still sharp.
Boromir senses Strider 's presence . he looks from the blade to Strider , as if sensing a connection .
BOROMIR
( CONT 'D . )
But no more than a broken heirloom.
BOROMIR
( CONT 'D . )
replaces the Broken blade, but it clatters to the floor. Boromir walks away, leaving Strider sitting alone.
Close on : Strider picks up the broken hilt , as Arwen appears behind him .
ARWEN
Why do you fear the past? You are Isildur's heir. not Isildur himself. You are not bound to his fate.
STRIDER
The same blood flows in my veins. the same weakness.
ARWEN
Your time will come. You will face the same evil. and you will defeat it.
( Elvish : w/subtitles . )
A si i - duath u - orthor, Aragorn. u or le a u or nin. The shadow does not hold sway yet. not over you and not over me.
EXT. RIVENDELL VALLEY - NIGHT
Night falls upon the beautiful valley of Rivendell . still and quiet .
EXT. RIVENDELL WATERFALL - NIGHT
Strider and Arwen stand upon a stone bridge . the Evenstar at Arwen 's breast shines in the moonlight .
ARWEN
( Elvish : with subtitles . )
Renech I lu I erui govannem? Do you remember when we first met?
STRIDER
( Elvish : with subtitles . )
Nauthannim I ned ol reniannen. I thought I had strayed into a dream.
Arwen reaches up and gently touches the Grey at Strider 's temples .
ARWEN
( Elvish : with subtitles . )
Gwenin in enniath. u - arnech in naeth I se celich. Long years have passed. you did not have the care you carry now.
Arwen looks into Strider 's eyes .
ARWEN
( CONT 'D . )
( Elvish : with subtitles . )
Renech I Beth I pennen? Do you remember what I told you? Arwen reaches for Strider's hand.
STRIDER
( quietly . )
You said you'd bind yourself to me, forsaking the immortal life of your people.
ARWEN
( whisper . )
And to that I hold. I would rather share one lifetime with you than face all the ages of this world alone. Strider looks down. In his hand lies the Evenstar.
ARWEN
( CONT 'D . )
I choose a mortal live.
STRIDER
You can not give me this.
ARWEN
It is mine to give to whom I will, like my heart.
Arwen closes Strider 's fingers around the jewel . Arwen leans towards Strider , gently kissing him .
INT. COUNCIL CHAMBER, RIVENDELL - DAY
Elrond addresses the council .
ELROND
Strangers from distant lands. friends of old. You have been summoned here to answer the threat of Mordor. Middle - earth stands upon the brink of destruction. None can escape it. You will unite. or you will fall. Each race is bound to this fate. this one doom.
Frodo sits amongst a council of free - peoples of Middle earth , Elrond stands before them , addressing Gandalf , Strider , Legolas , and 20 other elves , Dwarves , and men .
ELROND
( CONT 'D . )
Bring forth the ring, Frodo.
Frodo steps forward and moves towards a stone Plinth . He places the ring on the plinth and returns to his seat .
BOROMIR
( shocked . )
So it is true!
LEGOLAS
( disbelief . )
Sauron's Ring! The ring of power!
GIMLI
( grim . )
The doom of man!
BOROMIR
It is a gift. a gift to the foes of Mordor! Why not use this Ring? Long has my father, the Steward of Gondor, held the forces of Mordor at bay. by the blood of our people are your lands kept safe. Give Gondor the weapon of the enemy. let us use it against him!
STRIDER
You can not wield it. None of us can. The one ring answers to Sauron alone. it has no other master. Boromir turns and looks at Strider, coolly.
BOROMIR
And what would a ranger know of this matter?
Strider says nothing and Boromir turns away dismissively . LEGOLAS stands .
LEGOLAS
This is no mere Ranger. He is Aragorn, son of Arathorn. You owe him your allegiance.
Frodo looks at Strider questioningly . Boromir turns sharply .
BOROMIR
( quiet disbelief . )
Aragorn? This is Isildur's heir?
LEGOLAS
And heir to the throne of Gondor.
ARAGORN
( Elvish : with subtitles . )
Havo dad, Legolas. Sit down, Legolas.
BOROMIR
Gondor needs no king.
GANDALF
Aragorn is right. we can not use it.
ELROND
You have only one choice. the ring must be destroyed.
The HUM OF THE RING seems to grow louder in Frodo 's ears . Gimli suddenly stands , excited .
GIMLI
Then. what are we waiting for?
Gimli suddenly rushes forward ! He swings his axe down on the ring . The axe shatters with a deafening crack ! Gimli falls backwards , staring in disbelief at the ring . unharmed ! Frodo winces as an angry image of the fiery eye hits him ! He slumps in this chair , clutching his forehead . Gandalf looks at him with concern .
ELROND
The ring can not be destroyed, Gimli, son of Gloin, by any craft that we
ELROND
( CONT 'D . )
here possess. The ring was made in the fires of Mount Doom. only there can it be unmade. It must be taken deep into Mordor, and cast back into the fiery chasm from whence it came. One of you must do this.
Stunned silence . the council sits with downcast eyes , as if a great dread has descended on them . Boromir addresses the council in a quiet voice
BOROMIR
One does not simply walk into Mordor. Its black gates are guarded by more than just Orcs. There is evil there that does not sleep and the Great Eye is ever watchful. It is a barren wasteland, riddled with fire and ash and dust. the very air you breathe is a poisonous fume. Not with ten thousand men could you do this. It is folly.
LEGOLAS
Have you heard nothing Lord Elrond has said? The ring must be destroyed.
GIMLI
And I suppose you think you're the one to do it?
BOROMIR
And if we fail, what then? What happens when Sauron takes back what is his?
Gimli leaps to his feet !
GIMLI
I will be dead before I see the Ring in the hands of an Elf! A STORM OF ARGUMENT erupts around the room. CLOSE ON : FRODO. sound disappears as he watches in slow
motion . the angry faces , the shaking fists , the accusatory fingers , his eyes move across to the ring . the hum grows louder in his head .
GIMLI
( CONT 'D . )
( shouting . )
Never trust an Elf!
CLOSE ON : THE RING fills the screen . streams of blood flow across the surface . flames flicker within the Gold Band .
GANDALF
Do you not understand? While we bicker among ourselves, Sauron's power grows! No one will escape it. You will all be destroyed, your homes burnt and your families put to the sword!
CLOSE ON : FRODO . breathing rapidly , Caught in the grip of his hideous vision . With a huge effort or will , Frodo tears his gaze upon the ring . Frodo suddenly stands . he speaks in a strong , clear voice .
FRODO
I will take it. I will take it. I will take the Ring to Mordor.
Sudden silence . Frodo looks around the room at the astounded faces .
FRODO
( CONT 'D . )
( quietly . )
Though. I do not know the way. Gandalf rises to his feet.
GANDALF
I will help you bear this burden, Frodo Baggins, as long as it is yours to bear.
ARAGORN
If, by my life or death, I can protect you, I will.
( kneels before Frodo . )
. you have my sword. Aragorn steps forward. followed by Legolas and Gimli.
LEGOLAS
And you have my bow.
GIMLI
And my axe.
Boromir looks at them all then walks towards Frodo .
BOROMIR
You carry the fate of us all, little one.
Boromir looks towards Elrond and Gandalf .
BOROMIR
( CONT 'D . )
If this is indeed the will of the Council, then Gondor will see it done.
Frodo stares in wonder as the Greatest Fighters in all Middle earth stand at his side .
SAM
( unseen . )
Here!
A Sudden Noise . Sam pops up from behind a Bush !
SAM
( CONT 'D . )
Mr. Frodo's not gong anywhere without me.
ELROND
No, Indeed. it is hardly possible to separate you. even when he is summoned to a secret council and you are not.
Merry and Pippin jump up from behind another bush !
MERRY
Oi! We're coming too! You'll have to send us home tied up in a sack to stop us.
PIPPIN
Anyway. you need people of intelligence on this sort of mission. quest. thing.
MERRY
Well, that rules you out, Pip.
ELROND SURVEYS THE GROUP
ELROND
( thoughtfully . )
Nine companions. so be it.
( announcing . )
You shall be the `` Fellowship of the ring''
PIPPIN
Great. Where are we going?
INT. FRODO'S BEDROOM, RIVERDELL- - DAWN
Close on : An old sword sliding out of a shabby leather Scabbard . its polished , well tendered Blade glitters cold and bright .
BILBO
My old sword `` Sting''. here, take it!
Bilbo offers Sting to Frodo .
FRODO
It's so light!
BILBO
Yes, yes, made by the Elves, you know. The blade glows blue when Orcs are close. and it's times like that, my lad, when you have to be extra careful.
Bilbo unwraps a small shirt of close woven Mail .
BILBO
( CONT 'D . )
Here's a pretty thing. Mithril, as light as a feather, and as hard as dragon scales. Let me see you put it on. Come on.
CLOSE ON : Frodo peels off his shirt . revealing The Ring on the Chain around his neck .
BILBO
( CONT 'D . )
( entranced . )
Oh! My old Ring. Frodo frowns as Bilbo moves toward him.
BILBO
( CONT 'D . )
I should very much like to hold it again, one last time. Bilbo reaches forward, eyes locked on the ring.
Suddenly ! A shadow passes across Bilbo . for a split second he becomes a wrinkled creature with a hungry face and Bony , groping hands . Frodo pulls away , shocked . the shadow passes . Bilbo slumps into a chair , his head in his hands . Bilbo falters . his eyes filling with tears .
BILBO
( CONT 'D . )
Oh!
BILBO
( CONT 'D . )
( sad . )
I'm sorry, that I brought this upon you, my boy. I'm sorry that you must carry this burden. I'm sorry for everything.
Bilbo sobs and Frodo moves to comfort him .
EXT. RIVENDELL VALLEY - MORNING
The Fellowship climb the long steep path out of the cloven vale of Rivendell .
EXT. ROUGH COUNTRY, SOUTH OF RIVENDELL - DAY
The fellowship trekking through a land of Deep Valleys and turbulent waters . the misty mountains rise sharply to their left .
GANDALF
( V.O . )
We must hold to his course west of the misty Mountains for forty days. If our luck holds, the Gap of Rohan will still be open to us. From there, our road turns east, to Mordor.
EXT. EREGION HILLS - DAWN
CLOSE ON : Sam at the campfire . The sound of clashing swords ! Wider : Aragorn and Boromir are giving Pippin Sword tuition .
BOROMIR
Get away from the blade, Pippin. on your toes. good, very good. I want you to react, not think.
SAM
Should not be too hard.
BOROMIR
Move your feet.
MERRY
Quite good, Pippin.
PIPPIN
Thanks.
CLOSE ON : GIMLI has managed to corner Gandalf .
GIMLI
If anyone were to ask for my opinion, which I note they have not, I would say we are taking the long way round. Gandalf, we can pass through the Mines of Moria. My cousin, Balin, would give us a royal welcome. Gandalf clearly thinks that is a bad idea.
GANDALF
No, Gimli. I would not take the road through Moria unless I had no other choice.
Boromir thrusts , catching Pippin on the hand . Pippin throws down his sword , kicks and lunges at Boromir , tackling him to the ground . Much laughter . Legolas ' eyes are fixed on a distant Dark Patch which darts about the sky , like flying smoke in the wind .
SAM
What is that?
GIMLI
Nothing. it's just a wisp of a cloud.
BOROMIR
( worried . )
It's moving fast. against the wind.
LEGOLAS
Crebain from Dunland!
ARAGORN
( urgently . )
Hide!
BOROMIR
Merry. Pippin. Sam. take cover! WIDE ON : THE FELLOWSHIP scramble under what little cover
there is . as a regiment of Large crows fly low overhead at Great speed , wheeling and circling above . As their dark shadow passes over the fellowship , a single harsh croak is heard . and the crows suddenly wheel away , back towards the south . Gandalf staggers to his feet .
GANDALF
( worried . )
Spies of Saruman. The passage South is being watched.
Gandalf looks at Aragorn , turns to the others . gesturing towards a high mountain pass .
GANDALF
( CONT 'D . )
We must take the pass of Caradhras!
EXT. SNOWY MOUNTAINSIDE - DAY
The Fellowship clamber through Rock and Snow . CLOSE ON : Frodo slips on some shale . as he scrambles to his feet , the Ring falls on the ground . CLOSE ON : the ring gleaming in the snow ! Boromir 's Hand picks it up by the chain . he stands , the ring dangling before his eyes . He seems to grow in stature , as if absorbing its power . Aragorn warily approaches Boromir . Boromir is motionless . he stares at the ring , as if transfixed .
ARAGORN
Boromir?
BOROMIR
It is a strange fate that we should suffer so much fear and doubt over so small a thing. such a little thing.
ARAGORN
( quietly . )
Boromir. give the ring to Frodo. ARAGORN'S HAND moves to his sword hilt.
Ring 's POV . looking up at Boromir 's face . The strange hum vibrates on the soundtrack . CLOSE ON : a Weird beatific smile lights up Boromir 's face . The HUM grows to a Deafening roar ! Boromir suddenly snaps out of his trance and hands the ring back to Frodo .
BOROMIR
( lightly . )
As you wish. I care not.
Boromir smiles at Frodo , ruffling his hair . CLOSE ON : ARAGON unhands his sword .
EXT. ISENGARD - DAY
Following the crows as they race deeper and deeper , passing a vista of Industry , Hundreds of Orcs and writhing Birthsacks . flying past Saruman , who stands upon a wooden Gantry . CLOSE ON : Saruman , listening to the Cries of the crows .
SARUMAN
So, Gandalf. you try to lead them over Caradhras. And if that fails. where then will you go? THE FELLOWSHIP struggles through the snow.
SARUMAN
( V.O. ; CONT 'D . )
If the mountain defeats you, will you risk a more dangerous road?
EXT. PASS OF CARADHRAS - DAY
THE FELLOWSHIP are struggling through a blinding blizzard , up towards the PASS OF CARADHRAS . Legolas the Elf moves lightly across the top of the snow . he suddenly pauses . Saruman 's voice sweeps by in the wind .
LEGOLAS
( urgent . )
There is a fell voice in the air.
GANDALF
It's Saruman.
THUNDER RUMBLES . ROCK and Shale fall from above .
ARAGORN
( urgently . )
He's trying to bring down the mountain. Gandalf! We must turn back!
GANDALF
No!
GANDALF RAISES HIS STAFF . HE CHANTS INTO THE WIND .
GANDALF
( YELLING . )
Losto Caradhras, sedho, hodo, nuitho I ruith. Sleep Caradhras, be still, lie still, hold your wrath.
EXT. ISENGARD - DAY
CAMERA SWEEPS PAST SARUMAN . he stands on the summit of Orthanc , Chanting . CLOUDS ARE FLOWING FROM ALL DIRECTIONS . converging on the distant mountains in a stormy Malestrom .
EXT. PASS OF CARADHRAS - DAY
Saruman 's voice strengthens . rolling past the fellowship like thunder . A LIGHTNING CRACK explodes on the mountainside above them . Frodo looks up in horror as a huge snow avalanche thunders down towards them ! The Fellowship throw themselves against the cliff face as snow crashes onto the narrow ledge . LEGOLAS pulls Gandalf to safety . Aragorn shields Frodo and Sam as snow piles around them . Within moments , the pass is blocked and the fellowship are enveloped in snow . Boromir and Aragorn frantically dig for the hobbits . who are pulled out Shivering and Fearful .
BOROMIR
( urgent . )
We must get off the mountain! Make for the gap of Rohan and take the West road to my city.
ARAGORN
The Gap of Rohan takes us too close to Isengard.
GIMLI
We can not pass over the mountain. Let us go under it. Let us go through the mines of Moria. Gandalf has a concerned look on his face.
SARUMAN
( V.O . )
Moria. You fear to go into those mines, do n't you? The dwarves delved too greedily and too deep.
SARUMAN
( V.O. ; CONT 'D . )
You know what they awoke in, the darkness of Khazad - dum. Shadow and flame.
GANDALF
Let the ringbearer decide.
CLOSE ON : FRODO , the weight of the decision weighing heavily upon him . CLOSE ON : MERRY and PIPPIN shivering in Boromir 's arms .
GANDALF
( CONT 'D . )
Frodo?
Frodo meets Gandalf 's eye .
FRODO
We will go through the mines. Gandalf slowly nods.
GANDALF
So be it.
EXT. MORIA GATE - NIGHT
The Fellowship are walking along the far shore of dark lake . directly below great looming cliffs .
GIMLI
( in awe . )
The walls of Moria!
Footing is treacherous on the narrow strip of green and greasy stones . Gandalf touches the smooth rock wall between the trees . slowly , faint lines appear like slender veins of luminous silver running through the stone .
GANDALF
Itidin. it mirrors only starlight and moonlight.
A large moon rises over the mountains . The lines grow Broader and Clearer , forming a glowing arch of interlacing ancient letters and symbols .
GANDALF
( CONT 'D . )
It reads, `` The door of Durin, Lord of Moria. Speak, friend, and enter.''
MERRY
What do you suppose that means?
GANDALF
( confident . )
It's quite simple. If you are a friend, speak the password and the doors will open.
Gandalf raises his arms .
GANDALF
( CONT 'D . )
( incanting . )
Annon edhellen, edro hi ammen!
The cliff towers into the night , the wind blows cold , Frodo shivers . and the door stands fast ! GANDALF CONTINUES . Mumbling spells in his efforts to open the door . Sam packs pots and pans at his feet . watching sadly as Aragorn un - saddles Bill the pony . CLOSE ON : ARAGORN whispering to Bill the Pony .
ARAGORN
( whispering . )
Mines are no place for a Pony, even one so brave as Bill.
SAM
Bye, Bill.
ARAGORN
Go on, Bill, go on. do n't worry, Sam. he knows his way home. Aragorn slaps Bill on the rump. Bill goes trotting off. CLOSE ON : Sam watching Bill disappear into the darkness.
SAM
Goodbye, Bill.
SPLASH ! Merry and Pippin are tossing stones into the lake . Black Rippling rings slowly fan out . Pippin is about to throw another stone , but Aragorn grabs his arm .
ARAGORN
( ominous . )
Do not disturb the water.
Aragorn watches anxiously as the Ripples appear to grow . he exchanges a look with Boromir . Aragorn 's hand creeps towards his sword . Gandalf gives up in despair . he sits down beside Frodo . Close on : Frodo peers at the Elvish inscription . his face breaks into a smile of comprehension .
FRODO
( quietly . )
It's a riddle.
Gandalf raises his eyebrows .
FRODO
( CONT 'D . )
( explaining . )
Speak, friend, and enter. What's the Elvish for friend?
GANDALF
Oh. mellon.
With that , the rock face silently divides in the middle and two great Doors swing outwards . revealing a blackness deeper than the night . As the Fellowship enter the Blackness , something in the water stirs .
INT. MORIA GATE - NIGHT
The Fellowship step warily into the darkness of Moria . a Dank cavern , with winding steps leading deeper into the mountain .
GIMLI
So, master elf, you will enjoy the fabled hospitality of the dwarves ; roaring fires, malt beer, red meat off the bone. This, my friend, is the home of my cousin, Balin. and they call this a Mine.
( snorting . )
A mine!
A Glow from Gandalf 's Staff suddenly lights the chamber . The Fellowship recoil in Horror ! Many dwarf Skeletons are strewn about , clearly the dead of some old battle . the rusting armor and shields are peppered with arrows and axes .
BOROMIR
( grimly . )
This is no mine. it's a tomb!
GIMLI
( in horror . )
Oh. no. no. no! Legolas pulls a crude arrow out of a skeleton.
LEGOLAS
Goblins!
The Fellowship draw swords and back away , towards the Entrance .
BOROMIR
We make for the Gap of Rohan. We should never have come here.
EXT. MORIA GATE - NIGHT
Frodo is suddenly PULLED TO THE GROUND . A long sinuous Tentacle is wrapped around Frodo 's ankle and is dragging him towards the lake . FRODO CRIES OUT as Aragorn and Boromir rush forward ! Aragorn severs the Tentacle holding Frodo , and pulls him to safety . Boromir hacks at the other Writhing Limbs . 20 more tentacles ripple out of the Lake ! The dark water Boils as the hideous beast lashes out at the FELLOWSHIP ! Again the creature grabs Frodo and pulls him to the lake , Frodo is flung in the air as the Fellowship battle the creature . Aragorn hacks at a tentacle . Frodo is released , falling into Boromir 's arms .
GANDALF
Into the mines!
BOROMIR
Legolas!
Legolas shoots an Arrow into the creature 's head , gaining a few vital seconds for Aragorn and Boromir as they race out of the water with Frodo . The FELLOWSHIP hurriedly back away from the Creature . retreating into the Moria Chamber as many Coiling arms seize the large doors .
INT. MORIA GATE - NIGHT
With a shattering echo , the creature rips the doors away , creating a rock slide that crashes down the Cliff Face . Within seconds , tons of rock seal the doorway . throwing the Fellowship into Pitch Blackness . A faint light rises from Gandalf 's staff , throwing a Creepy Glow across the old wizards face .
GANDALF
( ominous . )
We now have but one choice. we must face the long dark of Moria. Be on your guard. there are older and fouler things than the Orcs in the deep places of the world.
INT. NEW CHAMBER, MORIA - NIGHT
WIDE ON : the Fellowship crossing a precarious bridge above deep mine workings .
GANDALF
Quietly, now. It's a four day journey to the other side. Let us hope that our presence will go unnoticed.
INT. MORIA CEMETERY CAVERN - NIGHT
They continue up a steep stair , passing through a dwarf cemetery . The graves are despoiled . dwarf skeletons are strewn about and Goblin Graffiti is scrawled on monuments in dried Dwarf blood . The Atmosphere is very sinister .
INT. MORIA TUNNEL FORK - NIGHT
The path splits into three passages . each disappearing into dark tunnels . Gandalf pauses , frowning .
GANDALF
I have no memory of this place.
LATER . The Fellowship are nervously waiting . while Gandalf sits , staring intently at the 3 tunnel mouths in front of him . He appears to be in some kind of trance . CLOSE ON : FRODO He turns at the sound of a faint noise down the tunnel behind them .
PIPPIN
Are we lost?
MERRY
No. I do n't think we are. Shhhh, Gandalf's thinking.
PIPPIN
Merry!
MERRY
What?
PIPPIN
I'm hungry.
Frodo 's POV : a sudden glimpse of a creature darting in the darkness . Frodo is nervous . he approaches Gandalf .
FRO DO
( whispers . )
There's something down there.
GANDALF
( quietly . )
It's Gollum.
FRODO
Gollum!
GANDALF
He's been following us for three days.
TEASING SHOT : and emaciated , leering creature .
FRODO
( disbelieving . )
He escaped the dungeons of Barad - dur?
GANDALF
Escaped. or was set loose. And now the Ring has drawn him here. he will never be rid of his need for it. He hates and loves the ring, as he hates and loves himself. Smeagol's life is a sad story. Gandalf catches Frodo's look of surprise.
GANDALF
( CONT 'D . )
Yes. Smeagol he was once called. Before the ring came to him, before it drove him mad.
Gollum 's withered fingers are gripping the cave wall . he is large , Luminous eyes blinking with malice .
FRODO
( grim . )
It's a pity Bilbo did n't kill him when he had the chance.
GANDALF
Pity? It was pity that stayed Bilbo's hand. Many that live deserve death, and some that die deserve life. Can you give it to them, Frodo? Frodo frowns.
GANDALF
( CONT 'D . )
Do not be too eager to deal out death in judgment. even the very wise can not see all ends. My heart tells me that Gollum has some part to play yet, for good or ill, before this is over. The pity of Bilbo may rule the fate of many.
FRODO
I wish the ring had never come to me. I wish none of this had happened.
GANDALF
So do all who live to see such times, but that is not for them to decide. All we have to decide is what to do with the time that is given to us. There is a note of finality in Gandalf's voice.
GANDALF
( CONT 'D . )
There are other forces at work in this world, Frodo, besides the will of evil. Bilbo was meant to find the ring. In which case, you also were meant to have it. and that is an encouraging thought.
( sudden brightness . )
Ah! That it's that way! Gandalf points at the right hand tunnel. the Fellowship scramble to their feet.
MERRY
( relieved . )
He's remembered!
GANDALF
No, but the air does n't smell so foul down there. If in doubt, Meriadoc, always follow your nose!
( laughs . )
Ye s.
INT. DWAROWDELF CHAMBER, MORIA - DAY
The Fellowship pass under an arched doorway into a black and empty space . Gandalf pauses .
GALADRIEL
Let me risk a little more light. Gandalf taps his staff. for a brief moment a light
blazes . like a silent Flash of Lightning . Great shadows spring up and flee .
GANDALF
Behold! The great realm and Dwarf city of Dwarrowdelf! Frodo gasps at the brief sight of a vast roof, far above
their heads , upheld by many mighty pillars hewn of stone . Before them stretches a huge empty hall , with black walls , polished and smooth as glass .
SAM
Well, there's an eye opener and no mistake!
Ahead of them , a wooden door has been smashed . Black arrows are embedded in the timbers . Two goblin skeletons lie in the doorway . Gimli rushes ahead .
GANDALF
Gimli!
INT. BALIN'S TOMB, MORIA - DAY
Gimli rushes into another vast empty chamber . lit with a narrow shaft of sunlight , beaming in from a small hole near the roof . Dwarf and Goblin skeletons are piled high . In the far corner sits a stone walled Well . A shaft of light falls directly onto a stone table in the middle of the room : a single oblong block , about 4 feet high , topped with a great slab of white stone . Gimli falls to his knees .
GIMLI
No. no. oh, no!
Gimli sobs . Gandalf quietly reads an inscription of runes , carved onto the white stone slab .
GANDALF
`` Here lies Balin, son of Fudin, Lord of Moria.'' He is dead, then. It's as I had feared.
Gandalf carefully lifts the rotting remains of a book from the white stone slab . It has been slashed and stabbed . and appears to be covered in Dried Blood . The pages crack and break as he opens it .
LEGOLAS
( urgent whisper to Argorn . )
We must move on, we can not linger.
GANDALF
( reading . )
`` They have taken the Bridge and the second hall : we have barred the gates. but can not hold them for long. the ground shakes. drums in the deep. we can not get out. A shadow moves in the dark. Will no - one save us? They are coming.''
Unnerved , Pippin backs away nervously . He stumbles against the well , sending a precariously balanced Armored skeleton tumbling in ! Merry reaches out , Grabbing hold of Pippin before he falls . The Fellowship freeze in stunned silence as the armored skeleton clatters down the deep well . echoing loudly !
INT. MORIA CAVERNS - DAY
Gandalf turns angrily on Pippin .
GANDALF
( angry . )
Fool of a Took! Throw yourself in next time and rid us of your stupidity!
ANGLE ON : PIPPIN , CHASTENED . They fall silent . A low rolling boom rises from the depths below . growing louder . BOOM . BOOM . as if the caverns of Moria were turned into a vast drum . A great horn blasts nearby . Answering horns . running feet . harsh cries . Sam 's eyes glance at Frodo 's belt .
SAM
( worried . )
Mr. Frodo!
Frodo looks down . A cold blue glow is emanating from Sting 's Scabbard ! Frodo draws the Sword . and stares at its glowing blade !
LEGOLAS
Orcs!
ARAGORN
( to the hobbits . )
Get back! Stay close to Gandalf.
Aragorn and Boromir slam and wedge the doors . Boromir catches sight of something ; he turns to Aragorn with shock in his eyes .
BOROMIR
They have a cave troll!
Gimli snatches up two rusty dwarf axes and leaps onto the tomb .
GIMLI
( yelling . )
Let them come! There is one Dwarf yet in Moria who still draws breath!
BOOM ! The Door bursts open in a shower of wood fragments , and 20 Goblins charge into the tomb , followed by a huge cave troll ! Gimli ducks a blow and immediately buries his Axes in 2 Goblin helmets . Aragorn and Boromir wade into the mass of Goblins with their swords . Legolas fires deadly arrows into Goblin throats , desperately trying to Shield the Hobbits ! Gandalf is clutching his sword and joins in the battle ! The cave troll is sweeping his club at Aragorn . who stumbles backwards . the huge club descends for the killing blow . suddenly , in a flash of steel , Boromir 's long sword slices into the Scaly arm of the troll ; it rears back , spewing green blood ! Sam is backing up against a wall . a sword in one hand , a saucepan in the other . In desperation he swings wildly at a Goblin with a saucepan ! It keels over . Sam looks surprised . He wallops another Goblin and it too , drops .
SAM
I think I'm getting the hang of this.
The Cave Troll lunges forward , thrusting at Frodo 's chest with his spear .
FRODO
Aragorn! Aragorn!
Sam screams as Frodo is lifted off his feet by the spear tip and slammed against the wall .
ARAGORN
( shocked yell . )
Frodo!
The hobbits go crazy . Sam slashes at the cave troll 's knee , bringing him down . Merry and Pippin jump on him . Legolas fires an arrow . and the cave troll topples , dead . Aragorn rushes to Frodo 's side as he slumps to the floor . Frodo appears to be dead . Close on : Gandalf , Aragorn , Hobbits looking horrified . Suddenly Frodo coughs . takes a huge breath .
SAM
He's alive!
FRODO
I'm alright. I'm not hurt.
ARAGORN
You should be dead. That spear would've skewered a wild boar!
GANDALF
I think there's more to this hobbit than meets the eye.
Frodo open his shirt to reveal the Mithril Vest . The Troll Spear did not pierce the mithril . ''
GIMLI
Mithril! You are full of surprises, Master Baggins.
BOOM . BOOM . BOOM the sound of the drums rings out again ! Gandalf turns to the others .
GANDALF
To the bridge of Khazad - dum!
INT. DWAROWDELF CHAMBER, MORIA - DAY
Gandalf leads the fellowship into the huge Dwarrowdelf Chamber .
GANDALF
This way!
They hurry towards a distant door . as Goblins start scuttling down the Pillars behind them , like cockroaches ! Frodo looks with horror at the overwhelming Goblin army that 's rushing toward them ! SUDDENLY ! A deafening roar fills the air ! A fiery light dances down the hallway . the pillars casting eerie shadows . The Goblins freeze . They back Fearfully away from the approaching beast . melting into the darkness .
BOROMIR
What is this new devilry?
A HUGE SHADOW , surrounded by flame , falls across the hall . the ground shakes . an unearthly sound rumbles .
GANDALF
( quietly . )
A Balrog. a demon of the ancient world! This foe is beyond any of you!
( urgent yell . )
Run! Quickly!
INT. STAIRWAY OF KHASAD-DUM, MORIA - DAY
The BALROG , a massive creature rises from a chasm , a great 40 foot man - beast , with a mane of flames ! In one hand is a blade . like a stabbing tongue of fire ; in the other , a WHIP of many thongs . Aragorn leads the fellowship to the top of a dizzying stairway . Gandalf follows , leaning heavily on his staff . Close on : Aragorn looks at Gandalf , concerned .
GANDALF
Lead them on, Aragorn. The bridge is near.
Aragorn hesitates . Gandalf looks at him .
GANDALF
( CONT 'D . )
Do as I say ; swords are no more use here.
THE FELLOWSHIP race down the stairway , Aragorn picks up Frodo . leaping across a gaping chasm . A NARROW BRIDGE , spanning a bottomless pit . Gandalf yells to the others : Aragorn makes to throw Gimli across the Chasm .
GIMLI
Nobody tosses a dwarf! The BALROG smashes through the wall and spreads its vast wings. It swoops down past the Fellowship, disappearing into a flaming pit!
INT. BRIDGE OF KHAZAD-DUM, MORIA - DAY
The Fellowship run into a hall . the floor is split with fissures that spit flame .
GANDALF
( yelling . )
Over the bridge! Fly!
They race towards the slender bridge of stone . without kerb or rail . at the far end of the hall . The Fellowship recklessly hurry over the dizzying bridge . but Gandalf . the last . pauses in the middle of the span . he faces the Balrog . staff in one hand . Sword in the other ! Frodo looks back in horror :
GANDALF
( CONT 'D . )
You can not pass!
FRODO
( alarmed yell . )
Gandalf!
GANDALF
( yelling . )
I am a servant of the Secret Fire, wielder of the flame of Anor. The dark fire will not avail you, flame of Udun.
Frodo watches as the Balrog puts one foot on the bridge and draws up to Full Height , wings spreading from wall - to - wall . Gandalf is a tiny figure , balanced precariously on the narrow bridge .
GANDALF
( CONT 'D . )
Go back to the shadow! The BALROG slashes at Gandalf with its Sword of
flame . Gandalf blocks with his sword . a ringing clash and the Balrog 's sword shatters into molten fragments !
GANDALF
( CONT 'D . )
( booming . )
You shall not pass! The Balrog places one foot onto the bridge. Aragorn and Boromir race forward, swords drawn.
GANDALF CRIES ALOUD as he summons up his LAST RESERVES OF STRENGTH ! He thumps the bridge with his staff . a blinding sheet of white flame springs up . the staff shatters . the bridge breaks . right at Balrog 's feet . The stone bridge drops away into the gulf . from under the Balrog . For a moment , the great Beast remains poised in the air . then it plunges down : in slow motion Relief floods Frodo 's face . Gandalf remains trembling on the lip of the broken bridge . Slow motion : As the Balrog falls , he lashes out with his whip of fire . Slow motion : The thongs of the whip lash and curl around Gandalf 's knees , dragging him over the brink ! Gandalf just manages to hand on by his fingertips
FRODO
( screaming . )
Gandalf!
GANDALF
( fierce . )
Fly, you fools!
CLOSE ON : Gandalf lets go his grip and falls away . following the Balrog into the bottomless Abyss ! Frodo cries out ! Boromir scoops him up and carries him away .
FRODO
No!
ARAGORN
Gandalf!
They rush towards an archway .
EXT. DIMROLL DALE DOOR - DAY
The Fellowship tumble out of the Great Eastern Gate on to a grassy sunlit hillside . Sam , Merry , and Pippin fall slowly to the ground , Sobbing . Aragorn turns to Legolas and Gimli .
ARAGORN
( urgent . )
Legolas, get them up!
BOROMIR
Give them a moment. for pity's sake!
ARAGORN
By nightfall these hills will be swarming with Orcs! We must reach the woods of Lothlorien. Come, Boromir, Legolas, Gimli, get them up. On your feet, Sam. Boromir glances towards Frodo, then back at Aragorn. Frodo is walking away, as if in a daze.
ARAGORN
( CONT 'D . )
Frodo? Frodo!
CLOSE ON : FRODO SLOWLY TURNS . a look of numb shock on his devastated face . The Fellowship marches on .
EXT. DIMRILL DALE HILLSIDE - DUSK
Aragorn scours ahead of the company , as they stumble on in the fading light . in the distance the shimmer of a large forest can be seen . Lothlorien !
EXT. EDGE OF LOTHLORIEN - DUSK
WIDE ON : The fellowship run across a forest floor strewn with yellow flowers . above is a roof of golden leaves , held up by silver pillars . the trunks of huge , grey trees . Gimli looks nervously around .
GIMLI
Stay close, young hobbits. they say a Sorceress lives in these woods. An elf - witch of terrible power. All who look upon her fall under her spell.
Frodo hesitates . a STRANGE VOICE whispers in his head .
GALADRIEL
( V.O . )
Frodo.
GIMLI
And are never seen again!
GALADRIEL
( V.O . )
your coming to us is as the footsteps of doom. You bring great evil here, Ringbearer.
SAM
Mr. Frodo?
GIMLI
Well, here's one dwarf she wo n't ensnare so easily. I have the eyes of a hawk and the ears of a fox!
The FELLOWSHIP are suddenly surrounded by ARMED ELVES . Deadly arrows aimed at their heads . HALDIR , the Elvish captain steps forward . he looks at Gimli with disdain .
HALDIR
The dwarf breathes so loud we could have shot him in the dark.
ARAGORN
( Elvish : with subtitles . )
Haldir of Lorien, we come here for your help. We need your protection.
GIMLI
Aragorn! These woods are perilous. We should go back.
HALDIR
You have entered the realm of the Lady of the Wood. You can not go back.
Haldir 's eyes lock onto Frodo .
HALDIR
( CONT 'D . )
Come, she is waiting.
EXT. LOTHLORIEN HILLTOP - DAY
Haldir leads the Fellowship onto a Hill Top . They look with wonderment at the vista spread before them . Several miles towards the South , a Large Hill rises out of the woods . Upon the hill rise many mighty Mallorn Trees , taller than any others . Nestled high in the crown of the mallorns is a Beautiful City . It Gleams in the low rays of the late afternoon sun . green , gold , and silver . To the east of Caras Galadhon , the Woods of Lorien run down the pale gleam of Anduin , the great river . Beyond the River , the land appears flat and empty , formless and vague , until far away , it rises again like a dark and dreary wall . The Sun that lies on Lothlorien has not power to enlighten the shadows that lie beyond .
INT. CELEBORN'S CHAMBER, CARAS GALADHON - NIGHT
ANGLE ON : THE FELLOWSHIP step onto a wide fleet filled with a soft light . The walls are green and silver , the roof gold and in its midst is the trunk of the might Mallorn tree , now tapering toward its crown . Celeborn steps forward to greet the guests . His hair is long and silver , his face grave and beautiful , with no sign of age upon it . Next to him stands Galadriel , the Lady of the Elves . She has hair of deep gold and timeless , unsurpassed beauty . Celeborn looks hard at Aragorn .
CELEBORN
Eight there are, yet nine there were set out from Rivendell. Tell me, where is Gandalf, for I much desire to speak with him.
Frodo looks at Galadriel , standing silently beside Celeborn .
GALADRIEL
( V.O . )
( softly aloud . )
. he has fallen into shadow. Galadriel looks to Aragorn.
GALADRIEL
( CONT 'D . )
The Quest stands upon the edge of a knife. Stray but a little and it will fail, to the ruin of all. Yet hope remains while the company is true.
Galadriel 's eyes settle on Sam .
GALADRIEL
( CONT 'D . )
Do not let your hearts be troubled. Go now and rest for you are weary with sorrow and much toil. Galadriel's eyes turn to Frodo. her voice fades.
GALADRIEL
( CONT 'D . )
Tonight you will sleep in peace.
( whispered v/o . )
Welcome, Frodo of the Shire. CLOSE ON : FRODO looks at GALADRIEL. SUDDEN INSERT : GALADRIEL as she is on the other
side . Powerful , divine . no longer of this world . a Piercing white light surrounds her .
GALADRIEL
( V.O. ; CONT 'D . )
one who has seen the eye.
EXT. CARAS GALADHON LAWN - NIGHT
Gimli , Legolas , Merry , Pippin , Frodo and Sam are in a pavilion set among the trees near the fountain . They lie on soft couches as Elves leave food and wine for them . MOURNFUL SINGING drifts down from the trees above .
LEGOLAS
( sadly . )
A lament for Gandalf.
MERRY
What do they say about him?
LEGOLAS
I have not the heart to tell you. For me, the grief is still too near. Boromir is sitting alone. Aragorn approaches him.
ARAGORN
Take some rest. these borders are well protected.
Moonlight catches the trace of tears on Boromir 's face . Aragorn kneels down beside him .
BOROMIR
I will find no rest here. I heard her voice inside my head. she spoke of my father and the fall of Gondor, and she said to me : `` Even now, there
BOROMIR
( CONT 'D . )
is hope left. But I can not see it. it is long since we had any hope.
CLOSE ON : BOROMIR looks at ARAGORN in despair .
BOROMIR
( CONT 'D . )
My father is a noble man, but his rule is failing and our. our people lose faith. He looks to me to make things right. and I would do it, I would see the glory of Gondor restored. Have you ever seen it, Aragorn? The White Tower of Ecthelion, glimmering like a spike of pearl and silver, its banners caught high in the morning breeze. have you ever been called home by the clear ringing of silver trumpets?
ARAGORN
I have seen the white city. long ago.
Boromir feels Aragorn 's love for Minas Tirith and takes heart ,
BOROMIR
One day our paths will lead us there, and the tower guards shall take up the call `` the Lords of Gondor have returned.''
Aragorn returns Boromir 's smile . betraying his disquiet sadness only when Boromir looks away . LATER . The Fellowship are asleep on their beds . Gimli is snoring loudly . CLOSE ON : BARE FEET tread soundlessly across the lawn . CLOSE ON : Frodo 's eyes flicker open . as if by instinct . GALADRIEL , her White dress glowing in the moonlight , glances at him . Frodo follows her . as if drawn by an invisible force .
EXT. GALADRIELS GLADE, LORTHLORIEN - NIGHT
Upon a low stone pedestal , carved like a branching tree , sits a shallow Silver Basin . Galadriel leads Frodo into the small Glade .
GALADRIEL
Will you look into the mirror? Frodo looks with apprehension at the silver basin.
FRODO
( warily . )
What will I see?
Galadriel pours water into the basin from a silver jug . a glow rises from the water .
GALADRIEL
Even the wisest can not tell for the mirror shows many things. things that were. things that are. and some things that have not yet come to pass.
Frodo slowly steps up to the pedestal . he peers into the glossy surface . The night sky is reflected into the water . suddenly a figure takes form . the bowed figure of an old man , clad in white robes . He walks down a long road . Frodo leans closer to the mirror 's surface . CLOSE ON : GANDALF LIFTS HIS HEAD AND LOOKS DIRECTLY AT FRODO ! FRODO gasps , his face lighting up with hope .
FRODO
( joyous . )
Gandalf!
Gandalf looks at Frodo with a fierce intensity . Frodo reaches out his hand toward the surface of the mirror . Suddenly the image flares , burning out to white . The vision shifts . Frodo gasps in horror ! The Shire is in ruins ! The image suddenly widens to fill the screen . buildings burning . bodies strewn about . Dark Shapes of ORCS looting and destroying . Bag End , billowing in flames ! The Party tree is hacked down . Frodo reels back as the mirror seems to grow . the nightmarish image sweeps past his head , engulfing him entirely . IMAGE : Hobbiton . now an Industrial wasteland ! The fields and trees destroyed . replaced with Brick factories belching smoke ! IMAGE : ORCS brutally herd manacled Hobbits into the Factories ! We see Sam . Merry . and Rosie Cotton . Soot - stained and sobbing , they disappear into the factory hell - hole ! Suddenly , the mirror goes dark . and out of the black abyss a single eye grows . CLOSE ON : FRODO IS FROZEN . Unable to move or cry out . The ring dangles from his neck , inches above the water . not shimmering with curls of steam . Fire erupts around the eye . With a Yell , Frodo pushes himself away from the pedestal and collapses on the ground . Light instantly fades from the mirror . Frodo comes to his senses . he is shocked . Galadriel stands still as a statue , unmoved , untouched by the horror .
GALADRIEL
I know what it is you saw. for it is also in my mind. It is the future, Frodo. It is what will come to pass if you should fail.
Galadriel looks at Frodo intensely . Frodo looks down . in his hand he is clutching the ring . Frodo looks up at Galadriel .
GALADRIEL
( CONT 'D . )
The fellowship is breaking. It has already begun. He will try to take the ring. You know of whom I speak. One by one, it will destroy them all.
FRODO
( V.O . )
If you ask it of me, I will give you the One Ring.
GALADRIEL
You offer it to me freely. I do not deny that my heart has greatly desired this.
Galadriel suddenly seems to rise in stature before Frodo 's eyes . Frodo is suddenly afraid of her .
GALADRIEL
( CONT 'D . )
In place of the Dark Lord, you would have a Queen, not dark, but beautiful and terrible as the Dawn. Treacherous as the Sea! Stronger than the foundations of the earth. all shall love me and despair! Frodo takes a step away from Galadriel.
Galadriel suddenly laughs . a slender Elf - woman once more , clad in simple white , her voice soft and sad .
GALADRIEL
( CONT 'D . )
( gently . )
I pass the test.
( laughs . )
I will diminish and go into the west and remain Galadriel. Frodo's confidence drains away.
FRODO
I can not do this alone.
GALADRIEL
You are the ring - bearer, Frodo. to bear a ring of power is to be alone. This task was appointed to you, and if you do not find a way, no one will.
Frodo realizes what her message is .
FRODO
Then I know what I must do. It's just. I'm afraid to do it. Galadriel kneels down to Frodo's height, staring at him intently.
GALADRIEL
Even the smallest person can change the course of the future.
The Ring lies in the palm of Frodo 's hand . his fingers close over it .
INT. ORTHANC CHAMBER - DAY
Naked , Lurtz 's eyes follow Saruman , alight with a mean intelligence .
SARUMAN
( V.O . )
( smiles . )
They were Elves once. Taken by the Dark Powers. tortured and mutilated. a ruined and terrible form of life. And now. perfected. My fighting Uruk - Hai. Whom do you serve?
LURTZ
( gutteral rasp . )
Saruman.
INT. CAVERNS BELOW ISENGARD - DAY
QUICK CUTS : LURTZ is quickly armored . Breastplate . Leg guards , Helmet . a sword is thrust in Lurtz 's hand . The URUK - HAI are smearing themselves in white paint . a creepy ritualistic ceremony . the white hand of Isengard is smeared on bodies , faces , and armor . SARUMAN address a crowd of 200 fully armed URUK - HAI .
SARUMAN
Hunt them down. Do not stop until they are found. You do not know pain. You do not know fear. You will taste man - flesh. Saruman turns to Lurtz.
SARUMAN
( CONT 'D . )
( coldly . )
One of the Halflings carries something of great value. bring him to me. alive and unspoiled. kill the others.
EXT. ISENGARD - DAY
Lurtz is leading 200 URUK - HAI out of Isengard . they run fast , their powerful legs carrying them at speed .
EXT. SILVERLODE RIVER BANK - DAWN
The Fellowship are in small elven boats . They row away from the Lothlorien Shore into the Silverlode river . Elves quietly watch them depart . Galadriel gives Frodo a small Crystal Phial .
GALADRIEL
Farewell, Frodo Baggins. I give you the light of Earendil, our most beloved star.
As the Fellowship 's boats drift past , Galadriel stands alone , watching from the banks of the river . In his head , Frodo still hears her voice .
GALADRIEL
( V.O. ; CONT 'D . )
May it be a light for you in dark places, when all other lights go out.
EXT. RIVER ANDUIN - DAY
The boats pass into the great river Anduin . The Three Elven boats carry the Fellowship steadily southward . Green trees slowly give way to a brown and withered land .
EXT. FOREST - DAY
The Uruk forces are running through the trees with deadly purpose .
EXT. RIVER ANDUIN - DAY
A flock of birds circle high above , Black against the pale sky . Aragorn watches them with concern .
EXT. PILLARS OF THE KINGS, RIVER ANDUIN - DAWN
The Three Elven boats drift slowly through the steep rocky gorge in the Pre - dawn light . CLOSE ON : ARAGORN , slowly paddling in the stern .
ARAGORN
( quietly . )
Frodo.
Frodo slowly looks up , his eyes widening with amazement . Wide on : Two enormous rock statues , towering like 300 foot pinnacles on either side of the river . carved images of Gondorian kings of old . They loom over the boats with power and majesty .
ARAGORN
( CONT 'D . )
The Argonath.
Close on : Aragorn . strangely moved by the beauty of the silent sentinels . He speaks , almost as if to himself .
ARAGORN
( CONT 'D . )
( deeply moved . )
Long have I desired to look upon the kings of old. my kin.
The fellowship stare in stunned silence as the current takes them through the narrow gap between the Statues ' feet . Wide on : Craning up past the statues vast crumbling heads , to reveal a large lake only a mile down river .
EXT. SHORE OF NEN HITHOEL - DAY
ANGLE ON : THE FELLOWSHIP As they leap out of the boats and clamber onto the wooded shore .
ARAGORN
We cross the lake at nightfall, hide the boats and continue on foot. we approach Mordor from the North.
GIMLI
( gloomy . )
Oh, yes, just a simple matter of finding our way through Emyn Muil, an impassable labyrinth of razor sharp rocks. And after that gets even better. a festering, stinking marshland, far as the eye can see.
ARAGORN
That is our Road. I suggest you take some rest and recover your strength, Master Dwarf.
GIMLI
( indignant . )
Recover my.
Legolas turns to Aragorn with urgency .
LEGOLAS
We should leave now.
ARAGORN
No. Orcs patrol the Eastern shore. We must wait for cover of darkness.
LEGOLAS
It is not the Eastern shore that worries me.
Legolas casts a glance around into the Parth Galen forest .
LEGOLAS
( CONT 'D . )
A shadow and a threat has been growing in my mind. Something draws near, I can feel it.
Aragorn looks at Legolas , knowing full well what he means . Sam has slumped asleep . Merry dumps a small pile of kindling at Gimli 's feet .
MERRY
Where's Frodo?
Sam sits up with a start . Aragorn 's head snaps round . his eyes fly to Boromir 's shield which lies abandoned by his camp bed . CLOSE ON : ARAGORN . as he realizes Boromir has gone !
EXT. SLOPES OF AMON HEN - DAY
Frodo is walking beneath the trees . lost in thought . His feet hit the rough edge of an ancient stone slab . his eyes follow an overgrown path towards stone stairs leading to the summit of Amon Hen . the seeing seat . A CRACKLING SOUND ! Frodo freezes .
BOROMIR
( quietly . )
None of us should wander alone ; you least of all. So much depends on you. Frodo?
Frodo turns slowly . he stares at Boromir , tense , cautious .
BOROMIR
( CONT 'D . )
I know why you seek solitude. You suffer, I see it day by day. Are you sure you do not suffer needlessly?
Frodo stands silent for a moment . the murmur of the Wind in the trees and the distant roar of the falls of Rauros can be heard
BOROMIR
( CONT 'D . )
Let me help you. There are other ways, Frodo. other paths that we might take.
FRODO
I know what you would say, and it would seem like wisdom but for the warning of my heart.
BOROMIR
Warning? Against what?
Boromir has started forward towards Frodo , he pulls himself up .
BOROMIR
( CONT 'D . )
We are all afraid, Frodo. But to let that fear drive us to destroy what hope we have. do n't you see that is madness?
FRODO
There is no other way.
BOROMIR
I ask only for the strength to defend my people.
( angrily drops the wood he has collected . )
If you would but lend me the ring.
FRODO
No.
Frodo steps hurriedly away from Boromir .
BOROMIR
Why do you recoil? I am no thief.
FRODO
( wary . )
You are not yourself.
BOROMIR
What chance do you think you have? They will find you, they will take the ring and you will beg for death before the end.
Frodo turns to leave .
BOROMIR
( CONT 'D . )
You fool! It is not yours save by unhappy chance. it might have been mine. It should be mine. Give it to me! Give me the ring.
Boromir leaps on top of Frodo , grasping for the ring ! Frodo has only moments to act . Frodo rips the ring from around his neck . and rams it on his finger .
FRODO DISAPPEARS
Boromir spins wildly around, yelling into thin air!
BOROMIR
I see your mind. you will take the ring to Sauron. You will betray us! You go to your death and the death of us all. Curse you! Curse you and your Halflings! Boromir stumbles and falls. His body shakes as if in the Throes of a fit. slowly he comes to.
BOROMIR
( CONT 'D . )
( Disoriented . )
Frodo! Frodo! What have I done. Please, Frodo.
EXT. SEEING SEAT - DAY
FRODO races through the misty twilight world , past the foggy shapes of twisted trees . Somewhere behind him , Boromir 's distraught voice carries from another dimension :
BOROMIR
( O.S . )
I'm sorry, Frodo. Frodo.
Frodo suddenly finds himself on the stone steps . he clambers up the stairs , onto a high seat , perched on four stone pillars . Frodo cowers on the seat , like a lost child upon the throne of mountain kings . The world of mist swirls around him . Frodo peers out from the seat . the world seems to shrink . In all directions , Views of far off lands telescope towards him through the mist . IMAGES : ORCS spilling out of holes in the misty mountains . flames rising from Mirkwood . grim faced easterlings march to war . black ships sailing into the south . All the power of the Dark Lord is in motion . Frodo moves his gaze towards the east . fire explodes against the smoke , as a huge mass of black battlements fills Frodo 's vision . A mountain of iron , immeasurably strong , tower of adamant : Barad - dur , FORTRESS OF SAURON ! SUDDENLY ! SAURON 'S EYE LEAPS TOWARD FRODO LIKE A FINGER OF LIGHT . SAURON -LRB- V.O. -RRB- -LRB- IN BLACK SPEECH -RRB- They will fall ! Frodo leaps off the seat , and tumbles down the stairs ! The eye sweeps Amon Hen like a searchlight , seeking its ring ! With a huge effort , Frodo wrenches the ring off his finger .
EXT. SUMMIT OF AMON HEN - DAY
Frodo lies gasping on the summit of Amon Hen . below the ancient ruins of the seeing seat . AT THAT MOMENT : A BLACK BOOT STEPS INTO SHOT ! Frodo looks up as Aragorn towers over him .
ARAGORN
Frodo?
FRODO
( numb . )
It has taken Boromir. ARAGORN moves towards Frodo.
ARAGORN
( urgent . )
Where is the ring?
Frodo backs away from Aragorn . Aragorn is shocked by the movement .
FRODO
Stay away!
ARAGORN
Frodo. I swore to protect you.
FRODO
Can you protect me from yourself?
Frodo uncurls his fist . in is palm lies the ring ! It glints , gold and beautiful in the afternoon sun . Aragorn 's eyes are drawn to it .
FRODO
( CONT 'D . )
Would you destroy it?
ARAGORN
( kneeling to Frodo . )
I would have gone with you to the end. into the very fires of Mordor.
FRODO
I know. Look after the others, especially Sam. he will not understand.
Aragorn freezes ! He draws his sword .
ARAGORN
( urgent . )
Go, Frodo!
Frodo hesitates .
ARAGORN
( CONT 'D . )
( yells . )
Run! Run!
Frodo backs away into the trees . as 200 URUK - HAI SWARM onto Amon Hen behind Aragorn ! Aragorn attacks the leading URUK - HAI like a madman . he brings two down with his sword . leaping into the ruins as others close in on him . Frodo scrambles down the hillside , away from the fight . Aragorn battles the URUK - HAI , amongst the pillars and blocks of Amon Hen . Despite his bravery , he is quickly surrounded . SUDDENLY : ELVEN ARROWS smash into the URUK - HAI . Legolas races out of the woods , firing his bow . Gimli leaps into the battle , wielding his might axe .
EXT. PARTH GALEN HILLSIDE - DAY
Frodo is darting down the steep hillside as heave feet thunder down behind him .
SAM
Mr. Frodo!
Sam looks around for Frodo . CLOSE ON : LURTZ ordering his URUKS .
LURTZ
Find the Halflings. find the halflings!
Frodo stumbles and falls . quickly he crawls behind a tree . above him the sound of Uruk - Hai crashing through the forest rings out .
MERRY
( O.S . )
( urgent whisper . )
Frodo!
Frodo turns to see Merry and Pippin hidden in a hollow , a few feet away .
MERRY
( CONT 'D . )
Hide here, quick!
PIPPIN
Come on.
Frodo looks at his friends . slowly shakes his head , a great sadness in his eyes .
PIPPIN
( CONT 'D . )
What's he doing?
Merry 's eyes meet Frodo 's . Understanding .
MERRY
( softly . )
He's leaving.
PIPPIN
No!
Pippin stands and makes a move toward Frodo . Merry grabs at his arm .
MERRY
Pippin!
THE ECHO OF BOROMIR 'S HORN reaches Aragorn , Legolas , and Gimli . they are battling their way down the Slopes towards the lake .
LEGOLAS
The horn of Gondor!
ARAGORN
Boromir!
Aragorn desperately slashes his way towards Boromir , felling URUK - HAI in his path . while Legolas and Gimli fight a rear guard action . MANY URUK - HAI fall to Boromir 's sword as he tries to protect Merry and Pippin .
BOROMIR
Run! Run!
Lurtz takes aim . A black arrow suddenly thuds into Boromir 's chest . Amazingly , Boromir continues fighting , but another arrow . and another , brings him to his knees . Merry and Pippin are scooped off their feet by URUK - HAI .
MERRY & PIPPIN
Aaaaagh! Boromir! Boromir!
Lurtz aims his bow at Boromir 's heart . suddenly Aragorn charges at him , smashing the Bow with his sword . They lock into a deadly battle . Aragorn cuts Lurtz down and races towards Boromir , who lies slumped against a tree . URUK - HAI arrows sticking out of his chest . At least 20 dead URUK - HAI lie heaped around Boromir . His horn lies at his feet . Cloven in two .
BOROMIR
( painful gasp . )
They took the little ones. Aragorn quickly tries to staunch the flow of Blood from Boromir's shoulder.
BOROMIR
( CONT 'D . )
( panicked . )
Frodo. where is Frodo?
ARAGORN
I let Frodo go.
Boromir holds Aragorn 's gaze .
BOROMIR
Then you did what I could not. I tried to take the ring from him.
ARAGORN
The ring is beyond our reach now.
BOROMIR
Forgive me, I did not see. I have failed you all.
ARAGORN
No, Boromir. You fought bravely. You have kept your honor. Aragorn tries to bind Boromir's wound.
BOROMIR
Leave it! It is over. the world of Men will fall and all will come to darkness and my city to ruin. Aragorn.
ARAGORN
I do not know what strength is in my blood, but I swear to you. I will not let the White City fall, nor your people fail.
BOROMIR
Our people. our people.
Aragorn places Boromir 's sword in his hand . Boromir 's fingers tighten around the hilt .
BOROMIR
( CONT 'D . )
I would have followed you, my brother. my captain, my King. Aragorn lays Boromir down. He is dead.
ARAGORN
Be at peace, son of Gondor. Aragorn bends and Kisses Boromir's forehead. Legolas and Gimli appear behind him. Aragorn stands.
ARAGORN
( CONT 'D . )
They will look for his coming from the white tower. but he will not return.
EXT. SHORE OF NEN HITHOEL - DAY
On the lakeshore Frodo stands in front of one of the Elvish Boats , the ring in his palm . A distraught Sam . running as hard as he can through the forest .
SAM
Mr. Frodo!
Close on : Frodo looks to the far side of the river . the camera moves in on the ring .
FRODO
( V.O . )
I wish the ring had never come to me. I wish none of this had happened.
Tears fall down Frodo 's face .
GANDALF
( V.O . )
So do all who lie to see such times. but that is not for them to decide. All we have to decide is what to do with the time that is given us.
With renewed determination , Frodo tucks the ring inside his vest pocket . The small figure of Frodo pushing the Elvish boat into the water . Sam bursts through the trees and runs toward the lake . Frodo is already paddling away .
SAM
( anguished . )
Not alone, Frodo. Mr. Frodo! Frodo, in the boat, paddling steadfastly away from the
shore . tears in his eyes . the voice of Sam carried on the wind . Frodo whispers to himself
FRODO
No, Sam.
Sam looks at the water . then at the boat . SPLASH ! FRODO turns to see Sam launching himself into the water .
FRODO
( CONT 'D . )
Go back, Sam. I'm going to Mordor alone.
Sam splashes hopelessly toward the boat .
SAM
Of course you are. and I'm coming with you!
FRODO
You ca n't swim.
Sam starts to go under , spluttering and coughing . Frodo drops his paddle and scrambles backwards in the boat .
FRODO
( CONT 'D . )
( frightened . )
Sam!
Sam is underwater . hands flailing helplessly as he sinks . Close on : Frodo 's hand grasping Sam 's . Frodo pulls a bedraggled and half drowned Sam into the boat . Frodo and Sam look at each other , out of breath , tears and water streaming down both their faces .
SAM
I made a promise, Mr. Frodo. a promise.
( fierce passion . )
`` Do n't you leave him, Samwise Gamgee.''
( sobs . )
And I do n't mean to. I do n't mean to.
FRODO
( crying . )
Oh, Sam!
Frodo starts to laugh through his tears . the two friends hug .
FRODO
( CONT 'D . )
Come on then.
The two Hobbits row through the water .
EXT. FALLS OF RAUROS AERIAL - DAY
Slow motion : Looking down on swiftly flowing water . Boromir 's body slides under camera . He is lying in one of the boats , his arms across his chest . his broken horn at his side . Suddenly . the boat drops away from camera . as it plunges over the massive falls of Rauros , disappearing into the vapor below .
LEGOLAS
If we are quick, we will catch Frodo and Sam before nightfall.
Aragorn looks towards the far shore ; Frodo and Sam 's small Boat can be seen lying on the distant Riverbank as Frodo and Sam make off into the forest beyond . He does n't react . Legolas turns and looks at Aragorn .
LEGOLAS
( CONT 'D . )
You mean not to follow them.
ARAGORN
Frodo's fate is no longer in our hands.
GIMLI
Then it has all been in vain. the fellowship has failed.
ARAGORN
Not if we hold true to each other. We will not abandon Merry and Pippin to torment and death, not while we have strength left.
Aragorn pulls a HUNTING KNIFE out of his pack and straps it on .
ARAGORN
( CONT 'D . )
Leave all that can be spared behind. CLOSE ON : ARAGORN. a steely light in his eye.
ARAGORN
( CONT 'D . )
( grimly . )
We travel light. Let's hunt some Orc.
GIMLI
Yes! Ha!
Aragorn , Legolas , and Gimli disappear into the Woods , following the URUK - HAI trail .
EXT. EMYN MUIL HILLTOP - DAY
Frodo and Sam scramble onto a high ridge . A distant line of Saw toothed mountains below a dark , oppressive sky . Black volcanic smoke rises behind the mountains . MORDOR !
FRODO
Mordor! I hope the others find a safer road.
SAM
( simply . )
Strider'll look after them.
FRODO
I do n't suppose we'll ever see them again.
SAM
We may yet, Mr. Frodo. We may.
FRODO
Sam?
Frodo looks at Sam with great affection . despite the grim outlook , Sam is undeterred .
FRODO
( CONT 'D . )
I'm glad you're with me.
WIDE ON : THE TWO HOBBITS SETTING OFF TOWARD MORDOR . THE END
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Roma_2018
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tt6155172
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Roma
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In 1970, Cleodegaria "Cleo" Gutiérrez is a Mixtec live-in maid in an upper-middle-class household in the Colonia Roma neighborhood of Mexico City. The household consists of the mother Sofía; the father Antonio; their four school-aged children (Pepe, Sofi, Toño, and Paco); and Sofía's elderly mother, Teresa. Antonio, a doctor, often leaves for business conferences, but Sofía's distressed reactions to his absences suggest he is actually having an affair. Meanwhile, Cleo believes she might be pregnant. She tells her boyfriend, Fermín, who pretends to be supportive but then abandons her at a movie theatre. She nervously reveals her news to Sofía, who provides emotional comfort and takes her to the hospital, confirming her pregnancy. Sofía then takes Cleo and the children to a family friend's hacienda for New Year celebrations. Recent tensions over land in the area arise, and a large forest fire erupts that the party-goers help extinguish. Returning to the city, Cleo passes Antonio and a young woman flirting on the street. Cleo decides to look for Fermín, eventually traveling to an impoverished district on the edge of Mexico City, where she discovers him training at a military-style camp run by Professor Zovek. Fermín refuses to acknowledge that the baby is his, threatening to beat Cleo and their child if she talks to him again. Cleo returns to the city, and the increasingly unhinged Sofía tries unsuccessfully to conceal her husband's infidelity from their children. With the baby almost due, Teresa takes Cleo shopping for a crib downtown. Suddenly, a student protest outside the store turns into the Corpus Christi massacre of 10 June 1971 as a paramilitary group, Los Halcones (The Hawks), attacks the protestors. The militants chase a student into the store and murder him. Fermín, appearing as one of Los Halcones, points a gun at Cleo and Teresa before wordlessly exiting. Stressed, Cleo's water breaks. The violence in the streets slows traffic and her attempt to get to the hospital. When she arrives at last, Antonio briefly appears to reassure Cleo but makes an excuse to leave. She cries in agony as her baby girl is delivered stillborn. Later, Sofía takes Cleo and the children on a family holiday to the beaches at Tuxpan. Finally, Sofía reveals to her children that she and their father are separating and that the holiday is giving Antonio time to collect his belongings from their home. At the beach, Sofi and Paco are almost carried off by a strong current, but Cleo wades in and saves them, despite not knowing how to swim. Sofía and the children affirm their love for Cleo, all of them holding each other and crying, while Cleo confesses that she did not want her baby to be born. The group returns home to find the house reorganized, and Cleo prepares a load of clothes for washing.
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<script>
<scene>
<scene_description>IN ENGLISH</scene_description>
<character>ROMA</character>
<dialogue>Written and Directed by</dialogue>
<scene_description>Alfonso Cuarón Dates in RED are meant only as a tool for the different departments for the specific historical accuracy of the scenes and are not intended to appear on screen. Thursday, September 3rd, 1970</scene_description>
</scene>
<scene>
<stage_direction>INT. PATIO TEPEJI 21 - DAY</stage_direction>
<scene_description>Yellow triangles inside red squares. Water spreading over tiles. Grimy foam. The tile floor of a long and narrow patio stretching through the entire house: On one end, a black metal door gives onto the street. The door has frosted glass windows, two of which are broken, courtesy of some dejected goalee. CLEO, Cleotilde/Cleodegaria Gutiérrez, a Mixtec indigenous woman, about 26 years old, walks across the patio, nudging water over the wet floor with a squeegee. As she reaches the other end, the foam has amassed in a corner, timidly showing off its shiny little white bubbles, but - A GUSH OF WATER surprises and drags the stubborn little bubbles to the corner where they finally vanish, whirling into the sewer. Cleo picks up the brooms and buckets and carries them to - THE SMALL PATIO - Which is enclosed between the kitchen, the garage and the house. She opens the door to a small closet, puts away the brooms and buckets, walks into a small bathroom and closes the door. The patio remains silent except for a radio announcer, his enthusiasm melting in the distance, and the sad song of two caged little birds. The toilet flushes. Then: water from the sink. A beat, the door opens. Cleo dries her hands on her apron, enters the kitchen and disappears behind the door connecting it to the house. INT - GROUND FLOOR - TEPEJI 21 - DAY Cleo crosses the dark, antique wood breakfast room, then the modern light and angled wood dining room and goes up the stairs, reaching the hall. Beyond the hall there are two living rooms, one with heavy green velvet sofas and antique cabinets with records and a stereo. There's a piano next to the wall. CONTINUED: The other living room, with its light sofas and cocktail tray and siphon attempts to look more modern. There's a giant painting in red and purple hues of a woman leaning on a clay pitcher. In the other living room, there's another painting, also large but more somber: In a dark stone cell, a monk brings solace to a shackled prisoner who covers his face with his hands in desperation. INT - UPPER LEVEL - TEPEJI 21 - DAY The stairs go up to a central hall surrounded by four bedrooms and an enormous bathroom. Cleo makes up the bedroom: the double bed is already made, it has an ornate mahogany headboard that matches the night tables. She collects the dirty clothes from the floor and carries them out to the hall where she piles them up onto a growing mound of laundry. The upstairs hallway doubles as a TV room. The bathroom is yet to be cleaned but two out of three bedrooms are completely done. Cleo walks into a room with two small beds for the kids. She picks up the clothes first, and then puts away the boy and girl toys spread across the entire floor. She's started making one of the beds when she hears someone calling from downstairs -</scene_description>
<character>ADELA (O.S.)</character>
<dialogue>Manita! It's almost one...!</dialogue>
<scene_description>Startled, Cleo exclaims -</scene_description>
<character>CLEO</character>
<dialogue>Ay, chicú...!</dialogue>
<scene_description>She exits the bedroom carrying dirty laundry. In the hallway, she gathers the pile of clothing and carries it, hurrying down the stairs. INT - DOWNSTAIRS - TEPEJI 21 - DAY Cleo heads down the stairs, carrying the pile of clothes. She crosses the hall and dining rooms and disappears behind the door that opens to the kitchen. After a beat, through - THE WINDOW We see her exit to the small patio. She leaves the clothes at the foot of the metal stairs that lead to the roof and hurries out to the street. EXT - HOUSE - TEPEJI 21 - DAY Tepeji street spans barely two blocks, halved by Monterrey Avenue, its tired homes built in the 1930s. Sad and defeated, Tepeji 21 sits in the middle of the block resting on its solid ground, which blends with the grey concrete of the sidewalk. The house is all white save for an almost-maroon red strip running along its facade and for the black wrought iron over the windows and doors. Next to the upper left hand corner of the door there's a ceramic tile number: 21. The door opens and Cleo exits. She hurries out to the Avenue and once she reaches the corner, she turns right. EXT - STREET - MONTERREY AVE. - TLAXCALA - DAY Cleo leaves Tepeji and walks down the avenue where there's a considerable amount of traffic. As she reaches the corner, she crosses the avenue and continues on - TLAXCALA STREET - She passes a pharmacy, a convenience store, a bakery and a beauty salon. EXT - CONDESA KINDERGARTEN - DAY A small crowd gathers by the kindergarten entrance. It's pickup time. Cleo arrives and goes into the school. After a moment, she comes out with PEPE, a 5 year-old boy carrying a barely dried "work of art". EXT - TLAXCALA STREET - DAY Cleo walks next to Pepe, who carries his "work of art": just a little kid in shorts and t-shirt. Pepe walks, skipping around not to step on the line. Cleo carries his lunch box. Suddenly, Pepe stops and sits down. Cleo keeps walking a few steps, then stops, turns around -</scene_description>
<character>CLEO</character>
<dialogue>What's wrong?</dialogue>
<character>PEPE</character>
<dialogue>I'm tired.</dialogue>
<character>CLEO</character>
<dialogue>Well, let's go then so we can get home. As soon as we get there you can go straight to bed!</dialogue>
<character>PEPE</character>
<dialogue>I can't.</dialogue>
<scene_description>Cleo pretends to keep walking.</scene_description>
<character>PEPE</character>
<dialogue>Mom!</dialogue>
<scene_description>Cleo stops and turns around -</scene_description>
<character>CLEO</character>
<dialogue>Of course you can! Come on! Let's go!</dialogue>
<character>PEPE</character>
<dialogue>I said I can't!</dialogue>
<character>CLEO</character>
<dialogue>If I went to bed every time I thought "I can't", I would live in bed!</dialogue>
<character>PEPE</character>
<dialogue>I'm not in bed.</dialogue>
<scene_description>Cleo takes his hand -</scene_description>
<character>CLEO</character>
<dialogue>Come on, there's pasta soup...</dialogue>
<scene_description>Pepe gets up -</scene_description>
<character>PEPE</character>
<dialogue>Ooooooooooh!</dialogue>
<scene_description>CONTINUED: And he starts with heavy and lazy steps.</scene_description>
<character>PEPE</character>
<dialogue>Mooooooooooooom!</dialogue>
<character>CLEO</character>
<dialogue>C'mon little soldier, 1, 2, 3, 4... march!</dialogue>
<scene_description>The two march hand in hand. EXT - PATIO - TEPEJI 21 - DAY Cleo and Pepe walk in: he's carrying his "work of art" while she carries the lunch box. They listen to Adela calling her -</scene_description>
<character>ADELA (O.S.)</character>
<parenthetical>(In Mixtec)</parenthetical>
<dialogue>Hurry up, manita! Fermín is on the phone!</dialogue>
<scene_description>Cleo hurries and goes inside the house to answer. INT - DOWNSTAIRS HALL - TEPEJI 21 - DAY</scene_description>
<character>CLEO</character>
<dialogue>Hello?</dialogue>
<scene_description>INT - KITCHEN - TEPEJI 21 - DAY Adela is cooking: pots simmer on the stove. Cleo walks in, leaving the lunch box on the table.</scene_description>
<character>ADELA</character>
<parenthetical>(In Mixtec)</parenthetical>
<dialogue>So, what did he say?</dialogue>
<character>CLEO</character>
<dialogue>Nothing! He just called to say hi!</dialogue>
<scene_description>Cleo picks up dishes and glasses, carries them out. Adela stirs the soup. Cleo comes in again and opens the silverware drawer.</scene_description>
<character>ADELA</character>
<dialogue>Sure... Now you've stolen my boyfriend, right?</dialogue>
<character>CLEO</character>
<dialogue>What? You crazy? Fermín is only my friend. Plus, you're the one who introduced us.</dialogue>
<character>ADELA</character>
<dialogue>Ay, manita! Look at you! I'm just messing with you. I only went out twice with him and didn't even let him kiss me.</dialogue>
<scene_description>We hear the street door opening and with it a commotion of kids.</scene_description>
<character>CLEO</character>
<dialogue>They're here...</dialogue>
<scene_description>Cleo exits to - EXT - PATIO - TEPEJI 21 - DAY Cleo reaches the patio just as - Two children run in - TOÑO, 12 years old and PACO, 11. The two rush into the house and we hear them go up the stairs. Soon after, SOFI, an 8 year-old girl comes in. She's very pretty although her brothers constantly pick on her, calling her fat. Trailing behind, comes SEÑORA TERESA, a 65 year-old widow, hair completely white, walking with a limp. IGNACIO, the 45 year-old driver, follows her, carrying a grocery bag. INT - BREAKFAST ROOM - TEPEJI 21 - DAY Cleo cuts Pepe's meat with a knife, she cuts ever-smaller pieces, until only tiny squares of steak remain. She douses them with lemon. SOFI impatiently waits her turn. PACO eats his meat while he talks -</scene_description>
<character>PACO</character>
<dialogue>A friend told me that a kid in his cousin's school was killed by a soldier because he threw a water balloon at him.</dialogue>
<scene_description>CONTINUED: Toño listens skeptically -</scene_description>
<character>TOÑO</character>
<dialogue>Says who?</dialogue>
<character>PACO</character>
<dialogue>Says Flores. If you don't believe me, ask him. He says he was in Chapultepec, near the new one, and that he was with his brother, throwing water balloons down at the passing cars and so an army Jeep passed and they threw one and the soldier got off and shot him.</dialogue>
<character>CLEO</character>
<dialogue>Jesus! And what happened to him?</dialogue>
<character>PACO</character>
<dialogue>What do you mean, what happened? He got shot in the head, he's dead.</dialogue>
<character>CLEO</character>
<dialogue>Horrible!</dialogue>
<scene_description>SEÑORA SOFÍA enters through the hallway door, carrying a backpack and a bunch of papers from the dining room table -</scene_description>
<character>SEÑORA SOFÍA</character>
<dialogue>Hello children, what are you eating?</dialogue>
<character>SOFI AND PEPE</character>
<dialogue>Mom!</dialogue>
<scene_description>Señora Sofía kisses each one hello. Pepe shows her his "work of art" -</scene_description>
<character>PEPE</character>
<dialogue>Look, mommy...</dialogue>
<character>SEÑORA SOFÍA</character>
<dialogue>Beautiful! Did you make that all by yourself?</dialogue>
<character>PEPE</character>
<dialogue>Yes, and look: there's pasta soup!</dialogue>
<character>SEÑORA SOFÍA</character>
<dialogue>Yummm, delicious!</dialogue>
<scene_description>She sits -</scene_description>
<character>SEÑORA SOFÍA</character>
<dialogue>Cleo, please don't let the kids touch those papers-they're exams I have to grade.</dialogue>
<character>TOÑO</character>
<dialogue>Is there any watermelon?</dialogue>
<character>CLEO</character>
<dialogue>No, love. Strawberries and cream.</dialogue>
<character>PACO</character>
<dialogue>I want some!</dialogue>
<scene_description>Cleo gets up, taking some dirty dishes with her-</scene_description>
<character>CLEO</character>
<dialogue>What about you, Toño?</dialogue>
<character>TOÑO</character>
<dialogue>I guess so.</dialogue>
<scene_description>Cleo goes to - INT - KITCHEN - TEPEJI 21 - DAY Cleo comes in with the dirty dishes, puts them in the sink. Ignacio and Adela eat at a small table. Cleo takes a clean bowl and starts pouring soup -</scene_description>
<character>CLEO</character>
<dialogue>Ándali, the señora is here. Sofía and Toño want their strawberries...</dialogue>
<scene_description>Adela gets up, slowly, and puts some plates, spoons, strawberries, sugar and cream on a platter. She looks at Cleo with a question and smiles. Cleo blushes and leaves, carrying her platter. INT - BREAKFAST ROOM - TEPEJI 21 - DAY Señora Sofía eats her soup. Cleo fixes the strawberries and cream on plates.</scene_description>
<character>SEÑORA SOFÍA</character>
<dialogue>Cleo, could you please send the señor's two suits to the dry cleaners. It has to be today because he's leaving on Friday and has to pack them.</dialogue>
<character>CLEO</character>
<dialogue>Don't worry, ma'am, I'll take them.</dialogue>
<character>PEPE</character>
<dialogue>Is dad going on a trip?</dialogue>
<character>SEÑORA SOFÍA</character>
<dialogue>He's going to Quebec for a conference.</dialogue>
<character>SOFI</character>
<dialogue>Where's that?</dialogue>
<character>PACO</character>
<dialogue>How come you don't know, silly?</dialogue>
<character>SOFI</character>
<dialogue>I don't. So what?</dialogue>
<character>TOÑO</character>
<dialogue>It's in Canada.</dialogue>
<character>PACO</character>
<dialogue>Is he flying Eastern?</dialogue>
<character>SEÑORA SOFÍA</character>
<dialogue>I don't know. I think it's Panam.</dialogue>
<scene_description>Cleo serves Sofi a plate of strawberries and cream.</scene_description>
<character>SEÑORA SOFÍA</character>
<dialogue>No sugar for Sofi, or she'll get fat.</dialogue>
<scene_description>EXT - ROOF- TEPEJI 21 - AFTERNOON Cleo washes clothes, occasionally humming to a song coming out of a yellow radio. The metallic creak of the stairs announces the arrival of Paco, followed by Pepe.</scene_description>
<character>CLEO</character>
<dialogue>You know you can't come up here.</dialogue>
<character>PACO</character>
<dialogue>I looked after him the whole way up.</dialogue>
<scene_description>CONTINUED:</scene_description>
<character>CLEO</character>
<dialogue>Your mom is going to be angry.</dialogue>
<scene_description>But Paco has started his game, pulling Pepe along with him.</scene_description>
<character>PACO</character>
<dialogue>I'm going to come out of here and you come over here, and when I get to here you'll shoot me, but I'll shoot you first and you'll fall dead... Like this... with your arms wide open...</dialogue>
<scene_description>Paco takes bullets like Sonny Corleone against the wall of the neighboring house.</scene_description>
<character>CLEO</character>
<dialogue>Just don't play next to the edge.</dialogue>
<character>PACO</character>
<dialogue>C'mon...</dialogue>
<scene_description>Paco moves away on the roof while Pepe hides behind the water tank. Paco comes back, but now hiding like an enemy spy all the way to the water tank. He tries to go around it, with his gun held high, but - Pepe comes at him from behind, with murderous intent. Paco reacts and turns around, tries to point with his gun but Pepe sprays him with sure shots and hides behind the water tank leaving Paco confused at first, then furious-</scene_description>
<character>PACO</character>
<dialogue>You were supposed to die!</dialogue>
<scene_description>From behind the water tank, Pepe defies him -</scene_description>
<character>PEPE</character>
<dialogue>Why aren't you the one who dies?</dialogue>
<character>PACO</character>
<dialogue>Cause it's my game.</dialogue>
<character>PEPE</character>
<dialogue>Then I don't wanna play anymore.</dialogue>
<scene_description>CONTINUED:</scene_description>
<character>PACO</character>
<dialogue>Well, then I don't want you to play, sissy.</dialogue>
<scene_description>He walks off, angry. He goes down the staircase, each step resonating with metallic moans. Pepe walks over to see him go and stops in the middle of the roof, clearly disappointed. He stays there for a long time, until suddenly - A spray of invisible bullets shoots through him and Pepe falls dead, his arms spread open, like Paco said. And he stays there, lying down motionless on the ground. Cleo dries her hands and walks over to him. She stops and watches him -</scene_description>
<character>CLEO</character>
<dialogue>What happened to you?</dialogue>
<scene_description>Without opening his eyes, Pepe answers from the ground.</scene_description>
<character>PEPE</character>
<dialogue>I'm dead.</dialogue>
<character>CLEO</character>
<dialogue>Well, let's go down then.</dialogue>
<character>PEPE</character>
<dialogue>I can't. I'm dead.</dialogue>
<character>CLEO</character>
<dialogue>Then come back to life, we have to go down!</dialogue>
<character>PEPE</character>
<dialogue>If you die, you can't live again.</dialogue>
<character>CLEO</character>
<dialogue>Now what am I going to do without my Pepe!?</dialogue>
<scene_description>Cleo sits on the ground next to Pepe, who remains motionless.</scene_description>
<character>CLEO</character>
<dialogue>I can't live without my Pepe!</dialogue>
<scene_description>Cleo lies down next to Pepe, arms also extended, and closes her eyes - CONTINUED:</scene_description>
<character>CLEO</character>
<dialogue>I'm also dead.</dialogue>
<scene_description>And so she remains still, Pepe next to her. A DC 8 flies overhead. Pepe opens an eye to see Cleo. She's not moving and seems not to be breathing at all. Pepe reaches his hand and takes Cleo's.</scene_description>
<character>PEPE</character>
<dialogue>Cleo...?</dialogue>
<scene_description>But Cleo's not moving. Pepe sits up -</scene_description>
<character>PEPE</character>
<dialogue>Cleo...?</dialogue>
<character>CLEO</character>
<dialogue>I'm dead.</dialogue>
<character>PEPE</character>
<dialogue>No! C'mon, get up!</dialogue>
<character>CLEO</character>
<dialogue>Didn't you say that was impossible?</dialogue>
<character>PEPE</character>
<dialogue>Cleo, stop it!</dialogue>
<scene_description>But Cleo doesn't answer.</scene_description>
<character>PEPE</character>
<dialogue>Cleo!</dialogue>
<scene_description>She remains still.</scene_description>
<character>PEPE</character>
<dialogue>Cleeoo!</dialogue>
<scene_description>Pepe's starting to get scared -</scene_description>
<character>PEPE</character>
<dialogue>Cleeeeeeeeooooooo!</dialogue>
<scene_description>Cleo opens her eyes and smiles at him.</scene_description>
<character>CLEO</character>
<dialogue>I'm playing your game. Let's see... shall we play a little longer?</dialogue>
<scene_description>Pepe lies down next to her, arms outstretched. CONTINUED:</scene_description>
<character>CLEO</character>
<dialogue>Close your eyes.</dialogue>
<scene_description>They both close their eyes.</scene_description>
<character>CLEO</character>
<dialogue>I like being dead.</dialogue>
<scene_description>Pepe holds her hand. The two of them lie dead on the roof - The afternoon quiet hours have begun. Church bells ring in the distance. All around them, a landscape of roofs mushrooming in all directions. In many of them, other women wash or hang laundry. The wind carries the hum of different radios and dogs barking. The whistle of a sweet potato cart. The quiet universe. INT - MAIN BATHROOM - TEPEJI 21 - NIGHT Cleo bathes Sofi and Pepe in the bathtub. Sofi's hair is full of soap and she plays at making different hairdos in the mirror. Pepe has a submarine but isn't playing with it. He's pensive.</scene_description>
<character>PEPE</character>
<dialogue>Cleo, if you died right now, would you go to heaven or hell?</dialogue>
<character>CLEO</character>
<dialogue>And why would I die?</dialogue>
<character>PEPE</character>
<dialogue>I'm just saying... Heaven or hell?</dialogue>
<character>CLEO</character>
<dialogue>You're killing me all the time...</dialogue>
<scene_description>Pepe is getting annoyed.</scene_description>
<character>PEPE</character>
<dialogue>Well, it's a game! Tell me already... heaven or hell?</dialogue>
<scene_description>Cleo fills a small bucket with water and tells Sofi -</scene_description>
<character>CLEO</character>
<dialogue>Let's see, close your eyes...</dialogue>
<scene_description>As she pours water to rinse her hair.</scene_description>
<character>CLEO</character>
<dialogue>I'd fly straight up to heaven with my little wings.</dialogue>
<character>PEPE</character>
<dialogue>Paco told me that in his religion class the had a sli-ding show...</dialogue>
<character>CLEO</character>
<dialogue>Sli-ding...?</dialogue>
<scene_description>Sofi laughs -</scene_description>
<character>SOFI</character>
<dialogue>Slide show.</dialogue>
<character>PEPE</character>
<dialogue>That thing. About hell.</dialogue>
<scene_description>Cleo pours another bucketful on Sofi.</scene_description>
<character>CLEO</character>
<parenthetical>(uninterested)</parenthetical>
<dialogue>Hell?</dialogue>
<character>PEPE</character>
<dialogue>Yep, paintings and photos....</dialogue>
<character>CLEO</character>
<dialogue>Photos?</dialogue>
<character>PEPE</character>
<dialogue>Yeah. He said there was fire on all sides... and that while they burn you, there's some real ugly devils poking you, like this, with irons... and others that bite you or eat your arms....</dialogue>
<character>CLEO</character>
<dialogue>Ay chicú! horrible! Stop talking about that...!</dialogue>
<scene_description>CONTINUED:</scene_description>
<character>PEPE</character>
<dialogue>Yeah but it doesn't matter...!</dialogue>
<character>CLEO</character>
<dialogue>What do you mean it doesn't matter? What about all the fire?</dialogue>
<scene_description>Pepe laughs -</scene_description>
<character>PEPE</character>
<dialogue>He says it doesn't matter cause that's where he wants to go!</dialogue>
<character>CLEO</character>
<dialogue>What? But didn't you say they burn people there?</dialogue>
<character>PEPE</character>
<dialogue>Yes, but Paco says everyone there is naked!</dialogue>
<scene_description>His laugh is now roaring -</scene_description>
<character>PEPE</character>
<dialogue>And that you can see all the girls... naked!</dialogue>
<scene_description>Pepe is laughing hard, Sofi spits out water and laughs with him.</scene_description>
</scene>
<scene>
<stage_direction>EXT. - PATIO - TEPEJI 21 - NIGHT</stage_direction>
<scene_description>The frosted glass panels light up and we hear - A horn honking - Ta-ta ta-ta ta-ta ta-taaaaaaa! Behind the door, the powerful and tantalizing hum of a V8. From inside the car, booms XELA radio station playing "Un bal" from Symphonie Fantastique. BORRAS immediately starts barking at the door. Cleo and Adela rush to the patio-</scene_description>
<character>ADELA</character>
<dialogue>Well, he's in early.</dialogue>
<scene_description>Cleo grabs Borras and drags him to the back of the patio. CONTINUED:</scene_description>
<character>CLEO</character>
<dialogue>Don't you know he's leaving tomorrow?</dialogue>
<scene_description>Adela begins to open the door. Pepe and Sofi peek out from the hall. Holding Borras, Cleo orders them to -</scene_description>
<character>CLEO</character>
<dialogue>Wait there!</dialogue>
<scene_description>The V8 impatiently purrs behind the door and finally - Adela opens the door to reveal - The front of a 1970 2-DOOR BLACK GALAXIE 500. Its powerful headlights flood the patio all the way to the back, lighting Cleo who holds Borras. The Galaxie 500 slowly pulls in but it's too large for the space, leaving only about an inch on each side of the doors. The front of the car is in, then it breaks - The left side is about to touch the door frame. The tires turn right accompanied by the SCREECH of rubber against tile. The Galaxie 500 moves further in but then breaks again - The right side is about to touch. The black power steering wheel turns and - The wheels veer left, SCREECHING. It echoes through the patio, syncopated with the waltz emanating from the radio. Señora Sofía comes to the hall door next to Sofi and Pepe.</scene_description>
<character>SOFI</character>
<dialogue>Dad's home early!</dialogue>
<scene_description>The car moves forward a couple of inches and stops. The gear shifts to R - The Galaxie 500 backs up a few inches, breaks. CONTINUED: The gear shifts to D - The car inches forward slowly, free of the door frame. It's almost halfway in when it stops. The wheels veer right and - SCREECH. And the waltz picks up its rhythm. The car moves forward half a yard and breaks. The tires line straight up and - The Galaxie 500 has made it through the door frame and is now entirely inside the patio - As the waltz reaches its grand finale... The car parks right next to the hall entrance door - The engine shuts off, and with it, the music - Sofi and Pepe lunge through the door -</scene_description>
<character>SEÑOR ANTONIO</character>
<dialogue>There, there, there.... Let me get out.</dialogue>
<scene_description>Señora Sofía pulls the children to her and - SEÑOR ANTONIO comes out of the car, he's 40 years old with a few white hairs in his beard. He's still wearing his white doctor's coat. The children jump on him immediately -</scene_description>
<character>SEÑOR ANTONIO</character>
<dialogue>Who? Who? Who are these kids?</dialogue>
<scene_description>Señora Sofía touches his shoulder. The family comes in. Adela closes the street door and Cleo sets Borras free. He immediately sniffs at the Galaxie 500's tires. INT - UPSTAIRS HALL - TEPEJI 21 - NIGHT Gordolfo Gelatino exists his bedroom wearing a robe, stretching his arms lazily -</scene_description>
<character>GORDOLFO GELATINO (ON T.V.)</character>
<dialogue>Ya se despertó tu rorro, mamacita... (your baby's up, lil' mama)</dialogue>
<scene_description>Doña Naborita welcomes him enthusiastically -</scene_description>
<character>DOÑA NABORITA (ON T.V.)</character>
<dialogue>My angel of the mornin'! Si a penas son las dos de la tarde! Ya descansanste de descansar? (It's barely 2 pm! Have you rested from resting?)</dialogue>
<scene_description>The entire family is seated in front of a 1970 ADMIRAL TELEVISION SET. Sofi is perched on Señor Antonio and Pepe's on Señora Sofía's lap, Paco leans on her, cuddling. Toño, always more distant, sits in an armchair. Cleo serves Señor Antonio strawberries and cream. She picks up a plate with the remains of a concha and beans and head towards the stairs when - Laughter explodes, courtesy of Los Polivoces. The kids are laughing hard in their seats. Cleo stops and turns - ON TV - Gordolfo is sitting on the couch, admiring himself in the mirror, while Doña Naborita irons a pile of clothes.</scene_description>
<character>DOÑA NABORITA (ON T.V.)</character>
<dialogue>Ora sí, mi cerecita de jaibol, el edificio me dió toda su ropa a lavar y voy a poder comprarte ese reloj que tanto te gusta...! (That's right my little highball cherry, the entire building gave me their laundry to wash so I'm going to buy you that watch you like so much...!)</dialogue>
<character>GORDOLFO GELATINO (ON T.V.)</character>
<dialogue>No me gusta verte trabajar tanto, mi cabecita blanca adorada! Así que por favor vete al otro cuarto.</dialogue>
<character>GORDOLFO GELATINO (ON T.V.)</character>
<parenthetical>(I don't like to see you working so hard my beloved little white head... so please go to the other room.)</parenthetical>
<dialogue>Cleo sets aside the plates and sits down on the floor next to the sofa to watch T.V.</dialogue>
<dialogue>Paco holds out his arm to hug her.</dialogue>
<dialogue>Pepe tries doing the same but he can't reach. Cleo extends her arm and hooks it with his.</dialogue>
<scene_description>ON T.V. - A bump announces the Wash and Wear, who, minutes later enters his boss El Mostachón's office. He will exploit him, immune to the insults and truths that the Wash and Wear dishes out.</scene_description>
<character>SEÑORA SOFÍA</character>
<dialogue>Cleo?</dialogue>
<scene_description>Cleo immediately stands up -</scene_description>
<character>CLEO</character>
<dialogue>Yes, ma'am?</dialogue>
<character>SEÑORA SOFÍA</character>
<dialogue>Would you bring the doctor some chamomile tea?</dialogue>
<character>CLEO</character>
<dialogue>Yes, ma'am.</dialogue>
<scene_description>She picks up the plates from the floor and heads downstairs. INT - KITCHEN - TEPEJI 21 - NIGHT Adela is washing the dishes. Cleo comes in and leaves the dirty dishes next to the dishwasher.</scene_description>
<character>CLEO</character>
<dialogue>Move over!</dialogue>
<scene_description>She bumps Adela with her hip.</scene_description>
<character>ADELA</character>
<dialogue>Órale!</dialogue>
<character>CLEO</character>
<dialogue>Make some chamomile tea for the señora and get going.</dialogue>
<scene_description>CONTINUED: Adela obeys with mock-resignation and dries her hands with a rag -</scene_description>
<character>ADELA</character>
<dialogue>Just don't take too long...</dialogue>
<scene_description>She grabs a pot and pours water from a carboy on the floor. INT - UPSTAIRS HALL - TEPEJI 21 - NIGHT Cleo walks in with a steaming cup of tea, places it on a table next to Señora Sofía. Pepe sleeps in her arms.</scene_description>
<character>SEÑORA SOFÍA</character>
<dialogue>Can you take him?</dialogue>
<scene_description>Cleo takes Pepe and carries him into his room. Sofi follows her. Cleo pauses before going in to watch - ON T.V. - Chano and Chon reveal their faces under their hats. Chano starts asking Chon about penguin sizes. Chon answers and Chano starts howling at the answer.</scene_description>
<character>SEÑORA SOFÍA</character>
<dialogue>Off to bed, children...</dialogue>
<scene_description>Toño and Paco grudgingly get up and kiss their parents good night. INT - SOFI AND PEPE'S ROOM - TEPEJI 21 - NIGHT Sofi is lying down on her bed. Cleo sits next to her, taking her hand -</scene_description>
<character>CLEO</character>
<dialogue>Angelito de la Guarda, mi dulce compañía, no me desampares ni de noche ni de día. No me dejes sola que me perdería... (My guardian angel, sweet company, don't leave me alone day or night. Don't leave alone because I'd be lost...)</dialogue>
<scene_description>She strokes her face -</scene_description>
<character>CLEO</character>
<dialogue>Night-night, beautiful Sofi...</dialogue>
<scene_description>And she gives her a kiss. CONTINUED:</scene_description>
<character>SOFI</character>
<dialogue>Good night, Cleo.</dialogue>
<scene_description>She closes her eyes. Cleo gets up and turns off the light. She exits to - INT - UPSTAIRS HALL - TEPEJI 21 - NIGHT It's empty. Paco and Toño's door is closed but Señor Antonio and Señora Sofía's is still open. Señor Antonio sits on the bed, taking off his shoes. Señora Teresa's snores echo through the walls. Cleo picks up the teacup, intact and still full, and goes down the stairs. INT - DOWNSTAIRS - TEPEJI 21 - NIGHT Cleo goes down the stairs carrying the tea cup and when she reaches the hall, she goes into the living room to turn off all the lights. She leaves one on, next to the window. She keeps going till she reaches the kitchen door. She walks in. INT - KITCHEN - TEPEJI 21 - NIGHT Cleo enters the kitchen, pours out the tea and rinses the cup. She turns off the light and goes out to the small patio, climbing the metal staircase to her room. INT - MAID'S QUARTERS -TEPEJI 21 - NIGHT Cleo walks into the room. Adela is already in her nightgown -</scene_description>
<character>ADELA</character>
<dialogue>You took forever!</dialogue>
<scene_description>Cleo takes off her dress, rushing.</scene_description>
<character>CLEO</character>
<dialogue>Turn the light off already! Señora Teresa gets angry if she sees the light on!</dialogue>
<scene_description>Adela shuts the light and the room is dark although the window is big and lets the moonlight in. Cleo lights a candle and puts it on the floor. CONTINUED: The two of them lie down, lined up in such a way that one's feet touch the other one's feet and -</scene_description>
<character>ADELA</character>
<dialogue>Ready?</dialogue>
<character>CLEO</character>
<dialogue>Go...</dialogue>
<scene_description>The two of them push the upper parts of their bodies together and try to touch their toes -</scene_description>
<character>ADELA</character>
<parenthetical>(groaning)</parenthetical>
<dialogue>One...</dialogue>
<scene_description>And they work on their abs, one after the other -</scene_description>
<character>ADELA</character>
<parenthetical>(groaning)</parenthetical>
<dialogue>Two...</dialogue>
<scene_description>Between grunts and groans. Sunday, September 20th, 1970 EXT - INDEPENDENCIA AVE - DAY The festive bustle of a Sunday in downtown Mexico City: families and street vendors everywhere. Cleo and Adela walk in step, hurrying down the sidewalk in a moving obstacle race. Adela is faster but Cleo is more agile and tougher. Adela takes the lead but runs into a bus stop with families getting off. Cleo manages to slip through the crowd and keeps going. The sidewalk is a little less full, So Adela takes advantage of this and catches up just as they arrive to - EXT - TORTA STAND - INDEPENDENCIA AVE - DAY They stop, exhausted, catching their breath. One leans on a car, the other one on a lamp post. Between deep breaths, Cleo lifts a hand, index pointing at the sky -</scene_description>
<character>CLEO</character>
<parenthetical>(breathless)</parenthetical>
<dialogue>...I won...</dialogue>
<character>ADELA</character>
<parenthetical>(breathless)</parenthetical>
<dialogue>...No...we're...tied...</dialogue>
<scene_description>Cleo simply shakes her head no. INT - TORTA STAND - INDEPENDENCIA AVE - DAY Hand-painted illustrations on the wall advertise the different kinds of tortas available. On the other wall, a mirror cut into diamond shapes reflects the already abundant clientele. Cleo and Adela sit at the bar, enjoying their tortas cubanas, spilling over with each bite.</scene_description>
<character>ADELA</character>
<dialogue>And then Moisés... remember Moisés, from the village?</dialogue>
<scene_description>Cleo nods, giving her torta a giant bite, overflowing with avocado.</scene_description>
<character>ADELA</character>
<dialogue>So he was there, boom, boom, boom, and...</dialogue>
<character>CLEO</character>
<parenthetical>(laughing)</parenthetical>
<dialogue>Boom, boom...boom?</dialogue>
<character>ADELA</character>
<dialogue>No silly! Boom, boom, sending me letter after letter...</dialogue>
<scene_description>Every time she speaks, Cleo puts her hand over her mouth -</scene_description>
<character>CLEO</character>
<parenthetical>(curious)</parenthetical>
<dialogue>What all was he writing about?</dialogue>
<character>ADELA</character>
<dialogue>Well, that he couldn't stop thinking about me... about how much he missed me... wanted to see me...</dialogue>
<character>CLEO</character>
<dialogue>Aaaaaaayyyyyyy...!</dialogue>
<character>ADELA</character>
<dialogue>That he felt so alone without me...</dialogue>
<character>CLEO</character>
<dialogue>Poor guy!</dialogue>
<character>ADELA</character>
<dialogue>That he couldn't take not seeing me no more...</dialogue>
<character>CLEO</character>
<dialogue>Aaaaaaay...</dialogue>
<character>ADELA</character>
<dialogue>And so my cousin, he comes over from the village to run some errands and brings me another letter from Moisés...</dialogue>
<character>CLEO</character>
<dialogue>And?</dialogue>
<character>ADELA</character>
<dialogue>And so he pulls out the letter and gives it to me... But the letter was there with a bunch of other letters, and as he's pulling it out, they all spill onto the floor. And so I see one with Moisés's handwriting, and so I just take it and I open it...!</dialogue>
<scene_description>Following the story, Cleo has stopped chewing -</scene_description>
<character>ADELA</character>
<dialogue>And sure enough, it was Moisés's. I can't stop thinking about you... I want to see you.... I feel so alone without you... I miss you so...</dialogue>
<character>CLEO</character>
<dialogue>Pobrecito! Such a nice guy!</dialogue>
<character>ADELA</character>
<dialogue>Sure. Except the letter was for another girl!</dialogue>
<character>CLEO</character>
<dialogue>Noooooo!</dialogue>
<scene_description>She's floored, mouth wide open, a half-chewed piece of torta still in her mouth. CONTINUED:</scene_description>
<character>ADELA</character>
<dialogue>That bastard sends the same letter to all the girls!</dialogue>
<scene_description>The both explode in laughter, covering their mouths with their hands. Other diners turn around and they both hide their faces, trying to repress their laughter. AT THE ENTRANCE - Two men walk into the torta stand and look around. They see Cleo and Adela sitting at the bar and walk towards them. RAMÓN, 27, affable, a little overweight and with sideburns is wearing a purple shirt with four buttons open down the front. FERMÍN, 26, is shy and a little sullen, with the sculpted body of an athlete over which he sports a t-shirt and a leather jacket.</scene_description>
<character>RAMÓN</character>
<dialogue>Why so alone eating your tortitassssss...?</dialogue>
<scene_description>He startles the two women. Adela gets up immediately and -</scene_description>
<character>ADELA</character>
<dialogue>Ramón!</dialogue>
<scene_description>The two hug and kiss luxuriantly. Fermín walks over with a shy smile. Cleo gets up and they awkwardly kiss hello.</scene_description>
<character>ADELA</character>
<dialogue>You want a torta?</dialogue>
<scene_description>Timidly, Fermín points to his stomach -</scene_description>
<character>FERMÍN</character>
<dialogue>Thanks, I already...</dialogue>
<character>RAMÓN</character>
<dialogue>If you're done eating, let's go, I love watching the previews!</dialogue>
<scene_description>EXT - METROPOLITAN CINEMA - AFTERNOON The entrance to the movie theater is a bazar of STREET VENDORS hawking their wares, reciting lists over and over like a litany, like mantras in a chant. And old woman seated on the floor offers her candies spread out on a piece of fabric in front of her -</scene_description>
<character>CANDY VENDOR</character>
<dialogue>...Cigarrettes-gum-chocolates- mazipan-muéganos-peanuts-gum drops...</dialogue>
<scene_description>Behind his makeshift table, another vendor offers "japanese" peanuts -</scene_description>
<character>PEANUT VENDOR</character>
<dialogue>Japaneeeeeeeeeeeeeeese peanuts! Japaneeeeeeeeeeeeeeese peanuts! Japaneeeeeeeeeeeeeeese peanuts!</dialogue>
<scene_description>A short, chubby lady walks around, a box of Adams gum in hand-</scene_description>
<character>GUM VENDOR</character>
<dialogue>One peso for Adams chewing gum! Mint flavor, spearmint, cinnamon, tuttifrutti...!</dialogue>
<scene_description>A meringue vendor, in his short shirt -</scene_description>
<character>MERINGUE VENDOR</character>
<dialogue>...Merengues-merengues-have a delicious merengue!...</dialogue>
<scene_description>Magazine vendors, yo-yo and cheap toy vendors... a cacophony of cries accompanied by a barrell organ on the sidewalk. Cleo, Adela, Ramón and Fermín line up at the ticket booth.</scene_description>
<character>ADELA</character>
<dialogue>What movie are we watching?</dialogue>
<character>RAMÓN</character>
<dialogue>Who knows.</dialogue>
<scene_description>Fermín asks Cleo -</scene_description>
<character>FERMÍN</character>
<dialogue>You sure you wanna go to the movies...?</dialogue>
<character>CLEO</character>
<dialogue>Sure. I like movies, don't you?</dialogue>
<scene_description>CONTINUED:</scene_description>
<character>FERMÍN</character>
<dialogue>Well, I mean... it's so nice out this afternoon, isn't it?</dialogue>
<scene_description>Cleo realizes the sun is shining and turns her had to the sky-</scene_description>
<character>CLEO</character>
<dialogue>Yep, sure is clear.</dialogue>
<scene_description>She looks at him -</scene_description>
<character>CLEO</character>
<dialogue>You want to go to the Alameda?</dialogue>
<scene_description>Fermín smiles at her.</scene_description>
<character>FERMÍN</character>
<dialogue>Wait a sec...</dialogue>
<scene_description>He walks up to Ramón, who is at the top of the line, pulling money out of his wallet. Adela takes the opportunity to go see Cleo.</scene_description>
<character>ADELA</character>
<dialogue>So, manita, no movies for you?</dialogue>
<character>CLEO</character>
<dialogue>Well... it's so nice out, no?</dialogue>
<character>ADELA</character>
<parenthetical>(interrupts)</parenthetical>
<dialogue>Uuuuuuuuuuuuyyyyyy! Right... well, you'll tell me all about it later, manita. I prefer the darkness.</dialogue>
<scene_description>And she walks off with Ramón who is waiting to go inside the theater. Fermín walks back to Cleo and they leave. The street vendors continue their chorus. The organ player is quiet. INT - HOTEL ROOM - AFTERNOON The rules hang in a small frame over the door. Disregarded. Behind the window, the Sunday afternoon wanes and a fluorescent sign peeks in, advertising the hotel. Behind the open bathroom door, a single bulb lights the sink and a rusty mirror. Fermín exits the bathroom carrying a pair of nunchaku. He's completely naked. Cleo waits in bed timidly, her slip still on. She blushes as she sees Fermín. In front of the bathroom, Fermín presents his nunchaku -</scene_description>
<character>FERMÍN</character>
<dialogue>Jodan Tsuki!...</dialogue>
<scene_description>He begins his nunchaku routine. It's an elaborate and studied choreography, the chained up sticks spinning like helixes around him. The effect is both poetic and a little ridiculous, but Cleo hides her smile behind the sheets. Fermín finalizes his routine by striking different positions -</scene_description>
<character>FERMÍN</character>
<dialogue>Jodan Tsuki! Chudan Tsuki! Mae Geri!</dialogue>
<scene_description>And he bows. Cleo represses a laugh.</scene_description>
<character>FERMÍN</character>
<dialogue>What?</dialogue>
<scene_description>Cleo covers her smile, asking -</scene_description>
<character>CLEO</character>
<dialogue>So, do you train every day?</dialogue>
<character>FERMÍN</character>
<dialogue>I have to. I owe my life to martial arts. I grew up with nothing, you know?</dialogue>
<scene_description>Outside, the crowd's hustle and bustle seems distant. Fermín leaves the nunchaku on a shelf and walks towards the foot of the bed -</scene_description>
<character>FERMÍN</character>
<dialogue>When I was a kid and my ma died...</dialogue>
<scene_description>He crosses himself -</scene_description>
<character>FERMÍN</character>
<dialogue>My aunt took me in... Over there in Neza. And between my cousins who beat me up and the bad influences, I started drinking...and then huffing...I was dying...</dialogue>
<scene_description>CONTINUED: He pauses -</scene_description>
<character>FERMÍN</character>
<dialogue>But then I found out about martial arts. And so then those things... well, you know, suddenly everything seemed, well... focused?</dialogue>
<scene_description>Fermín pauses for a beat, looks at Cleo -</scene_description>
<character>FERMÍN</character>
<dialogue>I don't really like telling people about my stuff, but with you it's... different.</dialogue>
<scene_description>He pulls his face close to hers and their lips meet and kiss, softly. But soon Cleo moves her head, bumping Fermín on the nose.</scene_description>
<character>CLEO</character>
<dialogue>Oh! Sorry...!</dialogue>
<scene_description>Fermín pulls her in again and kisses her intensely and with his mouth locked on Cleo's he lies down slowly on top of her. They make love. Wednesday, November 11th, 1970. INT- MAID'S QUARTERS - TEPEJI 21 - DAWN The alarm bell rings. Cleo wakes up and turns it off. She sits up on her bed. The early morning light comes in the window and the house is quiet. Adela sleeps placidly in her bed. Cleo gets up in a rush, takes her clothes from the chair, puts on her shoes and hurries out the door. EXT - SMALL PATIO - TEPEJI 21 - DAWN Cleo rushes down the stairs and into the small bathroom. INT - MAID'S BATHROOM - TEPEJI 21 - DAWN Cleo vomits. The bathroom is clean but has had zero upkeep for a long time. The tiny shower is curtainless and the toilet has no seat and no lid on the water tank. In the sink, two toothbrushes and a squeezed tube of Colgate. On a small shelf, a jar of Nivea and an unlit votive candle. INT - MAID'S BATHROOM - TEPEJI 21 - MOMENTS LATER Cleo takes a shower, the tiny bathroom immediately clouding with steam. INT - DOWNSTAIRS - TEPEJI 21 - DAWN Cleo comes out of the kitchen and walks across the house, still in gloom although behind the patio windows the first light of day is already warming. Cleo reaches the stairs and walks up. INT - UPSTAIRS HALL - TEPEJI 21 - DAY Through the younger children's bedroom door, we can see Cleo whispering to Sofi -</scene_description>
<character>CLEO</character>
<dialogue>My little girl... my beautiful little one...</dialogue>
<scene_description>She tickles her midriff -</scene_description>
<character>CLEO</character>
<dialogue>Rise and shine... wake up, wake up... it's a new dawn, it's a new day...</dialogue>
<scene_description>The tickling inches up Sofi's torso like an army of ants. Sofi smiles but pretends to sleep.</scene_description>
<character>CLEO</character>
<dialogue>Up, up, up little by little...</dialogue>
<scene_description>Sofi finally breaks into laughter and drowsily moves her arms.</scene_description>
<character>CLEO</character>
<dialogue>Good morning, my little princess...</dialogue>
<scene_description>Sofi hugs her neck.</scene_description>
<character>CLEO</character>
<dialogue>Andali! Get up...</dialogue>
<scene_description>Sofi gets up -</scene_description>
<character>SOFI</character>
<dialogue>Bathroom...</dialogue>
<character>CLEO</character>
<dialogue>Get going already!</dialogue>
<scene_description>Sofi leaves the room and crosses the hall sleepily while Cleo places a clean school uniform on the bed. Señora Teresa walks out of her bedroom and sees Sofi about to enter the bathroom -</scene_description>
<character>SEÑORA TERESA</character>
<dialogue>Good morning, Sofi.</dialogue>
<scene_description>Sofi goes in without turning back -</scene_description>
<character>SOFI</character>
<dialogue>Good morning, grandma...</dialogue>
<scene_description>She closes the door. Señora Teresa walks down the stairs. Cleo goes to Pepe's bed and gives him a quick kiss, making sure not to wake him, then leaves the room. She turns the light on in the hall and goes to Toño and Paco's room. They're deep asleep. She crouches down next to Toño, caressing his head and whispering -</scene_description>
<character>CLEO</character>
<dialogue>Toño, Toño my love, it's time to wake up...</dialogue>
<scene_description>Without even turning around, Toño slaps her hand off -</scene_description>
<character>TOÑO</character>
<dialogue>I'm up...</dialogue>
<scene_description>Cleo puts her hands up in the air -</scene_description>
<character>CLEO</character>
<dialogue>Oh, so he's already awake! Oh, so no one should touch him!...</dialogue>
<scene_description>Toño gets up, grouchy, and leaves the room. CONTINUED:</scene_description>
<character>CLEO</character>
<dialogue>Sofi's in the bathroom...</dialogue>
<scene_description>In the hall, he knocks on the bathroom door -</scene_description>
<character>SOFI (O.C.)</character>
<dialogue>Busy!</dialogue>
<scene_description>Toño knocks louder.</scene_description>
<character>TOÑO</character>
<dialogue>Hurry up! I gotta go!</dialogue>
<character>SOFI (O.C.)</character>
<dialogue>Coming!</dialogue>
<scene_description>Cleo sits at the foot of Paco's bed and pulls one of his feet out of the covers and puts his socks on without waking him. She sits him up, leans him against her, and takes off the top of his pajamas. In the hall, Toño keeps knocking on the bathroom door -</scene_description>
<character>TOÑO</character>
<dialogue>Get out!</dialogue>
<scene_description>The bathroom door opens, and Sofi comes out -</scene_description>
<character>SOFI</character>
<dialogue>You can go in now!</dialogue>
<scene_description>Toño walks in straight away and as he closes the door -</scene_description>
<character>TOÑO</character>
<dialogue>Fatty...!</dialogue>
<scene_description>Sofi walks back into her bedroom. Cleo has managed to put Paco's t-shirt on. He's now sitting on the bed.</scene_description>
<character>CLEO</character>
<dialogue>Come on, finish getting dressed.</dialogue>
<scene_description>Paco takes off his pajama pants and Cleo walks out to the hall and in to help Sofi. INT - BREAKFAST ROOM - TEPEJI 21 - DAY Señora Teresa and Sofi have breakfast at the table. Cleo is putting away waxed paper packages into the backpacks on the floor next to each chair. Through the windows, Ignacio is taking the cars out to the street. A portable radio on the table plays XEQK HASTE'S OBSERVATORY HOUR -</scene_description>
<character>HASTE HOUR</character>
<dialogue>Chocolates Turín! Ricos de principio a fin! Maestro Mecánico Marcos Carrasco garantiza vigoroso control de calidad en la rectificación de motores... (Turin Chocolates! Delicious from beginning to end! Mechanic Marcos Carrasco guarantees quality control when rectifying motors...)</dialogue>
<scene_description>Paco comes out of the kitchen with a Gansito and puts it in his backpack, except Sofi sees him -</scene_description>
<character>SOFI</character>
<dialogue>I want a Gansito too!</dialogue>
<character>PACO</character>
<dialogue>They're mine.</dialogue>
<character>SEÑORA TERESA</character>
<dialogue>I bought them for everyone.</dialogue>
<character>PACO</character>
<dialogue>But I put them in the freezer.</dialogue>
<character>SEÑORA TERESA</character>
<dialogue>Come on, give one to Sofi and I'll buy you a big box just for you.</dialogue>
<scene_description>Paco weighs the offer and goes back into the kitchen. Señora Teresa has finished her pan dulce dunked in coffee with milk and gets up.</scene_description>
<character>SEÑORA TERESA</character>
<dialogue>Hurry up kids, it's seven twenty already.</dialogue>
<scene_description>Paco's voice pipes in from the kitchen -</scene_description>
<character>PACO (O.C.)</character>
<dialogue>It's seven seventeen!</dialogue>
<scene_description>The Haste Hour recites -</scene_description>
<character>HASTE HOUR</character>
<dialogue>XEQK proporciona la hora del observatorio, misma de Haste. Haste, la Hora de México. Siete de la mañana diecisiete minutos. Siete diecisiete... (a beat)... BIIIP (XEQK gives you the time at the observatory, same as Haste's. Haste, Mexico's time. Seven in the morning and seventeen minutes. Seven seventeen...)</dialogue>
<scene_description>Paco triumphantly exits the kitchen. Señora Teresa pulls out her tongue at him and walks off to the door. Paco throws Sofi her Gansito.</scene_description>
<character>PACO</character>
<dialogue>For you to get fatter...</dialogue>
<scene_description>Toño walks in.</scene_description>
<character>CLEO</character>
<dialogue>Your juice, Toño.</dialogue>
<scene_description>Toño sits down -</scene_description>
<character>TOÑO</character>
<dialogue>Turn that thing off.</dialogue>
<character>PACO</character>
<dialogue>No, why?</dialogue>
<scene_description>Señora Teresa is already calling them from the door -</scene_description>
<character>SEÑORA TERESA</character>
<dialogue>Let's go!</dialogue>
<scene_description>Sofi gets up and walks towards Señora Teresa who is heading out towards the patio -</scene_description>
<character>SEÑORA TERESA</character>
<dialogue>Cleo, hold the dog so I can open the door.</dialogue>
<scene_description>Cleo immediately gets up and runs out to the patio. Toño also gets up and turns the radio volume all the way up before leaving. Paco turns it off with a slap -</scene_description>
<character>TOÑO</character>
<dialogue>Haha! Sissy!</dialogue>
<scene_description>CONTINUED: Before reaching the patio, Paco cries out -</scene_description>
<character>PACO</character>
<dialogue>Shotgun!</dialogue>
<scene_description>Toño downs his juice and follows them. EXT - HOUSE -TEPEJI 21 - DAY The Valiant is parked in front of the house, engine idling, Haste Hour on the radio. Cleo waits on the sidewalk, holding Borras from the collar, while Señora Teresa and the kids scramble messily into the car.</scene_description>
<character>TOÑO</character>
<dialogue>Move it!</dialogue>
<character>SOFI</character>
<dialogue>I'm moving!</dialogue>
<scene_description>When Señora Teresa has managed to get in the car, Ignacio closes the door behind her, waiting for everyone else to close their doors before getting in.</scene_description>
<character>TOÑO</character>
<dialogue>Put La Pantera on!</dialogue>
<scene_description>Paco turns the dial and the radio station switches to La Pantera right in the middle of a Beetles vs. Creedence vote -</scene_description>
<character>RADIO LA PANTERA</character>
<dialogue>...Por quién votas campeón? Por los Beatles... Un voto más para el cuarteto de Liverpool que van atrás por 18 votos del Cuarteto del Bajou. Por quién votas? Creedence... (Who do you vote for, champ? For the Beatles... One more vote for the Liverpool quartet, trailing 18 votes behind the Bajou quartet. Who do you vote for? Creedence...)</dialogue>
<scene_description>Ignacio steps on the clutch letting Paco, who is sitting next to him, put the hand gear next to the steering wheel in first. The Valiant drives off and down the street. Cleo sees it turn the corner and she walks back into the house pulling the dog inside. She closes the door. INT - DOWNSTAIRS HALL - TEPEJI 21 -DAY Cleo comes in, closing the patio door. She crosses the hall and walks up the stairs. INT - SOFI AND PEPE'S ROOM - TEPEJI 21 - DAY Cleo hides her face in Pepe's belly. He laughs.</scene_description>
<character>PEPE</character>
<dialogue>I was already up!</dialogue>
<character>CLEO</character>
<dialogue>Oh goody! So you're already dressed!</dialogue>
<character>PEPE</character>
<dialogue>Not yet.</dialogue>
<character>CLEO</character>
<dialogue>C'mon! Get up, let's get you dressed!</dialogue>
<scene_description>Pepe gets up and Cleo dresses him while he talks -</scene_description>
<character>PEPE</character>
<dialogue>You know what I remembered in my dream?</dialogue>
<character>CLEO</character>
<dialogue>No, what did you remember?</dialogue>
<character>PEPE</character>
<dialogue>I remembered when I was older.</dialogue>
<character>CLEO</character>
<dialogue>When you were older?</dialogue>
<character>PEPE</character>
<dialogue>Yes, you were also there, but you were different. Do you remember?</dialogue>
<scene_description>Cleo pulls his shorts up. INT - BREAKFAST ROOM - TEPEJI 21 - DAY A spoon delicately taps on the dome of an egg, cracking it slowly. CONTINUED: Cleo takes off the shell and empties out the soft-boiled egg onto a cup. She puts in salt and little bits of bread. She gives Pepe the cup. He eats. Cleo gets up and takes the dirty dishes into the - INT - KITCHEN - TEPEJI 21 - DAY Cleo comes in at the same time as Adela, her hair wet, through the small patio door.</scene_description>
<character>CLEO</character>
<dialogue>Good night!</dialogue>
<character>ADELA</character>
<dialogue>Why didn't you wake me?</dialogue>
<character>CLEO</character>
<dialogue>Well, God forbid you get tired later.</dialogue>
<scene_description>Adela looks at her with a crooked smile. Cleo spreads marmalade on a piece of bread and places it on another. They hear Señora Sofía walk into the Breakfast Room -</scene_description>
<character>PEPE (O.S.)</character>
<dialogue>Mom!</dialogue>
<character>SEÑORA SOFÍA (O.S.)</character>
<dialogue>How's your egg, my love?</dialogue>
<scene_description>Cleo puts the sandwich in a wax paper baggie -</scene_description>
<character>CLEO</character>
<dialogue>The Doctor is leaving. Tie Borras up so he can go.</dialogue>
<scene_description>Cleo takes the sandwich and a glass of orange juice and heads to the breakfast room. Adela goes out to the patio. INT - BREAKFAST ROOM - TEPEJI 21 - DAY Señora Sofía is sitting next to Pepe, Cleo comes in with the juice.</scene_description>
<character>CLEO</character>
<dialogue>Your juice...</dialogue>
<character>SEÑORA SOFÍA</character>
<dialogue>Pepe can wait to say goodbye to his dad. It doesn't matter if he's late.</dialogue>
<character>CLEO</character>
<dialogue>Yes ma'm.</dialogue>
<scene_description>At the back of the hall, Señor Antonio has come down the stairs, carrying two bags. Cleo rushes to help him.</scene_description>
<character>CLEO</character>
<dialogue>Leave them there, please, sir...!</dialogue>
<scene_description>Señor Antonio leaves the bags on the floor.</scene_description>
<character>SEÑOR ANTONIO</character>
<dialogue>Thanks, Cleo.</dialogue>
<scene_description>He walks to the Breakfast Room -</scene_description>
<character>SEÑOR ANTONIO</character>
<dialogue>Good morning, Pepón!</dialogue>
<character>PEPE</character>
<dialogue>Daddy!</dialogue>
<scene_description>Señor Antonio gulps down the whole glass of orange juice. Cleo heads over to the luggage: she carries the bags and exits - EXT - PATIO - TEPEJI 21 - DAY Military drums and trumpets echo inside the patio. Cleo carries the bags to the door where Adela is holding Borras by the collar. Cleo pauses only to open the door and walks out to - EXT - HOUSE - TEPEJI 21 - DAY A Jr. High marching band marks each step as they file down the street, sounding drums and trumpets. A 1966 cream colored VW SEDAN waits in front of the house. Cleo walks out with the bags and leaves them next to the car. She opens the door and puts one bag in the rear seat then opens the mechanism in the glove compartment. She gets out of the car and carries the second bag to the front of the car, opens the trunk and puts it in the tiny space. She walks back into the house but sees Señor Antonio already walking out through the patio. Señora Sofía follows him, carrying Pepe. Señor Antonio steps on dog shit and stops, disgusted -</scene_description>
<character>SEÑOR ANTONIO</character>
<dialogue>Well I'll be...</dialogue>
<scene_description>He rubs the foot on the floor trying to clean it off and keeps walking. On the street, he scrapes the sole of his shoe against the edge of the sidewalk. Señora Sofía puts Pepe down on the as they reach the street and walks over to Señor Antonio, hugging him from the back. Cleo moves back a few steps, Pepe walks over to her and holds her hand. Señora Sofía starts crying. Señor Antonio turns around and hugs her, uncomfortable.</scene_description>
<character>SEÑORA SOFÍA</character>
<dialogue>We'll be here...</dialogue>
<character>SEÑOR ANTONIO</character>
<dialogue>It's just for a few weeks...</dialogue>
<scene_description>He disentangles from Señora Sofía who heads over to give him a snotty kiss which he accepts before sitting at the wheel and closing the door. Señora Sofía puts her hand on her husband's shoulder while he turns on his four cylinder engine.</scene_description>
<character>SEÑOR ANTONIO</character>
<dialogue>Bye, Pepe...</dialogue>
<scene_description>He shifts into first gear and starts off slowly, forcing Señora Sofía to lift her hand, then drives off to the end of the street. The VW idles at the corner where it waits for the back of the marching band to leave the street taking its martial airs with it, then disappears to the right. Señora Sofía is frozen, her hand held up in the air. Cleo waits. CONTINUED: Finally, Señora Sofía turns, her face upset -</scene_description>
<character>SEÑORA SOFÍA</character>
<dialogue>Goddamnit! Clean up that dog shit!</dialogue>
<scene_description>She walks up to Pepe and takes his hand -</scene_description>
<character>SEÑORA SOFÍA</character>
<dialogue>I'll take Pepe.</dialogue>
<scene_description>She walks with Pepe to the end of the street, heading in the opposite direction as Señor Antonio. Cleo comes into the house and closes the door. EXT - PATIO -TEPEJI 21 - DAY Cleo pushes the shit onto a dustpan with a broom. She moves on to the next one, while Borras walks around the patio, oblivious. One by one, she picks them all up. EXT - SMALL PATIO - TEPEJI 21 - DAY Cleo opens the trash and throws in the shit. She closes it. EXT - PATIO - TEPEJI 21 - DAY A smeared stain on a red and white tile is all that remains of Borras's shit. Pale dust falls on the stain until it's entirely covered. Cleo crosses the patio, dusting soap on each one of the remaining stains. She reaches the street entrance, fills two pails of water, pours them on the floor and - One by one, she brushes every single dusted stain in the patio. Sunday November 29, 1970 INT - METROPOLITAN CINEMA - AFTERNOON MOVIE The theater is almost full, but emptier towards the back. In the last row, Cleo and Fermín sit next to each other, making out intensely, their hands rubbing each other's genitals while they kiss.</scene_description>
<character>FERMÍN</character>
<dialogue>Suck it...</dialogue>
<scene_description>Cleo moves back briefly and tries to tell him between sighs -</scene_description>
<character>CLEO</character>
<dialogue>It's just that... I haven't gotten my period this month...</dialogue>
<scene_description>But she succumbs, trying to repress a groan of pleasure. She kisses and caresses Fermín with greater intensity as he explores her more deeply with his hand. MOVIE Finally, Cleo manages to overcome her desire to tell him -</scene_description>
<character>CLEO</character>
<dialogue>I'm telling you. I haven't had my period all month.</dialogue>
<scene_description>But Fermín quiets her with a kiss on the mouth. When he goes to her neck, Cleo tries to talk between convulsions of pleasure -</scene_description>
<character>CLEO</character>
<dialogue>I think I'm with child.</dialogue>
<scene_description>Fermín pauses briefly, then keeps kissing her -</scene_description>
<character>FERMÍN</character>
<dialogue>Oooohhh, well that's OK, right?</dialogue>
<character>CLEO</character>
<dialogue>That's OK?</dialogue>
<character>FERMÍN</character>
<dialogue>Yeah...</dialogue>
<scene_description>Cleo smiles and kisses him on the mouth. She lowers her head and gives him a blow job. Fermín holds her head down pushing her to a rhythm.</scene_description>
<character>FERMÍN</character>
<dialogue>Like that... Just. Like. That...</dialogue>
<scene_description>MOVIE CONTINUED: Fermín reaches his arms out to grab onto the backs of the neighboring seats and starts moaning.</scene_description>
<character>FERMÍN</character>
<dialogue>Yes, yeeeeees, yeeeeeeeees, yeeeeeeeeeeeeees!</dialogue>
<scene_description>He opens his mouth and muffles a cry by biting down on his hand and when the explosion is over, Cleo comes up, hand on her mouth, face splashed with semen. She opens her purse and pulls out a couple of Kleenex. She wipes her mouth and face, then her hands, and cuddles on Fermín who is still breathing heavily. The two watch the movie. Cleo is in love. MOVIE Fermín moves softly to get up -</scene_description>
<character>FERMÍN</character>
<dialogue>I have to go to the restroom...</dialogue>
<character>CLEO</character>
<dialogue>Shhhh... It's almost over.</dialogue>
<character>FERMÍN</character>
<dialogue>I gotta go now. Gimme a sec, I'll be right back...</dialogue>
<scene_description>He gets up, walking through the empty seats to the aisle and then to the exit. Cleo waits till he's left to look for some gum in her purse. She puts it in her mouth. Pulls out another Kleenex, wets it with her tongue and wipes her face. The MOVIE reaches the end and the CREDITS roll. Cleo looks to the exit. PEOPLE start to leave. The LIGHTS COME ON in the theater, SECTION BY SECTION, SLOWLY... Cleo gets up and looks to the exits, leaning onto the seats in front of her. Credits keep rolling with the names of the Stage Crew. The theater is now empty except for Cleo and the screen showing the sound credits. CONTINUED: The velvet curtain closes, interrupting the unfinished credits. Cleo finally heads to the exit. INT - LOBBY METRPOLITAN CINEMA - AFTERNOON New spectators enter the theater, some heading directly to the candy store, where the lines are still short. Cleo wanders through the lobby looking for Fermín but there's no sign of him. She walks towards the entrance, heading the opposite direction as the newcomers. EXT -ENTRANCE -METROPOLITAN CINEMA - AFTERNOON Cleo exits and walks to the middle of the entrance where she stops, engrossed between the STREET VENDORS hawking their wares, reciting their different mantras. Her legs seem to fall out from under her and she leans on the marquee advertising the upcoming releases. Slowly, she sits on the ground between - An old lady selling her sweets</scene_description>
<character>SWEETS VENDOR</character>
<dialogue>...cigarrettes-chewing gum- chocolates-mazipan-muéganos-peanuts- gum drops-...</dialogue>
<scene_description>And a man peddling his magic trick: a small plastic skeleton that dances on the ground -</scene_description>
<character>SKELETON VENDOR</character>
<dialogue>No tricks, no ruses, it dances on its own! No strings, no cheating, Don Carlangas dances...</dialogue>
<scene_description>Cleo stays still in the midst of a sea of voices -</scene_description>
<character>VENDORS</character>
<dialogue>...Japaneeeeeeeeese peanuts! ... Herbie stickers for sale!... Merengues-merengues-get your delicious mereeeeeeengues!... Mint flavored, spearmint, cinnamon, tuttifrutti flavored Adams chiclets!...</dialogue>
<scene_description>CONTINUED: Next to Cleo, the small skeleton jumps, shimmies and suddenly stops -</scene_description>
<character>SKELETON VENDOR</character>
<dialogue>What happened, Don Carlangas? You tired? And what are we gonna do about that?</dialogue>
<scene_description>The skeleton sits on the floor -</scene_description>
<character>SKELETON VENDOR</character>
<dialogue>Aha! Mister Carlangas is resting!</dialogue>
<scene_description>Tuesday, December 8th, 1970. EXT -STREET - DAY And old Purépecha indigenous man, hunched and with a straw hat carries an enormous and bulky cloth sack, which almost covers his frail figure from the back. He walks down the street at a steady step, stopping only to rearrange the heavy sack on his back. He walks past a convenience store, a pharmacy, a bakery, a dime store, a stationary store and turns onto - EXT - TEPEJI STREET - HOUSE - TEPEJI 21 - DAY Without losing his rhythm, the old man walks in front of the old houses built in the 1930s, hunched over, the enormous bulk resting almost vertically on his back. Some houses have renovated, some are in desperate need of a new coat of paint. He arrives to Tepeji 21 and stops in front of the door. Slowly he takes the giant load off his back and puts it on the ground. He rings the bell. Inside, we hear Borras running to the door, barking furiously. The old man waits. Borras doesn't let up, his barks grow ever louder. Cleo approaches -</scene_description>
<character>CLEO (O.S.)</character>
<dialogue>Who is it?</dialogue>
<character>OLD MAN WITH ORANGES</character>
<dialogue>Oranges!</dialogue>
<scene_description>Borras answers, furious.</scene_description>
<character>CLEO (O.S.)</character>
<dialogue>Coming...! Borras, shut up!</dialogue>
<scene_description>The old man picks up the sack while the door opens just enough for Cleo to peek out while grabbing the dog's collar. The old man finishes putting his sack back up on his back -</scene_description>
<character>OLD MAN WITH ORANGES</character>
<dialogue>You got the dog?</dialogue>
<character>CLEO</character>
<dialogue>Yes.</dialogue>
<character>OLD MAN WITH ORANGES</character>
<dialogue>You sure?</dialogue>
<character>CLEO</character>
<dialogue>I got him. Come on in.</dialogue>
<scene_description>The door opens and Borras immediately lunges for the old man, but Cleo holds tugs at collar with all her strength. The dog barks, aggressive, standing on its hind legs. The old man comes into - EXT -PATIO -TEPEJI 21 - DAY Cleo holds Borras and steps to the side while the old man comes in. The dog's mouth sprays slob with each bark.</scene_description>
<character>OLD MAN WITH ORANGES</character>
<dialogue>Hold him tight.</dialogue>
<scene_description>Cleo wrestles with the dog -</scene_description>
<character>CLEO</character>
<dialogue>Come in, come in...</dialogue>
<scene_description>The old man walks cautiously next to Cleo, who is still holding Borras. She closes the door and follows in after him, keeping her distance. At the far end of the patio, the old man goes into the - EXT - SMALL PATIO - TEPEJI 21 - DAY The old man stops in front the kitchen and slowly deposits the heavy sack on the floor. Adela comes out of the kitchen carrying a wooden crate, which she places on the floor - CONTINUED:</scene_description>
<character>ADELA</character>
<dialogue>Good morning, sir...</dialogue>
<character>OLD MAN WITH ORANGES</character>
<dialogue>Morning... How many'll it be?</dialogue>
<character>ADELA</character>
<dialogue>Thirty.</dialogue>
<scene_description>The old man takes his hat off to cool his straight white hair damp with sweat. His Indigenous face is furrowed by deep wrinkles. He bends over, puts his hands in the sack and pulls out -</scene_description>
<character>OLD MAN WITH ORANGES</character>
<dialogue>1...2...3...4...5...6...</dialogue>
<scene_description>Cleo holds Borras who won't stop barking. EXT - PATIO - TEPEJI 21 - AFTERNOON Pebbles of ice bounce off the ground after falling from the sky. Hail covers the patio. INT - KITCHEN - TEPEJI 21 -AFTERNOON Drowned out by clouds, the afternoon light fights to pierce through the windows. Behind the window: hail over the small patio. Adela pours coffee in a pot and puts it on a tray that already has a sugar bowl, a little milk pitcher, a spoon and a napkin. Next to her, Cleo waits nervously.</scene_description>
<character>ADELA</character>
<dialogue>C'mon manita, you take it.</dialogue>
<scene_description>Cleo takes the platter and walks towards the living room. Adela walks with her but stops at the door. INT - LIVING ROOM - TEPEJI 21 - AFTERNOON Cleo exits the kitchen. Adela waits next to the door and watches her cross the hall carrying the coffee tray. Behind the windows, hail pours down. The afternoon light barely mottles the living room curtains and already some lamps are on. In a corner, a Christmas Tree shows off its many colored lights over a handcrafted nativity scene with moss, hay and cardboard landscapes. CONTINUED: In the modern living room, the children sit at the sofa around Señora Sofía. Cleo places the platter on the coffee table next to some sheets of paper and envelopes and pours the coffee. She is about to add some cream, when -</scene_description>
<character>SEÑORA SOFÍA</character>
<dialogue>That'll be fine, Cleo...</dialogue>
<scene_description>Cleo places the cup in front of Señora Sofía. She takes the cream and pours it while Cleo starts to leave. She stops -</scene_description>
<character>CLEO</character>
<dialogue>Pardon me, Señora Sofi?</dialogue>
<scene_description>Señora Sofía adds two sugars to her coffee.</scene_description>
<character>SEÑORA SOFÍA</character>
<dialogue>Yes?</dialogue>
<character>CLEO</character>
<dialogue>It's just that... when you have a minute, would you mind if we talk for a little bit?</dialogue>
<character>SEÑORA SOFÍA</character>
<dialogue>Yes, just wait a sec. I need to say something to the children.</dialogue>
<scene_description>Cleo nods and steps back a few steps, ready to wait.</scene_description>
<character>SEÑORA SOFÍA</character>
<dialogue>Feel free to sit down and wait over here.</dialogue>
<scene_description>Cleo timidly sits on the sofa. Señora Sofía tastes her coffee, the children grow restless.</scene_description>
<character>PACO</character>
<dialogue>What?</dialogue>
<character>TOÑO</character>
<dialogue>I gotta go buy balsa wood to build a model.</dialogue>
<scene_description>Señora Sofía sips her coffee and good-humoredly says -</scene_description>
<character>SEÑORA SOFÍA</character>
<dialogue>You'll go later. There's something I want to tell you...</dialogue>
<scene_description>CONTINUED:</scene_description>
<character>PACO</character>
<dialogue>Are we going to Disneyland?</dialogue>
<character>SEÑORA SOFÍA</character>
<dialogue>No, we're spending Christmas at my brother Pablo's.</dialogue>
<character>PACO</character>
<dialogue>It's so boring there!</dialogue>
<character>SOFI</character>
<dialogue>Not true! My cousins are there!</dialogue>
<character>SEÑORA SOFÍA</character>
<dialogue>And for New Year's we'll go to the Zavaleta's hacienda.</dialogue>
<character>PACO</character>
<dialogue>Will the Richards be there?</dialogue>
<character>SEÑORA SOFÍA</character>
<dialogue>Yes and the Matos and the Larsons.</dialogue>
<character>TOÑO</character>
<dialogue>When's dad coming?</dialogue>
<character>SEÑORA SOFÍA</character>
<dialogue>That's the other thing I wanted to talk to you about. His research is delayed and he'll have to stay in Quebec a little longer.</dialogue>
<character>TOÑO</character>
<dialogue>Will he be back by January?</dialogue>
<scene_description>Señora Sofía pauses for the briefest instant and when she takes up the conversation again her tone seems to have changed.</scene_description>
<character>SEÑORA SOFÍA</character>
<dialogue>He doesn't know. But that's why I brought you the paper. So you can each write him a letter.</dialogue>
<scene_description>She hands out the paper and envelopes to the children -</scene_description>
<character>SEÑORA SOFÍA</character>
<dialogue>Tell him how much you miss him, to come back soon please...</dialogue>
<scene_description>Her good humor masks her nervousness. CONTINUED:</scene_description>
<character>SEÑORA SOFÍA</character>
<dialogue>Pepe, you draw him somthing...</dialogue>
<character>PEPE</character>
<dialogue>I know how to write too.</dialogue>
<character>PACO</character>
<dialogue>Sure...</dialogue>
<scene_description>Toño gets up -</scene_description>
<character>TOÑO</character>
<dialogue>Well, first I'm going to go get my balsa wood.</dialogue>
<scene_description>Señor Sofía yells at him -</scene_description>
<character>SEÑORA SOFÍA</character>
<dialogue>You're not going anywhere until you've finished writing your letter!</dialogue>
<scene_description>Toño grabs his papers and rushes off angrily towards the stairs.</scene_description>
<character>SEÑORA SOFÍA</character>
<dialogue>Where are you going?</dialogue>
<character>TOÑO</character>
<dialogue>To my room. What? Can't I write the letter in my room either?</dialogue>
<character>SEÑORA SOFÍA</character>
<dialogue>Sure, that's fine.</dialogue>
<scene_description>Paco grabs his paper and follows Toño -</scene_description>
<character>PACO</character>
<dialogue>I'm going up too.</dialogue>
<scene_description>Señora Sofía gives the rest of the paper to Sofi.</scene_description>
<character>SEÑORA SOFÍA</character>
<dialogue>Sofi, take this to the dining room and help Pepe with his letter. Let me just talk to Cleo for a minute and I'll come join you.</dialogue>
<scene_description>Sofi takes the papers -</scene_description>
<character>SOFI</character>
<dialogue>C'mon Pepe.</dialogue>
<scene_description>CONTINUED:</scene_description>
<character>SEÑORA SOFÍA</character>
<dialogue>Make lots of pretty drawings, Pepe. Sofi, help him write "I miss you a lot, daddy."</dialogue>
<character>SOFI</character>
<dialogue>Sure. Let's go Pepe.</dialogue>
<scene_description>Sofi and Pepe go off with their papers to the dining room table.</scene_description>
<character>PEPE</character>
<dialogue>But I'll write it, OK?</dialogue>
<scene_description>Señora Sofía watches the kids trail off into the dining room. She turns to Cleo.</scene_description>
<character>SEÑORA SOFÍA</character>
<dialogue>OK, Cleo. What do you need?</dialogue>
<scene_description>Cleo looks at her like a deer in the headlights. She can't speak.</scene_description>
<character>SEÑORA SOFÍA</character>
<dialogue>Didn't you want to tell me something?</dialogue>
<character>CLEO</character>
<dialogue>No, well, yes. It's just that...</dialogue>
<scene_description>But her words fail her. In the back, next to the kitchen door, Adela pretends to clean while she tries to listen -</scene_description>
<character>SEÑORA SOFÍA</character>
<dialogue>Yes?</dialogue>
<scene_description>Cleo's eyes fill with tears. Señora Sofía worries -</scene_description>
<character>SEÑORA SOFÍA</character>
<dialogue>What's wrong, Cleo?</dialogue>
<scene_description>Cleo just sobs.</scene_description>
<character>SEÑORA SOFÍA</character>
<dialogue>Is your mother all right?</dialogue>
<scene_description>Cleo nods -</scene_description>
<character>CLEO</character>
<dialogue>It's just that... Señora Sofi...</dialogue>
<character>SEÑORA SOFÍA</character>
<dialogue>Yes?</dialogue>
<character>CLEO</character>
<dialogue>It's just that... I think I'm expecting.</dialogue>
<scene_description>Señora Sofía wasn't expecting this at all -</scene_description>
<character>SEÑORA SOFÍA</character>
<dialogue>What do you mean, you think?</dialogue>
<character>CLEO</character>
<dialogue>It's just that I haven't gotten my period.</dialogue>
<character>SEÑORA SOFÍA</character>
<dialogue>Since when?</dialogue>
<character>CLEO</character>
<dialogue>I don't know...</dialogue>
<scene_description>She starts sobbing. Señora Sofía sits next to her and hugs her.</scene_description>
<character>SEÑORA SOFÍA</character>
<dialogue>Oh you silly, silly girl. And who is the dad?</dialogue>
<character>CLEO</character>
<dialogue>Fermín. Adela's boyfriend's cousin.</dialogue>
<character>SEÑORA SOFÍA</character>
<dialogue>Does he know?</dialogue>
<scene_description>Cleo shakes her head -</scene_description>
<character>CLEO</character>
<dialogue>He's disappeared.</dialogue>
<character>SEÑORA SOFÍA</character>
<dialogue>Silly, silly, silly...!</dialogue>
<character>CLEO</character>
<dialogue>You're going to fire me, aren't you?</dialogue>
<character>SEÑORA SOFÍA</character>
<dialogue>What do you mean fire you? We have to take you to the doctor to get checked.</dialogue>
<scene_description>Pepe comes in with his letter - CONTINUED:</scene_description>
<character>PEPE</character>
<dialogue>Look, ma. I drew a plane.</dialogue>
<character>SEÑORA SOFÍA</character>
<dialogue>Very good. Now put some hearts on it...</dialogue>
<parenthetical>(Calling out to Sofi)</parenthetical>
<dialogue>Sofi! I told you to help your brother write "I miss you."</dialogue>
<scene_description>Sofi answers from the dining room -</scene_description>
<character>SOFI</character>
<dialogue>He won't let me help him!</dialogue>
<character>PEPE</character>
<dialogue>Why is Cleo crying?</dialogue>
<character>SEÑORA SOFÍA</character>
<dialogue>For no reason. She's got a stomachache. Let's see, come over here. Let's write your letter.</dialogue>
<scene_description>Señora Sofía walks over to the dining room but Pepe walks up to Cleo and hugs her. He rubs her belly -</scene_description>
<character>PEPE</character>
<dialogue>Sana, sana colita de rana. Si no sanas hoy, sanarás mañana... (Nursery rhyme to heal boo-boos)</dialogue>
<scene_description>Cleo laughs and hugs Pepe, hiding her tears. Thursday, December 10, 1970.</scene_description>
</scene>
<scene>
<stage_direction>INT/EXT - GALAXIE 500 - BAJA CALIFORNIA AVE - DAY</stage_direction>
<scene_description>Señora Sofía drives silently, hands on the stirring wheel, but her index fingers moves as if acquiescing at the intense argument going on in her head. Cleo rides next to her. Hair freshly done. She's changed her dress. She is nervous. They come to a cross-street where cars wait for the green light. Señora Sofía tries to squeeze into the space between a moving truck and an old jalopy. CONTINUED:</scene_description>
<character>SEÑORA SOFÍA</character>
<dialogue>Pío, pío, pío, pío...</dialogue>
<scene_description>Impossible. The inevitable happens. The Galaxie 500 scrapes on both sides, but this doesn't seem to bother Señora Sofía who keeps inching up slowly, despite the crush of twisting metal -</scene_description>
<character>SEÑORA SOFÍA</character>
<dialogue>Pío, pío, pío, pío...</dialogue>
<scene_description>EXT - BAJA CALIFORNIA AVE - DAY The Galaxie 500 moves forward between the truck and the jalopy, scraping its moldings, twisting them, and ripping off the side mirror to boot. The Galaxie lurches on amidst the crush of metal sheets until the space is too tight to keep going. The light changes to green and they drive on, except for the truck and the jalopy whose irritated drivers exit their vehicles to assess the damage.</scene_description>
</scene>
<scene>
<stage_direction>EXT. - MEDICAL CENTER - CUAUHTEMOC AVE - DAY</stage_direction>
<scene_description>The modern building site glows proudly with its promise of progress. The Galaxie 500, with its dented sides and dragging a molding enters a parking lot reserved for the doctors.</scene_description>
</scene>
<scene>
<stage_direction>EXT. - OB/GYN - MEDICAL CENTER - DAY</stage_direction>
<scene_description>Señora Sofía and Cleo walk in front of a building displaying beautiful murals with Prehispanic motifs and cross the entrance indicating Obstestrics and Gynecology. INT - LOBBY - OB/GYN -DAY Señora Sofía and Cleo cross the enormous marble lobby until they reach the elevators resting under a mural of patriotic heroes. INT - 8th FLOOR LOBBY -OB/GYN -DAY Señora Sofía and Cleo walk out of the elevator to a nurse station at the center of the lobby. Señora Sofía approaches the head NURSE -</scene_description>
<character>SEÑORA SOFÍA</character>
<dialogue>Good day, I have an appointment with Doctor Vélez.</dialogue>
<character>NURSE</character>
<dialogue>Under what name?</dialogue>
<character>SEÑORA SOFÍA</character>
<dialogue>It's Doctor Roldán's wife.</dialogue>
<scene_description>The nurse picks up a phone.</scene_description>
</scene>
<scene>
<stage_direction>INT. - HALLWAY -OB/GYN - DAY</stage_direction>
<scene_description>Wall to wall picture windows run all along the hallway and the exam rooms. Señora Sofía waits with Cleo, who looks out the window onto the city stretching out to the west. DOCTOR VÉLEZ walks in with all the conviction that comes with experience. She is 40 years old and wears glasses.</scene_description>
<character>SEÑORA SOFÍA</character>
<dialogue>Hello, Margarita. Thank you for seeing us.</dialogue>
<character>DOCTORA VÉLEZ</character>
<dialogue>Of course, Sofía. With pleasure.</dialogue>
<scene_description>They kiss hello.</scene_description>
<character>SEÑORA SOFÍA</character>
<dialogue>Remember Cleo?</dialogue>
<scene_description>Doctor Vélez turns to Cleo -</scene_description>
<character>DOCTORA VÉLEZ</character>
<dialogue>Of course! Hi Cleo, how are you?</dialogue>
<scene_description>Cleo suffers from a mix of shyness and fear.</scene_description>
<character>CLEO</character>
<dialogue>Fine, thank you, doctor.</dialogue>
<character>DOCTORA VÉLEZ</character>
<dialogue>So, let's see how you're doing, Cleo.</dialogue>
<dialogue>DOCTORA VéLEZ</dialogue>
<scene_description>Come with me and tell me all about it... Sofía, you want to come as well?</scene_description>
<character>SEÑORA SOFÍA</character>
<dialogue>Thank you, Margarita. I'll just go over to say hi to Doctor Zavala.</dialogue>
<character>DOCTORA VÉLEZ</character>
<dialogue>Well, Cleo and I are going to have a chat. Why don't we meet in the lobby in forty minutes or so?</dialogue>
<character>SEÑORA SOFÍA</character>
<dialogue>Sure. I'll be back then.</dialogue>
<scene_description>She holds Cleo's hand -</scene_description>
<character>SEÑORA SOFÍA</character>
<dialogue>Go on Cleo, go with the doctor.</dialogue>
<scene_description>She walks back to the lobby. Cleo and Doctor Vélez head to one of the exam rooms. INT - EXAM ROOM - OB/GYN - DAY Cleo is sitting in a gynecological chair. She looks at the instruments on a tray off to the side. They look like medieval torture instruments. The door opens and Doctor Vélez comes in. She sits on a chair between Cleo's legs and starts to put on latex gloves -</scene_description>
<character>DOCTORA VÉLEZ</character>
<dialogue>All right then. Cleo, tell me.</dialogue>
<scene_description>Cleo hesitates -</scene_description>
<character>CLEO</character>
<dialogue>It's just that.... That...</dialogue>
<character>DOCTORA VÉLEZ</character>
<dialogue>It's OK Cleo, you can talk to me...</dialogue>
<character>CLEO</character>
<dialogue>It's that I haven't gotten my period.</dialogue>
<character>DOCTORA VÉLEZ</character>
<dialogue>Since when?</dialogue>
<character>CLEO</character>
<dialogue>About two months maybe?</dialogue>
<character>DOCTORA VÉLEZ</character>
<dialogue>OK. And you've been sexually active for how long?</dialogue>
<scene_description>Cleo blushes and cannot bring herself to answer.</scene_description>
<character>DOCTORA VÉLEZ</character>
<dialogue>Have you had many partners?</dialogue>
<character>CLEO</character>
<dialogue>Oh no! Never!</dialogue>
<character>DOCTORA VÉLEZ</character>
<dialogue>Do you use protection?</dialogue>
<scene_description>Cleo apparently doesn't understand the question.</scene_description>
<character>DOCTORA VÉLEZ</character>
<dialogue>Do you use condoms?</dialogue>
<scene_description>Cleo's tears are the only answer. Doctor takes the speculum and smears Vaseline on it.</scene_description>
<character>DOCTORA VÉLEZ</character>
<dialogue>When was the last time you got checked?</dialogue>
<character>CLEO</character>
<dialogue>Probably three or four years ago when I came to see you.</dialogue>
<character>DOCTORA VÉLEZ</character>
<dialogue>That's not good, Cleo. You have to get checked twice a year.</dialogue>
<character>CLEO</character>
<dialogue>Yes, doctor.</dialogue>
<character>DOCTORA VÉLEZ</character>
<dialogue>Well, let's see how you're doing. This is going to feel a little cold...</dialogue>
<scene_description>Doctor Vélez slides the speculum in between Cleo's legs. Cleo's face confirms it's not only cold, it's also painful.</scene_description>
</scene>
<scene>
<stage_direction>INT. - 8TH FLOOR HALLWAY -OB/GYN - DAY</stage_direction>
<scene_description>Cleo walks down the hallway with Doctor Vélez. At the far end of the lobby, they can see Señora Sofía talking with Doctor Zavala, 45 years old. CONTINUED: When she sees Cleo, Señora Sofía interrupts her chat with Doctor Zavala. Cleo is crying and is still disturbed. Doctor Vélez and Doctor Zavala kiss hello -</scene_description>
<character>DOCTORA VÉLEZ</character>
<dialogue>Hi, Mario...</dialogue>
<character>DOCTOR ZAVALA</character>
<dialogue>Doctoress...</dialogue>
<character>SEÑORA SOFÍA</character>
<dialogue>How's Cleo doing?</dialogue>
<character>DOCTORA VÉLEZ</character>
<dialogue>Cleo is ten weeks pregnant. She's very healthy and very strong and so is her baby. One thing: she has to get an iron shot every two weeks. I've given her a prescription.</dialogue>
<character>SEÑORA SOFÍA</character>
<dialogue>When's she due?</dialogue>
<character>DOCTORA VÉLEZ</character>
<dialogue>Sometime around the end of June.</dialogue>
<character>SEÑORA SOFÍA</character>
<dialogue>Oh Margarita, thank you so much for seeing her.</dialogue>
<character>DOCTORA VÉLEZ</character>
<dialogue>It's nothing! I missed her, right Cleo? OK, I'm off...</dialogue>
<scene_description>She kisses Señora Sofía goodbye -</scene_description>
<character>DOCTORA VÉLEZ</character>
<dialogue>Bye, Cleo. See you next month for your check up.</dialogue>
<character>CLEO</character>
<dialogue>Yes, doctor. Thank you.</dialogue>
<scene_description>Doctora Vélez walks off down the hallway. Señora Sofía turns to see Cleo -</scene_description>
<character>SEÑORA SOFÍA</character>
<dialogue>Cleo, why don't you go down to the third floor to see the new-born babies while I finish up here with Doctor Zavala?</dialogue>
</scene>
<scene>
<stage_direction>INT. - MATERNITY WARD - OB/GYN - DAY</stage_direction>
<scene_description>Dozens of cribs in a row, each one with its own new-born baby rolled up in a blanket. Cleo watches them through the window. Some sleep and others cry anxiously. Four cribs project strong lights on babies with masks, and to one side - In an INCUBATOR - A premature baby, tiny and fragile is plugged into tubes that barely bind him to life. Cleo watches, fascinated. Suddenly - A great block of plaster falls off the ceiling and lands on the incubator, covering it completely. Thursday, December 31st, 1970.</scene_description>
</scene>
<scene>
<stage_direction>INT/EXT - '64 VALIANT - PUEBLA FREEWAY EXIT - CERRO LA</stage_direction>
<scene_description>CALDERA - DAY Señora Sofía drives, her index finger in its eternal argument. Cleo rides next to her, and between them, Pepe. Toño, Paco and Sofi are in the back seat. The radio plays Radio Éxitos. Pepe looks through the rearview mirror off into the distance -</scene_description>
<character>PEPE</character>
<dialogue>Why does the mountain spell LEA? (READ)</dialogue>
<character>SEÑORA SOFÍA</character>
<dialogue>So that you kids read. See? Even the mountain is asking.</dialogue>
<character>TOÑO</character>
<dialogue>It's the initials for Luis Echeverría Álvarez, dummy.</dialogue>
<character>SEÑORA SOFÍA</character>
<dialogue>Don't call him that. He's 5. He doesn't have to know who Echeverría is. Explain it to him.</dialogue>
<scene_description>CONTINUED:</scene_description>
<character>TOÑO</character>
<dialogue>He's the president!</dialogue>
<character>SOFI</character>
<dialogue>Isn't it Gustavo Díaz Ordaz?</dialogue>
<character>SEÑORA SOFÍA</character>
<dialogue>Not anymore, Sofi. It's now Luis Echeverría, since December 1st.</dialogue>
<character>SOFI</character>
<dialogue>Oooooh...</dialogue>
<character>PACO</character>
<dialogue>Cleo really likes Echeverría. Yuck!</dialogue>
<character>CLEO</character>
<dialogue>Well, yeah. His wife Doña Ester is always dressed in huipiles and Oaxacan clothing. He likes us Indians.</dialogue>
<character>TOÑO</character>
<dialogue>But my uncle Alberto says he's the one who ordered the students killed two years ago.</dialogue>
<character>CLEO</character>
<dialogue>Noooooo!</dialogue>
<character>TOÑO</character>
<dialogue>He was the Minister of the Interior.</dialogue>
<character>SOFI</character>
<dialogue>Why did he kill the students?</dialogue>
<character>TOÑO</character>
<dialogue>'Cause they didn't do their homework.</dialogue>
<character>SEÑORA SOFÍA</character>
<dialogue>Enough, Toño. No, Sofi, Toño is just messing with you.</dialogue>
<character>PEPE</character>
<dialogue>Well I don't like him. Why does he write on the mountain? It's not his!</dialogue>
</scene>
<scene>
<stage_direction>EXT. - PUEBLA FREEWAY - CERRO LA CALDERA - DAY</stage_direction>
<scene_description>The Valiant plows on eastward. In the background the Cerro La Caldera, longing to be a mountain, delineates the boundary of the city as it melts into the slums. The west slope of the hill has been desecrated by three immense white letters extending almost all along and across its dry surface - LEA. Like a curse.</scene_description>
</scene>
<scene>
<stage_direction>EXT. - ZAVALETA HACIENDA - DAY</stage_direction>
<scene_description>A great adobe wall surrounds an immense property in the middle of fields. The Valiant crosses an enormous gate into-</scene_description>
</scene>
<scene>
<stage_direction>EXT. - ENTRANCE - ZAVALETA HACIENDA - DAY</stage_direction>
<scene_description>A road crosses the enormous walled esplanade. In the background, the beautiful wall of the hacienda, a monument to Profirian estates. The Valiant reaches the Big House. A dozen cars are parked in a row to one side of the road. All large luxury cars of the year: LTDs, Impalas and Country Squires. The '64 Valiant parks between an LTD and a Country Squire, making its mileage and its peeling paint very obvious. They get out of the car. Señora Sofía opens the trunk and Cleo starts to pull out the luggage, her belly barely noticeable. A group of people comes out of the Big House to greet them: three adults, some kids and several servants. CLAUDIA DE LA BÁRCENA, 38, SAMANTHA LARSSON, also 38, a high-class Mexican with died blond hair and MOLLY EDWARDS, an affable blond Welsh woman, 37, all throw their arms up in the air -</scene_description>
<character>MOLLY</character>
<dialogue>Comadre!</dialogue>
</scene>
<scene>
<stage_direction>EXT/INT - CORRIDOR - HACIENDA - DAY</stage_direction>
<scene_description>BENITA, 55 years old, the Hacienda housekeeper, guides Cleo down a long corridor. Both carry several bags some in their hands others hanging from their shoulders.</scene_description>
<character>BENITA</character>
<dialogue>You sure you can carry that?</dialogue>
<scene_description>CONTINUED:</scene_description>
<character>CLEO</character>
<dialogue>Yes, I'm with child, not sick. What? You tired already?</dialogue>
<scene_description>Cleo hurries forward. Benita does the same, following her.</scene_description>
<character>BENITA</character>
<dialogue>As if!</dialogue>
<character>CLEO</character>
<dialogue>I haven't seen you for six months and you got old on me.</dialogue>
<scene_description>The two women race hurriedly, buried under bags like ants carrying several times their own weight. Benita catches up with Cleo, who hurries on and overtakes her. But Benita stops -</scene_description>
<character>BENITA</character>
<dialogue>Where you going?</dialogue>
<scene_description>Cleo stops. Benita is standing next to a door -</scene_description>
<character>BENITA</character>
<dialogue>You've gone too far. What? Since you're pregnant you forget everything?</dialogue>
<scene_description>Cleo smiles and walks back.</scene_description>
</scene>
<scene>
<stage_direction>INT. - CHILDREN'S ROOM - HACIENDA - DAY</stage_direction>
<scene_description>A hall full of bunk beds, rudimentary but functional. There are several bags next to the beds and there are toys on top of some already. Lined up along all the walls there are stuffed dog heads. Cleo leaves the luggage next to a bunk bed and looks at the heads.</scene_description>
<character>BENITA</character>
<dialogue>Señor José had the room redecorated. They're the Hacienda dogs. Look... They were all in storage.</dialogue>
<scene_description>They look at a German Shepherd's head with glass eyes. CONTINUED:</scene_description>
<character>BENITA</character>
<dialogue>Look, that there is Pirata. He lived here in 1911.</dialogue>
<scene_description>A small plaque confirms this. It also indicates his name - Pirata. Cleo looks on, impressed.</scene_description>
<character>CLEO</character>
<dialogue>Pirata...</dialogue>
<character>BENITA</character>
<dialogue>And do you remember Canela?</dialogue>
<character>CLEO</character>
<dialogue>Yeah, where's she at?</dialogue>
<character>BENITA</character>
<dialogue>Look at her.</dialogue>
<scene_description>Cleo looks at an Irish Setter's head.</scene_description>
<character>CLEO</character>
<dialogue>Yikes!</dialogue>
<character>BENITA</character>
<dialogue>She died during the summer.</dialogue>
<scene_description>Cleo looks at Canela, horrified.</scene_description>
<character>CLEO</character>
<dialogue>They say she must have eaten a poisoned rat. But I think it was the villagers who are bothering Don José again about the land...</dialogue>
<scene_description>Canela looks at them with her glass eyes. EXT - SMALL CLEARING IN THE WOODS - HACIENDA - DAY The winter light filters through the trees and reflects on the great puddle stretching between the clearing and the woods. Children run between the trees throwing firecrackers, two dogs follow them, jumping in the puddle. Adults are practicing shooting bottles lined up on tree stumps with .22 caliber pistols at the other end of the clearing. With the exception of nannies and servants looking after the younger children, everyone is white and, except for Señora Sofía and her children, they're dressed in imported clothing. The sound of shots fuses with the firecrackers. Toño plays "tochito" flag-football with PEPE DE LA BÁRCENA, 13, EDUARDO LARSSON, a 12 year-old redhead, and RICKY EDWARDS, 11. Cleo looks after Pepe and keeps LUPE, 30, company as well as YOLA, 22, who look after JORGE DE LA BÁRCENA, 7, who suffers from intellectual disability, and partial paralysis in a leg and arm, and his brother MEMO, 5, who has autism spectre disorder. They're sitting on a tablecloth, playing with Matchbox cars. A little further back, GLORIA, 34, who works as a nanny with the Edwards', sits on another tablecloth with a toy china set, probably more expensive than a real one, and looks after Sofi who is playing with JULY EDWARDS, 7, VERO MATOS, 8, and ANDREA, a girl whose blond hair is almost white, also 8. GERARDO LARSSON, 10, a flamboyant chubby redhead plays with them too. Paco, along with RODRI DE LA BÁRCENA, 10, ALEX MATOS, 10 and ANDY EDWARDS, 8, appear from behind the trees and throw firecrackers at the girls. They scream. Some even cry.</scene_description>
<character>CLEO</character>
<dialogue>I saw you, Paco! Get out of here!</dialogue>
<scene_description>The boys run off, laughing and splashing across the puddle.</scene_description>
<character>LUPE</character>
<dialogue>Rodri! Don't run in the water! You're soaking wet!</dialogue>
<scene_description>Dr. ALEJANDRO MATOS, 40, with a goatee, shoots while smoking his pipe. Next to him, RICARDO EDWARDS, friendly, 39, OVE LARSSON, a towering redheaded shy Norwegian, 41, and LESLIE MATOS, a blond American, 38 also shoot while DR. JOSÉ DE LA BÁRCENA, 41, waits his turn and CELSO, the hacienda foreman, 35, reloads the guns.</scene_description>
<character>DR. JOSÉ DE LA BÁRCENA</character>
<dialogue>Celso, do you still have bullets or should I send Lupe to get the ones in the chest?</dialogue>
<scene_description>CONTINUED: A few yards away, Sofía, Claudia, Molly and Samantha sit in folding chairs, chatting. Señora Sofía sees the boys running through the trees. She gets up and yells -</scene_description>
<character>SEÑORA SOFÍA</character>
<dialogue>Don't run over there, you could get shot!</dialogue>
<scene_description>Molly seconds her, with her thick accent -</scene_description>
<character>MOLLY</character>
<dialogue>Boys! Vayase! Andy, get back!</dialogue>
<scene_description>FLOR, 17, a servant from the Hacienda, stands at a table with a cooler, pouring the adults drinks, LOLA, 12 going on 19, made up, dressed in a tiny mini-skirt and platform shoes, takes advantage of the adults' distraction to pour whisky into her Coca-Cola. Next to her, CLAU DE LA BÁRCENA, 11, seems amused, but her curiosity does not yet supersede her obedience. ON THE CHILDREN'S TABLECLOTH - The interaction with Jorge and Memo is difficult so Pepe is bored and watches the shooting party. He gets up and walks over there.</scene_description>
<character>CLEO</character>
<dialogue>Wait, Pepe. Where are you going?</dialogue>
<scene_description>Pepe just points and keeps walking. Cleo follows him and they reach the - SHOOTING PARTY - Where Dr. Alejandro Matos has fired his eight rounds and goes to Celso to recharge his gun. He calls to the women on the folding chairs -</scene_description>
<character>DR. ALEJANDRO MATOS</character>
<dialogue>What? Don't ladies shoot?</dialogue>
<scene_description>The women decline with their hands -</scene_description>
<character>MOLLY</character>
<dialogue>Leslie is our representative!</dialogue>
<character>DR. ALEJANDRO MATOS</character>
<dialogue>Leslie doesn't count, she's a gringa.</dialogue>
<scene_description>The women laugh. Claudia gets up -</scene_description>
<character>CLAUDIA</character>
<dialogue>Coming!</dialogue>
<character>SAMANTHA</character>
<parenthetical>(In English)</parenthetical>
<dialogue>Yes, Claudia. You show them, girl!</dialogue>
<scene_description>Celso gives Alejandro the reloaded gun while Leslie arrives with hers. Celso takes it and quickly reloads it. Pepe picks up the empty cartridges off the ground. Cleo helps him. Celso gives Alejandro a loaded gun, who gives it to Claudia -</scene_description>
<character>DR. ALEJANDRO MATOS</character>
<parenthetical>(in English)</parenthetical>
<dialogue>Leslie, could you help Claudia?</dialogue>
<character>LESLIE</character>
<dialogue>Come. Point the gun to the floor when you're not using it.</dialogue>
<scene_description>Cokes in hand, Clau and Lola mingle with the adults. They come upon Leslie -</scene_description>
<character>LESLIE</character>
<parenthetical>(In English)</parenthetical>
<dialogue>C'mon, Lola. You really have to wear a miniskirt and platform shoes? We're in the woods.</dialogue>
<scene_description>Lola keeps walking and pays no attention to her mother.</scene_description>
<character>CLAUDIA</character>
<dialogue>Forget her. You look great, Lola.</dialogue>
<scene_description>Lola and Clau reach the shooting party and its male acceptance.</scene_description>
<character>DR. JOSÉ DE LA BÁRCENA</character>
<dialogue>Let's see Lola, you want to shoot?</dialogue>
<character>LOLA</character>
<dialogue>Sure.</dialogue>
<scene_description>Lola walks up to José who gives her the gun while he hugs her from the back, to "help" her shoot. CONTINUED:</scene_description>
<character>DR. JOSÉ DE LA BÁRCENA</character>
<dialogue>Don't close your eyes when you shoot...</dialogue>
<scene_description>Cleo looks at Alejandro walking over to the drink table tended by Flor.</scene_description>
<character>DR. ALEJANDRO MATOS</character>
<dialogue>Can you pour me a whisky with two ice cubes?</dialogue>
<scene_description>Flor fixes his drink. AT THE SHOOTING PARTY - Everyone celebrates Claudia's nailing two bottles. She shoots four more shots in a row and pops off four more bottles. Everyone celebrates -</scene_description>
<character>RICARDO EDWARDS</character>
<dialogue>Be careful Pepe, your wife is like a guerrilla fighter!</dialogue>
<scene_description>Everyone laughs. Flor hands Alejandro his whisky and, taking advantage of the confusion, he spanks her. Flor runs away, terrified. More bottles explode. INT - PARLOUR- HACIENDA - NIGHT Dozens of floor lamps and table lamps light an immense nave with an enormous chimney guzzling up thick logs facing a broad living room with huge leather sofas decorated with furs. Adults converse, some sitting on the couches, others standing, all are drinking and some are smoking. Pepe is on Sofi's lap, and Gerardo is next to his mother. Yvonne Elliman's voice rings through the air, singing "I Don't Know How to Love You." The girls play cards in a long table in front of the French window that opens to a terrace. Outside, the boys throw firecrackers and rockets. Other boys play "Trominos" on the floor and in a smaller living room, Lola, drink in hand, gossips with Clau. Cleo is with Yola, who looks after Memo, who is obsessively turning a plate on the floor, and after Jorge, who plays with a little car. CONTINUED: Pepe, July Edwards and Andrew Larsson come in from the terrace howling and laughing, chased after by a strange monster. It's a scarecrow with a straw body and long furs, a wooden mask covering its face. Something like a pagan spirit, rum and coke in hand, now chasing after the younger children, who flee happily. Cleo sees Flor walk in with a tray carrying too many milks and milkshakes. She hurries to help her - The milk glasses dance perilously on the platter while Flor loses her balance, but Cleo rushes just in the nick of time. Together they walk over to the table and serve beverages to the girls. The scratch of a needle on a record as the metals of an orchestra blast a mambo rhythm: the tune changes to Perez Prado's "Corazón de Melón." Samantha jumps up with a cry and starts to dance -</scene_description>
<character>SAMANTHA</character>
<dialogue>Come on, comadre!</dialogue>
<scene_description>Sofía and Molly get up and dance with her. Ricardo Edwards in his Ricky Ricardo impersonation, walks by yelling -</scene_description>
<character>RICARDO EDWARDS</character>
<dialogue>Co-ra-zón de melón, de melón melón! Corazón!</dialogue>
<scene_description>He joins in the dancing. Alejandro follows and dances with Sofía. Lola and Clau also join, Gerardo dances with his mother. Ove with July. Benita comes into the living room and looks around. Molly is trying to get Vero and Andrea to go to bed, but they don't want to. Cleo and Flor look on, amused, sucked in by the Mambo. Cleo sees - Pepe, joining the dance and going up to his mother, who pays no attention since she's too busy dancing with Alejandro. Benita walks up to Cleo.</scene_description>
<character>BENITA</character>
<dialogue>Come her for a sec.</dialogue>
<scene_description>CONTINUED: Cleo looks at her, confused -</scene_description>
<character>BENITA</character>
<dialogue>Just come over for a sec.</dialogue>
<scene_description>Cleo looks around -</scene_description>
<character>CLEO</character>
<dialogue>But... what if?</dialogue>
<character>BENITA</character>
<dialogue>What? Is a kid going to cry because he lost at marbles or his brother stepped on him?</dialogue>
<scene_description>Cleo looks at her, amused, and follows her. They cross the room to the entrance.</scene_description>
<character>RICARDO EDWARDS</character>
<dialogue>Co-ra-zón de me-lón, de me-lón, me- lón, co-ra-zón!</dialogue>
</scene>
<scene>
<stage_direction>EXT. - CORRIDOR - HACIENDA - NIGHT</stage_direction>
<scene_description>Benita guides Cleo, who follows amused and curious down the corridor lit with candles. The leave the MAMBO behind and go down -</scene_description>
</scene>
<scene>
<stage_direction>INT. - STAIRS - HACIENDA - NIGHT</stage_direction>
<scene_description>The stone staircase leads down to an internal patio that doubles as storage. A couple of men chat, lit by the light from a kitchen window. Inside there's a racket around an accordion exhaling a ranchera-style polka. Three dogs meander about the patio, waiting for a New Year's gift. Benita and Cleo walk into -</scene_description>
</scene>
<scene>
<stage_direction>INT. - KITCHEN - HACIENDA - NIGHT</stage_direction>
<scene_description>A hall with a vaulted ceiling lit by bare light bulbs hosts an enormous ancient kitchen with wood burning stoves, a giant table, a Mabe stove and two 1961 refrigerators. CONTINUED: The Hacienda WORKERS celebrate New Year's. Benita guides Cleo to the table. Women are serving plates of food from large clay pots. A 65 year-old man plays the accordion and some spontaneous guy improvises a quebradita dance with Gloria, who is clearly drunk. She sees Cleo -</scene_description>
<character>GLORIA</character>
<dialogue>What? They finally let you out?</dialogue>
<scene_description>Cleo laughs. At the table, everyone drinks, some eat, some are dressed for the occasion, many are not. A 1959 television set transmits Channel 2's New Year's special.</scene_description>
<character>BENITA</character>
<dialogue>What'll you have?</dialogue>
<character>CLEO</character>
<dialogue>Nothing, thank you.</dialogue>
<character>BENITA</character>
<dialogue>What? You're not going to toast the New Year with us? What, you only speak English now?</dialogue>
<character>CLEO</character>
<dialogue>It's just that... the baby...</dialogue>
<character>BENITA</character>
<dialogue>A drink on New Year's will do it good. Celebrate while you can. See that guy with the hat?</dialogue>
<scene_description>Cleo sees a man with a hat talking somberly with two other men -</scene_description>
<character>BENITA</character>
<dialogue>They killed his son in August. The villagers did. Because of a land dispute.</dialogue>
<scene_description>Cleo looks at him, moved.</scene_description>
<character>BENITA</character>
<dialogue>You got life?</dialogue>
<character>CLEO</character>
<dialogue>Sure...</dialogue>
<character>BENITA</character>
<dialogue>I mean liquor.</dialogue>
<scene_description>CONTINUED: Benita pours her a shot of moonshine.</scene_description>
<character>CLEO</character>
<dialogue>I'd rather just have a little pulque.</dialogue>
<character>BENITA</character>
<dialogue>That's the spirit!</dialogue>
<scene_description>She pours pulque into a jar and hands it to Cleo. The two toast.</scene_description>
<character>BENITA</character>
<dialogue>Here's to a beautiful 1971 and to your baby's health!</dialogue>
<character>CLEO AND BENITA</character>
<dialogue>Cheers!</dialogue>
<scene_description>Benita takes the jar to her lips and Cleo draws her pulque close to hers when Gloria trips dancing her quebradita and bumps into Cleo. Before even touching her lips, the pulque jar falls to the ground and shatters into a million pieces.</scene_description>
<character>GLORIA</character>
<dialogue>Sorry, manita!</dialogue>
<character>BENITA</character>
<dialogue>No sweat. You dance, we got plenty more where that came from!</dialogue>
<scene_description>She pours pulque into a new jar. Gloria keeps dancing. Cleo holds the other pulque but looks worriedly down at the shattered jar on the floor.</scene_description>
</scene>
<scene>
<stage_direction>INT. - INTERNAL PATIO - STAIRS - HACIENDA - NIGHT</stage_direction>
<scene_description>Cleo exits the kitchen. She's a little tipsy. The patio is empty except for the dogs who follow her until she reaches the stairs that lead up to -</scene_description>
</scene>
<scene>
<stage_direction>EXT. - CORRIDOR - HACIENDA - NIGHT</stage_direction>
<scene_description>Cleo walks down the candle-lit corridor and back into the living room where "Mummy Blues" is playing on the stereo. She sees a silhouette resting on the balustrade: it's Señora Sofía. CONTINUED: Alejandro Matos comes out of the parlour and comes close to Sofía, hugging her from behind. Sofía reacts, turning around in surprise.</scene_description>
<character>SEÑORA SOFÍA</character>
<dialogue>What are you doing?</dialogue>
<scene_description>Alejandro tries to kiss her, but she rejects him.</scene_description>
<character>DR. ALEJANDRO MATOS</character>
<dialogue>Come, now... You know you want to...</dialogue>
<scene_description>Sofía struggles to free herself.</scene_description>
<character>SEÑORA SOFÍA</character>
<dialogue>No, Alex! Leave me alone! You're drunk!</dialogue>
<scene_description>She pushes him. Alejandro holds his hands up, resentful and resigned -</scene_description>
<character>DR. ALEJANDRO MATOS</character>
<dialogue>Fine. Fine! I just wanted to comfort you, but...</dialogue>
<scene_description>He begins to walk back into the parlour.</scene_description>
<character>DR. ALEJANDRO MATOS</character>
<dialogue>It's not even like you're that hot, comadre...</dialogue>
<scene_description>Señora Sofía leans into the balustrade, confused and agitated. She looks in Cleo's direction, but Cleo hides behind a column. Señora Sofía walks back into the parlour, Cleo waits for her to leave before coming out of her hiding spot. She leans on the balustrade and looks out at the night. When her eyes get used to the darkness, she can see the darker silhouettes of the trees in front of a sky that seems to be lit from within. The cricket song melts into "Mummy Blues", ending on a scratch, and the accordion which seems to be playing a mazurca. The wind blows softly. Through the darkness in the woods, a pale light appears, almost blending into the night. Cleo watches in fascination. CONTINUED: The Shocking Blue's "Venus" starts to play. The dogs start barking. The shining starts to spread out in a warm, attractive pulsing, like a will o' the wisp or an apparition. Cleo watches, hypnotized. But what started off as a soft glow begins to rip through the night in an intense gleam that dances in the trees. The barks become more insistent. Someone screams -</scene_description>
<character>SCREAMING</character>
<dialogue>Fire! Fire! In the woods!</dialogue>
<scene_description>A racket. More screaming. More barking. In the garden, Celso runs, carrying a bucket. Other workers follow after him, carrying buckets and pots overflowing with water. They run towards the woods in flames. EXT - SMALL CLEARING IN THE WOODS - HACIENDA - NIGHT The giant puddle reflects the flames dancing over the rocks on the ground. The fire licks the trees and spreads into the branches. The flames push forward, devouring the clearing grass, that very same place where just this afternoon they were all shooting. Celso runs to the fire and empties out his bucket. The workers do the same. They come back for more water and cross paths with yet other workers carrying various containers. Dr. José arrives carrying two buckets, followed by Ricardo Edwards, with one. Further behind, Dr. Alejandro Matos and Leslie carry a heavy washbasin. Gloria, Flor, Yola and Cleo all bring their containers. Even the kids. Everyone runs, comes, goes... the dogs keep their distance. A human chain starts to form: buckets pass from hand to hand, everyone trying to put out the fire. The pagan monster with his drink in hand arrives. He looks at his watch - CONTINUED:</scene_description>
<character>OVE</character>
<parenthetical>(In English)</parenthetical>
<character>23...22...21...20...19...18...17...</character>
<dialogue>The monster takes off his mask, revealing a sweaty and drunk Ove -</dialogue>
<character>OVE</character>
<dialogue>16...15...14...13...12...11...10...</dialogue>
<scene_description>The human chain begins to work efficiently. Pepe even puts out a few blades of glass with his little cup.</scene_description>
<character>OVE</character>
<dialogue>...7...6...5...4...3...2...1...</dialogue>
<character>HAPPY NEW YEAR!</character>
<dialogue>But no one pays attention. Everyone is working, trying to control the fire.</dialogue>
<character>OVE</character>
<dialogue>Happy New year!</dialogue>
<scene_description>Ove starts singing in Norwegian. It's an emotional Nyttarbukk song.</scene_description>
<character>OVE</character>
<dialogue>Pkfmsll apdkfn alosnnm...</dialogue>
<scene_description>The children go to the puddle and fill up their little containers. The dogs follow them, splashing. The reflection is disarticulated in waves that bump into each other.</scene_description>
<character>OVE</character>
<dialogue>Pkfmsll apdkfn alosnnm...</dialogue>
<scene_description>Ove sings with conviction. His eyes fill with tears. Friday, January 1st, 1971.</scene_description>
</scene>
<scene>
<stage_direction>EXT. - SMALL CLEARING IN THE WOODS - DAWN</stage_direction>
<scene_description>Dew makes the woods shine, though they're still dark and smoking. The first rays of the new year sun filter through the trees. Four folding chairs rest the middle of the clearing, charred.</scene_description>
</scene>
<scene>
<stage_direction>EXT. - FIELD - HACIENDA - AFTERNOON</stage_direction>
<scene_description>The Iztaccíhuatl sleeps, immense, behind the hills and dusty crops. The afternoon light filters through rain-leaden clouds. A group of children run and explore. Toño, Pepe de la Bárcena, Ricky, Paco, Rodri, Alex and Eduardo lead the front throwing each other football passes. Paco, Rodri, and Alex chase after chameleons in the furrows. Lola and Clau walk next to them. Vero, Sofi, Gerardo, Andrea and July are further back. Pepe and Andy walk with Yola. Cleo walks with Benita. The dogs run everywhere. Alex chases after a chameleon, Rodri and Paco follow.</scene_description>
<character>BENITA</character>
<dialogue>Don't run too far. We'll just reach to the outskirts and come back!</dialogue>
<scene_description>Paco stops-</scene_description>
<character>PACO</character>
<dialogue>What skirts?</dialogue>
<character>BENITA</character>
<dialogue>The hillside.</dialogue>
<scene_description>Paco laughs.</scene_description>
<character>PACO</character>
<dialogue>You mean the hill has skirts?</dialogue>
<character>BENITA</character>
<dialogue>The outskirts... well, the slopes then!</dialogue>
<character>PACO</character>
<dialogue>Alex, the hill has a skirt!</dialogue>
<scene_description>Alex stops.</scene_description>
<character>PACO</character>
<dialogue>If we lean over we'll be able to see its panties.</dialogue>
<scene_description>Paco pretends to lean and Alex does the same. Lola and Clau catch up to them -</scene_description>
<character>CLAUDIA</character>
<dialogue>What are you guys doing?</dialogue>
<scene_description>CONTINUED:</scene_description>
<character>PACO</character>
<dialogue>Looking up the hill's skirts to see its panties.</dialogue>
<character>LOLA</character>
<dialogue>Hills don't have underwear.</dialogue>
<scene_description>Paco leans under her and lifts up her miniskirt.</scene_description>
<character>PACO</character>
<dialogue>And neither do you!</dialogue>
<scene_description>Lola screams and pats down her skirt -</scene_description>
<character>LOLA</character>
<dialogue>Asshole!</dialogue>
<character>PACO</character>
<dialogue>Ooooooh!</dialogue>
<scene_description>Alex lifts up Clau's dress. She screams.</scene_description>
<character>GLORIA</character>
<dialogue>Alex! Paco! Leave the girls alone!</dialogue>
<scene_description>The boys run, amused. Cleo and Benita stop. A gust of wind conjures dust devils. A low thunder rumbles and rain falls in the distance. Cleo looks at the landscape dreamily. Her hands rest on her belly.</scene_description>
<character>CLEO</character>
<dialogue>It's like my village. Without the mountain, of course, but it looks just like this...</dialogue>
<scene_description>She enjoys the moment while she rubs her belly. She closes her eyes -</scene_description>
<character>CLEO</character>
<dialogue>This is how it sounds...</dialogue>
<scene_description>The church bells ringing and the bleating of goats get lost in the distance.</scene_description>
<character>CLEO</character>
<dialogue>Just like this...</dialogue>
<scene_description>She breathes. Breathes deep. She smiles - CONTINUED:</scene_description>
<character>CLEO</character>
<dialogue>This is how it smells...</dialogue>
<scene_description>Cleo is somewhere else. Friday, January 29, 1971. EXT - TEPEJI 21 - DAY (RAIN) The Valiant is parked in front of the house, next to the Galaxie 500. The Valiant overflows with the children. One more comes out: Toño's friend, BETO PARDO, 12, with glasses and good-boy looks. He's come for lunch. Paco shows off the black Galaxie, its scrapes and bent moldings recently repaired -</scene_description>
<character>PACO</character>
<dialogue>Look, they fixed it all up. Just like new, right?</dialogue>
<scene_description>Beto barely looks at it. He keeps going and goes into the house after Toño. INT - BREAKFAST ROOM - TEPEJI 21 - DAY Cleo's belly is starting to show. She cuts Pepe's meat. Señora Teresa eats in silence. The children talk while they eat -</scene_description>
<character>TOÑO</character>
<dialogue>The Cowboys won only because Baltimore was overconfident.</dialogue>
<character>BETO</character>
<dialogue>What are you talking about? We scored three touchdowns in the second half. One after the other!</dialogue>
<scene_description>Señora Sofía comes down the stairs and into the breakfast room. CONTINUED:</scene_description>
<character>TOÑO</character>
<dialogue>I'm telling you. Baltimore was overconfident. How can you root for the Cowboys?</dialogue>
<character>SOFI</character>
<dialogue>I like the Cowboy's cheerleaders. In my school...</dialogue>
<character>PACO</character>
<dialogue>Who cares about cheerleaders?</dialogue>
<scene_description>Señora Sofía comes into the breakfast room. Her face is drawn. Señora Teresa looks at her, worried.</scene_description>
<character>TOÑO</character>
<dialogue>Ma? Can Beto and I go to the movies?</dialogue>
<scene_description>Señora Sofía is absent -</scene_description>
<character>SEÑORA SOFÍA</character>
<dialogue>What are you going to see?</dialogue>
<character>TOÑO</character>
<dialogue>The Red Tent, at The Americas theater.</dialogue>
<character>PACO</character>
<dialogue>I want to go too!</dialogue>
<character>TOÑO</character>
<dialogue>No, just Beto and me.</dialogue>
<character>PACO</character>
<dialogue>How come?</dialogue>
<character>TOÑO</character>
<dialogue>Get yourself your own friends!</dialogue>
<character>SOFI</character>
<dialogue>I want to go to the movies too!</dialogue>
<character>TOÑO</character>
<dialogue>I said no! It's just me and Beto.</dialogue>
<scene_description>Señora Sofía explodes -</scene_description>
<character>SEÑORA SOFÍA</character>
<dialogue>Either everyone goes or no one goes!</dialogue>
<scene_description>CONTINUED:</scene_description>
<character>TOÑO</character>
<dialogue>They can go to a different movie!</dialogue>
<character>PACO</character>
<dialogue>I want to go to Las Americas!</dialogue>
<character>TOÑO</character>
<dialogue>You don't even know what The Red Tent is!</dialogue>
<character>SEÑORA SOFÍA</character>
<dialogue>I said, either everyone goes or no one goes!</dialogue>
<scene_description>The telephone rings, Señora Sofía gets up and walks to the hall to answer -</scene_description>
<character>TOÑO</character>
<dialogue>It's not fair!</dialogue>
<scene_description>Señora Sofía comes back -</scene_description>
<character>SEÑORA SOFÍA</character>
<dialogue>If you don't like it you can go live somewhere else!</dialogue>
<scene_description>She walks over to pick up the phone, leaving Toño furious. Paco smiles impertinently.</scene_description>
<character>PEPE</character>
<dialogue>Is it a cartoon?</dialogue>
<scene_description>Señora Sofía answers -</scene_description>
<character>SEÑORA SOFÍA</character>
<dialogue>Hello? Oh, yes, hold on a minute...</dialogue>
<scene_description>She calls to the breakfast room -</scene_description>
<character>SEÑORA SOFÍA</character>
<dialogue>Cleo! I'm going to get this upstairs, would you mind hanging up here!</dialogue>
<scene_description>She goes upstairs. Cleo walks to the phone and she hears Señora Sofía calling - CONTINUED:</scene_description>
<character>SEÑORA SOFÍA (O.S.)</character>
<dialogue>There...!</dialogue>
<scene_description>Cleo is about to hang up the phone when she overhears...</scene_description>
<character>MOLLY (V.O.)</character>
<dialogue>How are you feeling, comadre?</dialogue>
<scene_description>Cleo hangs up.</scene_description>
</scene>
<scene>
<stage_direction>INT. - DOWNSTAIRS HALL - TEPEJI 21 - AFTERNOON</stage_direction>
<scene_description>Everyone's ready to go to the movies. Señora Teresa is going too, because she worries and because she loves going to the movies. She calls up to the children -</scene_description>
<character>SEÑORA TERESA</character>
<dialogue>We're late! You coming down or what?</dialogue>
<scene_description>Paco and Sofi are already by her side.</scene_description>
<character>PACO</character>
<dialogue>Let them stay. Let's go...</dialogue>
<character>SEÑORA TERESA</character>
<dialogue>We're leaving!</dialogue>
<scene_description>Señora Teresa goes out to the Patio with Cleo, Paco, Sofi and Pepe.</scene_description>
</scene>
<scene>
<stage_direction>EXT. - PATIO - TEPEJI 21 - AFTERNOON</stage_direction>
<scene_description>The group reaches the street entrance and Señora Teresa opens the door. Borras takes advantage of the situation to run out despite Cleo and Paco's attempts to stop him. Paco runs out.</scene_description>
</scene>
<scene>
<stage_direction>EXT. - TEPEJI 21- AFTERNOON</stage_direction>
<scene_description>He chases the dog down and drags him back into the house where the group is waiting outside the door. Paco leaves the dog inside and is about to close the door when Toño and Beto come out.</scene_description>
<character>TOÑO</character>
<dialogue>What are you waiting for?</dialogue>
<scene_description>CONTINUED: The two hurry up to the corner heading towards Insurgentes. Everyone follows them.</scene_description>
</scene>
<scene>
<stage_direction>EXT. - TEPIC STREET - AFTERNOON</stage_direction>
<scene_description>Toño and Beto are at the front. Cleo and Señora Teresa look after Sofi and Pepe who is talking to Paco about planes.</scene_description>
<character>PACO</character>
<dialogue>...Braniff planes may be different colors but they're all 727s...</dialogue>
<scene_description>They're on Tepic street, near Insurgentes when Toño and Beto, take off in a well planned strategy.</scene_description>
<character>TOÑO</character>
<dialogue>See you at the movies!</dialogue>
<scene_description>The pair run off.</scene_description>
<character>SEÑORA TERESA</character>
<dialogue>Toño!</dialogue>
<scene_description>Señora Teresa asks Cleo to follow them. Cleo embarks on her mission. She hurries without losing Toño and Beto from sight, their two little mischievous figures already half a block away. They ring doorbells and run away. Cleo shortens the distance with each step, getting closer, but not too close. And so, she follows them. When they reach Insurgentes the boys run off, and turn, disappearing at the corner. Cleo hurries and turns the corner to -</scene_description>
</scene>
<scene>
<stage_direction>EXT. - INSURGENTES AVENUE - LAS AMERICAS CINEMA - DUSK</stage_direction>
<scene_description>Cleo reaches the bustling avenue, brimming with its early Friday night energy. People walk in all directions and the street lights, the cars, the shop windows and the ads are all lighting up. CONTINUED: She sees people crossing to the other side of Insurgentes, where the marquee announces Melody, but she doesn't see the boys. She worries and walks to the following corner, searching. She's almost made it to the newspaper stand in the next corner when she turns and looks to - THE OTHER SIDE OF INSURGENTES And there, amongst the crowd coming out of the theater and spilling onto the sidewalk, she sees Señor Antonio. He looks light and happy and dances a silly step to the great delight and laughter of the YOUNG WOMAN who holds his hand. And that's when she also finally spots Beto, hiding on one side of the news stand, lost in the pages of Caballero men's magazine. Beyond, Toño is also holding a magazine, but he's not looking at the naked women in its pages. He's looking at the other side of the street: people are coming out of the theater and his dad is playing Fred Astaire to a Ginger Rogers that is not his mother. In his silly dance move, Señor Antonio trips with an OLDER COUPLE who is annoyed. Señor Antonio and the young woman laugh and hurry off.</scene_description>
<character>OLDER COUPLE</character>
<dialogue>So rude...!</dialogue>
<scene_description>Señor Antonio stops, turns and to sprays bullets at the older couple with his make believe machine gun, escaping with the young woman, Bonnie & Clyde, hand in hand. Wednesday, March 24th, 1971.</scene_description>
</scene>
<scene>
<stage_direction>INT/EXT - PUBLIC BUS - CALZADA IGNACIO ZARAGOZA - DAY</stage_direction>
<scene_description>Cleo's riding a bus full of people.</scene_description>
</scene>
<scene>
<stage_direction>EXT. - DIRT AVENUE - CIUDAD NEZAHUALCÓYOTL - DAY</stage_direction>
<scene_description>Cleo climbs down the bus, her six-month belly is obvious and the contrast with the Roma neighborhood is evident too - CONTINUED: The dirt avenue is flanked by large electric towers and riddled with pot holes where stagnant water pools. The houses are made of cement brick, corrugated cardboard and asbestos sheets. There's lots of trash and plastic. Cleo shows a piece of paper to a PEDESTRIAN who points to a street up the avenue. Cleo heads up the street.</scene_description>
</scene>
<scene>
<stage_direction>EXT.- STREET- HOUSE - CIUDAD NEZAHUALCÓYOTL - DAY</stage_direction>
<scene_description>Cleo walks on. Misery is palpable, there are children and stray dogs everywhere and a stream of raw sewage running down the street. Different music booms out of each house. Three dogs block her way and bark. Cleo crouches, pretending to get a rock and the dogs run off. She reaches a house and double-checks the address on her paper. She comes to the door and knocks. Impertinent dogs answer her knocking next to the entrance. Cleo knocks again as the door opens. It's Ramón.</scene_description>
</scene>
<scene>
<stage_direction>INT/EXT - DATSUN - OCEANÍA AVE - DAY</stage_direction>
<scene_description>Cleo rides alone in the back seat. In front, Ramón is in the driver's seat, and his friend CANCHAS, is in the passenger seat, smoking pot. He gives the joint to Ramón, who takes a drag and passes it to Cleo, who refuses.</scene_description>
</scene>
<scene>
<stage_direction>EXT. - PARKING LOT - EMPTY LOT- SAN JUAN DE ARAGÓN AND</stage_direction>
<scene_description>CUCHILLA DEL TESORO - DAY NEXT TO THE FIELD - About a hundred young men in uniformed t-shirts and tennis shoes are in resting position, supervised by three instructors with martial airs, pants and sweat-shirts. They pay attention to a man in sweat pants and a sleeveless t- shirt who makes an exercise demonstration - CONTINUED: The man does push-ups with his index finger only. A young man standing next to Cleo says with admiration -</scene_description>
<character>YOUNG MAN</character>
<dialogue>It's Zovek.</dialogue>
<character>CLEO</character>
<parenthetical>(in disbelief)</parenthetical>
<dialogue>No...! Zovek?</dialogue>
<character>YOUNG MAN</character>
<dialogue>Look at 'im...</dialogue>
<character>CLEO</character>
<dialogue>Is that really professor Zovek?</dialogue>
<character>YOUNG MAN</character>
<dialogue>He's done over a hundred push ups by now!</dialogue>
<character>CLEO</character>
<dialogue>What? Does he always come here?</dialogue>
<character>YOUNG MAN</character>
<dialogue>No, not always, but sometimes he comes to train them.</dialogue>
<scene_description>PROFESSOR ZOVEK counts to 150, pushes hard on his fingers and in one swift move is on his feet, crossing his wrists over his head. The young men applaud.</scene_description>
<character>PROFESSOR ZOVEK</character>
<dialogue>You too can be a Kombateka! Every human being holds great potential he must develop through physical conditioning and through mental and spiritual evolution.</dialogue>
<scene_description>Zovek walks amongst them.</scene_description>
<character>PROFESSOR ZOVEK</character>
<dialogue>You too can develop your potential. But don't expect any miracles, the only miracle lies in your own will.</dialogue>
<scene_description>Zovek stops - CONTINUED:</scene_description>
<character>PROFESSOR ZOVEK</character>
<dialogue>This is why mental development is the true motor of physical development.</dialogue>
<scene_description>He stretches his arms, taking his audience in -</scene_description>
<character>PROFESSOR ZOVEK</character>
<dialogue>And next up... an act!</dialogue>
<scene_description>A strip of bandage hangs from one of his hands, swaying in the dusty breeze - ON THE EDGE OF THE FIELD - Cleo and the small audience call out in surprise -</scene_description>
<character>SMALL AUDIENCE</character>
<dialogue>Ooooooh!</dialogue>
<scene_description>Zovek exclaims -</scene_description>
<character>PROFESSOR ZOVEK</character>
<dialogue>This is a routine that requires absolute physical condition! Only martial arts masters and a few great athletes can master it!</dialogue>
<scene_description>Professor Zovek extends the bandage to a YOUTH in the first row.</scene_description>
<character>PROFESSOR ZOVEK</character>
<dialogue>Yes... You... please bandage my eyes.</dialogue>
<scene_description>The youth walks up shyly to Professor Zovek and takes the bandage, starts to bandage his eyes -</scene_description>
<character>PROFESSOR ZOVEK</character>
<dialogue>Make sure they're totally covered. You've got plenty of bandage there.</dialogue>
<scene_description>They youth has completely covered Professor Zovek's eyes.</scene_description>
<character>PROFESSOR ZOVEK</character>
<dialogue>Thank you, you may return to your place.</dialogue>
<scene_description>The youth walks back to his spot.</scene_description>
<character>PROFESSOR ZOVEK</character>
<dialogue>And now...!</dialogue>
<scene_description>Professor Zovek flexes his biceps and puts the fingers in both of his hands together in a diamond shape over his head. He inhales deeply and -</scene_description>
<character>PROFESSOR ZOVEK</character>
<parenthetical>(Exhaling)</parenthetical>
<dialogue>Huuuuuuuh!</dialogue>
<scene_description>He is quiet. The young people look on, expectantly. AT THE EDGE OF THE FIELD - Cleo and the small audience look on in awe. Professor Zovek is standing, motionless, with his diamond over his head and slowly, very slowly starts to lift his left foot. Time has stopped. The left foot lifts up, folding at the knee until the thigh is at a 45 degree angle, and he remains motionless in that position. The young people await in confusion for something to happen. AT THE EDGE OF THE FIELD - Cleo and the small audience are also waiting, a boy crouches down. Professor Zovek continues on, motionless -</scene_description>
<character>PROFESSOR ZOVEK</character>
<dialogue>Are you disappointed? Were you expecting me to lift a jet or an elephant?</dialogue>
<scene_description>The audience laughs.</scene_description>
<character>PROFESSOR ZOVEK</character>
<dialogue>You are witnessing an incredible feat! You don't believe me? Try it.</dialogue>
<scene_description>Professor Zovek talks but remains motionless -</scene_description>
<character>PROFESSOR ZOVEK</character>
<dialogue>Just close your eyes and lift up a foot.</dialogue>
<character>PROFESSOR ZOVEK</character>
<dialogue>You don't have to lift your leg to a forty-five degree angle like me or put your arms up. Just close your eyes and lift a foot.</dialogue>
<scene_description>IN THE ROWS - The young men close their eyes and try lifting one foot. They quickly lose their balance. The instructors also try it without succeeding. AT THE EDGE OF THE FIELD - Cleo and the small audience also tries it out, some child lasts a little longer but they all fail. Professor Zovek explains -</scene_description>
<character>PROFESSOR ZOVEK</character>
<dialogue>True mental preparation is the path to physical realization.</dialogue>
<scene_description>The small audience begins to notice that - Cleo is on one foot, forming a diamond with her fingers over her head. Her eyes closed, placid. EXT - FIELDS - EMPTY LOT - LATER A trainer blows his whistle and the formation breaks up. The young men pick up their belongings at the edge of the field and walk over to the parking lot. Cleo watches them walk by, and in a small group she finds - Fermín, who walks talking, animated. Cleo wants to call him, but is anxiously silent. Fermín and his group walk right past her. Cleo finally calls to him -</scene_description>
<character>CLEO</character>
<dialogue>Fermín!</dialogue>
<scene_description>Perhaps a little too loud. Fermín turns and when he sees her, he stops. Others in his group stop with him</scene_description>
<character>FERMÍN</character>
<dialogue>What's up my Cleo?</dialogue>
<scene_description>CONTINUED:</scene_description>
<character>CLEO</character>
<dialogue>Can you talk for a minute?</dialogue>
<scene_description>The group surrounding Fermín make fun of him -</scene_description>
<character>GROUP</character>
<dialogue>Wooooooooooooo!</dialogue>
<scene_description>Fermín smiles and walks towards Cleo gesturing good bye to his group. Cleo and Fermín walk one toward the other in the emptying lot. IN THE BACKGROUND - An Eastern Airlines Boeing 727 takes off and flies over the couple approaching in the middle of the lot.</scene_description>
<character>FERMÍN</character>
<dialogue>Long time no see, Cleo!</dialogue>
<character>CLEO</character>
<dialogue>Hi, Fermín...</dialogue>
<scene_description>They meet and kiss hello.</scene_description>
<character>FERMÍN</character>
<dialogue>What are you doing around these parts?</dialogue>
<character>CLEO</character>
<dialogue>Well, I have left you so many messages and I've been looking for you but I can never find you so...</dialogue>
<scene_description>Fermín starts heading toward the parking lot -</scene_description>
<character>FERMÍN</character>
<dialogue>I'm sorry my Cleo, but the training got real hard core and they even brought in a gringo trainer and another one from Korea. Well, the American had been here already, but the Korean one is new.</dialogue>
<character>CLEO</character>
<dialogue>Is it for the Olympics?</dialogue>
<scene_description>CONTINUED:</scene_description>
<character>FERMÍN</character>
<dialogue>Something like that. Who told you I was here?</dialogue>
<scene_description>Cleo hesitates -</scene_description>
<character>CLEO</character>
<dialogue>It's just that a neighbor's brother in law trains with you so...</dialogue>
<character>FERMÍN</character>
<parenthetical>(interrupting)</parenthetical>
<dialogue>It was Ramón, right?</dialogue>
<character>CLEO</character>
<dialogue>No, no, no!</dialogue>
<scene_description>Fermín stops -</scene_description>
<character>FERMÍN</character>
<dialogue>Son of a... Fucking Ramón. I'll get him when I see him -</dialogue>
<scene_description>He makes some pretend impressive aikido movements -</scene_description>
<character>FERMÍN</character>
<dialogue>Jodan Tsuki!... Chudan Tsuki!... Mae Geri!...</dialogue>
<scene_description>Flash blows, precise kicks and body contact with the air.</scene_description>
<character>CLEO</character>
<dialogue>It's just that... I'm with child...</dialogue>
<scene_description>Fermín stops mid-punch. He keeps walking to the parking lot.</scene_description>
<character>FERMÍN</character>
<dialogue>What's it to me?</dialogue>
<scene_description>Cleo follows him -</scene_description>
<character>CLEO</character>
<dialogue>Well, the little one's yours.</dialogue>
<scene_description>Fermin walks faster.</scene_description>
<character>FERMÍN</character>
<dialogue>No fucking way!</dialogue>
<character>CLEO</character>
<dialogue>But it is, Fermín!</dialogue>
<scene_description>CONTINUED: Fermín stops completely and turns to Cleo -</scene_description>
<character>FERMÍN</character>
<dialogue>I told you already, there's no fucking way! So if you don't want me to fuck you up real bad, you and your "little one" too, don't ever fucking say it again and don't ever come looking for me again!</dialogue>
<scene_description>He does some aikido movements culminating in a mortal blow to Cleo, stopping less than half an inch from her face and then walks off.</scene_description>
<character>FERMÍN</character>
<dialogue>Fucking cunt!</dialogue>
<scene_description>He leaves Cleo alone in the empty lot. Friday, May 14th, 1971.</scene_description>
</scene>
<scene>
<stage_direction>EXT. - SMALL PATIO - TEPEJI 21 - DAY</stage_direction>
<scene_description>Borras barks like crazy. Cleo holds his collar but is lost in her own sadness. Her almost-eight-month belly is very large. The old man with the oranges puts three more oranges in the crate on the floor. It's almost full.</scene_description>
<character>OLD MAN WITH ORANGES</character>
<dialogue>...20.</dialogue>
<scene_description>The old man gets up and Adela pays him with a crumpled 20- peso bill. Further back, Cleo holds on to Borras, who tries to lunge at the old man with each bark. The old man slowly carries the immense sack of oranges and puts it on his back. He starts walking towards -</scene_description>
</scene>
<scene>
<stage_direction>EXT. - PATIO - TEPEJI 21- DAY</stage_direction>
<scene_description>Where Cleo is holding Borras who pushes up on his hind legs to attack the old man who walks past them on his way to the street. CONTINUED: The old man is halfway down the patio when Borras tugs hard, surprising Cleo, who is lost in thought and lets go. Borras runs down to the old man who hurries to the door as he feels the dog coming. Borras chases him.</scene_description>
<character>CLEO</character>
<dialogue>Borras!</dialogue>
<scene_description>Borras lunges at the old man and sinks his teeth into the enormous sack. Dozens of oranges fall out rolling all over the patio. The old man lets go of the sack and runs to the door while Borras is trying to finish off the sack. Cleo runs up to Borras on the orange-covered floor. The old man is almost at the door when the dog realizes this and runs after him. The old man reaches the door and opens. Borras is about to sink in his teeth when the old man exits and shuts the door. Borras can't stop and smashes against the door. Cleo is standing in the middle of the patio, surrounded by an ocean of oranges.</scene_description>
</scene>
<scene>
<stage_direction>INT. DOWNSTAIRS - TEPEJI 21- DAY</stage_direction>
<scene_description>The midday light bounces off the patio walls and slides in through the great windows, softly caressing the modern mahogany table. Cleo polishes the surface with a rag. She rubs the rag over and over the same spot, as if she wanted to wipe her own reflection. The house is quiet. Only the rumor of a conversation is heard. The phone cable extending all the way into the bathroom under the stairs disappears inside the door. Señora Sofía is inside, talking. Her voice echoes in the small space and filters though the doors. Only a few words can be clearly heard. Paco comes down the stairs slowly. Stopping in the middle, he leans over the railway, trying to hear better. Cleo keeps polishing the same area of the table and finally realizes Paco is coming down the stairs. CONTINUED: Paco's in the hall and walks slowly to the bathroom door, leaning on the wall next to it. Cleo stops wiping her reflection and sees Paco, who - Slides and sits down on the floor. He leans against the wall and tries to move his ear closer to the door. From the dining room, Cleo shoos him away, gesturing, but Paco ignores her, concentrated on listening to the conversation distorted by the bathroom echo and muffled by the door.</scene_description>
<character>SEÑORA SOFÍA (O.C.)</character>
<dialogue>...he wrote them letters from so- called Vancouver...</dialogue>
<scene_description>Cleo walks up to Paco, gesturing. When she reaches the hall she stops at a respectful distance from the bathroom and its conversation. She stops and shakes her rag vigorously, calling Paco.</scene_description>
<character>SEÑORA SOFÍA (O.C.)</character>
<dialogue>...he doesn't even have enough of a pair to tell the children...</dialogue>
<scene_description>He sees her but shakes his head no repeatedly. Cleo comes a few steps closer, still keeping her distance, and speaks by mouthing the words but almost without a single sound.</scene_description>
<character>CLEO</character>
<parenthetical>(articulating)</parenthetical>
<dialogue>G-e-t o-u-t- o-f h-e-r-e</dialogue>
<scene_description>Paco is about to shake his head no but a cry punctures the echoes and the walls - a deep desperate wail. Paco and Cleo freeze, scared, when suddenly - The bathroom door opens and Señora Sofía comes out, carrying the phone. She sees Paco running away and grabs him -</scene_description>
<character>SEÑORA SOFÍA</character>
<dialogue>And you? What are you spying on?...</dialogue>
<scene_description>Her face is gaunt from crying, from all the pain and frustration that explode in a - Giant slap that throws Paco down on the floor. Señora Sofía immediately realizes what she's done and crouches down next to her son, holding him, crying - CONTINUED:</scene_description>
<character>SEÑORA SOFÍA</character>
<dialogue>I'm sorry, I'm sorry, Paco! Why were you eavesdropping? Why were you eavesdropping?</dialogue>
<scene_description>The two of them cry on the floor, Señora Sofía sees Cleo, only a few steps away -</scene_description>
<character>SEÑORA SOFÍA</character>
<dialogue>And you! Why did you let him?</dialogue>
<scene_description>She hugs Paco tightly -</scene_description>
<character>SEÑORA SOFÍA</character>
<dialogue>Don't say anything to your brothers and sisters. Don't say a thing. Promise me... Promise...</dialogue>
<scene_description>To the side, Cleo is motionless, wishing she could join in the hugging and the crying.</scene_description>
</scene>
<scene>
<stage_direction>INT. - SOFI AND PEPE'S ROOM - TEPEJI 21- DUSK</stage_direction>
<scene_description>Cleo brushes Sofi's hair. They're sitting on the bed. Sofi reads a letter. Cleo is lost in thought.</scene_description>
<character>SOFI</character>
<dialogue>It has so many drawings. Look, I think this little girl is me and I think this is my daddy...</dialogue>
<scene_description>The letter is done exclusively in blue ink drawings with no color or highlights.</scene_description>
<character>SOFI</character>
<dialogue>And this is a heart, look, with an S for Sofi and a P for Papa... and this here is a dog... or is it a fish?</dialogue>
<scene_description>Pepe comes in and sits down next to them, leaning over to see the letter.</scene_description>
<character>CLEO</character>
<dialogue>Maybe it's a dolphin, I think?</dialogue>
<character>SOFI</character>
<dialogue>A dolphin? No. It's like a doggie...</dialogue>
<scene_description>CONTINUED:</scene_description>
<character>PEPE</character>
<dialogue>It's a seal! In the fourth letter my dad sent Paco, he said he can see the ocean from his hotel room and that there are a lot of seals.</dialogue>
<scene_description>Sofi considers the drawing -</scene_description>
<character>SOFI</character>
<dialogue>Yes. It's a seal! Like the ones in his hotel!</dialogue>
<character>PEPE</character>
<dialogue>You had said dolphin. It looks nothing like a dolphin!</dialogue>
<character>CLEO</character>
<dialogue>No?</dialogue>
<character>SOFI</character>
<dialogue>No!</dialogue>
<character>CLEO</character>
<dialogue>So it's not a dolphin? What do you think it is?</dialogue>
<scene_description>Sofi and Pepe answer in a chorus -</scene_description>
<character>SOFI AND PEPE</character>
<dialogue>A seal!</dialogue>
<scene_description>And they also laugh in chorus. Distracted by her own sadness, Cleo turns to Pepe and does a surprise tickle attack, prolonging the laughter. When they've calmed down, Pepe is lying on the bed and fixes his eyes on Cleo.</scene_description>
<character>CLEO</character>
<dialogue>What you looking at?</dialogue>
<character>PEPE</character>
<dialogue>When's your baby coming out?</dialogue>
<scene_description>Sadness washes over Cleo again -</scene_description>
<character>CLEO</character>
<dialogue>Next month.</dialogue>
<character>SOFI</character>
<dialogue>It is a girl?</dialogue>
<scene_description>CONTINUED:</scene_description>
<character>CLEO</character>
<dialogue>I don't know...</dialogue>
<character>SOFI</character>
<dialogue>Oh, please let it be a girl! Pleeeease! What's her name?</dialogue>
<character>CLEO</character>
<dialogue>I don't know.</dialogue>
<character>SOFI</character>
<dialogue>If it's a girl can her name be Tabitha like Bewitched?</dialogue>
<character>CLEO</character>
<parenthetical>(Absently)</parenthetical>
<dialogue>Maybe...</dialogue>
<scene_description>Pepe gets up and looks at her, serious.</scene_description>
<character>PEPE</character>
<dialogue>And will she live here?</dialogue>
<character>SOFI</character>
<dialogue>If she's a girl yes!</dialogue>
<character>CLEO</character>
<dialogue>I don't know. Would you like her to live here?</dialogue>
<character>PEPE</character>
<dialogue>No way! Yuck!</dialogue>
<scene_description>Cleo smiles, trying to hide her pain. She changes the topic -</scene_description>
<character>CLEO</character>
<dialogue>Let's see! Put your pajamas on!</dialogue>
<scene_description>Saturday, May 15th, 1971.</scene_description>
</scene>
<scene>
<stage_direction>INT. - SENORA SOFIA'S ROOM - TEPEJI 21- DAY</stage_direction>
<scene_description>The room glows softly in the light that filters in through the curtains. Cleo folds freshly washed clothes in the closet drawers. As she opens one she looks down at Señor Antonio's underwear. She can hear the children fighting downstairs. CONTINUED: Cleo closes the drawer. She looks at the men's suits hanging. The yelling grows more intense and in the middle, Señora Teresa -</scene_description>
<character>SEÑORA TERESA (O.C.)</character>
<dialogue>Children! Stop it, Toño! Stop!</dialogue>
<scene_description>Sofi comes running into the room.</scene_description>
<character>SOFI</character>
<dialogue>Cleo! Toño and Paco are fighting!</dialogue>
<scene_description>Cleo comes out to -</scene_description>
</scene>
<scene>
<stage_direction>INT. - UPSTAIRS HALL - TEPEJI 21- DAY</stage_direction>
<scene_description>With her 8-month belly, Cleo slowly goes down the stairs with Sofi. When they come down they see - IN THE HALL- Toño who is holding Paco by the hairs. Paco is screaming furiously and attempting to kick Toño. Señora Teresa is in the living room yelling at the boys. Pepe is standing, paralyzed, next to her.</scene_description>
<character>SEÑORA TERESA</character>
<dialogue>Stop it! Now!</dialogue>
<scene_description>But Paco manages to free himself and hits Toño on the face. Toño grabs his arms. IN THE STAIRCASE - Cleo stops. Sofi takes her hand -</scene_description>
<character>CLEO</character>
<dialogue>Boys!</dialogue>
<scene_description>IN THE HALL - Paco spits in Toño's face, leaving him space to give him a good slap.</scene_description>
<character>SEÑORA TERESA</character>
<dialogue>Toño!</dialogue>
<scene_description>And Paco throws himself against Toño once again, while Toño speedily escapes. CONTINUED: IN THE STAIRCASE - Cleo is still walking down.</scene_description>
<character>CLEO</character>
<dialogue>Boys! I'm going to tell your mom when she comes back!</dialogue>
<scene_description>IN THE HALL - The boys don't pay any attention to her at all. Paco takes an trinket from the table, a stone egg, and - HE THROWS IT TO TOÑO - It flies straight to his head.</scene_description>
<character>SEÑORA TERESA</character>
<dialogue>Paco!</dialogue>
<scene_description>Toño ducks just as the speedy egg projectile, flies exactly over where his face was, following its trajectory through the open doors, out the patio and - CRASHING against the door of the Valiant, parked just outside. Señora Teresa runs towards Paco and grabs him hard, shaking him -</scene_description>
<character>SEÑORA TERESA</character>
<dialogue>What are you doing! Paco!</dialogue>
<character>PACO</character>
<dialogue>He hit me first!</dialogue>
<character>TOÑO</character>
<dialogue>Because you pushed me!</dialogue>
<scene_description>Cleo walks into the hall with Sofi, towards the living room.</scene_description>
<character>SEÑORA TERESA</character>
<dialogue>How could you throw that thing!? You could have killed your brother!</dialogue>
<scene_description>Paco stops wrestling, remorseful. Cleo comes to Pepe, hugs him and Sofi is with her. Señora Teresa lets go of Paco -</scene_description>
<character>SEÑORA TERESA</character>
<dialogue>You could have killed him!</dialogue>
<scene_description>CONTINUED: Scared, Toño looks at the car door where the egg has left an enormous dent in the metal.</scene_description>
</scene>
<scene>
<stage_direction>INT. - KITCHEN - TEPEJI 21- NIGHT</stage_direction>
<scene_description>The house is quiet again. Cleo washes dishes. Adela puts them away on the shelves.</scene_description>
<character>ADELA</character>
<dialogue>You head up, manita, I'll finish up here...</dialogue>
<scene_description>The Galaxie 500 honks its horn - Ta-ta Ta-ta Ta-ta Ta-taaaaaaaa!</scene_description>
<character>ADELA</character>
<dialogue>I'll go.</dialogue>
<scene_description>Adela goes out the small patio and to the patio. Cleo walks to the breakfast room.</scene_description>
</scene>
<scene>
<stage_direction>INT. - DOWNSTAIRS - TEPEJI 21 - NIGHT</stage_direction>
<scene_description>Cleo walks across the breakfast room and the dining room and goes out to the hall. She peeks out the door that opens to the patio.</scene_description>
</scene>
<scene>
<stage_direction>EXT. PATIO TEPEJI 21 - NIGHT</stage_direction>
<scene_description>Ta-ta! Ta-ta! Ta-taaaaaaaa! Adela walks to the street door, lit from the outside by the car's headlights. Ta-ta! Ta-ta! Ta-taaaaaaaa! Adela opens the door, revealing - The mighty Galaxie 500 headlights lighting the patio. The car pulls in slowly but - Kkkkkkkjjjjjjjjk! Its left side scratches against the door frame. CONTINUED: The car brakes and moves back a couple of inches. Adjusts its trajectory and pulls forward again - Krrrrrrajjjj! Now its right side hits the frame. The car stops and veers its wheels left. Moves forward. Kkkjjjjjkkk! The left molding catches the frame and begins to bend. The car stops. Backs up. Goes forward again and now the right side molding is the one that's caught. The car stops. Backs up. It starts forward again and the right side molding is ripped from the metal, but now the car doesn't stop. It just heads straight in, ripping the entire left side molding too. It adjusts its course once more. The side mirror catches and is ripped off. The Galaxie 500 stops only momentarily to follow its course with even greater conviction, hitting and denting both sides, its molding bent in strange shapes. Finally, the Galaxie stops in front of the door that opens to the hall.</scene_description>
</scene>
<scene>
<stage_direction>INT. - DOWNSTAIRS HALL - TEPEJI 21 - NIGHT</stage_direction>
<scene_description>Cleo is next to the patio door. Outside - The Galaxie door opens and Señora Sofía comes out. She stumbles as she walks and comes into the house without closing the car door. She is obviously drunk. Cleo moves aside to let her through. Señora Sofía looks at her, amused -</scene_description>
<character>SEÑORA SOFÍA</character>
<dialogue>We're alone. Always. Even though they say we aren't.</dialogue>
<scene_description>She laughs and Cleo looks at her, confused. CONTINUED: Señora Sofía walks on and staggers up the stairs. Thursday, June 10th, 1971.</scene_description>
</scene>
<scene>
<stage_direction>INT/EXT - VALIANT - STREET - AFTERNOON</stage_direction>
<scene_description>Ignacio is driving. Cleo is sitting in the front and Señora Teresa rides behind, alone. They drive slowly in heavy traffic. A parked car tries to come out onto the street. Ignacio stops and lets it through -</scene_description>
<character>IGNACIO</character>
<dialogue>Maybe if we park over here, far away, because there's a student protest.</dialogue>
<scene_description>There's a bustle of young people on the sidewalks and walking up the street. Some carry pickets and painted slogans.</scene_description>
<character>SEÑORA TERESA</character>
<dialogue>I hope they don't get them again...</dialogue>
<scene_description>The parked car frees up a space and Ignacio tries to park.</scene_description>
</scene>
<scene>
<stage_direction>EXT. - STREET NEAR MEXICO-TACUBA - AFTERNOON</stage_direction>
<scene_description>The Valiant parks, Señora Teresa and Cleo come out with Ignacio accompanying them. Cleaning trucks are parked along the block. They walk amongst the students heading up the street to the corner which is surveilled by police vehicles, and they pass in front of a group of young men dressed in T-shirts, waiting.</scene_description>
</scene>
<scene>
<stage_direction>EXT. - CALZADA MEXICO-TACUBA - AFTERNOON</stage_direction>
<scene_description>Ignacio accompanies Teresa and Cleo, who walk slowly. Cleo on account of her belly, and Señora Teresa due to her limp. The storefront metallic curtains are all shut. They walk in front of a long row of riot police trucks, lines of police officers while a group of young men carrying bamboo canes gathers at the corner. They reach Calzada México - Tacuba and it's closed off. The beginning of an enormous march passes next to them, walking from north to south on the Avenue. Señora Teresa, Cleo and Ignacio are forced to cross in the middle of the march. They melt in with the crowd - some have pickets, others sing slogans. They manage to make it to the other side of the avenue and head towards the entrance of a building advertising a furniture store on the second floor, letters painted on its windows. Señora Teresa and Cleo walk in. Ignacio waits outside.</scene_description>
</scene>
<scene>
<stage_direction>INT. - FURNITURE STORE - CALZADA MEXICO TACUBA - AFTERNOON</stage_direction>
<scene_description>The afternoon sun lights the MUEBLERÍA sign painted all along the windows, staining the floor with its upside-down letters. A handful of clients walks around the store, which sells cheap and functional furniture. The din of the march fills the place with chanting and slogans. Cleo and Señora Teresa walk through the nursery section. They see a crib -</scene_description>
<character>SEÑORA TERESA</character>
<dialogue>You like that one?</dialogue>
<character>CLEO</character>
<dialogue>It's so beautiful.</dialogue>
<scene_description>Señora Teresa sees the price tag and calls a YOUNG SALESWOMAN over. She comes immediately -</scene_description>
<character>SEÑORA TERESA</character>
<dialogue>What's your best price on this crib.</dialogue>
<scene_description>The saleswoman looks at the tag.</scene_description>
<character>SEÑORA TERESA</character>
<dialogue>With my faithful old time customer discount, eh?</dialogue>
<character>SALESWOMAN</character>
<dialogue>Let me ask the manager.</dialogue>
<scene_description>The saleswoman walks up to the counter. The outside din turns into a chorus roar of terrified screams. It is five o' seven p.m. CONTINUED: Ignacio runs through the door, panic in his eyes. Everyone in the store looks at him, confused. The outside roar intensifies. Ignacio runs to the window and looks out. Other clients do the same. Terror in their eyes. Cleo and Señora Teresa slowly approach and they join Ignacio to look out the window - CALZADA MÉXICO - TACUBA The giant line of students is attacked frontally by more than 100 young men in tennis hoes, T-shirts and short haircuts, armed with 6 foot bamboo canes, clubs and metal rods administering electric shocks. They are the HALCONES. The paramilitary group attacks furiously. The multitude runs, but more Halcones have surrounded them from the back and come out of the surrounding streets. Shots are heard and a cloud of gunpowder begins to form. People fall. Women, old men. Children. INSIDE THE FURNITURE STORE - Steps can be heard up and down the staircase and a STUDENT comes in, bleeding from the head. He's not even 20 years old. The clients cry out in alarm. The student looks at them imploringly and, scared, he turns to hear the noise in the staircase. The STORE MANAGER signals for him to come in quickly and calls the young saleswoman over.</scene_description>
<character>MANAGER</character>
<dialogue>Put him in the closet.</dialogue>
<scene_description>The young woman rushes the student in to the closet at the back of the store, when - Three HALCONES appear. People are terrified. A woman starts crying. Ignacio walks protectively in front of Cleo and Señora Teresa. The Halcones see the young woman closing the closet door. Two head over, one stays in the middle of the store, controlling the people. CONTINUED: The young woman places her body in front of the closet door. The first Halcón hits her and throws her on the floor, opens the door and the second Halcón - SHOOTS THREE TIMES. The student falls out of the closet, and to the floor where - THE HALCÓN SHOOTS HIM TWO MORE TIMES. People scream and the Halcón at the rearguard surveils them menacingly. Shielded by Ignacio, Cleo sees the Halcón at the rearguard. The Halcón also sees her. THEY RECOGNIZE EACH OTHER. It's Fermín. Cleo starts hyperventilating. The two other Halcones begin retreating and Fermín follows them. The three leave the store. Cleo watches them go. Her breathing is fast. A puddle forms at her feet. Her water has broken.</scene_description>
</scene>
<scene>
<stage_direction>EXT. - STREET - VECINDAD ENTRANCE - NEAR MÉXICO -TACUBA -</stage_direction>
<scene_description>AFTERNOON Ignacio holds Cleo and helps her walk. Señora Teresa walks next to them. Terrified people run in all directions. Shots are fired and there is a lot of smoke in the air. Students run towards them, terrified, chased after by Halcones with bamboo sticks. Ignacio pulls Cleo to the entrance of a Vecindad, taking shelter and Señora Teresa follows after them. In front of them, on the street, the Halcones catch up with a student and beat him to a pulp. They keep going. Ignacio peeks out at the street, pulls Cleo out and they leave the doorway to continue on their way. Señora Teresa follows after them. CONTINUED: They walk down Mexico - Tacuba. On the ground, men, women, old and young, lie dead. Some surrounded by pools of blood. A YOUNG WOMAN cries kneeling on the floor. She holds a young man's head. Halcones come up and beat her violently.</scene_description>
</scene>
<scene>
<stage_direction>INT/EXT - '64 VALIANT - STREET- AFTERNOON</stage_direction>
<scene_description>At the wheel, Ignacio weaves through traffic finding any empty spot he can slide into.</scene_description>
<character>CLEO</character>
<dialogue>Aaaaaaaaaaaahhhhhhhggggg!</dialogue>
<scene_description>In the back seat, Cleo suffers contractions. Next to her, Señora Teresa holds her hand. INT - MEDICAL CENTER - CUAUHTEMOC AVE. - AFTERNOON The '64 Valiant rushes down Cuauhtemoc Avenue and turns into the Medical Center entrance.</scene_description>
</scene>
<scene>
<stage_direction>EXT. OB/GYN - MEDICAL CENTER - DUSK</stage_direction>
<scene_description>The building and ramp lights are on against the purple sky wanting to become night. Ignacio helps Cleo walk. Señora Teresa, slower, follows behind. On the esplanade, pregnant woman walk around, some accompanied, waiting for their imminent deliveries. Ignacio and Cleo walk into the building.</scene_description>
</scene>
<scene>
<stage_direction>INT. - LOBBY - OB/GYN - DUSK</stage_direction>
<scene_description>Chaos. Pregnant woman walk around the lobby while some wait with their family members in the waiting room. Names are called on the loudspeaker and pregnant women are admitted. CRIES AND MOANS from women going through contractions. In the reception, nurses efficiently tend to the long line of patients. CONTINUED: Ignacio enters the lobby holding Cleo. They immediately walk to the reception area. When they arrive, he tells Cleo -</scene_description>
<character>IGNACIO</character>
<dialogue>Wait for me here. Just a sec.</dialogue>
<scene_description>He leaves Cleo and tries to talk to a hurried NURSE -</scene_description>
<character>IGNACIO</character>
<dialogue>Excuse me...</dialogue>
<scene_description>But the nurse doesn't pause, she only points -</scene_description>
<character>NURSE</character>
<dialogue>Line is over there...</dialogue>
<scene_description>Ignacio sees the line and Cleo has another contraction, standing.</scene_description>
<character>CLEO</character>
<dialogue>Aaaaaaaaaaaaaaaaaahhhaa!</dialogue>
<scene_description>Ignacio yells out to make himself heard on top of the racket of questions, orders, complaints and cries -</scene_description>
<character>IGNACIO</character>
<parenthetical>(screaming)</parenthetical>
<dialogue>Doctor Vélez! Doctor Vélez!</dialogue>
<scene_description>No one seems to hear him. Ignacio insists -</scene_description>
<character>IGNACIO</character>
<parenthetical>(screaming)</parenthetical>
<dialogue>Doctor Vélez! Doctor Vélez!</dialogue>
<scene_description>Doctor Vélez comes in through the medical team and patient door. She hurries to Ignacio -</scene_description>
<character>DOCTOR VÉLEZ</character>
<dialogue>Here, here, here....</dialogue>
<scene_description>Ignacio takes her to Cleo while Doctor Vélez lifts an arm and emphatically calls out -</scene_description>
<character>DOCTOR VÉLEZ</character>
<dialogue>Nurse! Nurse!</dialogue>
<scene_description>A nurse runs to them, pushing a wheelchair. Señora Teresa has finally arrived. She is completely breathless. Doctora Vélez reaches Cleo- CONTINUED:</scene_description>
<character>DOCTORA VÉLEZ</character>
<dialogue>Hi, Cleo. How are you feeling?</dialogue>
<scene_description>Cleo looks at her: fear is her only answer. The nurse comes in and helps Cleo sit down on the wheelchair. Ignacio helps too.</scene_description>
<character>DOCTORA VÉLEZ</character>
<dialogue>I'll take it from here. You can wait out there.</dialogue>
<scene_description>Rosary in hand, Señora Teresa and Ignacio look at Cleo being wheeled off through the door leading to - INT - HALLWAY WITH ELEVATORS - OB/GYN - DUSK Cleo is in the wheelchair, scared. She is surrounded by Doctor Vélez and the nurses. They reach the elevators and wait. The elevator doors open and they walk in. The doors are about to close when Señor Antonio, dressed in his white coat, walks up to them and goes in as well.</scene_description>
</scene>
<scene>
<stage_direction>INT. - ELEVATOR - OB/GYN - DUSK</stage_direction>
<scene_description>The doors close.</scene_description>
<character>SEÑOR ANTONIO</character>
<dialogue>Hi Cleo, how are you feeling?</dialogue>
<scene_description>Cleo looks at him, surprised -</scene_description>
<character>CLEO</character>
<dialogue>Doctor...!</dialogue>
<scene_description>Señor Antonio tries to encourage her -</scene_description>
<character>SEÑOR ANTONIO</character>
<dialogue>You're in good hands... How many babies have you delivered, Doctor Vélez?</dialogue>
<scene_description>Doctor Vélez smiles -</scene_description>
<character>DOCTOR VÉLEZ</character>
<dialogue>Hundreds!</dialogue>
<scene_description>Cleo has a strong contraction - CONTINUED:</scene_description>
<character>CLEO</character>
<dialogue>Aaaahhhhggg!</dialogue>
<scene_description>Señor Antonio holds her hand and leans down to bring his face closer to Cleo's -</scene_description>
<character>SEÑOR ANTONIO</character>
<dialogue>Breathe Cleo... Like this...</dialogue>
<scene_description>Señor Antonio begins inhaling and exhaling and blowing. Cleo tries to imitate him by looking at his face.</scene_description>
</scene>
<scene>
<stage_direction>INT. - 6TH FLOOR LOBBY - OB/GYN - DUSK</stage_direction>
<scene_description>The elevator opens its doors and Cleo's chair is wheeled out by the nurses. The sixth floor has no windows. They pass the nurse station and reach the door that leads to the Birthing room. Señor Antonio leans in to Cleo -</scene_description>
<character>SEÑOR ANTONIO</character>
<dialogue>Doctor Vélez will only let me come up to this point....</dialogue>
<scene_description>Doctor Vélez interrupts -</scene_description>
<character>DOCTOR VÉLEZ</character>
<dialogue>Don't mind me. Come in if you like.</dialogue>
<character>SEÑOR ANTONIO</character>
<dialogue>No, uh... I have a patient...</dialogue>
<scene_description>His excuse hangs in the air and he puts a hand over Cleo's shoulder -</scene_description>
<character>SEÑOR ANTONIO</character>
<dialogue>You're going to be just fine, Cleo...</dialogue>
<scene_description>And he scurries down the hallway. Frightened and confused, Cleo has barely registered the exchange. The nurses wheel her into -</scene_description>
</scene>
<scene>
<stage_direction>INT. - ADMISSION CUBICLES - OB/GYN - DUSK</stage_direction>
<scene_description>A cubicle, separated from other cubicles by a curtain and screens, the gynecological bed is in the middle. The nurses help Cleo to get up and out of the wheelchair - CONTINUED:</scene_description>
<character>DOCTOR VÉLEZ</character>
<dialogue>Take off all your clothes and put on this gown, OK?</dialogue>
<scene_description>Cleo undresses. She doesn't have much privacy and, behind the poorly closed curtains she can see other women being examined. Doctor Vélez asks her questions to which she answers in confusion.</scene_description>
<character>DOCTOR VÉLEZ</character>
<dialogue>When did you last menstruate?</dialogue>
<character>CLEO</character>
<dialogue>September?</dialogue>
<character>DOCTOR VÉLEZ</character>
<dialogue>Do you have a due date?</dialogue>
<character>CLEO</character>
<dialogue>June 21st...</dialogue>
<character>DOCTOR VÉLEZ</character>
<dialogue>Were there any complications during the pregnancy?</dialogue>
<scene_description>Scared, Cleo shakes her head no.</scene_description>
<character>DOCTOR VÉLEZ</character>
<dialogue>How long ago did your water break?</dialogue>
<character>CLEO</character>
<dialogue>About an hour and a half ago. We couldn't get out of where we were and...</dialogue>
<character>DOCTOR VÉLEZ</character>
<dialogue>Was it clear?</dialogue>
<character>CLEO</character>
<dialogue>Huh?</dialogue>
<character>DOCTOR VÉLEZ</character>
<dialogue>The water. Was it transparent?</dialogue>
<character>CLEO</character>
<dialogue>No. A little thick. Like soup.</dialogue>
<scene_description>Cleo is about to close her gown when she suffers a very painful contraction. Doctor Vélez orders - CONTINUED:</scene_description>
<character>DOCTORA VÉLEZ</character>
<dialogue>Don't push Cleo, blow. Help her get on the bed...</dialogue>
<scene_description>The nurses help Cleo lie down on the gynecological bed. Doctor Vélez touches the top of her belly -</scene_description>
<character>DOCTOR VÉLEZ</character>
<dialogue>Check dilation.</dialogue>
<scene_description>A RESIDENT examines her and declares</scene_description>
<character>RESIDENT</character>
<dialogue>Seven or eight centimeters...</dialogue>
<character>DOCTOR VÉLEZ</character>
<dialogue>Frequency?</dialogue>
<scene_description>The RESIDENT checks on the cardiac rhythm with a Pinard stethoscope while a nurse fills out papers.</scene_description>
<character>RESIDENT</character>
<dialogue>I can't hear the foetal focus...</dialogue>
<character>NURSE</character>
<dialogue>Blow, ma'am!</dialogue>
<character>RESIDENT</character>
<dialogue>She's full. She's in second plane... expulsive with full dilation and there is four cross meconium and asystole.</dialogue>
<scene_description>Doctor Vélez gives a round of instructions -</scene_description>
<character>DOCTOR VÉLEZ</character>
<dialogue>Plug in mixed solution at 5% and wheel her into Labor immediately. Alert pediatrics. Prepare a laryngoscope, reanimation equipment and an ambu.</dialogue>
<scene_description>The nurses quickly bring a gurney up to the gynecological table. The resident asks Cleo -</scene_description>
<character>RESIDENT</character>
<dialogue>Can you climb onto the gurney for me?</dialogue>
<character>DOCTOR VÉLEZ</character>
<dialogue>Let's get your baby out.</dialogue>
<scene_description>CONTINUED: The nurses help Cleo move onto the gurney.</scene_description>
</scene>
<scene>
<stage_direction>INT. - HALLWAY - LABOR ROOMS - 6TH FLOOR - OB/GYN - DUSK</stage_direction>
<scene_description>Fluorescent lights in a hallway with half-open frosted doors. The cries of a woman giving brith filter out from one of the labor rooms. A nurse comes out of one of the rooms and goes into another. At the end of the hallway we also hear a door opening, and soon after, Doctor Vélez and her team of nurses and residents appear pushing Cleo on her gurney. When they reach the end of the hallway, they turn and enter -</scene_description>
</scene>
<scene>
<stage_direction>INT. - BIRTHING ROOM - OPERATING ROOM - OB/GYN - DUSK</stage_direction>
<scene_description>Nurses and residents work around Cleo who moans in pain. They put her on the birthing bed while Doctor Vélez washes her hands.</scene_description>
<character>INTERN</character>
<dialogue>Rubén Leñero's colleague is telling me that they've hospitalized injured students and some Halcones came in to kill them off inside the very hospital.</dialogue>
<scene_description>A nurse fixes Cleo's feet onto the braces. Doctor Vélez sits in front of her legs to deliver the baby. Cleo has a strong contraction -</scene_description>
<character>CLEO</character>
<dialogue>Aaaaaaaahhhhhh!</dialogue>
<character>DOCTOR VÉLEZ</character>
<dialogue>Don't blow, Cleo. Push!</dialogue>
<scene_description>Cleo tries blowing in the middle of her cries of pain. A doctor comes in the door accompanied by a nurse who wheels in a cart with medical equipment. It's the PEDIATRICIAN. Cleo breathes, agitated. And from between her legs, the baby's crown appears, like a rising sun.</scene_description>
<character>DOCTOR VÉLEZ</character>
<dialogue>Almost there... Push!</dialogue>
<scene_description>CONTINUED: Cleo screams.</scene_description>
<character>CLEO</character>
<dialogue>Aaaaaaaaaaaaaaahhhhhhhhhhhhhh!</dialogue>
<scene_description>It's a deep cry. A primeval scream from time immemorial.</scene_description>
<character>CLEO</character>
<dialogue>Aaaaaaaaaaaaaaaahhhhhhhhhhhhh!</dialogue>
<scene_description>The baby is expelled between Cleo's legs and onto the hands of Doctor Vélez, who receives it. The baby doesn't cry or breathe. It is flaccid and hangs like a rag. It's completely smeared in green liquid. Doctor Vélez cuts the umbilical chord and passes the baby over to the pediatrician who places it softly on his pediatric table and checks on it with a Pinard stethoscope. Cleo follows all the action, the pediatric table only a yard away from her face.</scene_description>
<character>PEDIATRICIAN</character>
<dialogue>No heart beat. We'll try reanimation.</dialogue>
<scene_description>The pediatrician places the baby in hyperflexed position and puts the laryngoscope down its mouth. He begins aspiration with a catheter. Cleo sees her baby. From its mouth, through the catheter, meconium comes out, a green dense liquid like pea soup. The pediatrician pulls the catheter out of the baby's mouth and places the "ambu", a manual resuscitator, on the baby's mouth and nose. Doctor Vélez is working on the placenta expulsion. Cleo watches the baby on the table. The Pediatrician pumps the "ambu" balloon repeatedly, attempting to reanimate the baby. Cleo looks at the baby, its face almost entirely covered by the "ambu" and finds out it's a girl. The Pediatrician stops pumping the "ambu" and checks for a heartbeat with the stethoscope -</scene_description>
<character>PEDIATRICIAN</character>
<dialogue>Still asystole...</dialogue>
<scene_description>And he walks over, softly, to Cleo</scene_description>
<character>PEDIATRICIAN</character>
<dialogue>Ma'am. I am afraid you're baby is stillborn. She had no amniotic liquid. And the green liquid blocked her lungs. I am so sorry, señora.</dialogue>
<scene_description>Cleo listens in silence, unable to take her eyes off her baby. The nurses start cleaning off its tiny body.</scene_description>
<character>DOCTOR VÉLEZ</character>
<dialogue>I am so sorry, Cleo...</dialogue>
<character>PEDIATRICIAN</character>
<dialogue>Would you like to say good bye to your baby, ma'am?</dialogue>
<scene_description>Cleo nods. The nurses carry the baby and place it quietly on Cleo, who hugs it, her gaze lost. Doctor Vélez keeps working between her legs, cleaning her.</scene_description>
<character>PEDIATRICIAN</character>
<dialogue>Who are you with? Can we call someone?</dialogue>
<character>DOCTOR VÉLEZ</character>
<dialogue>She's with family. They're outside.</dialogue>
<scene_description>Cleo whispers something.</scene_description>
<character>DOCTOR VÉLEZ</character>
<dialogue>Did you say something, Cleo. I couldn't hear you...</dialogue>
<character>CLEO</character>
<parenthetical>(whispering)</parenthetical>
<dialogue>Señora Sofía... Señora Sofía...</dialogue>
<character>DOCTOR VÉLEZ</character>
<dialogue>Yes, Cleo, I will give her a call...</dialogue>
<scene_description>The nurses come to take the dead baby -</scene_description>
<character>NURSE</character>
<dialogue>May I? Ma'am?</dialogue>
<scene_description>Cleo nods and the nurse takes the baby over to a small table where they wrap her in a cloth. Cleo watches as her baby girl disappears under the sheath, and when she is completely wrapped, the nurse seals the cloth with adhesive tape. CONTINUED: The nurse takes a marker and writes on the sheath - NEWBORN - CLEODEGARIA GUTIERREZ. Friday, June 11, 1971. The light of a new day floods the room. Beds in a row along the walls, mothers who have recently given birth are resting. Some women carry their babies. Others breastfeed. Some sleep. There are bows, envelopes, flowers. Cleo is awake, lying in bed. Her gaze is absent. A nurse carries a baby up to a bed. A woman holds it, excitedly and begins to breastfeed. The nurse helps her, both of them whisper effusively, interrupting the peace in the room. Cleo doesn't turn to look at them, or perhaps she can't hear them, her gaze is lost. Señora Sofía comes to the door and stops for a moment. She watches Cleo, who is motionless, surrounded by the low hum of barely awakened traffic from Avenida Cuauhtémoc and the breastfeeding woman's effusive whispers. Señora Sofía comes into the hall and walks towards Cleo. She sits on the bed and holds her hand. Cleo looks at her, and attempts a feeble smile. Señora Sofía squeezes her hand as her wounded heart tries to offer solid support that Cleo can't find in the void.</scene_description>
</scene>
<scene>
<stage_direction>INT/EXT - GALAXIE 500 - BAJA CALIFORNIA AVE - URES AND</stage_direction>
<scene_description>HUATABAMPO CROSSTREETS - TONALÁ - DAY Señora Sofía is driving. Next to her, Cleo. They are silent. They turn right, leaving Baja California Ave behind and with it, the sun. They drive down Ures, both look straight ahead, surrounded by the purr of eight cylinders changing gears automatically. They turn left, onto Huatabampo streets. They continue in silence under the shade of the houses until they reach the corner with Tonalá, where a car waits its turn to turn. CONTINUED: Señora Sofía breaks behind the car and waits. The two women look ahead in silence. Señora Sofía holds Cleo's hand and starts bawling. It's a quiet and prolonged wail that breaks into a long and articulate lament. She hugs Cleo who is still silent. The car in front of them has moved and now the GALAXIE holds up the traffic, three cars waiting behind it already. A HORN honks. Señora Sofía cries while hugging Cleo. She cries out all the impotence, all the fear, all the uncertainty, and all the humiliation. She cries, ignoring the chorus of horns that has joined her lament.</scene_description>
</scene>
<scene>
<stage_direction>EXT.- CORNER OF HUATABAMPO AND TONALÁ - DAY</stage_direction>
<scene_description>The Galaxie 500 is motionless and stops traffic at the corner. Impatiently, cars go around it on the left, some of them protesting rudely. The two women inside the Galaxie continue to hug. Wednesday, June 23, 1971. EXT- PATIO - TEPEJI 21 - AFTERNOON Littered with dog shit, the patio is empty except for a red tricycle, a football and Borras, enjoying the last few rays of sun. A mysterious WHISTLE filters in from the distance. Alert, Borras lifts his head. The sad and solitary whistle invokes a presence, invading the walls of the house. In the patio, Borras begins to bark.</scene_description>
</scene>
<scene>
<stage_direction>EXT. - TEPEJI STREET - TEPEJI 21- AFTERNOON</stage_direction>
<scene_description>The whistle pierces through the afternoon quiet and seems to bounce off the facades of the houses. Sad and defeated, Tepeji 21 rests on its solid ground, which blends with the grey concrete of the sidewalk. The Galaxie 500 and the Valiant are parked in front of the house. A KNIFE SHARPENER crosses on his bike, blowing on his whistle, suffusing the air with its ominous lament. EXT - SMALL PATIO - TEPEJI 21- AFTERNOON The parakeets seem to want to imitate the whistle with their song. Adela's voice calls from the second floor -</scene_description>
<character>ADELA (O.C.)</character>
<dialogue>Move it!</dialogue>
</scene>
<scene>
<stage_direction>INT. - KITCHEN - TEPEJI 21- AFTERNOON</stage_direction>
<scene_description>Cleo is sitting next to the window, wrapped up in her own pain.</scene_description>
<character>ADELA (O.C.)</character>
<dialogue>It's the sharpener! Move it! Cleo!</dialogue>
<scene_description>But Cleo remains motionless. The fateful whistle fades away slowly and disappears. Borras and the parakeets calm down. Everything is in silence. The afternoon light abates. Cleo doesn't move. TA-TA TA-TA TA-TA TA-TAAAAAAA...! A car's nasal horn resounds on the street and Borras replies with his barks. TA-TA TA-TA TA-TA TA-TAAAAAAA...! Cleo does not recognize the sound of the horn but its rhythm - TA-TA TA-TA TA-TA TA-TAAAAAAA...! Cleo gets up and slowly walks out the door to the - SMALL PATIO - She crosses out onto -</scene_description>
</scene>
<scene>
<stage_direction>EXT. - PATIO - TEPEJI 21 - AFTERNOON</stage_direction>
<scene_description>Cleo watches Adela open the street door while she grabs Borras by the collar. She discovers - A PALE YELLOW RENAULT 21 parked in front of the door. It revs and pulls in, easily crossing the doorframe and continuing its way up to the hallway door. Paco and Pepe peek out from the hall and see their mother at the wheel of the Renault. Paco cries out -</scene_description>
<character>PACO</character>
<dialogue>Toño! Sofi! Come!</dialogue>
<character>PEPE</character>
<dialogue>Mom bought a new car!</dialogue>
<scene_description>Paco comes out to examine the car's body. Pepe joins his brother. Cleo comes closer while Adela closes the door that leads to the street. Señora Sofía pokes her head out of the car window -</scene_description>
<character>SEÑORA SOFÍA</character>
<dialogue>You like it?</dialogue>
<character>PACO</character>
<dialogue>How fast can it go?</dialogue>
<scene_description>Señora Sofía opens the door and comes out -</scene_description>
<character>SEÑORA SOFÍA</character>
<dialogue>You check.</dialogue>
<scene_description>Paco hurries to sit in the driver's seat. Pepe runs around to the other side and sits in the passenger seat. Toño and Sofi come out to the patio to see the new car.</scene_description>
<character>TOÑO</character>
<dialogue>Why not a Maverick?</dialogue>
<scene_description>From the driver's seat, Paco protests -</scene_description>
<character>PACO</character>
<dialogue>It only goes to 145! The Galaxie goes up to 200!</dialogue>
<character>SEÑORA SOFÍA</character>
<dialogue>Because they're very expensive and I want a small car. I've had it up to here with that Galaxie!</dialogue>
<scene_description>CONTINUED: Sofi sits in the back seat -</scene_description>
<character>SOFI</character>
<dialogue>I like the new car, mommy.</dialogue>
<character>PACO</character>
<dialogue>What about the Galaxie?</dialogue>
<character>SEÑORA SOFÍA</character>
<dialogue>I sold it. They're coming to pick it up next week.</dialogue>
<scene_description>Sofi comes out of the car -</scene_description>
<character>SOFI</character>
<dialogue>Does dad know?</dialogue>
<character>SEÑORA SOFÍA</character>
<dialogue>No, it's a surprise.</dialogue>
<scene_description>Señora Sofía looks at Cleo -</scene_description>
<character>SEÑORA SOFÍA</character>
<dialogue>Hi, Cleo. Do you like the new car?</dialogue>
<scene_description>Cleo barely nods.</scene_description>
<character>SEÑORA SOFÍA</character>
<dialogue>And speaking of surprises, we're going on a trip this weekend and we're taking the Galaxie on its goodbye ride.</dialogue>
<scene_description>Paco and Pepe come out of the car and follow their mother and siblings into the hall.</scene_description>
<character>SOFI</character>
<dialogue>Where to?</dialogue>
<character>SEÑORA SOFÍA</character>
<dialogue>Tuxpan.</dialogue>
<character>PACO</character>
<dialogue>Where's Tuxpan?</dialogue>
<character>TOÑO</character>
<dialogue>I have practice!</dialogue>
<character>SEÑORA SOFÍA</character>
<dialogue>You'll skip it. Tuxpan is in Veracruz.</dialogue>
<scene_description>CONTINUED: From the patio and through the window, Cleo watches the lights of the house switching on and Señora Sofía crossing the hall up to the stairs. Paco and Pepe cross the hall following their mother.</scene_description>
<character>PACO</character>
<dialogue>It's the beach?</dialogue>
<character>SEÑORA SOFÍA</character>
<dialogue>Yes.</dialogue>
<character>TOÑO</character>
<dialogue>The beach in Veracruz is so ugly.</dialogue>
<scene_description>Señora Sofía climbs the stairs, the four children follow her. Out on the patio, Cleo watches the family disappear into the upper floor. Saturday, June 26, 1971</scene_description>
</scene>
<scene>
<stage_direction>EXT. TUXPAN FREEWAY - DAY</stage_direction>
<scene_description>Palm trees, ceibas and banana plants give way to multicolored houses competing with tropical flowers and foliage and more palm trees, ceibas and banana plants. The Galaxie 500 drives past a turn.</scene_description>
</scene>
<scene>
<stage_direction>INT/EXT - GALAXIE 500 - TUXPAN FREEWAY - AFTERNOON</stage_direction>
<scene_description>Cleo watches the landscape in silence, Pepe snuggles against her. The radio's looking to tune into a station, going through tropical music, cumbias, and advertisements for a local dance.</scene_description>
<character>TOÑO (O.C.)</character>
<dialogue>La Pantera doesn't get all the way here.</dialogue>
<character>PACO (O.C.)</character>
<dialogue>I heard it for a little bit.</dialogue>
<character>SEÑORA SOFÍA (O.C.)</character>
<dialogue>Look! The sea!</dialogue>
<character>PACO</character>
<dialogue>Stop, stop, stop! Ma!</dialogue>
<character>SEÑORA SOFÍA</character>
<dialogue>Why don't we go drop the bags off at the hotel first?</dialogue>
<character>TOÑO</character>
<dialogue>By the time we get there it'll be dark.</dialogue>
<character>PACO</character>
<dialogue>Let's go! Just for a little while.</dialogue>
<character>SEÑORA SOFÍA</character>
<dialogue>OK. Only for a little bit though.</dialogue>
</scene>
<scene>
<stage_direction>EXT. - ROADSIDE BEACH - AFTERNOON</stage_direction>
<scene_description>The Galaxie pulls up next to the sands of a long grey overcast beach, empty except for the stunted skeleton of a brick building. The family comes out of the car. Toño and Paco immediately run to the shore taking off their shirts and pants and throwing them on the sand. Sofi and Pepe follow behind. Señora Sofía takes off her shoes and follows her children, picking up the clothes strewn about on the sand. Cleo walks to the shore where the children splash around. She is absent. A gust of wind drags the breeze over to caress her face. Cleo breathes in the sea and closes her eyes. She breathes in, as if wanting to cleanse something very deep.</scene_description>
</scene>
<scene>
<stage_direction>EXT. - GARDEN - BUNGALOWS -TUXPAN - DUSK</stage_direction>
<scene_description>The fading light of day strokes the garden with soft coolness. An orchard surrounds the bungalows built in the 1940s their paint now nibbled on by time and saltpeter. A RECEPTIONIST, carrying keys, guides Señora Sofía, Cleo and the children through the garden. They all carry bags. The receptionist opens the door.</scene_description>
</scene>
<scene>
<stage_direction>INT. - ROOM - BUNGALOW - TUXPAN - DUSK</stage_direction>
<scene_description>The sky's last light attempts to paint the windows but is defeated by the lightbulb inside a wicker lamp, which lights the small room with two beds. Cleo, sits on one of the beds and putting Pepe's T-shirt on as he stands in front of her with his arms up in the air. When his head pokes out the collar, Pepe looks at her, surprised -</scene_description>
<character>PEPE</character>
<dialogue>Cat got your tongue?</dialogue>
<scene_description>Cleo shakes her head no.</scene_description>
<character>PEPE</character>
<dialogue>Then why don't you talk.</dialogue>
<scene_description>Cleo smiles, with a smile that holds back tears, and walks him out of the room to a -</scene_description>
</scene>
<scene>
<stage_direction>INT. - LIVING ROOM - BUNGALOW - TUXPAN - DUSK</stage_direction>
<scene_description>Another wicker lamp hangs in the middle of the little dining room and two lamps on each side of the sofa, one without a shade, light the room. Toño is tying knots with a string while Señora Sofía is applying vinegar on Paco's back with a cotton ball.</scene_description>
<character>PACO</character>
<dialogue>Ay! Ay ! Ay...!</dialogue>
<character>SEÑORA SOFÍA</character>
<dialogue>I told you to put on your T-shirt.</dialogue>
<character>PACO</character>
<dialogue>But it was cloudy!</dialogue>
<character>SEÑORA SOFÍA</character>
<dialogue>That's why! The glare is worse than the sun!</dialogue>
<scene_description>Next to him, crying and crying, Sofi waits her turn.</scene_description>
<character>SEÑORA SOFÍA</character>
<dialogue>Are you dressed Pepe?</dialogue>
<character>PEPE</character>
<dialogue>Yes, but the cat got Cleo's tongue.</dialogue>
<scene_description>CONTINUED: Señora Sofía smiles. Cleo sits on the sofa and grabs a cotton ball, douses it in vinegar, comes close to Sofi and starts applying it on her back. Cleo and Señora Sofía swab wet cotton balls over Sofi and Paco's backs. Sofi won't stop crying but Cleo's gaze is absent.</scene_description>
</scene>
<scene>
<stage_direction>INT. - RESTAURANT - TUXPAN - NIGHT</stage_direction>
<scene_description>Hand-drawn illustrations of each dish and a stuffed sailfish decorate the walls of a family restaurant. Romantic music pours out of a rockola, accompanying the hum of the fluorescent lights. The family's finishing dinner. Cleo cuts Sofi and Pepe's meat. They're wearing pajamas already. Toño has finished and is tying his knots.</scene_description>
<character>SEÑORA SOFÍA</character>
<dialogue>Children?</dialogue>
<scene_description>But the children are distracted.</scene_description>
<character>SEÑORA SOFÍA</character>
<dialogue>Children?</dialogue>
<scene_description>She finally gets her children's attention.</scene_description>
<character>SEÑORA SOFÍA</character>
<dialogue>Pay attention! I have something to tell you.</dialogue>
<scene_description>The children look at her expectantly. Señora Sofía hesitates, gathers her courage and -</scene_description>
<character>SEÑORA SOFÍA</character>
<dialogue>Your dad's not in Ottawa.</dialogue>
<character>SOFI</character>
<dialogue>Is he back?!</dialogue>
<character>SEÑORA SOFÍA</character>
<dialogue>No. Your dad never went anywhere.</dialogue>
<scene_description>The children look at her, she's seems confused.</scene_description>
<character>SEÑORA SOFÍA</character>
<dialogue>Well, yes. But he only went for a week and... your father's not coming back home.</dialogue>
<scene_description>CONTINUED: The children watch her in silence. Toño and Paco are interested, Sofi and Pepe are confused. The song ends and the rockola digests another coin, expelling a new lament.</scene_description>
<character>SEÑORA SOFÍA</character>
<dialogue>We came on this trip so he could come get his things from the house.</dialogue>
<character>PACO</character>
<dialogue>What things?</dialogue>
<character>SEÑORA SOFÍA</character>
<dialogue>His things. Or what he says are his things. His clothes, the bookshelves...</dialogue>
<character>PACO</character>
<dialogue>Are you getting a divorce?</dialogue>
<character>SEÑORA SOFÍA</character>
<dialogue>He says he doesn't know.</dialogue>
<scene_description>Sofi starts to cry.</scene_description>
<character>SOFI</character>
<dialogue>He doesn't love us anymore?</dialogue>
<character>SEÑORA SOFÍA</character>
<dialogue>Dad loves you very much. He says he wants to see you.</dialogue>
<character>TOÑO</character>
<dialogue>When?</dialogue>
<character>SEÑORA SOFÍA</character>
<dialogue>He says he doesn't know when... Soon.</dialogue>
<scene_description>Sofi muffles her cries in Cleo's breast, Toño looks at the fan and Paco plays with his beans. Only Pepe is still looking at his mother, still confused.</scene_description>
<character>SEÑORA SOFÍA</character>
<dialogue>There will be many changes, but we'll be together and it'll be an adventure.</dialogue>
<scene_description>Pepe rests his head on Cleo. CONTINUED:</scene_description>
<character>SEÑORA SOFÍA</character>
<dialogue>I'm starting a new full time job in publishing next week.</dialogue>
<character>TOÑO</character>
<dialogue>Publishing? But you're a chemist.</dialogue>
<character>SEÑORA SOFÍA</character>
<dialogue>I know, but your father hasn't sent any money yet and teaching high school is not enough. Plus, I love books and I never liked chemistry. It'll be another adventure.</dialogue>
<scene_description>But the children don't look very convinced. They still don't know this but this moment will be etched into their memories as fragments of images, smells, sounds and textures - The food stains on the table, the paintings on the walls, the landscape of beans smashed by the fork on a plate. The song ends.</scene_description>
</scene>
<scene>
<stage_direction>EXT. - STREET - TUXPAN - NIGHT</stage_direction>
<scene_description>The family roams around the streets. Quiet. Lost in thought. Sunday June 27, 1971.</scene_description>
</scene>
<scene>
<stage_direction>EXT. - PALAPA - TUXPAN BEACH - DAY</stage_direction>
<scene_description>The sun bears down on the afternoon, beaming down on the waves and the burning sand on the empty beach. The waves follow one after another, incessantly, dragging their foam till they caress the sand without ever breaking. A palapa shelters the family under its shade and its cool sand. Paco and Pepe bury Sofi in the sand, sculpting long legs to which they add tennis shoes instead of feet. Señora Sofía reads a book sitting on a folding cloth chair and Toño reads a Flash comic lying down on a hammock, swaying in the wind. At the edge of the shade, Cleo is sitting on a chair, hypnotized by the rhythm of the waves and the foam melting as it touches the sand. Time trickles by slowly. EXT - TUXPAN BEACH - AFTERNOON/DUSK The yellow end-of-the-afternoon light dances with the wind, caressing surfaces softly. Paco and Sofi play in the waves, jumping over them, swimming under them, or resisting heroically on foot. In her dress, Cleo stands next to Pepe who is digging holes, tunnels and roads in the sand too. Señora Sofía comes in to the edge, followed by Toño who stops halfway. Paco and Sofi come out of the water running -</scene_description>
<character>PACO</character>
<dialogue>Are you going to come in?</dialogue>
<character>SEÑORA SOFÍA</character>
<dialogue>I have to go check on the tires since we're leaving tomorrow early. You coming?</dialogue>
<character>PACO</character>
<dialogue>No. It's our last day at the beach.</dialogue>
<character>SOFI</character>
<dialogue>I'm staying too.</dialogue>
<character>SEÑORA SOFÍA</character>
<dialogue>But if I leave, you can't go in. If something happens, Cleo can't swim.</dialogue>
<character>PACO</character>
<dialogue>But it's so mellow.</dialogue>
<character>SEÑORA SOFÍA</character>
<dialogue>I don't care. If you want to stay, those are the rules.</dialogue>
<character>PACO</character>
<dialogue>Not even by the edge?</dialogue>
<character>SEÑORA SOFÍA</character>
<dialogue>By the edge is fine. But just here, understood?</dialogue>
<character>PACO AND SOFI</character>
<dialogue>Yes...</dialogue>
<scene_description>CONTINUED:</scene_description>
<character>PEPE</character>
<dialogue>Me too?</dialogue>
<character>SEÑORA SOFÍA</character>
<dialogue>Yes, but right by the shore.</dialogue>
<scene_description>Señora Sofía looks at Cleo.</scene_description>
<character>SEÑORA SOFÍA</character>
<dialogue>Can I leave them with you? I won't take long.</dialogue>
<scene_description>Cleo simply nods and watches Señora Sofía walk back with Toño to the Galaxie 500 parked behind the palapa. In the background, the sun has lost its shine and peeks out, red and roundly from between the clouds. Paco and Sofi go back to the water, Pepe follows.</scene_description>
<character>CLEO</character>
<dialogue>Just right by the shore.</dialogue>
<scene_description>Paco and Sofi run to the edge, splashing around with their feet, getting Pepe wet.</scene_description>
<character>PEPE</character>
<dialogue>Aaaah!</dialogue>
<scene_description>Paco and Sofi kick more water around to get Pepe wet, he runs away but falls on dry sand. Cleo runs to him and picks him up, he's crying. She tries to brush off the thousands of grains of sand sticking to his damp skin. Paco takes advantage of the distraction and goes in deeper. Sofi begins to follow in after him when Cleo sees them -</scene_description>
<character>CLEO</character>
<dialogue>Paco! Just in the shallow water! Sofi!</dialogue>
<scene_description>Sofi obeys, Paco comes back to the shore too. Cleo takes Pepe's hand and they walk back to the palapa together. As they step on warmer sand, Pepe stops, holds his arms up.</scene_description>
<character>PEPE</character>
<dialogue>Carry me.</dialogue>
<scene_description>CONTINUED:</scene_description>
<character>CLEO</character>
<dialogue>No way. You can do it alone. It's not hot anymore.</dialogue>
<scene_description>She looks to the shore -</scene_description>
<character>CLEO</character>
<dialogue>Paco! I see you! Back to the shore!</dialogue>
<character>PACO (O.C.)</character>
<dialogue>But we're at the shore!</dialogue>
<character>CLEO</character>
<dialogue>Come closer! You heard your mother, if you don't come in, you have to get out!</dialogue>
<scene_description>She waits and when she's satisfied, she keeps walking. Arms still up in the air, Pepe watches her go and throws himself on the sand. Cleo barely looks -</scene_description>
<character>CLEO</character>
<dialogue>Suit yourself. You're just getting more sand on you and I was going to clean you up in the palapa.</dialogue>
<scene_description>She keeps walking. Pepe gets up, crusty with sand, and hurries to catch up. They reach the palapa and Pepe sits on a chair. Cleo starts dusting him off with a clean towel. She looks to the sea -</scene_description>
<character>CLEO</character>
<dialogue>Hey! I'm watching you guys!</dialogue>
<scene_description>Cleo waits for the children to come back to shallow water and keeps cleaning Pepe.</scene_description>
<character>PEPE</character>
<dialogue>Did you know when I was grown up I was a sailor?</dialogue>
<character>CLEO</character>
<dialogue>Mmmhmmm...</dialogue>
<character>PEPE</character>
<dialogue>Yes, and I drowned in a storm.</dialogue>
<scene_description>CONTINUED:</scene_description>
<character>CLEO</character>
<dialogue>Mmmhmmm...</dialogue>
<scene_description>She gets up and looks out to sea -</scene_description>
<character>CLEO</character>
<dialogue>Paco and Sofi! Closer!</dialogue>
<scene_description>Cleo keeps watching -</scene_description>
<character>PEPE</character>
<dialogue>But the waves were so big....</dialogue>
<character>CLEO</character>
<dialogue>Get back!</dialogue>
<scene_description>She walks to the edge of the palapa and stops to wait next to a post -</scene_description>
<character>CLEO</character>
<dialogue>Closer!</dialogue>
<character>PEPE</character>
<dialogue>And it was night and there was so much lightning... and I didn't know how to swim...</dialogue>
<scene_description>Without taking her eyes from the waves, Cleo starts walking towards the shore.</scene_description>
<character>CLEO</character>
<dialogue>Stay there Pepe.</dialogue>
<scene_description>The sun has vanished behind the mountain and the purple sky is laden with black clouds. The wind picks up the sand and makes new waves that crash arrogantly into the old ones. Cleo stops -</scene_description>
<character>CLEO</character>
<dialogue>Help your sister!</dialogue>
<scene_description>Behind her, Pepe comes closer. Cleo sees him -</scene_description>
<character>CLEO</character>
<dialogue>Pepe! I told you to stay there!</dialogue>
<scene_description>Chided, Pepe goes back to the palapa. Scared now, Cleo looks at the sea and looks around but the beach is deserted. Only a man on a horse far away and some people walking in the distance. She hurries to the shore. As she reaches the edge, she walks fearfully in the water that moves back and forth and crashes around her legs, soaking her polyester dress. She looks impotently at the waves, which Paco and Sofi wrestle, insignificant in a fierce and indifferent ocean that drags them further in. Cleo tries to move closer to the children, fighting to keep her balance in the choppy waters reaching her waist. The wind plays with the crests of the dark waves and the dense clouds are charged with tension in an ever darkening sky. Cleo looks out to the beach but the man on the horse and the people are still very far away and she resigns herself to going deeper. A wave crashes over the children's heads. When it passes, Sofi reemerges but she can barely take a breath when another waves comes crashing over her. Other waves cross and crash up to the sky. Cleo fights desperately to stay on her feet in the midst of the cross-current chaos enveloping her without failing to look straight in front of her- Where the waves crash, rising up, and yet others take their place, the little heads don't emerge. Another wave powers up and a little head bobs up in front of her, it's Sofi taking up air, and Paco resurfaces too. He turns to look and sizes up the wave, grabs his sister and swims with the break to the beach, but the wave catches up with them, pulling them down. Cleo comes close but is pushed back by the waves. In front of her, the little heads reemerge. Paco tries to repeat the move and pushes Sofi to the front, but the water envelops them. It also envelops Cleo, but doesn't drag her out. She pushes towards Sofi, who tries to swim to her. Cleo reaches her body out to get her and as she pulls her in, her feet lose contact with the bottom and the two go under. Another wave galloping with foam. And behind it, Cleo emerges carrying Sofi. Paco swims behind them. At the beach, a group of people gathers, and with them the man on the horse. CONTINUED: Cleo carries Sofi and finally manages to reach shallower waters, Paco follows a little further behind. A couple of young guys run towards them but they don't help, they just look. Carrying Sofi, Cleo reaches the shore and collapses on the beach, Paco next to her. Sofi coughs and Cleo hugs her on her lap. Curious onlookers surround them and behind them, Señora Sofía, followed by Toño come running from the palapa. Cleo cleans sand off of Sofi's face and starts crying. She cries and hugs Sofi who is also crying, and rocks with her. Cleo hugs her as if her life depended on it. Señora Sofía throws herself on the sand next to Cleo and yanks Sofi from her. Sofi hugs her mom. Paco comes to them and hugs them both. Toño watches, next to the bystanders, and next to him Pepe looks scared. Señora Sofía checks on Sofi -</scene_description>
<character>SEÑORA SOFÍA</character>
<dialogue>Are you OK, my love?</dialogue>
<scene_description>Sofi nods -</scene_description>
<character>SOFI</character>
<dialogue>Cleo saved us...</dialogue>
<scene_description>The recent emotion pushes more tears. Señora Sofi looks at Cleo who is crying inconsolably. It's a deep and painful cry, a cry that washes it all away. Señora Sofía hugs her mightily -</scene_description>
<character>SEÑORA SOFÍA</character>
<dialogue>Thank you, thank you, thank you Cleo...</dialogue>
<scene_description>But Cleo can't stop crying -</scene_description>
<character>CLEO</character>
<dialogue>I didn't want her... I didn't want her...</dialogue>
<scene_description>Señora Sofía tries to calm her - CONTINUED:</scene_description>
<character>SEÑORA SOFÍA</character>
<dialogue>Shhh, shhh, shhh... They're OK. The kids are OK....</dialogue>
<scene_description>But Cleo insists amidst tears and snot -</scene_description>
<character>CLEO</character>
<dialogue>I didn't want her... I didn't want her to be born...</dialogue>
<scene_description>She breaks down completely -</scene_description>
<character>CLEO</character>
<dialogue>Poor little girl! ... I didn't want her to be born! ... I didn't want her to be born!...</dialogue>
<character>SEÑORA SOFÍA</character>
<dialogue>It's going to be all right, Cleo... It's going to be all right...</dialogue>
<scene_description>The two women cry, hugging. It's a shared cry, with sobs like retching, and long silences exploding in prolonged vocals. The children close in on the women, hugging them. Only Toño watches, standing by. The onlookers scatter. The rider pulls the reins and the horse continues its way down the beach. The furious sea and its restless waves reflect the last glimmers of the day. Monday June 28, 1971.</scene_description>
</scene>
<scene>
<stage_direction>EXT. - PUEBLA FREEWAY - AFTERNOON</stage_direction>
<scene_description>Fields spotted with clouds spread out between green hills. Further behind, the volcanos show off their snowy peaks. The Galaxie 500 drives on, tiny, on the road crossing the landscape.</scene_description>
</scene>
<scene>
<stage_direction>INT/EXT - GALAXIE 500 - PUEBLA FREEWAY -AFTERNOON</stage_direction>
<scene_description>Señora Sofía is driving, and her index finger is calm. Next to her, Toño looks out the window without looking at the landscape. In the rear, Paco also lets the landscape slide by his lost gaze. Sofi is hugging Cleo, who carries a sleeping Pepe on her lap. The family rides in silence.</scene_description>
</scene>
<scene>
<stage_direction>EXT. - FREEWAY ENTRANCE TO THE CITY - AFTERNOON</stage_direction>
<scene_description>Mexico City extends out to the distance. The Galaxie 500 drives on, heavy with uncertainty.</scene_description>
</scene>
<scene>
<stage_direction>EXT. - HOUSE - TEPEJI 21- AFTERNOON</stage_direction>
<scene_description>The house rests patiently, resigned to enjoy the last rays of sun. The Jr. high marching band turns the corner and heads into the street with its martial drums and trumpets. The Galaxie 500 pulls into the street and follows the band's read guard until it parks in front of the house. Toño immediately opens the door and stretches out on the street. Pepe comes out after him, running to the door, holding his privates and ringing the doorbell. Borras answers by barking. Señora Sofía comes out of the car and opens the trunk, Sofi comes out after her. Cleo comes out last and heads to the trunk as well. Adela opens the door holding Borras by the collar. Pepe runs through the door and rushes in.</scene_description>
</scene>
<scene>
<stage_direction>INT. - DOWNSTAIRS - TEPEJI 21 - AFTERNOON</stage_direction>
<scene_description>The afternoon sun still pierces the windows obliquely and streaks the living room shadows with its light. Outside the family is on the sidewalk -</scene_description>
<character>CLEO</character>
<dialogue>Tie the dog ...</dialogue>
<character>SEÑORA SOFÍA</character>
<dialogue>You too, kids. Don't play dumb and come help us with the things.</dialogue>
<scene_description>CONTINUED: The children who were already walking up to the house stop and come back to help begrudgingly. Inside, the skylight lights the stairs but barely touches the tiles in the hall. Pepe bursts in from the patio and runs to the bathroom that is under the stairs, goes in, shuts the door. Adela crosses through the windows that open to the patio, dragging Borras by the collar. She listens to the jet in the toilet. Inside, the house waits. It seems to have grown larger. The absence of the bookshelves has left towers of books piled on the floor and a seeming emptiness. Toño comes in, carrying his things. He's rushing but stops in the middle of the hall, surprised by the space-it seems new. Paco comes in right after and stops next to his brother. Señora Sofía walks in with Sofi. The toilet flushes and Toño reaches his verdict -</scene_description>
<character>TOÑO</character>
<dialogue>It's horrible. It's horrible without the bookshelves...</dialogue>
<character>PACO</character>
<dialogue>I like it better this way...</dialogue>
<scene_description>Toño runs up the stairs...</scene_description>
<character>TOÑO</character>
<dialogue>It's awful.</dialogue>
<scene_description>Paco follows after him. Pepe comes out of the bathroom and follows his mother and Sofi up the stairs -</scene_description>
<character>SOFI</character>
<dialogue>What's so horrible mommy?</dialogue>
<character>SEÑORA SOFÍA</character>
<dialogue>He doesn't like the hallway without the bookshelves.</dialogue>
<character>SOFI</character>
<dialogue>What bookshelves?</dialogue>
<character>SEÑORA SOFÍA</character>
<dialogue>The ones that used to be in the hall.</dialogue>
<scene_description>CONTINUED:</scene_description>
<character>SOFI</character>
<dialogue>Oh! You're right!</dialogue>
<character>PEPE</character>
<dialogue>Wow! It looks bigger!</dialogue>
<character>SEÑORA SOFÍA</character>
<dialogue>What did you think about our adventure?</dialogue>
<character>SOFI</character>
<dialogue>I liked it a lot.</dialogue>
<scene_description>Señora Sofía and the children disappear upstairs, where the television is already on. Outside, on the patio, Cleo walks, carrying three bags and runs into Adela who is back without the dog.</scene_description>
<character>ADELA</character>
<dialogue>I'm going to the store, there's no ham. How was it then?</dialogue>
<character>CLEO</character>
<dialogue>Real pretty. Go. I'll tell you about it later.</dialogue>
<scene_description>Adela continues on her way out. Cleo comes into the hall. Crosses and goes up the stairs carrying the luggage. From upstairs Pepe exclaims -</scene_description>
<character>PEPE (O.S.)</character>
<dialogue>The desk is gone too!</dialogue>
</scene>
<scene>
<stage_direction>INT. UPSTAIRS HALL - TEPEJI 21- AFTERNOON</stage_direction>
<scene_description>Cleo makes it up to the hall and leaves the luggage on the floor. The family has begun to take over the spaces - Pepe sits next to Paco who is already in front of the television.</scene_description>
<character>SEÑORA SOFÍA</character>
<dialogue>And we'll have other adventures. And we'll travel a lot.</dialogue>
<character>PACO</character>
<dialogue>We'll go to Dinseyland?</dialogue>
<scene_description>CONTINUED: Toño puts stuff away in a drawer in his room and Sofi goes to her room to grab a doll. Señora Sofía goes to Cleo, takes one of the bags and puts it in her room -</scene_description>
<character>SEÑORA SOFÍA</character>
<dialogue>We don't have enough money...</dialogue>
<scene_description>Cleo takes the other bag to Toño and Paco's room. Toño comes out and sits in the armchair in front of the television.</scene_description>
<character>SEÑORA SOFÍA</character>
<dialogue>But we can go on adventures in the car. What if we went to a ghost mining town in the desert?</dialogue>
<character>PEPE</character>
<dialogue>And there's ghosts?</dialogue>
<scene_description>Paco gets up, following his mother into her room -</scene_description>
<character>PACO</character>
<dialogue>No, silly. That's what you call towns that are abandoned. And what's over there?</dialogue>
<scene_description>Cleo comes out of Toño's room carrying a load of laundry and drops it next to the stairs. Señora Sofía comes out of her room followed by Paco. The phone rings.</scene_description>
<character>SEÑORA SOFÍA</character>
<dialogue>Nothing. Just the town and the abandoned mine. Or we could go to the Lacandon jungle, or Oaxaca...</dialogue>
<character>SOFI</character>
<dialogue>Oaxaca, Yes! And we could visit Cleo's village.</dialogue>
<scene_description>Señora Sofía comes back to the hall and sits in the couch next to Pepe and Sofi who takes up the other spot.</scene_description>
<character>PACO</character>
<dialogue>I was there.</dialogue>
<character>SOFI</character>
<dialogue>Finders keepers...</dialogue>
<scene_description>Cleo picks up... CONTINUED:</scene_description>
<character>CLEO</character>
<dialogue>Hello? Yes, thank you ma'am... Yes just a moment...</dialogue>
<scene_description>She lowers the phone and calls out -</scene_description>
<character>CLEO</character>
<dialogue>Señora Sofi? It's señora Molly calling.</dialogue>
<scene_description>Señora Sofía gets up, calming the children -</scene_description>
<character>SEÑORA SOFÍA</character>
<dialogue>Don't fight. You sit here, Paco.</dialogue>
<scene_description>She goes up to the phone -</scene_description>
<character>SEÑORA SOFÍA</character>
<dialogue>Hello, comadre. How are you? I'm just back from Tuxpan...</dialogue>
<scene_description>Cleo gathers the dirty laundry into a pile. Pepe calls from the couch -</scene_description>
<character>PEPE</character>
<dialogue>Cleo? Can you bring me a banana milkshake?</dialogue>
<character>SOFI</character>
<dialogue>Me too?</dialogue>
<scene_description>Cleo picks up the pile of clothes -</scene_description>
<character>CLEO</character>
<dialogue>Sure. Just lemme take these clothes up to wash. Do you want something, Paco?</dialogue>
<character>PACO</character>
<dialogue>Any Gansitos?</dialogue>
<character>CLEO</character>
<dialogue>I'm not sure, but if not, I'll go get some later.</dialogue>
<scene_description>Cleo starts to go down the stairs. Señora Sofía continues her phone conversation -</scene_description>
<character>SEÑORA SOFÍA</character>
<dialogue>Yes, it was wonderful... Yes, the kids are all right... No... lovely! .... good...</dialogue>
<character>SEÑORA SOFÍA</character>
<dialogue>Well Paco and Sofi scared the living daylights out of me...</dialogue>
<scene_description>INT - DOWNSTAIRS - TEPEJI 21 - AFTERNOON Cleo goes down the stairs carrying her pile of clothes, the family conversations and television filter down from upstairs. As she reaches downstairs, she crosses the empty hallway and the breakfast room. She goes into the kitchen and out the back.</scene_description>
</scene>
<scene>
<stage_direction>EXT. - SMALL PATIO - TEPEJI 21 - AFTERNOON</stage_direction>
<scene_description>The patio, in shadows now, floats in the afternoon quiet. Borras sleeps and the parakeets are quiet. Only the hum of the city in the distance. Cleo comes out of the kitchen carrying her load of dirty laundry and crosses the tiny patio to go up the metal staircase that leads to the roof. Her steps reverberate throughout the bony structure in a metallic moan that echoes through the tiny patio, waking the caged birds. Cleo reaches the step in front of her room and keeps walking upwards. A sweet potato vendor lets out his sad howl in the distance. Step by step, Cleo ascends. Yet further up, beyond the roof, the sky is pure. Pietrasanta, September 23, 2016. EN ESPAÑOL</scene_description>
<character>ROMA</character>
<dialogue>Escrita y Dirigida por</dialogue>
<scene_description>Alfonso Cuarón Las fechas en ROJO están indicadas únicamente como una herramienta para que los distintos departamentos tengan una especificidad histórica de las escenas a filmar y no aparecerán en pantalla. 3 de septiembre de 1970, jueves INT - PATIO - TEPEJI 21 -- DÍA Triángulos amarillos dentro de cuadros rojos. Agua que se esparce sobre los mosaicos, con espuma turbia. Es el piso de un largo y estrecho patio que se extiende a lo largo de la casa. Al fondo está la puerta que da a la calle, negra, de metal y con vidrios esmerilados, dos de los cuales están rotos, culpa de algún portero derrotado. CLEO, Cleotilde Gutiérrez, una india Mixteca de 26 años, recorre lo largo del patio empujando con un hule el agua del piso mojado. Al llegar al otro extremo, la espuma se ha acumulado en una esquina, tímida, presumiendo sus brillantes burbujitas blancas hasta que - UN CHORRO DE AGUA las sorprende y son arrastradas hasta la esquina donde las burbujas, necias, se deshacen en un remolino que desaparece en la coladera. Cleo recoge las escobas y las cubetas y las carga al - PEQUEÑO PATIO - Que está encerrado entre la cocina, el garage y la casa. Cleo abre la puerta de un cuartito y almacena las escobas y las cubetas, después entra a un bañito y cierra la puerta. El patio queda en silencio, sólo un locutor de radio con su entusiasmo que se disuelve en la distancia y el triste cantar de dos pajaritos encarcelados. Se escucha la descarga del escusado y luego el agua del lavabo. Después de un momento, se abre la puerta. Cleo sale secándose las manos en el mandil, entra a la cocina y desaparece tras la puerta que conecta a la casa. INT - PLANTA BAJA - TEPEJI 21 -- DÍA Cleo cruza el antecomedor de madera anciana y oscura, después el comedor moderno de madera clara, ligera y puntiaguda, y cuando llega al hall, sube las escaleras. CONTINUED: Pasando el hall hay dos salas, una con pesados sofás de terciopelo verde y antiguos gabinetes con los discos y el estéreo. Hay un piano pegado a la pared. La otra sala intenta ser más moderna, con sofás ligeros y un carrito para cocteles con un sifón. En una sala cuelga la enorme pintura de una mujer recargada en un cántaro de barro, en tonos rojos y morados. En la otra, otra pintura, también grande pero más sombría. En una oscura celda de piedra, un monje da consuelo a un preso engrilletado que, desesperado, cubre su cara con las manos. INT - PLANTA ALTA - TEPEJI 21 -- DÍA Las escaleras suben a un hall central que está rodeado de cuatro recámaras y un enorme baño. Cleo arregla una recámara, la cama matrimonial ya está tendida, tiene una cabecera de caoba con ornamentos que hace juego con las mesas de noche. Junta ropa sucia del piso y la carga al hall, donde la apila sobre el montón de ropa que se acumula. El hall de arriba hace de cuarto de televisión. El baño aún falta por lavar pero tres de las habitaciones ya están completamente ordenadas. Cleo entra a una habitación con dos camas pequeñas para niños. Primero levanta la ropa y acomoda los juguetes de niño y de niña que están regados por el piso. Comienza a tender una de las camas cuando se escucha un grito desde la planta de abajo -</scene_description>
<character>ADELA (O.S.)</character>
<dialogue>¡Manita…! ¡Ya es casi la una…!</dialogue>
<scene_description>Cleo se sobresalta y exclama -</scene_description>
<character>CLEO</character>
<dialogue>¡Ay chicú…!</dialogue>
<scene_description>Y sale de la habitación cargando la ropa sucia. En el hall, la junta con el montón de ropa y lo carga. Se apresura escaleras abajo. INT - PLANTA BAJA - TEPEJI 21 -- DÍA Cleo baja las escaleras cargando el montón de ropa - Cruza el hall y los comedores y desaparece tras la puerta que da a la cocina. Después de un momento, a través de - LA VENTANA - La vemos salir al pequeño patio. Deja la ropa al pie de la escalera de metal que va a la azotea y se apresura hacia la calle. EXT - CASA - TEPEJI 21 -- DÍA La calle de Tepeji se extiende apenas dos cuadras, partidas por Avenida Monterrey, de casas cansadas construidas en los años 30. Tepeji 21 descansa, triste y resignada, sobre sólidos cimientos que se funden con el concreto gris de la banqueta justo a mitad de la cuadra. Es toda blanca excepto la franja de rojo casi marrón que corre a lo largo de la fachada, y la herrería de las ventanas y la puerta que están pintadas de negro. Junto a la esquina superior izquierda de la puerta está el número, de mosaicos: 21. La puerta se abre y Cleo sale. Se apresura hacia la avenida y al llegar a la esquina, da vuelta a la derecha. EXT - CALLE - AV. MONTERREY - TLAXCALA -- DÍA Cleo sale de Tepeji y camina por la avenida, donde circula un tráfico considerable. Al llegar a la esquina cruza la avenida y sigue por - CALLE DE TLAXCALA - Y pasa una farmacia, una miscelánea, una panadería y un salón de belleza. EXT - KINDER CONDESA -- DÍA Una pequeña multitud se acumula en la entrada del kinder a la hora de la salida, Cleo llega y entra a la escuela, despues de un momento sale con PEPE, un niño de 5 años que carga una "obra de arte" recien seca. EXT - CALLE DE TLAXCALA -- DÍA Cleo camina junta a PEPE que carga su "obra de arte", un niño de 5 años en shorts y camisa. Pepe camina dando brincos para no pisar raya, Cleo carga su lonchera. De pronto, Pepe se detiene y se sienta. Cleo sigue caminando unos pasos pero se detiene, voltea -</scene_description>
<character>CLEO</character>
<dialogue>¿Qué pasó?</dialogue>
<character>PEPE</character>
<dialogue>Ya me cansé.</dialogue>
<character>CLEO</character>
<dialogue>¡Pus vámonos llegando a la casa, y ahí, si quieres, hasta tu cama!</dialogue>
<character>PEPE</character>
<dialogue>¡Ya no puedo!</dialogue>
<scene_description>Cleo pretende seguir caminando -</scene_description>
<character>PEPE</character>
<dialogue>¡Mamá…!</dialogue>
<scene_description>Cleo se detiene y voltea -</scene_description>
<character>CLEO</character>
<dialogue>¡Qué no vas a poder! Anda, ¡dale!</dialogue>
<character>PEPE</character>
<dialogue>¡Que no puedo!</dialogue>
<character>CLEO</character>
<dialogue>¡Ay! Si cada vez que pienso que "no puedo" me acostara, me la viviría en la cama.</dialogue>
<character>PEPE</character>
<dialogue>No estoy acostado.</dialogue>
<scene_description>CONTINUED: Cleo le toma la mano -</scene_description>
<character>CLEO</character>
<dialogue>Ándale, que hay sopa de fideos…</dialogue>
<scene_description>Pepe se levanta -</scene_description>
<character>PEPE</character>
<dialogue>¡Ahhyyyyy!</dialogue>
<scene_description>Y comienza a dar unos pasos pesados y perezosos.</scene_description>
<character>PEPE</character>
<dialogue>¡Maaaaamáááááá…!</dialogue>
<character>CLEO</character>
<dialogue>¡Vamos, soldadito! ¡Con la sonrisa al frente!</dialogue>
<scene_description>Los dos marchan de la mano. EXT - PATIO - TEPEJI 21 -- DÍA Cleo y Pepe entran, el cargando su "obra de arte" y ella la lonchera, se escucha a Adela que la llama -</scene_description>
<character>ADELA (O.S.)</character>
<dialogue>¡Cleo…!</dialogue>
<scene_description>ADELA, de 26 años, mejor amiga de Cleo y también Mixteca, sale al patio. Sus conversaciones privadas son en lengua mixteca conmbinada con algo de español.</scene_description>
<character>ADELA</character>
<parenthetical>(en mixteco)</parenthetical>
<dialogue>¡Apúrate, manita! ¡Que está Fermín al teléfono!</dialogue>
<scene_description>Cleo se apresura y entra a la casa a contestar. INT - HALL DE ABAJO - TEPEJI 21 -- DIA Cruza el hall y contesta el teléfono que ya está descolagado sobre el mueble bajo la escalera -</scene_description>
<character>CLEO</character>
<dialogue>¿Bueno…?</dialogue>
<scene_description>INT - COCINA - TEPEJI 21 -- DÍA Adela prepara la comida, las ollas hierven en la estufa. Cleo entra y deja la lonchera sobre la mesa.</scene_description>
<character>ADELA</character>
<parenthetical>(en mixteco)</parenthetical>
<dialogue>¿Entonces qué te dijo?</dialogue>
<character>CLEO</character>
<dialogue>¡Nada! ¡Nomás habló para saludar!</dialogue>
<scene_description>Cleo recoge platos y vasos, sale con ellos. Adela remueve la sopa. Cleo entra otra vez y abre el cajón de los cubiertos.</scene_description>
<character>ADELA</character>
<dialogue>¡Seguro! ¡Ya me bajaste a mi novio, ¿verdad?!</dialogue>
<character>CLEO</character>
<dialogue>¡Ay, ¿cómo crees?! ¡Fermin es sólo mi amigo!… Además… Tú me lo presentaste…</dialogue>
<character>ADELA</character>
<dialogue>¡Ay, manita! ¿Ya ves cómo te pones? Si yo nomás te estoy jodiendo. ¡Y además! Sólo salí dos veces con él y ni lo dejé besarme.</dialogue>
<scene_description>Se escucha que se abre la puerta de la calle y con ella una conmoción de niños.</scene_description>
<character>CLEO</character>
<dialogue>Ya llegaron…</dialogue>
<scene_description>Cleo sale al - EXT - PATIO - TEPEJI 21 -- DÍA Cleo llega al patio en el momento en que - Entran dos niños corriendo - TOÑO de 12 años y PACO de 11, los dos entran apresurados a la casa y adentro se les oye subir las escaleras. CONTINUED: Poco después entra SOFI, una niña de 8 años, es muy bonita aunque sus hermanos constantemente la molestan llamándola gorda. Y hasta atrás entra la SEÑORA TERESA, una viuda de 65 años con el cabello completamente blanco que cojea al caminar. IGNACIO, el chofer de 45 años, la sigue cargando una bolsa de mandado. INT - ANTECOMEDOR - TEPEJI 21 -- DÍA Cleo le corta la carne a Pepe. Con un cuchillo corta trozos cada vez más pequeños hasta que sólo quedan pequeños cubitos de bistec que chorrea con limón. SOFI espera su turno, impaciente. PACO come su carne mientras platica -</scene_description>
<character>PACO</character>
<dialogue>Un amigo me contó que en la escuela de su primo un soldado mató a un niño por tirarle un globo con agua.</dialogue>
<scene_description>Toño escucha escéptico -</scene_description>
<character>TOÑO</character>
<dialogue>¿Quién te dijo?</dialogue>
<character>PACO</character>
<dialogue>Me dijo Flores, si no pregúntale. Dice que estaba en Chapultepec, por el nuevo, y que estaba con su hermano tirando globos de agua a los coches que pasaban y que pasó un Jeep del ejército y le tiraron uno y el soldado se bajó y le disparó.</dialogue>
<character>CLEO</character>
<dialogue>¡Ay Jesús! ¿Y qué le pasó?</dialogue>
<character>PACO</character>
<dialogue>¿Cómo que qué le pasó? ¡Si le dio un tiro en la cabeza, pus lo mató!</dialogue>
<character>CLEO</character>
<dialogue>¡Ay, qué horror…!</dialogue>
<scene_description>CONTINUED: Por la puerta del hall entra la SEÑORA SOFÍA, carga una mochila y un bonche de papeles que deja en la mesa del comedor -</scene_description>
<character>SEÑORA SOFÍA</character>
<dialogue>¡Hola niños! ¿Qué comen?</dialogue>
<character>SOFI Y PEPE</character>
<dialogue>¡Mamá!</dialogue>
<scene_description>La Señora Sofía saluda a cada uno con un beso. Pepe le enseña su "obra de arte" -</scene_description>
<character>PEPE</character>
<dialogue>Mira mami…</dialogue>
<character>SEÑORA SOFÍA</character>
<dialogue>¡Que bonito! ¡Lo hiciste solito?</dialogue>
<character>PEPE</character>
<dialogue>Si, y mira, ¡Hay sopa de fideo!</dialogue>
<character>SEÑORA SOFÍA</character>
<dialogue>¡Mmmmm!… ¡Qué rico!</dialogue>
<scene_description>Se sienta -</scene_description>
<character>SEÑORA SOFÍA</character>
<dialogue>Cleo, que los niños no toquen esos papeles, son exámenes que tengo que calificar.</dialogue>
<character>TOÑO</character>
<dialogue>¿Hay sandía?</dialogue>
<character>CLEO</character>
<dialogue>No, mi amor. Hoy hay fresas con crema.</dialogue>
<character>PACO</character>
<dialogue>¡Yo quiero!</dialogue>
<scene_description>Cleo se levanta y recoge algunos platos sucios -</scene_description>
<character>CLEO</character>
<dialogue>¿Y tú, Toño?</dialogue>
<character>TOÑO</character>
<dialogue>¿Ya qué?</dialogue>
<scene_description>Cleo va a la - INT - COCINA - TEPEJI 21 -- DÍA Cleo entra con los platos sucios, los acomoda en el fregadero. Ignacio el chofer y Adela comen en una pequeña mesa. Cleo toma un plato limpio y va a servir sopa -</scene_description>
<character>CLEO</character>
<dialogue>Ándali, que ya llegó la Señora Sofía y Toño quiere ya las fresas…</dialogue>
<scene_description>Adela se levanta, lenta, y en una charola pone platos, cucharas, fresas, azúcar y crema. Mira a Cleo con una interrogante y le sonríe. Cleo se sonroja y sale cargando su plato. INT - ANTECOMEDOR - TEPEJI 21 -- DÍA La Señora Sofía toma su sopa. Cleo prepara fresas con crema en los platos.</scene_description>
<character>SEÑORA SOFÍA</character>
<dialogue>Cleo, por favor manda a la tintorería los dos trajes del señor. Pero hoy mismo porque los tiene que empacar porque sale el viernes.</dialogue>
<character>CLEO</character>
<dialogue>No se preocupe, yo los llevo.</dialogue>
<character>PEPE</character>
<dialogue>¿Papá va de viaje?</dialogue>
<character>SEÑORA SOFÍA</character>
<dialogue>Va a Quebec a un congreso.</dialogue>
<character>SOFI</character>
<dialogue>¿Dónde es eso?</dialogue>
<character>PACO</character>
<dialogue>¡Ay, babosa! ¡Cómo no sabes!</dialogue>
<character>SOFI</character>
<dialogue>Pus no sé y qué…</dialogue>
<character>TOÑO</character>
<dialogue>Queda en Canadá.</dialogue>
<scene_description>CONTINUED:</scene_description>
<character>PACO</character>
<dialogue>¿Se va en Eastern?</dialogue>
<character>SEÑORA SOFÍA</character>
<dialogue>No sé. Creo que en Panam.</dialogue>
<scene_description>Cleo le sirve a Sofi un plato de fresas con crema.</scene_description>
<character>SEÑORA SOFÍA</character>
<dialogue>Sofi sin azúcar porque engorda.</dialogue>
<scene_description>EXT - AZOTEA - TEPEJI 21 -- TARDE Cleo lava ropa, a momentos tararea la canción que sale de un radio amarillo. El crujir metálico de la escalera anuncia la llegada de Paco, seguido de Pepe.</scene_description>
<character>CLEO</character>
<dialogue>No tienen permiso de subir aquí.</dialogue>
<character>PACO</character>
<dialogue>Yo lo cuidé toda la subida.</dialogue>
<character>CLEO</character>
<dialogue>Tu mamá se va a enojar.</dialogue>
<scene_description>Pero Paco ya arrancó su juego arrastrando con él a Pepe.</scene_description>
<character>PACO</character>
<dialogue>Yo voy a salir por aquí y tú vienes por acá, y cuando yo llego acá me vas a disparar pero yo te disparo primero y caes muerto… Así… Con los brazos abiertos…</dialogue>
<scene_description>Paco recibe balazos como Sonny Corleone contra el muro de la casa vecina.</scene_description>
<character>CLEO</character>
<dialogue>¡Nomás no jueguen junto al borde!…</dialogue>
<character>PACO</character>
<dialogue>Anda…</dialogue>
<scene_description>Paco se aleja por la azotea, Pepe se esconde detrás de un tinaco. Paco regresa, pero ahora escondiéndose de espías enemigos, hasta los tinacos. Comienza a rodearlos, siempre con su pistola al aire pero - CONTINUED: Pepe se le aparece por atrás y con ánimos de matarlo. Paco reacciona y voltea, intenta apuntar su arma pero Pepe lo rocía de certeros disparos y se esconde tras el tinaco dejando a Paco primero confundido y, muy poco después, furioso -</scene_description>
<character>PACO</character>
<dialogue>¡Tenías que morirte!</dialogue>
<scene_description>Desde detrás del tinaco Pepe lo reta -</scene_description>
<character>PEPE</character>
<dialogue>¡¿Y por qué no eres tú el que se muere?!</dialogue>
<character>PACO</character>
<dialogue>Porque es mi juego.</dialogue>
<character>PEPE</character>
<dialogue>Pus ya no quiero jugarlo.</dialogue>
<character>PACO</character>
<dialogue>Pus ya no quiero que juegues, niñita.</dialogue>
<scene_description>Y se va, colérico. Baja las escaleras resonando cada paso con metálicos gemidos. Pepe camina para verlo irse y se detiene a mitad de la azotea, claramente decepcionado. Y así se queda por un largo tiempo, hasta que de pronto - Una ráfaga de balas invisibles lo perfora y Pepe cae muerto, con los brazos abiertos, como Paco le había dicho. Y ahí se queda, acostado inmóvil en el suelo. Cleo se seca las manos y camina hasta él. Se detiene y lo ve -</scene_description>
<character>CLEO</character>
<dialogue>¿Y a ti? ¿Qué te pasó?</dialogue>
<scene_description>Pepe contesta desde el suelo y sin abrir los ojos -</scene_description>
<character>PEPE</character>
<dialogue>Estoy muerto.</dialogue>
<character>CLEO</character>
<dialogue>Bueno, ¡pus vámonos pa abajo!</dialogue>
<scene_description>CONTINUED: (2)</scene_description>
<character>PEPE</character>
<dialogue>No puedo. Estoy muerto.</dialogue>
<character>CLEO</character>
<dialogue>¡Pus resucita que ya hay que ir pa abajo!</dialogue>
<character>PEPE</character>
<dialogue>Si te mueres no puedes resucitar.</dialogue>
<character>CLEO</character>
<dialogue>¡¿Y ora qué voy a hacer sin mi Pepe?!</dialogue>
<scene_description>Cleo se sienta en el suelo junto a Pepe que se mantiene inmóvil.</scene_description>
<character>CLEO</character>
<dialogue>¡Yo sin mi Pepe no puedo vivir!</dialogue>
<scene_description>Cleo se acuesta junto a Pepe y también extiende los brazos. Cierra los ojos -</scene_description>
<character>CLEO</character>
<dialogue>Yo también me morí.</dialogue>
<scene_description>Y así se queda, quieta, Pepe junto a ella. Un DC 8 pasa volando. Pepe abre un ojo para ver a Cleo, ella no se mueve, ni parece respirar. Pepe extiende su mano y agarra la de Cleo.</scene_description>
<character>PEPE</character>
<dialogue>¿Cleo…?</dialogue>
<scene_description>Pero Cleo no se mueve. Pepe se sienta -</scene_description>
<character>PEPE</character>
<dialogue>¿Cleo…?</dialogue>
<character>CLEO</character>
<dialogue>Estoy muerta.</dialogue>
<character>PEPE</character>
<dialogue>¡No! ¡Ya ándale! ¡Levántate!</dialogue>
<character>CLEO</character>
<dialogue>¿No dices que no se puede?</dialogue>
<character>PEPE</character>
<dialogue>¡Ya! ¡Cleo…!</dialogue>
<scene_description>CONTINUED: (3) Pero Cleo no contesta.</scene_description>
<character>PEPE</character>
<dialogue>¡Cleo…!</dialogue>
<scene_description>Ella sigue inmóvil.</scene_description>
<character>PEPE</character>
<dialogue>¡Cleeoo!</dialogue>
<scene_description>Pepe comienza a asustarse -</scene_description>
<character>PEPE</character>
<dialogue>¡Cleeeeeeeeooooooo!</dialogue>
<scene_description>Cleo abre los ojos y le sonríe.</scene_description>
<character>CLEO</character>
<dialogue>Estoy jugando tu juego. A ver, ¿jugamos un ratito más?</dialogue>
<scene_description>Pepe se acuesta junto a ella con los brazos abiertos.</scene_description>
<character>CLEO</character>
<dialogue>Cierra los ojos.</dialogue>
<scene_description>Los dos cierran los ojos.</scene_description>
<character>CLEO</character>
<dialogue>Me gusta estar muerta.</dialogue>
<scene_description>Pepe le toma la mano. Los dos yacen muertos sobre la azotea - La tarde ha iniciado sus horas quietas, a la distancia suenan las campanas de una iglesia. Todo a su alrededor es un paisaje de azoteas que se extiende en todas direcciones. En muchas de ellas otras mujeres lavan o tienden ropa, el murmullo de distintos radios se cuela en el viento con el ladrar de los perros. El pitido de un carrito de camotes. El universo quieto. INT - BAÑO PRINCIPAL - TEPEJI 21 -- NOCHE Cleo baña a Sofi y Pepe en la tina. CONTINUED: Sofi tiene el pelo enjabonado y se lo acomoda de diversas formas frente al espejo. Pepe tiene un submarino pero no juega con él, está pensativo -</scene_description>
<character>PEPE</character>
<dialogue>¿Cleo…? ¿Si te murieras ahorita, te irías al cielo? ¿O al infierno?</dialogue>
<character>CLEO</character>
<dialogue>¿Y por qué me voy a morir?</dialogue>
<character>PEPE</character>
<dialogue>Nomás, por decir… ¿Al cielo o al infierno?</dialogue>
<character>CLEO</character>
<dialogue>Tú nomás te la pasas matándome…</dialogue>
<scene_description>Pepe comienza a enervarse -</scene_description>
<character>PEPE</character>
<dialogue>¡Es que es un juego…! Ya, dime… ¿te irías al cielo o al infierno?</dialogue>
<scene_description>Cleo llena de agua una cubetita y le dice a Sofi -</scene_description>
<character>CLEO</character>
<dialogue>A ver, cierra los ojos…</dialogue>
<scene_description>Y le tira un chorro para enjuagarle el pelo.</scene_description>
<character>CLEO</character>
<dialogue>Me iba volando con mis alitas derechito al Cielo.</dialogue>
<character>PEPE</character>
<dialogue>Es que mi tío Pablo nos enseño pinturas y fotos del infierno.</dialogue>
<character>CLEO</character>
<parenthetical>(desinteresada)</parenthetical>
<dialogue>¿El infierno…?</dialogue>
<scene_description>CONTINUED: (2)</scene_description>
<character>PEPE</character>
<dialogue>Sí. Y dice que había lumbre por todos lados… Y que mientras te queman, hay unos diablos bien feos que te pican, así, con fierros… y hay otros que te muerden o te comen los brazos…</dialogue>
<character>CLEO</character>
<dialogue>¡Ay, Chichú! ¡Qué feo! ¡Ya no digas cosas…!</dialogue>
<character>PEPE</character>
<dialogue>¡Sí, pero Paco dice que ahí quiere el ir!</dialogue>
<character>CLEO</character>
<dialogue>¿Cómo…? ¿Y toda la lumbre?</dialogue>
<scene_description>Pepe se ríe -</scene_description>
<character>PEPE</character>
<dialogue>Dice que no importa…</dialogue>
<character>CLEO</character>
<dialogue>¿Cómo…? ¿Qué no dices que queman a la gente?</dialogue>
<scene_description>Su risa es ahora carcajada -</scene_description>
<character>PEPE</character>
<dialogue>¡Sí…! ¡Pero Paco dice que ahí todos están desnudos! ¡Y que puedes ver a todas las chavas encueradas…!</dialogue>
<scene_description>Pepe se carcajea, Sofi escupe agua y se ríe con él. EXT - PATIO - TEPEJI 21 -- NOCHE Los paneles de vidrio esmerilado de la puerta se iluminan y se escucha - Un claxon - ¡Ta-ta Ta-ta Ta-ta Ta-taaaaaa…! Y tras la puerta, el poderoso y goloso ronroneo de un V8. Desde el interior del coche se escucha la XELA, que toca "Un bal" de la Symphonie fantastique. CONTINUED: El BORRAS llega de inmediato a ladrar a la puerta. Cleo y Adela llegan al patio.</scene_description>
<character>ADELA</character>
<dialogue>Pus qué temprano llegó.</dialogue>
<scene_description>Cleo agarra al Borras y lo arrastra hacia el fondo del patio.</scene_description>
<character>CLEO</character>
<dialogue>¿No ves que mañana sale?</dialogue>
<scene_description>Adela va a abrir la puerta. Desde el hall, Sofi y Pepe se asoman. Cleo les ordena mientras sostiene al Borras -</scene_description>
<character>CLEO</character>
<dialogue>¡Ahí espérense!</dialogue>
<scene_description>El V8 ronronea impaciente detrás de la puerta, y por fin - Adela abre la puerta revelando - El frente de un GALAXIE 500 DOS PUERTAS, 1970, NEGRO. Sus faros poderosos invaden hasta el fondo del patio, iluminando a Cleo que espera sosteniendo al Borras. El Galaxie 500 comienza a entrar al patio pero es demasiado grande para el espacio, dejando sólo un par de centímetros a cada lado de la puerta. El frente del coche está adentro cuando frena - El lado izquierdo está a punto de tocar el marco. Las ruedas giran hacia la derecha acompañadas del rechinido del hule girando sobre el mosaico. El Galaxie 500 avanza un poco más pero frena - El lado derecho a punto de tocar. El volante negro con dirección hidráulica es girado y - Las ruedas giran hacia la izquierda, RECHINANDO. Haciendo eco por el patio, sincopando el vals que sale del radio. La Señora Sofía llega a la puerta del hall junto a Sofi y Pepe. CONTINUED: (2)</scene_description>
<character>SOFI</character>
<dialogue>¡Papá llegó temprano!</dialogue>
<scene_description>El coche avanza unos centímetros y se frena. La palanca de velocidades cambia a R - El Galaxie 500 retrocede unos centímetros, se frena. La palanca de velocidades cambia a D - El coche avanza lentamente, librando el marco de la puerta. Lleva casi la mitad cuando frena. Las llantas giran a la derecha y - RECHINIDO. Y el vals que toma ritmo. El coche avanza medio metro y frena. Las llantas se alinean hacia el frente y - El Galaxie 500 libra el marco de la puerta y entra completamente al patio - Y el vals llega a su gran final… El coche se estaciona justo frente a la puerta del hall - El motor se apaga y con él la música - Sofi y Pepe se avientan contra la puerta -</scene_description>
<character>SEÑOR ANTONIO</character>
<dialogue>A ver, a ver, a ver… Déjenme salir.</dialogue>
<scene_description>La Señora Sofía jala a los niños hacia ella y - Sale el SEÑOR ANTONIO, tiene 40 años y su barba muestra algunas canas, aún viste su bata blanca de doctor. Los niños se le echan encima inmediatamente -</scene_description>
<character>SEÑOR ANTONIO</character>
<dialogue>¿Y estos? ¿Y estos? ¿Quiénes son estos?</dialogue>
<scene_description>La Señora Sofía le acaricia el hombro. La familia entra. CONTINUED: (3) Adela cierra la puerta de la calle y Cleo deja libre al Borras, que inmediatamente corre a oler las llantas del Galaxie 500. INT - HALL DE ARRIBA - TEPEJI 21 -- NOCHE Gordolfo Gelatino sale de su recámara en bata, estirando los brazos, perezoso -</scene_description>
<character>GORDOLFO GELATINO (EN TV)</character>
<dialogue>Ya se despertó tu rorro, mamacita…</dialogue>
<scene_description>Doña Naborita lo recibe entusiasta -</scene_description>
<character>DOÑA NABORITA (EN TV)</character>
<dialogue>¡Mi ángel of the mornin'!… ¡Si apenas son las dos de la tarde!… ¿Ya descansaste de descansar?</dialogue>
<scene_description>La familia entera está sentada en un sillón frente a un TELEVISOR ADMIRAL 1970. Sofi está encaramada en el Señor Antonio y Pepe en las piernas de la Señora Sofía, Paco recargado en ella, acurrucado. En un sillón individual está Toño, siempre más huraño. Cleo le sirve fresas con crema al Señor Antonio. Recoge un plato con los restos de una concha con frijoles, y va hacia las escaleras cuando - Una carcajada explota, cortesía de Los Polivoces. Los niños se derraman a risas de sus asientos. Cleo se detiene y voltea - EN LA TV - Gordolfo está sentado en el sillón admirándose en un espejo mientras Doña Naborita está planchando un altero de ropa.</scene_description>
<character>DOÑA NABORITA (EN TV)</character>
<dialogue>¡Ora sí, mi cerecita del jaibol, el edificio me dio toda su ropa a lavar, y voy a poder comprarte ese reloj que tanto te gusta…!</dialogue>
<character>GORDOLFO GELATINO (EN TV)</character>
<dialogue>¡No me gusta verte trabajar tanto, mi cabecita blanca adorada! Así que por favor vete al otro cuarto.</dialogue>
<scene_description>CONTINUED: Cleo deja los platos a un lado y se sienta en el piso, junto al sofá, a ver la tele. Paco extiende el brazo para abrazarla. Pepe intenta hacer lo mismo pero no alcanza, Cleo extiende el brazo y lo enrama con el suyo. EN LA TV - Una cortinilla anuncia al Wash and Wear, quien momentos después entra a la oficina de su jefe, el Mostachón, que lo explotará, inmune a los insultos y verdades que el pobre Wash and Wear le propina. Los niños más grandes ríen. Cleo también, pero más por participar.</scene_description>
<character>SEÑORA SOFÍA</character>
<dialogue>¿Cleo…?</dialogue>
<scene_description>Cleo se yergue enseguida -</scene_description>
<character>CLEO</character>
<dialogue>¿Diga, señora?</dialogue>
<character>SEÑORA SOFÍA</character>
<dialogue>¿Le traerías un tesito de manzanilla al Doctor?</dialogue>
<character>CLEO</character>
<dialogue>Sí, señora.</dialogue>
<scene_description>Recoge los platos del suelo y baja las escaleras. INT - COCINA - TEPEJI 21 -- NOCHE Adela lava trastes, Cleo entra y deja los platos sucios junto a la lavadora -</scene_description>
<character>CLEO</character>
<dialogue>A ver, ¡hazte…!</dialogue>
<scene_description>Le da un caderazo a Adela.</scene_description>
<character>ADELA</character>
<dialogue>¡Órale…!</dialogue>
<character>CLEO</character>
<dialogue>Prepárate una manzanilla para la señora y ya súbete.</dialogue>
<scene_description>CONTINUED: Adela obedece con falsa renuencia y se seca las manos con un trapo -</scene_description>
<character>ADELA</character>
<dialogue>Nomás no te tardes…</dialogue>
<scene_description>Toma una olla y le vierte agua de un garrafón en el piso. INT - HALL DE ARRIBA - TEPEJI 21 -- NOCHE Cleo llega cargando la taza humeante de té, la coloca en una mesa junto a la Señora Sofía. Pepe duerme en sus brazos.</scene_description>
<character>SEÑORA SOFÍA</character>
<dialogue>¿Te lo paso?</dialogue>
<scene_description>Cleo toma a Pepe y lo carga y lo lleva hacia su cuarto, Sofi la sigue. Cleo se detiene antes de entrar para ver - EN LA TV - Chano y Chon revelan sus caras bajo los sombreros. Chano comienza a preguntarle a Chon sobre el tamaño de los pingüinos, Chon contesta y Chano ahuya en respuesta -</scene_description>
<character>CHANO (EN T.V.)</character>
<dialogue>¡Uuuuuuuuuuuuhhhhhhhhhhhh!</dialogue>
<character>SEÑORA SOFÍA</character>
<dialogue>A la cama niños…</dialogue>
<scene_description>De mala gana, Toño y Paco se levantan y van a despedirse de beso de sus padres. INT - CUARTO DE SOFI Y PEPE - TEPEJI 21 -- NOCHE Sofi está acostada en su cama, Cleo está sentada a su lado tomándole la mano -</scene_description>
<character>CLEO</character>
<dialogue>Angelito de la Guarda, mi dulce compañía, no me desampares ni de noche ni de día. No me dejes sola, que me perdería…</dialogue>
<scene_description>Le acaricia la cara -</scene_description>
<character>CLEO</character>
<dialogue>Buenas noches, Sofi hermosa…</dialogue>
<scene_description>CONTINUED: Y le da un beso.</scene_description>
<character>SOFI</character>
<dialogue>Buenas noches, Cleo.</dialogue>
<scene_description>Cierra los ojos. Cleo se levanta y apaga la luz. Sale al - INT - HALL DE ARRIBA - TEPEJI 21 -- NOCHE Está vacío, la puerta de Toño y Paco está cerrada pero la de los Señores Antonio y Sofía sigue abierta. El Señor Antonio está sentado en la cama quitándose los zapatos. Los ronquidos de la Señora Teresa hacen eco por todas las paredes. Cleo recoge la taza de té que sigue llena, intacta, y comienza a bajar las escaleras. INT - PLANTA BAJA - TEPEJI 21 -- NOCHE Cleo baja las escaleras cargando la taza y al llegar al hall va a la sala y comienza a apagar todas las luces, sólo deja encendida una junto a la ventana. Después apaga las luces del hall y las escaleras y camina hacia el fondo, deteniéndose solamente a apagar las luces del comedor y el antecomedor. Y sigue hasta llegar a la puerta de la cocina. Entra. INT - COCINA - TEPEJI 21 -- NOCHE Cleo entra a la cocina, tira el té y enjuaga la taza. Apaga la luz y sale al pequeño patio, cerrando la puerta. Cruza el pequeño patio y sube las escaleras metálicas hacia su cuarto. INT - CUARTO DE SERVICIO - TEPEJI 21 -- NOCHE Cleo entra al cuarto, Adela ya está en camisón -</scene_description>
<character>ADELA</character>
<dialogue>¡Cuánto te tardas!</dialogue>
<scene_description>Cleo se quita el vestido apresurada - CONTINUED:</scene_description>
<character>CLEO</character>
<dialogue>¡Pero ya apágale! Que se enoja la Señora Teresa si ve la luz prendida.</dialogue>
<scene_description>Adela apaga la luz y el cuarto queda a oscuras, aunque la ventana es muy grande y deja entrar la luz de la luna. Cleo prende una vela y la pone en el piso. Las dos se acuestan en línea, los pies de una tocando los pies de la otra y -</scene_description>
<character>ADELA</character>
<dialogue>¿Lista?</dialogue>
<character>CLEO</character>
<dialogue>Dale…</dialogue>
<scene_description>Las dos impulsan hacia arriba la parte superior del cuerpo e intentan tocarse las puntas de los pies -</scene_description>
<character>ADELA</character>
<parenthetical>(pujando)</parenthetical>
<dialogue>Uno…</dialogue>
<scene_description>Y hacen abdominales, una tras otra -</scene_description>
<character>ADELA</character>
<parenthetical>(pujando)</parenthetical>
<dialogue>Dos…</dialogue>
<scene_description>Entre gruñidos y pujidos. 20 de septiembre de 1970, domingo EXT - AV INDEPENDENCIA -- DÍA El bullicio festivo del Centro de la ciudad en domingo, familias y vendedores ambulantes por doquier. Cleo y Adela van a paso rápido por la banqueta, en una carrera de obstáculos que se mueven. Adela es más rápida pero Cleo es más hábil y resistente. Adela lleva la delantera pero se enfrenta a una parada de autobús con familias que bajan, Cleo logra colarse entre la gente y sigue su camino. La banqueta está un poco menos llena y Adela aprovecha y la alcanza justo cuando llegan a - EXT - TORTERÍA - AV INDEPENDENCIA -- DÍA Y se detienen exhaustas, tratando de recobrar el aliento, una recargada en un coche y la otra en un poste. Entre respiraciones profundas Cleo levanta una mano y apunta el índice al cielo -</scene_description>
<character>CLEO</character>
<parenthetical>(entre respiraciones)</parenthetical>
<dialogue>… Gané…</dialogue>
<scene_description>Adela gesticula que no con la mano -</scene_description>
<character>ADELA</character>
<parenthetical>(entre respiraciones)</parenthetical>
<dialogue>… No… Empa… -tamos…</dialogue>
<scene_description>Cleo sólo niega con la cabeza. INT - TORTERÍA - AV INDEPENDENCIA -- DÍA Ilustraciones pintadas a mano sobre una pared anuncian los distintos tipos de tortas. En la otra, un espejo cortado en rombos reproduce la ya concurrida clientela. Cleo y Adela están sentadas en la barra disfrutando sus tortas cubanas que se desbordan de los panes a cada mordida.</scene_description>
<character>ADELA</character>
<dialogue>…Entonces que el Moisés… ¿Te acuerdas de Moisés? ¿El del pueblo?</dialogue>
<scene_description>Cleo asiente mientras termina de darle una mordidota a la torta, derramando aguacate.</scene_description>
<character>ADELA</character>
<dialogue>Pues que andaba ahí dale y dale y…</dialogue>
<character>CLEO</character>
<parenthetical>(riendo)</parenthetical>
<dialogue>…¿Dale y dale…?</dialogue>
<character>ADELA</character>
<dialogue>No, ¡tonta!… Dale y dale, y que me mandaba cartas y cartas…</dialogue>
<scene_description>Cada vez que habla, Cleo se cubre la boca con la mano - CONTINUED:</scene_description>
<character>CLEO</character>
<parenthetical>(curiosa)</parenthetical>
<dialogue>¿Y qué tanto te escribía?</dialogue>
<character>ADELA</character>
<dialogue>Pues… que no podía dejar de pensar en mí… que me extrañaba… que ya quería verme…</dialogue>
<character>CLEO</character>
<dialogue>¡Aaaaayyy…!</dialogue>
<character>ADELA</character>
<dialogue>Que sin mí se sentía solo…</dialogue>
<character>CLEO</character>
<dialogue>¡Pobre!</dialogue>
<dialogue>Que ya no podía sin verme…</dialogue>
<character>CLEO</character>
<dialogue>Aaaaaay…</dialogue>
<character>ADELA</character>
<dialogue>Y que viene mi primo del pueblo a traer un encargo y que me trae otra carta del Moisés…</dialogue>
<character>CLEO</character>
<dialogue>¿Ajá?</dialogue>
<character>ADELA</character>
<dialogue>Y pues que saca la carta y me la da. Pero pues al sacarla del bulto, la carta estaba junto con otras cartas, y pues todas que se le caen al piso. Y yo como que veo una así, con la letra toda chueca del Moisés, ¡y que la agarro y que la abro…!</dialogue>
<scene_description>Cleo sigue la historia, ha dejado de masticar -</scene_description>
<character>ADELA</character>
<dialogue>Y sí, era del Moisés. Que no puedo dejar de pensar en ti… Que ya quiero verte… Que sin ti me siento solo… Que te extraño…</dialogue>
<character>CLEO</character>
<dialogue>¡Pobrecito! ¡Tan buen muchacho!</dialogue>
<scene_description>CONTINUED: (2)</scene_description>
<character>ADELA</character>
<dialogue>Sí. ¡Nomás que la carta era para otra chica!</dialogue>
<character>CLEO</character>
<dialogue>¡Noooooooo!</dialogue>
<scene_description>Y queda boquiabierta, con un trozo masticado de cubana aún en la boca.</scene_description>
<character>ADELA</character>
<dialogue>¡El cabrón le manda la misma carta a todas las pinches chamacas!</dialogue>
<scene_description>Y las dos explotan a carcajadas cubriéndose la boca con la mano. Otros comensales voltean y ellas esconden sus rostros, intentando reprimir sus risas. EN LA ENTRADA - Dos hombres entran a la tortería y miran alrededor. Ven a Cleo y Adela sentadas en la barra y van hacia ellas. RAMÓN tiene 27 años, es afable, un poco pasado de peso y tiene patillas, lleva una camisa morada con cuatro botones abiertos al frente. FERMÍN tiene 26, es tímido y un poco huraño, tiene el cuerpo ceñido de un atleta, vestido de camiseta y chaqueta de cuero.</scene_description>
<character>RAMÓN</character>
<dialogue>¿Y por qué tan solitas comiendo… tortitaaassss…?</dialogue>
<scene_description>Sorprendiendo a las dos mujeres. Adela se levanta de inmediato y -</scene_description>
<character>ADELA</character>
<dialogue>¡Ramón!</dialogue>
<scene_description>Los dos se abrazan y se besan, exuberantes. Fermín se acerca, sonriendo tímido. Cleo se levanta y se saludan de beso, torpemente.</scene_description>
<character>ADELA</character>
<dialogue>¿Quieren una torta?</dialogue>
<scene_description>Fermín, tímido, señala su estómago - CONTINUED: (3)</scene_description>
<character>FERMÍN</character>
<dialogue>Gracias… Ya…</dialogue>
<character>RAMÓN</character>
<dialogue>Si ya acabaron de comer, vámonos ya que me gusta ver los cortos.</dialogue>
<scene_description>EXT - CINE METROPOLITAN -- TARDE La entrada del cine es un bazar de VENDEDORES AMBULANTES que anuncian sus productos recitando listas una y otra vez como mantras en un canto. Una anciana sentada en el suelo ofrece sus dulces en una tela frente a ella -</scene_description>
<character>VENDEDORA DE DULCES</character>
<dialogue>…cigarros-chicles-chocolates- mazapanes-muéganos-cacahuates- gomitas…</dialogue>
<scene_description>Un vendedor está tras su mesa improvisada ofreciendo cacahuates japoneses -</scene_description>
<character>VENDEDOR CACAHUATES</character>
<dialogue>…¡Los ja-po-neeeee-seeeeeeees!… ¡Los ja-po-neeeee-seeeeeeees!… ¡Los ja-po-neeeee-seeeeeeees!…</dialogue>
<scene_description>Una señora rechoncha y chaparra se pasea con una caja de chicles Adams en la mano -</scene_description>
<character>VENDEDORA DE CHICLES</character>
<dialogue>…¡De a peso le valen los chicles Adams sabor menta, hierbabuena, canela, tutifruti…!</dialogue>
<scene_description>Un merenguero de camisa corta -</scene_description>
<character>MERENGUERO</character>
<dialogue>…¡Merengues-merengues-lleve sus ricos-merengueeeeees!…</dialogue>
<scene_description>Vendedores de revistas, de yo-yos, de juguetes baratos… una cacofonía de cantos acompañados de un organillo que toca en la banqueta. Cleo, Adela, Ramón y Fermín hacen cola en la taquilla.</scene_description>
<character>ADELA</character>
<dialogue>¿Qué película pasan?</dialogue>
<scene_description>CONTINUED:</scene_description>
<character>RAMÓN</character>
<dialogue>Sepa.</dialogue>
<scene_description>Fermín le pregunta a Cleo -</scene_description>
<character>FERMÍN</character>
<dialogue>¿Sí quieres ir al cine…?</dialogue>
<character>CLEO</character>
<dialogue>Sí, me gustan las películas. ¿Qué, a ti no?</dialogue>
<character>FERMÍN</character>
<dialogue>No… esque… Está bonita la tarde, ¿no?</dialogue>
<scene_description>Cleo se hace consciente del sol que brilla, levanta su cara al cielo -</scene_description>
<character>CLEO</character>
<dialogue>Sí. Está bien clarito.</dialogue>
<scene_description>Lo mira -</scene_description>
<character>CLEO</character>
<dialogue>¿Quieres ir a la Alameda?</dialogue>
<scene_description>Fermín le sonríe.</scene_description>
<character>FERMÍN</character>
<dialogue>Pérame tantito…</dialogue>
<scene_description>Camina hasta Ramón, que está al frente de la fila sacando dinero de su bolsillo. Adela aprovecha para ir con Cleo.</scene_description>
<character>ADELA</character>
<dialogue>¿Qué, manita? ¿No vas al cine?</dialogue>
<character>CLEO</character>
<dialogue>Esque… Está bien bonita la tarde, ¿no?…</dialogue>
<character>ADELA</character>
<parenthetical>(interrumpe)</parenthetical>
<dialogue>¡Uuuuuuuyyyyyyy!… Ándale… Ahí me cuentas, manita. Yo mejor me voy a lo oscurito.</dialogue>
<scene_description>Y se va con Ramón que espera para entrar al cine. Fermín regresa con Cleo y se van. CONTINUED: (2) Los vendedores ambulantes continúan su coro. El organillero calla. INT - CUARTO DE HOTEL -- TARDE En reglamento cuelga en un pequeño marco en la puerta, ignorado. Tras la ventana, la tarde del domingo mengua y un letrero fluorecente se asoma anunciando el Hotel. tras La puerta del baño que está abierta, un foco ilumina el lavabo y un espejo occidado. Fermin sale del baño cargando unos chacos. Está completamente desnudo. Cleo espera en la cama, tímida, aún con su fondo puesto. Al ver a Fermin se sonroja. Frente al baño, Fermín presenta sus chacos al frente -</scene_description>
<character>FERMÍN</character>
<dialogue>¡Jodan Tsuki!…</dialogue>
<scene_description>Y comienza una rutina con ellos. Es una coreagrafía elaborada y estudiada, los palos encadenados giran como hélices a su arededor. El efecto es poetico pero también un tanto ridículo pero Cleo reprime su sonrisa bajo las sábanas. Fermin finaliza su rutina tomando distintas posiciones -</scene_description>
<character>FERMÍN</character>
<dialogue>¡Jodan Tsuki!… ¡Chudan Tsuki!… ¡Mae Geri!…</dialogue>
<scene_description>Y se despide con una inclinación. Cleo reprime una risa -</scene_description>
<character>FERMÍN</character>
<dialogue>¿Qué…?</dialogue>
<scene_description>Cleo cubre su risa preguntando -</scene_description>
<character>CLEO</character>
<dialogue>¿Y entrenas a diario?</dialogue>
<character>FERMÍN</character>
<dialogue>Tengo que. Le debo la vida a las artes marciales. Yo crecí con muchas carencias, ¿sabes?</dialogue>
<scene_description>Afuera, las multitudes y el barullo parecieran lejanos. Fermín deja los chacos sobre una repiza y camina hacia el pie de la cama - CONTINUED:</scene_description>
<character>FERMÍN</character>
<dialogue>De chamaco, cuando mi mamacita se murió…</dialogue>
<scene_description>Se persigna -</scene_description>
<character>FERMÍN</character>
<dialogue>Me llevaron a vivir con mi tía, allá a Neza. Y ahí, que entre mis primos que me madreaban y que las malas compañías, y que le entré al trago… y que llegué al chemo… Me estaba muriendo…</dialogue>
<scene_description>Hace una pausa -</scene_description>
<character>FERMÍN</character>
<dialogue>Pero descubrí las artes marciales. Y pus esas cosas ya no, y todo tiene… algo así como… ¿foco…?</dialogue>
<scene_description>Fermín hace un silencio, ve a Cleo -</scene_description>
<character>FERMÍN</character>
<dialogue>Y pus no me gusta platicarle a la gente de mis cosas… Pero contigo es distinto…</dialogue>
<scene_description>Él acerca su cara y ella la suya y sus labios se encuentran y se besan suavemente, pero muy pronto Cleo mueve la cabeza golpeando a Fermín en la nariz.</scene_description>
<character>CLEO</character>
<dialogue>¡Ay! ¡Perdón…!</dialogue>
<scene_description>Pero Fermín la jala de regreso y la besa intensamente y, con la bocas ya sellada a Cleo, se acuesta lentamente en encima de ella. Hacen el amor. 11 de noviembre de 1970, miércoles INT - CUARTO DE SERVICIO - TEPEJI 21 -- MADRUGADA Suena la alarma de un despertador. Cleo despierta y la apaga. Se sienta en la cama. La luz del alba entra por la ventana, la casa está en silencio. Adela duerme plácida en su cama. CONTINUED: Cleo se levanta precipitadamente, toma ropa de la silla y se acomoda los zapatos mientras camina apurada a la puerta y sale. EXT - PATIO PEQUEÑO - TEPEJI 21 -- MADRUGADA Cleo baja las escaleras apresurada y entra al pequeño baño. INT - BAÑO DE SERVICIO - TEPEJI 21 -- MADRUGADA Cleo vomita. El baño está limpio pero no ha tenido mantenimiento en mucho tiempo. La minúscula regadera no tiene cortina y el escusado no tiene asiento ni tapa en el tanque de agua. En el lavamanos, dos cepillos de dientes y un tubo apachurrado de Colgate. En una pequeña repisa, un frasco de Nivea y una veladora apagada. INT - BAÑO DE SERVICIO - TEPEJI 21 -- MÁS TARDE Cleo se baña, el pequeño baño inmediatamente inmerso en una nube de vapor. INT - PLANTA BAJA - TEPEJI 21 -- AMANECER Cleo sale de la cocina y cruza la casa que está aún en penumbras, aunque tras las ventanas el patio ya recibe la primera luz del día. Cleo llega a las escaleras y sube. INT - HALL DE ARRIBA - TEPEJI 21 -- DÍA Por la puerta del cuarto de los niños más pequeños, podemos ver a Cleo despertar a Sofi. Le susurra -</scene_description>
<character>CLEO</character>
<dialogue>Mi chiquita… Mi chiquita bonita…</dialogue>
<scene_description>Y le hace delicadas cosquillas en la cintura -</scene_description>
<character>CLEO</character>
<dialogue>Despierta, despierta… Despierta, despierta… Ya amaneció y un nuevo día llegó…</dialogue>
<scene_description>CONTINUED: Las cosquillas suben como ejercito de hormigas por el torso de Sofi quien sonríe pero finge seguir durmiendo.</scene_description>
<character>CLEO</character>
<dialogue>Y van subiendo poquito a poco…</dialogue>
<scene_description>Sofi por fin se quiebra y ríe y mueve los brazos, modorra.</scene_description>
<character>CLEO</character>
<dialogue>Buenos días, princesita…</dialogue>
<scene_description>Sofi la abraza del cuello.</scene_description>
<character>CLEO</character>
<dialogue>Ándali, ya levántate…</dialogue>
<scene_description>Sofi se levanta -</scene_description>
<character>SOFI</character>
<dialogue>Voy al baño…</dialogue>
<character>CLEO</character>
<dialogue>Pus ve, ¡pues!</dialogue>
<scene_description>Sofi sale del cuarto y cruza adormilada el hall mientras Cleo acomoda un uniforme de escuela limpio sobre la cama. La Señora Teresa sale de su recámara y ve a Sofi a punto de entrar el baño -</scene_description>
<character>SEÑORA TERESA</character>
<dialogue>Buenos días, Sofi.</dialogue>
<scene_description>Sofi entra al baño sin voltear -</scene_description>
<character>SOFI</character>
<dialogue>Buenos días, abui…</dialogue>
<scene_description>Y cierra la puerta. La Señora Teresa baja las escaleras. Cleo va a la cama de Pepe y le da un beso asegurándose de no despertarlo y sale del cuarto. En el hall, prende la luz y entra a la recámara de Toño y Paco, que duermen profundamente. Se pone en cuclillas junto a Toño, le acaricia la cabeza y le susurra -</scene_description>
<character>CLEO</character>
<dialogue>Toño… Toño… Toño… Mi amor, ya hay que despertarse…</dialogue>
<scene_description>CONTINUED: (2) Toño, sin voltear, le quita la mano de un manotazo -</scene_description>
<character>TOÑO</character>
<dialogue>Ya estoy despierto…</dialogue>
<scene_description>Cleo sube las manos al aire -</scene_description>
<character>CLEO</character>
<dialogue>¡Ay!… ¡Si ya está despierto!… ¡Ay, que no lo toquen!…</dialogue>
<scene_description>Toño se levanta, gruñón, y sale del cuarto.</scene_description>
<character>CLEO</character>
<dialogue>Sofi está en el baño…</dialogue>
<scene_description>En el hall Toño toca la puerta del baño -</scene_description>
<character>SOFI (O.C.)</character>
<dialogue>¡Ocupado!</dialogue>
<scene_description>Pero Toño toca más fuerte -</scene_description>
<character>TOÑO</character>
<dialogue>¡Apúrate! ¡Tengo que entrar!</dialogue>
<character>SOFI (O.C.)</character>
<dialogue>¡Voy!</dialogue>
<scene_description>Cleo se sienta al pie de la cama de Paco, le saca un pie de las sábanas y le pone los calcetines sin despertarlo. Después lo sienta recargado en ella, y le quita la parte superior de la pijama. En el hall, Toño sigue tocando la puerta del baño -</scene_description>
<character>TOÑO</character>
<dialogue>¡Que te salgas!</dialogue>
<scene_description>La puerta del baño se abre y Sofi sale -</scene_description>
<character>SOFI</character>
<dialogue>¡Ya! ¡Pásale!</dialogue>
<scene_description>Toño entra de inmediato y al cerrar la puerta -</scene_description>
<character>TOÑO</character>
<dialogue>¡Gorda…!</dialogue>
<scene_description>Sofi cruza de regreso a su cuarto. Cleo ha logrado ponerle la camiseta a Paco, que ahora se sienta en la cama. CONTINUED: (3)</scene_description>
<character>CLEO</character>
<dialogue>Anda, termina de vestirte.</dialogue>
<scene_description>Paco se quita los pantalones de la pijama y Cleo sale al hall y entra a ayudar a Sofi. INT - ANTECOMEDOR - TEPEJI 21 -- DÍA La Señora Teresa y Sofi están desayunando en la mesa, Cleo guarda paquetes de papel encerado en las mochilas que están en el piso junto a cada silla. A través de las ventanas se puede ver a Ignacio que saca los coches a la calle. Un radio portátil en la mesa toca la XEQK, LA HORA HASTE DEL OBSERVATORIO -</scene_description>
<character>HORA HASTE</character>
<dialogue>…¡Chocolates Turín! ¡Ricos de principio a fin!… Maestro Mecánico Marcos Carrasco garantiza vigoroso control de calidad en la rectificación de motores…</dialogue>
<scene_description>Paco sale de la cocina con un Gansito y lo mete en su mochila, pero Sofi lo ha visto -</scene_description>
<character>SOFI</character>
<dialogue>¡Yo también quiero un Gansito!</dialogue>
<character>PACO</character>
<dialogue>Son míos.</dialogue>
<character>SEÑORA TERESA</character>
<dialogue>Yo los compré para todos.</dialogue>
<character>PACO</character>
<dialogue>Pero yo los puse en el congelador.</dialogue>
<character>SEÑORA TERESA</character>
<dialogue>Ándale, dale uno a Sofi, y luego te compro una cajota para ti solito.</dialogue>
<scene_description>Paco sopesa la oferta y regresa a la cocina. La Señora Teresa ha terminado sus panes dulces sopeados en café con leche y se levanta. CONTINUED:</scene_description>
<character>SEÑORA TERESA</character>
<dialogue>Apúrense, niños. Ya son las siete y veinte.</dialogue>
<scene_description>Se escucha la voz de Paco desde la cocina -</scene_description>
<character>PACO (O.C.)</character>
<dialogue>¡Son las siete diecisiete!</dialogue>
<scene_description>La Hora Haste recita -</scene_description>
<character>HORA HASTE</character>
<dialogue>XEQK proporciona la hora del observatorio, misma de Haste. Haste, la Hora de México… Siete de la mañana diecisiete minutos. Siete diecisiete… (silencio)… BIIIIP…</dialogue>
<scene_description>Paco sale de la cocina, triunfal. La Señora Teresa le saca la lengua y camina hacia la puerta. Paco le avienta el Gansito a Sofi -</scene_description>
<character>PACO</character>
<dialogue>Pa que engordes…</dialogue>
<scene_description>Toño llega.</scene_description>
<character>CLEO</character>
<dialogue>Ahí está tu jugo, Toño…</dialogue>
<scene_description>Toño se sienta -</scene_description>
<character>TOÑO</character>
<dialogue>Apaga esa cosa.</dialogue>
<character>PACO</character>
<dialogue>No, ¿por qué?</dialogue>
<scene_description>La Señora Teresa ya los llama desde la puerta -</scene_description>
<character>SEÑORA TERESA</character>
<dialogue>¡Vámonos!…</dialogue>
<scene_description>Sofi se levanta y va hacia la Señora Teresa que comienza a salir al patio -</scene_description>
<character>SEÑORA TERESA</character>
<dialogue>Cleo, agárrame al perro para abrir la puerta.</dialogue>
<scene_description>Cleo se levanta de inmediato y corre al patio. CONTINUED: (2) Toño también se levanta pero le sube todo el volumen al radio antes de irse. Paco lo apaga de un manotazo -</scene_description>
<character>TOÑO</character>
<dialogue>Jajaja… ¡Niñita!…</dialogue>
<scene_description>Paco grita antes de salir al patio -</scene_description>
<character>PACO</character>
<dialogue>¡Me toca adelante!…</dialogue>
<scene_description>Toño se empina el jugo y va tras ellos. EXT - CASA - TEPEJI 21 -- DÍA El Valiant está estacionado frente a la casa con el motor en marcha, la Hora Haste emanando del radio. Cleo espera en la banqueta agarrando al Borras del collar, mientras la Señora Sofía y los niños suben al coche en absoluto desorden.</scene_description>
<character>TOÑO</character>
<dialogue>¡Muévete!</dialogue>
<character>SOFI</character>
<dialogue>¡Ya me moví!</dialogue>
<scene_description>Cuando la Señora Teresa ha logrado entrar al coche, Ignacio le cierra la puerta, espera a que todos cierren la puerta antes de meterse.</scene_description>
<character>TOÑO</character>
<dialogue>¡Pon a la Pantera!</dialogue>
<scene_description>Paco aprieta un botón del radio y cambia la estación a la Pantera en plena votación Beatles vs. Creedence -</scene_description>
<character>RADIO LA PANTERA (OS)</character>
<dialogue>…¿Por quién votas, campeón?… Por los Beatles… ¡Un voto más para el Cuarteto de Liverpool que van atrás por 18 votos del Cuarteto del Bajou. ¿Por quién votas?… Creedence…</dialogue>
<scene_description>Ignacio mete el clutch y permite que Paco, que va sentado a su lado, meta primera velocidad con la palanca del volante. CONTINUED: El Valiant arranca y se aleja por la calle. Cleo lo ve dar vuelta en la esquina y regresa a la casa jalando al perro. Cierra la puerta. INT - HALL DE ABAJO - TEPEJI 21 -- DÍA Cleo entra a la casa y cierra la puerta del patio, cruza el hall y sube las escaleras. INT - CUARTO DE SOFI Y PEPE - TEPEJI 21 -- DÍA Cleo hunde su cara en la panza de Pepe que reacciona riendo.</scene_description>
<character>PEPE</character>
<dialogue>¡Ya estaba despierto!</dialogue>
<character>CLEO</character>
<dialogue>¡Ay, qué bueno! ¡Así ya también estás vestido!</dialogue>
<character>PEPE</character>
<dialogue>Eso no.</dialogue>
<character>CLEO</character>
<dialogue>Pus ándale, ¡levántate para que te vista!</dialogue>
<scene_description>Pepe se levanta y Cleo lo viste mientras él habla -</scene_description>
<character>PEPE</character>
<dialogue>¿Sabes de qué me acordé en mi sueño?</dialogue>
<character>CLEO</character>
<dialogue>No, tú. ¿De qué te acordaste?</dialogue>
<character>PEPE</character>
<dialogue>De cuando yo era grande.</dialogue>
<character>CLEO</character>
<dialogue>¿Cuando eras grande?</dialogue>
<character>PEPE</character>
<dialogue>Sí, tú también estabas pero eras otra. ¿Te acuerdas?</dialogue>
<scene_description>Cleo le sube los shorts al niño. INT - COMEDOR - TEPEJI 21 -- DÍA Una cuchara da delicados golpecitos en el cenit de un huevo que se quiebra lentamente. Cleo quita la cáscara para poder vaciar el huevo tibio en una taza. Le pone sal y al final agrega trocitos de pan. Le pasa la taza a Pepe, que come. Cleo se levanta y lleva platos sucios a - INT - COCINA - TEPEJI 21 -- DÍA Cleo entra a la vez que entra Adela, con el pelo mojado, por la puerta del patio.</scene_description>
<character>CLEO</character>
<dialogue>¡Buenas noches!</dialogue>
<character>ADELA</character>
<dialogue>¡Tú que no me despertastes!</dialogue>
<character>CLEO</character>
<dialogue>No. Si no fuera ser que luego te canses.</dialogue>
<scene_description>Adela la ve con mueca de risa. Cleo unta mermelada en un pan y lo junta con otro. Del antecomedor se escucha llegar a la Señora Sofía -</scene_description>
<character>PEPE (O.S.)</character>
<dialogue>¡Mamá!</dialogue>
<character>SEÑORA SOFÍA (O.S.)</character>
<dialogue>¡Mi amor! ¿Cómo está tu huevito?</dialogue>
<scene_description>Cleo mete el sándwich en una bolsa encerada -</scene_description>
<character>CLEO</character>
<dialogue>Ya se va el Doctor. Amárrate al Borras pa que salga.</dialogue>
<scene_description>Cleo toma el sándwich y un vaso con jugo de naranja y va hacia el antecomedor, Adela va al patio. INT - ANTECOMEDOR - TEPEJI 21 -- DÍA La Señora Sofía está sentada junto a Pepe, Cleo entra y le lleva el jugo - CONTINUED:</scene_description>
<character>CLEO</character>
<dialogue>Su juguito…</dialogue>
<character>SEÑORA SOFÍA</character>
<dialogue>Que Pepe se espere para despedir a su papá, no importa que llegue tarde.</dialogue>
<character>CLEO</character>
<dialogue>Sí, señora.</dialogue>
<scene_description>Al fondo, en el hall, el Señor Antonio ha bajado las escaleras cargando dos maletas. Cleo corre a ayudarlo.</scene_description>
<character>CLEO</character>
<dialogue>¡Ahí déjemelas, por favor, Señor!…</dialogue>
<scene_description>El Señor Antonio deja las maletas en el piso.</scene_description>
<character>CLEO</character>
<dialogue>Ya está su avena en la mesa…</dialogue>
<character>SEÑOR ANTONIO</character>
<dialogue>Gracias, Cleo.</dialogue>
<scene_description>Y camina hacia el antecomedor -</scene_description>
<character>SEÑOR ANTONIO</character>
<dialogue>¡Buenos días, Pepón!</dialogue>
<character>PEPE</character>
<dialogue>¡Papi!</dialogue>
<scene_description>El Señor Antonio se toma, de un vaso, un jugo de naranja de un sólo trago. Cleo va a las maletas y las carga. Sale - EXT - PATIO - TEPEJI 21 -- DÍA El redoble de tambores y trompetas miltitares hacen eco dentro del patio. Cleo carga las maletas hasta la puerta donde Adela sostiene al borras del collar. Cleo sólo se detiene para abrir la puerta y sale a - EXT - CASA - TEPEJI 21 -- DÍA Una Banda Militar de Secundaria marca cada paso al marchar por la calle tocando sus trompetas y tambores. Un VW '66 sedán color crema espera frente a la casa. CONTINUED: Cleo sale cargando las maletas y las deja a un lado del auto. Abre la puerta y mete una maleta en el asiento trasero, luego acciona el mecanismo en la guantera. Sale del coche y carga la segunda maleta al frente del auto, abre la cajuela y la acomoda en el minúsculo espacio. Va de regreso a la casa pero ve que el Señor Antonio ya sale, caminando por el patio. Más atrás lo sigue la Señora Sofía cargando a Pepe. El Señor Antonio pisa una caca de perro y se detiene asqueado -</scene_description>
<character>SEÑOR ANTONIO</character>
<dialogue>¡Con una…!</dialogue>
<scene_description>Desliza su pie por el piso intentando limpiarlo y continúa su camino. En la calle, talla la suela del zapato contra el borde de la banqueta. La Señora Sofía pone a Pepe en el suelo al llegar a la calle y va hasta el Señor Antonio y lo abraza por la espalda. Cleo se aleja unos pasos, Pepe va hasta ella y le toma la mano. La Señora Sofía rompe a llorar. El Señor Antonio voltea y la abraza incómodo.</scene_description>
<character>SEÑORA SOFÍA</character>
<dialogue>Nosotros aquí estamos…</dialogue>
<character>SEÑOR ANTONIO</character>
<dialogue>Sólo son unas semanas…</dialogue>
<scene_description>Se zafa de la Señora Sofía y va a entrar al coche cuando ella lo intercepta y le da un beso moqueado, que él recibe antes de sentarse al volante y cerrar la puerta. La Señora Sofía pone su mano en el hombro de su marido mientras él enciende el cuatro cilindros.</scene_description>
<character>SEÑOR ANTONIO</character>
<dialogue>Adiós, Pepe…</dialogue>
<scene_description>Mete primera y arranca lentamente, obligando a la Señora Sofía a levantar la mano, y se aleja hacia el final de la calle. CONTINUED: (2) El VW llega a la esquina donde debe de esperar a que la retaguardia de la Banda de Guerra salga de la calle llevándose sus ritmos marciales, antes de desaparecer por la derecha. La Señora Sofía se queda inmóvil, con la mano en el aire. Cleo espera. Por fin la Señora Sofía voltea, su rostro desencajado -</scene_description>
<character>SEÑORA SOFÍA</character>
<dialogue>¡Con un carajo! ¡Limpia las pinches cacas del perro!</dialogue>
<scene_description>Camina hasta Pepe y lo agarra de la mano -</scene_description>
<character>SEÑORA SOFÍA</character>
<dialogue>Yo llevo a Pepe.</dialogue>
<scene_description>Camina con Pepe hacia el final de la calle, en dirección opuesta a la que tomó el Señor Antonio. Cleo entra a la casa y cierra la puerta. EXT - PATIO - TEPEJI 21 -- DÍA Cleo empuja con una escoba una caca de perro a un recogedor. Y avanza a la siguiente, mientras el Borras se pasea por el patio, ignorante. Una a una, las recoge todas. EXT - PATIO PEQUEÑO - TEPEJI 21 -- DÍA Cleo abre el basurero y tira las cacas. Lo cierra. EXT - PATIO - TEPEJI 21 -- DÍA Una mancha embarrada sobre un mosaico rojo y amarillo, es rebaba de las cacas del Borras. Polvo pálido cae sobre la mancha hasta que la cubre. Cleo cruza el patio espolvoreando jabón en cada una de las manchas restantes. Al llegar a la puerta de la calle, llena dos cubetas de agua que esparce en el piso y - Cepilla, una a una, todas las manchas espolvoreadas del patio. 29 de noviembre de 1970, domingo INT - CINE METROPOLITAN -- TARDE PELÍCULA La sala está casi llena pero hacia atrás se vacía. Cleo y Fermín están sentados en la última hilera del cine, fajando intensamente. Sus manos acarician los genitales del otro, mientras se besan.</scene_description>
<character>FERMÍN</character>
<dialogue>Mámamela…</dialogue>
<scene_description>Cleo se separa brevemente y le dice entre suspiros -</scene_description>
<character>CLEO</character>
<dialogue>Esque… No me ha bajado lo del mes…</dialogue>
<scene_description>Pero sucumbe con un gemido de placer que intenta reprimir. Besa y acaricia a Fermín con más intensidad y él la explora más profundamente con la mano. PELÍCULA Por fin, Cleo logra sobreponerse a su deseo para decirle -</scene_description>
<character>CLEO</character>
<dialogue>Te digo. Que no me ha bajado el mes…</dialogue>
<scene_description>Pero Fermín la calla con un beso en la boca. Cuando se va por el cuello, Cleo aprovecha para hablar entre agitaciones de placer -</scene_description>
<character>CLEO</character>
<dialogue>Que creo que estoy con encargo…</dialogue>
<scene_description>Fermín hace una pequeña pausa, pero continúa besándola -</scene_description>
<character>FERMÍN</character>
<dialogue>Ahhh… Pus 'stá bien… ¿No?</dialogue>
<scene_description>Cleo hace una pausa, lo ve a los ojos -</scene_description>
<character>CLEO</character>
<dialogue>¿Está bien?</dialogue>
<character>FERMÍN</character>
<dialogue>… Ey…</dialogue>
<scene_description>CONTINUED: Cleo sonríe y lo besa en la boca. Baja la cabeza y comienza a mamársela. Fermín le agarra la cabeza y la obliga a moverse a su ritmo.</scene_description>
<character>FERMÍN</character>
<dialogue>… ¡Ay!… ¡Así!…</dialogue>
<scene_description>PELÍCULA Fermín extiende los brazos y se agarra de los respaldos de las butacas vecinas y comienza a gemir -</scene_description>
<character>FERMÍN</character>
<dialogue>…¡Asííííííí!… ¡Asííííííí!… ¡Asííííííí!…</dialogue>
<scene_description>Abre la boca y calla el grito mordiéndose la mano, y cuando la explosión pasa, Cleo se levanta, una mano en la boca, su cara salpicada de semen. Abre su bolso y saca unos Kleenex, se limpia la boca y la cara, después las manos, y se acurruca en Fermín que aún respira agitado. Los dos ven la película, Cleo enamorada. PELÍCULA Fermín se mueve suavemente para levantarse -</scene_description>
<character>FERMÍN</character>
<dialogue>Tengo que ir al baño…</dialogue>
<character>CLEO</character>
<dialogue>Tsk… Si ya va a acabar…</dialogue>
<character>FERMÍN</character>
<dialogue>Tengo que ir ahorita… Pérame tantito, no me tardo nada…</dialogue>
<scene_description>Se levanta y camina entre los asientos vacíos para llegar al pasillo, y de ahí a la salida. Cleo espera a que salga para buscar un chicle en su bolso, se lo mete a la boca. Saca otro Kleenex, lo moja con la lengua y se limpia la cara. La PELÍCULA llega a su fin y corren los CRÉDITOS. Cleo voltea hacia la salida. La GENTE comienza a levantarse. Se PRENDEN LAS LUCES de la sala, POR SECCIONES Y LENTAMENTE. CONTINUED: (2) Cleo se levanta y ve hacia las salidas, recargada en los asientos de adelante. Los créditos corren con los nombres de los tramoyistas. La sala se ha vaciado completamente, sólo queda Cleo y la pantalla donde corren los créditos de sonido. El telón de terciopelo rojo se cierra interrumpiendo los créditos que aún no terminan. Cleo por fin camina a la salida. INT - LOBBY - CINE METROPOLITAN -- TARDE Nuevos espectadores entran al cine, algunos van directo a la dulcería, donde las filas aún son cortas. Cleo deambula por el lobby buscando a Fermín pero no hay rastros de él. Camina a la entrada y sale, cruzándose con los recién llegados. EXT - ENTRADA - CINE METROPOLITAN -- TARDE Cleo sale y camina al centro de la entrada donde se detiene, absorta, entre los VENDEDORES AMBULANTES que anuncian sus productos recitando sus distintos mantras. Las piernas parecieran fallarle y se recarga en la marquesina que anuncia los próximos estrenos. Y, lentamente, se sienta en el piso entre - Una anciana que ofrece sus dulces -</scene_description>
<character>VENDEDORA DE DULCES</character>
<dialogue>…cigarros-chicles-chocolates- mazapanes-muéganos-cacahuates- gomitas-…</dialogue>
<scene_description>Y un hombre que anuncia su truco de magia, interactuando con un pequeño esqueleto de plástico que baila en el piso -</scene_description>
<character>VENDEDOR ESQUELETO</character>
<dialogue>…sin trucos ni artimañas, por sí solo baila. Sin hilos y sin trampas, es Don Carlangas que nos baila…</dialogue>
<scene_description>Cleo se queda quieta entre el mar de voces - CONTINUED:</scene_description>
<character>VENDEDORES</character>
<dialogue>…¡Los jaaaa-po-neeeeee-seeeeeeees! …¡Lleve su calcomanía del Cupido Motorizado!… ¡Merengues-merengues- lleve sus ricos-merengueeeeees!… ¡Hay de menta, hierbabuena, canela, tutifruti de los Chiclets Adams!…</dialogue>
<scene_description>Junto a Cleo, el pequeño esqueleto brinca y baila y repentinamente se detiene -</scene_description>
<character>VENDEDOR ESQUELETO</character>
<dialogue>…¿Que pasó, Don Carlangas, ya se cansó?… ¿Y qué va a hacer?…</dialogue>
<scene_description>El esqueleto se sienta en el piso -</scene_description>
<character>VENDEDOR ESQUELETO</character>
<dialogue>¡Ahaaa! ¡El Señor Carlangas se sienta a descansar!…</dialogue>
<scene_description>8 de diciembre de 1970, martes. EXT - CALLE -- DÍA Un ANCIANO PURÉPECHA, encorvado y con sombrero de paja, carga un enorme y voluminoso saco de tela que casi cubre, por detrás, su frágil figura. Camina por la calle a paso constante, deteniéndose únicamente para reacomodar el pesado saco sobre su espalda. Pasa frente a una miscelánea, una farmacia, una panadería, una tienda de abarrotes, una papelería y da vuelta en - EXT - CALLE DE TEPEJI - CASA - TEPEJI 21 -- DÍA El anciano camina encorvado, con el enorme bulto que casi descansa vertical sobre su espalda, sin perder su ritmo, frente a casas construidas en los años 30. Algunas tienen alteraciones modernas, a muchas les urge una mano de pintura. Llega a Tepeji 21 y se detiene frente a la puerta. Lentamente se quita el enorme saco de la espalda y lo posa en el suelo. Toca el timbre. CONTINUED: Adentro, se escucha al Borras correr hacia la puerta ladrando ferozmente. El anciano espera. El Borras no se da por vencido y sus ladridos son cada vez más fuertes. Se escucha a Cleo que se acerca -</scene_description>
<character>CLEO (O.S.)</character>
<dialogue>¿Quién…?</dialogue>
<character>ANCIANO DE LAS NARANJAS</character>
<dialogue>¡Naranjas!</dialogue>
<scene_description>El Borras responde, furioso.</scene_description>
<character>CLEO (O.S.)</character>
<dialogue>¡Voy…! ¡Ya cállate, Borras!…</dialogue>
<scene_description>El anciano recoge el saco mientras la puerta se abre apenas lo suficiente para ver a Cleo, que se asoma agarrando al perro del collar. El anciano termina de colocar el saco sobre su espalda -</scene_description>
<character>ANCIANO DE LAS NARANJAS</character>
<dialogue>¿Ya agarró al perro?</dialogue>
<character>CLEO</character>
<dialogue>Sí.</dialogue>
<character>ANCIANO DE LAS NARANJAS</character>
<dialogue>¿Segura?</dialogue>
<character>CLEO</character>
<dialogue>Aquí lo detengo. Pásele.</dialogue>
<scene_description>La puerta se abre y el Borras inmediatamente se abalanza contra el anciano, pero Cleo lo detiene fuertemente del collar. El perro ladra agresivo, parado en dos patas. El anciano entra a - EXT - PATIO - TEPEJI 21 -- DÍA Cleo contiene al Borras y se hace a un lado mientras el anciano entra por la puerta. La boca del perro expulsa baba a cada ladrido.</scene_description>
<character>ANCIANO DE LAS NARANJAS</character>
<dialogue>Agárrelo bien.</dialogue>
<scene_description>Cleo lucha con el perro - CONTINUED:</scene_description>
<character>CLEO</character>
<dialogue>Pase… pase…</dialogue>
<scene_description>El anciano pasa cauteloso junto a Cleo, que detiene al Borras. Ella cierra la puerta y lo sigue, manteniendo una distancia. Al llegar al fondo del patio, el anciano entra al - EXT - PATIO PEQUEÑO - TEPEJI 21 -- DÍA El anciano llega frente a la cocina y deposita lentamente el pesado saco sobre el piso. Adela sale de la cocina cargando un huacal que coloca en el suelo -</scene_description>
<character>ADELA</character>
<dialogue>Buenos días, señor…</dialogue>
<character>ANCIANO DE LAS NARANJAS</character>
<dialogue>Buenas… ¿Cuántas van a ser?</dialogue>
<character>ADELA</character>
<dialogue>Que sean treinta…</dialogue>
<scene_description>El anciano se quita el sombrero de paja para refrescar su pelo blanco y lacio mojado de sudor, su rostro indio está marcado con profundas arrugas. Se agacha y mete las manos al bulto, saca - Naranjas que pone, de tres en tres, en el huacal -</scene_description>
<character>ANCIANO DE LAS NARANJAS</character>
<dialogue>1… 2… 3… 4… 5… 6…</dialogue>
<scene_description>Cleo contiene al Borras que no para de ladrar. EXT - PATIO - TEPEJI 21 -- TARDE Guijarros de hielo rebotan en el piso despues de caer del cielo. El granizo cubre el patio. INT - COCINA - TEPEJI -- TARDE La luz de la tarde, sofocada por las nubes, lucha por traspasar las ventanas. Tras la ventana, granizo cae sobre el patio pequeño. Adela vierte café en una taza y la acomoda en una bandeja que ya tiene una azucarera, una jarrita de leche, una cuchara y una servilleta. Junto a ella, Cleo espera nerviosa. CONTINUED:</scene_description>
<character>ADELA</character>
<dialogue>Anda. Llévasela tú, manita.</dialogue>
<scene_description>Cleo toma la bandeja y camina hacia la sala. Adela la acompaña pero se detiene en la puerta. INT - SALA - TEPEJI 21 -- TARDE Cleo sale de la cocina, Adela espera junto a la puerta y la ve cruzar el hall cargando la bandeja con café. Tras las ventanas, el granizo continúa. La luz de la tarde apenas pinta las cortinas de la sala y ya hay lámparas prendidas. En una esquina, un árbol de esNavidad presume sus luces de colores sobre un nacimiento artesanal con paisajes de musgo, heno y cartón. Los niños están sentados en el sillón de la sala moderna alrededor de la Señora Sofía. Cleo coloca la bandeja en la mesa de centro junto a unos papeles blancos y unos sobres, y sirve el café. Va a ponerle crema cuando -</scene_description>
<character>SEÑORA SOFÍA</character>
<dialogue>Así está bien, Cleo…</dialogue>
<scene_description>Cleo pone la taza frente a la Señora Sofía, ella toma la crema y se sirve mientras Cleo comienza a retirarse, se detiene -</scene_description>
<character>CLEO</character>
<dialogue>Discúlpeme, ¿Señora Sofi?</dialogue>
<scene_description>La Señora Sofía agrega dos cucharadas de azúcar al café -</scene_description>
<character>SEÑORA SOFÍA</character>
<dialogue>¿Sí?</dialogue>
<character>CLEO</character>
<dialogue>Esque… Si cuando tenga un momento… Me gustaría ver si… ¿Puede hablar conmigo un momentito?</dialogue>
<character>SEÑORA SOFÍA</character>
<dialogue>Sí, pero 'pérame tantito. Nomás le digo unas cosas a los niños.</dialogue>
<scene_description>Cleo asiente y se retira unos pasos a esperar. CONTINUED:</scene_description>
<character>SEÑORA SOFÍA</character>
<dialogue>Pero espérate aquí, siéntate.</dialogue>
<scene_description>Cleo se sienta en el sofá tímidamente. La Señora Sofía prueba su café, los niños están impacientes.</scene_description>
<character>PACO</character>
<dialogue>¿Qué?…</dialogue>
<character>TOÑO</character>
<dialogue>Tengo que ir a comprar madera balsa para una maqueta.</dialogue>
<scene_description>La Señora Sofía prueba su café y dice de buen humor -</scene_description>
<character>SEÑORA SOFÍA</character>
<dialogue>Vas después. A ver, tengo unas cosas que decirles…</dialogue>
<character>PACO</character>
<dialogue>¿Vamos a ir a Disneylandia?</dialogue>
<character>SEÑORA SOFÍA</character>
<dialogue>No. Navidad la vamos a pasar en casa de mi hermano Pablo.</dialogue>
<character>PACO</character>
<dialogue>¡Ahí es bien aburrido!</dialogue>
<character>SOFI</character>
<dialogue>No es cierto. Ahí están mis primas.</dialogue>
<character>SEÑORA SOFÍA</character>
<dialogue>Y para Año Nuevo, vamos a ir a la hacienda de los Zavaleta.</dialogue>
<character>PACO</character>
<dialogue>¿Van a ir los Richards?</dialogue>
<character>SEÑORA SOFÍA</character>
<dialogue>Sí, y también los Matos y los Larsson.</dialogue>
<character>TOÑO</character>
<dialogue>¿Y papá cuándo llega?</dialogue>
<character>SEÑORA SOFÍA</character>
<dialogue>Ésa es la otra cosa que tengo que decirles. Su investigación sigue retrasándose y va a tener que quedarse en Quebec más tiempo.</dialogue>
<scene_description>CONTINUED: (2)</scene_description>
<character>TOÑO</character>
<dialogue>¿Regresa hasta enero?</dialogue>
<scene_description>La Señora Sofía hace una brevísima pausa y cuando retoma la conversación su tono parece distinto.</scene_description>
<character>SEÑORA SOFÍA</character>
<dialogue>No sabe. Pero por eso aquí les traje estos papeles para que le escriban una carta. Cada uno.</dialogue>
<scene_description>Distribuye los papeles y sobres entre los niños -</scene_description>
<character>SEÑORA SOFÍA</character>
<dialogue>Díganle cuánto lo extrañan, que por favor ya vuelva…</dialogue>
<scene_description>Su buen humor intenta enmascarar su nerviosismo.</scene_description>
<character>SEÑORA SOFÍA</character>
<dialogue>Tú, Pepe, hazle dibujos…</dialogue>
<character>PEPE</character>
<dialogue>Yo también sé escribir.</dialogue>
<character>PACO</character>
<dialogue>Seguro…</dialogue>
<scene_description>Toño se levanta -</scene_description>
<character>TOÑO</character>
<dialogue>Bueno. Voy primero por mi madera balsa.</dialogue>
<scene_description>La Señora Sofía le grita -</scene_description>
<character>SEÑORA SOFÍA</character>
<dialogue>¡Tú no vas a ningún lado hasta que hayas escrito tu carta!</dialogue>
<scene_description>Toño toma sus papeles y se arranca, enojado, hacia las escaleras.</scene_description>
<character>SEÑORA SOFÍA</character>
<dialogue>¿A dónde vas?</dialogue>
<character>TOÑO</character>
<dialogue>A mi cuarto, ¿o qué? ¿Tampoco puedo escribir la carta en mi cuarto?</dialogue>
<character>SEÑORA SOFÍA</character>
<dialogue>No, sí. Está bien.</dialogue>
<scene_description>CONTINUED: (3) Paco toma sus papeles y sigue a Toño -</scene_description>
<character>PACO</character>
<dialogue>Yo también voy al cuarto.</dialogue>
<scene_description>La Señora Sofía le da el resto de los papeles a Sofi.</scene_description>
<character>SEÑORA SOFÍA</character>
<dialogue>Sofi, llévate esto al comedor y ayuda a Pepe con su carta. Nomás hablo tantito con Cleo y los alcanzo.</dialogue>
<scene_description>Sofi toma los papeles -</scene_description>
<character>SOFI</character>
<dialogue>Vente, Pepe.</dialogue>
<character>SEÑORA SOFÍA</character>
<dialogue>Ponle muchos dibujos bonitos, Pepe. Sofi, ayúdale a escribir "Te extraño mucho, papá".</dialogue>
<character>SOFI</character>
<dialogue>Sí, mamá. Vente Pepe.</dialogue>
<scene_description>Sofi y Pepe van con sus papeles a la mesa del comedor.</scene_description>
<character>PEPE</character>
<dialogue>Pero yo lo escribo, ¿eh?</dialogue>
<scene_description>La Señora Sofía ve a los niños caminar al comedor. Voltea con Cleo.</scene_description>
<character>SEÑORA SOFÍA</character>
<dialogue>Ahora sí, Cleo. Hazte pa acá.</dialogue>
<scene_description>Cleo se sienta más cerca de la Señora Sofía -</scene_description>
<character>SEÑORA SOFÍA</character>
<dialogue>¿Qué pasó, Cleo?</dialogue>
<scene_description>Cleo la ve como un ciervo encandilado, se queda muda.</scene_description>
<character>SEÑORA SOFÍA</character>
<dialogue>¿No querías decirme algo?</dialogue>
<character>CLEO</character>
<dialogue>No, sí. Esque…</dialogue>
<scene_description>Pero se queda muda otra vez. Al fondo, junto a la puerta de la cocina, Adela finge limpiar mientras intenta escuchar - CONTINUED: (4)</scene_description>
<character>SEÑORA SOFÍA</character>
<dialogue>¿Sí?</dialogue>
<scene_description>Los ojos de Cleo se llenan de lágrimas. La Señora Sofía se preocupa -</scene_description>
<character>SEÑORA SOFÍA</character>
<dialogue>¿Qué pasa, Cleo?</dialogue>
<scene_description>Pero Cleo sólo llora.</scene_description>
<character>SEÑORA SOFÍA</character>
<dialogue>¿Está bien tu mamá?</dialogue>
<scene_description>Cleo afirma -</scene_description>
<character>CLEO</character>
<dialogue>Esque… Señora Sofi…</dialogue>
<character>SEÑORA SOFÍA</character>
<dialogue>¿Sí?</dialogue>
<character>CLEO</character>
<dialogue>Esque… Creo que estoy con encargo.</dialogue>
<scene_description>La Señora Sofía no esperaba esto -</scene_description>
<character>SEÑORA SOFÍA</character>
<dialogue>¿Cómo que crees?</dialogue>
<character>CLEO</character>
<dialogue>Es que no me ha llegado el mes.</dialogue>
<character>SEÑORA SOFÍA</character>
<dialogue>Y, ¿desde hace cuánto?</dialogue>
<character>CLEO</character>
<dialogue>No sé…</dialogue>
<scene_description>Y se suelta llorando. La Señora Sofía se sienta junto a ella y la abraza -</scene_description>
<character>SEÑORA SOFÍA</character>
<dialogue>¡Ay mensa, mensa, mensa…! ¿Y quién es el papá?</dialogue>
<character>CLEO</character>
<dialogue>Fermín, un primo del novio de Adela.</dialogue>
<character>SEÑORA SOFÍA</character>
<dialogue>¿Y ya sabe?</dialogue>
<scene_description>CONTINUED: (5) Cleo niega -</scene_description>
<character>CLEO</character>
<dialogue>Es que no da razón.</dialogue>
<character>SEÑORA SOFÍA</character>
<dialogue>¡Mensa, mensa, mensa…!</dialogue>
<character>CLEO</character>
<dialogue>¿Me va a correr, verdá?</dialogue>
<character>SEÑORA SOFÍA</character>
<dialogue>¡Ay! ¿Cómo correr, tonta? Hay que llevarte a que te cheque un doctor.</dialogue>
<scene_description>Pepe llega con su carta -</scene_description>
<character>PEPE</character>
<dialogue>Mira, ma. Le hice un avión.</dialogue>
<character>SEÑORA SOFÍA</character>
<dialogue>Muy bien. Pero ponle corazones…</dialogue>
<parenthetical>(grita a Sofi)</parenthetical>
<dialogue>¡Sofi! Te dije que ayudaras a tu hermano a escribir "Te extraño"…</dialogue>
<scene_description>Desde el comedor, Sofi contesta -</scene_description>
<character>SOFI</character>
<dialogue>¡No deja que lo ayude!</dialogue>
<character>PEPE</character>
<dialogue>¿Por qué llora Cleo?</dialogue>
<character>SEÑORA SOFÍA</character>
<dialogue>Por nada. Le duele la panza. A ver, ven. Vamos a escribir tu carta…</dialogue>
<scene_description>La Señora Sofía camina al comedor pero Pepe va hacia Cleo y la abraza. Le soba la panza -</scene_description>
<character>PEPE</character>
<dialogue>Sana, sana, colita de rana. Si no sanas hoy, sanarás mañana…</dialogue>
<scene_description>Cleo se ríe y abraza a Pepe, ocultando su llanto. 10 de diciembre de 1970, jueves.</scene_description>
</scene>
<scene>
<stage_direction>INT/EXT - GALAXIE 500 - AV BAJA CALIFORNIA -- DÍA</stage_direction>
<scene_description>La Señora Sofía maneja en silencio, las manos al volante, pero su dedo índice se mueve como afirmando el intenso alegato que explota en su mente. Cleo va a su lado recién peinada, se ha cambiado de vestido, va nerviosa. Se acercan a un cruce donde los autos esperan la luz verde del semáforo, la Señora Sofía intenta acomodarse en el espacio entre un camión de mudanzas de redilas y un carcachón. El espacio es pequeño pero la Señora Sofía guía el Galaxie 500 hacia él -</scene_description>
<character>SEÑORA SOFÍA</character>
<dialogue>Pío, pío, pío, pío…</dialogue>
<scene_description>Imposible. Lo inevitable sucede. El Galaxie 500 pega por los dos lados, pero esto parece no importarle a la Señora Sofía que continúa avanzando lentamente, a pesar del quejido del metal que se dobla -</scene_description>
<character>SEÑORA SOFÍA</character>
<dialogue>Pío, pío, pío, pío…</dialogue>
<scene_description>EXT - AV BAJA CALIFORNIA -- DÍA El Galaxie 500 avanza entre el camión de redilas y la carcacha, embarrando sus molduras que se retuercen, arrancando el espejo retrovisor en su camino. El Galaxie continúa hacia delante entre el crujir de sus láminas hasta que el espacio es demasiado estrecho para continuar. El semáforo cambia a verde y arrancan, excepto el camión de redilas y la carcacha, cuyos irritados conductores salen de sus vehículos a constatar los daños. EXT - CENTRO MÉDICO - AV CUAUHTÉMOC -- DÍA El conjunto de modernos edificios luce orgulloso sus murales con su promesa de progreso. El Galaxie 500, con los lados abollados y arrastrando una moldura, entra a un estacionamiento reservado para médicos. EXT - GINECOBSTETRICIA - CENTRO MÉDICO -- DÍA La Señora Sofía y Cleo caminan frente a un edificio que luce bellos murales con motivos prehispánicos y cruzan por una entrada que anuncia Ginecobstetricia. INT - LOBBY - GINECOBSTETRICIA -- DÍA La Señora Sofía y Cleo atraviesan el enorme lobby de marmol hasta los elevadores que descansan bajo un grán mural de heroes patrios. OMIT INT - LOBBY 8º PISO - GINECOBSTETRICIA -- DÍA La Señora Sofía y Cleo salen del elevador, caminan a una estación de enfermeras en el centro del lobby. La Señora Sofía se acerca a hablar con la ENFERMERA en turno -</scene_description>
<character>SEÑORA SOFÍA</character>
<dialogue>Buenos días. Tengo una cita con la Doctora Vélez.</dialogue>
<character>ENFERMERA</character>
<dialogue>¿Quién la busca?</dialogue>
<character>SEÑORA SOFÍA</character>
<dialogue>De parte de la esposa del Doctor Roldán.</dialogue>
<scene_description>La enfermera levanta un teléfono. INT - PASILLO - GINECOBSTETRICIA -- DÍA Ventanales de piso a techo corren a lo largo del pasillo y los cubículos médicos. La Señora Sofía espera con Cleo, que mira por la ventana la ciudad que se extiende hacia el poniente. Llega la DOCTORA VÉLEZ. Tiene 40 años y la seguridad que da la experiencia, usa lentes.</scene_description>
<character>SEÑORA SOFÍA</character>
<dialogue>Hola Margarita, gracias por recibirnos.</dialogue>
<scene_description>CONTINUED:</scene_description>
<character>DOCTORA VÉLEZ</character>
<dialogue>Claro, Sofía. Nomás faltaba…</dialogue>
<scene_description>Se saludan de beso.</scene_description>
<character>SEÑORA SOFÍA</character>
<dialogue>¿Te acuerdas de Cleo?</dialogue>
<scene_description>La Doctora Vélez dirige su atención a Cleo -</scene_description>
<character>DOCTORA VÉLEZ</character>
<dialogue>Pero, ¡por favor! Hola Cleo, ¿cómo estás?</dialogue>
<scene_description>Cleo sufre una combinación de timidez y miedo -</scene_description>
<character>CLEO</character>
<dialogue>Bien, doctora… Gracias…</dialogue>
<character>DOCTORA VÉLEZ</character>
<dialogue>Bueno, vamos a verte, Cleo. Ven conmigo y me cuentas… Sofía, ¿vienes también?</dialogue>
<character>SEÑORA SOFÍA</character>
<dialogue>Gracias, Margarita. Voy aquí a saludar al Doctor Zavala.</dialogue>
<character>DOCTORA VÉLEZ</character>
<dialogue>Bueno, Cleo y yo vamos a platicar. ¿Por qué no nos vemos en el lobby en unos cuarenta minutitos?</dialogue>
<character>SEÑORA SOFÍA</character>
<dialogue>Sí, yo vuelvo.</dialogue>
<scene_description>Le toma la mano a Cleo -</scene_description>
<character>SEÑORA SOFÍA</character>
<dialogue>Anda Cleo, ve con la doctora.</dialogue>
<scene_description>Y camina de regreso al lobby. Cleo y la Doctora Vélez van a los cubículos. INT - CONSULTORIO - GINECOBSTETRICIA -- DÍA Cleo está sentada en una silla ginecológica, ve el instrumental en una charola a un lado, parecieran aparatos medievales de tortura. CONTINUED: La puerta se abre y entra la Doctora Vélez, se sienta en una silla entre las piernas de Cleo y comienza a ponerse unos guantes de látex -</scene_description>
<character>DOCTORA VÉLEZ</character>
<dialogue>Ahora sí, Cleo. Cuéntame.</dialogue>
<scene_description>Cleo duda en hablar -</scene_description>
<character>CLEO</character>
<dialogue>Esque… esque…</dialogue>
<character>DOCTORA VÉLEZ</character>
<dialogue>Está bien, Cleo. Cuéntame…</dialogue>
<character>CLEO</character>
<dialogue>Es que no me ha venido el mes.</dialogue>
<character>DOCTORA VÉLEZ</character>
<dialogue>¿Hace cuánto?</dialogue>
<character>CLEO</character>
<dialogue>¿Dos meses serán?</dialogue>
<character>DOCTORA VÉLEZ</character>
<dialogue>Oquei. ¿Y hace cuánto tiempo que eres sexualmente activa?</dialogue>
<scene_description>Cleo se sonroja y no puede contestar.</scene_description>
<character>DOCTORA VÉLEZ</character>
<dialogue>¿Tienes muchas parejas?</dialogue>
<character>CLEO</character>
<dialogue>¡Ay no! ¡Cómo cree!</dialogue>
<character>DOCTORA VÉLEZ</character>
<dialogue>¿Usas protección?</dialogue>
<scene_description>Cleo pareciera no entender la pregunta.</scene_description>
<character>DOCTORA VÉLEZ</character>
<dialogue>¿Usan condón?</dialogue>
<scene_description>Pero Cleo sólo llora. La doctora toma el pato y le embarra vaselina.</scene_description>
<character>DOCTORA VÉLEZ</character>
<dialogue>¿Cuándo fue la última vez que te examinaron?</dialogue>
<scene_description>CONTINUED: (2)</scene_description>
<character>CLEO</character>
<dialogue>Serán tres o cuatro años que vine con usted.</dialogue>
<character>DOCTORA VÉLEZ</character>
<dialogue>Eso está mal, Cleo. Tienes que checarte dos veces al año.</dialogue>
<character>CLEO</character>
<dialogue>Sí, doctora.</dialogue>
<character>DOCTORA VÉLEZ</character>
<dialogue>Bueno, vamos a examinarte. Va a estar un poquito frío…</dialogue>
<scene_description>La Doctora Vélez acomoda el pato entre la piernas de Cleo. La cara de Cleo confirma que no sólo está frío, también es doloroso. INT - PASILLO - LOBBY 8º PISO - GINECOBSTETRICIA -- DÍA 73\* Cleo camina con la Doctora Vélez por el pasillo. Al fondo, en el lobby, pueden ver a la Señora Sofía que habla con el DOCTOR ZAVALA de 45 años. Al notar a Cleo, la Señora Sofía interrumpe su plática con el Doctor Zavala. Ha llorado y aún está alterada. La Doctora Vélez y el Doctor Zavala se saludan de beso -</scene_description>
<character>DOCTORA VÉLEZ</character>
<dialogue>Hola Mario…</dialogue>
<character>DOCTOR ZAVALA</character>
<dialogue>Doctoresa…</dialogue>
<character>SEÑORA SOFÍA</character>
<dialogue>¿Cómo está Cleo?</dialogue>
<character>DOCTORA VÉLEZ</character>
<dialogue>Bueno, Cleo tiene un embarazo de diez semanas. Está muy sana y muy fuerte y su bebé también. Eso sí, tiene que inyectarse hierro cada dos semanas, ya le di su receta.</dialogue>
<character>SEÑORA SOFÍA</character>
<dialogue>¿Para cuándo?</dialogue>
<character>DOCTORA VÉLEZ</character>
<dialogue>Por ahí de finales de junio.</dialogue>
<scene_description>CONTINUED: La Señora Sofía asiente -</scene_description>
<character>SEÑORA SOFÍA</character>
<dialogue>Ay Margarita, mil gracias por verla.</dialogue>
<character>DOCTORA VÉLEZ</character>
<dialogue>¡N'ombre! Si ya la extrañaba, ¿verdad, Cleo? Me voy…</dialogue>
<scene_description>Se despide de beso de la Señora Sofía -</scene_description>
<character>DOCTORA VÉLEZ</character>
<dialogue>Adiós, Cleo. Nos vemos el mes que viene para que te cheque.</dialogue>
<character>CLEO</character>
<dialogue>Sí, doctora. Gracias.</dialogue>
<scene_description>La Doctora Vélez se aleja por el pasillo. La Señora Sofía voltea a ver a Cleo -</scene_description>
<character>SEÑORA SOFÍA</character>
<dialogue>¿Cleo? ¿Por qué no vas al tercer piso a ver a los bebés recién nacidos mientras yo termino aquí de platicar con el Doctor Zavala?</dialogue>
<scene_description>INT - MATERNIDAD - GINECOBSTETRICIA -- DÍA Docenas de cunas enfiladas, cada una de ellas con un bebé recién nacido enrollado en su colchita. Cleo los ve a través de la vitrina. Unos duermen en calma y otros lloran con ansia. Cuatro cunas proyectan fuertes luces sobre bebés con antifaces, y a un lado - En una INCUBADORA - Un bebé prematuro, minúsculo y frágil. Está conectado a tubos que apenas lo sujetan a la vida. Cleo lo mira fascinada cuando - Un gran bloque de yeso se desprende del techo y cae encima de la incubadora casi cubriéndola por completo. 31 de diciembre de 1970, jueves.</scene_description>
</scene>
<scene>
<stage_direction>INT/EXT - VALIANT '64 - SALIDA A CARRETERA A PUEBLA -</stage_direction>
<scene_description>CERRO LA CALDERA -- DÍA La Señora Sofía maneja, su dedo índice en su eterna discución. A su lado va Cleo y entre las dos va Pepe. Atrás, Toño, Paco y Sofi. El radio transmite Radio Éxitos. Pepe mira por el parabrisas hacia la distancia -</scene_description>
<character>PEPE</character>
<dialogue>¿Por qué la montaña dice LEA?</dialogue>
<character>SEÑORA SOFÍA</character>
<dialogue>Para que lean. ¿Ya ven, niños? Hasta la montaña se los pide.</dialogue>
<character>TOÑO</character>
<dialogue>Es por Luis Echeverría Álvarez, baboso.</dialogue>
<character>SEÑORA SOFÍA</character>
<dialogue>No le digas baboso. Tiene 5 años. No tiene que saber quién es Echeverría. Explícale.</dialogue>
<character>TOÑO</character>
<dialogue>¡Pus, el presidente!</dialogue>
<character>SOFI</character>
<dialogue>¿Qué no es Gustavo Díaz Ordaz?</dialogue>
<character>SEÑORA SOFÍA</character>
<dialogue>Ya no, Sofi. Desde el primero de diciembre ahora es Luis Echeverría.</dialogue>
<character>SOFI</character>
<dialogue>Ahhhhh…</dialogue>
<character>PACO</character>
<dialogue>A Cleo le gusta mucho Echeverría. ¡Guácala!</dialogue>
<character>CLEO</character>
<dialogue>Pus sí. Su esposa Doña Ester se viste siempre con huipiles y ropa oaxaqueña. Él quiere a los indios.</dialogue>
<character>TOÑO</character>
<dialogue>Pus mi tío Alberto dice que él fue el que mandó matar a los estudiantes hace dos años.</dialogue>
<scene_description>CONTINUED:</scene_description>
<character>CLEO</character>
<dialogue>¡Nooooo…!</dialogue>
<character>TOÑO</character>
<dialogue>Él era el Secretario de Gobernación.</dialogue>
<character>SOFI</character>
<dialogue>¿Por qué mató a los estudiantes?</dialogue>
<character>TOÑO</character>
<dialogue>Porque no hicieron la tarea.</dialogue>
<character>SEÑORA SOFÍA</character>
<dialogue>¡Ya, Toño! No, Sofi. Toño está nomás molestándote.</dialogue>
<character>PEPE</character>
<dialogue>¡A mí no me cae bien! ¿Por qué pinta la montaña? ¡No es suya!</dialogue>
<scene_description>EXT - SALIDA A CARRETERA A PUEBLA - CERRO LA CALDERA -- DÍA El Valiant surca hacia el oriente. Al fondo, el Cerro la Caldera añora ser montaña y demarca el confín de la Ciudad que se disuelve en ciudades perdidas. La cara poniente del cerro ha sido profanada por tres inmensas letras blancas que se extienden a casi todo lo largo y lo ancho de su seca superficie - LEA. Como un maleficio. EXT - HACIENDA DE ZAVALETA -- DÍA Un gran muro de adobe rodea una inmensa propiedad en medio de campos de cultivo. El Valiant entra por un enorme portón a - EXT - ENTRADA - HACIENDA DE ZAVALETA -- DÍA Un camino atraviesa la enorme explanada amurallada. Al fondo, la hermosa fachada de una hacienda, un monumento al latifundismo Porfiriano. El Valiant se acerca a la Casa Grande. Una docena de coches están estacionados en fila a un lado del camino. Todos son coches grandes y lujosos, todos del año: LTDs, Impalas y Country Squires. CONTINUED: El Valiant '64 se estaciona entre un LTD y una Country Squire que ponen en evidencia su kilometraje y su capa de pintura que se pela sobre la otra. Salen del coche. La Señora Sofía abre la cajuela y Cleo comienza a sacar las maletas. Su panza es apenas perceptible. Un grupo de gente sale de la Casa Grande a recibirlos, tres adultos, algunos niños y varios sirvientes. CLAUDIA DE LA BÁRCENA de 38 años, SAMANTHA LARSSON de 38 años, mexicana de clase alta con el pelo pintado de rubio, y MOLLY EDWARDS, una afable mujer rubia, galesa, de 37 años, extienden sus brazos al aire -</scene_description>
<character>MOLLY</character>
<dialogue>¡Comadre!</dialogue>
</scene>
<scene>
<stage_direction>EXT/INT - CORREDOR - HACIENDA -- DÍA</stage_direction>
<scene_description>BENITA, de 55 años, el ama de llaves de la hacienda, guía a Cleo por un largo pasillo. Las dos cargan varias maletas, unas en las manos y otras colgadas de los hombros.</scene_description>
<character>BENITA</character>
<dialogue>¿Segura que puedes con eso?</dialogue>
<character>CLEO</character>
<dialogue>Si estoy con encargo, no enferma. ¿Qué? ¿Y tú ya te cansastes?</dialogue>
<scene_description>Y Cleo apresura su paso, adelantándose. Benita hace lo mismo y va tras de ella.</scene_description>
<character>BENITA</character>
<dialogue>¡Será!</dialogue>
<character>CLEO</character>
<dialogue>No te veo en medio año y ya te me pusiste bien viejita.</dialogue>
<scene_description>Las dos mujeres compiten a paso acelerado, enterradas en maletas como hormigas que cargan varias veces su propio peso. Benita alcanza a Cleo, que acelera el paso y la rebasa. Pero Benita se ha detenido -</scene_description>
<character>BENITA</character>
<dialogue>¿A dónde vas?</dialogue>
<scene_description>Cleo se detiene. Benita está parada junto a una puerta - CONTINUED:</scene_description>
<character>BENITA</character>
<dialogue>Ya te pasastes. ¿Qué? ¿De encargo ya se te olvida todo?</dialogue>
<scene_description>Cleo sonríe y camina de regreso. INT - CUARTO DE NIÑOS - HACIENDA -- DÍA Un galerón lleno de literas, rudimentario pero funcional. Hay varias maletas junto a las camas y sobre algunas también juguetes. Alineadas, a lo largo de todas las paredes, cabezas disecadas de perros. Cleo deja las maletas junto a una litera y ve las cabezas.</scene_description>
<character>BENITA</character>
<dialogue>El Señor José mandó a decorar el cuarto. Son los perros de la hacienda, mira… Estaban todos en la bodega…</dialogue>
<scene_description>Ven la cabeza de un pastor alemán con ojos de canica.</scene_description>
<character>BENITA</character>
<dialogue>Mira, éste es el Pirata. Vivió aquí en 1911.</dialogue>
<scene_description>Una pequeña placa lo confirma, también indica su nombre - Pirata. Cleo lo ve impresionada.</scene_description>
<character>CLEO</character>
<dialogue>Pirata…</dialogue>
<character>BENITA</character>
<dialogue>¿Te acuerdas de la Canela?</dialogue>
<character>CLEO</character>
<dialogue>Sí, tú. ¿Dónde anda?</dialogue>
<character>BENITA</character>
<dialogue>Mírala…</dialogue>
<scene_description>Cleo ve la cabeza de una setter irlandés.</scene_description>
<character>CLEO</character>
<dialogue>¡Ay, nanita!</dialogue>
<character>BENITA</character>
<dialogue>Se murió a mediados de año.</dialogue>
<scene_description>CONTINUED: Cleo mira con horror a la Canela -</scene_description>
<character>CLEO</character>
<dialogue>Dicen que seguro se comió una rata envenenada… Pero yo creo que fueron los del pueblo, que otra vez andan jodiendo a Don José por lo de los terrenos…</dialogue>
<scene_description>Canela los mira con sus ojos de canica. EXT - PEQUEÑO CLARO EN EL BOSQUE - HACIENDA -- DÍA La luz de la tarde invernal se filtra entre los árboles y se refleja en el gran charco que se extiende entre el claro y el bosque. Niños corren entre los árboles tirando cohetes, dos perros los siguen chapoteando en el charco. Los adultos tiran al blanco con pistolas calibre .22, a botellas acomodadas sobre troncos al otro lado del claro. Con excepción de las nanas y las sirvientas que cuidan a los niños más pequeños, todos son blancos y, con excepción de Sofía y sus hijos, visten con ropa importada. El ruido de los disparos se confunde con el tronido de los cohetes. Toño juega "tochito" con PEPE DE LA BÁRCENA de 13 años, EDUARDO LARSSON, un pelirrojo de 12, y RICKY EDWARDS de Cleo cuida a Pepe y acompaña a LUPE, de 30 años, y a YOLA de 22, que cuidan a JORGE DE LA BÁRCENA de 7 años, que sufre de retraso mental y parálisis parcial en una pierna y un brazo, y a su hermano MEMO de 5 años, que está dentro del espectro autista. Están sentados sobre un mantel en el suelo jugando con cochecitos "Matchbox". Un poco más atrás, GLORIA, de 34 años que trabaja de nana para los Edwards, está sentada sobre otro mantel que tiene una vajilla de fantasía que probablemente es más cara que una real, y cuida a Sofi que juega con JULY EDWARDS, de 7, VERO MATOS de 8 y ANDREA, una niña rubia de pelo casi blanco también de 8 años. Los acompaña GERARDO LARSSON, un pelirrojo rechonchito y amanerado de 10 años. CONTINUED: Paco, acompañado de RODRI DE LA BÁRCENA de 10 años, ALEX MATOS de 10 y ANDY EDWARDS de 8, aparecen de entre los árboles y les tiran cohetes a las niñas, que gritan. Algunas lloran.</scene_description>
<character>CLEO</character>
<dialogue>¡Y ya te vi, Paco…! ¡Lárguense de aquí!</dialogue>
<scene_description>Los niños escapan entre carcajadas y corren chapoteando por el charco.</scene_description>
<character>LUPE</character>
<dialogue>¡Rodri! ¡Que no corran en el agua! ¡Ya están todos empapados!</dialogue>
<scene_description>El DR. ALEJANDRO MATOS, de 40 años, con barba de candado, dispara mientras fuma de su pipa. Junto a él, RICARDO EDWARDS, simpaticón de 39 años, OVE LARSSON, un noruego inmenso, tímido y pelirrojo de 41, y LESLIE MATOS, una gringa rubia de 38, también disparan mientras el DR. JOSÉ DE LA BÁRCENA, de 41 años, espera su turno y CELSO, el capataz de la hacienda, de 35, recarga las pistolas.</scene_description>
<character>DR. JOSÉ DE LA BÁRCENA</character>
<dialogue>¿Todavía quedan balas, Celso, o mando a Lupe por las de la gaveta?</dialogue>
<character>CELSO</character>
<dialogue>Quedan, Don José.</dialogue>
<scene_description>A unos metros, Sofía, Claudia, Molly y Samantha están sentadas en sillas plegables, platicando. La Señora Sofía ve a los niños que corren entre los árboles. Se levanta y les grita -</scene_description>
<character>SEÑORA SOFÍA</character>
<dialogue>¡No corran para allá que les van a dar un tiro!</dialogue>
<scene_description>Molly la secunda con su fuerte acento -</scene_description>
<character>MOLLY</character>
<dialogue>¡Niños! ¡Váyanse más atrás!… Andy, get back!</dialogue>
<scene_description>FLOR, una sirvienta de la hacienda, de 17 años, sirve bebidas a los adultos, acomodada en una mesa con una hielera. CONTINUED: (2) LOLA, una niña de 12 años entrando a los 19, está maquillada, viste una minifalda cortísima y zapatos de plataforma. Aprovecha la distracción de los adultos para verter whisky en su Coca-Cola. Junto a ella, CLAU DE LA BÁRCENA, de 11 años, la ve divertida pero su curiosidad aún no rebasa su obediencia. EN EL MANTEL DE LOS NIÑOS - Pepe está aburrido ya que la interacción con Jorge y Memo es difícil, y mira hacia el círculo de tiro. Se levanta y camina hacia allá.</scene_description>
<character>CLEO</character>
<dialogue>Espérate, Pepe. ¿A dónde vas?</dialogue>
<scene_description>Pepe sólo señala y sigue caminando, Cleo lo sigue y llegan al- CÍRCULO DE TIRO - Donde el Dr. Alejandro Matos ha disparado sus ocho tiros y va con Celso para recargar la pistola. Llama a las mujeres en las sillas plegables -</scene_description>
<character>DR. ALEJANDRO MATOS</character>
<dialogue>¿Y qué? ¿Las damas no disparan?</dialogue>
<scene_description>Las mujeres niegan con las manos -</scene_description>
<character>MOLLY</character>
<dialogue>¡Leslie es nuestra representante!</dialogue>
<character>DR. ALEJANDRO MATOS</character>
<dialogue>Leslie no cuenta, es gringa.</dialogue>
<scene_description>Las mujeres ríen, Claudia se levanta -</scene_description>
<character>CLAUDIA</character>
<dialogue>¡Voy!</dialogue>
<character>SAMANTHA</character>
<dialogue>Yes, Claudia. You show them, girl!</dialogue>
<scene_description>Celso le entrega a Alejandro la pistola recién cargada mientras Leslie llega con la suya. Celso la toma y la recarga rápidamente. Pepe recoge los cartuchos tirados en el suelo, Cleo le ayuda. Ya cargada, Celso entrega la pistola a Alejandro quien se la da a Claudia - CONTINUED: (3)</scene_description>
<character>DR. ALEJANDRO MATOS</character>
<dialogue>Leslie, could you help Claudia?</dialogue>
<character>LESLIE</character>
<dialogue>Come. Point the gun to the floor when you're not using it.</dialogue>
<scene_description>Clau y Lola, "coca-cola" en mano, se pasean entre los adultos. Se cruzan con Leslie -</scene_description>
<character>LESLIE</character>
<dialogue>C'mon, Lola. You really have to wear a miniskirt and platform shoes? We're in the woods.</dialogue>
<scene_description>Lola sigue su camino ignorando a su madre.</scene_description>
<character>CLAUDIA</character>
<dialogue>Déjala. Te ves muy bonita, Lola.</dialogue>
<scene_description>Lola y Clau llegan al círculo de tiro y a la aceptación masculina.</scene_description>
<character>DR. JOSÉ DE LA BÁRCENA</character>
<dialogue>A ver, Lola. ¿Quieres tirar?</dialogue>
<character>LOLA</character>
<dialogue>Bueno.</dialogue>
<scene_description>Lola va con José, que le da su pistola mientras la abraza por detrás para "ayudarla" a disparar.</scene_description>
<character>DR. JOSÉ DE LA BÁRCENA</character>
<dialogue>No cierres los ojos cuando dispares…</dialogue>
<scene_description>Cleo ve a Alejandro que camina hacia la mesa de bebidas donde Flor atiende.</scene_description>
<character>DR. ALEJANDRO MATOS</character>
<dialogue>¿Me sirves un whisky con dos hielitos?</dialogue>
<scene_description>Flor prepara la bebida. EN EL CÍRCULO DE TIRO - Todos festejan que Claudia le ha atinado a dos botellas. Dispara otras cuatro veces seguidas reventando cuatro botellas más. Todos celebran - CONTINUED: (4)</scene_description>
<character>RICARDO EDWARDS</character>
<dialogue>¡Aguas, Pepe, que tu mujer salió guerrillera!</dialogue>
<scene_description>Todos ríen. EN LA MESA DE BEBIDAS - Flor le da el whisky a Alejandro, y él, aprovechando la distracción general, la nalguea. Flor se escabulle aterrorizada. Más botellas revientan. INT - SALÓN - HACIENDA -- NOCHE Docenas de lámparas de pie y de mesa iluminan una inmensa nave con una enorme chimenea que devora gruesos troncos. Frente a ella, una amplia sala con vastos sillones de cuero adornados con pieles. Los adultos conversan, unos sentados en los sillones, otros de pie, todos beben y muchos fuman. Pepe está en las piernas de Sofía, Gerardo está sentado junto a su madre. Yvonne Elliman flota por el aire cantando "I Don't Know How to Love You". Las niñas juegan cartas en una larga mesa frente al ventanal que da a una terraza. Afuera, los niños tiran cohetes y lanzan escupidores. Otros niños juegan "Triominos " en el piso, y en una salita Lola, con su trago en la mano, chismea con Clau. Cleo acompaña a Yola que cuida a Memo, que hace girar un plato obsesivamente sobre el piso, y a Jorge, que juega con un cochecito. Pepe, July Edwards y Andrea Larsson entran de la terraza gritando y riendo perseguidos por un extraño monstruo. Es un esparpajo con cuerpo de paja y pieles largas, una máscara de madera cure la cara. Pareciera un un espíritu pagano y corretea a los niños más pequeños, que huyen divertidos, con un vaso de cuba en la mano. Cleo ve a Flor entrar cargando una charola con demasiados vasos de leche y licuados. Se apresura a ayudarla - CONTINUED: Los vasos de leche bailan peligrosamente sobre la charola mientras Flor pierde el equilibrio, pero Cleo llega justo a tiempo para ayudarla. Juntas, caminan a la mesa y les sirven las bebidas a las niñas. El rasgar de una aguja sobre un disco y los metales de una orquesta irrumpen a ritmo de mambo y la canción cambia: "Corazón de Melón" con Pérez Prado. Samantha se levanta con un grito y comienza a bailar -</scene_description>
<character>SAMANTHA</character>
<dialogue>¡Ándale, comadre!</dialogue>
<scene_description>Sofía y Molly se levantan y bailan con ella, Ricardo Edwards con sueños de Ricky Ricardo se pasea vociferando -</scene_description>
<character>RICARDO EDWARDS</character>
<dialogue>¡Co-ra-zón de me-lón, de me-lón me- lón! ¡Corazón!…</dialogue>
<scene_description>Y se integra al baile. Alejandro lo sigue y baila con Sofía. Lola y Clau también se unen, Gerardo baila con su madre, Ove con July. Benita entra al salón y busca por el cuarto. Molly intenta que Vero y Andrea se vayan a acostar pero las niñas se niegan. Cleo y Flor miran divertidas, contagiadas por el mambo. Cleo ve a - Pepe, que se une al baile y va con su madre que no le hace caso, metida en el baile con Alejandro. Benita llega junto a Cleo.</scene_description>
<character>BENITA</character>
<dialogue>Ven tantito.</dialogue>
<scene_description>Cleo la ve confundida -</scene_description>
<character>CLEO</character>
<dialogue>¿A dónde?</dialogue>
<character>BENITA</character>
<dialogue>Tú ven tantito.</dialogue>
<scene_description>Cleo mira alrededor - CONTINUED: (2)</scene_description>
<character>CLEO</character>
<dialogue>Pero, ¿y…?</dialogue>
<character>BENITA</character>
<dialogue>¿Qué? ¿Te va a llorar un escuincle porque perdió en las cartas o porque lo pisó su hermano?</dialogue>
<scene_description>Cleo la ve, divertida, y la sigue. Cruzan el salón hacia la entrada.</scene_description>
<character>RICARDO EDWARDS</character>
<dialogue>¡Co-ra-zón de me-lón, de me-lón me- lón! ¡Corazón!…</dialogue>
<scene_description>EXT - CORREDOR - HACIENDA -- NOCHE Benita guía a Cleo, que la sigue divertida y curiosa por el corredor iluminado con velas. Dejan atrás el MAMBO y bajan - INT - ESCALERAS - PATIO INTERNO - HACIENDA -- NOCHE Las escaleras de piedra bajan a un patio interno que sirve también de bodega. Un par de hombres conversan iluminados por la luz que emana de la ventana de la cocina. Adentro, un bullicio alrededor de UN ACORDEÓN que exhala una polka ranchera. Tres perros se pasean por el patio en espera de algún regalo de Año Nuevo. Benita y Cleo entran a - INT - COCINA - HACIENDA -- NOCHE Un galerón de techos de bóveda iluminado por focos pelones anida una enorme y antigua cocina con estufas de leña, una enorme mesa, una estufa Mabe y dos refrigeradores de 1961. Los TRABAJADORES de la hacienda festejan el Año Nuevo. Benita guía a Cleo hacia la mesa. Mujeres sirven comida de grandes ollas de barro. Un hombre de 65 años toca el acordeón y un espontáneo improvisa una quebradita con Gloria, que está claramente borracha. Ve a Cleo - CONTINUED:</scene_description>
<character>GLORIA</character>
<dialogue>¿Qué? ¿Ya te dejaron salir al pan?</dialogue>
<scene_description>Cleo ríe. En la mesa todos beben, algunos comen, unos vestidos para la oca sión, muchos no. Una Televisión 1959 transmite un especial de Año Nuevo del canal 2.</scene_description>
<character>BENITA</character>
<dialogue>¿Qué te sirvo?</dialogue>
<character>CLEO</character>
<dialogue>No, nada. Gracias.</dialogue>
<character>BENITA</character>
<dialogue>¿Qué no vas a brindar el Año Nuevo con nosotros? ¿Ya hablas inglés, o qué?</dialogue>
<character>CLEO</character>
<dialogue>Es que… el bebé…</dialogue>
<character>BENITA</character>
<dialogue>Le va a hacer bien un traguito en Año Nuevo… Festeja ahora que puedes. ¿Ves a ese del sombrero?</dialogue>
<scene_description>Cleo ve a un hombre de sombrero que platica sombríamente con otros dos hombres -</scene_description>
<character>BENITA</character>
<dialogue>Le mataron a su hijo en agosto. Los del pueblo. Por un pleito de tierras.</dialogue>
<scene_description>Cleo lo ve impresionada.</scene_description>
<character>BENITA</character>
<dialogue>¿Tienes vida?</dialogue>
<character>CLEO</character>
<dialogue>Sí…</dialogue>
<character>BENITA</character>
<dialogue>¿Aguardiente, pues?</dialogue>
<scene_description>Benita sirve un jarrito de aguardiente.</scene_description>
<character>CLEO</character>
<dialogue>No. Mejor un pulquito.</dialogue>
<character>BENITA</character>
<dialogue>¡Eso!</dialogue>
<scene_description>() CONTINUED: (2) Sirve pulque en un jarro y se lo da a Cleo. Las dos brindan.</scene_description>
<character>BENITA</character>
<dialogue>Por un hermoso 1971 y la salud de tu bebé.</dialogue>
<character>CLEO Y BENITA</character>
<dialogue>¡Salud!</dialogue>
<scene_description>Benita se lleva el jarrito a la boca y Cleo acerca el pulque a la suya cuando Gloria, bailando su quebradita, tropieza y choca con Cleo. El jarro de pulque cae al suelo antes de tocar sus labios y revienta en cien pedazos.</scene_description>
<character>GLORIA</character>
<dialogue>¡Perdóname, manita!</dialogue>
<character>BENITA</character>
<dialogue>¡Ta güeno! ¡Tú baila que tenemos harto!</dialogue>
<scene_description>Y sirve pulque en un nuevo jarro. Gloria sigue bailando. Cleo recibe el otro pulque pero mira preocupada el Jarro hecho añicos en el suelo. INT - PATIO INTERNO - ESCALERAS - HACIENDA -- NOCHE Cleo sale de la cocina, está un poco ebria. El patio está vacío excepto los perros que la siguen hasta que Cleo sube las escaleras al - EXT - CORREDOR - HACIENDA -- NOCHE Cleo camina por el corredor iluminado de velas de regreso al salón donde el EP toca "Mummy Blues". Ve una silueta que descansa recargada en el barandal, es la Señora Sofía. Alejandro Matos sale del salón y se acerca a Sofía por detrás y la abraza. Sofía reacciona volteando sorprendida -</scene_description>
<character>SEÑORA SOFÍA</character>
<dialogue>¡¿Qué haces?!</dialogue>
<scene_description>Alejandro intenta besarla pero ella lo rechaza.</scene_description>
<character>DR. ALEJANDRO MATOS</character>
<dialogue>No te hagas… Tú también quieres…</dialogue>
<scene_description>CONTINUED: Sofía lucha por zafarse.</scene_description>
<character>SEÑORA SOFÍA</character>
<dialogue>¡No! ¡Déjame, Alex! ¡Estás borracho!</dialogue>
<scene_description>Lo empuja. Alejandro levanta las manos, resentido y resignado -</scene_description>
<character>DR. ALEJANDRO MATOS</character>
<dialogue>Está bien. ¡Está bien! Nomás quería consolarte… Pero pus…</dialogue>
<scene_description>Y comienza a caminar de regreso al salón.</scene_description>
<character>DR. ALEJANDRO MATOS</character>
<dialogue>Estarás tan buena, comadre…</dialogue>
<scene_description>La Señora Sofía se recarga contra el barandal, confundida y agitada. Voltea hacia Cleo que se esconde tras una columna. La Señora Sofía camina de regreso al salón, Cleo espera a que se aleje y sale de su escondite, se recarga en el barandal y mira hacia la noche. Cuando sus ojos se acostumbran a la penumbra puede ver la negra silueta de los árboles frente a un cielo que pareciera estar iluminado. El cantar de los grillos se funde con "Mummy Blues", que termina con un rayón de disco, y el acordeón, que pareciera tocar una mazurca. El viento sopla suavemente. Entre la oscuridad del bosque un pálido resplandor aparece, pareciera fundirse con la noche. Cleo lo ve fascinada. "Venus" con The Shocking Blue comienza a sonar. Los perros se sueltan a ladrar. El resplandor se empieza a expandir en un cálido pulsar, atractivo, como un fuego fatuo o una aparición. Y Cleo lo ve hipnotizada, pero lo que era un suave fulgor comienza a perforar la noche con un intenso brillo que danza entre los árboles. Los ladridos son más insistentes. Un grito -</scene_description>
<character>GRITO</character>
<dialogue>¡Fuego! ¡Fuego! ¡En el bosque!</dialogue>
<scene_description>CONTINUED: (2) Un barullo. Más gritos. Más ladridos. En el jardín, Celso pasa cargando una cubeta, otros peones lo siguen, todos con cubetas y bandejas que desbordan agua. Corren hacia el bosque en llamas. EXT - PEQUEÑO CLARO EN EL BOSQUE - HACIENDA -- NOCHE El enorme charco refleja llamas que bailan sobre las piedras en el suelo. El fuego se trepa a los árboles y se extiende por las ramas. Las llamas avanzan devorando los pastos del claro, el lugar donde esa tarde disparaban. Celso corre hasta el fuego y le vacía su cubeta, los peones hacen lo mismo. Regresan por más agua y se cruzan con más peones que llegan cargando diversos recipientes. El Dr. José llega cargando dos cubetas, seguido de Ricardo Edwards que carga una, más atrás el Dr. Alejandro Matos y Leslie cargan una pesada palangana. Gloria, Flor, Yola y Cleo llegan con sus recipientes, también llegan niños. Todos corren, vienen y van, los perros se mantienen a distancia. Una cadena humana se comienza a formar y todos se pasan las cubetas de mano en mano, intentando sofocar el fuego. Llega el monstruo pagano con su trago en mano. Ve su reloj -</scene_description>
<character>OVE (EN INGLÉS)</character>
<dialogue>23… 22… 21… 20… 19… 18… 17…</dialogue>
<scene_description>El monstruo se quita la máscara descubriendo a Ove, sudado y briago -</scene_description>
<character>OVE</character>
<dialogue>16… 15… 14… 13… 12… 11… 10…</dialogue>
<scene_description>La cadena humana comienza a funcionar con eficiencia. Pepe apaga unos pastos vaciando su tasita.</scene_description>
<character>OVE</character>
<dialogue>… 7… 6… 5… 4… 3… 2… 1…</dialogue>
<dialogue>Happy New Year!</dialogue>
<scene_description>Pero nadie hace caso, todos trabajan tratando de controlar el fuego. CONTINUED:</scene_description>
<character>OVE</character>
<dialogue>Happy New Year!…</dialogue>
<scene_description>Ove comienza a cantar en noruego. Es una emotiva canción de Nyttarbukk.</scene_description>
<character>OVE</character>
<dialogue>Pkfmsll apdkfn alosnnm…</dialogue>
<scene_description>Los niños van al charco a llenar sus pequeños recipientes y los perros los siguen, chapoteando. El reflejo se desarticula en ondas que chocan entre sí.</scene_description>
<character>OVE</character>
<dialogue>Pkfmsll apdkfn alosnnm…</dialogue>
<scene_description>Ove canta con convicción, sus ojos se llenan de lágrimas. 1 de enero de 1971, viernes. EXT - PEQUEÑO CLARO EN EL BOSQUE -- ALBA El rocío brilla sobre el bosque que está negro y todavía humea. Los primeros rayos del sol del nuevo año se filtran entre los árboles. En mitad del claro descansan cuatro sillas plegables, quemadas. EXT - MILPA - HACIENDA -- TARDE El Iztaccíhuatl duerme inmenso tras los cerros y los sembradíos polvorientos. La luz de la tarde se filtra por las nubes cargadas de lluvia. Un grupo de niños que corren y exploran. Toño, Pepe de la Bárcena, Ricky, Paco, Rodri, Alex y Eduardo van al frente y se lanzan pases de americano. Paco, Rodri y Alex cazan camaleones entre los surcos. Lola y Clau caminan cerca de ellos. Vero, Sofi, Gerardo Andrea y July van más atrás. Pepe y Andy van con Yola. Cleo camina con Benita. Los perros corren por doquier. Alex corre tras un camaleón, Rodri y Paco lo siguen.</scene_description>
<character>BENITA</character>
<dialogue>¡No corran muy lejos! ¡Nomás llegamos a la falda y regresamos!</dialogue>
<scene_description>CONTINUED: Paco se detiene -</scene_description>
<character>PACO</character>
<dialogue>¿Qué falda?</dialogue>
<character>BENITA</character>
<dialogue>La del cerro.</dialogue>
<scene_description>Paco ríe -</scene_description>
<character>PACO</character>
<dialogue>¿El cerro tiene falda?</dialogue>
<character>BENITA</character>
<dialogue>La falda… ¡La base, pues!</dialogue>
<character>PACO</character>
<dialogue>¡Alex! ¡El cerro tiene falda!</dialogue>
<scene_description>Alex se detiene.</scene_description>
<character>PACO</character>
<dialogue>Si nos agachamos podemos verle los calzones.</dialogue>
<scene_description>Paco hace como que se agacha y Alex lo imita. Lola y Clau llegan a ellos -</scene_description>
<character>CLAUDIA</character>
<dialogue>¡¿Qué hacen?!</dialogue>
<character>PACO</character>
<dialogue>Viéndole los calzones al cerro.</dialogue>
<character>LOLA</character>
<dialogue>Los cerros no tienen calzones.</dialogue>
<scene_description>Paco se agacha abajo de ella y le levanta la minifalda.</scene_description>
<character>PACO</character>
<dialogue>¡Tú tampoco!</dialogue>
<scene_description>Lola grita y se acomoda la falda -</scene_description>
<character>LOLA</character>
<dialogue>¡Pendejo!</dialogue>
<character>PACO</character>
<dialogue>¡Uuuuyyy!</dialogue>
<scene_description>Alex le levanta el vestido a Clau, que grita. CONTINUED: (2)</scene_description>
<character>GLORIA</character>
<dialogue>¡Alex! ¡Paco! ¡Dejen a la niñas en paz!</dialogue>
<scene_description>Los niños corren divertidos. Cleo y Benita se detienen. Una ráfaga de viento pasa creando remolinos de polvo, un trueno retumba suave y lluvia cae a la distancia. Cleo ve el paisaje, ensoñada. Sus manos descansan sobre su vientre -</scene_description>
<character>CLEO</character>
<dialogue>Así es mi pueblo. Sin la montaña, claro está. Pero así se parece…</dialogue>
<scene_description>Disfruta el momento mientras se acaricia la panza. Cierra los ojos -</scene_description>
<character>CLEO</character>
<dialogue>Así se suena…</dialogue>
<scene_description>Las campanadas de una iglesia y el balido de unas cabras se pierden en la distancia.</scene_description>
<character>CLEO</character>
<dialogue>Igualito…</dialogue>
<scene_description>Respira. Respira hondo. Sonríe -</scene_description>
<character>CLEO</character>
<dialogue>Así huele…</dialogue>
<scene_description>Cleo está en otra parte. 29 de enero de 1971, viernes EXT - TEPEJI 21 -- DÍA - (LLUVIA) El Valiant se estaciona frente a la casa, junto al Galaxie 500. El Valiant se desborda de niños. Sale uno de más, un amigo de Toño; BETO PARDO, de 12 años, con anteojos y pinta de niño bueno, ha venido a comer. Paco le muestra el Galaxie negro que tiene sus molduras y rayones recién reparados - CONTINUED:</scene_description>
<character>PACO</character>
<dialogue>Mira, lo repararon todo. Quedó como nuevo, ¿verdad?</dialogue>
<scene_description>Beto apenas lo ve. Sigue su camino y entra a la casa tras Toño. INT - ANTECOMEDOR - TEPEJI 21 -- DÍA Cleo, con una panza que comienza a notarse, le corta la carne a Pepe. La Señora Teresa come en silencio. Los niños platican mientras comen-</scene_description>
<character>TOÑO</character>
<dialogue>Los Vaqueros ganaron sólo porque Baltimore se confió.</dialogue>
<character>BETO</character>
<dialogue>¿Cuál? Si metimos tres touchdowns en la segunda mitad. Se-gui-di- tos.</dialogue>
<scene_description>La Señora Sofía baja las escaleras y va al antecomedor.</scene_description>
<character>TOÑO</character>
<dialogue>Te digo. Baltimore se confió. ¿Cómo le puedes ir a los Vaqueros?</dialogue>
<character>SOFI</character>
<dialogue>A mí me gustan las porristas de los Vaqueros. En mi escuela…</dialogue>
<character>PACO</character>
<dialogue>¿A quién le importan las porristas?</dialogue>
<scene_description>La Señora Sofía llega al comedor, está demacrada. La Señora Teresa la mira, preocupada.</scene_description>
<character>TOÑO</character>
<dialogue>¿Ma? ¿Podemos ir Beto y yo al cine?</dialogue>
<scene_description>La Señora Sofía está ausente -</scene_description>
<character>SEÑORA SOFÍA</character>
<dialogue>¿Qué van a ver?</dialogue>
<character>TOÑO</character>
<dialogue>La tienda roja, en Las Américas.</dialogue>
<scene_description>CONTINUED:</scene_description>
<character>PACO</character>
<dialogue>¡Yo también quiero ir!</dialogue>
<character>TOÑO</character>
<dialogue>¡No! ¡Sólo Beto y yo!</dialogue>
<character>PACO</character>
<dialogue>¿Y por qué?</dialogue>
<character>TOÑO</character>
<dialogue>¡Tú invita a tus propios amigos!</dialogue>
<character>SOFI</character>
<dialogue>Yo también quiero ir al cine.</dialogue>
<character>TOÑO</character>
<dialogue>¡Que no! ¡Que sólo vamos Toño y yo!</dialogue>
<scene_description>La Señora Sofía explota -</scene_description>
<character>SEÑORA SOFÍA</character>
<dialogue>¡O van todos o no va nadie!</dialogue>
<character>TOÑO</character>
<dialogue>¡Ellos pueden ir a otro cine!</dialogue>
<character>PACO</character>
<dialogue>¡Yo quiero ir al Las Américas!</dialogue>
<character>TOÑO</character>
<dialogue>¡Ni sabes qué es La tienda roja!</dialogue>
<character>SEÑORA SOFÍA</character>
<dialogue>¡Ya dije! ¡O van todos o no va ninguno!</dialogue>
<scene_description>El teléfono suena, la Señora Sofía se levanta y camina hacia el hall a contestar.</scene_description>
<character>TOÑO</character>
<dialogue>¡No es justo!</dialogue>
<scene_description>La Señora Sofía regresa -</scene_description>
<character>SEÑORA SOFÍA</character>
<dialogue>¡Si no te gusta, te puedes ir a vivir a otra parte!</dialogue>
<scene_description>Y se va a contestar el teléfono dejando a Toño fúrico. Paco le sonríe impertinente. CONTINUED: (2)</scene_description>
<character>PEPE</character>
<dialogue>¿Es de caricaturas?</dialogue>
<scene_description>La Señora Sofía contesta -</scene_description>
<character>SEÑORA SOFÍA</character>
<dialogue>¿Bueno?… ¡Ay, sí, 'pérame tantito!…</dialogue>
<scene_description>Grita hacia el antecomedor -</scene_description>
<character>SEÑORA SOFÍA</character>
<dialogue>¡Cleo! ¡Voy arriba a contestar, ahí cuélgale!</dialogue>
<scene_description>Y sube las escaleras. Cleo camina hacia el teléfono, se escucha un grito de la Señora Sofía -</scene_description>
<character>SEÑORA SOFÍA (O.S.)</character>
<dialogue>¡Ya!…</dialogue>
<scene_description>Cleo toma el auricular y va a colgar, alcanza a escuchar -</scene_description>
<character>MOLLY (V.O.)</character>
<dialogue>¿Cómo sigues, comadre?…</dialogue>
<scene_description>Cleo cuelga. INT - HALL DE ABAJO - TEPEJI 21 -- TARDE Se preparan para ir al cine, la Señora Teresa también va, tanto por preocupona como por cinera. Grita hacia la planta alta -</scene_description>
<character>SEÑORA TERESA</character>
<dialogue>¡Vamos tarde! ¡¿Van a bajar o no?!</dialogue>
<scene_description>Paco y Sofi ya están junto a ella.</scene_description>
<character>PACO</character>
<dialogue>Que se queden, ya vámonos…</dialogue>
<character>SEÑORA TERESA</character>
<dialogue>¡Ya nos vamos!</dialogue>
<scene_description>La Señora Teresa sale al patio acompañada de Cleo, Paco, Sofi y Pepe. EXT - PATIO - TEPEJI 21 -- TARDE. El grupo llega a la puerta de la calle y la Señora Teresa la abre. El Borras aprovecha y se escapa a pesar de los intentos de Cleo y Paco por detenerlo. Paco sale corriendo - EXT - TEPEJI 21 -- TARDE Y persigue al perro y lo alcanza, lo arrastra de regreso a la casa, donde el grupo espera afuera de la puerta. Paco mete al perro y va a cerrar la puerta cuando Toño y Beto salen.</scene_description>
<character>TOÑO</character>
<dialogue>¿Qué esperan?</dialogue>
<scene_description>Y se descuelgan caminando hacia la esquina en dirección a Insurgentes. Todos los siguen. EXT - CALLE DE TEPIC -- TARDE Toño y Beto en la vanguardia. Más atrás, Cleo y la señora Teresa cuidan a Sofi y a Pepe, que viene discutiendo de aviones con Paco.</scene_description>
<character>PACO</character>
<dialogue>…el Braniff puede ser de distintos colores pero son casi todos 727…</dialogue>
<scene_description>Van sobre Tepic ya cerca de Insurgentes cuando Toño y Beto, en estrategia bien planeada, se descuelgan -</scene_description>
<character>TOÑO</character>
<dialogue>¡Nos vemos en el cine!</dialogue>
<scene_description>Y el par se aleja corriendo.</scene_description>
<character>SEÑORA TERESA</character>
<dialogue>¡Toño!</dialogue>
<scene_description>La señora Teresa le pide a Cleo que los siga. Cleo emprende su misión acelerando el paso sin perder de vista a Toño y Beto, figuritas pícaras que ya van a media cuadra de distancia. Tocan timbres y corren escapando. Cleo acorta la distancia a cada paso hasta que llega cerca, pero no tan cerca, y así los sigue. CONTINUED: Los niños se arrancan al acercarse a Insurgentes, y al llegar a la avenida dan la vuelta, desapareciendo tras la esquina. Cleo se apresura y al llegar a la esquina da la vuelta a - EXT - AV INSURGENTES - CINE LAS AMÉRICAS -- OCASO Cleo llega a la avenida que rebosa de la energía de un viernes que anochece. Gente camina en todas direcciones y las luces de la calle, los coches, las vitrinas y los letreros ya están encendidas. Ve a la gente que cruza al otro lado de la avenida, donde el Cine Las Américas anuncia Melody, pero no encuentra a los niños. Se preocupa y camina por Insurgentes, hacia la otra esquina, buscando. Casi llega al puesto de periódicos en la otra esquina cuando voltea buscando hacia - EL OTRO LADO DE INSURGENTES - Y es ahí, entre la gente que sale del cine y se esparce por la acera, que ve al Señor Antonio. Va sonriente y muy ligero, dando un paso de baile torpe y extasiado para las risas y delicias de la JOVEN MUJER que va tomada de su mano. Y es ahí, también, donde por fin encuentra a Beto, escondido a un costado del quiosco de periódicos, perdido en las páginas de una Caballero. Y más allá a Toño, también revista en mano, pero su vista no está en las mujeres desnudas de sus páginas, está al otro lado de la calle, donde la gente sale del cine y su padre juega a ser Fred Astaire con una Ginger Rogers que no es su madre. El Señor Antonio tropieza en su torpe baile con una PAREJA MAYOR que se molesta. El Señor Antonio y la joven mujer se ríen y se arrancan escapando.</scene_description>
<character>PAREJA MAYOR</character>
<dialogue>¡Majaderos…!</dialogue>
<scene_description>El Señor Antonio se detiene y voltea solamente para acribillar a la pareja mayor con una ametralladora hecha de dedos y escapa con la joven mujer con la que aspira a ser Bonnie & Clyde. 24 de marzo de 1971, miércoles</scene_description>
</scene>
<scene>
<stage_direction>INT/EXT - AUTOBÚS PÚBLICO - CALZ. IGNACIO ZARAGOZA --</stage_direction>
<scene_description>DÍA Cleo viaja en un autobús que va repleto de gente. EXT - AVENIDA DE TERRACERÍA - CIUDAD NEZAHUALCÓYOTL -- DÍA Cleo baja del autobús, su panza de seis meses es obvia. El contraste con la Colonia Roma es evidente - La calle de terracería está flanqueada por grandes torres eléctricas y salpicada de baches donde se estanca el agua turbia. Las viviendas son de tabicón, cartón corrugado y lámina de asbesto, hay mucha basura y plásticos. Cleo le enseña un papel a un TRANSEÚNTE que le señala una calle que desemboca a la avenida. Cleo camina hacia la calle. EXT - CALLE - CASA - CIUDAD NEZAHUALCÓYOTL -- DÍA Cleo camina por la calle. Se respira la miseria, hay niños y perros callejeros por doquier y un riachuelo de aguas negras que corre a lo largo de la calle. Distinta música brota de cada casa. Tres perros le cierran el paso y le ladran. Cleo se agacha simulando recoger una piedra y los perros se alejan. Llega a una casa y checa la dirección en su papel, se acerca a la puerta y toca. Perros impertinentes responden a los toquidos en la distancia. Más cerca - Un gallo cacarea en una jaula de alambre junto a la entrada. Cleo espera. Vuelve a tocar cuando la puerta se abre. Es Ramón.</scene_description>
</scene>
<scene>
<stage_direction>INT/EXT - DATSUN - AV OCEANÍA -- DÍA</stage_direction>
<scene_description>Cleo va sola en el asiento de atrás. Adelante, Ramón va en el asiento del pasajero. Maneja su amigo CANCHAS, que viene fumando mariguana. Le pasa el churro a Ramón que le da un jalón y se lo pasa a Cleo, que lo rechaza. EXT - ESTACIONAMIENTO - LLANO - SAN JUAN DE ARAGÓN Y CUCHILLA DEL TESORO -- DÍA El Datsun se estaciona junto a unos puestos de fritangas. Cleo sale del coche, Ramón también, señala hacia unas canchas que colindan con la pista 5 del aeropuerto -</scene_description>
<character>RAMON</character>
<dialogue>Ahí entrenan en las canchas. Ni se te ocurra decirle que yo te traje.</dialogue>
<character>CLEO</character>
<dialogue>No, no, no, Ramón. Cómo crees. Muchas gracias.</dialogue>
<scene_description>Ramón se mete al coche y cierra la puerta. El Datsun arranca y se aleja por donde llegó. Cleo camina hacia las canchas polvorientas. EXT - CANCHAS - LLANO - SAN JUAN DE ARAGÓN Y CUCHILLA DEL 106\* TESORO -- DÍA \* A LA ORILLA DE LA CANCHA - Un centenar de hombres jóvenes, uniformados de tenis y camiseta, están formados en posición de descanso, supervisados por tres instructores con aire marcial, de pants y sudadera. Ven con atención a un hombre, en pants deportivos y camiseta sin mangas, que hace una demostración de ejercicios. Cleo llega a donde una pequeña multitud se ha juntado a la orilla de la cancha a ver la demostración - El hombre hace lagartijas sosteniéndose solamente con los dedos índice. Una joven que está parada junto a Cleo le dice con admiración - CONTINUED:</scene_description>
<character>JOVEN</character>
<dialogue>Es Zovek.</dialogue>
<character>CLEO</character>
<parenthetical>(incrédula)</parenthetical>
<dialogue>¡No…! ¿Zovek?</dialogue>
<character>JOVEN</character>
<dialogue>Íralo…</dialogue>
<character>CLEO</character>
<dialogue>¡¿El Profesor Zovek?!</dialogue>
<character>JOVEN</character>
<dialogue>¡Lleva más de cien lagartijas!</dialogue>
<character>CLEO</character>
<dialogue>¿Y qué? ¿Siempre viene?</dialogue>
<character>JOVEN</character>
<dialogue>No, de a siempre no, pero a veces viene y los entrena.</dialogue>
<scene_description>El PROFESOR ZOVEK cuenta hasta 150, se impulsa fuerte con los dedos índice y de un ágil movimiento se pone de pie y cruza las muñecas arriba de la cabeza. Los muchachos aplauden. Zobek extiende los brazos -</scene_description>
<character>PROFESOR ZOVEK</character>
<dialogue>Bienvenidos. Que la Energía acoja a todos los Kombatekas reunidos esta tarde.</dialogue>
<scene_description>Y señala a distintos Halcones a lo largo y ancho de su formación -</scene_description>
<character>PROFESOR ZOVEK</character>
<dialogue>¡Tú!… ¡Tú!… ¡Y tú también!</dialogue>
<scene_description>Los Halcones se sienten aludidos.</scene_description>
<character>PROFESOR ZOVEK</character>
<dialogue>Tú también puedes serlo. Todo ser humano posee un gran potencial que debe ser desarrollando a través del acondicionamiento físico, si. Pero más importante aún mediante una evolución mental y espiritual.</dialogue>
<scene_description>Zovek camina entre ellos. CONTINUED: (2)</scene_description>
<character>PROFESOR ZOVEK</character>
<dialogue>Tú también puedes desarrollar tu potencial. Pero no esperes milagros, el único milagro radica en tu propia voluntad.</dialogue>
<scene_description>Zovek se detiene -</scene_description>
<character>PROFESOR ZOVEK</character>
<dialogue>Por eso el desarrollo mental es el verdadero motor del desarrollo físico.</dialogue>
<scene_description>Extiende sus brazos, apropiándose del público -</scene_description>
<character>PROFESOR ZOVEK</character>
<dialogue>A continuación… ¡Un acto!</dialogue>
<scene_description>De una mano deja colgar un trozo de venda que se extiende y se mece con la brisa polvorienta - A LA ORILLA DE LA CANCHA - Cleo y el pequeño público exclaman sorprendidos -</scene_description>
<character>PEQUEÑO PUBLICO</character>
<dialogue>¡Oooooh!</dialogue>
<scene_description>Zovek exclama -</scene_description>
<character>PROFESOR ZOVEK</character>
<dialogue>¡Ésta es una rutina que requiere una condición física absoluta! un control mental absoluto! ¡Solamente Lamas, los grandes Maestros en Artes Aarciales y algunos grandes atletas la pueden dominar!</dialogue>
<scene_description>El Profesor Zovek extiende la venda hacia un MUCHACHO al frente de las filas -</scene_description>
<character>PROFESOR ZOVEK</character>
<dialogue>Sí… Tú… Por favor véndame los ojos.</dialogue>
<scene_description>El muchacho, tímido, camina hasta el Profesor Zovek y toma la venda, comienza a vendarle ojos -</scene_description>
<character>PROFESOR ZOVEK</character>
<dialogue>Asegúrate de que queden bien cubiertos. Tienes suficiente venda.</dialogue>
<scene_description>CONTINUED: (3) El muchacho le ha cubierto los ojos completamente al Profesor Zovek -</scene_description>
<character>PROFESOR ZOVEK</character>
<dialogue>Muchas gracias, puedes volver a tu sitio.</dialogue>
<scene_description>El muchacho regresa a su fila.</scene_description>
<character>PROFESOR ZOVEK</character>
<dialogue>¡Y ahora…!</dialogue>
<scene_description>El Profesor Zovek flexiona sus bíceps y hace, encima de su cabeza, la figura de un rombo juntando los dedos de las dos manos. Inhala profundamente y -</scene_description>
<character>PROFESOR ZOVEK</character>
<parenthetical>(exhalando)</parenthetical>
<dialogue>¡Huuuuuhh!</dialogue>
<scene_description>Y queda en silencio. Los muchachos miran expectantes. A LA ORILLA DE LA CANCHA - Cleo y el pequeño público miran asombrados. El Profesor Zovek está de pie, inmóvil, con su rombo sobre la cabeza y lentamente, muy lentamente, comienza a levantar su pie izquierdo. Se ha detenido el tiempo. El pie izquierdo se eleva doblando la rodilla hasta que el muslo queda en un ángulo de 45 grados y en esa posición se queda inmóvil. Los jóvenes esperan confundidos a que Algo suceda. A LA ORILLA DE LA CANCHA - Cleo y el pequeño público también esperan, un niño se sienta en cuclillas. El Profesor Zovek continúa inmóvil -</scene_description>
<character>PROFESOR ZOVEK</character>
<dialogue>¿Están decepcionados? ¿Esperaban el levantamiento de un jet o un elefante?</dialogue>
<scene_description>El público ríe. CONTINUED: (4)</scene_description>
<character>PROFESOR ZOVEK</character>
<dialogue>¡Pero si están siendo testigos de una proeza! ¿No me creen? Inténtenlo.</dialogue>
<scene_description>El Profesor Zovek habla, pero continúa sin moverse -</scene_description>
<character>PROFESOR ZOVEK</character>
<dialogue>Tan sólo cierren los ojos y levanten un pie. No tienen que levantar la pierna en 45 grados como yo ni subir los brazos. Tan sólo cierren los ojos y levanten un pie.</dialogue>
<scene_description>EN LAS FILAS - Los jóvenes cierran los ojos e intentan levantar un solo pie. Muy pronto pierden el equilibrio. Los instructores también lo intentan, sin ningún éxito. A LA ORILLA DE LA CANCHA - Cleo y el pequeño público también lo intentan, algún niño dura un poco más pero todos fracasan. El Profesor Zovek explica -</scene_description>
<character>PROFESOR ZOVEK</character>
<dialogue>La verdadera preparación mental es el camino a una realización física.</dialogue>
<scene_description>El pequeño público comienza a darse cuenta de que - Cleo está parada en un solo pie, formando un rombo con los dedos sobre su cabeza. Los ojos cerrados y la cara plácida. EXT - CANCHAS - LLANO -- MÁS TARDE Un entrenador toca el silbato y la formación se rompe. Los jóvenes recogen sus pertenencias a la orilla de la cancha y continúan su camino al estacionamiento. Cleo los ve pasar, y en un pequeño grupo encuentra a - Fermín, que camina platicando animado. CONTINUED: Cleo quiere llamarlo pero el nerviosismo se lo impide. Fermín y su grupo la pasan de largo. Cleo por fin lo llama -</scene_description>
<character>CLEO</character>
<dialogue>¡Fermín!</dialogue>
<scene_description>Quizá un poco demasiado fuerte. Fermín voltea y al verla se detiene, otros en su grupo se paran con él. Cleo y Fermín se miran.</scene_description>
<character>FERMÍN</character>
<dialogue>¿Qué pasó, mi Cleo?</dialogue>
<character>CLEO</character>
<dialogue>¿Puedes hablar tantito?</dialogue>
<scene_description>El grupo alrededor de Fermín le hace burla -</scene_description>
<character>GRUPO</character>
<dialogue>¡Uuuuuhuuuuuuu!</dialogue>
<scene_description>Fermín sonríe y comienza a caminar hacia Cleo mientras con un ademán despide a su grupo. Cleo y Fermín caminan el uno hacia el otro en el llano que se vacía. AL FONDO - Un Boeing 727 de Eastern Airlines despega y vuela sobre la pareja que se acerca en medio del llano.</scene_description>
<character>FERMÍN</character>
<dialogue>¿Qué milagro, mi Cleo?</dialogue>
<character>CLEO</character>
<dialogue>Hola Fermín…</dialogue>
<scene_description>Se encuentran y se saludan de beso.</scene_description>
<character>FERMÍN</character>
<dialogue>¿Qué haces por estos rumbos?</dialogue>
<character>CLEO</character>
<dialogue>Esque… como te he dejado recados y buscado, pero no has dado razón…</dialogue>
<scene_description>Fermín comienza a caminar hacia el estacionamiento - CONTINUED: (2)</scene_description>
<character>FERMÍN</character>
<dialogue>Perdón, mi Cleo, pero es que se puso intenso el entrenamiento y hasta trajeron a un instructor gringo y otro coreano. Bueno, el gringo ya había venido, pero el coreano es nuevo.</dialogue>
<character>CLEO</character>
<dialogue>¿Es para las Olimpiadas?</dialogue>
<character>FERMÍN</character>
<dialogue>Algo así. ¿Quién te dijo que estaba aquí?</dialogue>
<scene_description>Cleo titubea -</scene_description>
<character>CLEO</character>
<dialogue>Esque… el cuñado de una vecina entrena contigo y…</dialogue>
<character>FERMÍN</character>
<parenthetical>(interrumpe)</parenthetical>
<dialogue>Fue Ramón, ¿verdad?</dialogue>
<character>CLEO</character>
<dialogue>¡No, no, no…!</dialogue>
<scene_description>Fermín se detiene -</scene_description>
<character>FERMÍN</character>
<dialogue>¡Hijodela…!¡Pinche Ramón! Le voy a dar su calentadita cuando lo vea -</dialogue>
<scene_description>Hace la finta de unos impresionantes movimientos de aikido -</scene_description>
<character>FERMÍN</character>
<dialogue>¡Jodan Tsuki!… ¡Chudan Tsuki!… ¡Mae Geri!…</dialogue>
<scene_description>Golpes relámpago, patadas precisas y contacto cuerpo a cuerpo contra el aire.</scene_description>
<character>CLEO</character>
<dialogue>Esque… Ando con encargo…</dialogue>
<scene_description>Fermín se detiene en medio golpe. Sigue su camino al estacionamiento.</scene_description>
<character>FERMÍN</character>
<dialogue>¿Y a mí…?</dialogue>
<scene_description>CONTINUED: (3) Cleo lo sigue -</scene_description>
<character>CLEO</character>
<dialogue>Es que es tuya la criaturita…</dialogue>
<scene_description>Fermín acelera su paso -</scene_description>
<character>FERMÍN</character>
<dialogue>¡Ni madres!</dialogue>
<character>CLEO</character>
<dialogue>¡Es que sí es, Fermín!</dialogue>
<scene_description>Fermín se detiene en seco y se voltea y enfrenta a Cleo -</scene_description>
<character>FERMÍN</character>
<dialogue>¡Ya te dije que ni madres! ¡Así que si no quieres que te parta toda tu puta madre, a ti y a tu pinche criaturita, no vuelvas a decirlo y no me vuelvas a buscar!</dialogue>
<scene_description>Hace unos movimientos de aikido que culminan en un golpe mortal a Cleo que se detiene a medio centímetro de su cara, y se aleja caminando.</scene_description>
<character>FERMÍN</character>
<dialogue>¡Pinche gata!</dialogue>
<scene_description>Dejando a Cleo sola en el llano vacío. 14 de mayo de 1971, viernes EXT - PATIO PEQUEÑO - TEPEJI 21 -- DÍA El Borras ladra enloquecido, Cleo lo sostiene del collar pero pareciera estar en otra parte, ensimismada en su tristeza. Su panza de casi ocho meses ya es muy grande. El anciano de las naranjas coloca tres naranjas más en un huacal en el piso que ya está casi lleno.</scene_description>
<character>ANCIANO DE LAS NARANJAS</character>
<dialogue>…20.</dialogue>
<scene_description>El anciano se levanta y Adela le paga con un arrugado billete de 20 pesos. Más atrás, Cleo agarra al Borras que a cada ladrido intenta lanzarse sobre el anciano. CONTINUED: El anciano carga lentamente el inmenso saco de naranjas y lo coloca sobre su joroba. Comienza a caminar hacia - EXT - PATIO - TEPEJI 21 -- DÍA Donde Cleo sostiene al Borras, que intenta impulsarse con las patas traseras para atacar al anciano que pasa frente a ellos hacia la puerta de la calle. El anciano va a medio patio cuando el Borras da un jalón que toma por sorpresa a la ensimismada Cleo, quien lo suelta. El Borras se arranca tras el anciano, que al sentir al perro acelera hacia la puerta. El Borras lo persigue.</scene_description>
<character>CLEO</character>
<dialogue>¡Borras!</dialogue>
<scene_description>El Borras se lanza contra el anciano e hinca sus colmillos en el enorme saco, que se rasga. Docenas de naranjas se desprenden del saco y ruedan por todo el patio. El anciano suelta el bulto y corre hacia la puerta aprovechando que el perro intenta rematar el saco. Cleo corre hacia el Borras por el piso alfombrado de naranjas. El anciano casi llega a la puerta cuando el perro cae en cuenta y corre tras él. El anciano llega a la puerta y la abre. El Borras está a punto de encajarle los colmillos cuando el anciano sale y cierra. El Borras ya no puede frenar y se estrella contra la puerta. Cleo está de pie a mitad del patio, rodeada de un océano de naranjas. INT - PLANTA BAJA - TEPEJI 21 -- DÍA La luz del mediodía rebota por las paredes del patio y se desliza por las grandes ventanas y acaricia suavemente la moderna mesa de caoba. Cleo pule la superficie con un trapo. Frota la tela repetidamente sobre el mismo espacio, como si quisiera limpiar su reflejo. CONTINUED: La casa está en silencio, sólo el rumor de una conversación. El cable del teléfono se extiende hasta el baño bajo la escalera y desaparece bajo su puerta. La Señora Sofía está adentro, hablando por teléfono. Su voz resuena en el pequeño espacio y se filtra a través de la puerta, pero pocas palabras son claras. Paco baja las escaleras lentamente, se detiene a la mitad, justo sobre la puerta del baño, y se inclina sobre el barandal intentando oír con más claridad. Cleo continúa puliendo la misma área de la mesa y por fin cae en cuenta de Paco, que baja las escaleras. Paco llega al hall y camina lentamente hasta la puerta del baño y se recarga en la pared junto a ella. Cleo suspende la limpieza de su reflejo y ve a Paco que - Se desliza y se sienta en el piso. Se recarga contra la pared y se inclina para acercar su oído la puerta. Desde el comedor, Cleo le hace señas de que se vaya, pero Paco la ignora, concentrado en escuchar la conversación que suena distorsionada por el eco del baño y apagada por la puerta -</scene_description>
<character>SEÑORA SOFIA</character>
<dialogue>…les escribió cartas dizque desde Québec… ¡Nada! Sólo babosadas que les inventa. Que el paisaje es bonito, que hay muchos animalitos, que los extraña mucho pero que su investigación se sigue retrasado. ¡Puras mentiras, comi!… Ni siquiera tiene los pantalones para decirle a los niños…</dialogue>
<scene_description>Cleo camina hacia Paco haciéndole señas. Al llegar al hall se detiene a una distancia respetuosa del baño y su conversación. Agita su trapo vigorosamente, llamando a Paco.</scene_description>
<character>SEÑORA SOFÍA</character>
<parenthetical>(atraves de la puerta)</parenthetical>
<dialogue>¡No, comadre! Si se fue a Acapulco a la casa de los Matos con su piruja esa. ¡Para eso si tiene tiempo, ¿no?! Desde que se fue no ha mandado un quinto y ya van seis meses, comi.</dialogue>
<scene_description>CONTINUED: (2)</scene_description>
<character>SEÑORA SOFÍA</character>
<dialogue>Dice que anda corto, pero eso sí: ahora le dió por bucear y anda comprándose todo su equipo. ¿Y sabes cuanto cuaestan esas cosas?… No, para eso si tiene…</dialogue>
<scene_description>Él la ve pero niega con la cabeza repetidamente. Cleo se acerca un par de pasos más, aún manteniendo su distancia, y le habla articulando las palabras pero sin hacer, casi, sonido alguno.</scene_description>
<character>CLEO</character>
<parenthetical>(articulando)</parenthetical>
<dialogue>V-e-t-e d-e a-q-u-í</dialogue>
<scene_description>Paco va a negar con la cabeza pero un llanto perfora los ecos y se cuela por los muros, un llanto profundo y desesperado. Paco y Cleo se paralizan, asustados, y de pronto - La puerta del baño se abre y sale la Señora Sofía cargando el teléfono. Ve a Paco que intenta escabullirse y lo agarra -</scene_description>
<character>SEÑORA SOFÍA</character>
<dialogue>¡Y tú! ¿Qué haces espiando?…</dialogue>
<scene_description>Su rostro está demacrado por las lágrimas, la frustración y el dolor que explotan en - Una enorme cachetada que lo tira al piso. La Señora Sofía inmediatamente cae en cuenta de lo que hizo y se agacha junto a su hijo y lo abraza llorando -</scene_description>
<character>SEÑORA SOFÍA</character>
<dialogue>¡Perdóname, perdóname, Paco! ¿Por qué estabas espiando?… ¿Por qué estabas espiando?…</dialogue>
<scene_description>Los dos lloran en el piso, la Señora Sofía ve a Cleo a sólo unos pasos -</scene_description>
<character>SEÑORA SOFÍA</character>
<dialogue>¡Y tú! ¿Por qué lo dejas?</dialogue>
<scene_description>Abraza fuerte a Paco -</scene_description>
<character>SEÑORA SOFÍA</character>
<dialogue>No le digas nada a tus hermanos… No les digas… Prométeme… prométeme…</dialogue>
<scene_description>CONTINUED: (3) Cleo se mantiene inmóvil a un lado, deseando unírseles en el abrazo, y en el llanto. INT - CUARTO DE SOFI Y PEPE - TEPEJI 21 -- OCASO Cleo cepilla el pelo de Sofi, están sentadas en la cama. Sofi lee una carta, Cleo está ensimismada.</scene_description>
<character>SOFI</character>
<dialogue>Tiene muchos dibujos. Mira, esta niña creo que soy yo y éste es mi papá…</dialogue>
<scene_description>La carta está hecha exclusivamente de dibujos en pluma azul, sin sombreados ni colores.</scene_description>
<character>SOFI</character>
<dialogue>…Y éste es un corazón, mira, con una "ese" de Sofi y una "pe" de papá… Y éste es un perrito… ¿o es un pescado?</dialogue>
<scene_description>Pepe entra al cuarto y se sienta junto a ellas, asomándose para ver la carta.</scene_description>
<character>CLEO</character>
<dialogue>¿Creo se parece a un delfín?</dialogue>
<character>SOFI</character>
<dialogue>¿Un delfín? No. Es como un perrito…</dialogue>
<character>PEPE</character>
<dialogue>¡Es una foca! En la carta que mi papá le mandó a Paco, dice que de su hotel puede ver el mar y que hay muchas focas.</dialogue>
<scene_description>Sofi considera el dibujo -</scene_description>
<character>SOFI</character>
<dialogue>Sí. ¡Es una foca! ¡Como las que tiene en su hotel!</dialogue>
<character>PEPE</character>
<dialogue>Dijiste delfín. ¡No parece delfín!</dialogue>
<character>CLEO</character>
<dialogue>¿No parece?</dialogue>
<character>SOFI</character>
<dialogue>¡No!</dialogue>
<scene_description>CONTINUED:</scene_description>
<character>CLEO</character>
<dialogue>¿No es delfín? ¿Entonces qué dicen que es?</dialogue>
<scene_description>Sofi y Pepe contestan a coro -</scene_description>
<character>SOFI Y PEPE</character>
<dialogue>¡Una foca!</dialogue>
<scene_description>Y a coro también ríen. Cleo, distraída de su tristeza, voltea con Pepe y lo ataca a cosquillas, prolongando la risa. Cuando se tranquilizan, Pepe está acostado en la cama y ve a Cleo fijamente.</scene_description>
<character>CLEO</character>
<dialogue>¿Qué me ves?</dialogue>
<character>PEPE</character>
<dialogue>¿Cuándo va a salir tu bebé?</dialogue>
<scene_description>La tristeza vuelve a invadir a Cleo -</scene_description>
<character>CLEO</character>
<dialogue>El mes que entra.</dialogue>
<character>SOFI</character>
<dialogue>¿Va a ser niña?</dialogue>
<character>CLEO</character>
<dialogue>No sé…</dialogue>
<character>SOFI</character>
<dialogue>¡Que sea niña! ¡Porfa…! ¿Cómo se va a llamar?</dialogue>
<character>CLEO</character>
<dialogue>No sé.</dialogue>
<character>SOFI</character>
<dialogue>Si es niña, ¿se puede llamar Tábata como la de Hechizada?</dialogue>
<character>CLEO</character>
<parenthetical>(ausente)</parenthetical>
<dialogue>A lo mejor…</dialogue>
<scene_description>Pepe se incorpora y la ve, serio.</scene_description>
<character>PEPE</character>
<dialogue>¿Y va a vivir aquí?</dialogue>
<scene_description>CONTINUED: (2)</scene_description>
<character>SOFI</character>
<dialogue>¡Si es niña, sí!</dialogue>
<character>CLEO</character>
<dialogue>No sé. ¿Quieres que viva aquí?</dialogue>
<character>PEPE</character>
<dialogue>¡No! ¡Guácala!</dialogue>
<scene_description>Cleo sonríe tratando de cubrir su dolor. Cambia de tema -</scene_description>
<character>CLEO</character>
<dialogue>A ver. ¡A ponerse la pijama!</dialogue>
<scene_description>15 de mayo de 1971, sábado INT - CUARTO DE LA SEÑORA SOFÍA - TEPEJI 21 -- DÍA El cuarto brilla suavemente con la luz que entra por las ventanas y se filtra por las cortinas. Cleo acomoda ropa recién lavada en los cajones del clóset. Al abrir un cajón ve la ropa interior del Señor Antonio. Se escucha a los niños discutir a gritos desde la planta de abajo. Cleo cierra el cajón. Ve los trajes de hombre colgados. Los gritos se hacen más intensos y entre ellos se escucha a la Señora Teresa.</scene_description>
<character>SEÑORA TERESA (O.C.)</character>
<dialogue>¡Niños! ¡Ya Toño, ya!</dialogue>
<scene_description>Sofi entra corriendo al cuarto -</scene_description>
<character>SOFI</character>
<dialogue>¡Cleo! ¡Toño y Paco se están peleando!</dialogue>
<scene_description>Cleo sale al - INT - HALL DE ARRIBA - TEPEJI 21 -- DÍA Los gritos invaden el hall -</scene_description>
<character>SEÑORA TERESA (O.C.)</character>
<dialogue>¡No se peguen!</dialogue>
<scene_description>CONTINUED: Cleo sale del cuarto y se asoma por el barandal de la escalera pero no puede ver bien, Sofi la sigue. Van a las escaleras. INT - PLANTA BAJA - TEPEJI 21 -- DÍA Cleo, con su panza de ocho meses, baja las escaleras lentamente acompañada de Sofi. Al bajar pueden ver - EN EL HALL - A Toño que tiene a Paco agarrado de los pelos. Paco grita furioso e intenta acomodarle patadas a Toño. La Señora Teresa está en la sala y les grita, Pepe está de pie, paralizado, junto a ella.</scene_description>
<character>SEÑORA TERESA</character>
<dialogue>¡Ya¡ ¡Paren!</dialogue>
<scene_description>Pero Paco logra soltarse y le pega a Toño en la cara. Toño le agarra los brazos. EN LA ESCALERA - Cleo se detiene, Sofi toma su mano -</scene_description>
<character>CLEO</character>
<dialogue>¡Niños!</dialogue>
<scene_description>EN EL HALL - Paco le escupe en la cara a Toño, que lo suelta para darle una fuerte cachetada.</scene_description>
<character>SEÑORA TERESA</character>
<dialogue>¡Toño!</dialogue>
<scene_description>Y Paco se abalanza una vez más en contra de Toño que, veloz, escapa. EN LA ESCALERA - Cleo sigue bajando.</scene_description>
<character>CLEO</character>
<dialogue>¡Niños! ¡Le voy a decir a su mamá cuando regrese!</dialogue>
<scene_description>EN EL HALL - CONTINUED: Los niños no hacen el menor caso. Paco agarra un adorno de la mesa, un huevo de piedra, y - SE LO AVIENTA A TOÑO - Y vuela directo a su cabeza.</scene_description>
<character>SEÑORA TERESA</character>
<dialogue>¡Paco!</dialogue>
<scene_description>Toño se agacha justo en el momento en que el huevo, veloz proyectil, pasa volando exactamente por donde estaba su cara y continúa su trayectoria por las puertas abiertas hacia el patio - ESTRELLÁNDOSE en la puerta del Valiant, estacionado afuera. La Señora Teresa corre hacia Paco y lo agarra fuertemente, lo sacude -</scene_description>
<character>SEÑORA TERESA</character>
<dialogue>¡Qué estás haciendo! ¡Paco!</dialogue>
<character>PACO</character>
<dialogue>¡Él me pegó primero!</dialogue>
<character>TOÑO</character>
<dialogue>¡Porque tú me empujaste!</dialogue>
<scene_description>Cleo llega al hall con Sofi, camina hacia la sala.</scene_description>
<character>SEÑORA TERESA</character>
<dialogue>¡¿Cómo avientas esa cosa?! ¡Pudiste haber matado a tu hermano!</dialogue>
<scene_description>Paco para su lucha, arrepentido. Cleo llega con Pepe y lo abraza, Sofi va con ella. La Señora Teresa suelta a Paco -</scene_description>
<character>SEÑORA TERESA</character>
<dialogue>¡Lo pudiste haber matado!</dialogue>
<scene_description>Toño ve asustado la puerta del Valiant donde el huevo ha dejado una enorme abolladura en el metal. INT - COCINA - TEPEJI 21 -- NOCHE La casa está en silencio. Cleo lava platos, Adela los acomoda en las repisas. CONTINUED:</scene_description>
<character>ADELA</character>
<dialogue>Ya súbete, manita, yo aquí la espero…</dialogue>
<scene_description>Suena el claxon del Galaxie 500 - ¡Ta-ta Ta-ta Ta-ta Ta-taaaaaa…!</scene_description>
<character>ADELA</character>
<dialogue>Yo voy.</dialogue>
<scene_description>Adela sale al patio pequeño y camina al patio. Cleo va hacia el antecomedor. INT - PLANTA BAJA - TEPEJI 21 -- NOCHE Cleo cruza el antecomedor y el comedor y va al hall. Se asoma por la puerta que da al patio. EXT - PATIO - TEPEJI 21 -- NOCHE ¡Ta-ta Ta-ta Ta-ta Ta-taaaaaa…! Adela camina a la puerta de la calle, que brilla desde afuera iluminada por los faros del coche. ¡Ta-ta Ta-ta Ta-ta Ta-taaaaaa…! Adela abre la puerta descubriendo - Los potentes faros del Galaxie 500 que iluminan el patio. El coche comienza a avanzar lentamente pero - ¡Kkkjjjjjjkkk! Su lado izquierdo raspa contra el marco de la puerta. El coche frena y retrocede unos centímetros. Ajusta su trayectoria y vuelve a avanzar - ¡Krrrraajjjjj! Ahora su lado derecho pega contra el marco. El coche frena y gira sus llantas a la izquierda. Avanza. ¡Kkkjjjjjjkkk! La moldura izquierda se atora en el marco y comienza a doblarse. El coche frena. CONTINUED: Retrocede. Avanza de nuevo y ahora la moldura derecha es la que se atora. El coche frena. Retrocede. Vuelve a avanzar y la moldura derecha es arrancada de la lámina pero ahora el coche no se detiene, se sigue de frente corrigiendo rumbo, destrozando la moldura izquierda. Y corrige rumbo nuevamente. El espejo retrovisor se atora en el quicio y es arrancado. El Galaxie 500 frena sólo un momento para seguir su marcha con mayor convicción, golpeando y abollando ambos lados, las molduras dobladas en extrañas figuras. Y por fin, el Galaxie se detiene frente a la puerta que da al hall. INT - HALL DE ABAJO - TEPEJI 21 -- NOCHE Cleo está junto a la puerta que da al patio. Afuera - La puerta del Galaxie se abre y sale la Señora Sofía. Camina tambaleándose y entra a la casa sin cerrar la puerta del coche, está evidentemente ebria. Cleo se hace un lado dejándola pasar. La Señora Sofía la ve, divertida -</scene_description>
<character>SEÑORA SOFÍA</character>
<dialogue>Estamos solas. Siempre. Aunque te digan que no.</dialogue>
<scene_description>Y se ríe. Cleo la mira, confundida. La Señora Sofía continúa su camino y sube las escaleras, tambaleándose. 10 de junio de 1971, jueves</scene_description>
</scene>
<scene>
<stage_direction>INT/EXT - VALIANT - CALLE -- TARDE</stage_direction>
<scene_description>Ignacio maneja, Cleo va sentada adelante y la Señora Teresa va sola atrás. Circulan lentos entre un tráfico denso. CONTINUED: Un coche estacionado que intenta salir a la calle, Ignacio frena y lo deja pasar -</scene_description>
<character>IGNACIO</character>
<dialogue>Solo si nos estacionamos por aquí lejos porque hay manifestación de estudiantes.</dialogue>
<scene_description>En las banquetas hay bullicio de jóvenes que caminan calle arriba, algunos cargan mantas con consignas.</scene_description>
<character>SEÑORA TERESA</character>
<dialogue>Conque no les vuelvan a pegar…</dialogue>
<scene_description>El coche estacionado deja libre su lugar e Ignacio maniobra para entrar en el. EXT - CALLE - CERCA DE LA MÉXICO-TACUBA -- TARDE El Valiant se estaciona, salen la Señora Teresa y Cleo, Ignacio las acompaña, camiones del Departamento de Limpia del DF están estacionados a lo largo de la cuadra. Caminan entre los jóvenes calle arriba, hacia la esquina controlada por vehículos de la policía, pasando frente a un grupo de jóvenes en camiseta que esperan parados. EXT - CALLE - CALZADA MÉXICO-TACUBA -- TARDE Ignacio acompaña a Teresa y Cleo que caminan lentamente, Cleo por su panza y la Señora Teresa por su cojera. Las cortinas metálicas de los locales están cerradas. Caminan frente a una larga hilera de camiones de granaderos, filas de policías y de un grupo de jóvenes, que cargan varas de caña, reunidos cerca de la esquina. Llegan a la Calzada México-Tacuba que está cerrada al tráfico. La cabeza de una enorme manifestación pasa frente a ellos, caminando de Norte a Sur, sobre la avenida. La Señora Teresa, Cleo e Ignacio se ven obligados a cruzar entre la marcha. Se funden con la multitud, unos traen pancartas y todos cantan consignas. Cuando logran cruzar al otro lado de la avenida hacia la entrada a un edificio que anuncia una mueblería en el segundo piso, con letras pintadas en las ventanas. La Señora Teresa y Cleo entran, Ignacio espera afuera. INT - MUEBLERÍA - CALZADA MÉXICO-TACUBA -- TARDE El sol de la tarde ilumina el letrero de MUEBLERIA pintado a todo lo largo de las ventanas manchando el piso con sus letras al revés. Un puñado de clientes se pasea por el local, que vende muebles económicos y funcionales. El bullicio de la marcha invade el lugar con consignas y coros. Cleo y la Señora Teresa caminan entre los muebles de maternidad. Ven una cuna -</scene_description>
<character>SEÑORA TERESA</character>
<dialogue>¿Te gusta esta?</dialogue>
<character>CLEO</character>
<dialogue>Está muy bonita.</dialogue>
<scene_description>La Señora Teresa ve la etiqueta con el precio y le hace una seña a una VENDEDORA JOVEN que se acerca inmediatamente -</scene_description>
<character>SEÑORA TERESA</character>
<dialogue>¿A cómo me va a dejar esta cuna?</dialogue>
<scene_description>La vendedora revisa la etiqueta.</scene_description>
<character>SEÑORA TERESA</character>
<dialogue>Pero con descuento de cliente antiguo, ¿eh?</dialogue>
<character>VENDEDORA JOVEN</character>
<dialogue>Déjeme le pregunto a la patrona.</dialogue>
<scene_description>La vendedora camina hacia el mostrador. El bullicio externo se convierte en un rugido a coro de gritos despavoridos. Son las 17 horas con siete minutos. Ignacio aparece corriendo por la puerta, pánico en sus ojos. Todos en la tienda lo miran confundidos. El rugido externo se intensifica. Ignacio corre a la ventana y se asoma, otros clientes hacen lo mismo. Terror en los ojos. Cleo y la Señora Teresa se acercan lentamente y al llegar junto a Ignacio, ven también por la ventana - CALZADA MÉXICO-TACUBA - CONTINUED: La inmensa columna de estudiantes es atacada de frente por más de 100 jóvenes de tenis, camiseta y el cabello muy corto, armados con garrotes de bambú de dos metros, macanas y varillas que administran fuertes descargas eléctricas. Son los HALCONES. El grupo paramilitar ataca con furia. La multitud corre, pero más Halcones surgen por detrás y otros de las calles aledañas. Se escuchan disparos y una nube de pólvora comienza a formarse. Gente cae. Mujeres. Ancianos. Niños. ADENTRO, EN LA MUEBLERÍA - Se escuchan pasos corriendo escaleras arriba y entra un ESTUDIANTE sangrando de la cabeza, no tiene ni 20 años. Los clientes gritan alarmados. El estudiante los mira implorante y voltea asustado al escuchar ruidos en la escalera. La ENCARGADA de la mueblería le señala que entre rápido y llama a la Vendedora Joven.</scene_description>
<character>ENCARGADA MUEBLERÍA</character>
<dialogue>Mételo al armario.</dialogue>
<scene_description>La joven guía presurosa al estudiante hasta el fondo de la tienda, donde está el armario, cuando - EN LA PUERTA - Aparecen TRES HALCONES. La gente aterrada, una señora comienza a llorar. Ignacio se coloca, protector, frente a Cleo y la Señora Teresa. Los Halcones ven a la joven que cierra la puerta del armario. Dos van hacia ella, uno se queda a mitad de la mueblería controlando a la gente. La joven se coloca frente a la puerta del armario, el Halcón de vanguardia la golpea y la tira al piso, abre el armario y el Segundo Halcón - DISPARA TRES VECES. El estudiante cae fuera del armario, y ya en el piso - CONTINUED: (2) EL HALCÓN LE DISPARA DOS VECES MÁS. La gente grita y el Halcón en la retaguardia los vigila amenazante. Cleo, escudada por Ignacio, ve al Halcón en la retaguardia. El Halcón en la retaguardia también la ve. SE RECONOCEN. Es Fermín. Cleo comienza a hiperventilar. Los otros dos Halcones emprenden la retirada y Fermín los sigue. Los tres salen del local. Cleo los ve irse, su respiración muy agitada. Un charco se forma a sus pies. Se le ha roto la fuente. EXT - CALLE - PORTÓN VECINDAD - CERCA MÉXICO-TACUBA -- 126\* TARDE Ignacio sostiene a Cleo y la ayuda a caminar, la Señora Teresa va junto a ellos. Gente corre aterrada en todas direcciones, se escuchan disparos y hay mucho humo en el aire. Estudiantes corren hacia ellos, aterrados, perseguidos por Halcones con varas de bambú. Ignacio jala a Cleo a la entrada de una vecindad, la Señora Teresa los sigue. Se refugian. Frente a ellos, en la calle, los Halcones alcanzan a un estudiante y lo muelen a palos. Siguen su camino. Ignacio se asoma a la calle y jala a Cleo y sale del portón para continuar su camino. La Señora Teresa los sigue. Caminan por la México-Tacuba. En el suelo, hombres y mujeres, jóvenes y viejos, yacen muertos, algunos rodeados de sangre. Una joven llora de rodillas en el piso, sostiene la cabeza de un joven. Halcones llegan y la golpean con violencia.</scene_description>
</scene>
<scene>
<stage_direction>INT/EXT - VALIANT '64 - CALLE -- TARDE</stage_direction>
<scene_description>Ignacio, al volante, negocia con el tráfico entrando en cada hueco que encuentra.</scene_description>
<character>CLEO</character>
<dialogue>¡Aaahhhhhhhhhhggggg!</dialogue>
<scene_description>En el asiento trasero Cleo sufre contracciones, junto a ella va la Señora Teresa que la toma de la mano. INT - AV CUAUHTÉMOC - CENTRO MÉDICO -- TARDE El Valiant '64 avanza por Avenida Cuauhtémoc y da vuelta en una entrada al Centro Médico. EXT - GINECOBSTETRICIA - CENTRO MÉDICO -- OCASO El edificio, con su rampa, tiene las luces prendidas contra el cielo púrpura que quiere ser noche. Ignacio ayuda a Cleo a caminar. La Señora Teresa, más lenta, los sigue más atrás. En la explanada, mujeres embarazadas se pasean, algunas acompañadas, en espera de su parto inminente. Ignacio y Cleo entran al edificio. INT - LOBBY - GINECOBSTETRICIA -- OCASO Caos. Mujeres embarazadas se pasean en el lobby, otras aguardan con sus familiares en la sala de espera. Nombres son voceados y mujeres embarazadas son ingresadas. GRITOS y PUJIDOS de mujeres sufriendo contracciones. En la recepción, las enfermeras atienden con eficiencia la larga fila de pacientes. Ignacio entra al lobby sosteniendo a Cleo, avanzan inmediatamente hacia la recepción. Al llegar le dice a Cleo -</scene_description>
<character>IGNACIO</character>
<dialogue>Aquí espéreme tantito.</dialogue>
<scene_description>CONTINUED: Deja a Cleo y se acerca al mostrador e intenta hablar con una ENFERMERA apuradísima -</scene_description>
<character>IGNACIO</character>
<dialogue>Disculpe…</dialogue>
<scene_description>Pero la enfermera no se detiene, sólo señala -</scene_description>
<character>ENFERMERA MOSTRADOR</character>
<dialogue>Ahí haga cola…</dialogue>
<scene_description>Ignacio ve la cola, y ve a Cleo que tiene una contracción más, de pie.</scene_description>
<character>CLEO</character>
<dialogue>¡Ahhhhhaaaaaaaaaa…!</dialogue>
<scene_description>Ignacio llama a gritos para hacerse oír por encima del bullicio de preguntas, órdenes, quejas y lloridos -</scene_description>
<character>IGNACIO</character>
<parenthetical>(gritando)</parenthetical>
<dialogue>¡La Doctora Vélez! ¡Con la Doctora Vélez!…</dialogue>
<scene_description>Nadie parece escucharlo. Ignacio insiste -</scene_description>
<character>IGNACIO</character>
<parenthetical>(gritando)</parenthetical>
<dialogue>¡La Doctora Vélez! ¡Con la Doctora Vélez!…</dialogue>
<scene_description>La Doctora Vélez aparece por la puerta de médicos y pacientes acompañada de un CAMILLERO RECEPCIÓN. Se apresura hacia Ignacio -</scene_description>
<character>DOCTORA VÉLEZ</character>
<dialogue>Aquí, aquí, aquí…</dialogue>
<scene_description>Ignacio la lleva con Cleo mientras la Doctora Vélez levanta \* un brazo y el Camillero Recepción corre hacia Cleo empujando una silla de ruedas.La Señora Teresa por fin llega, está completamente sin aliento. La Doctora Vélez llega a Cleo -</scene_description>
<character>DOCTORA VÉLEZ</character>
<dialogue>Hola, Cleo. ¿Cómo estás?</dialogue>
<scene_description>Cleo la mira asustada por toda respuesta. El Camillero ayuda a Cleo a sentarse en la silla de ruedas. Ignacio también ayuda. CONTINUED: (2)</scene_description>
<character>DOCTORA VÉLEZ</character>
<dialogue>De aquí me la llevo yo. Ahí pueden esperar.</dialogue>
<scene_description>La Señora Teresa, rosario en mano, mira con Ignacio a Cleo que, empujada en la silla, desaparece por la puerta que va a - INT - PASILLO ELEVADORES - GINECOBSTETRICIA -- OCASO Cleo en la camilla respira asustada, va rodeada de la Doctora Vélez y el Camillero Recepción. Llegan a los elevadores y esperan. El elevador abre su puerta y entran a él. Las puertas están a punto de cerrar cuando el Señor Antonio, vestido con su bata blanca, los alcanza y también entra. INT - ELEVADOR - GINECOBSTETRICIA -- TARDE Las puertas cierran.</scene_description>
<character>SEÑOR ANTONIO</character>
<dialogue>Hola Cleo, ¿cómo se siente?</dialogue>
<scene_description>Cleo lo mira sorprendida -</scene_description>
<character>CLEO</character>
<dialogue>…¡Doctor…!</dialogue>
<scene_description>El Señor Antonio intenta animarla -</scene_description>
<character>SEÑOR ANTONIO</character>
<dialogue>Está en buenas manos… ¿A cuántos bebés ha sacado usted, Doctora Vélez?</dialogue>
<scene_description>La Doctora Vélez sonríe -</scene_description>
<character>DOCTORA VÉLEZ</character>
<dialogue>N'ombre… Cientos.</dialogue>
<scene_description>Cleo tiene una fuerte contracción -</scene_description>
<character>CLEO</character>
<dialogue>¡Ahhhhhhgggggg!</dialogue>
<scene_description>El Señor Antonio le toma la mano y se agacha para acercar su cara a la de Cleo - CONTINUED:</scene_description>
<character>SEÑOR ANTONIO</character>
<dialogue>Respire Cleo… Así…</dialogue>
<scene_description>El Señor Antonio comienza a inhalar y a exhalar soplando. Cleo intenta imitarlo mirándolo a la cara. INT - LOBBY - 6º PISO - GINECOBSTETRICIA -- OCASO El elevador abre sus puertas y la camilla con Cleo sale empujada por el Camillero Recepción. El sexto piso no tiene ventana alguna. Pasan la central de enfermeras al llegar a la puerta que da a la Sala de Expulsión, el Señor Antonio se inclina hacia Cleo -</scene_description>
<character>SEÑOR ANTONIO</character>
<dialogue>Hasta aquí me deja pasar la Doctora Vélez…</dialogue>
<scene_description>La Doctora Vélez lo interrumpe -</scene_description>
<character>DOCTORA VÉLEZ</character>
<dialogue>Por mí no se apure, pásele si quiere.</dialogue>
<character>SEÑOR ANTONIO</character>
<dialogue>No, eh… Tengo consulta…</dialogue>
<scene_description>Su excusa queda en el aire y él posa una mano en el hombro de Cleo -</scene_description>
<character>SEÑOR ANTONIO</character>
<dialogue>Le va a ir muy bien, Cleo…</dialogue>
<scene_description>Y se escabulle de regreso por el pasillo. Cleo, asustada y confundida, apenas si ha registrado el intercambio. La Doctora Vélez llama a una enfermera mientras el Camillero Recepción empuja a Cleo a - INT - CUBÍCULOS DE ADMISIÓN - GINECOBSTETRICIA -- OCASO 134\* Es un cubículo separado de otros por cortinas y mamparas con una cama ginecológica al centro. La ENFERMERA ADMISIÓN ayuda a Cleo a levantarse de la silla y a sentarla en la mesa de exploracón. CONTINUED:</scene_description>
<character>DOCTORA VÉLEZ</character>
<dialogue>Cleo, ¿te quitas toda la ropa y te pones esta bata? Te vamos a revisar.</dialogue>
<scene_description>El Camillero Recepción sale y la Enfermera Admisión ayuda a Cleo a quitarse la ropa mientras un RESIDENTE llega. No tiene mucha privacidad y puede ver, tras las cortinas mal cerradas, a otras mujeres que son examinadas. La Doctora Velez hace preguntas que ella contesta confundida.</scene_description>
<character>DOCTORA VÉLEZ</character>
<dialogue>¿Cuando fué tu última menstruación?</dialogue>
<character>CLEO</character>
<dialogue>¿En Septiembre?…</dialogue>
<character>DOCTORA VÉLEZ</character>
<dialogue>¿Tienes fecha tentativa de parto?</dialogue>
<character>CLEO</character>
<dialogue>El 21 de Junio…</dialogue>
<character>DOCTORA VÉLEZ</character>
<dialogue>¿Hubo complicaciones durante el embarazo?</dialogue>
<scene_description>Cleo niega con la cabeza, asustada.</scene_description>
<character>DOCTORA VÉLEZ</character>
<dialogue>¿Hace cuánto se rompió la fuente?</dialogue>
<character>CLEO</character>
<dialogue>Hace como hora y media. No podíamos salir de donde estábamos y…</dialogue>
<character>DOCTORA VÉLEZ</character>
<dialogue>¿Estaba clara?</dialogue>
<character>CLEO</character>
<dialogue>¿Eh?</dialogue>
<character>DOCTORA VÉLEZ</character>
<dialogue>El agua. ¿Era transparente el agua?</dialogue>
<character>CLEO</character>
<dialogue>No… Espesita. Así como sopa.</dialogue>
<scene_description>Cleo está por cerrarse la bata cuando sufre una contracción muy dolorosa. La Doctora Vélez ordena - CONTINUED: (2)</scene_description>
<character>DOCTORA VÉLEZ</character>
<dialogue>No pujes Cleo, sopla. Ayúdenla a subir a la cama…</dialogue>
<scene_description>El Residente y la enfermera ayudan a Cleo a acostarse en la cama de ginecología. La Doctora Vélez la esculta por encima de la panza -</scene_description>
<character>DOCTORA VÉLEZ</character>
<dialogue>Cheque dilatación.</dialogue>
<scene_description>El RESIDENTE osculta a Cleo y dictamina -</scene_description>
<character>RESIDENTE</character>
<dialogue>Siete u ocho centímetros…</dialogue>
<character>DOCTORA VÉLEZ</character>
<dialogue>¿Frecuencia?</dialogue>
<scene_description>El RESIDENTE checa con una "corneta" la frecuencia cardiaca mientras una enfermera llena documentos.</scene_description>
<character>RESIDENTE</character>
<dialogue>No se escucha el foco fetal…</dialogue>
<character>ENFERMERA ADMISIÓN</character>
<dialogue>Señora, ¡Sople!</dialogue>
<character>RESIDENTE</character>
<dialogue>Está completa. Está en segundo plano… Expulsivo con dilatación completa, trae meconio cuatro cruces y está en asistolia.</dialogue>
<scene_description>La Doctora Velez, veloz, gira instrucciones -</scene_description>
<character>DOCTORA VÉLEZ</character>
<dialogue>Canalícela con solucion mixta y pásenla a labor inmediatamente. Llamen al camillero y alerten a pediatría. Que preparen laringoscopio, equipo de reanimación y un "ambu".</dialogue>
<scene_description>El CAMILLERO ADMISIÓN llega y acerca su camilla a la cama de exploración. El residente le pide a Cleo -</scene_description>
<character>RESIDENTE</character>
<dialogue>¿Se me pasa a la camilla?</dialogue>
<character>DOCTORA VÉLEZ</character>
<dialogue>Vamos a sacarte a tu bebé.</dialogue>
<scene_description>CONTINUED: (3) La enfermeras y el Residente ayudan a Cleo a pasarse a la camilla. INT - PASILLO - SALAS DE LABOR - 6º PISO - GINECOBSTETRICIA -- OCASO Luces fluorecentes iluminan un pasillo con puertas esmeriladas semi-abiertas. De las salas se filtran los gritos de una mujer dando a luz. Una enfermera sale de una sala y cruza hacia otra. También se escucha, al fondo del pasillo, una puerta que se abre y al poco tiempo, aparece la doctora Vélez y la Enfermera Admisión, el Residente y el Camillero Admisión que empujan a Cleo. Al llegar al final del pasillo, la Doctora Veléz se separa de ellos y se dirige a las tarjas para lavarse las manos. El resto entra a - INT - SALA DE EXPULSIÓN - QUIRÓFANO - GINECOBSTETRICIA -- OCASO El Residente y el Camillero Admisión ayudan a acomadar a Cleo en la cama de expulsión mientras la ENFERMERA QUIROFANO le canalizan una vena y le pone puntas nazales. El Camillero Admisión y la Enfermera Admisión salen. La Doctora Vélez entra al quiófano con las manos en alto y camina a la mesa de expusón donde una mesa con material esteril la espera. Toma un campo y se seca las manos.</scene_description>
<character>RESIDENTE</character>
<dialogue>Dicen que llegaron estudiantes heridos al Rubén Leñero y que los Halcones llegaron, ahí mismísimo a rematarlos.</dialogue>
<character>ENFERMERA QUIRÓFANO</character>
<dialogue>¡Hay que horror! Cómo en el 68…</dialogue>
<character>RESIDENTE</character>
<dialogue>Cuando Echeverría era el Secretario de Gobernación.</dialogue>
<scene_description>Cleo tiene una fuerte contracción -</scene_description>
<character>CLEO</character>
<dialogue>¡Aaaaahhhhhh…!</dialogue>
<scene_description>CONTINUED:</scene_description>
<character>DOCTORA VÉLEZ</character>
<dialogue>No soples Cleo. Puja…</dialogue>
<scene_description>Cleo intenta soplar entre sus gemidos de dolor. Un doctor entra a la Sala con manos en alto. Es el PEDIATRA, se seca las manos. Cleo respira agitada.</scene_description>
<character>DOCTORA VÉLEZ</character>
<dialogue>Asi. Ya viene. ¡Puja …!</dialogue>
<scene_description>Y de entre sus piernas, la corona de un bebé aparece, como un sol que crece.</scene_description>
<character>DOCTORA VÉLEZ</character>
<dialogue>Ya casi. ¡Puja!</dialogue>
<scene_description>Cleo grita.</scene_description>
<character>CLEO</character>
<dialogue>¡Aaaaaaahhhhhhhhhhhhhhh…!</dialogue>
<scene_description>Es un grito profundo. Un grito arcáico, inmemorial.</scene_description>
<character>CLEO</character>
<dialogue>¡Aaaaaaahhhhhhhhhhhhhhh…!</dialogue>
<scene_description>El bebé sale expulsado de entre las piernas de Cleo a las manos de la Doctora Vélez que lo recibe. El bebé no llora ni respira, está flácido y se cuelga como un trapo. Está completamente embarrado de un líquido verde. La Doctora Vélez corta el cordón umbilical y le pasa el bebé al Pediatra que lo acomoda suavemente sobre su mesita pediátrica y lo revisa con un estetoscopio. Cleo sigue toda la acción, la mesita pediátrica a solo un metro de su cara.</scene_description>
<character>PEDIATRA</character>
<dialogue>No tiene latido. Vamos a intentar reanimación.</dialogue>
<scene_description>El Pediatra pone al bebé en hiperflexión y le mete la hoja del laringoscopio por la boca. Comienza a aspirarlo con una sonda. Cleo ve que su bebé. De la boca, por la sonda, sale meconio, un liquido verde denso como sopa de chícharos. CONTINUED: (2) El Pediatra saca la sonda de la boca y mete un tubo endotraqueal y comienza ventilar con el "ambu", un resucitador manual. La Doctora Vélez trabaja sacando la placenta. Cleo ve a la bebé sobre la mesa. El Pediatra bombea el globo del "ambu" repetidamente intentando reanimarlo. Cleo ve al bebé, su cara casi cubierta por el "ambu" y descubre que es una niña. El Pediatra deja de bombear el "ambu" y checa palpitaciones con su estetoscopio -</scene_description>
<character>PEDIATRA</character>
<dialogue>Está en asistolia…</dialogue>
<scene_description>Y se dirige, suavemente, a Cleo -</scene_description>
<character>PEDIATRA</character>
<dialogue>Señora, su bebé nació muerto, no traía líquido. El líquido verde le tapó los pulmones. Lo sentimos muchísimo, Señora.</dialogue>
<scene_description>Cleo escucha en silencio sin dejar de ver a su bebé. Las enfermeras comienzan a limpiarle el cuerpesíto.</scene_description>
<character>DOCTORA VÉLEZ</character>
<dialogue>Lo siento muchísimo, Cleo…</dialogue>
<character>PEDIATRA</character>
<dialogue>¿Quiere despedirse de su bebé, Señora?</dialogue>
<scene_description>Cleo asiente. La Enfermera Quirófano carga la bebé y la posan suavemente sobre Cleo que la abraza con la mirada perdida. La Doctora Vélez continúa trabajando entre sus piernas, limpiándola.</scene_description>
<character>PEDIATRA</character>
<dialogue>¿Con quién viene? ¿A quién le avisamos?</dialogue>
<character>DOCTORA VÉLEZ</character>
<dialogue>Viene con familiares. Están esperando afuera.</dialogue>
<scene_description>Cleo susurra algo.</scene_description>
<character>DOCTORA VÉLEZ</character>
<dialogue>¿Dijiste algo, Cleo? No te escucho…</dialogue>
<scene_description>CONTINUED: (3)</scene_description>
<character>CLEO (SUSURRA)</character>
<dialogue>Señora Sofía… Señora Sofía…</dialogue>
<character>DOCTORA VÉLEZ</character>
<dialogue>Si, Cleo. Yo la llamo…</dialogue>
<scene_description>La Enfermera Quirófano llegan a tomar la bebé muerta -</scene_description>
<character>ENFERMERA</character>
<dialogue>¿Podemos?, ¿Señora…?</dialogue>
<scene_description>Cleo asiente y la Enfermera toma a la bebé y la lleva a una mesita donde la comienza enrollar con una pequeña manta. Cleo mira como su hija desaparece bajo el envoltorio, y cuando está completamente envuelta, la Enfermera Quirófano sella las telas con cinta adehsiva. Después, toma un plumón y escribe sobre las telas del envoltorio - RECIEN NACIDA - CLEODEGARIA GUTIERREZ. 11 de junio de 1971, viernes INT - SALA DE HOSPITALIZACIÓN - GINECOBSTETRICIA -- DÍA 138\* La luz del nuevo día invade la sala. Camas enfiladas a lo largo de las paredes, donde madres recién paridas se recuperan. Algunas mujeres cargan a sus crías, otras amamantan, otras duermen. Hay moños, sobres y flores. Cleo está despierta, recostada en su cama, su mirada ausente. Una enfermera carga un bebé hasta una cama. Una mujer lo recibe emocionada y comienza a amamantarlo. La enfermera la ayuda, las dos susurran con una efusión que interrumpe la paz de la sala. Cleo no voltea a verlas, tal vez no las escucha, tiene la mirada perdida. La Señora Sofía llega a la puerta y se detiene un momento, observa a Cleo que permanece inmóvil rodeada del tenue rumor del tráfico en Avenida Cuauhtémoc que apenas despierta y el efusivo susurro de la mujer que amamanta a su bebé. CONTINUED: La Señora Sofía entra a la sala y camina hasta Cleo, se sienta en la cama y le toma la mano. Cleo la mira e intenta un esbozo de sonrisa. La Señora Sofía le aprieta la mano, es un corazón herido que intenta ofrecer un sólido apoyo que Cleo no encuentra en el vacío.</scene_description>
</scene>
<scene>
<stage_direction>INT/EXT - GALAXIE 500 - AV BAJA CALIFORNIA - CALLES URES - 139\*</stage_direction>
<scene_description>HUATABAMPO - TONALÁ -- DÍA \* La Señora Sofía maneja, junto a ella va Cleo, van en silencio. Dan vuelta a la derecha, dejando atrás Avenida Baja California y el rayo del sol. Manejan por Calle Ures, las dos viendo al frente, rodeadas del ronroneo del ocho cilindros que cambia velocidad automáticamente. Dan vuelta a la izquierda, en calle Huatabampo. Continúan en silencio bajo la sombra de las casas hasta la esquina con Tonalá, donde un coche espera su turno para dar la vuelta. La Señora Sofía frena detrás del coche y espera. Las dos mujeres viendo al frente en silencio. La Señora Sofía le toma la mano a Cleo y comienza a gemir. Es un gemido quieto y prolongado que brota en un lamento largo y articulado. Abraza a Cleo que permanece en silencio. El coche frente a ellas ya ha avanzado y ahora es el Valiant quien detiene el tráfico, con tres coches ya detrás de él. Un CLAXON suena. La Señora Sofía llora abrazada a Cleo. Llora toda la impotencia, todo el miedo, toda la incertidumbre y todas las humillaciones. Llora ignorando el coro de cláxones que se ha unido a su clamor. EXT - ESQUINA HUATABAMPO Y TONALÁ -- DÍA El Galaxie 500 está inmóvil y detiene el tráfico en la esquina. Los coches impacientes lo rebasan por la izquierda, algunos mentando madres. Las dos mujeres adentro del Galaxie permanecen abrazadas. 23 de junio de 1971, miércoles EXT - PATIO - TEPEJI 21 -- TARDE El patio sembrado con cacas de perro está vacío excepto por un triciclo rojo, una pelota de futbol y el Borras que está echado disfrutando los últimos rayos del sol. Un misterioso SILBIDO se filtra desde la distancia. El Borras levanta la cabeza, alerta. El silbido, triste y solitario, toma presencia, invadiendo las paredes de la casa. INT - HALL DE ARRIBA - TEPEJI 21 -- TARDE El silbido pareciera filtrarse por los muros y rebotar por los mosaicos del piso. Desde el patio, el Borras comienza a ladrar. EXT - CALLE DE TEPEJI - TEPEJI 21 -- TARDE El silbido perfora la calma de la tarde y pareciera hacer eco en las fachadas de las casas. Tepeji 21 descansa, triste y resignada, sobre sólidos cimientos que se funden con el concreto gris de la banqueta. El Galaxie 500 y el Valiant están estacionados frente a la casa. Un afilador cruza en su bicicleta tocando su silbato que impregna el tiempo con su lamento de mal agüero. EXT - PATIO PEQUEÑO -- TARDE Los periquillos parecieran querer imitar el silbido con su canto. La voz de Adela grita desde el segundo piso -</scene_description>
<character>ADELA (O.C.)</character>
<dialogue>¡Sacúdete!</dialogue>
<scene_description>INT - COCINA - TEPEJI 21 -- TARDE Cleo está sentada junto a la ventana absorta en su dolor.</scene_description>
<character>ADELA (O.C.)</character>
<dialogue>¡El afilador! ¡Que te sacudas! ¡Cleo…!</dialogue>
<scene_description>CONTINUED: Pero Cleo permanece inmóvil. El fatídico silbido se aleja lentamente y al fin desaparece. El Borras y los periquillos se tranquilizan. Todo queda en silencio. La luz de la tarde agoniza. Cleo no se mueve. ¡TA-TA TA-TA TA-TA TA-TAAAAAA…! El gangoso claxon de un coche repica desde la calle y los ladridos del Borras responden. ¡TA-TA TA-TA TA-TA TA-TAAAAAA…! Cleo no reconoce el claxon pero sí el ritmo de su pitido - ¡TA-TA TA-TA TA-TA TA-TAAAAAA…! Cleo se levanta y camina lentamente a la puerta y sale al- PATIO PEQUEÑO - Y lo cruza hacia el - EXT - PATIO - TEPEJI 21 -- TARDE Cleo ve a Adela abrir la puerta de la calle mientras agarra al Borras del collar, descubriendo - Un RENAULT 12TS AMARILLO PÁLIDO enfilado frente a la puerta. El pequeño coche arranca hacia adentro pasando el quicio con holgura y continúa, veloz, su marcha sin obstaculos hasta la puerta del hall. Paco y Pepe se asoman desde el hall y ven a su madre al volante del Renault. Paco grita -</scene_description>
<character>PACO</character>
<dialogue>¡Toño! ¡Sofi! ¡Vengan!</dialogue>
<character>PEPE</character>
<dialogue>¡Mamá compró coche nuevo!</dialogue>
<scene_description>Paco sale y examina la carrocería del coche. Pepe se une a su hermano. Cleo se acerca un poco más mientras Adela cierra la puerta que da a la calle. CONTINUED: La Señora Sofía asoma la cabeza por la ventana del coche -</scene_description>
<character>SEÑORA SOFÍA</character>
<dialogue>¿Les gusta?</dialogue>
<character>PACO</character>
<dialogue>¿A cuánto corre?</dialogue>
<scene_description>La Señora Sofía abre la puerta del coche y sale -</scene_description>
<character>SEÑORA SOFÍA</character>
<dialogue>Tú checa.</dialogue>
<scene_description>Paco se apresura a sentarse en el asiento del conductor, Pepe corre alrededor del coche y se mete al asiento del copiloto. Toño y Sofi salen al patio y ven el coche nuevo.</scene_description>
<character>TOÑO</character>
<dialogue>¿Por qué no un Maverick?</dialogue>
<scene_description>Paco, en el asiento del conductor, protesta -</scene_description>
<character>PACO</character>
<dialogue>¡Sólo corre a 145! ¡El Galaxie corre a 200!</dialogue>
<character>SEÑORA SOFÍA</character>
<dialogue>Porque son muy caros y quiero un coche chico. ¡Ya estoy hasta la coronilla del Galaxie!</dialogue>
<scene_description>Sofi se mete al asiento trasero del coche -</scene_description>
<character>SOFI</character>
<dialogue>A mí sí me gusta el coche nuevo, mami.</dialogue>
<scene_description>Adela llega junto a Cleo.</scene_description>
<character>PACO</character>
<dialogue>¿Y el Galaxie?</dialogue>
<character>SEÑORA SOFÍA</character>
<dialogue>Lo vendí. La semana que entra vienen por él.</dialogue>
<scene_description>Sofi sale del coche -</scene_description>
<character>TOÑO</character>
<dialogue>¿Mi papá sabe?</dialogue>
<scene_description>CONTINUED: (2)</scene_description>
<character>SEÑORA SOFÍA</character>
<dialogue>No. Es una sorpresa.</dialogue>
<scene_description>La Señora Sofía ve a Cleo -</scene_description>
<character>SEÑORA SOFÍA</character>
<dialogue>Hola, Cleo. ¿Te gusta el coche nuevo?</dialogue>
<scene_description>Cleo apenas asiente.</scene_description>
<character>SEÑORA SOFÍA</character>
<dialogue>Y hablando de sorpresas, nos vamos de viaje este fin de semana. Nos llevamos el Galaxie, de viaje de despedida.</dialogue>
<character>SOFI</character>
<dialogue>¿A dónde?</dialogue>
<character>SEÑORA SOFÍA</character>
<dialogue>A Tuxpan.</dialogue>
<character>PACO</character>
<dialogue>¿Dónde es Tuxpan?</dialogue>
<character>TOÑO</character>
<dialogue>¡Tengo partido!</dialogue>
<character>SEÑORA SOFÍA</character>
<dialogue>Pus faltas. Tuxpan es en Veracruz.</dialogue>
<character>PACO</character>
<dialogue>¿Es playa?</dialogue>
<character>SEÑORA SOFÍA</character>
<dialogue>Sí.</dialogue>
<character>TOÑO</character>
<dialogue>El mar en Veracruz es bien feo.</dialogue>
<character>SEÑORA SOFÍA</character>
<dialogue>Y vamos a invitar a Cleo a venir con nosotros, ¿verdad?</dialogue>
<scene_description>La Señora Sofía voltea a Cleo quien la mira sorprendida.</scene_description>
<character>SEÑORA SOFÍA</character>
<dialogue>¿Vienes?</dialogue>
<scene_description>Cleo, en silencio, solo niega con la cabeza. CONTINUED: (3)</scene_description>
<character>SEÑORA SOFÍA</character>
<dialogue>Ándale. Te va a hacer bien y si no los niños te extrañan. ¿Verdad?</dialogue>
<character>SOFI Y PEPE</character>
<dialogue>¡Si!</dialogue>
<scene_description>Y corren hasta Cleo y le toman la mano.</scene_description>
<character>SEÑORA SOFÍA</character>
<dialogue>Pero viene de vacaciones, no la pueden hacer trabajar. ¿Vienes?</dialogue>
<scene_description>Cleo duda. Adela le habla en Mixteco.</scene_description>
<character>ADELA</character>
<dialogue>Ve, manita. Te va a hacer bien. Yo me encargo aquí.</dialogue>
<character>SEÑORA SOFÍA</character>
<dialogue>Entonces, ¿vienes?</dialogue>
<scene_description>Sofi y Pepe brincan alrededor de Cleo, tomados de su mano.</scene_description>
<character>SOFI Y PEPE</character>
<dialogue>¡Si, si, si… !</dialogue>
<scene_description>Cleo levanta la mirada y asiente, silenciosa. Los niños festejan.</scene_description>
<character>SEÑORA SOFÍA</character>
<dialogue>¡Perfecto! Adela, ¿te puedes asegurar que todos los niños lleven su traje de baño?</dialogue>
<character>ADELA</character>
<dialogue>Si, Señora.</dialogue>
<character>SEÑORA SOFÍA</character>
<dialogue>Gracias.</dialogue>
<scene_description>Y entra al hall seguida por los niños. Cleo, junto a Adela, ve a la familia que desaparece dentro de la casa. El Borras llega a ella y le lame la mano. 26 de junio de 1971, sábado EXT - CARRETERA A TUXPAN -- DÍA Palmas, ceibas y platanares dan lugar a casas pintadas de colores que compiten con las flores del follaje, y más palmas, ceibas y platanares. El Galaxie 500 pasa dando vuelta a una curva.</scene_description>
</scene>
<scene>
<stage_direction>INT/EXT - GALAXIE 500 - CARRETERA A TUXPAN -- TARDE</stage_direction>
<scene_description>Cleo mira el paisaje en silencio, Pepe acurrucado en ella. Se escucha el radio que busca una estación pasando por música tropical, cumbias y anuncios de bailes locales.</scene_description>
<character>TOÑO (O.C.)</character>
<dialogue>Hasta acá no llega La Pantera.</dialogue>
<character>PACO (O.C.)</character>
<dialogue>De repente se oyó un poquito.</dialogue>
<character>SEÑORA SOFÍA (O.C.)</character>
<dialogue>¡Miren! ¡El mar!</dialogue>
<scene_description>Los niños se emocionan, Cleo se incorpora.</scene_description>
<character>PEPE Y SOFI</character>
<dialogue>¡El mar!</dialogue>
<character>PACO</character>
<dialogue>¡Párate, párate, párate, Ma!</dialogue>
<character>SEÑORA SOFÍA</character>
<dialogue>¿Por qué no vamos al hotel primero a dejar las maletas?</dialogue>
<character>TOÑO</character>
<dialogue>De aquí a que vamos se va a hacer de noche.</dialogue>
<character>PACO</character>
<dialogue>¡Vamos! ¡Aunque sea un ratito!</dialogue>
<character>SOFI Y PEPE</character>
<dialogue>¡Playa! ¡Playa! ¡Playa…!</dialogue>
<scene_description>La Señora Sofía sonríe y pone la direccional.</scene_description>
<character>SEÑORA SOFÍA</character>
<dialogue>Bueno. Pero sólo un ratito.</dialogue>
<scene_description>EXT - PLAYA JUNTO A CARRETERA -- TARDE El Galaxie se detiene junto a la arena de una larguísima playa gris, nublada y vacía excepto por el esqueleto raquítico de una construcción de tabique. La familia sale del coche. Toño y Paco inmediatamente corren a la orilla quitándose la camiseta y los pantalones y tirándolos a la arena. Sofi y Pepe los siguen un poco más atrás. La Señora Sofía se quita los zapatos y sigue a sus hijos recogiendo la ropa regada en la arena. Cleo camina hasta la orilla donde los niños juegan salpicando. Pero ella está ausente. Una ráfaga de viento arrastra la brisa, le acaricia la cara. Cleo respira el mar y cierra los ojos. Respira hondo como queriendo limpiar algo muy profundo. EXT - JARDÍN - BUNGALOWS - TUXPAN -- OCASO La luz del día que se extingue acaricia con fría suavidad el jardín de árboles frutales que rodea a los bungalows construidos en los años 40, su pintura amarilla carcomida por el salitre y el tiempo. La RECEPCIONISTA, cargando unas llaves, guía por el jardín a la Señora Sofía, Cleo y los niños, todos cargan maletas. La recepcionista abre la puerta. INT - CUARTO - BUNGALOW - TUXPAN -- OCASO La última luz del cielo que intenta dibujar las ventanas es derrotada por el foco de una lámpara de paja que ilumina la pequeña habitación con dos camas. Cleo, sentada en una, le pone una camiseta a Pepe, parado frente a ella con los brazos al aire. Cuando su cabeza sale del cuello, Pepe la ve extrañado -</scene_description>
<character>PEPE</character>
<dialogue>¿Te volviste muda?</dialogue>
<scene_description>Cleo niega con la cabeza.</scene_description>
<character>PEPE</character>
<dialogue>Entonces, ¿por qué no hablas?</dialogue>
<scene_description>CONTINUED: Cleo le sonríe, con una sonrisa que contiene llanto, y lo encamina fuera del cuarto a - INT - SALA - BUNGALOW - TUXPAN -- OCASO Otra lámpara de paja cuelga en mitad del pequeño comedor y dos lámparas a cada lado del sofá, una sin pantalla, iluminan la pequeña sala. Toño hace nudos con una piola mientras la Señora Sofía le aplica vinagre en la espalda a Paco con un algodón.</scene_description>
<character>PACO</character>
<dialogue>¡Ay, ay, ay, ay…!</dialogue>
<character>SEÑORA SOFÍA</character>
<dialogue>Les dije que se pusieran la camiseta.</dialogue>
<character>PACO</character>
<dialogue>¡Pero estaba nublado!</dialogue>
<character>SEÑORA SOFÍA</character>
<dialogue>Por eso. La resolana quema más que el sol.</dialogue>
<scene_description>A su lado, Sofi llora y llora esperando su turno.</scene_description>
<character>SEÑORA SOFÍA</character>
<dialogue>¿Ya te vestiste, Pepe?</dialogue>
<character>PEPE</character>
<dialogue>Sí. Pero Cleo se volvió muda.</dialogue>
<scene_description>La Señora Sofía le sonríe. Cleo se sienta en el sofá y toma un algodón, lo moja con vinagre, acerca a Sofi y comienza a aplicarle vinagre en la espalda. La Señora Sofía ve a Cleo -</scene_description>
<character>SEÑORA SOFÍA</character>
<dialogue>Gracias Cleo.</dialogue>
<scene_description>Cleo y la Señora Sofía pasan algodones mojados sobre las espaldas de Sofi y Paco. Sofi no para de llorar. INT - RESTAURANTE - TUXPAN -- NOCHE Ilustraciones a mano de distintos platillos y un pez vela disecado adornan los muros de un restaurante familiar. Música romántica nace de una rocola acompañando el zumbido de las lámparas fluorescentes. CONTINUED: La familia termina su cena. Cleo les corta la carne a Sofi y a Pepe, que visten pijama. Toño ya terminó y hace nudos.</scene_description>
<character>SEÑORA SOFÍA</character>
<dialogue>¿Niños?</dialogue>
<scene_description>Pero los niños están distraídos.</scene_description>
<character>SEÑORA SOFÍA</character>
<dialogue>¿Niños?</dialogue>
<scene_description>Por fin tiene la atención de sus hijos.</scene_description>
<character>SEÑORA SOFÍA</character>
<dialogue>¡Háganme caso! Tengo algo que decirles.</dialogue>
<scene_description>Los niños la ven expectantes. La Señora Sofía duda pero se da valor y -</scene_description>
<character>SEÑORA SOFÍA</character>
<dialogue>Su papá no está en Ottawa.</dialogue>
<character>SOFI</character>
<dialogue>¡¿Ya regresó?!</dialogue>
<character>SEÑORA SOFÍA</character>
<dialogue>No. Su papá nunca fue a ningún lado.</dialogue>
<scene_description>Los niños la ven confundida.</scene_description>
<character>SEÑORA SOFÍA</character>
<dialogue>Bueno, sí, pero sólo se fue una semana y… Su papá no va a volver a la casa.</dialogue>
<scene_description>Los niños la ven en silencio. Toño y Paco interesados, Sofi y Pepe confundidos. La canción termina y la rocola digiere otro veinte y expulsa un nuevo lamento.</scene_description>
<character>SEÑORA SOFÍA</character>
<dialogue>Vinimos de viaje para que sacara sus cosas de la casa.</dialogue>
<character>PACO</character>
<dialogue>¿Qué cosas?</dialogue>
<scene_description>CONTINUED: (2)</scene_description>
<character>SEÑORA SOFÍA</character>
<dialogue>Sus cosas. O lo que dice que son sus cosas. Su ropa, los libreros…</dialogue>
<character>PACO</character>
<dialogue>¿Se van a divorciar?</dialogue>
<character>SEÑORA SOFÍA</character>
<dialogue>Dice que no sabe.</dialogue>
<scene_description>Sofi comienza a llorar.</scene_description>
<character>SOFI</character>
<dialogue>¿Ya no nos quiere?</dialogue>
<character>SEÑORA SOFÍA</character>
<dialogue>Papá los quiere mucho. Dice que los quiere ver.</dialogue>
<character>TOÑO</character>
<dialogue>¿Cuándo?</dialogue>
<character>SEÑORA SOFÍA</character>
<dialogue>Dice que no sabe cuándo… Que pronto.</dialogue>
<scene_description>Sofi hunde su llanto en el seno de Cleo, Toño mira el ventilador y Paco juega con los frijoles de su tampiqueña. Sólo Pepe mira a su madre aún confundido.</scene_description>
<character>SEÑORA SOFÍA</character>
<dialogue>Va a haber muchos cambios, pero estamos juntos y va a ser una aventura.</dialogue>
<scene_description>Pepe recarga su cabeza en Cleo.</scene_description>
<character>SEÑORA SOFÍA</character>
<dialogue>La semana que entra empiezo un trabajo de tiempo completo en una editorial.</dialogue>
<character>TOÑO</character>
<dialogue>¿Una editorial? Si tú eres química.</dialogue>
<character>SEÑORA SOFÍA</character>
<dialogue>Ya lo sé, pero su papá no ha mandado dinero y con la prepa no alcanza. Además, me gustan los libros y nunca me gustó la química. Va a ser otra aventura.</dialogue>
<scene_description>CONTINUED: (3) Voltea a ver a Cleo.</scene_description>
<character>SEÑORA SOFÍA</character>
<dialogue>Y tenemos que estar muy juntos en esta nueva aventura? ¿Verdad Cleo?</dialogue>
<scene_description>Cleo no sabe que decir y ascienta con la cabeza, Sofía intenta permanecer optimista -</scene_description>
<character>SEÑORA SOFÍA</character>
<dialogue>Muy muy juntitos… No estamos solos…</dialogue>
<scene_description>Pero los niños no parecen muy convencidos y quedan en silencio. Aún no lo saben, pero este momento quedará grabado en sus memorias en fragmentos de imágenes, olores, sonidos y texturas - Las manchas de comida en la mesa, las pinturas en los muros, el ventilador, el paisaje de frijoles aplastados por el tenedor sobre el plato. La canción termina. La mesera llega a a mesa y empieza a juntar los platos sucios -</scene_description>
<character>MESERA</character>
<dialogue>De postre sólo tenemos platanos con crema.</dialogue>
<scene_description>La familia no contesta. EXT - CALLE - TUXPAN -- NOCHE La familia deambula por las calles. Van en silencio, perdidos en sus pensamientos. 27 de junio de 1971, domingo EXT - PALAPA - PLAYA DE TUXPAN -- DÍA El sol aplasta la tarde, incendiando con su brillo las olas del mar y la ardiente arena de la playa vacía. En el mar las olas se suceden, una tras otra, incesantes, arrastrando su espuma hasta acariciar la playa sin romper. Una palapa protege a la familia con su sombra y su arena fría. CONTINUED: Paco y Pepe entierran a Sofi en la arena, esculpiendole largas piernas falsas a las que agregan unos tenis como pies. La Señora Sofía lee un libro sentada en una silla plegable de tela y Toño lee un cuento de Flash acostado en una hamaca y mecido por el viento. A la orilla de la sombra, Cleo está sentada en una silla, hipnotizada por el ritmo de las olas y de la espuma que se deshace al acariciar la arena. El Tiempo que fluye lento. EXT - PLAYA DE TUXPAN -- TARDE/OCASO La luz amarilla del fin de la tarde baila con el viento, acariciando con suavidad las superficies. Paco y Sofi juegan entre las olas, brincándolas, nadando abajo de otras o resistiendo heroicos de pie. Cleo, con su vestido, está de pie junto a Pepe que hace hoyos, túneles y caminos en la arena húmeda. La Señora Sofía se acerca desde la palapa, la sigue Toño que la espera a mitad de camino. Paco y Sofi salen del agua corriendo -</scene_description>
<character>PACO</character>
<dialogue>¿Te vas a meter?</dialogue>
<character>SEÑORA SOFÍA</character>
<dialogue>Tengo que ir a checar las llantas para que mañana salgamos temprano. ¿Vienen?</dialogue>
<character>PACO</character>
<dialogue>No. Es nuestro último día en la playa.</dialogue>
<character>SOFI</character>
<dialogue>Yo también me quedo.</dialogue>
<character>SEÑORA SOFÍA</character>
<dialogue>Pero si yo me voy no pueden meterse, Cleo no sabe nadar si pasa algo.</dialogue>
<character>PACO</character>
<dialogue>Si está bien suavecito.</dialogue>
<scene_description>CONTINUED:</scene_description>
<character>SEÑORA SOFÍA</character>
<dialogue>No me importa. Si se quieren quedar, ésa es la regla.</dialogue>
<character>PACO</character>
<dialogue>¿Ni en la orilla?</dialogue>
<character>SEÑORA SOFÍA</character>
<dialogue>En la orilla está bien. Pero nada más en la orilla. ¿Entendido?</dialogue>
<character>PACO Y SOFI</character>
<dialogue>Sí…</dialogue>
<character>PEPE</character>
<dialogue>¿También yo?</dialogue>
<character>SEÑORA SOFÍA</character>
<dialogue>Sí. Pero en la orillita.</dialogue>
<scene_description>La Señora Sofía voltea con Cleo.</scene_description>
<character>SEÑORA SOFÍA</character>
<dialogue>¿Te los dejo? No me tardo.</dialogue>
<scene_description>Cleo sólo asiente y ve a la señora Sofía que camina de regreso acompañada de Toño hacia el Galaxie 500 estacionado detrás de la palapa. Al fondo, el sol ha perdido su brillo y se asoma, redondo y rojo, entre las nubes. Paco y Sofi van de regreso al agua, Pepe los sigue.</scene_description>
<character>CLEO</character>
<dialogue>En la orilla nada más.</dialogue>
<scene_description>Paco y Sofi corren en la orilla, chapoteando con los pies, salpicando a Pepe.</scene_description>
<character>PEPE</character>
<dialogue>¡Ahhh!</dialogue>
<scene_description>Paco y Sofi patean agua para mojar a Pepe, que se escapa corriendo pero cae en la arena seca. Cleo corre hasta él y lo levanta llorando, e intenta sacudirle los miles de granos de arena adheridos a su húmeda piel. Paco aprovecha la distracción y se aventura a ir más profundo, Sofi comienza a seguirlo cuando Cleo los descubre - CONTINUED: (2)</scene_description>
<character>CLEO</character>
<dialogue>¡Paco! ¡En la orilla nada más! ¡Sofi!</dialogue>
<scene_description>Sofi obedece, Paco también regresa a la orilla. Cleo toma la mano de Pepe y juntos caminan hacia la palapa. Al pisar la arena más caliente Pepe se detiene y levanta los brazos.</scene_description>
<character>PEPE</character>
<dialogue>Cárgame.</dialogue>
<character>CLEO</character>
<dialogue>No, qué. Tú puedes solo, ya no está caliente.</dialogue>
<scene_description>Ve hacia la orilla -</scene_description>
<character>CLEO</character>
<dialogue>¡Paco! ¡Ya los vi! ¡A la orilla!</dialogue>
<character>PACO (O.C.)</character>
<dialogue>¡Si estamos en la orilla!</dialogue>
<character>CLEO</character>
<dialogue>¡Más pa acá! ¡Ya oyeron a su mamá, si no se vienen más pa acá, sálganse!</dialogue>
<scene_description>Espera, y cuando está satisfecha, continúa su camino. Pepe, aún con los brazos al aire, la ve alejarse y se tira en la arena. Cleo apenas voltea -</scene_description>
<character>CLEO</character>
<dialogue>Allá tú. Ahí nomás te estás llenando de más arena y en la palapa yo te iba a limpiar.</dialogue>
<scene_description>Y sigue su camino. Pepe se levanta empanizado de arena y se apresura a alcanzarla. Llegan a la palapa y Pepe se sienta en una silla, Cleo comienza a sacudirle la arena con una toalla limpia. Mira hacia el mar -</scene_description>
<character>CLEO</character>
<dialogue>¡Ándenles, que los estoy viendo!</dialogue>
<scene_description>CONTINUED: (3) Cleo espera a que los niños regresen a lo menos profundo y continúa limpiando a Pepe.</scene_description>
<character>PEPE</character>
<dialogue>¿Sabías que cuando yo era grande fui marinero?</dialogue>
<character>CLEO</character>
<dialogue>Mmmmjjjjmm…</dialogue>
<character>PEPE</character>
<dialogue>Sí. Y me ahogué en una tormenta.</dialogue>
<character>CLEO</character>
<dialogue>Mmmmjjjjmm…</dialogue>
<scene_description>Se levanta y ve hacia el mar -</scene_description>
<character>CLEO</character>
<dialogue>¡Paco y Sofi! ¡Más pa atrás!</dialogue>
<scene_description>Cleo continúa viendo -</scene_description>
<character>PEPE</character>
<dialogue>Pero las olas eran grandísimas…</dialogue>
<character>CLEO</character>
<dialogue>¡Que se regresen!</dialogue>
<scene_description>Camina a la orilla de la palapa y se detiene junto a un poste y espera -</scene_description>
<character>CLEO</character>
<dialogue>¡Más atrás!</dialogue>
<character>PEPE</character>
<dialogue>…además era de noche y había muchos rayos… Y no sabía nadar…</dialogue>
<scene_description>Cleo, sin quitar los ojos de las olas, comienza a caminar hacia la orilla.</scene_description>
<character>CLEO</character>
<dialogue>Ahí espérate, Pepe.</dialogue>
<scene_description>El sol ha desaparecido tras la montaña y el cielo púrpura se carga de nubes negras. El viento levanta la arena y crea olas nuevas que chocan arrogantes contra las viejas. Cleo se detiene -</scene_description>
<character>CLEO</character>
<dialogue>¡Ayuda a tu hermana!</dialogue>
<scene_description>CONTINUED: (4) Atrás de ella, Pepe se acerca. Cleo lo ve -</scene_description>
<character>CLEO</character>
<dialogue>¡Pepe! ¡Te dije que te quedes ahí!</dialogue>
<scene_description>Pepe, regañado, va de regreso a la palapa. Cleo ve el mar asustada y busca alrededor, pero la playa está vacía, sólo un hombre a caballo y gente que camina, pero todos lejos. Se apresura al mar. Al llegar a la orilla camina temerosa entre el agua que avanza y retrocede y choca alrededor de sus piernas, empapando su vestido de poliéster. Mira impotente hacia las olas en donde Paco y Sofi batallan, insignificantes en un mar feroz e indiferente que los lleva cada vez más adentro. Cleo intenta avanzar hacia los niños y lucha por mantener el equilibrio en el agua embravecida que ya le llega a la cintura. El viento juega con las crestas de las olas oscuras y las nubes densas están cargadas de tensión en el cielo cada vez más sombrío. Cleo mira hacia la playa pero el hombre a caballo y la gente están aún muy lejos, y resignada decide aventurarse más profundo. Una ola sumerge las cabezas de los niños. Cuando pasa, Sofi emerge pero apenas toma aire cuando otra ola la engulle. Otras olas se cruzan y al chocar revientan hacia el cielo. Cleo lucha desesperada por permanecer de pie en el caos de corrientes encontradas que la envuelve, sin dejar de mirar al frente - Donde las olas chocan, encrespadas, y cuando pasan otras toman su lugar, pero las cabecitas no emergen. Otra ola se levanta, y frente a ella una cabeza brota, es Sofi que toma aire, y al tiempo Paco surge. Voltea y mide la ola, agarra a su hermana y se impulsa con la corriente hacia la playa, pero la ola los alcanza y los aplasta, hundiéndolos. CONTINUED: (5) Cleo se acerca pero es empujada por las olas. Frente a ella, las cabecitas resurgen, Paco intenta repetir la maniobra y empuja a Sofi al frente, pero el agua los envuelve. También envuelve a Cleo, pero no logra arrastrarla. Avanza hacia Sofi que intenta nadar hacia ella. Cleo extiende su cuerpo para alcanzarla, y al jalarla, sus pies pierden contacto con el fondo y las dos se hunden. Pasa una ola galopando espuma, y atrás de ella, Cleo emerge cargando a Sofi. Paco nada detrás de ellas. En la playa se ha juntado un grupo de gente, entre ellos el hombre a caballo. Cleo carga a Sofi y finalmente logra llegar hasta aguas menos profundas, Paco la sigue un poco más atrás. Un par de muchachos corren hacia ellos pero no ayudan, sólo miran. Cleo, cargando a Sofi, llega a la orilla y se desploma en la playa, Paco junto a ella. Sofi tose y Cleo la abraza en su regazo. Los curiosos los rodean y tras ellos, la Señora Sofía, seguida de Toño, se acerca corriendo desde la palapa. Cleo limpia la arena de la cara de Sofi y rompe a llorar. Llora y abraza a Sofi y se mece con ella, que también llora. Cleo la aprieta con toda su vida. La Señora Sofía llega y se arroja al suelo junto a Cleo, le arrebata a Sofi que abraza a su madre. Paco llega a ellas y también las abraza. Toño los ve, parado junto a los curiosos, junto a él Pepe mira asustado. La Señora Sofía revisa a Sofi -</scene_description>
<character>SEÑORA SOFÍA</character>
<dialogue>¿Estás bien, mi amor?…</dialogue>
<scene_description>Sofi asiente -</scene_description>
<character>SOFI</character>
<dialogue>Nos salvó Cleo…</dialogue>
<scene_description>La reciente memoria impulsa un nuevo llanto. La Señora Sofía ve a Cleo que llora desconsolada. Es un llanto hondo y profundo, un llanto doloroso, un llanto que lo limpia todo. CONTINUED: (6) La Señora Sofía la abraza con fuerza -</scene_description>
<character>SEÑORA SOFÍA</character>
<dialogue>Gracias… gracias… gracias, Cleo…</dialogue>
<scene_description>Pero Cleo no para de llorar -</scene_description>
<character>CLEO</character>
<dialogue>No la quería… No la quería…</dialogue>
<scene_description>La Señora Sofía intenta calmarla -</scene_description>
<character>SEÑORA SOFÍA</character>
<dialogue>Shh, shh, shh… Están bien… Los niños están bien…</dialogue>
<scene_description>Pero Cleo insiste entre llanto y mocos -</scene_description>
<character>CLEO</character>
<dialogue>No la quería… No quería que naciera…</dialogue>
<scene_description>Y se quiebra aún más -</scene_description>
<character>CLEO</character>
<dialogue>… ¡Pobrecita!… ¡No quería que naciera!… ¡No quería que naciera!…</dialogue>
<scene_description>La Señora Sofía la abraza más fuerte y también llora -</scene_description>
<character>SEÑORA SOFÍA</character>
<dialogue>Todo va a estar bien, Cleo… Todo va a estar bien…</dialogue>
<scene_description>Las dos mujeres lloran abrazadas. Es un llanto compartido, con sollozos como arcadas, y largos silencios que explotan en prolongadas vocales. Los niños se enlazan alrededor de las mujeres, abrazándolas. Sólo Toño los mira de pie. Los curiosos se disipan. El jinete jala la riendas y el caballo sigue su camino por la playa. El mar enfurecido con sus inquietas olas refleja los últimos destellos del día. 28 de junio de 1971, lunes EXT - CARRETERA LIBRE A PUEBLA -- TARDE Sembradíos con manchones pardos de nubes se extienden entre cerros verdes y tupidos. Más atrás, los volcanes presumen sus cumbres nevadas. El Galaxie 500 avanza, minúsculo, por la carretera que cruza el paisaje.</scene_description>
</scene>
<scene>
<stage_direction>INT/EXT - GALAXIE 500 - CARRETERA LIBRE A PUEBLA --</stage_direction>
<scene_description>TARDE La Señora Sofía va al volante, su dedo índice tranquilo. A su lado, Toño ve por la ventana sin mirar el paisaje. Atrás, Paco también, con la mirada perdida, deja pasar la campiña. Sofi está abrazada a Cleo, que carga a Pepe dormido en sus piernas. La familia va en silencio. EXT - CARRETERA - ENTRADA A LA CIUDAD -- TARDE La ciudad de México Distrito Federal se extiende en la distancia. El Galaxie 500 avanza, cargado de incertidumbre. EXT - CASA - TEPEJI 21 -- TARDE La casa descansa paciente y resignada disfrutando los rayos de la tarde. La banda militar de secundaria dá la vuelta a la esquina y entra a la calle marchando con sus tambores y trompetas marciales. El Galaxie 500 entra a la calle y sigue la retaguardia de la banda hasta llegar frente a la casa donde se estaciona. Toño abre inmediatamente su puerta y sale a la calle, estirándose. Pepe sale después, corre a la puerta de la casa agarrándose la entrepierna y toca el timbre. El Borras responde con sus ladridos. La Señora Sofía sale del coche y va a abrir la cajuela, Sofi sale detrás de ella. Cleo sale al final y también va a la cajuela. CONTINUED: Adela abre la puerta de la casa agarrando al Borras del collar. Pepe se escabulle por la puerta y corre, urgido, hacia adentro. INT - PLANTA BAJA - TEPEJI21 -- NOCHE El sol de la tarde atravieza ransversal por las ventanas y raya con su luz las sombras de la sala. Afuera la familia está en la banqueta -</scene_description>
<character>CLEO</character>
<parenthetical>(a Adela en mixteco)</parenthetical>
<dialogue>Amarra al perro…</dialogue>
<character>SEÑORA SOFÍA</character>
<dialogue>Ustedes también, niños. No se hagan tontos y ayuden con las cosas.</dialogue>
<scene_description>Los niños, que ya iban encaminados a la casa, se detienen y regresan a ayudar de mala gana. Adentro, el tragaluz ilumina la escalera pero apenas acaricia los mosaicos del hall. Pepe irrumpe del patio y corre al baño que está bajo la escalera, entra y cierra la puerta. Por las ventanas que dan al patio, Adela cruza, arrastrando al Borras. Se escucha el chorro caer en el escusado. Adentro, la casa espera. Pareciera ser más grande. La ausencia de los libreros ha dejado torres de libros apilados en el suelo y un aspecto de vacío. Toño entra cargando sus cosas, viene deprisa pero se detiene a mitad del hall, sorprendido por el espacio que parece nuevo. Paco entra justo después y se detiene junto a su hermano. Entra la Señora Sofía acompañada de Sofi. Suena el escusado que pasa agua en el baño y Toño da su veredicto -</scene_description>
<character>TOÑO</character>
<dialogue>Está horrible. Sin los libreros es horrible…</dialogue>
<character>PACO</character>
<dialogue>A mí me gusta más así…</dialogue>
<scene_description>Toño se arranca escaleras arriba - CONTINUED:</scene_description>
<character>TOÑO</character>
<dialogue>Está horrible…</dialogue>
<scene_description>Paco lo sigue. Pepe sale del baño y sigue a su madre que sube las escaleras con Sofi -</scene_description>
<character>SOFI</character>
<dialogue>¿Que está horrible, eh, mami?</dialogue>
<character>SEÑORA SOFÍA</character>
<dialogue>No le gusta el hall sin los libreros.</dialogue>
<character>SOFI</character>
<dialogue>¿Qué libreros?</dialogue>
<character>SEÑORA SOFÍA</character>
<dialogue>Los que estaban en el hall.</dialogue>
<character>SOFI</character>
<dialogue>¡Ah! ¡Sí es cierto!</dialogue>
<character>PEPE</character>
<dialogue>¡Guau! ¡Se ve más grande!</dialogue>
<character>SEÑORA SOFÍA</character>
<dialogue>¿Qué les pareció nuestra aventura?</dialogue>
<character>SOFI</character>
<dialogue>A mí me gustó mucho.</dialogue>
<scene_description>La Señora Sofía y los niños desaparecen escaleras arriba, donde ya suena la televisión. Afuera, en el patio, Cleo camina cargando tres maletas, se cruza con Adela, que regresa sin el perro.</scene_description>
<character>ADELA</character>
<dialogue>Voy al Hogar que no hay jamón. ¿Cómo les fue, pues manita?</dialogue>
<character>CLEO</character>
<dialogue>Muy bonito. Ve, luego te cuento…</dialogue>
<scene_description>Adela continúa su camino a la calle. Cleo entra al hall, lo cruza y sube las escaleras cargando las maletas. Del piso de arriba se escucha a Pepe exclamar -</scene_description>
<character>PEPE (O.S.)</character>
<dialogue>¡Tampoco está el escritorio!</dialogue>
<scene_description>INT - HALL DE ARRIBA - TEPEJI 21 -- TARDE Cleo llega al hall y deposita las maletas en el piso. La familia ha comenzado a apropiarse de los espacios - Pepe se sienta junto a Paco que ya está frente a la televisión prendida.</scene_description>
<character>SEÑORA SOFÍA</character>
<dialogue>Y vamos a hacer otras aventuras. Vamos a viajar mucho.</dialogue>
<character>PACO</character>
<dialogue>¿Vamos a ir a Disneylandia?</dialogue>
<scene_description>Toño guarda cosas dentro de un cajón en su cuarto y Sofi va al suyo a recoger una muñeca. La Señora Sofía va hacia Cleo, toma una de las maletas y la lleva a su cuarto -</scene_description>
<character>SEÑORA SOFÍA</character>
<dialogue>No nos alcanza…</dialogue>
<scene_description>Cleo lleva otra maleta al cuarto de Toño y Paco. Toño sale del cuarto y se sienta en el sofá individual frente a la televisión.</scene_description>
<character>SEÑORA SOFÍA</character>
<dialogue>…Pero podemos ir de aventuras en el coche. ¿Qué tal ir a un pueblo minero fantasma en el desierto?</dialogue>
<character>PEPE</character>
<dialogue>¿Y hay fantasmas?</dialogue>
<scene_description>Paco se levanta y sigue a su madre a su cuarto -</scene_description>
<character>PACO</character>
<dialogue>No, baboso. Se les dice fantasmas a los que están abandonados. ¿Y qué hay ahí?</dialogue>
<scene_description>Cleo sale del cuarto de Toño cargando un bulto de ropa, lo deposita junto a la escalera. La Señora Sofía sale de su cuarto seguida por Paco. Suena el teléfono.</scene_description>
<character>SEÑORA SOFÍA</character>
<dialogue>Nada. Sólo el pueblo y la mina abandonados. O podemos ir a la Sierra Lacandona, o a Oaxaca…</dialogue>
<scene_description>CONTINUED:</scene_description>
<character>SOFI</character>
<dialogue>¡Sí, Oaxaca! Y podemos visitar el pueblo de Cleo.</dialogue>
<scene_description>La Señora Sofía llega al hall y se sienta en el sillón junto a Pepe y Sofi, que ha ocupado el otro lugar.</scene_description>
<character>PACO</character>
<dialogue>Yo estaba allí.</dialogue>
<character>SOFI</character>
<dialogue>El que se fue a la Villa…</dialogue>
<scene_description>Cleo contesta el teléfono -</scene_description>
<character>CLEO</character>
<dialogue>¿Bueno?… Muy bien, gracias, Señora… Sí, un momentito…</dialogue>
<scene_description>Baja el auricular y llama -</scene_description>
<character>CLEO</character>
<dialogue>¿Señora Sofi? Que le habla la Señora Molly.</dialogue>
<scene_description>La Señora Sofía se levanta, calmando a los niños -</scene_description>
<character>SEÑORA SOFÍA</character>
<dialogue>No se peleen. Siéntate aquí, Paco.</dialogue>
<scene_description>Y va a contestar el teléfono -</scene_description>
<character>SEÑORA SOFÍA</character>
<dialogue>Hola, comadre. ¿Cómo estás?… Yo aquí recién llegando de Tuxpan…</dialogue>
<scene_description>Cleo acomoda la ropa sucia en un montón. Pepe llama desde su sillón -</scene_description>
<character>PEPE</character>
<dialogue>¿Cleo? ¿Me traes un licuado de plátano?</dialogue>
<character>SOFI</character>
<dialogue>¿A mí también?</dialogue>
<scene_description>Cleo recoge el montón de ropa -</scene_description>
<character>CLEO</character>
<dialogue>Ahorita. Nomás dejen y subo la ropa pa lavar. ¿Quieres algo, Paco?</dialogue>
<scene_description>CONTINUED: (2)</scene_description>
<character>PACO</character>
<dialogue>¿Hay Gansitos?</dialogue>
<character>CLEO</character>
<dialogue>No sé. Pero si no hay, luego traigo.</dialogue>
<scene_description>Cleo comienza a bajar las escaleras, la Señora Sofía continúa su conversación por teléfono -</scene_description>
<character>SEÑORA SOFÍA</character>
<dialogue>Sí, nos fue de maravilla… Sí, los niños están bien… No… ¡Muy rico!… Bien… Bueno aunque Paco y Sofi me pegaron un susto…</dialogue>
<scene_description>INT - PLANTA BAJA - TEPEJI 21 -- TARDE Cleo baja las escaleras cargando el montón de ropa, las conversaciones de la familia y la televisión se filtran desde arriba. Al llegar abajo, cruza el hall vacío y después el antecomedor. Entra a la cocina y camina hacia el fondo. EXT - PATIO PEQUEÑO - TEPEJI 21 -- TARDE El patio, en sombras, flota en el silencio de la tarde. El Borras duerme y los pericos no cantan, sólo el rumor de la ciudad a la distancia. Cleo sale de la cocina cargando su montón de ropa sucia y cruza el minúsculo patio y comienza a subir por la escalera de metal que lleva a la azotea. Sus pasos reverberan a lo largo de la esquelética estructura en un quejido metálico que hace ecos por el pequeño patio, despertando a los pájaros enjaulados. Cleo llega al descanso frente a su cuarto y continúa su marcha hacia lo más alto. Un carro de camotes aúlla triste, a lo lejos. Paso a paso, Cleo asciende. Arriba, más allá de la azotea, el cielo es puro. Pietrasanta, 23 de septiembre de 2016.</scene_description>
</scene>
</script>
|
IN ENGLISH
ROMA
Written and Directed by
Alfonso Cuarón Dates in RED are meant only as a tool for the different departments for the specific historical accuracy of the scenes and are not intended to appear on screen. Thursday, September 3rd, 1970
INT. PATIO TEPEJI 21 - DAY
Yellow triangles inside red squares. Water spreading over tiles. Grimy foam. The tile floor of a long and narrow patio stretching through the entire house: On one end, a black metal door gives onto the street. The door has frosted glass windows, two of which are broken, courtesy of some dejected goalee. CLEO, Cleotilde/Cleodegaria Gutiérrez, a Mixtec indigenous woman, about 26 years old, walks across the patio, nudging water over the wet floor with a squeegee. As she reaches the other end, the foam has amassed in a corner, timidly showing off its shiny little white bubbles, but - A GUSH OF WATER surprises and drags the stubborn little bubbles to the corner where they finally vanish, whirling into the sewer. Cleo picks up the brooms and buckets and carries them to - THE SMALL PATIO - Which is enclosed between the kitchen, the garage and the house. She opens the door to a small closet, puts away the brooms and buckets, walks into a small bathroom and closes the door. The patio remains silent except for a radio announcer, his enthusiasm melting in the distance, and the sad song of two caged little birds. The toilet flushes. Then: water from the sink. A beat, the door opens. Cleo dries her hands on her apron, enters the kitchen and disappears behind the door connecting it to the house. INT - GROUND FLOOR - TEPEJI 21 - DAY Cleo crosses the dark, antique wood breakfast room, then the modern light and angled wood dining room and goes up the stairs, reaching the hall. Beyond the hall there are two living rooms, one with heavy green velvet sofas and antique cabinets with records and a stereo. There's a piano next to the wall. CONTINUED: The other living room, with its light sofas and cocktail tray and siphon attempts to look more modern. There's a giant painting in red and purple hues of a woman leaning on a clay pitcher. In the other living room, there's another painting, also large but more somber: In a dark stone cell, a monk brings solace to a shackled prisoner who covers his face with his hands in desperation. INT - UPPER LEVEL - TEPEJI 21 - DAY The stairs go up to a central hall surrounded by four bedrooms and an enormous bathroom. Cleo makes up the bedroom: the double bed is already made, it has an ornate mahogany headboard that matches the night tables. She collects the dirty clothes from the floor and carries them out to the hall where she piles them up onto a growing mound of laundry. The upstairs hallway doubles as a TV room. The bathroom is yet to be cleaned but two out of three bedrooms are completely done. Cleo walks into a room with two small beds for the kids. She picks up the clothes first, and then puts away the boy and girl toys spread across the entire floor. She's started making one of the beds when she hears someone calling from downstairs -
ADELA (O.S.)
Manita! It's almost one...!
Startled, Cleo exclaims -
CLEO
Ay, chicú...!
She exits the bedroom carrying dirty laundry. In the hallway, she gathers the pile of clothing and carries it, hurrying down the stairs. INT - DOWNSTAIRS - TEPEJI 21 - DAY Cleo heads down the stairs, carrying the pile of clothes. She crosses the hall and dining rooms and disappears behind the door that opens to the kitchen. After a beat, through - THE WINDOW We see her exit to the small patio. She leaves the clothes at the foot of the metal stairs that lead to the roof and hurries out to the street. EXT - HOUSE - TEPEJI 21 - DAY Tepeji street spans barely two blocks, halved by Monterrey Avenue, its tired homes built in the 1930s. Sad and defeated, Tepeji 21 sits in the middle of the block resting on its solid ground, which blends with the grey concrete of the sidewalk. The house is all white save for an almost-maroon red strip running along its facade and for the black wrought iron over the windows and doors. Next to the upper left hand corner of the door there's a ceramic tile number: 21. The door opens and Cleo exits. She hurries out to the Avenue and once she reaches the corner, she turns right. EXT - STREET - MONTERREY AVE. - TLAXCALA - DAY Cleo leaves Tepeji and walks down the avenue where there's a considerable amount of traffic. As she reaches the corner, she crosses the avenue and continues on - TLAXCALA STREET - She passes a pharmacy, a convenience store, a bakery and a beauty salon. EXT - CONDESA KINDERGARTEN - DAY A small crowd gathers by the kindergarten entrance. It's pickup time. Cleo arrives and goes into the school. After a moment, she comes out with PEPE, a 5 year-old boy carrying a barely dried "work of art". EXT - TLAXCALA STREET - DAY Cleo walks next to Pepe, who carries his "work of art": just a little kid in shorts and t-shirt. Pepe walks, skipping around not to step on the line. Cleo carries his lunch box. Suddenly, Pepe stops and sits down. Cleo keeps walking a few steps, then stops, turns around -
CLEO
What's wrong?
PEPE
I'm tired.
CLEO
Well, let's go then so we can get home. As soon as we get there you can go straight to bed!
PEPE
I can't.
Cleo pretends to keep walking.
PEPE
Mom!
Cleo stops and turns around -
CLEO
Of course you can! Come on! Let's go!
PEPE
I said I can't!
CLEO
If I went to bed every time I thought "I can't", I would live in bed!
PEPE
I'm not in bed.
Cleo takes his hand -
CLEO
Come on, there's pasta soup...
Pepe gets up -
PEPE
Ooooooooooh!
CONTINUED: And he starts with heavy and lazy steps.
PEPE
Mooooooooooooom!
CLEO
C'mon little soldier, 1, 2, 3, 4... march!
The two march hand in hand. EXT - PATIO - TEPEJI 21 - DAY Cleo and Pepe walk in: he's carrying his "work of art" while she carries the lunch box. They listen to Adela calling her -
ADELA (O.S.)
(In Mixtec)
Hurry up, manita! Fermín is on the phone!
Cleo hurries and goes inside the house to answer. INT - DOWNSTAIRS HALL - TEPEJI 21 - DAY
CLEO
Hello?
INT - KITCHEN - TEPEJI 21 - DAY Adela is cooking: pots simmer on the stove. Cleo walks in, leaving the lunch box on the table.
ADELA
(In Mixtec)
So, what did he say?
CLEO
Nothing! He just called to say hi!
Cleo picks up dishes and glasses, carries them out. Adela stirs the soup. Cleo comes in again and opens the silverware drawer.
ADELA
Sure... Now you've stolen my boyfriend, right?
CLEO
What? You crazy? Fermín is only my friend. Plus, you're the one who introduced us.
ADELA
Ay, manita! Look at you! I'm just messing with you. I only went out twice with him and didn't even let him kiss me.
We hear the street door opening and with it a commotion of kids.
CLEO
They're here...
Cleo exits to - EXT - PATIO - TEPEJI 21 - DAY Cleo reaches the patio just as - Two children run in - TOÑO, 12 years old and PACO, 11. The two rush into the house and we hear them go up the stairs. Soon after, SOFI, an 8 year-old girl comes in. She's very pretty although her brothers constantly pick on her, calling her fat. Trailing behind, comes SEÑORA TERESA, a 65 year-old widow, hair completely white, walking with a limp. IGNACIO, the 45 year-old driver, follows her, carrying a grocery bag. INT - BREAKFAST ROOM - TEPEJI 21 - DAY Cleo cuts Pepe's meat with a knife, she cuts ever-smaller pieces, until only tiny squares of steak remain. She douses them with lemon. SOFI impatiently waits her turn. PACO eats his meat while he talks -
PACO
A friend told me that a kid in his cousin's school was killed by a soldier because he threw a water balloon at him.
CONTINUED: Toño listens skeptically -
TOÑO
Says who?
PACO
Says Flores. If you don't believe me, ask him. He says he was in Chapultepec, near the new one, and that he was with his brother, throwing water balloons down at the passing cars and so an army Jeep passed and they threw one and the soldier got off and shot him.
CLEO
Jesus! And what happened to him?
PACO
What do you mean, what happened? He got shot in the head, he's dead.
CLEO
Horrible!
SEÑORA SOFÍA enters through the hallway door, carrying a backpack and a bunch of papers from the dining room table -
SEÑORA SOFÍA
Hello children, what are you eating?
SOFI AND PEPE
Mom!
Señora Sofía kisses each one hello. Pepe shows her his "work of art" -
PEPE
Look, mommy...
SEÑORA SOFÍA
Beautiful! Did you make that all by yourself?
PEPE
Yes, and look: there's pasta soup!
SEÑORA SOFÍA
Yummm, delicious!
She sits -
SEÑORA SOFÍA
Cleo, please don't let the kids touch those papers-they're exams I have to grade.
TOÑO
Is there any watermelon?
CLEO
No, love. Strawberries and cream.
PACO
I want some!
Cleo gets up, taking some dirty dishes with her-
CLEO
What about you, Toño?
TOÑO
I guess so.
Cleo goes to - INT - KITCHEN - TEPEJI 21 - DAY Cleo comes in with the dirty dishes, puts them in the sink. Ignacio and Adela eat at a small table. Cleo takes a clean bowl and starts pouring soup -
CLEO
Ándali, the señora is here. Sofía and Toño want their strawberries...
Adela gets up, slowly, and puts some plates, spoons, strawberries, sugar and cream on a platter. She looks at Cleo with a question and smiles. Cleo blushes and leaves, carrying her platter. INT - BREAKFAST ROOM - TEPEJI 21 - DAY Señora Sofía eats her soup. Cleo fixes the strawberries and cream on plates.
SEÑORA SOFÍA
Cleo, could you please send the señor's two suits to the dry cleaners. It has to be today because he's leaving on Friday and has to pack them.
CLEO
Don't worry, ma'am, I'll take them.
PEPE
Is dad going on a trip?
SEÑORA SOFÍA
He's going to Quebec for a conference.
SOFI
Where's that?
PACO
How come you don't know, silly?
SOFI
I don't. So what?
TOÑO
It's in Canada.
PACO
Is he flying Eastern?
SEÑORA SOFÍA
I don't know. I think it's Panam.
Cleo serves Sofi a plate of strawberries and cream.
SEÑORA SOFÍA
No sugar for Sofi, or she'll get fat.
EXT - ROOF- TEPEJI 21 - AFTERNOON Cleo washes clothes, occasionally humming to a song coming out of a yellow radio. The metallic creak of the stairs announces the arrival of Paco, followed by Pepe.
CLEO
You know you can't come up here.
PACO
I looked after him the whole way up.
CONTINUED:
CLEO
Your mom is going to be angry.
But Paco has started his game, pulling Pepe along with him.
PACO
I'm going to come out of here and you come over here, and when I get to here you'll shoot me, but I'll shoot you first and you'll fall dead... Like this... with your arms wide open...
Paco takes bullets like Sonny Corleone against the wall of the neighboring house.
CLEO
Just don't play next to the edge.
PACO
C'mon...
Paco moves away on the roof while Pepe hides behind the water tank. Paco comes back, but now hiding like an enemy spy all the way to the water tank. He tries to go around it, with his gun held high, but - Pepe comes at him from behind, with murderous intent. Paco reacts and turns around, tries to point with his gun but Pepe sprays him with sure shots and hides behind the water tank leaving Paco confused at first, then furious-
PACO
You were supposed to die!
From behind the water tank, Pepe defies him -
PEPE
Why aren't you the one who dies?
PACO
Cause it's my game.
PEPE
Then I don't wanna play anymore.
CONTINUED:
PACO
Well, then I don't want you to play, sissy.
He walks off, angry. He goes down the staircase, each step resonating with metallic moans. Pepe walks over to see him go and stops in the middle of the roof, clearly disappointed. He stays there for a long time, until suddenly - A spray of invisible bullets shoots through him and Pepe falls dead, his arms spread open, like Paco said. And he stays there, lying down motionless on the ground. Cleo dries her hands and walks over to him. She stops and watches him -
CLEO
What happened to you?
Without opening his eyes, Pepe answers from the ground.
PEPE
I'm dead.
CLEO
Well, let's go down then.
PEPE
I can't. I'm dead.
CLEO
Then come back to life, we have to go down!
PEPE
If you die, you can't live again.
CLEO
Now what am I going to do without my Pepe!?
Cleo sits on the ground next to Pepe, who remains motionless.
CLEO
I can't live without my Pepe!
Cleo lies down next to Pepe, arms also extended, and closes her eyes - CONTINUED:
CLEO
I'm also dead.
And so she remains still, Pepe next to her. A DC 8 flies overhead. Pepe opens an eye to see Cleo. She's not moving and seems not to be breathing at all. Pepe reaches his hand and takes Cleo's.
PEPE
Cleo...?
But Cleo's not moving. Pepe sits up -
PEPE
Cleo...?
CLEO
I'm dead.
PEPE
No! C'mon, get up!
CLEO
Didn't you say that was impossible?
PEPE
Cleo, stop it!
But Cleo doesn't answer.
PEPE
Cleo!
She remains still.
PEPE
Cleeoo!
Pepe's starting to get scared -
PEPE
Cleeeeeeeeooooooo!
Cleo opens her eyes and smiles at him.
CLEO
I'm playing your game. Let's see... shall we play a little longer?
Pepe lies down next to her, arms outstretched. CONTINUED:
CLEO
Close your eyes.
They both close their eyes.
CLEO
I like being dead.
Pepe holds her hand. The two of them lie dead on the roof - The afternoon quiet hours have begun. Church bells ring in the distance. All around them, a landscape of roofs mushrooming in all directions. In many of them, other women wash or hang laundry. The wind carries the hum of different radios and dogs barking. The whistle of a sweet potato cart. The quiet universe. INT - MAIN BATHROOM - TEPEJI 21 - NIGHT Cleo bathes Sofi and Pepe in the bathtub. Sofi's hair is full of soap and she plays at making different hairdos in the mirror. Pepe has a submarine but isn't playing with it. He's pensive.
PEPE
Cleo, if you died right now, would you go to heaven or hell?
CLEO
And why would I die?
PEPE
I'm just saying... Heaven or hell?
CLEO
You're killing me all the time...
Pepe is getting annoyed.
PEPE
Well, it's a game! Tell me already... heaven or hell?
Cleo fills a small bucket with water and tells Sofi -
CLEO
Let's see, close your eyes...
As she pours water to rinse her hair.
CLEO
I'd fly straight up to heaven with my little wings.
PEPE
Paco told me that in his religion class the had a sli-ding show...
CLEO
Sli-ding...?
Sofi laughs -
SOFI
Slide show.
PEPE
That thing. About hell.
Cleo pours another bucketful on Sofi.
CLEO
(uninterested)
Hell?
PEPE
Yep, paintings and photos....
CLEO
Photos?
PEPE
Yeah. He said there was fire on all sides... and that while they burn you, there's some real ugly devils poking you, like this, with irons... and others that bite you or eat your arms....
CLEO
Ay chicú! horrible! Stop talking about that...!
CONTINUED:
PEPE
Yeah but it doesn't matter...!
CLEO
What do you mean it doesn't matter? What about all the fire?
Pepe laughs -
PEPE
He says it doesn't matter cause that's where he wants to go!
CLEO
What? But didn't you say they burn people there?
PEPE
Yes, but Paco says everyone there is naked!
His laugh is now roaring -
PEPE
And that you can see all the girls... naked!
Pepe is laughing hard, Sofi spits out water and laughs with him.
EXT. - PATIO - TEPEJI 21 - NIGHT
The frosted glass panels light up and we hear - A horn honking - Ta-ta ta-ta ta-ta ta-taaaaaaa! Behind the door, the powerful and tantalizing hum of a V8. From inside the car, booms XELA radio station playing "Un bal" from Symphonie Fantastique. BORRAS immediately starts barking at the door. Cleo and Adela rush to the patio-
ADELA
Well, he's in early.
Cleo grabs Borras and drags him to the back of the patio. CONTINUED:
CLEO
Don't you know he's leaving tomorrow?
Adela begins to open the door. Pepe and Sofi peek out from the hall. Holding Borras, Cleo orders them to -
CLEO
Wait there!
The V8 impatiently purrs behind the door and finally - Adela opens the door to reveal - The front of a 1970 2-DOOR BLACK GALAXIE 500. Its powerful headlights flood the patio all the way to the back, lighting Cleo who holds Borras. The Galaxie 500 slowly pulls in but it's too large for the space, leaving only about an inch on each side of the doors. The front of the car is in, then it breaks - The left side is about to touch the door frame. The tires turn right accompanied by the SCREECH of rubber against tile. The Galaxie 500 moves further in but then breaks again - The right side is about to touch. The black power steering wheel turns and - The wheels veer left, SCREECHING. It echoes through the patio, syncopated with the waltz emanating from the radio. Señora Sofía comes to the hall door next to Sofi and Pepe.
SOFI
Dad's home early!
The car moves forward a couple of inches and stops. The gear shifts to R - The Galaxie 500 backs up a few inches, breaks. CONTINUED: The gear shifts to D - The car inches forward slowly, free of the door frame. It's almost halfway in when it stops. The wheels veer right and - SCREECH. And the waltz picks up its rhythm. The car moves forward half a yard and breaks. The tires line straight up and - The Galaxie 500 has made it through the door frame and is now entirely inside the patio - As the waltz reaches its grand finale... The car parks right next to the hall entrance door - The engine shuts off, and with it, the music - Sofi and Pepe lunge through the door -
SEÑOR ANTONIO
There, there, there.... Let me get out.
Señora Sofía pulls the children to her and - SEÑOR ANTONIO comes out of the car, he's 40 years old with a few white hairs in his beard. He's still wearing his white doctor's coat. The children jump on him immediately -
SEÑOR ANTONIO
Who? Who? Who are these kids?
Señora Sofía touches his shoulder. The family comes in. Adela closes the street door and Cleo sets Borras free. He immediately sniffs at the Galaxie 500's tires. INT - UPSTAIRS HALL - TEPEJI 21 - NIGHT Gordolfo Gelatino exists his bedroom wearing a robe, stretching his arms lazily -
GORDOLFO GELATINO (ON T.V.)
Ya se despertó tu rorro, mamacita... (your baby's up, lil' mama)
Doña Naborita welcomes him enthusiastically -
DOÑA NABORITA (ON T.V.)
My angel of the mornin'! Si a penas son las dos de la tarde! Ya descansanste de descansar? (It's barely 2 pm! Have you rested from resting?)
The entire family is seated in front of a 1970 ADMIRAL TELEVISION SET. Sofi is perched on Señor Antonio and Pepe's on Señora Sofía's lap, Paco leans on her, cuddling. Toño, always more distant, sits in an armchair. Cleo serves Señor Antonio strawberries and cream. She picks up a plate with the remains of a concha and beans and head towards the stairs when - Laughter explodes, courtesy of Los Polivoces. The kids are laughing hard in their seats. Cleo stops and turns - ON TV - Gordolfo is sitting on the couch, admiring himself in the mirror, while Doña Naborita irons a pile of clothes.
DOÑA NABORITA (ON T.V.)
Ora sí, mi cerecita de jaibol, el edificio me dió toda su ropa a lavar y voy a poder comprarte ese reloj que tanto te gusta...! (That's right my little highball cherry, the entire building gave me their laundry to wash so I'm going to buy you that watch you like so much...!)
GORDOLFO GELATINO (ON T.V.)
No me gusta verte trabajar tanto, mi cabecita blanca adorada! Así que por favor vete al otro cuarto.
GORDOLFO GELATINO (ON T.V.)
(I don't like to see you working so hard my beloved little white head... so please go to the other room.)
Cleo sets aside the plates and sits down on the floor next to the sofa to watch T.V.
Paco holds out his arm to hug her.
Pepe tries doing the same but he can't reach. Cleo extends her arm and hooks it with his.
ON T.V. - A bump announces the Wash and Wear, who, minutes later enters his boss El Mostachón's office. He will exploit him, immune to the insults and truths that the Wash and Wear dishes out.
SEÑORA SOFÍA
Cleo?
Cleo immediately stands up -
CLEO
Yes, ma'am?
SEÑORA SOFÍA
Would you bring the doctor some chamomile tea?
CLEO
Yes, ma'am.
She picks up the plates from the floor and heads downstairs. INT - KITCHEN - TEPEJI 21 - NIGHT Adela is washing the dishes. Cleo comes in and leaves the dirty dishes next to the dishwasher.
CLEO
Move over!
She bumps Adela with her hip.
ADELA
Órale!
CLEO
Make some chamomile tea for the señora and get going.
CONTINUED: Adela obeys with mock-resignation and dries her hands with a rag -
ADELA
Just don't take too long...
She grabs a pot and pours water from a carboy on the floor. INT - UPSTAIRS HALL - TEPEJI 21 - NIGHT Cleo walks in with a steaming cup of tea, places it on a table next to Señora Sofía. Pepe sleeps in her arms.
SEÑORA SOFÍA
Can you take him?
Cleo takes Pepe and carries him into his room. Sofi follows her. Cleo pauses before going in to watch - ON T.V. - Chano and Chon reveal their faces under their hats. Chano starts asking Chon about penguin sizes. Chon answers and Chano starts howling at the answer.
SEÑORA SOFÍA
Off to bed, children...
Toño and Paco grudgingly get up and kiss their parents good night. INT - SOFI AND PEPE'S ROOM - TEPEJI 21 - NIGHT Sofi is lying down on her bed. Cleo sits next to her, taking her hand -
CLEO
Angelito de la Guarda, mi dulce compañía, no me desampares ni de noche ni de día. No me dejes sola que me perdería... (My guardian angel, sweet company, don't leave me alone day or night. Don't leave alone because I'd be lost...)
She strokes her face -
CLEO
Night-night, beautiful Sofi...
And she gives her a kiss. CONTINUED:
SOFI
Good night, Cleo.
She closes her eyes. Cleo gets up and turns off the light. She exits to - INT - UPSTAIRS HALL - TEPEJI 21 - NIGHT It's empty. Paco and Toño's door is closed but Señor Antonio and Señora Sofía's is still open. Señor Antonio sits on the bed, taking off his shoes. Señora Teresa's snores echo through the walls. Cleo picks up the teacup, intact and still full, and goes down the stairs. INT - DOWNSTAIRS - TEPEJI 21 - NIGHT Cleo goes down the stairs carrying the tea cup and when she reaches the hall, she goes into the living room to turn off all the lights. She leaves one on, next to the window. She keeps going till she reaches the kitchen door. She walks in. INT - KITCHEN - TEPEJI 21 - NIGHT Cleo enters the kitchen, pours out the tea and rinses the cup. She turns off the light and goes out to the small patio, climbing the metal staircase to her room. INT - MAID'S QUARTERS -TEPEJI 21 - NIGHT Cleo walks into the room. Adela is already in her nightgown -
ADELA
You took forever!
Cleo takes off her dress, rushing.
CLEO
Turn the light off already! Señora Teresa gets angry if she sees the light on!
Adela shuts the light and the room is dark although the window is big and lets the moonlight in. Cleo lights a candle and puts it on the floor. CONTINUED: The two of them lie down, lined up in such a way that one's feet touch the other one's feet and -
ADELA
Ready?
CLEO
Go...
The two of them push the upper parts of their bodies together and try to touch their toes -
ADELA
(groaning)
One...
And they work on their abs, one after the other -
ADELA
(groaning)
Two...
Between grunts and groans. Sunday, September 20th, 1970 EXT - INDEPENDENCIA AVE - DAY The festive bustle of a Sunday in downtown Mexico City: families and street vendors everywhere. Cleo and Adela walk in step, hurrying down the sidewalk in a moving obstacle race. Adela is faster but Cleo is more agile and tougher. Adela takes the lead but runs into a bus stop with families getting off. Cleo manages to slip through the crowd and keeps going. The sidewalk is a little less full, So Adela takes advantage of this and catches up just as they arrive to - EXT - TORTA STAND - INDEPENDENCIA AVE - DAY They stop, exhausted, catching their breath. One leans on a car, the other one on a lamp post. Between deep breaths, Cleo lifts a hand, index pointing at the sky -
CLEO
(breathless)
...I won...
ADELA
(breathless)
...No...we're...tied...
Cleo simply shakes her head no. INT - TORTA STAND - INDEPENDENCIA AVE - DAY Hand-painted illustrations on the wall advertise the different kinds of tortas available. On the other wall, a mirror cut into diamond shapes reflects the already abundant clientele. Cleo and Adela sit at the bar, enjoying their tortas cubanas, spilling over with each bite.
ADELA
And then Moisés... remember Moisés, from the village?
Cleo nods, giving her torta a giant bite, overflowing with avocado.
ADELA
So he was there, boom, boom, boom, and...
CLEO
(laughing)
Boom, boom...boom?
ADELA
No silly! Boom, boom, sending me letter after letter...
Every time she speaks, Cleo puts her hand over her mouth -
CLEO
(curious)
What all was he writing about?
ADELA
Well, that he couldn't stop thinking about me... about how much he missed me... wanted to see me...
CLEO
Aaaaaaayyyyyyy...!
ADELA
That he felt so alone without me...
CLEO
Poor guy!
ADELA
That he couldn't take not seeing me no more...
CLEO
Aaaaaaay...
ADELA
And so my cousin, he comes over from the village to run some errands and brings me another letter from Moisés...
CLEO
And?
ADELA
And so he pulls out the letter and gives it to me... But the letter was there with a bunch of other letters, and as he's pulling it out, they all spill onto the floor. And so I see one with Moisés's handwriting, and so I just take it and I open it...!
Following the story, Cleo has stopped chewing -
ADELA
And sure enough, it was Moisés's. I can't stop thinking about you... I want to see you.... I feel so alone without you... I miss you so...
CLEO
Pobrecito! Such a nice guy!
ADELA
Sure. Except the letter was for another girl!
CLEO
Noooooo!
She's floored, mouth wide open, a half-chewed piece of torta still in her mouth. CONTINUED:
ADELA
That bastard sends the same letter to all the girls!
The both explode in laughter, covering their mouths with their hands. Other diners turn around and they both hide their faces, trying to repress their laughter. AT THE ENTRANCE - Two men walk into the torta stand and look around. They see Cleo and Adela sitting at the bar and walk towards them. RAMÓN, 27, affable, a little overweight and with sideburns is wearing a purple shirt with four buttons open down the front. FERMÍN, 26, is shy and a little sullen, with the sculpted body of an athlete over which he sports a t-shirt and a leather jacket.
RAMÓN
Why so alone eating your tortitassssss...?
He startles the two women. Adela gets up immediately and -
ADELA
Ramón!
The two hug and kiss luxuriantly. Fermín walks over with a shy smile. Cleo gets up and they awkwardly kiss hello.
ADELA
You want a torta?
Timidly, Fermín points to his stomach -
FERMÍN
Thanks, I already...
RAMÓN
If you're done eating, let's go, I love watching the previews!
EXT - METROPOLITAN CINEMA - AFTERNOON The entrance to the movie theater is a bazar of STREET VENDORS hawking their wares, reciting lists over and over like a litany, like mantras in a chant. And old woman seated on the floor offers her candies spread out on a piece of fabric in front of her -
CANDY VENDOR
...Cigarrettes-gum-chocolates- mazipan-muéganos-peanuts-gum drops...
Behind his makeshift table, another vendor offers "japanese" peanuts -
PEANUT VENDOR
Japaneeeeeeeeeeeeeeese peanuts! Japaneeeeeeeeeeeeeeese peanuts! Japaneeeeeeeeeeeeeeese peanuts!
A short, chubby lady walks around, a box of Adams gum in hand-
GUM VENDOR
One peso for Adams chewing gum! Mint flavor, spearmint, cinnamon, tuttifrutti...!
A meringue vendor, in his short shirt -
MERINGUE VENDOR
...Merengues-merengues-have a delicious merengue!...
Magazine vendors, yo-yo and cheap toy vendors... a cacophony of cries accompanied by a barrell organ on the sidewalk. Cleo, Adela, Ramón and Fermín line up at the ticket booth.
ADELA
What movie are we watching?
RAMÓN
Who knows.
Fermín asks Cleo -
FERMÍN
You sure you wanna go to the movies...?
CLEO
Sure. I like movies, don't you?
CONTINUED:
FERMÍN
Well, I mean... it's so nice out this afternoon, isn't it?
Cleo realizes the sun is shining and turns her had to the sky-
CLEO
Yep, sure is clear.
She looks at him -
CLEO
You want to go to the Alameda?
Fermín smiles at her.
FERMÍN
Wait a sec...
He walks up to Ramón, who is at the top of the line, pulling money out of his wallet. Adela takes the opportunity to go see Cleo.
ADELA
So, manita, no movies for you?
CLEO
Well... it's so nice out, no?
ADELA
(interrupts)
Uuuuuuuuuuuuyyyyyy! Right... well, you'll tell me all about it later, manita. I prefer the darkness.
And she walks off with Ramón who is waiting to go inside the theater. Fermín walks back to Cleo and they leave. The street vendors continue their chorus. The organ player is quiet. INT - HOTEL ROOM - AFTERNOON The rules hang in a small frame over the door. Disregarded. Behind the window, the Sunday afternoon wanes and a fluorescent sign peeks in, advertising the hotel. Behind the open bathroom door, a single bulb lights the sink and a rusty mirror. Fermín exits the bathroom carrying a pair of nunchaku. He's completely naked. Cleo waits in bed timidly, her slip still on. She blushes as she sees Fermín. In front of the bathroom, Fermín presents his nunchaku -
FERMÍN
Jodan Tsuki!...
He begins his nunchaku routine. It's an elaborate and studied choreography, the chained up sticks spinning like helixes around him. The effect is both poetic and a little ridiculous, but Cleo hides her smile behind the sheets. Fermín finalizes his routine by striking different positions -
FERMÍN
Jodan Tsuki! Chudan Tsuki! Mae Geri!
And he bows. Cleo represses a laugh.
FERMÍN
What?
Cleo covers her smile, asking -
CLEO
So, do you train every day?
FERMÍN
I have to. I owe my life to martial arts. I grew up with nothing, you know?
Outside, the crowd's hustle and bustle seems distant. Fermín leaves the nunchaku on a shelf and walks towards the foot of the bed -
FERMÍN
When I was a kid and my ma died...
He crosses himself -
FERMÍN
My aunt took me in... Over there in Neza. And between my cousins who beat me up and the bad influences, I started drinking...and then huffing...I was dying...
CONTINUED: He pauses -
FERMÍN
But then I found out about martial arts. And so then those things... well, you know, suddenly everything seemed, well... focused?
Fermín pauses for a beat, looks at Cleo -
FERMÍN
I don't really like telling people about my stuff, but with you it's... different.
He pulls his face close to hers and their lips meet and kiss, softly. But soon Cleo moves her head, bumping Fermín on the nose.
CLEO
Oh! Sorry...!
Fermín pulls her in again and kisses her intensely and with his mouth locked on Cleo's he lies down slowly on top of her. They make love. Wednesday, November 11th, 1970. INT- MAID'S QUARTERS - TEPEJI 21 - DAWN The alarm bell rings. Cleo wakes up and turns it off. She sits up on her bed. The early morning light comes in the window and the house is quiet. Adela sleeps placidly in her bed. Cleo gets up in a rush, takes her clothes from the chair, puts on her shoes and hurries out the door. EXT - SMALL PATIO - TEPEJI 21 - DAWN Cleo rushes down the stairs and into the small bathroom. INT - MAID'S BATHROOM - TEPEJI 21 - DAWN Cleo vomits. The bathroom is clean but has had zero upkeep for a long time. The tiny shower is curtainless and the toilet has no seat and no lid on the water tank. In the sink, two toothbrushes and a squeezed tube of Colgate. On a small shelf, a jar of Nivea and an unlit votive candle. INT - MAID'S BATHROOM - TEPEJI 21 - MOMENTS LATER Cleo takes a shower, the tiny bathroom immediately clouding with steam. INT - DOWNSTAIRS - TEPEJI 21 - DAWN Cleo comes out of the kitchen and walks across the house, still in gloom although behind the patio windows the first light of day is already warming. Cleo reaches the stairs and walks up. INT - UPSTAIRS HALL - TEPEJI 21 - DAY Through the younger children's bedroom door, we can see Cleo whispering to Sofi -
CLEO
My little girl... my beautiful little one...
She tickles her midriff -
CLEO
Rise and shine... wake up, wake up... it's a new dawn, it's a new day...
The tickling inches up Sofi's torso like an army of ants. Sofi smiles but pretends to sleep.
CLEO
Up, up, up little by little...
Sofi finally breaks into laughter and drowsily moves her arms.
CLEO
Good morning, my little princess...
Sofi hugs her neck.
CLEO
Andali! Get up...
Sofi gets up -
SOFI
Bathroom...
CLEO
Get going already!
Sofi leaves the room and crosses the hall sleepily while Cleo places a clean school uniform on the bed. Señora Teresa walks out of her bedroom and sees Sofi about to enter the bathroom -
SEÑORA TERESA
Good morning, Sofi.
Sofi goes in without turning back -
SOFI
Good morning, grandma...
She closes the door. Señora Teresa walks down the stairs. Cleo goes to Pepe's bed and gives him a quick kiss, making sure not to wake him, then leaves the room. She turns the light on in the hall and goes to Toño and Paco's room. They're deep asleep. She crouches down next to Toño, caressing his head and whispering -
CLEO
Toño, Toño my love, it's time to wake up...
Without even turning around, Toño slaps her hand off -
TOÑO
I'm up...
Cleo puts her hands up in the air -
CLEO
Oh, so he's already awake! Oh, so no one should touch him!...
Toño gets up, grouchy, and leaves the room. CONTINUED:
CLEO
Sofi's in the bathroom...
In the hall, he knocks on the bathroom door -
SOFI (O.C.)
Busy!
Toño knocks louder.
TOÑO
Hurry up! I gotta go!
SOFI (O.C.)
Coming!
Cleo sits at the foot of Paco's bed and pulls one of his feet out of the covers and puts his socks on without waking him. She sits him up, leans him against her, and takes off the top of his pajamas. In the hall, Toño keeps knocking on the bathroom door -
TOÑO
Get out!
The bathroom door opens, and Sofi comes out -
SOFI
You can go in now!
Toño walks in straight away and as he closes the door -
TOÑO
Fatty...!
Sofi walks back into her bedroom. Cleo has managed to put Paco's t-shirt on. He's now sitting on the bed.
CLEO
Come on, finish getting dressed.
Paco takes off his pajama pants and Cleo walks out to the hall and in to help Sofi. INT - BREAKFAST ROOM - TEPEJI 21 - DAY Señora Teresa and Sofi have breakfast at the table. Cleo is putting away waxed paper packages into the backpacks on the floor next to each chair. Through the windows, Ignacio is taking the cars out to the street. A portable radio on the table plays XEQK HASTE'S OBSERVATORY HOUR -
HASTE HOUR
Chocolates Turín! Ricos de principio a fin! Maestro Mecánico Marcos Carrasco garantiza vigoroso control de calidad en la rectificación de motores... (Turin Chocolates! Delicious from beginning to end! Mechanic Marcos Carrasco guarantees quality control when rectifying motors...)
Paco comes out of the kitchen with a Gansito and puts it in his backpack, except Sofi sees him -
SOFI
I want a Gansito too!
PACO
They're mine.
SEÑORA TERESA
I bought them for everyone.
PACO
But I put them in the freezer.
SEÑORA TERESA
Come on, give one to Sofi and I'll buy you a big box just for you.
Paco weighs the offer and goes back into the kitchen. Señora Teresa has finished her pan dulce dunked in coffee with milk and gets up.
SEÑORA TERESA
Hurry up kids, it's seven twenty already.
Paco's voice pipes in from the kitchen -
PACO (O.C.)
It's seven seventeen!
The Haste Hour recites -
HASTE HOUR
XEQK proporciona la hora del observatorio, misma de Haste. Haste, la Hora de México. Siete de la mañana diecisiete minutos. Siete diecisiete... (a beat)... BIIIP (XEQK gives you the time at the observatory, same as Haste's. Haste, Mexico's time. Seven in the morning and seventeen minutes. Seven seventeen...)
Paco triumphantly exits the kitchen. Señora Teresa pulls out her tongue at him and walks off to the door. Paco throws Sofi her Gansito.
PACO
For you to get fatter...
Toño walks in.
CLEO
Your juice, Toño.
Toño sits down -
TOÑO
Turn that thing off.
PACO
No, why?
Señora Teresa is already calling them from the door -
SEÑORA TERESA
Let's go!
Sofi gets up and walks towards Señora Teresa who is heading out towards the patio -
SEÑORA TERESA
Cleo, hold the dog so I can open the door.
Cleo immediately gets up and runs out to the patio. Toño also gets up and turns the radio volume all the way up before leaving. Paco turns it off with a slap -
TOÑO
Haha! Sissy!
CONTINUED: Before reaching the patio, Paco cries out -
PACO
Shotgun!
Toño downs his juice and follows them. EXT - HOUSE -TEPEJI 21 - DAY The Valiant is parked in front of the house, engine idling, Haste Hour on the radio. Cleo waits on the sidewalk, holding Borras from the collar, while Señora Teresa and the kids scramble messily into the car.
TOÑO
Move it!
SOFI
I'm moving!
When Señora Teresa has managed to get in the car, Ignacio closes the door behind her, waiting for everyone else to close their doors before getting in.
TOÑO
Put La Pantera on!
Paco turns the dial and the radio station switches to La Pantera right in the middle of a Beetles vs. Creedence vote -
RADIO LA PANTERA
...Por quién votas campeón? Por los Beatles... Un voto más para el cuarteto de Liverpool que van atrás por 18 votos del Cuarteto del Bajou. Por quién votas? Creedence... (Who do you vote for, champ? For the Beatles... One more vote for the Liverpool quartet, trailing 18 votes behind the Bajou quartet. Who do you vote for? Creedence...)
Ignacio steps on the clutch letting Paco, who is sitting next to him, put the hand gear next to the steering wheel in first. The Valiant drives off and down the street. Cleo sees it turn the corner and she walks back into the house pulling the dog inside. She closes the door. INT - DOWNSTAIRS HALL - TEPEJI 21 -DAY Cleo comes in, closing the patio door. She crosses the hall and walks up the stairs. INT - SOFI AND PEPE'S ROOM - TEPEJI 21 - DAY Cleo hides her face in Pepe's belly. He laughs.
PEPE
I was already up!
CLEO
Oh goody! So you're already dressed!
PEPE
Not yet.
CLEO
C'mon! Get up, let's get you dressed!
Pepe gets up and Cleo dresses him while he talks -
PEPE
You know what I remembered in my dream?
CLEO
No, what did you remember?
PEPE
I remembered when I was older.
CLEO
When you were older?
PEPE
Yes, you were also there, but you were different. Do you remember?
Cleo pulls his shorts up. INT - BREAKFAST ROOM - TEPEJI 21 - DAY A spoon delicately taps on the dome of an egg, cracking it slowly. CONTINUED: Cleo takes off the shell and empties out the soft-boiled egg onto a cup. She puts in salt and little bits of bread. She gives Pepe the cup. He eats. Cleo gets up and takes the dirty dishes into the - INT - KITCHEN - TEPEJI 21 - DAY Cleo comes in at the same time as Adela, her hair wet, through the small patio door.
CLEO
Good night!
ADELA
Why didn't you wake me?
CLEO
Well, God forbid you get tired later.
Adela looks at her with a crooked smile. Cleo spreads marmalade on a piece of bread and places it on another. They hear Señora Sofía walk into the Breakfast Room -
PEPE (O.S.)
Mom!
SEÑORA SOFÍA (O.S.)
How's your egg, my love?
Cleo puts the sandwich in a wax paper baggie -
CLEO
The Doctor is leaving. Tie Borras up so he can go.
Cleo takes the sandwich and a glass of orange juice and heads to the breakfast room. Adela goes out to the patio. INT - BREAKFAST ROOM - TEPEJI 21 - DAY Señora Sofía is sitting next to Pepe, Cleo comes in with the juice.
CLEO
Your juice...
SEÑORA SOFÍA
Pepe can wait to say goodbye to his dad. It doesn't matter if he's late.
CLEO
Yes ma'm.
At the back of the hall, Señor Antonio has come down the stairs, carrying two bags. Cleo rushes to help him.
CLEO
Leave them there, please, sir...!
Señor Antonio leaves the bags on the floor.
SEÑOR ANTONIO
Thanks, Cleo.
He walks to the Breakfast Room -
SEÑOR ANTONIO
Good morning, Pepón!
PEPE
Daddy!
Señor Antonio gulps down the whole glass of orange juice. Cleo heads over to the luggage: she carries the bags and exits - EXT - PATIO - TEPEJI 21 - DAY Military drums and trumpets echo inside the patio. Cleo carries the bags to the door where Adela is holding Borras by the collar. Cleo pauses only to open the door and walks out to - EXT - HOUSE - TEPEJI 21 - DAY A Jr. High marching band marks each step as they file down the street, sounding drums and trumpets. A 1966 cream colored VW SEDAN waits in front of the house. Cleo walks out with the bags and leaves them next to the car. She opens the door and puts one bag in the rear seat then opens the mechanism in the glove compartment. She gets out of the car and carries the second bag to the front of the car, opens the trunk and puts it in the tiny space. She walks back into the house but sees Señor Antonio already walking out through the patio. Señora Sofía follows him, carrying Pepe. Señor Antonio steps on dog shit and stops, disgusted -
SEÑOR ANTONIO
Well I'll be...
He rubs the foot on the floor trying to clean it off and keeps walking. On the street, he scrapes the sole of his shoe against the edge of the sidewalk. Señora Sofía puts Pepe down on the as they reach the street and walks over to Señor Antonio, hugging him from the back. Cleo moves back a few steps, Pepe walks over to her and holds her hand. Señora Sofía starts crying. Señor Antonio turns around and hugs her, uncomfortable.
SEÑORA SOFÍA
We'll be here...
SEÑOR ANTONIO
It's just for a few weeks...
He disentangles from Señora Sofía who heads over to give him a snotty kiss which he accepts before sitting at the wheel and closing the door. Señora Sofía puts her hand on her husband's shoulder while he turns on his four cylinder engine.
SEÑOR ANTONIO
Bye, Pepe...
He shifts into first gear and starts off slowly, forcing Señora Sofía to lift her hand, then drives off to the end of the street. The VW idles at the corner where it waits for the back of the marching band to leave the street taking its martial airs with it, then disappears to the right. Señora Sofía is frozen, her hand held up in the air. Cleo waits. CONTINUED: Finally, Señora Sofía turns, her face upset -
SEÑORA SOFÍA
Goddamnit! Clean up that dog shit!
She walks up to Pepe and takes his hand -
SEÑORA SOFÍA
I'll take Pepe.
She walks with Pepe to the end of the street, heading in the opposite direction as Señor Antonio. Cleo comes into the house and closes the door. EXT - PATIO -TEPEJI 21 - DAY Cleo pushes the shit onto a dustpan with a broom. She moves on to the next one, while Borras walks around the patio, oblivious. One by one, she picks them all up. EXT - SMALL PATIO - TEPEJI 21 - DAY Cleo opens the trash and throws in the shit. She closes it. EXT - PATIO - TEPEJI 21 - DAY A smeared stain on a red and white tile is all that remains of Borras's shit. Pale dust falls on the stain until it's entirely covered. Cleo crosses the patio, dusting soap on each one of the remaining stains. She reaches the street entrance, fills two pails of water, pours them on the floor and - One by one, she brushes every single dusted stain in the patio. Sunday November 29, 1970 INT - METROPOLITAN CINEMA - AFTERNOON MOVIE The theater is almost full, but emptier towards the back. In the last row, Cleo and Fermín sit next to each other, making out intensely, their hands rubbing each other's genitals while they kiss.
FERMÍN
Suck it...
Cleo moves back briefly and tries to tell him between sighs -
CLEO
It's just that... I haven't gotten my period this month...
But she succumbs, trying to repress a groan of pleasure. She kisses and caresses Fermín with greater intensity as he explores her more deeply with his hand. MOVIE Finally, Cleo manages to overcome her desire to tell him -
CLEO
I'm telling you. I haven't had my period all month.
But Fermín quiets her with a kiss on the mouth. When he goes to her neck, Cleo tries to talk between convulsions of pleasure -
CLEO
I think I'm with child.
Fermín pauses briefly, then keeps kissing her -
FERMÍN
Oooohhh, well that's OK, right?
CLEO
That's OK?
FERMÍN
Yeah...
Cleo smiles and kisses him on the mouth. She lowers her head and gives him a blow job. Fermín holds her head down pushing her to a rhythm.
FERMÍN
Like that... Just. Like. That...
MOVIE CONTINUED: Fermín reaches his arms out to grab onto the backs of the neighboring seats and starts moaning.
FERMÍN
Yes, yeeeeees, yeeeeeeeees, yeeeeeeeeeeeeees!
He opens his mouth and muffles a cry by biting down on his hand and when the explosion is over, Cleo comes up, hand on her mouth, face splashed with semen. She opens her purse and pulls out a couple of Kleenex. She wipes her mouth and face, then her hands, and cuddles on Fermín who is still breathing heavily. The two watch the movie. Cleo is in love. MOVIE Fermín moves softly to get up -
FERMÍN
I have to go to the restroom...
CLEO
Shhhh... It's almost over.
FERMÍN
I gotta go now. Gimme a sec, I'll be right back...
He gets up, walking through the empty seats to the aisle and then to the exit. Cleo waits till he's left to look for some gum in her purse. She puts it in her mouth. Pulls out another Kleenex, wets it with her tongue and wipes her face. The MOVIE reaches the end and the CREDITS roll. Cleo looks to the exit. PEOPLE start to leave. The LIGHTS COME ON in the theater, SECTION BY SECTION, SLOWLY... Cleo gets up and looks to the exits, leaning onto the seats in front of her. Credits keep rolling with the names of the Stage Crew. The theater is now empty except for Cleo and the screen showing the sound credits. CONTINUED: The velvet curtain closes, interrupting the unfinished credits. Cleo finally heads to the exit. INT - LOBBY METRPOLITAN CINEMA - AFTERNOON New spectators enter the theater, some heading directly to the candy store, where the lines are still short. Cleo wanders through the lobby looking for Fermín but there's no sign of him. She walks towards the entrance, heading the opposite direction as the newcomers. EXT -ENTRANCE -METROPOLITAN CINEMA - AFTERNOON Cleo exits and walks to the middle of the entrance where she stops, engrossed between the STREET VENDORS hawking their wares, reciting their different mantras. Her legs seem to fall out from under her and she leans on the marquee advertising the upcoming releases. Slowly, she sits on the ground between - An old lady selling her sweets
SWEETS VENDOR
...cigarrettes-chewing gum- chocolates-mazipan-muéganos-peanuts- gum drops-...
And a man peddling his magic trick: a small plastic skeleton that dances on the ground -
SKELETON VENDOR
No tricks, no ruses, it dances on its own! No strings, no cheating, Don Carlangas dances...
Cleo stays still in the midst of a sea of voices -
VENDORS
...Japaneeeeeeeeese peanuts! ... Herbie stickers for sale!... Merengues-merengues-get your delicious mereeeeeeengues!... Mint flavored, spearmint, cinnamon, tuttifrutti flavored Adams chiclets!...
CONTINUED: Next to Cleo, the small skeleton jumps, shimmies and suddenly stops -
SKELETON VENDOR
What happened, Don Carlangas? You tired? And what are we gonna do about that?
The skeleton sits on the floor -
SKELETON VENDOR
Aha! Mister Carlangas is resting!
Tuesday, December 8th, 1970. EXT -STREET - DAY And old Purépecha indigenous man, hunched and with a straw hat carries an enormous and bulky cloth sack, which almost covers his frail figure from the back. He walks down the street at a steady step, stopping only to rearrange the heavy sack on his back. He walks past a convenience store, a pharmacy, a bakery, a dime store, a stationary store and turns onto - EXT - TEPEJI STREET - HOUSE - TEPEJI 21 - DAY Without losing his rhythm, the old man walks in front of the old houses built in the 1930s, hunched over, the enormous bulk resting almost vertically on his back. Some houses have renovated, some are in desperate need of a new coat of paint. He arrives to Tepeji 21 and stops in front of the door. Slowly he takes the giant load off his back and puts it on the ground. He rings the bell. Inside, we hear Borras running to the door, barking furiously. The old man waits. Borras doesn't let up, his barks grow ever louder. Cleo approaches -
CLEO (O.S.)
Who is it?
OLD MAN WITH ORANGES
Oranges!
Borras answers, furious.
CLEO (O.S.)
Coming...! Borras, shut up!
The old man picks up the sack while the door opens just enough for Cleo to peek out while grabbing the dog's collar. The old man finishes putting his sack back up on his back -
OLD MAN WITH ORANGES
You got the dog?
CLEO
Yes.
OLD MAN WITH ORANGES
You sure?
CLEO
I got him. Come on in.
The door opens and Borras immediately lunges for the old man, but Cleo holds tugs at collar with all her strength. The dog barks, aggressive, standing on its hind legs. The old man comes into - EXT -PATIO -TEPEJI 21 - DAY Cleo holds Borras and steps to the side while the old man comes in. The dog's mouth sprays slob with each bark.
OLD MAN WITH ORANGES
Hold him tight.
Cleo wrestles with the dog -
CLEO
Come in, come in...
The old man walks cautiously next to Cleo, who is still holding Borras. She closes the door and follows in after him, keeping her distance. At the far end of the patio, the old man goes into the - EXT - SMALL PATIO - TEPEJI 21 - DAY The old man stops in front the kitchen and slowly deposits the heavy sack on the floor. Adela comes out of the kitchen carrying a wooden crate, which she places on the floor - CONTINUED:
ADELA
Good morning, sir...
OLD MAN WITH ORANGES
Morning... How many'll it be?
ADELA
Thirty.
The old man takes his hat off to cool his straight white hair damp with sweat. His Indigenous face is furrowed by deep wrinkles. He bends over, puts his hands in the sack and pulls out -
OLD MAN WITH ORANGES
1...2...3...4...5...6...
Cleo holds Borras who won't stop barking. EXT - PATIO - TEPEJI 21 - AFTERNOON Pebbles of ice bounce off the ground after falling from the sky. Hail covers the patio. INT - KITCHEN - TEPEJI 21 -AFTERNOON Drowned out by clouds, the afternoon light fights to pierce through the windows. Behind the window: hail over the small patio. Adela pours coffee in a pot and puts it on a tray that already has a sugar bowl, a little milk pitcher, a spoon and a napkin. Next to her, Cleo waits nervously.
ADELA
C'mon manita, you take it.
Cleo takes the platter and walks towards the living room. Adela walks with her but stops at the door. INT - LIVING ROOM - TEPEJI 21 - AFTERNOON Cleo exits the kitchen. Adela waits next to the door and watches her cross the hall carrying the coffee tray. Behind the windows, hail pours down. The afternoon light barely mottles the living room curtains and already some lamps are on. In a corner, a Christmas Tree shows off its many colored lights over a handcrafted nativity scene with moss, hay and cardboard landscapes. CONTINUED: In the modern living room, the children sit at the sofa around Señora Sofía. Cleo places the platter on the coffee table next to some sheets of paper and envelopes and pours the coffee. She is about to add some cream, when -
SEÑORA SOFÍA
That'll be fine, Cleo...
Cleo places the cup in front of Señora Sofía. She takes the cream and pours it while Cleo starts to leave. She stops -
CLEO
Pardon me, Señora Sofi?
Señora Sofía adds two sugars to her coffee.
SEÑORA SOFÍA
Yes?
CLEO
It's just that... when you have a minute, would you mind if we talk for a little bit?
SEÑORA SOFÍA
Yes, just wait a sec. I need to say something to the children.
Cleo nods and steps back a few steps, ready to wait.
SEÑORA SOFÍA
Feel free to sit down and wait over here.
Cleo timidly sits on the sofa. Señora Sofía tastes her coffee, the children grow restless.
PACO
What?
TOÑO
I gotta go buy balsa wood to build a model.
Señora Sofía sips her coffee and good-humoredly says -
SEÑORA SOFÍA
You'll go later. There's something I want to tell you...
CONTINUED:
PACO
Are we going to Disneyland?
SEÑORA SOFÍA
No, we're spending Christmas at my brother Pablo's.
PACO
It's so boring there!
SOFI
Not true! My cousins are there!
SEÑORA SOFÍA
And for New Year's we'll go to the Zavaleta's hacienda.
PACO
Will the Richards be there?
SEÑORA SOFÍA
Yes and the Matos and the Larsons.
TOÑO
When's dad coming?
SEÑORA SOFÍA
That's the other thing I wanted to talk to you about. His research is delayed and he'll have to stay in Quebec a little longer.
TOÑO
Will he be back by January?
Señora Sofía pauses for the briefest instant and when she takes up the conversation again her tone seems to have changed.
SEÑORA SOFÍA
He doesn't know. But that's why I brought you the paper. So you can each write him a letter.
She hands out the paper and envelopes to the children -
SEÑORA SOFÍA
Tell him how much you miss him, to come back soon please...
Her good humor masks her nervousness. CONTINUED:
SEÑORA SOFÍA
Pepe, you draw him somthing...
PEPE
I know how to write too.
PACO
Sure...
Toño gets up -
TOÑO
Well, first I'm going to go get my balsa wood.
Señor Sofía yells at him -
SEÑORA SOFÍA
You're not going anywhere until you've finished writing your letter!
Toño grabs his papers and rushes off angrily towards the stairs.
SEÑORA SOFÍA
Where are you going?
TOÑO
To my room. What? Can't I write the letter in my room either?
SEÑORA SOFÍA
Sure, that's fine.
Paco grabs his paper and follows Toño -
PACO
I'm going up too.
Señora Sofía gives the rest of the paper to Sofi.
SEÑORA SOFÍA
Sofi, take this to the dining room and help Pepe with his letter. Let me just talk to Cleo for a minute and I'll come join you.
Sofi takes the papers -
SOFI
C'mon Pepe.
CONTINUED:
SEÑORA SOFÍA
Make lots of pretty drawings, Pepe. Sofi, help him write "I miss you a lot, daddy."
SOFI
Sure. Let's go Pepe.
Sofi and Pepe go off with their papers to the dining room table.
PEPE
But I'll write it, OK?
Señora Sofía watches the kids trail off into the dining room. She turns to Cleo.
SEÑORA SOFÍA
OK, Cleo. What do you need?
Cleo looks at her like a deer in the headlights. She can't speak.
SEÑORA SOFÍA
Didn't you want to tell me something?
CLEO
No, well, yes. It's just that...
But her words fail her. In the back, next to the kitchen door, Adela pretends to clean while she tries to listen -
SEÑORA SOFÍA
Yes?
Cleo's eyes fill with tears. Señora Sofía worries -
SEÑORA SOFÍA
What's wrong, Cleo?
Cleo just sobs.
SEÑORA SOFÍA
Is your mother all right?
Cleo nods -
CLEO
It's just that... Señora Sofi...
SEÑORA SOFÍA
Yes?
CLEO
It's just that... I think I'm expecting.
Señora Sofía wasn't expecting this at all -
SEÑORA SOFÍA
What do you mean, you think?
CLEO
It's just that I haven't gotten my period.
SEÑORA SOFÍA
Since when?
CLEO
I don't know...
She starts sobbing. Señora Sofía sits next to her and hugs her.
SEÑORA SOFÍA
Oh you silly, silly girl. And who is the dad?
CLEO
Fermín. Adela's boyfriend's cousin.
SEÑORA SOFÍA
Does he know?
Cleo shakes her head -
CLEO
He's disappeared.
SEÑORA SOFÍA
Silly, silly, silly...!
CLEO
You're going to fire me, aren't you?
SEÑORA SOFÍA
What do you mean fire you? We have to take you to the doctor to get checked.
Pepe comes in with his letter - CONTINUED:
PEPE
Look, ma. I drew a plane.
SEÑORA SOFÍA
Very good. Now put some hearts on it...
(Calling out to Sofi)
Sofi! I told you to help your brother write "I miss you."
Sofi answers from the dining room -
SOFI
He won't let me help him!
PEPE
Why is Cleo crying?
SEÑORA SOFÍA
For no reason. She's got a stomachache. Let's see, come over here. Let's write your letter.
Señora Sofía walks over to the dining room but Pepe walks up to Cleo and hugs her. He rubs her belly -
PEPE
Sana, sana colita de rana. Si no sanas hoy, sanarás mañana... (Nursery rhyme to heal boo-boos)
Cleo laughs and hugs Pepe, hiding her tears. Thursday, December 10, 1970.
INT/EXT - GALAXIE 500 - BAJA CALIFORNIA AVE - DAY
Señora Sofía drives silently, hands on the stirring wheel, but her index fingers moves as if acquiescing at the intense argument going on in her head. Cleo rides next to her. Hair freshly done. She's changed her dress. She is nervous. They come to a cross-street where cars wait for the green light. Señora Sofía tries to squeeze into the space between a moving truck and an old jalopy. CONTINUED:
SEÑORA SOFÍA
Pío, pío, pío, pío...
Impossible. The inevitable happens. The Galaxie 500 scrapes on both sides, but this doesn't seem to bother Señora Sofía who keeps inching up slowly, despite the crush of twisting metal -
SEÑORA SOFÍA
Pío, pío, pío, pío...
EXT - BAJA CALIFORNIA AVE - DAY The Galaxie 500 moves forward between the truck and the jalopy, scraping its moldings, twisting them, and ripping off the side mirror to boot. The Galaxie lurches on amidst the crush of metal sheets until the space is too tight to keep going. The light changes to green and they drive on, except for the truck and the jalopy whose irritated drivers exit their vehicles to assess the damage.
EXT. - MEDICAL CENTER - CUAUHTEMOC AVE - DAY
The modern building site glows proudly with its promise of progress. The Galaxie 500, with its dented sides and dragging a molding enters a parking lot reserved for the doctors.
EXT. - OB/GYN - MEDICAL CENTER - DAY
Señora Sofía and Cleo walk in front of a building displaying beautiful murals with Prehispanic motifs and cross the entrance indicating Obstestrics and Gynecology. INT - LOBBY - OB/GYN -DAY Señora Sofía and Cleo cross the enormous marble lobby until they reach the elevators resting under a mural of patriotic heroes. INT - 8th FLOOR LOBBY -OB/GYN -DAY Señora Sofía and Cleo walk out of the elevator to a nurse station at the center of the lobby. Señora Sofía approaches the head NURSE -
SEÑORA SOFÍA
Good day, I have an appointment with Doctor Vélez.
NURSE
Under what name?
SEÑORA SOFÍA
It's Doctor Roldán's wife.
The nurse picks up a phone.
INT. - HALLWAY -OB/GYN - DAY
Wall to wall picture windows run all along the hallway and the exam rooms. Señora Sofía waits with Cleo, who looks out the window onto the city stretching out to the west. DOCTOR VÉLEZ walks in with all the conviction that comes with experience. She is 40 years old and wears glasses.
SEÑORA SOFÍA
Hello, Margarita. Thank you for seeing us.
DOCTORA VÉLEZ
Of course, Sofía. With pleasure.
They kiss hello.
SEÑORA SOFÍA
Remember Cleo?
Doctor Vélez turns to Cleo -
DOCTORA VÉLEZ
Of course! Hi Cleo, how are you?
Cleo suffers from a mix of shyness and fear.
CLEO
Fine, thank you, doctor.
DOCTORA VÉLEZ
So, let's see how you're doing, Cleo.
DOCTORA VéLEZ
Come with me and tell me all about it... Sofía, you want to come as well?
SEÑORA SOFÍA
Thank you, Margarita. I'll just go over to say hi to Doctor Zavala.
DOCTORA VÉLEZ
Well, Cleo and I are going to have a chat. Why don't we meet in the lobby in forty minutes or so?
SEÑORA SOFÍA
Sure. I'll be back then.
She holds Cleo's hand -
SEÑORA SOFÍA
Go on Cleo, go with the doctor.
She walks back to the lobby. Cleo and Doctor Vélez head to one of the exam rooms. INT - EXAM ROOM - OB/GYN - DAY Cleo is sitting in a gynecological chair. She looks at the instruments on a tray off to the side. They look like medieval torture instruments. The door opens and Doctor Vélez comes in. She sits on a chair between Cleo's legs and starts to put on latex gloves -
DOCTORA VÉLEZ
All right then. Cleo, tell me.
Cleo hesitates -
CLEO
It's just that.... That...
DOCTORA VÉLEZ
It's OK Cleo, you can talk to me...
CLEO
It's that I haven't gotten my period.
DOCTORA VÉLEZ
Since when?
CLEO
About two months maybe?
DOCTORA VÉLEZ
OK. And you've been sexually active for how long?
Cleo blushes and cannot bring herself to answer.
DOCTORA VÉLEZ
Have you had many partners?
CLEO
Oh no! Never!
DOCTORA VÉLEZ
Do you use protection?
Cleo apparently doesn't understand the question.
DOCTORA VÉLEZ
Do you use condoms?
Cleo's tears are the only answer. Doctor takes the speculum and smears Vaseline on it.
DOCTORA VÉLEZ
When was the last time you got checked?
CLEO
Probably three or four years ago when I came to see you.
DOCTORA VÉLEZ
That's not good, Cleo. You have to get checked twice a year.
CLEO
Yes, doctor.
DOCTORA VÉLEZ
Well, let's see how you're doing. This is going to feel a little cold...
Doctor Vélez slides the speculum in between Cleo's legs. Cleo's face confirms it's not only cold, it's also painful.
INT. - 8TH FLOOR HALLWAY -OB/GYN - DAY
Cleo walks down the hallway with Doctor Vélez. At the far end of the lobby, they can see Señora Sofía talking with Doctor Zavala, 45 years old. CONTINUED: When she sees Cleo, Señora Sofía interrupts her chat with Doctor Zavala. Cleo is crying and is still disturbed. Doctor Vélez and Doctor Zavala kiss hello -
DOCTORA VÉLEZ
Hi, Mario...
DOCTOR ZAVALA
Doctoress...
SEÑORA SOFÍA
How's Cleo doing?
DOCTORA VÉLEZ
Cleo is ten weeks pregnant. She's very healthy and very strong and so is her baby. One thing: she has to get an iron shot every two weeks. I've given her a prescription.
SEÑORA SOFÍA
When's she due?
DOCTORA VÉLEZ
Sometime around the end of June.
SEÑORA SOFÍA
Oh Margarita, thank you so much for seeing her.
DOCTORA VÉLEZ
It's nothing! I missed her, right Cleo? OK, I'm off...
She kisses Señora Sofía goodbye -
DOCTORA VÉLEZ
Bye, Cleo. See you next month for your check up.
CLEO
Yes, doctor. Thank you.
Doctora Vélez walks off down the hallway. Señora Sofía turns to see Cleo -
SEÑORA SOFÍA
Cleo, why don't you go down to the third floor to see the new-born babies while I finish up here with Doctor Zavala?
INT. - MATERNITY WARD - OB/GYN - DAY
Dozens of cribs in a row, each one with its own new-born baby rolled up in a blanket. Cleo watches them through the window. Some sleep and others cry anxiously. Four cribs project strong lights on babies with masks, and to one side - In an INCUBATOR - A premature baby, tiny and fragile is plugged into tubes that barely bind him to life. Cleo watches, fascinated. Suddenly - A great block of plaster falls off the ceiling and lands on the incubator, covering it completely. Thursday, December 31st, 1970.
INT/EXT - '64 VALIANT - PUEBLA FREEWAY EXIT - CERRO LA
CALDERA - DAY Señora Sofía drives, her index finger in its eternal argument. Cleo rides next to her, and between them, Pepe. Toño, Paco and Sofi are in the back seat. The radio plays Radio Éxitos. Pepe looks through the rearview mirror off into the distance -
PEPE
Why does the mountain spell LEA? (READ)
SEÑORA SOFÍA
So that you kids read. See? Even the mountain is asking.
TOÑO
It's the initials for Luis Echeverría Álvarez, dummy.
SEÑORA SOFÍA
Don't call him that. He's 5. He doesn't have to know who Echeverría is. Explain it to him.
CONTINUED:
TOÑO
He's the president!
SOFI
Isn't it Gustavo Díaz Ordaz?
SEÑORA SOFÍA
Not anymore, Sofi. It's now Luis Echeverría, since December 1st.
SOFI
Oooooh...
PACO
Cleo really likes Echeverría. Yuck!
CLEO
Well, yeah. His wife Doña Ester is always dressed in huipiles and Oaxacan clothing. He likes us Indians.
TOÑO
But my uncle Alberto says he's the one who ordered the students killed two years ago.
CLEO
Noooooo!
TOÑO
He was the Minister of the Interior.
SOFI
Why did he kill the students?
TOÑO
'Cause they didn't do their homework.
SEÑORA SOFÍA
Enough, Toño. No, Sofi, Toño is just messing with you.
PEPE
Well I don't like him. Why does he write on the mountain? It's not his!
EXT. - PUEBLA FREEWAY - CERRO LA CALDERA - DAY
The Valiant plows on eastward. In the background the Cerro La Caldera, longing to be a mountain, delineates the boundary of the city as it melts into the slums. The west slope of the hill has been desecrated by three immense white letters extending almost all along and across its dry surface - LEA. Like a curse.
EXT. - ZAVALETA HACIENDA - DAY
A great adobe wall surrounds an immense property in the middle of fields. The Valiant crosses an enormous gate into-
EXT. - ENTRANCE - ZAVALETA HACIENDA - DAY
A road crosses the enormous walled esplanade. In the background, the beautiful wall of the hacienda, a monument to Profirian estates. The Valiant reaches the Big House. A dozen cars are parked in a row to one side of the road. All large luxury cars of the year: LTDs, Impalas and Country Squires. The '64 Valiant parks between an LTD and a Country Squire, making its mileage and its peeling paint very obvious. They get out of the car. Señora Sofía opens the trunk and Cleo starts to pull out the luggage, her belly barely noticeable. A group of people comes out of the Big House to greet them: three adults, some kids and several servants. CLAUDIA DE LA BÁRCENA, 38, SAMANTHA LARSSON, also 38, a high-class Mexican with died blond hair and MOLLY EDWARDS, an affable blond Welsh woman, 37, all throw their arms up in the air -
MOLLY
Comadre!
EXT/INT - CORRIDOR - HACIENDA - DAY
BENITA, 55 years old, the Hacienda housekeeper, guides Cleo down a long corridor. Both carry several bags some in their hands others hanging from their shoulders.
BENITA
You sure you can carry that?
CONTINUED:
CLEO
Yes, I'm with child, not sick. What? You tired already?
Cleo hurries forward. Benita does the same, following her.
BENITA
As if!
CLEO
I haven't seen you for six months and you got old on me.
The two women race hurriedly, buried under bags like ants carrying several times their own weight. Benita catches up with Cleo, who hurries on and overtakes her. But Benita stops -
BENITA
Where you going?
Cleo stops. Benita is standing next to a door -
BENITA
You've gone too far. What? Since you're pregnant you forget everything?
Cleo smiles and walks back.
INT. - CHILDREN'S ROOM - HACIENDA - DAY
A hall full of bunk beds, rudimentary but functional. There are several bags next to the beds and there are toys on top of some already. Lined up along all the walls there are stuffed dog heads. Cleo leaves the luggage next to a bunk bed and looks at the heads.
BENITA
Señor José had the room redecorated. They're the Hacienda dogs. Look... They were all in storage.
They look at a German Shepherd's head with glass eyes. CONTINUED:
BENITA
Look, that there is Pirata. He lived here in 1911.
A small plaque confirms this. It also indicates his name - Pirata. Cleo looks on, impressed.
CLEO
Pirata...
BENITA
And do you remember Canela?
CLEO
Yeah, where's she at?
BENITA
Look at her.
Cleo looks at an Irish Setter's head.
CLEO
Yikes!
BENITA
She died during the summer.
Cleo looks at Canela, horrified.
CLEO
They say she must have eaten a poisoned rat. But I think it was the villagers who are bothering Don José again about the land...
Canela looks at them with her glass eyes. EXT - SMALL CLEARING IN THE WOODS - HACIENDA - DAY The winter light filters through the trees and reflects on the great puddle stretching between the clearing and the woods. Children run between the trees throwing firecrackers, two dogs follow them, jumping in the puddle. Adults are practicing shooting bottles lined up on tree stumps with .22 caliber pistols at the other end of the clearing. With the exception of nannies and servants looking after the younger children, everyone is white and, except for Señora Sofía and her children, they're dressed in imported clothing. The sound of shots fuses with the firecrackers. Toño plays "tochito" flag-football with PEPE DE LA BÁRCENA, 13, EDUARDO LARSSON, a 12 year-old redhead, and RICKY EDWARDS, 11. Cleo looks after Pepe and keeps LUPE, 30, company as well as YOLA, 22, who look after JORGE DE LA BÁRCENA, 7, who suffers from intellectual disability, and partial paralysis in a leg and arm, and his brother MEMO, 5, who has autism spectre disorder. They're sitting on a tablecloth, playing with Matchbox cars. A little further back, GLORIA, 34, who works as a nanny with the Edwards', sits on another tablecloth with a toy china set, probably more expensive than a real one, and looks after Sofi who is playing with JULY EDWARDS, 7, VERO MATOS, 8, and ANDREA, a girl whose blond hair is almost white, also 8. GERARDO LARSSON, 10, a flamboyant chubby redhead plays with them too. Paco, along with RODRI DE LA BÁRCENA, 10, ALEX MATOS, 10 and ANDY EDWARDS, 8, appear from behind the trees and throw firecrackers at the girls. They scream. Some even cry.
CLEO
I saw you, Paco! Get out of here!
The boys run off, laughing and splashing across the puddle.
LUPE
Rodri! Don't run in the water! You're soaking wet!
Dr. ALEJANDRO MATOS, 40, with a goatee, shoots while smoking his pipe. Next to him, RICARDO EDWARDS, friendly, 39, OVE LARSSON, a towering redheaded shy Norwegian, 41, and LESLIE MATOS, a blond American, 38 also shoot while DR. JOSÉ DE LA BÁRCENA, 41, waits his turn and CELSO, the hacienda foreman, 35, reloads the guns.
DR. JOSÉ DE LA BÁRCENA
Celso, do you still have bullets or should I send Lupe to get the ones in the chest?
CONTINUED: A few yards away, Sofía, Claudia, Molly and Samantha sit in folding chairs, chatting. Señora Sofía sees the boys running through the trees. She gets up and yells -
SEÑORA SOFÍA
Don't run over there, you could get shot!
Molly seconds her, with her thick accent -
MOLLY
Boys! Vayase! Andy, get back!
FLOR, 17, a servant from the Hacienda, stands at a table with a cooler, pouring the adults drinks, LOLA, 12 going on 19, made up, dressed in a tiny mini-skirt and platform shoes, takes advantage of the adults' distraction to pour whisky into her Coca-Cola. Next to her, CLAU DE LA BÁRCENA, 11, seems amused, but her curiosity does not yet supersede her obedience. ON THE CHILDREN'S TABLECLOTH - The interaction with Jorge and Memo is difficult so Pepe is bored and watches the shooting party. He gets up and walks over there.
CLEO
Wait, Pepe. Where are you going?
Pepe just points and keeps walking. Cleo follows him and they reach the - SHOOTING PARTY - Where Dr. Alejandro Matos has fired his eight rounds and goes to Celso to recharge his gun. He calls to the women on the folding chairs -
DR. ALEJANDRO MATOS
What? Don't ladies shoot?
The women decline with their hands -
MOLLY
Leslie is our representative!
DR. ALEJANDRO MATOS
Leslie doesn't count, she's a gringa.
The women laugh. Claudia gets up -
CLAUDIA
Coming!
SAMANTHA
(In English)
Yes, Claudia. You show them, girl!
Celso gives Alejandro the reloaded gun while Leslie arrives with hers. Celso takes it and quickly reloads it. Pepe picks up the empty cartridges off the ground. Cleo helps him. Celso gives Alejandro a loaded gun, who gives it to Claudia -
DR. ALEJANDRO MATOS
(in English)
Leslie, could you help Claudia?
LESLIE
Come. Point the gun to the floor when you're not using it.
Cokes in hand, Clau and Lola mingle with the adults. They come upon Leslie -
LESLIE
(In English)
C'mon, Lola. You really have to wear a miniskirt and platform shoes? We're in the woods.
Lola keeps walking and pays no attention to her mother.
CLAUDIA
Forget her. You look great, Lola.
Lola and Clau reach the shooting party and its male acceptance.
DR. JOSÉ DE LA BÁRCENA
Let's see Lola, you want to shoot?
LOLA
Sure.
Lola walks up to José who gives her the gun while he hugs her from the back, to "help" her shoot. CONTINUED:
DR. JOSÉ DE LA BÁRCENA
Don't close your eyes when you shoot...
Cleo looks at Alejandro walking over to the drink table tended by Flor.
DR. ALEJANDRO MATOS
Can you pour me a whisky with two ice cubes?
Flor fixes his drink. AT THE SHOOTING PARTY - Everyone celebrates Claudia's nailing two bottles. She shoots four more shots in a row and pops off four more bottles. Everyone celebrates -
RICARDO EDWARDS
Be careful Pepe, your wife is like a guerrilla fighter!
Everyone laughs. Flor hands Alejandro his whisky and, taking advantage of the confusion, he spanks her. Flor runs away, terrified. More bottles explode. INT - PARLOUR- HACIENDA - NIGHT Dozens of floor lamps and table lamps light an immense nave with an enormous chimney guzzling up thick logs facing a broad living room with huge leather sofas decorated with furs. Adults converse, some sitting on the couches, others standing, all are drinking and some are smoking. Pepe is on Sofi's lap, and Gerardo is next to his mother. Yvonne Elliman's voice rings through the air, singing "I Don't Know How to Love You." The girls play cards in a long table in front of the French window that opens to a terrace. Outside, the boys throw firecrackers and rockets. Other boys play "Trominos" on the floor and in a smaller living room, Lola, drink in hand, gossips with Clau. Cleo is with Yola, who looks after Memo, who is obsessively turning a plate on the floor, and after Jorge, who plays with a little car. CONTINUED: Pepe, July Edwards and Andrew Larsson come in from the terrace howling and laughing, chased after by a strange monster. It's a scarecrow with a straw body and long furs, a wooden mask covering its face. Something like a pagan spirit, rum and coke in hand, now chasing after the younger children, who flee happily. Cleo sees Flor walk in with a tray carrying too many milks and milkshakes. She hurries to help her - The milk glasses dance perilously on the platter while Flor loses her balance, but Cleo rushes just in the nick of time. Together they walk over to the table and serve beverages to the girls. The scratch of a needle on a record as the metals of an orchestra blast a mambo rhythm: the tune changes to Perez Prado's "Corazón de Melón." Samantha jumps up with a cry and starts to dance -
SAMANTHA
Come on, comadre!
Sofía and Molly get up and dance with her. Ricardo Edwards in his Ricky Ricardo impersonation, walks by yelling -
RICARDO EDWARDS
Co-ra-zón de melón, de melón melón! Corazón!
He joins in the dancing. Alejandro follows and dances with Sofía. Lola and Clau also join, Gerardo dances with his mother. Ove with July. Benita comes into the living room and looks around. Molly is trying to get Vero and Andrea to go to bed, but they don't want to. Cleo and Flor look on, amused, sucked in by the Mambo. Cleo sees - Pepe, joining the dance and going up to his mother, who pays no attention since she's too busy dancing with Alejandro. Benita walks up to Cleo.
BENITA
Come her for a sec.
CONTINUED: Cleo looks at her, confused -
BENITA
Just come over for a sec.
Cleo looks around -
CLEO
But... what if?
BENITA
What? Is a kid going to cry because he lost at marbles or his brother stepped on him?
Cleo looks at her, amused, and follows her. They cross the room to the entrance.
RICARDO EDWARDS
Co-ra-zón de me-lón, de me-lón, me- lón, co-ra-zón!
EXT. - CORRIDOR - HACIENDA - NIGHT
Benita guides Cleo, who follows amused and curious down the corridor lit with candles. The leave the MAMBO behind and go down -
INT. - STAIRS - HACIENDA - NIGHT
The stone staircase leads down to an internal patio that doubles as storage. A couple of men chat, lit by the light from a kitchen window. Inside there's a racket around an accordion exhaling a ranchera-style polka. Three dogs meander about the patio, waiting for a New Year's gift. Benita and Cleo walk into -
INT. - KITCHEN - HACIENDA - NIGHT
A hall with a vaulted ceiling lit by bare light bulbs hosts an enormous ancient kitchen with wood burning stoves, a giant table, a Mabe stove and two 1961 refrigerators. CONTINUED: The Hacienda WORKERS celebrate New Year's. Benita guides Cleo to the table. Women are serving plates of food from large clay pots. A 65 year-old man plays the accordion and some spontaneous guy improvises a quebradita dance with Gloria, who is clearly drunk. She sees Cleo -
GLORIA
What? They finally let you out?
Cleo laughs. At the table, everyone drinks, some eat, some are dressed for the occasion, many are not. A 1959 television set transmits Channel 2's New Year's special.
BENITA
What'll you have?
CLEO
Nothing, thank you.
BENITA
What? You're not going to toast the New Year with us? What, you only speak English now?
CLEO
It's just that... the baby...
BENITA
A drink on New Year's will do it good. Celebrate while you can. See that guy with the hat?
Cleo sees a man with a hat talking somberly with two other men -
BENITA
They killed his son in August. The villagers did. Because of a land dispute.
Cleo looks at him, moved.
BENITA
You got life?
CLEO
Sure...
BENITA
I mean liquor.
CONTINUED: Benita pours her a shot of moonshine.
CLEO
I'd rather just have a little pulque.
BENITA
That's the spirit!
She pours pulque into a jar and hands it to Cleo. The two toast.
BENITA
Here's to a beautiful 1971 and to your baby's health!
CLEO AND BENITA
Cheers!
Benita takes the jar to her lips and Cleo draws her pulque close to hers when Gloria trips dancing her quebradita and bumps into Cleo. Before even touching her lips, the pulque jar falls to the ground and shatters into a million pieces.
GLORIA
Sorry, manita!
BENITA
No sweat. You dance, we got plenty more where that came from!
She pours pulque into a new jar. Gloria keeps dancing. Cleo holds the other pulque but looks worriedly down at the shattered jar on the floor.
INT. - INTERNAL PATIO - STAIRS - HACIENDA - NIGHT
Cleo exits the kitchen. She's a little tipsy. The patio is empty except for the dogs who follow her until she reaches the stairs that lead up to -
EXT. - CORRIDOR - HACIENDA - NIGHT
Cleo walks down the candle-lit corridor and back into the living room where "Mummy Blues" is playing on the stereo. She sees a silhouette resting on the balustrade: it's Señora Sofía. CONTINUED: Alejandro Matos comes out of the parlour and comes close to Sofía, hugging her from behind. Sofía reacts, turning around in surprise.
SEÑORA SOFÍA
What are you doing?
Alejandro tries to kiss her, but she rejects him.
DR. ALEJANDRO MATOS
Come, now... You know you want to...
Sofía struggles to free herself.
SEÑORA SOFÍA
No, Alex! Leave me alone! You're drunk!
She pushes him. Alejandro holds his hands up, resentful and resigned -
DR. ALEJANDRO MATOS
Fine. Fine! I just wanted to comfort you, but...
He begins to walk back into the parlour.
DR. ALEJANDRO MATOS
It's not even like you're that hot, comadre...
Señora Sofía leans into the balustrade, confused and agitated. She looks in Cleo's direction, but Cleo hides behind a column. Señora Sofía walks back into the parlour, Cleo waits for her to leave before coming out of her hiding spot. She leans on the balustrade and looks out at the night. When her eyes get used to the darkness, she can see the darker silhouettes of the trees in front of a sky that seems to be lit from within. The cricket song melts into "Mummy Blues", ending on a scratch, and the accordion which seems to be playing a mazurca. The wind blows softly. Through the darkness in the woods, a pale light appears, almost blending into the night. Cleo watches in fascination. CONTINUED: The Shocking Blue's "Venus" starts to play. The dogs start barking. The shining starts to spread out in a warm, attractive pulsing, like a will o' the wisp or an apparition. Cleo watches, hypnotized. But what started off as a soft glow begins to rip through the night in an intense gleam that dances in the trees. The barks become more insistent. Someone screams -
SCREAMING
Fire! Fire! In the woods!
A racket. More screaming. More barking. In the garden, Celso runs, carrying a bucket. Other workers follow after him, carrying buckets and pots overflowing with water. They run towards the woods in flames. EXT - SMALL CLEARING IN THE WOODS - HACIENDA - NIGHT The giant puddle reflects the flames dancing over the rocks on the ground. The fire licks the trees and spreads into the branches. The flames push forward, devouring the clearing grass, that very same place where just this afternoon they were all shooting. Celso runs to the fire and empties out his bucket. The workers do the same. They come back for more water and cross paths with yet other workers carrying various containers. Dr. José arrives carrying two buckets, followed by Ricardo Edwards, with one. Further behind, Dr. Alejandro Matos and Leslie carry a heavy washbasin. Gloria, Flor, Yola and Cleo all bring their containers. Even the kids. Everyone runs, comes, goes... the dogs keep their distance. A human chain starts to form: buckets pass from hand to hand, everyone trying to put out the fire. The pagan monster with his drink in hand arrives. He looks at his watch - CONTINUED:
OVE
(In English)
23...22...21...20...19...18...17...
The monster takes off his mask, revealing a sweaty and drunk Ove -
OVE
16...15...14...13...12...11...10...
The human chain begins to work efficiently. Pepe even puts out a few blades of glass with his little cup.
OVE
...7...6...5...4...3...2...1...
HAPPY NEW YEAR!
But no one pays attention. Everyone is working, trying to control the fire.
OVE
Happy New year!
Ove starts singing in Norwegian. It's an emotional Nyttarbukk song.
OVE
Pkfmsll apdkfn alosnnm...
The children go to the puddle and fill up their little containers. The dogs follow them, splashing. The reflection is disarticulated in waves that bump into each other.
OVE
Pkfmsll apdkfn alosnnm...
Ove sings with conviction. His eyes fill with tears. Friday, January 1st, 1971.
EXT. - SMALL CLEARING IN THE WOODS - DAWN
Dew makes the woods shine, though they're still dark and smoking. The first rays of the new year sun filter through the trees. Four folding chairs rest the middle of the clearing, charred.
EXT. - FIELD - HACIENDA - AFTERNOON
The Iztaccíhuatl sleeps, immense, behind the hills and dusty crops. The afternoon light filters through rain-leaden clouds. A group of children run and explore. Toño, Pepe de la Bárcena, Ricky, Paco, Rodri, Alex and Eduardo lead the front throwing each other football passes. Paco, Rodri, and Alex chase after chameleons in the furrows. Lola and Clau walk next to them. Vero, Sofi, Gerardo, Andrea and July are further back. Pepe and Andy walk with Yola. Cleo walks with Benita. The dogs run everywhere. Alex chases after a chameleon, Rodri and Paco follow.
BENITA
Don't run too far. We'll just reach to the outskirts and come back!
Paco stops-
PACO
What skirts?
BENITA
The hillside.
Paco laughs.
PACO
You mean the hill has skirts?
BENITA
The outskirts... well, the slopes then!
PACO
Alex, the hill has a skirt!
Alex stops.
PACO
If we lean over we'll be able to see its panties.
Paco pretends to lean and Alex does the same. Lola and Clau catch up to them -
CLAUDIA
What are you guys doing?
CONTINUED:
PACO
Looking up the hill's skirts to see its panties.
LOLA
Hills don't have underwear.
Paco leans under her and lifts up her miniskirt.
PACO
And neither do you!
Lola screams and pats down her skirt -
LOLA
Asshole!
PACO
Ooooooh!
Alex lifts up Clau's dress. She screams.
GLORIA
Alex! Paco! Leave the girls alone!
The boys run, amused. Cleo and Benita stop. A gust of wind conjures dust devils. A low thunder rumbles and rain falls in the distance. Cleo looks at the landscape dreamily. Her hands rest on her belly.
CLEO
It's like my village. Without the mountain, of course, but it looks just like this...
She enjoys the moment while she rubs her belly. She closes her eyes -
CLEO
This is how it sounds...
The church bells ringing and the bleating of goats get lost in the distance.
CLEO
Just like this...
She breathes. Breathes deep. She smiles - CONTINUED:
CLEO
This is how it smells...
Cleo is somewhere else. Friday, January 29, 1971. EXT - TEPEJI 21 - DAY (RAIN) The Valiant is parked in front of the house, next to the Galaxie 500. The Valiant overflows with the children. One more comes out: Toño's friend, BETO PARDO, 12, with glasses and good-boy looks. He's come for lunch. Paco shows off the black Galaxie, its scrapes and bent moldings recently repaired -
PACO
Look, they fixed it all up. Just like new, right?
Beto barely looks at it. He keeps going and goes into the house after Toño. INT - BREAKFAST ROOM - TEPEJI 21 - DAY Cleo's belly is starting to show. She cuts Pepe's meat. Señora Teresa eats in silence. The children talk while they eat -
TOÑO
The Cowboys won only because Baltimore was overconfident.
BETO
What are you talking about? We scored three touchdowns in the second half. One after the other!
Señora Sofía comes down the stairs and into the breakfast room. CONTINUED:
TOÑO
I'm telling you. Baltimore was overconfident. How can you root for the Cowboys?
SOFI
I like the Cowboy's cheerleaders. In my school...
PACO
Who cares about cheerleaders?
Señora Sofía comes into the breakfast room. Her face is drawn. Señora Teresa looks at her, worried.
TOÑO
Ma? Can Beto and I go to the movies?
Señora Sofía is absent -
SEÑORA SOFÍA
What are you going to see?
TOÑO
The Red Tent, at The Americas theater.
PACO
I want to go too!
TOÑO
No, just Beto and me.
PACO
How come?
TOÑO
Get yourself your own friends!
SOFI
I want to go to the movies too!
TOÑO
I said no! It's just me and Beto.
Señora Sofía explodes -
SEÑORA SOFÍA
Either everyone goes or no one goes!
CONTINUED:
TOÑO
They can go to a different movie!
PACO
I want to go to Las Americas!
TOÑO
You don't even know what The Red Tent is!
SEÑORA SOFÍA
I said, either everyone goes or no one goes!
The telephone rings, Señora Sofía gets up and walks to the hall to answer -
TOÑO
It's not fair!
Señora Sofía comes back -
SEÑORA SOFÍA
If you don't like it you can go live somewhere else!
She walks over to pick up the phone, leaving Toño furious. Paco smiles impertinently.
PEPE
Is it a cartoon?
Señora Sofía answers -
SEÑORA SOFÍA
Hello? Oh, yes, hold on a minute...
She calls to the breakfast room -
SEÑORA SOFÍA
Cleo! I'm going to get this upstairs, would you mind hanging up here!
She goes upstairs. Cleo walks to the phone and she hears Señora Sofía calling - CONTINUED:
SEÑORA SOFÍA (O.S.)
There...!
Cleo is about to hang up the phone when she overhears...
MOLLY (V.O.)
How are you feeling, comadre?
Cleo hangs up.
INT. - DOWNSTAIRS HALL - TEPEJI 21 - AFTERNOON
Everyone's ready to go to the movies. Señora Teresa is going too, because she worries and because she loves going to the movies. She calls up to the children -
SEÑORA TERESA
We're late! You coming down or what?
Paco and Sofi are already by her side.
PACO
Let them stay. Let's go...
SEÑORA TERESA
We're leaving!
Señora Teresa goes out to the Patio with Cleo, Paco, Sofi and Pepe.
EXT. - PATIO - TEPEJI 21 - AFTERNOON
The group reaches the street entrance and Señora Teresa opens the door. Borras takes advantage of the situation to run out despite Cleo and Paco's attempts to stop him. Paco runs out.
EXT. - TEPEJI 21- AFTERNOON
He chases the dog down and drags him back into the house where the group is waiting outside the door. Paco leaves the dog inside and is about to close the door when Toño and Beto come out.
TOÑO
What are you waiting for?
CONTINUED: The two hurry up to the corner heading towards Insurgentes. Everyone follows them.
EXT. - TEPIC STREET - AFTERNOON
Toño and Beto are at the front. Cleo and Señora Teresa look after Sofi and Pepe who is talking to Paco about planes.
PACO
...Braniff planes may be different colors but they're all 727s...
They're on Tepic street, near Insurgentes when Toño and Beto, take off in a well planned strategy.
TOÑO
See you at the movies!
The pair run off.
SEÑORA TERESA
Toño!
Señora Teresa asks Cleo to follow them. Cleo embarks on her mission. She hurries without losing Toño and Beto from sight, their two little mischievous figures already half a block away. They ring doorbells and run away. Cleo shortens the distance with each step, getting closer, but not too close. And so, she follows them. When they reach Insurgentes the boys run off, and turn, disappearing at the corner. Cleo hurries and turns the corner to -
EXT. - INSURGENTES AVENUE - LAS AMERICAS CINEMA - DUSK
Cleo reaches the bustling avenue, brimming with its early Friday night energy. People walk in all directions and the street lights, the cars, the shop windows and the ads are all lighting up. CONTINUED: She sees people crossing to the other side of Insurgentes, where the marquee announces Melody, but she doesn't see the boys. She worries and walks to the following corner, searching. She's almost made it to the newspaper stand in the next corner when she turns and looks to - THE OTHER SIDE OF INSURGENTES And there, amongst the crowd coming out of the theater and spilling onto the sidewalk, she sees Señor Antonio. He looks light and happy and dances a silly step to the great delight and laughter of the YOUNG WOMAN who holds his hand. And that's when she also finally spots Beto, hiding on one side of the news stand, lost in the pages of Caballero men's magazine. Beyond, Toño is also holding a magazine, but he's not looking at the naked women in its pages. He's looking at the other side of the street: people are coming out of the theater and his dad is playing Fred Astaire to a Ginger Rogers that is not his mother. In his silly dance move, Señor Antonio trips with an OLDER COUPLE who is annoyed. Señor Antonio and the young woman laugh and hurry off.
OLDER COUPLE
So rude...!
Señor Antonio stops, turns and to sprays bullets at the older couple with his make believe machine gun, escaping with the young woman, Bonnie & Clyde, hand in hand. Wednesday, March 24th, 1971.
INT/EXT - PUBLIC BUS - CALZADA IGNACIO ZARAGOZA - DAY
Cleo's riding a bus full of people.
EXT. - DIRT AVENUE - CIUDAD NEZAHUALCÓYOTL - DAY
Cleo climbs down the bus, her six-month belly is obvious and the contrast with the Roma neighborhood is evident too - CONTINUED: The dirt avenue is flanked by large electric towers and riddled with pot holes where stagnant water pools. The houses are made of cement brick, corrugated cardboard and asbestos sheets. There's lots of trash and plastic. Cleo shows a piece of paper to a PEDESTRIAN who points to a street up the avenue. Cleo heads up the street.
EXT.- STREET- HOUSE - CIUDAD NEZAHUALCÓYOTL - DAY
Cleo walks on. Misery is palpable, there are children and stray dogs everywhere and a stream of raw sewage running down the street. Different music booms out of each house. Three dogs block her way and bark. Cleo crouches, pretending to get a rock and the dogs run off. She reaches a house and double-checks the address on her paper. She comes to the door and knocks. Impertinent dogs answer her knocking next to the entrance. Cleo knocks again as the door opens. It's Ramón.
INT/EXT - DATSUN - OCEANÍA AVE - DAY
Cleo rides alone in the back seat. In front, Ramón is in the driver's seat, and his friend CANCHAS, is in the passenger seat, smoking pot. He gives the joint to Ramón, who takes a drag and passes it to Cleo, who refuses.
EXT. - PARKING LOT - EMPTY LOT- SAN JUAN DE ARAGÓN AND
CUCHILLA DEL TESORO - DAY NEXT TO THE FIELD - About a hundred young men in uniformed t-shirts and tennis shoes are in resting position, supervised by three instructors with martial airs, pants and sweat-shirts. They pay attention to a man in sweat pants and a sleeveless t- shirt who makes an exercise demonstration - CONTINUED: The man does push-ups with his index finger only. A young man standing next to Cleo says with admiration -
YOUNG MAN
It's Zovek.
CLEO
(in disbelief)
No...! Zovek?
YOUNG MAN
Look at 'im...
CLEO
Is that really professor Zovek?
YOUNG MAN
He's done over a hundred push ups by now!
CLEO
What? Does he always come here?
YOUNG MAN
No, not always, but sometimes he comes to train them.
PROFESSOR ZOVEK counts to 150, pushes hard on his fingers and in one swift move is on his feet, crossing his wrists over his head. The young men applaud.
PROFESSOR ZOVEK
You too can be a Kombateka! Every human being holds great potential he must develop through physical conditioning and through mental and spiritual evolution.
Zovek walks amongst them.
PROFESSOR ZOVEK
You too can develop your potential. But don't expect any miracles, the only miracle lies in your own will.
Zovek stops - CONTINUED:
PROFESSOR ZOVEK
This is why mental development is the true motor of physical development.
He stretches his arms, taking his audience in -
PROFESSOR ZOVEK
And next up... an act!
A strip of bandage hangs from one of his hands, swaying in the dusty breeze - ON THE EDGE OF THE FIELD - Cleo and the small audience call out in surprise -
SMALL AUDIENCE
Ooooooh!
Zovek exclaims -
PROFESSOR ZOVEK
This is a routine that requires absolute physical condition! Only martial arts masters and a few great athletes can master it!
Professor Zovek extends the bandage to a YOUTH in the first row.
PROFESSOR ZOVEK
Yes... You... please bandage my eyes.
The youth walks up shyly to Professor Zovek and takes the bandage, starts to bandage his eyes -
PROFESSOR ZOVEK
Make sure they're totally covered. You've got plenty of bandage there.
They youth has completely covered Professor Zovek's eyes.
PROFESSOR ZOVEK
Thank you, you may return to your place.
The youth walks back to his spot.
PROFESSOR ZOVEK
And now...!
Professor Zovek flexes his biceps and puts the fingers in both of his hands together in a diamond shape over his head. He inhales deeply and -
PROFESSOR ZOVEK
(Exhaling)
Huuuuuuuh!
He is quiet. The young people look on, expectantly. AT THE EDGE OF THE FIELD - Cleo and the small audience look on in awe. Professor Zovek is standing, motionless, with his diamond over his head and slowly, very slowly starts to lift his left foot. Time has stopped. The left foot lifts up, folding at the knee until the thigh is at a 45 degree angle, and he remains motionless in that position. The young people await in confusion for something to happen. AT THE EDGE OF THE FIELD - Cleo and the small audience are also waiting, a boy crouches down. Professor Zovek continues on, motionless -
PROFESSOR ZOVEK
Are you disappointed? Were you expecting me to lift a jet or an elephant?
The audience laughs.
PROFESSOR ZOVEK
You are witnessing an incredible feat! You don't believe me? Try it.
Professor Zovek talks but remains motionless -
PROFESSOR ZOVEK
Just close your eyes and lift up a foot.
PROFESSOR ZOVEK
You don't have to lift your leg to a forty-five degree angle like me or put your arms up. Just close your eyes and lift a foot.
IN THE ROWS - The young men close their eyes and try lifting one foot. They quickly lose their balance. The instructors also try it without succeeding. AT THE EDGE OF THE FIELD - Cleo and the small audience also tries it out, some child lasts a little longer but they all fail. Professor Zovek explains -
PROFESSOR ZOVEK
True mental preparation is the path to physical realization.
The small audience begins to notice that - Cleo is on one foot, forming a diamond with her fingers over her head. Her eyes closed, placid. EXT - FIELDS - EMPTY LOT - LATER A trainer blows his whistle and the formation breaks up. The young men pick up their belongings at the edge of the field and walk over to the parking lot. Cleo watches them walk by, and in a small group she finds - Fermín, who walks talking, animated. Cleo wants to call him, but is anxiously silent. Fermín and his group walk right past her. Cleo finally calls to him -
CLEO
Fermín!
Perhaps a little too loud. Fermín turns and when he sees her, he stops. Others in his group stop with him
FERMÍN
What's up my Cleo?
CONTINUED:
CLEO
Can you talk for a minute?
The group surrounding Fermín make fun of him -
GROUP
Wooooooooooooo!
Fermín smiles and walks towards Cleo gesturing good bye to his group. Cleo and Fermín walk one toward the other in the emptying lot. IN THE BACKGROUND - An Eastern Airlines Boeing 727 takes off and flies over the couple approaching in the middle of the lot.
FERMÍN
Long time no see, Cleo!
CLEO
Hi, Fermín...
They meet and kiss hello.
FERMÍN
What are you doing around these parts?
CLEO
Well, I have left you so many messages and I've been looking for you but I can never find you so...
Fermín starts heading toward the parking lot -
FERMÍN
I'm sorry my Cleo, but the training got real hard core and they even brought in a gringo trainer and another one from Korea. Well, the American had been here already, but the Korean one is new.
CLEO
Is it for the Olympics?
CONTINUED:
FERMÍN
Something like that. Who told you I was here?
Cleo hesitates -
CLEO
It's just that a neighbor's brother in law trains with you so...
FERMÍN
(interrupting)
It was Ramón, right?
CLEO
No, no, no!
Fermín stops -
FERMÍN
Son of a... Fucking Ramón. I'll get him when I see him -
He makes some pretend impressive aikido movements -
FERMÍN
Jodan Tsuki!... Chudan Tsuki!... Mae Geri!...
Flash blows, precise kicks and body contact with the air.
CLEO
It's just that... I'm with child...
Fermín stops mid-punch. He keeps walking to the parking lot.
FERMÍN
What's it to me?
Cleo follows him -
CLEO
Well, the little one's yours.
Fermin walks faster.
FERMÍN
No fucking way!
CLEO
But it is, Fermín!
CONTINUED: Fermín stops completely and turns to Cleo -
FERMÍN
I told you already, there's no fucking way! So if you don't want me to fuck you up real bad, you and your "little one" too, don't ever fucking say it again and don't ever come looking for me again!
He does some aikido movements culminating in a mortal blow to Cleo, stopping less than half an inch from her face and then walks off.
FERMÍN
Fucking cunt!
He leaves Cleo alone in the empty lot. Friday, May 14th, 1971.
EXT. - SMALL PATIO - TEPEJI 21 - DAY
Borras barks like crazy. Cleo holds his collar but is lost in her own sadness. Her almost-eight-month belly is very large. The old man with the oranges puts three more oranges in the crate on the floor. It's almost full.
OLD MAN WITH ORANGES
...20.
The old man gets up and Adela pays him with a crumpled 20- peso bill. Further back, Cleo holds on to Borras, who tries to lunge at the old man with each bark. The old man slowly carries the immense sack of oranges and puts it on his back. He starts walking towards -
EXT. - PATIO - TEPEJI 21- DAY
Where Cleo is holding Borras who pushes up on his hind legs to attack the old man who walks past them on his way to the street. CONTINUED: The old man is halfway down the patio when Borras tugs hard, surprising Cleo, who is lost in thought and lets go. Borras runs down to the old man who hurries to the door as he feels the dog coming. Borras chases him.
CLEO
Borras!
Borras lunges at the old man and sinks his teeth into the enormous sack. Dozens of oranges fall out rolling all over the patio. The old man lets go of the sack and runs to the door while Borras is trying to finish off the sack. Cleo runs up to Borras on the orange-covered floor. The old man is almost at the door when the dog realizes this and runs after him. The old man reaches the door and opens. Borras is about to sink in his teeth when the old man exits and shuts the door. Borras can't stop and smashes against the door. Cleo is standing in the middle of the patio, surrounded by an ocean of oranges.
INT. DOWNSTAIRS - TEPEJI 21- DAY
The midday light bounces off the patio walls and slides in through the great windows, softly caressing the modern mahogany table. Cleo polishes the surface with a rag. She rubs the rag over and over the same spot, as if she wanted to wipe her own reflection. The house is quiet. Only the rumor of a conversation is heard. The phone cable extending all the way into the bathroom under the stairs disappears inside the door. Señora Sofía is inside, talking. Her voice echoes in the small space and filters though the doors. Only a few words can be clearly heard. Paco comes down the stairs slowly. Stopping in the middle, he leans over the railway, trying to hear better. Cleo keeps polishing the same area of the table and finally realizes Paco is coming down the stairs. CONTINUED: Paco's in the hall and walks slowly to the bathroom door, leaning on the wall next to it. Cleo stops wiping her reflection and sees Paco, who - Slides and sits down on the floor. He leans against the wall and tries to move his ear closer to the door. From the dining room, Cleo shoos him away, gesturing, but Paco ignores her, concentrated on listening to the conversation distorted by the bathroom echo and muffled by the door.
SEÑORA SOFÍA (O.C.)
...he wrote them letters from so- called Vancouver...
Cleo walks up to Paco, gesturing. When she reaches the hall she stops at a respectful distance from the bathroom and its conversation. She stops and shakes her rag vigorously, calling Paco.
SEÑORA SOFÍA (O.C.)
...he doesn't even have enough of a pair to tell the children...
He sees her but shakes his head no repeatedly. Cleo comes a few steps closer, still keeping her distance, and speaks by mouthing the words but almost without a single sound.
CLEO
(articulating)
G-e-t o-u-t- o-f h-e-r-e
Paco is about to shake his head no but a cry punctures the echoes and the walls - a deep desperate wail. Paco and Cleo freeze, scared, when suddenly - The bathroom door opens and Señora Sofía comes out, carrying the phone. She sees Paco running away and grabs him -
SEÑORA SOFÍA
And you? What are you spying on?...
Her face is gaunt from crying, from all the pain and frustration that explode in a - Giant slap that throws Paco down on the floor. Señora Sofía immediately realizes what she's done and crouches down next to her son, holding him, crying - CONTINUED:
SEÑORA SOFÍA
I'm sorry, I'm sorry, Paco! Why were you eavesdropping? Why were you eavesdropping?
The two of them cry on the floor, Señora Sofía sees Cleo, only a few steps away -
SEÑORA SOFÍA
And you! Why did you let him?
She hugs Paco tightly -
SEÑORA SOFÍA
Don't say anything to your brothers and sisters. Don't say a thing. Promise me... Promise...
To the side, Cleo is motionless, wishing she could join in the hugging and the crying.
INT. - SOFI AND PEPE'S ROOM - TEPEJI 21- DUSK
Cleo brushes Sofi's hair. They're sitting on the bed. Sofi reads a letter. Cleo is lost in thought.
SOFI
It has so many drawings. Look, I think this little girl is me and I think this is my daddy...
The letter is done exclusively in blue ink drawings with no color or highlights.
SOFI
And this is a heart, look, with an S for Sofi and a P for Papa... and this here is a dog... or is it a fish?
Pepe comes in and sits down next to them, leaning over to see the letter.
CLEO
Maybe it's a dolphin, I think?
SOFI
A dolphin? No. It's like a doggie...
CONTINUED:
PEPE
It's a seal! In the fourth letter my dad sent Paco, he said he can see the ocean from his hotel room and that there are a lot of seals.
Sofi considers the drawing -
SOFI
Yes. It's a seal! Like the ones in his hotel!
PEPE
You had said dolphin. It looks nothing like a dolphin!
CLEO
No?
SOFI
No!
CLEO
So it's not a dolphin? What do you think it is?
Sofi and Pepe answer in a chorus -
SOFI AND PEPE
A seal!
And they also laugh in chorus. Distracted by her own sadness, Cleo turns to Pepe and does a surprise tickle attack, prolonging the laughter. When they've calmed down, Pepe is lying on the bed and fixes his eyes on Cleo.
CLEO
What you looking at?
PEPE
When's your baby coming out?
Sadness washes over Cleo again -
CLEO
Next month.
SOFI
It is a girl?
CONTINUED:
CLEO
I don't know...
SOFI
Oh, please let it be a girl! Pleeeease! What's her name?
CLEO
I don't know.
SOFI
If it's a girl can her name be Tabitha like Bewitched?
CLEO
(Absently)
Maybe...
Pepe gets up and looks at her, serious.
PEPE
And will she live here?
SOFI
If she's a girl yes!
CLEO
I don't know. Would you like her to live here?
PEPE
No way! Yuck!
Cleo smiles, trying to hide her pain. She changes the topic -
CLEO
Let's see! Put your pajamas on!
Saturday, May 15th, 1971.
INT. - SENORA SOFIA'S ROOM - TEPEJI 21- DAY
The room glows softly in the light that filters in through the curtains. Cleo folds freshly washed clothes in the closet drawers. As she opens one she looks down at Señor Antonio's underwear. She can hear the children fighting downstairs. CONTINUED: Cleo closes the drawer. She looks at the men's suits hanging. The yelling grows more intense and in the middle, Señora Teresa -
SEÑORA TERESA (O.C.)
Children! Stop it, Toño! Stop!
Sofi comes running into the room.
SOFI
Cleo! Toño and Paco are fighting!
Cleo comes out to -
INT. - UPSTAIRS HALL - TEPEJI 21- DAY
With her 8-month belly, Cleo slowly goes down the stairs with Sofi. When they come down they see - IN THE HALL- Toño who is holding Paco by the hairs. Paco is screaming furiously and attempting to kick Toño. Señora Teresa is in the living room yelling at the boys. Pepe is standing, paralyzed, next to her.
SEÑORA TERESA
Stop it! Now!
But Paco manages to free himself and hits Toño on the face. Toño grabs his arms. IN THE STAIRCASE - Cleo stops. Sofi takes her hand -
CLEO
Boys!
IN THE HALL - Paco spits in Toño's face, leaving him space to give him a good slap.
SEÑORA TERESA
Toño!
And Paco throws himself against Toño once again, while Toño speedily escapes. CONTINUED: IN THE STAIRCASE - Cleo is still walking down.
CLEO
Boys! I'm going to tell your mom when she comes back!
IN THE HALL - The boys don't pay any attention to her at all. Paco takes an trinket from the table, a stone egg, and - HE THROWS IT TO TOÑO - It flies straight to his head.
SEÑORA TERESA
Paco!
Toño ducks just as the speedy egg projectile, flies exactly over where his face was, following its trajectory through the open doors, out the patio and - CRASHING against the door of the Valiant, parked just outside. Señora Teresa runs towards Paco and grabs him hard, shaking him -
SEÑORA TERESA
What are you doing! Paco!
PACO
He hit me first!
TOÑO
Because you pushed me!
Cleo walks into the hall with Sofi, towards the living room.
SEÑORA TERESA
How could you throw that thing!? You could have killed your brother!
Paco stops wrestling, remorseful. Cleo comes to Pepe, hugs him and Sofi is with her. Señora Teresa lets go of Paco -
SEÑORA TERESA
You could have killed him!
CONTINUED: Scared, Toño looks at the car door where the egg has left an enormous dent in the metal.
INT. - KITCHEN - TEPEJI 21- NIGHT
The house is quiet again. Cleo washes dishes. Adela puts them away on the shelves.
ADELA
You head up, manita, I'll finish up here...
The Galaxie 500 honks its horn - Ta-ta Ta-ta Ta-ta Ta-taaaaaaaa!
ADELA
I'll go.
Adela goes out the small patio and to the patio. Cleo walks to the breakfast room.
INT. - DOWNSTAIRS - TEPEJI 21 - NIGHT
Cleo walks across the breakfast room and the dining room and goes out to the hall. She peeks out the door that opens to the patio.
EXT. PATIO TEPEJI 21 - NIGHT
Ta-ta! Ta-ta! Ta-taaaaaaaa! Adela walks to the street door, lit from the outside by the car's headlights. Ta-ta! Ta-ta! Ta-taaaaaaaa! Adela opens the door, revealing - The mighty Galaxie 500 headlights lighting the patio. The car pulls in slowly but - Kkkkkkkjjjjjjjjk! Its left side scratches against the door frame. CONTINUED: The car brakes and moves back a couple of inches. Adjusts its trajectory and pulls forward again - Krrrrrrajjjj! Now its right side hits the frame. The car stops and veers its wheels left. Moves forward. Kkkjjjjjkkk! The left molding catches the frame and begins to bend. The car stops. Backs up. Goes forward again and now the right side molding is the one that's caught. The car stops. Backs up. It starts forward again and the right side molding is ripped from the metal, but now the car doesn't stop. It just heads straight in, ripping the entire left side molding too. It adjusts its course once more. The side mirror catches and is ripped off. The Galaxie 500 stops only momentarily to follow its course with even greater conviction, hitting and denting both sides, its molding bent in strange shapes. Finally, the Galaxie stops in front of the door that opens to the hall.
INT. - DOWNSTAIRS HALL - TEPEJI 21 - NIGHT
Cleo is next to the patio door. Outside - The Galaxie door opens and Señora Sofía comes out. She stumbles as she walks and comes into the house without closing the car door. She is obviously drunk. Cleo moves aside to let her through. Señora Sofía looks at her, amused -
SEÑORA SOFÍA
We're alone. Always. Even though they say we aren't.
She laughs and Cleo looks at her, confused. CONTINUED: Señora Sofía walks on and staggers up the stairs. Thursday, June 10th, 1971.
INT/EXT - VALIANT - STREET - AFTERNOON
Ignacio is driving. Cleo is sitting in the front and Señora Teresa rides behind, alone. They drive slowly in heavy traffic. A parked car tries to come out onto the street. Ignacio stops and lets it through -
IGNACIO
Maybe if we park over here, far away, because there's a student protest.
There's a bustle of young people on the sidewalks and walking up the street. Some carry pickets and painted slogans.
SEÑORA TERESA
I hope they don't get them again...
The parked car frees up a space and Ignacio tries to park.
EXT. - STREET NEAR MEXICO-TACUBA - AFTERNOON
The Valiant parks, Señora Teresa and Cleo come out with Ignacio accompanying them. Cleaning trucks are parked along the block. They walk amongst the students heading up the street to the corner which is surveilled by police vehicles, and they pass in front of a group of young men dressed in T-shirts, waiting.
EXT. - CALZADA MEXICO-TACUBA - AFTERNOON
Ignacio accompanies Teresa and Cleo, who walk slowly. Cleo on account of her belly, and Señora Teresa due to her limp. The storefront metallic curtains are all shut. They walk in front of a long row of riot police trucks, lines of police officers while a group of young men carrying bamboo canes gathers at the corner. They reach Calzada México - Tacuba and it's closed off. The beginning of an enormous march passes next to them, walking from north to south on the Avenue. Señora Teresa, Cleo and Ignacio are forced to cross in the middle of the march. They melt in with the crowd - some have pickets, others sing slogans. They manage to make it to the other side of the avenue and head towards the entrance of a building advertising a furniture store on the second floor, letters painted on its windows. Señora Teresa and Cleo walk in. Ignacio waits outside.
INT. - FURNITURE STORE - CALZADA MEXICO TACUBA - AFTERNOON
The afternoon sun lights the MUEBLERÍA sign painted all along the windows, staining the floor with its upside-down letters. A handful of clients walks around the store, which sells cheap and functional furniture. The din of the march fills the place with chanting and slogans. Cleo and Señora Teresa walk through the nursery section. They see a crib -
SEÑORA TERESA
You like that one?
CLEO
It's so beautiful.
Señora Teresa sees the price tag and calls a YOUNG SALESWOMAN over. She comes immediately -
SEÑORA TERESA
What's your best price on this crib.
The saleswoman looks at the tag.
SEÑORA TERESA
With my faithful old time customer discount, eh?
SALESWOMAN
Let me ask the manager.
The saleswoman walks up to the counter. The outside din turns into a chorus roar of terrified screams. It is five o' seven p.m. CONTINUED: Ignacio runs through the door, panic in his eyes. Everyone in the store looks at him, confused. The outside roar intensifies. Ignacio runs to the window and looks out. Other clients do the same. Terror in their eyes. Cleo and Señora Teresa slowly approach and they join Ignacio to look out the window - CALZADA MÉXICO - TACUBA The giant line of students is attacked frontally by more than 100 young men in tennis hoes, T-shirts and short haircuts, armed with 6 foot bamboo canes, clubs and metal rods administering electric shocks. They are the HALCONES. The paramilitary group attacks furiously. The multitude runs, but more Halcones have surrounded them from the back and come out of the surrounding streets. Shots are heard and a cloud of gunpowder begins to form. People fall. Women, old men. Children. INSIDE THE FURNITURE STORE - Steps can be heard up and down the staircase and a STUDENT comes in, bleeding from the head. He's not even 20 years old. The clients cry out in alarm. The student looks at them imploringly and, scared, he turns to hear the noise in the staircase. The STORE MANAGER signals for him to come in quickly and calls the young saleswoman over.
MANAGER
Put him in the closet.
The young woman rushes the student in to the closet at the back of the store, when - Three HALCONES appear. People are terrified. A woman starts crying. Ignacio walks protectively in front of Cleo and Señora Teresa. The Halcones see the young woman closing the closet door. Two head over, one stays in the middle of the store, controlling the people. CONTINUED: The young woman places her body in front of the closet door. The first Halcón hits her and throws her on the floor, opens the door and the second Halcón - SHOOTS THREE TIMES. The student falls out of the closet, and to the floor where - THE HALCÓN SHOOTS HIM TWO MORE TIMES. People scream and the Halcón at the rearguard surveils them menacingly. Shielded by Ignacio, Cleo sees the Halcón at the rearguard. The Halcón also sees her. THEY RECOGNIZE EACH OTHER. It's Fermín. Cleo starts hyperventilating. The two other Halcones begin retreating and Fermín follows them. The three leave the store. Cleo watches them go. Her breathing is fast. A puddle forms at her feet. Her water has broken.
EXT. - STREET - VECINDAD ENTRANCE - NEAR MÉXICO -TACUBA -
AFTERNOON Ignacio holds Cleo and helps her walk. Señora Teresa walks next to them. Terrified people run in all directions. Shots are fired and there is a lot of smoke in the air. Students run towards them, terrified, chased after by Halcones with bamboo sticks. Ignacio pulls Cleo to the entrance of a Vecindad, taking shelter and Señora Teresa follows after them. In front of them, on the street, the Halcones catch up with a student and beat him to a pulp. They keep going. Ignacio peeks out at the street, pulls Cleo out and they leave the doorway to continue on their way. Señora Teresa follows after them. CONTINUED: They walk down Mexico - Tacuba. On the ground, men, women, old and young, lie dead. Some surrounded by pools of blood. A YOUNG WOMAN cries kneeling on the floor. She holds a young man's head. Halcones come up and beat her violently.
INT/EXT - '64 VALIANT - STREET- AFTERNOON
At the wheel, Ignacio weaves through traffic finding any empty spot he can slide into.
CLEO
Aaaaaaaaaaaahhhhhhhggggg!
In the back seat, Cleo suffers contractions. Next to her, Señora Teresa holds her hand. INT - MEDICAL CENTER - CUAUHTEMOC AVE. - AFTERNOON The '64 Valiant rushes down Cuauhtemoc Avenue and turns into the Medical Center entrance.
EXT. OB/GYN - MEDICAL CENTER - DUSK
The building and ramp lights are on against the purple sky wanting to become night. Ignacio helps Cleo walk. Señora Teresa, slower, follows behind. On the esplanade, pregnant woman walk around, some accompanied, waiting for their imminent deliveries. Ignacio and Cleo walk into the building.
INT. - LOBBY - OB/GYN - DUSK
Chaos. Pregnant woman walk around the lobby while some wait with their family members in the waiting room. Names are called on the loudspeaker and pregnant women are admitted. CRIES AND MOANS from women going through contractions. In the reception, nurses efficiently tend to the long line of patients. CONTINUED: Ignacio enters the lobby holding Cleo. They immediately walk to the reception area. When they arrive, he tells Cleo -
IGNACIO
Wait for me here. Just a sec.
He leaves Cleo and tries to talk to a hurried NURSE -
IGNACIO
Excuse me...
But the nurse doesn't pause, she only points -
NURSE
Line is over there...
Ignacio sees the line and Cleo has another contraction, standing.
CLEO
Aaaaaaaaaaaaaaaaaahhhaa!
Ignacio yells out to make himself heard on top of the racket of questions, orders, complaints and cries -
IGNACIO
(screaming)
Doctor Vélez! Doctor Vélez!
No one seems to hear him. Ignacio insists -
IGNACIO
(screaming)
Doctor Vélez! Doctor Vélez!
Doctor Vélez comes in through the medical team and patient door. She hurries to Ignacio -
DOCTOR VÉLEZ
Here, here, here....
Ignacio takes her to Cleo while Doctor Vélez lifts an arm and emphatically calls out -
DOCTOR VÉLEZ
Nurse! Nurse!
A nurse runs to them, pushing a wheelchair. Señora Teresa has finally arrived. She is completely breathless. Doctora Vélez reaches Cleo- CONTINUED:
DOCTORA VÉLEZ
Hi, Cleo. How are you feeling?
Cleo looks at her: fear is her only answer. The nurse comes in and helps Cleo sit down on the wheelchair. Ignacio helps too.
DOCTORA VÉLEZ
I'll take it from here. You can wait out there.
Rosary in hand, Señora Teresa and Ignacio look at Cleo being wheeled off through the door leading to - INT - HALLWAY WITH ELEVATORS - OB/GYN - DUSK Cleo is in the wheelchair, scared. She is surrounded by Doctor Vélez and the nurses. They reach the elevators and wait. The elevator doors open and they walk in. The doors are about to close when Señor Antonio, dressed in his white coat, walks up to them and goes in as well.
INT. - ELEVATOR - OB/GYN - DUSK
The doors close.
SEÑOR ANTONIO
Hi Cleo, how are you feeling?
Cleo looks at him, surprised -
CLEO
Doctor...!
Señor Antonio tries to encourage her -
SEÑOR ANTONIO
You're in good hands... How many babies have you delivered, Doctor Vélez?
Doctor Vélez smiles -
DOCTOR VÉLEZ
Hundreds!
Cleo has a strong contraction - CONTINUED:
CLEO
Aaaahhhhggg!
Señor Antonio holds her hand and leans down to bring his face closer to Cleo's -
SEÑOR ANTONIO
Breathe Cleo... Like this...
Señor Antonio begins inhaling and exhaling and blowing. Cleo tries to imitate him by looking at his face.
INT. - 6TH FLOOR LOBBY - OB/GYN - DUSK
The elevator opens its doors and Cleo's chair is wheeled out by the nurses. The sixth floor has no windows. They pass the nurse station and reach the door that leads to the Birthing room. Señor Antonio leans in to Cleo -
SEÑOR ANTONIO
Doctor Vélez will only let me come up to this point....
Doctor Vélez interrupts -
DOCTOR VÉLEZ
Don't mind me. Come in if you like.
SEÑOR ANTONIO
No, uh... I have a patient...
His excuse hangs in the air and he puts a hand over Cleo's shoulder -
SEÑOR ANTONIO
You're going to be just fine, Cleo...
And he scurries down the hallway. Frightened and confused, Cleo has barely registered the exchange. The nurses wheel her into -
INT. - ADMISSION CUBICLES - OB/GYN - DUSK
A cubicle, separated from other cubicles by a curtain and screens, the gynecological bed is in the middle. The nurses help Cleo to get up and out of the wheelchair - CONTINUED:
DOCTOR VÉLEZ
Take off all your clothes and put on this gown, OK?
Cleo undresses. She doesn't have much privacy and, behind the poorly closed curtains she can see other women being examined. Doctor Vélez asks her questions to which she answers in confusion.
DOCTOR VÉLEZ
When did you last menstruate?
CLEO
September?
DOCTOR VÉLEZ
Do you have a due date?
CLEO
June 21st...
DOCTOR VÉLEZ
Were there any complications during the pregnancy?
Scared, Cleo shakes her head no.
DOCTOR VÉLEZ
How long ago did your water break?
CLEO
About an hour and a half ago. We couldn't get out of where we were and...
DOCTOR VÉLEZ
Was it clear?
CLEO
Huh?
DOCTOR VÉLEZ
The water. Was it transparent?
CLEO
No. A little thick. Like soup.
Cleo is about to close her gown when she suffers a very painful contraction. Doctor Vélez orders - CONTINUED:
DOCTORA VÉLEZ
Don't push Cleo, blow. Help her get on the bed...
The nurses help Cleo lie down on the gynecological bed. Doctor Vélez touches the top of her belly -
DOCTOR VÉLEZ
Check dilation.
A RESIDENT examines her and declares
RESIDENT
Seven or eight centimeters...
DOCTOR VÉLEZ
Frequency?
The RESIDENT checks on the cardiac rhythm with a Pinard stethoscope while a nurse fills out papers.
RESIDENT
I can't hear the foetal focus...
NURSE
Blow, ma'am!
RESIDENT
She's full. She's in second plane... expulsive with full dilation and there is four cross meconium and asystole.
Doctor Vélez gives a round of instructions -
DOCTOR VÉLEZ
Plug in mixed solution at 5% and wheel her into Labor immediately. Alert pediatrics. Prepare a laryngoscope, reanimation equipment and an ambu.
The nurses quickly bring a gurney up to the gynecological table. The resident asks Cleo -
RESIDENT
Can you climb onto the gurney for me?
DOCTOR VÉLEZ
Let's get your baby out.
CONTINUED: The nurses help Cleo move onto the gurney.
INT. - HALLWAY - LABOR ROOMS - 6TH FLOOR - OB/GYN - DUSK
Fluorescent lights in a hallway with half-open frosted doors. The cries of a woman giving brith filter out from one of the labor rooms. A nurse comes out of one of the rooms and goes into another. At the end of the hallway we also hear a door opening, and soon after, Doctor Vélez and her team of nurses and residents appear pushing Cleo on her gurney. When they reach the end of the hallway, they turn and enter -
INT. - BIRTHING ROOM - OPERATING ROOM - OB/GYN - DUSK
Nurses and residents work around Cleo who moans in pain. They put her on the birthing bed while Doctor Vélez washes her hands.
INTERN
Rubén Leñero's colleague is telling me that they've hospitalized injured students and some Halcones came in to kill them off inside the very hospital.
A nurse fixes Cleo's feet onto the braces. Doctor Vélez sits in front of her legs to deliver the baby. Cleo has a strong contraction -
CLEO
Aaaaaaaahhhhhh!
DOCTOR VÉLEZ
Don't blow, Cleo. Push!
Cleo tries blowing in the middle of her cries of pain. A doctor comes in the door accompanied by a nurse who wheels in a cart with medical equipment. It's the PEDIATRICIAN. Cleo breathes, agitated. And from between her legs, the baby's crown appears, like a rising sun.
DOCTOR VÉLEZ
Almost there... Push!
CONTINUED: Cleo screams.
CLEO
Aaaaaaaaaaaaaaahhhhhhhhhhhhhh!
It's a deep cry. A primeval scream from time immemorial.
CLEO
Aaaaaaaaaaaaaaaahhhhhhhhhhhhh!
The baby is expelled between Cleo's legs and onto the hands of Doctor Vélez, who receives it. The baby doesn't cry or breathe. It is flaccid and hangs like a rag. It's completely smeared in green liquid. Doctor Vélez cuts the umbilical chord and passes the baby over to the pediatrician who places it softly on his pediatric table and checks on it with a Pinard stethoscope. Cleo follows all the action, the pediatric table only a yard away from her face.
PEDIATRICIAN
No heart beat. We'll try reanimation.
The pediatrician places the baby in hyperflexed position and puts the laryngoscope down its mouth. He begins aspiration with a catheter. Cleo sees her baby. From its mouth, through the catheter, meconium comes out, a green dense liquid like pea soup. The pediatrician pulls the catheter out of the baby's mouth and places the "ambu", a manual resuscitator, on the baby's mouth and nose. Doctor Vélez is working on the placenta expulsion. Cleo watches the baby on the table. The Pediatrician pumps the "ambu" balloon repeatedly, attempting to reanimate the baby. Cleo looks at the baby, its face almost entirely covered by the "ambu" and finds out it's a girl. The Pediatrician stops pumping the "ambu" and checks for a heartbeat with the stethoscope -
PEDIATRICIAN
Still asystole...
And he walks over, softly, to Cleo
PEDIATRICIAN
Ma'am. I am afraid you're baby is stillborn. She had no amniotic liquid. And the green liquid blocked her lungs. I am so sorry, señora.
Cleo listens in silence, unable to take her eyes off her baby. The nurses start cleaning off its tiny body.
DOCTOR VÉLEZ
I am so sorry, Cleo...
PEDIATRICIAN
Would you like to say good bye to your baby, ma'am?
Cleo nods. The nurses carry the baby and place it quietly on Cleo, who hugs it, her gaze lost. Doctor Vélez keeps working between her legs, cleaning her.
PEDIATRICIAN
Who are you with? Can we call someone?
DOCTOR VÉLEZ
She's with family. They're outside.
Cleo whispers something.
DOCTOR VÉLEZ
Did you say something, Cleo. I couldn't hear you...
CLEO
(whispering)
Señora Sofía... Señora Sofía...
DOCTOR VÉLEZ
Yes, Cleo, I will give her a call...
The nurses come to take the dead baby -
NURSE
May I? Ma'am?
Cleo nods and the nurse takes the baby over to a small table where they wrap her in a cloth. Cleo watches as her baby girl disappears under the sheath, and when she is completely wrapped, the nurse seals the cloth with adhesive tape. CONTINUED: The nurse takes a marker and writes on the sheath - NEWBORN - CLEODEGARIA GUTIERREZ. Friday, June 11, 1971. The light of a new day floods the room. Beds in a row along the walls, mothers who have recently given birth are resting. Some women carry their babies. Others breastfeed. Some sleep. There are bows, envelopes, flowers. Cleo is awake, lying in bed. Her gaze is absent. A nurse carries a baby up to a bed. A woman holds it, excitedly and begins to breastfeed. The nurse helps her, both of them whisper effusively, interrupting the peace in the room. Cleo doesn't turn to look at them, or perhaps she can't hear them, her gaze is lost. Señora Sofía comes to the door and stops for a moment. She watches Cleo, who is motionless, surrounded by the low hum of barely awakened traffic from Avenida Cuauhtémoc and the breastfeeding woman's effusive whispers. Señora Sofía comes into the hall and walks towards Cleo. She sits on the bed and holds her hand. Cleo looks at her, and attempts a feeble smile. Señora Sofía squeezes her hand as her wounded heart tries to offer solid support that Cleo can't find in the void.
INT/EXT - GALAXIE 500 - BAJA CALIFORNIA AVE - URES AND
HUATABAMPO CROSSTREETS - TONALÁ - DAY Señora Sofía is driving. Next to her, Cleo. They are silent. They turn right, leaving Baja California Ave behind and with it, the sun. They drive down Ures, both look straight ahead, surrounded by the purr of eight cylinders changing gears automatically. They turn left, onto Huatabampo streets. They continue in silence under the shade of the houses until they reach the corner with Tonalá, where a car waits its turn to turn. CONTINUED: Señora Sofía breaks behind the car and waits. The two women look ahead in silence. Señora Sofía holds Cleo's hand and starts bawling. It's a quiet and prolonged wail that breaks into a long and articulate lament. She hugs Cleo who is still silent. The car in front of them has moved and now the GALAXIE holds up the traffic, three cars waiting behind it already. A HORN honks. Señora Sofía cries while hugging Cleo. She cries out all the impotence, all the fear, all the uncertainty, and all the humiliation. She cries, ignoring the chorus of horns that has joined her lament.
EXT.- CORNER OF HUATABAMPO AND TONALÁ - DAY
The Galaxie 500 is motionless and stops traffic at the corner. Impatiently, cars go around it on the left, some of them protesting rudely. The two women inside the Galaxie continue to hug. Wednesday, June 23, 1971. EXT- PATIO - TEPEJI 21 - AFTERNOON Littered with dog shit, the patio is empty except for a red tricycle, a football and Borras, enjoying the last few rays of sun. A mysterious WHISTLE filters in from the distance. Alert, Borras lifts his head. The sad and solitary whistle invokes a presence, invading the walls of the house. In the patio, Borras begins to bark.
EXT. - TEPEJI STREET - TEPEJI 21- AFTERNOON
The whistle pierces through the afternoon quiet and seems to bounce off the facades of the houses. Sad and defeated, Tepeji 21 rests on its solid ground, which blends with the grey concrete of the sidewalk. The Galaxie 500 and the Valiant are parked in front of the house. A KNIFE SHARPENER crosses on his bike, blowing on his whistle, suffusing the air with its ominous lament. EXT - SMALL PATIO - TEPEJI 21- AFTERNOON The parakeets seem to want to imitate the whistle with their song. Adela's voice calls from the second floor -
ADELA (O.C.)
Move it!
INT. - KITCHEN - TEPEJI 21- AFTERNOON
Cleo is sitting next to the window, wrapped up in her own pain.
ADELA (O.C.)
It's the sharpener! Move it! Cleo!
But Cleo remains motionless. The fateful whistle fades away slowly and disappears. Borras and the parakeets calm down. Everything is in silence. The afternoon light abates. Cleo doesn't move. TA-TA TA-TA TA-TA TA-TAAAAAAA...! A car's nasal horn resounds on the street and Borras replies with his barks. TA-TA TA-TA TA-TA TA-TAAAAAAA...! Cleo does not recognize the sound of the horn but its rhythm - TA-TA TA-TA TA-TA TA-TAAAAAAA...! Cleo gets up and slowly walks out the door to the - SMALL PATIO - She crosses out onto -
EXT. - PATIO - TEPEJI 21 - AFTERNOON
Cleo watches Adela open the street door while she grabs Borras by the collar. She discovers - A PALE YELLOW RENAULT 21 parked in front of the door. It revs and pulls in, easily crossing the doorframe and continuing its way up to the hallway door. Paco and Pepe peek out from the hall and see their mother at the wheel of the Renault. Paco cries out -
PACO
Toño! Sofi! Come!
PEPE
Mom bought a new car!
Paco comes out to examine the car's body. Pepe joins his brother. Cleo comes closer while Adela closes the door that leads to the street. Señora Sofía pokes her head out of the car window -
SEÑORA SOFÍA
You like it?
PACO
How fast can it go?
Señora Sofía opens the door and comes out -
SEÑORA SOFÍA
You check.
Paco hurries to sit in the driver's seat. Pepe runs around to the other side and sits in the passenger seat. Toño and Sofi come out to the patio to see the new car.
TOÑO
Why not a Maverick?
From the driver's seat, Paco protests -
PACO
It only goes to 145! The Galaxie goes up to 200!
SEÑORA SOFÍA
Because they're very expensive and I want a small car. I've had it up to here with that Galaxie!
CONTINUED: Sofi sits in the back seat -
SOFI
I like the new car, mommy.
PACO
What about the Galaxie?
SEÑORA SOFÍA
I sold it. They're coming to pick it up next week.
Sofi comes out of the car -
SOFI
Does dad know?
SEÑORA SOFÍA
No, it's a surprise.
Señora Sofía looks at Cleo -
SEÑORA SOFÍA
Hi, Cleo. Do you like the new car?
Cleo barely nods.
SEÑORA SOFÍA
And speaking of surprises, we're going on a trip this weekend and we're taking the Galaxie on its goodbye ride.
Paco and Pepe come out of the car and follow their mother and siblings into the hall.
SOFI
Where to?
SEÑORA SOFÍA
Tuxpan.
PACO
Where's Tuxpan?
TOÑO
I have practice!
SEÑORA SOFÍA
You'll skip it. Tuxpan is in Veracruz.
CONTINUED: From the patio and through the window, Cleo watches the lights of the house switching on and Señora Sofía crossing the hall up to the stairs. Paco and Pepe cross the hall following their mother.
PACO
It's the beach?
SEÑORA SOFÍA
Yes.
TOÑO
The beach in Veracruz is so ugly.
Señora Sofía climbs the stairs, the four children follow her. Out on the patio, Cleo watches the family disappear into the upper floor. Saturday, June 26, 1971
EXT. TUXPAN FREEWAY - DAY
Palm trees, ceibas and banana plants give way to multicolored houses competing with tropical flowers and foliage and more palm trees, ceibas and banana plants. The Galaxie 500 drives past a turn.
INT/EXT - GALAXIE 500 - TUXPAN FREEWAY - AFTERNOON
Cleo watches the landscape in silence, Pepe snuggles against her. The radio's looking to tune into a station, going through tropical music, cumbias, and advertisements for a local dance.
TOÑO (O.C.)
La Pantera doesn't get all the way here.
PACO (O.C.)
I heard it for a little bit.
SEÑORA SOFÍA (O.C.)
Look! The sea!
PACO
Stop, stop, stop! Ma!
SEÑORA SOFÍA
Why don't we go drop the bags off at the hotel first?
TOÑO
By the time we get there it'll be dark.
PACO
Let's go! Just for a little while.
SEÑORA SOFÍA
OK. Only for a little bit though.
EXT. - ROADSIDE BEACH - AFTERNOON
The Galaxie pulls up next to the sands of a long grey overcast beach, empty except for the stunted skeleton of a brick building. The family comes out of the car. Toño and Paco immediately run to the shore taking off their shirts and pants and throwing them on the sand. Sofi and Pepe follow behind. Señora Sofía takes off her shoes and follows her children, picking up the clothes strewn about on the sand. Cleo walks to the shore where the children splash around. She is absent. A gust of wind drags the breeze over to caress her face. Cleo breathes in the sea and closes her eyes. She breathes in, as if wanting to cleanse something very deep.
EXT. - GARDEN - BUNGALOWS -TUXPAN - DUSK
The fading light of day strokes the garden with soft coolness. An orchard surrounds the bungalows built in the 1940s their paint now nibbled on by time and saltpeter. A RECEPTIONIST, carrying keys, guides Señora Sofía, Cleo and the children through the garden. They all carry bags. The receptionist opens the door.
INT. - ROOM - BUNGALOW - TUXPAN - DUSK
The sky's last light attempts to paint the windows but is defeated by the lightbulb inside a wicker lamp, which lights the small room with two beds. Cleo, sits on one of the beds and putting Pepe's T-shirt on as he stands in front of her with his arms up in the air. When his head pokes out the collar, Pepe looks at her, surprised -
PEPE
Cat got your tongue?
Cleo shakes her head no.
PEPE
Then why don't you talk.
Cleo smiles, with a smile that holds back tears, and walks him out of the room to a -
INT. - LIVING ROOM - BUNGALOW - TUXPAN - DUSK
Another wicker lamp hangs in the middle of the little dining room and two lamps on each side of the sofa, one without a shade, light the room. Toño is tying knots with a string while Señora Sofía is applying vinegar on Paco's back with a cotton ball.
PACO
Ay! Ay ! Ay...!
SEÑORA SOFÍA
I told you to put on your T-shirt.
PACO
But it was cloudy!
SEÑORA SOFÍA
That's why! The glare is worse than the sun!
Next to him, crying and crying, Sofi waits her turn.
SEÑORA SOFÍA
Are you dressed Pepe?
PEPE
Yes, but the cat got Cleo's tongue.
CONTINUED: Señora Sofía smiles. Cleo sits on the sofa and grabs a cotton ball, douses it in vinegar, comes close to Sofi and starts applying it on her back. Cleo and Señora Sofía swab wet cotton balls over Sofi and Paco's backs. Sofi won't stop crying but Cleo's gaze is absent.
INT. - RESTAURANT - TUXPAN - NIGHT
Hand-drawn illustrations of each dish and a stuffed sailfish decorate the walls of a family restaurant. Romantic music pours out of a rockola, accompanying the hum of the fluorescent lights. The family's finishing dinner. Cleo cuts Sofi and Pepe's meat. They're wearing pajamas already. Toño has finished and is tying his knots.
SEÑORA SOFÍA
Children?
But the children are distracted.
SEÑORA SOFÍA
Children?
She finally gets her children's attention.
SEÑORA SOFÍA
Pay attention! I have something to tell you.
The children look at her expectantly. Señora Sofía hesitates, gathers her courage and -
SEÑORA SOFÍA
Your dad's not in Ottawa.
SOFI
Is he back?!
SEÑORA SOFÍA
No. Your dad never went anywhere.
The children look at her, she's seems confused.
SEÑORA SOFÍA
Well, yes. But he only went for a week and... your father's not coming back home.
CONTINUED: The children watch her in silence. Toño and Paco are interested, Sofi and Pepe are confused. The song ends and the rockola digests another coin, expelling a new lament.
SEÑORA SOFÍA
We came on this trip so he could come get his things from the house.
PACO
What things?
SEÑORA SOFÍA
His things. Or what he says are his things. His clothes, the bookshelves...
PACO
Are you getting a divorce?
SEÑORA SOFÍA
He says he doesn't know.
Sofi starts to cry.
SOFI
He doesn't love us anymore?
SEÑORA SOFÍA
Dad loves you very much. He says he wants to see you.
TOÑO
When?
SEÑORA SOFÍA
He says he doesn't know when... Soon.
Sofi muffles her cries in Cleo's breast, Toño looks at the fan and Paco plays with his beans. Only Pepe is still looking at his mother, still confused.
SEÑORA SOFÍA
There will be many changes, but we'll be together and it'll be an adventure.
Pepe rests his head on Cleo. CONTINUED:
SEÑORA SOFÍA
I'm starting a new full time job in publishing next week.
TOÑO
Publishing? But you're a chemist.
SEÑORA SOFÍA
I know, but your father hasn't sent any money yet and teaching high school is not enough. Plus, I love books and I never liked chemistry. It'll be another adventure.
But the children don't look very convinced. They still don't know this but this moment will be etched into their memories as fragments of images, smells, sounds and textures - The food stains on the table, the paintings on the walls, the landscape of beans smashed by the fork on a plate. The song ends.
EXT. - STREET - TUXPAN - NIGHT
The family roams around the streets. Quiet. Lost in thought. Sunday June 27, 1971.
EXT. - PALAPA - TUXPAN BEACH - DAY
The sun bears down on the afternoon, beaming down on the waves and the burning sand on the empty beach. The waves follow one after another, incessantly, dragging their foam till they caress the sand without ever breaking. A palapa shelters the family under its shade and its cool sand. Paco and Pepe bury Sofi in the sand, sculpting long legs to which they add tennis shoes instead of feet. Señora Sofía reads a book sitting on a folding cloth chair and Toño reads a Flash comic lying down on a hammock, swaying in the wind. At the edge of the shade, Cleo is sitting on a chair, hypnotized by the rhythm of the waves and the foam melting as it touches the sand. Time trickles by slowly. EXT - TUXPAN BEACH - AFTERNOON/DUSK The yellow end-of-the-afternoon light dances with the wind, caressing surfaces softly. Paco and Sofi play in the waves, jumping over them, swimming under them, or resisting heroically on foot. In her dress, Cleo stands next to Pepe who is digging holes, tunnels and roads in the sand too. Señora Sofía comes in to the edge, followed by Toño who stops halfway. Paco and Sofi come out of the water running -
PACO
Are you going to come in?
SEÑORA SOFÍA
I have to go check on the tires since we're leaving tomorrow early. You coming?
PACO
No. It's our last day at the beach.
SOFI
I'm staying too.
SEÑORA SOFÍA
But if I leave, you can't go in. If something happens, Cleo can't swim.
PACO
But it's so mellow.
SEÑORA SOFÍA
I don't care. If you want to stay, those are the rules.
PACO
Not even by the edge?
SEÑORA SOFÍA
By the edge is fine. But just here, understood?
PACO AND SOFI
Yes...
CONTINUED:
PEPE
Me too?
SEÑORA SOFÍA
Yes, but right by the shore.
Señora Sofía looks at Cleo.
SEÑORA SOFÍA
Can I leave them with you? I won't take long.
Cleo simply nods and watches Señora Sofía walk back with Toño to the Galaxie 500 parked behind the palapa. In the background, the sun has lost its shine and peeks out, red and roundly from between the clouds. Paco and Sofi go back to the water, Pepe follows.
CLEO
Just right by the shore.
Paco and Sofi run to the edge, splashing around with their feet, getting Pepe wet.
PEPE
Aaaah!
Paco and Sofi kick more water around to get Pepe wet, he runs away but falls on dry sand. Cleo runs to him and picks him up, he's crying. She tries to brush off the thousands of grains of sand sticking to his damp skin. Paco takes advantage of the distraction and goes in deeper. Sofi begins to follow in after him when Cleo sees them -
CLEO
Paco! Just in the shallow water! Sofi!
Sofi obeys, Paco comes back to the shore too. Cleo takes Pepe's hand and they walk back to the palapa together. As they step on warmer sand, Pepe stops, holds his arms up.
PEPE
Carry me.
CONTINUED:
CLEO
No way. You can do it alone. It's not hot anymore.
She looks to the shore -
CLEO
Paco! I see you! Back to the shore!
PACO (O.C.)
But we're at the shore!
CLEO
Come closer! You heard your mother, if you don't come in, you have to get out!
She waits and when she's satisfied, she keeps walking. Arms still up in the air, Pepe watches her go and throws himself on the sand. Cleo barely looks -
CLEO
Suit yourself. You're just getting more sand on you and I was going to clean you up in the palapa.
She keeps walking. Pepe gets up, crusty with sand, and hurries to catch up. They reach the palapa and Pepe sits on a chair. Cleo starts dusting him off with a clean towel. She looks to the sea -
CLEO
Hey! I'm watching you guys!
Cleo waits for the children to come back to shallow water and keeps cleaning Pepe.
PEPE
Did you know when I was grown up I was a sailor?
CLEO
Mmmhmmm...
PEPE
Yes, and I drowned in a storm.
CONTINUED:
CLEO
Mmmhmmm...
She gets up and looks out to sea -
CLEO
Paco and Sofi! Closer!
Cleo keeps watching -
PEPE
But the waves were so big....
CLEO
Get back!
She walks to the edge of the palapa and stops to wait next to a post -
CLEO
Closer!
PEPE
And it was night and there was so much lightning... and I didn't know how to swim...
Without taking her eyes from the waves, Cleo starts walking towards the shore.
CLEO
Stay there Pepe.
The sun has vanished behind the mountain and the purple sky is laden with black clouds. The wind picks up the sand and makes new waves that crash arrogantly into the old ones. Cleo stops -
CLEO
Help your sister!
Behind her, Pepe comes closer. Cleo sees him -
CLEO
Pepe! I told you to stay there!
Chided, Pepe goes back to the palapa. Scared now, Cleo looks at the sea and looks around but the beach is deserted. Only a man on a horse far away and some people walking in the distance. She hurries to the shore. As she reaches the edge, she walks fearfully in the water that moves back and forth and crashes around her legs, soaking her polyester dress. She looks impotently at the waves, which Paco and Sofi wrestle, insignificant in a fierce and indifferent ocean that drags them further in. Cleo tries to move closer to the children, fighting to keep her balance in the choppy waters reaching her waist. The wind plays with the crests of the dark waves and the dense clouds are charged with tension in an ever darkening sky. Cleo looks out to the beach but the man on the horse and the people are still very far away and she resigns herself to going deeper. A wave crashes over the children's heads. When it passes, Sofi reemerges but she can barely take a breath when another waves comes crashing over her. Other waves cross and crash up to the sky. Cleo fights desperately to stay on her feet in the midst of the cross-current chaos enveloping her without failing to look straight in front of her- Where the waves crash, rising up, and yet others take their place, the little heads don't emerge. Another wave powers up and a little head bobs up in front of her, it's Sofi taking up air, and Paco resurfaces too. He turns to look and sizes up the wave, grabs his sister and swims with the break to the beach, but the wave catches up with them, pulling them down. Cleo comes close but is pushed back by the waves. In front of her, the little heads reemerge. Paco tries to repeat the move and pushes Sofi to the front, but the water envelops them. It also envelops Cleo, but doesn't drag her out. She pushes towards Sofi, who tries to swim to her. Cleo reaches her body out to get her and as she pulls her in, her feet lose contact with the bottom and the two go under. Another wave galloping with foam. And behind it, Cleo emerges carrying Sofi. Paco swims behind them. At the beach, a group of people gathers, and with them the man on the horse. CONTINUED: Cleo carries Sofi and finally manages to reach shallower waters, Paco follows a little further behind. A couple of young guys run towards them but they don't help, they just look. Carrying Sofi, Cleo reaches the shore and collapses on the beach, Paco next to her. Sofi coughs and Cleo hugs her on her lap. Curious onlookers surround them and behind them, Señora Sofía, followed by Toño come running from the palapa. Cleo cleans sand off of Sofi's face and starts crying. She cries and hugs Sofi who is also crying, and rocks with her. Cleo hugs her as if her life depended on it. Señora Sofía throws herself on the sand next to Cleo and yanks Sofi from her. Sofi hugs her mom. Paco comes to them and hugs them both. Toño watches, next to the bystanders, and next to him Pepe looks scared. Señora Sofía checks on Sofi -
SEÑORA SOFÍA
Are you OK, my love?
Sofi nods -
SOFI
Cleo saved us...
The recent emotion pushes more tears. Señora Sofi looks at Cleo who is crying inconsolably. It's a deep and painful cry, a cry that washes it all away. Señora Sofía hugs her mightily -
SEÑORA SOFÍA
Thank you, thank you, thank you Cleo...
But Cleo can't stop crying -
CLEO
I didn't want her... I didn't want her...
Señora Sofía tries to calm her - CONTINUED:
SEÑORA SOFÍA
Shhh, shhh, shhh... They're OK. The kids are OK....
But Cleo insists amidst tears and snot -
CLEO
I didn't want her... I didn't want her to be born...
She breaks down completely -
CLEO
Poor little girl! ... I didn't want her to be born! ... I didn't want her to be born!...
SEÑORA SOFÍA
It's going to be all right, Cleo... It's going to be all right...
The two women cry, hugging. It's a shared cry, with sobs like retching, and long silences exploding in prolonged vocals. The children close in on the women, hugging them. Only Toño watches, standing by. The onlookers scatter. The rider pulls the reins and the horse continues its way down the beach. The furious sea and its restless waves reflect the last glimmers of the day. Monday June 28, 1971.
EXT. - PUEBLA FREEWAY - AFTERNOON
Fields spotted with clouds spread out between green hills. Further behind, the volcanos show off their snowy peaks. The Galaxie 500 drives on, tiny, on the road crossing the landscape.
INT/EXT - GALAXIE 500 - PUEBLA FREEWAY -AFTERNOON
Señora Sofía is driving, and her index finger is calm. Next to her, Toño looks out the window without looking at the landscape. In the rear, Paco also lets the landscape slide by his lost gaze. Sofi is hugging Cleo, who carries a sleeping Pepe on her lap. The family rides in silence.
EXT. - FREEWAY ENTRANCE TO THE CITY - AFTERNOON
Mexico City extends out to the distance. The Galaxie 500 drives on, heavy with uncertainty.
EXT. - HOUSE - TEPEJI 21- AFTERNOON
The house rests patiently, resigned to enjoy the last rays of sun. The Jr. high marching band turns the corner and heads into the street with its martial drums and trumpets. The Galaxie 500 pulls into the street and follows the band's read guard until it parks in front of the house. Toño immediately opens the door and stretches out on the street. Pepe comes out after him, running to the door, holding his privates and ringing the doorbell. Borras answers by barking. Señora Sofía comes out of the car and opens the trunk, Sofi comes out after her. Cleo comes out last and heads to the trunk as well. Adela opens the door holding Borras by the collar. Pepe runs through the door and rushes in.
INT. - DOWNSTAIRS - TEPEJI 21 - AFTERNOON
The afternoon sun still pierces the windows obliquely and streaks the living room shadows with its light. Outside the family is on the sidewalk -
CLEO
Tie the dog ...
SEÑORA SOFÍA
You too, kids. Don't play dumb and come help us with the things.
CONTINUED: The children who were already walking up to the house stop and come back to help begrudgingly. Inside, the skylight lights the stairs but barely touches the tiles in the hall. Pepe bursts in from the patio and runs to the bathroom that is under the stairs, goes in, shuts the door. Adela crosses through the windows that open to the patio, dragging Borras by the collar. She listens to the jet in the toilet. Inside, the house waits. It seems to have grown larger. The absence of the bookshelves has left towers of books piled on the floor and a seeming emptiness. Toño comes in, carrying his things. He's rushing but stops in the middle of the hall, surprised by the space-it seems new. Paco comes in right after and stops next to his brother. Señora Sofía walks in with Sofi. The toilet flushes and Toño reaches his verdict -
TOÑO
It's horrible. It's horrible without the bookshelves...
PACO
I like it better this way...
Toño runs up the stairs...
TOÑO
It's awful.
Paco follows after him. Pepe comes out of the bathroom and follows his mother and Sofi up the stairs -
SOFI
What's so horrible mommy?
SEÑORA SOFÍA
He doesn't like the hallway without the bookshelves.
SOFI
What bookshelves?
SEÑORA SOFÍA
The ones that used to be in the hall.
CONTINUED:
SOFI
Oh! You're right!
PEPE
Wow! It looks bigger!
SEÑORA SOFÍA
What did you think about our adventure?
SOFI
I liked it a lot.
Señora Sofía and the children disappear upstairs, where the television is already on. Outside, on the patio, Cleo walks, carrying three bags and runs into Adela who is back without the dog.
ADELA
I'm going to the store, there's no ham. How was it then?
CLEO
Real pretty. Go. I'll tell you about it later.
Adela continues on her way out. Cleo comes into the hall. Crosses and goes up the stairs carrying the luggage. From upstairs Pepe exclaims -
PEPE (O.S.)
The desk is gone too!
INT. UPSTAIRS HALL - TEPEJI 21- AFTERNOON
Cleo makes it up to the hall and leaves the luggage on the floor. The family has begun to take over the spaces - Pepe sits next to Paco who is already in front of the television.
SEÑORA SOFÍA
And we'll have other adventures. And we'll travel a lot.
PACO
We'll go to Dinseyland?
CONTINUED: Toño puts stuff away in a drawer in his room and Sofi goes to her room to grab a doll. Señora Sofía goes to Cleo, takes one of the bags and puts it in her room -
SEÑORA SOFÍA
We don't have enough money...
Cleo takes the other bag to Toño and Paco's room. Toño comes out and sits in the armchair in front of the television.
SEÑORA SOFÍA
But we can go on adventures in the car. What if we went to a ghost mining town in the desert?
PEPE
And there's ghosts?
Paco gets up, following his mother into her room -
PACO
No, silly. That's what you call towns that are abandoned. And what's over there?
Cleo comes out of Toño's room carrying a load of laundry and drops it next to the stairs. Señora Sofía comes out of her room followed by Paco. The phone rings.
SEÑORA SOFÍA
Nothing. Just the town and the abandoned mine. Or we could go to the Lacandon jungle, or Oaxaca...
SOFI
Oaxaca, Yes! And we could visit Cleo's village.
Señora Sofía comes back to the hall and sits in the couch next to Pepe and Sofi who takes up the other spot.
PACO
I was there.
SOFI
Finders keepers...
Cleo picks up... CONTINUED:
CLEO
Hello? Yes, thank you ma'am... Yes just a moment...
She lowers the phone and calls out -
CLEO
Señora Sofi? It's señora Molly calling.
Señora Sofía gets up, calming the children -
SEÑORA SOFÍA
Don't fight. You sit here, Paco.
She goes up to the phone -
SEÑORA SOFÍA
Hello, comadre. How are you? I'm just back from Tuxpan...
Cleo gathers the dirty laundry into a pile. Pepe calls from the couch -
PEPE
Cleo? Can you bring me a banana milkshake?
SOFI
Me too?
Cleo picks up the pile of clothes -
CLEO
Sure. Just lemme take these clothes up to wash. Do you want something, Paco?
PACO
Any Gansitos?
CLEO
I'm not sure, but if not, I'll go get some later.
Cleo starts to go down the stairs. Señora Sofía continues her phone conversation -
SEÑORA SOFÍA
Yes, it was wonderful... Yes, the kids are all right... No... lovely! .... good...
SEÑORA SOFÍA
Well Paco and Sofi scared the living daylights out of me...
INT - DOWNSTAIRS - TEPEJI 21 - AFTERNOON Cleo goes down the stairs carrying her pile of clothes, the family conversations and television filter down from upstairs. As she reaches downstairs, she crosses the empty hallway and the breakfast room. She goes into the kitchen and out the back.
EXT. - SMALL PATIO - TEPEJI 21 - AFTERNOON
The patio, in shadows now, floats in the afternoon quiet. Borras sleeps and the parakeets are quiet. Only the hum of the city in the distance. Cleo comes out of the kitchen carrying her load of dirty laundry and crosses the tiny patio to go up the metal staircase that leads to the roof. Her steps reverberate throughout the bony structure in a metallic moan that echoes through the tiny patio, waking the caged birds. Cleo reaches the step in front of her room and keeps walking upwards. A sweet potato vendor lets out his sad howl in the distance. Step by step, Cleo ascends. Yet further up, beyond the roof, the sky is pure. Pietrasanta, September 23, 2016. EN ESPAÑOL
ROMA
Escrita y Dirigida por
Alfonso Cuarón Las fechas en ROJO están indicadas únicamente como una herramienta para que los distintos departamentos tengan una especificidad histórica de las escenas a filmar y no aparecerán en pantalla. 3 de septiembre de 1970, jueves INT - PATIO - TEPEJI 21 -- DÍA Triángulos amarillos dentro de cuadros rojos. Agua que se esparce sobre los mosaicos, con espuma turbia. Es el piso de un largo y estrecho patio que se extiende a lo largo de la casa. Al fondo está la puerta que da a la calle, negra, de metal y con vidrios esmerilados, dos de los cuales están rotos, culpa de algún portero derrotado. CLEO, Cleotilde Gutiérrez, una india Mixteca de 26 años, recorre lo largo del patio empujando con un hule el agua del piso mojado. Al llegar al otro extremo, la espuma se ha acumulado en una esquina, tímida, presumiendo sus brillantes burbujitas blancas hasta que - UN CHORRO DE AGUA las sorprende y son arrastradas hasta la esquina donde las burbujas, necias, se deshacen en un remolino que desaparece en la coladera. Cleo recoge las escobas y las cubetas y las carga al - PEQUEÑO PATIO - Que está encerrado entre la cocina, el garage y la casa. Cleo abre la puerta de un cuartito y almacena las escobas y las cubetas, después entra a un bañito y cierra la puerta. El patio queda en silencio, sólo un locutor de radio con su entusiasmo que se disuelve en la distancia y el triste cantar de dos pajaritos encarcelados. Se escucha la descarga del escusado y luego el agua del lavabo. Después de un momento, se abre la puerta. Cleo sale secándose las manos en el mandil, entra a la cocina y desaparece tras la puerta que conecta a la casa. INT - PLANTA BAJA - TEPEJI 21 -- DÍA Cleo cruza el antecomedor de madera anciana y oscura, después el comedor moderno de madera clara, ligera y puntiaguda, y cuando llega al hall, sube las escaleras. CONTINUED: Pasando el hall hay dos salas, una con pesados sofás de terciopelo verde y antiguos gabinetes con los discos y el estéreo. Hay un piano pegado a la pared. La otra sala intenta ser más moderna, con sofás ligeros y un carrito para cocteles con un sifón. En una sala cuelga la enorme pintura de una mujer recargada en un cántaro de barro, en tonos rojos y morados. En la otra, otra pintura, también grande pero más sombría. En una oscura celda de piedra, un monje da consuelo a un preso engrilletado que, desesperado, cubre su cara con las manos. INT - PLANTA ALTA - TEPEJI 21 -- DÍA Las escaleras suben a un hall central que está rodeado de cuatro recámaras y un enorme baño. Cleo arregla una recámara, la cama matrimonial ya está tendida, tiene una cabecera de caoba con ornamentos que hace juego con las mesas de noche. Junta ropa sucia del piso y la carga al hall, donde la apila sobre el montón de ropa que se acumula. El hall de arriba hace de cuarto de televisión. El baño aún falta por lavar pero tres de las habitaciones ya están completamente ordenadas. Cleo entra a una habitación con dos camas pequeñas para niños. Primero levanta la ropa y acomoda los juguetes de niño y de niña que están regados por el piso. Comienza a tender una de las camas cuando se escucha un grito desde la planta de abajo -
ADELA (O.S.)
¡Manita…! ¡Ya es casi la una…!
Cleo se sobresalta y exclama -
CLEO
¡Ay chicú…!
Y sale de la habitación cargando la ropa sucia. En el hall, la junta con el montón de ropa y lo carga. Se apresura escaleras abajo. INT - PLANTA BAJA - TEPEJI 21 -- DÍA Cleo baja las escaleras cargando el montón de ropa - Cruza el hall y los comedores y desaparece tras la puerta que da a la cocina. Después de un momento, a través de - LA VENTANA - La vemos salir al pequeño patio. Deja la ropa al pie de la escalera de metal que va a la azotea y se apresura hacia la calle. EXT - CASA - TEPEJI 21 -- DÍA La calle de Tepeji se extiende apenas dos cuadras, partidas por Avenida Monterrey, de casas cansadas construidas en los años 30. Tepeji 21 descansa, triste y resignada, sobre sólidos cimientos que se funden con el concreto gris de la banqueta justo a mitad de la cuadra. Es toda blanca excepto la franja de rojo casi marrón que corre a lo largo de la fachada, y la herrería de las ventanas y la puerta que están pintadas de negro. Junto a la esquina superior izquierda de la puerta está el número, de mosaicos: 21. La puerta se abre y Cleo sale. Se apresura hacia la avenida y al llegar a la esquina, da vuelta a la derecha. EXT - CALLE - AV. MONTERREY - TLAXCALA -- DÍA Cleo sale de Tepeji y camina por la avenida, donde circula un tráfico considerable. Al llegar a la esquina cruza la avenida y sigue por - CALLE DE TLAXCALA - Y pasa una farmacia, una miscelánea, una panadería y un salón de belleza. EXT - KINDER CONDESA -- DÍA Una pequeña multitud se acumula en la entrada del kinder a la hora de la salida, Cleo llega y entra a la escuela, despues de un momento sale con PEPE, un niño de 5 años que carga una "obra de arte" recien seca. EXT - CALLE DE TLAXCALA -- DÍA Cleo camina junta a PEPE que carga su "obra de arte", un niño de 5 años en shorts y camisa. Pepe camina dando brincos para no pisar raya, Cleo carga su lonchera. De pronto, Pepe se detiene y se sienta. Cleo sigue caminando unos pasos pero se detiene, voltea -
CLEO
¿Qué pasó?
PEPE
Ya me cansé.
CLEO
¡Pus vámonos llegando a la casa, y ahí, si quieres, hasta tu cama!
PEPE
¡Ya no puedo!
Cleo pretende seguir caminando -
PEPE
¡Mamá…!
Cleo se detiene y voltea -
CLEO
¡Qué no vas a poder! Anda, ¡dale!
PEPE
¡Que no puedo!
CLEO
¡Ay! Si cada vez que pienso que "no puedo" me acostara, me la viviría en la cama.
PEPE
No estoy acostado.
CONTINUED: Cleo le toma la mano -
CLEO
Ándale, que hay sopa de fideos…
Pepe se levanta -
PEPE
¡Ahhyyyyy!
Y comienza a dar unos pasos pesados y perezosos.
PEPE
¡Maaaaamáááááá…!
CLEO
¡Vamos, soldadito! ¡Con la sonrisa al frente!
Los dos marchan de la mano. EXT - PATIO - TEPEJI 21 -- DÍA Cleo y Pepe entran, el cargando su "obra de arte" y ella la lonchera, se escucha a Adela que la llama -
ADELA (O.S.)
¡Cleo…!
ADELA, de 26 años, mejor amiga de Cleo y también Mixteca, sale al patio. Sus conversaciones privadas son en lengua mixteca conmbinada con algo de español.
ADELA
(en mixteco)
¡Apúrate, manita! ¡Que está Fermín al teléfono!
Cleo se apresura y entra a la casa a contestar. INT - HALL DE ABAJO - TEPEJI 21 -- DIA Cruza el hall y contesta el teléfono que ya está descolagado sobre el mueble bajo la escalera -
CLEO
¿Bueno…?
INT - COCINA - TEPEJI 21 -- DÍA Adela prepara la comida, las ollas hierven en la estufa. Cleo entra y deja la lonchera sobre la mesa.
ADELA
(en mixteco)
¿Entonces qué te dijo?
CLEO
¡Nada! ¡Nomás habló para saludar!
Cleo recoge platos y vasos, sale con ellos. Adela remueve la sopa. Cleo entra otra vez y abre el cajón de los cubiertos.
ADELA
¡Seguro! ¡Ya me bajaste a mi novio, ¿verdad?!
CLEO
¡Ay, ¿cómo crees?! ¡Fermin es sólo mi amigo!… Además… Tú me lo presentaste…
ADELA
¡Ay, manita! ¿Ya ves cómo te pones? Si yo nomás te estoy jodiendo. ¡Y además! Sólo salí dos veces con él y ni lo dejé besarme.
Se escucha que se abre la puerta de la calle y con ella una conmoción de niños.
CLEO
Ya llegaron…
Cleo sale al - EXT - PATIO - TEPEJI 21 -- DÍA Cleo llega al patio en el momento en que - Entran dos niños corriendo - TOÑO de 12 años y PACO de 11, los dos entran apresurados a la casa y adentro se les oye subir las escaleras. CONTINUED: Poco después entra SOFI, una niña de 8 años, es muy bonita aunque sus hermanos constantemente la molestan llamándola gorda. Y hasta atrás entra la SEÑORA TERESA, una viuda de 65 años con el cabello completamente blanco que cojea al caminar. IGNACIO, el chofer de 45 años, la sigue cargando una bolsa de mandado. INT - ANTECOMEDOR - TEPEJI 21 -- DÍA Cleo le corta la carne a Pepe. Con un cuchillo corta trozos cada vez más pequeños hasta que sólo quedan pequeños cubitos de bistec que chorrea con limón. SOFI espera su turno, impaciente. PACO come su carne mientras platica -
PACO
Un amigo me contó que en la escuela de su primo un soldado mató a un niño por tirarle un globo con agua.
Toño escucha escéptico -
TOÑO
¿Quién te dijo?
PACO
Me dijo Flores, si no pregúntale. Dice que estaba en Chapultepec, por el nuevo, y que estaba con su hermano tirando globos de agua a los coches que pasaban y que pasó un Jeep del ejército y le tiraron uno y el soldado se bajó y le disparó.
CLEO
¡Ay Jesús! ¿Y qué le pasó?
PACO
¿Cómo que qué le pasó? ¡Si le dio un tiro en la cabeza, pus lo mató!
CLEO
¡Ay, qué horror…!
CONTINUED: Por la puerta del hall entra la SEÑORA SOFÍA, carga una mochila y un bonche de papeles que deja en la mesa del comedor -
SEÑORA SOFÍA
¡Hola niños! ¿Qué comen?
SOFI Y PEPE
¡Mamá!
La Señora Sofía saluda a cada uno con un beso. Pepe le enseña su "obra de arte" -
PEPE
Mira mami…
SEÑORA SOFÍA
¡Que bonito! ¡Lo hiciste solito?
PEPE
Si, y mira, ¡Hay sopa de fideo!
SEÑORA SOFÍA
¡Mmmmm!… ¡Qué rico!
Se sienta -
SEÑORA SOFÍA
Cleo, que los niños no toquen esos papeles, son exámenes que tengo que calificar.
TOÑO
¿Hay sandía?
CLEO
No, mi amor. Hoy hay fresas con crema.
PACO
¡Yo quiero!
Cleo se levanta y recoge algunos platos sucios -
CLEO
¿Y tú, Toño?
TOÑO
¿Ya qué?
Cleo va a la - INT - COCINA - TEPEJI 21 -- DÍA Cleo entra con los platos sucios, los acomoda en el fregadero. Ignacio el chofer y Adela comen en una pequeña mesa. Cleo toma un plato limpio y va a servir sopa -
CLEO
Ándali, que ya llegó la Señora Sofía y Toño quiere ya las fresas…
Adela se levanta, lenta, y en una charola pone platos, cucharas, fresas, azúcar y crema. Mira a Cleo con una interrogante y le sonríe. Cleo se sonroja y sale cargando su plato. INT - ANTECOMEDOR - TEPEJI 21 -- DÍA La Señora Sofía toma su sopa. Cleo prepara fresas con crema en los platos.
SEÑORA SOFÍA
Cleo, por favor manda a la tintorería los dos trajes del señor. Pero hoy mismo porque los tiene que empacar porque sale el viernes.
CLEO
No se preocupe, yo los llevo.
PEPE
¿Papá va de viaje?
SEÑORA SOFÍA
Va a Quebec a un congreso.
SOFI
¿Dónde es eso?
PACO
¡Ay, babosa! ¡Cómo no sabes!
SOFI
Pus no sé y qué…
TOÑO
Queda en Canadá.
CONTINUED:
PACO
¿Se va en Eastern?
SEÑORA SOFÍA
No sé. Creo que en Panam.
Cleo le sirve a Sofi un plato de fresas con crema.
SEÑORA SOFÍA
Sofi sin azúcar porque engorda.
EXT - AZOTEA - TEPEJI 21 -- TARDE Cleo lava ropa, a momentos tararea la canción que sale de un radio amarillo. El crujir metálico de la escalera anuncia la llegada de Paco, seguido de Pepe.
CLEO
No tienen permiso de subir aquí.
PACO
Yo lo cuidé toda la subida.
CLEO
Tu mamá se va a enojar.
Pero Paco ya arrancó su juego arrastrando con él a Pepe.
PACO
Yo voy a salir por aquí y tú vienes por acá, y cuando yo llego acá me vas a disparar pero yo te disparo primero y caes muerto… Así… Con los brazos abiertos…
Paco recibe balazos como Sonny Corleone contra el muro de la casa vecina.
CLEO
¡Nomás no jueguen junto al borde!…
PACO
Anda…
Paco se aleja por la azotea, Pepe se esconde detrás de un tinaco. Paco regresa, pero ahora escondiéndose de espías enemigos, hasta los tinacos. Comienza a rodearlos, siempre con su pistola al aire pero - CONTINUED: Pepe se le aparece por atrás y con ánimos de matarlo. Paco reacciona y voltea, intenta apuntar su arma pero Pepe lo rocía de certeros disparos y se esconde tras el tinaco dejando a Paco primero confundido y, muy poco después, furioso -
PACO
¡Tenías que morirte!
Desde detrás del tinaco Pepe lo reta -
PEPE
¡¿Y por qué no eres tú el que se muere?!
PACO
Porque es mi juego.
PEPE
Pus ya no quiero jugarlo.
PACO
Pus ya no quiero que juegues, niñita.
Y se va, colérico. Baja las escaleras resonando cada paso con metálicos gemidos. Pepe camina para verlo irse y se detiene a mitad de la azotea, claramente decepcionado. Y así se queda por un largo tiempo, hasta que de pronto - Una ráfaga de balas invisibles lo perfora y Pepe cae muerto, con los brazos abiertos, como Paco le había dicho. Y ahí se queda, acostado inmóvil en el suelo. Cleo se seca las manos y camina hasta él. Se detiene y lo ve -
CLEO
¿Y a ti? ¿Qué te pasó?
Pepe contesta desde el suelo y sin abrir los ojos -
PEPE
Estoy muerto.
CLEO
Bueno, ¡pus vámonos pa abajo!
CONTINUED: (2)
PEPE
No puedo. Estoy muerto.
CLEO
¡Pus resucita que ya hay que ir pa abajo!
PEPE
Si te mueres no puedes resucitar.
CLEO
¡¿Y ora qué voy a hacer sin mi Pepe?!
Cleo se sienta en el suelo junto a Pepe que se mantiene inmóvil.
CLEO
¡Yo sin mi Pepe no puedo vivir!
Cleo se acuesta junto a Pepe y también extiende los brazos. Cierra los ojos -
CLEO
Yo también me morí.
Y así se queda, quieta, Pepe junto a ella. Un DC 8 pasa volando. Pepe abre un ojo para ver a Cleo, ella no se mueve, ni parece respirar. Pepe extiende su mano y agarra la de Cleo.
PEPE
¿Cleo…?
Pero Cleo no se mueve. Pepe se sienta -
PEPE
¿Cleo…?
CLEO
Estoy muerta.
PEPE
¡No! ¡Ya ándale! ¡Levántate!
CLEO
¿No dices que no se puede?
PEPE
¡Ya! ¡Cleo…!
CONTINUED: (3) Pero Cleo no contesta.
PEPE
¡Cleo…!
Ella sigue inmóvil.
PEPE
¡Cleeoo!
Pepe comienza a asustarse -
PEPE
¡Cleeeeeeeeooooooo!
Cleo abre los ojos y le sonríe.
CLEO
Estoy jugando tu juego. A ver, ¿jugamos un ratito más?
Pepe se acuesta junto a ella con los brazos abiertos.
CLEO
Cierra los ojos.
Los dos cierran los ojos.
CLEO
Me gusta estar muerta.
Pepe le toma la mano. Los dos yacen muertos sobre la azotea - La tarde ha iniciado sus horas quietas, a la distancia suenan las campanas de una iglesia. Todo a su alrededor es un paisaje de azoteas que se extiende en todas direcciones. En muchas de ellas otras mujeres lavan o tienden ropa, el murmullo de distintos radios se cuela en el viento con el ladrar de los perros. El pitido de un carrito de camotes. El universo quieto. INT - BAÑO PRINCIPAL - TEPEJI 21 -- NOCHE Cleo baña a Sofi y Pepe en la tina. CONTINUED: Sofi tiene el pelo enjabonado y se lo acomoda de diversas formas frente al espejo. Pepe tiene un submarino pero no juega con él, está pensativo -
PEPE
¿Cleo…? ¿Si te murieras ahorita, te irías al cielo? ¿O al infierno?
CLEO
¿Y por qué me voy a morir?
PEPE
Nomás, por decir… ¿Al cielo o al infierno?
CLEO
Tú nomás te la pasas matándome…
Pepe comienza a enervarse -
PEPE
¡Es que es un juego…! Ya, dime… ¿te irías al cielo o al infierno?
Cleo llena de agua una cubetita y le dice a Sofi -
CLEO
A ver, cierra los ojos…
Y le tira un chorro para enjuagarle el pelo.
CLEO
Me iba volando con mis alitas derechito al Cielo.
PEPE
Es que mi tío Pablo nos enseño pinturas y fotos del infierno.
CLEO
(desinteresada)
¿El infierno…?
CONTINUED: (2)
PEPE
Sí. Y dice que había lumbre por todos lados… Y que mientras te queman, hay unos diablos bien feos que te pican, así, con fierros… y hay otros que te muerden o te comen los brazos…
CLEO
¡Ay, Chichú! ¡Qué feo! ¡Ya no digas cosas…!
PEPE
¡Sí, pero Paco dice que ahí quiere el ir!
CLEO
¿Cómo…? ¿Y toda la lumbre?
Pepe se ríe -
PEPE
Dice que no importa…
CLEO
¿Cómo…? ¿Qué no dices que queman a la gente?
Su risa es ahora carcajada -
PEPE
¡Sí…! ¡Pero Paco dice que ahí todos están desnudos! ¡Y que puedes ver a todas las chavas encueradas…!
Pepe se carcajea, Sofi escupe agua y se ríe con él. EXT - PATIO - TEPEJI 21 -- NOCHE Los paneles de vidrio esmerilado de la puerta se iluminan y se escucha - Un claxon - ¡Ta-ta Ta-ta Ta-ta Ta-taaaaaa…! Y tras la puerta, el poderoso y goloso ronroneo de un V8. Desde el interior del coche se escucha la XELA, que toca "Un bal" de la Symphonie fantastique. CONTINUED: El BORRAS llega de inmediato a ladrar a la puerta. Cleo y Adela llegan al patio.
ADELA
Pus qué temprano llegó.
Cleo agarra al Borras y lo arrastra hacia el fondo del patio.
CLEO
¿No ves que mañana sale?
Adela va a abrir la puerta. Desde el hall, Sofi y Pepe se asoman. Cleo les ordena mientras sostiene al Borras -
CLEO
¡Ahí espérense!
El V8 ronronea impaciente detrás de la puerta, y por fin - Adela abre la puerta revelando - El frente de un GALAXIE 500 DOS PUERTAS, 1970, NEGRO. Sus faros poderosos invaden hasta el fondo del patio, iluminando a Cleo que espera sosteniendo al Borras. El Galaxie 500 comienza a entrar al patio pero es demasiado grande para el espacio, dejando sólo un par de centímetros a cada lado de la puerta. El frente del coche está adentro cuando frena - El lado izquierdo está a punto de tocar el marco. Las ruedas giran hacia la derecha acompañadas del rechinido del hule girando sobre el mosaico. El Galaxie 500 avanza un poco más pero frena - El lado derecho a punto de tocar. El volante negro con dirección hidráulica es girado y - Las ruedas giran hacia la izquierda, RECHINANDO. Haciendo eco por el patio, sincopando el vals que sale del radio. La Señora Sofía llega a la puerta del hall junto a Sofi y Pepe. CONTINUED: (2)
SOFI
¡Papá llegó temprano!
El coche avanza unos centímetros y se frena. La palanca de velocidades cambia a R - El Galaxie 500 retrocede unos centímetros, se frena. La palanca de velocidades cambia a D - El coche avanza lentamente, librando el marco de la puerta. Lleva casi la mitad cuando frena. Las llantas giran a la derecha y - RECHINIDO. Y el vals que toma ritmo. El coche avanza medio metro y frena. Las llantas se alinean hacia el frente y - El Galaxie 500 libra el marco de la puerta y entra completamente al patio - Y el vals llega a su gran final… El coche se estaciona justo frente a la puerta del hall - El motor se apaga y con él la música - Sofi y Pepe se avientan contra la puerta -
SEÑOR ANTONIO
A ver, a ver, a ver… Déjenme salir.
La Señora Sofía jala a los niños hacia ella y - Sale el SEÑOR ANTONIO, tiene 40 años y su barba muestra algunas canas, aún viste su bata blanca de doctor. Los niños se le echan encima inmediatamente -
SEÑOR ANTONIO
¿Y estos? ¿Y estos? ¿Quiénes son estos?
La Señora Sofía le acaricia el hombro. La familia entra. CONTINUED: (3) Adela cierra la puerta de la calle y Cleo deja libre al Borras, que inmediatamente corre a oler las llantas del Galaxie 500. INT - HALL DE ARRIBA - TEPEJI 21 -- NOCHE Gordolfo Gelatino sale de su recámara en bata, estirando los brazos, perezoso -
GORDOLFO GELATINO (EN TV)
Ya se despertó tu rorro, mamacita…
Doña Naborita lo recibe entusiasta -
DOÑA NABORITA (EN TV)
¡Mi ángel of the mornin'!… ¡Si apenas son las dos de la tarde!… ¿Ya descansaste de descansar?
La familia entera está sentada en un sillón frente a un TELEVISOR ADMIRAL 1970. Sofi está encaramada en el Señor Antonio y Pepe en las piernas de la Señora Sofía, Paco recargado en ella, acurrucado. En un sillón individual está Toño, siempre más huraño. Cleo le sirve fresas con crema al Señor Antonio. Recoge un plato con los restos de una concha con frijoles, y va hacia las escaleras cuando - Una carcajada explota, cortesía de Los Polivoces. Los niños se derraman a risas de sus asientos. Cleo se detiene y voltea - EN LA TV - Gordolfo está sentado en el sillón admirándose en un espejo mientras Doña Naborita está planchando un altero de ropa.
DOÑA NABORITA (EN TV)
¡Ora sí, mi cerecita del jaibol, el edificio me dio toda su ropa a lavar, y voy a poder comprarte ese reloj que tanto te gusta…!
GORDOLFO GELATINO (EN TV)
¡No me gusta verte trabajar tanto, mi cabecita blanca adorada! Así que por favor vete al otro cuarto.
CONTINUED: Cleo deja los platos a un lado y se sienta en el piso, junto al sofá, a ver la tele. Paco extiende el brazo para abrazarla. Pepe intenta hacer lo mismo pero no alcanza, Cleo extiende el brazo y lo enrama con el suyo. EN LA TV - Una cortinilla anuncia al Wash and Wear, quien momentos después entra a la oficina de su jefe, el Mostachón, que lo explotará, inmune a los insultos y verdades que el pobre Wash and Wear le propina. Los niños más grandes ríen. Cleo también, pero más por participar.
SEÑORA SOFÍA
¿Cleo…?
Cleo se yergue enseguida -
CLEO
¿Diga, señora?
SEÑORA SOFÍA
¿Le traerías un tesito de manzanilla al Doctor?
CLEO
Sí, señora.
Recoge los platos del suelo y baja las escaleras. INT - COCINA - TEPEJI 21 -- NOCHE Adela lava trastes, Cleo entra y deja los platos sucios junto a la lavadora -
CLEO
A ver, ¡hazte…!
Le da un caderazo a Adela.
ADELA
¡Órale…!
CLEO
Prepárate una manzanilla para la señora y ya súbete.
CONTINUED: Adela obedece con falsa renuencia y se seca las manos con un trapo -
ADELA
Nomás no te tardes…
Toma una olla y le vierte agua de un garrafón en el piso. INT - HALL DE ARRIBA - TEPEJI 21 -- NOCHE Cleo llega cargando la taza humeante de té, la coloca en una mesa junto a la Señora Sofía. Pepe duerme en sus brazos.
SEÑORA SOFÍA
¿Te lo paso?
Cleo toma a Pepe y lo carga y lo lleva hacia su cuarto, Sofi la sigue. Cleo se detiene antes de entrar para ver - EN LA TV - Chano y Chon revelan sus caras bajo los sombreros. Chano comienza a preguntarle a Chon sobre el tamaño de los pingüinos, Chon contesta y Chano ahuya en respuesta -
CHANO (EN T.V.)
¡Uuuuuuuuuuuuhhhhhhhhhhhh!
SEÑORA SOFÍA
A la cama niños…
De mala gana, Toño y Paco se levantan y van a despedirse de beso de sus padres. INT - CUARTO DE SOFI Y PEPE - TEPEJI 21 -- NOCHE Sofi está acostada en su cama, Cleo está sentada a su lado tomándole la mano -
CLEO
Angelito de la Guarda, mi dulce compañía, no me desampares ni de noche ni de día. No me dejes sola, que me perdería…
Le acaricia la cara -
CLEO
Buenas noches, Sofi hermosa…
CONTINUED: Y le da un beso.
SOFI
Buenas noches, Cleo.
Cierra los ojos. Cleo se levanta y apaga la luz. Sale al - INT - HALL DE ARRIBA - TEPEJI 21 -- NOCHE Está vacío, la puerta de Toño y Paco está cerrada pero la de los Señores Antonio y Sofía sigue abierta. El Señor Antonio está sentado en la cama quitándose los zapatos. Los ronquidos de la Señora Teresa hacen eco por todas las paredes. Cleo recoge la taza de té que sigue llena, intacta, y comienza a bajar las escaleras. INT - PLANTA BAJA - TEPEJI 21 -- NOCHE Cleo baja las escaleras cargando la taza y al llegar al hall va a la sala y comienza a apagar todas las luces, sólo deja encendida una junto a la ventana. Después apaga las luces del hall y las escaleras y camina hacia el fondo, deteniéndose solamente a apagar las luces del comedor y el antecomedor. Y sigue hasta llegar a la puerta de la cocina. Entra. INT - COCINA - TEPEJI 21 -- NOCHE Cleo entra a la cocina, tira el té y enjuaga la taza. Apaga la luz y sale al pequeño patio, cerrando la puerta. Cruza el pequeño patio y sube las escaleras metálicas hacia su cuarto. INT - CUARTO DE SERVICIO - TEPEJI 21 -- NOCHE Cleo entra al cuarto, Adela ya está en camisón -
ADELA
¡Cuánto te tardas!
Cleo se quita el vestido apresurada - CONTINUED:
CLEO
¡Pero ya apágale! Que se enoja la Señora Teresa si ve la luz prendida.
Adela apaga la luz y el cuarto queda a oscuras, aunque la ventana es muy grande y deja entrar la luz de la luna. Cleo prende una vela y la pone en el piso. Las dos se acuestan en línea, los pies de una tocando los pies de la otra y -
ADELA
¿Lista?
CLEO
Dale…
Las dos impulsan hacia arriba la parte superior del cuerpo e intentan tocarse las puntas de los pies -
ADELA
(pujando)
Uno…
Y hacen abdominales, una tras otra -
ADELA
(pujando)
Dos…
Entre gruñidos y pujidos. 20 de septiembre de 1970, domingo EXT - AV INDEPENDENCIA -- DÍA El bullicio festivo del Centro de la ciudad en domingo, familias y vendedores ambulantes por doquier. Cleo y Adela van a paso rápido por la banqueta, en una carrera de obstáculos que se mueven. Adela es más rápida pero Cleo es más hábil y resistente. Adela lleva la delantera pero se enfrenta a una parada de autobús con familias que bajan, Cleo logra colarse entre la gente y sigue su camino. La banqueta está un poco menos llena y Adela aprovecha y la alcanza justo cuando llegan a - EXT - TORTERÍA - AV INDEPENDENCIA -- DÍA Y se detienen exhaustas, tratando de recobrar el aliento, una recargada en un coche y la otra en un poste. Entre respiraciones profundas Cleo levanta una mano y apunta el índice al cielo -
CLEO
(entre respiraciones)
… Gané…
Adela gesticula que no con la mano -
ADELA
(entre respiraciones)
… No… Empa… -tamos…
Cleo sólo niega con la cabeza. INT - TORTERÍA - AV INDEPENDENCIA -- DÍA Ilustraciones pintadas a mano sobre una pared anuncian los distintos tipos de tortas. En la otra, un espejo cortado en rombos reproduce la ya concurrida clientela. Cleo y Adela están sentadas en la barra disfrutando sus tortas cubanas que se desbordan de los panes a cada mordida.
ADELA
…Entonces que el Moisés… ¿Te acuerdas de Moisés? ¿El del pueblo?
Cleo asiente mientras termina de darle una mordidota a la torta, derramando aguacate.
ADELA
Pues que andaba ahí dale y dale y…
CLEO
(riendo)
…¿Dale y dale…?
ADELA
No, ¡tonta!… Dale y dale, y que me mandaba cartas y cartas…
Cada vez que habla, Cleo se cubre la boca con la mano - CONTINUED:
CLEO
(curiosa)
¿Y qué tanto te escribía?
ADELA
Pues… que no podía dejar de pensar en mí… que me extrañaba… que ya quería verme…
CLEO
¡Aaaaayyy…!
ADELA
Que sin mí se sentía solo…
CLEO
¡Pobre!
Que ya no podía sin verme…
CLEO
Aaaaaay…
ADELA
Y que viene mi primo del pueblo a traer un encargo y que me trae otra carta del Moisés…
CLEO
¿Ajá?
ADELA
Y pues que saca la carta y me la da. Pero pues al sacarla del bulto, la carta estaba junto con otras cartas, y pues todas que se le caen al piso. Y yo como que veo una así, con la letra toda chueca del Moisés, ¡y que la agarro y que la abro…!
Cleo sigue la historia, ha dejado de masticar -
ADELA
Y sí, era del Moisés. Que no puedo dejar de pensar en ti… Que ya quiero verte… Que sin ti me siento solo… Que te extraño…
CLEO
¡Pobrecito! ¡Tan buen muchacho!
CONTINUED: (2)
ADELA
Sí. ¡Nomás que la carta era para otra chica!
CLEO
¡Noooooooo!
Y queda boquiabierta, con un trozo masticado de cubana aún en la boca.
ADELA
¡El cabrón le manda la misma carta a todas las pinches chamacas!
Y las dos explotan a carcajadas cubriéndose la boca con la mano. Otros comensales voltean y ellas esconden sus rostros, intentando reprimir sus risas. EN LA ENTRADA - Dos hombres entran a la tortería y miran alrededor. Ven a Cleo y Adela sentadas en la barra y van hacia ellas. RAMÓN tiene 27 años, es afable, un poco pasado de peso y tiene patillas, lleva una camisa morada con cuatro botones abiertos al frente. FERMÍN tiene 26, es tímido y un poco huraño, tiene el cuerpo ceñido de un atleta, vestido de camiseta y chaqueta de cuero.
RAMÓN
¿Y por qué tan solitas comiendo… tortitaaassss…?
Sorprendiendo a las dos mujeres. Adela se levanta de inmediato y -
ADELA
¡Ramón!
Los dos se abrazan y se besan, exuberantes. Fermín se acerca, sonriendo tímido. Cleo se levanta y se saludan de beso, torpemente.
ADELA
¿Quieren una torta?
Fermín, tímido, señala su estómago - CONTINUED: (3)
FERMÍN
Gracias… Ya…
RAMÓN
Si ya acabaron de comer, vámonos ya que me gusta ver los cortos.
EXT - CINE METROPOLITAN -- TARDE La entrada del cine es un bazar de VENDEDORES AMBULANTES que anuncian sus productos recitando listas una y otra vez como mantras en un canto. Una anciana sentada en el suelo ofrece sus dulces en una tela frente a ella -
VENDEDORA DE DULCES
…cigarros-chicles-chocolates- mazapanes-muéganos-cacahuates- gomitas…
Un vendedor está tras su mesa improvisada ofreciendo cacahuates japoneses -
VENDEDOR CACAHUATES
…¡Los ja-po-neeeee-seeeeeeees!… ¡Los ja-po-neeeee-seeeeeeees!… ¡Los ja-po-neeeee-seeeeeeees!…
Una señora rechoncha y chaparra se pasea con una caja de chicles Adams en la mano -
VENDEDORA DE CHICLES
…¡De a peso le valen los chicles Adams sabor menta, hierbabuena, canela, tutifruti…!
Un merenguero de camisa corta -
MERENGUERO
…¡Merengues-merengues-lleve sus ricos-merengueeeeees!…
Vendedores de revistas, de yo-yos, de juguetes baratos… una cacofonía de cantos acompañados de un organillo que toca en la banqueta. Cleo, Adela, Ramón y Fermín hacen cola en la taquilla.
ADELA
¿Qué película pasan?
CONTINUED:
RAMÓN
Sepa.
Fermín le pregunta a Cleo -
FERMÍN
¿Sí quieres ir al cine…?
CLEO
Sí, me gustan las películas. ¿Qué, a ti no?
FERMÍN
No… esque… Está bonita la tarde, ¿no?
Cleo se hace consciente del sol que brilla, levanta su cara al cielo -
CLEO
Sí. Está bien clarito.
Lo mira -
CLEO
¿Quieres ir a la Alameda?
Fermín le sonríe.
FERMÍN
Pérame tantito…
Camina hasta Ramón, que está al frente de la fila sacando dinero de su bolsillo. Adela aprovecha para ir con Cleo.
ADELA
¿Qué, manita? ¿No vas al cine?
CLEO
Esque… Está bien bonita la tarde, ¿no?…
ADELA
(interrumpe)
¡Uuuuuuuyyyyyyy!… Ándale… Ahí me cuentas, manita. Yo mejor me voy a lo oscurito.
Y se va con Ramón que espera para entrar al cine. Fermín regresa con Cleo y se van. CONTINUED: (2) Los vendedores ambulantes continúan su coro. El organillero calla. INT - CUARTO DE HOTEL -- TARDE En reglamento cuelga en un pequeño marco en la puerta, ignorado. Tras la ventana, la tarde del domingo mengua y un letrero fluorecente se asoma anunciando el Hotel. tras La puerta del baño que está abierta, un foco ilumina el lavabo y un espejo occidado. Fermin sale del baño cargando unos chacos. Está completamente desnudo. Cleo espera en la cama, tímida, aún con su fondo puesto. Al ver a Fermin se sonroja. Frente al baño, Fermín presenta sus chacos al frente -
FERMÍN
¡Jodan Tsuki!…
Y comienza una rutina con ellos. Es una coreagrafía elaborada y estudiada, los palos encadenados giran como hélices a su arededor. El efecto es poetico pero también un tanto ridículo pero Cleo reprime su sonrisa bajo las sábanas. Fermin finaliza su rutina tomando distintas posiciones -
FERMÍN
¡Jodan Tsuki!… ¡Chudan Tsuki!… ¡Mae Geri!…
Y se despide con una inclinación. Cleo reprime una risa -
FERMÍN
¿Qué…?
Cleo cubre su risa preguntando -
CLEO
¿Y entrenas a diario?
FERMÍN
Tengo que. Le debo la vida a las artes marciales. Yo crecí con muchas carencias, ¿sabes?
Afuera, las multitudes y el barullo parecieran lejanos. Fermín deja los chacos sobre una repiza y camina hacia el pie de la cama - CONTINUED:
FERMÍN
De chamaco, cuando mi mamacita se murió…
Se persigna -
FERMÍN
Me llevaron a vivir con mi tía, allá a Neza. Y ahí, que entre mis primos que me madreaban y que las malas compañías, y que le entré al trago… y que llegué al chemo… Me estaba muriendo…
Hace una pausa -
FERMÍN
Pero descubrí las artes marciales. Y pus esas cosas ya no, y todo tiene… algo así como… ¿foco…?
Fermín hace un silencio, ve a Cleo -
FERMÍN
Y pus no me gusta platicarle a la gente de mis cosas… Pero contigo es distinto…
Él acerca su cara y ella la suya y sus labios se encuentran y se besan suavemente, pero muy pronto Cleo mueve la cabeza golpeando a Fermín en la nariz.
CLEO
¡Ay! ¡Perdón…!
Pero Fermín la jala de regreso y la besa intensamente y, con la bocas ya sellada a Cleo, se acuesta lentamente en encima de ella. Hacen el amor. 11 de noviembre de 1970, miércoles INT - CUARTO DE SERVICIO - TEPEJI 21 -- MADRUGADA Suena la alarma de un despertador. Cleo despierta y la apaga. Se sienta en la cama. La luz del alba entra por la ventana, la casa está en silencio. Adela duerme plácida en su cama. CONTINUED: Cleo se levanta precipitadamente, toma ropa de la silla y se acomoda los zapatos mientras camina apurada a la puerta y sale. EXT - PATIO PEQUEÑO - TEPEJI 21 -- MADRUGADA Cleo baja las escaleras apresurada y entra al pequeño baño. INT - BAÑO DE SERVICIO - TEPEJI 21 -- MADRUGADA Cleo vomita. El baño está limpio pero no ha tenido mantenimiento en mucho tiempo. La minúscula regadera no tiene cortina y el escusado no tiene asiento ni tapa en el tanque de agua. En el lavamanos, dos cepillos de dientes y un tubo apachurrado de Colgate. En una pequeña repisa, un frasco de Nivea y una veladora apagada. INT - BAÑO DE SERVICIO - TEPEJI 21 -- MÁS TARDE Cleo se baña, el pequeño baño inmediatamente inmerso en una nube de vapor. INT - PLANTA BAJA - TEPEJI 21 -- AMANECER Cleo sale de la cocina y cruza la casa que está aún en penumbras, aunque tras las ventanas el patio ya recibe la primera luz del día. Cleo llega a las escaleras y sube. INT - HALL DE ARRIBA - TEPEJI 21 -- DÍA Por la puerta del cuarto de los niños más pequeños, podemos ver a Cleo despertar a Sofi. Le susurra -
CLEO
Mi chiquita… Mi chiquita bonita…
Y le hace delicadas cosquillas en la cintura -
CLEO
Despierta, despierta… Despierta, despierta… Ya amaneció y un nuevo día llegó…
CONTINUED: Las cosquillas suben como ejercito de hormigas por el torso de Sofi quien sonríe pero finge seguir durmiendo.
CLEO
Y van subiendo poquito a poco…
Sofi por fin se quiebra y ríe y mueve los brazos, modorra.
CLEO
Buenos días, princesita…
Sofi la abraza del cuello.
CLEO
Ándali, ya levántate…
Sofi se levanta -
SOFI
Voy al baño…
CLEO
Pus ve, ¡pues!
Sofi sale del cuarto y cruza adormilada el hall mientras Cleo acomoda un uniforme de escuela limpio sobre la cama. La Señora Teresa sale de su recámara y ve a Sofi a punto de entrar el baño -
SEÑORA TERESA
Buenos días, Sofi.
Sofi entra al baño sin voltear -
SOFI
Buenos días, abui…
Y cierra la puerta. La Señora Teresa baja las escaleras. Cleo va a la cama de Pepe y le da un beso asegurándose de no despertarlo y sale del cuarto. En el hall, prende la luz y entra a la recámara de Toño y Paco, que duermen profundamente. Se pone en cuclillas junto a Toño, le acaricia la cabeza y le susurra -
CLEO
Toño… Toño… Toño… Mi amor, ya hay que despertarse…
CONTINUED: (2) Toño, sin voltear, le quita la mano de un manotazo -
TOÑO
Ya estoy despierto…
Cleo sube las manos al aire -
CLEO
¡Ay!… ¡Si ya está despierto!… ¡Ay, que no lo toquen!…
Toño se levanta, gruñón, y sale del cuarto.
CLEO
Sofi está en el baño…
En el hall Toño toca la puerta del baño -
SOFI (O.C.)
¡Ocupado!
Pero Toño toca más fuerte -
TOÑO
¡Apúrate! ¡Tengo que entrar!
SOFI (O.C.)
¡Voy!
Cleo se sienta al pie de la cama de Paco, le saca un pie de las sábanas y le pone los calcetines sin despertarlo. Después lo sienta recargado en ella, y le quita la parte superior de la pijama. En el hall, Toño sigue tocando la puerta del baño -
TOÑO
¡Que te salgas!
La puerta del baño se abre y Sofi sale -
SOFI
¡Ya! ¡Pásale!
Toño entra de inmediato y al cerrar la puerta -
TOÑO
¡Gorda…!
Sofi cruza de regreso a su cuarto. Cleo ha logrado ponerle la camiseta a Paco, que ahora se sienta en la cama. CONTINUED: (3)
CLEO
Anda, termina de vestirte.
Paco se quita los pantalones de la pijama y Cleo sale al hall y entra a ayudar a Sofi. INT - ANTECOMEDOR - TEPEJI 21 -- DÍA La Señora Teresa y Sofi están desayunando en la mesa, Cleo guarda paquetes de papel encerado en las mochilas que están en el piso junto a cada silla. A través de las ventanas se puede ver a Ignacio que saca los coches a la calle. Un radio portátil en la mesa toca la XEQK, LA HORA HASTE DEL OBSERVATORIO -
HORA HASTE
…¡Chocolates Turín! ¡Ricos de principio a fin!… Maestro Mecánico Marcos Carrasco garantiza vigoroso control de calidad en la rectificación de motores…
Paco sale de la cocina con un Gansito y lo mete en su mochila, pero Sofi lo ha visto -
SOFI
¡Yo también quiero un Gansito!
PACO
Son míos.
SEÑORA TERESA
Yo los compré para todos.
PACO
Pero yo los puse en el congelador.
SEÑORA TERESA
Ándale, dale uno a Sofi, y luego te compro una cajota para ti solito.
Paco sopesa la oferta y regresa a la cocina. La Señora Teresa ha terminado sus panes dulces sopeados en café con leche y se levanta. CONTINUED:
SEÑORA TERESA
Apúrense, niños. Ya son las siete y veinte.
Se escucha la voz de Paco desde la cocina -
PACO (O.C.)
¡Son las siete diecisiete!
La Hora Haste recita -
HORA HASTE
XEQK proporciona la hora del observatorio, misma de Haste. Haste, la Hora de México… Siete de la mañana diecisiete minutos. Siete diecisiete… (silencio)… BIIIIP…
Paco sale de la cocina, triunfal. La Señora Teresa le saca la lengua y camina hacia la puerta. Paco le avienta el Gansito a Sofi -
PACO
Pa que engordes…
Toño llega.
CLEO
Ahí está tu jugo, Toño…
Toño se sienta -
TOÑO
Apaga esa cosa.
PACO
No, ¿por qué?
La Señora Teresa ya los llama desde la puerta -
SEÑORA TERESA
¡Vámonos!…
Sofi se levanta y va hacia la Señora Teresa que comienza a salir al patio -
SEÑORA TERESA
Cleo, agárrame al perro para abrir la puerta.
Cleo se levanta de inmediato y corre al patio. CONTINUED: (2) Toño también se levanta pero le sube todo el volumen al radio antes de irse. Paco lo apaga de un manotazo -
TOÑO
Jajaja… ¡Niñita!…
Paco grita antes de salir al patio -
PACO
¡Me toca adelante!…
Toño se empina el jugo y va tras ellos. EXT - CASA - TEPEJI 21 -- DÍA El Valiant está estacionado frente a la casa con el motor en marcha, la Hora Haste emanando del radio. Cleo espera en la banqueta agarrando al Borras del collar, mientras la Señora Sofía y los niños suben al coche en absoluto desorden.
TOÑO
¡Muévete!
SOFI
¡Ya me moví!
Cuando la Señora Teresa ha logrado entrar al coche, Ignacio le cierra la puerta, espera a que todos cierren la puerta antes de meterse.
TOÑO
¡Pon a la Pantera!
Paco aprieta un botón del radio y cambia la estación a la Pantera en plena votación Beatles vs. Creedence -
RADIO LA PANTERA (OS)
…¿Por quién votas, campeón?… Por los Beatles… ¡Un voto más para el Cuarteto de Liverpool que van atrás por 18 votos del Cuarteto del Bajou. ¿Por quién votas?… Creedence…
Ignacio mete el clutch y permite que Paco, que va sentado a su lado, meta primera velocidad con la palanca del volante. CONTINUED: El Valiant arranca y se aleja por la calle. Cleo lo ve dar vuelta en la esquina y regresa a la casa jalando al perro. Cierra la puerta. INT - HALL DE ABAJO - TEPEJI 21 -- DÍA Cleo entra a la casa y cierra la puerta del patio, cruza el hall y sube las escaleras. INT - CUARTO DE SOFI Y PEPE - TEPEJI 21 -- DÍA Cleo hunde su cara en la panza de Pepe que reacciona riendo.
PEPE
¡Ya estaba despierto!
CLEO
¡Ay, qué bueno! ¡Así ya también estás vestido!
PEPE
Eso no.
CLEO
Pus ándale, ¡levántate para que te vista!
Pepe se levanta y Cleo lo viste mientras él habla -
PEPE
¿Sabes de qué me acordé en mi sueño?
CLEO
No, tú. ¿De qué te acordaste?
PEPE
De cuando yo era grande.
CLEO
¿Cuando eras grande?
PEPE
Sí, tú también estabas pero eras otra. ¿Te acuerdas?
Cleo le sube los shorts al niño. INT - COMEDOR - TEPEJI 21 -- DÍA Una cuchara da delicados golpecitos en el cenit de un huevo que se quiebra lentamente. Cleo quita la cáscara para poder vaciar el huevo tibio en una taza. Le pone sal y al final agrega trocitos de pan. Le pasa la taza a Pepe, que come. Cleo se levanta y lleva platos sucios a - INT - COCINA - TEPEJI 21 -- DÍA Cleo entra a la vez que entra Adela, con el pelo mojado, por la puerta del patio.
CLEO
¡Buenas noches!
ADELA
¡Tú que no me despertastes!
CLEO
No. Si no fuera ser que luego te canses.
Adela la ve con mueca de risa. Cleo unta mermelada en un pan y lo junta con otro. Del antecomedor se escucha llegar a la Señora Sofía -
PEPE (O.S.)
¡Mamá!
SEÑORA SOFÍA (O.S.)
¡Mi amor! ¿Cómo está tu huevito?
Cleo mete el sándwich en una bolsa encerada -
CLEO
Ya se va el Doctor. Amárrate al Borras pa que salga.
Cleo toma el sándwich y un vaso con jugo de naranja y va hacia el antecomedor, Adela va al patio. INT - ANTECOMEDOR - TEPEJI 21 -- DÍA La Señora Sofía está sentada junto a Pepe, Cleo entra y le lleva el jugo - CONTINUED:
CLEO
Su juguito…
SEÑORA SOFÍA
Que Pepe se espere para despedir a su papá, no importa que llegue tarde.
CLEO
Sí, señora.
Al fondo, en el hall, el Señor Antonio ha bajado las escaleras cargando dos maletas. Cleo corre a ayudarlo.
CLEO
¡Ahí déjemelas, por favor, Señor!…
El Señor Antonio deja las maletas en el piso.
CLEO
Ya está su avena en la mesa…
SEÑOR ANTONIO
Gracias, Cleo.
Y camina hacia el antecomedor -
SEÑOR ANTONIO
¡Buenos días, Pepón!
PEPE
¡Papi!
El Señor Antonio se toma, de un vaso, un jugo de naranja de un sólo trago. Cleo va a las maletas y las carga. Sale - EXT - PATIO - TEPEJI 21 -- DÍA El redoble de tambores y trompetas miltitares hacen eco dentro del patio. Cleo carga las maletas hasta la puerta donde Adela sostiene al borras del collar. Cleo sólo se detiene para abrir la puerta y sale a - EXT - CASA - TEPEJI 21 -- DÍA Una Banda Militar de Secundaria marca cada paso al marchar por la calle tocando sus trompetas y tambores. Un VW '66 sedán color crema espera frente a la casa. CONTINUED: Cleo sale cargando las maletas y las deja a un lado del auto. Abre la puerta y mete una maleta en el asiento trasero, luego acciona el mecanismo en la guantera. Sale del coche y carga la segunda maleta al frente del auto, abre la cajuela y la acomoda en el minúsculo espacio. Va de regreso a la casa pero ve que el Señor Antonio ya sale, caminando por el patio. Más atrás lo sigue la Señora Sofía cargando a Pepe. El Señor Antonio pisa una caca de perro y se detiene asqueado -
SEÑOR ANTONIO
¡Con una…!
Desliza su pie por el piso intentando limpiarlo y continúa su camino. En la calle, talla la suela del zapato contra el borde de la banqueta. La Señora Sofía pone a Pepe en el suelo al llegar a la calle y va hasta el Señor Antonio y lo abraza por la espalda. Cleo se aleja unos pasos, Pepe va hasta ella y le toma la mano. La Señora Sofía rompe a llorar. El Señor Antonio voltea y la abraza incómodo.
SEÑORA SOFÍA
Nosotros aquí estamos…
SEÑOR ANTONIO
Sólo son unas semanas…
Se zafa de la Señora Sofía y va a entrar al coche cuando ella lo intercepta y le da un beso moqueado, que él recibe antes de sentarse al volante y cerrar la puerta. La Señora Sofía pone su mano en el hombro de su marido mientras él enciende el cuatro cilindros.
SEÑOR ANTONIO
Adiós, Pepe…
Mete primera y arranca lentamente, obligando a la Señora Sofía a levantar la mano, y se aleja hacia el final de la calle. CONTINUED: (2) El VW llega a la esquina donde debe de esperar a que la retaguardia de la Banda de Guerra salga de la calle llevándose sus ritmos marciales, antes de desaparecer por la derecha. La Señora Sofía se queda inmóvil, con la mano en el aire. Cleo espera. Por fin la Señora Sofía voltea, su rostro desencajado -
SEÑORA SOFÍA
¡Con un carajo! ¡Limpia las pinches cacas del perro!
Camina hasta Pepe y lo agarra de la mano -
SEÑORA SOFÍA
Yo llevo a Pepe.
Camina con Pepe hacia el final de la calle, en dirección opuesta a la que tomó el Señor Antonio. Cleo entra a la casa y cierra la puerta. EXT - PATIO - TEPEJI 21 -- DÍA Cleo empuja con una escoba una caca de perro a un recogedor. Y avanza a la siguiente, mientras el Borras se pasea por el patio, ignorante. Una a una, las recoge todas. EXT - PATIO PEQUEÑO - TEPEJI 21 -- DÍA Cleo abre el basurero y tira las cacas. Lo cierra. EXT - PATIO - TEPEJI 21 -- DÍA Una mancha embarrada sobre un mosaico rojo y amarillo, es rebaba de las cacas del Borras. Polvo pálido cae sobre la mancha hasta que la cubre. Cleo cruza el patio espolvoreando jabón en cada una de las manchas restantes. Al llegar a la puerta de la calle, llena dos cubetas de agua que esparce en el piso y - Cepilla, una a una, todas las manchas espolvoreadas del patio. 29 de noviembre de 1970, domingo INT - CINE METROPOLITAN -- TARDE PELÍCULA La sala está casi llena pero hacia atrás se vacía. Cleo y Fermín están sentados en la última hilera del cine, fajando intensamente. Sus manos acarician los genitales del otro, mientras se besan.
FERMÍN
Mámamela…
Cleo se separa brevemente y le dice entre suspiros -
CLEO
Esque… No me ha bajado lo del mes…
Pero sucumbe con un gemido de placer que intenta reprimir. Besa y acaricia a Fermín con más intensidad y él la explora más profundamente con la mano. PELÍCULA Por fin, Cleo logra sobreponerse a su deseo para decirle -
CLEO
Te digo. Que no me ha bajado el mes…
Pero Fermín la calla con un beso en la boca. Cuando se va por el cuello, Cleo aprovecha para hablar entre agitaciones de placer -
CLEO
Que creo que estoy con encargo…
Fermín hace una pequeña pausa, pero continúa besándola -
FERMÍN
Ahhh… Pus 'stá bien… ¿No?
Cleo hace una pausa, lo ve a los ojos -
CLEO
¿Está bien?
FERMÍN
… Ey…
CONTINUED: Cleo sonríe y lo besa en la boca. Baja la cabeza y comienza a mamársela. Fermín le agarra la cabeza y la obliga a moverse a su ritmo.
FERMÍN
… ¡Ay!… ¡Así!…
PELÍCULA Fermín extiende los brazos y se agarra de los respaldos de las butacas vecinas y comienza a gemir -
FERMÍN
…¡Asííííííí!… ¡Asííííííí!… ¡Asííííííí!…
Abre la boca y calla el grito mordiéndose la mano, y cuando la explosión pasa, Cleo se levanta, una mano en la boca, su cara salpicada de semen. Abre su bolso y saca unos Kleenex, se limpia la boca y la cara, después las manos, y se acurruca en Fermín que aún respira agitado. Los dos ven la película, Cleo enamorada. PELÍCULA Fermín se mueve suavemente para levantarse -
FERMÍN
Tengo que ir al baño…
CLEO
Tsk… Si ya va a acabar…
FERMÍN
Tengo que ir ahorita… Pérame tantito, no me tardo nada…
Se levanta y camina entre los asientos vacíos para llegar al pasillo, y de ahí a la salida. Cleo espera a que salga para buscar un chicle en su bolso, se lo mete a la boca. Saca otro Kleenex, lo moja con la lengua y se limpia la cara. La PELÍCULA llega a su fin y corren los CRÉDITOS. Cleo voltea hacia la salida. La GENTE comienza a levantarse. Se PRENDEN LAS LUCES de la sala, POR SECCIONES Y LENTAMENTE. CONTINUED: (2) Cleo se levanta y ve hacia las salidas, recargada en los asientos de adelante. Los créditos corren con los nombres de los tramoyistas. La sala se ha vaciado completamente, sólo queda Cleo y la pantalla donde corren los créditos de sonido. El telón de terciopelo rojo se cierra interrumpiendo los créditos que aún no terminan. Cleo por fin camina a la salida. INT - LOBBY - CINE METROPOLITAN -- TARDE Nuevos espectadores entran al cine, algunos van directo a la dulcería, donde las filas aún son cortas. Cleo deambula por el lobby buscando a Fermín pero no hay rastros de él. Camina a la entrada y sale, cruzándose con los recién llegados. EXT - ENTRADA - CINE METROPOLITAN -- TARDE Cleo sale y camina al centro de la entrada donde se detiene, absorta, entre los VENDEDORES AMBULANTES que anuncian sus productos recitando sus distintos mantras. Las piernas parecieran fallarle y se recarga en la marquesina que anuncia los próximos estrenos. Y, lentamente, se sienta en el piso entre - Una anciana que ofrece sus dulces -
VENDEDORA DE DULCES
…cigarros-chicles-chocolates- mazapanes-muéganos-cacahuates- gomitas-…
Y un hombre que anuncia su truco de magia, interactuando con un pequeño esqueleto de plástico que baila en el piso -
VENDEDOR ESQUELETO
…sin trucos ni artimañas, por sí solo baila. Sin hilos y sin trampas, es Don Carlangas que nos baila…
Cleo se queda quieta entre el mar de voces - CONTINUED:
VENDEDORES
…¡Los jaaaa-po-neeeeee-seeeeeeees! …¡Lleve su calcomanía del Cupido Motorizado!… ¡Merengues-merengues- lleve sus ricos-merengueeeeees!… ¡Hay de menta, hierbabuena, canela, tutifruti de los Chiclets Adams!…
Junto a Cleo, el pequeño esqueleto brinca y baila y repentinamente se detiene -
VENDEDOR ESQUELETO
…¿Que pasó, Don Carlangas, ya se cansó?… ¿Y qué va a hacer?…
El esqueleto se sienta en el piso -
VENDEDOR ESQUELETO
¡Ahaaa! ¡El Señor Carlangas se sienta a descansar!…
8 de diciembre de 1970, martes. EXT - CALLE -- DÍA Un ANCIANO PURÉPECHA, encorvado y con sombrero de paja, carga un enorme y voluminoso saco de tela que casi cubre, por detrás, su frágil figura. Camina por la calle a paso constante, deteniéndose únicamente para reacomodar el pesado saco sobre su espalda. Pasa frente a una miscelánea, una farmacia, una panadería, una tienda de abarrotes, una papelería y da vuelta en - EXT - CALLE DE TEPEJI - CASA - TEPEJI 21 -- DÍA El anciano camina encorvado, con el enorme bulto que casi descansa vertical sobre su espalda, sin perder su ritmo, frente a casas construidas en los años 30. Algunas tienen alteraciones modernas, a muchas les urge una mano de pintura. Llega a Tepeji 21 y se detiene frente a la puerta. Lentamente se quita el enorme saco de la espalda y lo posa en el suelo. Toca el timbre. CONTINUED: Adentro, se escucha al Borras correr hacia la puerta ladrando ferozmente. El anciano espera. El Borras no se da por vencido y sus ladridos son cada vez más fuertes. Se escucha a Cleo que se acerca -
CLEO (O.S.)
¿Quién…?
ANCIANO DE LAS NARANJAS
¡Naranjas!
El Borras responde, furioso.
CLEO (O.S.)
¡Voy…! ¡Ya cállate, Borras!…
El anciano recoge el saco mientras la puerta se abre apenas lo suficiente para ver a Cleo, que se asoma agarrando al perro del collar. El anciano termina de colocar el saco sobre su espalda -
ANCIANO DE LAS NARANJAS
¿Ya agarró al perro?
CLEO
Sí.
ANCIANO DE LAS NARANJAS
¿Segura?
CLEO
Aquí lo detengo. Pásele.
La puerta se abre y el Borras inmediatamente se abalanza contra el anciano, pero Cleo lo detiene fuertemente del collar. El perro ladra agresivo, parado en dos patas. El anciano entra a - EXT - PATIO - TEPEJI 21 -- DÍA Cleo contiene al Borras y se hace a un lado mientras el anciano entra por la puerta. La boca del perro expulsa baba a cada ladrido.
ANCIANO DE LAS NARANJAS
Agárrelo bien.
Cleo lucha con el perro - CONTINUED:
CLEO
Pase… pase…
El anciano pasa cauteloso junto a Cleo, que detiene al Borras. Ella cierra la puerta y lo sigue, manteniendo una distancia. Al llegar al fondo del patio, el anciano entra al - EXT - PATIO PEQUEÑO - TEPEJI 21 -- DÍA El anciano llega frente a la cocina y deposita lentamente el pesado saco sobre el piso. Adela sale de la cocina cargando un huacal que coloca en el suelo -
ADELA
Buenos días, señor…
ANCIANO DE LAS NARANJAS
Buenas… ¿Cuántas van a ser?
ADELA
Que sean treinta…
El anciano se quita el sombrero de paja para refrescar su pelo blanco y lacio mojado de sudor, su rostro indio está marcado con profundas arrugas. Se agacha y mete las manos al bulto, saca - Naranjas que pone, de tres en tres, en el huacal -
ANCIANO DE LAS NARANJAS
1… 2… 3… 4… 5… 6…
Cleo contiene al Borras que no para de ladrar. EXT - PATIO - TEPEJI 21 -- TARDE Guijarros de hielo rebotan en el piso despues de caer del cielo. El granizo cubre el patio. INT - COCINA - TEPEJI -- TARDE La luz de la tarde, sofocada por las nubes, lucha por traspasar las ventanas. Tras la ventana, granizo cae sobre el patio pequeño. Adela vierte café en una taza y la acomoda en una bandeja que ya tiene una azucarera, una jarrita de leche, una cuchara y una servilleta. Junto a ella, Cleo espera nerviosa. CONTINUED:
ADELA
Anda. Llévasela tú, manita.
Cleo toma la bandeja y camina hacia la sala. Adela la acompaña pero se detiene en la puerta. INT - SALA - TEPEJI 21 -- TARDE Cleo sale de la cocina, Adela espera junto a la puerta y la ve cruzar el hall cargando la bandeja con café. Tras las ventanas, el granizo continúa. La luz de la tarde apenas pinta las cortinas de la sala y ya hay lámparas prendidas. En una esquina, un árbol de esNavidad presume sus luces de colores sobre un nacimiento artesanal con paisajes de musgo, heno y cartón. Los niños están sentados en el sillón de la sala moderna alrededor de la Señora Sofía. Cleo coloca la bandeja en la mesa de centro junto a unos papeles blancos y unos sobres, y sirve el café. Va a ponerle crema cuando -
SEÑORA SOFÍA
Así está bien, Cleo…
Cleo pone la taza frente a la Señora Sofía, ella toma la crema y se sirve mientras Cleo comienza a retirarse, se detiene -
CLEO
Discúlpeme, ¿Señora Sofi?
La Señora Sofía agrega dos cucharadas de azúcar al café -
SEÑORA SOFÍA
¿Sí?
CLEO
Esque… Si cuando tenga un momento… Me gustaría ver si… ¿Puede hablar conmigo un momentito?
SEÑORA SOFÍA
Sí, pero 'pérame tantito. Nomás le digo unas cosas a los niños.
Cleo asiente y se retira unos pasos a esperar. CONTINUED:
SEÑORA SOFÍA
Pero espérate aquí, siéntate.
Cleo se sienta en el sofá tímidamente. La Señora Sofía prueba su café, los niños están impacientes.
PACO
¿Qué?…
TOÑO
Tengo que ir a comprar madera balsa para una maqueta.
La Señora Sofía prueba su café y dice de buen humor -
SEÑORA SOFÍA
Vas después. A ver, tengo unas cosas que decirles…
PACO
¿Vamos a ir a Disneylandia?
SEÑORA SOFÍA
No. Navidad la vamos a pasar en casa de mi hermano Pablo.
PACO
¡Ahí es bien aburrido!
SOFI
No es cierto. Ahí están mis primas.
SEÑORA SOFÍA
Y para Año Nuevo, vamos a ir a la hacienda de los Zavaleta.
PACO
¿Van a ir los Richards?
SEÑORA SOFÍA
Sí, y también los Matos y los Larsson.
TOÑO
¿Y papá cuándo llega?
SEÑORA SOFÍA
Ésa es la otra cosa que tengo que decirles. Su investigación sigue retrasándose y va a tener que quedarse en Quebec más tiempo.
CONTINUED: (2)
TOÑO
¿Regresa hasta enero?
La Señora Sofía hace una brevísima pausa y cuando retoma la conversación su tono parece distinto.
SEÑORA SOFÍA
No sabe. Pero por eso aquí les traje estos papeles para que le escriban una carta. Cada uno.
Distribuye los papeles y sobres entre los niños -
SEÑORA SOFÍA
Díganle cuánto lo extrañan, que por favor ya vuelva…
Su buen humor intenta enmascarar su nerviosismo.
SEÑORA SOFÍA
Tú, Pepe, hazle dibujos…
PEPE
Yo también sé escribir.
PACO
Seguro…
Toño se levanta -
TOÑO
Bueno. Voy primero por mi madera balsa.
La Señora Sofía le grita -
SEÑORA SOFÍA
¡Tú no vas a ningún lado hasta que hayas escrito tu carta!
Toño toma sus papeles y se arranca, enojado, hacia las escaleras.
SEÑORA SOFÍA
¿A dónde vas?
TOÑO
A mi cuarto, ¿o qué? ¿Tampoco puedo escribir la carta en mi cuarto?
SEÑORA SOFÍA
No, sí. Está bien.
CONTINUED: (3) Paco toma sus papeles y sigue a Toño -
PACO
Yo también voy al cuarto.
La Señora Sofía le da el resto de los papeles a Sofi.
SEÑORA SOFÍA
Sofi, llévate esto al comedor y ayuda a Pepe con su carta. Nomás hablo tantito con Cleo y los alcanzo.
Sofi toma los papeles -
SOFI
Vente, Pepe.
SEÑORA SOFÍA
Ponle muchos dibujos bonitos, Pepe. Sofi, ayúdale a escribir "Te extraño mucho, papá".
SOFI
Sí, mamá. Vente Pepe.
Sofi y Pepe van con sus papeles a la mesa del comedor.
PEPE
Pero yo lo escribo, ¿eh?
La Señora Sofía ve a los niños caminar al comedor. Voltea con Cleo.
SEÑORA SOFÍA
Ahora sí, Cleo. Hazte pa acá.
Cleo se sienta más cerca de la Señora Sofía -
SEÑORA SOFÍA
¿Qué pasó, Cleo?
Cleo la ve como un ciervo encandilado, se queda muda.
SEÑORA SOFÍA
¿No querías decirme algo?
CLEO
No, sí. Esque…
Pero se queda muda otra vez. Al fondo, junto a la puerta de la cocina, Adela finge limpiar mientras intenta escuchar - CONTINUED: (4)
SEÑORA SOFÍA
¿Sí?
Los ojos de Cleo se llenan de lágrimas. La Señora Sofía se preocupa -
SEÑORA SOFÍA
¿Qué pasa, Cleo?
Pero Cleo sólo llora.
SEÑORA SOFÍA
¿Está bien tu mamá?
Cleo afirma -
CLEO
Esque… Señora Sofi…
SEÑORA SOFÍA
¿Sí?
CLEO
Esque… Creo que estoy con encargo.
La Señora Sofía no esperaba esto -
SEÑORA SOFÍA
¿Cómo que crees?
CLEO
Es que no me ha llegado el mes.
SEÑORA SOFÍA
Y, ¿desde hace cuánto?
CLEO
No sé…
Y se suelta llorando. La Señora Sofía se sienta junto a ella y la abraza -
SEÑORA SOFÍA
¡Ay mensa, mensa, mensa…! ¿Y quién es el papá?
CLEO
Fermín, un primo del novio de Adela.
SEÑORA SOFÍA
¿Y ya sabe?
CONTINUED: (5) Cleo niega -
CLEO
Es que no da razón.
SEÑORA SOFÍA
¡Mensa, mensa, mensa…!
CLEO
¿Me va a correr, verdá?
SEÑORA SOFÍA
¡Ay! ¿Cómo correr, tonta? Hay que llevarte a que te cheque un doctor.
Pepe llega con su carta -
PEPE
Mira, ma. Le hice un avión.
SEÑORA SOFÍA
Muy bien. Pero ponle corazones…
(grita a Sofi)
¡Sofi! Te dije que ayudaras a tu hermano a escribir "Te extraño"…
Desde el comedor, Sofi contesta -
SOFI
¡No deja que lo ayude!
PEPE
¿Por qué llora Cleo?
SEÑORA SOFÍA
Por nada. Le duele la panza. A ver, ven. Vamos a escribir tu carta…
La Señora Sofía camina al comedor pero Pepe va hacia Cleo y la abraza. Le soba la panza -
PEPE
Sana, sana, colita de rana. Si no sanas hoy, sanarás mañana…
Cleo se ríe y abraza a Pepe, ocultando su llanto. 10 de diciembre de 1970, jueves.
INT/EXT - GALAXIE 500 - AV BAJA CALIFORNIA -- DÍA
La Señora Sofía maneja en silencio, las manos al volante, pero su dedo índice se mueve como afirmando el intenso alegato que explota en su mente. Cleo va a su lado recién peinada, se ha cambiado de vestido, va nerviosa. Se acercan a un cruce donde los autos esperan la luz verde del semáforo, la Señora Sofía intenta acomodarse en el espacio entre un camión de mudanzas de redilas y un carcachón. El espacio es pequeño pero la Señora Sofía guía el Galaxie 500 hacia él -
SEÑORA SOFÍA
Pío, pío, pío, pío…
Imposible. Lo inevitable sucede. El Galaxie 500 pega por los dos lados, pero esto parece no importarle a la Señora Sofía que continúa avanzando lentamente, a pesar del quejido del metal que se dobla -
SEÑORA SOFÍA
Pío, pío, pío, pío…
EXT - AV BAJA CALIFORNIA -- DÍA El Galaxie 500 avanza entre el camión de redilas y la carcacha, embarrando sus molduras que se retuercen, arrancando el espejo retrovisor en su camino. El Galaxie continúa hacia delante entre el crujir de sus láminas hasta que el espacio es demasiado estrecho para continuar. El semáforo cambia a verde y arrancan, excepto el camión de redilas y la carcacha, cuyos irritados conductores salen de sus vehículos a constatar los daños. EXT - CENTRO MÉDICO - AV CUAUHTÉMOC -- DÍA El conjunto de modernos edificios luce orgulloso sus murales con su promesa de progreso. El Galaxie 500, con los lados abollados y arrastrando una moldura, entra a un estacionamiento reservado para médicos. EXT - GINECOBSTETRICIA - CENTRO MÉDICO -- DÍA La Señora Sofía y Cleo caminan frente a un edificio que luce bellos murales con motivos prehispánicos y cruzan por una entrada que anuncia Ginecobstetricia. INT - LOBBY - GINECOBSTETRICIA -- DÍA La Señora Sofía y Cleo atraviesan el enorme lobby de marmol hasta los elevadores que descansan bajo un grán mural de heroes patrios. OMIT INT - LOBBY 8º PISO - GINECOBSTETRICIA -- DÍA La Señora Sofía y Cleo salen del elevador, caminan a una estación de enfermeras en el centro del lobby. La Señora Sofía se acerca a hablar con la ENFERMERA en turno -
SEÑORA SOFÍA
Buenos días. Tengo una cita con la Doctora Vélez.
ENFERMERA
¿Quién la busca?
SEÑORA SOFÍA
De parte de la esposa del Doctor Roldán.
La enfermera levanta un teléfono. INT - PASILLO - GINECOBSTETRICIA -- DÍA Ventanales de piso a techo corren a lo largo del pasillo y los cubículos médicos. La Señora Sofía espera con Cleo, que mira por la ventana la ciudad que se extiende hacia el poniente. Llega la DOCTORA VÉLEZ. Tiene 40 años y la seguridad que da la experiencia, usa lentes.
SEÑORA SOFÍA
Hola Margarita, gracias por recibirnos.
CONTINUED:
DOCTORA VÉLEZ
Claro, Sofía. Nomás faltaba…
Se saludan de beso.
SEÑORA SOFÍA
¿Te acuerdas de Cleo?
La Doctora Vélez dirige su atención a Cleo -
DOCTORA VÉLEZ
Pero, ¡por favor! Hola Cleo, ¿cómo estás?
Cleo sufre una combinación de timidez y miedo -
CLEO
Bien, doctora… Gracias…
DOCTORA VÉLEZ
Bueno, vamos a verte, Cleo. Ven conmigo y me cuentas… Sofía, ¿vienes también?
SEÑORA SOFÍA
Gracias, Margarita. Voy aquí a saludar al Doctor Zavala.
DOCTORA VÉLEZ
Bueno, Cleo y yo vamos a platicar. ¿Por qué no nos vemos en el lobby en unos cuarenta minutitos?
SEÑORA SOFÍA
Sí, yo vuelvo.
Le toma la mano a Cleo -
SEÑORA SOFÍA
Anda Cleo, ve con la doctora.
Y camina de regreso al lobby. Cleo y la Doctora Vélez van a los cubículos. INT - CONSULTORIO - GINECOBSTETRICIA -- DÍA Cleo está sentada en una silla ginecológica, ve el instrumental en una charola a un lado, parecieran aparatos medievales de tortura. CONTINUED: La puerta se abre y entra la Doctora Vélez, se sienta en una silla entre las piernas de Cleo y comienza a ponerse unos guantes de látex -
DOCTORA VÉLEZ
Ahora sí, Cleo. Cuéntame.
Cleo duda en hablar -
CLEO
Esque… esque…
DOCTORA VÉLEZ
Está bien, Cleo. Cuéntame…
CLEO
Es que no me ha venido el mes.
DOCTORA VÉLEZ
¿Hace cuánto?
CLEO
¿Dos meses serán?
DOCTORA VÉLEZ
Oquei. ¿Y hace cuánto tiempo que eres sexualmente activa?
Cleo se sonroja y no puede contestar.
DOCTORA VÉLEZ
¿Tienes muchas parejas?
CLEO
¡Ay no! ¡Cómo cree!
DOCTORA VÉLEZ
¿Usas protección?
Cleo pareciera no entender la pregunta.
DOCTORA VÉLEZ
¿Usan condón?
Pero Cleo sólo llora. La doctora toma el pato y le embarra vaselina.
DOCTORA VÉLEZ
¿Cuándo fue la última vez que te examinaron?
CONTINUED: (2)
CLEO
Serán tres o cuatro años que vine con usted.
DOCTORA VÉLEZ
Eso está mal, Cleo. Tienes que checarte dos veces al año.
CLEO
Sí, doctora.
DOCTORA VÉLEZ
Bueno, vamos a examinarte. Va a estar un poquito frío…
La Doctora Vélez acomoda el pato entre la piernas de Cleo. La cara de Cleo confirma que no sólo está frío, también es doloroso. INT - PASILLO - LOBBY 8º PISO - GINECOBSTETRICIA -- DÍA 73\* Cleo camina con la Doctora Vélez por el pasillo. Al fondo, en el lobby, pueden ver a la Señora Sofía que habla con el DOCTOR ZAVALA de 45 años. Al notar a Cleo, la Señora Sofía interrumpe su plática con el Doctor Zavala. Ha llorado y aún está alterada. La Doctora Vélez y el Doctor Zavala se saludan de beso -
DOCTORA VÉLEZ
Hola Mario…
DOCTOR ZAVALA
Doctoresa…
SEÑORA SOFÍA
¿Cómo está Cleo?
DOCTORA VÉLEZ
Bueno, Cleo tiene un embarazo de diez semanas. Está muy sana y muy fuerte y su bebé también. Eso sí, tiene que inyectarse hierro cada dos semanas, ya le di su receta.
SEÑORA SOFÍA
¿Para cuándo?
DOCTORA VÉLEZ
Por ahí de finales de junio.
CONTINUED: La Señora Sofía asiente -
SEÑORA SOFÍA
Ay Margarita, mil gracias por verla.
DOCTORA VÉLEZ
¡N'ombre! Si ya la extrañaba, ¿verdad, Cleo? Me voy…
Se despide de beso de la Señora Sofía -
DOCTORA VÉLEZ
Adiós, Cleo. Nos vemos el mes que viene para que te cheque.
CLEO
Sí, doctora. Gracias.
La Doctora Vélez se aleja por el pasillo. La Señora Sofía voltea a ver a Cleo -
SEÑORA SOFÍA
¿Cleo? ¿Por qué no vas al tercer piso a ver a los bebés recién nacidos mientras yo termino aquí de platicar con el Doctor Zavala?
INT - MATERNIDAD - GINECOBSTETRICIA -- DÍA Docenas de cunas enfiladas, cada una de ellas con un bebé recién nacido enrollado en su colchita. Cleo los ve a través de la vitrina. Unos duermen en calma y otros lloran con ansia. Cuatro cunas proyectan fuertes luces sobre bebés con antifaces, y a un lado - En una INCUBADORA - Un bebé prematuro, minúsculo y frágil. Está conectado a tubos que apenas lo sujetan a la vida. Cleo lo mira fascinada cuando - Un gran bloque de yeso se desprende del techo y cae encima de la incubadora casi cubriéndola por completo. 31 de diciembre de 1970, jueves.
INT/EXT - VALIANT '64 - SALIDA A CARRETERA A PUEBLA -
CERRO LA CALDERA -- DÍA La Señora Sofía maneja, su dedo índice en su eterna discución. A su lado va Cleo y entre las dos va Pepe. Atrás, Toño, Paco y Sofi. El radio transmite Radio Éxitos. Pepe mira por el parabrisas hacia la distancia -
PEPE
¿Por qué la montaña dice LEA?
SEÑORA SOFÍA
Para que lean. ¿Ya ven, niños? Hasta la montaña se los pide.
TOÑO
Es por Luis Echeverría Álvarez, baboso.
SEÑORA SOFÍA
No le digas baboso. Tiene 5 años. No tiene que saber quién es Echeverría. Explícale.
TOÑO
¡Pus, el presidente!
SOFI
¿Qué no es Gustavo Díaz Ordaz?
SEÑORA SOFÍA
Ya no, Sofi. Desde el primero de diciembre ahora es Luis Echeverría.
SOFI
Ahhhhh…
PACO
A Cleo le gusta mucho Echeverría. ¡Guácala!
CLEO
Pus sí. Su esposa Doña Ester se viste siempre con huipiles y ropa oaxaqueña. Él quiere a los indios.
TOÑO
Pus mi tío Alberto dice que él fue el que mandó matar a los estudiantes hace dos años.
CONTINUED:
CLEO
¡Nooooo…!
TOÑO
Él era el Secretario de Gobernación.
SOFI
¿Por qué mató a los estudiantes?
TOÑO
Porque no hicieron la tarea.
SEÑORA SOFÍA
¡Ya, Toño! No, Sofi. Toño está nomás molestándote.
PEPE
¡A mí no me cae bien! ¿Por qué pinta la montaña? ¡No es suya!
EXT - SALIDA A CARRETERA A PUEBLA - CERRO LA CALDERA -- DÍA El Valiant surca hacia el oriente. Al fondo, el Cerro la Caldera añora ser montaña y demarca el confín de la Ciudad que se disuelve en ciudades perdidas. La cara poniente del cerro ha sido profanada por tres inmensas letras blancas que se extienden a casi todo lo largo y lo ancho de su seca superficie - LEA. Como un maleficio. EXT - HACIENDA DE ZAVALETA -- DÍA Un gran muro de adobe rodea una inmensa propiedad en medio de campos de cultivo. El Valiant entra por un enorme portón a - EXT - ENTRADA - HACIENDA DE ZAVALETA -- DÍA Un camino atraviesa la enorme explanada amurallada. Al fondo, la hermosa fachada de una hacienda, un monumento al latifundismo Porfiriano. El Valiant se acerca a la Casa Grande. Una docena de coches están estacionados en fila a un lado del camino. Todos son coches grandes y lujosos, todos del año: LTDs, Impalas y Country Squires. CONTINUED: El Valiant '64 se estaciona entre un LTD y una Country Squire que ponen en evidencia su kilometraje y su capa de pintura que se pela sobre la otra. Salen del coche. La Señora Sofía abre la cajuela y Cleo comienza a sacar las maletas. Su panza es apenas perceptible. Un grupo de gente sale de la Casa Grande a recibirlos, tres adultos, algunos niños y varios sirvientes. CLAUDIA DE LA BÁRCENA de 38 años, SAMANTHA LARSSON de 38 años, mexicana de clase alta con el pelo pintado de rubio, y MOLLY EDWARDS, una afable mujer rubia, galesa, de 37 años, extienden sus brazos al aire -
MOLLY
¡Comadre!
EXT/INT - CORREDOR - HACIENDA -- DÍA
BENITA, de 55 años, el ama de llaves de la hacienda, guía a Cleo por un largo pasillo. Las dos cargan varias maletas, unas en las manos y otras colgadas de los hombros.
BENITA
¿Segura que puedes con eso?
CLEO
Si estoy con encargo, no enferma. ¿Qué? ¿Y tú ya te cansastes?
Y Cleo apresura su paso, adelantándose. Benita hace lo mismo y va tras de ella.
BENITA
¡Será!
CLEO
No te veo en medio año y ya te me pusiste bien viejita.
Las dos mujeres compiten a paso acelerado, enterradas en maletas como hormigas que cargan varias veces su propio peso. Benita alcanza a Cleo, que acelera el paso y la rebasa. Pero Benita se ha detenido -
BENITA
¿A dónde vas?
Cleo se detiene. Benita está parada junto a una puerta - CONTINUED:
BENITA
Ya te pasastes. ¿Qué? ¿De encargo ya se te olvida todo?
Cleo sonríe y camina de regreso. INT - CUARTO DE NIÑOS - HACIENDA -- DÍA Un galerón lleno de literas, rudimentario pero funcional. Hay varias maletas junto a las camas y sobre algunas también juguetes. Alineadas, a lo largo de todas las paredes, cabezas disecadas de perros. Cleo deja las maletas junto a una litera y ve las cabezas.
BENITA
El Señor José mandó a decorar el cuarto. Son los perros de la hacienda, mira… Estaban todos en la bodega…
Ven la cabeza de un pastor alemán con ojos de canica.
BENITA
Mira, éste es el Pirata. Vivió aquí en 1911.
Una pequeña placa lo confirma, también indica su nombre - Pirata. Cleo lo ve impresionada.
CLEO
Pirata…
BENITA
¿Te acuerdas de la Canela?
CLEO
Sí, tú. ¿Dónde anda?
BENITA
Mírala…
Cleo ve la cabeza de una setter irlandés.
CLEO
¡Ay, nanita!
BENITA
Se murió a mediados de año.
CONTINUED: Cleo mira con horror a la Canela -
CLEO
Dicen que seguro se comió una rata envenenada… Pero yo creo que fueron los del pueblo, que otra vez andan jodiendo a Don José por lo de los terrenos…
Canela los mira con sus ojos de canica. EXT - PEQUEÑO CLARO EN EL BOSQUE - HACIENDA -- DÍA La luz de la tarde invernal se filtra entre los árboles y se refleja en el gran charco que se extiende entre el claro y el bosque. Niños corren entre los árboles tirando cohetes, dos perros los siguen chapoteando en el charco. Los adultos tiran al blanco con pistolas calibre .22, a botellas acomodadas sobre troncos al otro lado del claro. Con excepción de las nanas y las sirvientas que cuidan a los niños más pequeños, todos son blancos y, con excepción de Sofía y sus hijos, visten con ropa importada. El ruido de los disparos se confunde con el tronido de los cohetes. Toño juega "tochito" con PEPE DE LA BÁRCENA de 13 años, EDUARDO LARSSON, un pelirrojo de 12, y RICKY EDWARDS de Cleo cuida a Pepe y acompaña a LUPE, de 30 años, y a YOLA de 22, que cuidan a JORGE DE LA BÁRCENA de 7 años, que sufre de retraso mental y parálisis parcial en una pierna y un brazo, y a su hermano MEMO de 5 años, que está dentro del espectro autista. Están sentados sobre un mantel en el suelo jugando con cochecitos "Matchbox". Un poco más atrás, GLORIA, de 34 años que trabaja de nana para los Edwards, está sentada sobre otro mantel que tiene una vajilla de fantasía que probablemente es más cara que una real, y cuida a Sofi que juega con JULY EDWARDS, de 7, VERO MATOS de 8 y ANDREA, una niña rubia de pelo casi blanco también de 8 años. Los acompaña GERARDO LARSSON, un pelirrojo rechonchito y amanerado de 10 años. CONTINUED: Paco, acompañado de RODRI DE LA BÁRCENA de 10 años, ALEX MATOS de 10 y ANDY EDWARDS de 8, aparecen de entre los árboles y les tiran cohetes a las niñas, que gritan. Algunas lloran.
CLEO
¡Y ya te vi, Paco…! ¡Lárguense de aquí!
Los niños escapan entre carcajadas y corren chapoteando por el charco.
LUPE
¡Rodri! ¡Que no corran en el agua! ¡Ya están todos empapados!
El DR. ALEJANDRO MATOS, de 40 años, con barba de candado, dispara mientras fuma de su pipa. Junto a él, RICARDO EDWARDS, simpaticón de 39 años, OVE LARSSON, un noruego inmenso, tímido y pelirrojo de 41, y LESLIE MATOS, una gringa rubia de 38, también disparan mientras el DR. JOSÉ DE LA BÁRCENA, de 41 años, espera su turno y CELSO, el capataz de la hacienda, de 35, recarga las pistolas.
DR. JOSÉ DE LA BÁRCENA
¿Todavía quedan balas, Celso, o mando a Lupe por las de la gaveta?
CELSO
Quedan, Don José.
A unos metros, Sofía, Claudia, Molly y Samantha están sentadas en sillas plegables, platicando. La Señora Sofía ve a los niños que corren entre los árboles. Se levanta y les grita -
SEÑORA SOFÍA
¡No corran para allá que les van a dar un tiro!
Molly la secunda con su fuerte acento -
MOLLY
¡Niños! ¡Váyanse más atrás!… Andy, get back!
FLOR, una sirvienta de la hacienda, de 17 años, sirve bebidas a los adultos, acomodada en una mesa con una hielera. CONTINUED: (2) LOLA, una niña de 12 años entrando a los 19, está maquillada, viste una minifalda cortísima y zapatos de plataforma. Aprovecha la distracción de los adultos para verter whisky en su Coca-Cola. Junto a ella, CLAU DE LA BÁRCENA, de 11 años, la ve divertida pero su curiosidad aún no rebasa su obediencia. EN EL MANTEL DE LOS NIÑOS - Pepe está aburrido ya que la interacción con Jorge y Memo es difícil, y mira hacia el círculo de tiro. Se levanta y camina hacia allá.
CLEO
Espérate, Pepe. ¿A dónde vas?
Pepe sólo señala y sigue caminando, Cleo lo sigue y llegan al- CÍRCULO DE TIRO - Donde el Dr. Alejandro Matos ha disparado sus ocho tiros y va con Celso para recargar la pistola. Llama a las mujeres en las sillas plegables -
DR. ALEJANDRO MATOS
¿Y qué? ¿Las damas no disparan?
Las mujeres niegan con las manos -
MOLLY
¡Leslie es nuestra representante!
DR. ALEJANDRO MATOS
Leslie no cuenta, es gringa.
Las mujeres ríen, Claudia se levanta -
CLAUDIA
¡Voy!
SAMANTHA
Yes, Claudia. You show them, girl!
Celso le entrega a Alejandro la pistola recién cargada mientras Leslie llega con la suya. Celso la toma y la recarga rápidamente. Pepe recoge los cartuchos tirados en el suelo, Cleo le ayuda. Ya cargada, Celso entrega la pistola a Alejandro quien se la da a Claudia - CONTINUED: (3)
DR. ALEJANDRO MATOS
Leslie, could you help Claudia?
LESLIE
Come. Point the gun to the floor when you're not using it.
Clau y Lola, "coca-cola" en mano, se pasean entre los adultos. Se cruzan con Leslie -
LESLIE
C'mon, Lola. You really have to wear a miniskirt and platform shoes? We're in the woods.
Lola sigue su camino ignorando a su madre.
CLAUDIA
Déjala. Te ves muy bonita, Lola.
Lola y Clau llegan al círculo de tiro y a la aceptación masculina.
DR. JOSÉ DE LA BÁRCENA
A ver, Lola. ¿Quieres tirar?
LOLA
Bueno.
Lola va con José, que le da su pistola mientras la abraza por detrás para "ayudarla" a disparar.
DR. JOSÉ DE LA BÁRCENA
No cierres los ojos cuando dispares…
Cleo ve a Alejandro que camina hacia la mesa de bebidas donde Flor atiende.
DR. ALEJANDRO MATOS
¿Me sirves un whisky con dos hielitos?
Flor prepara la bebida. EN EL CÍRCULO DE TIRO - Todos festejan que Claudia le ha atinado a dos botellas. Dispara otras cuatro veces seguidas reventando cuatro botellas más. Todos celebran - CONTINUED: (4)
RICARDO EDWARDS
¡Aguas, Pepe, que tu mujer salió guerrillera!
Todos ríen. EN LA MESA DE BEBIDAS - Flor le da el whisky a Alejandro, y él, aprovechando la distracción general, la nalguea. Flor se escabulle aterrorizada. Más botellas revientan. INT - SALÓN - HACIENDA -- NOCHE Docenas de lámparas de pie y de mesa iluminan una inmensa nave con una enorme chimenea que devora gruesos troncos. Frente a ella, una amplia sala con vastos sillones de cuero adornados con pieles. Los adultos conversan, unos sentados en los sillones, otros de pie, todos beben y muchos fuman. Pepe está en las piernas de Sofía, Gerardo está sentado junto a su madre. Yvonne Elliman flota por el aire cantando "I Don't Know How to Love You". Las niñas juegan cartas en una larga mesa frente al ventanal que da a una terraza. Afuera, los niños tiran cohetes y lanzan escupidores. Otros niños juegan "Triominos " en el piso, y en una salita Lola, con su trago en la mano, chismea con Clau. Cleo acompaña a Yola que cuida a Memo, que hace girar un plato obsesivamente sobre el piso, y a Jorge, que juega con un cochecito. Pepe, July Edwards y Andrea Larsson entran de la terraza gritando y riendo perseguidos por un extraño monstruo. Es un esparpajo con cuerpo de paja y pieles largas, una máscara de madera cure la cara. Pareciera un un espíritu pagano y corretea a los niños más pequeños, que huyen divertidos, con un vaso de cuba en la mano. Cleo ve a Flor entrar cargando una charola con demasiados vasos de leche y licuados. Se apresura a ayudarla - CONTINUED: Los vasos de leche bailan peligrosamente sobre la charola mientras Flor pierde el equilibrio, pero Cleo llega justo a tiempo para ayudarla. Juntas, caminan a la mesa y les sirven las bebidas a las niñas. El rasgar de una aguja sobre un disco y los metales de una orquesta irrumpen a ritmo de mambo y la canción cambia: "Corazón de Melón" con Pérez Prado. Samantha se levanta con un grito y comienza a bailar -
SAMANTHA
¡Ándale, comadre!
Sofía y Molly se levantan y bailan con ella, Ricardo Edwards con sueños de Ricky Ricardo se pasea vociferando -
RICARDO EDWARDS
¡Co-ra-zón de me-lón, de me-lón me- lón! ¡Corazón!…
Y se integra al baile. Alejandro lo sigue y baila con Sofía. Lola y Clau también se unen, Gerardo baila con su madre, Ove con July. Benita entra al salón y busca por el cuarto. Molly intenta que Vero y Andrea se vayan a acostar pero las niñas se niegan. Cleo y Flor miran divertidas, contagiadas por el mambo. Cleo ve a - Pepe, que se une al baile y va con su madre que no le hace caso, metida en el baile con Alejandro. Benita llega junto a Cleo.
BENITA
Ven tantito.
Cleo la ve confundida -
CLEO
¿A dónde?
BENITA
Tú ven tantito.
Cleo mira alrededor - CONTINUED: (2)
CLEO
Pero, ¿y…?
BENITA
¿Qué? ¿Te va a llorar un escuincle porque perdió en las cartas o porque lo pisó su hermano?
Cleo la ve, divertida, y la sigue. Cruzan el salón hacia la entrada.
RICARDO EDWARDS
¡Co-ra-zón de me-lón, de me-lón me- lón! ¡Corazón!…
EXT - CORREDOR - HACIENDA -- NOCHE Benita guía a Cleo, que la sigue divertida y curiosa por el corredor iluminado con velas. Dejan atrás el MAMBO y bajan - INT - ESCALERAS - PATIO INTERNO - HACIENDA -- NOCHE Las escaleras de piedra bajan a un patio interno que sirve también de bodega. Un par de hombres conversan iluminados por la luz que emana de la ventana de la cocina. Adentro, un bullicio alrededor de UN ACORDEÓN que exhala una polka ranchera. Tres perros se pasean por el patio en espera de algún regalo de Año Nuevo. Benita y Cleo entran a - INT - COCINA - HACIENDA -- NOCHE Un galerón de techos de bóveda iluminado por focos pelones anida una enorme y antigua cocina con estufas de leña, una enorme mesa, una estufa Mabe y dos refrigeradores de 1961. Los TRABAJADORES de la hacienda festejan el Año Nuevo. Benita guía a Cleo hacia la mesa. Mujeres sirven comida de grandes ollas de barro. Un hombre de 65 años toca el acordeón y un espontáneo improvisa una quebradita con Gloria, que está claramente borracha. Ve a Cleo - CONTINUED:
GLORIA
¿Qué? ¿Ya te dejaron salir al pan?
Cleo ríe. En la mesa todos beben, algunos comen, unos vestidos para la oca sión, muchos no. Una Televisión 1959 transmite un especial de Año Nuevo del canal 2.
BENITA
¿Qué te sirvo?
CLEO
No, nada. Gracias.
BENITA
¿Qué no vas a brindar el Año Nuevo con nosotros? ¿Ya hablas inglés, o qué?
CLEO
Es que… el bebé…
BENITA
Le va a hacer bien un traguito en Año Nuevo… Festeja ahora que puedes. ¿Ves a ese del sombrero?
Cleo ve a un hombre de sombrero que platica sombríamente con otros dos hombres -
BENITA
Le mataron a su hijo en agosto. Los del pueblo. Por un pleito de tierras.
Cleo lo ve impresionada.
BENITA
¿Tienes vida?
CLEO
Sí…
BENITA
¿Aguardiente, pues?
Benita sirve un jarrito de aguardiente.
CLEO
No. Mejor un pulquito.
BENITA
¡Eso!
() CONTINUED: (2) Sirve pulque en un jarro y se lo da a Cleo. Las dos brindan.
BENITA
Por un hermoso 1971 y la salud de tu bebé.
CLEO Y BENITA
¡Salud!
Benita se lleva el jarrito a la boca y Cleo acerca el pulque a la suya cuando Gloria, bailando su quebradita, tropieza y choca con Cleo. El jarro de pulque cae al suelo antes de tocar sus labios y revienta en cien pedazos.
GLORIA
¡Perdóname, manita!
BENITA
¡Ta güeno! ¡Tú baila que tenemos harto!
Y sirve pulque en un nuevo jarro. Gloria sigue bailando. Cleo recibe el otro pulque pero mira preocupada el Jarro hecho añicos en el suelo. INT - PATIO INTERNO - ESCALERAS - HACIENDA -- NOCHE Cleo sale de la cocina, está un poco ebria. El patio está vacío excepto los perros que la siguen hasta que Cleo sube las escaleras al - EXT - CORREDOR - HACIENDA -- NOCHE Cleo camina por el corredor iluminado de velas de regreso al salón donde el EP toca "Mummy Blues". Ve una silueta que descansa recargada en el barandal, es la Señora Sofía. Alejandro Matos sale del salón y se acerca a Sofía por detrás y la abraza. Sofía reacciona volteando sorprendida -
SEÑORA SOFÍA
¡¿Qué haces?!
Alejandro intenta besarla pero ella lo rechaza.
DR. ALEJANDRO MATOS
No te hagas… Tú también quieres…
CONTINUED: Sofía lucha por zafarse.
SEÑORA SOFÍA
¡No! ¡Déjame, Alex! ¡Estás borracho!
Lo empuja. Alejandro levanta las manos, resentido y resignado -
DR. ALEJANDRO MATOS
Está bien. ¡Está bien! Nomás quería consolarte… Pero pus…
Y comienza a caminar de regreso al salón.
DR. ALEJANDRO MATOS
Estarás tan buena, comadre…
La Señora Sofía se recarga contra el barandal, confundida y agitada. Voltea hacia Cleo que se esconde tras una columna. La Señora Sofía camina de regreso al salón, Cleo espera a que se aleje y sale de su escondite, se recarga en el barandal y mira hacia la noche. Cuando sus ojos se acostumbran a la penumbra puede ver la negra silueta de los árboles frente a un cielo que pareciera estar iluminado. El cantar de los grillos se funde con "Mummy Blues", que termina con un rayón de disco, y el acordeón, que pareciera tocar una mazurca. El viento sopla suavemente. Entre la oscuridad del bosque un pálido resplandor aparece, pareciera fundirse con la noche. Cleo lo ve fascinada. "Venus" con The Shocking Blue comienza a sonar. Los perros se sueltan a ladrar. El resplandor se empieza a expandir en un cálido pulsar, atractivo, como un fuego fatuo o una aparición. Y Cleo lo ve hipnotizada, pero lo que era un suave fulgor comienza a perforar la noche con un intenso brillo que danza entre los árboles. Los ladridos son más insistentes. Un grito -
GRITO
¡Fuego! ¡Fuego! ¡En el bosque!
CONTINUED: (2) Un barullo. Más gritos. Más ladridos. En el jardín, Celso pasa cargando una cubeta, otros peones lo siguen, todos con cubetas y bandejas que desbordan agua. Corren hacia el bosque en llamas. EXT - PEQUEÑO CLARO EN EL BOSQUE - HACIENDA -- NOCHE El enorme charco refleja llamas que bailan sobre las piedras en el suelo. El fuego se trepa a los árboles y se extiende por las ramas. Las llamas avanzan devorando los pastos del claro, el lugar donde esa tarde disparaban. Celso corre hasta el fuego y le vacía su cubeta, los peones hacen lo mismo. Regresan por más agua y se cruzan con más peones que llegan cargando diversos recipientes. El Dr. José llega cargando dos cubetas, seguido de Ricardo Edwards que carga una, más atrás el Dr. Alejandro Matos y Leslie cargan una pesada palangana. Gloria, Flor, Yola y Cleo llegan con sus recipientes, también llegan niños. Todos corren, vienen y van, los perros se mantienen a distancia. Una cadena humana se comienza a formar y todos se pasan las cubetas de mano en mano, intentando sofocar el fuego. Llega el monstruo pagano con su trago en mano. Ve su reloj -
OVE (EN INGLÉS)
23… 22… 21… 20… 19… 18… 17…
El monstruo se quita la máscara descubriendo a Ove, sudado y briago -
OVE
16… 15… 14… 13… 12… 11… 10…
La cadena humana comienza a funcionar con eficiencia. Pepe apaga unos pastos vaciando su tasita.
OVE
… 7… 6… 5… 4… 3… 2… 1…
Happy New Year!
Pero nadie hace caso, todos trabajan tratando de controlar el fuego. CONTINUED:
OVE
Happy New Year!…
Ove comienza a cantar en noruego. Es una emotiva canción de Nyttarbukk.
OVE
Pkfmsll apdkfn alosnnm…
Los niños van al charco a llenar sus pequeños recipientes y los perros los siguen, chapoteando. El reflejo se desarticula en ondas que chocan entre sí.
OVE
Pkfmsll apdkfn alosnnm…
Ove canta con convicción, sus ojos se llenan de lágrimas. 1 de enero de 1971, viernes. EXT - PEQUEÑO CLARO EN EL BOSQUE -- ALBA El rocío brilla sobre el bosque que está negro y todavía humea. Los primeros rayos del sol del nuevo año se filtran entre los árboles. En mitad del claro descansan cuatro sillas plegables, quemadas. EXT - MILPA - HACIENDA -- TARDE El Iztaccíhuatl duerme inmenso tras los cerros y los sembradíos polvorientos. La luz de la tarde se filtra por las nubes cargadas de lluvia. Un grupo de niños que corren y exploran. Toño, Pepe de la Bárcena, Ricky, Paco, Rodri, Alex y Eduardo van al frente y se lanzan pases de americano. Paco, Rodri y Alex cazan camaleones entre los surcos. Lola y Clau caminan cerca de ellos. Vero, Sofi, Gerardo Andrea y July van más atrás. Pepe y Andy van con Yola. Cleo camina con Benita. Los perros corren por doquier. Alex corre tras un camaleón, Rodri y Paco lo siguen.
BENITA
¡No corran muy lejos! ¡Nomás llegamos a la falda y regresamos!
CONTINUED: Paco se detiene -
PACO
¿Qué falda?
BENITA
La del cerro.
Paco ríe -
PACO
¿El cerro tiene falda?
BENITA
La falda… ¡La base, pues!
PACO
¡Alex! ¡El cerro tiene falda!
Alex se detiene.
PACO
Si nos agachamos podemos verle los calzones.
Paco hace como que se agacha y Alex lo imita. Lola y Clau llegan a ellos -
CLAUDIA
¡¿Qué hacen?!
PACO
Viéndole los calzones al cerro.
LOLA
Los cerros no tienen calzones.
Paco se agacha abajo de ella y le levanta la minifalda.
PACO
¡Tú tampoco!
Lola grita y se acomoda la falda -
LOLA
¡Pendejo!
PACO
¡Uuuuyyy!
Alex le levanta el vestido a Clau, que grita. CONTINUED: (2)
GLORIA
¡Alex! ¡Paco! ¡Dejen a la niñas en paz!
Los niños corren divertidos. Cleo y Benita se detienen. Una ráfaga de viento pasa creando remolinos de polvo, un trueno retumba suave y lluvia cae a la distancia. Cleo ve el paisaje, ensoñada. Sus manos descansan sobre su vientre -
CLEO
Así es mi pueblo. Sin la montaña, claro está. Pero así se parece…
Disfruta el momento mientras se acaricia la panza. Cierra los ojos -
CLEO
Así se suena…
Las campanadas de una iglesia y el balido de unas cabras se pierden en la distancia.
CLEO
Igualito…
Respira. Respira hondo. Sonríe -
CLEO
Así huele…
Cleo está en otra parte. 29 de enero de 1971, viernes EXT - TEPEJI 21 -- DÍA - (LLUVIA) El Valiant se estaciona frente a la casa, junto al Galaxie 500. El Valiant se desborda de niños. Sale uno de más, un amigo de Toño; BETO PARDO, de 12 años, con anteojos y pinta de niño bueno, ha venido a comer. Paco le muestra el Galaxie negro que tiene sus molduras y rayones recién reparados - CONTINUED:
PACO
Mira, lo repararon todo. Quedó como nuevo, ¿verdad?
Beto apenas lo ve. Sigue su camino y entra a la casa tras Toño. INT - ANTECOMEDOR - TEPEJI 21 -- DÍA Cleo, con una panza que comienza a notarse, le corta la carne a Pepe. La Señora Teresa come en silencio. Los niños platican mientras comen-
TOÑO
Los Vaqueros ganaron sólo porque Baltimore se confió.
BETO
¿Cuál? Si metimos tres touchdowns en la segunda mitad. Se-gui-di- tos.
La Señora Sofía baja las escaleras y va al antecomedor.
TOÑO
Te digo. Baltimore se confió. ¿Cómo le puedes ir a los Vaqueros?
SOFI
A mí me gustan las porristas de los Vaqueros. En mi escuela…
PACO
¿A quién le importan las porristas?
La Señora Sofía llega al comedor, está demacrada. La Señora Teresa la mira, preocupada.
TOÑO
¿Ma? ¿Podemos ir Beto y yo al cine?
La Señora Sofía está ausente -
SEÑORA SOFÍA
¿Qué van a ver?
TOÑO
La tienda roja, en Las Américas.
CONTINUED:
PACO
¡Yo también quiero ir!
TOÑO
¡No! ¡Sólo Beto y yo!
PACO
¿Y por qué?
TOÑO
¡Tú invita a tus propios amigos!
SOFI
Yo también quiero ir al cine.
TOÑO
¡Que no! ¡Que sólo vamos Toño y yo!
La Señora Sofía explota -
SEÑORA SOFÍA
¡O van todos o no va nadie!
TOÑO
¡Ellos pueden ir a otro cine!
PACO
¡Yo quiero ir al Las Américas!
TOÑO
¡Ni sabes qué es La tienda roja!
SEÑORA SOFÍA
¡Ya dije! ¡O van todos o no va ninguno!
El teléfono suena, la Señora Sofía se levanta y camina hacia el hall a contestar.
TOÑO
¡No es justo!
La Señora Sofía regresa -
SEÑORA SOFÍA
¡Si no te gusta, te puedes ir a vivir a otra parte!
Y se va a contestar el teléfono dejando a Toño fúrico. Paco le sonríe impertinente. CONTINUED: (2)
PEPE
¿Es de caricaturas?
La Señora Sofía contesta -
SEÑORA SOFÍA
¿Bueno?… ¡Ay, sí, 'pérame tantito!…
Grita hacia el antecomedor -
SEÑORA SOFÍA
¡Cleo! ¡Voy arriba a contestar, ahí cuélgale!
Y sube las escaleras. Cleo camina hacia el teléfono, se escucha un grito de la Señora Sofía -
SEÑORA SOFÍA (O.S.)
¡Ya!…
Cleo toma el auricular y va a colgar, alcanza a escuchar -
MOLLY (V.O.)
¿Cómo sigues, comadre?…
Cleo cuelga. INT - HALL DE ABAJO - TEPEJI 21 -- TARDE Se preparan para ir al cine, la Señora Teresa también va, tanto por preocupona como por cinera. Grita hacia la planta alta -
SEÑORA TERESA
¡Vamos tarde! ¡¿Van a bajar o no?!
Paco y Sofi ya están junto a ella.
PACO
Que se queden, ya vámonos…
SEÑORA TERESA
¡Ya nos vamos!
La Señora Teresa sale al patio acompañada de Cleo, Paco, Sofi y Pepe. EXT - PATIO - TEPEJI 21 -- TARDE. El grupo llega a la puerta de la calle y la Señora Teresa la abre. El Borras aprovecha y se escapa a pesar de los intentos de Cleo y Paco por detenerlo. Paco sale corriendo - EXT - TEPEJI 21 -- TARDE Y persigue al perro y lo alcanza, lo arrastra de regreso a la casa, donde el grupo espera afuera de la puerta. Paco mete al perro y va a cerrar la puerta cuando Toño y Beto salen.
TOÑO
¿Qué esperan?
Y se descuelgan caminando hacia la esquina en dirección a Insurgentes. Todos los siguen. EXT - CALLE DE TEPIC -- TARDE Toño y Beto en la vanguardia. Más atrás, Cleo y la señora Teresa cuidan a Sofi y a Pepe, que viene discutiendo de aviones con Paco.
PACO
…el Braniff puede ser de distintos colores pero son casi todos 727…
Van sobre Tepic ya cerca de Insurgentes cuando Toño y Beto, en estrategia bien planeada, se descuelgan -
TOÑO
¡Nos vemos en el cine!
Y el par se aleja corriendo.
SEÑORA TERESA
¡Toño!
La señora Teresa le pide a Cleo que los siga. Cleo emprende su misión acelerando el paso sin perder de vista a Toño y Beto, figuritas pícaras que ya van a media cuadra de distancia. Tocan timbres y corren escapando. Cleo acorta la distancia a cada paso hasta que llega cerca, pero no tan cerca, y así los sigue. CONTINUED: Los niños se arrancan al acercarse a Insurgentes, y al llegar a la avenida dan la vuelta, desapareciendo tras la esquina. Cleo se apresura y al llegar a la esquina da la vuelta a - EXT - AV INSURGENTES - CINE LAS AMÉRICAS -- OCASO Cleo llega a la avenida que rebosa de la energía de un viernes que anochece. Gente camina en todas direcciones y las luces de la calle, los coches, las vitrinas y los letreros ya están encendidas. Ve a la gente que cruza al otro lado de la avenida, donde el Cine Las Américas anuncia Melody, pero no encuentra a los niños. Se preocupa y camina por Insurgentes, hacia la otra esquina, buscando. Casi llega al puesto de periódicos en la otra esquina cuando voltea buscando hacia - EL OTRO LADO DE INSURGENTES - Y es ahí, entre la gente que sale del cine y se esparce por la acera, que ve al Señor Antonio. Va sonriente y muy ligero, dando un paso de baile torpe y extasiado para las risas y delicias de la JOVEN MUJER que va tomada de su mano. Y es ahí, también, donde por fin encuentra a Beto, escondido a un costado del quiosco de periódicos, perdido en las páginas de una Caballero. Y más allá a Toño, también revista en mano, pero su vista no está en las mujeres desnudas de sus páginas, está al otro lado de la calle, donde la gente sale del cine y su padre juega a ser Fred Astaire con una Ginger Rogers que no es su madre. El Señor Antonio tropieza en su torpe baile con una PAREJA MAYOR que se molesta. El Señor Antonio y la joven mujer se ríen y se arrancan escapando.
PAREJA MAYOR
¡Majaderos…!
El Señor Antonio se detiene y voltea solamente para acribillar a la pareja mayor con una ametralladora hecha de dedos y escapa con la joven mujer con la que aspira a ser Bonnie & Clyde. 24 de marzo de 1971, miércoles
INT/EXT - AUTOBÚS PÚBLICO - CALZ. IGNACIO ZARAGOZA --
DÍA Cleo viaja en un autobús que va repleto de gente. EXT - AVENIDA DE TERRACERÍA - CIUDAD NEZAHUALCÓYOTL -- DÍA Cleo baja del autobús, su panza de seis meses es obvia. El contraste con la Colonia Roma es evidente - La calle de terracería está flanqueada por grandes torres eléctricas y salpicada de baches donde se estanca el agua turbia. Las viviendas son de tabicón, cartón corrugado y lámina de asbesto, hay mucha basura y plásticos. Cleo le enseña un papel a un TRANSEÚNTE que le señala una calle que desemboca a la avenida. Cleo camina hacia la calle. EXT - CALLE - CASA - CIUDAD NEZAHUALCÓYOTL -- DÍA Cleo camina por la calle. Se respira la miseria, hay niños y perros callejeros por doquier y un riachuelo de aguas negras que corre a lo largo de la calle. Distinta música brota de cada casa. Tres perros le cierran el paso y le ladran. Cleo se agacha simulando recoger una piedra y los perros se alejan. Llega a una casa y checa la dirección en su papel, se acerca a la puerta y toca. Perros impertinentes responden a los toquidos en la distancia. Más cerca - Un gallo cacarea en una jaula de alambre junto a la entrada. Cleo espera. Vuelve a tocar cuando la puerta se abre. Es Ramón.
INT/EXT - DATSUN - AV OCEANÍA -- DÍA
Cleo va sola en el asiento de atrás. Adelante, Ramón va en el asiento del pasajero. Maneja su amigo CANCHAS, que viene fumando mariguana. Le pasa el churro a Ramón que le da un jalón y se lo pasa a Cleo, que lo rechaza. EXT - ESTACIONAMIENTO - LLANO - SAN JUAN DE ARAGÓN Y CUCHILLA DEL TESORO -- DÍA El Datsun se estaciona junto a unos puestos de fritangas. Cleo sale del coche, Ramón también, señala hacia unas canchas que colindan con la pista 5 del aeropuerto -
RAMON
Ahí entrenan en las canchas. Ni se te ocurra decirle que yo te traje.
CLEO
No, no, no, Ramón. Cómo crees. Muchas gracias.
Ramón se mete al coche y cierra la puerta. El Datsun arranca y se aleja por donde llegó. Cleo camina hacia las canchas polvorientas. EXT - CANCHAS - LLANO - SAN JUAN DE ARAGÓN Y CUCHILLA DEL 106\* TESORO -- DÍA \* A LA ORILLA DE LA CANCHA - Un centenar de hombres jóvenes, uniformados de tenis y camiseta, están formados en posición de descanso, supervisados por tres instructores con aire marcial, de pants y sudadera. Ven con atención a un hombre, en pants deportivos y camiseta sin mangas, que hace una demostración de ejercicios. Cleo llega a donde una pequeña multitud se ha juntado a la orilla de la cancha a ver la demostración - El hombre hace lagartijas sosteniéndose solamente con los dedos índice. Una joven que está parada junto a Cleo le dice con admiración - CONTINUED:
JOVEN
Es Zovek.
CLEO
(incrédula)
¡No…! ¿Zovek?
JOVEN
Íralo…
CLEO
¡¿El Profesor Zovek?!
JOVEN
¡Lleva más de cien lagartijas!
CLEO
¿Y qué? ¿Siempre viene?
JOVEN
No, de a siempre no, pero a veces viene y los entrena.
El PROFESOR ZOVEK cuenta hasta 150, se impulsa fuerte con los dedos índice y de un ágil movimiento se pone de pie y cruza las muñecas arriba de la cabeza. Los muchachos aplauden. Zobek extiende los brazos -
PROFESOR ZOVEK
Bienvenidos. Que la Energía acoja a todos los Kombatekas reunidos esta tarde.
Y señala a distintos Halcones a lo largo y ancho de su formación -
PROFESOR ZOVEK
¡Tú!… ¡Tú!… ¡Y tú también!
Los Halcones se sienten aludidos.
PROFESOR ZOVEK
Tú también puedes serlo. Todo ser humano posee un gran potencial que debe ser desarrollando a través del acondicionamiento físico, si. Pero más importante aún mediante una evolución mental y espiritual.
Zovek camina entre ellos. CONTINUED: (2)
PROFESOR ZOVEK
Tú también puedes desarrollar tu potencial. Pero no esperes milagros, el único milagro radica en tu propia voluntad.
Zovek se detiene -
PROFESOR ZOVEK
Por eso el desarrollo mental es el verdadero motor del desarrollo físico.
Extiende sus brazos, apropiándose del público -
PROFESOR ZOVEK
A continuación… ¡Un acto!
De una mano deja colgar un trozo de venda que se extiende y se mece con la brisa polvorienta - A LA ORILLA DE LA CANCHA - Cleo y el pequeño público exclaman sorprendidos -
PEQUEÑO PUBLICO
¡Oooooh!
Zovek exclama -
PROFESOR ZOVEK
¡Ésta es una rutina que requiere una condición física absoluta! un control mental absoluto! ¡Solamente Lamas, los grandes Maestros en Artes Aarciales y algunos grandes atletas la pueden dominar!
El Profesor Zovek extiende la venda hacia un MUCHACHO al frente de las filas -
PROFESOR ZOVEK
Sí… Tú… Por favor véndame los ojos.
El muchacho, tímido, camina hasta el Profesor Zovek y toma la venda, comienza a vendarle ojos -
PROFESOR ZOVEK
Asegúrate de que queden bien cubiertos. Tienes suficiente venda.
CONTINUED: (3) El muchacho le ha cubierto los ojos completamente al Profesor Zovek -
PROFESOR ZOVEK
Muchas gracias, puedes volver a tu sitio.
El muchacho regresa a su fila.
PROFESOR ZOVEK
¡Y ahora…!
El Profesor Zovek flexiona sus bíceps y hace, encima de su cabeza, la figura de un rombo juntando los dedos de las dos manos. Inhala profundamente y -
PROFESOR ZOVEK
(exhalando)
¡Huuuuuhh!
Y queda en silencio. Los muchachos miran expectantes. A LA ORILLA DE LA CANCHA - Cleo y el pequeño público miran asombrados. El Profesor Zovek está de pie, inmóvil, con su rombo sobre la cabeza y lentamente, muy lentamente, comienza a levantar su pie izquierdo. Se ha detenido el tiempo. El pie izquierdo se eleva doblando la rodilla hasta que el muslo queda en un ángulo de 45 grados y en esa posición se queda inmóvil. Los jóvenes esperan confundidos a que Algo suceda. A LA ORILLA DE LA CANCHA - Cleo y el pequeño público también esperan, un niño se sienta en cuclillas. El Profesor Zovek continúa inmóvil -
PROFESOR ZOVEK
¿Están decepcionados? ¿Esperaban el levantamiento de un jet o un elefante?
El público ríe. CONTINUED: (4)
PROFESOR ZOVEK
¡Pero si están siendo testigos de una proeza! ¿No me creen? Inténtenlo.
El Profesor Zovek habla, pero continúa sin moverse -
PROFESOR ZOVEK
Tan sólo cierren los ojos y levanten un pie. No tienen que levantar la pierna en 45 grados como yo ni subir los brazos. Tan sólo cierren los ojos y levanten un pie.
EN LAS FILAS - Los jóvenes cierran los ojos e intentan levantar un solo pie. Muy pronto pierden el equilibrio. Los instructores también lo intentan, sin ningún éxito. A LA ORILLA DE LA CANCHA - Cleo y el pequeño público también lo intentan, algún niño dura un poco más pero todos fracasan. El Profesor Zovek explica -
PROFESOR ZOVEK
La verdadera preparación mental es el camino a una realización física.
El pequeño público comienza a darse cuenta de que - Cleo está parada en un solo pie, formando un rombo con los dedos sobre su cabeza. Los ojos cerrados y la cara plácida. EXT - CANCHAS - LLANO -- MÁS TARDE Un entrenador toca el silbato y la formación se rompe. Los jóvenes recogen sus pertenencias a la orilla de la cancha y continúan su camino al estacionamiento. Cleo los ve pasar, y en un pequeño grupo encuentra a - Fermín, que camina platicando animado. CONTINUED: Cleo quiere llamarlo pero el nerviosismo se lo impide. Fermín y su grupo la pasan de largo. Cleo por fin lo llama -
CLEO
¡Fermín!
Quizá un poco demasiado fuerte. Fermín voltea y al verla se detiene, otros en su grupo se paran con él. Cleo y Fermín se miran.
FERMÍN
¿Qué pasó, mi Cleo?
CLEO
¿Puedes hablar tantito?
El grupo alrededor de Fermín le hace burla -
GRUPO
¡Uuuuuhuuuuuuu!
Fermín sonríe y comienza a caminar hacia Cleo mientras con un ademán despide a su grupo. Cleo y Fermín caminan el uno hacia el otro en el llano que se vacía. AL FONDO - Un Boeing 727 de Eastern Airlines despega y vuela sobre la pareja que se acerca en medio del llano.
FERMÍN
¿Qué milagro, mi Cleo?
CLEO
Hola Fermín…
Se encuentran y se saludan de beso.
FERMÍN
¿Qué haces por estos rumbos?
CLEO
Esque… como te he dejado recados y buscado, pero no has dado razón…
Fermín comienza a caminar hacia el estacionamiento - CONTINUED: (2)
FERMÍN
Perdón, mi Cleo, pero es que se puso intenso el entrenamiento y hasta trajeron a un instructor gringo y otro coreano. Bueno, el gringo ya había venido, pero el coreano es nuevo.
CLEO
¿Es para las Olimpiadas?
FERMÍN
Algo así. ¿Quién te dijo que estaba aquí?
Cleo titubea -
CLEO
Esque… el cuñado de una vecina entrena contigo y…
FERMÍN
(interrumpe)
Fue Ramón, ¿verdad?
CLEO
¡No, no, no…!
Fermín se detiene -
FERMÍN
¡Hijodela…!¡Pinche Ramón! Le voy a dar su calentadita cuando lo vea -
Hace la finta de unos impresionantes movimientos de aikido -
FERMÍN
¡Jodan Tsuki!… ¡Chudan Tsuki!… ¡Mae Geri!…
Golpes relámpago, patadas precisas y contacto cuerpo a cuerpo contra el aire.
CLEO
Esque… Ando con encargo…
Fermín se detiene en medio golpe. Sigue su camino al estacionamiento.
FERMÍN
¿Y a mí…?
CONTINUED: (3) Cleo lo sigue -
CLEO
Es que es tuya la criaturita…
Fermín acelera su paso -
FERMÍN
¡Ni madres!
CLEO
¡Es que sí es, Fermín!
Fermín se detiene en seco y se voltea y enfrenta a Cleo -
FERMÍN
¡Ya te dije que ni madres! ¡Así que si no quieres que te parta toda tu puta madre, a ti y a tu pinche criaturita, no vuelvas a decirlo y no me vuelvas a buscar!
Hace unos movimientos de aikido que culminan en un golpe mortal a Cleo que se detiene a medio centímetro de su cara, y se aleja caminando.
FERMÍN
¡Pinche gata!
Dejando a Cleo sola en el llano vacío. 14 de mayo de 1971, viernes EXT - PATIO PEQUEÑO - TEPEJI 21 -- DÍA El Borras ladra enloquecido, Cleo lo sostiene del collar pero pareciera estar en otra parte, ensimismada en su tristeza. Su panza de casi ocho meses ya es muy grande. El anciano de las naranjas coloca tres naranjas más en un huacal en el piso que ya está casi lleno.
ANCIANO DE LAS NARANJAS
…20.
El anciano se levanta y Adela le paga con un arrugado billete de 20 pesos. Más atrás, Cleo agarra al Borras que a cada ladrido intenta lanzarse sobre el anciano. CONTINUED: El anciano carga lentamente el inmenso saco de naranjas y lo coloca sobre su joroba. Comienza a caminar hacia - EXT - PATIO - TEPEJI 21 -- DÍA Donde Cleo sostiene al Borras, que intenta impulsarse con las patas traseras para atacar al anciano que pasa frente a ellos hacia la puerta de la calle. El anciano va a medio patio cuando el Borras da un jalón que toma por sorpresa a la ensimismada Cleo, quien lo suelta. El Borras se arranca tras el anciano, que al sentir al perro acelera hacia la puerta. El Borras lo persigue.
CLEO
¡Borras!
El Borras se lanza contra el anciano e hinca sus colmillos en el enorme saco, que se rasga. Docenas de naranjas se desprenden del saco y ruedan por todo el patio. El anciano suelta el bulto y corre hacia la puerta aprovechando que el perro intenta rematar el saco. Cleo corre hacia el Borras por el piso alfombrado de naranjas. El anciano casi llega a la puerta cuando el perro cae en cuenta y corre tras él. El anciano llega a la puerta y la abre. El Borras está a punto de encajarle los colmillos cuando el anciano sale y cierra. El Borras ya no puede frenar y se estrella contra la puerta. Cleo está de pie a mitad del patio, rodeada de un océano de naranjas. INT - PLANTA BAJA - TEPEJI 21 -- DÍA La luz del mediodía rebota por las paredes del patio y se desliza por las grandes ventanas y acaricia suavemente la moderna mesa de caoba. Cleo pule la superficie con un trapo. Frota la tela repetidamente sobre el mismo espacio, como si quisiera limpiar su reflejo. CONTINUED: La casa está en silencio, sólo el rumor de una conversación. El cable del teléfono se extiende hasta el baño bajo la escalera y desaparece bajo su puerta. La Señora Sofía está adentro, hablando por teléfono. Su voz resuena en el pequeño espacio y se filtra a través de la puerta, pero pocas palabras son claras. Paco baja las escaleras lentamente, se detiene a la mitad, justo sobre la puerta del baño, y se inclina sobre el barandal intentando oír con más claridad. Cleo continúa puliendo la misma área de la mesa y por fin cae en cuenta de Paco, que baja las escaleras. Paco llega al hall y camina lentamente hasta la puerta del baño y se recarga en la pared junto a ella. Cleo suspende la limpieza de su reflejo y ve a Paco que - Se desliza y se sienta en el piso. Se recarga contra la pared y se inclina para acercar su oído la puerta. Desde el comedor, Cleo le hace señas de que se vaya, pero Paco la ignora, concentrado en escuchar la conversación que suena distorsionada por el eco del baño y apagada por la puerta -
SEÑORA SOFIA
…les escribió cartas dizque desde Québec… ¡Nada! Sólo babosadas que les inventa. Que el paisaje es bonito, que hay muchos animalitos, que los extraña mucho pero que su investigación se sigue retrasado. ¡Puras mentiras, comi!… Ni siquiera tiene los pantalones para decirle a los niños…
Cleo camina hacia Paco haciéndole señas. Al llegar al hall se detiene a una distancia respetuosa del baño y su conversación. Agita su trapo vigorosamente, llamando a Paco.
SEÑORA SOFÍA
(atraves de la puerta)
¡No, comadre! Si se fue a Acapulco a la casa de los Matos con su piruja esa. ¡Para eso si tiene tiempo, ¿no?! Desde que se fue no ha mandado un quinto y ya van seis meses, comi.
CONTINUED: (2)
SEÑORA SOFÍA
Dice que anda corto, pero eso sí: ahora le dió por bucear y anda comprándose todo su equipo. ¿Y sabes cuanto cuaestan esas cosas?… No, para eso si tiene…
Él la ve pero niega con la cabeza repetidamente. Cleo se acerca un par de pasos más, aún manteniendo su distancia, y le habla articulando las palabras pero sin hacer, casi, sonido alguno.
CLEO
(articulando)
V-e-t-e d-e a-q-u-í
Paco va a negar con la cabeza pero un llanto perfora los ecos y se cuela por los muros, un llanto profundo y desesperado. Paco y Cleo se paralizan, asustados, y de pronto - La puerta del baño se abre y sale la Señora Sofía cargando el teléfono. Ve a Paco que intenta escabullirse y lo agarra -
SEÑORA SOFÍA
¡Y tú! ¿Qué haces espiando?…
Su rostro está demacrado por las lágrimas, la frustración y el dolor que explotan en - Una enorme cachetada que lo tira al piso. La Señora Sofía inmediatamente cae en cuenta de lo que hizo y se agacha junto a su hijo y lo abraza llorando -
SEÑORA SOFÍA
¡Perdóname, perdóname, Paco! ¿Por qué estabas espiando?… ¿Por qué estabas espiando?…
Los dos lloran en el piso, la Señora Sofía ve a Cleo a sólo unos pasos -
SEÑORA SOFÍA
¡Y tú! ¿Por qué lo dejas?
Abraza fuerte a Paco -
SEÑORA SOFÍA
No le digas nada a tus hermanos… No les digas… Prométeme… prométeme…
CONTINUED: (3) Cleo se mantiene inmóvil a un lado, deseando unírseles en el abrazo, y en el llanto. INT - CUARTO DE SOFI Y PEPE - TEPEJI 21 -- OCASO Cleo cepilla el pelo de Sofi, están sentadas en la cama. Sofi lee una carta, Cleo está ensimismada.
SOFI
Tiene muchos dibujos. Mira, esta niña creo que soy yo y éste es mi papá…
La carta está hecha exclusivamente de dibujos en pluma azul, sin sombreados ni colores.
SOFI
…Y éste es un corazón, mira, con una "ese" de Sofi y una "pe" de papá… Y éste es un perrito… ¿o es un pescado?
Pepe entra al cuarto y se sienta junto a ellas, asomándose para ver la carta.
CLEO
¿Creo se parece a un delfín?
SOFI
¿Un delfín? No. Es como un perrito…
PEPE
¡Es una foca! En la carta que mi papá le mandó a Paco, dice que de su hotel puede ver el mar y que hay muchas focas.
Sofi considera el dibujo -
SOFI
Sí. ¡Es una foca! ¡Como las que tiene en su hotel!
PEPE
Dijiste delfín. ¡No parece delfín!
CLEO
¿No parece?
SOFI
¡No!
CONTINUED:
CLEO
¿No es delfín? ¿Entonces qué dicen que es?
Sofi y Pepe contestan a coro -
SOFI Y PEPE
¡Una foca!
Y a coro también ríen. Cleo, distraída de su tristeza, voltea con Pepe y lo ataca a cosquillas, prolongando la risa. Cuando se tranquilizan, Pepe está acostado en la cama y ve a Cleo fijamente.
CLEO
¿Qué me ves?
PEPE
¿Cuándo va a salir tu bebé?
La tristeza vuelve a invadir a Cleo -
CLEO
El mes que entra.
SOFI
¿Va a ser niña?
CLEO
No sé…
SOFI
¡Que sea niña! ¡Porfa…! ¿Cómo se va a llamar?
CLEO
No sé.
SOFI
Si es niña, ¿se puede llamar Tábata como la de Hechizada?
CLEO
(ausente)
A lo mejor…
Pepe se incorpora y la ve, serio.
PEPE
¿Y va a vivir aquí?
CONTINUED: (2)
SOFI
¡Si es niña, sí!
CLEO
No sé. ¿Quieres que viva aquí?
PEPE
¡No! ¡Guácala!
Cleo sonríe tratando de cubrir su dolor. Cambia de tema -
CLEO
A ver. ¡A ponerse la pijama!
15 de mayo de 1971, sábado INT - CUARTO DE LA SEÑORA SOFÍA - TEPEJI 21 -- DÍA El cuarto brilla suavemente con la luz que entra por las ventanas y se filtra por las cortinas. Cleo acomoda ropa recién lavada en los cajones del clóset. Al abrir un cajón ve la ropa interior del Señor Antonio. Se escucha a los niños discutir a gritos desde la planta de abajo. Cleo cierra el cajón. Ve los trajes de hombre colgados. Los gritos se hacen más intensos y entre ellos se escucha a la Señora Teresa.
SEÑORA TERESA (O.C.)
¡Niños! ¡Ya Toño, ya!
Sofi entra corriendo al cuarto -
SOFI
¡Cleo! ¡Toño y Paco se están peleando!
Cleo sale al - INT - HALL DE ARRIBA - TEPEJI 21 -- DÍA Los gritos invaden el hall -
SEÑORA TERESA (O.C.)
¡No se peguen!
CONTINUED: Cleo sale del cuarto y se asoma por el barandal de la escalera pero no puede ver bien, Sofi la sigue. Van a las escaleras. INT - PLANTA BAJA - TEPEJI 21 -- DÍA Cleo, con su panza de ocho meses, baja las escaleras lentamente acompañada de Sofi. Al bajar pueden ver - EN EL HALL - A Toño que tiene a Paco agarrado de los pelos. Paco grita furioso e intenta acomodarle patadas a Toño. La Señora Teresa está en la sala y les grita, Pepe está de pie, paralizado, junto a ella.
SEÑORA TERESA
¡Ya¡ ¡Paren!
Pero Paco logra soltarse y le pega a Toño en la cara. Toño le agarra los brazos. EN LA ESCALERA - Cleo se detiene, Sofi toma su mano -
CLEO
¡Niños!
EN EL HALL - Paco le escupe en la cara a Toño, que lo suelta para darle una fuerte cachetada.
SEÑORA TERESA
¡Toño!
Y Paco se abalanza una vez más en contra de Toño que, veloz, escapa. EN LA ESCALERA - Cleo sigue bajando.
CLEO
¡Niños! ¡Le voy a decir a su mamá cuando regrese!
EN EL HALL - CONTINUED: Los niños no hacen el menor caso. Paco agarra un adorno de la mesa, un huevo de piedra, y - SE LO AVIENTA A TOÑO - Y vuela directo a su cabeza.
SEÑORA TERESA
¡Paco!
Toño se agacha justo en el momento en que el huevo, veloz proyectil, pasa volando exactamente por donde estaba su cara y continúa su trayectoria por las puertas abiertas hacia el patio - ESTRELLÁNDOSE en la puerta del Valiant, estacionado afuera. La Señora Teresa corre hacia Paco y lo agarra fuertemente, lo sacude -
SEÑORA TERESA
¡Qué estás haciendo! ¡Paco!
PACO
¡Él me pegó primero!
TOÑO
¡Porque tú me empujaste!
Cleo llega al hall con Sofi, camina hacia la sala.
SEÑORA TERESA
¡¿Cómo avientas esa cosa?! ¡Pudiste haber matado a tu hermano!
Paco para su lucha, arrepentido. Cleo llega con Pepe y lo abraza, Sofi va con ella. La Señora Teresa suelta a Paco -
SEÑORA TERESA
¡Lo pudiste haber matado!
Toño ve asustado la puerta del Valiant donde el huevo ha dejado una enorme abolladura en el metal. INT - COCINA - TEPEJI 21 -- NOCHE La casa está en silencio. Cleo lava platos, Adela los acomoda en las repisas. CONTINUED:
ADELA
Ya súbete, manita, yo aquí la espero…
Suena el claxon del Galaxie 500 - ¡Ta-ta Ta-ta Ta-ta Ta-taaaaaa…!
ADELA
Yo voy.
Adela sale al patio pequeño y camina al patio. Cleo va hacia el antecomedor. INT - PLANTA BAJA - TEPEJI 21 -- NOCHE Cleo cruza el antecomedor y el comedor y va al hall. Se asoma por la puerta que da al patio. EXT - PATIO - TEPEJI 21 -- NOCHE ¡Ta-ta Ta-ta Ta-ta Ta-taaaaaa…! Adela camina a la puerta de la calle, que brilla desde afuera iluminada por los faros del coche. ¡Ta-ta Ta-ta Ta-ta Ta-taaaaaa…! Adela abre la puerta descubriendo - Los potentes faros del Galaxie 500 que iluminan el patio. El coche comienza a avanzar lentamente pero - ¡Kkkjjjjjjkkk! Su lado izquierdo raspa contra el marco de la puerta. El coche frena y retrocede unos centímetros. Ajusta su trayectoria y vuelve a avanzar - ¡Krrrraajjjjj! Ahora su lado derecho pega contra el marco. El coche frena y gira sus llantas a la izquierda. Avanza. ¡Kkkjjjjjjkkk! La moldura izquierda se atora en el marco y comienza a doblarse. El coche frena. CONTINUED: Retrocede. Avanza de nuevo y ahora la moldura derecha es la que se atora. El coche frena. Retrocede. Vuelve a avanzar y la moldura derecha es arrancada de la lámina pero ahora el coche no se detiene, se sigue de frente corrigiendo rumbo, destrozando la moldura izquierda. Y corrige rumbo nuevamente. El espejo retrovisor se atora en el quicio y es arrancado. El Galaxie 500 frena sólo un momento para seguir su marcha con mayor convicción, golpeando y abollando ambos lados, las molduras dobladas en extrañas figuras. Y por fin, el Galaxie se detiene frente a la puerta que da al hall. INT - HALL DE ABAJO - TEPEJI 21 -- NOCHE Cleo está junto a la puerta que da al patio. Afuera - La puerta del Galaxie se abre y sale la Señora Sofía. Camina tambaleándose y entra a la casa sin cerrar la puerta del coche, está evidentemente ebria. Cleo se hace un lado dejándola pasar. La Señora Sofía la ve, divertida -
SEÑORA SOFÍA
Estamos solas. Siempre. Aunque te digan que no.
Y se ríe. Cleo la mira, confundida. La Señora Sofía continúa su camino y sube las escaleras, tambaleándose. 10 de junio de 1971, jueves
INT/EXT - VALIANT - CALLE -- TARDE
Ignacio maneja, Cleo va sentada adelante y la Señora Teresa va sola atrás. Circulan lentos entre un tráfico denso. CONTINUED: Un coche estacionado que intenta salir a la calle, Ignacio frena y lo deja pasar -
IGNACIO
Solo si nos estacionamos por aquí lejos porque hay manifestación de estudiantes.
En las banquetas hay bullicio de jóvenes que caminan calle arriba, algunos cargan mantas con consignas.
SEÑORA TERESA
Conque no les vuelvan a pegar…
El coche estacionado deja libre su lugar e Ignacio maniobra para entrar en el. EXT - CALLE - CERCA DE LA MÉXICO-TACUBA -- TARDE El Valiant se estaciona, salen la Señora Teresa y Cleo, Ignacio las acompaña, camiones del Departamento de Limpia del DF están estacionados a lo largo de la cuadra. Caminan entre los jóvenes calle arriba, hacia la esquina controlada por vehículos de la policía, pasando frente a un grupo de jóvenes en camiseta que esperan parados. EXT - CALLE - CALZADA MÉXICO-TACUBA -- TARDE Ignacio acompaña a Teresa y Cleo que caminan lentamente, Cleo por su panza y la Señora Teresa por su cojera. Las cortinas metálicas de los locales están cerradas. Caminan frente a una larga hilera de camiones de granaderos, filas de policías y de un grupo de jóvenes, que cargan varas de caña, reunidos cerca de la esquina. Llegan a la Calzada México-Tacuba que está cerrada al tráfico. La cabeza de una enorme manifestación pasa frente a ellos, caminando de Norte a Sur, sobre la avenida. La Señora Teresa, Cleo e Ignacio se ven obligados a cruzar entre la marcha. Se funden con la multitud, unos traen pancartas y todos cantan consignas. Cuando logran cruzar al otro lado de la avenida hacia la entrada a un edificio que anuncia una mueblería en el segundo piso, con letras pintadas en las ventanas. La Señora Teresa y Cleo entran, Ignacio espera afuera. INT - MUEBLERÍA - CALZADA MÉXICO-TACUBA -- TARDE El sol de la tarde ilumina el letrero de MUEBLERIA pintado a todo lo largo de las ventanas manchando el piso con sus letras al revés. Un puñado de clientes se pasea por el local, que vende muebles económicos y funcionales. El bullicio de la marcha invade el lugar con consignas y coros. Cleo y la Señora Teresa caminan entre los muebles de maternidad. Ven una cuna -
SEÑORA TERESA
¿Te gusta esta?
CLEO
Está muy bonita.
La Señora Teresa ve la etiqueta con el precio y le hace una seña a una VENDEDORA JOVEN que se acerca inmediatamente -
SEÑORA TERESA
¿A cómo me va a dejar esta cuna?
La vendedora revisa la etiqueta.
SEÑORA TERESA
Pero con descuento de cliente antiguo, ¿eh?
VENDEDORA JOVEN
Déjeme le pregunto a la patrona.
La vendedora camina hacia el mostrador. El bullicio externo se convierte en un rugido a coro de gritos despavoridos. Son las 17 horas con siete minutos. Ignacio aparece corriendo por la puerta, pánico en sus ojos. Todos en la tienda lo miran confundidos. El rugido externo se intensifica. Ignacio corre a la ventana y se asoma, otros clientes hacen lo mismo. Terror en los ojos. Cleo y la Señora Teresa se acercan lentamente y al llegar junto a Ignacio, ven también por la ventana - CALZADA MÉXICO-TACUBA - CONTINUED: La inmensa columna de estudiantes es atacada de frente por más de 100 jóvenes de tenis, camiseta y el cabello muy corto, armados con garrotes de bambú de dos metros, macanas y varillas que administran fuertes descargas eléctricas. Son los HALCONES. El grupo paramilitar ataca con furia. La multitud corre, pero más Halcones surgen por detrás y otros de las calles aledañas. Se escuchan disparos y una nube de pólvora comienza a formarse. Gente cae. Mujeres. Ancianos. Niños. ADENTRO, EN LA MUEBLERÍA - Se escuchan pasos corriendo escaleras arriba y entra un ESTUDIANTE sangrando de la cabeza, no tiene ni 20 años. Los clientes gritan alarmados. El estudiante los mira implorante y voltea asustado al escuchar ruidos en la escalera. La ENCARGADA de la mueblería le señala que entre rápido y llama a la Vendedora Joven.
ENCARGADA MUEBLERÍA
Mételo al armario.
La joven guía presurosa al estudiante hasta el fondo de la tienda, donde está el armario, cuando - EN LA PUERTA - Aparecen TRES HALCONES. La gente aterrada, una señora comienza a llorar. Ignacio se coloca, protector, frente a Cleo y la Señora Teresa. Los Halcones ven a la joven que cierra la puerta del armario. Dos van hacia ella, uno se queda a mitad de la mueblería controlando a la gente. La joven se coloca frente a la puerta del armario, el Halcón de vanguardia la golpea y la tira al piso, abre el armario y el Segundo Halcón - DISPARA TRES VECES. El estudiante cae fuera del armario, y ya en el piso - CONTINUED: (2) EL HALCÓN LE DISPARA DOS VECES MÁS. La gente grita y el Halcón en la retaguardia los vigila amenazante. Cleo, escudada por Ignacio, ve al Halcón en la retaguardia. El Halcón en la retaguardia también la ve. SE RECONOCEN. Es Fermín. Cleo comienza a hiperventilar. Los otros dos Halcones emprenden la retirada y Fermín los sigue. Los tres salen del local. Cleo los ve irse, su respiración muy agitada. Un charco se forma a sus pies. Se le ha roto la fuente. EXT - CALLE - PORTÓN VECINDAD - CERCA MÉXICO-TACUBA -- 126\* TARDE Ignacio sostiene a Cleo y la ayuda a caminar, la Señora Teresa va junto a ellos. Gente corre aterrada en todas direcciones, se escuchan disparos y hay mucho humo en el aire. Estudiantes corren hacia ellos, aterrados, perseguidos por Halcones con varas de bambú. Ignacio jala a Cleo a la entrada de una vecindad, la Señora Teresa los sigue. Se refugian. Frente a ellos, en la calle, los Halcones alcanzan a un estudiante y lo muelen a palos. Siguen su camino. Ignacio se asoma a la calle y jala a Cleo y sale del portón para continuar su camino. La Señora Teresa los sigue. Caminan por la México-Tacuba. En el suelo, hombres y mujeres, jóvenes y viejos, yacen muertos, algunos rodeados de sangre. Una joven llora de rodillas en el piso, sostiene la cabeza de un joven. Halcones llegan y la golpean con violencia.
INT/EXT - VALIANT '64 - CALLE -- TARDE
Ignacio, al volante, negocia con el tráfico entrando en cada hueco que encuentra.
CLEO
¡Aaahhhhhhhhhhggggg!
En el asiento trasero Cleo sufre contracciones, junto a ella va la Señora Teresa que la toma de la mano. INT - AV CUAUHTÉMOC - CENTRO MÉDICO -- TARDE El Valiant '64 avanza por Avenida Cuauhtémoc y da vuelta en una entrada al Centro Médico. EXT - GINECOBSTETRICIA - CENTRO MÉDICO -- OCASO El edificio, con su rampa, tiene las luces prendidas contra el cielo púrpura que quiere ser noche. Ignacio ayuda a Cleo a caminar. La Señora Teresa, más lenta, los sigue más atrás. En la explanada, mujeres embarazadas se pasean, algunas acompañadas, en espera de su parto inminente. Ignacio y Cleo entran al edificio. INT - LOBBY - GINECOBSTETRICIA -- OCASO Caos. Mujeres embarazadas se pasean en el lobby, otras aguardan con sus familiares en la sala de espera. Nombres son voceados y mujeres embarazadas son ingresadas. GRITOS y PUJIDOS de mujeres sufriendo contracciones. En la recepción, las enfermeras atienden con eficiencia la larga fila de pacientes. Ignacio entra al lobby sosteniendo a Cleo, avanzan inmediatamente hacia la recepción. Al llegar le dice a Cleo -
IGNACIO
Aquí espéreme tantito.
CONTINUED: Deja a Cleo y se acerca al mostrador e intenta hablar con una ENFERMERA apuradísima -
IGNACIO
Disculpe…
Pero la enfermera no se detiene, sólo señala -
ENFERMERA MOSTRADOR
Ahí haga cola…
Ignacio ve la cola, y ve a Cleo que tiene una contracción más, de pie.
CLEO
¡Ahhhhhaaaaaaaaaa…!
Ignacio llama a gritos para hacerse oír por encima del bullicio de preguntas, órdenes, quejas y lloridos -
IGNACIO
(gritando)
¡La Doctora Vélez! ¡Con la Doctora Vélez!…
Nadie parece escucharlo. Ignacio insiste -
IGNACIO
(gritando)
¡La Doctora Vélez! ¡Con la Doctora Vélez!…
La Doctora Vélez aparece por la puerta de médicos y pacientes acompañada de un CAMILLERO RECEPCIÓN. Se apresura hacia Ignacio -
DOCTORA VÉLEZ
Aquí, aquí, aquí…
Ignacio la lleva con Cleo mientras la Doctora Vélez levanta \* un brazo y el Camillero Recepción corre hacia Cleo empujando una silla de ruedas.La Señora Teresa por fin llega, está completamente sin aliento. La Doctora Vélez llega a Cleo -
DOCTORA VÉLEZ
Hola, Cleo. ¿Cómo estás?
Cleo la mira asustada por toda respuesta. El Camillero ayuda a Cleo a sentarse en la silla de ruedas. Ignacio también ayuda. CONTINUED: (2)
DOCTORA VÉLEZ
De aquí me la llevo yo. Ahí pueden esperar.
La Señora Teresa, rosario en mano, mira con Ignacio a Cleo que, empujada en la silla, desaparece por la puerta que va a - INT - PASILLO ELEVADORES - GINECOBSTETRICIA -- OCASO Cleo en la camilla respira asustada, va rodeada de la Doctora Vélez y el Camillero Recepción. Llegan a los elevadores y esperan. El elevador abre su puerta y entran a él. Las puertas están a punto de cerrar cuando el Señor Antonio, vestido con su bata blanca, los alcanza y también entra. INT - ELEVADOR - GINECOBSTETRICIA -- TARDE Las puertas cierran.
SEÑOR ANTONIO
Hola Cleo, ¿cómo se siente?
Cleo lo mira sorprendida -
CLEO
…¡Doctor…!
El Señor Antonio intenta animarla -
SEÑOR ANTONIO
Está en buenas manos… ¿A cuántos bebés ha sacado usted, Doctora Vélez?
La Doctora Vélez sonríe -
DOCTORA VÉLEZ
N'ombre… Cientos.
Cleo tiene una fuerte contracción -
CLEO
¡Ahhhhhhgggggg!
El Señor Antonio le toma la mano y se agacha para acercar su cara a la de Cleo - CONTINUED:
SEÑOR ANTONIO
Respire Cleo… Así…
El Señor Antonio comienza a inhalar y a exhalar soplando. Cleo intenta imitarlo mirándolo a la cara. INT - LOBBY - 6º PISO - GINECOBSTETRICIA -- OCASO El elevador abre sus puertas y la camilla con Cleo sale empujada por el Camillero Recepción. El sexto piso no tiene ventana alguna. Pasan la central de enfermeras al llegar a la puerta que da a la Sala de Expulsión, el Señor Antonio se inclina hacia Cleo -
SEÑOR ANTONIO
Hasta aquí me deja pasar la Doctora Vélez…
La Doctora Vélez lo interrumpe -
DOCTORA VÉLEZ
Por mí no se apure, pásele si quiere.
SEÑOR ANTONIO
No, eh… Tengo consulta…
Su excusa queda en el aire y él posa una mano en el hombro de Cleo -
SEÑOR ANTONIO
Le va a ir muy bien, Cleo…
Y se escabulle de regreso por el pasillo. Cleo, asustada y confundida, apenas si ha registrado el intercambio. La Doctora Vélez llama a una enfermera mientras el Camillero Recepción empuja a Cleo a - INT - CUBÍCULOS DE ADMISIÓN - GINECOBSTETRICIA -- OCASO 134\* Es un cubículo separado de otros por cortinas y mamparas con una cama ginecológica al centro. La ENFERMERA ADMISIÓN ayuda a Cleo a levantarse de la silla y a sentarla en la mesa de exploracón. CONTINUED:
DOCTORA VÉLEZ
Cleo, ¿te quitas toda la ropa y te pones esta bata? Te vamos a revisar.
El Camillero Recepción sale y la Enfermera Admisión ayuda a Cleo a quitarse la ropa mientras un RESIDENTE llega. No tiene mucha privacidad y puede ver, tras las cortinas mal cerradas, a otras mujeres que son examinadas. La Doctora Velez hace preguntas que ella contesta confundida.
DOCTORA VÉLEZ
¿Cuando fué tu última menstruación?
CLEO
¿En Septiembre?…
DOCTORA VÉLEZ
¿Tienes fecha tentativa de parto?
CLEO
El 21 de Junio…
DOCTORA VÉLEZ
¿Hubo complicaciones durante el embarazo?
Cleo niega con la cabeza, asustada.
DOCTORA VÉLEZ
¿Hace cuánto se rompió la fuente?
CLEO
Hace como hora y media. No podíamos salir de donde estábamos y…
DOCTORA VÉLEZ
¿Estaba clara?
CLEO
¿Eh?
DOCTORA VÉLEZ
El agua. ¿Era transparente el agua?
CLEO
No… Espesita. Así como sopa.
Cleo está por cerrarse la bata cuando sufre una contracción muy dolorosa. La Doctora Vélez ordena - CONTINUED: (2)
DOCTORA VÉLEZ
No pujes Cleo, sopla. Ayúdenla a subir a la cama…
El Residente y la enfermera ayudan a Cleo a acostarse en la cama de ginecología. La Doctora Vélez la esculta por encima de la panza -
DOCTORA VÉLEZ
Cheque dilatación.
El RESIDENTE osculta a Cleo y dictamina -
RESIDENTE
Siete u ocho centímetros…
DOCTORA VÉLEZ
¿Frecuencia?
El RESIDENTE checa con una "corneta" la frecuencia cardiaca mientras una enfermera llena documentos.
RESIDENTE
No se escucha el foco fetal…
ENFERMERA ADMISIÓN
Señora, ¡Sople!
RESIDENTE
Está completa. Está en segundo plano… Expulsivo con dilatación completa, trae meconio cuatro cruces y está en asistolia.
La Doctora Velez, veloz, gira instrucciones -
DOCTORA VÉLEZ
Canalícela con solucion mixta y pásenla a labor inmediatamente. Llamen al camillero y alerten a pediatría. Que preparen laringoscopio, equipo de reanimación y un "ambu".
El CAMILLERO ADMISIÓN llega y acerca su camilla a la cama de exploración. El residente le pide a Cleo -
RESIDENTE
¿Se me pasa a la camilla?
DOCTORA VÉLEZ
Vamos a sacarte a tu bebé.
CONTINUED: (3) La enfermeras y el Residente ayudan a Cleo a pasarse a la camilla. INT - PASILLO - SALAS DE LABOR - 6º PISO - GINECOBSTETRICIA -- OCASO Luces fluorecentes iluminan un pasillo con puertas esmeriladas semi-abiertas. De las salas se filtran los gritos de una mujer dando a luz. Una enfermera sale de una sala y cruza hacia otra. También se escucha, al fondo del pasillo, una puerta que se abre y al poco tiempo, aparece la doctora Vélez y la Enfermera Admisión, el Residente y el Camillero Admisión que empujan a Cleo. Al llegar al final del pasillo, la Doctora Veléz se separa de ellos y se dirige a las tarjas para lavarse las manos. El resto entra a - INT - SALA DE EXPULSIÓN - QUIRÓFANO - GINECOBSTETRICIA -- OCASO El Residente y el Camillero Admisión ayudan a acomadar a Cleo en la cama de expulsión mientras la ENFERMERA QUIROFANO le canalizan una vena y le pone puntas nazales. El Camillero Admisión y la Enfermera Admisión salen. La Doctora Vélez entra al quiófano con las manos en alto y camina a la mesa de expusón donde una mesa con material esteril la espera. Toma un campo y se seca las manos.
RESIDENTE
Dicen que llegaron estudiantes heridos al Rubén Leñero y que los Halcones llegaron, ahí mismísimo a rematarlos.
ENFERMERA QUIRÓFANO
¡Hay que horror! Cómo en el 68…
RESIDENTE
Cuando Echeverría era el Secretario de Gobernación.
Cleo tiene una fuerte contracción -
CLEO
¡Aaaaahhhhhh…!
CONTINUED:
DOCTORA VÉLEZ
No soples Cleo. Puja…
Cleo intenta soplar entre sus gemidos de dolor. Un doctor entra a la Sala con manos en alto. Es el PEDIATRA, se seca las manos. Cleo respira agitada.
DOCTORA VÉLEZ
Asi. Ya viene. ¡Puja …!
Y de entre sus piernas, la corona de un bebé aparece, como un sol que crece.
DOCTORA VÉLEZ
Ya casi. ¡Puja!
Cleo grita.
CLEO
¡Aaaaaaahhhhhhhhhhhhhhh…!
Es un grito profundo. Un grito arcáico, inmemorial.
CLEO
¡Aaaaaaahhhhhhhhhhhhhhh…!
El bebé sale expulsado de entre las piernas de Cleo a las manos de la Doctora Vélez que lo recibe. El bebé no llora ni respira, está flácido y se cuelga como un trapo. Está completamente embarrado de un líquido verde. La Doctora Vélez corta el cordón umbilical y le pasa el bebé al Pediatra que lo acomoda suavemente sobre su mesita pediátrica y lo revisa con un estetoscopio. Cleo sigue toda la acción, la mesita pediátrica a solo un metro de su cara.
PEDIATRA
No tiene latido. Vamos a intentar reanimación.
El Pediatra pone al bebé en hiperflexión y le mete la hoja del laringoscopio por la boca. Comienza a aspirarlo con una sonda. Cleo ve que su bebé. De la boca, por la sonda, sale meconio, un liquido verde denso como sopa de chícharos. CONTINUED: (2) El Pediatra saca la sonda de la boca y mete un tubo endotraqueal y comienza ventilar con el "ambu", un resucitador manual. La Doctora Vélez trabaja sacando la placenta. Cleo ve a la bebé sobre la mesa. El Pediatra bombea el globo del "ambu" repetidamente intentando reanimarlo. Cleo ve al bebé, su cara casi cubierta por el "ambu" y descubre que es una niña. El Pediatra deja de bombear el "ambu" y checa palpitaciones con su estetoscopio -
PEDIATRA
Está en asistolia…
Y se dirige, suavemente, a Cleo -
PEDIATRA
Señora, su bebé nació muerto, no traía líquido. El líquido verde le tapó los pulmones. Lo sentimos muchísimo, Señora.
Cleo escucha en silencio sin dejar de ver a su bebé. Las enfermeras comienzan a limpiarle el cuerpesíto.
DOCTORA VÉLEZ
Lo siento muchísimo, Cleo…
PEDIATRA
¿Quiere despedirse de su bebé, Señora?
Cleo asiente. La Enfermera Quirófano carga la bebé y la posan suavemente sobre Cleo que la abraza con la mirada perdida. La Doctora Vélez continúa trabajando entre sus piernas, limpiándola.
PEDIATRA
¿Con quién viene? ¿A quién le avisamos?
DOCTORA VÉLEZ
Viene con familiares. Están esperando afuera.
Cleo susurra algo.
DOCTORA VÉLEZ
¿Dijiste algo, Cleo? No te escucho…
CONTINUED: (3)
CLEO (SUSURRA)
Señora Sofía… Señora Sofía…
DOCTORA VÉLEZ
Si, Cleo. Yo la llamo…
La Enfermera Quirófano llegan a tomar la bebé muerta -
ENFERMERA
¿Podemos?, ¿Señora…?
Cleo asiente y la Enfermera toma a la bebé y la lleva a una mesita donde la comienza enrollar con una pequeña manta. Cleo mira como su hija desaparece bajo el envoltorio, y cuando está completamente envuelta, la Enfermera Quirófano sella las telas con cinta adehsiva. Después, toma un plumón y escribe sobre las telas del envoltorio - RECIEN NACIDA - CLEODEGARIA GUTIERREZ. 11 de junio de 1971, viernes INT - SALA DE HOSPITALIZACIÓN - GINECOBSTETRICIA -- DÍA 138\* La luz del nuevo día invade la sala. Camas enfiladas a lo largo de las paredes, donde madres recién paridas se recuperan. Algunas mujeres cargan a sus crías, otras amamantan, otras duermen. Hay moños, sobres y flores. Cleo está despierta, recostada en su cama, su mirada ausente. Una enfermera carga un bebé hasta una cama. Una mujer lo recibe emocionada y comienza a amamantarlo. La enfermera la ayuda, las dos susurran con una efusión que interrumpe la paz de la sala. Cleo no voltea a verlas, tal vez no las escucha, tiene la mirada perdida. La Señora Sofía llega a la puerta y se detiene un momento, observa a Cleo que permanece inmóvil rodeada del tenue rumor del tráfico en Avenida Cuauhtémoc que apenas despierta y el efusivo susurro de la mujer que amamanta a su bebé. CONTINUED: La Señora Sofía entra a la sala y camina hasta Cleo, se sienta en la cama y le toma la mano. Cleo la mira e intenta un esbozo de sonrisa. La Señora Sofía le aprieta la mano, es un corazón herido que intenta ofrecer un sólido apoyo que Cleo no encuentra en el vacío.
INT/EXT - GALAXIE 500 - AV BAJA CALIFORNIA - CALLES URES - 139\*
HUATABAMPO - TONALÁ -- DÍA \* La Señora Sofía maneja, junto a ella va Cleo, van en silencio. Dan vuelta a la derecha, dejando atrás Avenida Baja California y el rayo del sol. Manejan por Calle Ures, las dos viendo al frente, rodeadas del ronroneo del ocho cilindros que cambia velocidad automáticamente. Dan vuelta a la izquierda, en calle Huatabampo. Continúan en silencio bajo la sombra de las casas hasta la esquina con Tonalá, donde un coche espera su turno para dar la vuelta. La Señora Sofía frena detrás del coche y espera. Las dos mujeres viendo al frente en silencio. La Señora Sofía le toma la mano a Cleo y comienza a gemir. Es un gemido quieto y prolongado que brota en un lamento largo y articulado. Abraza a Cleo que permanece en silencio. El coche frente a ellas ya ha avanzado y ahora es el Valiant quien detiene el tráfico, con tres coches ya detrás de él. Un CLAXON suena. La Señora Sofía llora abrazada a Cleo. Llora toda la impotencia, todo el miedo, toda la incertidumbre y todas las humillaciones. Llora ignorando el coro de cláxones que se ha unido a su clamor. EXT - ESQUINA HUATABAMPO Y TONALÁ -- DÍA El Galaxie 500 está inmóvil y detiene el tráfico en la esquina. Los coches impacientes lo rebasan por la izquierda, algunos mentando madres. Las dos mujeres adentro del Galaxie permanecen abrazadas. 23 de junio de 1971, miércoles EXT - PATIO - TEPEJI 21 -- TARDE El patio sembrado con cacas de perro está vacío excepto por un triciclo rojo, una pelota de futbol y el Borras que está echado disfrutando los últimos rayos del sol. Un misterioso SILBIDO se filtra desde la distancia. El Borras levanta la cabeza, alerta. El silbido, triste y solitario, toma presencia, invadiendo las paredes de la casa. INT - HALL DE ARRIBA - TEPEJI 21 -- TARDE El silbido pareciera filtrarse por los muros y rebotar por los mosaicos del piso. Desde el patio, el Borras comienza a ladrar. EXT - CALLE DE TEPEJI - TEPEJI 21 -- TARDE El silbido perfora la calma de la tarde y pareciera hacer eco en las fachadas de las casas. Tepeji 21 descansa, triste y resignada, sobre sólidos cimientos que se funden con el concreto gris de la banqueta. El Galaxie 500 y el Valiant están estacionados frente a la casa. Un afilador cruza en su bicicleta tocando su silbato que impregna el tiempo con su lamento de mal agüero. EXT - PATIO PEQUEÑO -- TARDE Los periquillos parecieran querer imitar el silbido con su canto. La voz de Adela grita desde el segundo piso -
ADELA (O.C.)
¡Sacúdete!
INT - COCINA - TEPEJI 21 -- TARDE Cleo está sentada junto a la ventana absorta en su dolor.
ADELA (O.C.)
¡El afilador! ¡Que te sacudas! ¡Cleo…!
CONTINUED: Pero Cleo permanece inmóvil. El fatídico silbido se aleja lentamente y al fin desaparece. El Borras y los periquillos se tranquilizan. Todo queda en silencio. La luz de la tarde agoniza. Cleo no se mueve. ¡TA-TA TA-TA TA-TA TA-TAAAAAA…! El gangoso claxon de un coche repica desde la calle y los ladridos del Borras responden. ¡TA-TA TA-TA TA-TA TA-TAAAAAA…! Cleo no reconoce el claxon pero sí el ritmo de su pitido - ¡TA-TA TA-TA TA-TA TA-TAAAAAA…! Cleo se levanta y camina lentamente a la puerta y sale al- PATIO PEQUEÑO - Y lo cruza hacia el - EXT - PATIO - TEPEJI 21 -- TARDE Cleo ve a Adela abrir la puerta de la calle mientras agarra al Borras del collar, descubriendo - Un RENAULT 12TS AMARILLO PÁLIDO enfilado frente a la puerta. El pequeño coche arranca hacia adentro pasando el quicio con holgura y continúa, veloz, su marcha sin obstaculos hasta la puerta del hall. Paco y Pepe se asoman desde el hall y ven a su madre al volante del Renault. Paco grita -
PACO
¡Toño! ¡Sofi! ¡Vengan!
PEPE
¡Mamá compró coche nuevo!
Paco sale y examina la carrocería del coche. Pepe se une a su hermano. Cleo se acerca un poco más mientras Adela cierra la puerta que da a la calle. CONTINUED: La Señora Sofía asoma la cabeza por la ventana del coche -
SEÑORA SOFÍA
¿Les gusta?
PACO
¿A cuánto corre?
La Señora Sofía abre la puerta del coche y sale -
SEÑORA SOFÍA
Tú checa.
Paco se apresura a sentarse en el asiento del conductor, Pepe corre alrededor del coche y se mete al asiento del copiloto. Toño y Sofi salen al patio y ven el coche nuevo.
TOÑO
¿Por qué no un Maverick?
Paco, en el asiento del conductor, protesta -
PACO
¡Sólo corre a 145! ¡El Galaxie corre a 200!
SEÑORA SOFÍA
Porque son muy caros y quiero un coche chico. ¡Ya estoy hasta la coronilla del Galaxie!
Sofi se mete al asiento trasero del coche -
SOFI
A mí sí me gusta el coche nuevo, mami.
Adela llega junto a Cleo.
PACO
¿Y el Galaxie?
SEÑORA SOFÍA
Lo vendí. La semana que entra vienen por él.
Sofi sale del coche -
TOÑO
¿Mi papá sabe?
CONTINUED: (2)
SEÑORA SOFÍA
No. Es una sorpresa.
La Señora Sofía ve a Cleo -
SEÑORA SOFÍA
Hola, Cleo. ¿Te gusta el coche nuevo?
Cleo apenas asiente.
SEÑORA SOFÍA
Y hablando de sorpresas, nos vamos de viaje este fin de semana. Nos llevamos el Galaxie, de viaje de despedida.
SOFI
¿A dónde?
SEÑORA SOFÍA
A Tuxpan.
PACO
¿Dónde es Tuxpan?
TOÑO
¡Tengo partido!
SEÑORA SOFÍA
Pus faltas. Tuxpan es en Veracruz.
PACO
¿Es playa?
SEÑORA SOFÍA
Sí.
TOÑO
El mar en Veracruz es bien feo.
SEÑORA SOFÍA
Y vamos a invitar a Cleo a venir con nosotros, ¿verdad?
La Señora Sofía voltea a Cleo quien la mira sorprendida.
SEÑORA SOFÍA
¿Vienes?
Cleo, en silencio, solo niega con la cabeza. CONTINUED: (3)
SEÑORA SOFÍA
Ándale. Te va a hacer bien y si no los niños te extrañan. ¿Verdad?
SOFI Y PEPE
¡Si!
Y corren hasta Cleo y le toman la mano.
SEÑORA SOFÍA
Pero viene de vacaciones, no la pueden hacer trabajar. ¿Vienes?
Cleo duda. Adela le habla en Mixteco.
ADELA
Ve, manita. Te va a hacer bien. Yo me encargo aquí.
SEÑORA SOFÍA
Entonces, ¿vienes?
Sofi y Pepe brincan alrededor de Cleo, tomados de su mano.
SOFI Y PEPE
¡Si, si, si… !
Cleo levanta la mirada y asiente, silenciosa. Los niños festejan.
SEÑORA SOFÍA
¡Perfecto! Adela, ¿te puedes asegurar que todos los niños lleven su traje de baño?
ADELA
Si, Señora.
SEÑORA SOFÍA
Gracias.
Y entra al hall seguida por los niños. Cleo, junto a Adela, ve a la familia que desaparece dentro de la casa. El Borras llega a ella y le lame la mano. 26 de junio de 1971, sábado EXT - CARRETERA A TUXPAN -- DÍA Palmas, ceibas y platanares dan lugar a casas pintadas de colores que compiten con las flores del follaje, y más palmas, ceibas y platanares. El Galaxie 500 pasa dando vuelta a una curva.
INT/EXT - GALAXIE 500 - CARRETERA A TUXPAN -- TARDE
Cleo mira el paisaje en silencio, Pepe acurrucado en ella. Se escucha el radio que busca una estación pasando por música tropical, cumbias y anuncios de bailes locales.
TOÑO (O.C.)
Hasta acá no llega La Pantera.
PACO (O.C.)
De repente se oyó un poquito.
SEÑORA SOFÍA (O.C.)
¡Miren! ¡El mar!
Los niños se emocionan, Cleo se incorpora.
PEPE Y SOFI
¡El mar!
PACO
¡Párate, párate, párate, Ma!
SEÑORA SOFÍA
¿Por qué no vamos al hotel primero a dejar las maletas?
TOÑO
De aquí a que vamos se va a hacer de noche.
PACO
¡Vamos! ¡Aunque sea un ratito!
SOFI Y PEPE
¡Playa! ¡Playa! ¡Playa…!
La Señora Sofía sonríe y pone la direccional.
SEÑORA SOFÍA
Bueno. Pero sólo un ratito.
EXT - PLAYA JUNTO A CARRETERA -- TARDE El Galaxie se detiene junto a la arena de una larguísima playa gris, nublada y vacía excepto por el esqueleto raquítico de una construcción de tabique. La familia sale del coche. Toño y Paco inmediatamente corren a la orilla quitándose la camiseta y los pantalones y tirándolos a la arena. Sofi y Pepe los siguen un poco más atrás. La Señora Sofía se quita los zapatos y sigue a sus hijos recogiendo la ropa regada en la arena. Cleo camina hasta la orilla donde los niños juegan salpicando. Pero ella está ausente. Una ráfaga de viento arrastra la brisa, le acaricia la cara. Cleo respira el mar y cierra los ojos. Respira hondo como queriendo limpiar algo muy profundo. EXT - JARDÍN - BUNGALOWS - TUXPAN -- OCASO La luz del día que se extingue acaricia con fría suavidad el jardín de árboles frutales que rodea a los bungalows construidos en los años 40, su pintura amarilla carcomida por el salitre y el tiempo. La RECEPCIONISTA, cargando unas llaves, guía por el jardín a la Señora Sofía, Cleo y los niños, todos cargan maletas. La recepcionista abre la puerta. INT - CUARTO - BUNGALOW - TUXPAN -- OCASO La última luz del cielo que intenta dibujar las ventanas es derrotada por el foco de una lámpara de paja que ilumina la pequeña habitación con dos camas. Cleo, sentada en una, le pone una camiseta a Pepe, parado frente a ella con los brazos al aire. Cuando su cabeza sale del cuello, Pepe la ve extrañado -
PEPE
¿Te volviste muda?
Cleo niega con la cabeza.
PEPE
Entonces, ¿por qué no hablas?
CONTINUED: Cleo le sonríe, con una sonrisa que contiene llanto, y lo encamina fuera del cuarto a - INT - SALA - BUNGALOW - TUXPAN -- OCASO Otra lámpara de paja cuelga en mitad del pequeño comedor y dos lámparas a cada lado del sofá, una sin pantalla, iluminan la pequeña sala. Toño hace nudos con una piola mientras la Señora Sofía le aplica vinagre en la espalda a Paco con un algodón.
PACO
¡Ay, ay, ay, ay…!
SEÑORA SOFÍA
Les dije que se pusieran la camiseta.
PACO
¡Pero estaba nublado!
SEÑORA SOFÍA
Por eso. La resolana quema más que el sol.
A su lado, Sofi llora y llora esperando su turno.
SEÑORA SOFÍA
¿Ya te vestiste, Pepe?
PEPE
Sí. Pero Cleo se volvió muda.
La Señora Sofía le sonríe. Cleo se sienta en el sofá y toma un algodón, lo moja con vinagre, acerca a Sofi y comienza a aplicarle vinagre en la espalda. La Señora Sofía ve a Cleo -
SEÑORA SOFÍA
Gracias Cleo.
Cleo y la Señora Sofía pasan algodones mojados sobre las espaldas de Sofi y Paco. Sofi no para de llorar. INT - RESTAURANTE - TUXPAN -- NOCHE Ilustraciones a mano de distintos platillos y un pez vela disecado adornan los muros de un restaurante familiar. Música romántica nace de una rocola acompañando el zumbido de las lámparas fluorescentes. CONTINUED: La familia termina su cena. Cleo les corta la carne a Sofi y a Pepe, que visten pijama. Toño ya terminó y hace nudos.
SEÑORA SOFÍA
¿Niños?
Pero los niños están distraídos.
SEÑORA SOFÍA
¿Niños?
Por fin tiene la atención de sus hijos.
SEÑORA SOFÍA
¡Háganme caso! Tengo algo que decirles.
Los niños la ven expectantes. La Señora Sofía duda pero se da valor y -
SEÑORA SOFÍA
Su papá no está en Ottawa.
SOFI
¡¿Ya regresó?!
SEÑORA SOFÍA
No. Su papá nunca fue a ningún lado.
Los niños la ven confundida.
SEÑORA SOFÍA
Bueno, sí, pero sólo se fue una semana y… Su papá no va a volver a la casa.
Los niños la ven en silencio. Toño y Paco interesados, Sofi y Pepe confundidos. La canción termina y la rocola digiere otro veinte y expulsa un nuevo lamento.
SEÑORA SOFÍA
Vinimos de viaje para que sacara sus cosas de la casa.
PACO
¿Qué cosas?
CONTINUED: (2)
SEÑORA SOFÍA
Sus cosas. O lo que dice que son sus cosas. Su ropa, los libreros…
PACO
¿Se van a divorciar?
SEÑORA SOFÍA
Dice que no sabe.
Sofi comienza a llorar.
SOFI
¿Ya no nos quiere?
SEÑORA SOFÍA
Papá los quiere mucho. Dice que los quiere ver.
TOÑO
¿Cuándo?
SEÑORA SOFÍA
Dice que no sabe cuándo… Que pronto.
Sofi hunde su llanto en el seno de Cleo, Toño mira el ventilador y Paco juega con los frijoles de su tampiqueña. Sólo Pepe mira a su madre aún confundido.
SEÑORA SOFÍA
Va a haber muchos cambios, pero estamos juntos y va a ser una aventura.
Pepe recarga su cabeza en Cleo.
SEÑORA SOFÍA
La semana que entra empiezo un trabajo de tiempo completo en una editorial.
TOÑO
¿Una editorial? Si tú eres química.
SEÑORA SOFÍA
Ya lo sé, pero su papá no ha mandado dinero y con la prepa no alcanza. Además, me gustan los libros y nunca me gustó la química. Va a ser otra aventura.
CONTINUED: (3) Voltea a ver a Cleo.
SEÑORA SOFÍA
Y tenemos que estar muy juntos en esta nueva aventura? ¿Verdad Cleo?
Cleo no sabe que decir y ascienta con la cabeza, Sofía intenta permanecer optimista -
SEÑORA SOFÍA
Muy muy juntitos… No estamos solos…
Pero los niños no parecen muy convencidos y quedan en silencio. Aún no lo saben, pero este momento quedará grabado en sus memorias en fragmentos de imágenes, olores, sonidos y texturas - Las manchas de comida en la mesa, las pinturas en los muros, el ventilador, el paisaje de frijoles aplastados por el tenedor sobre el plato. La canción termina. La mesera llega a a mesa y empieza a juntar los platos sucios -
MESERA
De postre sólo tenemos platanos con crema.
La familia no contesta. EXT - CALLE - TUXPAN -- NOCHE La familia deambula por las calles. Van en silencio, perdidos en sus pensamientos. 27 de junio de 1971, domingo EXT - PALAPA - PLAYA DE TUXPAN -- DÍA El sol aplasta la tarde, incendiando con su brillo las olas del mar y la ardiente arena de la playa vacía. En el mar las olas se suceden, una tras otra, incesantes, arrastrando su espuma hasta acariciar la playa sin romper. Una palapa protege a la familia con su sombra y su arena fría. CONTINUED: Paco y Pepe entierran a Sofi en la arena, esculpiendole largas piernas falsas a las que agregan unos tenis como pies. La Señora Sofía lee un libro sentada en una silla plegable de tela y Toño lee un cuento de Flash acostado en una hamaca y mecido por el viento. A la orilla de la sombra, Cleo está sentada en una silla, hipnotizada por el ritmo de las olas y de la espuma que se deshace al acariciar la arena. El Tiempo que fluye lento. EXT - PLAYA DE TUXPAN -- TARDE/OCASO La luz amarilla del fin de la tarde baila con el viento, acariciando con suavidad las superficies. Paco y Sofi juegan entre las olas, brincándolas, nadando abajo de otras o resistiendo heroicos de pie. Cleo, con su vestido, está de pie junto a Pepe que hace hoyos, túneles y caminos en la arena húmeda. La Señora Sofía se acerca desde la palapa, la sigue Toño que la espera a mitad de camino. Paco y Sofi salen del agua corriendo -
PACO
¿Te vas a meter?
SEÑORA SOFÍA
Tengo que ir a checar las llantas para que mañana salgamos temprano. ¿Vienen?
PACO
No. Es nuestro último día en la playa.
SOFI
Yo también me quedo.
SEÑORA SOFÍA
Pero si yo me voy no pueden meterse, Cleo no sabe nadar si pasa algo.
PACO
Si está bien suavecito.
CONTINUED:
SEÑORA SOFÍA
No me importa. Si se quieren quedar, ésa es la regla.
PACO
¿Ni en la orilla?
SEÑORA SOFÍA
En la orilla está bien. Pero nada más en la orilla. ¿Entendido?
PACO Y SOFI
Sí…
PEPE
¿También yo?
SEÑORA SOFÍA
Sí. Pero en la orillita.
La Señora Sofía voltea con Cleo.
SEÑORA SOFÍA
¿Te los dejo? No me tardo.
Cleo sólo asiente y ve a la señora Sofía que camina de regreso acompañada de Toño hacia el Galaxie 500 estacionado detrás de la palapa. Al fondo, el sol ha perdido su brillo y se asoma, redondo y rojo, entre las nubes. Paco y Sofi van de regreso al agua, Pepe los sigue.
CLEO
En la orilla nada más.
Paco y Sofi corren en la orilla, chapoteando con los pies, salpicando a Pepe.
PEPE
¡Ahhh!
Paco y Sofi patean agua para mojar a Pepe, que se escapa corriendo pero cae en la arena seca. Cleo corre hasta él y lo levanta llorando, e intenta sacudirle los miles de granos de arena adheridos a su húmeda piel. Paco aprovecha la distracción y se aventura a ir más profundo, Sofi comienza a seguirlo cuando Cleo los descubre - CONTINUED: (2)
CLEO
¡Paco! ¡En la orilla nada más! ¡Sofi!
Sofi obedece, Paco también regresa a la orilla. Cleo toma la mano de Pepe y juntos caminan hacia la palapa. Al pisar la arena más caliente Pepe se detiene y levanta los brazos.
PEPE
Cárgame.
CLEO
No, qué. Tú puedes solo, ya no está caliente.
Ve hacia la orilla -
CLEO
¡Paco! ¡Ya los vi! ¡A la orilla!
PACO (O.C.)
¡Si estamos en la orilla!
CLEO
¡Más pa acá! ¡Ya oyeron a su mamá, si no se vienen más pa acá, sálganse!
Espera, y cuando está satisfecha, continúa su camino. Pepe, aún con los brazos al aire, la ve alejarse y se tira en la arena. Cleo apenas voltea -
CLEO
Allá tú. Ahí nomás te estás llenando de más arena y en la palapa yo te iba a limpiar.
Y sigue su camino. Pepe se levanta empanizado de arena y se apresura a alcanzarla. Llegan a la palapa y Pepe se sienta en una silla, Cleo comienza a sacudirle la arena con una toalla limpia. Mira hacia el mar -
CLEO
¡Ándenles, que los estoy viendo!
CONTINUED: (3) Cleo espera a que los niños regresen a lo menos profundo y continúa limpiando a Pepe.
PEPE
¿Sabías que cuando yo era grande fui marinero?
CLEO
Mmmmjjjjmm…
PEPE
Sí. Y me ahogué en una tormenta.
CLEO
Mmmmjjjjmm…
Se levanta y ve hacia el mar -
CLEO
¡Paco y Sofi! ¡Más pa atrás!
Cleo continúa viendo -
PEPE
Pero las olas eran grandísimas…
CLEO
¡Que se regresen!
Camina a la orilla de la palapa y se detiene junto a un poste y espera -
CLEO
¡Más atrás!
PEPE
…además era de noche y había muchos rayos… Y no sabía nadar…
Cleo, sin quitar los ojos de las olas, comienza a caminar hacia la orilla.
CLEO
Ahí espérate, Pepe.
El sol ha desaparecido tras la montaña y el cielo púrpura se carga de nubes negras. El viento levanta la arena y crea olas nuevas que chocan arrogantes contra las viejas. Cleo se detiene -
CLEO
¡Ayuda a tu hermana!
CONTINUED: (4) Atrás de ella, Pepe se acerca. Cleo lo ve -
CLEO
¡Pepe! ¡Te dije que te quedes ahí!
Pepe, regañado, va de regreso a la palapa. Cleo ve el mar asustada y busca alrededor, pero la playa está vacía, sólo un hombre a caballo y gente que camina, pero todos lejos. Se apresura al mar. Al llegar a la orilla camina temerosa entre el agua que avanza y retrocede y choca alrededor de sus piernas, empapando su vestido de poliéster. Mira impotente hacia las olas en donde Paco y Sofi batallan, insignificantes en un mar feroz e indiferente que los lleva cada vez más adentro. Cleo intenta avanzar hacia los niños y lucha por mantener el equilibrio en el agua embravecida que ya le llega a la cintura. El viento juega con las crestas de las olas oscuras y las nubes densas están cargadas de tensión en el cielo cada vez más sombrío. Cleo mira hacia la playa pero el hombre a caballo y la gente están aún muy lejos, y resignada decide aventurarse más profundo. Una ola sumerge las cabezas de los niños. Cuando pasa, Sofi emerge pero apenas toma aire cuando otra ola la engulle. Otras olas se cruzan y al chocar revientan hacia el cielo. Cleo lucha desesperada por permanecer de pie en el caos de corrientes encontradas que la envuelve, sin dejar de mirar al frente - Donde las olas chocan, encrespadas, y cuando pasan otras toman su lugar, pero las cabecitas no emergen. Otra ola se levanta, y frente a ella una cabeza brota, es Sofi que toma aire, y al tiempo Paco surge. Voltea y mide la ola, agarra a su hermana y se impulsa con la corriente hacia la playa, pero la ola los alcanza y los aplasta, hundiéndolos. CONTINUED: (5) Cleo se acerca pero es empujada por las olas. Frente a ella, las cabecitas resurgen, Paco intenta repetir la maniobra y empuja a Sofi al frente, pero el agua los envuelve. También envuelve a Cleo, pero no logra arrastrarla. Avanza hacia Sofi que intenta nadar hacia ella. Cleo extiende su cuerpo para alcanzarla, y al jalarla, sus pies pierden contacto con el fondo y las dos se hunden. Pasa una ola galopando espuma, y atrás de ella, Cleo emerge cargando a Sofi. Paco nada detrás de ellas. En la playa se ha juntado un grupo de gente, entre ellos el hombre a caballo. Cleo carga a Sofi y finalmente logra llegar hasta aguas menos profundas, Paco la sigue un poco más atrás. Un par de muchachos corren hacia ellos pero no ayudan, sólo miran. Cleo, cargando a Sofi, llega a la orilla y se desploma en la playa, Paco junto a ella. Sofi tose y Cleo la abraza en su regazo. Los curiosos los rodean y tras ellos, la Señora Sofía, seguida de Toño, se acerca corriendo desde la palapa. Cleo limpia la arena de la cara de Sofi y rompe a llorar. Llora y abraza a Sofi y se mece con ella, que también llora. Cleo la aprieta con toda su vida. La Señora Sofía llega y se arroja al suelo junto a Cleo, le arrebata a Sofi que abraza a su madre. Paco llega a ellas y también las abraza. Toño los ve, parado junto a los curiosos, junto a él Pepe mira asustado. La Señora Sofía revisa a Sofi -
SEÑORA SOFÍA
¿Estás bien, mi amor?…
Sofi asiente -
SOFI
Nos salvó Cleo…
La reciente memoria impulsa un nuevo llanto. La Señora Sofía ve a Cleo que llora desconsolada. Es un llanto hondo y profundo, un llanto doloroso, un llanto que lo limpia todo. CONTINUED: (6) La Señora Sofía la abraza con fuerza -
SEÑORA SOFÍA
Gracias… gracias… gracias, Cleo…
Pero Cleo no para de llorar -
CLEO
No la quería… No la quería…
La Señora Sofía intenta calmarla -
SEÑORA SOFÍA
Shh, shh, shh… Están bien… Los niños están bien…
Pero Cleo insiste entre llanto y mocos -
CLEO
No la quería… No quería que naciera…
Y se quiebra aún más -
CLEO
… ¡Pobrecita!… ¡No quería que naciera!… ¡No quería que naciera!…
La Señora Sofía la abraza más fuerte y también llora -
SEÑORA SOFÍA
Todo va a estar bien, Cleo… Todo va a estar bien…
Las dos mujeres lloran abrazadas. Es un llanto compartido, con sollozos como arcadas, y largos silencios que explotan en prolongadas vocales. Los niños se enlazan alrededor de las mujeres, abrazándolas. Sólo Toño los mira de pie. Los curiosos se disipan. El jinete jala la riendas y el caballo sigue su camino por la playa. El mar enfurecido con sus inquietas olas refleja los últimos destellos del día. 28 de junio de 1971, lunes EXT - CARRETERA LIBRE A PUEBLA -- TARDE Sembradíos con manchones pardos de nubes se extienden entre cerros verdes y tupidos. Más atrás, los volcanes presumen sus cumbres nevadas. El Galaxie 500 avanza, minúsculo, por la carretera que cruza el paisaje.
INT/EXT - GALAXIE 500 - CARRETERA LIBRE A PUEBLA --
TARDE La Señora Sofía va al volante, su dedo índice tranquilo. A su lado, Toño ve por la ventana sin mirar el paisaje. Atrás, Paco también, con la mirada perdida, deja pasar la campiña. Sofi está abrazada a Cleo, que carga a Pepe dormido en sus piernas. La familia va en silencio. EXT - CARRETERA - ENTRADA A LA CIUDAD -- TARDE La ciudad de México Distrito Federal se extiende en la distancia. El Galaxie 500 avanza, cargado de incertidumbre. EXT - CASA - TEPEJI 21 -- TARDE La casa descansa paciente y resignada disfrutando los rayos de la tarde. La banda militar de secundaria dá la vuelta a la esquina y entra a la calle marchando con sus tambores y trompetas marciales. El Galaxie 500 entra a la calle y sigue la retaguardia de la banda hasta llegar frente a la casa donde se estaciona. Toño abre inmediatamente su puerta y sale a la calle, estirándose. Pepe sale después, corre a la puerta de la casa agarrándose la entrepierna y toca el timbre. El Borras responde con sus ladridos. La Señora Sofía sale del coche y va a abrir la cajuela, Sofi sale detrás de ella. Cleo sale al final y también va a la cajuela. CONTINUED: Adela abre la puerta de la casa agarrando al Borras del collar. Pepe se escabulle por la puerta y corre, urgido, hacia adentro. INT - PLANTA BAJA - TEPEJI21 -- NOCHE El sol de la tarde atravieza ransversal por las ventanas y raya con su luz las sombras de la sala. Afuera la familia está en la banqueta -
CLEO
(a Adela en mixteco)
Amarra al perro…
SEÑORA SOFÍA
Ustedes también, niños. No se hagan tontos y ayuden con las cosas.
Los niños, que ya iban encaminados a la casa, se detienen y regresan a ayudar de mala gana. Adentro, el tragaluz ilumina la escalera pero apenas acaricia los mosaicos del hall. Pepe irrumpe del patio y corre al baño que está bajo la escalera, entra y cierra la puerta. Por las ventanas que dan al patio, Adela cruza, arrastrando al Borras. Se escucha el chorro caer en el escusado. Adentro, la casa espera. Pareciera ser más grande. La ausencia de los libreros ha dejado torres de libros apilados en el suelo y un aspecto de vacío. Toño entra cargando sus cosas, viene deprisa pero se detiene a mitad del hall, sorprendido por el espacio que parece nuevo. Paco entra justo después y se detiene junto a su hermano. Entra la Señora Sofía acompañada de Sofi. Suena el escusado que pasa agua en el baño y Toño da su veredicto -
TOÑO
Está horrible. Sin los libreros es horrible…
PACO
A mí me gusta más así…
Toño se arranca escaleras arriba - CONTINUED:
TOÑO
Está horrible…
Paco lo sigue. Pepe sale del baño y sigue a su madre que sube las escaleras con Sofi -
SOFI
¿Que está horrible, eh, mami?
SEÑORA SOFÍA
No le gusta el hall sin los libreros.
SOFI
¿Qué libreros?
SEÑORA SOFÍA
Los que estaban en el hall.
SOFI
¡Ah! ¡Sí es cierto!
PEPE
¡Guau! ¡Se ve más grande!
SEÑORA SOFÍA
¿Qué les pareció nuestra aventura?
SOFI
A mí me gustó mucho.
La Señora Sofía y los niños desaparecen escaleras arriba, donde ya suena la televisión. Afuera, en el patio, Cleo camina cargando tres maletas, se cruza con Adela, que regresa sin el perro.
ADELA
Voy al Hogar que no hay jamón. ¿Cómo les fue, pues manita?
CLEO
Muy bonito. Ve, luego te cuento…
Adela continúa su camino a la calle. Cleo entra al hall, lo cruza y sube las escaleras cargando las maletas. Del piso de arriba se escucha a Pepe exclamar -
PEPE (O.S.)
¡Tampoco está el escritorio!
INT - HALL DE ARRIBA - TEPEJI 21 -- TARDE Cleo llega al hall y deposita las maletas en el piso. La familia ha comenzado a apropiarse de los espacios - Pepe se sienta junto a Paco que ya está frente a la televisión prendida.
SEÑORA SOFÍA
Y vamos a hacer otras aventuras. Vamos a viajar mucho.
PACO
¿Vamos a ir a Disneylandia?
Toño guarda cosas dentro de un cajón en su cuarto y Sofi va al suyo a recoger una muñeca. La Señora Sofía va hacia Cleo, toma una de las maletas y la lleva a su cuarto -
SEÑORA SOFÍA
No nos alcanza…
Cleo lleva otra maleta al cuarto de Toño y Paco. Toño sale del cuarto y se sienta en el sofá individual frente a la televisión.
SEÑORA SOFÍA
…Pero podemos ir de aventuras en el coche. ¿Qué tal ir a un pueblo minero fantasma en el desierto?
PEPE
¿Y hay fantasmas?
Paco se levanta y sigue a su madre a su cuarto -
PACO
No, baboso. Se les dice fantasmas a los que están abandonados. ¿Y qué hay ahí?
Cleo sale del cuarto de Toño cargando un bulto de ropa, lo deposita junto a la escalera. La Señora Sofía sale de su cuarto seguida por Paco. Suena el teléfono.
SEÑORA SOFÍA
Nada. Sólo el pueblo y la mina abandonados. O podemos ir a la Sierra Lacandona, o a Oaxaca…
CONTINUED:
SOFI
¡Sí, Oaxaca! Y podemos visitar el pueblo de Cleo.
La Señora Sofía llega al hall y se sienta en el sillón junto a Pepe y Sofi, que ha ocupado el otro lugar.
PACO
Yo estaba allí.
SOFI
El que se fue a la Villa…
Cleo contesta el teléfono -
CLEO
¿Bueno?… Muy bien, gracias, Señora… Sí, un momentito…
Baja el auricular y llama -
CLEO
¿Señora Sofi? Que le habla la Señora Molly.
La Señora Sofía se levanta, calmando a los niños -
SEÑORA SOFÍA
No se peleen. Siéntate aquí, Paco.
Y va a contestar el teléfono -
SEÑORA SOFÍA
Hola, comadre. ¿Cómo estás?… Yo aquí recién llegando de Tuxpan…
Cleo acomoda la ropa sucia en un montón. Pepe llama desde su sillón -
PEPE
¿Cleo? ¿Me traes un licuado de plátano?
SOFI
¿A mí también?
Cleo recoge el montón de ropa -
CLEO
Ahorita. Nomás dejen y subo la ropa pa lavar. ¿Quieres algo, Paco?
CONTINUED: (2)
PACO
¿Hay Gansitos?
CLEO
No sé. Pero si no hay, luego traigo.
Cleo comienza a bajar las escaleras, la Señora Sofía continúa su conversación por teléfono -
SEÑORA SOFÍA
Sí, nos fue de maravilla… Sí, los niños están bien… No… ¡Muy rico!… Bien… Bueno aunque Paco y Sofi me pegaron un susto…
INT - PLANTA BAJA - TEPEJI 21 -- TARDE Cleo baja las escaleras cargando el montón de ropa, las conversaciones de la familia y la televisión se filtran desde arriba. Al llegar abajo, cruza el hall vacío y después el antecomedor. Entra a la cocina y camina hacia el fondo. EXT - PATIO PEQUEÑO - TEPEJI 21 -- TARDE El patio, en sombras, flota en el silencio de la tarde. El Borras duerme y los pericos no cantan, sólo el rumor de la ciudad a la distancia. Cleo sale de la cocina cargando su montón de ropa sucia y cruza el minúsculo patio y comienza a subir por la escalera de metal que lleva a la azotea. Sus pasos reverberan a lo largo de la esquelética estructura en un quejido metálico que hace ecos por el pequeño patio, despertando a los pájaros enjaulados. Cleo llega al descanso frente a su cuarto y continúa su marcha hacia lo más alto. Un carro de camotes aúlla triste, a lo lejos. Paso a paso, Cleo asciende. Arriba, más allá de la azotea, el cielo es puro. Pietrasanta, 23 de septiembre de 2016.
|
IN ENGLISH
ROMA
Written and Directed by
Alfonso Cuarón Dates in RED are meant only as a tool for the different departments for the specific historical accuracy of the scenes and are not intended to appear on screen. Thursday, September 3rd, 1970
INT. PATIO TEPEJI 21 - DAY
Yellow triangles inside red squares. Water spreading over tiles. Grimy foam. The tile floor of a long and narrow patio stretching through the entire house: On one end, a black metal door gives onto the street. The door has frosted glass windows, two of which are broken, courtesy of some dejected goalee. CLEO, Cleotilde/Cleodegaria Gutiérrez, a Mixtec indigenous woman, about 26 years old, walks across the patio, nudging water over the wet floor with a squeegee. As she reaches the other end, the foam has amassed in a corner, timidly showing off its shiny little white bubbles, but - A GUSH OF WATER surprises and drags the stubborn little bubbles to the corner where they finally vanish, whirling into the sewer. Cleo picks up the brooms and buckets and carries them to - THE SMALL PATIO - Which is enclosed between the kitchen, the garage and the house. She opens the door to a small closet, puts away the brooms and buckets, walks into a small bathroom and closes the door. The patio remains silent except for a radio announcer, his enthusiasm melting in the distance, and the sad song of two caged little birds. The toilet flushes. Then: water from the sink. A beat, the door opens. Cleo dries her hands on her apron, enters the kitchen and disappears behind the door connecting it to the house. INT - GROUND FLOOR - TEPEJI 21 - DAY Cleo crosses the dark, antique wood breakfast room, then the modern light and angled wood dining room and goes up the stairs, reaching the hall. Beyond the hall there are two living rooms, one with heavy green velvet sofas and antique cabinets with records and a stereo. There's a piano next to the wall. CONTINUED: The other living room, with its light sofas and cocktail tray and siphon attempts to look more modern. There's a giant painting in red and purple hues of a woman leaning on a clay pitcher. In the other living room, there's another painting, also large but more somber: In a dark stone cell, a monk brings solace to a shackled prisoner who covers his face with his hands in desperation. INT - UPPER LEVEL - TEPEJI 21 - DAY The stairs go up to a central hall surrounded by four bedrooms and an enormous bathroom. Cleo makes up the bedroom: the double bed is already made, it has an ornate mahogany headboard that matches the night tables. She collects the dirty clothes from the floor and carries them out to the hall where she piles them up onto a growing mound of laundry. The upstairs hallway doubles as a TV room. The bathroom is yet to be cleaned but two out of three bedrooms are completely done. Cleo walks into a room with two small beds for the kids. She picks up the clothes first, and then puts away the boy and girl toys spread across the entire floor. She's started making one of the beds when she hears someone calling from downstairs -
ADELA (O.S.)
Manita! It's almost one...!
Startled, Cleo exclaims -
CLEO
Ay, chicú...!
She exits the bedroom carrying dirty laundry. In the hallway, she gathers the pile of clothing and carries it, hurrying down the stairs. INT - DOWNSTAIRS - TEPEJI 21 - DAY Cleo heads down the stairs, carrying the pile of clothes. She crosses the hall and dining rooms and disappears behind the door that opens to the kitchen. After a beat, through - THE WINDOW We see her exit to the small patio. She leaves the clothes at the foot of the metal stairs that lead to the roof and hurries out to the street. EXT - HOUSE - TEPEJI 21 - DAY Tepeji street spans barely two blocks, halved by Monterrey Avenue, its tired homes built in the 1930s. Sad and defeated, Tepeji 21 sits in the middle of the block resting on its solid ground, which blends with the grey concrete of the sidewalk. The house is all white save for an almost-maroon red strip running along its facade and for the black wrought iron over the windows and doors. Next to the upper left hand corner of the door there's a ceramic tile number: 21. The door opens and Cleo exits. She hurries out to the Avenue and once she reaches the corner, she turns right. EXT - STREET - MONTERREY AVE. - TLAXCALA - DAY Cleo leaves Tepeji and walks down the avenue where there's a considerable amount of traffic. As she reaches the corner, she crosses the avenue and continues on - TLAXCALA STREET - She passes a pharmacy, a convenience store, a bakery and a beauty salon. EXT - CONDESA KINDERGARTEN - DAY A small crowd gathers by the kindergarten entrance. It's pickup time. Cleo arrives and goes into the school. After a moment, she comes out with PEPE, a 5 year-old boy carrying a barely dried "work of art". EXT - TLAXCALA STREET - DAY Cleo walks next to Pepe, who carries his "work of art": just a little kid in shorts and t-shirt. Pepe walks, skipping around not to step on the line. Cleo carries his lunch box. Suddenly, Pepe stops and sits down. Cleo keeps walking a few steps, then stops, turns around -
CLEO
What's wrong?
PEPE
I'm tired.
CLEO
Well, let's go then so we can get home. As soon as we get there you can go straight to bed!
PEPE
I can't.
Cleo pretends to keep walking.
PEPE
Mom!
Cleo stops and turns around -
CLEO
Of course you can! Come on! Let's go!
PEPE
I said I can't!
CLEO
If I went to bed every time I thought "I can't", I would live in bed!
PEPE
I'm not in bed.
Cleo takes his hand -
CLEO
Come on, there's pasta soup...
Pepe gets up -
PEPE
Ooooooooooh!
CONTINUED: And he starts with heavy and lazy steps.
PEPE
Mooooooooooooom!
CLEO
C'mon little soldier, 1, 2, 3, 4... march!
The two march hand in hand. EXT - PATIO - TEPEJI 21 - DAY Cleo and Pepe walk in: he's carrying his "work of art" while she carries the lunch box. They listen to Adela calling her -
ADELA (O.S.)
(In Mixtec)
Hurry up, manita! Fermín is on the phone!
Cleo hurries and goes inside the house to answer. INT - DOWNSTAIRS HALL - TEPEJI 21 - DAY
CLEO
Hello?
INT - KITCHEN - TEPEJI 21 - DAY Adela is cooking: pots simmer on the stove. Cleo walks in, leaving the lunch box on the table.
ADELA
(In Mixtec)
So, what did he say?
CLEO
Nothing! He just called to say hi!
Cleo picks up dishes and glasses, carries them out. Adela stirs the soup. Cleo comes in again and opens the silverware drawer.
ADELA
Sure... Now you've stolen my boyfriend, right?
CLEO
What? You crazy? Fermín is only my friend. Plus, you're the one who introduced us.
ADELA
Ay, manita! Look at you! I'm just messing with you. I only went out twice with him and didn't even let him kiss me.
We hear the street door opening and with it a commotion of kids.
CLEO
They're here...
Cleo exits to - EXT - PATIO - TEPEJI 21 - DAY Cleo reaches the patio just as - Two children run in - TOÑO, 12 years old and PACO, 11. The two rush into the house and we hear them go up the stairs. Soon after, SOFI, an 8 year-old girl comes in. She's very pretty although her brothers constantly pick on her, calling her fat. Trailing behind, comes SEÑORA TERESA, a 65 year-old widow, hair completely white, walking with a limp. IGNACIO, the 45 year-old driver, follows her, carrying a grocery bag. INT - BREAKFAST ROOM - TEPEJI 21 - DAY Cleo cuts Pepe's meat with a knife, she cuts ever-smaller pieces, until only tiny squares of steak remain. She douses them with lemon. SOFI impatiently waits her turn. PACO eats his meat while he talks -
PACO
A friend told me that a kid in his cousin's school was killed by a soldier because he threw a water balloon at him.
CONTINUED: Toño listens skeptically -
TOÑO
Says who?
PACO
Says Flores. If you don't believe me, ask him. He says he was in Chapultepec, near the new one, and that he was with his brother, throwing water balloons down at the passing cars and so an army Jeep passed and they threw one and the soldier got off and shot him.
CLEO
Jesus! And what happened to him?
PACO
What do you mean, what happened? He got shot in the head, he's dead.
CLEO
Horrible!
SEÑORA SOFÍA enters through the hallway door, carrying a backpack and a bunch of papers from the dining room table -
SEÑORA SOFÍA
Hello children, what are you eating?
SOFI AND PEPE
Mom!
Señora Sofía kisses each one hello. Pepe shows her his "work of art" -
PEPE
Look, mommy...
SEÑORA SOFÍA
Beautiful! Did you make that all by yourself?
PEPE
Yes, and look: there's pasta soup!
SEÑORA SOFÍA
Yummm, delicious!
She sits -
SEÑORA SOFÍA
Cleo, please don't let the kids touch those papers-they're exams I have to grade.
TOÑO
Is there any watermelon?
CLEO
No, love. Strawberries and cream.
PACO
I want some!
Cleo gets up, taking some dirty dishes with her-
CLEO
What about you, Toño?
TOÑO
I guess so.
Cleo goes to - INT - KITCHEN - TEPEJI 21 - DAY Cleo comes in with the dirty dishes, puts them in the sink. Ignacio and Adela eat at a small table. Cleo takes a clean bowl and starts pouring soup -
CLEO
Ándali, the señora is here. Sofía and Toño want their strawberries...
Adela gets up, slowly, and puts some plates, spoons, strawberries, sugar and cream on a platter. She looks at Cleo with a question and smiles. Cleo blushes and leaves, carrying her platter. INT - BREAKFAST ROOM - TEPEJI 21 - DAY Señora Sofía eats her soup. Cleo fixes the strawberries and cream on plates.
SEÑORA SOFÍA
Cleo, could you please send the señor's two suits to the dry cleaners. It has to be today because he's leaving on Friday and has to pack them.
CLEO
Don't worry, ma'am, I'll take them.
PEPE
Is dad going on a trip?
SEÑORA SOFÍA
He's going to Quebec for a conference.
SOFI
Where's that?
PACO
How come you don't know, silly?
SOFI
I don't. So what?
TOÑO
It's in Canada.
PACO
Is he flying Eastern?
SEÑORA SOFÍA
I don't know. I think it's Panam.
Cleo serves Sofi a plate of strawberries and cream.
SEÑORA SOFÍA
No sugar for Sofi, or she'll get fat.
EXT - ROOF- TEPEJI 21 - AFTERNOON Cleo washes clothes, occasionally humming to a song coming out of a yellow radio. The metallic creak of the stairs announces the arrival of Paco, followed by Pepe.
CLEO
You know you can't come up here.
PACO
I looked after him the whole way up.
CONTINUED:
CLEO
Your mom is going to be angry.
But Paco has started his game, pulling Pepe along with him.
PACO
I'm going to come out of here and you come over here, and when I get to here you'll shoot me, but I'll shoot you first and you'll fall dead... Like this... with your arms wide open...
Paco takes bullets like Sonny Corleone against the wall of the neighboring house.
CLEO
Just don't play next to the edge.
PACO
C'mon...
Paco moves away on the roof while Pepe hides behind the water tank. Paco comes back, but now hiding like an enemy spy all the way to the water tank. He tries to go around it, with his gun held high, but - Pepe comes at him from behind, with murderous intent. Paco reacts and turns around, tries to point with his gun but Pepe sprays him with sure shots and hides behind the water tank leaving Paco confused at first, then furious-
PACO
You were supposed to die!
From behind the water tank, Pepe defies him -
PEPE
Why aren't you the one who dies?
PACO
Cause it's my game.
PEPE
Then I don't wanna play anymore.
CONTINUED:
PACO
Well, then I don't want you to play, sissy.
He walks off, angry. He goes down the staircase, each step resonating with metallic moans. Pepe walks over to see him go and stops in the middle of the roof, clearly disappointed. He stays there for a long time, until suddenly - A spray of invisible bullets shoots through him and Pepe falls dead, his arms spread open, like Paco said. And he stays there, lying down motionless on the ground. Cleo dries her hands and walks over to him. She stops and watches him -
CLEO
What happened to you?
Without opening his eyes, Pepe answers from the ground.
PEPE
I'm dead.
CLEO
Well, let's go down then.
PEPE
I can't. I'm dead.
CLEO
Then come back to life, we have to go down!
PEPE
If you die, you can't live again.
CLEO
Now what am I going to do without my Pepe!?
Cleo sits on the ground next to Pepe, who remains motionless.
CLEO
I can't live without my Pepe!
Cleo lies down next to Pepe, arms also extended, and closes her eyes - CONTINUED:
CLEO
I'm also dead.
And so she remains still, Pepe next to her. A DC 8 flies overhead. Pepe opens an eye to see Cleo. She's not moving and seems not to be breathing at all. Pepe reaches his hand and takes Cleo's.
PEPE
Cleo...?
But Cleo's not moving. Pepe sits up -
PEPE
Cleo...?
CLEO
I'm dead.
PEPE
No! C'mon, get up!
CLEO
Didn't you say that was impossible?
PEPE
Cleo, stop it!
But Cleo doesn't answer.
PEPE
Cleo!
She remains still.
PEPE
Cleeoo!
Pepe's starting to get scared -
PEPE
Cleeeeeeeeooooooo!
Cleo opens her eyes and smiles at him.
CLEO
I'm playing your game. Let's see... shall we play a little longer?
Pepe lies down next to her, arms outstretched. CONTINUED:
CLEO
Close your eyes.
They both close their eyes.
CLEO
I like being dead.
Pepe holds her hand. The two of them lie dead on the roof - The afternoon quiet hours have begun. Church bells ring in the distance. All around them, a landscape of roofs mushrooming in all directions. In many of them, other women wash or hang laundry. The wind carries the hum of different radios and dogs barking. The whistle of a sweet potato cart. The quiet universe. INT - MAIN BATHROOM - TEPEJI 21 - NIGHT Cleo bathes Sofi and Pepe in the bathtub. Sofi's hair is full of soap and she plays at making different hairdos in the mirror. Pepe has a submarine but isn't playing with it. He's pensive.
PEPE
Cleo, if you died right now, would you go to heaven or hell?
CLEO
And why would I die?
PEPE
I'm just saying... Heaven or hell?
CLEO
You're killing me all the time...
Pepe is getting annoyed.
PEPE
Well, it's a game! Tell me already... heaven or hell?
Cleo fills a small bucket with water and tells Sofi -
CLEO
Let's see, close your eyes...
As she pours water to rinse her hair.
CLEO
I'd fly straight up to heaven with my little wings.
PEPE
Paco told me that in his religion class the had a sli-ding show...
CLEO
Sli-ding...?
Sofi laughs -
SOFI
Slide show.
PEPE
That thing. About hell.
Cleo pours another bucketful on Sofi.
CLEO
(uninterested)
Hell?
PEPE
Yep, paintings and photos....
CLEO
Photos?
PEPE
Yeah. He said there was fire on all sides... and that while they burn you, there's some real ugly devils poking you, like this, with irons... and others that bite you or eat your arms....
CLEO
Ay chicú! horrible! Stop talking about that...!
CONTINUED:
PEPE
Yeah but it doesn't matter...!
CLEO
What do you mean it doesn't matter? What about all the fire?
Pepe laughs -
PEPE
He says it doesn't matter cause that's where he wants to go!
CLEO
What? But didn't you say they burn people there?
PEPE
Yes, but Paco says everyone there is naked!
His laugh is now roaring -
PEPE
And that you can see all the girls... naked!
Pepe is laughing hard, Sofi spits out water and laughs with him.
EXT. - PATIO - TEPEJI 21 - NIGHT
The frosted glass panels light up and we hear - A horn honking - Ta-ta ta-ta ta-ta ta-taaaaaaa! Behind the door, the powerful and tantalizing hum of a V8. From inside the car, booms XELA radio station playing "Un bal" from Symphonie Fantastique. BORRAS immediately starts barking at the door. Cleo and Adela rush to the patio-
ADELA
Well, he's in early.
Cleo grabs Borras and drags him to the back of the patio. CONTINUED:
CLEO
Don't you know he's leaving tomorrow?
Adela begins to open the door. Pepe and Sofi peek out from the hall. Holding Borras, Cleo orders them to -
CLEO
Wait there!
The V8 impatiently purrs behind the door and finally - Adela opens the door to reveal - The front of a 1970 2-DOOR BLACK GALAXIE 500. Its powerful headlights flood the patio all the way to the back, lighting Cleo who holds Borras. The Galaxie 500 slowly pulls in but it's too large for the space, leaving only about an inch on each side of the doors. The front of the car is in, then it breaks - The left side is about to touch the door frame. The tires turn right accompanied by the SCREECH of rubber against tile. The Galaxie 500 moves further in but then breaks again - The right side is about to touch. The black power steering wheel turns and - The wheels veer left, SCREECHING. It echoes through the patio, syncopated with the waltz emanating from the radio. Señora Sofía comes to the hall door next to Sofi and Pepe.
SOFI
Dad's home early!
The car moves forward a couple of inches and stops. The gear shifts to R - The Galaxie 500 backs up a few inches, breaks. CONTINUED: The gear shifts to D - The car inches forward slowly, free of the door frame. It's almost halfway in when it stops. The wheels veer right and - SCREECH. And the waltz picks up its rhythm. The car moves forward half a yard and breaks. The tires line straight up and - The Galaxie 500 has made it through the door frame and is now entirely inside the patio - As the waltz reaches its grand finale... The car parks right next to the hall entrance door - The engine shuts off, and with it, the music - Sofi and Pepe lunge through the door -
SEÑOR ANTONIO
There, there, there.... Let me get out.
Señora Sofía pulls the children to her and - SEÑOR ANTONIO comes out of the car, he's 40 years old with a few white hairs in his beard. He's still wearing his white doctor's coat. The children jump on him immediately -
SEÑOR ANTONIO
Who? Who? Who are these kids?
Señora Sofía touches his shoulder. The family comes in. Adela closes the street door and Cleo sets Borras free. He immediately sniffs at the Galaxie 500's tires. INT - UPSTAIRS HALL - TEPEJI 21 - NIGHT Gordolfo Gelatino exists his bedroom wearing a robe, stretching his arms lazily -
GORDOLFO GELATINO (ON T.V.)
Ya se despertó tu rorro, mamacita... (your baby's up, lil' mama)
Doña Naborita welcomes him enthusiastically -
DOÑA NABORITA (ON T.V.)
My angel of the mornin'! Si a penas son las dos de la tarde! Ya descansanste de descansar? (It's barely 2 pm! Have you rested from resting?)
The entire family is seated in front of a 1970 ADMIRAL TELEVISION SET. Sofi is perched on Señor Antonio and Pepe's on Señora Sofía's lap, Paco leans on her, cuddling. Toño, always more distant, sits in an armchair. Cleo serves Señor Antonio strawberries and cream. She picks up a plate with the remains of a concha and beans and head towards the stairs when - Laughter explodes, courtesy of Los Polivoces. The kids are laughing hard in their seats. Cleo stops and turns - ON TV - Gordolfo is sitting on the couch, admiring himself in the mirror, while Doña Naborita irons a pile of clothes.
DOÑA NABORITA (ON T.V.)
Ora sí, mi cerecita de jaibol, el edificio me dió toda su ropa a lavar y voy a poder comprarte ese reloj que tanto te gusta...! (That's right my little highball cherry, the entire building gave me their laundry to wash so I'm going to buy you that watch you like so much...!)
GORDOLFO GELATINO (ON T.V.)
No me gusta verte trabajar tanto, mi cabecita blanca adorada! Así que por favor vete al otro cuarto.
GORDOLFO GELATINO (ON T.V.)
(I don't like to see you working so hard my beloved little white head... so please go to the other room.)
Cleo sets aside the plates and sits down on the floor next to the sofa to watch T.V.
Paco holds out his arm to hug her.
Pepe tries doing the same but he can't reach. Cleo extends her arm and hooks it with his.
ON T.V. - A bump announces the Wash and Wear, who, minutes later enters his boss El Mostachón's office. He will exploit him, immune to the insults and truths that the Wash and Wear dishes out.
SEÑORA SOFÍA
Cleo?
Cleo immediately stands up -
CLEO
Yes, ma'am?
SEÑORA SOFÍA
Would you bring the doctor some chamomile tea?
CLEO
Yes, ma'am.
She picks up the plates from the floor and heads downstairs. INT - KITCHEN - TEPEJI 21 - NIGHT Adela is washing the dishes. Cleo comes in and leaves the dirty dishes next to the dishwasher.
CLEO
Move over!
She bumps Adela with her hip.
ADELA
Órale!
CLEO
Make some chamomile tea for the señora and get going.
CONTINUED: Adela obeys with mock-resignation and dries her hands with a rag -
ADELA
Just don't take too long...
She grabs a pot and pours water from a carboy on the floor. INT - UPSTAIRS HALL - TEPEJI 21 - NIGHT Cleo walks in with a steaming cup of tea, places it on a table next to Señora Sofía. Pepe sleeps in her arms.
SEÑORA SOFÍA
Can you take him?
Cleo takes Pepe and carries him into his room. Sofi follows her. Cleo pauses before going in to watch - ON T.V. - Chano and Chon reveal their faces under their hats. Chano starts asking Chon about penguin sizes. Chon answers and Chano starts howling at the answer.
SEÑORA SOFÍA
Off to bed, children...
Toño and Paco grudgingly get up and kiss their parents good night. INT - SOFI AND PEPE'S ROOM - TEPEJI 21 - NIGHT Sofi is lying down on her bed. Cleo sits next to her, taking her hand -
CLEO
Angelito de la Guarda, mi dulce compañía, no me desampares ni de noche ni de día. No me dejes sola que me perdería... (My guardian angel, sweet company, don't leave me alone day or night. Don't leave alone because I'd be lost...)
She strokes her face -
CLEO
Night-night, beautiful Sofi...
And she gives her a kiss. CONTINUED:
SOFI
Good night, Cleo.
She closes her eyes. Cleo gets up and turns off the light. She exits to - INT - UPSTAIRS HALL - TEPEJI 21 - NIGHT It's empty. Paco and Toño's door is closed but Señor Antonio and Señora Sofía's is still open. Señor Antonio sits on the bed, taking off his shoes. Señora Teresa's snores echo through the walls. Cleo picks up the teacup, intact and still full, and goes down the stairs. INT - DOWNSTAIRS - TEPEJI 21 - NIGHT Cleo goes down the stairs carrying the tea cup and when she reaches the hall, she goes into the living room to turn off all the lights. She leaves one on, next to the window. She keeps going till she reaches the kitchen door. She walks in. INT - KITCHEN - TEPEJI 21 - NIGHT Cleo enters the kitchen, pours out the tea and rinses the cup. She turns off the light and goes out to the small patio, climbing the metal staircase to her room. INT - MAID'S QUARTERS -TEPEJI 21 - NIGHT Cleo walks into the room. Adela is already in her nightgown -
ADELA
You took forever!
Cleo takes off her dress, rushing.
CLEO
Turn the light off already! Señora Teresa gets angry if she sees the light on!
Adela shuts the light and the room is dark although the window is big and lets the moonlight in. Cleo lights a candle and puts it on the floor. CONTINUED: The two of them lie down, lined up in such a way that one's feet touch the other one's feet and -
ADELA
Ready?
CLEO
Go...
The two of them push the upper parts of their bodies together and try to touch their toes -
ADELA
(groaning)
One...
And they work on their abs, one after the other -
ADELA
(groaning)
Two...
Between grunts and groans. Sunday, September 20th, 1970 EXT - INDEPENDENCIA AVE - DAY The festive bustle of a Sunday in downtown Mexico City: families and street vendors everywhere. Cleo and Adela walk in step, hurrying down the sidewalk in a moving obstacle race. Adela is faster but Cleo is more agile and tougher. Adela takes the lead but runs into a bus stop with families getting off. Cleo manages to slip through the crowd and keeps going. The sidewalk is a little less full, So Adela takes advantage of this and catches up just as they arrive to - EXT - TORTA STAND - INDEPENDENCIA AVE - DAY They stop, exhausted, catching their breath. One leans on a car, the other one on a lamp post. Between deep breaths, Cleo lifts a hand, index pointing at the sky -
CLEO
(breathless)
...I won...
ADELA
(breathless)
...No...we're...tied...
Cleo simply shakes her head no. INT - TORTA STAND - INDEPENDENCIA AVE - DAY Hand-painted illustrations on the wall advertise the different kinds of tortas available. On the other wall, a mirror cut into diamond shapes reflects the already abundant clientele. Cleo and Adela sit at the bar, enjoying their tortas cubanas, spilling over with each bite.
ADELA
And then Moisés... remember Moisés, from the village?
Cleo nods, giving her torta a giant bite, overflowing with avocado.
ADELA
So he was there, boom, boom, boom, and...
CLEO
(laughing)
Boom, boom...boom?
ADELA
No silly! Boom, boom, sending me letter after letter...
Every time she speaks, Cleo puts her hand over her mouth -
CLEO
(curious)
What all was he writing about?
ADELA
Well, that he couldn't stop thinking about me... about how much he missed me... wanted to see me...
CLEO
Aaaaaaayyyyyyy...!
ADELA
That he felt so alone without me...
CLEO
Poor guy!
ADELA
That he couldn't take not seeing me no more...
CLEO
Aaaaaaay...
ADELA
And so my cousin, he comes over from the village to run some errands and brings me another letter from Moisés...
CLEO
And?
ADELA
And so he pulls out the letter and gives it to me... But the letter was there with a bunch of other letters, and as he's pulling it out, they all spill onto the floor. And so I see one with Moisés's handwriting, and so I just take it and I open it...!
Following the story, Cleo has stopped chewing -
ADELA
And sure enough, it was Moisés's. I can't stop thinking about you... I want to see you.... I feel so alone without you... I miss you so...
CLEO
Pobrecito! Such a nice guy!
ADELA
Sure. Except the letter was for another girl!
CLEO
Noooooo!
She's floored, mouth wide open, a half-chewed piece of torta still in her mouth. CONTINUED:
ADELA
That bastard sends the same letter to all the girls!
The both explode in laughter, covering their mouths with their hands. Other diners turn around and they both hide their faces, trying to repress their laughter. AT THE ENTRANCE - Two men walk into the torta stand and look around. They see Cleo and Adela sitting at the bar and walk towards them. RAMÓN, 27, affable, a little overweight and with sideburns is wearing a purple shirt with four buttons open down the front. FERMÍN, 26, is shy and a little sullen, with the sculpted body of an athlete over which he sports a t-shirt and a leather jacket.
RAMÓN
Why so alone eating your tortitassssss...?
He startles the two women. Adela gets up immediately and -
ADELA
Ramón!
The two hug and kiss luxuriantly. Fermín walks over with a shy smile. Cleo gets up and they awkwardly kiss hello.
ADELA
You want a torta?
Timidly, Fermín points to his stomach -
FERMÍN
Thanks, I already...
RAMÓN
If you're done eating, let's go, I love watching the previews!
EXT - METROPOLITAN CINEMA - AFTERNOON The entrance to the movie theater is a bazar of STREET VENDORS hawking their wares, reciting lists over and over like a litany, like mantras in a chant. And old woman seated on the floor offers her candies spread out on a piece of fabric in front of her -
CANDY VENDOR
...Cigarrettes-gum-chocolates- mazipan-muéganos-peanuts-gum drops...
Behind his makeshift table, another vendor offers "japanese" peanuts -
PEANUT VENDOR
Japaneeeeeeeeeeeeeeese peanuts! Japaneeeeeeeeeeeeeeese peanuts! Japaneeeeeeeeeeeeeeese peanuts!
A short, chubby lady walks around, a box of Adams gum in hand-
GUM VENDOR
One peso for Adams chewing gum! Mint flavor, spearmint, cinnamon, tuttifrutti...!
A meringue vendor, in his short shirt -
MERINGUE VENDOR
...Merengues-merengues-have a delicious merengue!...
Magazine vendors, yo-yo and cheap toy vendors... a cacophony of cries accompanied by a barrell organ on the sidewalk. Cleo, Adela, Ramón and Fermín line up at the ticket booth.
ADELA
What movie are we watching?
RAMÓN
Who knows.
Fermín asks Cleo -
FERMÍN
You sure you wanna go to the movies...?
CLEO
Sure. I like movies, don't you?
CONTINUED:
FERMÍN
Well, I mean... it's so nice out this afternoon, isn't it?
Cleo realizes the sun is shining and turns her had to the sky-
CLEO
Yep, sure is clear.
She looks at him -
CLEO
You want to go to the Alameda?
Fermín smiles at her.
FERMÍN
Wait a sec...
He walks up to Ramón, who is at the top of the line, pulling money out of his wallet. Adela takes the opportunity to go see Cleo.
ADELA
So, manita, no movies for you?
CLEO
Well... it's so nice out, no?
ADELA
(interrupts)
Uuuuuuuuuuuuyyyyyy! Right... well, you'll tell me all about it later, manita. I prefer the darkness.
And she walks off with Ramón who is waiting to go inside the theater. Fermín walks back to Cleo and they leave. The street vendors continue their chorus. The organ player is quiet. INT - HOTEL ROOM - AFTERNOON The rules hang in a small frame over the door. Disregarded. Behind the window, the Sunday afternoon wanes and a fluorescent sign peeks in, advertising the hotel. Behind the open bathroom door, a single bulb lights the sink and a rusty mirror. Fermín exits the bathroom carrying a pair of nunchaku. He's completely naked. Cleo waits in bed timidly, her slip still on. She blushes as she sees Fermín. In front of the bathroom, Fermín presents his nunchaku -
FERMÍN
Jodan Tsuki!...
He begins his nunchaku routine. It's an elaborate and studied choreography, the chained up sticks spinning like helixes around him. The effect is both poetic and a little ridiculous, but Cleo hides her smile behind the sheets. Fermín finalizes his routine by striking different positions -
FERMÍN
Jodan Tsuki! Chudan Tsuki! Mae Geri!
And he bows. Cleo represses a laugh.
FERMÍN
What?
Cleo covers her smile, asking -
CLEO
So, do you train every day?
FERMÍN
I have to. I owe my life to martial arts. I grew up with nothing, you know?
Outside, the crowd's hustle and bustle seems distant. Fermín leaves the nunchaku on a shelf and walks towards the foot of the bed -
FERMÍN
When I was a kid and my ma died...
He crosses himself -
FERMÍN
My aunt took me in... Over there in Neza. And between my cousins who beat me up and the bad influences, I started drinking...and then huffing...I was dying...
CONTINUED: He pauses -
FERMÍN
But then I found out about martial arts. And so then those things... well, you know, suddenly everything seemed, well... focused?
Fermín pauses for a beat, looks at Cleo -
FERMÍN
I don't really like telling people about my stuff, but with you it's... different.
He pulls his face close to hers and their lips meet and kiss, softly. But soon Cleo moves her head, bumping Fermín on the nose.
CLEO
Oh! Sorry...!
Fermín pulls her in again and kisses her intensely and with his mouth locked on Cleo's he lies down slowly on top of her. They make love. Wednesday, November 11th, 1970. INT- MAID'S QUARTERS - TEPEJI 21 - DAWN The alarm bell rings. Cleo wakes up and turns it off. She sits up on her bed. The early morning light comes in the window and the house is quiet. Adela sleeps placidly in her bed. Cleo gets up in a rush, takes her clothes from the chair, puts on her shoes and hurries out the door. EXT - SMALL PATIO - TEPEJI 21 - DAWN Cleo rushes down the stairs and into the small bathroom. INT - MAID'S BATHROOM - TEPEJI 21 - DAWN Cleo vomits. The bathroom is clean but has had zero upkeep for a long time. The tiny shower is curtainless and the toilet has no seat and no lid on the water tank. In the sink, two toothbrushes and a squeezed tube of Colgate. On a small shelf, a jar of Nivea and an unlit votive candle. INT - MAID'S BATHROOM - TEPEJI 21 - MOMENTS LATER Cleo takes a shower, the tiny bathroom immediately clouding with steam. INT - DOWNSTAIRS - TEPEJI 21 - DAWN Cleo comes out of the kitchen and walks across the house, still in gloom although behind the patio windows the first light of day is already warming. Cleo reaches the stairs and walks up. INT - UPSTAIRS HALL - TEPEJI 21 - DAY Through the younger children's bedroom door, we can see Cleo whispering to Sofi -
CLEO
My little girl... my beautiful little one...
She tickles her midriff -
CLEO
Rise and shine... wake up, wake up... it's a new dawn, it's a new day...
The tickling inches up Sofi's torso like an army of ants. Sofi smiles but pretends to sleep.
CLEO
Up, up, up little by little...
Sofi finally breaks into laughter and drowsily moves her arms.
CLEO
Good morning, my little princess...
Sofi hugs her neck.
CLEO
Andali! Get up...
Sofi gets up -
SOFI
Bathroom...
CLEO
Get going already!
Sofi leaves the room and crosses the hall sleepily while Cleo places a clean school uniform on the bed. Señora Teresa walks out of her bedroom and sees Sofi about to enter the bathroom -
SEÑORA TERESA
Good morning, Sofi.
Sofi goes in without turning back -
SOFI
Good morning, grandma...
She closes the door. Señora Teresa walks down the stairs. Cleo goes to Pepe's bed and gives him a quick kiss, making sure not to wake him, then leaves the room. She turns the light on in the hall and goes to Toño and Paco's room. They're deep asleep. She crouches down next to Toño, caressing his head and whispering -
CLEO
Toño, Toño my love, it's time to wake up...
Without even turning around, Toño slaps her hand off -
TOÑO
I'm up...
Cleo puts her hands up in the air -
CLEO
Oh, so he's already awake! Oh, so no one should touch him!...
Toño gets up, grouchy, and leaves the room. CONTINUED:
CLEO
Sofi's in the bathroom...
In the hall, he knocks on the bathroom door -
SOFI (O.C.)
Busy!
Toño knocks louder.
TOÑO
Hurry up! I gotta go!
SOFI (O.C.)
Coming!
Cleo sits at the foot of Paco's bed and pulls one of his feet out of the covers and puts his socks on without waking him. She sits him up, leans him against her, and takes off the top of his pajamas. In the hall, Toño keeps knocking on the bathroom door -
TOÑO
Get out!
The bathroom door opens, and Sofi comes out -
SOFI
You can go in now!
Toño walks in straight away and as he closes the door -
TOÑO
Fatty...!
Sofi walks back into her bedroom. Cleo has managed to put Paco's t-shirt on. He's now sitting on the bed.
CLEO
Come on, finish getting dressed.
Paco takes off his pajama pants and Cleo walks out to the hall and in to help Sofi. INT - BREAKFAST ROOM - TEPEJI 21 - DAY Señora Teresa and Sofi have breakfast at the table. Cleo is putting away waxed paper packages into the backpacks on the floor next to each chair. Through the windows, Ignacio is taking the cars out to the street. A portable radio on the table plays XEQK HASTE'S OBSERVATORY HOUR -
HASTE HOUR
Chocolates Turín! Ricos de principio a fin! Maestro Mecánico Marcos Carrasco garantiza vigoroso control de calidad en la rectificación de motores... (Turin Chocolates! Delicious from beginning to end! Mechanic Marcos Carrasco guarantees quality control when rectifying motors...)
Paco comes out of the kitchen with a Gansito and puts it in his backpack, except Sofi sees him -
SOFI
I want a Gansito too!
PACO
They're mine.
SEÑORA TERESA
I bought them for everyone.
PACO
But I put them in the freezer.
SEÑORA TERESA
Come on, give one to Sofi and I'll buy you a big box just for you.
Paco weighs the offer and goes back into the kitchen. Señora Teresa has finished her pan dulce dunked in coffee with milk and gets up.
SEÑORA TERESA
Hurry up kids, it's seven twenty already.
Paco's voice pipes in from the kitchen -
PACO (O.C.)
It's seven seventeen!
The Haste Hour recites -
HASTE HOUR
XEQK proporciona la hora del observatorio, misma de Haste. Haste, la Hora de México. Siete de la mañana diecisiete minutos. Siete diecisiete... (a beat)... BIIIP (XEQK gives you the time at the observatory, same as Haste's. Haste, Mexico's time. Seven in the morning and seventeen minutes. Seven seventeen...)
Paco triumphantly exits the kitchen. Señora Teresa pulls out her tongue at him and walks off to the door. Paco throws Sofi her Gansito.
PACO
For you to get fatter...
Toño walks in.
CLEO
Your juice, Toño.
Toño sits down -
TOÑO
Turn that thing off.
PACO
No, why?
Señora Teresa is already calling them from the door -
SEÑORA TERESA
Let's go!
Sofi gets up and walks towards Señora Teresa who is heading out towards the patio -
SEÑORA TERESA
Cleo, hold the dog so I can open the door.
Cleo immediately gets up and runs out to the patio. Toño also gets up and turns the radio volume all the way up before leaving. Paco turns it off with a slap -
TOÑO
Haha! Sissy!
CONTINUED: Before reaching the patio, Paco cries out -
PACO
Shotgun!
Toño downs his juice and follows them. EXT - HOUSE -TEPEJI 21 - DAY The Valiant is parked in front of the house, engine idling, Haste Hour on the radio. Cleo waits on the sidewalk, holding Borras from the collar, while Señora Teresa and the kids scramble messily into the car.
TOÑO
Move it!
SOFI
I'm moving!
When Señora Teresa has managed to get in the car, Ignacio closes the door behind her, waiting for everyone else to close their doors before getting in.
TOÑO
Put La Pantera on!
Paco turns the dial and the radio station switches to La Pantera right in the middle of a Beetles vs. Creedence vote -
RADIO LA PANTERA
...Por quién votas campeón? Por los Beatles... Un voto más para el cuarteto de Liverpool que van atrás por 18 votos del Cuarteto del Bajou. Por quién votas? Creedence... (Who do you vote for, champ? For the Beatles... One more vote for the Liverpool quartet, trailing 18 votes behind the Bajou quartet. Who do you vote for? Creedence...)
Ignacio steps on the clutch letting Paco, who is sitting next to him, put the hand gear next to the steering wheel in first. The Valiant drives off and down the street. Cleo sees it turn the corner and she walks back into the house pulling the dog inside. She closes the door. INT - DOWNSTAIRS HALL - TEPEJI 21 -DAY Cleo comes in, closing the patio door. She crosses the hall and walks up the stairs. INT - SOFI AND PEPE'S ROOM - TEPEJI 21 - DAY Cleo hides her face in Pepe's belly. He laughs.
PEPE
I was already up!
CLEO
Oh goody! So you're already dressed!
PEPE
Not yet.
CLEO
C'mon! Get up, let's get you dressed!
Pepe gets up and Cleo dresses him while he talks -
PEPE
You know what I remembered in my dream?
CLEO
No, what did you remember?
PEPE
I remembered when I was older.
CLEO
When you were older?
PEPE
Yes, you were also there, but you were different. Do you remember?
Cleo pulls his shorts up. INT - BREAKFAST ROOM - TEPEJI 21 - DAY A spoon delicately taps on the dome of an egg, cracking it slowly. CONTINUED: Cleo takes off the shell and empties out the soft-boiled egg onto a cup. She puts in salt and little bits of bread. She gives Pepe the cup. He eats. Cleo gets up and takes the dirty dishes into the - INT - KITCHEN - TEPEJI 21 - DAY Cleo comes in at the same time as Adela, her hair wet, through the small patio door.
CLEO
Good night!
ADELA
Why didn't you wake me?
CLEO
Well, God forbid you get tired later.
Adela looks at her with a crooked smile. Cleo spreads marmalade on a piece of bread and places it on another. They hear Señora Sofía walk into the Breakfast Room -
PEPE (O.S.)
Mom!
SEÑORA SOFÍA (O.S.)
How's your egg, my love?
Cleo puts the sandwich in a wax paper baggie -
CLEO
The Doctor is leaving. Tie Borras up so he can go.
Cleo takes the sandwich and a glass of orange juice and heads to the breakfast room. Adela goes out to the patio. INT - BREAKFAST ROOM - TEPEJI 21 - DAY Señora Sofía is sitting next to Pepe, Cleo comes in with the juice.
CLEO
Your juice...
SEÑORA SOFÍA
Pepe can wait to say goodbye to his dad. It doesn't matter if he's late.
CLEO
Yes ma'm.
At the back of the hall, Señor Antonio has come down the stairs, carrying two bags. Cleo rushes to help him.
CLEO
Leave them there, please, sir...!
Señor Antonio leaves the bags on the floor.
SEÑOR ANTONIO
Thanks, Cleo.
He walks to the Breakfast Room -
SEÑOR ANTONIO
Good morning, Pepón!
PEPE
Daddy!
Señor Antonio gulps down the whole glass of orange juice. Cleo heads over to the luggage: she carries the bags and exits - EXT - PATIO - TEPEJI 21 - DAY Military drums and trumpets echo inside the patio. Cleo carries the bags to the door where Adela is holding Borras by the collar. Cleo pauses only to open the door and walks out to - EXT - HOUSE - TEPEJI 21 - DAY A Jr. High marching band marks each step as they file down the street, sounding drums and trumpets. A 1966 cream colored VW SEDAN waits in front of the house. Cleo walks out with the bags and leaves them next to the car. She opens the door and puts one bag in the rear seat then opens the mechanism in the glove compartment. She gets out of the car and carries the second bag to the front of the car, opens the trunk and puts it in the tiny space. She walks back into the house but sees Señor Antonio already walking out through the patio. Señora Sofía follows him, carrying Pepe. Señor Antonio steps on dog shit and stops, disgusted -
SEÑOR ANTONIO
Well I'll be...
He rubs the foot on the floor trying to clean it off and keeps walking. On the street, he scrapes the sole of his shoe against the edge of the sidewalk. Señora Sofía puts Pepe down on the as they reach the street and walks over to Señor Antonio, hugging him from the back. Cleo moves back a few steps, Pepe walks over to her and holds her hand. Señora Sofía starts crying. Señor Antonio turns around and hugs her, uncomfortable.
SEÑORA SOFÍA
We'll be here...
SEÑOR ANTONIO
It's just for a few weeks...
He disentangles from Señora Sofía who heads over to give him a snotty kiss which he accepts before sitting at the wheel and closing the door. Señora Sofía puts her hand on her husband's shoulder while he turns on his four cylinder engine.
SEÑOR ANTONIO
Bye, Pepe...
He shifts into first gear and starts off slowly, forcing Señora Sofía to lift her hand, then drives off to the end of the street. The VW idles at the corner where it waits for the back of the marching band to leave the street taking its martial airs with it, then disappears to the right. Señora Sofía is frozen, her hand held up in the air. Cleo waits. CONTINUED: Finally, Señora Sofía turns, her face upset -
SEÑORA SOFÍA
Goddamnit! Clean up that dog shit!
She walks up to Pepe and takes his hand -
SEÑORA SOFÍA
I'll take Pepe.
She walks with Pepe to the end of the street, heading in the opposite direction as Señor Antonio. Cleo comes into the house and closes the door. EXT - PATIO -TEPEJI 21 - DAY Cleo pushes the shit onto a dustpan with a broom. She moves on to the next one, while Borras walks around the patio, oblivious. One by one, she picks them all up. EXT - SMALL PATIO - TEPEJI 21 - DAY Cleo opens the trash and throws in the shit. She closes it. EXT - PATIO - TEPEJI 21 - DAY A smeared stain on a red and white tile is all that remains of Borras's shit. Pale dust falls on the stain until it's entirely covered. Cleo crosses the patio, dusting soap on each one of the remaining stains. She reaches the street entrance, fills two pails of water, pours them on the floor and - One by one, she brushes every single dusted stain in the patio. Sunday November 29, 1970 INT - METROPOLITAN CINEMA - AFTERNOON MOVIE The theater is almost full, but emptier towards the back. In the last row, Cleo and Fermín sit next to each other, making out intensely, their hands rubbing each other's genitals while they kiss.
FERMÍN
Suck it...
Cleo moves back briefly and tries to tell him between sighs -
CLEO
It's just that... I haven't gotten my period this month...
But she succumbs, trying to repress a groan of pleasure. She kisses and caresses Fermín with greater intensity as he explores her more deeply with his hand. MOVIE Finally, Cleo manages to overcome her desire to tell him -
CLEO
I'm telling you. I haven't had my period all month.
But Fermín quiets her with a kiss on the mouth. When he goes to her neck, Cleo tries to talk between convulsions of pleasure -
CLEO
I think I'm with child.
Fermín pauses briefly, then keeps kissing her -
FERMÍN
Oooohhh, well that's OK, right?
CLEO
That's OK?
FERMÍN
Yeah...
Cleo smiles and kisses him on the mouth. She lowers her head and gives him a blow job. Fermín holds her head down pushing her to a rhythm.
FERMÍN
Like that... Just. Like. That...
MOVIE CONTINUED: Fermín reaches his arms out to grab onto the backs of the neighboring seats and starts moaning.
FERMÍN
Yes, yeeeeees, yeeeeeeeees, yeeeeeeeeeeeeees!
He opens his mouth and muffles a cry by biting down on his hand and when the explosion is over, Cleo comes up, hand on her mouth, face splashed with semen. She opens her purse and pulls out a couple of Kleenex. She wipes her mouth and face, then her hands, and cuddles on Fermín who is still breathing heavily. The two watch the movie. Cleo is in love. MOVIE Fermín moves softly to get up -
FERMÍN
I have to go to the restroom...
CLEO
Shhhh... It's almost over.
FERMÍN
I gotta go now. Gimme a sec, I'll be right back...
He gets up, walking through the empty seats to the aisle and then to the exit. Cleo waits till he's left to look for some gum in her purse. She puts it in her mouth. Pulls out another Kleenex, wets it with her tongue and wipes her face. The MOVIE reaches the end and the CREDITS roll. Cleo looks to the exit. PEOPLE start to leave. The LIGHTS COME ON in the theater, SECTION BY SECTION, SLOWLY... Cleo gets up and looks to the exits, leaning onto the seats in front of her. Credits keep rolling with the names of the Stage Crew. The theater is now empty except for Cleo and the screen showing the sound credits. CONTINUED: The velvet curtain closes, interrupting the unfinished credits. Cleo finally heads to the exit. INT - LOBBY METRPOLITAN CINEMA - AFTERNOON New spectators enter the theater, some heading directly to the candy store, where the lines are still short. Cleo wanders through the lobby looking for Fermín but there's no sign of him. She walks towards the entrance, heading the opposite direction as the newcomers. EXT -ENTRANCE -METROPOLITAN CINEMA - AFTERNOON Cleo exits and walks to the middle of the entrance where she stops, engrossed between the STREET VENDORS hawking their wares, reciting their different mantras. Her legs seem to fall out from under her and she leans on the marquee advertising the upcoming releases. Slowly, she sits on the ground between - An old lady selling her sweets
SWEETS VENDOR
...cigarrettes-chewing gum- chocolates-mazipan-muéganos-peanuts- gum drops-...
And a man peddling his magic trick: a small plastic skeleton that dances on the ground -
SKELETON VENDOR
No tricks, no ruses, it dances on its own! No strings, no cheating, Don Carlangas dances...
Cleo stays still in the midst of a sea of voices -
VENDORS
...Japaneeeeeeeeese peanuts! ... Herbie stickers for sale!... Merengues-merengues-get your delicious mereeeeeeengues!... Mint flavored, spearmint, cinnamon, tuttifrutti flavored Adams chiclets!...
CONTINUED: Next to Cleo, the small skeleton jumps, shimmies and suddenly stops -
SKELETON VENDOR
What happened, Don Carlangas? You tired? And what are we gonna do about that?
The skeleton sits on the floor -
SKELETON VENDOR
Aha! Mister Carlangas is resting!
Tuesday, December 8th, 1970. EXT -STREET - DAY And old Purépecha indigenous man, hunched and with a straw hat carries an enormous and bulky cloth sack, which almost covers his frail figure from the back. He walks down the street at a steady step, stopping only to rearrange the heavy sack on his back. He walks past a convenience store, a pharmacy, a bakery, a dime store, a stationary store and turns onto - EXT - TEPEJI STREET - HOUSE - TEPEJI 21 - DAY Without losing his rhythm, the old man walks in front of the old houses built in the 1930s, hunched over, the enormous bulk resting almost vertically on his back. Some houses have renovated, some are in desperate need of a new coat of paint. He arrives to Tepeji 21 and stops in front of the door. Slowly he takes the giant load off his back and puts it on the ground. He rings the bell. Inside, we hear Borras running to the door, barking furiously. The old man waits. Borras doesn't let up, his barks grow ever louder. Cleo approaches -
CLEO (O.S.)
Who is it?
OLD MAN WITH ORANGES
Oranges!
Borras answers, furious.
CLEO (O.S.)
Coming...! Borras, shut up!
The old man picks up the sack while the door opens just enough for Cleo to peek out while grabbing the dog's collar. The old man finishes putting his sack back up on his back -
OLD MAN WITH ORANGES
You got the dog?
CLEO
Yes.
OLD MAN WITH ORANGES
You sure?
CLEO
I got him. Come on in.
The door opens and Borras immediately lunges for the old man, but Cleo holds tugs at collar with all her strength. The dog barks, aggressive, standing on its hind legs. The old man comes into - EXT -PATIO -TEPEJI 21 - DAY Cleo holds Borras and steps to the side while the old man comes in. The dog's mouth sprays slob with each bark.
OLD MAN WITH ORANGES
Hold him tight.
Cleo wrestles with the dog -
CLEO
Come in, come in...
The old man walks cautiously next to Cleo, who is still holding Borras. She closes the door and follows in after him, keeping her distance. At the far end of the patio, the old man goes into the - EXT - SMALL PATIO - TEPEJI 21 - DAY The old man stops in front the kitchen and slowly deposits the heavy sack on the floor. Adela comes out of the kitchen carrying a wooden crate, which she places on the floor - CONTINUED:
ADELA
Good morning, sir...
OLD MAN WITH ORANGES
Morning... How many'll it be?
ADELA
Thirty.
The old man takes his hat off to cool his straight white hair damp with sweat. His Indigenous face is furrowed by deep wrinkles. He bends over, puts his hands in the sack and pulls out -
OLD MAN WITH ORANGES
1...2...3...4...5...6...
Cleo holds Borras who won't stop barking. EXT - PATIO - TEPEJI 21 - AFTERNOON Pebbles of ice bounce off the ground after falling from the sky. Hail covers the patio. INT - KITCHEN - TEPEJI 21 -AFTERNOON Drowned out by clouds, the afternoon light fights to pierce through the windows. Behind the window: hail over the small patio. Adela pours coffee in a pot and puts it on a tray that already has a sugar bowl, a little milk pitcher, a spoon and a napkin. Next to her, Cleo waits nervously.
ADELA
C'mon manita, you take it.
Cleo takes the platter and walks towards the living room. Adela walks with her but stops at the door. INT - LIVING ROOM - TEPEJI 21 - AFTERNOON Cleo exits the kitchen. Adela waits next to the door and watches her cross the hall carrying the coffee tray. Behind the windows, hail pours down. The afternoon light barely mottles the living room curtains and already some lamps are on. In a corner, a Christmas Tree shows off its many colored lights over a handcrafted nativity scene with moss, hay and cardboard landscapes. CONTINUED: In the modern living room, the children sit at the sofa around Señora Sofía. Cleo places the platter on the coffee table next to some sheets of paper and envelopes and pours the coffee. She is about to add some cream, when -
SEÑORA SOFÍA
That'll be fine, Cleo...
Cleo places the cup in front of Señora Sofía. She takes the cream and pours it while Cleo starts to leave. She stops -
CLEO
Pardon me, Señora Sofi?
Señora Sofía adds two sugars to her coffee.
SEÑORA SOFÍA
Yes?
CLEO
It's just that... when you have a minute, would you mind if we talk for a little bit?
SEÑORA SOFÍA
Yes, just wait a sec. I need to say something to the children.
Cleo nods and steps back a few steps, ready to wait.
SEÑORA SOFÍA
Feel free to sit down and wait over here.
Cleo timidly sits on the sofa. Señora Sofía tastes her coffee, the children grow restless.
PACO
What?
TOÑO
I gotta go buy balsa wood to build a model.
Señora Sofía sips her coffee and good-humoredly says -
SEÑORA SOFÍA
You'll go later. There's something I want to tell you...
CONTINUED:
PACO
Are we going to Disneyland?
SEÑORA SOFÍA
No, we're spending Christmas at my brother Pablo's.
PACO
It's so boring there!
SOFI
Not true! My cousins are there!
SEÑORA SOFÍA
And for New Year's we'll go to the Zavaleta's hacienda.
PACO
Will the Richards be there?
SEÑORA SOFÍA
Yes and the Matos and the Larsons.
TOÑO
When's dad coming?
SEÑORA SOFÍA
That's the other thing I wanted to talk to you about. His research is delayed and he'll have to stay in Quebec a little longer.
TOÑO
Will he be back by January?
Señora Sofía pauses for the briefest instant and when she takes up the conversation again her tone seems to have changed.
SEÑORA SOFÍA
He doesn't know. But that's why I brought you the paper. So you can each write him a letter.
She hands out the paper and envelopes to the children -
SEÑORA SOFÍA
Tell him how much you miss him, to come back soon please...
Her good humor masks her nervousness. CONTINUED:
SEÑORA SOFÍA
Pepe, you draw him somthing...
PEPE
I know how to write too.
PACO
Sure...
Toño gets up -
TOÑO
Well, first I'm going to go get my balsa wood.
Señor Sofía yells at him -
SEÑORA SOFÍA
You're not going anywhere until you've finished writing your letter!
Toño grabs his papers and rushes off angrily towards the stairs.
SEÑORA SOFÍA
Where are you going?
TOÑO
To my room. What? Can't I write the letter in my room either?
SEÑORA SOFÍA
Sure, that's fine.
Paco grabs his paper and follows Toño -
PACO
I'm going up too.
Señora Sofía gives the rest of the paper to Sofi.
SEÑORA SOFÍA
Sofi, take this to the dining room and help Pepe with his letter. Let me just talk to Cleo for a minute and I'll come join you.
Sofi takes the papers -
SOFI
C'mon Pepe.
CONTINUED:
SEÑORA SOFÍA
Make lots of pretty drawings, Pepe. Sofi, help him write "I miss you a lot, daddy."
SOFI
Sure. Let's go Pepe.
Sofi and Pepe go off with their papers to the dining room table.
PEPE
But I'll write it, OK?
Señora Sofía watches the kids trail off into the dining room. She turns to Cleo.
SEÑORA SOFÍA
OK, Cleo. What do you need?
Cleo looks at her like a deer in the headlights. She can't speak.
SEÑORA SOFÍA
Didn't you want to tell me something?
CLEO
No, well, yes. It's just that...
But her words fail her. In the back, next to the kitchen door, Adela pretends to clean while she tries to listen -
SEÑORA SOFÍA
Yes?
Cleo's eyes fill with tears. Señora Sofía worries -
SEÑORA SOFÍA
What's wrong, Cleo?
Cleo just sobs.
SEÑORA SOFÍA
Is your mother all right?
Cleo nods -
CLEO
It's just that... Señora Sofi...
SEÑORA SOFÍA
Yes?
CLEO
It's just that... I think I'm expecting.
Señora Sofía wasn't expecting this at all -
SEÑORA SOFÍA
What do you mean, you think?
CLEO
It's just that I haven't gotten my period.
SEÑORA SOFÍA
Since when?
CLEO
I don't know...
She starts sobbing. Señora Sofía sits next to her and hugs her.
SEÑORA SOFÍA
Oh you silly, silly girl. And who is the dad?
CLEO
Fermín. Adela's boyfriend's cousin.
SEÑORA SOFÍA
Does he know?
Cleo shakes her head -
CLEO
He's disappeared.
SEÑORA SOFÍA
Silly, silly, silly...!
CLEO
You're going to fire me, aren't you?
SEÑORA SOFÍA
What do you mean fire you? We have to take you to the doctor to get checked.
Pepe comes in with his letter - CONTINUED:
PEPE
Look, ma. I drew a plane.
SEÑORA SOFÍA
Very good. Now put some hearts on it...
(Calling out to Sofi)
Sofi! I told you to help your brother write "I miss you."
Sofi answers from the dining room -
SOFI
He won't let me help him!
PEPE
Why is Cleo crying?
SEÑORA SOFÍA
For no reason. She's got a stomachache. Let's see, come over here. Let's write your letter.
Señora Sofía walks over to the dining room but Pepe walks up to Cleo and hugs her. He rubs her belly -
PEPE
Sana, sana colita de rana. Si no sanas hoy, sanarás mañana... (Nursery rhyme to heal boo-boos)
Cleo laughs and hugs Pepe, hiding her tears. Thursday, December 10, 1970.
INT/EXT - GALAXIE 500 - BAJA CALIFORNIA AVE - DAY
Señora Sofía drives silently, hands on the stirring wheel, but her index fingers moves as if acquiescing at the intense argument going on in her head. Cleo rides next to her. Hair freshly done. She's changed her dress. She is nervous. They come to a cross-street where cars wait for the green light. Señora Sofía tries to squeeze into the space between a moving truck and an old jalopy. CONTINUED:
SEÑORA SOFÍA
Pío, pío, pío, pío...
Impossible. The inevitable happens. The Galaxie 500 scrapes on both sides, but this doesn't seem to bother Señora Sofía who keeps inching up slowly, despite the crush of twisting metal -
SEÑORA SOFÍA
Pío, pío, pío, pío...
EXT - BAJA CALIFORNIA AVE - DAY The Galaxie 500 moves forward between the truck and the jalopy, scraping its moldings, twisting them, and ripping off the side mirror to boot. The Galaxie lurches on amidst the crush of metal sheets until the space is too tight to keep going. The light changes to green and they drive on, except for the truck and the jalopy whose irritated drivers exit their vehicles to assess the damage.
EXT. - MEDICAL CENTER - CUAUHTEMOC AVE - DAY
The modern building site glows proudly with its promise of progress. The Galaxie 500, with its dented sides and dragging a molding enters a parking lot reserved for the doctors.
EXT. - OB/GYN - MEDICAL CENTER - DAY
Señora Sofía and Cleo walk in front of a building displaying beautiful murals with Prehispanic motifs and cross the entrance indicating Obstestrics and Gynecology. INT - LOBBY - OB/GYN -DAY Señora Sofía and Cleo cross the enormous marble lobby until they reach the elevators resting under a mural of patriotic heroes. INT - 8th FLOOR LOBBY -OB/GYN -DAY Señora Sofía and Cleo walk out of the elevator to a nurse station at the center of the lobby. Señora Sofía approaches the head NURSE -
SEÑORA SOFÍA
Good day, I have an appointment with Doctor Vélez.
NURSE
Under what name?
SEÑORA SOFÍA
It's Doctor Roldán's wife.
The nurse picks up a phone.
INT. - HALLWAY -OB/GYN - DAY
Wall to wall picture windows run all along the hallway and the exam rooms. Señora Sofía waits with Cleo, who looks out the window onto the city stretching out to the west. DOCTOR VÉLEZ walks in with all the conviction that comes with experience. She is 40 years old and wears glasses.
SEÑORA SOFÍA
Hello, Margarita. Thank you for seeing us.
DOCTORA VÉLEZ
Of course, Sofía. With pleasure.
They kiss hello.
SEÑORA SOFÍA
Remember Cleo?
Doctor Vélez turns to Cleo -
DOCTORA VÉLEZ
Of course! Hi Cleo, how are you?
Cleo suffers from a mix of shyness and fear.
CLEO
Fine, thank you, doctor.
DOCTORA VÉLEZ
So, let's see how you're doing, Cleo.
DOCTORA VéLEZ
Come with me and tell me all about it... Sofía, you want to come as well?
SEÑORA SOFÍA
Thank you, Margarita. I'll just go over to say hi to Doctor Zavala.
DOCTORA VÉLEZ
Well, Cleo and I are going to have a chat. Why don't we meet in the lobby in forty minutes or so?
SEÑORA SOFÍA
Sure. I'll be back then.
She holds Cleo's hand -
SEÑORA SOFÍA
Go on Cleo, go with the doctor.
She walks back to the lobby. Cleo and Doctor Vélez head to one of the exam rooms. INT - EXAM ROOM - OB/GYN - DAY Cleo is sitting in a gynecological chair. She looks at the instruments on a tray off to the side. They look like medieval torture instruments. The door opens and Doctor Vélez comes in. She sits on a chair between Cleo's legs and starts to put on latex gloves -
DOCTORA VÉLEZ
All right then. Cleo, tell me.
Cleo hesitates -
CLEO
It's just that.... That...
DOCTORA VÉLEZ
It's OK Cleo, you can talk to me...
CLEO
It's that I haven't gotten my period.
DOCTORA VÉLEZ
Since when?
CLEO
About two months maybe?
DOCTORA VÉLEZ
OK. And you've been sexually active for how long?
Cleo blushes and cannot bring herself to answer.
DOCTORA VÉLEZ
Have you had many partners?
CLEO
Oh no! Never!
DOCTORA VÉLEZ
Do you use protection?
Cleo apparently doesn't understand the question.
DOCTORA VÉLEZ
Do you use condoms?
Cleo's tears are the only answer. Doctor takes the speculum and smears Vaseline on it.
DOCTORA VÉLEZ
When was the last time you got checked?
CLEO
Probably three or four years ago when I came to see you.
DOCTORA VÉLEZ
That's not good, Cleo. You have to get checked twice a year.
CLEO
Yes, doctor.
DOCTORA VÉLEZ
Well, let's see how you're doing. This is going to feel a little cold...
Doctor Vélez slides the speculum in between Cleo's legs. Cleo's face confirms it's not only cold, it's also painful.
INT. - 8TH FLOOR HALLWAY -OB/GYN - DAY
Cleo walks down the hallway with Doctor Vélez. At the far end of the lobby, they can see Señora Sofía talking with Doctor Zavala, 45 years old. CONTINUED: When she sees Cleo, Señora Sofía interrupts her chat with Doctor Zavala. Cleo is crying and is still disturbed. Doctor Vélez and Doctor Zavala kiss hello -
DOCTORA VÉLEZ
Hi, Mario...
DOCTOR ZAVALA
Doctoress...
SEÑORA SOFÍA
How's Cleo doing?
DOCTORA VÉLEZ
Cleo is ten weeks pregnant. She's very healthy and very strong and so is her baby. One thing: she has to get an iron shot every two weeks. I've given her a prescription.
SEÑORA SOFÍA
When's she due?
DOCTORA VÉLEZ
Sometime around the end of June.
SEÑORA SOFÍA
Oh Margarita, thank you so much for seeing her.
DOCTORA VÉLEZ
It's nothing! I missed her, right Cleo? OK, I'm off...
She kisses Señora Sofía goodbye -
DOCTORA VÉLEZ
Bye, Cleo. See you next month for your check up.
CLEO
Yes, doctor. Thank you.
Doctora Vélez walks off down the hallway. Señora Sofía turns to see Cleo -
SEÑORA SOFÍA
Cleo, why don't you go down to the third floor to see the new-born babies while I finish up here with Doctor Zavala?
INT. - MATERNITY WARD - OB/GYN - DAY
Dozens of cribs in a row, each one with its own new-born baby rolled up in a blanket. Cleo watches them through the window. Some sleep and others cry anxiously. Four cribs project strong lights on babies with masks, and to one side - In an INCUBATOR - A premature baby, tiny and fragile is plugged into tubes that barely bind him to life. Cleo watches, fascinated. Suddenly - A great block of plaster falls off the ceiling and lands on the incubator, covering it completely. Thursday, December 31st, 1970.
INT/EXT - '64 VALIANT - PUEBLA FREEWAY EXIT - CERRO LA
CALDERA - DAY Señora Sofía drives, her index finger in its eternal argument. Cleo rides next to her, and between them, Pepe. Toño, Paco and Sofi are in the back seat. The radio plays Radio Éxitos. Pepe looks through the rearview mirror off into the distance -
PEPE
Why does the mountain spell LEA? (READ)
SEÑORA SOFÍA
So that you kids read. See? Even the mountain is asking.
TOÑO
It's the initials for Luis Echeverría Álvarez, dummy.
SEÑORA SOFÍA
Don't call him that. He's 5. He doesn't have to know who Echeverría is. Explain it to him.
CONTINUED:
TOÑO
He's the president!
SOFI
Isn't it Gustavo Díaz Ordaz?
SEÑORA SOFÍA
Not anymore, Sofi. It's now Luis Echeverría, since December 1st.
SOFI
Oooooh...
PACO
Cleo really likes Echeverría. Yuck!
CLEO
Well, yeah. His wife Doña Ester is always dressed in huipiles and Oaxacan clothing. He likes us Indians.
TOÑO
But my uncle Alberto says he's the one who ordered the students killed two years ago.
CLEO
Noooooo!
TOÑO
He was the Minister of the Interior.
SOFI
Why did he kill the students?
TOÑO
'Cause they didn't do their homework.
SEÑORA SOFÍA
Enough, Toño. No, Sofi, Toño is just messing with you.
PEPE
Well I don't like him. Why does he write on the mountain? It's not his!
EXT. - PUEBLA FREEWAY - CERRO LA CALDERA - DAY
The Valiant plows on eastward. In the background the Cerro La Caldera, longing to be a mountain, delineates the boundary of the city as it melts into the slums. The west slope of the hill has been desecrated by three immense white letters extending almost all along and across its dry surface - LEA. Like a curse.
EXT. - ZAVALETA HACIENDA - DAY
A great adobe wall surrounds an immense property in the middle of fields. The Valiant crosses an enormous gate into-
EXT. - ENTRANCE - ZAVALETA HACIENDA - DAY
A road crosses the enormous walled esplanade. In the background, the beautiful wall of the hacienda, a monument to Profirian estates. The Valiant reaches the Big House. A dozen cars are parked in a row to one side of the road. All large luxury cars of the year: LTDs, Impalas and Country Squires. The '64 Valiant parks between an LTD and a Country Squire, making its mileage and its peeling paint very obvious. They get out of the car. Señora Sofía opens the trunk and Cleo starts to pull out the luggage, her belly barely noticeable. A group of people comes out of the Big House to greet them: three adults, some kids and several servants. CLAUDIA DE LA BÁRCENA, 38, SAMANTHA LARSSON, also 38, a high-class Mexican with died blond hair and MOLLY EDWARDS, an affable blond Welsh woman, 37, all throw their arms up in the air -
MOLLY
Comadre!
EXT/INT - CORRIDOR - HACIENDA - DAY
BENITA, 55 years old, the Hacienda housekeeper, guides Cleo down a long corridor. Both carry several bags some in their hands others hanging from their shoulders.
BENITA
You sure you can carry that?
CONTINUED:
CLEO
Yes, I'm with child, not sick. What? You tired already?
Cleo hurries forward. Benita does the same, following her.
BENITA
As if!
CLEO
I haven't seen you for six months and you got old on me.
The two women race hurriedly, buried under bags like ants carrying several times their own weight. Benita catches up with Cleo, who hurries on and overtakes her. But Benita stops -
BENITA
Where you going?
Cleo stops. Benita is standing next to a door -
BENITA
You've gone too far. What? Since you're pregnant you forget everything?
Cleo smiles and walks back.
INT. - CHILDREN'S ROOM - HACIENDA - DAY
A hall full of bunk beds, rudimentary but functional. There are several bags next to the beds and there are toys on top of some already. Lined up along all the walls there are stuffed dog heads. Cleo leaves the luggage next to a bunk bed and looks at the heads.
BENITA
Señor José had the room redecorated. They're the Hacienda dogs. Look... They were all in storage.
They look at a German Shepherd's head with glass eyes. CONTINUED:
BENITA
Look, that there is Pirata. He lived here in 1911.
A small plaque confirms this. It also indicates his name - Pirata. Cleo looks on, impressed.
CLEO
Pirata...
BENITA
And do you remember Canela?
CLEO
Yeah, where's she at?
BENITA
Look at her.
Cleo looks at an Irish Setter's head.
CLEO
Yikes!
BENITA
She died during the summer.
Cleo looks at Canela, horrified.
CLEO
They say she must have eaten a poisoned rat. But I think it was the villagers who are bothering Don José again about the land...
Canela looks at them with her glass eyes. EXT - SMALL CLEARING IN THE WOODS - HACIENDA - DAY The winter light filters through the trees and reflects on the great puddle stretching between the clearing and the woods. Children run between the trees throwing firecrackers, two dogs follow them, jumping in the puddle. Adults are practicing shooting bottles lined up on tree stumps with .22 caliber pistols at the other end of the clearing. With the exception of nannies and servants looking after the younger children, everyone is white and, except for Señora Sofía and her children, they're dressed in imported clothing. The sound of shots fuses with the firecrackers. Toño plays "tochito" flag-football with PEPE DE LA BÁRCENA, 13, EDUARDO LARSSON, a 12 year-old redhead, and RICKY EDWARDS, 11. Cleo looks after Pepe and keeps LUPE, 30, company as well as YOLA, 22, who look after JORGE DE LA BÁRCENA, 7, who suffers from intellectual disability, and partial paralysis in a leg and arm, and his brother MEMO, 5, who has autism spectre disorder. They're sitting on a tablecloth, playing with Matchbox cars. A little further back, GLORIA, 34, who works as a nanny with the Edwards', sits on another tablecloth with a toy china set, probably more expensive than a real one, and looks after Sofi who is playing with JULY EDWARDS, 7, VERO MATOS, 8, and ANDREA, a girl whose blond hair is almost white, also 8. GERARDO LARSSON, 10, a flamboyant chubby redhead plays with them too. Paco, along with RODRI DE LA BÁRCENA, 10, ALEX MATOS, 10 and ANDY EDWARDS, 8, appear from behind the trees and throw firecrackers at the girls. They scream. Some even cry.
CLEO
I saw you, Paco! Get out of here!
The boys run off, laughing and splashing across the puddle.
LUPE
Rodri! Don't run in the water! You're soaking wet!
Dr. ALEJANDRO MATOS, 40, with a goatee, shoots while smoking his pipe. Next to him, RICARDO EDWARDS, friendly, 39, OVE LARSSON, a towering redheaded shy Norwegian, 41, and LESLIE MATOS, a blond American, 38 also shoot while DR. JOSÉ DE LA BÁRCENA, 41, waits his turn and CELSO, the hacienda foreman, 35, reloads the guns.
DR. JOSÉ DE LA BÁRCENA
Celso, do you still have bullets or should I send Lupe to get the ones in the chest?
CONTINUED: A few yards away, Sofía, Claudia, Molly and Samantha sit in folding chairs, chatting. Señora Sofía sees the boys running through the trees. She gets up and yells -
SEÑORA SOFÍA
Don't run over there, you could get shot!
Molly seconds her, with her thick accent -
MOLLY
Boys! Vayase! Andy, get back!
FLOR, 17, a servant from the Hacienda, stands at a table with a cooler, pouring the adults drinks, LOLA, 12 going on 19, made up, dressed in a tiny mini-skirt and platform shoes, takes advantage of the adults' distraction to pour whisky into her Coca-Cola. Next to her, CLAU DE LA BÁRCENA, 11, seems amused, but her curiosity does not yet supersede her obedience. ON THE CHILDREN'S TABLECLOTH - The interaction with Jorge and Memo is difficult so Pepe is bored and watches the shooting party. He gets up and walks over there.
CLEO
Wait, Pepe. Where are you going?
Pepe just points and keeps walking. Cleo follows him and they reach the - SHOOTING PARTY - Where Dr. Alejandro Matos has fired his eight rounds and goes to Celso to recharge his gun. He calls to the women on the folding chairs -
DR. ALEJANDRO MATOS
What? Don't ladies shoot?
The women decline with their hands -
MOLLY
Leslie is our representative!
DR. ALEJANDRO MATOS
Leslie doesn't count, she's a gringa.
The women laugh. Claudia gets up -
CLAUDIA
Coming!
SAMANTHA
(In English)
Yes, Claudia. You show them, girl!
Celso gives Alejandro the reloaded gun while Leslie arrives with hers. Celso takes it and quickly reloads it. Pepe picks up the empty cartridges off the ground. Cleo helps him. Celso gives Alejandro a loaded gun, who gives it to Claudia -
DR. ALEJANDRO MATOS
(in English)
Leslie, could you help Claudia?
LESLIE
Come. Point the gun to the floor when you're not using it.
Cokes in hand, Clau and Lola mingle with the adults. They come upon Leslie -
LESLIE
(In English)
C'mon, Lola. You really have to wear a miniskirt and platform shoes? We're in the woods.
Lola keeps walking and pays no attention to her mother.
CLAUDIA
Forget her. You look great, Lola.
Lola and Clau reach the shooting party and its male acceptance.
DR. JOSÉ DE LA BÁRCENA
Let's see Lola, you want to shoot?
LOLA
Sure.
Lola walks up to José who gives her the gun while he hugs her from the back, to "help" her shoot. CONTINUED:
DR. JOSÉ DE LA BÁRCENA
Don't close your eyes when you shoot...
Cleo looks at Alejandro walking over to the drink table tended by Flor.
DR. ALEJANDRO MATOS
Can you pour me a whisky with two ice cubes?
Flor fixes his drink. AT THE SHOOTING PARTY - Everyone celebrates Claudia's nailing two bottles. She shoots four more shots in a row and pops off four more bottles. Everyone celebrates -
RICARDO EDWARDS
Be careful Pepe, your wife is like a guerrilla fighter!
Everyone laughs. Flor hands Alejandro his whisky and, taking advantage of the confusion, he spanks her. Flor runs away, terrified. More bottles explode. INT - PARLOUR- HACIENDA - NIGHT Dozens of floor lamps and table lamps light an immense nave with an enormous chimney guzzling up thick logs facing a broad living room with huge leather sofas decorated with furs. Adults converse, some sitting on the couches, others standing, all are drinking and some are smoking. Pepe is on Sofi's lap, and Gerardo is next to his mother. Yvonne Elliman's voice rings through the air, singing "I Don't Know How to Love You." The girls play cards in a long table in front of the French window that opens to a terrace. Outside, the boys throw firecrackers and rockets. Other boys play "Trominos" on the floor and in a smaller living room, Lola, drink in hand, gossips with Clau. Cleo is with Yola, who looks after Memo, who is obsessively turning a plate on the floor, and after Jorge, who plays with a little car. CONTINUED: Pepe, July Edwards and Andrew Larsson come in from the terrace howling and laughing, chased after by a strange monster. It's a scarecrow with a straw body and long furs, a wooden mask covering its face. Something like a pagan spirit, rum and coke in hand, now chasing after the younger children, who flee happily. Cleo sees Flor walk in with a tray carrying too many milks and milkshakes. She hurries to help her - The milk glasses dance perilously on the platter while Flor loses her balance, but Cleo rushes just in the nick of time. Together they walk over to the table and serve beverages to the girls. The scratch of a needle on a record as the metals of an orchestra blast a mambo rhythm: the tune changes to Perez Prado's "Corazón de Melón." Samantha jumps up with a cry and starts to dance -
SAMANTHA
Come on, comadre!
Sofía and Molly get up and dance with her. Ricardo Edwards in his Ricky Ricardo impersonation, walks by yelling -
RICARDO EDWARDS
Co-ra-zón de melón, de melón melón! Corazón!
He joins in the dancing. Alejandro follows and dances with Sofía. Lola and Clau also join, Gerardo dances with his mother. Ove with July. Benita comes into the living room and looks around. Molly is trying to get Vero and Andrea to go to bed, but they don't want to. Cleo and Flor look on, amused, sucked in by the Mambo. Cleo sees - Pepe, joining the dance and going up to his mother, who pays no attention since she's too busy dancing with Alejandro. Benita walks up to Cleo.
BENITA
Come her for a sec.
CONTINUED: Cleo looks at her, confused -
BENITA
Just come over for a sec.
Cleo looks around -
CLEO
But... what if?
BENITA
What? Is a kid going to cry because he lost at marbles or his brother stepped on him?
Cleo looks at her, amused, and follows her. They cross the room to the entrance.
RICARDO EDWARDS
Co-ra-zón de me-lón, de me-lón, me- lón, co-ra-zón!
EXT. - CORRIDOR - HACIENDA - NIGHT
Benita guides Cleo, who follows amused and curious down the corridor lit with candles. The leave the MAMBO behind and go down -
INT. - STAIRS - HACIENDA - NIGHT
The stone staircase leads down to an internal patio that doubles as storage. A couple of men chat, lit by the light from a kitchen window. Inside there's a racket around an accordion exhaling a ranchera-style polka. Three dogs meander about the patio, waiting for a New Year's gift. Benita and Cleo walk into -
INT. - KITCHEN - HACIENDA - NIGHT
A hall with a vaulted ceiling lit by bare light bulbs hosts an enormous ancient kitchen with wood burning stoves, a giant table, a Mabe stove and two 1961 refrigerators. CONTINUED: The Hacienda WORKERS celebrate New Year's. Benita guides Cleo to the table. Women are serving plates of food from large clay pots. A 65 year-old man plays the accordion and some spontaneous guy improvises a quebradita dance with Gloria, who is clearly drunk. She sees Cleo -
GLORIA
What? They finally let you out?
Cleo laughs. At the table, everyone drinks, some eat, some are dressed for the occasion, many are not. A 1959 television set transmits Channel 2's New Year's special.
BENITA
What'll you have?
CLEO
Nothing, thank you.
BENITA
What? You're not going to toast the New Year with us? What, you only speak English now?
CLEO
It's just that... the baby...
BENITA
A drink on New Year's will do it good. Celebrate while you can. See that guy with the hat?
Cleo sees a man with a hat talking somberly with two other men -
BENITA
They killed his son in August. The villagers did. Because of a land dispute.
Cleo looks at him, moved.
BENITA
You got life?
CLEO
Sure...
BENITA
I mean liquor.
CONTINUED: Benita pours her a shot of moonshine.
CLEO
I'd rather just have a little pulque.
BENITA
That's the spirit!
She pours pulque into a jar and hands it to Cleo. The two toast.
BENITA
Here's to a beautiful 1971 and to your baby's health!
CLEO AND BENITA
Cheers!
Benita takes the jar to her lips and Cleo draws her pulque close to hers when Gloria trips dancing her quebradita and bumps into Cleo. Before even touching her lips, the pulque jar falls to the ground and shatters into a million pieces.
GLORIA
Sorry, manita!
BENITA
No sweat. You dance, we got plenty more where that came from!
She pours pulque into a new jar. Gloria keeps dancing. Cleo holds the other pulque but looks worriedly down at the shattered jar on the floor.
INT. - INTERNAL PATIO - STAIRS - HACIENDA - NIGHT
Cleo exits the kitchen. She's a little tipsy. The patio is empty except for the dogs who follow her until she reaches the stairs that lead up to -
EXT. - CORRIDOR - HACIENDA - NIGHT
Cleo walks down the candle-lit corridor and back into the living room where "Mummy Blues" is playing on the stereo. She sees a silhouette resting on the balustrade: it's Señora Sofía. CONTINUED: Alejandro Matos comes out of the parlour and comes close to Sofía, hugging her from behind. Sofía reacts, turning around in surprise.
SEÑORA SOFÍA
What are you doing?
Alejandro tries to kiss her, but she rejects him.
DR. ALEJANDRO MATOS
Come, now... You know you want to...
Sofía struggles to free herself.
SEÑORA SOFÍA
No, Alex! Leave me alone! You're drunk!
She pushes him. Alejandro holds his hands up, resentful and resigned -
DR. ALEJANDRO MATOS
Fine. Fine! I just wanted to comfort you, but...
He begins to walk back into the parlour.
DR. ALEJANDRO MATOS
It's not even like you're that hot, comadre...
Señora Sofía leans into the balustrade, confused and agitated. She looks in Cleo's direction, but Cleo hides behind a column. Señora Sofía walks back into the parlour, Cleo waits for her to leave before coming out of her hiding spot. She leans on the balustrade and looks out at the night. When her eyes get used to the darkness, she can see the darker silhouettes of the trees in front of a sky that seems to be lit from within. The cricket song melts into "Mummy Blues", ending on a scratch, and the accordion which seems to be playing a mazurca. The wind blows softly. Through the darkness in the woods, a pale light appears, almost blending into the night. Cleo watches in fascination. CONTINUED: The Shocking Blue's "Venus" starts to play. The dogs start barking. The shining starts to spread out in a warm, attractive pulsing, like a will o' the wisp or an apparition. Cleo watches, hypnotized. But what started off as a soft glow begins to rip through the night in an intense gleam that dances in the trees. The barks become more insistent. Someone screams -
SCREAMING
Fire! Fire! In the woods!
A racket. More screaming. More barking. In the garden, Celso runs, carrying a bucket. Other workers follow after him, carrying buckets and pots overflowing with water. They run towards the woods in flames. EXT - SMALL CLEARING IN THE WOODS - HACIENDA - NIGHT The giant puddle reflects the flames dancing over the rocks on the ground. The fire licks the trees and spreads into the branches. The flames push forward, devouring the clearing grass, that very same place where just this afternoon they were all shooting. Celso runs to the fire and empties out his bucket. The workers do the same. They come back for more water and cross paths with yet other workers carrying various containers. Dr. José arrives carrying two buckets, followed by Ricardo Edwards, with one. Further behind, Dr. Alejandro Matos and Leslie carry a heavy washbasin. Gloria, Flor, Yola and Cleo all bring their containers. Even the kids. Everyone runs, comes, goes... the dogs keep their distance. A human chain starts to form: buckets pass from hand to hand, everyone trying to put out the fire. The pagan monster with his drink in hand arrives. He looks at his watch - CONTINUED:
OVE
(In English)
23...22...21...20...19...18...17...
The monster takes off his mask, revealing a sweaty and drunk Ove -
OVE
16...15...14...13...12...11...10...
The human chain begins to work efficiently. Pepe even puts out a few blades of glass with his little cup.
OVE
...7...6...5...4...3...2...1...
HAPPY NEW YEAR!
But no one pays attention. Everyone is working, trying to control the fire.
OVE
Happy New year!
Ove starts singing in Norwegian. It's an emotional Nyttarbukk song.
OVE
Pkfmsll apdkfn alosnnm...
The children go to the puddle and fill up their little containers. The dogs follow them, splashing. The reflection is disarticulated in waves that bump into each other.
OVE
Pkfmsll apdkfn alosnnm...
Ove sings with conviction. His eyes fill with tears. Friday, January 1st, 1971.
EXT. - SMALL CLEARING IN THE WOODS - DAWN
Dew makes the woods shine, though they're still dark and smoking. The first rays of the new year sun filter through the trees. Four folding chairs rest the middle of the clearing, charred.
EXT. - FIELD - HACIENDA - AFTERNOON
The Iztaccíhuatl sleeps, immense, behind the hills and dusty crops. The afternoon light filters through rain-leaden clouds. A group of children run and explore. Toño, Pepe de la Bárcena, Ricky, Paco, Rodri, Alex and Eduardo lead the front throwing each other football passes. Paco, Rodri, and Alex chase after chameleons in the furrows. Lola and Clau walk next to them. Vero, Sofi, Gerardo, Andrea and July are further back. Pepe and Andy walk with Yola. Cleo walks with Benita. The dogs run everywhere. Alex chases after a chameleon, Rodri and Paco follow.
BENITA
Don't run too far. We'll just reach to the outskirts and come back!
Paco stops-
PACO
What skirts?
BENITA
The hillside.
Paco laughs.
PACO
You mean the hill has skirts?
BENITA
The outskirts... well, the slopes then!
PACO
Alex, the hill has a skirt!
Alex stops.
PACO
If we lean over we'll be able to see its panties.
Paco pretends to lean and Alex does the same. Lola and Clau catch up to them -
CLAUDIA
What are you guys doing?
CONTINUED:
PACO
Looking up the hill's skirts to see its panties.
LOLA
Hills don't have underwear.
Paco leans under her and lifts up her miniskirt.
PACO
And neither do you!
Lola screams and pats down her skirt -
LOLA
Asshole!
PACO
Ooooooh!
Alex lifts up Clau's dress. She screams.
GLORIA
Alex! Paco! Leave the girls alone!
The boys run, amused. Cleo and Benita stop. A gust of wind conjures dust devils. A low thunder rumbles and rain falls in the distance. Cleo looks at the landscape dreamily. Her hands rest on her belly.
CLEO
It's like my village. Without the mountain, of course, but it looks just like this...
She enjoys the moment while she rubs her belly. She closes her eyes -
CLEO
This is how it sounds...
The church bells ringing and the bleating of goats get lost in the distance.
CLEO
Just like this...
She breathes. Breathes deep. She smiles - CONTINUED:
CLEO
This is how it smells...
Cleo is somewhere else. Friday, January 29, 1971. EXT - TEPEJI 21 - DAY (RAIN) The Valiant is parked in front of the house, next to the Galaxie 500. The Valiant overflows with the children. One more comes out: Toño's friend, BETO PARDO, 12, with glasses and good-boy looks. He's come for lunch. Paco shows off the black Galaxie, its scrapes and bent moldings recently repaired -
PACO
Look, they fixed it all up. Just like new, right?
Beto barely looks at it. He keeps going and goes into the house after Toño. INT - BREAKFAST ROOM - TEPEJI 21 - DAY Cleo's belly is starting to show. She cuts Pepe's meat. Señora Teresa eats in silence. The children talk while they eat -
TOÑO
The Cowboys won only because Baltimore was overconfident.
BETO
What are you talking about? We scored three touchdowns in the second half. One after the other!
Señora Sofía comes down the stairs and into the breakfast room. CONTINUED:
TOÑO
I'm telling you. Baltimore was overconfident. How can you root for the Cowboys?
SOFI
I like the Cowboy's cheerleaders. In my school...
PACO
Who cares about cheerleaders?
Señora Sofía comes into the breakfast room. Her face is drawn. Señora Teresa looks at her, worried.
TOÑO
Ma? Can Beto and I go to the movies?
Señora Sofía is absent -
SEÑORA SOFÍA
What are you going to see?
TOÑO
The Red Tent, at The Americas theater.
PACO
I want to go too!
TOÑO
No, just Beto and me.
PACO
How come?
TOÑO
Get yourself your own friends!
SOFI
I want to go to the movies too!
TOÑO
I said no! It's just me and Beto.
Señora Sofía explodes -
SEÑORA SOFÍA
Either everyone goes or no one goes!
CONTINUED:
TOÑO
They can go to a different movie!
PACO
I want to go to Las Americas!
TOÑO
You don't even know what The Red Tent is!
SEÑORA SOFÍA
I said, either everyone goes or no one goes!
The telephone rings, Señora Sofía gets up and walks to the hall to answer -
TOÑO
It's not fair!
Señora Sofía comes back -
SEÑORA SOFÍA
If you don't like it you can go live somewhere else!
She walks over to pick up the phone, leaving Toño furious. Paco smiles impertinently.
PEPE
Is it a cartoon?
Señora Sofía answers -
SEÑORA SOFÍA
Hello? Oh, yes, hold on a minute...
She calls to the breakfast room -
SEÑORA SOFÍA
Cleo! I'm going to get this upstairs, would you mind hanging up here!
She goes upstairs. Cleo walks to the phone and she hears Señora Sofía calling - CONTINUED:
SEÑORA SOFÍA (O.S.)
There...!
Cleo is about to hang up the phone when she overhears...
MOLLY (V.O.)
How are you feeling, comadre?
Cleo hangs up.
INT. - DOWNSTAIRS HALL - TEPEJI 21 - AFTERNOON
Everyone's ready to go to the movies. Señora Teresa is going too, because she worries and because she loves going to the movies. She calls up to the children -
SEÑORA TERESA
We're late! You coming down or what?
Paco and Sofi are already by her side.
PACO
Let them stay. Let's go...
SEÑORA TERESA
We're leaving!
Señora Teresa goes out to the Patio with Cleo, Paco, Sofi and Pepe.
EXT. - PATIO - TEPEJI 21 - AFTERNOON
The group reaches the street entrance and Señora Teresa opens the door. Borras takes advantage of the situation to run out despite Cleo and Paco's attempts to stop him. Paco runs out.
EXT. - TEPEJI 21 - AFTERNOON
He chases the dog down and drags him back into the house where the group is waiting outside the door. Paco leaves the dog inside and is about to close the door when Toño and Beto come out.
TOÑO
What are you waiting for?
CONTINUED: The two hurry up to the corner heading towards Insurgentes. Everyone follows them.
EXT. - TEPIC STREET - AFTERNOON
Toño and Beto are at the front. Cleo and Señora Teresa look after Sofi and Pepe who is talking to Paco about planes.
PACO
...Braniff planes may be different colors but they're all 727s...
They're on Tepic street, near Insurgentes when Toño and Beto, take off in a well planned strategy.
TOÑO
See you at the movies!
The pair run off.
SEÑORA TERESA
Toño!
Señora Teresa asks Cleo to follow them. Cleo embarks on her mission. She hurries without losing Toño and Beto from sight, their two little mischievous figures already half a block away. They ring doorbells and run away. Cleo shortens the distance with each step, getting closer, but not too close. And so, she follows them. When they reach Insurgentes the boys run off, and turn, disappearing at the corner. Cleo hurries and turns the corner to -
EXT. - INSURGENTES AVENUE - LAS AMERICAS CINEMA - DUSK
Cleo reaches the bustling avenue, brimming with its early Friday night energy. People walk in all directions and the street lights, the cars, the shop windows and the ads are all lighting up. CONTINUED: She sees people crossing to the other side of Insurgentes, where the marquee announces Melody, but she doesn't see the boys. She worries and walks to the following corner, searching. She's almost made it to the newspaper stand in the next corner when she turns and looks to - THE OTHER SIDE OF INSURGENTES And there, amongst the crowd coming out of the theater and spilling onto the sidewalk, she sees Señor Antonio. He looks light and happy and dances a silly step to the great delight and laughter of the YOUNG WOMAN who holds his hand. And that's when she also finally spots Beto, hiding on one side of the news stand, lost in the pages of Caballero men's magazine. Beyond, Toño is also holding a magazine, but he's not looking at the naked women in its pages. He's looking at the other side of the street: people are coming out of the theater and his dad is playing Fred Astaire to a Ginger Rogers that is not his mother. In his silly dance move, Señor Antonio trips with an OLDER COUPLE who is annoyed. Señor Antonio and the young woman laugh and hurry off.
OLDER COUPLE
So rude...!
Señor Antonio stops, turns and to sprays bullets at the older couple with his make believe machine gun, escaping with the young woman, Bonnie & Clyde, hand in hand. Wednesday, March 24th, 1971.
INT/EXT - PUBLIC BUS - CALZADA IGNACIO ZARAGOZA - DAY
Cleo's riding a bus full of people.
EXT. - DIRT AVENUE - CIUDAD NEZAHUALCÓYOTL - DAY
Cleo climbs down the bus, her six-month belly is obvious and the contrast with the Roma neighborhood is evident too - CONTINUED: The dirt avenue is flanked by large electric towers and riddled with pot holes where stagnant water pools. The houses are made of cement brick, corrugated cardboard and asbestos sheets. There's lots of trash and plastic. Cleo shows a piece of paper to a PEDESTRIAN who points to a street up the avenue. Cleo heads up the street.
EXT.- STREET- HOUSE - CIUDAD NEZAHUALCÓYOTL - DAY
Cleo walks on. Misery is palpable, there are children and stray dogs everywhere and a stream of raw sewage running down the street. Different music booms out of each house. Three dogs block her way and bark. Cleo crouches, pretending to get a rock and the dogs run off. She reaches a house and double-checks the address on her paper. She comes to the door and knocks. Impertinent dogs answer her knocking next to the entrance. Cleo knocks again as the door opens. It's Ramón.
INT/EXT - DATSUN - OCEANÍA AVE - DAY
Cleo rides alone in the back seat. In front, Ramón is in the driver's seat, and his friend CANCHAS, is in the passenger seat, smoking pot. He gives the joint to Ramón, who takes a drag and passes it to Cleo, who refuses.
EXT. - PARKING LOT - EMPTY LOT- SAN JUAN DE ARAGÓN AND
CUCHILLA DEL TESORO - DAY NEXT TO THE FIELD - About a hundred young men in uniformed t-shirts and tennis shoes are in resting position, supervised by three instructors with martial airs, pants and sweat-shirts. They pay attention to a man in sweat pants and a sleeveless t- shirt who makes an exercise demonstration - CONTINUED: The man does push-ups with his index finger only. A young man standing next to Cleo says with admiration -
YOUNG MAN
It's Zovek.
CLEO
(in disbelief)
No...! Zovek?
YOUNG MAN
Look at 'im...
CLEO
Is that really professor Zovek?
YOUNG MAN
He's done over a hundred push ups by now!
CLEO
What? Does he always come here?
YOUNG MAN
No, not always, but sometimes he comes to train them.
PROFESSOR ZOVEK counts to 150, pushes hard on his fingers and in one swift move is on his feet, crossing his wrists over his head. The young men applaud.
PROFESSOR ZOVEK
You too can be a Kombateka! Every human being holds great potential he must develop through physical conditioning and through mental and spiritual evolution.
Zovek walks amongst them.
PROFESSOR ZOVEK
You too can develop your potential. But don't expect any miracles, the only miracle lies in your own will.
Zovek stops - CONTINUED:
PROFESSOR ZOVEK
This is why mental development is the true motor of physical development.
He stretches his arms, taking his audience in -
PROFESSOR ZOVEK
And next up... an act!
A strip of bandage hangs from one of his hands, swaying in the dusty breeze - ON THE EDGE OF THE FIELD - Cleo and the small audience call out in surprise -
SMALL AUDIENCE
Ooooooh!
Zovek exclaims -
PROFESSOR ZOVEK
This is a routine that requires absolute physical condition! Only martial arts masters and a few great athletes can master it!
Professor Zovek extends the bandage to a YOUTH in the first row.
PROFESSOR ZOVEK
Yes... You... please bandage my eyes.
The youth walks up shyly to Professor Zovek and takes the bandage, starts to bandage his eyes -
PROFESSOR ZOVEK
Make sure they're totally covered. You've got plenty of bandage there.
They youth has completely covered Professor Zovek's eyes.
PROFESSOR ZOVEK
Thank you, you may return to your place.
The youth walks back to his spot.
PROFESSOR ZOVEK
And now...!
Professor Zovek flexes his biceps and puts the fingers in both of his hands together in a diamond shape over his head. He inhales deeply and -
PROFESSOR ZOVEK
(Exhaling)
Huuuuuuuh!
He is quiet. The young people look on, expectantly. AT THE EDGE OF THE FIELD - Cleo and the small audience look on in awe. Professor Zovek is standing, motionless, with his diamond over his head and slowly, very slowly starts to lift his left foot. Time has stopped. The left foot lifts up, folding at the knee until the thigh is at a 45 degree angle, and he remains motionless in that position. The young people await in confusion for something to happen. AT THE EDGE OF THE FIELD - Cleo and the small audience are also waiting, a boy crouches down. Professor Zovek continues on, motionless -
PROFESSOR ZOVEK
Are you disappointed? Were you expecting me to lift a jet or an elephant?
The audience laughs.
PROFESSOR ZOVEK
You are witnessing an incredible feat! You don't believe me? Try it.
Professor Zovek talks but remains motionless -
PROFESSOR ZOVEK
Just close your eyes and lift up a foot.
PROFESSOR ZOVEK
You don't have to lift your leg to a forty-five degree angle like me or put your arms up. Just close your eyes and lift a foot.
IN THE ROWS - The young men close their eyes and try lifting one foot. They quickly lose their balance. The instructors also try it without succeeding. AT THE EDGE OF THE FIELD - Cleo and the small audience also tries it out, some child lasts a little longer but they all fail. Professor Zovek explains -
PROFESSOR ZOVEK
True mental preparation is the path to physical realization.
The small audience begins to notice that - Cleo is on one foot, forming a diamond with her fingers over her head. Her eyes closed, placid. EXT - FIELDS - EMPTY LOT - LATER A trainer blows his whistle and the formation breaks up. The young men pick up their belongings at the edge of the field and walk over to the parking lot. Cleo watches them walk by, and in a small group she finds - Fermín, who walks talking, animated. Cleo wants to call him, but is anxiously silent. Fermín and his group walk right past her. Cleo finally calls to him -
CLEO
Fermín!
Perhaps a little too loud. Fermín turns and when he sees her, he stops. Others in his group stop with him
FERMÍN
What's up my Cleo?
CONTINUED:
CLEO
Can you talk for a minute?
The group surrounding Fermín make fun of him -
GROUP
Wooooooooooooo!
Fermín smiles and walks towards Cleo gesturing good bye to his group. Cleo and Fermín walk one toward the other in the emptying lot. IN THE BACKGROUND - An Eastern Airlines Boeing 727 takes off and flies over the couple approaching in the middle of the lot.
FERMÍN
Long time no see, Cleo!
CLEO
Hi, Fermín...
They meet and kiss hello.
FERMÍN
What are you doing around these parts?
CLEO
Well, I have left you so many messages and I've been looking for you but I can never find you so...
Fermín starts heading toward the parking lot -
FERMÍN
I'm sorry my Cleo, but the training got real hard core and they even brought in a gringo trainer and another one from Korea. Well, the American had been here already, but the Korean one is new.
CLEO
Is it for the Olympics?
CONTINUED:
FERMÍN
Something like that. Who told you I was here?
Cleo hesitates -
CLEO
It's just that a neighbor's brother in law trains with you so...
FERMÍN
(interrupting)
It was Ramón, right?
CLEO
No, no, no!
Fermín stops -
FERMÍN
Son of a... Fucking Ramón. I'll get him when I see him -
He makes some pretend impressive aikido movements -
FERMÍN
Jodan Tsuki!... Chudan Tsuki!... Mae Geri!...
Flash blows, precise kicks and body contact with the air.
CLEO
It's just that... I'm with child...
Fermín stops mid-punch. He keeps walking to the parking lot.
FERMÍN
What's it to me?
Cleo follows him -
CLEO
Well, the little one's yours.
Fermin walks faster.
FERMÍN
No fucking way!
CLEO
But it is, Fermín!
CONTINUED: Fermín stops completely and turns to Cleo -
FERMÍN
I told you already, there's no fucking way! So if you don't want me to fuck you up real bad, you and your "little one" too, don't ever fucking say it again and don't ever come looking for me again!
He does some aikido movements culminating in a mortal blow to Cleo, stopping less than half an inch from her face and then walks off.
FERMÍN
Fucking cunt!
He leaves Cleo alone in the empty lot. Friday, May 14th, 1971.
EXT. - SMALL PATIO - TEPEJI 21 - DAY
Borras barks like crazy. Cleo holds his collar but is lost in her own sadness. Her almost-eight-month belly is very large. The old man with the oranges puts three more oranges in the crate on the floor. It's almost full.
OLD MAN WITH ORANGES
...20.
The old man gets up and Adela pays him with a crumpled 20- peso bill. Further back, Cleo holds on to Borras, who tries to lunge at the old man with each bark. The old man slowly carries the immense sack of oranges and puts it on his back. He starts walking towards -
EXT. - PATIO - TEPEJI 21 - DAY
Where Cleo is holding Borras who pushes up on his hind legs to attack the old man who walks past them on his way to the street. CONTINUED: The old man is halfway down the patio when Borras tugs hard, surprising Cleo, who is lost in thought and lets go. Borras runs down to the old man who hurries to the door as he feels the dog coming. Borras chases him.
CLEO
Borras!
Borras lunges at the old man and sinks his teeth into the enormous sack. Dozens of oranges fall out rolling all over the patio. The old man lets go of the sack and runs to the door while Borras is trying to finish off the sack. Cleo runs up to Borras on the orange-covered floor. The old man is almost at the door when the dog realizes this and runs after him. The old man reaches the door and opens. Borras is about to sink in his teeth when the old man exits and shuts the door. Borras can't stop and smashes against the door. Cleo is standing in the middle of the patio, surrounded by an ocean of oranges.
INT. DOWNSTAIRS - TEPEJI 21 - DAY
The midday light bounces off the patio walls and slides in through the great windows, softly caressing the modern mahogany table. Cleo polishes the surface with a rag. She rubs the rag over and over the same spot, as if she wanted to wipe her own reflection. The house is quiet. Only the rumor of a conversation is heard. The phone cable extending all the way into the bathroom under the stairs disappears inside the door. Señora Sofía is inside, talking. Her voice echoes in the small space and filters though the doors. Only a few words can be clearly heard. Paco comes down the stairs slowly. Stopping in the middle, he leans over the railway, trying to hear better. Cleo keeps polishing the same area of the table and finally realizes Paco is coming down the stairs. CONTINUED: Paco's in the hall and walks slowly to the bathroom door, leaning on the wall next to it. Cleo stops wiping her reflection and sees Paco, who - Slides and sits down on the floor. He leans against the wall and tries to move his ear closer to the door. From the dining room, Cleo shoos him away, gesturing, but Paco ignores her, concentrated on listening to the conversation distorted by the bathroom echo and muffled by the door.
SEÑORA SOFÍA (O.C.)
...he wrote them letters from so- called Vancouver...
Cleo walks up to Paco, gesturing. When she reaches the hall she stops at a respectful distance from the bathroom and its conversation. She stops and shakes her rag vigorously, calling Paco.
SEÑORA SOFÍA (O.C.)
...he doesn't even have enough of a pair to tell the children...
He sees her but shakes his head no repeatedly. Cleo comes a few steps closer, still keeping her distance, and speaks by mouthing the words but almost without a single sound.
CLEO
(articulating)
G-e-t o-u-t- o-f h-e-r-e
Paco is about to shake his head no but a cry punctures the echoes and the walls - a deep desperate wail. Paco and Cleo freeze, scared, when suddenly - The bathroom door opens and Señora Sofía comes out, carrying the phone. She sees Paco running away and grabs him -
SEÑORA SOFÍA
And you? What are you spying on?...
Her face is gaunt from crying, from all the pain and frustration that explode in a - Giant slap that throws Paco down on the floor. Señora Sofía immediately realizes what she's done and crouches down next to her son, holding him, crying - CONTINUED:
SEÑORA SOFÍA
I'm sorry, I'm sorry, Paco! Why were you eavesdropping? Why were you eavesdropping?
The two of them cry on the floor, Señora Sofía sees Cleo, only a few steps away -
SEÑORA SOFÍA
And you! Why did you let him?
She hugs Paco tightly -
SEÑORA SOFÍA
Don't say anything to your brothers and sisters. Don't say a thing. Promise me... Promise...
To the side, Cleo is motionless, wishing she could join in the hugging and the crying.
INT. - SOFI AND PEPE'S ROOM - TEPEJI 21 - DUSK
Cleo brushes Sofi's hair. They're sitting on the bed. Sofi reads a letter. Cleo is lost in thought.
SOFI
It has so many drawings. Look, I think this little girl is me and I think this is my daddy...
The letter is done exclusively in blue ink drawings with no color or highlights.
SOFI
And this is a heart, look, with an S for Sofi and a P for Papa... and this here is a dog... or is it a fish?
Pepe comes in and sits down next to them, leaning over to see the letter.
CLEO
Maybe it's a dolphin, I think?
SOFI
A dolphin? No. It's like a doggie...
CONTINUED:
PEPE
It's a seal! In the fourth letter my dad sent Paco, he said he can see the ocean from his hotel room and that there are a lot of seals.
Sofi considers the drawing -
SOFI
Yes. It's a seal! Like the ones in his hotel!
PEPE
You had said dolphin. It looks nothing like a dolphin!
CLEO
No?
SOFI
No!
CLEO
So it's not a dolphin? What do you think it is?
Sofi and Pepe answer in a chorus -
SOFI AND PEPE
A seal!
And they also laugh in chorus. Distracted by her own sadness, Cleo turns to Pepe and does a surprise tickle attack, prolonging the laughter. When they've calmed down, Pepe is lying on the bed and fixes his eyes on Cleo.
CLEO
What you looking at?
PEPE
When's your baby coming out?
Sadness washes over Cleo again -
CLEO
Next month.
SOFI
It is a girl?
CONTINUED:
CLEO
I don't know...
SOFI
Oh, please let it be a girl! Pleeeease! What's her name?
CLEO
I don't know.
SOFI
If it's a girl can her name be Tabitha like Bewitched?
CLEO
(Absently)
Maybe...
Pepe gets up and looks at her, serious.
PEPE
And will she live here?
SOFI
If she's a girl yes!
CLEO
I don't know. Would you like her to live here?
PEPE
No way! Yuck!
Cleo smiles, trying to hide her pain. She changes the topic -
CLEO
Let's see! Put your pajamas on!
Saturday, May 15th, 1971.
INT. - SENORA SOFIA'S ROOM - TEPEJI 21 - DAY
The room glows softly in the light that filters in through the curtains. Cleo folds freshly washed clothes in the closet drawers. As she opens one she looks down at Señor Antonio's underwear. She can hear the children fighting downstairs. CONTINUED: Cleo closes the drawer. She looks at the men's suits hanging. The yelling grows more intense and in the middle, Señora Teresa -
SEÑORA TERESA (O.C.)
Children! Stop it, Toño! Stop!
Sofi comes running into the room.
SOFI
Cleo! Toño and Paco are fighting!
Cleo comes out to -
INT. - UPSTAIRS HALL - TEPEJI 21 - DAY
With her 8-month belly, Cleo slowly goes down the stairs with Sofi. When they come down they see - IN THE HALL- Toño who is holding Paco by the hairs. Paco is screaming furiously and attempting to kick Toño. Señora Teresa is in the living room yelling at the boys. Pepe is standing, paralyzed, next to her.
SEÑORA TERESA
Stop it! Now!
But Paco manages to free himself and hits Toño on the face. Toño grabs his arms. IN THE STAIRCASE - Cleo stops. Sofi takes her hand -
CLEO
Boys!
IN THE HALL - Paco spits in Toño's face, leaving him space to give him a good slap.
SEÑORA TERESA
Toño!
And Paco throws himself against Toño once again, while Toño speedily escapes. CONTINUED: IN THE STAIRCASE - Cleo is still walking down.
CLEO
Boys! I'm going to tell your mom when she comes back!
IN THE HALL - The boys don't pay any attention to her at all. Paco takes an trinket from the table, a stone egg, and - HE THROWS IT TO TOÑO - It flies straight to his head.
SEÑORA TERESA
Paco!
Toño ducks just as the speedy egg projectile, flies exactly over where his face was, following its trajectory through the open doors, out the patio and - CRASHING against the door of the Valiant, parked just outside. Señora Teresa runs towards Paco and grabs him hard, shaking him -
SEÑORA TERESA
What are you doing! Paco!
PACO
He hit me first!
TOÑO
Because you pushed me!
Cleo walks into the hall with Sofi, towards the living room.
SEÑORA TERESA
How could you throw that thing!? You could have killed your brother!
Paco stops wrestling, remorseful. Cleo comes to Pepe, hugs him and Sofi is with her. Señora Teresa lets go of Paco -
SEÑORA TERESA
You could have killed him!
CONTINUED: Scared, Toño looks at the car door where the egg has left an enormous dent in the metal.
INT. - KITCHEN - TEPEJI 21 - NIGHT
The house is quiet again. Cleo washes dishes. Adela puts them away on the shelves.
ADELA
You head up, manita, I'll finish up here...
The Galaxie 500 honks its horn - Ta-ta Ta-ta Ta-ta Ta-taaaaaaaa!
ADELA
I'll go.
Adela goes out the small patio and to the patio. Cleo walks to the breakfast room.
INT. - DOWNSTAIRS - TEPEJI 21 - NIGHT
Cleo walks across the breakfast room and the dining room and goes out to the hall. She peeks out the door that opens to the patio.
EXT. PATIO TEPEJI 21 - NIGHT
Ta-ta! Ta-ta! Ta-taaaaaaaa! Adela walks to the street door, lit from the outside by the car's headlights. Ta-ta! Ta-ta! Ta-taaaaaaaa! Adela opens the door, revealing - The mighty Galaxie 500 headlights lighting the patio. The car pulls in slowly but - Kkkkkkkjjjjjjjjk! Its left side scratches against the door frame. CONTINUED: The car brakes and moves back a couple of inches. Adjusts its trajectory and pulls forward again - Krrrrrrajjjj! Now its right side hits the frame. The car stops and veers its wheels left. Moves forward. Kkkjjjjjkkk! The left molding catches the frame and begins to bend. The car stops. Backs up. Goes forward again and now the right side molding is the one that's caught. The car stops. Backs up. It starts forward again and the right side molding is ripped from the metal, but now the car doesn't stop. It just heads straight in, ripping the entire left side molding too. It adjusts its course once more. The side mirror catches and is ripped off. The Galaxie 500 stops only momentarily to follow its course with even greater conviction, hitting and denting both sides, its molding bent in strange shapes. Finally, the Galaxie stops in front of the door that opens to the hall.
INT. - DOWNSTAIRS HALL - TEPEJI 21 - NIGHT
Cleo is next to the patio door. Outside - The Galaxie door opens and Señora Sofía comes out. She stumbles as she walks and comes into the house without closing the car door. She is obviously drunk. Cleo moves aside to let her through. Señora Sofía looks at her, amused -
SEÑORA SOFÍA
We're alone. Always. Even though they say we aren't.
She laughs and Cleo looks at her, confused. CONTINUED: Señora Sofía walks on and staggers up the stairs. Thursday, June 10th, 1971.
INT/EXT - VALIANT - STREET - AFTERNOON
Ignacio is driving. Cleo is sitting in the front and Señora Teresa rides behind, alone. They drive slowly in heavy traffic. A parked car tries to come out onto the street. Ignacio stops and lets it through -
IGNACIO
Maybe if we park over here, far away, because there's a student protest.
There's a bustle of young people on the sidewalks and walking up the street. Some carry pickets and painted slogans.
SEÑORA TERESA
I hope they don't get them again...
The parked car frees up a space and Ignacio tries to park.
EXT. - STREET NEAR MEXICO-TACUBA - AFTERNOON
The Valiant parks, Señora Teresa and Cleo come out with Ignacio accompanying them. Cleaning trucks are parked along the block. They walk amongst the students heading up the street to the corner which is surveilled by police vehicles, and they pass in front of a group of young men dressed in T-shirts, waiting.
EXT. - CALZADA MEXICO-TACUBA - AFTERNOON
Ignacio accompanies Teresa and Cleo, who walk slowly. Cleo on account of her belly, and Señora Teresa due to her limp. The storefront metallic curtains are all shut. They walk in front of a long row of riot police trucks, lines of police officers while a group of young men carrying bamboo canes gathers at the corner. They reach Calzada México - Tacuba and it's closed off. The beginning of an enormous march passes next to them, walking from north to south on the Avenue. Señora Teresa, Cleo and Ignacio are forced to cross in the middle of the march. They melt in with the crowd - some have pickets, others sing slogans. They manage to make it to the other side of the avenue and head towards the entrance of a building advertising a furniture store on the second floor, letters painted on its windows. Señora Teresa and Cleo walk in. Ignacio waits outside.
INT. - FURNITURE STORE - CALZADA MEXICO TACUBA - AFTERNOON
The afternoon sun lights the MUEBLERÍA sign painted all along the windows, staining the floor with its upside-down letters. A handful of clients walks around the store, which sells cheap and functional furniture. The din of the march fills the place with chanting and slogans. Cleo and Señora Teresa walk through the nursery section. They see a crib -
SEÑORA TERESA
You like that one?
CLEO
It's so beautiful.
Señora Teresa sees the price tag and calls a YOUNG SALESWOMAN over. She comes immediately -
SEÑORA TERESA
What's your best price on this crib.
The saleswoman looks at the tag.
SEÑORA TERESA
With my faithful old time customer discount, eh?
SALESWOMAN
Let me ask the manager.
The saleswoman walks up to the counter. The outside din turns into a chorus roar of terrified screams. It is five o' seven p.m. CONTINUED: Ignacio runs through the door, panic in his eyes. Everyone in the store looks at him, confused. The outside roar intensifies. Ignacio runs to the window and looks out. Other clients do the same. Terror in their eyes. Cleo and Señora Teresa slowly approach and they join Ignacio to look out the window - CALZADA MÉXICO - TACUBA The giant line of students is attacked frontally by more than 100 young men in tennis hoes, T-shirts and short haircuts, armed with 6 foot bamboo canes, clubs and metal rods administering electric shocks. They are the HALCONES. The paramilitary group attacks furiously. The multitude runs, but more Halcones have surrounded them from the back and come out of the surrounding streets. Shots are heard and a cloud of gunpowder begins to form. People fall. Women, old men. Children. INSIDE THE FURNITURE STORE - Steps can be heard up and down the staircase and a STUDENT comes in, bleeding from the head. He's not even 20 years old. The clients cry out in alarm. The student looks at them imploringly and, scared, he turns to hear the noise in the staircase. The STORE MANAGER signals for him to come in quickly and calls the young saleswoman over.
MANAGER
Put him in the closet.
The young woman rushes the student in to the closet at the back of the store, when - Three HALCONES appear. People are terrified. A woman starts crying. Ignacio walks protectively in front of Cleo and Señora Teresa. The Halcones see the young woman closing the closet door. Two head over, one stays in the middle of the store, controlling the people. CONTINUED: The young woman places her body in front of the closet door. The first Halcón hits her and throws her on the floor, opens the door and the second Halcón - SHOOTS THREE TIMES. The student falls out of the closet, and to the floor where - THE HALCÓN SHOOTS HIM TWO MORE TIMES. People scream and the Halcón at the rearguard surveils them menacingly. Shielded by Ignacio, Cleo sees the Halcón at the rearguard. The Halcón also sees her. THEY RECOGNIZE EACH OTHER. It's Fermín. Cleo starts hyperventilating. The two other Halcones begin retreating and Fermín follows them. The three leave the store. Cleo watches them go. Her breathing is fast. A puddle forms at her feet. Her water has broken.
EXT. - STREET - VECINDAD ENTRANCE - NEAR MÉXICO -TACUBA -
AFTERNOON Ignacio holds Cleo and helps her walk. Señora Teresa walks next to them. Terrified people run in all directions. Shots are fired and there is a lot of smoke in the air. Students run towards them, terrified, chased after by Halcones with bamboo sticks. Ignacio pulls Cleo to the entrance of a Vecindad, taking shelter and Señora Teresa follows after them. In front of them, on the street, the Halcones catch up with a student and beat him to a pulp. They keep going. Ignacio peeks out at the street, pulls Cleo out and they leave the doorway to continue on their way. Señora Teresa follows after them. CONTINUED: They walk down Mexico - Tacuba. On the ground, men, women, old and young, lie dead. Some surrounded by pools of blood. A YOUNG WOMAN cries kneeling on the floor. She holds a young man's head. Halcones come up and beat her violently.
INT/EXT - '64 VALIANT - STREET - AFTERNOON
At the wheel, Ignacio weaves through traffic finding any empty spot he can slide into.
CLEO
Aaaaaaaaaaaahhhhhhhggggg!
In the back seat, Cleo suffers contractions. Next to her, Señora Teresa holds her hand. INT - MEDICAL CENTER - CUAUHTEMOC AVE. - AFTERNOON The '64 Valiant rushes down Cuauhtemoc Avenue and turns into the Medical Center entrance.
EXT. OB/GYN - MEDICAL CENTER - DUSK
The building and ramp lights are on against the purple sky wanting to become night. Ignacio helps Cleo walk. Señora Teresa, slower, follows behind. On the esplanade, pregnant woman walk around, some accompanied, waiting for their imminent deliveries. Ignacio and Cleo walk into the building.
INT. - LOBBY - OB/GYN - DUSK
Chaos. Pregnant woman walk around the lobby while some wait with their family members in the waiting room. Names are called on the loudspeaker and pregnant women are admitted. CRIES AND MOANS from women going through contractions. In the reception, nurses efficiently tend to the long line of patients. CONTINUED: Ignacio enters the lobby holding Cleo. They immediately walk to the reception area. When they arrive, he tells Cleo -
IGNACIO
Wait for me here. Just a sec.
He leaves Cleo and tries to talk to a hurried NURSE -
IGNACIO
Excuse me...
But the nurse doesn't pause, she only points -
NURSE
Line is over there...
Ignacio sees the line and Cleo has another contraction, standing.
CLEO
Aaaaaaaaaaaaaaaaaahhhaa!
Ignacio yells out to make himself heard on top of the racket of questions, orders, complaints and cries -
IGNACIO
(screaming)
Doctor Vélez! Doctor Vélez!
No one seems to hear him. Ignacio insists -
IGNACIO
(screaming)
Doctor Vélez! Doctor Vélez!
Doctor Vélez comes in through the medical team and patient door. She hurries to Ignacio -
DOCTOR VÉLEZ
Here, here, here....
Ignacio takes her to Cleo while Doctor Vélez lifts an arm and emphatically calls out -
DOCTOR VÉLEZ
Nurse! Nurse!
A nurse runs to them, pushing a wheelchair. Señora Teresa has finally arrived. She is completely breathless. Doctora Vélez reaches Cleo- CONTINUED:
DOCTORA VÉLEZ
Hi, Cleo. How are you feeling?
Cleo looks at her: fear is her only answer. The nurse comes in and helps Cleo sit down on the wheelchair. Ignacio helps too.
DOCTORA VÉLEZ
I'll take it from here. You can wait out there.
Rosary in hand, Señora Teresa and Ignacio look at Cleo being wheeled off through the door leading to - INT - HALLWAY WITH ELEVATORS - OB/GYN - DUSK Cleo is in the wheelchair, scared. She is surrounded by Doctor Vélez and the nurses. They reach the elevators and wait. The elevator doors open and they walk in. The doors are about to close when Señor Antonio, dressed in his white coat, walks up to them and goes in as well.
INT. - ELEVATOR - OB/GYN - DUSK
The doors close.
SEÑOR ANTONIO
Hi Cleo, how are you feeling?
Cleo looks at him, surprised -
CLEO
Doctor...!
Señor Antonio tries to encourage her -
SEÑOR ANTONIO
You're in good hands... How many babies have you delivered, Doctor Vélez?
Doctor Vélez smiles -
DOCTOR VÉLEZ
Hundreds!
Cleo has a strong contraction - CONTINUED:
CLEO
Aaaahhhhggg!
Señor Antonio holds her hand and leans down to bring his face closer to Cleo's -
SEÑOR ANTONIO
Breathe Cleo... Like this...
Señor Antonio begins inhaling and exhaling and blowing. Cleo tries to imitate him by looking at his face.
INT. - 6TH FLOOR LOBBY - OB/GYN - DUSK
The elevator opens its doors and Cleo's chair is wheeled out by the nurses. The sixth floor has no windows. They pass the nurse station and reach the door that leads to the Birthing room. Señor Antonio leans in to Cleo -
SEÑOR ANTONIO
Doctor Vélez will only let me come up to this point....
Doctor Vélez interrupts -
DOCTOR VÉLEZ
Don't mind me. Come in if you like.
SEÑOR ANTONIO
No, uh... I have a patient...
His excuse hangs in the air and he puts a hand over Cleo's shoulder -
SEÑOR ANTONIO
You're going to be just fine, Cleo...
And he scurries down the hallway. Frightened and confused, Cleo has barely registered the exchange. The nurses wheel her into -
INT. - ADMISSION CUBICLES - OB/GYN - DUSK
A cubicle, separated from other cubicles by a curtain and screens, the gynecological bed is in the middle. The nurses help Cleo to get up and out of the wheelchair - CONTINUED:
DOCTOR VÉLEZ
Take off all your clothes and put on this gown, OK?
Cleo undresses. She doesn't have much privacy and, behind the poorly closed curtains she can see other women being examined. Doctor Vélez asks her questions to which she answers in confusion.
DOCTOR VÉLEZ
When did you last menstruate?
CLEO
September?
DOCTOR VÉLEZ
Do you have a due date?
CLEO
June 21st...
DOCTOR VÉLEZ
Were there any complications during the pregnancy?
Scared, Cleo shakes her head no.
DOCTOR VÉLEZ
How long ago did your water break?
CLEO
About an hour and a half ago. We couldn't get out of where we were and...
DOCTOR VÉLEZ
Was it clear?
CLEO
Huh?
DOCTOR VÉLEZ
The water. Was it transparent?
CLEO
No. A little thick. Like soup.
Cleo is about to close her gown when she suffers a very painful contraction. Doctor Vélez orders - CONTINUED:
DOCTORA VÉLEZ
Don't push Cleo, blow. Help her get on the bed...
The nurses help Cleo lie down on the gynecological bed. Doctor Vélez touches the top of her belly -
DOCTOR VÉLEZ
Check dilation.
A RESIDENT examines her and declares
RESIDENT
Seven or eight centimeters...
DOCTOR VÉLEZ
Frequency?
The RESIDENT checks on the cardiac rhythm with a Pinard stethoscope while a nurse fills out papers.
RESIDENT
I can't hear the foetal focus...
NURSE
Blow, ma'am!
RESIDENT
She's full. She's in second plane... expulsive with full dilation and there is four cross meconium and asystole.
Doctor Vélez gives a round of instructions -
DOCTOR VÉLEZ
Plug in mixed solution at 5% and wheel her into Labor immediately. Alert pediatrics. Prepare a laryngoscope, reanimation equipment and an ambu.
The nurses quickly bring a gurney up to the gynecological table. The resident asks Cleo -
RESIDENT
Can you climb onto the gurney for me?
DOCTOR VÉLEZ
Let's get your baby out.
CONTINUED: The nurses help Cleo move onto the gurney.
INT. - HALLWAY - LABOR ROOMS - 6TH FLOOR - OB/GYN - DUSK
Fluorescent lights in a hallway with half-open frosted doors. The cries of a woman giving brith filter out from one of the labor rooms. A nurse comes out of one of the rooms and goes into another. At the end of the hallway we also hear a door opening, and soon after, Doctor Vélez and her team of nurses and residents appear pushing Cleo on her gurney. When they reach the end of the hallway, they turn and enter -
INT. - BIRTHING ROOM - OPERATING ROOM - OB/GYN - DUSK
Nurses and residents work around Cleo who moans in pain. They put her on the birthing bed while Doctor Vélez washes her hands.
INTERN
Rubén Leñero's colleague is telling me that they've hospitalized injured students and some Halcones came in to kill them off inside the very hospital.
A nurse fixes Cleo's feet onto the braces. Doctor Vélez sits in front of her legs to deliver the baby. Cleo has a strong contraction -
CLEO
Aaaaaaaahhhhhh!
DOCTOR VÉLEZ
Don't blow, Cleo. Push!
Cleo tries blowing in the middle of her cries of pain. A doctor comes in the door accompanied by a nurse who wheels in a cart with medical equipment. It's the PEDIATRICIAN. Cleo breathes, agitated. And from between her legs, the baby's crown appears, like a rising sun.
DOCTOR VÉLEZ
Almost there... Push!
CONTINUED: Cleo screams.
CLEO
Aaaaaaaaaaaaaaahhhhhhhhhhhhhh!
It's a deep cry. A primeval scream from time immemorial.
CLEO
Aaaaaaaaaaaaaaaahhhhhhhhhhhhh!
The baby is expelled between Cleo's legs and onto the hands of Doctor Vélez, who receives it. The baby doesn't cry or breathe. It is flaccid and hangs like a rag. It's completely smeared in green liquid. Doctor Vélez cuts the umbilical chord and passes the baby over to the pediatrician who places it softly on his pediatric table and checks on it with a Pinard stethoscope. Cleo follows all the action, the pediatric table only a yard away from her face.
PEDIATRICIAN
No heart beat. We'll try reanimation.
The pediatrician places the baby in hyperflexed position and puts the laryngoscope down its mouth. He begins aspiration with a catheter. Cleo sees her baby. From its mouth, through the catheter, meconium comes out, a green dense liquid like pea soup. The pediatrician pulls the catheter out of the baby's mouth and places the "ambu", a manual resuscitator, on the baby's mouth and nose. Doctor Vélez is working on the placenta expulsion. Cleo watches the baby on the table. The Pediatrician pumps the "ambu" balloon repeatedly, attempting to reanimate the baby. Cleo looks at the baby, its face almost entirely covered by the "ambu" and finds out it's a girl. The Pediatrician stops pumping the "ambu" and checks for a heartbeat with the stethoscope -
PEDIATRICIAN
Still asystole...
And he walks over, softly, to Cleo
PEDIATRICIAN
Ma'am. I am afraid you're baby is stillborn. She had no amniotic liquid. And the green liquid blocked her lungs. I am so sorry, señora.
Cleo listens in silence, unable to take her eyes off her baby. The nurses start cleaning off its tiny body.
DOCTOR VÉLEZ
I am so sorry, Cleo...
PEDIATRICIAN
Would you like to say good bye to your baby, ma'am?
Cleo nods. The nurses carry the baby and place it quietly on Cleo, who hugs it, her gaze lost. Doctor Vélez keeps working between her legs, cleaning her.
PEDIATRICIAN
Who are you with? Can we call someone?
DOCTOR VÉLEZ
She's with family. They're outside.
Cleo whispers something.
DOCTOR VÉLEZ
Did you say something, Cleo. I couldn't hear you...
CLEO
(whispering)
Señora Sofía... Señora Sofía...
DOCTOR VÉLEZ
Yes, Cleo, I will give her a call...
The nurses come to take the dead baby -
NURSE
May I? Ma'am?
Cleo nods and the nurse takes the baby over to a small table where they wrap her in a cloth. Cleo watches as her baby girl disappears under the sheath, and when she is completely wrapped, the nurse seals the cloth with adhesive tape. CONTINUED: The nurse takes a marker and writes on the sheath - NEWBORN - CLEODEGARIA GUTIERREZ. Friday, June 11, 1971. The light of a new day floods the room. Beds in a row along the walls, mothers who have recently given birth are resting. Some women carry their babies. Others breastfeed. Some sleep. There are bows, envelopes, flowers. Cleo is awake, lying in bed. Her gaze is absent. A nurse carries a baby up to a bed. A woman holds it, excitedly and begins to breastfeed. The nurse helps her, both of them whisper effusively, interrupting the peace in the room. Cleo doesn't turn to look at them, or perhaps she can't hear them, her gaze is lost. Señora Sofía comes to the door and stops for a moment. She watches Cleo, who is motionless, surrounded by the low hum of barely awakened traffic from Avenida Cuauhtémoc and the breastfeeding woman's effusive whispers. Señora Sofía comes into the hall and walks towards Cleo. She sits on the bed and holds her hand. Cleo looks at her, and attempts a feeble smile. Señora Sofía squeezes her hand as her wounded heart tries to offer solid support that Cleo can't find in the void.
INT/EXT - GALAXIE 500 - BAJA CALIFORNIA AVE - URES AND
HUATABAMPO CROSSTREETS - TONALÁ - DAY Señora Sofía is driving. Next to her, Cleo. They are silent. They turn right, leaving Baja California Ave behind and with it, the sun. They drive down Ures, both look straight ahead, surrounded by the purr of eight cylinders changing gears automatically. They turn left, onto Huatabampo streets. They continue in silence under the shade of the houses until they reach the corner with Tonalá, where a car waits its turn to turn. CONTINUED: Señora Sofía breaks behind the car and waits. The two women look ahead in silence. Señora Sofía holds Cleo's hand and starts bawling. It's a quiet and prolonged wail that breaks into a long and articulate lament. She hugs Cleo who is still silent. The car in front of them has moved and now the GALAXIE holds up the traffic, three cars waiting behind it already. A HORN honks. Señora Sofía cries while hugging Cleo. She cries out all the impotence, all the fear, all the uncertainty, and all the humiliation. She cries, ignoring the chorus of horns that has joined her lament.
EXT.- CORNER OF HUATABAMPO AND TONALÁ - DAY
The Galaxie 500 is motionless and stops traffic at the corner. Impatiently, cars go around it on the left, some of them protesting rudely. The two women inside the Galaxie continue to hug. Wednesday, June 23, 1971. EXT- PATIO - TEPEJI 21 - AFTERNOON Littered with dog shit, the patio is empty except for a red tricycle, a football and Borras, enjoying the last few rays of sun. A mysterious WHISTLE filters in from the distance. Alert, Borras lifts his head. The sad and solitary whistle invokes a presence, invading the walls of the house. In the patio, Borras begins to bark.
EXT. - TEPEJI STREET - TEPEJI 21 - AFTERNOON
The whistle pierces through the afternoon quiet and seems to bounce off the facades of the houses. Sad and defeated, Tepeji 21 rests on its solid ground, which blends with the grey concrete of the sidewalk. The Galaxie 500 and the Valiant are parked in front of the house. A KNIFE SHARPENER crosses on his bike, blowing on his whistle, suffusing the air with its ominous lament. EXT - SMALL PATIO - TEPEJI 21- AFTERNOON The parakeets seem to want to imitate the whistle with their song. Adela's voice calls from the second floor -
ADELA (O.C.)
Move it!
INT. - KITCHEN - TEPEJI 21 - AFTERNOON
Cleo is sitting next to the window, wrapped up in her own pain.
ADELA (O.C.)
It's the sharpener! Move it! Cleo!
But Cleo remains motionless. The fateful whistle fades away slowly and disappears. Borras and the parakeets calm down. Everything is in silence. The afternoon light abates. Cleo doesn't move. TA-TA TA-TA TA-TA TA-TAAAAAAA...! A car's nasal horn resounds on the street and Borras replies with his barks. TA-TA TA-TA TA-TA TA-TAAAAAAA...! Cleo does not recognize the sound of the horn but its rhythm - TA-TA TA-TA TA-TA TA-TAAAAAAA...! Cleo gets up and slowly walks out the door to the - SMALL PATIO - She crosses out onto -
EXT. - PATIO - TEPEJI 21 - AFTERNOON
Cleo watches Adela open the street door while she grabs Borras by the collar. She discovers - A PALE YELLOW RENAULT 21 parked in front of the door. It revs and pulls in, easily crossing the doorframe and continuing its way up to the hallway door. Paco and Pepe peek out from the hall and see their mother at the wheel of the Renault. Paco cries out -
PACO
Toño! Sofi! Come!
PEPE
Mom bought a new car!
Paco comes out to examine the car's body. Pepe joins his brother. Cleo comes closer while Adela closes the door that leads to the street. Señora Sofía pokes her head out of the car window -
SEÑORA SOFÍA
You like it?
PACO
How fast can it go?
Señora Sofía opens the door and comes out -
SEÑORA SOFÍA
You check.
Paco hurries to sit in the driver's seat. Pepe runs around to the other side and sits in the passenger seat. Toño and Sofi come out to the patio to see the new car.
TOÑO
Why not a Maverick?
From the driver's seat, Paco protests -
PACO
It only goes to 145! The Galaxie goes up to 200!
SEÑORA SOFÍA
Because they're very expensive and I want a small car. I've had it up to here with that Galaxie!
CONTINUED: Sofi sits in the back seat -
SOFI
I like the new car, mommy.
PACO
What about the Galaxie?
SEÑORA SOFÍA
I sold it. They're coming to pick it up next week.
Sofi comes out of the car -
SOFI
Does dad know?
SEÑORA SOFÍA
No, it's a surprise.
Señora Sofía looks at Cleo -
SEÑORA SOFÍA
Hi, Cleo. Do you like the new car?
Cleo barely nods.
SEÑORA SOFÍA
And speaking of surprises, we're going on a trip this weekend and we're taking the Galaxie on its goodbye ride.
Paco and Pepe come out of the car and follow their mother and siblings into the hall.
SOFI
Where to?
SEÑORA SOFÍA
Tuxpan.
PACO
Where's Tuxpan?
TOÑO
I have practice!
SEÑORA SOFÍA
You'll skip it. Tuxpan is in Veracruz.
CONTINUED: From the patio and through the window, Cleo watches the lights of the house switching on and Señora Sofía crossing the hall up to the stairs. Paco and Pepe cross the hall following their mother.
PACO
It's the beach?
SEÑORA SOFÍA
Yes.
TOÑO
The beach in Veracruz is so ugly.
Señora Sofía climbs the stairs, the four children follow her. Out on the patio, Cleo watches the family disappear into the upper floor. Saturday, June 26, 1971
EXT. TUXPAN FREEWAY - DAY
Palm trees, ceibas and banana plants give way to multicolored houses competing with tropical flowers and foliage and more palm trees, ceibas and banana plants. The Galaxie 500 drives past a turn.
INT/EXT - GALAXIE 500 - TUXPAN FREEWAY - AFTERNOON
Cleo watches the landscape in silence, Pepe snuggles against her. The radio's looking to tune into a station, going through tropical music, cumbias, and advertisements for a local dance.
TOÑO (O.C.)
La Pantera doesn't get all the way here.
PACO (O.C.)
I heard it for a little bit.
SEÑORA SOFÍA (O.C.)
Look! The sea!
PACO
Stop, stop, stop! Ma!
SEÑORA SOFÍA
Why don't we go drop the bags off at the hotel first?
TOÑO
By the time we get there it'll be dark.
PACO
Let's go! Just for a little while.
SEÑORA SOFÍA
OK. Only for a little bit though.
EXT. - ROADSIDE BEACH - AFTERNOON
The Galaxie pulls up next to the sands of a long grey overcast beach, empty except for the stunted skeleton of a brick building. The family comes out of the car. Toño and Paco immediately run to the shore taking off their shirts and pants and throwing them on the sand. Sofi and Pepe follow behind. Señora Sofía takes off her shoes and follows her children, picking up the clothes strewn about on the sand. Cleo walks to the shore where the children splash around. She is absent. A gust of wind drags the breeze over to caress her face. Cleo breathes in the sea and closes her eyes. She breathes in, as if wanting to cleanse something very deep.
EXT. - GARDEN - BUNGALOWS -TUXPAN - DUSK
The fading light of day strokes the garden with soft coolness. An orchard surrounds the bungalows built in the 1940s their paint now nibbled on by time and saltpeter. A RECEPTIONIST, carrying keys, guides Señora Sofía, Cleo and the children through the garden. They all carry bags. The receptionist opens the door.
INT. - ROOM - BUNGALOW - TUXPAN - DUSK
The sky's last light attempts to paint the windows but is defeated by the lightbulb inside a wicker lamp, which lights the small room with two beds. Cleo, sits on one of the beds and putting Pepe's T-shirt on as he stands in front of her with his arms up in the air. When his head pokes out the collar, Pepe looks at her, surprised -
PEPE
Cat got your tongue?
Cleo shakes her head no.
PEPE
Then why don't you talk.
Cleo smiles, with a smile that holds back tears, and walks him out of the room to a -
INT. - LIVING ROOM - BUNGALOW - TUXPAN - DUSK
Another wicker lamp hangs in the middle of the little dining room and two lamps on each side of the sofa, one without a shade, light the room. Toño is tying knots with a string while Señora Sofía is applying vinegar on Paco's back with a cotton ball.
PACO
Ay! Ay ! Ay...!
SEÑORA SOFÍA
I told you to put on your T-shirt.
PACO
But it was cloudy!
SEÑORA SOFÍA
That's why! The glare is worse than the sun!
Next to him, crying and crying, Sofi waits her turn.
SEÑORA SOFÍA
Are you dressed Pepe?
PEPE
Yes, but the cat got Cleo's tongue.
CONTINUED: Señora Sofía smiles. Cleo sits on the sofa and grabs a cotton ball, douses it in vinegar, comes close to Sofi and starts applying it on her back. Cleo and Señora Sofía swab wet cotton balls over Sofi and Paco's backs. Sofi won't stop crying but Cleo's gaze is absent.
INT. - RESTAURANT - TUXPAN - NIGHT
Hand-drawn illustrations of each dish and a stuffed sailfish decorate the walls of a family restaurant. Romantic music pours out of a rockola, accompanying the hum of the fluorescent lights. The family's finishing dinner. Cleo cuts Sofi and Pepe's meat. They're wearing pajamas already. Toño has finished and is tying his knots.
SEÑORA SOFÍA
Children?
But the children are distracted.
SEÑORA SOFÍA
Children?
She finally gets her children's attention.
SEÑORA SOFÍA
Pay attention! I have something to tell you.
The children look at her expectantly. Señora Sofía hesitates, gathers her courage and -
SEÑORA SOFÍA
Your dad's not in Ottawa.
SOFI
Is he back?!
SEÑORA SOFÍA
No. Your dad never went anywhere.
The children look at her, she's seems confused.
SEÑORA SOFÍA
Well, yes. But he only went for a week and... your father's not coming back home.
CONTINUED: The children watch her in silence. Toño and Paco are interested, Sofi and Pepe are confused. The song ends and the rockola digests another coin, expelling a new lament.
SEÑORA SOFÍA
We came on this trip so he could come get his things from the house.
PACO
What things?
SEÑORA SOFÍA
His things. Or what he says are his things. His clothes, the bookshelves...
PACO
Are you getting a divorce?
SEÑORA SOFÍA
He says he doesn't know.
Sofi starts to cry.
SOFI
He doesn't love us anymore?
SEÑORA SOFÍA
Dad loves you very much. He says he wants to see you.
TOÑO
When?
SEÑORA SOFÍA
He says he doesn't know when... Soon.
Sofi muffles her cries in Cleo's breast, Toño looks at the fan and Paco plays with his beans. Only Pepe is still looking at his mother, still confused.
SEÑORA SOFÍA
There will be many changes, but we'll be together and it'll be an adventure.
Pepe rests his head on Cleo. CONTINUED:
SEÑORA SOFÍA
I'm starting a new full time job in publishing next week.
TOÑO
Publishing? But you're a chemist.
SEÑORA SOFÍA
I know, but your father hasn't sent any money yet and teaching high school is not enough. Plus, I love books and I never liked chemistry. It'll be another adventure.
But the children don't look very convinced. They still don't know this but this moment will be etched into their memories as fragments of images, smells, sounds and textures - The food stains on the table, the paintings on the walls, the landscape of beans smashed by the fork on a plate. The song ends.
EXT. - STREET - TUXPAN - NIGHT
The family roams around the streets. Quiet. Lost in thought. Sunday June 27, 1971.
EXT. - PALAPA - TUXPAN BEACH - DAY
The sun bears down on the afternoon, beaming down on the waves and the burning sand on the empty beach. The waves follow one after another, incessantly, dragging their foam till they caress the sand without ever breaking. A palapa shelters the family under its shade and its cool sand. Paco and Pepe bury Sofi in the sand, sculpting long legs to which they add tennis shoes instead of feet. Señora Sofía reads a book sitting on a folding cloth chair and Toño reads a Flash comic lying down on a hammock, swaying in the wind. At the edge of the shade, Cleo is sitting on a chair, hypnotized by the rhythm of the waves and the foam melting as it touches the sand. Time trickles by slowly. EXT - TUXPAN BEACH - AFTERNOON/DUSK The yellow end-of-the-afternoon light dances with the wind, caressing surfaces softly. Paco and Sofi play in the waves, jumping over them, swimming under them, or resisting heroically on foot. In her dress, Cleo stands next to Pepe who is digging holes, tunnels and roads in the sand too. Señora Sofía comes in to the edge, followed by Toño who stops halfway. Paco and Sofi come out of the water running -
PACO
Are you going to come in?
SEÑORA SOFÍA
I have to go check on the tires since we're leaving tomorrow early. You coming?
PACO
No. It's our last day at the beach.
SOFI
I'm staying too.
SEÑORA SOFÍA
But if I leave, you can't go in. If something happens, Cleo can't swim.
PACO
But it's so mellow.
SEÑORA SOFÍA
I don't care. If you want to stay, those are the rules.
PACO
Not even by the edge?
SEÑORA SOFÍA
By the edge is fine. But just here, understood?
PACO AND SOFI
Yes...
CONTINUED:
PEPE
Me too?
SEÑORA SOFÍA
Yes, but right by the shore.
Señora Sofía looks at Cleo.
SEÑORA SOFÍA
Can I leave them with you? I won't take long.
Cleo simply nods and watches Señora Sofía walk back with Toño to the Galaxie 500 parked behind the palapa. In the background, the sun has lost its shine and peeks out, red and roundly from between the clouds. Paco and Sofi go back to the water, Pepe follows.
CLEO
Just right by the shore.
Paco and Sofi run to the edge, splashing around with their feet, getting Pepe wet.
PEPE
Aaaah!
Paco and Sofi kick more water around to get Pepe wet, he runs away but falls on dry sand. Cleo runs to him and picks him up, he's crying. She tries to brush off the thousands of grains of sand sticking to his damp skin. Paco takes advantage of the distraction and goes in deeper. Sofi begins to follow in after him when Cleo sees them -
CLEO
Paco! Just in the shallow water! Sofi!
Sofi obeys, Paco comes back to the shore too. Cleo takes Pepe's hand and they walk back to the palapa together. As they step on warmer sand, Pepe stops, holds his arms up.
PEPE
Carry me.
CONTINUED:
CLEO
No way. You can do it alone. It's not hot anymore.
She looks to the shore -
CLEO
Paco! I see you! Back to the shore!
PACO (O.C.)
But we're at the shore!
CLEO
Come closer! You heard your mother, if you don't come in, you have to get out!
She waits and when she's satisfied, she keeps walking. Arms still up in the air, Pepe watches her go and throws himself on the sand. Cleo barely looks -
CLEO
Suit yourself. You're just getting more sand on you and I was going to clean you up in the palapa.
She keeps walking. Pepe gets up, crusty with sand, and hurries to catch up. They reach the palapa and Pepe sits on a chair. Cleo starts dusting him off with a clean towel. She looks to the sea -
CLEO
Hey! I'm watching you guys!
Cleo waits for the children to come back to shallow water and keeps cleaning Pepe.
PEPE
Did you know when I was grown up I was a sailor?
CLEO
Mmmhmmm...
PEPE
Yes, and I drowned in a storm.
CONTINUED:
CLEO
Mmmhmmm...
She gets up and looks out to sea -
CLEO
Paco and Sofi! Closer!
Cleo keeps watching -
PEPE
But the waves were so big....
CLEO
Get back!
She walks to the edge of the palapa and stops to wait next to a post -
CLEO
Closer!
PEPE
And it was night and there was so much lightning... and I didn't know how to swim...
Without taking her eyes from the waves, Cleo starts walking towards the shore.
CLEO
Stay there Pepe.
The sun has vanished behind the mountain and the purple sky is laden with black clouds. The wind picks up the sand and makes new waves that crash arrogantly into the old ones. Cleo stops -
CLEO
Help your sister!
Behind her, Pepe comes closer. Cleo sees him -
CLEO
Pepe! I told you to stay there!
Chided, Pepe goes back to the palapa. Scared now, Cleo looks at the sea and looks around but the beach is deserted. Only a man on a horse far away and some people walking in the distance. She hurries to the shore. As she reaches the edge, she walks fearfully in the water that moves back and forth and crashes around her legs, soaking her polyester dress. She looks impotently at the waves, which Paco and Sofi wrestle, insignificant in a fierce and indifferent ocean that drags them further in. Cleo tries to move closer to the children, fighting to keep her balance in the choppy waters reaching her waist. The wind plays with the crests of the dark waves and the dense clouds are charged with tension in an ever darkening sky. Cleo looks out to the beach but the man on the horse and the people are still very far away and she resigns herself to going deeper. A wave crashes over the children's heads. When it passes, Sofi reemerges but she can barely take a breath when another waves comes crashing over her. Other waves cross and crash up to the sky. Cleo fights desperately to stay on her feet in the midst of the cross-current chaos enveloping her without failing to look straight in front of her- Where the waves crash, rising up, and yet others take their place, the little heads don't emerge. Another wave powers up and a little head bobs up in front of her, it's Sofi taking up air, and Paco resurfaces too. He turns to look and sizes up the wave, grabs his sister and swims with the break to the beach, but the wave catches up with them, pulling them down. Cleo comes close but is pushed back by the waves. In front of her, the little heads reemerge. Paco tries to repeat the move and pushes Sofi to the front, but the water envelops them. It also envelops Cleo, but doesn't drag her out. She pushes towards Sofi, who tries to swim to her. Cleo reaches her body out to get her and as she pulls her in, her feet lose contact with the bottom and the two go under. Another wave galloping with foam. And behind it, Cleo emerges carrying Sofi. Paco swims behind them. At the beach, a group of people gathers, and with them the man on the horse. CONTINUED: Cleo carries Sofi and finally manages to reach shallower waters, Paco follows a little further behind. A couple of young guys run towards them but they don't help, they just look. Carrying Sofi, Cleo reaches the shore and collapses on the beach, Paco next to her. Sofi coughs and Cleo hugs her on her lap. Curious onlookers surround them and behind them, Señora Sofía, followed by Toño come running from the palapa. Cleo cleans sand off of Sofi's face and starts crying. She cries and hugs Sofi who is also crying, and rocks with her. Cleo hugs her as if her life depended on it. Señora Sofía throws herself on the sand next to Cleo and yanks Sofi from her. Sofi hugs her mom. Paco comes to them and hugs them both. Toño watches, next to the bystanders, and next to him Pepe looks scared. Señora Sofía checks on Sofi -
SEÑORA SOFÍA
Are you OK, my love?
Sofi nods -
SOFI
Cleo saved us...
The recent emotion pushes more tears. Señora Sofi looks at Cleo who is crying inconsolably. It's a deep and painful cry, a cry that washes it all away. Señora Sofía hugs her mightily -
SEÑORA SOFÍA
Thank you, thank you, thank you Cleo...
But Cleo can't stop crying -
CLEO
I didn't want her... I didn't want her...
Señora Sofía tries to calm her - CONTINUED:
SEÑORA SOFÍA
Shhh, shhh, shhh... They're OK. The kids are OK....
But Cleo insists amidst tears and snot -
CLEO
I didn't want her... I didn't want her to be born...
She breaks down completely -
CLEO
Poor little girl! ... I didn't want her to be born! ... I didn't want her to be born!...
SEÑORA SOFÍA
It's going to be all right, Cleo... It's going to be all right...
The two women cry, hugging. It's a shared cry, with sobs like retching, and long silences exploding in prolonged vocals. The children close in on the women, hugging them. Only Toño watches, standing by. The onlookers scatter. The rider pulls the reins and the horse continues its way down the beach. The furious sea and its restless waves reflect the last glimmers of the day. Monday June 28, 1971.
EXT. - PUEBLA FREEWAY - AFTERNOON
Fields spotted with clouds spread out between green hills. Further behind, the volcanos show off their snowy peaks. The Galaxie 500 drives on, tiny, on the road crossing the landscape.
INT/EXT - GALAXIE 500 - PUEBLA FREEWAY - AFTERNOON
Señora Sofía is driving, and her index finger is calm. Next to her, Toño looks out the window without looking at the landscape. In the rear, Paco also lets the landscape slide by his lost gaze. Sofi is hugging Cleo, who carries a sleeping Pepe on her lap. The family rides in silence.
EXT. - FREEWAY ENTRANCE TO THE CITY - AFTERNOON
Mexico City extends out to the distance. The Galaxie 500 drives on, heavy with uncertainty.
EXT. - HOUSE - TEPEJI 21 - AFTERNOON
The house rests patiently, resigned to enjoy the last rays of sun. The Jr. high marching band turns the corner and heads into the street with its martial drums and trumpets. The Galaxie 500 pulls into the street and follows the band's read guard until it parks in front of the house. Toño immediately opens the door and stretches out on the street. Pepe comes out after him, running to the door, holding his privates and ringing the doorbell. Borras answers by barking. Señora Sofía comes out of the car and opens the trunk, Sofi comes out after her. Cleo comes out last and heads to the trunk as well. Adela opens the door holding Borras by the collar. Pepe runs through the door and rushes in.
INT. - DOWNSTAIRS - TEPEJI 21 - AFTERNOON
The afternoon sun still pierces the windows obliquely and streaks the living room shadows with its light. Outside the family is on the sidewalk -
CLEO
Tie the dog ...
SEÑORA SOFÍA
You too, kids. Don't play dumb and come help us with the things.
CONTINUED: The children who were already walking up to the house stop and come back to help begrudgingly. Inside, the skylight lights the stairs but barely touches the tiles in the hall. Pepe bursts in from the patio and runs to the bathroom that is under the stairs, goes in, shuts the door. Adela crosses through the windows that open to the patio, dragging Borras by the collar. She listens to the jet in the toilet. Inside, the house waits. It seems to have grown larger. The absence of the bookshelves has left towers of books piled on the floor and a seeming emptiness. Toño comes in, carrying his things. He's rushing but stops in the middle of the hall, surprised by the space-it seems new. Paco comes in right after and stops next to his brother. Señora Sofía walks in with Sofi. The toilet flushes and Toño reaches his verdict -
TOÑO
It's horrible. It's horrible without the bookshelves...
PACO
I like it better this way...
Toño runs up the stairs...
TOÑO
It's awful.
Paco follows after him. Pepe comes out of the bathroom and follows his mother and Sofi up the stairs -
SOFI
What's so horrible mommy?
SEÑORA SOFÍA
He doesn't like the hallway without the bookshelves.
SOFI
What bookshelves?
SEÑORA SOFÍA
The ones that used to be in the hall.
CONTINUED:
SOFI
Oh! You're right!
PEPE
Wow! It looks bigger!
SEÑORA SOFÍA
What did you think about our adventure?
SOFI
I liked it a lot.
Señora Sofía and the children disappear upstairs, where the television is already on. Outside, on the patio, Cleo walks, carrying three bags and runs into Adela who is back without the dog.
ADELA
I'm going to the store, there's no ham. How was it then?
CLEO
Real pretty. Go. I'll tell you about it later.
Adela continues on her way out. Cleo comes into the hall. Crosses and goes up the stairs carrying the luggage. From upstairs Pepe exclaims -
PEPE (O.S.)
The desk is gone too!
INT. UPSTAIRS HALL - TEPEJI 21 - AFTERNOON
Cleo makes it up to the hall and leaves the luggage on the floor. The family has begun to take over the spaces - Pepe sits next to Paco who is already in front of the television.
SEÑORA SOFÍA
And we'll have other adventures. And we'll travel a lot.
PACO
We'll go to Dinseyland?
CONTINUED: Toño puts stuff away in a drawer in his room and Sofi goes to her room to grab a doll. Señora Sofía goes to Cleo, takes one of the bags and puts it in her room -
SEÑORA SOFÍA
We don't have enough money...
Cleo takes the other bag to Toño and Paco's room. Toño comes out and sits in the armchair in front of the television.
SEÑORA SOFÍA
But we can go on adventures in the car. What if we went to a ghost mining town in the desert?
PEPE
And there's ghosts?
Paco gets up, following his mother into her room -
PACO
No, silly. That's what you call towns that are abandoned. And what's over there?
Cleo comes out of Toño's room carrying a load of laundry and drops it next to the stairs. Señora Sofía comes out of her room followed by Paco. The phone rings.
SEÑORA SOFÍA
Nothing. Just the town and the abandoned mine. Or we could go to the Lacandon jungle, or Oaxaca...
SOFI
Oaxaca, Yes! And we could visit Cleo's village.
Señora Sofía comes back to the hall and sits in the couch next to Pepe and Sofi who takes up the other spot.
PACO
I was there.
SOFI
Finders keepers...
Cleo picks up... CONTINUED:
CLEO
Hello? Yes, thank you ma'am... Yes just a moment...
She lowers the phone and calls out -
CLEO
Señora Sofi? It's señora Molly calling.
Señora Sofía gets up, calming the children -
SEÑORA SOFÍA
Don't fight. You sit here, Paco.
She goes up to the phone -
SEÑORA SOFÍA
Hello, comadre. How are you? I'm just back from Tuxpan...
Cleo gathers the dirty laundry into a pile. Pepe calls from the couch -
PEPE
Cleo? Can you bring me a banana milkshake?
SOFI
Me too?
Cleo picks up the pile of clothes -
CLEO
Sure. Just lemme take these clothes up to wash. Do you want something, Paco?
PACO
Any Gansitos?
CLEO
I'm not sure, but if not, I'll go get some later.
Cleo starts to go down the stairs. Señora Sofía continues her phone conversation -
SEÑORA SOFÍA
Yes, it was wonderful... Yes, the kids are all right... No... lovely! .... good...
SEÑORA SOFÍA
Well Paco and Sofi scared the living daylights out of me...
INT - DOWNSTAIRS - TEPEJI 21 - AFTERNOON Cleo goes down the stairs carrying her pile of clothes, the family conversations and television filter down from upstairs. As she reaches downstairs, she crosses the empty hallway and the breakfast room. She goes into the kitchen and out the back.
EXT. - SMALL PATIO - TEPEJI 21 - AFTERNOON
The patio, in shadows now, floats in the afternoon quiet. Borras sleeps and the parakeets are quiet. Only the hum of the city in the distance. Cleo comes out of the kitchen carrying her load of dirty laundry and crosses the tiny patio to go up the metal staircase that leads to the roof. Her steps reverberate throughout the bony structure in a metallic moan that echoes through the tiny patio, waking the caged birds. Cleo reaches the step in front of her room and keeps walking upwards. A sweet potato vendor lets out his sad howl in the distance. Step by step, Cleo ascends. Yet further up, beyond the roof, the sky is pure. Pietrasanta, September 23, 2016. EN ESPAÑOL
ROMA
Escrita y Dirigida por
Alfonso Cuarón Las fechas en ROJO están indicadas únicamente como una herramienta para que los distintos departamentos tengan una especificidad histórica de las escenas a filmar y no aparecerán en pantalla. 3 de septiembre de 1970, jueves INT - PATIO - TEPEJI 21 -- DÍA Triángulos amarillos dentro de cuadros rojos. Agua que se esparce sobre los mosaicos, con espuma turbia. Es el piso de un largo y estrecho patio que se extiende a lo largo de la casa. Al fondo está la puerta que da a la calle, negra, de metal y con vidrios esmerilados, dos de los cuales están rotos, culpa de algún portero derrotado. CLEO, Cleotilde Gutiérrez, una india Mixteca de 26 años, recorre lo largo del patio empujando con un hule el agua del piso mojado. Al llegar al otro extremo, la espuma se ha acumulado en una esquina, tímida, presumiendo sus brillantes burbujitas blancas hasta que - UN CHORRO DE AGUA las sorprende y son arrastradas hasta la esquina donde las burbujas, necias, se deshacen en un remolino que desaparece en la coladera. Cleo recoge las escobas y las cubetas y las carga al - PEQUEÑO PATIO - Que está encerrado entre la cocina, el garage y la casa. Cleo abre la puerta de un cuartito y almacena las escobas y las cubetas, después entra a un bañito y cierra la puerta. El patio queda en silencio, sólo un locutor de radio con su entusiasmo que se disuelve en la distancia y el triste cantar de dos pajaritos encarcelados. Se escucha la descarga del escusado y luego el agua del lavabo. Después de un momento, se abre la puerta. Cleo sale secándose las manos en el mandil, entra a la cocina y desaparece tras la puerta que conecta a la casa. INT - PLANTA BAJA - TEPEJI 21 -- DÍA Cleo cruza el antecomedor de madera anciana y oscura, después el comedor moderno de madera clara, ligera y puntiaguda, y cuando llega al hall, sube las escaleras. CONTINUED: Pasando el hall hay dos salas, una con pesados sofás de terciopelo verde y antiguos gabinetes con los discos y el estéreo. Hay un piano pegado a la pared. La otra sala intenta ser más moderna, con sofás ligeros y un carrito para cocteles con un sifón. En una sala cuelga la enorme pintura de una mujer recargada en un cántaro de barro, en tonos rojos y morados. En la otra, otra pintura, también grande pero más sombría. En una oscura celda de piedra, un monje da consuelo a un preso engrilletado que, desesperado, cubre su cara con las manos. INT - PLANTA ALTA - TEPEJI 21 -- DÍA Las escaleras suben a un hall central que está rodeado de cuatro recámaras y un enorme baño. Cleo arregla una recámara, la cama matrimonial ya está tendida, tiene una cabecera de caoba con ornamentos que hace juego con las mesas de noche. Junta ropa sucia del piso y la carga al hall, donde la apila sobre el montón de ropa que se acumula. El hall de arriba hace de cuarto de televisión. El baño aún falta por lavar pero tres de las habitaciones ya están completamente ordenadas. Cleo entra a una habitación con dos camas pequeñas para niños. Primero levanta la ropa y acomoda los juguetes de niño y de niña que están regados por el piso. Comienza a tender una de las camas cuando se escucha un grito desde la planta de abajo -
ADELA (O.S.)
¡Manita…! ¡Ya es casi la una…!
Cleo se sobresalta y exclama -
CLEO
¡Ay chicú…!
Y sale de la habitación cargando la ropa sucia. En el hall, la junta con el montón de ropa y lo carga. Se apresura escaleras abajo. INT - PLANTA BAJA - TEPEJI 21 -- DÍA Cleo baja las escaleras cargando el montón de ropa - Cruza el hall y los comedores y desaparece tras la puerta que da a la cocina. Después de un momento, a través de - LA VENTANA - La vemos salir al pequeño patio. Deja la ropa al pie de la escalera de metal que va a la azotea y se apresura hacia la calle. EXT - CASA - TEPEJI 21 -- DÍA La calle de Tepeji se extiende apenas dos cuadras, partidas por Avenida Monterrey, de casas cansadas construidas en los años 30. Tepeji 21 descansa, triste y resignada, sobre sólidos cimientos que se funden con el concreto gris de la banqueta justo a mitad de la cuadra. Es toda blanca excepto la franja de rojo casi marrón que corre a lo largo de la fachada, y la herrería de las ventanas y la puerta que están pintadas de negro. Junto a la esquina superior izquierda de la puerta está el número, de mosaicos: 21. La puerta se abre y Cleo sale. Se apresura hacia la avenida y al llegar a la esquina, da vuelta a la derecha. EXT - CALLE - AV. MONTERREY - TLAXCALA -- DÍA Cleo sale de Tepeji y camina por la avenida, donde circula un tráfico considerable. Al llegar a la esquina cruza la avenida y sigue por - CALLE DE TLAXCALA - Y pasa una farmacia, una miscelánea, una panadería y un salón de belleza. EXT - KINDER CONDESA -- DÍA Una pequeña multitud se acumula en la entrada del kinder a la hora de la salida, Cleo llega y entra a la escuela, despues de un momento sale con PEPE, un niño de 5 años que carga una "obra de arte" recien seca. EXT - CALLE DE TLAXCALA -- DÍA Cleo camina junta a PEPE que carga su "obra de arte", un niño de 5 años en shorts y camisa. Pepe camina dando brincos para no pisar raya, Cleo carga su lonchera. De pronto, Pepe se detiene y se sienta. Cleo sigue caminando unos pasos pero se detiene, voltea -
CLEO
¿Qué pasó?
PEPE
Ya me cansé.
CLEO
¡Pus vámonos llegando a la casa, y ahí, si quieres, hasta tu cama!
PEPE
¡Ya no puedo!
Cleo pretende seguir caminando -
PEPE
¡Mamá…!
Cleo se detiene y voltea -
CLEO
¡Qué no vas a poder! Anda, ¡dale!
PEPE
¡Que no puedo!
CLEO
¡Ay! Si cada vez que pienso que "no puedo" me acostara, me la viviría en la cama.
PEPE
No estoy acostado.
CONTINUED: Cleo le toma la mano -
CLEO
Ándale, que hay sopa de fideos…
Pepe se levanta -
PEPE
¡Ahhyyyyy!
Y comienza a dar unos pasos pesados y perezosos.
PEPE
¡Maaaaamáááááá…!
CLEO
¡Vamos, soldadito! ¡Con la sonrisa al frente!
Los dos marchan de la mano. EXT - PATIO - TEPEJI 21 -- DÍA Cleo y Pepe entran, el cargando su "obra de arte" y ella la lonchera, se escucha a Adela que la llama -
ADELA (O.S.)
¡Cleo…!
ADELA, de 26 años, mejor amiga de Cleo y también Mixteca, sale al patio. Sus conversaciones privadas son en lengua mixteca conmbinada con algo de español.
ADELA
(en mixteco)
¡Apúrate, manita! ¡Que está Fermín al teléfono!
Cleo se apresura y entra a la casa a contestar. INT - HALL DE ABAJO - TEPEJI 21 -- DIA Cruza el hall y contesta el teléfono que ya está descolagado sobre el mueble bajo la escalera -
CLEO
¿Bueno…?
INT - COCINA - TEPEJI 21 -- DÍA Adela prepara la comida, las ollas hierven en la estufa. Cleo entra y deja la lonchera sobre la mesa.
ADELA
(en mixteco)
¿Entonces qué te dijo?
CLEO
¡Nada! ¡Nomás habló para saludar!
Cleo recoge platos y vasos, sale con ellos. Adela remueve la sopa. Cleo entra otra vez y abre el cajón de los cubiertos.
ADELA
¡Seguro! ¡Ya me bajaste a mi novio, ¿verdad?!
CLEO
¡Ay, ¿cómo crees?! ¡Fermin es sólo mi amigo!… Además… Tú me lo presentaste…
ADELA
¡Ay, manita! ¿Ya ves cómo te pones? Si yo nomás te estoy jodiendo. ¡Y además! Sólo salí dos veces con él y ni lo dejé besarme.
Se escucha que se abre la puerta de la calle y con ella una conmoción de niños.
CLEO
Ya llegaron…
Cleo sale al - EXT - PATIO - TEPEJI 21 -- DÍA Cleo llega al patio en el momento en que - Entran dos niños corriendo - TOÑO de 12 años y PACO de 11, los dos entran apresurados a la casa y adentro se les oye subir las escaleras. CONTINUED: Poco después entra SOFI, una niña de 8 años, es muy bonita aunque sus hermanos constantemente la molestan llamándola gorda. Y hasta atrás entra la SEÑORA TERESA, una viuda de 65 años con el cabello completamente blanco que cojea al caminar. IGNACIO, el chofer de 45 años, la sigue cargando una bolsa de mandado. INT - ANTECOMEDOR - TEPEJI 21 -- DÍA Cleo le corta la carne a Pepe. Con un cuchillo corta trozos cada vez más pequeños hasta que sólo quedan pequeños cubitos de bistec que chorrea con limón. SOFI espera su turno, impaciente. PACO come su carne mientras platica -
PACO
Un amigo me contó que en la escuela de su primo un soldado mató a un niño por tirarle un globo con agua.
Toño escucha escéptico -
TOÑO
¿Quién te dijo?
PACO
Me dijo Flores, si no pregúntale. Dice que estaba en Chapultepec, por el nuevo, y que estaba con su hermano tirando globos de agua a los coches que pasaban y que pasó un Jeep del ejército y le tiraron uno y el soldado se bajó y le disparó.
CLEO
¡Ay Jesús! ¿Y qué le pasó?
PACO
¿Cómo que qué le pasó? ¡Si le dio un tiro en la cabeza, pus lo mató!
CLEO
¡Ay, qué horror…!
CONTINUED: Por la puerta del hall entra la SEÑORA SOFÍA, carga una mochila y un bonche de papeles que deja en la mesa del comedor -
SEÑORA SOFÍA
¡Hola niños! ¿Qué comen?
SOFI Y PEPE
¡Mamá!
La Señora Sofía saluda a cada uno con un beso. Pepe le enseña su "obra de arte" -
PEPE
Mira mami…
SEÑORA SOFÍA
¡Que bonito! ¡Lo hiciste solito?
PEPE
Si, y mira, ¡Hay sopa de fideo!
SEÑORA SOFÍA
¡Mmmmm!… ¡Qué rico!
Se sienta -
SEÑORA SOFÍA
Cleo, que los niños no toquen esos papeles, son exámenes que tengo que calificar.
TOÑO
¿Hay sandía?
CLEO
No, mi amor. Hoy hay fresas con crema.
PACO
¡Yo quiero!
Cleo se levanta y recoge algunos platos sucios -
CLEO
¿Y tú, Toño?
TOÑO
¿Ya qué?
Cleo va a la - INT - COCINA - TEPEJI 21 -- DÍA Cleo entra con los platos sucios, los acomoda en el fregadero. Ignacio el chofer y Adela comen en una pequeña mesa. Cleo toma un plato limpio y va a servir sopa -
CLEO
Ándali, que ya llegó la Señora Sofía y Toño quiere ya las fresas…
Adela se levanta, lenta, y en una charola pone platos, cucharas, fresas, azúcar y crema. Mira a Cleo con una interrogante y le sonríe. Cleo se sonroja y sale cargando su plato. INT - ANTECOMEDOR - TEPEJI 21 -- DÍA La Señora Sofía toma su sopa. Cleo prepara fresas con crema en los platos.
SEÑORA SOFÍA
Cleo, por favor manda a la tintorería los dos trajes del señor. Pero hoy mismo porque los tiene que empacar porque sale el viernes.
CLEO
No se preocupe, yo los llevo.
PEPE
¿Papá va de viaje?
SEÑORA SOFÍA
Va a Quebec a un congreso.
SOFI
¿Dónde es eso?
PACO
¡Ay, babosa! ¡Cómo no sabes!
SOFI
Pus no sé y qué…
TOÑO
Queda en Canadá.
CONTINUED:
PACO
¿Se va en Eastern?
SEÑORA SOFÍA
No sé. Creo que en Panam.
Cleo le sirve a Sofi un plato de fresas con crema.
SEÑORA SOFÍA
Sofi sin azúcar porque engorda.
EXT - AZOTEA - TEPEJI 21 -- TARDE Cleo lava ropa, a momentos tararea la canción que sale de un radio amarillo. El crujir metálico de la escalera anuncia la llegada de Paco, seguido de Pepe.
CLEO
No tienen permiso de subir aquí.
PACO
Yo lo cuidé toda la subida.
CLEO
Tu mamá se va a enojar.
Pero Paco ya arrancó su juego arrastrando con él a Pepe.
PACO
Yo voy a salir por aquí y tú vienes por acá, y cuando yo llego acá me vas a disparar pero yo te disparo primero y caes muerto… Así… Con los brazos abiertos…
Paco recibe balazos como Sonny Corleone contra el muro de la casa vecina.
CLEO
¡Nomás no jueguen junto al borde!…
PACO
Anda…
Paco se aleja por la azotea, Pepe se esconde detrás de un tinaco. Paco regresa, pero ahora escondiéndose de espías enemigos, hasta los tinacos. Comienza a rodearlos, siempre con su pistola al aire pero - CONTINUED: Pepe se le aparece por atrás y con ánimos de matarlo. Paco reacciona y voltea, intenta apuntar su arma pero Pepe lo rocía de certeros disparos y se esconde tras el tinaco dejando a Paco primero confundido y, muy poco después, furioso -
PACO
¡Tenías que morirte!
Desde detrás del tinaco Pepe lo reta -
PEPE
¡¿Y por qué no eres tú el que se muere?!
PACO
Porque es mi juego.
PEPE
Pus ya no quiero jugarlo.
PACO
Pus ya no quiero que juegues, niñita.
Y se va, colérico. Baja las escaleras resonando cada paso con metálicos gemidos. Pepe camina para verlo irse y se detiene a mitad de la azotea, claramente decepcionado. Y así se queda por un largo tiempo, hasta que de pronto - Una ráfaga de balas invisibles lo perfora y Pepe cae muerto, con los brazos abiertos, como Paco le había dicho. Y ahí se queda, acostado inmóvil en el suelo. Cleo se seca las manos y camina hasta él. Se detiene y lo ve -
CLEO
¿Y a ti? ¿Qué te pasó?
Pepe contesta desde el suelo y sin abrir los ojos -
PEPE
Estoy muerto.
CLEO
Bueno, ¡pus vámonos pa abajo!
CONTINUED: (2)
PEPE
No puedo. Estoy muerto.
CLEO
¡Pus resucita que ya hay que ir pa abajo!
PEPE
Si te mueres no puedes resucitar.
CLEO
¡¿Y ora qué voy a hacer sin mi Pepe?!
Cleo se sienta en el suelo junto a Pepe que se mantiene inmóvil.
CLEO
¡Yo sin mi Pepe no puedo vivir!
Cleo se acuesta junto a Pepe y también extiende los brazos. Cierra los ojos -
CLEO
Yo también me morí.
Y así se queda, quieta, Pepe junto a ella. Un DC 8 pasa volando. Pepe abre un ojo para ver a Cleo, ella no se mueve, ni parece respirar. Pepe extiende su mano y agarra la de Cleo.
PEPE
¿Cleo…?
Pero Cleo no se mueve. Pepe se sienta -
PEPE
¿Cleo…?
CLEO
Estoy muerta.
PEPE
¡No! ¡Ya ándale! ¡Levántate!
CLEO
¿No dices que no se puede?
PEPE
¡Ya! ¡Cleo…!
CONTINUED: (3) Pero Cleo no contesta.
PEPE
¡Cleo…!
Ella sigue inmóvil.
PEPE
¡Cleeoo!
Pepe comienza a asustarse -
PEPE
¡Cleeeeeeeeooooooo!
Cleo abre los ojos y le sonríe.
CLEO
Estoy jugando tu juego. A ver, ¿jugamos un ratito más?
Pepe se acuesta junto a ella con los brazos abiertos.
CLEO
Cierra los ojos.
Los dos cierran los ojos.
CLEO
Me gusta estar muerta.
Pepe le toma la mano. Los dos yacen muertos sobre la azotea - La tarde ha iniciado sus horas quietas, a la distancia suenan las campanas de una iglesia. Todo a su alrededor es un paisaje de azoteas que se extiende en todas direcciones. En muchas de ellas otras mujeres lavan o tienden ropa, el murmullo de distintos radios se cuela en el viento con el ladrar de los perros. El pitido de un carrito de camotes. El universo quieto. INT - BAÑO PRINCIPAL - TEPEJI 21 -- NOCHE Cleo baña a Sofi y Pepe en la tina. CONTINUED: Sofi tiene el pelo enjabonado y se lo acomoda de diversas formas frente al espejo. Pepe tiene un submarino pero no juega con él, está pensativo -
PEPE
¿Cleo…? ¿Si te murieras ahorita, te irías al cielo? ¿O al infierno?
CLEO
¿Y por qué me voy a morir?
PEPE
Nomás, por decir… ¿Al cielo o al infierno?
CLEO
Tú nomás te la pasas matándome…
Pepe comienza a enervarse -
PEPE
¡Es que es un juego…! Ya, dime… ¿te irías al cielo o al infierno?
Cleo llena de agua una cubetita y le dice a Sofi -
CLEO
A ver, cierra los ojos…
Y le tira un chorro para enjuagarle el pelo.
CLEO
Me iba volando con mis alitas derechito al Cielo.
PEPE
Es que mi tío Pablo nos enseño pinturas y fotos del infierno.
CLEO
(desinteresada)
¿El infierno…?
CONTINUED: (2)
PEPE
Sí. Y dice que había lumbre por todos lados… Y que mientras te queman, hay unos diablos bien feos que te pican, así, con fierros… y hay otros que te muerden o te comen los brazos…
CLEO
¡Ay, Chichú! ¡Qué feo! ¡Ya no digas cosas…!
PEPE
¡Sí, pero Paco dice que ahí quiere el ir!
CLEO
¿Cómo…? ¿Y toda la lumbre?
Pepe se ríe -
PEPE
Dice que no importa…
CLEO
¿Cómo…? ¿Qué no dices que queman a la gente?
Su risa es ahora carcajada -
PEPE
¡Sí…! ¡Pero Paco dice que ahí todos están desnudos! ¡Y que puedes ver a todas las chavas encueradas…!
Pepe se carcajea, Sofi escupe agua y se ríe con él. EXT - PATIO - TEPEJI 21 -- NOCHE Los paneles de vidrio esmerilado de la puerta se iluminan y se escucha - Un claxon - ¡Ta-ta Ta-ta Ta-ta Ta-taaaaaa…! Y tras la puerta, el poderoso y goloso ronroneo de un V8. Desde el interior del coche se escucha la XELA, que toca "Un bal" de la Symphonie fantastique. CONTINUED: El BORRAS llega de inmediato a ladrar a la puerta. Cleo y Adela llegan al patio.
ADELA
Pus qué temprano llegó.
Cleo agarra al Borras y lo arrastra hacia el fondo del patio.
CLEO
¿No ves que mañana sale?
Adela va a abrir la puerta. Desde el hall, Sofi y Pepe se asoman. Cleo les ordena mientras sostiene al Borras -
CLEO
¡Ahí espérense!
El V8 ronronea impaciente detrás de la puerta, y por fin - Adela abre la puerta revelando - El frente de un GALAXIE 500 DOS PUERTAS, 1970, NEGRO. Sus faros poderosos invaden hasta el fondo del patio, iluminando a Cleo que espera sosteniendo al Borras. El Galaxie 500 comienza a entrar al patio pero es demasiado grande para el espacio, dejando sólo un par de centímetros a cada lado de la puerta. El frente del coche está adentro cuando frena - El lado izquierdo está a punto de tocar el marco. Las ruedas giran hacia la derecha acompañadas del rechinido del hule girando sobre el mosaico. El Galaxie 500 avanza un poco más pero frena - El lado derecho a punto de tocar. El volante negro con dirección hidráulica es girado y - Las ruedas giran hacia la izquierda, RECHINANDO. Haciendo eco por el patio, sincopando el vals que sale del radio. La Señora Sofía llega a la puerta del hall junto a Sofi y Pepe. CONTINUED: (2)
SOFI
¡Papá llegó temprano!
El coche avanza unos centímetros y se frena. La palanca de velocidades cambia a R - El Galaxie 500 retrocede unos centímetros, se frena. La palanca de velocidades cambia a D - El coche avanza lentamente, librando el marco de la puerta. Lleva casi la mitad cuando frena. Las llantas giran a la derecha y - RECHINIDO. Y el vals que toma ritmo. El coche avanza medio metro y frena. Las llantas se alinean hacia el frente y - El Galaxie 500 libra el marco de la puerta y entra completamente al patio - Y el vals llega a su gran final… El coche se estaciona justo frente a la puerta del hall - El motor se apaga y con él la música - Sofi y Pepe se avientan contra la puerta -
SEÑOR ANTONIO
A ver, a ver, a ver… Déjenme salir.
La Señora Sofía jala a los niños hacia ella y - Sale el SEÑOR ANTONIO, tiene 40 años y su barba muestra algunas canas, aún viste su bata blanca de doctor. Los niños se le echan encima inmediatamente -
SEÑOR ANTONIO
¿Y estos? ¿Y estos? ¿Quiénes son estos?
La Señora Sofía le acaricia el hombro. La familia entra. CONTINUED: (3) Adela cierra la puerta de la calle y Cleo deja libre al Borras, que inmediatamente corre a oler las llantas del Galaxie 500. INT - HALL DE ARRIBA - TEPEJI 21 -- NOCHE Gordolfo Gelatino sale de su recámara en bata, estirando los brazos, perezoso -
GORDOLFO GELATINO (EN TV)
Ya se despertó tu rorro, mamacita…
Doña Naborita lo recibe entusiasta -
DOÑA NABORITA (EN TV)
¡Mi ángel of the mornin'!… ¡Si apenas son las dos de la tarde!… ¿Ya descansaste de descansar?
La familia entera está sentada en un sillón frente a un TELEVISOR ADMIRAL 1970. Sofi está encaramada en el Señor Antonio y Pepe en las piernas de la Señora Sofía, Paco recargado en ella, acurrucado. En un sillón individual está Toño, siempre más huraño. Cleo le sirve fresas con crema al Señor Antonio. Recoge un plato con los restos de una concha con frijoles, y va hacia las escaleras cuando - Una carcajada explota, cortesía de Los Polivoces. Los niños se derraman a risas de sus asientos. Cleo se detiene y voltea - EN LA TV - Gordolfo está sentado en el sillón admirándose en un espejo mientras Doña Naborita está planchando un altero de ropa.
DOÑA NABORITA (EN TV)
¡Ora sí, mi cerecita del jaibol, el edificio me dio toda su ropa a lavar, y voy a poder comprarte ese reloj que tanto te gusta…!
GORDOLFO GELATINO (EN TV)
¡No me gusta verte trabajar tanto, mi cabecita blanca adorada! Así que por favor vete al otro cuarto.
CONTINUED: Cleo deja los platos a un lado y se sienta en el piso, junto al sofá, a ver la tele. Paco extiende el brazo para abrazarla. Pepe intenta hacer lo mismo pero no alcanza, Cleo extiende el brazo y lo enrama con el suyo. EN LA TV - Una cortinilla anuncia al Wash and Wear, quien momentos después entra a la oficina de su jefe, el Mostachón, que lo explotará, inmune a los insultos y verdades que el pobre Wash and Wear le propina. Los niños más grandes ríen. Cleo también, pero más por participar.
SEÑORA SOFÍA
¿Cleo…?
Cleo se yergue enseguida -
CLEO
¿Diga, señora?
SEÑORA SOFÍA
¿Le traerías un tesito de manzanilla al Doctor?
CLEO
Sí, señora.
Recoge los platos del suelo y baja las escaleras. INT - COCINA - TEPEJI 21 -- NOCHE Adela lava trastes, Cleo entra y deja los platos sucios junto a la lavadora -
CLEO
A ver, ¡hazte…!
Le da un caderazo a Adela.
ADELA
¡Órale…!
CLEO
Prepárate una manzanilla para la señora y ya súbete.
CONTINUED: Adela obedece con falsa renuencia y se seca las manos con un trapo -
ADELA
Nomás no te tardes…
Toma una olla y le vierte agua de un garrafón en el piso. INT - HALL DE ARRIBA - TEPEJI 21 -- NOCHE Cleo llega cargando la taza humeante de té, la coloca en una mesa junto a la Señora Sofía. Pepe duerme en sus brazos.
SEÑORA SOFÍA
¿Te lo paso?
Cleo toma a Pepe y lo carga y lo lleva hacia su cuarto, Sofi la sigue. Cleo se detiene antes de entrar para ver - EN LA TV - Chano y Chon revelan sus caras bajo los sombreros. Chano comienza a preguntarle a Chon sobre el tamaño de los pingüinos, Chon contesta y Chano ahuya en respuesta -
CHANO (EN T.V.)
¡Uuuuuuuuuuuuhhhhhhhhhhhh!
SEÑORA SOFÍA
A la cama niños…
De mala gana, Toño y Paco se levantan y van a despedirse de beso de sus padres. INT - CUARTO DE SOFI Y PEPE - TEPEJI 21 -- NOCHE Sofi está acostada en su cama, Cleo está sentada a su lado tomándole la mano -
CLEO
Angelito de la Guarda, mi dulce compañía, no me desampares ni de noche ni de día. No me dejes sola, que me perdería…
Le acaricia la cara -
CLEO
Buenas noches, Sofi hermosa…
CONTINUED: Y le da un beso.
SOFI
Buenas noches, Cleo.
Cierra los ojos. Cleo se levanta y apaga la luz. Sale al - INT - HALL DE ARRIBA - TEPEJI 21 -- NOCHE Está vacío, la puerta de Toño y Paco está cerrada pero la de los Señores Antonio y Sofía sigue abierta. El Señor Antonio está sentado en la cama quitándose los zapatos. Los ronquidos de la Señora Teresa hacen eco por todas las paredes. Cleo recoge la taza de té que sigue llena, intacta, y comienza a bajar las escaleras. INT - PLANTA BAJA - TEPEJI 21 -- NOCHE Cleo baja las escaleras cargando la taza y al llegar al hall va a la sala y comienza a apagar todas las luces, sólo deja encendida una junto a la ventana. Después apaga las luces del hall y las escaleras y camina hacia el fondo, deteniéndose solamente a apagar las luces del comedor y el antecomedor. Y sigue hasta llegar a la puerta de la cocina. Entra. INT - COCINA - TEPEJI 21 -- NOCHE Cleo entra a la cocina, tira el té y enjuaga la taza. Apaga la luz y sale al pequeño patio, cerrando la puerta. Cruza el pequeño patio y sube las escaleras metálicas hacia su cuarto. INT - CUARTO DE SERVICIO - TEPEJI 21 -- NOCHE Cleo entra al cuarto, Adela ya está en camisón -
ADELA
¡Cuánto te tardas!
Cleo se quita el vestido apresurada - CONTINUED:
CLEO
¡Pero ya apágale! Que se enoja la Señora Teresa si ve la luz prendida.
Adela apaga la luz y el cuarto queda a oscuras, aunque la ventana es muy grande y deja entrar la luz de la luna. Cleo prende una vela y la pone en el piso. Las dos se acuestan en línea, los pies de una tocando los pies de la otra y -
ADELA
¿Lista?
CLEO
Dale…
Las dos impulsan hacia arriba la parte superior del cuerpo e intentan tocarse las puntas de los pies -
ADELA
(pujando)
Uno…
Y hacen abdominales, una tras otra -
ADELA
(pujando)
Dos…
Entre gruñidos y pujidos. 20 de septiembre de 1970, domingo EXT - AV INDEPENDENCIA -- DÍA El bullicio festivo del Centro de la ciudad en domingo, familias y vendedores ambulantes por doquier. Cleo y Adela van a paso rápido por la banqueta, en una carrera de obstáculos que se mueven. Adela es más rápida pero Cleo es más hábil y resistente. Adela lleva la delantera pero se enfrenta a una parada de autobús con familias que bajan, Cleo logra colarse entre la gente y sigue su camino. La banqueta está un poco menos llena y Adela aprovecha y la alcanza justo cuando llegan a - EXT - TORTERÍA - AV INDEPENDENCIA -- DÍA Y se detienen exhaustas, tratando de recobrar el aliento, una recargada en un coche y la otra en un poste. Entre respiraciones profundas Cleo levanta una mano y apunta el índice al cielo -
CLEO
(entre respiraciones)
… Gané…
Adela gesticula que no con la mano -
ADELA
(entre respiraciones)
… No… Empa… -tamos…
Cleo sólo niega con la cabeza. INT - TORTERÍA - AV INDEPENDENCIA -- DÍA Ilustraciones pintadas a mano sobre una pared anuncian los distintos tipos de tortas. En la otra, un espejo cortado en rombos reproduce la ya concurrida clientela. Cleo y Adela están sentadas en la barra disfrutando sus tortas cubanas que se desbordan de los panes a cada mordida.
ADELA
…Entonces que el Moisés… ¿Te acuerdas de Moisés? ¿El del pueblo?
Cleo asiente mientras termina de darle una mordidota a la torta, derramando aguacate.
ADELA
Pues que andaba ahí dale y dale y…
CLEO
(riendo)
…¿Dale y dale…?
ADELA
No, ¡tonta!… Dale y dale, y que me mandaba cartas y cartas…
Cada vez que habla, Cleo se cubre la boca con la mano - CONTINUED:
CLEO
(curiosa)
¿Y qué tanto te escribía?
ADELA
Pues… que no podía dejar de pensar en mí… que me extrañaba… que ya quería verme…
CLEO
¡Aaaaayyy…!
ADELA
Que sin mí se sentía solo…
CLEO
¡Pobre!
Que ya no podía sin verme…
CLEO
Aaaaaay…
ADELA
Y que viene mi primo del pueblo a traer un encargo y que me trae otra carta del Moisés…
CLEO
¿Ajá?
ADELA
Y pues que saca la carta y me la da. Pero pues al sacarla del bulto, la carta estaba junto con otras cartas, y pues todas que se le caen al piso. Y yo como que veo una así, con la letra toda chueca del Moisés, ¡y que la agarro y que la abro…!
Cleo sigue la historia, ha dejado de masticar -
ADELA
Y sí, era del Moisés. Que no puedo dejar de pensar en ti… Que ya quiero verte… Que sin ti me siento solo… Que te extraño…
CLEO
¡Pobrecito! ¡Tan buen muchacho!
CONTINUED: (2)
ADELA
Sí. ¡Nomás que la carta era para otra chica!
CLEO
¡Noooooooo!
Y queda boquiabierta, con un trozo masticado de cubana aún en la boca.
ADELA
¡El cabrón le manda la misma carta a todas las pinches chamacas!
Y las dos explotan a carcajadas cubriéndose la boca con la mano. Otros comensales voltean y ellas esconden sus rostros, intentando reprimir sus risas. EN LA ENTRADA - Dos hombres entran a la tortería y miran alrededor. Ven a Cleo y Adela sentadas en la barra y van hacia ellas. RAMÓN tiene 27 años, es afable, un poco pasado de peso y tiene patillas, lleva una camisa morada con cuatro botones abiertos al frente. FERMÍN tiene 26, es tímido y un poco huraño, tiene el cuerpo ceñido de un atleta, vestido de camiseta y chaqueta de cuero.
RAMÓN
¿Y por qué tan solitas comiendo… tortitaaassss…?
Sorprendiendo a las dos mujeres. Adela se levanta de inmediato y -
ADELA
¡Ramón!
Los dos se abrazan y se besan, exuberantes. Fermín se acerca, sonriendo tímido. Cleo se levanta y se saludan de beso, torpemente.
ADELA
¿Quieren una torta?
Fermín, tímido, señala su estómago - CONTINUED: (3)
FERMÍN
Gracias… Ya…
RAMÓN
Si ya acabaron de comer, vámonos ya que me gusta ver los cortos.
EXT - CINE METROPOLITAN -- TARDE La entrada del cine es un bazar de VENDEDORES AMBULANTES que anuncian sus productos recitando listas una y otra vez como mantras en un canto. Una anciana sentada en el suelo ofrece sus dulces en una tela frente a ella -
VENDEDORA DE DULCES
…cigarros-chicles-chocolates- mazapanes-muéganos-cacahuates- gomitas…
Un vendedor está tras su mesa improvisada ofreciendo cacahuates japoneses -
VENDEDOR CACAHUATES
…¡Los ja-po-neeeee-seeeeeeees!… ¡Los ja-po-neeeee-seeeeeeees!… ¡Los ja-po-neeeee-seeeeeeees!…
Una señora rechoncha y chaparra se pasea con una caja de chicles Adams en la mano -
VENDEDORA DE CHICLES
…¡De a peso le valen los chicles Adams sabor menta, hierbabuena, canela, tutifruti…!
Un merenguero de camisa corta -
MERENGUERO
…¡Merengues-merengues-lleve sus ricos-merengueeeeees!…
Vendedores de revistas, de yo-yos, de juguetes baratos… una cacofonía de cantos acompañados de un organillo que toca en la banqueta. Cleo, Adela, Ramón y Fermín hacen cola en la taquilla.
ADELA
¿Qué película pasan?
CONTINUED:
RAMÓN
Sepa.
Fermín le pregunta a Cleo -
FERMÍN
¿Sí quieres ir al cine…?
CLEO
Sí, me gustan las películas. ¿Qué, a ti no?
FERMÍN
No… esque… Está bonita la tarde, ¿no?
Cleo se hace consciente del sol que brilla, levanta su cara al cielo -
CLEO
Sí. Está bien clarito.
Lo mira -
CLEO
¿Quieres ir a la Alameda?
Fermín le sonríe.
FERMÍN
Pérame tantito…
Camina hasta Ramón, que está al frente de la fila sacando dinero de su bolsillo. Adela aprovecha para ir con Cleo.
ADELA
¿Qué, manita? ¿No vas al cine?
CLEO
Esque… Está bien bonita la tarde, ¿no?…
ADELA
(interrumpe)
¡Uuuuuuuyyyyyyy!… Ándale… Ahí me cuentas, manita. Yo mejor me voy a lo oscurito.
Y se va con Ramón que espera para entrar al cine. Fermín regresa con Cleo y se van. CONTINUED: (2) Los vendedores ambulantes continúan su coro. El organillero calla. INT - CUARTO DE HOTEL -- TARDE En reglamento cuelga en un pequeño marco en la puerta, ignorado. Tras la ventana, la tarde del domingo mengua y un letrero fluorecente se asoma anunciando el Hotel. tras La puerta del baño que está abierta, un foco ilumina el lavabo y un espejo occidado. Fermin sale del baño cargando unos chacos. Está completamente desnudo. Cleo espera en la cama, tímida, aún con su fondo puesto. Al ver a Fermin se sonroja. Frente al baño, Fermín presenta sus chacos al frente -
FERMÍN
¡Jodan Tsuki!…
Y comienza una rutina con ellos. Es una coreagrafía elaborada y estudiada, los palos encadenados giran como hélices a su arededor. El efecto es poetico pero también un tanto ridículo pero Cleo reprime su sonrisa bajo las sábanas. Fermin finaliza su rutina tomando distintas posiciones -
FERMÍN
¡Jodan Tsuki!… ¡Chudan Tsuki!… ¡Mae Geri!…
Y se despide con una inclinación. Cleo reprime una risa -
FERMÍN
¿Qué…?
Cleo cubre su risa preguntando -
CLEO
¿Y entrenas a diario?
FERMÍN
Tengo que. Le debo la vida a las artes marciales. Yo crecí con muchas carencias, ¿sabes?
Afuera, las multitudes y el barullo parecieran lejanos. Fermín deja los chacos sobre una repiza y camina hacia el pie de la cama - CONTINUED:
FERMÍN
De chamaco, cuando mi mamacita se murió…
Se persigna -
FERMÍN
Me llevaron a vivir con mi tía, allá a Neza. Y ahí, que entre mis primos que me madreaban y que las malas compañías, y que le entré al trago… y que llegué al chemo… Me estaba muriendo…
Hace una pausa -
FERMÍN
Pero descubrí las artes marciales. Y pus esas cosas ya no, y todo tiene… algo así como… ¿foco…?
Fermín hace un silencio, ve a Cleo -
FERMÍN
Y pus no me gusta platicarle a la gente de mis cosas… Pero contigo es distinto…
Él acerca su cara y ella la suya y sus labios se encuentran y se besan suavemente, pero muy pronto Cleo mueve la cabeza golpeando a Fermín en la nariz.
CLEO
¡Ay! ¡Perdón…!
Pero Fermín la jala de regreso y la besa intensamente y, con la bocas ya sellada a Cleo, se acuesta lentamente en encima de ella. Hacen el amor. 11 de noviembre de 1970, miércoles INT - CUARTO DE SERVICIO - TEPEJI 21 -- MADRUGADA Suena la alarma de un despertador. Cleo despierta y la apaga. Se sienta en la cama. La luz del alba entra por la ventana, la casa está en silencio. Adela duerme plácida en su cama. CONTINUED: Cleo se levanta precipitadamente, toma ropa de la silla y se acomoda los zapatos mientras camina apurada a la puerta y sale. EXT - PATIO PEQUEÑO - TEPEJI 21 -- MADRUGADA Cleo baja las escaleras apresurada y entra al pequeño baño. INT - BAÑO DE SERVICIO - TEPEJI 21 -- MADRUGADA Cleo vomita. El baño está limpio pero no ha tenido mantenimiento en mucho tiempo. La minúscula regadera no tiene cortina y el escusado no tiene asiento ni tapa en el tanque de agua. En el lavamanos, dos cepillos de dientes y un tubo apachurrado de Colgate. En una pequeña repisa, un frasco de Nivea y una veladora apagada. INT - BAÑO DE SERVICIO - TEPEJI 21 -- MÁS TARDE Cleo se baña, el pequeño baño inmediatamente inmerso en una nube de vapor. INT - PLANTA BAJA - TEPEJI 21 -- AMANECER Cleo sale de la cocina y cruza la casa que está aún en penumbras, aunque tras las ventanas el patio ya recibe la primera luz del día. Cleo llega a las escaleras y sube. INT - HALL DE ARRIBA - TEPEJI 21 -- DÍA Por la puerta del cuarto de los niños más pequeños, podemos ver a Cleo despertar a Sofi. Le susurra -
CLEO
Mi chiquita… Mi chiquita bonita…
Y le hace delicadas cosquillas en la cintura -
CLEO
Despierta, despierta… Despierta, despierta… Ya amaneció y un nuevo día llegó…
CONTINUED: Las cosquillas suben como ejercito de hormigas por el torso de Sofi quien sonríe pero finge seguir durmiendo.
CLEO
Y van subiendo poquito a poco…
Sofi por fin se quiebra y ríe y mueve los brazos, modorra.
CLEO
Buenos días, princesita…
Sofi la abraza del cuello.
CLEO
Ándali, ya levántate…
Sofi se levanta -
SOFI
Voy al baño…
CLEO
Pus ve, ¡pues!
Sofi sale del cuarto y cruza adormilada el hall mientras Cleo acomoda un uniforme de escuela limpio sobre la cama. La Señora Teresa sale de su recámara y ve a Sofi a punto de entrar el baño -
SEÑORA TERESA
Buenos días, Sofi.
Sofi entra al baño sin voltear -
SOFI
Buenos días, abui…
Y cierra la puerta. La Señora Teresa baja las escaleras. Cleo va a la cama de Pepe y le da un beso asegurándose de no despertarlo y sale del cuarto. En el hall, prende la luz y entra a la recámara de Toño y Paco, que duermen profundamente. Se pone en cuclillas junto a Toño, le acaricia la cabeza y le susurra -
CLEO
Toño… Toño… Toño… Mi amor, ya hay que despertarse…
CONTINUED: (2) Toño, sin voltear, le quita la mano de un manotazo -
TOÑO
Ya estoy despierto…
Cleo sube las manos al aire -
CLEO
¡Ay!… ¡Si ya está despierto!… ¡Ay, que no lo toquen!…
Toño se levanta, gruñón, y sale del cuarto.
CLEO
Sofi está en el baño…
En el hall Toño toca la puerta del baño -
SOFI (O.C.)
¡Ocupado!
Pero Toño toca más fuerte -
TOÑO
¡Apúrate! ¡Tengo que entrar!
SOFI (O.C.)
¡Voy!
Cleo se sienta al pie de la cama de Paco, le saca un pie de las sábanas y le pone los calcetines sin despertarlo. Después lo sienta recargado en ella, y le quita la parte superior de la pijama. En el hall, Toño sigue tocando la puerta del baño -
TOÑO
¡Que te salgas!
La puerta del baño se abre y Sofi sale -
SOFI
¡Ya! ¡Pásale!
Toño entra de inmediato y al cerrar la puerta -
TOÑO
¡Gorda…!
Sofi cruza de regreso a su cuarto. Cleo ha logrado ponerle la camiseta a Paco, que ahora se sienta en la cama. CONTINUED: (3)
CLEO
Anda, termina de vestirte.
Paco se quita los pantalones de la pijama y Cleo sale al hall y entra a ayudar a Sofi. INT - ANTECOMEDOR - TEPEJI 21 -- DÍA La Señora Teresa y Sofi están desayunando en la mesa, Cleo guarda paquetes de papel encerado en las mochilas que están en el piso junto a cada silla. A través de las ventanas se puede ver a Ignacio que saca los coches a la calle. Un radio portátil en la mesa toca la XEQK, LA HORA HASTE DEL OBSERVATORIO -
HORA HASTE
…¡Chocolates Turín! ¡Ricos de principio a fin!… Maestro Mecánico Marcos Carrasco garantiza vigoroso control de calidad en la rectificación de motores…
Paco sale de la cocina con un Gansito y lo mete en su mochila, pero Sofi lo ha visto -
SOFI
¡Yo también quiero un Gansito!
PACO
Son míos.
SEÑORA TERESA
Yo los compré para todos.
PACO
Pero yo los puse en el congelador.
SEÑORA TERESA
Ándale, dale uno a Sofi, y luego te compro una cajota para ti solito.
Paco sopesa la oferta y regresa a la cocina. La Señora Teresa ha terminado sus panes dulces sopeados en café con leche y se levanta. CONTINUED:
SEÑORA TERESA
Apúrense, niños. Ya son las siete y veinte.
Se escucha la voz de Paco desde la cocina -
PACO (O.C.)
¡Son las siete diecisiete!
La Hora Haste recita -
HORA HASTE
XEQK proporciona la hora del observatorio, misma de Haste. Haste, la Hora de México… Siete de la mañana diecisiete minutos. Siete diecisiete… (silencio)… BIIIIP…
Paco sale de la cocina, triunfal. La Señora Teresa le saca la lengua y camina hacia la puerta. Paco le avienta el Gansito a Sofi -
PACO
Pa que engordes…
Toño llega.
CLEO
Ahí está tu jugo, Toño…
Toño se sienta -
TOÑO
Apaga esa cosa.
PACO
No, ¿por qué?
La Señora Teresa ya los llama desde la puerta -
SEÑORA TERESA
¡Vámonos!…
Sofi se levanta y va hacia la Señora Teresa que comienza a salir al patio -
SEÑORA TERESA
Cleo, agárrame al perro para abrir la puerta.
Cleo se levanta de inmediato y corre al patio. CONTINUED: (2) Toño también se levanta pero le sube todo el volumen al radio antes de irse. Paco lo apaga de un manotazo -
TOÑO
Jajaja… ¡Niñita!…
Paco grita antes de salir al patio -
PACO
¡Me toca adelante!…
Toño se empina el jugo y va tras ellos. EXT - CASA - TEPEJI 21 -- DÍA El Valiant está estacionado frente a la casa con el motor en marcha, la Hora Haste emanando del radio. Cleo espera en la banqueta agarrando al Borras del collar, mientras la Señora Sofía y los niños suben al coche en absoluto desorden.
TOÑO
¡Muévete!
SOFI
¡Ya me moví!
Cuando la Señora Teresa ha logrado entrar al coche, Ignacio le cierra la puerta, espera a que todos cierren la puerta antes de meterse.
TOÑO
¡Pon a la Pantera!
Paco aprieta un botón del radio y cambia la estación a la Pantera en plena votación Beatles vs. Creedence -
RADIO LA PANTERA (OS)
…¿Por quién votas, campeón?… Por los Beatles… ¡Un voto más para el Cuarteto de Liverpool que van atrás por 18 votos del Cuarteto del Bajou. ¿Por quién votas?… Creedence…
Ignacio mete el clutch y permite que Paco, que va sentado a su lado, meta primera velocidad con la palanca del volante. CONTINUED: El Valiant arranca y se aleja por la calle. Cleo lo ve dar vuelta en la esquina y regresa a la casa jalando al perro. Cierra la puerta. INT - HALL DE ABAJO - TEPEJI 21 -- DÍA Cleo entra a la casa y cierra la puerta del patio, cruza el hall y sube las escaleras. INT - CUARTO DE SOFI Y PEPE - TEPEJI 21 -- DÍA Cleo hunde su cara en la panza de Pepe que reacciona riendo.
PEPE
¡Ya estaba despierto!
CLEO
¡Ay, qué bueno! ¡Así ya también estás vestido!
PEPE
Eso no.
CLEO
Pus ándale, ¡levántate para que te vista!
Pepe se levanta y Cleo lo viste mientras él habla -
PEPE
¿Sabes de qué me acordé en mi sueño?
CLEO
No, tú. ¿De qué te acordaste?
PEPE
De cuando yo era grande.
CLEO
¿Cuando eras grande?
PEPE
Sí, tú también estabas pero eras otra. ¿Te acuerdas?
Cleo le sube los shorts al niño. INT - COMEDOR - TEPEJI 21 -- DÍA Una cuchara da delicados golpecitos en el cenit de un huevo que se quiebra lentamente. Cleo quita la cáscara para poder vaciar el huevo tibio en una taza. Le pone sal y al final agrega trocitos de pan. Le pasa la taza a Pepe, que come. Cleo se levanta y lleva platos sucios a - INT - COCINA - TEPEJI 21 -- DÍA Cleo entra a la vez que entra Adela, con el pelo mojado, por la puerta del patio.
CLEO
¡Buenas noches!
ADELA
¡Tú que no me despertastes!
CLEO
No. Si no fuera ser que luego te canses.
Adela la ve con mueca de risa. Cleo unta mermelada en un pan y lo junta con otro. Del antecomedor se escucha llegar a la Señora Sofía -
PEPE (O.S.)
¡Mamá!
SEÑORA SOFÍA (O.S.)
¡Mi amor! ¿Cómo está tu huevito?
Cleo mete el sándwich en una bolsa encerada -
CLEO
Ya se va el Doctor. Amárrate al Borras pa que salga.
Cleo toma el sándwich y un vaso con jugo de naranja y va hacia el antecomedor, Adela va al patio. INT - ANTECOMEDOR - TEPEJI 21 -- DÍA La Señora Sofía está sentada junto a Pepe, Cleo entra y le lleva el jugo - CONTINUED:
CLEO
Su juguito…
SEÑORA SOFÍA
Que Pepe se espere para despedir a su papá, no importa que llegue tarde.
CLEO
Sí, señora.
Al fondo, en el hall, el Señor Antonio ha bajado las escaleras cargando dos maletas. Cleo corre a ayudarlo.
CLEO
¡Ahí déjemelas, por favor, Señor!…
El Señor Antonio deja las maletas en el piso.
CLEO
Ya está su avena en la mesa…
SEÑOR ANTONIO
Gracias, Cleo.
Y camina hacia el antecomedor -
SEÑOR ANTONIO
¡Buenos días, Pepón!
PEPE
¡Papi!
El Señor Antonio se toma, de un vaso, un jugo de naranja de un sólo trago. Cleo va a las maletas y las carga. Sale - EXT - PATIO - TEPEJI 21 -- DÍA El redoble de tambores y trompetas miltitares hacen eco dentro del patio. Cleo carga las maletas hasta la puerta donde Adela sostiene al borras del collar. Cleo sólo se detiene para abrir la puerta y sale a - EXT - CASA - TEPEJI 21 -- DÍA Una Banda Militar de Secundaria marca cada paso al marchar por la calle tocando sus trompetas y tambores. Un VW '66 sedán color crema espera frente a la casa. CONTINUED: Cleo sale cargando las maletas y las deja a un lado del auto. Abre la puerta y mete una maleta en el asiento trasero, luego acciona el mecanismo en la guantera. Sale del coche y carga la segunda maleta al frente del auto, abre la cajuela y la acomoda en el minúsculo espacio. Va de regreso a la casa pero ve que el Señor Antonio ya sale, caminando por el patio. Más atrás lo sigue la Señora Sofía cargando a Pepe. El Señor Antonio pisa una caca de perro y se detiene asqueado -
SEÑOR ANTONIO
¡Con una…!
Desliza su pie por el piso intentando limpiarlo y continúa su camino. En la calle, talla la suela del zapato contra el borde de la banqueta. La Señora Sofía pone a Pepe en el suelo al llegar a la calle y va hasta el Señor Antonio y lo abraza por la espalda. Cleo se aleja unos pasos, Pepe va hasta ella y le toma la mano. La Señora Sofía rompe a llorar. El Señor Antonio voltea y la abraza incómodo.
SEÑORA SOFÍA
Nosotros aquí estamos…
SEÑOR ANTONIO
Sólo son unas semanas…
Se zafa de la Señora Sofía y va a entrar al coche cuando ella lo intercepta y le da un beso moqueado, que él recibe antes de sentarse al volante y cerrar la puerta. La Señora Sofía pone su mano en el hombro de su marido mientras él enciende el cuatro cilindros.
SEÑOR ANTONIO
Adiós, Pepe…
Mete primera y arranca lentamente, obligando a la Señora Sofía a levantar la mano, y se aleja hacia el final de la calle. CONTINUED: (2) El VW llega a la esquina donde debe de esperar a que la retaguardia de la Banda de Guerra salga de la calle llevándose sus ritmos marciales, antes de desaparecer por la derecha. La Señora Sofía se queda inmóvil, con la mano en el aire. Cleo espera. Por fin la Señora Sofía voltea, su rostro desencajado -
SEÑORA SOFÍA
¡Con un carajo! ¡Limpia las pinches cacas del perro!
Camina hasta Pepe y lo agarra de la mano -
SEÑORA SOFÍA
Yo llevo a Pepe.
Camina con Pepe hacia el final de la calle, en dirección opuesta a la que tomó el Señor Antonio. Cleo entra a la casa y cierra la puerta. EXT - PATIO - TEPEJI 21 -- DÍA Cleo empuja con una escoba una caca de perro a un recogedor. Y avanza a la siguiente, mientras el Borras se pasea por el patio, ignorante. Una a una, las recoge todas. EXT - PATIO PEQUEÑO - TEPEJI 21 -- DÍA Cleo abre el basurero y tira las cacas. Lo cierra. EXT - PATIO - TEPEJI 21 -- DÍA Una mancha embarrada sobre un mosaico rojo y amarillo, es rebaba de las cacas del Borras. Polvo pálido cae sobre la mancha hasta que la cubre. Cleo cruza el patio espolvoreando jabón en cada una de las manchas restantes. Al llegar a la puerta de la calle, llena dos cubetas de agua que esparce en el piso y - Cepilla, una a una, todas las manchas espolvoreadas del patio. 29 de noviembre de 1970, domingo INT - CINE METROPOLITAN -- TARDE PELÍCULA La sala está casi llena pero hacia atrás se vacía. Cleo y Fermín están sentados en la última hilera del cine, fajando intensamente. Sus manos acarician los genitales del otro, mientras se besan.
FERMÍN
Mámamela…
Cleo se separa brevemente y le dice entre suspiros -
CLEO
Esque… No me ha bajado lo del mes…
Pero sucumbe con un gemido de placer que intenta reprimir. Besa y acaricia a Fermín con más intensidad y él la explora más profundamente con la mano. PELÍCULA Por fin, Cleo logra sobreponerse a su deseo para decirle -
CLEO
Te digo. Que no me ha bajado el mes…
Pero Fermín la calla con un beso en la boca. Cuando se va por el cuello, Cleo aprovecha para hablar entre agitaciones de placer -
CLEO
Que creo que estoy con encargo…
Fermín hace una pequeña pausa, pero continúa besándola -
FERMÍN
Ahhh… Pus 'stá bien… ¿No?
Cleo hace una pausa, lo ve a los ojos -
CLEO
¿Está bien?
FERMÍN
… Ey…
CONTINUED: Cleo sonríe y lo besa en la boca. Baja la cabeza y comienza a mamársela. Fermín le agarra la cabeza y la obliga a moverse a su ritmo.
FERMÍN
… ¡Ay!… ¡Así!…
PELÍCULA Fermín extiende los brazos y se agarra de los respaldos de las butacas vecinas y comienza a gemir -
FERMÍN
…¡Asííííííí!… ¡Asííííííí!… ¡Asííííííí!…
Abre la boca y calla el grito mordiéndose la mano, y cuando la explosión pasa, Cleo se levanta, una mano en la boca, su cara salpicada de semen. Abre su bolso y saca unos Kleenex, se limpia la boca y la cara, después las manos, y se acurruca en Fermín que aún respira agitado. Los dos ven la película, Cleo enamorada. PELÍCULA Fermín se mueve suavemente para levantarse -
FERMÍN
Tengo que ir al baño…
CLEO
Tsk… Si ya va a acabar…
FERMÍN
Tengo que ir ahorita… Pérame tantito, no me tardo nada…
Se levanta y camina entre los asientos vacíos para llegar al pasillo, y de ahí a la salida. Cleo espera a que salga para buscar un chicle en su bolso, se lo mete a la boca. Saca otro Kleenex, lo moja con la lengua y se limpia la cara. La PELÍCULA llega a su fin y corren los CRÉDITOS. Cleo voltea hacia la salida. La GENTE comienza a levantarse. Se PRENDEN LAS LUCES de la sala, POR SECCIONES Y LENTAMENTE. CONTINUED: (2) Cleo se levanta y ve hacia las salidas, recargada en los asientos de adelante. Los créditos corren con los nombres de los tramoyistas. La sala se ha vaciado completamente, sólo queda Cleo y la pantalla donde corren los créditos de sonido. El telón de terciopelo rojo se cierra interrumpiendo los créditos que aún no terminan. Cleo por fin camina a la salida. INT - LOBBY - CINE METROPOLITAN -- TARDE Nuevos espectadores entran al cine, algunos van directo a la dulcería, donde las filas aún son cortas. Cleo deambula por el lobby buscando a Fermín pero no hay rastros de él. Camina a la entrada y sale, cruzándose con los recién llegados. EXT - ENTRADA - CINE METROPOLITAN -- TARDE Cleo sale y camina al centro de la entrada donde se detiene, absorta, entre los VENDEDORES AMBULANTES que anuncian sus productos recitando sus distintos mantras. Las piernas parecieran fallarle y se recarga en la marquesina que anuncia los próximos estrenos. Y, lentamente, se sienta en el piso entre - Una anciana que ofrece sus dulces -
VENDEDORA DE DULCES
…cigarros-chicles-chocolates- mazapanes-muéganos-cacahuates- gomitas-…
Y un hombre que anuncia su truco de magia, interactuando con un pequeño esqueleto de plástico que baila en el piso -
VENDEDOR ESQUELETO
…sin trucos ni artimañas, por sí solo baila. Sin hilos y sin trampas, es Don Carlangas que nos baila…
Cleo se queda quieta entre el mar de voces - CONTINUED:
VENDEDORES
…¡Los jaaaa-po-neeeeee-seeeeeeees! …¡Lleve su calcomanía del Cupido Motorizado!… ¡Merengues-merengues- lleve sus ricos-merengueeeeees!… ¡Hay de menta, hierbabuena, canela, tutifruti de los Chiclets Adams!…
Junto a Cleo, el pequeño esqueleto brinca y baila y repentinamente se detiene -
VENDEDOR ESQUELETO
…¿Que pasó, Don Carlangas, ya se cansó?… ¿Y qué va a hacer?…
El esqueleto se sienta en el piso -
VENDEDOR ESQUELETO
¡Ahaaa! ¡El Señor Carlangas se sienta a descansar!…
8 de diciembre de 1970, martes. EXT - CALLE -- DÍA Un ANCIANO PURÉPECHA, encorvado y con sombrero de paja, carga un enorme y voluminoso saco de tela que casi cubre, por detrás, su frágil figura. Camina por la calle a paso constante, deteniéndose únicamente para reacomodar el pesado saco sobre su espalda. Pasa frente a una miscelánea, una farmacia, una panadería, una tienda de abarrotes, una papelería y da vuelta en - EXT - CALLE DE TEPEJI - CASA - TEPEJI 21 -- DÍA El anciano camina encorvado, con el enorme bulto que casi descansa vertical sobre su espalda, sin perder su ritmo, frente a casas construidas en los años 30. Algunas tienen alteraciones modernas, a muchas les urge una mano de pintura. Llega a Tepeji 21 y se detiene frente a la puerta. Lentamente se quita el enorme saco de la espalda y lo posa en el suelo. Toca el timbre. CONTINUED: Adentro, se escucha al Borras correr hacia la puerta ladrando ferozmente. El anciano espera. El Borras no se da por vencido y sus ladridos son cada vez más fuertes. Se escucha a Cleo que se acerca -
CLEO (O.S.)
¿Quién…?
ANCIANO DE LAS NARANJAS
¡Naranjas!
El Borras responde, furioso.
CLEO (O.S.)
¡Voy…! ¡Ya cállate, Borras!…
El anciano recoge el saco mientras la puerta se abre apenas lo suficiente para ver a Cleo, que se asoma agarrando al perro del collar. El anciano termina de colocar el saco sobre su espalda -
ANCIANO DE LAS NARANJAS
¿Ya agarró al perro?
CLEO
Sí.
ANCIANO DE LAS NARANJAS
¿Segura?
CLEO
Aquí lo detengo. Pásele.
La puerta se abre y el Borras inmediatamente se abalanza contra el anciano, pero Cleo lo detiene fuertemente del collar. El perro ladra agresivo, parado en dos patas. El anciano entra a - EXT - PATIO - TEPEJI 21 -- DÍA Cleo contiene al Borras y se hace a un lado mientras el anciano entra por la puerta. La boca del perro expulsa baba a cada ladrido.
ANCIANO DE LAS NARANJAS
Agárrelo bien.
Cleo lucha con el perro - CONTINUED:
CLEO
Pase… pase…
El anciano pasa cauteloso junto a Cleo, que detiene al Borras. Ella cierra la puerta y lo sigue, manteniendo una distancia. Al llegar al fondo del patio, el anciano entra al - EXT - PATIO PEQUEÑO - TEPEJI 21 -- DÍA El anciano llega frente a la cocina y deposita lentamente el pesado saco sobre el piso. Adela sale de la cocina cargando un huacal que coloca en el suelo -
ADELA
Buenos días, señor…
ANCIANO DE LAS NARANJAS
Buenas… ¿Cuántas van a ser?
ADELA
Que sean treinta…
El anciano se quita el sombrero de paja para refrescar su pelo blanco y lacio mojado de sudor, su rostro indio está marcado con profundas arrugas. Se agacha y mete las manos al bulto, saca - Naranjas que pone, de tres en tres, en el huacal -
ANCIANO DE LAS NARANJAS
1… 2… 3… 4… 5… 6…
Cleo contiene al Borras que no para de ladrar. EXT - PATIO - TEPEJI 21 -- TARDE Guijarros de hielo rebotan en el piso despues de caer del cielo. El granizo cubre el patio. INT - COCINA - TEPEJI -- TARDE La luz de la tarde, sofocada por las nubes, lucha por traspasar las ventanas. Tras la ventana, granizo cae sobre el patio pequeño. Adela vierte café en una taza y la acomoda en una bandeja que ya tiene una azucarera, una jarrita de leche, una cuchara y una servilleta. Junto a ella, Cleo espera nerviosa. CONTINUED:
ADELA
Anda. Llévasela tú, manita.
Cleo toma la bandeja y camina hacia la sala. Adela la acompaña pero se detiene en la puerta. INT - SALA - TEPEJI 21 -- TARDE Cleo sale de la cocina, Adela espera junto a la puerta y la ve cruzar el hall cargando la bandeja con café. Tras las ventanas, el granizo continúa. La luz de la tarde apenas pinta las cortinas de la sala y ya hay lámparas prendidas. En una esquina, un árbol de esNavidad presume sus luces de colores sobre un nacimiento artesanal con paisajes de musgo, heno y cartón. Los niños están sentados en el sillón de la sala moderna alrededor de la Señora Sofía. Cleo coloca la bandeja en la mesa de centro junto a unos papeles blancos y unos sobres, y sirve el café. Va a ponerle crema cuando -
SEÑORA SOFÍA
Así está bien, Cleo…
Cleo pone la taza frente a la Señora Sofía, ella toma la crema y se sirve mientras Cleo comienza a retirarse, se detiene -
CLEO
Discúlpeme, ¿Señora Sofi?
La Señora Sofía agrega dos cucharadas de azúcar al café -
SEÑORA SOFÍA
¿Sí?
CLEO
Esque… Si cuando tenga un momento… Me gustaría ver si… ¿Puede hablar conmigo un momentito?
SEÑORA SOFÍA
Sí, pero 'pérame tantito. Nomás le digo unas cosas a los niños.
Cleo asiente y se retira unos pasos a esperar. CONTINUED:
SEÑORA SOFÍA
Pero espérate aquí, siéntate.
Cleo se sienta en el sofá tímidamente. La Señora Sofía prueba su café, los niños están impacientes.
PACO
¿Qué?…
TOÑO
Tengo que ir a comprar madera balsa para una maqueta.
La Señora Sofía prueba su café y dice de buen humor -
SEÑORA SOFÍA
Vas después. A ver, tengo unas cosas que decirles…
PACO
¿Vamos a ir a Disneylandia?
SEÑORA SOFÍA
No. Navidad la vamos a pasar en casa de mi hermano Pablo.
PACO
¡Ahí es bien aburrido!
SOFI
No es cierto. Ahí están mis primas.
SEÑORA SOFÍA
Y para Año Nuevo, vamos a ir a la hacienda de los Zavaleta.
PACO
¿Van a ir los Richards?
SEÑORA SOFÍA
Sí, y también los Matos y los Larsson.
TOÑO
¿Y papá cuándo llega?
SEÑORA SOFÍA
Ésa es la otra cosa que tengo que decirles. Su investigación sigue retrasándose y va a tener que quedarse en Quebec más tiempo.
CONTINUED: (2)
TOÑO
¿Regresa hasta enero?
La Señora Sofía hace una brevísima pausa y cuando retoma la conversación su tono parece distinto.
SEÑORA SOFÍA
No sabe. Pero por eso aquí les traje estos papeles para que le escriban una carta. Cada uno.
Distribuye los papeles y sobres entre los niños -
SEÑORA SOFÍA
Díganle cuánto lo extrañan, que por favor ya vuelva…
Su buen humor intenta enmascarar su nerviosismo.
SEÑORA SOFÍA
Tú, Pepe, hazle dibujos…
PEPE
Yo también sé escribir.
PACO
Seguro…
Toño se levanta -
TOÑO
Bueno. Voy primero por mi madera balsa.
La Señora Sofía le grita -
SEÑORA SOFÍA
¡Tú no vas a ningún lado hasta que hayas escrito tu carta!
Toño toma sus papeles y se arranca, enojado, hacia las escaleras.
SEÑORA SOFÍA
¿A dónde vas?
TOÑO
A mi cuarto, ¿o qué? ¿Tampoco puedo escribir la carta en mi cuarto?
SEÑORA SOFÍA
No, sí. Está bien.
CONTINUED: (3) Paco toma sus papeles y sigue a Toño -
PACO
Yo también voy al cuarto.
La Señora Sofía le da el resto de los papeles a Sofi.
SEÑORA SOFÍA
Sofi, llévate esto al comedor y ayuda a Pepe con su carta. Nomás hablo tantito con Cleo y los alcanzo.
Sofi toma los papeles -
SOFI
Vente, Pepe.
SEÑORA SOFÍA
Ponle muchos dibujos bonitos, Pepe. Sofi, ayúdale a escribir "Te extraño mucho, papá".
SOFI
Sí, mamá. Vente Pepe.
Sofi y Pepe van con sus papeles a la mesa del comedor.
PEPE
Pero yo lo escribo, ¿eh?
La Señora Sofía ve a los niños caminar al comedor. Voltea con Cleo.
SEÑORA SOFÍA
Ahora sí, Cleo. Hazte pa acá.
Cleo se sienta más cerca de la Señora Sofía -
SEÑORA SOFÍA
¿Qué pasó, Cleo?
Cleo la ve como un ciervo encandilado, se queda muda.
SEÑORA SOFÍA
¿No querías decirme algo?
CLEO
No, sí. Esque…
Pero se queda muda otra vez. Al fondo, junto a la puerta de la cocina, Adela finge limpiar mientras intenta escuchar - CONTINUED: (4)
SEÑORA SOFÍA
¿Sí?
Los ojos de Cleo se llenan de lágrimas. La Señora Sofía se preocupa -
SEÑORA SOFÍA
¿Qué pasa, Cleo?
Pero Cleo sólo llora.
SEÑORA SOFÍA
¿Está bien tu mamá?
Cleo afirma -
CLEO
Esque… Señora Sofi…
SEÑORA SOFÍA
¿Sí?
CLEO
Esque… Creo que estoy con encargo.
La Señora Sofía no esperaba esto -
SEÑORA SOFÍA
¿Cómo que crees?
CLEO
Es que no me ha llegado el mes.
SEÑORA SOFÍA
Y, ¿desde hace cuánto?
CLEO
No sé…
Y se suelta llorando. La Señora Sofía se sienta junto a ella y la abraza -
SEÑORA SOFÍA
¡Ay mensa, mensa, mensa…! ¿Y quién es el papá?
CLEO
Fermín, un primo del novio de Adela.
SEÑORA SOFÍA
¿Y ya sabe?
CONTINUED: (5) Cleo niega -
CLEO
Es que no da razón.
SEÑORA SOFÍA
¡Mensa, mensa, mensa…!
CLEO
¿Me va a correr, verdá?
SEÑORA SOFÍA
¡Ay! ¿Cómo correr, tonta? Hay que llevarte a que te cheque un doctor.
Pepe llega con su carta -
PEPE
Mira, ma. Le hice un avión.
SEÑORA SOFÍA
Muy bien. Pero ponle corazones…
(grita a Sofi)
¡Sofi! Te dije que ayudaras a tu hermano a escribir "Te extraño"…
Desde el comedor, Sofi contesta -
SOFI
¡No deja que lo ayude!
PEPE
¿Por qué llora Cleo?
SEÑORA SOFÍA
Por nada. Le duele la panza. A ver, ven. Vamos a escribir tu carta…
La Señora Sofía camina al comedor pero Pepe va hacia Cleo y la abraza. Le soba la panza -
PEPE
Sana, sana, colita de rana. Si no sanas hoy, sanarás mañana…
Cleo se ríe y abraza a Pepe, ocultando su llanto. 10 de diciembre de 1970, jueves.
INT/EXT - GALAXIE 500 - AV BAJA CALIFORNIA -- DÍA
La Señora Sofía maneja en silencio, las manos al volante, pero su dedo índice se mueve como afirmando el intenso alegato que explota en su mente. Cleo va a su lado recién peinada, se ha cambiado de vestido, va nerviosa. Se acercan a un cruce donde los autos esperan la luz verde del semáforo, la Señora Sofía intenta acomodarse en el espacio entre un camión de mudanzas de redilas y un carcachón. El espacio es pequeño pero la Señora Sofía guía el Galaxie 500 hacia él -
SEÑORA SOFÍA
Pío, pío, pío, pío…
Imposible. Lo inevitable sucede. El Galaxie 500 pega por los dos lados, pero esto parece no importarle a la Señora Sofía que continúa avanzando lentamente, a pesar del quejido del metal que se dobla -
SEÑORA SOFÍA
Pío, pío, pío, pío…
EXT - AV BAJA CALIFORNIA -- DÍA El Galaxie 500 avanza entre el camión de redilas y la carcacha, embarrando sus molduras que se retuercen, arrancando el espejo retrovisor en su camino. El Galaxie continúa hacia delante entre el crujir de sus láminas hasta que el espacio es demasiado estrecho para continuar. El semáforo cambia a verde y arrancan, excepto el camión de redilas y la carcacha, cuyos irritados conductores salen de sus vehículos a constatar los daños. EXT - CENTRO MÉDICO - AV CUAUHTÉMOC -- DÍA El conjunto de modernos edificios luce orgulloso sus murales con su promesa de progreso. El Galaxie 500, con los lados abollados y arrastrando una moldura, entra a un estacionamiento reservado para médicos. EXT - GINECOBSTETRICIA - CENTRO MÉDICO -- DÍA La Señora Sofía y Cleo caminan frente a un edificio que luce bellos murales con motivos prehispánicos y cruzan por una entrada que anuncia Ginecobstetricia. INT - LOBBY - GINECOBSTETRICIA -- DÍA La Señora Sofía y Cleo atraviesan el enorme lobby de marmol hasta los elevadores que descansan bajo un grán mural de heroes patrios. OMIT INT - LOBBY 8º PISO - GINECOBSTETRICIA -- DÍA La Señora Sofía y Cleo salen del elevador, caminan a una estación de enfermeras en el centro del lobby. La Señora Sofía se acerca a hablar con la ENFERMERA en turno -
SEÑORA SOFÍA
Buenos días. Tengo una cita con la Doctora Vélez.
ENFERMERA
¿Quién la busca?
SEÑORA SOFÍA
De parte de la esposa del Doctor Roldán.
La enfermera levanta un teléfono. INT - PASILLO - GINECOBSTETRICIA -- DÍA Ventanales de piso a techo corren a lo largo del pasillo y los cubículos médicos. La Señora Sofía espera con Cleo, que mira por la ventana la ciudad que se extiende hacia el poniente. Llega la DOCTORA VÉLEZ. Tiene 40 años y la seguridad que da la experiencia, usa lentes.
SEÑORA SOFÍA
Hola Margarita, gracias por recibirnos.
CONTINUED:
DOCTORA VÉLEZ
Claro, Sofía. Nomás faltaba…
Se saludan de beso.
SEÑORA SOFÍA
¿Te acuerdas de Cleo?
La Doctora Vélez dirige su atención a Cleo -
DOCTORA VÉLEZ
Pero, ¡por favor! Hola Cleo, ¿cómo estás?
Cleo sufre una combinación de timidez y miedo -
CLEO
Bien, doctora… Gracias…
DOCTORA VÉLEZ
Bueno, vamos a verte, Cleo. Ven conmigo y me cuentas… Sofía, ¿vienes también?
SEÑORA SOFÍA
Gracias, Margarita. Voy aquí a saludar al Doctor Zavala.
DOCTORA VÉLEZ
Bueno, Cleo y yo vamos a platicar. ¿Por qué no nos vemos en el lobby en unos cuarenta minutitos?
SEÑORA SOFÍA
Sí, yo vuelvo.
Le toma la mano a Cleo -
SEÑORA SOFÍA
Anda Cleo, ve con la doctora.
Y camina de regreso al lobby. Cleo y la Doctora Vélez van a los cubículos. INT - CONSULTORIO - GINECOBSTETRICIA -- DÍA Cleo está sentada en una silla ginecológica, ve el instrumental en una charola a un lado, parecieran aparatos medievales de tortura. CONTINUED: La puerta se abre y entra la Doctora Vélez, se sienta en una silla entre las piernas de Cleo y comienza a ponerse unos guantes de látex -
DOCTORA VÉLEZ
Ahora sí, Cleo. Cuéntame.
Cleo duda en hablar -
CLEO
Esque… esque…
DOCTORA VÉLEZ
Está bien, Cleo. Cuéntame…
CLEO
Es que no me ha venido el mes.
DOCTORA VÉLEZ
¿Hace cuánto?
CLEO
¿Dos meses serán?
DOCTORA VÉLEZ
Oquei. ¿Y hace cuánto tiempo que eres sexualmente activa?
Cleo se sonroja y no puede contestar.
DOCTORA VÉLEZ
¿Tienes muchas parejas?
CLEO
¡Ay no! ¡Cómo cree!
DOCTORA VÉLEZ
¿Usas protección?
Cleo pareciera no entender la pregunta.
DOCTORA VÉLEZ
¿Usan condón?
Pero Cleo sólo llora. La doctora toma el pato y le embarra vaselina.
DOCTORA VÉLEZ
¿Cuándo fue la última vez que te examinaron?
CONTINUED: (2)
CLEO
Serán tres o cuatro años que vine con usted.
DOCTORA VÉLEZ
Eso está mal, Cleo. Tienes que checarte dos veces al año.
CLEO
Sí, doctora.
DOCTORA VÉLEZ
Bueno, vamos a examinarte. Va a estar un poquito frío…
La Doctora Vélez acomoda el pato entre la piernas de Cleo. La cara de Cleo confirma que no sólo está frío, también es doloroso. INT - PASILLO - LOBBY 8º PISO - GINECOBSTETRICIA -- DÍA 73\* Cleo camina con la Doctora Vélez por el pasillo. Al fondo, en el lobby, pueden ver a la Señora Sofía que habla con el DOCTOR ZAVALA de 45 años. Al notar a Cleo, la Señora Sofía interrumpe su plática con el Doctor Zavala. Ha llorado y aún está alterada. La Doctora Vélez y el Doctor Zavala se saludan de beso -
DOCTORA VÉLEZ
Hola Mario…
DOCTOR ZAVALA
Doctoresa…
SEÑORA SOFÍA
¿Cómo está Cleo?
DOCTORA VÉLEZ
Bueno, Cleo tiene un embarazo de diez semanas. Está muy sana y muy fuerte y su bebé también. Eso sí, tiene que inyectarse hierro cada dos semanas, ya le di su receta.
SEÑORA SOFÍA
¿Para cuándo?
DOCTORA VÉLEZ
Por ahí de finales de junio.
CONTINUED: La Señora Sofía asiente -
SEÑORA SOFÍA
Ay Margarita, mil gracias por verla.
DOCTORA VÉLEZ
¡N'ombre! Si ya la extrañaba, ¿verdad, Cleo? Me voy…
Se despide de beso de la Señora Sofía -
DOCTORA VÉLEZ
Adiós, Cleo. Nos vemos el mes que viene para que te cheque.
CLEO
Sí, doctora. Gracias.
La Doctora Vélez se aleja por el pasillo. La Señora Sofía voltea a ver a Cleo -
SEÑORA SOFÍA
¿Cleo? ¿Por qué no vas al tercer piso a ver a los bebés recién nacidos mientras yo termino aquí de platicar con el Doctor Zavala?
INT - MATERNIDAD - GINECOBSTETRICIA -- DÍA Docenas de cunas enfiladas, cada una de ellas con un bebé recién nacido enrollado en su colchita. Cleo los ve a través de la vitrina. Unos duermen en calma y otros lloran con ansia. Cuatro cunas proyectan fuertes luces sobre bebés con antifaces, y a un lado - En una INCUBADORA - Un bebé prematuro, minúsculo y frágil. Está conectado a tubos que apenas lo sujetan a la vida. Cleo lo mira fascinada cuando - Un gran bloque de yeso se desprende del techo y cae encima de la incubadora casi cubriéndola por completo. 31 de diciembre de 1970, jueves.
INT/EXT - VALIANT '64 - SALIDA A CARRETERA A PUEBLA -
CERRO LA CALDERA -- DÍA La Señora Sofía maneja, su dedo índice en su eterna discución. A su lado va Cleo y entre las dos va Pepe. Atrás, Toño, Paco y Sofi. El radio transmite Radio Éxitos. Pepe mira por el parabrisas hacia la distancia -
PEPE
¿Por qué la montaña dice LEA?
SEÑORA SOFÍA
Para que lean. ¿Ya ven, niños? Hasta la montaña se los pide.
TOÑO
Es por Luis Echeverría Álvarez, baboso.
SEÑORA SOFÍA
No le digas baboso. Tiene 5 años. No tiene que saber quién es Echeverría. Explícale.
TOÑO
¡Pus, el presidente!
SOFI
¿Qué no es Gustavo Díaz Ordaz?
SEÑORA SOFÍA
Ya no, Sofi. Desde el primero de diciembre ahora es Luis Echeverría.
SOFI
Ahhhhh…
PACO
A Cleo le gusta mucho Echeverría. ¡Guácala!
CLEO
Pus sí. Su esposa Doña Ester se viste siempre con huipiles y ropa oaxaqueña. Él quiere a los indios.
TOÑO
Pus mi tío Alberto dice que él fue el que mandó matar a los estudiantes hace dos años.
CONTINUED:
CLEO
¡Nooooo…!
TOÑO
Él era el Secretario de Gobernación.
SOFI
¿Por qué mató a los estudiantes?
TOÑO
Porque no hicieron la tarea.
SEÑORA SOFÍA
¡Ya, Toño! No, Sofi. Toño está nomás molestándote.
PEPE
¡A mí no me cae bien! ¿Por qué pinta la montaña? ¡No es suya!
EXT - SALIDA A CARRETERA A PUEBLA - CERRO LA CALDERA -- DÍA El Valiant surca hacia el oriente. Al fondo, el Cerro la Caldera añora ser montaña y demarca el confín de la Ciudad que se disuelve en ciudades perdidas. La cara poniente del cerro ha sido profanada por tres inmensas letras blancas que se extienden a casi todo lo largo y lo ancho de su seca superficie - LEA. Como un maleficio. EXT - HACIENDA DE ZAVALETA -- DÍA Un gran muro de adobe rodea una inmensa propiedad en medio de campos de cultivo. El Valiant entra por un enorme portón a - EXT - ENTRADA - HACIENDA DE ZAVALETA -- DÍA Un camino atraviesa la enorme explanada amurallada. Al fondo, la hermosa fachada de una hacienda, un monumento al latifundismo Porfiriano. El Valiant se acerca a la Casa Grande. Una docena de coches están estacionados en fila a un lado del camino. Todos son coches grandes y lujosos, todos del año: LTDs, Impalas y Country Squires. CONTINUED: El Valiant '64 se estaciona entre un LTD y una Country Squire que ponen en evidencia su kilometraje y su capa de pintura que se pela sobre la otra. Salen del coche. La Señora Sofía abre la cajuela y Cleo comienza a sacar las maletas. Su panza es apenas perceptible. Un grupo de gente sale de la Casa Grande a recibirlos, tres adultos, algunos niños y varios sirvientes. CLAUDIA DE LA BÁRCENA de 38 años, SAMANTHA LARSSON de 38 años, mexicana de clase alta con el pelo pintado de rubio, y MOLLY EDWARDS, una afable mujer rubia, galesa, de 37 años, extienden sus brazos al aire -
MOLLY
¡Comadre!
EXT/INT - CORREDOR - HACIENDA -- DÍA
BENITA, de 55 años, el ama de llaves de la hacienda, guía a Cleo por un largo pasillo. Las dos cargan varias maletas, unas en las manos y otras colgadas de los hombros.
BENITA
¿Segura que puedes con eso?
CLEO
Si estoy con encargo, no enferma. ¿Qué? ¿Y tú ya te cansastes?
Y Cleo apresura su paso, adelantándose. Benita hace lo mismo y va tras de ella.
BENITA
¡Será!
CLEO
No te veo en medio año y ya te me pusiste bien viejita.
Las dos mujeres compiten a paso acelerado, enterradas en maletas como hormigas que cargan varias veces su propio peso. Benita alcanza a Cleo, que acelera el paso y la rebasa. Pero Benita se ha detenido -
BENITA
¿A dónde vas?
Cleo se detiene. Benita está parada junto a una puerta - CONTINUED:
BENITA
Ya te pasastes. ¿Qué? ¿De encargo ya se te olvida todo?
Cleo sonríe y camina de regreso. INT - CUARTO DE NIÑOS - HACIENDA -- DÍA Un galerón lleno de literas, rudimentario pero funcional. Hay varias maletas junto a las camas y sobre algunas también juguetes. Alineadas, a lo largo de todas las paredes, cabezas disecadas de perros. Cleo deja las maletas junto a una litera y ve las cabezas.
BENITA
El Señor José mandó a decorar el cuarto. Son los perros de la hacienda, mira… Estaban todos en la bodega…
Ven la cabeza de un pastor alemán con ojos de canica.
BENITA
Mira, éste es el Pirata. Vivió aquí en 1911.
Una pequeña placa lo confirma, también indica su nombre - Pirata. Cleo lo ve impresionada.
CLEO
Pirata…
BENITA
¿Te acuerdas de la Canela?
CLEO
Sí, tú. ¿Dónde anda?
BENITA
Mírala…
Cleo ve la cabeza de una setter irlandés.
CLEO
¡Ay, nanita!
BENITA
Se murió a mediados de año.
CONTINUED: Cleo mira con horror a la Canela -
CLEO
Dicen que seguro se comió una rata envenenada… Pero yo creo que fueron los del pueblo, que otra vez andan jodiendo a Don José por lo de los terrenos…
Canela los mira con sus ojos de canica. EXT - PEQUEÑO CLARO EN EL BOSQUE - HACIENDA -- DÍA La luz de la tarde invernal se filtra entre los árboles y se refleja en el gran charco que se extiende entre el claro y el bosque. Niños corren entre los árboles tirando cohetes, dos perros los siguen chapoteando en el charco. Los adultos tiran al blanco con pistolas calibre .22, a botellas acomodadas sobre troncos al otro lado del claro. Con excepción de las nanas y las sirvientas que cuidan a los niños más pequeños, todos son blancos y, con excepción de Sofía y sus hijos, visten con ropa importada. El ruido de los disparos se confunde con el tronido de los cohetes. Toño juega "tochito" con PEPE DE LA BÁRCENA de 13 años, EDUARDO LARSSON, un pelirrojo de 12, y RICKY EDWARDS de Cleo cuida a Pepe y acompaña a LUPE, de 30 años, y a YOLA de 22, que cuidan a JORGE DE LA BÁRCENA de 7 años, que sufre de retraso mental y parálisis parcial en una pierna y un brazo, y a su hermano MEMO de 5 años, que está dentro del espectro autista. Están sentados sobre un mantel en el suelo jugando con cochecitos "Matchbox". Un poco más atrás, GLORIA, de 34 años que trabaja de nana para los Edwards, está sentada sobre otro mantel que tiene una vajilla de fantasía que probablemente es más cara que una real, y cuida a Sofi que juega con JULY EDWARDS, de 7, VERO MATOS de 8 y ANDREA, una niña rubia de pelo casi blanco también de 8 años. Los acompaña GERARDO LARSSON, un pelirrojo rechonchito y amanerado de 10 años. CONTINUED: Paco, acompañado de RODRI DE LA BÁRCENA de 10 años, ALEX MATOS de 10 y ANDY EDWARDS de 8, aparecen de entre los árboles y les tiran cohetes a las niñas, que gritan. Algunas lloran.
CLEO
¡Y ya te vi, Paco…! ¡Lárguense de aquí!
Los niños escapan entre carcajadas y corren chapoteando por el charco.
LUPE
¡Rodri! ¡Que no corran en el agua! ¡Ya están todos empapados!
El DR. ALEJANDRO MATOS, de 40 años, con barba de candado, dispara mientras fuma de su pipa. Junto a él, RICARDO EDWARDS, simpaticón de 39 años, OVE LARSSON, un noruego inmenso, tímido y pelirrojo de 41, y LESLIE MATOS, una gringa rubia de 38, también disparan mientras el DR. JOSÉ DE LA BÁRCENA, de 41 años, espera su turno y CELSO, el capataz de la hacienda, de 35, recarga las pistolas.
DR. JOSÉ DE LA BÁRCENA
¿Todavía quedan balas, Celso, o mando a Lupe por las de la gaveta?
CELSO
Quedan, Don José.
A unos metros, Sofía, Claudia, Molly y Samantha están sentadas en sillas plegables, platicando. La Señora Sofía ve a los niños que corren entre los árboles. Se levanta y les grita -
SEÑORA SOFÍA
¡No corran para allá que les van a dar un tiro!
Molly la secunda con su fuerte acento -
MOLLY
¡Niños! ¡Váyanse más atrás!… Andy, get back!
FLOR, una sirvienta de la hacienda, de 17 años, sirve bebidas a los adultos, acomodada en una mesa con una hielera. CONTINUED: (2) LOLA, una niña de 12 años entrando a los 19, está maquillada, viste una minifalda cortísima y zapatos de plataforma. Aprovecha la distracción de los adultos para verter whisky en su Coca-Cola. Junto a ella, CLAU DE LA BÁRCENA, de 11 años, la ve divertida pero su curiosidad aún no rebasa su obediencia. EN EL MANTEL DE LOS NIÑOS - Pepe está aburrido ya que la interacción con Jorge y Memo es difícil, y mira hacia el círculo de tiro. Se levanta y camina hacia allá.
CLEO
Espérate, Pepe. ¿A dónde vas?
Pepe sólo señala y sigue caminando, Cleo lo sigue y llegan al- CÍRCULO DE TIRO - Donde el Dr. Alejandro Matos ha disparado sus ocho tiros y va con Celso para recargar la pistola. Llama a las mujeres en las sillas plegables -
DR. ALEJANDRO MATOS
¿Y qué? ¿Las damas no disparan?
Las mujeres niegan con las manos -
MOLLY
¡Leslie es nuestra representante!
DR. ALEJANDRO MATOS
Leslie no cuenta, es gringa.
Las mujeres ríen, Claudia se levanta -
CLAUDIA
¡Voy!
SAMANTHA
Yes, Claudia. You show them, girl!
Celso le entrega a Alejandro la pistola recién cargada mientras Leslie llega con la suya. Celso la toma y la recarga rápidamente. Pepe recoge los cartuchos tirados en el suelo, Cleo le ayuda. Ya cargada, Celso entrega la pistola a Alejandro quien se la da a Claudia - CONTINUED: (3)
DR. ALEJANDRO MATOS
Leslie, could you help Claudia?
LESLIE
Come. Point the gun to the floor when you're not using it.
Clau y Lola, "coca-cola" en mano, se pasean entre los adultos. Se cruzan con Leslie -
LESLIE
C'mon, Lola. You really have to wear a miniskirt and platform shoes? We're in the woods.
Lola sigue su camino ignorando a su madre.
CLAUDIA
Déjala. Te ves muy bonita, Lola.
Lola y Clau llegan al círculo de tiro y a la aceptación masculina.
DR. JOSÉ DE LA BÁRCENA
A ver, Lola. ¿Quieres tirar?
LOLA
Bueno.
Lola va con José, que le da su pistola mientras la abraza por detrás para "ayudarla" a disparar.
DR. JOSÉ DE LA BÁRCENA
No cierres los ojos cuando dispares…
Cleo ve a Alejandro que camina hacia la mesa de bebidas donde Flor atiende.
DR. ALEJANDRO MATOS
¿Me sirves un whisky con dos hielitos?
Flor prepara la bebida. EN EL CÍRCULO DE TIRO - Todos festejan que Claudia le ha atinado a dos botellas. Dispara otras cuatro veces seguidas reventando cuatro botellas más. Todos celebran - CONTINUED: (4)
RICARDO EDWARDS
¡Aguas, Pepe, que tu mujer salió guerrillera!
Todos ríen. EN LA MESA DE BEBIDAS - Flor le da el whisky a Alejandro, y él, aprovechando la distracción general, la nalguea. Flor se escabulle aterrorizada. Más botellas revientan. INT - SALÓN - HACIENDA -- NOCHE Docenas de lámparas de pie y de mesa iluminan una inmensa nave con una enorme chimenea que devora gruesos troncos. Frente a ella, una amplia sala con vastos sillones de cuero adornados con pieles. Los adultos conversan, unos sentados en los sillones, otros de pie, todos beben y muchos fuman. Pepe está en las piernas de Sofía, Gerardo está sentado junto a su madre. Yvonne Elliman flota por el aire cantando "I Don't Know How to Love You". Las niñas juegan cartas en una larga mesa frente al ventanal que da a una terraza. Afuera, los niños tiran cohetes y lanzan escupidores. Otros niños juegan "Triominos " en el piso, y en una salita Lola, con su trago en la mano, chismea con Clau. Cleo acompaña a Yola que cuida a Memo, que hace girar un plato obsesivamente sobre el piso, y a Jorge, que juega con un cochecito. Pepe, July Edwards y Andrea Larsson entran de la terraza gritando y riendo perseguidos por un extraño monstruo. Es un esparpajo con cuerpo de paja y pieles largas, una máscara de madera cure la cara. Pareciera un un espíritu pagano y corretea a los niños más pequeños, que huyen divertidos, con un vaso de cuba en la mano. Cleo ve a Flor entrar cargando una charola con demasiados vasos de leche y licuados. Se apresura a ayudarla - CONTINUED: Los vasos de leche bailan peligrosamente sobre la charola mientras Flor pierde el equilibrio, pero Cleo llega justo a tiempo para ayudarla. Juntas, caminan a la mesa y les sirven las bebidas a las niñas. El rasgar de una aguja sobre un disco y los metales de una orquesta irrumpen a ritmo de mambo y la canción cambia: "Corazón de Melón" con Pérez Prado. Samantha se levanta con un grito y comienza a bailar -
SAMANTHA
¡Ándale, comadre!
Sofía y Molly se levantan y bailan con ella, Ricardo Edwards con sueños de Ricky Ricardo se pasea vociferando -
RICARDO EDWARDS
¡Co-ra-zón de me-lón, de me-lón me- lón! ¡Corazón!…
Y se integra al baile. Alejandro lo sigue y baila con Sofía. Lola y Clau también se unen, Gerardo baila con su madre, Ove con July. Benita entra al salón y busca por el cuarto. Molly intenta que Vero y Andrea se vayan a acostar pero las niñas se niegan. Cleo y Flor miran divertidas, contagiadas por el mambo. Cleo ve a - Pepe, que se une al baile y va con su madre que no le hace caso, metida en el baile con Alejandro. Benita llega junto a Cleo.
BENITA
Ven tantito.
Cleo la ve confundida -
CLEO
¿A dónde?
BENITA
Tú ven tantito.
Cleo mira alrededor - CONTINUED: (2)
CLEO
Pero, ¿y…?
BENITA
¿Qué? ¿Te va a llorar un escuincle porque perdió en las cartas o porque lo pisó su hermano?
Cleo la ve, divertida, y la sigue. Cruzan el salón hacia la entrada.
RICARDO EDWARDS
¡Co-ra-zón de me-lón, de me-lón me- lón! ¡Corazón!…
EXT - CORREDOR - HACIENDA -- NOCHE Benita guía a Cleo, que la sigue divertida y curiosa por el corredor iluminado con velas. Dejan atrás el MAMBO y bajan - INT - ESCALERAS - PATIO INTERNO - HACIENDA -- NOCHE Las escaleras de piedra bajan a un patio interno que sirve también de bodega. Un par de hombres conversan iluminados por la luz que emana de la ventana de la cocina. Adentro, un bullicio alrededor de UN ACORDEÓN que exhala una polka ranchera. Tres perros se pasean por el patio en espera de algún regalo de Año Nuevo. Benita y Cleo entran a - INT - COCINA - HACIENDA -- NOCHE Un galerón de techos de bóveda iluminado por focos pelones anida una enorme y antigua cocina con estufas de leña, una enorme mesa, una estufa Mabe y dos refrigeradores de 1961. Los TRABAJADORES de la hacienda festejan el Año Nuevo. Benita guía a Cleo hacia la mesa. Mujeres sirven comida de grandes ollas de barro. Un hombre de 65 años toca el acordeón y un espontáneo improvisa una quebradita con Gloria, que está claramente borracha. Ve a Cleo - CONTINUED:
GLORIA
¿Qué? ¿Ya te dejaron salir al pan?
Cleo ríe. En la mesa todos beben, algunos comen, unos vestidos para la oca sión, muchos no. Una Televisión 1959 transmite un especial de Año Nuevo del canal 2.
BENITA
¿Qué te sirvo?
CLEO
No, nada. Gracias.
BENITA
¿Qué no vas a brindar el Año Nuevo con nosotros? ¿Ya hablas inglés, o qué?
CLEO
Es que… el bebé…
BENITA
Le va a hacer bien un traguito en Año Nuevo… Festeja ahora que puedes. ¿Ves a ese del sombrero?
Cleo ve a un hombre de sombrero que platica sombríamente con otros dos hombres -
BENITA
Le mataron a su hijo en agosto. Los del pueblo. Por un pleito de tierras.
Cleo lo ve impresionada.
BENITA
¿Tienes vida?
CLEO
Sí…
BENITA
¿Aguardiente, pues?
Benita sirve un jarrito de aguardiente.
CLEO
No. Mejor un pulquito.
BENITA
¡Eso!
() CONTINUED: (2) Sirve pulque en un jarro y se lo da a Cleo. Las dos brindan.
BENITA
Por un hermoso 1971 y la salud de tu bebé.
CLEO Y BENITA
¡Salud!
Benita se lleva el jarrito a la boca y Cleo acerca el pulque a la suya cuando Gloria, bailando su quebradita, tropieza y choca con Cleo. El jarro de pulque cae al suelo antes de tocar sus labios y revienta en cien pedazos.
GLORIA
¡Perdóname, manita!
BENITA
¡Ta güeno! ¡Tú baila que tenemos harto!
Y sirve pulque en un nuevo jarro. Gloria sigue bailando. Cleo recibe el otro pulque pero mira preocupada el Jarro hecho añicos en el suelo. INT - PATIO INTERNO - ESCALERAS - HACIENDA -- NOCHE Cleo sale de la cocina, está un poco ebria. El patio está vacío excepto los perros que la siguen hasta que Cleo sube las escaleras al - EXT - CORREDOR - HACIENDA -- NOCHE Cleo camina por el corredor iluminado de velas de regreso al salón donde el EP toca "Mummy Blues". Ve una silueta que descansa recargada en el barandal, es la Señora Sofía. Alejandro Matos sale del salón y se acerca a Sofía por detrás y la abraza. Sofía reacciona volteando sorprendida -
SEÑORA SOFÍA
¡¿Qué haces?!
Alejandro intenta besarla pero ella lo rechaza.
DR. ALEJANDRO MATOS
No te hagas… Tú también quieres…
CONTINUED: Sofía lucha por zafarse.
SEÑORA SOFÍA
¡No! ¡Déjame, Alex! ¡Estás borracho!
Lo empuja. Alejandro levanta las manos, resentido y resignado -
DR. ALEJANDRO MATOS
Está bien. ¡Está bien! Nomás quería consolarte… Pero pus…
Y comienza a caminar de regreso al salón.
DR. ALEJANDRO MATOS
Estarás tan buena, comadre…
La Señora Sofía se recarga contra el barandal, confundida y agitada. Voltea hacia Cleo que se esconde tras una columna. La Señora Sofía camina de regreso al salón, Cleo espera a que se aleje y sale de su escondite, se recarga en el barandal y mira hacia la noche. Cuando sus ojos se acostumbran a la penumbra puede ver la negra silueta de los árboles frente a un cielo que pareciera estar iluminado. El cantar de los grillos se funde con "Mummy Blues", que termina con un rayón de disco, y el acordeón, que pareciera tocar una mazurca. El viento sopla suavemente. Entre la oscuridad del bosque un pálido resplandor aparece, pareciera fundirse con la noche. Cleo lo ve fascinada. "Venus" con The Shocking Blue comienza a sonar. Los perros se sueltan a ladrar. El resplandor se empieza a expandir en un cálido pulsar, atractivo, como un fuego fatuo o una aparición. Y Cleo lo ve hipnotizada, pero lo que era un suave fulgor comienza a perforar la noche con un intenso brillo que danza entre los árboles. Los ladridos son más insistentes. Un grito -
GRITO
¡Fuego! ¡Fuego! ¡En el bosque!
CONTINUED: (2) Un barullo. Más gritos. Más ladridos. En el jardín, Celso pasa cargando una cubeta, otros peones lo siguen, todos con cubetas y bandejas que desbordan agua. Corren hacia el bosque en llamas. EXT - PEQUEÑO CLARO EN EL BOSQUE - HACIENDA -- NOCHE El enorme charco refleja llamas que bailan sobre las piedras en el suelo. El fuego se trepa a los árboles y se extiende por las ramas. Las llamas avanzan devorando los pastos del claro, el lugar donde esa tarde disparaban. Celso corre hasta el fuego y le vacía su cubeta, los peones hacen lo mismo. Regresan por más agua y se cruzan con más peones que llegan cargando diversos recipientes. El Dr. José llega cargando dos cubetas, seguido de Ricardo Edwards que carga una, más atrás el Dr. Alejandro Matos y Leslie cargan una pesada palangana. Gloria, Flor, Yola y Cleo llegan con sus recipientes, también llegan niños. Todos corren, vienen y van, los perros se mantienen a distancia. Una cadena humana se comienza a formar y todos se pasan las cubetas de mano en mano, intentando sofocar el fuego. Llega el monstruo pagano con su trago en mano. Ve su reloj -
OVE (EN INGLÉS)
23… 22… 21… 20… 19… 18… 17…
El monstruo se quita la máscara descubriendo a Ove, sudado y briago -
OVE
16… 15… 14… 13… 12… 11… 10…
La cadena humana comienza a funcionar con eficiencia. Pepe apaga unos pastos vaciando su tasita.
OVE
… 7… 6… 5… 4… 3… 2… 1…
Happy New Year!
Pero nadie hace caso, todos trabajan tratando de controlar el fuego. CONTINUED:
OVE
Happy New Year!…
Ove comienza a cantar en noruego. Es una emotiva canción de Nyttarbukk.
OVE
Pkfmsll apdkfn alosnnm…
Los niños van al charco a llenar sus pequeños recipientes y los perros los siguen, chapoteando. El reflejo se desarticula en ondas que chocan entre sí.
OVE
Pkfmsll apdkfn alosnnm…
Ove canta con convicción, sus ojos se llenan de lágrimas. 1 de enero de 1971, viernes. EXT - PEQUEÑO CLARO EN EL BOSQUE -- ALBA El rocío brilla sobre el bosque que está negro y todavía humea. Los primeros rayos del sol del nuevo año se filtran entre los árboles. En mitad del claro descansan cuatro sillas plegables, quemadas. EXT - MILPA - HACIENDA -- TARDE El Iztaccíhuatl duerme inmenso tras los cerros y los sembradíos polvorientos. La luz de la tarde se filtra por las nubes cargadas de lluvia. Un grupo de niños que corren y exploran. Toño, Pepe de la Bárcena, Ricky, Paco, Rodri, Alex y Eduardo van al frente y se lanzan pases de americano. Paco, Rodri y Alex cazan camaleones entre los surcos. Lola y Clau caminan cerca de ellos. Vero, Sofi, Gerardo Andrea y July van más atrás. Pepe y Andy van con Yola. Cleo camina con Benita. Los perros corren por doquier. Alex corre tras un camaleón, Rodri y Paco lo siguen.
BENITA
¡No corran muy lejos! ¡Nomás llegamos a la falda y regresamos!
CONTINUED: Paco se detiene -
PACO
¿Qué falda?
BENITA
La del cerro.
Paco ríe -
PACO
¿El cerro tiene falda?
BENITA
La falda… ¡La base, pues!
PACO
¡Alex! ¡El cerro tiene falda!
Alex se detiene.
PACO
Si nos agachamos podemos verle los calzones.
Paco hace como que se agacha y Alex lo imita. Lola y Clau llegan a ellos -
CLAUDIA
¡¿Qué hacen?!
PACO
Viéndole los calzones al cerro.
LOLA
Los cerros no tienen calzones.
Paco se agacha abajo de ella y le levanta la minifalda.
PACO
¡Tú tampoco!
Lola grita y se acomoda la falda -
LOLA
¡Pendejo!
PACO
¡Uuuuyyy!
Alex le levanta el vestido a Clau, que grita. CONTINUED: (2)
GLORIA
¡Alex! ¡Paco! ¡Dejen a la niñas en paz!
Los niños corren divertidos. Cleo y Benita se detienen. Una ráfaga de viento pasa creando remolinos de polvo, un trueno retumba suave y lluvia cae a la distancia. Cleo ve el paisaje, ensoñada. Sus manos descansan sobre su vientre -
CLEO
Así es mi pueblo. Sin la montaña, claro está. Pero así se parece…
Disfruta el momento mientras se acaricia la panza. Cierra los ojos -
CLEO
Así se suena…
Las campanadas de una iglesia y el balido de unas cabras se pierden en la distancia.
CLEO
Igualito…
Respira. Respira hondo. Sonríe -
CLEO
Así huele…
Cleo está en otra parte. 29 de enero de 1971, viernes EXT - TEPEJI 21 -- DÍA - (LLUVIA) El Valiant se estaciona frente a la casa, junto al Galaxie 500. El Valiant se desborda de niños. Sale uno de más, un amigo de Toño; BETO PARDO, de 12 años, con anteojos y pinta de niño bueno, ha venido a comer. Paco le muestra el Galaxie negro que tiene sus molduras y rayones recién reparados - CONTINUED:
PACO
Mira, lo repararon todo. Quedó como nuevo, ¿verdad?
Beto apenas lo ve. Sigue su camino y entra a la casa tras Toño. INT - ANTECOMEDOR - TEPEJI 21 -- DÍA Cleo, con una panza que comienza a notarse, le corta la carne a Pepe. La Señora Teresa come en silencio. Los niños platican mientras comen-
TOÑO
Los Vaqueros ganaron sólo porque Baltimore se confió.
BETO
¿Cuál? Si metimos tres touchdowns en la segunda mitad. Se-gui-di- tos.
La Señora Sofía baja las escaleras y va al antecomedor.
TOÑO
Te digo. Baltimore se confió. ¿Cómo le puedes ir a los Vaqueros?
SOFI
A mí me gustan las porristas de los Vaqueros. En mi escuela…
PACO
¿A quién le importan las porristas?
La Señora Sofía llega al comedor, está demacrada. La Señora Teresa la mira, preocupada.
TOÑO
¿Ma? ¿Podemos ir Beto y yo al cine?
La Señora Sofía está ausente -
SEÑORA SOFÍA
¿Qué van a ver?
TOÑO
La tienda roja, en Las Américas.
CONTINUED:
PACO
¡Yo también quiero ir!
TOÑO
¡No! ¡Sólo Beto y yo!
PACO
¿Y por qué?
TOÑO
¡Tú invita a tus propios amigos!
SOFI
Yo también quiero ir al cine.
TOÑO
¡Que no! ¡Que sólo vamos Toño y yo!
La Señora Sofía explota -
SEÑORA SOFÍA
¡O van todos o no va nadie!
TOÑO
¡Ellos pueden ir a otro cine!
PACO
¡Yo quiero ir al Las Américas!
TOÑO
¡Ni sabes qué es La tienda roja!
SEÑORA SOFÍA
¡Ya dije! ¡O van todos o no va ninguno!
El teléfono suena, la Señora Sofía se levanta y camina hacia el hall a contestar.
TOÑO
¡No es justo!
La Señora Sofía regresa -
SEÑORA SOFÍA
¡Si no te gusta, te puedes ir a vivir a otra parte!
Y se va a contestar el teléfono dejando a Toño fúrico. Paco le sonríe impertinente. CONTINUED: (2)
PEPE
¿Es de caricaturas?
La Señora Sofía contesta -
SEÑORA SOFÍA
¿Bueno?… ¡Ay, sí, 'pérame tantito!…
Grita hacia el antecomedor -
SEÑORA SOFÍA
¡Cleo! ¡Voy arriba a contestar, ahí cuélgale!
Y sube las escaleras. Cleo camina hacia el teléfono, se escucha un grito de la Señora Sofía -
SEÑORA SOFÍA (O.S.)
¡Ya!…
Cleo toma el auricular y va a colgar, alcanza a escuchar -
MOLLY (V.O.)
¿Cómo sigues, comadre?…
Cleo cuelga. INT - HALL DE ABAJO - TEPEJI 21 -- TARDE Se preparan para ir al cine, la Señora Teresa también va, tanto por preocupona como por cinera. Grita hacia la planta alta -
SEÑORA TERESA
¡Vamos tarde! ¡¿Van a bajar o no?!
Paco y Sofi ya están junto a ella.
PACO
Que se queden, ya vámonos…
SEÑORA TERESA
¡Ya nos vamos!
La Señora Teresa sale al patio acompañada de Cleo, Paco, Sofi y Pepe. EXT - PATIO - TEPEJI 21 -- TARDE. El grupo llega a la puerta de la calle y la Señora Teresa la abre. El Borras aprovecha y se escapa a pesar de los intentos de Cleo y Paco por detenerlo. Paco sale corriendo - EXT - TEPEJI 21 -- TARDE Y persigue al perro y lo alcanza, lo arrastra de regreso a la casa, donde el grupo espera afuera de la puerta. Paco mete al perro y va a cerrar la puerta cuando Toño y Beto salen.
TOÑO
¿Qué esperan?
Y se descuelgan caminando hacia la esquina en dirección a Insurgentes. Todos los siguen. EXT - CALLE DE TEPIC -- TARDE Toño y Beto en la vanguardia. Más atrás, Cleo y la señora Teresa cuidan a Sofi y a Pepe, que viene discutiendo de aviones con Paco.
PACO
…el Braniff puede ser de distintos colores pero son casi todos 727…
Van sobre Tepic ya cerca de Insurgentes cuando Toño y Beto, en estrategia bien planeada, se descuelgan -
TOÑO
¡Nos vemos en el cine!
Y el par se aleja corriendo.
SEÑORA TERESA
¡Toño!
La señora Teresa le pide a Cleo que los siga. Cleo emprende su misión acelerando el paso sin perder de vista a Toño y Beto, figuritas pícaras que ya van a media cuadra de distancia. Tocan timbres y corren escapando. Cleo acorta la distancia a cada paso hasta que llega cerca, pero no tan cerca, y así los sigue. CONTINUED: Los niños se arrancan al acercarse a Insurgentes, y al llegar a la avenida dan la vuelta, desapareciendo tras la esquina. Cleo se apresura y al llegar a la esquina da la vuelta a - EXT - AV INSURGENTES - CINE LAS AMÉRICAS -- OCASO Cleo llega a la avenida que rebosa de la energía de un viernes que anochece. Gente camina en todas direcciones y las luces de la calle, los coches, las vitrinas y los letreros ya están encendidas. Ve a la gente que cruza al otro lado de la avenida, donde el Cine Las Américas anuncia Melody, pero no encuentra a los niños. Se preocupa y camina por Insurgentes, hacia la otra esquina, buscando. Casi llega al puesto de periódicos en la otra esquina cuando voltea buscando hacia - EL OTRO LADO DE INSURGENTES - Y es ahí, entre la gente que sale del cine y se esparce por la acera, que ve al Señor Antonio. Va sonriente y muy ligero, dando un paso de baile torpe y extasiado para las risas y delicias de la JOVEN MUJER que va tomada de su mano. Y es ahí, también, donde por fin encuentra a Beto, escondido a un costado del quiosco de periódicos, perdido en las páginas de una Caballero. Y más allá a Toño, también revista en mano, pero su vista no está en las mujeres desnudas de sus páginas, está al otro lado de la calle, donde la gente sale del cine y su padre juega a ser Fred Astaire con una Ginger Rogers que no es su madre. El Señor Antonio tropieza en su torpe baile con una PAREJA MAYOR que se molesta. El Señor Antonio y la joven mujer se ríen y se arrancan escapando.
PAREJA MAYOR
¡Majaderos…!
El Señor Antonio se detiene y voltea solamente para acribillar a la pareja mayor con una ametralladora hecha de dedos y escapa con la joven mujer con la que aspira a ser Bonnie & Clyde. 24 de marzo de 1971, miércoles
INT/EXT - AUTOBÚS PÚBLICO - CALZ. IGNACIO ZARAGOZA --
DÍA Cleo viaja en un autobús que va repleto de gente. EXT - AVENIDA DE TERRACERÍA - CIUDAD NEZAHUALCÓYOTL -- DÍA Cleo baja del autobús, su panza de seis meses es obvia. El contraste con la Colonia Roma es evidente - La calle de terracería está flanqueada por grandes torres eléctricas y salpicada de baches donde se estanca el agua turbia. Las viviendas son de tabicón, cartón corrugado y lámina de asbesto, hay mucha basura y plásticos. Cleo le enseña un papel a un TRANSEÚNTE que le señala una calle que desemboca a la avenida. Cleo camina hacia la calle. EXT - CALLE - CASA - CIUDAD NEZAHUALCÓYOTL -- DÍA Cleo camina por la calle. Se respira la miseria, hay niños y perros callejeros por doquier y un riachuelo de aguas negras que corre a lo largo de la calle. Distinta música brota de cada casa. Tres perros le cierran el paso y le ladran. Cleo se agacha simulando recoger una piedra y los perros se alejan. Llega a una casa y checa la dirección en su papel, se acerca a la puerta y toca. Perros impertinentes responden a los toquidos en la distancia. Más cerca - Un gallo cacarea en una jaula de alambre junto a la entrada. Cleo espera. Vuelve a tocar cuando la puerta se abre. Es Ramón.
INT/EXT - DATSUN - AV OCEANÍA -- DÍA
Cleo va sola en el asiento de atrás. Adelante, Ramón va en el asiento del pasajero. Maneja su amigo CANCHAS, que viene fumando mariguana. Le pasa el churro a Ramón que le da un jalón y se lo pasa a Cleo, que lo rechaza. EXT - ESTACIONAMIENTO - LLANO - SAN JUAN DE ARAGÓN Y CUCHILLA DEL TESORO -- DÍA El Datsun se estaciona junto a unos puestos de fritangas. Cleo sale del coche, Ramón también, señala hacia unas canchas que colindan con la pista 5 del aeropuerto -
RAMON
Ahí entrenan en las canchas. Ni se te ocurra decirle que yo te traje.
CLEO
No, no, no, Ramón. Cómo crees. Muchas gracias.
Ramón se mete al coche y cierra la puerta. El Datsun arranca y se aleja por donde llegó. Cleo camina hacia las canchas polvorientas. EXT - CANCHAS - LLANO - SAN JUAN DE ARAGÓN Y CUCHILLA DEL 106\* TESORO -- DÍA \* A LA ORILLA DE LA CANCHA - Un centenar de hombres jóvenes, uniformados de tenis y camiseta, están formados en posición de descanso, supervisados por tres instructores con aire marcial, de pants y sudadera. Ven con atención a un hombre, en pants deportivos y camiseta sin mangas, que hace una demostración de ejercicios. Cleo llega a donde una pequeña multitud se ha juntado a la orilla de la cancha a ver la demostración - El hombre hace lagartijas sosteniéndose solamente con los dedos índice. Una joven que está parada junto a Cleo le dice con admiración - CONTINUED:
JOVEN
Es Zovek.
CLEO
(incrédula)
¡No…! ¿Zovek?
JOVEN
Íralo…
CLEO
¡¿El Profesor Zovek?!
JOVEN
¡Lleva más de cien lagartijas!
CLEO
¿Y qué? ¿Siempre viene?
JOVEN
No, de a siempre no, pero a veces viene y los entrena.
El PROFESOR ZOVEK cuenta hasta 150, se impulsa fuerte con los dedos índice y de un ágil movimiento se pone de pie y cruza las muñecas arriba de la cabeza. Los muchachos aplauden. Zobek extiende los brazos -
PROFESOR ZOVEK
Bienvenidos. Que la Energía acoja a todos los Kombatekas reunidos esta tarde.
Y señala a distintos Halcones a lo largo y ancho de su formación -
PROFESOR ZOVEK
¡Tú!… ¡Tú!… ¡Y tú también!
Los Halcones se sienten aludidos.
PROFESOR ZOVEK
Tú también puedes serlo. Todo ser humano posee un gran potencial que debe ser desarrollando a través del acondicionamiento físico, si. Pero más importante aún mediante una evolución mental y espiritual.
Zovek camina entre ellos. CONTINUED: (2)
PROFESOR ZOVEK
Tú también puedes desarrollar tu potencial. Pero no esperes milagros, el único milagro radica en tu propia voluntad.
Zovek se detiene -
PROFESOR ZOVEK
Por eso el desarrollo mental es el verdadero motor del desarrollo físico.
Extiende sus brazos, apropiándose del público -
PROFESOR ZOVEK
A continuación… ¡Un acto!
De una mano deja colgar un trozo de venda que se extiende y se mece con la brisa polvorienta - A LA ORILLA DE LA CANCHA - Cleo y el pequeño público exclaman sorprendidos -
PEQUEÑO PUBLICO
¡Oooooh!
Zovek exclama -
PROFESOR ZOVEK
¡Ésta es una rutina que requiere una condición física absoluta! un control mental absoluto! ¡Solamente Lamas, los grandes Maestros en Artes Aarciales y algunos grandes atletas la pueden dominar!
El Profesor Zovek extiende la venda hacia un MUCHACHO al frente de las filas -
PROFESOR ZOVEK
Sí… Tú… Por favor véndame los ojos.
El muchacho, tímido, camina hasta el Profesor Zovek y toma la venda, comienza a vendarle ojos -
PROFESOR ZOVEK
Asegúrate de que queden bien cubiertos. Tienes suficiente venda.
CONTINUED: (3) El muchacho le ha cubierto los ojos completamente al Profesor Zovek -
PROFESOR ZOVEK
Muchas gracias, puedes volver a tu sitio.
El muchacho regresa a su fila.
PROFESOR ZOVEK
¡Y ahora…!
El Profesor Zovek flexiona sus bíceps y hace, encima de su cabeza, la figura de un rombo juntando los dedos de las dos manos. Inhala profundamente y -
PROFESOR ZOVEK
(exhalando)
¡Huuuuuhh!
Y queda en silencio. Los muchachos miran expectantes. A LA ORILLA DE LA CANCHA - Cleo y el pequeño público miran asombrados. El Profesor Zovek está de pie, inmóvil, con su rombo sobre la cabeza y lentamente, muy lentamente, comienza a levantar su pie izquierdo. Se ha detenido el tiempo. El pie izquierdo se eleva doblando la rodilla hasta que el muslo queda en un ángulo de 45 grados y en esa posición se queda inmóvil. Los jóvenes esperan confundidos a que Algo suceda. A LA ORILLA DE LA CANCHA - Cleo y el pequeño público también esperan, un niño se sienta en cuclillas. El Profesor Zovek continúa inmóvil -
PROFESOR ZOVEK
¿Están decepcionados? ¿Esperaban el levantamiento de un jet o un elefante?
El público ríe. CONTINUED: (4)
PROFESOR ZOVEK
¡Pero si están siendo testigos de una proeza! ¿No me creen? Inténtenlo.
El Profesor Zovek habla, pero continúa sin moverse -
PROFESOR ZOVEK
Tan sólo cierren los ojos y levanten un pie. No tienen que levantar la pierna en 45 grados como yo ni subir los brazos. Tan sólo cierren los ojos y levanten un pie.
EN LAS FILAS - Los jóvenes cierran los ojos e intentan levantar un solo pie. Muy pronto pierden el equilibrio. Los instructores también lo intentan, sin ningún éxito. A LA ORILLA DE LA CANCHA - Cleo y el pequeño público también lo intentan, algún niño dura un poco más pero todos fracasan. El Profesor Zovek explica -
PROFESOR ZOVEK
La verdadera preparación mental es el camino a una realización física.
El pequeño público comienza a darse cuenta de que - Cleo está parada en un solo pie, formando un rombo con los dedos sobre su cabeza. Los ojos cerrados y la cara plácida. EXT - CANCHAS - LLANO -- MÁS TARDE Un entrenador toca el silbato y la formación se rompe. Los jóvenes recogen sus pertenencias a la orilla de la cancha y continúan su camino al estacionamiento. Cleo los ve pasar, y en un pequeño grupo encuentra a - Fermín, que camina platicando animado. CONTINUED: Cleo quiere llamarlo pero el nerviosismo se lo impide. Fermín y su grupo la pasan de largo. Cleo por fin lo llama -
CLEO
¡Fermín!
Quizá un poco demasiado fuerte. Fermín voltea y al verla se detiene, otros en su grupo se paran con él. Cleo y Fermín se miran.
FERMÍN
¿Qué pasó, mi Cleo?
CLEO
¿Puedes hablar tantito?
El grupo alrededor de Fermín le hace burla -
GRUPO
¡Uuuuuhuuuuuuu!
Fermín sonríe y comienza a caminar hacia Cleo mientras con un ademán despide a su grupo. Cleo y Fermín caminan el uno hacia el otro en el llano que se vacía. AL FONDO - Un Boeing 727 de Eastern Airlines despega y vuela sobre la pareja que se acerca en medio del llano.
FERMÍN
¿Qué milagro, mi Cleo?
CLEO
Hola Fermín…
Se encuentran y se saludan de beso.
FERMÍN
¿Qué haces por estos rumbos?
CLEO
Esque… como te he dejado recados y buscado, pero no has dado razón…
Fermín comienza a caminar hacia el estacionamiento - CONTINUED: (2)
FERMÍN
Perdón, mi Cleo, pero es que se puso intenso el entrenamiento y hasta trajeron a un instructor gringo y otro coreano. Bueno, el gringo ya había venido, pero el coreano es nuevo.
CLEO
¿Es para las Olimpiadas?
FERMÍN
Algo así. ¿Quién te dijo que estaba aquí?
Cleo titubea -
CLEO
Esque… el cuñado de una vecina entrena contigo y…
FERMÍN
(interrumpe)
Fue Ramón, ¿verdad?
CLEO
¡No, no, no…!
Fermín se detiene -
FERMÍN
¡Hijodela…!¡Pinche Ramón! Le voy a dar su calentadita cuando lo vea -
Hace la finta de unos impresionantes movimientos de aikido -
FERMÍN
¡Jodan Tsuki!… ¡Chudan Tsuki!… ¡Mae Geri!…
Golpes relámpago, patadas precisas y contacto cuerpo a cuerpo contra el aire.
CLEO
Esque… Ando con encargo…
Fermín se detiene en medio golpe. Sigue su camino al estacionamiento.
FERMÍN
¿Y a mí…?
CONTINUED: (3) Cleo lo sigue -
CLEO
Es que es tuya la criaturita…
Fermín acelera su paso -
FERMÍN
¡Ni madres!
CLEO
¡Es que sí es, Fermín!
Fermín se detiene en seco y se voltea y enfrenta a Cleo -
FERMÍN
¡Ya te dije que ni madres! ¡Así que si no quieres que te parta toda tu puta madre, a ti y a tu pinche criaturita, no vuelvas a decirlo y no me vuelvas a buscar!
Hace unos movimientos de aikido que culminan en un golpe mortal a Cleo que se detiene a medio centímetro de su cara, y se aleja caminando.
FERMÍN
¡Pinche gata!
Dejando a Cleo sola en el llano vacío. 14 de mayo de 1971, viernes EXT - PATIO PEQUEÑO - TEPEJI 21 -- DÍA El Borras ladra enloquecido, Cleo lo sostiene del collar pero pareciera estar en otra parte, ensimismada en su tristeza. Su panza de casi ocho meses ya es muy grande. El anciano de las naranjas coloca tres naranjas más en un huacal en el piso que ya está casi lleno.
ANCIANO DE LAS NARANJAS
…20.
El anciano se levanta y Adela le paga con un arrugado billete de 20 pesos. Más atrás, Cleo agarra al Borras que a cada ladrido intenta lanzarse sobre el anciano. CONTINUED: El anciano carga lentamente el inmenso saco de naranjas y lo coloca sobre su joroba. Comienza a caminar hacia - EXT - PATIO - TEPEJI 21 -- DÍA Donde Cleo sostiene al Borras, que intenta impulsarse con las patas traseras para atacar al anciano que pasa frente a ellos hacia la puerta de la calle. El anciano va a medio patio cuando el Borras da un jalón que toma por sorpresa a la ensimismada Cleo, quien lo suelta. El Borras se arranca tras el anciano, que al sentir al perro acelera hacia la puerta. El Borras lo persigue.
CLEO
¡Borras!
El Borras se lanza contra el anciano e hinca sus colmillos en el enorme saco, que se rasga. Docenas de naranjas se desprenden del saco y ruedan por todo el patio. El anciano suelta el bulto y corre hacia la puerta aprovechando que el perro intenta rematar el saco. Cleo corre hacia el Borras por el piso alfombrado de naranjas. El anciano casi llega a la puerta cuando el perro cae en cuenta y corre tras él. El anciano llega a la puerta y la abre. El Borras está a punto de encajarle los colmillos cuando el anciano sale y cierra. El Borras ya no puede frenar y se estrella contra la puerta. Cleo está de pie a mitad del patio, rodeada de un océano de naranjas. INT - PLANTA BAJA - TEPEJI 21 -- DÍA La luz del mediodía rebota por las paredes del patio y se desliza por las grandes ventanas y acaricia suavemente la moderna mesa de caoba. Cleo pule la superficie con un trapo. Frota la tela repetidamente sobre el mismo espacio, como si quisiera limpiar su reflejo. CONTINUED: La casa está en silencio, sólo el rumor de una conversación. El cable del teléfono se extiende hasta el baño bajo la escalera y desaparece bajo su puerta. La Señora Sofía está adentro, hablando por teléfono. Su voz resuena en el pequeño espacio y se filtra a través de la puerta, pero pocas palabras son claras. Paco baja las escaleras lentamente, se detiene a la mitad, justo sobre la puerta del baño, y se inclina sobre el barandal intentando oír con más claridad. Cleo continúa puliendo la misma área de la mesa y por fin cae en cuenta de Paco, que baja las escaleras. Paco llega al hall y camina lentamente hasta la puerta del baño y se recarga en la pared junto a ella. Cleo suspende la limpieza de su reflejo y ve a Paco que - Se desliza y se sienta en el piso. Se recarga contra la pared y se inclina para acercar su oído la puerta. Desde el comedor, Cleo le hace señas de que se vaya, pero Paco la ignora, concentrado en escuchar la conversación que suena distorsionada por el eco del baño y apagada por la puerta -
SEÑORA SOFIA
…les escribió cartas dizque desde Québec… ¡Nada! Sólo babosadas que les inventa. Que el paisaje es bonito, que hay muchos animalitos, que los extraña mucho pero que su investigación se sigue retrasado. ¡Puras mentiras, comi!… Ni siquiera tiene los pantalones para decirle a los niños…
Cleo camina hacia Paco haciéndole señas. Al llegar al hall se detiene a una distancia respetuosa del baño y su conversación. Agita su trapo vigorosamente, llamando a Paco.
SEÑORA SOFÍA
(atraves de la puerta)
¡No, comadre! Si se fue a Acapulco a la casa de los Matos con su piruja esa. ¡Para eso si tiene tiempo, ¿no?! Desde que se fue no ha mandado un quinto y ya van seis meses, comi.
CONTINUED: (2)
SEÑORA SOFÍA
Dice que anda corto, pero eso sí: ahora le dió por bucear y anda comprándose todo su equipo. ¿Y sabes cuanto cuaestan esas cosas?… No, para eso si tiene…
Él la ve pero niega con la cabeza repetidamente. Cleo se acerca un par de pasos más, aún manteniendo su distancia, y le habla articulando las palabras pero sin hacer, casi, sonido alguno.
CLEO
(articulando)
V-e-t-e d-e a-q-u-í
Paco va a negar con la cabeza pero un llanto perfora los ecos y se cuela por los muros, un llanto profundo y desesperado. Paco y Cleo se paralizan, asustados, y de pronto - La puerta del baño se abre y sale la Señora Sofía cargando el teléfono. Ve a Paco que intenta escabullirse y lo agarra -
SEÑORA SOFÍA
¡Y tú! ¿Qué haces espiando?…
Su rostro está demacrado por las lágrimas, la frustración y el dolor que explotan en - Una enorme cachetada que lo tira al piso. La Señora Sofía inmediatamente cae en cuenta de lo que hizo y se agacha junto a su hijo y lo abraza llorando -
SEÑORA SOFÍA
¡Perdóname, perdóname, Paco! ¿Por qué estabas espiando?… ¿Por qué estabas espiando?…
Los dos lloran en el piso, la Señora Sofía ve a Cleo a sólo unos pasos -
SEÑORA SOFÍA
¡Y tú! ¿Por qué lo dejas?
Abraza fuerte a Paco -
SEÑORA SOFÍA
No le digas nada a tus hermanos… No les digas… Prométeme… prométeme…
CONTINUED: (3) Cleo se mantiene inmóvil a un lado, deseando unírseles en el abrazo, y en el llanto. INT - CUARTO DE SOFI Y PEPE - TEPEJI 21 -- OCASO Cleo cepilla el pelo de Sofi, están sentadas en la cama. Sofi lee una carta, Cleo está ensimismada.
SOFI
Tiene muchos dibujos. Mira, esta niña creo que soy yo y éste es mi papá…
La carta está hecha exclusivamente de dibujos en pluma azul, sin sombreados ni colores.
SOFI
…Y éste es un corazón, mira, con una "ese" de Sofi y una "pe" de papá… Y éste es un perrito… ¿o es un pescado?
Pepe entra al cuarto y se sienta junto a ellas, asomándose para ver la carta.
CLEO
¿Creo se parece a un delfín?
SOFI
¿Un delfín? No. Es como un perrito…
PEPE
¡Es una foca! En la carta que mi papá le mandó a Paco, dice que de su hotel puede ver el mar y que hay muchas focas.
Sofi considera el dibujo -
SOFI
Sí. ¡Es una foca! ¡Como las que tiene en su hotel!
PEPE
Dijiste delfín. ¡No parece delfín!
CLEO
¿No parece?
SOFI
¡No!
CONTINUED:
CLEO
¿No es delfín? ¿Entonces qué dicen que es?
Sofi y Pepe contestan a coro -
SOFI Y PEPE
¡Una foca!
Y a coro también ríen. Cleo, distraída de su tristeza, voltea con Pepe y lo ataca a cosquillas, prolongando la risa. Cuando se tranquilizan, Pepe está acostado en la cama y ve a Cleo fijamente.
CLEO
¿Qué me ves?
PEPE
¿Cuándo va a salir tu bebé?
La tristeza vuelve a invadir a Cleo -
CLEO
El mes que entra.
SOFI
¿Va a ser niña?
CLEO
No sé…
SOFI
¡Que sea niña! ¡Porfa…! ¿Cómo se va a llamar?
CLEO
No sé.
SOFI
Si es niña, ¿se puede llamar Tábata como la de Hechizada?
CLEO
(ausente)
A lo mejor…
Pepe se incorpora y la ve, serio.
PEPE
¿Y va a vivir aquí?
CONTINUED: (2)
SOFI
¡Si es niña, sí!
CLEO
No sé. ¿Quieres que viva aquí?
PEPE
¡No! ¡Guácala!
Cleo sonríe tratando de cubrir su dolor. Cambia de tema -
CLEO
A ver. ¡A ponerse la pijama!
15 de mayo de 1971, sábado INT - CUARTO DE LA SEÑORA SOFÍA - TEPEJI 21 -- DÍA El cuarto brilla suavemente con la luz que entra por las ventanas y se filtra por las cortinas. Cleo acomoda ropa recién lavada en los cajones del clóset. Al abrir un cajón ve la ropa interior del Señor Antonio. Se escucha a los niños discutir a gritos desde la planta de abajo. Cleo cierra el cajón. Ve los trajes de hombre colgados. Los gritos se hacen más intensos y entre ellos se escucha a la Señora Teresa.
SEÑORA TERESA (O.C.)
¡Niños! ¡Ya Toño, ya!
Sofi entra corriendo al cuarto -
SOFI
¡Cleo! ¡Toño y Paco se están peleando!
Cleo sale al - INT - HALL DE ARRIBA - TEPEJI 21 -- DÍA Los gritos invaden el hall -
SEÑORA TERESA (O.C.)
¡No se peguen!
CONTINUED: Cleo sale del cuarto y se asoma por el barandal de la escalera pero no puede ver bien, Sofi la sigue. Van a las escaleras. INT - PLANTA BAJA - TEPEJI 21 -- DÍA Cleo, con su panza de ocho meses, baja las escaleras lentamente acompañada de Sofi. Al bajar pueden ver - EN EL HALL - A Toño que tiene a Paco agarrado de los pelos. Paco grita furioso e intenta acomodarle patadas a Toño. La Señora Teresa está en la sala y les grita, Pepe está de pie, paralizado, junto a ella.
SEÑORA TERESA
¡Ya¡ ¡Paren!
Pero Paco logra soltarse y le pega a Toño en la cara. Toño le agarra los brazos. EN LA ESCALERA - Cleo se detiene, Sofi toma su mano -
CLEO
¡Niños!
EN EL HALL - Paco le escupe en la cara a Toño, que lo suelta para darle una fuerte cachetada.
SEÑORA TERESA
¡Toño!
Y Paco se abalanza una vez más en contra de Toño que, veloz, escapa. EN LA ESCALERA - Cleo sigue bajando.
CLEO
¡Niños! ¡Le voy a decir a su mamá cuando regrese!
EN EL HALL - CONTINUED: Los niños no hacen el menor caso. Paco agarra un adorno de la mesa, un huevo de piedra, y - SE LO AVIENTA A TOÑO - Y vuela directo a su cabeza.
SEÑORA TERESA
¡Paco!
Toño se agacha justo en el momento en que el huevo, veloz proyectil, pasa volando exactamente por donde estaba su cara y continúa su trayectoria por las puertas abiertas hacia el patio - ESTRELLÁNDOSE en la puerta del Valiant, estacionado afuera. La Señora Teresa corre hacia Paco y lo agarra fuertemente, lo sacude -
SEÑORA TERESA
¡Qué estás haciendo! ¡Paco!
PACO
¡Él me pegó primero!
TOÑO
¡Porque tú me empujaste!
Cleo llega al hall con Sofi, camina hacia la sala.
SEÑORA TERESA
¡¿Cómo avientas esa cosa?! ¡Pudiste haber matado a tu hermano!
Paco para su lucha, arrepentido. Cleo llega con Pepe y lo abraza, Sofi va con ella. La Señora Teresa suelta a Paco -
SEÑORA TERESA
¡Lo pudiste haber matado!
Toño ve asustado la puerta del Valiant donde el huevo ha dejado una enorme abolladura en el metal. INT - COCINA - TEPEJI 21 -- NOCHE La casa está en silencio. Cleo lava platos, Adela los acomoda en las repisas. CONTINUED:
ADELA
Ya súbete, manita, yo aquí la espero…
Suena el claxon del Galaxie 500 - ¡Ta-ta Ta-ta Ta-ta Ta-taaaaaa…!
ADELA
Yo voy.
Adela sale al patio pequeño y camina al patio. Cleo va hacia el antecomedor. INT - PLANTA BAJA - TEPEJI 21 -- NOCHE Cleo cruza el antecomedor y el comedor y va al hall. Se asoma por la puerta que da al patio. EXT - PATIO - TEPEJI 21 -- NOCHE ¡Ta-ta Ta-ta Ta-ta Ta-taaaaaa…! Adela camina a la puerta de la calle, que brilla desde afuera iluminada por los faros del coche. ¡Ta-ta Ta-ta Ta-ta Ta-taaaaaa…! Adela abre la puerta descubriendo - Los potentes faros del Galaxie 500 que iluminan el patio. El coche comienza a avanzar lentamente pero - ¡Kkkjjjjjjkkk! Su lado izquierdo raspa contra el marco de la puerta. El coche frena y retrocede unos centímetros. Ajusta su trayectoria y vuelve a avanzar - ¡Krrrraajjjjj! Ahora su lado derecho pega contra el marco. El coche frena y gira sus llantas a la izquierda. Avanza. ¡Kkkjjjjjjkkk! La moldura izquierda se atora en el marco y comienza a doblarse. El coche frena. CONTINUED: Retrocede. Avanza de nuevo y ahora la moldura derecha es la que se atora. El coche frena. Retrocede. Vuelve a avanzar y la moldura derecha es arrancada de la lámina pero ahora el coche no se detiene, se sigue de frente corrigiendo rumbo, destrozando la moldura izquierda. Y corrige rumbo nuevamente. El espejo retrovisor se atora en el quicio y es arrancado. El Galaxie 500 frena sólo un momento para seguir su marcha con mayor convicción, golpeando y abollando ambos lados, las molduras dobladas en extrañas figuras. Y por fin, el Galaxie se detiene frente a la puerta que da al hall. INT - HALL DE ABAJO - TEPEJI 21 -- NOCHE Cleo está junto a la puerta que da al patio. Afuera - La puerta del Galaxie se abre y sale la Señora Sofía. Camina tambaleándose y entra a la casa sin cerrar la puerta del coche, está evidentemente ebria. Cleo se hace un lado dejándola pasar. La Señora Sofía la ve, divertida -
SEÑORA SOFÍA
Estamos solas. Siempre. Aunque te digan que no.
Y se ríe. Cleo la mira, confundida. La Señora Sofía continúa su camino y sube las escaleras, tambaleándose. 10 de junio de 1971, jueves
INT/EXT - VALIANT - CALLE -- TARDE
Ignacio maneja, Cleo va sentada adelante y la Señora Teresa va sola atrás. Circulan lentos entre un tráfico denso. CONTINUED: Un coche estacionado que intenta salir a la calle, Ignacio frena y lo deja pasar -
IGNACIO
Solo si nos estacionamos por aquí lejos porque hay manifestación de estudiantes.
En las banquetas hay bullicio de jóvenes que caminan calle arriba, algunos cargan mantas con consignas.
SEÑORA TERESA
Conque no les vuelvan a pegar…
El coche estacionado deja libre su lugar e Ignacio maniobra para entrar en el. EXT - CALLE - CERCA DE LA MÉXICO-TACUBA -- TARDE El Valiant se estaciona, salen la Señora Teresa y Cleo, Ignacio las acompaña, camiones del Departamento de Limpia del DF están estacionados a lo largo de la cuadra. Caminan entre los jóvenes calle arriba, hacia la esquina controlada por vehículos de la policía, pasando frente a un grupo de jóvenes en camiseta que esperan parados. EXT - CALLE - CALZADA MÉXICO-TACUBA -- TARDE Ignacio acompaña a Teresa y Cleo que caminan lentamente, Cleo por su panza y la Señora Teresa por su cojera. Las cortinas metálicas de los locales están cerradas. Caminan frente a una larga hilera de camiones de granaderos, filas de policías y de un grupo de jóvenes, que cargan varas de caña, reunidos cerca de la esquina. Llegan a la Calzada México-Tacuba que está cerrada al tráfico. La cabeza de una enorme manifestación pasa frente a ellos, caminando de Norte a Sur, sobre la avenida. La Señora Teresa, Cleo e Ignacio se ven obligados a cruzar entre la marcha. Se funden con la multitud, unos traen pancartas y todos cantan consignas. Cuando logran cruzar al otro lado de la avenida hacia la entrada a un edificio que anuncia una mueblería en el segundo piso, con letras pintadas en las ventanas. La Señora Teresa y Cleo entran, Ignacio espera afuera. INT - MUEBLERÍA - CALZADA MÉXICO-TACUBA -- TARDE El sol de la tarde ilumina el letrero de MUEBLERIA pintado a todo lo largo de las ventanas manchando el piso con sus letras al revés. Un puñado de clientes se pasea por el local, que vende muebles económicos y funcionales. El bullicio de la marcha invade el lugar con consignas y coros. Cleo y la Señora Teresa caminan entre los muebles de maternidad. Ven una cuna -
SEÑORA TERESA
¿Te gusta esta?
CLEO
Está muy bonita.
La Señora Teresa ve la etiqueta con el precio y le hace una seña a una VENDEDORA JOVEN que se acerca inmediatamente -
SEÑORA TERESA
¿A cómo me va a dejar esta cuna?
La vendedora revisa la etiqueta.
SEÑORA TERESA
Pero con descuento de cliente antiguo, ¿eh?
VENDEDORA JOVEN
Déjeme le pregunto a la patrona.
La vendedora camina hacia el mostrador. El bullicio externo se convierte en un rugido a coro de gritos despavoridos. Son las 17 horas con siete minutos. Ignacio aparece corriendo por la puerta, pánico en sus ojos. Todos en la tienda lo miran confundidos. El rugido externo se intensifica. Ignacio corre a la ventana y se asoma, otros clientes hacen lo mismo. Terror en los ojos. Cleo y la Señora Teresa se acercan lentamente y al llegar junto a Ignacio, ven también por la ventana - CALZADA MÉXICO-TACUBA - CONTINUED: La inmensa columna de estudiantes es atacada de frente por más de 100 jóvenes de tenis, camiseta y el cabello muy corto, armados con garrotes de bambú de dos metros, macanas y varillas que administran fuertes descargas eléctricas. Son los HALCONES. El grupo paramilitar ataca con furia. La multitud corre, pero más Halcones surgen por detrás y otros de las calles aledañas. Se escuchan disparos y una nube de pólvora comienza a formarse. Gente cae. Mujeres. Ancianos. Niños. ADENTRO, EN LA MUEBLERÍA - Se escuchan pasos corriendo escaleras arriba y entra un ESTUDIANTE sangrando de la cabeza, no tiene ni 20 años. Los clientes gritan alarmados. El estudiante los mira implorante y voltea asustado al escuchar ruidos en la escalera. La ENCARGADA de la mueblería le señala que entre rápido y llama a la Vendedora Joven.
ENCARGADA MUEBLERÍA
Mételo al armario.
La joven guía presurosa al estudiante hasta el fondo de la tienda, donde está el armario, cuando - EN LA PUERTA - Aparecen TRES HALCONES. La gente aterrada, una señora comienza a llorar. Ignacio se coloca, protector, frente a Cleo y la Señora Teresa. Los Halcones ven a la joven que cierra la puerta del armario. Dos van hacia ella, uno se queda a mitad de la mueblería controlando a la gente. La joven se coloca frente a la puerta del armario, el Halcón de vanguardia la golpea y la tira al piso, abre el armario y el Segundo Halcón - DISPARA TRES VECES. El estudiante cae fuera del armario, y ya en el piso - CONTINUED: (2) EL HALCÓN LE DISPARA DOS VECES MÁS. La gente grita y el Halcón en la retaguardia los vigila amenazante. Cleo, escudada por Ignacio, ve al Halcón en la retaguardia. El Halcón en la retaguardia también la ve. SE RECONOCEN. Es Fermín. Cleo comienza a hiperventilar. Los otros dos Halcones emprenden la retirada y Fermín los sigue. Los tres salen del local. Cleo los ve irse, su respiración muy agitada. Un charco se forma a sus pies. Se le ha roto la fuente. EXT - CALLE - PORTÓN VECINDAD - CERCA MÉXICO-TACUBA -- 126\* TARDE Ignacio sostiene a Cleo y la ayuda a caminar, la Señora Teresa va junto a ellos. Gente corre aterrada en todas direcciones, se escuchan disparos y hay mucho humo en el aire. Estudiantes corren hacia ellos, aterrados, perseguidos por Halcones con varas de bambú. Ignacio jala a Cleo a la entrada de una vecindad, la Señora Teresa los sigue. Se refugian. Frente a ellos, en la calle, los Halcones alcanzan a un estudiante y lo muelen a palos. Siguen su camino. Ignacio se asoma a la calle y jala a Cleo y sale del portón para continuar su camino. La Señora Teresa los sigue. Caminan por la México-Tacuba. En el suelo, hombres y mujeres, jóvenes y viejos, yacen muertos, algunos rodeados de sangre. Una joven llora de rodillas en el piso, sostiene la cabeza de un joven. Halcones llegan y la golpean con violencia.
INT/EXT - VALIANT '64 - CALLE -- TARDE
Ignacio, al volante, negocia con el tráfico entrando en cada hueco que encuentra.
CLEO
¡Aaahhhhhhhhhhggggg!
En el asiento trasero Cleo sufre contracciones, junto a ella va la Señora Teresa que la toma de la mano. INT - AV CUAUHTÉMOC - CENTRO MÉDICO -- TARDE El Valiant '64 avanza por Avenida Cuauhtémoc y da vuelta en una entrada al Centro Médico. EXT - GINECOBSTETRICIA - CENTRO MÉDICO -- OCASO El edificio, con su rampa, tiene las luces prendidas contra el cielo púrpura que quiere ser noche. Ignacio ayuda a Cleo a caminar. La Señora Teresa, más lenta, los sigue más atrás. En la explanada, mujeres embarazadas se pasean, algunas acompañadas, en espera de su parto inminente. Ignacio y Cleo entran al edificio. INT - LOBBY - GINECOBSTETRICIA -- OCASO Caos. Mujeres embarazadas se pasean en el lobby, otras aguardan con sus familiares en la sala de espera. Nombres son voceados y mujeres embarazadas son ingresadas. GRITOS y PUJIDOS de mujeres sufriendo contracciones. En la recepción, las enfermeras atienden con eficiencia la larga fila de pacientes. Ignacio entra al lobby sosteniendo a Cleo, avanzan inmediatamente hacia la recepción. Al llegar le dice a Cleo -
IGNACIO
Aquí espéreme tantito.
CONTINUED: Deja a Cleo y se acerca al mostrador e intenta hablar con una ENFERMERA apuradísima -
IGNACIO
Disculpe…
Pero la enfermera no se detiene, sólo señala -
ENFERMERA MOSTRADOR
Ahí haga cola…
Ignacio ve la cola, y ve a Cleo que tiene una contracción más, de pie.
CLEO
¡Ahhhhhaaaaaaaaaa…!
Ignacio llama a gritos para hacerse oír por encima del bullicio de preguntas, órdenes, quejas y lloridos -
IGNACIO
(gritando)
¡La Doctora Vélez! ¡Con la Doctora Vélez!…
Nadie parece escucharlo. Ignacio insiste -
IGNACIO
(gritando)
¡La Doctora Vélez! ¡Con la Doctora Vélez!…
La Doctora Vélez aparece por la puerta de médicos y pacientes acompañada de un CAMILLERO RECEPCIÓN. Se apresura hacia Ignacio -
DOCTORA VÉLEZ
Aquí, aquí, aquí…
Ignacio la lleva con Cleo mientras la Doctora Vélez levanta \* un brazo y el Camillero Recepción corre hacia Cleo empujando una silla de ruedas.La Señora Teresa por fin llega, está completamente sin aliento. La Doctora Vélez llega a Cleo -
DOCTORA VÉLEZ
Hola, Cleo. ¿Cómo estás?
Cleo la mira asustada por toda respuesta. El Camillero ayuda a Cleo a sentarse en la silla de ruedas. Ignacio también ayuda. CONTINUED: (2)
DOCTORA VÉLEZ
De aquí me la llevo yo. Ahí pueden esperar.
La Señora Teresa, rosario en mano, mira con Ignacio a Cleo que, empujada en la silla, desaparece por la puerta que va a - INT - PASILLO ELEVADORES - GINECOBSTETRICIA -- OCASO Cleo en la camilla respira asustada, va rodeada de la Doctora Vélez y el Camillero Recepción. Llegan a los elevadores y esperan. El elevador abre su puerta y entran a él. Las puertas están a punto de cerrar cuando el Señor Antonio, vestido con su bata blanca, los alcanza y también entra. INT - ELEVADOR - GINECOBSTETRICIA -- TARDE Las puertas cierran.
SEÑOR ANTONIO
Hola Cleo, ¿cómo se siente?
Cleo lo mira sorprendida -
CLEO
…¡Doctor…!
El Señor Antonio intenta animarla -
SEÑOR ANTONIO
Está en buenas manos… ¿A cuántos bebés ha sacado usted, Doctora Vélez?
La Doctora Vélez sonríe -
DOCTORA VÉLEZ
N'ombre… Cientos.
Cleo tiene una fuerte contracción -
CLEO
¡Ahhhhhhgggggg!
El Señor Antonio le toma la mano y se agacha para acercar su cara a la de Cleo - CONTINUED:
SEÑOR ANTONIO
Respire Cleo… Así…
El Señor Antonio comienza a inhalar y a exhalar soplando. Cleo intenta imitarlo mirándolo a la cara. INT - LOBBY - 6º PISO - GINECOBSTETRICIA -- OCASO El elevador abre sus puertas y la camilla con Cleo sale empujada por el Camillero Recepción. El sexto piso no tiene ventana alguna. Pasan la central de enfermeras al llegar a la puerta que da a la Sala de Expulsión, el Señor Antonio se inclina hacia Cleo -
SEÑOR ANTONIO
Hasta aquí me deja pasar la Doctora Vélez…
La Doctora Vélez lo interrumpe -
DOCTORA VÉLEZ
Por mí no se apure, pásele si quiere.
SEÑOR ANTONIO
No, eh… Tengo consulta…
Su excusa queda en el aire y él posa una mano en el hombro de Cleo -
SEÑOR ANTONIO
Le va a ir muy bien, Cleo…
Y se escabulle de regreso por el pasillo. Cleo, asustada y confundida, apenas si ha registrado el intercambio. La Doctora Vélez llama a una enfermera mientras el Camillero Recepción empuja a Cleo a - INT - CUBÍCULOS DE ADMISIÓN - GINECOBSTETRICIA -- OCASO 134\* Es un cubículo separado de otros por cortinas y mamparas con una cama ginecológica al centro. La ENFERMERA ADMISIÓN ayuda a Cleo a levantarse de la silla y a sentarla en la mesa de exploracón. CONTINUED:
DOCTORA VÉLEZ
Cleo, ¿te quitas toda la ropa y te pones esta bata? Te vamos a revisar.
El Camillero Recepción sale y la Enfermera Admisión ayuda a Cleo a quitarse la ropa mientras un RESIDENTE llega. No tiene mucha privacidad y puede ver, tras las cortinas mal cerradas, a otras mujeres que son examinadas. La Doctora Velez hace preguntas que ella contesta confundida.
DOCTORA VÉLEZ
¿Cuando fué tu última menstruación?
CLEO
¿En Septiembre?…
DOCTORA VÉLEZ
¿Tienes fecha tentativa de parto?
CLEO
El 21 de Junio…
DOCTORA VÉLEZ
¿Hubo complicaciones durante el embarazo?
Cleo niega con la cabeza, asustada.
DOCTORA VÉLEZ
¿Hace cuánto se rompió la fuente?
CLEO
Hace como hora y media. No podíamos salir de donde estábamos y…
DOCTORA VÉLEZ
¿Estaba clara?
CLEO
¿Eh?
DOCTORA VÉLEZ
El agua. ¿Era transparente el agua?
CLEO
No… Espesita. Así como sopa.
Cleo está por cerrarse la bata cuando sufre una contracción muy dolorosa. La Doctora Vélez ordena - CONTINUED: (2)
DOCTORA VÉLEZ
No pujes Cleo, sopla. Ayúdenla a subir a la cama…
El Residente y la enfermera ayudan a Cleo a acostarse en la cama de ginecología. La Doctora Vélez la esculta por encima de la panza -
DOCTORA VÉLEZ
Cheque dilatación.
El RESIDENTE osculta a Cleo y dictamina -
RESIDENTE
Siete u ocho centímetros…
DOCTORA VÉLEZ
¿Frecuencia?
El RESIDENTE checa con una "corneta" la frecuencia cardiaca mientras una enfermera llena documentos.
RESIDENTE
No se escucha el foco fetal…
ENFERMERA ADMISIÓN
Señora, ¡Sople!
RESIDENTE
Está completa. Está en segundo plano… Expulsivo con dilatación completa, trae meconio cuatro cruces y está en asistolia.
La Doctora Velez, veloz, gira instrucciones -
DOCTORA VÉLEZ
Canalícela con solucion mixta y pásenla a labor inmediatamente. Llamen al camillero y alerten a pediatría. Que preparen laringoscopio, equipo de reanimación y un "ambu".
El CAMILLERO ADMISIÓN llega y acerca su camilla a la cama de exploración. El residente le pide a Cleo -
RESIDENTE
¿Se me pasa a la camilla?
DOCTORA VÉLEZ
Vamos a sacarte a tu bebé.
CONTINUED: (3) La enfermeras y el Residente ayudan a Cleo a pasarse a la camilla. INT - PASILLO - SALAS DE LABOR - 6º PISO - GINECOBSTETRICIA -- OCASO Luces fluorecentes iluminan un pasillo con puertas esmeriladas semi-abiertas. De las salas se filtran los gritos de una mujer dando a luz. Una enfermera sale de una sala y cruza hacia otra. También se escucha, al fondo del pasillo, una puerta que se abre y al poco tiempo, aparece la doctora Vélez y la Enfermera Admisión, el Residente y el Camillero Admisión que empujan a Cleo. Al llegar al final del pasillo, la Doctora Veléz se separa de ellos y se dirige a las tarjas para lavarse las manos. El resto entra a - INT - SALA DE EXPULSIÓN - QUIRÓFANO - GINECOBSTETRICIA -- OCASO El Residente y el Camillero Admisión ayudan a acomadar a Cleo en la cama de expulsión mientras la ENFERMERA QUIROFANO le canalizan una vena y le pone puntas nazales. El Camillero Admisión y la Enfermera Admisión salen. La Doctora Vélez entra al quiófano con las manos en alto y camina a la mesa de expusón donde una mesa con material esteril la espera. Toma un campo y se seca las manos.
RESIDENTE
Dicen que llegaron estudiantes heridos al Rubén Leñero y que los Halcones llegaron, ahí mismísimo a rematarlos.
ENFERMERA QUIRÓFANO
¡Hay que horror! Cómo en el 68…
RESIDENTE
Cuando Echeverría era el Secretario de Gobernación.
Cleo tiene una fuerte contracción -
CLEO
¡Aaaaahhhhhh…!
CONTINUED:
DOCTORA VÉLEZ
No soples Cleo. Puja…
Cleo intenta soplar entre sus gemidos de dolor. Un doctor entra a la Sala con manos en alto. Es el PEDIATRA, se seca las manos. Cleo respira agitada.
DOCTORA VÉLEZ
Asi. Ya viene. ¡Puja …!
Y de entre sus piernas, la corona de un bebé aparece, como un sol que crece.
DOCTORA VÉLEZ
Ya casi. ¡Puja!
Cleo grita.
CLEO
¡Aaaaaaahhhhhhhhhhhhhhh…!
Es un grito profundo. Un grito arcáico, inmemorial.
CLEO
¡Aaaaaaahhhhhhhhhhhhhhh…!
El bebé sale expulsado de entre las piernas de Cleo a las manos de la Doctora Vélez que lo recibe. El bebé no llora ni respira, está flácido y se cuelga como un trapo. Está completamente embarrado de un líquido verde. La Doctora Vélez corta el cordón umbilical y le pasa el bebé al Pediatra que lo acomoda suavemente sobre su mesita pediátrica y lo revisa con un estetoscopio. Cleo sigue toda la acción, la mesita pediátrica a solo un metro de su cara.
PEDIATRA
No tiene latido. Vamos a intentar reanimación.
El Pediatra pone al bebé en hiperflexión y le mete la hoja del laringoscopio por la boca. Comienza a aspirarlo con una sonda. Cleo ve que su bebé. De la boca, por la sonda, sale meconio, un liquido verde denso como sopa de chícharos. CONTINUED: (2) El Pediatra saca la sonda de la boca y mete un tubo endotraqueal y comienza ventilar con el "ambu", un resucitador manual. La Doctora Vélez trabaja sacando la placenta. Cleo ve a la bebé sobre la mesa. El Pediatra bombea el globo del "ambu" repetidamente intentando reanimarlo. Cleo ve al bebé, su cara casi cubierta por el "ambu" y descubre que es una niña. El Pediatra deja de bombear el "ambu" y checa palpitaciones con su estetoscopio -
PEDIATRA
Está en asistolia…
Y se dirige, suavemente, a Cleo -
PEDIATRA
Señora, su bebé nació muerto, no traía líquido. El líquido verde le tapó los pulmones. Lo sentimos muchísimo, Señora.
Cleo escucha en silencio sin dejar de ver a su bebé. Las enfermeras comienzan a limpiarle el cuerpesíto.
DOCTORA VÉLEZ
Lo siento muchísimo, Cleo…
PEDIATRA
¿Quiere despedirse de su bebé, Señora?
Cleo asiente. La Enfermera Quirófano carga la bebé y la posan suavemente sobre Cleo que la abraza con la mirada perdida. La Doctora Vélez continúa trabajando entre sus piernas, limpiándola.
PEDIATRA
¿Con quién viene? ¿A quién le avisamos?
DOCTORA VÉLEZ
Viene con familiares. Están esperando afuera.
Cleo susurra algo.
DOCTORA VÉLEZ
¿Dijiste algo, Cleo? No te escucho…
CONTINUED: (3)
CLEO (SUSURRA)
Señora Sofía… Señora Sofía…
DOCTORA VÉLEZ
Si, Cleo. Yo la llamo…
La Enfermera Quirófano llegan a tomar la bebé muerta -
ENFERMERA
¿Podemos?, ¿Señora…?
Cleo asiente y la Enfermera toma a la bebé y la lleva a una mesita donde la comienza enrollar con una pequeña manta. Cleo mira como su hija desaparece bajo el envoltorio, y cuando está completamente envuelta, la Enfermera Quirófano sella las telas con cinta adehsiva. Después, toma un plumón y escribe sobre las telas del envoltorio - RECIEN NACIDA - CLEODEGARIA GUTIERREZ. 11 de junio de 1971, viernes INT - SALA DE HOSPITALIZACIÓN - GINECOBSTETRICIA -- DÍA 138\* La luz del nuevo día invade la sala. Camas enfiladas a lo largo de las paredes, donde madres recién paridas se recuperan. Algunas mujeres cargan a sus crías, otras amamantan, otras duermen. Hay moños, sobres y flores. Cleo está despierta, recostada en su cama, su mirada ausente. Una enfermera carga un bebé hasta una cama. Una mujer lo recibe emocionada y comienza a amamantarlo. La enfermera la ayuda, las dos susurran con una efusión que interrumpe la paz de la sala. Cleo no voltea a verlas, tal vez no las escucha, tiene la mirada perdida. La Señora Sofía llega a la puerta y se detiene un momento, observa a Cleo que permanece inmóvil rodeada del tenue rumor del tráfico en Avenida Cuauhtémoc que apenas despierta y el efusivo susurro de la mujer que amamanta a su bebé. CONTINUED: La Señora Sofía entra a la sala y camina hasta Cleo, se sienta en la cama y le toma la mano. Cleo la mira e intenta un esbozo de sonrisa. La Señora Sofía le aprieta la mano, es un corazón herido que intenta ofrecer un sólido apoyo que Cleo no encuentra en el vacío.
INT/EXT - GALAXIE 500 - AV BAJA CALIFORNIA - CALLES URES - 139\*
HUATABAMPO - TONALÁ -- DÍA \* La Señora Sofía maneja, junto a ella va Cleo, van en silencio. Dan vuelta a la derecha, dejando atrás Avenida Baja California y el rayo del sol. Manejan por Calle Ures, las dos viendo al frente, rodeadas del ronroneo del ocho cilindros que cambia velocidad automáticamente. Dan vuelta a la izquierda, en calle Huatabampo. Continúan en silencio bajo la sombra de las casas hasta la esquina con Tonalá, donde un coche espera su turno para dar la vuelta. La Señora Sofía frena detrás del coche y espera. Las dos mujeres viendo al frente en silencio. La Señora Sofía le toma la mano a Cleo y comienza a gemir. Es un gemido quieto y prolongado que brota en un lamento largo y articulado. Abraza a Cleo que permanece en silencio. El coche frente a ellas ya ha avanzado y ahora es el Valiant quien detiene el tráfico, con tres coches ya detrás de él. Un CLAXON suena. La Señora Sofía llora abrazada a Cleo. Llora toda la impotencia, todo el miedo, toda la incertidumbre y todas las humillaciones. Llora ignorando el coro de cláxones que se ha unido a su clamor. EXT - ESQUINA HUATABAMPO Y TONALÁ -- DÍA El Galaxie 500 está inmóvil y detiene el tráfico en la esquina. Los coches impacientes lo rebasan por la izquierda, algunos mentando madres. Las dos mujeres adentro del Galaxie permanecen abrazadas. 23 de junio de 1971, miércoles EXT - PATIO - TEPEJI 21 -- TARDE El patio sembrado con cacas de perro está vacío excepto por un triciclo rojo, una pelota de futbol y el Borras que está echado disfrutando los últimos rayos del sol. Un misterioso SILBIDO se filtra desde la distancia. El Borras levanta la cabeza, alerta. El silbido, triste y solitario, toma presencia, invadiendo las paredes de la casa. INT - HALL DE ARRIBA - TEPEJI 21 -- TARDE El silbido pareciera filtrarse por los muros y rebotar por los mosaicos del piso. Desde el patio, el Borras comienza a ladrar. EXT - CALLE DE TEPEJI - TEPEJI 21 -- TARDE El silbido perfora la calma de la tarde y pareciera hacer eco en las fachadas de las casas. Tepeji 21 descansa, triste y resignada, sobre sólidos cimientos que se funden con el concreto gris de la banqueta. El Galaxie 500 y el Valiant están estacionados frente a la casa. Un afilador cruza en su bicicleta tocando su silbato que impregna el tiempo con su lamento de mal agüero. EXT - PATIO PEQUEÑO -- TARDE Los periquillos parecieran querer imitar el silbido con su canto. La voz de Adela grita desde el segundo piso -
ADELA (O.C.)
¡Sacúdete!
INT - COCINA - TEPEJI 21 -- TARDE Cleo está sentada junto a la ventana absorta en su dolor.
ADELA (O.C.)
¡El afilador! ¡Que te sacudas! ¡Cleo…!
CONTINUED: Pero Cleo permanece inmóvil. El fatídico silbido se aleja lentamente y al fin desaparece. El Borras y los periquillos se tranquilizan. Todo queda en silencio. La luz de la tarde agoniza. Cleo no se mueve. ¡TA-TA TA-TA TA-TA TA-TAAAAAA…! El gangoso claxon de un coche repica desde la calle y los ladridos del Borras responden. ¡TA-TA TA-TA TA-TA TA-TAAAAAA…! Cleo no reconoce el claxon pero sí el ritmo de su pitido - ¡TA-TA TA-TA TA-TA TA-TAAAAAA…! Cleo se levanta y camina lentamente a la puerta y sale al- PATIO PEQUEÑO - Y lo cruza hacia el - EXT - PATIO - TEPEJI 21 -- TARDE Cleo ve a Adela abrir la puerta de la calle mientras agarra al Borras del collar, descubriendo - Un RENAULT 12TS AMARILLO PÁLIDO enfilado frente a la puerta. El pequeño coche arranca hacia adentro pasando el quicio con holgura y continúa, veloz, su marcha sin obstaculos hasta la puerta del hall. Paco y Pepe se asoman desde el hall y ven a su madre al volante del Renault. Paco grita -
PACO
¡Toño! ¡Sofi! ¡Vengan!
PEPE
¡Mamá compró coche nuevo!
Paco sale y examina la carrocería del coche. Pepe se une a su hermano. Cleo se acerca un poco más mientras Adela cierra la puerta que da a la calle. CONTINUED: La Señora Sofía asoma la cabeza por la ventana del coche -
SEÑORA SOFÍA
¿Les gusta?
PACO
¿A cuánto corre?
La Señora Sofía abre la puerta del coche y sale -
SEÑORA SOFÍA
Tú checa.
Paco se apresura a sentarse en el asiento del conductor, Pepe corre alrededor del coche y se mete al asiento del copiloto. Toño y Sofi salen al patio y ven el coche nuevo.
TOÑO
¿Por qué no un Maverick?
Paco, en el asiento del conductor, protesta -
PACO
¡Sólo corre a 145! ¡El Galaxie corre a 200!
SEÑORA SOFÍA
Porque son muy caros y quiero un coche chico. ¡Ya estoy hasta la coronilla del Galaxie!
Sofi se mete al asiento trasero del coche -
SOFI
A mí sí me gusta el coche nuevo, mami.
Adela llega junto a Cleo.
PACO
¿Y el Galaxie?
SEÑORA SOFÍA
Lo vendí. La semana que entra vienen por él.
Sofi sale del coche -
TOÑO
¿Mi papá sabe?
CONTINUED: (2)
SEÑORA SOFÍA
No. Es una sorpresa.
La Señora Sofía ve a Cleo -
SEÑORA SOFÍA
Hola, Cleo. ¿Te gusta el coche nuevo?
Cleo apenas asiente.
SEÑORA SOFÍA
Y hablando de sorpresas, nos vamos de viaje este fin de semana. Nos llevamos el Galaxie, de viaje de despedida.
SOFI
¿A dónde?
SEÑORA SOFÍA
A Tuxpan.
PACO
¿Dónde es Tuxpan?
TOÑO
¡Tengo partido!
SEÑORA SOFÍA
Pus faltas. Tuxpan es en Veracruz.
PACO
¿Es playa?
SEÑORA SOFÍA
Sí.
TOÑO
El mar en Veracruz es bien feo.
SEÑORA SOFÍA
Y vamos a invitar a Cleo a venir con nosotros, ¿verdad?
La Señora Sofía voltea a Cleo quien la mira sorprendida.
SEÑORA SOFÍA
¿Vienes?
Cleo, en silencio, solo niega con la cabeza. CONTINUED: (3)
SEÑORA SOFÍA
Ándale. Te va a hacer bien y si no los niños te extrañan. ¿Verdad?
SOFI Y PEPE
¡Si!
Y corren hasta Cleo y le toman la mano.
SEÑORA SOFÍA
Pero viene de vacaciones, no la pueden hacer trabajar. ¿Vienes?
Cleo duda. Adela le habla en Mixteco.
ADELA
Ve, manita. Te va a hacer bien. Yo me encargo aquí.
SEÑORA SOFÍA
Entonces, ¿vienes?
Sofi y Pepe brincan alrededor de Cleo, tomados de su mano.
SOFI Y PEPE
¡Si, si, si… !
Cleo levanta la mirada y asiente, silenciosa. Los niños festejan.
SEÑORA SOFÍA
¡Perfecto! Adela, ¿te puedes asegurar que todos los niños lleven su traje de baño?
ADELA
Si, Señora.
SEÑORA SOFÍA
Gracias.
Y entra al hall seguida por los niños. Cleo, junto a Adela, ve a la familia que desaparece dentro de la casa. El Borras llega a ella y le lame la mano. 26 de junio de 1971, sábado EXT - CARRETERA A TUXPAN -- DÍA Palmas, ceibas y platanares dan lugar a casas pintadas de colores que compiten con las flores del follaje, y más palmas, ceibas y platanares. El Galaxie 500 pasa dando vuelta a una curva.
INT/EXT - GALAXIE 500 - CARRETERA A TUXPAN -- TARDE
Cleo mira el paisaje en silencio, Pepe acurrucado en ella. Se escucha el radio que busca una estación pasando por música tropical, cumbias y anuncios de bailes locales.
TOÑO (O.C.)
Hasta acá no llega La Pantera.
PACO (O.C.)
De repente se oyó un poquito.
SEÑORA SOFÍA (O.C.)
¡Miren! ¡El mar!
Los niños se emocionan, Cleo se incorpora.
PEPE Y SOFI
¡El mar!
PACO
¡Párate, párate, párate, Ma!
SEÑORA SOFÍA
¿Por qué no vamos al hotel primero a dejar las maletas?
TOÑO
De aquí a que vamos se va a hacer de noche.
PACO
¡Vamos! ¡Aunque sea un ratito!
SOFI Y PEPE
¡Playa! ¡Playa! ¡Playa…!
La Señora Sofía sonríe y pone la direccional.
SEÑORA SOFÍA
Bueno. Pero sólo un ratito.
EXT - PLAYA JUNTO A CARRETERA -- TARDE El Galaxie se detiene junto a la arena de una larguísima playa gris, nublada y vacía excepto por el esqueleto raquítico de una construcción de tabique. La familia sale del coche. Toño y Paco inmediatamente corren a la orilla quitándose la camiseta y los pantalones y tirándolos a la arena. Sofi y Pepe los siguen un poco más atrás. La Señora Sofía se quita los zapatos y sigue a sus hijos recogiendo la ropa regada en la arena. Cleo camina hasta la orilla donde los niños juegan salpicando. Pero ella está ausente. Una ráfaga de viento arrastra la brisa, le acaricia la cara. Cleo respira el mar y cierra los ojos. Respira hondo como queriendo limpiar algo muy profundo. EXT - JARDÍN - BUNGALOWS - TUXPAN -- OCASO La luz del día que se extingue acaricia con fría suavidad el jardín de árboles frutales que rodea a los bungalows construidos en los años 40, su pintura amarilla carcomida por el salitre y el tiempo. La RECEPCIONISTA, cargando unas llaves, guía por el jardín a la Señora Sofía, Cleo y los niños, todos cargan maletas. La recepcionista abre la puerta. INT - CUARTO - BUNGALOW - TUXPAN -- OCASO La última luz del cielo que intenta dibujar las ventanas es derrotada por el foco de una lámpara de paja que ilumina la pequeña habitación con dos camas. Cleo, sentada en una, le pone una camiseta a Pepe, parado frente a ella con los brazos al aire. Cuando su cabeza sale del cuello, Pepe la ve extrañado -
PEPE
¿Te volviste muda?
Cleo niega con la cabeza.
PEPE
Entonces, ¿por qué no hablas?
CONTINUED: Cleo le sonríe, con una sonrisa que contiene llanto, y lo encamina fuera del cuarto a - INT - SALA - BUNGALOW - TUXPAN -- OCASO Otra lámpara de paja cuelga en mitad del pequeño comedor y dos lámparas a cada lado del sofá, una sin pantalla, iluminan la pequeña sala. Toño hace nudos con una piola mientras la Señora Sofía le aplica vinagre en la espalda a Paco con un algodón.
PACO
¡Ay, ay, ay, ay…!
SEÑORA SOFÍA
Les dije que se pusieran la camiseta.
PACO
¡Pero estaba nublado!
SEÑORA SOFÍA
Por eso. La resolana quema más que el sol.
A su lado, Sofi llora y llora esperando su turno.
SEÑORA SOFÍA
¿Ya te vestiste, Pepe?
PEPE
Sí. Pero Cleo se volvió muda.
La Señora Sofía le sonríe. Cleo se sienta en el sofá y toma un algodón, lo moja con vinagre, acerca a Sofi y comienza a aplicarle vinagre en la espalda. La Señora Sofía ve a Cleo -
SEÑORA SOFÍA
Gracias Cleo.
Cleo y la Señora Sofía pasan algodones mojados sobre las espaldas de Sofi y Paco. Sofi no para de llorar. INT - RESTAURANTE - TUXPAN -- NOCHE Ilustraciones a mano de distintos platillos y un pez vela disecado adornan los muros de un restaurante familiar. Música romántica nace de una rocola acompañando el zumbido de las lámparas fluorescentes. CONTINUED: La familia termina su cena. Cleo les corta la carne a Sofi y a Pepe, que visten pijama. Toño ya terminó y hace nudos.
SEÑORA SOFÍA
¿Niños?
Pero los niños están distraídos.
SEÑORA SOFÍA
¿Niños?
Por fin tiene la atención de sus hijos.
SEÑORA SOFÍA
¡Háganme caso! Tengo algo que decirles.
Los niños la ven expectantes. La Señora Sofía duda pero se da valor y -
SEÑORA SOFÍA
Su papá no está en Ottawa.
SOFI
¡¿Ya regresó?!
SEÑORA SOFÍA
No. Su papá nunca fue a ningún lado.
Los niños la ven confundida.
SEÑORA SOFÍA
Bueno, sí, pero sólo se fue una semana y… Su papá no va a volver a la casa.
Los niños la ven en silencio. Toño y Paco interesados, Sofi y Pepe confundidos. La canción termina y la rocola digiere otro veinte y expulsa un nuevo lamento.
SEÑORA SOFÍA
Vinimos de viaje para que sacara sus cosas de la casa.
PACO
¿Qué cosas?
CONTINUED: (2)
SEÑORA SOFÍA
Sus cosas. O lo que dice que son sus cosas. Su ropa, los libreros…
PACO
¿Se van a divorciar?
SEÑORA SOFÍA
Dice que no sabe.
Sofi comienza a llorar.
SOFI
¿Ya no nos quiere?
SEÑORA SOFÍA
Papá los quiere mucho. Dice que los quiere ver.
TOÑO
¿Cuándo?
SEÑORA SOFÍA
Dice que no sabe cuándo… Que pronto.
Sofi hunde su llanto en el seno de Cleo, Toño mira el ventilador y Paco juega con los frijoles de su tampiqueña. Sólo Pepe mira a su madre aún confundido.
SEÑORA SOFÍA
Va a haber muchos cambios, pero estamos juntos y va a ser una aventura.
Pepe recarga su cabeza en Cleo.
SEÑORA SOFÍA
La semana que entra empiezo un trabajo de tiempo completo en una editorial.
TOÑO
¿Una editorial? Si tú eres química.
SEÑORA SOFÍA
Ya lo sé, pero su papá no ha mandado dinero y con la prepa no alcanza. Además, me gustan los libros y nunca me gustó la química. Va a ser otra aventura.
CONTINUED: (3) Voltea a ver a Cleo.
SEÑORA SOFÍA
Y tenemos que estar muy juntos en esta nueva aventura? ¿Verdad Cleo?
Cleo no sabe que decir y ascienta con la cabeza, Sofía intenta permanecer optimista -
SEÑORA SOFÍA
Muy muy juntitos… No estamos solos…
Pero los niños no parecen muy convencidos y quedan en silencio. Aún no lo saben, pero este momento quedará grabado en sus memorias en fragmentos de imágenes, olores, sonidos y texturas - Las manchas de comida en la mesa, las pinturas en los muros, el ventilador, el paisaje de frijoles aplastados por el tenedor sobre el plato. La canción termina. La mesera llega a a mesa y empieza a juntar los platos sucios -
MESERA
De postre sólo tenemos platanos con crema.
La familia no contesta. EXT - CALLE - TUXPAN -- NOCHE La familia deambula por las calles. Van en silencio, perdidos en sus pensamientos. 27 de junio de 1971, domingo EXT - PALAPA - PLAYA DE TUXPAN -- DÍA El sol aplasta la tarde, incendiando con su brillo las olas del mar y la ardiente arena de la playa vacía. En el mar las olas se suceden, una tras otra, incesantes, arrastrando su espuma hasta acariciar la playa sin romper. Una palapa protege a la familia con su sombra y su arena fría. CONTINUED: Paco y Pepe entierran a Sofi en la arena, esculpiendole largas piernas falsas a las que agregan unos tenis como pies. La Señora Sofía lee un libro sentada en una silla plegable de tela y Toño lee un cuento de Flash acostado en una hamaca y mecido por el viento. A la orilla de la sombra, Cleo está sentada en una silla, hipnotizada por el ritmo de las olas y de la espuma que se deshace al acariciar la arena. El Tiempo que fluye lento. EXT - PLAYA DE TUXPAN -- TARDE/OCASO La luz amarilla del fin de la tarde baila con el viento, acariciando con suavidad las superficies. Paco y Sofi juegan entre las olas, brincándolas, nadando abajo de otras o resistiendo heroicos de pie. Cleo, con su vestido, está de pie junto a Pepe que hace hoyos, túneles y caminos en la arena húmeda. La Señora Sofía se acerca desde la palapa, la sigue Toño que la espera a mitad de camino. Paco y Sofi salen del agua corriendo -
PACO
¿Te vas a meter?
SEÑORA SOFÍA
Tengo que ir a checar las llantas para que mañana salgamos temprano. ¿Vienen?
PACO
No. Es nuestro último día en la playa.
SOFI
Yo también me quedo.
SEÑORA SOFÍA
Pero si yo me voy no pueden meterse, Cleo no sabe nadar si pasa algo.
PACO
Si está bien suavecito.
CONTINUED:
SEÑORA SOFÍA
No me importa. Si se quieren quedar, ésa es la regla.
PACO
¿Ni en la orilla?
SEÑORA SOFÍA
En la orilla está bien. Pero nada más en la orilla. ¿Entendido?
PACO Y SOFI
Sí…
PEPE
¿También yo?
SEÑORA SOFÍA
Sí. Pero en la orillita.
La Señora Sofía voltea con Cleo.
SEÑORA SOFÍA
¿Te los dejo? No me tardo.
Cleo sólo asiente y ve a la señora Sofía que camina de regreso acompañada de Toño hacia el Galaxie 500 estacionado detrás de la palapa. Al fondo, el sol ha perdido su brillo y se asoma, redondo y rojo, entre las nubes. Paco y Sofi van de regreso al agua, Pepe los sigue.
CLEO
En la orilla nada más.
Paco y Sofi corren en la orilla, chapoteando con los pies, salpicando a Pepe.
PEPE
¡Ahhh!
Paco y Sofi patean agua para mojar a Pepe, que se escapa corriendo pero cae en la arena seca. Cleo corre hasta él y lo levanta llorando, e intenta sacudirle los miles de granos de arena adheridos a su húmeda piel. Paco aprovecha la distracción y se aventura a ir más profundo, Sofi comienza a seguirlo cuando Cleo los descubre - CONTINUED: (2)
CLEO
¡Paco! ¡En la orilla nada más! ¡Sofi!
Sofi obedece, Paco también regresa a la orilla. Cleo toma la mano de Pepe y juntos caminan hacia la palapa. Al pisar la arena más caliente Pepe se detiene y levanta los brazos.
PEPE
Cárgame.
CLEO
No, qué. Tú puedes solo, ya no está caliente.
Ve hacia la orilla -
CLEO
¡Paco! ¡Ya los vi! ¡A la orilla!
PACO (O.C.)
¡Si estamos en la orilla!
CLEO
¡Más pa acá! ¡Ya oyeron a su mamá, si no se vienen más pa acá, sálganse!
Espera, y cuando está satisfecha, continúa su camino. Pepe, aún con los brazos al aire, la ve alejarse y se tira en la arena. Cleo apenas voltea -
CLEO
Allá tú. Ahí nomás te estás llenando de más arena y en la palapa yo te iba a limpiar.
Y sigue su camino. Pepe se levanta empanizado de arena y se apresura a alcanzarla. Llegan a la palapa y Pepe se sienta en una silla, Cleo comienza a sacudirle la arena con una toalla limpia. Mira hacia el mar -
CLEO
¡Ándenles, que los estoy viendo!
CONTINUED: (3) Cleo espera a que los niños regresen a lo menos profundo y continúa limpiando a Pepe.
PEPE
¿Sabías que cuando yo era grande fui marinero?
CLEO
Mmmmjjjjmm…
PEPE
Sí. Y me ahogué en una tormenta.
CLEO
Mmmmjjjjmm…
Se levanta y ve hacia el mar -
CLEO
¡Paco y Sofi! ¡Más pa atrás!
Cleo continúa viendo -
PEPE
Pero las olas eran grandísimas…
CLEO
¡Que se regresen!
Camina a la orilla de la palapa y se detiene junto a un poste y espera -
CLEO
¡Más atrás!
PEPE
…además era de noche y había muchos rayos… Y no sabía nadar…
Cleo, sin quitar los ojos de las olas, comienza a caminar hacia la orilla.
CLEO
Ahí espérate, Pepe.
El sol ha desaparecido tras la montaña y el cielo púrpura se carga de nubes negras. El viento levanta la arena y crea olas nuevas que chocan arrogantes contra las viejas. Cleo se detiene -
CLEO
¡Ayuda a tu hermana!
CONTINUED: (4) Atrás de ella, Pepe se acerca. Cleo lo ve -
CLEO
¡Pepe! ¡Te dije que te quedes ahí!
Pepe, regañado, va de regreso a la palapa. Cleo ve el mar asustada y busca alrededor, pero la playa está vacía, sólo un hombre a caballo y gente que camina, pero todos lejos. Se apresura al mar. Al llegar a la orilla camina temerosa entre el agua que avanza y retrocede y choca alrededor de sus piernas, empapando su vestido de poliéster. Mira impotente hacia las olas en donde Paco y Sofi batallan, insignificantes en un mar feroz e indiferente que los lleva cada vez más adentro. Cleo intenta avanzar hacia los niños y lucha por mantener el equilibrio en el agua embravecida que ya le llega a la cintura. El viento juega con las crestas de las olas oscuras y las nubes densas están cargadas de tensión en el cielo cada vez más sombrío. Cleo mira hacia la playa pero el hombre a caballo y la gente están aún muy lejos, y resignada decide aventurarse más profundo. Una ola sumerge las cabezas de los niños. Cuando pasa, Sofi emerge pero apenas toma aire cuando otra ola la engulle. Otras olas se cruzan y al chocar revientan hacia el cielo. Cleo lucha desesperada por permanecer de pie en el caos de corrientes encontradas que la envuelve, sin dejar de mirar al frente - Donde las olas chocan, encrespadas, y cuando pasan otras toman su lugar, pero las cabecitas no emergen. Otra ola se levanta, y frente a ella una cabeza brota, es Sofi que toma aire, y al tiempo Paco surge. Voltea y mide la ola, agarra a su hermana y se impulsa con la corriente hacia la playa, pero la ola los alcanza y los aplasta, hundiéndolos. CONTINUED: (5) Cleo se acerca pero es empujada por las olas. Frente a ella, las cabecitas resurgen, Paco intenta repetir la maniobra y empuja a Sofi al frente, pero el agua los envuelve. También envuelve a Cleo, pero no logra arrastrarla. Avanza hacia Sofi que intenta nadar hacia ella. Cleo extiende su cuerpo para alcanzarla, y al jalarla, sus pies pierden contacto con el fondo y las dos se hunden. Pasa una ola galopando espuma, y atrás de ella, Cleo emerge cargando a Sofi. Paco nada detrás de ellas. En la playa se ha juntado un grupo de gente, entre ellos el hombre a caballo. Cleo carga a Sofi y finalmente logra llegar hasta aguas menos profundas, Paco la sigue un poco más atrás. Un par de muchachos corren hacia ellos pero no ayudan, sólo miran. Cleo, cargando a Sofi, llega a la orilla y se desploma en la playa, Paco junto a ella. Sofi tose y Cleo la abraza en su regazo. Los curiosos los rodean y tras ellos, la Señora Sofía, seguida de Toño, se acerca corriendo desde la palapa. Cleo limpia la arena de la cara de Sofi y rompe a llorar. Llora y abraza a Sofi y se mece con ella, que también llora. Cleo la aprieta con toda su vida. La Señora Sofía llega y se arroja al suelo junto a Cleo, le arrebata a Sofi que abraza a su madre. Paco llega a ellas y también las abraza. Toño los ve, parado junto a los curiosos, junto a él Pepe mira asustado. La Señora Sofía revisa a Sofi -
SEÑORA SOFÍA
¿Estás bien, mi amor?…
Sofi asiente -
SOFI
Nos salvó Cleo…
La reciente memoria impulsa un nuevo llanto. La Señora Sofía ve a Cleo que llora desconsolada. Es un llanto hondo y profundo, un llanto doloroso, un llanto que lo limpia todo. CONTINUED: (6) La Señora Sofía la abraza con fuerza -
SEÑORA SOFÍA
Gracias… gracias… gracias, Cleo…
Pero Cleo no para de llorar -
CLEO
No la quería… No la quería…
La Señora Sofía intenta calmarla -
SEÑORA SOFÍA
Shh, shh, shh… Están bien… Los niños están bien…
Pero Cleo insiste entre llanto y mocos -
CLEO
No la quería… No quería que naciera…
Y se quiebra aún más -
CLEO
… ¡Pobrecita!… ¡No quería que naciera!… ¡No quería que naciera!…
La Señora Sofía la abraza más fuerte y también llora -
SEÑORA SOFÍA
Todo va a estar bien, Cleo… Todo va a estar bien…
Las dos mujeres lloran abrazadas. Es un llanto compartido, con sollozos como arcadas, y largos silencios que explotan en prolongadas vocales. Los niños se enlazan alrededor de las mujeres, abrazándolas. Sólo Toño los mira de pie. Los curiosos se disipan. El jinete jala la riendas y el caballo sigue su camino por la playa. El mar enfurecido con sus inquietas olas refleja los últimos destellos del día. 28 de junio de 1971, lunes EXT - CARRETERA LIBRE A PUEBLA -- TARDE Sembradíos con manchones pardos de nubes se extienden entre cerros verdes y tupidos. Más atrás, los volcanes presumen sus cumbres nevadas. El Galaxie 500 avanza, minúsculo, por la carretera que cruza el paisaje.
INT/EXT - GALAXIE 500 - CARRETERA LIBRE A PUEBLA --
TARDE La Señora Sofía va al volante, su dedo índice tranquilo. A su lado, Toño ve por la ventana sin mirar el paisaje. Atrás, Paco también, con la mirada perdida, deja pasar la campiña. Sofi está abrazada a Cleo, que carga a Pepe dormido en sus piernas. La familia va en silencio. EXT - CARRETERA - ENTRADA A LA CIUDAD -- TARDE La ciudad de México Distrito Federal se extiende en la distancia. El Galaxie 500 avanza, cargado de incertidumbre. EXT - CASA - TEPEJI 21 -- TARDE La casa descansa paciente y resignada disfrutando los rayos de la tarde. La banda militar de secundaria dá la vuelta a la esquina y entra a la calle marchando con sus tambores y trompetas marciales. El Galaxie 500 entra a la calle y sigue la retaguardia de la banda hasta llegar frente a la casa donde se estaciona. Toño abre inmediatamente su puerta y sale a la calle, estirándose. Pepe sale después, corre a la puerta de la casa agarrándose la entrepierna y toca el timbre. El Borras responde con sus ladridos. La Señora Sofía sale del coche y va a abrir la cajuela, Sofi sale detrás de ella. Cleo sale al final y también va a la cajuela. CONTINUED: Adela abre la puerta de la casa agarrando al Borras del collar. Pepe se escabulle por la puerta y corre, urgido, hacia adentro. INT - PLANTA BAJA - TEPEJI21 -- NOCHE El sol de la tarde atravieza ransversal por las ventanas y raya con su luz las sombras de la sala. Afuera la familia está en la banqueta -
CLEO
(a Adela en mixteco)
Amarra al perro…
SEÑORA SOFÍA
Ustedes también, niños. No se hagan tontos y ayuden con las cosas.
Los niños, que ya iban encaminados a la casa, se detienen y regresan a ayudar de mala gana. Adentro, el tragaluz ilumina la escalera pero apenas acaricia los mosaicos del hall. Pepe irrumpe del patio y corre al baño que está bajo la escalera, entra y cierra la puerta. Por las ventanas que dan al patio, Adela cruza, arrastrando al Borras. Se escucha el chorro caer en el escusado. Adentro, la casa espera. Pareciera ser más grande. La ausencia de los libreros ha dejado torres de libros apilados en el suelo y un aspecto de vacío. Toño entra cargando sus cosas, viene deprisa pero se detiene a mitad del hall, sorprendido por el espacio que parece nuevo. Paco entra justo después y se detiene junto a su hermano. Entra la Señora Sofía acompañada de Sofi. Suena el escusado que pasa agua en el baño y Toño da su veredicto -
TOÑO
Está horrible. Sin los libreros es horrible…
PACO
A mí me gusta más así…
Toño se arranca escaleras arriba - CONTINUED:
TOÑO
Está horrible…
Paco lo sigue. Pepe sale del baño y sigue a su madre que sube las escaleras con Sofi -
SOFI
¿Que está horrible, eh, mami?
SEÑORA SOFÍA
No le gusta el hall sin los libreros.
SOFI
¿Qué libreros?
SEÑORA SOFÍA
Los que estaban en el hall.
SOFI
¡Ah! ¡Sí es cierto!
PEPE
¡Guau! ¡Se ve más grande!
SEÑORA SOFÍA
¿Qué les pareció nuestra aventura?
SOFI
A mí me gustó mucho.
La Señora Sofía y los niños desaparecen escaleras arriba, donde ya suena la televisión. Afuera, en el patio, Cleo camina cargando tres maletas, se cruza con Adela, que regresa sin el perro.
ADELA
Voy al Hogar que no hay jamón. ¿Cómo les fue, pues manita?
CLEO
Muy bonito. Ve, luego te cuento…
Adela continúa su camino a la calle. Cleo entra al hall, lo cruza y sube las escaleras cargando las maletas. Del piso de arriba se escucha a Pepe exclamar -
PEPE (O.S.)
¡Tampoco está el escritorio!
INT - HALL DE ARRIBA - TEPEJI 21 -- TARDE Cleo llega al hall y deposita las maletas en el piso. La familia ha comenzado a apropiarse de los espacios - Pepe se sienta junto a Paco que ya está frente a la televisión prendida.
SEÑORA SOFÍA
Y vamos a hacer otras aventuras. Vamos a viajar mucho.
PACO
¿Vamos a ir a Disneylandia?
Toño guarda cosas dentro de un cajón en su cuarto y Sofi va al suyo a recoger una muñeca. La Señora Sofía va hacia Cleo, toma una de las maletas y la lleva a su cuarto -
SEÑORA SOFÍA
No nos alcanza…
Cleo lleva otra maleta al cuarto de Toño y Paco. Toño sale del cuarto y se sienta en el sofá individual frente a la televisión.
SEÑORA SOFÍA
…Pero podemos ir de aventuras en el coche. ¿Qué tal ir a un pueblo minero fantasma en el desierto?
PEPE
¿Y hay fantasmas?
Paco se levanta y sigue a su madre a su cuarto -
PACO
No, baboso. Se les dice fantasmas a los que están abandonados. ¿Y qué hay ahí?
Cleo sale del cuarto de Toño cargando un bulto de ropa, lo deposita junto a la escalera. La Señora Sofía sale de su cuarto seguida por Paco. Suena el teléfono.
SEÑORA SOFÍA
Nada. Sólo el pueblo y la mina abandonados. O podemos ir a la Sierra Lacandona, o a Oaxaca…
CONTINUED:
SOFI
¡Sí, Oaxaca! Y podemos visitar el pueblo de Cleo.
La Señora Sofía llega al hall y se sienta en el sillón junto a Pepe y Sofi, que ha ocupado el otro lugar.
PACO
Yo estaba allí.
SOFI
El que se fue a la Villa…
Cleo contesta el teléfono -
CLEO
¿Bueno?… Muy bien, gracias, Señora… Sí, un momentito…
Baja el auricular y llama -
CLEO
¿Señora Sofi? Que le habla la Señora Molly.
La Señora Sofía se levanta, calmando a los niños -
SEÑORA SOFÍA
No se peleen. Siéntate aquí, Paco.
Y va a contestar el teléfono -
SEÑORA SOFÍA
Hola, comadre. ¿Cómo estás?… Yo aquí recién llegando de Tuxpan…
Cleo acomoda la ropa sucia en un montón. Pepe llama desde su sillón -
PEPE
¿Cleo? ¿Me traes un licuado de plátano?
SOFI
¿A mí también?
Cleo recoge el montón de ropa -
CLEO
Ahorita. Nomás dejen y subo la ropa pa lavar. ¿Quieres algo, Paco?
CONTINUED: (2)
PACO
¿Hay Gansitos?
CLEO
No sé. Pero si no hay, luego traigo.
Cleo comienza a bajar las escaleras, la Señora Sofía continúa su conversación por teléfono -
SEÑORA SOFÍA
Sí, nos fue de maravilla… Sí, los niños están bien… No… ¡Muy rico!… Bien… Bueno aunque Paco y Sofi me pegaron un susto…
INT - PLANTA BAJA - TEPEJI 21 -- TARDE Cleo baja las escaleras cargando el montón de ropa, las conversaciones de la familia y la televisión se filtran desde arriba. Al llegar abajo, cruza el hall vacío y después el antecomedor. Entra a la cocina y camina hacia el fondo. EXT - PATIO PEQUEÑO - TEPEJI 21 -- TARDE El patio, en sombras, flota en el silencio de la tarde. El Borras duerme y los pericos no cantan, sólo el rumor de la ciudad a la distancia. Cleo sale de la cocina cargando su montón de ropa sucia y cruza el minúsculo patio y comienza a subir por la escalera de metal que lleva a la azotea. Sus pasos reverberan a lo largo de la esquelética estructura en un quejido metálico que hace ecos por el pequeño patio, despertando a los pájaros enjaulados. Cleo llega al descanso frente a su cuarto y continúa su marcha hacia lo más alto. Un carro de camotes aúlla triste, a lo lejos. Paso a paso, Cleo asciende. Arriba, más allá de la azotea, el cielo es puro. Pietrasanta, 23 de septiembre de 2016.
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Affliction
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The film begins with a voice-over narration by Rolfe Whitehouse, announcing the story of his brother Wade's "strange criminal behavior" and subsequent disappearance. Wade Whitehouse is a small-town policeman in New Hampshire. On Halloween night, Wade meets his daughter Jill from his divorced marriage, but he is late and the evening is overshadowed by disharmony. Jill eventually calls her mother to come and pick her up. When his ex-wife finally arrives, Wade shoves her lover against their car and watches them drive away with Jill. Wade vows to get a lawyer to help gain custody of his daughter. The next day, Wade rushes to the scene of a crime. Jack Hewitt, hunting guide claims that Evan Twombley, with whom he was hunting, accidentally shot and killed himself. The police believe Jack, but Wade grows suspicious, believing that the man's death was no accident. When he is informed that the victim was scheduled to testify in a lawsuit, his suspicion slowly turns into conviction. A while later, Wade and his girlfriend Margie Fogg arrive at the house of Wade's father, Glen Whitehouse, whose abusive treatment of Wade and Rolfe as children is seen in flashbacks throughout the film. Wade finds his mother lying dead in her bed from hypothermia. Glen Whitehouse reacts to her death with little surprise. At the funeral wake, the father gets drunk and loudly exclaims, "Not one of you is worth one hair on that woman's head!", resulting in a confrontation between himself and Wade. Rolfe, who has come home for the funeral, suggests at first that Wade's murder theory could be correct, but later renounces himself of this presumption. Nonetheless, Wade becomes obsessed with his conviction. When Wade learns that town Selectman Gordon Lariviere is buying up property all over town with the help from a wealthy land developer, he makes the solving of these incidents his personal mission. Suffering from a painful toothache and becoming increasingly socially detached, he behaves more and more unpredictably. He follows Jack, convinced that Jack is running away from something and is involved in a conspiracy. After a car chase, a nervous Jack finally pulls over, threatens Wade with a rifle, shoots out his tires, and drives off. Finally, Wade is fired from his police job both for his constant harassment of Jack and his trashing of Lariviere's office. He collects Jill from her mother's house, where his ex-wife furiously castigates his plans to sue for full custody. At the local restaurant, he attacks the bartender in front of his daughter after he jokingly insults Wade. Then Wade takes Jill home to find Margie leaving him. Wade grabs Margie and begs her to stay with him, but Jill rushes up and tries to push Wade away. In response, Wade pushes Jill, causing her nose to bleed. She and Margie drive off. Wade is then approached by his father Glen, who congratulates him for finally acting as a "real man". The latent aggression between the men culminates in a fight in which Wade accidentally kills his father. He burns the corpse in the barn, sits down at the kitchen table and starts drinking, while the barn can be seen burning down through a window. Rolfe's narration reveals that Wade eventually murdered Jack and left town (possibly to Canada, where Jack's truck was found three days later), never to return. Rolfe relates that the town later became part of a huge ski resort partly organized by Gordon Lariviere, but having nothing to do with either Jack or Twombley. Rolfe concludes that someday a vagrant resembling Wade might be found frozen to death, and that will be the end of the story.
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<script>
<scene>
<stage_direction>CREDITS</stage_direction>
<scene_description>Still - life tableaus . Lawford , N.H. , a town of fifty buildings on a glacial ridge , neither mountain nor plateau . Developed as 1880 's forestland , discarded in the Depression . Winter has set in . Halloween day . Snowy fields yield to overcast skies : oppressive , horizonless , flourescent . - Wickham 's Restaurant . Where Route 29 bends . 24 - hour diner . Margie Fogg works here . - Trailer park in shadow of Parker Mountain . Home of Wade Whitehouse . - Toby 's Inn . Roadhouse three miles from town on the river side of Route 29 . Everything not tied down ends up here . - Glen Whitehouse farm . White clapboard . - First Congregational Church . North on the Common from City Hall . - LaRiviere Co. . Ramshackle well - digging firm embarrassingly near the town center . Wade works here . - Merritt 's Shell Station . Cinder - block . - Alma Pittman 's house . Like so many others . - Town Hall . ROLFE WHITEHOUSE 'S VOICE , thirtiesh , articulate , speaks over credit tableaus :</scene_description>
<character>ROLFE</character>
<parenthetical>( V.O . )</parenthetical>
<dialogue>This is the story of my older brother's strange criminal behavior and disappearance. We who loved him no longer speak of Wade. It's as if he never existed. By telling his story like this, as his brother, I separate myself from his family and those who loved him. Everything of importance - that is, everything that gives rise to the telling of this story - occurred during a single deer - hunting season in a small town in upstate New Hampshire where Wade was raised and so was I. One night something changed and my relation to Wade's story was different from what it had been since childhood. I mark this change by Wade's tone of voice during a phone call two nights after Halloween. Something I had not heard before. Let us imagine that around eight o'clock on Halloween Eve, speeding past Toby's, Route 29, comes a pale green eight - year - old Ford Fairlane with a police bubble on top. A square - faced man wearing a trooper's cap is driving the vehicle. Beside him sits a child, a little girl with a plastic tiger mask covering her face. The man is driving fast -</dialogue>
<scene_description>- Route 29 tableau dissolves to night . A pale green police Ford Fairlane drives past . END CREDITS</scene_description>
</scene>
<scene>
<stage_direction>INT./EXT. POLICE CAR - NIGHT</stage_direction>
<scene_description>WADE WHITEHOUSE , driving , sits beside JILL , his daughter , ten years - old , wearing a black - and - yellow tiger plastic mask .</scene_description>
<character>WADE</character>
<dialogue>I'm sorry for the screw - up. But I could n't help it it's too late to go trick - or - treating now. I could n't help it I had to stop at Penny's for the costume. And you were hungry, remember.</dialogue>
<character>JILL</character>
<dialogue>Who's fault is it then if it's not yours? You're the one in charge, Daddy.</dialogue>
<character>WADE</character>
<parenthetical>( shakes cigarette from pack . )</parenthetical>
<dialogue>Yeah.</dialogue>
<character>JILL</character>
<dialogue>Look. Those kids are still trick - or - treating. They're still out.</dialogue>
<scene_description>Wade watches boys in the headlights , lights cigarette .</scene_description>
<character>WADE</character>
<dialogue>Those are the Hoyts.</dialogue>
<character>JILL</character>
<dialogue>I do n't care. They're out.</dialogue>
<character>WADE</character>
<dialogue>Ca n't you see. look out there. Nobody's got their porch lights on anymore. It's too late. Those Hoyt kids are just out to get in trouble. See, they put shaving cream all over that mailbox there. They chopped down Herb Crane's new bushes. Little bastards. Jesus H. Christ.</dialogue>
<scene_description>Wade grimaces , holds his jaw . The Fairlane swerves around broken pumpkins under a caution light .</scene_description>
<character>JILL</character>
<dialogue>Why do they do that?</dialogue>
<character>WADE</character>
<dialogue>Do what?</dialogue>
<character>JILL</character>
<dialogue>You know.</dialogue>
<character>WADE</character>
<dialogue>Break stuff?</dialogue>
<character>JILL</character>
<dialogue>Yeah. It's stupid.</dialogue>
<character>WADE</character>
<dialogue>I guess they're stupid.</dialogue>
<character>JILL</character>
<dialogue>Did you do that when you were a kid?</dialogue>
<character>WADE</character>
<dialogue>Well, yeah. Sort of. Nothing really mean. Me and my pals, me and my brothers. It was kind of funny then. Stealing pumpkins, soaping windows. Stuff like that.</dialogue>
<character>JILL</character>
<dialogue>Was it funny?</dialogue>
<character>WADE</character>
<dialogue>To us it was.</dialogue>
<character>JILL</character>
<dialogue>But it's not funny now.</dialogue>
<character>WADE</character>
<dialogue>It's not funny now. I'm a cop and I got ta listen to all the complaints people make. I'm not a kid anymore. You change.</dialogue>
<character>JILL</character>
<dialogue>I bet you did lots of bad things.</dialogue>
<character>WADE</character>
<dialogue>What are you talking about?</dialogue>
<character>JILL</character>
<dialogue>I just think you used to be bad.</dialogue>
<character>WADE</character>
<dialogue>No. I did n't used to be bad. No sir. Where do you get this stuff? From your mother?</dialogue>
<character>JILL</character>
<dialogue>No. She does n't talk about you anymore.</dialogue>
<scene_description>Wade looks at her , wanting to lift her mask , see her face .</scene_description>
</scene>
<scene>
<stage_direction>EXT. TOWN HALL - NIGHT</stage_direction>
<scene_description>The Fairlane approaches Town Hall , a square two - story building on the north side of the Common . Exhaust billows from idling cars as parents and children come and go .</scene_description>
</scene>
<scene>
<stage_direction>INT. TOWN HALL - NIGHT</stage_direction>
<scene_description>Clowns , tramps , angels and vampires fill the brightly lit room . Parents watch from the walls as GORDON LARIVIERE , a beefy fiftiesh man with a silver flat - top , announces the costume contest . Wade nods to various townspeople .</scene_description>
<character>LARIVIERE</character>
<dialogue>We're looking for the funniest costume! And the scariest! And the most imaginative! And the best costume of all!</dialogue>
<character>WADE</character>
<parenthetical>( nudges Jill . )</parenthetical>
<dialogue>Got here just in time. Go ahead. Jump in line. Maybe you'll win a prize.</dialogue>
<scene_description>Jill steps forward , retreats . Wade looks at her flaxen hair , her blue sneakers protruding from her pathetic costume . His heart aches he loves her so .</scene_description>
<character>WADE</character>
<dialogue>Go on, Jill. Some of those kids you still know.</dialogue>
<character>JILL</character>
<dialogue>I do n't want to.</dialogue>
<character>WADE</character>
<dialogue>Why? Why not? You know these kids from when you went to school here. It has n't been that long.</dialogue>
<character>JILL</character>
<dialogue>It's not that.</dialogue>
<character>WADE</character>
<dialogue>What then?</dialogue>
<character>JILL</character>
<dialogue>It's stupid.</dialogue>
<character>WADE</character>
<dialogue>It's fun.</dialogue>
<character>JILL</character>
<parenthetical>( voice breaking . )</parenthetical>
<dialogue>I want to go home.</dialogue>
<parenthetical>( Wade kneels down . )</parenthetical>
<dialogue>I do n't like it here.</dialogue>
<character>WADE</character>
<dialogue>Oh, Jesus, come on, will you? Do n't mess this up anymore than it's already been messed up. Join the other kids. Do that and before you know it you'll be as happy as a goddamned clam.</dialogue>
<scene_description>Wade inches her toward the circle of children . Gordon spots them :</scene_description>
<character>LARIVIERE</character>
<dialogue>Wade! And who's that tiger? Is that Jill? Come and join us.</dialogue>
<scene_description>Jill in the spotlight , joins the costumed children . A former classmate calls her name . Wade , relieved , watches , then steps outside for a smoke .</scene_description>
</scene>
<scene>
<stage_direction>EXT. TOWN HALL - NIGHT</stage_direction>
<scene_description>Wade steps outside , lights a cigarette . JACK HEWITT , 23 , clean - cut , handsome , cocky , stands with CHICK WARD and FRANKIE LACOY , local boys .</scene_description>
<character>WADE</character>
<dialogue>What are you boys up to?</dialogue>
<character>CHICK</character>
<dialogue>Same old shit.</dialogue>
<character>FRANKIE</character>
<dialogue>You see the damage these little sons - of bitches been raising tonight?</dialogue>
<character>WADE</character>
<parenthetical>( to Jack . )</parenthetical>
<dialogue>You're going to have to move your pickup.</dialogue>
<character>JACK</character>
<dialogue>I know.</dialogue>
<character>CHICK</character>
<parenthetical>( offers whiskey pint . )</parenthetical>
<dialogue>Take a bite.</dialogue>
<character>WADE</character>
<dialogue>Do n't mind if I do.</dialogue>
<character>JACK</character>
<dialogue>LaRiviere's having a hell of a time in there. Master of fucking ceremonies.</dialogue>
<character>WADE</character>
<dialogue>Where's that gun you were bragging on today?</dialogue>
<scene_description>Jack stops over to his double - parked burgandy pickup , removes a Browning BAR .30 / 06 with a scope , hands it to Wade .</scene_description>
<character>JACK</character>
<dialogue>No brag. Just fact.</dialogue>
<character>WADE</character>
<parenthetical>( admires gun . )</parenthetical>
<dialogue>Got you for - 450, 500 bucks?</dialogue>
<parenthetical>( passes it to Frankie . )</parenthetical>
<dialogue />
<character>FRANKIE</character>
<dialogue>Nice.</dialogue>
<character>JACK</character>
<parenthetical>( to Wade . )</parenthetical>
<dialogue>See you got Jill tonight. How'd you manage that?</dialogue>
<character>WADE</character>
<parenthetical>( turns . )</parenthetical>
<dialogue>Do n't forget to move your truck.</dialogue>
<parenthetical>( walks inside . )</parenthetical>
<dialogue />
</scene>
<scene>
<stage_direction>INT. TOWN HALL - NIGHT</stage_direction>
<scene_description>On stage , LaRiviere arranges the contest winners . A fairy godmother with a wand beams while , nearby , a hobo writhes in his mother 's grip - a hard loser . Wade looks for Jill , first among the winners , then among the losers ; she 's nowhere to be found . He heads toward a hall leading to the restrooms . Jill stands alone in the corner next to the pay phone , tiny , forlorn . Wade realizes at once he was wrong to leave her before she had found a friend .</scene_description>
<character>WADE</character>
<dialogue>Some party, huh? Sorry I lost sight of you. I had to step outside for a smoke. You find anybody you know here? There must be some kids you used to know from school. You want to go tomorrow? See your old teachers? Be more fun than hanging out with me all day.</dialogue>
<character>JILL</character>
<dialogue>No.</dialogue>
<character>WADE</character>
<dialogue>No what?</dialogue>
<character>JILL</character>
<parenthetical>( lifts mask atop head . )</parenthetical>
<dialogue>No I did n't see anybody I know. No I do n't want to go to school here tomorrow. I want to go home.</dialogue>
<character>WADE</character>
<dialogue>You are home. There are lots of kids you still know here.</dialogue>
<character>JILL</character>
<dialogue>I do n't want to be here. Do n't worry, I love you, Daddy, I do. But I want to go home.</dialogue>
<character>WADE</character>
<parenthetical>( sighs . )</parenthetical>
<dialogue>Jesus. Listen, Jill, tell you what. Tomorrow morning, you still want to go home, I'll drive you down. I'll get off work or something.</dialogue>
<character>JILL</character>
<parenthetical>( pause . )</parenthetical>
<dialogue>I called Mommy.</dialogue>
<character>WADE</character>
<dialogue>What? You called Mommy? Just now?</dialogue>
<character>JILL</character>
<dialogue>Yes.</dialogue>
<character>WADE</character>
<dialogue>Jesus, why?</dialogue>
<character>JILL</character>
<dialogue>I. because I want to go home. She said she'd come and get me.</dialogue>
<character>WADE</character>
<dialogue>Come and get you! Shit! It's a damn half hour drive each way. Why did n't you talk to me about it first?</dialogue>
<character>JILL</character>
<dialogue>See, I knew you'd be mad.</dialogue>
<character>WADE</character>
<dialogue>Yeah. Yeah, right, I'm mad. What'd you tell her, for Christ sake?</dialogue>
<character>JILL</character>
<dialogue>I told her I wanted to come home. Daddy, do n't be mad at me.</dialogue>
<character>WADE</character>
<dialogue>Well, I guess I am. I planned this, I planned all this, you know. I mean, it's sort of pathetic, but I planned it. You should n't have called your mother.</dialogue>
<parenthetical>( takes her arm . )</parenthetical>
<dialogue>C'mon, we're gon na call her before she leaves.</dialogue>
</scene>
<scene>
<stage_direction>EXT. POLICE OFFICE - NIGHT</stage_direction>
<scene_description>Wade leads her to a frosted - glass door reading `` POLICE '' , enters . Inside , he flips on flourescent light , dials the desk phone . More utility room than office . He waits . There 's no answer . Jill looks down .</scene_description>
<character>WADE</character>
<dialogue>She's gone already!</dialogue>
<parenthetical>( hangs up . )</parenthetical>
<dialogue>Gone already! Could n't wait.</dialogue>
<character>JILL</character>
<dialogue>Yes.</dialogue>
<character>WADE</character>
<dialogue>That's all you got to say? `` Yes''.</dialogue>
<character>JILL</character>
<dialogue>Yes.</dialogue>
<character>WADE</character>
<dialogue>She wo n't be here for a half hour. Think you can stand it that long?</dialogue>
<character>JILL</character>
<dialogue>Yes.</dialogue>
<character>WADE</character>
<dialogue>Where do you expect to wait for her? Obviously downstairs with the other kids is n't good enough.</dialogue>
<scene_description>Jill sits in a chair facing the dark window pane .</scene_description>
<character>WADE</character>
<dialogue>Sit right there by yourself if you want. Wait for her by yourself. That's fine with me. Just dandy. I'm going downstairs.</dialogue>
<character>JILL</character>
<dialogue>That's fine with me too. When Mommy comes, tell her I'm up here.</dialogue>
<scene_description>Wade Whitehouse stalks out .</scene_description>
</scene>
<scene>
<stage_direction>EXT. TOWN HALL - NIGHT</stage_direction>
<scene_description>Wade steps outside , notices Jack Hewitt and his kewpie - doll girlfriend HETTIE , 20 , sitting in the cab of his double - parked pickup , sharing a joint , talking to LaCoy alongside .</scene_description>
<character>WADE</character>
<dialogue>I thought I told you to move that truck!</dialogue>
<character>JACK</character>
<dialogue>Relax, Chief. We're leaving. You wan na toke?</dialogue>
<character>WADE</character>
<parenthetical>( steps over . )</parenthetical>
<dialogue>You got ta be more careful about that shit. Gordon or one of those guys sees you smoking that wacky tabacky around me they'll expect me to bust you. And I'll be outta a job.</dialogue>
<character>JACK</character>
<dialogue>Some job. Here, have a hit. Do n't be such a hardass. I know you got problems, but everybody's got problems.</dialogue>
<parenthetical>( offers joint . )</parenthetical>
<dialogue />
<character>WADE</character>
<dialogue>Not here.</dialogue>
<scene_description>LaCoy laughs : that Jack Hewitt , some guy . Wade holds his aching jaw . He looks at Jack 's young athletic body , his pretty girlfriend , envies him .</scene_description>
<character>JACK</character>
<dialogue>Well, c'mon, then. Get in and we'll take a little ride, my man.</dialogue>
<scene_description>Wade looks up to the window where Jill waits , walks around the front of the truck , gets in .</scene_description>
</scene>
<scene>
<stage_direction>INT./EXT. JACK'S TRUCK - NIGHT</stage_direction>
<scene_description>Jack 's high - bodied pickup growls in low gear as it drives past Merritt 's Shell station toward Saddleback Ridge . Jack lowers the radio as Wade asks him about deer season ; Hettie leans forward to hear the music .</scene_description>
<character>JACK</character>
<dialogue>Got a job first thing in the morning, first day of season. Saturday I'll hunt for myself. Twombley something. - Er -</dialogue>
<character>WADE</character>
<dialogue>Evan. He's a mucky - muck union official from Massachusetts. You're lucky.</dialogue>
<character>JACK</character>
<dialogue>Do n't know about lucky. The guy's a full - blown asshole. Pay's good, though. $ 100 a day. I got to guarantee a kill, of course. Which I can do. There's some monster bucks hiding out up there.</dialogue>
<character>WADE</character>
<dialogue>How'd you get the job?</dialogue>
<character>JACK</character>
<dialogue>Gordon, he's always got some angle working. He wants to keep Twombley happy, I'm his boy.</dialogue>
<scene_description>Wade grimaces as he passes the joint back .</scene_description>
<character>HETTIE</character>
<dialogue>What's wrong with you?</dialogue>
<character>WADE</character>
<dialogue>Toothache.</dialogue>
<parenthetical>( to Jack . )</parenthetical>
<dialogue>You should get close to him. Make yourself irreplaceable. Guy's loaded.</dialogue>
<character>JACK</character>
<dialogue>Like you and Gordon?</dialogue>
<character>WADE</character>
<dialogue>Right. The sonofabitch could n't get along without me.</dialogue>
<character>JACK</character>
<parenthetical>( laughs . )</parenthetical>
<dialogue>Yeah, he'd go broke tomorrow if you quit him.</dialogue>
<character>WADE</character>
<parenthetical>( laughs . )</parenthetical>
<dialogue>Right!</dialogue>
<scene_description>A car flashes past .</scene_description>
<character>JACK</character>
<dialogue>Bastard's got his high beams on.</dialogue>
<character>WADE</character>
<parenthetical>( watching . )</parenthetical>
<dialogue>Shit.</dialogue>
<character>HETTIE</character>
<dialogue>What?</dialogue>
<character>WADE</character>
<dialogue>My ex - wife Lillian and her husband. That was them in the Audi that just passed us.</dialogue>
<character>JACK</character>
<dialogue>Audi's a good car.</dialogue>
<character>HETTIE</character>
<dialogue>What's she up here for?</dialogue>
<character>WADE</character>
<dialogue>Aw, shit, she's here to get Jill. Me and Jill had a little argument. Jack, I got to get back, get back to town. Move this thing, will you? See if you can get back to the Town Hall before they get there, okay?</dialogue>
<character>JACK</character>
<dialogue>Piece of fucking cake.</dialogue>
<scene_description>Jack brakes , wheels the 4x4 around , heads back to town .</scene_description>
</scene>
<scene>
<stage_direction>EXT. TOWN HALL - NIGHT</stage_direction>
<scene_description>Most parents have left or are leaving with their costumed children . Hewitt 's burgundy pickup breaks alongside the Audi . Wade swings open the passenger door , jumps to the ground :</scene_description>
<character>WADE</character>
<dialogue>Lillian!</dialogue>
<character>LILLIAN</character>
<dialogue>Where's Jill?</dialogue>
<scene_description>LILLIAN , 40 , attractive in an ankle - length hooded coat . Whatever pose Wade strikes , she strikes the opposite . Her dress and demeanor set her apart .</scene_description>
<character>WADE</character>
<dialogue>Me and Jill, we just had a little spat. She felt kind of left out, I guess, from not knowing some of the new kids -</dialogue>
<character>LILLIAN</character>
<dialogue>Where is she now? Is she in the truck with your friends?</dialogue>
<scene_description>Jack and Hettie neck inside the cab .</scene_description>
<character>WADE</character>
<dialogue>She told me she wanted to wait for you. Inside.</dialogue>
<scene_description>Jill at the window in her tiger mask . Lillian waves ; Jill motions she 'll be down .</scene_description>
<character>LILLIAN</character>
<dialogue>While you went off for a few beers with your friends? Is that Hettie Rodgers there, with whatzizname?</dialogue>
<character>WADE</character>
<dialogue>Yeah.</dialogue>
<character>LILLIAN</character>
<dialogue>She's grown up some, has n't she?</dialogue>
<character>WADE</character>
<dialogue>Oh, Jesus, lay off, will you? It looks like you've won this fucking round already, so lay off a little, for Christ's sake.</dialogue>
<scene_description>HORNER , 45 , Lillian 's new husband , thin with thinning hair and a Tyrolean hat , sees Jill at the entrance and heads toward her .</scene_description>
<character>WADE</character>
<dialogue>Horner! Leave her be. This's got nothing to do with you, so just act like the chauffeur. Got it?</dialogue>
<character>HORNER</character>
<dialogue>Wade. Nobody wants any trouble.</dialogue>
<scene_description>Horner greets Jill , walks her to the silver Audi . Passing parents , listening , give Wade a wide berth .</scene_description>
<character>WADE</character>
<dialogue>I do n't want her to go, Lillian.</dialogue>
<character>LILLIAN</character>
<dialogue>Do n't cause a scene. No one's trying to win any ` rounds'. Do n't make it any worse.</dialogue>
<character>WADE</character>
<dialogue>I'm not making it any worse. You are. Me and Jill could've worked this thing out. It's normal, it's even normal for me to get a little touchy about it. Believe it or not. How do you think this makes me look, treating her like some tragic victim or something?</dialogue>
<scene_description>Horner opens the car door for Jill , shuts it . Wade shoves him :</scene_description>
<character>WADE</character>
<dialogue>Just wait till we're through, goddamnit!</dialogue>
<scene_description>Horner 's hat falls . Lillian , icy , stares at Wade . He backs off . Wade sometimes wonders : how 'd Lillian Pittman of Lawford , N.H. , get so much class ?</scene_description>
<character>WADE</character>
<dialogue>Do n't you say a word. I did n't hit him. I'm not going to hit anybody.</dialogue>
<scene_description>Horner sits behind the wheel . Lillian silently stares Wade up and down , gets in the car beside Jill . The automatic locks latch as the Audi drives away . Its taillights merge with vanishing traffic . Wade looks down , picks up Horner 's dark green Tyrolean hat , examines it , as if unsure of its function . Wade walks toward Town Hall . MARGIE FOGG , exiting , greets him :</scene_description>
<character>MARGIE</character>
<dialogue>New hat?</dialogue>
<parenthetical>( no answer . )</parenthetical>
<dialogue>Jill's up, I see.</dialogue>
<character>WADE</character>
<parenthetical>( vague . )</parenthetical>
<dialogue>For a while.</dialogue>
<character>MARGIE</character>
<dialogue>How's she doing?</dialogue>
<character>WADE</character>
<dialogue>Okay. She's fine.</dialogue>
<character>MARGIE</character>
<dialogue>You two want to do anything tomorrow and need a third party, give me a call, okay? I'm off.</dialogue>
<scene_description>NICK WICKHAM , 45 , Marg 's boss , passes by :</scene_description>
<character>WICKHAM</character>
<dialogue>Like hell you are. Tomorrow's first day of deer season. I'll need you at least in the morning.</dialogue>
<character>MARGIE</character>
<parenthetical>( shrugs . )</parenthetical>
<dialogue>Well, that's that.</dialogue>
<character>NICK</character>
<parenthetical>( walks off . )</parenthetical>
<dialogue>Take care, Wade.</dialogue>
<character>WADE</character>
<dialogue>You be careful of that little bastard. He's dying to get in your pants, you know.</dialogue>
<character>MARGIE</character>
<parenthetical>( laughs . )</parenthetical>
<dialogue>Do n't worry. I can protect my virtue. I mean, c'mon, Wade, give me a break.</dialogue>
<character>WADE</character>
<dialogue>See you tomorrow, maybe.</dialogue>
<character>MARGIE</character>
<dialogue>You okay?</dialogue>
<character>WADE</character>
<dialogue>Yeah.</dialogue>
<scene_description>Wade , lost in thought , continues toward Town Hall . At the door , LaRiviere , one of the last to leave , eyes him . Wade tosses Horner 's hat inside .</scene_description>
<character>WADE</character>
<dialogue>Tomorrow, Gordon.</dialogue>
<character>LARIVIERE</character>
<dialogue>Watch this snow. It's coming down tonight.</dialogue>
<scene_description>Wade nods as he lights a cigarette . Alone , he watches the last cars pull out . He holds his jaw .</scene_description>
</scene>
<scene>
<stage_direction>EXT. WADE'S TRAILER HOME - DAWN</stage_direction>
<scene_description>Pre - dawn light silhouettes a dozen weather - beaten mobile homes set off Route 29 . Snow continues to fall . A sheet of white stretches down Parker mountain .</scene_description>
</scene>
<scene>
<stage_direction>INT. WADE'S TRAILER - DAWN</stage_direction>
<scene_description>6:40 . A clock radio pierces the silence with classic rock . Wade Whitehouse rolls over , runs his tongue across mossy teeth , shuts off the music . He looks out the window , grunts : `` Shit ! '' He steps over to the phone by the frayed plaid couch , dials . Wade 's trailer is surprisingly neat , considering its owner smokes too much , drinks too much , eats take - out and rarely cleans up .</scene_description>
<character>WADE</character>
<parenthetical>( on phone . )</parenthetical>
<dialogue>Lugene? Wade. Hoya doin?</dialogue>
<parenthetical>( fumbles for cigarette . )</parenthetical>
<dialogue>Look, I was wondering, with the snow and all, if you got school today?</dialogue>
<parenthetical>( lights cigarette . )</parenthetical>
<dialogue>How the hell do I know? You're the principal. All I'm supposed to do is direct traffic from 7:30 to 8:30.</dialogue>
<parenthetical>( listens . )</parenthetical>
<dialogue>Yeah, okay, I'm sorry - I only just now saw it was snowing, that's all. My whole day is fucked. I got ta plow all day. If I do n't get over to LaRiviere's early enough, I'm stuck with the grader. I was just hoping you'd have called school off.</dialogue>
<parenthetical>( beat . )</parenthetical>
<dialogue>You check the weather bureau?</dialogue>
<parenthetical>( acquiesces . )</parenthetical>
<dialogue>Okay, I hear you. I'll be over in a bit.</dialogue>
<parenthetical>( hangs up . )</parenthetical>
<dialogue />
</scene>
<scene>
<stage_direction>EXT. WADE'S TRAILER HOME EARLY - MORNING</stage_direction>
<scene_description>Jack Hewitt 's 4x4 passes Wade 's trailer , continues up 29 . Tire chains splice the path .</scene_description>
</scene>
<scene>
<stage_direction>EXT. JACK'S TRUCK EARLY - MORNING</stage_direction>
<scene_description>Jack behind the wheel . Beside him EVAN TWOMBLEY , 60 , fleshy , Irish , wearing brand new scarlet wool pants , jacket and cap . He feeds on the misfortunes of others .</scene_description>
<character>TWOMBLEY</character>
<dialogue>It's not enough snow, not for tracking the bastards. No advantage there, kid.</dialogue>
<character>JACK</character>
<dialogue>Do n't worry, Mr. Twombley, I know where those suckers are. Rain or shine, snow or no snow. I know deer. We'll kill us a buck today. Guaranteed. Before ten.</dialogue>
<character>TWOMBLEY</character>
<dialogue>Guaranteed, eh?</dialogue>
<character>JACK</character>
<dialogue>Yep. Right about now the does are holing up in the brush piles. The bucks are right behind them and we're right behind the bucks.</dialogue>
<parenthetical>( gestures to gun rack . )</parenthetical>
<dialogue>This gun gets fired before ten o'clock. Whether it kills a deer or not is more less up to you. I'll put you inside 30, 35 yards of a buck the first four hours of the season. That's what you're paying me for, ai n't it?</dialogue>
<character>TWOMBLEY</character>
<dialogue>Damn straight!</dialogue>
<scene_description>Hewitt looks at Twombley 's rifle : a Winchester M - 94 pump - action , custom carved stock and not a scratch on it . Never fired , at least not by Twombley .</scene_description>
<character>JACK</character>
<dialogue>Done much shooting with that rifle yet?</dialogue>
<character>TWOMBLEY</character>
<parenthetical>( eyes him . )</parenthetical>
<dialogue>Tell you what. You get me close to a big buck by ten, kid, there's another hundred bucks in it.</dialogue>
<character>JACK</character>
<dialogue>If you get it?</dialogue>
<character>TWOMBLEY</character>
<dialogue>Yeah.</dialogue>
<character>JACK</character>
<dialogue>You might not kill it.</dialogue>
<character>TWOMBLEY</character>
<dialogue>You think so.</dialogue>
<character>JACK</character>
<dialogue>You might gut - shoot it or cripple it for somebody else to find and tag. Ca n't guarantee that wo n't happen, especially with a new gun. I may have to shoot it.</dialogue>
<character>TWOMBLEY</character>
<dialogue>You take care of your end, kid, I'll take care of mine.</dialogue>
<character>JACK</character>
<dialogue>Mmm.</dialogue>
<character>TWOMBLEY</character>
<dialogue>You understand what I'm saying? I want a deer, a dead one, not a cripple or whatthefuck.</dialogue>
<character>JACK</character>
<dialogue>I get it.</dialogue>
<parenthetical>( disdain . )</parenthetical>
<dialogue>No sweat. You'll get yourself a deer and you'll get him dead. And you'll have him by coffee time.</dialogue>
<character>TWOMBLEY</character>
<dialogue>And you'll get your extra hundred bucks.</dialogue>
<character>JACK</character>
<parenthetical>( smiles . )</parenthetical>
<dialogue>Wonderful!</dialogue>
<scene_description>The pickup disappears behind a curve of pine and spruce trees .</scene_description>
</scene>
<scene>
<stage_direction>EXT. SCHOOL - MORNING</stage_direction>
<scene_description>Wade Whitehouse , wearing a reflective vest , waves a district school bus into the parking lot . Noisy , jostling grade schoolers emerge from the bus . Jill 's former classmates . Straight as a statue , Wade holds back traffic . Cars and trucks are backed up on the unplowed road . Horns honk and bleat ; a woman 's voice yells , `` Whitehouse , we ` ai n't got all day ! '' Wade , daydreaming , seems oblivious to the commotion . Oblivious - or just plum contrary . A shiny black BMW approaches , speeding , passing traffic on the shoulder . A man and a woman in a fur coat sit in front , two children in back . Whitehouse waves for it to stop . The BMW accelerates through the intersection , ignoring Wade and the traffic . It whizzes past , spinning Wade , and is quickly up the road , spewing ice and exhaust . Wade slips to one knee . Honking ensues ; every car goes where it wishes . Wade , brushing off snow , follows the last bus as it pulls in . LUGENE BROOKS , 60 , school principal , rushes over :</scene_description>
<character>LUGENE</character>
<dialogue>Are you okay, Wade? What was wrong? Why were you holding everyone up?</dialogue>
<character>WADE</character>
<dialogue>Did you see that sonofabitch in the BMW? He could've killed somebody.</dialogue>
<character>LUGENE</character>
<dialogue>Did you get his number?</dialogue>
<character>WADE</character>
<dialogue>I know who it is.</dialogue>
<character>LUGENE</character>
<dialogue>Good. Who?</dialogue>
<character>WADE</character>
<dialogue>Mel Gordon.</dialogue>
<character>LUGENE</character>
<dialogue>I still do n't understand -</dialogue>
<character>WADE</character>
<dialogue>From Boston. Evan Twombley's son - in - law - he was driving. I know where they're headed. Up the lake, Agaway. The old man's out deer hunting with Jack Hewitt, so they probably got some big weekend party planned.</dialogue>
<scene_description>Wade sets his face , thinking .</scene_description>
</scene>
<scene>
<stage_direction>EXT. WOODS - DAY</stage_direction>
<scene_description>Snowprints lead from Jack 's pickup to where he and Twombley walk , guns pointed skyward . They enter a line of trees . Jack watches Twombley walk ahead of him , wrapped like a huge infant in red bunting , crunching twigs underfoot . He looks from side to side , checks his gun , returns to watching Twombley . They 're alone .</scene_description>
<character>JACK</character>
<dialogue>Safety on?</dialogue>
<scene_description>Twombley nods , slips , thumps to the ground . His rifle lands silently . Jack sprints over , helps him up , safety latches the Winchester . Hands it back .</scene_description>
<character>TWOMBLEY</character>
<dialogue>I'm okay.</dialogue>
<character>JACK</character>
<dialogue>Follow close. We'll cross the next meadow.</dialogue>
<scene_description>Jack finds a path , one eye on Twombley :</scene_description>
<character>JACK</character>
<dialogue>I used to play ball.</dialogue>
<character>TWOMBLEY</character>
<dialogue>Yeah?</dialogue>
<character>JACK</character>
<dialogue>Drafted by the Red Sox.</dialogue>
<character>TWOMBLEY</character>
<dialogue>You played for the Sox?</dialogue>
<character>JACK</character>
<dialogue>Double A. New Britain.</dialogue>
<character>TWOMBLEY</character>
<dialogue>Oh.</dialogue>
<character>JACK</character>
<dialogue>Pitcher. `` Best ballplayer to come out of New Hampshire since Carlton Fisk.''</dialogue>
<character>TWOMBLEY</character>
<dialogue>Really.</dialogue>
<character>JACK</character>
<dialogue>They said.</dialogue>
<character>TWOMBLEY</character>
<dialogue>Hmm.</dialogue>
<character>JACK</character>
<dialogue>The only difference between me and that Clemens on TV is luck, shit luck.</dialogue>
<character>TWOMBLEY</character>
<dialogue>What happened?</dialogue>
<character>JACK</character>
<dialogue>Ruined my arm. Brought me along too fast. Why'd it have to be my fucking arm, I used to think. Then I realized it had to be somebody's fucking arm.</dialogue>
<scene_description>Jack waits for Twombley as they enter a meadow . Jack aims his rifle at Twombley as he approaches .</scene_description>
<character>TWOMBLEY</character>
<dialogue>Hey, Hewitt! Slow the fuck down!</dialogue>
<scene_description>Jack aims away , following an imaginary bird . Twombley steps alongside .</scene_description>
<character>JACK</character>
<dialogue>Safety on?</dialogue>
<character>TWOMBLEY</character>
<dialogue>Yeah.</dialogue>
<character>JACK</character>
<dialogue>This way.</dialogue>
<character>TWOMBLEY</character>
<parenthetical>( walking loudly . )</parenthetical>
<dialogue>Sun's gettin high.</dialogue>
<character>JACK</character>
<parenthetical>( fingers to lips . )</parenthetical>
<dialogue>Deers have ears too.</dialogue>
</scene>
<scene>
<stage_direction>EXT. LARIVIERE CO. - DAY</stage_direction>
<scene_description>Milky sky flatters LaRiviere Co. , a sprawl of well - digging , septic and snow plow equipment . Billboard declaimes : `` LARIVIERE CO. . - OUR BUSINESS IS GOING IN THE HOLE ! '' a motto repeated on every truck and piece of equipment . Wade 's green Fairlane is parked outside the office .</scene_description>
</scene>
<scene>
<stage_direction>INT. LARIVIERE CO. - DAY</stage_direction>
<scene_description>Wade , puffing a cigarette , passes ELAINE 'S -LRB- LaRiviere secretary -RRB- desk , her large red `` No Smoking '' sign , eases into an office modum chair . He unzips his jacket , slaps his cap against his thigh , spraying drops of melted snow . Gordon LaRiviere , speaking on the phone past a glass partition , calls to Wade :</scene_description>
<character>LARIVIERE</character>
<dialogue>Told you the snow was coming down. Take the grader.</dialogue>
<character>WADE</character>
<dialogue>Where's the plow?</dialogue>
<character>LARIVIERE</character>
<dialogue>Jimmy took it. Jack's out hunting with Evan Twombley.</dialogue>
<character>WADE</character>
<dialogue>His son - in - law damn near killed me.</dialogue>
<character>LARIVIERE</character>
<parenthetical>( hangs up . )</parenthetical>
<dialogue>Huh?</dialogue>
<character>WADE</character>
<dialogue>At the school crossing. In his BMW. Coulda hurt some kids. I'm gon na bust his ass.</dialogue>
<character>LARIVIERE</character>
<dialogue>Do n't go playing policeman.</dialogue>
<character>WADE</character>
<dialogue>What am I - a security guard? You hired me, you and your Selectman friends.</dialogue>
<character>LARIVIERE</character>
<dialogue>You do n't want the extra police pay?</dialogue>
<character>WADE</character>
<dialogue>I'm not saying that.</dialogue>
<character>LARIVIERE</character>
<dialogue>Get the grader. Go out 29 past Toby's. Do n't let Lillian get to you. She did n't belong here. That's why she left.</dialogue>
<character>WADE</character>
<dialogue>Fuck you.</dialogue>
<character>LARIVIERE</character>
<dialogue>That's what I love about a small town. You know everybody.</dialogue>
<scene_description>Wade exits toward the blue grader .</scene_description>
</scene>
<scene>
<stage_direction>EXT. WOODS - DAY</stage_direction>
<scene_description>Jack and Twombley walk through fresh snow . The hillside 's thick with pine trees . Twombley , red - faced , puffing , leans to speak to Hewitt . Jack lifts a finger to his lips :</scene_description>
<character>JACK</character>
<dialogue>Stay here, stand where I am.</dialogue>
<scene_description>Twombley peers over a slight cliff at a lumber trail twenty feet below . Jack points :</scene_description>
<character>JACK</character>
<dialogue>Fresh tracks.</dialogue>
<parenthetical>( sniffs . )</parenthetical>
<dialogue>Deer shit. Big one. Here's your buck, Mr. Twombley. I'll circle around.</dialogue>
<character>TWOMBLEY</character>
<dialogue>You only got a little while if you want your hundred bucks.</dialogue>
<scene_description>Jack zig - zags down the incline , while Twombley , gun poised , waddles along the edge . Jack stops fifty feet away , watches Twombley , a cartoon character . A stag pokes his nose through the pines , steps into a clearing . Jack aims his rifle , looks at Twombley . Twombley turns to see the buck , loses his footing , TUMBLES down the twenty - foot cliff .</scene_description>
</scene>
<scene>
<stage_direction>EXT. TOBY'S INN - DAY</stage_direction>
<scene_description>An open cab grader -LRB- `` Our Business Is Going In The Hole '' -RRB- sits in the rutted lot outside Toby 's , a beer joint with fake wood siding and 24 - hour neon sign . A four - wheel drive plow with the LaRiviere motto pulls in , parks beside the blue grader . JIMMY DAME , 40 , gets out , glances at the grader as he enters .</scene_description>
</scene>
<scene>
<stage_direction>INT. TOBY'S INN - DAY</stage_direction>
<scene_description>Jimmy joins Wade at the bar , calls for a beer . Frankie LaCoy bullshits with two long - haired locals at a nearby table ; their conversation drifts in and out . Country music plays through a broken juke box speaker . Wade touches his tooth , grimaces .</scene_description>
<character>JIMMY</character>
<dialogue>How's it goin?</dialogue>
<character>WADE</character>
<dialogue>Cold. How you think?</dialogue>
<character>JIMMY</character>
<dialogue>Sorry about that. Why's it every year, come first snow, you get stuck with the grader?</dialogue>
<character>WADE</character>
<dialogue>School. Traffic crossing.</dialogue>
<parenthetical>( lights cigarette . )</parenthetical>
<dialogue>I got ta quit these things.</dialogue>
<character>JIMMY</character>
<dialogue>What we doing after? Wells?</dialogue>
<parenthetical>( Wade nods . )</parenthetical>
<dialogue>Do n't work too fast. Business the way it is, Gordon's probably looking to lay me off earlier than usual this year. He's got too much money as it is. Why's it always the little guy that gets kicked in the butt in hard times?</dialogue>
<scene_description>Wade shrugs . LaCoy 's conversation has caught his ear . He turns to watch .</scene_description>
<character>LACOY</character>
<dialogue>That was no pisser. I'll tell you who was a pisser. Glen Whitehouse. There was a real pisser. He was mean normal, but when he drank it was like he burst on fire. Canadian Club. Always drank CC. One Christmas there's this cord of wood out back he forgot about and he decides to have his two boys stack it. Except it's been out back two months and it's snowed and rained and froze so now the wood's all iced in. He takes the boys. He was drunk, of course.</dialogue>
<scene_description>Wade 's face as the story comes to life :</scene_description>
</scene>
<scene>
<stage_direction>EXT. WHITEHOUSE FARM - DAY (1964)</stage_direction>
<scene_description>Thirty years before . GLEN WHITEHOUSE -LRB- `` POP '' -RRB- , 42 , pushes his boys , Wade -LRB- 13 -RRB- and Rolfe -LRB- 10 -RRB- , toward snow - covered lumps of firewood behind the barn . He 's drunk . The boys carry shovels and a pickaxe .</scene_description>
<character>POP</character>
<dialogue>Move it! Daylight in the swamps!</dialogue>
<character>ROLFE</character>
<dialogue>Pop, the kids are waiting for us.</dialogue>
<character>WADE</character>
<parenthetical>( reproving . )</parenthetical>
<dialogue>Rolfe.</dialogue>
<character>POP</character>
<dialogue>A lesson in work and its rewards. You'll thank me for this one day.</dialogue>
<parenthetical>( to house . )</parenthetical>
<dialogue>Sally, turn off that TV!</dialogue>
<scene_description>His sons chip at the wood . Hopeless . Frozen solid .</scene_description>
<character>WADE</character>
<parenthetical>( to Rolfe . )</parenthetical>
<dialogue>Just do it.</dialogue>
<character>POP</character>
<dialogue>Atta - go.</dialogue>
<character>ROLFE</character>
<dialogue>Please, Pop. Let's go back.</dialogue>
<scene_description>Wade notices his mother , SALLY , watching from the window .</scene_description>
<character>POP</character>
<dialogue>What are you, a quitter?</dialogue>
</scene>
<scene>
<stage_direction>INT. TOBY'S INN - DAY</stage_direction>
<scene_description>LaCoy roars with laughter .</scene_description>
<character>LONG-HAIRED LOCAL</character>
<parenthetical>( puzzled . )</parenthetical>
<dialogue>So what happened?</dialogue>
<character>LACOY</character>
<dialogue>Beats me. That's all I heard. Wade would know more about it.</dialogue>
<parenthetical>( calls . )</parenthetical>
<dialogue>Wade! We were just talking about your Old Man. `` What are you, a quitter!''</dialogue>
<scene_description>Wade grabs his keys , walks over . Jimmy follows .</scene_description>
<character>WADE</character>
<dialogue>Jesus, LaCoy, you got nothing better to do than sit around and tell stories. Pity is, some college student will come some day and believe this shit cause you're the only one dumb enough to talk to him. Take care.</dialogue>
<scene_description>Wade and Jimmy head out .</scene_description>
</scene>
<scene>
<stage_direction>EXT. BACKROAD - DAY</stage_direction>
<scene_description>Wade , shivering in the open grader , plows a narrow winding road . He lights a cigarette , exhales steamy smoke . LaCoy 's laugh triggers a memory :</scene_description>
</scene>
<scene>
<stage_direction>INT. WHITEHOUSE FARM - DAY (1964)</stage_direction>
<scene_description>The flashback continues : Glen Whitehouse pushes his sons inside . Sally steps from sight . Out back , the firewood lies frozen amid futile shovel marks .</scene_description>
<character>POP</character>
<dialogue>That was some job.</dialogue>
<character>ROLFE</character>
<dialogue>We'll work at it everyday, promise.</dialogue>
<character>POP</character>
<dialogue>I think we made the point.</dialogue>
<character>WADE</character>
<parenthetical>( mumbles . )</parenthetical>
<dialogue>You just needed a drink.</dialogue>
<scene_description>Pop , swigging Canadian Club , turns :</scene_description>
<character>POP</character>
<dialogue>What was that?</dialogue>
<parenthetical>( no answer . )</parenthetical>
<dialogue>You got something to say, say it! Say it!</dialogue>
<character>WADE</character>
<parenthetical>( soft . )</parenthetical>
<dialogue>Nothing.</dialogue>
<character>POP</character>
<dialogue>You no - good pup!</dialogue>
<scene_description>Rolfe runs from the room screaming , `` Mom ! ''</scene_description>
</scene>
<scene>
<stage_direction>EXT. WICKHAM'S - DAY</stage_direction>
<scene_description>The town 's 24 - hour restaurant . A bright new sign reads : `` Home Made Cooking . '' Wade 's grader out front .</scene_description>
</scene>
<scene>
<stage_direction>INT. WICKHAM'S - DAY</stage_direction>
<scene_description>Wade , eating lunch at the counter , talks with Nick Wickham :</scene_description>
<character>WADE</character>
<dialogue>It do n't look right.</dialogue>
<character>NICK</character>
<dialogue>What?</dialogue>
<character>WADE</character>
<dialogue>The sign. It looks like it's spelled wrong or something.</dialogue>
<character>NICK</character>
<dialogue>Fuck. Wade Whitehouse. It's people like you that keep this fucking town from prospering. Whatever somebody does to improve things around here, you got ta find fault with it.</dialogue>
<character>WADE</character>
<dialogue>I'm not finding fault. It's a good idea, good for you, good for the town. Real modern too.</dialogue>
<character>NICK</character>
<dialogue>This town sucks.</dialogue>
<character>WADE</character>
<dialogue>Aw, c'mon, I was only saying there's something wrong with `` Home Made Cooking'', that's all. The sign's fine. What it says is wrong.</dialogue>
<scene_description>Margie Fogg heads over , sits :</scene_description>
<character>MARGIE</character>
<dialogue>Who needs it? Everybody who comes here has been coming for years so what they need a sign for?</dialogue>
<scene_description>Nick goes back to work .</scene_description>
<character>MARGIE</character>
<dialogue>You okay?</dialogue>
<character>WADE</character>
<dialogue>Yeah.</dialogue>
<character>MARGIE</character>
<dialogue>I'm sorry about what I said.</dialogue>
<character>WADE</character>
<dialogue>Said what?</dialogue>
<character>MARGIE</character>
<dialogue>About you and Jill and needing a third person. She went back to Lillian?</dialogue>
<character>WADE</character>
<dialogue>Forget it.</dialogue>
<character>MARGIE</character>
<parenthetical>( touches his arm . )</parenthetical>
<dialogue>I'm sorry.</dialogue>
<character>WADE</character>
<dialogue>I'm going to start one of those custody suits. I do n't give a fucking shit. You know?</dialogue>
<scene_description>Wade 's eyes well up .</scene_description>
<character>MARGIE</character>
<dialogue>You do n't mean that.</dialogue>
<character>WADE</character>
<dialogue>Yeah. I mean that.</dialogue>
<character>MARGIE</character>
<parenthetical>( arm around his shoulders . )</parenthetical>
<dialogue>No you do n't. You're pissed, that's all. You ought to cool off for a few days then have a long talk with Lillian. You know? Work it out with her, tell her how you feel. Lillian's not out to get you.</dialogue>
<character>WADE</character>
<dialogue>The hell she is n't. Lillian's been trying to nail me to a cross since the day I met her. I'm gon na hire me a fucking lawyer from Concord and get this thing, this divorce thing, rearranged. I've been thinking about it a lot. It's like she owns Jill or something. Nobody owns nobody, especially not kids. And I pay her.</dialogue>
<character>NICK</character>
<parenthetical>( calls . )</parenthetical>
<dialogue>Marg!</dialogue>
<character>WADE</character>
<dialogue>That goddamned woman. Thinks she can cart Jill off and leave me alone like this. I'm more than pissed, Margie. I'm a whole lot more than pissed. I been that plenty and I know the difference. This is different.</dialogue>
<character>NICK</character>
<dialogue>Marg! You got orders!</dialogue>
<scene_description>Wade and Margie stand . She wants to kiss him .</scene_description>
<character>MARGIE</character>
<dialogue>Call me.</dialogue>
<character>WADE</character>
<parenthetical>( genuine . )</parenthetical>
<dialogue>Tonight. Let's get together.</dialogue>
<character>MARGIE</character>
<dialogue>Okay.</dialogue>
<scene_description>Wade meets Nick halfway to the door .</scene_description>
<character>NICK</character>
<dialogue>You talked to Jack?</dialogue>
<character>WADE</character>
<dialogue>Not since last night. He took a guy hunting.</dialogue>
<character>NICK</character>
<dialogue>The fucker shot himself. Ker - bang! That's what it sounds like. Not on purpose. I assume accidental.</dialogue>
<character>WADE</character>
<parenthetical>( shocked . )</parenthetical>
<dialogue>Jack?</dialogue>
<character>NICK</character>
<dialogue>The other guy.</dialogue>
<character>WADE</character>
<dialogue>Where. how'd you hear that?</dialogue>
<character>NICK</character>
<dialogue>CB. Little while ago. One of the boys on the way in picked up Jack on the CB calling for state troopers. I figured you'd know what really happened. The fucking guy kill himself? This Twombley, who the fuck is he, anyhow?</dialogue>
<character>WADE</character>
<dialogue>No, I. I've been out on the grader all morning. Twombley's summer people. Massachusetts. Friend of Gordon's. It was his idea for Jack to take him hunting.</dialogue>
<parenthetical>( suddenly engaged . )</parenthetical>
<dialogue>I got ta go.</dialogue>
<scene_description>Margie steps over as Wade exits .</scene_description>
<character>NICK</character>
<dialogue>He do n't care for you.</dialogue>
<character>MARGIE</character>
<dialogue>Stop being jealous.</dialogue>
</scene>
<scene>
<stage_direction>EXT. LARIVIERE CO. - DAY</stage_direction>
<scene_description>Elaine looks up from her desk as Wade pulls the grader into the lot , jumps out , heads for his car . Laviviere stands outside .</scene_description>
<character>LARIVIERE</character>
<dialogue>What's the hurry?</dialogue>
<character>WADE</character>
<dialogue>A hunting accident. Jack and Twombley.</dialogue>
<character>LARIVIERE</character>
<dialogue>Huh?</dialogue>
<character>WADE</character>
<dialogue>I figured you already heard.</dialogue>
<character>LARIVIERE</character>
<parenthetical>( urgent . )</parenthetical>
<dialogue>Twombley, Jesus. We got to get moving : I got to get up there. How would I know? C'mon, you drive. We'll take my truck.</dialogue>
<scene_description>They head for LaRiviere 's blue 4x4 Dodge .</scene_description>
</scene>
<scene>
<stage_direction>INT./EXT. LARIVIERE'S PICKUP - DAY</stage_direction>
<scene_description>Gordon and Wade drive up the same road Jack took Twombley . Wade fiddles with the CB . No use : static .</scene_description>
<character>LARIVIERE</character>
<dialogue>Fuck. Turn it off.</dialogue>
<parenthetical>( Wade does . )</parenthetical>
<dialogue>All you heard was there was some kinda accident?</dialogue>
<character>WADE</character>
<dialogue>Twombley's shot. I heard that. Not Jack. He's okay, I assume.</dialogue>
<character>LARIVIERE</character>
<dialogue>Fuck. You do n't know how bad or anything?</dialogue>
<character>WADE</character>
<dialogue>You mean Twombley?</dialogue>
<character>LARIVIERE</character>
<dialogue>Yes, Wade, I mean Twombley. Put out that cigarette. Fuck. Fuck. Fuck.</dialogue>
<scene_description>LaRiviere grunts disapproval as Wade slips the butt out his window .</scene_description>
<character>WADE</character>
<dialogue>He more than likely just shot himself in the foot or something. That's what usually happens.</dialogue>
<character>LARIVIERE</character>
<dialogue>I shoulda sent you instead of Jack.</dialogue>
<character>WADE</character>
<dialogue>I wish you had. I'd rather be deer hunting instead of freezing my ass on that fucking grader.</dialogue>
<character>LARIVIERE</character>
<dialogue>You ai n't the hunter Jack is. And he ca n't drive the grader worth shit.</dialogue>
<character>WADE</character>
<dialogue>Like hell.</dialogue>
<scene_description>Ahead , they see flashing lights and cars . A white emergency vehicle passes , jolting the pickup .</scene_description>
<character>LARIVIERE</character>
<parenthetical>( frightened . )</parenthetical>
<dialogue>That must've been Twombley. Jesus. I bet that was Twombley.</dialogue>
<character>WADE</character>
<dialogue>You want me to follow them to Littleton?</dialogue>
<character>LARIVIERE</character>
<dialogue>Let's get to the top and talk to Jack first. He'll know what happened. He fucking better. If this coulda been avoided, I'll put that kid's ass in a sling.</dialogue>
</scene>
<scene>
<stage_direction>EXT. ACCIDENT SCENE - DAY</stage_direction>
<scene_description>Wade pulls behind three state trooper cars . Jack stands joking with the TROOPERS , one of whom holds a German shepherd on a leash . LaRiviere and Wade jump out . Jack , suddenly serious , turns to LaRiviere :</scene_description>
<character>JACK</character>
<dialogue>You heard the news.</dialogue>
<character>LARIVIERE</character>
<dialogue>I hear Twombley got shot.</dialogue>
<character>JACK</character>
<dialogue>Yeah.</dialogue>
<scene_description>Wade walks over to trooper ASA BROWN , pets the shepherd .</scene_description>
<character>BROWN</character>
<dialogue>Watch the dog, Wade. Takes a mind to, he'll tear your fucking head off.</dialogue>
<character>LARIVIERE</character>
<parenthetical>( to Jack . )</parenthetical>
<dialogue>Bad?</dialogue>
<character>BROWN</character>
<dialogue>Thirty - thirty at close range.</dialogue>
<character>LARIVIERE</character>
<dialogue>Jesus.</dialogue>
<character>WADE</character>
<dialogue>Will he make it?</dialogue>
<character>BROWN</character>
<parenthetical>( shakes head . )</parenthetical>
<dialogue>D.O.A. Blew the bastard wide open. Had a hole in back you could put your head into. Pretty big hole in front too. You could've put your fist into that one.</dialogue>
<character>LARIVIERE</character>
<parenthetical>( to Jack . )</parenthetical>
<dialogue>You see it?</dialogue>
<character>JACK</character>
<dialogue>Nope. Heard it. We was n't far apart. I spotted this buck, then I heard the gun go off and Twombley was gone. I looked over the little cliff we was using for a stand and there the fucker was, deader'n shit. Called it right in.</dialogue>
<character>LARIVIERE</character>
<dialogue>This is gon na be one fucking mess to clean up. Twombley's son - in - law and daughter are up the weekend. Did n't you say you'd seen him, Wade?</dialogue>
<character>WADE</character>
<dialogue>I seen'em. Near ran me over.</dialogue>
<character>BROWN</character>
<dialogue>You wan na tell'em, Gordon? You knew the old man.</dialogue>
<character>LARIVIERE</character>
<dialogue>What the fuck. My day's already ruined.</dialogue>
<parenthetical>( to Wade . )</parenthetical>
<dialogue>Give me the keys. You can go back with Jack. You still got a shitload of plowing to do.</dialogue>
<character>WADE</character>
<dialogue>It ai n't done, if that's what you mean.</dialogue>
<character>LARIVIERE</character>
<dialogue>Something bugging you?</dialogue>
<character>WADE</character>
<dialogue>Yeah. A few things.</dialogue>
<character>LARIVIERE</character>
<dialogue>Well, right now we're not too interested. Finish up what you got ta do, then you can get bugged on your own time.</dialogue>
<scene_description>Brown walks off with shepherd .</scene_description>
<character>LARIVIERE</character>
<parenthetical>( to Jack . )</parenthetical>
<dialogue>Might as well take the rest of the day off. You look sort of fucked up. You've been paid for the day, anyhow, right?</dialogue>
<character>JACK</character>
<dialogue>Not exactly. I mean, he never paid me.</dialogue>
<character>LARIVIERE</character>
<dialogue>You'll get your money. Do n't talk to any newspapers about this. Twombley's a big deal down in Massachusetts, you know. Tell them your lawyer says you should n't comment.</dialogue>
<character>JACK</character>
<dialogue>Lawyer? I do n't need no lawyer, do I?</dialogue>
<character>LARIVIERE</character>
<dialogue>No, of course not. Just say it, that's all.</dialogue>
<scene_description>Wade watches LaRiviere get into his pickup , drive off .</scene_description>
<character>WADE</character>
<dialogue>Where'd Twombley get shot?</dialogue>
<character>JACK</character>
<dialogue>In the chest.</dialogue>
<character>WADE</character>
<parenthetical>( offers cigarette . )</parenthetical>
<dialogue>No, I mean whereabouts.</dialogue>
<character>JACK</character>
<parenthetical>( points . )</parenthetical>
<dialogue>A half mile in, along the old lumber road.</dialogue>
<character>WADE</character>
<dialogue>You bring him up yourself? That's a steep climb.</dialogue>
<character>JACK</character>
<dialogue>The ambulance guys lugged him up.</dialogue>
<character>WADE</character>
<dialogue>You stayed away?</dialogue>
<character>JACK</character>
<dialogue>Yeah.</dialogue>
<character>WADE</character>
<dialogue>Where'd you get the blood?</dialogue>
<character>JACK</character>
<dialogue>What blood?</dialogue>
<character>WADE</character>
<dialogue>On your sleeve.</dialogue>
<character>JACK</character>
<dialogue>Musta. How'd I know? What're you doing, playing cop?</dialogue>
<character>WADE</character>
<dialogue>I got ta make a report to Fish and Game. I was just wondering, that's all. What'd he do, to shoot himself, I mean?</dialogue>
<character>JACK</character>
<dialogue>Who the fuck knows? Musta slipped or something. I just heard the gun go off.</dialogue>
<character>WADE</character>
<dialogue>I never seen a man shot before. Not even in the service. Must be something.</dialogue>
<character>JACK</character>
<dialogue>Well, I did n't actually see him do it. Like I said.</dialogue>
<character>WADE</character>
<dialogue>Sure you did.</dialogue>
<character>JACK</character>
<dialogue>What?</dialogue>
<character>WADE</character>
<dialogue>Saw him do it?</dialogue>
<character>JACK</character>
<dialogue>What the fuck you telling me, Wade? I never seen the guy get shot, I told you that.</dialogue>
<character>WADE</character>
<dialogue>You musta seen him get shot. I know you did.</dialogue>
<character>JACK</character>
<dialogue>Let's get the fuck outta here. You're not making any sense, man.</dialogue>
<scene_description>They walk over to Jack 's burgundy pickup . Wade eyes the rifles in the gun rack .</scene_description>
<character>WADE</character>
<dialogue>There's your old twenty - gauge, and that there's the new Browning you was showing me last night. This must be Twombley's gun. Brand new. Very fancy tooling. Probably fired one time. It's a beautiful piece of work.</dialogue>
<parenthetical>( touches it . )</parenthetical>
<dialogue>But what the hell, Jack, I guess you deserve it. Right's right.</dialogue>
<character>JACK</character>
<parenthetical>( starts engine . )</parenthetical>
<dialogue>Yeah.</dialogue>
<character>WADE</character>
<dialogue>Twombley sure as hell wo n't be shooting it again.</dialogue>
<character>JACK</character>
<dialogue>He sure as hell wo n't.</dialogue>
</scene>
<scene>
<stage_direction>INT. WADE'S TRAILER - NIGHT</stage_direction>
<scene_description>Late . Wade Whitehouse , lying in bed with an icepack on his cheek , talks on the phone :</scene_description>
<character>WADE</character>
<dialogue>Rolfe.</dialogue>
<character>ROLFE</character>
<parenthetical>( O.S . )</parenthetical>
<dialogue>Wade?</dialogue>
<character>WADE</character>
<dialogue>Yeah, brother, look, I was calling cause - has there been anything on TV in Boston about a hunting accident with a guy named Twombley, Evan Twombley?</dialogue>
<character>ROLFE</character>
<parenthetical>( O.S . )</parenthetical>
<dialogue>There was something. It happened up your way.</dialogue>
<character>WADE</character>
<dialogue>Yeah, I know him - the kid that was with him. Maybe you do too. Jack Hewitt. He works for LaRiviere with me. He's my best friend.</dialogue>
<character>ROLFE</character>
<parenthetical>( O.S . )</parenthetical>
<dialogue>Wade, it's late. I know you're probably at Toby's, but I'm in bed reading. We got different habits.</dialogue>
<character>WADE</character>
<dialogue>No, not tonight. I'm in bed too. I'm calling because I need you to listen. You're supposed to be a smart guy. You're a professor. I got this theory. Jack says he did n't see Twombley shot but he did.</dialogue>
</scene>
<scene>
<stage_direction>EXT. ACCIDENT SCENE - DAY</stage_direction>
<scene_description>Wade 's theory - in black - and - white : Twombley 's footing slips . Jack turns to watch . Twombley 's gun hits frozen rocks , fires , blows a hole through his chest .</scene_description>
</scene>
<scene>
<stage_direction>INT. WADE'S TRAILER - NIGHT</stage_direction>
<character>WADE</character>
<dialogue>It'll come out Jack lied and the kid'll get hung for it.</dialogue>
<character>ROLFE</character>
<parenthetical>( O.S . )</parenthetical>
<dialogue>He was scheduled to testify for a committee investigating organized crime in New England and the construction business.</dialogue>
<character>WADE</character>
<dialogue>Who?</dialogue>
<character>ROLFE</character>
<parenthetical>( O.S . )</parenthetical>
<dialogue>Twombley.</dialogue>
<character>WADE</character>
<dialogue>No shit.</dialogue>
<character>ROLFE</character>
<parenthetical>( O.S . )</parenthetical>
<dialogue>You think Jack shot him?</dialogue>
<character>WADE</character>
<dialogue>Well, it was an accident.</dialogue>
<character>ROLFE</character>
<parenthetical>( O.S . )</parenthetical>
<dialogue>They were out deer hunting, right? Jack probably heard the gun go off, then came back and found the body.</dialogue>
</scene>
<scene>
<stage_direction>EXT. ACCIDENT SCENE - DAY</stage_direction>
<scene_description>Another theory : Black - and - white . Jack sees a figure run from Twombley 's body .</scene_description>
</scene>
<scene>
<stage_direction>INT. WADE'S TRAILER - NIGHT</stage_direction>
<scene_description>Wade shifts the phone from ear to ear :</scene_description>
<character>WADE</character>
<dialogue>Lillian was here. In Lawford.</dialogue>
<character>ROLFE</character>
<parenthetical>( O.S . )</parenthetical>
<dialogue>Huh?</dialogue>
<character>WADE</character>
<dialogue>The night before the shooting.</dialogue>
<character>ROLFE</character>
<parenthetical>( O.S . )</parenthetical>
<dialogue>How was she?</dialogue>
<character>WADE</character>
<dialogue>Picked up Jill. She was supposed to visit for the weekend for Halloween. She wanted to go home.</dialogue>
<character>ROLFE</character>
<parenthetical>( O.S . )</parenthetical>
<dialogue>Who?</dialogue>
<character>WADE</character>
<dialogue>Jill. I was thinking of getting a lawyer. Maybe you can help me.</dialogue>
<character>ROLFE</character>
<parenthetical>( O.S . )</parenthetical>
<dialogue>What happened?</dialogue>
<character>WADE</character>
<dialogue>A divorce lawyer. A custody lawyer. You know,'cause of Jill.</dialogue>
</scene>
<scene>
<stage_direction>EXT. WADE'S TRAILER - NIGHT</stage_direction>
<scene_description>TIMECUT : mobile homes .</scene_description>
</scene>
<scene>
<stage_direction>INT. WADE'S TRAILER - NIGHT</stage_direction>
<character>ROLFE</character>
<parenthetical>( O.S . )</parenthetical>
<dialogue>Do n't think about it. You're exhausted.</dialogue>
<character>WADE</character>
<dialogue>Yeah, I guess.</dialogue>
<character>ROLFE</character>
<parenthetical>( O.S . )</parenthetical>
<dialogue>Get some sleep.</dialogue>
<character>WADE</character>
<dialogue>I get to feeling like a whipped dog some days, Rolfe, and some night I'm going to bite back. I swear it.</dialogue>
<character>ROLFE</character>
<parenthetical>( O.S . )</parenthetical>
<dialogue>Have n't you already done a bit of that?</dialogue>
<character>WADE</character>
<dialogue>No, no, I have n't. Not really. I've growled a little, but I have n't bit.</dialogue>
<scene_description>Sound of GUNSHOT .</scene_description>
</scene>
<scene>
<stage_direction>EXT. MOUNTAINS - DAY</stage_direction>
<scene_description>Wade 's bubble - top Fairlane drives through snow covered hills .</scene_description>
</scene>
<scene>
<stage_direction>EXT. MEL GORDON'S HOUSE - DAY</stage_direction>
<scene_description>The Fairlane is parked outside a substantial summer house with a wide porch and frozen pond . The `` speeding '' BMW in the drive . Wade knocks on the front door . An 8 year - old boy answers the door . Wade speaks ; the boy goes back inside . MRS. GORDON , 30 , delicate , beautiful , wearing a dark green robe , comes to the door . Her eyes are red - rimmed . Wade has seen her before , but not this close . He feels awkward .</scene_description>
<character>MRS. GORDON</character>
<dialogue>Who are you?</dialogue>
<character>WADE</character>
<dialogue>I was. I'm Wade Whitehouse. I was wondering, is your husband here?</dialogue>
<character>MRS. GORDON</character>
<dialogue>He's asleep. We were up very late.</dialogue>
<character>WADE</character>
<dialogue>Well, yes, I'm. I want to say that I'm real sorry about your father, Mrs. Twombley.</dialogue>
<character>MRS. GORDON</character>
<dialogue>Mrs. Gordon. Thank you.</dialogue>
<character>WADE</character>
<dialogue>Well, yeah, I suppose. Sure. I just had a little business to settle with Mr. Gordon. I'm the local police officer.</dialogue>
<character>MRS. GORDON</character>
<dialogue>Something about my father?</dialogue>
<character>WADE</character>
<dialogue>Oh, no. No, it's a. it's a traffic thing. No big deal.</dialogue>
<character>MRS. GORDON</character>
<dialogue>Ca n't it wait, then?</dialogue>
<scene_description>MEL GORDON , 40 , dark - eyed , wearing a tartan robe , steps behind his wife .</scene_description>
<character>MEL GORDON</character>
<dialogue>Whitehouse. Next time, phone ahead.</dialogue>
<character>WADE</character>
<dialogue>How's that?</dialogue>
<scene_description>Mel folds his arms . His wife goes inside .</scene_description>
<character>MEL GORDON</character>
<dialogue>I said, ` Next time, phone ahead.'</dialogue>
<character>WADE</character>
<dialogue>Jesus Christ. Mr. Gordon, when I come all the way to serve somebody a summons, I do n't call ahead for an appointment.</dialogue>
<character>MEL GORDON</character>
<dialogue>What the hell are you talking about?</dialogue>
<character>WADE</character>
<dialogue>I'm issuing you a ticket. Moving violation.</dialogue>
<character>MEL GORDON</character>
<dialogue>Moving violation! I just got out of bed and you're telling me you're giving me a goddamn speeding ticket? Now? Are you nuts? Is that it, Whitehouse? You're nuts?</dialogue>
<character>WADE</character>
<parenthetical>( writing . )</parenthetical>
<dialogue>Yesterday morning, you passed a stopped school bus, which was flashing its lights, then you -</dialogue>
<character>MEL GORDON</character>
<parenthetical>( stops Wade 's arm . )</parenthetical>
<dialogue>Hold on!</dialogue>
<character>WADE</character>
<parenthetical>( wrenches hand free . )</parenthetical>
<dialogue>Do n't ever put your hands on me, Mr. Gordon.</dialogue>
<character>MEL GORDON</character>
<dialogue>You're talking about a goddamned ticket, from when I passed you at the school where you were deciding to hold up traffic while dreaming of becoming a traffic cop or something?</dialogue>
<character>WADE</character>
<dialogue>Do n't give me a hard time, Mr. Gordon. I'm just -</dialogue>
<character>MEL GORDON</character>
<dialogue>Doing your fucking job. I know. I watch television too.</dialogue>
<character>WADE</character>
<dialogue>Yes. Here's your ticket.</dialogue>
<character>MEL GORDON</character>
<parenthetical>( refusing ticket . )</parenthetical>
<dialogue>You get the hell out of my house now, asshole. And know this - you are going to be a lucky asshole if I have n't got you fired before the day is out. I can do it with one phone call, and I'm pissed enough to do it now!</dialogue>
<scene_description>Mel Gordon moves Wade out of the door , slams it . Wade steps away , looks back at the house . Mrs. Gordon watches him from the window .</scene_description>
</scene>
<scene>
<stage_direction>EXT. MARGIE FOGG'S HOUSE - NIGHT</stage_direction>
<scene_description>A wood frame house off the main drag . Snowing .</scene_description>
</scene>
<scene>
<stage_direction>INT. MARGIE'S BEDROOM - NIGHT</stage_direction>
<scene_description>Wade and Margie , post - coital :</scene_description>
<character>MARGIE</character>
<dialogue>Jack's sort of sensitive, I guess. More than most. But he'll be okay in a few weeks.</dialogue>
<character>WADE</character>
<dialogue>There's something funny about that shooting. There's lots funny about it, actually.</dialogue>
<character>MARGIE</character>
<dialogue>I heard he was drunk at Toby's last night and got in a fight with Hettie. He drove off without her.</dialogue>
<character>WADE</character>
<dialogue>I'm sure, I'm positive it did n't happen the way Jack says it did.</dialogue>
<character>MARGIE</character>
<dialogue>Jack's turned into one of those men who are permanently angry. He used to be a sweet kid, but it's like, when he found out he could n't play ball anymore, he changed. Now he's like everyone else.</dialogue>
<character>WADE</character>
<dialogue>I've been wondering if maybe Jack shot Twombley, instead of Twombley shooting himself. I've been wondering maybe Jack shot him on purpose.</dialogue>
<character>MARGIE</character>
<dialogue>Wade! How can you even think such a thing? Why would Jack Hewitt do that, shoot Twombley on purpose?</dialogue>
</scene>
<scene>
<stage_direction>EXT. ACCIDENT SCENE - DAY</stage_direction>
<scene_description>Black - and - white . A further theory : Jack bends over the fallen Twombley , holds a tarp to protect his chest from blood spray . He shoots Twombley with his own gun .</scene_description>
</scene>
<scene>
<stage_direction>INT. MARGIE'S BEDROOM - NIGHT</stage_direction>
<character>WADE</character>
<dialogue>Money.</dialogue>
<character>MARGIE</character>
<dialogue>Jack does n't need money.</dialogue>
<character>WADE</character>
<dialogue>Everybody needs money. Except guys like Twombley and that sonofabitch son - in - law of his. People like that.</dialogue>
<character>MARGIE</character>
<dialogue>Jack would n't kill for it. Besides, who would pay him?</dialogue>
<character>WADE</character>
<dialogue>Lots of people. Guy like Evan Twombley, Boston union official, probably got lots of people want to see him dead. The Government's been investigating his links with the Mafia.</dialogue>
<character>MARGIE</character>
<parenthetical>( laughs . )</parenthetical>
<dialogue>The Mafia hire Jack Hewitt?</dialogue>
<character>WADE</character>
<dialogue>No, I just know Jack's lying about what happened. He just seemed - I know that kid, what he's like inside. He's a lot like I was at his age.</dialogue>
<character>MARGIE</character>
<dialogue>You would n't have done anything like that, shot someone for money.</dialogue>
<character>WADE</character>
<dialogue>No. Not for money. But, if somebody'd given me half a damned excuse - I was pretty fucked up, you know.</dialogue>
<character>MARGIE</character>
<parenthetical>( smiles . )</parenthetical>
<dialogue>But not now.</dialogue>
<scene_description>Wade sits on the edge of the bed , sighs . Lapses into thought . Margie caresses his back , kisses it . He winces .</scene_description>
<character>MARGIE</character>
<dialogue>When you gon na get that tooth fixed?</dialogue>
<scene_description>Wade looks at her , brushes the hair off her face :</scene_description>
<character>WADE</character>
<dialogue>I can see what you looked like as a kid.</dialogue>
<character>MARGIE</character>
<dialogue>You knew me as a kid.</dialogue>
<character>WADE</character>
<dialogue>Yeah, but never what you looked like. Not really. Never really studied your face, like now. I was never able to see you as a kid when you were a kid until now, this way.</dialogue>
<character>MARGIE</character>
<dialogue>What way?</dialogue>
<character>WADE</character>
<dialogue>After making love. I like it. It's nice to see that in a grown - up person.</dialogue>
<character>MARGIE</character>
<dialogue>It's nice.</dialogue>
<scene_description>Wade walks naked to the kitchen , returns with two beers , one for Marg . He gets in bed . She , thinking , sips :</scene_description>
<character>MARGIE</character>
<dialogue>Do n't you think, do you still think it's a good idea to press this custody thing - just now?</dialogue>
<character>WADE</character>
<dialogue>I'm her father - supposed to be, but I'm not able to. Yes. Yes, I am. It may be the only thing in my life I've been so clear about wanting. Even if it takes a big fight.</dialogue>
<character>MARGIE</character>
<dialogue>Then. I guess you have to.</dialogue>
<character>WADE</character>
<parenthetical>( silence . )</parenthetical>
<dialogue>There's another thing I've been thinking about. I do n't know how you feel about the idea, Margie, because we've never talked about it. But I've been thinking lately, I've been thinking we should get married sometime. You and me.</dialogue>
<character>MARGIE</character>
<parenthetical>( uncertain . )</parenthetical>
<dialogue>Oh, Wade.</dialogue>
<character>WADE</character>
<dialogue>I've been thinking about it, that's all.</dialogue>
<character>MARGIE</character>
<dialogue>You've been married twice -</dialogue>
<character>WADE</character>
<dialogue>It was to the same woman. I was just a kid.</dialogue>
<parenthetical>( Marg looks . )</parenthetical>
<dialogue>It's not like a marriage proposal or anything, just a thought. Something for you and me to talk about and think about. You know?</dialogue>
<character>MARGIE</character>
<dialogue>Alright. I'll think about it.</dialogue>
<character>WADE</character>
<dialogue>Good.</dialogue>
<scene_description>He kisses her . His jaw winces in pain .</scene_description>
</scene>
<scene>
<stage_direction>INT. WHITEHOUSE FARM - DAYBREAK (1964)</stage_direction>
<scene_description>Glen Whitehouse , plastered , yells at Wade , age 13 :</scene_description>
<character>POP</character>
<dialogue>I've got sons, Goddamnit, oh my God, have I got sons! Wade? Rolfe? Elbourne? You love me boys? Do you love your Pop? Of course you do!</dialogue>
<scene_description>Wade , frightened , retreats as Sally enters in her housecoat .</scene_description>
<character>SALLY</character>
<dialogue>Glen, stop -</dialogue>
<character>POP</character>
<dialogue>Oh, Jesus, Sally, you are such a Goddamned good person! Capital G. You are so much better than I am, I who am no good at all, you who are a truly good person, like a fucking saint! Beyond fucking com - pare.</dialogue>
<scene_description>Glen reaches for the Canadian Club ; Sally tries to block his hand . Glen pulls his arm from hers , clipping her cheek with the bottle . Sally gasps , grabs her cheek . Wade pushes between them , protecting his mother .</scene_description>
<character>POP</character>
<dialogue>My big boy bursting out of the seams of his jeans!</dialogue>
<scene_description>Pop clenches his fist . Wade vainly looks Rolfe 's direction for help .</scene_description>
<character>SALLY</character>
<dialogue>Do n't!</dialogue>
<character>POP</character>
<dialogue>You little prick!</dialogue>
<scene_description>Pop 's fist comes crashing down . Wade raises his arms to protect himself . Wade 's arm bone CRACKS with the blow . Wade grimaces in pain .</scene_description>
<character>SALLY</character>
<dialogue>Glen, stop!</dialogue>
</scene>
<scene>
<stage_direction>EXT. MARGIE FOGG'S HOUSE - DAY</stage_direction>
<scene_description>Margie gets into Wade 's idling Ford .</scene_description>
</scene>
<scene>
<stage_direction>INT./EXT. WADE'S CAR - DAY</stage_direction>
<scene_description>Wade , washed and changed , drives ; Marg sits beside him . They head north . Deer rifles echo from the woods .</scene_description>
<character>MARGIE</character>
<dialogue>Did you tell them?</dialogue>
<parenthetical>( no answer . )</parenthetical>
<dialogue>That we were coming?</dialogue>
<character>WADE</character>
<dialogue>Do n't you think it's proper for a fella to introduce his girl to his parents?</dialogue>
<character>MARGIE</character>
<dialogue>I know your parents.</dialogue>
<character>WADE</character>
<dialogue>I just want to pick up my divorce papers. For the lawyer. It wo n't take long.</dialogue>
</scene>
<scene>
<stage_direction>EXT. WHITEHOUSE FARM - DAY</stage_direction>
<scene_description>Sun slants over Parker Mountain ; they pull up . The house , once white , is peeling . Polyurethane flaps over dark windows . The 1960 red Ford pickup sits long frozen in the open barn .</scene_description>
<character>MARGIE</character>
<parenthetical>( getting out . )</parenthetical>
<dialogue>Are you sure they're home? Did you call?</dialogue>
<character>WADE</character>
<dialogue>The truck's here. Looks like they've stayed inside since the snow started.</dialogue>
<scene_description>They stamp their feet on the porch ; Wade turns the knob . Locked . It seems abandoned .</scene_description>
<character>WADE</character>
<dialogue>Strange.</dialogue>
<character>MARGIE</character>
<dialogue>Think they're alright?</dialogue>
<character>WADE</character>
<dialogue>Of course! I would've heard.</dialogue>
<character>MARGIE</character>
<dialogue>How?</dialogue>
<character>WADE</character>
<dialogue>I do n't know for Christ's sake!</dialogue>
<scene_description>They round the house , try the back door . Wade knocks loudly . GLEN WHITEHOUSE , 70 , opens the door , stands inside . He wears long underwear , stained woolen trousers , slippers .</scene_description>
</scene>
<scene>
<stage_direction>INT. WHITEHOUSE FARM - DAY</stage_direction>
<character>WADE</character>
<dialogue>Pop, Pop, you okay?</dialogue>
<scene_description>Glen shuffles toward the stove ; they follow . He starts a fire .</scene_description>
<character>WADE</character>
<dialogue>Jesus, Pop, how can you stand the cold, dressed like that? Where's Ma?</dialogue>
<character>POP</character>
<dialogue>Sleeping.</dialogue>
<character>WADE</character>
<dialogue>You remember Margie Fogg?</dialogue>
<character>POP</character>
<dialogue>From Wickham's. Been a while. Like some coffee?</dialogue>
<character>WADE</character>
<dialogue>How you and Ma doing? Have n't seen you in town for a while.</dialogue>
<character>POP</character>
<dialogue>We're alright. Your Ma's sleeping. You want me to get her?</dialogue>
<character>WADE</character>
<dialogue>Yeah.</dialogue>
<scene_description>Pop goes to the bedroom .</scene_description>
<character>WADE</character>
<parenthetical>( to Marg . )</parenthetical>
<dialogue>Jesus. Nothing's changed around here.</dialogue>
<scene_description>Pop returns .</scene_description>
<character>WADE</character>
<dialogue>Where's Ma?</dialogue>
<character>POP</character>
<dialogue>She's coming.</dialogue>
<character>MARGIE</character>
<dialogue>Have you been heating the house? Not just with the stove.</dialogue>
<character>POP</character>
<dialogue>There's a furnace.</dialogue>
<character>MARGIE</character>
<dialogue>You're not using it today?</dialogue>
<character>POP</character>
<dialogue>It's broke I guess. There's an electric in the bedroom.</dialogue>
<character>MARGIE</character>
<dialogue>Maybe Wade should take a look at it. Your pipes'll freeze.</dialogue>
<parenthetical>( Pop nods . )</parenthetical>
<dialogue>Wade, would you do that?</dialogue>
<scene_description>Wade , concerned , pushes open the BEDROOM door :</scene_description>
<character>WADE</character>
<dialogue>Ma? It's Wade. Can I come in?</dialogue>
<scene_description>He steps inside . On the bed , Sally Whitehouse , wrapped in blankets , lies dead . He walks over , beside the small electric heater , touches her forehead . Her skin is chalk white .</scene_description>
<character>WADE</character>
<dialogue>Oh, Lord.</dialogue>
<scene_description>Margie steps into the doorway . Pop joins :</scene_description>
<character>POP</character>
<dialogue>Coffee's perked.</dialogue>
<character>MARGIE</character>
<dialogue>When did she die?</dialogue>
<character>POP</character>
<dialogue>Is? She's dead then?</dialogue>
<character>WADE</character>
<dialogue>Yeah.</dialogue>
<character>POP</character>
<dialogue>I checked on her. She had the electric heater. Cold do n't bother her as much as me. Which is why I give her the heater.</dialogue>
<character>WADE</character>
<parenthetical>( kneels over mother . )</parenthetical>
<dialogue>Is there something wrong with the phone?</dialogue>
<character>POP</character>
<dialogue>In the living room.</dialogue>
<character>WADE</character>
<dialogue>Why did n't you call and have the furnace fixed?</dialogue>
<character>POP</character>
<dialogue>Wade. I thought she was alright. Till this morning she was.</dialogue>
<scene_description>Pop goes to the dresser , pours himself Canadian Club . Wade opens his mother 's mouth , attempts respiration .</scene_description>
<character>POP</character>
<dialogue>It makes me sad.</dialogue>
<character>MARGIE</character>
<dialogue>Can -?</dialogue>
<character>POP</character>
<parenthetical>( sits . )</parenthetical>
<dialogue>Makes me sad it was her. Instead of me. I shoulda froze.</dialogue>
</scene>
<scene>
<stage_direction>EXT. ROLFE'S CAR - DAY</stage_direction>
<scene_description>ROLFE WHITEHOUSE , 38 , drives his four - door Toyota west : through Massachusetts , toward New Hampshire . His face bespeaks tolerance , objectivity - in short , education . It 's also Wade 's face .</scene_description>
<character>ROLFE</character>
<parenthetical>( V.O . )</parenthetical>
<dialogue>Wade called me, as usual, late at night. I knew it was Wade - no one else calls me at that hour - and I was ready to listen to another chapter in one of his ongoing sagas. There was the detective story concerning the shooting of Evan Twombley and the family melodrama about Wade's custody fight with Lillian. But not this time.</dialogue>
</scene>
<scene>
<stage_direction>EXT. WHITEHOUSE FARM - DAY</stage_direction>
<scene_description>Rolfe 's Toyota sits with other cars .</scene_description>
<character>ROLFE</character>
<parenthetical>( V.O . )</parenthetical>
<dialogue>Wade was telling a different story, or so it seemed then, one in which I myself was a character. He had called to tell me that sometime the previous night our mother had died, and he had discovered the body when he'd gone over to visit her and our father with Margie Fogg. Pop was okay, but kind of out of it. Worse than usual, maybe, though no drunker than usual.</dialogue>
</scene>
<scene>
<stage_direction>INT. LIVING ROOM - DAY</stage_direction>
<scene_description>Friends and relatives gather in the living room : Wade , Rolfe , Glen , LaRiviere , Margie , an aging couple , REVEREND DOUGHTY , 30 , thin , wearing glasses and an avocado - green suit .</scene_description>
<character>WADE</character>
<parenthetical>( finishing a beer . )</parenthetical>
<dialogue>Should n't we get this show on the road, now that Rolfe's here?</dialogue>
<scene_description>No one moves . LaRiviere checks his watch . Wade shrugs :</scene_description>
<character>WADE</character>
<dialogue>Pointless to stand around in church with nothing to do, I guess.</dialogue>
<character>ROLFE</character>
<dialogue>What about Jill? Is Lillian bringing her?</dialogue>
<scene_description>Margie 's face tells Rolfe he 's touched on a sensitive subject .</scene_description>
<character>MARGIE</character>
<dialogue>They'll be at the church and the cemetery.</dialogue>
<scene_description>Wade opens the frig , takes out another beer :</scene_description>
<character>WADE</character>
<dialogue>Anyone else want one? Rolfe?</dialogue>
<character>ROLFE</character>
<dialogue>No thanks. I do n't drink.</dialogue>
<character>WADE</character>
<dialogue>Yeah. I forgot.</dialogue>
<character>LARIVIERE</character>
<dialogue>How you holding up, Wade?</dialogue>
<character>WADE</character>
<dialogue>I'm fine, fine.</dialogue>
<character>LARIVIERE</character>
<dialogue>You Rolfe?</dialogue>
<parenthetical>( Rolfe nods . )</parenthetical>
<dialogue>I remember you from high school. You're a teacher now? Harvard?</dialogue>
<character>ROLFE</character>
<dialogue>B.U.</dialogue>
<character>LARIVIERE</character>
<dialogue>I have n't seen you around. I do n't suppose there's much reason for you to come this way.</dialogue>
<scene_description>Rev. Doughty calls for Glen Whitehouse , who has been sitting , silent , drinking , to join the others :</scene_description>
<character>REV. DOUGHTY</character>
<dialogue>Come, Glen, join us. Let's kneel for a moment of prayer before the service. Wade? Rolfe?</dialogue>
<character>ROLFE</character>
<dialogue>Well.</dialogue>
<scene_description>Wade , expressionless , looks at Rolfe . Rolfe , embarrassed , trying to do the right thing , helps his father kneel beside Rev. Doughty . The others join the circle .</scene_description>
<character>WADE</character>
<dialogue>This is nuts.</dialogue>
<character>MARGIE</character>
<parenthetical>( reproving . )</parenthetical>
<dialogue>Wade.</dialogue>
<character>REV. DOUGHTY</character>
<dialogue>Dear Heavenly Father, Lord of Hosts, we come to Thee to beseech Thy blessings and commend to You the soul of our beloved wife and mother, Sally Whitehouse, to be one with You and walk with You -</dialogue>
<scene_description>Pop mutters something . Wade , Rolfe and Marg exchange glances . He mutters louder :</scene_description>
<character>POP</character>
<dialogue>goddamned hair on her head.</dialogue>
<scene_description>He rises over LaRiviere , turns , exclaims :</scene_description>
<character>POP</character>
<dialogue>Not a one of you is worth a goddamned hair on that good woman's head!</dialogue>
<scene_description>Doughty freezes .</scene_description>
<character>WADE</character>
<dialogue>Pop! Do n't do this now, Pop.</dialogue>
<scene_description>Pop knocks back a drink as the others stand .</scene_description>
<character>LARIVIERE</character>
<dialogue>Maybe I'll head on over to the church.</dialogue>
<character>REV. DOUGHTY</character>
<dialogue>This is a difficult time.</dialogue>
<scene_description>Gordon and the couple file out . Doughty , Glen , Rolfe , Wade and Margie remain .</scene_description>
<character>WADE</character>
<dialogue>Listen, it's no big deal, Pop.</dialogue>
<character>POP</character>
<parenthetical>( raising fists . )</parenthetical>
<dialogue>Come on, smart guy. Tell how it's no big deal. Tell me how a single one of you is worth a single hair on that woman's head.</dialogue>
<character>REV. DOUGHTY</character>
<dialogue>Give up this demon.</dialogue>
<character>POP</character>
<dialogue>Go fuck yourself!</dialogue>
<scene_description>Wade , eyes blazing , squares off . Son to father .</scene_description>
<character>ROLFE</character>
<dialogue>Wade, just leave it.</dialogue>
<character>POP</character>
<parenthetical>( mocking . )</parenthetical>
<dialogue>Listen to your little brother. ` Wade, just leave it.' Candy - asses. All of you. That's what I've got for children. Candyasses. ` Wade, just leave it.' Praise the Lord! ` Just leave it!'</dialogue>
<scene_description>Wade stiffens . Pop cocks his fist . Marg , screaming , jumps between them as Pop swings . The old man bounces blows off Margie 's arms and shoulders . Wade pushes Marg aside , grabs his father in a bear hug and walks him backwards , flat against the wall . Wade releases him . Pop , frail , collapses to the floor . Wade kneels over him :</scene_description>
<character>WADE</character>
<dialogue>If you ever touch her again, I'll kill you. I swear it.</dialogue>
</scene>
<scene>
<stage_direction>EXT. CEMETERY - DAY</stage_direction>
<scene_description>Townspeople and friends cluster around the gravesite : Pop , LaRiviere , Jack and Hettie , LaCoy , Chub Merritt , Nick , Jimmy , Lillian , Jill and Horner , Rolfe , Wade and Margie .</scene_description>
<character>ROLFE</character>
<parenthetical>( V.O . )</parenthetical>
<dialogue>The day of the funeral was almost springlike. The snowline crossed New Hampshire west to east, retreating northward to Concord where it melted by midmorning.</dialogue>
<scene_description>Rev. Doughty finishes . The mourners exchange farewells . Wade looks at Lillian . Margie and Rolfe , escorting Wade 's father , let him be . He walks over , hugs Jill .</scene_description>
<character>JILL</character>
<dialogue>Dad.</dialogue>
<character>WADE</character>
<parenthetical>( to Lillian . )</parenthetical>
<dialogue>I'm glad you're here. Can you stay for a while?</dialogue>
<scene_description>Lillian hesitates , shakes her head ` no . '</scene_description>
<character>WADE</character>
<dialogue>You ever come to your father's grave anymore?</dialogue>
<character>LILLIAN</character>
<dialogue>No, not anymore. It's too. it's too far.</dialogue>
<character>WADE</character>
<dialogue>We should talk.</dialogue>
<character>LILLIAN</character>
<dialogue>We've done all our talking, Wade.</dialogue>
<character>WADE</character>
<dialogue>It's just.</dialogue>
<character>LILLIAN</character>
<dialogue>Let the past be.</dialogue>
<parenthetical>( beat . )</parenthetical>
<dialogue>I'm sorry about your mother. I liked her. You never know how much women like that suffer. It's like they live their lives with the sound turned off - and then they're gone.</dialogue>
<character>JILL</character>
<parenthetical>( tugging at Lillian . )</parenthetical>
<dialogue>Mom.</dialogue>
<character>LILLIAN</character>
<dialogue>She has an ice - skating lesson at four.</dialogue>
<character>JILL</character>
<dialogue>I'm taking ice - skating, Daddy!</dialogue>
<scene_description>He kisses Jill , says goodbyes , walks back to Rolfe and Margie . Ahead , LaRiviere walks with Jack .</scene_description>
</scene>
<scene>
<stage_direction>EXT. WHITEHOUSE FARM - DAY</stage_direction>
<scene_description>Wade and Rolfe leave Margie and Pop in the kitchen as they step out back .</scene_description>
<character>WADE</character>
<dialogue>Let's dig out Pop's truck before the skin of the snow freezes up.</dialogue>
<scene_description>They grab snow shovels propped against the porch , walk to the barn . Firewood 's stacked alongside .</scene_description>
</scene>
<scene>
<stage_direction>INT. BARN - DAY</stage_direction>
<scene_description>Shafts of light filter through the ramshackle structure . A snow drift nearly buries Glen 's red truck . Wade and Rolfe break away the packed snow .</scene_description>
<character>ROLFE</character>
<dialogue>What about Margie?</dialogue>
<character>WADE</character>
<dialogue>What about her?</dialogue>
<character>ROLFE</character>
<dialogue>Well, do you still plan to get married?</dialogue>
<character>WADE</character>
<dialogue>Yeah. She'll probably quit her job and stay out here with Pop. We ca n't leave him alone here, he'll set the damn place on fire. With Jill here a lot, it'll be good to have Margie around. Things are going to change in that department, by the way. I got a custody lawyer in Concord. I'm gon na see him tomorrow. All hell's gon na break loose, but it's worth it.</dialogue>
<scene_description>They finish clearing the snow . Wade gets in the truck , starts the engine . Rolfe waits for Wade .</scene_description>
<character>WADE</character>
<dialogue>I want to let the gas run out. I do n't want the bastard driving drunk, and he's always drunk now. After, we'll hide the keys.</dialogue>
<character>ROLFE</character>
<dialogue>Anything new about the shooting? Twombley?</dialogue>
<character>WADE</character>
<parenthetical>( reluctant . )</parenthetical>
<dialogue>I guess it was an accident, like everybody thinks.</dialogue>
<character>ROLFE</character>
<dialogue>Want to know what I think happened?</dialogue>
<scene_description>Wade opens the glove compartment , finds a bottle of Canadian Club . He unscrews the cap .</scene_description>
<character>WADE</character>
<dialogue>Find them everywhere.</dialogue>
<parenthetical>( swigs . )</parenthetical>
<dialogue />
<character>ROLFE</character>
<dialogue>I think your first response to the Twombley shooting was the correct one.</dialogue>
<character>WADE</character>
<dialogue>Which is?</dialogue>
<character>ROLFE</character>
<dialogue>That it was n't an accident.</dialogue>
<character>WADE</character>
<dialogue>Then who shot him?</dialogue>
<character>ROLFE</character>
<dialogue>Well, your friend, I think. Jack Hewitt.</dialogue>
<character>WADE</character>
<dialogue>Motive. You got ta have a motive.</dialogue>
<character>ROLFE</character>
<dialogue>Money.</dialogue>
<character>WADE</character>
<dialogue>Who'd pay him that kind of money? Not the mob. They got their own guys. Specialists.</dialogue>
<character>ROLFE</character>
<parenthetical>( agreeing . )</parenthetical>
<dialogue>They would n't deal with a guy like Jack. Who else benefits if Twombley is suddenly dead?</dialogue>
<character>WADE</character>
<parenthetical>( swigs . )</parenthetical>
<dialogue>I do n't know. You tell me.</dialogue>
<character>ROLFE</character>
<dialogue>Okay. It's likely there are people in the union who do n't want Twombley to testify. They probably include his son - in - law who's vice - president and will probably be the next president. I read that in the papers. What's his name, Mel Gordon?</dialogue>
<character>WADE</character>
<dialogue>Yeah, the guy with the BMW I told you about. I did, did n't I?</dialogue>
<character>ROLFE</character>
<dialogue>Here's my theory. Twombley, unaware of illegal union loans or whatever, starts nosing around cause of the investigation and finds out. Finds out his son - in - law is involved.</dialogue>
<character>WADE</character>
<dialogue>So Mel Gordon would n't want a professional hit. That'd make the feds dig deeper. He wants an accident.</dialogue>
<character>ROLFE</character>
<dialogue>A hunting accident is perfect.</dialogue>
<character>WADE</character>
<dialogue>Shit, around here, you shoot somebody in the woods, you say it was an accident, you get fined fifty bucks and your hunting license lifted. Jack's probably saying the guy shot himself cause he ai n't got his deer yet and do n't want his license pulled.</dialogue>
<scene_description>The truck sputters , stops . Wade pulls the keys .</scene_description>
<character>WADE</character>
<dialogue>It's too neat. Things ai n't that neat. It makes me mad. That somebody can pay to kill somebody, his own father - in - law, and not be punished for it. Do n't that piss you off?</dialogue>
<character>ROLFE</character>
<dialogue>Not particularly.</dialogue>
<character>WADE</character>
<dialogue>Right's right, goddamnit! Do n't you care what's right?</dialogue>
<character>ROLFE</character>
<dialogue>I care about what happened. The truth. I'm a student of history, remember?</dialogue>
<scene_description>The sun is down . Wade tucks the keys in a knotted board .</scene_description>
<character>ROLFE</character>
<dialogue>I was thinking about that story you told me, about Pop and chopping the firewood out of the ice and after.</dialogue>
<character>WADE</character>
<dialogue>Yeah.</dialogue>
<character>ROLFE</character>
<dialogue>I hate to disappoint you, but I do n't think it happened.</dialogue>
<character>WADE</character>
<dialogue>Of course it happened. Why would I lie about it?</dialogue>
<character>ROLFE</character>
<dialogue>It may have happened, but not the way you said.</dialogue>
<character>WADE</character>
<dialogue>You think I would n't remember a thing like that?</dialogue>
<character>ROLFE</character>
<dialogue>It was n't me. I was n't there, but I heard about it. When I heard about it, it was about Elbourne.</dialogue>
<character>WADE</character>
<dialogue>We'd have to go digging in Vietnam to ask him.</dialogue>
<character>ROLFE</character>
<dialogue>And Elbourne and Mom took you to the doctor and told him you fell from the hay loft.</dialogue>
<character>WADE</character>
<parenthetical>( laughs . )</parenthetical>
<dialogue>Well, I never heard that one.</dialogue>
<character>ROLFE</character>
<dialogue>I remember clearly cause when I heard I became real careful around Pop. I was a careful child and I became a careful adult, but at least I was n't afflicted by that man's violence.</dialogue>
<character>WADE</character>
<parenthetical>( laughs again . )</parenthetical>
<dialogue>That's what you think.</dialogue>
<scene_description>Rolfe looks out : the cobalt sky has turned black .</scene_description>
<character>ROLFE</character>
<dialogue>I got ta head back. It's a long drive.</dialogue>
<scene_description>They walk toward the house .</scene_description>
</scene>
<scene>
<stage_direction>EXT. LARIVIERE CO. GARAGE - DAY</stage_direction>
<scene_description>Wade walks in as Jack and Jimmy prepare to head out , their drilling rig loaded with pipe . Gordon yells at Jack :</scene_description>
<character>LARIVIERE</character>
<dialogue>Put out that fucking cigarette!</dialogue>
<scene_description>Jack opens the truck ashtray .</scene_description>
<character>LARIVIERE</character>
<dialogue>Not there, asshole. Flush it!</dialogue>
<scene_description>Hewitt trudges to the john .</scene_description>
<character>WADE</character>
<dialogue>Morning, Gordon.</dialogue>
<scene_description>LaRiviere smiles , goes to his office as Wade hangs his coat in his locker . Jack cruises over .</scene_description>
<character>JACK</character>
<dialogue>I'm fucking out of here.</dialogue>
<character>WADE</character>
<dialogue>Lawford?</dialogue>
<character>JACK</character>
<dialogue>Out of this fucking job. This job sucks. Working outside in the winter sucks.</dialogue>
<scene_description>Jack gets in the cab of the drilling truck . Wade follows .</scene_description>
<character>JACK</character>
<dialogue>Open the door, will ya?</dialogue>
<character>WADE</character>
<dialogue>Why do n't you quit now, you want out so bad?</dialogue>
<character>JACK</character>
<dialogue>Open the door. We're late.</dialogue>
<character>WADE</character>
<dialogue>I mean it - you got enough money now. Head out for California. Surf's up, Jack, and you're digging wells in the snow.</dialogue>
<character>JACK</character>
<dialogue>What do you mean I got money? I'm as broke as you.</dialogue>
<scene_description>Wade grins , goes to activate the door .</scene_description>
<character>WADE</character>
<dialogue>Looney Tunes, Jack. Fucking Looney Tunes!</dialogue>
<scene_description>The drilling truck pulls out the garage , onto the road . From the opposite direction a black BMW slows , enters . Mel Gordon . Wade , all eyes and ears , watches . Mel Gordon parks in front of the office , gets out . Elaine calls :</scene_description>
<character>ELAINE</character>
<parenthetical>( O.S . )</parenthetical>
<dialogue>Mr. Gordon!</dialogue>
<character>MEL GORDON</character>
<dialogue>The boss in?</dialogue>
<character>ELAINE</character>
<parenthetical>( O.S . )</parenthetical>
<dialogue>Yes indeedy!</dialogue>
<scene_description>Wade flips the door switch . Mel Gordon and LaRiviere talk . Yeah .</scene_description>
</scene>
<scene>
<stage_direction>EXT. CONCORD - DAY</stage_direction>
<scene_description>The South Main Street office of J. Battle Hand , lawyer . Concord is a real town , with traffic , stores , people with places to go .</scene_description>
</scene>
<scene>
<stage_direction>INT. LAWYER'S OFFICE - DAY</stage_direction>
<scene_description>J. BATTLE HAND , 60 , sits in a wheel chair behind his desk . Wade , uncomfortable in work clothes , tries not to show it .</scene_description>
<character>WADE</character>
<dialogue>I screwed up the divorce. I agreed with everything she said. I wanted her to like me. I just want to be a good father.</dialogue>
<character>HAND</character>
<dialogue>It would help if you were married, if there was someone at home while you work.</dialogue>
<character>WADE</character>
<dialogue>I plan to. Soon.</dialogue>
<character>HAND</character>
<dialogue>How soon?</dialogue>
<character>WADE</character>
<dialogue>This spring.</dialogue>
<character>HAND</character>
<dialogue>Good. It would help if there were some drug or alcohol abuse on the part of your ex - wife. Sexual problems upsetting to the child.</dialogue>
<character>WADE</character>
<dialogue>It looks pretty hopeless, do n't it?</dialogue>
<character>HAND</character>
<dialogue>No, not exactly. I'll look at the divorce decree, see if we can get it redrawn. Interview your daughter. Jill, right?</dialogue>
<character>WADE</character>
<dialogue>Yes.</dialogue>
<character>HAND</character>
<dialogue>Fine. I'll need a $ 500 retainer. You can mail it.</dialogue>
<character>WADE</character>
<dialogue>Jesus. How much. how much will the whole thing cost?</dialogue>
<character>HAND</character>
<dialogue>Hard to say. If we go for custody, depositions, psychiatric evaluations, it could drag on. Ten or twelve thousand dollars. She could win on appeal. If we just want to get the visitation rights redrawn, assuming they're unduly restrictive, it would n't be more than twenty - five hundred.</dialogue>
<character>WADE</character>
<dialogue>Oh.</dialogue>
<character>HAND</character>
<parenthetical>( sensing situation . )</parenthetical>
<dialogue>You might be better off legally as well as financially to just go for the -</dialogue>
<character>WADE</character>
<dialogue>Yeah. I know. The custody suit thing was just my getting back at her. I'm not as dumb as I look. Whatever you say. I love my daughter.</dialogue>
<parenthetical>( Hand nods . )</parenthetical>
<dialogue>I'll send you the five hundred.</dialogue>
<scene_description>Wade stands ; Hand motors to the door . Wade puts his fingers in his mouth . His tooth throbs .</scene_description>
</scene>
<scene>
<stage_direction>EXT. LARIVIERE CO. - DAY</stage_direction>
<scene_description>Fairlane squad car in its customary spot .</scene_description>
</scene>
<scene>
<stage_direction>INT. LARIVIERE'S OFFICE - DAY</stage_direction>
<scene_description>Wade and Gordon speak . LaRiviere is relaxed , open : a `` new Gordon . ''</scene_description>
<character>WADE</character>
<dialogue>Sorry about the long lunch. My clutch is going out again.</dialogue>
<character>LARIVIERE</character>
<dialogue>You ever think of getting a new car, Wade?</dialogue>
<character>WADE</character>
<dialogue>On what you pay me?</dialogue>
<character>LARIVIERE</character>
<dialogue>Elaine! Call Chub Meritt and have him pick up Wade's car, fix the clutch.</dialogue>
<character>ELAINE</character>
<parenthetical>( O.S . )</parenthetical>
<dialogue>What!</dialogue>
<character>LARIVIERE</character>
<parenthetical>( to Wade . )</parenthetical>
<dialogue>Use the pickup. I'll bill it to the town. You're the town police officer and the town police officer should have a decent car. You want a new car or not?</dialogue>
<character>WADE</character>
<dialogue>What do I have to do for it?</dialogue>
<character>LARIVIERE</character>
<dialogue>Nothing, Wade, I've been thinking. You do n't get enough appreciation around here and it's time we changed things a little.</dialogue>
<character>WADE</character>
<dialogue>I saw Mel Gordon in here this morning.</dialogue>
<character>LARIVIERE</character>
<dialogue>So?</dialogue>
<character>WADE</character>
<dialogue>He say anything about the summons I tried to give him? Sonofabitch would n't accept it.</dialogue>
<character>LARIVIERE</character>
<dialogue>Wade, that was n't smart. Going out right after the man's father - in - law shot himself. Let it go. Call it a favor to me.</dialogue>
<character>WADE</character>
<dialogue>You? Why?</dialogue>
<character>LARIVIERE</character>
<dialogue>Mel's doing some business with me. It's nice to do favors for people you do business with. He was in a hurry. No big deal.</dialogue>
<character>WADE</character>
<dialogue>That was before Twombley was shot. Before he knew.</dialogue>
<character>LARIVIERE</character>
<dialogue>What's the difference? Take my truck, take a rest - stop worrying about Mel Gordon. Have you decided what to do with your old man's place - he going to stay there?</dialogue>
<character>WADE</character>
<parenthetical>( takes out cigarette . )</parenthetical>
<dialogue>Want to buy?</dialogue>
<character>LARIVIERE</character>
<dialogue>Do n't light that in here. I'm allergic.</dialogue>
<character>WADE</character>
<dialogue>I wo n't. You interested?</dialogue>
<character>LARIVIERE</character>
<dialogue>Maybe.</dialogue>
<character>WADE</character>
<dialogue>You and Mel Gordon?</dialogue>
<character>LARIVIERE</character>
<dialogue>Could be.</dialogue>
<character>WADE</character>
<parenthetical>( voice rising . )</parenthetical>
<dialogue>Always count on old Wade for a good screwing. Why should I always pay more, sell cheap? Why should you guys make all the money. You and Mel and Jack. Right's right.</dialogue>
<scene_description>Wade pulls out Bic , lights cigarette .</scene_description>
<character>LARIVIERE</character>
<parenthetical>( waving arms . )</parenthetical>
<dialogue>Out! Out!</dialogue>
<scene_description>Wade smiles , exits .</scene_description>
</scene>
<scene>
<stage_direction>EXT. RT. 29 - NIGHT</stage_direction>
<scene_description>Wade , driving Gordon 's 4x4 with running lights and roll bar , takes 29 toward Pop 's farm . A pickup passes him : Jack Hewitt 's burgundy Ford . Wade stops . Jack turns up Parker Mountain - the road to the accident scene . Something 's up . Wade turns and follows . Jack 's fresh tracks lead the way . Hewitt is driving fast . Wade keeps up . Jack , far ahead , approaches the accident scene . Stops . Night has fallen . Wade comes over a low rise , spots Jack 's pickup . He kills the lights , parks to block Jack 's exit . Silence . Footsteps in the snow . Wade watches , listens . What 's he doing ? Looking for evidence ? The burgundy pickup engine suddenly ROARS - Jack 's back and at the wheel - the tires squeal , spit snow as he spins past Wade . Wade starts his engine , gives pursuit . The pickups gun their engines , bumper to bumper , down mountain roads , lumber roads , rocky trails . Wild headlamps their only guide .</scene_description>
</scene>
<scene>
<stage_direction>EXT. POND - NIGHT</stage_direction>
<scene_description>A trail turns sharply past a shallow beaver pond - too sharply for Jack . He crashes through a stand of skinny birches straight out onto the pond . The pickup 's momentum carries it across the pond . Wade drops into first gear , follows , his headlights reflecting ice . He drives directly to Jack , bumper to bumper , headlight to headlight . Jack sticks his head out :</scene_description>
<character>JACK</character>
<dialogue>You crazy sonofabitch! You'll sink us both! Get off the fucking ice! Get off!</dialogue>
<scene_description>Wade does n't budge . Jack backs away ; Wade inches forward . Hewitt 's trapped . Trees behind him . Neither truck has traction on ice . Jack steps out , swinging his fists wildly . Wade gets out . Jacks grabs his rifle , points it :</scene_description>
<character>JACK</character>
<dialogue>I'll shoot you, Wade, I swear it! I'll fucking shoot you dead if you do n't move away from that truck!</dialogue>
<scene_description>Wade backs off .</scene_description>
<character>JACK</character>
<dialogue>Do n't move! I'll shoot you dead if you move!</dialogue>
<scene_description>Jack gets back in his pickup , maneuvers it slowly around the Dodge , crosses the ice and is gone . Wade stands in darkness . The only sound his idling truck , the wind . Then a third sound - the snap of ice . Ice cracks ripple from the middle of the pond . Ice planes tip around the truck . LaRiviere 's snazzy Dodge slips , descends , disappears . Headlights glow under water , then go out . `` Our Business Is Going In The Hole . '' Wade , alone in darkness , plops into the water , paddles to shore . Freezing , he finds Jack 's tire tracks in the snow . He bangs his jaw .</scene_description>
</scene>
<scene>
<stage_direction>EXT. WICKHAM'S - NIGHT</stage_direction>
<scene_description>A car drops Wade off . `` Home Made Cooking . ''</scene_description>
</scene>
<scene>
<stage_direction>INT. WICKHAM'S - NIGHT</stage_direction>
<scene_description>Wade enters the empty diner . His clothes frozen .</scene_description>
<character>NICK</character>
<dialogue>Your father's in back, Wade. Marg had to babysit him. She moved in with you, huh?</dialogue>
<parenthetical>( looking closer . )</parenthetical>
<dialogue>What happened?</dialogue>
<scene_description>Wade goes to the kitchen . Glen Whitehouse , washing dishes with Margie , looks up :</scene_description>
<character>POP</character>
<dialogue>Ah, the prodigal son.</dialogue>
<character>NICK</character>
<dialogue>About fucking time.</dialogue>
<character>POP</character>
<dialogue>Look, got me a new job, second cook and bottle washer!</dialogue>
<character>MARGIE</character>
<dialogue>What happened?</dialogue>
<character>WADE</character>
<dialogue>Jesus Christ, Pop, let's go home. I got waylaid. Sorry.</dialogue>
<character>POP</character>
<dialogue>The fuck you got waylaid. You follow your prick around like it was your nose.</dialogue>
<character>NICK</character>
<parenthetical>( enters . )</parenthetical>
<dialogue>Can it, Whitehouse.</dialogue>
<parenthetical>( to Wade . )</parenthetical>
<dialogue>Get him out of here. It was funny at first, but I'm tired.</dialogue>
<character>MARGIE</character>
<dialogue>There's clothes in the back.</dialogue>
<scene_description>Wade 's old man talks as he dresses :</scene_description>
<character>POP</character>
<dialogue>Let's go home? What home is that? Your home? My home? Let's have a talk about that. You're fucking sly, Wade. Your mother's dead so she ca n't make any excuses for you anymore! You got ta deal with me! No more sugar tit, asshole.</dialogue>
<scene_description>Wade , redressed , enters :</scene_description>
<character>WADE</character>
<dialogue>Pop, for Christ's sake!</dialogue>
<character>POP</character>
<dialogue>You think you can take me now? Come on, try.</dialogue>
<scene_description>Margie and Nick guide pere et fils to MARG 'S CAR . Nick speaks to her :</scene_description>
<character>NICK</character>
<dialogue>Marg, get out of this. Fast.</dialogue>
<character>MARGIE</character>
<dialogue>I ca n't.</dialogue>
<scene_description>Marg drives off .</scene_description>
</scene>
<scene>
<stage_direction>INT. MARGIE'S CAR - NIGHT</stage_direction>
<scene_description>Wade leans close to his father , his breath on his :</scene_description>
<character>WADE</character>
<dialogue>I wish you would die.</dialogue>
<scene_description>Pop spits directly into Wade 's face , raises his arm . Wade catches it , twists it . Margie shrieks :</scene_description>
<character>MARGIE</character>
<dialogue>Stop it! Stop it! Just stop it!</dialogue>
<scene_description>They do , glaring as they approach the farmhouse .</scene_description>
</scene>
<scene>
<stage_direction>INT. BATHROOM - NIGHT</stage_direction>
<scene_description>Wade looks in the bedroom , sees Margie sleeping , goes to the bathroom . He peers , stands before the sink , washes his hands slowly . Drying his hands , he looks into the mirror , startled by the image of his own face . A phone conversation plays over :</scene_description>
<character>WADE</character>
<parenthetical>( O.S . )</parenthetical>
<dialogue>No shit, Rolfe, I glanced up and there he was, only it was me. But it was like I had never seen myself before. It was a stranger's face. Hard to explain. You fly on automatic pilot, like I was doing all night, and you disappear.</dialogue>
</scene>
<scene>
<stage_direction>INT. LIVING ROOM - NIGHT</stage_direction>
<scene_description>Wade sits alone in the darkened room , speaking on the phone . His cigarette glows .</scene_description>
<character>WADE</character>
<dialogue>Then you accidentally see your body, or your face, or whatever, and you do n't know who the hell it belongs to. Strange. It's the business with the old man, I know, and how incredibly pissed I was at him, and also chasing Jack Hewitt like that, and the Goddamned truck going through the ice, not to mention Margie's being so upset - one thing on top of another.</dialogue>
<character>ROLFE</character>
<parenthetical>( O.S . )</parenthetical>
<dialogue>Wade, are you alright?</dialogue>
<character>WADE</character>
<dialogue>But you got ta hear this. You wo n't believe it. Mel Gordon had come by to visit LaRiviere and so now I'm in his office.</dialogue>
</scene>
<scene>
<stage_direction>INT. LARIVIERE'S OFFICE - DAY</stage_direction>
<scene_description>Wade 's theory expanded : Jack and Gordon argue in the office . An extension of Scene 55 . Like Wade 's other theories , in black - and - white :</scene_description>
<character>LARIVIERE</character>
<dialogue>He's on to us!</dialogue>
<character>JACK</character>
<dialogue>Shit! What are we gon na do?</dialogue>
<character>LARIVIERE</character>
<dialogue>Maybe I can buy him off. I got ta talk to Mel.</dialogue>
<character>JACK</character>
<dialogue>You ca n't buy Wade off.</dialogue>
<character>LARIVIERE</character>
<dialogue>We bought you.</dialogue>
<character>JACK</character>
<dialogue>That was me.</dialogue>
</scene>
<scene>
<stage_direction>EXT. ALMA PITTMAN'S HOUSE - DAY</stage_direction>
<scene_description>Wade drives Margie 's car toward LaRiviere 's . In his rear view window he spots Chick Ward driving Chub Merritt 's tow truck , lights blinking , pulling LaRiviere 's pickup like a dead fish . He pulls over , lets it pass . He 's parked in front of Alma Pittman 's house . A sign on the lawn reads , `` Alma Pittman , Town Clerk . '' He looks at the house , decides to go in . Wade walks up the shoveled steps , knocks on the door . ALMA , 60 , wearing plaid shirt and slacks , greets him with a smile :</scene_description>
<character>ALMA</character>
<dialogue>Wade! Come in! Have a cup of coffee.</dialogue>
</scene>
<scene>
<stage_direction>INT. ALMA PITTMAN'S HOUSE - DAY</stage_direction>
<scene_description>They step into Alma 's living room/office . She 's been keeping the town secrets for as long as anyone can remember .</scene_description>
<character>WADE</character>
<dialogue>You got yourself a computer, Alma.</dialogue>
<character>ALMA</character>
<dialogue>Been putting my files into it. You take sugar and milk?</dialogue>
<character>WADE</character>
<dialogue>No. Black.</dialogue>
<scene_description>They sit by her desk at the bay window . She studies him .</scene_description>
<character>ALMA</character>
<dialogue>Are you alright, Wade?</dialogue>
<character>WADE</character>
<dialogue>Yeah, sure. Why? I got this damned tooth, I got a few things bugging me, like everybody else. But I'm okay.</dialogue>
<character>ALMA</character>
<dialogue>Well, you look. sad. Upset. I do n't mean to pry. I'm sorry about your mother. It was a nice funeral.</dialogue>
<character>WADE</character>
<dialogue>Alma, I think there's some dirty business going on in this town.</dialogue>
<character>ALMA</character>
<dialogue>Always has been.</dialogue>
<character>WADE</character>
<dialogue>This is maybe worse than you and I are used to.</dialogue>
<parenthetical>( beat . )</parenthetical>
<dialogue>What I'm talking about, I'm talking about murder. Among other things.</dialogue>
<character>ALMA</character>
<dialogue>Who?</dialogue>
<character>WADE</character>
<dialogue>Evan Twombley, the union boss who got shot. Somebody murdered him.</dialogue>
<character>ALMA</character>
<dialogue>Who?</dialogue>
<character>WADE</character>
<dialogue>You know Jack Hewitt, the kid I work with?</dialogue>
</scene>
<scene>
<stage_direction>EXT. MERRITT'S STATION - DAY</stage_direction>
<scene_description>Gordon LaRiviere examines his damaged pickup outside the Shell station .</scene_description>
</scene>
<scene>
<stage_direction>INT. ALMA PITTMAN'S HOUSE - DAY</stage_direction>
<scene_description>Wade finishes :</scene_description>
<character>WADE</character>
<dialogue>if Jack told the truth, he could be free by the time he's my age.</dialogue>
<character>ALMA</character>
<dialogue>Sometimes things are simpler than you think. Let me ask you a question.</dialogue>
<character>WADE</character>
<dialogue>You do n't believe me?</dialogue>
<character>ALMA</character>
<parenthetical>( crosses to her desk . )</parenthetical>
<dialogue>About Jack? No. Have you checked out the tax bill on your father's farm lately?</dialogue>
<character>WADE</character>
<dialogue>I know he's due for the last two years. I was thinking of paying it when the insurance comes in.</dialogue>
<character>ALMA</character>
<dialogue>Has anybody offered to buy it?</dialogue>
<character>WADE</character>
<dialogue>As a mater of fact, yes. LaRiviere.</dialogue>
<scene_description>Alma punches her computer . Dozens of items flash up .</scene_description>
<character>ALMA</character>
<dialogue>This is all the real estate transactions in this town the last year. Most of it unused land. Most of it for little more than the back taxes owed.</dialogue>
<scene_description>She punches again : only three items .</scene_description>
<character>ALMA</character>
<dialogue>This is from three years ago. Some difference, huh?</dialogue>
<character>WADE</character>
<parenthetical>( looking . )</parenthetical>
<dialogue>What is the Northcountry Development Association?</dialogue>
<character>ALMA</character>
<dialogue>I went down to Concord to check it out. The president is Mel Gordon. The vice - president and treasurer is Gordon LaRiviere. Those boys are buying up the mountain, Wade. $ 364,000 this year. I believe that's out of LaRiviere's league.</dialogue>
<character>WADE</character>
<dialogue>Twombley involved?</dialogue>
<character>ALMA</character>
<dialogue>No.</dialogue>
<character>WADE</character>
<dialogue>He musta found out. They had to get rid of him. And Jack'll get blamed.</dialogue>
<character>ALMA</character>
<dialogue>All the figures show is that Gordon LaRiviere is going to be a very rich man using his position as Selectman. In a year or two, you wo n't recognize this town.</dialogue>
</scene>
<scene>
<stage_direction>INT. LARIVIERE'S OFFICE - DAY</stage_direction>
<scene_description>Wade storms in , shouting . Jack and Jimmy choose donuts by the file cabinet . LaRiviere 's behind his desk . Wade 's tooth makes it hard for him to talk without pain :</scene_description>
<character>WADE</character>
<dialogue>You sneaky sonofabitch! I've got your number now, Gordon! All these years I actually thought you were a decent man.</dialogue>
<parenthetical>( pounds fists on desk . )</parenthetical>
<dialogue>Can you believe that?</dialogue>
<scene_description>Jack , combative , looks at Wade . Gordon stands before Jack can speak :</scene_description>
<character>LARIVIERE</character>
<dialogue>Wade, you're done.</dialogue>
<parenthetical>( extends hand . )</parenthetical>
<dialogue>Let me have the shop keys.</dialogue>
<character>WADE</character>
<parenthetical>( to Jack and Jimmy . )</parenthetical>
<dialogue>You two, do n't you get it? He's using you. You're his slaves.</dialogue>
<parenthetical>( soft . )</parenthetical>
<dialogue>Jesus Christ, Jack, do n't you see that?</dialogue>
<character>LARIVIERE</character>
<dialogue>The key, Wade.</dialogue>
<character>WADE</character>
<dialogue>Yeah, you can have the key. It's the key that's kept me locked to you all these years. I give it to you with pleasure.</dialogue>
<parenthetical>( passes key . )</parenthetical>
<dialogue>Now I'm free. See how easy it is, Jack? All you got to do is give back what the man gave you, and you're free of him.</dialogue>
<parenthetical>( turns to leave . )</parenthetical>
<dialogue>I've got to call my brother.</dialogue>
<scene_description>Wade 's phone conversation plays OVER as he goes to Margie 's car .</scene_description>
<character>WADE</character>
<parenthetical>( O.S . )</parenthetical>
<dialogue>I know what it means. I'm just running out of ways to use it.</dialogue>
<character>ROLFE</character>
<parenthetical>( O.S . )</parenthetical>
<dialogue>For what?</dialogue>
</scene>
<scene>
<stage_direction>EXT. ROUTE 29/MERRITT'S - DAY</stage_direction>
<scene_description>Phone conversation continues as Wade drives to Merritt 's Shell station .</scene_description>
<character>WADE</character>
<parenthetical>( O.S . )</parenthetical>
<dialogue>To help, Jack, of course - and to nail those sonsofbitches, the Two Gordons. That's what Alma calls them. Jesus, Rolfe, whose side are you on?</dialogue>
<character>ROLFE</character>
<parenthetical>( O.S . )</parenthetical>
<dialogue>Take care of the little things first, the things that are distracting you from taking care of the big things. Call Chub Merritt, get your car back, call a dentist, for God's sake, and get your tooth pulled, do n't trust the locals, get your facts straight and go straight to the state police. Let them work on this.</dialogue>
<scene_description>CHICK WARD , 30 , Chub Merritt 's mechanic , greets Wade outside the station . We join their conversation :</scene_description>
<character>CHICK</character>
<dialogue>The good news is we have n't got to your car yet. The bad news -</dialogue>
<character>WADE</character>
<dialogue>Just tell me when you'll have it fixed.</dialogue>
<character>CHICK</character>
<dialogue>- the bad news is there's a problem with Gordon's truck what somebody drove through the ice last night. Figured you'd know something about that, Wade.</dialogue>
<character>WADE</character>
<parenthetical>( beat . )</parenthetical>
<dialogue>Yeah. I know about that.</dialogue>
<character>CHICK</character>
<dialogue>LaRiviere says he ai n't gon na pay for the fixin' of your car. A couple hundred for the clutch. I got some more bad news. Wan na hear it?</dialogue>
<character>WADE</character>
<dialogue>Tell me.</dialogue>
<character>CHICK</character>
<dialogue>Chub says you're fired.</dialogue>
<character>WADE</character>
<dialogue>He ca n't fire me. LaRiviere already did that this morning.</dialogue>
<character>CHICK</character>
<dialogue>He's a Selectman. The town. He said to tell you to turn your badge in and clean out your office. I'm supposed to pull the CB and police light out of your car. They're town property.</dialogue>
</scene>
<scene>
<stage_direction>INT. WHITEHOUSE FARM - DAY</stage_direction>
<scene_description>Wade , open phone book in hand , walks back and forth speaking into the receiver . Margie looks up from the KITCHEN table , an old newspaper in front of her .</scene_description>
<character>WADE</character>
<dialogue>What do you mean, you ca n't take me today? I told you -</dialogue>
<scene_description>The other party has hung up . Margie stands , upset . Wade slams the phone down .</scene_description>
<character>MARGIE</character>
<dialogue>What on earth is happening to you? Why are you acting this way?</dialogue>
<character>WADE</character>
<dialogue>It's my tooth! My fucking tooth! I ca n't even think anymore because of it.</dialogue>
<character>MARGIE</character>
<dialogue>I heard you talking. You got fired this morning, did n't you?</dialogue>
<character>WADE</character>
<dialogue>Look, that's temporary, believe me. There's so much shit gon na hit the fan the next few days, my getting fired by LaRiviere and Merritt wo n't matter a bit.</dialogue>
<scene_description>Pop enters from outside with firewood , passes .</scene_description>
<character>WADE</character>
<dialogue>I'll get another job. People are going to need me. After this is over, they'll make me into a Goddamned hero. You wait : you'll see, I'll deliver. I'll be the best father who ever lived. You need me, even Pop, for Christ's sake, he needs me. This town needs me. Maybe now they think they can send me howling into a corner like a kicked dog, but my God, it'll be different soon.</dialogue>
<scene_description>Margie 's face falls . She retreats from the room as he speaks , taking her coat and pocketbook . Wade and his old man , she thinks : just the same . Wade looks out the window and she gets in her car , drives off . Wade holds his inflamed jaw ; he can hardly see straight . Pop turns on the TV in the living room , boosts the volume . Pop comes back in the room , gets the Canadian Club , pours himself a drink .</scene_description>
<character>WADE</character>
<dialogue>Leave the bottle out!</dialogue>
<scene_description>Pop growls , goes back to wrestling on the TV . Wade walks to the cabinet , removes a pair of pliers from the tool drawer , goes toward the bathroom . In the BATHROOM , Wade opens his mouth - it hurts - takes a bite of whisky , sets the bottle on the toilet tank . He looks at the stranger in the mirror , reaches inside his mouth with the pliers . Prying his mouth open , Wade Whitehouse locks the pliers onto a large molar in the back , squeezes and pulls . He steadies himself , pulls again , yanking the pliers from his mouth . The bloody rotted tooth clatters in the sink . He takes another bite of whisky . Rolfe 's voice plays over :</scene_description>
<character>ROLFE</character>
<parenthetical>( V.O . )</parenthetical>
<dialogue>You will say I should have known terrible things were about to happen, and perhaps I should have. But even so, what could I have done by then? Wade never went inside. He lived almost wholly out there on his skin, with no interior space to retreat to, even in a crisis.</dialogue>
<scene_description>Wade takes another swig , sets the whisky bottle in the LIVING ROOM beside the TV set . Wade and Pop exchange looks . Wade exits through the KITCHEN , snatching his coat .</scene_description>
</scene>
<scene>
<stage_direction>EXT. BARN - DAY</stage_direction>
<scene_description>Wade spits blood into the snow as he grabs a gallon can of gasoline from under the porch . He crosses to the barn , prepares to pour the gas into the beat - up red truck .</scene_description>
</scene>
<scene>
<stage_direction>EXT. CONCORD - DAY</stage_direction>
<scene_description>Wade 's Ford pickup passes J. Battle Hand 's office , keeps going . Grass peeks through the snow at this lower altitude .</scene_description>
</scene>
<scene>
<stage_direction>EXT. LILLIAN'S HOUSE - DAY</stage_direction>
<scene_description>Wade parks the truck , walks past leafless bushes to a charcoal - gray split - level with pink shutters . He pushes the door bell ; the first notes of `` Frere Jacques '' play . Lillian opens the door ; Jill 's footsteps approach .</scene_description>
<character>LILLIAN</character>
<dialogue>Wait there. She'll be right out.</dialogue>
<parenthetical>( looks back . )</parenthetical>
<dialogue>Is there snow on the ground up in Lawford?</dialogue>
<character>WADE</character>
<dialogue>Yeah, lots.</dialogue>
<character>LILLIAN</character>
<parenthetical>( to Jill . )</parenthetical>
<dialogue>See. Get your boots.</dialogue>
<character>WADE</character>
<dialogue>Hi honey.</dialogue>
<character>JILL</character>
<parenthetical>( going back inside . )</parenthetical>
<dialogue>Hi.</dialogue>
<character>LILLIAN</character>
<dialogue>Have her back tomorrow night by six.</dialogue>
<character>WADE</character>
<dialogue>No problem. Look, I.</dialogue>
<character>LILLIAN</character>
<dialogue>You make me sick. I ca n't believe you've sunk so low.</dialogue>
<character>WADE</character>
<dialogue>Low as what? What have I done? It's bad to want to see your own daughter?</dialogue>
<character>LILLIAN</character>
<dialogue>You know what I'm talking about. For what you're doing to me and to the child you say you love so much. Love. You wo n't get away with it.</dialogue>
<scene_description>Jill returns , wearing parka and boots , heads out with her father .</scene_description>
<character>LILLIAN</character>
<dialogue>Bye, honey! Call me tonight if you want.</dialogue>
<scene_description>Wade and Jill approach the truck .</scene_description>
<character>JILL</character>
<dialogue>Are we going in this?</dialogue>
<character>WADE</character>
<dialogue>Yeah. My car's in the shop. This'll be fine.</dialogue>
<character>JILL</character>
<dialogue>It's pretty old.</dialogue>
<character>WADE</character>
<dialogue>It belongs to Pop.</dialogue>
<character>JILL</character>
<dialogue>Pop?</dialogue>
<character>WADE</character>
<dialogue>Grandpa. My father. It's his.</dialogue>
<character>JILL</character>
<dialogue>Oh.</dialogue>
<scene_description>Wade opens the truck door . Jill climbs in with her overnight bag , looks back to the door where Lillian watches .</scene_description>
</scene>
<scene>
<stage_direction>INT./EXT. WADE'S TRUCK - DAY</stage_direction>
<scene_description>The Ford heads north .</scene_description>
<character>WADE</character>
<parenthetical>( winking . )</parenthetical>
<dialogue>How about a Big Mac?</dialogue>
<character>JILL</character>
<dialogue>Mommy wo n't let me eat fast food. You know that. It's bad for you.</dialogue>
<character>WADE</character>
<dialogue>C'mon, we can always sneak a Big Mac. And a cherry turnover. Your favorite. What do you say?</dialogue>
<character>JILL</character>
<dialogue>No.</dialogue>
<character>WADE</character>
<dialogue>What do you want, then?</dialogue>
<character>JILL</character>
<dialogue>Nothing.</dialogue>
<character>WADE</character>
<dialogue>You ca n't have nothing, Jill. We need lunch. Mr. Pizza?</dialogue>
<character>JILL</character>
<dialogue>Same thing, Daddy. Mommy says -</dialogue>
<character>WADE</character>
<dialogue>I know what Mommy says. I'm in charge today, though.</dialogue>
<character>JILL</character>
<dialogue>Okay. So we'll get what you want. What do you want?</dialogue>
<scene_description>They stop for a light . Silence .</scene_description>
<character>WADE</character>
<dialogue>Nothing, I guess. I guess I can wait till we get home. Maybe we'll stop by Wickham's for a hamburger when we get to Lawford. That suit you? You always like Wickham's.</dialogue>
<character>JILL</character>
<parenthetical>( looking ahead . )</parenthetical>
<dialogue>Okay.</dialogue>
<character>WADE</character>
<dialogue>Fine.</dialogue>
<scene_description>Pause . Wade looks over at Jill and realizes she is crying .</scene_description>
<character>WADE</character>
<dialogue>Oh, Jesus, Jill, I'm sorry. What's the matter, honey?</dialogue>
<scene_description>She shoves her clenched fists hard against her legs .</scene_description>
<character>WADE</character>
<dialogue>Please do n't cry. Please, honey.</dialogue>
<character>JILL</character>
<parenthetical>( regains composure . )</parenthetical>
<dialogue>What are you sorry for?</dialogue>
<character>WADE</character>
<dialogue>I do n't know. For the food business. I guess. I just thought, you know, we'd sneak a Big Mac on Mommy, like we used to.</dialogue>
<character>JILL</character>
<dialogue>I want to go home.</dialogue>
<character>WADE</character>
<parenthetical>( quick . )</parenthetical>
<dialogue>You ca n't.</dialogue>
<scene_description>Jill looks away . Wade pulls a six - pack from under the seat , pulls off a beer , takes a swig .</scene_description>
<character>JILL</character>
<parenthetical>( quiet . )</parenthetical>
<dialogue>That's illegal, you know.</dialogue>
<character>WADE</character>
<dialogue>I know.</dialogue>
<character>JILL</character>
<dialogue>You're a policeman.</dialogue>
<character>WADE</character>
<dialogue>Nope. Not anymore. I'm nothing anymore.</dialogue>
<character>JILL</character>
<dialogue>Oh.</dialogue>
</scene>
<scene>
<stage_direction>INT. WICKHAM'S - DAY</stage_direction>
<scene_description>Wade and Jill enter Wickham 's , crowded with out - of - state hunters at the end of the deer season .</scene_description>
<character>WADE</character>
<dialogue>Jillie, you want a cheese grilled sandwich?</dialogue>
<character>NICK</character>
<dialogue>It's called a grilled cheese sandwich, you dub.</dialogue>
<scene_description>Wade , flaring , reaches across the counter and grabs Nick by the shirtfront ! Nick 's arm knocks over a cup of coffee . The diner goes silent . Hunters look up . Jill 's face is white ; she starts to cry . Wade looks over - it takes him a moment to react - bends down , comforting her . He wipes her nose with a napkin .</scene_description>
<character>WADE</character>
<dialogue>Jill, please, it's alright. Nothing happened.</dialogue>
<character>JILL</character>
<dialogue>I want to go home.</dialogue>
<character>WADE</character>
<parenthetical>( rigid . )</parenthetical>
<dialogue>Okay, let's go home, then.</dialogue>
<scene_description>They head for the door . Nick eases over :</scene_description>
<character>NICK</character>
<parenthetical>( delicate . )</parenthetical>
<dialogue>Wade, I got a message for you.</dialogue>
<parenthetical>( Wade turns . )</parenthetical>
<dialogue>Jack Hewitt, he's looking for you. Wants you to clear your stuff out of his office in Town Hall.</dialogue>
<character>WADE</character>
<dialogue>His office. You mean my old office.</dialogue>
<character>NICK</character>
<dialogue>Well, I guess - that's what he said.</dialogue>
<character>WADE</character>
<dialogue>He got his deer yet?</dialogue>
<character>NICK</character>
<dialogue>No, he's out now. Somewhere on the mountain. I'd stay away from him if I were you. He's real pissed.</dialogue>
<scene_description>Wade takes Jill 's hand , exits .</scene_description>
</scene>
<scene>
<stage_direction>EXT. TOWN HALL - DAY</stage_direction>
<scene_description>Jill waits in the old red truck parked outside . Wade emerges with cardboard boxes of office miscellany , rifles laid across top . He shoves the boxes and guns into the back of the pickup , gets in and drives off .</scene_description>
</scene>
<scene>
<stage_direction>EXT. WHITEHOUSE FARM - DAY</stage_direction>
<scene_description>Wade and Jill pull up the drive , past Margie 's car , into the barn . Her trunk and two side doors are open . Margie comes out back with a battered suitcase , goes to her car . She 's leaving . A plastic bag of clothes sits in the trunk . Wade and Jill get out , approach :</scene_description>
<character>WADE</character>
<dialogue>Going somewhere, Margie?</dialogue>
<character>MARGIE</character>
<dialogue>I'm just cleaning out some of this stuff that's built up. For the rummage sale. And some things for the cleaners. And the laundromat.</dialogue>
<character>WADE</character>
<dialogue>Do n't lie to me. You're leaving me, I can see that.</dialogue>
<character>MARGIE</character>
<dialogue>Do n't be silly. Hi, Jill.</dialogue>
<scene_description>Jill , suitcase in hand , looking pathetic , tries to smile . A sadness passes over Wade 's face .</scene_description>
<character>WADE</character>
<parenthetical>( hurt . )</parenthetical>
<dialogue>Marg.</dialogue>
<scene_description>Margie , watching him , quivers , starts to cry . She drops her suitcase , out of nowhere bawling like a baby . Wade goes over , puts his arms around her , pats her back . His face is racked . He , too , seems about to cry - if he could . In his arms Margie feels trapped , overwhelmed by Wade 's circumstances and terrible sadness . She pushes :</scene_description>
<character>MARGIE</character>
<parenthetical>( crying . )</parenthetical>
<dialogue>Leave me alone! Leave me alone!</dialogue>
<scene_description>She struggles in Wade 's grasp . Jill , frightened , wildly hits him from behind :</scene_description>
<character>JILL</character>
<dialogue>Leave her alone! Leave her alone!</dialogue>
<scene_description>Wade moves back like a bear , covering his face and arms . Jill , near hysterical , keeps after him , arms and fists flying . Wade stumbles backwards into the snow . Jill still swings . Margie dashes to intervene as Wade swings his arms wide . Jill flies into Marg . Her nose is bleeding . Wade 's caught her across the mouth and nose . She takes cover behind Margie , crying . Margie and Jill stand side by side , saying nothing . Wade looks up stunned , as if hit by a rock . Marg slowly backs away , her arms behind her holding Jill .</scene_description>
<character>MARGIE</character>
<parenthetical>( to Jill . )</parenthetical>
<dialogue>Get in.</dialogue>
<scene_description>Marg eases Jill into the front seat , closes the door , edges around the car slamming the trunk and gets into the driver 's seat . Wade stands .</scene_description>
<character>JILL</character>
<dialogue>I want to go home. Will you take me home?</dialogue>
<character>MARGIE</character>
<dialogue>Yes.</dialogue>
<scene_description>She closes the front door , starts the car . She backs out the drive . In her rear view mirror she sees the image of Wade receding , standing frozen , staring down at the snow . Pop emerges from the house , looks at his son , grinning . Wade looks at his old man , that dumb devilish grin plastered on his father 's face . Glen Whitehouse holds an empty whiskey bottle like a pistol . Hunters ' gunshots echo in the distance .</scene_description>
<character>POP</character>
<parenthetical>( Satanic delight . )</parenthetical>
<dialogue>You! By Christ, you - I know you.</dialogue>
<parenthetical>( points bottle . )</parenthetical>
<dialogue>Yeah, you goddamn sonofabitch, I know you. You're a goddamn fucking piece of my heart!</dialogue>
<character>WADE</character>
<parenthetical>( dead . )</parenthetical>
<dialogue>You do n't know me. You do n't know me!</dialogue>
<parenthetical>( beat . )</parenthetical>
<dialogue>So fuck you. Fuck you.</dialogue>
<character>POP</character>
<dialogue>Nah - nah - naw! You done done finally done it! Like a man done it. Done it right. I love you, you mean sonofabitch!</dialogue>
<scene_description>Pop holds up the bottle , pretends to fire it at Wade .</scene_description>
<character>WADE</character>
<dialogue>Love! What the fuck do you know about love?</dialogue>
<character>POP</character>
<dialogue>Love! I'm made of love!</dialogue>
<character>WADE</character>
<dialogue>Call it what you want.</dialogue>
<character>POP</character>
<dialogue>Everything you know is from me.</dialogue>
<character>WADE</character>
<dialogue>Yeah.</dialogue>
<character>POP</character>
<dialogue>Bang!</dialogue>
<character>WADE</character>
<dialogue>You and me.</dialogue>
<scene_description>Wade waves his old man off , trudges toward the barn .</scene_description>
<character>POP</character>
<dialogue>Where the Christ you going? You sonofabitch, you leave my fucking truck where it is! I need. Give me the Goddamn keys! I need to get me to town!</dialogue>
<character>WADE</character>
<dialogue>Crawl!</dialogue>
<character>POP</character>
<dialogue>Nothing in the fucking house to drink. Not a fucking thing. My house, my money, my truck - stolen!</dialogue>
<character>WADE</character>
<dialogue>I do n't know you. My goddamn father and I do n't know you.</dialogue>
<scene_description>Wade walks from the glistening snow into the dark barn .</scene_description>
</scene>
<scene>
<stage_direction>INT. BARN - DAY</stage_direction>
<scene_description>Wade unloads the cardboard boxes filled with his office belongings from the back of the truck and sets them on the ground . He gathers up his rifles . Suddenly ! A whiskey bottle SLAMS against the back of his head . He drops to his knees , the guns scatter . He looks up with child 's fear and guilt at his father . Glen Whitehouse hovers over him , huge and ferocious : a colossus , lifting the bottle like a jawbone . Wade cringes , scrambles for the dropped rifle . He grabs it by the barrel and , twisting around , swings it in a slow motion arc , smashing the edge of the wood stock against his father 's head . A cold hard CRACK of bone . Glen Whitehouse - shriveled again , no longer mythic - flies back like a stuffed dummy . He collapses beside the empty C.C. bottle . Wade , bleeding from the head , stands , staggers off Pop 's inert body , aims his rifle at the old man 's face .</scene_description>
<character>WADE</character>
<dialogue>I know you now. I love you too.</dialogue>
<scene_description>Wade bolts the rifle , flicks off the safety , fires - a loud CLICK . The gun 's empty .</scene_description>
<character>WADE</character>
<parenthetical>( smiles . )</parenthetical>
<dialogue>Joke. You scared me.</dialogue>
<scene_description>He kneels down , lovingly touches the old man 's face , caresses his lips , cheeks , nose , brows , smoothes back his stiff gray hair . Pop 's eyes are clouded . Blood suddenly drips from his ear to the ground . Wade rests the rifle against the truck . He bends over , slips his hands under his father 's body , lifts him up . He carries Pop over to the workbench , lays him out . Groping beneath the bench , Wade finds the kerosene lamp . He unscrews it , pours kerosene the length of Pop 's body . Wade takes out his cigarette lighter , ignites it , holds it for a moment , places it to Glen Whitehouse . Fire spreads the length of Pop 's body , bursting like a shroud of yellow flame . The oil - stained bench crackles ; flames shoot up the old weathered wall . Burning flesh and heat drive Wade backwards .</scene_description>
</scene>
<scene>
<stage_direction>EXT. WHITEHOUSE FARM - DAY</stage_direction>
<scene_description>Wade stands in snow and sunlight . The entire barn is engulfed in flames . Black smoke billows through the clear winter sky . Inside Glen Whitehouse , a pyre , burns .</scene_description>
<character>ROLFE</character>
<parenthetical>( V.O . )</parenthetical>
<dialogue>The historical facts are known by everyone - all of Lawford, all of New Hampshire, some of Massachusetts. Facts do not make history. Our stories, Wade's and mine, describe the lives of boys and men for thousands of years, boys who were beaten by their fathers, whose capacity for love and trust was crippled almost at birth and whose best hope, if any, for connection with other human beings lay in an elegiac detachment, as if life were over.</dialogue>
</scene>
<scene>
<stage_direction>EXT. PARKER MOUNTAIN - DAY</stage_direction>
<scene_description>Pop 's red truck is parked behind Jack Hewitt 's 4x4 on a snow - banked road . Wade , hunting rifle pointed up , traces Jack 's footsteps down the slope of the mountain .</scene_description>
<character>ROLFE</character>
<parenthetical>( V.O . )</parenthetical>
<dialogue>It's how we keep from destroying in turn our own children and terrorizing the women who have the misfortune to love us ; how we absent ourselves from the tradition of male violence ; how we decline the seduction of revenge.</dialogue>
<scene_description>Wade spots Jack poised in a spruce grove , watching for deer . Wade bolts his rifle , releases the safety , aims and FIRES . Jack , hit in the chest , falls bleeding between trees . Blood stains the snow .</scene_description>
<character>ROLFE</character>
<parenthetical>( V.O . )</parenthetical>
<dialogue>Jack's truck turned up three days later in a shopping mall in Toronto. Even without the footprints, the bullet, Wade's utter disappearance seemed evidence enough of his guilt.</dialogue>
</scene>
<scene>
<stage_direction>INT. WHITEHOUSE FARM - DAY</stage_direction>
<scene_description>Camera glides from room to room , glimpsing details , fragments of former times , as if this were an historical site or memorial . The walls resonate : lives were molded here .</scene_description>
<character>ROLFE</character>
<parenthetical>( V.O . )</parenthetical>
<dialogue>LaRiviere and Mel Gordon were indeed in business. The Parker Mountain Ski Resort is now advertised all across the country. Jimmy Dame tends bar at the lodge. Chub Merritt opened a snowmobile dealership, Nick Wickham runs the new Burger King. Margie Fogg moved to Littleton, nearer her mother ; Lillian and Jill went with Bob Horner to a new job in Seattle.</dialogue>
<scene_description>Out a window , workers gather charred timbers from the barn , throw them on a truck .</scene_description>
<character>ROLFE</character>
<parenthetical>( V.O . )</parenthetical>
<dialogue>We want to believe Wade died, died that same November, froze to death on a bench or a sidewalk. You can not understand how a man, a normal man, a man like you and me, could do such a terrible thing. Unless the police happen to arrest a vagrant who turns out to be Wade Whitehouse - or maybe he wo n't be a vagrant ; maybe he will have turned himself into one of those faceless fellows working at the video store and lives in a town - house apartment at the edge of town until his mailman recognizes him from the picture at the post office - unless that happens, there will be no more mention of him and his friend Jack Hewitt and our father. The story will be over. Except that I continue.</dialogue>
<scene_description>THE END</scene_description>
</scene>
</script>
|
CREDITS
Still - life tableaus . Lawford , N.H. , a town of fifty buildings on a glacial ridge , neither mountain nor plateau . Developed as 1880 's forestland , discarded in the Depression . Winter has set in . Halloween day . Snowy fields yield to overcast skies : oppressive , horizonless , flourescent . - Wickham 's Restaurant . Where Route 29 bends . 24 - hour diner . Margie Fogg works here . - Trailer park in shadow of Parker Mountain . Home of Wade Whitehouse . - Toby 's Inn . Roadhouse three miles from town on the river side of Route 29 . Everything not tied down ends up here . - Glen Whitehouse farm . White clapboard . - First Congregational Church . North on the Common from City Hall . - LaRiviere Co. . Ramshackle well - digging firm embarrassingly near the town center . Wade works here . - Merritt 's Shell Station . Cinder - block . - Alma Pittman 's house . Like so many others . - Town Hall . ROLFE WHITEHOUSE 'S VOICE , thirtiesh , articulate , speaks over credit tableaus :
ROLFE
( V.O . )
This is the story of my older brother's strange criminal behavior and disappearance. We who loved him no longer speak of Wade. It's as if he never existed. By telling his story like this, as his brother, I separate myself from his family and those who loved him. Everything of importance - that is, everything that gives rise to the telling of this story - occurred during a single deer - hunting season in a small town in upstate New Hampshire where Wade was raised and so was I. One night something changed and my relation to Wade's story was different from what it had been since childhood. I mark this change by Wade's tone of voice during a phone call two nights after Halloween. Something I had not heard before. Let us imagine that around eight o'clock on Halloween Eve, speeding past Toby's, Route 29, comes a pale green eight - year - old Ford Fairlane with a police bubble on top. A square - faced man wearing a trooper's cap is driving the vehicle. Beside him sits a child, a little girl with a plastic tiger mask covering her face. The man is driving fast -
- Route 29 tableau dissolves to night . A pale green police Ford Fairlane drives past . END CREDITS
INT./EXT. POLICE CAR - NIGHT
WADE WHITEHOUSE , driving , sits beside JILL , his daughter , ten years - old , wearing a black - and - yellow tiger plastic mask .
WADE
I'm sorry for the screw - up. But I could n't help it it's too late to go trick - or - treating now. I could n't help it I had to stop at Penny's for the costume. And you were hungry, remember.
JILL
Who's fault is it then if it's not yours? You're the one in charge, Daddy.
WADE
( shakes cigarette from pack . )
Yeah.
JILL
Look. Those kids are still trick - or - treating. They're still out.
Wade watches boys in the headlights , lights cigarette .
WADE
Those are the Hoyts.
JILL
I do n't care. They're out.
WADE
Ca n't you see. look out there. Nobody's got their porch lights on anymore. It's too late. Those Hoyt kids are just out to get in trouble. See, they put shaving cream all over that mailbox there. They chopped down Herb Crane's new bushes. Little bastards. Jesus H. Christ.
Wade grimaces , holds his jaw . The Fairlane swerves around broken pumpkins under a caution light .
JILL
Why do they do that?
WADE
Do what?
JILL
You know.
WADE
Break stuff?
JILL
Yeah. It's stupid.
WADE
I guess they're stupid.
JILL
Did you do that when you were a kid?
WADE
Well, yeah. Sort of. Nothing really mean. Me and my pals, me and my brothers. It was kind of funny then. Stealing pumpkins, soaping windows. Stuff like that.
JILL
Was it funny?
WADE
To us it was.
JILL
But it's not funny now.
WADE
It's not funny now. I'm a cop and I got ta listen to all the complaints people make. I'm not a kid anymore. You change.
JILL
I bet you did lots of bad things.
WADE
What are you talking about?
JILL
I just think you used to be bad.
WADE
No. I did n't used to be bad. No sir. Where do you get this stuff? From your mother?
JILL
No. She does n't talk about you anymore.
Wade looks at her , wanting to lift her mask , see her face .
EXT. TOWN HALL - NIGHT
The Fairlane approaches Town Hall , a square two - story building on the north side of the Common . Exhaust billows from idling cars as parents and children come and go .
INT. TOWN HALL - NIGHT
Clowns , tramps , angels and vampires fill the brightly lit room . Parents watch from the walls as GORDON LARIVIERE , a beefy fiftiesh man with a silver flat - top , announces the costume contest . Wade nods to various townspeople .
LARIVIERE
We're looking for the funniest costume! And the scariest! And the most imaginative! And the best costume of all!
WADE
( nudges Jill . )
Got here just in time. Go ahead. Jump in line. Maybe you'll win a prize.
Jill steps forward , retreats . Wade looks at her flaxen hair , her blue sneakers protruding from her pathetic costume . His heart aches he loves her so .
WADE
Go on, Jill. Some of those kids you still know.
JILL
I do n't want to.
WADE
Why? Why not? You know these kids from when you went to school here. It has n't been that long.
JILL
It's not that.
WADE
What then?
JILL
It's stupid.
WADE
It's fun.
JILL
( voice breaking . )
I want to go home.
( Wade kneels down . )
I do n't like it here.
WADE
Oh, Jesus, come on, will you? Do n't mess this up anymore than it's already been messed up. Join the other kids. Do that and before you know it you'll be as happy as a goddamned clam.
Wade inches her toward the circle of children . Gordon spots them :
LARIVIERE
Wade! And who's that tiger? Is that Jill? Come and join us.
Jill in the spotlight , joins the costumed children . A former classmate calls her name . Wade , relieved , watches , then steps outside for a smoke .
EXT. TOWN HALL - NIGHT
Wade steps outside , lights a cigarette . JACK HEWITT , 23 , clean - cut , handsome , cocky , stands with CHICK WARD and FRANKIE LACOY , local boys .
WADE
What are you boys up to?
CHICK
Same old shit.
FRANKIE
You see the damage these little sons - of bitches been raising tonight?
WADE
( to Jack . )
You're going to have to move your pickup.
JACK
I know.
CHICK
( offers whiskey pint . )
Take a bite.
WADE
Do n't mind if I do.
JACK
LaRiviere's having a hell of a time in there. Master of fucking ceremonies.
WADE
Where's that gun you were bragging on today?
Jack stops over to his double - parked burgandy pickup , removes a Browning BAR .30 / 06 with a scope , hands it to Wade .
JACK
No brag. Just fact.
WADE
( admires gun . )
Got you for - 450, 500 bucks?
( passes it to Frankie . )
FRANKIE
Nice.
JACK
( to Wade . )
See you got Jill tonight. How'd you manage that?
WADE
( turns . )
Do n't forget to move your truck.
( walks inside . )
INT. TOWN HALL - NIGHT
On stage , LaRiviere arranges the contest winners . A fairy godmother with a wand beams while , nearby , a hobo writhes in his mother 's grip - a hard loser . Wade looks for Jill , first among the winners , then among the losers ; she 's nowhere to be found . He heads toward a hall leading to the restrooms . Jill stands alone in the corner next to the pay phone , tiny , forlorn . Wade realizes at once he was wrong to leave her before she had found a friend .
WADE
Some party, huh? Sorry I lost sight of you. I had to step outside for a smoke. You find anybody you know here? There must be some kids you used to know from school. You want to go tomorrow? See your old teachers? Be more fun than hanging out with me all day.
JILL
No.
WADE
No what?
JILL
( lifts mask atop head . )
No I did n't see anybody I know. No I do n't want to go to school here tomorrow. I want to go home.
WADE
You are home. There are lots of kids you still know here.
JILL
I do n't want to be here. Do n't worry, I love you, Daddy, I do. But I want to go home.
WADE
( sighs . )
Jesus. Listen, Jill, tell you what. Tomorrow morning, you still want to go home, I'll drive you down. I'll get off work or something.
JILL
( pause . )
I called Mommy.
WADE
What? You called Mommy? Just now?
JILL
Yes.
WADE
Jesus, why?
JILL
I. because I want to go home. She said she'd come and get me.
WADE
Come and get you! Shit! It's a damn half hour drive each way. Why did n't you talk to me about it first?
JILL
See, I knew you'd be mad.
WADE
Yeah. Yeah, right, I'm mad. What'd you tell her, for Christ sake?
JILL
I told her I wanted to come home. Daddy, do n't be mad at me.
WADE
Well, I guess I am. I planned this, I planned all this, you know. I mean, it's sort of pathetic, but I planned it. You should n't have called your mother.
( takes her arm . )
C'mon, we're gon na call her before she leaves.
EXT. POLICE OFFICE - NIGHT
Wade leads her to a frosted - glass door reading `` POLICE '' , enters . Inside , he flips on flourescent light , dials the desk phone . More utility room than office . He waits . There 's no answer . Jill looks down .
WADE
She's gone already!
( hangs up . )
Gone already! Could n't wait.
JILL
Yes.
WADE
That's all you got to say? `` Yes''.
JILL
Yes.
WADE
She wo n't be here for a half hour. Think you can stand it that long?
JILL
Yes.
WADE
Where do you expect to wait for her? Obviously downstairs with the other kids is n't good enough.
Jill sits in a chair facing the dark window pane .
WADE
Sit right there by yourself if you want. Wait for her by yourself. That's fine with me. Just dandy. I'm going downstairs.
JILL
That's fine with me too. When Mommy comes, tell her I'm up here.
Wade Whitehouse stalks out .
EXT. TOWN HALL - NIGHT
Wade steps outside , notices Jack Hewitt and his kewpie - doll girlfriend HETTIE , 20 , sitting in the cab of his double - parked pickup , sharing a joint , talking to LaCoy alongside .
WADE
I thought I told you to move that truck!
JACK
Relax, Chief. We're leaving. You wan na toke?
WADE
( steps over . )
You got ta be more careful about that shit. Gordon or one of those guys sees you smoking that wacky tabacky around me they'll expect me to bust you. And I'll be outta a job.
JACK
Some job. Here, have a hit. Do n't be such a hardass. I know you got problems, but everybody's got problems.
( offers joint . )
WADE
Not here.
LaCoy laughs : that Jack Hewitt , some guy . Wade holds his aching jaw . He looks at Jack 's young athletic body , his pretty girlfriend , envies him .
JACK
Well, c'mon, then. Get in and we'll take a little ride, my man.
Wade looks up to the window where Jill waits , walks around the front of the truck , gets in .
INT./EXT. JACK'S TRUCK - NIGHT
Jack 's high - bodied pickup growls in low gear as it drives past Merritt 's Shell station toward Saddleback Ridge . Jack lowers the radio as Wade asks him about deer season ; Hettie leans forward to hear the music .
JACK
Got a job first thing in the morning, first day of season. Saturday I'll hunt for myself. Twombley something. - Er -
WADE
Evan. He's a mucky - muck union official from Massachusetts. You're lucky.
JACK
Do n't know about lucky. The guy's a full - blown asshole. Pay's good, though. $ 100 a day. I got to guarantee a kill, of course. Which I can do. There's some monster bucks hiding out up there.
WADE
How'd you get the job?
JACK
Gordon, he's always got some angle working. He wants to keep Twombley happy, I'm his boy.
Wade grimaces as he passes the joint back .
HETTIE
What's wrong with you?
WADE
Toothache.
( to Jack . )
You should get close to him. Make yourself irreplaceable. Guy's loaded.
JACK
Like you and Gordon?
WADE
Right. The sonofabitch could n't get along without me.
JACK
( laughs . )
Yeah, he'd go broke tomorrow if you quit him.
WADE
( laughs . )
Right!
A car flashes past .
JACK
Bastard's got his high beams on.
WADE
( watching . )
Shit.
HETTIE
What?
WADE
My ex - wife Lillian and her husband. That was them in the Audi that just passed us.
JACK
Audi's a good car.
HETTIE
What's she up here for?
WADE
Aw, shit, she's here to get Jill. Me and Jill had a little argument. Jack, I got to get back, get back to town. Move this thing, will you? See if you can get back to the Town Hall before they get there, okay?
JACK
Piece of fucking cake.
Jack brakes , wheels the 4x4 around , heads back to town .
EXT. TOWN HALL - NIGHT
Most parents have left or are leaving with their costumed children . Hewitt 's burgundy pickup breaks alongside the Audi . Wade swings open the passenger door , jumps to the ground :
WADE
Lillian!
LILLIAN
Where's Jill?
LILLIAN , 40 , attractive in an ankle - length hooded coat . Whatever pose Wade strikes , she strikes the opposite . Her dress and demeanor set her apart .
WADE
Me and Jill, we just had a little spat. She felt kind of left out, I guess, from not knowing some of the new kids -
LILLIAN
Where is she now? Is she in the truck with your friends?
Jack and Hettie neck inside the cab .
WADE
She told me she wanted to wait for you. Inside.
Jill at the window in her tiger mask . Lillian waves ; Jill motions she 'll be down .
LILLIAN
While you went off for a few beers with your friends? Is that Hettie Rodgers there, with whatzizname?
WADE
Yeah.
LILLIAN
She's grown up some, has n't she?
WADE
Oh, Jesus, lay off, will you? It looks like you've won this fucking round already, so lay off a little, for Christ's sake.
HORNER , 45 , Lillian 's new husband , thin with thinning hair and a Tyrolean hat , sees Jill at the entrance and heads toward her .
WADE
Horner! Leave her be. This's got nothing to do with you, so just act like the chauffeur. Got it?
HORNER
Wade. Nobody wants any trouble.
Horner greets Jill , walks her to the silver Audi . Passing parents , listening , give Wade a wide berth .
WADE
I do n't want her to go, Lillian.
LILLIAN
Do n't cause a scene. No one's trying to win any ` rounds'. Do n't make it any worse.
WADE
I'm not making it any worse. You are. Me and Jill could've worked this thing out. It's normal, it's even normal for me to get a little touchy about it. Believe it or not. How do you think this makes me look, treating her like some tragic victim or something?
Horner opens the car door for Jill , shuts it . Wade shoves him :
WADE
Just wait till we're through, goddamnit!
Horner 's hat falls . Lillian , icy , stares at Wade . He backs off . Wade sometimes wonders : how 'd Lillian Pittman of Lawford , N.H. , get so much class ?
WADE
Do n't you say a word. I did n't hit him. I'm not going to hit anybody.
Horner sits behind the wheel . Lillian silently stares Wade up and down , gets in the car beside Jill . The automatic locks latch as the Audi drives away . Its taillights merge with vanishing traffic . Wade looks down , picks up Horner 's dark green Tyrolean hat , examines it , as if unsure of its function . Wade walks toward Town Hall . MARGIE FOGG , exiting , greets him :
MARGIE
New hat?
( no answer . )
Jill's up, I see.
WADE
( vague . )
For a while.
MARGIE
How's she doing?
WADE
Okay. She's fine.
MARGIE
You two want to do anything tomorrow and need a third party, give me a call, okay? I'm off.
NICK WICKHAM , 45 , Marg 's boss , passes by :
WICKHAM
Like hell you are. Tomorrow's first day of deer season. I'll need you at least in the morning.
MARGIE
( shrugs . )
Well, that's that.
NICK
( walks off . )
Take care, Wade.
WADE
You be careful of that little bastard. He's dying to get in your pants, you know.
MARGIE
( laughs . )
Do n't worry. I can protect my virtue. I mean, c'mon, Wade, give me a break.
WADE
See you tomorrow, maybe.
MARGIE
You okay?
WADE
Yeah.
Wade , lost in thought , continues toward Town Hall . At the door , LaRiviere , one of the last to leave , eyes him . Wade tosses Horner 's hat inside .
WADE
Tomorrow, Gordon.
LARIVIERE
Watch this snow. It's coming down tonight.
Wade nods as he lights a cigarette . Alone , he watches the last cars pull out . He holds his jaw .
EXT. WADE'S TRAILER HOME - DAWN
Pre - dawn light silhouettes a dozen weather - beaten mobile homes set off Route 29 . Snow continues to fall . A sheet of white stretches down Parker mountain .
INT. WADE'S TRAILER - DAWN
6:40 . A clock radio pierces the silence with classic rock . Wade Whitehouse rolls over , runs his tongue across mossy teeth , shuts off the music . He looks out the window , grunts : `` Shit ! '' He steps over to the phone by the frayed plaid couch , dials . Wade 's trailer is surprisingly neat , considering its owner smokes too much , drinks too much , eats take - out and rarely cleans up .
WADE
( on phone . )
Lugene? Wade. Hoya doin?
( fumbles for cigarette . )
Look, I was wondering, with the snow and all, if you got school today?
( lights cigarette . )
How the hell do I know? You're the principal. All I'm supposed to do is direct traffic from 7:30 to 8:30.
( listens . )
Yeah, okay, I'm sorry - I only just now saw it was snowing, that's all. My whole day is fucked. I got ta plow all day. If I do n't get over to LaRiviere's early enough, I'm stuck with the grader. I was just hoping you'd have called school off.
( beat . )
You check the weather bureau?
( acquiesces . )
Okay, I hear you. I'll be over in a bit.
( hangs up . )
EXT. WADE'S TRAILER HOME EARLY - MORNING
Jack Hewitt 's 4x4 passes Wade 's trailer , continues up 29 . Tire chains splice the path .
EXT. JACK'S TRUCK EARLY - MORNING
Jack behind the wheel . Beside him EVAN TWOMBLEY , 60 , fleshy , Irish , wearing brand new scarlet wool pants , jacket and cap . He feeds on the misfortunes of others .
TWOMBLEY
It's not enough snow, not for tracking the bastards. No advantage there, kid.
JACK
Do n't worry, Mr. Twombley, I know where those suckers are. Rain or shine, snow or no snow. I know deer. We'll kill us a buck today. Guaranteed. Before ten.
TWOMBLEY
Guaranteed, eh?
JACK
Yep. Right about now the does are holing up in the brush piles. The bucks are right behind them and we're right behind the bucks.
( gestures to gun rack . )
This gun gets fired before ten o'clock. Whether it kills a deer or not is more less up to you. I'll put you inside 30, 35 yards of a buck the first four hours of the season. That's what you're paying me for, ai n't it?
TWOMBLEY
Damn straight!
Hewitt looks at Twombley 's rifle : a Winchester M - 94 pump - action , custom carved stock and not a scratch on it . Never fired , at least not by Twombley .
JACK
Done much shooting with that rifle yet?
TWOMBLEY
( eyes him . )
Tell you what. You get me close to a big buck by ten, kid, there's another hundred bucks in it.
JACK
If you get it?
TWOMBLEY
Yeah.
JACK
You might not kill it.
TWOMBLEY
You think so.
JACK
You might gut - shoot it or cripple it for somebody else to find and tag. Ca n't guarantee that wo n't happen, especially with a new gun. I may have to shoot it.
TWOMBLEY
You take care of your end, kid, I'll take care of mine.
JACK
Mmm.
TWOMBLEY
You understand what I'm saying? I want a deer, a dead one, not a cripple or whatthefuck.
JACK
I get it.
( disdain . )
No sweat. You'll get yourself a deer and you'll get him dead. And you'll have him by coffee time.
TWOMBLEY
And you'll get your extra hundred bucks.
JACK
( smiles . )
Wonderful!
The pickup disappears behind a curve of pine and spruce trees .
EXT. SCHOOL - MORNING
Wade Whitehouse , wearing a reflective vest , waves a district school bus into the parking lot . Noisy , jostling grade schoolers emerge from the bus . Jill 's former classmates . Straight as a statue , Wade holds back traffic . Cars and trucks are backed up on the unplowed road . Horns honk and bleat ; a woman 's voice yells , `` Whitehouse , we ` ai n't got all day ! '' Wade , daydreaming , seems oblivious to the commotion . Oblivious - or just plum contrary . A shiny black BMW approaches , speeding , passing traffic on the shoulder . A man and a woman in a fur coat sit in front , two children in back . Whitehouse waves for it to stop . The BMW accelerates through the intersection , ignoring Wade and the traffic . It whizzes past , spinning Wade , and is quickly up the road , spewing ice and exhaust . Wade slips to one knee . Honking ensues ; every car goes where it wishes . Wade , brushing off snow , follows the last bus as it pulls in . LUGENE BROOKS , 60 , school principal , rushes over :
LUGENE
Are you okay, Wade? What was wrong? Why were you holding everyone up?
WADE
Did you see that sonofabitch in the BMW? He could've killed somebody.
LUGENE
Did you get his number?
WADE
I know who it is.
LUGENE
Good. Who?
WADE
Mel Gordon.
LUGENE
I still do n't understand -
WADE
From Boston. Evan Twombley's son - in - law - he was driving. I know where they're headed. Up the lake, Agaway. The old man's out deer hunting with Jack Hewitt, so they probably got some big weekend party planned.
Wade sets his face , thinking .
EXT. WOODS - DAY
Snowprints lead from Jack 's pickup to where he and Twombley walk , guns pointed skyward . They enter a line of trees . Jack watches Twombley walk ahead of him , wrapped like a huge infant in red bunting , crunching twigs underfoot . He looks from side to side , checks his gun , returns to watching Twombley . They 're alone .
JACK
Safety on?
Twombley nods , slips , thumps to the ground . His rifle lands silently . Jack sprints over , helps him up , safety latches the Winchester . Hands it back .
TWOMBLEY
I'm okay.
JACK
Follow close. We'll cross the next meadow.
Jack finds a path , one eye on Twombley :
JACK
I used to play ball.
TWOMBLEY
Yeah?
JACK
Drafted by the Red Sox.
TWOMBLEY
You played for the Sox?
JACK
Double A. New Britain.
TWOMBLEY
Oh.
JACK
Pitcher. `` Best ballplayer to come out of New Hampshire since Carlton Fisk.''
TWOMBLEY
Really.
JACK
They said.
TWOMBLEY
Hmm.
JACK
The only difference between me and that Clemens on TV is luck, shit luck.
TWOMBLEY
What happened?
JACK
Ruined my arm. Brought me along too fast. Why'd it have to be my fucking arm, I used to think. Then I realized it had to be somebody's fucking arm.
Jack waits for Twombley as they enter a meadow . Jack aims his rifle at Twombley as he approaches .
TWOMBLEY
Hey, Hewitt! Slow the fuck down!
Jack aims away , following an imaginary bird . Twombley steps alongside .
JACK
Safety on?
TWOMBLEY
Yeah.
JACK
This way.
TWOMBLEY
( walking loudly . )
Sun's gettin high.
JACK
( fingers to lips . )
Deers have ears too.
EXT. LARIVIERE CO. - DAY
Milky sky flatters LaRiviere Co. , a sprawl of well - digging , septic and snow plow equipment . Billboard declaimes : `` LARIVIERE CO. . - OUR BUSINESS IS GOING IN THE HOLE ! '' a motto repeated on every truck and piece of equipment . Wade 's green Fairlane is parked outside the office .
INT. LARIVIERE CO. - DAY
Wade , puffing a cigarette , passes ELAINE 'S -LRB- LaRiviere secretary -RRB- desk , her large red `` No Smoking '' sign , eases into an office modum chair . He unzips his jacket , slaps his cap against his thigh , spraying drops of melted snow . Gordon LaRiviere , speaking on the phone past a glass partition , calls to Wade :
LARIVIERE
Told you the snow was coming down. Take the grader.
WADE
Where's the plow?
LARIVIERE
Jimmy took it. Jack's out hunting with Evan Twombley.
WADE
His son - in - law damn near killed me.
LARIVIERE
( hangs up . )
Huh?
WADE
At the school crossing. In his BMW. Coulda hurt some kids. I'm gon na bust his ass.
LARIVIERE
Do n't go playing policeman.
WADE
What am I - a security guard? You hired me, you and your Selectman friends.
LARIVIERE
You do n't want the extra police pay?
WADE
I'm not saying that.
LARIVIERE
Get the grader. Go out 29 past Toby's. Do n't let Lillian get to you. She did n't belong here. That's why she left.
WADE
Fuck you.
LARIVIERE
That's what I love about a small town. You know everybody.
Wade exits toward the blue grader .
EXT. WOODS - DAY
Jack and Twombley walk through fresh snow . The hillside 's thick with pine trees . Twombley , red - faced , puffing , leans to speak to Hewitt . Jack lifts a finger to his lips :
JACK
Stay here, stand where I am.
Twombley peers over a slight cliff at a lumber trail twenty feet below . Jack points :
JACK
Fresh tracks.
( sniffs . )
Deer shit. Big one. Here's your buck, Mr. Twombley. I'll circle around.
TWOMBLEY
You only got a little while if you want your hundred bucks.
Jack zig - zags down the incline , while Twombley , gun poised , waddles along the edge . Jack stops fifty feet away , watches Twombley , a cartoon character . A stag pokes his nose through the pines , steps into a clearing . Jack aims his rifle , looks at Twombley . Twombley turns to see the buck , loses his footing , TUMBLES down the twenty - foot cliff .
EXT. TOBY'S INN - DAY
An open cab grader -LRB- `` Our Business Is Going In The Hole '' -RRB- sits in the rutted lot outside Toby 's , a beer joint with fake wood siding and 24 - hour neon sign . A four - wheel drive plow with the LaRiviere motto pulls in , parks beside the blue grader . JIMMY DAME , 40 , gets out , glances at the grader as he enters .
INT. TOBY'S INN - DAY
Jimmy joins Wade at the bar , calls for a beer . Frankie LaCoy bullshits with two long - haired locals at a nearby table ; their conversation drifts in and out . Country music plays through a broken juke box speaker . Wade touches his tooth , grimaces .
JIMMY
How's it goin?
WADE
Cold. How you think?
JIMMY
Sorry about that. Why's it every year, come first snow, you get stuck with the grader?
WADE
School. Traffic crossing.
( lights cigarette . )
I got ta quit these things.
JIMMY
What we doing after? Wells?
( Wade nods . )
Do n't work too fast. Business the way it is, Gordon's probably looking to lay me off earlier than usual this year. He's got too much money as it is. Why's it always the little guy that gets kicked in the butt in hard times?
Wade shrugs . LaCoy 's conversation has caught his ear . He turns to watch .
LACOY
That was no pisser. I'll tell you who was a pisser. Glen Whitehouse. There was a real pisser. He was mean normal, but when he drank it was like he burst on fire. Canadian Club. Always drank CC. One Christmas there's this cord of wood out back he forgot about and he decides to have his two boys stack it. Except it's been out back two months and it's snowed and rained and froze so now the wood's all iced in. He takes the boys. He was drunk, of course.
Wade 's face as the story comes to life :
EXT. WHITEHOUSE FARM - DAY (1964)
Thirty years before . GLEN WHITEHOUSE -LRB- `` POP '' -RRB- , 42 , pushes his boys , Wade -LRB- 13 -RRB- and Rolfe -LRB- 10 -RRB- , toward snow - covered lumps of firewood behind the barn . He 's drunk . The boys carry shovels and a pickaxe .
POP
Move it! Daylight in the swamps!
ROLFE
Pop, the kids are waiting for us.
WADE
( reproving . )
Rolfe.
POP
A lesson in work and its rewards. You'll thank me for this one day.
( to house . )
Sally, turn off that TV!
His sons chip at the wood . Hopeless . Frozen solid .
WADE
( to Rolfe . )
Just do it.
POP
Atta - go.
ROLFE
Please, Pop. Let's go back.
Wade notices his mother , SALLY , watching from the window .
POP
What are you, a quitter?
INT. TOBY'S INN - DAY
LaCoy roars with laughter .
LONG-HAIRED LOCAL
( puzzled . )
So what happened?
LACOY
Beats me. That's all I heard. Wade would know more about it.
( calls . )
Wade! We were just talking about your Old Man. `` What are you, a quitter!''
Wade grabs his keys , walks over . Jimmy follows .
WADE
Jesus, LaCoy, you got nothing better to do than sit around and tell stories. Pity is, some college student will come some day and believe this shit cause you're the only one dumb enough to talk to him. Take care.
Wade and Jimmy head out .
EXT. BACKROAD - DAY
Wade , shivering in the open grader , plows a narrow winding road . He lights a cigarette , exhales steamy smoke . LaCoy 's laugh triggers a memory :
INT. WHITEHOUSE FARM - DAY (1964)
The flashback continues : Glen Whitehouse pushes his sons inside . Sally steps from sight . Out back , the firewood lies frozen amid futile shovel marks .
POP
That was some job.
ROLFE
We'll work at it everyday, promise.
POP
I think we made the point.
WADE
( mumbles . )
You just needed a drink.
Pop , swigging Canadian Club , turns :
POP
What was that?
( no answer . )
You got something to say, say it! Say it!
WADE
( soft . )
Nothing.
POP
You no - good pup!
Rolfe runs from the room screaming , `` Mom ! ''
EXT. WICKHAM'S - DAY
The town 's 24 - hour restaurant . A bright new sign reads : `` Home Made Cooking . '' Wade 's grader out front .
INT. WICKHAM'S - DAY
Wade , eating lunch at the counter , talks with Nick Wickham :
WADE
It do n't look right.
NICK
What?
WADE
The sign. It looks like it's spelled wrong or something.
NICK
Fuck. Wade Whitehouse. It's people like you that keep this fucking town from prospering. Whatever somebody does to improve things around here, you got ta find fault with it.
WADE
I'm not finding fault. It's a good idea, good for you, good for the town. Real modern too.
NICK
This town sucks.
WADE
Aw, c'mon, I was only saying there's something wrong with `` Home Made Cooking'', that's all. The sign's fine. What it says is wrong.
Margie Fogg heads over , sits :
MARGIE
Who needs it? Everybody who comes here has been coming for years so what they need a sign for?
Nick goes back to work .
MARGIE
You okay?
WADE
Yeah.
MARGIE
I'm sorry about what I said.
WADE
Said what?
MARGIE
About you and Jill and needing a third person. She went back to Lillian?
WADE
Forget it.
MARGIE
( touches his arm . )
I'm sorry.
WADE
I'm going to start one of those custody suits. I do n't give a fucking shit. You know?
Wade 's eyes well up .
MARGIE
You do n't mean that.
WADE
Yeah. I mean that.
MARGIE
( arm around his shoulders . )
No you do n't. You're pissed, that's all. You ought to cool off for a few days then have a long talk with Lillian. You know? Work it out with her, tell her how you feel. Lillian's not out to get you.
WADE
The hell she is n't. Lillian's been trying to nail me to a cross since the day I met her. I'm gon na hire me a fucking lawyer from Concord and get this thing, this divorce thing, rearranged. I've been thinking about it a lot. It's like she owns Jill or something. Nobody owns nobody, especially not kids. And I pay her.
NICK
( calls . )
Marg!
WADE
That goddamned woman. Thinks she can cart Jill off and leave me alone like this. I'm more than pissed, Margie. I'm a whole lot more than pissed. I been that plenty and I know the difference. This is different.
NICK
Marg! You got orders!
Wade and Margie stand . She wants to kiss him .
MARGIE
Call me.
WADE
( genuine . )
Tonight. Let's get together.
MARGIE
Okay.
Wade meets Nick halfway to the door .
NICK
You talked to Jack?
WADE
Not since last night. He took a guy hunting.
NICK
The fucker shot himself. Ker - bang! That's what it sounds like. Not on purpose. I assume accidental.
WADE
( shocked . )
Jack?
NICK
The other guy.
WADE
Where. how'd you hear that?
NICK
CB. Little while ago. One of the boys on the way in picked up Jack on the CB calling for state troopers. I figured you'd know what really happened. The fucking guy kill himself? This Twombley, who the fuck is he, anyhow?
WADE
No, I. I've been out on the grader all morning. Twombley's summer people. Massachusetts. Friend of Gordon's. It was his idea for Jack to take him hunting.
( suddenly engaged . )
I got ta go.
Margie steps over as Wade exits .
NICK
He do n't care for you.
MARGIE
Stop being jealous.
EXT. LARIVIERE CO. - DAY
Elaine looks up from her desk as Wade pulls the grader into the lot , jumps out , heads for his car . Laviviere stands outside .
LARIVIERE
What's the hurry?
WADE
A hunting accident. Jack and Twombley.
LARIVIERE
Huh?
WADE
I figured you already heard.
LARIVIERE
( urgent . )
Twombley, Jesus. We got to get moving : I got to get up there. How would I know? C'mon, you drive. We'll take my truck.
They head for LaRiviere 's blue 4x4 Dodge .
INT./EXT. LARIVIERE'S PICKUP - DAY
Gordon and Wade drive up the same road Jack took Twombley . Wade fiddles with the CB . No use : static .
LARIVIERE
Fuck. Turn it off.
( Wade does . )
All you heard was there was some kinda accident?
WADE
Twombley's shot. I heard that. Not Jack. He's okay, I assume.
LARIVIERE
Fuck. You do n't know how bad or anything?
WADE
You mean Twombley?
LARIVIERE
Yes, Wade, I mean Twombley. Put out that cigarette. Fuck. Fuck. Fuck.
LaRiviere grunts disapproval as Wade slips the butt out his window .
WADE
He more than likely just shot himself in the foot or something. That's what usually happens.
LARIVIERE
I shoulda sent you instead of Jack.
WADE
I wish you had. I'd rather be deer hunting instead of freezing my ass on that fucking grader.
LARIVIERE
You ai n't the hunter Jack is. And he ca n't drive the grader worth shit.
WADE
Like hell.
Ahead , they see flashing lights and cars . A white emergency vehicle passes , jolting the pickup .
LARIVIERE
( frightened . )
That must've been Twombley. Jesus. I bet that was Twombley.
WADE
You want me to follow them to Littleton?
LARIVIERE
Let's get to the top and talk to Jack first. He'll know what happened. He fucking better. If this coulda been avoided, I'll put that kid's ass in a sling.
EXT. ACCIDENT SCENE - DAY
Wade pulls behind three state trooper cars . Jack stands joking with the TROOPERS , one of whom holds a German shepherd on a leash . LaRiviere and Wade jump out . Jack , suddenly serious , turns to LaRiviere :
JACK
You heard the news.
LARIVIERE
I hear Twombley got shot.
JACK
Yeah.
Wade walks over to trooper ASA BROWN , pets the shepherd .
BROWN
Watch the dog, Wade. Takes a mind to, he'll tear your fucking head off.
LARIVIERE
( to Jack . )
Bad?
BROWN
Thirty - thirty at close range.
LARIVIERE
Jesus.
WADE
Will he make it?
BROWN
( shakes head . )
D.O.A. Blew the bastard wide open. Had a hole in back you could put your head into. Pretty big hole in front too. You could've put your fist into that one.
LARIVIERE
( to Jack . )
You see it?
JACK
Nope. Heard it. We was n't far apart. I spotted this buck, then I heard the gun go off and Twombley was gone. I looked over the little cliff we was using for a stand and there the fucker was, deader'n shit. Called it right in.
LARIVIERE
This is gon na be one fucking mess to clean up. Twombley's son - in - law and daughter are up the weekend. Did n't you say you'd seen him, Wade?
WADE
I seen'em. Near ran me over.
BROWN
You wan na tell'em, Gordon? You knew the old man.
LARIVIERE
What the fuck. My day's already ruined.
( to Wade . )
Give me the keys. You can go back with Jack. You still got a shitload of plowing to do.
WADE
It ai n't done, if that's what you mean.
LARIVIERE
Something bugging you?
WADE
Yeah. A few things.
LARIVIERE
Well, right now we're not too interested. Finish up what you got ta do, then you can get bugged on your own time.
Brown walks off with shepherd .
LARIVIERE
( to Jack . )
Might as well take the rest of the day off. You look sort of fucked up. You've been paid for the day, anyhow, right?
JACK
Not exactly. I mean, he never paid me.
LARIVIERE
You'll get your money. Do n't talk to any newspapers about this. Twombley's a big deal down in Massachusetts, you know. Tell them your lawyer says you should n't comment.
JACK
Lawyer? I do n't need no lawyer, do I?
LARIVIERE
No, of course not. Just say it, that's all.
Wade watches LaRiviere get into his pickup , drive off .
WADE
Where'd Twombley get shot?
JACK
In the chest.
WADE
( offers cigarette . )
No, I mean whereabouts.
JACK
( points . )
A half mile in, along the old lumber road.
WADE
You bring him up yourself? That's a steep climb.
JACK
The ambulance guys lugged him up.
WADE
You stayed away?
JACK
Yeah.
WADE
Where'd you get the blood?
JACK
What blood?
WADE
On your sleeve.
JACK
Musta. How'd I know? What're you doing, playing cop?
WADE
I got ta make a report to Fish and Game. I was just wondering, that's all. What'd he do, to shoot himself, I mean?
JACK
Who the fuck knows? Musta slipped or something. I just heard the gun go off.
WADE
I never seen a man shot before. Not even in the service. Must be something.
JACK
Well, I did n't actually see him do it. Like I said.
WADE
Sure you did.
JACK
What?
WADE
Saw him do it?
JACK
What the fuck you telling me, Wade? I never seen the guy get shot, I told you that.
WADE
You musta seen him get shot. I know you did.
JACK
Let's get the fuck outta here. You're not making any sense, man.
They walk over to Jack 's burgundy pickup . Wade eyes the rifles in the gun rack .
WADE
There's your old twenty - gauge, and that there's the new Browning you was showing me last night. This must be Twombley's gun. Brand new. Very fancy tooling. Probably fired one time. It's a beautiful piece of work.
( touches it . )
But what the hell, Jack, I guess you deserve it. Right's right.
JACK
( starts engine . )
Yeah.
WADE
Twombley sure as hell wo n't be shooting it again.
JACK
He sure as hell wo n't.
INT. WADE'S TRAILER - NIGHT
Late . Wade Whitehouse , lying in bed with an icepack on his cheek , talks on the phone :
WADE
Rolfe.
ROLFE
( O.S . )
Wade?
WADE
Yeah, brother, look, I was calling cause - has there been anything on TV in Boston about a hunting accident with a guy named Twombley, Evan Twombley?
ROLFE
( O.S . )
There was something. It happened up your way.
WADE
Yeah, I know him - the kid that was with him. Maybe you do too. Jack Hewitt. He works for LaRiviere with me. He's my best friend.
ROLFE
( O.S . )
Wade, it's late. I know you're probably at Toby's, but I'm in bed reading. We got different habits.
WADE
No, not tonight. I'm in bed too. I'm calling because I need you to listen. You're supposed to be a smart guy. You're a professor. I got this theory. Jack says he did n't see Twombley shot but he did.
EXT. ACCIDENT SCENE - DAY
Wade 's theory - in black - and - white : Twombley 's footing slips . Jack turns to watch . Twombley 's gun hits frozen rocks , fires , blows a hole through his chest .
INT. WADE'S TRAILER - NIGHT
WADE
It'll come out Jack lied and the kid'll get hung for it.
ROLFE
( O.S . )
He was scheduled to testify for a committee investigating organized crime in New England and the construction business.
WADE
Who?
ROLFE
( O.S . )
Twombley.
WADE
No shit.
ROLFE
( O.S . )
You think Jack shot him?
WADE
Well, it was an accident.
ROLFE
( O.S . )
They were out deer hunting, right? Jack probably heard the gun go off, then came back and found the body.
EXT. ACCIDENT SCENE - DAY
Another theory : Black - and - white . Jack sees a figure run from Twombley 's body .
INT. WADE'S TRAILER - NIGHT
Wade shifts the phone from ear to ear :
WADE
Lillian was here. In Lawford.
ROLFE
( O.S . )
Huh?
WADE
The night before the shooting.
ROLFE
( O.S . )
How was she?
WADE
Picked up Jill. She was supposed to visit for the weekend for Halloween. She wanted to go home.
ROLFE
( O.S . )
Who?
WADE
Jill. I was thinking of getting a lawyer. Maybe you can help me.
ROLFE
( O.S . )
What happened?
WADE
A divorce lawyer. A custody lawyer. You know,'cause of Jill.
EXT. WADE'S TRAILER - NIGHT
TIMECUT : mobile homes .
INT. WADE'S TRAILER - NIGHT
ROLFE
( O.S . )
Do n't think about it. You're exhausted.
WADE
Yeah, I guess.
ROLFE
( O.S . )
Get some sleep.
WADE
I get to feeling like a whipped dog some days, Rolfe, and some night I'm going to bite back. I swear it.
ROLFE
( O.S . )
Have n't you already done a bit of that?
WADE
No, no, I have n't. Not really. I've growled a little, but I have n't bit.
Sound of GUNSHOT .
EXT. MOUNTAINS - DAY
Wade 's bubble - top Fairlane drives through snow covered hills .
EXT. MEL GORDON'S HOUSE - DAY
The Fairlane is parked outside a substantial summer house with a wide porch and frozen pond . The `` speeding '' BMW in the drive . Wade knocks on the front door . An 8 year - old boy answers the door . Wade speaks ; the boy goes back inside . MRS. GORDON , 30 , delicate , beautiful , wearing a dark green robe , comes to the door . Her eyes are red - rimmed . Wade has seen her before , but not this close . He feels awkward .
MRS. GORDON
Who are you?
WADE
I was. I'm Wade Whitehouse. I was wondering, is your husband here?
MRS. GORDON
He's asleep. We were up very late.
WADE
Well, yes, I'm. I want to say that I'm real sorry about your father, Mrs. Twombley.
MRS. GORDON
Mrs. Gordon. Thank you.
WADE
Well, yeah, I suppose. Sure. I just had a little business to settle with Mr. Gordon. I'm the local police officer.
MRS. GORDON
Something about my father?
WADE
Oh, no. No, it's a. it's a traffic thing. No big deal.
MRS. GORDON
Ca n't it wait, then?
MEL GORDON , 40 , dark - eyed , wearing a tartan robe , steps behind his wife .
MEL GORDON
Whitehouse. Next time, phone ahead.
WADE
How's that?
Mel folds his arms . His wife goes inside .
MEL GORDON
I said, ` Next time, phone ahead.'
WADE
Jesus Christ. Mr. Gordon, when I come all the way to serve somebody a summons, I do n't call ahead for an appointment.
MEL GORDON
What the hell are you talking about?
WADE
I'm issuing you a ticket. Moving violation.
MEL GORDON
Moving violation! I just got out of bed and you're telling me you're giving me a goddamn speeding ticket? Now? Are you nuts? Is that it, Whitehouse? You're nuts?
WADE
( writing . )
Yesterday morning, you passed a stopped school bus, which was flashing its lights, then you -
MEL GORDON
( stops Wade 's arm . )
Hold on!
WADE
( wrenches hand free . )
Do n't ever put your hands on me, Mr. Gordon.
MEL GORDON
You're talking about a goddamned ticket, from when I passed you at the school where you were deciding to hold up traffic while dreaming of becoming a traffic cop or something?
WADE
Do n't give me a hard time, Mr. Gordon. I'm just -
MEL GORDON
Doing your fucking job. I know. I watch television too.
WADE
Yes. Here's your ticket.
MEL GORDON
( refusing ticket . )
You get the hell out of my house now, asshole. And know this - you are going to be a lucky asshole if I have n't got you fired before the day is out. I can do it with one phone call, and I'm pissed enough to do it now!
Mel Gordon moves Wade out of the door , slams it . Wade steps away , looks back at the house . Mrs. Gordon watches him from the window .
EXT. MARGIE FOGG'S HOUSE - NIGHT
A wood frame house off the main drag . Snowing .
INT. MARGIE'S BEDROOM - NIGHT
Wade and Margie , post - coital :
MARGIE
Jack's sort of sensitive, I guess. More than most. But he'll be okay in a few weeks.
WADE
There's something funny about that shooting. There's lots funny about it, actually.
MARGIE
I heard he was drunk at Toby's last night and got in a fight with Hettie. He drove off without her.
WADE
I'm sure, I'm positive it did n't happen the way Jack says it did.
MARGIE
Jack's turned into one of those men who are permanently angry. He used to be a sweet kid, but it's like, when he found out he could n't play ball anymore, he changed. Now he's like everyone else.
WADE
I've been wondering if maybe Jack shot Twombley, instead of Twombley shooting himself. I've been wondering maybe Jack shot him on purpose.
MARGIE
Wade! How can you even think such a thing? Why would Jack Hewitt do that, shoot Twombley on purpose?
EXT. ACCIDENT SCENE - DAY
Black - and - white . A further theory : Jack bends over the fallen Twombley , holds a tarp to protect his chest from blood spray . He shoots Twombley with his own gun .
INT. MARGIE'S BEDROOM - NIGHT
WADE
Money.
MARGIE
Jack does n't need money.
WADE
Everybody needs money. Except guys like Twombley and that sonofabitch son - in - law of his. People like that.
MARGIE
Jack would n't kill for it. Besides, who would pay him?
WADE
Lots of people. Guy like Evan Twombley, Boston union official, probably got lots of people want to see him dead. The Government's been investigating his links with the Mafia.
MARGIE
( laughs . )
The Mafia hire Jack Hewitt?
WADE
No, I just know Jack's lying about what happened. He just seemed - I know that kid, what he's like inside. He's a lot like I was at his age.
MARGIE
You would n't have done anything like that, shot someone for money.
WADE
No. Not for money. But, if somebody'd given me half a damned excuse - I was pretty fucked up, you know.
MARGIE
( smiles . )
But not now.
Wade sits on the edge of the bed , sighs . Lapses into thought . Margie caresses his back , kisses it . He winces .
MARGIE
When you gon na get that tooth fixed?
Wade looks at her , brushes the hair off her face :
WADE
I can see what you looked like as a kid.
MARGIE
You knew me as a kid.
WADE
Yeah, but never what you looked like. Not really. Never really studied your face, like now. I was never able to see you as a kid when you were a kid until now, this way.
MARGIE
What way?
WADE
After making love. I like it. It's nice to see that in a grown - up person.
MARGIE
It's nice.
Wade walks naked to the kitchen , returns with two beers , one for Marg . He gets in bed . She , thinking , sips :
MARGIE
Do n't you think, do you still think it's a good idea to press this custody thing - just now?
WADE
I'm her father - supposed to be, but I'm not able to. Yes. Yes, I am. It may be the only thing in my life I've been so clear about wanting. Even if it takes a big fight.
MARGIE
Then. I guess you have to.
WADE
( silence . )
There's another thing I've been thinking about. I do n't know how you feel about the idea, Margie, because we've never talked about it. But I've been thinking lately, I've been thinking we should get married sometime. You and me.
MARGIE
( uncertain . )
Oh, Wade.
WADE
I've been thinking about it, that's all.
MARGIE
You've been married twice -
WADE
It was to the same woman. I was just a kid.
( Marg looks . )
It's not like a marriage proposal or anything, just a thought. Something for you and me to talk about and think about. You know?
MARGIE
Alright. I'll think about it.
WADE
Good.
He kisses her . His jaw winces in pain .
INT. WHITEHOUSE FARM - DAYBREAK (1964)
Glen Whitehouse , plastered , yells at Wade , age 13 :
POP
I've got sons, Goddamnit, oh my God, have I got sons! Wade? Rolfe? Elbourne? You love me boys? Do you love your Pop? Of course you do!
Wade , frightened , retreats as Sally enters in her housecoat .
SALLY
Glen, stop -
POP
Oh, Jesus, Sally, you are such a Goddamned good person! Capital G. You are so much better than I am, I who am no good at all, you who are a truly good person, like a fucking saint! Beyond fucking com - pare.
Glen reaches for the Canadian Club ; Sally tries to block his hand . Glen pulls his arm from hers , clipping her cheek with the bottle . Sally gasps , grabs her cheek . Wade pushes between them , protecting his mother .
POP
My big boy bursting out of the seams of his jeans!
Pop clenches his fist . Wade vainly looks Rolfe 's direction for help .
SALLY
Do n't!
POP
You little prick!
Pop 's fist comes crashing down . Wade raises his arms to protect himself . Wade 's arm bone CRACKS with the blow . Wade grimaces in pain .
SALLY
Glen, stop!
EXT. MARGIE FOGG'S HOUSE - DAY
Margie gets into Wade 's idling Ford .
INT./EXT. WADE'S CAR - DAY
Wade , washed and changed , drives ; Marg sits beside him . They head north . Deer rifles echo from the woods .
MARGIE
Did you tell them?
( no answer . )
That we were coming?
WADE
Do n't you think it's proper for a fella to introduce his girl to his parents?
MARGIE
I know your parents.
WADE
I just want to pick up my divorce papers. For the lawyer. It wo n't take long.
EXT. WHITEHOUSE FARM - DAY
Sun slants over Parker Mountain ; they pull up . The house , once white , is peeling . Polyurethane flaps over dark windows . The 1960 red Ford pickup sits long frozen in the open barn .
MARGIE
( getting out . )
Are you sure they're home? Did you call?
WADE
The truck's here. Looks like they've stayed inside since the snow started.
They stamp their feet on the porch ; Wade turns the knob . Locked . It seems abandoned .
WADE
Strange.
MARGIE
Think they're alright?
WADE
Of course! I would've heard.
MARGIE
How?
WADE
I do n't know for Christ's sake!
They round the house , try the back door . Wade knocks loudly . GLEN WHITEHOUSE , 70 , opens the door , stands inside . He wears long underwear , stained woolen trousers , slippers .
INT. WHITEHOUSE FARM - DAY
WADE
Pop, Pop, you okay?
Glen shuffles toward the stove ; they follow . He starts a fire .
WADE
Jesus, Pop, how can you stand the cold, dressed like that? Where's Ma?
POP
Sleeping.
WADE
You remember Margie Fogg?
POP
From Wickham's. Been a while. Like some coffee?
WADE
How you and Ma doing? Have n't seen you in town for a while.
POP
We're alright. Your Ma's sleeping. You want me to get her?
WADE
Yeah.
Pop goes to the bedroom .
WADE
( to Marg . )
Jesus. Nothing's changed around here.
Pop returns .
WADE
Where's Ma?
POP
She's coming.
MARGIE
Have you been heating the house? Not just with the stove.
POP
There's a furnace.
MARGIE
You're not using it today?
POP
It's broke I guess. There's an electric in the bedroom.
MARGIE
Maybe Wade should take a look at it. Your pipes'll freeze.
( Pop nods . )
Wade, would you do that?
Wade , concerned , pushes open the BEDROOM door :
WADE
Ma? It's Wade. Can I come in?
He steps inside . On the bed , Sally Whitehouse , wrapped in blankets , lies dead . He walks over , beside the small electric heater , touches her forehead . Her skin is chalk white .
WADE
Oh, Lord.
Margie steps into the doorway . Pop joins :
POP
Coffee's perked.
MARGIE
When did she die?
POP
Is? She's dead then?
WADE
Yeah.
POP
I checked on her. She had the electric heater. Cold do n't bother her as much as me. Which is why I give her the heater.
WADE
( kneels over mother . )
Is there something wrong with the phone?
POP
In the living room.
WADE
Why did n't you call and have the furnace fixed?
POP
Wade. I thought she was alright. Till this morning she was.
Pop goes to the dresser , pours himself Canadian Club . Wade opens his mother 's mouth , attempts respiration .
POP
It makes me sad.
MARGIE
Can -?
POP
( sits . )
Makes me sad it was her. Instead of me. I shoulda froze.
EXT. ROLFE'S CAR - DAY
ROLFE WHITEHOUSE , 38 , drives his four - door Toyota west : through Massachusetts , toward New Hampshire . His face bespeaks tolerance , objectivity - in short , education . It 's also Wade 's face .
ROLFE
( V.O . )
Wade called me, as usual, late at night. I knew it was Wade - no one else calls me at that hour - and I was ready to listen to another chapter in one of his ongoing sagas. There was the detective story concerning the shooting of Evan Twombley and the family melodrama about Wade's custody fight with Lillian. But not this time.
EXT. WHITEHOUSE FARM - DAY
Rolfe 's Toyota sits with other cars .
ROLFE
( V.O . )
Wade was telling a different story, or so it seemed then, one in which I myself was a character. He had called to tell me that sometime the previous night our mother had died, and he had discovered the body when he'd gone over to visit her and our father with Margie Fogg. Pop was okay, but kind of out of it. Worse than usual, maybe, though no drunker than usual.
INT. LIVING ROOM - DAY
Friends and relatives gather in the living room : Wade , Rolfe , Glen , LaRiviere , Margie , an aging couple , REVEREND DOUGHTY , 30 , thin , wearing glasses and an avocado - green suit .
WADE
( finishing a beer . )
Should n't we get this show on the road, now that Rolfe's here?
No one moves . LaRiviere checks his watch . Wade shrugs :
WADE
Pointless to stand around in church with nothing to do, I guess.
ROLFE
What about Jill? Is Lillian bringing her?
Margie 's face tells Rolfe he 's touched on a sensitive subject .
MARGIE
They'll be at the church and the cemetery.
Wade opens the frig , takes out another beer :
WADE
Anyone else want one? Rolfe?
ROLFE
No thanks. I do n't drink.
WADE
Yeah. I forgot.
LARIVIERE
How you holding up, Wade?
WADE
I'm fine, fine.
LARIVIERE
You Rolfe?
( Rolfe nods . )
I remember you from high school. You're a teacher now? Harvard?
ROLFE
B.U.
LARIVIERE
I have n't seen you around. I do n't suppose there's much reason for you to come this way.
Rev. Doughty calls for Glen Whitehouse , who has been sitting , silent , drinking , to join the others :
REV. DOUGHTY
Come, Glen, join us. Let's kneel for a moment of prayer before the service. Wade? Rolfe?
ROLFE
Well.
Wade , expressionless , looks at Rolfe . Rolfe , embarrassed , trying to do the right thing , helps his father kneel beside Rev. Doughty . The others join the circle .
WADE
This is nuts.
MARGIE
( reproving . )
Wade.
REV. DOUGHTY
Dear Heavenly Father, Lord of Hosts, we come to Thee to beseech Thy blessings and commend to You the soul of our beloved wife and mother, Sally Whitehouse, to be one with You and walk with You -
Pop mutters something . Wade , Rolfe and Marg exchange glances . He mutters louder :
POP
goddamned hair on her head.
He rises over LaRiviere , turns , exclaims :
POP
Not a one of you is worth a goddamned hair on that good woman's head!
Doughty freezes .
WADE
Pop! Do n't do this now, Pop.
Pop knocks back a drink as the others stand .
LARIVIERE
Maybe I'll head on over to the church.
REV. DOUGHTY
This is a difficult time.
Gordon and the couple file out . Doughty , Glen , Rolfe , Wade and Margie remain .
WADE
Listen, it's no big deal, Pop.
POP
( raising fists . )
Come on, smart guy. Tell how it's no big deal. Tell me how a single one of you is worth a single hair on that woman's head.
REV. DOUGHTY
Give up this demon.
POP
Go fuck yourself!
Wade , eyes blazing , squares off . Son to father .
ROLFE
Wade, just leave it.
POP
( mocking . )
Listen to your little brother. ` Wade, just leave it.' Candy - asses. All of you. That's what I've got for children. Candyasses. ` Wade, just leave it.' Praise the Lord! ` Just leave it!'
Wade stiffens . Pop cocks his fist . Marg , screaming , jumps between them as Pop swings . The old man bounces blows off Margie 's arms and shoulders . Wade pushes Marg aside , grabs his father in a bear hug and walks him backwards , flat against the wall . Wade releases him . Pop , frail , collapses to the floor . Wade kneels over him :
WADE
If you ever touch her again, I'll kill you. I swear it.
EXT. CEMETERY - DAY
Townspeople and friends cluster around the gravesite : Pop , LaRiviere , Jack and Hettie , LaCoy , Chub Merritt , Nick , Jimmy , Lillian , Jill and Horner , Rolfe , Wade and Margie .
ROLFE
( V.O . )
The day of the funeral was almost springlike. The snowline crossed New Hampshire west to east, retreating northward to Concord where it melted by midmorning.
Rev. Doughty finishes . The mourners exchange farewells . Wade looks at Lillian . Margie and Rolfe , escorting Wade 's father , let him be . He walks over , hugs Jill .
JILL
Dad.
WADE
( to Lillian . )
I'm glad you're here. Can you stay for a while?
Lillian hesitates , shakes her head ` no . '
WADE
You ever come to your father's grave anymore?
LILLIAN
No, not anymore. It's too. it's too far.
WADE
We should talk.
LILLIAN
We've done all our talking, Wade.
WADE
It's just.
LILLIAN
Let the past be.
( beat . )
I'm sorry about your mother. I liked her. You never know how much women like that suffer. It's like they live their lives with the sound turned off - and then they're gone.
JILL
( tugging at Lillian . )
Mom.
LILLIAN
She has an ice - skating lesson at four.
JILL
I'm taking ice - skating, Daddy!
He kisses Jill , says goodbyes , walks back to Rolfe and Margie . Ahead , LaRiviere walks with Jack .
EXT. WHITEHOUSE FARM - DAY
Wade and Rolfe leave Margie and Pop in the kitchen as they step out back .
WADE
Let's dig out Pop's truck before the skin of the snow freezes up.
They grab snow shovels propped against the porch , walk to the barn . Firewood 's stacked alongside .
INT. BARN - DAY
Shafts of light filter through the ramshackle structure . A snow drift nearly buries Glen 's red truck . Wade and Rolfe break away the packed snow .
ROLFE
What about Margie?
WADE
What about her?
ROLFE
Well, do you still plan to get married?
WADE
Yeah. She'll probably quit her job and stay out here with Pop. We ca n't leave him alone here, he'll set the damn place on fire. With Jill here a lot, it'll be good to have Margie around. Things are going to change in that department, by the way. I got a custody lawyer in Concord. I'm gon na see him tomorrow. All hell's gon na break loose, but it's worth it.
They finish clearing the snow . Wade gets in the truck , starts the engine . Rolfe waits for Wade .
WADE
I want to let the gas run out. I do n't want the bastard driving drunk, and he's always drunk now. After, we'll hide the keys.
ROLFE
Anything new about the shooting? Twombley?
WADE
( reluctant . )
I guess it was an accident, like everybody thinks.
ROLFE
Want to know what I think happened?
Wade opens the glove compartment , finds a bottle of Canadian Club . He unscrews the cap .
WADE
Find them everywhere.
( swigs . )
ROLFE
I think your first response to the Twombley shooting was the correct one.
WADE
Which is?
ROLFE
That it was n't an accident.
WADE
Then who shot him?
ROLFE
Well, your friend, I think. Jack Hewitt.
WADE
Motive. You got ta have a motive.
ROLFE
Money.
WADE
Who'd pay him that kind of money? Not the mob. They got their own guys. Specialists.
ROLFE
( agreeing . )
They would n't deal with a guy like Jack. Who else benefits if Twombley is suddenly dead?
WADE
( swigs . )
I do n't know. You tell me.
ROLFE
Okay. It's likely there are people in the union who do n't want Twombley to testify. They probably include his son - in - law who's vice - president and will probably be the next president. I read that in the papers. What's his name, Mel Gordon?
WADE
Yeah, the guy with the BMW I told you about. I did, did n't I?
ROLFE
Here's my theory. Twombley, unaware of illegal union loans or whatever, starts nosing around cause of the investigation and finds out. Finds out his son - in - law is involved.
WADE
So Mel Gordon would n't want a professional hit. That'd make the feds dig deeper. He wants an accident.
ROLFE
A hunting accident is perfect.
WADE
Shit, around here, you shoot somebody in the woods, you say it was an accident, you get fined fifty bucks and your hunting license lifted. Jack's probably saying the guy shot himself cause he ai n't got his deer yet and do n't want his license pulled.
The truck sputters , stops . Wade pulls the keys .
WADE
It's too neat. Things ai n't that neat. It makes me mad. That somebody can pay to kill somebody, his own father - in - law, and not be punished for it. Do n't that piss you off?
ROLFE
Not particularly.
WADE
Right's right, goddamnit! Do n't you care what's right?
ROLFE
I care about what happened. The truth. I'm a student of history, remember?
The sun is down . Wade tucks the keys in a knotted board .
ROLFE
I was thinking about that story you told me, about Pop and chopping the firewood out of the ice and after.
WADE
Yeah.
ROLFE
I hate to disappoint you, but I do n't think it happened.
WADE
Of course it happened. Why would I lie about it?
ROLFE
It may have happened, but not the way you said.
WADE
You think I would n't remember a thing like that?
ROLFE
It was n't me. I was n't there, but I heard about it. When I heard about it, it was about Elbourne.
WADE
We'd have to go digging in Vietnam to ask him.
ROLFE
And Elbourne and Mom took you to the doctor and told him you fell from the hay loft.
WADE
( laughs . )
Well, I never heard that one.
ROLFE
I remember clearly cause when I heard I became real careful around Pop. I was a careful child and I became a careful adult, but at least I was n't afflicted by that man's violence.
WADE
( laughs again . )
That's what you think.
Rolfe looks out : the cobalt sky has turned black .
ROLFE
I got ta head back. It's a long drive.
They walk toward the house .
EXT. LARIVIERE CO. GARAGE - DAY
Wade walks in as Jack and Jimmy prepare to head out , their drilling rig loaded with pipe . Gordon yells at Jack :
LARIVIERE
Put out that fucking cigarette!
Jack opens the truck ashtray .
LARIVIERE
Not there, asshole. Flush it!
Hewitt trudges to the john .
WADE
Morning, Gordon.
LaRiviere smiles , goes to his office as Wade hangs his coat in his locker . Jack cruises over .
JACK
I'm fucking out of here.
WADE
Lawford?
JACK
Out of this fucking job. This job sucks. Working outside in the winter sucks.
Jack gets in the cab of the drilling truck . Wade follows .
JACK
Open the door, will ya?
WADE
Why do n't you quit now, you want out so bad?
JACK
Open the door. We're late.
WADE
I mean it - you got enough money now. Head out for California. Surf's up, Jack, and you're digging wells in the snow.
JACK
What do you mean I got money? I'm as broke as you.
Wade grins , goes to activate the door .
WADE
Looney Tunes, Jack. Fucking Looney Tunes!
The drilling truck pulls out the garage , onto the road . From the opposite direction a black BMW slows , enters . Mel Gordon . Wade , all eyes and ears , watches . Mel Gordon parks in front of the office , gets out . Elaine calls :
ELAINE
( O.S . )
Mr. Gordon!
MEL GORDON
The boss in?
ELAINE
( O.S . )
Yes indeedy!
Wade flips the door switch . Mel Gordon and LaRiviere talk . Yeah .
EXT. CONCORD - DAY
The South Main Street office of J. Battle Hand , lawyer . Concord is a real town , with traffic , stores , people with places to go .
INT. LAWYER'S OFFICE - DAY
J. BATTLE HAND , 60 , sits in a wheel chair behind his desk . Wade , uncomfortable in work clothes , tries not to show it .
WADE
I screwed up the divorce. I agreed with everything she said. I wanted her to like me. I just want to be a good father.
HAND
It would help if you were married, if there was someone at home while you work.
WADE
I plan to. Soon.
HAND
How soon?
WADE
This spring.
HAND
Good. It would help if there were some drug or alcohol abuse on the part of your ex - wife. Sexual problems upsetting to the child.
WADE
It looks pretty hopeless, do n't it?
HAND
No, not exactly. I'll look at the divorce decree, see if we can get it redrawn. Interview your daughter. Jill, right?
WADE
Yes.
HAND
Fine. I'll need a $ 500 retainer. You can mail it.
WADE
Jesus. How much. how much will the whole thing cost?
HAND
Hard to say. If we go for custody, depositions, psychiatric evaluations, it could drag on. Ten or twelve thousand dollars. She could win on appeal. If we just want to get the visitation rights redrawn, assuming they're unduly restrictive, it would n't be more than twenty - five hundred.
WADE
Oh.
HAND
( sensing situation . )
You might be better off legally as well as financially to just go for the -
WADE
Yeah. I know. The custody suit thing was just my getting back at her. I'm not as dumb as I look. Whatever you say. I love my daughter.
( Hand nods . )
I'll send you the five hundred.
Wade stands ; Hand motors to the door . Wade puts his fingers in his mouth . His tooth throbs .
EXT. LARIVIERE CO. - DAY
Fairlane squad car in its customary spot .
INT. LARIVIERE'S OFFICE - DAY
Wade and Gordon speak . LaRiviere is relaxed , open : a `` new Gordon . ''
WADE
Sorry about the long lunch. My clutch is going out again.
LARIVIERE
You ever think of getting a new car, Wade?
WADE
On what you pay me?
LARIVIERE
Elaine! Call Chub Meritt and have him pick up Wade's car, fix the clutch.
ELAINE
( O.S . )
What!
LARIVIERE
( to Wade . )
Use the pickup. I'll bill it to the town. You're the town police officer and the town police officer should have a decent car. You want a new car or not?
WADE
What do I have to do for it?
LARIVIERE
Nothing, Wade, I've been thinking. You do n't get enough appreciation around here and it's time we changed things a little.
WADE
I saw Mel Gordon in here this morning.
LARIVIERE
So?
WADE
He say anything about the summons I tried to give him? Sonofabitch would n't accept it.
LARIVIERE
Wade, that was n't smart. Going out right after the man's father - in - law shot himself. Let it go. Call it a favor to me.
WADE
You? Why?
LARIVIERE
Mel's doing some business with me. It's nice to do favors for people you do business with. He was in a hurry. No big deal.
WADE
That was before Twombley was shot. Before he knew.
LARIVIERE
What's the difference? Take my truck, take a rest - stop worrying about Mel Gordon. Have you decided what to do with your old man's place - he going to stay there?
WADE
( takes out cigarette . )
Want to buy?
LARIVIERE
Do n't light that in here. I'm allergic.
WADE
I wo n't. You interested?
LARIVIERE
Maybe.
WADE
You and Mel Gordon?
LARIVIERE
Could be.
WADE
( voice rising . )
Always count on old Wade for a good screwing. Why should I always pay more, sell cheap? Why should you guys make all the money. You and Mel and Jack. Right's right.
Wade pulls out Bic , lights cigarette .
LARIVIERE
( waving arms . )
Out! Out!
Wade smiles , exits .
EXT. RT. 29 - NIGHT
Wade , driving Gordon 's 4x4 with running lights and roll bar , takes 29 toward Pop 's farm . A pickup passes him : Jack Hewitt 's burgundy Ford . Wade stops . Jack turns up Parker Mountain - the road to the accident scene . Something 's up . Wade turns and follows . Jack 's fresh tracks lead the way . Hewitt is driving fast . Wade keeps up . Jack , far ahead , approaches the accident scene . Stops . Night has fallen . Wade comes over a low rise , spots Jack 's pickup . He kills the lights , parks to block Jack 's exit . Silence . Footsteps in the snow . Wade watches , listens . What 's he doing ? Looking for evidence ? The burgundy pickup engine suddenly ROARS - Jack 's back and at the wheel - the tires squeal , spit snow as he spins past Wade . Wade starts his engine , gives pursuit . The pickups gun their engines , bumper to bumper , down mountain roads , lumber roads , rocky trails . Wild headlamps their only guide .
EXT. POND - NIGHT
A trail turns sharply past a shallow beaver pond - too sharply for Jack . He crashes through a stand of skinny birches straight out onto the pond . The pickup 's momentum carries it across the pond . Wade drops into first gear , follows , his headlights reflecting ice . He drives directly to Jack , bumper to bumper , headlight to headlight . Jack sticks his head out :
JACK
You crazy sonofabitch! You'll sink us both! Get off the fucking ice! Get off!
Wade does n't budge . Jack backs away ; Wade inches forward . Hewitt 's trapped . Trees behind him . Neither truck has traction on ice . Jack steps out , swinging his fists wildly . Wade gets out . Jacks grabs his rifle , points it :
JACK
I'll shoot you, Wade, I swear it! I'll fucking shoot you dead if you do n't move away from that truck!
Wade backs off .
JACK
Do n't move! I'll shoot you dead if you move!
Jack gets back in his pickup , maneuvers it slowly around the Dodge , crosses the ice and is gone . Wade stands in darkness . The only sound his idling truck , the wind . Then a third sound - the snap of ice . Ice cracks ripple from the middle of the pond . Ice planes tip around the truck . LaRiviere 's snazzy Dodge slips , descends , disappears . Headlights glow under water , then go out . `` Our Business Is Going In The Hole . '' Wade , alone in darkness , plops into the water , paddles to shore . Freezing , he finds Jack 's tire tracks in the snow . He bangs his jaw .
EXT. WICKHAM'S - NIGHT
A car drops Wade off . `` Home Made Cooking . ''
INT. WICKHAM'S - NIGHT
Wade enters the empty diner . His clothes frozen .
NICK
Your father's in back, Wade. Marg had to babysit him. She moved in with you, huh?
( looking closer . )
What happened?
Wade goes to the kitchen . Glen Whitehouse , washing dishes with Margie , looks up :
POP
Ah, the prodigal son.
NICK
About fucking time.
POP
Look, got me a new job, second cook and bottle washer!
MARGIE
What happened?
WADE
Jesus Christ, Pop, let's go home. I got waylaid. Sorry.
POP
The fuck you got waylaid. You follow your prick around like it was your nose.
NICK
( enters . )
Can it, Whitehouse.
( to Wade . )
Get him out of here. It was funny at first, but I'm tired.
MARGIE
There's clothes in the back.
Wade 's old man talks as he dresses :
POP
Let's go home? What home is that? Your home? My home? Let's have a talk about that. You're fucking sly, Wade. Your mother's dead so she ca n't make any excuses for you anymore! You got ta deal with me! No more sugar tit, asshole.
Wade , redressed , enters :
WADE
Pop, for Christ's sake!
POP
You think you can take me now? Come on, try.
Margie and Nick guide pere et fils to MARG 'S CAR . Nick speaks to her :
NICK
Marg, get out of this. Fast.
MARGIE
I ca n't.
Marg drives off .
INT. MARGIE'S CAR - NIGHT
Wade leans close to his father , his breath on his :
WADE
I wish you would die.
Pop spits directly into Wade 's face , raises his arm . Wade catches it , twists it . Margie shrieks :
MARGIE
Stop it! Stop it! Just stop it!
They do , glaring as they approach the farmhouse .
INT. BATHROOM - NIGHT
Wade looks in the bedroom , sees Margie sleeping , goes to the bathroom . He peers , stands before the sink , washes his hands slowly . Drying his hands , he looks into the mirror , startled by the image of his own face . A phone conversation plays over :
WADE
( O.S . )
No shit, Rolfe, I glanced up and there he was, only it was me. But it was like I had never seen myself before. It was a stranger's face. Hard to explain. You fly on automatic pilot, like I was doing all night, and you disappear.
INT. LIVING ROOM - NIGHT
Wade sits alone in the darkened room , speaking on the phone . His cigarette glows .
WADE
Then you accidentally see your body, or your face, or whatever, and you do n't know who the hell it belongs to. Strange. It's the business with the old man, I know, and how incredibly pissed I was at him, and also chasing Jack Hewitt like that, and the Goddamned truck going through the ice, not to mention Margie's being so upset - one thing on top of another.
ROLFE
( O.S . )
Wade, are you alright?
WADE
But you got ta hear this. You wo n't believe it. Mel Gordon had come by to visit LaRiviere and so now I'm in his office.
INT. LARIVIERE'S OFFICE - DAY
Wade 's theory expanded : Jack and Gordon argue in the office . An extension of Scene 55 . Like Wade 's other theories , in black - and - white :
LARIVIERE
He's on to us!
JACK
Shit! What are we gon na do?
LARIVIERE
Maybe I can buy him off. I got ta talk to Mel.
JACK
You ca n't buy Wade off.
LARIVIERE
We bought you.
JACK
That was me.
EXT. ALMA PITTMAN'S HOUSE - DAY
Wade drives Margie 's car toward LaRiviere 's . In his rear view window he spots Chick Ward driving Chub Merritt 's tow truck , lights blinking , pulling LaRiviere 's pickup like a dead fish . He pulls over , lets it pass . He 's parked in front of Alma Pittman 's house . A sign on the lawn reads , `` Alma Pittman , Town Clerk . '' He looks at the house , decides to go in . Wade walks up the shoveled steps , knocks on the door . ALMA , 60 , wearing plaid shirt and slacks , greets him with a smile :
ALMA
Wade! Come in! Have a cup of coffee.
INT. ALMA PITTMAN'S HOUSE - DAY
They step into Alma 's living room/office . She 's been keeping the town secrets for as long as anyone can remember .
WADE
You got yourself a computer, Alma.
ALMA
Been putting my files into it. You take sugar and milk?
WADE
No. Black.
They sit by her desk at the bay window . She studies him .
ALMA
Are you alright, Wade?
WADE
Yeah, sure. Why? I got this damned tooth, I got a few things bugging me, like everybody else. But I'm okay.
ALMA
Well, you look. sad. Upset. I do n't mean to pry. I'm sorry about your mother. It was a nice funeral.
WADE
Alma, I think there's some dirty business going on in this town.
ALMA
Always has been.
WADE
This is maybe worse than you and I are used to.
( beat . )
What I'm talking about, I'm talking about murder. Among other things.
ALMA
Who?
WADE
Evan Twombley, the union boss who got shot. Somebody murdered him.
ALMA
Who?
WADE
You know Jack Hewitt, the kid I work with?
EXT. MERRITT'S STATION - DAY
Gordon LaRiviere examines his damaged pickup outside the Shell station .
INT. ALMA PITTMAN'S HOUSE - DAY
Wade finishes :
WADE
if Jack told the truth, he could be free by the time he's my age.
ALMA
Sometimes things are simpler than you think. Let me ask you a question.
WADE
You do n't believe me?
ALMA
( crosses to her desk . )
About Jack? No. Have you checked out the tax bill on your father's farm lately?
WADE
I know he's due for the last two years. I was thinking of paying it when the insurance comes in.
ALMA
Has anybody offered to buy it?
WADE
As a mater of fact, yes. LaRiviere.
Alma punches her computer . Dozens of items flash up .
ALMA
This is all the real estate transactions in this town the last year. Most of it unused land. Most of it for little more than the back taxes owed.
She punches again : only three items .
ALMA
This is from three years ago. Some difference, huh?
WADE
( looking . )
What is the Northcountry Development Association?
ALMA
I went down to Concord to check it out. The president is Mel Gordon. The vice - president and treasurer is Gordon LaRiviere. Those boys are buying up the mountain, Wade. $ 364,000 this year. I believe that's out of LaRiviere's league.
WADE
Twombley involved?
ALMA
No.
WADE
He musta found out. They had to get rid of him. And Jack'll get blamed.
ALMA
All the figures show is that Gordon LaRiviere is going to be a very rich man using his position as Selectman. In a year or two, you wo n't recognize this town.
INT. LARIVIERE'S OFFICE - DAY
Wade storms in , shouting . Jack and Jimmy choose donuts by the file cabinet . LaRiviere 's behind his desk . Wade 's tooth makes it hard for him to talk without pain :
WADE
You sneaky sonofabitch! I've got your number now, Gordon! All these years I actually thought you were a decent man.
( pounds fists on desk . )
Can you believe that?
Jack , combative , looks at Wade . Gordon stands before Jack can speak :
LARIVIERE
Wade, you're done.
( extends hand . )
Let me have the shop keys.
WADE
( to Jack and Jimmy . )
You two, do n't you get it? He's using you. You're his slaves.
( soft . )
Jesus Christ, Jack, do n't you see that?
LARIVIERE
The key, Wade.
WADE
Yeah, you can have the key. It's the key that's kept me locked to you all these years. I give it to you with pleasure.
( passes key . )
Now I'm free. See how easy it is, Jack? All you got to do is give back what the man gave you, and you're free of him.
( turns to leave . )
I've got to call my brother.
Wade 's phone conversation plays OVER as he goes to Margie 's car .
WADE
( O.S . )
I know what it means. I'm just running out of ways to use it.
ROLFE
( O.S . )
For what?
EXT. ROUTE 29/MERRITT'S - DAY
Phone conversation continues as Wade drives to Merritt 's Shell station .
WADE
( O.S . )
To help, Jack, of course - and to nail those sonsofbitches, the Two Gordons. That's what Alma calls them. Jesus, Rolfe, whose side are you on?
ROLFE
( O.S . )
Take care of the little things first, the things that are distracting you from taking care of the big things. Call Chub Merritt, get your car back, call a dentist, for God's sake, and get your tooth pulled, do n't trust the locals, get your facts straight and go straight to the state police. Let them work on this.
CHICK WARD , 30 , Chub Merritt 's mechanic , greets Wade outside the station . We join their conversation :
CHICK
The good news is we have n't got to your car yet. The bad news -
WADE
Just tell me when you'll have it fixed.
CHICK
- the bad news is there's a problem with Gordon's truck what somebody drove through the ice last night. Figured you'd know something about that, Wade.
WADE
( beat . )
Yeah. I know about that.
CHICK
LaRiviere says he ai n't gon na pay for the fixin' of your car. A couple hundred for the clutch. I got some more bad news. Wan na hear it?
WADE
Tell me.
CHICK
Chub says you're fired.
WADE
He ca n't fire me. LaRiviere already did that this morning.
CHICK
He's a Selectman. The town. He said to tell you to turn your badge in and clean out your office. I'm supposed to pull the CB and police light out of your car. They're town property.
INT. WHITEHOUSE FARM - DAY
Wade , open phone book in hand , walks back and forth speaking into the receiver . Margie looks up from the KITCHEN table , an old newspaper in front of her .
WADE
What do you mean, you ca n't take me today? I told you -
The other party has hung up . Margie stands , upset . Wade slams the phone down .
MARGIE
What on earth is happening to you? Why are you acting this way?
WADE
It's my tooth! My fucking tooth! I ca n't even think anymore because of it.
MARGIE
I heard you talking. You got fired this morning, did n't you?
WADE
Look, that's temporary, believe me. There's so much shit gon na hit the fan the next few days, my getting fired by LaRiviere and Merritt wo n't matter a bit.
Pop enters from outside with firewood , passes .
WADE
I'll get another job. People are going to need me. After this is over, they'll make me into a Goddamned hero. You wait : you'll see, I'll deliver. I'll be the best father who ever lived. You need me, even Pop, for Christ's sake, he needs me. This town needs me. Maybe now they think they can send me howling into a corner like a kicked dog, but my God, it'll be different soon.
Margie 's face falls . She retreats from the room as he speaks , taking her coat and pocketbook . Wade and his old man , she thinks : just the same . Wade looks out the window and she gets in her car , drives off . Wade holds his inflamed jaw ; he can hardly see straight . Pop turns on the TV in the living room , boosts the volume . Pop comes back in the room , gets the Canadian Club , pours himself a drink .
WADE
Leave the bottle out!
Pop growls , goes back to wrestling on the TV . Wade walks to the cabinet , removes a pair of pliers from the tool drawer , goes toward the bathroom . In the BATHROOM , Wade opens his mouth - it hurts - takes a bite of whisky , sets the bottle on the toilet tank . He looks at the stranger in the mirror , reaches inside his mouth with the pliers . Prying his mouth open , Wade Whitehouse locks the pliers onto a large molar in the back , squeezes and pulls . He steadies himself , pulls again , yanking the pliers from his mouth . The bloody rotted tooth clatters in the sink . He takes another bite of whisky . Rolfe 's voice plays over :
ROLFE
( V.O . )
You will say I should have known terrible things were about to happen, and perhaps I should have. But even so, what could I have done by then? Wade never went inside. He lived almost wholly out there on his skin, with no interior space to retreat to, even in a crisis.
Wade takes another swig , sets the whisky bottle in the LIVING ROOM beside the TV set . Wade and Pop exchange looks . Wade exits through the KITCHEN , snatching his coat .
EXT. BARN - DAY
Wade spits blood into the snow as he grabs a gallon can of gasoline from under the porch . He crosses to the barn , prepares to pour the gas into the beat - up red truck .
EXT. CONCORD - DAY
Wade 's Ford pickup passes J. Battle Hand 's office , keeps going . Grass peeks through the snow at this lower altitude .
EXT. LILLIAN'S HOUSE - DAY
Wade parks the truck , walks past leafless bushes to a charcoal - gray split - level with pink shutters . He pushes the door bell ; the first notes of `` Frere Jacques '' play . Lillian opens the door ; Jill 's footsteps approach .
LILLIAN
Wait there. She'll be right out.
( looks back . )
Is there snow on the ground up in Lawford?
WADE
Yeah, lots.
LILLIAN
( to Jill . )
See. Get your boots.
WADE
Hi honey.
JILL
( going back inside . )
Hi.
LILLIAN
Have her back tomorrow night by six.
WADE
No problem. Look, I.
LILLIAN
You make me sick. I ca n't believe you've sunk so low.
WADE
Low as what? What have I done? It's bad to want to see your own daughter?
LILLIAN
You know what I'm talking about. For what you're doing to me and to the child you say you love so much. Love. You wo n't get away with it.
Jill returns , wearing parka and boots , heads out with her father .
LILLIAN
Bye, honey! Call me tonight if you want.
Wade and Jill approach the truck .
JILL
Are we going in this?
WADE
Yeah. My car's in the shop. This'll be fine.
JILL
It's pretty old.
WADE
It belongs to Pop.
JILL
Pop?
WADE
Grandpa. My father. It's his.
JILL
Oh.
Wade opens the truck door . Jill climbs in with her overnight bag , looks back to the door where Lillian watches .
INT./EXT. WADE'S TRUCK - DAY
The Ford heads north .
WADE
( winking . )
How about a Big Mac?
JILL
Mommy wo n't let me eat fast food. You know that. It's bad for you.
WADE
C'mon, we can always sneak a Big Mac. And a cherry turnover. Your favorite. What do you say?
JILL
No.
WADE
What do you want, then?
JILL
Nothing.
WADE
You ca n't have nothing, Jill. We need lunch. Mr. Pizza?
JILL
Same thing, Daddy. Mommy says -
WADE
I know what Mommy says. I'm in charge today, though.
JILL
Okay. So we'll get what you want. What do you want?
They stop for a light . Silence .
WADE
Nothing, I guess. I guess I can wait till we get home. Maybe we'll stop by Wickham's for a hamburger when we get to Lawford. That suit you? You always like Wickham's.
JILL
( looking ahead . )
Okay.
WADE
Fine.
Pause . Wade looks over at Jill and realizes she is crying .
WADE
Oh, Jesus, Jill, I'm sorry. What's the matter, honey?
She shoves her clenched fists hard against her legs .
WADE
Please do n't cry. Please, honey.
JILL
( regains composure . )
What are you sorry for?
WADE
I do n't know. For the food business. I guess. I just thought, you know, we'd sneak a Big Mac on Mommy, like we used to.
JILL
I want to go home.
WADE
( quick . )
You ca n't.
Jill looks away . Wade pulls a six - pack from under the seat , pulls off a beer , takes a swig .
JILL
( quiet . )
That's illegal, you know.
WADE
I know.
JILL
You're a policeman.
WADE
Nope. Not anymore. I'm nothing anymore.
JILL
Oh.
INT. WICKHAM'S - DAY
Wade and Jill enter Wickham 's , crowded with out - of - state hunters at the end of the deer season .
WADE
Jillie, you want a cheese grilled sandwich?
NICK
It's called a grilled cheese sandwich, you dub.
Wade , flaring , reaches across the counter and grabs Nick by the shirtfront ! Nick 's arm knocks over a cup of coffee . The diner goes silent . Hunters look up . Jill 's face is white ; she starts to cry . Wade looks over - it takes him a moment to react - bends down , comforting her . He wipes her nose with a napkin .
WADE
Jill, please, it's alright. Nothing happened.
JILL
I want to go home.
WADE
( rigid . )
Okay, let's go home, then.
They head for the door . Nick eases over :
NICK
( delicate . )
Wade, I got a message for you.
( Wade turns . )
Jack Hewitt, he's looking for you. Wants you to clear your stuff out of his office in Town Hall.
WADE
His office. You mean my old office.
NICK
Well, I guess - that's what he said.
WADE
He got his deer yet?
NICK
No, he's out now. Somewhere on the mountain. I'd stay away from him if I were you. He's real pissed.
Wade takes Jill 's hand , exits .
EXT. TOWN HALL - DAY
Jill waits in the old red truck parked outside . Wade emerges with cardboard boxes of office miscellany , rifles laid across top . He shoves the boxes and guns into the back of the pickup , gets in and drives off .
EXT. WHITEHOUSE FARM - DAY
Wade and Jill pull up the drive , past Margie 's car , into the barn . Her trunk and two side doors are open . Margie comes out back with a battered suitcase , goes to her car . She 's leaving . A plastic bag of clothes sits in the trunk . Wade and Jill get out , approach :
WADE
Going somewhere, Margie?
MARGIE
I'm just cleaning out some of this stuff that's built up. For the rummage sale. And some things for the cleaners. And the laundromat.
WADE
Do n't lie to me. You're leaving me, I can see that.
MARGIE
Do n't be silly. Hi, Jill.
Jill , suitcase in hand , looking pathetic , tries to smile . A sadness passes over Wade 's face .
WADE
( hurt . )
Marg.
Margie , watching him , quivers , starts to cry . She drops her suitcase , out of nowhere bawling like a baby . Wade goes over , puts his arms around her , pats her back . His face is racked . He , too , seems about to cry - if he could . In his arms Margie feels trapped , overwhelmed by Wade 's circumstances and terrible sadness . She pushes :
MARGIE
( crying . )
Leave me alone! Leave me alone!
She struggles in Wade 's grasp . Jill , frightened , wildly hits him from behind :
JILL
Leave her alone! Leave her alone!
Wade moves back like a bear , covering his face and arms . Jill , near hysterical , keeps after him , arms and fists flying . Wade stumbles backwards into the snow . Jill still swings . Margie dashes to intervene as Wade swings his arms wide . Jill flies into Marg . Her nose is bleeding . Wade 's caught her across the mouth and nose . She takes cover behind Margie , crying . Margie and Jill stand side by side , saying nothing . Wade looks up stunned , as if hit by a rock . Marg slowly backs away , her arms behind her holding Jill .
MARGIE
( to Jill . )
Get in.
Marg eases Jill into the front seat , closes the door , edges around the car slamming the trunk and gets into the driver 's seat . Wade stands .
JILL
I want to go home. Will you take me home?
MARGIE
Yes.
She closes the front door , starts the car . She backs out the drive . In her rear view mirror she sees the image of Wade receding , standing frozen , staring down at the snow . Pop emerges from the house , looks at his son , grinning . Wade looks at his old man , that dumb devilish grin plastered on his father 's face . Glen Whitehouse holds an empty whiskey bottle like a pistol . Hunters ' gunshots echo in the distance .
POP
( Satanic delight . )
You! By Christ, you - I know you.
( points bottle . )
Yeah, you goddamn sonofabitch, I know you. You're a goddamn fucking piece of my heart!
WADE
( dead . )
You do n't know me. You do n't know me!
( beat . )
So fuck you. Fuck you.
POP
Nah - nah - naw! You done done finally done it! Like a man done it. Done it right. I love you, you mean sonofabitch!
Pop holds up the bottle , pretends to fire it at Wade .
WADE
Love! What the fuck do you know about love?
POP
Love! I'm made of love!
WADE
Call it what you want.
POP
Everything you know is from me.
WADE
Yeah.
POP
Bang!
WADE
You and me.
Wade waves his old man off , trudges toward the barn .
POP
Where the Christ you going? You sonofabitch, you leave my fucking truck where it is! I need. Give me the Goddamn keys! I need to get me to town!
WADE
Crawl!
POP
Nothing in the fucking house to drink. Not a fucking thing. My house, my money, my truck - stolen!
WADE
I do n't know you. My goddamn father and I do n't know you.
Wade walks from the glistening snow into the dark barn .
INT. BARN - DAY
Wade unloads the cardboard boxes filled with his office belongings from the back of the truck and sets them on the ground . He gathers up his rifles . Suddenly ! A whiskey bottle SLAMS against the back of his head . He drops to his knees , the guns scatter . He looks up with child 's fear and guilt at his father . Glen Whitehouse hovers over him , huge and ferocious : a colossus , lifting the bottle like a jawbone . Wade cringes , scrambles for the dropped rifle . He grabs it by the barrel and , twisting around , swings it in a slow motion arc , smashing the edge of the wood stock against his father 's head . A cold hard CRACK of bone . Glen Whitehouse - shriveled again , no longer mythic - flies back like a stuffed dummy . He collapses beside the empty C.C. bottle . Wade , bleeding from the head , stands , staggers off Pop 's inert body , aims his rifle at the old man 's face .
WADE
I know you now. I love you too.
Wade bolts the rifle , flicks off the safety , fires - a loud CLICK . The gun 's empty .
WADE
( smiles . )
Joke. You scared me.
He kneels down , lovingly touches the old man 's face , caresses his lips , cheeks , nose , brows , smoothes back his stiff gray hair . Pop 's eyes are clouded . Blood suddenly drips from his ear to the ground . Wade rests the rifle against the truck . He bends over , slips his hands under his father 's body , lifts him up . He carries Pop over to the workbench , lays him out . Groping beneath the bench , Wade finds the kerosene lamp . He unscrews it , pours kerosene the length of Pop 's body . Wade takes out his cigarette lighter , ignites it , holds it for a moment , places it to Glen Whitehouse . Fire spreads the length of Pop 's body , bursting like a shroud of yellow flame . The oil - stained bench crackles ; flames shoot up the old weathered wall . Burning flesh and heat drive Wade backwards .
EXT. WHITEHOUSE FARM - DAY
Wade stands in snow and sunlight . The entire barn is engulfed in flames . Black smoke billows through the clear winter sky . Inside Glen Whitehouse , a pyre , burns .
ROLFE
( V.O . )
The historical facts are known by everyone - all of Lawford, all of New Hampshire, some of Massachusetts. Facts do not make history. Our stories, Wade's and mine, describe the lives of boys and men for thousands of years, boys who were beaten by their fathers, whose capacity for love and trust was crippled almost at birth and whose best hope, if any, for connection with other human beings lay in an elegiac detachment, as if life were over.
EXT. PARKER MOUNTAIN - DAY
Pop 's red truck is parked behind Jack Hewitt 's 4x4 on a snow - banked road . Wade , hunting rifle pointed up , traces Jack 's footsteps down the slope of the mountain .
ROLFE
( V.O . )
It's how we keep from destroying in turn our own children and terrorizing the women who have the misfortune to love us ; how we absent ourselves from the tradition of male violence ; how we decline the seduction of revenge.
Wade spots Jack poised in a spruce grove , watching for deer . Wade bolts his rifle , releases the safety , aims and FIRES . Jack , hit in the chest , falls bleeding between trees . Blood stains the snow .
ROLFE
( V.O . )
Jack's truck turned up three days later in a shopping mall in Toronto. Even without the footprints, the bullet, Wade's utter disappearance seemed evidence enough of his guilt.
INT. WHITEHOUSE FARM - DAY
Camera glides from room to room , glimpsing details , fragments of former times , as if this were an historical site or memorial . The walls resonate : lives were molded here .
ROLFE
( V.O . )
LaRiviere and Mel Gordon were indeed in business. The Parker Mountain Ski Resort is now advertised all across the country. Jimmy Dame tends bar at the lodge. Chub Merritt opened a snowmobile dealership, Nick Wickham runs the new Burger King. Margie Fogg moved to Littleton, nearer her mother ; Lillian and Jill went with Bob Horner to a new job in Seattle.
Out a window , workers gather charred timbers from the barn , throw them on a truck .
ROLFE
( V.O . )
We want to believe Wade died, died that same November, froze to death on a bench or a sidewalk. You can not understand how a man, a normal man, a man like you and me, could do such a terrible thing. Unless the police happen to arrest a vagrant who turns out to be Wade Whitehouse - or maybe he wo n't be a vagrant ; maybe he will have turned himself into one of those faceless fellows working at the video store and lives in a town - house apartment at the edge of town until his mailman recognizes him from the picture at the post office - unless that happens, there will be no more mention of him and his friend Jack Hewitt and our father. The story will be over. Except that I continue.
THE END
|
CREDITS
Still - life tableaus . Lawford , N.H. , a town of fifty buildings on a glacial ridge , neither mountain nor plateau . Developed as 1880 's forestland , discarded in the Depression . Winter has set in . Halloween day . Snowy fields yield to overcast skies : oppressive , horizonless , flourescent . - Wickham 's Restaurant . Where Route 29 bends . 24 - hour diner . Margie Fogg works here . - Trailer park in shadow of Parker Mountain . Home of Wade Whitehouse . - Toby 's Inn . Roadhouse three miles from town on the river side of Route 29 . Everything not tied down ends up here . - Glen Whitehouse farm . White clapboard . - First Congregational Church . North on the Common from City Hall . - LaRiviere Co. . Ramshackle well - digging firm embarrassingly near the town center . Wade works here . - Merritt 's Shell Station . Cinder - block . - Alma Pittman 's house . Like so many others . - Town Hall . ROLFE WHITEHOUSE 'S VOICE , thirtiesh , articulate , speaks over credit tableaus :
ROLFE
( V.O . )
This is the story of my older brother's strange criminal behavior and disappearance. We who loved him no longer speak of Wade. It's as if he never existed. By telling his story like this, as his brother, I separate myself from his family and those who loved him. Everything of importance - that is, everything that gives rise to the telling of this story - occurred during a single deer - hunting season in a small town in upstate New Hampshire where Wade was raised and so was I. One night something changed and my relation to Wade's story was different from what it had been since childhood. I mark this change by Wade's tone of voice during a phone call two nights after Halloween. Something I had not heard before. Let us imagine that around eight o'clock on Halloween Eve, speeding past Toby's, Route 29, comes a pale green eight - year - old Ford Fairlane with a police bubble on top. A square - faced man wearing a trooper's cap is driving the vehicle. Beside him sits a child, a little girl with a plastic tiger mask covering her face. The man is driving fast -
- Route 29 tableau dissolves to night . A pale green police Ford Fairlane drives past . END CREDITS
INT./EXT. POLICE CAR - NIGHT
WADE WHITEHOUSE , driving , sits beside JILL , his daughter , ten years - old , wearing a black - and - yellow tiger plastic mask .
WADE
I'm sorry for the screw - up. But I could n't help it it's too late to go trick - or - treating now. I could n't help it I had to stop at Penny's for the costume. And you were hungry, remember.
JILL
Who's fault is it then if it's not yours? You're the one in charge, Daddy.
WADE
( shakes cigarette from pack . )
Yeah.
JILL
Look. Those kids are still trick - or - treating. They're still out.
Wade watches boys in the headlights , lights cigarette .
WADE
Those are the Hoyts.
JILL
I do n't care. They're out.
WADE
Ca n't you see. look out there. Nobody's got their porch lights on anymore. It's too late. Those Hoyt kids are just out to get in trouble. See, they put shaving cream all over that mailbox there. They chopped down Herb Crane's new bushes. Little bastards. Jesus H. Christ.
Wade grimaces , holds his jaw . The Fairlane swerves around broken pumpkins under a caution light .
JILL
Why do they do that?
WADE
Do what?
JILL
You know.
WADE
Break stuff?
JILL
Yeah. It's stupid.
WADE
I guess they're stupid.
JILL
Did you do that when you were a kid?
WADE
Well, yeah. Sort of. Nothing really mean. Me and my pals, me and my brothers. It was kind of funny then. Stealing pumpkins, soaping windows. Stuff like that.
JILL
Was it funny?
WADE
To us it was.
JILL
But it's not funny now.
WADE
It's not funny now. I'm a cop and I got ta listen to all the complaints people make. I'm not a kid anymore. You change.
JILL
I bet you did lots of bad things.
WADE
What are you talking about?
JILL
I just think you used to be bad.
WADE
No. I did n't used to be bad. No sir. Where do you get this stuff? From your mother?
JILL
No. She does n't talk about you anymore.
Wade looks at her , wanting to lift her mask , see her face .
EXT. TOWN HALL - NIGHT
The Fairlane approaches Town Hall , a square two - story building on the north side of the Common . Exhaust billows from idling cars as parents and children come and go .
INT. TOWN HALL - NIGHT
Clowns , tramps , angels and vampires fill the brightly lit room . Parents watch from the walls as GORDON LARIVIERE , a beefy fiftiesh man with a silver flat - top , announces the costume contest . Wade nods to various townspeople .
LARIVIERE
We're looking for the funniest costume! And the scariest! And the most imaginative! And the best costume of all!
WADE
( nudges Jill . )
Got here just in time. Go ahead. Jump in line. Maybe you'll win a prize.
Jill steps forward , retreats . Wade looks at her flaxen hair , her blue sneakers protruding from her pathetic costume . His heart aches he loves her so .
WADE
Go on, Jill. Some of those kids you still know.
JILL
I do n't want to.
WADE
Why? Why not? You know these kids from when you went to school here. It has n't been that long.
JILL
It's not that.
WADE
What then?
JILL
It's stupid.
WADE
It's fun.
JILL
( voice breaking . )
I want to go home.
( Wade kneels down . )
I do n't like it here.
WADE
Oh, Jesus, come on, will you? Do n't mess this up anymore than it's already been messed up. Join the other kids. Do that and before you know it you'll be as happy as a goddamned clam.
Wade inches her toward the circle of children . Gordon spots them :
LARIVIERE
Wade! And who's that tiger? Is that Jill? Come and join us.
Jill in the spotlight , joins the costumed children . A former classmate calls her name . Wade , relieved , watches , then steps outside for a smoke .
EXT. TOWN HALL - NIGHT
Wade steps outside , lights a cigarette . JACK HEWITT , 23 , clean - cut , handsome , cocky , stands with CHICK WARD and FRANKIE LACOY , local boys .
WADE
What are you boys up to?
CHICK
Same old shit.
FRANKIE
You see the damage these little sons - of bitches been raising tonight?
WADE
( to Jack . )
You're going to have to move your pickup.
JACK
I know.
CHICK
( offers whiskey pint . )
Take a bite.
WADE
Do n't mind if I do.
JACK
LaRiviere's having a hell of a time in there. Master of fucking ceremonies.
WADE
Where's that gun you were bragging on today?
Jack stops over to his double - parked burgandy pickup , removes a Browning BAR .30 / 06 with a scope , hands it to Wade .
JACK
No brag. Just fact.
WADE
( admires gun . )
Got you for - 450, 500 bucks?
( passes it to Frankie . )
FRANKIE
Nice.
JACK
( to Wade . )
See you got Jill tonight. How'd you manage that?
WADE
( turns . )
Do n't forget to move your truck.
( walks inside . )
INT. TOWN HALL - NIGHT
On stage , LaRiviere arranges the contest winners . A fairy godmother with a wand beams while , nearby , a hobo writhes in his mother 's grip - a hard loser . Wade looks for Jill , first among the winners , then among the losers ; she 's nowhere to be found . He heads toward a hall leading to the restrooms . Jill stands alone in the corner next to the pay phone , tiny , forlorn . Wade realizes at once he was wrong to leave her before she had found a friend .
WADE
Some party, huh? Sorry I lost sight of you. I had to step outside for a smoke. You find anybody you know here? There must be some kids you used to know from school. You want to go tomorrow? See your old teachers? Be more fun than hanging out with me all day.
JILL
No.
WADE
No what?
JILL
( lifts mask atop head . )
No I did n't see anybody I know. No I do n't want to go to school here tomorrow. I want to go home.
WADE
You are home. There are lots of kids you still know here.
JILL
I do n't want to be here. Do n't worry, I love you, Daddy, I do. But I want to go home.
WADE
( sighs . )
Jesus. Listen, Jill, tell you what. Tomorrow morning, you still want to go home, I'll drive you down. I'll get off work or something.
JILL
( pause . )
I called Mommy.
WADE
What? You called Mommy? Just now?
JILL
Yes.
WADE
Jesus, why?
JILL
I. because I want to go home. She said she'd come and get me.
WADE
Come and get you! Shit! It's a damn half hour drive each way. Why did n't you talk to me about it first?
JILL
See, I knew you'd be mad.
WADE
Yeah. Yeah, right, I'm mad. What'd you tell her, for Christ sake?
JILL
I told her I wanted to come home. Daddy, do n't be mad at me.
WADE
Well, I guess I am. I planned this, I planned all this, you know. I mean, it's sort of pathetic, but I planned it. You should n't have called your mother.
( takes her arm . )
C'mon, we're gon na call her before she leaves.
EXT. POLICE OFFICE - NIGHT
Wade leads her to a frosted - glass door reading `` POLICE '' , enters . Inside , he flips on flourescent light , dials the desk phone . More utility room than office . He waits . There 's no answer . Jill looks down .
WADE
She's gone already!
( hangs up . )
Gone already! Could n't wait.
JILL
Yes.
WADE
That's all you got to say? `` Yes''.
JILL
Yes.
WADE
She wo n't be here for a half hour. Think you can stand it that long?
JILL
Yes.
WADE
Where do you expect to wait for her? Obviously downstairs with the other kids is n't good enough.
Jill sits in a chair facing the dark window pane .
WADE
Sit right there by yourself if you want. Wait for her by yourself. That's fine with me. Just dandy. I'm going downstairs.
JILL
That's fine with me too. When Mommy comes, tell her I'm up here.
Wade Whitehouse stalks out .
EXT. TOWN HALL - NIGHT
Wade steps outside , notices Jack Hewitt and his kewpie - doll girlfriend HETTIE , 20 , sitting in the cab of his double - parked pickup , sharing a joint , talking to LaCoy alongside .
WADE
I thought I told you to move that truck!
JACK
Relax, Chief. We're leaving. You wan na toke?
WADE
( steps over . )
You got ta be more careful about that shit. Gordon or one of those guys sees you smoking that wacky tabacky around me they'll expect me to bust you. And I'll be outta a job.
JACK
Some job. Here, have a hit. Do n't be such a hardass. I know you got problems, but everybody's got problems.
( offers joint . )
WADE
Not here.
LaCoy laughs : that Jack Hewitt , some guy . Wade holds his aching jaw . He looks at Jack 's young athletic body , his pretty girlfriend , envies him .
JACK
Well, c'mon, then. Get in and we'll take a little ride, my man.
Wade looks up to the window where Jill waits , walks around the front of the truck , gets in .
INT./EXT. JACK'S TRUCK - NIGHT
Jack 's high - bodied pickup growls in low gear as it drives past Merritt 's Shell station toward Saddleback Ridge . Jack lowers the radio as Wade asks him about deer season ; Hettie leans forward to hear the music .
JACK
Got a job first thing in the morning, first day of season. Saturday I'll hunt for myself. Twombley something. - Er -
WADE
Evan. He's a mucky - muck union official from Massachusetts. You're lucky.
JACK
Do n't know about lucky. The guy's a full - blown asshole. Pay's good, though. $ 100 a day. I got to guarantee a kill, of course. Which I can do. There's some monster bucks hiding out up there.
WADE
How'd you get the job?
JACK
Gordon, he's always got some angle working. He wants to keep Twombley happy, I'm his boy.
Wade grimaces as he passes the joint back .
HETTIE
What's wrong with you?
WADE
Toothache.
( to Jack . )
You should get close to him. Make yourself irreplaceable. Guy's loaded.
JACK
Like you and Gordon?
WADE
Right. The sonofabitch could n't get along without me.
JACK
( laughs . )
Yeah, he'd go broke tomorrow if you quit him.
WADE
( laughs . )
Right!
A car flashes past .
JACK
Bastard's got his high beams on.
WADE
( watching . )
Shit.
HETTIE
What?
WADE
My ex - wife Lillian and her husband. That was them in the Audi that just passed us.
JACK
Audi's a good car.
HETTIE
What's she up here for?
WADE
Aw, shit, she's here to get Jill. Me and Jill had a little argument. Jack, I got to get back, get back to town. Move this thing, will you? See if you can get back to the Town Hall before they get there, okay?
JACK
Piece of fucking cake.
Jack brakes , wheels the 4x4 around , heads back to town .
EXT. TOWN HALL - NIGHT
Most parents have left or are leaving with their costumed children . Hewitt 's burgundy pickup breaks alongside the Audi . Wade swings open the passenger door , jumps to the ground :
WADE
Lillian!
LILLIAN
Where's Jill?
LILLIAN , 40 , attractive in an ankle - length hooded coat . Whatever pose Wade strikes , she strikes the opposite . Her dress and demeanor set her apart .
WADE
Me and Jill, we just had a little spat. She felt kind of left out, I guess, from not knowing some of the new kids -
LILLIAN
Where is she now? Is she in the truck with your friends?
Jack and Hettie neck inside the cab .
WADE
She told me she wanted to wait for you. Inside.
Jill at the window in her tiger mask . Lillian waves ; Jill motions she 'll be down .
LILLIAN
While you went off for a few beers with your friends? Is that Hettie Rodgers there, with whatzizname?
WADE
Yeah.
LILLIAN
She's grown up some, has n't she?
WADE
Oh, Jesus, lay off, will you? It looks like you've won this fucking round already, so lay off a little, for Christ's sake.
HORNER , 45 , Lillian 's new husband , thin with thinning hair and a Tyrolean hat , sees Jill at the entrance and heads toward her .
WADE
Horner! Leave her be. This's got nothing to do with you, so just act like the chauffeur. Got it?
HORNER
Wade. Nobody wants any trouble.
Horner greets Jill , walks her to the silver Audi . Passing parents , listening , give Wade a wide berth .
WADE
I do n't want her to go, Lillian.
LILLIAN
Do n't cause a scene. No one's trying to win any ` rounds'. Do n't make it any worse.
WADE
I'm not making it any worse. You are. Me and Jill could've worked this thing out. It's normal, it's even normal for me to get a little touchy about it. Believe it or not. How do you think this makes me look, treating her like some tragic victim or something?
Horner opens the car door for Jill , shuts it . Wade shoves him :
WADE
Just wait till we're through, goddamnit!
Horner 's hat falls . Lillian , icy , stares at Wade . He backs off . Wade sometimes wonders : how 'd Lillian Pittman of Lawford , N.H. , get so much class ?
WADE
Do n't you say a word. I did n't hit him. I'm not going to hit anybody.
Horner sits behind the wheel . Lillian silently stares Wade up and down , gets in the car beside Jill . The automatic locks latch as the Audi drives away . Its taillights merge with vanishing traffic . Wade looks down , picks up Horner 's dark green Tyrolean hat , examines it , as if unsure of its function . Wade walks toward Town Hall . MARGIE FOGG , exiting , greets him :
MARGIE
New hat?
( no answer . )
Jill's up, I see.
WADE
( vague . )
For a while.
MARGIE
How's she doing?
WADE
Okay. She's fine.
MARGIE
You two want to do anything tomorrow and need a third party, give me a call, okay? I'm off.
NICK WICKHAM , 45 , Marg 's boss , passes by :
WICKHAM
Like hell you are. Tomorrow's first day of deer season. I'll need you at least in the morning.
MARGIE
( shrugs . )
Well, that's that.
NICK
( walks off . )
Take care, Wade.
WADE
You be careful of that little bastard. He's dying to get in your pants, you know.
MARGIE
( laughs . )
Do n't worry. I can protect my virtue. I mean, c'mon, Wade, give me a break.
WADE
See you tomorrow, maybe.
MARGIE
You okay?
WADE
Yeah.
Wade , lost in thought , continues toward Town Hall . At the door , LaRiviere , one of the last to leave , eyes him . Wade tosses Horner 's hat inside .
WADE
Tomorrow, Gordon.
LARIVIERE
Watch this snow. It's coming down tonight.
Wade nods as he lights a cigarette . Alone , he watches the last cars pull out . He holds his jaw .
EXT. WADE'S TRAILER HOME - DAWN
Pre - dawn light silhouettes a dozen weather - beaten mobile homes set off Route 29 . Snow continues to fall . A sheet of white stretches down Parker mountain .
INT. WADE'S TRAILER - DAWN
6:40 . A clock radio pierces the silence with classic rock . Wade Whitehouse rolls over , runs his tongue across mossy teeth , shuts off the music . He looks out the window , grunts : `` Shit ! '' He steps over to the phone by the frayed plaid couch , dials . Wade 's trailer is surprisingly neat , considering its owner smokes too much , drinks too much , eats take - out and rarely cleans up .
WADE
( on phone . )
Lugene? Wade. Hoya doin?
( fumbles for cigarette . )
Look, I was wondering, with the snow and all, if you got school today?
( lights cigarette . )
How the hell do I know? You're the principal. All I'm supposed to do is direct traffic from 7:30 to 8:30.
( listens . )
Yeah, okay, I'm sorry - I only just now saw it was snowing, that's all. My whole day is fucked. I got ta plow all day. If I do n't get over to LaRiviere's early enough, I'm stuck with the grader. I was just hoping you'd have called school off.
( beat . )
You check the weather bureau?
( acquiesces . )
Okay, I hear you. I'll be over in a bit.
( hangs up . )
EXT. WADE'S TRAILER HOME EARLY - MORNING
Jack Hewitt 's 4x4 passes Wade 's trailer , continues up 29 . Tire chains splice the path .
EXT. JACK'S TRUCK EARLY - MORNING
Jack behind the wheel . Beside him EVAN TWOMBLEY , 60 , fleshy , Irish , wearing brand new scarlet wool pants , jacket and cap . He feeds on the misfortunes of others .
TWOMBLEY
It's not enough snow, not for tracking the bastards. No advantage there, kid.
JACK
Do n't worry, Mr. Twombley, I know where those suckers are. Rain or shine, snow or no snow. I know deer. We'll kill us a buck today. Guaranteed. Before ten.
TWOMBLEY
Guaranteed, eh?
JACK
Yep. Right about now the does are holing up in the brush piles. The bucks are right behind them and we're right behind the bucks.
( gestures to gun rack . )
This gun gets fired before ten o'clock. Whether it kills a deer or not is more less up to you. I'll put you inside 30, 35 yards of a buck the first four hours of the season. That's what you're paying me for, ai n't it?
TWOMBLEY
Damn straight!
Hewitt looks at Twombley 's rifle : a Winchester M - 94 pump - action , custom carved stock and not a scratch on it . Never fired , at least not by Twombley .
JACK
Done much shooting with that rifle yet?
TWOMBLEY
( eyes him . )
Tell you what. You get me close to a big buck by ten, kid, there's another hundred bucks in it.
JACK
If you get it?
TWOMBLEY
Yeah.
JACK
You might not kill it.
TWOMBLEY
You think so.
JACK
You might gut - shoot it or cripple it for somebody else to find and tag. Ca n't guarantee that wo n't happen, especially with a new gun. I may have to shoot it.
TWOMBLEY
You take care of your end, kid, I'll take care of mine.
JACK
Mmm.
TWOMBLEY
You understand what I'm saying? I want a deer, a dead one, not a cripple or whatthefuck.
JACK
I get it.
( disdain . )
No sweat. You'll get yourself a deer and you'll get him dead. And you'll have him by coffee time.
TWOMBLEY
And you'll get your extra hundred bucks.
JACK
( smiles . )
Wonderful!
The pickup disappears behind a curve of pine and spruce trees .
EXT. SCHOOL - MORNING
Wade Whitehouse , wearing a reflective vest , waves a district school bus into the parking lot . Noisy , jostling grade schoolers emerge from the bus . Jill 's former classmates . Straight as a statue , Wade holds back traffic . Cars and trucks are backed up on the unplowed road . Horns honk and bleat ; a woman 's voice yells , `` Whitehouse , we ` ai n't got all day ! '' Wade , daydreaming , seems oblivious to the commotion . Oblivious - or just plum contrary . A shiny black BMW approaches , speeding , passing traffic on the shoulder . A man and a woman in a fur coat sit in front , two children in back . Whitehouse waves for it to stop . The BMW accelerates through the intersection , ignoring Wade and the traffic . It whizzes past , spinning Wade , and is quickly up the road , spewing ice and exhaust . Wade slips to one knee . Honking ensues ; every car goes where it wishes . Wade , brushing off snow , follows the last bus as it pulls in . LUGENE BROOKS , 60 , school principal , rushes over :
LUGENE
Are you okay, Wade? What was wrong? Why were you holding everyone up?
WADE
Did you see that sonofabitch in the BMW? He could've killed somebody.
LUGENE
Did you get his number?
WADE
I know who it is.
LUGENE
Good. Who?
WADE
Mel Gordon.
LUGENE
I still do n't understand -
WADE
From Boston. Evan Twombley's son - in - law - he was driving. I know where they're headed. Up the lake, Agaway. The old man's out deer hunting with Jack Hewitt, so they probably got some big weekend party planned.
Wade sets his face , thinking .
EXT. WOODS - DAY
Snowprints lead from Jack 's pickup to where he and Twombley walk , guns pointed skyward . They enter a line of trees . Jack watches Twombley walk ahead of him , wrapped like a huge infant in red bunting , crunching twigs underfoot . He looks from side to side , checks his gun , returns to watching Twombley . They 're alone .
JACK
Safety on?
Twombley nods , slips , thumps to the ground . His rifle lands silently . Jack sprints over , helps him up , safety latches the Winchester . Hands it back .
TWOMBLEY
I'm okay.
JACK
Follow close. We'll cross the next meadow.
Jack finds a path , one eye on Twombley :
JACK
I used to play ball.
TWOMBLEY
Yeah?
JACK
Drafted by the Red Sox.
TWOMBLEY
You played for the Sox?
JACK
Double A. New Britain.
TWOMBLEY
Oh.
JACK
Pitcher. `` Best ballplayer to come out of New Hampshire since Carlton Fisk.''
TWOMBLEY
Really.
JACK
They said.
TWOMBLEY
Hmm.
JACK
The only difference between me and that Clemens on TV is luck, shit luck.
TWOMBLEY
What happened?
JACK
Ruined my arm. Brought me along too fast. Why'd it have to be my fucking arm, I used to think. Then I realized it had to be somebody's fucking arm.
Jack waits for Twombley as they enter a meadow . Jack aims his rifle at Twombley as he approaches .
TWOMBLEY
Hey, Hewitt! Slow the fuck down!
Jack aims away , following an imaginary bird . Twombley steps alongside .
JACK
Safety on?
TWOMBLEY
Yeah.
JACK
This way.
TWOMBLEY
( walking loudly . )
Sun's gettin high.
JACK
( fingers to lips . )
Deers have ears too.
EXT. LARIVIERE CO. - DAY
Milky sky flatters LaRiviere Co. , a sprawl of well - digging , septic and snow plow equipment . Billboard declaimes : `` LARIVIERE CO. . - OUR BUSINESS IS GOING IN THE HOLE ! '' a motto repeated on every truck and piece of equipment . Wade 's green Fairlane is parked outside the office .
INT. LARIVIERE CO. - DAY
Wade , puffing a cigarette , passes ELAINE 'S -LRB- LaRiviere secretary -RRB- desk , her large red `` No Smoking '' sign , eases into an office modum chair . He unzips his jacket , slaps his cap against his thigh , spraying drops of melted snow . Gordon LaRiviere , speaking on the phone past a glass partition , calls to Wade :
LARIVIERE
Told you the snow was coming down. Take the grader.
WADE
Where's the plow?
LARIVIERE
Jimmy took it. Jack's out hunting with Evan Twombley.
WADE
His son - in - law damn near killed me.
LARIVIERE
( hangs up . )
Huh?
WADE
At the school crossing. In his BMW. Coulda hurt some kids. I'm gon na bust his ass.
LARIVIERE
Do n't go playing policeman.
WADE
What am I - a security guard? You hired me, you and your Selectman friends.
LARIVIERE
You do n't want the extra police pay?
WADE
I'm not saying that.
LARIVIERE
Get the grader. Go out 29 past Toby's. Do n't let Lillian get to you. She did n't belong here. That's why she left.
WADE
Fuck you.
LARIVIERE
That's what I love about a small town. You know everybody.
Wade exits toward the blue grader .
EXT. WOODS - DAY
Jack and Twombley walk through fresh snow . The hillside 's thick with pine trees . Twombley , red - faced , puffing , leans to speak to Hewitt . Jack lifts a finger to his lips :
JACK
Stay here, stand where I am.
Twombley peers over a slight cliff at a lumber trail twenty feet below . Jack points :
JACK
Fresh tracks.
( sniffs . )
Deer shit. Big one. Here's your buck, Mr. Twombley. I'll circle around.
TWOMBLEY
You only got a little while if you want your hundred bucks.
Jack zig - zags down the incline , while Twombley , gun poised , waddles along the edge . Jack stops fifty feet away , watches Twombley , a cartoon character . A stag pokes his nose through the pines , steps into a clearing . Jack aims his rifle , looks at Twombley . Twombley turns to see the buck , loses his footing , TUMBLES down the twenty - foot cliff .
EXT. TOBY'S INN - DAY
An open cab grader -LRB- `` Our Business Is Going In The Hole '' -RRB- sits in the rutted lot outside Toby 's , a beer joint with fake wood siding and 24 - hour neon sign . A four - wheel drive plow with the LaRiviere motto pulls in , parks beside the blue grader . JIMMY DAME , 40 , gets out , glances at the grader as he enters .
INT. TOBY'S INN - DAY
Jimmy joins Wade at the bar , calls for a beer . Frankie LaCoy bullshits with two long - haired locals at a nearby table ; their conversation drifts in and out . Country music plays through a broken juke box speaker . Wade touches his tooth , grimaces .
JIMMY
How's it goin?
WADE
Cold. How you think?
JIMMY
Sorry about that. Why's it every year, come first snow, you get stuck with the grader?
WADE
School. Traffic crossing.
( lights cigarette . )
I got ta quit these things.
JIMMY
What we doing after? Wells?
( Wade nods . )
Do n't work too fast. Business the way it is, Gordon's probably looking to lay me off earlier than usual this year. He's got too much money as it is. Why's it always the little guy that gets kicked in the butt in hard times?
Wade shrugs . LaCoy 's conversation has caught his ear . He turns to watch .
LACOY
That was no pisser. I'll tell you who was a pisser. Glen Whitehouse. There was a real pisser. He was mean normal, but when he drank it was like he burst on fire. Canadian Club. Always drank CC. One Christmas there's this cord of wood out back he forgot about and he decides to have his two boys stack it. Except it's been out back two months and it's snowed and rained and froze so now the wood's all iced in. He takes the boys. He was drunk, of course.
Wade 's face as the story comes to life :
EXT. WHITEHOUSE FARM - DAY (1964)
Thirty years before . GLEN WHITEHOUSE -LRB- `` POP '' -RRB- , 42 , pushes his boys , Wade -LRB- 13 -RRB- and Rolfe -LRB- 10 -RRB- , toward snow - covered lumps of firewood behind the barn . He 's drunk . The boys carry shovels and a pickaxe .
POP
Move it! Daylight in the swamps!
ROLFE
Pop, the kids are waiting for us.
WADE
( reproving . )
Rolfe.
POP
A lesson in work and its rewards. You'll thank me for this one day.
( to house . )
Sally, turn off that TV!
His sons chip at the wood . Hopeless . Frozen solid .
WADE
( to Rolfe . )
Just do it.
POP
Atta - go.
ROLFE
Please, Pop. Let's go back.
Wade notices his mother , SALLY , watching from the window .
POP
What are you, a quitter?
INT. TOBY'S INN - DAY
LaCoy roars with laughter .
LONG-HAIRED LOCAL
( puzzled . )
So what happened?
LACOY
Beats me. That's all I heard. Wade would know more about it.
( calls . )
Wade! We were just talking about your Old Man. `` What are you, a quitter!''
Wade grabs his keys , walks over . Jimmy follows .
WADE
Jesus, LaCoy, you got nothing better to do than sit around and tell stories. Pity is, some college student will come some day and believe this shit cause you're the only one dumb enough to talk to him. Take care.
Wade and Jimmy head out .
EXT. BACKROAD - DAY
Wade , shivering in the open grader , plows a narrow winding road . He lights a cigarette , exhales steamy smoke . LaCoy 's laugh triggers a memory :
INT. WHITEHOUSE FARM - DAY (1964)
The flashback continues : Glen Whitehouse pushes his sons inside . Sally steps from sight . Out back , the firewood lies frozen amid futile shovel marks .
POP
That was some job.
ROLFE
We'll work at it everyday, promise.
POP
I think we made the point.
WADE
( mumbles . )
You just needed a drink.
Pop , swigging Canadian Club , turns :
POP
What was that?
( no answer . )
You got something to say, say it! Say it!
WADE
( soft . )
Nothing.
POP
You no - good pup!
Rolfe runs from the room screaming , `` Mom ! ''
EXT. WICKHAM'S - DAY
The town 's 24 - hour restaurant . A bright new sign reads : `` Home Made Cooking . '' Wade 's grader out front .
INT. WICKHAM'S - DAY
Wade , eating lunch at the counter , talks with Nick Wickham :
WADE
It do n't look right.
NICK
What?
WADE
The sign. It looks like it's spelled wrong or something.
NICK
Fuck. Wade Whitehouse. It's people like you that keep this fucking town from prospering. Whatever somebody does to improve things around here, you got ta find fault with it.
WADE
I'm not finding fault. It's a good idea, good for you, good for the town. Real modern too.
NICK
This town sucks.
WADE
Aw, c'mon, I was only saying there's something wrong with `` Home Made Cooking'', that's all. The sign's fine. What it says is wrong.
Margie Fogg heads over , sits :
MARGIE
Who needs it? Everybody who comes here has been coming for years so what they need a sign for?
Nick goes back to work .
MARGIE
You okay?
WADE
Yeah.
MARGIE
I'm sorry about what I said.
WADE
Said what?
MARGIE
About you and Jill and needing a third person. She went back to Lillian?
WADE
Forget it.
MARGIE
( touches his arm . )
I'm sorry.
WADE
I'm going to start one of those custody suits. I do n't give a fucking shit. You know?
Wade 's eyes well up .
MARGIE
You do n't mean that.
WADE
Yeah. I mean that.
MARGIE
( arm around his shoulders . )
No you do n't. You're pissed, that's all. You ought to cool off for a few days then have a long talk with Lillian. You know? Work it out with her, tell her how you feel. Lillian's not out to get you.
WADE
The hell she is n't. Lillian's been trying to nail me to a cross since the day I met her. I'm gon na hire me a fucking lawyer from Concord and get this thing, this divorce thing, rearranged. I've been thinking about it a lot. It's like she owns Jill or something. Nobody owns nobody, especially not kids. And I pay her.
NICK
( calls . )
Marg!
WADE
That goddamned woman. Thinks she can cart Jill off and leave me alone like this. I'm more than pissed, Margie. I'm a whole lot more than pissed. I been that plenty and I know the difference. This is different.
NICK
Marg! You got orders!
Wade and Margie stand . She wants to kiss him .
MARGIE
Call me.
WADE
( genuine . )
Tonight. Let's get together.
MARGIE
Okay.
Wade meets Nick halfway to the door .
NICK
You talked to Jack?
WADE
Not since last night. He took a guy hunting.
NICK
The fucker shot himself. Ker - bang! That's what it sounds like. Not on purpose. I assume accidental.
WADE
( shocked . )
Jack?
NICK
The other guy.
WADE
Where. how'd you hear that?
NICK
CB. Little while ago. One of the boys on the way in picked up Jack on the CB calling for state troopers. I figured you'd know what really happened. The fucking guy kill himself? This Twombley, who the fuck is he, anyhow?
WADE
No, I. I've been out on the grader all morning. Twombley's summer people. Massachusetts. Friend of Gordon's. It was his idea for Jack to take him hunting.
( suddenly engaged . )
I got ta go.
Margie steps over as Wade exits .
NICK
He do n't care for you.
MARGIE
Stop being jealous.
EXT. LARIVIERE CO. - DAY
Elaine looks up from her desk as Wade pulls the grader into the lot , jumps out , heads for his car . Laviviere stands outside .
LARIVIERE
What's the hurry?
WADE
A hunting accident. Jack and Twombley.
LARIVIERE
Huh?
WADE
I figured you already heard.
LARIVIERE
( urgent . )
Twombley, Jesus. We got to get moving : I got to get up there. How would I know? C'mon, you drive. We'll take my truck.
They head for LaRiviere 's blue 4x4 Dodge .
INT./EXT. LARIVIERE'S PICKUP - DAY
Gordon and Wade drive up the same road Jack took Twombley . Wade fiddles with the CB . No use : static .
LARIVIERE
Fuck. Turn it off.
( Wade does . )
All you heard was there was some kinda accident?
WADE
Twombley's shot. I heard that. Not Jack. He's okay, I assume.
LARIVIERE
Fuck. You do n't know how bad or anything?
WADE
You mean Twombley?
LARIVIERE
Yes, Wade, I mean Twombley. Put out that cigarette. Fuck. Fuck. Fuck.
LaRiviere grunts disapproval as Wade slips the butt out his window .
WADE
He more than likely just shot himself in the foot or something. That's what usually happens.
LARIVIERE
I shoulda sent you instead of Jack.
WADE
I wish you had. I'd rather be deer hunting instead of freezing my ass on that fucking grader.
LARIVIERE
You ai n't the hunter Jack is. And he ca n't drive the grader worth shit.
WADE
Like hell.
Ahead , they see flashing lights and cars . A white emergency vehicle passes , jolting the pickup .
LARIVIERE
( frightened . )
That must've been Twombley. Jesus. I bet that was Twombley.
WADE
You want me to follow them to Littleton?
LARIVIERE
Let's get to the top and talk to Jack first. He'll know what happened. He fucking better. If this coulda been avoided, I'll put that kid's ass in a sling.
EXT. ACCIDENT SCENE - DAY
Wade pulls behind three state trooper cars . Jack stands joking with the TROOPERS , one of whom holds a German shepherd on a leash . LaRiviere and Wade jump out . Jack , suddenly serious , turns to LaRiviere :
JACK
You heard the news.
LARIVIERE
I hear Twombley got shot.
JACK
Yeah.
Wade walks over to trooper ASA BROWN , pets the shepherd .
BROWN
Watch the dog, Wade. Takes a mind to, he'll tear your fucking head off.
LARIVIERE
( to Jack . )
Bad?
BROWN
Thirty - thirty at close range.
LARIVIERE
Jesus.
WADE
Will he make it?
BROWN
( shakes head . )
D.O.A. Blew the bastard wide open. Had a hole in back you could put your head into. Pretty big hole in front too. You could've put your fist into that one.
LARIVIERE
( to Jack . )
You see it?
JACK
Nope. Heard it. We was n't far apart. I spotted this buck, then I heard the gun go off and Twombley was gone. I looked over the little cliff we was using for a stand and there the fucker was, deader'n shit. Called it right in.
LARIVIERE
This is gon na be one fucking mess to clean up. Twombley's son - in - law and daughter are up the weekend. Did n't you say you'd seen him, Wade?
WADE
I seen'em. Near ran me over.
BROWN
You wan na tell'em, Gordon? You knew the old man.
LARIVIERE
What the fuck. My day's already ruined.
( to Wade . )
Give me the keys. You can go back with Jack. You still got a shitload of plowing to do.
WADE
It ai n't done, if that's what you mean.
LARIVIERE
Something bugging you?
WADE
Yeah. A few things.
LARIVIERE
Well, right now we're not too interested. Finish up what you got ta do, then you can get bugged on your own time.
Brown walks off with shepherd .
LARIVIERE
( to Jack . )
Might as well take the rest of the day off. You look sort of fucked up. You've been paid for the day, anyhow, right?
JACK
Not exactly. I mean, he never paid me.
LARIVIERE
You'll get your money. Do n't talk to any newspapers about this. Twombley's a big deal down in Massachusetts, you know. Tell them your lawyer says you should n't comment.
JACK
Lawyer? I do n't need no lawyer, do I?
LARIVIERE
No, of course not. Just say it, that's all.
Wade watches LaRiviere get into his pickup , drive off .
WADE
Where'd Twombley get shot?
JACK
In the chest.
WADE
( offers cigarette . )
No, I mean whereabouts.
JACK
( points . )
A half mile in, along the old lumber road.
WADE
You bring him up yourself? That's a steep climb.
JACK
The ambulance guys lugged him up.
WADE
You stayed away?
JACK
Yeah.
WADE
Where'd you get the blood?
JACK
What blood?
WADE
On your sleeve.
JACK
Musta. How'd I know? What're you doing, playing cop?
WADE
I got ta make a report to Fish and Game. I was just wondering, that's all. What'd he do, to shoot himself, I mean?
JACK
Who the fuck knows? Musta slipped or something. I just heard the gun go off.
WADE
I never seen a man shot before. Not even in the service. Must be something.
JACK
Well, I did n't actually see him do it. Like I said.
WADE
Sure you did.
JACK
What?
WADE
Saw him do it?
JACK
What the fuck you telling me, Wade? I never seen the guy get shot, I told you that.
WADE
You musta seen him get shot. I know you did.
JACK
Let's get the fuck outta here. You're not making any sense, man.
They walk over to Jack 's burgundy pickup . Wade eyes the rifles in the gun rack .
WADE
There's your old twenty - gauge, and that there's the new Browning you was showing me last night. This must be Twombley's gun. Brand new. Very fancy tooling. Probably fired one time. It's a beautiful piece of work.
( touches it . )
But what the hell, Jack, I guess you deserve it. Right's right.
JACK
( starts engine . )
Yeah.
WADE
Twombley sure as hell wo n't be shooting it again.
JACK
He sure as hell wo n't.
INT. WADE'S TRAILER - NIGHT
Late . Wade Whitehouse , lying in bed with an icepack on his cheek , talks on the phone :
WADE
Rolfe.
ROLFE
( O.S . )
Wade?
WADE
Yeah, brother, look, I was calling cause - has there been anything on TV in Boston about a hunting accident with a guy named Twombley, Evan Twombley?
ROLFE
( O.S . )
There was something. It happened up your way.
WADE
Yeah, I know him - the kid that was with him. Maybe you do too. Jack Hewitt. He works for LaRiviere with me. He's my best friend.
ROLFE
( O.S . )
Wade, it's late. I know you're probably at Toby's, but I'm in bed reading. We got different habits.
WADE
No, not tonight. I'm in bed too. I'm calling because I need you to listen. You're supposed to be a smart guy. You're a professor. I got this theory. Jack says he did n't see Twombley shot but he did.
EXT. ACCIDENT SCENE - DAY
Wade 's theory - in black - and - white : Twombley 's footing slips . Jack turns to watch . Twombley 's gun hits frozen rocks , fires , blows a hole through his chest .
INT. WADE'S TRAILER - NIGHT
WADE
It'll come out Jack lied and the kid'll get hung for it.
ROLFE
( O.S . )
He was scheduled to testify for a committee investigating organized crime in New England and the construction business.
WADE
Who?
ROLFE
( O.S . )
Twombley.
WADE
No shit.
ROLFE
( O.S . )
You think Jack shot him?
WADE
Well, it was an accident.
ROLFE
( O.S . )
They were out deer hunting, right? Jack probably heard the gun go off, then came back and found the body.
EXT. ACCIDENT SCENE - DAY
Another theory : Black - and - white . Jack sees a figure run from Twombley 's body .
INT. WADE'S TRAILER - NIGHT
Wade shifts the phone from ear to ear :
WADE
Lillian was here. In Lawford.
ROLFE
( O.S . )
Huh?
WADE
The night before the shooting.
ROLFE
( O.S . )
How was she?
WADE
Picked up Jill. She was supposed to visit for the weekend for Halloween. She wanted to go home.
ROLFE
( O.S . )
Who?
WADE
Jill. I was thinking of getting a lawyer. Maybe you can help me.
ROLFE
( O.S . )
What happened?
WADE
A divorce lawyer. A custody lawyer. You know,'cause of Jill.
EXT. WADE'S TRAILER - NIGHT
TIMECUT : mobile homes .
INT. WADE'S TRAILER - NIGHT
ROLFE
( O.S . )
Do n't think about it. You're exhausted.
WADE
Yeah, I guess.
ROLFE
( O.S . )
Get some sleep.
WADE
I get to feeling like a whipped dog some days, Rolfe, and some night I'm going to bite back. I swear it.
ROLFE
( O.S . )
Have n't you already done a bit of that?
WADE
No, no, I have n't. Not really. I've growled a little, but I have n't bit.
Sound of GUNSHOT .
EXT. MOUNTAINS - DAY
Wade 's bubble - top Fairlane drives through snow covered hills .
EXT. MEL GORDON'S HOUSE - DAY
The Fairlane is parked outside a substantial summer house with a wide porch and frozen pond . The `` speeding '' BMW in the drive . Wade knocks on the front door . An 8 year - old boy answers the door . Wade speaks ; the boy goes back inside . MRS. GORDON , 30 , delicate , beautiful , wearing a dark green robe , comes to the door . Her eyes are red - rimmed . Wade has seen her before , but not this close . He feels awkward .
MRS. GORDON
Who are you?
WADE
I was. I'm Wade Whitehouse. I was wondering, is your husband here?
MRS. GORDON
He's asleep. We were up very late.
WADE
Well, yes, I'm. I want to say that I'm real sorry about your father, Mrs. Twombley.
MRS. GORDON
Mrs. Gordon. Thank you.
WADE
Well, yeah, I suppose. Sure. I just had a little business to settle with Mr. Gordon. I'm the local police officer.
MRS. GORDON
Something about my father?
WADE
Oh, no. No, it's a. it's a traffic thing. No big deal.
MRS. GORDON
Ca n't it wait, then?
MEL GORDON , 40 , dark - eyed , wearing a tartan robe , steps behind his wife .
MEL GORDON
Whitehouse. Next time, phone ahead.
WADE
How's that?
Mel folds his arms . His wife goes inside .
MEL GORDON
I said, ` Next time, phone ahead.'
WADE
Jesus Christ. Mr. Gordon, when I come all the way to serve somebody a summons, I do n't call ahead for an appointment.
MEL GORDON
What the hell are you talking about?
WADE
I'm issuing you a ticket. Moving violation.
MEL GORDON
Moving violation! I just got out of bed and you're telling me you're giving me a goddamn speeding ticket? Now? Are you nuts? Is that it, Whitehouse? You're nuts?
WADE
( writing . )
Yesterday morning, you passed a stopped school bus, which was flashing its lights, then you -
MEL GORDON
( stops Wade 's arm . )
Hold on!
WADE
( wrenches hand free . )
Do n't ever put your hands on me, Mr. Gordon.
MEL GORDON
You're talking about a goddamned ticket, from when I passed you at the school where you were deciding to hold up traffic while dreaming of becoming a traffic cop or something?
WADE
Do n't give me a hard time, Mr. Gordon. I'm just -
MEL GORDON
Doing your fucking job. I know. I watch television too.
WADE
Yes. Here's your ticket.
MEL GORDON
( refusing ticket . )
You get the hell out of my house now, asshole. And know this - you are going to be a lucky asshole if I have n't got you fired before the day is out. I can do it with one phone call, and I'm pissed enough to do it now!
Mel Gordon moves Wade out of the door , slams it . Wade steps away , looks back at the house . Mrs. Gordon watches him from the window .
EXT. MARGIE FOGG'S HOUSE - NIGHT
A wood frame house off the main drag . Snowing .
INT. MARGIE'S BEDROOM - NIGHT
Wade and Margie , post - coital :
MARGIE
Jack's sort of sensitive, I guess. More than most. But he'll be okay in a few weeks.
WADE
There's something funny about that shooting. There's lots funny about it, actually.
MARGIE
I heard he was drunk at Toby's last night and got in a fight with Hettie. He drove off without her.
WADE
I'm sure, I'm positive it did n't happen the way Jack says it did.
MARGIE
Jack's turned into one of those men who are permanently angry. He used to be a sweet kid, but it's like, when he found out he could n't play ball anymore, he changed. Now he's like everyone else.
WADE
I've been wondering if maybe Jack shot Twombley, instead of Twombley shooting himself. I've been wondering maybe Jack shot him on purpose.
MARGIE
Wade! How can you even think such a thing? Why would Jack Hewitt do that, shoot Twombley on purpose?
EXT. ACCIDENT SCENE - DAY
Black - and - white . A further theory : Jack bends over the fallen Twombley , holds a tarp to protect his chest from blood spray . He shoots Twombley with his own gun .
INT. MARGIE'S BEDROOM - NIGHT
WADE
Money.
MARGIE
Jack does n't need money.
WADE
Everybody needs money. Except guys like Twombley and that sonofabitch son - in - law of his. People like that.
MARGIE
Jack would n't kill for it. Besides, who would pay him?
WADE
Lots of people. Guy like Evan Twombley, Boston union official, probably got lots of people want to see him dead. The Government's been investigating his links with the Mafia.
MARGIE
( laughs . )
The Mafia hire Jack Hewitt?
WADE
No, I just know Jack's lying about what happened. He just seemed - I know that kid, what he's like inside. He's a lot like I was at his age.
MARGIE
You would n't have done anything like that, shot someone for money.
WADE
No. Not for money. But, if somebody'd given me half a damned excuse - I was pretty fucked up, you know.
MARGIE
( smiles . )
But not now.
Wade sits on the edge of the bed , sighs . Lapses into thought . Margie caresses his back , kisses it . He winces .
MARGIE
When you gon na get that tooth fixed?
Wade looks at her , brushes the hair off her face :
WADE
I can see what you looked like as a kid.
MARGIE
You knew me as a kid.
WADE
Yeah, but never what you looked like. Not really. Never really studied your face, like now. I was never able to see you as a kid when you were a kid until now, this way.
MARGIE
What way?
WADE
After making love. I like it. It's nice to see that in a grown - up person.
MARGIE
It's nice.
Wade walks naked to the kitchen , returns with two beers , one for Marg . He gets in bed . She , thinking , sips :
MARGIE
Do n't you think, do you still think it's a good idea to press this custody thing - just now?
WADE
I'm her father - supposed to be, but I'm not able to. Yes. Yes, I am. It may be the only thing in my life I've been so clear about wanting. Even if it takes a big fight.
MARGIE
Then. I guess you have to.
WADE
( silence . )
There's another thing I've been thinking about. I do n't know how you feel about the idea, Margie, because we've never talked about it. But I've been thinking lately, I've been thinking we should get married sometime. You and me.
MARGIE
( uncertain . )
Oh, Wade.
WADE
I've been thinking about it, that's all.
MARGIE
You've been married twice -
WADE
It was to the same woman. I was just a kid.
( Marg looks . )
It's not like a marriage proposal or anything, just a thought. Something for you and me to talk about and think about. You know?
MARGIE
Alright. I'll think about it.
WADE
Good.
He kisses her . His jaw winces in pain .
INT. WHITEHOUSE FARM - DAYBREAK (1964)
Glen Whitehouse , plastered , yells at Wade , age 13 :
POP
I've got sons, Goddamnit, oh my God, have I got sons! Wade? Rolfe? Elbourne? You love me boys? Do you love your Pop? Of course you do!
Wade , frightened , retreats as Sally enters in her housecoat .
SALLY
Glen, stop -
POP
Oh, Jesus, Sally, you are such a Goddamned good person! Capital G. You are so much better than I am, I who am no good at all, you who are a truly good person, like a fucking saint! Beyond fucking com - pare.
Glen reaches for the Canadian Club ; Sally tries to block his hand . Glen pulls his arm from hers , clipping her cheek with the bottle . Sally gasps , grabs her cheek . Wade pushes between them , protecting his mother .
POP
My big boy bursting out of the seams of his jeans!
Pop clenches his fist . Wade vainly looks Rolfe 's direction for help .
SALLY
Do n't!
POP
You little prick!
Pop 's fist comes crashing down . Wade raises his arms to protect himself . Wade 's arm bone CRACKS with the blow . Wade grimaces in pain .
SALLY
Glen, stop!
EXT. MARGIE FOGG'S HOUSE - DAY
Margie gets into Wade 's idling Ford .
INT./EXT. WADE'S CAR - DAY
Wade , washed and changed , drives ; Marg sits beside him . They head north . Deer rifles echo from the woods .
MARGIE
Did you tell them?
( no answer . )
That we were coming?
WADE
Do n't you think it's proper for a fella to introduce his girl to his parents?
MARGIE
I know your parents.
WADE
I just want to pick up my divorce papers. For the lawyer. It wo n't take long.
EXT. WHITEHOUSE FARM - DAY
Sun slants over Parker Mountain ; they pull up . The house , once white , is peeling . Polyurethane flaps over dark windows . The 1960 red Ford pickup sits long frozen in the open barn .
MARGIE
( getting out . )
Are you sure they're home? Did you call?
WADE
The truck's here. Looks like they've stayed inside since the snow started.
They stamp their feet on the porch ; Wade turns the knob . Locked . It seems abandoned .
WADE
Strange.
MARGIE
Think they're alright?
WADE
Of course! I would've heard.
MARGIE
How?
WADE
I do n't know for Christ's sake!
They round the house , try the back door . Wade knocks loudly . GLEN WHITEHOUSE , 70 , opens the door , stands inside . He wears long underwear , stained woolen trousers , slippers .
INT. WHITEHOUSE FARM - DAY
WADE
Pop, Pop, you okay?
Glen shuffles toward the stove ; they follow . He starts a fire .
WADE
Jesus, Pop, how can you stand the cold, dressed like that? Where's Ma?
POP
Sleeping.
WADE
You remember Margie Fogg?
POP
From Wickham's. Been a while. Like some coffee?
WADE
How you and Ma doing? Have n't seen you in town for a while.
POP
We're alright. Your Ma's sleeping. You want me to get her?
WADE
Yeah.
Pop goes to the bedroom .
WADE
( to Marg . )
Jesus. Nothing's changed around here.
Pop returns .
WADE
Where's Ma?
POP
She's coming.
MARGIE
Have you been heating the house? Not just with the stove.
POP
There's a furnace.
MARGIE
You're not using it today?
POP
It's broke I guess. There's an electric in the bedroom.
MARGIE
Maybe Wade should take a look at it. Your pipes'll freeze.
( Pop nods . )
Wade, would you do that?
Wade , concerned , pushes open the BEDROOM door :
WADE
Ma? It's Wade. Can I come in?
He steps inside . On the bed , Sally Whitehouse , wrapped in blankets , lies dead . He walks over , beside the small electric heater , touches her forehead . Her skin is chalk white .
WADE
Oh, Lord.
Margie steps into the doorway . Pop joins :
POP
Coffee's perked.
MARGIE
When did she die?
POP
Is? She's dead then?
WADE
Yeah.
POP
I checked on her. She had the electric heater. Cold do n't bother her as much as me. Which is why I give her the heater.
WADE
( kneels over mother . )
Is there something wrong with the phone?
POP
In the living room.
WADE
Why did n't you call and have the furnace fixed?
POP
Wade. I thought she was alright. Till this morning she was.
Pop goes to the dresser , pours himself Canadian Club . Wade opens his mother 's mouth , attempts respiration .
POP
It makes me sad.
MARGIE
Can -?
POP
( sits . )
Makes me sad it was her. Instead of me. I shoulda froze.
EXT. ROLFE'S CAR - DAY
ROLFE WHITEHOUSE , 38 , drives his four - door Toyota west : through Massachusetts , toward New Hampshire . His face bespeaks tolerance , objectivity - in short , education . It 's also Wade 's face .
ROLFE
( V.O . )
Wade called me, as usual, late at night. I knew it was Wade - no one else calls me at that hour - and I was ready to listen to another chapter in one of his ongoing sagas. There was the detective story concerning the shooting of Evan Twombley and the family melodrama about Wade's custody fight with Lillian. But not this time.
EXT. WHITEHOUSE FARM - DAY
Rolfe 's Toyota sits with other cars .
ROLFE
( V.O . )
Wade was telling a different story, or so it seemed then, one in which I myself was a character. He had called to tell me that sometime the previous night our mother had died, and he had discovered the body when he'd gone over to visit her and our father with Margie Fogg. Pop was okay, but kind of out of it. Worse than usual, maybe, though no drunker than usual.
INT. LIVING ROOM - DAY
Friends and relatives gather in the living room : Wade , Rolfe , Glen , LaRiviere , Margie , an aging couple , REVEREND DOUGHTY , 30 , thin , wearing glasses and an avocado - green suit .
WADE
( finishing a beer . )
Should n't we get this show on the road, now that Rolfe's here?
No one moves . LaRiviere checks his watch . Wade shrugs :
WADE
Pointless to stand around in church with nothing to do, I guess.
ROLFE
What about Jill? Is Lillian bringing her?
Margie 's face tells Rolfe he 's touched on a sensitive subject .
MARGIE
They'll be at the church and the cemetery.
Wade opens the frig , takes out another beer :
WADE
Anyone else want one? Rolfe?
ROLFE
No thanks. I do n't drink.
WADE
Yeah. I forgot.
LARIVIERE
How you holding up, Wade?
WADE
I'm fine, fine.
LARIVIERE
You Rolfe?
( Rolfe nods . )
I remember you from high school. You're a teacher now? Harvard?
ROLFE
B.U.
LARIVIERE
I have n't seen you around. I do n't suppose there's much reason for you to come this way.
Rev. Doughty calls for Glen Whitehouse , who has been sitting , silent , drinking , to join the others :
REV. DOUGHTY
Come, Glen, join us. Let's kneel for a moment of prayer before the service. Wade? Rolfe?
ROLFE
Well.
Wade , expressionless , looks at Rolfe . Rolfe , embarrassed , trying to do the right thing , helps his father kneel beside Rev. Doughty . The others join the circle .
WADE
This is nuts.
MARGIE
( reproving . )
Wade.
REV. DOUGHTY
Dear Heavenly Father, Lord of Hosts, we come to Thee to beseech Thy blessings and commend to You the soul of our beloved wife and mother, Sally Whitehouse, to be one with You and walk with You -
Pop mutters something . Wade , Rolfe and Marg exchange glances . He mutters louder :
POP
goddamned hair on her head.
He rises over LaRiviere , turns , exclaims :
POP
Not a one of you is worth a goddamned hair on that good woman's head!
Doughty freezes .
WADE
Pop! Do n't do this now, Pop.
Pop knocks back a drink as the others stand .
LARIVIERE
Maybe I'll head on over to the church.
REV. DOUGHTY
This is a difficult time.
Gordon and the couple file out . Doughty , Glen , Rolfe , Wade and Margie remain .
WADE
Listen, it's no big deal, Pop.
POP
( raising fists . )
Come on, smart guy. Tell how it's no big deal. Tell me how a single one of you is worth a single hair on that woman's head.
REV. DOUGHTY
Give up this demon.
POP
Go fuck yourself!
Wade , eyes blazing , squares off . Son to father .
ROLFE
Wade, just leave it.
POP
( mocking . )
Listen to your little brother. ` Wade, just leave it.' Candy - asses. All of you. That's what I've got for children. Candyasses. ` Wade, just leave it.' Praise the Lord! ` Just leave it!'
Wade stiffens . Pop cocks his fist . Marg , screaming , jumps between them as Pop swings . The old man bounces blows off Margie 's arms and shoulders . Wade pushes Marg aside , grabs his father in a bear hug and walks him backwards , flat against the wall . Wade releases him . Pop , frail , collapses to the floor . Wade kneels over him :
WADE
If you ever touch her again, I'll kill you. I swear it.
EXT. CEMETERY - DAY
Townspeople and friends cluster around the gravesite : Pop , LaRiviere , Jack and Hettie , LaCoy , Chub Merritt , Nick , Jimmy , Lillian , Jill and Horner , Rolfe , Wade and Margie .
ROLFE
( V.O . )
The day of the funeral was almost springlike. The snowline crossed New Hampshire west to east, retreating northward to Concord where it melted by midmorning.
Rev. Doughty finishes . The mourners exchange farewells . Wade looks at Lillian . Margie and Rolfe , escorting Wade 's father , let him be . He walks over , hugs Jill .
JILL
Dad.
WADE
( to Lillian . )
I'm glad you're here. Can you stay for a while?
Lillian hesitates , shakes her head ` no . '
WADE
You ever come to your father's grave anymore?
LILLIAN
No, not anymore. It's too. it's too far.
WADE
We should talk.
LILLIAN
We've done all our talking, Wade.
WADE
It's just.
LILLIAN
Let the past be.
( beat . )
I'm sorry about your mother. I liked her. You never know how much women like that suffer. It's like they live their lives with the sound turned off - and then they're gone.
JILL
( tugging at Lillian . )
Mom.
LILLIAN
She has an ice - skating lesson at four.
JILL
I'm taking ice - skating, Daddy!
He kisses Jill , says goodbyes , walks back to Rolfe and Margie . Ahead , LaRiviere walks with Jack .
EXT. WHITEHOUSE FARM - DAY
Wade and Rolfe leave Margie and Pop in the kitchen as they step out back .
WADE
Let's dig out Pop's truck before the skin of the snow freezes up.
They grab snow shovels propped against the porch , walk to the barn . Firewood 's stacked alongside .
INT. BARN - DAY
Shafts of light filter through the ramshackle structure . A snow drift nearly buries Glen 's red truck . Wade and Rolfe break away the packed snow .
ROLFE
What about Margie?
WADE
What about her?
ROLFE
Well, do you still plan to get married?
WADE
Yeah. She'll probably quit her job and stay out here with Pop. We ca n't leave him alone here, he'll set the damn place on fire. With Jill here a lot, it'll be good to have Margie around. Things are going to change in that department, by the way. I got a custody lawyer in Concord. I'm gon na see him tomorrow. All hell's gon na break loose, but it's worth it.
They finish clearing the snow . Wade gets in the truck , starts the engine . Rolfe waits for Wade .
WADE
I want to let the gas run out. I do n't want the bastard driving drunk, and he's always drunk now. After, we'll hide the keys.
ROLFE
Anything new about the shooting? Twombley?
WADE
( reluctant . )
I guess it was an accident, like everybody thinks.
ROLFE
Want to know what I think happened?
Wade opens the glove compartment , finds a bottle of Canadian Club . He unscrews the cap .
WADE
Find them everywhere.
( swigs . )
ROLFE
I think your first response to the Twombley shooting was the correct one.
WADE
Which is?
ROLFE
That it was n't an accident.
WADE
Then who shot him?
ROLFE
Well, your friend, I think. Jack Hewitt.
WADE
Motive. You got ta have a motive.
ROLFE
Money.
WADE
Who'd pay him that kind of money? Not the mob. They got their own guys. Specialists.
ROLFE
( agreeing . )
They would n't deal with a guy like Jack. Who else benefits if Twombley is suddenly dead?
WADE
( swigs . )
I do n't know. You tell me.
ROLFE
Okay. It's likely there are people in the union who do n't want Twombley to testify. They probably include his son - in - law who's vice - president and will probably be the next president. I read that in the papers. What's his name, Mel Gordon?
WADE
Yeah, the guy with the BMW I told you about. I did, did n't I?
ROLFE
Here's my theory. Twombley, unaware of illegal union loans or whatever, starts nosing around cause of the investigation and finds out. Finds out his son - in - law is involved.
WADE
So Mel Gordon would n't want a professional hit. That'd make the feds dig deeper. He wants an accident.
ROLFE
A hunting accident is perfect.
WADE
Shit, around here, you shoot somebody in the woods, you say it was an accident, you get fined fifty bucks and your hunting license lifted. Jack's probably saying the guy shot himself cause he ai n't got his deer yet and do n't want his license pulled.
The truck sputters , stops . Wade pulls the keys .
WADE
It's too neat. Things ai n't that neat. It makes me mad. That somebody can pay to kill somebody, his own father - in - law, and not be punished for it. Do n't that piss you off?
ROLFE
Not particularly.
WADE
Right's right, goddamnit! Do n't you care what's right?
ROLFE
I care about what happened. The truth. I'm a student of history, remember?
The sun is down . Wade tucks the keys in a knotted board .
ROLFE
I was thinking about that story you told me, about Pop and chopping the firewood out of the ice and after.
WADE
Yeah.
ROLFE
I hate to disappoint you, but I do n't think it happened.
WADE
Of course it happened. Why would I lie about it?
ROLFE
It may have happened, but not the way you said.
WADE
You think I would n't remember a thing like that?
ROLFE
It was n't me. I was n't there, but I heard about it. When I heard about it, it was about Elbourne.
WADE
We'd have to go digging in Vietnam to ask him.
ROLFE
And Elbourne and Mom took you to the doctor and told him you fell from the hay loft.
WADE
( laughs . )
Well, I never heard that one.
ROLFE
I remember clearly cause when I heard I became real careful around Pop. I was a careful child and I became a careful adult, but at least I was n't afflicted by that man's violence.
WADE
( laughs again . )
That's what you think.
Rolfe looks out : the cobalt sky has turned black .
ROLFE
I got ta head back. It's a long drive.
They walk toward the house .
EXT. LARIVIERE CO. GARAGE - DAY
Wade walks in as Jack and Jimmy prepare to head out , their drilling rig loaded with pipe . Gordon yells at Jack :
LARIVIERE
Put out that fucking cigarette!
Jack opens the truck ashtray .
LARIVIERE
Not there, asshole. Flush it!
Hewitt trudges to the john .
WADE
Morning, Gordon.
LaRiviere smiles , goes to his office as Wade hangs his coat in his locker . Jack cruises over .
JACK
I'm fucking out of here.
WADE
Lawford?
JACK
Out of this fucking job. This job sucks. Working outside in the winter sucks.
Jack gets in the cab of the drilling truck . Wade follows .
JACK
Open the door, will ya?
WADE
Why do n't you quit now, you want out so bad?
JACK
Open the door. We're late.
WADE
I mean it - you got enough money now. Head out for California. Surf's up, Jack, and you're digging wells in the snow.
JACK
What do you mean I got money? I'm as broke as you.
Wade grins , goes to activate the door .
WADE
Looney Tunes, Jack. Fucking Looney Tunes!
The drilling truck pulls out the garage , onto the road . From the opposite direction a black BMW slows , enters . Mel Gordon . Wade , all eyes and ears , watches . Mel Gordon parks in front of the office , gets out . Elaine calls :
ELAINE
( O.S . )
Mr. Gordon!
MEL GORDON
The boss in?
ELAINE
( O.S . )
Yes indeedy!
Wade flips the door switch . Mel Gordon and LaRiviere talk . Yeah .
EXT. CONCORD - DAY
The South Main Street office of J. Battle Hand , lawyer . Concord is a real town , with traffic , stores , people with places to go .
INT. LAWYER'S OFFICE - DAY
J. BATTLE HAND , 60 , sits in a wheel chair behind his desk . Wade , uncomfortable in work clothes , tries not to show it .
WADE
I screwed up the divorce. I agreed with everything she said. I wanted her to like me. I just want to be a good father.
HAND
It would help if you were married, if there was someone at home while you work.
WADE
I plan to. Soon.
HAND
How soon?
WADE
This spring.
HAND
Good. It would help if there were some drug or alcohol abuse on the part of your ex - wife. Sexual problems upsetting to the child.
WADE
It looks pretty hopeless, do n't it?
HAND
No, not exactly. I'll look at the divorce decree, see if we can get it redrawn. Interview your daughter. Jill, right?
WADE
Yes.
HAND
Fine. I'll need a $ 500 retainer. You can mail it.
WADE
Jesus. How much. how much will the whole thing cost?
HAND
Hard to say. If we go for custody, depositions, psychiatric evaluations, it could drag on. Ten or twelve thousand dollars. She could win on appeal. If we just want to get the visitation rights redrawn, assuming they're unduly restrictive, it would n't be more than twenty - five hundred.
WADE
Oh.
HAND
( sensing situation . )
You might be better off legally as well as financially to just go for the -
WADE
Yeah. I know. The custody suit thing was just my getting back at her. I'm not as dumb as I look. Whatever you say. I love my daughter.
( Hand nods . )
I'll send you the five hundred.
Wade stands ; Hand motors to the door . Wade puts his fingers in his mouth . His tooth throbs .
EXT. LARIVIERE CO. - DAY
Fairlane squad car in its customary spot .
INT. LARIVIERE'S OFFICE - DAY
Wade and Gordon speak . LaRiviere is relaxed , open : a `` new Gordon . ''
WADE
Sorry about the long lunch. My clutch is going out again.
LARIVIERE
You ever think of getting a new car, Wade?
WADE
On what you pay me?
LARIVIERE
Elaine! Call Chub Meritt and have him pick up Wade's car, fix the clutch.
ELAINE
( O.S . )
What!
LARIVIERE
( to Wade . )
Use the pickup. I'll bill it to the town. You're the town police officer and the town police officer should have a decent car. You want a new car or not?
WADE
What do I have to do for it?
LARIVIERE
Nothing, Wade, I've been thinking. You do n't get enough appreciation around here and it's time we changed things a little.
WADE
I saw Mel Gordon in here this morning.
LARIVIERE
So?
WADE
He say anything about the summons I tried to give him? Sonofabitch would n't accept it.
LARIVIERE
Wade, that was n't smart. Going out right after the man's father - in - law shot himself. Let it go. Call it a favor to me.
WADE
You? Why?
LARIVIERE
Mel's doing some business with me. It's nice to do favors for people you do business with. He was in a hurry. No big deal.
WADE
That was before Twombley was shot. Before he knew.
LARIVIERE
What's the difference? Take my truck, take a rest - stop worrying about Mel Gordon. Have you decided what to do with your old man's place - he going to stay there?
WADE
( takes out cigarette . )
Want to buy?
LARIVIERE
Do n't light that in here. I'm allergic.
WADE
I wo n't. You interested?
LARIVIERE
Maybe.
WADE
You and Mel Gordon?
LARIVIERE
Could be.
WADE
( voice rising . )
Always count on old Wade for a good screwing. Why should I always pay more, sell cheap? Why should you guys make all the money. You and Mel and Jack. Right's right.
Wade pulls out Bic , lights cigarette .
LARIVIERE
( waving arms . )
Out! Out!
Wade smiles , exits .
EXT. RT. 29 - NIGHT
Wade , driving Gordon 's 4x4 with running lights and roll bar , takes 29 toward Pop 's farm . A pickup passes him : Jack Hewitt 's burgundy Ford . Wade stops . Jack turns up Parker Mountain - the road to the accident scene . Something 's up . Wade turns and follows . Jack 's fresh tracks lead the way . Hewitt is driving fast . Wade keeps up . Jack , far ahead , approaches the accident scene . Stops . Night has fallen . Wade comes over a low rise , spots Jack 's pickup . He kills the lights , parks to block Jack 's exit . Silence . Footsteps in the snow . Wade watches , listens . What 's he doing ? Looking for evidence ? The burgundy pickup engine suddenly ROARS - Jack 's back and at the wheel - the tires squeal , spit snow as he spins past Wade . Wade starts his engine , gives pursuit . The pickups gun their engines , bumper to bumper , down mountain roads , lumber roads , rocky trails . Wild headlamps their only guide .
EXT. POND - NIGHT
A trail turns sharply past a shallow beaver pond - too sharply for Jack . He crashes through a stand of skinny birches straight out onto the pond . The pickup 's momentum carries it across the pond . Wade drops into first gear , follows , his headlights reflecting ice . He drives directly to Jack , bumper to bumper , headlight to headlight . Jack sticks his head out :
JACK
You crazy sonofabitch! You'll sink us both! Get off the fucking ice! Get off!
Wade does n't budge . Jack backs away ; Wade inches forward . Hewitt 's trapped . Trees behind him . Neither truck has traction on ice . Jack steps out , swinging his fists wildly . Wade gets out . Jacks grabs his rifle , points it :
JACK
I'll shoot you, Wade, I swear it! I'll fucking shoot you dead if you do n't move away from that truck!
Wade backs off .
JACK
Do n't move! I'll shoot you dead if you move!
Jack gets back in his pickup , maneuvers it slowly around the Dodge , crosses the ice and is gone . Wade stands in darkness . The only sound his idling truck , the wind . Then a third sound - the snap of ice . Ice cracks ripple from the middle of the pond . Ice planes tip around the truck . LaRiviere 's snazzy Dodge slips , descends , disappears . Headlights glow under water , then go out . `` Our Business Is Going In The Hole . '' Wade , alone in darkness , plops into the water , paddles to shore . Freezing , he finds Jack 's tire tracks in the snow . He bangs his jaw .
EXT. WICKHAM'S - NIGHT
A car drops Wade off . `` Home Made Cooking . ''
INT. WICKHAM'S - NIGHT
Wade enters the empty diner . His clothes frozen .
NICK
Your father's in back, Wade. Marg had to babysit him. She moved in with you, huh?
( looking closer . )
What happened?
Wade goes to the kitchen . Glen Whitehouse , washing dishes with Margie , looks up :
POP
Ah, the prodigal son.
NICK
About fucking time.
POP
Look, got me a new job, second cook and bottle washer!
MARGIE
What happened?
WADE
Jesus Christ, Pop, let's go home. I got waylaid. Sorry.
POP
The fuck you got waylaid. You follow your prick around like it was your nose.
NICK
( enters . )
Can it, Whitehouse.
( to Wade . )
Get him out of here. It was funny at first, but I'm tired.
MARGIE
There's clothes in the back.
Wade 's old man talks as he dresses :
POP
Let's go home? What home is that? Your home? My home? Let's have a talk about that. You're fucking sly, Wade. Your mother's dead so she ca n't make any excuses for you anymore! You got ta deal with me! No more sugar tit, asshole.
Wade , redressed , enters :
WADE
Pop, for Christ's sake!
POP
You think you can take me now? Come on, try.
Margie and Nick guide pere et fils to MARG 'S CAR . Nick speaks to her :
NICK
Marg, get out of this. Fast.
MARGIE
I ca n't.
Marg drives off .
INT. MARGIE'S CAR - NIGHT
Wade leans close to his father , his breath on his :
WADE
I wish you would die.
Pop spits directly into Wade 's face , raises his arm . Wade catches it , twists it . Margie shrieks :
MARGIE
Stop it! Stop it! Just stop it!
They do , glaring as they approach the farmhouse .
INT. BATHROOM - NIGHT
Wade looks in the bedroom , sees Margie sleeping , goes to the bathroom . He peers , stands before the sink , washes his hands slowly . Drying his hands , he looks into the mirror , startled by the image of his own face . A phone conversation plays over :
WADE
( O.S . )
No shit, Rolfe, I glanced up and there he was, only it was me. But it was like I had never seen myself before. It was a stranger's face. Hard to explain. You fly on automatic pilot, like I was doing all night, and you disappear.
INT. LIVING ROOM - NIGHT
Wade sits alone in the darkened room , speaking on the phone . His cigarette glows .
WADE
Then you accidentally see your body, or your face, or whatever, and you do n't know who the hell it belongs to. Strange. It's the business with the old man, I know, and how incredibly pissed I was at him, and also chasing Jack Hewitt like that, and the Goddamned truck going through the ice, not to mention Margie's being so upset - one thing on top of another.
ROLFE
( O.S . )
Wade, are you alright?
WADE
But you got ta hear this. You wo n't believe it. Mel Gordon had come by to visit LaRiviere and so now I'm in his office.
INT. LARIVIERE'S OFFICE - DAY
Wade 's theory expanded : Jack and Gordon argue in the office . An extension of Scene 55 . Like Wade 's other theories , in black - and - white :
LARIVIERE
He's on to us!
JACK
Shit! What are we gon na do?
LARIVIERE
Maybe I can buy him off. I got ta talk to Mel.
JACK
You ca n't buy Wade off.
LARIVIERE
We bought you.
JACK
That was me.
EXT. ALMA PITTMAN'S HOUSE - DAY
Wade drives Margie 's car toward LaRiviere 's . In his rear view window he spots Chick Ward driving Chub Merritt 's tow truck , lights blinking , pulling LaRiviere 's pickup like a dead fish . He pulls over , lets it pass . He 's parked in front of Alma Pittman 's house . A sign on the lawn reads , `` Alma Pittman , Town Clerk . '' He looks at the house , decides to go in . Wade walks up the shoveled steps , knocks on the door . ALMA , 60 , wearing plaid shirt and slacks , greets him with a smile :
ALMA
Wade! Come in! Have a cup of coffee.
INT. ALMA PITTMAN'S HOUSE - DAY
They step into Alma 's living room/office . She 's been keeping the town secrets for as long as anyone can remember .
WADE
You got yourself a computer, Alma.
ALMA
Been putting my files into it. You take sugar and milk?
WADE
No. Black.
They sit by her desk at the bay window . She studies him .
ALMA
Are you alright, Wade?
WADE
Yeah, sure. Why? I got this damned tooth, I got a few things bugging me, like everybody else. But I'm okay.
ALMA
Well, you look. sad. Upset. I do n't mean to pry. I'm sorry about your mother. It was a nice funeral.
WADE
Alma, I think there's some dirty business going on in this town.
ALMA
Always has been.
WADE
This is maybe worse than you and I are used to.
( beat . )
What I'm talking about, I'm talking about murder. Among other things.
ALMA
Who?
WADE
Evan Twombley, the union boss who got shot. Somebody murdered him.
ALMA
Who?
WADE
You know Jack Hewitt, the kid I work with?
EXT. MERRITT'S STATION - DAY
Gordon LaRiviere examines his damaged pickup outside the Shell station .
INT. ALMA PITTMAN'S HOUSE - DAY
Wade finishes :
WADE
if Jack told the truth, he could be free by the time he's my age.
ALMA
Sometimes things are simpler than you think. Let me ask you a question.
WADE
You do n't believe me?
ALMA
( crosses to her desk . )
About Jack? No. Have you checked out the tax bill on your father's farm lately?
WADE
I know he's due for the last two years. I was thinking of paying it when the insurance comes in.
ALMA
Has anybody offered to buy it?
WADE
As a mater of fact, yes. LaRiviere.
Alma punches her computer . Dozens of items flash up .
ALMA
This is all the real estate transactions in this town the last year. Most of it unused land. Most of it for little more than the back taxes owed.
She punches again : only three items .
ALMA
This is from three years ago. Some difference, huh?
WADE
( looking . )
What is the Northcountry Development Association?
ALMA
I went down to Concord to check it out. The president is Mel Gordon. The vice - president and treasurer is Gordon LaRiviere. Those boys are buying up the mountain, Wade. $ 364,000 this year. I believe that's out of LaRiviere's league.
WADE
Twombley involved?
ALMA
No.
WADE
He musta found out. They had to get rid of him. And Jack'll get blamed.
ALMA
All the figures show is that Gordon LaRiviere is going to be a very rich man using his position as Selectman. In a year or two, you wo n't recognize this town.
INT. LARIVIERE'S OFFICE - DAY
Wade storms in , shouting . Jack and Jimmy choose donuts by the file cabinet . LaRiviere 's behind his desk . Wade 's tooth makes it hard for him to talk without pain :
WADE
You sneaky sonofabitch! I've got your number now, Gordon! All these years I actually thought you were a decent man.
( pounds fists on desk . )
Can you believe that?
Jack , combative , looks at Wade . Gordon stands before Jack can speak :
LARIVIERE
Wade, you're done.
( extends hand . )
Let me have the shop keys.
WADE
( to Jack and Jimmy . )
You two, do n't you get it? He's using you. You're his slaves.
( soft . )
Jesus Christ, Jack, do n't you see that?
LARIVIERE
The key, Wade.
WADE
Yeah, you can have the key. It's the key that's kept me locked to you all these years. I give it to you with pleasure.
( passes key . )
Now I'm free. See how easy it is, Jack? All you got to do is give back what the man gave you, and you're free of him.
( turns to leave . )
I've got to call my brother.
Wade 's phone conversation plays OVER as he goes to Margie 's car .
WADE
( O.S . )
I know what it means. I'm just running out of ways to use it.
ROLFE
( O.S . )
For what?
EXT. ROUTE 29/MERRITT'S - DAY
Phone conversation continues as Wade drives to Merritt 's Shell station .
WADE
( O.S . )
To help, Jack, of course - and to nail those sonsofbitches, the Two Gordons. That's what Alma calls them. Jesus, Rolfe, whose side are you on?
ROLFE
( O.S . )
Take care of the little things first, the things that are distracting you from taking care of the big things. Call Chub Merritt, get your car back, call a dentist, for God's sake, and get your tooth pulled, do n't trust the locals, get your facts straight and go straight to the state police. Let them work on this.
CHICK WARD , 30 , Chub Merritt 's mechanic , greets Wade outside the station . We join their conversation :
CHICK
The good news is we have n't got to your car yet. The bad news -
WADE
Just tell me when you'll have it fixed.
CHICK
- the bad news is there's a problem with Gordon's truck what somebody drove through the ice last night. Figured you'd know something about that, Wade.
WADE
( beat . )
Yeah. I know about that.
CHICK
LaRiviere says he ai n't gon na pay for the fixin' of your car. A couple hundred for the clutch. I got some more bad news. Wan na hear it?
WADE
Tell me.
CHICK
Chub says you're fired.
WADE
He ca n't fire me. LaRiviere already did that this morning.
CHICK
He's a Selectman. The town. He said to tell you to turn your badge in and clean out your office. I'm supposed to pull the CB and police light out of your car. They're town property.
INT. WHITEHOUSE FARM - DAY
Wade , open phone book in hand , walks back and forth speaking into the receiver . Margie looks up from the KITCHEN table , an old newspaper in front of her .
WADE
What do you mean, you ca n't take me today? I told you -
The other party has hung up . Margie stands , upset . Wade slams the phone down .
MARGIE
What on earth is happening to you? Why are you acting this way?
WADE
It's my tooth! My fucking tooth! I ca n't even think anymore because of it.
MARGIE
I heard you talking. You got fired this morning, did n't you?
WADE
Look, that's temporary, believe me. There's so much shit gon na hit the fan the next few days, my getting fired by LaRiviere and Merritt wo n't matter a bit.
Pop enters from outside with firewood , passes .
WADE
I'll get another job. People are going to need me. After this is over, they'll make me into a Goddamned hero. You wait : you'll see, I'll deliver. I'll be the best father who ever lived. You need me, even Pop, for Christ's sake, he needs me. This town needs me. Maybe now they think they can send me howling into a corner like a kicked dog, but my God, it'll be different soon.
Margie 's face falls . She retreats from the room as he speaks , taking her coat and pocketbook . Wade and his old man , she thinks : just the same . Wade looks out the window and she gets in her car , drives off . Wade holds his inflamed jaw ; he can hardly see straight . Pop turns on the TV in the living room , boosts the volume . Pop comes back in the room , gets the Canadian Club , pours himself a drink .
WADE
Leave the bottle out!
Pop growls , goes back to wrestling on the TV . Wade walks to the cabinet , removes a pair of pliers from the tool drawer , goes toward the bathroom . In the BATHROOM , Wade opens his mouth - it hurts - takes a bite of whisky , sets the bottle on the toilet tank . He looks at the stranger in the mirror , reaches inside his mouth with the pliers . Prying his mouth open , Wade Whitehouse locks the pliers onto a large molar in the back , squeezes and pulls . He steadies himself , pulls again , yanking the pliers from his mouth . The bloody rotted tooth clatters in the sink . He takes another bite of whisky . Rolfe 's voice plays over :
ROLFE
( V.O . )
You will say I should have known terrible things were about to happen, and perhaps I should have. But even so, what could I have done by then? Wade never went inside. He lived almost wholly out there on his skin, with no interior space to retreat to, even in a crisis.
Wade takes another swig , sets the whisky bottle in the LIVING ROOM beside the TV set . Wade and Pop exchange looks . Wade exits through the KITCHEN , snatching his coat .
EXT. BARN - DAY
Wade spits blood into the snow as he grabs a gallon can of gasoline from under the porch . He crosses to the barn , prepares to pour the gas into the beat - up red truck .
EXT. CONCORD - DAY
Wade 's Ford pickup passes J. Battle Hand 's office , keeps going . Grass peeks through the snow at this lower altitude .
EXT. LILLIAN'S HOUSE - DAY
Wade parks the truck , walks past leafless bushes to a charcoal - gray split - level with pink shutters . He pushes the door bell ; the first notes of `` Frere Jacques '' play . Lillian opens the door ; Jill 's footsteps approach .
LILLIAN
Wait there. She'll be right out.
( looks back . )
Is there snow on the ground up in Lawford?
WADE
Yeah, lots.
LILLIAN
( to Jill . )
See. Get your boots.
WADE
Hi honey.
JILL
( going back inside . )
Hi.
LILLIAN
Have her back tomorrow night by six.
WADE
No problem. Look, I.
LILLIAN
You make me sick. I ca n't believe you've sunk so low.
WADE
Low as what? What have I done? It's bad to want to see your own daughter?
LILLIAN
You know what I'm talking about. For what you're doing to me and to the child you say you love so much. Love. You wo n't get away with it.
Jill returns , wearing parka and boots , heads out with her father .
LILLIAN
Bye, honey! Call me tonight if you want.
Wade and Jill approach the truck .
JILL
Are we going in this?
WADE
Yeah. My car's in the shop. This'll be fine.
JILL
It's pretty old.
WADE
It belongs to Pop.
JILL
Pop?
WADE
Grandpa. My father. It's his.
JILL
Oh.
Wade opens the truck door . Jill climbs in with her overnight bag , looks back to the door where Lillian watches .
INT./EXT. WADE'S TRUCK - DAY
The Ford heads north .
WADE
( winking . )
How about a Big Mac?
JILL
Mommy wo n't let me eat fast food. You know that. It's bad for you.
WADE
C'mon, we can always sneak a Big Mac. And a cherry turnover. Your favorite. What do you say?
JILL
No.
WADE
What do you want, then?
JILL
Nothing.
WADE
You ca n't have nothing, Jill. We need lunch. Mr. Pizza?
JILL
Same thing, Daddy. Mommy says -
WADE
I know what Mommy says. I'm in charge today, though.
JILL
Okay. So we'll get what you want. What do you want?
They stop for a light . Silence .
WADE
Nothing, I guess. I guess I can wait till we get home. Maybe we'll stop by Wickham's for a hamburger when we get to Lawford. That suit you? You always like Wickham's.
JILL
( looking ahead . )
Okay.
WADE
Fine.
Pause . Wade looks over at Jill and realizes she is crying .
WADE
Oh, Jesus, Jill, I'm sorry. What's the matter, honey?
She shoves her clenched fists hard against her legs .
WADE
Please do n't cry. Please, honey.
JILL
( regains composure . )
What are you sorry for?
WADE
I do n't know. For the food business. I guess. I just thought, you know, we'd sneak a Big Mac on Mommy, like we used to.
JILL
I want to go home.
WADE
( quick . )
You ca n't.
Jill looks away . Wade pulls a six - pack from under the seat , pulls off a beer , takes a swig .
JILL
( quiet . )
That's illegal, you know.
WADE
I know.
JILL
You're a policeman.
WADE
Nope. Not anymore. I'm nothing anymore.
JILL
Oh.
INT. WICKHAM'S - DAY
Wade and Jill enter Wickham 's , crowded with out - of - state hunters at the end of the deer season .
WADE
Jillie, you want a cheese grilled sandwich?
NICK
It's called a grilled cheese sandwich, you dub.
Wade , flaring , reaches across the counter and grabs Nick by the shirtfront ! Nick 's arm knocks over a cup of coffee . The diner goes silent . Hunters look up . Jill 's face is white ; she starts to cry . Wade looks over - it takes him a moment to react - bends down , comforting her . He wipes her nose with a napkin .
WADE
Jill, please, it's alright. Nothing happened.
JILL
I want to go home.
WADE
( rigid . )
Okay, let's go home, then.
They head for the door . Nick eases over :
NICK
( delicate . )
Wade, I got a message for you.
( Wade turns . )
Jack Hewitt, he's looking for you. Wants you to clear your stuff out of his office in Town Hall.
WADE
His office. You mean my old office.
NICK
Well, I guess - that's what he said.
WADE
He got his deer yet?
NICK
No, he's out now. Somewhere on the mountain. I'd stay away from him if I were you. He's real pissed.
Wade takes Jill 's hand , exits .
EXT. TOWN HALL - DAY
Jill waits in the old red truck parked outside . Wade emerges with cardboard boxes of office miscellany , rifles laid across top . He shoves the boxes and guns into the back of the pickup , gets in and drives off .
EXT. WHITEHOUSE FARM - DAY
Wade and Jill pull up the drive , past Margie 's car , into the barn . Her trunk and two side doors are open . Margie comes out back with a battered suitcase , goes to her car . She 's leaving . A plastic bag of clothes sits in the trunk . Wade and Jill get out , approach :
WADE
Going somewhere, Margie?
MARGIE
I'm just cleaning out some of this stuff that's built up. For the rummage sale. And some things for the cleaners. And the laundromat.
WADE
Do n't lie to me. You're leaving me, I can see that.
MARGIE
Do n't be silly. Hi, Jill.
Jill , suitcase in hand , looking pathetic , tries to smile . A sadness passes over Wade 's face .
WADE
( hurt . )
Marg.
Margie , watching him , quivers , starts to cry . She drops her suitcase , out of nowhere bawling like a baby . Wade goes over , puts his arms around her , pats her back . His face is racked . He , too , seems about to cry - if he could . In his arms Margie feels trapped , overwhelmed by Wade 's circumstances and terrible sadness . She pushes :
MARGIE
( crying . )
Leave me alone! Leave me alone!
She struggles in Wade 's grasp . Jill , frightened , wildly hits him from behind :
JILL
Leave her alone! Leave her alone!
Wade moves back like a bear , covering his face and arms . Jill , near hysterical , keeps after him , arms and fists flying . Wade stumbles backwards into the snow . Jill still swings . Margie dashes to intervene as Wade swings his arms wide . Jill flies into Marg . Her nose is bleeding . Wade 's caught her across the mouth and nose . She takes cover behind Margie , crying . Margie and Jill stand side by side , saying nothing . Wade looks up stunned , as if hit by a rock . Marg slowly backs away , her arms behind her holding Jill .
MARGIE
( to Jill . )
Get in.
Marg eases Jill into the front seat , closes the door , edges around the car slamming the trunk and gets into the driver 's seat . Wade stands .
JILL
I want to go home. Will you take me home?
MARGIE
Yes.
She closes the front door , starts the car . She backs out the drive . In her rear view mirror she sees the image of Wade receding , standing frozen , staring down at the snow . Pop emerges from the house , looks at his son , grinning . Wade looks at his old man , that dumb devilish grin plastered on his father 's face . Glen Whitehouse holds an empty whiskey bottle like a pistol . Hunters ' gunshots echo in the distance .
POP
( Satanic delight . )
You! By Christ, you - I know you.
( points bottle . )
Yeah, you goddamn sonofabitch, I know you. You're a goddamn fucking piece of my heart!
WADE
( dead . )
You do n't know me. You do n't know me!
( beat . )
So fuck you. Fuck you.
POP
Nah - nah - naw! You done done finally done it! Like a man done it. Done it right. I love you, you mean sonofabitch!
Pop holds up the bottle , pretends to fire it at Wade .
WADE
Love! What the fuck do you know about love?
POP
Love! I'm made of love!
WADE
Call it what you want.
POP
Everything you know is from me.
WADE
Yeah.
POP
Bang!
WADE
You and me.
Wade waves his old man off , trudges toward the barn .
POP
Where the Christ you going? You sonofabitch, you leave my fucking truck where it is! I need. Give me the Goddamn keys! I need to get me to town!
WADE
Crawl!
POP
Nothing in the fucking house to drink. Not a fucking thing. My house, my money, my truck - stolen!
WADE
I do n't know you. My goddamn father and I do n't know you.
Wade walks from the glistening snow into the dark barn .
INT. BARN - DAY
Wade unloads the cardboard boxes filled with his office belongings from the back of the truck and sets them on the ground . He gathers up his rifles . Suddenly ! A whiskey bottle SLAMS against the back of his head . He drops to his knees , the guns scatter . He looks up with child 's fear and guilt at his father . Glen Whitehouse hovers over him , huge and ferocious : a colossus , lifting the bottle like a jawbone . Wade cringes , scrambles for the dropped rifle . He grabs it by the barrel and , twisting around , swings it in a slow motion arc , smashing the edge of the wood stock against his father 's head . A cold hard CRACK of bone . Glen Whitehouse - shriveled again , no longer mythic - flies back like a stuffed dummy . He collapses beside the empty C.C. bottle . Wade , bleeding from the head , stands , staggers off Pop 's inert body , aims his rifle at the old man 's face .
WADE
I know you now. I love you too.
Wade bolts the rifle , flicks off the safety , fires - a loud CLICK . The gun 's empty .
WADE
( smiles . )
Joke. You scared me.
He kneels down , lovingly touches the old man 's face , caresses his lips , cheeks , nose , brows , smoothes back his stiff gray hair . Pop 's eyes are clouded . Blood suddenly drips from his ear to the ground . Wade rests the rifle against the truck . He bends over , slips his hands under his father 's body , lifts him up . He carries Pop over to the workbench , lays him out . Groping beneath the bench , Wade finds the kerosene lamp . He unscrews it , pours kerosene the length of Pop 's body . Wade takes out his cigarette lighter , ignites it , holds it for a moment , places it to Glen Whitehouse . Fire spreads the length of Pop 's body , bursting like a shroud of yellow flame . The oil - stained bench crackles ; flames shoot up the old weathered wall . Burning flesh and heat drive Wade backwards .
EXT. WHITEHOUSE FARM - DAY
Wade stands in snow and sunlight . The entire barn is engulfed in flames . Black smoke billows through the clear winter sky . Inside Glen Whitehouse , a pyre , burns .
ROLFE
( V.O . )
The historical facts are known by everyone - all of Lawford, all of New Hampshire, some of Massachusetts. Facts do not make history. Our stories, Wade's and mine, describe the lives of boys and men for thousands of years, boys who were beaten by their fathers, whose capacity for love and trust was crippled almost at birth and whose best hope, if any, for connection with other human beings lay in an elegiac detachment, as if life were over.
EXT. PARKER MOUNTAIN - DAY
Pop 's red truck is parked behind Jack Hewitt 's 4x4 on a snow - banked road . Wade , hunting rifle pointed up , traces Jack 's footsteps down the slope of the mountain .
ROLFE
( V.O . )
It's how we keep from destroying in turn our own children and terrorizing the women who have the misfortune to love us ; how we absent ourselves from the tradition of male violence ; how we decline the seduction of revenge.
Wade spots Jack poised in a spruce grove , watching for deer . Wade bolts his rifle , releases the safety , aims and FIRES . Jack , hit in the chest , falls bleeding between trees . Blood stains the snow .
ROLFE
( V.O . )
Jack's truck turned up three days later in a shopping mall in Toronto. Even without the footprints, the bullet, Wade's utter disappearance seemed evidence enough of his guilt.
INT. WHITEHOUSE FARM - DAY
Camera glides from room to room , glimpsing details , fragments of former times , as if this were an historical site or memorial . The walls resonate : lives were molded here .
ROLFE
( V.O . )
LaRiviere and Mel Gordon were indeed in business. The Parker Mountain Ski Resort is now advertised all across the country. Jimmy Dame tends bar at the lodge. Chub Merritt opened a snowmobile dealership, Nick Wickham runs the new Burger King. Margie Fogg moved to Littleton, nearer her mother ; Lillian and Jill went with Bob Horner to a new job in Seattle.
Out a window , workers gather charred timbers from the barn , throw them on a truck .
ROLFE
( V.O . )
We want to believe Wade died, died that same November, froze to death on a bench or a sidewalk. You can not understand how a man, a normal man, a man like you and me, could do such a terrible thing. Unless the police happen to arrest a vagrant who turns out to be Wade Whitehouse - or maybe he wo n't be a vagrant ; maybe he will have turned himself into one of those faceless fellows working at the video store and lives in a town - house apartment at the edge of town until his mailman recognizes him from the picture at the post office - unless that happens, there will be no more mention of him and his friend Jack Hewitt and our father. The story will be over. Except that I continue.
THE END
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BlackBerry_2023
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tt21867434
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BlackBerry
| 2,023 |
In Waterloo, 1996, Research in Motion (RIM) CEO Mike Lazaridis and his best friend and co-founder Douglas Fregin prepare to pitch their "PocketLink" cellular device to businessman Jim Balsillie. Lazaridis is bothered by the buzzing of Balsillie's China-manufactured intercom and fixes it before the meeting. Their pitch is unsuccessful, but after Balsillie is fired from his job due to his aggressive ambition, he agrees to work with them if he is made CEO of RIM and given one half of the company. They hesitate, but after confirming Basillie's suspicion that their deal with USRobotics was a malicious attempt to bankrupt them, they bring Balsillie in as co-CEO with one third of RIM for a cash infusion that requires Balsillie to mortgage his house. Balsillie arranges a pitch for the PocketLink with Bell Atlantic and forces Fregin and Lazaridis to build a crude prototype overnight, which he and Lazaridis take to New York. Lazaridis forgets the prototype in their taxi, leaving Balsillie to attempt the pitch alone. Lazaridis recovers the prototype at the last second and finishes the pitch, and they rebrand the PocketLink as the "BlackBerry". In 2003, Palm CEO Carl Yankowski plans a hostile takeover of the immensely successful RIM, forcing Balsillie to try to raise RIM's stockprice by selling more phones than Bell Atlantic's (now Verizon Communications) network can support. This crashes the network, as Lazaridis had warned, so Balsillie poaches engineers from around the world to fix the problem, as well as hiring a man named Charles Purdy as RIM's COO to keep the engineers in line, though this upsets Fregin, who values the casual and fun work environment he and Lazaridis had created. The new engineers fix the network issue under Purdy's strict management, and RIM avoids Yankowski's buyout. In 2007, RIM's upcoming pitch of the BlackBerry Bold to Verizon is thrown into chaos when Steve Jobs announces the iPhone. Balsillie, a hockey fan with a long-term ambition of owning an NHL team, is occupied with trying to purchase the Pittsburgh Penguins, forcing Lazaridis to pitch the Bold with Fregin instead. When it goes poorly, he panics and impulsively promises them the "Storm", a BlackBerry with a touchscreen. As he finally agrees with Purdy's suggestion to outsource the labor of the Storm to China, he insults Fregin during an argument. Fregin later quits RIM as a result. Balsillie becomes nervous when he sees the iPhone's projected sales and tries to arrange a meeting with AT&T's CEO, only to learn that the Penguins sale is being finalized that day. He prioritizes the Penguins but is rejected when the NHL owners reveal knowledge of his plan to move the team to Hamilton, which they learned of through his boasting to Yankowski. The US SEC raid RIM after learning that Balsillie hired the engineers in 2003 with illegally backdated stock options, threatening Lazaridis with legal action. Balsillie misses his chance to meet with AT&T's CEO, who snubs Balsillie by hinting that AT&T's partnership with Apple is predicated on the fact that data usage has superseded phone minutes as a priority. Balsillie returns to RIM to find that Lazaridis has exposed him to the SEC, leaving Lazaridis as the sole CEO of RIM. One year later, the Storms arrive from China, but Lazaridis finds them to be laden with bugs and can hear buzzing when he holds one to his ear. As he begins manually fixing the buzzing phones one by one, the closing titles reveal that: the Storms were almost universally inoperable and Verizon sued RIM to cover the financial loss. Lazaridis resigned as CEO in 2012, Balsillie avoided jail, and Fregin became one of the richest men in the world by selling his stock in 2007. At the height of its success, the BlackBerry phone made up 45% of the cell phone market and is now 0% in the present day, with BlackBerry phones no longer being produced.
|
<script>
<scene>
<scene_description>BlackBerry Written by Matt Johnson & Matthew Miller Shooting Script Based on, "Losing the Signal" by Jacquie McNish & Sean Silcoff TEXT ON SCREEN: The following fictionalization is inspired by real people and real events that took place in Waterloo, Ontario. CORPORATE CREDITS BEGIN AS MUSIC FADES IN. An authoritative male voice.</scene_description>
<character>MALE VOICE (O.S.)</character>
<dialogue>I'm thinking of the incredible breakthrough which has been made possible by developments of communications. Particularly, the transistor and above all the communications satellite. These things will make possible --</dialogue>
<scene_description>In Black and White archival footage we now see the man behind the voice, who some will recognize as famed science fiction author ARTHUR C. CLARKE.</scene_description>
<character>ARTHUR C. CLARKE</character>
<dialogue>-- a world in which we can be in instant contact with each other wherever we may be.</dialogue>
<scene_description>OPENING CREDITS BEGIN</scene_description>
</scene>
<scene>
<stage_direction>INT. DOUG'S 1984 HONDA CIVIC, WATERLOO STREETS - MORNING</stage_direction>
<scene_description>DOUG (35) drives a Brown 1984 HONDA CIVIC HATCHBACK with MIKE (35, grey hair) in the passenger seat.</scene_description>
<character>ARTHUR C. CLARKE</character>
<dialogue>It will be possible in that age, perhaps only fifty years from now, for a man to conduct his business from Tahiti or Bali just as well as he could from London.</dialogue>
<scene_description>Mike nervously shuffles CUE CARDS, rehearsing as the duo drive through Waterloo, Ontario.</scene_description>
</scene>
<scene>
<stage_direction>INT. JIM'S BMW, WATERLOO STREETS - MORNING</stage_direction>
<scene_description>We see ECU of JIM BALSILLE (35) driving through rural Waterloo. His Rolex watch, his Harvard MBA ring.</scene_description>
<character>ARTHUR C. CLARKE (O.S.)</character>
<dialogue>In fact if it proves worthwhile almost any executive skill, any administrative skill, even any physical skill, could be made independent of distance.</dialogue>
</scene>
<scene>
<stage_direction>INT. DOUG'S 1984 HONDA CIVIC, WATERLOO STREETS - MORNING</stage_direction>
<scene_description>Mike and Doug drive past a horse and buggy. It's farm country.</scene_description>
<character>ARTHUR C. CLARKE (O.S.)</character>
<dialogue>When that time comes, the whole world will have shrunk to a point --</dialogue>
</scene>
<scene>
<stage_direction>INT. JIM'S BMW, WATERLOO STREETS - MORNING</stage_direction>
<scene_description>Jim approaches his office.</scene_description>
<character>ARTHUR C. CLARKE</character>
<dialogue>-- and the traditional role of the city as a meeting place for man would have ceased to make any sense.</dialogue>
<scene_description>BACK TO ARTHUR C. CLARKE FOR HIS CONCLUSION</scene_description>
<character>ARTHUR C. CLARKE</character>
<dialogue>In fact, men will no longer commute. They will communicate.</dialogue>
</scene>
<scene>
<stage_direction>EXT. PARKING LOT, SUTHERLAND-SCHULTZ, WATERLOO - DAY</stage_direction>
<scene_description>Doug pulls into the busy lot and finds a VISITOR spot at the far end.</scene_description>
<character>DOUG</character>
<dialogue>We're not late!</dialogue>
<character>MIKE</character>
<dialogue>I know but, I am going to throw up.</dialogue>
<character>DOUG</character>
<dialogue>Okay!</dialogue>
<scene_description>Doug and Mike jump out of the car -- They open the trunk -- fumbling to grab a stack of PRESENTATION CARDS and EASEL.</scene_description>
<character>DOUG</character>
<dialogue>I got it. I got it.</dialogue>
<scene_description>Doug drops the EASEL and PRESENTATION CARDS on the ground.</scene_description>
<character>DOUG</character>
<dialogue>Shit.</dialogue>
<scene_description>Bends down, gathers.</scene_description>
<character>DOUG</character>
<dialogue>It's good.</dialogue>
<scene_description>Mike organizes his CUE CARDS as they run towards the main entrance of SUTHERLAND-SCHULTZ. We stay outside as Jim pulls into the frame with his BMW...</scene_description>
<character>SPORTS RADIO HOST (O.S.)</character>
<dialogue>...forward Matts Sundin is the sleepiest of all out there. He's a proven NHL talent but, not scoring like the Leafs need him --</dialogue>
<scene_description>Jim pulls into a parking space: "JIM BALSILLIE" and cuts the engine, killing the radio. Jim checks himself in the rearview mirror -- notices something -- turns around... ...sees a limousine unloading well-dressed European business executives into the parking lot...</scene_description>
</scene>
<scene>
<stage_direction>INT. RECEPTION, SUTHERLAND-SCHULTZ, WATERLOO - DAY</stage_direction>
<scene_description>Jim walks enters and turns to the FACTORY FLOOR towards the front desk.</scene_description>
<character>SUTHERLAND-SCHULTZ RECEPTIONIST</character>
<dialogue>Your 9 o'clock is here.</dialogue>
<character>JIM</character>
<dialogue>Where's Brock?</dialogue>
<character>SUTHERLAND-SCHULTZ RECEPTIONIST</character>
<dialogue>His office.</dialogue>
<character>YOUNG BUSINESSMAN</character>
<dialogue>Uh, Mr. Balsillie, you wanted to see this report I --</dialogue>
<character>JIM</character>
<dialogue>Talk to Shelley.</dialogue>
<scene_description>Jim keeps moving, passing Mike and Doug in his office.</scene_description>
</scene>
<scene>
<stage_direction>INT. JIM'S OFFICE, SUTHERLAND-SCHULTZ, WATERLOO - DAY</stage_direction>
<scene_description>Mike and Doug (wearing Sutherland-Schultz visitor name tags) sit opposite Jim's desk. It's a large office with horrific masks of all descriptions hanging on the wall behind a raw mahogany desk and a large picture window looking out over the office.. The easel is now set up with their presentation cards. Doug observes Sutherland-Schultz through the window. It's a bustling mid-90s workplace. Staff buzz around cream cubicles as fax machines chug out mile after mile of thermal paper. Every computer runs Windows '95. Mike practices his speech to himself off his CUE CARDS.</scene_description>
<character>DOUG</character>
<dialogue>I finally understand that quote. When you grow up, your heart dies.</dialogue>
<scene_description>Mike looks up as though he hears something...</scene_description>
<character>DOUG</character>
<dialogue>That's from Breakfast Club. John Hughes.</dialogue>
<character>MIKE</character>
<dialogue>Do you hear that?</dialogue>
<scene_description>We hear it now too. A STATIC DRONE, like the noise of an open channel on a walkie-talkie.</scene_description>
<character>DOUG</character>
<dialogue>Uhh, yeah. Are you talking about that buzzing?</dialogue>
<scene_description>Mike nods.</scene_description>
<character>DOUG</character>
<dialogue>Uh huh, it's an office. I'm sure they've got a million little buzzes.</dialogue>
<scene_description>They listen a beat longer.</scene_description>
<character>DOUG</character>
<dialogue>It's a subtle buzzing.</dialogue>
<scene_description>Mike has found it.</scene_description>
<character>MIKE</character>
<dialogue>There.</dialogue>
<scene_description>It's coming from an INTERCOM on the desk.</scene_description>
<character>DOUG</character>
<dialogue>You've identified it.</dialogue>
<scene_description>Mike picks up the intercom -- sees something --</scene_description>
<character>MIKE</character>
<dialogue>Mmmm.</dialogue>
<character>DOUG</character>
<dialogue>What?</dialogue>
<scene_description>-- shows Doug.</scene_description>
<character>DOUG</character>
<dialogue>"Made in China". The mark of the beast.</dialogue>
<scene_description>Mike clicks open the back of the INTERCOM.</scene_description>
<character>DOUG</character>
<dialogue>Uh... Ummm... Mike?</dialogue>
<character>MIKE</character>
<dialogue>I can't concentrate.</dialogue>
<character>DOUG</character>
<dialogue>And so what? You're going to fix this?</dialogue>
<scene_description>Mike starts unscrewing the intercom --</scene_description>
<character>MIKE</character>
<dialogue>I'm going to fix it.</dialogue>
<scene_description>Mike has got the screws off and the intercom open -- the STATIC is louder without the case to muffle it.</scene_description>
<character>DOUG</character>
<dialogue>Uh. Now's not the time. The meeting starts in like two minutes. Now's not the time. Now's not the time!</dialogue>
<character>MIKE</character>
<dialogue>Okay. I need like a, uh, paperclip.</dialogue>
<scene_description>Mike continues to mess with the INTERCOM.</scene_description>
<character>DOUG</character>
<dialogue>That's a guy's thing. That's a guy's fucking thing.</dialogue>
<scene_description>Doug stands up and checks over his shoulder to see if anyone is watching. Mike has got the screws off and the intercom open -- the STATIC is louder without the case to muffle it.</scene_description>
<character>MIKE</character>
<dialogue>It has no off switch. I mean, it's just always on. It's just always buzzing.</dialogue>
<character>DOUG</character>
<dialogue>Uh huh. Yeah. Um. Oh well -</dialogue>
<scene_description>Doug moves to the easel -- pulls off the paperclip holding their cards together -- hands it to Mike --</scene_description>
<character>DOUG</character>
<parenthetical>(whispers)</parenthetical>
<dialogue>Yeah, go fast.</dialogue>
</scene>
<scene>
<stage_direction>INT. BROCK'S OFFICE, SUTHERLAND-SCHULTZ, WATERLOO - DAY</stage_direction>
<scene_description>Jim walks in and puts his briefcase on the ground. RICK BROCK (50s, suit and tie) sits behind his desk on the phone.</scene_description>
<character>RICK BROCK</character>
<dialogue>You can tell him he's - He's not going to get steel. Alloys, Harry.</dialogue>
<scene_description>Rick sees Jim at his door.</scene_description>
<character>RICK BROCK</character>
<dialogue>I'll call you back.</dialogue>
<scene_description>Hangs up.</scene_description>
<character>JIM</character>
<dialogue>They're outside.</dialogue>
<scene_description>Rick checks his watch.</scene_description>
<character>RICK BROCK</character>
<dialogue>These guys really are Dutch, huh?</dialogue>
<scene_description>Jim smiles.</scene_description>
<character>JIM</character>
<dialogue>Uh. Listen, Rick, I've thought about this a lot and if these guys take the deal.. I wanna run the new division.</dialogue>
<scene_description>Beat. This took Rick by surprise.</scene_description>
<character>RICK BROCK</character>
<dialogue>Think you can run this place?</dialogue>
<character>JIM</character>
<dialogue>Yes. Yes.</dialogue>
<character>RICK BROCK (O.S.)</character>
<dialogue>Me too.</dialogue>
<character>RICK BROCK</character>
<dialogue>Just so we're clear.. If this thing doesn't go. We never had this conversation.</dialogue>
<character>JIM</character>
<dialogue>Great... Um... Thank you.</dialogue>
<scene_description>Jim begins to collect his briefcase. Rick interrupts him.</scene_description>
<character>RICK BROCK</character>
<dialogue>There's one adjustment. Apparently the Americans offered them some fancy tax-splitting plan. So, we need to show them the Canadian version.</dialogue>
<character>JIM</character>
<dialogue>I don't have that.</dialogue>
<character>RICK BROCK</character>
<dialogue>I know. Callaghan worked out something last minute. We're going to bring him in to explain it.</dialogue>
<scene_description>Jim looks back into the main office -- sees CALLAGHAN (20s, very nerdy, BIG glasses, low status)</scene_description>
<character>JIM</character>
<dialogue>Callaghan. Uh... You know what, I think that's a bad idea.</dialogue>
<character>RICK BROCK</character>
<dialogue>Why's that?</dialogue>
<character>JIM</character>
<dialogue>I'll tell ya what, Rick. Why don't you have Callaghan explain the tax thing to me and I'll just work it into my pitch? I think that's better.</dialogue>
<character>RICK BROCK</character>
<dialogue>Cal was up all night putting this together as a favor to me. He gets to present.</dialogue>
<character>JIM</character>
<dialogue>Rick. I mean.</dialogue>
<scene_description>Callaghan continues going over PRESENTATION NOTES with his ASSISTANT (20s)...</scene_description>
<character>JIM (O.S.)</character>
<dialogue>You're going to have this guy present to Stork? I mean, he looks like a... a fucking... a total goof.</dialogue>
<character>RICK BROCK</character>
<dialogue>Jim, I'm not asking.</dialogue>
<scene_description>Jim looks at Callaghan then back to Rick.</scene_description>
<character>JIM</character>
<dialogue>Okay. Great.</dialogue>
</scene>
<scene>
<stage_direction>INT. JIM'S OFFICE, SUTHERLAND-SCHULTZ, WATERLOO - DAY -</stage_direction>
<scene_description>CONTINUOUS Mike breaks the clip in half and bends it just so -- rips a wire off the intercom -- carefully replaces it with the paperclip, leveraging it against the inside of the ON button. The STATIC stops. Doug sees a man marching towards them...</scene_description>
<character>DOUG</character>
<dialogue>Umm... okay, bald, scary-looking guy walking towards us right now.</dialogue>
</scene>
<scene>
<stage_direction>INT. HALLWAY, SUTHERLAND-SCHULTZ, WATERLOO - CONTINUOUS</stage_direction>
<scene_description>The man is JIM BALSILLIE (35), hurrying down the hallway and bumping into an S-S employee.</scene_description>
<character>JIM</character>
<dialogue>Goddamn it!</dialogue>
</scene>
<scene>
<stage_direction>INT. JIM'S OFFICE, SUTHERLAND-SCHULTZ, WATERLOO - CONTINUOUS</stage_direction>
<scene_description>Mike screws the intercom back together -- puts it down on the desk -- shifts it to a perfect right angle...</scene_description>
</scene>
<scene>
<stage_direction>INT. HALLWAY, SUTHERLAND-SCHULTZ, WATERLOO - CONTINUOUS</stage_direction>
<scene_description>Jim almost spills his COFFEE.</scene_description>
<character>JIM</character>
<dialogue>Watch the fuck out!</dialogue>
</scene>
<scene>
<stage_direction>INT. JIM'S OFFICE, SUTHERLAND-SCHULTZ, WATERLOO - CONTINUOUS</stage_direction>
<scene_description>Doug scrambles to sit back in his seat.</scene_description>
<character>DOUG</character>
<dialogue>Oh shit! Sit down. Sit down.</dialogue>
<scene_description>Mike focuses on the now silent INTERCOM, looks to Doug.</scene_description>
<character>MIKE</character>
<dialogue>Much better.</dialogue>
<scene_description>Jim enters the office, slamming the door behind him. He takes a seat at his desk, collecting himself, looks across at them.</scene_description>
<character>JIM</character>
<dialogue>Yeah. What can I do for ya?</dialogue>
<character>MIKE</character>
<dialogue>Yes. Hi. Uh, I'm Mike Lazaridis, CEO of Research in Motion.</dialogue>
<scene_description>Mike awkwardly hands Jim his business card -- Jim takes it. Mike returns to his cue cards.</scene_description>
<character>MIKE</character>
<dialogue>We create various computer hardware systems using both custom-designed integrated circuits, as well as off- the-shelf components provided by major hardware vendors such as Intel, American Micro Devices, and Cyrix. Our clients have included: U.S. Robotics. Rogers Cantel. RAM Mobile Data--</dialogue>
<scene_description>Jim interrupts and picks up his phone.</scene_description>
<character>JIM</character>
<dialogue>Just a second.</dialogue>
<scene_description>Mike and Doug share a look. Doug motions a thumbs up to Mike.</scene_description>
<character>JIM</character>
<parenthetical>(on phone)</parenthetical>
<dialogue>Hey you're on Callaghan's desk, right? Okay, great. This is Jim Balsille. Brock wanted me to do a quick proof of that tax stuff before the meeting... could you bring me... Exactly... Okay great, thanks.</dialogue>
<scene_description>Hangs up -- pulse elevates --</scene_description>
<character>JIM</character>
<dialogue>Okay. Uh, what is this?</dialogue>
<character>MIKE</character>
<dialogue>So.. We, we had a shop teacher --</dialogue>
<scene_description>Doug attempts to move the PRESENTATION CARDS dropping them on the ground.</scene_description>
<character>DOUG</character>
<parenthetical>(under his breath)</parenthetical>
<dialogue>Fuck.</dialogue>
<scene_description>Doug continues to put the PRESENTATION CARDS back together on the easel. Jim watches the pair, unamused.</scene_description>
<character>MIKE</character>
<dialogue>Who told us - Oh. We had a shop teacher in high school named Mr. Micsinszki who told us "the person who puts a computer inside a phone will change the world."Well, we have a plan to piggyback on the unused bandwidth of the UHF spectrum to create an all-in-one mobile device.</dialogue>
<scene_description>Mike pauses -- Jim's intercom DINGS. Intercom light turns on.</scene_description>
<character>SHELLEY (INTERCOM)</character>
<dialogue>Callaghan's Assistant is here to see you?</dialogue>
<scene_description>Jim hits the button.</scene_description>
<character>JIM</character>
<dialogue>Send him in.</dialogue>
<scene_description>CLICK. NO STATIC. Doug nods to Mike. At least that worked. The door opens -- Callaghan's Assistant nervously walks in and hands Jim some documents.</scene_description>
<character>JIM</character>
<dialogue>Great.</dialogue>
<scene_description>Callaghan's assistant doesn't leave.</scene_description>
<character>CALLAGHAN'S ASSISTANT</character>
<dialogue>Sorry, Mr, Balsille. No one, uh. I didn't realize you needed a copy of this tax report --</dialogue>
<scene_description>Jim shoots him a look.</scene_description>
<character>JIM</character>
<dialogue>I'm in a meeting right now.</dialogue>
<scene_description>The Assistant gets it now -- leaves immediately -- Jim flips through the documents with interest... Doug steps in --</scene_description>
<character>DOUG</character>
<dialogue>So, basically, there is a free wireless internet signal all across North America and nobody has figured out how to use it. There's free internet in this room right now. It's like the Force. Sorry, have you seen Star Wars?</dialogue>
<character>JIM</character>
<dialogue>No.</dialogue>
<character>DOUG</character>
<dialogue>So, okay, picture a pager, a cell phone and an email machine all in one thing.</dialogue>
<scene_description>Doug rifles through the PRESENTATION CARDS until he finds the last one -- revealing concept schematics for a clunky smartphone, complete with a full clip-art QWERTY keyboard...</scene_description>
<character>MIKE</character>
<dialogue>Uh, we call it, PocketLink.</dialogue>
<scene_description>Jim hardly pays attention.</scene_description>
<character>JIM</character>
<parenthetical>(to the guys)</parenthetical>
<dialogue>Okay. Uh listen, we don't do anything like that here. We are a commercial manufacturing company. You want to talk to a VC guy.</dialogue>
<scene_description>...something catches Jim's eye -- Rick Brock passing by with Callaghan and two executives -- Jim picks up the tax notes -- stands --</scene_description>
<character>JIM (O.S.)</character>
<dialogue>And you need a better name.</dialogue>
<scene_description>-- walks out the door -- Beat. Mike puts his face in his hands despondent.</scene_description>
<character>DOUG</character>
<dialogue>You're going to cry?! Mike. Oh, it's just disappointment? You did great!</dialogue>
</scene>
<scene>
<stage_direction>INT. BOARDROOM, SUTHERLAND-SCHULTZ, WATERLOO - MOMENTS LATER</stage_direction>
<scene_description>A huge Sutherland-Schultz logo shines on the wall. Eight members of the Stork board (the Europeans from the limo) sit around a boardroom table. Jim stands in front of them.</scene_description>
<character>JIM</character>
<dialogue>Well, I saw that Rick sent the limo to pick you guys up. We must need this merger worse than I thought.</dialogue>
<scene_description>Rick laughs.</scene_description>
<character>JIM</character>
<dialogue>So...I Know we got a lot to cover, but um, I thought we should start with our tax strategy. Now, I'm sure you heard it from the Americans, but, let me assure you, we also know how to cheat on our taxes here in Canada. Okay?</dialogue>
<scene_description>Laughs from everyone but Rick and Callaghan. Jim starts writing numbers on the whiteboard -- Callaghan looks over at Brock like "what the fuck is he doing?" Brock narrows his eyes.</scene_description>
<character>JIM</character>
<dialogue>Here's what we can do: We run payroll out of Ontario, but we pay all our vendors from The Netherlands. Split that fucker right in half. The left won't know what the right is doing. Plus we get a nice little provincial kickback on manufacturing labor.</dialogue>
<scene_description>Rick sits in a look of disappointment.</scene_description>
<character>JIM (O.S.)</character>
<dialogue>We get a massive federal tex credit because they don't know whether we are private or public.</dialogue>
</scene>
<scene>
<stage_direction>INT. ELEVATOR, SUTHERLAND-SCHULTZ, WATERLOO - SAME TIME</stage_direction>
<scene_description>Mike and Doug wait at the elevator. Doug awkwardly holds their presentation cards. Mike is transfixed with the image of Jim across the office leading the pitch... Ding! The elevator opens. Both get inside. OPENING CREDIT SEQUENCE CONTINUES A cacophony of sounds and images from the mid-1990s</scene_description>
<character>WILLIAM SHATNER AS CAPTAIN KIRK</character>
<dialogue>Beam me aboard.</dialogue>
<character>COMMERCIAL ANNOUNCER</character>
<dialogue>Taken prisoner and held captive within the digital world of the computer itself.</dialogue>
<character>FROM BLADE RUNNER</character>
<dialogue>Hello?</dialogue>
<character>FROM 2001: A SPACE ODYSSEY</character>
<dialogue>Hello?</dialogue>
<character>FROM MIGHTY MORPHIN' POWER RANGERS</character>
<dialogue>So what you're saying is you just touch and talk.</dialogue>
<character>MARIO LOPEZ AS A.C. SLATER</character>
<dialogue>You can use you cellular phone to order me a pizza.</dialogue>
<character>PRIME-CO WOMAN</character>
<dialogue>And that includes fifty minutes of air time.</dialogue>
<character>LITTLE GIRL</character>
<dialogue>We'll page you.</dialogue>
<character>BILL GATES</character>
<dialogue>It's very hip to be on the internet right now.</dialogue>
<scene_description>HACK THE PLANET! HACK THE PLANE--</scene_description>
<character>STEVE JOBS</character>
<dialogue>I still think Apple has a future. The way out is not to slash and burn, it's to innovate.</dialogue>
<scene_description>TITLE CARD: 1996</scene_description>
</scene>
<scene>
<stage_direction>EXT. STRIP PLAZA, RIM 1, WATERLOO - DAY</stage_direction>
<scene_description>Doug's Honda Civic peels into a 2-storey plaza and parks. The lower level is retail, a Supermarket, Shopper's Drug Mart, flower shop and restaurants. Upstairs are professional offices. Dentists, lawyers and one lone tech startup, denoted by a small RIM placard in the window. Mike and Doug get out -- Mike starts walking towards the entrance.</scene_description>
<character>DOUG</character>
<dialogue>Okay, here's what I think. Mike, super simple, hit them with the "good news, bad news" routine. Good news - Bad news routine. They're going to say -</dialogue>
<scene_description>Mike walks ahead of Doug as he gathers the presentation cards from the backseat.</scene_description>
<character>DOUG</character>
<dialogue>Mike! Wait.</dialogue>
<scene_description>Doug catches up to Mike.</scene_description>
<character>DOUG</character>
<dialogue>Everything's going to be fine, we still have the U.S. Robotics deal. We're like... what did the cave say about Aladdin? Diamond in the rough?</dialogue>
<scene_description>Doug stops abruptly.</scene_description>
<character>DOUG</character>
<dialogue>Oh fuck!</dialogue>
<character>MIKE</character>
<dialogue>What?</dialogue>
<character>DOUG</character>
<dialogue>I forgot the easel.</dialogue>
<character>MIKE</character>
<dialogue>Oh, we have to change the name. Product needs a new name.</dialogue>
<character>DOUG</character>
<dialogue>You're giving that guy too much credit man. He hasn't seen Star Wars. He's bald. How much you want to bet they don't even mention the phone?</dialogue>
<scene_description>Mike opens the door...</scene_description>
</scene>
<scene>
<stage_direction>INT. MAIN OFFICE, RIM 1, WATERLOO - DAY</stage_direction>
<scene_description>The office is a disaster. Food wrappers, styrofoam coffee cups, random tools, circuit boards and mechanical drawings strewn all over the place.</scene_description>
<character>PRANAY</character>
<dialogue>Are you Office-Dad? Dude! Make a, make a.. Make a thing. Make a Scott sucks --</dialogue>
<scene_description>The desks are unfinished plywood balanced on cinder blocks.</scene_description>
<character>SCOTT</character>
<dialogue>I can't. I can't. I can't. That's why I'm using your computer.</dialogue>
<scene_description>Some tabletops are just doors taken off their hinges. Five RIM employees ALLAN, ETHAN, SCOTT, PRANAY & STEVE (20s, nerdy) are goofing off instead of soldering circuit boards.</scene_description>
<character>PRANAY</character>
<dialogue>Twenty-One Boy Canada.</dialogue>
<character>ETHAN</character>
<dialogue>That's me. Uh, this guy is telling me about sniffing his, sniffing his --</dialogue>
<scene_description>They all turn in unison as Mike and Doug walk in.</scene_description>
<character>ALLAN</character>
<dialogue>Did they buy the phone?</dialogue>
<scene_description>Beat.</scene_description>
<character>DOUG</character>
<dialogue>So... we got good news and bad news.</dialogue>
<scene_description>Beat.</scene_description>
<character>DOUG</character>
<dialogue>Uh, okay.. The bad news is that -- Yeah, the presentation -- We were not heard and they did not understand the product and so they did not buy the phone.</dialogue>
<scene_description>Beat.</scene_description>
<character>MICHAEL</character>
<dialogue>What was the good news?</dialogue>
<character>ALLAN</character>
<dialogue>What's the good news?</dialogue>
<character>DOUG</character>
<dialogue>Emergency movie night. Right now. Stephen Spielberg's Raiders of the Lost Ark. Letterboxed --</dialogue>
<scene_description>Engineers jump up with excitement simultaneously.</scene_description>
</scene>
<scene>
<stage_direction>INT. MAIN OFFICE, RIM 1, WATERLOO - LATER</stage_direction>
<scene_description>The office is dark. Windows covered. A TV/VCR cart like in elementary school sits at the front of the room playing Indiana Jones: Raiders of the Lost Ark (Widescreen). Above the TV hangs a dot matrix banner: "Movie Night".</scene_description>
<character>INDIANA JONES (O.S.)</character>
<dialogue>You said their headpiece had markings only on one side, are you absolutely sure? Belloq's staff is too long.</dialogue>
<scene_description>The entire RIM staff watch in anticipation as Harrison Ford and John Rhys-Davis realize that Belloq's staff is too short. The whole room shouts in unison with the movie...</scene_description>
<character>EVERYONE</character>
<dialogue>They're digging in the wrong place!</dialogue>
<character>DOUG & ALLAN</character>
<dialogue>Bad dates!</dialogue>
<character>INDIANA JONES (O.S.)</character>
<dialogue>Bad dates.</dialogue>
<scene_description>The only person not having the time of his life is Mike, who sits at his desk at the back of the room trying to work...</scene_description>
<character>PRANAY (O.S.)</character>
<dialogue>Couple of bad dates.</dialogue>
<character>DOUG</character>
<dialogue>Couple bad dates. Couple bad dates.</dialogue>
<character>STEVE</character>
<dialogue>That was there, why'd they go the other one? That was right there.</dialogue>
<scene_description>Mike eats fruit from a Tupperware and brainstorms new names on a legal pad. Byline, Blade, Outrigger...</scene_description>
<character>DOUG (O.S.)</character>
<dialogue>Mike, you're missing your favorite movie, man!</dialogue>
<scene_description>We see a CU of a framed newspaper article from the Waterloo Region Record on the wall beside him. It's a black and white photo of a young Mike and Doug standing next to twin televisions with "ADVERTISE ON ME" scrolling across them. The headline reads "The Drop-Out Boy Genius".</scene_description>
</scene>
<scene>
<stage_direction>INT. JIM'S OFFICE, SUTHERLAND-SCHULTZ, WATERLOO - EVENING</stage_direction>
<scene_description>The lights are off. A JANITOR pushes his cart. One by one Jim takes his masks down from the wall -- sets them carefully in a cardboard box. Jim collapses in his chair. He looks over at the presentation easel -- sees one forgotten slide from Mike and Doug's presentation -- the image of the phone with the keyboard on it...</scene_description>
</scene>
<scene>
<stage_direction>EXT. STRIP PLAZA, RIM 1, WATERLOO - DAY</stage_direction>
<scene_description>Jim pulls into the plaza.</scene_description>
<character>SPORTS RADIO HOST (O.S.)</character>
<dialogue>Toronto wins it by a count of five- to-four. Doug Gilmour had 3 assists. Felix Potvin finished the game with thirty saves including three in the extra period, but obviously the story was...</dialogue>
</scene>
<scene>
<stage_direction>INT. MAIN OFFICE, RIM 1, WATERLOO - DAY</stage_direction>
<scene_description>Mike sits at his desk trying to plug in his NEIKO HILTEX MAGNIFYING LIGHT -- he can't find the right power adapter, but there is chaos in the office. A game of COMMAND & CONQUER is being played.</scene_description>
<character>STEVE</character>
<dialogue>Are they top or bottom left? Send, Send everything, let's take a gamble, let's go for Scott --</dialogue>
<character>MIKE</character>
<dialogue>Anyone have a Type-C Coax?!</dialogue>
<character>SCOTT</character>
<dialogue>They don't even know. I'm not even top left.</dialogue>
<character>DOUG</character>
<dialogue>Scott, you're attacking me!</dialogue>
<character>SCOTT</character>
<dialogue>What?!</dialogue>
<character>DOUG</character>
<dialogue>You're attacking me.</dialogue>
<character>SCOTT</character>
<dialogue>Oh, I'm sorry.</dialogue>
<character>STEVE</character>
<dialogue>Send the dogs in. Send the dogs in. They're rushing --</dialogue>
<character>DOUG</character>
<dialogue>Bottom Right.</dialogue>
<character>SCOTT</character>
<dialogue>I'm sending another, another.</dialogue>
<character>DOUG</character>
<dialogue>Dude, they got rockets! I got run down.</dialogue>
<scene_description>Mike is ignored by the gang, who are too distracted.</scene_description>
<character>MIKE</character>
<dialogue>Anyone have any Type-C Coax cables?</dialogue>
<scene_description>Doug detonates Steve's Command Centre. It's over.</scene_description>
<character>DOUG</character>
<dialogue>Oh, the plungers moving! The plungers moving, dude!</dialogue>
<scene_description>Doug runs to Steve's desk, yanks a CEREMONIAL TOILET PLUNGER off the top of his monitor, the monitor comes with it, smashing on the ground.</scene_description>
<character>DOUG</character>
<dialogue>Come on! Come on! Oh shit! I'm sorry boys but it's back!</dialogue>
<scene_description>Doug slams the plunger down on top of his monitor. It sticks.</scene_description>
<character>DOUG</character>
<dialogue>It's back!</dialogue>
<character>SCOTT (O.S.)</character>
<dialogue>You had them--</dialogue>
<character>DOUG</character>
<dialogue>Back!</dialogue>
<scene_description>The office erupts into cheers and laughter as Jim enters the office. After a moment he clears his throat. Beat.</scene_description>
</scene>
<scene>
<stage_direction>INT. MIDWAY DINER, WATERLOO - DAY</stage_direction>
<scene_description>Mike and Doug sit across from Jim in their usual booth. Waitress #1 places their food on the table.</scene_description>
<character>DOUG</character>
<dialogue>Thank you.</dialogue>
<character>MIKE</character>
<dialogue>Thank you so much.</dialogue>
<character>JIM</character>
<dialogue>Nothing for me, thanks.</dialogue>
<scene_description>Doug holds Jim's BUSINESS CARD -- the phone number for SUTHERLAND-SCHULTZ is scratched out and another is written in pen...</scene_description>
<character>JIM</character>
<dialogue>So, I know how to sell your phone. I know how to market it, and I know who we can sell it to.</dialogue>
<character>MIKE</character>
<dialogue>Who?</dialogue>
<scene_description>Doug looks up from the business card.</scene_description>
<character>DOUG</character>
<dialogue>What do you mean "We"?</dialogue>
<character>JIM</character>
<dialogue>Here's the deal. I will leave my job at Sutherland-Schultz if you make me CEO of Research in Motion.</dialogue>
<character>DOUG</character>
<dialogue>Are you serious?</dialogue>
<character>JIM</character>
<dialogue>That was the worst product pitch I've ever seen in my life. You guys don't stand a chance out there. You need me.</dialogue>
<character>DOUG</character>
<dialogue>Sorry... I don't know who you think you are, but WE, are just fine. We have a sixteen million dollar deal with U.S. Robotics.</dialogue>
<character>JIM</character>
<dialogue>Sixteen million?</dialogue>
<character>DOUG</character>
<dialogue>That's right.</dialogue>
<character>JIM</character>
<dialogue>Wow. Okay and what did they buy?</dialogue>
<character>DOUG</character>
<dialogue>Modems. Ever heard of 'em?</dialogue>
<character>JIM</character>
<dialogue>Are they like The Force in Star Wars?</dialogue>
<character>DOUG</character>
<dialogue>Very funny. You know, your logo literally is SS?</dialogue>
<character>JIM</character>
<dialogue>And how much have they paid you on that 16 million?</dialogue>
<character>MIKE</character>
<dialogue>Yeah, nothing.</dialogue>
<character>JIM</character>
<dialogue>Zero?</dialogue>
<character>DOUG</character>
<dialogue>Nothing yet. We haven't delivered the modems.</dialogue>
<scene_description>Doug looks to Mike.</scene_description>
<character>MIKE</character>
<dialogue>Well, we shipped them product samples months ago. Their accounting department won't even return our phone-calls.</dialogue>
<character>DOUG</character>
<parenthetical>(to Mike)</parenthetical>
<dialogue>Yeah, but... They're... What's going on? They are going to pay us. We have a sixteen million dollar deal with U.S. Robotics.</dialogue>
<character>JIM</character>
<dialogue>Yeah, so, uh, you guys are getting fucked.</dialogue>
<character>MIKE</character>
<dialogue>Why would you? Why do think? Why do you say that?</dialogue>
<character>JIM</character>
<dialogue>Well because I would do the same thing. Little operation like yours... They know they can withhold payment until the last possible second and then crush you. These guys, they're.. they're pirates.</dialogue>
<scene_description>The Waitress arrives and puts the bill down -- Doug quickly grabs it.</scene_description>
<character>DOUG</character>
<dialogue>Uh huh. We got it. Thank you. Um.</dialogue>
<scene_description>Doug pulls out his wallet -- snaps open the change pouch.</scene_description>
<character>DOUG</character>
<dialogue>How do you know anything? What the fuck do I care.</dialogue>
<parenthetical>(to Mike)</parenthetical>
<dialogue>How much money do you got?</dialogue>
<scene_description>Mike pulls a random assortment of coins from his pocket and lays them on the table. Jim watches these two titans of business negotiate $2.43.</scene_description>
<character>MIKE (O.S.)</character>
<dialogue>Yeah. Um.</dialogue>
<character>DOUG (O.S.)</character>
<dialogue>How about I get that tip? Two, two fifty?</dialogue>
<character>JIM</character>
<dialogue>Okay. Guys. Here's what I'm going to do. I will give you $20,000, cash, today. I'll sell the phone, I'll work out this problem with USR but I want 50% of the company. And I've gotta be CEO.</dialogue>
<scene_description>Mike looks at Doug like "what do you think?"</scene_description>
<character>DOUG</character>
<dialogue>Are you joking? No. Obviously. No. No.</dialogue>
<character>MIKE</character>
<dialogue>Well, let's think about it</dialogue>
<character>DOUG</character>
<dialogue>Mike?</dialogue>
<character>MIKE</character>
<dialogue>Okay.. Okay.</dialogue>
<character>JIM</character>
<dialogue>Who is in charge here?</dialogue>
<character>MIKE</character>
<dialogue>Oh, I mean, technically--</dialogue>
<character>DOUG</character>
<dialogue>Mike's in charge, and he says no.</dialogue>
<character>MIKE</character>
<dialogue>I am in charge and I say... sorry.</dialogue>
<character>DOUG</character>
<dialogue>You don't need to do what this guy says! We just met him! He's not your dad.</dialogue>
<character>JIM</character>
<dialogue>Okay.</dialogue>
<scene_description>Beat. Jim gets up -- puts down a twenty -- walks out.</scene_description>
<character>MIKE</character>
<dialogue>Thanks. Thank you.</dialogue>
<character>DOUG</character>
<dialogue>Very sassy man, would you say? He had... he had a sass --</dialogue>
<character>MIKE</character>
<dialogue>Modems, ever heard of those or whatever?</dialogue>
<character>DOUG</character>
<dialogue>No, I sassed him too but he sassed me back. And what's he trying to say we don't have our modem deal?</dialogue>
</scene>
<scene>
<stage_direction>INT. STORAGE ROOM, RIM 1, WATERLOO - DAY</stage_direction>
<scene_description>The makeshift storage room in a corner office, is PACKED with boxes labelled MODEMS FOR USR. Floor to ceiling. Mike paces with a phone to his ear... It's RINGING... Mike looks out the door into the office. A few of the guys solder modems while other play DOOM.</scene_description>
<character>USR RECEPTIONIST (O.S.)</character>
<dialogue>U.S. Robotics, how may I direct your call?</dialogue>
<character>MIKE</character>
<dialogue>Uh, yeah. It's Mike Lazaridis... From Research in Motion... We're actually building circuit boards for you guys--</dialogue>
<character>USR RECEPTIONIST (O.S.)</character>
<dialogue>One moment please.</dialogue>
<scene_description>Click. Hold. Mike is distracted from the BLINKING RED LIGHT of their USR V- SERIES MODEM.</scene_description>
<character>CASEY COWELL</character>
<dialogue>Mike, is that you?</dialogue>
<character>MIKE</character>
<dialogue>Yes. Hi. So uh. I was just wondering if it would, if it would be at all possible for us to uh, invoice you for the first half, or, uh third of our um, of your order from us. If... If... Can we, can we invoice you for some, some of our order?</dialogue>
<scene_description>Beat.</scene_description>
<character>CASEY COWELL (O.S.)</character>
<parenthetical>(laughing)</parenthetical>
<dialogue>What? What?</dialogue>
<character>MIKE</character>
<dialogue>... If that's okay?</dialogue>
<character>CASEY COWELL (O.S.)</character>
<dialogue>Did you not get my fax?</dialogue>
<character>MIKE</character>
<dialogue>Uh. We don't have a fax machine.</dialogue>
<character>CASEY COWELL (O.S.)</character>
<dialogue>Mike... Those modems you sent us back in March. They were defective.</dialogue>
<character>MIKE</character>
<dialogue>I'm sorry, what?</dialogue>
<character>CASEY COWELL (O.S.)</character>
<dialogue>Yeah. They didn't work. We had to cancel the whole order but this was months ago, buddy.</dialogue>
<scene_description>Mike looks to the stack of modems behind him.</scene_description>
<character>CASEY COWELL (O.S.)</character>
<dialogue>I really thought you guys had a fax machine. Hey, I'll tell you what. Why don't you let me make it up to you? I'll have USR send you one, free of charge. On me. Okay?</dialogue>
<character>MIKE</character>
<dialogue>Um. Yeah. Okay. Thanks.</dialogue>
<character>CASEY COWELL (O.S.)</character>
<dialogue>Great, okay, well good luck Mike.</dialogue>
<character>MIKE</character>
<dialogue>Yeah.</dialogue>
<character>CASEY COWELL (O.S.)</character>
<dialogue>Bye bye.</dialogue>
<character>MIKE</character>
<dialogue>Bye.</dialogue>
<scene_description>Click. Mike lowers the phone -- his eyes shift to Doug... They share a look.</scene_description>
<character>DOUG</character>
<dialogue>What?</dialogue>
</scene>
<scene>
<stage_direction>INT. SMALL CONFERENCE ROOM, RIM 1, WATERLOO - MOMENTS LATER</stage_direction>
<scene_description>Doug has clearly received the bad news.</scene_description>
<character>DOUG</character>
<dialogue>Here's what you gotta do. You got to call him back. You gotta Glengarry Glen Ross this guy. You gotta grind him!</dialogue>
<character>MIKE</character>
<dialogue>Yeah. I don't think I can grind him.</dialogue>
<character>DOUG</character>
<dialogue>This is exactly what that Rolex-Guy said was gonna happen, right? He predicted it. What did he say? He said U.S. Robotics are pirates. He was fucking dead on.</dialogue>
<scene_description>Mike looks around the mess on the boardroom desk. Amidst the circuit boards, disassembled electronics and unpaid bills, he finds what he's looking for -- Jim's folded business card. Mike reaches for the phone -- picks it up -- hears the GARBLED TECH BLARE of a dial up modem -- Mike looks into the office and sees Steve with Netscape Navigator open to the Hotwired home page.</scene_description>
<character>MIKE</character>
<parenthetical>(to Steve)</parenthetical>
<dialogue>Hey. Steve - Steve, I need the phone line.</dialogue>
<character>STEVE</character>
<parenthetical>(typing fast in a forum)</parenthetical>
<dialogue>Some guy is trying to say Noonian Soong is a Q...</dialogue>
<character>MIKE</character>
<dialogue>Yep thanks..</dialogue>
<character>STEVE (O.S.)</character>
<dialogue>Alright.</dialogue>
<character>DOUG</character>
<dialogue>What are you doing?</dialogue>
<character>MIKE</character>
<dialogue>I think we should take this deal.</dialogue>
<character>DOUG</character>
<dialogue>No. So, you don't get into business with people like this. That guy is sketchy.</dialogue>
<character>MIKE</character>
<dialogue>I think... He's - I don't think he's sketchy.</dialogue>
<scene_description>Doug picks up Jim's business card -- holds it up.</scene_description>
<character>DOUG</character>
<dialogue>His business card is literally SKETCHED OUT!</dialogue>
<scene_description>Mike looks at the card...</scene_description>
<character>DOUG</character>
<dialogue>The guy's a shark.</dialogue>
<character>MIKE</character>
<dialogue>Okay. Do you know.. Do you know who's afraid of sharks? Pirates.</dialogue>
<character>DOUG</character>
<dialogue>Oh fuck.</dialogue>
</scene>
<scene>
<stage_direction>INT. SMALL CONFERENCE ROOM, RIM 1, WATERLOO - NIGHT</stage_direction>
<scene_description>Mike sits across from Doug, phone at his ear.</scene_description>
<character>MIKE</character>
<parenthetical>(into receiver)</parenthetical>
<dialogue>Um. So uh, we've been talking here and we, uh - We would like to make a counter offer.</dialogue>
<scene_description>Doug mimes a phone.</scene_description>
<character>DOUG</character>
<dialogue>You came crawling back. Like bugs. Like grubs.</dialogue>
<scene_description>It's just a rehearsal...</scene_description>
<character>MIKE</character>
<dialogue>Yeah um, so, we would like to offer you --</dialogue>
<scene_description>Doug covers his mimed phone receiver and whispers to Mike.</scene_description>
<character>DOUG</character>
<parenthetical>(Whispering)</parenthetical>
<dialogue>Low.</dialogue>
<character>MIKE</character>
<dialogue>Ten percent for five-hundred- thousand dollars.</dialogue>
<character>DOUG</character>
<parenthetical>(as Jim)</parenthetical>
<dialogue>Are you out of your fucking mind?! I look at a hundred thousand deals a day. I pick one!</dialogue>
<parenthetical>(as Doug)</parenthetical>
<dialogue>Is that the quote? No.</dialogue>
<parenthetical>(as Jim)</parenthetical>
<dialogue>I look at a hundred deals a day. I pick one!</dialogue>
<parenthetical>(as Doug)</parenthetical>
<dialogue>Wall Street.</dialogue>
<character>MIKE</character>
<dialogue>Uh, okay. Uhhh. 25% for $250,000.</dialogue>
<character>DOUG</character>
<parenthetical>(as Jim)</parenthetical>
<dialogue>50% for fifty bucks!</dialogue>
<character>MIKE</character>
<dialogue>33% for $125,000 and you can run the company with me.</dialogue>
<character>DOUG</character>
<parenthetical>(as Doug)</parenthetical>
<dialogue>Mike! No! No!!</dialogue>
<parenthetical>(as Jim)</parenthetical>
<dialogue>Yes, deal.</dialogue>
<parenthetical>(back to Doug)</parenthetical>
<dialogue>Easy. Dude. It's going to be totally fine. You are going to negotiate this guy to death.</dialogue>
</scene>
<scene>
<stage_direction>INT. LIVING ROOM, JIM'S TOWNHOUSE, WATERLOO - NIGHT</stage_direction>
<scene_description>Jim sits in front of the TV. Leafs vs Canadiens.</scene_description>
<character>HOCKEY ANNOUNCER</character>
<dialogue>Shoots! Right on. Potvin covered. Malakhov? No shot. Turgeon, in too far. Scores!</dialogue>
<scene_description>Leafs down 1-0.</scene_description>
<character>HOCKEY ANNOUNCER</character>
<dialogue>He fooled everybody and banked it in off Potvin.</dialogue>
<scene_description>He eats Ruffles right from the bag. The PHONE RINGS -- Jim picks it up beside him, eyes fixed on the TV...</scene_description>
<character>JIM</character>
<dialogue>Yeah?</dialogue>
<scene_description>Jim keeps staring at the TV.</scene_description>
</scene>
<scene>
<stage_direction>INT. SMALL CONFERENCE ROOM, RIM 1, WATERLOO - CONTINUOUS</stage_direction>
<character>MIKE (O.S.)</character>
<dialogue>Hi Jim! It's Mike Lazaridis from Research in Motion, we met at the office the other day.</dialogue>
<scene_description>Mike waits anxiously for the right moment to "negotiate Jim to deal" -- Doug is keyed up, standing on the desk...</scene_description>
<character>DOUG</character>
<parenthetical>(whispering)</parenthetical>
<dialogue>Low. Low.</dialogue>
<scene_description>Mike looks up at Doug in a panic. Doug waves him on like "Go! Go!" Mike looks down at his handwritten notes...</scene_description>
<character>MIKE</character>
<dialogue>So. We'd like to offer you 33% of our company for $125,000 and you and I would be Co-CEOs.</dialogue>
<scene_description>Doug shakes his hands like "wtf are you doing you idiot that was our final price, holy shit you just fucked us!!!" Mike covers his face in shame. He fucked up. He really fucked up.</scene_description>
</scene>
<scene>
<stage_direction>INT. LIVING ROOM, JIM'S TOWNHOUSE, WATERLOO - CONTINUOUS</stage_direction>
<scene_description>Beat. Jim is clearly distracted.</scene_description>
<character>JIM</character>
<dialogue>Sure.</dialogue>
<scene_description>Jim hangs up.</scene_description>
</scene>
<scene>
<stage_direction>INT. SMALL CONFERENCE ROOM, RIM 1, WATERLOO - CONTINUOUS</stage_direction>
<scene_description>Mike is completely stunned. Doug waves him out of it. Mike looks up in pure disbelief.</scene_description>
<character>MIKE</character>
<dialogue>Deal.</dialogue>
<character>DOUG</character>
<dialogue>Awesome! Awesome! Dude! Mike!</dialogue>
<scene_description>Doug looks out into the office, sees Scott still working.</scene_description>
<character>DOUG</character>
<dialogue>Scott! Scott! He did it!</dialogue>
<character>SCOTT</character>
<dialogue>What do you mean?</dialogue>
<character>DOUG</character>
<dialogue>Have you not heard anything that's been going on in this room?</dialogue>
</scene>
<scene>
<stage_direction>EXT. STRIP PLAZA, RIM 1, WATERLOO - DAY</stage_direction>
<scene_description>Jim arrives at RIM in his BMW.</scene_description>
</scene>
<scene>
<stage_direction>INT. SMALL CONFERENCE ROOM, RIM 1, WATERLOO - CONTINUOUS</stage_direction>
<scene_description>Mike watches Jim put the roof of his convertible up and get out of his car.</scene_description>
<character>MIKE</character>
<dialogue>Maybe you should tell him about the modems?</dialogue>
<character>DOUG</character>
<dialogue>Oh! Where do you want to put him?</dialogue>
</scene>
<scene>
<stage_direction>INT. JIM'S OFFICE, RIM 1, WATERLOO - DAY</stage_direction>
<scene_description>The storage room has been rearranged to make room for Jim. A DESK IN A BOX sits in the middle of the room with a phone on top of it. Mike and Doug stand at the door as Jim takes it in.</scene_description>
<character>JIM</character>
<dialogue>What the fuck is this?</dialogue>
<character>DOUG</character>
<dialogue>That's uh, yeah, everyone builds their own desk. That's a tradition.</dialogue>
<character>JIM</character>
<dialogue>Yeah. I'm not doing that.</dialogue>
<scene_description>Beat.</scene_description>
<character>MIKE</character>
<dialogue>Um, U.S. Robotics pulled out of the deal.</dialogue>
<character>JIM</character>
<dialogue>Told ya. What's our exposure?</dialogue>
<character>MIKE</character>
<dialogue>...Exposure?</dialogue>
<character>JIM</character>
<dialogue>How much money did you spend on the modems?</dialogue>
<character>MIKE</character>
<dialogue>Oh. One-point-six million.</dialogue>
<scene_description>Jim drops the smile. Doug looks at Mike.</scene_description>
<character>JIM</character>
<dialogue>What?</dialogue>
<character>DOUG</character>
<dialogue>One point what?</dialogue>
<character>MIKE</character>
<dialogue>We spent one-point-six million in materials and labour.</dialogue>
<character>JIM</character>
<dialogue>Where'd you get one-point-six million dollars?</dialogue>
<character>MIKE</character>
<dialogue>I got a loan from the Bank of Montreal.</dialogue>
<character>DOUG (O.S.)</character>
<dialogue>Mike, come on..</dialogue>
<scene_description>-- Jim shouts outside the room --</scene_description>
<character>JIM</character>
<dialogue>Get me U.S. Robotics!</dialogue>
<scene_description>Beat.</scene_description>
<character>DOUG</character>
<dialogue>Uh, sorry, who are you talking to?</dialogue>
<character>MIKE</character>
<dialogue>Yeah?</dialogue>
<scene_description>Jim realizes he doesn't have an assistant here -- picks up the phone himself -- GARBLED TECH SOUND of the modem blares through the speaker -- Jim pulls the phone away.</scene_description>
<character>JIM</character>
<dialogue>What the fuck is that?</dialogue>
<character>MIKE</character>
<dialogue>Oh. It's called a carrier wave.</dialogue>
<parenthetical>(beat)</parenthetical>
<dialogue>The calling modem is uh --</dialogue>
<scene_description>Jim hangs up the phone -- turns -- scans the main room... ...sees STEVE on his computer, browser open --</scene_description>
<character>JIM</character>
<dialogue>Hey!</dialogue>
<scene_description>Everyone in the office turns around, including Steve... Jim points right at him...</scene_description>
<character>JIM</character>
<dialogue>Get off the fucking internet!</dialogue>
<scene_description>Steve pulls the plug out of the wall and throws his hands in the air as though he's being arrested. Mike hands Jim a USR business card.</scene_description>
<character>MIKE</character>
<dialogue>I think it's Casey.</dialogue>
<character>JIM</character>
<dialogue>Uh huh.</dialogue>
<character>DOUG</character>
<parenthetical>(to Steve)</parenthetical>
<dialogue>It's going to be fine. It's going to be fine.</dialogue>
<scene_description>Jim dials...</scene_description>
<character>DOUG</character>
<parenthetical>(to Jim)</parenthetical>
<dialogue>You don't get to talk to our team like that.</dialogue>
<parenthetical>(to Mike)</parenthetical>
<dialogue>He doesn't get to talk to our team like that.</dialogue>
<scene_description>CLICK.</scene_description>
<character>CASEY COWELL (O.S.)</character>
<dialogue>Mike!</dialogue>
<character>JIM</character>
<dialogue>Hi, actually no, this is Jim Balsillie. I'm CEO here now.</dialogue>
<character>DOUG</character>
<dialogue>Co-CEO.</dialogue>
<character>CASEY COWELL (O.S.)</character>
<dialogue>Okay. Jim, what can I do for ya?</dialogue>
<character>JIM</character>
<dialogue>I wanna talk about these modems.</dialogue>
<character>CASEY COWELL (O.S.)</character>
<dialogue>There's nothing to talk about sadly. We can't accept a defective product.</dialogue>
<character>DOUG</character>
<parenthetical>(to Mike)</parenthetical>
<dialogue>This is not working --</dialogue>
<scene_description>Mike cuts him off, he wants to listen to the negotiator.</scene_description>
<character>JIM</character>
<dialogue>Let's cut the bullshit here. Two- point-five Million all in for the entire order.</dialogue>
<character>CASEY COWELL (O.S.)</character>
<dialogue>Yeah, no. Can't do it, Jim.</dialogue>
<character>JIM</character>
<dialogue>I'll decimate it for you. One-point- six Million. And if you don't take that I'll turn around and sell them to Rockwell for even less.</dialogue>
<scene_description>Mike and Doug can't believe what they're watching.</scene_description>
<character>MIKE</character>
<parenthetical>(whispers to Doug)</parenthetical>
<dialogue>Nice negotiation.</dialogue>
<scene_description>Beat.</scene_description>
<character>CASEY COWELL (O.S.)</character>
<dialogue>Okay, how about this. We'll take the modems, if you throw in the patent on Mike's phone.</dialogue>
<scene_description>Jim shoots Mike a look --</scene_description>
<character>JIM</character>
<dialogue>What phone?</dialogue>
<character>CASEY COWELL (O.S.)</character>
<dialogue>I thought we weren't bullshitting each other, Jim? We've been building our own for a year... We want Mikes --</dialogue>
<scene_description>Jim hangs up.</scene_description>
<character>JIM</character>
<dialogue>How long to build a prototype of the phone?</dialogue>
<character>MIKE</character>
<dialogue>PocketLink? Yeah um, a year.</dialogue>
<character>JIM</character>
<dialogue>No, no, no. A prototype Mike. A shell I can wave around in a meeting. It can be a complete piece of shit.</dialogue>
<character>MIKE</character>
<dialogue>No it can't - We're not doing that.</dialogue>
<character>DOUG</character>
<dialogue>Mike's not doing that.</dialogue>
<character>JIM</character>
<dialogue>Listen to me. U.S. Robotics is building their own phone. We're now in a race to get this thing to market and we're a year behind. So I don't care what you need to do, get these fucking nerds to drop everything and build this fucking phone!</dialogue>
<scene_description>The guys turn to see ALLAN at the door... WHAT?</scene_description>
<character>ALLAN</character>
<dialogue>Sorry guys. Um, my girlfriend tried to cash my cheque this morning and it bounced. Um and she said I'm not supposed to come in - allowed - I shouldn't come in here anymore. And she agreed... I won't be coming in here any longer until I'm getting paid.</dialogue>
<scene_description>Jim picks up the phone -- THROWS IT AGAINST THE GROUND -- makes for the exit -- SLAMS the door shut. Mike picks up Jim's destroyed phone -- walks out --</scene_description>
<character>MIKE</character>
<dialogue>I can fix this.</dialogue>
</scene>
<scene>
<stage_direction>INT. BANK, WATERLOO - DAY</stage_direction>
<scene_description>Jim sits across from a BANK MANAGER at her computer.</scene_description>
<character>BANK MANAGER</character>
<dialogue>OK. Research in Motion... Looks like your account has exceeded its overdraft balance.</dialogue>
<character>JIM</character>
<dialogue>Didn't they just deposit a cheque for $125,000 from me?</dialogue>
<scene_description>Typing...</scene_description>
<character>BANK MANAGER</character>
<dialogue>Yes.</dialogue>
<scene_description>Beat.</scene_description>
<character>JIM</character>
<dialogue>Okay... Alright. Um. I have a mortgage with you guys. Can we pull that up please?</dialogue>
<character>BANK MANAGER</character>
<dialogue>Spell your last name please?</dialogue>
<character>JIM</character>
<dialogue>B-a-l-s-i-l-l-i-e</dialogue>
<character>BANK MANAGER</character>
<dialogue>Ball-sillie?</dialogue>
<character>JIM</character>
<dialogue>Balsillie.</dialogue>
</scene>
<scene>
<stage_direction>INT. MAIN OFFICE, RIM 1, WATERLOO - DAY</stage_direction>
<scene_description>Doug, having assembled Jim's desk looks for a chair to pair with it.</scene_description>
<character>DOUG</character>
<dialogue>Anybody going to miss this red chair?</dialogue>
<character>ENGINEERS</character>
<dialogue>No.</dialogue>
<character>ETHAN</character>
<dialogue>You're good.</dialogue>
<scene_description>Jim enters the office with SHELLEY (30), his assistant from Sutherland-Schultz. She follows him with a small box of her belongings. The staff at RIM instantly orient towards her, as if a woman has never been anywhere near this office. Jim holds NEW CHEQUES over his head.</scene_description>
<character>JIM</character>
<dialogue>Alright, everybody! Listen up! From now on cheques will be coming every two weeks. You will come get them from Shelley. This is Shelley.</dialogue>
<character>SHELLEY</character>
<dialogue>Hi.</dialogue>
<scene_description>Jim pushes one of the engineers's desk so it sits outside his corner office.</scene_description>
<character>JIM</character>
<dialogue>Alright. That's you, Shel.</dialogue>
<scene_description>Shelley puts her things down and starts organizing. The staff remain silent and still, unsure of how to behave around her.</scene_description>
<character>JIM</character>
<dialogue>Mike!</dialogue>
<scene_description>Mike picks up Jim's fixed phone and proceeds towards his office, passes Doug.</scene_description>
<character>DOUG</character>
<dialogue>Me too?</dialogue>
<character>MIKE</character>
<dialogue>Yeah sure.</dialogue>
</scene>
<scene>
<stage_direction>INT. JIM'S OFFICE, RIM 1, WATERLOO - CONTINUOUS</stage_direction>
<scene_description>Jim is unpacking his things and plugs in his new INTERCOM (same model as the one in his Sutherland-Schultz office) -- the HISS begins to emanate from the machine as Mike and Doug creep in -- Mike holding Jim's REPAIRED PHONE.</scene_description>
<character>DOUG</character>
<dialogue>Um, sorry, who... so, who is Shelley?</dialogue>
<scene_description>Jim hits a button on his intercom --</scene_description>
<character>JIM</character>
<dialogue>Shelley?</dialogue>
<scene_description>Mike and Doug look at the intercom. Same STATIC HISS...</scene_description>
<character>DOUG</character>
<dialogue>Oh, dude. That thing's haunting you.</dialogue>
<character>JIM</character>
<dialogue>No, I'm motivating you, and don't call me "that thing", I'm your boss.</dialogue>
<character>DOUG</character>
<dialogue>No, you're not.</dialogue>
<scene_description>In walks Shelley.</scene_description>
<character>SHELLEY</character>
<dialogue>Yeah?</dialogue>
<character>JIM</character>
<dialogue>Get me John Woodman at Bell Atlantic.</dialogue>
<character>SHELLEY</character>
<dialogue>You got it.</dialogue>
<scene_description>Shelley leaves.</scene_description>
<character>MIKE</character>
<dialogue>Wait. What are you doing?</dialogue>
<character>JIM</character>
<dialogue>We're selling the phone. Mike. I need a prototype.</dialogue>
<character>MIKE</character>
<dialogue>I told you, I don't, I --</dialogue>
<character>SHELLEY (O.S.)</character>
<dialogue>Connecting you.</dialogue>
<scene_description>RING... STATIC GETTING LOUDER...</scene_description>
<character>JIM</character>
<dialogue>Guys. We are over a million dollars in debt with no assets, no contracts, and no products.</dialogue>
<scene_description>Someone picks up the line.</scene_description>
<character>BELL ASSISTANT (O.S.)</character>
<dialogue>John Woodman's office.</dialogue>
<character>JIM</character>
<parenthetical>(changes tone)</parenthetical>
<dialogue>Hiiiii. This is Jim Balsillie, CEO of Research in Motion.</dialogue>
<character>DOUG</character>
<dialogue>Co-CEO.</dialogue>
<scene_description>Jim motions to Doug to shut up.</scene_description>
<character>BELL ASSISTANT (O.S.)</character>
<dialogue>One moment please.</dialogue>
<character>JIM</character>
<parenthetical>(to Mike)</parenthetical>
<dialogue>Okay?</dialogue>
<character>DOUG</character>
<dialogue>No! He said there's no phone!</dialogue>
<character>JIM</character>
<dialogue>I'm not asking you!</dialogue>
<character>JIM</character>
<parenthetical>(to Mike)</parenthetical>
<dialogue>Mike...?</dialogue>
<character>MIKE</character>
<dialogue>Okay.</dialogue>
<character>DOUG</character>
<dialogue>Okay? Well, what do you mean "okay"? No. No. No. Wait, wait a minute. Wait a minute. Wait a minute. Wait a minute. Wait a minute.</dialogue>
<character>JOHN WOODMAN (O.S.)</character>
<dialogue>John Woodman...</dialogue>
<character>JIM</character>
<dialogue>Mr. Woodman, I am about to make you insanely rich.</dialogue>
<scene_description>Doug can't take it anymore -- reaches out and hangs up the phone -- Jim looks up like "are you ready to die?"</scene_description>
<character>DOUG</character>
<dialogue>Mike does not agree with this.</dialogue>
<character>JIM</character>
<dialogue>He just fucking did!</dialogue>
<character>DOUG</character>
<dialogue>That was duress. Okay? You're manipulating him! It's obvious.</dialogue>
<parenthetical>(to Mike)</parenthetical>
<dialogue>What do you want me to do? What?</dialogue>
<character>MIKE</character>
<dialogue>So, there's a reason why your intercom is emitting white noise. It's because it was manufactured in China by engineers who didn't care, and now every office in the world has to suffer an annoying hiss, a blinking red light, fifteen different power cords that are utterly incompatible with one another. So, uh. We are not doing that. We are not just adding to the hiss. I will build a prototype, but I'll do it perfectly or I don't do it.</dialogue>
<character>JIM</character>
<dialogue>Mike, are you familiar with the saying "Perfect is the enemy of good?"</dialogue>
<character>MIKE</character>
<dialogue>Well, "Good Enough" is the enemy of humanity.</dialogue>
<scene_description>Beat. Mike leaves, having made his point. Doug follows. Jim waits a beat... ...hits the intercom --</scene_description>
<character>JIM</character>
<dialogue>Shelley, get John Woodman back on please.</dialogue>
</scene>
<scene>
<stage_direction>INT. MAIN OFFICE, RIM 1, WATERLOO - MOMENTS LATER</stage_direction>
<scene_description>Mike and Doug sit with the boys. Doug is hyped.</scene_description>
<character>DOUG</character>
<dialogue>...So I reach out, hang up the phone. He looks up at me like "are you ready to die?"</dialogue>
<scene_description>Laughter from the group.</scene_description>
<character>DOUG</character>
<dialogue>No, no, no, and I'm prepared to die on it, right? Mike steps in between us, brings the glasses down and goes "bitch, I tell you when you when we set the god damn meeting". And he backs off.</dialogue>
<scene_description>The guys are impressed. Jim enters. He's putting on his blazer to leave for the day.</scene_description>
<character>JIM</character>
<dialogue>Alright. Woodman wants to see it. We're going to Bell Atlantic tomorrow.</dialogue>
<character>MIKE</character>
<dialogue>What? What?</dialogue>
<character>JIM</character>
<dialogue>New York City. Tomorrow.</dialogue>
<character>DOUG</character>
<dialogue>But. He said--</dialogue>
<character>JIM</character>
<dialogue>You've got until 8am.</dialogue>
<character>MIKE</character>
<dialogue>...to do what?</dialogue>
<scene_description>Jim turns and walks out. The room is stunned silent.</scene_description>
<character>PRANAY</character>
<dialogue>So you didn't call him a bitch, did you?</dialogue>
<character>DOUG</character>
<dialogue>Okay, new plan, everybody we are all going to chip in and build this thing tonight. Okay.</dialogue>
<scene_description>Mike stands up -- goes to his desk. BUILDING MONTAGE BEGINS</scene_description>
</scene>
<scene>
<stage_direction>INT. NUTECH ELECTRONICS, WATERLOO - DAY</stage_direction>
<scene_description>Mike and Doug look around at all kinds of hardware and electronic gak.</scene_description>
<character>MIKE</character>
<dialogue>Alright. Give me a fillmore toggle switch, give me a 33 PF--</dialogue>
<character>DOUG</character>
<dialogue>Yeah.</dialogue>
<scene_description>Mike compares a few SPEAK AND SPELLS, VTECH WHIZ-KIDS, and anything else he can find with keyboards, letters or numbers.</scene_description>
<character>MIKE</character>
<dialogue>I think it's like, something kind of like a hybrid of one. So, I like the look of--</dialogue>
<scene_description>Doug is distracted looking at two different TMNT figurines.</scene_description>
</scene>
<scene>
<stage_direction>EXT. TOYS'R'US, WATERLOO - DAY</stage_direction>
<scene_description>Mike and Doug rush to the car with bags full of gear.</scene_description>
</scene>
<scene>
<stage_direction>INT. SMALL CONFERENCE ROOM, RIM 1, WATERLOO - DAY</stage_direction>
<scene_description>Ethan and Scott waste time.</scene_description>
<character>ETHAN</character>
<dialogue>I thought you were playing Civ.</dialogue>
<scene_description>Mike and Doug enter the office with the goods.</scene_description>
<character>DOUG</character>
<dialogue>We're back!</dialogue>
<scene_description>- They rip open boxes and take toys apart. - They separate everything into piles; circuit boards, keypads, wires, plastic and metal frames, displays...</scene_description>
<character>MIKE</character>
<dialogue>What feels better?</dialogue>
<character>DOUG</character>
<dialogue>That's why to me, like, remote controls, things that people are used to touching, and the buttons need to be small enough that --</dialogue>
<scene_description>- Doug and Scott look over Ethan's shoulder at his computer monitor.</scene_description>
<character>SCOTT</character>
<dialogue>Nero connection lost it's --</dialogue>
<scene_description>- Scott heads out for the night.</scene_description>
<character>DOUG</character>
<dialogue>Taking off?</dialogue>
<character>SCOTT</character>
<dialogue>Yeah. I'll see you guys tomorrow?</dialogue>
<character>DOUG</character>
<dialogue>Uh, yeah.</dialogue>
<scene_description>- Doug and Mike look at the print out together, mull it over.</scene_description>
<character>MIKE</character>
<dialogue>So, add in the lithium ion--</dialogue>
<scene_description>- Mike works on the hardware/casing. - Mike looks over Doug's shoulder as he solders.</scene_description>
<character>DOUG</character>
<dialogue>Still hot. Still hot. You're good.</dialogue>
<scene_description>Montage Ends</scene_description>
</scene>
<scene>
<stage_direction>INT. MAIN OFFICE, RIM 1, WATERLOO - EARLY MORNING</stage_direction>
<scene_description>Doug is asleep on the conference table. A CAR HORN HONKS from outside. Doug shoots up.</scene_description>
<character>DOUG</character>
<parenthetical>(groggy)</parenthetical>
<dialogue>I had a dream we were rich.</dialogue>
<scene_description>Mike, still awake, opens the blinds revealing the early morning sun and Jim waiting outside his BMW. Jim honks again. Doug rolls over to see what Mike did while he was asleep -- his eyes light up -- he picks up THE PROTOTYPE -- stares at it. We can only see the back of it in his hands.</scene_description>
<character>DOUG</character>
<dialogue>"And sometimes my dreams occur exactly as I dreamt them."</dialogue>
<character>JIM</character>
<parenthetical>(from the car)</parenthetical>
<scene_description>MIKE! LETS GO!</scene_description>
<character>MIKE</character>
<dialogue>What's that from?</dialogue>
<character>DOUG</character>
<dialogue>Dune.</dialogue>
</scene>
<scene>
<stage_direction>EXT. STRIP PLAZA, RIM 1, WATERLOO - MOMENTS LATER</stage_direction>
<scene_description>Mike emerges from the building clutching a heavy-duty carrying case. Jim's in the driver's seat with the engine running. Mike leans in the passenger window, sees a TAILORED SUIT draped across the seat in a garment bag.</scene_description>
<character>JIM</character>
<dialogue>You'll get dressed at the airport.</dialogue>
<character>MIKE</character>
<dialogue>Thank you. Um, should Doug come with us or...?</dialogue>
<character>JIM</character>
<dialogue>No.</dialogue>
<character>MIKE</character>
<dialogue>Cause... He has a lot to do with this.</dialogue>
<character>JIM</character>
<dialogue>He's a goof. Get in the car.</dialogue>
<character>MIKE</character>
<dialogue>I think he really wants to come.</dialogue>
<character>JIM</character>
<dialogue>Lemme tell you the best advice I ever got at Harvard. If you want to be great, you need to sacrifice. And the more painful the sacrifice, the greater you'll be.</dialogue>
<character>MIKE</character>
<dialogue>He's my best friend.</dialogue>
<character>JIM</character>
<dialogue>Okay great, I saw him put a toilet plunger on a computer.</dialogue>
<scene_description>Doug watches from the window as Mike gets into the car and closes the door.</scene_description>
</scene>
<scene>
<stage_direction>INT. GATE 36, PEARSON AIRPORT, TORONTO - DAY</stage_direction>
<scene_description>Mike and Jim sit at the gate with the other travelers waiting to board. Mike, wearing his new suit, sleeps.</scene_description>
<character>INTERCOMM (O.S.)</character>
<dialogue>Attention passengers on flight AC42 to New York. Your flight is now boarding.</dialogue>
<scene_description>Jim elbows Mike awake.</scene_description>
<character>JIM</character>
<dialogue>Mike.</dialogue>
<scene_description>Mike jolts up dropping the prototype case.</scene_description>
<character>JIM</character>
<dialogue>Oh, Mike.</dialogue>
</scene>
<scene>
<stage_direction>EXT. JFK INTERNATIONAL AIRPORT, NYC - DAY</stage_direction>
<scene_description>Mike and Jim emerge from the terminal. Mike moves awkwardly in his new shoes, clutching the prototype close to his body. Jim hails a taxi. They climb in.</scene_description>
</scene>
<scene>
<stage_direction>INT. CAB, NYC - LATER</stage_direction>
<scene_description>Mike excitedly raps on the prototype case, looking out the window at the big city-- he takes out a Tupperware of fruit -- starts eating -- drops a piece of fruit on his shirt, leaving a dark stain -- he tries to rub it out -- Jim watches in dismay...</scene_description>
<character>JIM</character>
<dialogue>So, if you hear me crinkling a piece of paper, that means stop talking.</dialogue>
<character>MIKE</character>
<dialogue>Like, in general or...?</dialogue>
<character>JIM</character>
<dialogue>No. In the pitch.</dialogue>
<character>MIKE</character>
<dialogue>Oh. Yeah. Gotcha.</dialogue>
<scene_description>Jim notices the car is moving too slow for him.</scene_description>
<character>JIM</character>
<parenthetical>(to driver)</parenthetical>
<dialogue>Hey, we gotta move here, man! My wife's in labour. Let's go.</dialogue>
<scene_description>The driver floors it! Mike looks at Jim, evaluating his feelings about that lie...</scene_description>
<character>MIKE</character>
<dialogue>May I ask why your business card had the phone number crossed out?</dialogue>
<character>JIM</character>
<dialogue>I have no idea what you're talking about.</dialogue>
<scene_description>Beat.</scene_description>
<character>MIKE</character>
<dialogue>Hey, let's make a deal, okay? You and I never lie to each other.</dialogue>
<scene_description>The cab stops.</scene_description>
<character>JIM</character>
<dialogue>Sure. I didn't quit my job. I was fired. I just mortgaged my house to pay our staff. So, if this doesn't work out, I'm fucked.</dialogue>
<scene_description>Beat.</scene_description>
<character>MIKE</character>
<dialogue>Why'd they fire you?</dialogue>
<character>JIM</character>
<dialogue>'Cause they're idiots.</dialogue>
<scene_description>Jim gets out... Mike follows.. Forgetting the prototype case in the taxi.</scene_description>
</scene>
<scene>
<stage_direction>INT. RECEPTION, BELL ATLANTIC HQ, NYC - DAY</stage_direction>
<scene_description>Elevator doors open onto the 80th floor -- Jim and Mike exit. The BELL ASSISTANT greets them.</scene_description>
<character>BELL ASSISTANT</character>
<dialogue>Hi. Research in Motion?</dialogue>
<character>JIM</character>
<dialogue>How are ya?</dialogue>
<character>BELL ASSISTANT</character>
<dialogue>Fantastic. Can I get you anything? Coffee? Water?</dialogue>
<character>JIM</character>
<dialogue>We're good. We're good.</dialogue>
<character>BELL ASSISTANT</character>
<dialogue>Okay. They'll be with you shortly.</dialogue>
<character>MIKE</character>
<dialogue>Okay. Thank you.</dialogue>
<character>BELL ASSISTANT</character>
<dialogue>Alright.</dialogue>
<scene_description>The Assistant directs them towards a small waiting area. Mike nervously raps on his legs -- stops -- looks down. Suddenly Mike becomes panicked -- he looks around --</scene_description>
<character>MIKE</character>
<dialogue>Jim...</dialogue>
<character>JIM</character>
<dialogue>No. No. No. No. Never take the drinks. Thirst is a display of weakness.</dialogue>
<character>MIKE</character>
<dialogue>No. I may have forgotten the phone...</dialogue>
<character>JIM</character>
<dialogue>Please tell me you're joking.</dialogue>
<character>MIKE</character>
<dialogue>No I'm completely serious.</dialogue>
<character>JIM</character>
<dialogue>Fuck!</dialogue>
<scene_description>Jim realizes he's making a scene -- drags Mike back to the elevator bank...</scene_description>
<character>JIM</character>
<dialogue>Alright, here's what we're going to do. I need you to draw out a little sketch. Something that shows the keyboard just like you did in my office --</dialogue>
<scene_description>-- Jim walks over to the Assistant --</scene_description>
<character>JIM</character>
<dialogue>Excuse me miss, could I trouble you for a pen and paper please?</dialogue>
<scene_description>DING. The elevator opens and Mike goes inside. Jim turns around just in time to see the doors close behind Mike.</scene_description>
<character>BELL ASSISTANT</character>
<dialogue>They're ready for you.</dialogue>
<character>JIM</character>
<dialogue>Great.</dialogue>
</scene>
<scene>
<stage_direction>INT. BOARDROOM, BELL ATLANTIC HQ, NYC - CONTINUOUS</stage_direction>
<scene_description>The room is PACKED with Executives. CEO JOHN WOODMAN (late 50s, no tie) sits dead centre.</scene_description>
<character>JOHN WOODMAN</character>
<dialogue>Oh wait, wait. Here he is. Hey.</dialogue>
<character>JIM</character>
<dialogue>Hi.</dialogue>
<character>JOHN WOODMAN</character>
<dialogue>Hi.</dialogue>
<character>JIM</character>
<dialogue>How are you?</dialogue>
<character>JOHN WOODMAN</character>
<dialogue>Good. Good. We uh, are we waiting for anyone?</dialogue>
<scene_description>Jim looks back to John --</scene_description>
<character>JIM</character>
<dialogue>I'm alone.</dialogue>
<character>JOHN WOODMAN</character>
<dialogue>Okay.</dialogue>
<character>JIM</character>
<dialogue>Good.</dialogue>
<parenthetical>(beat)</parenthetical>
<dialogue>Alright, guys. Here's how I see it. I know your marketing team tells you that you sell togetherness - family, "staying connected" whatever. But, let's be honest, you sell minutes. Period. I mean, your market is minutes. So, your biggest competitor isn't other cell phone companies, it's home phones and office phones. Those are free minutes. Those are wasted minutes. So, how do we get those minutes back?</dialogue>
<scene_description>Jim lets the question hang in the air.</scene_description>
<character>JIM</character>
<dialogue>We reinvent the cell phone. We put a computer in it. We put the internet in it. We make your cellphone so fucking useful that you never have to come to the office again. Does email, text messaging, however you want to communicate. Total individualism all in one device, that fits in your fist.</dialogue>
<scene_description>Jim thinks he has them, is moving in for the kill.</scene_description>
<character>JIM</character>
<dialogue>So, you can tell your marketing team you're not selling togetherness anymore. You're selling self reliance.</dialogue>
<scene_description>But John seems a bit bored, he and the execs share a look.</scene_description>
<character>JOHN WOODMAN</character>
<dialogue>Uh, you are not a tech guy, are ya?</dialogue>
<character>JIM</character>
<dialogue>I'm not a -- ?</dialogue>
<character>JOHN WOODMAN</character>
<dialogue>The whole world, the whole fucking world is trying to do emails on a cell phone. We had an entire devision working on it for, I don't know, eight months or so? You know how many phones they got to at the same time?</dialogue>
<scene_description>Jim is frozen.</scene_description>
<character>JOHN WOODMAN</character>
<dialogue>Eleven. It's a network that's built for pagers. That's all it can do. You're in La La land on this one, kid. I think, you know, some nerds took you for a ride.</dialogue>
<scene_description>The walls close in around Jim. Outta options. Backed into a corner...</scene_description>
<character>JIM</character>
<dialogue>Okay.</dialogue>
<scene_description>Knock knock knock. Jim turns to see Mike outside the glass of the boardroom, out of breath -- Mike points at the prototype with a big smile -- Jim marches at him with embarrassment -- Jim opens the door a crack for a private exchange with Mike...</scene_description>
<character>JIM</character>
<dialogue>Mike...</dialogue>
<character>MIKE</character>
<dialogue>What happened?</dialogue>
<character>JIM</character>
<dialogue>It won't work.</dialogue>
<character>MIKE</character>
<dialogue>What do you mean it won't work?</dialogue>
<character>JIM</character>
<dialogue>Mike. They tried it already.</dialogue>
<character>MIKE</character>
<parenthetical>(to the room)</parenthetical>
<dialogue>How did you try this already?</dialogue>
<character>JOHN WOODMAN</character>
<dialogue>Hey guys, I think the meeting is over.</dialogue>
<character>MIKE</character>
<dialogue>Did you just put your devices directly on the network as though they were clients?</dialogue>
<character>JOHN WOODMAN</character>
<dialogue>...That's right.</dialogue>
<character>MIKE</character>
<dialogue>Yeah. Right and so what'd you get, like ten phones working at the same time?</dialogue>
<scene_description>Beat. That earned him their attention.</scene_description>
<character>JOHN WOODMAN</character>
<dialogue>Uh.. yeah..</dialogue>
<scene_description>Mike hands Jim the prototype box --</scene_description>
<character>MIKE</character>
<parenthetical>(to Jim)</parenthetical>
<dialogue>Here, just hold this a second.</dialogue>
<scene_description>-- walks over to the whiteboard --</scene_description>
<character>MIKE</character>
<dialogue>Okay so, here's your issue: When you use a phone as a client, what's it doing? It's just sitting on your network, constantly asking the same question "Did I get an email? Did I get an email? Did I get an email?" So it is forever pulling on your servers whether you got an email or not. We have a fix, okay?</dialogue>
<scene_description>All at once Mike has gathered his breath and command of the room. He turns to face the whiteboard him and starts drawing.</scene_description>
<character>MIKE</character>
<dialogue>So we are going to build, a giant computer, that will act as a sort of massive client, that is hard wired directly to the internet with our phone as server. Okay?</dialogue>
<scene_description>Mike draws a few more details.</scene_description>
<character>MIKE</character>
<dialogue>So, when a user gets an email, Waterloo pulls it in, packages it, and then sends it.</dialogue>
<scene_description>He draws multiple arrows between Waterloo and his phone diagram.</scene_description>
<character>MIKE</character>
<dialogue>We engage with your network, maybe a split second, like...</dialogue>
<scene_description>Mike snaps.</scene_description>
<character>MIKE</character>
<dialogue>Less time than that.</dialogue>
<scene_description>John is under Mike's spell.</scene_description>
<character>JOHN WOODMAN</character>
<dialogue>So how much - sorry - how many --</dialogue>
<character>MIKE</character>
<dialogue>So a month's worth of traffic would be less bandwidth than a local phone call. So you could have half a million devices working simultaneously.</dialogue>
<scene_description>The room is stunned, waits for John's next move.</scene_description>
<character>JOHN WOODMAN</character>
<dialogue>Can we see it?</dialogue>
<scene_description>Jim opens the prototype case -- hands it to John --</scene_description>
<character>MIKE</character>
<dialogue>So it's a prototype. It's a long way off from, uh, oh it's just a long way off. It's a prototype.</dialogue>
<character>JOHN WOODMAN</character>
<dialogue>Well it's definitely the world's largest pager.</dialogue>
<scene_description>Laughs from his team.</scene_description>
<character>MIKE</character>
<dialogue>No, it's actually the world's smallest email terminal.</dialogue>
<scene_description>John looks to Mike.</scene_description>
<character>JOHN WOODMAN</character>
<dialogue>Oh.</dialogue>
<scene_description>Mike hiccups.</scene_description>
<character>MIKE</character>
<dialogue>Sorry.</dialogue>
<scene_description>John shuts up -- looks down at the device like a precious jewel. We finally get to see the ramshackle beta of the first smartphone... It's awesome. Frankenstein's monster but put together with true precision. John clicks the makeshift keyboard with one hand, causing text to appear faintly on the screen...</scene_description>
<character>JOHN WOODMAN</character>
<dialogue>I see, this is uh... Oh this, this...? Yeah.</dialogue>
<scene_description>Mike motions to him, to hold it in both hands.</scene_description>
<character>MIKE</character>
<dialogue>Uh. So. Try it with your thumbs, try typing with your thumbs.</dialogue>
<scene_description>John gets it now.</scene_description>
<character>JOHN WOODMAN</character>
<dialogue>Oh yeah.</dialogue>
<scene_description>He types some more.</scene_description>
<character>JOHN WOODMAN</character>
<dialogue>What do you call it?</dialogue>
<scene_description>Oh shit... the name... Jim looks at Mike -- sees the stain on his shirt... NEWS MONTAGE #1 (1996-2003) BEGINS</scene_description>
<character>OPRAH</character>
<dialogue>It's called a BlackBerry! It sends and receives email messages. It is also a cell-phone.</dialogue>
<scene_description>Shots of the BlackBerry device as depicted on Oprah. This footage is intercut with home movie footage of Mike, Doug and the Engineering team in the newer, larger and much nicer RIM offices. It is a joyous time, filled with excitement, optimism and hope. TITLE CARD: 2003</scene_description>
</scene>
<scene>
<stage_direction>EXT. RIM 2, PARKING LOT - DAY</stage_direction>
<scene_description>Jim approaches the new RIM offices in his Porsche convertible.</scene_description>
<character>PARKING ATTENDANT 1</character>
<dialogue>Morning Mr. Balsillie.</dialogue>
<scene_description>The gate arm raises allowing Jim to drive through to his parking spot. Jim pulls into a spot marked "JIM BALSILLIE Co-CEO." MONTAGE ENDS</scene_description>
</scene>
<scene>
<stage_direction>EXT. PARKING LOT, RIM 2, WATERLOO - MOMENTS LATER</stage_direction>
<scene_description>Jim gets out of his car -- walks towards the front doors...</scene_description>
</scene>
<scene>
<stage_direction>INT. ATRIUM, RIM 2, WATERLOO - CONTINUOUS</stage_direction>
<scene_description>Jim enters the bustling lobby with authority. Staff scurry back and forth through the atrium.</scene_description>
<character>RIM EMPLOYEE 1</character>
<dialogue>Morning Mr. Balsillie.</dialogue>
<scene_description>Big placards on the wall have a huge image of the BLACKBERRY 957 with "Meet Your New Partner" written under it. A receptionist, PEGGY (20s) smiles at Jim from behind the reception desk.</scene_description>
<character>PEGGY</character>
<dialogue>Good morning Mr. Balsillie.</dialogue>
<scene_description>Shelley looks up from behind the desk -- stands up and walks towards Jim with fresh copies of The Wall Street Journal, Report on Business and The New York Times.</scene_description>
<character>JIM</character>
<dialogue>Mike's here before me?</dialogue>
<character>SHELLEY</character>
<dialogue>He didn't leave last night.</dialogue>
<scene_description>Shelley hands Jim the Wall Street Journal.</scene_description>
<character>SHELLEY</character>
<dialogue>You are mentioned on page nine.</dialogue>
<scene_description>Jim flips to it.</scene_description>
<character>SHELLEY</character>
<dialogue>Carl Yankowski from Palm Pilot keeps calling.</dialogue>
<character>JIM</character>
<dialogue>Yeah. Well. Tell him if he wants to talk to me he can come to Waterloo.</dialogue>
<scene_description>Shelley jots it all down on her BlackBerry 957 as she follows Jim.</scene_description>
<character>SHELLEY</character>
<dialogue>That's what I said. Ted Rogers wants to have lunch in the city. He booked Canoe.</dialogue>
<scene_description>People subtly clear the way as he enters the hallway. He's indestructible.</scene_description>
<character>JIM</character>
<dialogue>No. I'm not going to fucking Toronto unless there's a game. Oh, and call Gary Bettman's office about those Leaf tickets. Fucker tried to stick me in the third row.</dialogue>
<character>SHELLEY</character>
<dialogue>Fucker, third row, got it.</dialogue>
</scene>
<scene>
<stage_direction>INT. ENGINEERING DEPARTMENT, RIM 2, WATERLOO - DAY</stage_direction>
<scene_description>Mike turns to the back corner of the room.</scene_description>
<character>MIKE</character>
<parenthetical>(shouting)</parenthetical>
<dialogue>Alright. Try one-fourteen and one- fourteen!</dialogue>
<scene_description>Allan, exhausted, types into a screen of code...</scene_description>
<character>ALLAN</character>
<dialogue>Go for 1-1-4.</dialogue>
<character>MIKE</character>
<dialogue>Okay. Sending.</dialogue>
<scene_description>Mike clicks SEND. The icon spins... Mike and Doug stand together in the middle of the room, flanked by 15 other young engineers, all tired and bleary eyed. They collectively stare between the BlackBerry 957 in Mike's hands and the one on the desk beneath them where we see a Beta version of BlackBerry Messenger with a spinning icon. It's thinking... Message sending.. This new engineering department is WAY cleaner and WAY bigger than RIM 1. The same posters from their first office are now in glass frames and dozens more have been added. Gone are the makeshift plywood desks, replaced with sleek, modern office furniture. But the vibe remains the same. It seems to be taking forever, but there's still hope and then -- -- a BBM PING -- Doug looks to Mike... The room erupts. Engineers are jumping on desks and hugging and crying with the mania of a successful all-nighter.</scene_description>
<character>DOUG</character>
<dialogue>Oh my God. Oh my God. Oh my God. Mike. Oh my God. Boys! Oh my god. Done. Done. Yes! Come on.</dialogue>
<scene_description>Doug hugs Mike. Mike is ecstatic. True joy. He can't contain it. Everyone in the room starts jumping together -- until they notice someone in the doorway... ...and self-consciously stop celebrating in the face of Jim.</scene_description>
<character>MIKE</character>
<dialogue>Hey Jim, we uh... we built a messenger.</dialogue>
<scene_description>Jim walks over to Mike's outstretched hand holding his BlackBerry -- sees what the fuss is about...</scene_description>
<character>MIKE</character>
<dialogue>Fully encrypted two-way messaging that is absolutely inaccessible by anyone including us. It is Untrackable. Untraceable. Unhackable.</dialogue>
<character>JIM</character>
<parenthetical>(dismissive)</parenthetical>
<dialogue>It's texting.</dialogue>
<character>DOUG</character>
<dialogue>No. Do you know how much it costs to send a text message?</dialogue>
<character>JIM</character>
<dialogue>Yeah. Ten cents and the network gets every penny. We're never going to see that money.</dialogue>
<character>MIKE</character>
<dialogue>Right, but these texts are sent via data. So, behind the network's back. Which means...</dialogue>
<character>JIM</character>
<dialogue>Unlimited free texting.. Only on BlackBerry.</dialogue>
<scene_description>Jim looks around the room.</scene_description>
<character>JIM</character>
<dialogue>Fuck yes!</dialogue>
<scene_description>Jim starts high-fiving the room. They love it.</scene_description>
<character>DOUG</character>
<dialogue>Hey! Hey hey hey!</dialogue>
<character>JIM</character>
<dialogue>Fuck yes!</dialogue>
<scene_description>MUSIC CUE: Return of the Mack by Mark Morrison blares off of Doug's Winamp. It's a fucking party.</scene_description>
<character>MIKE</character>
<dialogue>I sent the message that Alexander Bell sent to his assistant, Watson come here that's what --</dialogue>
<scene_description>Jim can't nerd out with Mike and tries to settle him.</scene_description>
<character>JIM</character>
<dialogue>Let's just.. let's just--</dialogue>
<scene_description>Jim dances awkwardly, trying to celebrate with these guys. Doug notices. They nod to one another in a moment of "you're okay". We focus on CARL YANKOWSKI (60, nice suit) standing in the doorway of the Engineering Department. Shelley, flustered, stands behind him.</scene_description>
<character>YANKOWSKI</character>
<dialogue>What the hell are you guys doing?</dialogue>
<scene_description>Everyone turns to Yankowski. Doug turns off the music.</scene_description>
<character>JIM</character>
<dialogue>Sorry - who are you?</dialogue>
<character>YANKOWSKI</character>
<dialogue>You said if I wanted to talk I had to come to Waterloo. So, here I am.</dialogue>
<scene_description>The engineers look confused.</scene_description>
<character>JIM</character>
<dialogue>Gentlemen. Meet Carl Yankowski of Palm Pilot.</dialogue>
<character>MIKE</character>
<dialogue>Oh. Really?</dialogue>
<character>DOUG</character>
<dialogue>Booooooo!</dialogue>
<character>JIM</character>
<dialogue>Doug.</dialogue>
<character>DOUG</character>
<dialogue>How ya doing?</dialogue>
</scene>
<scene>
<stage_direction>INT. MIDWAY DINER, WATERLOO - DAY</stage_direction>
<scene_description>Mike and Jim sit across from Yankowski.</scene_description>
<character>YANKOWSKI</character>
<dialogue>...so I just said three words. "Two. Litre. Bottle." You know what they said? They said "Carl, NOBODY drinks two litres of Mountain Dew." I mean, they didn't see what I saw: Large pizza, BIG soda, complete dinner. We sold a billion litres in a month.</dialogue>
<scene_description>Yankowski notices Mike, looking down, both hands under the table, where he texts with Doug. Mike (BBM) to Doug: This guy is insane.</scene_description>
<character>YANKOWSKI</character>
<dialogue>You playing with yourself under there, Mikey?</dialogue>
<scene_description>Mike looks up, confused.</scene_description>
<character>YANKOWSKI</character>
<dialogue>Alright. Let's clear the air here. I had nothing to do with U.S. Robotics trying to bankrupt you back in '96 - defective modems, working modems... Were they defective? It was a hundred years ago. Who's to say?</dialogue>
<character>MIKE</character>
<dialogue>Me.</dialogue>
<scene_description>Yankowski points to Mike in agreement.</scene_description>
<character>YANKOWSKI</character>
<dialogue>Exactly. Here's what we do. Combine BlackBerry and Palm Pilot. One product. It's the two-litre-bottle of smartphones.</dialogue>
<character>MIKE</character>
<dialogue>Would I still have complete control over every aspect of engineering and design?</dialogue>
<character>YANKOWSKI</character>
<dialogue>No.</dialogue>
<character>MIKE</character>
<dialogue>Okay well, it's going to be uh - we won't be able to move ahead with this. I'm, I'm... sorry. Sorry.</dialogue>
<scene_description>Yankowski takes out his PALM PILOT 7 -- extends the built-in antenna -- starts TAPPING on the screen with a stylus...</scene_description>
<character>YANKOWSKI</character>
<dialogue>You guys love saying "sorry", don't you? Okay. Let's see what you closed at? Four-dollars-and-fifty cents. Oh god is that Canadian?</dialogue>
<scene_description>Mike sees "Made in China" on the back of the PalmPilot.</scene_description>
<character>YANKOWSKI</character>
<dialogue>U.S. Robotics? Eighty-three dollars. Now, that gives us a market cap of about...</dialogue>
<character>YANKOWSKI</character>
<dialogue>forty-five billion. So what would happen if I just... I don't know, bought up all your shares? Oh, what's the word for that again, sport? Hostile Takeover.</dialogue>
<scene_description>Jim doesn't flinch. Mike starts to panic.</scene_description>
<character>MIKE</character>
<parenthetical>(to Jim)</parenthetical>
<dialogue>Hostile takeover? What the fuck? What is happening? We would just say - We could just say no. We, we own the company --</dialogue>
<scene_description>CRINKLE CRINKLE CRINKLE. Mike stops mid sentence, distracted by a sound -- he looks down at Jim balling up the PAPER MENU.</scene_description>
<character>JIM</character>
<dialogue>You know, Carl. You got a deal.</dialogue>
<scene_description>Mike bites his tongue.</scene_description>
<character>CARL YANKOWSKI</character>
<dialogue>Yeah?</dialogue>
<character>JIM</character>
<dialogue>Yeah. Give us a couple months to get our people taken care of and then we'll uh, agree to a private sale.</dialogue>
<character>MIKE</character>
<dialogue>Wait, just uh --</dialogue>
<scene_description>Mike raises a finger to interject. Jim puts his hand up beside him.</scene_description>
<character>JIM</character>
<dialogue>Mike. It's okay. It's okay. It's better to get rich now than fight this guy in court for the next five years.</dialogue>
<character>YANKOWSKI</character>
<dialogue>That's right. You know, I like you.</dialogue>
<scene_description>Mike can't speak. It's his nightmare. Jim gestures to the TV.</scene_description>
<character>JIM</character>
<dialogue>You like hockey?</dialogue>
<character>YANKOWSKI</character>
<dialogue>God no. It's moronic. You?</dialogue>
<character>JIM</character>
<dialogue>Hate it.</dialogue>
</scene>
<scene>
<stage_direction>INT. ENGINEERING DEPARTMENT, RIM 2, WATERLOO - DAY</stage_direction>
<scene_description>Doug sits with the engineers. They're watching John Carpenter's They Live. The "Movie Night" banner hangs over the projector screen. They eat pizza from Supreme 2 for 1 Pizza and Wings. Allan sleeps on a desk. Using a slice of pizza, Doug points at the screen.</scene_description>
<character>RODDY PIPER (ON TV)</character>
<dialogue>I have come here to chew bubblegum and kick ass.. and I'm all out of bubblegum.</dialogue>
<character>DOUG</character>
<dialogue>They based Duke Nukem on this guy. Like, that is Duke Nukem for real.</dialogue>
<scene_description>The LIGHTS COME ON -- Jim and Mike walk through the door.</scene_description>
<character>JIM</character>
<dialogue>Okay. Party's over.</dialogue>
<character>DOUG</character>
<dialogue>What?</dialogue>
<character>JIM</character>
<dialogue>Listen up. Turn that thing off please.</dialogue>
<scene_description>Ethan and Allan attempt to shut the projector off.</scene_description>
<character>JIM</character>
<dialogue>Turn it off. You guys having fun? Because we are about to lose our fucking company.</dialogue>
<character>DOUG</character>
<dialogue>What the hell happened at this lunch?</dialogue>
<scene_description>The light from the projector shines in Jim's eyes.</scene_description>
<character>JIM</character>
<dialogue>Turn that fucking thing off!</dialogue>
</scene>
<scene>
<stage_direction>INT. ENGINEERING DEPARTMENT, RIM 2, WATERLOO - LATER</stage_direction>
<scene_description>Jim stands in front of the engineers, clearly having just delivered big news. Mike stands beside him, crestfallen.</scene_description>
<character>JIM</character>
<dialogue>Okay?</dialogue>
<scene_description>You could hear a pin drop. Doug raises his hand.</scene_description>
<character>JIM</character>
<dialogue>Yeah. Doug.</dialogue>
<character>DOUG</character>
<dialogue>So. My question's actually for Mike. How are we supposed to sell another five hundred thousand phones when we're already maxed on every network we're on?</dialogue>
<scene_description>Mike doesn't look up -- he just shakes his miserable head.</scene_description>
<character>JIM</character>
<dialogue>You guys will figure it out.</dialogue>
<scene_description>Doug raises his hand again.</scene_description>
<character>DOUG</character>
<dialogue>How - how? If we put more phones on these networks they are going to crash. Period. We are not allowed to sell more phones. Mike?</dialogue>
<character>JIM</character>
<dialogue>No. You don't worry about what's allowed. I say what's allowed.</dialogue>
<character>DOUG</character>
<dialogue>I don't even understand what the problem is here. Who cares if this guy wants to buy our company, isn't that good?</dialogue>
<character>JIM</character>
<dialogue>I fucking care. That's who cares. I care. I'm trying to keep this company together, you fuck.</dialogue>
<character>DOUG</character>
<dialogue>I'm sorry. Do you even know what a network limit load is?</dialogue>
<scene_description>Mike motions Doug to stop.</scene_description>
<character>MIKE</character>
<dialogue>Doug.</dialogue>
<character>JIM</character>
<parenthetical>(to Mike)</parenthetical>
<dialogue>Talk to me outside for a second?</dialogue>
<scene_description>Jim leads the way to the door. Mike gives Doug one more look of "please shut up".</scene_description>
<character>DOUG</character>
<dialogue>What?!</dialogue>
<scene_description>Mike follows Jim to the hallway --</scene_description>
</scene>
<scene>
<stage_direction>INT. HALLWAY, ENGINEERING DEPARTMENT, RIM 2 - CONTINUOUS</stage_direction>
<character>JIM</character>
<dialogue>What's a Network Limit Load?</dialogue>
<character>MIKE</character>
<dialogue>This is impossible.</dialogue>
<character>JIM</character>
<dialogue>Well what are we supposed to fucking do Mike? Either we jack our stock to the moon or Yankowski fucks us.</dialogue>
<character>MIKE</character>
<dialogue>Doug is right. Unless the carriers rebuild their entire networks there's nothing we can do. The phones use too much data.</dialogue>
<character>JIM</character>
<dialogue>Well then fucking shrink it?</dialogue>
<character>MIKE</character>
<dialogue>Yeah. Okay. We, we looked into that...</dialogue>
<character>JIM</character>
<dialogue>...Uh huh?</dialogue>
<character>MIKE</character>
<parenthetical>(whispering)</parenthetical>
<dialogue>These guys can't do it.</dialogue>
<scene_description>Mike looks past Jim to the room of engineers. They've formed a little circle around a game of Magic: The Gathering.</scene_description>
<character>JIM</character>
<dialogue>What do you mean, they can't do it? You said they were the best engineers in the world.</dialogue>
<character>MIKE</character>
<dialogue>I said they were the best engineers in Canada.</dialogue>
<scene_description>Beat.</scene_description>
<character>JIM</character>
<dialogue>Okay. Alright. Who could do it.</dialogue>
<character>MIKE</character>
<dialogue>Maybe top guys from Motorola or Microsoft or Google...</dialogue>
<scene_description>Jim pulls out his BlackBerry and opens the notes app -- starts typing.</scene_description>
<character>JIM</character>
<dialogue>Okay.</dialogue>
<character>MIKE</character>
<dialogue>What, what, what are you doing?</dialogue>
<character>JIM</character>
<dialogue>Who else? Where else?</dialogue>
<character>DOUG (O.S)</character>
<parenthetical>(muffled through glass)</parenthetical>
<dialogue>John Carmack!</dialogue>
<scene_description>Jim and Mike turn to Doug, who's standing on the other side of the glass door, trying to listen in.</scene_description>
<character>DOUG</character>
<parenthetical>(muffled)</parenthetical>
<dialogue>Get John Carmack! From I.D. Can you guys hear me? The guy who made Doom?</dialogue>
<scene_description>Jim looks at Mike.</scene_description>
<character>JIM</character>
<dialogue>What's Doom?</dialogue>
<character>MIKE</character>
<dialogue>Have you played Wolfenstein?</dialogue>
<scene_description>Jim is not impressed.</scene_description>
<character>MIKE</character>
<dialogue>Just please don't sell anymore phones.</dialogue>
<scene_description>Jim walks away.</scene_description>
<character>DOUG</character>
<dialogue>Can you hear me?</dialogue>
<character>MIKE</character>
<dialogue>Yes! YES!</dialogue>
<character>DOUG</character>
<dialogue>Oh. Shit.</dialogue>
</scene>
<scene>
<stage_direction>INT. SALES ROOM, RIM 2, WATERLOO - DAY</stage_direction>
<scene_description>A room of ten young salesmen with the exact opposite vibe of the engineers. If those were budding Mikes, these are wannabe Jims. Muscular, sharply dressed, and with great hair cuts. They're relaxing as though they're in a locker room. Stereo blasting. One bounces a ball against a wall; another lifts weights with a spotter. A whiteboard on the wall has everyone's names with their sales numbers listed.</scene_description>
<character>MARK GUIBERT (O.S.)</character>
<dialogue>What the fuck!</dialogue>
<character>JUSTIN FABIAN</character>
<dialogue>Look at this. I'm on fire.</dialogue>
<character>MARK GUIBERT</character>
<dialogue>Lefty. Lefty. Lefty.</dialogue>
<scene_description>Suddenly Jim marches in. Instant quiet. Presence of the Master. Mark stands up and turns off the stereo.</scene_description>
<character>JIM</character>
<dialogue>Alright! Listen up, you dead-eyed dumb fucks.</dialogue>
<scene_description>Jim tosses a box at DON MCMURTRY throwing him off balance on his chair. The room sits up -- shares looks with one another.</scene_description>
<character>JIM</character>
<dialogue>Sorry to cut your little vacation short here, but we got some product to move.</dialogue>
<scene_description>Murmurs.</scene_description>
<character>DON MCMURTRY (O.S.)</character>
<dialogue>What product can we move?</dialogue>
<character>JIM</character>
<dialogue>I'm sorry. What's that?</dialogue>
<character>DON MCMURTRY</character>
<dialogue>Well.. I thought the engineers said.. We maxxed out uh, our networks?</dialogue>
<character>JIM</character>
<dialogue>Yeah. They did, yeah and that's their fucking problem, okay? Your problem is you need to sell a million BlackBerries before Q3.</dialogue>
<scene_description>Bombshell news. Jim gestures to the wall of boxes. The salesman laugh until they realize Jim's not joking.</scene_description>
<character>JUSTIN FABIAN</character>
<dialogue>Uhhh..</dialogue>
<character>JIM</character>
<parenthetical>(Mocking Justin)</parenthetical>
<dialogue>Uhh. Uhh. Uh.</dialogue>
<scene_description>Beat.</scene_description>
<character>JIM</character>
<dialogue>I'm not fucking joking.</dialogue>
<scene_description>Jim silences them with a look.</scene_description>
<character>JIM</character>
<dialogue>I want 'em gone.</dialogue>
<scene_description>Jim leaves the room. The guys scramble to get their suits and get out the door.</scene_description>
</scene>
<scene>
<stage_direction>EXT. RUNWAY, PEARSON INTERNATIONAL AIRPORT, TORONTO - DAY</stage_direction>
<scene_description>Jim runs up the steps of RIM's (rented) Westwind Jet.</scene_description>
</scene>
<scene>
<stage_direction>INT. WESTWIND JET, TORONTO - DAY</stage_direction>
<scene_description>Jim waits for take off. Email Ping! Email from Yankowski: How about the name PalmBerry?</scene_description>
</scene>
<scene>
<stage_direction>EXT. GOOGLE HQ, CA - DAY</stage_direction>
<scene_description>Jim walks through the Google Campus with his head held high.</scene_description>
</scene>
<scene>
<stage_direction>INT. PAUL STANNOS' OFFICE, GOOGLE HQ, MOUNTAIN VIEW, CA - DAY</stage_direction>
<scene_description>Jim sits across the desk from PAUL STANNOS (46, BIG glasses), the name plate on his desk reads "Head of Physical Engineering". Paul holds a brand new BlackBerry -- still in the box --</scene_description>
<character>PAUL</character>
<dialogue>Actually, we're talking about banning these.</dialogue>
<character>JIM</character>
<dialogue>Banning?</dialogue>
<character>PAUL</character>
<dialogue>Nobody pays attention to meetings anymore. They're crouched over..</dialogue>
<character>JIM</character>
<dialogue>Tell them to stop.</dialogue>
<character>PAUL</character>
<dialogue>Okay. We call them CrackBerries.</dialogue>
<character>JIM</character>
<dialogue>Come work for me.</dialogue>
<character>PAUL</character>
<dialogue>I can't.</dialogue>
<character>JIM</character>
<dialogue>Why?</dialogue>
<character>PAUL</character>
<dialogue>Because I am under contract here.</dialogue>
<character>JIM</character>
<dialogue>How much to break it?</dialogue>
<character>PAUL</character>
<dialogue>Excuse me?</dialogue>
<character>JIM</character>
<dialogue>How much money do you want to break your contract with Google?</dialogue>
<scene_description>Paul gets up nervously -- walks to the door -- closes it.</scene_description>
<character>JIM</character>
<dialogue>I'll give you a million dollars if you sign right now.</dialogue>
<scene_description>Paul rushes over to his computer -- unplugs it.</scene_description>
<character>PAUL</character>
<parenthetical>(whispering)</parenthetical>
<dialogue>I am not moving to Canada. We are not having this conversation.</dialogue>
<scene_description>Jim is surprised his number didn't move the dial.</scene_description>
<character>JIM</character>
<dialogue>Two million.</dialogue>
<character>PAUL</character>
<dialogue>Stop.</dialogue>
<character>JIM</character>
<dialogue>Three million.</dialogue>
<character>PAUL</character>
<dialogue>I need you to leave.</dialogue>
<scene_description>Jim isn't going to lose -- goes for it...</scene_description>
<character>JIM</character>
<dialogue>Ten million.</dialogue>
<scene_description>Beat.</scene_description>
<character>PAUL</character>
<dialogue>Well, you don't have ten million dollars.</dialogue>
<scene_description>Jim takes a contract out of his suitcase -- starts amending it by hand...</scene_description>
<character>JIM</character>
<dialogue>This... is a million dollar option deal. I will backdate that to when RIM was trading at a dollar. Merrill just gave us a target of 13.</dialogue>
<scene_description>Jim hands it over. Paul looks down at the contract.</scene_description>
<character>PAUL</character>
<dialogue>Is this legal?</dialogue>
<scene_description>SELLING/RECRUITING MONTAGE BEGINS</scene_description>
</scene>
<scene>
<stage_direction>INT/EXT. AIRPORT HANGER - DAY</stage_direction>
<scene_description>Jim marches towards his private plane through an operating machine shop, looking like he owns the place. It's loud. His BB rings -- looks at it -- picks up...</scene_description>
<character>JIM</character>
<dialogue>Carl!</dialogue>
<character>CARL YANKOWSKI (O.S.)</character>
<dialogue>PalmBerry!</dialogue>
<character>JIM</character>
<dialogue>Eh, listen, I can barely hear you buddy!</dialogue>
<character>CARL YANKOWSKI (O.S.)</character>
<dialogue>I said PalmBerry. Isn't that great?</dialogue>
<character>JIM</character>
<dialogue>Listen uh, I'm getting some static on the line. Can I call you back?</dialogue>
<character>CARL YANKOWSKI (O.S.)</character>
<dialogue>Jim, I can barely hear you. Jim.</dialogue>
<scene_description>Jim holds the phone up towards the loud engine --</scene_description>
<character>CARL YANKOWSKI (O.S.)</character>
<dialogue>JIM</dialogue>
<dialogue>What? Carl? Okay, I'll call</dialogue>
<scene_description>Jim, speak up. you later. He cuts himself off by hanging up -- puts his phone away and waltzes up the steps of his plane...</scene_description>
</scene>
<scene>
<stage_direction>INT. RIM'S RENTED WESTWIND JET, 35,000 FEET - DAY</stage_direction>
<scene_description>Jim reads an email from Accounting: Just confirming Jim... 10m in stock to Paul Stannos? Jim replies: Do it.</scene_description>
</scene>
<scene>
<stage_direction>INT. NOC (NETWORK OPERATIONS CENTRE), RIM 2 - DAY</stage_direction>
<scene_description>Close on a computer screen showing the BlackBerry network usage tick upwards...</scene_description>
</scene>
<scene>
<stage_direction>INT. ENGINEERING DEPARTMENT, RIM 2, WATERLOO - DAY</stage_direction>
<scene_description>Mike and Doug deep in conversation in the engineering department.</scene_description>
<character>PAUL</character>
<dialogue>Mike Lazaridis?</dialogue>
<scene_description>Paul Stannos stands at the door to engineering with a box of personal belongings.</scene_description>
<character>MIKE</character>
<dialogue>If Jim fired you, I can't undo it! I'm sorry. I've tried.</dialogue>
<character>PAUL</character>
<dialogue>No, No. I, just got hired. It's Paul.</dialogue>
<character>DOUG</character>
<dialogue>How ya doing? Welcome! Where are ya coming from?</dialogue>
<character>PAUL</character>
<dialogue>Uh, Google.</dialogue>
<character>DOUG</character>
<dialogue>Nice! What'd, what'd you do?</dialogue>
<character>PAUL</character>
<dialogue>I was the uh, Head of Physical Engineering.</dialogue>
<scene_description>The guys look around impressed.</scene_description>
</scene>
<scene>
<stage_direction>EXT. AIRPORT HANGER - DAY</stage_direction>
<scene_description>Jim struts into the airport hanger.</scene_description>
<character>JIM (O.S.)</character>
<dialogue>You are not salesman anymore. You're male models.</dialogue>
</scene>
<scene>
<stage_direction>INT. RACQUET CLUB - DAY</stage_direction>
<scene_description>Fabian plays tennis.</scene_description>
<character>JIM (O.S.)</character>
<dialogue>I want you at every Country Club, Yacht Club, Tennis Club. Wherever the elite go, you go.</dialogue>
<scene_description>Fabian checks his BlackBerry.</scene_description>
<character>JIM (O.S.)</character>
<dialogue>I want them to see you using it. Be big--</dialogue>
</scene>
<scene>
<stage_direction>INT. COUNTRY CLUB - DAY</stage_direction>
<scene_description>Mark smokes a cigar while checking his Blackberry.</scene_description>
<character>JIM (O.S.)</character>
<dialogue>Be LOUD. Have them thinking, who is this annoying prick? And how can I be more like him?</dialogue>
</scene>
<scene>
<stage_direction>INT. TAILORS - DAY</stage_direction>
<scene_description>McMurtry gets his suit fitted. He types on his BlackBerry.</scene_description>
<character>TAILOR</character>
<dialogue>What is that?</dialogue>
<character>JIM (O.S.)</character>
<dialogue>And when they ask you--</dialogue>
<character>JIM (O.S.)</character>
<dialogue>Don't say it's a phone that does email... It's not a cell phone... It's a status symbol.</dialogue>
</scene>
<scene>
<stage_direction>EXT. TARMAC, WASHINGTON AIRPORT DAY</stage_direction>
<scene_description>Jim hustles down the steps of his plane.</scene_description>
</scene>
<scene>
<stage_direction>EXT. MICROSOFT, WASHINGTON - DAY</stage_direction>
<scene_description>Jim arrives at Microsoft. Makes a deal.</scene_description>
</scene>
<scene>
<stage_direction>INT. OFFICE BUILDING - DAY</stage_direction>
<scene_description>Jim making deals and shaking hands.</scene_description>
</scene>
<scene>
<stage_direction>INT. COUNTRY CLUB - NIGHT</stage_direction>
<scene_description>Mark being showered with business cards.</scene_description>
<character>MARK GUIBERT</character>
<dialogue>Anybody else? Anybody else? Alright.</dialogue>
</scene>
<scene>
<stage_direction>INT. SALES ROOM, RIM 2, WATERLOO - DAY</stage_direction>
<scene_description>Mark hands Austin more business cards.</scene_description>
<character>AUSTIN</character>
<dialogue>Hi. I'm calling on behalf of BlackBerry. I heard that you're interested in buying some of the quarks for your corporation.</dialogue>
</scene>
<scene>
<stage_direction>INT. NOC (NETWORK OPERATIONS CENTRE), RIM 2 - CONTINUOUS</stage_direction>
<scene_description>Network ticking up yellow.</scene_description>
</scene>
<scene>
<stage_direction>INT. RACQUET CLUB - DAY</stage_direction>
<scene_description>Fabian schmoozes with the other players.</scene_description>
</scene>
<scene>
<stage_direction>INT. SALES ROOM, RIM 2, WATERLOO - DAY</stage_direction>
<scene_description>Fabian shows off his collection of business cards and gives them to Austin.</scene_description>
</scene>
<scene>
<stage_direction>INT. NOC (NETWORK OPERATIONS CENTRE), RIM 2 - DAY</stage_direction>
<scene_description>Allan monitors the network ticking up yellow.</scene_description>
</scene>
<scene>
<stage_direction>INT. TAILORS - DAY</stage_direction>
<scene_description>The BlackBerry on the tailor's desk catches a customer's eye.</scene_description>
</scene>
<scene>
<stage_direction>INT. SALES ROOM, RIM 2, WATERLOO - DAY</stage_direction>
<scene_description>Business cards pile up on Austin's desk.</scene_description>
</scene>
<scene>
<stage_direction>INT. NOC (NETWORK OPERATIONS CENTRE), RIM 2 - DAY</stage_direction>
<scene_description>The network monitor has ticked up into the RED ZONE. MONTAGE ENDS FOX 5 NEWS FOOTAGE:</scene_description>
<character>FOX REPORTER</character>
<dialogue>It's 7:55. We are back with Fox 5 Consumer news. A global BlackBerry crisis this morning. The company says it's experiencing massive service interruptions.</dialogue>
<character>FOX REPORTER</character>
<dialogue>The company's help line says, users can expect delays in sending and receiving messages.</dialogue>
<scene_description>ENGINEERING DEPARTMENT, RIM 2, WATERLOO - DAY Everyone is going crazy trying to figure out what happened to their traffic. Doug handles the phones.</scene_description>
<character>DOUG</character>
<parenthetical>(on the phone)</parenthetical>
<dialogue>Yes. Yes. We are aware of the problem and uh, we are.. We are sorting it out right now. I'll call you back.</dialogue>
<scene_description>Doug hangs up. Engineers are scrambling. It's pure chaos.</scene_description>
<character>DOUG</character>
<dialogue>What's happening man?</dialogue>
<character>SCOTT</character>
<dialogue>It's all down there!</dialogue>
<character>PRANAY</character>
<dialogue>Are we totally fucked?</dialogue>
<scene_description>Mike leans out from the NOC door -- HEY. QUIET! They shut up. Mike slams the NOC door shut.</scene_description>
<character>DOUG</character>
<dialogue>Let, let, let, let's just keep it down out here guys... for a second.</dialogue>
</scene>
<scene>
<stage_direction>INT. NOC (NETWORK OPERATIONS CENTRE), RIM 2 - CONTINUOUS</stage_direction>
<scene_description>Mike closes the door and joins Network Engineer Allan Lewis -- he's sitting in front of A SINGLE LAPTOP in the middle of the room.</scene_description>
<character>MIKE</character>
<dialogue>How many are down?</dialogue>
<character>ALLAN</character>
<dialogue>Maybe... ten thousand?</dialogue>
<character>MIKE</character>
<dialogue>Jesus. Okay. Okay. Okay.</dialogue>
<scene_description>RIINNG! Mike picks up his BlackBerry.</scene_description>
<character>MIKE</character>
<dialogue>Yeah, hello?</dialogue>
<character>AUTOMATED OPERATOR (O.S.)</character>
<dialogue>You have a collect call from...</dialogue>
<scene_description>WHAT THE FUCK IS HAPPENING?</scene_description>
<character>AUTOMATED OPERATOR (O.S.)</character>
<dialogue>Will you accept the charges?</dialogue>
<scene_description>Mike is paralyzed with fear...</scene_description>
<character>AUTOMATED OPERATOR (O.S.)</character>
<dialogue>Are you still there?</dialogue>
<character>MIKE</character>
<dialogue>Yes, I accept.</dialogue>
<character>AUTOMATED OPERATOR (O.S.)</character>
<dialogue>Thank you.</dialogue>
<scene_description>Beat.</scene_description>
<character>JIM (O.S.)</character>
<dialogue>Mike.</dialogue>
<character>MIKE</character>
<dialogue>...Hi...</dialogue>
</scene>
<scene>
<stage_direction>EXT. PAYPHONE BOOTH, CALIFORNIA - CONTINUOUS</stage_direction>
<scene_description>Jim is in the (Verizon) phone booth.</scene_description>
<character>JIM</character>
<dialogue>There are three reasons why people buy our phones. Do you know what they are?</dialogue>
</scene>
<scene>
<stage_direction>INT. NOC (NETWORK OPERATIONS CENTRE), RIM 2 - CONTINUOUS</stage_direction>
<character>MIKE</character>
<dialogue>Umm... Email?</dialogue>
</scene>
<scene>
<stage_direction>EXT. PAYPHONE BOOTH, CALIFORNIA - CONTINUOUS</stage_direction>
<character>JIM</character>
<dialogue>They! Fucking! Work!</dialogue>
</scene>
<scene>
<stage_direction>INT. NOC (NETWORK OPERATIONS CENTRE), RIM 2 - CONTINUOUS</stage_direction>
<character>MIKE (O.S.)</character>
<dialogue>Yeah. Okay. It's not us, Jim. It's the carrier. Verizon is doing something weird.</dialogue>
</scene>
<scene>
<stage_direction>EXT. PAYPHONE BOOTH, CALIFORNIA - CONTINUOUS</stage_direction>
<character>JIM</character>
<dialogue>Well, I'm about to do "something weird" if you don't fix this. NOW.</dialogue>
</scene>
<scene>
<stage_direction>INT. NOC (NETWORK OPERATIONS CENTRE), RIM 2 - CONTINUOUS</stage_direction>
<character>JIM (O.S.)</character>
<dialogue>The deal was, I get the engineers.. You shrink the data!</dialogue>
<scene_description>Mike suddenly makes the connection --</scene_description>
<character>MIKE</character>
<dialogue>Are, are you, are you selling more phones?</dialogue>
</scene>
<scene>
<stage_direction>EXT. PAYPHONE BOOTH, CALIFORNIA - CONTINUOUS</stage_direction>
<character>JIM</character>
<dialogue>What the hell do you think I've been doing over here, Mike!? We're in the middle of a hostile fucking takeover!</dialogue>
</scene>
<scene>
<stage_direction>INT. NOC (NETWORK OPERATIONS CENTRE), RIM 2 - CONTINUOUS</stage_direction>
<character>JIM (OS</character>
<dialogue>Do I need to have someone babysit you dorks?</dialogue>
<character>MIKE</character>
<dialogue>Okay...okay... so THAT'S.. okay. Yeah, the entire system is crashing..</dialogue>
<character>MIKE</character>
<parenthetical>(to Allan)</parenthetical>
<dialogue>He's selling more phones..</dialogue>
<scene_description>Allan looks over at Mike with concern.</scene_description>
</scene>
<scene>
<stage_direction>EXT. PAYPHONE BOOTH, CALIFORNIA - CONTINUOUS</stage_direction>
<scene_description>HEY. GOD DAMN IT.</scene_description>
</scene>
<scene>
<stage_direction>INT. NOC (NETWORK OPERATIONS CENTRE), RIM 2 - CONTINUOUS</stage_direction>
<character>MIKE</character>
<dialogue>Yeah. Yeah. So.. Okay uh. I didn't realize.. uh, hold off selling more until we --</dialogue>
</scene>
<scene>
<stage_direction>EXT. PAYPHONE BOOTH, CALIFORNIA - CONTINUOUS</stage_direction>
<scene_description>I'M NOT FUCK -- Jim bashes the receiver against the phone, leaving nothing but bits behind as he storms off.</scene_description>
</scene>
<scene>
<stage_direction>INT. OFFICE, MOTOROLA, CHICAGO - DAY</stage_direction>
<scene_description>Jim sits opposite RITCHIE CHO (Head of Devices). Ritchie reads over a contract. Looks up at Jim.</scene_description>
<character>RITCHIE</character>
<dialogue>Okay, sorry, is this technically legal?</dialogue>
<character>CHARLES PURDY (O.S.)</character>
<dialogue>Ritchie!</dialogue>
<scene_description>Jim spins around to see CHARLES PURDY (70, heavyset, scary) standing in Ritchie's doorway...</scene_description>
<character>RITCHIE</character>
<dialogue>I'm actually in a personal meeting, Charles.</dialogue>
<character>CHARLES PURDY</character>
<dialogue>And I personally don't give a flying fuck! Engineering can't do a god damn thing until you send that fax! Now take a "meeting" when the union isn't ripping my guts out.</dialogue>
<character>CHARLES PURDY</character>
<dialogue>Do you hear me? Get it done.</dialogue>
<parenthetical>(under his breath)</parenthetical>
<dialogue>Son of a bitch.</dialogue>
<scene_description>Charles SLAMS the door shut -- Ritchie turns to Jim.</scene_description>
<character>RITCHIE</character>
<dialogue>You said you were located in Waterloo?</dialogue>
<scene_description>Jim is still looking at the door where Charles stood.</scene_description>
<character>JIM</character>
<dialogue>What is that guy's name?</dialogue>
</scene>
<scene>
<stage_direction>INT. ENGINEERING DEPARTMENT, RIM 2, WATERLOO - DAY</stage_direction>
<scene_description>It's madness. All the new superstar recruits have arrived on the same day. Doug stands on his chair with his arms in the air, holding court. Mike watches from the corner of the room.</scene_description>
<character>DOUG</character>
<dialogue>Okay. Okay. Hey everybody. Welcome to Research in Motion! I know this is a bit disorganized. I promise we will get everybody settled. So um, in the meantime, we are having a bit of a network issue. So, put up you hand if you understand Mobitex architecture?</dialogue>
<scene_description>Ritchie Cho and Paul Stannos raise their hands.</scene_description>
<character>DOUG</character>
<dialogue>Two people. Okay. Uh, that's fine. You two, you're with Mike. The rest of you, I don't know what you do but follow me. We are taking a tour! Let's go.</dialogue>
<scene_description>Doug starts a tour --</scene_description>
<character>DOUG</character>
<dialogue>It's going to be a little bit like Sam Rockwell in Teenage Ninja Turtles in the foot clan. Hands up, who's seen it?</dialogue>
<scene_description>Paul and Ritchie walk over to Mike --</scene_description>
<character>RITCHIE</character>
<dialogue>Can I talk to you for a second? What is Charles Purdy doing here?</dialogue>
<character>MIKE</character>
<dialogue>What, what are you talking about?</dialogue>
<character>RITCHIE</character>
<dialogue>The man standing in the hallway directly over my left shoulder.</dialogue>
<scene_description>Mike turns around to see Charles Purdy (from Motorola) standing outside the glass, looking in on the room -- he turns back --</scene_description>
<character>MIKE</character>
<dialogue>Oh, Jesus.</dialogue>
<character>RITCHIE</character>
<dialogue>Listen to me. That guy will fuck you up. Do not let that man anywhere near your engineering department. Trust me.</dialogue>
<character>MIKE</character>
<dialogue>Yeah. Okay. Alright.</dialogue>
<character>RITCHIE</character>
<parenthetical>(to Paul)</parenthetical>
<dialogue>I'm serious. He will fuck your shit up.</dialogue>
</scene>
<scene>
<stage_direction>INT. HALLWAY, ENGINEERING DEPARTMENT, RIM 2 - MOMENTS LATER</stage_direction>
<scene_description>Mike opens the door to the hall, hiding his body inside the room.</scene_description>
<character>MIKE</character>
<dialogue>Can I help you?</dialogue>
<character>CHARLES PURDY</character>
<dialogue>You're Mike? Aren't you?</dialogue>
<character>MIKE</character>
<dialogue>Yes. I'm Mike. What are you doing here?</dialogue>
<character>CHARLES PURDY</character>
<dialogue>Charles Purdy. I'm your new COO.</dialogue>
<character>MIKE</character>
<dialogue>Oh. Jim hired you to be the Chief --</dialogue>
<character>CHARLES PURDY</character>
<dialogue>I'm here to get this ship under control.</dialogue>
<character>MIKE</character>
<dialogue>We are under control.</dialogue>
<character>CHARLES PURDY</character>
<dialogue>Oh, really? Whose?</dialogue>
<scene_description>Charles gestures through the glass. It's a party. Doug piggy- backs Scott around the office.</scene_description>
<character>CHARLES PURDY</character>
<dialogue>Hmmm?</dialogue>
<scene_description>Mike walks away.</scene_description>
</scene>
<scene>
<stage_direction>INT. MIDWAY DINER, WATERLOO - DAY</stage_direction>
<scene_description>Coffee being poured... Notes being scribbled... Food sits untouched... Mike works with Paul and Ritchie on pages and pages of math.</scene_description>
<character>PAUL</character>
<dialogue>Okay. So, then let's trying something different. Instead of shrinking the data.. Maybe, we spread it out?</dialogue>
<scene_description>The waitress tops up their coffee.</scene_description>
<character>PAUL</character>
<dialogue>Thank you.</dialogue>
<character>RITCHIE</character>
<dialogue>Well, why not take multiple towers in the same zone and split the packet between them? We can put it back together at the server here.</dialogue>
<scene_description>Mike speaks without looking up from his calculations.</scene_description>
<character>MIKE</character>
<dialogue>We tried that. Here's the problem, the towers don't recognize one another. Each of them has no idea which piece of the signal they're receiving and the whole process just keeps--</dialogue>
<character>PAUL</character>
<dialogue>Maybe we reprogram the towers?</dialogue>
<character>MIKE</character>
<dialogue>They're not our towers. We don't control them.</dialogue>
<character>RITCHIE</character>
<dialogue>That's okay. At Naughty Dog we had to hack the Playstation to get Crash Bandicoot running.</dialogue>
<scene_description>Mike lights up, realizing these guys are fucking SMART.</scene_description>
<character>MIKE</character>
<dialogue>Okay. So, if each exchange is triangulated, we could divide the signal three ways?</dialogue>
<scene_description>Mike takes the salt, pepper, and ketchup -- makes a triangle.</scene_description>
<character>PAUL</character>
<dialogue>No. No. We actually could do way, WAY more. Every BlackBerry is a server?</dialogue>
<character>RITCHIE</character>
<dialogue>We could divide the signal between every user in the same grid?.</dialogue>
<character>PAUL</character>
<dialogue>Divide by Thousands. So, it will be like Napster. Distributed network of your own users.</dialogue>
<character>RITCHIE (O.S.)</character>
<dialogue>That's gotta be in the terms of service.. Hackers would be on it so fast.</dialogue>
<character>PAUL (O.S.)</character>
<dialogue>They encrypt everything server side, right? Mike? Mike? I mean, everything, everything is already encrypted. So.</dialogue>
<scene_description>Mike is writing this idea down as fast as he can.</scene_description>
<character>RITCHIE (O.S.)</character>
<dialogue>...Mike?</dialogue>
<character>PAUL</character>
<dialogue>Mike?</dialogue>
<scene_description>Mike grabs his papers...</scene_description>
<character>MIKE</character>
<dialogue>Excuse me.</dialogue>
<scene_description>Mike rushes for the door.</scene_description>
<character>MIKE</character>
<dialogue>You can have my bacon.</dialogue>
<scene_description>Paul and Ritchie watch him leave.</scene_description>
<character>PAUL</character>
<dialogue>What are they paying you?</dialogue>
<character>RITCHIE</character>
<dialogue>I shouldn't say.</dialogue>
<character>PAUL</character>
<dialogue>They're paying me ten million dollars.</dialogue>
<character>RITCHIE</character>
<dialogue>Yeah. Me too.</dialogue>
</scene>
<scene>
<stage_direction>INT. MIKE'S BMW, PARKING LOT, RIM 2, WATERLOO - DAY</stage_direction>
<scene_description>Mike screeches into his "LAZARIDIS" parking space. No Jim. No Doug.</scene_description>
</scene>
<scene>
<stage_direction>INT. HALLWAY, ENGINEERING DEPARTMENT, RIM 2 - DAY</stage_direction>
<scene_description>Mike races down the hallway, clutching his stack of equations as if someone might steal them.</scene_description>
</scene>
<scene>
<stage_direction>INT. ENGINEERING DEPARTMENT, RIM 2, WATERLOO - CONTINUOUS</stage_direction>
<scene_description>Mike stops at the doorway to engineering -- We see what Mike is looking at -- his entire staff, old and new, are setting up for "Movie Night" -- chairs are arranged - - popcorn is handed out in coffee-filter "bowls" -- a giant projector screen is pulled down. Scott and a new recruit balance on swivel chairs to hang the "Movie Night" banner.</scene_description>
<character>SCOTT</character>
<dialogue>Higher on that side. Let's get a chair over there.</dialogue>
<character>ALLAN</character>
<dialogue>Oh, yeah. Here you go buddy.</dialogue>
<scene_description>Mike looks down at the "work" in his hands -- then back at Movie Night...</scene_description>
</scene>
<scene>
<stage_direction>INT. CHARLES PURDY'S OFFICE, RIM 2, WATERLOO - DAY</stage_direction>
<scene_description>Mike knocks timidly...</scene_description>
<character>CHARLES PURDY</character>
<dialogue>Yes. Come in.</dialogue>
<scene_description>Mike opens the door -- takes one step in -- Charles is wearing glasses at his desk, reading over a delivery schedule.</scene_description>
<character>MIKE</character>
<dialogue>Mr. Purdy?</dialogue>
<scene_description>Mike holds up his papers sheepishly.</scene_description>
<character>MIKE</character>
<dialogue>Yeah. Uh so, first of all, sorry about before.</dialogue>
</scene>
<scene>
<stage_direction>INT. ENGINEERING DEPARTMENT, RIM 2, WATERLOO - MOMENTS LATER</stage_direction>
<scene_description>Staff sit theatre style in anticipation. Smiles. Laughs. The Disciples of Doug.</scene_description>
<character>CHARLES PURDY (O.S.)</character>
<dialogue>Allan Lewis?!</dialogue>
<scene_description>The room turns around at Charles' booming voice.</scene_description>
<character>CHARLES PURDY</character>
<dialogue>Which one of you is Allan Lewis?!</dialogue>
<scene_description>Everyone looks at Allan, sitting with his popcorn.</scene_description>
<character>ALLAN</character>
<dialogue>Hello.</dialogue>
<character>CHARLES PURDY</character>
<dialogue>Ah. Michael's had a breakthrough. Now, I want these tested. I want the report on my desk, Friday.</dialogue>
<scene_description>Charles hands him the papers -- Allan looks at them... Allan looks up sharply.</scene_description>
<character>ALLAN</character>
<dialogue>When? Sorry?</dialogue>
<character>CHARLES PURDY</character>
<dialogue>Friday.</dialogue>
<scene_description>The room chuckles in a "this must be a joke" kind of way -- Allan breathes a sigh of relief, thinking Charles was serious.</scene_description>
<character>ALLAN</character>
<dialogue>This looks like a whole new relay system--</dialogue>
<character>CHARLES PURDY</character>
<dialogue>Uh huh.</dialogue>
<scene_description>Allan sobers up.</scene_description>
<character>ALLAN</character>
<dialogue>Testing this will probably take me a month.</dialogue>
<character>CHARLES PURDY</character>
<dialogue>Well, then you best get started, hadn't you?</dialogue>
<character>ALLAN</character>
<dialogue>...It's bad luck to work on Movie Night.</dialogue>
<character>ETHAN</character>
<dialogue>Can't work on movie night.</dialogue>
<scene_description>The crowd goes quiet.</scene_description>
<character>CHARLES PURDY</character>
<dialogue>You're all children. Is that it?</dialogue>
<character>SCOTT</character>
<parenthetical>(laughing)</parenthetical>
<dialogue>Sorry, who are you?</dialogue>
<character>CHARLES PURDY</character>
<dialogue>You think this is funny, is it?</dialogue>
<character>SCOTT</character>
<dialogue>Just wondering who -- who are you?</dialogue>
<character>CHARLES PURDY</character>
<dialogue>I'm Charles Purdy. From this moment on you will all work for me. And if that work is not done at a pace that I expect, you'll be fired.</dialogue>
<character>CHARLES PURDY</character>
<dialogue>And I'll keep firing until this room is full of men and not little boys playing with their little penises. Now, are there any questions?</dialogue>
<character>ETHAN</character>
<dialogue>Um. Where's Doug?</dialogue>
</scene>
<scene>
<stage_direction>INT. DOUG'S CAR, PARKING LOT, RIM 2, WATERLOO - DAY</stage_direction>
<scene_description>MUSIC CUE: This is What We Do by MC Hammer blares on the car stereo. His '84 Honda Civic (still runs!) pulls into the RIM parking lot. He wears his orange bandana and sings along...</scene_description>
<character>DOUG</character>
<parenthetical>(singing)</parenthetical>
<dialogue>...My body, It's my body, Take it where I want to, Pump it up party... My Time is my Time. I make my own decisions. Do what I want to do.</dialogue>
<character>PARKING ATTENDANT 2</character>
<dialogue>Doug! Let's go bro.</dialogue>
<character>DOUG</character>
<dialogue>Movie night tonight. Movie night.</dialogue>
<scene_description>Doug pulls into his "DOUG" spot next to "LAZARIDIS" and "BALSILLIE". He takes the cassette out of the tape deck and transfers it to his yellow Sony walkman. Presses play and continues to bop to it.</scene_description>
</scene>
<scene>
<stage_direction>INT. HALLWAY, ENGINEERING DEPARTMENT, RIM 2 - MOMENTS LATER</stage_direction>
<scene_description>Doug walks down empty, quiet halls, music still blasting, oblivious... ... Doug takes off his headphones. END MUSIC CUE</scene_description>
</scene>
<scene>
<stage_direction>INT. ENGINEERING DEPARTMENT, RIM 2, WATERLOO - CONTINUOUS</stage_direction>
<scene_description>The "Movie Night" banner is gone. The projector is gone. The chairs are back at their desks. Everyone is working. Six guys sit behind Allan's computer, helping with Mike's new code. Doug looks at his desk -- the toilet plunger sits in the garbage can...</scene_description>
</scene>
<scene>
<stage_direction>INT. MIKE'S OFFICE, RIM 2, WATERLOO - DAY</stage_direction>
<scene_description>Mike reads Fundamentals of Microwave Transmission Lines. Doug storms in --</scene_description>
<character>DOUG</character>
<dialogue>Have you seen this?</dialogue>
<character>MIKE</character>
<dialogue>No.</dialogue>
<character>DOUG</character>
<dialogue>Have you been out there?</dialogue>
<character>MIKE</character>
<dialogue>No.</dialogue>
<scene_description>Mike doesn't look up from his research.</scene_description>
<character>DOUG</character>
<dialogue>Dude. Jim killed Movie Night. Actually, what am I saying, he didn't have the guts to do it himself. Apparently, he got this three hundred pound dude to go in there and start screaming at everybody! Said he was going to fire Allan?</dialogue>
<scene_description>No response from Mike.</scene_description>
<character>DOUG</character>
<dialogue>...Mike?</dialogue>
<character>MIKE</character>
<dialogue>We do need... We do need to get back to work.</dialogue>
<scene_description>Doug gets it -- thinks about leaving...</scene_description>
<character>DOUG</character>
<dialogue>Yeah... Do you not ever wonder why these guys are wiling to work eighty hours a week? Never see their families? Never get any credit?</dialogue>
<character>MIKE</character>
<dialogue>Yeah. It's because they get to work on the best phone in the world, Doug.</dialogue>
<character>DOUG</character>
<dialogue>Yeah... That must be it.</dialogue>
<scene_description>Doug walks out.</scene_description>
</scene>
<scene>
<stage_direction>INT. BOARDROOM, VERIZON HQ, NEW YORK - DAY</stage_direction>
<scene_description>Jim walks toward the Verizon boardroom. RING!</scene_description>
<character>JIM</character>
<dialogue>Hello?</dialogue>
<character>YANKOWSKI (O.S.)</character>
<dialogue>You're making a big mistake, sport.</dialogue>
<character>JIM</character>
<dialogue>Yeah, sorry, Carl. I am going to have to call you back. I am stepping into a meeting.</dialogue>
<character>CARL YANKOWSKI (O.S.)</character>
<dialogue>Don't you dare fucking hang up on me. Don't hang--</dialogue>
<scene_description>Clicks. Hangs up. Jim stands in front of the Verizon board, his hands on John's shoulder. John brushes him off. A dozen board members (some of who we recognize from Bell Atlantic) sit around the boardroom table.</scene_description>
<character>JIM</character>
<dialogue>How's everybody doing?</dialogue>
<character>JOHN WOODMAN</character>
<dialogue>Jim, I know this isn't exactly what you want to hear, but this board feels that in order to avoid further disruptions, it's best we end our relationship with BlackBerry.</dialogue>
<character>JIM</character>
<dialogue>John, we're just getting started.</dialogue>
<character>JOHN WOODMAN</character>
<dialogue>Jim, I'm serious. We're wiling to take the hit on users and let them go crash somebody else's fucking network. It's over.</dialogue>
<character>JIM</character>
<dialogue>No. What's "over" is your bullshit limit of 500,000 users. We quadrupled it.</dialogue>
<character>JOHN WOODMAN</character>
<dialogue>Okay, Jim...</dialogue>
<character>JIM</character>
<dialogue>Our engineers reprogrammed your towers. As of right now, Verizon is capable of carrying 2 million BlackBerrys at the same time. And we've already sold half of those.</dialogue>
<character>JOHN WOODMAN</character>
<dialogue>Bullshit.</dialogue>
<scene_description>Jim holds the look. John realizes this is not a joke.</scene_description>
<character>JIM</character>
<dialogue>Try me.</dialogue>
<scene_description>The board share looks with John, is he serious? HOW'D YA DO IT? MONTAGE BEGINS</scene_description>
</scene>
<scene>
<stage_direction>INT. MIDWAY DINER, WATERLOO - DAY</stage_direction>
<scene_description>Jim reads the headline "RIM STOCK ROCKETS 400%" in the Globe and Mail. Looks up to see Carl Yankowski walk in, looking uneasy. Jim waves him over to take a seat.</scene_description>
</scene>
<scene>
<stage_direction>INT. ENGINEERING DEPARTMENT, RIM 2, WATERLOO - DAY</stage_direction>
<scene_description>Charles Purdy rules the roost as the staff all busy themselves silently with the work of the day. Everyone wears name tags. Including Doug, who sits at his desk silently typing code.</scene_description>
</scene>
<scene>
<stage_direction>INT. BOARDROOM, VERIZON HQ, NEW YORK - DAY</stage_direction>
<character>JOHN WOODMAN</character>
<dialogue>How'd you do it, Mike?</dialogue>
<scene_description>Mike sits at the boardroom table. He just stares dead ahead, lost in the question. TITLE CARD: 2007</scene_description>
</scene>
<scene>
<stage_direction>INT. EXECUTIVE BOARDROOM, RIM 2, WATERLOO - DAY</stage_direction>
<scene_description>Mike (hair slicked back, an air of confidence, power-suit) sits at the head of a large table in the centre of an elegant boardroom. Around him are the SENIOR BOARD OF DIRECTORS of RIM. The only other person we recognize is Charles Purdy. JACK MANISHEN (41, Head of Marketing) presents next quarter's sales projections on a PowerPoint slide.</scene_description>
<character>JACK MANISHEN</character>
<dialogue>We're number one in handset sales, subscriptions, customer retention, attracting new smartphone users, and brand recognition. We control 30% of the North American market and with the upcoming release of the BlackBerry Bold we're on track to control 50% of the global market...</dialogue>
<scene_description>Mike gets a BBM: Doug: you gotta get down here! Ignores it --</scene_description>
<character>JACK MANISHEN</character>
<dialogue>Now our numbers are a bit below estimates right now, but we're expecting a nice bump when the 8310 comes out in March.</dialogue>
<character>CHARLES PURDY</character>
<dialogue>Now's probably a good time to talk about moving some of the assembly and construction to China.</dialogue>
<character>MIKE</character>
<dialogue>No. No. Take people off of Onyx. If you need more bodies, hire more people. We're not moving to fucking China...</dialogue>
<character>CHARLES PURDY</character>
<dialogue>Alright.</dialogue>
<character>MIKE</character>
<dialogue>Alright.</dialogue>
<scene_description>Something catches Mike's eye -- Doug, points to his phone at him from behind the window to the boardroom.</scene_description>
<character>MIKE</character>
<dialogue>Oh my god.</dialogue>
<parenthetical>(To Doug)</parenthetical>
<dialogue>What!</dialogue>
<scene_description>Mike turns back to the boardroom.</scene_description>
<character>MIKE</character>
<dialogue>Ah, that's a good spot to leave it for today guys. Thank you.</dialogue>
<scene_description>Mike stands up -- the room follows. Mike makes his way to the door -- Jack Manishen cuts him off...</scene_description>
<character>JACK MANISHEN</character>
<parenthetical>(privately)</parenthetical>
<dialogue>Hey. Where's Jim?</dialogue>
<character>MIKE</character>
<dialogue>Why?</dialogue>
<character>JACK MANISHEN</character>
<dialogue>He's not answering my e-mails.</dialogue>
<character>MIKE</character>
<dialogue>We're pitching the trackpad to Verizon on Friday. He's probably working on that.</dialogue>
<scene_description>Mike exits.</scene_description>
<character>MIKE (O.S.)</character>
<parenthetical>(to Doug)</parenthetical>
<dialogue>I am in a meeting!</dialogue>
</scene>
<scene>
<stage_direction>INT. RIM PRIVATE JET, 35,000 FEET - DAY</stage_direction>
<scene_description>On a portable DVD player, Jim watches DON CHERRY and RON MACLEAN of COACH'S CORNER on the plane.</scene_description>
<character>DON CHERRY (ON TV)</character>
<dialogue>And I really believe that uh, Balsillie, is that how you say it? Something like that. You know, he was in there and says "I've heard guys screw up my name but worse than you". Anyhow, he's a patriot.</dialogue>
<character>DON CHERRY (ON TV)</character>
<dialogue>He really does-- He's a hockey guy that really wants-- there's no making money that doesn't -- He's a hockey guy. Plays hockey, the whole deal. He really wants hockey here.</dialogue>
<scene_description>The plane phone RINGS. Austin picks it up before Jim can stop him.</scene_description>
<character>JIM</character>
<dialogue>No. Don't --</dialogue>
<character>AUSTIN</character>
<dialogue>Hello..</dialogue>
<character>JACK MANISHEN (O.S.)</character>
<dialogue>Hand the phone to Jim.</dialogue>
<character>AUSTIN</character>
<dialogue>Uh. Who's this?</dialogue>
<character>JACK MANISHEN (O.S.)</character>
<dialogue>It's Jack Manishen from Marketing. It's important.</dialogue>
<scene_description>Austin turns to Jim. Jim's eyes glued to the screen.</scene_description>
<character>AUSTIN</character>
<dialogue>Jack. Manishen. Marketing?</dialogue>
<character>JIM</character>
<dialogue>Mike can handle it.</dialogue>
<scene_description>Austin returns to the phone.</scene_description>
<character>AUSTIN</character>
<dialogue>Maybe, you can speak to Mr. Lazaridis.</dialogue>
<character>JACK MANISHEN</character>
<dialogue>He does not want me going to Mike with this... at least tell me where you're going.</dialogue>
<scene_description>Beat. Austin looks to Jim.</scene_description>
<character>AUSTIN</character>
<dialogue>He wants to know where we are going..</dialogue>
<character>JIM</character>
<dialogue>Hang up.</dialogue>
<scene_description>Austin hangs up the phone.</scene_description>
</scene>
<scene>
<stage_direction>INT. ENGINEERING DEPARTMENT, RIM 2, WATERLOO - DAY</stage_direction>
<scene_description>It's dark. The lights are off and the projector screen is down, like movie night. But we're not watching a movie. Instead, the entire engineering department watches STEVE JOBS on stage at MacWorld 2007. We notice the engineering department has gone through another makeover. All of the movie posters and comic books and science fiction novels have been replaced with BlackBerry advertisements. Doug leads Mike into the room from the doorway -- they join the crowd of engineers, all staring in wide eyed wonder/terror.</scene_description>
<character>JOBS (ON SCREEN)</character>
<dialogue>So. Three things. A widescreen iPod with touch controls. A revolutionary mobile phone and a breakthrough internet communications device.</dialogue>
<scene_description>Mike steals a look at Doug watching Jobs.</scene_description>
<character>JOBS (ON SCREEN)</character>
<dialogue>An iPod... a phone... and an internet communicator. An iPod. A phone. Are you getting it?! These are not three separate devices. This is one device. And we are calling it: iPhone.</dialogue>
<scene_description>Murmurs from the crowd.</scene_description>
<character>JOBS (ON SCREEN)</character>
<dialogue>Here's four smartphones, right? Motorola Q, BlackBerry, Palm Treo, Nokia E62... Usual suspects. They all have these keyboards that are there whether you need them or not to be there.</dialogue>
<scene_description>Mike looks at the same phone in his own hands.</scene_description>
<character>JOBS (ON SCREEN)</character>
<dialogue>And they all have these control buttons that are fixed in plastic.</dialogue>
<scene_description>Mike looks at the same phone in his own hands.</scene_description>
<character>MIKE</character>
<dialogue>Why would anybody want a phone without a keyboard?</dialogue>
<character>JOBS (ON SCREEN)</character>
<dialogue>What we're going to do is get rid of all these buttons and just make a giant screen. A giant screen.</dialogue>
<scene_description>Awe from the crowd on screen and in the RIM office.</scene_description>
<character>JOBS</character>
<dialogue>When we start shipping in June and we'll be selling iPhones through our own stores and through Cingular stores. And it's my pleasure to introduce the CEO of Singular... Stan Sigman.</dialogue>
<scene_description>On screen Stan Sigman (55, CEO of AT&T) joins Steve Jobs on stage, they shake hands.</scene_description>
<character>MIKE</character>
<dialogue>Are you fucking kidding me?</dialogue>
<character>DOUG</character>
<dialogue>What?</dialogue>
<character>MIKE</character>
<dialogue>That's Stan Sigman. That's the CEO of AT&T.</dialogue>
<character>STAN SIGMAN (ON SCREEN)</character>
<dialogue>You know, Steve and I first met about two years ago in New York City when he shared with me this vision that he had for this product.</dialogue>
<character>MIKE</character>
<dialogue>This fucking guy.</dialogue>
<parenthetical>(to the room)</parenthetical>
<dialogue>Alright everybody. That's it. Fun times over. Back to work. I need a prototype of the Bold in my hand by Friday with a working trackpad. Thank you.</dialogue>
<scene_description>The lights come on. TV off. Everyone gets back to work.</scene_description>
<character>DOUG</character>
<parenthetical>(Pointing at the screen)</parenthetical>
<dialogue>That's crazy.</dialogue>
<scene_description>Doug's BlackBerry RINGS. Unknown Caller.</scene_description>
<character>DOUG (O.S.)</character>
<dialogue>Okay guys, let's get back to work.</dialogue>
<scene_description>Doug picks up his BlackBerry.</scene_description>
<character>DOUG</character>
<dialogue>Yello!</dialogue>
<character>DARA FRANKEL (O.S.)</character>
<dialogue>Hi, is this Douglas?</dialogue>
<character>DOUG</character>
<dialogue>Ah, yeah.</dialogue>
<character>DARA FRANKEL (O.S.)</character>
<dialogue>I'm from the Securities and Exchange Commission and I was wondering if you could answer some questions for me?</dialogue>
<character>DOUG</character>
<parenthetical>(on the phone)</parenthetical>
<dialogue>Sure. Okay.</dialogue>
<character>SCOTT (O.S.)</character>
<dialogue>Has anyone seen Allan?</dialogue>
<character>DOUG</character>
<parenthetical>(to the room)</parenthetical>
<dialogue>Check the NOC!</dialogue>
<character>DARA FRANKEL</character>
<dialogue>Were you involved in the hiring of a Mr. Paul Stannos?</dialogue>
<character>DOUG</character>
<dialogue>Sorry - from where?</dialogue>
<character>DARA FRANKEL</character>
<dialogue>I'm from the SEC.</dialogue>
<character>DOUG</character>
<dialogue>Is this a serious call?</dialogue>
<character>DARA FRANKEL</character>
<dialogue>Yes.</dialogue>
<character>DOUG</character>
<dialogue>Yeah. You called the wrong person. I can't help you with anything like that.</dialogue>
<character>DARA FRANKEL</character>
<dialogue>Is this Douglas Fregin?</dialogue>
<character>DOUG</character>
<dialogue>Yes ma'am.</dialogue>
<character>DARA FRANKEL</character>
<dialogue>Sorry. I have you listed here as one of the founders of the company.</dialogue>
<scene_description>Doug chuckles.</scene_description>
<character>DOUG</character>
<dialogue>Yeah. I guess I am.</dialogue>
<character>ENGINEER (O.S.)</character>
<dialogue>Doug.</dialogue>
<character>DOUG</character>
<dialogue>I gotta go.</dialogue>
<scene_description>Doug hangs up and gets back to work.</scene_description>
</scene>
<scene>
<stage_direction>INT. RECEPTION, NHL HQ, NEW YORK - DAY</stage_direction>
<scene_description>Jim paces in the reception area, nervous. Austin sits -- his phone RINGS, he reaches for it --</scene_description>
<character>AUSTIN</character>
<dialogue>Sorry.</dialogue>
<parenthetical>(checks the phone)</parenthetical>
<dialogue>Unknown number.</dialogue>
<character>JIM</character>
<dialogue>No.</dialogue>
<scene_description>Austin puts it away. DAWN (30s, power-suit.) Walks down the hall towards them.</scene_description>
<character>DAWN</character>
<dialogue>Mr. Balsillie?</dialogue>
<character>JIM</character>
<dialogue>Yes?</dialogue>
<character>DAWN</character>
<dialogue>Welcome to the NHL.</dialogue>
<scene_description>Jim lights up. Extends a hand.</scene_description>
<character>JIM</character>
<dialogue>Thanks for having me.</dialogue>
<character>DAWN</character>
<dialogue>Nice to meet you, just this way.</dialogue>
<character>JIM</character>
<dialogue>Okay, great.</dialogue>
<character>DAWN</character>
<dialogue>Right in here...</dialogue>
</scene>
<scene>
<stage_direction>INT. BOARDROOM, NHL HQ, NEW YORK - DAY</stage_direction>
<scene_description>Dawn leads Jim into the boardroom. Gary Bettman (55) greets him with a handshake.</scene_description>
<character>GARY</character>
<dialogue>Jim.</dialogue>
<character>JIM</character>
<dialogue>Gary.</dialogue>
<character>GARY</character>
<dialogue>Good to see you, thanks for taking the time.</dialogue>
<character>JIM</character>
<dialogue>I've always got time for you, Gary.</dialogue>
</scene>
<scene>
<stage_direction>INT. LIMOUSINE, NYC - DAY</stage_direction>
<scene_description>Jim slams the door -- turns to Austin --</scene_description>
<character>JIM</character>
<dialogue>Get me on the phone with Copps Coliseum.</dialogue>
<character>AUSTIN</character>
<dialogue>Is that the Arena in Hamilton?</dialogue>
<scene_description>Jim's phone vibrates:</scene_description>
<character>JIM</character>
<dialogue>Yeah. Tell them I want to buy it.</dialogue>
<scene_description>Mike (BBM): Just getting Bold prototype. Meet me out front. Jim puts his phone away.</scene_description>
<character>AUSTIN</character>
<dialogue>Okay. Um.</dialogue>
<parenthetical>(beat)</parenthetical>
<dialogue>I thought you were buying the Pittsburgh Penguins.</dialogue>
<character>JIM</character>
<dialogue>Yes, I am.</dialogue>
<parenthetical>(to the driver)</parenthetical>
<dialogue>Let's go.</dialogue>
</scene>
<scene>
<stage_direction>INT. ENGINEERING DEPARTMENT, RIM 2, WATERLOO - DAY</stage_direction>
<scene_description>Mike shouts into the engineering room.</scene_description>
<character>MIKE</character>
<dialogue>Okay. We gotta go!</dialogue>
<character>DOUG</character>
<dialogue>One sec.</dialogue>
<scene_description>Doug and the guys huddle around his desk with a PROTOTYPE BLACKBERRY BOLD plugged into his computer and a TERMINAL open on the screen. Scott is at the keyboard typing code as fast as he can.</scene_description>
<character>DOUG</character>
<dialogue>One sec!</dialogue>
<parenthetical>(to Scott)</parenthetical>
<dialogue>This good enough. Good enough.</dialogue>
<character>SCOTT</character>
<dialogue>This is good enough?</dialogue>
<scene_description>Allans joins the guys with news.</scene_description>
<character>ALLAN</character>
<dialogue>Apple is launching a marketplace for applications. It's going to be third party developers. Anyone. anyone --</dialogue>
<character>DOUG</character>
<dialogue>Bad time. Bad time.</dialogue>
<character>ALLAN</character>
<parenthetical>(whispers to Pranay)</parenthetical>
<dialogue>Third party developers.</dialogue>
<scene_description>Scott passes the BOLD to doug who tests the trackpad. The latency is brutal but it works.</scene_description>
<character>SCOTT</character>
<dialogue>Here man. It's laggy as hell.</dialogue>
<character>DOUG</character>
<dialogue>Good enough. Good enough. Good enough.</dialogue>
<character>MIKE (O.S.)</character>
<dialogue>Now!</dialogue>
<character>DOUG</character>
<dialogue>Yeah. We got it.</dialogue>
<scene_description>Doug runs up to him, prototype in hand.</scene_description>
<character>MIKE</character>
<dialogue>Doug. Come on.</dialogue>
<character>ALLAN</character>
<parenthetical>(to Pranay)</parenthetical>
<dialogue>They are launching an application market place.</dialogue>
<character>DOUG</character>
<dialogue>So, the touchpad is working, I don't know if I would say that it's WORKING working.</dialogue>
<scene_description>Doug looks to Mike who is displeased. BBM from Jim: Can't make it, go without me, you'll be fine alone. Mike looks around in distress.</scene_description>
<character>DOUG</character>
<dialogue>What?</dialogue>
<character>MIKE</character>
<dialogue>Do you have a suit?</dialogue>
</scene>
<scene>
<stage_direction>INT. LOBBY, VERIZON HQ, NEW YORK - DAY</stage_direction>
<scene_description>Mike and Doug enter through revolving doors. Mike takes the lead.</scene_description>
</scene>
<scene>
<stage_direction>INT. BOARDROOM, VERIZON HQ, NEW YORK - DAY</stage_direction>
<scene_description>Mike stands in front of ten VERIZON Executives. Doug sits beside by the window, looking out at the skyline. The room is silent as a prototype BlackBerry BOLD is passed from one person to the next. No one seems that interested. Behind Mike is a Powerpoint presentation on a large screen that goes over the main features of the new BOLD...</scene_description>
<character>MIKE</character>
<dialogue>... 2.4 inches, 480 by 360 HVGA screen and to top it all off, the world's first trackpad which we believe will be the dominant navigational device for all mobile devices within the next two years.</dialogue>
<scene_description>Beat.</scene_description>
<character>MIKE</character>
<dialogue>The BlackBerry Bold.</dialogue>
<scene_description>John Woodman (now in his 60s) breaks the silence.</scene_description>
<character>JOHN WOODMAN</character>
<dialogue>That's it?</dialogue>
<character>MIKE</character>
<dialogue>Uh huh.</dialogue>
<character>JOHN WOODMAN</character>
<dialogue>That's what you've got for us? A trackpad?</dialogue>
<scene_description>Mike looks to Doug.</scene_description>
<character>JOHN WOODMAN</character>
<dialogue>You guys see Apple's thing?</dialogue>
<scene_description>The mere mention of Apple brings energy to the room. Doug looks to Mike.</scene_description>
<character>JOHN WOODMAN</character>
<dialogue>Any reaction to that?</dialogue>
<character>MIKE</character>
<dialogue>Plenty. Yeah. It's an over- designed, trying-to-do-too-much toy that will crash any network gullible enough to take it on. It is by every metric the exact opposite of everything we do at Research in Motion. Less data, no frills, reliable network. That's BlackBerry.</dialogue>
<character>JOHN WOODMAN</character>
<dialogue>Sexy slogan, Mike.</dialogue>
<scene_description>The room chuckles --</scene_description>
<character>MIKE</character>
<dialogue>So. I guess, you want to kill your whole network cause that's what it will do.</dialogue>
<character>JOHN WOODMAN</character>
<dialogue>Yeah. The iPhone... they put a keyboard right on the screen?</dialogue>
<character>MIKE</character>
<dialogue>And it's the stupidest thing I've seen in my entire life. Ask anyone what they love most about their BlackBerry, and you will get the same answer every single time. The keyboard, the click. Okay?</dialogue>
<character>DOUG</character>
<dialogue>...Well...? Yeah. Yeah.</dialogue>
<character>MIKE</character>
<dialogue>-- This entire market was born of our innovation and our idea to put "a keyboard on a phone", and we did that, we build that from a pile of garbage in 1996.</dialogue>
<character>JOHN WOODMAN</character>
<dialogue>Yeah. There's another slogan.</dialogue>
<scene_description>More chuckles. Mike's not happy.</scene_description>
<character>JOHN WOODMAN</character>
<dialogue>I dunno Mike. AT&T's got Apple. We were kind of hoping you'd come in here with an iPhone killer.</dialogue>
<character>MIKE</character>
<dialogue>I don't need to kill it because it's going to commit suicide and it's gonna take down the whole fucking Cingular network with it. I'm giving you gold and I think you are all misunderstanding it.</dialogue>
<parenthetical>(beat)</parenthetical>
<dialogue>I created this entire product class. I created this entire fucking market. I created this entire product class. So listen to me. The trackpad is a mousepad on -- built into the phone.</dialogue>
<scene_description>Doug waits for the sentence to finish, then looks at the ground when he realizes Mike is out of gas.</scene_description>
<character>JOHN WOODMAN</character>
<dialogue>Yeah.. and.. right. Okay. Yeah. Okay. Good enough. Uh thanks guys for coming down. Tell you what, let us - we'll talk about this internally and get back to you, okay? Tell Jim we missed him.</dialogue>
<scene_description>Close on Mike. He's panicking.</scene_description>
<character>DOUG</character>
<parenthetical>(whispering to Mike)</parenthetical>
<dialogue>Let's go.</dialogue>
<character>MIKE</character>
<dialogue>He's back, back in Waterloo working because. So, he promised me not to mention -- the other thing. We're not quite there yet but we're working on something pretty top secret.</dialogue>
<scene_description>Doug looks at Mike like "what the fuck are you doing?"</scene_description>
<character>MIKE</character>
<dialogue>Uh, he made me promise not to mention it. Prototype we're still a few weeks out. Uh, you know, I can demo it with our Bold prototype.</dialogue>
<scene_description>The Executives slowly perk back up -- Mike walks over to Woodman -- picks up the prototype Bold -- holds it over his head --</scene_description>
<character>MIKE</character>
<dialogue>So. It's still a BlackBerry. Our BlackBerry. Except for where we have keys here... screen. The whole thing's a screen.</dialogue>
<scene_description>Doug's eyes are screaming.</scene_description>
<character>MIKE</character>
<dialogue>... Uhh except.. Ours when you press it will get that...</dialogue>
<parenthetical>(Mike clicks the keys)</parenthetical>
<dialogue>That satisfying click.</dialogue>
<scene_description>Mike doubles down, just like he saw Steve Jobs do...</scene_description>
<character>MIKE</character>
<dialogue>That BlackBerry click. Our trademark. Click. So. Screen. Keyboard. Phone. Screen. Keyboard. Phone. Screen. Keyboard. Phone.</dialogue>
<parenthetical>(to John)</parenthetical>
<dialogue>Are you getting it?</dialogue>
</scene>
<scene>
<stage_direction>INT. LOBBY, VERIZON HQ, NEW YORK - DAY</stage_direction>
<scene_description>Mike and Doug exit through revolving doors.</scene_description>
<character>DOUG</character>
<parenthetical>(whispers)</parenthetical>
<dialogue>What was that?</dialogue>
<character>MIKE</character>
<parenthetical>(whispers)</parenthetical>
<dialogue>Stop.</dialogue>
<character>DOUG</character>
<parenthetical>(whispers)</parenthetical>
<dialogue>What was that?</dialogue>
<character>MIKE</character>
<parenthetical>(whispers)</parenthetical>
<dialogue>Shut up.</dialogue>
<scene_description>Mike and Doug exit the building.</scene_description>
<character>DOUG</character>
<dialogue>Mike. Mike. What the fuck was that dude?</dialogue>
<character>MIKE</character>
<dialogue>Where is this fucking limo?</dialogue>
</scene>
<scene>
<stage_direction>INT. COPPS COLOSSEUM, HAMILTON - DAY</stage_direction>
<scene_description>Jim comes out of the tunnel and is at one end of a professional arena, currently set up to host a basketball game. The BUILDING MANAGER guide Jim on a tour.</scene_description>
<character>BUILDING MANAGER</character>
<dialogue>...capacity maxes at seventeen thousand, but we could enhance it to nineteen without too much trouble.</dialogue>
<character>JIM</character>
<dialogue>Alright. I want all this basketball shit gone. From now on, this place is a permanent rink.</dialogue>
<character>BUILDING MANAGER</character>
<dialogue>We can't do that.</dialogue>
<character>JIM</character>
<dialogue>Why?</dialogue>
<character>BUILDING MANAGER</character>
<dialogue>We have active contracts with a dozen clients --</dialogue>
<character>JIM</character>
<dialogue>Cancel them.</dialogue>
<character>BUILDING MANAGER</character>
<dialogue>Yeah but, there's going to be fines.</dialogue>
<character>JIM</character>
<dialogue>I'll pay the fines.</dialogue>
<scene_description>Jim points to a booth in the arena.</scene_description>
<character>JIM</character>
<dialogue>And I want that to be my personal box.</dialogue>
<character>BUILDING MANAGER</character>
<parenthetical>(chuckles)</parenthetical>
<dialogue>That's not a box.</dialogue>
<scene_description>BBM from Mike: Sold Verizon 1 Million Units</scene_description>
<character>BUILDING MANAGER</character>
<dialogue>That's not a box.</dialogue>
</scene>
<scene>
<stage_direction>INT. ENGINEERING DEPARTMENT, RIM 2, WATERLOO - DAY</stage_direction>
<scene_description>Mike is at a whiteboard drawing a schematic of his newly invented BLACKBERRY STORM for a group of 40 engineers. Everyone looks confused, Doug and Charles Purdy included.</scene_description>
<character>MIKE</character>
<dialogue>No, no. Okay. So, it's a screen, but it needs a raised hinge or actuator as I wrote, between it and the body so the entire device clicks when you press on it.</dialogue>
<scene_description>A random STUDENT ENGINEER whispers something up.</scene_description>
<character>MIKE</character>
<dialogue>Wait, what?</dialogue>
<character>STUDENT ENGINEER</character>
<dialogue>I'm just wondering why we want to do that?</dialogue>
<character>MIKE</character>
<dialogue>That. That. That is not the question you ask me here. WHY does not matter to you. Okay?</dialogue>
<character>MIKE</character>
<dialogue>Because I said so. Because that's what I sold, okay?</dialogue>
<scene_description>Beat.</scene_description>
<character>MIKE</character>
<dialogue>Who. Who are you? By the way?</dialogue>
<character>DOUG</character>
<dialogue>Easy Mike.</dialogue>
<scene_description>A BLACKBERRY RINGS in the crowd.</scene_description>
<character>MIKE</character>
<dialogue>Oh come on guys. Please. Silent mode! When we're at the office --</dialogue>
<scene_description>Mike motions to Purdy.</scene_description>
<character>MIKE</character>
<parenthetical>(whispering)</parenthetical>
<dialogue>Charles?!</dialogue>
<character>CHARLES PURDY</character>
<dialogue>Phones off!</dialogue>
<scene_description>The phone keeps ringing -- the crowd pinpoints the noise -- it's coming from Scott.</scene_description>
<character>SCOTT</character>
<dialogue>Sorry. Sorry Mike. Sorry buddy.</dialogue>
<scene_description>Scott reaches into his pocket and silences his phone... Mike stares at Scott, about to ream him out...</scene_description>
<character>DOUG</character>
<dialogue>Okay. So, you know what? I think, all this is, is we are trying to do the old BlackBerry click while embracing the new iPhone screen. That's all --</dialogue>
<character>MIKE</character>
<parenthetical>(interrupts)</parenthetical>
<dialogue>No! No! No. We're not "embracing" anything to do with Apple. Guys. It's really not hard. Okay? We pay you a lot of money. This is really not hard. It's a keyboard, on a screen, on a keyboard. And I don't care what you think of it.</dialogue>
<scene_description>Charles Purdy silently ushers Mike out of the room.</scene_description>
<character>CHARLES PURDY</character>
<dialogue>Mike..</dialogue>
<scene_description>The crowd is silent. Doug looks down, biting his tongue.</scene_description>
</scene>
<scene>
<stage_direction>INT. HALLWAY, ENGINEERING DEPARTMENT, RIM 2, WATERLOO - DAY</stage_direction>
<scene_description>The team is off to work. Charles has finally got Mike to himself in the doorway.</scene_description>
<character>MIKE</character>
<dialogue>What the fuck is Doug talking about, embracing what Apple is doing? I don't understand.</dialogue>
<character>CHARLES PURDY</character>
<dialogue>You come back from New York talking about a brand new phone. Prototype in a week? What are we doing here?</dialogue>
<scene_description>Doug appears at the door.</scene_description>
<character>DOUG</character>
<dialogue>Can I talk to you?</dialogue>
<character>MIKE</character>
<dialogue>It's a prototype Charles! I could build the fucking thing myself in one night if I had to.</dialogue>
<character>CHARLES PURDY</character>
<dialogue>But we still gotta ship the god damn thing.</dialogue>
<character>MIKE</character>
<dialogue>I said use the Onyx team.</dialogue>
<character>CHARLES PURDY</character>
<dialogue>I did! On Curve.</dialogue>
<scene_description>Beat.</scene_description>
<character>CHARLES PURDY</character>
<dialogue>Alright, China. It's the only way this gets done. I'm sorry, China.</dialogue>
<character>MIKE</character>
<dialogue>Yeah. Fuck it. Do it. China. China. Let's do it.</dialogue>
<scene_description>Doug pipes in.</scene_description>
<character>DOUG</character>
<dialogue>Wait. Wait. No. He doesn't mean that.</dialogue>
<character>MIKE</character>
<dialogue>Hey. Hey. Don't speak for me.</dialogue>
<character>DOUG</character>
<dialogue>Mike, what are you doing?</dialogue>
<character>MIKE</character>
<dialogue>What am I doing? I'm trying to keep our biggest fucking customer. What the fuck are you doing?</dialogue>
<character>DOUG</character>
<dialogue>Mike, I'm trying to help you.</dialogue>
<character>MIKE</character>
<dialogue>You're not though. You're not. You're not helping me. This doesn't help me. If you could help me, we wouldn't be here. I don't need your fucking help anymore. Okay? You're fucking useless.</dialogue>
<scene_description>Doug's face falls.</scene_description>
<character>DOUG</character>
<dialogue>Okay.</dialogue>
<scene_description>Doug turns and walks away from the guys. Mike turns to Purdy --</scene_description>
<character>MIKE</character>
<dialogue>Figure out China.</dialogue>
<scene_description>Mike and Charles watch as Doug leaves.</scene_description>
<character>MIKE</character>
<dialogue>Figure out China. And I'll build the fucking thing myself.</dialogue>
<scene_description>Mike leaves. We hold on Charles as he watches him go, wondering where the hell this monster came from...</scene_description>
</scene>
<scene>
<stage_direction>INT. MIKE'S OFFICE, RIM 2, WATERLOO - DAY</stage_direction>
<scene_description>Mike pulls out a bunch of old BlackBerries from his desk drawers. Dozens of them. He starts taking them apart, working solo on the prototype for BlackBerry Storm... RING. Mike picks up his office line.</scene_description>
<character>MIKE</character>
<dialogue>What?</dialogue>
<character>DARA FRANKEL (O.S.)</character>
<dialogue>Is this Mike Lazaridis?</dialogue>
<character>MIKE</character>
<dialogue>Who is this?</dialogue>
<character>DARA FRANKEL (O.S.)</character>
<dialogue>My name is Dara Frankel, I'm from the SEC. Do you have a second?</dialogue>
<character>MIKE</character>
<dialogue>Not really. Not right now. What is this about?</dialogue>
<character>DARA FRANKEL (O.S.)</character>
<dialogue>I'm trying to track down some information on some stock options your company issued.</dialogue>
<character>MIKE</character>
<dialogue>Well, that's not -- I wouldn't know anything about that. I think you want to talk to Jim.</dialogue>
<character>DARA FRANKEL (O.S.)</character>
<dialogue>Okay. Would there be a good time to come in and talk about this?</dialogue>
<character>MIKE</character>
<dialogue>No. I don't. No.</dialogue>
<scene_description>Mike hangs up.</scene_description>
</scene>
<scene>
<stage_direction>INT. ATRIUM, RIM 2, WATERLOO - DAY</stage_direction>
<scene_description>Jim waltzes into the building with a "what's next?" attitude. Shelley stands up and gets his attention from behind the reception desk.</scene_description>
<character>JIM</character>
<dialogue>Okay! I'm here. I'm here. I'm here. I'm here.</dialogue>
<scene_description>She hands him a copy of FORBES with his photo on the cover.</scene_description>
<character>SHELLEY</character>
<dialogue>Jack Manishen says he needs to see you.</dialogue>
<scene_description>Jim thumbs through -- best day of his life.</scene_description>
<character>JIM</character>
<dialogue>Okay. Yeah. Where is he?</dialogue>
<character>SHELLEY</character>
<dialogue>Camped outside your office.</dialogue>
<character>JIM</character>
<dialogue>Great.</dialogue>
<scene_description>Jim gets to his article -- sees that Carl Yankowski is featured in a photo on the opposite page...</scene_description>
<character>JIM</character>
<dialogue>Shel, do me a favor: reach out to Carl Yankowski's office and let him know Jim Balsillie's got opening night tickets to the Hamilton Penguins for him. I know how much he loves hockey.</dialogue>
</scene>
<scene>
<stage_direction>INT. HALLWAY, RIM 2, WATERLOO - DAY</stage_direction>
<scene_description>Jim walks up to his office. Sure enough, Jack Manishen is waiting outside, nervous. He stands immediately upon seeing Jim.</scene_description>
<character>JIM</character>
<dialogue>Alright. Alright. Relax. You got me.</dialogue>
<character>AUSTIN</character>
<dialogue>That same woman from the SEC keeps calling. Can I give you her number?</dialogue>
<character>JIM</character>
<dialogue>No.</dialogue>
</scene>
<scene>
<stage_direction>INT. JIM'S OFFICE, RIM 2, WATERLOO -- DAY</stage_direction>
<scene_description>Jim looks down at IPHONE SALES PROJECTIONS in his hands while Jack presents slides. There's an image of an iPhone next to BlackBerry and the rest of the competition...</scene_description>
<character>JACK MANISHEN</character>
<dialogue>Okay.. So... first Quarter...</dialogue>
<scene_description>Changes the slide. iPhone grows.</scene_description>
<character>JACK MANISHEN</character>
<dialogue>...second quarter...</dialogue>
<scene_description>Changes the slide. iPhone grows.</scene_description>
<character>JACK MANISHEN</character>
<dialogue>...third quarter...fourth quarter.</dialogue>
<scene_description>Changes slide.</scene_description>
<character>JACK MANISHEN</character>
<dialogue>And this is us.</dialogue>
<character>JIM</character>
<dialogue>Whose numbers are these?</dialogue>
<character>JACK MANISHEN</character>
<dialogue>Apple's internal projections. They released the numbers on Friday.</dialogue>
<character>JIM</character>
<dialogue>Five hundred dollars? Fully subsidized? This is the most expensive phone in the world.</dialogue>
<character>JACK MANISHEN</character>
<dialogue>It has the highest consumer interest of any product in history. We are going to go from "number one phone in the world" to "that phone that people had before they bought an iPhone".</dialogue>
<scene_description>Beat. Jim looks at the slide -- shakes his head --</scene_description>
<character>JIM</character>
<dialogue>It's gonna be fine. Mike will figure it out.</dialogue>
<scene_description>BANG BANG BANG -- Someone at the door.</scene_description>
<character>JIM</character>
<dialogue>What?</dialogue>
<scene_description>Jim gets up -- opens the door.</scene_description>
<character>MIKE</character>
<dialogue>Um. Why. Why is the SEC looking at us?</dialogue>
<scene_description>Jim closes the door to only a crack.</scene_description>
<character>JIM</character>
<dialogue>They called you?</dialogue>
<character>MIKE</character>
<dialogue>Yes. Something about stock options.</dialogue>
<character>JIM</character>
<dialogue>I'm sure it's nothing.</dialogue>
<character>MIKE</character>
<dialogue>It's nothing?</dialogue>
<character>JIM</character>
<dialogue>Yeah. What's with this Apple thing?</dialogue>
<character>MIKE</character>
<dialogue>What. What about it?</dialogue>
<character>JIM</character>
<dialogue>Are we worried?</dialogue>
<character>MIKE</character>
<dialogue>No.</dialogue>
<character>JIM</character>
<dialogue>Okay, why?</dialogue>
<character>MIKE</character>
<dialogue>Because, one of them uses as much data as five thousand BlackBerries. Because it has no keyboard. Because the thing is a joke.</dialogue>
<character>JIM</character>
<dialogue>So why are people telling me that they're about to kill us?</dialogue>
<character>MIKE</character>
<dialogue>'Cause they're idiots.</dialogue>
<scene_description>Mike leaves... ...Jim watches him go for a beat -- shuts the door... ...returns to his desk -- sees the FORBES spread open. Under Yankowski's picture he sees the familiar face of Steve Jobs' pal, STAN SIGMAN. Jim hits his intercom button --</scene_description>
<character>JIM</character>
<dialogue>Get me a meeting with Stan Sigman at AT&T.</dialogue>
<scene_description>Beat.</scene_description>
<character>JACK MANISHEN</character>
<dialogue>What are you doing?</dialogue>
<scene_description>Jim's mind is racing. He's forming a plan.</scene_description>
<character>AUSTIN (O.S.)</character>
<dialogue>So the soonest I can get is next month, his office says he's leaving for vacation today.</dialogue>
<scene_description>Jim hits the button.</scene_description>
<character>JIM</character>
<dialogue>Tell them I'm coming to Atlanta. Right now.</dialogue>
<scene_description>Jim gets up and starts running.</scene_description>
</scene>
<scene>
<stage_direction>EXT. RIM PRIVATE JET, WATERLOO AIRPORT - DAY</stage_direction>
<scene_description>Jim runs up the stairs into the jet -- yells to the cockpit.</scene_description>
<character>JIM</character>
<dialogue>Let's go! Let's go!</dialogue>
<scene_description>Jim turns behind him to Austin, who is taking up the rear.</scene_description>
<character>JIM</character>
<dialogue>Tell them we'll be there in an hour.</dialogue>
<scene_description>Austin hands the BlackBerry to Jim.</scene_description>
<character>AUSTIN</character>
<dialogue>It's the NHL.</dialogue>
<scene_description>Jim puts on his smiling face.</scene_description>
<character>JIM</character>
<parenthetical>(on phone)</parenthetical>
<dialogue>Gary! How are ya?</dialogue>
<character>GARY BETTMAN (O.S.)</character>
<dialogue>Good. We're ready to go over here. How soon can you get to New York?</dialogue>
<character>JIM</character>
<dialogue>Great! Anytime tomorrow.</dialogue>
<character>GARY BETTMAN (O.S.)</character>
<dialogue>How about today?</dialogue>
<character>JIM</character>
<dialogue>Um. That might be a little tight for me.</dialogue>
<character>GARY BETTMAN (O.S.)</character>
<dialogue>I've got the board here now and I don't know when they're all going to be together again. If you want to wait, up to you. It's your deal.</dialogue>
<character>JIM</character>
<dialogue>Yeah. No. That works Gary. Yep. I'll be there.</dialogue>
<character>GARY BETTMAN (O.S.)</character>
<dialogue>Looking forward to it.</dialogue>
<character>JIM</character>
<dialogue>Okay. Alright. Bye.</dialogue>
<scene_description>Hangs up -- takes a breath --</scene_description>
<character>JIM</character>
<parenthetical>(yelling behind him)</parenthetical>
<dialogue>Change of plans. We're going to JFK.</dialogue>
<character>PILOT</character>
<dialogue>We are dialed in --</dialogue>
<scene_description>Jim runs back to the cockpit --</scene_description>
<character>JIM</character>
<dialogue>Listen to me you mouthy fuck, if I say we are going to JFK, we are going to JFK. You understand?</dialogue>
<character>AUSTIN</character>
<dialogue>So we're, we're not meeting with Sigman then?</dialogue>
<character>JIM</character>
<dialogue>...I'm doing it all.</dialogue>
<scene_description>Jim stays standing with one arm on the wall for balance as the plane taxis down the runway, fire in his eyes.</scene_description>
</scene>
<scene>
<stage_direction>EXT. PARKING LOT, RIM 2, WATERLOO - DAY</stage_direction>
<scene_description>A maintenance worker takes down Doug's parking sign. Just then multiple black SUVs pull up to RIM. DARA FRANKEL (40s, air of power) and her team of SEC AGENTS enter the building.</scene_description>
</scene>
<scene>
<stage_direction>INT. MIKE'S OFFICE, RIM 2, WATERLOO - DAY</stage_direction>
<scene_description>Sparks fly. Mike is hunched over his desk with a soldering iron, molding parts of old BlackBerries together.</scene_description>
<character>MIKE</character>
<dialogue>Fuck!</dialogue>
<scene_description>He singes his finger.</scene_description>
<character>CHARLES PURDY</character>
<dialogue>Where's Jim?</dialogue>
<scene_description>Mike looks up to see Charles standing over his desk.</scene_description>
<character>MIKE</character>
<dialogue>I have no idea.</dialogue>
<character>CHARLES PURDY</character>
<dialogue>C'mon, we gotta get you outta here.</dialogue>
<character>MIKE</character>
<dialogue>Why?</dialogue>
<character>CHARLES PURDY</character>
<dialogue>SEC is raiding us.</dialogue>
<scene_description>Mike stands up.</scene_description>
<character>MIKE</character>
<dialogue>Wait, what?</dialogue>
<character>CHARLES PURDY</character>
<dialogue>Gimme your phone.</dialogue>
<scene_description>Mike looks down at his desk -- he has eight BlackBerrys.</scene_description>
<character>CHARLES PURDY</character>
<dialogue>Where's you god damn phone?</dialogue>
<scene_description>KNOCK</scene_description>
<character>DARA FRANKEL (O.S.)</character>
<dialogue>Michael Lazaridis?</dialogue>
<scene_description>Mike looks to Purdy</scene_description>
<character>MIKE</character>
<dialogue>Can you handle this?</dialogue>
<scene_description>Purdy shakes his head. The door opens -- Dara walks in with a BIG SEC INVESTIGATOR --</scene_description>
<character>MIKE</character>
<dialogue>Who are you?</dialogue>
<character>DARA FRANKEL</character>
<dialogue>We spoke on the phone. Wanna come and answer some questions?</dialogue>
<character>MIKE</character>
<dialogue>Sure. Sure.</dialogue>
<scene_description>Mike tries to follow Dara out, but she insists on following him out.</scene_description>
<character>MIKE</character>
<dialogue>After me is it? Okay.</dialogue>
</scene>
<scene>
<stage_direction>INT. HALLWAY, ENGINEERING DEPARTMENT, RIM 2 - CONTINUOUS</stage_direction>
<scene_description>Dara leads Mike outside to see half a dozen SEC OFFICERS waiting in the hallway.</scene_description>
<character>DARA FRANKEL</character>
<dialogue>Okay.</dialogue>
<scene_description>On Dara's command, they all pile into his office.</scene_description>
<character>MIKE</character>
<dialogue>Okay what? What are they doing? They can't touch any of that stuff?</dialogue>
<scene_description>Mike looks across the hall to the Engineering Department -- his team stares at him through the glass, pain and pity in their eyes, like seeing Dad get arrested. Dara opens the door to a tiny office across the hall...</scene_description>
</scene>
<scene>
<stage_direction>INT. TINY OFFICE, RIM 2, WATERLOO - CONTINUOUS</stage_direction>
<scene_description>Mike sits at one end of a small table. Dara closes the door. A moment later the door opens -- an SEC INVESTIGATOR walks in holding one of Mike's BlackBerrys.</scene_description>
<character>SEC INVESTIGATOR</character>
<dialogue>Passwords on everything.</dialogue>
<character>DARA FRANKEL</character>
<dialogue>What's the password Mike?</dialogue>
<character>MIKE</character>
<dialogue>Am I required to give that to you?</dialogue>
<character>DARA FRANKEL</character>
<dialogue>No. Are you hiding something?</dialogue>
<scene_description>Beat.</scene_description>
<character>MIKE</character>
<dialogue>Should I not have a lawyer or something with me for this?</dialogue>
<character>DARA FRANKEL</character>
<dialogue>Do you think you need a lawyer?</dialogue>
<scene_description>Mike swallows.</scene_description>
</scene>
<scene>
<stage_direction>INT. RECEPTION, NHL HQ, NEW YORK - DAY</stage_direction>
<scene_description>Jim paces nervously in the empty reception area. Something is off. Dawn emerges and calls on him.</scene_description>
<character>DAWN</character>
<dialogue>Jim.</dialogue>
<scene_description>Finally. Jim follows Dawn into the boardroom.</scene_description>
</scene>
<scene>
<stage_direction>INT. BOARDROOM, NHL HQ, NEW YORK - CONTINUOUS</stage_direction>
<scene_description>It's packed. Gary Bettman, Dawn, and the entire NHL front office fill seats around the boardroom table. They turn as he walks in.</scene_description>
<character>JIM</character>
<dialogue>Gary. What's going on? You got me. You got me waiting out here.</dialogue>
<scene_description>Awkward silence.</scene_description>
<character>DAWN</character>
<dialogue>Jim, look, we're not going to waste your time, okay? It's not going to happen with you and the Penguins.</dialogue>
<character>JIM</character>
<dialogue>What?</dialogue>
<character>DAWN</character>
<dialogue>We held a vote with the other owners and unfortunately it went against you 26-0.</dialogue>
<character>JIM</character>
<dialogue>Hold on a sec. Hold on. Hold on. I thought we had a deal. When did the other owners even -- I'm sorry, what changed here, man?</dialogue>
<character>DAWN</character>
<dialogue>The owners did not find you to be of "good character and integrity".</dialogue>
<character>JIM</character>
<dialogue>I don't know what the hell that means. Gary, what the fuck is this?</dialogue>
<character>GARY BETTMAN</character>
<dialogue>You know, it's funny. It's one thing to have a secret plan to fuck over the NHL and move a team to Canada. It's another thing to brag to your rich friends before you actually do it.</dialogue>
<scene_description>It takes a moment, but Jim understands what is happening.</scene_description>
<character>JIM</character>
<dialogue>... You guys are so fucking stupid. You know what? Maybe I'll buy this whole fucking league, huh? How about that?</dialogue>
<character>GARY BETTMAN</character>
<dialogue>Dawn. Can we see that Mr. Bald- Silly gets safely back to Canada?</dialogue>
<character>JIM</character>
<dialogue>Oh, fuck all you people! Fuck you! Get ready for a hostile takeover of this entire fucking league, okay? YOU FUCK. You think I won't fucking do it? I'm from Waterloo, where the vampires hang out!!!</dialogue>
<scene_description>Jim walks out and SLAMS the door.</scene_description>
</scene>
<scene>
<stage_direction>INT. RIM PRIVATE JET, JFK INTERNATIONAL AIRPORT, NY - DAY</stage_direction>
<scene_description>Jim rushes on...</scene_description>
<character>JIM</character>
<dialogue>Go! Go! Go! Go!</dialogue>
<character>PILOT</character>
<dialogue>We'll never make it.</dialogue>
<character>JIM</character>
<dialogue>I said LET's GO.</dialogue>
<parenthetical>(to Austin)</parenthetical>
<dialogue>Delay Sigman.</dialogue>
<character>AUSTIN</character>
<dialogue>I called. They said he's already left for vacation.</dialogue>
<character>JIM</character>
<dialogue>Where?</dialogue>
<character>AUSTIN</character>
<dialogue>They just said he's going to the airport.</dialogue>
<scene_description>The plane starts to move.</scene_description>
<character>JIM</character>
<dialogue>Great. So are we.</dialogue>
</scene>
<scene>
<stage_direction>INT. TINY OFFICE, RIM 2, WATERLOO - EVENING</stage_direction>
<scene_description>Mike is starting to get nervous as contract after contract is put in front of him...</scene_description>
<character>DARA FRANKEL</character>
<dialogue>And is this your signature?</dialogue>
<scene_description>Mike eyes it.</scene_description>
<character>MIKE</character>
<dialogue>Yeah.</dialogue>
<character>DARA FRANKEL</character>
<dialogue>And this?</dialogue>
<character>MIKE</character>
<dialogue>I don't know what you're looking for. These are standard employment contracts.</dialogue>
<character>DARA FRANKEL</character>
<dialogue>I'm just wondering how you convinced all these engineers from around the world to come all the way to Canada. Doesn't make sense.</dialogue>
<character>MIKE</character>
<dialogue>It's because they get to work on the best phone in the world.</dialogue>
<character>DARA FRANKEL</character>
<dialogue>Mike, each of these contracts offers back-dated stock options. You were illegally pricing your own shares so you could hire engineers with money you didn't have.</dialogue>
<scene_description>Mike looks at the contract in his hand --</scene_description>
<character>DARA FRANKEL</character>
<dialogue>Do you know what the sentence is for multi-million dollar stock fraud?</dialogue>
<character>MIKE</character>
<dialogue>Okay. I swear I had no idea about any of what you just said.</dialogue>
<character>DARA FRANKEL</character>
<dialogue>Do you expect me to believe that? You're CEO.</dialogue>
<scene_description>Beat. Mike looks down at one of the employment contracts. Sees Jim's name.</scene_description>
<character>MIKE</character>
<dialogue>Co-CEO.</dialogue>
</scene>
<scene>
<stage_direction>EXT. RUNWAY, HARTSFIELD-JACKSON INTERNATIONAL, ATLANTA - DAY</stage_direction>
<scene_description>Jim runs down the stairs of his just-landed plane, holding his BlackBerry to his ear as he runs towards the terminal...</scene_description>
<character>STAN SIGMAN (O.S.)</character>
<dialogue>Tell me why this can't wait another few weeks?</dialogue>
<character>JIM</character>
<dialogue>I'm telling you Stan. I'm headed for the terminal right now.</dialogue>
<character>STAN SIGMAN (O.S.)</character>
<dialogue>What?</dialogue>
<character>JIM</character>
<dialogue>I'm at Gate 7. Uh, where are ya?</dialogue>
<character>STAN SIGMAN (O.S.)</character>
<dialogue>Are you runnin'?</dialogue>
<character>JIM</character>
<dialogue>No. Stan. No. I'm good. I'm telling ya. Just give me the gate.</dialogue>
<character>STAN SIGMAN (O.S.)</character>
<dialogue>I'm getting on a plane here, Jim.</dialogue>
</scene>
<scene>
<stage_direction>INT. TERMINAL, HARTSFIELD-JACKSON INTERNATIONAL AIRPORT,</stage_direction>
<scene_description>ATLANTA - CONTINUOUS Hundreds of people surround him. It's loud and hectic. Jim searches the terminal for Stan Sigman.</scene_description>
<character>JIM</character>
<dialogue>No. Okay. Listen. Stan. Alright. Here's the headline: half a million BlackBerries for AT&T, for zero dollars.</dialogue>
<character>STAN SIGMAN (O.S.)</character>
<dialogue>What's the catch?</dialogue>
<scene_description>Jim tears past people. Some are distracted by their phones and collide with him.</scene_description>
<character>JIM</character>
<dialogue>No! No catch. They're yours. IF you're willing to release them at a discount one month before the iPhone.</dialogue>
<scene_description>Stan groans. Jim stops running -- pleads his case --</scene_description>
<character>JIM</character>
<dialogue>Stan, come on, you owe me. You've sold a lot of minutes because of us.</dialogue>
<character>STAN SIGMAN (O.S.)</character>
<dialogue>Yeah. But you know what the problem with selling minutes is?</dialogue>
<character>JIM</character>
<dialogue>...What?</dialogue>
<character>STAN SIGMAN (O.S.)</character>
<dialogue>There's only one minute in a minute.</dialogue>
<scene_description>Stan hangs up. Jim lowers the phone like "what the fuck does that mean?" Jim takes a beat, trying to decode that sentence. He's surrounded by travelers rushing back and forth. He's the only one standing still. He looks back down at his phone -- finds MIKE in his quick- dial -- calls...</scene_description>
<character>MIKE (O.S.)</character>
<dialogue>Hey.</dialogue>
<character>JIM</character>
<dialogue>Okay. Mike. Listen to me, I think we got a big problem here. I know what Apple's doing.</dialogue>
<character>MIKE (O.S.)</character>
<parenthetical>(whispering)</parenthetical>
<dialogue>Yeah. We shouldn't talk on the phone.</dialogue>
<character>JIM</character>
<dialogue>Why?</dialogue>
</scene>
<scene>
<stage_direction>INT. RIM 2, STORAGE CLOSET - WATERLOO - CONTINUOUS</stage_direction>
<character>MIKE</character>
<parenthetical>(whispering)</parenthetical>
<dialogue>Um.</dialogue>
<scene_description>WHY?</scene_description>
<character>MIKE</character>
<dialogue>We're in trouble with the SEC but, get back as soon as you can.</dialogue>
</scene>
<scene>
<stage_direction>INT. TERMINAL, HARTSFIELD-JACKSON INTERNATIONAL AIRPORT,</stage_direction>
<scene_description>ATLANTA - CONTINUOUS</scene_description>
<character>MIKE (O.S.)</character>
<dialogue>I have a way to get us out of this.</dialogue>
</scene>
<scene>
<stage_direction>EXT. RUNWAY, HARTSFIELD-JACKSON INTERNATIONAL, ATLANTA - DAY</stage_direction>
<scene_description>Jim runs up the stairs of the plane.</scene_description>
</scene>
<scene>
<stage_direction>EXT. PARKING LOT, RIM 2, WATERLOO - NIGHT</stage_direction>
<scene_description>Jim FOBS himself into RIM.</scene_description>
</scene>
<scene>
<stage_direction>INT. ATRIUM, RIM 2, WA TERLOO - CONTINUOUS</stage_direction>
<scene_description>Jim opens the front door -- the place is empty, quiet and eerie. Jim crosses the atrium and heads to the stairs.</scene_description>
</scene>
<scene>
<stage_direction>INT. JIM'S OFFICE, RIM 2 - CONTINUOUS</stage_direction>
<scene_description>Mike sits at Jim's desk, looking over Jack Manishen's iPhone projections -- the wall of masks behind him. Jim storms in.</scene_description>
<character>JIM</character>
<dialogue>Okay, so listen. AT&T knows exactly what they're doing. They WANTED Apple to build a data-guzzling monster because that's where they're going to move the market. They're not selling minutes anymore, Mike. They're selling DATA.</dialogue>
<scene_description>Mike picks up his BlackBerry -- dials...</scene_description>
<character>MIKE</character>
<parenthetical>(on the phone)</parenthetical>
<dialogue>He's here.</dialogue>
<scene_description>Jim feels a chill. Mike hangs up.</scene_description>
<character>JIM</character>
<dialogue>Who's that?</dialogue>
<character>MIKE</character>
<dialogue>They're waiting for you next door.</dialogue>
<scene_description>Beat.</scene_description>
<character>JIM</character>
<dialogue>Who? What did you do?</dialogue>
<character>MIKE</character>
<dialogue>I made a deal. The SEC gets you, your board seat, and our full cooperation in the criminal investigation, and for that they'll leave us alone.</dialogue>
<scene_description>Beat.</scene_description>
<character>MIKE</character>
<dialogue>And they want 83 million dollars.</dialogue>
<scene_description>Jim feels the walls close in, just like when Woodman told him "some nerds took you for a ride" back in 1996. His back is against the wall. It's done. It's over. No more rope. And then he can't help but smile to himself, as if someone just whispered a great secret in his ear. He looks at Mike.</scene_description>
<character>JIM</character>
<dialogue>You said next door?</dialogue>
<scene_description>Jim turns -- walks out of his office -- opens the door in the hallway -- steps inside. Mike watches him leave... ...then goes back to work on his prototype. TITLE CARD: 2008</scene_description>
</scene>
<scene>
<stage_direction>INT. MIKE'S BMW, PARKING LOT, RIM 2, WATERLOO - DAY</stage_direction>
<scene_description>Mike pulls into his "LAZARIDIS" parking space. Jim's spot: Gone. Doug's spot: Gone.</scene_description>
</scene>
<scene>
<stage_direction>INT. ENGINEERING OFFICE, RIM 2, WATERLOO - DAY</stage_direction>
<scene_description>New engineers populate the place. Gone are the familiar faces of Doug, Pranay, Scott, Ethan and Allan.</scene_description>
</scene>
<scene>
<stage_direction>INT. LOADING DOCK, RIM 2, WATERLOO - CONTINUOUS</stage_direction>
<scene_description>Mike walks along the pathway of the loading dock. Workers unload crate after crate from trucks into the loading bay. Wooden boxes with Chinese shipping labels. Mike lands in the middle of the room, filled with BLACKBERRY STORMS WRAPPED IN THEIR COMMERCIAL PACKAGING... He rips open the plastic wrap. ...Mike picks one up... ...unwraps the box... ...pulls out the BlackBerry Storm... ...turns it on... ...the screen glitches for a moment, then reveals the BlackBerry home-screen, a cramped stack of icons against a "Verizon V" background... ...Mike opens the text app and we see the keyboard on the screen on a keyboard. He touches the screen -- scrolls -- the delay between touch and action is about 1/2 a second -- Suddenly we hear something... ...A quiet hissing... ...static... ...Mike recognizes the sound... ...looks around the room, searching for the source... ...looks back at the BlackBerry in his hand... ...that's it -- his phone is making the hiss. Mike stares at it... ...puts it down on the crate in front of him... ...Reaches into the breast pocket of his jacket... ...Takes out his precision screwdriver set... ...Opens the BlackBerry... The circuit board is a mess. Mike pokes around with his screwdriver until he finds what he's looking for: A single prong of metal rubbing against the speaker wire. Mike lifts the wire off the prong. The static instantly stops. He tucks the wire against the body of the phone -- closes the case, and screws it back together. Mike puts the phone back into it's box -- closes it -- puts it back into the crate... Beat. Mike reaches for the next box -- opens it -- takes out the phone -- unscrews the body -- fixes the speaker wire -- closes it -- puts it back in the box -- Mike reaches for another box -- opens it... The camera tracks out to reveal the crates and crates of unopened BlackBerry Storms being unloaded all around him as he calmly tries to fix them one by one. Text appears on screen: Nearly every BlackBerry Storm was returned or replaced due to manufacturing errors. Verizon sued RIM for $500M to cover their losses. Mike Lazaridis resigned from RIM on January 22, 2012.</scene_description>
</scene>
<scene>
<stage_direction>EXT. LAKE - DAY</stage_direction>
<scene_description>Rick Brock and Jim fish together. Text appears on screen: Jim Balsillie avoided any jail time for his role in the stock manipulation. His texts and e-mails remain encrypted on the BlackBerry servers in Waterloo.</scene_description>
</scene>
<scene>
<stage_direction>EXT. BACKYARD, DOUG'S HOUSE, WATERLOO - SUNSET</stage_direction>
<scene_description>A backyard Movie Night. A projector shines on an outdoor screen. Doug, Allan, Scott, Pranay, Ethan, Steve and a few other former RIM Engineers are gathered, the movie is starting. Text appears on screen: Doug sold his stock at the 2007 high. He is secretly one of the richest men in the world.</scene_description>
</scene>
<scene>
<stage_direction>INT. RIM 2, WATERLOO - DAY</stage_direction>
<scene_description>An old photo of the original RIM group hangs on Doug's desk. Text appears on screen: At its height, BlackBerry controlled 45% of the cellphone market. Today, it's 0%. END.</scene_description>
</scene>
</script>
|
BlackBerry Written by Matt Johnson & Matthew Miller Shooting Script Based on, "Losing the Signal" by Jacquie McNish & Sean Silcoff TEXT ON SCREEN: The following fictionalization is inspired by real people and real events that took place in Waterloo, Ontario. CORPORATE CREDITS BEGIN AS MUSIC FADES IN. An authoritative male voice.
MALE VOICE (O.S.)
I'm thinking of the incredible breakthrough which has been made possible by developments of communications. Particularly, the transistor and above all the communications satellite. These things will make possible --
In Black and White archival footage we now see the man behind the voice, who some will recognize as famed science fiction author ARTHUR C. CLARKE.
ARTHUR C. CLARKE
-- a world in which we can be in instant contact with each other wherever we may be.
OPENING CREDITS BEGIN
INT. DOUG'S 1984 HONDA CIVIC, WATERLOO STREETS - MORNING
DOUG (35) drives a Brown 1984 HONDA CIVIC HATCHBACK with MIKE (35, grey hair) in the passenger seat.
ARTHUR C. CLARKE
It will be possible in that age, perhaps only fifty years from now, for a man to conduct his business from Tahiti or Bali just as well as he could from London.
Mike nervously shuffles CUE CARDS, rehearsing as the duo drive through Waterloo, Ontario.
INT. JIM'S BMW, WATERLOO STREETS - MORNING
We see ECU of JIM BALSILLE (35) driving through rural Waterloo. His Rolex watch, his Harvard MBA ring.
ARTHUR C. CLARKE (O.S.)
In fact if it proves worthwhile almost any executive skill, any administrative skill, even any physical skill, could be made independent of distance.
INT. DOUG'S 1984 HONDA CIVIC, WATERLOO STREETS - MORNING
Mike and Doug drive past a horse and buggy. It's farm country.
ARTHUR C. CLARKE (O.S.)
When that time comes, the whole world will have shrunk to a point --
INT. JIM'S BMW, WATERLOO STREETS - MORNING
Jim approaches his office.
ARTHUR C. CLARKE
-- and the traditional role of the city as a meeting place for man would have ceased to make any sense.
BACK TO ARTHUR C. CLARKE FOR HIS CONCLUSION
ARTHUR C. CLARKE
In fact, men will no longer commute. They will communicate.
EXT. PARKING LOT, SUTHERLAND-SCHULTZ, WATERLOO - DAY
Doug pulls into the busy lot and finds a VISITOR spot at the far end.
DOUG
We're not late!
MIKE
I know but, I am going to throw up.
DOUG
Okay!
Doug and Mike jump out of the car -- They open the trunk -- fumbling to grab a stack of PRESENTATION CARDS and EASEL.
DOUG
I got it. I got it.
Doug drops the EASEL and PRESENTATION CARDS on the ground.
DOUG
Shit.
Bends down, gathers.
DOUG
It's good.
Mike organizes his CUE CARDS as they run towards the main entrance of SUTHERLAND-SCHULTZ. We stay outside as Jim pulls into the frame with his BMW...
SPORTS RADIO HOST (O.S.)
...forward Matts Sundin is the sleepiest of all out there. He's a proven NHL talent but, not scoring like the Leafs need him --
Jim pulls into a parking space: "JIM BALSILLIE" and cuts the engine, killing the radio. Jim checks himself in the rearview mirror -- notices something -- turns around... ...sees a limousine unloading well-dressed European business executives into the parking lot...
INT. RECEPTION, SUTHERLAND-SCHULTZ, WATERLOO - DAY
Jim walks enters and turns to the FACTORY FLOOR towards the front desk.
SUTHERLAND-SCHULTZ RECEPTIONIST
Your 9 o'clock is here.
JIM
Where's Brock?
SUTHERLAND-SCHULTZ RECEPTIONIST
His office.
YOUNG BUSINESSMAN
Uh, Mr. Balsillie, you wanted to see this report I --
JIM
Talk to Shelley.
Jim keeps moving, passing Mike and Doug in his office.
INT. JIM'S OFFICE, SUTHERLAND-SCHULTZ, WATERLOO - DAY
Mike and Doug (wearing Sutherland-Schultz visitor name tags) sit opposite Jim's desk. It's a large office with horrific masks of all descriptions hanging on the wall behind a raw mahogany desk and a large picture window looking out over the office.. The easel is now set up with their presentation cards. Doug observes Sutherland-Schultz through the window. It's a bustling mid-90s workplace. Staff buzz around cream cubicles as fax machines chug out mile after mile of thermal paper. Every computer runs Windows '95. Mike practices his speech to himself off his CUE CARDS.
DOUG
I finally understand that quote. When you grow up, your heart dies.
Mike looks up as though he hears something...
DOUG
That's from Breakfast Club. John Hughes.
MIKE
Do you hear that?
We hear it now too. A STATIC DRONE, like the noise of an open channel on a walkie-talkie.
DOUG
Uhh, yeah. Are you talking about that buzzing?
Mike nods.
DOUG
Uh huh, it's an office. I'm sure they've got a million little buzzes.
They listen a beat longer.
DOUG
It's a subtle buzzing.
Mike has found it.
MIKE
There.
It's coming from an INTERCOM on the desk.
DOUG
You've identified it.
Mike picks up the intercom -- sees something --
MIKE
Mmmm.
DOUG
What?
-- shows Doug.
DOUG
"Made in China". The mark of the beast.
Mike clicks open the back of the INTERCOM.
DOUG
Uh... Ummm... Mike?
MIKE
I can't concentrate.
DOUG
And so what? You're going to fix this?
Mike starts unscrewing the intercom --
MIKE
I'm going to fix it.
Mike has got the screws off and the intercom open -- the STATIC is louder without the case to muffle it.
DOUG
Uh. Now's not the time. The meeting starts in like two minutes. Now's not the time. Now's not the time!
MIKE
Okay. I need like a, uh, paperclip.
Mike continues to mess with the INTERCOM.
DOUG
That's a guy's thing. That's a guy's fucking thing.
Doug stands up and checks over his shoulder to see if anyone is watching. Mike has got the screws off and the intercom open -- the STATIC is louder without the case to muffle it.
MIKE
It has no off switch. I mean, it's just always on. It's just always buzzing.
DOUG
Uh huh. Yeah. Um. Oh well -
Doug moves to the easel -- pulls off the paperclip holding their cards together -- hands it to Mike --
DOUG
(whispers)
Yeah, go fast.
INT. BROCK'S OFFICE, SUTHERLAND-SCHULTZ, WATERLOO - DAY
Jim walks in and puts his briefcase on the ground. RICK BROCK (50s, suit and tie) sits behind his desk on the phone.
RICK BROCK
You can tell him he's - He's not going to get steel. Alloys, Harry.
Rick sees Jim at his door.
RICK BROCK
I'll call you back.
Hangs up.
JIM
They're outside.
Rick checks his watch.
RICK BROCK
These guys really are Dutch, huh?
Jim smiles.
JIM
Uh. Listen, Rick, I've thought about this a lot and if these guys take the deal.. I wanna run the new division.
Beat. This took Rick by surprise.
RICK BROCK
Think you can run this place?
JIM
Yes. Yes.
RICK BROCK (O.S.)
Me too.
RICK BROCK
Just so we're clear.. If this thing doesn't go. We never had this conversation.
JIM
Great... Um... Thank you.
Jim begins to collect his briefcase. Rick interrupts him.
RICK BROCK
There's one adjustment. Apparently the Americans offered them some fancy tax-splitting plan. So, we need to show them the Canadian version.
JIM
I don't have that.
RICK BROCK
I know. Callaghan worked out something last minute. We're going to bring him in to explain it.
Jim looks back into the main office -- sees CALLAGHAN (20s, very nerdy, BIG glasses, low status)
JIM
Callaghan. Uh... You know what, I think that's a bad idea.
RICK BROCK
Why's that?
JIM
I'll tell ya what, Rick. Why don't you have Callaghan explain the tax thing to me and I'll just work it into my pitch? I think that's better.
RICK BROCK
Cal was up all night putting this together as a favor to me. He gets to present.
JIM
Rick. I mean.
Callaghan continues going over PRESENTATION NOTES with his ASSISTANT (20s)...
JIM (O.S.)
You're going to have this guy present to Stork? I mean, he looks like a... a fucking... a total goof.
RICK BROCK
Jim, I'm not asking.
Jim looks at Callaghan then back to Rick.
JIM
Okay. Great.
INT. JIM'S OFFICE, SUTHERLAND-SCHULTZ, WATERLOO - DAY -
CONTINUOUS Mike breaks the clip in half and bends it just so -- rips a wire off the intercom -- carefully replaces it with the paperclip, leveraging it against the inside of the ON button. The STATIC stops. Doug sees a man marching towards them...
DOUG
Umm... okay, bald, scary-looking guy walking towards us right now.
INT. HALLWAY, SUTHERLAND-SCHULTZ, WATERLOO - CONTINUOUS
The man is JIM BALSILLIE (35), hurrying down the hallway and bumping into an S-S employee.
JIM
Goddamn it!
INT. JIM'S OFFICE, SUTHERLAND-SCHULTZ, WATERLOO - CONTINUOUS
Mike screws the intercom back together -- puts it down on the desk -- shifts it to a perfect right angle...
INT. HALLWAY, SUTHERLAND-SCHULTZ, WATERLOO - CONTINUOUS
Jim almost spills his COFFEE.
JIM
Watch the fuck out!
INT. JIM'S OFFICE, SUTHERLAND-SCHULTZ, WATERLOO - CONTINUOUS
Doug scrambles to sit back in his seat.
DOUG
Oh shit! Sit down. Sit down.
Mike focuses on the now silent INTERCOM, looks to Doug.
MIKE
Much better.
Jim enters the office, slamming the door behind him. He takes a seat at his desk, collecting himself, looks across at them.
JIM
Yeah. What can I do for ya?
MIKE
Yes. Hi. Uh, I'm Mike Lazaridis, CEO of Research in Motion.
Mike awkwardly hands Jim his business card -- Jim takes it. Mike returns to his cue cards.
MIKE
We create various computer hardware systems using both custom-designed integrated circuits, as well as off- the-shelf components provided by major hardware vendors such as Intel, American Micro Devices, and Cyrix. Our clients have included: U.S. Robotics. Rogers Cantel. RAM Mobile Data--
Jim interrupts and picks up his phone.
JIM
Just a second.
Mike and Doug share a look. Doug motions a thumbs up to Mike.
JIM
(on phone)
Hey you're on Callaghan's desk, right? Okay, great. This is Jim Balsille. Brock wanted me to do a quick proof of that tax stuff before the meeting... could you bring me... Exactly... Okay great, thanks.
Hangs up -- pulse elevates --
JIM
Okay. Uh, what is this?
MIKE
So.. We, we had a shop teacher --
Doug attempts to move the PRESENTATION CARDS dropping them on the ground.
DOUG
(under his breath)
Fuck.
Doug continues to put the PRESENTATION CARDS back together on the easel. Jim watches the pair, unamused.
MIKE
Who told us - Oh. We had a shop teacher in high school named Mr. Micsinszki who told us "the person who puts a computer inside a phone will change the world."Well, we have a plan to piggyback on the unused bandwidth of the UHF spectrum to create an all-in-one mobile device.
Mike pauses -- Jim's intercom DINGS. Intercom light turns on.
SHELLEY (INTERCOM)
Callaghan's Assistant is here to see you?
Jim hits the button.
JIM
Send him in.
CLICK. NO STATIC. Doug nods to Mike. At least that worked. The door opens -- Callaghan's Assistant nervously walks in and hands Jim some documents.
JIM
Great.
Callaghan's assistant doesn't leave.
CALLAGHAN'S ASSISTANT
Sorry, Mr, Balsille. No one, uh. I didn't realize you needed a copy of this tax report --
Jim shoots him a look.
JIM
I'm in a meeting right now.
The Assistant gets it now -- leaves immediately -- Jim flips through the documents with interest... Doug steps in --
DOUG
So, basically, there is a free wireless internet signal all across North America and nobody has figured out how to use it. There's free internet in this room right now. It's like the Force. Sorry, have you seen Star Wars?
JIM
No.
DOUG
So, okay, picture a pager, a cell phone and an email machine all in one thing.
Doug rifles through the PRESENTATION CARDS until he finds the last one -- revealing concept schematics for a clunky smartphone, complete with a full clip-art QWERTY keyboard...
MIKE
Uh, we call it, PocketLink.
Jim hardly pays attention.
JIM
(to the guys)
Okay. Uh listen, we don't do anything like that here. We are a commercial manufacturing company. You want to talk to a VC guy.
...something catches Jim's eye -- Rick Brock passing by with Callaghan and two executives -- Jim picks up the tax notes -- stands --
JIM (O.S.)
And you need a better name.
-- walks out the door -- Beat. Mike puts his face in his hands despondent.
DOUG
You're going to cry?! Mike. Oh, it's just disappointment? You did great!
INT. BOARDROOM, SUTHERLAND-SCHULTZ, WATERLOO - MOMENTS LATER
A huge Sutherland-Schultz logo shines on the wall. Eight members of the Stork board (the Europeans from the limo) sit around a boardroom table. Jim stands in front of them.
JIM
Well, I saw that Rick sent the limo to pick you guys up. We must need this merger worse than I thought.
Rick laughs.
JIM
So...I Know we got a lot to cover, but um, I thought we should start with our tax strategy. Now, I'm sure you heard it from the Americans, but, let me assure you, we also know how to cheat on our taxes here in Canada. Okay?
Laughs from everyone but Rick and Callaghan. Jim starts writing numbers on the whiteboard -- Callaghan looks over at Brock like "what the fuck is he doing?" Brock narrows his eyes.
JIM
Here's what we can do: We run payroll out of Ontario, but we pay all our vendors from The Netherlands. Split that fucker right in half. The left won't know what the right is doing. Plus we get a nice little provincial kickback on manufacturing labor.
Rick sits in a look of disappointment.
JIM (O.S.)
We get a massive federal tex credit because they don't know whether we are private or public.
INT. ELEVATOR, SUTHERLAND-SCHULTZ, WATERLOO - SAME TIME
Mike and Doug wait at the elevator. Doug awkwardly holds their presentation cards. Mike is transfixed with the image of Jim across the office leading the pitch... Ding! The elevator opens. Both get inside. OPENING CREDIT SEQUENCE CONTINUES A cacophony of sounds and images from the mid-1990s
WILLIAM SHATNER AS CAPTAIN KIRK
Beam me aboard.
COMMERCIAL ANNOUNCER
Taken prisoner and held captive within the digital world of the computer itself.
FROM BLADE RUNNER
Hello?
FROM 2001: A SPACE ODYSSEY
Hello?
FROM MIGHTY MORPHIN' POWER RANGERS
So what you're saying is you just touch and talk.
MARIO LOPEZ AS A.C. SLATER
You can use you cellular phone to order me a pizza.
PRIME-CO WOMAN
And that includes fifty minutes of air time.
LITTLE GIRL
We'll page you.
BILL GATES
It's very hip to be on the internet right now.
HACK THE PLANET! HACK THE PLANE--
STEVE JOBS
I still think Apple has a future. The way out is not to slash and burn, it's to innovate.
TITLE CARD: 1996
EXT. STRIP PLAZA, RIM 1, WATERLOO - DAY
Doug's Honda Civic peels into a 2-storey plaza and parks. The lower level is retail, a Supermarket, Shopper's Drug Mart, flower shop and restaurants. Upstairs are professional offices. Dentists, lawyers and one lone tech startup, denoted by a small RIM placard in the window. Mike and Doug get out -- Mike starts walking towards the entrance.
DOUG
Okay, here's what I think. Mike, super simple, hit them with the "good news, bad news" routine. Good news - Bad news routine. They're going to say -
Mike walks ahead of Doug as he gathers the presentation cards from the backseat.
DOUG
Mike! Wait.
Doug catches up to Mike.
DOUG
Everything's going to be fine, we still have the U.S. Robotics deal. We're like... what did the cave say about Aladdin? Diamond in the rough?
Doug stops abruptly.
DOUG
Oh fuck!
MIKE
What?
DOUG
I forgot the easel.
MIKE
Oh, we have to change the name. Product needs a new name.
DOUG
You're giving that guy too much credit man. He hasn't seen Star Wars. He's bald. How much you want to bet they don't even mention the phone?
Mike opens the door...
INT. MAIN OFFICE, RIM 1, WATERLOO - DAY
The office is a disaster. Food wrappers, styrofoam coffee cups, random tools, circuit boards and mechanical drawings strewn all over the place.
PRANAY
Are you Office-Dad? Dude! Make a, make a.. Make a thing. Make a Scott sucks --
The desks are unfinished plywood balanced on cinder blocks.
SCOTT
I can't. I can't. I can't. That's why I'm using your computer.
Some tabletops are just doors taken off their hinges. Five RIM employees ALLAN, ETHAN, SCOTT, PRANAY & STEVE (20s, nerdy) are goofing off instead of soldering circuit boards.
PRANAY
Twenty-One Boy Canada.
ETHAN
That's me. Uh, this guy is telling me about sniffing his, sniffing his --
They all turn in unison as Mike and Doug walk in.
ALLAN
Did they buy the phone?
Beat.
DOUG
So... we got good news and bad news.
Beat.
DOUG
Uh, okay.. The bad news is that -- Yeah, the presentation -- We were not heard and they did not understand the product and so they did not buy the phone.
Beat.
MICHAEL
What was the good news?
ALLAN
What's the good news?
DOUG
Emergency movie night. Right now. Stephen Spielberg's Raiders of the Lost Ark. Letterboxed --
Engineers jump up with excitement simultaneously.
INT. MAIN OFFICE, RIM 1, WATERLOO - LATER
The office is dark. Windows covered. A TV/VCR cart like in elementary school sits at the front of the room playing Indiana Jones: Raiders of the Lost Ark (Widescreen). Above the TV hangs a dot matrix banner: "Movie Night".
INDIANA JONES (O.S.)
You said their headpiece had markings only on one side, are you absolutely sure? Belloq's staff is too long.
The entire RIM staff watch in anticipation as Harrison Ford and John Rhys-Davis realize that Belloq's staff is too short. The whole room shouts in unison with the movie...
EVERYONE
They're digging in the wrong place!
DOUG & ALLAN
Bad dates!
INDIANA JONES (O.S.)
Bad dates.
The only person not having the time of his life is Mike, who sits at his desk at the back of the room trying to work...
PRANAY (O.S.)
Couple of bad dates.
DOUG
Couple bad dates. Couple bad dates.
STEVE
That was there, why'd they go the other one? That was right there.
Mike eats fruit from a Tupperware and brainstorms new names on a legal pad. Byline, Blade, Outrigger...
DOUG (O.S.)
Mike, you're missing your favorite movie, man!
We see a CU of a framed newspaper article from the Waterloo Region Record on the wall beside him. It's a black and white photo of a young Mike and Doug standing next to twin televisions with "ADVERTISE ON ME" scrolling across them. The headline reads "The Drop-Out Boy Genius".
INT. JIM'S OFFICE, SUTHERLAND-SCHULTZ, WATERLOO - EVENING
The lights are off. A JANITOR pushes his cart. One by one Jim takes his masks down from the wall -- sets them carefully in a cardboard box. Jim collapses in his chair. He looks over at the presentation easel -- sees one forgotten slide from Mike and Doug's presentation -- the image of the phone with the keyboard on it...
EXT. STRIP PLAZA, RIM 1, WATERLOO - DAY
Jim pulls into the plaza.
SPORTS RADIO HOST (O.S.)
Toronto wins it by a count of five- to-four. Doug Gilmour had 3 assists. Felix Potvin finished the game with thirty saves including three in the extra period, but obviously the story was...
INT. MAIN OFFICE, RIM 1, WATERLOO - DAY
Mike sits at his desk trying to plug in his NEIKO HILTEX MAGNIFYING LIGHT -- he can't find the right power adapter, but there is chaos in the office. A game of COMMAND & CONQUER is being played.
STEVE
Are they top or bottom left? Send, Send everything, let's take a gamble, let's go for Scott --
MIKE
Anyone have a Type-C Coax?!
SCOTT
They don't even know. I'm not even top left.
DOUG
Scott, you're attacking me!
SCOTT
What?!
DOUG
You're attacking me.
SCOTT
Oh, I'm sorry.
STEVE
Send the dogs in. Send the dogs in. They're rushing --
DOUG
Bottom Right.
SCOTT
I'm sending another, another.
DOUG
Dude, they got rockets! I got run down.
Mike is ignored by the gang, who are too distracted.
MIKE
Anyone have any Type-C Coax cables?
Doug detonates Steve's Command Centre. It's over.
DOUG
Oh, the plungers moving! The plungers moving, dude!
Doug runs to Steve's desk, yanks a CEREMONIAL TOILET PLUNGER off the top of his monitor, the monitor comes with it, smashing on the ground.
DOUG
Come on! Come on! Oh shit! I'm sorry boys but it's back!
Doug slams the plunger down on top of his monitor. It sticks.
DOUG
It's back!
SCOTT (O.S.)
You had them--
DOUG
Back!
The office erupts into cheers and laughter as Jim enters the office. After a moment he clears his throat. Beat.
INT. MIDWAY DINER, WATERLOO - DAY
Mike and Doug sit across from Jim in their usual booth. Waitress #1 places their food on the table.
DOUG
Thank you.
MIKE
Thank you so much.
JIM
Nothing for me, thanks.
Doug holds Jim's BUSINESS CARD -- the phone number for SUTHERLAND-SCHULTZ is scratched out and another is written in pen...
JIM
So, I know how to sell your phone. I know how to market it, and I know who we can sell it to.
MIKE
Who?
Doug looks up from the business card.
DOUG
What do you mean "We"?
JIM
Here's the deal. I will leave my job at Sutherland-Schultz if you make me CEO of Research in Motion.
DOUG
Are you serious?
JIM
That was the worst product pitch I've ever seen in my life. You guys don't stand a chance out there. You need me.
DOUG
Sorry... I don't know who you think you are, but WE, are just fine. We have a sixteen million dollar deal with U.S. Robotics.
JIM
Sixteen million?
DOUG
That's right.
JIM
Wow. Okay and what did they buy?
DOUG
Modems. Ever heard of 'em?
JIM
Are they like The Force in Star Wars?
DOUG
Very funny. You know, your logo literally is SS?
JIM
And how much have they paid you on that 16 million?
MIKE
Yeah, nothing.
JIM
Zero?
DOUG
Nothing yet. We haven't delivered the modems.
Doug looks to Mike.
MIKE
Well, we shipped them product samples months ago. Their accounting department won't even return our phone-calls.
DOUG
(to Mike)
Yeah, but... They're... What's going on? They are going to pay us. We have a sixteen million dollar deal with U.S. Robotics.
JIM
Yeah, so, uh, you guys are getting fucked.
MIKE
Why would you? Why do think? Why do you say that?
JIM
Well because I would do the same thing. Little operation like yours... They know they can withhold payment until the last possible second and then crush you. These guys, they're.. they're pirates.
The Waitress arrives and puts the bill down -- Doug quickly grabs it.
DOUG
Uh huh. We got it. Thank you. Um.
Doug pulls out his wallet -- snaps open the change pouch.
DOUG
How do you know anything? What the fuck do I care.
(to Mike)
How much money do you got?
Mike pulls a random assortment of coins from his pocket and lays them on the table. Jim watches these two titans of business negotiate $2.43.
MIKE (O.S.)
Yeah. Um.
DOUG (O.S.)
How about I get that tip? Two, two fifty?
JIM
Okay. Guys. Here's what I'm going to do. I will give you $20,000, cash, today. I'll sell the phone, I'll work out this problem with USR but I want 50% of the company. And I've gotta be CEO.
Mike looks at Doug like "what do you think?"
DOUG
Are you joking? No. Obviously. No. No.
MIKE
Well, let's think about it
DOUG
Mike?
MIKE
Okay.. Okay.
JIM
Who is in charge here?
MIKE
Oh, I mean, technically--
DOUG
Mike's in charge, and he says no.
MIKE
I am in charge and I say... sorry.
DOUG
You don't need to do what this guy says! We just met him! He's not your dad.
JIM
Okay.
Beat. Jim gets up -- puts down a twenty -- walks out.
MIKE
Thanks. Thank you.
DOUG
Very sassy man, would you say? He had... he had a sass --
MIKE
Modems, ever heard of those or whatever?
DOUG
No, I sassed him too but he sassed me back. And what's he trying to say we don't have our modem deal?
INT. STORAGE ROOM, RIM 1, WATERLOO - DAY
The makeshift storage room in a corner office, is PACKED with boxes labelled MODEMS FOR USR. Floor to ceiling. Mike paces with a phone to his ear... It's RINGING... Mike looks out the door into the office. A few of the guys solder modems while other play DOOM.
USR RECEPTIONIST (O.S.)
U.S. Robotics, how may I direct your call?
MIKE
Uh, yeah. It's Mike Lazaridis... From Research in Motion... We're actually building circuit boards for you guys--
USR RECEPTIONIST (O.S.)
One moment please.
Click. Hold. Mike is distracted from the BLINKING RED LIGHT of their USR V- SERIES MODEM.
CASEY COWELL
Mike, is that you?
MIKE
Yes. Hi. So uh. I was just wondering if it would, if it would be at all possible for us to uh, invoice you for the first half, or, uh third of our um, of your order from us. If... If... Can we, can we invoice you for some, some of our order?
Beat.
CASEY COWELL (O.S.)
(laughing)
What? What?
MIKE
... If that's okay?
CASEY COWELL (O.S.)
Did you not get my fax?
MIKE
Uh. We don't have a fax machine.
CASEY COWELL (O.S.)
Mike... Those modems you sent us back in March. They were defective.
MIKE
I'm sorry, what?
CASEY COWELL (O.S.)
Yeah. They didn't work. We had to cancel the whole order but this was months ago, buddy.
Mike looks to the stack of modems behind him.
CASEY COWELL (O.S.)
I really thought you guys had a fax machine. Hey, I'll tell you what. Why don't you let me make it up to you? I'll have USR send you one, free of charge. On me. Okay?
MIKE
Um. Yeah. Okay. Thanks.
CASEY COWELL (O.S.)
Great, okay, well good luck Mike.
MIKE
Yeah.
CASEY COWELL (O.S.)
Bye bye.
MIKE
Bye.
Click. Mike lowers the phone -- his eyes shift to Doug... They share a look.
DOUG
What?
INT. SMALL CONFERENCE ROOM, RIM 1, WATERLOO - MOMENTS LATER
Doug has clearly received the bad news.
DOUG
Here's what you gotta do. You got to call him back. You gotta Glengarry Glen Ross this guy. You gotta grind him!
MIKE
Yeah. I don't think I can grind him.
DOUG
This is exactly what that Rolex-Guy said was gonna happen, right? He predicted it. What did he say? He said U.S. Robotics are pirates. He was fucking dead on.
Mike looks around the mess on the boardroom desk. Amidst the circuit boards, disassembled electronics and unpaid bills, he finds what he's looking for -- Jim's folded business card. Mike reaches for the phone -- picks it up -- hears the GARBLED TECH BLARE of a dial up modem -- Mike looks into the office and sees Steve with Netscape Navigator open to the Hotwired home page.
MIKE
(to Steve)
Hey. Steve - Steve, I need the phone line.
STEVE
(typing fast in a forum)
Some guy is trying to say Noonian Soong is a Q...
MIKE
Yep thanks..
STEVE (O.S.)
Alright.
DOUG
What are you doing?
MIKE
I think we should take this deal.
DOUG
No. So, you don't get into business with people like this. That guy is sketchy.
MIKE
I think... He's - I don't think he's sketchy.
Doug picks up Jim's business card -- holds it up.
DOUG
His business card is literally SKETCHED OUT!
Mike looks at the card...
DOUG
The guy's a shark.
MIKE
Okay. Do you know.. Do you know who's afraid of sharks? Pirates.
DOUG
Oh fuck.
INT. SMALL CONFERENCE ROOM, RIM 1, WATERLOO - NIGHT
Mike sits across from Doug, phone at his ear.
MIKE
(into receiver)
Um. So uh, we've been talking here and we, uh - We would like to make a counter offer.
Doug mimes a phone.
DOUG
You came crawling back. Like bugs. Like grubs.
It's just a rehearsal...
MIKE
Yeah um, so, we would like to offer you --
Doug covers his mimed phone receiver and whispers to Mike.
DOUG
(Whispering)
Low.
MIKE
Ten percent for five-hundred- thousand dollars.
DOUG
(as Jim)
Are you out of your fucking mind?! I look at a hundred thousand deals a day. I pick one!
(as Doug)
Is that the quote? No.
(as Jim)
I look at a hundred deals a day. I pick one!
(as Doug)
Wall Street.
MIKE
Uh, okay. Uhhh. 25% for $250,000.
DOUG
(as Jim)
50% for fifty bucks!
MIKE
33% for $125,000 and you can run the company with me.
DOUG
(as Doug)
Mike! No! No!!
(as Jim)
Yes, deal.
(back to Doug)
Easy. Dude. It's going to be totally fine. You are going to negotiate this guy to death.
INT. LIVING ROOM, JIM'S TOWNHOUSE, WATERLOO - NIGHT
Jim sits in front of the TV. Leafs vs Canadiens.
HOCKEY ANNOUNCER
Shoots! Right on. Potvin covered. Malakhov? No shot. Turgeon, in too far. Scores!
Leafs down 1-0.
HOCKEY ANNOUNCER
He fooled everybody and banked it in off Potvin.
He eats Ruffles right from the bag. The PHONE RINGS -- Jim picks it up beside him, eyes fixed on the TV...
JIM
Yeah?
Jim keeps staring at the TV.
INT. SMALL CONFERENCE ROOM, RIM 1, WATERLOO - CONTINUOUS
MIKE (O.S.)
Hi Jim! It's Mike Lazaridis from Research in Motion, we met at the office the other day.
Mike waits anxiously for the right moment to "negotiate Jim to deal" -- Doug is keyed up, standing on the desk...
DOUG
(whispering)
Low. Low.
Mike looks up at Doug in a panic. Doug waves him on like "Go! Go!" Mike looks down at his handwritten notes...
MIKE
So. We'd like to offer you 33% of our company for $125,000 and you and I would be Co-CEOs.
Doug shakes his hands like "wtf are you doing you idiot that was our final price, holy shit you just fucked us!!!" Mike covers his face in shame. He fucked up. He really fucked up.
INT. LIVING ROOM, JIM'S TOWNHOUSE, WATERLOO - CONTINUOUS
Beat. Jim is clearly distracted.
JIM
Sure.
Jim hangs up.
INT. SMALL CONFERENCE ROOM, RIM 1, WATERLOO - CONTINUOUS
Mike is completely stunned. Doug waves him out of it. Mike looks up in pure disbelief.
MIKE
Deal.
DOUG
Awesome! Awesome! Dude! Mike!
Doug looks out into the office, sees Scott still working.
DOUG
Scott! Scott! He did it!
SCOTT
What do you mean?
DOUG
Have you not heard anything that's been going on in this room?
EXT. STRIP PLAZA, RIM 1, WATERLOO - DAY
Jim arrives at RIM in his BMW.
INT. SMALL CONFERENCE ROOM, RIM 1, WATERLOO - CONTINUOUS
Mike watches Jim put the roof of his convertible up and get out of his car.
MIKE
Maybe you should tell him about the modems?
DOUG
Oh! Where do you want to put him?
INT. JIM'S OFFICE, RIM 1, WATERLOO - DAY
The storage room has been rearranged to make room for Jim. A DESK IN A BOX sits in the middle of the room with a phone on top of it. Mike and Doug stand at the door as Jim takes it in.
JIM
What the fuck is this?
DOUG
That's uh, yeah, everyone builds their own desk. That's a tradition.
JIM
Yeah. I'm not doing that.
Beat.
MIKE
Um, U.S. Robotics pulled out of the deal.
JIM
Told ya. What's our exposure?
MIKE
...Exposure?
JIM
How much money did you spend on the modems?
MIKE
Oh. One-point-six million.
Jim drops the smile. Doug looks at Mike.
JIM
What?
DOUG
One point what?
MIKE
We spent one-point-six million in materials and labour.
JIM
Where'd you get one-point-six million dollars?
MIKE
I got a loan from the Bank of Montreal.
DOUG (O.S.)
Mike, come on..
-- Jim shouts outside the room --
JIM
Get me U.S. Robotics!
Beat.
DOUG
Uh, sorry, who are you talking to?
MIKE
Yeah?
Jim realizes he doesn't have an assistant here -- picks up the phone himself -- GARBLED TECH SOUND of the modem blares through the speaker -- Jim pulls the phone away.
JIM
What the fuck is that?
MIKE
Oh. It's called a carrier wave.
(beat)
The calling modem is uh --
Jim hangs up the phone -- turns -- scans the main room... ...sees STEVE on his computer, browser open --
JIM
Hey!
Everyone in the office turns around, including Steve... Jim points right at him...
JIM
Get off the fucking internet!
Steve pulls the plug out of the wall and throws his hands in the air as though he's being arrested. Mike hands Jim a USR business card.
MIKE
I think it's Casey.
JIM
Uh huh.
DOUG
(to Steve)
It's going to be fine. It's going to be fine.
Jim dials...
DOUG
(to Jim)
You don't get to talk to our team like that.
(to Mike)
He doesn't get to talk to our team like that.
CLICK.
CASEY COWELL (O.S.)
Mike!
JIM
Hi, actually no, this is Jim Balsillie. I'm CEO here now.
DOUG
Co-CEO.
CASEY COWELL (O.S.)
Okay. Jim, what can I do for ya?
JIM
I wanna talk about these modems.
CASEY COWELL (O.S.)
There's nothing to talk about sadly. We can't accept a defective product.
DOUG
(to Mike)
This is not working --
Mike cuts him off, he wants to listen to the negotiator.
JIM
Let's cut the bullshit here. Two- point-five Million all in for the entire order.
CASEY COWELL (O.S.)
Yeah, no. Can't do it, Jim.
JIM
I'll decimate it for you. One-point- six Million. And if you don't take that I'll turn around and sell them to Rockwell for even less.
Mike and Doug can't believe what they're watching.
MIKE
(whispers to Doug)
Nice negotiation.
Beat.
CASEY COWELL (O.S.)
Okay, how about this. We'll take the modems, if you throw in the patent on Mike's phone.
Jim shoots Mike a look --
JIM
What phone?
CASEY COWELL (O.S.)
I thought we weren't bullshitting each other, Jim? We've been building our own for a year... We want Mikes --
Jim hangs up.
JIM
How long to build a prototype of the phone?
MIKE
PocketLink? Yeah um, a year.
JIM
No, no, no. A prototype Mike. A shell I can wave around in a meeting. It can be a complete piece of shit.
MIKE
No it can't - We're not doing that.
DOUG
Mike's not doing that.
JIM
Listen to me. U.S. Robotics is building their own phone. We're now in a race to get this thing to market and we're a year behind. So I don't care what you need to do, get these fucking nerds to drop everything and build this fucking phone!
The guys turn to see ALLAN at the door... WHAT?
ALLAN
Sorry guys. Um, my girlfriend tried to cash my cheque this morning and it bounced. Um and she said I'm not supposed to come in - allowed - I shouldn't come in here anymore. And she agreed... I won't be coming in here any longer until I'm getting paid.
Jim picks up the phone -- THROWS IT AGAINST THE GROUND -- makes for the exit -- SLAMS the door shut. Mike picks up Jim's destroyed phone -- walks out --
MIKE
I can fix this.
INT. BANK, WATERLOO - DAY
Jim sits across from a BANK MANAGER at her computer.
BANK MANAGER
OK. Research in Motion... Looks like your account has exceeded its overdraft balance.
JIM
Didn't they just deposit a cheque for $125,000 from me?
Typing...
BANK MANAGER
Yes.
Beat.
JIM
Okay... Alright. Um. I have a mortgage with you guys. Can we pull that up please?
BANK MANAGER
Spell your last name please?
JIM
B-a-l-s-i-l-l-i-e
BANK MANAGER
Ball-sillie?
JIM
Balsillie.
INT. MAIN OFFICE, RIM 1, WATERLOO - DAY
Doug, having assembled Jim's desk looks for a chair to pair with it.
DOUG
Anybody going to miss this red chair?
ENGINEERS
No.
ETHAN
You're good.
Jim enters the office with SHELLEY (30), his assistant from Sutherland-Schultz. She follows him with a small box of her belongings. The staff at RIM instantly orient towards her, as if a woman has never been anywhere near this office. Jim holds NEW CHEQUES over his head.
JIM
Alright, everybody! Listen up! From now on cheques will be coming every two weeks. You will come get them from Shelley. This is Shelley.
SHELLEY
Hi.
Jim pushes one of the engineers's desk so it sits outside his corner office.
JIM
Alright. That's you, Shel.
Shelley puts her things down and starts organizing. The staff remain silent and still, unsure of how to behave around her.
JIM
Mike!
Mike picks up Jim's fixed phone and proceeds towards his office, passes Doug.
DOUG
Me too?
MIKE
Yeah sure.
INT. JIM'S OFFICE, RIM 1, WATERLOO - CONTINUOUS
Jim is unpacking his things and plugs in his new INTERCOM (same model as the one in his Sutherland-Schultz office) -- the HISS begins to emanate from the machine as Mike and Doug creep in -- Mike holding Jim's REPAIRED PHONE.
DOUG
Um, sorry, who... so, who is Shelley?
Jim hits a button on his intercom --
JIM
Shelley?
Mike and Doug look at the intercom. Same STATIC HISS...
DOUG
Oh, dude. That thing's haunting you.
JIM
No, I'm motivating you, and don't call me "that thing", I'm your boss.
DOUG
No, you're not.
In walks Shelley.
SHELLEY
Yeah?
JIM
Get me John Woodman at Bell Atlantic.
SHELLEY
You got it.
Shelley leaves.
MIKE
Wait. What are you doing?
JIM
We're selling the phone. Mike. I need a prototype.
MIKE
I told you, I don't, I --
SHELLEY (O.S.)
Connecting you.
RING... STATIC GETTING LOUDER...
JIM
Guys. We are over a million dollars in debt with no assets, no contracts, and no products.
Someone picks up the line.
BELL ASSISTANT (O.S.)
John Woodman's office.
JIM
(changes tone)
Hiiiii. This is Jim Balsillie, CEO of Research in Motion.
DOUG
Co-CEO.
Jim motions to Doug to shut up.
BELL ASSISTANT (O.S.)
One moment please.
JIM
(to Mike)
Okay?
DOUG
No! He said there's no phone!
JIM
I'm not asking you!
JIM
(to Mike)
Mike...?
MIKE
Okay.
DOUG
Okay? Well, what do you mean "okay"? No. No. No. Wait, wait a minute. Wait a minute. Wait a minute. Wait a minute. Wait a minute.
JOHN WOODMAN (O.S.)
John Woodman...
JIM
Mr. Woodman, I am about to make you insanely rich.
Doug can't take it anymore -- reaches out and hangs up the phone -- Jim looks up like "are you ready to die?"
DOUG
Mike does not agree with this.
JIM
He just fucking did!
DOUG
That was duress. Okay? You're manipulating him! It's obvious.
(to Mike)
What do you want me to do? What?
MIKE
So, there's a reason why your intercom is emitting white noise. It's because it was manufactured in China by engineers who didn't care, and now every office in the world has to suffer an annoying hiss, a blinking red light, fifteen different power cords that are utterly incompatible with one another. So, uh. We are not doing that. We are not just adding to the hiss. I will build a prototype, but I'll do it perfectly or I don't do it.
JIM
Mike, are you familiar with the saying "Perfect is the enemy of good?"
MIKE
Well, "Good Enough" is the enemy of humanity.
Beat. Mike leaves, having made his point. Doug follows. Jim waits a beat... ...hits the intercom --
JIM
Shelley, get John Woodman back on please.
INT. MAIN OFFICE, RIM 1, WATERLOO - MOMENTS LATER
Mike and Doug sit with the boys. Doug is hyped.
DOUG
...So I reach out, hang up the phone. He looks up at me like "are you ready to die?"
Laughter from the group.
DOUG
No, no, no, and I'm prepared to die on it, right? Mike steps in between us, brings the glasses down and goes "bitch, I tell you when you when we set the god damn meeting". And he backs off.
The guys are impressed. Jim enters. He's putting on his blazer to leave for the day.
JIM
Alright. Woodman wants to see it. We're going to Bell Atlantic tomorrow.
MIKE
What? What?
JIM
New York City. Tomorrow.
DOUG
But. He said--
JIM
You've got until 8am.
MIKE
...to do what?
Jim turns and walks out. The room is stunned silent.
PRANAY
So you didn't call him a bitch, did you?
DOUG
Okay, new plan, everybody we are all going to chip in and build this thing tonight. Okay.
Mike stands up -- goes to his desk. BUILDING MONTAGE BEGINS
INT. NUTECH ELECTRONICS, WATERLOO - DAY
Mike and Doug look around at all kinds of hardware and electronic gak.
MIKE
Alright. Give me a fillmore toggle switch, give me a 33 PF--
DOUG
Yeah.
Mike compares a few SPEAK AND SPELLS, VTECH WHIZ-KIDS, and anything else he can find with keyboards, letters or numbers.
MIKE
I think it's like, something kind of like a hybrid of one. So, I like the look of--
Doug is distracted looking at two different TMNT figurines.
EXT. TOYS'R'US, WATERLOO - DAY
Mike and Doug rush to the car with bags full of gear.
INT. SMALL CONFERENCE ROOM, RIM 1, WATERLOO - DAY
Ethan and Scott waste time.
ETHAN
I thought you were playing Civ.
Mike and Doug enter the office with the goods.
DOUG
We're back!
- They rip open boxes and take toys apart. - They separate everything into piles; circuit boards, keypads, wires, plastic and metal frames, displays...
MIKE
What feels better?
DOUG
That's why to me, like, remote controls, things that people are used to touching, and the buttons need to be small enough that --
- Doug and Scott look over Ethan's shoulder at his computer monitor.
SCOTT
Nero connection lost it's --
- Scott heads out for the night.
DOUG
Taking off?
SCOTT
Yeah. I'll see you guys tomorrow?
DOUG
Uh, yeah.
- Doug and Mike look at the print out together, mull it over.
MIKE
So, add in the lithium ion--
- Mike works on the hardware/casing. - Mike looks over Doug's shoulder as he solders.
DOUG
Still hot. Still hot. You're good.
Montage Ends
INT. MAIN OFFICE, RIM 1, WATERLOO - EARLY MORNING
Doug is asleep on the conference table. A CAR HORN HONKS from outside. Doug shoots up.
DOUG
(groggy)
I had a dream we were rich.
Mike, still awake, opens the blinds revealing the early morning sun and Jim waiting outside his BMW. Jim honks again. Doug rolls over to see what Mike did while he was asleep -- his eyes light up -- he picks up THE PROTOTYPE -- stares at it. We can only see the back of it in his hands.
DOUG
"And sometimes my dreams occur exactly as I dreamt them."
JIM
(from the car)
MIKE! LETS GO!
MIKE
What's that from?
DOUG
Dune.
EXT. STRIP PLAZA, RIM 1, WATERLOO - MOMENTS LATER
Mike emerges from the building clutching a heavy-duty carrying case. Jim's in the driver's seat with the engine running. Mike leans in the passenger window, sees a TAILORED SUIT draped across the seat in a garment bag.
JIM
You'll get dressed at the airport.
MIKE
Thank you. Um, should Doug come with us or...?
JIM
No.
MIKE
Cause... He has a lot to do with this.
JIM
He's a goof. Get in the car.
MIKE
I think he really wants to come.
JIM
Lemme tell you the best advice I ever got at Harvard. If you want to be great, you need to sacrifice. And the more painful the sacrifice, the greater you'll be.
MIKE
He's my best friend.
JIM
Okay great, I saw him put a toilet plunger on a computer.
Doug watches from the window as Mike gets into the car and closes the door.
INT. GATE 36, PEARSON AIRPORT, TORONTO - DAY
Mike and Jim sit at the gate with the other travelers waiting to board. Mike, wearing his new suit, sleeps.
INTERCOMM (O.S.)
Attention passengers on flight AC42 to New York. Your flight is now boarding.
Jim elbows Mike awake.
JIM
Mike.
Mike jolts up dropping the prototype case.
JIM
Oh, Mike.
EXT. JFK INTERNATIONAL AIRPORT, NYC - DAY
Mike and Jim emerge from the terminal. Mike moves awkwardly in his new shoes, clutching the prototype close to his body. Jim hails a taxi. They climb in.
INT. CAB, NYC - LATER
Mike excitedly raps on the prototype case, looking out the window at the big city-- he takes out a Tupperware of fruit -- starts eating -- drops a piece of fruit on his shirt, leaving a dark stain -- he tries to rub it out -- Jim watches in dismay...
JIM
So, if you hear me crinkling a piece of paper, that means stop talking.
MIKE
Like, in general or...?
JIM
No. In the pitch.
MIKE
Oh. Yeah. Gotcha.
Jim notices the car is moving too slow for him.
JIM
(to driver)
Hey, we gotta move here, man! My wife's in labour. Let's go.
The driver floors it! Mike looks at Jim, evaluating his feelings about that lie...
MIKE
May I ask why your business card had the phone number crossed out?
JIM
I have no idea what you're talking about.
Beat.
MIKE
Hey, let's make a deal, okay? You and I never lie to each other.
The cab stops.
JIM
Sure. I didn't quit my job. I was fired. I just mortgaged my house to pay our staff. So, if this doesn't work out, I'm fucked.
Beat.
MIKE
Why'd they fire you?
JIM
'Cause they're idiots.
Jim gets out... Mike follows.. Forgetting the prototype case in the taxi.
INT. RECEPTION, BELL ATLANTIC HQ, NYC - DAY
Elevator doors open onto the 80th floor -- Jim and Mike exit. The BELL ASSISTANT greets them.
BELL ASSISTANT
Hi. Research in Motion?
JIM
How are ya?
BELL ASSISTANT
Fantastic. Can I get you anything? Coffee? Water?
JIM
We're good. We're good.
BELL ASSISTANT
Okay. They'll be with you shortly.
MIKE
Okay. Thank you.
BELL ASSISTANT
Alright.
The Assistant directs them towards a small waiting area. Mike nervously raps on his legs -- stops -- looks down. Suddenly Mike becomes panicked -- he looks around --
MIKE
Jim...
JIM
No. No. No. No. Never take the drinks. Thirst is a display of weakness.
MIKE
No. I may have forgotten the phone...
JIM
Please tell me you're joking.
MIKE
No I'm completely serious.
JIM
Fuck!
Jim realizes he's making a scene -- drags Mike back to the elevator bank...
JIM
Alright, here's what we're going to do. I need you to draw out a little sketch. Something that shows the keyboard just like you did in my office --
-- Jim walks over to the Assistant --
JIM
Excuse me miss, could I trouble you for a pen and paper please?
DING. The elevator opens and Mike goes inside. Jim turns around just in time to see the doors close behind Mike.
BELL ASSISTANT
They're ready for you.
JIM
Great.
INT. BOARDROOM, BELL ATLANTIC HQ, NYC - CONTINUOUS
The room is PACKED with Executives. CEO JOHN WOODMAN (late 50s, no tie) sits dead centre.
JOHN WOODMAN
Oh wait, wait. Here he is. Hey.
JIM
Hi.
JOHN WOODMAN
Hi.
JIM
How are you?
JOHN WOODMAN
Good. Good. We uh, are we waiting for anyone?
Jim looks back to John --
JIM
I'm alone.
JOHN WOODMAN
Okay.
JIM
Good.
(beat)
Alright, guys. Here's how I see it. I know your marketing team tells you that you sell togetherness - family, "staying connected" whatever. But, let's be honest, you sell minutes. Period. I mean, your market is minutes. So, your biggest competitor isn't other cell phone companies, it's home phones and office phones. Those are free minutes. Those are wasted minutes. So, how do we get those minutes back?
Jim lets the question hang in the air.
JIM
We reinvent the cell phone. We put a computer in it. We put the internet in it. We make your cellphone so fucking useful that you never have to come to the office again. Does email, text messaging, however you want to communicate. Total individualism all in one device, that fits in your fist.
Jim thinks he has them, is moving in for the kill.
JIM
So, you can tell your marketing team you're not selling togetherness anymore. You're selling self reliance.
But John seems a bit bored, he and the execs share a look.
JOHN WOODMAN
Uh, you are not a tech guy, are ya?
JIM
I'm not a -- ?
JOHN WOODMAN
The whole world, the whole fucking world is trying to do emails on a cell phone. We had an entire devision working on it for, I don't know, eight months or so? You know how many phones they got to at the same time?
Jim is frozen.
JOHN WOODMAN
Eleven. It's a network that's built for pagers. That's all it can do. You're in La La land on this one, kid. I think, you know, some nerds took you for a ride.
The walls close in around Jim. Outta options. Backed into a corner...
JIM
Okay.
Knock knock knock. Jim turns to see Mike outside the glass of the boardroom, out of breath -- Mike points at the prototype with a big smile -- Jim marches at him with embarrassment -- Jim opens the door a crack for a private exchange with Mike...
JIM
Mike...
MIKE
What happened?
JIM
It won't work.
MIKE
What do you mean it won't work?
JIM
Mike. They tried it already.
MIKE
(to the room)
How did you try this already?
JOHN WOODMAN
Hey guys, I think the meeting is over.
MIKE
Did you just put your devices directly on the network as though they were clients?
JOHN WOODMAN
...That's right.
MIKE
Yeah. Right and so what'd you get, like ten phones working at the same time?
Beat. That earned him their attention.
JOHN WOODMAN
Uh.. yeah..
Mike hands Jim the prototype box --
MIKE
(to Jim)
Here, just hold this a second.
-- walks over to the whiteboard --
MIKE
Okay so, here's your issue: When you use a phone as a client, what's it doing? It's just sitting on your network, constantly asking the same question "Did I get an email? Did I get an email? Did I get an email?" So it is forever pulling on your servers whether you got an email or not. We have a fix, okay?
All at once Mike has gathered his breath and command of the room. He turns to face the whiteboard him and starts drawing.
MIKE
So we are going to build, a giant computer, that will act as a sort of massive client, that is hard wired directly to the internet with our phone as server. Okay?
Mike draws a few more details.
MIKE
So, when a user gets an email, Waterloo pulls it in, packages it, and then sends it.
He draws multiple arrows between Waterloo and his phone diagram.
MIKE
We engage with your network, maybe a split second, like...
Mike snaps.
MIKE
Less time than that.
John is under Mike's spell.
JOHN WOODMAN
So how much - sorry - how many --
MIKE
So a month's worth of traffic would be less bandwidth than a local phone call. So you could have half a million devices working simultaneously.
The room is stunned, waits for John's next move.
JOHN WOODMAN
Can we see it?
Jim opens the prototype case -- hands it to John --
MIKE
So it's a prototype. It's a long way off from, uh, oh it's just a long way off. It's a prototype.
JOHN WOODMAN
Well it's definitely the world's largest pager.
Laughs from his team.
MIKE
No, it's actually the world's smallest email terminal.
John looks to Mike.
JOHN WOODMAN
Oh.
Mike hiccups.
MIKE
Sorry.
John shuts up -- looks down at the device like a precious jewel. We finally get to see the ramshackle beta of the first smartphone... It's awesome. Frankenstein's monster but put together with true precision. John clicks the makeshift keyboard with one hand, causing text to appear faintly on the screen...
JOHN WOODMAN
I see, this is uh... Oh this, this...? Yeah.
Mike motions to him, to hold it in both hands.
MIKE
Uh. So. Try it with your thumbs, try typing with your thumbs.
John gets it now.
JOHN WOODMAN
Oh yeah.
He types some more.
JOHN WOODMAN
What do you call it?
Oh shit... the name... Jim looks at Mike -- sees the stain on his shirt... NEWS MONTAGE #1 (1996-2003) BEGINS
OPRAH
It's called a BlackBerry! It sends and receives email messages. It is also a cell-phone.
Shots of the BlackBerry device as depicted on Oprah. This footage is intercut with home movie footage of Mike, Doug and the Engineering team in the newer, larger and much nicer RIM offices. It is a joyous time, filled with excitement, optimism and hope. TITLE CARD: 2003
EXT. RIM 2, PARKING LOT - DAY
Jim approaches the new RIM offices in his Porsche convertible.
PARKING ATTENDANT 1
Morning Mr. Balsillie.
The gate arm raises allowing Jim to drive through to his parking spot. Jim pulls into a spot marked "JIM BALSILLIE Co-CEO." MONTAGE ENDS
EXT. PARKING LOT, RIM 2, WATERLOO - MOMENTS LATER
Jim gets out of his car -- walks towards the front doors...
INT. ATRIUM, RIM 2, WATERLOO - CONTINUOUS
Jim enters the bustling lobby with authority. Staff scurry back and forth through the atrium.
RIM EMPLOYEE 1
Morning Mr. Balsillie.
Big placards on the wall have a huge image of the BLACKBERRY 957 with "Meet Your New Partner" written under it. A receptionist, PEGGY (20s) smiles at Jim from behind the reception desk.
PEGGY
Good morning Mr. Balsillie.
Shelley looks up from behind the desk -- stands up and walks towards Jim with fresh copies of The Wall Street Journal, Report on Business and The New York Times.
JIM
Mike's here before me?
SHELLEY
He didn't leave last night.
Shelley hands Jim the Wall Street Journal.
SHELLEY
You are mentioned on page nine.
Jim flips to it.
SHELLEY
Carl Yankowski from Palm Pilot keeps calling.
JIM
Yeah. Well. Tell him if he wants to talk to me he can come to Waterloo.
Shelley jots it all down on her BlackBerry 957 as she follows Jim.
SHELLEY
That's what I said. Ted Rogers wants to have lunch in the city. He booked Canoe.
People subtly clear the way as he enters the hallway. He's indestructible.
JIM
No. I'm not going to fucking Toronto unless there's a game. Oh, and call Gary Bettman's office about those Leaf tickets. Fucker tried to stick me in the third row.
SHELLEY
Fucker, third row, got it.
INT. ENGINEERING DEPARTMENT, RIM 2, WATERLOO - DAY
Mike turns to the back corner of the room.
MIKE
(shouting)
Alright. Try one-fourteen and one- fourteen!
Allan, exhausted, types into a screen of code...
ALLAN
Go for 1-1-4.
MIKE
Okay. Sending.
Mike clicks SEND. The icon spins... Mike and Doug stand together in the middle of the room, flanked by 15 other young engineers, all tired and bleary eyed. They collectively stare between the BlackBerry 957 in Mike's hands and the one on the desk beneath them where we see a Beta version of BlackBerry Messenger with a spinning icon. It's thinking... Message sending.. This new engineering department is WAY cleaner and WAY bigger than RIM 1. The same posters from their first office are now in glass frames and dozens more have been added. Gone are the makeshift plywood desks, replaced with sleek, modern office furniture. But the vibe remains the same. It seems to be taking forever, but there's still hope and then -- -- a BBM PING -- Doug looks to Mike... The room erupts. Engineers are jumping on desks and hugging and crying with the mania of a successful all-nighter.
DOUG
Oh my God. Oh my God. Oh my God. Mike. Oh my God. Boys! Oh my god. Done. Done. Yes! Come on.
Doug hugs Mike. Mike is ecstatic. True joy. He can't contain it. Everyone in the room starts jumping together -- until they notice someone in the doorway... ...and self-consciously stop celebrating in the face of Jim.
MIKE
Hey Jim, we uh... we built a messenger.
Jim walks over to Mike's outstretched hand holding his BlackBerry -- sees what the fuss is about...
MIKE
Fully encrypted two-way messaging that is absolutely inaccessible by anyone including us. It is Untrackable. Untraceable. Unhackable.
JIM
(dismissive)
It's texting.
DOUG
No. Do you know how much it costs to send a text message?
JIM
Yeah. Ten cents and the network gets every penny. We're never going to see that money.
MIKE
Right, but these texts are sent via data. So, behind the network's back. Which means...
JIM
Unlimited free texting.. Only on BlackBerry.
Jim looks around the room.
JIM
Fuck yes!
Jim starts high-fiving the room. They love it.
DOUG
Hey! Hey hey hey!
JIM
Fuck yes!
MUSIC CUE: Return of the Mack by Mark Morrison blares off of Doug's Winamp. It's a fucking party.
MIKE
I sent the message that Alexander Bell sent to his assistant, Watson come here that's what --
Jim can't nerd out with Mike and tries to settle him.
JIM
Let's just.. let's just--
Jim dances awkwardly, trying to celebrate with these guys. Doug notices. They nod to one another in a moment of "you're okay". We focus on CARL YANKOWSKI (60, nice suit) standing in the doorway of the Engineering Department. Shelley, flustered, stands behind him.
YANKOWSKI
What the hell are you guys doing?
Everyone turns to Yankowski. Doug turns off the music.
JIM
Sorry - who are you?
YANKOWSKI
You said if I wanted to talk I had to come to Waterloo. So, here I am.
The engineers look confused.
JIM
Gentlemen. Meet Carl Yankowski of Palm Pilot.
MIKE
Oh. Really?
DOUG
Booooooo!
JIM
Doug.
DOUG
How ya doing?
INT. MIDWAY DINER, WATERLOO - DAY
Mike and Jim sit across from Yankowski.
YANKOWSKI
...so I just said three words. "Two. Litre. Bottle." You know what they said? They said "Carl, NOBODY drinks two litres of Mountain Dew." I mean, they didn't see what I saw: Large pizza, BIG soda, complete dinner. We sold a billion litres in a month.
Yankowski notices Mike, looking down, both hands under the table, where he texts with Doug. Mike (BBM) to Doug: This guy is insane.
YANKOWSKI
You playing with yourself under there, Mikey?
Mike looks up, confused.
YANKOWSKI
Alright. Let's clear the air here. I had nothing to do with U.S. Robotics trying to bankrupt you back in '96 - defective modems, working modems... Were they defective? It was a hundred years ago. Who's to say?
MIKE
Me.
Yankowski points to Mike in agreement.
YANKOWSKI
Exactly. Here's what we do. Combine BlackBerry and Palm Pilot. One product. It's the two-litre-bottle of smartphones.
MIKE
Would I still have complete control over every aspect of engineering and design?
YANKOWSKI
No.
MIKE
Okay well, it's going to be uh - we won't be able to move ahead with this. I'm, I'm... sorry. Sorry.
Yankowski takes out his PALM PILOT 7 -- extends the built-in antenna -- starts TAPPING on the screen with a stylus...
YANKOWSKI
You guys love saying "sorry", don't you? Okay. Let's see what you closed at? Four-dollars-and-fifty cents. Oh god is that Canadian?
Mike sees "Made in China" on the back of the PalmPilot.
YANKOWSKI
U.S. Robotics? Eighty-three dollars. Now, that gives us a market cap of about...
YANKOWSKI
forty-five billion. So what would happen if I just... I don't know, bought up all your shares? Oh, what's the word for that again, sport? Hostile Takeover.
Jim doesn't flinch. Mike starts to panic.
MIKE
(to Jim)
Hostile takeover? What the fuck? What is happening? We would just say - We could just say no. We, we own the company --
CRINKLE CRINKLE CRINKLE. Mike stops mid sentence, distracted by a sound -- he looks down at Jim balling up the PAPER MENU.
JIM
You know, Carl. You got a deal.
Mike bites his tongue.
CARL YANKOWSKI
Yeah?
JIM
Yeah. Give us a couple months to get our people taken care of and then we'll uh, agree to a private sale.
MIKE
Wait, just uh --
Mike raises a finger to interject. Jim puts his hand up beside him.
JIM
Mike. It's okay. It's okay. It's better to get rich now than fight this guy in court for the next five years.
YANKOWSKI
That's right. You know, I like you.
Mike can't speak. It's his nightmare. Jim gestures to the TV.
JIM
You like hockey?
YANKOWSKI
God no. It's moronic. You?
JIM
Hate it.
INT. ENGINEERING DEPARTMENT, RIM 2, WATERLOO - DAY
Doug sits with the engineers. They're watching John Carpenter's They Live. The "Movie Night" banner hangs over the projector screen. They eat pizza from Supreme 2 for 1 Pizza and Wings. Allan sleeps on a desk. Using a slice of pizza, Doug points at the screen.
RODDY PIPER (ON TV)
I have come here to chew bubblegum and kick ass.. and I'm all out of bubblegum.
DOUG
They based Duke Nukem on this guy. Like, that is Duke Nukem for real.
The LIGHTS COME ON -- Jim and Mike walk through the door.
JIM
Okay. Party's over.
DOUG
What?
JIM
Listen up. Turn that thing off please.
Ethan and Allan attempt to shut the projector off.
JIM
Turn it off. You guys having fun? Because we are about to lose our fucking company.
DOUG
What the hell happened at this lunch?
The light from the projector shines in Jim's eyes.
JIM
Turn that fucking thing off!
INT. ENGINEERING DEPARTMENT, RIM 2, WATERLOO - LATER
Jim stands in front of the engineers, clearly having just delivered big news. Mike stands beside him, crestfallen.
JIM
Okay?
You could hear a pin drop. Doug raises his hand.
JIM
Yeah. Doug.
DOUG
So. My question's actually for Mike. How are we supposed to sell another five hundred thousand phones when we're already maxed on every network we're on?
Mike doesn't look up -- he just shakes his miserable head.
JIM
You guys will figure it out.
Doug raises his hand again.
DOUG
How - how? If we put more phones on these networks they are going to crash. Period. We are not allowed to sell more phones. Mike?
JIM
No. You don't worry about what's allowed. I say what's allowed.
DOUG
I don't even understand what the problem is here. Who cares if this guy wants to buy our company, isn't that good?
JIM
I fucking care. That's who cares. I care. I'm trying to keep this company together, you fuck.
DOUG
I'm sorry. Do you even know what a network limit load is?
Mike motions Doug to stop.
MIKE
Doug.
JIM
(to Mike)
Talk to me outside for a second?
Jim leads the way to the door. Mike gives Doug one more look of "please shut up".
DOUG
What?!
Mike follows Jim to the hallway --
INT. HALLWAY, ENGINEERING DEPARTMENT, RIM 2 - CONTINUOUS
JIM
What's a Network Limit Load?
MIKE
This is impossible.
JIM
Well what are we supposed to fucking do Mike? Either we jack our stock to the moon or Yankowski fucks us.
MIKE
Doug is right. Unless the carriers rebuild their entire networks there's nothing we can do. The phones use too much data.
JIM
Well then fucking shrink it?
MIKE
Yeah. Okay. We, we looked into that...
JIM
...Uh huh?
MIKE
(whispering)
These guys can't do it.
Mike looks past Jim to the room of engineers. They've formed a little circle around a game of Magic: The Gathering.
JIM
What do you mean, they can't do it? You said they were the best engineers in the world.
MIKE
I said they were the best engineers in Canada.
Beat.
JIM
Okay. Alright. Who could do it.
MIKE
Maybe top guys from Motorola or Microsoft or Google...
Jim pulls out his BlackBerry and opens the notes app -- starts typing.
JIM
Okay.
MIKE
What, what, what are you doing?
JIM
Who else? Where else?
DOUG (O.S)
(muffled through glass)
John Carmack!
Jim and Mike turn to Doug, who's standing on the other side of the glass door, trying to listen in.
DOUG
(muffled)
Get John Carmack! From I.D. Can you guys hear me? The guy who made Doom?
Jim looks at Mike.
JIM
What's Doom?
MIKE
Have you played Wolfenstein?
Jim is not impressed.
MIKE
Just please don't sell anymore phones.
Jim walks away.
DOUG
Can you hear me?
MIKE
Yes! YES!
DOUG
Oh. Shit.
INT. SALES ROOM, RIM 2, WATERLOO - DAY
A room of ten young salesmen with the exact opposite vibe of the engineers. If those were budding Mikes, these are wannabe Jims. Muscular, sharply dressed, and with great hair cuts. They're relaxing as though they're in a locker room. Stereo blasting. One bounces a ball against a wall; another lifts weights with a spotter. A whiteboard on the wall has everyone's names with their sales numbers listed.
MARK GUIBERT (O.S.)
What the fuck!
JUSTIN FABIAN
Look at this. I'm on fire.
MARK GUIBERT
Lefty. Lefty. Lefty.
Suddenly Jim marches in. Instant quiet. Presence of the Master. Mark stands up and turns off the stereo.
JIM
Alright! Listen up, you dead-eyed dumb fucks.
Jim tosses a box at DON MCMURTRY throwing him off balance on his chair. The room sits up -- shares looks with one another.
JIM
Sorry to cut your little vacation short here, but we got some product to move.
Murmurs.
DON MCMURTRY (O.S.)
What product can we move?
JIM
I'm sorry. What's that?
DON MCMURTRY
Well.. I thought the engineers said.. We maxxed out uh, our networks?
JIM
Yeah. They did, yeah and that's their fucking problem, okay? Your problem is you need to sell a million BlackBerries before Q3.
Bombshell news. Jim gestures to the wall of boxes. The salesman laugh until they realize Jim's not joking.
JUSTIN FABIAN
Uhhh..
JIM
(Mocking Justin)
Uhh. Uhh. Uh.
Beat.
JIM
I'm not fucking joking.
Jim silences them with a look.
JIM
I want 'em gone.
Jim leaves the room. The guys scramble to get their suits and get out the door.
EXT. RUNWAY, PEARSON INTERNATIONAL AIRPORT, TORONTO - DAY
Jim runs up the steps of RIM's (rented) Westwind Jet.
INT. WESTWIND JET, TORONTO - DAY
Jim waits for take off. Email Ping! Email from Yankowski: How about the name PalmBerry?
EXT. GOOGLE HQ, CA - DAY
Jim walks through the Google Campus with his head held high.
INT. PAUL STANNOS' OFFICE, GOOGLE HQ, MOUNTAIN VIEW, CA - DAY
Jim sits across the desk from PAUL STANNOS (46, BIG glasses), the name plate on his desk reads "Head of Physical Engineering". Paul holds a brand new BlackBerry -- still in the box --
PAUL
Actually, we're talking about banning these.
JIM
Banning?
PAUL
Nobody pays attention to meetings anymore. They're crouched over..
JIM
Tell them to stop.
PAUL
Okay. We call them CrackBerries.
JIM
Come work for me.
PAUL
I can't.
JIM
Why?
PAUL
Because I am under contract here.
JIM
How much to break it?
PAUL
Excuse me?
JIM
How much money do you want to break your contract with Google?
Paul gets up nervously -- walks to the door -- closes it.
JIM
I'll give you a million dollars if you sign right now.
Paul rushes over to his computer -- unplugs it.
PAUL
(whispering)
I am not moving to Canada. We are not having this conversation.
Jim is surprised his number didn't move the dial.
JIM
Two million.
PAUL
Stop.
JIM
Three million.
PAUL
I need you to leave.
Jim isn't going to lose -- goes for it...
JIM
Ten million.
Beat.
PAUL
Well, you don't have ten million dollars.
Jim takes a contract out of his suitcase -- starts amending it by hand...
JIM
This... is a million dollar option deal. I will backdate that to when RIM was trading at a dollar. Merrill just gave us a target of 13.
Jim hands it over. Paul looks down at the contract.
PAUL
Is this legal?
SELLING/RECRUITING MONTAGE BEGINS
INT/EXT. AIRPORT HANGER - DAY
Jim marches towards his private plane through an operating machine shop, looking like he owns the place. It's loud. His BB rings -- looks at it -- picks up...
JIM
Carl!
CARL YANKOWSKI (O.S.)
PalmBerry!
JIM
Eh, listen, I can barely hear you buddy!
CARL YANKOWSKI (O.S.)
I said PalmBerry. Isn't that great?
JIM
Listen uh, I'm getting some static on the line. Can I call you back?
CARL YANKOWSKI (O.S.)
Jim, I can barely hear you. Jim.
Jim holds the phone up towards the loud engine --
CARL YANKOWSKI (O.S.)
JIM
What? Carl? Okay, I'll call
Jim, speak up. you later. He cuts himself off by hanging up -- puts his phone away and waltzes up the steps of his plane...
INT. RIM'S RENTED WESTWIND JET, 35,000 FEET - DAY
Jim reads an email from Accounting: Just confirming Jim... 10m in stock to Paul Stannos? Jim replies: Do it.
INT. NOC (NETWORK OPERATIONS CENTRE), RIM 2 - DAY
Close on a computer screen showing the BlackBerry network usage tick upwards...
INT. ENGINEERING DEPARTMENT, RIM 2, WATERLOO - DAY
Mike and Doug deep in conversation in the engineering department.
PAUL
Mike Lazaridis?
Paul Stannos stands at the door to engineering with a box of personal belongings.
MIKE
If Jim fired you, I can't undo it! I'm sorry. I've tried.
PAUL
No, No. I, just got hired. It's Paul.
DOUG
How ya doing? Welcome! Where are ya coming from?
PAUL
Uh, Google.
DOUG
Nice! What'd, what'd you do?
PAUL
I was the uh, Head of Physical Engineering.
The guys look around impressed.
EXT. AIRPORT HANGER - DAY
Jim struts into the airport hanger.
JIM (O.S.)
You are not salesman anymore. You're male models.
INT. RACQUET CLUB - DAY
Fabian plays tennis.
JIM (O.S.)
I want you at every Country Club, Yacht Club, Tennis Club. Wherever the elite go, you go.
Fabian checks his BlackBerry.
JIM (O.S.)
I want them to see you using it. Be big--
INT. COUNTRY CLUB - DAY
Mark smokes a cigar while checking his Blackberry.
JIM (O.S.)
Be LOUD. Have them thinking, who is this annoying prick? And how can I be more like him?
INT. TAILORS - DAY
McMurtry gets his suit fitted. He types on his BlackBerry.
TAILOR
What is that?
JIM (O.S.)
And when they ask you--
JIM (O.S.)
Don't say it's a phone that does email... It's not a cell phone... It's a status symbol.
EXT. TARMAC, WASHINGTON AIRPORT DAY
Jim hustles down the steps of his plane.
EXT. MICROSOFT, WASHINGTON - DAY
Jim arrives at Microsoft. Makes a deal.
INT. OFFICE BUILDING - DAY
Jim making deals and shaking hands.
INT. COUNTRY CLUB - NIGHT
Mark being showered with business cards.
MARK GUIBERT
Anybody else? Anybody else? Alright.
INT. SALES ROOM, RIM 2, WATERLOO - DAY
Mark hands Austin more business cards.
AUSTIN
Hi. I'm calling on behalf of BlackBerry. I heard that you're interested in buying some of the quarks for your corporation.
INT. NOC (NETWORK OPERATIONS CENTRE), RIM 2 - CONTINUOUS
Network ticking up yellow.
INT. RACQUET CLUB - DAY
Fabian schmoozes with the other players.
INT. SALES ROOM, RIM 2, WATERLOO - DAY
Fabian shows off his collection of business cards and gives them to Austin.
INT. NOC (NETWORK OPERATIONS CENTRE), RIM 2 - DAY
Allan monitors the network ticking up yellow.
INT. TAILORS - DAY
The BlackBerry on the tailor's desk catches a customer's eye.
INT. SALES ROOM, RIM 2, WATERLOO - DAY
Business cards pile up on Austin's desk.
INT. NOC (NETWORK OPERATIONS CENTRE), RIM 2 - DAY
The network monitor has ticked up into the RED ZONE. MONTAGE ENDS FOX 5 NEWS FOOTAGE:
FOX REPORTER
It's 7:55. We are back with Fox 5 Consumer news. A global BlackBerry crisis this morning. The company says it's experiencing massive service interruptions.
FOX REPORTER
The company's help line says, users can expect delays in sending and receiving messages.
ENGINEERING DEPARTMENT, RIM 2, WATERLOO - DAY Everyone is going crazy trying to figure out what happened to their traffic. Doug handles the phones.
DOUG
(on the phone)
Yes. Yes. We are aware of the problem and uh, we are.. We are sorting it out right now. I'll call you back.
Doug hangs up. Engineers are scrambling. It's pure chaos.
DOUG
What's happening man?
SCOTT
It's all down there!
PRANAY
Are we totally fucked?
Mike leans out from the NOC door -- HEY. QUIET! They shut up. Mike slams the NOC door shut.
DOUG
Let, let, let, let's just keep it down out here guys... for a second.
INT. NOC (NETWORK OPERATIONS CENTRE), RIM 2 - CONTINUOUS
Mike closes the door and joins Network Engineer Allan Lewis -- he's sitting in front of A SINGLE LAPTOP in the middle of the room.
MIKE
How many are down?
ALLAN
Maybe... ten thousand?
MIKE
Jesus. Okay. Okay. Okay.
RIINNG! Mike picks up his BlackBerry.
MIKE
Yeah, hello?
AUTOMATED OPERATOR (O.S.)
You have a collect call from...
WHAT THE FUCK IS HAPPENING?
AUTOMATED OPERATOR (O.S.)
Will you accept the charges?
Mike is paralyzed with fear...
AUTOMATED OPERATOR (O.S.)
Are you still there?
MIKE
Yes, I accept.
AUTOMATED OPERATOR (O.S.)
Thank you.
Beat.
JIM (O.S.)
Mike.
MIKE
...Hi...
EXT. PAYPHONE BOOTH, CALIFORNIA - CONTINUOUS
Jim is in the (Verizon) phone booth.
JIM
There are three reasons why people buy our phones. Do you know what they are?
INT. NOC (NETWORK OPERATIONS CENTRE), RIM 2 - CONTINUOUS
MIKE
Umm... Email?
EXT. PAYPHONE BOOTH, CALIFORNIA - CONTINUOUS
JIM
They! Fucking! Work!
INT. NOC (NETWORK OPERATIONS CENTRE), RIM 2 - CONTINUOUS
MIKE (O.S.)
Yeah. Okay. It's not us, Jim. It's the carrier. Verizon is doing something weird.
EXT. PAYPHONE BOOTH, CALIFORNIA - CONTINUOUS
JIM
Well, I'm about to do "something weird" if you don't fix this. NOW.
INT. NOC (NETWORK OPERATIONS CENTRE), RIM 2 - CONTINUOUS
JIM (O.S.)
The deal was, I get the engineers.. You shrink the data!
Mike suddenly makes the connection --
MIKE
Are, are you, are you selling more phones?
EXT. PAYPHONE BOOTH, CALIFORNIA - CONTINUOUS
JIM
What the hell do you think I've been doing over here, Mike!? We're in the middle of a hostile fucking takeover!
INT. NOC (NETWORK OPERATIONS CENTRE), RIM 2 - CONTINUOUS
JIM (OS
Do I need to have someone babysit you dorks?
MIKE
Okay...okay... so THAT'S.. okay. Yeah, the entire system is crashing..
MIKE
(to Allan)
He's selling more phones..
Allan looks over at Mike with concern.
EXT. PAYPHONE BOOTH, CALIFORNIA - CONTINUOUS
HEY. GOD DAMN IT.
INT. NOC (NETWORK OPERATIONS CENTRE), RIM 2 - CONTINUOUS
MIKE
Yeah. Yeah. So.. Okay uh. I didn't realize.. uh, hold off selling more until we --
EXT. PAYPHONE BOOTH, CALIFORNIA - CONTINUOUS
I'M NOT FUCK -- Jim bashes the receiver against the phone, leaving nothing but bits behind as he storms off.
INT. OFFICE, MOTOROLA, CHICAGO - DAY
Jim sits opposite RITCHIE CHO (Head of Devices). Ritchie reads over a contract. Looks up at Jim.
RITCHIE
Okay, sorry, is this technically legal?
CHARLES PURDY (O.S.)
Ritchie!
Jim spins around to see CHARLES PURDY (70, heavyset, scary) standing in Ritchie's doorway...
RITCHIE
I'm actually in a personal meeting, Charles.
CHARLES PURDY
And I personally don't give a flying fuck! Engineering can't do a god damn thing until you send that fax! Now take a "meeting" when the union isn't ripping my guts out.
CHARLES PURDY
Do you hear me? Get it done.
(under his breath)
Son of a bitch.
Charles SLAMS the door shut -- Ritchie turns to Jim.
RITCHIE
You said you were located in Waterloo?
Jim is still looking at the door where Charles stood.
JIM
What is that guy's name?
INT. ENGINEERING DEPARTMENT, RIM 2, WATERLOO - DAY
It's madness. All the new superstar recruits have arrived on the same day. Doug stands on his chair with his arms in the air, holding court. Mike watches from the corner of the room.
DOUG
Okay. Okay. Hey everybody. Welcome to Research in Motion! I know this is a bit disorganized. I promise we will get everybody settled. So um, in the meantime, we are having a bit of a network issue. So, put up you hand if you understand Mobitex architecture?
Ritchie Cho and Paul Stannos raise their hands.
DOUG
Two people. Okay. Uh, that's fine. You two, you're with Mike. The rest of you, I don't know what you do but follow me. We are taking a tour! Let's go.
Doug starts a tour --
DOUG
It's going to be a little bit like Sam Rockwell in Teenage Ninja Turtles in the foot clan. Hands up, who's seen it?
Paul and Ritchie walk over to Mike --
RITCHIE
Can I talk to you for a second? What is Charles Purdy doing here?
MIKE
What, what are you talking about?
RITCHIE
The man standing in the hallway directly over my left shoulder.
Mike turns around to see Charles Purdy (from Motorola) standing outside the glass, looking in on the room -- he turns back --
MIKE
Oh, Jesus.
RITCHIE
Listen to me. That guy will fuck you up. Do not let that man anywhere near your engineering department. Trust me.
MIKE
Yeah. Okay. Alright.
RITCHIE
(to Paul)
I'm serious. He will fuck your shit up.
INT. HALLWAY, ENGINEERING DEPARTMENT, RIM 2 - MOMENTS LATER
Mike opens the door to the hall, hiding his body inside the room.
MIKE
Can I help you?
CHARLES PURDY
You're Mike? Aren't you?
MIKE
Yes. I'm Mike. What are you doing here?
CHARLES PURDY
Charles Purdy. I'm your new COO.
MIKE
Oh. Jim hired you to be the Chief --
CHARLES PURDY
I'm here to get this ship under control.
MIKE
We are under control.
CHARLES PURDY
Oh, really? Whose?
Charles gestures through the glass. It's a party. Doug piggy- backs Scott around the office.
CHARLES PURDY
Hmmm?
Mike walks away.
INT. MIDWAY DINER, WATERLOO - DAY
Coffee being poured... Notes being scribbled... Food sits untouched... Mike works with Paul and Ritchie on pages and pages of math.
PAUL
Okay. So, then let's trying something different. Instead of shrinking the data.. Maybe, we spread it out?
The waitress tops up their coffee.
PAUL
Thank you.
RITCHIE
Well, why not take multiple towers in the same zone and split the packet between them? We can put it back together at the server here.
Mike speaks without looking up from his calculations.
MIKE
We tried that. Here's the problem, the towers don't recognize one another. Each of them has no idea which piece of the signal they're receiving and the whole process just keeps--
PAUL
Maybe we reprogram the towers?
MIKE
They're not our towers. We don't control them.
RITCHIE
That's okay. At Naughty Dog we had to hack the Playstation to get Crash Bandicoot running.
Mike lights up, realizing these guys are fucking SMART.
MIKE
Okay. So, if each exchange is triangulated, we could divide the signal three ways?
Mike takes the salt, pepper, and ketchup -- makes a triangle.
PAUL
No. No. We actually could do way, WAY more. Every BlackBerry is a server?
RITCHIE
We could divide the signal between every user in the same grid?.
PAUL
Divide by Thousands. So, it will be like Napster. Distributed network of your own users.
RITCHIE (O.S.)
That's gotta be in the terms of service.. Hackers would be on it so fast.
PAUL (O.S.)
They encrypt everything server side, right? Mike? Mike? I mean, everything, everything is already encrypted. So.
Mike is writing this idea down as fast as he can.
RITCHIE (O.S.)
...Mike?
PAUL
Mike?
Mike grabs his papers...
MIKE
Excuse me.
Mike rushes for the door.
MIKE
You can have my bacon.
Paul and Ritchie watch him leave.
PAUL
What are they paying you?
RITCHIE
I shouldn't say.
PAUL
They're paying me ten million dollars.
RITCHIE
Yeah. Me too.
INT. MIKE'S BMW, PARKING LOT, RIM 2, WATERLOO - DAY
Mike screeches into his "LAZARIDIS" parking space. No Jim. No Doug.
INT. HALLWAY, ENGINEERING DEPARTMENT, RIM 2 - DAY
Mike races down the hallway, clutching his stack of equations as if someone might steal them.
INT. ENGINEERING DEPARTMENT, RIM 2, WATERLOO - CONTINUOUS
Mike stops at the doorway to engineering -- We see what Mike is looking at -- his entire staff, old and new, are setting up for "Movie Night" -- chairs are arranged - - popcorn is handed out in coffee-filter "bowls" -- a giant projector screen is pulled down. Scott and a new recruit balance on swivel chairs to hang the "Movie Night" banner.
SCOTT
Higher on that side. Let's get a chair over there.
ALLAN
Oh, yeah. Here you go buddy.
Mike looks down at the "work" in his hands -- then back at Movie Night...
INT. CHARLES PURDY'S OFFICE, RIM 2, WATERLOO - DAY
Mike knocks timidly...
CHARLES PURDY
Yes. Come in.
Mike opens the door -- takes one step in -- Charles is wearing glasses at his desk, reading over a delivery schedule.
MIKE
Mr. Purdy?
Mike holds up his papers sheepishly.
MIKE
Yeah. Uh so, first of all, sorry about before.
INT. ENGINEERING DEPARTMENT, RIM 2, WATERLOO - MOMENTS LATER
Staff sit theatre style in anticipation. Smiles. Laughs. The Disciples of Doug.
CHARLES PURDY (O.S.)
Allan Lewis?!
The room turns around at Charles' booming voice.
CHARLES PURDY
Which one of you is Allan Lewis?!
Everyone looks at Allan, sitting with his popcorn.
ALLAN
Hello.
CHARLES PURDY
Ah. Michael's had a breakthrough. Now, I want these tested. I want the report on my desk, Friday.
Charles hands him the papers -- Allan looks at them... Allan looks up sharply.
ALLAN
When? Sorry?
CHARLES PURDY
Friday.
The room chuckles in a "this must be a joke" kind of way -- Allan breathes a sigh of relief, thinking Charles was serious.
ALLAN
This looks like a whole new relay system--
CHARLES PURDY
Uh huh.
Allan sobers up.
ALLAN
Testing this will probably take me a month.
CHARLES PURDY
Well, then you best get started, hadn't you?
ALLAN
...It's bad luck to work on Movie Night.
ETHAN
Can't work on movie night.
The crowd goes quiet.
CHARLES PURDY
You're all children. Is that it?
SCOTT
(laughing)
Sorry, who are you?
CHARLES PURDY
You think this is funny, is it?
SCOTT
Just wondering who -- who are you?
CHARLES PURDY
I'm Charles Purdy. From this moment on you will all work for me. And if that work is not done at a pace that I expect, you'll be fired.
CHARLES PURDY
And I'll keep firing until this room is full of men and not little boys playing with their little penises. Now, are there any questions?
ETHAN
Um. Where's Doug?
INT. DOUG'S CAR, PARKING LOT, RIM 2, WATERLOO - DAY
MUSIC CUE: This is What We Do by MC Hammer blares on the car stereo. His '84 Honda Civic (still runs!) pulls into the RIM parking lot. He wears his orange bandana and sings along...
DOUG
(singing)
...My body, It's my body, Take it where I want to, Pump it up party... My Time is my Time. I make my own decisions. Do what I want to do.
PARKING ATTENDANT 2
Doug! Let's go bro.
DOUG
Movie night tonight. Movie night.
Doug pulls into his "DOUG" spot next to "LAZARIDIS" and "BALSILLIE". He takes the cassette out of the tape deck and transfers it to his yellow Sony walkman. Presses play and continues to bop to it.
INT. HALLWAY, ENGINEERING DEPARTMENT, RIM 2 - MOMENTS LATER
Doug walks down empty, quiet halls, music still blasting, oblivious... ... Doug takes off his headphones. END MUSIC CUE
INT. ENGINEERING DEPARTMENT, RIM 2, WATERLOO - CONTINUOUS
The "Movie Night" banner is gone. The projector is gone. The chairs are back at their desks. Everyone is working. Six guys sit behind Allan's computer, helping with Mike's new code. Doug looks at his desk -- the toilet plunger sits in the garbage can...
INT. MIKE'S OFFICE, RIM 2, WATERLOO - DAY
Mike reads Fundamentals of Microwave Transmission Lines. Doug storms in --
DOUG
Have you seen this?
MIKE
No.
DOUG
Have you been out there?
MIKE
No.
Mike doesn't look up from his research.
DOUG
Dude. Jim killed Movie Night. Actually, what am I saying, he didn't have the guts to do it himself. Apparently, he got this three hundred pound dude to go in there and start screaming at everybody! Said he was going to fire Allan?
No response from Mike.
DOUG
...Mike?
MIKE
We do need... We do need to get back to work.
Doug gets it -- thinks about leaving...
DOUG
Yeah... Do you not ever wonder why these guys are wiling to work eighty hours a week? Never see their families? Never get any credit?
MIKE
Yeah. It's because they get to work on the best phone in the world, Doug.
DOUG
Yeah... That must be it.
Doug walks out.
INT. BOARDROOM, VERIZON HQ, NEW YORK - DAY
Jim walks toward the Verizon boardroom. RING!
JIM
Hello?
YANKOWSKI (O.S.)
You're making a big mistake, sport.
JIM
Yeah, sorry, Carl. I am going to have to call you back. I am stepping into a meeting.
CARL YANKOWSKI (O.S.)
Don't you dare fucking hang up on me. Don't hang--
Clicks. Hangs up. Jim stands in front of the Verizon board, his hands on John's shoulder. John brushes him off. A dozen board members (some of who we recognize from Bell Atlantic) sit around the boardroom table.
JIM
How's everybody doing?
JOHN WOODMAN
Jim, I know this isn't exactly what you want to hear, but this board feels that in order to avoid further disruptions, it's best we end our relationship with BlackBerry.
JIM
John, we're just getting started.
JOHN WOODMAN
Jim, I'm serious. We're wiling to take the hit on users and let them go crash somebody else's fucking network. It's over.
JIM
No. What's "over" is your bullshit limit of 500,000 users. We quadrupled it.
JOHN WOODMAN
Okay, Jim...
JIM
Our engineers reprogrammed your towers. As of right now, Verizon is capable of carrying 2 million BlackBerrys at the same time. And we've already sold half of those.
JOHN WOODMAN
Bullshit.
Jim holds the look. John realizes this is not a joke.
JIM
Try me.
The board share looks with John, is he serious? HOW'D YA DO IT? MONTAGE BEGINS
INT. MIDWAY DINER, WATERLOO - DAY
Jim reads the headline "RIM STOCK ROCKETS 400%" in the Globe and Mail. Looks up to see Carl Yankowski walk in, looking uneasy. Jim waves him over to take a seat.
INT. ENGINEERING DEPARTMENT, RIM 2, WATERLOO - DAY
Charles Purdy rules the roost as the staff all busy themselves silently with the work of the day. Everyone wears name tags. Including Doug, who sits at his desk silently typing code.
INT. BOARDROOM, VERIZON HQ, NEW YORK - DAY
JOHN WOODMAN
How'd you do it, Mike?
Mike sits at the boardroom table. He just stares dead ahead, lost in the question. TITLE CARD: 2007
INT. EXECUTIVE BOARDROOM, RIM 2, WATERLOO - DAY
Mike (hair slicked back, an air of confidence, power-suit) sits at the head of a large table in the centre of an elegant boardroom. Around him are the SENIOR BOARD OF DIRECTORS of RIM. The only other person we recognize is Charles Purdy. JACK MANISHEN (41, Head of Marketing) presents next quarter's sales projections on a PowerPoint slide.
JACK MANISHEN
We're number one in handset sales, subscriptions, customer retention, attracting new smartphone users, and brand recognition. We control 30% of the North American market and with the upcoming release of the BlackBerry Bold we're on track to control 50% of the global market...
Mike gets a BBM: Doug: you gotta get down here! Ignores it --
JACK MANISHEN
Now our numbers are a bit below estimates right now, but we're expecting a nice bump when the 8310 comes out in March.
CHARLES PURDY
Now's probably a good time to talk about moving some of the assembly and construction to China.
MIKE
No. No. Take people off of Onyx. If you need more bodies, hire more people. We're not moving to fucking China...
CHARLES PURDY
Alright.
MIKE
Alright.
Something catches Mike's eye -- Doug, points to his phone at him from behind the window to the boardroom.
MIKE
Oh my god.
(To Doug)
What!
Mike turns back to the boardroom.
MIKE
Ah, that's a good spot to leave it for today guys. Thank you.
Mike stands up -- the room follows. Mike makes his way to the door -- Jack Manishen cuts him off...
JACK MANISHEN
(privately)
Hey. Where's Jim?
MIKE
Why?
JACK MANISHEN
He's not answering my e-mails.
MIKE
We're pitching the trackpad to Verizon on Friday. He's probably working on that.
Mike exits.
MIKE (O.S.)
(to Doug)
I am in a meeting!
INT. RIM PRIVATE JET, 35,000 FEET - DAY
On a portable DVD player, Jim watches DON CHERRY and RON MACLEAN of COACH'S CORNER on the plane.
DON CHERRY (ON TV)
And I really believe that uh, Balsillie, is that how you say it? Something like that. You know, he was in there and says "I've heard guys screw up my name but worse than you". Anyhow, he's a patriot.
DON CHERRY (ON TV)
He really does-- He's a hockey guy that really wants-- there's no making money that doesn't -- He's a hockey guy. Plays hockey, the whole deal. He really wants hockey here.
The plane phone RINGS. Austin picks it up before Jim can stop him.
JIM
No. Don't --
AUSTIN
Hello..
JACK MANISHEN (O.S.)
Hand the phone to Jim.
AUSTIN
Uh. Who's this?
JACK MANISHEN (O.S.)
It's Jack Manishen from Marketing. It's important.
Austin turns to Jim. Jim's eyes glued to the screen.
AUSTIN
Jack. Manishen. Marketing?
JIM
Mike can handle it.
Austin returns to the phone.
AUSTIN
Maybe, you can speak to Mr. Lazaridis.
JACK MANISHEN
He does not want me going to Mike with this... at least tell me where you're going.
Beat. Austin looks to Jim.
AUSTIN
He wants to know where we are going..
JIM
Hang up.
Austin hangs up the phone.
INT. ENGINEERING DEPARTMENT, RIM 2, WATERLOO - DAY
It's dark. The lights are off and the projector screen is down, like movie night. But we're not watching a movie. Instead, the entire engineering department watches STEVE JOBS on stage at MacWorld 2007. We notice the engineering department has gone through another makeover. All of the movie posters and comic books and science fiction novels have been replaced with BlackBerry advertisements. Doug leads Mike into the room from the doorway -- they join the crowd of engineers, all staring in wide eyed wonder/terror.
JOBS (ON SCREEN)
So. Three things. A widescreen iPod with touch controls. A revolutionary mobile phone and a breakthrough internet communications device.
Mike steals a look at Doug watching Jobs.
JOBS (ON SCREEN)
An iPod... a phone... and an internet communicator. An iPod. A phone. Are you getting it?! These are not three separate devices. This is one device. And we are calling it: iPhone.
Murmurs from the crowd.
JOBS (ON SCREEN)
Here's four smartphones, right? Motorola Q, BlackBerry, Palm Treo, Nokia E62... Usual suspects. They all have these keyboards that are there whether you need them or not to be there.
Mike looks at the same phone in his own hands.
JOBS (ON SCREEN)
And they all have these control buttons that are fixed in plastic.
Mike looks at the same phone in his own hands.
MIKE
Why would anybody want a phone without a keyboard?
JOBS (ON SCREEN)
What we're going to do is get rid of all these buttons and just make a giant screen. A giant screen.
Awe from the crowd on screen and in the RIM office.
JOBS
When we start shipping in June and we'll be selling iPhones through our own stores and through Cingular stores. And it's my pleasure to introduce the CEO of Singular... Stan Sigman.
On screen Stan Sigman (55, CEO of AT&T) joins Steve Jobs on stage, they shake hands.
MIKE
Are you fucking kidding me?
DOUG
What?
MIKE
That's Stan Sigman. That's the CEO of AT&T.
STAN SIGMAN (ON SCREEN)
You know, Steve and I first met about two years ago in New York City when he shared with me this vision that he had for this product.
MIKE
This fucking guy.
(to the room)
Alright everybody. That's it. Fun times over. Back to work. I need a prototype of the Bold in my hand by Friday with a working trackpad. Thank you.
The lights come on. TV off. Everyone gets back to work.
DOUG
(Pointing at the screen)
That's crazy.
Doug's BlackBerry RINGS. Unknown Caller.
DOUG (O.S.)
Okay guys, let's get back to work.
Doug picks up his BlackBerry.
DOUG
Yello!
DARA FRANKEL (O.S.)
Hi, is this Douglas?
DOUG
Ah, yeah.
DARA FRANKEL (O.S.)
I'm from the Securities and Exchange Commission and I was wondering if you could answer some questions for me?
DOUG
(on the phone)
Sure. Okay.
SCOTT (O.S.)
Has anyone seen Allan?
DOUG
(to the room)
Check the NOC!
DARA FRANKEL
Were you involved in the hiring of a Mr. Paul Stannos?
DOUG
Sorry - from where?
DARA FRANKEL
I'm from the SEC.
DOUG
Is this a serious call?
DARA FRANKEL
Yes.
DOUG
Yeah. You called the wrong person. I can't help you with anything like that.
DARA FRANKEL
Is this Douglas Fregin?
DOUG
Yes ma'am.
DARA FRANKEL
Sorry. I have you listed here as one of the founders of the company.
Doug chuckles.
DOUG
Yeah. I guess I am.
ENGINEER (O.S.)
Doug.
DOUG
I gotta go.
Doug hangs up and gets back to work.
INT. RECEPTION, NHL HQ, NEW YORK - DAY
Jim paces in the reception area, nervous. Austin sits -- his phone RINGS, he reaches for it --
AUSTIN
Sorry.
(checks the phone)
Unknown number.
JIM
No.
Austin puts it away. DAWN (30s, power-suit.) Walks down the hall towards them.
DAWN
Mr. Balsillie?
JIM
Yes?
DAWN
Welcome to the NHL.
Jim lights up. Extends a hand.
JIM
Thanks for having me.
DAWN
Nice to meet you, just this way.
JIM
Okay, great.
DAWN
Right in here...
INT. BOARDROOM, NHL HQ, NEW YORK - DAY
Dawn leads Jim into the boardroom. Gary Bettman (55) greets him with a handshake.
GARY
Jim.
JIM
Gary.
GARY
Good to see you, thanks for taking the time.
JIM
I've always got time for you, Gary.
INT. LIMOUSINE, NYC - DAY
Jim slams the door -- turns to Austin --
JIM
Get me on the phone with Copps Coliseum.
AUSTIN
Is that the Arena in Hamilton?
Jim's phone vibrates:
JIM
Yeah. Tell them I want to buy it.
Mike (BBM): Just getting Bold prototype. Meet me out front. Jim puts his phone away.
AUSTIN
Okay. Um.
(beat)
I thought you were buying the Pittsburgh Penguins.
JIM
Yes, I am.
(to the driver)
Let's go.
INT. ENGINEERING DEPARTMENT, RIM 2, WATERLOO - DAY
Mike shouts into the engineering room.
MIKE
Okay. We gotta go!
DOUG
One sec.
Doug and the guys huddle around his desk with a PROTOTYPE BLACKBERRY BOLD plugged into his computer and a TERMINAL open on the screen. Scott is at the keyboard typing code as fast as he can.
DOUG
One sec!
(to Scott)
This good enough. Good enough.
SCOTT
This is good enough?
Allans joins the guys with news.
ALLAN
Apple is launching a marketplace for applications. It's going to be third party developers. Anyone. anyone --
DOUG
Bad time. Bad time.
ALLAN
(whispers to Pranay)
Third party developers.
Scott passes the BOLD to doug who tests the trackpad. The latency is brutal but it works.
SCOTT
Here man. It's laggy as hell.
DOUG
Good enough. Good enough. Good enough.
MIKE (O.S.)
Now!
DOUG
Yeah. We got it.
Doug runs up to him, prototype in hand.
MIKE
Doug. Come on.
ALLAN
(to Pranay)
They are launching an application market place.
DOUG
So, the touchpad is working, I don't know if I would say that it's WORKING working.
Doug looks to Mike who is displeased. BBM from Jim: Can't make it, go without me, you'll be fine alone. Mike looks around in distress.
DOUG
What?
MIKE
Do you have a suit?
INT. LOBBY, VERIZON HQ, NEW YORK - DAY
Mike and Doug enter through revolving doors. Mike takes the lead.
INT. BOARDROOM, VERIZON HQ, NEW YORK - DAY
Mike stands in front of ten VERIZON Executives. Doug sits beside by the window, looking out at the skyline. The room is silent as a prototype BlackBerry BOLD is passed from one person to the next. No one seems that interested. Behind Mike is a Powerpoint presentation on a large screen that goes over the main features of the new BOLD...
MIKE
... 2.4 inches, 480 by 360 HVGA screen and to top it all off, the world's first trackpad which we believe will be the dominant navigational device for all mobile devices within the next two years.
Beat.
MIKE
The BlackBerry Bold.
John Woodman (now in his 60s) breaks the silence.
JOHN WOODMAN
That's it?
MIKE
Uh huh.
JOHN WOODMAN
That's what you've got for us? A trackpad?
Mike looks to Doug.
JOHN WOODMAN
You guys see Apple's thing?
The mere mention of Apple brings energy to the room. Doug looks to Mike.
JOHN WOODMAN
Any reaction to that?
MIKE
Plenty. Yeah. It's an over- designed, trying-to-do-too-much toy that will crash any network gullible enough to take it on. It is by every metric the exact opposite of everything we do at Research in Motion. Less data, no frills, reliable network. That's BlackBerry.
JOHN WOODMAN
Sexy slogan, Mike.
The room chuckles --
MIKE
So. I guess, you want to kill your whole network cause that's what it will do.
JOHN WOODMAN
Yeah. The iPhone... they put a keyboard right on the screen?
MIKE
And it's the stupidest thing I've seen in my entire life. Ask anyone what they love most about their BlackBerry, and you will get the same answer every single time. The keyboard, the click. Okay?
DOUG
...Well...? Yeah. Yeah.
MIKE
-- This entire market was born of our innovation and our idea to put "a keyboard on a phone", and we did that, we build that from a pile of garbage in 1996.
JOHN WOODMAN
Yeah. There's another slogan.
More chuckles. Mike's not happy.
JOHN WOODMAN
I dunno Mike. AT&T's got Apple. We were kind of hoping you'd come in here with an iPhone killer.
MIKE
I don't need to kill it because it's going to commit suicide and it's gonna take down the whole fucking Cingular network with it. I'm giving you gold and I think you are all misunderstanding it.
(beat)
I created this entire product class. I created this entire fucking market. I created this entire product class. So listen to me. The trackpad is a mousepad on -- built into the phone.
Doug waits for the sentence to finish, then looks at the ground when he realizes Mike is out of gas.
JOHN WOODMAN
Yeah.. and.. right. Okay. Yeah. Okay. Good enough. Uh thanks guys for coming down. Tell you what, let us - we'll talk about this internally and get back to you, okay? Tell Jim we missed him.
Close on Mike. He's panicking.
DOUG
(whispering to Mike)
Let's go.
MIKE
He's back, back in Waterloo working because. So, he promised me not to mention -- the other thing. We're not quite there yet but we're working on something pretty top secret.
Doug looks at Mike like "what the fuck are you doing?"
MIKE
Uh, he made me promise not to mention it. Prototype we're still a few weeks out. Uh, you know, I can demo it with our Bold prototype.
The Executives slowly perk back up -- Mike walks over to Woodman -- picks up the prototype Bold -- holds it over his head --
MIKE
So. It's still a BlackBerry. Our BlackBerry. Except for where we have keys here... screen. The whole thing's a screen.
Doug's eyes are screaming.
MIKE
... Uhh except.. Ours when you press it will get that...
(Mike clicks the keys)
That satisfying click.
Mike doubles down, just like he saw Steve Jobs do...
MIKE
That BlackBerry click. Our trademark. Click. So. Screen. Keyboard. Phone. Screen. Keyboard. Phone. Screen. Keyboard. Phone.
(to John)
Are you getting it?
INT. LOBBY, VERIZON HQ, NEW YORK - DAY
Mike and Doug exit through revolving doors.
DOUG
(whispers)
What was that?
MIKE
(whispers)
Stop.
DOUG
(whispers)
What was that?
MIKE
(whispers)
Shut up.
Mike and Doug exit the building.
DOUG
Mike. Mike. What the fuck was that dude?
MIKE
Where is this fucking limo?
INT. COPPS COLOSSEUM, HAMILTON - DAY
Jim comes out of the tunnel and is at one end of a professional arena, currently set up to host a basketball game. The BUILDING MANAGER guide Jim on a tour.
BUILDING MANAGER
...capacity maxes at seventeen thousand, but we could enhance it to nineteen without too much trouble.
JIM
Alright. I want all this basketball shit gone. From now on, this place is a permanent rink.
BUILDING MANAGER
We can't do that.
JIM
Why?
BUILDING MANAGER
We have active contracts with a dozen clients --
JIM
Cancel them.
BUILDING MANAGER
Yeah but, there's going to be fines.
JIM
I'll pay the fines.
Jim points to a booth in the arena.
JIM
And I want that to be my personal box.
BUILDING MANAGER
(chuckles)
That's not a box.
BBM from Mike: Sold Verizon 1 Million Units
BUILDING MANAGER
That's not a box.
INT. ENGINEERING DEPARTMENT, RIM 2, WATERLOO - DAY
Mike is at a whiteboard drawing a schematic of his newly invented BLACKBERRY STORM for a group of 40 engineers. Everyone looks confused, Doug and Charles Purdy included.
MIKE
No, no. Okay. So, it's a screen, but it needs a raised hinge or actuator as I wrote, between it and the body so the entire device clicks when you press on it.
A random STUDENT ENGINEER whispers something up.
MIKE
Wait, what?
STUDENT ENGINEER
I'm just wondering why we want to do that?
MIKE
That. That. That is not the question you ask me here. WHY does not matter to you. Okay?
MIKE
Because I said so. Because that's what I sold, okay?
Beat.
MIKE
Who. Who are you? By the way?
DOUG
Easy Mike.
A BLACKBERRY RINGS in the crowd.
MIKE
Oh come on guys. Please. Silent mode! When we're at the office --
Mike motions to Purdy.
MIKE
(whispering)
Charles?!
CHARLES PURDY
Phones off!
The phone keeps ringing -- the crowd pinpoints the noise -- it's coming from Scott.
SCOTT
Sorry. Sorry Mike. Sorry buddy.
Scott reaches into his pocket and silences his phone... Mike stares at Scott, about to ream him out...
DOUG
Okay. So, you know what? I think, all this is, is we are trying to do the old BlackBerry click while embracing the new iPhone screen. That's all --
MIKE
(interrupts)
No! No! No. We're not "embracing" anything to do with Apple. Guys. It's really not hard. Okay? We pay you a lot of money. This is really not hard. It's a keyboard, on a screen, on a keyboard. And I don't care what you think of it.
Charles Purdy silently ushers Mike out of the room.
CHARLES PURDY
Mike..
The crowd is silent. Doug looks down, biting his tongue.
INT. HALLWAY, ENGINEERING DEPARTMENT, RIM 2, WATERLOO - DAY
The team is off to work. Charles has finally got Mike to himself in the doorway.
MIKE
What the fuck is Doug talking about, embracing what Apple is doing? I don't understand.
CHARLES PURDY
You come back from New York talking about a brand new phone. Prototype in a week? What are we doing here?
Doug appears at the door.
DOUG
Can I talk to you?
MIKE
It's a prototype Charles! I could build the fucking thing myself in one night if I had to.
CHARLES PURDY
But we still gotta ship the god damn thing.
MIKE
I said use the Onyx team.
CHARLES PURDY
I did! On Curve.
Beat.
CHARLES PURDY
Alright, China. It's the only way this gets done. I'm sorry, China.
MIKE
Yeah. Fuck it. Do it. China. China. Let's do it.
Doug pipes in.
DOUG
Wait. Wait. No. He doesn't mean that.
MIKE
Hey. Hey. Don't speak for me.
DOUG
Mike, what are you doing?
MIKE
What am I doing? I'm trying to keep our biggest fucking customer. What the fuck are you doing?
DOUG
Mike, I'm trying to help you.
MIKE
You're not though. You're not. You're not helping me. This doesn't help me. If you could help me, we wouldn't be here. I don't need your fucking help anymore. Okay? You're fucking useless.
Doug's face falls.
DOUG
Okay.
Doug turns and walks away from the guys. Mike turns to Purdy --
MIKE
Figure out China.
Mike and Charles watch as Doug leaves.
MIKE
Figure out China. And I'll build the fucking thing myself.
Mike leaves. We hold on Charles as he watches him go, wondering where the hell this monster came from...
INT. MIKE'S OFFICE, RIM 2, WATERLOO - DAY
Mike pulls out a bunch of old BlackBerries from his desk drawers. Dozens of them. He starts taking them apart, working solo on the prototype for BlackBerry Storm... RING. Mike picks up his office line.
MIKE
What?
DARA FRANKEL (O.S.)
Is this Mike Lazaridis?
MIKE
Who is this?
DARA FRANKEL (O.S.)
My name is Dara Frankel, I'm from the SEC. Do you have a second?
MIKE
Not really. Not right now. What is this about?
DARA FRANKEL (O.S.)
I'm trying to track down some information on some stock options your company issued.
MIKE
Well, that's not -- I wouldn't know anything about that. I think you want to talk to Jim.
DARA FRANKEL (O.S.)
Okay. Would there be a good time to come in and talk about this?
MIKE
No. I don't. No.
Mike hangs up.
INT. ATRIUM, RIM 2, WATERLOO - DAY
Jim waltzes into the building with a "what's next?" attitude. Shelley stands up and gets his attention from behind the reception desk.
JIM
Okay! I'm here. I'm here. I'm here. I'm here.
She hands him a copy of FORBES with his photo on the cover.
SHELLEY
Jack Manishen says he needs to see you.
Jim thumbs through -- best day of his life.
JIM
Okay. Yeah. Where is he?
SHELLEY
Camped outside your office.
JIM
Great.
Jim gets to his article -- sees that Carl Yankowski is featured in a photo on the opposite page...
JIM
Shel, do me a favor: reach out to Carl Yankowski's office and let him know Jim Balsillie's got opening night tickets to the Hamilton Penguins for him. I know how much he loves hockey.
INT. HALLWAY, RIM 2, WATERLOO - DAY
Jim walks up to his office. Sure enough, Jack Manishen is waiting outside, nervous. He stands immediately upon seeing Jim.
JIM
Alright. Alright. Relax. You got me.
AUSTIN
That same woman from the SEC keeps calling. Can I give you her number?
JIM
No.
INT. JIM'S OFFICE, RIM 2, WATERLOO -- DAY
Jim looks down at IPHONE SALES PROJECTIONS in his hands while Jack presents slides. There's an image of an iPhone next to BlackBerry and the rest of the competition...
JACK MANISHEN
Okay.. So... first Quarter...
Changes the slide. iPhone grows.
JACK MANISHEN
...second quarter...
Changes the slide. iPhone grows.
JACK MANISHEN
...third quarter...fourth quarter.
Changes slide.
JACK MANISHEN
And this is us.
JIM
Whose numbers are these?
JACK MANISHEN
Apple's internal projections. They released the numbers on Friday.
JIM
Five hundred dollars? Fully subsidized? This is the most expensive phone in the world.
JACK MANISHEN
It has the highest consumer interest of any product in history. We are going to go from "number one phone in the world" to "that phone that people had before they bought an iPhone".
Beat. Jim looks at the slide -- shakes his head --
JIM
It's gonna be fine. Mike will figure it out.
BANG BANG BANG -- Someone at the door.
JIM
What?
Jim gets up -- opens the door.
MIKE
Um. Why. Why is the SEC looking at us?
Jim closes the door to only a crack.
JIM
They called you?
MIKE
Yes. Something about stock options.
JIM
I'm sure it's nothing.
MIKE
It's nothing?
JIM
Yeah. What's with this Apple thing?
MIKE
What. What about it?
JIM
Are we worried?
MIKE
No.
JIM
Okay, why?
MIKE
Because, one of them uses as much data as five thousand BlackBerries. Because it has no keyboard. Because the thing is a joke.
JIM
So why are people telling me that they're about to kill us?
MIKE
'Cause they're idiots.
Mike leaves... ...Jim watches him go for a beat -- shuts the door... ...returns to his desk -- sees the FORBES spread open. Under Yankowski's picture he sees the familiar face of Steve Jobs' pal, STAN SIGMAN. Jim hits his intercom button --
JIM
Get me a meeting with Stan Sigman at AT&T.
Beat.
JACK MANISHEN
What are you doing?
Jim's mind is racing. He's forming a plan.
AUSTIN (O.S.)
So the soonest I can get is next month, his office says he's leaving for vacation today.
Jim hits the button.
JIM
Tell them I'm coming to Atlanta. Right now.
Jim gets up and starts running.
EXT. RIM PRIVATE JET, WATERLOO AIRPORT - DAY
Jim runs up the stairs into the jet -- yells to the cockpit.
JIM
Let's go! Let's go!
Jim turns behind him to Austin, who is taking up the rear.
JIM
Tell them we'll be there in an hour.
Austin hands the BlackBerry to Jim.
AUSTIN
It's the NHL.
Jim puts on his smiling face.
JIM
(on phone)
Gary! How are ya?
GARY BETTMAN (O.S.)
Good. We're ready to go over here. How soon can you get to New York?
JIM
Great! Anytime tomorrow.
GARY BETTMAN (O.S.)
How about today?
JIM
Um. That might be a little tight for me.
GARY BETTMAN (O.S.)
I've got the board here now and I don't know when they're all going to be together again. If you want to wait, up to you. It's your deal.
JIM
Yeah. No. That works Gary. Yep. I'll be there.
GARY BETTMAN (O.S.)
Looking forward to it.
JIM
Okay. Alright. Bye.
Hangs up -- takes a breath --
JIM
(yelling behind him)
Change of plans. We're going to JFK.
PILOT
We are dialed in --
Jim runs back to the cockpit --
JIM
Listen to me you mouthy fuck, if I say we are going to JFK, we are going to JFK. You understand?
AUSTIN
So we're, we're not meeting with Sigman then?
JIM
...I'm doing it all.
Jim stays standing with one arm on the wall for balance as the plane taxis down the runway, fire in his eyes.
EXT. PARKING LOT, RIM 2, WATERLOO - DAY
A maintenance worker takes down Doug's parking sign. Just then multiple black SUVs pull up to RIM. DARA FRANKEL (40s, air of power) and her team of SEC AGENTS enter the building.
INT. MIKE'S OFFICE, RIM 2, WATERLOO - DAY
Sparks fly. Mike is hunched over his desk with a soldering iron, molding parts of old BlackBerries together.
MIKE
Fuck!
He singes his finger.
CHARLES PURDY
Where's Jim?
Mike looks up to see Charles standing over his desk.
MIKE
I have no idea.
CHARLES PURDY
C'mon, we gotta get you outta here.
MIKE
Why?
CHARLES PURDY
SEC is raiding us.
Mike stands up.
MIKE
Wait, what?
CHARLES PURDY
Gimme your phone.
Mike looks down at his desk -- he has eight BlackBerrys.
CHARLES PURDY
Where's you god damn phone?
KNOCK
DARA FRANKEL (O.S.)
Michael Lazaridis?
Mike looks to Purdy
MIKE
Can you handle this?
Purdy shakes his head. The door opens -- Dara walks in with a BIG SEC INVESTIGATOR --
MIKE
Who are you?
DARA FRANKEL
We spoke on the phone. Wanna come and answer some questions?
MIKE
Sure. Sure.
Mike tries to follow Dara out, but she insists on following him out.
MIKE
After me is it? Okay.
INT. HALLWAY, ENGINEERING DEPARTMENT, RIM 2 - CONTINUOUS
Dara leads Mike outside to see half a dozen SEC OFFICERS waiting in the hallway.
DARA FRANKEL
Okay.
On Dara's command, they all pile into his office.
MIKE
Okay what? What are they doing? They can't touch any of that stuff?
Mike looks across the hall to the Engineering Department -- his team stares at him through the glass, pain and pity in their eyes, like seeing Dad get arrested. Dara opens the door to a tiny office across the hall...
INT. TINY OFFICE, RIM 2, WATERLOO - CONTINUOUS
Mike sits at one end of a small table. Dara closes the door. A moment later the door opens -- an SEC INVESTIGATOR walks in holding one of Mike's BlackBerrys.
SEC INVESTIGATOR
Passwords on everything.
DARA FRANKEL
What's the password Mike?
MIKE
Am I required to give that to you?
DARA FRANKEL
No. Are you hiding something?
Beat.
MIKE
Should I not have a lawyer or something with me for this?
DARA FRANKEL
Do you think you need a lawyer?
Mike swallows.
INT. RECEPTION, NHL HQ, NEW YORK - DAY
Jim paces nervously in the empty reception area. Something is off. Dawn emerges and calls on him.
DAWN
Jim.
Finally. Jim follows Dawn into the boardroom.
INT. BOARDROOM, NHL HQ, NEW YORK - CONTINUOUS
It's packed. Gary Bettman, Dawn, and the entire NHL front office fill seats around the boardroom table. They turn as he walks in.
JIM
Gary. What's going on? You got me. You got me waiting out here.
Awkward silence.
DAWN
Jim, look, we're not going to waste your time, okay? It's not going to happen with you and the Penguins.
JIM
What?
DAWN
We held a vote with the other owners and unfortunately it went against you 26-0.
JIM
Hold on a sec. Hold on. Hold on. I thought we had a deal. When did the other owners even -- I'm sorry, what changed here, man?
DAWN
The owners did not find you to be of "good character and integrity".
JIM
I don't know what the hell that means. Gary, what the fuck is this?
GARY BETTMAN
You know, it's funny. It's one thing to have a secret plan to fuck over the NHL and move a team to Canada. It's another thing to brag to your rich friends before you actually do it.
It takes a moment, but Jim understands what is happening.
JIM
... You guys are so fucking stupid. You know what? Maybe I'll buy this whole fucking league, huh? How about that?
GARY BETTMAN
Dawn. Can we see that Mr. Bald- Silly gets safely back to Canada?
JIM
Oh, fuck all you people! Fuck you! Get ready for a hostile takeover of this entire fucking league, okay? YOU FUCK. You think I won't fucking do it? I'm from Waterloo, where the vampires hang out!!!
Jim walks out and SLAMS the door.
INT. RIM PRIVATE JET, JFK INTERNATIONAL AIRPORT, NY - DAY
Jim rushes on...
JIM
Go! Go! Go! Go!
PILOT
We'll never make it.
JIM
I said LET's GO.
(to Austin)
Delay Sigman.
AUSTIN
I called. They said he's already left for vacation.
JIM
Where?
AUSTIN
They just said he's going to the airport.
The plane starts to move.
JIM
Great. So are we.
INT. TINY OFFICE, RIM 2, WATERLOO - EVENING
Mike is starting to get nervous as contract after contract is put in front of him...
DARA FRANKEL
And is this your signature?
Mike eyes it.
MIKE
Yeah.
DARA FRANKEL
And this?
MIKE
I don't know what you're looking for. These are standard employment contracts.
DARA FRANKEL
I'm just wondering how you convinced all these engineers from around the world to come all the way to Canada. Doesn't make sense.
MIKE
It's because they get to work on the best phone in the world.
DARA FRANKEL
Mike, each of these contracts offers back-dated stock options. You were illegally pricing your own shares so you could hire engineers with money you didn't have.
Mike looks at the contract in his hand --
DARA FRANKEL
Do you know what the sentence is for multi-million dollar stock fraud?
MIKE
Okay. I swear I had no idea about any of what you just said.
DARA FRANKEL
Do you expect me to believe that? You're CEO.
Beat. Mike looks down at one of the employment contracts. Sees Jim's name.
MIKE
Co-CEO.
EXT. RUNWAY, HARTSFIELD-JACKSON INTERNATIONAL, ATLANTA - DAY
Jim runs down the stairs of his just-landed plane, holding his BlackBerry to his ear as he runs towards the terminal...
STAN SIGMAN (O.S.)
Tell me why this can't wait another few weeks?
JIM
I'm telling you Stan. I'm headed for the terminal right now.
STAN SIGMAN (O.S.)
What?
JIM
I'm at Gate 7. Uh, where are ya?
STAN SIGMAN (O.S.)
Are you runnin'?
JIM
No. Stan. No. I'm good. I'm telling ya. Just give me the gate.
STAN SIGMAN (O.S.)
I'm getting on a plane here, Jim.
INT. TERMINAL, HARTSFIELD-JACKSON INTERNATIONAL AIRPORT,
ATLANTA - CONTINUOUS Hundreds of people surround him. It's loud and hectic. Jim searches the terminal for Stan Sigman.
JIM
No. Okay. Listen. Stan. Alright. Here's the headline: half a million BlackBerries for AT&T, for zero dollars.
STAN SIGMAN (O.S.)
What's the catch?
Jim tears past people. Some are distracted by their phones and collide with him.
JIM
No! No catch. They're yours. IF you're willing to release them at a discount one month before the iPhone.
Stan groans. Jim stops running -- pleads his case --
JIM
Stan, come on, you owe me. You've sold a lot of minutes because of us.
STAN SIGMAN (O.S.)
Yeah. But you know what the problem with selling minutes is?
JIM
...What?
STAN SIGMAN (O.S.)
There's only one minute in a minute.
Stan hangs up. Jim lowers the phone like "what the fuck does that mean?" Jim takes a beat, trying to decode that sentence. He's surrounded by travelers rushing back and forth. He's the only one standing still. He looks back down at his phone -- finds MIKE in his quick- dial -- calls...
MIKE (O.S.)
Hey.
JIM
Okay. Mike. Listen to me, I think we got a big problem here. I know what Apple's doing.
MIKE (O.S.)
(whispering)
Yeah. We shouldn't talk on the phone.
JIM
Why?
INT. RIM 2, STORAGE CLOSET - WATERLOO - CONTINUOUS
MIKE
(whispering)
Um.
WHY?
MIKE
We're in trouble with the SEC but, get back as soon as you can.
INT. TERMINAL, HARTSFIELD-JACKSON INTERNATIONAL AIRPORT,
ATLANTA - CONTINUOUS
MIKE (O.S.)
I have a way to get us out of this.
EXT. RUNWAY, HARTSFIELD-JACKSON INTERNATIONAL, ATLANTA - DAY
Jim runs up the stairs of the plane.
EXT. PARKING LOT, RIM 2, WATERLOO - NIGHT
Jim FOBS himself into RIM.
INT. ATRIUM, RIM 2, WA TERLOO - CONTINUOUS
Jim opens the front door -- the place is empty, quiet and eerie. Jim crosses the atrium and heads to the stairs.
INT. JIM'S OFFICE, RIM 2 - CONTINUOUS
Mike sits at Jim's desk, looking over Jack Manishen's iPhone projections -- the wall of masks behind him. Jim storms in.
JIM
Okay, so listen. AT&T knows exactly what they're doing. They WANTED Apple to build a data-guzzling monster because that's where they're going to move the market. They're not selling minutes anymore, Mike. They're selling DATA.
Mike picks up his BlackBerry -- dials...
MIKE
(on the phone)
He's here.
Jim feels a chill. Mike hangs up.
JIM
Who's that?
MIKE
They're waiting for you next door.
Beat.
JIM
Who? What did you do?
MIKE
I made a deal. The SEC gets you, your board seat, and our full cooperation in the criminal investigation, and for that they'll leave us alone.
Beat.
MIKE
And they want 83 million dollars.
Jim feels the walls close in, just like when Woodman told him "some nerds took you for a ride" back in 1996. His back is against the wall. It's done. It's over. No more rope. And then he can't help but smile to himself, as if someone just whispered a great secret in his ear. He looks at Mike.
JIM
You said next door?
Jim turns -- walks out of his office -- opens the door in the hallway -- steps inside. Mike watches him leave... ...then goes back to work on his prototype. TITLE CARD: 2008
INT. MIKE'S BMW, PARKING LOT, RIM 2, WATERLOO - DAY
Mike pulls into his "LAZARIDIS" parking space. Jim's spot: Gone. Doug's spot: Gone.
INT. ENGINEERING OFFICE, RIM 2, WATERLOO - DAY
New engineers populate the place. Gone are the familiar faces of Doug, Pranay, Scott, Ethan and Allan.
INT. LOADING DOCK, RIM 2, WATERLOO - CONTINUOUS
Mike walks along the pathway of the loading dock. Workers unload crate after crate from trucks into the loading bay. Wooden boxes with Chinese shipping labels. Mike lands in the middle of the room, filled with BLACKBERRY STORMS WRAPPED IN THEIR COMMERCIAL PACKAGING... He rips open the plastic wrap. ...Mike picks one up... ...unwraps the box... ...pulls out the BlackBerry Storm... ...turns it on... ...the screen glitches for a moment, then reveals the BlackBerry home-screen, a cramped stack of icons against a "Verizon V" background... ...Mike opens the text app and we see the keyboard on the screen on a keyboard. He touches the screen -- scrolls -- the delay between touch and action is about 1/2 a second -- Suddenly we hear something... ...A quiet hissing... ...static... ...Mike recognizes the sound... ...looks around the room, searching for the source... ...looks back at the BlackBerry in his hand... ...that's it -- his phone is making the hiss. Mike stares at it... ...puts it down on the crate in front of him... ...Reaches into the breast pocket of his jacket... ...Takes out his precision screwdriver set... ...Opens the BlackBerry... The circuit board is a mess. Mike pokes around with his screwdriver until he finds what he's looking for: A single prong of metal rubbing against the speaker wire. Mike lifts the wire off the prong. The static instantly stops. He tucks the wire against the body of the phone -- closes the case, and screws it back together. Mike puts the phone back into it's box -- closes it -- puts it back into the crate... Beat. Mike reaches for the next box -- opens it -- takes out the phone -- unscrews the body -- fixes the speaker wire -- closes it -- puts it back in the box -- Mike reaches for another box -- opens it... The camera tracks out to reveal the crates and crates of unopened BlackBerry Storms being unloaded all around him as he calmly tries to fix them one by one. Text appears on screen: Nearly every BlackBerry Storm was returned or replaced due to manufacturing errors. Verizon sued RIM for $500M to cover their losses. Mike Lazaridis resigned from RIM on January 22, 2012.
EXT. LAKE - DAY
Rick Brock and Jim fish together. Text appears on screen: Jim Balsillie avoided any jail time for his role in the stock manipulation. His texts and e-mails remain encrypted on the BlackBerry servers in Waterloo.
EXT. BACKYARD, DOUG'S HOUSE, WATERLOO - SUNSET
A backyard Movie Night. A projector shines on an outdoor screen. Doug, Allan, Scott, Pranay, Ethan, Steve and a few other former RIM Engineers are gathered, the movie is starting. Text appears on screen: Doug sold his stock at the 2007 high. He is secretly one of the richest men in the world.
INT. RIM 2, WATERLOO - DAY
An old photo of the original RIM group hangs on Doug's desk. Text appears on screen: At its height, BlackBerry controlled 45% of the cellphone market. Today, it's 0%. END.
|
BlackBerry Written by Matt Johnson & Matthew Miller Shooting Script Based on, "Losing the Signal" by Jacquie McNish & Sean Silcoff TEXT ON SCREEN: The following fictionalization is inspired by real people and real events that took place in Waterloo, Ontario. CORPORATE CREDITS BEGIN AS MUSIC FADES IN. An authoritative male voice.
MALE VOICE (O.S.)
I'm thinking of the incredible breakthrough which has been made possible by developments of communications. Particularly, the transistor and above all the communications satellite. These things will make possible --
In Black and White archival footage we now see the man behind the voice, who some will recognize as famed science fiction author ARTHUR C. CLARKE.
ARTHUR C. CLARKE
-- a world in which we can be in instant contact with each other wherever we may be.
OPENING CREDITS BEGIN
INT. DOUG'S 1984 HONDA CIVIC, WATERLOO STREETS - MORNING
DOUG (35) drives a Brown 1984 HONDA CIVIC HATCHBACK with MIKE (35, grey hair) in the passenger seat.
ARTHUR C. CLARKE
It will be possible in that age, perhaps only fifty years from now, for a man to conduct his business from Tahiti or Bali just as well as he could from London.
Mike nervously shuffles CUE CARDS, rehearsing as the duo drive through Waterloo, Ontario.
INT. JIM'S BMW, WATERLOO STREETS - MORNING
We see ECU of JIM BALSILLE (35) driving through rural Waterloo. His Rolex watch, his Harvard MBA ring.
ARTHUR C. CLARKE (O.S.)
In fact if it proves worthwhile almost any executive skill, any administrative skill, even any physical skill, could be made independent of distance.
INT. DOUG'S 1984 HONDA CIVIC, WATERLOO STREETS - MORNING
Mike and Doug drive past a horse and buggy. It's farm country.
ARTHUR C. CLARKE (O.S.)
When that time comes, the whole world will have shrunk to a point --
INT. JIM'S BMW, WATERLOO STREETS - MORNING
Jim approaches his office.
ARTHUR C. CLARKE
-- and the traditional role of the city as a meeting place for man would have ceased to make any sense.
BACK TO ARTHUR C. CLARKE FOR HIS CONCLUSION
ARTHUR C. CLARKE
In fact, men will no longer commute. They will communicate.
EXT. PARKING LOT, SUTHERLAND-SCHULTZ, WATERLOO - DAY
Doug pulls into the busy lot and finds a VISITOR spot at the far end.
DOUG
We're not late!
MIKE
I know but, I am going to throw up.
DOUG
Okay!
Doug and Mike jump out of the car -- They open the trunk -- fumbling to grab a stack of PRESENTATION CARDS and EASEL.
DOUG
I got it. I got it.
Doug drops the EASEL and PRESENTATION CARDS on the ground.
DOUG
Shit.
Bends down, gathers.
DOUG
It's good.
Mike organizes his CUE CARDS as they run towards the main entrance of SUTHERLAND-SCHULTZ. We stay outside as Jim pulls into the frame with his BMW...
SPORTS RADIO HOST (O.S.)
...forward Matts Sundin is the sleepiest of all out there. He's a proven NHL talent but, not scoring like the Leafs need him --
Jim pulls into a parking space: "JIM BALSILLIE" and cuts the engine, killing the radio. Jim checks himself in the rearview mirror -- notices something -- turns around... ...sees a limousine unloading well-dressed European business executives into the parking lot...
INT. RECEPTION, SUTHERLAND-SCHULTZ, WATERLOO - DAY
Jim walks enters and turns to the FACTORY FLOOR towards the front desk.
SUTHERLAND-SCHULTZ RECEPTIONIST
Your 9 o'clock is here.
JIM
Where's Brock?
SUTHERLAND-SCHULTZ RECEPTIONIST
His office.
YOUNG BUSINESSMAN
Uh, Mr. Balsillie, you wanted to see this report I --
JIM
Talk to Shelley.
Jim keeps moving, passing Mike and Doug in his office.
INT. JIM'S OFFICE, SUTHERLAND-SCHULTZ, WATERLOO - DAY
Mike and Doug (wearing Sutherland-Schultz visitor name tags) sit opposite Jim's desk. It's a large office with horrific masks of all descriptions hanging on the wall behind a raw mahogany desk and a large picture window looking out over the office.. The easel is now set up with their presentation cards. Doug observes Sutherland-Schultz through the window. It's a bustling mid-90s workplace. Staff buzz around cream cubicles as fax machines chug out mile after mile of thermal paper. Every computer runs Windows '95. Mike practices his speech to himself off his CUE CARDS.
DOUG
I finally understand that quote. When you grow up, your heart dies.
Mike looks up as though he hears something...
DOUG
That's from Breakfast Club. John Hughes.
MIKE
Do you hear that?
We hear it now too. A STATIC DRONE, like the noise of an open channel on a walkie-talkie.
DOUG
Uhh, yeah. Are you talking about that buzzing?
Mike nods.
DOUG
Uh huh, it's an office. I'm sure they've got a million little buzzes.
They listen a beat longer.
DOUG
It's a subtle buzzing.
Mike has found it.
MIKE
There.
It's coming from an INTERCOM on the desk.
DOUG
You've identified it.
Mike picks up the intercom -- sees something --
MIKE
Mmmm.
DOUG
What?
-- shows Doug.
DOUG
"Made in China". The mark of the beast.
Mike clicks open the back of the INTERCOM.
DOUG
Uh... Ummm... Mike?
MIKE
I can't concentrate.
DOUG
And so what? You're going to fix this?
Mike starts unscrewing the intercom --
MIKE
I'm going to fix it.
Mike has got the screws off and the intercom open -- the STATIC is louder without the case to muffle it.
DOUG
Uh. Now's not the time. The meeting starts in like two minutes. Now's not the time. Now's not the time!
MIKE
Okay. I need like a, uh, paperclip.
Mike continues to mess with the INTERCOM.
DOUG
That's a guy's thing. That's a guy's fucking thing.
Doug stands up and checks over his shoulder to see if anyone is watching. Mike has got the screws off and the intercom open -- the STATIC is louder without the case to muffle it.
MIKE
It has no off switch. I mean, it's just always on. It's just always buzzing.
DOUG
Uh huh. Yeah. Um. Oh well -
Doug moves to the easel -- pulls off the paperclip holding their cards together -- hands it to Mike --
DOUG
(whispers)
Yeah, go fast.
INT. BROCK'S OFFICE, SUTHERLAND-SCHULTZ, WATERLOO - DAY
Jim walks in and puts his briefcase on the ground. RICK BROCK (50s, suit and tie) sits behind his desk on the phone.
RICK BROCK
You can tell him he's - He's not going to get steel. Alloys, Harry.
Rick sees Jim at his door.
RICK BROCK
I'll call you back.
Hangs up.
JIM
They're outside.
Rick checks his watch.
RICK BROCK
These guys really are Dutch, huh?
Jim smiles.
JIM
Uh. Listen, Rick, I've thought about this a lot and if these guys take the deal.. I wanna run the new division.
Beat. This took Rick by surprise.
RICK BROCK
Think you can run this place?
JIM
Yes. Yes.
RICK BROCK (O.S.)
Me too.
RICK BROCK
Just so we're clear.. If this thing doesn't go. We never had this conversation.
JIM
Great... Um... Thank you.
Jim begins to collect his briefcase. Rick interrupts him.
RICK BROCK
There's one adjustment. Apparently the Americans offered them some fancy tax-splitting plan. So, we need to show them the Canadian version.
JIM
I don't have that.
RICK BROCK
I know. Callaghan worked out something last minute. We're going to bring him in to explain it.
Jim looks back into the main office -- sees CALLAGHAN (20s, very nerdy, BIG glasses, low status)
JIM
Callaghan. Uh... You know what, I think that's a bad idea.
RICK BROCK
Why's that?
JIM
I'll tell ya what, Rick. Why don't you have Callaghan explain the tax thing to me and I'll just work it into my pitch? I think that's better.
RICK BROCK
Cal was up all night putting this together as a favor to me. He gets to present.
JIM
Rick. I mean.
Callaghan continues going over PRESENTATION NOTES with his ASSISTANT (20s)...
JIM (O.S.)
You're going to have this guy present to Stork? I mean, he looks like a... a fucking... a total goof.
RICK BROCK
Jim, I'm not asking.
Jim looks at Callaghan then back to Rick.
JIM
Okay. Great.
INT. JIM'S OFFICE, SUTHERLAND-SCHULTZ, WATERLOO - DAY -
CONTINUOUS Mike breaks the clip in half and bends it just so -- rips a wire off the intercom -- carefully replaces it with the paperclip, leveraging it against the inside of the ON button. The STATIC stops. Doug sees a man marching towards them...
DOUG
Umm... okay, bald, scary-looking guy walking towards us right now.
INT. HALLWAY, SUTHERLAND-SCHULTZ, WATERLOO - CONTINUOUS
The man is JIM BALSILLIE (35), hurrying down the hallway and bumping into an S-S employee.
JIM
Goddamn it!
INT. JIM'S OFFICE, SUTHERLAND-SCHULTZ, WATERLOO - CONTINUOUS
Mike screws the intercom back together -- puts it down on the desk -- shifts it to a perfect right angle...
INT. HALLWAY, SUTHERLAND-SCHULTZ, WATERLOO - CONTINUOUS
Jim almost spills his COFFEE.
JIM
Watch the fuck out!
INT. JIM'S OFFICE, SUTHERLAND-SCHULTZ, WATERLOO - CONTINUOUS
Doug scrambles to sit back in his seat.
DOUG
Oh shit! Sit down. Sit down.
Mike focuses on the now silent INTERCOM, looks to Doug.
MIKE
Much better.
Jim enters the office, slamming the door behind him. He takes a seat at his desk, collecting himself, looks across at them.
JIM
Yeah. What can I do for ya?
MIKE
Yes. Hi. Uh, I'm Mike Lazaridis, CEO of Research in Motion.
Mike awkwardly hands Jim his business card -- Jim takes it. Mike returns to his cue cards.
MIKE
We create various computer hardware systems using both custom-designed integrated circuits, as well as off- the-shelf components provided by major hardware vendors such as Intel, American Micro Devices, and Cyrix. Our clients have included: U.S. Robotics. Rogers Cantel. RAM Mobile Data--
Jim interrupts and picks up his phone.
JIM
Just a second.
Mike and Doug share a look. Doug motions a thumbs up to Mike.
JIM
(on phone)
Hey you're on Callaghan's desk, right? Okay, great. This is Jim Balsille. Brock wanted me to do a quick proof of that tax stuff before the meeting... could you bring me... Exactly... Okay great, thanks.
Hangs up -- pulse elevates --
JIM
Okay. Uh, what is this?
MIKE
So.. We, we had a shop teacher --
Doug attempts to move the PRESENTATION CARDS dropping them on the ground.
DOUG
(under his breath)
Fuck.
Doug continues to put the PRESENTATION CARDS back together on the easel. Jim watches the pair, unamused.
MIKE
Who told us - Oh. We had a shop teacher in high school named Mr. Micsinszki who told us "the person who puts a computer inside a phone will change the world."Well, we have a plan to piggyback on the unused bandwidth of the UHF spectrum to create an all-in-one mobile device.
Mike pauses -- Jim's intercom DINGS. Intercom light turns on.
SHELLEY (INTERCOM)
Callaghan's Assistant is here to see you?
Jim hits the button.
JIM
Send him in.
CLICK. NO STATIC. Doug nods to Mike. At least that worked. The door opens -- Callaghan's Assistant nervously walks in and hands Jim some documents.
JIM
Great.
Callaghan's assistant doesn't leave.
CALLAGHAN'S ASSISTANT
Sorry, Mr, Balsille. No one, uh. I didn't realize you needed a copy of this tax report --
Jim shoots him a look.
JIM
I'm in a meeting right now.
The Assistant gets it now -- leaves immediately -- Jim flips through the documents with interest... Doug steps in --
DOUG
So, basically, there is a free wireless internet signal all across North America and nobody has figured out how to use it. There's free internet in this room right now. It's like the Force. Sorry, have you seen Star Wars?
JIM
No.
DOUG
So, okay, picture a pager, a cell phone and an email machine all in one thing.
Doug rifles through the PRESENTATION CARDS until he finds the last one -- revealing concept schematics for a clunky smartphone, complete with a full clip-art QWERTY keyboard...
MIKE
Uh, we call it, PocketLink.
Jim hardly pays attention.
JIM
(to the guys)
Okay. Uh listen, we don't do anything like that here. We are a commercial manufacturing company. You want to talk to a VC guy.
...something catches Jim's eye -- Rick Brock passing by with Callaghan and two executives -- Jim picks up the tax notes -- stands --
JIM (O.S.)
And you need a better name.
-- walks out the door -- Beat. Mike puts his face in his hands despondent.
DOUG
You're going to cry?! Mike. Oh, it's just disappointment? You did great!
INT. BOARDROOM, SUTHERLAND-SCHULTZ, WATERLOO - MOMENTS LATER
A huge Sutherland-Schultz logo shines on the wall. Eight members of the Stork board (the Europeans from the limo) sit around a boardroom table. Jim stands in front of them.
JIM
Well, I saw that Rick sent the limo to pick you guys up. We must need this merger worse than I thought.
Rick laughs.
JIM
So...I Know we got a lot to cover, but um, I thought we should start with our tax strategy. Now, I'm sure you heard it from the Americans, but, let me assure you, we also know how to cheat on our taxes here in Canada. Okay?
Laughs from everyone but Rick and Callaghan. Jim starts writing numbers on the whiteboard -- Callaghan looks over at Brock like "what the fuck is he doing?" Brock narrows his eyes.
JIM
Here's what we can do: We run payroll out of Ontario, but we pay all our vendors from The Netherlands. Split that fucker right in half. The left won't know what the right is doing. Plus we get a nice little provincial kickback on manufacturing labor.
Rick sits in a look of disappointment.
JIM (O.S.)
We get a massive federal tex credit because they don't know whether we are private or public.
INT. ELEVATOR, SUTHERLAND-SCHULTZ, WATERLOO - SAME TIME
Mike and Doug wait at the elevator. Doug awkwardly holds their presentation cards. Mike is transfixed with the image of Jim across the office leading the pitch... Ding! The elevator opens. Both get inside. OPENING CREDIT SEQUENCE CONTINUES A cacophony of sounds and images from the mid-1990s
WILLIAM SHATNER AS CAPTAIN KIRK
Beam me aboard.
COMMERCIAL ANNOUNCER
Taken prisoner and held captive within the digital world of the computer itself.
FROM BLADE RUNNER
Hello?
FROM 2001: A SPACE ODYSSEY
Hello?
FROM MIGHTY MORPHIN' POWER RANGERS
So what you're saying is you just touch and talk.
MARIO LOPEZ AS A.C. SLATER
You can use you cellular phone to order me a pizza.
PRIME-CO WOMAN
And that includes fifty minutes of air time.
LITTLE GIRL
We'll page you.
BILL GATES
It's very hip to be on the internet right now.
HACK THE PLANET! HACK THE PLANE--
STEVE JOBS
I still think Apple has a future. The way out is not to slash and burn, it's to innovate.
TITLE CARD: 1996
EXT. STRIP PLAZA, RIM 1, WATERLOO - DAY
Doug's Honda Civic peels into a 2-storey plaza and parks. The lower level is retail, a Supermarket, Shopper's Drug Mart, flower shop and restaurants. Upstairs are professional offices. Dentists, lawyers and one lone tech startup, denoted by a small RIM placard in the window. Mike and Doug get out -- Mike starts walking towards the entrance.
DOUG
Okay, here's what I think. Mike, super simple, hit them with the "good news, bad news" routine. Good news - Bad news routine. They're going to say -
Mike walks ahead of Doug as he gathers the presentation cards from the backseat.
DOUG
Mike! Wait.
Doug catches up to Mike.
DOUG
Everything's going to be fine, we still have the U.S. Robotics deal. We're like... what did the cave say about Aladdin? Diamond in the rough?
Doug stops abruptly.
DOUG
Oh fuck!
MIKE
What?
DOUG
I forgot the easel.
MIKE
Oh, we have to change the name. Product needs a new name.
DOUG
You're giving that guy too much credit man. He hasn't seen Star Wars. He's bald. How much you want to bet they don't even mention the phone?
Mike opens the door...
INT. MAIN OFFICE, RIM 1, WATERLOO - DAY
The office is a disaster. Food wrappers, styrofoam coffee cups, random tools, circuit boards and mechanical drawings strewn all over the place.
PRANAY
Are you Office-Dad? Dude! Make a, make a.. Make a thing. Make a Scott sucks --
The desks are unfinished plywood balanced on cinder blocks.
SCOTT
I can't. I can't. I can't. That's why I'm using your computer.
Some tabletops are just doors taken off their hinges. Five RIM employees ALLAN, ETHAN, SCOTT, PRANAY & STEVE (20s, nerdy) are goofing off instead of soldering circuit boards.
PRANAY
Twenty-One Boy Canada.
ETHAN
That's me. Uh, this guy is telling me about sniffing his, sniffing his --
They all turn in unison as Mike and Doug walk in.
ALLAN
Did they buy the phone?
Beat.
DOUG
So... we got good news and bad news.
Beat.
DOUG
Uh, okay.. The bad news is that -- Yeah, the presentation -- We were not heard and they did not understand the product and so they did not buy the phone.
Beat.
MICHAEL
What was the good news?
ALLAN
What's the good news?
DOUG
Emergency movie night. Right now. Stephen Spielberg's Raiders of the Lost Ark. Letterboxed --
Engineers jump up with excitement simultaneously.
INT. MAIN OFFICE, RIM 1, WATERLOO - LATER
The office is dark. Windows covered. A TV/VCR cart like in elementary school sits at the front of the room playing Indiana Jones: Raiders of the Lost Ark (Widescreen). Above the TV hangs a dot matrix banner: "Movie Night".
INDIANA JONES (O.S.)
You said their headpiece had markings only on one side, are you absolutely sure? Belloq's staff is too long.
The entire RIM staff watch in anticipation as Harrison Ford and John Rhys-Davis realize that Belloq's staff is too short. The whole room shouts in unison with the movie...
EVERYONE
They're digging in the wrong place!
DOUG & ALLAN
Bad dates!
INDIANA JONES (O.S.)
Bad dates.
The only person not having the time of his life is Mike, who sits at his desk at the back of the room trying to work...
PRANAY (O.S.)
Couple of bad dates.
DOUG
Couple bad dates. Couple bad dates.
STEVE
That was there, why'd they go the other one? That was right there.
Mike eats fruit from a Tupperware and brainstorms new names on a legal pad. Byline, Blade, Outrigger...
DOUG (O.S.)
Mike, you're missing your favorite movie, man!
We see a CU of a framed newspaper article from the Waterloo Region Record on the wall beside him. It's a black and white photo of a young Mike and Doug standing next to twin televisions with "ADVERTISE ON ME" scrolling across them. The headline reads "The Drop-Out Boy Genius".
INT. JIM'S OFFICE, SUTHERLAND-SCHULTZ, WATERLOO - EVENING
The lights are off. A JANITOR pushes his cart. One by one Jim takes his masks down from the wall -- sets them carefully in a cardboard box. Jim collapses in his chair. He looks over at the presentation easel -- sees one forgotten slide from Mike and Doug's presentation -- the image of the phone with the keyboard on it...
EXT. STRIP PLAZA, RIM 1, WATERLOO - DAY
Jim pulls into the plaza.
SPORTS RADIO HOST (O.S.)
Toronto wins it by a count of five- to-four. Doug Gilmour had 3 assists. Felix Potvin finished the game with thirty saves including three in the extra period, but obviously the story was...
INT. MAIN OFFICE, RIM 1, WATERLOO - DAY
Mike sits at his desk trying to plug in his NEIKO HILTEX MAGNIFYING LIGHT -- he can't find the right power adapter, but there is chaos in the office. A game of COMMAND & CONQUER is being played.
STEVE
Are they top or bottom left? Send, Send everything, let's take a gamble, let's go for Scott --
MIKE
Anyone have a Type-C Coax?!
SCOTT
They don't even know. I'm not even top left.
DOUG
Scott, you're attacking me!
SCOTT
What?!
DOUG
You're attacking me.
SCOTT
Oh, I'm sorry.
STEVE
Send the dogs in. Send the dogs in. They're rushing --
DOUG
Bottom Right.
SCOTT
I'm sending another, another.
DOUG
Dude, they got rockets! I got run down.
Mike is ignored by the gang, who are too distracted.
MIKE
Anyone have any Type-C Coax cables?
Doug detonates Steve's Command Centre. It's over.
DOUG
Oh, the plungers moving! The plungers moving, dude!
Doug runs to Steve's desk, yanks a CEREMONIAL TOILET PLUNGER off the top of his monitor, the monitor comes with it, smashing on the ground.
DOUG
Come on! Come on! Oh shit! I'm sorry boys but it's back!
Doug slams the plunger down on top of his monitor. It sticks.
DOUG
It's back!
SCOTT (O.S.)
You had them--
DOUG
Back!
The office erupts into cheers and laughter as Jim enters the office. After a moment he clears his throat. Beat.
INT. MIDWAY DINER, WATERLOO - DAY
Mike and Doug sit across from Jim in their usual booth. Waitress #1 places their food on the table.
DOUG
Thank you.
MIKE
Thank you so much.
JIM
Nothing for me, thanks.
Doug holds Jim's BUSINESS CARD -- the phone number for SUTHERLAND-SCHULTZ is scratched out and another is written in pen...
JIM
So, I know how to sell your phone. I know how to market it, and I know who we can sell it to.
MIKE
Who?
Doug looks up from the business card.
DOUG
What do you mean "We"?
JIM
Here's the deal. I will leave my job at Sutherland-Schultz if you make me CEO of Research in Motion.
DOUG
Are you serious?
JIM
That was the worst product pitch I've ever seen in my life. You guys don't stand a chance out there. You need me.
DOUG
Sorry... I don't know who you think you are, but WE, are just fine. We have a sixteen million dollar deal with U.S. Robotics.
JIM
Sixteen million?
DOUG
That's right.
JIM
Wow. Okay and what did they buy?
DOUG
Modems. Ever heard of 'em?
JIM
Are they like The Force in Star Wars?
DOUG
Very funny. You know, your logo literally is SS?
JIM
And how much have they paid you on that 16 million?
MIKE
Yeah, nothing.
JIM
Zero?
DOUG
Nothing yet. We haven't delivered the modems.
Doug looks to Mike.
MIKE
Well, we shipped them product samples months ago. Their accounting department won't even return our phone-calls.
DOUG
(to Mike)
Yeah, but... They're... What's going on? They are going to pay us. We have a sixteen million dollar deal with U.S. Robotics.
JIM
Yeah, so, uh, you guys are getting fucked.
MIKE
Why would you? Why do think? Why do you say that?
JIM
Well because I would do the same thing. Little operation like yours... They know they can withhold payment until the last possible second and then crush you. These guys, they're.. they're pirates.
The Waitress arrives and puts the bill down -- Doug quickly grabs it.
DOUG
Uh huh. We got it. Thank you. Um.
Doug pulls out his wallet -- snaps open the change pouch.
DOUG
How do you know anything? What the fuck do I care.
(to Mike)
How much money do you got?
Mike pulls a random assortment of coins from his pocket and lays them on the table. Jim watches these two titans of business negotiate $2.43.
MIKE (O.S.)
Yeah. Um.
DOUG (O.S.)
How about I get that tip? Two, two fifty?
JIM
Okay. Guys. Here's what I'm going to do. I will give you $20,000, cash, today. I'll sell the phone, I'll work out this problem with USR but I want 50% of the company. And I've gotta be CEO.
Mike looks at Doug like "what do you think?"
DOUG
Are you joking? No. Obviously. No. No.
MIKE
Well, let's think about it
DOUG
Mike?
MIKE
Okay.. Okay.
JIM
Who is in charge here?
MIKE
Oh, I mean, technically--
DOUG
Mike's in charge, and he says no.
MIKE
I am in charge and I say... sorry.
DOUG
You don't need to do what this guy says! We just met him! He's not your dad.
JIM
Okay.
Beat. Jim gets up -- puts down a twenty -- walks out.
MIKE
Thanks. Thank you.
DOUG
Very sassy man, would you say? He had... he had a sass --
MIKE
Modems, ever heard of those or whatever?
DOUG
No, I sassed him too but he sassed me back. And what's he trying to say we don't have our modem deal?
INT. STORAGE ROOM, RIM 1, WATERLOO - DAY
The makeshift storage room in a corner office, is PACKED with boxes labelled MODEMS FOR USR. Floor to ceiling. Mike paces with a phone to his ear... It's RINGING... Mike looks out the door into the office. A few of the guys solder modems while other play DOOM.
USR RECEPTIONIST (O.S.)
U.S. Robotics, how may I direct your call?
MIKE
Uh, yeah. It's Mike Lazaridis... From Research in Motion... We're actually building circuit boards for you guys--
USR RECEPTIONIST (O.S.)
One moment please.
Click. Hold. Mike is distracted from the BLINKING RED LIGHT of their USR V- SERIES MODEM.
CASEY COWELL
Mike, is that you?
MIKE
Yes. Hi. So uh. I was just wondering if it would, if it would be at all possible for us to uh, invoice you for the first half, or, uh third of our um, of your order from us. If... If... Can we, can we invoice you for some, some of our order?
Beat.
CASEY COWELL (O.S.)
(laughing)
What? What?
MIKE
... If that's okay?
CASEY COWELL (O.S.)
Did you not get my fax?
MIKE
Uh. We don't have a fax machine.
CASEY COWELL (O.S.)
Mike... Those modems you sent us back in March. They were defective.
MIKE
I'm sorry, what?
CASEY COWELL (O.S.)
Yeah. They didn't work. We had to cancel the whole order but this was months ago, buddy.
Mike looks to the stack of modems behind him.
CASEY COWELL (O.S.)
I really thought you guys had a fax machine. Hey, I'll tell you what. Why don't you let me make it up to you? I'll have USR send you one, free of charge. On me. Okay?
MIKE
Um. Yeah. Okay. Thanks.
CASEY COWELL (O.S.)
Great, okay, well good luck Mike.
MIKE
Yeah.
CASEY COWELL (O.S.)
Bye bye.
MIKE
Bye.
Click. Mike lowers the phone -- his eyes shift to Doug... They share a look.
DOUG
What?
INT. SMALL CONFERENCE ROOM, RIM 1, WATERLOO - MOMENTS LATER
Doug has clearly received the bad news.
DOUG
Here's what you gotta do. You got to call him back. You gotta Glengarry Glen Ross this guy. You gotta grind him!
MIKE
Yeah. I don't think I can grind him.
DOUG
This is exactly what that Rolex-Guy said was gonna happen, right? He predicted it. What did he say? He said U.S. Robotics are pirates. He was fucking dead on.
Mike looks around the mess on the boardroom desk. Amidst the circuit boards, disassembled electronics and unpaid bills, he finds what he's looking for -- Jim's folded business card. Mike reaches for the phone -- picks it up -- hears the GARBLED TECH BLARE of a dial up modem -- Mike looks into the office and sees Steve with Netscape Navigator open to the Hotwired home page.
MIKE
(to Steve)
Hey. Steve - Steve, I need the phone line.
STEVE
(typing fast in a forum)
Some guy is trying to say Noonian Soong is a Q...
MIKE
Yep thanks..
STEVE (O.S.)
Alright.
DOUG
What are you doing?
MIKE
I think we should take this deal.
DOUG
No. So, you don't get into business with people like this. That guy is sketchy.
MIKE
I think... He's - I don't think he's sketchy.
Doug picks up Jim's business card -- holds it up.
DOUG
His business card is literally SKETCHED OUT!
Mike looks at the card...
DOUG
The guy's a shark.
MIKE
Okay. Do you know.. Do you know who's afraid of sharks? Pirates.
DOUG
Oh fuck.
INT. SMALL CONFERENCE ROOM, RIM 1, WATERLOO - NIGHT
Mike sits across from Doug, phone at his ear.
MIKE
(into receiver)
Um. So uh, we've been talking here and we, uh - We would like to make a counter offer.
Doug mimes a phone.
DOUG
You came crawling back. Like bugs. Like grubs.
It's just a rehearsal...
MIKE
Yeah um, so, we would like to offer you --
Doug covers his mimed phone receiver and whispers to Mike.
DOUG
(Whispering)
Low.
MIKE
Ten percent for five-hundred- thousand dollars.
DOUG
(as Jim)
Are you out of your fucking mind?! I look at a hundred thousand deals a day. I pick one!
(as Doug)
Is that the quote? No.
(as Jim)
I look at a hundred deals a day. I pick one!
(as Doug)
Wall Street.
MIKE
Uh, okay. Uhhh. 25% for $250,000.
DOUG
(as Jim)
50% for fifty bucks!
MIKE
33% for $125,000 and you can run the company with me.
DOUG
(as Doug)
Mike! No! No!!
(as Jim)
Yes, deal.
(back to Doug)
Easy. Dude. It's going to be totally fine. You are going to negotiate this guy to death.
INT. LIVING ROOM, JIM'S TOWNHOUSE, WATERLOO - NIGHT
Jim sits in front of the TV. Leafs vs Canadiens.
HOCKEY ANNOUNCER
Shoots! Right on. Potvin covered. Malakhov? No shot. Turgeon, in too far. Scores!
Leafs down 1-0.
HOCKEY ANNOUNCER
He fooled everybody and banked it in off Potvin.
He eats Ruffles right from the bag. The PHONE RINGS -- Jim picks it up beside him, eyes fixed on the TV...
JIM
Yeah?
Jim keeps staring at the TV.
INT. SMALL CONFERENCE ROOM, RIM 1, WATERLOO - CONTINUOUS
MIKE (O.S.)
Hi Jim! It's Mike Lazaridis from Research in Motion, we met at the office the other day.
Mike waits anxiously for the right moment to "negotiate Jim to deal" -- Doug is keyed up, standing on the desk...
DOUG
(whispering)
Low. Low.
Mike looks up at Doug in a panic. Doug waves him on like "Go! Go!" Mike looks down at his handwritten notes...
MIKE
So. We'd like to offer you 33% of our company for $125,000 and you and I would be Co-CEOs.
Doug shakes his hands like "wtf are you doing you idiot that was our final price, holy shit you just fucked us!!!" Mike covers his face in shame. He fucked up. He really fucked up.
INT. LIVING ROOM, JIM'S TOWNHOUSE, WATERLOO - CONTINUOUS
Beat. Jim is clearly distracted.
JIM
Sure.
Jim hangs up.
INT. SMALL CONFERENCE ROOM, RIM 1, WATERLOO - CONTINUOUS
Mike is completely stunned. Doug waves him out of it. Mike looks up in pure disbelief.
MIKE
Deal.
DOUG
Awesome! Awesome! Dude! Mike!
Doug looks out into the office, sees Scott still working.
DOUG
Scott! Scott! He did it!
SCOTT
What do you mean?
DOUG
Have you not heard anything that's been going on in this room?
EXT. STRIP PLAZA, RIM 1, WATERLOO - DAY
Jim arrives at RIM in his BMW.
INT. SMALL CONFERENCE ROOM, RIM 1, WATERLOO - CONTINUOUS
Mike watches Jim put the roof of his convertible up and get out of his car.
MIKE
Maybe you should tell him about the modems?
DOUG
Oh! Where do you want to put him?
INT. JIM'S OFFICE, RIM 1, WATERLOO - DAY
The storage room has been rearranged to make room for Jim. A DESK IN A BOX sits in the middle of the room with a phone on top of it. Mike and Doug stand at the door as Jim takes it in.
JIM
What the fuck is this?
DOUG
That's uh, yeah, everyone builds their own desk. That's a tradition.
JIM
Yeah. I'm not doing that.
Beat.
MIKE
Um, U.S. Robotics pulled out of the deal.
JIM
Told ya. What's our exposure?
MIKE
...Exposure?
JIM
How much money did you spend on the modems?
MIKE
Oh. One-point-six million.
Jim drops the smile. Doug looks at Mike.
JIM
What?
DOUG
One point what?
MIKE
We spent one-point-six million in materials and labour.
JIM
Where'd you get one-point-six million dollars?
MIKE
I got a loan from the Bank of Montreal.
DOUG (O.S.)
Mike, come on..
-- Jim shouts outside the room --
JIM
Get me U.S. Robotics!
Beat.
DOUG
Uh, sorry, who are you talking to?
MIKE
Yeah?
Jim realizes he doesn't have an assistant here -- picks up the phone himself -- GARBLED TECH SOUND of the modem blares through the speaker -- Jim pulls the phone away.
JIM
What the fuck is that?
MIKE
Oh. It's called a carrier wave.
(beat)
The calling modem is uh --
Jim hangs up the phone -- turns -- scans the main room... ...sees STEVE on his computer, browser open --
JIM
Hey!
Everyone in the office turns around, including Steve... Jim points right at him...
JIM
Get off the fucking internet!
Steve pulls the plug out of the wall and throws his hands in the air as though he's being arrested. Mike hands Jim a USR business card.
MIKE
I think it's Casey.
JIM
Uh huh.
DOUG
(to Steve)
It's going to be fine. It's going to be fine.
Jim dials...
DOUG
(to Jim)
You don't get to talk to our team like that.
(to Mike)
He doesn't get to talk to our team like that.
CLICK.
CASEY COWELL (O.S.)
Mike!
JIM
Hi, actually no, this is Jim Balsillie. I'm CEO here now.
DOUG
Co-CEO.
CASEY COWELL (O.S.)
Okay. Jim, what can I do for ya?
JIM
I wanna talk about these modems.
CASEY COWELL (O.S.)
There's nothing to talk about sadly. We can't accept a defective product.
DOUG
(to Mike)
This is not working --
Mike cuts him off, he wants to listen to the negotiator.
JIM
Let's cut the bullshit here. Two- point-five Million all in for the entire order.
CASEY COWELL (O.S.)
Yeah, no. Can't do it, Jim.
JIM
I'll decimate it for you. One-point- six Million. And if you don't take that I'll turn around and sell them to Rockwell for even less.
Mike and Doug can't believe what they're watching.
MIKE
(whispers to Doug)
Nice negotiation.
Beat.
CASEY COWELL (O.S.)
Okay, how about this. We'll take the modems, if you throw in the patent on Mike's phone.
Jim shoots Mike a look --
JIM
What phone?
CASEY COWELL (O.S.)
I thought we weren't bullshitting each other, Jim? We've been building our own for a year... We want Mikes --
Jim hangs up.
JIM
How long to build a prototype of the phone?
MIKE
PocketLink? Yeah um, a year.
JIM
No, no, no. A prototype Mike. A shell I can wave around in a meeting. It can be a complete piece of shit.
MIKE
No it can't - We're not doing that.
DOUG
Mike's not doing that.
JIM
Listen to me. U.S. Robotics is building their own phone. We're now in a race to get this thing to market and we're a year behind. So I don't care what you need to do, get these fucking nerds to drop everything and build this fucking phone!
The guys turn to see ALLAN at the door... WHAT?
ALLAN
Sorry guys. Um, my girlfriend tried to cash my cheque this morning and it bounced. Um and she said I'm not supposed to come in - allowed - I shouldn't come in here anymore. And she agreed... I won't be coming in here any longer until I'm getting paid.
Jim picks up the phone -- THROWS IT AGAINST THE GROUND -- makes for the exit -- SLAMS the door shut. Mike picks up Jim's destroyed phone -- walks out --
MIKE
I can fix this.
INT. BANK, WATERLOO - DAY
Jim sits across from a BANK MANAGER at her computer.
BANK MANAGER
OK. Research in Motion... Looks like your account has exceeded its overdraft balance.
JIM
Didn't they just deposit a cheque for $125,000 from me?
Typing...
BANK MANAGER
Yes.
Beat.
JIM
Okay... Alright. Um. I have a mortgage with you guys. Can we pull that up please?
BANK MANAGER
Spell your last name please?
JIM
B-a-l-s-i-l-l-i-e
BANK MANAGER
Ball-sillie?
JIM
Balsillie.
INT. MAIN OFFICE, RIM 1, WATERLOO - DAY
Doug, having assembled Jim's desk looks for a chair to pair with it.
DOUG
Anybody going to miss this red chair?
ENGINEERS
No.
ETHAN
You're good.
Jim enters the office with SHELLEY (30), his assistant from Sutherland-Schultz. She follows him with a small box of her belongings. The staff at RIM instantly orient towards her, as if a woman has never been anywhere near this office. Jim holds NEW CHEQUES over his head.
JIM
Alright, everybody! Listen up! From now on cheques will be coming every two weeks. You will come get them from Shelley. This is Shelley.
SHELLEY
Hi.
Jim pushes one of the engineers's desk so it sits outside his corner office.
JIM
Alright. That's you, Shel.
Shelley puts her things down and starts organizing. The staff remain silent and still, unsure of how to behave around her.
JIM
Mike!
Mike picks up Jim's fixed phone and proceeds towards his office, passes Doug.
DOUG
Me too?
MIKE
Yeah sure.
INT. JIM'S OFFICE, RIM 1, WATERLOO - CONTINUOUS
Jim is unpacking his things and plugs in his new INTERCOM (same model as the one in his Sutherland-Schultz office) -- the HISS begins to emanate from the machine as Mike and Doug creep in -- Mike holding Jim's REPAIRED PHONE.
DOUG
Um, sorry, who... so, who is Shelley?
Jim hits a button on his intercom --
JIM
Shelley?
Mike and Doug look at the intercom. Same STATIC HISS...
DOUG
Oh, dude. That thing's haunting you.
JIM
No, I'm motivating you, and don't call me "that thing", I'm your boss.
DOUG
No, you're not.
In walks Shelley.
SHELLEY
Yeah?
JIM
Get me John Woodman at Bell Atlantic.
SHELLEY
You got it.
Shelley leaves.
MIKE
Wait. What are you doing?
JIM
We're selling the phone. Mike. I need a prototype.
MIKE
I told you, I don't, I --
SHELLEY (O.S.)
Connecting you.
RING... STATIC GETTING LOUDER...
JIM
Guys. We are over a million dollars in debt with no assets, no contracts, and no products.
Someone picks up the line.
BELL ASSISTANT (O.S.)
John Woodman's office.
JIM
(changes tone)
Hiiiii. This is Jim Balsillie, CEO of Research in Motion.
DOUG
Co-CEO.
Jim motions to Doug to shut up.
BELL ASSISTANT (O.S.)
One moment please.
JIM
(to Mike)
Okay?
DOUG
No! He said there's no phone!
JIM
I'm not asking you!
JIM
(to Mike)
Mike...?
MIKE
Okay.
DOUG
Okay? Well, what do you mean "okay"? No. No. No. Wait, wait a minute. Wait a minute. Wait a minute. Wait a minute. Wait a minute.
JOHN WOODMAN (O.S.)
John Woodman...
JIM
Mr. Woodman, I am about to make you insanely rich.
Doug can't take it anymore -- reaches out and hangs up the phone -- Jim looks up like "are you ready to die?"
DOUG
Mike does not agree with this.
JIM
He just fucking did!
DOUG
That was duress. Okay? You're manipulating him! It's obvious.
(to Mike)
What do you want me to do? What?
MIKE
So, there's a reason why your intercom is emitting white noise. It's because it was manufactured in China by engineers who didn't care, and now every office in the world has to suffer an annoying hiss, a blinking red light, fifteen different power cords that are utterly incompatible with one another. So, uh. We are not doing that. We are not just adding to the hiss. I will build a prototype, but I'll do it perfectly or I don't do it.
JIM
Mike, are you familiar with the saying "Perfect is the enemy of good?"
MIKE
Well, "Good Enough" is the enemy of humanity.
Beat. Mike leaves, having made his point. Doug follows. Jim waits a beat... ...hits the intercom --
JIM
Shelley, get John Woodman back on please.
INT. MAIN OFFICE, RIM 1, WATERLOO - MOMENTS LATER
Mike and Doug sit with the boys. Doug is hyped.
DOUG
...So I reach out, hang up the phone. He looks up at me like "are you ready to die?"
Laughter from the group.
DOUG
No, no, no, and I'm prepared to die on it, right? Mike steps in between us, brings the glasses down and goes "bitch, I tell you when you when we set the god damn meeting". And he backs off.
The guys are impressed. Jim enters. He's putting on his blazer to leave for the day.
JIM
Alright. Woodman wants to see it. We're going to Bell Atlantic tomorrow.
MIKE
What? What?
JIM
New York City. Tomorrow.
DOUG
But. He said--
JIM
You've got until 8am.
MIKE
...to do what?
Jim turns and walks out. The room is stunned silent.
PRANAY
So you didn't call him a bitch, did you?
DOUG
Okay, new plan, everybody we are all going to chip in and build this thing tonight. Okay.
Mike stands up -- goes to his desk. BUILDING MONTAGE BEGINS
INT. NUTECH ELECTRONICS, WATERLOO - DAY
Mike and Doug look around at all kinds of hardware and electronic gak.
MIKE
Alright. Give me a fillmore toggle switch, give me a 33 PF--
DOUG
Yeah.
Mike compares a few SPEAK AND SPELLS, VTECH WHIZ-KIDS, and anything else he can find with keyboards, letters or numbers.
MIKE
I think it's like, something kind of like a hybrid of one. So, I like the look of--
Doug is distracted looking at two different TMNT figurines.
EXT. TOYS'R'US, WATERLOO - DAY
Mike and Doug rush to the car with bags full of gear.
INT. SMALL CONFERENCE ROOM, RIM 1, WATERLOO - DAY
Ethan and Scott waste time.
ETHAN
I thought you were playing Civ.
Mike and Doug enter the office with the goods.
DOUG
We're back!
- They rip open boxes and take toys apart. - They separate everything into piles; circuit boards, keypads, wires, plastic and metal frames, displays...
MIKE
What feels better?
DOUG
That's why to me, like, remote controls, things that people are used to touching, and the buttons need to be small enough that --
- Doug and Scott look over Ethan's shoulder at his computer monitor.
SCOTT
Nero connection lost it's --
- Scott heads out for the night.
DOUG
Taking off?
SCOTT
Yeah. I'll see you guys tomorrow?
DOUG
Uh, yeah.
- Doug and Mike look at the print out together, mull it over.
MIKE
So, add in the lithium ion--
- Mike works on the hardware/casing. - Mike looks over Doug's shoulder as he solders.
DOUG
Still hot. Still hot. You're good.
Montage Ends
INT. MAIN OFFICE, RIM 1, WATERLOO - EARLY MORNING
Doug is asleep on the conference table. A CAR HORN HONKS from outside. Doug shoots up.
DOUG
(groggy)
I had a dream we were rich.
Mike, still awake, opens the blinds revealing the early morning sun and Jim waiting outside his BMW. Jim honks again. Doug rolls over to see what Mike did while he was asleep -- his eyes light up -- he picks up THE PROTOTYPE -- stares at it. We can only see the back of it in his hands.
DOUG
"And sometimes my dreams occur exactly as I dreamt them."
JIM
(from the car)
MIKE! LETS GO!
MIKE
What's that from?
DOUG
Dune.
EXT. STRIP PLAZA, RIM 1, WATERLOO - MOMENTS LATER
Mike emerges from the building clutching a heavy-duty carrying case. Jim's in the driver's seat with the engine running. Mike leans in the passenger window, sees a TAILORED SUIT draped across the seat in a garment bag.
JIM
You'll get dressed at the airport.
MIKE
Thank you. Um, should Doug come with us or...?
JIM
No.
MIKE
Cause... He has a lot to do with this.
JIM
He's a goof. Get in the car.
MIKE
I think he really wants to come.
JIM
Lemme tell you the best advice I ever got at Harvard. If you want to be great, you need to sacrifice. And the more painful the sacrifice, the greater you'll be.
MIKE
He's my best friend.
JIM
Okay great, I saw him put a toilet plunger on a computer.
Doug watches from the window as Mike gets into the car and closes the door.
INT. GATE 36, PEARSON AIRPORT, TORONTO - DAY
Mike and Jim sit at the gate with the other travelers waiting to board. Mike, wearing his new suit, sleeps.
INTERCOMM (O.S.)
Attention passengers on flight AC42 to New York. Your flight is now boarding.
Jim elbows Mike awake.
JIM
Mike.
Mike jolts up dropping the prototype case.
JIM
Oh, Mike.
EXT. JFK INTERNATIONAL AIRPORT, NYC - DAY
Mike and Jim emerge from the terminal. Mike moves awkwardly in his new shoes, clutching the prototype close to his body. Jim hails a taxi. They climb in.
INT. CAB, NYC - LATER
Mike excitedly raps on the prototype case, looking out the window at the big city-- he takes out a Tupperware of fruit -- starts eating -- drops a piece of fruit on his shirt, leaving a dark stain -- he tries to rub it out -- Jim watches in dismay...
JIM
So, if you hear me crinkling a piece of paper, that means stop talking.
MIKE
Like, in general or...?
JIM
No. In the pitch.
MIKE
Oh. Yeah. Gotcha.
Jim notices the car is moving too slow for him.
JIM
(to driver)
Hey, we gotta move here, man! My wife's in labour. Let's go.
The driver floors it! Mike looks at Jim, evaluating his feelings about that lie...
MIKE
May I ask why your business card had the phone number crossed out?
JIM
I have no idea what you're talking about.
Beat.
MIKE
Hey, let's make a deal, okay? You and I never lie to each other.
The cab stops.
JIM
Sure. I didn't quit my job. I was fired. I just mortgaged my house to pay our staff. So, if this doesn't work out, I'm fucked.
Beat.
MIKE
Why'd they fire you?
JIM
'Cause they're idiots.
Jim gets out... Mike follows.. Forgetting the prototype case in the taxi.
INT. RECEPTION, BELL ATLANTIC HQ, NYC - DAY
Elevator doors open onto the 80th floor -- Jim and Mike exit. The BELL ASSISTANT greets them.
BELL ASSISTANT
Hi. Research in Motion?
JIM
How are ya?
BELL ASSISTANT
Fantastic. Can I get you anything? Coffee? Water?
JIM
We're good. We're good.
BELL ASSISTANT
Okay. They'll be with you shortly.
MIKE
Okay. Thank you.
BELL ASSISTANT
Alright.
The Assistant directs them towards a small waiting area. Mike nervously raps on his legs -- stops -- looks down. Suddenly Mike becomes panicked -- he looks around --
MIKE
Jim...
JIM
No. No. No. No. Never take the drinks. Thirst is a display of weakness.
MIKE
No. I may have forgotten the phone...
JIM
Please tell me you're joking.
MIKE
No I'm completely serious.
JIM
Fuck!
Jim realizes he's making a scene -- drags Mike back to the elevator bank...
JIM
Alright, here's what we're going to do. I need you to draw out a little sketch. Something that shows the keyboard just like you did in my office --
-- Jim walks over to the Assistant --
JIM
Excuse me miss, could I trouble you for a pen and paper please?
DING. The elevator opens and Mike goes inside. Jim turns around just in time to see the doors close behind Mike.
BELL ASSISTANT
They're ready for you.
JIM
Great.
INT. BOARDROOM, BELL ATLANTIC HQ, NYC - CONTINUOUS
The room is PACKED with Executives. CEO JOHN WOODMAN (late 50s, no tie) sits dead centre.
JOHN WOODMAN
Oh wait, wait. Here he is. Hey.
JIM
Hi.
JOHN WOODMAN
Hi.
JIM
How are you?
JOHN WOODMAN
Good. Good. We uh, are we waiting for anyone?
Jim looks back to John --
JIM
I'm alone.
JOHN WOODMAN
Okay.
JIM
Good.
(beat)
Alright, guys. Here's how I see it. I know your marketing team tells you that you sell togetherness - family, "staying connected" whatever. But, let's be honest, you sell minutes. Period. I mean, your market is minutes. So, your biggest competitor isn't other cell phone companies, it's home phones and office phones. Those are free minutes. Those are wasted minutes. So, how do we get those minutes back?
Jim lets the question hang in the air.
JIM
We reinvent the cell phone. We put a computer in it. We put the internet in it. We make your cellphone so fucking useful that you never have to come to the office again. Does email, text messaging, however you want to communicate. Total individualism all in one device, that fits in your fist.
Jim thinks he has them, is moving in for the kill.
JIM
So, you can tell your marketing team you're not selling togetherness anymore. You're selling self reliance.
But John seems a bit bored, he and the execs share a look.
JOHN WOODMAN
Uh, you are not a tech guy, are ya?
JIM
I'm not a -- ?
JOHN WOODMAN
The whole world, the whole fucking world is trying to do emails on a cell phone. We had an entire devision working on it for, I don't know, eight months or so? You know how many phones they got to at the same time?
Jim is frozen.
JOHN WOODMAN
Eleven. It's a network that's built for pagers. That's all it can do. You're in La La land on this one, kid. I think, you know, some nerds took you for a ride.
The walls close in around Jim. Outta options. Backed into a corner...
JIM
Okay.
Knock knock knock. Jim turns to see Mike outside the glass of the boardroom, out of breath -- Mike points at the prototype with a big smile -- Jim marches at him with embarrassment -- Jim opens the door a crack for a private exchange with Mike...
JIM
Mike...
MIKE
What happened?
JIM
It won't work.
MIKE
What do you mean it won't work?
JIM
Mike. They tried it already.
MIKE
(to the room)
How did you try this already?
JOHN WOODMAN
Hey guys, I think the meeting is over.
MIKE
Did you just put your devices directly on the network as though they were clients?
JOHN WOODMAN
...That's right.
MIKE
Yeah. Right and so what'd you get, like ten phones working at the same time?
Beat. That earned him their attention.
JOHN WOODMAN
Uh.. yeah..
Mike hands Jim the prototype box --
MIKE
(to Jim)
Here, just hold this a second.
-- walks over to the whiteboard --
MIKE
Okay so, here's your issue: When you use a phone as a client, what's it doing? It's just sitting on your network, constantly asking the same question "Did I get an email? Did I get an email? Did I get an email?" So it is forever pulling on your servers whether you got an email or not. We have a fix, okay?
All at once Mike has gathered his breath and command of the room. He turns to face the whiteboard him and starts drawing.
MIKE
So we are going to build, a giant computer, that will act as a sort of massive client, that is hard wired directly to the internet with our phone as server. Okay?
Mike draws a few more details.
MIKE
So, when a user gets an email, Waterloo pulls it in, packages it, and then sends it.
He draws multiple arrows between Waterloo and his phone diagram.
MIKE
We engage with your network, maybe a split second, like...
Mike snaps.
MIKE
Less time than that.
John is under Mike's spell.
JOHN WOODMAN
So how much - sorry - how many --
MIKE
So a month's worth of traffic would be less bandwidth than a local phone call. So you could have half a million devices working simultaneously.
The room is stunned, waits for John's next move.
JOHN WOODMAN
Can we see it?
Jim opens the prototype case -- hands it to John --
MIKE
So it's a prototype. It's a long way off from, uh, oh it's just a long way off. It's a prototype.
JOHN WOODMAN
Well it's definitely the world's largest pager.
Laughs from his team.
MIKE
No, it's actually the world's smallest email terminal.
John looks to Mike.
JOHN WOODMAN
Oh.
Mike hiccups.
MIKE
Sorry.
John shuts up -- looks down at the device like a precious jewel. We finally get to see the ramshackle beta of the first smartphone... It's awesome. Frankenstein's monster but put together with true precision. John clicks the makeshift keyboard with one hand, causing text to appear faintly on the screen...
JOHN WOODMAN
I see, this is uh... Oh this, this...? Yeah.
Mike motions to him, to hold it in both hands.
MIKE
Uh. So. Try it with your thumbs, try typing with your thumbs.
John gets it now.
JOHN WOODMAN
Oh yeah.
He types some more.
JOHN WOODMAN
What do you call it?
Oh shit... the name... Jim looks at Mike -- sees the stain on his shirt... NEWS MONTAGE #1 (1996-2003) BEGINS
OPRAH
It's called a BlackBerry! It sends and receives email messages. It is also a cell-phone.
Shots of the BlackBerry device as depicted on Oprah. This footage is intercut with home movie footage of Mike, Doug and the Engineering team in the newer, larger and much nicer RIM offices. It is a joyous time, filled with excitement, optimism and hope. TITLE CARD: 2003
EXT. RIM 2, PARKING LOT - DAY
Jim approaches the new RIM offices in his Porsche convertible.
PARKING ATTENDANT 1
Morning Mr. Balsillie.
The gate arm raises allowing Jim to drive through to his parking spot. Jim pulls into a spot marked "JIM BALSILLIE Co-CEO." MONTAGE ENDS
EXT. PARKING LOT, RIM 2, WATERLOO - MOMENTS LATER
Jim gets out of his car -- walks towards the front doors...
INT. ATRIUM, RIM 2, WATERLOO - CONTINUOUS
Jim enters the bustling lobby with authority. Staff scurry back and forth through the atrium.
RIM EMPLOYEE 1
Morning Mr. Balsillie.
Big placards on the wall have a huge image of the BLACKBERRY 957 with "Meet Your New Partner" written under it. A receptionist, PEGGY (20s) smiles at Jim from behind the reception desk.
PEGGY
Good morning Mr. Balsillie.
Shelley looks up from behind the desk -- stands up and walks towards Jim with fresh copies of The Wall Street Journal, Report on Business and The New York Times.
JIM
Mike's here before me?
SHELLEY
He didn't leave last night.
Shelley hands Jim the Wall Street Journal.
SHELLEY
You are mentioned on page nine.
Jim flips to it.
SHELLEY
Carl Yankowski from Palm Pilot keeps calling.
JIM
Yeah. Well. Tell him if he wants to talk to me he can come to Waterloo.
Shelley jots it all down on her BlackBerry 957 as she follows Jim.
SHELLEY
That's what I said. Ted Rogers wants to have lunch in the city. He booked Canoe.
People subtly clear the way as he enters the hallway. He's indestructible.
JIM
No. I'm not going to fucking Toronto unless there's a game. Oh, and call Gary Bettman's office about those Leaf tickets. Fucker tried to stick me in the third row.
SHELLEY
Fucker, third row, got it.
INT. ENGINEERING DEPARTMENT, RIM 2, WATERLOO - DAY
Mike turns to the back corner of the room.
MIKE
(shouting)
Alright. Try one-fourteen and one- fourteen!
Allan, exhausted, types into a screen of code...
ALLAN
Go for 1-1-4.
MIKE
Okay. Sending.
Mike clicks SEND. The icon spins... Mike and Doug stand together in the middle of the room, flanked by 15 other young engineers, all tired and bleary eyed. They collectively stare between the BlackBerry 957 in Mike's hands and the one on the desk beneath them where we see a Beta version of BlackBerry Messenger with a spinning icon. It's thinking... Message sending.. This new engineering department is WAY cleaner and WAY bigger than RIM 1. The same posters from their first office are now in glass frames and dozens more have been added. Gone are the makeshift plywood desks, replaced with sleek, modern office furniture. But the vibe remains the same. It seems to be taking forever, but there's still hope and then -- -- a BBM PING -- Doug looks to Mike... The room erupts. Engineers are jumping on desks and hugging and crying with the mania of a successful all-nighter.
DOUG
Oh my God. Oh my God. Oh my God. Mike. Oh my God. Boys! Oh my god. Done. Done. Yes! Come on.
Doug hugs Mike. Mike is ecstatic. True joy. He can't contain it. Everyone in the room starts jumping together -- until they notice someone in the doorway... ...and self-consciously stop celebrating in the face of Jim.
MIKE
Hey Jim, we uh... we built a messenger.
Jim walks over to Mike's outstretched hand holding his BlackBerry -- sees what the fuss is about...
MIKE
Fully encrypted two-way messaging that is absolutely inaccessible by anyone including us. It is Untrackable. Untraceable. Unhackable.
JIM
(dismissive)
It's texting.
DOUG
No. Do you know how much it costs to send a text message?
JIM
Yeah. Ten cents and the network gets every penny. We're never going to see that money.
MIKE
Right, but these texts are sent via data. So, behind the network's back. Which means...
JIM
Unlimited free texting.. Only on BlackBerry.
Jim looks around the room.
JIM
Fuck yes!
Jim starts high-fiving the room. They love it.
DOUG
Hey! Hey hey hey!
JIM
Fuck yes!
MUSIC CUE: Return of the Mack by Mark Morrison blares off of Doug's Winamp. It's a fucking party.
MIKE
I sent the message that Alexander Bell sent to his assistant, Watson come here that's what --
Jim can't nerd out with Mike and tries to settle him.
JIM
Let's just.. let's just--
Jim dances awkwardly, trying to celebrate with these guys. Doug notices. They nod to one another in a moment of "you're okay". We focus on CARL YANKOWSKI (60, nice suit) standing in the doorway of the Engineering Department. Shelley, flustered, stands behind him.
YANKOWSKI
What the hell are you guys doing?
Everyone turns to Yankowski. Doug turns off the music.
JIM
Sorry - who are you?
YANKOWSKI
You said if I wanted to talk I had to come to Waterloo. So, here I am.
The engineers look confused.
JIM
Gentlemen. Meet Carl Yankowski of Palm Pilot.
MIKE
Oh. Really?
DOUG
Booooooo!
JIM
Doug.
DOUG
How ya doing?
INT. MIDWAY DINER, WATERLOO - DAY
Mike and Jim sit across from Yankowski.
YANKOWSKI
...so I just said three words. "Two. Litre. Bottle." You know what they said? They said "Carl, NOBODY drinks two litres of Mountain Dew." I mean, they didn't see what I saw: Large pizza, BIG soda, complete dinner. We sold a billion litres in a month.
Yankowski notices Mike, looking down, both hands under the table, where he texts with Doug. Mike (BBM) to Doug: This guy is insane.
YANKOWSKI
You playing with yourself under there, Mikey?
Mike looks up, confused.
YANKOWSKI
Alright. Let's clear the air here. I had nothing to do with U.S. Robotics trying to bankrupt you back in '96 - defective modems, working modems... Were they defective? It was a hundred years ago. Who's to say?
MIKE
Me.
Yankowski points to Mike in agreement.
YANKOWSKI
Exactly. Here's what we do. Combine BlackBerry and Palm Pilot. One product. It's the two-litre-bottle of smartphones.
MIKE
Would I still have complete control over every aspect of engineering and design?
YANKOWSKI
No.
MIKE
Okay well, it's going to be uh - we won't be able to move ahead with this. I'm, I'm... sorry. Sorry.
Yankowski takes out his PALM PILOT 7 -- extends the built-in antenna -- starts TAPPING on the screen with a stylus...
YANKOWSKI
You guys love saying "sorry", don't you? Okay. Let's see what you closed at? Four-dollars-and-fifty cents. Oh god is that Canadian?
Mike sees "Made in China" on the back of the PalmPilot.
YANKOWSKI
U.S. Robotics? Eighty-three dollars. Now, that gives us a market cap of about...
YANKOWSKI
forty-five billion. So what would happen if I just... I don't know, bought up all your shares? Oh, what's the word for that again, sport? Hostile Takeover.
Jim doesn't flinch. Mike starts to panic.
MIKE
(to Jim)
Hostile takeover? What the fuck? What is happening? We would just say - We could just say no. We, we own the company --
CRINKLE CRINKLE CRINKLE. Mike stops mid sentence, distracted by a sound -- he looks down at Jim balling up the PAPER MENU.
JIM
You know, Carl. You got a deal.
Mike bites his tongue.
CARL YANKOWSKI
Yeah?
JIM
Yeah. Give us a couple months to get our people taken care of and then we'll uh, agree to a private sale.
MIKE
Wait, just uh --
Mike raises a finger to interject. Jim puts his hand up beside him.
JIM
Mike. It's okay. It's okay. It's better to get rich now than fight this guy in court for the next five years.
YANKOWSKI
That's right. You know, I like you.
Mike can't speak. It's his nightmare. Jim gestures to the TV.
JIM
You like hockey?
YANKOWSKI
God no. It's moronic. You?
JIM
Hate it.
INT. ENGINEERING DEPARTMENT, RIM 2, WATERLOO - DAY
Doug sits with the engineers. They're watching John Carpenter's They Live. The "Movie Night" banner hangs over the projector screen. They eat pizza from Supreme 2 for 1 Pizza and Wings. Allan sleeps on a desk. Using a slice of pizza, Doug points at the screen.
RODDY PIPER (ON TV)
I have come here to chew bubblegum and kick ass.. and I'm all out of bubblegum.
DOUG
They based Duke Nukem on this guy. Like, that is Duke Nukem for real.
The LIGHTS COME ON -- Jim and Mike walk through the door.
JIM
Okay. Party's over.
DOUG
What?
JIM
Listen up. Turn that thing off please.
Ethan and Allan attempt to shut the projector off.
JIM
Turn it off. You guys having fun? Because we are about to lose our fucking company.
DOUG
What the hell happened at this lunch?
The light from the projector shines in Jim's eyes.
JIM
Turn that fucking thing off!
INT. ENGINEERING DEPARTMENT, RIM 2, WATERLOO - LATER
Jim stands in front of the engineers, clearly having just delivered big news. Mike stands beside him, crestfallen.
JIM
Okay?
You could hear a pin drop. Doug raises his hand.
JIM
Yeah. Doug.
DOUG
So. My question's actually for Mike. How are we supposed to sell another five hundred thousand phones when we're already maxed on every network we're on?
Mike doesn't look up -- he just shakes his miserable head.
JIM
You guys will figure it out.
Doug raises his hand again.
DOUG
How - how? If we put more phones on these networks they are going to crash. Period. We are not allowed to sell more phones. Mike?
JIM
No. You don't worry about what's allowed. I say what's allowed.
DOUG
I don't even understand what the problem is here. Who cares if this guy wants to buy our company, isn't that good?
JIM
I fucking care. That's who cares. I care. I'm trying to keep this company together, you fuck.
DOUG
I'm sorry. Do you even know what a network limit load is?
Mike motions Doug to stop.
MIKE
Doug.
JIM
(to Mike)
Talk to me outside for a second?
Jim leads the way to the door. Mike gives Doug one more look of "please shut up".
DOUG
What?!
Mike follows Jim to the hallway --
INT. HALLWAY, ENGINEERING DEPARTMENT, RIM 2 - CONTINUOUS
JIM
What's a Network Limit Load?
MIKE
This is impossible.
JIM
Well what are we supposed to fucking do Mike? Either we jack our stock to the moon or Yankowski fucks us.
MIKE
Doug is right. Unless the carriers rebuild their entire networks there's nothing we can do. The phones use too much data.
JIM
Well then fucking shrink it?
MIKE
Yeah. Okay. We, we looked into that...
JIM
...Uh huh?
MIKE
(whispering)
These guys can't do it.
Mike looks past Jim to the room of engineers. They've formed a little circle around a game of Magic: The Gathering.
JIM
What do you mean, they can't do it? You said they were the best engineers in the world.
MIKE
I said they were the best engineers in Canada.
Beat.
JIM
Okay. Alright. Who could do it.
MIKE
Maybe top guys from Motorola or Microsoft or Google...
Jim pulls out his BlackBerry and opens the notes app -- starts typing.
JIM
Okay.
MIKE
What, what, what are you doing?
JIM
Who else? Where else?
DOUG (O.S)
(muffled through glass)
John Carmack!
Jim and Mike turn to Doug, who's standing on the other side of the glass door, trying to listen in.
DOUG
(muffled)
Get John Carmack! From I.D. Can you guys hear me? The guy who made Doom?
Jim looks at Mike.
JIM
What's Doom?
MIKE
Have you played Wolfenstein?
Jim is not impressed.
MIKE
Just please don't sell anymore phones.
Jim walks away.
DOUG
Can you hear me?
MIKE
Yes! YES!
DOUG
Oh. Shit.
INT. SALES ROOM, RIM 2, WATERLOO - DAY
A room of ten young salesmen with the exact opposite vibe of the engineers. If those were budding Mikes, these are wannabe Jims. Muscular, sharply dressed, and with great hair cuts. They're relaxing as though they're in a locker room. Stereo blasting. One bounces a ball against a wall; another lifts weights with a spotter. A whiteboard on the wall has everyone's names with their sales numbers listed.
MARK GUIBERT (O.S.)
What the fuck!
JUSTIN FABIAN
Look at this. I'm on fire.
MARK GUIBERT
Lefty. Lefty. Lefty.
Suddenly Jim marches in. Instant quiet. Presence of the Master. Mark stands up and turns off the stereo.
JIM
Alright! Listen up, you dead-eyed dumb fucks.
Jim tosses a box at DON MCMURTRY throwing him off balance on his chair. The room sits up -- shares looks with one another.
JIM
Sorry to cut your little vacation short here, but we got some product to move.
Murmurs.
DON MCMURTRY (O.S.)
What product can we move?
JIM
I'm sorry. What's that?
DON MCMURTRY
Well.. I thought the engineers said.. We maxxed out uh, our networks?
JIM
Yeah. They did, yeah and that's their fucking problem, okay? Your problem is you need to sell a million BlackBerries before Q3.
Bombshell news. Jim gestures to the wall of boxes. The salesman laugh until they realize Jim's not joking.
JUSTIN FABIAN
Uhhh..
JIM
(Mocking Justin)
Uhh. Uhh. Uh.
Beat.
JIM
I'm not fucking joking.
Jim silences them with a look.
JIM
I want 'em gone.
Jim leaves the room. The guys scramble to get their suits and get out the door.
EXT. RUNWAY, PEARSON INTERNATIONAL AIRPORT, TORONTO - DAY
Jim runs up the steps of RIM's (rented) Westwind Jet.
INT. WESTWIND JET, TORONTO - DAY
Jim waits for take off. Email Ping! Email from Yankowski: How about the name PalmBerry?
EXT. GOOGLE HQ, CA - DAY
Jim walks through the Google Campus with his head held high.
INT. PAUL STANNOS' OFFICE, GOOGLE HQ, MOUNTAIN VIEW, CA - DAY
Jim sits across the desk from PAUL STANNOS (46, BIG glasses), the name plate on his desk reads "Head of Physical Engineering". Paul holds a brand new BlackBerry -- still in the box --
PAUL
Actually, we're talking about banning these.
JIM
Banning?
PAUL
Nobody pays attention to meetings anymore. They're crouched over..
JIM
Tell them to stop.
PAUL
Okay. We call them CrackBerries.
JIM
Come work for me.
PAUL
I can't.
JIM
Why?
PAUL
Because I am under contract here.
JIM
How much to break it?
PAUL
Excuse me?
JIM
How much money do you want to break your contract with Google?
Paul gets up nervously -- walks to the door -- closes it.
JIM
I'll give you a million dollars if you sign right now.
Paul rushes over to his computer -- unplugs it.
PAUL
(whispering)
I am not moving to Canada. We are not having this conversation.
Jim is surprised his number didn't move the dial.
JIM
Two million.
PAUL
Stop.
JIM
Three million.
PAUL
I need you to leave.
Jim isn't going to lose -- goes for it...
JIM
Ten million.
Beat.
PAUL
Well, you don't have ten million dollars.
Jim takes a contract out of his suitcase -- starts amending it by hand...
JIM
This... is a million dollar option deal. I will backdate that to when RIM was trading at a dollar. Merrill just gave us a target of 13.
Jim hands it over. Paul looks down at the contract.
PAUL
Is this legal?
SELLING/RECRUITING MONTAGE BEGINS
INT/EXT. AIRPORT HANGER - DAY
Jim marches towards his private plane through an operating machine shop, looking like he owns the place. It's loud. His BB rings -- looks at it -- picks up...
JIM
Carl!
CARL YANKOWSKI (O.S.)
PalmBerry!
JIM
Eh, listen, I can barely hear you buddy!
CARL YANKOWSKI (O.S.)
I said PalmBerry. Isn't that great?
JIM
Listen uh, I'm getting some static on the line. Can I call you back?
CARL YANKOWSKI (O.S.)
Jim, I can barely hear you. Jim.
Jim holds the phone up towards the loud engine --
CARL YANKOWSKI (O.S.)
JIM
What? Carl? Okay, I'll call
Jim, speak up. you later. He cuts himself off by hanging up -- puts his phone away and waltzes up the steps of his plane...
INT. RIM'S RENTED WESTWIND JET, 35,000 FEET - DAY
Jim reads an email from Accounting: Just confirming Jim... 10m in stock to Paul Stannos? Jim replies: Do it.
INT. NOC (NETWORK OPERATIONS CENTRE), RIM 2 - DAY
Close on a computer screen showing the BlackBerry network usage tick upwards...
INT. ENGINEERING DEPARTMENT, RIM 2, WATERLOO - DAY
Mike and Doug deep in conversation in the engineering department.
PAUL
Mike Lazaridis?
Paul Stannos stands at the door to engineering with a box of personal belongings.
MIKE
If Jim fired you, I can't undo it! I'm sorry. I've tried.
PAUL
No, No. I, just got hired. It's Paul.
DOUG
How ya doing? Welcome! Where are ya coming from?
PAUL
Uh, Google.
DOUG
Nice! What'd, what'd you do?
PAUL
I was the uh, Head of Physical Engineering.
The guys look around impressed.
EXT. AIRPORT HANGER - DAY
Jim struts into the airport hanger.
JIM (O.S.)
You are not salesman anymore. You're male models.
INT. RACQUET CLUB - DAY
Fabian plays tennis.
JIM (O.S.)
I want you at every Country Club, Yacht Club, Tennis Club. Wherever the elite go, you go.
Fabian checks his BlackBerry.
JIM (O.S.)
I want them to see you using it. Be big--
INT. COUNTRY CLUB - DAY
Mark smokes a cigar while checking his Blackberry.
JIM (O.S.)
Be LOUD. Have them thinking, who is this annoying prick? And how can I be more like him?
INT. TAILORS - DAY
McMurtry gets his suit fitted. He types on his BlackBerry.
TAILOR
What is that?
JIM (O.S.)
And when they ask you--
JIM (O.S.)
Don't say it's a phone that does email... It's not a cell phone... It's a status symbol.
EXT. TARMAC, WASHINGTON AIRPORT DAY
Jim hustles down the steps of his plane.
EXT. MICROSOFT, WASHINGTON - DAY
Jim arrives at Microsoft. Makes a deal.
INT. OFFICE BUILDING - DAY
Jim making deals and shaking hands.
INT. COUNTRY CLUB - NIGHT
Mark being showered with business cards.
MARK GUIBERT
Anybody else? Anybody else? Alright.
INT. SALES ROOM, RIM 2, WATERLOO - DAY
Mark hands Austin more business cards.
AUSTIN
Hi. I'm calling on behalf of BlackBerry. I heard that you're interested in buying some of the quarks for your corporation.
INT. NOC (NETWORK OPERATIONS CENTRE), RIM 2 - CONTINUOUS
Network ticking up yellow.
INT. RACQUET CLUB - DAY
Fabian schmoozes with the other players.
INT. SALES ROOM, RIM 2, WATERLOO - DAY
Fabian shows off his collection of business cards and gives them to Austin.
INT. NOC (NETWORK OPERATIONS CENTRE), RIM 2 - DAY
Allan monitors the network ticking up yellow.
INT. TAILORS - DAY
The BlackBerry on the tailor's desk catches a customer's eye.
INT. SALES ROOM, RIM 2, WATERLOO - DAY
Business cards pile up on Austin's desk.
INT. NOC (NETWORK OPERATIONS CENTRE), RIM 2 - DAY
The network monitor has ticked up into the RED ZONE. MONTAGE ENDS FOX 5 NEWS FOOTAGE:
FOX REPORTER
It's 7:55. We are back with Fox 5 Consumer news. A global BlackBerry crisis this morning. The company says it's experiencing massive service interruptions.
FOX REPORTER
The company's help line says, users can expect delays in sending and receiving messages.
ENGINEERING DEPARTMENT, RIM 2, WATERLOO - DAY Everyone is going crazy trying to figure out what happened to their traffic. Doug handles the phones.
DOUG
(on the phone)
Yes. Yes. We are aware of the problem and uh, we are.. We are sorting it out right now. I'll call you back.
Doug hangs up. Engineers are scrambling. It's pure chaos.
DOUG
What's happening man?
SCOTT
It's all down there!
PRANAY
Are we totally fucked?
Mike leans out from the NOC door -- HEY. QUIET! They shut up. Mike slams the NOC door shut.
DOUG
Let, let, let, let's just keep it down out here guys... for a second.
INT. NOC (NETWORK OPERATIONS CENTRE), RIM 2 - CONTINUOUS
Mike closes the door and joins Network Engineer Allan Lewis -- he's sitting in front of A SINGLE LAPTOP in the middle of the room.
MIKE
How many are down?
ALLAN
Maybe... ten thousand?
MIKE
Jesus. Okay. Okay. Okay.
RIINNG! Mike picks up his BlackBerry.
MIKE
Yeah, hello?
AUTOMATED OPERATOR (O.S.)
You have a collect call from...
WHAT THE FUCK IS HAPPENING?
AUTOMATED OPERATOR (O.S.)
Will you accept the charges?
Mike is paralyzed with fear...
AUTOMATED OPERATOR (O.S.)
Are you still there?
MIKE
Yes, I accept.
AUTOMATED OPERATOR (O.S.)
Thank you.
Beat.
JIM (O.S.)
Mike.
MIKE
...Hi...
EXT. PAYPHONE BOOTH, CALIFORNIA - CONTINUOUS
Jim is in the (Verizon) phone booth.
JIM
There are three reasons why people buy our phones. Do you know what they are?
INT. NOC (NETWORK OPERATIONS CENTRE), RIM 2 - CONTINUOUS
MIKE
Umm... Email?
EXT. PAYPHONE BOOTH, CALIFORNIA - CONTINUOUS
JIM
They! Fucking! Work!
INT. NOC (NETWORK OPERATIONS CENTRE), RIM 2 - CONTINUOUS
MIKE (O.S.)
Yeah. Okay. It's not us, Jim. It's the carrier. Verizon is doing something weird.
EXT. PAYPHONE BOOTH, CALIFORNIA - CONTINUOUS
JIM
Well, I'm about to do "something weird" if you don't fix this. NOW.
INT. NOC (NETWORK OPERATIONS CENTRE), RIM 2 - CONTINUOUS
JIM (O.S.)
The deal was, I get the engineers.. You shrink the data!
Mike suddenly makes the connection --
MIKE
Are, are you, are you selling more phones?
EXT. PAYPHONE BOOTH, CALIFORNIA - CONTINUOUS
JIM
What the hell do you think I've been doing over here, Mike!? We're in the middle of a hostile fucking takeover!
INT. NOC (NETWORK OPERATIONS CENTRE), RIM 2 - CONTINUOUS
JIM (OS
Do I need to have someone babysit you dorks?
MIKE
Okay...okay... so THAT'S.. okay. Yeah, the entire system is crashing..
MIKE
(to Allan)
He's selling more phones..
Allan looks over at Mike with concern.
EXT. PAYPHONE BOOTH, CALIFORNIA - CONTINUOUS
HEY. GOD DAMN IT.
INT. NOC (NETWORK OPERATIONS CENTRE), RIM 2 - CONTINUOUS
MIKE
Yeah. Yeah. So.. Okay uh. I didn't realize.. uh, hold off selling more until we --
EXT. PAYPHONE BOOTH, CALIFORNIA - CONTINUOUS
I'M NOT FUCK -- Jim bashes the receiver against the phone, leaving nothing but bits behind as he storms off.
INT. OFFICE, MOTOROLA, CHICAGO - DAY
Jim sits opposite RITCHIE CHO (Head of Devices). Ritchie reads over a contract. Looks up at Jim.
RITCHIE
Okay, sorry, is this technically legal?
CHARLES PURDY (O.S.)
Ritchie!
Jim spins around to see CHARLES PURDY (70, heavyset, scary) standing in Ritchie's doorway...
RITCHIE
I'm actually in a personal meeting, Charles.
CHARLES PURDY
And I personally don't give a flying fuck! Engineering can't do a god damn thing until you send that fax! Now take a "meeting" when the union isn't ripping my guts out.
CHARLES PURDY
Do you hear me? Get it done.
(under his breath)
Son of a bitch.
Charles SLAMS the door shut -- Ritchie turns to Jim.
RITCHIE
You said you were located in Waterloo?
Jim is still looking at the door where Charles stood.
JIM
What is that guy's name?
INT. ENGINEERING DEPARTMENT, RIM 2, WATERLOO - DAY
It's madness. All the new superstar recruits have arrived on the same day. Doug stands on his chair with his arms in the air, holding court. Mike watches from the corner of the room.
DOUG
Okay. Okay. Hey everybody. Welcome to Research in Motion! I know this is a bit disorganized. I promise we will get everybody settled. So um, in the meantime, we are having a bit of a network issue. So, put up you hand if you understand Mobitex architecture?
Ritchie Cho and Paul Stannos raise their hands.
DOUG
Two people. Okay. Uh, that's fine. You two, you're with Mike. The rest of you, I don't know what you do but follow me. We are taking a tour! Let's go.
Doug starts a tour --
DOUG
It's going to be a little bit like Sam Rockwell in Teenage Ninja Turtles in the foot clan. Hands up, who's seen it?
Paul and Ritchie walk over to Mike --
RITCHIE
Can I talk to you for a second? What is Charles Purdy doing here?
MIKE
What, what are you talking about?
RITCHIE
The man standing in the hallway directly over my left shoulder.
Mike turns around to see Charles Purdy (from Motorola) standing outside the glass, looking in on the room -- he turns back --
MIKE
Oh, Jesus.
RITCHIE
Listen to me. That guy will fuck you up. Do not let that man anywhere near your engineering department. Trust me.
MIKE
Yeah. Okay. Alright.
RITCHIE
(to Paul)
I'm serious. He will fuck your shit up.
INT. HALLWAY, ENGINEERING DEPARTMENT, RIM 2 - MOMENTS LATER
Mike opens the door to the hall, hiding his body inside the room.
MIKE
Can I help you?
CHARLES PURDY
You're Mike? Aren't you?
MIKE
Yes. I'm Mike. What are you doing here?
CHARLES PURDY
Charles Purdy. I'm your new COO.
MIKE
Oh. Jim hired you to be the Chief --
CHARLES PURDY
I'm here to get this ship under control.
MIKE
We are under control.
CHARLES PURDY
Oh, really? Whose?
Charles gestures through the glass. It's a party. Doug piggy- backs Scott around the office.
CHARLES PURDY
Hmmm?
Mike walks away.
INT. MIDWAY DINER, WATERLOO - DAY
Coffee being poured... Notes being scribbled... Food sits untouched... Mike works with Paul and Ritchie on pages and pages of math.
PAUL
Okay. So, then let's trying something different. Instead of shrinking the data.. Maybe, we spread it out?
The waitress tops up their coffee.
PAUL
Thank you.
RITCHIE
Well, why not take multiple towers in the same zone and split the packet between them? We can put it back together at the server here.
Mike speaks without looking up from his calculations.
MIKE
We tried that. Here's the problem, the towers don't recognize one another. Each of them has no idea which piece of the signal they're receiving and the whole process just keeps--
PAUL
Maybe we reprogram the towers?
MIKE
They're not our towers. We don't control them.
RITCHIE
That's okay. At Naughty Dog we had to hack the Playstation to get Crash Bandicoot running.
Mike lights up, realizing these guys are fucking SMART.
MIKE
Okay. So, if each exchange is triangulated, we could divide the signal three ways?
Mike takes the salt, pepper, and ketchup -- makes a triangle.
PAUL
No. No. We actually could do way, WAY more. Every BlackBerry is a server?
RITCHIE
We could divide the signal between every user in the same grid?.
PAUL
Divide by Thousands. So, it will be like Napster. Distributed network of your own users.
RITCHIE (O.S.)
That's gotta be in the terms of service.. Hackers would be on it so fast.
PAUL (O.S.)
They encrypt everything server side, right? Mike? Mike? I mean, everything, everything is already encrypted. So.
Mike is writing this idea down as fast as he can.
RITCHIE (O.S.)
...Mike?
PAUL
Mike?
Mike grabs his papers...
MIKE
Excuse me.
Mike rushes for the door.
MIKE
You can have my bacon.
Paul and Ritchie watch him leave.
PAUL
What are they paying you?
RITCHIE
I shouldn't say.
PAUL
They're paying me ten million dollars.
RITCHIE
Yeah. Me too.
INT. MIKE'S BMW, PARKING LOT, RIM 2, WATERLOO - DAY
Mike screeches into his "LAZARIDIS" parking space. No Jim. No Doug.
INT. HALLWAY, ENGINEERING DEPARTMENT, RIM 2 - DAY
Mike races down the hallway, clutching his stack of equations as if someone might steal them.
INT. ENGINEERING DEPARTMENT, RIM 2, WATERLOO - CONTINUOUS
Mike stops at the doorway to engineering -- We see what Mike is looking at -- his entire staff, old and new, are setting up for "Movie Night" -- chairs are arranged - - popcorn is handed out in coffee-filter "bowls" -- a giant projector screen is pulled down. Scott and a new recruit balance on swivel chairs to hang the "Movie Night" banner.
SCOTT
Higher on that side. Let's get a chair over there.
ALLAN
Oh, yeah. Here you go buddy.
Mike looks down at the "work" in his hands -- then back at Movie Night...
INT. CHARLES PURDY'S OFFICE, RIM 2, WATERLOO - DAY
Mike knocks timidly...
CHARLES PURDY
Yes. Come in.
Mike opens the door -- takes one step in -- Charles is wearing glasses at his desk, reading over a delivery schedule.
MIKE
Mr. Purdy?
Mike holds up his papers sheepishly.
MIKE
Yeah. Uh so, first of all, sorry about before.
INT. ENGINEERING DEPARTMENT, RIM 2, WATERLOO - MOMENTS LATER
Staff sit theatre style in anticipation. Smiles. Laughs. The Disciples of Doug.
CHARLES PURDY (O.S.)
Allan Lewis?!
The room turns around at Charles' booming voice.
CHARLES PURDY
Which one of you is Allan Lewis?!
Everyone looks at Allan, sitting with his popcorn.
ALLAN
Hello.
CHARLES PURDY
Ah. Michael's had a breakthrough. Now, I want these tested. I want the report on my desk, Friday.
Charles hands him the papers -- Allan looks at them... Allan looks up sharply.
ALLAN
When? Sorry?
CHARLES PURDY
Friday.
The room chuckles in a "this must be a joke" kind of way -- Allan breathes a sigh of relief, thinking Charles was serious.
ALLAN
This looks like a whole new relay system--
CHARLES PURDY
Uh huh.
Allan sobers up.
ALLAN
Testing this will probably take me a month.
CHARLES PURDY
Well, then you best get started, hadn't you?
ALLAN
...It's bad luck to work on Movie Night.
ETHAN
Can't work on movie night.
The crowd goes quiet.
CHARLES PURDY
You're all children. Is that it?
SCOTT
(laughing)
Sorry, who are you?
CHARLES PURDY
You think this is funny, is it?
SCOTT
Just wondering who -- who are you?
CHARLES PURDY
I'm Charles Purdy. From this moment on you will all work for me. And if that work is not done at a pace that I expect, you'll be fired.
CHARLES PURDY
And I'll keep firing until this room is full of men and not little boys playing with their little penises. Now, are there any questions?
ETHAN
Um. Where's Doug?
INT. DOUG'S CAR, PARKING LOT, RIM 2, WATERLOO - DAY
MUSIC CUE: This is What We Do by MC Hammer blares on the car stereo. His '84 Honda Civic (still runs!) pulls into the RIM parking lot. He wears his orange bandana and sings along...
DOUG
(singing)
...My body, It's my body, Take it where I want to, Pump it up party... My Time is my Time. I make my own decisions. Do what I want to do.
PARKING ATTENDANT 2
Doug! Let's go bro.
DOUG
Movie night tonight. Movie night.
Doug pulls into his "DOUG" spot next to "LAZARIDIS" and "BALSILLIE". He takes the cassette out of the tape deck and transfers it to his yellow Sony walkman. Presses play and continues to bop to it.
INT. HALLWAY, ENGINEERING DEPARTMENT, RIM 2 - MOMENTS LATER
Doug walks down empty, quiet halls, music still blasting, oblivious... ... Doug takes off his headphones. END MUSIC CUE
INT. ENGINEERING DEPARTMENT, RIM 2, WATERLOO - CONTINUOUS
The "Movie Night" banner is gone. The projector is gone. The chairs are back at their desks. Everyone is working. Six guys sit behind Allan's computer, helping with Mike's new code. Doug looks at his desk -- the toilet plunger sits in the garbage can...
INT. MIKE'S OFFICE, RIM 2, WATERLOO - DAY
Mike reads Fundamentals of Microwave Transmission Lines. Doug storms in --
DOUG
Have you seen this?
MIKE
No.
DOUG
Have you been out there?
MIKE
No.
Mike doesn't look up from his research.
DOUG
Dude. Jim killed Movie Night. Actually, what am I saying, he didn't have the guts to do it himself. Apparently, he got this three hundred pound dude to go in there and start screaming at everybody! Said he was going to fire Allan?
No response from Mike.
DOUG
...Mike?
MIKE
We do need... We do need to get back to work.
Doug gets it -- thinks about leaving...
DOUG
Yeah... Do you not ever wonder why these guys are wiling to work eighty hours a week? Never see their families? Never get any credit?
MIKE
Yeah. It's because they get to work on the best phone in the world, Doug.
DOUG
Yeah... That must be it.
Doug walks out.
INT. BOARDROOM, VERIZON HQ, NEW YORK - DAY
Jim walks toward the Verizon boardroom. RING!
JIM
Hello?
YANKOWSKI (O.S.)
You're making a big mistake, sport.
JIM
Yeah, sorry, Carl. I am going to have to call you back. I am stepping into a meeting.
CARL YANKOWSKI (O.S.)
Don't you dare fucking hang up on me. Don't hang--
Clicks. Hangs up. Jim stands in front of the Verizon board, his hands on John's shoulder. John brushes him off. A dozen board members (some of who we recognize from Bell Atlantic) sit around the boardroom table.
JIM
How's everybody doing?
JOHN WOODMAN
Jim, I know this isn't exactly what you want to hear, but this board feels that in order to avoid further disruptions, it's best we end our relationship with BlackBerry.
JIM
John, we're just getting started.
JOHN WOODMAN
Jim, I'm serious. We're wiling to take the hit on users and let them go crash somebody else's fucking network. It's over.
JIM
No. What's "over" is your bullshit limit of 500,000 users. We quadrupled it.
JOHN WOODMAN
Okay, Jim...
JIM
Our engineers reprogrammed your towers. As of right now, Verizon is capable of carrying 2 million BlackBerrys at the same time. And we've already sold half of those.
JOHN WOODMAN
Bullshit.
Jim holds the look. John realizes this is not a joke.
JIM
Try me.
The board share looks with John, is he serious? HOW'D YA DO IT? MONTAGE BEGINS
INT. MIDWAY DINER, WATERLOO - DAY
Jim reads the headline "RIM STOCK ROCKETS 400%" in the Globe and Mail. Looks up to see Carl Yankowski walk in, looking uneasy. Jim waves him over to take a seat.
INT. ENGINEERING DEPARTMENT, RIM 2, WATERLOO - DAY
Charles Purdy rules the roost as the staff all busy themselves silently with the work of the day. Everyone wears name tags. Including Doug, who sits at his desk silently typing code.
INT. BOARDROOM, VERIZON HQ, NEW YORK - DAY
JOHN WOODMAN
How'd you do it, Mike?
Mike sits at the boardroom table. He just stares dead ahead, lost in the question. TITLE CARD: 2007
INT. EXECUTIVE BOARDROOM, RIM 2, WATERLOO - DAY
Mike (hair slicked back, an air of confidence, power-suit) sits at the head of a large table in the centre of an elegant boardroom. Around him are the SENIOR BOARD OF DIRECTORS of RIM. The only other person we recognize is Charles Purdy. JACK MANISHEN (41, Head of Marketing) presents next quarter's sales projections on a PowerPoint slide.
JACK MANISHEN
We're number one in handset sales, subscriptions, customer retention, attracting new smartphone users, and brand recognition. We control 30% of the North American market and with the upcoming release of the BlackBerry Bold we're on track to control 50% of the global market...
Mike gets a BBM: Doug: you gotta get down here! Ignores it --
JACK MANISHEN
Now our numbers are a bit below estimates right now, but we're expecting a nice bump when the 8310 comes out in March.
CHARLES PURDY
Now's probably a good time to talk about moving some of the assembly and construction to China.
MIKE
No. No. Take people off of Onyx. If you need more bodies, hire more people. We're not moving to fucking China...
CHARLES PURDY
Alright.
MIKE
Alright.
Something catches Mike's eye -- Doug, points to his phone at him from behind the window to the boardroom.
MIKE
Oh my god.
(To Doug)
What!
Mike turns back to the boardroom.
MIKE
Ah, that's a good spot to leave it for today guys. Thank you.
Mike stands up -- the room follows. Mike makes his way to the door -- Jack Manishen cuts him off...
JACK MANISHEN
(privately)
Hey. Where's Jim?
MIKE
Why?
JACK MANISHEN
He's not answering my e-mails.
MIKE
We're pitching the trackpad to Verizon on Friday. He's probably working on that.
Mike exits.
MIKE (O.S.)
(to Doug)
I am in a meeting!
INT. RIM PRIVATE JET, 35,000 FEET - DAY
On a portable DVD player, Jim watches DON CHERRY and RON MACLEAN of COACH'S CORNER on the plane.
DON CHERRY (ON TV)
And I really believe that uh, Balsillie, is that how you say it? Something like that. You know, he was in there and says "I've heard guys screw up my name but worse than you". Anyhow, he's a patriot.
DON CHERRY (ON TV)
He really does-- He's a hockey guy that really wants-- there's no making money that doesn't -- He's a hockey guy. Plays hockey, the whole deal. He really wants hockey here.
The plane phone RINGS. Austin picks it up before Jim can stop him.
JIM
No. Don't --
AUSTIN
Hello..
JACK MANISHEN (O.S.)
Hand the phone to Jim.
AUSTIN
Uh. Who's this?
JACK MANISHEN (O.S.)
It's Jack Manishen from Marketing. It's important.
Austin turns to Jim. Jim's eyes glued to the screen.
AUSTIN
Jack. Manishen. Marketing?
JIM
Mike can handle it.
Austin returns to the phone.
AUSTIN
Maybe, you can speak to Mr. Lazaridis.
JACK MANISHEN
He does not want me going to Mike with this... at least tell me where you're going.
Beat. Austin looks to Jim.
AUSTIN
He wants to know where we are going..
JIM
Hang up.
Austin hangs up the phone.
INT. ENGINEERING DEPARTMENT, RIM 2, WATERLOO - DAY
It's dark. The lights are off and the projector screen is down, like movie night. But we're not watching a movie. Instead, the entire engineering department watches STEVE JOBS on stage at MacWorld 2007. We notice the engineering department has gone through another makeover. All of the movie posters and comic books and science fiction novels have been replaced with BlackBerry advertisements. Doug leads Mike into the room from the doorway -- they join the crowd of engineers, all staring in wide eyed wonder/terror.
JOBS (ON SCREEN)
So. Three things. A widescreen iPod with touch controls. A revolutionary mobile phone and a breakthrough internet communications device.
Mike steals a look at Doug watching Jobs.
JOBS (ON SCREEN)
An iPod... a phone... and an internet communicator. An iPod. A phone. Are you getting it?! These are not three separate devices. This is one device. And we are calling it: iPhone.
Murmurs from the crowd.
JOBS (ON SCREEN)
Here's four smartphones, right? Motorola Q, BlackBerry, Palm Treo, Nokia E62... Usual suspects. They all have these keyboards that are there whether you need them or not to be there.
Mike looks at the same phone in his own hands.
JOBS (ON SCREEN)
And they all have these control buttons that are fixed in plastic.
Mike looks at the same phone in his own hands.
MIKE
Why would anybody want a phone without a keyboard?
JOBS (ON SCREEN)
What we're going to do is get rid of all these buttons and just make a giant screen. A giant screen.
Awe from the crowd on screen and in the RIM office.
JOBS
When we start shipping in June and we'll be selling iPhones through our own stores and through Cingular stores. And it's my pleasure to introduce the CEO of Singular... Stan Sigman.
On screen Stan Sigman (55, CEO of AT&T) joins Steve Jobs on stage, they shake hands.
MIKE
Are you fucking kidding me?
DOUG
What?
MIKE
That's Stan Sigman. That's the CEO of AT&T.
STAN SIGMAN (ON SCREEN)
You know, Steve and I first met about two years ago in New York City when he shared with me this vision that he had for this product.
MIKE
This fucking guy.
(to the room)
Alright everybody. That's it. Fun times over. Back to work. I need a prototype of the Bold in my hand by Friday with a working trackpad. Thank you.
The lights come on. TV off. Everyone gets back to work.
DOUG
(Pointing at the screen)
That's crazy.
Doug's BlackBerry RINGS. Unknown Caller.
DOUG (O.S.)
Okay guys, let's get back to work.
Doug picks up his BlackBerry.
DOUG
Yello!
DARA FRANKEL (O.S.)
Hi, is this Douglas?
DOUG
Ah, yeah.
DARA FRANKEL (O.S.)
I'm from the Securities and Exchange Commission and I was wondering if you could answer some questions for me?
DOUG
(on the phone)
Sure. Okay.
SCOTT (O.S.)
Has anyone seen Allan?
DOUG
(to the room)
Check the NOC!
DARA FRANKEL
Were you involved in the hiring of a Mr. Paul Stannos?
DOUG
Sorry - from where?
DARA FRANKEL
I'm from the SEC.
DOUG
Is this a serious call?
DARA FRANKEL
Yes.
DOUG
Yeah. You called the wrong person. I can't help you with anything like that.
DARA FRANKEL
Is this Douglas Fregin?
DOUG
Yes ma'am.
DARA FRANKEL
Sorry. I have you listed here as one of the founders of the company.
Doug chuckles.
DOUG
Yeah. I guess I am.
ENGINEER (O.S.)
Doug.
DOUG
I gotta go.
Doug hangs up and gets back to work.
INT. RECEPTION, NHL HQ, NEW YORK - DAY
Jim paces in the reception area, nervous. Austin sits -- his phone RINGS, he reaches for it --
AUSTIN
Sorry.
(checks the phone)
Unknown number.
JIM
No.
Austin puts it away. DAWN (30s, power-suit.) Walks down the hall towards them.
DAWN
Mr. Balsillie?
JIM
Yes?
DAWN
Welcome to the NHL.
Jim lights up. Extends a hand.
JIM
Thanks for having me.
DAWN
Nice to meet you, just this way.
JIM
Okay, great.
DAWN
Right in here...
INT. BOARDROOM, NHL HQ, NEW YORK - DAY
Dawn leads Jim into the boardroom. Gary Bettman (55) greets him with a handshake.
GARY
Jim.
JIM
Gary.
GARY
Good to see you, thanks for taking the time.
JIM
I've always got time for you, Gary.
INT. LIMOUSINE, NYC - DAY
Jim slams the door -- turns to Austin --
JIM
Get me on the phone with Copps Coliseum.
AUSTIN
Is that the Arena in Hamilton?
Jim's phone vibrates:
JIM
Yeah. Tell them I want to buy it.
Mike (BBM): Just getting Bold prototype. Meet me out front. Jim puts his phone away.
AUSTIN
Okay. Um.
(beat)
I thought you were buying the Pittsburgh Penguins.
JIM
Yes, I am.
(to the driver)
Let's go.
INT. ENGINEERING DEPARTMENT, RIM 2, WATERLOO - DAY
Mike shouts into the engineering room.
MIKE
Okay. We gotta go!
DOUG
One sec.
Doug and the guys huddle around his desk with a PROTOTYPE BLACKBERRY BOLD plugged into his computer and a TERMINAL open on the screen. Scott is at the keyboard typing code as fast as he can.
DOUG
One sec!
(to Scott)
This good enough. Good enough.
SCOTT
This is good enough?
Allans joins the guys with news.
ALLAN
Apple is launching a marketplace for applications. It's going to be third party developers. Anyone. anyone --
DOUG
Bad time. Bad time.
ALLAN
(whispers to Pranay)
Third party developers.
Scott passes the BOLD to doug who tests the trackpad. The latency is brutal but it works.
SCOTT
Here man. It's laggy as hell.
DOUG
Good enough. Good enough. Good enough.
MIKE (O.S.)
Now!
DOUG
Yeah. We got it.
Doug runs up to him, prototype in hand.
MIKE
Doug. Come on.
ALLAN
(to Pranay)
They are launching an application market place.
DOUG
So, the touchpad is working, I don't know if I would say that it's WORKING working.
Doug looks to Mike who is displeased. BBM from Jim: Can't make it, go without me, you'll be fine alone. Mike looks around in distress.
DOUG
What?
MIKE
Do you have a suit?
INT. LOBBY, VERIZON HQ, NEW YORK - DAY
Mike and Doug enter through revolving doors. Mike takes the lead.
INT. BOARDROOM, VERIZON HQ, NEW YORK - DAY
Mike stands in front of ten VERIZON Executives. Doug sits beside by the window, looking out at the skyline. The room is silent as a prototype BlackBerry BOLD is passed from one person to the next. No one seems that interested. Behind Mike is a Powerpoint presentation on a large screen that goes over the main features of the new BOLD...
MIKE
... 2.4 inches, 480 by 360 HVGA screen and to top it all off, the world's first trackpad which we believe will be the dominant navigational device for all mobile devices within the next two years.
Beat.
MIKE
The BlackBerry Bold.
John Woodman (now in his 60s) breaks the silence.
JOHN WOODMAN
That's it?
MIKE
Uh huh.
JOHN WOODMAN
That's what you've got for us? A trackpad?
Mike looks to Doug.
JOHN WOODMAN
You guys see Apple's thing?
The mere mention of Apple brings energy to the room. Doug looks to Mike.
JOHN WOODMAN
Any reaction to that?
MIKE
Plenty. Yeah. It's an over- designed, trying-to-do-too-much toy that will crash any network gullible enough to take it on. It is by every metric the exact opposite of everything we do at Research in Motion. Less data, no frills, reliable network. That's BlackBerry.
JOHN WOODMAN
Sexy slogan, Mike.
The room chuckles --
MIKE
So. I guess, you want to kill your whole network cause that's what it will do.
JOHN WOODMAN
Yeah. The iPhone... they put a keyboard right on the screen?
MIKE
And it's the stupidest thing I've seen in my entire life. Ask anyone what they love most about their BlackBerry, and you will get the same answer every single time. The keyboard, the click. Okay?
DOUG
...Well...? Yeah. Yeah.
MIKE
-- This entire market was born of our innovation and our idea to put "a keyboard on a phone", and we did that, we build that from a pile of garbage in 1996.
JOHN WOODMAN
Yeah. There's another slogan.
More chuckles. Mike's not happy.
JOHN WOODMAN
I dunno Mike. AT&T's got Apple. We were kind of hoping you'd come in here with an iPhone killer.
MIKE
I don't need to kill it because it's going to commit suicide and it's gonna take down the whole fucking Cingular network with it. I'm giving you gold and I think you are all misunderstanding it.
(beat)
I created this entire product class. I created this entire fucking market. I created this entire product class. So listen to me. The trackpad is a mousepad on -- built into the phone.
Doug waits for the sentence to finish, then looks at the ground when he realizes Mike is out of gas.
JOHN WOODMAN
Yeah.. and.. right. Okay. Yeah. Okay. Good enough. Uh thanks guys for coming down. Tell you what, let us - we'll talk about this internally and get back to you, okay? Tell Jim we missed him.
Close on Mike. He's panicking.
DOUG
(whispering to Mike)
Let's go.
MIKE
He's back, back in Waterloo working because. So, he promised me not to mention -- the other thing. We're not quite there yet but we're working on something pretty top secret.
Doug looks at Mike like "what the fuck are you doing?"
MIKE
Uh, he made me promise not to mention it. Prototype we're still a few weeks out. Uh, you know, I can demo it with our Bold prototype.
The Executives slowly perk back up -- Mike walks over to Woodman -- picks up the prototype Bold -- holds it over his head --
MIKE
So. It's still a BlackBerry. Our BlackBerry. Except for where we have keys here... screen. The whole thing's a screen.
Doug's eyes are screaming.
MIKE
... Uhh except.. Ours when you press it will get that...
(Mike clicks the keys)
That satisfying click.
Mike doubles down, just like he saw Steve Jobs do...
MIKE
That BlackBerry click. Our trademark. Click. So. Screen. Keyboard. Phone. Screen. Keyboard. Phone. Screen. Keyboard. Phone.
(to John)
Are you getting it?
INT. LOBBY, VERIZON HQ, NEW YORK - DAY
Mike and Doug exit through revolving doors.
DOUG
(whispers)
What was that?
MIKE
(whispers)
Stop.
DOUG
(whispers)
What was that?
MIKE
(whispers)
Shut up.
Mike and Doug exit the building.
DOUG
Mike. Mike. What the fuck was that dude?
MIKE
Where is this fucking limo?
INT. COPPS COLOSSEUM, HAMILTON - DAY
Jim comes out of the tunnel and is at one end of a professional arena, currently set up to host a basketball game. The BUILDING MANAGER guide Jim on a tour.
BUILDING MANAGER
...capacity maxes at seventeen thousand, but we could enhance it to nineteen without too much trouble.
JIM
Alright. I want all this basketball shit gone. From now on, this place is a permanent rink.
BUILDING MANAGER
We can't do that.
JIM
Why?
BUILDING MANAGER
We have active contracts with a dozen clients --
JIM
Cancel them.
BUILDING MANAGER
Yeah but, there's going to be fines.
JIM
I'll pay the fines.
Jim points to a booth in the arena.
JIM
And I want that to be my personal box.
BUILDING MANAGER
(chuckles)
That's not a box.
BBM from Mike: Sold Verizon 1 Million Units
BUILDING MANAGER
That's not a box.
INT. ENGINEERING DEPARTMENT, RIM 2, WATERLOO - DAY
Mike is at a whiteboard drawing a schematic of his newly invented BLACKBERRY STORM for a group of 40 engineers. Everyone looks confused, Doug and Charles Purdy included.
MIKE
No, no. Okay. So, it's a screen, but it needs a raised hinge or actuator as I wrote, between it and the body so the entire device clicks when you press on it.
A random STUDENT ENGINEER whispers something up.
MIKE
Wait, what?
STUDENT ENGINEER
I'm just wondering why we want to do that?
MIKE
That. That. That is not the question you ask me here. WHY does not matter to you. Okay?
MIKE
Because I said so. Because that's what I sold, okay?
Beat.
MIKE
Who. Who are you? By the way?
DOUG
Easy Mike.
A BLACKBERRY RINGS in the crowd.
MIKE
Oh come on guys. Please. Silent mode! When we're at the office --
Mike motions to Purdy.
MIKE
(whispering)
Charles?!
CHARLES PURDY
Phones off!
The phone keeps ringing -- the crowd pinpoints the noise -- it's coming from Scott.
SCOTT
Sorry. Sorry Mike. Sorry buddy.
Scott reaches into his pocket and silences his phone... Mike stares at Scott, about to ream him out...
DOUG
Okay. So, you know what? I think, all this is, is we are trying to do the old BlackBerry click while embracing the new iPhone screen. That's all --
MIKE
(interrupts)
No! No! No. We're not "embracing" anything to do with Apple. Guys. It's really not hard. Okay? We pay you a lot of money. This is really not hard. It's a keyboard, on a screen, on a keyboard. And I don't care what you think of it.
Charles Purdy silently ushers Mike out of the room.
CHARLES PURDY
Mike..
The crowd is silent. Doug looks down, biting his tongue.
INT. HALLWAY, ENGINEERING DEPARTMENT, RIM 2, WATERLOO - DAY
The team is off to work. Charles has finally got Mike to himself in the doorway.
MIKE
What the fuck is Doug talking about, embracing what Apple is doing? I don't understand.
CHARLES PURDY
You come back from New York talking about a brand new phone. Prototype in a week? What are we doing here?
Doug appears at the door.
DOUG
Can I talk to you?
MIKE
It's a prototype Charles! I could build the fucking thing myself in one night if I had to.
CHARLES PURDY
But we still gotta ship the god damn thing.
MIKE
I said use the Onyx team.
CHARLES PURDY
I did! On Curve.
Beat.
CHARLES PURDY
Alright, China. It's the only way this gets done. I'm sorry, China.
MIKE
Yeah. Fuck it. Do it. China. China. Let's do it.
Doug pipes in.
DOUG
Wait. Wait. No. He doesn't mean that.
MIKE
Hey. Hey. Don't speak for me.
DOUG
Mike, what are you doing?
MIKE
What am I doing? I'm trying to keep our biggest fucking customer. What the fuck are you doing?
DOUG
Mike, I'm trying to help you.
MIKE
You're not though. You're not. You're not helping me. This doesn't help me. If you could help me, we wouldn't be here. I don't need your fucking help anymore. Okay? You're fucking useless.
Doug's face falls.
DOUG
Okay.
Doug turns and walks away from the guys. Mike turns to Purdy --
MIKE
Figure out China.
Mike and Charles watch as Doug leaves.
MIKE
Figure out China. And I'll build the fucking thing myself.
Mike leaves. We hold on Charles as he watches him go, wondering where the hell this monster came from...
INT. MIKE'S OFFICE, RIM 2, WATERLOO - DAY
Mike pulls out a bunch of old BlackBerries from his desk drawers. Dozens of them. He starts taking them apart, working solo on the prototype for BlackBerry Storm... RING. Mike picks up his office line.
MIKE
What?
DARA FRANKEL (O.S.)
Is this Mike Lazaridis?
MIKE
Who is this?
DARA FRANKEL (O.S.)
My name is Dara Frankel, I'm from the SEC. Do you have a second?
MIKE
Not really. Not right now. What is this about?
DARA FRANKEL (O.S.)
I'm trying to track down some information on some stock options your company issued.
MIKE
Well, that's not -- I wouldn't know anything about that. I think you want to talk to Jim.
DARA FRANKEL (O.S.)
Okay. Would there be a good time to come in and talk about this?
MIKE
No. I don't. No.
Mike hangs up.
INT. ATRIUM, RIM 2, WATERLOO - DAY
Jim waltzes into the building with a "what's next?" attitude. Shelley stands up and gets his attention from behind the reception desk.
JIM
Okay! I'm here. I'm here. I'm here. I'm here.
She hands him a copy of FORBES with his photo on the cover.
SHELLEY
Jack Manishen says he needs to see you.
Jim thumbs through -- best day of his life.
JIM
Okay. Yeah. Where is he?
SHELLEY
Camped outside your office.
JIM
Great.
Jim gets to his article -- sees that Carl Yankowski is featured in a photo on the opposite page...
JIM
Shel, do me a favor: reach out to Carl Yankowski's office and let him know Jim Balsillie's got opening night tickets to the Hamilton Penguins for him. I know how much he loves hockey.
INT. HALLWAY, RIM 2, WATERLOO - DAY
Jim walks up to his office. Sure enough, Jack Manishen is waiting outside, nervous. He stands immediately upon seeing Jim.
JIM
Alright. Alright. Relax. You got me.
AUSTIN
That same woman from the SEC keeps calling. Can I give you her number?
JIM
No.
INT. JIM'S OFFICE, RIM 2, WATERLOO - DAY
Jim looks down at IPHONE SALES PROJECTIONS in his hands while Jack presents slides. There's an image of an iPhone next to BlackBerry and the rest of the competition...
JACK MANISHEN
Okay.. So... first Quarter...
Changes the slide. iPhone grows.
JACK MANISHEN
...second quarter...
Changes the slide. iPhone grows.
JACK MANISHEN
...third quarter...fourth quarter.
Changes slide.
JACK MANISHEN
And this is us.
JIM
Whose numbers are these?
JACK MANISHEN
Apple's internal projections. They released the numbers on Friday.
JIM
Five hundred dollars? Fully subsidized? This is the most expensive phone in the world.
JACK MANISHEN
It has the highest consumer interest of any product in history. We are going to go from "number one phone in the world" to "that phone that people had before they bought an iPhone".
Beat. Jim looks at the slide -- shakes his head --
JIM
It's gonna be fine. Mike will figure it out.
BANG BANG BANG -- Someone at the door.
JIM
What?
Jim gets up -- opens the door.
MIKE
Um. Why. Why is the SEC looking at us?
Jim closes the door to only a crack.
JIM
They called you?
MIKE
Yes. Something about stock options.
JIM
I'm sure it's nothing.
MIKE
It's nothing?
JIM
Yeah. What's with this Apple thing?
MIKE
What. What about it?
JIM
Are we worried?
MIKE
No.
JIM
Okay, why?
MIKE
Because, one of them uses as much data as five thousand BlackBerries. Because it has no keyboard. Because the thing is a joke.
JIM
So why are people telling me that they're about to kill us?
MIKE
'Cause they're idiots.
Mike leaves... ...Jim watches him go for a beat -- shuts the door... ...returns to his desk -- sees the FORBES spread open. Under Yankowski's picture he sees the familiar face of Steve Jobs' pal, STAN SIGMAN. Jim hits his intercom button --
JIM
Get me a meeting with Stan Sigman at AT&T.
Beat.
JACK MANISHEN
What are you doing?
Jim's mind is racing. He's forming a plan.
AUSTIN (O.S.)
So the soonest I can get is next month, his office says he's leaving for vacation today.
Jim hits the button.
JIM
Tell them I'm coming to Atlanta. Right now.
Jim gets up and starts running.
EXT. RIM PRIVATE JET, WATERLOO AIRPORT - DAY
Jim runs up the stairs into the jet -- yells to the cockpit.
JIM
Let's go! Let's go!
Jim turns behind him to Austin, who is taking up the rear.
JIM
Tell them we'll be there in an hour.
Austin hands the BlackBerry to Jim.
AUSTIN
It's the NHL.
Jim puts on his smiling face.
JIM
(on phone)
Gary! How are ya?
GARY BETTMAN (O.S.)
Good. We're ready to go over here. How soon can you get to New York?
JIM
Great! Anytime tomorrow.
GARY BETTMAN (O.S.)
How about today?
JIM
Um. That might be a little tight for me.
GARY BETTMAN (O.S.)
I've got the board here now and I don't know when they're all going to be together again. If you want to wait, up to you. It's your deal.
JIM
Yeah. No. That works Gary. Yep. I'll be there.
GARY BETTMAN (O.S.)
Looking forward to it.
JIM
Okay. Alright. Bye.
Hangs up -- takes a breath --
JIM
(yelling behind him)
Change of plans. We're going to JFK.
PILOT
We are dialed in --
Jim runs back to the cockpit --
JIM
Listen to me you mouthy fuck, if I say we are going to JFK, we are going to JFK. You understand?
AUSTIN
So we're, we're not meeting with Sigman then?
JIM
...I'm doing it all.
Jim stays standing with one arm on the wall for balance as the plane taxis down the runway, fire in his eyes.
EXT. PARKING LOT, RIM 2, WATERLOO - DAY
A maintenance worker takes down Doug's parking sign. Just then multiple black SUVs pull up to RIM. DARA FRANKEL (40s, air of power) and her team of SEC AGENTS enter the building.
INT. MIKE'S OFFICE, RIM 2, WATERLOO - DAY
Sparks fly. Mike is hunched over his desk with a soldering iron, molding parts of old BlackBerries together.
MIKE
Fuck!
He singes his finger.
CHARLES PURDY
Where's Jim?
Mike looks up to see Charles standing over his desk.
MIKE
I have no idea.
CHARLES PURDY
C'mon, we gotta get you outta here.
MIKE
Why?
CHARLES PURDY
SEC is raiding us.
Mike stands up.
MIKE
Wait, what?
CHARLES PURDY
Gimme your phone.
Mike looks down at his desk -- he has eight BlackBerrys.
CHARLES PURDY
Where's you god damn phone?
KNOCK
DARA FRANKEL (O.S.)
Michael Lazaridis?
Mike looks to Purdy
MIKE
Can you handle this?
Purdy shakes his head. The door opens -- Dara walks in with a BIG SEC INVESTIGATOR --
MIKE
Who are you?
DARA FRANKEL
We spoke on the phone. Wanna come and answer some questions?
MIKE
Sure. Sure.
Mike tries to follow Dara out, but she insists on following him out.
MIKE
After me is it? Okay.
INT. HALLWAY, ENGINEERING DEPARTMENT, RIM 2 - CONTINUOUS
Dara leads Mike outside to see half a dozen SEC OFFICERS waiting in the hallway.
DARA FRANKEL
Okay.
On Dara's command, they all pile into his office.
MIKE
Okay what? What are they doing? They can't touch any of that stuff?
Mike looks across the hall to the Engineering Department -- his team stares at him through the glass, pain and pity in their eyes, like seeing Dad get arrested. Dara opens the door to a tiny office across the hall...
INT. TINY OFFICE, RIM 2, WATERLOO - CONTINUOUS
Mike sits at one end of a small table. Dara closes the door. A moment later the door opens -- an SEC INVESTIGATOR walks in holding one of Mike's BlackBerrys.
SEC INVESTIGATOR
Passwords on everything.
DARA FRANKEL
What's the password Mike?
MIKE
Am I required to give that to you?
DARA FRANKEL
No. Are you hiding something?
Beat.
MIKE
Should I not have a lawyer or something with me for this?
DARA FRANKEL
Do you think you need a lawyer?
Mike swallows.
INT. RECEPTION, NHL HQ, NEW YORK - DAY
Jim paces nervously in the empty reception area. Something is off. Dawn emerges and calls on him.
DAWN
Jim.
Finally. Jim follows Dawn into the boardroom.
INT. BOARDROOM, NHL HQ, NEW YORK - CONTINUOUS
It's packed. Gary Bettman, Dawn, and the entire NHL front office fill seats around the boardroom table. They turn as he walks in.
JIM
Gary. What's going on? You got me. You got me waiting out here.
Awkward silence.
DAWN
Jim, look, we're not going to waste your time, okay? It's not going to happen with you and the Penguins.
JIM
What?
DAWN
We held a vote with the other owners and unfortunately it went against you 26-0.
JIM
Hold on a sec. Hold on. Hold on. I thought we had a deal. When did the other owners even -- I'm sorry, what changed here, man?
DAWN
The owners did not find you to be of "good character and integrity".
JIM
I don't know what the hell that means. Gary, what the fuck is this?
GARY BETTMAN
You know, it's funny. It's one thing to have a secret plan to fuck over the NHL and move a team to Canada. It's another thing to brag to your rich friends before you actually do it.
It takes a moment, but Jim understands what is happening.
JIM
... You guys are so fucking stupid. You know what? Maybe I'll buy this whole fucking league, huh? How about that?
GARY BETTMAN
Dawn. Can we see that Mr. Bald- Silly gets safely back to Canada?
JIM
Oh, fuck all you people! Fuck you! Get ready for a hostile takeover of this entire fucking league, okay? YOU FUCK. You think I won't fucking do it? I'm from Waterloo, where the vampires hang out!!!
Jim walks out and SLAMS the door.
INT. RIM PRIVATE JET, JFK INTERNATIONAL AIRPORT, NY - DAY
Jim rushes on...
JIM
Go! Go! Go! Go!
PILOT
We'll never make it.
JIM
I said LET's GO.
(to Austin)
Delay Sigman.
AUSTIN
I called. They said he's already left for vacation.
JIM
Where?
AUSTIN
They just said he's going to the airport.
The plane starts to move.
JIM
Great. So are we.
INT. TINY OFFICE, RIM 2, WATERLOO - EVENING
Mike is starting to get nervous as contract after contract is put in front of him...
DARA FRANKEL
And is this your signature?
Mike eyes it.
MIKE
Yeah.
DARA FRANKEL
And this?
MIKE
I don't know what you're looking for. These are standard employment contracts.
DARA FRANKEL
I'm just wondering how you convinced all these engineers from around the world to come all the way to Canada. Doesn't make sense.
MIKE
It's because they get to work on the best phone in the world.
DARA FRANKEL
Mike, each of these contracts offers back-dated stock options. You were illegally pricing your own shares so you could hire engineers with money you didn't have.
Mike looks at the contract in his hand --
DARA FRANKEL
Do you know what the sentence is for multi-million dollar stock fraud?
MIKE
Okay. I swear I had no idea about any of what you just said.
DARA FRANKEL
Do you expect me to believe that? You're CEO.
Beat. Mike looks down at one of the employment contracts. Sees Jim's name.
MIKE
Co-CEO.
EXT. RUNWAY, HARTSFIELD-JACKSON INTERNATIONAL, ATLANTA - DAY
Jim runs down the stairs of his just-landed plane, holding his BlackBerry to his ear as he runs towards the terminal...
STAN SIGMAN (O.S.)
Tell me why this can't wait another few weeks?
JIM
I'm telling you Stan. I'm headed for the terminal right now.
STAN SIGMAN (O.S.)
What?
JIM
I'm at Gate 7. Uh, where are ya?
STAN SIGMAN (O.S.)
Are you runnin'?
JIM
No. Stan. No. I'm good. I'm telling ya. Just give me the gate.
STAN SIGMAN (O.S.)
I'm getting on a plane here, Jim.
INT. TERMINAL, HARTSFIELD-JACKSON INTERNATIONAL AIRPORT,
ATLANTA - CONTINUOUS Hundreds of people surround him. It's loud and hectic. Jim searches the terminal for Stan Sigman.
JIM
No. Okay. Listen. Stan. Alright. Here's the headline: half a million BlackBerries for AT&T, for zero dollars.
STAN SIGMAN (O.S.)
What's the catch?
Jim tears past people. Some are distracted by their phones and collide with him.
JIM
No! No catch. They're yours. IF you're willing to release them at a discount one month before the iPhone.
Stan groans. Jim stops running -- pleads his case --
JIM
Stan, come on, you owe me. You've sold a lot of minutes because of us.
STAN SIGMAN (O.S.)
Yeah. But you know what the problem with selling minutes is?
JIM
...What?
STAN SIGMAN (O.S.)
There's only one minute in a minute.
Stan hangs up. Jim lowers the phone like "what the fuck does that mean?" Jim takes a beat, trying to decode that sentence. He's surrounded by travelers rushing back and forth. He's the only one standing still. He looks back down at his phone -- finds MIKE in his quick- dial -- calls...
MIKE (O.S.)
Hey.
JIM
Okay. Mike. Listen to me, I think we got a big problem here. I know what Apple's doing.
MIKE (O.S.)
(whispering)
Yeah. We shouldn't talk on the phone.
JIM
Why?
INT. RIM 2, STORAGE CLOSET - WATERLOO - CONTINUOUS
MIKE
(whispering)
Um.
WHY?
MIKE
We're in trouble with the SEC but, get back as soon as you can.
INT. TERMINAL, HARTSFIELD-JACKSON INTERNATIONAL AIRPORT,
ATLANTA - CONTINUOUS
MIKE (O.S.)
I have a way to get us out of this.
EXT. RUNWAY, HARTSFIELD-JACKSON INTERNATIONAL, ATLANTA - DAY
Jim runs up the stairs of the plane.
EXT. PARKING LOT, RIM 2, WATERLOO - NIGHT
Jim FOBS himself into RIM.
INT. ATRIUM, RIM 2, WA TERLOO - CONTINUOUS
Jim opens the front door -- the place is empty, quiet and eerie. Jim crosses the atrium and heads to the stairs.
INT. JIM'S OFFICE, RIM 2 - CONTINUOUS
Mike sits at Jim's desk, looking over Jack Manishen's iPhone projections -- the wall of masks behind him. Jim storms in.
JIM
Okay, so listen. AT&T knows exactly what they're doing. They WANTED Apple to build a data-guzzling monster because that's where they're going to move the market. They're not selling minutes anymore, Mike. They're selling DATA.
Mike picks up his BlackBerry -- dials...
MIKE
(on the phone)
He's here.
Jim feels a chill. Mike hangs up.
JIM
Who's that?
MIKE
They're waiting for you next door.
Beat.
JIM
Who? What did you do?
MIKE
I made a deal. The SEC gets you, your board seat, and our full cooperation in the criminal investigation, and for that they'll leave us alone.
Beat.
MIKE
And they want 83 million dollars.
Jim feels the walls close in, just like when Woodman told him "some nerds took you for a ride" back in 1996. His back is against the wall. It's done. It's over. No more rope. And then he can't help but smile to himself, as if someone just whispered a great secret in his ear. He looks at Mike.
JIM
You said next door?
Jim turns -- walks out of his office -- opens the door in the hallway -- steps inside. Mike watches him leave... ...then goes back to work on his prototype. TITLE CARD: 2008
INT. MIKE'S BMW, PARKING LOT, RIM 2, WATERLOO - DAY
Mike pulls into his "LAZARIDIS" parking space. Jim's spot: Gone. Doug's spot: Gone.
INT. ENGINEERING OFFICE, RIM 2, WATERLOO - DAY
New engineers populate the place. Gone are the familiar faces of Doug, Pranay, Scott, Ethan and Allan.
INT. LOADING DOCK, RIM 2, WATERLOO - CONTINUOUS
Mike walks along the pathway of the loading dock. Workers unload crate after crate from trucks into the loading bay. Wooden boxes with Chinese shipping labels. Mike lands in the middle of the room, filled with BLACKBERRY STORMS WRAPPED IN THEIR COMMERCIAL PACKAGING... He rips open the plastic wrap. ...Mike picks one up... ...unwraps the box... ...pulls out the BlackBerry Storm... ...turns it on... ...the screen glitches for a moment, then reveals the BlackBerry home-screen, a cramped stack of icons against a "Verizon V" background... ...Mike opens the text app and we see the keyboard on the screen on a keyboard. He touches the screen -- scrolls -- the delay between touch and action is about 1/2 a second -- Suddenly we hear something... ...A quiet hissing... ...static... ...Mike recognizes the sound... ...looks around the room, searching for the source... ...looks back at the BlackBerry in his hand... ...that's it -- his phone is making the hiss. Mike stares at it... ...puts it down on the crate in front of him... ...Reaches into the breast pocket of his jacket... ...Takes out his precision screwdriver set... ...Opens the BlackBerry... The circuit board is a mess. Mike pokes around with his screwdriver until he finds what he's looking for: A single prong of metal rubbing against the speaker wire. Mike lifts the wire off the prong. The static instantly stops. He tucks the wire against the body of the phone -- closes the case, and screws it back together. Mike puts the phone back into it's box -- closes it -- puts it back into the crate... Beat. Mike reaches for the next box -- opens it -- takes out the phone -- unscrews the body -- fixes the speaker wire -- closes it -- puts it back in the box -- Mike reaches for another box -- opens it... The camera tracks out to reveal the crates and crates of unopened BlackBerry Storms being unloaded all around him as he calmly tries to fix them one by one. Text appears on screen: Nearly every BlackBerry Storm was returned or replaced due to manufacturing errors. Verizon sued RIM for $500M to cover their losses. Mike Lazaridis resigned from RIM on January 22, 2012.
EXT. LAKE - DAY
Rick Brock and Jim fish together. Text appears on screen: Jim Balsillie avoided any jail time for his role in the stock manipulation. His texts and e-mails remain encrypted on the BlackBerry servers in Waterloo.
EXT. BACKYARD, DOUG'S HOUSE, WATERLOO - SUNSET
A backyard Movie Night. A projector shines on an outdoor screen. Doug, Allan, Scott, Pranay, Ethan, Steve and a few other former RIM Engineers are gathered, the movie is starting. Text appears on screen: Doug sold his stock at the 2007 high. He is secretly one of the richest men in the world.
INT. RIM 2, WATERLOO - DAY
An old photo of the original RIM group hangs on Doug's desk. Text appears on screen: At its height, BlackBerry controlled 45% of the cellphone market. Today, it's 0%. END.
| 0 | 0 |
Frozen_2013
|
tt2294629
|
Frozen
| 2,013 |
Princess Elsa of Arendelle possesses magical powers of ice and snow. After she accidentally injures her younger sister Anna with her magic, their parents, the King and Queen, take them to a colony of trolls led by Grand Pabbie. He heals Anna by taking away her memories of Elsa's magic. The King and Queen decide that, until Elsa learns to control her powers, they will close the castle gates and she will be isolated from everyone. Years of isolation creates a rift between the sisters, and when they are both adults, their parents are killed at sea. On Elsa's coronation day, the castle gates open to the public for the first time. Visiting dignitaries include the handsome Prince Hans of the Southern Isles. Hans proposes to Anna, but Elsa objects to the alliance and lashes out, accidentally revealing her powers before the terrified court. Accused of witchcraft by the scheming Duke of Weaselton, Elsa flees to the North Mountain, where she feels unrestrained for the first time. She builds an ice palace and decides to live a hermit life, unaware that her magic has plunged Arendelle into an eternal winter. Anna ventures out to find Elsa, leaving Hans in command. She meets an iceman named Kristoff and his reindeer, Sven, convincing them to take her to the North Mountain. On their way, they meet Olaf, a living snowman created by Elsa's magic. At the ice palace, Anna informs Elsa what has become of Arendelle. Elsa's fear causes her to strike Anna with ice, accidentally freezing her heart. In desperation to keep her sister safe, Elsa creates a giant snow monster that chases them away. With Anna slowly freezing to death, Kristoff takes her to the trolls, his adoptive family, for help. Grand Pabbie reveals that only "an act of true love" can thaw her heart. Kristoff races back to the castle so that Hans can give Anna true love's kiss. Meanwhile, Hans captures Elsa. Instead of kissing Anna, he reveals he has been plotting to become the ruler of Arendelle by marrying Anna, then killing both sisters. Both sisters escape from their captivities, and Olaf helps Anna reunite with Kristoff, whom he has deduced is in love with Anna. Hans confronts Elsa, claiming she has killed Anna. Elsa breaks down, which abruptly stops the blizzard she created. Seeing Hans about to kill Elsa, Anna sacrifices her chance to be saved by Kristoff and steps between Elsa and Hans. She finally completely freezes solid, which devastates Elsa. As she hugs her sister, Anna slowly thaws; her heroism constitutes "an act of true love" for her sister. Realizing that love is the key to controlling her powers, Elsa ends the winter. Hans is arrested and exiled for treason and attempted assassination. Elsa appoints Kristoff the royal ice deliverer, and he and Anna share a kiss. The sisters mend their relationship, and Elsa promises never to lock the castle gates again.
|
<script>
<scene>
<scene_description>Final Shooting Draft by Jennifer Lee</scene_description>
<character>9/23/13</character>
<dialogue>Property of the Walt Disney Animation Studios</dialogue>
<scene_description>OPEN ON: ICE. We're underwater looking up at it. A saw cuts through, heading right for us.</scene_description>
</scene>
<scene>
<stage_direction>EXT. SNOW-CAPPED MOUNTAINS - DUSK</stage_direction>
<scene_description>ICE HARVESTERS, dressed in traditional Sami clothing, score a frozen lake. They SING. "The Frozen Heart (Ice Worker's Song)" BORN OF COLD AND WINTER AIR AND MOUNTAIN RAIN COMBINING, THIS ICY FORCE BOTH FOUL AND FAIR HAS A FROZEN HEART WORTH MINING. The men drag giant ice blocks through channels of water. CUT THROUGH THE HEART, COLD AND CLEAR. STRIKE FOR LOVE AND STRIKE FOR FEAR. SEE THE BEAUTY SHARP AND SHEER. SPLIT THE ICE APART! AND BREAK THE FROZEN HEART. Hup! Ho! Watch your step! Let it go! A young Sami boy, KRISTOFF (8), and his reindeer calf, SVEN, share a carrot as they try to keep up with the men.</scene_description>
<character>ICE HARVESTERS</character>
<dialogue>Hup! Ho! Watch your step! Let it go!</dialogue>
<scene_description>Young Kristoff struggles to get a block of ice out of the water. He fails, ends up soaked. Sven licks his wet cheek. BEAUTIFUL! POWERFUL! DANGEROUS! COLD! ICE HAS A MAGIC CAN'T BE CONTROLLED. A sharp ice floe overtakes the workers, threateningly. They fight it back. STRONGER THAN ONE, STRONGER THAN TEN STRONGER THAN A HUNDRED MEN! Massive fjord horses drag heavy ice plows. BORN OF COLD AND WINTER AIR AND MOUNTAIN RAIN COMBINING The sun sets. Lanterns are lit. THIS ICY FORCE BOTH FOUL AND FAIR HAS A FROZEN HEART WORTH MINING. CUT THROUGH THE HEART, COLD AND CLEAR. In the dark, Kristoff and Sven finally manage to get a single block of ice out of the water. STRIKE FOR LOVE AND STRIKE FOR FEAR. THERE'S BEAUTY AND THERE'S DANGER HERE. SPLIT THE ICE APART! BEWARE THE FROZEN HEART. The workers pile onto the giant horse-drawn ice sled as it pulls away. Left behind, Kristoff and Sven push their ice block onto a dinky little sled then head off. We sweep up from them to the Northern Lights filling the sky...then move across the mountains...beneath the snowline...and descend upon...</scene_description>
</scene>
<scene>
<stage_direction>EXT. THE KINGDOM OF ARENDELLE - NIGHT</stage_direction>
<scene_description>A humble castle, built of wood, nestled in a deep fjord.</scene_description>
</scene>
<scene>
<stage_direction>INT. CASTLE, NURSERY - NIGHT</stage_direction>
<scene_description>ELSA (8) sleeps in her bed. Her little sister ANNA (5) pops up beside her.</scene_description>
<character>YOUNG ANNA</character>
<dialogue>Elsa. Psst. Elsa! Psst.</dialogue>
<scene_description>Elsa doesn't stir. Anna sits on Elsa and bounces.</scene_description>
<character>YOUNG ANNA</character>
<dialogue>Wake up. Wake up. Wake up.</dialogue>
<character>YOUNG ELSA</character>
<parenthetical>(grumbling)</parenthetical>
<dialogue>Anna, go back to sleep.</dialogue>
<scene_description>Anna rolls onto her back and spreads all her weight on Elsa.</scene_description>
<character>YOUNG ANNA</character>
<parenthetical>(drama queen-ish)</parenthetical>
<dialogue>I just can't. The sky's awake, so I'm awake, so we have to play.</dialogue>
<character>YOUNG ELSA</character>
<dialogue>...Go play by yourself.</dialogue>
<scene_description>Elsa shoves Anna off the bed. Anna lands butt to floor, sighs, defeated. But then she gets an idea. She hops back on the bed and lifts one of Elsa's eyelids.</scene_description>
<character>YOUNG ANNA</character>
<parenthetical>(mischievously)</parenthetical>
<dialogue>Do you want to build a snowman?</dialogue>
<scene_description>Elsa's eyes both pop open. She smiles.</scene_description>
</scene>
<scene>
<stage_direction>INT. CASTLE STAIRCASE - NIGHT</stage_direction>
<scene_description>Anna, now wearing snow boots, pulls Elsa by the hand.</scene_description>
<character>YOUNG ANNA</character>
<dialogue>Come on, come on, come on, come on.</dialogue>
<scene_description>Elsa tries to shush her, but Anna's too excited.</scene_description>
</scene>
<scene>
<stage_direction>INT. BALLROOM - NIGHT</stage_direction>
<scene_description>The girls sneak into the ballroom. Elsa shuts the door.</scene_description>
<character>YOUNG ANNA</character>
<dialogue>Do the magic! Do the magic!</dialogue>
<scene_description>Elsa laughs and waves her hands together. Snowflakes suddenly burst forth and dance between her palms, forming a snowball. Elsa throws the snowball high into the air. Snow bursts out and flurries around the room. Anna dances about, catching flakes in her palms and mouth.</scene_description>
<character>YOUNG ANNA</character>
<dialogue>This is amazing!</dialogue>
<character>YOUNG ELSA</character>
<dialogue>Watch this!</dialogue>
<scene_description>Elsa stomps her little slippered foot and a layer of ice suddenly coats the floor, forming a giant ice rink. Anna slides off, laughing. PLAY MONTAGE: -Anna and Elsa roll giant snowballs and build a snowman together. Elsa moves his stick arms around.</scene_description>
<character>YOUNG ELSA</character>
<parenthetical>(goofy voice)</parenthetical>
<dialogue>Hi, I'm Olaf and I like warm hugs.</dialogue>
<scene_description>Anna jumps up and hugs him.</scene_description>
<character>YOUNG ANNA</character>
<dialogue>I love you, Olaf.</dialogue>
<scene_description>-Anna and Olaf appear to be dancing. REVEAL: Elsa is actually propelling them across the ice floor with her magic. -The girls slide down snowbanks together! -Anna fearlessly jumps off a snow peak into mid air.</scene_description>
<character>YOUNG ANNA</character>
<dialogue>Catch me!</dialogue>
<scene_description>Elsa makes another peak to catch Anna.</scene_description>
<character>YOUNG ELSA</character>
<dialogue>Gotcha!</dialogue>
<scene_description>Anna keeps jumping. Elsa keeps casting magic.</scene_description>
<character>YOUNG ANNA</character>
<parenthetical>(jumping faster)</parenthetical>
<dialogue>Again! Again!</dialogue>
<character>YOUNG ELSA</character>
<parenthetical>(struggling to keep up)</parenthetical>
<dialogue>Slow down!</dialogue>
<scene_description>Elsa suddenly slips. Her magic accidentally STRIKES Anna in the head. Anna tumbles down a snowbank and lands, unconscious. ANNA! Elsa runs to Anna and takes her in her arms. A streak of Anna's hair, where struck, turns white. MAMA! PAPA! The room around them fills with frightening ice spikes. The parents burst through the frozen door. GASP at the sight of the room.</scene_description>
<character>KING</character>
<dialogue>Elsa, what have you done? This is getting out of hand!</dialogue>
<character>QUEEN</character>
<parenthetical>(seeing Anna)</parenthetical>
<dialogue>Anna!</dialogue>
<scene_description>The King and Queen rush to Anna and take her in their arms.</scene_description>
<character>ELSA</character>
<dialogue>It was an accident. I'm sorry, Anna.</dialogue>
<character>QUEEN</character>
<parenthetical>(about Anna)</parenthetical>
<dialogue>She's ice cold.</dialogue>
<character>KING</character>
<dialogue>...I know where we have to go.</dialogue>
<scene_description>SLAM CUT TO:</scene_description>
</scene>
<scene>
<stage_direction>INT. DARK ROOM - NIGHT</stage_direction>
<scene_description>The King sifts through a shelf to find an ancient book inscribed with Old Norse runes. He opens the book, scrambles to a page with an ancient map.</scene_description>
</scene>
<scene>
<stage_direction>EXT. ARENDELLE - NIGHT</stage_direction>
<scene_description>Carrying the girls, the King and Queen ride their horses out of the kingdom. Snow streams from Elsa's hands, leaving a trail of ice behind them.</scene_description>
</scene>
<scene>
<stage_direction>EXT. FJORD MOUNTAIN FOREST - NIGHT</stage_direction>
<scene_description>A sleepy Kristoff and Sven travel alone through the dark woods. All of a sudden, the King and Queen race by with the girls, leaving the wake of ice.</scene_description>
<character>KRISTOFF</character>
<dialogue>Ice?</dialogue>
<scene_description>SLAM CUT TO:</scene_description>
</scene>
<scene>
<stage_direction>EXT. BLACK MOUNTAINS - NIGHT</stage_direction>
<scene_description>Kristoff rides Sven as they follow the trail of ice.</scene_description>
<character>YOUNG KRISTOFF</character>
<dialogue>Faster, Sven!</dialogue>
</scene>
<scene>
<stage_direction>EXT. THE VALLEY OF THE LIVING ROCK - NIGHT</stage_direction>
<scene_description>Kristoff hops off Sven at the edge of a deep valley. They hide behind a rock and peek out. Down below, the King holds a frightened Elsa. The Queen holds the still unconscious Anna.</scene_description>
<character>KING</character>
<dialogue>Please, help. My daughter!</dialogue>
<scene_description>Suddenly, a bunch of rocks tumble down the valley toward them. It looks as though they'll be crushed! But, luckily, the rocks stop at their feet. The rocks then unfold, revealing bright faces.</scene_description>
<character>YOUNG KRISTOFF</character>
<dialogue>Trolls...?</dialogue>
<scene_description>The rock in front of Kristoff "wakes up." Meet BULDA.</scene_description>
<character>BULDA</character>
<dialogue>Shush. I'm trying to listen.</dialogue>
<scene_description>She grabs Kristoff and Sven by hand and hoof and hugs them close. Sven licks her face and she eyes them both.</scene_description>
<character>BULDA</character>
<dialogue>Cuties. I'm gonna keep you.</dialogue>
<scene_description>Back below, the crowd parts for a troll as old as the Earth. They call him GRAND PABBIE. He approaches arthritically, but determined. He nods respectfully to the king.</scene_description>
<character>GRAND PABBIE</character>
<dialogue>Your Majesty.</dialogue>
<parenthetical>(referring to Elsa)</parenthetical>
<dialogue>Born with the powers or cursed?</dialogue>
<character>KING</character>
<dialogue>Born. And they're getting stronger.</dialogue>
<scene_description>Grand Pabbie motions for the Queen to bring Anna to him. She does. He examines her.</scene_description>
<character>GRAND PABBIE</character>
<parenthetical>(about Anna)</parenthetical>
<dialogue>You are lucky it wasn't her heart. The heart is not so easily changed, but the head can be persuaded.</dialogue>
<character>KING</character>
<dialogue>Do what you must.</dialogue>
<character>GRAND PABBIE</character>
<dialogue>I recommend we remove all magic, even memories of magic to be safe.... But don't worry, I'll leave the fun.</dialogue>
<scene_description>Grand Pabbie pulls out a glowing blue energy from Anna's head. We see her memories floating right above her. Grand Pabbie changes all of her magical memories to ordinary memories -- snowy play indoors with the girls in their nightgowns changes to outdoors on the winter fjords with the girls in winter gear. He puts the ordinary memories back in her head.</scene_description>
<character>GRAND PABBIE</character>
<dialogue>She will be okay.</dialogue>
<character>YOUNG ELSA</character>
<dialogue>But she won't remember I have powers?</dialogue>
<character>KING</character>
<dialogue>It's for the best.</dialogue>
<character>PABBIE</character>
<dialogue>Listen to me, Elsa, your power will only grow.</dialogue>
<scene_description>As he speaks, he conducts the Northern Lights to show a silhouette of an adult Elsa creating magical snowflakes.</scene_description>
<character>PABBIE</character>
<dialogue>There is beauty in your magic.... But also great danger.</dialogue>
<scene_description>The snowflakes turn to sharp spikes.</scene_description>
<character>PABBIE (O.S.)</character>
<dialogue>You must learn to control it.</dialogue>
<scene_description>In the Northern Lights display, the sharp spikes cause human figures to panic and attack Elsa.</scene_description>
<character>PABBIE</character>
<dialogue>Fear will be your enemy.</dialogue>
<scene_description>Elsa gasps and buries her face in the King's chest. The King wraps his arms around Elsa, protectively.</scene_description>
<character>KING</character>
<dialogue>No. We'll protect her. She can learn to control it. I'm sure.</dialogue>
<scene_description>Over the King's words we... DISSOLVE TO: -The Arendelle castle gates shutting.</scene_description>
<character>KING (O.S.)</character>
<dialogue>Until then, we'll lock the gates. We'll reduce the staff. We will limit her contact with people and keep her powers hidden from everyone... including Anna.</dialogue>
<scene_description>-The castle shutters close. -Anna sits on her bed as Elsa's furniture disappears. -Anna rushes to the hall to see Elsa shut the door to her new room. Anna watches, confused and sad. DISSOLVE TO:</scene_description>
</scene>
<scene>
<stage_direction>INT. CASTLE WINDOW - DAY</stage_direction>
<scene_description>We look out on a gentle snowfall. Little Anna skips up to the window. She lights up at the sight of the snow and rushes down the hall.</scene_description>
</scene>
<scene>
<stage_direction>INT. HALLWAY, ELSA'S DOOR - DAY</stage_direction>
<scene_description>Anna knocks on Elsa's door and SINGS. "Do You Want to Build a Snowman?" DO YOU WANT TO BUILD A SNOWMAN? COME ON LET'S GO AND PLAY. Anna peeks under the door. I NEVER SEE YOU ANYMORE. COME OUT THE DOOR. IT'S LIKE YOU'VE GONE AWAY. -INT. ANNA'S ROOM - Anna plays with two dolls, gives up, sad. WE USED TO BE BEST BUDDIES AND NOW WE'RE NOT. I WISH YOU WOULD TELL ME WHY. -ELSA'S DOOR. Anna peeks through the key hole. DO YOU WANT TO BUILD A SNOWMAN? -Anna calls through the keyhole. IT DOESN'T HAVE TO BE A SNOWMAN.</scene_description>
<character>YOUNG ELSA (O.S.)</character>
<dialogue>Go away, Anna.</dialogue>
<character>YOUNG ANNA</character>
<parenthetical>(hearbroken)</parenthetical>
</scene>
<scene>
<stage_direction>..OKAY BYE.</stage_direction>
<scene_description>-BEHIND THE DOOR - DAY. Elsa sits at the window looking out, longingly. Suddenly, her icy hands freeze the windowsill. -LATER. The King slips leather gloves onto Elsa's hands.</scene_description>
<character>KING</character>
<dialogue>The gloves will help.</dialogue>
<scene_description>He pats her gloved hand.</scene_description>
<character>KING</character>
<dialogue>See? You're good....</dialogue>
<parenthetical>(starting their mantra)</parenthetical>
<dialogue>Conceal it.</dialogue>
<character>YOUNG ELSA</character>
<dialogue>Don't feel it.</dialogue>
<character>YOUNG ELSA & KING</character>
<dialogue>Don't let it show.</dialogue>
<scene_description>-INT. HALLWAY, ELSA'S DOOR - DAY. Anna, now 9, knocks on Elsa's door. DO YOU WANT TO BUILD A SNOWMAN? -INT. HALLWAY - DAY. Alone, Anna rides a bicycle built for two in the hall by standing on the back seat. OR RIDE OUR BIKE AROUND THE HALL? I THINK SOME COMPANY IS OVERDUE... -INT. PORTRAIT ROOM - DAY. Anna runs around the portrait room, gaining momentum to flip over the arm of the couch. I'VE STARTED TALKING TO THE PICTURES ON THE WALLS. Anna lands PLOP on the cushions, then looks up at the painting above her of the courageous Joan of Arc.</scene_description>
<character>ANNA (9)</character>
<dialogue>Hang in there, Joan.</dialogue>
<scene_description>-INT. EMPTY LIBRARY - DAY. Looks like no one's around. IT GETS A LITTLE LONELY ALL THESE EMPTY ROOMS. But then we find Anna, laying at the base of the grandfather clock, playing with her braids, bored out of her mind. JUST WATCHING THE HOURS TICK BY. Anna's eyes follow the grandfather clock's pendulum. TICK TOCK. TICK TOCK. TICK TOCK. -INT. ELSA'S ROOM - NIGHT. Elsa (now 12) paces as she panics. The entire wall is frozen behind her.</scene_description>
<character>ELSA (12)</character>
<dialogue>I'm scared. It's getting stronger.</dialogue>
<character>KING</character>
<dialogue>Getting upset only makes it worse.</dialogue>
<scene_description>The King goes to hug her.</scene_description>
<character>ELSA (12)</character>
<dialogue>No. Don't touch me. I don't want to hurt you.</dialogue>
<scene_description>He and the Queen look at each other with alarmed sadness. -INT. LIBRARY - DAY. Anna, now a teenager, slides past Elsa's room without stopping. -INT. KING AND QUEEN'S QUARTERS - DAY. Anna runs into the room and throws herself into her parents' arms.</scene_description>
<character>TEEN ANNA</character>
<dialogue>See you in two weeks.</dialogue>
<scene_description>-INT. ELSA'S ROOM - DAY. Elsa curtsies in front of her parents, formally, not touching them.</scene_description>
<character>TEEN ELSA</character>
<dialogue>Do you have to go?</dialogue>
<character>KING</character>
<dialogue>You'll be fine, Elsa.</dialogue>
<scene_description>-EXT. DOCKS - DAY. The King and Queen leave on a ship. -EXT. ROUGH SEAS - NIGHT. Lightning flashes. The sea rages in a storm. The King and Queen's ship is lost in the waves. -INT. CASTLE - DAY. A portrait of the King and Queen is covered in mourning cloth. -EXT. CEMETERY - DAY. Anna looks small, standing before her people, beside burial stones. -INT. HALLWAY, ELSA'S DOOR. Anna, still in her mourning clothes, approaches and knocks.</scene_description>
<character>ANNA</character>
<parenthetical>(singing)</parenthetical>
<dialogue>Elsa? PLEASE I KNOW YOU'RE IN THERE PEOPLE ARE ASKING WHERE YOU'VE BEEN THEY SAY HAVE COURAGE AND I'M TRYING TO I'M RIGHT OUT HERE FOR YOU. PLEASE LET ME IN.</dialogue>
<scene_description>Anna slides down the door and sits with her head against it. WE ONLY HAVE EACH OTHER. IT'S JUST YOU AND ME. WHAT ARE WE GONNA DO? (weak, internal) DO YOU WANT TO BUILD A SNOWMAN? We move through the door... -INT. ELSA'S ROOM - DAY. Elsa is sitting in the exact same pose as Anna. Her bedroom is frozen with ice. Snowflakes hang in the air, suspended by grief. FADE OUT.:</scene_description>
</scene>
<scene>
<stage_direction>EXT. THE KINGDOM OF ARENDELLE - MORNING</stage_direction>
<scene_description>A new dawn rises over the fjords. Ships pull up to the docks. Guests pile out.</scene_description>
<character>DOCK MASTER</character>
<dialogue>Welcome to Arendelle!</dialogue>
<scene_description>A BOY tries to get away as his MOTHER tries to stuff him in his bunad jacket.</scene_description>
<character>BOY</character>
<dialogue>Why do I have to wear this?</dialogue>
<character>MOTHER</character>
<dialogue>Because the Queen has come of age. It's Coronation Day!</dialogue>
<character>BOY</character>
<dialogue>That's not my fault.</dialogue>
<scene_description>They pass the May Pole being raised and a Sami ice harvester chatting with his reindeer. We recognize them as Kristoff and Sven, all grown up. Sven hops around excitedly like a dog and nuzzles Kristoff's chest.</scene_description>
<character>KRISTOFF</character>
<dialogue>What do you want, Sven?</dialogue>
<scene_description>Kristoff leans in and speaks for Sven, as if he can.</scene_description>
<character>KRISTOFF (AS SVEN)</character>
<dialogue>Give me a snack.</dialogue>
<character>KRISTOFF</character>
<dialogue>What's the magic word?</dialogue>
<character>KRISTOFF (AS SVEN)</character>
<dialogue>Please!</dialogue>
<scene_description>Kristoff pulls a carrot out of his shirt pocket and hands it to Sven. Sven tries to bite the whole thing.</scene_description>
<character>KRISTOFF</character>
<dialogue>Hey, hey, hey! Share!</dialogue>
<scene_description>Sven takes a smaller bite. Kristoff then has a bite himself, not seeming to care that it's covered in reindeer slobber. We move on to PERSI and AGGIE, a super-excited couple who rush towards the castle.</scene_description>
<character>PERSI</character>
<dialogue>I can't believe they're finally opening up the gates!</dialogue>
<character>AGGIE</character>
<dialogue>And for a whole day! Faster, Persi!</dialogue>
<scene_description>They pass a tiny but menacing DUKE, who wears taps on his shoes to "enhance" his presence. Two THUG guards follow close behind him.</scene_description>
<character>DUKE</character>
<dialogue>Ah, Arendelle, our most mysterious trade partner. Open those gates so I may unlock your secrets and exploit your riches.</dialogue>
<parenthetical>(catching himself)</parenthetical>
<dialogue>...Did I just say that out loud?</dialogue>
<scene_description>We leave him and head down the bridge towards the castle gates, passing an Irishman and a Spanish Dignitary.</scene_description>
<character>IRISHMAN</character>
<dialogue>Oh, me sore eyes can't wait to see the Queen and the Princess. I bet they're absolutely lovely.</dialogue>
<character>SPANISH DIGNITARY</character>
<dialogue>I bet they are beautiful.</dialogue>
<scene_description>We move past them, to a particular castle window. CUT TO:</scene_description>
</scene>
<scene>
<stage_direction>INT. CASTLE, ANNA'S BEDROOM - DAY</stage_direction>
<scene_description>Anna, 18, snores. Drools. KNOCK. KNOCK.</scene_description>
<character>KAI (O.S.)</character>
<dialogue>Princess Anna...?</dialogue>
<scene_description>Anna sits up. She's got major bedhead. She coughs. Snorts. Pulls a hair from her mouth.</scene_description>
<character>ANNA</character>
<dialogue>...Huh? Yeah?</dialogue>
<character>KAI (O.S.)</character>
<dialogue>Sorry to wake you, ma'am but--</dialogue>
<character>ANNA</character>
<dialogue>No, you didn't. I've been up for hours.</dialogue>
<scene_description>She falls back asleep while sitting. She snores. Her head drops, startling her awake.</scene_description>
<character>ANNA</character>
<dialogue>Who is it?</dialogue>
<character>KAI (O.S.)</character>
<dialogue>It's still me, ma'am. Time to get ready.</dialogue>
<character>ANNA</character>
<dialogue>Ready for what?</dialogue>
<character>KAI (O.S.)</character>
<dialogue>Your sister's coronation, ma'am.</dialogue>
<character>ANNA</character>
<dialogue>My sister's cor-neration...</dialogue>
<scene_description>One eye opens enough to catch sight of her coronation dress. She bolts, wide awake in excitement.</scene_description>
<character>ANNA</character>
<dialogue>Coronation Day! Ha ha!</dialogue>
<scene_description>SLAM CUT TO:</scene_description>
</scene>
<scene>
<stage_direction>EXT. CASTLE HALL - DAY</stage_direction>
<scene_description>Anna bursts out of her room, wearing her coronation dress. She finishes pinning ribbons in her hair. Seeing the hustle and bustle of preparations, she can't help but SING. "For the First Time in Forever" THE WINDOW IS OPEN! SO'S THAT DOOR! I DIDN'T KNOW THEY DID THAT ANYMORE. WHO KNEW WE OWNED 8000 SALAD PLATES...? -Anna slides along the floor of the ballroom in her socks. FOR YEARS I HAVE ROAMED THESE EMPTY HALLS WHY HAVE A BALLROOM WITH NO BALLS? FINALLY, THEY'RE OPENING UP THE GATES! -She shakes hands with a suit of armor. Breaks it. Hides the evidence. THERE'LL BE REAL, ACTUAL PEOPLE - IT'LL BE TOTALLY STRANGE. BUT WOW AM I SO READY FOR THIS CHANGE! -Anna comes to a window and jumps out onto a window washer's pulley. She raises herself up to see the ships arriving. FOR THE FIRST TIME IN FOREVER, THERE'LL BE MUSIC, THERE'LL BE LIGHT. FOR THE FIRST TIME IN FOREVER, I'LL BE DANCING THROUGH THE NIGHT. -Anna walks through the garden and follows a family of geese. DON'T KNOW IF I'M ELATED OR GASSY, BUT I'M SOMEWHERE IN THAT ZONE 'CAUSE FOR THE FIRST TIME IN FOREVER, I WON'T BE ALONE. (speaking) I can't wait to meet everyone.... (GASP) What if I meet THE ONE? -Anna twists herself in a velvet drape like it's a gown. She acts like she looks gorgeous, but she looks ridiculous. TONIGHT, IMAGINE ME GOWN AND ALL- FETCHINGLY DRAPED AGAINST THE WALL. THE PICTURE OF SOPHISTICATED GRACE. -She notices the bust of a man across the room.</scene_description>
<character>ANNA</character>
<parenthetical>(google-eyed)</parenthetical>
<scene_description>I SUDDENLY SEE HIM STANDING THERE, A BEAUTIFUL STRANGER TALL AND FAIR. (mouth full of chocolate) I WANNA STUFF SOME CHOCOLATE IN MY FACE! -She grabs the bust of the man and swings it around. BUT THEN WE LAUGH AND TALK ALL EVENING, WHICH IS TOTALLY BIZARRE. NOTHING LIKE THE LIFE I'VE LED SO FAR. The bust goes flying and lands on the top of the cake. -Anna bursts into the portrait room, bounces on the furniture, and interacts with the paintings. FOR THE FIRST TIME IN FOREVER, THERE'LL BE MAGIC, THERE'LL BE FUN. FOR THE FIRST TIME IN FOREVER, I COULD BE NOTICED BY SOMEONE. AND I KNOW IT IS TOTALLY CRAZY TO DREAM I'D FIND ROMANCE. BUT FOR THE FIRST TIME IN FOREVER, AT LEAST I'VE GOT A CHANCE! -INT. LIBRARY. ELSA, now a very poised 21, watches out the window as the coronation guests arrive. DON'T LET THEM IN. DON'T LET THEM SEE. BE THE GOOD GIRL YOU ALWAYS HAVE TO BE. Elsa moves to a painting of her father's coronation. She takes off her gloves and mimics the painting by holding a candlestick and ornament in place of an orb and scepter. CONCEAL. DON'T FEEL. PUT ON A SHOW. MAKE ONE WRONG MOVE AND EVERYONE WILL KNOW. The candlestick and ornament ice over. Elsa gasps, slams them back down onto the table. She tries to reassure herself. BUT IT'S ONLY FOR TODAY. We cut between Anna's excitement and Elsa's nerves. IT'S ONLY FOR TODAY! IT'S AGONY TO WAIT. IT'S AGONY TO WAIT!!! TELL THE GUARDS TO OPEN UP THE GATE. THE GATE!!! -Finally, the gates are open! Anna moves through the crowd, admiring the people around her.</scene_description>
<character>ANNA</character>
<dialogue>FOR THE FIRST TIME IN FOREVER.</dialogue>
<character>ELSA</character>
<dialogue>DON'T LET THEM IN DON'T LET THEM SEE</dialogue>
<character>ANNA</character>
<dialogue>I'M GETTING WHAT I'M DREAMING OF</dialogue>
<character>ELSA</character>
<dialogue>BE THE GOOD GIRL YOU ALWAYS HAVE TO BE</dialogue>
<character>ANNA</character>
<dialogue>A CHANCE TO LEAVE MY SISTER'S WORLD A CHANCE TO FIND TRUE LOVE</dialogue>
<character>ELSA</character>
<dialogue>CONCEAL. CONCEAL. DON'T FEEL. DON'T LET THEM KNOW.</dialogue>
<scene_description>-Anna hurries over the bridge and into the village square. I KNOW IT ALL ENDS TOMORROW, SO IT HAS TO BE TODAY!! 'CAUSE FOR THE FIRST TIME IN FOREVER. . . FOR THE FIRST TIME IN FOREVER! NOTHING'S IN MY WAY!!! -Anna SLAMS right into the breast of a HORSE! She falls back and lands in a small wooden boat. It tips off of the dock. She's heading overboard. But just then, the horse slams his hoof into the boat and steadies it.</scene_description>
<character>ANNA</character>
<parenthetical>(frustrated)</parenthetical>
<dialogue>Hey!</dialogue>
<character>HANS</character>
<dialogue>I'm so sorry. Are you hurt?</dialogue>
<scene_description>The rider, HANS, sure is handsome and regal.</scene_description>
<character>ANNA</character>
<parenthetical>(gentler)</parenthetical>
<dialogue>Hey. I-ya, no. No. I'm okay.</dialogue>
<character>HANS</character>
<dialogue>Are you sure?</dialogue>
<character>ANNA</character>
<dialogue>Yeah, I just wasn't looking where I was going. But I'm okay.</dialogue>
<scene_description>He hops down from his horse and steps into the boat.</scene_description>
<character>ANNA</character>
<dialogue>I'm great, actually.</dialogue>
<character>HANS</character>
<dialogue>Oh, thank goodness.</dialogue>
<scene_description>He offers her a hand and their eyes meet. Chemistry. He helps her to her feet.</scene_description>
<character>HANS</character>
<parenthetical>(bowing)</parenthetical>
<dialogue>Prince Hans of the Southern Isles.</dialogue>
<character>ANNA</character>
<parenthetical>(curtseying)</parenthetical>
<dialogue>Princess Anna of Arendelle.</dialogue>
<character>HANS</character>
<dialogue>Princess...? My Lady.</dialogue>
<scene_description>He drops to his knees, head bowed. The horse bows too, curling his hoof up and out of the boat. The boat tips. Hans tumbles on top of Anna. Awkward.</scene_description>
<character>ANNA</character>
<dialogue>Hi...again.</dialogue>
<scene_description>The horse slams his foot back into the boat to stabilize it. Anna and Hans tumble the other way. Anna lands on top of him.</scene_description>
<character>HANS</character>
<dialogue>Oh boy.</dialogue>
<character>ANNA</character>
<dialogue>Ha. This is awkward. Not you're awkward, but just because we're-- I'm awkward. You're gorgeous.</dialogue>
<parenthetical>(did she just say that?)</parenthetical>
<dialogue>Wait, what?</dialogue>
<scene_description>Hans quickly gets to his feet and helps Anna up again.</scene_description>
<character>HANS</character>
<dialogue>I'd like to formally apologize for hitting the Princess of Arendelle with my horse...and for every moment after.</dialogue>
<character>ANNA</character>
<dialogue>No. No-no. It's fine. I'm not THAT Princess. I mean, if you'd hit my sister Elsa, that would be-- yeash! 'Cuz, you know...</dialogue>
<parenthetical>(patting the horse)</parenthetical>
<dialogue>Hello.</dialogue>
<character>ANNA</character>
<parenthetical>(to Hans)</parenthetical>
<dialogue>But, lucky you, it's-it's just me.</dialogue>
<character>HANS</character>
<dialogue>Just you?</dialogue>
<scene_description>Hans smiles, amused. She smiles back. The bells RING. She doesn't notice at first; she's too busy drinking in Hans's handsomeness.</scene_description>
<character>ANNA</character>
<dialogue>...The bells. The coronation. I-I-I better go. I have to...I better go.</dialogue>
<scene_description>She hurries off, stops, turns back. Gives Hans a little wave.</scene_description>
<character>ANNA</character>
<dialogue>Bye!</dialogue>
<scene_description>As she rushes off again, Hans waves back. The horse waves too, once again taking his hoof out of the boat.</scene_description>
<character>HANS</character>
<dialogue>Oh no.</dialogue>
<scene_description>The boat falls, with Hans in it. SPLASH! It lands upside down in the water. Hans raises it up off of him, gasping for air. CUT TO:</scene_description>
</scene>
<scene>
<stage_direction>INT. CHURCH CHAPEL - DAY</stage_direction>
<scene_description>Elsa stands at the alter. Anna stands off to one side. She peeks out to the audience. Hans waves at her from the pews. He's changed his clothes. The crown is placed on Elsa's head. The scepter and orb are presented to Elsa on a pillow. She slowly reaches for them.</scene_description>
<character>BISHOP</character>
<parenthetical>(a whisper)</parenthetical>
<dialogue>Your Majesty, the gloves.</dialogue>
<scene_description>Elsa hesitates. She breathes nervously, removes her gloves, places them on the pillow. Her hands shake. She takes the orb and scepter, then turns to the people.</scene_description>
<character>BISHOP</character>
<parenthetical>(formal, in Old Norse)</parenthetical>
<dialogue>Sehm hon HELL-drr IN-um HELL-gum AYG-num ok krund ee THES-um HELL- gah STAHTH, ehk teh frahm FUR-ear U- thear...</dialogue>
<scene_description>The scepter and orb start to freeze over.</scene_description>
<character>BISHOP</character>
<dialogue>...Queen Elsa of Arendelle.</dialogue>
<character>CROWD</character>
<dialogue>Queen Elsa of Arendelle.</dialogue>
<scene_description>Just in time. Elsa manages to set the orb and scepter back down on the pillow before anyone notices the ice. She picks up her gloves and slips them on. She made it. CUT TO:</scene_description>
</scene>
<scene>
<stage_direction>INT. GREAT HALL - NIGHT</stage_direction>
<scene_description>Springy music fills the Great Hall. Guests dance. Eat. Laugh. TRUMPETS SOUND.</scene_description>
<character>KAI</character>
<parenthetical>(announcing)</parenthetical>
<dialogue>Queen Elsa of Arendelle.</dialogue>
<scene_description>Elsa enters, poised and looking surprisingly content. She stands under a formal awning.</scene_description>
<character>KAI</character>
<dialogue>Princess Anna of Arendelle!</dialogue>
<scene_description>Anna runs into the room, waves awkwardly. Kai ushers her over to stand right next to Elsa.</scene_description>
<character>ANNA</character>
<dialogue>Here? Are you sure?</dialogue>
<scene_description>She and Elsa sneak awkward peeks at each other.</scene_description>
<character>ELSA</character>
<dialogue>...Hi.</dialogue>
<character>ANNA</character>
<dialogue>Hi me...? Oh. Um. Hi.</dialogue>
<character>ELSA</character>
<dialogue>...You look beautiful.</dialogue>
<character>ANNA</character>
<dialogue>Thank you. You look beautifuller. I mean, not fuller. You don't look fuller, but more beautiful.</dialogue>
<character>ELSA</character>
<dialogue>Thank you.</dialogue>
<scene_description>They look out at the celebration.</scene_description>
<character>ELSA</character>
<dialogue>So, this is what a party looks like?</dialogue>
<character>ANNA</character>
<dialogue>It's warmer than I thought.</dialogue>
<character>ELSA</character>
<dialogue>And what is that amazing smell?</dialogue>
<scene_description>They both close their eyes and inhale.</scene_description>
<character>ANNA AND ELSA (TOGETHER)</character>
<dialogue>...Chocolate.</dialogue>
<scene_description>Their eyes pop open. They laugh. Elsa looks back out at the party. Anna looks at Elsa. She wants to say so much, but she can't think of where to start. Just as she finds her way, Kai interrupts.</scene_description>
<character>KAI</character>
<dialogue>Your Majesty. The Duke of Weaseltown.</dialogue>
<character>DUKE</character>
<dialogue>Weselton. The Duke of Weselton.</dialogue>
<parenthetical>(to Elsa)</parenthetical>
<dialogue>Your Majesty, as your closest partner in trade, it seems only fitting that I offer you your first dance as queen.</dialogue>
<scene_description>The Duke does a funny flitter of his feet, a hitch-kick, and a deep bow.</scene_description>
<character>DUKE</character>
<parenthetical>(whispers to himself)</parenthetical>
<dialogue>One, two, three. Jump.</dialogue>
<scene_description>As he holds out his hand, head down, his toupee dips forward. Anna giggles. Elsa looks at Anna, stifles a giggle herself.</scene_description>
<character>ELSA</character>
<parenthetical>(to the Duke)</parenthetical>
<dialogue>Thank you...only I don't dance.</dialogue>
<character>DUKE</character>
<parenthetical>(offended)</parenthetical>
<dialogue>Oh...?</dialogue>
<character>ELSA</character>
<dialogue>But my sister does.</dialogue>
<character>ANNA</character>
<dialogue>What?</dialogue>
<character>DUKE</character>
<dialogue>Lucky you....</dialogue>
<character>ANNA</character>
<dialogue>Oh, I don't think--</dialogue>
<scene_description>The Duke grabs Anna's arm and yanks her away before she can protest.</scene_description>
<character>DUKE</character>
<dialogue>If you swoon, let me know, I'll catch you.</dialogue>
<scene_description>Anna looks back at Elsa, desperately.</scene_description>
<character>ELSA</character>
<dialogue>Sorry.</dialogue>
<scene_description>OUT ON THE DANCE FLOOR: The Duke showboats, but he's just awful. Anna tries to make the best of it.</scene_description>
<character>DUKE</character>
<dialogue>Like an agile peacock... CLUCK- CLUGGLE-CLUCK!</dialogue>
<scene_description>He lands on her feet.</scene_description>
<character>ANNA</character>
<dialogue>Ow. Ow.</dialogue>
<character>DUKE</character>
<dialogue>Speaking of, so great to have the gates open. Why did they shut them in the first place? Do you know the reason? Hmm?</dialogue>
<scene_description>He gets in her face, suspicious.</scene_description>
<character>ANNA</character>
<dialogue>...No.</dialogue>
<character>DUKE</character>
<dialogue>Oh, all right. Hang on. They don't call me the little dipper for nothing.</dialogue>
<scene_description>He dips Anna back. Elsa peeks through the crowd, can barely hold in her laughter. Anna shoots Elsa funny, help-me looks.</scene_description>
<character>DUKE</character>
<parenthetical>(groove fully on)</parenthetical>
<dialogue>Like a chicken...with the face of a monkey...I fly.</dialogue>
<scene_description>JUMP CUT TO: MOMENTS LATER... Anna limps back to Elsa.</scene_description>
<character>DUKE (O.S.)</character>
<dialogue>Let me know when you're ready for another round, M'Lady.</dialogue>
<character>ELSA</character>
<dialogue>Well, he was sprightly.</dialogue>
<character>ANNA</character>
<parenthetical>(rubbing her sore feet)</parenthetical>
<dialogue>Especially for a man in heels.</dialogue>
<character>ELSA</character>
<dialogue>Are you okay?</dialogue>
<character>ANNA</character>
<parenthetical>(loving Elsa's attention)</parenthetical>
<dialogue>I've never been better. This is so nice. I wish it could be like this all the time.</dialogue>
<character>ELSA</character>
<parenthetical>(sincere)</parenthetical>
<dialogue>Me too....</dialogue>
<scene_description>But then Elsa catches herself. She stiffens up, looks away.</scene_description>
<character>ELSA</character>
<dialogue>But it can't.</dialogue>
<character>ANNA</character>
<dialogue>Why not? If--</dialogue>
<character>ELSA</character>
<dialogue>It just can't.</dialogue>
<scene_description>Anna's smile drops. She tries not to get emotional.</scene_description>
<character>ANNA</character>
<dialogue>Excuse me for a minute.</dialogue>
<scene_description>She walks away. Elsa watches her go, saddened. Moving through the crowd, Anna gets bumped by a bowing man's butt. She falls. Just before she hits the floor, Hans catches her. He smiles perfectly.</scene_description>
<character>HANS</character>
<dialogue>Glad I caught you.</dialogue>
<character>ANNA</character>
<dialogue>Hans.</dialogue>
<scene_description>He smoothly sets his drink down on a passing tray. He lifts her up and leads her in a romantic dance. DISSOLVE TO: LATER: Anna and Hans drink and chat.</scene_description>
<character>ANNA</character>
<dialogue>I often had the whole parlor to myself to slide... Oops. Sorry.</dialogue>
<scene_description>She hits him in the face by mistake with her hand. He laughs. DISSOLVE TO: -THE CASTLE DOORS: Anna and Hans stroll out of the castle.</scene_description>
<character>ANNA</character>
<dialogue>...Your physique helps I'm sure.</dialogue>
<scene_description>DISSOLVE TO: -THE ROSE GARDEN... Hans notices her white streak.</scene_description>
<character>HANS</character>
<parenthetical>(about her white streak)</parenthetical>
<dialogue>What's this?</dialogue>
<character>ANNA</character>
<dialogue>I was born with it, although I dreamt I was kissed by a troll.</dialogue>
<character>HANS</character>
<dialogue>I like it.</dialogue>
<scene_description>DISSOLVE TO:</scene_description>
</scene>
<scene>
<stage_direction>EXT. BALCONY - NIGHT</stage_direction>
<scene_description>Anna teaches Hans how to eat krumkake.</scene_description>
<character>ANNA</character>
<dialogue>Yeah, the whole thing! You got it.</dialogue>
<scene_description>They laugh as the krumkake crumbles in his face.</scene_description>
<character>ANNA</character>
<dialogue>Okay wait, wait. So you have how many brothers?</dialogue>
<character>HANS</character>
<dialogue>Twelve older brothers. Three of them pretended I was invisible... literally...for two years.</dialogue>
<character>ANNA</character>
<dialogue>That's horrible.</dialogue>
<character>HANS</character>
<dialogue>It's what brothers do.</dialogue>
<character>ANNA</character>
<dialogue>...And sisters. Elsa and I were really close when we were little. But then, one day she just shut me out, and I never knew why.</dialogue>
<scene_description>He takes her hand. Leans in close.</scene_description>
<character>HANS</character>
<dialogue>I would never shut you out.</dialogue>
<character>ANNA</character>
<dialogue>Okay, can I just say something crazy?</dialogue>
<character>HANS</character>
<dialogue>I love crazy.</dialogue>
<scene_description>"Love is an Open Door"</scene_description>
<character>ANNA</character>
<parenthetical>(singing)</parenthetical>
<scene_description>ALL MY LIFE HAS BEEN A SERIES OF DOORS IN MY FACE. AND THEN SUDDENLY I BUMP INTO YOU.</scene_description>
<character>HANS</character>
<dialogue>I was thinking the same thing, because like. . .</dialogue>
<scene_description>I'VE BEEN SEARCHING MY WHOLE LIFE TO FIND MY OWN PLACE. AND MAYBE IT'S THE PARTY TALKING, OR THE CHOCOLATE FONDUE. BUT WITH YOU- BUT WITH YOU, I FOUND MY PLACE. I SEE YOUR FACE. AND IT'S NOTHING LIKE I'VE EVER KNOWN BEFORE. They jump to the neighboring balcony and enter a door. They come out on top of one of the castle's towers. LOVE IS AN OPEN DOOR! LOVE IS AN OPEN DOOR! Cut to them sliding across an empty hallway in their socks. LOVE IS AN OPEN DOOR WITH YOU! WITH YOU! WITH YOU! WITH YOU! LOVE IS AN OPEN DOOR. They hop up on the castle roof and watch a shooting star. I MEAN IT'S CRAZY.</scene_description>
<character>ANNA</character>
<dialogue>What?</dialogue>
<scene_description>WE FINISH EACH OTHER'S- SANDWICHES!</scene_description>
<character>HANS</character>
<dialogue>That's what I was gonna say!</dialogue>
<scene_description>They slide down the back of the roof out of sight. We next find them strutting on a bridge ledge. I'VE NEVER MET SOMEONE- WHO THINKS SO MUCH LIKE ME.</scene_description>
<character>BOTH (SPOKEN)</character>
<dialogue>Jinx.. . .jinx again.</dialogue>
<scene_description>Are they doing the robot? No. They're imitating the mechanical figures on the clock tower. OUR MENTAL SYNCHRONIZATION CAN HAVE BUT ONE EXPLANATION, YOU- AND I- WERE- JUST- MEANT TO BE. Anna and Hans dance on top of the lighthouse and cast dancing shadows across the sails of ships in the docks. SAY GOODBYE- SAY GOODBYE- TO THE PAIN OF THE PAST. WE DON'T HAVE TO FEEL IT ANYMORE! LOVE IS AN OPEN- They play hide and seek amongst the stable doors. DOOR! LOVE IS AN OPEN DOOR! They climb to the waterfall looking out over the kingdom. Anna raises up her hands to frame the moon. Hans puts his hands on top of hers. Together their hands form a heart. LIFE CAN BE SO MUCH MORE- WITH YOU! WITH YOU! WITH YOU! WITH YOU! LOVE IS AN OPEN DOOR. DOOR.</scene_description>
<character>HANS</character>
<dialogue>Can I say something crazy...? Will you marry me?</dialogue>
<character>ANNA</character>
<dialogue>Can I just say something even crazier? Yes.</dialogue>
<scene_description>CUT TO:</scene_description>
</scene>
<scene>
<stage_direction>INT. BALL - NIGHT</stage_direction>
<scene_description>Anna pushes through the crowd towards Elsa, Hans in tow.</scene_description>
<character>ANNA</character>
<dialogue>Oops! Pardon. Sorry. Can we just get around you there? Thank you. Oh, there she is. Elsa!</dialogue>
<scene_description>Elsa turns to Anna. Anna curtseys awkwardly.</scene_description>
<character>ANNA</character>
<dialogue>I mean...Queen.... Me again. Um. May I present Prince Hans of the Southern Isles.</dialogue>
<character>HANS</character>
<parenthetical>(bowing)</parenthetical>
<dialogue>Your Majesty.</dialogue>
<scene_description>Elsa gives a polite but reserved curtsey.</scene_description>
<character>ANNA</character>
<dialogue>We would like--</dialogue>
<character>HANS</character>
<dialogue>--your blessing--</dialogue>
<character>ANNA</character>
<dialogue>--of--</dialogue>
<character>ANNA/HANS</character>
<dialogue>--our marriage!</dialogue>
<character>ELSA</character>
<dialogue>Marriage...?</dialogue>
<character>ANNA</character>
<dialogue>Yes!</dialogue>
<character>ELSA</character>
<dialogue>I'm sorry, I'm confused.</dialogue>
<character>ANNA</character>
<dialogue>Well, we haven't worked out all the details ourselves. We'll need a few days to plan the ceremony. Of course we'll have soup, roast, and ice cream and then-- Wait. Would we live here?</dialogue>
<character>ELSA</character>
<dialogue>Here?</dialogue>
<character>HANS</character>
<dialogue>Absolutely!</dialogue>
<character>ELSA</character>
<dialogue>Anna--</dialogue>
<character>ANNA</character>
<dialogue>Oh, we can invite all twelve of your brothers to stay with us--</dialogue>
<character>ELSA</character>
<dialogue>What? No, no, no, no, no.</dialogue>
<character>ANNA</character>
<dialogue>Of course we have the room. I don't know. Some of them must--</dialogue>
<character>ELSA</character>
<dialogue>Wait. Slow down. No one's brothers are staying here. No one is getting married.</dialogue>
<character>ANNA</character>
<dialogue>Wait, what?</dialogue>
<character>ELSA</character>
<dialogue>May I talk to you, please. Alone.</dialogue>
<scene_description>Anna sees Hans's worried face. Hooks arms with him.</scene_description>
<character>ANNA</character>
<dialogue>No. Whatever you have to say, you- you can say to both of us.</dialogue>
<character>ELSA</character>
<dialogue>Fine. You can't marry a man you just met.</dialogue>
<character>ANNA</character>
<dialogue>You can if it's true love.</dialogue>
<character>ELSA</character>
<dialogue>Anna, what do you know about true love?</dialogue>
<character>ANNA</character>
<dialogue>More than you. All you know is how to shut people out.</dialogue>
<character>ELSA</character>
<dialogue>You asked for my blessing, but my answer is no. Now, excuse me.</dialogue>
<character>HANS</character>
<dialogue>Your Majesty, if I may ease your--</dialogue>
<character>ELSA</character>
<parenthetical>(flustered)</parenthetical>
<dialogue>No, you may not. And I-I think you should go.</dialogue>
<scene_description>Elsa walks away. As she passes the Royal Handler--</scene_description>
<character>ELSA</character>
<dialogue>The party is over. Close the gates.</dialogue>
<character>ANNA</character>
<dialogue>What? Elsa, no. No, wait!</dialogue>
<scene_description>Anna grabs Elsa's hand. She pulls off Elsa's glove. Elsa gasps, spins around and reaches for the glove in panic.</scene_description>
<character>ELSA</character>
<dialogue>Give me my glove!</dialogue>
<scene_description>Anna holds the glove away from Elsa.</scene_description>
<character>ANNA</character>
<parenthetical>(desperate)</parenthetical>
<dialogue>Elsa, please. Please. I can't live like this anymore.</dialogue>
<scene_description>Elsa fights tears.</scene_description>
<character>ELSA</character>
<parenthetical>(weak)</parenthetical>
<dialogue>...Then leave.</dialogue>
<scene_description>Elsa sees Anna's hurt face. It's too much. She can't hold it in. She turns and rushes away.</scene_description>
<character>ANNA</character>
<parenthetical>(heartbroken)</parenthetical>
<dialogue>...What did I ever do to you?!</dialogue>
<scene_description>The party goes silent as everyone watches the sisters.</scene_description>
<character>ELSA</character>
<dialogue>Enough, Anna.</dialogue>
<character>ANNA</character>
<dialogue>No. Why? Why do you shut me out?! Why do you shut the world out?! What are you so afraid of?!</dialogue>
<character>ELSA</character>
<dialogue>I said, enough!</dialogue>
<scene_description>Ice shoots from Elsa's hand, spikes across the floor! Guests cry out in shock, back away.</scene_description>
<character>DUKE</character>
<parenthetical>(ducking behind his men)</parenthetical>
<dialogue>...Sorcery. I knew there was something dubious going on here.</dialogue>
<character>ANNA</character>
<dialogue>Elsa...?</dialogue>
<scene_description>Elsa rushes out of the room. CUT TO:</scene_description>
</scene>
<scene>
<stage_direction>EXT. COURTYARD - NIGHT</stage_direction>
<scene_description>Elsa bursts out of the castle door. The CITIZENS CHEER!</scene_description>
<character>CROWD</character>
<dialogue>There she is. Your Majesty! Long live the Queen! Queen Elsa.... Come drink with us.</dialogue>
<scene_description>Elsa ducks through the crowd, holding her bare hand.</scene_description>
<character>BOWING TOWNSMAN</character>
<dialogue>Queen Elsa.</dialogue>
<character>TOWNSWOMAN WITH BABY</character>
<dialogue>Your Majesty? Are you all right?</dialogue>
<scene_description>Elsa backs away from the baby. She knocks into the fountain, grabs its edge. The waters freeze at her touch. GASPS of shock and fear sweep over the crowd. The Duke and thugs come out the door.</scene_description>
<character>DUKE</character>
<dialogue>There she is! Stop her!</dialogue>
<character>ELSA</character>
<parenthetical>(to the Duke)</parenthetical>
<dialogue>Please, just stay away from me. Stay away!</dialogue>
<scene_description>Magic accidentally shoots from her hand and turns the staircase into ice. The thugs and the Duke fall.</scene_description>
<character>DUKE</character>
<dialogue>Monster.... Monster!</dialogue>
<scene_description>The crowd panics. A snowstorm begins. Elsa flees. Anna runs out of the palace doors, carrying the glove.</scene_description>
<character>ANNA</character>
<dialogue>Elsa!</dialogue>
<scene_description>Hans follows closely behind her. GATES TO THE KINGDOM: Elsa runs out of the gates and down to the water's edge. The shoreline freezes under her feet. Anna calls to her from the gates.</scene_description>
<character>ANNA</character>
<dialogue>Elsa! Wait, please!</dialogue>
<scene_description>Elsa glances back at Anna, but turns away. She tentatively steps out onto the fjord. It freezes instantly. She breaks into a run, as the water freezes over with each step.</scene_description>
<character>ANNA</character>
<dialogue>Elsa, stop!</dialogue>
<scene_description>Anna rushes out onto the fjord ice, slips, falls.</scene_description>
<character>HANS</character>
<dialogue>Anna!</dialogue>
<scene_description>Hans rushes to Anna's side. Elsa reaches the far shore. She doesn't look back. She just scrambles into the mountains.</scene_description>
<character>ANNA</character>
<dialogue>No.</dialogue>
<character>HANS</character>
<parenthetical>(shocked)</parenthetical>
<dialogue>Look.... The fjord.</dialogue>
<scene_description>The ice spreads out until the entire fjord is frozen, locking the ships in place.</scene_description>
</scene>
<scene>
<stage_direction>INT. CASTLE COURTYARD - NIGHT</stage_direction>
<scene_description>Snow falls. Hans and Anna move through the panicking crowd.</scene_description>
<character>CROWD WALLAH</character>
<dialogue>Snow? It's...snow...in July.</dialogue>
<character>HANS</character>
<dialogue>...Are you all right?</dialogue>
<character>ANNA</character>
<parenthetical>(in shock)</parenthetical>
<dialogue>No.</dialogue>
<character>HANS</character>
<dialogue>Did you know?</dialogue>
<character>ANNA</character>
<dialogue>No.</dialogue>
<scene_description>Nearby, the Duke flutters about in fright.</scene_description>
<character>DUKE</character>
<dialogue>Look! It's snowing! It's snowing! The Queen has cursed this land! She must be stopped!</dialogue>
<parenthetical>(to his thugs)</parenthetical>
<dialogue>You have to go after her.</dialogue>
<scene_description>Anna rushes up to the Duke.</scene_description>
<character>ANNA</character>
<dialogue>Wait, no!</dialogue>
<scene_description>The Duke hides behind his thugs and points out at Anna.</scene_description>
<character>DUKE</character>
<dialogue>You! Is there sorcery in you, too? Are you a monster, too?</dialogue>
<character>ANNA</character>
<dialogue>No. No. I'm completely ordinary.</dialogue>
<character>HANS</character>
<dialogue>That's right she is...</dialogue>
<parenthetical>(realizing how that sounds)</parenthetical>
<dialogue>...in the best way.</dialogue>
<character>ANNA</character>
<dialogue>...And my sister's not a monster.</dialogue>
<character>DUKE</character>
<dialogue>She nearly killed me.</dialogue>
<character>HANS</character>
<dialogue>You slipped on ice.</dialogue>
<character>DUKE</character>
<dialogue>Her ice!</dialogue>
<character>ANNA</character>
<dialogue>It was an accident. She was scared. She didn't mean it. She didn't mean any of this.... Tonight was my fault. I pushed her. So I'm the one that needs to go after her.</dialogue>
<character>DUKE</character>
<dialogue>Yes. Fine. Do.</dialogue>
<character>HANS</character>
<dialogue>What?</dialogue>
<character>ANNA</character>
<parenthetical>(to the Royal Handler)</parenthetical>
<dialogue>Bring me my horse, please.</dialogue>
<character>HANS</character>
<dialogue>Anna, no. It's too dangerous.</dialogue>
<character>ANNA</character>
<dialogue>Elsa's not dangerous. I'll bring her back, and I'll make this right.</dialogue>
<scene_description>The Royal Handler brings Anna her horse and a cloak.</scene_description>
<character>HANS</character>
<dialogue>I'm coming with you.</dialogue>
<character>ANNA</character>
<dialogue>No, I need you here to take care of Arendelle.</dialogue>
<scene_description>He sees the desperation in her eyes.</scene_description>
<character>HANS</character>
<dialogue>...On my honor.</dialogue>
<scene_description>She throws on the cloak and hops right onto the horse, coronation dress and all.</scene_description>
<character>ANNA</character>
<parenthetical>(to the crowd)</parenthetical>
<dialogue>I leave Prince Hans in charge!</dialogue>
<character>HANS</character>
<parenthetical>(before letting her go)</parenthetical>
<dialogue>Are you sure you can trust her? I don't want you getting hurt.</dialogue>
<character>ANNA</character>
<dialogue>She's my sister; she would never hurt me.</dialogue>
<scene_description>She snaps the reins and rides out. Hans watches after her. The snow picks up and overtakes our view. We push through a blizzard...lose our way...then finds ourselves...</scene_description>
</scene>
<scene>
<stage_direction>EXT. HIGH UP IN THE MOUNTAINS - NIGHT</stage_direction>
<scene_description>Well above the snow-line, a small figure climbs the highest peak. It's Elsa. Finally, she stops, looks around. Catches her breath and sings... "Let It Go" THE SNOW GLOWS WHITE ON THE MOUNTAIN TONIGHT, NOT A FOOTPRINT TO BE SEEN. A KINGDOM OF ISOLATION AND IT LOOKS LIKE I'M THE QUEEN. THE WIND IS HOWLING LIKE THIS SWIRLING STORM INSIDE. COULDN'T KEEP IT IN, HEAVEN KNOWS I TRIED. . . DON'T LET THEM IN, DON'T LET THEM SEE, BE THE GOOD GIRL YOU ALWAYS HAVE TO BE. CONCEAL, DON'T FEEL, DON'T LET THEM KNOW. WELL, NOW THEY KNOW. Elsa takes off her glove and throws it into the air. LET IT GO. LET IT GO. CAN'T HOLD IT BACK ANYMORE. Elsa creates a snowman, just like the one she made with Anna when they were children. LET IT GO. LET IT GO. TURN AWAY AND SLAM THE DOOR. I DON'T CARE WHAT THEY'RE GOING TO SAY. LET THE STORM RAGE ON. THE COLD NEVER BOTHERED ME ANYWAY. Elsa lets her cape fly back into the wind. IT'S FUNNY HOW SOME DISTANCE MAKES EVERYTHING SEEM SMALL. AND THE FEARS THAT ONCE CONTROLLED ME CAN'T GET TO ME AT ALL. IT'S TIME TO SEE WHAT I CAN DO, TO TEST THE LIMITS AND BREAK THROUGH. NO RIGHT, NO WRONG, NO RULES FOR ME...I'M FREE! Elsa creates ice steps and climbs them. LET IT GO! LET IT GO! I AM ONE WITH THE WIND AND SKY. LET IT GO! LET IT GO! YOU'LL NEVER SEE ME CRY. HERE I STAND AND HERE I'LL STAY. Elsa slams her foot down and forms a giant snowflake. LET THE STORM RAGE ON.... In a flurry of creative release, she raises the snowflake on ice beams, builds walls, archways, a glistening chandelier, and an intricate ceiling that leaves the sky visible. MY POWER FLURRIES THROUGH THE AIR INTO THE GROUND. MY SOUL IS SPIRALING IN FROZEN FRACTALS ALL AROUND. AND ONE THOUGHT CRYSTALLIZES LIKE AN ICY BLAST- Standing firmly in her mighty ice palace, Elsa removes her crown and throws it. I'M NEVER GOING BACK, (back to resolve) THE PAST IS IN THE PAST! She takes down her hair and creates a new dress made of ice. LET IT GO! LET IT GO! AND I'LL RISE LIKE THE BREAK OF DAWN. LET IT GO! LET IT GO! The sun rises. Elsa struts onto out onto a balcony and into the light. She's free. THAT PERFECT GIRL IS GONE. HERE I STAND IN THE LIGHT OF DAY. LET THE STORM RAGE ON!! THE COLD NEVER BOTHERED ME ANYWAY. She turns and slams her ice palace door on us. CUT TO:</scene_description>
</scene>
<scene>
<stage_direction>EXT. THE FJORD FOREST - DAY</stage_direction>
<scene_description>Anna rides her horse through two feet of snow. She shivers.</scene_description>
<character>ANNA</character>
<parenthetical>(shivering)</parenthetical>
<dialogue>Elsa! Elsa! It's me, Anna...your sister who didn't mean to make you freeze the summer. I'm sorry. It's all my f-f-f-f-f-f-fault.</dialogue>
<scene_description>DISSOLVE TO: LATER: Anna and the horse struggle through a wooded area.</scene_description>
<character>ANNA</character>
<parenthetical>(hearing a wolf howl)</parenthetical>
<dialogue>Of course, none of this would have happened if she'd just told me her secret...ha...she's a stinker.</dialogue>
<scene_description>A branch of a nearby tree snaps and startles the horse. Anna goes flying off, lands face down in the snow. She sits up. Spits out snow. Sees the horse running away.</scene_description>
<character>ANNA</character>
<dialogue>Oh no. No. No. No. Come back. No. No. No. No.... Oooo-kay.</dialogue>
<scene_description>He doesn't come back. Anna grabs onto a branch of a leaning conifer, tries to pull herself to her feet, but the tree snaps upright and releases all its snow onto her. GROAN. DISSOLVE TO:</scene_description>
</scene>
<scene>
<stage_direction>EXT. MOUNTAIN - NIGHT</stage_direction>
<scene_description>The Northern Lights shine as Anna struggles, out of breath, reaching the top of a hill.</scene_description>
<character>ANNA</character>
<dialogue>Snow, it had to be snow, she couldn't have had tr-tr-tropical magic that covered the f-f-fjords in white sand and warm --</dialogue>
<scene_description>She sees smoke rising up in the distance.</scene_description>
<character>ANNA</character>
<dialogue>Fire! WHOA!</dialogue>
<scene_description>Anna goes tumbling down the hill. She lands with a crash in an icy stream at the bottom.</scene_description>
<character>ANNA</character>
<parenthetical>(from inside the snowball)</parenthetical>
<dialogue>Cold, cold, cold, cold, cold...</dialogue>
</scene>
<scene>
<stage_direction>EXT. A SMALL BUILDING AND STABLE - NIGHT</stage_direction>
<scene_description>Anna shuffles up to the building, her dress frozen stiff. She shakes the snow off a sign and reads:</scene_description>
<character>ANNA</character>
<dialogue>Wandering Oaken's Trading Post.</dialogue>
<scene_description>Snow drops off a smaller sign. She reads it, happily.</scene_description>
<character>ANNA</character>
<dialogue>Ooh! And Sauna...</dialogue>
</scene>
<scene>
<stage_direction>INT. WANDERING OAKEN'S TRADING POST & SAUNA - NIGHT</stage_direction>
<scene_description>Anna steps cautiously through the door--which hits her frozen butt and knocks her into the center of the shop. She looks around, sees only summer supplies.</scene_description>
<character>OAKEN (O.S.)</character>
<dialogue>Hoo hoo.</dialogue>
<scene_description>Anna turns to see a bright-faced fellow sitting low behind the counter, fingers tapping tip to tip.</scene_description>
<character>OAKEN</character>
<dialogue>Big summer blow out. Half off swimming suits, clogs, and a sun balm of my own invention, yah?</dialogue>
<character>ANNA</character>
<dialogue>Oh, great. For now, how about boots. Winter boots...and dresses?</dialogue>
<character>OAKEN</character>
<parenthetical>(slight disappointment)</parenthetical>
<dialogue>That would be in our winter department.</dialogue>
<scene_description>The winter department contains one outfit, a pick ax, and a lonely pair of boots.</scene_description>
<character>ANNA</character>
<dialogue>Oh. Um, I was just wondering; has another young woman, the Queen perhaps, I don't know, passed through here?</dialogue>
<scene_description>She brings the clothes and boots to the counter.</scene_description>
<character>OAKEN</character>
<dialogue>Only one crazy enough to be out in this storm is you, dear?</dialogue>
<scene_description>The front door suddenly blows open and in walks a mass of a man covered in ice. Underneath is KRISTOFF.</scene_description>
<character>OAKEN</character>
<dialogue>You and this fellow.... Hoo hoo. Big summer blow out.</dialogue>
<scene_description>Kristoff walks right up to Anna.</scene_description>
<character>KRISTOFF</character>
<parenthetical>(in her face)</parenthetical>
<dialogue>Carrots.</dialogue>
<character>ANNA</character>
<dialogue>Huh?</dialogue>
<character>KRISTOFF</character>
<dialogue>Behind you.</dialogue>
<character>ANNA</character>
<dialogue>Oh, right. Excuse me.</dialogue>
<scene_description>Anna moves out of Kristoff's way. He grabs a bunch of carrots, tosses them on the counter, then moves through the place, gathering other supplies.</scene_description>
<character>OAKEN</character>
<parenthetical>(to Kristoff)</parenthetical>
<dialogue>A real howler in July, yah? Where ever could it be coming from?</dialogue>
<character>KRISTOFF</character>
<dialogue>The North Mountain.</dialogue>
<character>ANNA</character>
<parenthetical>(to herself)</parenthetical>
<dialogue>North Mountain.</dialogue>
<scene_description>Kristoff brings his supplies to the counter. Oaken counts on his fingertips.</scene_description>
<character>OAKEN</character>
<dialogue>That'll be forty.</dialogue>
<character>KRISTOFF</character>
<dialogue>Forty? No, ten.</dialogue>
<character>OAKEN</character>
<parenthetical>(sweet as pie)</parenthetical>
<dialogue>Oh dear, that's no good. See these are from our winter stock, where supply and demand have a big problem.</dialogue>
<character>KRISTOFF</character>
<dialogue>You want to talk about a supply and demand problem? I sell ice for a living.</dialogue>
<scene_description>Kristoff motions out the window, where we see the blocks of ice on his sled, covered in snow.</scene_description>
<character>ANNA</character>
<dialogue>Ooh, that's a rough business to be in right now. I mean, that is really...</dialogue>
<parenthetical>(he shoots her a look)</parenthetical>
<dialogue>Ahem. That's unfortunate.</dialogue>
<character>OAKEN</character>
<dialogue>Still forty. But I will throw in a visit to Oaken's sauna. Hoo hoo! Hi, family.</dialogue>
<scene_description>Kristoff and Anna turn to see a naked family waving through the window of the steaming sauna.</scene_description>
<character>NAKED FAMILY</character>
<dialogue>Hoo hoo!</dialogue>
<character>KRISTOFF</character>
<dialogue>...Ten's all I got. Help me out.</dialogue>
<character>OAKEN</character>
<parenthetical>(isolating the carrots)</parenthetical>
<dialogue>Ten will get you this and no more.</dialogue>
<scene_description>Kristoff seethes. Stalemate.</scene_description>
<character>ANNA</character>
<dialogue>Okay, just tell me one thing; what was happening on the North Mountain? Did it seem magical?</dialogue>
<scene_description>Kristoff pulls down his scarf and gives Anna a firm answer.</scene_description>
<character>KRISTOFF</character>
<dialogue>Yes! Now, back up while I deal with this crook here.</dialogue>
<scene_description>Oaken stands up, revealing his seven-foot stature.</scene_description>
<character>OAKEN</character>
<dialogue>What did you call me?</dialogue>
</scene>
<scene>
<stage_direction>EXT. WANDERING OAKEN'S TRADING POST AND SAUNA - NIGHT</stage_direction>
<scene_description>Oaken stomps out the door, carrying Kristoff with one arm.</scene_description>
<character>KRISTOFF</character>
<dialogue>Okay. Okay, I'm- Ow! Whoa!</dialogue>
<scene_description>Oaken throws Kristoff, who face-plants in the snow.</scene_description>
<character>OAKEN</character>
<dialogue>Bye bye.</dialogue>
<scene_description>Oaken slams the door. Kristoff sits up. His reindeer, Sven, canters over, snorts, and nudges him, expectantly.</scene_description>
<character>KRISTOFF</character>
<dialogue>No Sven, I didn't get your carrots.</dialogue>
<scene_description>Sven huffs in his face. Kristoff turns away and sees something. He points to a dilapidated barn.</scene_description>
<character>KRISTOFF</character>
<dialogue>But I did find us a place to sleep. And it's free.</dialogue>
</scene>
<scene>
<stage_direction>INT. WANDERING OAKEN'S TRADING POST AND SAUNA - NIGHT</stage_direction>
<scene_description>Anna stands watching Oaken and all his great height as he squeezes behind the counter and sits down low again.</scene_description>
<character>OAKEN</character>
<parenthetical>(teddy bear)</parenthetical>
<dialogue>I'm sorry about this violence. I will add a quart of lutefisk, so we'll have good feelings. Just the outfit and boots, yah?</dialogue>
<scene_description>Anna looks between Kristoff's supplies and the door. CUT TO:</scene_description>
</scene>
<scene>
<stage_direction>INT. OAKEN'S STABLES - NIGHT</stage_direction>
<scene_description>Kristoff, now unfrozen, relaxes on a bed of hay, playing his lute and singing to (and for) Sven. "Reindeer(s) are Better than People" REINDEERS ARE BETTER THAN PEOPLE. SVEN, DON'T YOU THINK THAT'S TRUE?</scene_description>
<character>KRISTOFF (AS SVEN)</character>
<parenthetical>(throwing his voice)</parenthetical>
<scene_description>YEAH, PEOPLE WILL BEAT YOU & CURSE YOU & CHEAT YOU. EVERY ONE OF EM'S BAD, EXCEPT YOU. (speaking) Oh, thanks, Buddy. (singing, as Kristoff) BUT PEOPLE SMELL BETTER THAN REINDEERS. SVEN, DON'T YOU THINK I'M RIGHT? (As Sven) THAT'S ONCE AGAIN TRUE, FOR ALL EXCEPT YOU. (As Kristoff) YOU GOT ME. LET'S CALL IT A NIGHT. (As Sven) GOOD NIGHT. (As Kristoff) DON'T LET THE FROSTBITE BITE. The door opens. Anna enters.</scene_description>
<character>ANNA</character>
<dialogue>Nice duet.</dialogue>
<scene_description>Kristoff sits up with a start...sees who it is.</scene_description>
<character>KRISTOFF</character>
<dialogue>Oh, it's just you. What do you want?</dialogue>
<character>ANNA</character>
<dialogue>I want you to take me up the North Mountain.</dialogue>
<character>KRISTOFF</character>
<dialogue>I don't take people places.</dialogue>
<scene_description>He lays back down, closes his eyes.</scene_description>
<character>ANNA</character>
<dialogue>Let me rephrase that...</dialogue>
<scene_description>A sack of supplies lands in Kristoff's lap.</scene_description>
<character>KRISTOFF</character>
<dialogue>Umph.</dialogue>
<scene_description>He sits up. Looks in the bag.</scene_description>
<character>ANNA</character>
<dialogue>Take me up the North Mountain.... Please.</dialogue>
<scene_description>He eyes her. He clearly doesn't take orders.</scene_description>
<character>ANNA</character>
<dialogue>Look, I know how to stop this winter.</dialogue>
<scene_description>He considers, lies back down, pulls his hat over his eyes.</scene_description>
<character>KRISTOFF</character>
<dialogue>We leave at dawn.... And you forgot the carrots for Sven.</dialogue>
<scene_description>A bag of carrots hits Kristoff in the face.</scene_description>
<character>KRISTOFF</character>
<dialogue>Ugh!</dialogue>
<character>ANNA</character>
<dialogue>Oops. Sorry. Sorry. I'm sorry. I didn't--</dialogue>
<parenthetical>(catching herself)</parenthetical>
<dialogue>We leave now. Right now.</dialogue>
<scene_description>She steps back outside and waits, anxiously. Annoyed, Kristoff offers Sven a carrot. Sven has a bite. Then Kristoff has a bite, contemplating. SLAM CUT TO:</scene_description>
</scene>
<scene>
<stage_direction>EXT. MOUNTAIN HIGH - NIGHT</stage_direction>
<scene_description>Sven races, top speed, up a narrow cliff, pulling the sled, which skids precariously. Kristoff mans the reins. Anna sits beside him.</scene_description>
<character>KRISTOFF</character>
<parenthetical>(trying to scare Anna)</parenthetical>
<dialogue>Hang on! We like to go fast!</dialogue>
<character>ANNA</character>
<parenthetical>(fearless)</parenthetical>
<dialogue>I like fast!</dialogue>
<scene_description>Anna leans back and puts her feet up on the dashboard.</scene_description>
<character>KRISTOFF</character>
<dialogue>Whoa, whoa! Get your feet down.</dialogue>
<scene_description>He pushes her feet down.</scene_description>
<character>KRISTOFF</character>
<dialogue>This is fresh lacquer. Seriously, were you raised in a barn?</dialogue>
<scene_description>Kristoff spits on the dash to clean it. The spit flies back and hits Anna in the face.</scene_description>
<character>ANNA</character>
<parenthetical>(grossed out)</parenthetical>
<dialogue>Ew. No, I was raised in a castle.</dialogue>
<scene_description>She wipes off her face.</scene_description>
<character>KRISTOFF</character>
<dialogue>So tell me, what made the Queen go all ice-crazy?</dialogue>
<character>ANNA</character>
<dialogue>...Oh well, it was all my fault. I got engaged but then she freaked out because I'd only just met him, you know, that day. And she said she wouldn't bless the marriage--</dialogue>
<character>KRISTOFF</character>
<dialogue>Wait. You got engaged to someone you just met?</dialogue>
<character>ANNA</character>
<dialogue>Yeah. Anyway, I got mad and so she got mad and then she tried to walk away, and I grabbed her glove--</dialogue>
<character>KRISTOFF</character>
<dialogue>Hang on. You mean to tell me you got engaged to someone you just met?!</dialogue>
<character>ANNA</character>
<dialogue>Yes. Pay attention. But the thing is she wore the gloves all the time, so I just thought, maybe she has a thing about dirt.</dialogue>
<character>KRISTOFF</character>
<dialogue>Didn't your parents ever warn you about strangers?</dialogue>
<scene_description>Anna eyes Kristoff up and down, then slides away from him.</scene_description>
<character>ANNA</character>
<dialogue>Yes, they did.... But Hans is not a stranger.</dialogue>
<character>KRISTOFF</character>
<dialogue>Oh yeah? What's his last name?</dialogue>
<character>ANNA</character>
<dialogue>...Of-the-Southern-Isles?</dialogue>
<character>KRISTOFF</character>
<dialogue>What's his favorite food?</dialogue>
<character>ANNA</character>
<dialogue>...Sandwiches.</dialogue>
<character>KRISTOFF</character>
<dialogue>Best friend's name?</dialogue>
<character>ANNA</character>
<dialogue>Probably John.</dialogue>
<character>KRISTOFF</character>
<dialogue>Eye color.</dialogue>
<character>ANNA</character>
<dialogue>Dreamy.</dialogue>
<character>KRISTOFF</character>
<dialogue>Foot size...?</dialogue>
<character>ANNA</character>
<dialogue>Foot size doesn't matter.</dialogue>
<character>KRISTOFF</character>
<dialogue>Have you had a meal with him yet? What if you hate the way he eats? What if you hate the way he picks his nose?</dialogue>
<character>ANNA</character>
<dialogue>Picks his nose?</dialogue>
<character>KRISTOFF</character>
<dialogue>And eats it.</dialogue>
<character>ANNA</character>
<dialogue>Excuse me, sir. He's a prince.</dialogue>
<character>KRISTOFF</character>
<dialogue>All men do it.</dialogue>
<character>ANNA</character>
<dialogue>Ew. Look it doesn't matter; it's true love.</dialogue>
<character>KRISTOFF</character>
<dialogue>Doesn't sound like true love.</dialogue>
<character>ANNA</character>
<dialogue>Are you some sort of love expert?</dialogue>
<character>KRISTOFF</character>
<dialogue>No. But I have friends who are.</dialogue>
<character>ANNA</character>
<dialogue>You have friends who are love experts.... I'm not buying it.</dialogue>
<scene_description>Sven suddenly stops, ears perked in alarm.</scene_description>
<character>KRISTOFF</character>
<parenthetical>(to Anna)</parenthetical>
<dialogue>Stop talking.</dialogue>
<character>ANNA</character>
<dialogue>No, no, no. I'd like to meet these--</dialogue>
<scene_description>Kristoff clamps his hand over Anna's mouth.</scene_description>
<character>KRISTOFF</character>
<dialogue>I mean it. SHHH.</dialogue>
<scene_description>Kristoff stands, looks into the dark woods surrounding them. Sensing something behind them, he holds up his lantern. Its light reflects off...EYES. Several.</scene_description>
<character>KRISTOFF</character>
<dialogue>Sven, go. Go!</dialogue>
<scene_description>Sven takes off.</scene_description>
<character>ANNA</character>
<dialogue>What are they?</dialogue>
<character>KRISTOFF</character>
<dialogue>Wolves.</dialogue>
<scene_description>Flashes of white dart through the woods. Kristoff hops into the back of the sled, grabs a torch. Lights it.</scene_description>
<character>ANNA</character>
<dialogue>Wolves. What do we do?</dialogue>
<character>KRISTOFF</character>
<dialogue>I've got this. You just...don't fall off and don't get eaten.</dialogue>
<character>ANNA</character>
<dialogue>But I wanna help.</dialogue>
<character>KRISTOFF</character>
<dialogue>No.</dialogue>
<character>ANNA</character>
<dialogue>Why not?</dialogue>
<character>KRISTOFF</character>
<dialogue>Because I don't trust your judgement.</dialogue>
<character>ANNA</character>
<dialogue>Excuse me?!</dialogue>
<scene_description>A wolf jumps at them, but Kristoff kicks it off.</scene_description>
<character>KRISTOFF</character>
<dialogue>Who marries a man she just met?</dialogue>
<scene_description>Anna grabs the lute, swings it right at Kristoff's head.</scene_description>
<character>ANNA</character>
<dialogue>It's true love!</dialogue>
<scene_description>He screams, as she...BAM!...swings past Kristoff and knocks a wolf away.</scene_description>
<character>KRISTOFF</character>
<parenthetical>(shocked)</parenthetical>
<dialogue>Whoa.</dialogue>
<scene_description>Just then Kristoff is yanked off the sled by another wolf. The torch goes flying. Anna catches it, shocked.</scene_description>
<character>ANNA</character>
<dialogue>Christopher!</dialogue>
<scene_description>Kristoff grabs onto a loose rope hanging from the back of the sled and holds on for dear life as he's dragged behind.</scene_description>
<character>KRISTOFF</character>
<dialogue>It's Kristoff!</dialogue>
<scene_description>A wolf jumps on Kristoff's back. AH! Anna thinks fast, uses the torch to light a blanket on fire.</scene_description>
<character>ANNA</character>
<dialogue>Duck!</dialogue>
<scene_description>Anna throws the flaming blanket right at him. He ducks. The blanket hits the wolves. They tumble off Kristoff.</scene_description>
<character>KRISTOFF</character>
<dialogue>You almost set me on fire!</dialogue>
<scene_description>Anna reaches out a hand, pulls Kristoff back onto the sled.</scene_description>
<character>ANNA</character>
<dialogue>But I didn't.</dialogue>
<scene_description>Sven cries out. There is a massive gorge ahead.</scene_description>
<character>ANNA</character>
<dialogue>Get ready to jump, Sven!</dialogue>
<character>KRISTOFF</character>
<dialogue>You don't tell him what to do!</dialogue>
<scene_description>Kristoff shoves a satchel into her arms then scoops her up.</scene_description>
<character>KRISTOFF</character>
<dialogue>I do!</dialogue>
<scene_description>Kristoff tosses Anna onto Sven, then unhooks Sven's harness from the sled.</scene_description>
<character>KRISTOFF</character>
<dialogue>Jump, Sven!</dialogue>
<scene_description>Sven jumps the gorge with Anna on his back. Kristoff goes flying off behind them, still on the sled. Anna and Sven land safely on the other side of the gorge. Kristoff's sled loses momentum. It's not going to make it. He leaps off. He flaps his arms, claws at the air. He slams into the snowy edge of the cliff. Hanging by his hands, he looks down to see his sled hit the ground far below and burst into flames.</scene_description>
<character>KRISTOFF</character>
<parenthetical>(shocked sadness)</parenthetical>
<dialogue>...But I just paid it off.</dialogue>
<scene_description>Suddenly, he starts to slip. He claws at the loose snow, but it's clearly hopeless. He's going down.</scene_description>
<character>KRISTOFF</character>
<dialogue>Uh-oh. No, no, no.</dialogue>
<scene_description>To make matters worse, an AXE comes flying right at his face. AH! NO, NO, NO! The axe slams into the snow, inches from his nose.</scene_description>
<character>ANNA (O.S.)</character>
<dialogue>Grab on!</dialogue>
<scene_description>Kristoff grabs on.</scene_description>
<character>ANNA</character>
<dialogue>Pull, Sven! Pull!</dialogue>
<scene_description>REVEAL: The axe is tied to a rope, then wrapped around Sven. Anna helps Sven pull Kristoff to safety. Kristoff rolls onto his back, exhausted. Anna peeks down at the burning sled.</scene_description>
<character>ANNA</character>
<dialogue>Whoa.... I'll replace your sled and everything in it.</dialogue>
<scene_description>Kristoff groans.</scene_description>
<character>ANNA</character>
<dialogue>And I understand if you don't want to help me anymore.</dialogue>
<scene_description>Anna walks off, sadly. Sven comes over and nuzzles Kristoff.</scene_description>
<character>KRISTOFF</character>
<dialogue>Of course I don't want to help her anymore. In fact, this whole thing has ruined me for helping anyone ever again.</dialogue>
<character>KRISTOFF (AS SVEN)</character>
<dialogue>But she'll die on her own.</dialogue>
<character>KRISTOFF (AS SELF)</character>
<dialogue>I can live with that.</dialogue>
<scene_description>Through their conversation, they watch Anna go the wrong way...turn, go the other wrong way, turn, trip...</scene_description>
<character>KRISTOFF (AS SVEN)</character>
<dialogue>But you won't get your new sled if she's dead.</dialogue>
<character>KRISTOFF</character>
<parenthetical>(knowing he's got a point)</parenthetical>
<dialogue>...You know sometimes I really don't like you.</dialogue>
<scene_description>Sven licks Kristoff happily.</scene_description>
<character>KRISTOFF (AS SELF)</character>
<parenthetical>(to Anna)</parenthetical>
<dialogue>Hold up. We're coming?!</dialogue>
<character>ANNA</character>
<parenthetical>(excited)</parenthetical>
<dialogue>You are?!</dialogue>
<parenthetical>(catching herself)</parenthetical>
<dialogue>I mean, sure. I'll let you tag along.</dialogue>
<scene_description>DISSOLVE TO:</scene_description>
</scene>
<scene>
<stage_direction>EXT. SHARP MOUNTAIN RIDGE - DAWN</stage_direction>
<scene_description>Kristoff, Sven and Anna walk on a narrow rim of a mountain. DISSOLVE TO:</scene_description>
</scene>
<scene>
<stage_direction>EXT. MOUNTAIN FOREST CLEARING - DAY</stage_direction>
<scene_description>As they step out of the thick trees, Anna catches sight of something far below.</scene_description>
<character>ANNA</character>
<dialogue>Arendelle.</dialogue>
<character>KRISTOFF</character>
<dialogue>It's completely frozen.</dialogue>
<character>ANNA</character>
<dialogue>...But it'll be fine. Elsa will thaw it.</dialogue>
<character>KRISTOFF</character>
<dialogue>Will she?</dialogue>
<character>ANNA</character>
<parenthetical>(uncertain)</parenthetical>
<dialogue>...Yeah. Now come on. This way to the North Mountain?</dialogue>
<scene_description>She points straight ahead.</scene_description>
<character>KRISTOFF</character>
<dialogue>More like this way.</dialogue>
<scene_description>He points her finger up towards a perilously mighty mountain. DISSOLVE TO:</scene_description>
</scene>
<scene>
<stage_direction>INT. FROZEN WILLOW TREES - DAY</stage_direction>
<scene_description>Anna, Kristoff, and Sven walk beneath frozen willows. The hanging branches glisten like Christmas lights. Sven knocks them with his antlers. They tinkle like chimes.</scene_description>
<character>ANNA</character>
<dialogue>I never knew winter could be so beautiful.</dialogue>
<scene_description>Suddenly, a voice comes in from nowhere. We'll call that voice OLAF.</scene_description>
<character>OLAF (O.S.)</character>
<dialogue>YEAH...It really is beautiful, isn't it? But it's so white. You know, how about a little color? Must we bleach the joy out of it all? I'm thinking like maybe some crimson, chartreuse...</dialogue>
<scene_description>While this is going on, Anna and Kristoff look around for the source of the rambling. They look at Sven - could he actually be talking? Sven looks back at them, his antlers tangled in branches, just as baffled as they are. In the meantime, a nose-less snowman, Olaf, wanders up behind them.</scene_description>
<character>OLAF</character>
<dialogue>How 'bout yellow--no, not yellow. Yellow and snow? Brrrr...no go.</dialogue>
<scene_description>He stops between Kristoff and Anna. They look down at him. How did he get there? He suddenly looks up at Anna.</scene_description>
<character>OLAF</character>
<dialogue>Am I right?</dialogue>
<scene_description>Anna SCREAMS! Reflexes take over and she kicks Olaf's head, sending it flying off his body and into Kristoff's arms.</scene_description>
<character>OLAF</character>
<parenthetical>(cheery, to Kristoff)</parenthetical>
<dialogue>Hi!</dialogue>
<character>KRISTOFF</character>
<dialogue>You're creepy.</dialogue>
<scene_description>Kristoff tosses the head back to Anna and they commence a game of hot potato.</scene_description>
<character>ANNA</character>
<dialogue>I don't want it!</dialogue>
<character>KRISTOFF</character>
<dialogue>Backatchya!</dialogue>
<character>OLAF</character>
<dialogue>Please don't drop me.</dialogue>
<character>ANNA</character>
<dialogue>Don't!</dialogue>
<character>KRISTOFF</character>
<dialogue>Come on, it's just a head.</dialogue>
<character>ANNA</character>
<dialogue>No!</dialogue>
<scene_description>Olaf's body runs at Anna, arms waving.</scene_description>
<character>OLAF (O.S.)</character>
<dialogue>All right, we got off to a bad start.</dialogue>
<character>ANNA</character>
<dialogue>Ew, ew, the body!</dialogue>
<scene_description>Anna slams Olaf's head back on the body, upside down. Olaf smiles happily, then looks confused.</scene_description>
<character>OLAF</character>
<dialogue>Wait, what am I looking at right now? Why are you hanging off the earth like a bat?</dialogue>
<character>ANNA</character>
<parenthetical>(sympathetic)</parenthetical>
<dialogue>...Okay. Wait one second.</dialogue>
<scene_description>Anna kneels in front of Olaf and rights his head.</scene_description>
<character>OLAF</character>
<dialogue>Oooh! Thank you!</dialogue>
<character>ANNA</character>
<dialogue>You're welcome.</dialogue>
<character>OLAF</character>
<dialogue>Now I'm perfect.</dialogue>
<scene_description>She looks over his innocent face, gets an idea.</scene_description>
<character>ANNA</character>
<dialogue>Well, almost.</dialogue>
<scene_description>She digs into Kristoff's satchel, holds up a carrot just as Olaf turns toward her. The carrot accidentally slams all the way through his head.</scene_description>
<character>OLAF</character>
<dialogue>Woo! Head rush!</dialogue>
<character>ANNA</character>
<dialogue>Oh! Too hard. I'm sorry! I-I, I was just.... Are you okay?</dialogue>
<scene_description>Olaf sees a tiny piece of carrot sticking out between his eyes. He lights up.</scene_description>
<character>OLAF</character>
<dialogue>Are you kidding me? I am wonderful! I've always wanted a nose.</dialogue>
<parenthetical>(going cross-eyed to look at his tiny nose)</parenthetical>
<dialogue>So cute. It's like a little baby unicorn.</dialogue>
<scene_description>Anna reaches behind Olaf to the bulk of the carrot sticking out the back of his head, and pushes it forward.</scene_description>
<character>OLAF</character>
<dialogue>What? Hey! Whoa.</dialogue>
<parenthetical>(seeing his now big nose)</parenthetical>
<dialogue>Oh, I love it even more! Hah.... All right, let's start this thing over. Hi everyone. I'm Olaf. And I like warm hugs.</dialogue>
<scene_description>Olaf opens his arms wide to Anna. That triggers a memory. It takes her a moment to place it, but then she does.</scene_description>
<character>ANNA</character>
<dialogue>Olaf?...That's right, Olaf.</dialogue>
<character>OLAF</character>
<dialogue>...And you are?</dialogue>
<character>ANNA</character>
<dialogue>Oh, um...I'm Anna.</dialogue>
<character>OLAF</character>
<dialogue>And who's the funky-looking donkey over there?</dialogue>
<character>ANNA</character>
<dialogue>That's Sven.</dialogue>
<character>OLAF</character>
<dialogue>Uh-huh. And who's the reindeer?</dialogue>
<character>ANNA</character>
<dialogue>...Sven.</dialogue>
<scene_description>Olaf looks from Kristoff to Sven, confused.</scene_description>
<character>OLAF</character>
<dialogue>Oh. They're--oh, okay....</dialogue>
<parenthetical>(accepting it)</parenthetical>
<dialogue>Makes things easier for me.</dialogue>
<scene_description>Sven tries to bite Olaf's nose.</scene_description>
<character>OLAF</character>
<dialogue>Ha. Aw, look at him tryin' to kiss my nose.</dialogue>
<parenthetical>(gushes)</parenthetical>
<dialogue>I like you, too!</dialogue>
<character>ANNA</character>
<dialogue>Olaf, did Elsa build you?</dialogue>
<character>OLAF</character>
<dialogue>Yeah. Why?</dialogue>
<scene_description>Curious, Kristoff takes one of Olaf's twig arms off, studies it. It seems to be moving in sync with his other arm.</scene_description>
<character>ANNA</character>
<dialogue>Do you know where she is?</dialogue>
<character>KRISTOFF</character>
<parenthetical>(studying the arm)</parenthetical>
<dialogue>Fascinating...</dialogue>
<character>OLAF</character>
<dialogue>Yeah. Why?</dialogue>
<character>ANNA</character>
<dialogue>Do you think you could show us the way?</dialogue>
<character>OLAF</character>
<dialogue>Yeah. Why?</dialogue>
<character>KRISTOFF</character>
<parenthetical>(bending the arm)</parenthetical>
<dialogue>How does this work?</dialogue>
<scene_description>Olaf's dismembered arm slaps Kristoff across the face.</scene_description>
<character>OLAF</character>
<dialogue>Stop it, Sven. Trying to focus here.</dialogue>
<parenthetical>(to Anna)</parenthetical>
<dialogue>Yeah, why?</dialogue>
<character>KRISTOFF</character>
<dialogue>I'll tell you why. We need Elsa to bring back summer.</dialogue>
<character>OLAF</character>
<parenthetical>(shocked)</parenthetical>
<dialogue>Summer?</dialogue>
<parenthetical>(sinking into wistfulness)</parenthetical>
<dialogue>Oh, I don't know why but I've always loved the idea of summer, and sun, and all things hot.</dialogue>
<character>KRISTOFF</character>
<dialogue>Really? I'm guessing you don't have much experience with heat.</dialogue>
<character>OLAF</character>
<dialogue>Nope. But sometimes I like to close my eyes and imagine what it'd be like when summer does come.</dialogue>
<scene_description>DISSOLVE TO: OLAF'S FANTASY WORLD - PERFECT SUMMER DAY Olaf walks through a grassy meadow with the sun shining behind him. He SINGS. "In Summer" BEES'LL BUZZ / KIDS'LL BLOW DANDELION FUZZ / AND I'LL BE DOING WHATEVER SNOW DOES IN SUMMER. -Olaf now lies in the sand on a beach. A DRINK IN MY HAND / MY SNOW UP AGAINST THE BURNING SAND / PROB'LY GETTING GORGEOUSLY TANNED IN SUMMER. -Olaf sails in a boat. I'LL FINALLY SEE A SUMMER BREEZE / BLOW AWAY A WINTER STORM / -Olaf floats in the water. All his pieces begin to separate. AND FIND OUT WHAT HAPPENS TO SOLID WATER / WHEN IT GETS WARM. -Olaf tumbles on a sandy beach with sand-snowmen. AND I CAN'T WAIT TO SEE / WHAT MY BUDDIES ALL THINK OF ME / JUST IMAGINE HOW MUCH COOLER I'LL BE IN SUMMER . . ! -Olaf and the seagull break out into a tap-dance. DA DA . . . DA DOO / AH BAH BAH BAH BAH BAH BOO. -Olaf and another snowman drink hot chocolate in a hot tub. THE HOT AND THE COLD ARE BOTH SO INTENSE / PUT 'EM TOGETHER, IT JUST MAKES SENSE! -Olaf tap dances with a gaggle of seagulls. RATDADAT DAD DADA DOO . . . -Olaf bounds down a grassy hill. WINTER'S A GOOD TIME TO STAY IN AND CUDDLE / BUT PUT ME IN SUMMER AND I'LL BE A... He stops at a puddle, looks down at it. Smiles. Hops over it.</scene_description>
<character>OLAF</character>
<dialogue>HAPPY SNOWMAN!</dialogue>
<scene_description>-Olaf runs with a checkered blanket that he spreads out. He relaxes and stares at the blue sky. WHEN LIFE GETS ROUGH I LIKE TO HOLD ON TO MY DREAM / OF RELAXING IN THE SUMMER SUN JUST LETTING OFF STEAM! Sven, Anna, Kristoff and Olaf have a picnic. OH THE SKY WILL BE BLUE / AND YOU GUYS'LL BE THERE TOO / WHEN I FINALLY DO WHAT FROZEN THINGS DO IN SUMMER!</scene_description>
<character>KRISTOFF</character>
<dialogue>I'm gonna tell him.</dialogue>
<character>ANNA</character>
<dialogue>Don't you dare.</dialogue>
<scene_description>IN SUMMER! Olaf sings the final note. We swing around him and return to: REALITY. He then straightens up and smiles.</scene_description>
<character>OLAF</character>
<dialogue>So, come on! Elsa's this way. Let's go bring back summer!</dialogue>
<scene_description>Olaf grabs Anna's hand and pulls her along up the mountain.</scene_description>
<character>ANNA</character>
<parenthetical>(laughing)</parenthetical>
<dialogue>I'm coming!</dialogue>
<scene_description>Sven hops along, happily following them. Kristoff watches all of them like they're nuts.</scene_description>
<character>KRISTOFF</character>
<dialogue>Somebody's got to tell him.</dialogue>
<scene_description>DISSOLVE TO:</scene_description>
</scene>
<scene>
<stage_direction>EXT. ARENDELLE, VILLAGE - DAY</stage_direction>
<scene_description>A layer of solid ice coats everything. People huddle around weak fires. Anxiety runs high amongst the villagers and guests. We pass two CITIZENS fighting over a woodpile.</scene_description>
<character>CITIZEN ONE</character>
<dialogue>No. No. You've got the bark facing down. The bark needs to be face-up.</dialogue>
<character>CITIZEN TWO</character>
<dialogue>Bark down is drier.</dialogue>
<character>CITIZEN ONE</character>
<dialogue>Bark up.</dialogue>
<character>CITIZEN TWO</character>
<dialogue>Bark down.</dialogue>
<character>CITIZEN ONE</character>
<dialogue>Bark up.</dialogue>
<scene_description>Like a light in the dark, Hans moves through the crowd.</scene_description>
<character>HANS</character>
<dialogue>Cloak. Does anyone need a cloak?</dialogue>
<character>GERDA</character>
<dialogue>Arendelle is indebted to you, Your Highness.</dialogue>
<character>HANS</character>
<dialogue>The castle is open. There's soup and hot glögg in the Great Hall.</dialogue>
<scene_description>He hands the stack of cloaks to a guard.</scene_description>
<character>HANS</character>
<dialogue>Here. Pass these out.</dialogue>
<scene_description>Just then the Duke approaches Hans.</scene_description>
<character>DUKE</character>
<dialogue>Prince Hans, are we just expected to sit here and freeze while you give away all of Arendelle's tradable goods?</dialogue>
<character>HANS</character>
<parenthetical>(tall and confident)</parenthetical>
<dialogue>Princess Anna has given her orders and--</dialogue>
<character>DUKE</character>
<dialogue>And that's another thing; has it dawned on you that your princess may be conspiring with a wicked sorceress to destroy us all?</dialogue>
<scene_description>Hans's nice eyes turn to threatening slits.</scene_description>
<character>HANS</character>
<dialogue>Do not question the Princess. She left me in charge, and I will not hesitate to protect Arendelle from treason.</dialogue>
<character>DUKE</character>
<parenthetical>(flabbergasted, offended)</parenthetical>
<dialogue>Treason?!</dialogue>
<scene_description>Suddenly they hear the alarmed whinny of Anna's horse. It returns alone, bucking and kicking. Hans grabs its reins.</scene_description>
<character>HANS</character>
<dialogue>Whoa! Whoa! Whoa, boy. Easy. Easy.</dialogue>
<character>CROWD</character>
<parenthetical>(various)</parenthetical>
<dialogue>Princess Anna's horse. What happened to her? Where is she?</dialogue>
<scene_description>Hans steadies the horse, looks up at the mountain. He sees all the panicked faces of the kingdom looking to him.</scene_description>
<character>HANS</character>
<dialogue>...Princess Anna is in trouble.</dialogue>
<parenthetical>(calling out)</parenthetical>
<dialogue>I need volunteers to go with me to find her!</dialogue>
<scene_description>Volunteers, some from Arendelle, some from other lands, rush up to offer their services.</scene_description>
<character>DUKE</character>
<dialogue>I volunteer two men, my Lord!</dialogue>
<parenthetical>(quietly to his thugs)</parenthetical>
<dialogue>Be prepared for anything, and should you encounter the Queen, you are to put an end to this winter. Do you understand?</dialogue>
<scene_description>His two thugs sneer. CUT TO:</scene_description>
</scene>
<scene>
<stage_direction>EXT. THE NORTH MOUNTAIN - DAY</stage_direction>
<scene_description>Anna, Kristoff, Sven, and Olaf move through hostile terrain. Wind-swept icicles face horizontal.</scene_description>
<character>KRISTOFF</character>
<dialogue>So how exactly are you planning to stop this weather?</dialogue>
<character>ANNA</character>
<parenthetical>(confident)</parenthetical>
<dialogue>Oh, I am gonna talk to my sister.</dialogue>
<character>KRISTOFF</character>
<dialogue>That's your plan? My ice business is riding on you talking to your sister.</dialogue>
<character>ANNA</character>
<dialogue>Yup.</dialogue>
<scene_description>Kristoff, so stunned by her casual plan, doesn't look where he's going and ends up with an ice-spike to the nose. He stops short, GULP, moves carefully around the spike.</scene_description>
<character>KRISTOFF</character>
<dialogue>So you're not at all afraid of her?</dialogue>
<character>ANNA</character>
<dialogue>Why would I be?</dialogue>
<character>OLAF</character>
<parenthetical>(oblivious)</parenthetical>
<dialogue>Yeah. I bet Elsa's the nicest, gentlest, warmest person ever.</dialogue>
<scene_description>Olaf backs right into an icicle. It runs through his torso.</scene_description>
<character>OLAF</character>
<dialogue>Oh, look at that. I've been impaled.</dialogue>
<scene_description>He laughs it off. DISSOLVE TO:</scene_description>
</scene>
<scene>
<stage_direction>EXT. STEEP MOUNTAIN FACE - DAY</stage_direction>
<scene_description>Anna and Kristoff hit what looks like a dead end. The face of the mountain goes straight up.</scene_description>
<character>ANNA</character>
<dialogue>What now?</dialogue>
<scene_description>Kristoff looks around, sighs. Digs in his rucksack.</scene_description>
<character>KRISTOFF</character>
<dialogue>...It's too steep. I've only got one rope, and you don't know how to climb mountains.</dialogue>
<character>ANNA (O.S.)</character>
<dialogue>Says who?</dialogue>
<scene_description>Sven nudges Kristoff, who looks up to see Anna trying to climb the cliff's flat face.</scene_description>
<character>KRISTOFF</character>
<parenthetical>(finding her ridiculous)</parenthetical>
<dialogue>What are you doing?</dialogue>
<character>ANNA</character>
<parenthetical>(straining)</parenthetical>
<dialogue>...I'm going to see my sister.</dialogue>
<character>KRISTOFF</character>
<dialogue>You're going to kill yourself.</dialogue>
<scene_description>Kristoff watches her searching for footholds and hand-holds.</scene_description>
<character>KRISTOFF</character>
<dialogue>I wouldn't put my foot there.</dialogue>
<character>ANNA (O.S.)</character>
<dialogue>You're distracting me.</dialogue>
<character>KRISTOFF</character>
<dialogue>Or there. How do you know Elsa even wants to see you?</dialogue>
<character>ANNA (O.S.)</character>
<dialogue>I'm just blocking you out cause I gotta concentrate here.</dialogue>
<character>KRISTOFF</character>
<dialogue>You know, most people who disappear into the mountains want to be alone.</dialogue>
<character>ANNA (O.S.)</character>
<dialogue>Nobody wants to be alone. Except maybe you--</dialogue>
<character>KRISTOFF</character>
<dialogue>I'm not alone.... I have friends, remember?</dialogue>
<scene_description>Anna kicks a foot above her head to catch a foot hold.</scene_description>
<character>ANNA</character>
<dialogue>You mean the love experts?</dialogue>
<character>KRISTOFF</character>
<dialogue>Yes, the love experts!</dialogue>
<scene_description>Anna realizes she's stuck.</scene_description>
<character>ANNA</character>
<dialogue>...Please tell me I'm almost there.</dialogue>
<scene_description>REVEAL: she's only about six feet up. Her muscles shake.</scene_description>
<character>ANNA</character>
<dialogue>...Does the air seem a bit thin to you up here?</dialogue>
<scene_description>Kristoff smiles, getting a kick out of her.</scene_description>
<character>KRISTOFF</character>
<dialogue>Hang on.</dialogue>
<scene_description>He pulls the rope from his bag. Just then Olaf steps out from behind a rock and waves to Kristoff.</scene_description>
<character>OLAF</character>
<dialogue>Hey, Sven? Not sure if this is going to solve the problem, but I found a staircase that leads exactly where you want it to go.</dialogue>
<character>ANNA</character>
<dialogue>Ha ha. Thank goodness. Catch!</dialogue>
<scene_description>Anna drops off the cliff. Kristoff catches her.</scene_description>
<character>ANNA</character>
<dialogue>Thanks! That was like a crazy trust exercise.</dialogue>
<scene_description>She hops down, brushes off her dress, and bounds off. Kristoff watches after her, digging her fearless pluck.</scene_description>
</scene>
<scene>
<stage_direction>EXT. BASE OF THE ICE PALACE - DAY</stage_direction>
<scene_description>Anna, Kristoff, and Olaf approach Elsa's elegant ice palace.</scene_description>
<character>ANNA</character>
<dialogue>Whoa.</dialogue>
<character>KRISTOFF</character>
<parenthetical>(in awe)</parenthetical>
<dialogue>Now that's ice. I might cry.</dialogue>
<character>ANNA</character>
<dialogue>Go ahead. I won't judge.</dialogue>
<scene_description>Anna climbs the steps with Olaf. Sven tries to follow. His hooves slip out. He scrambles but can't get traction. Kristoff runs to his aide.</scene_description>
<character>KRISTOFF</character>
<dialogue>All right, take it easy. I gotcha.</dialogue>
<scene_description>Kristoff settles Sven back down the stairs and pats him.</scene_description>
<character>KRISTOFF</character>
<dialogue>You stay right here, buddy.</dialogue>
<scene_description>Sven obediently plops his reindeer butt down and wags his tail. Kristoff climbs the stairs, admiring the ice details.</scene_description>
<character>KRISTOFF</character>
<dialogue>...Flawless.</dialogue>
<scene_description>Anna arrives at the door. Hesitates.</scene_description>
<character>OLAF</character>
<dialogue>...Knock....</dialogue>
<parenthetical>(she doesn't)</parenthetical>
<dialogue>Just knock....</dialogue>
<parenthetical>(she doesn't. To Kristoff)</parenthetical>
<dialogue>Why isn't she knocking...? Do you think she knows how to knock?</dialogue>
<scene_description>Anna finally KNOCKS. The sound echoes inside. The ice doors slide open.</scene_description>
<character>ANNA</character>
<dialogue>Ha. It opened. That's a first.</dialogue>
<scene_description>Anna goes to step in. Kristoff follows. She gets a thought, stops him.</scene_description>
<character>ANNA</character>
<dialogue>You should probably wait out here.</dialogue>
<character>KRISTOFF</character>
<dialogue>What?</dialogue>
<character>ANNA</character>
<dialogue>Last time I introduced her to a guy, she froze everything.</dialogue>
<character>KRISTOFF</character>
<dialogue>But, it's a palace made of ice. Ice is my life.</dialogue>
<character>OLAF</character>
<dialogue>Bye, Sven.</dialogue>
<scene_description>Olaf starts to head inside. Anna stops him.</scene_description>
<character>ANNA</character>
<dialogue>You too, Olaf.</dialogue>
<character>OLAF</character>
<dialogue>Me?</dialogue>
<character>ANNA</character>
<dialogue>Just give us a minute.</dialogue>
<character>OLAF</character>
<dialogue>Okay.</dialogue>
<scene_description>As Anna walks inside. Olaf starts counting.</scene_description>
<character>OLAF</character>
<dialogue>One...two...</dialogue>
<scene_description>Kristoff joins in.</scene_description>
<character>OLAF AND KRISTOFF</character>
<dialogue>Three...four...</dialogue>
</scene>
<scene>
<stage_direction>INT. ELSA'S PALACE - DAY</stage_direction>
<scene_description>Anna walks into a great foyer. The place is beautiful, but also eerie.</scene_description>
<character>ANNA</character>
<dialogue>Elsa? It's me...Anna?!</dialogue>
<scene_description>Anna slips. Steadies herself.</scene_description>
<character>ELSA (O.S.)</character>
<dialogue>Anna.</dialogue>
<scene_description>Elsa steps out of the shadows onto a balcony. She sees Anna, looks to her longingly. Anna can't help but be struck by Elsa's beauty.</scene_description>
<character>ANNA</character>
<dialogue>Elsa, you look different.... It's a good different.... And this place is amazing.</dialogue>
<character>ELSA</character>
<parenthetical>(cautious, polite)</parenthetical>
<dialogue>Thank you, I never knew what I was capable of.</dialogue>
<scene_description>Anna starts to climb the stairs.</scene_description>
<character>ANNA</character>
<dialogue>...I'm so sorry about what happened. If I'd known--</dialogue>
<scene_description>Elsa backs up, away from Anna.</scene_description>
<character>ELSA</character>
<parenthetical>(on guard)</parenthetical>
<dialogue>No, it's okay. You don't have to apologize.... But you should probably go, please.</dialogue>
<character>ANNA</character>
<dialogue>But I just got here.</dialogue>
<character>ELSA</character>
<dialogue>...You belong in Arendelle.</dialogue>
<character>ANNA</character>
<dialogue>So do you.</dialogue>
<scene_description>Anna takes another step up. Elsa backs up more.</scene_description>
<character>ELSA</character>
<dialogue>No, I belong here. Alone. Where I can be who I am without hurting anybody.</dialogue>
<character>ANNA</character>
<dialogue>...Actually, about that--</dialogue>
<scene_description>58...59...60.</scene_description>
<character>ELSA</character>
<dialogue>Wait. What is that?</dialogue>
<scene_description>Olaf comes running in the front door. He waves.</scene_description>
<character>OLAF</character>
<dialogue>Hi, I'm Olaf and I like warm hugs.</dialogue>
<character>ELSA</character>
<parenthetical>(shocked)</parenthetical>
<dialogue>Olaf?</dialogue>
<scene_description>Olaf stops beside Anna, looks up at Elsa, intimidated.</scene_description>
<character>OLAF</character>
<parenthetical>(bashful)</parenthetical>
<dialogue>You built me. You remember that?</dialogue>
<character>ELSA</character>
<parenthetical>(astonished)</parenthetical>
<dialogue>And you're alive?</dialogue>
<character>OLAF</character>
<dialogue>Um...I think so?</dialogue>
<scene_description>Anna kneels down beside Olaf.</scene_description>
<character>ANNA</character>
<dialogue>He's just like the one we built as kids.... We were so close. We can be like that again.</dialogue>
<scene_description>Elsa smiles, but then a memory returns to her. FLASH CUT TO: FLASHBACK: Young Anna is struck by Elsa's powers.</scene_description>
<character>YOUNG ELSA</character>
<dialogue>Anna!</dialogue>
<scene_description>Young Anna falls unconscious. Young Elsa races to her. FLASH CUT TO: THE PRESENT: Elsa's face sinks in pain.</scene_description>
<character>ELSA</character>
<dialogue>No, we can't.</dialogue>
<scene_description>Elsa turns and heads up the second story steps.</scene_description>
<character>ELSA</character>
<dialogue>Goodbye, Anna.</dialogue>
<character>ANNA</character>
<dialogue>Elsa, wait--</dialogue>
<character>ELSA</character>
<parenthetical>(calling back)</parenthetical>
<dialogue>I'm just trying to protect you.</dialogue>
<scene_description>Elsa continues to flee. Anna pursues.</scene_description>
<character>ANNA</character>
<dialogue>You don't have to protect me. I'm not afraid. Please don't shut me out again.</dialogue>
<scene_description>Anna SINGS. "First Time in Forever, Reprise" PLEASE DON'T SLAM THE DOOR. YOU DON'T HAVE TO KEEP YOUR DISTANCE ANYMORE. 'CAUSE FOR THE FIRST TIME IN FOREVER, I FINALLY UNDERSTAND. FOR THE FIRST TIME IN FOREVER, WE CAN FIX THIS HAND IN HAND. WE CAN HEAD DOWN THIS MOUNTAIN TOGETHER. YOU DON'T HAVE TO LIVE IN FEAR. 'CAUSE FOR THE FIRST TIME IN FOREVER, I WILL BE RIGHT HERE. They arrive on the top floor, Elsa's main living space. Elsa turns back to Anna, grateful, but determined.</scene_description>
<character>ELSA</character>
<dialogue>Anna, PLEASE GO BACK HOME. YOUR LIFE AWAITS. GO ENJOY THE SUN AND OPEN UP THE GATES.</dialogue>
<character>ANNA</character>
<dialogue>Yeah, but--</dialogue>
<character>ELSA</character>
<dialogue>I know! YOU MEAN WELL, BUT LEAVE ME BE. YES, I'M ALONE BUT I'M ALONE AND FREE.</dialogue>
<scene_description>Elsa opens up the balcony doors. JUST STAY AWAY AND YOU'LL BE SAFE FROM ME. ACTUALLY, WE'RE NOT. WHAT DO YOU MEAN YOU'RE NOT? I GET THE FEELING YOU DON'T KNOW? WHAT DO I NOT KNOW? ARENDELLE'S IN DEEP DEEP DEEP DEEP SNOW.</scene_description>
<character>ELSA</character>
<dialogue>What?</dialogue>
<scene_description>Elsa looks past Anna's shoulder out white-peaked mountains.</scene_description>
<character>ANNA</character>
<dialogue>You kind of set off an eternal winter...everywhere.</dialogue>
<character>ELSA</character>
<dialogue>Everywhere?</dialogue>
<character>ANNA</character>
<dialogue>It's okay, you can just unfreeze it.</dialogue>
<character>ELSA</character>
<dialogue>No, I can't. I don't know how.</dialogue>
<character>ANNA</character>
<dialogue>Sure you can. I know you can.</dialogue>
<scene_description>Snow starts to swirl around the room. CUZ FOR THE FIRST TIME IN FOREVER,</scene_description>
<character>ELSA</character>
<parenthetical>(panicking)</parenthetical>
<scene_description>I'M SUCH A FOOL! I CAN'T BE FREE! YOU DON'T HAVE TO BE AFRAID. NO ESCAPE FROM THE STORM INSIDE OF ME! The snow picks up. Anna tries to fight through it. WE CAN WORK THIS OUT TOGETHER. I CAN'T CONTROL THE CURSE! WE'LL REVERSE THE STORM YOU'VE MADE. ANNA, PLEASE, YOU'LL ONLY MAKE IT WORSE! DON'T PANIC. THERE'S SO MUCH FEAR! WE'LL MAKE THE SUN SHINE BRIGHT. YOU'RE NOT SAFE HERE! WE CAN FACE THIS THING TOGETHER... But as Anna sings, we lose sight of her in the thickening blizzard taking over the room. NO! WE CAN CHANGE THIS WINTER WEATHER, AND EVERYTHING WILL BE... Anna's voice disappears in the storm as Elsa cries out. I CAN'T! Elsa's fear, so strong, sucks the blizzard back into her and then it bursts out, unwittingly, like a sharp snowflake. Anna is STRUCK right in the heart. She grasps her chest in pain and stumbles back. She falls to her knees. Elsa gasps when she sees Anna. Just then, Olaf and Kristoff rush into the room to Anna's side.</scene_description>
<character>KRISTOFF</character>
<dialogue>Anna. Are you okay?</dialogue>
<character>ANNA</character>
<dialogue>I'm okay.... I'm fine.</dialogue>
<scene_description>Anna gets to her feet, determined to hide the pain.</scene_description>
<character>ELSA</character>
<parenthetical>(scared)</parenthetical>
<dialogue>Who's this? Wait, it doesn't matter. You have to go.</dialogue>
<character>ANNA</character>
<dialogue>No, I know we can figure this out together--</dialogue>
<character>ELSA</character>
<parenthetical>(desperate)</parenthetical>
<dialogue>How? What power do you have to stop this winter? To stop me?</dialogue>
<scene_description>Anna doesn't have the answer. Kristoff sees spiky ice shadows creeping down the walls. Puts a protective arm around Anna.</scene_description>
<character>KRISTOFF</character>
<dialogue>Anna, I think we should go.</dialogue>
<character>ANNA</character>
<parenthetical>(close to tears)</parenthetical>
<dialogue>No. I'm not leaving without you, Elsa.</dialogue>
<character>ELSA</character>
<parenthetical>(heartbroken but decisive)</parenthetical>
<dialogue>Yes, you are.</dialogue>
<scene_description>Elsa waves her arms and builds a giant, menacing snowman. We'll call him MARSHMALLOW. SLAM CUT TO:</scene_description>
</scene>
<scene>
<stage_direction>EXT. ICE PALACE - DAY</stage_direction>
<scene_description>Marshmallow holds Anna and Kristoff by the scruff of their necks in one hand and Olaf in the other.</scene_description>
<character>ANNA</character>
<dialogue>Stop. Put us down!</dialogue>
<character>OLAF</character>
<parenthetical>(to Marshmallow)</parenthetical>
<dialogue>You are a lot stronger than I think you realize.</dialogue>
<scene_description>Marshmallow tosses Kristoff and Anna down the steps.</scene_description>
<character>MARSHMALLOW</character>
<parenthetical>(like a bouncer)</parenthetical>
<dialogue>Go away!</dialogue>
<scene_description>Anna and Kistoff slide past Sven, who's got his tongue stuck to the ice railing.</scene_description>
<character>OLAF (O.S.)</character>
<dialogue>Heads up!</dialogue>
<scene_description>Olaf's head smashes into a snowbank nearby.</scene_description>
<character>ANNA</character>
<dialogue>Olaf!</dialogue>
<character>OLAF</character>
<dialogue>Watch out for my butt!</dialogue>
<scene_description>Anna and Kristoff duck as the rest of Olaf slams into the snowbank. Marshmallow turns to go back into the castle. Incensed, Anna tries to march back up the stairs.</scene_description>
<character>ANNA</character>
<dialogue>It is not nice to throw people!</dialogue>
<scene_description>Kristoff grabs her, pulls her back.</scene_description>
<character>KRISTOFF</character>
<dialogue>All right feisty pants. Calm down. Woaw. Just let the snow man be.</dialogue>
<character>ANNA</character>
<dialogue>Let me at him. I want to get him. I.... Okay. I'm Calm.</dialogue>
<scene_description>Anna backs down...for a moment. Then she grabs a snowball and throws it at Marshmallow. The tiny little ball hits Marshmallow's back, not making even the slightest dent. But it's enough to infuriate him. He ROARS. Spikes shoot out of his joints.</scene_description>
<character>KRISTOFF</character>
<dialogue>Uh-oh. Now you made him mad!</dialogue>
<character>OLAF</character>
<dialogue>...I'll distract him. You guys go.</dialogue>
<scene_description>Kristoff pushes Anna along. Sven runs off in the opposite direction. Olaf's belly and butt fall and follow Sven.</scene_description>
<character>OLAF</character>
<dialogue>No, no, not you guys.</dialogue>
<scene_description>Marshmallow goes charging after Anna and Kristoff as Olaf's head falls and lands face down in snow.</scene_description>
<character>OLAF</character>
<parenthetical>(muffled)</parenthetical>
<dialogue>This just got a whole lot harder.</dialogue>
<scene_description>Anna and Kristoff leap and slide down a steep slope. They tumble to a stop at the bottom just as Marshmallow lands hard right behind them. They're off again...through a maze of conifers that sag under the weight of the snow, Marshmallow hot on their trail.</scene_description>
<character>KRISTOFF</character>
<dialogue>This way!</dialogue>
<scene_description>Anna grabs a branch of a sagging trees and releases all of the snow. The tree snaps upright, knocking Marshmallow back.</scene_description>
<character>KRISTOFF</character>
<parenthetical>(impressed)</parenthetical>
<dialogue>Ho-ho-ho!</dialogue>
<character>ANNA</character>
<dialogue>I got him!</dialogue>
<scene_description>Anna and Kristoff burst out of the conifer forest and almost run right off a cliff. They stop short, toes on the edge.</scene_description>
<character>KRISTOFF</character>
<dialogue>Whoa, stop!</dialogue>
<character>ANNA</character>
<dialogue>It's a hundred foot drop.</dialogue>
<character>KRISTOFF</character>
<dialogue>It's two hundred.</dialogue>
<scene_description>Kristoff ties the rope around Anna and pulls tight.</scene_description>
<character>ANNA</character>
<dialogue>Ow.</dialogue>
<scene_description>He drops to his knees and starts digging a u-shape in the snow with a pick axe.</scene_description>
<character>ANNA</character>
<dialogue>What's that for?</dialogue>
<character>KRISTOFF</character>
<dialogue>I'm digging a snow anchor.</dialogue>
<character>ANNA</character>
<parenthetical>(not trusting)</parenthetical>
<dialogue>Okay. What if we fall?</dialogue>
<character>KRISTOFF</character>
<dialogue>There's twenty feet of fresh powder down there; it'll be like landing on a pillow.... Hopefully.</dialogue>
<scene_description>They hear an angry ROAR coming closer.</scene_description>
<character>KRISTOFF</character>
<dialogue>Okay, Anna. On three.</dialogue>
<scene_description>Anna preps for the jump like a boxer getting ready to fight.</scene_description>
<character>ANNA</character>
<dialogue>Okay. You tell me when...</dialogue>
<character>KRISTOFF</character>
<dialogue>One...</dialogue>
<character>ANNA</character>
<dialogue>...I'm ready to go....</dialogue>
<character>KRISTOFF</character>
<dialogue>Two...</dialogue>
<character>ANNA</character>
<parenthetical>(pumped up)</parenthetical>
<dialogue>...I was BORN ready! Yes!</dialogue>
<character>KRISTOFF</character>
<dialogue>Calm down.</dialogue>
<scene_description>A huge tree flies through the air toward them. TREE! Anna jumps and pulls Kristoff over the edge with her. They hang upside down over the cliff by the rope. The rope catches their fall.</scene_description>
<character>KRISTOFF</character>
<dialogue>Whoa! That happened.</dialogue>
<scene_description>Back up top, Olaf emerges from the woods. He's a complete mess, all his body parts are in the wrong places. He huffs and puffs, struggling to run.</scene_description>
<character>OLAF</character>
<dialogue>Ah. Ah. Man, am I out of shape.</dialogue>
<scene_description>He stops. Puts his body back together in the right order.</scene_description>
<character>OLAF</character>
<dialogue>There we go. Hey, Anna! Sven! Where'd ya guys go? We totally lost Marshmallow back there!</dialogue>
<scene_description>Marshmallow steps up behind Olaf. Olaf turns to face him.</scene_description>
<character>OLAF</character>
<parenthetical>(happily)</parenthetical>
<dialogue>Hey. We were just talking about you. All good things, all good things.</dialogue>
<scene_description>Marshmallow roars and approaches Kristoff's snow anchor. NO! Olaf jumps onto Marshmallow's leg trying to stop him, but not making much of a difference.</scene_description>
<character>OLAF</character>
<dialogue>This is not making much of a difference!</dialogue>
<scene_description>Marshmallow flicks Olaf off his leg and right over the cliff. WHOA! Olaf passes Anna and Kristoff.</scene_description>
<character>ANNA</character>
<dialogue>Olaf!</dialogue>
<character>OLAF</character>
<dialogue>Hang in there, guys!</dialogue>
<scene_description>Marshmallow starts yanking Kristoff and Anna's rope up.</scene_description>
<character>ANNA</character>
<dialogue>Wait, what?</dialogue>
<scene_description>Kristoff's head hits the cliff.</scene_description>
<character>KRISTOFF</character>
<dialogue>Aargghh!</dialogue>
<scene_description>Kristoff passes out and hangs like a rag doll.</scene_description>
<character>ANNA</character>
<dialogue>Kristoff!</dialogue>
<scene_description>Marshmallow pulls them up. He roars and breathes snow all over them.</scene_description>
<character>MARSHMALLOW</character>
<dialogue>Don't come back!</dialogue>
<character>ANNA</character>
<parenthetical>(grossed out by his snow breath)</parenthetical>
<dialogue>Ugh. We won't.</dialogue>
<scene_description>Anna whips out a knife and cuts the rope. Kristoff comes to just as they fall. They both SCREAM! SLAM! REVEAL: Anna opens her eyes to find herself buried up to her shoulders in the soft thick snow. She laughs.</scene_description>
<character>ANNA</character>
<dialogue>Hey, you were right. Just like a pillow.</dialogue>
<scene_description>She looks up to see Olaf's upper half hanging onto Kristoff's boots, which are sticking out of the snow.</scene_description>
<character>OLAF</character>
<parenthetical>(shaking the boots)</parenthetical>
<dialogue>I can't feel my legs! I can't feel my legs!</dialogue>
<scene_description>Suddenly, Kristoff's head pops up. He spits out snow.</scene_description>
<character>KRISTOFF</character>
<dialogue>Those are my legs.</dialogue>
<scene_description>Olaf's bottom goes running by.</scene_description>
<character>OLAF</character>
<parenthetical>(to Kristoff)</parenthetical>
<dialogue>Ooh. Hey, do me a favor, grab my butt.</dialogue>
<scene_description>Kristoff grabs Olaf's head and puts it on his body.</scene_description>
<character>OLAF</character>
<dialogue>Oh, that feels better.</dialogue>
<scene_description>Sven walks up and sniffs Olaf's nose.</scene_description>
<character>OLAF</character>
<dialogue>Hey, Sven!</dialogue>
<scene_description>Olaf turns to Anna and Kristoff just as Sven goes to bite off his nose -- and misses.</scene_description>
<character>OLAF</character>
<dialogue>He found us.</dialogue>
<parenthetical>(to Sven, funny voice)</parenthetical>
<dialogue>Who's my cute little reindeer?</dialogue>
<character>KRISTOFF</character>
<dialogue>Don't talk to him like that.</dialogue>
<scene_description>Kristoff goes over to help Anna, who is stuck in the snow.</scene_description>
<character>KRISTOFF</character>
<dialogue>Here.</dialogue>
<scene_description>He lifts her out easily.</scene_description>
<character>ANNA</character>
<parenthetical>(impressed)</parenthetical>
<dialogue>Whoa!</dialogue>
<character>KRISTOFF</character>
<dialogue>You okay?</dialogue>
<character>ANNA</character>
<dialogue>Thank you.</dialogue>
<scene_description>They meet eyes. Wait. Is that chemistry?</scene_description>
<character>ANNA</character>
<dialogue>...Um.... How's your head?</dialogue>
<scene_description>She touches the spot where he banged his head.</scene_description>
<character>KRISTOFF</character>
<parenthetical>(in pain)</parenthetical>
<dialogue>Ah! Ooh!</dialogue>
<scene_description>He catches himself. Waves off the pain with a giggle.</scene_description>
<character>KRISTOFF</character>
<dialogue>I mean, It's fine. Ah...I'm good. Ha. I've got a thick skull.</dialogue>
<character>OLAF</character>
<dialogue>I don't have a skull.... Or bones.</dialogue>
<character>KRISTOFF</character>
<dialogue>...So....</dialogue>
<scene_description>The awkwardness is killing him.</scene_description>
<character>KRISTOFF</character>
<parenthetical>(shy)</parenthetical>
<dialogue>Now what?</dialogue>
<character>ANNA</character>
<parenthetical>(shy)</parenthetical>
<dialogue>Now what?</dialogue>
<parenthetical>(then...panicking)</parenthetical>
<dialogue>Now what?! Oh! What am I gonna do? She threw me out. I can't go back to Arendelle with the weather like this. And then there's your ice business--</dialogue>
<character>KRISTOFF</character>
<dialogue>Hey, hey, don't worry about my ice business...</dialogue>
<parenthetical>(noticing something)</parenthetical>
<dialogue>Worry about your hair?!</dialogue>
<scene_description>She thinks he means it looks bad. She smooths it down.</scene_description>
<character>ANNA</character>
<dialogue>What? I just fell off a cliff. You should see your hair.</dialogue>
<character>KRISTOFF</character>
<dialogue>No, yours is turning white.</dialogue>
<scene_description>She grabs her braid as a tendril turns white.</scene_description>
<character>ANNA</character>
<dialogue>White? It's what?</dialogue>
<character>KRISTOFF</character>
<dialogue>It's because she struck you; isn't it?</dialogue>
<character>ANNA</character>
<dialogue>Does it look bad?</dialogue>
<character>KRISTOFF</character>
<parenthetical>(thinking)</parenthetical>
<dialogue>...No.</dialogue>
<scene_description>Olaf's head pops up. He's holding his head up off his body to join the conversation.</scene_description>
<character>OLAF</character>
<dialogue>You hesitated.</dialogue>
<character>KRISTOFF</character>
<dialogue>No, I didn't. Anna, you need help. Now, come on.</dialogue>
<scene_description>He heads towards the sunset. Sven and Olaf follow.</scene_description>
<character>OLAF</character>
<dialogue>Okay! Where are we going?</dialogue>
<character>KRISTOFF</character>
<dialogue>To see my friends.</dialogue>
<character>ANNA</character>
<parenthetical>(catching up)</parenthetical>
<dialogue>The love experts?</dialogue>
<character>OLAF</character>
<dialogue>Love experts?!</dialogue>
<character>KRISTOFF</character>
<dialogue>Yes. And don't worry; they'll be able to fix this.</dialogue>
<character>ANNA</character>
<dialogue>How do you know?</dialogue>
<scene_description>He looks her over, remembering the moment he saw the trolls heal her as a child.</scene_description>
<character>KRISTOFF</character>
<dialogue>...Because I've seen them do it before.</dialogue>
<scene_description>As they round the bend, the sun sets and Olaf turns to Sven.</scene_description>
<character>OLAF</character>
<dialogue>I like to consider myself a love expert.</dialogue>
<scene_description>CUT TO:</scene_description>
</scene>
<scene>
<stage_direction>INT. ELSA'S PALACE - DAY</stage_direction>
<scene_description>Elsa paces, distraught. She talks to herself.</scene_description>
<character>ELSA</character>
<parenthetical>(mantra-style)</parenthetical>
<dialogue>Get it together. Control it. Don't feel. Don't feel. Don't FEEL!</dialogue>
<scene_description>She hears ice cracking. Stops. Looks around. She's left a sharp wake of ice spikes behind her on the floor. They grow up the wall, taking over the castle. DISSOLVE TO:</scene_description>
</scene>
<scene>
<stage_direction>EXT. BLACK MOUNTAINS - NIGHT</stage_direction>
<scene_description>The Northern Lights are bright. Olaf stares at them in awe as he rides on Sven's back.</scene_description>
<character>OLAF</character>
<dialogue>Look, Sven. The sky's awake.</dialogue>
<scene_description>Behind Olaf and Sven, Anna walks with Kristoff. She shivers.</scene_description>
<character>KRISTOFF</character>
<dialogue>Are you cold?</dialogue>
<character>ANNA</character>
<dialogue>...A little.</dialogue>
<scene_description>He reaches like he might put an arm around her, but decides against it. He looks around as if he doesn't know what to do, then gets a thought.</scene_description>
<character>KRISTOFF</character>
<dialogue>Wait. Come here.</dialogue>
<scene_description>He takes her hand and pulls her around a bend into a rock- lined pass. Steam vents, powered by the volcanic activity, dot the path. He holds her hands over one of them.</scene_description>
<character>ANNA</character>
<dialogue>Oooh.... That's nice.</dialogue>
<scene_description>They continue on the path, walking from vent to vent.</scene_description>
<character>KRISTOFF</character>
<parenthetical>(taking a deep breath)</parenthetical>
<dialogue>So, about my friends...well, I say friends, they're more like family.... Anyway, when I was a kid, it was just me and Sven...until they took me in.</dialogue>
<character>ANNA</character>
<parenthetical>(moved)</parenthetical>
<dialogue>They did?</dialogue>
<character>KRISTOFF</character>
<parenthetical>(nervous ramble)</parenthetical>
<dialogue>Yeah. I don't want to scare you, they can be a little bit inappropriate...and loud...very loud...they're also stubborn at times, and a little overbearing. And heavy. Really, really heavy.</dialogue>
<character>KRISTOFF</character>
<dialogue>But they're fine.. You'll get it. They mean well.</dialogue>
<scene_description>Anna touches Kristoff's arm, reassuringly.</scene_description>
<character>ANNA</character>
<dialogue>Kristoff, they sound wonderful.</dialogue>
<scene_description>Kristoff smiles, appreciating her sincerity.</scene_description>
<character>KRISTOFF</character>
<dialogue>Okay then....</dialogue>
<scene_description>Mustering the courage, Kristoff steps forward and with a wave of the arms announces--</scene_description>
<character>KRISTOFF</character>
<dialogue>Meet my family.</dialogue>
<scene_description>REVEAL: he's surrounded by rocks.</scene_description>
<character>KRISTOFF</character>
<parenthetical>(to the rocks)</parenthetical>
<dialogue>Hey, guys!</dialogue>
<scene_description>As Kristoff and Sven move through the rocks, waving and greeting, Olaf and Anna stand frozen, dumbfounded.</scene_description>
<character>ANNA</character>
<parenthetical>(to herself)</parenthetical>
<dialogue>...They're rocks.</dialogue>
<character>OLAF</character>
<parenthetical>(realizing)</parenthetical>
<dialogue>He's crazy.</dialogue>
<parenthetical>(covertly, to Anna)</parenthetical>
<dialogue>I'll distract them while you run.</dialogue>
<parenthetical>(Loud and slow to a rock)</parenthetical>
<dialogue>Hi, Sven's family! It's nice to meet you!</dialogue>
<parenthetical>(quietly to Anna)</parenthetical>
<dialogue>Anna, because I love you, I insist you run.</dialogue>
<parenthetical>(to the rock)</parenthetical>
<dialogue>I understand you're love experts!</dialogue>
<parenthetical>(to Anna)</parenthetical>
<dialogue>Why aren't you running?</dialogue>
<scene_description>Anna snaps out of her shock and starts backing away.</scene_description>
<character>ANNA</character>
<dialogue>Okay. Um...I'm gonna go--</dialogue>
<scene_description>Just then the rocks around her start rolling.</scene_description>
<character>ANNA</character>
<parenthetical>(panicking)</parenthetical>
<dialogue>Kristoff!</dialogue>
<scene_description>Olaf lights up and chases the rocks, who surround Kristoff and unfold as trolls. KRISTOFF'S HOME!</scene_description>
<character>TROLLS (VARIOUS)</character>
<dialogue>Kristoff! Kristoff's home! It's been too long! Kristoff's home!</dialogue>
<scene_description>Olaf jumps around all excitedly.</scene_description>
<character>OLAF</character>
<parenthetical>(excitedly)</parenthetical>
<dialogue>Kristoff's home.</dialogue>
<scene_description>He then stops, confused, and looks to one of the trolls.</scene_description>
<character>OLAF</character>
<dialogue>Wait? Kristoff?</dialogue>
<scene_description>Anna watches, shocked and confused. The trolls all want Kristoff's attention. One troll yanks him down with a boulder's strength.</scene_description>
<character>TROLL ONE</character>
<dialogue>Oh, lemme look at you!</dialogue>
<scene_description>Another troll tries to pull off his clothes.</scene_description>
<character>TROLL TWO</character>
<dialogue>Oh, take off your clothes, Kristoff; I wash them.</dialogue>
<character>KRISTOFF</character>
<parenthetical>(holding up his pants)</parenthetical>
<dialogue>Ah! No. I'm gonna keep my clothes on, thank you.</dialogue>
<character>KRISTOFF</character>
<dialogue>Great to see you all. Where's grandpa?</dialogue>
<character>MUSHROOM KID TROLL</character>
<dialogue>He's napping. But look, I grew a mushroom.</dialogue>
<character>TROLL SCOUT KID</character>
<dialogue>And I earned my fire crystal.</dialogue>
<character>KIDNEY STONE TROLL</character>
<dialogue>I passed a kidney stone.</dialogue>
<character>PICK ME UP TROLL</character>
<dialogue>Pick me up.</dialogue>
<scene_description>The kid troll jumps up on Kristoff's arm. Kristoff sinks under the weight of him. Anna still stares, confused, then realizes...</scene_description>
<character>ANNA</character>
<dialogue>Trolls? They're trolls.</dialogue>
<scene_description>Silence. All troll eyes turn to Anna. Blink. Blink.</scene_description>
<character>BULDA</character>
<dialogue>...He's brought a girl!</dialogue>
<character>TROLLS (TOGETHER)</character>
<dialogue>He's brought a girl!</dialogue>
<scene_description>Suddenly Anna is surrounded by trolls. They body-surf/roll Anna over to Kristoff. She falls into his arms.</scene_description>
<character>ANNA</character>
<dialogue>What's going on?</dialogue>
<character>KRISTOFF</character>
<dialogue>I've learned to just roll with it.</dialogue>
<scene_description>Bulda climbs on top of her husband, Cliff, to get a good look at Anna. She studies her like she's a piece of cattle.</scene_description>
<character>BULDA</character>
<dialogue>Let me see. Bright eyes. Working nose. Strong teeth. Yes, yes, yes. She'll do nicely for our Kristoff.</dialogue>
<character>ANNA</character>
<dialogue>Wait. Oh. Um. No.</dialogue>
<character>KRISTOFF</character>
<dialogue>You've got the wrong idea. That's not why I brought her here.</dialogue>
<character>ANNA</character>
<dialogue>Right. We're not. I'm not--</dialogue>
<scene_description>Anna laughs, uncomfortable, not knowing what to say.</scene_description>
<character>BULDA</character>
<parenthetical>(to Anna)</parenthetical>
<dialogue>What's the issue, dear? Why are you holding back from such a man?</dialogue>
<scene_description>Bulda SINGS. "Fixer-Upper" IS IT THE CLUMPY WAY HE WALKS? OR THE GRUMPY WAY HE TALKS? OR THE PEAR-SHAPED, SQUARE-SHAPED WEIRDNESS OF HIS FEET? AND THOUGH WE KNOW HE WASHES WELL HE ALWAYS ENDS UP SORTA SMELLY. BUT YOU'LL NEVER MEET A FELLA WHO'S AS SENSITIVE AND SWEET. SO HE'S A BIT OF A FIXER UPPER, SO HE'S GOT A FEW FLAWS- HIS PECULIAR BRAIN, DEAR. HIS THING FOR THE REINDEER THAT OUTSIDE A FEW OF NATURE'S LAWS. SO HE'S A BIT OF A FIXER UPPER, BUT THIS WE'RE CERTAIN OF- YOU CAN FIX THIS FIXER UPPER UP WITH A LITTLE BIT OF LOVE.</scene_description>
<character>KRISTOFF</character>
<dialogue>Can we just stop talking about this?! We've got a real, actual problem here.</dialogue>
<character>BULDA</character>
<dialogue>I'll say--</dialogue>
<parenthetical>(To Anna)</parenthetical>
<scene_description>IS IT THE WAY THAT HE RUNS SCARED? OR THAT HE'S SOCIALLY IMPAIRED? OR THAT HE ONLY LIKES TO TINKLE IN THE WOODS? ARE YOU HOLDING BACK YOUR FONDNESS DUE TO HIS UNMANLY BLONDENESS? OR THE WAY HE COVERS UP THAT HE'S THE HONEST GOODS? HE'S JUST A BIT OF A FIXER UPPER- HE'S GOT A COUPLE A' BUGS.</scene_description>
<character>KRISTOFF</character>
<dialogue>No, I don't.</dialogue>
<scene_description>HIS ISOLATION IS CONFIRMATION OF HIS DESPERATION FOR HEALING HUGS. SO HE'S A BIT OF A FIXER UPPER, BUT WE KNOW WHAT TO DO. THE WAY TO FIX UP THIS FIXER UPPER IS TO FIX HIM UP WITH YOU. The girl trolls sweep Anna away. The boys take Kristoff.</scene_description>
<character>KRISTOFF</character>
<parenthetical>(to the male trolls)</parenthetical>
<dialogue>Enough! She's engaged to someone else. Okay?!</dialogue>
<scene_description>TROLLS beat. Blink. Blink. The boy trolls turn, huddle... SO SHE'S A BIT OF A FIXER UPPER, THAT'S A MINOR THING. THIS QUOTE "ENGAGEMENT" IS A FLEX ARRANGEMENT. AND BY THE WAY, I DON'T SEE NO RING. SO SHE'S A BIT OF A FIXER UPPER, HER BRAIN'S A BIT BETWIXT. GET THE FIANCE OUT OF THE WAY AND THE WHOLE THING WILL BE FIXED! WE AREN'T SAYING YOU CAN CHANGE HIM 'CAUSE PEOPLE DON'T REALLY CHANGE. WE'RE ONLY SAYING THAT LOVE'S A FORCE THAT'S POWERFUL AND STRANGE. PEOPLE MAKE BAD CHOICES IF THEY'RE MAD OR SCARED OR STRESSED. BUT THROW A LITTLE LOVE THEIR WAY (THROW A LITTLE LOVE THEIR WAY) AND YOU'LL BRING OUT THEIR BEST! TRUE LOVE BRINGS OUT THE BEST! Kristoff looks over at Anna. She actually looks shockingly beautiful dressed in moss, lit by shimmering crystals. EVERYONE'S A BIT OF A FIXER UPPER, THAT'S WHAT IT'S ALL ABOUT FATHER, SISTER, BROTHER WE NEED EACH OTHER TO RAISE US UP AND ROUND US OUT By this time Kristoff and Anna are being ushered into a pit by the sheer force of numbers. EVERYONE'S A BIT OF A FIXER UPPER, BUT WHEN PUSH COMES TO SHOVE- THE ONLY FIXER UPPER FIXER THAT CAN FIX A FIXER UPPER IS TRUE TRUE TRUE TRUE LOVE During this last bit Anna and Kristoff are looking at each other differently. Hmmm. Maybe those trolls are right? Sparks! Chemistry!</scene_description>
<character>TROLL PRIEST</character>
<dialogue>Do you, Anna, take Kristoff to be your trollfully wedded--</dialogue>
<character>ANNA</character>
<dialogue>Wait, what?!</dialogue>
<character>TROLL PRIEST</character>
<dialogue>You're getting married.</dialogue>
<scene_description>LOVE! Just then, Anna collapses. Kristoff catches her. She's shivering something fierce.</scene_description>
<character>KRISTOFF</character>
<dialogue>Anna?</dialogue>
<scene_description>He pulls off her cape and hat.</scene_description>
<character>KRISTOFF</character>
<dialogue>She's as cold as ice.</dialogue>
<scene_description>Just then Grand Pabbie pushes his way through the crowd. Trolls clear the way for Pabbie. He stops at the edge of the pit.</scene_description>
<character>GRAND PABBIE</character>
<dialogue>There's strange magic here!</dialogue>
<character>KRISTOFF</character>
<dialogue>Grand Pabbie!</dialogue>
<character>GRAND PABBIE</character>
<dialogue>Bring her to me, Kristoff.</dialogue>
<scene_description>Kristoff helps Anna over. Pabbie looks into her weak eyes.</scene_description>
<character>GRAND PABBIE</character>
<dialogue>Anna, your life is in danger. There is ice in your heart, put there by your sister. If not removed, to solid ice will you freeze, forever.</dialogue>
<character>ANNA</character>
<dialogue>What...? No.</dialogue>
<character>KRISTOFF</character>
<dialogue>So remove it, Grand Pabbie.</dialogue>
<character>GRAND PABBIE</character>
<dialogue>I can't. If it was her head, that would be easy. But only an act of true love can thaw a frozen heart.</dialogue>
<character>ANNA</character>
<dialogue>An act of true love?</dialogue>
<character>BULDA</character>
<parenthetical>(googley, to her hubby)</parenthetical>
<dialogue>A true love's kiss, perhaps?</dialogue>
<scene_description>A bunch of trolls give each other kisses. Anna shivers again, collapsing into Kristoff's arms. More of her hair turns white.</scene_description>
<character>KRISTOFF</character>
<dialogue>Anna, we've got to get you back to Hans.</dialogue>
<character>ANNA</character>
<parenthetical>(still weak)</parenthetical>
<dialogue>...Hans.</dialogue>
<character>KRISTOFF</character>
<dialogue>Help us out, Sven.</dialogue>
<scene_description>Kristoff grabs Sven's antlers. Sven pulls them out. Kristoff helps Anna onto Sven and hops up behind her.</scene_description>
<character>KRISTOFF</character>
<dialogue>Come on, Olaf!</dialogue>
<scene_description>Sven takes off. Olaf grabs Sven's tail, rides with them.</scene_description>
<character>OLAF</character>
<dialogue>I'm coming! Let's go kiss Hans! Who is this Hans?!</dialogue>
<scene_description>CUT TO:</scene_description>
</scene>
<scene>
<stage_direction>EXT. ELSA'S PALACE - DAWN</stage_direction>
<scene_description>Hans and the men tread cautiously towards the castle.</scene_description>
<character>HANS</character>
<dialogue>We are here to find Princess Anna. Be on guard, but no harm is to come to the Queen. Do you understand?</dialogue>
<scene_description>The Duke's thugs exchange a look. Suddenly, a mass of snow rises from the ground behind Hans. It's Marshmallow, Elsa's snow guard.</scene_description>
<character>MARSHMALLOW</character>
<dialogue>Go away!</dialogue>
<scene_description>He slams a fist inches from Hans. Hans deftly dodges out of the way. All of the guards take up arms against Marshmallow, who quickly knocks them over. Marshmallow throws down a guard and his horse, who topple over Hans. Marshmallow raises his foot to stomp on Hans, but Hans barrel-rolls himself to safety. He sees his sword, leaps, and grabs it. Just then, Elsa peeks out the front doors. The Duke's two thugs see her.</scene_description>
<character>DUKE'S THUG</character>
<dialogue>The Queen.</dialogue>
<scene_description>The thugs charge up the stairs.</scene_description>
</scene>
<scene>
<stage_direction>INT. ELSA'S PALACE - DAY</stage_direction>
<scene_description>They guards burst through the ice doors. Elsa flees to the top floor of her palace. The guards pursue. They trap her on the top floor, raise their crossbows.</scene_description>
<character>ELSA</character>
<parenthetical>(scared)</parenthetical>
<dialogue>No. Please.</dialogue>
<scene_description>One of the thugs shoots an arrow right at Elsa. At the last moment she creates an ice wall. It stops the arrow, inches from her face. The thugs reposition to take another shot.</scene_description>
<character>ELSA</character>
<dialogue>Stay away!</dialogue>
<scene_description>Elsa shoots ice at the thugs. They duck out of the way and continue the attack.</scene_description>
<character>THUG</character>
<dialogue>Get her! Get her!</dialogue>
<scene_description>Elsa fights for her life. BACK OUTSIDE: Hans is nearly crushed by Marshmallow. He rolls away. Jumps to his feet. And with agile might, he slices Marshmallow's leg off with his sword. Marshmallow stumbles back, off balance. And falls off over the cliff, but not before striking Hans. Hans goes over the edge. REVEAL: Hans clings to the ice steps. His men help him up and they rush into the ice palace.</scene_description>
</scene>
<scene>
<stage_direction>INT. ICE PALACE - DAY</stage_direction>
<scene_description>Elsa is surrounded. It's do or die. In two swift moves, Elsa traps one thug in a cage of spikes that threaten his neck. The other she pushes back with a wall of ice....up against the balcony doors...which BURST and CRACK. OUT ONTO THE BALCONY.... The balcony doors shatter. The thug is pushed to the edge. He's inches away from falling to his death. BACK INSIDE: Hans and his men run in. See the destruction and the thugs near death.</scene_description>
<character>HANS</character>
<dialogue>Queen Elsa! Don't be the monster they fear you are.</dialogue>
<scene_description>Elsa snaps out of her rage. She sees the men, frightened, moments from death. She stops. Elsa looks to Hans, overwhelmed, frightened. The wall retreats from the thug on the balcony. The ice spikes lower from the second thug's neck. He takes advantage and aims his crossbow at Elsa's back. Seeing it. Hans runs and pushes the crossbow up just as the arrow releases. The arrow hits the ice chandelier, hanging directly above Elsa. The chandelier comes CRASHING DOWN. Elsa dives out of the way but she falls in the blast. All we see is ice smashing like glass, and all we hear is the sound of it shattering as it rings out. CUT TO BLACK.: FADE IN ON: Elsa's face as her eyes flutter open. She sits up. She's surrounded by stone.</scene_description>
</scene>
<scene>
<stage_direction>INT. ARENDELLE, DUNGEON - DAY</stage_direction>
<scene_description>Elsa looks to the nearby window. Tries to rush to it. She's pulled taut by giant shackles that fit like iron gloves. She's chained to the wall. Elsa strains to looks out a window... INSET WINDOW: Arendelle is outside, frozen solid and getting further buried under the ice and snow that is falling.</scene_description>
<character>ELSA</character>
<dialogue>No....What have I done?</dialogue>
<scene_description>Hans enters. He hangs a torch by the door.</scene_description>
<character>ELSA</character>
<dialogue>Why did you bring me here?</dialogue>
<character>HANS</character>
<dialogue>I couldn't just let them kill you.</dialogue>
<character>ELSA</character>
<dialogue>But I'm a danger to Arendelle. Get Anna.</dialogue>
<character>HANS</character>
<dialogue>Anna has not returned....</dialogue>
<scene_description>Elsa looks to the storm with worry.</scene_description>
<character>HANS</character>
<dialogue>If you would just stop the winter, bring back summer...please.</dialogue>
<scene_description>Elsa meets his eyes, desperate.</scene_description>
<character>ELSA</character>
<dialogue>Don't you see...I can't.</dialogue>
<scene_description>Hans sees the sincerity in her eyes.</scene_description>
<character>ELSA</character>
<dialogue>You have to tell them to let me go.</dialogue>
<scene_description>Hans walks to the door. He takes the torch.</scene_description>
<character>HANS</character>
<dialogue>I will do what I can.</dialogue>
<scene_description>He opens the door and leaves. Elsa, distraught, hears cracking. She looks down as her shackles begin to freeze over. The storm outside picks up. CUT TO:</scene_description>
</scene>
<scene>
<stage_direction>EXT. THE FJORDS - DAY</stage_direction>
<scene_description>Sven charges down the mountain with Kristoff and Anna on his back. Olaf slides along beside them, penguin-style. Anna shivers in Kristoff's arms. She's weakening. Kristoff takes off his hat and puts it on her head.</scene_description>
<character>KRISTOFF</character>
<dialogue>Just hang in there.</dialogue>
<parenthetical>(to Sven)</parenthetical>
<dialogue>Come on, buddy, faster!</dialogue>
<scene_description>They arrive at the walls of Arendelle. Olaf slides past them, out of control.</scene_description>
<character>OLAF</character>
<dialogue>I'll meet you guys at the castle!</dialogue>
<character>KRISTOFF</character>
<dialogue>Stay out of sight, Olaf!</dialogue>
<character>OLAF</character>
<dialogue>I will!</dialogue>
<scene_description>He disappears into the village streets.</scene_description>
<character>OLAF (O.S.)</character>
<dialogue>Hello!</dialogue>
<character>TOWNSWOMAN (O.S.)</character>
<dialogue>Ah! It's alive!</dialogue>
<scene_description>CUT TO:</scene_description>
</scene>
<scene>
<stage_direction>EXT. CASTLE COURTYARD - DAY</stage_direction>
<scene_description>Guards see Kristoff and Anna approaching.</scene_description>
<character>GUARD</character>
<dialogue>It's Princess Anna!</dialogue>
<scene_description>Sven skids to a stop outside the gates. Kristoff slides off, holding Anna, and carries her to the gate.</scene_description>
<character>KRISTOFF</character>
<dialogue>I've got you.</dialogue>
<scene_description>Anna looks up at him, gratefully.</scene_description>
<character>ANNA</character>
<dialogue>...Are you g-gonna be okay?</dialogue>
<character>KRISTOFF</character>
<parenthetical>(touched, reassuring)</parenthetical>
<dialogue>Don't worry about me.</dialogue>
<scene_description>Just then the castle gates open. Gerda, Kai, and a handmaid rush to help Anna.</scene_description>
<character>GERDA</character>
<dialogue>Anna! Oh, you had us worried sick.</dialogue>
<character>KAI</character>
<dialogue>My Lady. You are freezing.</dialogue>
<character>GERDA</character>
<dialogue>You poor girl, you're freezing. Let's get you inside.</dialogue>
<character>KRISTOFF</character>
<dialogue>Get her warm and find Prince Hans, immediately.</dialogue>
<character>KAI</character>
<dialogue>We will. Thank you.</dialogue>
<scene_description>Anna is swept away from Kristoff and into the palace grounds.</scene_description>
<character>KRISTOFF</character>
<dialogue>Make sure she's safe!</dialogue>
<scene_description>Kristoff is shut out as the castle gates close on him. Kristoff stands there with Sven for a beat, staring with worry at the closed gates. Finally, he sighs, turns and walks off. Sven reluctantly follows. CUT TO:</scene_description>
</scene>
<scene>
<stage_direction>INT. LIBRARY - DAY</stage_direction>
<scene_description>Hans stands with the dignitaries and guards.</scene_description>
<character>HANS</character>
<dialogue>I'm going back out to look for Princess Anna.</dialogue>
<character>FRENCH DIGNITARY</character>
<dialogue>You cannot risk going out there again.</dialogue>
<character>HANS</character>
<dialogue>If anything happens to her--</dialogue>
<character>SPANISH DIGNITARY</character>
<dialogue>If anything happens to the Princess, you are all Arendelle has left.</dialogue>
<scene_description>Hans hesitates, realizing how much this kingdom has come to depend on him. Is he really all they have left? Just then the door opens and Gerda and Kai bring in Anna.</scene_description>
<character>KAI</character>
<dialogue>He's in here. Prince Hans.</dialogue>
<character>HANS</character>
<dialogue>Anna.</dialogue>
<scene_description>Hans rushes to Anna. She falls into his arms.</scene_description>
<character>HANS</character>
<dialogue>You're so cold.</dialogue>
<character>ANNA</character>
<parenthetical>(weak, but desperate)</parenthetical>
<dialogue>Hans, you have to kiss me.</dialogue>
<character>HANS</character>
<dialogue>What?</dialogue>
<character>ANNA</character>
<dialogue>Now. Here we go.</dialogue>
<scene_description>She tries to kiss him, but is too weak to pull herself up in his arms.</scene_description>
<character>GERDA</character>
<dialogue>We'll give you two some privacy.</dialogue>
<scene_description>Everyone shuffles out, leaving Hans and Anna alone.</scene_description>
<character>HANS</character>
<dialogue>What happened out there?</dialogue>
<character>ANNA</character>
<dialogue>Elsa struck me with her powers.</dialogue>
<character>HANS</character>
<dialogue>You said she'd never hurt you.</dialogue>
<character>ANNA</character>
<dialogue>I was wrong.</dialogue>
<scene_description>Anna crumbles, weak.</scene_description>
<character>HANS</character>
<dialogue>Anna.</dialogue>
<scene_description>Hans carries her to a couch, sets her down.</scene_description>
<character>ANNA</character>
<parenthetical>(shivering more)</parenthetical>
<dialogue>She froze my heart and only an act of true love can save me.</dialogue>
<character>HANS</character>
<parenthetical>(understanding)</parenthetical>
<dialogue>A true love's kiss.</dialogue>
<scene_description>He takes her chin in his hand and gives her a tender smile. He leans in slowly...gently... Then he stops.</scene_description>
<character>HANS</character>
<dialogue>Oh, Anna. If only there was someone out there who loved you.</dialogue>
<character>ANNA</character>
<dialogue>What?</dialogue>
<scene_description>Hans gets up, leaving her there.</scene_description>
<character>ANNA</character>
<dialogue>...You said you did.</dialogue>
<scene_description>He goes to the window and shuts the curtains.</scene_description>
<character>HANS</character>
<dialogue>As thirteenth in line in my own kingdom, I didn't stand a chance. I knew I'd have to marry into the throne somewhere--</dialogue>
<character>ANNA</character>
<dialogue>What are you talking about?</dialogue>
<character>HANS</character>
<parenthetical>(putting out the candles)</parenthetical>
<dialogue>As heir, Elsa was preferable, of course. But no one was getting anywhere with her. But you-</dialogue>
<character>ANNA</character>
<dialogue>Hans?</dialogue>
<character>HANS</character>
<dialogue>You were so desperate for love you were willing to marry me, just like that.</dialogue>
<scene_description>Hans crosses the room, grabs a pitcher of water from a table and goes to the fireplace.</scene_description>
<character>HANS</character>
<dialogue>I figured, after we married, I'd have to stage a little accident for Elsa.</dialogue>
<scene_description>Hans pours the water on the fireplace, putting out the fire. Anna tries to stop him. She falls to the floor, weak.</scene_description>
<character>ANNA</character>
<dialogue>Hans. No, stop.</dialogue>
<character>HANS</character>
<dialogue>But then she doomed herself, and you were dumb enough to go after her.</dialogue>
<character>ANNA</character>
<dialogue>Please.</dialogue>
<character>HANS</character>
<parenthetical>(chuckles)</parenthetical>
<dialogue>All that's left now is to kill Elsa and bring back summer.</dialogue>
<scene_description>Hans approaches Anna.</scene_description>
<character>ANNA</character>
<dialogue>...You're no match for Elsa.</dialogue>
<scene_description>He bends down, takes her chin in his hand again, this time not so gently.</scene_description>
<character>HANS</character>
<dialogue>No, you're no match for Elsa. I, on the other hand, am the hero who is going to save Arendelle from destruction.</dialogue>
<scene_description>She wrenches her face out of his hands.</scene_description>
<character>ANNA</character>
<parenthetical>(anger)</parenthetical>
<dialogue>You won't get away with this.</dialogue>
<scene_description>Hans rises and crosses to the door.</scene_description>
<character>HANS</character>
<dialogue>Oh, I already have.</dialogue>
<scene_description>Hans leaves and shuts her in, locking the door. Anna struggles to the door, yanks on the locked handle.</scene_description>
<character>ANNA</character>
<parenthetical>(hoarse and weak)</parenthetical>
<dialogue>Please, somebody help.</dialogue>
<scene_description>The rest of her hair turns white and she crumbles to the floor. CUT TO:</scene_description>
</scene>
<scene>
<stage_direction>INT. COUNCIL CHAMBER - NIGHT</stage_direction>
<scene_description>The Duke looks out the window at the growing snowstorm. He rubs his arms and shivers.</scene_description>
<character>DUKE</character>
<dialogue>It's getting colder by the minute. If we don't do something soon, we'll all freeze to death.</dialogue>
<scene_description>Hans comes in, putting on his most distraught face.</scene_description>
<character>SPANISH DIGNITARY</character>
<dialogue>Prince Hans.</dialogue>
<character>HANS</character>
<dialogue>Princess Anna is...dead.</dialogue>
<character>VARIOUS DIGNITARIES</character>
<dialogue>What...? No.... Mon dieu.</dialogue>
<scene_description>Hans stumbles, weak with grief. The men help him to a chair.</scene_description>
<character>DUKE</character>
<dialogue>What happened to her?</dialogue>
<character>HANS</character>
<dialogue>She was killed by Queen Elsa.</dialogue>
<character>DUKE</character>
<dialogue>Her own sister.</dialogue>
<character>HANS</character>
<parenthetical>(really putting it on)</parenthetical>
<dialogue>At least we got to say our marriage vows...before she died in my arms.</dialogue>
<scene_description>He bows his head in a brilliant display of teary grief.</scene_description>
<character>DUKE</character>
<dialogue>There can be no doubt now; Queen Elsa is a monster and we are all in grave danger.</dialogue>
<character>SPANISH DIGNITARY</character>
<dialogue>Prince Hans, Arendelle looks to you.</dialogue>
<scene_description>Hans nods; he knows what he's being asked to do, and he'll do it with the perfect amount of authority and gravitas.</scene_description>
<character>HANS</character>
<dialogue>With a heavy heart, I charge Queen Elsa of Arendelle with treason and sentence her to death.</dialogue>
</scene>
<scene>
<stage_direction>INT. ELSA'S DUNGEON - DAY</stage_direction>
<scene_description>The cell ices over. Elsa looks out at the storm that is devastating Arendelle, then hears the guards approaching.</scene_description>
<character>GUARD (O.S.)</character>
<dialogue>She's dangerous. Move quickly and with resolve.</dialogue>
<scene_description>Elsa pulls at her shackles. They crack. Just as the door busts open, the weight of the ice crumbles the walls. The men duck out of the way. Hans pushes his way into the room...sees... The back wall is blown open. Broken shackles rest on the floor. Elsa is gone. CUT TO:</scene_description>
</scene>
<scene>
<stage_direction>EXT. MOUNTAIN SLOPE - DAY</stage_direction>
<scene_description>Kristoff heads into the mountains. Sven lags behind, not wanting to follow. He looks back at the kingdom, then shakes his head. Enough. He runs past Kristoff. Stops and turns to face him. He snorts and grunts.</scene_description>
<character>KRISTOFF</character>
<dialogue>What is it, buddy?</dialogue>
<scene_description>Sven nudges Kristoff with his antlers.</scene_description>
<character>KRISTOFF</character>
<dialogue>Hey, watch it. What's wrong with you?</dialogue>
<scene_description>Sven snorts with more conviction, moos, brays.</scene_description>
<character>KRISTOFF</character>
<parenthetical>(avoiding)</parenthetical>
<dialogue>...I don't understand you when you talk like that.</dialogue>
<scene_description>Kristoff tries to walk on ahead, but Sven uses his antlers to lift Kristoff off the ground.</scene_description>
<character>KRISTOFF</character>
<dialogue>Ah! Stop it! Put me down!</dialogue>
<scene_description>Sven drops him hard then "yells" at him once more.</scene_description>
<character>KRISTOFF</character>
<dialogue>No, Sven! We're not going back!</dialogue>
<scene_description>Sven shakes his head, angrily.</scene_description>
<character>KRISTOFF</character>
<dialogue>She's with her true love.</dialogue>
<scene_description>Sven makes an "of-course-she-isn't" face. Kristoff gets it; he's made his point. Just then the wind picks up. Kristoff looks back at the kingdom. Sees a violent winter storm swirling over the castle. Sharp ice claws its way up the castle, encasing it.</scene_description>
<character>KRISTOFF</character>
<dialogue>Anna.</dialogue>
<scene_description>Without hesitating, he dashes back down the mountain. Sven runs after him, catches up. Kristoff grabs Sven's harness and jumps onto his back. CUT TO:</scene_description>
</scene>
<scene>
<stage_direction>INT. LIBRARY - NIGHT</stage_direction>
<scene_description>Anna shivers by the door. She looks up to see ice overtaking the ceiling. The door handle suddenly jiggles. Stops. Jiggles again.</scene_description>
<character>ANNA</character>
<parenthetical>(barely a whisper)</parenthetical>
<dialogue>Help.</dialogue>
<scene_description>CLICK. The door swings open. We see a carrot in the lock and hear a giggle of victory. Olaf takes the carrot, puts it back on his face. Then he sees Anna lying there.</scene_description>
<character>OLAF</character>
<dialogue>Anna. Oh no.</dialogue>
<scene_description>He runs to the fireplace. Throws in some fresh wood, including one of his own arms, which he quickly rescues, before striking a match and relighting the fire.</scene_description>
<character>ANNA</character>
<dialogue>Olaf? Olaf. Get away from there.</dialogue>
<character>OLAF</character>
<dialogue>Whoa! So this is heat....</dialogue>
<parenthetical>(considering)</parenthetical>
<dialogue>I love it.</dialogue>
<scene_description>He reaches a twig finger toward the flames. It catches on fire.</scene_description>
<character>OLAF</character>
<dialogue>Ooh! But don't touch it!</dialogue>
<scene_description>He shakes the flame out, as he rushes over to help Anna to the fire.</scene_description>
<character>OLAF</character>
<dialogue>So, where's Hans? What happened to your kiss?</dialogue>
<character>ANNA</character>
<dialogue>I was wrong about him. It wasn't true love.</dialogue>
<character>OLAF</character>
<parenthetical>(confused innocence)</parenthetical>
<dialogue>Huh. But we ran all the way here?</dialogue>
<character>ANNA</character>
<dialogue>Please Olaf, you can't stay here; you'll melt.</dialogue>
<character>OLAF</character>
<dialogue>I am not leaving here until we find some other act of true love to save you.</dialogue>
<scene_description>He sits down behind her, stubbornly. Leans his back against hers and thinks.</scene_description>
<character>OLAF</character>
<dialogue>...Do you happen to have any ideas?</dialogue>
<character>ANNA</character>
<dialogue>I don't even know what love is.</dialogue>
<character>OLAF</character>
<parenthetical>(confident)</parenthetical>
<dialogue>That's okay, I do....</dialogue>
<scene_description>Olaf hops back up and puts a soothing hand on her shoulder.</scene_description>
<character>OLAF</character>
<dialogue>Love is...putting someone else's needs before yours, like, you know, how Kristoff brought you back here to Hans and left you forever.</dialogue>
<character>ANNA</character>
<dialogue>...Kristoff loves me?</dialogue>
<character>OLAF</character>
<dialogue>Wow, you really don't know anything about love, do you?</dialogue>
<scene_description>His face starts to melt.</scene_description>
<character>ANNA</character>
<dialogue>Olaf, you're melting.</dialogue>
<character>OLAF</character>
<parenthetical>(sweet and reassuring)</parenthetical>
<dialogue>Some people are worth melting for.</dialogue>
<scene_description>But then...his face REALLY melts. He panics, pushes the snow back in place.</scene_description>
<character>OLAF</character>
<dialogue>Just maybe not right this second.</dialogue>
<scene_description>Suddenly, the window blows open, cold wind sweeps in.</scene_description>
<character>OLAF</character>
<dialogue>Don't worry, I've got it!</dialogue>
<scene_description>Olaf flitters to the window. He pulls one panel of it shut but struggles with the second panel.</scene_description>
<character>OLAF</character>
<parenthetical>(determined)</parenthetical>
<dialogue>We're going to get through--</dialogue>
<parenthetical>(distracted)</parenthetical>
<dialogue>Oh, wait. Hang on. I'm getting something.</dialogue>
<scene_description>He breaks an icicle off the window, uses it as a telescope and sees... Kristoff and Sven running back down the mountain.</scene_description>
<character>OLAF</character>
<dialogue>It's Kristoff and Sven! They're coming back this way.</dialogue>
<character>ANNA</character>
<dialogue>...They-they are?</dialogue>
<character>OLAF</character>
<dialogue>Wow, he's really moving fast. Huh.... I guess I was wrong. I guess Kristoff doesn't love you enough to leave you behind.</dialogue>
<scene_description>Anna tries to get to her feet.</scene_description>
<character>ANNA</character>
<dialogue>Help me up, Olaf. Please.</dialogue>
<scene_description>He hurries over, tumbling over the couch, knocking over the chess set and water jugs.</scene_description>
<character>OLAF</character>
<dialogue>No, no, no, no, no. You need to stay by the fire and keep warm.</dialogue>
<character>ANNA</character>
<dialogue>I need to get to Kristoff.</dialogue>
<character>OLAF</character>
<parenthetical>(clueless)</parenthetical>
<dialogue>Why...?</dialogue>
<parenthetical>(realizing)</parenthetical>
<dialogue>Oh, oh, oh, I know why.</dialogue>
<scene_description>He hops around in an excited display of hope.</scene_description>
<character>OLAF</character>
<dialogue>There's your act of true love, right there, riding across the fjords like a valiant, pungent reindeer king! Come on!</dialogue>
<scene_description>The walls crack under the ice pressure.</scene_description>
<character>OLAF</character>
<dialogue>Look out!</dialogue>
<scene_description>They rush out the room just as the ceiling collapses.</scene_description>
</scene>
<scene>
<stage_direction>INT. CASTLE HALLWAY - DAY</stage_direction>
<scene_description>Anna and Olaf struggle down the hall. Ice spikes grow and block their path.</scene_description>
<character>OLAF</character>
<dialogue>We're trapped.</dialogue>
<scene_description>Anna looks around desperately for a way out.</scene_description>
</scene>
<scene>
<stage_direction>EXT. FJORD - DAY</stage_direction>
<scene_description>Elsa runs, but is nearly blinded by the snow and wind.</scene_description>
</scene>
<scene>
<stage_direction>EXT. CASTLE - DAY</stage_direction>
<scene_description>Anna and Olaf bust open a window. The storm is so strong it sweeps the window panes away.</scene_description>
<character>OLAF</character>
<dialogue>Slide, Anna.</dialogue>
<scene_description>It's a long, snowy way down. But what choice do they have? They slide down the iced-covered building. Anna arrives at the bottom, weak but uninjured. Olaf gathers snow along the way. He arrives at the bottom as a giant snowball.</scene_description>
<character>OLAF</character>
<dialogue>We made it!</dialogue>
<scene_description>He shakes off the extra snow as Anna struggles to her feet.</scene_description>
</scene>
<scene>
<stage_direction>EXT. FJORD - DAY</stage_direction>
<scene_description>Kristoff and Sven bound off the mountain and sprint across the frozen fjord waters and right into the heart of the storm. Its white-out wind pushes them back. But they fight through.</scene_description>
<character>KRISTOFF</character>
<dialogue>Come on, buddy, faster.</dialogue>
<scene_description>CUT TO: Anna and Olaf reach the shore of the fjords.</scene_description>
<character>ANNA</character>
<dialogue>Kristoff!</dialogue>
<scene_description>The wind lifts Olaf up and pulls him apart. He goes swirling off into the storm.</scene_description>
<character>OLAF</character>
<dialogue>Keep going, Anna!</dialogue>
<scene_description>Anna struggles on.</scene_description>
<character>ANNA</character>
<dialogue>Kristoff!</dialogue>
<scene_description>PAN TO: Kristoff rides Sven past cracking, frozen ships. Sven struggles over the uneven surface.</scene_description>
<character>KRISTOFF</character>
<dialogue>Come on! Come on!</dialogue>
<scene_description>Suddenly, a mangled ship, risen by ice, capsizes over them. They give it all they've got as debris falls all around them and the mast shatters. They make it past just as the entire ship slams down and cracks the thick ice beneath their feet. The ice opens up. Sven bravely jumps over a gap. But it's too wide. He bucks Kristoff to safety, but lands in the freezing water and disappears below.</scene_description>
<character>KRISTOFF</character>
<dialogue>Sven? Sven!</dialogue>
<scene_description>At first there's nothing but the wind and the tumbling icy water. But suddenly, Sven surfaces and claws his way to a floating ice chunk. He calls out, signalling for Kristoff to go on.</scene_description>
<character>KRISTOFF</character>
<dialogue>Good boy.</dialogue>
<scene_description>CUT TO: Anna moves blindly across the fjord. Anna's hands frost over an icy blue. She stumbles on, determined. But she's running out of time. She clutches her chest. The color in her eyes fades, the inevitable is coming. CUT TO: Kristoff, lost in the white-out, doesn't know which way to turn. But then he hears a faint--</scene_description>
<character>ANNA (O.S.)</character>
<dialogue>Kristoff.</dialogue>
<character>KRISTOFF</character>
<dialogue>Anna...? Anna!</dialogue>
<scene_description>WHITE OUT TO: Elsa struggles through her own storm, but the fear is consuming her. A dark shadow approaches. It's Hans.</scene_description>
<character>HANS</character>
<dialogue>Elsa. You can't run from this!</dialogue>
<scene_description>Elsa backs away from him.</scene_description>
<character>ELSA</character>
<dialogue>...Just take care of my sister.</dialogue>
<character>HANS</character>
<dialogue>Your sister? She returned from the mountain weak and cold. She said you froze her heart.</dialogue>
<character>ELSA</character>
<dialogue>What? No.</dialogue>
<character>HANS</character>
<dialogue>I tried to save her, but it was too late. Her skin was ice. Her hair turned white...</dialogue>
<scene_description>Elsa's face sinks as she realizes what she has done.</scene_description>
<character>HANS</character>
<dialogue>Your sister is dead... because of you.</dialogue>
<scene_description>Elsa drops to her knees, emotionally broken. And with that, the swirling storm suddenly stops. The snow freezes mid-air, hangs suspended, trapped in grief. Citizens and dignitaries rush to the wall's edge and look out to see... Anna, barely able to move but now able to see across the fjords to...</scene_description>
<character>ANNA</character>
<parenthetical>(a whisper)</parenthetical>
<dialogue>Kristoff.</dialogue>
<character>KRISTOFF</character>
<dialogue>Anna.</dialogue>
<scene_description>Anna pushes on towards Kristoff. He runs top speed towards her. There's still a lot of fjord to cross, but Kristoff is giving it all he's got. He's going to make it. But then, Anna hears the sound of a sword being drawn from its scabbard. She turns and sees Hans, behind Elsa, as he raises his sword over his head.</scene_description>
<character>ANNA</character>
<dialogue>Elsa.</dialogue>
<scene_description>Anna looks back at Kristoff as he runs for her. She gives him a longing look, but then turns away from him and then... Using all of her remaining strength, as Hans brings his sword down, Anna throws herself in front of Elsa.</scene_description>
<character>ANNA</character>
<dialogue>No!</dialogue>
<scene_description>In that instant, Anna freezes to solid ice. The sword hits her instead of Elsa. The sword shatters completely. The force of it sends Hans flying back and knocks him out.</scene_description>
<character>ELSA</character>
<dialogue>Anna!</dialogue>
<scene_description>Elsa rushes to Anna and touches her sister's frozen face.</scene_description>
<character>ELSA</character>
<dialogue>Oh, Anna...no...no, please no.</dialogue>
<scene_description>Olaf walks up and sees Anna, frozen.</scene_description>
<character>OLAF</character>
<parenthetical>(confused, sad)</parenthetical>
<dialogue>Anna?</dialogue>
<scene_description>Elsa hugs Anna and cries. Kristoff watches in shocked despair. Sven steps up to his side. Citizens and dignitaries on the castle walls bow their heads. All of Arendelle is joined in somber silence. But then, Anna warms. She begins to thaw. Olaf looks up and gasps. Kristoff and Sven notice, light up. Anna bends her arm and embraces Elsa.</scene_description>
<character>ELSA</character>
<dialogue>Wha-? Anna?</dialogue>
<scene_description>Anna opens her eyes. She smiles at Elsa, relieved.</scene_description>
<character>ANNA</character>
<dialogue>Oh, Elsa.</dialogue>
<scene_description>They embrace.</scene_description>
<character>ELSA</character>
<dialogue>...You sacrificed yourself for me?</dialogue>
<character>ANNA</character>
<parenthetical>(weak)</parenthetical>
<dialogue>...I love you.</dialogue>
<scene_description>Olaf realizes what's happened. He's so excited about it, he lifts his head right off his body and exclaims--</scene_description>
<character>OLAF</character>
<dialogue>An act of true love will thaw a frozen heart.</dialogue>
<character>ELSA</character>
<parenthetical>(processing)</parenthetical>
<dialogue>Love...will thaw...</dialogue>
<parenthetical>(realizing)</parenthetical>
<dialogue>Love.... Of course.</dialogue>
<scene_description>Elsa looks at Anna with confidence.</scene_description>
<character>ANNA</character>
<dialogue>Elsa?</dialogue>
<character>ELSA</character>
<dialogue>Love.</dialogue>
<scene_description>Elsa lifts her arms, and the ground shakes and cracks. The ice and snow breaks away and rises high into the air. Beneath their feet the bow of a ship thaws. The entire fjord melts and other boats right themselves. The villagers come out to see the warmth returning. In one final wave, Elsa draws all of the snow into a giant snowflake in the sky, then waves it away, leaving only a warm summer day.</scene_description>
<character>ANNA</character>
<dialogue>I knew you could do it.</dialogue>
<character>OLAF</character>
<parenthetical>(melting, good-naturedly)</parenthetical>
<dialogue>Hands down, this is the best day of my life...and quite possibly the last.</dialogue>
<character>ELSA</character>
<dialogue>Oh, Olaf. Hang on, little guy.</dialogue>
<scene_description>Elsa waves her hand and surrounds Olaf with a swirl of cold air. He refreezes. Above his head she leaves a little, perpetually-snowing storm cloud. Olaf loves it.</scene_description>
<character>OLAF</character>
<dialogue>Hey, my own personal flurry.</dialogue>
<scene_description>Kristoff sees Hans trying to get to his feet. He marches toward him, prepared for a fight. But Anna puts up a hand and stops him.</scene_description>
<character>ANNA</character>
<dialogue>Uh. Uh. Uh.</dialogue>
<scene_description>She'll handle this. She goes over to Hans.</scene_description>
<character>HANS</character>
<parenthetical>(confused)</parenthetical>
<dialogue>Anna? But she froze your heart.</dialogue>
<character>ANNA</character>
<dialogue>The only frozen heart around here is yours.</dialogue>
<scene_description>She turns away from him, proud of her words. But not yet satisfied, she turns back and punches him right in the face.</scene_description>
<character>HANS</character>
<dialogue>Ah! Whoa, whoa, whoa!</dialogue>
<scene_description>He falls overboard. Elsa comes over to Anna and hugs her. Over her shoulder, Kristoff meets Anna's eyes. She smiles brighter, happy. DISSOLVE TO:</scene_description>
</scene>
<scene>
<stage_direction>EXT. ARENDELLE - DAY</stage_direction>
<scene_description>It's a beautiful summer day. The mighty ships have been repaired and are sailing away. On one of the ships, HANS is thrown into a brig.</scene_description>
<character>FRENCH DIGNITARY</character>
<parenthetical>(to Kai)</parenthetical>
<dialogue>I will return this scoundrel to his country. We shall see what his twelve big brothers think of his behavior.</dialogue>
<character>KAI</character>
<dialogue>Arendelle thanks you, my Lord.</dialogue>
<scene_description>Down on the dock, Arendelle guards lead the Duke and his two thugs to their ship.</scene_description>
<character>DUKE</character>
<dialogue>This is unacceptable. I am innocent. I'm a victim of fear. I've been traumatized.</dialogue>
<parenthetical>(bad acting)</parenthetical>
<dialogue>Ow! My neck hurts. Is there a doctor I could...No? And I demand to see the Queen!</dialogue>
<scene_description>Kai steps down from the gangplank to the dock.</scene_description>
<character>KAI</character>
<dialogue>I have a message from the Queen.</dialogue>
<parenthetical>(reading a scroll)</parenthetical>
<dialogue>Arendelle will henceforth and forever no longer do business of any sort with Weaseltown.</dialogue>
<character>DUKE</character>
<dialogue>Weselton. It's Weselton!</dialogue>
<scene_description>The guards usher him and his thugs onto their ship.</scene_description>
</scene>
<scene>
<stage_direction>EXT. VILLAGE SQUARE - DAY</stage_direction>
<scene_description>Anna runs through the crowd, pulling a blindfolded Kristoff along behind her. She's so excited she can't stand it.</scene_description>
<character>ANNA</character>
<dialogue>Come on. Come on. Come on. Come on!</dialogue>
<scene_description>She runs him right into a pole.</scene_description>
<character>KRISTOFF</character>
<dialogue>Pole.</dialogue>
<character>ANNA</character>
<dialogue>Oops. Sorry.</dialogue>
</scene>
<scene>
<stage_direction>EXT. ARENDELLE DOCKS - DAY</stage_direction>
<scene_description>Anna skips to the perfect spot and stops.</scene_description>
<character>ANNA</character>
<parenthetical>(stopping)</parenthetical>
<dialogue>Okay. Okay. Here we are.</dialogue>
<scene_description>She takes off the blindfold. Kristoff opens his eyes. Before him sits the most beautiful, suped-up sled. Sven poses in front of it -- Vanna White-style.</scene_description>
<character>ANNA</character>
<dialogue>I owe you a sled.</dialogue>
<character>KRISTOFF</character>
<parenthetical>(blown away)</parenthetical>
<dialogue>Are you serious?</dialogue>
<character>ANNA</character>
<dialogue>Yes. And it's the latest model.</dialogue>
<character>KRISTOFF</character>
<dialogue>No. I can't accept this...</dialogue>
<character>ANNA</character>
<dialogue>You have to. No returns. No exchanges. Queen's orders. She's named you the official Arendelle Ice Master and Deliverer.</dialogue>
<scene_description>Sven shows off the Ice-Master-and-Deliverer medal like he's king of the bucks.</scene_description>
<character>KRISTOFF</character>
<dialogue>What? That's not a thing.</dialogue>
<scene_description>But he can't help but admire her enthusiasm.</scene_description>
<character>ANNA</character>
<dialogue>Sure it is. And it even has a cup holder.... Do you like it?</dialogue>
<character>KRISTOFF</character>
<dialogue>Like it?</dialogue>
<scene_description>He sweeps her up high overhead and spins her around.</scene_description>
<character>KRISTOFF</character>
<dialogue>I love it.... I could kiss you!</dialogue>
<scene_description>He drops her, suddenly embarrassed.</scene_description>
<character>KRISTOFF</character>
<dialogue>...I could. I mean I'd like to. I'd... may I? We me....I mean, may we? Wait, what?</dialogue>
<scene_description>She gives him a quick kiss on the cheek.</scene_description>
<character>ANNA</character>
<dialogue>We may.</dialogue>
<scene_description>He smiles and goes for it. It's a true love's kiss, alright. We move past them to find Olaf enjoying the summer. With his snow cloud safely overhead, he's free to smell the flowers, which he does. Then sneezes his carrot nose off. Sven catches it between his teeth. Olaf gasps as Sven sucks the whole carrot into his mouth. It's gone. Olaf's face sinks in sadness. But not to fear, Sven spits the carrot back out and jams it into Olaf's face where it belongs. It's completely covered in reindeer spit, but Olaf doesn't seem to mind. He hugs Sven happily. CUT TO:</scene_description>
</scene>
<scene>
<stage_direction>EXT. CASTLE COURTYARD - DAY</stage_direction>
<scene_description>The gates to the castle are wide open. In the courtyard, stands Elsa.</scene_description>
<character>ELSA</character>
<dialogue>Are you ready?</dialogue>
<scene_description>Villagers cheer. Elsa stops and creates an ice rink. The people, skates at the ready, hope onto it and twirl about. Elsa then freezes the fountain in a beautiful design and adds some snow flurries for atmosphere. Anna comes slipping in. Elsa catches her.</scene_description>
<character>ANNA</character>
<dialogue>I like the open gates.</dialogue>
<character>ELSA</character>
<dialogue>We are never closing them again.</dialogue>
<scene_description>Elsa then waves her hand and magical ice skates (literally made of ice) form on Anna's boots.</scene_description>
<character>ANNA</character>
<dialogue>What? Oh, Elsa, they're beautiful, but you know I don't ska--</dialogue>
<scene_description>Elsa grabs Anna's hands and pulls her along on the ice. Anna slips and slides, but laughs in delight. Sven goes slipping past. Kristoff runs after him.</scene_description>
<character>KRISTOFF</character>
<dialogue>Look out. Reindeer coming through!</dialogue>
<scene_description>Olaf skates and helps Elsa coach Anna.</scene_description>
<character>OLAF</character>
<dialogue>That's it. Glide and pivot and glide and pivot.</dialogue>
<scene_description>We pull away slowly, into the sky. We arrive at a bird's-eye view to see that where the castle had crumbled has been repaired with a ice. All is right in Arendelle. FINAL FADE OUT.:</scene_description>
<character>THE END</character>
</scene>
</script>
|
Final Shooting Draft by Jennifer Lee
9/23/13
Property of the Walt Disney Animation Studios
OPEN ON: ICE. We're underwater looking up at it. A saw cuts through, heading right for us.
EXT. SNOW-CAPPED MOUNTAINS - DUSK
ICE HARVESTERS, dressed in traditional Sami clothing, score a frozen lake. They SING. "The Frozen Heart (Ice Worker's Song)" BORN OF COLD AND WINTER AIR AND MOUNTAIN RAIN COMBINING, THIS ICY FORCE BOTH FOUL AND FAIR HAS A FROZEN HEART WORTH MINING. The men drag giant ice blocks through channels of water. CUT THROUGH THE HEART, COLD AND CLEAR. STRIKE FOR LOVE AND STRIKE FOR FEAR. SEE THE BEAUTY SHARP AND SHEER. SPLIT THE ICE APART! AND BREAK THE FROZEN HEART. Hup! Ho! Watch your step! Let it go! A young Sami boy, KRISTOFF (8), and his reindeer calf, SVEN, share a carrot as they try to keep up with the men.
ICE HARVESTERS
Hup! Ho! Watch your step! Let it go!
Young Kristoff struggles to get a block of ice out of the water. He fails, ends up soaked. Sven licks his wet cheek. BEAUTIFUL! POWERFUL! DANGEROUS! COLD! ICE HAS A MAGIC CAN'T BE CONTROLLED. A sharp ice floe overtakes the workers, threateningly. They fight it back. STRONGER THAN ONE, STRONGER THAN TEN STRONGER THAN A HUNDRED MEN! Massive fjord horses drag heavy ice plows. BORN OF COLD AND WINTER AIR AND MOUNTAIN RAIN COMBINING The sun sets. Lanterns are lit. THIS ICY FORCE BOTH FOUL AND FAIR HAS A FROZEN HEART WORTH MINING. CUT THROUGH THE HEART, COLD AND CLEAR. In the dark, Kristoff and Sven finally manage to get a single block of ice out of the water. STRIKE FOR LOVE AND STRIKE FOR FEAR. THERE'S BEAUTY AND THERE'S DANGER HERE. SPLIT THE ICE APART! BEWARE THE FROZEN HEART. The workers pile onto the giant horse-drawn ice sled as it pulls away. Left behind, Kristoff and Sven push their ice block onto a dinky little sled then head off. We sweep up from them to the Northern Lights filling the sky...then move across the mountains...beneath the snowline...and descend upon...
EXT. THE KINGDOM OF ARENDELLE - NIGHT
A humble castle, built of wood, nestled in a deep fjord.
INT. CASTLE, NURSERY - NIGHT
ELSA (8) sleeps in her bed. Her little sister ANNA (5) pops up beside her.
YOUNG ANNA
Elsa. Psst. Elsa! Psst.
Elsa doesn't stir. Anna sits on Elsa and bounces.
YOUNG ANNA
Wake up. Wake up. Wake up.
YOUNG ELSA
(grumbling)
Anna, go back to sleep.
Anna rolls onto her back and spreads all her weight on Elsa.
YOUNG ANNA
(drama queen-ish)
I just can't. The sky's awake, so I'm awake, so we have to play.
YOUNG ELSA
...Go play by yourself.
Elsa shoves Anna off the bed. Anna lands butt to floor, sighs, defeated. But then she gets an idea. She hops back on the bed and lifts one of Elsa's eyelids.
YOUNG ANNA
(mischievously)
Do you want to build a snowman?
Elsa's eyes both pop open. She smiles.
INT. CASTLE STAIRCASE - NIGHT
Anna, now wearing snow boots, pulls Elsa by the hand.
YOUNG ANNA
Come on, come on, come on, come on.
Elsa tries to shush her, but Anna's too excited.
INT. BALLROOM - NIGHT
The girls sneak into the ballroom. Elsa shuts the door.
YOUNG ANNA
Do the magic! Do the magic!
Elsa laughs and waves her hands together. Snowflakes suddenly burst forth and dance between her palms, forming a snowball. Elsa throws the snowball high into the air. Snow bursts out and flurries around the room. Anna dances about, catching flakes in her palms and mouth.
YOUNG ANNA
This is amazing!
YOUNG ELSA
Watch this!
Elsa stomps her little slippered foot and a layer of ice suddenly coats the floor, forming a giant ice rink. Anna slides off, laughing. PLAY MONTAGE: -Anna and Elsa roll giant snowballs and build a snowman together. Elsa moves his stick arms around.
YOUNG ELSA
(goofy voice)
Hi, I'm Olaf and I like warm hugs.
Anna jumps up and hugs him.
YOUNG ANNA
I love you, Olaf.
-Anna and Olaf appear to be dancing. REVEAL: Elsa is actually propelling them across the ice floor with her magic. -The girls slide down snowbanks together! -Anna fearlessly jumps off a snow peak into mid air.
YOUNG ANNA
Catch me!
Elsa makes another peak to catch Anna.
YOUNG ELSA
Gotcha!
Anna keeps jumping. Elsa keeps casting magic.
YOUNG ANNA
(jumping faster)
Again! Again!
YOUNG ELSA
(struggling to keep up)
Slow down!
Elsa suddenly slips. Her magic accidentally STRIKES Anna in the head. Anna tumbles down a snowbank and lands, unconscious. ANNA! Elsa runs to Anna and takes her in her arms. A streak of Anna's hair, where struck, turns white. MAMA! PAPA! The room around them fills with frightening ice spikes. The parents burst through the frozen door. GASP at the sight of the room.
KING
Elsa, what have you done? This is getting out of hand!
QUEEN
(seeing Anna)
Anna!
The King and Queen rush to Anna and take her in their arms.
ELSA
It was an accident. I'm sorry, Anna.
QUEEN
(about Anna)
She's ice cold.
KING
...I know where we have to go.
SLAM CUT TO:
INT. DARK ROOM - NIGHT
The King sifts through a shelf to find an ancient book inscribed with Old Norse runes. He opens the book, scrambles to a page with an ancient map.
EXT. ARENDELLE - NIGHT
Carrying the girls, the King and Queen ride their horses out of the kingdom. Snow streams from Elsa's hands, leaving a trail of ice behind them.
EXT. FJORD MOUNTAIN FOREST - NIGHT
A sleepy Kristoff and Sven travel alone through the dark woods. All of a sudden, the King and Queen race by with the girls, leaving the wake of ice.
KRISTOFF
Ice?
SLAM CUT TO:
EXT. BLACK MOUNTAINS - NIGHT
Kristoff rides Sven as they follow the trail of ice.
YOUNG KRISTOFF
Faster, Sven!
EXT. THE VALLEY OF THE LIVING ROCK - NIGHT
Kristoff hops off Sven at the edge of a deep valley. They hide behind a rock and peek out. Down below, the King holds a frightened Elsa. The Queen holds the still unconscious Anna.
KING
Please, help. My daughter!
Suddenly, a bunch of rocks tumble down the valley toward them. It looks as though they'll be crushed! But, luckily, the rocks stop at their feet. The rocks then unfold, revealing bright faces.
YOUNG KRISTOFF
Trolls...?
The rock in front of Kristoff "wakes up." Meet BULDA.
BULDA
Shush. I'm trying to listen.
She grabs Kristoff and Sven by hand and hoof and hugs them close. Sven licks her face and she eyes them both.
BULDA
Cuties. I'm gonna keep you.
Back below, the crowd parts for a troll as old as the Earth. They call him GRAND PABBIE. He approaches arthritically, but determined. He nods respectfully to the king.
GRAND PABBIE
Your Majesty.
(referring to Elsa)
Born with the powers or cursed?
KING
Born. And they're getting stronger.
Grand Pabbie motions for the Queen to bring Anna to him. She does. He examines her.
GRAND PABBIE
(about Anna)
You are lucky it wasn't her heart. The heart is not so easily changed, but the head can be persuaded.
KING
Do what you must.
GRAND PABBIE
I recommend we remove all magic, even memories of magic to be safe.... But don't worry, I'll leave the fun.
Grand Pabbie pulls out a glowing blue energy from Anna's head. We see her memories floating right above her. Grand Pabbie changes all of her magical memories to ordinary memories -- snowy play indoors with the girls in their nightgowns changes to outdoors on the winter fjords with the girls in winter gear. He puts the ordinary memories back in her head.
GRAND PABBIE
She will be okay.
YOUNG ELSA
But she won't remember I have powers?
KING
It's for the best.
PABBIE
Listen to me, Elsa, your power will only grow.
As he speaks, he conducts the Northern Lights to show a silhouette of an adult Elsa creating magical snowflakes.
PABBIE
There is beauty in your magic.... But also great danger.
The snowflakes turn to sharp spikes.
PABBIE (O.S.)
You must learn to control it.
In the Northern Lights display, the sharp spikes cause human figures to panic and attack Elsa.
PABBIE
Fear will be your enemy.
Elsa gasps and buries her face in the King's chest. The King wraps his arms around Elsa, protectively.
KING
No. We'll protect her. She can learn to control it. I'm sure.
Over the King's words we... DISSOLVE TO: -The Arendelle castle gates shutting.
KING (O.S.)
Until then, we'll lock the gates. We'll reduce the staff. We will limit her contact with people and keep her powers hidden from everyone... including Anna.
-The castle shutters close. -Anna sits on her bed as Elsa's furniture disappears. -Anna rushes to the hall to see Elsa shut the door to her new room. Anna watches, confused and sad. DISSOLVE TO:
INT. CASTLE WINDOW - DAY
We look out on a gentle snowfall. Little Anna skips up to the window. She lights up at the sight of the snow and rushes down the hall.
INT. HALLWAY, ELSA'S DOOR - DAY
Anna knocks on Elsa's door and SINGS. "Do You Want to Build a Snowman?" DO YOU WANT TO BUILD A SNOWMAN? COME ON LET'S GO AND PLAY. Anna peeks under the door. I NEVER SEE YOU ANYMORE. COME OUT THE DOOR. IT'S LIKE YOU'VE GONE AWAY. -INT. ANNA'S ROOM - Anna plays with two dolls, gives up, sad. WE USED TO BE BEST BUDDIES AND NOW WE'RE NOT. I WISH YOU WOULD TELL ME WHY. -ELSA'S DOOR. Anna peeks through the key hole. DO YOU WANT TO BUILD A SNOWMAN? -Anna calls through the keyhole. IT DOESN'T HAVE TO BE A SNOWMAN.
YOUNG ELSA (O.S.)
Go away, Anna.
YOUNG ANNA
(hearbroken)
..OKAY BYE.
-BEHIND THE DOOR - DAY. Elsa sits at the window looking out, longingly. Suddenly, her icy hands freeze the windowsill. -LATER. The King slips leather gloves onto Elsa's hands.
KING
The gloves will help.
He pats her gloved hand.
KING
See? You're good....
(starting their mantra)
Conceal it.
YOUNG ELSA
Don't feel it.
YOUNG ELSA & KING
Don't let it show.
-INT. HALLWAY, ELSA'S DOOR - DAY. Anna, now 9, knocks on Elsa's door. DO YOU WANT TO BUILD A SNOWMAN? -INT. HALLWAY - DAY. Alone, Anna rides a bicycle built for two in the hall by standing on the back seat. OR RIDE OUR BIKE AROUND THE HALL? I THINK SOME COMPANY IS OVERDUE... -INT. PORTRAIT ROOM - DAY. Anna runs around the portrait room, gaining momentum to flip over the arm of the couch. I'VE STARTED TALKING TO THE PICTURES ON THE WALLS. Anna lands PLOP on the cushions, then looks up at the painting above her of the courageous Joan of Arc.
ANNA (9)
Hang in there, Joan.
-INT. EMPTY LIBRARY - DAY. Looks like no one's around. IT GETS A LITTLE LONELY ALL THESE EMPTY ROOMS. But then we find Anna, laying at the base of the grandfather clock, playing with her braids, bored out of her mind. JUST WATCHING THE HOURS TICK BY. Anna's eyes follow the grandfather clock's pendulum. TICK TOCK. TICK TOCK. TICK TOCK. -INT. ELSA'S ROOM - NIGHT. Elsa (now 12) paces as she panics. The entire wall is frozen behind her.
ELSA (12)
I'm scared. It's getting stronger.
KING
Getting upset only makes it worse.
The King goes to hug her.
ELSA (12)
No. Don't touch me. I don't want to hurt you.
He and the Queen look at each other with alarmed sadness. -INT. LIBRARY - DAY. Anna, now a teenager, slides past Elsa's room without stopping. -INT. KING AND QUEEN'S QUARTERS - DAY. Anna runs into the room and throws herself into her parents' arms.
TEEN ANNA
See you in two weeks.
-INT. ELSA'S ROOM - DAY. Elsa curtsies in front of her parents, formally, not touching them.
TEEN ELSA
Do you have to go?
KING
You'll be fine, Elsa.
-EXT. DOCKS - DAY. The King and Queen leave on a ship. -EXT. ROUGH SEAS - NIGHT. Lightning flashes. The sea rages in a storm. The King and Queen's ship is lost in the waves. -INT. CASTLE - DAY. A portrait of the King and Queen is covered in mourning cloth. -EXT. CEMETERY - DAY. Anna looks small, standing before her people, beside burial stones. -INT. HALLWAY, ELSA'S DOOR. Anna, still in her mourning clothes, approaches and knocks.
ANNA
(singing)
Elsa? PLEASE I KNOW YOU'RE IN THERE PEOPLE ARE ASKING WHERE YOU'VE BEEN THEY SAY HAVE COURAGE AND I'M TRYING TO I'M RIGHT OUT HERE FOR YOU. PLEASE LET ME IN.
Anna slides down the door and sits with her head against it. WE ONLY HAVE EACH OTHER. IT'S JUST YOU AND ME. WHAT ARE WE GONNA DO? (weak, internal) DO YOU WANT TO BUILD A SNOWMAN? We move through the door... -INT. ELSA'S ROOM - DAY. Elsa is sitting in the exact same pose as Anna. Her bedroom is frozen with ice. Snowflakes hang in the air, suspended by grief. FADE OUT.:
EXT. THE KINGDOM OF ARENDELLE - MORNING
A new dawn rises over the fjords. Ships pull up to the docks. Guests pile out.
DOCK MASTER
Welcome to Arendelle!
A BOY tries to get away as his MOTHER tries to stuff him in his bunad jacket.
BOY
Why do I have to wear this?
MOTHER
Because the Queen has come of age. It's Coronation Day!
BOY
That's not my fault.
They pass the May Pole being raised and a Sami ice harvester chatting with his reindeer. We recognize them as Kristoff and Sven, all grown up. Sven hops around excitedly like a dog and nuzzles Kristoff's chest.
KRISTOFF
What do you want, Sven?
Kristoff leans in and speaks for Sven, as if he can.
KRISTOFF (AS SVEN)
Give me a snack.
KRISTOFF
What's the magic word?
KRISTOFF (AS SVEN)
Please!
Kristoff pulls a carrot out of his shirt pocket and hands it to Sven. Sven tries to bite the whole thing.
KRISTOFF
Hey, hey, hey! Share!
Sven takes a smaller bite. Kristoff then has a bite himself, not seeming to care that it's covered in reindeer slobber. We move on to PERSI and AGGIE, a super-excited couple who rush towards the castle.
PERSI
I can't believe they're finally opening up the gates!
AGGIE
And for a whole day! Faster, Persi!
They pass a tiny but menacing DUKE, who wears taps on his shoes to "enhance" his presence. Two THUG guards follow close behind him.
DUKE
Ah, Arendelle, our most mysterious trade partner. Open those gates so I may unlock your secrets and exploit your riches.
(catching himself)
...Did I just say that out loud?
We leave him and head down the bridge towards the castle gates, passing an Irishman and a Spanish Dignitary.
IRISHMAN
Oh, me sore eyes can't wait to see the Queen and the Princess. I bet they're absolutely lovely.
SPANISH DIGNITARY
I bet they are beautiful.
We move past them, to a particular castle window. CUT TO:
INT. CASTLE, ANNA'S BEDROOM - DAY
Anna, 18, snores. Drools. KNOCK. KNOCK.
KAI (O.S.)
Princess Anna...?
Anna sits up. She's got major bedhead. She coughs. Snorts. Pulls a hair from her mouth.
ANNA
...Huh? Yeah?
KAI (O.S.)
Sorry to wake you, ma'am but--
ANNA
No, you didn't. I've been up for hours.
She falls back asleep while sitting. She snores. Her head drops, startling her awake.
ANNA
Who is it?
KAI (O.S.)
It's still me, ma'am. Time to get ready.
ANNA
Ready for what?
KAI (O.S.)
Your sister's coronation, ma'am.
ANNA
My sister's cor-neration...
One eye opens enough to catch sight of her coronation dress. She bolts, wide awake in excitement.
ANNA
Coronation Day! Ha ha!
SLAM CUT TO:
EXT. CASTLE HALL - DAY
Anna bursts out of her room, wearing her coronation dress. She finishes pinning ribbons in her hair. Seeing the hustle and bustle of preparations, she can't help but SING. "For the First Time in Forever" THE WINDOW IS OPEN! SO'S THAT DOOR! I DIDN'T KNOW THEY DID THAT ANYMORE. WHO KNEW WE OWNED 8000 SALAD PLATES...? -Anna slides along the floor of the ballroom in her socks. FOR YEARS I HAVE ROAMED THESE EMPTY HALLS WHY HAVE A BALLROOM WITH NO BALLS? FINALLY, THEY'RE OPENING UP THE GATES! -She shakes hands with a suit of armor. Breaks it. Hides the evidence. THERE'LL BE REAL, ACTUAL PEOPLE - IT'LL BE TOTALLY STRANGE. BUT WOW AM I SO READY FOR THIS CHANGE! -Anna comes to a window and jumps out onto a window washer's pulley. She raises herself up to see the ships arriving. FOR THE FIRST TIME IN FOREVER, THERE'LL BE MUSIC, THERE'LL BE LIGHT. FOR THE FIRST TIME IN FOREVER, I'LL BE DANCING THROUGH THE NIGHT. -Anna walks through the garden and follows a family of geese. DON'T KNOW IF I'M ELATED OR GASSY, BUT I'M SOMEWHERE IN THAT ZONE 'CAUSE FOR THE FIRST TIME IN FOREVER, I WON'T BE ALONE. (speaking) I can't wait to meet everyone.... (GASP) What if I meet THE ONE? -Anna twists herself in a velvet drape like it's a gown. She acts like she looks gorgeous, but she looks ridiculous. TONIGHT, IMAGINE ME GOWN AND ALL- FETCHINGLY DRAPED AGAINST THE WALL. THE PICTURE OF SOPHISTICATED GRACE. -She notices the bust of a man across the room.
ANNA
(google-eyed)
I SUDDENLY SEE HIM STANDING THERE, A BEAUTIFUL STRANGER TALL AND FAIR. (mouth full of chocolate) I WANNA STUFF SOME CHOCOLATE IN MY FACE! -She grabs the bust of the man and swings it around. BUT THEN WE LAUGH AND TALK ALL EVENING, WHICH IS TOTALLY BIZARRE. NOTHING LIKE THE LIFE I'VE LED SO FAR. The bust goes flying and lands on the top of the cake. -Anna bursts into the portrait room, bounces on the furniture, and interacts with the paintings. FOR THE FIRST TIME IN FOREVER, THERE'LL BE MAGIC, THERE'LL BE FUN. FOR THE FIRST TIME IN FOREVER, I COULD BE NOTICED BY SOMEONE. AND I KNOW IT IS TOTALLY CRAZY TO DREAM I'D FIND ROMANCE. BUT FOR THE FIRST TIME IN FOREVER, AT LEAST I'VE GOT A CHANCE! -INT. LIBRARY. ELSA, now a very poised 21, watches out the window as the coronation guests arrive. DON'T LET THEM IN. DON'T LET THEM SEE. BE THE GOOD GIRL YOU ALWAYS HAVE TO BE. Elsa moves to a painting of her father's coronation. She takes off her gloves and mimics the painting by holding a candlestick and ornament in place of an orb and scepter. CONCEAL. DON'T FEEL. PUT ON A SHOW. MAKE ONE WRONG MOVE AND EVERYONE WILL KNOW. The candlestick and ornament ice over. Elsa gasps, slams them back down onto the table. She tries to reassure herself. BUT IT'S ONLY FOR TODAY. We cut between Anna's excitement and Elsa's nerves. IT'S ONLY FOR TODAY! IT'S AGONY TO WAIT. IT'S AGONY TO WAIT!!! TELL THE GUARDS TO OPEN UP THE GATE. THE GATE!!! -Finally, the gates are open! Anna moves through the crowd, admiring the people around her.
ANNA
FOR THE FIRST TIME IN FOREVER.
ELSA
DON'T LET THEM IN DON'T LET THEM SEE
ANNA
I'M GETTING WHAT I'M DREAMING OF
ELSA
BE THE GOOD GIRL YOU ALWAYS HAVE TO BE
ANNA
A CHANCE TO LEAVE MY SISTER'S WORLD A CHANCE TO FIND TRUE LOVE
ELSA
CONCEAL. CONCEAL. DON'T FEEL. DON'T LET THEM KNOW.
-Anna hurries over the bridge and into the village square. I KNOW IT ALL ENDS TOMORROW, SO IT HAS TO BE TODAY!! 'CAUSE FOR THE FIRST TIME IN FOREVER. . . FOR THE FIRST TIME IN FOREVER! NOTHING'S IN MY WAY!!! -Anna SLAMS right into the breast of a HORSE! She falls back and lands in a small wooden boat. It tips off of the dock. She's heading overboard. But just then, the horse slams his hoof into the boat and steadies it.
ANNA
(frustrated)
Hey!
HANS
I'm so sorry. Are you hurt?
The rider, HANS, sure is handsome and regal.
ANNA
(gentler)
Hey. I-ya, no. No. I'm okay.
HANS
Are you sure?
ANNA
Yeah, I just wasn't looking where I was going. But I'm okay.
He hops down from his horse and steps into the boat.
ANNA
I'm great, actually.
HANS
Oh, thank goodness.
He offers her a hand and their eyes meet. Chemistry. He helps her to her feet.
HANS
(bowing)
Prince Hans of the Southern Isles.
ANNA
(curtseying)
Princess Anna of Arendelle.
HANS
Princess...? My Lady.
He drops to his knees, head bowed. The horse bows too, curling his hoof up and out of the boat. The boat tips. Hans tumbles on top of Anna. Awkward.
ANNA
Hi...again.
The horse slams his foot back into the boat to stabilize it. Anna and Hans tumble the other way. Anna lands on top of him.
HANS
Oh boy.
ANNA
Ha. This is awkward. Not you're awkward, but just because we're-- I'm awkward. You're gorgeous.
(did she just say that?)
Wait, what?
Hans quickly gets to his feet and helps Anna up again.
HANS
I'd like to formally apologize for hitting the Princess of Arendelle with my horse...and for every moment after.
ANNA
No. No-no. It's fine. I'm not THAT Princess. I mean, if you'd hit my sister Elsa, that would be-- yeash! 'Cuz, you know...
(patting the horse)
Hello.
ANNA
(to Hans)
But, lucky you, it's-it's just me.
HANS
Just you?
Hans smiles, amused. She smiles back. The bells RING. She doesn't notice at first; she's too busy drinking in Hans's handsomeness.
ANNA
...The bells. The coronation. I-I-I better go. I have to...I better go.
She hurries off, stops, turns back. Gives Hans a little wave.
ANNA
Bye!
As she rushes off again, Hans waves back. The horse waves too, once again taking his hoof out of the boat.
HANS
Oh no.
The boat falls, with Hans in it. SPLASH! It lands upside down in the water. Hans raises it up off of him, gasping for air. CUT TO:
INT. CHURCH CHAPEL - DAY
Elsa stands at the alter. Anna stands off to one side. She peeks out to the audience. Hans waves at her from the pews. He's changed his clothes. The crown is placed on Elsa's head. The scepter and orb are presented to Elsa on a pillow. She slowly reaches for them.
BISHOP
(a whisper)
Your Majesty, the gloves.
Elsa hesitates. She breathes nervously, removes her gloves, places them on the pillow. Her hands shake. She takes the orb and scepter, then turns to the people.
BISHOP
(formal, in Old Norse)
Sehm hon HELL-drr IN-um HELL-gum AYG-num ok krund ee THES-um HELL- gah STAHTH, ehk teh frahm FUR-ear U- thear...
The scepter and orb start to freeze over.
BISHOP
...Queen Elsa of Arendelle.
CROWD
Queen Elsa of Arendelle.
Just in time. Elsa manages to set the orb and scepter back down on the pillow before anyone notices the ice. She picks up her gloves and slips them on. She made it. CUT TO:
INT. GREAT HALL - NIGHT
Springy music fills the Great Hall. Guests dance. Eat. Laugh. TRUMPETS SOUND.
KAI
(announcing)
Queen Elsa of Arendelle.
Elsa enters, poised and looking surprisingly content. She stands under a formal awning.
KAI
Princess Anna of Arendelle!
Anna runs into the room, waves awkwardly. Kai ushers her over to stand right next to Elsa.
ANNA
Here? Are you sure?
She and Elsa sneak awkward peeks at each other.
ELSA
...Hi.
ANNA
Hi me...? Oh. Um. Hi.
ELSA
...You look beautiful.
ANNA
Thank you. You look beautifuller. I mean, not fuller. You don't look fuller, but more beautiful.
ELSA
Thank you.
They look out at the celebration.
ELSA
So, this is what a party looks like?
ANNA
It's warmer than I thought.
ELSA
And what is that amazing smell?
They both close their eyes and inhale.
ANNA AND ELSA (TOGETHER)
...Chocolate.
Their eyes pop open. They laugh. Elsa looks back out at the party. Anna looks at Elsa. She wants to say so much, but she can't think of where to start. Just as she finds her way, Kai interrupts.
KAI
Your Majesty. The Duke of Weaseltown.
DUKE
Weselton. The Duke of Weselton.
(to Elsa)
Your Majesty, as your closest partner in trade, it seems only fitting that I offer you your first dance as queen.
The Duke does a funny flitter of his feet, a hitch-kick, and a deep bow.
DUKE
(whispers to himself)
One, two, three. Jump.
As he holds out his hand, head down, his toupee dips forward. Anna giggles. Elsa looks at Anna, stifles a giggle herself.
ELSA
(to the Duke)
Thank you...only I don't dance.
DUKE
(offended)
Oh...?
ELSA
But my sister does.
ANNA
What?
DUKE
Lucky you....
ANNA
Oh, I don't think--
The Duke grabs Anna's arm and yanks her away before she can protest.
DUKE
If you swoon, let me know, I'll catch you.
Anna looks back at Elsa, desperately.
ELSA
Sorry.
OUT ON THE DANCE FLOOR: The Duke showboats, but he's just awful. Anna tries to make the best of it.
DUKE
Like an agile peacock... CLUCK- CLUGGLE-CLUCK!
He lands on her feet.
ANNA
Ow. Ow.
DUKE
Speaking of, so great to have the gates open. Why did they shut them in the first place? Do you know the reason? Hmm?
He gets in her face, suspicious.
ANNA
...No.
DUKE
Oh, all right. Hang on. They don't call me the little dipper for nothing.
He dips Anna back. Elsa peeks through the crowd, can barely hold in her laughter. Anna shoots Elsa funny, help-me looks.
DUKE
(groove fully on)
Like a chicken...with the face of a monkey...I fly.
JUMP CUT TO: MOMENTS LATER... Anna limps back to Elsa.
DUKE (O.S.)
Let me know when you're ready for another round, M'Lady.
ELSA
Well, he was sprightly.
ANNA
(rubbing her sore feet)
Especially for a man in heels.
ELSA
Are you okay?
ANNA
(loving Elsa's attention)
I've never been better. This is so nice. I wish it could be like this all the time.
ELSA
(sincere)
Me too....
But then Elsa catches herself. She stiffens up, looks away.
ELSA
But it can't.
ANNA
Why not? If--
ELSA
It just can't.
Anna's smile drops. She tries not to get emotional.
ANNA
Excuse me for a minute.
She walks away. Elsa watches her go, saddened. Moving through the crowd, Anna gets bumped by a bowing man's butt. She falls. Just before she hits the floor, Hans catches her. He smiles perfectly.
HANS
Glad I caught you.
ANNA
Hans.
He smoothly sets his drink down on a passing tray. He lifts her up and leads her in a romantic dance. DISSOLVE TO: LATER: Anna and Hans drink and chat.
ANNA
I often had the whole parlor to myself to slide... Oops. Sorry.
She hits him in the face by mistake with her hand. He laughs. DISSOLVE TO: -THE CASTLE DOORS: Anna and Hans stroll out of the castle.
ANNA
...Your physique helps I'm sure.
DISSOLVE TO: -THE ROSE GARDEN... Hans notices her white streak.
HANS
(about her white streak)
What's this?
ANNA
I was born with it, although I dreamt I was kissed by a troll.
HANS
I like it.
DISSOLVE TO:
EXT. BALCONY - NIGHT
Anna teaches Hans how to eat krumkake.
ANNA
Yeah, the whole thing! You got it.
They laugh as the krumkake crumbles in his face.
ANNA
Okay wait, wait. So you have how many brothers?
HANS
Twelve older brothers. Three of them pretended I was invisible... literally...for two years.
ANNA
That's horrible.
HANS
It's what brothers do.
ANNA
...And sisters. Elsa and I were really close when we were little. But then, one day she just shut me out, and I never knew why.
He takes her hand. Leans in close.
HANS
I would never shut you out.
ANNA
Okay, can I just say something crazy?
HANS
I love crazy.
"Love is an Open Door"
ANNA
(singing)
ALL MY LIFE HAS BEEN A SERIES OF DOORS IN MY FACE. AND THEN SUDDENLY I BUMP INTO YOU.
HANS
I was thinking the same thing, because like. . .
I'VE BEEN SEARCHING MY WHOLE LIFE TO FIND MY OWN PLACE. AND MAYBE IT'S THE PARTY TALKING, OR THE CHOCOLATE FONDUE. BUT WITH YOU- BUT WITH YOU, I FOUND MY PLACE. I SEE YOUR FACE. AND IT'S NOTHING LIKE I'VE EVER KNOWN BEFORE. They jump to the neighboring balcony and enter a door. They come out on top of one of the castle's towers. LOVE IS AN OPEN DOOR! LOVE IS AN OPEN DOOR! Cut to them sliding across an empty hallway in their socks. LOVE IS AN OPEN DOOR WITH YOU! WITH YOU! WITH YOU! WITH YOU! LOVE IS AN OPEN DOOR. They hop up on the castle roof and watch a shooting star. I MEAN IT'S CRAZY.
ANNA
What?
WE FINISH EACH OTHER'S- SANDWICHES!
HANS
That's what I was gonna say!
They slide down the back of the roof out of sight. We next find them strutting on a bridge ledge. I'VE NEVER MET SOMEONE- WHO THINKS SO MUCH LIKE ME.
BOTH (SPOKEN)
Jinx.. . .jinx again.
Are they doing the robot? No. They're imitating the mechanical figures on the clock tower. OUR MENTAL SYNCHRONIZATION CAN HAVE BUT ONE EXPLANATION, YOU- AND I- WERE- JUST- MEANT TO BE. Anna and Hans dance on top of the lighthouse and cast dancing shadows across the sails of ships in the docks. SAY GOODBYE- SAY GOODBYE- TO THE PAIN OF THE PAST. WE DON'T HAVE TO FEEL IT ANYMORE! LOVE IS AN OPEN- They play hide and seek amongst the stable doors. DOOR! LOVE IS AN OPEN DOOR! They climb to the waterfall looking out over the kingdom. Anna raises up her hands to frame the moon. Hans puts his hands on top of hers. Together their hands form a heart. LIFE CAN BE SO MUCH MORE- WITH YOU! WITH YOU! WITH YOU! WITH YOU! LOVE IS AN OPEN DOOR. DOOR.
HANS
Can I say something crazy...? Will you marry me?
ANNA
Can I just say something even crazier? Yes.
CUT TO:
INT. BALL - NIGHT
Anna pushes through the crowd towards Elsa, Hans in tow.
ANNA
Oops! Pardon. Sorry. Can we just get around you there? Thank you. Oh, there she is. Elsa!
Elsa turns to Anna. Anna curtseys awkwardly.
ANNA
I mean...Queen.... Me again. Um. May I present Prince Hans of the Southern Isles.
HANS
(bowing)
Your Majesty.
Elsa gives a polite but reserved curtsey.
ANNA
We would like--
HANS
--your blessing--
ANNA
--of--
ANNA/HANS
--our marriage!
ELSA
Marriage...?
ANNA
Yes!
ELSA
I'm sorry, I'm confused.
ANNA
Well, we haven't worked out all the details ourselves. We'll need a few days to plan the ceremony. Of course we'll have soup, roast, and ice cream and then-- Wait. Would we live here?
ELSA
Here?
HANS
Absolutely!
ELSA
Anna--
ANNA
Oh, we can invite all twelve of your brothers to stay with us--
ELSA
What? No, no, no, no, no.
ANNA
Of course we have the room. I don't know. Some of them must--
ELSA
Wait. Slow down. No one's brothers are staying here. No one is getting married.
ANNA
Wait, what?
ELSA
May I talk to you, please. Alone.
Anna sees Hans's worried face. Hooks arms with him.
ANNA
No. Whatever you have to say, you- you can say to both of us.
ELSA
Fine. You can't marry a man you just met.
ANNA
You can if it's true love.
ELSA
Anna, what do you know about true love?
ANNA
More than you. All you know is how to shut people out.
ELSA
You asked for my blessing, but my answer is no. Now, excuse me.
HANS
Your Majesty, if I may ease your--
ELSA
(flustered)
No, you may not. And I-I think you should go.
Elsa walks away. As she passes the Royal Handler--
ELSA
The party is over. Close the gates.
ANNA
What? Elsa, no. No, wait!
Anna grabs Elsa's hand. She pulls off Elsa's glove. Elsa gasps, spins around and reaches for the glove in panic.
ELSA
Give me my glove!
Anna holds the glove away from Elsa.
ANNA
(desperate)
Elsa, please. Please. I can't live like this anymore.
Elsa fights tears.
ELSA
(weak)
...Then leave.
Elsa sees Anna's hurt face. It's too much. She can't hold it in. She turns and rushes away.
ANNA
(heartbroken)
...What did I ever do to you?!
The party goes silent as everyone watches the sisters.
ELSA
Enough, Anna.
ANNA
No. Why? Why do you shut me out?! Why do you shut the world out?! What are you so afraid of?!
ELSA
I said, enough!
Ice shoots from Elsa's hand, spikes across the floor! Guests cry out in shock, back away.
DUKE
(ducking behind his men)
...Sorcery. I knew there was something dubious going on here.
ANNA
Elsa...?
Elsa rushes out of the room. CUT TO:
EXT. COURTYARD - NIGHT
Elsa bursts out of the castle door. The CITIZENS CHEER!
CROWD
There she is. Your Majesty! Long live the Queen! Queen Elsa.... Come drink with us.
Elsa ducks through the crowd, holding her bare hand.
BOWING TOWNSMAN
Queen Elsa.
TOWNSWOMAN WITH BABY
Your Majesty? Are you all right?
Elsa backs away from the baby. She knocks into the fountain, grabs its edge. The waters freeze at her touch. GASPS of shock and fear sweep over the crowd. The Duke and thugs come out the door.
DUKE
There she is! Stop her!
ELSA
(to the Duke)
Please, just stay away from me. Stay away!
Magic accidentally shoots from her hand and turns the staircase into ice. The thugs and the Duke fall.
DUKE
Monster.... Monster!
The crowd panics. A snowstorm begins. Elsa flees. Anna runs out of the palace doors, carrying the glove.
ANNA
Elsa!
Hans follows closely behind her. GATES TO THE KINGDOM: Elsa runs out of the gates and down to the water's edge. The shoreline freezes under her feet. Anna calls to her from the gates.
ANNA
Elsa! Wait, please!
Elsa glances back at Anna, but turns away. She tentatively steps out onto the fjord. It freezes instantly. She breaks into a run, as the water freezes over with each step.
ANNA
Elsa, stop!
Anna rushes out onto the fjord ice, slips, falls.
HANS
Anna!
Hans rushes to Anna's side. Elsa reaches the far shore. She doesn't look back. She just scrambles into the mountains.
ANNA
No.
HANS
(shocked)
Look.... The fjord.
The ice spreads out until the entire fjord is frozen, locking the ships in place.
INT. CASTLE COURTYARD - NIGHT
Snow falls. Hans and Anna move through the panicking crowd.
CROWD WALLAH
Snow? It's...snow...in July.
HANS
...Are you all right?
ANNA
(in shock)
No.
HANS
Did you know?
ANNA
No.
Nearby, the Duke flutters about in fright.
DUKE
Look! It's snowing! It's snowing! The Queen has cursed this land! She must be stopped!
(to his thugs)
You have to go after her.
Anna rushes up to the Duke.
ANNA
Wait, no!
The Duke hides behind his thugs and points out at Anna.
DUKE
You! Is there sorcery in you, too? Are you a monster, too?
ANNA
No. No. I'm completely ordinary.
HANS
That's right she is...
(realizing how that sounds)
...in the best way.
ANNA
...And my sister's not a monster.
DUKE
She nearly killed me.
HANS
You slipped on ice.
DUKE
Her ice!
ANNA
It was an accident. She was scared. She didn't mean it. She didn't mean any of this.... Tonight was my fault. I pushed her. So I'm the one that needs to go after her.
DUKE
Yes. Fine. Do.
HANS
What?
ANNA
(to the Royal Handler)
Bring me my horse, please.
HANS
Anna, no. It's too dangerous.
ANNA
Elsa's not dangerous. I'll bring her back, and I'll make this right.
The Royal Handler brings Anna her horse and a cloak.
HANS
I'm coming with you.
ANNA
No, I need you here to take care of Arendelle.
He sees the desperation in her eyes.
HANS
...On my honor.
She throws on the cloak and hops right onto the horse, coronation dress and all.
ANNA
(to the crowd)
I leave Prince Hans in charge!
HANS
(before letting her go)
Are you sure you can trust her? I don't want you getting hurt.
ANNA
She's my sister; she would never hurt me.
She snaps the reins and rides out. Hans watches after her. The snow picks up and overtakes our view. We push through a blizzard...lose our way...then finds ourselves...
EXT. HIGH UP IN THE MOUNTAINS - NIGHT
Well above the snow-line, a small figure climbs the highest peak. It's Elsa. Finally, she stops, looks around. Catches her breath and sings... "Let It Go" THE SNOW GLOWS WHITE ON THE MOUNTAIN TONIGHT, NOT A FOOTPRINT TO BE SEEN. A KINGDOM OF ISOLATION AND IT LOOKS LIKE I'M THE QUEEN. THE WIND IS HOWLING LIKE THIS SWIRLING STORM INSIDE. COULDN'T KEEP IT IN, HEAVEN KNOWS I TRIED. . . DON'T LET THEM IN, DON'T LET THEM SEE, BE THE GOOD GIRL YOU ALWAYS HAVE TO BE. CONCEAL, DON'T FEEL, DON'T LET THEM KNOW. WELL, NOW THEY KNOW. Elsa takes off her glove and throws it into the air. LET IT GO. LET IT GO. CAN'T HOLD IT BACK ANYMORE. Elsa creates a snowman, just like the one she made with Anna when they were children. LET IT GO. LET IT GO. TURN AWAY AND SLAM THE DOOR. I DON'T CARE WHAT THEY'RE GOING TO SAY. LET THE STORM RAGE ON. THE COLD NEVER BOTHERED ME ANYWAY. Elsa lets her cape fly back into the wind. IT'S FUNNY HOW SOME DISTANCE MAKES EVERYTHING SEEM SMALL. AND THE FEARS THAT ONCE CONTROLLED ME CAN'T GET TO ME AT ALL. IT'S TIME TO SEE WHAT I CAN DO, TO TEST THE LIMITS AND BREAK THROUGH. NO RIGHT, NO WRONG, NO RULES FOR ME...I'M FREE! Elsa creates ice steps and climbs them. LET IT GO! LET IT GO! I AM ONE WITH THE WIND AND SKY. LET IT GO! LET IT GO! YOU'LL NEVER SEE ME CRY. HERE I STAND AND HERE I'LL STAY. Elsa slams her foot down and forms a giant snowflake. LET THE STORM RAGE ON.... In a flurry of creative release, she raises the snowflake on ice beams, builds walls, archways, a glistening chandelier, and an intricate ceiling that leaves the sky visible. MY POWER FLURRIES THROUGH THE AIR INTO THE GROUND. MY SOUL IS SPIRALING IN FROZEN FRACTALS ALL AROUND. AND ONE THOUGHT CRYSTALLIZES LIKE AN ICY BLAST- Standing firmly in her mighty ice palace, Elsa removes her crown and throws it. I'M NEVER GOING BACK, (back to resolve) THE PAST IS IN THE PAST! She takes down her hair and creates a new dress made of ice. LET IT GO! LET IT GO! AND I'LL RISE LIKE THE BREAK OF DAWN. LET IT GO! LET IT GO! The sun rises. Elsa struts onto out onto a balcony and into the light. She's free. THAT PERFECT GIRL IS GONE. HERE I STAND IN THE LIGHT OF DAY. LET THE STORM RAGE ON!! THE COLD NEVER BOTHERED ME ANYWAY. She turns and slams her ice palace door on us. CUT TO:
EXT. THE FJORD FOREST - DAY
Anna rides her horse through two feet of snow. She shivers.
ANNA
(shivering)
Elsa! Elsa! It's me, Anna...your sister who didn't mean to make you freeze the summer. I'm sorry. It's all my f-f-f-f-f-f-fault.
DISSOLVE TO: LATER: Anna and the horse struggle through a wooded area.
ANNA
(hearing a wolf howl)
Of course, none of this would have happened if she'd just told me her secret...ha...she's a stinker.
A branch of a nearby tree snaps and startles the horse. Anna goes flying off, lands face down in the snow. She sits up. Spits out snow. Sees the horse running away.
ANNA
Oh no. No. No. No. Come back. No. No. No. No.... Oooo-kay.
He doesn't come back. Anna grabs onto a branch of a leaning conifer, tries to pull herself to her feet, but the tree snaps upright and releases all its snow onto her. GROAN. DISSOLVE TO:
EXT. MOUNTAIN - NIGHT
The Northern Lights shine as Anna struggles, out of breath, reaching the top of a hill.
ANNA
Snow, it had to be snow, she couldn't have had tr-tr-tropical magic that covered the f-f-fjords in white sand and warm --
She sees smoke rising up in the distance.
ANNA
Fire! WHOA!
Anna goes tumbling down the hill. She lands with a crash in an icy stream at the bottom.
ANNA
(from inside the snowball)
Cold, cold, cold, cold, cold...
EXT. A SMALL BUILDING AND STABLE - NIGHT
Anna shuffles up to the building, her dress frozen stiff. She shakes the snow off a sign and reads:
ANNA
Wandering Oaken's Trading Post.
Snow drops off a smaller sign. She reads it, happily.
ANNA
Ooh! And Sauna...
INT. WANDERING OAKEN'S TRADING POST & SAUNA - NIGHT
Anna steps cautiously through the door--which hits her frozen butt and knocks her into the center of the shop. She looks around, sees only summer supplies.
OAKEN (O.S.)
Hoo hoo.
Anna turns to see a bright-faced fellow sitting low behind the counter, fingers tapping tip to tip.
OAKEN
Big summer blow out. Half off swimming suits, clogs, and a sun balm of my own invention, yah?
ANNA
Oh, great. For now, how about boots. Winter boots...and dresses?
OAKEN
(slight disappointment)
That would be in our winter department.
The winter department contains one outfit, a pick ax, and a lonely pair of boots.
ANNA
Oh. Um, I was just wondering; has another young woman, the Queen perhaps, I don't know, passed through here?
She brings the clothes and boots to the counter.
OAKEN
Only one crazy enough to be out in this storm is you, dear?
The front door suddenly blows open and in walks a mass of a man covered in ice. Underneath is KRISTOFF.
OAKEN
You and this fellow.... Hoo hoo. Big summer blow out.
Kristoff walks right up to Anna.
KRISTOFF
(in her face)
Carrots.
ANNA
Huh?
KRISTOFF
Behind you.
ANNA
Oh, right. Excuse me.
Anna moves out of Kristoff's way. He grabs a bunch of carrots, tosses them on the counter, then moves through the place, gathering other supplies.
OAKEN
(to Kristoff)
A real howler in July, yah? Where ever could it be coming from?
KRISTOFF
The North Mountain.
ANNA
(to herself)
North Mountain.
Kristoff brings his supplies to the counter. Oaken counts on his fingertips.
OAKEN
That'll be forty.
KRISTOFF
Forty? No, ten.
OAKEN
(sweet as pie)
Oh dear, that's no good. See these are from our winter stock, where supply and demand have a big problem.
KRISTOFF
You want to talk about a supply and demand problem? I sell ice for a living.
Kristoff motions out the window, where we see the blocks of ice on his sled, covered in snow.
ANNA
Ooh, that's a rough business to be in right now. I mean, that is really...
(he shoots her a look)
Ahem. That's unfortunate.
OAKEN
Still forty. But I will throw in a visit to Oaken's sauna. Hoo hoo! Hi, family.
Kristoff and Anna turn to see a naked family waving through the window of the steaming sauna.
NAKED FAMILY
Hoo hoo!
KRISTOFF
...Ten's all I got. Help me out.
OAKEN
(isolating the carrots)
Ten will get you this and no more.
Kristoff seethes. Stalemate.
ANNA
Okay, just tell me one thing; what was happening on the North Mountain? Did it seem magical?
Kristoff pulls down his scarf and gives Anna a firm answer.
KRISTOFF
Yes! Now, back up while I deal with this crook here.
Oaken stands up, revealing his seven-foot stature.
OAKEN
What did you call me?
EXT. WANDERING OAKEN'S TRADING POST AND SAUNA - NIGHT
Oaken stomps out the door, carrying Kristoff with one arm.
KRISTOFF
Okay. Okay, I'm- Ow! Whoa!
Oaken throws Kristoff, who face-plants in the snow.
OAKEN
Bye bye.
Oaken slams the door. Kristoff sits up. His reindeer, Sven, canters over, snorts, and nudges him, expectantly.
KRISTOFF
No Sven, I didn't get your carrots.
Sven huffs in his face. Kristoff turns away and sees something. He points to a dilapidated barn.
KRISTOFF
But I did find us a place to sleep. And it's free.
INT. WANDERING OAKEN'S TRADING POST AND SAUNA - NIGHT
Anna stands watching Oaken and all his great height as he squeezes behind the counter and sits down low again.
OAKEN
(teddy bear)
I'm sorry about this violence. I will add a quart of lutefisk, so we'll have good feelings. Just the outfit and boots, yah?
Anna looks between Kristoff's supplies and the door. CUT TO:
INT. OAKEN'S STABLES - NIGHT
Kristoff, now unfrozen, relaxes on a bed of hay, playing his lute and singing to (and for) Sven. "Reindeer(s) are Better than People" REINDEERS ARE BETTER THAN PEOPLE. SVEN, DON'T YOU THINK THAT'S TRUE?
KRISTOFF (AS SVEN)
(throwing his voice)
YEAH, PEOPLE WILL BEAT YOU & CURSE YOU & CHEAT YOU. EVERY ONE OF EM'S BAD, EXCEPT YOU. (speaking) Oh, thanks, Buddy. (singing, as Kristoff) BUT PEOPLE SMELL BETTER THAN REINDEERS. SVEN, DON'T YOU THINK I'M RIGHT? (As Sven) THAT'S ONCE AGAIN TRUE, FOR ALL EXCEPT YOU. (As Kristoff) YOU GOT ME. LET'S CALL IT A NIGHT. (As Sven) GOOD NIGHT. (As Kristoff) DON'T LET THE FROSTBITE BITE. The door opens. Anna enters.
ANNA
Nice duet.
Kristoff sits up with a start...sees who it is.
KRISTOFF
Oh, it's just you. What do you want?
ANNA
I want you to take me up the North Mountain.
KRISTOFF
I don't take people places.
He lays back down, closes his eyes.
ANNA
Let me rephrase that...
A sack of supplies lands in Kristoff's lap.
KRISTOFF
Umph.
He sits up. Looks in the bag.
ANNA
Take me up the North Mountain.... Please.
He eyes her. He clearly doesn't take orders.
ANNA
Look, I know how to stop this winter.
He considers, lies back down, pulls his hat over his eyes.
KRISTOFF
We leave at dawn.... And you forgot the carrots for Sven.
A bag of carrots hits Kristoff in the face.
KRISTOFF
Ugh!
ANNA
Oops. Sorry. Sorry. I'm sorry. I didn't--
(catching herself)
We leave now. Right now.
She steps back outside and waits, anxiously. Annoyed, Kristoff offers Sven a carrot. Sven has a bite. Then Kristoff has a bite, contemplating. SLAM CUT TO:
EXT. MOUNTAIN HIGH - NIGHT
Sven races, top speed, up a narrow cliff, pulling the sled, which skids precariously. Kristoff mans the reins. Anna sits beside him.
KRISTOFF
(trying to scare Anna)
Hang on! We like to go fast!
ANNA
(fearless)
I like fast!
Anna leans back and puts her feet up on the dashboard.
KRISTOFF
Whoa, whoa! Get your feet down.
He pushes her feet down.
KRISTOFF
This is fresh lacquer. Seriously, were you raised in a barn?
Kristoff spits on the dash to clean it. The spit flies back and hits Anna in the face.
ANNA
(grossed out)
Ew. No, I was raised in a castle.
She wipes off her face.
KRISTOFF
So tell me, what made the Queen go all ice-crazy?
ANNA
...Oh well, it was all my fault. I got engaged but then she freaked out because I'd only just met him, you know, that day. And she said she wouldn't bless the marriage--
KRISTOFF
Wait. You got engaged to someone you just met?
ANNA
Yeah. Anyway, I got mad and so she got mad and then she tried to walk away, and I grabbed her glove--
KRISTOFF
Hang on. You mean to tell me you got engaged to someone you just met?!
ANNA
Yes. Pay attention. But the thing is she wore the gloves all the time, so I just thought, maybe she has a thing about dirt.
KRISTOFF
Didn't your parents ever warn you about strangers?
Anna eyes Kristoff up and down, then slides away from him.
ANNA
Yes, they did.... But Hans is not a stranger.
KRISTOFF
Oh yeah? What's his last name?
ANNA
...Of-the-Southern-Isles?
KRISTOFF
What's his favorite food?
ANNA
...Sandwiches.
KRISTOFF
Best friend's name?
ANNA
Probably John.
KRISTOFF
Eye color.
ANNA
Dreamy.
KRISTOFF
Foot size...?
ANNA
Foot size doesn't matter.
KRISTOFF
Have you had a meal with him yet? What if you hate the way he eats? What if you hate the way he picks his nose?
ANNA
Picks his nose?
KRISTOFF
And eats it.
ANNA
Excuse me, sir. He's a prince.
KRISTOFF
All men do it.
ANNA
Ew. Look it doesn't matter; it's true love.
KRISTOFF
Doesn't sound like true love.
ANNA
Are you some sort of love expert?
KRISTOFF
No. But I have friends who are.
ANNA
You have friends who are love experts.... I'm not buying it.
Sven suddenly stops, ears perked in alarm.
KRISTOFF
(to Anna)
Stop talking.
ANNA
No, no, no. I'd like to meet these--
Kristoff clamps his hand over Anna's mouth.
KRISTOFF
I mean it. SHHH.
Kristoff stands, looks into the dark woods surrounding them. Sensing something behind them, he holds up his lantern. Its light reflects off...EYES. Several.
KRISTOFF
Sven, go. Go!
Sven takes off.
ANNA
What are they?
KRISTOFF
Wolves.
Flashes of white dart through the woods. Kristoff hops into the back of the sled, grabs a torch. Lights it.
ANNA
Wolves. What do we do?
KRISTOFF
I've got this. You just...don't fall off and don't get eaten.
ANNA
But I wanna help.
KRISTOFF
No.
ANNA
Why not?
KRISTOFF
Because I don't trust your judgement.
ANNA
Excuse me?!
A wolf jumps at them, but Kristoff kicks it off.
KRISTOFF
Who marries a man she just met?
Anna grabs the lute, swings it right at Kristoff's head.
ANNA
It's true love!
He screams, as she...BAM!...swings past Kristoff and knocks a wolf away.
KRISTOFF
(shocked)
Whoa.
Just then Kristoff is yanked off the sled by another wolf. The torch goes flying. Anna catches it, shocked.
ANNA
Christopher!
Kristoff grabs onto a loose rope hanging from the back of the sled and holds on for dear life as he's dragged behind.
KRISTOFF
It's Kristoff!
A wolf jumps on Kristoff's back. AH! Anna thinks fast, uses the torch to light a blanket on fire.
ANNA
Duck!
Anna throws the flaming blanket right at him. He ducks. The blanket hits the wolves. They tumble off Kristoff.
KRISTOFF
You almost set me on fire!
Anna reaches out a hand, pulls Kristoff back onto the sled.
ANNA
But I didn't.
Sven cries out. There is a massive gorge ahead.
ANNA
Get ready to jump, Sven!
KRISTOFF
You don't tell him what to do!
Kristoff shoves a satchel into her arms then scoops her up.
KRISTOFF
I do!
Kristoff tosses Anna onto Sven, then unhooks Sven's harness from the sled.
KRISTOFF
Jump, Sven!
Sven jumps the gorge with Anna on his back. Kristoff goes flying off behind them, still on the sled. Anna and Sven land safely on the other side of the gorge. Kristoff's sled loses momentum. It's not going to make it. He leaps off. He flaps his arms, claws at the air. He slams into the snowy edge of the cliff. Hanging by his hands, he looks down to see his sled hit the ground far below and burst into flames.
KRISTOFF
(shocked sadness)
...But I just paid it off.
Suddenly, he starts to slip. He claws at the loose snow, but it's clearly hopeless. He's going down.
KRISTOFF
Uh-oh. No, no, no.
To make matters worse, an AXE comes flying right at his face. AH! NO, NO, NO! The axe slams into the snow, inches from his nose.
ANNA (O.S.)
Grab on!
Kristoff grabs on.
ANNA
Pull, Sven! Pull!
REVEAL: The axe is tied to a rope, then wrapped around Sven. Anna helps Sven pull Kristoff to safety. Kristoff rolls onto his back, exhausted. Anna peeks down at the burning sled.
ANNA
Whoa.... I'll replace your sled and everything in it.
Kristoff groans.
ANNA
And I understand if you don't want to help me anymore.
Anna walks off, sadly. Sven comes over and nuzzles Kristoff.
KRISTOFF
Of course I don't want to help her anymore. In fact, this whole thing has ruined me for helping anyone ever again.
KRISTOFF (AS SVEN)
But she'll die on her own.
KRISTOFF (AS SELF)
I can live with that.
Through their conversation, they watch Anna go the wrong way...turn, go the other wrong way, turn, trip...
KRISTOFF (AS SVEN)
But you won't get your new sled if she's dead.
KRISTOFF
(knowing he's got a point)
...You know sometimes I really don't like you.
Sven licks Kristoff happily.
KRISTOFF (AS SELF)
(to Anna)
Hold up. We're coming?!
ANNA
(excited)
You are?!
(catching herself)
I mean, sure. I'll let you tag along.
DISSOLVE TO:
EXT. SHARP MOUNTAIN RIDGE - DAWN
Kristoff, Sven and Anna walk on a narrow rim of a mountain. DISSOLVE TO:
EXT. MOUNTAIN FOREST CLEARING - DAY
As they step out of the thick trees, Anna catches sight of something far below.
ANNA
Arendelle.
KRISTOFF
It's completely frozen.
ANNA
...But it'll be fine. Elsa will thaw it.
KRISTOFF
Will she?
ANNA
(uncertain)
...Yeah. Now come on. This way to the North Mountain?
She points straight ahead.
KRISTOFF
More like this way.
He points her finger up towards a perilously mighty mountain. DISSOLVE TO:
INT. FROZEN WILLOW TREES - DAY
Anna, Kristoff, and Sven walk beneath frozen willows. The hanging branches glisten like Christmas lights. Sven knocks them with his antlers. They tinkle like chimes.
ANNA
I never knew winter could be so beautiful.
Suddenly, a voice comes in from nowhere. We'll call that voice OLAF.
OLAF (O.S.)
YEAH...It really is beautiful, isn't it? But it's so white. You know, how about a little color? Must we bleach the joy out of it all? I'm thinking like maybe some crimson, chartreuse...
While this is going on, Anna and Kristoff look around for the source of the rambling. They look at Sven - could he actually be talking? Sven looks back at them, his antlers tangled in branches, just as baffled as they are. In the meantime, a nose-less snowman, Olaf, wanders up behind them.
OLAF
How 'bout yellow--no, not yellow. Yellow and snow? Brrrr...no go.
He stops between Kristoff and Anna. They look down at him. How did he get there? He suddenly looks up at Anna.
OLAF
Am I right?
Anna SCREAMS! Reflexes take over and she kicks Olaf's head, sending it flying off his body and into Kristoff's arms.
OLAF
(cheery, to Kristoff)
Hi!
KRISTOFF
You're creepy.
Kristoff tosses the head back to Anna and they commence a game of hot potato.
ANNA
I don't want it!
KRISTOFF
Backatchya!
OLAF
Please don't drop me.
ANNA
Don't!
KRISTOFF
Come on, it's just a head.
ANNA
No!
Olaf's body runs at Anna, arms waving.
OLAF (O.S.)
All right, we got off to a bad start.
ANNA
Ew, ew, the body!
Anna slams Olaf's head back on the body, upside down. Olaf smiles happily, then looks confused.
OLAF
Wait, what am I looking at right now? Why are you hanging off the earth like a bat?
ANNA
(sympathetic)
...Okay. Wait one second.
Anna kneels in front of Olaf and rights his head.
OLAF
Oooh! Thank you!
ANNA
You're welcome.
OLAF
Now I'm perfect.
She looks over his innocent face, gets an idea.
ANNA
Well, almost.
She digs into Kristoff's satchel, holds up a carrot just as Olaf turns toward her. The carrot accidentally slams all the way through his head.
OLAF
Woo! Head rush!
ANNA
Oh! Too hard. I'm sorry! I-I, I was just.... Are you okay?
Olaf sees a tiny piece of carrot sticking out between his eyes. He lights up.
OLAF
Are you kidding me? I am wonderful! I've always wanted a nose.
(going cross-eyed to look at his tiny nose)
So cute. It's like a little baby unicorn.
Anna reaches behind Olaf to the bulk of the carrot sticking out the back of his head, and pushes it forward.
OLAF
What? Hey! Whoa.
(seeing his now big nose)
Oh, I love it even more! Hah.... All right, let's start this thing over. Hi everyone. I'm Olaf. And I like warm hugs.
Olaf opens his arms wide to Anna. That triggers a memory. It takes her a moment to place it, but then she does.
ANNA
Olaf?...That's right, Olaf.
OLAF
...And you are?
ANNA
Oh, um...I'm Anna.
OLAF
And who's the funky-looking donkey over there?
ANNA
That's Sven.
OLAF
Uh-huh. And who's the reindeer?
ANNA
...Sven.
Olaf looks from Kristoff to Sven, confused.
OLAF
Oh. They're--oh, okay....
(accepting it)
Makes things easier for me.
Sven tries to bite Olaf's nose.
OLAF
Ha. Aw, look at him tryin' to kiss my nose.
(gushes)
I like you, too!
ANNA
Olaf, did Elsa build you?
OLAF
Yeah. Why?
Curious, Kristoff takes one of Olaf's twig arms off, studies it. It seems to be moving in sync with his other arm.
ANNA
Do you know where she is?
KRISTOFF
(studying the arm)
Fascinating...
OLAF
Yeah. Why?
ANNA
Do you think you could show us the way?
OLAF
Yeah. Why?
KRISTOFF
(bending the arm)
How does this work?
Olaf's dismembered arm slaps Kristoff across the face.
OLAF
Stop it, Sven. Trying to focus here.
(to Anna)
Yeah, why?
KRISTOFF
I'll tell you why. We need Elsa to bring back summer.
OLAF
(shocked)
Summer?
(sinking into wistfulness)
Oh, I don't know why but I've always loved the idea of summer, and sun, and all things hot.
KRISTOFF
Really? I'm guessing you don't have much experience with heat.
OLAF
Nope. But sometimes I like to close my eyes and imagine what it'd be like when summer does come.
DISSOLVE TO: OLAF'S FANTASY WORLD - PERFECT SUMMER DAY Olaf walks through a grassy meadow with the sun shining behind him. He SINGS. "In Summer" BEES'LL BUZZ / KIDS'LL BLOW DANDELION FUZZ / AND I'LL BE DOING WHATEVER SNOW DOES IN SUMMER. -Olaf now lies in the sand on a beach. A DRINK IN MY HAND / MY SNOW UP AGAINST THE BURNING SAND / PROB'LY GETTING GORGEOUSLY TANNED IN SUMMER. -Olaf sails in a boat. I'LL FINALLY SEE A SUMMER BREEZE / BLOW AWAY A WINTER STORM / -Olaf floats in the water. All his pieces begin to separate. AND FIND OUT WHAT HAPPENS TO SOLID WATER / WHEN IT GETS WARM. -Olaf tumbles on a sandy beach with sand-snowmen. AND I CAN'T WAIT TO SEE / WHAT MY BUDDIES ALL THINK OF ME / JUST IMAGINE HOW MUCH COOLER I'LL BE IN SUMMER . . ! -Olaf and the seagull break out into a tap-dance. DA DA . . . DA DOO / AH BAH BAH BAH BAH BAH BOO. -Olaf and another snowman drink hot chocolate in a hot tub. THE HOT AND THE COLD ARE BOTH SO INTENSE / PUT 'EM TOGETHER, IT JUST MAKES SENSE! -Olaf tap dances with a gaggle of seagulls. RATDADAT DAD DADA DOO . . . -Olaf bounds down a grassy hill. WINTER'S A GOOD TIME TO STAY IN AND CUDDLE / BUT PUT ME IN SUMMER AND I'LL BE A... He stops at a puddle, looks down at it. Smiles. Hops over it.
OLAF
HAPPY SNOWMAN!
-Olaf runs with a checkered blanket that he spreads out. He relaxes and stares at the blue sky. WHEN LIFE GETS ROUGH I LIKE TO HOLD ON TO MY DREAM / OF RELAXING IN THE SUMMER SUN JUST LETTING OFF STEAM! Sven, Anna, Kristoff and Olaf have a picnic. OH THE SKY WILL BE BLUE / AND YOU GUYS'LL BE THERE TOO / WHEN I FINALLY DO WHAT FROZEN THINGS DO IN SUMMER!
KRISTOFF
I'm gonna tell him.
ANNA
Don't you dare.
IN SUMMER! Olaf sings the final note. We swing around him and return to: REALITY. He then straightens up and smiles.
OLAF
So, come on! Elsa's this way. Let's go bring back summer!
Olaf grabs Anna's hand and pulls her along up the mountain.
ANNA
(laughing)
I'm coming!
Sven hops along, happily following them. Kristoff watches all of them like they're nuts.
KRISTOFF
Somebody's got to tell him.
DISSOLVE TO:
EXT. ARENDELLE, VILLAGE - DAY
A layer of solid ice coats everything. People huddle around weak fires. Anxiety runs high amongst the villagers and guests. We pass two CITIZENS fighting over a woodpile.
CITIZEN ONE
No. No. You've got the bark facing down. The bark needs to be face-up.
CITIZEN TWO
Bark down is drier.
CITIZEN ONE
Bark up.
CITIZEN TWO
Bark down.
CITIZEN ONE
Bark up.
Like a light in the dark, Hans moves through the crowd.
HANS
Cloak. Does anyone need a cloak?
GERDA
Arendelle is indebted to you, Your Highness.
HANS
The castle is open. There's soup and hot glögg in the Great Hall.
He hands the stack of cloaks to a guard.
HANS
Here. Pass these out.
Just then the Duke approaches Hans.
DUKE
Prince Hans, are we just expected to sit here and freeze while you give away all of Arendelle's tradable goods?
HANS
(tall and confident)
Princess Anna has given her orders and--
DUKE
And that's another thing; has it dawned on you that your princess may be conspiring with a wicked sorceress to destroy us all?
Hans's nice eyes turn to threatening slits.
HANS
Do not question the Princess. She left me in charge, and I will not hesitate to protect Arendelle from treason.
DUKE
(flabbergasted, offended)
Treason?!
Suddenly they hear the alarmed whinny of Anna's horse. It returns alone, bucking and kicking. Hans grabs its reins.
HANS
Whoa! Whoa! Whoa, boy. Easy. Easy.
CROWD
(various)
Princess Anna's horse. What happened to her? Where is she?
Hans steadies the horse, looks up at the mountain. He sees all the panicked faces of the kingdom looking to him.
HANS
...Princess Anna is in trouble.
(calling out)
I need volunteers to go with me to find her!
Volunteers, some from Arendelle, some from other lands, rush up to offer their services.
DUKE
I volunteer two men, my Lord!
(quietly to his thugs)
Be prepared for anything, and should you encounter the Queen, you are to put an end to this winter. Do you understand?
His two thugs sneer. CUT TO:
EXT. THE NORTH MOUNTAIN - DAY
Anna, Kristoff, Sven, and Olaf move through hostile terrain. Wind-swept icicles face horizontal.
KRISTOFF
So how exactly are you planning to stop this weather?
ANNA
(confident)
Oh, I am gonna talk to my sister.
KRISTOFF
That's your plan? My ice business is riding on you talking to your sister.
ANNA
Yup.
Kristoff, so stunned by her casual plan, doesn't look where he's going and ends up with an ice-spike to the nose. He stops short, GULP, moves carefully around the spike.
KRISTOFF
So you're not at all afraid of her?
ANNA
Why would I be?
OLAF
(oblivious)
Yeah. I bet Elsa's the nicest, gentlest, warmest person ever.
Olaf backs right into an icicle. It runs through his torso.
OLAF
Oh, look at that. I've been impaled.
He laughs it off. DISSOLVE TO:
EXT. STEEP MOUNTAIN FACE - DAY
Anna and Kristoff hit what looks like a dead end. The face of the mountain goes straight up.
ANNA
What now?
Kristoff looks around, sighs. Digs in his rucksack.
KRISTOFF
...It's too steep. I've only got one rope, and you don't know how to climb mountains.
ANNA (O.S.)
Says who?
Sven nudges Kristoff, who looks up to see Anna trying to climb the cliff's flat face.
KRISTOFF
(finding her ridiculous)
What are you doing?
ANNA
(straining)
...I'm going to see my sister.
KRISTOFF
You're going to kill yourself.
Kristoff watches her searching for footholds and hand-holds.
KRISTOFF
I wouldn't put my foot there.
ANNA (O.S.)
You're distracting me.
KRISTOFF
Or there. How do you know Elsa even wants to see you?
ANNA (O.S.)
I'm just blocking you out cause I gotta concentrate here.
KRISTOFF
You know, most people who disappear into the mountains want to be alone.
ANNA (O.S.)
Nobody wants to be alone. Except maybe you--
KRISTOFF
I'm not alone.... I have friends, remember?
Anna kicks a foot above her head to catch a foot hold.
ANNA
You mean the love experts?
KRISTOFF
Yes, the love experts!
Anna realizes she's stuck.
ANNA
...Please tell me I'm almost there.
REVEAL: she's only about six feet up. Her muscles shake.
ANNA
...Does the air seem a bit thin to you up here?
Kristoff smiles, getting a kick out of her.
KRISTOFF
Hang on.
He pulls the rope from his bag. Just then Olaf steps out from behind a rock and waves to Kristoff.
OLAF
Hey, Sven? Not sure if this is going to solve the problem, but I found a staircase that leads exactly where you want it to go.
ANNA
Ha ha. Thank goodness. Catch!
Anna drops off the cliff. Kristoff catches her.
ANNA
Thanks! That was like a crazy trust exercise.
She hops down, brushes off her dress, and bounds off. Kristoff watches after her, digging her fearless pluck.
EXT. BASE OF THE ICE PALACE - DAY
Anna, Kristoff, and Olaf approach Elsa's elegant ice palace.
ANNA
Whoa.
KRISTOFF
(in awe)
Now that's ice. I might cry.
ANNA
Go ahead. I won't judge.
Anna climbs the steps with Olaf. Sven tries to follow. His hooves slip out. He scrambles but can't get traction. Kristoff runs to his aide.
KRISTOFF
All right, take it easy. I gotcha.
Kristoff settles Sven back down the stairs and pats him.
KRISTOFF
You stay right here, buddy.
Sven obediently plops his reindeer butt down and wags his tail. Kristoff climbs the stairs, admiring the ice details.
KRISTOFF
...Flawless.
Anna arrives at the door. Hesitates.
OLAF
...Knock....
(she doesn't)
Just knock....
(she doesn't. To Kristoff)
Why isn't she knocking...? Do you think she knows how to knock?
Anna finally KNOCKS. The sound echoes inside. The ice doors slide open.
ANNA
Ha. It opened. That's a first.
Anna goes to step in. Kristoff follows. She gets a thought, stops him.
ANNA
You should probably wait out here.
KRISTOFF
What?
ANNA
Last time I introduced her to a guy, she froze everything.
KRISTOFF
But, it's a palace made of ice. Ice is my life.
OLAF
Bye, Sven.
Olaf starts to head inside. Anna stops him.
ANNA
You too, Olaf.
OLAF
Me?
ANNA
Just give us a minute.
OLAF
Okay.
As Anna walks inside. Olaf starts counting.
OLAF
One...two...
Kristoff joins in.
OLAF AND KRISTOFF
Three...four...
INT. ELSA'S PALACE - DAY
Anna walks into a great foyer. The place is beautiful, but also eerie.
ANNA
Elsa? It's me...Anna?!
Anna slips. Steadies herself.
ELSA (O.S.)
Anna.
Elsa steps out of the shadows onto a balcony. She sees Anna, looks to her longingly. Anna can't help but be struck by Elsa's beauty.
ANNA
Elsa, you look different.... It's a good different.... And this place is amazing.
ELSA
(cautious, polite)
Thank you, I never knew what I was capable of.
Anna starts to climb the stairs.
ANNA
...I'm so sorry about what happened. If I'd known--
Elsa backs up, away from Anna.
ELSA
(on guard)
No, it's okay. You don't have to apologize.... But you should probably go, please.
ANNA
But I just got here.
ELSA
...You belong in Arendelle.
ANNA
So do you.
Anna takes another step up. Elsa backs up more.
ELSA
No, I belong here. Alone. Where I can be who I am without hurting anybody.
ANNA
...Actually, about that--
58...59...60.
ELSA
Wait. What is that?
Olaf comes running in the front door. He waves.
OLAF
Hi, I'm Olaf and I like warm hugs.
ELSA
(shocked)
Olaf?
Olaf stops beside Anna, looks up at Elsa, intimidated.
OLAF
(bashful)
You built me. You remember that?
ELSA
(astonished)
And you're alive?
OLAF
Um...I think so?
Anna kneels down beside Olaf.
ANNA
He's just like the one we built as kids.... We were so close. We can be like that again.
Elsa smiles, but then a memory returns to her. FLASH CUT TO: FLASHBACK: Young Anna is struck by Elsa's powers.
YOUNG ELSA
Anna!
Young Anna falls unconscious. Young Elsa races to her. FLASH CUT TO: THE PRESENT: Elsa's face sinks in pain.
ELSA
No, we can't.
Elsa turns and heads up the second story steps.
ELSA
Goodbye, Anna.
ANNA
Elsa, wait--
ELSA
(calling back)
I'm just trying to protect you.
Elsa continues to flee. Anna pursues.
ANNA
You don't have to protect me. I'm not afraid. Please don't shut me out again.
Anna SINGS. "First Time in Forever, Reprise" PLEASE DON'T SLAM THE DOOR. YOU DON'T HAVE TO KEEP YOUR DISTANCE ANYMORE. 'CAUSE FOR THE FIRST TIME IN FOREVER, I FINALLY UNDERSTAND. FOR THE FIRST TIME IN FOREVER, WE CAN FIX THIS HAND IN HAND. WE CAN HEAD DOWN THIS MOUNTAIN TOGETHER. YOU DON'T HAVE TO LIVE IN FEAR. 'CAUSE FOR THE FIRST TIME IN FOREVER, I WILL BE RIGHT HERE. They arrive on the top floor, Elsa's main living space. Elsa turns back to Anna, grateful, but determined.
ELSA
Anna, PLEASE GO BACK HOME. YOUR LIFE AWAITS. GO ENJOY THE SUN AND OPEN UP THE GATES.
ANNA
Yeah, but--
ELSA
I know! YOU MEAN WELL, BUT LEAVE ME BE. YES, I'M ALONE BUT I'M ALONE AND FREE.
Elsa opens up the balcony doors. JUST STAY AWAY AND YOU'LL BE SAFE FROM ME. ACTUALLY, WE'RE NOT. WHAT DO YOU MEAN YOU'RE NOT? I GET THE FEELING YOU DON'T KNOW? WHAT DO I NOT KNOW? ARENDELLE'S IN DEEP DEEP DEEP DEEP SNOW.
ELSA
What?
Elsa looks past Anna's shoulder out white-peaked mountains.
ANNA
You kind of set off an eternal winter...everywhere.
ELSA
Everywhere?
ANNA
It's okay, you can just unfreeze it.
ELSA
No, I can't. I don't know how.
ANNA
Sure you can. I know you can.
Snow starts to swirl around the room. CUZ FOR THE FIRST TIME IN FOREVER,
ELSA
(panicking)
I'M SUCH A FOOL! I CAN'T BE FREE! YOU DON'T HAVE TO BE AFRAID. NO ESCAPE FROM THE STORM INSIDE OF ME! The snow picks up. Anna tries to fight through it. WE CAN WORK THIS OUT TOGETHER. I CAN'T CONTROL THE CURSE! WE'LL REVERSE THE STORM YOU'VE MADE. ANNA, PLEASE, YOU'LL ONLY MAKE IT WORSE! DON'T PANIC. THERE'S SO MUCH FEAR! WE'LL MAKE THE SUN SHINE BRIGHT. YOU'RE NOT SAFE HERE! WE CAN FACE THIS THING TOGETHER... But as Anna sings, we lose sight of her in the thickening blizzard taking over the room. NO! WE CAN CHANGE THIS WINTER WEATHER, AND EVERYTHING WILL BE... Anna's voice disappears in the storm as Elsa cries out. I CAN'T! Elsa's fear, so strong, sucks the blizzard back into her and then it bursts out, unwittingly, like a sharp snowflake. Anna is STRUCK right in the heart. She grasps her chest in pain and stumbles back. She falls to her knees. Elsa gasps when she sees Anna. Just then, Olaf and Kristoff rush into the room to Anna's side.
KRISTOFF
Anna. Are you okay?
ANNA
I'm okay.... I'm fine.
Anna gets to her feet, determined to hide the pain.
ELSA
(scared)
Who's this? Wait, it doesn't matter. You have to go.
ANNA
No, I know we can figure this out together--
ELSA
(desperate)
How? What power do you have to stop this winter? To stop me?
Anna doesn't have the answer. Kristoff sees spiky ice shadows creeping down the walls. Puts a protective arm around Anna.
KRISTOFF
Anna, I think we should go.
ANNA
(close to tears)
No. I'm not leaving without you, Elsa.
ELSA
(heartbroken but decisive)
Yes, you are.
Elsa waves her arms and builds a giant, menacing snowman. We'll call him MARSHMALLOW. SLAM CUT TO:
EXT. ICE PALACE - DAY
Marshmallow holds Anna and Kristoff by the scruff of their necks in one hand and Olaf in the other.
ANNA
Stop. Put us down!
OLAF
(to Marshmallow)
You are a lot stronger than I think you realize.
Marshmallow tosses Kristoff and Anna down the steps.
MARSHMALLOW
(like a bouncer)
Go away!
Anna and Kistoff slide past Sven, who's got his tongue stuck to the ice railing.
OLAF (O.S.)
Heads up!
Olaf's head smashes into a snowbank nearby.
ANNA
Olaf!
OLAF
Watch out for my butt!
Anna and Kristoff duck as the rest of Olaf slams into the snowbank. Marshmallow turns to go back into the castle. Incensed, Anna tries to march back up the stairs.
ANNA
It is not nice to throw people!
Kristoff grabs her, pulls her back.
KRISTOFF
All right feisty pants. Calm down. Woaw. Just let the snow man be.
ANNA
Let me at him. I want to get him. I.... Okay. I'm Calm.
Anna backs down...for a moment. Then she grabs a snowball and throws it at Marshmallow. The tiny little ball hits Marshmallow's back, not making even the slightest dent. But it's enough to infuriate him. He ROARS. Spikes shoot out of his joints.
KRISTOFF
Uh-oh. Now you made him mad!
OLAF
...I'll distract him. You guys go.
Kristoff pushes Anna along. Sven runs off in the opposite direction. Olaf's belly and butt fall and follow Sven.
OLAF
No, no, not you guys.
Marshmallow goes charging after Anna and Kristoff as Olaf's head falls and lands face down in snow.
OLAF
(muffled)
This just got a whole lot harder.
Anna and Kristoff leap and slide down a steep slope. They tumble to a stop at the bottom just as Marshmallow lands hard right behind them. They're off again...through a maze of conifers that sag under the weight of the snow, Marshmallow hot on their trail.
KRISTOFF
This way!
Anna grabs a branch of a sagging trees and releases all of the snow. The tree snaps upright, knocking Marshmallow back.
KRISTOFF
(impressed)
Ho-ho-ho!
ANNA
I got him!
Anna and Kristoff burst out of the conifer forest and almost run right off a cliff. They stop short, toes on the edge.
KRISTOFF
Whoa, stop!
ANNA
It's a hundred foot drop.
KRISTOFF
It's two hundred.
Kristoff ties the rope around Anna and pulls tight.
ANNA
Ow.
He drops to his knees and starts digging a u-shape in the snow with a pick axe.
ANNA
What's that for?
KRISTOFF
I'm digging a snow anchor.
ANNA
(not trusting)
Okay. What if we fall?
KRISTOFF
There's twenty feet of fresh powder down there; it'll be like landing on a pillow.... Hopefully.
They hear an angry ROAR coming closer.
KRISTOFF
Okay, Anna. On three.
Anna preps for the jump like a boxer getting ready to fight.
ANNA
Okay. You tell me when...
KRISTOFF
One...
ANNA
...I'm ready to go....
KRISTOFF
Two...
ANNA
(pumped up)
...I was BORN ready! Yes!
KRISTOFF
Calm down.
A huge tree flies through the air toward them. TREE! Anna jumps and pulls Kristoff over the edge with her. They hang upside down over the cliff by the rope. The rope catches their fall.
KRISTOFF
Whoa! That happened.
Back up top, Olaf emerges from the woods. He's a complete mess, all his body parts are in the wrong places. He huffs and puffs, struggling to run.
OLAF
Ah. Ah. Man, am I out of shape.
He stops. Puts his body back together in the right order.
OLAF
There we go. Hey, Anna! Sven! Where'd ya guys go? We totally lost Marshmallow back there!
Marshmallow steps up behind Olaf. Olaf turns to face him.
OLAF
(happily)
Hey. We were just talking about you. All good things, all good things.
Marshmallow roars and approaches Kristoff's snow anchor. NO! Olaf jumps onto Marshmallow's leg trying to stop him, but not making much of a difference.
OLAF
This is not making much of a difference!
Marshmallow flicks Olaf off his leg and right over the cliff. WHOA! Olaf passes Anna and Kristoff.
ANNA
Olaf!
OLAF
Hang in there, guys!
Marshmallow starts yanking Kristoff and Anna's rope up.
ANNA
Wait, what?
Kristoff's head hits the cliff.
KRISTOFF
Aargghh!
Kristoff passes out and hangs like a rag doll.
ANNA
Kristoff!
Marshmallow pulls them up. He roars and breathes snow all over them.
MARSHMALLOW
Don't come back!
ANNA
(grossed out by his snow breath)
Ugh. We won't.
Anna whips out a knife and cuts the rope. Kristoff comes to just as they fall. They both SCREAM! SLAM! REVEAL: Anna opens her eyes to find herself buried up to her shoulders in the soft thick snow. She laughs.
ANNA
Hey, you were right. Just like a pillow.
She looks up to see Olaf's upper half hanging onto Kristoff's boots, which are sticking out of the snow.
OLAF
(shaking the boots)
I can't feel my legs! I can't feel my legs!
Suddenly, Kristoff's head pops up. He spits out snow.
KRISTOFF
Those are my legs.
Olaf's bottom goes running by.
OLAF
(to Kristoff)
Ooh. Hey, do me a favor, grab my butt.
Kristoff grabs Olaf's head and puts it on his body.
OLAF
Oh, that feels better.
Sven walks up and sniffs Olaf's nose.
OLAF
Hey, Sven!
Olaf turns to Anna and Kristoff just as Sven goes to bite off his nose -- and misses.
OLAF
He found us.
(to Sven, funny voice)
Who's my cute little reindeer?
KRISTOFF
Don't talk to him like that.
Kristoff goes over to help Anna, who is stuck in the snow.
KRISTOFF
Here.
He lifts her out easily.
ANNA
(impressed)
Whoa!
KRISTOFF
You okay?
ANNA
Thank you.
They meet eyes. Wait. Is that chemistry?
ANNA
...Um.... How's your head?
She touches the spot where he banged his head.
KRISTOFF
(in pain)
Ah! Ooh!
He catches himself. Waves off the pain with a giggle.
KRISTOFF
I mean, It's fine. Ah...I'm good. Ha. I've got a thick skull.
OLAF
I don't have a skull.... Or bones.
KRISTOFF
...So....
The awkwardness is killing him.
KRISTOFF
(shy)
Now what?
ANNA
(shy)
Now what?
(then...panicking)
Now what?! Oh! What am I gonna do? She threw me out. I can't go back to Arendelle with the weather like this. And then there's your ice business--
KRISTOFF
Hey, hey, don't worry about my ice business...
(noticing something)
Worry about your hair?!
She thinks he means it looks bad. She smooths it down.
ANNA
What? I just fell off a cliff. You should see your hair.
KRISTOFF
No, yours is turning white.
She grabs her braid as a tendril turns white.
ANNA
White? It's what?
KRISTOFF
It's because she struck you; isn't it?
ANNA
Does it look bad?
KRISTOFF
(thinking)
...No.
Olaf's head pops up. He's holding his head up off his body to join the conversation.
OLAF
You hesitated.
KRISTOFF
No, I didn't. Anna, you need help. Now, come on.
He heads towards the sunset. Sven and Olaf follow.
OLAF
Okay! Where are we going?
KRISTOFF
To see my friends.
ANNA
(catching up)
The love experts?
OLAF
Love experts?!
KRISTOFF
Yes. And don't worry; they'll be able to fix this.
ANNA
How do you know?
He looks her over, remembering the moment he saw the trolls heal her as a child.
KRISTOFF
...Because I've seen them do it before.
As they round the bend, the sun sets and Olaf turns to Sven.
OLAF
I like to consider myself a love expert.
CUT TO:
INT. ELSA'S PALACE - DAY
Elsa paces, distraught. She talks to herself.
ELSA
(mantra-style)
Get it together. Control it. Don't feel. Don't feel. Don't FEEL!
She hears ice cracking. Stops. Looks around. She's left a sharp wake of ice spikes behind her on the floor. They grow up the wall, taking over the castle. DISSOLVE TO:
EXT. BLACK MOUNTAINS - NIGHT
The Northern Lights are bright. Olaf stares at them in awe as he rides on Sven's back.
OLAF
Look, Sven. The sky's awake.
Behind Olaf and Sven, Anna walks with Kristoff. She shivers.
KRISTOFF
Are you cold?
ANNA
...A little.
He reaches like he might put an arm around her, but decides against it. He looks around as if he doesn't know what to do, then gets a thought.
KRISTOFF
Wait. Come here.
He takes her hand and pulls her around a bend into a rock- lined pass. Steam vents, powered by the volcanic activity, dot the path. He holds her hands over one of them.
ANNA
Oooh.... That's nice.
They continue on the path, walking from vent to vent.
KRISTOFF
(taking a deep breath)
So, about my friends...well, I say friends, they're more like family.... Anyway, when I was a kid, it was just me and Sven...until they took me in.
ANNA
(moved)
They did?
KRISTOFF
(nervous ramble)
Yeah. I don't want to scare you, they can be a little bit inappropriate...and loud...very loud...they're also stubborn at times, and a little overbearing. And heavy. Really, really heavy.
KRISTOFF
But they're fine.. You'll get it. They mean well.
Anna touches Kristoff's arm, reassuringly.
ANNA
Kristoff, they sound wonderful.
Kristoff smiles, appreciating her sincerity.
KRISTOFF
Okay then....
Mustering the courage, Kristoff steps forward and with a wave of the arms announces--
KRISTOFF
Meet my family.
REVEAL: he's surrounded by rocks.
KRISTOFF
(to the rocks)
Hey, guys!
As Kristoff and Sven move through the rocks, waving and greeting, Olaf and Anna stand frozen, dumbfounded.
ANNA
(to herself)
...They're rocks.
OLAF
(realizing)
He's crazy.
(covertly, to Anna)
I'll distract them while you run.
(Loud and slow to a rock)
Hi, Sven's family! It's nice to meet you!
(quietly to Anna)
Anna, because I love you, I insist you run.
(to the rock)
I understand you're love experts!
(to Anna)
Why aren't you running?
Anna snaps out of her shock and starts backing away.
ANNA
Okay. Um...I'm gonna go--
Just then the rocks around her start rolling.
ANNA
(panicking)
Kristoff!
Olaf lights up and chases the rocks, who surround Kristoff and unfold as trolls. KRISTOFF'S HOME!
TROLLS (VARIOUS)
Kristoff! Kristoff's home! It's been too long! Kristoff's home!
Olaf jumps around all excitedly.
OLAF
(excitedly)
Kristoff's home.
He then stops, confused, and looks to one of the trolls.
OLAF
Wait? Kristoff?
Anna watches, shocked and confused. The trolls all want Kristoff's attention. One troll yanks him down with a boulder's strength.
TROLL ONE
Oh, lemme look at you!
Another troll tries to pull off his clothes.
TROLL TWO
Oh, take off your clothes, Kristoff; I wash them.
KRISTOFF
(holding up his pants)
Ah! No. I'm gonna keep my clothes on, thank you.
KRISTOFF
Great to see you all. Where's grandpa?
MUSHROOM KID TROLL
He's napping. But look, I grew a mushroom.
TROLL SCOUT KID
And I earned my fire crystal.
KIDNEY STONE TROLL
I passed a kidney stone.
PICK ME UP TROLL
Pick me up.
The kid troll jumps up on Kristoff's arm. Kristoff sinks under the weight of him. Anna still stares, confused, then realizes...
ANNA
Trolls? They're trolls.
Silence. All troll eyes turn to Anna. Blink. Blink.
BULDA
...He's brought a girl!
TROLLS (TOGETHER)
He's brought a girl!
Suddenly Anna is surrounded by trolls. They body-surf/roll Anna over to Kristoff. She falls into his arms.
ANNA
What's going on?
KRISTOFF
I've learned to just roll with it.
Bulda climbs on top of her husband, Cliff, to get a good look at Anna. She studies her like she's a piece of cattle.
BULDA
Let me see. Bright eyes. Working nose. Strong teeth. Yes, yes, yes. She'll do nicely for our Kristoff.
ANNA
Wait. Oh. Um. No.
KRISTOFF
You've got the wrong idea. That's not why I brought her here.
ANNA
Right. We're not. I'm not--
Anna laughs, uncomfortable, not knowing what to say.
BULDA
(to Anna)
What's the issue, dear? Why are you holding back from such a man?
Bulda SINGS. "Fixer-Upper" IS IT THE CLUMPY WAY HE WALKS? OR THE GRUMPY WAY HE TALKS? OR THE PEAR-SHAPED, SQUARE-SHAPED WEIRDNESS OF HIS FEET? AND THOUGH WE KNOW HE WASHES WELL HE ALWAYS ENDS UP SORTA SMELLY. BUT YOU'LL NEVER MEET A FELLA WHO'S AS SENSITIVE AND SWEET. SO HE'S A BIT OF A FIXER UPPER, SO HE'S GOT A FEW FLAWS- HIS PECULIAR BRAIN, DEAR. HIS THING FOR THE REINDEER THAT OUTSIDE A FEW OF NATURE'S LAWS. SO HE'S A BIT OF A FIXER UPPER, BUT THIS WE'RE CERTAIN OF- YOU CAN FIX THIS FIXER UPPER UP WITH A LITTLE BIT OF LOVE.
KRISTOFF
Can we just stop talking about this?! We've got a real, actual problem here.
BULDA
I'll say--
(To Anna)
IS IT THE WAY THAT HE RUNS SCARED? OR THAT HE'S SOCIALLY IMPAIRED? OR THAT HE ONLY LIKES TO TINKLE IN THE WOODS? ARE YOU HOLDING BACK YOUR FONDNESS DUE TO HIS UNMANLY BLONDENESS? OR THE WAY HE COVERS UP THAT HE'S THE HONEST GOODS? HE'S JUST A BIT OF A FIXER UPPER- HE'S GOT A COUPLE A' BUGS.
KRISTOFF
No, I don't.
HIS ISOLATION IS CONFIRMATION OF HIS DESPERATION FOR HEALING HUGS. SO HE'S A BIT OF A FIXER UPPER, BUT WE KNOW WHAT TO DO. THE WAY TO FIX UP THIS FIXER UPPER IS TO FIX HIM UP WITH YOU. The girl trolls sweep Anna away. The boys take Kristoff.
KRISTOFF
(to the male trolls)
Enough! She's engaged to someone else. Okay?!
TROLLS beat. Blink. Blink. The boy trolls turn, huddle... SO SHE'S A BIT OF A FIXER UPPER, THAT'S A MINOR THING. THIS QUOTE "ENGAGEMENT" IS A FLEX ARRANGEMENT. AND BY THE WAY, I DON'T SEE NO RING. SO SHE'S A BIT OF A FIXER UPPER, HER BRAIN'S A BIT BETWIXT. GET THE FIANCE OUT OF THE WAY AND THE WHOLE THING WILL BE FIXED! WE AREN'T SAYING YOU CAN CHANGE HIM 'CAUSE PEOPLE DON'T REALLY CHANGE. WE'RE ONLY SAYING THAT LOVE'S A FORCE THAT'S POWERFUL AND STRANGE. PEOPLE MAKE BAD CHOICES IF THEY'RE MAD OR SCARED OR STRESSED. BUT THROW A LITTLE LOVE THEIR WAY (THROW A LITTLE LOVE THEIR WAY) AND YOU'LL BRING OUT THEIR BEST! TRUE LOVE BRINGS OUT THE BEST! Kristoff looks over at Anna. She actually looks shockingly beautiful dressed in moss, lit by shimmering crystals. EVERYONE'S A BIT OF A FIXER UPPER, THAT'S WHAT IT'S ALL ABOUT FATHER, SISTER, BROTHER WE NEED EACH OTHER TO RAISE US UP AND ROUND US OUT By this time Kristoff and Anna are being ushered into a pit by the sheer force of numbers. EVERYONE'S A BIT OF A FIXER UPPER, BUT WHEN PUSH COMES TO SHOVE- THE ONLY FIXER UPPER FIXER THAT CAN FIX A FIXER UPPER IS TRUE TRUE TRUE TRUE LOVE During this last bit Anna and Kristoff are looking at each other differently. Hmmm. Maybe those trolls are right? Sparks! Chemistry!
TROLL PRIEST
Do you, Anna, take Kristoff to be your trollfully wedded--
ANNA
Wait, what?!
TROLL PRIEST
You're getting married.
LOVE! Just then, Anna collapses. Kristoff catches her. She's shivering something fierce.
KRISTOFF
Anna?
He pulls off her cape and hat.
KRISTOFF
She's as cold as ice.
Just then Grand Pabbie pushes his way through the crowd. Trolls clear the way for Pabbie. He stops at the edge of the pit.
GRAND PABBIE
There's strange magic here!
KRISTOFF
Grand Pabbie!
GRAND PABBIE
Bring her to me, Kristoff.
Kristoff helps Anna over. Pabbie looks into her weak eyes.
GRAND PABBIE
Anna, your life is in danger. There is ice in your heart, put there by your sister. If not removed, to solid ice will you freeze, forever.
ANNA
What...? No.
KRISTOFF
So remove it, Grand Pabbie.
GRAND PABBIE
I can't. If it was her head, that would be easy. But only an act of true love can thaw a frozen heart.
ANNA
An act of true love?
BULDA
(googley, to her hubby)
A true love's kiss, perhaps?
A bunch of trolls give each other kisses. Anna shivers again, collapsing into Kristoff's arms. More of her hair turns white.
KRISTOFF
Anna, we've got to get you back to Hans.
ANNA
(still weak)
...Hans.
KRISTOFF
Help us out, Sven.
Kristoff grabs Sven's antlers. Sven pulls them out. Kristoff helps Anna onto Sven and hops up behind her.
KRISTOFF
Come on, Olaf!
Sven takes off. Olaf grabs Sven's tail, rides with them.
OLAF
I'm coming! Let's go kiss Hans! Who is this Hans?!
CUT TO:
EXT. ELSA'S PALACE - DAWN
Hans and the men tread cautiously towards the castle.
HANS
We are here to find Princess Anna. Be on guard, but no harm is to come to the Queen. Do you understand?
The Duke's thugs exchange a look. Suddenly, a mass of snow rises from the ground behind Hans. It's Marshmallow, Elsa's snow guard.
MARSHMALLOW
Go away!
He slams a fist inches from Hans. Hans deftly dodges out of the way. All of the guards take up arms against Marshmallow, who quickly knocks them over. Marshmallow throws down a guard and his horse, who topple over Hans. Marshmallow raises his foot to stomp on Hans, but Hans barrel-rolls himself to safety. He sees his sword, leaps, and grabs it. Just then, Elsa peeks out the front doors. The Duke's two thugs see her.
DUKE'S THUG
The Queen.
The thugs charge up the stairs.
INT. ELSA'S PALACE - DAY
They guards burst through the ice doors. Elsa flees to the top floor of her palace. The guards pursue. They trap her on the top floor, raise their crossbows.
ELSA
(scared)
No. Please.
One of the thugs shoots an arrow right at Elsa. At the last moment she creates an ice wall. It stops the arrow, inches from her face. The thugs reposition to take another shot.
ELSA
Stay away!
Elsa shoots ice at the thugs. They duck out of the way and continue the attack.
THUG
Get her! Get her!
Elsa fights for her life. BACK OUTSIDE: Hans is nearly crushed by Marshmallow. He rolls away. Jumps to his feet. And with agile might, he slices Marshmallow's leg off with his sword. Marshmallow stumbles back, off balance. And falls off over the cliff, but not before striking Hans. Hans goes over the edge. REVEAL: Hans clings to the ice steps. His men help him up and they rush into the ice palace.
INT. ICE PALACE - DAY
Elsa is surrounded. It's do or die. In two swift moves, Elsa traps one thug in a cage of spikes that threaten his neck. The other she pushes back with a wall of ice....up against the balcony doors...which BURST and CRACK. OUT ONTO THE BALCONY.... The balcony doors shatter. The thug is pushed to the edge. He's inches away from falling to his death. BACK INSIDE: Hans and his men run in. See the destruction and the thugs near death.
HANS
Queen Elsa! Don't be the monster they fear you are.
Elsa snaps out of her rage. She sees the men, frightened, moments from death. She stops. Elsa looks to Hans, overwhelmed, frightened. The wall retreats from the thug on the balcony. The ice spikes lower from the second thug's neck. He takes advantage and aims his crossbow at Elsa's back. Seeing it. Hans runs and pushes the crossbow up just as the arrow releases. The arrow hits the ice chandelier, hanging directly above Elsa. The chandelier comes CRASHING DOWN. Elsa dives out of the way but she falls in the blast. All we see is ice smashing like glass, and all we hear is the sound of it shattering as it rings out. CUT TO BLACK.: FADE IN ON: Elsa's face as her eyes flutter open. She sits up. She's surrounded by stone.
INT. ARENDELLE, DUNGEON - DAY
Elsa looks to the nearby window. Tries to rush to it. She's pulled taut by giant shackles that fit like iron gloves. She's chained to the wall. Elsa strains to looks out a window... INSET WINDOW: Arendelle is outside, frozen solid and getting further buried under the ice and snow that is falling.
ELSA
No....What have I done?
Hans enters. He hangs a torch by the door.
ELSA
Why did you bring me here?
HANS
I couldn't just let them kill you.
ELSA
But I'm a danger to Arendelle. Get Anna.
HANS
Anna has not returned....
Elsa looks to the storm with worry.
HANS
If you would just stop the winter, bring back summer...please.
Elsa meets his eyes, desperate.
ELSA
Don't you see...I can't.
Hans sees the sincerity in her eyes.
ELSA
You have to tell them to let me go.
Hans walks to the door. He takes the torch.
HANS
I will do what I can.
He opens the door and leaves. Elsa, distraught, hears cracking. She looks down as her shackles begin to freeze over. The storm outside picks up. CUT TO:
EXT. THE FJORDS - DAY
Sven charges down the mountain with Kristoff and Anna on his back. Olaf slides along beside them, penguin-style. Anna shivers in Kristoff's arms. She's weakening. Kristoff takes off his hat and puts it on her head.
KRISTOFF
Just hang in there.
(to Sven)
Come on, buddy, faster!
They arrive at the walls of Arendelle. Olaf slides past them, out of control.
OLAF
I'll meet you guys at the castle!
KRISTOFF
Stay out of sight, Olaf!
OLAF
I will!
He disappears into the village streets.
OLAF (O.S.)
Hello!
TOWNSWOMAN (O.S.)
Ah! It's alive!
CUT TO:
EXT. CASTLE COURTYARD - DAY
Guards see Kristoff and Anna approaching.
GUARD
It's Princess Anna!
Sven skids to a stop outside the gates. Kristoff slides off, holding Anna, and carries her to the gate.
KRISTOFF
I've got you.
Anna looks up at him, gratefully.
ANNA
...Are you g-gonna be okay?
KRISTOFF
(touched, reassuring)
Don't worry about me.
Just then the castle gates open. Gerda, Kai, and a handmaid rush to help Anna.
GERDA
Anna! Oh, you had us worried sick.
KAI
My Lady. You are freezing.
GERDA
You poor girl, you're freezing. Let's get you inside.
KRISTOFF
Get her warm and find Prince Hans, immediately.
KAI
We will. Thank you.
Anna is swept away from Kristoff and into the palace grounds.
KRISTOFF
Make sure she's safe!
Kristoff is shut out as the castle gates close on him. Kristoff stands there with Sven for a beat, staring with worry at the closed gates. Finally, he sighs, turns and walks off. Sven reluctantly follows. CUT TO:
INT. LIBRARY - DAY
Hans stands with the dignitaries and guards.
HANS
I'm going back out to look for Princess Anna.
FRENCH DIGNITARY
You cannot risk going out there again.
HANS
If anything happens to her--
SPANISH DIGNITARY
If anything happens to the Princess, you are all Arendelle has left.
Hans hesitates, realizing how much this kingdom has come to depend on him. Is he really all they have left? Just then the door opens and Gerda and Kai bring in Anna.
KAI
He's in here. Prince Hans.
HANS
Anna.
Hans rushes to Anna. She falls into his arms.
HANS
You're so cold.
ANNA
(weak, but desperate)
Hans, you have to kiss me.
HANS
What?
ANNA
Now. Here we go.
She tries to kiss him, but is too weak to pull herself up in his arms.
GERDA
We'll give you two some privacy.
Everyone shuffles out, leaving Hans and Anna alone.
HANS
What happened out there?
ANNA
Elsa struck me with her powers.
HANS
You said she'd never hurt you.
ANNA
I was wrong.
Anna crumbles, weak.
HANS
Anna.
Hans carries her to a couch, sets her down.
ANNA
(shivering more)
She froze my heart and only an act of true love can save me.
HANS
(understanding)
A true love's kiss.
He takes her chin in his hand and gives her a tender smile. He leans in slowly...gently... Then he stops.
HANS
Oh, Anna. If only there was someone out there who loved you.
ANNA
What?
Hans gets up, leaving her there.
ANNA
...You said you did.
He goes to the window and shuts the curtains.
HANS
As thirteenth in line in my own kingdom, I didn't stand a chance. I knew I'd have to marry into the throne somewhere--
ANNA
What are you talking about?
HANS
(putting out the candles)
As heir, Elsa was preferable, of course. But no one was getting anywhere with her. But you-
ANNA
Hans?
HANS
You were so desperate for love you were willing to marry me, just like that.
Hans crosses the room, grabs a pitcher of water from a table and goes to the fireplace.
HANS
I figured, after we married, I'd have to stage a little accident for Elsa.
Hans pours the water on the fireplace, putting out the fire. Anna tries to stop him. She falls to the floor, weak.
ANNA
Hans. No, stop.
HANS
But then she doomed herself, and you were dumb enough to go after her.
ANNA
Please.
HANS
(chuckles)
All that's left now is to kill Elsa and bring back summer.
Hans approaches Anna.
ANNA
...You're no match for Elsa.
He bends down, takes her chin in his hand again, this time not so gently.
HANS
No, you're no match for Elsa. I, on the other hand, am the hero who is going to save Arendelle from destruction.
She wrenches her face out of his hands.
ANNA
(anger)
You won't get away with this.
Hans rises and crosses to the door.
HANS
Oh, I already have.
Hans leaves and shuts her in, locking the door. Anna struggles to the door, yanks on the locked handle.
ANNA
(hoarse and weak)
Please, somebody help.
The rest of her hair turns white and she crumbles to the floor. CUT TO:
INT. COUNCIL CHAMBER - NIGHT
The Duke looks out the window at the growing snowstorm. He rubs his arms and shivers.
DUKE
It's getting colder by the minute. If we don't do something soon, we'll all freeze to death.
Hans comes in, putting on his most distraught face.
SPANISH DIGNITARY
Prince Hans.
HANS
Princess Anna is...dead.
VARIOUS DIGNITARIES
What...? No.... Mon dieu.
Hans stumbles, weak with grief. The men help him to a chair.
DUKE
What happened to her?
HANS
She was killed by Queen Elsa.
DUKE
Her own sister.
HANS
(really putting it on)
At least we got to say our marriage vows...before she died in my arms.
He bows his head in a brilliant display of teary grief.
DUKE
There can be no doubt now; Queen Elsa is a monster and we are all in grave danger.
SPANISH DIGNITARY
Prince Hans, Arendelle looks to you.
Hans nods; he knows what he's being asked to do, and he'll do it with the perfect amount of authority and gravitas.
HANS
With a heavy heart, I charge Queen Elsa of Arendelle with treason and sentence her to death.
INT. ELSA'S DUNGEON - DAY
The cell ices over. Elsa looks out at the storm that is devastating Arendelle, then hears the guards approaching.
GUARD (O.S.)
She's dangerous. Move quickly and with resolve.
Elsa pulls at her shackles. They crack. Just as the door busts open, the weight of the ice crumbles the walls. The men duck out of the way. Hans pushes his way into the room...sees... The back wall is blown open. Broken shackles rest on the floor. Elsa is gone. CUT TO:
EXT. MOUNTAIN SLOPE - DAY
Kristoff heads into the mountains. Sven lags behind, not wanting to follow. He looks back at the kingdom, then shakes his head. Enough. He runs past Kristoff. Stops and turns to face him. He snorts and grunts.
KRISTOFF
What is it, buddy?
Sven nudges Kristoff with his antlers.
KRISTOFF
Hey, watch it. What's wrong with you?
Sven snorts with more conviction, moos, brays.
KRISTOFF
(avoiding)
...I don't understand you when you talk like that.
Kristoff tries to walk on ahead, but Sven uses his antlers to lift Kristoff off the ground.
KRISTOFF
Ah! Stop it! Put me down!
Sven drops him hard then "yells" at him once more.
KRISTOFF
No, Sven! We're not going back!
Sven shakes his head, angrily.
KRISTOFF
She's with her true love.
Sven makes an "of-course-she-isn't" face. Kristoff gets it; he's made his point. Just then the wind picks up. Kristoff looks back at the kingdom. Sees a violent winter storm swirling over the castle. Sharp ice claws its way up the castle, encasing it.
KRISTOFF
Anna.
Without hesitating, he dashes back down the mountain. Sven runs after him, catches up. Kristoff grabs Sven's harness and jumps onto his back. CUT TO:
INT. LIBRARY - NIGHT
Anna shivers by the door. She looks up to see ice overtaking the ceiling. The door handle suddenly jiggles. Stops. Jiggles again.
ANNA
(barely a whisper)
Help.
CLICK. The door swings open. We see a carrot in the lock and hear a giggle of victory. Olaf takes the carrot, puts it back on his face. Then he sees Anna lying there.
OLAF
Anna. Oh no.
He runs to the fireplace. Throws in some fresh wood, including one of his own arms, which he quickly rescues, before striking a match and relighting the fire.
ANNA
Olaf? Olaf. Get away from there.
OLAF
Whoa! So this is heat....
(considering)
I love it.
He reaches a twig finger toward the flames. It catches on fire.
OLAF
Ooh! But don't touch it!
He shakes the flame out, as he rushes over to help Anna to the fire.
OLAF
So, where's Hans? What happened to your kiss?
ANNA
I was wrong about him. It wasn't true love.
OLAF
(confused innocence)
Huh. But we ran all the way here?
ANNA
Please Olaf, you can't stay here; you'll melt.
OLAF
I am not leaving here until we find some other act of true love to save you.
He sits down behind her, stubbornly. Leans his back against hers and thinks.
OLAF
...Do you happen to have any ideas?
ANNA
I don't even know what love is.
OLAF
(confident)
That's okay, I do....
Olaf hops back up and puts a soothing hand on her shoulder.
OLAF
Love is...putting someone else's needs before yours, like, you know, how Kristoff brought you back here to Hans and left you forever.
ANNA
...Kristoff loves me?
OLAF
Wow, you really don't know anything about love, do you?
His face starts to melt.
ANNA
Olaf, you're melting.
OLAF
(sweet and reassuring)
Some people are worth melting for.
But then...his face REALLY melts. He panics, pushes the snow back in place.
OLAF
Just maybe not right this second.
Suddenly, the window blows open, cold wind sweeps in.
OLAF
Don't worry, I've got it!
Olaf flitters to the window. He pulls one panel of it shut but struggles with the second panel.
OLAF
(determined)
We're going to get through--
(distracted)
Oh, wait. Hang on. I'm getting something.
He breaks an icicle off the window, uses it as a telescope and sees... Kristoff and Sven running back down the mountain.
OLAF
It's Kristoff and Sven! They're coming back this way.
ANNA
...They-they are?
OLAF
Wow, he's really moving fast. Huh.... I guess I was wrong. I guess Kristoff doesn't love you enough to leave you behind.
Anna tries to get to her feet.
ANNA
Help me up, Olaf. Please.
He hurries over, tumbling over the couch, knocking over the chess set and water jugs.
OLAF
No, no, no, no, no. You need to stay by the fire and keep warm.
ANNA
I need to get to Kristoff.
OLAF
(clueless)
Why...?
(realizing)
Oh, oh, oh, I know why.
He hops around in an excited display of hope.
OLAF
There's your act of true love, right there, riding across the fjords like a valiant, pungent reindeer king! Come on!
The walls crack under the ice pressure.
OLAF
Look out!
They rush out the room just as the ceiling collapses.
INT. CASTLE HALLWAY - DAY
Anna and Olaf struggle down the hall. Ice spikes grow and block their path.
OLAF
We're trapped.
Anna looks around desperately for a way out.
EXT. FJORD - DAY
Elsa runs, but is nearly blinded by the snow and wind.
EXT. CASTLE - DAY
Anna and Olaf bust open a window. The storm is so strong it sweeps the window panes away.
OLAF
Slide, Anna.
It's a long, snowy way down. But what choice do they have? They slide down the iced-covered building. Anna arrives at the bottom, weak but uninjured. Olaf gathers snow along the way. He arrives at the bottom as a giant snowball.
OLAF
We made it!
He shakes off the extra snow as Anna struggles to her feet.
EXT. FJORD - DAY
Kristoff and Sven bound off the mountain and sprint across the frozen fjord waters and right into the heart of the storm. Its white-out wind pushes them back. But they fight through.
KRISTOFF
Come on, buddy, faster.
CUT TO: Anna and Olaf reach the shore of the fjords.
ANNA
Kristoff!
The wind lifts Olaf up and pulls him apart. He goes swirling off into the storm.
OLAF
Keep going, Anna!
Anna struggles on.
ANNA
Kristoff!
PAN TO: Kristoff rides Sven past cracking, frozen ships. Sven struggles over the uneven surface.
KRISTOFF
Come on! Come on!
Suddenly, a mangled ship, risen by ice, capsizes over them. They give it all they've got as debris falls all around them and the mast shatters. They make it past just as the entire ship slams down and cracks the thick ice beneath their feet. The ice opens up. Sven bravely jumps over a gap. But it's too wide. He bucks Kristoff to safety, but lands in the freezing water and disappears below.
KRISTOFF
Sven? Sven!
At first there's nothing but the wind and the tumbling icy water. But suddenly, Sven surfaces and claws his way to a floating ice chunk. He calls out, signalling for Kristoff to go on.
KRISTOFF
Good boy.
CUT TO: Anna moves blindly across the fjord. Anna's hands frost over an icy blue. She stumbles on, determined. But she's running out of time. She clutches her chest. The color in her eyes fades, the inevitable is coming. CUT TO: Kristoff, lost in the white-out, doesn't know which way to turn. But then he hears a faint--
ANNA (O.S.)
Kristoff.
KRISTOFF
Anna...? Anna!
WHITE OUT TO: Elsa struggles through her own storm, but the fear is consuming her. A dark shadow approaches. It's Hans.
HANS
Elsa. You can't run from this!
Elsa backs away from him.
ELSA
...Just take care of my sister.
HANS
Your sister? She returned from the mountain weak and cold. She said you froze her heart.
ELSA
What? No.
HANS
I tried to save her, but it was too late. Her skin was ice. Her hair turned white...
Elsa's face sinks as she realizes what she has done.
HANS
Your sister is dead... because of you.
Elsa drops to her knees, emotionally broken. And with that, the swirling storm suddenly stops. The snow freezes mid-air, hangs suspended, trapped in grief. Citizens and dignitaries rush to the wall's edge and look out to see... Anna, barely able to move but now able to see across the fjords to...
ANNA
(a whisper)
Kristoff.
KRISTOFF
Anna.
Anna pushes on towards Kristoff. He runs top speed towards her. There's still a lot of fjord to cross, but Kristoff is giving it all he's got. He's going to make it. But then, Anna hears the sound of a sword being drawn from its scabbard. She turns and sees Hans, behind Elsa, as he raises his sword over his head.
ANNA
Elsa.
Anna looks back at Kristoff as he runs for her. She gives him a longing look, but then turns away from him and then... Using all of her remaining strength, as Hans brings his sword down, Anna throws herself in front of Elsa.
ANNA
No!
In that instant, Anna freezes to solid ice. The sword hits her instead of Elsa. The sword shatters completely. The force of it sends Hans flying back and knocks him out.
ELSA
Anna!
Elsa rushes to Anna and touches her sister's frozen face.
ELSA
Oh, Anna...no...no, please no.
Olaf walks up and sees Anna, frozen.
OLAF
(confused, sad)
Anna?
Elsa hugs Anna and cries. Kristoff watches in shocked despair. Sven steps up to his side. Citizens and dignitaries on the castle walls bow their heads. All of Arendelle is joined in somber silence. But then, Anna warms. She begins to thaw. Olaf looks up and gasps. Kristoff and Sven notice, light up. Anna bends her arm and embraces Elsa.
ELSA
Wha-? Anna?
Anna opens her eyes. She smiles at Elsa, relieved.
ANNA
Oh, Elsa.
They embrace.
ELSA
...You sacrificed yourself for me?
ANNA
(weak)
...I love you.
Olaf realizes what's happened. He's so excited about it, he lifts his head right off his body and exclaims--
OLAF
An act of true love will thaw a frozen heart.
ELSA
(processing)
Love...will thaw...
(realizing)
Love.... Of course.
Elsa looks at Anna with confidence.
ANNA
Elsa?
ELSA
Love.
Elsa lifts her arms, and the ground shakes and cracks. The ice and snow breaks away and rises high into the air. Beneath their feet the bow of a ship thaws. The entire fjord melts and other boats right themselves. The villagers come out to see the warmth returning. In one final wave, Elsa draws all of the snow into a giant snowflake in the sky, then waves it away, leaving only a warm summer day.
ANNA
I knew you could do it.
OLAF
(melting, good-naturedly)
Hands down, this is the best day of my life...and quite possibly the last.
ELSA
Oh, Olaf. Hang on, little guy.
Elsa waves her hand and surrounds Olaf with a swirl of cold air. He refreezes. Above his head she leaves a little, perpetually-snowing storm cloud. Olaf loves it.
OLAF
Hey, my own personal flurry.
Kristoff sees Hans trying to get to his feet. He marches toward him, prepared for a fight. But Anna puts up a hand and stops him.
ANNA
Uh. Uh. Uh.
She'll handle this. She goes over to Hans.
HANS
(confused)
Anna? But she froze your heart.
ANNA
The only frozen heart around here is yours.
She turns away from him, proud of her words. But not yet satisfied, she turns back and punches him right in the face.
HANS
Ah! Whoa, whoa, whoa!
He falls overboard. Elsa comes over to Anna and hugs her. Over her shoulder, Kristoff meets Anna's eyes. She smiles brighter, happy. DISSOLVE TO:
EXT. ARENDELLE - DAY
It's a beautiful summer day. The mighty ships have been repaired and are sailing away. On one of the ships, HANS is thrown into a brig.
FRENCH DIGNITARY
(to Kai)
I will return this scoundrel to his country. We shall see what his twelve big brothers think of his behavior.
KAI
Arendelle thanks you, my Lord.
Down on the dock, Arendelle guards lead the Duke and his two thugs to their ship.
DUKE
This is unacceptable. I am innocent. I'm a victim of fear. I've been traumatized.
(bad acting)
Ow! My neck hurts. Is there a doctor I could...No? And I demand to see the Queen!
Kai steps down from the gangplank to the dock.
KAI
I have a message from the Queen.
(reading a scroll)
Arendelle will henceforth and forever no longer do business of any sort with Weaseltown.
DUKE
Weselton. It's Weselton!
The guards usher him and his thugs onto their ship.
EXT. VILLAGE SQUARE - DAY
Anna runs through the crowd, pulling a blindfolded Kristoff along behind her. She's so excited she can't stand it.
ANNA
Come on. Come on. Come on. Come on!
She runs him right into a pole.
KRISTOFF
Pole.
ANNA
Oops. Sorry.
EXT. ARENDELLE DOCKS - DAY
Anna skips to the perfect spot and stops.
ANNA
(stopping)
Okay. Okay. Here we are.
She takes off the blindfold. Kristoff opens his eyes. Before him sits the most beautiful, suped-up sled. Sven poses in front of it -- Vanna White-style.
ANNA
I owe you a sled.
KRISTOFF
(blown away)
Are you serious?
ANNA
Yes. And it's the latest model.
KRISTOFF
No. I can't accept this...
ANNA
You have to. No returns. No exchanges. Queen's orders. She's named you the official Arendelle Ice Master and Deliverer.
Sven shows off the Ice-Master-and-Deliverer medal like he's king of the bucks.
KRISTOFF
What? That's not a thing.
But he can't help but admire her enthusiasm.
ANNA
Sure it is. And it even has a cup holder.... Do you like it?
KRISTOFF
Like it?
He sweeps her up high overhead and spins her around.
KRISTOFF
I love it.... I could kiss you!
He drops her, suddenly embarrassed.
KRISTOFF
...I could. I mean I'd like to. I'd... may I? We me....I mean, may we? Wait, what?
She gives him a quick kiss on the cheek.
ANNA
We may.
He smiles and goes for it. It's a true love's kiss, alright. We move past them to find Olaf enjoying the summer. With his snow cloud safely overhead, he's free to smell the flowers, which he does. Then sneezes his carrot nose off. Sven catches it between his teeth. Olaf gasps as Sven sucks the whole carrot into his mouth. It's gone. Olaf's face sinks in sadness. But not to fear, Sven spits the carrot back out and jams it into Olaf's face where it belongs. It's completely covered in reindeer spit, but Olaf doesn't seem to mind. He hugs Sven happily. CUT TO:
EXT. CASTLE COURTYARD - DAY
The gates to the castle are wide open. In the courtyard, stands Elsa.
ELSA
Are you ready?
Villagers cheer. Elsa stops and creates an ice rink. The people, skates at the ready, hope onto it and twirl about. Elsa then freezes the fountain in a beautiful design and adds some snow flurries for atmosphere. Anna comes slipping in. Elsa catches her.
ANNA
I like the open gates.
ELSA
We are never closing them again.
Elsa then waves her hand and magical ice skates (literally made of ice) form on Anna's boots.
ANNA
What? Oh, Elsa, they're beautiful, but you know I don't ska--
Elsa grabs Anna's hands and pulls her along on the ice. Anna slips and slides, but laughs in delight. Sven goes slipping past. Kristoff runs after him.
KRISTOFF
Look out. Reindeer coming through!
Olaf skates and helps Elsa coach Anna.
OLAF
That's it. Glide and pivot and glide and pivot.
We pull away slowly, into the sky. We arrive at a bird's-eye view to see that where the castle had crumbled has been repaired with a ice. All is right in Arendelle. FINAL FADE OUT.:
THE END
|
Final Shooting Draft by Jennifer Lee
9/23/13
Property of the Walt Disney Animation Studios
OPEN ON: ICE. We're underwater looking up at it. A saw cuts through, heading right for us.
EXT. SNOW-CAPPED MOUNTAINS - DUSK
ICE HARVESTERS, dressed in traditional Sami clothing, score a frozen lake. They SING. "The Frozen Heart (Ice Worker's Song)" BORN OF COLD AND WINTER AIR AND MOUNTAIN RAIN COMBINING, THIS ICY FORCE BOTH FOUL AND FAIR HAS A FROZEN HEART WORTH MINING. The men drag giant ice blocks through channels of water. CUT THROUGH THE HEART, COLD AND CLEAR. STRIKE FOR LOVE AND STRIKE FOR FEAR. SEE THE BEAUTY SHARP AND SHEER. SPLIT THE ICE APART! AND BREAK THE FROZEN HEART. Hup! Ho! Watch your step! Let it go! A young Sami boy, KRISTOFF (8), and his reindeer calf, SVEN, share a carrot as they try to keep up with the men.
ICE HARVESTERS
Hup! Ho! Watch your step! Let it go!
Young Kristoff struggles to get a block of ice out of the water. He fails, ends up soaked. Sven licks his wet cheek. BEAUTIFUL! POWERFUL! DANGEROUS! COLD! ICE HAS A MAGIC CAN'T BE CONTROLLED. A sharp ice floe overtakes the workers, threateningly. They fight it back. STRONGER THAN ONE, STRONGER THAN TEN STRONGER THAN A HUNDRED MEN! Massive fjord horses drag heavy ice plows. BORN OF COLD AND WINTER AIR AND MOUNTAIN RAIN COMBINING The sun sets. Lanterns are lit. THIS ICY FORCE BOTH FOUL AND FAIR HAS A FROZEN HEART WORTH MINING. CUT THROUGH THE HEART, COLD AND CLEAR. In the dark, Kristoff and Sven finally manage to get a single block of ice out of the water. STRIKE FOR LOVE AND STRIKE FOR FEAR. THERE'S BEAUTY AND THERE'S DANGER HERE. SPLIT THE ICE APART! BEWARE THE FROZEN HEART. The workers pile onto the giant horse-drawn ice sled as it pulls away. Left behind, Kristoff and Sven push their ice block onto a dinky little sled then head off. We sweep up from them to the Northern Lights filling the sky...then move across the mountains...beneath the snowline...and descend upon...
EXT. THE KINGDOM OF ARENDELLE - NIGHT
A humble castle, built of wood, nestled in a deep fjord.
INT. CASTLE, NURSERY - NIGHT
ELSA (8) sleeps in her bed. Her little sister ANNA (5) pops up beside her.
YOUNG ANNA
Elsa. Psst. Elsa! Psst.
Elsa doesn't stir. Anna sits on Elsa and bounces.
YOUNG ANNA
Wake up. Wake up. Wake up.
YOUNG ELSA
(grumbling)
Anna, go back to sleep.
Anna rolls onto her back and spreads all her weight on Elsa.
YOUNG ANNA
(drama queen-ish)
I just can't. The sky's awake, so I'm awake, so we have to play.
YOUNG ELSA
...Go play by yourself.
Elsa shoves Anna off the bed. Anna lands butt to floor, sighs, defeated. But then she gets an idea. She hops back on the bed and lifts one of Elsa's eyelids.
YOUNG ANNA
(mischievously)
Do you want to build a snowman?
Elsa's eyes both pop open. She smiles.
INT. CASTLE STAIRCASE - NIGHT
Anna, now wearing snow boots, pulls Elsa by the hand.
YOUNG ANNA
Come on, come on, come on, come on.
Elsa tries to shush her, but Anna's too excited.
INT. BALLROOM - NIGHT
The girls sneak into the ballroom. Elsa shuts the door.
YOUNG ANNA
Do the magic! Do the magic!
Elsa laughs and waves her hands together. Snowflakes suddenly burst forth and dance between her palms, forming a snowball. Elsa throws the snowball high into the air. Snow bursts out and flurries around the room. Anna dances about, catching flakes in her palms and mouth.
YOUNG ANNA
This is amazing!
YOUNG ELSA
Watch this!
Elsa stomps her little slippered foot and a layer of ice suddenly coats the floor, forming a giant ice rink. Anna slides off, laughing. PLAY MONTAGE: -Anna and Elsa roll giant snowballs and build a snowman together. Elsa moves his stick arms around.
YOUNG ELSA
(goofy voice)
Hi, I'm Olaf and I like warm hugs.
Anna jumps up and hugs him.
YOUNG ANNA
I love you, Olaf.
-Anna and Olaf appear to be dancing. REVEAL: Elsa is actually propelling them across the ice floor with her magic. -The girls slide down snowbanks together! -Anna fearlessly jumps off a snow peak into mid air.
YOUNG ANNA
Catch me!
Elsa makes another peak to catch Anna.
YOUNG ELSA
Gotcha!
Anna keeps jumping. Elsa keeps casting magic.
YOUNG ANNA
(jumping faster)
Again! Again!
YOUNG ELSA
(struggling to keep up)
Slow down!
Elsa suddenly slips. Her magic accidentally STRIKES Anna in the head. Anna tumbles down a snowbank and lands, unconscious. ANNA! Elsa runs to Anna and takes her in her arms. A streak of Anna's hair, where struck, turns white. MAMA! PAPA! The room around them fills with frightening ice spikes. The parents burst through the frozen door. GASP at the sight of the room.
KING
Elsa, what have you done? This is getting out of hand!
QUEEN
(seeing Anna)
Anna!
The King and Queen rush to Anna and take her in their arms.
ELSA
It was an accident. I'm sorry, Anna.
QUEEN
(about Anna)
She's ice cold.
KING
...I know where we have to go.
SLAM CUT TO:
INT. DARK ROOM - NIGHT
The King sifts through a shelf to find an ancient book inscribed with Old Norse runes. He opens the book, scrambles to a page with an ancient map.
EXT. ARENDELLE - NIGHT
Carrying the girls, the King and Queen ride their horses out of the kingdom. Snow streams from Elsa's hands, leaving a trail of ice behind them.
EXT. FJORD MOUNTAIN FOREST - NIGHT
A sleepy Kristoff and Sven travel alone through the dark woods. All of a sudden, the King and Queen race by with the girls, leaving the wake of ice.
KRISTOFF
Ice?
SLAM CUT TO:
EXT. BLACK MOUNTAINS - NIGHT
Kristoff rides Sven as they follow the trail of ice.
YOUNG KRISTOFF
Faster, Sven!
EXT. THE VALLEY OF THE LIVING ROCK - NIGHT
Kristoff hops off Sven at the edge of a deep valley. They hide behind a rock and peek out. Down below, the King holds a frightened Elsa. The Queen holds the still unconscious Anna.
KING
Please, help. My daughter!
Suddenly, a bunch of rocks tumble down the valley toward them. It looks as though they'll be crushed! But, luckily, the rocks stop at their feet. The rocks then unfold, revealing bright faces.
YOUNG KRISTOFF
Trolls...?
The rock in front of Kristoff "wakes up." Meet BULDA.
BULDA
Shush. I'm trying to listen.
She grabs Kristoff and Sven by hand and hoof and hugs them close. Sven licks her face and she eyes them both.
BULDA
Cuties. I'm gonna keep you.
Back below, the crowd parts for a troll as old as the Earth. They call him GRAND PABBIE. He approaches arthritically, but determined. He nods respectfully to the king.
GRAND PABBIE
Your Majesty.
(referring to Elsa)
Born with the powers or cursed?
KING
Born. And they're getting stronger.
Grand Pabbie motions for the Queen to bring Anna to him. She does. He examines her.
GRAND PABBIE
(about Anna)
You are lucky it wasn't her heart. The heart is not so easily changed, but the head can be persuaded.
KING
Do what you must.
GRAND PABBIE
I recommend we remove all magic, even memories of magic to be safe.... But don't worry, I'll leave the fun.
Grand Pabbie pulls out a glowing blue energy from Anna's head. We see her memories floating right above her. Grand Pabbie changes all of her magical memories to ordinary memories -- snowy play indoors with the girls in their nightgowns changes to outdoors on the winter fjords with the girls in winter gear. He puts the ordinary memories back in her head.
GRAND PABBIE
She will be okay.
YOUNG ELSA
But she won't remember I have powers?
KING
It's for the best.
PABBIE
Listen to me, Elsa, your power will only grow.
As he speaks, he conducts the Northern Lights to show a silhouette of an adult Elsa creating magical snowflakes.
PABBIE
There is beauty in your magic.... But also great danger.
The snowflakes turn to sharp spikes.
PABBIE (O.S.)
You must learn to control it.
In the Northern Lights display, the sharp spikes cause human figures to panic and attack Elsa.
PABBIE
Fear will be your enemy.
Elsa gasps and buries her face in the King's chest. The King wraps his arms around Elsa, protectively.
KING
No. We'll protect her. She can learn to control it. I'm sure.
Over the King's words we... DISSOLVE TO: -The Arendelle castle gates shutting.
KING (O.S.)
Until then, we'll lock the gates. We'll reduce the staff. We will limit her contact with people and keep her powers hidden from everyone... including Anna.
-The castle shutters close. -Anna sits on her bed as Elsa's furniture disappears. -Anna rushes to the hall to see Elsa shut the door to her new room. Anna watches, confused and sad. DISSOLVE TO:
INT. CASTLE WINDOW - DAY
We look out on a gentle snowfall. Little Anna skips up to the window. She lights up at the sight of the snow and rushes down the hall.
INT. HALLWAY, ELSA'S DOOR - DAY
Anna knocks on Elsa's door and SINGS. "Do You Want to Build a Snowman?" DO YOU WANT TO BUILD A SNOWMAN? COME ON LET'S GO AND PLAY. Anna peeks under the door. I NEVER SEE YOU ANYMORE. COME OUT THE DOOR. IT'S LIKE YOU'VE GONE AWAY. -INT. ANNA'S ROOM - Anna plays with two dolls, gives up, sad. WE USED TO BE BEST BUDDIES AND NOW WE'RE NOT. I WISH YOU WOULD TELL ME WHY. -ELSA'S DOOR. Anna peeks through the key hole. DO YOU WANT TO BUILD A SNOWMAN? -Anna calls through the keyhole. IT DOESN'T HAVE TO BE A SNOWMAN.
YOUNG ELSA (O.S.)
Go away, Anna.
YOUNG ANNA
(hearbroken)
..OKAY BYE.
-BEHIND THE DOOR - DAY. Elsa sits at the window looking out, longingly. Suddenly, her icy hands freeze the windowsill. -LATER. The King slips leather gloves onto Elsa's hands.
KING
The gloves will help.
He pats her gloved hand.
KING
See? You're good....
(starting their mantra)
Conceal it.
YOUNG ELSA
Don't feel it.
YOUNG ELSA & KING
Don't let it show.
-INT. HALLWAY, ELSA'S DOOR - DAY. Anna, now 9, knocks on Elsa's door. DO YOU WANT TO BUILD A SNOWMAN? -INT. HALLWAY - DAY. Alone, Anna rides a bicycle built for two in the hall by standing on the back seat. OR RIDE OUR BIKE AROUND THE HALL? I THINK SOME COMPANY IS OVERDUE... -INT. PORTRAIT ROOM - DAY. Anna runs around the portrait room, gaining momentum to flip over the arm of the couch. I'VE STARTED TALKING TO THE PICTURES ON THE WALLS. Anna lands PLOP on the cushions, then looks up at the painting above her of the courageous Joan of Arc.
ANNA (9)
Hang in there, Joan.
-INT. EMPTY LIBRARY - DAY. Looks like no one's around. IT GETS A LITTLE LONELY ALL THESE EMPTY ROOMS. But then we find Anna, laying at the base of the grandfather clock, playing with her braids, bored out of her mind. JUST WATCHING THE HOURS TICK BY. Anna's eyes follow the grandfather clock's pendulum. TICK TOCK. TICK TOCK. TICK TOCK. -INT. ELSA'S ROOM - NIGHT. Elsa (now 12) paces as she panics. The entire wall is frozen behind her.
ELSA (12)
I'm scared. It's getting stronger.
KING
Getting upset only makes it worse.
The King goes to hug her.
ELSA (12)
No. Don't touch me. I don't want to hurt you.
He and the Queen look at each other with alarmed sadness. -INT. LIBRARY - DAY. Anna, now a teenager, slides past Elsa's room without stopping. -INT. KING AND QUEEN'S QUARTERS - DAY. Anna runs into the room and throws herself into her parents' arms.
TEEN ANNA
See you in two weeks.
-INT. ELSA'S ROOM - DAY. Elsa curtsies in front of her parents, formally, not touching them.
TEEN ELSA
Do you have to go?
KING
You'll be fine, Elsa.
-EXT. DOCKS - DAY. The King and Queen leave on a ship. -EXT. ROUGH SEAS - NIGHT. Lightning flashes. The sea rages in a storm. The King and Queen's ship is lost in the waves. -INT. CASTLE - DAY. A portrait of the King and Queen is covered in mourning cloth. -EXT. CEMETERY - DAY. Anna looks small, standing before her people, beside burial stones. -INT. HALLWAY, ELSA'S DOOR. Anna, still in her mourning clothes, approaches and knocks.
ANNA
(singing)
Elsa? PLEASE I KNOW YOU'RE IN THERE PEOPLE ARE ASKING WHERE YOU'VE BEEN THEY SAY HAVE COURAGE AND I'M TRYING TO I'M RIGHT OUT HERE FOR YOU. PLEASE LET ME IN.
Anna slides down the door and sits with her head against it. WE ONLY HAVE EACH OTHER. IT'S JUST YOU AND ME. WHAT ARE WE GONNA DO? (weak, internal) DO YOU WANT TO BUILD A SNOWMAN? We move through the door... -INT. ELSA'S ROOM - DAY. Elsa is sitting in the exact same pose as Anna. Her bedroom is frozen with ice. Snowflakes hang in the air, suspended by grief. FADE OUT.:
EXT. THE KINGDOM OF ARENDELLE - MORNING
A new dawn rises over the fjords. Ships pull up to the docks. Guests pile out.
DOCK MASTER
Welcome to Arendelle!
A BOY tries to get away as his MOTHER tries to stuff him in his bunad jacket.
BOY
Why do I have to wear this?
MOTHER
Because the Queen has come of age. It's Coronation Day!
BOY
That's not my fault.
They pass the May Pole being raised and a Sami ice harvester chatting with his reindeer. We recognize them as Kristoff and Sven, all grown up. Sven hops around excitedly like a dog and nuzzles Kristoff's chest.
KRISTOFF
What do you want, Sven?
Kristoff leans in and speaks for Sven, as if he can.
KRISTOFF (AS SVEN)
Give me a snack.
KRISTOFF
What's the magic word?
KRISTOFF (AS SVEN)
Please!
Kristoff pulls a carrot out of his shirt pocket and hands it to Sven. Sven tries to bite the whole thing.
KRISTOFF
Hey, hey, hey! Share!
Sven takes a smaller bite. Kristoff then has a bite himself, not seeming to care that it's covered in reindeer slobber. We move on to PERSI and AGGIE, a super-excited couple who rush towards the castle.
PERSI
I can't believe they're finally opening up the gates!
AGGIE
And for a whole day! Faster, Persi!
They pass a tiny but menacing DUKE, who wears taps on his shoes to "enhance" his presence. Two THUG guards follow close behind him.
DUKE
Ah, Arendelle, our most mysterious trade partner. Open those gates so I may unlock your secrets and exploit your riches.
(catching himself)
...Did I just say that out loud?
We leave him and head down the bridge towards the castle gates, passing an Irishman and a Spanish Dignitary.
IRISHMAN
Oh, me sore eyes can't wait to see the Queen and the Princess. I bet they're absolutely lovely.
SPANISH DIGNITARY
I bet they are beautiful.
We move past them, to a particular castle window. CUT TO:
INT. CASTLE, ANNA'S BEDROOM - DAY
Anna, 18, snores. Drools. KNOCK. KNOCK.
KAI (O.S.)
Princess Anna...?
Anna sits up. She's got major bedhead. She coughs. Snorts. Pulls a hair from her mouth.
ANNA
...Huh? Yeah?
KAI (O.S.)
Sorry to wake you, ma'am but--
ANNA
No, you didn't. I've been up for hours.
She falls back asleep while sitting. She snores. Her head drops, startling her awake.
ANNA
Who is it?
KAI (O.S.)
It's still me, ma'am. Time to get ready.
ANNA
Ready for what?
KAI (O.S.)
Your sister's coronation, ma'am.
ANNA
My sister's cor-neration...
One eye opens enough to catch sight of her coronation dress. She bolts, wide awake in excitement.
ANNA
Coronation Day! Ha ha!
SLAM CUT TO:
EXT. CASTLE HALL - DAY
Anna bursts out of her room, wearing her coronation dress. She finishes pinning ribbons in her hair. Seeing the hustle and bustle of preparations, she can't help but SING. "For the First Time in Forever" THE WINDOW IS OPEN! SO'S THAT DOOR! I DIDN'T KNOW THEY DID THAT ANYMORE. WHO KNEW WE OWNED 8000 SALAD PLATES...? -Anna slides along the floor of the ballroom in her socks. FOR YEARS I HAVE ROAMED THESE EMPTY HALLS WHY HAVE A BALLROOM WITH NO BALLS? FINALLY, THEY'RE OPENING UP THE GATES! -She shakes hands with a suit of armor. Breaks it. Hides the evidence. THERE'LL BE REAL, ACTUAL PEOPLE - IT'LL BE TOTALLY STRANGE. BUT WOW AM I SO READY FOR THIS CHANGE! -Anna comes to a window and jumps out onto a window washer's pulley. She raises herself up to see the ships arriving. FOR THE FIRST TIME IN FOREVER, THERE'LL BE MUSIC, THERE'LL BE LIGHT. FOR THE FIRST TIME IN FOREVER, I'LL BE DANCING THROUGH THE NIGHT. -Anna walks through the garden and follows a family of geese. DON'T KNOW IF I'M ELATED OR GASSY, BUT I'M SOMEWHERE IN THAT ZONE 'CAUSE FOR THE FIRST TIME IN FOREVER, I WON'T BE ALONE. (speaking) I can't wait to meet everyone.... (GASP) What if I meet THE ONE? -Anna twists herself in a velvet drape like it's a gown. She acts like she looks gorgeous, but she looks ridiculous. TONIGHT, IMAGINE ME GOWN AND ALL- FETCHINGLY DRAPED AGAINST THE WALL. THE PICTURE OF SOPHISTICATED GRACE. -She notices the bust of a man across the room.
ANNA
(google-eyed)
I SUDDENLY SEE HIM STANDING THERE, A BEAUTIFUL STRANGER TALL AND FAIR. (mouth full of chocolate) I WANNA STUFF SOME CHOCOLATE IN MY FACE! -She grabs the bust of the man and swings it around. BUT THEN WE LAUGH AND TALK ALL EVENING, WHICH IS TOTALLY BIZARRE. NOTHING LIKE THE LIFE I'VE LED SO FAR. The bust goes flying and lands on the top of the cake. -Anna bursts into the portrait room, bounces on the furniture, and interacts with the paintings. FOR THE FIRST TIME IN FOREVER, THERE'LL BE MAGIC, THERE'LL BE FUN. FOR THE FIRST TIME IN FOREVER, I COULD BE NOTICED BY SOMEONE. AND I KNOW IT IS TOTALLY CRAZY TO DREAM I'D FIND ROMANCE. BUT FOR THE FIRST TIME IN FOREVER, AT LEAST I'VE GOT A CHANCE! -INT. LIBRARY. ELSA, now a very poised 21, watches out the window as the coronation guests arrive. DON'T LET THEM IN. DON'T LET THEM SEE. BE THE GOOD GIRL YOU ALWAYS HAVE TO BE. Elsa moves to a painting of her father's coronation. She takes off her gloves and mimics the painting by holding a candlestick and ornament in place of an orb and scepter. CONCEAL. DON'T FEEL. PUT ON A SHOW. MAKE ONE WRONG MOVE AND EVERYONE WILL KNOW. The candlestick and ornament ice over. Elsa gasps, slams them back down onto the table. She tries to reassure herself. BUT IT'S ONLY FOR TODAY. We cut between Anna's excitement and Elsa's nerves. IT'S ONLY FOR TODAY! IT'S AGONY TO WAIT. IT'S AGONY TO WAIT!!! TELL THE GUARDS TO OPEN UP THE GATE. THE GATE!!! -Finally, the gates are open! Anna moves through the crowd, admiring the people around her.
ANNA
FOR THE FIRST TIME IN FOREVER.
ELSA
DON'T LET THEM IN DON'T LET THEM SEE
ANNA
I'M GETTING WHAT I'M DREAMING OF
ELSA
BE THE GOOD GIRL YOU ALWAYS HAVE TO BE
ANNA
A CHANCE TO LEAVE MY SISTER'S WORLD A CHANCE TO FIND TRUE LOVE
ELSA
CONCEAL. CONCEAL. DON'T FEEL. DON'T LET THEM KNOW.
-Anna hurries over the bridge and into the village square. I KNOW IT ALL ENDS TOMORROW, SO IT HAS TO BE TODAY!! 'CAUSE FOR THE FIRST TIME IN FOREVER. . . FOR THE FIRST TIME IN FOREVER! NOTHING'S IN MY WAY!!! -Anna SLAMS right into the breast of a HORSE! She falls back and lands in a small wooden boat. It tips off of the dock. She's heading overboard. But just then, the horse slams his hoof into the boat and steadies it.
ANNA
(frustrated)
Hey!
HANS
I'm so sorry. Are you hurt?
The rider, HANS, sure is handsome and regal.
ANNA
(gentler)
Hey. I-ya, no. No. I'm okay.
HANS
Are you sure?
ANNA
Yeah, I just wasn't looking where I was going. But I'm okay.
He hops down from his horse and steps into the boat.
ANNA
I'm great, actually.
HANS
Oh, thank goodness.
He offers her a hand and their eyes meet. Chemistry. He helps her to her feet.
HANS
(bowing)
Prince Hans of the Southern Isles.
ANNA
(curtseying)
Princess Anna of Arendelle.
HANS
Princess...? My Lady.
He drops to his knees, head bowed. The horse bows too, curling his hoof up and out of the boat. The boat tips. Hans tumbles on top of Anna. Awkward.
ANNA
Hi...again.
The horse slams his foot back into the boat to stabilize it. Anna and Hans tumble the other way. Anna lands on top of him.
HANS
Oh boy.
ANNA
Ha. This is awkward. Not you're awkward, but just because we're-- I'm awkward. You're gorgeous.
(did she just say that?)
Wait, what?
Hans quickly gets to his feet and helps Anna up again.
HANS
I'd like to formally apologize for hitting the Princess of Arendelle with my horse...and for every moment after.
ANNA
No. No-no. It's fine. I'm not THAT Princess. I mean, if you'd hit my sister Elsa, that would be-- yeash! 'Cuz, you know...
(patting the horse)
Hello.
ANNA
(to Hans)
But, lucky you, it's-it's just me.
HANS
Just you?
Hans smiles, amused. She smiles back. The bells RING. She doesn't notice at first; she's too busy drinking in Hans's handsomeness.
ANNA
...The bells. The coronation. I-I-I better go. I have to...I better go.
She hurries off, stops, turns back. Gives Hans a little wave.
ANNA
Bye!
As she rushes off again, Hans waves back. The horse waves too, once again taking his hoof out of the boat.
HANS
Oh no.
The boat falls, with Hans in it. SPLASH! It lands upside down in the water. Hans raises it up off of him, gasping for air. CUT TO:
INT. CHURCH CHAPEL - DAY
Elsa stands at the alter. Anna stands off to one side. She peeks out to the audience. Hans waves at her from the pews. He's changed his clothes. The crown is placed on Elsa's head. The scepter and orb are presented to Elsa on a pillow. She slowly reaches for them.
BISHOP
(a whisper)
Your Majesty, the gloves.
Elsa hesitates. She breathes nervously, removes her gloves, places them on the pillow. Her hands shake. She takes the orb and scepter, then turns to the people.
BISHOP
(formal, in Old Norse)
Sehm hon HELL-drr IN-um HELL-gum AYG-num ok krund ee THES-um HELL- gah STAHTH, ehk teh frahm FUR-ear U- thear...
The scepter and orb start to freeze over.
BISHOP
...Queen Elsa of Arendelle.
CROWD
Queen Elsa of Arendelle.
Just in time. Elsa manages to set the orb and scepter back down on the pillow before anyone notices the ice. She picks up her gloves and slips them on. She made it. CUT TO:
INT. GREAT HALL - NIGHT
Springy music fills the Great Hall. Guests dance. Eat. Laugh. TRUMPETS SOUND.
KAI
(announcing)
Queen Elsa of Arendelle.
Elsa enters, poised and looking surprisingly content. She stands under a formal awning.
KAI
Princess Anna of Arendelle!
Anna runs into the room, waves awkwardly. Kai ushers her over to stand right next to Elsa.
ANNA
Here? Are you sure?
She and Elsa sneak awkward peeks at each other.
ELSA
...Hi.
ANNA
Hi me...? Oh. Um. Hi.
ELSA
...You look beautiful.
ANNA
Thank you. You look beautifuller. I mean, not fuller. You don't look fuller, but more beautiful.
ELSA
Thank you.
They look out at the celebration.
ELSA
So, this is what a party looks like?
ANNA
It's warmer than I thought.
ELSA
And what is that amazing smell?
They both close their eyes and inhale.
ANNA AND ELSA (TOGETHER)
...Chocolate.
Their eyes pop open. They laugh. Elsa looks back out at the party. Anna looks at Elsa. She wants to say so much, but she can't think of where to start. Just as she finds her way, Kai interrupts.
KAI
Your Majesty. The Duke of Weaseltown.
DUKE
Weselton. The Duke of Weselton.
(to Elsa)
Your Majesty, as your closest partner in trade, it seems only fitting that I offer you your first dance as queen.
The Duke does a funny flitter of his feet, a hitch-kick, and a deep bow.
DUKE
(whispers to himself)
One, two, three. Jump.
As he holds out his hand, head down, his toupee dips forward. Anna giggles. Elsa looks at Anna, stifles a giggle herself.
ELSA
(to the Duke)
Thank you...only I don't dance.
DUKE
(offended)
Oh...?
ELSA
But my sister does.
ANNA
What?
DUKE
Lucky you....
ANNA
Oh, I don't think--
The Duke grabs Anna's arm and yanks her away before she can protest.
DUKE
If you swoon, let me know, I'll catch you.
Anna looks back at Elsa, desperately.
ELSA
Sorry.
OUT ON THE DANCE FLOOR: The Duke showboats, but he's just awful. Anna tries to make the best of it.
DUKE
Like an agile peacock... CLUCK- CLUGGLE-CLUCK!
He lands on her feet.
ANNA
Ow. Ow.
DUKE
Speaking of, so great to have the gates open. Why did they shut them in the first place? Do you know the reason? Hmm?
He gets in her face, suspicious.
ANNA
...No.
DUKE
Oh, all right. Hang on. They don't call me the little dipper for nothing.
He dips Anna back. Elsa peeks through the crowd, can barely hold in her laughter. Anna shoots Elsa funny, help-me looks.
DUKE
(groove fully on)
Like a chicken...with the face of a monkey...I fly.
JUMP CUT TO: MOMENTS LATER... Anna limps back to Elsa.
DUKE (O.S.)
Let me know when you're ready for another round, M'Lady.
ELSA
Well, he was sprightly.
ANNA
(rubbing her sore feet)
Especially for a man in heels.
ELSA
Are you okay?
ANNA
(loving Elsa's attention)
I've never been better. This is so nice. I wish it could be like this all the time.
ELSA
(sincere)
Me too....
But then Elsa catches herself. She stiffens up, looks away.
ELSA
But it can't.
ANNA
Why not? If--
ELSA
It just can't.
Anna's smile drops. She tries not to get emotional.
ANNA
Excuse me for a minute.
She walks away. Elsa watches her go, saddened. Moving through the crowd, Anna gets bumped by a bowing man's butt. She falls. Just before she hits the floor, Hans catches her. He smiles perfectly.
HANS
Glad I caught you.
ANNA
Hans.
He smoothly sets his drink down on a passing tray. He lifts her up and leads her in a romantic dance. DISSOLVE TO: LATER: Anna and Hans drink and chat.
ANNA
I often had the whole parlor to myself to slide... Oops. Sorry.
She hits him in the face by mistake with her hand. He laughs. DISSOLVE TO: -THE CASTLE DOORS: Anna and Hans stroll out of the castle.
ANNA
...Your physique helps I'm sure.
DISSOLVE TO: -THE ROSE GARDEN... Hans notices her white streak.
HANS
(about her white streak)
What's this?
ANNA
I was born with it, although I dreamt I was kissed by a troll.
HANS
I like it.
EXT. BALCONY - NIGHT
Anna teaches Hans how to eat krumkake.
ANNA
Yeah, the whole thing! You got it.
They laugh as the krumkake crumbles in his face.
ANNA
Okay wait, wait. So you have how many brothers?
HANS
Twelve older brothers. Three of them pretended I was invisible... literally...for two years.
ANNA
That's horrible.
HANS
It's what brothers do.
ANNA
...And sisters. Elsa and I were really close when we were little. But then, one day she just shut me out, and I never knew why.
He takes her hand. Leans in close.
HANS
I would never shut you out.
ANNA
Okay, can I just say something crazy?
HANS
I love crazy.
"Love is an Open Door"
ANNA
(singing)
ALL MY LIFE HAS BEEN A SERIES OF DOORS IN MY FACE. AND THEN SUDDENLY I BUMP INTO YOU.
HANS
I was thinking the same thing, because like. . .
I'VE BEEN SEARCHING MY WHOLE LIFE TO FIND MY OWN PLACE. AND MAYBE IT'S THE PARTY TALKING, OR THE CHOCOLATE FONDUE. BUT WITH YOU- BUT WITH YOU, I FOUND MY PLACE. I SEE YOUR FACE. AND IT'S NOTHING LIKE I'VE EVER KNOWN BEFORE. They jump to the neighboring balcony and enter a door. They come out on top of one of the castle's towers. LOVE IS AN OPEN DOOR! LOVE IS AN OPEN DOOR! Cut to them sliding across an empty hallway in their socks. LOVE IS AN OPEN DOOR WITH YOU! WITH YOU! WITH YOU! WITH YOU! LOVE IS AN OPEN DOOR. They hop up on the castle roof and watch a shooting star. I MEAN IT'S CRAZY.
ANNA
What?
WE FINISH EACH OTHER'S- SANDWICHES!
HANS
That's what I was gonna say!
They slide down the back of the roof out of sight. We next find them strutting on a bridge ledge. I'VE NEVER MET SOMEONE- WHO THINKS SO MUCH LIKE ME.
BOTH (SPOKEN)
Jinx.. . .jinx again.
Are they doing the robot? No. They're imitating the mechanical figures on the clock tower. OUR MENTAL SYNCHRONIZATION CAN HAVE BUT ONE EXPLANATION, YOU- AND I- WERE- JUST- MEANT TO BE. Anna and Hans dance on top of the lighthouse and cast dancing shadows across the sails of ships in the docks. SAY GOODBYE- SAY GOODBYE- TO THE PAIN OF THE PAST. WE DON'T HAVE TO FEEL IT ANYMORE! LOVE IS AN OPEN- They play hide and seek amongst the stable doors. DOOR! LOVE IS AN OPEN DOOR! They climb to the waterfall looking out over the kingdom. Anna raises up her hands to frame the moon. Hans puts his hands on top of hers. Together their hands form a heart. LIFE CAN BE SO MUCH MORE- WITH YOU! WITH YOU! WITH YOU! WITH YOU! LOVE IS AN OPEN DOOR. DOOR.
HANS
Can I say something crazy...? Will you marry me?
ANNA
Can I just say something even crazier? Yes.
INT. BALL - NIGHT
Anna pushes through the crowd towards Elsa, Hans in tow.
ANNA
Oops! Pardon. Sorry. Can we just get around you there? Thank you. Oh, there she is. Elsa!
Elsa turns to Anna. Anna curtseys awkwardly.
ANNA
I mean...Queen.... Me again. Um. May I present Prince Hans of the Southern Isles.
HANS
(bowing)
Your Majesty.
Elsa gives a polite but reserved curtsey.
ANNA
We would like--
HANS
--your blessing--
ANNA
--of--
ANNA/HANS
--our marriage!
ELSA
Marriage...?
ANNA
Yes!
ELSA
I'm sorry, I'm confused.
ANNA
Well, we haven't worked out all the details ourselves. We'll need a few days to plan the ceremony. Of course we'll have soup, roast, and ice cream and then-- Wait. Would we live here?
ELSA
Here?
HANS
Absolutely!
ELSA
Anna--
ANNA
Oh, we can invite all twelve of your brothers to stay with us--
ELSA
What? No, no, no, no, no.
ANNA
Of course we have the room. I don't know. Some of them must--
ELSA
Wait. Slow down. No one's brothers are staying here. No one is getting married.
ANNA
Wait, what?
ELSA
May I talk to you, please. Alone.
Anna sees Hans's worried face. Hooks arms with him.
ANNA
No. Whatever you have to say, you- you can say to both of us.
ELSA
Fine. You can't marry a man you just met.
ANNA
You can if it's true love.
ELSA
Anna, what do you know about true love?
ANNA
More than you. All you know is how to shut people out.
ELSA
You asked for my blessing, but my answer is no. Now, excuse me.
HANS
Your Majesty, if I may ease your--
ELSA
(flustered)
No, you may not. And I-I think you should go.
Elsa walks away. As she passes the Royal Handler--
ELSA
The party is over. Close the gates.
ANNA
What? Elsa, no. No, wait!
Anna grabs Elsa's hand. She pulls off Elsa's glove. Elsa gasps, spins around and reaches for the glove in panic.
ELSA
Give me my glove!
Anna holds the glove away from Elsa.
ANNA
(desperate)
Elsa, please. Please. I can't live like this anymore.
Elsa fights tears.
ELSA
(weak)
...Then leave.
Elsa sees Anna's hurt face. It's too much. She can't hold it in. She turns and rushes away.
ANNA
(heartbroken)
...What did I ever do to you?!
The party goes silent as everyone watches the sisters.
ELSA
Enough, Anna.
ANNA
No. Why? Why do you shut me out?! Why do you shut the world out?! What are you so afraid of?!
ELSA
I said, enough!
Ice shoots from Elsa's hand, spikes across the floor! Guests cry out in shock, back away.
DUKE
(ducking behind his men)
...Sorcery. I knew there was something dubious going on here.
ANNA
Elsa...?
Elsa rushes out of the room. CUT TO:
EXT. COURTYARD - NIGHT
Elsa bursts out of the castle door. The CITIZENS CHEER!
CROWD
There she is. Your Majesty! Long live the Queen! Queen Elsa.... Come drink with us.
Elsa ducks through the crowd, holding her bare hand.
BOWING TOWNSMAN
Queen Elsa.
TOWNSWOMAN WITH BABY
Your Majesty? Are you all right?
Elsa backs away from the baby. She knocks into the fountain, grabs its edge. The waters freeze at her touch. GASPS of shock and fear sweep over the crowd. The Duke and thugs come out the door.
DUKE
There she is! Stop her!
ELSA
(to the Duke)
Please, just stay away from me. Stay away!
Magic accidentally shoots from her hand and turns the staircase into ice. The thugs and the Duke fall.
DUKE
Monster.... Monster!
The crowd panics. A snowstorm begins. Elsa flees. Anna runs out of the palace doors, carrying the glove.
ANNA
Elsa!
Hans follows closely behind her. GATES TO THE KINGDOM: Elsa runs out of the gates and down to the water's edge. The shoreline freezes under her feet. Anna calls to her from the gates.
ANNA
Elsa! Wait, please!
Elsa glances back at Anna, but turns away. She tentatively steps out onto the fjord. It freezes instantly. She breaks into a run, as the water freezes over with each step.
ANNA
Elsa, stop!
Anna rushes out onto the fjord ice, slips, falls.
HANS
Anna!
Hans rushes to Anna's side. Elsa reaches the far shore. She doesn't look back. She just scrambles into the mountains.
ANNA
No.
HANS
(shocked)
Look.... The fjord.
The ice spreads out until the entire fjord is frozen, locking the ships in place.
INT. CASTLE COURTYARD - NIGHT
Snow falls. Hans and Anna move through the panicking crowd.
CROWD WALLAH
Snow? It's...snow...in July.
HANS
...Are you all right?
ANNA
(in shock)
No.
HANS
Did you know?
ANNA
No.
Nearby, the Duke flutters about in fright.
DUKE
Look! It's snowing! It's snowing! The Queen has cursed this land! She must be stopped!
(to his thugs)
You have to go after her.
Anna rushes up to the Duke.
ANNA
Wait, no!
The Duke hides behind his thugs and points out at Anna.
DUKE
You! Is there sorcery in you, too? Are you a monster, too?
ANNA
No. No. I'm completely ordinary.
HANS
That's right she is...
(realizing how that sounds)
...in the best way.
ANNA
...And my sister's not a monster.
DUKE
She nearly killed me.
HANS
You slipped on ice.
DUKE
Her ice!
ANNA
It was an accident. She was scared. She didn't mean it. She didn't mean any of this.... Tonight was my fault. I pushed her. So I'm the one that needs to go after her.
DUKE
Yes. Fine. Do.
HANS
What?
ANNA
(to the Royal Handler)
Bring me my horse, please.
HANS
Anna, no. It's too dangerous.
ANNA
Elsa's not dangerous. I'll bring her back, and I'll make this right.
The Royal Handler brings Anna her horse and a cloak.
HANS
I'm coming with you.
ANNA
No, I need you here to take care of Arendelle.
He sees the desperation in her eyes.
HANS
...On my honor.
She throws on the cloak and hops right onto the horse, coronation dress and all.
ANNA
(to the crowd)
I leave Prince Hans in charge!
HANS
(before letting her go)
Are you sure you can trust her? I don't want you getting hurt.
ANNA
She's my sister; she would never hurt me.
She snaps the reins and rides out. Hans watches after her. The snow picks up and overtakes our view. We push through a blizzard...lose our way...then finds ourselves...
EXT. HIGH UP IN THE MOUNTAINS - NIGHT
Well above the snow-line, a small figure climbs the highest peak. It's Elsa. Finally, she stops, looks around. Catches her breath and sings... "Let It Go" THE SNOW GLOWS WHITE ON THE MOUNTAIN TONIGHT, NOT A FOOTPRINT TO BE SEEN. A KINGDOM OF ISOLATION AND IT LOOKS LIKE I'M THE QUEEN. THE WIND IS HOWLING LIKE THIS SWIRLING STORM INSIDE. COULDN'T KEEP IT IN, HEAVEN KNOWS I TRIED. . . DON'T LET THEM IN, DON'T LET THEM SEE, BE THE GOOD GIRL YOU ALWAYS HAVE TO BE. CONCEAL, DON'T FEEL, DON'T LET THEM KNOW. WELL, NOW THEY KNOW. Elsa takes off her glove and throws it into the air. LET IT GO. LET IT GO. CAN'T HOLD IT BACK ANYMORE. Elsa creates a snowman, just like the one she made with Anna when they were children. LET IT GO. LET IT GO. TURN AWAY AND SLAM THE DOOR. I DON'T CARE WHAT THEY'RE GOING TO SAY. LET THE STORM RAGE ON. THE COLD NEVER BOTHERED ME ANYWAY. Elsa lets her cape fly back into the wind. IT'S FUNNY HOW SOME DISTANCE MAKES EVERYTHING SEEM SMALL. AND THE FEARS THAT ONCE CONTROLLED ME CAN'T GET TO ME AT ALL. IT'S TIME TO SEE WHAT I CAN DO, TO TEST THE LIMITS AND BREAK THROUGH. NO RIGHT, NO WRONG, NO RULES FOR ME...I'M FREE! Elsa creates ice steps and climbs them. LET IT GO! LET IT GO! I AM ONE WITH THE WIND AND SKY. LET IT GO! LET IT GO! YOU'LL NEVER SEE ME CRY. HERE I STAND AND HERE I'LL STAY. Elsa slams her foot down and forms a giant snowflake. LET THE STORM RAGE ON.... In a flurry of creative release, she raises the snowflake on ice beams, builds walls, archways, a glistening chandelier, and an intricate ceiling that leaves the sky visible. MY POWER FLURRIES THROUGH THE AIR INTO THE GROUND. MY SOUL IS SPIRALING IN FROZEN FRACTALS ALL AROUND. AND ONE THOUGHT CRYSTALLIZES LIKE AN ICY BLAST- Standing firmly in her mighty ice palace, Elsa removes her crown and throws it. I'M NEVER GOING BACK, (back to resolve) THE PAST IS IN THE PAST! She takes down her hair and creates a new dress made of ice. LET IT GO! LET IT GO! AND I'LL RISE LIKE THE BREAK OF DAWN. LET IT GO! LET IT GO! The sun rises. Elsa struts onto out onto a balcony and into the light. She's free. THAT PERFECT GIRL IS GONE. HERE I STAND IN THE LIGHT OF DAY. LET THE STORM RAGE ON!! THE COLD NEVER BOTHERED ME ANYWAY. She turns and slams her ice palace door on us. CUT TO:
EXT. THE FJORD FOREST - DAY
Anna rides her horse through two feet of snow. She shivers.
ANNA
(shivering)
Elsa! Elsa! It's me, Anna...your sister who didn't mean to make you freeze the summer. I'm sorry. It's all my f-f-f-f-f-f-fault.
DISSOLVE TO: LATER: Anna and the horse struggle through a wooded area.
ANNA
(hearing a wolf howl)
Of course, none of this would have happened if she'd just told me her secret...ha...she's a stinker.
A branch of a nearby tree snaps and startles the horse. Anna goes flying off, lands face down in the snow. She sits up. Spits out snow. Sees the horse running away.
ANNA
Oh no. No. No. No. Come back. No. No. No. No.... Oooo-kay.
He doesn't come back. Anna grabs onto a branch of a leaning conifer, tries to pull herself to her feet, but the tree snaps upright and releases all its snow onto her. GROAN. DISSOLVE TO:
EXT. MOUNTAIN - NIGHT
The Northern Lights shine as Anna struggles, out of breath, reaching the top of a hill.
ANNA
Snow, it had to be snow, she couldn't have had tr-tr-tropical magic that covered the f-f-fjords in white sand and warm --
She sees smoke rising up in the distance.
ANNA
Fire! WHOA!
Anna goes tumbling down the hill. She lands with a crash in an icy stream at the bottom.
ANNA
(from inside the snowball)
Cold, cold, cold, cold, cold...
EXT. A SMALL BUILDING AND STABLE - NIGHT
Anna shuffles up to the building, her dress frozen stiff. She shakes the snow off a sign and reads:
ANNA
Wandering Oaken's Trading Post.
Snow drops off a smaller sign. She reads it, happily.
ANNA
Ooh! And Sauna...
INT. WANDERING OAKEN'S TRADING POST & SAUNA - NIGHT
Anna steps cautiously through the door--which hits her frozen butt and knocks her into the center of the shop. She looks around, sees only summer supplies.
OAKEN (O.S.)
Hoo hoo.
Anna turns to see a bright-faced fellow sitting low behind the counter, fingers tapping tip to tip.
OAKEN
Big summer blow out. Half off swimming suits, clogs, and a sun balm of my own invention, yah?
ANNA
Oh, great. For now, how about boots. Winter boots...and dresses?
OAKEN
(slight disappointment)
That would be in our winter department.
The winter department contains one outfit, a pick ax, and a lonely pair of boots.
ANNA
Oh. Um, I was just wondering; has another young woman, the Queen perhaps, I don't know, passed through here?
She brings the clothes and boots to the counter.
OAKEN
Only one crazy enough to be out in this storm is you, dear?
The front door suddenly blows open and in walks a mass of a man covered in ice. Underneath is KRISTOFF.
OAKEN
You and this fellow.... Hoo hoo. Big summer blow out.
Kristoff walks right up to Anna.
KRISTOFF
(in her face)
Carrots.
ANNA
Huh?
KRISTOFF
Behind you.
ANNA
Oh, right. Excuse me.
Anna moves out of Kristoff's way. He grabs a bunch of carrots, tosses them on the counter, then moves through the place, gathering other supplies.
OAKEN
(to Kristoff)
A real howler in July, yah? Where ever could it be coming from?
KRISTOFF
The North Mountain.
ANNA
(to herself)
North Mountain.
Kristoff brings his supplies to the counter. Oaken counts on his fingertips.
OAKEN
That'll be forty.
KRISTOFF
Forty? No, ten.
OAKEN
(sweet as pie)
Oh dear, that's no good. See these are from our winter stock, where supply and demand have a big problem.
KRISTOFF
You want to talk about a supply and demand problem? I sell ice for a living.
Kristoff motions out the window, where we see the blocks of ice on his sled, covered in snow.
ANNA
Ooh, that's a rough business to be in right now. I mean, that is really...
(he shoots her a look)
Ahem. That's unfortunate.
OAKEN
Still forty. But I will throw in a visit to Oaken's sauna. Hoo hoo! Hi, family.
Kristoff and Anna turn to see a naked family waving through the window of the steaming sauna.
NAKED FAMILY
Hoo hoo!
KRISTOFF
...Ten's all I got. Help me out.
OAKEN
(isolating the carrots)
Ten will get you this and no more.
Kristoff seethes. Stalemate.
ANNA
Okay, just tell me one thing; what was happening on the North Mountain? Did it seem magical?
Kristoff pulls down his scarf and gives Anna a firm answer.
KRISTOFF
Yes! Now, back up while I deal with this crook here.
Oaken stands up, revealing his seven-foot stature.
OAKEN
What did you call me?
EXT. WANDERING OAKEN'S TRADING POST AND SAUNA - NIGHT
Oaken stomps out the door, carrying Kristoff with one arm.
KRISTOFF
Okay. Okay, I'm- Ow! Whoa!
Oaken throws Kristoff, who face-plants in the snow.
OAKEN
Bye bye.
Oaken slams the door. Kristoff sits up. His reindeer, Sven, canters over, snorts, and nudges him, expectantly.
KRISTOFF
No Sven, I didn't get your carrots.
Sven huffs in his face. Kristoff turns away and sees something. He points to a dilapidated barn.
KRISTOFF
But I did find us a place to sleep. And it's free.
INT. WANDERING OAKEN'S TRADING POST AND SAUNA - NIGHT
Anna stands watching Oaken and all his great height as he squeezes behind the counter and sits down low again.
OAKEN
(teddy bear)
I'm sorry about this violence. I will add a quart of lutefisk, so we'll have good feelings. Just the outfit and boots, yah?
Anna looks between Kristoff's supplies and the door. CUT TO:
INT. OAKEN'S STABLES - NIGHT
Kristoff, now unfrozen, relaxes on a bed of hay, playing his lute and singing to (and for) Sven. "Reindeer(s) are Better than People" REINDEERS ARE BETTER THAN PEOPLE. SVEN, DON'T YOU THINK THAT'S TRUE?
KRISTOFF (AS SVEN)
(throwing his voice)
YEAH, PEOPLE WILL BEAT YOU & CURSE YOU & CHEAT YOU. EVERY ONE OF EM'S BAD, EXCEPT YOU. (speaking) Oh, thanks, Buddy. (singing, as Kristoff) BUT PEOPLE SMELL BETTER THAN REINDEERS. SVEN, DON'T YOU THINK I'M RIGHT? (As Sven) THAT'S ONCE AGAIN TRUE, FOR ALL EXCEPT YOU. (As Kristoff) YOU GOT ME. LET'S CALL IT A NIGHT. (As Sven) GOOD NIGHT. (As Kristoff) DON'T LET THE FROSTBITE BITE. The door opens. Anna enters.
ANNA
Nice duet.
Kristoff sits up with a start...sees who it is.
KRISTOFF
Oh, it's just you. What do you want?
ANNA
I want you to take me up the North Mountain.
KRISTOFF
I don't take people places.
He lays back down, closes his eyes.
ANNA
Let me rephrase that...
A sack of supplies lands in Kristoff's lap.
KRISTOFF
Umph.
He sits up. Looks in the bag.
ANNA
Take me up the North Mountain.... Please.
He eyes her. He clearly doesn't take orders.
ANNA
Look, I know how to stop this winter.
He considers, lies back down, pulls his hat over his eyes.
KRISTOFF
We leave at dawn.... And you forgot the carrots for Sven.
A bag of carrots hits Kristoff in the face.
KRISTOFF
Ugh!
ANNA
Oops. Sorry. Sorry. I'm sorry. I didn't--
(catching herself)
We leave now. Right now.
She steps back outside and waits, anxiously. Annoyed, Kristoff offers Sven a carrot. Sven has a bite. Then Kristoff has a bite, contemplating. SLAM CUT TO:
EXT. MOUNTAIN HIGH - NIGHT
Sven races, top speed, up a narrow cliff, pulling the sled, which skids precariously. Kristoff mans the reins. Anna sits beside him.
KRISTOFF
(trying to scare Anna)
Hang on! We like to go fast!
ANNA
(fearless)
I like fast!
Anna leans back and puts her feet up on the dashboard.
KRISTOFF
Whoa, whoa! Get your feet down.
He pushes her feet down.
KRISTOFF
This is fresh lacquer. Seriously, were you raised in a barn?
Kristoff spits on the dash to clean it. The spit flies back and hits Anna in the face.
ANNA
(grossed out)
Ew. No, I was raised in a castle.
She wipes off her face.
KRISTOFF
So tell me, what made the Queen go all ice-crazy?
ANNA
...Oh well, it was all my fault. I got engaged but then she freaked out because I'd only just met him, you know, that day. And she said she wouldn't bless the marriage--
KRISTOFF
Wait. You got engaged to someone you just met?
ANNA
Yeah. Anyway, I got mad and so she got mad and then she tried to walk away, and I grabbed her glove--
KRISTOFF
Hang on. You mean to tell me you got engaged to someone you just met?!
ANNA
Yes. Pay attention. But the thing is she wore the gloves all the time, so I just thought, maybe she has a thing about dirt.
KRISTOFF
Didn't your parents ever warn you about strangers?
Anna eyes Kristoff up and down, then slides away from him.
ANNA
Yes, they did.... But Hans is not a stranger.
KRISTOFF
Oh yeah? What's his last name?
ANNA
...Of-the-Southern-Isles?
KRISTOFF
What's his favorite food?
ANNA
...Sandwiches.
KRISTOFF
Best friend's name?
ANNA
Probably John.
KRISTOFF
Eye color.
ANNA
Dreamy.
KRISTOFF
Foot size...?
ANNA
Foot size doesn't matter.
KRISTOFF
Have you had a meal with him yet? What if you hate the way he eats? What if you hate the way he picks his nose?
ANNA
Picks his nose?
KRISTOFF
And eats it.
ANNA
Excuse me, sir. He's a prince.
KRISTOFF
All men do it.
ANNA
Ew. Look it doesn't matter; it's true love.
KRISTOFF
Doesn't sound like true love.
ANNA
Are you some sort of love expert?
KRISTOFF
No. But I have friends who are.
ANNA
You have friends who are love experts.... I'm not buying it.
Sven suddenly stops, ears perked in alarm.
KRISTOFF
(to Anna)
Stop talking.
ANNA
No, no, no. I'd like to meet these--
Kristoff clamps his hand over Anna's mouth.
KRISTOFF
I mean it. SHHH.
Kristoff stands, looks into the dark woods surrounding them. Sensing something behind them, he holds up his lantern. Its light reflects off...EYES. Several.
KRISTOFF
Sven, go. Go!
Sven takes off.
ANNA
What are they?
KRISTOFF
Wolves.
Flashes of white dart through the woods. Kristoff hops into the back of the sled, grabs a torch. Lights it.
ANNA
Wolves. What do we do?
KRISTOFF
I've got this. You just...don't fall off and don't get eaten.
ANNA
But I wanna help.
KRISTOFF
No.
ANNA
Why not?
KRISTOFF
Because I don't trust your judgement.
ANNA
Excuse me?!
A wolf jumps at them, but Kristoff kicks it off.
KRISTOFF
Who marries a man she just met?
Anna grabs the lute, swings it right at Kristoff's head.
ANNA
It's true love!
He screams, as she...BAM!...swings past Kristoff and knocks a wolf away.
KRISTOFF
(shocked)
Whoa.
Just then Kristoff is yanked off the sled by another wolf. The torch goes flying. Anna catches it, shocked.
ANNA
Christopher!
Kristoff grabs onto a loose rope hanging from the back of the sled and holds on for dear life as he's dragged behind.
KRISTOFF
It's Kristoff!
A wolf jumps on Kristoff's back. AH! Anna thinks fast, uses the torch to light a blanket on fire.
ANNA
Duck!
Anna throws the flaming blanket right at him. He ducks. The blanket hits the wolves. They tumble off Kristoff.
KRISTOFF
You almost set me on fire!
Anna reaches out a hand, pulls Kristoff back onto the sled.
ANNA
But I didn't.
Sven cries out. There is a massive gorge ahead.
ANNA
Get ready to jump, Sven!
KRISTOFF
You don't tell him what to do!
Kristoff shoves a satchel into her arms then scoops her up.
KRISTOFF
I do!
Kristoff tosses Anna onto Sven, then unhooks Sven's harness from the sled.
KRISTOFF
Jump, Sven!
Sven jumps the gorge with Anna on his back. Kristoff goes flying off behind them, still on the sled. Anna and Sven land safely on the other side of the gorge. Kristoff's sled loses momentum. It's not going to make it. He leaps off. He flaps his arms, claws at the air. He slams into the snowy edge of the cliff. Hanging by his hands, he looks down to see his sled hit the ground far below and burst into flames.
KRISTOFF
(shocked sadness)
...But I just paid it off.
Suddenly, he starts to slip. He claws at the loose snow, but it's clearly hopeless. He's going down.
KRISTOFF
Uh-oh. No, no, no.
To make matters worse, an AXE comes flying right at his face. AH! NO, NO, NO! The axe slams into the snow, inches from his nose.
ANNA (O.S.)
Grab on!
Kristoff grabs on.
ANNA
Pull, Sven! Pull!
REVEAL: The axe is tied to a rope, then wrapped around Sven. Anna helps Sven pull Kristoff to safety. Kristoff rolls onto his back, exhausted. Anna peeks down at the burning sled.
ANNA
Whoa.... I'll replace your sled and everything in it.
Kristoff groans.
ANNA
And I understand if you don't want to help me anymore.
Anna walks off, sadly. Sven comes over and nuzzles Kristoff.
KRISTOFF
Of course I don't want to help her anymore. In fact, this whole thing has ruined me for helping anyone ever again.
KRISTOFF (AS SVEN)
But she'll die on her own.
KRISTOFF (AS SELF)
I can live with that.
Through their conversation, they watch Anna go the wrong way...turn, go the other wrong way, turn, trip...
KRISTOFF (AS SVEN)
But you won't get your new sled if she's dead.
KRISTOFF
(knowing he's got a point)
...You know sometimes I really don't like you.
Sven licks Kristoff happily.
KRISTOFF (AS SELF)
(to Anna)
Hold up. We're coming?!
ANNA
(excited)
You are?!
(catching herself)
I mean, sure. I'll let you tag along.
EXT. SHARP MOUNTAIN RIDGE - DAWN
Kristoff, Sven and Anna walk on a narrow rim of a mountain. DISSOLVE TO:
EXT. MOUNTAIN FOREST CLEARING - DAY
As they step out of the thick trees, Anna catches sight of something far below.
ANNA
Arendelle.
KRISTOFF
It's completely frozen.
ANNA
...But it'll be fine. Elsa will thaw it.
KRISTOFF
Will she?
ANNA
(uncertain)
...Yeah. Now come on. This way to the North Mountain?
She points straight ahead.
KRISTOFF
More like this way.
He points her finger up towards a perilously mighty mountain. DISSOLVE TO:
INT. FROZEN WILLOW TREES - DAY
Anna, Kristoff, and Sven walk beneath frozen willows. The hanging branches glisten like Christmas lights. Sven knocks them with his antlers. They tinkle like chimes.
ANNA
I never knew winter could be so beautiful.
Suddenly, a voice comes in from nowhere. We'll call that voice OLAF.
OLAF (O.S.)
YEAH...It really is beautiful, isn't it? But it's so white. You know, how about a little color? Must we bleach the joy out of it all? I'm thinking like maybe some crimson, chartreuse...
While this is going on, Anna and Kristoff look around for the source of the rambling. They look at Sven - could he actually be talking? Sven looks back at them, his antlers tangled in branches, just as baffled as they are. In the meantime, a nose-less snowman, Olaf, wanders up behind them.
OLAF
How 'bout yellow--no, not yellow. Yellow and snow? Brrrr...no go.
He stops between Kristoff and Anna. They look down at him. How did he get there? He suddenly looks up at Anna.
OLAF
Am I right?
Anna SCREAMS! Reflexes take over and she kicks Olaf's head, sending it flying off his body and into Kristoff's arms.
OLAF
(cheery, to Kristoff)
Hi!
KRISTOFF
You're creepy.
Kristoff tosses the head back to Anna and they commence a game of hot potato.
ANNA
I don't want it!
KRISTOFF
Backatchya!
OLAF
Please don't drop me.
ANNA
Don't!
KRISTOFF
Come on, it's just a head.
ANNA
No!
Olaf's body runs at Anna, arms waving.
OLAF (O.S.)
All right, we got off to a bad start.
ANNA
Ew, ew, the body!
Anna slams Olaf's head back on the body, upside down. Olaf smiles happily, then looks confused.
OLAF
Wait, what am I looking at right now? Why are you hanging off the earth like a bat?
ANNA
(sympathetic)
...Okay. Wait one second.
Anna kneels in front of Olaf and rights his head.
OLAF
Oooh! Thank you!
ANNA
You're welcome.
OLAF
Now I'm perfect.
She looks over his innocent face, gets an idea.
ANNA
Well, almost.
She digs into Kristoff's satchel, holds up a carrot just as Olaf turns toward her. The carrot accidentally slams all the way through his head.
OLAF
Woo! Head rush!
ANNA
Oh! Too hard. I'm sorry! I-I, I was just.... Are you okay?
Olaf sees a tiny piece of carrot sticking out between his eyes. He lights up.
OLAF
Are you kidding me? I am wonderful! I've always wanted a nose.
(going cross-eyed to look at his tiny nose)
So cute. It's like a little baby unicorn.
Anna reaches behind Olaf to the bulk of the carrot sticking out the back of his head, and pushes it forward.
OLAF
What? Hey! Whoa.
(seeing his now big nose)
Oh, I love it even more! Hah.... All right, let's start this thing over. Hi everyone. I'm Olaf. And I like warm hugs.
Olaf opens his arms wide to Anna. That triggers a memory. It takes her a moment to place it, but then she does.
ANNA
Olaf?...That's right, Olaf.
OLAF
...And you are?
ANNA
Oh, um...I'm Anna.
OLAF
And who's the funky-looking donkey over there?
ANNA
That's Sven.
OLAF
Uh-huh. And who's the reindeer?
ANNA
...Sven.
Olaf looks from Kristoff to Sven, confused.
OLAF
Oh. They're--oh, okay....
(accepting it)
Makes things easier for me.
Sven tries to bite Olaf's nose.
OLAF
Ha. Aw, look at him tryin' to kiss my nose.
(gushes)
I like you, too!
ANNA
Olaf, did Elsa build you?
OLAF
Yeah. Why?
Curious, Kristoff takes one of Olaf's twig arms off, studies it. It seems to be moving in sync with his other arm.
ANNA
Do you know where she is?
KRISTOFF
(studying the arm)
Fascinating...
OLAF
Yeah. Why?
ANNA
Do you think you could show us the way?
OLAF
Yeah. Why?
KRISTOFF
(bending the arm)
How does this work?
Olaf's dismembered arm slaps Kristoff across the face.
OLAF
Stop it, Sven. Trying to focus here.
(to Anna)
Yeah, why?
KRISTOFF
I'll tell you why. We need Elsa to bring back summer.
OLAF
(shocked)
Summer?
(sinking into wistfulness)
Oh, I don't know why but I've always loved the idea of summer, and sun, and all things hot.
KRISTOFF
Really? I'm guessing you don't have much experience with heat.
OLAF
Nope. But sometimes I like to close my eyes and imagine what it'd be like when summer does come.
DISSOLVE TO: OLAF'S FANTASY WORLD - PERFECT SUMMER DAY Olaf walks through a grassy meadow with the sun shining behind him. He SINGS. "In Summer" BEES'LL BUZZ / KIDS'LL BLOW DANDELION FUZZ / AND I'LL BE DOING WHATEVER SNOW DOES IN SUMMER. -Olaf now lies in the sand on a beach. A DRINK IN MY HAND / MY SNOW UP AGAINST THE BURNING SAND / PROB'LY GETTING GORGEOUSLY TANNED IN SUMMER. -Olaf sails in a boat. I'LL FINALLY SEE A SUMMER BREEZE / BLOW AWAY A WINTER STORM / -Olaf floats in the water. All his pieces begin to separate. AND FIND OUT WHAT HAPPENS TO SOLID WATER / WHEN IT GETS WARM. -Olaf tumbles on a sandy beach with sand-snowmen. AND I CAN'T WAIT TO SEE / WHAT MY BUDDIES ALL THINK OF ME / JUST IMAGINE HOW MUCH COOLER I'LL BE IN SUMMER . . ! -Olaf and the seagull break out into a tap-dance. DA DA . . . DA DOO / AH BAH BAH BAH BAH BAH BOO. -Olaf and another snowman drink hot chocolate in a hot tub. THE HOT AND THE COLD ARE BOTH SO INTENSE / PUT 'EM TOGETHER, IT JUST MAKES SENSE! -Olaf tap dances with a gaggle of seagulls. RATDADAT DAD DADA DOO . . . -Olaf bounds down a grassy hill. WINTER'S A GOOD TIME TO STAY IN AND CUDDLE / BUT PUT ME IN SUMMER AND I'LL BE A... He stops at a puddle, looks down at it. Smiles. Hops over it.
OLAF
HAPPY SNOWMAN!
-Olaf runs with a checkered blanket that he spreads out. He relaxes and stares at the blue sky. WHEN LIFE GETS ROUGH I LIKE TO HOLD ON TO MY DREAM / OF RELAXING IN THE SUMMER SUN JUST LETTING OFF STEAM! Sven, Anna, Kristoff and Olaf have a picnic. OH THE SKY WILL BE BLUE / AND YOU GUYS'LL BE THERE TOO / WHEN I FINALLY DO WHAT FROZEN THINGS DO IN SUMMER!
KRISTOFF
I'm gonna tell him.
ANNA
Don't you dare.
IN SUMMER! Olaf sings the final note. We swing around him and return to: REALITY. He then straightens up and smiles.
OLAF
So, come on! Elsa's this way. Let's go bring back summer!
Olaf grabs Anna's hand and pulls her along up the mountain.
ANNA
(laughing)
I'm coming!
Sven hops along, happily following them. Kristoff watches all of them like they're nuts.
KRISTOFF
Somebody's got to tell him.
EXT. ARENDELLE, VILLAGE - DAY
A layer of solid ice coats everything. People huddle around weak fires. Anxiety runs high amongst the villagers and guests. We pass two CITIZENS fighting over a woodpile.
CITIZEN ONE
No. No. You've got the bark facing down. The bark needs to be face-up.
CITIZEN TWO
Bark down is drier.
CITIZEN ONE
Bark up.
CITIZEN TWO
Bark down.
CITIZEN ONE
Bark up.
Like a light in the dark, Hans moves through the crowd.
HANS
Cloak. Does anyone need a cloak?
GERDA
Arendelle is indebted to you, Your Highness.
HANS
The castle is open. There's soup and hot glögg in the Great Hall.
He hands the stack of cloaks to a guard.
HANS
Here. Pass these out.
Just then the Duke approaches Hans.
DUKE
Prince Hans, are we just expected to sit here and freeze while you give away all of Arendelle's tradable goods?
HANS
(tall and confident)
Princess Anna has given her orders and--
DUKE
And that's another thing; has it dawned on you that your princess may be conspiring with a wicked sorceress to destroy us all?
Hans's nice eyes turn to threatening slits.
HANS
Do not question the Princess. She left me in charge, and I will not hesitate to protect Arendelle from treason.
DUKE
(flabbergasted, offended)
Treason?!
Suddenly they hear the alarmed whinny of Anna's horse. It returns alone, bucking and kicking. Hans grabs its reins.
HANS
Whoa! Whoa! Whoa, boy. Easy. Easy.
CROWD
(various)
Princess Anna's horse. What happened to her? Where is she?
Hans steadies the horse, looks up at the mountain. He sees all the panicked faces of the kingdom looking to him.
HANS
...Princess Anna is in trouble.
(calling out)
I need volunteers to go with me to find her!
Volunteers, some from Arendelle, some from other lands, rush up to offer their services.
DUKE
I volunteer two men, my Lord!
(quietly to his thugs)
Be prepared for anything, and should you encounter the Queen, you are to put an end to this winter. Do you understand?
His two thugs sneer. CUT TO:
EXT. THE NORTH MOUNTAIN - DAY
Anna, Kristoff, Sven, and Olaf move through hostile terrain. Wind-swept icicles face horizontal.
KRISTOFF
So how exactly are you planning to stop this weather?
ANNA
(confident)
Oh, I am gonna talk to my sister.
KRISTOFF
That's your plan? My ice business is riding on you talking to your sister.
ANNA
Yup.
Kristoff, so stunned by her casual plan, doesn't look where he's going and ends up with an ice-spike to the nose. He stops short, GULP, moves carefully around the spike.
KRISTOFF
So you're not at all afraid of her?
ANNA
Why would I be?
OLAF
(oblivious)
Yeah. I bet Elsa's the nicest, gentlest, warmest person ever.
Olaf backs right into an icicle. It runs through his torso.
OLAF
Oh, look at that. I've been impaled.
He laughs it off. DISSOLVE TO:
EXT. STEEP MOUNTAIN FACE - DAY
Anna and Kristoff hit what looks like a dead end. The face of the mountain goes straight up.
ANNA
What now?
Kristoff looks around, sighs. Digs in his rucksack.
KRISTOFF
...It's too steep. I've only got one rope, and you don't know how to climb mountains.
ANNA (O.S.)
Says who?
Sven nudges Kristoff, who looks up to see Anna trying to climb the cliff's flat face.
KRISTOFF
(finding her ridiculous)
What are you doing?
ANNA
(straining)
...I'm going to see my sister.
KRISTOFF
You're going to kill yourself.
Kristoff watches her searching for footholds and hand-holds.
KRISTOFF
I wouldn't put my foot there.
ANNA (O.S.)
You're distracting me.
KRISTOFF
Or there. How do you know Elsa even wants to see you?
ANNA (O.S.)
I'm just blocking you out cause I gotta concentrate here.
KRISTOFF
You know, most people who disappear into the mountains want to be alone.
ANNA (O.S.)
Nobody wants to be alone. Except maybe you--
KRISTOFF
I'm not alone.... I have friends, remember?
Anna kicks a foot above her head to catch a foot hold.
ANNA
You mean the love experts?
KRISTOFF
Yes, the love experts!
Anna realizes she's stuck.
ANNA
...Please tell me I'm almost there.
REVEAL: she's only about six feet up. Her muscles shake.
ANNA
...Does the air seem a bit thin to you up here?
Kristoff smiles, getting a kick out of her.
KRISTOFF
Hang on.
He pulls the rope from his bag. Just then Olaf steps out from behind a rock and waves to Kristoff.
OLAF
Hey, Sven? Not sure if this is going to solve the problem, but I found a staircase that leads exactly where you want it to go.
ANNA
Ha ha. Thank goodness. Catch!
Anna drops off the cliff. Kristoff catches her.
ANNA
Thanks! That was like a crazy trust exercise.
She hops down, brushes off her dress, and bounds off. Kristoff watches after her, digging her fearless pluck.
EXT. BASE OF THE ICE PALACE - DAY
Anna, Kristoff, and Olaf approach Elsa's elegant ice palace.
ANNA
Whoa.
KRISTOFF
(in awe)
Now that's ice. I might cry.
ANNA
Go ahead. I won't judge.
Anna climbs the steps with Olaf. Sven tries to follow. His hooves slip out. He scrambles but can't get traction. Kristoff runs to his aide.
KRISTOFF
All right, take it easy. I gotcha.
Kristoff settles Sven back down the stairs and pats him.
KRISTOFF
You stay right here, buddy.
Sven obediently plops his reindeer butt down and wags his tail. Kristoff climbs the stairs, admiring the ice details.
KRISTOFF
...Flawless.
Anna arrives at the door. Hesitates.
OLAF
...Knock....
(she doesn't)
Just knock....
(she doesn't. To Kristoff)
Why isn't she knocking...? Do you think she knows how to knock?
Anna finally KNOCKS. The sound echoes inside. The ice doors slide open.
ANNA
Ha. It opened. That's a first.
Anna goes to step in. Kristoff follows. She gets a thought, stops him.
ANNA
You should probably wait out here.
KRISTOFF
What?
ANNA
Last time I introduced her to a guy, she froze everything.
KRISTOFF
But, it's a palace made of ice. Ice is my life.
OLAF
Bye, Sven.
Olaf starts to head inside. Anna stops him.
ANNA
You too, Olaf.
OLAF
Me?
ANNA
Just give us a minute.
OLAF
Okay.
As Anna walks inside. Olaf starts counting.
OLAF
One...two...
Kristoff joins in.
OLAF AND KRISTOFF
Three...four...
INT. ELSA'S PALACE - DAY
Anna walks into a great foyer. The place is beautiful, but also eerie.
ANNA
Elsa? It's me...Anna?!
Anna slips. Steadies herself.
ELSA (O.S.)
Anna.
Elsa steps out of the shadows onto a balcony. She sees Anna, looks to her longingly. Anna can't help but be struck by Elsa's beauty.
ANNA
Elsa, you look different.... It's a good different.... And this place is amazing.
ELSA
(cautious, polite)
Thank you, I never knew what I was capable of.
Anna starts to climb the stairs.
ANNA
...I'm so sorry about what happened. If I'd known--
Elsa backs up, away from Anna.
ELSA
(on guard)
No, it's okay. You don't have to apologize.... But you should probably go, please.
ANNA
But I just got here.
ELSA
...You belong in Arendelle.
ANNA
So do you.
Anna takes another step up. Elsa backs up more.
ELSA
No, I belong here. Alone. Where I can be who I am without hurting anybody.
ANNA
...Actually, about that--
58...59...60.
ELSA
Wait. What is that?
Olaf comes running in the front door. He waves.
OLAF
Hi, I'm Olaf and I like warm hugs.
ELSA
(shocked)
Olaf?
Olaf stops beside Anna, looks up at Elsa, intimidated.
OLAF
(bashful)
You built me. You remember that?
ELSA
(astonished)
And you're alive?
OLAF
Um...I think so?
Anna kneels down beside Olaf.
ANNA
He's just like the one we built as kids.... We were so close. We can be like that again.
Elsa smiles, but then a memory returns to her. FLASH CUT TO: FLASHBACK: Young Anna is struck by Elsa's powers.
YOUNG ELSA
Anna!
Young Anna falls unconscious. Young Elsa races to her. FLASH CUT TO: THE PRESENT: Elsa's face sinks in pain.
ELSA
No, we can't.
Elsa turns and heads up the second story steps.
ELSA
Goodbye, Anna.
ANNA
Elsa, wait--
ELSA
(calling back)
I'm just trying to protect you.
Elsa continues to flee. Anna pursues.
ANNA
You don't have to protect me. I'm not afraid. Please don't shut me out again.
Anna SINGS. "First Time in Forever, Reprise" PLEASE DON'T SLAM THE DOOR. YOU DON'T HAVE TO KEEP YOUR DISTANCE ANYMORE. 'CAUSE FOR THE FIRST TIME IN FOREVER, I FINALLY UNDERSTAND. FOR THE FIRST TIME IN FOREVER, WE CAN FIX THIS HAND IN HAND. WE CAN HEAD DOWN THIS MOUNTAIN TOGETHER. YOU DON'T HAVE TO LIVE IN FEAR. 'CAUSE FOR THE FIRST TIME IN FOREVER, I WILL BE RIGHT HERE. They arrive on the top floor, Elsa's main living space. Elsa turns back to Anna, grateful, but determined.
ELSA
Anna, PLEASE GO BACK HOME. YOUR LIFE AWAITS. GO ENJOY THE SUN AND OPEN UP THE GATES.
ANNA
Yeah, but--
ELSA
I know! YOU MEAN WELL, BUT LEAVE ME BE. YES, I'M ALONE BUT I'M ALONE AND FREE.
Elsa opens up the balcony doors. JUST STAY AWAY AND YOU'LL BE SAFE FROM ME. ACTUALLY, WE'RE NOT. WHAT DO YOU MEAN YOU'RE NOT? I GET THE FEELING YOU DON'T KNOW? WHAT DO I NOT KNOW? ARENDELLE'S IN DEEP DEEP DEEP DEEP SNOW.
ELSA
What?
Elsa looks past Anna's shoulder out white-peaked mountains.
ANNA
You kind of set off an eternal winter...everywhere.
ELSA
Everywhere?
ANNA
It's okay, you can just unfreeze it.
ELSA
No, I can't. I don't know how.
ANNA
Sure you can. I know you can.
Snow starts to swirl around the room. CUZ FOR THE FIRST TIME IN FOREVER,
ELSA
(panicking)
I'M SUCH A FOOL! I CAN'T BE FREE! YOU DON'T HAVE TO BE AFRAID. NO ESCAPE FROM THE STORM INSIDE OF ME! The snow picks up. Anna tries to fight through it. WE CAN WORK THIS OUT TOGETHER. I CAN'T CONTROL THE CURSE! WE'LL REVERSE THE STORM YOU'VE MADE. ANNA, PLEASE, YOU'LL ONLY MAKE IT WORSE! DON'T PANIC. THERE'S SO MUCH FEAR! WE'LL MAKE THE SUN SHINE BRIGHT. YOU'RE NOT SAFE HERE! WE CAN FACE THIS THING TOGETHER... But as Anna sings, we lose sight of her in the thickening blizzard taking over the room. NO! WE CAN CHANGE THIS WINTER WEATHER, AND EVERYTHING WILL BE... Anna's voice disappears in the storm as Elsa cries out. I CAN'T! Elsa's fear, so strong, sucks the blizzard back into her and then it bursts out, unwittingly, like a sharp snowflake. Anna is STRUCK right in the heart. She grasps her chest in pain and stumbles back. She falls to her knees. Elsa gasps when she sees Anna. Just then, Olaf and Kristoff rush into the room to Anna's side.
KRISTOFF
Anna. Are you okay?
ANNA
I'm okay.... I'm fine.
Anna gets to her feet, determined to hide the pain.
ELSA
(scared)
Who's this? Wait, it doesn't matter. You have to go.
ANNA
No, I know we can figure this out together--
ELSA
(desperate)
How? What power do you have to stop this winter? To stop me?
Anna doesn't have the answer. Kristoff sees spiky ice shadows creeping down the walls. Puts a protective arm around Anna.
KRISTOFF
Anna, I think we should go.
ANNA
(close to tears)
No. I'm not leaving without you, Elsa.
ELSA
(heartbroken but decisive)
Yes, you are.
Elsa waves her arms and builds a giant, menacing snowman. We'll call him MARSHMALLOW. SLAM CUT TO:
EXT. ICE PALACE - DAY
Marshmallow holds Anna and Kristoff by the scruff of their necks in one hand and Olaf in the other.
ANNA
Stop. Put us down!
OLAF
(to Marshmallow)
You are a lot stronger than I think you realize.
Marshmallow tosses Kristoff and Anna down the steps.
MARSHMALLOW
(like a bouncer)
Go away!
Anna and Kistoff slide past Sven, who's got his tongue stuck to the ice railing.
OLAF (O.S.)
Heads up!
Olaf's head smashes into a snowbank nearby.
ANNA
Olaf!
OLAF
Watch out for my butt!
Anna and Kristoff duck as the rest of Olaf slams into the snowbank. Marshmallow turns to go back into the castle. Incensed, Anna tries to march back up the stairs.
ANNA
It is not nice to throw people!
Kristoff grabs her, pulls her back.
KRISTOFF
All right feisty pants. Calm down. Woaw. Just let the snow man be.
ANNA
Let me at him. I want to get him. I.... Okay. I'm Calm.
Anna backs down...for a moment. Then she grabs a snowball and throws it at Marshmallow. The tiny little ball hits Marshmallow's back, not making even the slightest dent. But it's enough to infuriate him. He ROARS. Spikes shoot out of his joints.
KRISTOFF
Uh-oh. Now you made him mad!
OLAF
...I'll distract him. You guys go.
Kristoff pushes Anna along. Sven runs off in the opposite direction. Olaf's belly and butt fall and follow Sven.
OLAF
No, no, not you guys.
Marshmallow goes charging after Anna and Kristoff as Olaf's head falls and lands face down in snow.
OLAF
(muffled)
This just got a whole lot harder.
Anna and Kristoff leap and slide down a steep slope. They tumble to a stop at the bottom just as Marshmallow lands hard right behind them. They're off again...through a maze of conifers that sag under the weight of the snow, Marshmallow hot on their trail.
KRISTOFF
This way!
Anna grabs a branch of a sagging trees and releases all of the snow. The tree snaps upright, knocking Marshmallow back.
KRISTOFF
(impressed)
Ho-ho-ho!
ANNA
I got him!
Anna and Kristoff burst out of the conifer forest and almost run right off a cliff. They stop short, toes on the edge.
KRISTOFF
Whoa, stop!
ANNA
It's a hundred foot drop.
KRISTOFF
It's two hundred.
Kristoff ties the rope around Anna and pulls tight.
ANNA
Ow.
He drops to his knees and starts digging a u-shape in the snow with a pick axe.
ANNA
What's that for?
KRISTOFF
I'm digging a snow anchor.
ANNA
(not trusting)
Okay. What if we fall?
KRISTOFF
There's twenty feet of fresh powder down there; it'll be like landing on a pillow.... Hopefully.
They hear an angry ROAR coming closer.
KRISTOFF
Okay, Anna. On three.
Anna preps for the jump like a boxer getting ready to fight.
ANNA
Okay. You tell me when...
KRISTOFF
One...
ANNA
...I'm ready to go....
KRISTOFF
Two...
ANNA
(pumped up)
...I was BORN ready! Yes!
KRISTOFF
Calm down.
A huge tree flies through the air toward them. TREE! Anna jumps and pulls Kristoff over the edge with her. They hang upside down over the cliff by the rope. The rope catches their fall.
KRISTOFF
Whoa! That happened.
Back up top, Olaf emerges from the woods. He's a complete mess, all his body parts are in the wrong places. He huffs and puffs, struggling to run.
OLAF
Ah. Ah. Man, am I out of shape.
He stops. Puts his body back together in the right order.
OLAF
There we go. Hey, Anna! Sven! Where'd ya guys go? We totally lost Marshmallow back there!
Marshmallow steps up behind Olaf. Olaf turns to face him.
OLAF
(happily)
Hey. We were just talking about you. All good things, all good things.
Marshmallow roars and approaches Kristoff's snow anchor. NO! Olaf jumps onto Marshmallow's leg trying to stop him, but not making much of a difference.
OLAF
This is not making much of a difference!
Marshmallow flicks Olaf off his leg and right over the cliff. WHOA! Olaf passes Anna and Kristoff.
ANNA
Olaf!
OLAF
Hang in there, guys!
Marshmallow starts yanking Kristoff and Anna's rope up.
ANNA
Wait, what?
Kristoff's head hits the cliff.
KRISTOFF
Aargghh!
Kristoff passes out and hangs like a rag doll.
ANNA
Kristoff!
Marshmallow pulls them up. He roars and breathes snow all over them.
MARSHMALLOW
Don't come back!
ANNA
(grossed out by his snow breath)
Ugh. We won't.
Anna whips out a knife and cuts the rope. Kristoff comes to just as they fall. They both SCREAM! SLAM! REVEAL: Anna opens her eyes to find herself buried up to her shoulders in the soft thick snow. She laughs.
ANNA
Hey, you were right. Just like a pillow.
She looks up to see Olaf's upper half hanging onto Kristoff's boots, which are sticking out of the snow.
OLAF
(shaking the boots)
I can't feel my legs! I can't feel my legs!
Suddenly, Kristoff's head pops up. He spits out snow.
KRISTOFF
Those are my legs.
Olaf's bottom goes running by.
OLAF
(to Kristoff)
Ooh. Hey, do me a favor, grab my butt.
Kristoff grabs Olaf's head and puts it on his body.
OLAF
Oh, that feels better.
Sven walks up and sniffs Olaf's nose.
OLAF
Hey, Sven!
Olaf turns to Anna and Kristoff just as Sven goes to bite off his nose -- and misses.
OLAF
He found us.
(to Sven, funny voice)
Who's my cute little reindeer?
KRISTOFF
Don't talk to him like that.
Kristoff goes over to help Anna, who is stuck in the snow.
KRISTOFF
Here.
He lifts her out easily.
ANNA
(impressed)
Whoa!
KRISTOFF
You okay?
ANNA
Thank you.
They meet eyes. Wait. Is that chemistry?
ANNA
...Um.... How's your head?
She touches the spot where he banged his head.
KRISTOFF
(in pain)
Ah! Ooh!
He catches himself. Waves off the pain with a giggle.
KRISTOFF
I mean, It's fine. Ah...I'm good. Ha. I've got a thick skull.
OLAF
I don't have a skull.... Or bones.
KRISTOFF
...So....
The awkwardness is killing him.
KRISTOFF
(shy)
Now what?
ANNA
(shy)
Now what?
(then...panicking)
Now what?! Oh! What am I gonna do? She threw me out. I can't go back to Arendelle with the weather like this. And then there's your ice business--
KRISTOFF
Hey, hey, don't worry about my ice business...
(noticing something)
Worry about your hair?!
She thinks he means it looks bad. She smooths it down.
ANNA
What? I just fell off a cliff. You should see your hair.
KRISTOFF
No, yours is turning white.
She grabs her braid as a tendril turns white.
ANNA
White? It's what?
KRISTOFF
It's because she struck you; isn't it?
ANNA
Does it look bad?
KRISTOFF
(thinking)
...No.
Olaf's head pops up. He's holding his head up off his body to join the conversation.
OLAF
You hesitated.
KRISTOFF
No, I didn't. Anna, you need help. Now, come on.
He heads towards the sunset. Sven and Olaf follow.
OLAF
Okay! Where are we going?
KRISTOFF
To see my friends.
ANNA
(catching up)
The love experts?
OLAF
Love experts?!
KRISTOFF
Yes. And don't worry; they'll be able to fix this.
ANNA
How do you know?
He looks her over, remembering the moment he saw the trolls heal her as a child.
KRISTOFF
...Because I've seen them do it before.
As they round the bend, the sun sets and Olaf turns to Sven.
OLAF
I like to consider myself a love expert.
INT. ELSA'S PALACE - DAY
Elsa paces, distraught. She talks to herself.
ELSA
(mantra-style)
Get it together. Control it. Don't feel. Don't feel. Don't FEEL!
She hears ice cracking. Stops. Looks around. She's left a sharp wake of ice spikes behind her on the floor. They grow up the wall, taking over the castle. DISSOLVE TO:
EXT. BLACK MOUNTAINS - NIGHT
The Northern Lights are bright. Olaf stares at them in awe as he rides on Sven's back.
OLAF
Look, Sven. The sky's awake.
Behind Olaf and Sven, Anna walks with Kristoff. She shivers.
KRISTOFF
Are you cold?
ANNA
...A little.
He reaches like he might put an arm around her, but decides against it. He looks around as if he doesn't know what to do, then gets a thought.
KRISTOFF
Wait. Come here.
He takes her hand and pulls her around a bend into a rock- lined pass. Steam vents, powered by the volcanic activity, dot the path. He holds her hands over one of them.
ANNA
Oooh.... That's nice.
They continue on the path, walking from vent to vent.
KRISTOFF
(taking a deep breath)
So, about my friends...well, I say friends, they're more like family.... Anyway, when I was a kid, it was just me and Sven...until they took me in.
ANNA
(moved)
They did?
KRISTOFF
(nervous ramble)
Yeah. I don't want to scare you, they can be a little bit inappropriate...and loud...very loud...they're also stubborn at times, and a little overbearing. And heavy. Really, really heavy.
KRISTOFF
But they're fine.. You'll get it. They mean well.
Anna touches Kristoff's arm, reassuringly.
ANNA
Kristoff, they sound wonderful.
Kristoff smiles, appreciating her sincerity.
KRISTOFF
Okay then....
Mustering the courage, Kristoff steps forward and with a wave of the arms announces--
KRISTOFF
Meet my family.
REVEAL: he's surrounded by rocks.
KRISTOFF
(to the rocks)
Hey, guys!
As Kristoff and Sven move through the rocks, waving and greeting, Olaf and Anna stand frozen, dumbfounded.
ANNA
(to herself)
...They're rocks.
OLAF
(realizing)
He's crazy.
(covertly, to Anna)
I'll distract them while you run.
(Loud and slow to a rock)
Hi, Sven's family! It's nice to meet you!
(quietly to Anna)
Anna, because I love you, I insist you run.
(to the rock)
I understand you're love experts!
(to Anna)
Why aren't you running?
Anna snaps out of her shock and starts backing away.
ANNA
Okay. Um...I'm gonna go--
Just then the rocks around her start rolling.
ANNA
(panicking)
Kristoff!
Olaf lights up and chases the rocks, who surround Kristoff and unfold as trolls. KRISTOFF'S HOME!
TROLLS (VARIOUS)
Kristoff! Kristoff's home! It's been too long! Kristoff's home!
Olaf jumps around all excitedly.
OLAF
(excitedly)
Kristoff's home.
He then stops, confused, and looks to one of the trolls.
OLAF
Wait? Kristoff?
Anna watches, shocked and confused. The trolls all want Kristoff's attention. One troll yanks him down with a boulder's strength.
TROLL ONE
Oh, lemme look at you!
Another troll tries to pull off his clothes.
TROLL TWO
Oh, take off your clothes, Kristoff; I wash them.
KRISTOFF
(holding up his pants)
Ah! No. I'm gonna keep my clothes on, thank you.
KRISTOFF
Great to see you all. Where's grandpa?
MUSHROOM KID TROLL
He's napping. But look, I grew a mushroom.
TROLL SCOUT KID
And I earned my fire crystal.
KIDNEY STONE TROLL
I passed a kidney stone.
PICK ME UP TROLL
Pick me up.
The kid troll jumps up on Kristoff's arm. Kristoff sinks under the weight of him. Anna still stares, confused, then realizes...
ANNA
Trolls? They're trolls.
Silence. All troll eyes turn to Anna. Blink. Blink.
BULDA
...He's brought a girl!
TROLLS (TOGETHER)
He's brought a girl!
Suddenly Anna is surrounded by trolls. They body-surf/roll Anna over to Kristoff. She falls into his arms.
ANNA
What's going on?
KRISTOFF
I've learned to just roll with it.
Bulda climbs on top of her husband, Cliff, to get a good look at Anna. She studies her like she's a piece of cattle.
BULDA
Let me see. Bright eyes. Working nose. Strong teeth. Yes, yes, yes. She'll do nicely for our Kristoff.
ANNA
Wait. Oh. Um. No.
KRISTOFF
You've got the wrong idea. That's not why I brought her here.
ANNA
Right. We're not. I'm not--
Anna laughs, uncomfortable, not knowing what to say.
BULDA
(to Anna)
What's the issue, dear? Why are you holding back from such a man?
Bulda SINGS. "Fixer-Upper" IS IT THE CLUMPY WAY HE WALKS? OR THE GRUMPY WAY HE TALKS? OR THE PEAR-SHAPED, SQUARE-SHAPED WEIRDNESS OF HIS FEET? AND THOUGH WE KNOW HE WASHES WELL HE ALWAYS ENDS UP SORTA SMELLY. BUT YOU'LL NEVER MEET A FELLA WHO'S AS SENSITIVE AND SWEET. SO HE'S A BIT OF A FIXER UPPER, SO HE'S GOT A FEW FLAWS- HIS PECULIAR BRAIN, DEAR. HIS THING FOR THE REINDEER THAT OUTSIDE A FEW OF NATURE'S LAWS. SO HE'S A BIT OF A FIXER UPPER, BUT THIS WE'RE CERTAIN OF- YOU CAN FIX THIS FIXER UPPER UP WITH A LITTLE BIT OF LOVE.
KRISTOFF
Can we just stop talking about this?! We've got a real, actual problem here.
BULDA
I'll say--
(To Anna)
IS IT THE WAY THAT HE RUNS SCARED? OR THAT HE'S SOCIALLY IMPAIRED? OR THAT HE ONLY LIKES TO TINKLE IN THE WOODS? ARE YOU HOLDING BACK YOUR FONDNESS DUE TO HIS UNMANLY BLONDENESS? OR THE WAY HE COVERS UP THAT HE'S THE HONEST GOODS? HE'S JUST A BIT OF A FIXER UPPER- HE'S GOT A COUPLE A' BUGS.
KRISTOFF
No, I don't.
HIS ISOLATION IS CONFIRMATION OF HIS DESPERATION FOR HEALING HUGS. SO HE'S A BIT OF A FIXER UPPER, BUT WE KNOW WHAT TO DO. THE WAY TO FIX UP THIS FIXER UPPER IS TO FIX HIM UP WITH YOU. The girl trolls sweep Anna away. The boys take Kristoff.
KRISTOFF
(to the male trolls)
Enough! She's engaged to someone else. Okay?!
TROLLS beat. Blink. Blink. The boy trolls turn, huddle... SO SHE'S A BIT OF A FIXER UPPER, THAT'S A MINOR THING. THIS QUOTE "ENGAGEMENT" IS A FLEX ARRANGEMENT. AND BY THE WAY, I DON'T SEE NO RING. SO SHE'S A BIT OF A FIXER UPPER, HER BRAIN'S A BIT BETWIXT. GET THE FIANCE OUT OF THE WAY AND THE WHOLE THING WILL BE FIXED! WE AREN'T SAYING YOU CAN CHANGE HIM 'CAUSE PEOPLE DON'T REALLY CHANGE. WE'RE ONLY SAYING THAT LOVE'S A FORCE THAT'S POWERFUL AND STRANGE. PEOPLE MAKE BAD CHOICES IF THEY'RE MAD OR SCARED OR STRESSED. BUT THROW A LITTLE LOVE THEIR WAY (THROW A LITTLE LOVE THEIR WAY) AND YOU'LL BRING OUT THEIR BEST! TRUE LOVE BRINGS OUT THE BEST! Kristoff looks over at Anna. She actually looks shockingly beautiful dressed in moss, lit by shimmering crystals. EVERYONE'S A BIT OF A FIXER UPPER, THAT'S WHAT IT'S ALL ABOUT FATHER, SISTER, BROTHER WE NEED EACH OTHER TO RAISE US UP AND ROUND US OUT By this time Kristoff and Anna are being ushered into a pit by the sheer force of numbers. EVERYONE'S A BIT OF A FIXER UPPER, BUT WHEN PUSH COMES TO SHOVE- THE ONLY FIXER UPPER FIXER THAT CAN FIX A FIXER UPPER IS TRUE TRUE TRUE TRUE LOVE During this last bit Anna and Kristoff are looking at each other differently. Hmmm. Maybe those trolls are right? Sparks! Chemistry!
TROLL PRIEST
Do you, Anna, take Kristoff to be your trollfully wedded--
ANNA
Wait, what?!
TROLL PRIEST
You're getting married.
LOVE! Just then, Anna collapses. Kristoff catches her. She's shivering something fierce.
KRISTOFF
Anna?
He pulls off her cape and hat.
KRISTOFF
She's as cold as ice.
Just then Grand Pabbie pushes his way through the crowd. Trolls clear the way for Pabbie. He stops at the edge of the pit.
GRAND PABBIE
There's strange magic here!
KRISTOFF
Grand Pabbie!
GRAND PABBIE
Bring her to me, Kristoff.
Kristoff helps Anna over. Pabbie looks into her weak eyes.
GRAND PABBIE
Anna, your life is in danger. There is ice in your heart, put there by your sister. If not removed, to solid ice will you freeze, forever.
ANNA
What...? No.
KRISTOFF
So remove it, Grand Pabbie.
GRAND PABBIE
I can't. If it was her head, that would be easy. But only an act of true love can thaw a frozen heart.
ANNA
An act of true love?
BULDA
(googley, to her hubby)
A true love's kiss, perhaps?
A bunch of trolls give each other kisses. Anna shivers again, collapsing into Kristoff's arms. More of her hair turns white.
KRISTOFF
Anna, we've got to get you back to Hans.
ANNA
(still weak)
...Hans.
KRISTOFF
Help us out, Sven.
Kristoff grabs Sven's antlers. Sven pulls them out. Kristoff helps Anna onto Sven and hops up behind her.
KRISTOFF
Come on, Olaf!
Sven takes off. Olaf grabs Sven's tail, rides with them.
OLAF
I'm coming! Let's go kiss Hans! Who is this Hans?!
EXT. ELSA'S PALACE - DAWN
Hans and the men tread cautiously towards the castle.
HANS
We are here to find Princess Anna. Be on guard, but no harm is to come to the Queen. Do you understand?
The Duke's thugs exchange a look. Suddenly, a mass of snow rises from the ground behind Hans. It's Marshmallow, Elsa's snow guard.
MARSHMALLOW
Go away!
He slams a fist inches from Hans. Hans deftly dodges out of the way. All of the guards take up arms against Marshmallow, who quickly knocks them over. Marshmallow throws down a guard and his horse, who topple over Hans. Marshmallow raises his foot to stomp on Hans, but Hans barrel-rolls himself to safety. He sees his sword, leaps, and grabs it. Just then, Elsa peeks out the front doors. The Duke's two thugs see her.
DUKE'S THUG
The Queen.
The thugs charge up the stairs.
INT. ELSA'S PALACE - DAY
They guards burst through the ice doors. Elsa flees to the top floor of her palace. The guards pursue. They trap her on the top floor, raise their crossbows.
ELSA
(scared)
No. Please.
One of the thugs shoots an arrow right at Elsa. At the last moment she creates an ice wall. It stops the arrow, inches from her face. The thugs reposition to take another shot.
ELSA
Stay away!
Elsa shoots ice at the thugs. They duck out of the way and continue the attack.
THUG
Get her! Get her!
Elsa fights for her life. BACK OUTSIDE: Hans is nearly crushed by Marshmallow. He rolls away. Jumps to his feet. And with agile might, he slices Marshmallow's leg off with his sword. Marshmallow stumbles back, off balance. And falls off over the cliff, but not before striking Hans. Hans goes over the edge. REVEAL: Hans clings to the ice steps. His men help him up and they rush into the ice palace.
INT. ICE PALACE - DAY
Elsa is surrounded. It's do or die. In two swift moves, Elsa traps one thug in a cage of spikes that threaten his neck. The other she pushes back with a wall of ice....up against the balcony doors...which BURST and CRACK. OUT ONTO THE BALCONY.... The balcony doors shatter. The thug is pushed to the edge. He's inches away from falling to his death. BACK INSIDE: Hans and his men run in. See the destruction and the thugs near death.
HANS
Queen Elsa! Don't be the monster they fear you are.
Elsa snaps out of her rage. She sees the men, frightened, moments from death. She stops. Elsa looks to Hans, overwhelmed, frightened. The wall retreats from the thug on the balcony. The ice spikes lower from the second thug's neck. He takes advantage and aims his crossbow at Elsa's back. Seeing it. Hans runs and pushes the crossbow up just as the arrow releases. The arrow hits the ice chandelier, hanging directly above Elsa. The chandelier comes CRASHING DOWN. Elsa dives out of the way but she falls in the blast. All we see is ice smashing like glass, and all we hear is the sound of it shattering as it rings out. CUT TO BLACK.: FADE IN ON: Elsa's face as her eyes flutter open. She sits up. She's surrounded by stone.
INT. ARENDELLE, DUNGEON - DAY
Elsa looks to the nearby window. Tries to rush to it. She's pulled taut by giant shackles that fit like iron gloves. She's chained to the wall. Elsa strains to looks out a window... INSET WINDOW: Arendelle is outside, frozen solid and getting further buried under the ice and snow that is falling.
ELSA
No....What have I done?
Hans enters. He hangs a torch by the door.
ELSA
Why did you bring me here?
HANS
I couldn't just let them kill you.
ELSA
But I'm a danger to Arendelle. Get Anna.
HANS
Anna has not returned....
Elsa looks to the storm with worry.
HANS
If you would just stop the winter, bring back summer...please.
Elsa meets his eyes, desperate.
ELSA
Don't you see...I can't.
Hans sees the sincerity in her eyes.
ELSA
You have to tell them to let me go.
Hans walks to the door. He takes the torch.
HANS
I will do what I can.
He opens the door and leaves. Elsa, distraught, hears cracking. She looks down as her shackles begin to freeze over. The storm outside picks up. CUT TO:
EXT. THE FJORDS - DAY
Sven charges down the mountain with Kristoff and Anna on his back. Olaf slides along beside them, penguin-style. Anna shivers in Kristoff's arms. She's weakening. Kristoff takes off his hat and puts it on her head.
KRISTOFF
Just hang in there.
(to Sven)
Come on, buddy, faster!
They arrive at the walls of Arendelle. Olaf slides past them, out of control.
OLAF
I'll meet you guys at the castle!
KRISTOFF
Stay out of sight, Olaf!
OLAF
I will!
He disappears into the village streets.
OLAF (O.S.)
Hello!
TOWNSWOMAN (O.S.)
Ah! It's alive!
EXT. CASTLE COURTYARD - DAY
Guards see Kristoff and Anna approaching.
GUARD
It's Princess Anna!
Sven skids to a stop outside the gates. Kristoff slides off, holding Anna, and carries her to the gate.
KRISTOFF
I've got you.
Anna looks up at him, gratefully.
ANNA
...Are you g-gonna be okay?
KRISTOFF
(touched, reassuring)
Don't worry about me.
Just then the castle gates open. Gerda, Kai, and a handmaid rush to help Anna.
GERDA
Anna! Oh, you had us worried sick.
KAI
My Lady. You are freezing.
GERDA
You poor girl, you're freezing. Let's get you inside.
KRISTOFF
Get her warm and find Prince Hans, immediately.
KAI
We will. Thank you.
Anna is swept away from Kristoff and into the palace grounds.
KRISTOFF
Make sure she's safe!
Kristoff is shut out as the castle gates close on him. Kristoff stands there with Sven for a beat, staring with worry at the closed gates. Finally, he sighs, turns and walks off. Sven reluctantly follows. CUT TO:
INT. LIBRARY - DAY
Hans stands with the dignitaries and guards.
HANS
I'm going back out to look for Princess Anna.
FRENCH DIGNITARY
You cannot risk going out there again.
HANS
If anything happens to her--
SPANISH DIGNITARY
If anything happens to the Princess, you are all Arendelle has left.
Hans hesitates, realizing how much this kingdom has come to depend on him. Is he really all they have left? Just then the door opens and Gerda and Kai bring in Anna.
KAI
He's in here. Prince Hans.
HANS
Anna.
Hans rushes to Anna. She falls into his arms.
HANS
You're so cold.
ANNA
(weak, but desperate)
Hans, you have to kiss me.
HANS
What?
ANNA
Now. Here we go.
She tries to kiss him, but is too weak to pull herself up in his arms.
GERDA
We'll give you two some privacy.
Everyone shuffles out, leaving Hans and Anna alone.
HANS
What happened out there?
ANNA
Elsa struck me with her powers.
HANS
You said she'd never hurt you.
ANNA
I was wrong.
Anna crumbles, weak.
HANS
Anna.
Hans carries her to a couch, sets her down.
ANNA
(shivering more)
She froze my heart and only an act of true love can save me.
HANS
(understanding)
A true love's kiss.
He takes her chin in his hand and gives her a tender smile. He leans in slowly...gently... Then he stops.
HANS
Oh, Anna. If only there was someone out there who loved you.
ANNA
What?
Hans gets up, leaving her there.
ANNA
...You said you did.
He goes to the window and shuts the curtains.
HANS
As thirteenth in line in my own kingdom, I didn't stand a chance. I knew I'd have to marry into the throne somewhere--
ANNA
What are you talking about?
HANS
(putting out the candles)
As heir, Elsa was preferable, of course. But no one was getting anywhere with her. But you-
ANNA
Hans?
HANS
You were so desperate for love you were willing to marry me, just like that.
Hans crosses the room, grabs a pitcher of water from a table and goes to the fireplace.
HANS
I figured, after we married, I'd have to stage a little accident for Elsa.
Hans pours the water on the fireplace, putting out the fire. Anna tries to stop him. She falls to the floor, weak.
ANNA
Hans. No, stop.
HANS
But then she doomed herself, and you were dumb enough to go after her.
ANNA
Please.
HANS
(chuckles)
All that's left now is to kill Elsa and bring back summer.
Hans approaches Anna.
ANNA
...You're no match for Elsa.
He bends down, takes her chin in his hand again, this time not so gently.
HANS
No, you're no match for Elsa. I, on the other hand, am the hero who is going to save Arendelle from destruction.
She wrenches her face out of his hands.
ANNA
(anger)
You won't get away with this.
Hans rises and crosses to the door.
HANS
Oh, I already have.
Hans leaves and shuts her in, locking the door. Anna struggles to the door, yanks on the locked handle.
ANNA
(hoarse and weak)
Please, somebody help.
The rest of her hair turns white and she crumbles to the floor. CUT TO:
INT. COUNCIL CHAMBER - NIGHT
The Duke looks out the window at the growing snowstorm. He rubs his arms and shivers.
DUKE
It's getting colder by the minute. If we don't do something soon, we'll all freeze to death.
Hans comes in, putting on his most distraught face.
SPANISH DIGNITARY
Prince Hans.
HANS
Princess Anna is...dead.
VARIOUS DIGNITARIES
What...? No.... Mon dieu.
Hans stumbles, weak with grief. The men help him to a chair.
DUKE
What happened to her?
HANS
She was killed by Queen Elsa.
DUKE
Her own sister.
HANS
(really putting it on)
At least we got to say our marriage vows...before she died in my arms.
He bows his head in a brilliant display of teary grief.
DUKE
There can be no doubt now; Queen Elsa is a monster and we are all in grave danger.
SPANISH DIGNITARY
Prince Hans, Arendelle looks to you.
Hans nods; he knows what he's being asked to do, and he'll do it with the perfect amount of authority and gravitas.
HANS
With a heavy heart, I charge Queen Elsa of Arendelle with treason and sentence her to death.
INT. ELSA'S DUNGEON - DAY
The cell ices over. Elsa looks out at the storm that is devastating Arendelle, then hears the guards approaching.
GUARD (O.S.)
She's dangerous. Move quickly and with resolve.
Elsa pulls at her shackles. They crack. Just as the door busts open, the weight of the ice crumbles the walls. The men duck out of the way. Hans pushes his way into the room...sees... The back wall is blown open. Broken shackles rest on the floor. Elsa is gone. CUT TO:
EXT. MOUNTAIN SLOPE - DAY
Kristoff heads into the mountains. Sven lags behind, not wanting to follow. He looks back at the kingdom, then shakes his head. Enough. He runs past Kristoff. Stops and turns to face him. He snorts and grunts.
KRISTOFF
What is it, buddy?
Sven nudges Kristoff with his antlers.
KRISTOFF
Hey, watch it. What's wrong with you?
Sven snorts with more conviction, moos, brays.
KRISTOFF
(avoiding)
...I don't understand you when you talk like that.
Kristoff tries to walk on ahead, but Sven uses his antlers to lift Kristoff off the ground.
KRISTOFF
Ah! Stop it! Put me down!
Sven drops him hard then "yells" at him once more.
KRISTOFF
No, Sven! We're not going back!
Sven shakes his head, angrily.
KRISTOFF
She's with her true love.
Sven makes an "of-course-she-isn't" face. Kristoff gets it; he's made his point. Just then the wind picks up. Kristoff looks back at the kingdom. Sees a violent winter storm swirling over the castle. Sharp ice claws its way up the castle, encasing it.
KRISTOFF
Anna.
Without hesitating, he dashes back down the mountain. Sven runs after him, catches up. Kristoff grabs Sven's harness and jumps onto his back. CUT TO:
INT. LIBRARY - NIGHT
Anna shivers by the door. She looks up to see ice overtaking the ceiling. The door handle suddenly jiggles. Stops. Jiggles again.
ANNA
(barely a whisper)
Help.
CLICK. The door swings open. We see a carrot in the lock and hear a giggle of victory. Olaf takes the carrot, puts it back on his face. Then he sees Anna lying there.
OLAF
Anna. Oh no.
He runs to the fireplace. Throws in some fresh wood, including one of his own arms, which he quickly rescues, before striking a match and relighting the fire.
ANNA
Olaf? Olaf. Get away from there.
OLAF
Whoa! So this is heat....
(considering)
I love it.
He reaches a twig finger toward the flames. It catches on fire.
OLAF
Ooh! But don't touch it!
He shakes the flame out, as he rushes over to help Anna to the fire.
OLAF
So, where's Hans? What happened to your kiss?
ANNA
I was wrong about him. It wasn't true love.
OLAF
(confused innocence)
Huh. But we ran all the way here?
ANNA
Please Olaf, you can't stay here; you'll melt.
OLAF
I am not leaving here until we find some other act of true love to save you.
He sits down behind her, stubbornly. Leans his back against hers and thinks.
OLAF
...Do you happen to have any ideas?
ANNA
I don't even know what love is.
OLAF
(confident)
That's okay, I do....
Olaf hops back up and puts a soothing hand on her shoulder.
OLAF
Love is...putting someone else's needs before yours, like, you know, how Kristoff brought you back here to Hans and left you forever.
ANNA
...Kristoff loves me?
OLAF
Wow, you really don't know anything about love, do you?
His face starts to melt.
ANNA
Olaf, you're melting.
OLAF
(sweet and reassuring)
Some people are worth melting for.
But then...his face REALLY melts. He panics, pushes the snow back in place.
OLAF
Just maybe not right this second.
Suddenly, the window blows open, cold wind sweeps in.
OLAF
Don't worry, I've got it!
Olaf flitters to the window. He pulls one panel of it shut but struggles with the second panel.
OLAF
(determined)
We're going to get through--
(distracted)
Oh, wait. Hang on. I'm getting something.
He breaks an icicle off the window, uses it as a telescope and sees... Kristoff and Sven running back down the mountain.
OLAF
It's Kristoff and Sven! They're coming back this way.
ANNA
...They-they are?
OLAF
Wow, he's really moving fast. Huh.... I guess I was wrong. I guess Kristoff doesn't love you enough to leave you behind.
Anna tries to get to her feet.
ANNA
Help me up, Olaf. Please.
He hurries over, tumbling over the couch, knocking over the chess set and water jugs.
OLAF
No, no, no, no, no. You need to stay by the fire and keep warm.
ANNA
I need to get to Kristoff.
OLAF
(clueless)
Why...?
(realizing)
Oh, oh, oh, I know why.
He hops around in an excited display of hope.
OLAF
There's your act of true love, right there, riding across the fjords like a valiant, pungent reindeer king! Come on!
The walls crack under the ice pressure.
OLAF
Look out!
They rush out the room just as the ceiling collapses.
INT. CASTLE HALLWAY - DAY
Anna and Olaf struggle down the hall. Ice spikes grow and block their path.
OLAF
We're trapped.
Anna looks around desperately for a way out.
EXT. FJORD - DAY
Elsa runs, but is nearly blinded by the snow and wind.
EXT. CASTLE - DAY
Anna and Olaf bust open a window. The storm is so strong it sweeps the window panes away.
OLAF
Slide, Anna.
It's a long, snowy way down. But what choice do they have? They slide down the iced-covered building. Anna arrives at the bottom, weak but uninjured. Olaf gathers snow along the way. He arrives at the bottom as a giant snowball.
OLAF
We made it!
He shakes off the extra snow as Anna struggles to her feet.
EXT. FJORD - DAY
Kristoff and Sven bound off the mountain and sprint across the frozen fjord waters and right into the heart of the storm. Its white-out wind pushes them back. But they fight through.
KRISTOFF
Come on, buddy, faster.
CUT TO: Anna and Olaf reach the shore of the fjords.
ANNA
Kristoff!
The wind lifts Olaf up and pulls him apart. He goes swirling off into the storm.
OLAF
Keep going, Anna!
Anna struggles on.
ANNA
Kristoff!
PAN TO: Kristoff rides Sven past cracking, frozen ships. Sven struggles over the uneven surface.
KRISTOFF
Come on! Come on!
Suddenly, a mangled ship, risen by ice, capsizes over them. They give it all they've got as debris falls all around them and the mast shatters. They make it past just as the entire ship slams down and cracks the thick ice beneath their feet. The ice opens up. Sven bravely jumps over a gap. But it's too wide. He bucks Kristoff to safety, but lands in the freezing water and disappears below.
KRISTOFF
Sven? Sven!
At first there's nothing but the wind and the tumbling icy water. But suddenly, Sven surfaces and claws his way to a floating ice chunk. He calls out, signalling for Kristoff to go on.
KRISTOFF
Good boy.
CUT TO: Anna moves blindly across the fjord. Anna's hands frost over an icy blue. She stumbles on, determined. But she's running out of time. She clutches her chest. The color in her eyes fades, the inevitable is coming. CUT TO: Kristoff, lost in the white-out, doesn't know which way to turn. But then he hears a faint--
ANNA (O.S.)
Kristoff.
KRISTOFF
Anna...? Anna!
WHITE OUT TO: Elsa struggles through her own storm, but the fear is consuming her. A dark shadow approaches. It's Hans.
HANS
Elsa. You can't run from this!
Elsa backs away from him.
ELSA
...Just take care of my sister.
HANS
Your sister? She returned from the mountain weak and cold. She said you froze her heart.
ELSA
What? No.
HANS
I tried to save her, but it was too late. Her skin was ice. Her hair turned white...
Elsa's face sinks as she realizes what she has done.
HANS
Your sister is dead... because of you.
Elsa drops to her knees, emotionally broken. And with that, the swirling storm suddenly stops. The snow freezes mid-air, hangs suspended, trapped in grief. Citizens and dignitaries rush to the wall's edge and look out to see... Anna, barely able to move but now able to see across the fjords to...
ANNA
(a whisper)
Kristoff.
KRISTOFF
Anna.
Anna pushes on towards Kristoff. He runs top speed towards her. There's still a lot of fjord to cross, but Kristoff is giving it all he's got. He's going to make it. But then, Anna hears the sound of a sword being drawn from its scabbard. She turns and sees Hans, behind Elsa, as he raises his sword over his head.
ANNA
Elsa.
Anna looks back at Kristoff as he runs for her. She gives him a longing look, but then turns away from him and then... Using all of her remaining strength, as Hans brings his sword down, Anna throws herself in front of Elsa.
ANNA
No!
In that instant, Anna freezes to solid ice. The sword hits her instead of Elsa. The sword shatters completely. The force of it sends Hans flying back and knocks him out.
ELSA
Anna!
Elsa rushes to Anna and touches her sister's frozen face.
ELSA
Oh, Anna...no...no, please no.
Olaf walks up and sees Anna, frozen.
OLAF
(confused, sad)
Anna?
Elsa hugs Anna and cries. Kristoff watches in shocked despair. Sven steps up to his side. Citizens and dignitaries on the castle walls bow their heads. All of Arendelle is joined in somber silence. But then, Anna warms. She begins to thaw. Olaf looks up and gasps. Kristoff and Sven notice, light up. Anna bends her arm and embraces Elsa.
ELSA
Wha-? Anna?
Anna opens her eyes. She smiles at Elsa, relieved.
ANNA
Oh, Elsa.
They embrace.
ELSA
...You sacrificed yourself for me?
ANNA
(weak)
...I love you.
Olaf realizes what's happened. He's so excited about it, he lifts his head right off his body and exclaims--
OLAF
An act of true love will thaw a frozen heart.
ELSA
(processing)
Love...will thaw...
(realizing)
Love.... Of course.
Elsa looks at Anna with confidence.
ANNA
Elsa?
ELSA
Love.
Elsa lifts her arms, and the ground shakes and cracks. The ice and snow breaks away and rises high into the air. Beneath their feet the bow of a ship thaws. The entire fjord melts and other boats right themselves. The villagers come out to see the warmth returning. In one final wave, Elsa draws all of the snow into a giant snowflake in the sky, then waves it away, leaving only a warm summer day.
ANNA
I knew you could do it.
OLAF
(melting, good-naturedly)
Hands down, this is the best day of my life...and quite possibly the last.
ELSA
Oh, Olaf. Hang on, little guy.
Elsa waves her hand and surrounds Olaf with a swirl of cold air. He refreezes. Above his head she leaves a little, perpetually-snowing storm cloud. Olaf loves it.
OLAF
Hey, my own personal flurry.
Kristoff sees Hans trying to get to his feet. He marches toward him, prepared for a fight. But Anna puts up a hand and stops him.
ANNA
Uh. Uh. Uh.
She'll handle this. She goes over to Hans.
HANS
(confused)
Anna? But she froze your heart.
ANNA
The only frozen heart around here is yours.
She turns away from him, proud of her words. But not yet satisfied, she turns back and punches him right in the face.
HANS
Ah! Whoa, whoa, whoa!
He falls overboard. Elsa comes over to Anna and hugs her. Over her shoulder, Kristoff meets Anna's eyes. She smiles brighter, happy. DISSOLVE TO:
EXT. ARENDELLE - DAY
It's a beautiful summer day. The mighty ships have been repaired and are sailing away. On one of the ships, HANS is thrown into a brig.
FRENCH DIGNITARY
(to Kai)
I will return this scoundrel to his country. We shall see what his twelve big brothers think of his behavior.
KAI
Arendelle thanks you, my Lord.
Down on the dock, Arendelle guards lead the Duke and his two thugs to their ship.
DUKE
This is unacceptable. I am innocent. I'm a victim of fear. I've been traumatized.
(bad acting)
Ow! My neck hurts. Is there a doctor I could...No? And I demand to see the Queen!
Kai steps down from the gangplank to the dock.
KAI
I have a message from the Queen.
(reading a scroll)
Arendelle will henceforth and forever no longer do business of any sort with Weaseltown.
DUKE
Weselton. It's Weselton!
The guards usher him and his thugs onto their ship.
EXT. VILLAGE SQUARE - DAY
Anna runs through the crowd, pulling a blindfolded Kristoff along behind her. She's so excited she can't stand it.
ANNA
Come on. Come on. Come on. Come on!
She runs him right into a pole.
KRISTOFF
Pole.
ANNA
Oops. Sorry.
EXT. ARENDELLE DOCKS - DAY
Anna skips to the perfect spot and stops.
ANNA
(stopping)
Okay. Okay. Here we are.
She takes off the blindfold. Kristoff opens his eyes. Before him sits the most beautiful, suped-up sled. Sven poses in front of it -- Vanna White-style.
ANNA
I owe you a sled.
KRISTOFF
(blown away)
Are you serious?
ANNA
Yes. And it's the latest model.
KRISTOFF
No. I can't accept this...
ANNA
You have to. No returns. No exchanges. Queen's orders. She's named you the official Arendelle Ice Master and Deliverer.
Sven shows off the Ice-Master-and-Deliverer medal like he's king of the bucks.
KRISTOFF
What? That's not a thing.
But he can't help but admire her enthusiasm.
ANNA
Sure it is. And it even has a cup holder.... Do you like it?
KRISTOFF
Like it?
He sweeps her up high overhead and spins her around.
KRISTOFF
I love it.... I could kiss you!
He drops her, suddenly embarrassed.
KRISTOFF
...I could. I mean I'd like to. I'd... may I? We me....I mean, may we? Wait, what?
She gives him a quick kiss on the cheek.
ANNA
We may.
He smiles and goes for it. It's a true love's kiss, alright. We move past them to find Olaf enjoying the summer. With his snow cloud safely overhead, he's free to smell the flowers, which he does. Then sneezes his carrot nose off. Sven catches it between his teeth. Olaf gasps as Sven sucks the whole carrot into his mouth. It's gone. Olaf's face sinks in sadness. But not to fear, Sven spits the carrot back out and jams it into Olaf's face where it belongs. It's completely covered in reindeer spit, but Olaf doesn't seem to mind. He hugs Sven happily. CUT TO:
EXT. CASTLE COURTYARD - DAY
The gates to the castle are wide open. In the courtyard, stands Elsa.
ELSA
Are you ready?
Villagers cheer. Elsa stops and creates an ice rink. The people, skates at the ready, hope onto it and twirl about. Elsa then freezes the fountain in a beautiful design and adds some snow flurries for atmosphere. Anna comes slipping in. Elsa catches her.
ANNA
I like the open gates.
ELSA
We are never closing them again.
Elsa then waves her hand and magical ice skates (literally made of ice) form on Anna's boots.
ANNA
What? Oh, Elsa, they're beautiful, but you know I don't ska--
Elsa grabs Anna's hands and pulls her along on the ice. Anna slips and slides, but laughs in delight. Sven goes slipping past. Kristoff runs after him.
KRISTOFF
Look out. Reindeer coming through!
Olaf skates and helps Elsa coach Anna.
OLAF
That's it. Glide and pivot and glide and pivot.
We pull away slowly, into the sky. We arrive at a bird's-eye view to see that where the castle had crumbled has been repaired with a ice. All is right in Arendelle. FINAL FADE OUT.:
THE END
| 1 | 0 |
99 Homes_2014
|
tt2891174
|
99 Homes
| 2,014 |
Recently unemployed single father Dennis Nash, a former construction worker in Orlando, Florida, is evicted together with his mother Lynn, a hairdresser, and young son Connor from the foreclosed home they share. Real estate operator Rick Carver is in charge of the eviction, and police officers who provide the enforcement call him "boss". Dennis and his family move into a shabby, cramped motel room. Dennis goes to Rick's office and tries to take back his tools stolen by Rick's men. Rick sees the confrontation and is impressed by Dennis' gumption. He offers Dennis work as a repairman at his properties and Dennis accepts. Dennis soon becomes Rick's assistant, helping to carry out evictions himself and quickly learning the real estate schemes that exploit government and banking rules to the disadvantage of struggling homeowners. It is revealed that Rick and Dennis have similar backgrounds and having seen how his father worked hard for no reward and seeing how stacked the system is against the common man, Rick reasons it's better to be the hunter rather than the hunted. Dennis takes a cut for the work he is performing for Rick and dips into the glamorous lifestyle in which Rick indulges. On his rounds he encounters the father of his son's best friend, but the man turned hostile toward Dennis when he saw him become part of Rick's eviction business. He says the eviction is illegal and will fight it in court. Almost as soon as he begins working for Rick, Dennis tells Rick to keep the checks Rick offers as payment, so that he can buy back the house from which he was evicted. Rick warns him not to get sentimental about real estate and tells him to keep his money for now, since it is not enough to buy the house back. However, they make a deal with Rick to buy back his family's old house, but the legal process prevents them from moving in immediately. Nonetheless, he surprises his mother and son, showing them the house and telling them they will move back in. Meanwhile, an evicted homeowner living in the same motel as Dennis and his family recognizes and threatens him. He denies knowing the man, but his mother and son are suspicious of how he's making money. Having witnessed the malicious calls Rick often gets, he decides to move out of the motel room immediately by selling the family home and buying a much more luxurious home instead. When Dennis brings his mother and son to the luxurious house and informs them he bought it and sold their old house so they could get out of the motel room immediately, his mother does not believe at first that he has bought the house. Then Dennis' mother is shocked by the loss of their long-time home and is repelled as she realizes Dennis got his new-found wealth by helping Rick victimize vulnerable homeowners who have financial problems. Connor is also unhappy with the arrangement and sides with his grandmother as they leave Dennis to stay with her brother. Rick puts together a multimillion-dollar real estate deal, but it is jeopardized by a legal case brought by a homeowner he is trying to evict. The deal is set to collapse if the homeowner wins as he asserts there is not a full set of documents to evict him. Rick forges the document and entrusts Dennis to deliver it to the court, which puts him in a moral dilemma. Dennis eventually obeys Rick's order to deliver the missing document to court that defeats the homeowner's legal case. The subsequent eviction turns into an armed stand-off. Fearing that the man, whose family is also in the house, will likely be killed in a shoot-out, Dennis confesses to giving a forged document to the court. The homeowner surrenders, and Dennis is escorted to the law enforcement's car so that they can speak with Rick. As Dennis waits in the car, the homeowner's son smiles at him, then quickly runs away.
|
<script>
<scene>
<character>99 HOMES</character>
<dialogue>Story by</dialogue>
<scene_description>Ramin Bahrani Bahareh Azimi Screenplay by Ramin Bahrani Amir Naderi Noruz Films © Ramin Bahrani 2013 The Grand Inquisitor: "'Better that you enslave us, but feed us.' They will finally understand that freedom and earthly bread in plenty for everyone are inconceivable together, for never, never will they be able to share amongst themselves." - FYODOR DOSTOEVSKY, The Brothers Karamazov</scene_description>
</scene>
<scene>
<stage_direction>I/E. EVICTION HOME - DAY</stage_direction>
<scene_description>A blood-stained wall near family photos. POLICEMEN take flash photos of the DEAD HOMEOWNER, gun in his lifeless hand. OFFICER DUDURA questions two SHERIFFS (30s-50s) but tries to get the attention of an impeccably dressed RICK CARVER (40s), talking on the phone. He's a smart, ambitious real estate broker, with a mean-streak.</scene_description>
<character>OFFICER DUDURA</character>
<dialogue>Rick?... Mr. Carver?...</dialogue>
<character>RICK CARVER</character>
<dialogue>I'll be with you in a second.</dialogue>
<scene_description>He continues his call; wants to look away from the dead homeowner, but can't.</scene_description>
<character>RICK CARVER (INTO PHONE)</character>
<dialogue>Remove the power meter, turn off their water, and let 'em sweat a couple days, then ride up on your white fucking horse and tell them you have an interested cash-buyer and that Rick Carver can get the short-sale approved... Jesus, do I have to hold your hand while you give them a hand job, Bill? Get me that property.</dialogue>
<scene_description>He smokes an electronic cigarette.</scene_description>
<character>RICK CARVER</character>
<dialogue>Yes, John - Officer Dudura - you have my court order signed by the Judge. What else can I do for you?</dialogue>
<character>OFFICER DUDURA</character>
<dialogue>You're the bank's realtor for the eviction today. I need an official statement. What happened? Why?</dialogue>
<scene_description>Rick walks though the house; Dudura and Sheriffs follow.</scene_description>
<character>RICK CARVER</character>
<dialogue>Well, Dudura, it's a real shame, because we arrived here with two pizzas for Mr. Kadwell, the property owner, but he didn't want the anchovies, so he went into the house, pulled out a gun, and blew his brains out.</dialogue>
<scene_description>OUTSIDE THE HOME NEIGHBORS have gathered. POLICEMEN, EMTs, NEWS TEAMS. A POLICEWOMAN and NEIGHBOR console a sobbing WIFE and two KIDS.</scene_description>
<character>RICK CARVER</character>
<parenthetical>(points to crying Wife)</parenthetical>
<dialogue>That set off Mrs. Kadwell, who was expecting Chinese for dinner.</dialogue>
<scene_description>Dudura looks disgusted; Sheriff #1 snickers.</scene_description>
<character>OFFICER DUDURA</character>
<dialogue>You're talking about someone who just killed himself.</dialogue>
<character>RICK CARVER</character>
<dialogue>I'm the last man who knocked on Patrick Kadwell's door - in his life. That's his wife of twelve years, Samantha, and son, Dylan - eight - and daughter, Paige - eleven. What official statement is going to encapsulate the tragic absurdity of this fucked up situation, Dudura? I can't bring him back to life, so please stop wasting my time.</dialogue>
<scene_description>He walks away and answers his RINGING phone.</scene_description>
<character>RICK CARVER (INTO PHONE)</character>
<dialogue>This is Rick Carver... I'm fine, Dear... Turn the TV off and keep the girls away from the internet... I've got the other line. - This is Rick Carver...</dialogue>
<scene_description>Keyless entry and he gets into -</scene_description>
</scene>
<scene>
<stage_direction>INT. RICK'S LEXUS LX - CONTINUOUS</stage_direction>
<scene_description>- the high-end, high-tech, luxury Lexus LX SUV.</scene_description>
<character>RICK CARVER</character>
<dialogue>Ride it up to $200,000, $220 cap... no more than 10% down, 7.5% makes me sing. And get the Miguels ready. It's 2 grand a month on interest alone. I want to flip this finger. Get back to me. - Call office.</dialogue>
<scene_description>On-Board system DIALS. The two Sheriffs knock on his window.</scene_description>
<character>SHERIFF #1</character>
<dialogue>Anything else, boss?</dialogue>
<character>RICK CARVER</character>
<dialogue>Next eviction's Tuesday. Natalia'll call you.</dialogue>
<scene_description>They leave. He scrolls emails on an iPad secured to his dash.</scene_description>
<character>NATALIA (THROUGH SPEAKERS)</character>
<dialogue>Rick Carver Realty.</dialogue>
<character>RICK CARVER</character>
<dialogue>Talk to me. My world's upside-down.</dialogue>
<character>NATALIA (THROUGH SPEAKERS)</character>
<dialogue>I'm emailing your revised itinerary... Also, um, Jerry from Toyota Credit called again -</dialogue>
<character>RICK CARVER</character>
<dialogue>- Jerry's full of shit. Keep talking.</dialogue>
<character>NATALIA (THROUGH SPEAKERS)</character>
<dialogue>The high rise came through, PUDs and all. What do you want me to tell them?</dialogue>
<scene_description>Suddenly hears SHRIEKING. He looks out the window: Police hold back the SHRIEKING Wife as EMTs push her Dead Husband on a gurney and load him into a waiting ambulance.</scene_description>
</scene>
<scene>
<stage_direction>EXT. CONSTRUCTION SITE / MCMANSION SUBDIVISION - DAY</stage_direction>
<scene_description>DENNIS NASH (29, blue collar, smart) and DENNIS' CREW (2 Guys) put up a mansion. Dennis chalks lines based on blueprints. Uses a power saw to cut wood. Hot, he's sweating; tats on his arms. Dennis puts up the frame. Walking on wood beams way up high. LATER ELLIOTT, the GC (30s-50s) argues with Crew Leader who stops Dennis and Crew.</scene_description>
<character>CREW LEADER</character>
<dialogue>Stop working! That's it. Stop! The buyer doesn't qualify, the lender's out, we're done.</dialogue>
<character>DENNIS</character>
<dialogue>What does that mean in terms of payment?</dialogue>
<character>CREW LEADER</character>
<dialogue>It means we've been working for free. All this from roof to cement is for nothing. Hey, no more dinero! Stop! Let's go home.</dialogue>
</scene>
<scene>
<stage_direction>INT. COURT / GLOBE AREA - CONTINUOUS</stage_direction>
<scene_description>CONNOR (9, smart, inquisitive, stubborn) and FRANK'S SON (9) look at Australia on a large globe. FRANK GREENE (30s-40s, blue collar, smart, humble) FRANK'S WIFE and FRANK'S SON #2 (5) nearby. Dennis is on the phone.</scene_description>
<character>DENNIS</character>
<dialogue>Connor. What're you doing? We're gonna be late. Come on.</dialogue>
<scene_description>Connor shrugs and says goodbye to Frank's son.</scene_description>
<character>DENNIS</character>
<dialogue>Who's that?</dialogue>
<character>CONNOR</character>
<dialogue>We're in the same school.</dialogue>
<scene_description>A paper falls from Dennis' folder. Connor picks it up and hands it to his dad.</scene_description>
</scene>
<scene>
<stage_direction>INT. COURT; COURTROOM - DAY</stage_direction>
<scene_description>The Bailiff tries to keep order in the chaotic courtroom of confused HOMEOWNERS and gossiping LAWYERS. Connor watches Dennis defending himself against the FREEMAN LAWYER. A JUDGE (50s-70s) presides.</scene_description>
<character>FREEMAN LAWYER</character>
<dialogue>Your Honor, he missed three payments and is underwater over $80 grand. The bank could have a buyer in place within 30 days.</dialogue>
<character>JUDGE</character>
<dialogue>Did you fail to make three payments, Mr. Nash?</dialogue>
<character>DENNIS</character>
<dialogue>Yes, sir - but I was told to, it was two departments of the same bank telling me the opposite thing and then just recently I got this final notice for eviction -</dialogue>
<character>FREEMAN LAWYER</character>
<dialogue>Your Honor, you already entered summary judgement here. We'd like to close by the end of the month.</dialogue>
<character>JUDGE</character>
<dialogue>I see no reason to hold up the sale -</dialogue>
<character>DENNIS</character>
<dialogue>Hold on a minute - they told me not to pay, that's why I'm behind, they told me - it was two departments of the same bank, telling me different things your Honor.</dialogue>
<character>JUDGE</character>
<dialogue>While I'm sympathetic to your situation, I have 40,000 cases like this backed up behind yours. Final judgement granted. I'm ordered you to vacate the premises.</dialogue>
<character>DENNIS</character>
<dialogue>That's my family home, your Honor. I was born and raised in that home. So was my son, Connor. Please don't do this. We've lived there our whole lives, my mom runs her business out of that home. That's our second source of income.</dialogue>
<character>JUDGE</character>
<dialogue>This is your son?</dialogue>
<character>DENNIS</character>
<dialogue>Yes, that's my son.</dialogue>
<character>JUDGE</character>
<dialogue>Then he should be in school, not here.</dialogue>
<character>DENNIS</character>
<dialogue>He's gonna lose his school with all due respect your Honor, if we lose our home.</dialogue>
<character>JUDGE</character>
<dialogue>Sun Trust versus Cunningham.</dialogue>
<character>DENNIS</character>
<dialogue>Give me a bit more time your honor.</dialogue>
<character>JUDGE</character>
<dialogue>Bailiff, please remove Mr. Nash.</dialogue>
<character>DENNIS</character>
<dialogue>Your honor, I just need a bit more time. Excuse me, I just need a bit more time.</dialogue>
<character>JUDGE</character>
<dialogue>You have 30 days to file an appeal like everyone else. Bailiff please remove Mr. Nash.</dialogue>
<scene_description>Connor watches the Bailiff move Dennis aside as the next HOMEOWNER awkwardly takes Dennis' place.</scene_description>
</scene>
<scene>
<stage_direction>INT. DENNIS' TRUCK \[MOVING\] - DAY</stage_direction>
<scene_description>Dennis smokes and drives; Connor near him. They've lost.</scene_description>
<character>CONNOR</character>
<dialogue>Where're we going to stay if we lose the home?</dialogue>
<character>DENNIS</character>
<dialogue>We're not losing the home, bud.</dialogue>
<character>CONNOR</character>
<dialogue>How do you know? The cops aren't coming back? I just wanna know how you're gonna pay for it.</dialogue>
<character>DENNIS</character>
<dialogue>Connor! - I'm gonna figure it out. That judge gave us 30 days. No one's taking the home from us.</dialogue>
</scene>
<scene>
<stage_direction>EXT. DENNIS' HOME / NEIGHBORHOOD - DAY</stage_direction>
<scene_description>Dennis' middle-class home. DEREK and KIDS ride bikes and play in the street. Dennis pulls up.</scene_description>
<character>CONNOR</character>
<dialogue>Yo, Derek!</dialogue>
<scene_description>He runs off to play with Derek. Dennis checks the mail; waves to a NEIGHBOR. Connor rides bikes.</scene_description>
<character>DENNIS</character>
<dialogue>You be careful, Connor!</dialogue>
</scene>
<scene>
<stage_direction>INT. DENNIS' HOME - CONTINUOUS</stage_direction>
<scene_description>His mom, LYNN cuts her CLIENT's hair. Lynn is a hairdresser who loves her family; she's social, moody, loving, a little lost since her husband died.</scene_description>
<character>LYNN</character>
<dialogue>So, tell me everything - did they give you a lawyer, did they - ?</dialogue>
<character>DENNIS</character>
<dialogue>It's the same story with the bank guys, it's the same story everywhere we go.</dialogue>
<character>LYNN</character>
<parenthetical>(to her client)</parenthetical>
<dialogue>We have to find a lawyer, you know -</dialogue>
<scene_description>He goes to the living room and shuffles through piles of bills, notes, bank paperwork. (Their home is cluttered, lived-in; the decor belongs to his parents. Family photos line the wall, including Dennis' dad. The family has lived here over 40 years. It feels like it.)</scene_description>
<character>DENNIS</character>
<dialogue>I'm just trying to figure out what this 30-day thing means; he said we've got 30 days to file an appeal, but does that mean the eviction's not happening tomorrow?</dialogue>
<character>LYNN</character>
<dialogue>But the judge told you 30 days.</dialogue>
<character>DENNIS</character>
<dialogue>I know, the judge said we got 30 days to file for an appeal -</dialogue>
<character>LYNN</character>
<dialogue>Well he's a judge, not a bartender! We're in good shape.</dialogue>
</scene>
<scene>
<stage_direction>INT. DENNIS' HOME / KITCHEN & LIVING ROOM - NIGHT</stage_direction>
<scene_description>In the living room: Dennis sits at a table with a mountain of bills and an eviction notice. Quick series of phone call:</scene_description>
<character>DENNIS (INTO PHONE)</character>
<dialogue>My name is Dennis Nash, I'm calling looking for representation. I understand that you guys sometimes do not need a retainer?</dialogue>
<scene_description>LATER</scene_description>
<character>DENNIS (INTO PHONE)</character>
<dialogue>When you went through what you went through, you were able to find someone pro bono - I'm just wondering if he can help?</dialogue>
<scene_description>LATER: In the kitchen, Lynn brings dinner to Connor who studies. A loving bond between them.</scene_description>
<character>CONNOR</character>
<dialogue>Lost is to found as outside is to indoors, inside -</dialogue>
<character>LYNN</character>
<dialogue>And what's another example?</dialogue>
<character>CONNOR</character>
<dialogue>Black and white?</dialogue>
<character>LYNN</character>
<parenthetical>(gives him a plate)</parenthetical>
<dialogue>Black and white? What's another one? Give me one more.</dialogue>
<scene_description>LATER: In the living room, Dennis looks exhausted.</scene_description>
<character>DENNIS</character>
<dialogue>454-0189. Please give us a call back.</dialogue>
<scene_description>Dennis puts down the phone, exhausted, losing hope - but he stretches and reenergizes himself for more calls.</scene_description>
</scene>
<scene>
<stage_direction>EXT. DENNIS' HOME - NIGHT</stage_direction>
<scene_description>Lynn smokes. Dennis enters. They share a cigarette.</scene_description>
<character>DENNIS</character>
<dialogue>Sometimes, I don't know what to say to Connor.</dialogue>
<character>LYNN</character>
<dialogue>I was so young when I had you, you had to raise me.... you'll know what to say.</dialogue>
</scene>
<scene>
<stage_direction>INT. DENNIS' HOME; CONNOR'S ROOM - NIGHT</stage_direction>
<scene_description>Connor lies asleep in bed. Dennis watches him from the hallway. He turns off the light.</scene_description>
</scene>
<scene>
<stage_direction>EXT. DENNIS' HOME - MORNING</stage_direction>
<scene_description>MEN gather on the lawn: Sheriffs (from opening scene), a LOCKSMITH, JEFF (redneck) and his CLEAN-OUT-CREW (4 low-class guys) near a van and truck. Rick Carver pulls up.</scene_description>
</scene>
<scene>
<stage_direction>INT./EXT. RICK'S RANGE ROVER / DENNIS' HOME - CONTINUOUS</stage_direction>
<scene_description>Rick speaks into "on board;" he props his foot up - AN ANKLE HOLSTER WITH A GUN. Checks his Ruger, puts it back.</scene_description>
<character>RICK CARVER</character>
<dialogue>Borrow against Blair Street to cover Via Alizar. I'll flip that this quarter.</dialogue>
<character>NATALIA (THROUGH SPEAKERS)</character>
<dialogue>Good. And Landon at code enforcement?</dialogue>
<character>RICK CARVER</character>
<dialogue>I have a short sale for that cocksucker. I'll email the details.</dialogue>
<character>NATALIA (THROUGH SPEAKERS)</character>
<dialogue>Got it.</dialogue>
<character>SHERIFF #1</character>
<dialogue>Afternoon, boss. Love the new ride.</dialogue>
<character>RICK CARVER</character>
<dialogue>Range Rover HSE.</dialogue>
<character>SHERIFF #1</character>
<dialogue>Is this the Nash eviction?</dialogue>
<character>RICK CARVER</character>
<dialogue>Yeah, anyone home?</dialogue>
<character>SHERIFF #1</character>
<dialogue>I'm not sure, but their vehicle's home.</dialogue>
<character>RICK CARVER</character>
<dialogue>Alright, let's get to it.</dialogue>
<scene_description>They approach Dennis' door. Sherriff #1 knocks. Dennis looks out the window. They see him.</scene_description>
<character>SHERIFF #1</character>
<dialogue>He's at the window.</dialogue>
<scene_description>Rick looks over. He and Dennis lock eyes for the first time.</scene_description>
</scene>
<scene>
<stage_direction>INT. DENNIS' HOME - CONTINUOUS</stage_direction>
<scene_description>Dennis hesitates, Sheriff knocking. Doesn't know what to do. He looks in the next room, sees Lynn.</scene_description>
<character>LYNN</character>
<dialogue>What is it?</dialogue>
<character>DENNIS</character>
<dialogue>Sheriffs are here.</dialogue>
<character>LYNN</character>
<dialogue>Why are they here?</dialogue>
<scene_description>Knocking LOUDER. They go to the door. Dennis opens the front door as the two large Sheriffs step forward. Lynn stands next to Dennis.</scene_description>
<character>SHERIFF #1</character>
<dialogue>Good afternoon. I'm Deputy Anderson with the Sheriffs department and we're here to serve you a court- ordered eviction.</dialogue>
<character>DENNIS</character>
<dialogue>No. I think there's a mistake. We have -</dialogue>
<character>SHERIFF #1</character>
<dialogue>Sir, ma'am, do either of you have weapons on your body or in the property?</dialogue>
<character>LYNN</character>
<dialogue>No no no, not us.</dialogue>
<character>SHERIFF #1</character>
<dialogue>Mr. Carver!</dialogue>
<scene_description>Dennis watches Rick come forward.</scene_description>
<character>RICK CARVER</character>
<dialogue>Good morning, sir. Ma'am. I'm Rick Carver, a real estate broker, and I'm sorry to say this home has been foreclosed on and officially transferred to the bank. I'll need you to please vacate the property.</dialogue>
<character>DENNIS</character>
<dialogue>Nobody's "vacating" the home. I was in court yesterday, and the Judge informed me I have thirty days to file an appeal and that's what I'm going to do.</dialogue>
<character>RICK CARVER</character>
<dialogue>Please show me you've posted bond and have an emergency stay signed by a judge, and you're welcome to remain here.</dialogue>
<character>DENNIS</character>
<dialogue>I got a question, you guys didn't get any rescheduling of the -</dialogue>
<character>RICK CARVER</character>
<parenthetical>(shows paper)</parenthetical>
<dialogue>This is a court order signed by a judge dated today for you to leave this property.</dialogue>
<character>LYNN</character>
<dialogue>Excuse me, Rick?</dialogue>
<character>DENNIS</character>
<dialogue>Mom.</dialogue>
<character>RICK CARVER</character>
<dialogue>My office offered you a $3,500 cash- for-keys settlement from the bank to leave last month, but you refused.</dialogue>
<character>DENNIS</character>
<dialogue>Yes, we refused.</dialogue>
<character>LYNN</character>
<dialogue>Well, we didn't refuse, we tried to save our house -</dialogue>
<character>RICK CARVER</character>
<dialogue>I appreciate this is a difficult situation, but the time has come, you have to leave the property. You are trespassing right now, you are breaking the law.</dialogue>
<character>LYNN</character>
<dialogue>Sir, this is our home, so, we just need a few minutes -</dialogue>
<scene_description>Rick motions to Sheriff #1, who steps forward. Rick walks away and puts his sunglasses on.</scene_description>
<character>SHERIFF #1</character>
<dialogue>Sir, you and your mom need to step foot out of the home now.</dialogue>
<character>DENNIS</character>
<dialogue>No. We're not going to do that. Just give us 24 hours -</dialogue>
<character>LYNN</character>
<dialogue>You all can come back, same time, and if we don't have the papers, we don't have the proof, then we will leave.</dialogue>
<character>DENNIS</character>
<dialogue>We have a lawyer, we have it all figured out.</dialogue>
<scene_description>Lynn tries to close the door.</scene_description>
<character>LYNN</character>
<dialogue>We need a day.</dialogue>
<character>SHERIFF #1</character>
<dialogue>Ma'am, do NOT close the door.</dialogue>
<character>LYNN</character>
<dialogue>We need a day.</dialogue>
<character>SHERIFF #1</character>
<dialogue>Here's what I can do. You have two minutes to gather whatever personal items you need - cash, checkbooks, medicines - and then -</dialogue>
<character>DENNIS</character>
<dialogue>No, this isn't happening.</dialogue>
<character>SHERIFF #1</character>
<dialogue>Yes, this is happening.</dialogue>
<character>DENNIS</character>
<dialogue>No, this isn't happening.</dialogue>
<character>LYNN</character>
<dialogue>I'm going to call the lawyer.</dialogue>
<character>SHERIFF #2</character>
<dialogue>Ma'am! Excuse me.</dialogue>
<scene_description>Sheriff #2 moves past Dennis, entering the home.</scene_description>
<character>DENNIS</character>
<dialogue>Excuse me, please don't come into my house.</dialogue>
<character>SHERIFF #1</character>
<dialogue>There are two ways that we can do this. The easy way, where you do what you're told. Or the hard way, where I take you and your mom to jail. Do you want your mom to go to jail? What I'd like you to do, take advantage of the two minutes -</dialogue>
<scene_description>Dennis notices Rick standing inside his house.</scene_description>
<character>DENNIS</character>
<dialogue>Sir, would you mind stepping outside of the property?</dialogue>
<character>RICK CARVER</character>
<dialogue>This isn't your home, son.</dialogue>
<character>DENNIS</character>
<dialogue>Mr. Carver?</dialogue>
<scene_description>Rick ignores him and walks into the house. The Sheriff lists off statues of the law.</scene_description>
<character>LYNN</character>
<dialogue>Sir, we have the right to an attorney. Just because somebody forgot to call you, we don't get a lawyer?</dialogue>
<character>RICK CARVER</character>
<dialogue>It's better not to get emotional right now ma'am.</dialogue>
<character>DENNIS</character>
<dialogue>You're kicking us out of our home!</dialogue>
<character>LYNN</character>
<dialogue>PLEASE, okay, please!</dialogue>
<character>SHERIFF #1</character>
<dialogue>Enough of this, let's go.</dialogue>
<scene_description>Dennis calms his screaming mom and relents. They start packing up.</scene_description>
<character>SHERIFF #1</character>
<dialogue>Get what you need to get and let's go.</dialogue>
<scene_description>LYNN'S BEDROOM Sheriff #2 watches Lynn grab her jewelry, checkbook, medicines.</scene_description>
<character>LYNN</character>
<dialogue>Sir, I don't need your help, ok? Do you need to follow a woman into her bedroom?</dialogue>
<character>SHERIFF #2</character>
<dialogue>It's just department policy. Money, checkbooks, things like that. Wallets, pictures -</dialogue>
<character>LYNN</character>
<dialogue>I'm trying to get pictures!</dialogue>
<scene_description>CONNOR'S BEDROOM Sheriff #1 hovers over Dennis as he grabs Connor's books, things, an Orlando Magic basketball jersey...</scene_description>
<character>DENNIS</character>
<dialogue>Does he have to stand there with her as she packs up her underwear?! Is that right?!</dialogue>
<character>SHERIFF #1</character>
<dialogue>It's policy, sir.</dialogue>
<scene_description>Dennis takes down Connor's basketball hoop. He notices Rick standing in the hallway. Rick walks on. LIVING ROOM Dennis carries out a box of belongings. Lynn emerges with a box of her own.</scene_description>
<character>DENNIS</character>
<dialogue>What else mom?</dialogue>
<scene_description>They frantically look around.</scene_description>
<character>LYNN</character>
<dialogue>I want my plants.</dialogue>
<character>SHERIFF #1</character>
<dialogue>There's no time for that. You need to step outside now.</dialogue>
<character>RICK CARVER</character>
<dialogue>Let her take the plant.</dialogue>
<character>SHERIFF #1</character>
<dialogue>Your two minutes are long gone, you need to move.</dialogue>
<character>DENNIS</character>
<dialogue>Can I ask where it says two minutes on your clipboard?</dialogue>
<character>RICK CARVER</character>
<dialogue>Sir, the two minutes is a courtesy.</dialogue>
<character>DENNIS</character>
<dialogue>The two minutes is what?</dialogue>
<character>RICK CARVER</character>
<dialogue>A courtesy. You're trespassing right now. I know it's painful to hear but it's the truth.</dialogue>
<scene_description>LATER</scene_description>
<character>RICK CARVER</character>
<dialogue>Ma'am, do you need anything else?</dialogue>
<character>LYNN</character>
<dialogue>Yes, the toaster oven. My grandson likes his toast in the mornings.</dialogue>
<scene_description>Rick unplugs the toaster and hands it to her. LATER</scene_description>
<character>RICK CARVER</character>
<dialogue>Alright, Randy, you said the two minutes was up, right?</dialogue>
<scene_description>Dennis moves into the living room for the bills on the table.</scene_description>
<character>DENNIS</character>
<dialogue>I'm just getting the bills.</dialogue>
<character>SHERIFF #1</character>
<dialogue>Ok. This way, this way.</dialogue>
<scene_description>He escorts Dennis and Lynn out.</scene_description>
</scene>
<scene>
<stage_direction>EXT. DENNIS' HOME - CONTINUOUS</stage_direction>
<scene_description>Out of them home where Rick motions to the Locksmith and BZZZZZZ - startles Dennis. He's already changing the locks.</scene_description>
<character>SHERIFF #1</character>
<parenthetical>(to Rick)</parenthetical>
<dialogue>I'm gonna clear it.</dialogue>
<scene_description>He goes back in as Rick escorts Dennis and Lynn to the curb.</scene_description>
<character>RICK CARVER</character>
<dialogue>All the way to the curb. You're now trespassing on a bank-owned home - you can't stand in the lawn. All the way to the curb, please.</dialogue>
<character>DENNIS</character>
<dialogue>We're going.</dialogue>
<character>LYNN</character>
<dialogue>What about the rest of our things?</dialogue>
<character>RICK CARVER</character>
<dialogue>The clean-out-crew will bring your belongings to the end of the drive. No need to worry about that.</dialogue>
<scene_description>They reach the curb; Dennis puts the large plant down.</scene_description>
<character>RICK CARVER</character>
<dialogue>My advice would be to get a moving truck because your neighbors are going to have access to everything you own by the end of the day.</dialogue>
<scene_description>Lynn turns to Dennis, who avoids her look. Rick notices. Sheriff #1 steps out of the home:</scene_description>
<character>SHERIFF #1</character>
<dialogue>CLEAR!</dialogue>
<character>RICK CARVER</character>
<dialogue>Jeff, get 'em to it!</dialogue>
<scene_description>He motions to Jeff who leads his crew into the home. Rick follows them. NEIGHBORS stare at Dennis and Lynn from their lawns. Crew exits with sofa, coffee table, TV, and dump them in front of Dennis and Lynn.</scene_description>
<character>LYNN</character>
<parenthetical>(to neighbors)</parenthetical>
<dialogue>Can you believe this? They canceled the eviction and didn't even tell these guys.</dialogue>
<scene_description>She is shamed in front of her neighbors. Crew continue to bring out furniture. Lynn is shaking.</scene_description>
<character>LYNN</character>
<dialogue>Oh my god, oh my god...</dialogue>
<scene_description>Dennis stares, watching his house get emptied by strangers. Rick stares at Dennis from the porch smoking his e-cigarette.</scene_description>
</scene>
<scene>
<stage_direction>EXT. DENNIS' HOME - LATER</stage_direction>
<scene_description>The piles of belongings on the street and in Dennis' truck have grown larger. The Crew continues to work. Dennis gathers things; Neighbor Friend and HUSBAND stand near Lynn, who sits in the chair trying to keep her dignity. Dennis notices Jeff trying to move his red tool cabinet.</scene_description>
<character>DENNIS</character>
<dialogue>Hey! Yo! Don't mess with that, man. You gotta unlock the wheels, and don't touch anything inside there.</dialogue>
<scene_description>Jeff ignores him. Dennis mumbles curses and lifts a heavy overturned chest. He SLAMS scattered drawers into place.</scene_description>
<character>NEIGHBOR FRIEND</character>
<dialogue>Wanna put some stuff in our garage? We don't have much room, but...</dialogue>
<character>DENNIS</character>
<dialogue>Some of the valuables. Thanks.</dialogue>
<scene_description>He turns to see: the school bus pull up. Connor, Derek and some kids get off the bus. Dennis is uncertain what to do. Connor takes in what is happening. The SCHOOL KIDS gossip and giggle as the bus drives away.</scene_description>
<character>DEREK</character>
<dialogue>Yo, what's happening?...</dialogue>
<scene_description>Suddenly, Connor walks towards the house.</scene_description>
<character>DENNIS</character>
<dialogue>Connor, wait -</dialogue>
<scene_description>Rick gets in his way.</scene_description>
<character>RICK CARVER</character>
<dialogue>Hey, son. Where you headed?</dialogue>
<character>CONNOR</character>
<dialogue>This is my house.</dialogue>
<character>RICK CARVER</character>
<dialogue>I'm sorry, this isn't your home anymore.</dialogue>
<character>CONNOR</character>
<dialogue>That's my house.</dialogue>
<character>DENNIS</character>
<parenthetical>(to Rick)</parenthetical>
<dialogue>Please don't talk to my son. Talk to me.</dialogue>
<parenthetical>(grabs Connor's arm)</parenthetical>
<dialogue>Let's go.</dialogue>
<scene_description>Connor rips his arm free. Dennis grabs him again. They struggle as Dennis tries to hold onto him.</scene_description>
<character>CONNOR</character>
<dialogue>Get off! I want to go to my room.</dialogue>
<character>DENNIS</character>
<dialogue>Calm down.</dialogue>
<character>RICK CARVER</character>
<dialogue>Mr. Nash, I know this is difficult, but please take your son off the property.</dialogue>
<character>CONNOR</character>
<dialogue>That's my house. I want to go to my room.</dialogue>
<character>DENNIS</character>
<dialogue>I know. We'll go to your room later.</dialogue>
<character>RICK CARVER</character>
<dialogue>Mr. Nash, please.</dialogue>
<character>DENNIS</character>
<dialogue>I heard you! - Connor, stop.</dialogue>
<scene_description>Rick motions to the Sheriffs who approach while Dennis tries to control Connor. The Neighbors stare.</scene_description>
<character>CONNOR</character>
<dialogue>Let go of me! Let go! That's our house!</dialogue>
<scene_description>Dennis stares at his son... total loss.</scene_description>
</scene>
<scene>
<stage_direction>EXT. DENNIS' HOME - LATER</stage_direction>
<scene_description>The pile of belongings is even larger. The eviction is over. Connor and Derek across the street.</scene_description>
<character>DEREK</character>
<dialogue>Where you moving to?</dialogue>
<character>CONNOR</character>
<dialogue>I dunno.</dialogue>
<character>DEREK</character>
<dialogue>Are you coming to school tomorrow?</dialogue>
<scene_description>Connor shrugs; Dennis calls him over; Connor walks when -</scene_description>
<character>DEREK</character>
<dialogue>Can we still play NBA 2K tomorrow?</dialogue>
<character>CONNOR</character>
<dialogue>See ya...</dialogue>
<scene_description>Dennis puts his mom into the truck next to Connor. Dennis and his Neighbor friend exchange looks and a hand shake. Rick approaches Dennis as he gets in his truck.</scene_description>
<character>RICK CARVER</character>
<dialogue>Mr. Nash, you have 24 hours before my crew will return and dispose of whatever remains. Not my choice; Code enforcement. Good luck.</dialogue>
<scene_description>Dennis gets in his truck. Lynn and her friend clasp hands as the truck pulls away leaving their home behind.</scene_description>
</scene>
<scene>
<stage_direction>I/E. DENNIS' PICK-UP TRUCK \[MOVING\] / ORLANDO - SUNSET</stage_direction>
<scene_description>Like Okies from the Dust Bowl, the family is crammed in the crowded truck.</scene_description>
</scene>
<scene>
<stage_direction>EXT. MOTEL PARKING LOT - NIGHT</stage_direction>
<scene_description>Dennis' truck pulls in and parks. As they unpack they see: MOTEL RESIDENTS, THUGS, POOR FAMILIES hang out, drink near the pool, etc. Balconies piled with belongings, clothes hang to dry. They realize families live here. MOTEL WOMAN (40s) hangs with a couple friends at their door talking.</scene_description>
<character>MOTEL WOMAN</character>
<dialogue>Hey. Welcome. What room ya'll in?</dialogue>
<character>LYNN</character>
<dialogue>MOTEL WOMAN</dialogue>
<scene_description>It's over there. We can watch your stuff while you move... How long you staying?</scene_description>
<character>DENNIS</character>
<dialogue>Just a couple nights.</dialogue>
<character>MOTEL WOMAN</character>
<dialogue>Two years ago that's what we said.</dialogue>
</scene>
<scene>
<stage_direction>EXT. MOTEL STAIRS / HALLWAY - CONTINUOUS</stage_direction>
<scene_description>They carry boxes up stairs and along the hallway where JUSTIN (13) and other kids get sodas from a machine and hang out. They enter -</scene_description>
</scene>
<scene>
<stage_direction>INT. MOTEL ROOM - CONTINUOUS</stage_direction>
<scene_description>Connor runs to the bathroom and pees. Dennis and Lynn look over the tiny room: two beds, small kitchenette, dripping faucet. How are they going to live here? Dennis sets Lynn's tall plant down.</scene_description>
<character>CONNOR</character>
<dialogue>It smells. Do you think someone died in here?</dialogue>
<character>LYNN</character>
<dialogue>Don't say things like that. Get that side, we can't sleep in these.</dialogue>
<scene_description>They pull comforters off the beds. As Dennis exits - He presses on her shoulder reassuring her.</scene_description>
<character>DENNIS</character>
<dialogue>I'll get the rest of our stuff.</dialogue>
<scene_description>He exits -</scene_description>
</scene>
<scene>
<stage_direction>EXT. MOTEL ROOM - CONTINUOUS</stage_direction>
<scene_description>- and pauses to light a cigarette; he hears Connor and turns to watch his family through the window:</scene_description>
<character>CONNOR</character>
<dialogue>Am I going to school tomorrow?</dialogue>
<character>LYNN</character>
<dialogue>Gotta figure all that out, don't we?</dialogue>
<character>CONNOR</character>
<dialogue>I gotta see Derek. We're in the middle of an NBA 2K tournament and -</dialogue>
<scene_description>Dennis looks at his family through the window. HOLD.</scene_description>
</scene>
<scene>
<stage_direction>EXT. GAS STATION - DAY</stage_direction>
<scene_description>Dennis pumps gas - 5, 20, 30 dollars. It's fucking expensive.</scene_description>
<character>DENNIS (INTO PHONE)</character>
<dialogue>I'm calling about the roofing job... I got a ton of experience, I do electric, plumbing, construction, anything... Okay. Any lower level stuff?</dialogue>
<scene_description>He looks at little speakers BLARING bad pop music near a flat screen TV flashing ads about hot dogs and soda.</scene_description>
</scene>
<scene>
<stage_direction>INT. DENNIS' TRUCK \[MOVING\] - DAY</stage_direction>
<scene_description>Dennis drives.</scene_description>
<character>DENNIS (INTO PHONE)</character>
<dialogue>What about Booth brothers? They were putting up those home on - ... Call me if something comes up.</dialogue>
</scene>
<scene>
<stage_direction>INT./EXT. DENNIS' TRUCK / NEW SUBDIVISION - SUNSET</stage_direction>
<scene_description>Dennis looks at an OUT OF BUSINESS sign on the construction trailer. He drives away lost in thought.</scene_description>
</scene>
<scene>
<stage_direction>INT. MOTEL ROOM - NIGHT</stage_direction>
<scene_description>Party MUSIC and sounds penetrate the Nash's tiny room, bursting with their stuff. Lynn sleeps in one bed. Dennis and Connor share the other. Dennis is awake staring at his son, tousling his hair.</scene_description>
<character>LYNN</character>
<dialogue>Dennis, this motel is half-full of people like us.</dialogue>
<character>DENNIS</character>
<dialogue>They're not people like us.</dialogue>
<character>LYNN</character>
<dialogue>They're all evicted. And they get stuck here. I could maybe take the bus and start looking for apartments...</dialogue>
<character>DENNIS</character>
<dialogue>We can't afford an apartment.</dialogue>
<character>LYNN</character>
<dialogue>It's just first and last month's rent!</dialogue>
<character>DENNIS</character>
<dialogue>Two or three months' security. Four maybe, because of our credit. Our credit is shot.</dialogue>
<character>LYNN</character>
<dialogue>Dennis... We've got to get out of here. We should go to Tampa. We've gotta go to Uncle Jimmy's, Uncle Jimmy said we could come. I talked to Mary Margaret just three days ago!</dialogue>
<character>DENNIS</character>
<dialogue>Mom, we're not moving to Tampa. You wanna take Connor out of school? Take him away from his friends? We leave, we give up, we let the house go.</dialogue>
<scene_description>He tries to give his mom confidence:</scene_description>
<character>DENNIS</character>
<dialogue>I'm gonna figure it out.</dialogue>
<scene_description>Lynn is unsure. But Dennis is resolute.</scene_description>
<character>DENNIS</character>
<dialogue>No choice.</dialogue>
</scene>
<scene>
<stage_direction>INT. MOTEL ROOM - MORNING</stage_direction>
<scene_description>Connor's playing on his phone.</scene_description>
<character>LYNN</character>
<dialogue>You want some toast?</dialogue>
<scene_description>Dennis rifles through the tool cabinet they've brought up to the room. He notices something missing.</scene_description>
<character>DENNIS</character>
<dialogue>We didn't leave any tools in my truck, right?</dialogue>
<character>LYNN</character>
<dialogue>No, we got everything.</dialogue>
<scene_description>Angry, Dennis slams the drawer shuts. Thinks.</scene_description>
</scene>
<scene>
<stage_direction>EXT. STRIP MALL; RICK'S OFFICE BUILDING - MORNING</stage_direction>
<scene_description>Jeff and his clean-out-crew plus four other CREW GUYS have coffee and donuts near their vans and trucks (MUSIC playing) outside RICHARD CARVER REALTY. BILL (30s, big and tall) gives them orders; Dennis pulls up and strides to them.</scene_description>
<character>DENNIS</character>
<dialogue>Your guys stole my tools yesterday. I want to talk to your boss.</dialogue>
<character>BILL</character>
<dialogue>I'm senior sales manager. What's the problem?</dialogue>
<character>DENNIS</character>
<parenthetical>(points at Jeff)</parenthetical>
<dialogue>That guy right there stole my impact wrench and in-line sander. That's like $500.</dialogue>
<character>BILL</character>
<dialogue>I have a form you can -</dialogue>
<character>DENNIS</character>
<dialogue>No forms. - Hey man, give me my tools back.</dialogue>
<character>JEFF</character>
<dialogue>I didn't steal nothing. Get outta here.</dialogue>
<character>DENNIS</character>
<dialogue>Where's my stuff?</dialogue>
<character>JEFF</character>
<dialogue>I didn't steal nothing. Get outta here.</dialogue>
<character>DENNIS</character>
<dialogue>You just said that, dumbass.</dialogue>
<scene_description>Crew laugh. Jeff shoves Dennis. They wrestle in the parking lot. Crew gather and holler. Rick exits the second story and sees what's happening.</scene_description>
<character>BILL</character>
<dialogue>Break it up! God damn it, Jeff, that's enough.</dialogue>
<scene_description>Rick strides down the stairs.</scene_description>
<character>RICK CARVER</character>
<dialogue>What the fuck is going on?!</dialogue>
<scene_description>He motions and they immediately pull Dennis and Jeff apart. It takes three Crew guys to hold Dennis back. Jeff tries to sucker punch him, but Dennis kicks Jeff in the stomach.</scene_description>
<character>RICK CARVER</character>
<dialogue>Bill, you want to get in on this? Take a couple swings?</dialogue>
<character>BILL</character>
<dialogue>Sir, I -</dialogue>
<character>RICK CARVER</character>
<dialogue>"Sir, I -" "Sir, I -". What the fuck are you still doing here anyway?</dialogue>
<character>BILL</character>
<dialogue>I thought, sir - I thought you -</dialogue>
<character>RICK CARVER</character>
<dialogue>You thought? You're evolving? Has Darwin himself come to Orlando, Florida?... Well? Bill?</dialogue>
<character>BILL</character>
<dialogue>We'll be there on time, Mr. Carver. Guys, let's go! Buena Vista Lakes.</dialogue>
<scene_description>He rounds up half the guys and drives away. Rick walks up to Dennis and motions and they release him.</scene_description>
<character>RICK CARVER</character>
<dialogue>You finished? 'Cause I got the cops on speed dial. they'll run you out of town over a busted tail light.</dialogue>
<character>DENNIS</character>
<dialogue>I'm not here to fight; I just want my tools.</dialogue>
<character>RICK CARVER</character>
<dialogue>Do I look like Ace Hardware? I don't deal in tools, I deal in homes. There's a difference.</dialogue>
<character>DENNIS</character>
<dialogue>I know. You took my home from me.</dialogue>
<character>RICK CARVER</character>
<dialogue>No, the bank took your home from you. I just represent it.</dialogue>
<scene_description>He answers his phone. Dennis lights a cigarette; listens.</scene_description>
<character>RICK CARVER (INTO PHONE)</character>
<dialogue>This is Rick Carver... What?... You gotta be kidding me. God damn it... When?... Fuck Hazmat, I'll call 'em myself.</dialogue>
<parenthetical>(hangs up; to Jeff)</parenthetical>
<dialogue>914 Shader Drive. Now.</dialogue>
<character>JEFF</character>
<dialogue>I thought we had to prep Via Alizar-</dialogue>
<scene_description>CLAP CLAP.</scene_description>
<character>RICK CARVER</character>
<dialogue>Move! Move!</dialogue>
<scene_description>Jeff rounds up crew. Dennis follows Rick to his Range Rover.</scene_description>
<character>DENNIS</character>
<dialogue>Excuse me? Rick Carver Realty?</dialogue>
<character>RICK CARVER</character>
<dialogue>Can you Miguel?</dialogue>
<character>DENNIS</character>
<dialogue>What?</dialogue>
<character>RICK CARVER</character>
<dialogue>Can you work? You have tools. Do you do construction?</dialogue>
<character>DENNIS</character>
<dialogue>Yeah.</dialogue>
<character>RICK CARVER</character>
<dialogue>I pay $50, cash.</dialogue>
<character>DENNIS</character>
<dialogue>Are you kidding me?</dialogue>
<character>RICK CARVER</character>
<dialogue>$50 shouldn't be a joke to you.</dialogue>
<scene_description>He speeds away. Dennis mumbles curses, gets in his truck and -</scene_description>
</scene>
<scene>
<stage_direction>INT. DENNIS' TRUCK - CONTINUOUS</stage_direction>
<scene_description>- SLAMS the door. Dennis jerks the wheel and speeds through the light following Rick.</scene_description>
</scene>
<scene>
<stage_direction>INT./EXT. DENNIS' TRUCK / SEWAGE HOME - MORNING</stage_direction>
<scene_description>Dennis pulls up to a foreclosed home. He sees: Rick, Jeff and the Crew are taken aback to see a foreclosed home with nasty black raw sewage creeping out the door. Rick covers his mouth with a handkerchief and gets his phone. Jeff and the Crew cover their noses and shove each other like kids towards the sewage. Dennis gets out and keeps his distance.</scene_description>
<character>RICK CARVER (INTO PHONE)</character>
<dialogue>I need your Hazmat team here NOW or I'm looking at a total gut job down to the God damn studs... Eviction was next week and these animals backed up the sewage and skipped town... What do you mean shit's not a hazardous material. Why don't you come out here and eat some of it, maybe that would change your mind.</dialogue>
<scene_description>Rick notices Dennis. Jeff and Crew are surprised to see him. Jeff steps towards Dennis but Rick WHISTLES for him to stop.</scene_description>
<character>RICK CARVER (INTO PHONE)</character>
<dialogue>The neighbors are threatening to call the Department of Health, so if your team isn't out here in 30 minutes, my next call is gonna be Fannie about your slow-ass response time... Fuck you, too!</dialogue>
<parenthetical>(hangs up)</parenthetical>
<dialogue>God damn it.</dialogue>
<scene_description>He turns to Jeff and the crew.</scene_description>
<character>JEFF</character>
<dialogue>Rick, no. - Mr. Carver! That's a hazard. We, we can't...</dialogue>
<character>RICK CARVER</character>
<dialogue>By tonight, the mold's up to the ceiling; by tomorrow, someone's paying MONEY to demolish it, and it's not going to be me.</dialogue>
<scene_description>Dennis notices Jeff and the others sheepishly back away. Then-</scene_description>
<character>DENNIS</character>
<dialogue>$250.</dialogue>
<scene_description>Everyone is surprised. Rick and Dennis lock eyes.</scene_description>
<character>RICK CARVER</character>
<dialogue>$150.</dialogue>
<character>DENNIS</character>
<dialogue>200. That's a bear and you know it.</dialogue>
<character>RICK CARVER</character>
<dialogue>... Deal.</dialogue>
<scene_description>Dennis grabs a shovel, walks past Jeff and towards the encroaching sludge and enters into -</scene_description>
</scene>
<scene>
<stage_direction>INT. SEWAGE HOME - CONTINUOUS</stage_direction>
<scene_description>Stench SLAPS him in the face. Eyes water, holds his breath. Spray-painted in red on the wall Dennis reads: KILL BANKERS His boots squish in the sludge. He covers his nose and sees sewage cascading from the toilet and sinks. He gags and runs out.</scene_description>
</scene>
<scene>
<stage_direction>EXT. SEWAGE HOME - CONTINUOUS</stage_direction>
<scene_description>Dennis staggers out and vomits in the yard. Jeff and Crew laugh. Rick remains straight-faced.</scene_description>
<character>JEFF</character>
<dialogue>Harden the fuck up, son!</dialogue>
<character>RICK CARVER</character>
<parenthetical>(to Jeff)</parenthetical>
<dialogue>There better be a container truck, shop vacs and giant blowers here in one hour or I'll make it my business that you never work in Orange County again. You will also finish Via Alizar today. You're on my list, shit fuck.</dialogue>
<scene_description>He approaches Dennis with a cold water bottle. Dennis drinks, spits, drinks.</scene_description>
<character>RICK CARVER</character>
<dialogue>What else can you do? Framing, plumbing, electric, roofing?</dialogue>
<character>DENNIS</character>
<dialogue>All of them. Anything.</dialogue>
<character>RICK CARVER</character>
<dialogue>Go on. Finish it.</dialogue>
<scene_description>Dennis head back toward the door. Then looks to the Crew.</scene_description>
<character>DENNIS</character>
<dialogue>Six-pack to the first guy in here with a shovel... Come on!</dialogue>
<scene_description>Curious, Rick watches the Crew... one of them steps up.</scene_description>
<character>CREW</character>
<dialogue>$200.</dialogue>
<character>RICK CARVER</character>
<dialogue>$100. And Mr. Nash's six-pack.</dialogue>
<scene_description>Crew accepts. He puts on a dust mask.</scene_description>
<character>DENNIS</character>
<dialogue>Let's go! Who else? You! Come on, I know you need the money.</dialogue>
<scene_description>The Men laugh and two more join. Only Jeff remains outside.</scene_description>
<character>DENNIS</character>
<dialogue>Alright, let's get this shit done.</dialogue>
<scene_description>He wraps his shirt around his nose and mouth - like a bandit. The others do the same and Dennis leads the men to work. Rick is impressed.</scene_description>
</scene>
<scene>
<stage_direction>INT. MOTEL ROOM - DAY</stage_direction>
<scene_description>Connor looks up from homework as Dennis steps in. Dennis digs into his dirty jeans and hands Lynn money.</scene_description>
<character>LYNN</character>
<dialogue>$200... ?!</dialogue>
<scene_description>Connor looks up, impressed.</scene_description>
<character>DENNIS</character>
<dialogue>I got work. And there's more tomorrow.</dialogue>
<character>LYNN</character>
<dialogue>With who? What work? Dennis!</dialogue>
<character>DENNIS</character>
<dialogue>Some new guy. Real estate. You don't know him.</dialogue>
<scene_description>They laugh, overjoyed. Connor tries to take the money. Dennis play-wrestles it back from him.</scene_description>
</scene>
<scene>
<stage_direction>EXT. MOTEL PARKING LOT - DAY</stage_direction>
<scene_description>Dennis walks fast, Connor drags his feet.</scene_description>
<character>DENNIS</character>
<dialogue>You're gonna make new friends, ok?</dialogue>
<character>CONNOR</character>
<dialogue>I don't want to.</dialogue>
<scene_description>They reach Motel Kids and a handful of PARENTS and see a school bus arrive. Kids board; Connor doesn't move.</scene_description>
<character>DENNIS</character>
<dialogue>I know. But I need you to be brave.</dialogue>
<scene_description>He tries to rub Connor's ear but Connor brushes him off.</scene_description>
<character>CONNOR</character>
<dialogue>This isn't my school.</dialogue>
<character>DENNIS</character>
<dialogue>I know, but you gotta keep your grades up, remember? You gotta take care of yourself, ok? I love you.</dialogue>
<scene_description>Connor runs to the bus. Dennis watches the bus drive away.</scene_description>
</scene>
<scene>
<stage_direction>EXT. RICK'S HOME - DAY</stage_direction>
<scene_description>Massive, very impressive and unique, Rick's home sits at the end of a deep and beautifully landscaped lawn. Dennis pulls up; he's impressed. Grabs his tool box and walks to the front door when his phone RINGS.</scene_description>
<character>DENNIS (INTO PHONE)</character>
<dialogue>Mr. Carver, I'm -</dialogue>
<character>RICK CARVER (THROUGH PHONE)</character>
<dialogue>Yeah, I see you. Come around back.</dialogue>
<scene_description>RICK'S POOL WITH LANAI Dennis enters and sees Rick's DAUGHTERS (6 to 12) playing in the pool.</scene_description>
<character>RICK'S DAUGHTER</character>
<dialogue>Hey. Can you get us that please?</dialogue>
<scene_description>Dennis uses a pool net to try and push a boat from the center of the pool to Rick's Daughters on the other side. Rick walks up steps leading from his dock near the lake.</scene_description>
<character>RICK CARVER</character>
<dialogue>Nash. Princess one, princess two, princess three! Who wants Haagen- Dazs? Chocolate chip cookie dough.</dialogue>
<character>RICK'S DAUGHTERS</character>
<dialogue>Me, me, me!</dialogue>
<scene_description>Dennis follows Rick and his girls into -</scene_description>
</scene>
<scene>
<stage_direction>INT. RICK'S HOME - CONTINUOUS</stage_direction>
<scene_description>- a very impressive living room / kitchen where a MAID works.</scene_description>
<character>DENNIS</character>
<dialogue>Nice house.</dialogue>
<character>RICK CARVER</character>
<dialogue>It's ok. I got it 18 months ago and I'm going to flip it after New Year's.</dialogue>
<parenthetical>(to the maid)</parenthetical>
<dialogue>Let's have some Haagen-Daaz please, madam.</dialogue>
<parenthetical>(to Dennis)</parenthetical>
<dialogue>AC's out for two hours. Through there. You'll see the leak.</dialogue>
<scene_description>Dennis exits as Rick crushes cookies into the ice cream.</scene_description>
<character>RICK CARVER</character>
<dialogue>I'm gonna make it even better. See.</dialogue>
<scene_description>ENTRANCE Dennis walks through the grand entrance, high ceilings, tons of sunlight. Continues to - RICK'S HOME OFFICE A second living room and sees the water stain on the ceiling. But his attention is focused to maps of Orange County that cover the walls and are laid out everywhere. It's impressive. Dennis zeros in on framed articles about Rick Carver, Real Estate tycoon and good citizen of Orlando. Dennis takes it all in. RICK'S BEDROOM Rick grabs a bag and some shirts when his phone RINGS.</scene_description>
<character>RICK CARVER (INTO PHONE)</character>
<dialogue>This is Rick Carver.</dialogue>
<character>MALE'S VOICE (THROUGH PHONE)</character>
<dialogue>Adjustable mortgage cocksucker! I'm homeless, you motherfucker!</dialogue>
<character>RICK CARVER (INTO PHONE)</character>
<dialogue>Stop calling me! You defaulted on -</dialogue>
<character>MALE'S VOICE (THROUGH PHONE)</character>
<dialogue>Fuck you, Carver. You piece of -</dialogue>
<scene_description>Rick hangs up, tense. He notices his Wife smoking on the terrace outside. She's been watching him. TERRACE Rick steps out and joins her.</scene_description>
<character>RICK'S WIFE</character>
<dialogue>They called here two days ago.</dialogue>
<character>RICK CARVER</character>
<dialogue>Come on boo, I rented you and your mom a week at the Corazon Spa in the Keys. I want you to relax, enjoy yourselves.</dialogue>
<character>RICK'S WIFE</character>
<dialogue>I should divorce you.</dialogue>
<character>RICK CARVER</character>
<dialogue>We'd lose on taxes; and you'd miss me. You'd miss your little Ricky.</dialogue>
<scene_description>They kiss and make out. RICK'S ATTIC Dennis uses a small blow dryer to thaw out frozen coils on the condensing unit. EXT RICK'S HOME With the hose of a small shop vac, Dennis sucks green mold from the PVC on the side of Rick's house.</scene_description>
</scene>
<scene>
<stage_direction>EXT. RICK'S HOME - LATER</stage_direction>
<scene_description>Dennis drinks a beer near the pool as he stares at Rick's boat, the lake, the life. RICH PEOPLE ride past in a boat and wave at Rick who approaches.</scene_description>
<character>RICK CARVER</character>
<dialogue>What're you doing?</dialogue>
<character>DENNIS</character>
<dialogue>Finished. Give the coils 5 minutes to drain and you'll have cold air.</dialogue>
<character>RICK CARVER</character>
<dialogue>It's not even been an hour.</dialogue>
<character>DENNIS</character>
<dialogue>I salvaged your ceiling with mud and found some spare paint in your garage, so your ceiling's good to go too.</dialogue>
<scene_description>Rick is impressed.</scene_description>
<character>RICK CARVER</character>
<dialogue>Unless you're planning on taking a swim, let's go.</dialogue>
</scene>
<scene>
<stage_direction>INT. RICK'S RANGE ROVER \[MOVING\] - DAY</stage_direction>
<scene_description>Through the moving window: homes. Rick glances at Dennis.</scene_description>
<character>RICK CARVER</character>
<dialogue>What do you see out there?</dialogue>
<character>DENNIS</character>
<dialogue>Homes.</dialogue>
<character>RICK CARVER</character>
<dialogue>I just saw nine opportunities to make money in the last five blocks. We passed three homes without mail boxes, one with an overgrown lawn and no cars in the drive, two with white signs taped in the window and three with shiny new doorknobs and lock-boxes. If you can get attuned to seeing these opportunities, then maybe you can get off your hands and knees and really start working for me.</dialogue>
<character>DENNIS</character>
<dialogue>I can work. You seen me all week.</dialogue>
<character>RICK CARVER</character>
<dialogue>I heard you worked on good crews with Rick Kirby and Chris Camilleri.</dialogue>
<scene_description>They're both out of business, because they built homes. I own homes. Dennis considers Rick.</scene_description>
<character>RICK CARVER</character>
<dialogue>You know what I am, I am a man with a helluva lot of properties. You can be a part of that. What I want to know is that I can walk away from any situation, 24/7, and have someone to handle it. I don't care if your kid's in the school play, it's Christmas, or you lined up the best blow job in Orlando. When you work for me, you're mine.</dialogue>
<scene_description>Suddenly Rick hits the brakes.</scene_description>
<character>RICK CARVER</character>
<dialogue>What the hell?</dialogue>
</scene>
<scene>
<stage_direction>I/E. RICK'S RANGE ROVER / FRANK GREENE'S STREET - CONTINUOUS</stage_direction>
<scene_description>Rick goes in reverse. Stops. Looks at two homes, one with a "Rick Carver Realty" sign in the lawn.</scene_description>
<character>RICK CARVER</character>
<dialogue>Call office.</dialogue>
<character>(DIALING)</character>
<dialogue>You see that? Those cables?</dialogue>
<character>DENNIS</character>
<dialogue>Yeah, yeah, I see it.</dialogue>
<scene_description>Rick points to an extension cord and water hose running from one house to another.</scene_description>
</scene>
<scene>
<stage_direction>I/E. RICK'S RANGE ROVER / FRANK GREENE'S HOME - CONTINUOUS</stage_direction>
<scene_description>He reverses and parks in front of Frank's house.</scene_description>
<character>NATALIA (THROUGH SPEAKERS)</character>
<dialogue>Rick Carver Realty.</dialogue>
<character>RICK CARVER</character>
<dialogue>I got some jack wagon at 354 Ridgeway stealing water and power from our property at 352 Ridgeway.</dialogue>
<scene_description>Pull up the county court website, get his name and find out if he's in default. I'm in front of his house now.</scene_description>
<character>NATALIA (THROUGH SPEAKERS)</character>
<dialogue>Right away, sir.</dialogue>
<scene_description>Rick hangs up, opens the glove compartment and produces a gun - an LCP 308. He hands Dennis the gun.</scene_description>
<character>RICK CARVER</character>
<dialogue>You know how to shoot, right? We'll run a background check so you can carry a concealed weapon.</dialogue>
<character>DENNIS</character>
<dialogue>Are you fucking with me?</dialogue>
<character>RICK CARVER</character>
<dialogue>Angry homeowners. You'll need it.</dialogue>
<scene_description>Rick checks his Ruger on his ankle holster.</scene_description>
<character>DENNIS</character>
<dialogue>Naw. I'm good.</dialogue>
<scene_description>Dennis puts the gun back in the glove compartment.</scene_description>
<character>RICK CARVER</character>
<dialogue>Suit yourself. But the person on the other side of the door doesn't always feel that way. Trust me.</dialogue>
<scene_description>He shows the marks of a dog bite on his skin.</scene_description>
<character>RICK CARVER</character>
<dialogue>They can feed their Rottweiler, but they can't pay for their house.</dialogue>
<scene_description>Dennis considers. Rick's phone beeps.</scene_description>
<character>RICK CARVER</character>
<dialogue>Ok. Frank Greene. Let's go.</dialogue>
</scene>
<scene>
<stage_direction>EXT. FRANK GREENE'S HOME - MOMENTS LATER</stage_direction>
<scene_description>Rick KNOCKS loudly. Dennis walks up next to him. Frank Greene (same man from court) opens the door.</scene_description>
<character>RICK CARVER</character>
<dialogue>Mr. Frank Greene?</dialogue>
<character>FRANK GREENE</character>
<dialogue>Yes.</dialogue>
<character>RICK CARVER</character>
<dialogue>My name is Rick Carver and you're stealing from me.</dialogue>
<character>FRANK GREENE</character>
<dialogue>... If you're referring to the -</dialogue>
<character>RICK CARVER</character>
<dialogue>- The property next door belongs to Fannie Mae and I represent it for them. So you're not only stealing from me, you're stealing from the United States government.</dialogue>
<scene_description>He answers his RINGING PHONE.</scene_description>
<character>RICK CARVER (INTO PHONE)</character>
<dialogue>Yeah, I'm with Frank Greene now. What've you got for me?</dialogue>
<parenthetical>(to Dennis)</parenthetical>
<dialogue>Remove those lines.</dialogue>
<scene_description>He steps aside, leaving Dennis alone with Frank Greene. They walk to the side of the house and begin to disconnect and coil up the cable and hose.</scene_description>
<character>FRANK GREENE</character>
<dialogue>I saw you in foreclosure court. Our sons go to the same school. They were playing with the globe. I had my show cause hearing that day. What happened to you?</dialogue>
<character>DENNIS</character>
<dialogue>I lost... I was evicted.</dialogue>
<character>FRANK GREENE</character>
<dialogue>... So what're you doing with him?</dialogue>
<character>DENNIS</character>
<dialogue>Gotta work, you know? He offered me a job. This isn't really what I do.</dialogue>
<character>FRANK GREENE</character>
<parenthetical>(regarding cables)</parenthetical>
<dialogue>Yeah, this isn't really what I do either... I was a manager at Custom Cabinet and Lighting. Been out of work for two years. Two. But I'm not a thief.</dialogue>
<character>DENNIS</character>
<dialogue>I know.</dialogue>
<character>FRANK GREENE</character>
<dialogue>But I'm researching on the internet and public library. I'm gonna save my home.</dialogue>
<character>DENNIS</character>
<dialogue>I hope you do. Custom Cabinets - yeah, I installed your stuff.</dialogue>
<character>FRANK GREENE</character>
<dialogue>Oh really?</dialogue>
<character>DENNIS</character>
<dialogue>Yeah, a bunch of times.</dialogue>
<scene_description>Frank's Son (from court) approaches.</scene_description>
<character>FRANK'S SON</character>
<dialogue>Dad, the TV turned off.</dialogue>
<character>DENNIS</character>
<dialogue>You know my boy? Connor Nash?</dialogue>
<character>FRANK'S SON</character>
<dialogue>Yes, sir.</dialogue>
<scene_description>Rick comes back.</scene_description>
<character>RICK CARVER</character>
<dialogue>Mr. Greene, looks like the Bank of Santa Fe already filed for final judgment of foreclosure. My money says the courts send me back for your eviction in less than 90 days.</dialogue>
<character>FRANK GREENE</character>
<dialogue>I removed the cables and - and I apologize. I shouldn't have done that. That was wrong.</dialogue>
<character>DENNIS</character>
<dialogue>It's ok, we -</dialogue>
<character>RICK CARVER</character>
<dialogue>I can assure you, stealing is not ok. Mr. Nash will personally be speaking with your neighbors. And if we receive a report or drive by and see you stealing my water and power again, the next visit will be the Sheriff's department.</dialogue>
</scene>
<scene>
<stage_direction>INT. RICK'S RANGE ROVER / FRANK GREENE'S HOME - CONTINUOUS</stage_direction>
<scene_description>They sit down in Rick's SUV.</scene_description>
<character>RICK CARVER</character>
<dialogue>Don't be soft. They'll tell you sob stories each time. But the law is the law, that's the side you're on. You already know the outcome of this situation. So toughen up.</dialogue>
<scene_description>They drive away.</scene_description>
</scene>
<scene>
<stage_direction>INT. KITCHEN HOME #1; VARIOUS ROOMS - CONTINUOUS</stage_direction>
<scene_description>Dennis follows Rick and looks around the massive home.</scene_description>
<character>RICK CARVER</character>
<dialogue>I'll take all your Rocky Mountain door handles -</dialogue>
<scene_description>MR. HESTER (50s) and Dennis follow him into the dining room -</scene_description>
<character>RICK CARVER</character>
<dialogue>- the Tiffany light fixtures Moder Crystal chandelier -</dialogue>
<scene_description>- into the kitchen -</scene_description>
<character>RICK CARVER</character>
<dialogue>- the Harlan cabinets, the Thai Jade and marble counter tops, the range the Subzero fridge. Three grand and you gotta be out of here in two weeks.</dialogue>
<character>MR. HESTER</character>
<dialogue>Make it five.</dialogue>
<character>RICK CARVER</character>
<dialogue>Four and Dennis here will get right to it.</dialogue>
<character>MR. HESTER</character>
<dialogue>Done.</dialogue>
<scene_description>Dennis starts unscrewing the cabinets.</scene_description>
</scene>
<scene>
<stage_direction>EXT. KITCHEN HOME #1 & #2 - LATER</stage_direction>
<scene_description>Dennis pushes a dolly loaded with cabinets and walks with Rick to the next home.</scene_description>
<character>RICK CARVER</character>
<dialogue>You know, Mr. Hester made a lot of money on this property.</dialogue>
<character>DENNIS</character>
<dialogue>You're evicting him in two weeks. How's that?</dialogue>
<character>RICK CARVER</character>
<dialogue>He got this place back in '05 for $400,000, 0% down. One year later, he took a home equity loan and got another $200,000 that he used to buy that sweet little Yellowfin for fishing trips and to take Mrs. Hester to Tahiti. By the time this home was worth half what he'd borrowed, he just quit paying.</dialogue>
<character>DENNIS</character>
<dialogue>You can't just quit paying.</dialogue>
<character>RICK CARVER</character>
<dialogue>Sure you can. He hired himself a lawyer - not to win - but to tie up his case for three years. Guess how many mortgage payments he made during those three years?</dialogue>
<character>DENNIS</character>
<dialogue>None. But he owes money.</dialogue>
<character>RICK CARVER</character>
<dialogue>Lawyer got a short sale approved, and the bank wiped out his debt. It's called, "strategic default." While Mr. Greene is stealing my water and power, this guy was making a killing. Are you listening now? Do I have your attention?</dialogue>
<character>DENNIS</character>
<dialogue>Yeah, I heard you.</dialogue>
<character>RICK CARVER</character>
<dialogue>That's how you should've done it.</dialogue>
</scene>
<scene>
<stage_direction>..</stage_direction>
<character>RICK CARVER</character>
<dialogue>Now get everything else and meet me over there.</dialogue>
<dialogue>Points at the house next door.</dialogue>
</scene>
<scene>
<stage_direction>EXT. KITCHEN HOME #2 - LATER</stage_direction>
<scene_description>Rick uses an iPhone attachment to open an electronic lock box. A key falls out. Unlocks door. Dennis watches.</scene_description>
</scene>
<scene>
<stage_direction>INT. KITCHEN HOME #2 - CONTINUOUS</stage_direction>
<scene_description>Rick's steps echo in the empty home. Dennis follows him into - THE KITCHEN - where the cabinets, fridge and counter-tops are all gone.</scene_description>
<character>RICK CARVER</character>
<dialogue>Install everything - patch the tile, caulk the cabinets and connect the gas line when you bring in the appliances.</dialogue>
<character>DENNIS</character>
<dialogue>All that in here now?</dialogue>
<character>RICK CARVER</character>
<dialogue>I'm selling this home for Fannie Mae. I can't do that if there's no kitchen, can I?</dialogue>
<character>DENNIS</character>
<dialogue>No.</dialogue>
<character>RICK CARVER</character>
<dialogue>So who just paid me $33,000 to buy new cabinets, appliances and a counter-top plus labor?</dialogue>
<character>DENNIS</character>
<dialogue>Fannie Mae.</dialogue>
<character>RICK CARVER</character>
<dialogue>Fannie Mae. Congratulations. You just fucked the government.</dialogue>
<scene_description>He hands Dennis an envelope. Dennis takes it, but Rick holds on tight, refusing to let go.</scene_description>
<character>RICK CARVER</character>
<dialogue>If you're interested, let me know. If not, use that to take your kid to Disney World and get yourself a job Migueling Cinderella's Castle.</dialogue>
<scene_description>He lets go of the envelope and exits to the backyard. Dennis opens the envelope. He's startled by what he sees: a check for $3,250.</scene_description>
</scene>
<scene>
<stage_direction>EXT. KITCHEN HOME #2 / POOL WITH LANAI- CONTINUOUS</stage_direction>
<scene_description>Rick answers emails on his phone. Notices Dennis approaching.</scene_description>
<character>DENNIS</character>
<dialogue>I don't give a damn about the government. They never did nothing for me, so... But that was a lot of money you just gave me. Feels a bit like trouble.</dialogue>
<character>RICK CARVER</character>
<dialogue>You did honest work building homes your whole life. What did it get you but me knocking on your door?</dialogue>
<character>DENNIS</character>
<dialogue>Is this stealing?</dialogue>
<character>RICK CARVER</character>
<dialogue>In 2006, you borrowed $85,000 against your home and never paid it back, Nash. You're telling me that's not stealing?</dialogue>
<character>DENNIS</character>
<dialogue>No, it's not stealing. I was given a loan. That's me working my ass off trying to pay back that loan -</dialogue>
<character>RICK CARVER</character>
<dialogue>That's not how the banks see it. Or the tax-payers paying for this bailout.</dialogue>
<scene_description>Rick picks up overturned chairs by the pool. Dennis follows.</scene_description>
<character>DENNIS</character>
<dialogue>I invested every cent into construction equipment. The economy crashed, I can't predict that. I can't predict the weather.</dialogue>
<character>RICK CARVER</character>
<dialogue>Well I can. I'm a fucking Doppler radar. You've been stealing, but don't want to admit it. Or the banks cheated you, take your pick.</dialogue>
<scene_description>Either way you've lost. But I made even more money in the crash than before it. You can too. But you need to stop lying to yourself and ask: What have you been doing wrong that your family lives in a motel? Dennis considers, then picks up the last overturned chair.</scene_description>
<character>DENNIS</character>
<dialogue>I'll do it. But I want you to help me get my home back. - And this is my first payment.</dialogue>
<scene_description>He hands Rick the envelope, but Rick refuses.</scene_description>
<character>RICK CARVER</character>
<dialogue>Don't get emotional about real estate.</dialogue>
<character>DENNIS</character>
<dialogue>That's my family home, my boy's school. I want it back.</dialogue>
<character>RICK CARVER</character>
<dialogue>Not enough money here. Put that under your mattress because putting it in the bank only makes them money. When you have more, I'll tell you what to do with it. - Now, do you want to double what you made?</dialogue>
</scene>
<scene>
<stage_direction>EXT. GAS STATION - DAY</stage_direction>
<scene_description>Dennis pulls up. JAVIER (30s) jumps in talking shit, hands Dennis a beer, who drinks and drives away.</scene_description>
</scene>
<scene>
<stage_direction>EXT. FORECLOSED HOME #1 - AFTERNOON</stage_direction>
<scene_description>Dennis and Javier take out an HVAC.</scene_description>
<character>JAVIER</character>
<dialogue>So who's this Rick Carver dude?</dialogue>
<character>DENNIS</character>
<dialogue>My boss, for the time being.</dialogue>
<scene_description>They slide the HVAC in the truck next to two others.</scene_description>
<character>JAVIER</character>
<dialogue>What're you doing?</dialogue>
<character>DENNIS</character>
<dialogue>I gotta prove to the bank this shit's missing so they pay us to put it back.</dialogue>
<character>JAVIER</character>
<dialogue>We're stealing it... to then bring it back.</dialogue>
<character>DENNIS</character>
<dialogue>You wanna get paid? Then I gotta take a picture. Let's do it!</dialogue>
</scene>
<scene>
<stage_direction>EXT. TANNER HOME - DAY</stage_direction>
<scene_description>Dennis knocks. MR. TANNER emerges.</scene_description>
<character>DENNIS</character>
<dialogue>Mr. Tanner? My name is Dennis Nash, I'm here representing Rick Carver Realty. I understand your house has been foreclosed on?</dialogue>
<character>MR. TANNER</character>
<dialogue>The house still belongs to us. We intend to keep it that way.</dialogue>
<character>DENNIS</character>
<dialogue>I hope that works out. If it doesn't, I want to tell you about cash for keys -</dialogue>
<scene_description>He hands Mr. Tanner a form.</scene_description>
<character>MR. TANNER</character>
<dialogue>What do you mean, cash for keys?</dialogue>
<character>DENNIS</character>
<dialogue>Cash for keys is this -</dialogue>
</scene>
<scene>
<stage_direction>EXT. FORECLOSED HOME #2 - DAY</stage_direction>
<scene_description>Dennis hands the cash for keys form to an AFRICAN AMERICAN COUPLE.</scene_description>
<character>DENNIS</character>
<dialogue>- if you leave your home in broom- swept condition prior to the eviction date the bank will give you $3500 which can help pay for a U-Haul, security deposit on an apartment, and -</dialogue>
<character>AFRICAN AMERICAN MOM</character>
<dialogue>Thank you, but no thank you. I'll give this to my attorney and he'll contact you. Good day.</dialogue>
<scene_description>Closes the door in Dennis' face.</scene_description>
</scene>
<scene>
<stage_direction>EXT. FORECLOSED HOME #3 - DAY</stage_direction>
<scene_description>Dennis tapes an eviction notice and takes a photo.</scene_description>
</scene>
<scene>
<stage_direction>EXT. FORECLOSED HOME #4 - NIGHT</stage_direction>
<scene_description>Dennis and Javier carry an HVAC when Dennis notices the pool pump. Javier lights up.</scene_description>
<character>JAVIER</character>
<dialogue>Whatcha doing?</dialogue>
<character>DENNIS</character>
<dialogue>Who's gonna buy a home with a pool if the pool doesn't work?</dialogue>
<scene_description>Dennis removes the pump. A neighbor's light turns on.</scene_description>
<character>HVAC NEIGHBOR (O.S.)</character>
<dialogue>Hey! What's going on there?!</dialogue>
<character>DENNIS</character>
<dialogue>You know Rick Carver Realty, you see that sign out front? That's us. You have a good day.</dialogue>
<character>JAVIER</character>
<dialogue>Hell yeah, now that's what I call a woman!</dialogue>
<scene_description>The men laugh as they steal.</scene_description>
</scene>
<scene>
<stage_direction>EXT. FORECLOSED HOME #5 - DAY</stage_direction>
<scene_description>Dennis explains CFK to a Vietnamese woman.</scene_description>
<character>DENNIS</character>
<dialogue>It's not a lot, but it's going to pay for a U-Haul, a down-payment on an apartment...</dialogue>
<character>VIETNAMESE WOMAN</character>
<dialogue>I have no idea what's going on, because my mom and dad from Vietnam are coming and the house can't be foreclosed on...</dialogue>
</scene>
<scene>
<stage_direction>EXT. FORECLOSED HOME #6 - DAY</stage_direction>
<scene_description>Dennis KNOCKS. Looks in the window. Tapes an eviction notice to the door and takes a photo with a small digital camera.</scene_description>
</scene>
<scene>
<stage_direction>EXT. MRS. TIDWELL'S HOME - DAY</stage_direction>
<scene_description>Dennis stand before a distraught MS. TIDWELL (30s, African- American) at her door. She looks at a piece of paper.</scene_description>
<character>DENNIS</character>
<dialogue>I want you to know about "cash for keys." This is a KYO form, it means "Knowing your options".</dialogue>
<character>MS. TIDWELL</character>
<dialogue>Knowing my options?</dialogue>
<scene_description>Her TEENAGE DAUGHTER starts filming Dennis with her phone..</scene_description>
<character>MS. TIDWELL'S DAUGHTER</character>
<dialogue>I'm putting this all on Facebook, asshole.</dialogue>
<character>MS. TIDWELL</character>
<dialogue>Kayla, put that away!</dialogue>
<character>MS. TIDWELL'S DAUGHTER</character>
<dialogue>Mom he's lying.</dialogue>
<character>MR. TIDWELL</character>
<dialogue>Kayla! - I'm sorry. I... I know you're doing your job; I'm sorry.</dialogue>
<scene_description>She quietly closes the door on Dennis who stands alone. HOLD.</scene_description>
</scene>
<scene>
<stage_direction>INT. DENNIS' MOVING TRUCK - DAY</stage_direction>
<scene_description>Dennis and Javier load up the truck and drive away.</scene_description>
</scene>
<scene>
<stage_direction>EXT. ANGRY MAN'S HOME - AFTERNOON</stage_direction>
<scene_description>A ANGRY MAN peers out of his chained door. Dennis hesitantly tries to hand him CFK paper work.</scene_description>
<character>ANGRY MAN</character>
<dialogue>You the one that's been putting notices on my windows?</dialogue>
<character>DENNIS</character>
<dialogue>No sir, that's the Sheriffs department.</dialogue>
<character>ANGRY MAN</character>
<dialogue>I don't want them to do that anymore, that's trespassing.</dialogue>
<character>DENNIS</character>
<dialogue>Sir I can't control what the Sheriffs department does, what I can do is tell you about -</dialogue>
<character>ANGRY MAN</character>
<dialogue>You're wasting your time. Just get outta here. Tell your bank and your boss I ain't interested.</dialogue>
<character>DENNIS</character>
<dialogue>If you wanna just take a look at -</dialogue>
<character>ANGRY MAN</character>
<dialogue>I'm not looking at anything.</dialogue>
<character>DENNIS</character>
<dialogue>You could just take it and not look at it.</dialogue>
<character>ANGRY MAN</character>
<dialogue>Hold on a second.</dialogue>
<scene_description>The Angry Man leaves. He comes back with a GUN.</scene_description>
<character>ANGRY MAN</character>
<dialogue>I think I've made myself very clear to you. I don't want to see you again.</dialogue>
<scene_description>Dennis backs away, thoroughly unnerved.</scene_description>
</scene>
<scene>
<stage_direction>EXT. EZ CASH - NIGHT</stage_direction>
<scene_description>Dennis exits an EZ cash with the money he made today. He gets in his truck and drives away.</scene_description>
</scene>
<scene>
<stage_direction>EXT. MOTEL - DAY</stage_direction>
<scene_description>Dennis pulls up in his truck, takes out a large paper bag. Lynn is cutting the hair of motel friend DANA.</scene_description>
<character>LYNN</character>
<dialogue>What you got there? What do you have in there?</dialogue>
<character>DENNIS</character>
<dialogue>Steak.</dialogue>
<character>LYNN</character>
<dialogue>What? That's Hamburger Helper.</dialogue>
<scene_description>Dennis shows his mom steaks in the grocery bags.</scene_description>
<character>DENNIS</character>
<parenthetical>(shows her)</parenthetical>
<dialogue>What does that look like to you?</dialogue>
<scene_description>Lynn is surprised - how could he afford this? But she's also happy!</scene_description>
<character>LYNN</character>
<dialogue>That looks like dinner! Let's invite Dana too!</dialogue>
<character>DENNIS</character>
<dialogue>More the merrier.</dialogue>
<character>DANA</character>
<dialogue>Hey - did you put that under your t- shirt?!</dialogue>
<scene_description>They laugh.</scene_description>
<character>DANA</character>
<dialogue>I'm not kidding! How else he got the money for that?</dialogue>
</scene>
<scene>
<stage_direction>INT. MOTEL ROOM - NIGHT</stage_direction>
<scene_description>Dennis plays nerf basketball with Connor. It's a fun moment that they really need. Lynn and Dana laugh and talk and drink beers.</scene_description>
</scene>
<scene>
<stage_direction>INT. STORAGE UNIT - DAY</stage_direction>
<scene_description>Dennis pushes up the garage door of the storage unit. Turns on lights to reveal HVACs and pool pumps. Rick counts them.</scene_description>
<character>RICK CARVER</character>
<dialogue>Eight. And four pool pumps. Good addition.</dialogue>
<character>DENNIS</character>
<dialogue>I figured "Why not?" Dropped this one - beyond repair - so better make it seven.</dialogue>
<character>RICK CARVER</character>
<dialogue>Sell it for scrap metal.</dialogue>
<character>DENNIS</character>
<dialogue>Already priced it out at $300.</dialogue>
<character>RICK CARVER</character>
<dialogue>Good. Invoice Rick Carver Realty $24K for the ACs and $3,200 for the pumps. The banks will reimburse me in that amount. Your take is 25%, about $6,700.</dialogue>
<scene_description>Dennis is impressed.</scene_description>
<character>DENNIS</character>
<dialogue>I'm gonna need that Ruger.</dialogue>
<character>RICK CARVER</character>
<dialogue>Excuse me? What'd you say?</dialogue>
<scene_description>Dennis looks annoyed.</scene_description>
<character>RICK CARVER</character>
<dialogue>You're saying you want the gun? Did I understand you?</dialogue>
</scene>
<scene>
<stage_direction>EXT. STORAGE UNIT / RICK'S SUV - DAY</stage_direction>
<scene_description>Rick opens the glove compartment and hands the gun to Dennis.</scene_description>
<character>RICK CARVER</character>
<dialogue>I ran the background check already. You're clear to carry it.</dialogue>
<scene_description>Dennis holds the gun. It's a little awkward in his hands.</scene_description>
<character>RICK CARVER</character>
<dialogue>Who pays the most out in cash-for- keys? - Fannie & Freddie. Then it's BoA.</dialogue>
<scene_description>I want you to go to every one of their foreclosed property in our books and find the ones that are unoccupied. No homeowner. And no tenant. You got that?</scene_description>
</scene>
<scene>
<stage_direction>EXT. HOME DEPOT - SUNRISE</stage_direction>
<scene_description>Dennis and Javier drive up and greet Dennis' Crew and pull them and three other Guys they know into the truck.</scene_description>
</scene>
<scene>
<stage_direction>INT. DENNIS' TRUCK \[MOVING\] - MORNING</stage_direction>
<scene_description>MUSIC. Dennis and Javier pass beers through the cab window to the 5 Guys in the back of the truck, laughing and joking.</scene_description>
</scene>
<scene>
<stage_direction>I/E. DENNIS' TRUCK / VACANT HOME #1 - DAY</stage_direction>
<scene_description>From in the truck Dennis sees Javier peering into a vacant home ("Rick Carver Realty" sign). Javier runs to the truck.</scene_description>
<character>JAVIER</character>
<dialogue>Empty as a mo-fo! I'd love to live in this bitch. 3221 Lincoln drive.</dialogue>
<scene_description>Dennis writes the address on a lease agreement.</scene_description>
</scene>
<scene>
<stage_direction>I/E. DENNIS' TRUCK / VACANT HOME #2 - DAY</stage_direction>
<scene_description>Dennis' Crew #1 jumps into the back of the truck and shouts -</scene_description>
<character>DENNIS' CREW #1</character>
<dialogue>676 Capland Ave!</dialogue>
<scene_description>Dennis fills out another lease.</scene_description>
</scene>
<scene>
<stage_direction>EXT. VACANT HOME #3 - DAY</stage_direction>
<scene_description>Dennis fills out a lease and hands it to Crew #2, who signs. He collects leases from the others who sign their names.</scene_description>
<character>DENNIS</character>
<dialogue>Ok. You are all now "tenants" of these properties with these lease agreements.</dialogue>
<character>DENNIS' CREW</character>
<dialogue>Can we really move in?</dialogue>
<character>DENNIS</character>
<dialogue>No, dumb ass. You can't really move in. We need the bank to think you live here so I can negotiate cash- for-keys deals with all of you.</dialogue>
<character>JAVIER</character>
<dialogue>How much they paying?</dialogue>
<character>DENNIS</character>
<dialogue>... $2,500 checks from the government and the fucking banks.</dialogue>
<character>JAVIER & DENNIS' CREW</character>
<dialogue>$2,500! Fuck 'em up the ass! Yehaw!</dialogue>
<scene_description>They're happy as hell.</scene_description>
</scene>
<scene>
<stage_direction>EXT. GOLF COURSE - DAY</stage_direction>
<scene_description>Dennis stands near golf carts at a distance from Rick, COUNTY COMMISSIONER LINK (30s-50s) and two RICH MEN who talk on the green. They shake hands; Rick and Link walk to Dennis.</scene_description>
<character>COUNTY COMMISSIONER LINK</character>
<dialogue>You think Freeman is the way to go?</dialogue>
<character>RICK CARVER</character>
<dialogue>He's Fannie's number one attorney three years running and he can connect us to bulk buyers. I'm not talking millions of dollars; I'm talking billions. - Arthur, this is Dennis Nash. - County Commissioner Arthur Link. -Your property on 2102 West Jefferson; I'll have Dennis make sure your gutters are re-done.</dialogue>
<character>COUNTY COMMISSIONER LINK</character>
<dialogue>What happened to Bill?</dialogue>
<character>RICK CARVER</character>
<dialogue>Killed him. This is my new guy and he's gonna last.</dialogue>
<character>COUNTY COMMISSIONER LINK</character>
<dialogue>Alright, I-I'll get us a meeting with Freeman.</dialogue>
<parenthetical>(to Dennis)</parenthetical>
<dialogue>You want to move up in real estate, this is the guy.</dialogue>
<scene_description>Link joins the men. Rick and Dennis drive away in a cart.</scene_description>
</scene>
<scene>
<stage_direction>INT. GOLF CART \[MOVING\] - CONTINUOUS</stage_direction>
<scene_description>Rick drives. Dennis next to him.</scene_description>
<character>RICK CARVER</character>
<dialogue>What do you have for me?</dialogue>
<scene_description>Dennis shows the "fake" leases.</scene_description>
<character>DENNIS</character>
<dialogue>Successfully negotiated six cash- for-keys with six "tenants."</dialogue>
<character>RICK CARVER</character>
<dialogue>Not bad. So, Nash, how much did you tell your buddies - $3,500 per home or less?</dialogue>
<character>DENNIS</character>
<dialogue>$3,500. Yeah.</dialogue>
<character>RICK CARVER</character>
<dialogue>Oh. You told them the full amount?</dialogue>
<character>DENNIS</character>
<dialogue>I told them what I told them. What do you care?</dialogue>
<scene_description>Rick smiles like a devil.</scene_description>
</scene>
<scene>
<stage_direction>EXT. RICK'S EMPTY MCMANSION #1 - DAY</stage_direction>
<scene_description>Rick parks the cart at the back of a massive, beautiful McMansion and walks to the swimming pool. Confused, Dennis follows Rick who greets TAMIKA, a gorgeous African American woman (early 20s) busy texting at the pool.</scene_description>
<character>RICK CARVER</character>
<dialogue>You look gorgeous, baby.</dialogue>
<character>TAMIKA</character>
<dialogue>I know.</dialogue>
<scene_description>He kisses her for a while. Dennis watches, uncertain.</scene_description>
<character>RICK CARVER</character>
<dialogue>Don't you have classes today?</dialogue>
<character>TAMIKA</character>
<dialogue>It's all online. Can we go to Capital Grille tonight?</dialogue>
<character>RICK CARVER</character>
<dialogue>Sure why not?</dialogue>
<scene_description>He motions to Dennis who follows Rick. Rick shows him his business card.</scene_description>
<character>RICK CARVER</character>
<dialogue>That's my sweetheart. She studies graphic design. I had her do my business cards.</dialogue>
<scene_description>They enter -</scene_description>
</scene>
<scene>
<stage_direction>INT. RICK'S EMPTY MCMANSION #1 - CONTINUOUS</stage_direction>
<scene_description>Dennis notices the mansion is empty except for a mattress on the floor, a sofa, coffee table, and couple suitcases.</scene_description>
<character>DENNIS</character>
<dialogue>Is this yours?</dialogue>
<character>RICK CARVER</character>
<dialogue>Just keeping it warm. Scan the leases so we can email Fannie and BoA.</dialogue>
<scene_description>Dennis moves to the scanner.</scene_description>
<character>RICK CARVER</character>
<dialogue>So, Nash - why aren't you married?</dialogue>
<character>DENNIS</character>
<dialogue>Uh. Don't really have time for it.</dialogue>
<character>RICK CARVER</character>
<dialogue>I don't trust a man who isn't married. Nobody does. - You want to tell me what happened to Connor's mom?</dialogue>
<character>DENNIS</character>
<dialogue>Not really.</dialogue>
<character>RICK CARVER</character>
<dialogue>Prom night fiaso?</dialogue>
<character>DENNIS</character>
<dialogue>Close, yeah, something like that.</dialogue>
<scene_description>Rick studies him for a moment. He produces a check from the paperwork on his desk.</scene_description>
<character>RICK CARVER</character>
<dialogue>Your check from the ACs and pool pumps. Came out higher than I thought - $7,200.</dialogue>
<scene_description>Dennis opens the envelope and sees the check... then hands it back to Rick.</scene_description>
<character>DENNIS</character>
<dialogue>Keep it. I'll give you the $3,000 I already made, and add my share from these leases. I want my home back.</dialogue>
<character>RICK CARVER</character>
<dialogue>BPO on your home came in at $170K. I'll buy it and you'll owe me. $155,000 at 12% amortized over 30 years with a two year balloon.</dialogue>
<character>DENNIS</character>
<dialogue>Jesus, that's a shitty rate.</dialogue>
<character>RICK CARVER</character>
<dialogue>No bank'll loan you money and if you don't pay, I'm on the hook. And I don't want that property; it doesn't have a future.</dialogue>
<character>DENNIS</character>
<dialogue>It's my family home.</dialogue>
<character>RICK CARVER</character>
<dialogue>It's a home. But if you want it, it's yours. It'll take the bank eight to twelve weeks to list it on the MLS; you can do repairs, but you can't move in until then.</dialogue>
<character>DENNIS</character>
<dialogue>And the contract?</dialogue>
<character>RICK CARVER</character>
<dialogue>I'll have my office provide you the contract for deed.</dialogue>
<character>DENNIS</character>
<dialogue>So it's mine again?</dialogue>
<character>RICK CARVER</character>
<dialogue>Yes, it's yours.</dialogue>
<character>DENNIS</character>
<dialogue>Ok. Thank you. Seriously thank you.</dialogue>
<scene_description>He extends his hand. Rick awkwardly shakes it. Dennis is emotional.</scene_description>
<character>RICK CARVER</character>
<dialogue>No tears.... drink?</dialogue>
<character>DENNIS</character>
<dialogue>No. I'm good.</dialogue>
<scene_description>Rick pours a drink from the bar.</scene_description>
<character>RICK CARVER</character>
<dialogue>You might want to reconsider. We have one more stop today. 224 Lakeview Court.</dialogue>
<character>DENNIS</character>
<dialogue>That's Mr. Tanner. I offered him a Wells Fargo cash-for-keys.</dialogue>
<character>RICK CARVER</character>
<dialogue>He never called and his eviction is today. You can pop your cherry with him. The first one's a bitch. You get numb to it. Stand next to me today, but after this you'll do 'em on your own.</dialogue>
<character>DENNIS</character>
<dialogue>Listen, Rick. Can't I -</dialogue>
<character>RICK CARVER</character>
<dialogue>Go fuck yourself? Yes. What'd you think working for me would mean?</dialogue>
<character>DENNIS</character>
<dialogue>I just thought -</dialogue>
<character>RICK CARVER</character>
<dialogue>No, you didn't think about it. And you didn't have the guts to ask me. Nobody does. But who in their right mind wouldn't rather put someone in a home than drag them out of it. Up until three years ago I used to be a regular real-estate broker, putting people into homes and speculating on properties. That was my job. - In 2006, Robert and Julia Tanner borrowed 30 grand to put an enclosed patio on their home which they had managed to live without for 25 years.</dialogue>
<scene_description>Ask them when they're spitting in your face as you walk them to the curb. Ask the banks why they gave them an adjustable rate mortgage. Ask the government why they lifted all regulations and turned a blind eye. You, the Tanners, the banks, Washington and every other homeowner and investor from here to China turned my life into evictions. I'm not an aristocrat. I wasn't born into it. My dad was a roofer. I grew up on construction sites watching him work his ass off until he fell from a townhouse. A lifetime of insurance payments and they dropped him before he could buy a wheelchair but only after they got him hooked on pain killers. Do you think I'm going to let that happen to me? Do you think America 2010 gives one damn about Carver or Nash? America doesn't bail out the losers. America was built by bailing out the winners. By rigging a nation of the winners, by the winners, for the winners. Do you go to church Nash? Do you?</scene_description>
<character>DENNIS</character>
<dialogue>Yeah.</dialogue>
<character>RICK CARVER</character>
<dialogue>Only 1 in 100 is gonna get on the Ark and every other poor soul's going to drown. I'm not going to drown.</dialogue>
<scene_description>They lock eyes for a long beat.</scene_description>
<character>DENNIS</character>
<dialogue>I'll do it alone. I've seen you do it. I know how it's done. I'll do it alone.</dialogue>
</scene>
<scene>
<stage_direction>I/E. DENNIS' TRUCK / TANNER HOME - DAY</stage_direction>
<scene_description>From through the windshield of Dennis' truck: Jeff, Crew and Locksmith loiter in the Tanners' lawn; NEIGHBORS gather; the Sheriffs get out of their cruisers. Dennis sees this from inside his truck. It's hot and sweaty. The windows are rolled up. He doesn't want to be here. CLACK CLACK CLACK Sheriff #1 bangs his nightstick; Dennis unrolls his window.</scene_description>
<character>SHERIFF #1</character>
<parenthetical>(laughing)</parenthetical>
<dialogue>Hoooooly shit! Rick told me, but - Let's go, rookie! Don't think I got dressed up just for you.</dialogue>
<scene_description>He laughs and walks off. Dennis opens the glove compartment and pulls out the gun. He holsters it on his ankle.</scene_description>
</scene>
<scene>
<stage_direction>EXT. TANNER HOME - MOMENTS LATER</stage_direction>
<scene_description>Dennis sweats as he walks to Mr. Tanner and MRS. TANNER standing at their front door with the two Sheriffs.</scene_description>
<character>DENNIS</character>
<dialogue>Good morning, Mr. Tanner. Ma'am. I'm Dennis Nash, from Rick Carver Realty.</dialogue>
<character>MR. TANNER</character>
<dialogue>I remember you, Mr. Nash. Why, why're you here?</dialogue>
<character>DENNIS</character>
<dialogue>Um, I'm sorry to say, this home has been foreclosed on and transferred to the bank. I hate to be here doing this, but I'll need you to please step out of the property now.</dialogue>
<character>MR. TANNER</character>
<dialogue>No, I, I... my wife's on the phone right now with our lawyer. You see, this is a mix-up and we're going to have it all sorted out.</dialogue>
<character>DENNIS</character>
<dialogue>I understand, Mr. Tanner, but -</dialogue>
<character>MR. TANNER</character>
<dialogue>Honey! Honey, do you have him on the line?</dialogue>
<character>DENNIS</character>
<dialogue>Sir, it's not going to matter -</dialogue>
<scene_description>Dennis sees Mrs. Tanner and two kids come to the door.</scene_description>
<character>MRS. TANNER</character>
<dialogue>He wasn't there. They said he'll call us back.</dialogue>
<character>MR. TANNER</character>
<dialogue>There you go. We have to wait. We're filing an appeal, there's no point in you being here right now.</dialogue>
<character>DENNIS</character>
<dialogue>I understand Mr. Tanner. But what I have here is a court order signed by the judge. What I can do is give you a few minutes to gather your personal items. Your checkbook, jewelry, medicines... your kids'... important belongings, but then I'm going to have to ask you to vacate the home.</dialogue>
<character>MRS. TANNER</character>
<dialogue>Well, I don't care. You were not supposed to be here today, so you need to leave now.</dialogue>
<character>DENNIS</character>
<dialogue>Ma'am. What I can do is -</dialogue>
<character>MRS. TANNER</character>
<dialogue>You are leaving. We are going back inside.</dialogue>
<character>SHERIFF #1</character>
<dialogue>Please calm down ma'am.</dialogue>
<character>MRS. TANNER</character>
<dialogue>I am calm. I am calm.</dialogue>
<character>SHERIFF #1</character>
<dialogue>Don't close the door ma'am.</dialogue>
<scene_description>Sheriff #1 moves Dennis aside. Sheriff #2 steps up.</scene_description>
<character>MR. TANNER</character>
<dialogue>You're trespassing. You all need to leave.</dialogue>
<character>SHERIFF #1</character>
<dialogue>No, you and your wife are trespassing.</dialogue>
<scene_description>Any more trouble and we will walk you straight to the curb or the county jail. You decide. Dennis sees the Tanners go inside with the Sheriffs. Dennis sees Jeff smirking at him. Dennis sees the Sheriffs escort the Tanners out, clutching bags, kids crying.</scene_description>
<character>SHERIFF #1</character>
<dialogue>Clear. Get your men in here, Nash.</dialogue>
<scene_description>Dennis motions to his crew who come marching up the lawn and in the house.</scene_description>
<character>SHERIFF #1</character>
<dialogue>They can't stand there.</dialogue>
<scene_description>Dennis takes a deep breath and approaches the Tanners.</scene_description>
<character>DENNIS</character>
<dialogue>Mr. Tanner, ma'am, please walk with me to the curb.</dialogue>
<character>MR. TANNER</character>
<dialogue>What?</dialogue>
<character>DENNIS</character>
<dialogue>Let's just go to the curb, please.</dialogue>
<scene_description>He guides them to the street.</scene_description>
<character>MR. TANNER</character>
<dialogue>You're responsible for this. You know that right? What happens to me, to my family. That's on you.</dialogue>
<scene_description>They reach the curb.</scene_description>
<character>DENNIS</character>
<dialogue>I'm sorry Mrs. Tanner. I didn't want to do this today, I tried to avoid this -</dialogue>
<character>MRS. TANNER</character>
<dialogue>How do you live with yourself? Do you have a family? How could you? Shame on you. Shame on you.</dialogue>
<scene_description>Jeff and crew start piling stuff up in front of them. Mr. Tanner begins to weep.</scene_description>
<character>MRS. TANNER</character>
<dialogue>It's ok, baby, it's ok.</dialogue>
</scene>
<scene>
<stage_direction>INT. TANNER HOME - CONTINUOUS</stage_direction>
<scene_description>Dennis stands alone in the Tanner's living room watching the clean out crew taking the Tanner's belongs out. He looks out the window and sees them on the curb, crying.</scene_description>
</scene>
<scene>
<stage_direction>I/E. GAS STATION - DAY</stage_direction>
<scene_description>Dennis enters the gas station and heads to the -</scene_description>
</scene>
<scene>
<stage_direction>INT. GAS STATION BATHROOM - CONTINUOUS</stage_direction>
<scene_description>He closes the door. He is a wreck. He changes back to his work clothes. He stares at himself in the mirror.</scene_description>
</scene>
<scene>
<stage_direction>INT. DENNIS' PICK-UP TRUCK \[MOVING\] - MORNING</stage_direction>
<scene_description>Dennis drives Lynn and Connor. They're all happy.</scene_description>
<character>CONNOR</character>
<dialogue>Where're we going?</dialogue>
<character>DENNIS</character>
<dialogue>I don't know. You tell me.</dialogue>
<character>CONNOR</character>
<dialogue>To see the Magic practice?</dialogue>
<character>DENNIS</character>
<dialogue>No.</dialogue>
<character>CONNOR</character>
<dialogue>All you can eat ice-cream at Denny's?</dialogue>
<character>DENNIS</character>
<dialogue>No, but we can get that later.</dialogue>
<character>CONNOR</character>
<dialogue>Oh, oh, oh! I know. To see the Queen of England?</dialogue>
<character>DENNIS</character>
<parenthetical>(laughs)</parenthetical>
<dialogue>No! - What?!</dialogue>
<character>CONNOR</character>
<dialogue>It's possible.</dialogue>
</scene>
<scene>
<stage_direction>I/E. DENNIS' TRUCK / DENNIS' HOME - MORNING</stage_direction>
<scene_description>They arrive at their home. Lynn and Connor can't believe it.</scene_description>
<character>CONNOR</character>
<dialogue>What're we doing here?</dialogue>
<character>DENNIS</character>
<dialogue>I don't know. What're we doing here? Grab these brushes.</dialogue>
<scene_description>They get paint cans and brushes from the back of the truck.</scene_description>
<character>CONNOR</character>
<dialogue>Are we breaking in?</dialogue>
<character>LYNN</character>
<dialogue>Ask your dad.</dialogue>
<scene_description>Dennis uses an iPhone extension to signal the lock box to open. The key pops out. Lynn gasps.</scene_description>
<character>CONNOR</character>
<dialogue>There's an app for that?</dialogue>
</scene>
<scene>
<stage_direction>INT. DENNIS' HOME - CONTINUOUS</stage_direction>
<scene_description>They enter. Lynn and Connor are amazed, looking around.</scene_description>
<character>LYNN</character>
<dialogue>What are we doing?</dialogue>
<character>CONNOR</character>
<dialogue>What are we doing here?</dialogue>
<scene_description>They walk in. Lynn sees her garden has withered; weeds.</scene_description>
<character>LYNN</character>
<dialogue>Oh my god, look.</dialogue>
<character>CONNOR</character>
<dialogue>What are we doing here??</dialogue>
<character>DENNIS</character>
<dialogue>I got the home back.</dialogue>
<character>LYNN</character>
<dialogue>What??</dialogue>
<character>CONNOR</character>
<dialogue>Does that mean I get my room back?</dialogue>
<character>DENNIS</character>
<dialogue>Yup.</dialogue>
<scene_description>Connor runs to his room.</scene_description>
<character>LYNN</character>
<dialogue>How'd you get the house back?</dialogue>
<character>CONNOR</character>
<dialogue>My room looks so big!</dialogue>
<character>DENNIS</character>
<dialogue>That's becuase it is.</dialogue>
<parenthetical>(to Lynn)</parenthetical>
<dialogue>We won't be able to move in for a couple weeks, but... It's ours again. I'll explain.</dialogue>
<scene_description>He goes to Connor's room, leaving Lynn to digest everything.</scene_description>
<character>LYNN</character>
<dialogue>Oh my god.</dialogue>
<scene_description>Lynn picks up and hangs her withered plant.</scene_description>
</scene>
<scene>
<stage_direction>INT. CONNOR'S ROOM - CONTINUOUS</stage_direction>
<scene_description>Dennis joins Connor.</scene_description>
<character>DENNIS</character>
<dialogue>How about a bunk bed? What else?</dialogue>
<character>CONNOR</character>
<dialogue>A basketball hoop so I can dunk, right there!</dialogue>
<character>DENNIS</character>
<dialogue>What else?</dialogue>
<character>CONNOR</character>
<dialogue>A hot tub! A hot tub right there, you can break the wall down! And the wall should be silver like the Orlando magic.</dialogue>
<character>DENNIS</character>
<dialogue>You know what else I was thinking? I was thinking in the backyard we could get a pool.</dialogue>
<character>CONNOR</character>
<dialogue>A pool?! Yeah!</dialogue>
<character>DENNIS</character>
<dialogue>You have to help me paint the house first. Let's start painting.</dialogue>
<scene_description>He hands Connor tape and rubs his ear, who accepts.</scene_description>
</scene>
<scene>
<stage_direction>INT. DENNIS' HOME / KITCHEN & LIVING ROOM - CONTINUOUS</stage_direction>
<scene_description>Lynn cleans dusts of the kitchen counters. She's tearing up. Dennis enters and watches her.</scene_description>
<character>LYNN</character>
<dialogue>How are you doing this? How is this real?</dialogue>
<character>DENNIS</character>
<dialogue>My boss bought it for me and I'm paying him back in installments just like a bank.</dialogue>
<scene_description>Dennis shows her the contract.</scene_description>
<character>LYNN</character>
<parenthetical>(suspicious)</parenthetical>
<dialogue>What does he get?</dialogue>
<character>DENNIS</character>
<dialogue>He gets his money back. He gives me work so he's keeping me working.</dialogue>
<parenthetical>(about Connor)</parenthetical>
<dialogue>He's painting his room right now. I got it back.</dialogue>
<scene_description>Lynn stares at the contract. She has doubts. Looks at him.</scene_description>
<character>LYNN</character>
<dialogue>What's your name?</dialogue>
<scene_description>LATER Derek arrives.</scene_description>
<character>CONNOR</character>
<dialogue>Derek! What's up!</dialogue>
<character>DENNIS</character>
<dialogue>What's up Derek?</dialogue>
<character>DEREK</character>
<dialogue>Hi Mr. Nash!</dialogue>
<scene_description>They play play-wrestle and have fun, Dennis pretending to be a gorilla.</scene_description>
<character>CONNOR</character>
<dialogue>The dominant Silverback Gorilla! We've been spotted!</dialogue>
<scene_description>Lynn watches them play, still unsure.</scene_description>
</scene>
<scene>
<stage_direction>EXT. ANGRY MAN'S HOME - DAY</stage_direction>
<scene_description>BZZZZZZ. CU - Locksmith drills the lock off and opens the door. Sheriff enters with his gun drawn.</scene_description>
<character>SHERIFF #1</character>
<dialogue>Sheriff's Department. Anybody home?</dialogue>
<character>DENNIS</character>
<dialogue>Alright, jump in.</dialogue>
</scene>
<scene>
<stage_direction>EXT. EVICTION HOME #1 - DAY</stage_direction>
<scene_description>Dennis (Sheriff, crew, locksmith) evicts a TENANT MAN.</scene_description>
<character>DENNIS</character>
<dialogue>So you are not Mr. Ron Curtis?</dialogue>
<character>TENANT MAN</character>
<dialogue>No. He's my landlord. He lives in Miami.</dialogue>
<character>DENNIS</character>
<dialogue>You're not the owner of this property?</dialogue>
<character>TENANT MAN</character>
<dialogue>No, we rent, we've been paying the rent here for 8 years.</dialogue>
<character>SHERIFF #1</character>
<dialogue>Sir, I put notices on your door -</dialogue>
<character>TENANT MAN</character>
<dialogue>And I gave them to the landlord. He told me to ignore them, that he was doing a loan re-modification and not to worry about it.</dialogue>
<character>DENNIS</character>
<dialogue>Your landlord has scammed you. You've been scammed.</dialogue>
</scene>
<scene>
<stage_direction>EXT. EVICTION HOME #2 - DAY</stage_direction>
<scene_description>Dennis hands the check to an OLDER AFRICAN AMERICAN WOMAN.</scene_description>
<character>OLDER AFRICAN AMERICAN WOMAN</character>
<dialogue>That's $3500, right?</dialogue>
<character>DENNIS</character>
<dialogue>Yeah, $3500.</dialogue>
<scene_description>She struggles to remove the home key from their chain.</scene_description>
<character>OLDER AFRICAN AMERICAN WOMAN</character>
<dialogue>I can't...</dialogue>
<scene_description>She hands it to Dennis who removes it. He hands the chain back.</scene_description>
</scene>
<scene>
<stage_direction>I/E. DENNIS' TRUCK - DAY</stage_direction>
<scene_description>Dennis puts the keys into a container of other keys.</scene_description>
</scene>
<scene>
<stage_direction>I/E. MR. BALDWIN'S HOME - DAY</stage_direction>
<scene_description>Dennis and Sheriff #3 stand at the door with MR. BALDWIN, (70s-80s, confused, floral shirt).</scene_description>
<character>DENNIS</character>
<dialogue>Hello Mr. Baldwin, my name is Dennis Nash, I'm here representing Rick Carver Realty. Today is the day of your eviction, I'm afraid.</dialogue>
<character>MR. BALDWIN</character>
<dialogue>No no, I have a reverse mortgage on this house and my wife and I took it out. My wife went down to the bank and she signed the papers.</dialogue>
<character>SHERIFF #1</character>
<dialogue>Mr. Baldwin, there was a process in place, all the paperwork was submitted, signed by a Judge, it's all legal. Mr. Baldwin, step outside for me please... Go ahead.</dialogue>
<character>MR. BALDWIN</character>
<dialogue>Ok...</dialogue>
<scene_description>Mr. Baldwin steps out. Sheriff 2 stays with Baldwin as Dennis and Sheriff #1 enter.</scene_description>
</scene>
<scene>
<stage_direction>EXT. EVICTION HOME #3 - DAY</stage_direction>
<scene_description>Dennis speaks with a MIDDLE AGED WOMAN as clean-out crew bring out her belongings.</scene_description>
<character>MIDDLE AGED WOMAN</character>
<dialogue>We already did the modification, they approved it, we sent in our first check...</dialogue>
<character>DENNIS</character>
<dialogue>What I suggest is we figure out a way to get all your stuff safe - a U-Haul or something like that.</dialogue>
<character>MIDDLE AGED WOMAN</character>
<dialogue>I'm going to have to call my husband. I could maybe store it at my sister's house down the street for a day or...</dialogue>
<scene_description>She stops, overwhelmed.</scene_description>
</scene>
<scene>
<stage_direction>EXT. DENNIS' TRUCK - DAY</stage_direction>
<scene_description>Dennis puts another sets of keys in the jar - it's half full now.</scene_description>
</scene>
<scene>
<stage_direction>EXT. EVICTION HOME #4 - DAY</stage_direction>
<scene_description>Dennis tries to communicate with a HISPANIC MOTHER as her HISPANIC SON translates. The young son struggles to explain the situation as Dennis speaks and the mother listens.</scene_description>
<character>DENNIS</character>
<dialogue>The house isn't your anymore.</dialogue>
<scene_description>The son translates. The mother takes it in.</scene_description>
</scene>
<scene>
<stage_direction>I/E. EVICTION HOME #5 - DAY</stage_direction>
<scene_description>Dennis looks in the window, KNOCKS one last time, then nods to the Locksmith, who saws out the doorknob. Dennis enters with the Sheriffs and sees the house is fully furnished: Parakeets CHIRP in a cage; family photos and a crucifix on the wall; laundry hanging to dry in the backyard.</scene_description>
<character>DENNIS</character>
<dialogue>Anyone know what to do with a bird?</dialogue>
</scene>
<scene>
<stage_direction>EXT. TIDWELL HOME - DAY</stage_direction>
<scene_description>Mrs. Tidwell signs a CFK. He hands her a check.</scene_description>
<character>DENNIS</character>
<dialogue>Mrs. Tidwell stares at the check.</dialogue>
<dialogue>She hands over her keys.</dialogue>
</scene>
<scene>
<stage_direction>INT. DENNIS' TRUCK - CONTINUOUS</stage_direction>
<scene_description>Dennis puts another key in his jar - now it is full.</scene_description>
</scene>
<scene>
<stage_direction>EXT. EVICTION HOME #6 - DAY</stage_direction>
<scene_description>Dennis confronts a group of SURLY HOMEOWNERS.</scene_description>
<character>DENNIS</character>
<dialogue>I'm trying to give you the better option here, I'm going to have to send these guys, who are being employed today to go in and grab your stuff and throw it on the curb.</dialogue>
<character>SHERIFF #1</character>
<dialogue>I really don't want to take you to jail. I don't have the time -</dialogue>
<character>SURLY HOMEOWNER</character>
<dialogue>Well you know what you can do with that?</dialogue>
<parenthetical>(points to the clipboard)</parenthetical>
<dialogue>You can do something else with that because I'm not gonna touch it.</dialogue>
</scene>
<scene>
<stage_direction>EXT. MR. BALDWIN'S HOME - DAY</stage_direction>
<scene_description>Mr. Baldwin sits in a plastic chair, a box on his lap.</scene_description>
<character>DENNIS</character>
<dialogue>Do you have any family or friends?</dialogue>
<character>MR. BALDWIN</character>
<dialogue>I have a son up in Michigan, but I haven't seen him in a couple years...</dialogue>
<character>SHERIFF #2</character>
<dialogue>Do you have his phone number?</dialogue>
<character>MR. BALDWIN</character>
<dialogue>No, no...</dialogue>
<character>SHERIFF #2</character>
<dialogue>Nobody you can stay with?</dialogue>
<character>MR. BALDWIN</character>
<dialogue>No, no I don't...</dialogue>
<character>DENNIS</character>
<dialogue>Any neighbors that can help you out?</dialogue>
<character>MR. BALDWIN</character>
<dialogue>I don't know my neighbors anymore.</dialogue>
<character>SHERIFF #2</character>
<dialogue>I can give you a ride to the Salvation Army or the Red Cross?</dialogue>
<scene_description>Dennis stares at the lost and helpless Mr. Baldwin. HOLD.</scene_description>
</scene>
<scene>
<stage_direction>INT. MOTEL ROOM - NIGHT</stage_direction>
<scene_description>Dennis can't sleep. Connor is tangled up with him. He removes Connor's arm and quietly gets out of bed.</scene_description>
</scene>
<scene>
<stage_direction>EXT. MOTEL - NIGHT</stage_direction>
<scene_description>He smokes a joint and stares at traffic on an overpass.</scene_description>
</scene>
<scene>
<stage_direction>INT. PHOTO STUDIO - DAY</stage_direction>
<scene_description>In a suit and slicked hair, Dennis looks like a new man.</scene_description>
<character>PHOTOGRAPHER (O.S.)</character>
<dialogue>Please lower your chin and turn your head towards me... That's it.</dialogue>
<scene_description>Rick stands next to the PHOTOGRAPHER.</scene_description>
<character>RICK CARVER</character>
<dialogue>Say "short-sale" three times and smile.</dialogue>
<scene_description>Dennis smiles and the camera flashes repeatedly. MOMENTS LATER Rick approves of the business card and hands it to Dennis.</scene_description>
<character>RICK CARVER</character>
<dialogue>Pretty civilized.</dialogue>
<scene_description>Dennis looks at a card with his photo: DENNIS NASH, SENIOR SALES MANAGER, Rick CARVER REALTY, INC.</scene_description>
</scene>
<scene>
<stage_direction>INT. WILLIAM FREEMAN'S OFFICE - MOMENTS LATER</stage_direction>
<scene_description>WILLIAM FREEMAN (50s, confident) sits behind his desk in the glass office. Freeman's ASSOCIATE, Dennis, Rick and Link sit around the table. Dennis listens carefully as they talk:</scene_description>
<character>COUNTY COMMISSIONER LINK</character>
<dialogue>Tesken Equity Management just picked up 400 homes in the last two months, all-cash buys - no loans. A hundred million dollars. Orange County needs your help to find another bulk buyer like Tesken.</dialogue>
<scene_description>As they talk Dennis notices Freeman's Lawyer who beat him in court.</scene_description>
<character>MR. FREEMAN</character>
<dialogue>And I'd like to know where the new highway that's to connect 414 and the Apopka Expressway is going to be.</dialogue>
<character>COUNTY COMMISSIONER LINK</character>
<dialogue>Yes, well, that information isn't public yet, so...</dialogue>
<character>MR. FREEMAN</character>
<dialogue>I have a lot of property that could be impacted by the zoning board's decision.</dialogue>
<scene_description>Rick smiles with pride; Dennis notices.</scene_description>
<character>MR. FREEMAN</character>
<dialogue>Anything else, Arthur?</dialogue>
<character>COUNTY COMMISSIONER LINK</character>
<dialogue>Ok. Yes, yes. I know the route.</dialogue>
<character>MR. FREEMAN</character>
<dialogue>There's a bulk buyer here out of New York, Vesic Investment Group. But they're shopping with a pissant broker out of Kissimmee named Ortiz who just sold them 15 homes last month.</dialogue>
<character>RICK CARVER</character>
<dialogue>Excuse me, sir. I know Ortiz. I can get Vesic Investment Group away from him and my team can handle as many homes as you have to sell.</dialogue>
<character>MR. FREEMAN</character>
<dialogue>I have upwards of 1000 homes. Possibly more. Get me Vesic and we'll be in business.</dialogue>
</scene>
<scene>
<stage_direction>EXT. DOWNTOWN ORLANDO - DAY</stage_direction>
<scene_description>Dennis and Rick walk.</scene_description>
<character>RICK CARVER</character>
<dialogue>1000 homes. Do you know how much money we're talking about? Track Ortiz, find who he's talking to and what properties they're looking at. We need to know what the Vesic deal is.</dialogue>
<character>DENNIS</character>
<dialogue>Rick. What's my cut?</dialogue>
<character>RICK CARVER</character>
<dialogue>Shut the fuck up and get going.</dialogue>
<character>DENNIS</character>
<dialogue>You can't handle 1000 homes without me. Standard commission is 6%.</dialogue>
<scene_description>What's my cut to help you get Vesic to Freeman? Rick smiles, then laughs.</scene_description>
<character>RICK CARVER</character>
<dialogue>I'll give you 5% of my take.</dialogue>
<character>DENNIS</character>
<dialogue>10%.</dialogue>
<character>RICK CARVER</character>
<dialogue>6 and a hand job. No calluses. You'll pull in something between $200 to $300K.</dialogue>
<character>DENNIS</character>
<dialogue>...</dialogue>
<character>RICK CARVER</character>
<dialogue>That's more than you made in your -</dialogue>
<character>DENNIS</character>
<dialogue>Yeah yeah, more than I made in my whole life.</dialogue>
<scene_description>They shake. Partners.</scene_description>
</scene>
<scene>
<stage_direction>I/E. DENNIS' TRUCK / RITZ CARLTON HOTEL - MORNING</stage_direction>
<scene_description>ORTIZ (40s-50s) waits at the lobby. Dennis notices PRADEEP KHANNA (30s-40s, Indian-American, confident, NYC look) exit the hotel and greet an affable Ortiz. They get in Ortiz's SUV. Dennis follows them.</scene_description>
</scene>
<scene>
<stage_direction>I/E. DENNIS' TRUCK / ORTIZ HOME #1 - MORNING</stage_direction>
<scene_description>Dennis pulls up to a home as Ortiz parks. Dennis sees Ortiz and Khanna look around the home. Ortiz shows Khanna information on an iPad as they enter the home. Dennis takes a photo of the home, including a sign in the lawn: FOR SALE BY BANK OF SANTA FE.</scene_description>
</scene>
<scene>
<stage_direction>I/E. DENNIS' TRUCK / ORTIZ HOME #2 - DAY</stage_direction>
<scene_description>Dennis watches Ortiz and Khanna examine another foreclosed home. A FEMALE HOMEOWNER peers out her door. BEEP. Text message from Rick: last 4 homes all bank of santa fe.</scene_description>
</scene>
<scene>
<stage_direction>I/E. DENNIS' TRUCK / FRANK GREENE'S HOME - AFTERNOON</stage_direction>
<scene_description>Dennis sees Ortiz and Khanna drive away. He looks towards the home and sees Frank and his family. He gets out of his truck.</scene_description>
</scene>
<scene>
<stage_direction>EXT. FRANK GREENE'S HOME - CONTINUOUS</stage_direction>
<scene_description>Frank and Frank's Wife put recycled cans into car trunk. He sees his Sons riding bikes. Dennis approaches Frank; Frank stops him.</scene_description>
<character>DENNIS</character>
<dialogue>Hey, Frank.</dialogue>
<character>FRANK GREENE</character>
<dialogue>What do you want? You with those guys?</dialogue>
<character>DENNIS</character>
<dialogue>No, not at all. Just come to see how you're doing. If you want, maybe I can get you a job.</dialogue>
<character>FRANK GREENE</character>
<dialogue>Nice suit. Still working for your friend?</dialogue>
<character>DENNIS</character>
<dialogue>I didn't have to come here. I just wanted to -</dialogue>
<character>FRANK GREENE</character>
<dialogue>To lie to me? To cheat me?</dialogue>
<character>DENNIS</character>
<dialogue>To help you. Have you thought about where your kids are gonna live when you lose this? It's not pretty.</dialogue>
<character>FRANK GREENE</character>
<dialogue>My kids have a home. This one right here. I did research and took boxes of files to a lawyer. Pro-bono.</dialogue>
<scene_description>I'm going to win my home legally, in court.</scene_description>
<character>DENNIS</character>
<dialogue>Be realistic. The judges don't care, and the courts -</dialogue>
<character>FRANK GREENE</character>
<dialogue>"Be realistic?" I didn't ask for your help, sir. And I don't want it. You're trespassing. Please get off my property and don't come here again.</dialogue>
</scene>
<scene>
<stage_direction>INT. RICK'S EMPTY MCMANSION #2 - DAY</stage_direction>
<scene_description>Rick drinks whiskey as Dennis thinks.</scene_description>
<character>RICK CARVER</character>
<dialogue>There's over 100 homes in this deal. Ortiz, the king of the Miguels, is going to sell 100 homes to Vesic.</dialogue>
<parenthetical>(points at maps on wall)</parenthetical>
<dialogue>They're all in these neighborhoods, priced between $165 and $200K. We're talking upwards of a $20 million deal. And it's not mine.</dialogue>
<character>DENNIS</character>
<dialogue>Holy shit.</dialogue>
<scene_description>Tamika enters with an iPad and wraps her arms around Rick.</scene_description>
<character>TAMIKA</character>
<dialogue>Triple word score. Take that.</dialogue>
<character>RICK CARVER</character>
<dialogue>We're working.</dialogue>
<character>TAMIKA</character>
<dialogue>I know. Dennis, tell him to take a break.</dialogue>
<character>DENNIS</character>
<dialogue>Rick. Take a break.</dialogue>
<scene_description>Suddenly, Rick wraps his arms around her and gives her a deep, passionate kiss. Dennis studies maps on the wall. Then -</scene_description>
<character>DENNIS</character>
<dialogue>Vesic already bought 15 homes from Ortiz last month.</dialogue>
<character>RICK CARVER</character>
<dialogue>So?</dialogue>
<character>DENNIS</character>
<dialogue>I'm going to take out all the ACs, water pumps, and appliances from those homes. And who do you think Vesic will blame?</dialogue>
<character>RICK CARVER</character>
<dialogue>Ortiz. They'll call immigration and put him on his lawn mower back over the border while I'm on the phone with the Bank of Santa Fe.</dialogue>
<character>DENNIS</character>
<dialogue>And we'll sell a 100 homes.</dialogue>
<character>RICK CARVER</character>
<dialogue>And 1000 more for Freeman. I see green skies ahead.</dialogue>
<character>DENNIS</character>
<dialogue>Start by putting green in my pocket. I'll empty out the 15 homes tonight. $100 a pop. $1,500.</dialogue>
</scene>
<scene>
<stage_direction>EXT. ORTIZ HOME - AFTERNOON</stage_direction>
<scene_description>Dennis uses his iPhone to open the electronic lock box. Javier and Dennis' Crew (two) approach with dollies.</scene_description>
<character>JAVIER</character>
<dialogue>HVACs and water pumps?</dialogue>
<character>DENNIS</character>
<dialogue>Get the appliances this time too - dishwasher, fridge, oven. Skip microwaves.</dialogue>
<scene_description>Dennis uses his iPhone to get the key.</scene_description>
<character>JAVIER</character>
<dialogue>You're going in?</dialogue>
<character>DENNIS</character>
<dialogue>You're going in.</dialogue>
<character>JAVIER</character>
<dialogue>Nah, that's B&E man, that's guaranteed time right there.</dialogue>
<character>DENNIS</character>
<dialogue>It's not B&E if you got a key - we're doing appliances, fridges...</dialogue>
<character>JAVIER</character>
<dialogue>Aiight.</dialogue>
</scene>
<scene>
<stage_direction>I/E. DENNIS' TRUCK / DENNIS' NEW HOME - SUNSET</stage_direction>
<scene_description>Dennis drives and talks on phone.</scene_description>
<character>DENNIS (INTO PHONE)</character>
<dialogue>Yeah. Rick said he wanted me to handle the short sale for him, so I'm heading there now. - Hang on.</dialogue>
<scene_description>He notices something and stops in front of an impressive home with a "foreclosure Rick Carver Realty" sign in the yard.</scene_description>
<character>DENNIS (INTO PHONE)</character>
<dialogue>Do you know if 1484 Lakewood Drive is for sale?... I just drove by the place... Yeah? Does it have a pool?... Let me call you back.</dialogue>
<scene_description>He opens the door and looks at: a beautiful, large, stucco home with palm trees. Paradise.</scene_description>
</scene>
<scene>
<stage_direction>EXT. MOTEL; SWIMMING POOL</stage_direction>
<scene_description>It's Connor's birthday. Dennis grills, Lynn cuts cake, Connor is happy. Derek, the neighborhood kids, Justin and the motel kids are all there. LATER Lynn holds the pinata and Dennis and Connor smash it together, father and son are happy together. LATER Lynn wonders where Dennis is. Dennis returns with a brand new bike for Connor. Connor jumps all over it.</scene_description>
<character>CONNOR</character>
<dialogue>Whoa!</dialogue>
<scene_description>Connor hugs his dad and runs off with Derek and friends.</scene_description>
</scene>
<scene>
<stage_direction>EXT. MOTEL PARKING LOT - LATER</stage_direction>
<scene_description>Dennis and Lynn watch Derek and Connor ride bikes. Justin and motel kids ride old bikes and scooters. Families around.</scene_description>
<character>DENNIS</character>
<dialogue>Show us what you got!</dialogue>
<scene_description>Connor rides circles around Dennis as Lynn looks on, happy. Then... an EVICTED FAMILY (husband, wife, two kids) drives up. Confused and exhausted, they unpack their station wagon.</scene_description>
<character>LYNN</character>
<parenthetical>(about the family)</parenthetical>
<dialogue>Hey Connor, let's see if these guys want some of your cake. We got some cheese pizza left - you wanna ask if they want some cheese pizza?</dialogue>
<scene_description>Dennis stares at the family; something's wrong. He turns and starts to leave abruptly.</scene_description>
<character>DENNIS</character>
<dialogue>Alright, I gotta get Derek home.</dialogue>
<character>LYNN</character>
<dialogue>Okay, we're just gonna grab some pizza and some cake, I think it'd be nice to say hi to these guys.</dialogue>
<character>DENNIS</character>
<dialogue>Fine, I just gotta get Derek home.</dialogue>
<scene_description>The EVICTED MAN sees Dennis.</scene_description>
<character>EVICTED MAN</character>
<dialogue>Hey! Hey! Where you going? Hey you! Over here. I'm talking to you!</dialogue>
<scene_description>Dennis reluctantly turns. The Evicted Man is visibly angry.</scene_description>
<character>DENNIS</character>
<dialogue>You're talking to me?</dialogue>
<character>EVICTED MAN</character>
<dialogue>Yeah, I'm talking to you. What're you doing here? Are you following me?</dialogue>
<character>DENNIS</character>
<dialogue>No, I live here. I don't know what you're talking about so...</dialogue>
<character>EVICTED MAN</character>
<dialogue>Yeah, I know who you are. What're you doing here?</dialogue>
<character>DENNIS</character>
<dialogue>What?</dialogue>
<character>EVICTED MAN</character>
<dialogue>What are you doing here?</dialogue>
<character>DENNIS</character>
<dialogue>What do you mean? I live here, I just told you I live here. I don't know you, ok?</dialogue>
<character>EVICTED MAN</character>
<dialogue>No, you're Rick Carver Realty, I know exactly who you are.</dialogue>
<scene_description>Dennis starts trying to move the Man away from his family.</scene_description>
<character>DENNIS</character>
<dialogue>Listen, listen - you don't know me. I don't know you.</dialogue>
<character>EVICTED MAN</character>
<dialogue>I know you! You kicked me out of my home!</dialogue>
<character>DENNIS</character>
<dialogue>What?</dialogue>
<scene_description>Lynn's face darkens. Connor looks on, confused.</scene_description>
<character>DENNIS</character>
<dialogue>I don't know you!</dialogue>
<character>EVICTED MAN</character>
<dialogue>You work with Rick Carver, you kicked me out of my home!</dialogue>
<character>DENNIS</character>
<dialogue>Come over here, we'll talk.</dialogue>
<character>EVICTED MAN</character>
<dialogue>Why would I wanna go over there? I wanna talk right here. Nash, that's your name, isn't it?</dialogue>
<scene_description>Connor stares.</scene_description>
<character>EVICTED MAN</character>
<dialogue>You don't want everyone else here to know what a fucking asshole you are? And how you kicked me and my family out of our home?</dialogue>
<character>DENNIS</character>
<dialogue>You got me mixed up with somebody.</dialogue>
<character>EVICTED MAN</character>
<dialogue>No I don't. I know exactly who you are.</dialogue>
<scene_description>Everyone at the motel is watching now. Evicted families, kids, neighbors.</scene_description>
<character>DENNIS</character>
<dialogue>Just calm down.</dialogue>
<character>EVICTED MAN</character>
<dialogue>You kicked me out of my home! You ruined my fucking life!</dialogue>
<scene_description>Dennis tries to leave. Evicted Man shoves him back.</scene_description>
<character>EVICTED MAN</character>
<dialogue>No, you don't get to go anywhere!</dialogue>
<character>DENNIS</character>
<parenthetical>(getting angry)</parenthetical>
<dialogue>Don't do that.</dialogue>
<character>LYNN</character>
<dialogue>Dennis!</dialogue>
<character>DENNIS</character>
<dialogue>Get inside!</dialogue>
<character>EVICTED MAN</character>
<dialogue>Yeah, get inside!</dialogue>
<character>DENNIS</character>
<parenthetical>(shoves him)</parenthetical>
<dialogue>Don't fucking talk to her!</dialogue>
<character>EVICTED MAN</character>
<dialogue>What're you gonna fucking do?!</dialogue>
<scene_description>He shoves Dennis and they are in a fight. Lynn, Connor, Derek and the entire motel watches.</scene_description>
<character>LYNN</character>
<dialogue>Stop, please!</dialogue>
<scene_description>Connor watches Dennis and Evicted Man fighting. Motel people try to break it up.</scene_description>
<character>EVICTED MAN</character>
<dialogue>You motherfucker!</dialogue>
<character>DENNIS</character>
<parenthetical>(to Lynn, Connor)</parenthetical>
<dialogue>Go inside! Go inside!</dialogue>
<character>LYNN</character>
<dialogue>Dennis!</dialogue>
<character>DENNIS</character>
<dialogue>Take Connor inside!</dialogue>
<character>LYNN</character>
<dialogue>Okay!</dialogue>
<scene_description>Lynn takes Connor, still staring, away. Motel people finally get the Evicted Man away from Dennis.</scene_description>
<character>EVICTED MAN</character>
<dialogue>You ruined my life!</dialogue>
<character>DENNIS</character>
<dialogue>I'm not messing with this guy, he's crazy. I don't know you.</dialogue>
<character>EVICTED MAN</character>
<dialogue>You know me!</dialogue>
<character>DENNIS</character>
<dialogue>I don't fucking know you!</dialogue>
<character>EVICTED MAN</character>
<dialogue>I know you, Rick Carver Realty! I know you! I'll see you every day. When you wake up. When you go to bed. When your fucking kid is playing.</dialogue>
</scene>
<scene>
<stage_direction>INT. MOTEL ROOM - SUNSET</stage_direction>
<scene_description>Connor's new bike in the cramped room; Lynn and Connor sit silently. Dennis stares out the window.</scene_description>
<character>DENNIS</character>
<dialogue>You okay?</dialogue>
<character>LYNN</character>
<dialogue>How'd he know your name?</dialogue>
<character>DENNIS</character>
<dialogue>I don't know.</dialogue>
<character>LYNN</character>
<dialogue>Because he knew your face too.</dialogue>
<character>DENNIS</character>
<dialogue>I don't know, I work on foreclosed homes, maybe he saw me at his house or -</dialogue>
<character>LYNN</character>
<dialogue>Rick Carver, Dennis? Is that who you're working for?</dialogue>
<character>DENNIS</character>
<dialogue>No. No, I don't work for him.</dialogue>
<character>LYNN</character>
<dialogue>You're kicking people out of their homes? Like the people who live here?</dialogue>
<character>DENNIS</character>
<dialogue>No! I don't -</dialogue>
<character>LYNN</character>
<dialogue>That man just said -</dialogue>
<character>DENNIS</character>
<dialogue>He's lying, ok. I'm not kicking anyone out of their home! That guy was crazy. You saw him. That asshole Carver, he just represents his home by chance. That's it.</dialogue>
<scene_description>She doesn't buy it. Someone BANGS on the window startling them all.</scene_description>
<character>MOTEL TENANT (O.S.)</character>
<dialogue>ASSHOLE!!</dialogue>
<scene_description>Dennis pulls the curtains shut; the room gets dark. Silence.</scene_description>
<character>LYNN</character>
<dialogue>We can't stay here. Connor can't stay here.</dialogue>
<character>DENNIS</character>
<dialogue>We're not going to. I'm not doing anything wrong, so stop giving me all this shit.</dialogue>
<character>LYNN</character>
<dialogue>Are you evicting people?</dialogue>
<character>DENNIS</character>
<dialogue>MOM!</dialogue>
<character>LYNN</character>
<dialogue>He said you were at his eviction!</dialogue>
<character>DENNIS</character>
<dialogue>I don't know that fucking guy! I don't know how he knows me, I work on foreclosed homes, mom! This guy got foreclosed on, maybe he saw me at his home, I don't know!</dialogue>
<scene_description>He opens the door to leave.</scene_description>
<character>DENNIS</character>
<dialogue>Lock the door. And keep the curtains closed.</dialogue>
<scene_description>He slams the door shut leaving Lynn and Connor alone. CUT TO: AERIAL VIEW OF: Walt Disney World, Sea World, The Magic Kingdom castle... then neighborhoods, homes and more homes.</scene_description>
</scene>
<scene>
<stage_direction>INT. MOVING HELICOPTER - AFTERNOON</stage_direction>
<scene_description>Rick points out landmarks to Khanna. It's stuffy and sweaty. They shout to hear one another. Dennis stares out the window, amazed at the amount of homes, the size, the scope. His imagination runs wild. HOLD.</scene_description>
<character>RICK CARVER</character>
<dialogue>Disney World, Sea World, Universal Studios. Downtown Orlando's 10 miles at your 2 o'clock, and at your 4 o'clock you'll see the Bank of Santa Fe homes.</dialogue>
<character>KHANNA</character>
<dialogue>I never realized how close they were to shine-ola.</dialogue>
<character>RICK CARVER</character>
<dialogue>About the Bank of Santa Fe deal -</dialogue>
<character>KHANNA</character>
<dialogue>- it hasn't even been a week since we picked up 15 homes from Ortiz and all the appliances, ACs and water pumps are missing.</dialogue>
<character>RICK CARVER</character>
<dialogue>You're kidding me?</dialogue>
<character>KHANNA</character>
<dialogue>That's $150,000 hit. Hidden expenses kill returns, so Vesic's not interested anymore.</dialogue>
<character>RICK CARVER</character>
<dialogue>This Bank of Santa Fe deal is like one giant ATM machine. What can I do to get Vesic back into those homes?</dialogue>
<character>KHANNA</character>
<dialogue>I just don't think it's possible.</dialogue>
<character>RICK CARVER</character>
<dialogue>How about this: I'll put appliances back in those 15 homes - free of charge - and you move The Bank of Santa Fe from Ortiz over to me.</dialogue>
<scene_description>Khanna smiles. Rick is uncertain why...</scene_description>
<character>KHANNA</character>
<dialogue>Tell you what. Put brand spanking new appliances, ACs and water pumps into any of the 100 homes that need them and you got yourself a deal.</dialogue>
<character>DENNIS</character>
<dialogue>Appliances, yes. ACs and water pumps, no.</dialogue>
<scene_description>Rick is surprised Dennis spoke.</scene_description>
<character>KHANNA</character>
<dialogue>Ok. But the homes have to be unoccupied in 30 days. Put it in writing and you have a deal.</dialogue>
</scene>
<scene>
<stage_direction>INT. RICK'S EMPTY MCMANSION #2 - NIGHT</stage_direction>
<scene_description>Empty-Mansion-Party. Dennis, Rick, Tamika, KARINA (20s), LINK, sexy young WOMEN and DISTINGUISHED TYPES mingle. MUSIC. LATER Rick and Dennis talk above the crowd near a chandelier.</scene_description>
<character>RICK CARVER</character>
<dialogue>For the Santa Fe deal I'll give you 6% of my share. You'll end up with around $63,000 pre-tax.</dialogue>
<character>DENNIS</character>
<parenthetical>(grins)</parenthetical>
<dialogue>I guess I can accept that, - 63,000, you said? Shit yes!</dialogue>
<scene_description>Tamika and Karina arrive with drinks.</scene_description>
<character>RICK CARVER</character>
<dialogue>You used to dream about one home. Now it's 100.</dialogue>
<character>DENNIS</character>
<parenthetical>(raises glass)</parenthetical>
<dialogue>To dreams.</dialogue>
<character>TAMIKA & KARINA</character>
<dialogue>To dreams.</dialogue>
<character>RICK CARVER</character>
<dialogue>Fuck dreams. To 100 homes.</dialogue>
</scene>
<scene>
<stage_direction>INT. RICK'S EMPTY MCMANSION #2 - LATER</stage_direction>
<scene_description>Everyone dances. Karina grinds Dennis. Rick and Tamika more romantic. Drunk, Dennis rubs his face - he's losing control.</scene_description>
</scene>
<scene>
<stage_direction>EXT. RICK'S EMPTY MCMANSION #2 - NIGHT</stage_direction>
<scene_description>Rick dangles his feet in the water, smoking a cigar. Dennis comes down the walkway.</scene_description>
<character>RICK CARVER</character>
<dialogue>Uh-oh. The Zombie is coming to get me.</dialogue>
<scene_description>Dennis slumps on the dock beside him, drunk. Thinks.</scene_description>
<character>DENNIS</character>
<dialogue>Has anyone ever come up to you, somewhere, after an eviction?</dialogue>
<character>RICK CARVER</character>
<dialogue>Someone tried to run me off the road a year ago. I haven't gone to dinner once with my wife and girls in the last three years without looking over my shoulder. It's why I carry this, even now, 5am.</dialogue>
<scene_description>He takes his gun out and shows it.</scene_description>
<character>DENNIS</character>
<dialogue>Is it worth it?</dialogue>
<character>RICK CARVER</character>
<dialogue>... As opposed to what?</dialogue>
<character>DENNIS</character>
<dialogue>...</dialogue>
<character>RICK CARVER</character>
<dialogue>Did someone get to you?</dialogue>
<character>DENNIS</character>
<dialogue>No.</dialogue>
<character>RICK CARVER</character>
<dialogue>Bullshit. Someone's calling you. Or they found you?</dialogue>
<scene_description>Dennis says nothing. Rick sets his gun down between them.</scene_description>
<character>RICK CARVER</character>
<dialogue>So. Nash. The sun is coming up and here we are. What do you think?</dialogue>
<character>DENNIS</character>
<dialogue>About what?</dialogue>
<character>RICK CARVER</character>
<dialogue>You wanted to kill me once. Now you're going to make a lot of money.</dialogue>
<character>DENNIS</character>
<dialogue>I did wanna kill you. I dunno. I dunno what I'm doing here, but I'm thankful. What can I do, you know, my dad... Well he killed himself pretty much.</dialogue>
<parenthetical>(holds up his drink, then pours it out)</parenthetical>
<dialogue>Sorry to waste your booze. He died of a heart attack, booze, food, whatever you wanna call it.</dialogue>
<scene_description>Left me with my mom, my boy... My boy... As opposed to what?... Rick stares on.</scene_description>
<character>DENNIS</character>
<dialogue>I need to move into my home. Now. I can't wait anymore.</dialogue>
<character>RICK CARVER</character>
<dialogue>It's gotta be listed for sale on the MLS first. Few more weeks.</dialogue>
<character>DENNIS</character>
<dialogue>No. I can't stay in that motel any longer.</dialogue>
<character>RICK CARVER</character>
<dialogue>Just pick another one. You got the money now, buy whatever you want. There's plenty of homes in the sea. Like I said, don't get emotional about real estate, Nash! They're boxes. You listening? Big boxes, small boxes. What matters is how many you got. You're gonna have more properties than women to fill 'em with. You know that, right? Buy one for your mom, one of your kid and one for yourself. What do I care? Yes sir, 100 homes...</dialogue>
<character>DENNIS</character>
<dialogue>1000 fucking homes.</dialogue>
<scene_description>Rick lies down and smokes his cigar.</scene_description>
<character>RICK CARVER</character>
<dialogue>Watch out for the gators. They don't sleep. Make sure I don't roll into the water.</dialogue>
<scene_description>Dennis thinks about the future... something on his mind.</scene_description>
</scene>
<scene>
<stage_direction>INT. DENNIS' TRUCK \[MOVING\] - DAY</stage_direction>
<scene_description>Dennis drives the family in the packed truck, just like when they were first evicted.</scene_description>
<character>LYNN</character>
<dialogue>Why are we going this way?</dialogue>
<character>DENNIS</character>
<dialogue>I want to show you something.</dialogue>
<scene_description>Lynn stares out the window, uneasy.</scene_description>
</scene>
<scene>
<stage_direction>EXT. DENNIS' NEW HOME - AFTERNOON</stage_direction>
<scene_description>The large beautiful home that Dennis saw earlier. He pulls up; they get out. Lynn and Connor are confused.</scene_description>
<character>LYNN</character>
<dialogue>What is this?</dialogue>
<character>DENNIS</character>
<dialogue>Just trust me and follow me please.</dialogue>
</scene>
<scene>
<stage_direction>INT. DENNIS' NEW HOME - CONTINUOUS</stage_direction>
<scene_description>Dennis opens the door.</scene_description>
<character>LYNN</character>
<dialogue>What is this?</dialogue>
<character>DENNIS</character>
<dialogue>Have a look.</dialogue>
<character>LYNN</character>
<dialogue>Why?</dialogue>
<character>DENNIS</character>
<dialogue>Come on! Just a quick tour.</dialogue>
<scene_description>They are startled by the size and high-ceilings. He shows them around, a large master bedroom and two others rooms - all furnished.</scene_description>
<character>CONNOR</character>
<dialogue>It's a cool pool.</dialogue>
<character>DENNIS</character>
<dialogue>I'd say. You wanna dive in, right?</dialogue>
<character>CONNOR</character>
<dialogue>Who's basketball hoop is that?</dialogue>
<character>DENNIS</character>
<dialogue>I think that used to belong to Shaquille O'Neal.</dialogue>
<scene_description>But he lowered it because he likes to dunk sitting down.</scene_description>
<character>LYNN</character>
<dialogue>Can we go now? Please?</dialogue>
<character>DENNIS</character>
<dialogue>You see the pool?</dialogue>
<scene_description>Lynn shrugs.</scene_description>
<character>DENNIS</character>
<dialogue>I bought this for you.</dialogue>
<scene_description>Connor and Lynn don't get it. Dennis points to the pool.</scene_description>
<character>DENNIS</character>
<parenthetical>(to Connor)</parenthetical>
<dialogue>And you. That's your pool.</dialogue>
<character>LYNN</character>
<dialogue>Let's go home, this isn't funny.</dialogue>
<character>DENNIS</character>
<dialogue>I'm not joking, mom.</dialogue>
<character>LYNN</character>
<dialogue>That's not his basketball net. This is somebody else's. And I want our house. I wanna go home.</dialogue>
<character>DENNIS</character>
<dialogue>I sold that home. I sold it and flipped the money into this. This is ours, fresh start. I don't want to go back to the house we were evicted from.</dialogue>
<character>LYNN</character>
<parenthetical>(shocked)</parenthetical>
<dialogue>You sold our house?</dialogue>
<character>DENNIS</character>
<dialogue>There is no more home. We couldn't move in there for three weeks, and we had to move, didn't we? So I got this. I had to get us out of that motel so Connor wouldn't get killed, so I wouldn't get killed -</dialogue>
<character>LYNN</character>
<dialogue>Who gave you this home? How did you get it? By kicking people out of their homes? You buy this?!</dialogue>
<character>DENNIS</character>
<dialogue>I didn't kick anybody out of this home, I bought this home with money that I earned! So I could put a roof over your head and I could put food in his mouth! We were drowning, mom, we had to get out!</dialogue>
<character>LYNN</character>
<dialogue>It stops here.</dialogue>
<character>DENNIS</character>
<dialogue>I bought this fair and square. I didn't take it from anyone.</dialogue>
<character>LYNN</character>
<dialogue>I'm gonna call Jimmy. We're moving to Tampa. Come on Connor.</dialogue>
<scene_description>She walks to the door with Connor.</scene_description>
<character>DENNIS</character>
<dialogue>Wait. Mom.</dialogue>
<character>LYNN</character>
<dialogue>And you're gonna figure this out.</dialogue>
<character>DENNIS</character>
<dialogue>I did this for Connor. We were drowning.</dialogue>
<character>LYNN</character>
<dialogue>Rick Carver? Rick Carver who bought our house for us? I'm not staying here. I'm not staying in this home.</dialogue>
<scene_description>Dennis looks at Connor.</scene_description>
<character>DENNIS</character>
<dialogue>What do you want?</dialogue>
<scene_description>Connor goes to his mom. Dennis is devastated.</scene_description>
</scene>
<scene>
<stage_direction>I/E. DENNIS' HOME - NIGHT</stage_direction>
<scene_description>Dennis turns on the swimming pool light while drinking a beer. He's drunk. Turns on all the lights in the backyard. Lynn prepares Connor a simple dinner. She glances at Dennis turning on lights throughout the house. Connor looks up at his father through the windows.</scene_description>
</scene>
<scene>
<stage_direction>INT. DENNIS' NEW HOME - MORNING</stage_direction>
<scene_description>He walks through his empty home. He goes to Lynn's locked bedroom door and knocks.</scene_description>
<character>DENNIS</character>
<dialogue>Connor?... Mom, is Connor okay?</dialogue>
<character>LYNN (O.S.)</character>
<dialogue>He's sleeping.</dialogue>
</scene>
<scene>
<stage_direction>EXT. DENNIS' NEW HOME - MORNING</stage_direction>
<scene_description>Dennis paces around the pool smoking. His phone RINGS. He looks at the home as he talks.</scene_description>
<character>DENNIS (INTO PHONE)</character>
<dialogue>Hi Rick... Right now? -... ok.</dialogue>
</scene>
<scene>
<stage_direction>INT. WILLIAM FREEMAN'S LAW FIRM - MORNING</stage_direction>
<scene_description>Dennis enters and sees: Freeman's office in the distance. Behind the glass windows are Rick, Freeman, Link, and Freeman's Associate. Dennis sees a YOUNG LAWYER run from one end of the office with a paper in his hand. He enters Freeman's office and hands the paper to Freeman, who looks it over and nods. Freeman hands the paper to Rick, who walks out of the office and bee-lines to Dennis.</scene_description>
<character>RICK CARVER</character>
<dialogue>One of the Santa Fe homeowners is blocking his eviction in court tomorrow. If he's successful and others will follow and Vesic will pull out.</dialogue>
<scene_description>He hands the paper to Dennis.</scene_description>
<character>RICK CARVER</character>
<dialogue>This is a proof of publication; it wasn't filed six months ago. Freeman's boys just back dated and notarized it. You need to be at the courthouse globe at 9:45 a.m. The Court Clerk will meet you there. Give it to him.</dialogue>
<character>DENNIS</character>
<dialogue>This is forged?</dialogue>
<character>RICK CARVER</character>
<dialogue>It's a stupid piece of paper someone forgot to file when the loan was being bought and sold a million times over. It's just a technicality.</dialogue>
<scene_description>Dennis looks at the paper and turns white as he reads:</scene_description>
<character>DENNIS</character>
<dialogue>... Frank Greene.</dialogue>
<character>RICK CARVER</character>
<dialogue>Yeah, the same deadbeat who was stealing my water and power. I told you he was no good.</dialogue>
<scene_description>He CLAPS loudly and startles a distracted Dennis.</scene_description>
<character>RICK CARVER</character>
<dialogue>HEY! That's not your dick in your hand. That's the Santa Fe deal, 100 homes, 1000 more with Freeman, our money, Miami, your home, everything. You awake or what?</dialogue>
<character>DENNIS</character>
<dialogue>Yeah. Yes. Ok.</dialogue>
<character>RICK CARVER</character>
<dialogue>Don't "yeah, yes, ok" me. Courthouse globe. 9:45 am.</dialogue>
</scene>
<scene>
<stage_direction>INT. COURT / GLOBE AREA - MORNING</stage_direction>
<scene_description>The envelope in hand, a hesitant Dennis looks at the globe. On the other side of the room, he spots Frank Greene speaking with his attorney. He's careful not to be seen. Dennis sees Frank hug his WIFE and kids. They're optimistic. They're going to win. He stares at Frank's Son, a lot like Connor.</scene_description>
<character>FRANK'S SON</character>
<parenthetical>(to the lawyer)</parenthetical>
<dialogue>Hello.</dialogue>
<scene_description>He shakes hands with the lawyer.</scene_description>
</scene>
<scene>
<stage_direction>INT. COURT BATHROOM - MOMENTS LATER</stage_direction>
<scene_description>Dennis rubs his face with water. BEEP BEEP. He reads texts from Rick: where the fuck are you? / call me! Dennis looks at his RINGING phone. It's Rick calling. Dennis declines the call. The time on his phone reads: 9:52am. He dries his face and looks at himself in the mirror. RINGING. RINGING.</scene_description>
<character>DENNIS (INTO PHONE)</character>
<dialogue>Hel -</dialogue>
</scene>
<scene>
<stage_direction>INT. FREEMAN'S OFFICE - MORNING</stage_direction>
<scene_description>Rick tries not to shout -</scene_description>
<character>RICK CARVER (INTO PHONE)</character>
<dialogue>What the hell's going on?!</dialogue>
<scene_description>INTERCUT BETWEEN RICK AND DENNIS</scene_description>
<character>DENNIS (INTO PHONE)</character>
<dialogue>Nothing, I -</dialogue>
<character>RICK CARVER (INTO PHONE)</character>
<dialogue>Get your ass to the globe now, or consider your life over. How far are you?</dialogue>
<character>DENNIS (INTO PHONE)</character>
<dialogue>I'm here now.</dialogue>
<character>RICK CARVER (INTO PHONE)</character>
<dialogue>And?</dialogue>
<character>DENNIS (INTO PHONE)</character>
<dialogue>I'm about to give it to him.</dialogue>
<character>RICK CARVER (INTO PHONE)</character>
<dialogue>Dumb fuck! Call me as soon as it's over.</dialogue>
<scene_description>Hangs up. Dennis stands in the bathroom, envelope in hand.</scene_description>
</scene>
<scene>
<stage_direction>INT. COURT / GLOBE AREA - MOMENTS LATER</stage_direction>
<scene_description>The Court Clerk (from Dennis' eviction) paces near the globe. Dennis sees him. Instead of approaching, he turns and leaves.</scene_description>
<character>COURT CLERK</character>
<dialogue>Hey!... Hey!</dialogue>
<scene_description>Dennis sees the Clerk taking quick strides to him.</scene_description>
<character>COURT CLERK</character>
<dialogue>Are you with Rick Carver?</dialogue>
<scene_description>Dennis hesitates.</scene_description>
<character>COURT CLERK</character>
<dialogue>Are you with Rick Carver? Are you with Carver or not?</dialogue>
<scene_description>Dennis doesn't respond.</scene_description>
<character>COURT CLERK</character>
<dialogue>Is that it?</dialogue>
<scene_description>The Clerk grabs it from him.</scene_description>
<character>COURT CLERK</character>
<dialogue>Idiot!</dialogue>
<scene_description>He quickly leaves. Dennis stands alone.</scene_description>
</scene>
<scene>
<stage_direction>INT. COURT ROOM - MOMENTS LATER</stage_direction>
<scene_description>Dennis peers though the window of the double doors and sees: Frank Greene next to his Attorney adjacent to Freeman Lawyer.</scene_description>
<character>JUDGE</character>
<dialogue>As far as I can tell, the proof of publication is here.</dialogue>
<scene_description>The Bailiff hands the paper to Frank's Lawyer.</scene_description>
<character>FREEMAN LAWYER</character>
<dialogue>Your Honor, we already have a buyer in place and we'd like to get this property off the books.</dialogue>
<character>FRANK'S LAWYER</character>
<dialogue>If we check the file index, I'm sure this has not been docketed.</dialogue>
<character>JUDGE</character>
<dialogue>That may be, but the proof is in the file and that's all the statute requires. I'm ordering the sale to go forward.</dialogue>
<character>FRANK GREENE</character>
<dialogue>Wait a second... what? Your Honor, this isn't right. We know for a fact that file was not there.</dialogue>
<character>JUDGE</character>
<dialogue>BSB versus Ballard.</dialogue>
<character>FRANK GREENE</character>
<dialogue>I was there. I know there was no proof of publication.</dialogue>
<parenthetical>(to his lawyer)</parenthetical>
<dialogue>You, you know it wasn't there.</dialogue>
<parenthetical>(to Judge)</parenthetical>
<dialogue>My... my wife and kids are here. Do you see them? My wife, my children?</dialogue>
</scene>
<scene>
<stage_direction>INT. DENNIS' NEW HOME - DAY</stage_direction>
<scene_description>Dennis enters. He looks around. At the pool. Nobody is there. He goes upstairs. Getting more concerned.</scene_description>
<character>DENNIS</character>
<dialogue>Connor?</dialogue>
<scene_description>Moves to the bedroom.</scene_description>
<character>DENNIS</character>
<dialogue>Mom? Connor? Connor?!</dialogue>
<scene_description>Nobody is there. Dennis dials his phone. RINGING. RINGING. Voicemail. He breaks down. Lynn and Connor are gone.</scene_description>
</scene>
<scene>
<stage_direction>INT. DENNIS' NEW HOME - NIGHT</stage_direction>
<scene_description>Dennis drunkenly plays with Connor's basketball, his phone next to the gun. He drinks from the whiskey bottle.</scene_description>
</scene>
<scene>
<stage_direction>INT. DENNIS' NEW HOME - SUNRISE</stage_direction>
<scene_description>Sunlight hits Dennis, passed out and alone in the large, empty living room. RING. RING. He wakes up from a nightmare. Grabs his phone. It's not his family.</scene_description>
<character>DENNIS (INTO PHONE)</character>
<dialogue>Hi Rick -</dialogue>
</scene>
<scene>
<stage_direction>INT. RICK'S BMW SUV - CONTINUOUS</stage_direction>
<scene_description>INTERCUT BETWEEN Rick AND DENNIS Rick pulls up to Dennis' home in his news BMW X6 SUV.</scene_description>
<character>RICK CARVER (INTO PHONE)</character>
<dialogue>Morning Donald Trump. I'm outside your new mansion. Where are you? Frank Greene's eviction. Let's go.</dialogue>
<scene_description>It hits Dennis like a punch in the gut.</scene_description>
<character>RICK CARVER (INTO PHONE)</character>
<dialogue>Hello? Dumb ass. You there?</dialogue>
</scene>
<scene>
<stage_direction>INT. RICK'S BMW SUV \[MOVING\] - MORNING</stage_direction>
<scene_description>Rick drives. Dennis sits.</scene_description>
<character>RICK CARVER</character>
<dialogue>There's eight other homeowners that we're going to have to evict after Greene. We need to make aggressive cash-for-keys offers to them. We'll pay out of pocket if we have to. But if they give me any flack - Freeman's boys and the court clerk, baby. No big deal.</dialogue>
<scene_description>Dennis looks out the passenger window, tormented.</scene_description>
</scene>
<scene>
<stage_direction>EXT. FRANK GREENE'S HOME - CONTINUOUS</stage_direction>
<scene_description>A boiling-hot day. Sheriffs, Jeff and crew wait outside Greene's home. NEIGHBORS across the street. Rick and Dennis arrive. They approach Sheriff #1 who's speaking with FRANK'S NEIGHBOR. While they talk, Dennis stares at Frank's home and sees Frank peering at them from behind his living room window curtain.</scene_description>
<character>FRANK'S NEIGHBOR #1</character>
<dialogue>... She's a worried wreck saying Frank hasn't slept in days. That he's up all night on the internet -</dialogue>
<character>RICK CARVER</character>
<dialogue>Excuse me, ma'am. - Bobby. Let's get this show on the road.</dialogue>
<character>SHERIFF #1</character>
<dialogue>Morning Rick. Possible trouble with the tenant - Mr. Greene. Seems he and his wife -</dialogue>
<character>FRANK'S NEIGHBOR #1</character>
<dialogue>Even last night we heard him yelling -</dialogue>
<character>RICK CARVER</character>
<dialogue>Ma'am. Thank you. We're not marriage counselors.</dialogue>
<parenthetical>(to Sheriff)</parenthetical>
<dialogue>Let's get cooking.</dialogue>
<character>SHERIFF #1</character>
<dialogue>Small problem; he may be armed.</dialogue>
<scene_description>Dennis takes this in.</scene_description>
<character>RICK CARVER</character>
<dialogue>Well go find out, Bobby.</dialogue>
<character>SHERIFF #1</character>
<dialogue>I'll call back up and check it out.</dialogue>
<scene_description>Dennis squints his eyes in the bright sun and looks at Frank behind the curtain.</scene_description>
<character>DENNIS</character>
<dialogue>Is his family in there with him?</dialogue>
<character>NEIGHBOR FRIEND #1</character>
<dialogue>Oh, yes. She was at my door this morning crying before he called her back inside. The kids didn't go to school either.</dialogue>
<scene_description>They all stare at the house.</scene_description>
<character>SHERIFF #1</character>
<dialogue>Alright, I'm going to check it out.</dialogue>
<character>RICK CARVER</character>
<dialogue>Thanks for the play by play. Hurry up.</dialogue>
<scene_description>Sweat falls over Dennis' eyes. He wipes it as he watches the two Sheriffs walk towards Frank's house. Then Dennis sees Frank raising something towards them. Dennis realizes what's about to happen. It's fast. And loud. SMASH, SMASH Frank Greene smashes the window and raises a Remington Woodmaster 742 semi-automatic 30.06 rifle out of his home. Neighbors and Crew run for cover, SCREAMING. Frightened, Rick pulls Dennis behind his SUV.</scene_description>
<character>FRANK GREENE</character>
<dialogue>I don't want to hurt anyone. Please get back. All of you. You're trespassing. I don't want to hurt anyone, but this is my home. Get off my property.</dialogue>
<character>RICK CARVER</character>
<parenthetical>(to Dennis)</parenthetical>
<dialogue>Where's your gun?! You don't have it?!</dialogue>
<character>SHERIFF #1</character>
<dialogue>Sir, put the weapon down!</dialogue>
<character>FRANK GREENE</character>
<dialogue>You're trespassing!</dialogue>
<scene_description>Frank fires TWO SHOTS at the grass. Sheriffs run behind their cruisers and pull their guns.</scene_description>
<character>SHERIFF #2</character>
<dialogue>Shots fired, shots fired!</dialogue>
<scene_description>Dennis punches the side of Rick's SUV.</scene_description>
<character>DENNIS</character>
<dialogue>Fuck, fuck!</dialogue>
<character>FRANK GREENE</character>
<dialogue>I am not going to leave here!</dialogue>
<scene_description>Dennis hears Frank's Wife and kids crying for him to stop.</scene_description>
</scene>
<scene>
<stage_direction>I/E. FRANK GREENE'S HOME - CONTINUOUS</stage_direction>
<scene_description>Frank motions his wife and kids to get back.</scene_description>
<character>FRANK GREENE</character>
<dialogue>Go to the bedroom. Don't stand there! Get in the bedroom, now!</dialogue>
<scene_description>Sheriff #1 points his gun at Frank.</scene_description>
<character>SHERIFF #1</character>
<dialogue>Sir, put the gun down!</dialogue>
<scene_description>Frank points the weapon out the window again.</scene_description>
<character>FRANK GREENE</character>
<dialogue>God damn it, stop it! Put that down, put it down, now!</dialogue>
<character>SHERIFF #1</character>
<dialogue>Not gonna happen, sir!</dialogue>
<scene_description>Frank hides out of view again.</scene_description>
<character>SHERIFF #1</character>
<dialogue>Sir, why don't you send your wife and kids out?</dialogue>
<scene_description>Dennis sees Frank staring out at what he's done. Police car arrives. Two POLICEMEN jump out with guns, asking for update.</scene_description>
<character>SHERIFF #2</character>
<dialogue>Sir, drop your weapon!</dialogue>
<scene_description>Silence for a moment.</scene_description>
<character>FRANK GREENE</character>
<dialogue>The courts decided my fate in 60 seconds flat. Nobody checked the file index. Fact. No proof of publication filed. Fact. Nobody looked at my cancelled checks that prove payment to the bank. Fact. The judge was retired, not up for re-election and not beholden to the citizens of this county. A lifetime in 60 seconds and this is my home.</dialogue>
<character>FRANK'S SON</character>
<dialogue>Dad!</dialogue>
<scene_description>Frank turns to him and the gun goes off accidentally shooting a box of files. They SCREAM. Frank is horrified.</scene_description>
<character>FRANK GREENE</character>
<dialogue>Get in the bedroom!</dialogue>
<scene_description>Dennis hears this.</scene_description>
<character>DENNIS</character>
<dialogue>Fuck! No, no!</dialogue>
<scene_description>He looks at Rick, inches from him. They've never been this close. Rick breaths hard, sweats; he's scared. Rick notices a shift in Dennis and squints his eyes.</scene_description>
<character>RICK CARVER</character>
<dialogue>... No.</dialogue>
<scene_description>Dennis rips his arm free, gets up from behind the SUV and walks to the lawn. Rick tries to stop him, but is frightened.</scene_description>
<character>RICK CARVER</character>
<dialogue>Dennis!</dialogue>
<character>SHERIFF #1</character>
<dialogue>Get back! Do not approach the house!</dialogue>
<character>RICK CARVER</character>
<dialogue>Do something! What the hell are you waiting for?!</dialogue>
<scene_description>Dennis ignores Rick and the Sheriffs' PLEAS and walks towards Frank's home.</scene_description>
<character>FRANK GREENE</character>
<dialogue>Stop! Get off my property. Please get back or I'm going to shoot. I will shoot you.</dialogue>
<scene_description>Frank points the rifle and Dennis stops walking.</scene_description>
<character>FRANK GREENE</character>
<dialogue>I'm not going to leave my home. Get off my lawn.</dialogue>
<character>DENNIS</character>
<dialogue>This is your home, this is your property Frank, I know! Please put that down.</dialogue>
<character>FRANK GREENE</character>
<dialogue>The banks made more money last year than anytime in the history of human civilization. Fact. Fact.</dialogue>
<scene_description>Sounds of sirens. Dennis glances behind and sees police cars, fire trucks and ambulances arrive. DETECTIVES and COPS in bullet proof vests spill out.</scene_description>
<character>FRANK GREENE</character>
<dialogue>I have the right to shoot anyone who steps foot on my property. You are trespassing. Get off or I will shoot. I don't want to do this.</dialogue>
<character>DENNIS</character>
<dialogue>Frank please put it down and let your family out, please!</dialogue>
<character>FRANK GREENE</character>
<dialogue>Look up there. Look. Look up there. Do you see that? Look!</dialogue>
<scene_description>Dennis looks up. The sun glares in his eyes.</scene_description>
<character>FRANK GREENE</character>
<dialogue>That is the sun and it is shining. You can't tell me it's night when I know it's day. Even if God came down here and said it was night, I know it's day. I know what I know, and nobody can tell me the sun isn't shining. Nobody.</dialogue>
<scene_description>Dennis and Frank's eyes are locked. And Dennis' mouth opens:</scene_description>
<character>DENNIS</character>
<dialogue>I cheated you. I put a forged document in your file the morning of your case.</dialogue>
<scene_description>Frank takes this in. He is not surprised. Detectives, sheriffs, cops, neighbors all hear Dennis' words. Rick stares with wonder and fear at Dennis.</scene_description>
<character>DENNIS</character>
<dialogue>This is your home.</dialogue>
<scene_description>Frank and Dennis stare at each other. Rick and everyone waits with wonder. Frank lowers his rifle. Then tosses it out the window.</scene_description>
<character>FRANK GREENE</character>
<dialogue>I'm coming out.</dialogue>
<scene_description>He opens the door and steps out of the home with his hands high.</scene_description>
<character>POLICE</character>
<dialogue>Get on your knees. Now. Hands behind your head. Lie down.</dialogue>
<scene_description>Dennis watches Frank get on his knees, then lie down. Police advance, guns pointed, knee to his back, handcuff him. Dennis sees Police escort Frank's frightened family out of the home to safety. Two Detectives approach Dennis and talk with him. He points at Rick. Rick watches the Detectives escort Dennis towards him. Rick smiles and taps Dennis on the shoulder.</scene_description>
<character>RICK CARVER</character>
<dialogue>You did a hell of a thing, son. A hell of a thing.</dialogue>
<character>DETECTIVE</character>
<dialogue>Excuse me, sir. Are you the bank's realtor?... Sir?</dialogue>
<scene_description>Dennis and Rick stare at each other. HOLD.</scene_description>
<character>RICK CARVER</character>
<parenthetical>(to Dennis)</parenthetical>
<dialogue>Thank you.</dialogue>
<scene_description>Dennis stares at Rick's steely eyes. Did he mean it?</scene_description>
<character>DETECTIVE</character>
<dialogue>Sir? Are you Rick Carver?</dialogue>
<character>RICK CARVER</character>
<dialogue>Yes, I am.</dialogue>
<character>DETECTIVE</character>
<dialogue>We need to speak with you.</dialogue>
<scene_description>Dennis and Rick look at each other for one last moment before the Police take Dennis away. Rick puts on his sunglasses.</scene_description>
</scene>
<scene>
<stage_direction>I/E. DETECTIVE'S CAR / FRANK GREENE'S HOME - CONTINUOUS</stage_direction>
<scene_description>The Detective seats Dennis in the car and is called away. Dennis is alone. He looks out the back window and sees Rick trying to grab Sheriff #2 by the shoulder to talk, but the Sheriff brushes him off and quickly walks away. Alone, Rick gets on his phone, calling someone, pacing. Dennis sees the Detectives approaches Rick who gets off the phone. They begin questioning him. Dennis then sees Franks's son outside the car. Frank's son looks at him, smiles, and runs away to a better future.</scene_description>
<character>THE END</character>
</scene>
</script>
|
99 HOMES
Story by
Ramin Bahrani Bahareh Azimi Screenplay by Ramin Bahrani Amir Naderi Noruz Films © Ramin Bahrani 2013 The Grand Inquisitor: "'Better that you enslave us, but feed us.' They will finally understand that freedom and earthly bread in plenty for everyone are inconceivable together, for never, never will they be able to share amongst themselves." - FYODOR DOSTOEVSKY, The Brothers Karamazov
I/E. EVICTION HOME - DAY
A blood-stained wall near family photos. POLICEMEN take flash photos of the DEAD HOMEOWNER, gun in his lifeless hand. OFFICER DUDURA questions two SHERIFFS (30s-50s) but tries to get the attention of an impeccably dressed RICK CARVER (40s), talking on the phone. He's a smart, ambitious real estate broker, with a mean-streak.
OFFICER DUDURA
Rick?... Mr. Carver?...
RICK CARVER
I'll be with you in a second.
He continues his call; wants to look away from the dead homeowner, but can't.
RICK CARVER (INTO PHONE)
Remove the power meter, turn off their water, and let 'em sweat a couple days, then ride up on your white fucking horse and tell them you have an interested cash-buyer and that Rick Carver can get the short-sale approved... Jesus, do I have to hold your hand while you give them a hand job, Bill? Get me that property.
He smokes an electronic cigarette.
RICK CARVER
Yes, John - Officer Dudura - you have my court order signed by the Judge. What else can I do for you?
OFFICER DUDURA
You're the bank's realtor for the eviction today. I need an official statement. What happened? Why?
Rick walks though the house; Dudura and Sheriffs follow.
RICK CARVER
Well, Dudura, it's a real shame, because we arrived here with two pizzas for Mr. Kadwell, the property owner, but he didn't want the anchovies, so he went into the house, pulled out a gun, and blew his brains out.
OUTSIDE THE HOME NEIGHBORS have gathered. POLICEMEN, EMTs, NEWS TEAMS. A POLICEWOMAN and NEIGHBOR console a sobbing WIFE and two KIDS.
RICK CARVER
(points to crying Wife)
That set off Mrs. Kadwell, who was expecting Chinese for dinner.
Dudura looks disgusted; Sheriff #1 snickers.
OFFICER DUDURA
You're talking about someone who just killed himself.
RICK CARVER
I'm the last man who knocked on Patrick Kadwell's door - in his life. That's his wife of twelve years, Samantha, and son, Dylan - eight - and daughter, Paige - eleven. What official statement is going to encapsulate the tragic absurdity of this fucked up situation, Dudura? I can't bring him back to life, so please stop wasting my time.
He walks away and answers his RINGING phone.
RICK CARVER (INTO PHONE)
This is Rick Carver... I'm fine, Dear... Turn the TV off and keep the girls away from the internet... I've got the other line. - This is Rick Carver...
Keyless entry and he gets into -
INT. RICK'S LEXUS LX - CONTINUOUS
- the high-end, high-tech, luxury Lexus LX SUV.
RICK CARVER
Ride it up to $200,000, $220 cap... no more than 10% down, 7.5% makes me sing. And get the Miguels ready. It's 2 grand a month on interest alone. I want to flip this finger. Get back to me. - Call office.
On-Board system DIALS. The two Sheriffs knock on his window.
SHERIFF #1
Anything else, boss?
RICK CARVER
Next eviction's Tuesday. Natalia'll call you.
They leave. He scrolls emails on an iPad secured to his dash.
NATALIA (THROUGH SPEAKERS)
Rick Carver Realty.
RICK CARVER
Talk to me. My world's upside-down.
NATALIA (THROUGH SPEAKERS)
I'm emailing your revised itinerary... Also, um, Jerry from Toyota Credit called again -
RICK CARVER
- Jerry's full of shit. Keep talking.
NATALIA (THROUGH SPEAKERS)
The high rise came through, PUDs and all. What do you want me to tell them?
Suddenly hears SHRIEKING. He looks out the window: Police hold back the SHRIEKING Wife as EMTs push her Dead Husband on a gurney and load him into a waiting ambulance.
EXT. CONSTRUCTION SITE / MCMANSION SUBDIVISION - DAY
DENNIS NASH (29, blue collar, smart) and DENNIS' CREW (2 Guys) put up a mansion. Dennis chalks lines based on blueprints. Uses a power saw to cut wood. Hot, he's sweating; tats on his arms. Dennis puts up the frame. Walking on wood beams way up high. LATER ELLIOTT, the GC (30s-50s) argues with Crew Leader who stops Dennis and Crew.
CREW LEADER
Stop working! That's it. Stop! The buyer doesn't qualify, the lender's out, we're done.
DENNIS
What does that mean in terms of payment?
CREW LEADER
It means we've been working for free. All this from roof to cement is for nothing. Hey, no more dinero! Stop! Let's go home.
INT. COURT / GLOBE AREA - CONTINUOUS
CONNOR (9, smart, inquisitive, stubborn) and FRANK'S SON (9) look at Australia on a large globe. FRANK GREENE (30s-40s, blue collar, smart, humble) FRANK'S WIFE and FRANK'S SON #2 (5) nearby. Dennis is on the phone.
DENNIS
Connor. What're you doing? We're gonna be late. Come on.
Connor shrugs and says goodbye to Frank's son.
DENNIS
Who's that?
CONNOR
We're in the same school.
A paper falls from Dennis' folder. Connor picks it up and hands it to his dad.
INT. COURT; COURTROOM - DAY
The Bailiff tries to keep order in the chaotic courtroom of confused HOMEOWNERS and gossiping LAWYERS. Connor watches Dennis defending himself against the FREEMAN LAWYER. A JUDGE (50s-70s) presides.
FREEMAN LAWYER
Your Honor, he missed three payments and is underwater over $80 grand. The bank could have a buyer in place within 30 days.
JUDGE
Did you fail to make three payments, Mr. Nash?
DENNIS
Yes, sir - but I was told to, it was two departments of the same bank telling me the opposite thing and then just recently I got this final notice for eviction -
FREEMAN LAWYER
Your Honor, you already entered summary judgement here. We'd like to close by the end of the month.
JUDGE
I see no reason to hold up the sale -
DENNIS
Hold on a minute - they told me not to pay, that's why I'm behind, they told me - it was two departments of the same bank, telling me different things your Honor.
JUDGE
While I'm sympathetic to your situation, I have 40,000 cases like this backed up behind yours. Final judgement granted. I'm ordered you to vacate the premises.
DENNIS
That's my family home, your Honor. I was born and raised in that home. So was my son, Connor. Please don't do this. We've lived there our whole lives, my mom runs her business out of that home. That's our second source of income.
JUDGE
This is your son?
DENNIS
Yes, that's my son.
JUDGE
Then he should be in school, not here.
DENNIS
He's gonna lose his school with all due respect your Honor, if we lose our home.
JUDGE
Sun Trust versus Cunningham.
DENNIS
Give me a bit more time your honor.
JUDGE
Bailiff, please remove Mr. Nash.
DENNIS
Your honor, I just need a bit more time. Excuse me, I just need a bit more time.
JUDGE
You have 30 days to file an appeal like everyone else. Bailiff please remove Mr. Nash.
Connor watches the Bailiff move Dennis aside as the next HOMEOWNER awkwardly takes Dennis' place.
INT. DENNIS' TRUCK \[MOVING\] - DAY
Dennis smokes and drives; Connor near him. They've lost.
CONNOR
Where're we going to stay if we lose the home?
DENNIS
We're not losing the home, bud.
CONNOR
How do you know? The cops aren't coming back? I just wanna know how you're gonna pay for it.
DENNIS
Connor! - I'm gonna figure it out. That judge gave us 30 days. No one's taking the home from us.
EXT. DENNIS' HOME / NEIGHBORHOOD - DAY
Dennis' middle-class home. DEREK and KIDS ride bikes and play in the street. Dennis pulls up.
CONNOR
Yo, Derek!
He runs off to play with Derek. Dennis checks the mail; waves to a NEIGHBOR. Connor rides bikes.
DENNIS
You be careful, Connor!
INT. DENNIS' HOME - CONTINUOUS
His mom, LYNN cuts her CLIENT's hair. Lynn is a hairdresser who loves her family; she's social, moody, loving, a little lost since her husband died.
LYNN
So, tell me everything - did they give you a lawyer, did they - ?
DENNIS
It's the same story with the bank guys, it's the same story everywhere we go.
LYNN
(to her client)
We have to find a lawyer, you know -
He goes to the living room and shuffles through piles of bills, notes, bank paperwork. (Their home is cluttered, lived-in; the decor belongs to his parents. Family photos line the wall, including Dennis' dad. The family has lived here over 40 years. It feels like it.)
DENNIS
I'm just trying to figure out what this 30-day thing means; he said we've got 30 days to file an appeal, but does that mean the eviction's not happening tomorrow?
LYNN
But the judge told you 30 days.
DENNIS
I know, the judge said we got 30 days to file for an appeal -
LYNN
Well he's a judge, not a bartender! We're in good shape.
INT. DENNIS' HOME / KITCHEN & LIVING ROOM - NIGHT
In the living room: Dennis sits at a table with a mountain of bills and an eviction notice. Quick series of phone call:
DENNIS (INTO PHONE)
My name is Dennis Nash, I'm calling looking for representation. I understand that you guys sometimes do not need a retainer?
LATER
DENNIS (INTO PHONE)
When you went through what you went through, you were able to find someone pro bono - I'm just wondering if he can help?
LATER: In the kitchen, Lynn brings dinner to Connor who studies. A loving bond between them.
CONNOR
Lost is to found as outside is to indoors, inside -
LYNN
And what's another example?
CONNOR
Black and white?
LYNN
(gives him a plate)
Black and white? What's another one? Give me one more.
LATER: In the living room, Dennis looks exhausted.
DENNIS
454-0189. Please give us a call back.
Dennis puts down the phone, exhausted, losing hope - but he stretches and reenergizes himself for more calls.
EXT. DENNIS' HOME - NIGHT
Lynn smokes. Dennis enters. They share a cigarette.
DENNIS
Sometimes, I don't know what to say to Connor.
LYNN
I was so young when I had you, you had to raise me.... you'll know what to say.
INT. DENNIS' HOME; CONNOR'S ROOM - NIGHT
Connor lies asleep in bed. Dennis watches him from the hallway. He turns off the light.
EXT. DENNIS' HOME - MORNING
MEN gather on the lawn: Sheriffs (from opening scene), a LOCKSMITH, JEFF (redneck) and his CLEAN-OUT-CREW (4 low-class guys) near a van and truck. Rick Carver pulls up.
INT./EXT. RICK'S RANGE ROVER / DENNIS' HOME - CONTINUOUS
Rick speaks into "on board;" he props his foot up - AN ANKLE HOLSTER WITH A GUN. Checks his Ruger, puts it back.
RICK CARVER
Borrow against Blair Street to cover Via Alizar. I'll flip that this quarter.
NATALIA (THROUGH SPEAKERS)
Good. And Landon at code enforcement?
RICK CARVER
I have a short sale for that cocksucker. I'll email the details.
NATALIA (THROUGH SPEAKERS)
Got it.
SHERIFF #1
Afternoon, boss. Love the new ride.
RICK CARVER
Range Rover HSE.
SHERIFF #1
Is this the Nash eviction?
RICK CARVER
Yeah, anyone home?
SHERIFF #1
I'm not sure, but their vehicle's home.
RICK CARVER
Alright, let's get to it.
They approach Dennis' door. Sherriff #1 knocks. Dennis looks out the window. They see him.
SHERIFF #1
He's at the window.
Rick looks over. He and Dennis lock eyes for the first time.
INT. DENNIS' HOME - CONTINUOUS
Dennis hesitates, Sheriff knocking. Doesn't know what to do. He looks in the next room, sees Lynn.
LYNN
What is it?
DENNIS
Sheriffs are here.
LYNN
Why are they here?
Knocking LOUDER. They go to the door. Dennis opens the front door as the two large Sheriffs step forward. Lynn stands next to Dennis.
SHERIFF #1
Good afternoon. I'm Deputy Anderson with the Sheriffs department and we're here to serve you a court- ordered eviction.
DENNIS
No. I think there's a mistake. We have -
SHERIFF #1
Sir, ma'am, do either of you have weapons on your body or in the property?
LYNN
No no no, not us.
SHERIFF #1
Mr. Carver!
Dennis watches Rick come forward.
RICK CARVER
Good morning, sir. Ma'am. I'm Rick Carver, a real estate broker, and I'm sorry to say this home has been foreclosed on and officially transferred to the bank. I'll need you to please vacate the property.
DENNIS
Nobody's "vacating" the home. I was in court yesterday, and the Judge informed me I have thirty days to file an appeal and that's what I'm going to do.
RICK CARVER
Please show me you've posted bond and have an emergency stay signed by a judge, and you're welcome to remain here.
DENNIS
I got a question, you guys didn't get any rescheduling of the -
RICK CARVER
(shows paper)
This is a court order signed by a judge dated today for you to leave this property.
LYNN
Excuse me, Rick?
DENNIS
Mom.
RICK CARVER
My office offered you a $3,500 cash- for-keys settlement from the bank to leave last month, but you refused.
DENNIS
Yes, we refused.
LYNN
Well, we didn't refuse, we tried to save our house -
RICK CARVER
I appreciate this is a difficult situation, but the time has come, you have to leave the property. You are trespassing right now, you are breaking the law.
LYNN
Sir, this is our home, so, we just need a few minutes -
Rick motions to Sheriff #1, who steps forward. Rick walks away and puts his sunglasses on.
SHERIFF #1
Sir, you and your mom need to step foot out of the home now.
DENNIS
No. We're not going to do that. Just give us 24 hours -
LYNN
You all can come back, same time, and if we don't have the papers, we don't have the proof, then we will leave.
DENNIS
We have a lawyer, we have it all figured out.
Lynn tries to close the door.
LYNN
We need a day.
SHERIFF #1
Ma'am, do NOT close the door.
LYNN
We need a day.
SHERIFF #1
Here's what I can do. You have two minutes to gather whatever personal items you need - cash, checkbooks, medicines - and then -
DENNIS
No, this isn't happening.
SHERIFF #1
Yes, this is happening.
DENNIS
No, this isn't happening.
LYNN
I'm going to call the lawyer.
SHERIFF #2
Ma'am! Excuse me.
Sheriff #2 moves past Dennis, entering the home.
DENNIS
Excuse me, please don't come into my house.
SHERIFF #1
There are two ways that we can do this. The easy way, where you do what you're told. Or the hard way, where I take you and your mom to jail. Do you want your mom to go to jail? What I'd like you to do, take advantage of the two minutes -
Dennis notices Rick standing inside his house.
DENNIS
Sir, would you mind stepping outside of the property?
RICK CARVER
This isn't your home, son.
DENNIS
Mr. Carver?
Rick ignores him and walks into the house. The Sheriff lists off statues of the law.
LYNN
Sir, we have the right to an attorney. Just because somebody forgot to call you, we don't get a lawyer?
RICK CARVER
It's better not to get emotional right now ma'am.
DENNIS
You're kicking us out of our home!
LYNN
PLEASE, okay, please!
SHERIFF #1
Enough of this, let's go.
Dennis calms his screaming mom and relents. They start packing up.
SHERIFF #1
Get what you need to get and let's go.
LYNN'S BEDROOM Sheriff #2 watches Lynn grab her jewelry, checkbook, medicines.
LYNN
Sir, I don't need your help, ok? Do you need to follow a woman into her bedroom?
SHERIFF #2
It's just department policy. Money, checkbooks, things like that. Wallets, pictures -
LYNN
I'm trying to get pictures!
CONNOR'S BEDROOM Sheriff #1 hovers over Dennis as he grabs Connor's books, things, an Orlando Magic basketball jersey...
DENNIS
Does he have to stand there with her as she packs up her underwear?! Is that right?!
SHERIFF #1
It's policy, sir.
Dennis takes down Connor's basketball hoop. He notices Rick standing in the hallway. Rick walks on. LIVING ROOM Dennis carries out a box of belongings. Lynn emerges with a box of her own.
DENNIS
What else mom?
They frantically look around.
LYNN
I want my plants.
SHERIFF #1
There's no time for that. You need to step outside now.
RICK CARVER
Let her take the plant.
SHERIFF #1
Your two minutes are long gone, you need to move.
DENNIS
Can I ask where it says two minutes on your clipboard?
RICK CARVER
Sir, the two minutes is a courtesy.
DENNIS
The two minutes is what?
RICK CARVER
A courtesy. You're trespassing right now. I know it's painful to hear but it's the truth.
LATER
RICK CARVER
Ma'am, do you need anything else?
LYNN
Yes, the toaster oven. My grandson likes his toast in the mornings.
Rick unplugs the toaster and hands it to her. LATER
RICK CARVER
Alright, Randy, you said the two minutes was up, right?
Dennis moves into the living room for the bills on the table.
DENNIS
I'm just getting the bills.
SHERIFF #1
Ok. This way, this way.
He escorts Dennis and Lynn out.
EXT. DENNIS' HOME - CONTINUOUS
Out of them home where Rick motions to the Locksmith and BZZZZZZ - startles Dennis. He's already changing the locks.
SHERIFF #1
(to Rick)
I'm gonna clear it.
He goes back in as Rick escorts Dennis and Lynn to the curb.
RICK CARVER
All the way to the curb. You're now trespassing on a bank-owned home - you can't stand in the lawn. All the way to the curb, please.
DENNIS
We're going.
LYNN
What about the rest of our things?
RICK CARVER
The clean-out-crew will bring your belongings to the end of the drive. No need to worry about that.
They reach the curb; Dennis puts the large plant down.
RICK CARVER
My advice would be to get a moving truck because your neighbors are going to have access to everything you own by the end of the day.
Lynn turns to Dennis, who avoids her look. Rick notices. Sheriff #1 steps out of the home:
SHERIFF #1
CLEAR!
RICK CARVER
Jeff, get 'em to it!
He motions to Jeff who leads his crew into the home. Rick follows them. NEIGHBORS stare at Dennis and Lynn from their lawns. Crew exits with sofa, coffee table, TV, and dump them in front of Dennis and Lynn.
LYNN
(to neighbors)
Can you believe this? They canceled the eviction and didn't even tell these guys.
She is shamed in front of her neighbors. Crew continue to bring out furniture. Lynn is shaking.
LYNN
Oh my god, oh my god...
Dennis stares, watching his house get emptied by strangers. Rick stares at Dennis from the porch smoking his e-cigarette.
EXT. DENNIS' HOME - LATER
The piles of belongings on the street and in Dennis' truck have grown larger. The Crew continues to work. Dennis gathers things; Neighbor Friend and HUSBAND stand near Lynn, who sits in the chair trying to keep her dignity. Dennis notices Jeff trying to move his red tool cabinet.
DENNIS
Hey! Yo! Don't mess with that, man. You gotta unlock the wheels, and don't touch anything inside there.
Jeff ignores him. Dennis mumbles curses and lifts a heavy overturned chest. He SLAMS scattered drawers into place.
NEIGHBOR FRIEND
Wanna put some stuff in our garage? We don't have much room, but...
DENNIS
Some of the valuables. Thanks.
He turns to see: the school bus pull up. Connor, Derek and some kids get off the bus. Dennis is uncertain what to do. Connor takes in what is happening. The SCHOOL KIDS gossip and giggle as the bus drives away.
DEREK
Yo, what's happening?...
Suddenly, Connor walks towards the house.
DENNIS
Connor, wait -
Rick gets in his way.
RICK CARVER
Hey, son. Where you headed?
CONNOR
This is my house.
RICK CARVER
I'm sorry, this isn't your home anymore.
CONNOR
That's my house.
DENNIS
(to Rick)
Please don't talk to my son. Talk to me.
(grabs Connor's arm)
Let's go.
Connor rips his arm free. Dennis grabs him again. They struggle as Dennis tries to hold onto him.
CONNOR
Get off! I want to go to my room.
DENNIS
Calm down.
RICK CARVER
Mr. Nash, I know this is difficult, but please take your son off the property.
CONNOR
That's my house. I want to go to my room.
DENNIS
I know. We'll go to your room later.
RICK CARVER
Mr. Nash, please.
DENNIS
I heard you! - Connor, stop.
Rick motions to the Sheriffs who approach while Dennis tries to control Connor. The Neighbors stare.
CONNOR
Let go of me! Let go! That's our house!
Dennis stares at his son... total loss.
EXT. DENNIS' HOME - LATER
The pile of belongings is even larger. The eviction is over. Connor and Derek across the street.
DEREK
Where you moving to?
CONNOR
I dunno.
DEREK
Are you coming to school tomorrow?
Connor shrugs; Dennis calls him over; Connor walks when -
DEREK
Can we still play NBA 2K tomorrow?
CONNOR
See ya...
Dennis puts his mom into the truck next to Connor. Dennis and his Neighbor friend exchange looks and a hand shake. Rick approaches Dennis as he gets in his truck.
RICK CARVER
Mr. Nash, you have 24 hours before my crew will return and dispose of whatever remains. Not my choice; Code enforcement. Good luck.
Dennis gets in his truck. Lynn and her friend clasp hands as the truck pulls away leaving their home behind.
I/E. DENNIS' PICK-UP TRUCK \[MOVING\] / ORLANDO - SUNSET
Like Okies from the Dust Bowl, the family is crammed in the crowded truck.
EXT. MOTEL PARKING LOT - NIGHT
Dennis' truck pulls in and parks. As they unpack they see: MOTEL RESIDENTS, THUGS, POOR FAMILIES hang out, drink near the pool, etc. Balconies piled with belongings, clothes hang to dry. They realize families live here. MOTEL WOMAN (40s) hangs with a couple friends at their door talking.
MOTEL WOMAN
Hey. Welcome. What room ya'll in?
LYNN
MOTEL WOMAN
It's over there. We can watch your stuff while you move... How long you staying?
DENNIS
Just a couple nights.
MOTEL WOMAN
Two years ago that's what we said.
EXT. MOTEL STAIRS / HALLWAY - CONTINUOUS
They carry boxes up stairs and along the hallway where JUSTIN (13) and other kids get sodas from a machine and hang out. They enter -
INT. MOTEL ROOM - CONTINUOUS
Connor runs to the bathroom and pees. Dennis and Lynn look over the tiny room: two beds, small kitchenette, dripping faucet. How are they going to live here? Dennis sets Lynn's tall plant down.
CONNOR
It smells. Do you think someone died in here?
LYNN
Don't say things like that. Get that side, we can't sleep in these.
They pull comforters off the beds. As Dennis exits - He presses on her shoulder reassuring her.
DENNIS
I'll get the rest of our stuff.
He exits -
EXT. MOTEL ROOM - CONTINUOUS
- and pauses to light a cigarette; he hears Connor and turns to watch his family through the window:
CONNOR
Am I going to school tomorrow?
LYNN
Gotta figure all that out, don't we?
CONNOR
I gotta see Derek. We're in the middle of an NBA 2K tournament and -
Dennis looks at his family through the window. HOLD.
EXT. GAS STATION - DAY
Dennis pumps gas - 5, 20, 30 dollars. It's fucking expensive.
DENNIS (INTO PHONE)
I'm calling about the roofing job... I got a ton of experience, I do electric, plumbing, construction, anything... Okay. Any lower level stuff?
He looks at little speakers BLARING bad pop music near a flat screen TV flashing ads about hot dogs and soda.
INT. DENNIS' TRUCK \[MOVING\] - DAY
Dennis drives.
DENNIS (INTO PHONE)
What about Booth brothers? They were putting up those home on - ... Call me if something comes up.
INT./EXT. DENNIS' TRUCK / NEW SUBDIVISION - SUNSET
Dennis looks at an OUT OF BUSINESS sign on the construction trailer. He drives away lost in thought.
INT. MOTEL ROOM - NIGHT
Party MUSIC and sounds penetrate the Nash's tiny room, bursting with their stuff. Lynn sleeps in one bed. Dennis and Connor share the other. Dennis is awake staring at his son, tousling his hair.
LYNN
Dennis, this motel is half-full of people like us.
DENNIS
They're not people like us.
LYNN
They're all evicted. And they get stuck here. I could maybe take the bus and start looking for apartments...
DENNIS
We can't afford an apartment.
LYNN
It's just first and last month's rent!
DENNIS
Two or three months' security. Four maybe, because of our credit. Our credit is shot.
LYNN
Dennis... We've got to get out of here. We should go to Tampa. We've gotta go to Uncle Jimmy's, Uncle Jimmy said we could come. I talked to Mary Margaret just three days ago!
DENNIS
Mom, we're not moving to Tampa. You wanna take Connor out of school? Take him away from his friends? We leave, we give up, we let the house go.
He tries to give his mom confidence:
DENNIS
I'm gonna figure it out.
Lynn is unsure. But Dennis is resolute.
DENNIS
No choice.
INT. MOTEL ROOM - MORNING
Connor's playing on his phone.
LYNN
You want some toast?
Dennis rifles through the tool cabinet they've brought up to the room. He notices something missing.
DENNIS
We didn't leave any tools in my truck, right?
LYNN
No, we got everything.
Angry, Dennis slams the drawer shuts. Thinks.
EXT. STRIP MALL; RICK'S OFFICE BUILDING - MORNING
Jeff and his clean-out-crew plus four other CREW GUYS have coffee and donuts near their vans and trucks (MUSIC playing) outside RICHARD CARVER REALTY. BILL (30s, big and tall) gives them orders; Dennis pulls up and strides to them.
DENNIS
Your guys stole my tools yesterday. I want to talk to your boss.
BILL
I'm senior sales manager. What's the problem?
DENNIS
(points at Jeff)
That guy right there stole my impact wrench and in-line sander. That's like $500.
BILL
I have a form you can -
DENNIS
No forms. - Hey man, give me my tools back.
JEFF
I didn't steal nothing. Get outta here.
DENNIS
Where's my stuff?
JEFF
I didn't steal nothing. Get outta here.
DENNIS
You just said that, dumbass.
Crew laugh. Jeff shoves Dennis. They wrestle in the parking lot. Crew gather and holler. Rick exits the second story and sees what's happening.
BILL
Break it up! God damn it, Jeff, that's enough.
Rick strides down the stairs.
RICK CARVER
What the fuck is going on?!
He motions and they immediately pull Dennis and Jeff apart. It takes three Crew guys to hold Dennis back. Jeff tries to sucker punch him, but Dennis kicks Jeff in the stomach.
RICK CARVER
Bill, you want to get in on this? Take a couple swings?
BILL
Sir, I -
RICK CARVER
"Sir, I -" "Sir, I -". What the fuck are you still doing here anyway?
BILL
I thought, sir - I thought you -
RICK CARVER
You thought? You're evolving? Has Darwin himself come to Orlando, Florida?... Well? Bill?
BILL
We'll be there on time, Mr. Carver. Guys, let's go! Buena Vista Lakes.
He rounds up half the guys and drives away. Rick walks up to Dennis and motions and they release him.
RICK CARVER
You finished? 'Cause I got the cops on speed dial. they'll run you out of town over a busted tail light.
DENNIS
I'm not here to fight; I just want my tools.
RICK CARVER
Do I look like Ace Hardware? I don't deal in tools, I deal in homes. There's a difference.
DENNIS
I know. You took my home from me.
RICK CARVER
No, the bank took your home from you. I just represent it.
He answers his phone. Dennis lights a cigarette; listens.
RICK CARVER (INTO PHONE)
This is Rick Carver... What?... You gotta be kidding me. God damn it... When?... Fuck Hazmat, I'll call 'em myself.
(hangs up; to Jeff)
914 Shader Drive. Now.
JEFF
I thought we had to prep Via Alizar-
CLAP CLAP.
RICK CARVER
Move! Move!
Jeff rounds up crew. Dennis follows Rick to his Range Rover.
DENNIS
Excuse me? Rick Carver Realty?
RICK CARVER
Can you Miguel?
DENNIS
What?
RICK CARVER
Can you work? You have tools. Do you do construction?
DENNIS
Yeah.
RICK CARVER
I pay $50, cash.
DENNIS
Are you kidding me?
RICK CARVER
$50 shouldn't be a joke to you.
He speeds away. Dennis mumbles curses, gets in his truck and -
INT. DENNIS' TRUCK - CONTINUOUS
- SLAMS the door. Dennis jerks the wheel and speeds through the light following Rick.
INT./EXT. DENNIS' TRUCK / SEWAGE HOME - MORNING
Dennis pulls up to a foreclosed home. He sees: Rick, Jeff and the Crew are taken aback to see a foreclosed home with nasty black raw sewage creeping out the door. Rick covers his mouth with a handkerchief and gets his phone. Jeff and the Crew cover their noses and shove each other like kids towards the sewage. Dennis gets out and keeps his distance.
RICK CARVER (INTO PHONE)
I need your Hazmat team here NOW or I'm looking at a total gut job down to the God damn studs... Eviction was next week and these animals backed up the sewage and skipped town... What do you mean shit's not a hazardous material. Why don't you come out here and eat some of it, maybe that would change your mind.
Rick notices Dennis. Jeff and Crew are surprised to see him. Jeff steps towards Dennis but Rick WHISTLES for him to stop.
RICK CARVER (INTO PHONE)
The neighbors are threatening to call the Department of Health, so if your team isn't out here in 30 minutes, my next call is gonna be Fannie about your slow-ass response time... Fuck you, too!
(hangs up)
God damn it.
He turns to Jeff and the crew.
JEFF
Rick, no. - Mr. Carver! That's a hazard. We, we can't...
RICK CARVER
By tonight, the mold's up to the ceiling; by tomorrow, someone's paying MONEY to demolish it, and it's not going to be me.
Dennis notices Jeff and the others sheepishly back away. Then-
DENNIS
$250.
Everyone is surprised. Rick and Dennis lock eyes.
RICK CARVER
$150.
DENNIS
200. That's a bear and you know it.
RICK CARVER
... Deal.
Dennis grabs a shovel, walks past Jeff and towards the encroaching sludge and enters into -
INT. SEWAGE HOME - CONTINUOUS
Stench SLAPS him in the face. Eyes water, holds his breath. Spray-painted in red on the wall Dennis reads: KILL BANKERS His boots squish in the sludge. He covers his nose and sees sewage cascading from the toilet and sinks. He gags and runs out.
EXT. SEWAGE HOME - CONTINUOUS
Dennis staggers out and vomits in the yard. Jeff and Crew laugh. Rick remains straight-faced.
JEFF
Harden the fuck up, son!
RICK CARVER
(to Jeff)
There better be a container truck, shop vacs and giant blowers here in one hour or I'll make it my business that you never work in Orange County again. You will also finish Via Alizar today. You're on my list, shit fuck.
He approaches Dennis with a cold water bottle. Dennis drinks, spits, drinks.
RICK CARVER
What else can you do? Framing, plumbing, electric, roofing?
DENNIS
All of them. Anything.
RICK CARVER
Go on. Finish it.
Dennis head back toward the door. Then looks to the Crew.
DENNIS
Six-pack to the first guy in here with a shovel... Come on!
Curious, Rick watches the Crew... one of them steps up.
CREW
$200.
RICK CARVER
$100. And Mr. Nash's six-pack.
Crew accepts. He puts on a dust mask.
DENNIS
Let's go! Who else? You! Come on, I know you need the money.
The Men laugh and two more join. Only Jeff remains outside.
DENNIS
Alright, let's get this shit done.
He wraps his shirt around his nose and mouth - like a bandit. The others do the same and Dennis leads the men to work. Rick is impressed.
INT. MOTEL ROOM - DAY
Connor looks up from homework as Dennis steps in. Dennis digs into his dirty jeans and hands Lynn money.
LYNN
$200... ?!
Connor looks up, impressed.
DENNIS
I got work. And there's more tomorrow.
LYNN
With who? What work? Dennis!
DENNIS
Some new guy. Real estate. You don't know him.
They laugh, overjoyed. Connor tries to take the money. Dennis play-wrestles it back from him.
EXT. MOTEL PARKING LOT - DAY
Dennis walks fast, Connor drags his feet.
DENNIS
You're gonna make new friends, ok?
CONNOR
I don't want to.
They reach Motel Kids and a handful of PARENTS and see a school bus arrive. Kids board; Connor doesn't move.
DENNIS
I know. But I need you to be brave.
He tries to rub Connor's ear but Connor brushes him off.
CONNOR
This isn't my school.
DENNIS
I know, but you gotta keep your grades up, remember? You gotta take care of yourself, ok? I love you.
Connor runs to the bus. Dennis watches the bus drive away.
EXT. RICK'S HOME - DAY
Massive, very impressive and unique, Rick's home sits at the end of a deep and beautifully landscaped lawn. Dennis pulls up; he's impressed. Grabs his tool box and walks to the front door when his phone RINGS.
DENNIS (INTO PHONE)
Mr. Carver, I'm -
RICK CARVER (THROUGH PHONE)
Yeah, I see you. Come around back.
RICK'S POOL WITH LANAI Dennis enters and sees Rick's DAUGHTERS (6 to 12) playing in the pool.
RICK'S DAUGHTER
Hey. Can you get us that please?
Dennis uses a pool net to try and push a boat from the center of the pool to Rick's Daughters on the other side. Rick walks up steps leading from his dock near the lake.
RICK CARVER
Nash. Princess one, princess two, princess three! Who wants Haagen- Dazs? Chocolate chip cookie dough.
RICK'S DAUGHTERS
Me, me, me!
Dennis follows Rick and his girls into -
INT. RICK'S HOME - CONTINUOUS
- a very impressive living room / kitchen where a MAID works.
DENNIS
Nice house.
RICK CARVER
It's ok. I got it 18 months ago and I'm going to flip it after New Year's.
(to the maid)
Let's have some Haagen-Daaz please, madam.
(to Dennis)
AC's out for two hours. Through there. You'll see the leak.
Dennis exits as Rick crushes cookies into the ice cream.
RICK CARVER
I'm gonna make it even better. See.
ENTRANCE Dennis walks through the grand entrance, high ceilings, tons of sunlight. Continues to - RICK'S HOME OFFICE A second living room and sees the water stain on the ceiling. But his attention is focused to maps of Orange County that cover the walls and are laid out everywhere. It's impressive. Dennis zeros in on framed articles about Rick Carver, Real Estate tycoon and good citizen of Orlando. Dennis takes it all in. RICK'S BEDROOM Rick grabs a bag and some shirts when his phone RINGS.
RICK CARVER (INTO PHONE)
This is Rick Carver.
MALE'S VOICE (THROUGH PHONE)
Adjustable mortgage cocksucker! I'm homeless, you motherfucker!
RICK CARVER (INTO PHONE)
Stop calling me! You defaulted on -
MALE'S VOICE (THROUGH PHONE)
Fuck you, Carver. You piece of -
Rick hangs up, tense. He notices his Wife smoking on the terrace outside. She's been watching him. TERRACE Rick steps out and joins her.
RICK'S WIFE
They called here two days ago.
RICK CARVER
Come on boo, I rented you and your mom a week at the Corazon Spa in the Keys. I want you to relax, enjoy yourselves.
RICK'S WIFE
I should divorce you.
RICK CARVER
We'd lose on taxes; and you'd miss me. You'd miss your little Ricky.
They kiss and make out. RICK'S ATTIC Dennis uses a small blow dryer to thaw out frozen coils on the condensing unit. EXT RICK'S HOME With the hose of a small shop vac, Dennis sucks green mold from the PVC on the side of Rick's house.
EXT. RICK'S HOME - LATER
Dennis drinks a beer near the pool as he stares at Rick's boat, the lake, the life. RICH PEOPLE ride past in a boat and wave at Rick who approaches.
RICK CARVER
What're you doing?
DENNIS
Finished. Give the coils 5 minutes to drain and you'll have cold air.
RICK CARVER
It's not even been an hour.
DENNIS
I salvaged your ceiling with mud and found some spare paint in your garage, so your ceiling's good to go too.
Rick is impressed.
RICK CARVER
Unless you're planning on taking a swim, let's go.
INT. RICK'S RANGE ROVER \[MOVING\] - DAY
Through the moving window: homes. Rick glances at Dennis.
RICK CARVER
What do you see out there?
DENNIS
Homes.
RICK CARVER
I just saw nine opportunities to make money in the last five blocks. We passed three homes without mail boxes, one with an overgrown lawn and no cars in the drive, two with white signs taped in the window and three with shiny new doorknobs and lock-boxes. If you can get attuned to seeing these opportunities, then maybe you can get off your hands and knees and really start working for me.
DENNIS
I can work. You seen me all week.
RICK CARVER
I heard you worked on good crews with Rick Kirby and Chris Camilleri.
They're both out of business, because they built homes. I own homes. Dennis considers Rick.
RICK CARVER
You know what I am, I am a man with a helluva lot of properties. You can be a part of that. What I want to know is that I can walk away from any situation, 24/7, and have someone to handle it. I don't care if your kid's in the school play, it's Christmas, or you lined up the best blow job in Orlando. When you work for me, you're mine.
Suddenly Rick hits the brakes.
RICK CARVER
What the hell?
I/E. RICK'S RANGE ROVER / FRANK GREENE'S STREET - CONTINUOUS
Rick goes in reverse. Stops. Looks at two homes, one with a "Rick Carver Realty" sign in the lawn.
RICK CARVER
Call office.
(DIALING)
You see that? Those cables?
DENNIS
Yeah, yeah, I see it.
Rick points to an extension cord and water hose running from one house to another.
I/E. RICK'S RANGE ROVER / FRANK GREENE'S HOME - CONTINUOUS
He reverses and parks in front of Frank's house.
NATALIA (THROUGH SPEAKERS)
Rick Carver Realty.
RICK CARVER
I got some jack wagon at 354 Ridgeway stealing water and power from our property at 352 Ridgeway.
Pull up the county court website, get his name and find out if he's in default. I'm in front of his house now.
NATALIA (THROUGH SPEAKERS)
Right away, sir.
Rick hangs up, opens the glove compartment and produces a gun - an LCP 308. He hands Dennis the gun.
RICK CARVER
You know how to shoot, right? We'll run a background check so you can carry a concealed weapon.
DENNIS
Are you fucking with me?
RICK CARVER
Angry homeowners. You'll need it.
Rick checks his Ruger on his ankle holster.
DENNIS
Naw. I'm good.
Dennis puts the gun back in the glove compartment.
RICK CARVER
Suit yourself. But the person on the other side of the door doesn't always feel that way. Trust me.
He shows the marks of a dog bite on his skin.
RICK CARVER
They can feed their Rottweiler, but they can't pay for their house.
Dennis considers. Rick's phone beeps.
RICK CARVER
Ok. Frank Greene. Let's go.
EXT. FRANK GREENE'S HOME - MOMENTS LATER
Rick KNOCKS loudly. Dennis walks up next to him. Frank Greene (same man from court) opens the door.
RICK CARVER
Mr. Frank Greene?
FRANK GREENE
Yes.
RICK CARVER
My name is Rick Carver and you're stealing from me.
FRANK GREENE
... If you're referring to the -
RICK CARVER
- The property next door belongs to Fannie Mae and I represent it for them. So you're not only stealing from me, you're stealing from the United States government.
He answers his RINGING PHONE.
RICK CARVER (INTO PHONE)
Yeah, I'm with Frank Greene now. What've you got for me?
(to Dennis)
Remove those lines.
He steps aside, leaving Dennis alone with Frank Greene. They walk to the side of the house and begin to disconnect and coil up the cable and hose.
FRANK GREENE
I saw you in foreclosure court. Our sons go to the same school. They were playing with the globe. I had my show cause hearing that day. What happened to you?
DENNIS
I lost... I was evicted.
FRANK GREENE
... So what're you doing with him?
DENNIS
Gotta work, you know? He offered me a job. This isn't really what I do.
FRANK GREENE
(regarding cables)
Yeah, this isn't really what I do either... I was a manager at Custom Cabinet and Lighting. Been out of work for two years. Two. But I'm not a thief.
DENNIS
I know.
FRANK GREENE
But I'm researching on the internet and public library. I'm gonna save my home.
DENNIS
I hope you do. Custom Cabinets - yeah, I installed your stuff.
FRANK GREENE
Oh really?
DENNIS
Yeah, a bunch of times.
Frank's Son (from court) approaches.
FRANK'S SON
Dad, the TV turned off.
DENNIS
You know my boy? Connor Nash?
FRANK'S SON
Yes, sir.
Rick comes back.
RICK CARVER
Mr. Greene, looks like the Bank of Santa Fe already filed for final judgment of foreclosure. My money says the courts send me back for your eviction in less than 90 days.
FRANK GREENE
I removed the cables and - and I apologize. I shouldn't have done that. That was wrong.
DENNIS
It's ok, we -
RICK CARVER
I can assure you, stealing is not ok. Mr. Nash will personally be speaking with your neighbors. And if we receive a report or drive by and see you stealing my water and power again, the next visit will be the Sheriff's department.
INT. RICK'S RANGE ROVER / FRANK GREENE'S HOME - CONTINUOUS
They sit down in Rick's SUV.
RICK CARVER
Don't be soft. They'll tell you sob stories each time. But the law is the law, that's the side you're on. You already know the outcome of this situation. So toughen up.
They drive away.
INT. KITCHEN HOME #1; VARIOUS ROOMS - CONTINUOUS
Dennis follows Rick and looks around the massive home.
RICK CARVER
I'll take all your Rocky Mountain door handles -
MR. HESTER (50s) and Dennis follow him into the dining room -
RICK CARVER
- the Tiffany light fixtures Moder Crystal chandelier -
- into the kitchen -
RICK CARVER
- the Harlan cabinets, the Thai Jade and marble counter tops, the range the Subzero fridge. Three grand and you gotta be out of here in two weeks.
MR. HESTER
Make it five.
RICK CARVER
Four and Dennis here will get right to it.
MR. HESTER
Done.
Dennis starts unscrewing the cabinets.
EXT. KITCHEN HOME #1 & #2 - LATER
Dennis pushes a dolly loaded with cabinets and walks with Rick to the next home.
RICK CARVER
You know, Mr. Hester made a lot of money on this property.
DENNIS
You're evicting him in two weeks. How's that?
RICK CARVER
He got this place back in '05 for $400,000, 0% down. One year later, he took a home equity loan and got another $200,000 that he used to buy that sweet little Yellowfin for fishing trips and to take Mrs. Hester to Tahiti. By the time this home was worth half what he'd borrowed, he just quit paying.
DENNIS
You can't just quit paying.
RICK CARVER
Sure you can. He hired himself a lawyer - not to win - but to tie up his case for three years. Guess how many mortgage payments he made during those three years?
DENNIS
None. But he owes money.
RICK CARVER
Lawyer got a short sale approved, and the bank wiped out his debt. It's called, "strategic default." While Mr. Greene is stealing my water and power, this guy was making a killing. Are you listening now? Do I have your attention?
DENNIS
Yeah, I heard you.
RICK CARVER
That's how you should've done it.
..
RICK CARVER
Now get everything else and meet me over there.
Points at the house next door.
EXT. KITCHEN HOME #2 - LATER
Rick uses an iPhone attachment to open an electronic lock box. A key falls out. Unlocks door. Dennis watches.
INT. KITCHEN HOME #2 - CONTINUOUS
Rick's steps echo in the empty home. Dennis follows him into - THE KITCHEN - where the cabinets, fridge and counter-tops are all gone.
RICK CARVER
Install everything - patch the tile, caulk the cabinets and connect the gas line when you bring in the appliances.
DENNIS
All that in here now?
RICK CARVER
I'm selling this home for Fannie Mae. I can't do that if there's no kitchen, can I?
DENNIS
No.
RICK CARVER
So who just paid me $33,000 to buy new cabinets, appliances and a counter-top plus labor?
DENNIS
Fannie Mae.
RICK CARVER
Fannie Mae. Congratulations. You just fucked the government.
He hands Dennis an envelope. Dennis takes it, but Rick holds on tight, refusing to let go.
RICK CARVER
If you're interested, let me know. If not, use that to take your kid to Disney World and get yourself a job Migueling Cinderella's Castle.
He lets go of the envelope and exits to the backyard. Dennis opens the envelope. He's startled by what he sees: a check for $3,250.
EXT. KITCHEN HOME #2 / POOL WITH LANAI- CONTINUOUS
Rick answers emails on his phone. Notices Dennis approaching.
DENNIS
I don't give a damn about the government. They never did nothing for me, so... But that was a lot of money you just gave me. Feels a bit like trouble.
RICK CARVER
You did honest work building homes your whole life. What did it get you but me knocking on your door?
DENNIS
Is this stealing?
RICK CARVER
In 2006, you borrowed $85,000 against your home and never paid it back, Nash. You're telling me that's not stealing?
DENNIS
No, it's not stealing. I was given a loan. That's me working my ass off trying to pay back that loan -
RICK CARVER
That's not how the banks see it. Or the tax-payers paying for this bailout.
Rick picks up overturned chairs by the pool. Dennis follows.
DENNIS
I invested every cent into construction equipment. The economy crashed, I can't predict that. I can't predict the weather.
RICK CARVER
Well I can. I'm a fucking Doppler radar. You've been stealing, but don't want to admit it. Or the banks cheated you, take your pick.
Either way you've lost. But I made even more money in the crash than before it. You can too. But you need to stop lying to yourself and ask: What have you been doing wrong that your family lives in a motel? Dennis considers, then picks up the last overturned chair.
DENNIS
I'll do it. But I want you to help me get my home back. - And this is my first payment.
He hands Rick the envelope, but Rick refuses.
RICK CARVER
Don't get emotional about real estate.
DENNIS
That's my family home, my boy's school. I want it back.
RICK CARVER
Not enough money here. Put that under your mattress because putting it in the bank only makes them money. When you have more, I'll tell you what to do with it. - Now, do you want to double what you made?
EXT. GAS STATION - DAY
Dennis pulls up. JAVIER (30s) jumps in talking shit, hands Dennis a beer, who drinks and drives away.
EXT. FORECLOSED HOME #1 - AFTERNOON
Dennis and Javier take out an HVAC.
JAVIER
So who's this Rick Carver dude?
DENNIS
My boss, for the time being.
They slide the HVAC in the truck next to two others.
JAVIER
What're you doing?
DENNIS
I gotta prove to the bank this shit's missing so they pay us to put it back.
JAVIER
We're stealing it... to then bring it back.
DENNIS
You wanna get paid? Then I gotta take a picture. Let's do it!
EXT. TANNER HOME - DAY
Dennis knocks. MR. TANNER emerges.
DENNIS
Mr. Tanner? My name is Dennis Nash, I'm here representing Rick Carver Realty. I understand your house has been foreclosed on?
MR. TANNER
The house still belongs to us. We intend to keep it that way.
DENNIS
I hope that works out. If it doesn't, I want to tell you about cash for keys -
He hands Mr. Tanner a form.
MR. TANNER
What do you mean, cash for keys?
DENNIS
Cash for keys is this -
EXT. FORECLOSED HOME #2 - DAY
Dennis hands the cash for keys form to an AFRICAN AMERICAN COUPLE.
DENNIS
- if you leave your home in broom- swept condition prior to the eviction date the bank will give you $3500 which can help pay for a U-Haul, security deposit on an apartment, and -
AFRICAN AMERICAN MOM
Thank you, but no thank you. I'll give this to my attorney and he'll contact you. Good day.
Closes the door in Dennis' face.
EXT. FORECLOSED HOME #3 - DAY
Dennis tapes an eviction notice and takes a photo.
EXT. FORECLOSED HOME #4 - NIGHT
Dennis and Javier carry an HVAC when Dennis notices the pool pump. Javier lights up.
JAVIER
Whatcha doing?
DENNIS
Who's gonna buy a home with a pool if the pool doesn't work?
Dennis removes the pump. A neighbor's light turns on.
HVAC NEIGHBOR (O.S.)
Hey! What's going on there?!
DENNIS
You know Rick Carver Realty, you see that sign out front? That's us. You have a good day.
JAVIER
Hell yeah, now that's what I call a woman!
The men laugh as they steal.
EXT. FORECLOSED HOME #5 - DAY
Dennis explains CFK to a Vietnamese woman.
DENNIS
It's not a lot, but it's going to pay for a U-Haul, a down-payment on an apartment...
VIETNAMESE WOMAN
I have no idea what's going on, because my mom and dad from Vietnam are coming and the house can't be foreclosed on...
EXT. FORECLOSED HOME #6 - DAY
Dennis KNOCKS. Looks in the window. Tapes an eviction notice to the door and takes a photo with a small digital camera.
EXT. MRS. TIDWELL'S HOME - DAY
Dennis stand before a distraught MS. TIDWELL (30s, African- American) at her door. She looks at a piece of paper.
DENNIS
I want you to know about "cash for keys." This is a KYO form, it means "Knowing your options".
MS. TIDWELL
Knowing my options?
Her TEENAGE DAUGHTER starts filming Dennis with her phone..
MS. TIDWELL'S DAUGHTER
I'm putting this all on Facebook, asshole.
MS. TIDWELL
Kayla, put that away!
MS. TIDWELL'S DAUGHTER
Mom he's lying.
MR. TIDWELL
Kayla! - I'm sorry. I... I know you're doing your job; I'm sorry.
She quietly closes the door on Dennis who stands alone. HOLD.
INT. DENNIS' MOVING TRUCK - DAY
Dennis and Javier load up the truck and drive away.
EXT. ANGRY MAN'S HOME - AFTERNOON
A ANGRY MAN peers out of his chained door. Dennis hesitantly tries to hand him CFK paper work.
ANGRY MAN
You the one that's been putting notices on my windows?
DENNIS
No sir, that's the Sheriffs department.
ANGRY MAN
I don't want them to do that anymore, that's trespassing.
DENNIS
Sir I can't control what the Sheriffs department does, what I can do is tell you about -
ANGRY MAN
You're wasting your time. Just get outta here. Tell your bank and your boss I ain't interested.
DENNIS
If you wanna just take a look at -
ANGRY MAN
I'm not looking at anything.
DENNIS
You could just take it and not look at it.
ANGRY MAN
Hold on a second.
The Angry Man leaves. He comes back with a GUN.
ANGRY MAN
I think I've made myself very clear to you. I don't want to see you again.
Dennis backs away, thoroughly unnerved.
EXT. EZ CASH - NIGHT
Dennis exits an EZ cash with the money he made today. He gets in his truck and drives away.
EXT. MOTEL - DAY
Dennis pulls up in his truck, takes out a large paper bag. Lynn is cutting the hair of motel friend DANA.
LYNN
What you got there? What do you have in there?
DENNIS
Steak.
LYNN
What? That's Hamburger Helper.
Dennis shows his mom steaks in the grocery bags.
DENNIS
(shows her)
What does that look like to you?
Lynn is surprised - how could he afford this? But she's also happy!
LYNN
That looks like dinner! Let's invite Dana too!
DENNIS
More the merrier.
DANA
Hey - did you put that under your t- shirt?!
They laugh.
DANA
I'm not kidding! How else he got the money for that?
INT. MOTEL ROOM - NIGHT
Dennis plays nerf basketball with Connor. It's a fun moment that they really need. Lynn and Dana laugh and talk and drink beers.
INT. STORAGE UNIT - DAY
Dennis pushes up the garage door of the storage unit. Turns on lights to reveal HVACs and pool pumps. Rick counts them.
RICK CARVER
Eight. And four pool pumps. Good addition.
DENNIS
I figured "Why not?" Dropped this one - beyond repair - so better make it seven.
RICK CARVER
Sell it for scrap metal.
DENNIS
Already priced it out at $300.
RICK CARVER
Good. Invoice Rick Carver Realty $24K for the ACs and $3,200 for the pumps. The banks will reimburse me in that amount. Your take is 25%, about $6,700.
Dennis is impressed.
DENNIS
I'm gonna need that Ruger.
RICK CARVER
Excuse me? What'd you say?
Dennis looks annoyed.
RICK CARVER
You're saying you want the gun? Did I understand you?
EXT. STORAGE UNIT / RICK'S SUV - DAY
Rick opens the glove compartment and hands the gun to Dennis.
RICK CARVER
I ran the background check already. You're clear to carry it.
Dennis holds the gun. It's a little awkward in his hands.
RICK CARVER
Who pays the most out in cash-for- keys? - Fannie & Freddie. Then it's BoA.
I want you to go to every one of their foreclosed property in our books and find the ones that are unoccupied. No homeowner. And no tenant. You got that?
EXT. HOME DEPOT - SUNRISE
Dennis and Javier drive up and greet Dennis' Crew and pull them and three other Guys they know into the truck.
INT. DENNIS' TRUCK \[MOVING\] - MORNING
MUSIC. Dennis and Javier pass beers through the cab window to the 5 Guys in the back of the truck, laughing and joking.
I/E. DENNIS' TRUCK / VACANT HOME #1 - DAY
From in the truck Dennis sees Javier peering into a vacant home ("Rick Carver Realty" sign). Javier runs to the truck.
JAVIER
Empty as a mo-fo! I'd love to live in this bitch. 3221 Lincoln drive.
Dennis writes the address on a lease agreement.
I/E. DENNIS' TRUCK / VACANT HOME #2 - DAY
Dennis' Crew #1 jumps into the back of the truck and shouts -
DENNIS' CREW #1
676 Capland Ave!
Dennis fills out another lease.
EXT. VACANT HOME #3 - DAY
Dennis fills out a lease and hands it to Crew #2, who signs. He collects leases from the others who sign their names.
DENNIS
Ok. You are all now "tenants" of these properties with these lease agreements.
DENNIS' CREW
Can we really move in?
DENNIS
No, dumb ass. You can't really move in. We need the bank to think you live here so I can negotiate cash- for-keys deals with all of you.
JAVIER
How much they paying?
DENNIS
... $2,500 checks from the government and the fucking banks.
JAVIER & DENNIS' CREW
$2,500! Fuck 'em up the ass! Yehaw!
They're happy as hell.
EXT. GOLF COURSE - DAY
Dennis stands near golf carts at a distance from Rick, COUNTY COMMISSIONER LINK (30s-50s) and two RICH MEN who talk on the green. They shake hands; Rick and Link walk to Dennis.
COUNTY COMMISSIONER LINK
You think Freeman is the way to go?
RICK CARVER
He's Fannie's number one attorney three years running and he can connect us to bulk buyers. I'm not talking millions of dollars; I'm talking billions. - Arthur, this is Dennis Nash. - County Commissioner Arthur Link. -Your property on 2102 West Jefferson; I'll have Dennis make sure your gutters are re-done.
COUNTY COMMISSIONER LINK
What happened to Bill?
RICK CARVER
Killed him. This is my new guy and he's gonna last.
COUNTY COMMISSIONER LINK
Alright, I-I'll get us a meeting with Freeman.
(to Dennis)
You want to move up in real estate, this is the guy.
Link joins the men. Rick and Dennis drive away in a cart.
INT. GOLF CART \[MOVING\] - CONTINUOUS
Rick drives. Dennis next to him.
RICK CARVER
What do you have for me?
Dennis shows the "fake" leases.
DENNIS
Successfully negotiated six cash- for-keys with six "tenants."
RICK CARVER
Not bad. So, Nash, how much did you tell your buddies - $3,500 per home or less?
DENNIS
$3,500. Yeah.
RICK CARVER
Oh. You told them the full amount?
DENNIS
I told them what I told them. What do you care?
Rick smiles like a devil.
EXT. RICK'S EMPTY MCMANSION #1 - DAY
Rick parks the cart at the back of a massive, beautiful McMansion and walks to the swimming pool. Confused, Dennis follows Rick who greets TAMIKA, a gorgeous African American woman (early 20s) busy texting at the pool.
RICK CARVER
You look gorgeous, baby.
TAMIKA
I know.
He kisses her for a while. Dennis watches, uncertain.
RICK CARVER
Don't you have classes today?
TAMIKA
It's all online. Can we go to Capital Grille tonight?
RICK CARVER
Sure why not?
He motions to Dennis who follows Rick. Rick shows him his business card.
RICK CARVER
That's my sweetheart. She studies graphic design. I had her do my business cards.
They enter -
INT. RICK'S EMPTY MCMANSION #1 - CONTINUOUS
Dennis notices the mansion is empty except for a mattress on the floor, a sofa, coffee table, and couple suitcases.
DENNIS
Is this yours?
RICK CARVER
Just keeping it warm. Scan the leases so we can email Fannie and BoA.
Dennis moves to the scanner.
RICK CARVER
So, Nash - why aren't you married?
DENNIS
Uh. Don't really have time for it.
RICK CARVER
I don't trust a man who isn't married. Nobody does. - You want to tell me what happened to Connor's mom?
DENNIS
Not really.
RICK CARVER
Prom night fiaso?
DENNIS
Close, yeah, something like that.
Rick studies him for a moment. He produces a check from the paperwork on his desk.
RICK CARVER
Your check from the ACs and pool pumps. Came out higher than I thought - $7,200.
Dennis opens the envelope and sees the check... then hands it back to Rick.
DENNIS
Keep it. I'll give you the $3,000 I already made, and add my share from these leases. I want my home back.
RICK CARVER
BPO on your home came in at $170K. I'll buy it and you'll owe me. $155,000 at 12% amortized over 30 years with a two year balloon.
DENNIS
Jesus, that's a shitty rate.
RICK CARVER
No bank'll loan you money and if you don't pay, I'm on the hook. And I don't want that property; it doesn't have a future.
DENNIS
It's my family home.
RICK CARVER
It's a home. But if you want it, it's yours. It'll take the bank eight to twelve weeks to list it on the MLS; you can do repairs, but you can't move in until then.
DENNIS
And the contract?
RICK CARVER
I'll have my office provide you the contract for deed.
DENNIS
So it's mine again?
RICK CARVER
Yes, it's yours.
DENNIS
Ok. Thank you. Seriously thank you.
He extends his hand. Rick awkwardly shakes it. Dennis is emotional.
RICK CARVER
No tears.... drink?
DENNIS
No. I'm good.
Rick pours a drink from the bar.
RICK CARVER
You might want to reconsider. We have one more stop today. 224 Lakeview Court.
DENNIS
That's Mr. Tanner. I offered him a Wells Fargo cash-for-keys.
RICK CARVER
He never called and his eviction is today. You can pop your cherry with him. The first one's a bitch. You get numb to it. Stand next to me today, but after this you'll do 'em on your own.
DENNIS
Listen, Rick. Can't I -
RICK CARVER
Go fuck yourself? Yes. What'd you think working for me would mean?
DENNIS
I just thought -
RICK CARVER
No, you didn't think about it. And you didn't have the guts to ask me. Nobody does. But who in their right mind wouldn't rather put someone in a home than drag them out of it. Up until three years ago I used to be a regular real-estate broker, putting people into homes and speculating on properties. That was my job. - In 2006, Robert and Julia Tanner borrowed 30 grand to put an enclosed patio on their home which they had managed to live without for 25 years.
Ask them when they're spitting in your face as you walk them to the curb. Ask the banks why they gave them an adjustable rate mortgage. Ask the government why they lifted all regulations and turned a blind eye. You, the Tanners, the banks, Washington and every other homeowner and investor from here to China turned my life into evictions. I'm not an aristocrat. I wasn't born into it. My dad was a roofer. I grew up on construction sites watching him work his ass off until he fell from a townhouse. A lifetime of insurance payments and they dropped him before he could buy a wheelchair but only after they got him hooked on pain killers. Do you think I'm going to let that happen to me? Do you think America 2010 gives one damn about Carver or Nash? America doesn't bail out the losers. America was built by bailing out the winners. By rigging a nation of the winners, by the winners, for the winners. Do you go to church Nash? Do you?
DENNIS
Yeah.
RICK CARVER
Only 1 in 100 is gonna get on the Ark and every other poor soul's going to drown. I'm not going to drown.
They lock eyes for a long beat.
DENNIS
I'll do it alone. I've seen you do it. I know how it's done. I'll do it alone.
I/E. DENNIS' TRUCK / TANNER HOME - DAY
From through the windshield of Dennis' truck: Jeff, Crew and Locksmith loiter in the Tanners' lawn; NEIGHBORS gather; the Sheriffs get out of their cruisers. Dennis sees this from inside his truck. It's hot and sweaty. The windows are rolled up. He doesn't want to be here. CLACK CLACK CLACK Sheriff #1 bangs his nightstick; Dennis unrolls his window.
SHERIFF #1
(laughing)
Hoooooly shit! Rick told me, but - Let's go, rookie! Don't think I got dressed up just for you.
He laughs and walks off. Dennis opens the glove compartment and pulls out the gun. He holsters it on his ankle.
EXT. TANNER HOME - MOMENTS LATER
Dennis sweats as he walks to Mr. Tanner and MRS. TANNER standing at their front door with the two Sheriffs.
DENNIS
Good morning, Mr. Tanner. Ma'am. I'm Dennis Nash, from Rick Carver Realty.
MR. TANNER
I remember you, Mr. Nash. Why, why're you here?
DENNIS
Um, I'm sorry to say, this home has been foreclosed on and transferred to the bank. I hate to be here doing this, but I'll need you to please step out of the property now.
MR. TANNER
No, I, I... my wife's on the phone right now with our lawyer. You see, this is a mix-up and we're going to have it all sorted out.
DENNIS
I understand, Mr. Tanner, but -
MR. TANNER
Honey! Honey, do you have him on the line?
DENNIS
Sir, it's not going to matter -
Dennis sees Mrs. Tanner and two kids come to the door.
MRS. TANNER
He wasn't there. They said he'll call us back.
MR. TANNER
There you go. We have to wait. We're filing an appeal, there's no point in you being here right now.
DENNIS
I understand Mr. Tanner. But what I have here is a court order signed by the judge. What I can do is give you a few minutes to gather your personal items. Your checkbook, jewelry, medicines... your kids'... important belongings, but then I'm going to have to ask you to vacate the home.
MRS. TANNER
Well, I don't care. You were not supposed to be here today, so you need to leave now.
DENNIS
Ma'am. What I can do is -
MRS. TANNER
You are leaving. We are going back inside.
SHERIFF #1
Please calm down ma'am.
MRS. TANNER
I am calm. I am calm.
SHERIFF #1
Don't close the door ma'am.
Sheriff #1 moves Dennis aside. Sheriff #2 steps up.
MR. TANNER
You're trespassing. You all need to leave.
SHERIFF #1
No, you and your wife are trespassing.
Any more trouble and we will walk you straight to the curb or the county jail. You decide. Dennis sees the Tanners go inside with the Sheriffs. Dennis sees Jeff smirking at him. Dennis sees the Sheriffs escort the Tanners out, clutching bags, kids crying.
SHERIFF #1
Clear. Get your men in here, Nash.
Dennis motions to his crew who come marching up the lawn and in the house.
SHERIFF #1
They can't stand there.
Dennis takes a deep breath and approaches the Tanners.
DENNIS
Mr. Tanner, ma'am, please walk with me to the curb.
MR. TANNER
What?
DENNIS
Let's just go to the curb, please.
He guides them to the street.
MR. TANNER
You're responsible for this. You know that right? What happens to me, to my family. That's on you.
They reach the curb.
DENNIS
I'm sorry Mrs. Tanner. I didn't want to do this today, I tried to avoid this -
MRS. TANNER
How do you live with yourself? Do you have a family? How could you? Shame on you. Shame on you.
Jeff and crew start piling stuff up in front of them. Mr. Tanner begins to weep.
MRS. TANNER
It's ok, baby, it's ok.
INT. TANNER HOME - CONTINUOUS
Dennis stands alone in the Tanner's living room watching the clean out crew taking the Tanner's belongs out. He looks out the window and sees them on the curb, crying.
I/E. GAS STATION - DAY
Dennis enters the gas station and heads to the -
INT. GAS STATION BATHROOM - CONTINUOUS
He closes the door. He is a wreck. He changes back to his work clothes. He stares at himself in the mirror.
INT. DENNIS' PICK-UP TRUCK \[MOVING\] - MORNING
Dennis drives Lynn and Connor. They're all happy.
CONNOR
Where're we going?
DENNIS
I don't know. You tell me.
CONNOR
To see the Magic practice?
DENNIS
No.
CONNOR
All you can eat ice-cream at Denny's?
DENNIS
No, but we can get that later.
CONNOR
Oh, oh, oh! I know. To see the Queen of England?
DENNIS
(laughs)
No! - What?!
CONNOR
It's possible.
I/E. DENNIS' TRUCK / DENNIS' HOME - MORNING
They arrive at their home. Lynn and Connor can't believe it.
CONNOR
What're we doing here?
DENNIS
I don't know. What're we doing here? Grab these brushes.
They get paint cans and brushes from the back of the truck.
CONNOR
Are we breaking in?
LYNN
Ask your dad.
Dennis uses an iPhone extension to signal the lock box to open. The key pops out. Lynn gasps.
CONNOR
There's an app for that?
INT. DENNIS' HOME - CONTINUOUS
They enter. Lynn and Connor are amazed, looking around.
LYNN
What are we doing?
CONNOR
What are we doing here?
They walk in. Lynn sees her garden has withered; weeds.
LYNN
Oh my god, look.
CONNOR
What are we doing here??
DENNIS
I got the home back.
LYNN
What??
CONNOR
Does that mean I get my room back?
DENNIS
Yup.
Connor runs to his room.
LYNN
How'd you get the house back?
CONNOR
My room looks so big!
DENNIS
That's becuase it is.
(to Lynn)
We won't be able to move in for a couple weeks, but... It's ours again. I'll explain.
He goes to Connor's room, leaving Lynn to digest everything.
LYNN
Oh my god.
Lynn picks up and hangs her withered plant.
INT. CONNOR'S ROOM - CONTINUOUS
Dennis joins Connor.
DENNIS
How about a bunk bed? What else?
CONNOR
A basketball hoop so I can dunk, right there!
DENNIS
What else?
CONNOR
A hot tub! A hot tub right there, you can break the wall down! And the wall should be silver like the Orlando magic.
DENNIS
You know what else I was thinking? I was thinking in the backyard we could get a pool.
CONNOR
A pool?! Yeah!
DENNIS
You have to help me paint the house first. Let's start painting.
He hands Connor tape and rubs his ear, who accepts.
INT. DENNIS' HOME / KITCHEN & LIVING ROOM - CONTINUOUS
Lynn cleans dusts of the kitchen counters. She's tearing up. Dennis enters and watches her.
LYNN
How are you doing this? How is this real?
DENNIS
My boss bought it for me and I'm paying him back in installments just like a bank.
Dennis shows her the contract.
LYNN
(suspicious)
What does he get?
DENNIS
He gets his money back. He gives me work so he's keeping me working.
(about Connor)
He's painting his room right now. I got it back.
Lynn stares at the contract. She has doubts. Looks at him.
LYNN
What's your name?
LATER Derek arrives.
CONNOR
Derek! What's up!
DENNIS
What's up Derek?
DEREK
Hi Mr. Nash!
They play play-wrestle and have fun, Dennis pretending to be a gorilla.
CONNOR
The dominant Silverback Gorilla! We've been spotted!
Lynn watches them play, still unsure.
EXT. ANGRY MAN'S HOME - DAY
BZZZZZZ. CU - Locksmith drills the lock off and opens the door. Sheriff enters with his gun drawn.
SHERIFF #1
Sheriff's Department. Anybody home?
DENNIS
Alright, jump in.
EXT. EVICTION HOME #1 - DAY
Dennis (Sheriff, crew, locksmith) evicts a TENANT MAN.
DENNIS
So you are not Mr. Ron Curtis?
TENANT MAN
No. He's my landlord. He lives in Miami.
DENNIS
You're not the owner of this property?
TENANT MAN
No, we rent, we've been paying the rent here for 8 years.
SHERIFF #1
Sir, I put notices on your door -
TENANT MAN
And I gave them to the landlord. He told me to ignore them, that he was doing a loan re-modification and not to worry about it.
DENNIS
Your landlord has scammed you. You've been scammed.
EXT. EVICTION HOME #2 - DAY
Dennis hands the check to an OLDER AFRICAN AMERICAN WOMAN.
OLDER AFRICAN AMERICAN WOMAN
That's $3500, right?
DENNIS
Yeah, $3500.
She struggles to remove the home key from their chain.
OLDER AFRICAN AMERICAN WOMAN
I can't...
She hands it to Dennis who removes it. He hands the chain back.
I/E. DENNIS' TRUCK - DAY
Dennis puts the keys into a container of other keys.
I/E. MR. BALDWIN'S HOME - DAY
Dennis and Sheriff #3 stand at the door with MR. BALDWIN, (70s-80s, confused, floral shirt).
DENNIS
Hello Mr. Baldwin, my name is Dennis Nash, I'm here representing Rick Carver Realty. Today is the day of your eviction, I'm afraid.
MR. BALDWIN
No no, I have a reverse mortgage on this house and my wife and I took it out. My wife went down to the bank and she signed the papers.
SHERIFF #1
Mr. Baldwin, there was a process in place, all the paperwork was submitted, signed by a Judge, it's all legal. Mr. Baldwin, step outside for me please... Go ahead.
MR. BALDWIN
Ok...
Mr. Baldwin steps out. Sheriff 2 stays with Baldwin as Dennis and Sheriff #1 enter.
EXT. EVICTION HOME #3 - DAY
Dennis speaks with a MIDDLE AGED WOMAN as clean-out crew bring out her belongings.
MIDDLE AGED WOMAN
We already did the modification, they approved it, we sent in our first check...
DENNIS
What I suggest is we figure out a way to get all your stuff safe - a U-Haul or something like that.
MIDDLE AGED WOMAN
I'm going to have to call my husband. I could maybe store it at my sister's house down the street for a day or...
She stops, overwhelmed.
EXT. DENNIS' TRUCK - DAY
Dennis puts another sets of keys in the jar - it's half full now.
EXT. EVICTION HOME #4 - DAY
Dennis tries to communicate with a HISPANIC MOTHER as her HISPANIC SON translates. The young son struggles to explain the situation as Dennis speaks and the mother listens.
DENNIS
The house isn't your anymore.
The son translates. The mother takes it in.
I/E. EVICTION HOME #5 - DAY
Dennis looks in the window, KNOCKS one last time, then nods to the Locksmith, who saws out the doorknob. Dennis enters with the Sheriffs and sees the house is fully furnished: Parakeets CHIRP in a cage; family photos and a crucifix on the wall; laundry hanging to dry in the backyard.
DENNIS
Anyone know what to do with a bird?
EXT. TIDWELL HOME - DAY
Mrs. Tidwell signs a CFK. He hands her a check.
DENNIS
Mrs. Tidwell stares at the check.
She hands over her keys.
INT. DENNIS' TRUCK - CONTINUOUS
Dennis puts another key in his jar - now it is full.
EXT. EVICTION HOME #6 - DAY
Dennis confronts a group of SURLY HOMEOWNERS.
DENNIS
I'm trying to give you the better option here, I'm going to have to send these guys, who are being employed today to go in and grab your stuff and throw it on the curb.
SHERIFF #1
I really don't want to take you to jail. I don't have the time -
SURLY HOMEOWNER
Well you know what you can do with that?
(points to the clipboard)
You can do something else with that because I'm not gonna touch it.
EXT. MR. BALDWIN'S HOME - DAY
Mr. Baldwin sits in a plastic chair, a box on his lap.
DENNIS
Do you have any family or friends?
MR. BALDWIN
I have a son up in Michigan, but I haven't seen him in a couple years...
SHERIFF #2
Do you have his phone number?
MR. BALDWIN
No, no...
SHERIFF #2
Nobody you can stay with?
MR. BALDWIN
No, no I don't...
DENNIS
Any neighbors that can help you out?
MR. BALDWIN
I don't know my neighbors anymore.
SHERIFF #2
I can give you a ride to the Salvation Army or the Red Cross?
Dennis stares at the lost and helpless Mr. Baldwin. HOLD.
INT. MOTEL ROOM - NIGHT
Dennis can't sleep. Connor is tangled up with him. He removes Connor's arm and quietly gets out of bed.
EXT. MOTEL - NIGHT
He smokes a joint and stares at traffic on an overpass.
INT. PHOTO STUDIO - DAY
In a suit and slicked hair, Dennis looks like a new man.
PHOTOGRAPHER (O.S.)
Please lower your chin and turn your head towards me... That's it.
Rick stands next to the PHOTOGRAPHER.
RICK CARVER
Say "short-sale" three times and smile.
Dennis smiles and the camera flashes repeatedly. MOMENTS LATER Rick approves of the business card and hands it to Dennis.
RICK CARVER
Pretty civilized.
Dennis looks at a card with his photo: DENNIS NASH, SENIOR SALES MANAGER, Rick CARVER REALTY, INC.
INT. WILLIAM FREEMAN'S OFFICE - MOMENTS LATER
WILLIAM FREEMAN (50s, confident) sits behind his desk in the glass office. Freeman's ASSOCIATE, Dennis, Rick and Link sit around the table. Dennis listens carefully as they talk:
COUNTY COMMISSIONER LINK
Tesken Equity Management just picked up 400 homes in the last two months, all-cash buys - no loans. A hundred million dollars. Orange County needs your help to find another bulk buyer like Tesken.
As they talk Dennis notices Freeman's Lawyer who beat him in court.
MR. FREEMAN
And I'd like to know where the new highway that's to connect 414 and the Apopka Expressway is going to be.
COUNTY COMMISSIONER LINK
Yes, well, that information isn't public yet, so...
MR. FREEMAN
I have a lot of property that could be impacted by the zoning board's decision.
Rick smiles with pride; Dennis notices.
MR. FREEMAN
Anything else, Arthur?
COUNTY COMMISSIONER LINK
Ok. Yes, yes. I know the route.
MR. FREEMAN
There's a bulk buyer here out of New York, Vesic Investment Group. But they're shopping with a pissant broker out of Kissimmee named Ortiz who just sold them 15 homes last month.
RICK CARVER
Excuse me, sir. I know Ortiz. I can get Vesic Investment Group away from him and my team can handle as many homes as you have to sell.
MR. FREEMAN
I have upwards of 1000 homes. Possibly more. Get me Vesic and we'll be in business.
EXT. DOWNTOWN ORLANDO - DAY
Dennis and Rick walk.
RICK CARVER
1000 homes. Do you know how much money we're talking about? Track Ortiz, find who he's talking to and what properties they're looking at. We need to know what the Vesic deal is.
DENNIS
Rick. What's my cut?
RICK CARVER
Shut the fuck up and get going.
DENNIS
You can't handle 1000 homes without me. Standard commission is 6%.
What's my cut to help you get Vesic to Freeman? Rick smiles, then laughs.
RICK CARVER
I'll give you 5% of my take.
DENNIS
10%.
RICK CARVER
6 and a hand job. No calluses. You'll pull in something between $200 to $300K.
DENNIS
...
RICK CARVER
That's more than you made in your -
DENNIS
Yeah yeah, more than I made in my whole life.
They shake. Partners.
I/E. DENNIS' TRUCK / RITZ CARLTON HOTEL - MORNING
ORTIZ (40s-50s) waits at the lobby. Dennis notices PRADEEP KHANNA (30s-40s, Indian-American, confident, NYC look) exit the hotel and greet an affable Ortiz. They get in Ortiz's SUV. Dennis follows them.
I/E. DENNIS' TRUCK / ORTIZ HOME #1 - MORNING
Dennis pulls up to a home as Ortiz parks. Dennis sees Ortiz and Khanna look around the home. Ortiz shows Khanna information on an iPad as they enter the home. Dennis takes a photo of the home, including a sign in the lawn: FOR SALE BY BANK OF SANTA FE.
I/E. DENNIS' TRUCK / ORTIZ HOME #2 - DAY
Dennis watches Ortiz and Khanna examine another foreclosed home. A FEMALE HOMEOWNER peers out her door. BEEP. Text message from Rick: last 4 homes all bank of santa fe.
I/E. DENNIS' TRUCK / FRANK GREENE'S HOME - AFTERNOON
Dennis sees Ortiz and Khanna drive away. He looks towards the home and sees Frank and his family. He gets out of his truck.
EXT. FRANK GREENE'S HOME - CONTINUOUS
Frank and Frank's Wife put recycled cans into car trunk. He sees his Sons riding bikes. Dennis approaches Frank; Frank stops him.
DENNIS
Hey, Frank.
FRANK GREENE
What do you want? You with those guys?
DENNIS
No, not at all. Just come to see how you're doing. If you want, maybe I can get you a job.
FRANK GREENE
Nice suit. Still working for your friend?
DENNIS
I didn't have to come here. I just wanted to -
FRANK GREENE
To lie to me? To cheat me?
DENNIS
To help you. Have you thought about where your kids are gonna live when you lose this? It's not pretty.
FRANK GREENE
My kids have a home. This one right here. I did research and took boxes of files to a lawyer. Pro-bono.
I'm going to win my home legally, in court.
DENNIS
Be realistic. The judges don't care, and the courts -
FRANK GREENE
"Be realistic?" I didn't ask for your help, sir. And I don't want it. You're trespassing. Please get off my property and don't come here again.
INT. RICK'S EMPTY MCMANSION #2 - DAY
Rick drinks whiskey as Dennis thinks.
RICK CARVER
There's over 100 homes in this deal. Ortiz, the king of the Miguels, is going to sell 100 homes to Vesic.
(points at maps on wall)
They're all in these neighborhoods, priced between $165 and $200K. We're talking upwards of a $20 million deal. And it's not mine.
DENNIS
Holy shit.
Tamika enters with an iPad and wraps her arms around Rick.
TAMIKA
Triple word score. Take that.
RICK CARVER
We're working.
TAMIKA
I know. Dennis, tell him to take a break.
DENNIS
Rick. Take a break.
Suddenly, Rick wraps his arms around her and gives her a deep, passionate kiss. Dennis studies maps on the wall. Then -
DENNIS
Vesic already bought 15 homes from Ortiz last month.
RICK CARVER
So?
DENNIS
I'm going to take out all the ACs, water pumps, and appliances from those homes. And who do you think Vesic will blame?
RICK CARVER
Ortiz. They'll call immigration and put him on his lawn mower back over the border while I'm on the phone with the Bank of Santa Fe.
DENNIS
And we'll sell a 100 homes.
RICK CARVER
And 1000 more for Freeman. I see green skies ahead.
DENNIS
Start by putting green in my pocket. I'll empty out the 15 homes tonight. $100 a pop. $1,500.
EXT. ORTIZ HOME - AFTERNOON
Dennis uses his iPhone to open the electronic lock box. Javier and Dennis' Crew (two) approach with dollies.
JAVIER
HVACs and water pumps?
DENNIS
Get the appliances this time too - dishwasher, fridge, oven. Skip microwaves.
Dennis uses his iPhone to get the key.
JAVIER
You're going in?
DENNIS
You're going in.
JAVIER
Nah, that's B&E man, that's guaranteed time right there.
DENNIS
It's not B&E if you got a key - we're doing appliances, fridges...
JAVIER
Aiight.
I/E. DENNIS' TRUCK / DENNIS' NEW HOME - SUNSET
Dennis drives and talks on phone.
DENNIS (INTO PHONE)
Yeah. Rick said he wanted me to handle the short sale for him, so I'm heading there now. - Hang on.
He notices something and stops in front of an impressive home with a "foreclosure Rick Carver Realty" sign in the yard.
DENNIS (INTO PHONE)
Do you know if 1484 Lakewood Drive is for sale?... I just drove by the place... Yeah? Does it have a pool?... Let me call you back.
He opens the door and looks at: a beautiful, large, stucco home with palm trees. Paradise.
EXT. MOTEL; SWIMMING POOL
It's Connor's birthday. Dennis grills, Lynn cuts cake, Connor is happy. Derek, the neighborhood kids, Justin and the motel kids are all there. LATER Lynn holds the pinata and Dennis and Connor smash it together, father and son are happy together. LATER Lynn wonders where Dennis is. Dennis returns with a brand new bike for Connor. Connor jumps all over it.
CONNOR
Whoa!
Connor hugs his dad and runs off with Derek and friends.
EXT. MOTEL PARKING LOT - LATER
Dennis and Lynn watch Derek and Connor ride bikes. Justin and motel kids ride old bikes and scooters. Families around.
DENNIS
Show us what you got!
Connor rides circles around Dennis as Lynn looks on, happy. Then... an EVICTED FAMILY (husband, wife, two kids) drives up. Confused and exhausted, they unpack their station wagon.
LYNN
(about the family)
Hey Connor, let's see if these guys want some of your cake. We got some cheese pizza left - you wanna ask if they want some cheese pizza?
Dennis stares at the family; something's wrong. He turns and starts to leave abruptly.
DENNIS
Alright, I gotta get Derek home.
LYNN
Okay, we're just gonna grab some pizza and some cake, I think it'd be nice to say hi to these guys.
DENNIS
Fine, I just gotta get Derek home.
The EVICTED MAN sees Dennis.
EVICTED MAN
Hey! Hey! Where you going? Hey you! Over here. I'm talking to you!
Dennis reluctantly turns. The Evicted Man is visibly angry.
DENNIS
You're talking to me?
EVICTED MAN
Yeah, I'm talking to you. What're you doing here? Are you following me?
DENNIS
No, I live here. I don't know what you're talking about so...
EVICTED MAN
Yeah, I know who you are. What're you doing here?
DENNIS
What?
EVICTED MAN
What are you doing here?
DENNIS
What do you mean? I live here, I just told you I live here. I don't know you, ok?
EVICTED MAN
No, you're Rick Carver Realty, I know exactly who you are.
Dennis starts trying to move the Man away from his family.
DENNIS
Listen, listen - you don't know me. I don't know you.
EVICTED MAN
I know you! You kicked me out of my home!
DENNIS
What?
Lynn's face darkens. Connor looks on, confused.
DENNIS
I don't know you!
EVICTED MAN
You work with Rick Carver, you kicked me out of my home!
DENNIS
Come over here, we'll talk.
EVICTED MAN
Why would I wanna go over there? I wanna talk right here. Nash, that's your name, isn't it?
Connor stares.
EVICTED MAN
You don't want everyone else here to know what a fucking asshole you are? And how you kicked me and my family out of our home?
DENNIS
You got me mixed up with somebody.
EVICTED MAN
No I don't. I know exactly who you are.
Everyone at the motel is watching now. Evicted families, kids, neighbors.
DENNIS
Just calm down.
EVICTED MAN
You kicked me out of my home! You ruined my fucking life!
Dennis tries to leave. Evicted Man shoves him back.
EVICTED MAN
No, you don't get to go anywhere!
DENNIS
(getting angry)
Don't do that.
LYNN
Dennis!
DENNIS
Get inside!
EVICTED MAN
Yeah, get inside!
DENNIS
(shoves him)
Don't fucking talk to her!
EVICTED MAN
What're you gonna fucking do?!
He shoves Dennis and they are in a fight. Lynn, Connor, Derek and the entire motel watches.
LYNN
Stop, please!
Connor watches Dennis and Evicted Man fighting. Motel people try to break it up.
EVICTED MAN
You motherfucker!
DENNIS
(to Lynn, Connor)
Go inside! Go inside!
LYNN
Dennis!
DENNIS
Take Connor inside!
LYNN
Okay!
Lynn takes Connor, still staring, away. Motel people finally get the Evicted Man away from Dennis.
EVICTED MAN
You ruined my life!
DENNIS
I'm not messing with this guy, he's crazy. I don't know you.
EVICTED MAN
You know me!
DENNIS
I don't fucking know you!
EVICTED MAN
I know you, Rick Carver Realty! I know you! I'll see you every day. When you wake up. When you go to bed. When your fucking kid is playing.
INT. MOTEL ROOM - SUNSET
Connor's new bike in the cramped room; Lynn and Connor sit silently. Dennis stares out the window.
DENNIS
You okay?
LYNN
How'd he know your name?
DENNIS
I don't know.
LYNN
Because he knew your face too.
DENNIS
I don't know, I work on foreclosed homes, maybe he saw me at his house or -
LYNN
Rick Carver, Dennis? Is that who you're working for?
DENNIS
No. No, I don't work for him.
LYNN
You're kicking people out of their homes? Like the people who live here?
DENNIS
No! I don't -
LYNN
That man just said -
DENNIS
He's lying, ok. I'm not kicking anyone out of their home! That guy was crazy. You saw him. That asshole Carver, he just represents his home by chance. That's it.
She doesn't buy it. Someone BANGS on the window startling them all.
MOTEL TENANT (O.S.)
ASSHOLE!!
Dennis pulls the curtains shut; the room gets dark. Silence.
LYNN
We can't stay here. Connor can't stay here.
DENNIS
We're not going to. I'm not doing anything wrong, so stop giving me all this shit.
LYNN
Are you evicting people?
DENNIS
MOM!
LYNN
He said you were at his eviction!
DENNIS
I don't know that fucking guy! I don't know how he knows me, I work on foreclosed homes, mom! This guy got foreclosed on, maybe he saw me at his home, I don't know!
He opens the door to leave.
DENNIS
Lock the door. And keep the curtains closed.
He slams the door shut leaving Lynn and Connor alone. CUT TO: AERIAL VIEW OF: Walt Disney World, Sea World, The Magic Kingdom castle... then neighborhoods, homes and more homes.
INT. MOVING HELICOPTER - AFTERNOON
Rick points out landmarks to Khanna. It's stuffy and sweaty. They shout to hear one another. Dennis stares out the window, amazed at the amount of homes, the size, the scope. His imagination runs wild. HOLD.
RICK CARVER
Disney World, Sea World, Universal Studios. Downtown Orlando's 10 miles at your 2 o'clock, and at your 4 o'clock you'll see the Bank of Santa Fe homes.
KHANNA
I never realized how close they were to shine-ola.
RICK CARVER
About the Bank of Santa Fe deal -
KHANNA
- it hasn't even been a week since we picked up 15 homes from Ortiz and all the appliances, ACs and water pumps are missing.
RICK CARVER
You're kidding me?
KHANNA
That's $150,000 hit. Hidden expenses kill returns, so Vesic's not interested anymore.
RICK CARVER
This Bank of Santa Fe deal is like one giant ATM machine. What can I do to get Vesic back into those homes?
KHANNA
I just don't think it's possible.
RICK CARVER
How about this: I'll put appliances back in those 15 homes - free of charge - and you move The Bank of Santa Fe from Ortiz over to me.
Khanna smiles. Rick is uncertain why...
KHANNA
Tell you what. Put brand spanking new appliances, ACs and water pumps into any of the 100 homes that need them and you got yourself a deal.
DENNIS
Appliances, yes. ACs and water pumps, no.
Rick is surprised Dennis spoke.
KHANNA
Ok. But the homes have to be unoccupied in 30 days. Put it in writing and you have a deal.
INT. RICK'S EMPTY MCMANSION #2 - NIGHT
Empty-Mansion-Party. Dennis, Rick, Tamika, KARINA (20s), LINK, sexy young WOMEN and DISTINGUISHED TYPES mingle. MUSIC. LATER Rick and Dennis talk above the crowd near a chandelier.
RICK CARVER
For the Santa Fe deal I'll give you 6% of my share. You'll end up with around $63,000 pre-tax.
DENNIS
(grins)
I guess I can accept that, - 63,000, you said? Shit yes!
Tamika and Karina arrive with drinks.
RICK CARVER
You used to dream about one home. Now it's 100.
DENNIS
(raises glass)
To dreams.
TAMIKA & KARINA
To dreams.
RICK CARVER
Fuck dreams. To 100 homes.
INT. RICK'S EMPTY MCMANSION #2 - LATER
Everyone dances. Karina grinds Dennis. Rick and Tamika more romantic. Drunk, Dennis rubs his face - he's losing control.
EXT. RICK'S EMPTY MCMANSION #2 - NIGHT
Rick dangles his feet in the water, smoking a cigar. Dennis comes down the walkway.
RICK CARVER
Uh-oh. The Zombie is coming to get me.
Dennis slumps on the dock beside him, drunk. Thinks.
DENNIS
Has anyone ever come up to you, somewhere, after an eviction?
RICK CARVER
Someone tried to run me off the road a year ago. I haven't gone to dinner once with my wife and girls in the last three years without looking over my shoulder. It's why I carry this, even now, 5am.
He takes his gun out and shows it.
DENNIS
Is it worth it?
RICK CARVER
... As opposed to what?
DENNIS
...
RICK CARVER
Did someone get to you?
DENNIS
No.
RICK CARVER
Bullshit. Someone's calling you. Or they found you?
Dennis says nothing. Rick sets his gun down between them.
RICK CARVER
So. Nash. The sun is coming up and here we are. What do you think?
DENNIS
About what?
RICK CARVER
You wanted to kill me once. Now you're going to make a lot of money.
DENNIS
I did wanna kill you. I dunno. I dunno what I'm doing here, but I'm thankful. What can I do, you know, my dad... Well he killed himself pretty much.
(holds up his drink, then pours it out)
Sorry to waste your booze. He died of a heart attack, booze, food, whatever you wanna call it.
Left me with my mom, my boy... My boy... As opposed to what?... Rick stares on.
DENNIS
I need to move into my home. Now. I can't wait anymore.
RICK CARVER
It's gotta be listed for sale on the MLS first. Few more weeks.
DENNIS
No. I can't stay in that motel any longer.
RICK CARVER
Just pick another one. You got the money now, buy whatever you want. There's plenty of homes in the sea. Like I said, don't get emotional about real estate, Nash! They're boxes. You listening? Big boxes, small boxes. What matters is how many you got. You're gonna have more properties than women to fill 'em with. You know that, right? Buy one for your mom, one of your kid and one for yourself. What do I care? Yes sir, 100 homes...
DENNIS
1000 fucking homes.
Rick lies down and smokes his cigar.
RICK CARVER
Watch out for the gators. They don't sleep. Make sure I don't roll into the water.
Dennis thinks about the future... something on his mind.
INT. DENNIS' TRUCK \[MOVING\] - DAY
Dennis drives the family in the packed truck, just like when they were first evicted.
LYNN
Why are we going this way?
DENNIS
I want to show you something.
Lynn stares out the window, uneasy.
EXT. DENNIS' NEW HOME - AFTERNOON
The large beautiful home that Dennis saw earlier. He pulls up; they get out. Lynn and Connor are confused.
LYNN
What is this?
DENNIS
Just trust me and follow me please.
INT. DENNIS' NEW HOME - CONTINUOUS
Dennis opens the door.
LYNN
What is this?
DENNIS
Have a look.
LYNN
Why?
DENNIS
Come on! Just a quick tour.
They are startled by the size and high-ceilings. He shows them around, a large master bedroom and two others rooms - all furnished.
CONNOR
It's a cool pool.
DENNIS
I'd say. You wanna dive in, right?
CONNOR
Who's basketball hoop is that?
DENNIS
I think that used to belong to Shaquille O'Neal.
But he lowered it because he likes to dunk sitting down.
LYNN
Can we go now? Please?
DENNIS
You see the pool?
Lynn shrugs.
DENNIS
I bought this for you.
Connor and Lynn don't get it. Dennis points to the pool.
DENNIS
(to Connor)
And you. That's your pool.
LYNN
Let's go home, this isn't funny.
DENNIS
I'm not joking, mom.
LYNN
That's not his basketball net. This is somebody else's. And I want our house. I wanna go home.
DENNIS
I sold that home. I sold it and flipped the money into this. This is ours, fresh start. I don't want to go back to the house we were evicted from.
LYNN
(shocked)
You sold our house?
DENNIS
There is no more home. We couldn't move in there for three weeks, and we had to move, didn't we? So I got this. I had to get us out of that motel so Connor wouldn't get killed, so I wouldn't get killed -
LYNN
Who gave you this home? How did you get it? By kicking people out of their homes? You buy this?!
DENNIS
I didn't kick anybody out of this home, I bought this home with money that I earned! So I could put a roof over your head and I could put food in his mouth! We were drowning, mom, we had to get out!
LYNN
It stops here.
DENNIS
I bought this fair and square. I didn't take it from anyone.
LYNN
I'm gonna call Jimmy. We're moving to Tampa. Come on Connor.
She walks to the door with Connor.
DENNIS
Wait. Mom.
LYNN
And you're gonna figure this out.
DENNIS
I did this for Connor. We were drowning.
LYNN
Rick Carver? Rick Carver who bought our house for us? I'm not staying here. I'm not staying in this home.
Dennis looks at Connor.
DENNIS
What do you want?
Connor goes to his mom. Dennis is devastated.
I/E. DENNIS' HOME - NIGHT
Dennis turns on the swimming pool light while drinking a beer. He's drunk. Turns on all the lights in the backyard. Lynn prepares Connor a simple dinner. She glances at Dennis turning on lights throughout the house. Connor looks up at his father through the windows.
INT. DENNIS' NEW HOME - MORNING
He walks through his empty home. He goes to Lynn's locked bedroom door and knocks.
DENNIS
Connor?... Mom, is Connor okay?
LYNN (O.S.)
He's sleeping.
EXT. DENNIS' NEW HOME - MORNING
Dennis paces around the pool smoking. His phone RINGS. He looks at the home as he talks.
DENNIS (INTO PHONE)
Hi Rick... Right now? -... ok.
INT. WILLIAM FREEMAN'S LAW FIRM - MORNING
Dennis enters and sees: Freeman's office in the distance. Behind the glass windows are Rick, Freeman, Link, and Freeman's Associate. Dennis sees a YOUNG LAWYER run from one end of the office with a paper in his hand. He enters Freeman's office and hands the paper to Freeman, who looks it over and nods. Freeman hands the paper to Rick, who walks out of the office and bee-lines to Dennis.
RICK CARVER
One of the Santa Fe homeowners is blocking his eviction in court tomorrow. If he's successful and others will follow and Vesic will pull out.
He hands the paper to Dennis.
RICK CARVER
This is a proof of publication; it wasn't filed six months ago. Freeman's boys just back dated and notarized it. You need to be at the courthouse globe at 9:45 a.m. The Court Clerk will meet you there. Give it to him.
DENNIS
This is forged?
RICK CARVER
It's a stupid piece of paper someone forgot to file when the loan was being bought and sold a million times over. It's just a technicality.
Dennis looks at the paper and turns white as he reads:
DENNIS
... Frank Greene.
RICK CARVER
Yeah, the same deadbeat who was stealing my water and power. I told you he was no good.
He CLAPS loudly and startles a distracted Dennis.
RICK CARVER
HEY! That's not your dick in your hand. That's the Santa Fe deal, 100 homes, 1000 more with Freeman, our money, Miami, your home, everything. You awake or what?
DENNIS
Yeah. Yes. Ok.
RICK CARVER
Don't "yeah, yes, ok" me. Courthouse globe. 9:45 am.
INT. COURT / GLOBE AREA - MORNING
The envelope in hand, a hesitant Dennis looks at the globe. On the other side of the room, he spots Frank Greene speaking with his attorney. He's careful not to be seen. Dennis sees Frank hug his WIFE and kids. They're optimistic. They're going to win. He stares at Frank's Son, a lot like Connor.
FRANK'S SON
(to the lawyer)
Hello.
He shakes hands with the lawyer.
INT. COURT BATHROOM - MOMENTS LATER
Dennis rubs his face with water. BEEP BEEP. He reads texts from Rick: where the fuck are you? / call me! Dennis looks at his RINGING phone. It's Rick calling. Dennis declines the call. The time on his phone reads: 9:52am. He dries his face and looks at himself in the mirror. RINGING. RINGING.
DENNIS (INTO PHONE)
Hel -
INT. FREEMAN'S OFFICE - MORNING
Rick tries not to shout -
RICK CARVER (INTO PHONE)
What the hell's going on?!
INTERCUT BETWEEN RICK AND DENNIS
DENNIS (INTO PHONE)
Nothing, I -
RICK CARVER (INTO PHONE)
Get your ass to the globe now, or consider your life over. How far are you?
DENNIS (INTO PHONE)
I'm here now.
RICK CARVER (INTO PHONE)
And?
DENNIS (INTO PHONE)
I'm about to give it to him.
RICK CARVER (INTO PHONE)
Dumb fuck! Call me as soon as it's over.
Hangs up. Dennis stands in the bathroom, envelope in hand.
INT. COURT / GLOBE AREA - MOMENTS LATER
The Court Clerk (from Dennis' eviction) paces near the globe. Dennis sees him. Instead of approaching, he turns and leaves.
COURT CLERK
Hey!... Hey!
Dennis sees the Clerk taking quick strides to him.
COURT CLERK
Are you with Rick Carver?
Dennis hesitates.
COURT CLERK
Are you with Rick Carver? Are you with Carver or not?
Dennis doesn't respond.
COURT CLERK
Is that it?
The Clerk grabs it from him.
COURT CLERK
Idiot!
He quickly leaves. Dennis stands alone.
INT. COURT ROOM - MOMENTS LATER
Dennis peers though the window of the double doors and sees: Frank Greene next to his Attorney adjacent to Freeman Lawyer.
JUDGE
As far as I can tell, the proof of publication is here.
The Bailiff hands the paper to Frank's Lawyer.
FREEMAN LAWYER
Your Honor, we already have a buyer in place and we'd like to get this property off the books.
FRANK'S LAWYER
If we check the file index, I'm sure this has not been docketed.
JUDGE
That may be, but the proof is in the file and that's all the statute requires. I'm ordering the sale to go forward.
FRANK GREENE
Wait a second... what? Your Honor, this isn't right. We know for a fact that file was not there.
JUDGE
BSB versus Ballard.
FRANK GREENE
I was there. I know there was no proof of publication.
(to his lawyer)
You, you know it wasn't there.
(to Judge)
My... my wife and kids are here. Do you see them? My wife, my children?
INT. DENNIS' NEW HOME - DAY
Dennis enters. He looks around. At the pool. Nobody is there. He goes upstairs. Getting more concerned.
DENNIS
Connor?
Moves to the bedroom.
DENNIS
Mom? Connor? Connor?!
Nobody is there. Dennis dials his phone. RINGING. RINGING. Voicemail. He breaks down. Lynn and Connor are gone.
INT. DENNIS' NEW HOME - NIGHT
Dennis drunkenly plays with Connor's basketball, his phone next to the gun. He drinks from the whiskey bottle.
INT. DENNIS' NEW HOME - SUNRISE
Sunlight hits Dennis, passed out and alone in the large, empty living room. RING. RING. He wakes up from a nightmare. Grabs his phone. It's not his family.
DENNIS (INTO PHONE)
Hi Rick -
INT. RICK'S BMW SUV - CONTINUOUS
INTERCUT BETWEEN Rick AND DENNIS Rick pulls up to Dennis' home in his news BMW X6 SUV.
RICK CARVER (INTO PHONE)
Morning Donald Trump. I'm outside your new mansion. Where are you? Frank Greene's eviction. Let's go.
It hits Dennis like a punch in the gut.
RICK CARVER (INTO PHONE)
Hello? Dumb ass. You there?
INT. RICK'S BMW SUV \[MOVING\] - MORNING
Rick drives. Dennis sits.
RICK CARVER
There's eight other homeowners that we're going to have to evict after Greene. We need to make aggressive cash-for-keys offers to them. We'll pay out of pocket if we have to. But if they give me any flack - Freeman's boys and the court clerk, baby. No big deal.
Dennis looks out the passenger window, tormented.
EXT. FRANK GREENE'S HOME - CONTINUOUS
A boiling-hot day. Sheriffs, Jeff and crew wait outside Greene's home. NEIGHBORS across the street. Rick and Dennis arrive. They approach Sheriff #1 who's speaking with FRANK'S NEIGHBOR. While they talk, Dennis stares at Frank's home and sees Frank peering at them from behind his living room window curtain.
FRANK'S NEIGHBOR #1
... She's a worried wreck saying Frank hasn't slept in days. That he's up all night on the internet -
RICK CARVER
Excuse me, ma'am. - Bobby. Let's get this show on the road.
SHERIFF #1
Morning Rick. Possible trouble with the tenant - Mr. Greene. Seems he and his wife -
FRANK'S NEIGHBOR #1
Even last night we heard him yelling -
RICK CARVER
Ma'am. Thank you. We're not marriage counselors.
(to Sheriff)
Let's get cooking.
SHERIFF #1
Small problem; he may be armed.
Dennis takes this in.
RICK CARVER
Well go find out, Bobby.
SHERIFF #1
I'll call back up and check it out.
Dennis squints his eyes in the bright sun and looks at Frank behind the curtain.
DENNIS
Is his family in there with him?
NEIGHBOR FRIEND #1
Oh, yes. She was at my door this morning crying before he called her back inside. The kids didn't go to school either.
They all stare at the house.
SHERIFF #1
Alright, I'm going to check it out.
RICK CARVER
Thanks for the play by play. Hurry up.
Sweat falls over Dennis' eyes. He wipes it as he watches the two Sheriffs walk towards Frank's house. Then Dennis sees Frank raising something towards them. Dennis realizes what's about to happen. It's fast. And loud. SMASH, SMASH Frank Greene smashes the window and raises a Remington Woodmaster 742 semi-automatic 30.06 rifle out of his home. Neighbors and Crew run for cover, SCREAMING. Frightened, Rick pulls Dennis behind his SUV.
FRANK GREENE
I don't want to hurt anyone. Please get back. All of you. You're trespassing. I don't want to hurt anyone, but this is my home. Get off my property.
RICK CARVER
(to Dennis)
Where's your gun?! You don't have it?!
SHERIFF #1
Sir, put the weapon down!
FRANK GREENE
You're trespassing!
Frank fires TWO SHOTS at the grass. Sheriffs run behind their cruisers and pull their guns.
SHERIFF #2
Shots fired, shots fired!
Dennis punches the side of Rick's SUV.
DENNIS
Fuck, fuck!
FRANK GREENE
I am not going to leave here!
Dennis hears Frank's Wife and kids crying for him to stop.
I/E. FRANK GREENE'S HOME - CONTINUOUS
Frank motions his wife and kids to get back.
FRANK GREENE
Go to the bedroom. Don't stand there! Get in the bedroom, now!
Sheriff #1 points his gun at Frank.
SHERIFF #1
Sir, put the gun down!
Frank points the weapon out the window again.
FRANK GREENE
God damn it, stop it! Put that down, put it down, now!
SHERIFF #1
Not gonna happen, sir!
Frank hides out of view again.
SHERIFF #1
Sir, why don't you send your wife and kids out?
Dennis sees Frank staring out at what he's done. Police car arrives. Two POLICEMEN jump out with guns, asking for update.
SHERIFF #2
Sir, drop your weapon!
Silence for a moment.
FRANK GREENE
The courts decided my fate in 60 seconds flat. Nobody checked the file index. Fact. No proof of publication filed. Fact. Nobody looked at my cancelled checks that prove payment to the bank. Fact. The judge was retired, not up for re-election and not beholden to the citizens of this county. A lifetime in 60 seconds and this is my home.
FRANK'S SON
Dad!
Frank turns to him and the gun goes off accidentally shooting a box of files. They SCREAM. Frank is horrified.
FRANK GREENE
Get in the bedroom!
Dennis hears this.
DENNIS
Fuck! No, no!
He looks at Rick, inches from him. They've never been this close. Rick breaths hard, sweats; he's scared. Rick notices a shift in Dennis and squints his eyes.
RICK CARVER
... No.
Dennis rips his arm free, gets up from behind the SUV and walks to the lawn. Rick tries to stop him, but is frightened.
RICK CARVER
Dennis!
SHERIFF #1
Get back! Do not approach the house!
RICK CARVER
Do something! What the hell are you waiting for?!
Dennis ignores Rick and the Sheriffs' PLEAS and walks towards Frank's home.
FRANK GREENE
Stop! Get off my property. Please get back or I'm going to shoot. I will shoot you.
Frank points the rifle and Dennis stops walking.
FRANK GREENE
I'm not going to leave my home. Get off my lawn.
DENNIS
This is your home, this is your property Frank, I know! Please put that down.
FRANK GREENE
The banks made more money last year than anytime in the history of human civilization. Fact. Fact.
Sounds of sirens. Dennis glances behind and sees police cars, fire trucks and ambulances arrive. DETECTIVES and COPS in bullet proof vests spill out.
FRANK GREENE
I have the right to shoot anyone who steps foot on my property. You are trespassing. Get off or I will shoot. I don't want to do this.
DENNIS
Frank please put it down and let your family out, please!
FRANK GREENE
Look up there. Look. Look up there. Do you see that? Look!
Dennis looks up. The sun glares in his eyes.
FRANK GREENE
That is the sun and it is shining. You can't tell me it's night when I know it's day. Even if God came down here and said it was night, I know it's day. I know what I know, and nobody can tell me the sun isn't shining. Nobody.
Dennis and Frank's eyes are locked. And Dennis' mouth opens:
DENNIS
I cheated you. I put a forged document in your file the morning of your case.
Frank takes this in. He is not surprised. Detectives, sheriffs, cops, neighbors all hear Dennis' words. Rick stares with wonder and fear at Dennis.
DENNIS
This is your home.
Frank and Dennis stare at each other. Rick and everyone waits with wonder. Frank lowers his rifle. Then tosses it out the window.
FRANK GREENE
I'm coming out.
He opens the door and steps out of the home with his hands high.
POLICE
Get on your knees. Now. Hands behind your head. Lie down.
Dennis watches Frank get on his knees, then lie down. Police advance, guns pointed, knee to his back, handcuff him. Dennis sees Police escort Frank's frightened family out of the home to safety. Two Detectives approach Dennis and talk with him. He points at Rick. Rick watches the Detectives escort Dennis towards him. Rick smiles and taps Dennis on the shoulder.
RICK CARVER
You did a hell of a thing, son. A hell of a thing.
DETECTIVE
Excuse me, sir. Are you the bank's realtor?... Sir?
Dennis and Rick stare at each other. HOLD.
RICK CARVER
(to Dennis)
Thank you.
Dennis stares at Rick's steely eyes. Did he mean it?
DETECTIVE
Sir? Are you Rick Carver?
RICK CARVER
Yes, I am.
DETECTIVE
We need to speak with you.
Dennis and Rick look at each other for one last moment before the Police take Dennis away. Rick puts on his sunglasses.
I/E. DETECTIVE'S CAR / FRANK GREENE'S HOME - CONTINUOUS
The Detective seats Dennis in the car and is called away. Dennis is alone. He looks out the back window and sees Rick trying to grab Sheriff #2 by the shoulder to talk, but the Sheriff brushes him off and quickly walks away. Alone, Rick gets on his phone, calling someone, pacing. Dennis sees the Detectives approaches Rick who gets off the phone. They begin questioning him. Dennis then sees Franks's son outside the car. Frank's son looks at him, smiles, and runs away to a better future.
THE END
|
99 HOMES
Story by
Ramin Bahrani Bahareh Azimi Screenplay by Ramin Bahrani Amir Naderi Noruz Films © Ramin Bahrani 2013 The Grand Inquisitor: "'Better that you enslave us, but feed us.' They will finally understand that freedom and earthly bread in plenty for everyone are inconceivable together, for never, never will they be able to share amongst themselves." - FYODOR DOSTOEVSKY, The Brothers Karamazov
I/E. EVICTION HOME - DAY
A blood-stained wall near family photos. POLICEMEN take flash photos of the DEAD HOMEOWNER, gun in his lifeless hand. OFFICER DUDURA questions two SHERIFFS (30s-50s) but tries to get the attention of an impeccably dressed RICK CARVER (40s), talking on the phone. He's a smart, ambitious real estate broker, with a mean-streak.
OFFICER DUDURA
Rick?... Mr. Carver?...
RICK CARVER
I'll be with you in a second.
He continues his call; wants to look away from the dead homeowner, but can't.
RICK CARVER (INTO PHONE)
Remove the power meter, turn off their water, and let 'em sweat a couple days, then ride up on your white fucking horse and tell them you have an interested cash-buyer and that Rick Carver can get the short-sale approved... Jesus, do I have to hold your hand while you give them a hand job, Bill? Get me that property.
He smokes an electronic cigarette.
RICK CARVER
Yes, John - Officer Dudura - you have my court order signed by the Judge. What else can I do for you?
OFFICER DUDURA
You're the bank's realtor for the eviction today. I need an official statement. What happened? Why?
Rick walks though the house; Dudura and Sheriffs follow.
RICK CARVER
Well, Dudura, it's a real shame, because we arrived here with two pizzas for Mr. Kadwell, the property owner, but he didn't want the anchovies, so he went into the house, pulled out a gun, and blew his brains out.
OUTSIDE THE HOME NEIGHBORS have gathered. POLICEMEN, EMTs, NEWS TEAMS. A POLICEWOMAN and NEIGHBOR console a sobbing WIFE and two KIDS.
RICK CARVER
(points to crying Wife)
That set off Mrs. Kadwell, who was expecting Chinese for dinner.
Dudura looks disgusted; Sheriff #1 snickers.
OFFICER DUDURA
You're talking about someone who just killed himself.
RICK CARVER
I'm the last man who knocked on Patrick Kadwell's door - in his life. That's his wife of twelve years, Samantha, and son, Dylan - eight - and daughter, Paige - eleven. What official statement is going to encapsulate the tragic absurdity of this fucked up situation, Dudura? I can't bring him back to life, so please stop wasting my time.
He walks away and answers his RINGING phone.
RICK CARVER (INTO PHONE)
This is Rick Carver... I'm fine, Dear... Turn the TV off and keep the girls away from the internet... I've got the other line. - This is Rick Carver...
Keyless entry and he gets into -
INT. RICK'S LEXUS LX - CONTINUOUS
- the high-end, high-tech, luxury Lexus LX SUV.
RICK CARVER
Ride it up to $200,000, $220 cap... no more than 10% down, 7.5% makes me sing. And get the Miguels ready. It's 2 grand a month on interest alone. I want to flip this finger. Get back to me. - Call office.
On-Board system DIALS. The two Sheriffs knock on his window.
SHERIFF #1
Anything else, boss?
RICK CARVER
Next eviction's Tuesday. Natalia'll call you.
They leave. He scrolls emails on an iPad secured to his dash.
NATALIA (THROUGH SPEAKERS)
Rick Carver Realty.
RICK CARVER
Talk to me. My world's upside-down.
NATALIA (THROUGH SPEAKERS)
I'm emailing your revised itinerary... Also, um, Jerry from Toyota Credit called again -
RICK CARVER
- Jerry's full of shit. Keep talking.
NATALIA (THROUGH SPEAKERS)
The high rise came through, PUDs and all. What do you want me to tell them?
Suddenly hears SHRIEKING. He looks out the window: Police hold back the SHRIEKING Wife as EMTs push her Dead Husband on a gurney and load him into a waiting ambulance.
EXT. CONSTRUCTION SITE / MCMANSION SUBDIVISION - DAY
DENNIS NASH (29, blue collar, smart) and DENNIS' CREW (2 Guys) put up a mansion. Dennis chalks lines based on blueprints. Uses a power saw to cut wood. Hot, he's sweating; tats on his arms. Dennis puts up the frame. Walking on wood beams way up high. LATER ELLIOTT, the GC (30s-50s) argues with Crew Leader who stops Dennis and Crew.
CREW LEADER
Stop working! That's it. Stop! The buyer doesn't qualify, the lender's out, we're done.
DENNIS
What does that mean in terms of payment?
CREW LEADER
It means we've been working for free. All this from roof to cement is for nothing. Hey, no more dinero! Stop! Let's go home.
INT. COURT / GLOBE AREA - CONTINUOUS
CONNOR (9, smart, inquisitive, stubborn) and FRANK'S SON (9) look at Australia on a large globe. FRANK GREENE (30s-40s, blue collar, smart, humble) FRANK'S WIFE and FRANK'S SON #2 (5) nearby. Dennis is on the phone.
DENNIS
Connor. What're you doing? We're gonna be late. Come on.
Connor shrugs and says goodbye to Frank's son.
DENNIS
Who's that?
CONNOR
We're in the same school.
A paper falls from Dennis' folder. Connor picks it up and hands it to his dad.
INT. COURT; COURTROOM - DAY
The Bailiff tries to keep order in the chaotic courtroom of confused HOMEOWNERS and gossiping LAWYERS. Connor watches Dennis defending himself against the FREEMAN LAWYER. A JUDGE (50s-70s) presides.
FREEMAN LAWYER
Your Honor, he missed three payments and is underwater over $80 grand. The bank could have a buyer in place within 30 days.
JUDGE
Did you fail to make three payments, Mr. Nash?
DENNIS
Yes, sir - but I was told to, it was two departments of the same bank telling me the opposite thing and then just recently I got this final notice for eviction -
FREEMAN LAWYER
Your Honor, you already entered summary judgement here. We'd like to close by the end of the month.
JUDGE
I see no reason to hold up the sale -
DENNIS
Hold on a minute - they told me not to pay, that's why I'm behind, they told me - it was two departments of the same bank, telling me different things your Honor.
JUDGE
While I'm sympathetic to your situation, I have 40,000 cases like this backed up behind yours. Final judgement granted. I'm ordered you to vacate the premises.
DENNIS
That's my family home, your Honor. I was born and raised in that home. So was my son, Connor. Please don't do this. We've lived there our whole lives, my mom runs her business out of that home. That's our second source of income.
JUDGE
This is your son?
DENNIS
Yes, that's my son.
JUDGE
Then he should be in school, not here.
DENNIS
He's gonna lose his school with all due respect your Honor, if we lose our home.
JUDGE
Sun Trust versus Cunningham.
DENNIS
Give me a bit more time your honor.
JUDGE
Bailiff, please remove Mr. Nash.
DENNIS
Your honor, I just need a bit more time. Excuse me, I just need a bit more time.
JUDGE
You have 30 days to file an appeal like everyone else. Bailiff please remove Mr. Nash.
Connor watches the Bailiff move Dennis aside as the next HOMEOWNER awkwardly takes Dennis' place.
INT. DENNIS' TRUCK \[MOVING\] - DAY
Dennis smokes and drives; Connor near him. They've lost.
CONNOR
Where're we going to stay if we lose the home?
DENNIS
We're not losing the home, bud.
CONNOR
How do you know? The cops aren't coming back? I just wanna know how you're gonna pay for it.
DENNIS
Connor! - I'm gonna figure it out. That judge gave us 30 days. No one's taking the home from us.
EXT. DENNIS' HOME / NEIGHBORHOOD - DAY
Dennis' middle-class home. DEREK and KIDS ride bikes and play in the street. Dennis pulls up.
CONNOR
Yo, Derek!
He runs off to play with Derek. Dennis checks the mail; waves to a NEIGHBOR. Connor rides bikes.
DENNIS
You be careful, Connor!
INT. DENNIS' HOME - CONTINUOUS
His mom, LYNN cuts her CLIENT's hair. Lynn is a hairdresser who loves her family; she's social, moody, loving, a little lost since her husband died.
LYNN
So, tell me everything - did they give you a lawyer, did they - ?
DENNIS
It's the same story with the bank guys, it's the same story everywhere we go.
LYNN
(to her client)
We have to find a lawyer, you know -
He goes to the living room and shuffles through piles of bills, notes, bank paperwork. (Their home is cluttered, lived-in; the decor belongs to his parents. Family photos line the wall, including Dennis' dad. The family has lived here over 40 years. It feels like it.)
DENNIS
I'm just trying to figure out what this 30-day thing means; he said we've got 30 days to file an appeal, but does that mean the eviction's not happening tomorrow?
LYNN
But the judge told you 30 days.
DENNIS
I know, the judge said we got 30 days to file for an appeal -
LYNN
Well he's a judge, not a bartender! We're in good shape.
INT. DENNIS' HOME / KITCHEN & LIVING ROOM - NIGHT
In the living room: Dennis sits at a table with a mountain of bills and an eviction notice. Quick series of phone call:
DENNIS (INTO PHONE)
My name is Dennis Nash, I'm calling looking for representation. I understand that you guys sometimes do not need a retainer?
LATER
DENNIS (INTO PHONE)
When you went through what you went through, you were able to find someone pro bono - I'm just wondering if he can help?
LATER: In the kitchen, Lynn brings dinner to Connor who studies. A loving bond between them.
CONNOR
Lost is to found as outside is to indoors, inside -
LYNN
And what's another example?
CONNOR
Black and white?
LYNN
(gives him a plate)
Black and white? What's another one? Give me one more.
LATER: In the living room, Dennis looks exhausted.
DENNIS
454-0189. Please give us a call back.
Dennis puts down the phone, exhausted, losing hope - but he stretches and reenergizes himself for more calls.
EXT. DENNIS' HOME - NIGHT
Lynn smokes. Dennis enters. They share a cigarette.
DENNIS
Sometimes, I don't know what to say to Connor.
LYNN
I was so young when I had you, you had to raise me.... you'll know what to say.
INT. DENNIS' HOME; CONNOR'S ROOM - NIGHT
Connor lies asleep in bed. Dennis watches him from the hallway. He turns off the light.
EXT. DENNIS' HOME - MORNING
MEN gather on the lawn: Sheriffs (from opening scene), a LOCKSMITH, JEFF (redneck) and his CLEAN-OUT-CREW (4 low-class guys) near a van and truck. Rick Carver pulls up.
INT./EXT. RICK'S RANGE ROVER / DENNIS' HOME - CONTINUOUS
Rick speaks into "on board;" he props his foot up - AN ANKLE HOLSTER WITH A GUN. Checks his Ruger, puts it back.
RICK CARVER
Borrow against Blair Street to cover Via Alizar. I'll flip that this quarter.
NATALIA (THROUGH SPEAKERS)
Good. And Landon at code enforcement?
RICK CARVER
I have a short sale for that cocksucker. I'll email the details.
NATALIA (THROUGH SPEAKERS)
Got it.
SHERIFF #1
Afternoon, boss. Love the new ride.
RICK CARVER
Range Rover HSE.
SHERIFF #1
Is this the Nash eviction?
RICK CARVER
Yeah, anyone home?
SHERIFF #1
I'm not sure, but their vehicle's home.
RICK CARVER
Alright, let's get to it.
They approach Dennis' door. Sherriff #1 knocks. Dennis looks out the window. They see him.
SHERIFF #1
He's at the window.
Rick looks over. He and Dennis lock eyes for the first time.
INT. DENNIS' HOME - CONTINUOUS
Dennis hesitates, Sheriff knocking. Doesn't know what to do. He looks in the next room, sees Lynn.
LYNN
What is it?
DENNIS
Sheriffs are here.
LYNN
Why are they here?
Knocking LOUDER. They go to the door. Dennis opens the front door as the two large Sheriffs step forward. Lynn stands next to Dennis.
SHERIFF #1
Good afternoon. I'm Deputy Anderson with the Sheriffs department and we're here to serve you a court- ordered eviction.
DENNIS
No. I think there's a mistake. We have -
SHERIFF #1
Sir, ma'am, do either of you have weapons on your body or in the property?
LYNN
No no no, not us.
SHERIFF #1
Mr. Carver!
Dennis watches Rick come forward.
RICK CARVER
Good morning, sir. Ma'am. I'm Rick Carver, a real estate broker, and I'm sorry to say this home has been foreclosed on and officially transferred to the bank. I'll need you to please vacate the property.
DENNIS
Nobody's "vacating" the home. I was in court yesterday, and the Judge informed me I have thirty days to file an appeal and that's what I'm going to do.
RICK CARVER
Please show me you've posted bond and have an emergency stay signed by a judge, and you're welcome to remain here.
DENNIS
I got a question, you guys didn't get any rescheduling of the -
RICK CARVER
(shows paper)
This is a court order signed by a judge dated today for you to leave this property.
LYNN
Excuse me, Rick?
DENNIS
Mom.
RICK CARVER
My office offered you a $3,500 cash- for-keys settlement from the bank to leave last month, but you refused.
DENNIS
Yes, we refused.
LYNN
Well, we didn't refuse, we tried to save our house -
RICK CARVER
I appreciate this is a difficult situation, but the time has come, you have to leave the property. You are trespassing right now, you are breaking the law.
LYNN
Sir, this is our home, so, we just need a few minutes -
Rick motions to Sheriff #1, who steps forward. Rick walks away and puts his sunglasses on.
SHERIFF #1
Sir, you and your mom need to step foot out of the home now.
DENNIS
No. We're not going to do that. Just give us 24 hours -
LYNN
You all can come back, same time, and if we don't have the papers, we don't have the proof, then we will leave.
DENNIS
We have a lawyer, we have it all figured out.
Lynn tries to close the door.
LYNN
We need a day.
SHERIFF #1
Ma'am, do NOT close the door.
LYNN
We need a day.
SHERIFF #1
Here's what I can do. You have two minutes to gather whatever personal items you need - cash, checkbooks, medicines - and then -
DENNIS
No, this isn't happening.
SHERIFF #1
Yes, this is happening.
DENNIS
No, this isn't happening.
LYNN
I'm going to call the lawyer.
SHERIFF #2
Ma'am! Excuse me.
Sheriff #2 moves past Dennis, entering the home.
DENNIS
Excuse me, please don't come into my house.
SHERIFF #1
There are two ways that we can do this. The easy way, where you do what you're told. Or the hard way, where I take you and your mom to jail. Do you want your mom to go to jail? What I'd like you to do, take advantage of the two minutes -
Dennis notices Rick standing inside his house.
DENNIS
Sir, would you mind stepping outside of the property?
RICK CARVER
This isn't your home, son.
DENNIS
Mr. Carver?
Rick ignores him and walks into the house. The Sheriff lists off statues of the law.
LYNN
Sir, we have the right to an attorney. Just because somebody forgot to call you, we don't get a lawyer?
RICK CARVER
It's better not to get emotional right now ma'am.
DENNIS
You're kicking us out of our home!
LYNN
PLEASE, okay, please!
SHERIFF #1
Enough of this, let's go.
Dennis calms his screaming mom and relents. They start packing up.
SHERIFF #1
Get what you need to get and let's go.
LYNN'S BEDROOM Sheriff #2 watches Lynn grab her jewelry, checkbook, medicines.
LYNN
Sir, I don't need your help, ok? Do you need to follow a woman into her bedroom?
SHERIFF #2
It's just department policy. Money, checkbooks, things like that. Wallets, pictures -
LYNN
I'm trying to get pictures!
CONNOR'S BEDROOM Sheriff #1 hovers over Dennis as he grabs Connor's books, things, an Orlando Magic basketball jersey...
DENNIS
Does he have to stand there with her as she packs up her underwear?! Is that right?!
SHERIFF #1
It's policy, sir.
Dennis takes down Connor's basketball hoop. He notices Rick standing in the hallway. Rick walks on. LIVING ROOM Dennis carries out a box of belongings. Lynn emerges with a box of her own.
DENNIS
What else mom?
They frantically look around.
LYNN
I want my plants.
SHERIFF #1
There's no time for that. You need to step outside now.
RICK CARVER
Let her take the plant.
SHERIFF #1
Your two minutes are long gone, you need to move.
DENNIS
Can I ask where it says two minutes on your clipboard?
RICK CARVER
Sir, the two minutes is a courtesy.
DENNIS
The two minutes is what?
RICK CARVER
A courtesy. You're trespassing right now. I know it's painful to hear but it's the truth.
LATER
RICK CARVER
Ma'am, do you need anything else?
LYNN
Yes, the toaster oven. My grandson likes his toast in the mornings.
Rick unplugs the toaster and hands it to her. LATER
RICK CARVER
Alright, Randy, you said the two minutes was up, right?
Dennis moves into the living room for the bills on the table.
DENNIS
I'm just getting the bills.
SHERIFF #1
Ok. This way, this way.
He escorts Dennis and Lynn out.
EXT. DENNIS' HOME - CONTINUOUS
Out of them home where Rick motions to the Locksmith and BZZZZZZ - startles Dennis. He's already changing the locks.
SHERIFF #1
(to Rick)
I'm gonna clear it.
He goes back in as Rick escorts Dennis and Lynn to the curb.
RICK CARVER
All the way to the curb. You're now trespassing on a bank-owned home - you can't stand in the lawn. All the way to the curb, please.
DENNIS
We're going.
LYNN
What about the rest of our things?
RICK CARVER
The clean-out-crew will bring your belongings to the end of the drive. No need to worry about that.
They reach the curb; Dennis puts the large plant down.
RICK CARVER
My advice would be to get a moving truck because your neighbors are going to have access to everything you own by the end of the day.
Lynn turns to Dennis, who avoids her look. Rick notices. Sheriff #1 steps out of the home:
SHERIFF #1
CLEAR!
RICK CARVER
Jeff, get 'em to it!
He motions to Jeff who leads his crew into the home. Rick follows them. NEIGHBORS stare at Dennis and Lynn from their lawns. Crew exits with sofa, coffee table, TV, and dump them in front of Dennis and Lynn.
LYNN
(to neighbors)
Can you believe this? They canceled the eviction and didn't even tell these guys.
She is shamed in front of her neighbors. Crew continue to bring out furniture. Lynn is shaking.
LYNN
Oh my god, oh my god...
Dennis stares, watching his house get emptied by strangers. Rick stares at Dennis from the porch smoking his e-cigarette.
EXT. DENNIS' HOME - LATER
The piles of belongings on the street and in Dennis' truck have grown larger. The Crew continues to work. Dennis gathers things; Neighbor Friend and HUSBAND stand near Lynn, who sits in the chair trying to keep her dignity. Dennis notices Jeff trying to move his red tool cabinet.
DENNIS
Hey! Yo! Don't mess with that, man. You gotta unlock the wheels, and don't touch anything inside there.
Jeff ignores him. Dennis mumbles curses and lifts a heavy overturned chest. He SLAMS scattered drawers into place.
NEIGHBOR FRIEND
Wanna put some stuff in our garage? We don't have much room, but...
DENNIS
Some of the valuables. Thanks.
He turns to see: the school bus pull up. Connor, Derek and some kids get off the bus. Dennis is uncertain what to do. Connor takes in what is happening. The SCHOOL KIDS gossip and giggle as the bus drives away.
DEREK
Yo, what's happening?...
Suddenly, Connor walks towards the house.
DENNIS
Connor, wait -
Rick gets in his way.
RICK CARVER
Hey, son. Where you headed?
CONNOR
This is my house.
RICK CARVER
I'm sorry, this isn't your home anymore.
CONNOR
That's my house.
DENNIS
(to Rick)
Please don't talk to my son. Talk to me.
(grabs Connor's arm)
Let's go.
Connor rips his arm free. Dennis grabs him again. They struggle as Dennis tries to hold onto him.
CONNOR
Get off! I want to go to my room.
DENNIS
Calm down.
RICK CARVER
Mr. Nash, I know this is difficult, but please take your son off the property.
CONNOR
That's my house. I want to go to my room.
DENNIS
I know. We'll go to your room later.
RICK CARVER
Mr. Nash, please.
DENNIS
I heard you! - Connor, stop.
Rick motions to the Sheriffs who approach while Dennis tries to control Connor. The Neighbors stare.
CONNOR
Let go of me! Let go! That's our house!
Dennis stares at his son... total loss.
EXT. DENNIS' HOME - LATER
The pile of belongings is even larger. The eviction is over. Connor and Derek across the street.
DEREK
Where you moving to?
CONNOR
I dunno.
DEREK
Are you coming to school tomorrow?
Connor shrugs; Dennis calls him over; Connor walks when -
DEREK
Can we still play NBA 2K tomorrow?
CONNOR
See ya...
Dennis puts his mom into the truck next to Connor. Dennis and his Neighbor friend exchange looks and a hand shake. Rick approaches Dennis as he gets in his truck.
RICK CARVER
Mr. Nash, you have 24 hours before my crew will return and dispose of whatever remains. Not my choice; Code enforcement. Good luck.
Dennis gets in his truck. Lynn and her friend clasp hands as the truck pulls away leaving their home behind.
I/E. DENNIS' PICK-UP TRUCK \[MOVING\] / ORLANDO - SUNSET
Like Okies from the Dust Bowl, the family is crammed in the crowded truck.
EXT. MOTEL PARKING LOT - NIGHT
Dennis' truck pulls in and parks. As they unpack they see: MOTEL RESIDENTS, THUGS, POOR FAMILIES hang out, drink near the pool, etc. Balconies piled with belongings, clothes hang to dry. They realize families live here. MOTEL WOMAN (40s) hangs with a couple friends at their door talking.
MOTEL WOMAN
Hey. Welcome. What room ya'll in?
LYNN
MOTEL WOMAN
It's over there. We can watch your stuff while you move... How long you staying?
DENNIS
Just a couple nights.
MOTEL WOMAN
Two years ago that's what we said.
EXT. MOTEL STAIRS / HALLWAY - CONTINUOUS
They carry boxes up stairs and along the hallway where JUSTIN (13) and other kids get sodas from a machine and hang out. They enter -
INT. MOTEL ROOM - CONTINUOUS
Connor runs to the bathroom and pees. Dennis and Lynn look over the tiny room: two beds, small kitchenette, dripping faucet. How are they going to live here? Dennis sets Lynn's tall plant down.
CONNOR
It smells. Do you think someone died in here?
LYNN
Don't say things like that. Get that side, we can't sleep in these.
They pull comforters off the beds. As Dennis exits - He presses on her shoulder reassuring her.
DENNIS
I'll get the rest of our stuff.
He exits -
EXT. MOTEL ROOM - CONTINUOUS
- and pauses to light a cigarette; he hears Connor and turns to watch his family through the window:
CONNOR
Am I going to school tomorrow?
LYNN
Gotta figure all that out, don't we?
CONNOR
I gotta see Derek. We're in the middle of an NBA 2K tournament and -
Dennis looks at his family through the window. HOLD.
EXT. GAS STATION - DAY
Dennis pumps gas - 5, 20, 30 dollars. It's fucking expensive.
DENNIS (INTO PHONE)
I'm calling about the roofing job... I got a ton of experience, I do electric, plumbing, construction, anything... Okay. Any lower level stuff?
He looks at little speakers BLARING bad pop music near a flat screen TV flashing ads about hot dogs and soda.
INT. DENNIS' TRUCK \[MOVING\] - DAY
Dennis drives.
DENNIS (INTO PHONE)
What about Booth brothers? They were putting up those home on - ... Call me if something comes up.
INT./EXT. DENNIS' TRUCK / NEW SUBDIVISION - SUNSET
Dennis looks at an OUT OF BUSINESS sign on the construction trailer. He drives away lost in thought.
INT. MOTEL ROOM - NIGHT
Party MUSIC and sounds penetrate the Nash's tiny room, bursting with their stuff. Lynn sleeps in one bed. Dennis and Connor share the other. Dennis is awake staring at his son, tousling his hair.
LYNN
Dennis, this motel is half-full of people like us.
DENNIS
They're not people like us.
LYNN
They're all evicted. And they get stuck here. I could maybe take the bus and start looking for apartments...
DENNIS
We can't afford an apartment.
LYNN
It's just first and last month's rent!
DENNIS
Two or three months' security. Four maybe, because of our credit. Our credit is shot.
LYNN
Dennis... We've got to get out of here. We should go to Tampa. We've gotta go to Uncle Jimmy's, Uncle Jimmy said we could come. I talked to Mary Margaret just three days ago!
DENNIS
Mom, we're not moving to Tampa. You wanna take Connor out of school? Take him away from his friends? We leave, we give up, we let the house go.
He tries to give his mom confidence:
DENNIS
I'm gonna figure it out.
Lynn is unsure. But Dennis is resolute.
DENNIS
No choice.
INT. MOTEL ROOM - MORNING
Connor's playing on his phone.
LYNN
You want some toast?
Dennis rifles through the tool cabinet they've brought up to the room. He notices something missing.
DENNIS
We didn't leave any tools in my truck, right?
LYNN
No, we got everything.
Angry, Dennis slams the drawer shuts. Thinks.
EXT. STRIP MALL; RICK'S OFFICE BUILDING - MORNING
Jeff and his clean-out-crew plus four other CREW GUYS have coffee and donuts near their vans and trucks (MUSIC playing) outside RICHARD CARVER REALTY. BILL (30s, big and tall) gives them orders; Dennis pulls up and strides to them.
DENNIS
Your guys stole my tools yesterday. I want to talk to your boss.
BILL
I'm senior sales manager. What's the problem?
DENNIS
(points at Jeff)
That guy right there stole my impact wrench and in-line sander. That's like $500.
BILL
I have a form you can -
DENNIS
No forms. - Hey man, give me my tools back.
JEFF
I didn't steal nothing. Get outta here.
DENNIS
Where's my stuff?
JEFF
I didn't steal nothing. Get outta here.
DENNIS
You just said that, dumbass.
Crew laugh. Jeff shoves Dennis. They wrestle in the parking lot. Crew gather and holler. Rick exits the second story and sees what's happening.
BILL
Break it up! God damn it, Jeff, that's enough.
Rick strides down the stairs.
RICK CARVER
What the fuck is going on?!
He motions and they immediately pull Dennis and Jeff apart. It takes three Crew guys to hold Dennis back. Jeff tries to sucker punch him, but Dennis kicks Jeff in the stomach.
RICK CARVER
Bill, you want to get in on this? Take a couple swings?
BILL
Sir, I -
RICK CARVER
"Sir, I -" "Sir, I -". What the fuck are you still doing here anyway?
BILL
I thought, sir - I thought you -
RICK CARVER
You thought? You're evolving? Has Darwin himself come to Orlando, Florida?... Well? Bill?
BILL
We'll be there on time, Mr. Carver. Guys, let's go! Buena Vista Lakes.
He rounds up half the guys and drives away. Rick walks up to Dennis and motions and they release him.
RICK CARVER
You finished? 'Cause I got the cops on speed dial. they'll run you out of town over a busted tail light.
DENNIS
I'm not here to fight; I just want my tools.
RICK CARVER
Do I look like Ace Hardware? I don't deal in tools, I deal in homes. There's a difference.
DENNIS
I know. You took my home from me.
RICK CARVER
No, the bank took your home from you. I just represent it.
He answers his phone. Dennis lights a cigarette; listens.
RICK CARVER (INTO PHONE)
This is Rick Carver... What?... You gotta be kidding me. God damn it... When?... Fuck Hazmat, I'll call 'em myself.
(hangs up; to Jeff)
914 Shader Drive. Now.
JEFF
I thought we had to prep Via Alizar-
CLAP CLAP.
RICK CARVER
Move! Move!
Jeff rounds up crew. Dennis follows Rick to his Range Rover.
DENNIS
Excuse me? Rick Carver Realty?
RICK CARVER
Can you Miguel?
DENNIS
What?
RICK CARVER
Can you work? You have tools. Do you do construction?
DENNIS
Yeah.
RICK CARVER
I pay $50, cash.
DENNIS
Are you kidding me?
RICK CARVER
$50 shouldn't be a joke to you.
He speeds away. Dennis mumbles curses, gets in his truck and -
INT. DENNIS' TRUCK - CONTINUOUS
- SLAMS the door. Dennis jerks the wheel and speeds through the light following Rick.
INT./EXT. DENNIS' TRUCK / SEWAGE HOME - MORNING
Dennis pulls up to a foreclosed home. He sees: Rick, Jeff and the Crew are taken aback to see a foreclosed home with nasty black raw sewage creeping out the door. Rick covers his mouth with a handkerchief and gets his phone. Jeff and the Crew cover their noses and shove each other like kids towards the sewage. Dennis gets out and keeps his distance.
RICK CARVER (INTO PHONE)
I need your Hazmat team here NOW or I'm looking at a total gut job down to the God damn studs... Eviction was next week and these animals backed up the sewage and skipped town... What do you mean shit's not a hazardous material. Why don't you come out here and eat some of it, maybe that would change your mind.
Rick notices Dennis. Jeff and Crew are surprised to see him. Jeff steps towards Dennis but Rick WHISTLES for him to stop.
RICK CARVER (INTO PHONE)
The neighbors are threatening to call the Department of Health, so if your team isn't out here in 30 minutes, my next call is gonna be Fannie about your slow-ass response time... Fuck you, too!
(hangs up)
God damn it.
He turns to Jeff and the crew.
JEFF
Rick, no. - Mr. Carver! That's a hazard. We, we can't...
RICK CARVER
By tonight, the mold's up to the ceiling; by tomorrow, someone's paying MONEY to demolish it, and it's not going to be me.
Dennis notices Jeff and the others sheepishly back away. Then-
DENNIS
$250.
Everyone is surprised. Rick and Dennis lock eyes.
RICK CARVER
$150.
DENNIS
200. That's a bear and you know it.
RICK CARVER
... Deal.
Dennis grabs a shovel, walks past Jeff and towards the encroaching sludge and enters into -
INT. SEWAGE HOME - CONTINUOUS
Stench SLAPS him in the face. Eyes water, holds his breath. Spray-painted in red on the wall Dennis reads: KILL BANKERS His boots squish in the sludge. He covers his nose and sees sewage cascading from the toilet and sinks. He gags and runs out.
EXT. SEWAGE HOME - CONTINUOUS
Dennis staggers out and vomits in the yard. Jeff and Crew laugh. Rick remains straight-faced.
JEFF
Harden the fuck up, son!
RICK CARVER
(to Jeff)
There better be a container truck, shop vacs and giant blowers here in one hour or I'll make it my business that you never work in Orange County again. You will also finish Via Alizar today. You're on my list, shit fuck.
He approaches Dennis with a cold water bottle. Dennis drinks, spits, drinks.
RICK CARVER
What else can you do? Framing, plumbing, electric, roofing?
DENNIS
All of them. Anything.
RICK CARVER
Go on. Finish it.
Dennis head back toward the door. Then looks to the Crew.
DENNIS
Six-pack to the first guy in here with a shovel... Come on!
Curious, Rick watches the Crew... one of them steps up.
CREW
$200.
RICK CARVER
$100. And Mr. Nash's six-pack.
Crew accepts. He puts on a dust mask.
DENNIS
Let's go! Who else? You! Come on, I know you need the money.
The Men laugh and two more join. Only Jeff remains outside.
DENNIS
Alright, let's get this shit done.
He wraps his shirt around his nose and mouth - like a bandit. The others do the same and Dennis leads the men to work. Rick is impressed.
INT. MOTEL ROOM - DAY
Connor looks up from homework as Dennis steps in. Dennis digs into his dirty jeans and hands Lynn money.
LYNN
$200... ?!
Connor looks up, impressed.
DENNIS
I got work. And there's more tomorrow.
LYNN
With who? What work? Dennis!
DENNIS
Some new guy. Real estate. You don't know him.
They laugh, overjoyed. Connor tries to take the money. Dennis play-wrestles it back from him.
EXT. MOTEL PARKING LOT - DAY
Dennis walks fast, Connor drags his feet.
DENNIS
You're gonna make new friends, ok?
CONNOR
I don't want to.
They reach Motel Kids and a handful of PARENTS and see a school bus arrive. Kids board; Connor doesn't move.
DENNIS
I know. But I need you to be brave.
He tries to rub Connor's ear but Connor brushes him off.
CONNOR
This isn't my school.
DENNIS
I know, but you gotta keep your grades up, remember? You gotta take care of yourself, ok? I love you.
Connor runs to the bus. Dennis watches the bus drive away.
EXT. RICK'S HOME - DAY
Massive, very impressive and unique, Rick's home sits at the end of a deep and beautifully landscaped lawn. Dennis pulls up; he's impressed. Grabs his tool box and walks to the front door when his phone RINGS.
DENNIS (INTO PHONE)
Mr. Carver, I'm -
RICK CARVER (THROUGH PHONE)
Yeah, I see you. Come around back.
RICK'S POOL WITH LANAI Dennis enters and sees Rick's DAUGHTERS (6 to 12) playing in the pool.
RICK'S DAUGHTER
Hey. Can you get us that please?
Dennis uses a pool net to try and push a boat from the center of the pool to Rick's Daughters on the other side. Rick walks up steps leading from his dock near the lake.
RICK CARVER
Nash. Princess one, princess two, princess three! Who wants Haagen- Dazs? Chocolate chip cookie dough.
RICK'S DAUGHTERS
Me, me, me!
Dennis follows Rick and his girls into -
INT. RICK'S HOME - CONTINUOUS
- a very impressive living room / kitchen where a MAID works.
DENNIS
Nice house.
RICK CARVER
It's ok. I got it 18 months ago and I'm going to flip it after New Year's.
(to the maid)
Let's have some Haagen-Daaz please, madam.
(to Dennis)
AC's out for two hours. Through there. You'll see the leak.
Dennis exits as Rick crushes cookies into the ice cream.
RICK CARVER
I'm gonna make it even better. See.
ENTRANCE Dennis walks through the grand entrance, high ceilings, tons of sunlight. Continues to - RICK'S HOME OFFICE A second living room and sees the water stain on the ceiling. But his attention is focused to maps of Orange County that cover the walls and are laid out everywhere. It's impressive. Dennis zeros in on framed articles about Rick Carver, Real Estate tycoon and good citizen of Orlando. Dennis takes it all in. RICK'S BEDROOM Rick grabs a bag and some shirts when his phone RINGS.
RICK CARVER (INTO PHONE)
This is Rick Carver.
MALE'S VOICE (THROUGH PHONE)
Adjustable mortgage cocksucker! I'm homeless, you motherfucker!
RICK CARVER (INTO PHONE)
Stop calling me! You defaulted on -
MALE'S VOICE (THROUGH PHONE)
Fuck you, Carver. You piece of -
Rick hangs up, tense. He notices his Wife smoking on the terrace outside. She's been watching him. TERRACE Rick steps out and joins her.
RICK'S WIFE
They called here two days ago.
RICK CARVER
Come on boo, I rented you and your mom a week at the Corazon Spa in the Keys. I want you to relax, enjoy yourselves.
RICK'S WIFE
I should divorce you.
RICK CARVER
We'd lose on taxes; and you'd miss me. You'd miss your little Ricky.
They kiss and make out. RICK'S ATTIC Dennis uses a small blow dryer to thaw out frozen coils on the condensing unit. EXT RICK'S HOME With the hose of a small shop vac, Dennis sucks green mold from the PVC on the side of Rick's house.
EXT. RICK'S HOME - LATER
Dennis drinks a beer near the pool as he stares at Rick's boat, the lake, the life. RICH PEOPLE ride past in a boat and wave at Rick who approaches.
RICK CARVER
What're you doing?
DENNIS
Finished. Give the coils 5 minutes to drain and you'll have cold air.
RICK CARVER
It's not even been an hour.
DENNIS
I salvaged your ceiling with mud and found some spare paint in your garage, so your ceiling's good to go too.
Rick is impressed.
RICK CARVER
Unless you're planning on taking a swim, let's go.
INT. RICK'S RANGE ROVER \[MOVING\] - DAY
Through the moving window: homes. Rick glances at Dennis.
RICK CARVER
What do you see out there?
DENNIS
Homes.
RICK CARVER
I just saw nine opportunities to make money in the last five blocks. We passed three homes without mail boxes, one with an overgrown lawn and no cars in the drive, two with white signs taped in the window and three with shiny new doorknobs and lock-boxes. If you can get attuned to seeing these opportunities, then maybe you can get off your hands and knees and really start working for me.
DENNIS
I can work. You seen me all week.
RICK CARVER
I heard you worked on good crews with Rick Kirby and Chris Camilleri.
They're both out of business, because they built homes. I own homes. Dennis considers Rick.
RICK CARVER
You know what I am, I am a man with a helluva lot of properties. You can be a part of that. What I want to know is that I can walk away from any situation, 24/7, and have someone to handle it. I don't care if your kid's in the school play, it's Christmas, or you lined up the best blow job in Orlando. When you work for me, you're mine.
Suddenly Rick hits the brakes.
RICK CARVER
What the hell?
I/E. RICK'S RANGE ROVER / FRANK GREENE'S STREET - CONTINUOUS
Rick goes in reverse. Stops. Looks at two homes, one with a "Rick Carver Realty" sign in the lawn.
RICK CARVER
Call office.
(DIALING)
You see that? Those cables?
DENNIS
Yeah, yeah, I see it.
Rick points to an extension cord and water hose running from one house to another.
I/E. RICK'S RANGE ROVER / FRANK GREENE'S HOME - CONTINUOUS
He reverses and parks in front of Frank's house.
NATALIA (THROUGH SPEAKERS)
Rick Carver Realty.
RICK CARVER
I got some jack wagon at 354 Ridgeway stealing water and power from our property at 352 Ridgeway.
Pull up the county court website, get his name and find out if he's in default. I'm in front of his house now.
NATALIA (THROUGH SPEAKERS)
Right away, sir.
Rick hangs up, opens the glove compartment and produces a gun - an LCP 308. He hands Dennis the gun.
RICK CARVER
You know how to shoot, right? We'll run a background check so you can carry a concealed weapon.
DENNIS
Are you fucking with me?
RICK CARVER
Angry homeowners. You'll need it.
Rick checks his Ruger on his ankle holster.
DENNIS
Naw. I'm good.
Dennis puts the gun back in the glove compartment.
RICK CARVER
Suit yourself. But the person on the other side of the door doesn't always feel that way. Trust me.
He shows the marks of a dog bite on his skin.
RICK CARVER
They can feed their Rottweiler, but they can't pay for their house.
Dennis considers. Rick's phone beeps.
RICK CARVER
Ok. Frank Greene. Let's go.
EXT. FRANK GREENE'S HOME - MOMENTS LATER
Rick KNOCKS loudly. Dennis walks up next to him. Frank Greene (same man from court) opens the door.
RICK CARVER
Mr. Frank Greene?
FRANK GREENE
Yes.
RICK CARVER
My name is Rick Carver and you're stealing from me.
FRANK GREENE
... If you're referring to the -
RICK CARVER
- The property next door belongs to Fannie Mae and I represent it for them. So you're not only stealing from me, you're stealing from the United States government.
He answers his RINGING PHONE.
RICK CARVER (INTO PHONE)
Yeah, I'm with Frank Greene now. What've you got for me?
(to Dennis)
Remove those lines.
He steps aside, leaving Dennis alone with Frank Greene. They walk to the side of the house and begin to disconnect and coil up the cable and hose.
FRANK GREENE
I saw you in foreclosure court. Our sons go to the same school. They were playing with the globe. I had my show cause hearing that day. What happened to you?
DENNIS
I lost... I was evicted.
FRANK GREENE
... So what're you doing with him?
DENNIS
Gotta work, you know? He offered me a job. This isn't really what I do.
FRANK GREENE
(regarding cables)
Yeah, this isn't really what I do either... I was a manager at Custom Cabinet and Lighting. Been out of work for two years. Two. But I'm not a thief.
DENNIS
I know.
FRANK GREENE
But I'm researching on the internet and public library. I'm gonna save my home.
DENNIS
I hope you do. Custom Cabinets - yeah, I installed your stuff.
FRANK GREENE
Oh really?
DENNIS
Yeah, a bunch of times.
Frank's Son (from court) approaches.
FRANK'S SON
Dad, the TV turned off.
DENNIS
You know my boy? Connor Nash?
FRANK'S SON
Yes, sir.
Rick comes back.
RICK CARVER
Mr. Greene, looks like the Bank of Santa Fe already filed for final judgment of foreclosure. My money says the courts send me back for your eviction in less than 90 days.
FRANK GREENE
I removed the cables and - and I apologize. I shouldn't have done that. That was wrong.
DENNIS
It's ok, we -
RICK CARVER
I can assure you, stealing is not ok. Mr. Nash will personally be speaking with your neighbors. And if we receive a report or drive by and see you stealing my water and power again, the next visit will be the Sheriff's department.
INT. RICK'S RANGE ROVER / FRANK GREENE'S HOME - CONTINUOUS
They sit down in Rick's SUV.
RICK CARVER
Don't be soft. They'll tell you sob stories each time. But the law is the law, that's the side you're on. You already know the outcome of this situation. So toughen up.
They drive away.
INT. KITCHEN HOME #1; VARIOUS ROOMS - CONTINUOUS
Dennis follows Rick and looks around the massive home.
RICK CARVER
I'll take all your Rocky Mountain door handles -
MR. HESTER (50s) and Dennis follow him into the dining room -
RICK CARVER
- the Tiffany light fixtures Moder Crystal chandelier -
- into the kitchen -
RICK CARVER
- the Harlan cabinets, the Thai Jade and marble counter tops, the range the Subzero fridge. Three grand and you gotta be out of here in two weeks.
MR. HESTER
Make it five.
RICK CARVER
Four and Dennis here will get right to it.
MR. HESTER
Done.
Dennis starts unscrewing the cabinets.
EXT. KITCHEN HOME #1 & #2 - LATER
Dennis pushes a dolly loaded with cabinets and walks with Rick to the next home.
RICK CARVER
You know, Mr. Hester made a lot of money on this property.
DENNIS
You're evicting him in two weeks. How's that?
RICK CARVER
He got this place back in '05 for $400,000, 0% down. One year later, he took a home equity loan and got another $200,000 that he used to buy that sweet little Yellowfin for fishing trips and to take Mrs. Hester to Tahiti. By the time this home was worth half what he'd borrowed, he just quit paying.
DENNIS
You can't just quit paying.
RICK CARVER
Sure you can. He hired himself a lawyer - not to win - but to tie up his case for three years. Guess how many mortgage payments he made during those three years?
DENNIS
None. But he owes money.
RICK CARVER
Lawyer got a short sale approved, and the bank wiped out his debt. It's called, "strategic default." While Mr. Greene is stealing my water and power, this guy was making a killing. Are you listening now? Do I have your attention?
DENNIS
Yeah, I heard you.
RICK CARVER
That's how you should've done it.
..
RICK CARVER
Now get everything else and meet me over there.
Points at the house next door.
EXT. KITCHEN HOME #2 - LATER
Rick uses an iPhone attachment to open an electronic lock box. A key falls out. Unlocks door. Dennis watches.
INT. KITCHEN HOME #2 - CONTINUOUS
Rick's steps echo in the empty home. Dennis follows him into - THE KITCHEN - where the cabinets, fridge and counter-tops are all gone.
RICK CARVER
Install everything - patch the tile, caulk the cabinets and connect the gas line when you bring in the appliances.
DENNIS
All that in here now?
RICK CARVER
I'm selling this home for Fannie Mae. I can't do that if there's no kitchen, can I?
DENNIS
No.
RICK CARVER
So who just paid me $33,000 to buy new cabinets, appliances and a counter-top plus labor?
DENNIS
Fannie Mae.
RICK CARVER
Fannie Mae. Congratulations. You just fucked the government.
He hands Dennis an envelope. Dennis takes it, but Rick holds on tight, refusing to let go.
RICK CARVER
If you're interested, let me know. If not, use that to take your kid to Disney World and get yourself a job Migueling Cinderella's Castle.
He lets go of the envelope and exits to the backyard. Dennis opens the envelope. He's startled by what he sees: a check for $3,250.
EXT. KITCHEN HOME #2 / POOL WITH LANAI - CONTINUOUS
Rick answers emails on his phone. Notices Dennis approaching.
DENNIS
I don't give a damn about the government. They never did nothing for me, so... But that was a lot of money you just gave me. Feels a bit like trouble.
RICK CARVER
You did honest work building homes your whole life. What did it get you but me knocking on your door?
DENNIS
Is this stealing?
RICK CARVER
In 2006, you borrowed $85,000 against your home and never paid it back, Nash. You're telling me that's not stealing?
DENNIS
No, it's not stealing. I was given a loan. That's me working my ass off trying to pay back that loan -
RICK CARVER
That's not how the banks see it. Or the tax-payers paying for this bailout.
Rick picks up overturned chairs by the pool. Dennis follows.
DENNIS
I invested every cent into construction equipment. The economy crashed, I can't predict that. I can't predict the weather.
RICK CARVER
Well I can. I'm a fucking Doppler radar. You've been stealing, but don't want to admit it. Or the banks cheated you, take your pick.
Either way you've lost. But I made even more money in the crash than before it. You can too. But you need to stop lying to yourself and ask: What have you been doing wrong that your family lives in a motel? Dennis considers, then picks up the last overturned chair.
DENNIS
I'll do it. But I want you to help me get my home back. - And this is my first payment.
He hands Rick the envelope, but Rick refuses.
RICK CARVER
Don't get emotional about real estate.
DENNIS
That's my family home, my boy's school. I want it back.
RICK CARVER
Not enough money here. Put that under your mattress because putting it in the bank only makes them money. When you have more, I'll tell you what to do with it. - Now, do you want to double what you made?
EXT. GAS STATION - DAY
Dennis pulls up. JAVIER (30s) jumps in talking shit, hands Dennis a beer, who drinks and drives away.
EXT. FORECLOSED HOME #1 - AFTERNOON
Dennis and Javier take out an HVAC.
JAVIER
So who's this Rick Carver dude?
DENNIS
My boss, for the time being.
They slide the HVAC in the truck next to two others.
JAVIER
What're you doing?
DENNIS
I gotta prove to the bank this shit's missing so they pay us to put it back.
JAVIER
We're stealing it... to then bring it back.
DENNIS
You wanna get paid? Then I gotta take a picture. Let's do it!
EXT. TANNER HOME - DAY
Dennis knocks. MR. TANNER emerges.
DENNIS
Mr. Tanner? My name is Dennis Nash, I'm here representing Rick Carver Realty. I understand your house has been foreclosed on?
MR. TANNER
The house still belongs to us. We intend to keep it that way.
DENNIS
I hope that works out. If it doesn't, I want to tell you about cash for keys -
He hands Mr. Tanner a form.
MR. TANNER
What do you mean, cash for keys?
DENNIS
Cash for keys is this -
EXT. FORECLOSED HOME #2 - DAY
Dennis hands the cash for keys form to an AFRICAN AMERICAN COUPLE.
DENNIS
- if you leave your home in broom- swept condition prior to the eviction date the bank will give you $3500 which can help pay for a U-Haul, security deposit on an apartment, and -
AFRICAN AMERICAN MOM
Thank you, but no thank you. I'll give this to my attorney and he'll contact you. Good day.
Closes the door in Dennis' face.
EXT. FORECLOSED HOME #3 - DAY
Dennis tapes an eviction notice and takes a photo.
EXT. FORECLOSED HOME #4 - NIGHT
Dennis and Javier carry an HVAC when Dennis notices the pool pump. Javier lights up.
JAVIER
Whatcha doing?
DENNIS
Who's gonna buy a home with a pool if the pool doesn't work?
Dennis removes the pump. A neighbor's light turns on.
HVAC NEIGHBOR (O.S.)
Hey! What's going on there?!
DENNIS
You know Rick Carver Realty, you see that sign out front? That's us. You have a good day.
JAVIER
Hell yeah, now that's what I call a woman!
The men laugh as they steal.
EXT. FORECLOSED HOME #5 - DAY
Dennis explains CFK to a Vietnamese woman.
DENNIS
It's not a lot, but it's going to pay for a U-Haul, a down-payment on an apartment...
VIETNAMESE WOMAN
I have no idea what's going on, because my mom and dad from Vietnam are coming and the house can't be foreclosed on...
EXT. FORECLOSED HOME #6 - DAY
Dennis KNOCKS. Looks in the window. Tapes an eviction notice to the door and takes a photo with a small digital camera.
EXT. MRS. TIDWELL'S HOME - DAY
Dennis stand before a distraught MS. TIDWELL (30s, African- American) at her door. She looks at a piece of paper.
DENNIS
I want you to know about "cash for keys." This is a KYO form, it means "Knowing your options".
MS. TIDWELL
Knowing my options?
Her TEENAGE DAUGHTER starts filming Dennis with her phone..
MS. TIDWELL'S DAUGHTER
I'm putting this all on Facebook, asshole.
MS. TIDWELL
Kayla, put that away!
MS. TIDWELL'S DAUGHTER
Mom he's lying.
MR. TIDWELL
Kayla! - I'm sorry. I... I know you're doing your job; I'm sorry.
She quietly closes the door on Dennis who stands alone. HOLD.
INT. DENNIS' MOVING TRUCK - DAY
Dennis and Javier load up the truck and drive away.
EXT. ANGRY MAN'S HOME - AFTERNOON
A ANGRY MAN peers out of his chained door. Dennis hesitantly tries to hand him CFK paper work.
ANGRY MAN
You the one that's been putting notices on my windows?
DENNIS
No sir, that's the Sheriffs department.
ANGRY MAN
I don't want them to do that anymore, that's trespassing.
DENNIS
Sir I can't control what the Sheriffs department does, what I can do is tell you about -
ANGRY MAN
You're wasting your time. Just get outta here. Tell your bank and your boss I ain't interested.
DENNIS
If you wanna just take a look at -
ANGRY MAN
I'm not looking at anything.
DENNIS
You could just take it and not look at it.
ANGRY MAN
Hold on a second.
The Angry Man leaves. He comes back with a GUN.
ANGRY MAN
I think I've made myself very clear to you. I don't want to see you again.
Dennis backs away, thoroughly unnerved.
EXT. EZ CASH - NIGHT
Dennis exits an EZ cash with the money he made today. He gets in his truck and drives away.
EXT. MOTEL - DAY
Dennis pulls up in his truck, takes out a large paper bag. Lynn is cutting the hair of motel friend DANA.
LYNN
What you got there? What do you have in there?
DENNIS
Steak.
LYNN
What? That's Hamburger Helper.
Dennis shows his mom steaks in the grocery bags.
DENNIS
(shows her)
What does that look like to you?
Lynn is surprised - how could he afford this? But she's also happy!
LYNN
That looks like dinner! Let's invite Dana too!
DENNIS
More the merrier.
DANA
Hey - did you put that under your t- shirt?!
They laugh.
DANA
I'm not kidding! How else he got the money for that?
INT. MOTEL ROOM - NIGHT
Dennis plays nerf basketball with Connor. It's a fun moment that they really need. Lynn and Dana laugh and talk and drink beers.
INT. STORAGE UNIT - DAY
Dennis pushes up the garage door of the storage unit. Turns on lights to reveal HVACs and pool pumps. Rick counts them.
RICK CARVER
Eight. And four pool pumps. Good addition.
DENNIS
I figured "Why not?" Dropped this one - beyond repair - so better make it seven.
RICK CARVER
Sell it for scrap metal.
DENNIS
Already priced it out at $300.
RICK CARVER
Good. Invoice Rick Carver Realty $24K for the ACs and $3,200 for the pumps. The banks will reimburse me in that amount. Your take is 25%, about $6,700.
Dennis is impressed.
DENNIS
I'm gonna need that Ruger.
RICK CARVER
Excuse me? What'd you say?
Dennis looks annoyed.
RICK CARVER
You're saying you want the gun? Did I understand you?
EXT. STORAGE UNIT / RICK'S SUV - DAY
Rick opens the glove compartment and hands the gun to Dennis.
RICK CARVER
I ran the background check already. You're clear to carry it.
Dennis holds the gun. It's a little awkward in his hands.
RICK CARVER
Who pays the most out in cash-for- keys? - Fannie & Freddie. Then it's BoA.
I want you to go to every one of their foreclosed property in our books and find the ones that are unoccupied. No homeowner. And no tenant. You got that?
EXT. HOME DEPOT - SUNRISE
Dennis and Javier drive up and greet Dennis' Crew and pull them and three other Guys they know into the truck.
INT. DENNIS' TRUCK \[MOVING\] - MORNING
MUSIC. Dennis and Javier pass beers through the cab window to the 5 Guys in the back of the truck, laughing and joking.
I/E. DENNIS' TRUCK / VACANT HOME #1 - DAY
From in the truck Dennis sees Javier peering into a vacant home ("Rick Carver Realty" sign). Javier runs to the truck.
JAVIER
Empty as a mo-fo! I'd love to live in this bitch. 3221 Lincoln drive.
Dennis writes the address on a lease agreement.
I/E. DENNIS' TRUCK / VACANT HOME #2 - DAY
Dennis' Crew #1 jumps into the back of the truck and shouts -
DENNIS' CREW #1
676 Capland Ave!
Dennis fills out another lease.
EXT. VACANT HOME #3 - DAY
Dennis fills out a lease and hands it to Crew #2, who signs. He collects leases from the others who sign their names.
DENNIS
Ok. You are all now "tenants" of these properties with these lease agreements.
DENNIS' CREW
Can we really move in?
DENNIS
No, dumb ass. You can't really move in. We need the bank to think you live here so I can negotiate cash- for-keys deals with all of you.
JAVIER
How much they paying?
DENNIS
... $2,500 checks from the government and the fucking banks.
JAVIER & DENNIS' CREW
$2,500! Fuck 'em up the ass! Yehaw!
They're happy as hell.
EXT. GOLF COURSE - DAY
Dennis stands near golf carts at a distance from Rick, COUNTY COMMISSIONER LINK (30s-50s) and two RICH MEN who talk on the green. They shake hands; Rick and Link walk to Dennis.
COUNTY COMMISSIONER LINK
You think Freeman is the way to go?
RICK CARVER
He's Fannie's number one attorney three years running and he can connect us to bulk buyers. I'm not talking millions of dollars; I'm talking billions. - Arthur, this is Dennis Nash. - County Commissioner Arthur Link. -Your property on 2102 West Jefferson; I'll have Dennis make sure your gutters are re-done.
COUNTY COMMISSIONER LINK
What happened to Bill?
RICK CARVER
Killed him. This is my new guy and he's gonna last.
COUNTY COMMISSIONER LINK
Alright, I-I'll get us a meeting with Freeman.
(to Dennis)
You want to move up in real estate, this is the guy.
Link joins the men. Rick and Dennis drive away in a cart.
INT. GOLF CART \[MOVING\] - CONTINUOUS
Rick drives. Dennis next to him.
RICK CARVER
What do you have for me?
Dennis shows the "fake" leases.
DENNIS
Successfully negotiated six cash- for-keys with six "tenants."
RICK CARVER
Not bad. So, Nash, how much did you tell your buddies - $3,500 per home or less?
DENNIS
$3,500. Yeah.
RICK CARVER
Oh. You told them the full amount?
DENNIS
I told them what I told them. What do you care?
Rick smiles like a devil.
EXT. RICK'S EMPTY MCMANSION #1 - DAY
Rick parks the cart at the back of a massive, beautiful McMansion and walks to the swimming pool. Confused, Dennis follows Rick who greets TAMIKA, a gorgeous African American woman (early 20s) busy texting at the pool.
RICK CARVER
You look gorgeous, baby.
TAMIKA
I know.
He kisses her for a while. Dennis watches, uncertain.
RICK CARVER
Don't you have classes today?
TAMIKA
It's all online. Can we go to Capital Grille tonight?
RICK CARVER
Sure why not?
He motions to Dennis who follows Rick. Rick shows him his business card.
RICK CARVER
That's my sweetheart. She studies graphic design. I had her do my business cards.
They enter -
INT. RICK'S EMPTY MCMANSION #1 - CONTINUOUS
Dennis notices the mansion is empty except for a mattress on the floor, a sofa, coffee table, and couple suitcases.
DENNIS
Is this yours?
RICK CARVER
Just keeping it warm. Scan the leases so we can email Fannie and BoA.
Dennis moves to the scanner.
RICK CARVER
So, Nash - why aren't you married?
DENNIS
Uh. Don't really have time for it.
RICK CARVER
I don't trust a man who isn't married. Nobody does. - You want to tell me what happened to Connor's mom?
DENNIS
Not really.
RICK CARVER
Prom night fiaso?
DENNIS
Close, yeah, something like that.
Rick studies him for a moment. He produces a check from the paperwork on his desk.
RICK CARVER
Your check from the ACs and pool pumps. Came out higher than I thought - $7,200.
Dennis opens the envelope and sees the check... then hands it back to Rick.
DENNIS
Keep it. I'll give you the $3,000 I already made, and add my share from these leases. I want my home back.
RICK CARVER
BPO on your home came in at $170K. I'll buy it and you'll owe me. $155,000 at 12% amortized over 30 years with a two year balloon.
DENNIS
Jesus, that's a shitty rate.
RICK CARVER
No bank'll loan you money and if you don't pay, I'm on the hook. And I don't want that property; it doesn't have a future.
DENNIS
It's my family home.
RICK CARVER
It's a home. But if you want it, it's yours. It'll take the bank eight to twelve weeks to list it on the MLS; you can do repairs, but you can't move in until then.
DENNIS
And the contract?
RICK CARVER
I'll have my office provide you the contract for deed.
DENNIS
So it's mine again?
RICK CARVER
Yes, it's yours.
DENNIS
Ok. Thank you. Seriously thank you.
He extends his hand. Rick awkwardly shakes it. Dennis is emotional.
RICK CARVER
No tears.... drink?
DENNIS
No. I'm good.
Rick pours a drink from the bar.
RICK CARVER
You might want to reconsider. We have one more stop today. 224 Lakeview Court.
DENNIS
That's Mr. Tanner. I offered him a Wells Fargo cash-for-keys.
RICK CARVER
He never called and his eviction is today. You can pop your cherry with him. The first one's a bitch. You get numb to it. Stand next to me today, but after this you'll do 'em on your own.
DENNIS
Listen, Rick. Can't I -
RICK CARVER
Go fuck yourself? Yes. What'd you think working for me would mean?
DENNIS
I just thought -
RICK CARVER
No, you didn't think about it. And you didn't have the guts to ask me. Nobody does. But who in their right mind wouldn't rather put someone in a home than drag them out of it. Up until three years ago I used to be a regular real-estate broker, putting people into homes and speculating on properties. That was my job. - In 2006, Robert and Julia Tanner borrowed 30 grand to put an enclosed patio on their home which they had managed to live without for 25 years.
Ask them when they're spitting in your face as you walk them to the curb. Ask the banks why they gave them an adjustable rate mortgage. Ask the government why they lifted all regulations and turned a blind eye. You, the Tanners, the banks, Washington and every other homeowner and investor from here to China turned my life into evictions. I'm not an aristocrat. I wasn't born into it. My dad was a roofer. I grew up on construction sites watching him work his ass off until he fell from a townhouse. A lifetime of insurance payments and they dropped him before he could buy a wheelchair but only after they got him hooked on pain killers. Do you think I'm going to let that happen to me? Do you think America 2010 gives one damn about Carver or Nash? America doesn't bail out the losers. America was built by bailing out the winners. By rigging a nation of the winners, by the winners, for the winners. Do you go to church Nash? Do you?
DENNIS
Yeah.
RICK CARVER
Only 1 in 100 is gonna get on the Ark and every other poor soul's going to drown. I'm not going to drown.
They lock eyes for a long beat.
DENNIS
I'll do it alone. I've seen you do it. I know how it's done. I'll do it alone.
I/E. DENNIS' TRUCK / TANNER HOME - DAY
From through the windshield of Dennis' truck: Jeff, Crew and Locksmith loiter in the Tanners' lawn; NEIGHBORS gather; the Sheriffs get out of their cruisers. Dennis sees this from inside his truck. It's hot and sweaty. The windows are rolled up. He doesn't want to be here. CLACK CLACK CLACK Sheriff #1 bangs his nightstick; Dennis unrolls his window.
SHERIFF #1
(laughing)
Hoooooly shit! Rick told me, but - Let's go, rookie! Don't think I got dressed up just for you.
He laughs and walks off. Dennis opens the glove compartment and pulls out the gun. He holsters it on his ankle.
EXT. TANNER HOME - MOMENTS LATER
Dennis sweats as he walks to Mr. Tanner and MRS. TANNER standing at their front door with the two Sheriffs.
DENNIS
Good morning, Mr. Tanner. Ma'am. I'm Dennis Nash, from Rick Carver Realty.
MR. TANNER
I remember you, Mr. Nash. Why, why're you here?
DENNIS
Um, I'm sorry to say, this home has been foreclosed on and transferred to the bank. I hate to be here doing this, but I'll need you to please step out of the property now.
MR. TANNER
No, I, I... my wife's on the phone right now with our lawyer. You see, this is a mix-up and we're going to have it all sorted out.
DENNIS
I understand, Mr. Tanner, but -
MR. TANNER
Honey! Honey, do you have him on the line?
DENNIS
Sir, it's not going to matter -
Dennis sees Mrs. Tanner and two kids come to the door.
MRS. TANNER
He wasn't there. They said he'll call us back.
MR. TANNER
There you go. We have to wait. We're filing an appeal, there's no point in you being here right now.
DENNIS
I understand Mr. Tanner. But what I have here is a court order signed by the judge. What I can do is give you a few minutes to gather your personal items. Your checkbook, jewelry, medicines... your kids'... important belongings, but then I'm going to have to ask you to vacate the home.
MRS. TANNER
Well, I don't care. You were not supposed to be here today, so you need to leave now.
DENNIS
Ma'am. What I can do is -
MRS. TANNER
You are leaving. We are going back inside.
SHERIFF #1
Please calm down ma'am.
MRS. TANNER
I am calm. I am calm.
SHERIFF #1
Don't close the door ma'am.
Sheriff #1 moves Dennis aside. Sheriff #2 steps up.
MR. TANNER
You're trespassing. You all need to leave.
SHERIFF #1
No, you and your wife are trespassing.
Any more trouble and we will walk you straight to the curb or the county jail. You decide. Dennis sees the Tanners go inside with the Sheriffs. Dennis sees Jeff smirking at him. Dennis sees the Sheriffs escort the Tanners out, clutching bags, kids crying.
SHERIFF #1
Clear. Get your men in here, Nash.
Dennis motions to his crew who come marching up the lawn and in the house.
SHERIFF #1
They can't stand there.
Dennis takes a deep breath and approaches the Tanners.
DENNIS
Mr. Tanner, ma'am, please walk with me to the curb.
MR. TANNER
What?
DENNIS
Let's just go to the curb, please.
He guides them to the street.
MR. TANNER
You're responsible for this. You know that right? What happens to me, to my family. That's on you.
They reach the curb.
DENNIS
I'm sorry Mrs. Tanner. I didn't want to do this today, I tried to avoid this -
MRS. TANNER
How do you live with yourself? Do you have a family? How could you? Shame on you. Shame on you.
Jeff and crew start piling stuff up in front of them. Mr. Tanner begins to weep.
MRS. TANNER
It's ok, baby, it's ok.
INT. TANNER HOME - CONTINUOUS
Dennis stands alone in the Tanner's living room watching the clean out crew taking the Tanner's belongs out. He looks out the window and sees them on the curb, crying.
I/E. GAS STATION - DAY
Dennis enters the gas station and heads to the -
INT. GAS STATION BATHROOM - CONTINUOUS
He closes the door. He is a wreck. He changes back to his work clothes. He stares at himself in the mirror.
INT. DENNIS' PICK-UP TRUCK \[MOVING\] - MORNING
Dennis drives Lynn and Connor. They're all happy.
CONNOR
Where're we going?
DENNIS
I don't know. You tell me.
CONNOR
To see the Magic practice?
DENNIS
No.
CONNOR
All you can eat ice-cream at Denny's?
DENNIS
No, but we can get that later.
CONNOR
Oh, oh, oh! I know. To see the Queen of England?
DENNIS
(laughs)
No! - What?!
CONNOR
It's possible.
I/E. DENNIS' TRUCK / DENNIS' HOME - MORNING
They arrive at their home. Lynn and Connor can't believe it.
CONNOR
What're we doing here?
DENNIS
I don't know. What're we doing here? Grab these brushes.
They get paint cans and brushes from the back of the truck.
CONNOR
Are we breaking in?
LYNN
Ask your dad.
Dennis uses an iPhone extension to signal the lock box to open. The key pops out. Lynn gasps.
CONNOR
There's an app for that?
INT. DENNIS' HOME - CONTINUOUS
They enter. Lynn and Connor are amazed, looking around.
LYNN
What are we doing?
CONNOR
What are we doing here?
They walk in. Lynn sees her garden has withered; weeds.
LYNN
Oh my god, look.
CONNOR
What are we doing here??
DENNIS
I got the home back.
LYNN
What??
CONNOR
Does that mean I get my room back?
DENNIS
Yup.
Connor runs to his room.
LYNN
How'd you get the house back?
CONNOR
My room looks so big!
DENNIS
That's becuase it is.
(to Lynn)
We won't be able to move in for a couple weeks, but... It's ours again. I'll explain.
He goes to Connor's room, leaving Lynn to digest everything.
LYNN
Oh my god.
Lynn picks up and hangs her withered plant.
INT. CONNOR'S ROOM - CONTINUOUS
Dennis joins Connor.
DENNIS
How about a bunk bed? What else?
CONNOR
A basketball hoop so I can dunk, right there!
DENNIS
What else?
CONNOR
A hot tub! A hot tub right there, you can break the wall down! And the wall should be silver like the Orlando magic.
DENNIS
You know what else I was thinking? I was thinking in the backyard we could get a pool.
CONNOR
A pool?! Yeah!
DENNIS
You have to help me paint the house first. Let's start painting.
He hands Connor tape and rubs his ear, who accepts.
INT. DENNIS' HOME / KITCHEN & LIVING ROOM - CONTINUOUS
Lynn cleans dusts of the kitchen counters. She's tearing up. Dennis enters and watches her.
LYNN
How are you doing this? How is this real?
DENNIS
My boss bought it for me and I'm paying him back in installments just like a bank.
Dennis shows her the contract.
LYNN
(suspicious)
What does he get?
DENNIS
He gets his money back. He gives me work so he's keeping me working.
(about Connor)
He's painting his room right now. I got it back.
Lynn stares at the contract. She has doubts. Looks at him.
LYNN
What's your name?
LATER Derek arrives.
CONNOR
Derek! What's up!
DENNIS
What's up Derek?
DEREK
Hi Mr. Nash!
They play play-wrestle and have fun, Dennis pretending to be a gorilla.
CONNOR
The dominant Silverback Gorilla! We've been spotted!
Lynn watches them play, still unsure.
EXT. ANGRY MAN'S HOME - DAY
BZZZZZZ. CU - Locksmith drills the lock off and opens the door. Sheriff enters with his gun drawn.
SHERIFF #1
Sheriff's Department. Anybody home?
DENNIS
Alright, jump in.
EXT. EVICTION HOME #1 - DAY
Dennis (Sheriff, crew, locksmith) evicts a TENANT MAN.
DENNIS
So you are not Mr. Ron Curtis?
TENANT MAN
No. He's my landlord. He lives in Miami.
DENNIS
You're not the owner of this property?
TENANT MAN
No, we rent, we've been paying the rent here for 8 years.
SHERIFF #1
Sir, I put notices on your door -
TENANT MAN
And I gave them to the landlord. He told me to ignore them, that he was doing a loan re-modification and not to worry about it.
DENNIS
Your landlord has scammed you. You've been scammed.
EXT. EVICTION HOME #2 - DAY
Dennis hands the check to an OLDER AFRICAN AMERICAN WOMAN.
OLDER AFRICAN AMERICAN WOMAN
That's $3500, right?
DENNIS
Yeah, $3500.
She struggles to remove the home key from their chain.
OLDER AFRICAN AMERICAN WOMAN
I can't...
She hands it to Dennis who removes it. He hands the chain back.
I/E. DENNIS' TRUCK - DAY
Dennis puts the keys into a container of other keys.
I/E. MR. BALDWIN'S HOME - DAY
Dennis and Sheriff #3 stand at the door with MR. BALDWIN, (70s-80s, confused, floral shirt).
DENNIS
Hello Mr. Baldwin, my name is Dennis Nash, I'm here representing Rick Carver Realty. Today is the day of your eviction, I'm afraid.
MR. BALDWIN
No no, I have a reverse mortgage on this house and my wife and I took it out. My wife went down to the bank and she signed the papers.
SHERIFF #1
Mr. Baldwin, there was a process in place, all the paperwork was submitted, signed by a Judge, it's all legal. Mr. Baldwin, step outside for me please... Go ahead.
MR. BALDWIN
Ok...
Mr. Baldwin steps out. Sheriff 2 stays with Baldwin as Dennis and Sheriff #1 enter.
EXT. EVICTION HOME #3 - DAY
Dennis speaks with a MIDDLE AGED WOMAN as clean-out crew bring out her belongings.
MIDDLE AGED WOMAN
We already did the modification, they approved it, we sent in our first check...
DENNIS
What I suggest is we figure out a way to get all your stuff safe - a U-Haul or something like that.
MIDDLE AGED WOMAN
I'm going to have to call my husband. I could maybe store it at my sister's house down the street for a day or...
She stops, overwhelmed.
EXT. DENNIS' TRUCK - DAY
Dennis puts another sets of keys in the jar - it's half full now.
EXT. EVICTION HOME #4 - DAY
Dennis tries to communicate with a HISPANIC MOTHER as her HISPANIC SON translates. The young son struggles to explain the situation as Dennis speaks and the mother listens.
DENNIS
The house isn't your anymore.
The son translates. The mother takes it in.
I/E. EVICTION HOME #5 - DAY
Dennis looks in the window, KNOCKS one last time, then nods to the Locksmith, who saws out the doorknob. Dennis enters with the Sheriffs and sees the house is fully furnished: Parakeets CHIRP in a cage; family photos and a crucifix on the wall; laundry hanging to dry in the backyard.
DENNIS
Anyone know what to do with a bird?
EXT. TIDWELL HOME - DAY
Mrs. Tidwell signs a CFK. He hands her a check.
DENNIS
Mrs. Tidwell stares at the check.
She hands over her keys.
INT. DENNIS' TRUCK - CONTINUOUS
Dennis puts another key in his jar - now it is full.
EXT. EVICTION HOME #6 - DAY
Dennis confronts a group of SURLY HOMEOWNERS.
DENNIS
I'm trying to give you the better option here, I'm going to have to send these guys, who are being employed today to go in and grab your stuff and throw it on the curb.
SHERIFF #1
I really don't want to take you to jail. I don't have the time -
SURLY HOMEOWNER
Well you know what you can do with that?
(points to the clipboard)
You can do something else with that because I'm not gonna touch it.
EXT. MR. BALDWIN'S HOME - DAY
Mr. Baldwin sits in a plastic chair, a box on his lap.
DENNIS
Do you have any family or friends?
MR. BALDWIN
I have a son up in Michigan, but I haven't seen him in a couple years...
SHERIFF #2
Do you have his phone number?
MR. BALDWIN
No, no...
SHERIFF #2
Nobody you can stay with?
MR. BALDWIN
No, no I don't...
DENNIS
Any neighbors that can help you out?
MR. BALDWIN
I don't know my neighbors anymore.
SHERIFF #2
I can give you a ride to the Salvation Army or the Red Cross?
Dennis stares at the lost and helpless Mr. Baldwin. HOLD.
INT. MOTEL ROOM - NIGHT
Dennis can't sleep. Connor is tangled up with him. He removes Connor's arm and quietly gets out of bed.
EXT. MOTEL - NIGHT
He smokes a joint and stares at traffic on an overpass.
INT. PHOTO STUDIO - DAY
In a suit and slicked hair, Dennis looks like a new man.
PHOTOGRAPHER (O.S.)
Please lower your chin and turn your head towards me... That's it.
Rick stands next to the PHOTOGRAPHER.
RICK CARVER
Say "short-sale" three times and smile.
Dennis smiles and the camera flashes repeatedly. MOMENTS LATER Rick approves of the business card and hands it to Dennis.
RICK CARVER
Pretty civilized.
Dennis looks at a card with his photo: DENNIS NASH, SENIOR SALES MANAGER, Rick CARVER REALTY, INC.
INT. WILLIAM FREEMAN'S OFFICE - MOMENTS LATER
WILLIAM FREEMAN (50s, confident) sits behind his desk in the glass office. Freeman's ASSOCIATE, Dennis, Rick and Link sit around the table. Dennis listens carefully as they talk:
COUNTY COMMISSIONER LINK
Tesken Equity Management just picked up 400 homes in the last two months, all-cash buys - no loans. A hundred million dollars. Orange County needs your help to find another bulk buyer like Tesken.
As they talk Dennis notices Freeman's Lawyer who beat him in court.
MR. FREEMAN
And I'd like to know where the new highway that's to connect 414 and the Apopka Expressway is going to be.
COUNTY COMMISSIONER LINK
Yes, well, that information isn't public yet, so...
MR. FREEMAN
I have a lot of property that could be impacted by the zoning board's decision.
Rick smiles with pride; Dennis notices.
MR. FREEMAN
Anything else, Arthur?
COUNTY COMMISSIONER LINK
Ok. Yes, yes. I know the route.
MR. FREEMAN
There's a bulk buyer here out of New York, Vesic Investment Group. But they're shopping with a pissant broker out of Kissimmee named Ortiz who just sold them 15 homes last month.
RICK CARVER
Excuse me, sir. I know Ortiz. I can get Vesic Investment Group away from him and my team can handle as many homes as you have to sell.
MR. FREEMAN
I have upwards of 1000 homes. Possibly more. Get me Vesic and we'll be in business.
EXT. DOWNTOWN ORLANDO - DAY
Dennis and Rick walk.
RICK CARVER
1000 homes. Do you know how much money we're talking about? Track Ortiz, find who he's talking to and what properties they're looking at. We need to know what the Vesic deal is.
DENNIS
Rick. What's my cut?
RICK CARVER
Shut the fuck up and get going.
DENNIS
You can't handle 1000 homes without me. Standard commission is 6%.
What's my cut to help you get Vesic to Freeman? Rick smiles, then laughs.
RICK CARVER
I'll give you 5% of my take.
DENNIS
10%.
RICK CARVER
6 and a hand job. No calluses. You'll pull in something between $200 to $300K.
DENNIS
...
RICK CARVER
That's more than you made in your -
DENNIS
Yeah yeah, more than I made in my whole life.
They shake. Partners.
I/E. DENNIS' TRUCK / RITZ CARLTON HOTEL - MORNING
ORTIZ (40s-50s) waits at the lobby. Dennis notices PRADEEP KHANNA (30s-40s, Indian-American, confident, NYC look) exit the hotel and greet an affable Ortiz. They get in Ortiz's SUV. Dennis follows them.
I/E. DENNIS' TRUCK / ORTIZ HOME #1 - MORNING
Dennis pulls up to a home as Ortiz parks. Dennis sees Ortiz and Khanna look around the home. Ortiz shows Khanna information on an iPad as they enter the home. Dennis takes a photo of the home, including a sign in the lawn: FOR SALE BY BANK OF SANTA FE.
I/E. DENNIS' TRUCK / ORTIZ HOME #2 - DAY
Dennis watches Ortiz and Khanna examine another foreclosed home. A FEMALE HOMEOWNER peers out her door. BEEP. Text message from Rick: last 4 homes all bank of santa fe.
I/E. DENNIS' TRUCK / FRANK GREENE'S HOME - AFTERNOON
Dennis sees Ortiz and Khanna drive away. He looks towards the home and sees Frank and his family. He gets out of his truck.
EXT. FRANK GREENE'S HOME - CONTINUOUS
Frank and Frank's Wife put recycled cans into car trunk. He sees his Sons riding bikes. Dennis approaches Frank; Frank stops him.
DENNIS
Hey, Frank.
FRANK GREENE
What do you want? You with those guys?
DENNIS
No, not at all. Just come to see how you're doing. If you want, maybe I can get you a job.
FRANK GREENE
Nice suit. Still working for your friend?
DENNIS
I didn't have to come here. I just wanted to -
FRANK GREENE
To lie to me? To cheat me?
DENNIS
To help you. Have you thought about where your kids are gonna live when you lose this? It's not pretty.
FRANK GREENE
My kids have a home. This one right here. I did research and took boxes of files to a lawyer. Pro-bono.
I'm going to win my home legally, in court.
DENNIS
Be realistic. The judges don't care, and the courts -
FRANK GREENE
"Be realistic?" I didn't ask for your help, sir. And I don't want it. You're trespassing. Please get off my property and don't come here again.
INT. RICK'S EMPTY MCMANSION #2 - DAY
Rick drinks whiskey as Dennis thinks.
RICK CARVER
There's over 100 homes in this deal. Ortiz, the king of the Miguels, is going to sell 100 homes to Vesic.
(points at maps on wall)
They're all in these neighborhoods, priced between $165 and $200K. We're talking upwards of a $20 million deal. And it's not mine.
DENNIS
Holy shit.
Tamika enters with an iPad and wraps her arms around Rick.
TAMIKA
Triple word score. Take that.
RICK CARVER
We're working.
TAMIKA
I know. Dennis, tell him to take a break.
DENNIS
Rick. Take a break.
Suddenly, Rick wraps his arms around her and gives her a deep, passionate kiss. Dennis studies maps on the wall. Then -
DENNIS
Vesic already bought 15 homes from Ortiz last month.
RICK CARVER
So?
DENNIS
I'm going to take out all the ACs, water pumps, and appliances from those homes. And who do you think Vesic will blame?
RICK CARVER
Ortiz. They'll call immigration and put him on his lawn mower back over the border while I'm on the phone with the Bank of Santa Fe.
DENNIS
And we'll sell a 100 homes.
RICK CARVER
And 1000 more for Freeman. I see green skies ahead.
DENNIS
Start by putting green in my pocket. I'll empty out the 15 homes tonight. $100 a pop. $1,500.
EXT. ORTIZ HOME - AFTERNOON
Dennis uses his iPhone to open the electronic lock box. Javier and Dennis' Crew (two) approach with dollies.
JAVIER
HVACs and water pumps?
DENNIS
Get the appliances this time too - dishwasher, fridge, oven. Skip microwaves.
Dennis uses his iPhone to get the key.
JAVIER
You're going in?
DENNIS
You're going in.
JAVIER
Nah, that's B&E man, that's guaranteed time right there.
DENNIS
It's not B&E if you got a key - we're doing appliances, fridges...
JAVIER
Aiight.
I/E. DENNIS' TRUCK / DENNIS' NEW HOME - SUNSET
Dennis drives and talks on phone.
DENNIS (INTO PHONE)
Yeah. Rick said he wanted me to handle the short sale for him, so I'm heading there now. - Hang on.
He notices something and stops in front of an impressive home with a "foreclosure Rick Carver Realty" sign in the yard.
DENNIS (INTO PHONE)
Do you know if 1484 Lakewood Drive is for sale?... I just drove by the place... Yeah? Does it have a pool?... Let me call you back.
He opens the door and looks at: a beautiful, large, stucco home with palm trees. Paradise.
EXT. MOTEL; SWIMMING POOL
It's Connor's birthday. Dennis grills, Lynn cuts cake, Connor is happy. Derek, the neighborhood kids, Justin and the motel kids are all there. LATER Lynn holds the pinata and Dennis and Connor smash it together, father and son are happy together. LATER Lynn wonders where Dennis is. Dennis returns with a brand new bike for Connor. Connor jumps all over it.
CONNOR
Whoa!
Connor hugs his dad and runs off with Derek and friends.
EXT. MOTEL PARKING LOT - LATER
Dennis and Lynn watch Derek and Connor ride bikes. Justin and motel kids ride old bikes and scooters. Families around.
DENNIS
Show us what you got!
Connor rides circles around Dennis as Lynn looks on, happy. Then... an EVICTED FAMILY (husband, wife, two kids) drives up. Confused and exhausted, they unpack their station wagon.
LYNN
(about the family)
Hey Connor, let's see if these guys want some of your cake. We got some cheese pizza left - you wanna ask if they want some cheese pizza?
Dennis stares at the family; something's wrong. He turns and starts to leave abruptly.
DENNIS
Alright, I gotta get Derek home.
LYNN
Okay, we're just gonna grab some pizza and some cake, I think it'd be nice to say hi to these guys.
DENNIS
Fine, I just gotta get Derek home.
The EVICTED MAN sees Dennis.
EVICTED MAN
Hey! Hey! Where you going? Hey you! Over here. I'm talking to you!
Dennis reluctantly turns. The Evicted Man is visibly angry.
DENNIS
You're talking to me?
EVICTED MAN
Yeah, I'm talking to you. What're you doing here? Are you following me?
DENNIS
No, I live here. I don't know what you're talking about so...
EVICTED MAN
Yeah, I know who you are. What're you doing here?
DENNIS
What?
EVICTED MAN
What are you doing here?
DENNIS
What do you mean? I live here, I just told you I live here. I don't know you, ok?
EVICTED MAN
No, you're Rick Carver Realty, I know exactly who you are.
Dennis starts trying to move the Man away from his family.
DENNIS
Listen, listen - you don't know me. I don't know you.
EVICTED MAN
I know you! You kicked me out of my home!
DENNIS
What?
Lynn's face darkens. Connor looks on, confused.
DENNIS
I don't know you!
EVICTED MAN
You work with Rick Carver, you kicked me out of my home!
DENNIS
Come over here, we'll talk.
EVICTED MAN
Why would I wanna go over there? I wanna talk right here. Nash, that's your name, isn't it?
Connor stares.
EVICTED MAN
You don't want everyone else here to know what a fucking asshole you are? And how you kicked me and my family out of our home?
DENNIS
You got me mixed up with somebody.
EVICTED MAN
No I don't. I know exactly who you are.
Everyone at the motel is watching now. Evicted families, kids, neighbors.
DENNIS
Just calm down.
EVICTED MAN
You kicked me out of my home! You ruined my fucking life!
Dennis tries to leave. Evicted Man shoves him back.
EVICTED MAN
No, you don't get to go anywhere!
DENNIS
(getting angry)
Don't do that.
LYNN
Dennis!
DENNIS
Get inside!
EVICTED MAN
Yeah, get inside!
DENNIS
(shoves him)
Don't fucking talk to her!
EVICTED MAN
What're you gonna fucking do?!
He shoves Dennis and they are in a fight. Lynn, Connor, Derek and the entire motel watches.
LYNN
Stop, please!
Connor watches Dennis and Evicted Man fighting. Motel people try to break it up.
EVICTED MAN
You motherfucker!
DENNIS
(to Lynn, Connor)
Go inside! Go inside!
LYNN
Dennis!
DENNIS
Take Connor inside!
LYNN
Okay!
Lynn takes Connor, still staring, away. Motel people finally get the Evicted Man away from Dennis.
EVICTED MAN
You ruined my life!
DENNIS
I'm not messing with this guy, he's crazy. I don't know you.
EVICTED MAN
You know me!
DENNIS
I don't fucking know you!
EVICTED MAN
I know you, Rick Carver Realty! I know you! I'll see you every day. When you wake up. When you go to bed. When your fucking kid is playing.
INT. MOTEL ROOM - SUNSET
Connor's new bike in the cramped room; Lynn and Connor sit silently. Dennis stares out the window.
DENNIS
You okay?
LYNN
How'd he know your name?
DENNIS
I don't know.
LYNN
Because he knew your face too.
DENNIS
I don't know, I work on foreclosed homes, maybe he saw me at his house or -
LYNN
Rick Carver, Dennis? Is that who you're working for?
DENNIS
No. No, I don't work for him.
LYNN
You're kicking people out of their homes? Like the people who live here?
DENNIS
No! I don't -
LYNN
That man just said -
DENNIS
He's lying, ok. I'm not kicking anyone out of their home! That guy was crazy. You saw him. That asshole Carver, he just represents his home by chance. That's it.
She doesn't buy it. Someone BANGS on the window startling them all.
MOTEL TENANT (O.S.)
ASSHOLE!!
Dennis pulls the curtains shut; the room gets dark. Silence.
LYNN
We can't stay here. Connor can't stay here.
DENNIS
We're not going to. I'm not doing anything wrong, so stop giving me all this shit.
LYNN
Are you evicting people?
DENNIS
MOM!
LYNN
He said you were at his eviction!
DENNIS
I don't know that fucking guy! I don't know how he knows me, I work on foreclosed homes, mom! This guy got foreclosed on, maybe he saw me at his home, I don't know!
He opens the door to leave.
DENNIS
Lock the door. And keep the curtains closed.
He slams the door shut leaving Lynn and Connor alone. CUT TO: AERIAL VIEW OF: Walt Disney World, Sea World, The Magic Kingdom castle... then neighborhoods, homes and more homes.
INT. MOVING HELICOPTER - AFTERNOON
Rick points out landmarks to Khanna. It's stuffy and sweaty. They shout to hear one another. Dennis stares out the window, amazed at the amount of homes, the size, the scope. His imagination runs wild. HOLD.
RICK CARVER
Disney World, Sea World, Universal Studios. Downtown Orlando's 10 miles at your 2 o'clock, and at your 4 o'clock you'll see the Bank of Santa Fe homes.
KHANNA
I never realized how close they were to shine-ola.
RICK CARVER
About the Bank of Santa Fe deal -
KHANNA
- it hasn't even been a week since we picked up 15 homes from Ortiz and all the appliances, ACs and water pumps are missing.
RICK CARVER
You're kidding me?
KHANNA
That's $150,000 hit. Hidden expenses kill returns, so Vesic's not interested anymore.
RICK CARVER
This Bank of Santa Fe deal is like one giant ATM machine. What can I do to get Vesic back into those homes?
KHANNA
I just don't think it's possible.
RICK CARVER
How about this: I'll put appliances back in those 15 homes - free of charge - and you move The Bank of Santa Fe from Ortiz over to me.
Khanna smiles. Rick is uncertain why...
KHANNA
Tell you what. Put brand spanking new appliances, ACs and water pumps into any of the 100 homes that need them and you got yourself a deal.
DENNIS
Appliances, yes. ACs and water pumps, no.
Rick is surprised Dennis spoke.
KHANNA
Ok. But the homes have to be unoccupied in 30 days. Put it in writing and you have a deal.
INT. RICK'S EMPTY MCMANSION #2 - NIGHT
Empty-Mansion-Party. Dennis, Rick, Tamika, KARINA (20s), LINK, sexy young WOMEN and DISTINGUISHED TYPES mingle. MUSIC. LATER Rick and Dennis talk above the crowd near a chandelier.
RICK CARVER
For the Santa Fe deal I'll give you 6% of my share. You'll end up with around $63,000 pre-tax.
DENNIS
(grins)
I guess I can accept that, - 63,000, you said? Shit yes!
Tamika and Karina arrive with drinks.
RICK CARVER
You used to dream about one home. Now it's 100.
DENNIS
(raises glass)
To dreams.
TAMIKA & KARINA
To dreams.
RICK CARVER
Fuck dreams. To 100 homes.
INT. RICK'S EMPTY MCMANSION #2 - LATER
Everyone dances. Karina grinds Dennis. Rick and Tamika more romantic. Drunk, Dennis rubs his face - he's losing control.
EXT. RICK'S EMPTY MCMANSION #2 - NIGHT
Rick dangles his feet in the water, smoking a cigar. Dennis comes down the walkway.
RICK CARVER
Uh-oh. The Zombie is coming to get me.
Dennis slumps on the dock beside him, drunk. Thinks.
DENNIS
Has anyone ever come up to you, somewhere, after an eviction?
RICK CARVER
Someone tried to run me off the road a year ago. I haven't gone to dinner once with my wife and girls in the last three years without looking over my shoulder. It's why I carry this, even now, 5am.
He takes his gun out and shows it.
DENNIS
Is it worth it?
RICK CARVER
... As opposed to what?
DENNIS
...
RICK CARVER
Did someone get to you?
DENNIS
No.
RICK CARVER
Bullshit. Someone's calling you. Or they found you?
Dennis says nothing. Rick sets his gun down between them.
RICK CARVER
So. Nash. The sun is coming up and here we are. What do you think?
DENNIS
About what?
RICK CARVER
You wanted to kill me once. Now you're going to make a lot of money.
DENNIS
I did wanna kill you. I dunno. I dunno what I'm doing here, but I'm thankful. What can I do, you know, my dad... Well he killed himself pretty much.
(holds up his drink, then pours it out)
Sorry to waste your booze. He died of a heart attack, booze, food, whatever you wanna call it.
Left me with my mom, my boy... My boy... As opposed to what?... Rick stares on.
DENNIS
I need to move into my home. Now. I can't wait anymore.
RICK CARVER
It's gotta be listed for sale on the MLS first. Few more weeks.
DENNIS
No. I can't stay in that motel any longer.
RICK CARVER
Just pick another one. You got the money now, buy whatever you want. There's plenty of homes in the sea. Like I said, don't get emotional about real estate, Nash! They're boxes. You listening? Big boxes, small boxes. What matters is how many you got. You're gonna have more properties than women to fill 'em with. You know that, right? Buy one for your mom, one of your kid and one for yourself. What do I care? Yes sir, 100 homes...
DENNIS
1000 fucking homes.
Rick lies down and smokes his cigar.
RICK CARVER
Watch out for the gators. They don't sleep. Make sure I don't roll into the water.
Dennis thinks about the future... something on his mind.
INT. DENNIS' TRUCK \[MOVING\] - DAY
Dennis drives the family in the packed truck, just like when they were first evicted.
LYNN
Why are we going this way?
DENNIS
I want to show you something.
Lynn stares out the window, uneasy.
EXT. DENNIS' NEW HOME - AFTERNOON
The large beautiful home that Dennis saw earlier. He pulls up; they get out. Lynn and Connor are confused.
LYNN
What is this?
DENNIS
Just trust me and follow me please.
INT. DENNIS' NEW HOME - CONTINUOUS
Dennis opens the door.
LYNN
What is this?
DENNIS
Have a look.
LYNN
Why?
DENNIS
Come on! Just a quick tour.
They are startled by the size and high-ceilings. He shows them around, a large master bedroom and two others rooms - all furnished.
CONNOR
It's a cool pool.
DENNIS
I'd say. You wanna dive in, right?
CONNOR
Who's basketball hoop is that?
DENNIS
I think that used to belong to Shaquille O'Neal.
But he lowered it because he likes to dunk sitting down.
LYNN
Can we go now? Please?
DENNIS
You see the pool?
Lynn shrugs.
DENNIS
I bought this for you.
Connor and Lynn don't get it. Dennis points to the pool.
DENNIS
(to Connor)
And you. That's your pool.
LYNN
Let's go home, this isn't funny.
DENNIS
I'm not joking, mom.
LYNN
That's not his basketball net. This is somebody else's. And I want our house. I wanna go home.
DENNIS
I sold that home. I sold it and flipped the money into this. This is ours, fresh start. I don't want to go back to the house we were evicted from.
LYNN
(shocked)
You sold our house?
DENNIS
There is no more home. We couldn't move in there for three weeks, and we had to move, didn't we? So I got this. I had to get us out of that motel so Connor wouldn't get killed, so I wouldn't get killed -
LYNN
Who gave you this home? How did you get it? By kicking people out of their homes? You buy this?!
DENNIS
I didn't kick anybody out of this home, I bought this home with money that I earned! So I could put a roof over your head and I could put food in his mouth! We were drowning, mom, we had to get out!
LYNN
It stops here.
DENNIS
I bought this fair and square. I didn't take it from anyone.
LYNN
I'm gonna call Jimmy. We're moving to Tampa. Come on Connor.
She walks to the door with Connor.
DENNIS
Wait. Mom.
LYNN
And you're gonna figure this out.
DENNIS
I did this for Connor. We were drowning.
LYNN
Rick Carver? Rick Carver who bought our house for us? I'm not staying here. I'm not staying in this home.
Dennis looks at Connor.
DENNIS
What do you want?
Connor goes to his mom. Dennis is devastated.
I/E. DENNIS' HOME - NIGHT
Dennis turns on the swimming pool light while drinking a beer. He's drunk. Turns on all the lights in the backyard. Lynn prepares Connor a simple dinner. She glances at Dennis turning on lights throughout the house. Connor looks up at his father through the windows.
INT. DENNIS' NEW HOME - MORNING
He walks through his empty home. He goes to Lynn's locked bedroom door and knocks.
DENNIS
Connor?... Mom, is Connor okay?
LYNN (O.S.)
He's sleeping.
EXT. DENNIS' NEW HOME - MORNING
Dennis paces around the pool smoking. His phone RINGS. He looks at the home as he talks.
DENNIS (INTO PHONE)
Hi Rick... Right now? -... ok.
INT. WILLIAM FREEMAN'S LAW FIRM - MORNING
Dennis enters and sees: Freeman's office in the distance. Behind the glass windows are Rick, Freeman, Link, and Freeman's Associate. Dennis sees a YOUNG LAWYER run from one end of the office with a paper in his hand. He enters Freeman's office and hands the paper to Freeman, who looks it over and nods. Freeman hands the paper to Rick, who walks out of the office and bee-lines to Dennis.
RICK CARVER
One of the Santa Fe homeowners is blocking his eviction in court tomorrow. If he's successful and others will follow and Vesic will pull out.
He hands the paper to Dennis.
RICK CARVER
This is a proof of publication; it wasn't filed six months ago. Freeman's boys just back dated and notarized it. You need to be at the courthouse globe at 9:45 a.m. The Court Clerk will meet you there. Give it to him.
DENNIS
This is forged?
RICK CARVER
It's a stupid piece of paper someone forgot to file when the loan was being bought and sold a million times over. It's just a technicality.
Dennis looks at the paper and turns white as he reads:
DENNIS
... Frank Greene.
RICK CARVER
Yeah, the same deadbeat who was stealing my water and power. I told you he was no good.
He CLAPS loudly and startles a distracted Dennis.
RICK CARVER
HEY! That's not your dick in your hand. That's the Santa Fe deal, 100 homes, 1000 more with Freeman, our money, Miami, your home, everything. You awake or what?
DENNIS
Yeah. Yes. Ok.
RICK CARVER
Don't "yeah, yes, ok" me. Courthouse globe. 9:45 am.
INT. COURT / GLOBE AREA - MORNING
The envelope in hand, a hesitant Dennis looks at the globe. On the other side of the room, he spots Frank Greene speaking with his attorney. He's careful not to be seen. Dennis sees Frank hug his WIFE and kids. They're optimistic. They're going to win. He stares at Frank's Son, a lot like Connor.
FRANK'S SON
(to the lawyer)
Hello.
He shakes hands with the lawyer.
INT. COURT BATHROOM - MOMENTS LATER
Dennis rubs his face with water. BEEP BEEP. He reads texts from Rick: where the fuck are you? / call me! Dennis looks at his RINGING phone. It's Rick calling. Dennis declines the call. The time on his phone reads: 9:52am. He dries his face and looks at himself in the mirror. RINGING. RINGING.
DENNIS (INTO PHONE)
Hel -
INT. FREEMAN'S OFFICE - MORNING
Rick tries not to shout -
RICK CARVER (INTO PHONE)
What the hell's going on?!
INTERCUT BETWEEN RICK AND DENNIS
DENNIS (INTO PHONE)
Nothing, I -
RICK CARVER (INTO PHONE)
Get your ass to the globe now, or consider your life over. How far are you?
DENNIS (INTO PHONE)
I'm here now.
RICK CARVER (INTO PHONE)
And?
DENNIS (INTO PHONE)
I'm about to give it to him.
RICK CARVER (INTO PHONE)
Dumb fuck! Call me as soon as it's over.
Hangs up. Dennis stands in the bathroom, envelope in hand.
INT. COURT / GLOBE AREA - MOMENTS LATER
The Court Clerk (from Dennis' eviction) paces near the globe. Dennis sees him. Instead of approaching, he turns and leaves.
COURT CLERK
Hey!... Hey!
Dennis sees the Clerk taking quick strides to him.
COURT CLERK
Are you with Rick Carver?
Dennis hesitates.
COURT CLERK
Are you with Rick Carver? Are you with Carver or not?
Dennis doesn't respond.
COURT CLERK
Is that it?
The Clerk grabs it from him.
COURT CLERK
Idiot!
He quickly leaves. Dennis stands alone.
INT. COURT ROOM - MOMENTS LATER
Dennis peers though the window of the double doors and sees: Frank Greene next to his Attorney adjacent to Freeman Lawyer.
JUDGE
As far as I can tell, the proof of publication is here.
The Bailiff hands the paper to Frank's Lawyer.
FREEMAN LAWYER
Your Honor, we already have a buyer in place and we'd like to get this property off the books.
FRANK'S LAWYER
If we check the file index, I'm sure this has not been docketed.
JUDGE
That may be, but the proof is in the file and that's all the statute requires. I'm ordering the sale to go forward.
FRANK GREENE
Wait a second... what? Your Honor, this isn't right. We know for a fact that file was not there.
JUDGE
BSB versus Ballard.
FRANK GREENE
I was there. I know there was no proof of publication.
(to his lawyer)
You, you know it wasn't there.
(to Judge)
My... my wife and kids are here. Do you see them? My wife, my children?
INT. DENNIS' NEW HOME - DAY
Dennis enters. He looks around. At the pool. Nobody is there. He goes upstairs. Getting more concerned.
DENNIS
Connor?
Moves to the bedroom.
DENNIS
Mom? Connor? Connor?!
Nobody is there. Dennis dials his phone. RINGING. RINGING. Voicemail. He breaks down. Lynn and Connor are gone.
INT. DENNIS' NEW HOME - NIGHT
Dennis drunkenly plays with Connor's basketball, his phone next to the gun. He drinks from the whiskey bottle.
INT. DENNIS' NEW HOME - SUNRISE
Sunlight hits Dennis, passed out and alone in the large, empty living room. RING. RING. He wakes up from a nightmare. Grabs his phone. It's not his family.
DENNIS (INTO PHONE)
Hi Rick -
INT. RICK'S BMW SUV - CONTINUOUS
INTERCUT BETWEEN Rick AND DENNIS Rick pulls up to Dennis' home in his news BMW X6 SUV.
RICK CARVER (INTO PHONE)
Morning Donald Trump. I'm outside your new mansion. Where are you? Frank Greene's eviction. Let's go.
It hits Dennis like a punch in the gut.
RICK CARVER (INTO PHONE)
Hello? Dumb ass. You there?
INT. RICK'S BMW SUV \[MOVING\] - MORNING
Rick drives. Dennis sits.
RICK CARVER
There's eight other homeowners that we're going to have to evict after Greene. We need to make aggressive cash-for-keys offers to them. We'll pay out of pocket if we have to. But if they give me any flack - Freeman's boys and the court clerk, baby. No big deal.
Dennis looks out the passenger window, tormented.
EXT. FRANK GREENE'S HOME - CONTINUOUS
A boiling-hot day. Sheriffs, Jeff and crew wait outside Greene's home. NEIGHBORS across the street. Rick and Dennis arrive. They approach Sheriff #1 who's speaking with FRANK'S NEIGHBOR. While they talk, Dennis stares at Frank's home and sees Frank peering at them from behind his living room window curtain.
FRANK'S NEIGHBOR #1
... She's a worried wreck saying Frank hasn't slept in days. That he's up all night on the internet -
RICK CARVER
Excuse me, ma'am. - Bobby. Let's get this show on the road.
SHERIFF #1
Morning Rick. Possible trouble with the tenant - Mr. Greene. Seems he and his wife -
FRANK'S NEIGHBOR #1
Even last night we heard him yelling -
RICK CARVER
Ma'am. Thank you. We're not marriage counselors.
(to Sheriff)
Let's get cooking.
SHERIFF #1
Small problem; he may be armed.
Dennis takes this in.
RICK CARVER
Well go find out, Bobby.
SHERIFF #1
I'll call back up and check it out.
Dennis squints his eyes in the bright sun and looks at Frank behind the curtain.
DENNIS
Is his family in there with him?
NEIGHBOR FRIEND #1
Oh, yes. She was at my door this morning crying before he called her back inside. The kids didn't go to school either.
They all stare at the house.
SHERIFF #1
Alright, I'm going to check it out.
RICK CARVER
Thanks for the play by play. Hurry up.
Sweat falls over Dennis' eyes. He wipes it as he watches the two Sheriffs walk towards Frank's house. Then Dennis sees Frank raising something towards them. Dennis realizes what's about to happen. It's fast. And loud. SMASH, SMASH Frank Greene smashes the window and raises a Remington Woodmaster 742 semi-automatic 30.06 rifle out of his home. Neighbors and Crew run for cover, SCREAMING. Frightened, Rick pulls Dennis behind his SUV.
FRANK GREENE
I don't want to hurt anyone. Please get back. All of you. You're trespassing. I don't want to hurt anyone, but this is my home. Get off my property.
RICK CARVER
(to Dennis)
Where's your gun?! You don't have it?!
SHERIFF #1
Sir, put the weapon down!
FRANK GREENE
You're trespassing!
Frank fires TWO SHOTS at the grass. Sheriffs run behind their cruisers and pull their guns.
SHERIFF #2
Shots fired, shots fired!
Dennis punches the side of Rick's SUV.
DENNIS
Fuck, fuck!
FRANK GREENE
I am not going to leave here!
Dennis hears Frank's Wife and kids crying for him to stop.
I/E. FRANK GREENE'S HOME - CONTINUOUS
Frank motions his wife and kids to get back.
FRANK GREENE
Go to the bedroom. Don't stand there! Get in the bedroom, now!
Sheriff #1 points his gun at Frank.
SHERIFF #1
Sir, put the gun down!
Frank points the weapon out the window again.
FRANK GREENE
God damn it, stop it! Put that down, put it down, now!
SHERIFF #1
Not gonna happen, sir!
Frank hides out of view again.
SHERIFF #1
Sir, why don't you send your wife and kids out?
Dennis sees Frank staring out at what he's done. Police car arrives. Two POLICEMEN jump out with guns, asking for update.
SHERIFF #2
Sir, drop your weapon!
Silence for a moment.
FRANK GREENE
The courts decided my fate in 60 seconds flat. Nobody checked the file index. Fact. No proof of publication filed. Fact. Nobody looked at my cancelled checks that prove payment to the bank. Fact. The judge was retired, not up for re-election and not beholden to the citizens of this county. A lifetime in 60 seconds and this is my home.
FRANK'S SON
Dad!
Frank turns to him and the gun goes off accidentally shooting a box of files. They SCREAM. Frank is horrified.
FRANK GREENE
Get in the bedroom!
Dennis hears this.
DENNIS
Fuck! No, no!
He looks at Rick, inches from him. They've never been this close. Rick breaths hard, sweats; he's scared. Rick notices a shift in Dennis and squints his eyes.
RICK CARVER
... No.
Dennis rips his arm free, gets up from behind the SUV and walks to the lawn. Rick tries to stop him, but is frightened.
RICK CARVER
Dennis!
SHERIFF #1
Get back! Do not approach the house!
RICK CARVER
Do something! What the hell are you waiting for?!
Dennis ignores Rick and the Sheriffs' PLEAS and walks towards Frank's home.
FRANK GREENE
Stop! Get off my property. Please get back or I'm going to shoot. I will shoot you.
Frank points the rifle and Dennis stops walking.
FRANK GREENE
I'm not going to leave my home. Get off my lawn.
DENNIS
This is your home, this is your property Frank, I know! Please put that down.
FRANK GREENE
The banks made more money last year than anytime in the history of human civilization. Fact. Fact.
Sounds of sirens. Dennis glances behind and sees police cars, fire trucks and ambulances arrive. DETECTIVES and COPS in bullet proof vests spill out.
FRANK GREENE
I have the right to shoot anyone who steps foot on my property. You are trespassing. Get off or I will shoot. I don't want to do this.
DENNIS
Frank please put it down and let your family out, please!
FRANK GREENE
Look up there. Look. Look up there. Do you see that? Look!
Dennis looks up. The sun glares in his eyes.
FRANK GREENE
That is the sun and it is shining. You can't tell me it's night when I know it's day. Even if God came down here and said it was night, I know it's day. I know what I know, and nobody can tell me the sun isn't shining. Nobody.
Dennis and Frank's eyes are locked. And Dennis' mouth opens:
DENNIS
I cheated you. I put a forged document in your file the morning of your case.
Frank takes this in. He is not surprised. Detectives, sheriffs, cops, neighbors all hear Dennis' words. Rick stares with wonder and fear at Dennis.
DENNIS
This is your home.
Frank and Dennis stare at each other. Rick and everyone waits with wonder. Frank lowers his rifle. Then tosses it out the window.
FRANK GREENE
I'm coming out.
He opens the door and steps out of the home with his hands high.
POLICE
Get on your knees. Now. Hands behind your head. Lie down.
Dennis watches Frank get on his knees, then lie down. Police advance, guns pointed, knee to his back, handcuff him. Dennis sees Police escort Frank's frightened family out of the home to safety. Two Detectives approach Dennis and talk with him. He points at Rick. Rick watches the Detectives escort Dennis towards him. Rick smiles and taps Dennis on the shoulder.
RICK CARVER
You did a hell of a thing, son. A hell of a thing.
DETECTIVE
Excuse me, sir. Are you the bank's realtor?... Sir?
Dennis and Rick stare at each other. HOLD.
RICK CARVER
(to Dennis)
Thank you.
Dennis stares at Rick's steely eyes. Did he mean it?
DETECTIVE
Sir? Are you Rick Carver?
RICK CARVER
Yes, I am.
DETECTIVE
We need to speak with you.
Dennis and Rick look at each other for one last moment before the Police take Dennis away. Rick puts on his sunglasses.
I/E. DETECTIVE'S CAR / FRANK GREENE'S HOME - CONTINUOUS
The Detective seats Dennis in the car and is called away. Dennis is alone. He looks out the back window and sees Rick trying to grab Sheriff #2 by the shoulder to talk, but the Sheriff brushes him off and quickly walks away. Alone, Rick gets on his phone, calling someone, pacing. Dennis sees the Detectives approaches Rick who gets off the phone. They begin questioning him. Dennis then sees Franks's son outside the car. Frank's son looks at him, smiles, and runs away to a better future.
THE END
| 0 | 0 |
House of 1000 Corpses_2003
|
tt0251736
|
House of 1000 Corpses
| 2,003 |
On October 30, 1977, amateur criminals Killer Karl and Richard Wick attempt an armed robbery at a gas station, but are killed by the owner, Captain Spaulding, and his assistant, Ravelli. Later on, Jerry Goldsmith, Bill Hudley, Mary Knowles, and Denise Willis are on the road in hopes of writing a book on offbeat roadside attractions. When the four meet Spaulding, who is also the owner of "The Museum of Monsters & Madmen", they learn of the local legend of Dr. Satan. As they take off in search of the tree from which Dr. Satan was hanged, they pick up a young free-spirited hitchhiker named Baby, who claims to live only a few miles away. Shortly after, the vehicle's tire bursts (in what is later seen to be a trap) and Baby takes Bill to her family's house. Moments later, Baby's half-brother, Rufus, picks up the stranded passengers and takes them to the family home. There they meet Baby's family: her adopted brother Otis Driftwood, her deformed giant half-brother Tiny, Mother Firefly, and Grandpa Hugo. While being treated to dinner, Mother Firefly explains that her ex-husband, Earl, had previously tried to burn Tiny alive, along with the Firefly house, after he suffered a psychotic breakdown. After dinner, the family puts on a Halloween show for their guests and Baby offends Mary by flirting with Bill. After Mary threatens Baby, Rufus tells them their car is repaired. As the couples leave, Otis and Tiny, disguised as scarecrows, attack them in the driveway and take them prisoner. The next day, Otis kills Bill and mutilates his body for art. Mary is tied up in a barn, Denise is tied to a bed while dressed up for Halloween, and Jerry is partially scalped for failing to guess Baby's favorite movie star. When Denise doesn't come home, her father Don calls the police to report her missing. Two deputies, George Wydell and Steve Naish, find the couples' abandoned car in a field with a dead, mutilated cheerleader in the trunk. Don, a former policeman, is called to the scene to help the deputies search. They arrive at the Firefly house and Wydell questions Mother Firefly about the missing teens. Mother Firefly shoots Wydell in the head and kills him; Don and Steve are then killed by Otis when they find more bodies of missing cheerleaders in the barn. Later that night, the three remaining teenagers are dressed as rabbits and taken out to an abandoned well. Mary attempts to run away, but is tracked down and stabbed to death by Baby moments later. Meanwhile, Jerry and Denise are lowered into the well, where a group of Dr. Satan's failed experiments pull Jerry away, leaving Denise to find her way through an underground lair. As she wanders through the tunnels, she encounters Dr. Satan and a number of mental patients; Jerry is on Dr. Satan's operating table being vivisected and dies as Denise screams. Dr. Satan tells his mutated assistant, who turns out to be Mother Firefly's ex-husband Earl, to capture Denise, but Denise outwits him and escapes the chambers by crawling to the surface as he is crushed by falling debris. She makes her way to the main road, where she encounters Captain Spaulding, who gives her a ride in his car. She passes out from exhaustion in the front seat, and Otis suddenly appears in the back seat with a knife. Denise later wakes up to find herself strapped to Dr. Satan's operating table, and she screams in horror.
|
<script>
<scene>
<stage_direction>INT. OLD HOUSE - LIVING ROOM - NIGHT</stage_direction>
<scene_description>We see a LITTLE GIRL dancing around in a grainy super 8 home movie . A LITTLE BOY wearing a monster MASK enters the frame . He struggles to lift a double barrel shotgun . He points it at the girl and pretends to SHOOT .</scene_description>
<character>GIRL</character>
<parenthetical>( V.O . )</parenthetical>
<parenthetical>( whispering slowly . )</parenthetical>
<dialogue>Once I had a cat, he was the sweetest little guy. Then one day he got sick and died. My heart was broken. My whole body hurt.</dialogue>
<scene_description>She continues dancing . The little boy imitates her .</scene_description>
<character>GIRL</character>
<parenthetical>( V.O . )</parenthetical>
<dialogue>After that, I saw things differently, everything could be summed up with three simple words. fuck the world.</dialogue>
<scene_description>The camera swings over to some ugly , toothless relations watching the show . They laugh .</scene_description>
</scene>
<scene>
<stage_direction>EXT. SPAULDING'S - NIGHT</stage_direction>
<scene_description>We open on a dark , lonely stretch of two lane blacktop . Off to the side of the road we see a rundown gas station .</scene_description>
<character>RADIO ANNOUNCER</character>
<parenthetical>( V.O . )</parenthetical>
<dialogue>Hey, welcome back to 93.5 WJRC's Halloween monster weekend. I'm Jimmy Ray and I'll be bringing you the oldies, the goldies and sometimes the moldies. The good, the bad and the uglies straight from the WJRC vaults.</dialogue>
<scene_description>A weathered wooden sign proclaims CAPTAIN SPAULDING 'S WORLD OF MONSTERS AND MADMEN , sits atop the building . A smaller sign below reads FRIED CHICKEN AND GASOLINE .</scene_description>
<character>RADIO ANNOUNCER</character>
<parenthetical>( V.O . )</parenthetical>
<dialogue>Hey, kids still trying to decide on the right costume? Well why not head on down to Randall's Penny Save located on Kimball Rd. just off route 1 in Mackin County. Choose from a wide array of ghosts and ghouls, jeepers and creepers.</dialogue>
<parenthetical>( scary sound effects . )</parenthetical>
<dialogue>. everything you need for your Halloween needs.</dialogue>
<scene_description>SHERIFF HUSTON , a tall southern good old boy , leans against his dusty cruiser smoking a cigarette , pumping gas into his tank .</scene_description>
</scene>
<scene>
<stage_direction>INT. CAPT. SPAULDING'S - NIGHT</stage_direction>
<scene_description>Inside is a poorman 's Ripley 's Believe It or Not . Bizarre props and treasures of killers and monsters cover the dirty walls . Wax figures of JACK THE RIPPER stand guard before oil paintings by JOHN WAYNE GACY .</scene_description>
<character>RADIO ANNOUNCER</character>
<parenthetical>( V.O . )</parenthetical>
<dialogue>Alright let's get back to our monster music marathon with this classic called The Teddy Bear's Picnic.</dialogue>
<scene_description>Perched on a stool behind the counter sits CAPTAIN SPAULDING , a crusty looking old man in a filthy clown suit and smeared make - up . The word LOVE is tattooed across his right knuckles and HATE is tattooed across the left . He is reading the newspaper , crunching on crackers from a paper bag and halfheartedly listening to a small , nerdy man wearing coke bottle glasses named STUCKY . Stucky thumbs through a stack of autographed 8x10 photographs .</scene_description>
<character>STUCKY</character>
<parenthetical>( speaking through voicebox in his throat . )</parenthetical>
<dialogue>I. I got back a stack today. Some nice shots.</dialogue>
<parenthetical>( holds up a picture of June Wilkinson . )</parenthetical>
<dialogue>See, a good topless June Wilkinson. unfortunately she personalized it.</dialogue>
<parenthetical>( looking at the photo . )</parenthetical>
<dialogue>to Stucky, love June.</dialogue>
<character>CAPT. SPAULDING</character>
<dialogue>Hmmmmm.</dialogue>
<character>STUCKY</character>
<dialogue>Shit, this ai n't worth nothing now that my name gotten all over it. I was a fixin' on trading it to Jackie Cobb.</dialogue>
<character>CAPT. SPAULDING</character>
<dialogue>The retard over at Molly's fruit stand.</dialogue>
<character>STUCKY</character>
<dialogue>Yeah, he's all hot on her after he found some of his dad's old nudie books hidden in the basement. He keeps'em taped inside his school workbook.</dialogue>
<scene_description>Spaulding brushes cracker crumbs off his paper and continues reading .</scene_description>
<character>CAPT. SPAULDING</character>
<dialogue>Fascinating.</dialogue>
<character>STUCKY</character>
<dialogue>That kid is one horny retard.</dialogue>
<character>CAPT. SPAULDING</character>
<dialogue>Christ, ai n't they all. All them retards wan na do is fuck and eat.</dialogue>
<character>STUCKY</character>
<dialogue>Well, yeah. I think that if you knew him. I mean if you'd understand his urges, shit the guy's like forty or something.</dialogue>
<character>CAPT. SPAULDING</character>
<dialogue>Worse than a fucking rabid baboon.</dialogue>
<character>STUCKY</character>
<dialogue>Yeah, I guess, you know next to wacking his weasel his other favorite thing is twisting sharpened pencils in the corner of his eyes.</dialogue>
<character>CAPT. SPAULDING</character>
<dialogue>What?</dialogue>
<character>STUCKY</character>
<dialogue>Yeah, does n't hurt himself, just spins it around next to his eyeball.</dialogue>
<character>CAPT. SPAULDING</character>
<dialogue>I'm sure that ai n't the only place he's sticking those pencils.</dialogue>
<character>STUCKY</character>
<dialogue>Naw, he do n't do anything else with'em, but he did get caught once with a Planet of the Apes doll hanging out his asshole.</dialogue>
<character>CAPT. SPAULDING</character>
<parenthetical>( laughing . )</parenthetical>
<dialogue>Goddamn.</dialogue>
<character>STUCKY</character>
<dialogue>Had to take him to the hospital. Kid had Dr. Zaius stuck half way up his butt, could n't get it out.</dialogue>
<character>CAPT. SPAULDING</character>
<dialogue>I always loved that mute broad that Chuck Heston was shacking up with.</dialogue>
<character>STUCKY</character>
<dialogue>Nova, yeah she looked pretty sweet.</dialogue>
<character>CAPT. SPAULDING</character>
<dialogue>Yeah, now there's the perfect woman.</dialogue>
<character>STUCKY</character>
<dialogue>Can I get some stamps off ya?</dialogue>
<parenthetical>( slapping down his money . )</parenthetical>
<dialogue>Did you fix the toilet yet?</dialogue>
<scene_description>Opens a drawer and tears off five stamps .</scene_description>
<character>CAPT. SPAULDING</character>
<dialogue>Yes, I did. so do n't you go stuffin' any goddamn paper towels down that hole. I just snaked the shit out of that thing.</dialogue>
<scene_description>Spaulding SLIDES the KEY attached to a cow skull across the counter . Stucky grabs it . Spaulding hangs on .</scene_description>
<character>CAPT. SPAULDING</character>
<dialogue>Ya hear me? You bust that crapper and I'll beat your ass.</dialogue>
<character>STUCKY</character>
<dialogue>I hear ya.</dialogue>
<scene_description>He lets go of the key .</scene_description>
</scene>
<scene>
<stage_direction>EXT. CAPT. SPAULDING'S - NIGHT</stage_direction>
<scene_description>From a STRANGER 'S POV we watch through the window , Stucky EXIT for the restroom . Sheriff Huston finishes pumping his gas , gets in his cruiser and drives off .</scene_description>
<character>KARL</character>
<parenthetical>( O.S . )</parenthetical>
<dialogue>All clear. Let's go shopping.</dialogue>
<character>RICH</character>
<parenthetical>( O.S . )</parenthetical>
<dialogue>Right.</dialogue>
<scene_description>From this POV we RACE across the highway towards the front door of the MUSEUM . SLAM ! We BURST through the door .</scene_description>
</scene>
<scene>
<stage_direction>INT. SPAULDING'S - SAME</stage_direction>
<scene_description>The moment of impact . BOOM . The door SMASHES open . Spaulding 's head JERKS up to see : a masked gunman , KARL , wearing a LEATHER S+M MASK . Behind him stands a second gunman , RICH , wearing a rubber CAVEMAN MASK .</scene_description>
<character>CAPT. SPAULDING</character>
<dialogue>Mary fucking Moses. Get the fuck out of here.</dialogue>
<character>KARL</character>
<dialogue>Hold it, clowney. Keep your paws where I can see'em.</dialogue>
<character>RICH</character>
<dialogue>Yeah, do n't move or I'll blast a hole the size of a Kansas City melon through your ugly - ass Bozo face.</dialogue>
<scene_description>Spaulding obeys and raises his hands .</scene_description>
<character>KARL</character>
<dialogue>Go get that other asshole out of the shitter and drag his ass back in here.</dialogue>
<character>RICH</character>
<dialogue>Right.</dialogue>
<scene_description>Rich exits .</scene_description>
<character>CAPT. SPAULDING</character>
<dialogue>Miserable little cunts with guns. I ought to jump right over this counter and bash your fucking balls in.</dialogue>
<scene_description>Killer Karl steps up and puts his gun against Spaulding 's face .</scene_description>
<character>KARL</character>
<dialogue>Alright Tippy, hand over the cash box and I might leave your brains inside your skull.</dialogue>
<scene_description>Spaulding smiles wide , his teeth are yellow and rotted . CLOSE UP Spaulding 's foot kicks a red switch , triggering a silent alarm .</scene_description>
<character>CAPT. SPAULDING</character>
<dialogue>That's what you bitches need. A reality check courtesy of my boot in your ass. That'll be a fucking cash box you can cry to mamma about.</dialogue>
</scene>
<scene>
<stage_direction>INT. SPAULDING'S - BACKROOM - NIGHT</stage_direction>
<scene_description>A silent RED LIGHT FLASHES . In the dim glow , we see RAVELLI , a large hunched figure , sitting on the edge of a bed . The figure is heavily bandaged . Ravelli reacts to the flashing light , he RISES and puts a huge mask over his head . He EXITS the room .</scene_description>
</scene>
<scene>
<stage_direction>INT. BATHROOM STALL - NIGHT</stage_direction>
<scene_description>Stucky sits on the toilet pasting stamps on large yellow envelopes . Killer Rich KICKS OPEN the stall , GRABS Stucky by the neck and PULLS him out .</scene_description>
<character>RICH</character>
<dialogue>Come on, fatboy!</dialogue>
</scene>
<scene>
<stage_direction>EXT. CAPT. SPAULDING'S - NIGHT</stage_direction>
<scene_description>We move around the outside of the building watching the scene inside unfold . HEAVY BREATHING is heard . Rich DRAGS Stucky into the main room .</scene_description>
</scene>
<scene>
<stage_direction>INT. SPAULDING'S - NIGHT</stage_direction>
<scene_description>Karl grows increasingly HOSTILE , knocks a candy display over , raises his gun over his head and fires into the ceiling .</scene_description>
<character>KARL</character>
<parenthetical>( screaming . )</parenthetical>
<dialogue>That's it. I'm gon na count to ten and you're gon na hand over the cash or I'm gon na splatter your grease paint mug across the stateline. one.</dialogue>
<character>CAPT. SPAULDING</character>
<dialogue>Fuck your mother.</dialogue>
<character>KARL</character>
<dialogue>Two.</dialogue>
<character>CAPT. SPAULDING</character>
<dialogue>Fuck your sister.</dialogue>
<character>RICH</character>
<dialogue>Come on, man. Just shoot him.</dialogue>
<character>STUCKY</character>
<parenthetical>( recognizing Rich 's voice . )</parenthetical>
<dialogue>Hey, I know you. We were in high school together. Wood shop, right? Richard Wick. right?</dialogue>
<scene_description>He looks nervously at Stucky .</scene_description>
<character>RICH</character>
<dialogue>Shut up, shut up, shut up!</dialogue>
<character>KARL</character>
<dialogue>Quiet down. three.</dialogue>
<character>CAPT. SPAULDING</character>
<dialogue>Fuck your grandmother.</dialogue>
<character>STUCKY</character>
<dialogue>Yeah, I remember Mr. Alacard the shop teacher use ` ta call you Little Dick Wick. Hey, was n't there a song we made up to go with that?</dialogue>
<character>RICH</character>
<parenthetical>( temper rising . )</parenthetical>
<dialogue>Shut up!</dialogue>
<character>STUCKY</character>
<parenthetical>( singing . )</parenthetical>
<dialogue>Little Dick Wick, play with his prick Do n't his smell, just make you sick.</dialogue>
</scene>
<scene>
<stage_direction>EXT. CAPT. SPAULDING'S - NIGHT</stage_direction>
<scene_description>From Ravelli 's POV we watch through the window , as everybody inside starts SHOUTING at each other . Suddenly , Rich SHOOTS Stucky . Stucky FALLS BACKWARDS against the wall , screaming in pain . We move QUICKLY towards the entrance .</scene_description>
</scene>
<scene>
<stage_direction>INT. CAPT. SPAULDING'S - NIGHT</stage_direction>
<scene_description>Suddenly . CRASH ! Ravelli SMASHES through the front door knocking Karl to the ground . In the light we see that Ravelli is wearing an OVERSIZED CLOWN HEAD . In his hand is a sledgehammer . Rich TURNS toward the COMMOTION . The Captain quickly WHIPS OUT a GUN and FIRES . Rich falls dead . Ravelli lunges at Karl , smashing him over the head with the hammer . Ravelli 's clown head comes loose and falls to the floor . We now see that Ravelli is a bald pitbull of a man with badly scarred skin that is painted white and red . Karl hits the floor and begins CONVULSING violently . Spaulding STEPS DOWN from behind the counter , puts his foot on Karl 's throat and points his pistol at Karl 's head .</scene_description>
<character>CAPT. SPAULDING</character>
<dialogue>And most of all. fuck you!</dialogue>
<scene_description>BOOM ! Spaulding SHOOTS Karl in the head . The screen EXPLODES RED , then TURNS BLACK .</scene_description>
<character>CAPT. SPAULDING</character>
<parenthetical>( V.O . )</parenthetical>
<dialogue>God damn it, that motherfucker got blood all over my best clown suit.</dialogue>
<scene_description>CREDITS ROLL Strange paintings of demons , monsters and bizarre creatures fade up and move across the screen .</scene_description>
</scene>
<scene>
<stage_direction>EXT. COUNTRY ROAD - NIGHT</stage_direction>
<scene_description>We see a BILLBOARD painted on the side of an ABANDONED TRUCK . The sign reads GOD IS DEAD . We turn to face the road as a car drives by .</scene_description>
<character>JERRY</character>
<dialogue>Alright then, out of all of Charlie's chicks who do you think is the hottest?</dialogue>
</scene>
<scene>
<stage_direction>INT. CAR - FRONT SEAT - NIGHT</stage_direction>
<scene_description>Fast food wrappers and road maps clutter the car 's dashboard , a swinging monkey head dangles from the rear - view mirror . Behind the wheel , the driver , BILL HUDLEY , 29 , downs the last sip of coffee before crumpling the paper cup and placing it among the other trash before him .</scene_description>
<character>BILL</character>
<dialogue>I guess if I had to choose I'd say. mmmmmm. Sandra Good. She seemed like a nice girl, I mean in a psycho kind of way.</dialogue>
<scene_description>Beside him rides , JERRY GILMORE , 30 , slumped down in his seat , reading a magazine with a flashlight , feet hanging out the window .</scene_description>
<character>JERRY</character>
<dialogue>Really? Huh, I thought for sure you'd say Lynette Fromme. She's got that snooty vibe I know you dig.</dialogue>
<character>BILL</character>
<dialogue>Sqeaky! No way, she ai n't that hot.</dialogue>
<character>JERRY</character>
<dialogue>She's pretty cute.</dialogue>
<character>BILL</character>
<dialogue>Yeah but, she reminds me of this chick that I remember from fourth grade. called a. shit, what did we call her?</dialogue>
<parenthetical>( thinks for second . )</parenthetical>
<dialogue>Oh yeah, Patty Pee - pee Pants. when ever she got called on by Miss Chumski, this chick would piss in her pants and start bawling.</dialogue>
<character>JERRY</character>
<parenthetical>( laughing . )</parenthetical>
<dialogue>There always one kid with no bodily controls. We had this dude, Jeff Baxter, he was a puker. The fucker would just sit there puke all over himself.</dialogue>
<character>BILL</character>
<dialogue>Better than pissing. anyway so, what's your choice?</dialogue>
<character>JERRY</character>
<dialogue>If we're talking cute. like regular cute, I'd say Leslie Van Houton, but cute ai n't hot.</dialogue>
<character>BILL</character>
<dialogue>Yeah, no shit.</dialogue>
<character>JERRY</character>
<dialogue>As far a hot. goes I got ta go with. Ruth Ann Moorehouse.</dialogue>
<character>BILL</character>
<dialogue>Oh yeah, I forgot about her. She was pretty hot.</dialogue>
<character>JERRY</character>
<dialogue>Fuck yeah, she is. I'd join a cult to get some of that. and the best part is she did n't try to kill the President or nothing, so that baggage ai n't hanging around.</dialogue>
<character>BILL</character>
<dialogue>I thought she tried to murder a witness for the prosecution.</dialogue>
<character>JERRY</character>
<dialogue>I'll let it slide, she was only seventeen.</dialogue>
<character>BILL</character>
<dialogue>Dude, talk about baggage, that ai n't no carry - on shit, that's some heavy duty Samsonite shit.</dialogue>
<character>JERRY</character>
<dialogue>Yeah, I guess. hot chicks are always nuts.</dialogue>
<character>BILL</character>
<dialogue>Hot has got nothing to do with it.</dialogue>
</scene>
<scene>
<stage_direction>EXT. COUNTRY ROAD - NIGHT</stage_direction>
<scene_description>A LONE FIGURE in a cheap skull mask and white robe stands hidden behind a billboard off to the side of the road . Bill 's car drives past .</scene_description>
<character>BILL</character>
<parenthetical>( yawning . )</parenthetical>
<dialogue>Hold on, I've heard this before. but I ca n't remember the end.</dialogue>
<character>JERRY</character>
<dialogue>So, the guy goes to Hell and the devil says, `` do you smoke?'' The guy say, `` yeah''. the devil say, `` great cause Tuesday is cigar night, sweetest Cuban cigars you ever had.''</dialogue>
<character>BILL</character>
<dialogue>Shit, we really need to find some gas.</dialogue>
<character>JERRY</character>
<parenthetical>( not listening . )</parenthetical>
<dialogue>Then the devil asks, `` do you drink?'' Guy says, `` yeah''. devil say, `` wonderful, Wednesday is free drinks night, best booze you ever had. all made from the finest stuff.''</dialogue>
<character>BILL</character>
<dialogue>Yeah.</dialogue>
<character>JERRY</character>
<dialogue>Then the devil says, `` are you gay?'' Guy says, `` fuck no''. Devil says, `` Well then, I guess you're gon na hate Thursdays.''</dialogue>
<character>BILL</character>
<dialogue>Oh yeah, I remember now.</dialogue>
<character>JERRY</character>
<dialogue>Yeah, no shit I just told ya.</dialogue>
<parenthetical>( looking at magazine . )</parenthetical>
<dialogue>Hey, you think this place called Alien Ed's UFO Welcoming Center is still around? It says, `` Where the Fact is separated from the Fantasy.''</dialogue>
<character>BILL</character>
<dialogue>I dunno. we'll ask around as we get closer. Man, I really do n't want to run out of gas out here in the middle of Petticoat Junction, man.</dialogue>
<character>JERRY</character>
<parenthetical>( sitting up . )</parenthetical>
<dialogue>Do n't panic yourself, way too much caffeine guy. I see a sign.</dialogue>
<parenthetical>( reading the sign . )</parenthetical>
<dialogue>Captain Spaulding's Museum of Madmen and Monsters. cool. Also. fried chicken and. gasoline. next exit.</dialogue>
<character>BILL</character>
<dialogue>Perfect.</dialogue>
<character>JERRY</character>
<dialogue>I hope this place is cool. We could use something interesting to liven up chapter 12.</dialogue>
<scene_description>The car drives past . We turn and hold on the billboard . We see the happy smiling face of a young Captain Spaulding .</scene_description>
</scene>
<scene>
<stage_direction>EXT. CAPTAIN SPAULDING'S - NIGHT</stage_direction>
<scene_description>The car pulls up to one of the gas pumps . Bill and Jerry get out . Inside we see Spaulding , now in army pants and a hunting jacket , mopping the floor .</scene_description>
<character>BILL</character>
<dialogue>I'll pump the gas. Go inside and see if it's worth thinking about.</dialogue>
<character>JERRY</character>
<parenthetical>( salutes . )</parenthetical>
<dialogue>OK, Boss.</dialogue>
<scene_description>Jerry walks inside and immediately comes back out .</scene_description>
<character>JERRY</character>
<dialogue>Holy crap. You got ta see this place. It's awesome.</dialogue>
<character>BILL</character>
<dialogue>How awesome?</dialogue>
<character>JERRY</character>
<dialogue>Really fucking awesome.</dialogue>
<character>BILL</character>
<dialogue>Wake up the chicks and bust out the camera awesome?</dialogue>
<character>JERRY</character>
<dialogue>Hell yeah.</dialogue>
<scene_description>Jerry sticks his head back inside the car .</scene_description>
<character>JERRY</character>
<dialogue>Wakey, wakey, eggs and bakey.</dialogue>
</scene>
<scene>
<stage_direction>INT. CAR - BACK SEAT - NIGHT</stage_direction>
<scene_description>A dark haired girl , DENISE WILLIS , 27 , sleeps curled up under a blanket .</scene_description>
<character>JERRY</character>
<dialogue>Come on, babe. Me and Bill found a kick ass place.</dialogue>
<scene_description>She opens her eyes .</scene_description>
<character>DENISE</character>
<dialogue>Huh?</dialogue>
<character>JERRY</character>
<dialogue>Grab Mary and come inside.</dialogue>
<scene_description>Denise shakes a lump of jackets and sweaters lying next to her . She removes a sweater from the top of the pile to REVEAL the face of MARY KNOWLES , 29 .</scene_description>
<character>DENISE</character>
<dialogue>Come on sleeping beauty, time to go to work.</dialogue>
<character>MARY</character>
<parenthetical>( half asleep . )</parenthetical>
<dialogue>Sleeping.</dialogue>
<character>DENISE</character>
<dialogue>Rise and shine.</dialogue>
<character>MARY</character>
<parenthetical>( groggy . )</parenthetical>
<dialogue>No please, let me sit this one out.</dialogue>
<character>DENISE</character>
<parenthetical>( removing the blanket . )</parenthetical>
<dialogue>Let's go. You're the one who wanted to be a photographer.</dialogue>
<character>MARY</character>
<dialogue>I resign.</dialogue>
<character>DENISE</character>
<dialogue>Too late. You're in for life, let's move it out Private Shutterbug.</dialogue>
<character>MARY</character>
<parenthetical>( opening her eyes . )</parenthetical>
<dialogue>Christ, I hope this is n't more crappy folk art. It's so quaint. it's so primal. it's so crap.</dialogue>
<character>DENISE</character>
<dialogue>Aw, it ai n't crap. it's. cute.</dialogue>
<parenthetical>( sarcastic . )</parenthetical>
<dialogue>. and really who are we to judge the artistic merit of the tin - can Mona Lisa?</dialogue>
<character>MARY</character>
<dialogue>Aw, shit.</dialogue>
<parenthetical>( exhales deeply . )</parenthetical>
<dialogue>I got ta pee anyway.</dialogue>
<scene_description>INTERLUDE Grainy super 8 footage shows us an OLD MAN standing in front of a small shack . His name is Lewis Dover . The shack is painted white and covered with SIMPLISTIC RELIGIOUS WRITINGS .</scene_description>
<character>LEWIS</character>
<dialogue>I ai n't no rich man, but I see the truth. You do not have to go to Hell. You are in Hell. This is Hell. All American Hell.</dialogue>
<parenthetical>( holds up a gun . )</parenthetical>
<dialogue>. true heaven in my hands. I'm gon na blow Satan back through the door to Hell.</dialogue>
<scene_description>Surrounding the shack are strange sculptures of various half - human/half - animal creations .</scene_description>
</scene>
<scene>
<stage_direction>INT. SPAULDING'S - NIGHT</stage_direction>
<scene_description>Spaulding swabs up the last remains of blood from the floor , he drops the mop into a bucket filled with water and blood . Bill pays no attention , he is distracted by a strange object in a glass case over the counter . In the case is a shriveled up looking half human and half fish figure . It is the size of a small child . A banner above reads : AQUALINA - THE MERMAID .</scene_description>
<character>BILL</character>
<dialogue>How long have you been running this place?</dialogue>
<character>CAPT. SPAULDING</character>
<dialogue>How long is a piece of string? Too God damn long, that's how long.</dialogue>
<scene_description>Spaulding slides the mop and bucket behind the counter .</scene_description>
<character>BILL</character>
<dialogue>No, really.</dialogue>
<character>CAPT. SPAULDING</character>
<dialogue>Shit, I do n't remember exactly. I took over for my Pa just after the Duke nabbed the Oscar.</dialogue>
<character>BILL</character>
<dialogue>The Duke?</dialogue>
<character>CAPT. SPAULDING</character>
<dialogue>Yeah, my Pa was n't right in the head after that.</dialogue>
<character>BILL</character>
<dialogue>You mean John Wayne?</dialogue>
<character>CAPT. SPAULDING</character>
<dialogue>Hell, boy there some other Duke you know about?</dialogue>
<parenthetical>( rolls up his sleeve to reveal a John Wayne tattoo . )</parenthetical>
<dialogue>A great American.</dialogue>
<character>BILL</character>
<dialogue>Yeah, I was never that big of a western fan. I like science fiction.</dialogue>
<character>CAPT. SPAULDING</character>
<dialogue>I figured that much. Why the fuck you asking so many jackass questions for?</dialogue>
<character>BILL</character>
<dialogue>You see me and my friends are writing a book on offbeat roadside attractions. You know all the crazy shit you see when you drive cross country.</dialogue>
<character>CAPT. SPAULDING</character>
<dialogue>I do n't drive cross country.</dialogue>
<character>BILL</character>
<dialogue>But if you did.</dialogue>
<character>CAPT. SPAULDING</character>
<dialogue>I do n't.</dialogue>
<character>BILL</character>
<dialogue>But suppose for a second you did.</dialogue>
<character>CAPT. SPAULDING</character>
<parenthetical>( fake hick accent . )</parenthetical>
<dialogue>Y' all find us country people real funny like do n't ya. well, God damn pack up the mule and sling me some grits, I ` ze a got ta get me some schooling.</dialogue>
<character>BILL</character>
<dialogue>No, no I think it's really interesting.</dialogue>
<character>CAPT. SPAULDING</character>
<dialogue>Well fuck me Side Sally, who want to read about all that horse shit anyway.</dialogue>
<scene_description>Jerry OVERHEARS Bill 's and Spaulding 's conversation and joins in to help .</scene_description>
<character>JERRY</character>
<dialogue>You'd be surprised. Would it be OK if we took some pictures and included this place in our book?</dialogue>
<character>CAPT. SPAULDING</character>
<dialogue>Hey, knock yourself silly.</dialogue>
<character>JERRY</character>
<dialogue>You got some really rare stuff here.</dialogue>
<parenthetical>( pointing to Aqualina . )</parenthetical>
<dialogue>. dig your Feegee mermaid.</dialogue>
</scene>
<scene>
<stage_direction>INT. SPAULDING'S - RESTROOM - NIGHT</stage_direction>
<scene_description>The restroom is gray , dingy , a single exposed light bulb hangs from the ceiling . The peeling walls are plastered with newspaper clippings and faded photos . Mary is in the stall , sitting on the toilet , staring straight ahead at a poster of RHONDO HATTON , a B - MOVIE ACTOR that suffered from acromegalia . Denise standing at a tiny sink , splashes water on her face . She looks at herself in the mirror .</scene_description>
<character>DENISE</character>
<parenthetical>( water running down her face . )</parenthetical>
<dialogue>I swear I've aged five years since this trip started.</dialogue>
<character>MARY</character>
<dialogue>Tell me about it.</dialogue>
<character>DENISE</character>
<parenthetical>( takes a paper towel and wipes her face . )</parenthetical>
<dialogue>God, I hate falling asleep in the afternoon. Now I'll be up all night.</dialogue>
<parenthetical>( stretches . )</parenthetical>
<dialogue>. ugh, my back is killing me.</dialogue>
<character>MARY</character>
<dialogue>Yeah, hey how far do you think we are from your Dad's?</dialogue>
<scene_description>Mary flushes the toilet and exits the stall .</scene_description>
<character>DENISE</character>
<dialogue>I do n't know. Couple hours I think. I've got to call him.</dialogue>
<scene_description>Mary washes her hands . Denise ties up her hair .</scene_description>
<character>MARY</character>
<dialogue>It will be nice to have a few days off to regenerate. This trip is fun, but it's starting to get brutal.</dialogue>
<character>DENISE</character>
<dialogue>Yeah, I hit burn out mode back at that old stripper lady's place. Watching her dance around with those ratty - looking animals was ridiculous.</dialogue>
<character>MARY</character>
<dialogue>I know, that was some crazy shit. I never in a million years would have believed it if I had n't seen it.</dialogue>
<character>DENISE</character>
<dialogue>A decent meal every once in a while would n't hurt either, this road food is crap.</dialogue>
<character>MARY</character>
<dialogue>If I never eat at another Waffle House again, I can die a happy girl.</dialogue>
<character>DENISE</character>
<dialogue>Scattered, smothered and covered.</dialogue>
<character>MARY</character>
<dialogue>Exactly. well, I guess a couple more photos wo n't kill me.</dialogue>
</scene>
<scene>
<stage_direction>INT. SPAULDING'S - MAIN ROOM - NIGHT</stage_direction>
<scene_description>Jerry knees over a box of magazines labeled TRUE CRIME $ 1.00 , he flips through an issue , tosses it back . Bill leans against the wall next to him , sipping a hot cup of coffee . The girls return from the bathroom . Jerry jumps up with excitement .</scene_description>
<character>JERRY</character>
<dialogue>Great, you're back. Let's go. We already paid for the tickets.</dialogue>
<character>DENISE</character>
<dialogue>Tickets for what?</dialogue>
<character>JERRY</character>
<dialogue>This is n't everything. Get ready for this. there's a Museum of Murder and Mayhem.</dialogue>
<character>DENISE</character>
<dialogue>I do n't want to see that.</dialogue>
<character>MARY</character>
<dialogue>How about if we skip it and just hang out here. I can get some great shots of this stuff.</dialogue>
<scene_description>Jerry PULLS Denise over and puts his arm around her .</scene_description>
<character>JERRY</character>
<dialogue>Aw, come on. It will be fun.</dialogue>
<character>DENISE</character>
<dialogue>Oh yeah, murder museum. sounds fun.</dialogue>
<scene_description>Bill grabs Mary by the hand and kisses it .</scene_description>
<character>BILL</character>
<parenthetical>( smiling . )</parenthetical>
<dialogue>We'll need pictures of the inside too.</dialogue>
<character>MARY</character>
<dialogue>Alright, alright. I know. I wanted to be the photographer.</dialogue>
<scene_description>Bill and Mary kiss . Spaulding waits , unamused . He rolls his eyes .</scene_description>
<character>CAPT. SPAULDING</character>
<dialogue>Anytime this year, people. Alright line your asses up in front of the black door. The tour is about to begin.</dialogue>
<scene_description>Spaulding disappears through a curtain behind the counter . The kids wait . The black metal door CREAKS open . They enter the darkened room .</scene_description>
</scene>
<scene>
<stage_direction>INT. SPAULDING'S - MUSEUM - NIGHT</stage_direction>
<scene_description>Darkness . A blue light comes on . Spaulding is standing on a MOTORIZED PLATFORM . He begins the tour , speaking through a small megaphone .</scene_description>
<character>CAPT. SPAULDING</character>
<dialogue>Ladies and gentlemen, you are about to enter a world of darkness. A world where life and death are meaningless and pain is God.</dialogue>
<parenthetical>( pointing with a cane . )</parenthetical>
<dialogue>To your left you see the infamous Albert Fish.</dialogue>
<scene_description>A lifeless wax figure POPS forward with a loud metal CLANG . Mary jumps back with fright .</scene_description>
<character>CAPT. SPAULDING</character>
<dialogue>Sadist, masochist, child killer and most of all importantly cannibal. Born in 1870, Mr. Fish enjoyed burning himself with hot pokers, spankings with nail - studded paddles and embedding needles in his groin. On the right, notice the X - ray.</dialogue>
<scene_description>CLOSE UP - X - RAY</scene_description>
<character>CAPT. SPAULDING</character>
<dialogue>showing clearly 29 sewing needles inserted in to his groin. Mr. Fish was executed in 1936 at the age of 65.</dialogue>
<scene_description>Spaulding rolls backwards and continues the tour . CLOSE UP ON : a dummy face of a grizzly looking old man in hunting attire .</scene_description>
<character>CAPT. SPAULDING</character>
<dialogue>To your right. One of our most popular crazies, the psycho of Plainfield, Ed Gein.</dialogue>
<scene_description>Behind the figure of Gein hangs an inverted corpse of a slain woman . Mary recoils in disgust .</scene_description>
<character>CAPT. SPAULDING</character>
<dialogue>Murderer, cannibal and momma's little bitch boy. Mr. Gein found special pleasure in playing with the dead bodies of women, especially their sexual organs. He was quite a handy little dandy, fashioning lamp shades, jewelry and human skin suits from his victims. Mr. Gein was discovered when the decapitated body of Bernice Worden was found gutted like a deer, hanging in his barn.</dialogue>
<scene_description>A wax figure of a young man in doctor 's scrubs . He is covered in blood .</scene_description>
<character>CAPT. SPAULDING</character>
<dialogue>And now I would like to introduce a local hero, S. Quentin Quale, a.k.a.. The Butcher Boy, a.k.a. Nurse Nellie and most famously a.k.a. Dr. Satan.</dialogue>
<scene_description>Another wax figure , of a bloody corpse , JUMPS up .</scene_description>
<character>CAPT. SPAULDING</character>
<dialogue>Murderer, torturer and most of all master surgeon. Mr. Quale an intern at Willows State Mental Hospital, nicknamed Weeping Willows for its neverending cries of pain, took great pleasure in control. Through primitive brain surgery. Mr. Quale believed he could create a race of superhumans from the mentally ill, or so the story goes. His terrifying experiments continued until 1952.</dialogue>
<scene_description>Jerry stares fascinated .</scene_description>
<character>CAPT. SPAULDING</character>
<dialogue>At which time he was discovered and turned over to authorities for observation. Unfortunately, Mr. Quale was abducted from his cell by members of the victims' families. Vigilante justice prevailed and Dr. Satan was taken out and hanged. The next day his body was found to be missing. Some say he survived, rescued by his loyal slaves, others say they hung the wrong man. To this day no sign of Dr. Satan has ever been discovered. But who knows? Maybe he lives next door to you.</dialogue>
<scene_description>KLUNK : A big metal door opens to the outside world .</scene_description>
<character>CAPT. SPAULDING</character>
<dialogue>Please exit through the door.</dialogue>
<scene_description>The kids exit . SLAM ! The door shuts .</scene_description>
</scene>
<scene>
<stage_direction>EXT. SPAULDING'S - PHONE BOOTH - NIGHT</stage_direction>
<scene_description>Denise leans against the glass walls of the phone booth . Various flyers are taped to the inside : free kittens , phone sex ads and a missing poster for a girl named KAREN MURPHY . A light rain begins to fall . Denise puts some change in the phone and dials a number .</scene_description>
</scene>
<scene>
<stage_direction>EXT. WILLIS HOUSE - NIGHT</stage_direction>
<scene_description>The camera moves down a quaint quiet little street . We come to rest at a modest two - story house . The house is decorated for Halloween . Parents and their children roam from house to house , trick or treating . We hear the sound of a phone ringing .</scene_description>
</scene>
<scene>
<stage_direction>INT. WILLIS HOUSE - KITCHEN - NIGHT</stage_direction>
<scene_description>A grey haired man sits at a small table eating a ham sandwich and drinking a beer . This is DONALD WILLIS , Denise 's father . He stands up and walks to the phone hanging on the wall .</scene_description>
<character>MR. WILLIS</character>
<dialogue>Hello.</dialogue>
<parenthetical>( brightens up . )</parenthetical>
<dialogue>. hey Denise. what, what's wrong, did you break down?</dialogue>
</scene>
<scene>
<stage_direction>EXT. SPAULDING'S - PHONE BOOTH - NIGHT</stage_direction>
<character>DENISE</character>
<dialogue>No, nothing like that. yeah, we're gon na be a little late. We stopped for gas at this place called Capt. Spaulding's outside of Ruggsville and it turned into a whole thing, so we're kind of behind schedule.</dialogue>
</scene>
<scene>
<stage_direction>INT. WILLIS HOUSE - NIGHT</stage_direction>
<character>MR. WILLIS</character>
<dialogue>Oh yeah, yeah I've driven by that place before. I seem to remember a crabby old bastard in a crummy clown suit running the place.</dialogue>
</scene>
<scene>
<stage_direction>INT. PHONE BOOTH - NIGHT</stage_direction>
<character>DENISE</character>
<dialogue>Yeah, well he's still here. I think him and Jerry are fast becoming buddies, you know Jerry. yeah, he's got ta see everything. yeah, I know. thinks there's some unsolved mystery around every corner.</dialogue>
</scene>
<scene>
<stage_direction>INT. WILLIS HOUSE - NIGHT</stage_direction>
<character>MR. WILLIS</character>
<dialogue>Well, do n't take too long, the kids are already knocking down the door demanding their sugar fix. I know, I know I forgot to mention that Halloween falls on a school night, so they're trick or treating tonight. I got the joint decked out this year, built a graveyard in the front yard like when you were a kid.</dialogue>
</scene>
<scene>
<stage_direction>EXT. SPAULDING'S - PHONE BOOTH - NIGHT</stage_direction>
<character>DENISE</character>
<dialogue>Hopefully I can move things along here and make up the lost time by speeding all the way home. yes, Dad I'm kidding.</dialogue>
</scene>
<scene>
<stage_direction>INT. WILLIS HOUSE - KITCHEN - NIGHT</stage_direction>
<character>MR. WILLIS</character>
<dialogue>Well, just promise me you'll be careful. alright, alright see ya soon. good - bye.</dialogue>
</scene>
<scene>
<stage_direction>INT. CAR - NIGHT</stage_direction>
<scene_description>Bill , Jerry and Mary wait for Denise .</scene_description>
<character>JERRY</character>
<dialogue>I'm gon na go ask him.</dialogue>
<character>MARY</character>
<dialogue>Aw, come on Jerry. We've gotten all we're gon na get out of this place and its starting to rain.</dialogue>
<character>JERRY</character>
<dialogue>Shit, it is only sprinkling and it's worth the trouble. Hold on for two seconds.</dialogue>
<scene_description>Jerry goes back inside .</scene_description>
</scene>
<scene>
<stage_direction>INT. PHONE BOOTH - NIGHT</stage_direction>
<scene_description>Jerry knocks on the glass as he passes . Denise waves as he walks by .</scene_description>
<character>DENISE</character>
<dialogue>Yeah so. OK, expect us more around eleven or so. OK yeah, I will. love you, too, bye.</dialogue>
<scene_description>She hangs up the phone , opens the doors and heads back to the car .</scene_description>
</scene>
<scene>
<stage_direction>INT. SPAULDING'S - NIGHT</stage_direction>
<character>JERRY</character>
<dialogue>I know it's hard to understand, but I really want to see this tree.</dialogue>
<character>CAPT. SPAULDING</character>
<dialogue>OK, alright I'll draw you a map, but I still say it is a waste of time.</dialogue>
<character>JERRY</character>
<dialogue>Great.</dialogue>
</scene>
<scene>
<stage_direction>INT. CAR - NIGHT</stage_direction>
<scene_description>Through the window we see Jerry talking to Spaulding . Spaulding draws a map , explaining as he draws .</scene_description>
<character>MARY</character>
<dialogue>Geez, he never gets tired does he.</dialogue>
<character>DENISE</character>
<dialogue>Never. I swear to God he never sleeps, he goes to bed after me, wakes up before me. He's always working on 10.</dialogue>
<character>MARY</character>
<dialogue>Maybe he's a cyborg.</dialogue>
<character>BILL</character>
<parenthetical>( wearily , sips his coffee . )</parenthetical>
<dialogue>I like sleep.</dialogue>
<character>DENISE</character>
<dialogue>Here he comes.</dialogue>
<scene_description>Jerry comes bouncing out towards the car and jumps in . He is holding a map and a box of chicken .</scene_description>
<character>JERRY</character>
<dialogue>We hit the jackpot! Let's roll, good buddy. We got ourselves a convoy.</dialogue>
<character>MARY</character>
<dialogue>Huh?</dialogue>
<character>DENISE</character>
<dialogue>Ugh, what's that smell?</dialogue>
<character>JERRY</character>
<dialogue>Fried chicken.</dialogue>
<parenthetical>( holds up a drumstick . )</parenthetical>
<dialogue>Anybody want some?</dialogue>
<scene_description>No one responds .</scene_description>
</scene>
<scene>
<stage_direction>EXT. WOODS - DAY</stage_direction>
<scene_description>An OLD FARMER and his WIFE stare directly into the camera .</scene_description>
<character>OLD MAN</character>
<dialogue>I do n't know where that skunk ape sleeps. Maybe in the trees and all. all I know is he eats squirrels to survive and he had impure relations with my wife.</dialogue>
<character>WIFE</character>
<dialogue>That's true. He performed lurid acts upon me and my person while my husband Russell was a fix'n to our hound Clarence.</dialogue>
<character>OLD MAN</character>
<dialogue>If I see that thing again. I'm a gon na kill that skunk ape.</dialogue>
<character>BILL</character>
<parenthetical>( off screen . )</parenthetical>
<dialogue>What does it look like?</dialogue>
<character>WIFE</character>
<dialogue>It looked just like that chubby fella from McHale's Navy. Ernie Borgnine.</dialogue>
<character>OLD MAN</character>
<dialogue>Hold up the picture.</dialogue>
<scene_description>The wife holds up a pencil sketch of a Bigfoot like creature and a newspaper photo of Ernest Borgnine .</scene_description>
</scene>
<scene>
<stage_direction>EXT. COUNTRY ROAD - NIGHT</stage_direction>
<scene_description>Bill 's car moves past empty farmlands . A HEAVIER RAIN is now falling .</scene_description>
</scene>
<scene>
<stage_direction>INT. CAR - NIGHT</stage_direction>
<scene_description>Jerry directs Bill from Spaulding 's hand - drawn map .</scene_description>
<character>JERRY</character>
<dialogue>Keep straight on this road here.</dialogue>
<character>BILL</character>
<dialogue>How much further?</dialogue>
<character>JERRY</character>
<dialogue>I'm not exactly sure. it looks close. Did we pass an abandoned school bus yet?</dialogue>
<character>BILL</character>
<dialogue>I do n't know.</dialogue>
<scene_description>Mary and Denise sit bundled up in blankets .</scene_description>
<character>MARY</character>
<dialogue>Let's just skip it. It is probably nothing anyway.</dialogue>
<character>DENISE</character>
<dialogue>Aw Christ, Jerry. We ca n't see anything now, it's too dark. Let's forget it.</dialogue>
<character>JERRY</character>
<dialogue>Come on, we need something like this. It could be the real deal. It's too far out of the way to come back to.</dialogue>
<character>BILL</character>
<dialogue>What's that?</dialogue>
<scene_description>Through the windshield we see a LONE FIGURE hitch - hiking by the side of the road . It is a girl , BABY , 27 , in a worn cowboy hat and long fur coat . She is soaked to the bone .</scene_description>
<character>JERRY</character>
<dialogue>It's a hitchhiker.</dialogue>
<character>BILL</character>
<dialogue>Way out here?</dialogue>
<character>MARY</character>
<dialogue>Well, do n't even think about playing the good samaritan, there's way too many psychos wandering loose these days.</dialogue>
<character>BILL</character>
<parenthetical>( looking closer . )</parenthetical>
<dialogue>It's a girl.</dialogue>
<character>JERRY</character>
<dialogue>Hey, maybe she knows where this is?</dialogue>
<character>DENISE</character>
<parenthetical>( sarcastically . )</parenthetical>
<dialogue>That seems likely.</dialogue>
<character>MARY</character>
<dialogue>Should we stop?</dialogue>
<character>BILL</character>
<dialogue>We ca n't leave her out here in the rain. maybe we can just drop her at the next rest area.</dialogue>
<character>MARY</character>
<dialogue>She looks like a freak.</dialogue>
<character>DENISE</character>
<dialogue>Stick her in the front, if you want to pick her up so bad. She's soaked.</dialogue>
<character>MARY</character>
<dialogue>She looks like she stinks.</dialogue>
<character>BILL</character>
<parenthetical>( imitating Mary . )</parenthetical>
<dialogue>She looks like she stinks.</dialogue>
<character>JERRY</character>
<parenthetical>( makes cat noises . )</parenthetical>
<dialogue>Cat fight, cat fight.</dialogue>
<character>DENISE</character>
<dialogue>Hardy har, har.</dialogue>
<scene_description>The car pulls over and Baby jumps in . The car moves off .</scene_description>
</scene>
<scene>
<stage_direction>INT. CAR - NIGHT</stage_direction>
<scene_description>Once inside the car they see that the girl is a bit odd .</scene_description>
<character>BABY</character>
<dialogue>Whoa, thanks for stopping. I been standing out there in that toad strangling rain for like a hundred million years.</dialogue>
<character>JERRY</character>
<dialogue>Really, that's a long time.</dialogue>
<character>BABY</character>
<dialogue>Yeah, most people just whiz on by like I was invisible or something. or else they're creeps who wan na jam their slimy hands down my pants and twiddle my naughty - naughty.</dialogue>
<character>JERRY</character>
<dialogue>Yikes.</dialogue>
<character>BABY</character>
<dialogue>Yeah, icky. This one guy stops and I look in and he's got his thing out waving it around like a drunk monkey.</dialogue>
<character>DENISE</character>
<dialogue>Well, hitchhiking ai n't the safest way for a girl to travel.</dialogue>
<character>BABY</character>
<dialogue>Yeah, but it's fun.</dialogue>
<character>MARY</character>
<dialogue>Sounds like a magical trip through the heartland.</dialogue>
<character>BILL</character>
<dialogue>Where ya headed?</dialogue>
<character>BABY</character>
<dialogue>Aw, I was going home to my Mamma's house. yeah, I was out doing this thing.</dialogue>
<character>BILL</character>
<dialogue>Where's that?</dialogue>
<character>BABY</character>
<dialogue>Couple more miles up this road.</dialogue>
<character>JERRY</character>
<dialogue>Hey, you might know.</dialogue>
<parenthetical>( shows her the map . )</parenthetical>
<dialogue>. you know where this tree is at? It's an old hanging tree from.</dialogue>
<scene_description>The Baby PERKS UP at the mention of the tree .</scene_description>
<character>BABY</character>
<dialogue>Yeah, I know where that is, it's right by my house. It's Dr. Satan's tree. I can show ya.</dialogue>
<character>JERRY</character>
<dialogue>Really, wow, so it's really a real thing.</dialogue>
<character>BABY</character>
<dialogue>Yeah, it's a tree. I used to play there all the time. But, you ca n't find it without me. Outsider ca n't find no deadwood.</dialogue>
<character>JERRY</character>
<dialogue>Deadwood, is that what it's called? Cool, will you show us?</dialogue>
<character>BABY</character>
<dialogue>Maybe, maybe, maybe. hey, you know what word I hate?</dialogue>
<character>JERRY</character>
<dialogue>What?</dialogue>
<character>BABY</character>
<dialogue>Cone.</dialogue>
<character>JERRY</character>
<dialogue>Huh. what cone?</dialogue>
<character>BABY</character>
<dialogue>Any cone, yeah.</dialogue>
<parenthetical>( looking out the window . )</parenthetical>
<dialogue>I hate that word. sounds ugly, I do n't like crumple either.</dialogue>
<character>JERRY</character>
<dialogue>I always hate saying the word cheese, every time you get your picture taken. smile, say cheese.</dialogue>
<character>BABY</character>
<dialogue>I know I hate Swiss cheese, the holes make me nervous.</dialogue>
<character>BILL</character>
<dialogue>What about the tree?</dialogue>
<character>BABY</character>
<dialogue>Oh yeah, the tree.</dialogue>
<character>MARY</character>
<dialogue>This is crazy. She do n't know nothing.</dialogue>
<scene_description>Baby turns her attention toward Mary .</scene_description>
<character>BABY</character>
<dialogue>Oh, I know. I'll show you where it's at, sweetie. Are n't you just so cute all bundled up like a cinnamon roll of Christmas love.</dialogue>
<character>JERRY</character>
<dialogue>Cool.</dialogue>
<character>BILL</character>
<dialogue>Which way?</dialogue>
<character>BABY</character>
<dialogue>Go straight up about another mile. til we hit Cherrypicker Road and turn right. it ai n't far from there.</dialogue>
</scene>
<scene>
<stage_direction>INT. MENTAL HOSPITAL</stage_direction>
<scene_description>The camera FLOATS through the hallways of the Peabody Mental Institution . It is HALLOWEEN . PATIENTS wander the stark halls dressed in hospital gowns and cheap plastic masks . Some are laughing , some are screaming . We move into a private room . Where we see DOCTOR SATAN completely covered except for his eyes , hovering over a BOUND AND GAGGED PATIENT . We move off the doctor to a crayon child 's DRAWING of a JACK - O ' - LANTERN . Tortured screams fill the room .</scene_description>
</scene>
<scene>
<stage_direction>EXT. CHERRYPICKER RD. - WOODS - NIGHT</stage_direction>
<scene_description>From a STRANGER 'S POV we see the car STRUGGLING down a dirt road .</scene_description>
</scene>
<scene>
<stage_direction>INT. CAR - SAME</stage_direction>
<scene_description>Everyone rides in silence , music plays on the radio . The song ends and a NEWS REPORTER comes on .</scene_description>
<character>NEWS REPORTER</character>
<parenthetical>( V.O . )</parenthetical>
<dialogue>This is WJRC News at the top of the hour. Investigators in Clairemont County are no closer to identifying the body of a young woman found crucified to the doors of St. Mary's Church yesterday morning.</dialogue>
<scene_description>Baby lights up a cigarette and takes a drag .</scene_description>
<character>MARY</character>
<dialogue>Excuse me, could you not smoke in here?</dialogue>
<scene_description>Baby puts out the cigarette on the back of her hand .</scene_description>
<character>NEWS REPORTER</character>
<parenthetical>( V.O . )</parenthetical>
<dialogue>Local police and State Officials have released this report.</dialogue>
<character>JERRY</character>
<dialogue>What's that?</dialogue>
<character>BILL</character>
<dialogue>I do n't know. Looks like some kind of animal.</dialogue>
<scene_description>Bill stops the car .</scene_description>
</scene>
<scene>
<stage_direction>EXT. CHERRYPICKER RD. - WOODS - NIGHT</stage_direction>
<scene_description>Sitting dead center in the middle of the road is a HUMONGOUS DOG . The dog stares straight ahead . Long strands of drool hang from its mouth to the ground .</scene_description>
</scene>
<scene>
<stage_direction>INT. CAR - NIGHT</stage_direction>
<character>MARY</character>
<dialogue>Why are we stopping?</dialogue>
<character>BILL</character>
<dialogue>There's a dog in the road.</dialogue>
<character>DENISE</character>
<dialogue>Honk at him. Scare him.</dialogue>
<character>BILL</character>
<parenthetical>( honking horn . )</parenthetical>
<dialogue>He wo n't move.</dialogue>
<character>MARY</character>
<dialogue>Go around him.</dialogue>
<character>BILL</character>
<dialogue>There's not enough room.</dialogue>
<character>MARY</character>
<dialogue>Then run him over, he'll move.</dialogue>
<character>BABY</character>
<dialogue>No! He's one of God's creatures, he ca n't help it if he's dumb. I'm just crazy about animals.</dialogue>
<character>MARY</character>
<parenthetical>( to Denise . )</parenthetical>
<dialogue>The animals have got nothing to do with it.</dialogue>
</scene>
<scene>
<stage_direction>EXT. STRANGER'S POV - SAME</stage_direction>
<scene_description>A gun barrel is raised and we are looking through the sight at the car . Pop ! Pop ! Pop ! The GUN fires THREE SHOTS at the car 's rear tire . The stranger whistles and the dog moves to the side of the road .</scene_description>
</scene>
<scene>
<stage_direction>INT. CAR - NIGHT</stage_direction>
<scene_description>The SOUND of the heavy rain MASKS the gunshots .</scene_description>
<character>BILL</character>
<dialogue>Hey, he moved.</dialogue>
<character>MARY</character>
<dialogue>Let's get going before that thing tries to eat the car or something.</dialogue>
<scene_description>As the car moves past , Denise stares at the dog sitting calmly to the side of the road . The dog blankly stares back at her .</scene_description>
<character>JERRY</character>
<dialogue>That reminds me of a film I saw once of a guy who got out of his car at Lion Country Safari to take a picture of a lion cub and got eaten by the lions.</dialogue>
<character>BILL</character>
<dialogue>Oh yeah, I heard about that. I always thought it was bullshit.</dialogue>
<character>JERRY</character>
<dialogue>No. yeah, they ripped him to pieces while his family watched from the car. The wife is screaming, the kids are crying. Some dude in another car filmed the whole thing.</dialogue>
<character>BABY</character>
<dialogue>I'd like to see that.</dialogue>
<character>MARY</character>
<dialogue>Nice.</dialogue>
<character>JERRY</character>
<dialogue>The lions were totally covered in this guy's blood. I think they ate his face off, tore open his rib cage, pulled his legs off. it was a wild scene.</dialogue>
<character>BABY</character>
<dialogue>Things like that get a lot bloodier than ya think.</dialogue>
<scene_description>Without warning the car lunges to one side .</scene_description>
<character>JERRY</character>
<dialogue>What was that?</dialogue>
<character>BILL</character>
<dialogue>Fuck. I think we blew a tire.</dialogue>
<character>MARY</character>
<dialogue>Do n't even say it.</dialogue>
<character>DENISE</character>
<dialogue>You got to be fucking joking.</dialogue>
<character>MARY</character>
<dialogue>God damn it, I knew this witch - hunt was fucking bullshit.</dialogue>
<character>BILL</character>
<dialogue>OK, let's relax. I'll check it, maybe I'm wrong. Do n't everybody freak out just yet.</dialogue>
<character>JERRY</character>
<dialogue>I'll help ya.</dialogue>
<character>BILL</character>
<parenthetical>( sarcastic . )</parenthetical>
<dialogue>Gee, ya think it would n't be too much trouble.</dialogue>
</scene>
<scene>
<stage_direction>EXT. CHERRYPICKER ROAD - WOODS - NIGHT</stage_direction>
<scene_description>Bill and Jerry stare down at the blown tire sunk in the mud .</scene_description>
<character>BILL</character>
<dialogue>I hope you fixed the spare like I asked ya.</dialogue>
<character>JERRY</character>
<dialogue>Yeah, I fixed it. Well, I ai n't. um, I ca n't remember. I think I took it out to fit the bags and forgot to put it back.</dialogue>
<character>BILL</character>
<dialogue>Jesus Christ, Jerry.</dialogue>
<character>JERRY</character>
<dialogue>Well, technically I did what ya said.</dialogue>
<character>BILL</character>
<dialogue>You're a real fucking piece of work.</dialogue>
<scene_description>Bill stares at Jerry in disbelief .</scene_description>
</scene>
<scene>
<stage_direction>INT. CAR - NIGHT</stage_direction>
<scene_description>Baby is leaning on her chin staring at Mary and Denise . The car radio plays in the background .</scene_description>
<character>MARY</character>
<dialogue>Can I help you with something?</dialogue>
<character>BABY</character>
<dialogue>I was just wondering.</dialogue>
<character>MARY</character>
<dialogue>Wondering what?</dialogue>
<character>BABY</character>
<dialogue>Are you two gals all funny with each other?</dialogue>
<character>MARY</character>
<dialogue>What?</dialogue>
<character>BABY</character>
<dialogue>You know. a couple of queers.</dialogue>
<character>MARY</character>
<dialogue>Do you believe this fucking girl?</dialogue>
<character>BABY</character>
<parenthetical>( turning her attention to Mary . )</parenthetical>
<dialogue>I was just wondering, cause you got a pissy look about you. like a real pussy licking bitch.</dialogue>
<scene_description>Denise tries to QUICKLY defuse the situation .</scene_description>
<character>DENISE</character>
<dialogue>No. No pussy licking here, but thanks for your concern.</dialogue>
<scene_description>Bill and Jerry slide back into the car .</scene_description>
<character>BILL</character>
<dialogue>Well, I got some bad news and some bad news.</dialogue>
<character>MARY</character>
<dialogue>What?</dialogue>
<character>JERRY</character>
<parenthetical>( fake Scottish accent . )</parenthetical>
<dialogue>Tire's fucking gone crap on us, man. There's no saving it now.</dialogue>
<character>BILL</character>
<dialogue>And the spare is safely sitting in Jerry's garage.</dialogue>
<character>DENISE</character>
<dialogue>For fucking sake Jerry, what the fuck are we gon na do?</dialogue>
<scene_description>Baby starts laughing .</scene_description>
<character>MARY</character>
<dialogue>What the hell are you laughing about?</dialogue>
<character>BABY</character>
<dialogue>I just pictured the tire sitting in a chair watching TV.</dialogue>
<character>MARY</character>
<dialogue>Oh, wonderful.</dialogue>
<parenthetical>( muttering to herself . )</parenthetical>
<dialogue>Fucking psycho.</dialogue>
<character>BILL</character>
<dialogue>I guess I'll try to back it out on the rim. at least to the main road.</dialogue>
<character>BABY</character>
<dialogue>If you keep going straight you can get back on the interstate. it's easier.</dialogue>
<character>MARY</character>
<dialogue>Just back up.</dialogue>
<character>JERRY</character>
<dialogue>I think we should go straight. I mean we know for a fact there ai n't nothing back that way, right?</dialogue>
<character>BABY</character>
<dialogue>Oh wait! I love this song!</dialogue>
<scene_description>Baby reaches over and TURNS UP the VOLUME . She loudly sings along with the song .</scene_description>
<character>BILL</character>
<dialogue>Fine. I'll go straight.</dialogue>
<character>MARY</character>
<dialogue>What!</dialogue>
<character>BILL</character>
<parenthetical>( over the loud music . )</parenthetical>
<dialogue>Fine! I'll go straight!</dialogue>
<scene_description>The car moves forward . After about fifty yards the car HITS something hard and gets stuck in a deep mud bog .</scene_description>
<character>BILL</character>
<dialogue>Fuck! We are fucked!</dialogue>
<character>DENISE</character>
<dialogue>Turn that fucking radio off!</dialogue>
<scene_description>Bill shuts off the radio .</scene_description>
<character>DENISE</character>
<dialogue>Now what are we gon na do?</dialogue>
<character>BABY</character>
<dialogue>We can walk to my house from here. My brother's got a tow truck, he can come get your car.</dialogue>
<scene_description>A silence falls over the car .</scene_description>
<character>MARY</character>
<dialogue>I think I'm going fucking crazy.</dialogue>
<character>DENISE</character>
<dialogue>I ca n't believe.</dialogue>
<character>BILL</character>
<dialogue>OK, whatever. Let's go get your brother's truck. Faster we get the truck, faster we get out of here.</dialogue>
<character>BABY</character>
<dialogue>OK.</dialogue>
<character>JERRY</character>
<dialogue>I'll go. It's my fault.</dialogue>
<character>MARY</character>
<dialogue>You said it, not me.</dialogue>
<character>BILL</character>
<dialogue>Forget it. I'll just go.</dialogue>
<character>MARY</character>
<dialogue>Screw that, no way, I ai n't letting you go by yourself.</dialogue>
<character>BILL</character>
<dialogue>Do n't worry, I'll be quick. Just stay here, no sense everybody getting drenched.</dialogue>
<character>JERRY</character>
<dialogue>I agree.</dialogue>
<character>BABY</character>
<dialogue>Yeah, it wo n't take long and besides you sassy poodle girls will slow us down.</dialogue>
<scene_description>Baby jumps up and gets out of the car .</scene_description>
<character>BILL</character>
<dialogue>Do n't worry, I'll be right back.</dialogue>
<character>BABY</character>
<dialogue>Come on.</dialogue>
<character>JERRY</character>
<dialogue>Do n't forget the flashlight, it's pretty dark out there.</dialogue>
<character>BILL</character>
<dialogue>Thanks.</dialogue>
<character>JERRY</character>
<dialogue>No problem.</dialogue>
<scene_description>Bill kisses Mary good - bye and EXITS . Mary watches Baby and Bill head off into the WOODS . Baby turns and makes a kissy face at Mary .</scene_description>
</scene>
<scene>
<stage_direction>EXT. MISS BUNNY'S HOLLYWOOD REVUE - DAY</stage_direction>
<scene_description>A hand painted tin sign surrounded by flashing lights which reads MISS BUNNY 'S HOLLYWOOD REVUE hangs over the entrance to a small garage . Movie star portraits of JEAN HARLOW , W.C. FIELDS and CLARK GABLE adorn the walls of the garage . An over the hill ex - glamour girl , MISS BUNNY , 55 , comes into frame . She 's dressed in a sparkling red gown with feathers in her hair .</scene_description>
<character>MISS BUNNY</character>
<parenthetical>( bad Marilyn Monroe imitation . )</parenthetical>
<dialogue>Hi, I'm Miss Bunny and welcome to my Hollywood Revue.</dialogue>
<parenthetical>( she giggles . )</parenthetical>
<dialogue>. where the stars shine forever.</dialogue>
</scene>
<scene>
<stage_direction>INT. MISS BUNNY'S HOLLYWOOD REVUE - DAY</stage_direction>
<scene_description>Tinseltown lives . Tin foil is wrapped around everything , the walls , doors and ceiling . Fake cement handprints of movie greats cover the tiny floor . Badly sculpted statues of MARILYN MONROE , GROUCHO MARX and JOHN WAYNE stand in the corners . Dead center is a small puppet show stage .</scene_description>
<character>MISS BUNNY</character>
<dialogue>Hi, this is the place where the magic happens.</dialogue>
<scene_description>CLOSE UP - SQUIRREL A stuffed squirrel dressed in a gray skirt and jacket , a tilted hat sits atop its head .</scene_description>
<character>MISS BUNNY</character>
<parenthetical>( holding up squirrel . )</parenthetical>
<dialogue>This is Jenny, she is our resident Ingrid Bergman.</dialogue>
<scene_description>Miss Bunny picks up a stuffed white cat wearing a brown trenchcoat .</scene_description>
<character>MISS BUNNY</character>
<dialogue>This is Ronald J. Perrywinckle. our Humphrey Bogart. today we'll be doing a scene from Casablanca.</dialogue>
<scene_description>Miss Bunny begins to make the dead animal puppets interact . She provides their voices .</scene_description>
<character>HUMPHREY CAT</character>
<dialogue>If that plane leaves the ground and you're not with him you'll regret it. maybe not today, maybe not tomorrow but soon and for the rest of your life.</dialogue>
<character>INGRID SQUIRREL</character>
<dialogue>But what about us?</dialogue>
<character>HUMPHREY CAT</character>
<dialogue>We'll always have Paris. We did n't have, we lost it. until you came to Casablanca. We got it back last night.</dialogue>
<character>INGRID SQUIRREL</character>
<dialogue>When I said I would never leave you.</dialogue>
<character>HUMPHREY CAT</character>
<dialogue>And you never will.</dialogue>
</scene>
<scene>
<stage_direction>EXT. WOODS - NIGHT</stage_direction>
<scene_description>A single flashlight beam cuts through the darkness of the dense woods . Bill stumbles behind Baby , she is clearly in her element .</scene_description>
<character>BILL</character>
<dialogue>How much further?</dialogue>
<character>BABY</character>
<dialogue>Almost there. are you in a hurry or something?</dialogue>
<character>BILL</character>
<dialogue>Well, yeah, kind of.</dialogue>
</scene>
<scene>
<stage_direction>INT. CAR - NIGHT</stage_direction>
<scene_description>Jerry is stretched out across the front seat , reading a book on Freak Shows . Denise and Mary sit in the back , curled up under layers of blankets and clothes .</scene_description>
<character>DENISE</character>
<dialogue>Fuck, it's freezing.</dialogue>
<character>JERRY</character>
<dialogue>Hey, listen to this. I think this is related to our Dr. Satan.</dialogue>
<character>DENISE</character>
<dialogue>Oh, yeah.</dialogue>
<character>JERRY</character>
<dialogue>Yeah, in this book there's a chapter called Self Made Freaks about how people would mutilate themselves in order to work in a freak show. It mostly talks about tattooed people and wild men of Borneo and shit like that, but there is one mention of a single case where a woman was suspected of having her arms removed on purpose to become an arm - less wonder.</dialogue>
<character>DENISE</character>
<dialogue>Yeah, so how does that fit with the story of four morons with a flat tire looking for a dead tree?</dialogue>
<character>JERRY</character>
<dialogue>It says, `` records show that Ellie Thompson was born in 1914 of normal physical stature and lived a life of normal bearings, until such time that she was placed in the care of the Willows State Mental Facility.''</dialogue>
<character>DENISE</character>
<dialogue>So.</dialogue>
<character>JERRY</character>
<dialogue>Now she was put in the nuthouse in 1930 at the age of 16.</dialogue>
<character>DENISE</character>
<dialogue>Why?</dialogue>
<character>JERRY</character>
<parenthetical>( scanning the book . )</parenthetical>
<dialogue>Blah, blah, blah. it does n't say, but she was released sometime in 1937, only to reappear as Ellie Bogdan, the arm - less wonder. Says she, `` criss - crossed the United States constantly in carnivals and freak shows until her death in 1946.''</dialogue>
<character>DENISE</character>
<dialogue>Yeah?</dialogue>
<character>JERRY</character>
<dialogue>These dates perfectly correspond with the time frame of our beloved Dr. Satan working at the looney bin. I'll bet he amputated her arms.</dialogue>
<character>DENISE</character>
<dialogue>So what?</dialogue>
<character>JERRY</character>
<dialogue>I do n't know, I just thought it was interesting.</dialogue>
<character>DENISE</character>
<dialogue>You know what Jerry, who really cares at this point?</dialogue>
<character>JERRY</character>
<dialogue>I do n't.</dialogue>
<parenthetical>( to himself . )</parenthetical>
<dialogue>. I just thought it was weird.</dialogue>
<character>MARY</character>
<parenthetical>( bursting in . )</parenthetical>
<dialogue>God damn it, I must be fucking crazy to let him go off with that crazy fucking bitch.</dialogue>
<character>JERRY</character>
<dialogue>Huh?</dialogue>
<character>MARY</character>
<dialogue>That stupid hillbilly slut.</dialogue>
<character>JERRY</character>
<dialogue>Oh, do n't blow everything out of proportion.</dialogue>
<character>MARY</character>
<dialogue>You did n't see the look she threw me. She's up to something.</dialogue>
<character>DENISE</character>
<dialogue>Yeah, Jerry, she said some pretty fucked shit to us.</dialogue>
<character>JERRY</character>
<dialogue>When?</dialogue>
<character>DENISE</character>
<dialogue>When you were outside with Bill.</dialogue>
<character>MARY</character>
<dialogue>She said we look like pussy lickers or some shit like that.</dialogue>
<character>DENISE</character>
<dialogue>Yeah, she said we looked queer.</dialogue>
<character>JERRY</character>
<dialogue>Aw, get over it, she's just some dopey redneck, she ai n't smart enough to be up to nothing. I mean anything. chicks.</dialogue>
</scene>
<scene>
<stage_direction>EXT. FARMHOUSE - NIGHT</stage_direction>
<scene_description>An old Gothic FARMHOUSE stands atop a hill at the end of a long sloping dirt road . SCARECROWS with pumpkin heads hang CRUCIFIED on crosses lining the drive . Everything is severely overgrown . Bill and Baby enter the gates of the FARM , they walk up the main drive . Baby runs forward and begins jumping around in the huge mud puddles , then runs up onto the front porch of the old house . The front of the house is covered with strange junk art . Hundreds of dolls faces are nailed to the walls .</scene_description>
<character>BABY</character>
<dialogue>These are all my dolls. I use to like to chop their heads off.</dialogue>
<scene_description>Broken bottles and cans are cemented together in weird HUMAN FIGURES , ANIMAL SKINS stretched over bone armatures form a makeshift roof . Glowing down from the upper windows are grinning JACK - O ' - LANTERNS .</scene_description>
<character>BABY</character>
<dialogue>The door's locked. I'll got ta go around. wait here.</dialogue>
<character>BILL</character>
<dialogue>OK.</dialogue>
<scene_description>Baby RUNS OFF around the side of the house . Bill stands looking off into the distance at the desolate farm grounds . The rain continues to hammer down . From BILL 'S POV we see a silhouette of a LONE FIGURE walking in the distance . The shape of a large dog follows behind him . Bill JUMPS , startled by the sound of the heavy front door opening .</scene_description>
<character>BILL</character>
<dialogue>Christ, you scared the shit out of me.</dialogue>
<character>BABY</character>
<dialogue>Aw, you ai n't seen nothing yet.</dialogue>
<character>BILL</character>
<dialogue>Is your brother ready to go?</dialogue>
<character>BABY</character>
<dialogue>Oh. yeah, he already left. We'll wait inside, come on.</dialogue>
<character>BILL</character>
<dialogue>He left!</dialogue>
<character>BABY</character>
<dialogue>Yeah, come on.</dialogue>
<scene_description>Baby GRABS Bill by the arm and pulls him into the house . The heavy iron door slams shut .</scene_description>
</scene>
<scene>
<stage_direction>INT. CAR - SAME</stage_direction>
<scene_description>Denise and Mary sit facing one another , playing cards . Mary deals from a deck . Jerry naps in the front seat .</scene_description>
<character>MARY</character>
<dialogue>How long has it been?</dialogue>
<character>DENISE</character>
<dialogue>I do n't know. about half an hour.</dialogue>
<scene_description>A metal KLANG is faintly heard .</scene_description>
<character>MARY</character>
<dialogue>What was that?</dialogue>
<character>DENISE</character>
<dialogue>What? I did n't hear anything.</dialogue>
<character>MARY</character>
<dialogue>Wait. quiet. Turn off the radio.</dialogue>
<scene_description>Mary reaches over the front seat and turns off the radio .</scene_description>
<character>DENISE</character>
<dialogue>Now. listen.</dialogue>
<scene_description>They sit in silence .</scene_description>
<character>MARY</character>
<dialogue>I do n't hear anything.</dialogue>
<character>DENISE</character>
<parenthetical>( whispering . )</parenthetical>
<dialogue>Shhhhhh, quiet.</dialogue>
<character>MARY</character>
<dialogue>I still do n't.</dialogue>
<character>DENISE</character>
<dialogue>Turn on the headlights. See if anything is out there.</dialogue>
<scene_description>Mary turns on the headlights . Denise lets out a blood - curdling SCREAM . Jerry bolts up .</scene_description>
<character>JERRY</character>
<dialogue>What. what!</dialogue>
<scene_description>Standing dead center in the road is the GIANT SHAPE of a MAN holding a heavy chain with a huge hook on the end .</scene_description>
<character>MARY</character>
<dialogue>Lock the doors. quick, quick.</dialogue>
<scene_description>Everybody scrambles to lock the doors .</scene_description>
<character>DENISE</character>
<dialogue>Holy fuck, holy fuck, holy fuck.</dialogue>
<scene_description>On closer inspection , Jerry notices the chain is attached to the back of a TOW TRUCK .</scene_description>
<character>JERRY</character>
<dialogue>Hold on, hold on! Everybody calm down! It's the tow truck guy.</dialogue>
<character>MARY</character>
<dialogue>What!</dialogue>
<character>DENISE</character>
<dialogue>Jesus Christ.</dialogue>
<character>MARY</character>
<dialogue>I think I'm gon na have a fucking heart attack.</dialogue>
<character>JERRY</character>
<parenthetical>( Scottish accent . )</parenthetical>
<dialogue>OK lassies, I think it's time you get to gripping reality.</dialogue>
<character>MARY</character>
<dialogue>Enough with the stupid voices.</dialogue>
<scene_description>The brute man attaches the chain to the car and begins raising it with his truck . A SIGN on the side of the truck reads FIREFLY TOWING . CLOSE UP - TV SCREEN We are watching a scene from THE OLD DARK HOUSE . GLORIA STUART , RAYMOND MASSEY and MELVYN DOUGLAS are standing in the rain pounding on a huge wooden door .</scene_description>
<character>GLORIA STUART</character>
<dialogue>Knock again louder.</dialogue>
<character>MELVYN DOUGLAS</character>
<dialogue>I should of thought that was loud enough to wake the dead. that's an idea.</dialogue>
<character>RAYMOND MASSEY</character>
<dialogue>What is?</dialogue>
<character>MELVYN DOUGLAS</character>
<dialogue>Would n't it be dramatic, supposing the people inside were dead. All stretched out with the lights quietly burning about them.</dialogue>
<character>GLORIA STUART</character>
<dialogue>I'm sure it would be very amusing.</dialogue>
<scene_description>We pull back from the TV to see Bill 's clothes drying by the fireplace . Bill , now wearing overalls and a flannel shirt , is sitting on an old over stuffed sofa .</scene_description>
<character>BILL</character>
<dialogue>So, you live here alone. I mean with just your brother?</dialogue>
<character>BABY</character>
<parenthetical>( speaking from the next room . )</parenthetical>
<dialogue>No. There's a bunch a us ` round somewhere. I think Mamma's sleepin'. She sleeps a lot, now. do you want marshmallows?</dialogue>
<character>BILL</character>
<dialogue>Um, yeah sure, I guess.</dialogue>
<character>BABY</character>
<dialogue>You sure do a lot of guessing.</dialogue>
<scene_description>Baby sets down the tray , making sure to bend over close to Bill . She hands him his drink and sits down next to him .</scene_description>
<character>BILL</character>
<dialogue>Thank you.</dialogue>
<character>BABY</character>
<dialogue>You're welcome.</dialogue>
<scene_description>Baby moves closer to Bill , he begins to get nervous .</scene_description>
<character>BILL</character>
<dialogue>Hey, um.</dialogue>
<parenthetical>( pointing to the mounted animal head over the fireplace . )</parenthetical>
<dialogue>. what kind of animal is that?</dialogue>
<character>BABY</character>
<dialogue>A dead one.</dialogue>
<character>BILL</character>
<parenthetical>( sipping his drink . )</parenthetical>
<dialogue>Mmmmm, this is tasty.</dialogue>
<character>BABY</character>
<parenthetical>( scoops out some marshmallow with her finger . )</parenthetical>
<dialogue>Ai n't the only thing tasty in this house.</dialogue>
<parenthetical>( licks it off . )</parenthetical>
<dialogue />
<character>BILL</character>
<dialogue>I wonder what time it is. Seems kind of late.</dialogue>
<character>BABY</character>
<dialogue>Do n't worry, sugar. It ai n't past my bedtime. are you flirting with me?</dialogue>
<character>BILL</character>
<dialogue>What? No, I'm was worried that. I was just wondering what's taking so long.</dialogue>
<character>BABY</character>
<dialogue>Oh. Maybe R.J. got into a crash and killed everbody?</dialogue>
<character>BILL</character>
<dialogue>That's not something to joke about.</dialogue>
<character>BABY</character>
<parenthetical>( rolls her eyes . )</parenthetical>
<dialogue>OK, sorry. maybe the Great Pumpkin ate'em up.</dialogue>
<scene_description>Finally , the SOUND OF A TRUCK pulling up can be HEARD . Bill jumps up and goes to the window .</scene_description>
<character>BILL</character>
<dialogue>Hey, great they're back.</dialogue>
<character>BABY</character>
<parenthetical>( sarcastically . )</parenthetical>
<dialogue>Whoopie fucking doo.</dialogue>
<scene_description>TV SCREEN - SAME On the B+W screen we see DR. WOLFENSTEIN , a local horror movie host . He looks like a cross between the WOLFMAN and LON CHANEY in LONDON AFTER MIDNIGHT .</scene_description>
<character>DR. WOLFENSTEIN</character>
<parenthetical>( sounds like Wolfman Jack . )</parenthetical>
<dialogue>Aaaahooooh, the Doctor is in! Do n't move, do n't scream. Stay tuned for more creature craziness from channel 68's Halloween eve movie marathon. I'm your host. your ghost host with the most, baby. Dr. Wolfenstein and will be with you until the end. Aaaaaaahooooooh!</dialogue>
</scene>
<scene>
<stage_direction>EXT. FARMHOUSE - NIGHT</stage_direction>
<scene_description>Bill stands on the front porch watching as the truck roughly jerks the car to a stop . Jerry jumps out , opens the back door and helps Denise .</scene_description>
<character>JERRY</character>
<parenthetical>( looking at Bill . )</parenthetical>
<dialogue>Hey, nice outfit Billy Bob.</dialogue>
<character>DENISE</character>
<dialogue>Thanks for coming to get us. Little brother almost scared us to death.</dialogue>
<character>JERRY</character>
<parenthetical>( quietly to Bill as he passes . )</parenthetical>
<dialogue>Dude, your chick's a little high strung.</dialogue>
<scene_description>Mary is the last one out of the car . She says nothing as she walks to join the others on the porch . Her look says it all as she walks by Bill and into the house .</scene_description>
<character>BILL</character>
<dialogue>Mary, I'm sorry but he left without me. Mary. come on, you do n't think I'd leave you stranded out there.</dialogue>
</scene>
<scene>
<stage_direction>INT. FARMHOUSE - NIGHT</stage_direction>
<scene_description>Everyone stands around at the fireplace , trying to dry off .</scene_description>
<character>DENISE</character>
<dialogue>Look. I got ta call my Dad and tell him we're gon na be late. Can I use your phone?</dialogue>
<scene_description>Baby sits silently watching TV .</scene_description>
<character>DENISE</character>
<dialogue>Excuse me, may I please use your phone?</dialogue>
<character>MARY</character>
<parenthetical>( sarcastically . )</parenthetical>
<dialogue>Bill, why do n't you ask her. she's your special friend.</dialogue>
<scene_description>A VOICE from upstairs answers .</scene_description>
<character>MOTHER</character>
<dialogue>Ai n't got one.</dialogue>
<scene_description>MOTHER comes into view from the darkness above . She is in her fifties , but looks younger . A sleazy white trash queen . She slowly descends the stairs .</scene_description>
<character>DENISE</character>
<dialogue>Huh? Oh, hi. You really do n't have a phone?</dialogue>
<character>MOTHER</character>
<dialogue>No, none. I had one once, back in'57 maybe. I do n't know. Really ai n't nobody we wan na be jaw flapping at around here no more.</dialogue>
<character>JERRY</character>
<dialogue>Hey, maybe the guy with the tow truck could drive us to a phone.</dialogue>
<character>MOTHER</character>
<dialogue>His name is Rufus, Rufus Jr., but we all call him R.J.</dialogue>
<character>JERRY</character>
<dialogue>Oh, right.</dialogue>
<character>MOTHER</character>
<dialogue>What do they call you, sweety?</dialogue>
<character>JERRY</character>
<dialogue>Um, I'm Jerry. that's Bill. Denise and Mary.</dialogue>
<character>BILL</character>
<dialogue>Yeah, maybe R.J. could just tow us and our car to the nearest garage.</dialogue>
<character>DENISE</character>
<dialogue>I mean obviously we will compensate you for your troubles.</dialogue>
<character>MOTHER</character>
<dialogue>Oh, you ai n't no troubles, no, no, no fuss.</dialogue>
<parenthetical>( claps her hands . )</parenthetical>
<dialogue>Baby. go see what Rufus Jr. is doing with these nice folks' automobile.</dialogue>
<scene_description>Baby slowly rises like a defiant child and walks out of the room .</scene_description>
<character>MOTHER</character>
<dialogue>In the meanwhile please make yourselves at home.</dialogue>
<scene_description>MONTAGE Gruesome crime scene photos flash across the screen .</scene_description>
<character>CHILDREN</character>
<parenthetical>( singing , off screen . )</parenthetical>
<dialogue>98 bodies in your bed, Some are green, some are red. Eat the flesh and pick the bones, Drink the blood when you get home. 99 bodies in the ground, Some are blue, some are brown. Gather ` round the people said, Where do you go when you are dead?</dialogue>
</scene>
<scene>
<stage_direction>INT. FARMHOUSE - LIVING ROOM - NIGHT</stage_direction>
<scene_description>Mother , Jerry , Denise and Mary are all seated on the sofa . Bill sits in an easy chair .</scene_description>
<character>MOTHER</character>
<dialogue>So, what brings you kids way out here, ai n't you got something better to do for Halloween than wander around out here in the sticks?</dialogue>
<character>JERRY</character>
<dialogue>Well, I thought I'd maybe take in a hoedown.</dialogue>
<character>MOTHER</character>
<parenthetical>( flirting . )</parenthetical>
<dialogue>Oh, really.</dialogue>
<parenthetical>( puts her hand on Jerry 's knee and winks . )</parenthetical>
<dialogue>. well, I'm a pretty good dancer if you know what I mean. I bet I got a few moves you ai n't never seen.</dialogue>
<character>JERRY</character>
<dialogue>I do n't doubt that.</dialogue>
<character>DENISE</character>
<dialogue>No, he's just joking. We do n't really have any plans other than spending the night at my Dad's house.</dialogue>
<parenthetical>( glances at Jerry . )</parenthetical>
<dialogue>. which is where we were headed when our car broke down.</dialogue>
<character>MOTHER</character>
<dialogue>That's nice.</dialogue>
<character>DENISE</character>
<dialogue>Yeah, I guess I'll just help him hand out candy to the trick or treaters.</dialogue>
<character>JERRY</character>
<dialogue>And I'm gon na help put the razor blades in the candy apples.</dialogue>
<character>MOTHER</character>
<dialogue>I'll bet you are. you are a naughty little thing are n't ya.</dialogue>
<character>JERRY</character>
<dialogue>I was just kidding.</dialogue>
<scene_description>Bill and Mary snicker at Jerry 's comments . Denise tries to keep a straight face .</scene_description>
<character>MOTHER</character>
<dialogue>Oh, I get it. I guess you think you're too good for the simple pleasures of Halloween.</dialogue>
<character>MARY</character>
<dialogue>No, just a little too old.</dialogue>
<character>MOTHER</character>
<dialogue>Oh really, well I hope something changes your mind some day.</dialogue>
<scene_description>Baby returns from the garage .</scene_description>
<character>BABY</character>
<dialogue>Tiny's home.</dialogue>
<character>MOTHER</character>
<dialogue>What about R.J?</dialogue>
<character>BABY</character>
<dialogue>Oh, he was already gone before I seen him. but Tiny saw him and said he said he was going out to the yard to get a new wheel.</dialogue>
<character>BILL</character>
<dialogue>The yard, what's that?</dialogue>
<character>MOTHER</character>
<dialogue>It's an old auto junkyard out in Baldwin.</dialogue>
<character>DENISE</character>
<dialogue>How long is that gon na take?</dialogue>
<character>MOTHER</character>
<dialogue>He should be back in a couple hours.</dialogue>
<character>MARY</character>
<dialogue>A couple hours!</dialogue>
<character>DENISE</character>
<dialogue>Ca n't Tiny drive us to a phone?</dialogue>
<scene_description>Mother and Baby laugh .</scene_description>
<character>MOTHER</character>
<parenthetical>( laughing . )</parenthetical>
<dialogue>Tiny ai n't got no car, he ai n't even got a bicycle.</dialogue>
<character>DENISE</character>
<dialogue>How's he get around out here?</dialogue>
<character>BABY</character>
<dialogue>He walks, duh.</dialogue>
<character>MARY</character>
<dialogue>Fucking great.</dialogue>
<character>MOTHER</character>
<dialogue>I know you're my guests and welcome but I'd please advise you to keep from cussing while in my house, thank you.</dialogue>
<character>MARY</character>
<dialogue>Sorry.</dialogue>
<character>MOTHER</character>
<dialogue>Well, even though I know it seems childish to you all. Tonight is Halloween eve and it special to us so you are all invited to stay for dinner.</dialogue>
<scene_description>Under the circumstances they realize they have no choice . They grin and bear it .</scene_description>
<character>DENISE</character>
<dialogue>Thank you.</dialogue>
<character>JERRY</character>
<parenthetical>( imitates Elvis . )</parenthetical>
<dialogue>Yes, thank you. Thank you very much.</dialogue>
<character>MOTHER</character>
<parenthetical>( Mother touches Jerry 's shoulder suggestively . )</parenthetical>
<dialogue>You're a strange one, are n't ya honey. I think you and me are get on like.</dialogue>
<parenthetical>( she thinks for a second . )</parenthetical>
<dialogue>. like something real good.</dialogue>
<scene_description>Camera moves over to the TV . THE END fades up on screen . Dr. Wolfenstein appears over the credits .</scene_description>
<character>DR. WOLFENSTEIN</character>
<dialogue>There well, who knew there was love to be found in The Old Dark House. Coming up next, do not move a muscle, an artery or a vein as we venture into another creepy classic. are you ready for THE WOLFMAN, baby?</dialogue>
</scene>
<scene>
<stage_direction>INT. HOUSE - DINING ROOM</stage_direction>
<scene_description>Bill , Jerry , Mary and Denise are now all seated around a large dining room table . A thick mountain of candles sits burning dead center on the table , giving off a warm glow . Dozens of Halloween decorations dangle from strings over the table , spiders , bats and black cats . There is a hand - made PAPER MACHE MASK sitting on each plate .</scene_description>
<character>MARY</character>
<parenthetical>( holding up the witch mask . )</parenthetical>
<dialogue>I hope to Christ she does n't expect us to wear these things.</dialogue>
<character>BILL</character>
<dialogue>Whatever it is just do it. The more we play along the faster we'll get the hell out of here.</dialogue>
<character>DENISE</character>
<dialogue>Really, now is not the time to make waves.</dialogue>
<character>JERRY</character>
<dialogue>Hey, I'm just waiting for Cousin Itt to show up.</dialogue>
<character>DENISE</character>
<dialogue>Shhhhhh.</dialogue>
<scene_description>Mother walks in holding a covered serving tray .</scene_description>
<character>DENISE</character>
<dialogue>You sure you do n't need any help in there?</dialogue>
<character>MOTHER</character>
<dialogue>No dear, I'm fine. Now what kind of host would I be if I put my guests to this kind of work.</dialogue>
<scene_description>She sets the tray and goes back in the kitchen . BOOM ! The sound of the front door SLAMMING shut is heard , followed by the POUNDING of heavy footsteps . Mother 's and Baby 's shouting is heard .</scene_description>
<character>BABY</character>
<parenthetical>( O.S . )</parenthetical>
<dialogue>Ma, Tiny's in.</dialogue>
<character>MOTHER</character>
<parenthetical>( O.S . )</parenthetical>
<dialogue>Go tell him to get your Grandpa.</dialogue>
</scene>
<scene>
<stage_direction>INT. HOUSE - BABY'S ROOM</stage_direction>
<scene_description>Baby is standing in front of her closet staring at her clothes . The walls of her room are covered with B+W photos of movie stars .</scene_description>
<character>BABY</character>
<parenthetical>( whining . )</parenthetical>
<dialogue>Ma, I ca n't, I'm busy getting dressed.</dialogue>
</scene>
<scene>
<stage_direction>INT. HOUSE - DINING ROOM</stage_direction>
<scene_description>TINY ENTERS and removes his coat . Everyone is speechless . Tiny is over SEVEN FEET TALL and weighs THREE HUNDRED POUNDS . He is wearing a black sweater with a big red skull stitched into it . A red knit ski mask covers his face . Black gloves cover his hands . Tiny sits at the table , looks down at his plate and says nothing . Mother comes to fetch Tiny . She relays a message to him with strange hand gestures . Tiny gets up and leaves the room .</scene_description>
<character>MOTHER</character>
<dialogue>You'll have to forgive Tiny, he ca n't hear so much.</dialogue>
<character>DENISE</character>
<dialogue>Oh.</dialogue>
<character>MOTHER</character>
<dialogue>Yeah, my poor baby. It's his Daddy's fault. I mean Earl was a good man. I mean he never hit me or nothing, but one day he just got up and went pure devil on us all.</dialogue>
<character>DENISE</character>
<dialogue>What happened? Oh, I'm sorry, it's none of my business.</dialogue>
<character>MOTHER</character>
<dialogue>He tried to burn the house down, said it was possessed by the spirits. Tiny was sleeping in the basement where the fire started. I do n't think Earl ever meant to harm us. but Tiny was badly burnt, his ears were destroyed and most of his skin.</dialogue>
<character>BILL</character>
<dialogue>Is that why he wears the mask?</dialogue>
<character>MOTHER</character>
<dialogue>Yeah, my baby boy gets shy around new people, but he'll warm up to ya. especially the ladies.</dialogue>
<character>JERRY</character>
<dialogue>Great. I thought I felt a certain attraction between Mary and Tiny soon as he walked in.</dialogue>
<character>MOTHER</character>
<dialogue>Maybe. He's a real lady killer.</dialogue>
<character>JERRY</character>
<dialogue>Did n't ya think, Mary?</dialogue>
<scene_description>Mary just smiles , then gives Jerry a dirty look .</scene_description>
<character>MOTHER</character>
<dialogue>Well, we'll see. the night is young and so are you. oh well, couple more minutes.</dialogue>
<scene_description>Mother returns to the kitchen .</scene_description>
<character>DENISE</character>
<parenthetical>( elbows Jerry . )</parenthetical>
<dialogue>Do n't be such a fucking smart ass.</dialogue>
<character>MARY</character>
<dialogue>Yeah, it's really your fault that we're stuck in this shithole in the first place.</dialogue>
<character>JERRY</character>
<dialogue>Oh, do n't worry she did n't get offended by what I said. You two got to lighten up. right, Bill?</dialogue>
<character>BILL</character>
<dialogue>Whatever, at this point all I care about is food. I'm starving and I got a fucking killer headache.</dialogue>
<character>JERRY</character>
<dialogue>Hey, I asked you if you wanted some chicken.</dialogue>
<character>BILL</character>
<dialogue>Did n't look like chicken to me, more like fried pussy cat.</dialogue>
<character>JERRY</character>
<parenthetical>( shrugs . )</parenthetical>
<dialogue>Tasted pretty good.</dialogue>
</scene>
<scene>
<stage_direction>INT. FARMHOUSE - GRAMPA'S ROOM - NIGHT</stage_direction>
<scene_description>In a cramped , darkened room we see the huge shape of Tiny hovering over a BED containing the hunched , fragile old body of GRAMPA . Grampa struggles to sit , then slowly slides his legs over the edge of the bed . Tiny helps him to stand .</scene_description>
<character>GRAMPA</character>
<dialogue>God damn it, I can do it. I can do it myself, ya big monkey. I ai n't dead yet. so do n't you and your sister start counting out my money yet.</dialogue>
<scene_description>Grampa steadies himself against Tiny . They slowly walk out of the room .</scene_description>
<character>GRAMPA</character>
<dialogue>God damn, my dogs are barking.</dialogue>
<scene_description>As they move into the light of the hallway , it is clear that Grampa is in his late 80 's . Grampa quickly grows tired . Tiny picks him up in his arms and carries him down the stairs to the dining room . As they move past , the camera comes to rest on a STRANGE OBJECT sitting on a shelf . A LARGE GLASS JAR containing a DEFORMED BABY . The pickled punk looks to have a small second head growing from its temple . The label on the jar reads STUFFY 1973 . The sound from the TV fades up in the background . BELA LUGOSI 'S VOICE can be heard .</scene_description>
<character>BELA LUGOSI</character>
<parenthetical>( V.O . )</parenthetical>
<dialogue>Your hands, please. Your left hand shows your past.</dialogue>
<scene_description>TV SCREEN Bela is seen as a fortune teller holding a woman 's hands . This is a scene from The Wolfman .</scene_description>
<character>BELA LUGOSI</character>
<dialogue>and your right hand shows your future.</dialogue>
<scene_description>CLOSE UP We see a tight shot of the woman 's palm . A pentagram appears .</scene_description>
</scene>
<scene>
<stage_direction>INT. DENISE'S FATHER'S HOUSE - NIGHT</stage_direction>
<scene_description>We PULL BACK from the TV to find Donald Willis sitting in a old easy chair . The room is modest , but comfortable . He reaches over and picks up a small alarm clock , notices the time , concerned look comes over his face . The phone rings . He quickly answers it .</scene_description>
<character>MR. WILLIS</character>
<dialogue>Hello, Denise?</dialogue>
<scene_description>Disappointment . He mutes the TV .</scene_description>
<character>MR. WILLIS</character>
<dialogue>Oh, yeah. no, Fred. I was hoping you were Denise, she's a little late.</dialogue>
<parenthetical>( pausing . )</parenthetical>
<dialogue>Yeah, yeah I'm sure the rain just slowed'em down. yeah. uh - huh, yeah. no, no you can keep it'til Tuesday. alright, talk to ya tomorrow, bye.</dialogue>
<scene_description>Unmutes the sound on the TV .</scene_description>
</scene>
<scene>
<stage_direction>INT. DINING ROOM - NIGHT</stage_direction>
<scene_description>The feast is on . Mother , Tiny , Grampa , Jerry , Bill , Mary and Denise are gathered around the table .</scene_description>
<character>MOTHER</character>
<dialogue>OK, everyone, put on your masks. We ca n't very well eat with our everyday faces exposed.</dialogue>
<scene_description>Mother puts on her mask , Tiny and Grampa follow . Jerry , Bill and Denise slowly raise up their masks , Mary hesitates .</scene_description>
<character>GRAMPA</character>
<parenthetical>( to Mary . )</parenthetical>
<dialogue>Christ kid, put it on. She ai n't letting any of us touch the grub'til you're wearing the damn thing.</dialogue>
<scene_description>Mary rolls her eyes and complies .</scene_description>
<character>JERRY</character>
<dialogue>I've been meaning to ask you, Mrs. Ummmm.</dialogue>
<character>MOTHER</character>
<parenthetical>( hesitates . )</parenthetical>
<dialogue>Firefly.</dialogue>
<character>JERRY</character>
<dialogue>Firefly. mmmmm odd name. Mrs. Firefly, do you know anything about the legend of Dr. Satan?</dialogue>
<character>BILL</character>
<dialogue>Here we go.</dialogue>
<scene_description>Grampa shifts his eyes onto Mother .</scene_description>
<character>MOTHER</character>
<parenthetical>( nervously . )</parenthetical>
<dialogue>Well, I'm not much for local gossip an this and that, but I've heard it mentioned in passing over the years but. I mean folks is queer and they say things, crazy things you know what I mean?</dialogue>
<character>GRAMPA</character>
<dialogue>It's all talk, yakty yak, like a bunch of hungry chipmunks. Christ, Dr. Satan. That takes the bull's nuts alright.</dialogue>
<parenthetical>( starts laughing . )</parenthetical>
<dialogue>. hey, I hear some genius up north got a hot line on the Easter Bunny for ya.</dialogue>
<scene_description>A voice from the shadows interrupts .</scene_description>
<character>OTIS</character>
<parenthetical>( slowly . )</parenthetical>
<dialogue>I know all about what you want to know about.</dialogue>
<scene_description>A PALE FIGURE creeps forward like NOSFERATU from a dark corner of the room . This is OTIS . He stands six foot , but is deathly slim . His skin is translucent , glowing in the dark . Long thin white hair covers his head . His eyes are grey . He is an ALBINO . He is holding a GLASS JAR containing a SMALL FETUS . On closer inspection we see there are two small bodies joined to one head . The label reads WOLF .</scene_description>
<character>MOTHER</character>
<parenthetical>( happy surprise . )</parenthetical>
<dialogue>Otis! I ca n't believe you decided to come down and join us. and you brought little Wolf. This really is a special night. all my babies together.</dialogue>
<scene_description>Otis sets the disturbing jar of Wolf on the table . He leans forward onto the jar , resting his chin .</scene_description>
<character>OTIS</character>
<dialogue>Now, I do n't know where you heard all your little fairy fables about Dr. Satan but.</dialogue>
<character>BILL</character>
<dialogue>From a Captain Spaulding down at some museum.</dialogue>
<character>OTIS</character>
<parenthetical>( laughing . )</parenthetical>
<dialogue>That old bitch hog do n't know shit. He tells cute little tattle - tales to sell his junk, but he do n't sell no Yankee boys no truth.</dialogue>
<character>JERRY</character>
<dialogue>But something happened, right? I mean the story is based on a real incident, right?</dialogue>
<character>GRAMPA</character>
<parenthetical>( mouth full of food . )</parenthetical>
<dialogue>What are you, Jimmy Olsen cub reporter for the Daily Asshole?</dialogue>
<character>MOTHER</character>
<dialogue>Grampa. watch the language.</dialogue>
<character>OTIS</character>
<dialogue>I ai n't sure that you really need to know. It's better you go home still dreaming about your kitty cats and puppy dogs.</dialogue>
<character>JERRY</character>
<dialogue>I really want to know.</dialogue>
<character>GRAMPA</character>
<dialogue>Hey, the kid wants to know. Enlighten him.</dialogue>
<character>OTIS</character>
<dialogue>Boy, I bet you'd stick your head in the fire if I told ya you'd see Hell. meanwhile you too stupid to realize you got a demon sticking out your ass singing, `` Holy Miss Moly, I got a live one.''</dialogue>
<character>DENISE</character>
<dialogue>Can we please change the subject?</dialogue>
<scene_description>The CLOCK on the wall strikes TEN .</scene_description>
<character>GRAMPA</character>
<parenthetical>( shouting . )</parenthetical>
<dialogue>Dinner's over.</dialogue>
<parenthetical>( pushes his plate back and stands up . )</parenthetical>
<dialogue>Ladies and Germs. it's showtime.</dialogue>
<scene_description>Grampa hobbles out of the room .</scene_description>
<character>BILL</character>
<dialogue>What's he so excited about?</dialogue>
<character>DENISE</character>
<dialogue>Yeah, showtime for what?</dialogue>
<character>MOTHER</character>
<dialogue>For the show. It's Halloween eve and time for our show.</dialogue>
<character>JERRY</character>
<dialogue>Oh, you mean on TV.</dialogue>
<character>MOTHER</character>
<dialogue>No, no, no it's so much more special than that. you'll see, you'll be the first to ever see. I think this is something you'll really love.</dialogue>
<character>JERRY</character>
<dialogue>Great.</dialogue>
</scene>
<scene>
<stage_direction>EXT. FARMHOUSE - BARN - NIGHT</stage_direction>
<scene_description>Billy , Jerry , Mary and Denise stand waiting in front of an old barn . Tiny unlocks the huge doors of the barn and swings them open . Standing inside waiting is Mother . She is all dressed up for the occasion .</scene_description>
<character>MOTHER</character>
<dialogue>Please, come in. how many in your party.</dialogue>
<parenthetical>( she counts the heads . )</parenthetical>
<dialogue>. one, two, three and four. right this way.</dialogue>
<scene_description>Mother hands each of them a folded piece of paper , which serves as a program book . Hand drawn on each is an orange pumpkin .</scene_description>
</scene>
<scene>
<stage_direction>INT. FARMHOUSE - BARN - NIGHT</stage_direction>
<scene_description>We follow Mother inside . Thousands of red Christmas lights hang down , strung through the rotting wood rafters . Crates , barrels and an odd assortment of chairs face a large quilted curtain . Filling these seats are LIFELESS DUMMIES .</scene_description>
<character>MOTHER</character>
<dialogue>Please be seated.</dialogue>
<scene_description>Mother motions toward four empty seats in the front row .</scene_description>
<character>JERRY</character>
<parenthetical>( whispering . )</parenthetical>
<dialogue>This is way too fucked up for words.</dialogue>
<character>MARY</character>
<parenthetical>( loud whisper . )</parenthetical>
<dialogue>I know the words. fucking psycho fucking bullshit, that's the words.</dialogue>
<character>BILL</character>
<dialogue>Just grin and bear it.</dialogue>
<character>DENISE</character>
<dialogue>That food.</dialogue>
<parenthetical>( holding stomach . )</parenthetical>
<dialogue>ugh, I feel like I'm gon na puke.</dialogue>
<scene_description>Jerry , Bill , Mary and Denise take their seats . Mary flips open the program . Inside , written in crayon , are the words : HALLOWEEN EXTRAVAGANZA - starring the Comedy Legend GRAMPA and the World Famous BABY .</scene_description>
<character>MARY</character>
<parenthetical>( to Bill . )</parenthetical>
<dialogue>Check this out.</dialogue>
<character>BILL</character>
<dialogue>Well, ya ca n't complain I never take you anyplace.</dialogue>
<scene_description>The sound of a warped crackling record fills the room . Lounge music . A small spotlight hits the quilted curtain covering the stage . Mother Firefly stands behind the controls . She is smiling proudly . The curtain clumsily parts TO REVEAL : A stage set pieced together from amusement park wreckage . A giant painted plywood devil looms over the stage , surrounded by dancing skeletons and demon girls . A microphone stands center stage .</scene_description>
<character>BILL</character>
<parenthetical>( quietly . )</parenthetical>
<dialogue>I ca n't believe what I'm seeing.</dialogue>
<character>JERRY</character>
<dialogue>I know, this is fucking nuts.</dialogue>
<character>MARY</character>
<dialogue>This is starting to make me real uncomfortable.</dialogue>
<character>BILL</character>
<dialogue>Just sit back and enjoy the show.</dialogue>
<scene_description>The sound of CANNED APPLAUSE fills the room . Bill begins to applaud , Jerry and Denise join in . Mary does not .</scene_description>
<character>GRAMPA</character>
<parenthetical>( V.O . )</parenthetical>
<dialogue>Ladies and gentlemen, straight from his smash six week sold out run at Tiki - Ti Club. the Stardust lounge is proud to present Mr. Sexy himself. Grampa Hugo.</dialogue>
<scene_description>Grampa walks out to center stage , mic in hand and begins to speak .</scene_description>
<character>GRAMPA</character>
<dialogue>Hey, let me tell ya a story. so I'm hanging out with my buddy Hal Jackowictz and I'm like, hey Hal let's go get some booze and chase the chickens. fucking Hal says no, no the old battle axe at home will break my balls. I got ta get my ass home.</dialogue>
<scene_description>The kids stare in shock at Grampa . Jerry begins to laugh .</scene_description>
<character>GRAMPA</character>
<dialogue>So, I tell ` im. Hal, here's the secret. Go home tonight, crawl into bed, get under the covers and eat your wife's pussy. I mean jam your face right in the bush.</dialogue>
<scene_description>Jerry starts to giggle .</scene_description>
<character>DENISE</character>
<parenthetical>( quietly . )</parenthetical>
<dialogue>What are you laughing at?</dialogue>
<character>JERRY</character>
<dialogue>I do n't know, I think he's funny.</dialogue>
<character>DENISE</character>
<dialogue>This is n't funny, it's twisted.</dialogue>
<character>GRAMPA</character>
<dialogue>So, Hal goes home, jumps in, starts chomping and licking away at her pussy, she's screaming and howling. totally passes out from the experience.</dialogue>
<character>MARY</character>
<dialogue>Dear God, let this end.</dialogue>
<character>GRAMPA</character>
<dialogue>Now, Hal. He's feeling pretty good, so he goes into the bathroom for a quick shave.</dialogue>
<parenthetical>( pauses . )</parenthetical>
<dialogue>. suddenly he lets out a horrible scream. Ahhhhhhhhhhhhhh!</dialogue>
<scene_description>The recorded crowd chuckles .</scene_description>
<character>GRAMPA</character>
<dialogue>Sitting there on the toilet is Hal's wife Gloria. and she says, `` Quiet down, you'll wake Grandma!''</dialogue>
<scene_description>The recorded crowd screams with laughter , as does Jerry . Bill , Denise and Mary look at him like he 's crazy .</scene_description>
<character>GRAMPA</character>
<dialogue>Thank you, you're too kind, too kind. stay in your seats, coming up next we got something special for you men out there.</dialogue>
<scene_description>The curtains close and the stage goes dark .</scene_description>
<character>DENISE</character>
<dialogue>Shit, I'm all for being a sport, but this is ridiculous.</dialogue>
<character>BILL</character>
<parenthetical>( looking at his watch . )</parenthetical>
<dialogue>Man, it's already ten thirty.</dialogue>
<character>MARY</character>
<dialogue>I'm with Denise, ca n't we just walk to someplace, this is getting fucking stupid.</dialogue>
<character>JERRY</character>
<dialogue>Negative. Shit, we are so deep in the sticks we could walk for hours and find zero.</dialogue>
<character>BILL</character>
<dialogue>Yeah, I'd say at this point all we can do is just wait it out. There's nothing else.</dialogue>
<character>DENISE</character>
<dialogue>I suppose. I mean they're obviously all bonkers, but I guess they're harmless.</dialogue>
<character>MARY</character>
<dialogue>I fucking hope so.</dialogue>
<scene_description>The stage lights come up . The recorded applause and music begin . Baby enters the stage . She is dressed in a home - made showgirl outfit . She begins to dance clumsily to the music . She appears to be somewhat intoxicated . The vocals come on and Baby begins to lipsync to the song .</scene_description>
<character>DENISE</character>
<dialogue>You got ta be kidding me. This chick is wasted.</dialogue>
<character>JERRY</character>
<dialogue>Shhhhhh.</dialogue>
<character>MARY</character>
<dialogue>How much is a person supposed to stand?</dialogue>
<character>BILL</character>
<parenthetical>( motioning for Mary to keep her voice down . )</parenthetical>
<dialogue>Quiet.</dialogue>
<character>MARY</character>
<parenthetical>( sarcastically . )</parenthetical>
<dialogue>Oh, I'm sorry, bothering you? Was I disturbing your viewing pleasure?</dialogue>
<scene_description>Baby makes her way down from stage on to floor level . She gyrates and seductively TEASES one of the dummy audience members . Baby moves over to Jerry . Stroking her hand down his face . Denise tries to look amused . Jerry smiles uncomfortably . Baby strolls past Denise and stops in front of Mary . Baby pauses and pinches Mary 's cheek and winks . Mary is FURIOUS . Baby moves over to Bill . Mary watches like a mother hawk . Baby sings and dances with all of her attention focused on Bill . Baby puts her arms around Bill 's neck and sits on his lap . Mary BOLTS FORWARD and SHOVES Baby off of Bill . Baby crashes onto the floor .</scene_description>
<character>MARY</character>
<dialogue>Take that, you fucking slut!</dialogue>
<parenthetical>( Mary spits at Baby . )</parenthetical>
<dialogue>Fucking redneck whore!</dialogue>
<character>BABY</character>
<dialogue>You should n't a done that.</dialogue>
<character>MARY</character>
<dialogue>Why? You gon na do something about it?</dialogue>
<character>BABY</character>
<parenthetical>( standing up . )</parenthetical>
<dialogue>Yeah, I'll do something.</dialogue>
<scene_description>Baby takes out a straight razor from behind her back .</scene_description>
<character>BABY</character>
<dialogue>I'll cut your fucking tits off and shove'em down your throat.</dialogue>
<character>MOTHER</character>
<dialogue>Baby! Stop!</dialogue>
<scene_description>Mrs. Firefly runs down from her position behind the spotlight and intercedes .</scene_description>
<character>BABY</character>
<dialogue>Come on, ma. this bitch's got it coming.</dialogue>
<character>MOTHER</character>
<dialogue>No, I told you.</dialogue>
<scene_description>SCREECH ! The garage door slides open . Rufus has returned .</scene_description>
<character>RUFUS JR.</character>
<parenthetical>( interrupting . )</parenthetical>
<dialogue>Car's done.</dialogue>
<character>DENISE</character>
<dialogue>Thank God.</dialogue>
<character>MOTHER</character>
<dialogue>I suggest you kids leave now.</dialogue>
<character>MARY</character>
<dialogue>Do n't worry, I'm gone.</dialogue>
</scene>
<scene>
<stage_direction>EXT. FARMHOUSE - NIGHT</stage_direction>
<scene_description>Bill , Jerry , Denise and Mary climb back into their car .</scene_description>
<character>BILL</character>
<dialogue>Do n't look back, just get in the car.</dialogue>
<character>DENISE</character>
<dialogue>Lock the fucking doors.</dialogue>
</scene>
<scene>
<stage_direction>INT. CAR - NIGHT</stage_direction>
<scene_description>Bill begins to pull the car down the long dirt driveway towards the road . The heavy rain makes visibility difficult .</scene_description>
<character>BILL</character>
<parenthetical>( straining to see through the darkness . )</parenthetical>
<dialogue>Almost there.</dialogue>
<character>JERRY</character>
<dialogue>Jesus, you think she was really gon na cut you?</dialogue>
<character>MARY</character>
<parenthetical>( leaning her forehead on the window . )</parenthetical>
<dialogue>Of course she was gon na cut me, she's a fucking nut.</dialogue>
<parenthetical>( closes her eyes and takes a breath . )</parenthetical>
<dialogue>I knew she was crazy from the second we picked her up.</dialogue>
<scene_description>SLAM ! Suddenly , Baby pounds her fist against Mary 's window . Mary jumps back in terror .</scene_description>
<character>BABY</character>
<parenthetical>( screaming . )</parenthetical>
<dialogue>You're in Hell, bitch! You're gon na die like a dog!</dialogue>
<scene_description>Baby disappears into the darkness .</scene_description>
<character>MARY</character>
<dialogue>Go! Go! Go! Get us out of here!</dialogue>
<scene_description>Bill pulls the car up to the front gate . It is chained shut with a huge padlock . LIGHTNING CRASHES , illuminating the crucified scarecrows . FLASH CLOSE - UP CUTS - of grinning jack - o - lantern faces peer down from above .</scene_description>
</scene>
<scene>
<stage_direction>INT. CAR - NIGHT</stage_direction>
<scene_description>Bill opens the car door , starts to get out .</scene_description>
<character>MARY</character>
<parenthetical>( hysterical . )</parenthetical>
<dialogue>What are you doing!</dialogue>
<character>BILL</character>
<dialogue>I got ta open the gate.</dialogue>
<character>MARY</character>
<dialogue>Drive through it!</dialogue>
<character>BILL</character>
<dialogue>It wo n't work.</dialogue>
<character>JERRY</character>
<dialogue>Holy fuck, hurry up.</dialogue>
<scene_description>Jerry , Mary and Denise watch through the windshield as Bill struggles to unlatch the thick iron gates . SUDDENLY , one of the SCARECROWS JUMPS down from his cross and SMASHES Bill over the head with a HEAVY CLUB . Bill drops to his knees .</scene_description>
<character>MARY</character>
<dialogue>Bill! Help him!</dialogue>
<scene_description>Jerry throws open his door to get out . He 's SHOVED BACK into the car by another , larger scarecrow outside his door . This scarecrow begins smashing the car 's windows with a METAL PIPE . Bill lays motionless , face down in the mud . His attacker turns his attention on the car . He also begins smashing the car 's windows .</scene_description>
</scene>
<scene>
<stage_direction>EXT. CAR - NIGHT</stage_direction>
<scene_description>From a distance we see Jerry pulled from the car and beaten . The girls are helplessly trapped inside the destroyed vehicle . The scarecrows continue to pound on the car . As we fade out , the sound of a BARKING DOG can be heard .</scene_description>
</scene>
<scene>
<stage_direction>EXT. FARMHOUSE - MAGIC</stage_direction>
<scene_description>From a long shot , we see the farmhouse in the early morning sunrise . All is still . The sound of an engine starting breaks the early morning silence . Rufus 's tow truck is seen pulling away from behind the house . The BEATEN REMAINS of Bill 's car are towed behind it .</scene_description>
</scene>
<scene>
<stage_direction>EXT. WILLIS HOUSE - SUNRISE</stage_direction>
<scene_description>Darkness , except for the face of an alarm clock . The time is 7:00 AM . TICK , TICK , TICK . BUZZZZZZ . The alarm goes off . A hand reaches over and turns off the alarm . We hear a deep groan . A light turns on .</scene_description>
</scene>
<scene>
<stage_direction>INT. WILLIS'S LIVING ROOM - MORNING</stage_direction>
<scene_description>Don Willis wakes up , having fallen asleep in his easy chair . He sits up and wipes the sleep from his eyes . He runs a hand across his head , smoothing out his thinning grey hair . He picks up a phone next to his bed , dials a number , waits .</scene_description>
<character>MR. WILLIS</character>
<dialogue>Hi. Lieutenant Broekman please. Donald Willis.</dialogue>
<scene_description>He holds .</scene_description>
<character>MR. WILLIS</character>
<dialogue>Hey, Phil.</dialogue>
<parenthetical>( listens . )</parenthetical>
<dialogue>Yeah, I'm alright. but I need you to check on something for me.</dialogue>
<scene_description>Willis stands , walks to the window , opens the shades , morning sun fills the room . shelf by the window is cluttered with framed photographs . B+W memories of Denise at the beach , RUDY the dog . High school graduations and Donald Willis in uniform with the other members of 56 Precinct . Donald is a FORMER POLICE OFFICER .</scene_description>
<character>MR. WILLIS</character>
<dialogue>I'm a little worried about Denise. She called me last night from the road, out by Ruggsville at some joint called Spaulding's or something like that, said she'd be here about eleven. but she never showed up.</dialogue>
<scene_description>Paces .</scene_description>
<character>MR. WILLIS</character>
<dialogue>Yeah, if you could run a check on up that way and see about any accidents or road closing or anything, I'd really appreciate it.</dialogue>
<parenthetical>( listening . )</parenthetical>
<dialogue>. yeah, yeah, I know. I'm sure nothing happened but, you know me I like to worry. thanks. bye.</dialogue>
<scene_description>Hangs up the phone .</scene_description>
</scene>
<scene>
<stage_direction>INT. FARMHOUSE - OTIS'S ROOM - DAY</stage_direction>
<scene_description>Mary opens her eyes , squinting into the light . Sunlight peers through filth on the windows , fractured by the tattered remains of rotted curtains . Peeling yellowed newspaper serves as wallpaper surrounding the window . Mary 's eyes move across the walls to a painting of a BIG EYED KITTEN . She stares at it and smiles . A look of horror begins to appear on her face . She begins to scream uncontrollably .</scene_description>
<character>OTIS</character>
<parenthetical>( off screen . )</parenthetical>
<dialogue>Shut your fucking mouth!</dialogue>
<scene_description>She is hysterical .</scene_description>
<character>OTIS</character>
<dialogue>I said shut your mouth!</dialogue>
<scene_description>ZOOM BACK to see Mary wearing a dunce cap , tied to a chair , facing a corner in the farmhouse 's attic . This is Otis 's art studio . Otis , standing before a large canvas , sets down his paint brush and calmly walks over to Mary . He spins her chair around , clamps her mouth shut with his hand and leans his nose against hers .</scene_description>
<character>OTIS</character>
<parenthetical>( slow and sinister . )</parenthetical>
<dialogue>Listen, you Malibu Barbie middle class piece of shit. I'm trying to work, you got me, work. you ever work?</dialogue>
<scene_description>Mary 's eyes scream with terror , she nods yes .</scene_description>
<character>OTIS</character>
<dialogue>Yeah, I'll bet you did. Scooping ice cream to your shitheel friends on summer break. well, I ai n't talking about white socks with Mickey Mouse on one side and Donald Duck on the other. shit, you ai n't reading no funny books, mamma.</dialogue>
<scene_description>Otis raises his paint covered hand .</scene_description>
<character>OTIS</character>
<dialogue>This is blood and guts, Suzy Q. Our bodies come and go, but this blood is forever.</dialogue>
<parenthetical>( pulls a small book from his breast pocket . )</parenthetical>
<dialogue>. let me read you something, listen and learn. you listening?</dialogue>
<scene_description>Otis pulls back his hand , ready to backhand her across the face with the book . She nods again . He lowers the book .</scene_description>
<character>OTIS</character>
<parenthetical>( gesturing dramatically . )</parenthetical>
<dialogue>And the angels, all pallid and wan, Uprising, unveiling, affirm That the play is the tragedy `` Man'' And its hero the Conqueror Worm.</dialogue>
<parenthetical>( pauses . )</parenthetical>
<dialogue>. you get that? Art is eternal, you get me, mamma?</dialogue>
<scene_description>Mary stares dumbfounded .</scene_description>
<character>OTIS</character>
<dialogue>Now, I'm gon na remove my hand. you make a sound and I swear I'll slit you open and make you eat your own fucking intestines. you get me?</dialogue>
<scene_description>She nods again . He slowly removes his hand from her mouth . Mary tries to remain calm , but starts to hyperventilate . Tears roll down her face .</scene_description>
<character>MARY</character>
<parenthetical>( whispering . )</parenthetical>
<dialogue>Why? Why are you doing this?</dialogue>
<character>OTIS</character>
<dialogue>Doing what? Messy up your day? Well, fuck lady there are some bigger issues at hand. than your fucking have a nice fucking day bumper sticker shit!</dialogue>
<character>MARY</character>
<dialogue>Where's Bill?</dialogue>
<character>OTIS</character>
<parenthetical>( chuckling . )</parenthetical>
<dialogue>Well, Bill. he's a good guy, he's been great help to me. a real blessing. I could n't have asked for a better specimen. I mean you do n't know what a dry spell I've had, total block.</dialogue>
<parenthetical>( slaps his forehead . )</parenthetical>
<dialogue>. total block. but Bill he's OK.</dialogue>
<scene_description>Mary looks confused , but relieved .</scene_description>
<character>MARY</character>
<parenthetical>( softly . )</parenthetical>
<dialogue>Where is he?</dialogue>
<character>OTIS</character>
<dialogue>Let's go see.</dialogue>
<scene_description>Otis grabs the back of the chair and drags her across the room towards a curtained off area . Whoosh ! He pulls her through the curtains . From behind the curtain we hear Mary SCREAMING and Otis LAUGHING .</scene_description>
<character>MARY</character>
<parenthetical>( behind curtain . )</parenthetical>
<dialogue>Bill? No, no, no! What have you done? Bill!</dialogue>
</scene>
<scene>
<stage_direction>INT. CURTAIN ROOM - OTIS'S ROOM - DAY</stage_direction>
<scene_description>Ugliness . Decay . Pain . Carefully arranged on a model 's platform is the severed torso of Bill sewn to a large homemade fish tail . He is lying on his ride side posing . Bill 's face is frozen in a death scream .</scene_description>
<character>OTIS</character>
<dialogue>Behold. The Fish - Boy!</dialogue>
<character>MARY</character>
<parenthetical>( repeating to herself . )</parenthetical>
<dialogue>This ca n't be real, this ca n't be real, this ca n't be real.</dialogue>
<character>OTIS</character>
<dialogue>Oh, it's real. as real as I want it to be, mamma.</dialogue>
<parenthetical>( grabs his canvas and holds it in her face . )</parenthetical>
<dialogue>. look, see the magic in my brush strokes.</dialogue>
<scene_description>Painted on the canvas is the gruesome scene of Bill as the Fish - Boy .</scene_description>
<character>MARY</character>
<parenthetical>( crying . )</parenthetical>
<dialogue>Fuck you, you fucking freak!</dialogue>
<character>OTIS</character>
<dialogue>Oh, come now. we're all creatures of God and freaks in our own way.</dialogue>
<parenthetical>( twitches and shakes . )</parenthetical>
<dialogue>. but if you'll notice.</dialogue>
<parenthetical>( points to a blank spot in the painting . )</parenthetical>
<dialogue>right here, needs a little something, heh?</dialogue>
<scene_description>Otis slowly puts down the canvas , turns and picks up a huge hunting knife .</scene_description>
<character>MARY</character>
<dialogue>What are you doing?</dialogue>
<parenthetical>( squirming . )</parenthetical>
<dialogue>. no, stop. please, please.</dialogue>
<character>OTIS</character>
<dialogue>You, my dear worm feeder, are about to become immortalized.</dialogue>
<scene_description>Otis draws back the knife .</scene_description>
<character>MARY</character>
<parenthetical>( screaming . )</parenthetical>
<dialogue>Noooooooooooo!</dialogue>
<scene_description>Otis swings the knife forward , directly into the camera . CLOSE UP - CLOWN FACE Ravelli 's clown head bobs back and forth . Ravelli , wearing his clown head , stands by the road side waving to passing cars .</scene_description>
</scene>
<scene>
<stage_direction>EXT. SPAULDING'S - DAY</stage_direction>
<scene_description>A police car drives past Ravelli and comes to a stop . OFFICER GEORGE WYDELL , 42 , a big , slightly paunchy man with a big mustache and mirrored sunglasses , steps from his car . Following close behind , OFFICER STEVE NAISH , 29 , tall athletic .</scene_description>
<character>WYDELL</character>
<parenthetical>( pauses , looks around , pulls up his belt . )</parenthetical>
<dialogue>Well, let's go see if the nut that runs this place can help us.</dialogue>
<character>NAISH</character>
<dialogue>Right.</dialogue>
<scene_description>They walk to the door .</scene_description>
</scene>
<scene>
<stage_direction>INT. SPAULDING'S - DAY</stage_direction>
<scene_description>The door swings open . Wydell enters slowly , putting on his best cowboy attitude . Naish follows suit . Wydell , hands on his belt , struts up to the counter . No one is around . A rusted bell sits on the counter , taped to it is a handwritten note , `` ring for service '' . Wydell rings it once , waits , no response . Rings it again , waits , no response .</scene_description>
<character>NAISH</character>
<parenthetical>( looking around the room . )</parenthetical>
<dialogue>Get a load of all this crap. this is one sick place.</dialogue>
<scene_description>Wydell begins ringing the bell non - stop . Spaulding shouts from the backroom .</scene_description>
<character>CAPT. SPAULDING</character>
<dialogue>Whoever's a jerking off on that bell better be gone when I get out there.'cause I'm gon na rip your nuts off.</dialogue>
<scene_description>Spaulding enters from behind the curtain , angry . He sees the troopers and puts on a phony grin .</scene_description>
<character>CAPT. SPAULDING</character>
<dialogue>Officers, officers what can I do for you today? I ai n't fried up the birds yet. if that's what you're ring a ding dinging about.</dialogue>
<character>WYDELL</character>
<parenthetical>( pulls a paper from his pocket . )</parenthetical>
<dialogue>What I need are some answers.</dialogue>
<parenthetical>( unfolds the paper to reveal a picture of Denise . )</parenthetical>
<dialogue />
<character>CAPT. SPAULDING</character>
<dialogue>Well, I'll try but I do n't know nothing ` bout nobody. I'm a guy who likes to mind his own business, if ya get what I'm saying.</dialogue>
<character>WYDELL</character>
<parenthetical>( holds up picture . )</parenthetical>
<dialogue>You seen this girl? Say. within the last 24 hours.</dialogue>
<scene_description>Spaulding reaches out and grabs the picture .</scene_description>
<character>CAPT. SPAULDING</character>
<parenthetical>( studies the picture . )</parenthetical>
<dialogue>Yeah, yeah I seen her. Good looking kid, but not really my type.</dialogue>
<parenthetical>( gesturing with his hands . )</parenthetical>
<dialogue>. I like meaty, eh?</dialogue>
<character>NAISH</character>
<parenthetical>( losing patience . )</parenthetical>
<dialogue>Hey ass clown, how ` bout some answers. He ai n't interested in your love life.</dialogue>
<character>WYDELL</character>
<dialogue>Come on, get with the facts.</dialogue>
<character>CAPT. SPAULDING</character>
<dialogue>Hmmmmmmmmm?</dialogue>
<character>WYDELL</character>
<dialogue>What'd you see, who was she with, where were they going?</dialogue>
<character>CAPT. SPAULDING</character>
<dialogue>Aw, she was with some nosey, smartass high - rise kids. They were poking around. asking stupid questions.</dialogue>
<character>NAISH</character>
<dialogue>Questions about what?</dialogue>
<character>CAPT. SPAULDING</character>
<dialogue>This and that, mostly some tired Dr. Satan bullshit. they got a gander at the display back there and thought they could solve the great Deadwoods mystery.</dialogue>
<character>WYDELL</character>
<dialogue>And.</dialogue>
<character>CAPT. SPAULDING</character>
<dialogue>And I gave'em directions out there, up by the old farm row. I figured what's the harm. Stupid kids probably going out to piss up a rope and got themselves turned around backasswards and got lost as shit.</dialogue>
<character>WYDELL</character>
<dialogue>Is that all. think real hard.</dialogue>
<character>CAPT. SPAULDING</character>
<dialogue>Yeah, they were n't here but a few minutes, did n't really have time to get as up close and personal as I do with most of the assholes that wander through here.</dialogue>
<character>WYDELL</character>
<dialogue>How's about you give me those same directions.</dialogue>
<character>CAPT. SPAULDING</character>
<dialogue>Yeah, yeah, sure. You do n't have to get all True Grit all over my ass. I'll give'm to ya. you can knock yourself silly for all I care.</dialogue>
<character>WYDELL</character>
<parenthetical>( hands him a note pad . )</parenthetical>
<dialogue>Enough talk, write.</dialogue>
</scene>
<scene>
<stage_direction>INT. TOW TRUCK - DAY</stage_direction>
<scene_description>We are cruising down the road . A bobbing head skeleton toy glued to the dashboard wiggles with each bump in the road . Behind the wheel is Rufus Jr. , riding shotgun is Baby , dressed in her Sunday best . The radio is blasting .</scene_description>
<character>BABY</character>
<parenthetical>( screaming over the music . )</parenthetical>
<dialogue>We're gon na have fun tonight, bro.</dialogue>
<character>RUFUS JR.</character>
<dialogue>Yeah, fun.</dialogue>
<scene_description>They speed off .</scene_description>
</scene>
<scene>
<stage_direction>EXT. CHERRYPICKER RD. - WOODS - MIDDAY</stage_direction>
<scene_description>The police cruiser maneuvers down the rough dirt road .</scene_description>
</scene>
<scene>
<stage_direction>INT. POLICE CAR - MIDDAY</stage_direction>
<scene_description>Wydell and Naish scan the surrounding woods for any sign of Denise and her friends .</scene_description>
<character>NAISH</character>
<dialogue>Boss, the way I see it is these kids probally stop off somewhere, bought a bunch of booze and are off getting shitfaced.</dialogue>
<character>WYDELL</character>
<dialogue>I hope you're right, but my guts are telling me different.</dialogue>
<character>NAISH</character>
<dialogue>Your Spidey senses tingling.</dialogue>
<character>WYDELL</character>
<dialogue>Yeah.</dialogue>
<parenthetical>( realizes what he just said . )</parenthetical>
<dialogue>. huh, what the hell are you talking about?</dialogue>
<character>NAISH</character>
<dialogue>You know, your hyper sensitive Spidey senses. like Spider - man.</dialogue>
<parenthetical>( pauses . )</parenthetical>
<dialogue>. you know, like in the comics.</dialogue>
<character>WYDELL</character>
<dialogue>How old do you think I am? I know who the fuck Spider - man is. Get to your point.</dialogue>
<character>NAISH</character>
<dialogue>You know, his senses start tingling. when he was approaching danger and shit.</dialogue>
<character>WYDELL</character>
<dialogue>I always favored the Hulk.</dialogue>
<character>NAISH</character>
<dialogue>Hulk was dumb as shit.</dialogue>
<character>WYDELL</character>
<dialogue>Aw, fuck.</dialogue>
<character>NAISH</character>
<dialogue>What.</dialogue>
</scene>
<scene>
<stage_direction>EXT. CHERRYPICKER RD. - WOODS - MIDDAY</stage_direction>
<scene_description>Bill 's car is down in a ditch , run off the side of the road .</scene_description>
</scene>
<scene>
<stage_direction>INT. POLICE CAR - MIDDAY</stage_direction>
<scene_description>Naish checks the license plate number with his sheet .</scene_description>
<character>NAISH</character>
<dialogue>Plates match.</dialogue>
<character>WYDELL</character>
<dialogue>Call the chief. We found'em.</dialogue>
</scene>
<scene>
<stage_direction>EXT. PINK PUSSY CAT LIQUORS - MIDDAY</stage_direction>
<scene_description>A small , crummy liquor store stands next to a sleazy motel . A filthy looking hooker leads her customer to a waiting room , a homeless bum stands screaming obscenities in the parking lot .</scene_description>
</scene>
<scene>
<stage_direction>INT. PINK PUSSY CAT LIQUORS - MIDDAY</stage_direction>
<scene_description>The store is decorated for Halloween . Off to one side is a curtained room . A sign reads `` XXX 8mm loops '' , sex noises can be heard inside . Baby and Rufus stand at the counter waiting for the CASHIER , a skinny geek with glasses , to total up their purchases . The counter is loaded with bottles . The cashier is packing the bottles into cardboard boxes .</scene_description>
<character>CASHIER</character>
<dialogue>You all having a Halloween party tonight?</dialogue>
<character>BABY</character>
<dialogue>Now, what makes you think that?</dialogue>
<character>CASHIER</character>
<dialogue>You all sure are buying a lot of holy water for two people.</dialogue>
<character>BABY</character>
<dialogue>Yeah, well we like to get fucked up and do fucked up shit, you know what I mean?</dialogue>
<character>CASHIER</character>
<dialogue>Yeah, yeah.</dialogue>
<parenthetical>( giggling . )</parenthetical>
<dialogue>. I like to fuck shit up.</dialogue>
<character>BABY</character>
<dialogue>I'll bet you do. how much we owe ya.</dialogue>
<parenthetical>( looks at his name tag . )</parenthetical>
<dialogue>. Goober?</dialogue>
<character>CASHIER</character>
<parenthetical>( looking down at his tag . )</parenthetical>
<dialogue>Actually it's G. Ober. Gerry Ober, but the guys drew in the other O, fucking assholes.</dialogue>
<character>BABY</character>
<parenthetical>( uninterested . )</parenthetical>
<dialogue>Great story Goober, how much?</dialogue>
<character>CASHIER</character>
<dialogue>Ummmm. two hundred and eighty - five dollars.</dialogue>
<scene_description>Baby throws down three hundred dollars .</scene_description>
<character>BABY</character>
<dialogue>Keep the change and get yourself a new name.</dialogue>
<character>CASHIER</character>
<dialogue>Holy crap, thanks!</dialogue>
<scene_description>Rufus picks up the boxes from the counter . He and Baby start to walk away .</scene_description>
<character>BABY</character>
<dialogue>Come on, bro. Let's go.</dialogue>
<character>CASHIER</character>
<parenthetical>( holding out a flyer . )</parenthetical>
<dialogue>Hey, wait take this.</dialogue>
<scene_description>Baby stops and grabs the flyer .</scene_description>
<character>BABY</character>
<dialogue>What's this?</dialogue>
<character>CASHIER</character>
<dialogue>A missing girl. I use ` ta go to school with her, she just up and disappeared some day. real weird.</dialogue>
<scene_description>The flyer reads MISSING , KAREN MURPHY , 18 . The picture on the flyer shows the smiling chubby face of a young girl .</scene_description>
<character>BABY</character>
<dialogue>Now is n't she a happy little cherub. oh well.</dialogue>
<parenthetical>( stuffs it in her pocket . )</parenthetical>
<dialogue>. nobody just up and disappears.</dialogue>
<character>RUFUS JR.</character>
<parenthetical>( mutters . )</parenthetical>
<dialogue>Aliens.</dialogue>
<character>BABY</character>
<dialogue>Yeah, maybe it was fucking aliens.</dialogue>
</scene>
<scene>
<stage_direction>EXT. PINK PUSSY CAT LIQUOR - MIDDAY</stage_direction>
<scene_description>Baby and Rufus exit . Rufus loads the boxes into the back of the truck . Baby sits on the curb and lights a cigarette .</scene_description>
</scene>
<scene>
<stage_direction>EXT. CHERRYPICKER ROAD - WOODS - MIDDAY</stage_direction>
<scene_description>Bill 's car is now sitting in the middle of the road . The back is attached to a police tow truck . An additional police cruiser arrives on the scene . Sheriff Huston steps out from his cruiser .</scene_description>
<character>HUSTON</character>
<dialogue>What'd we here, Georgie?</dialogue>
<character>WYDELL</character>
<dialogue>A vehicle registered to a William S. Hudley.</dialogue>
<character>HUSTON</character>
<dialogue>Holy Jesus, somebody had themselves a field day beating the shit outta this thing.</dialogue>
<character>WYDELL</character>
<dialogue>Yeah, no mercy here.</dialogue>
<character>HUSTON</character>
<dialogue>Recover any bodies?</dialogue>
<character>WYDELL</character>
<dialogue>Not yet.</dialogue>
<character>HUSTON</character>
<parenthetical>( inspecting the car . )</parenthetical>
<dialogue>Shit, I wonder what these kids did to bring this much hell down on'em.</dialogue>
<character>WYDELL</character>
<dialogue>Just in the wrong place at the wrong time.</dialogue>
<character>HUSTON</character>
<dialogue>That's the understatement of the year.</dialogue>
<character>WYDELL</character>
<dialogue>Yep, I suppose it is.</dialogue>
</scene>
<scene>
<stage_direction>INT. BILL'S CAR - WOODS - MIDDAY</stage_direction>
<scene_description>Naish is digging around under the front seat .</scene_description>
<character>NAISH</character>
<dialogue>Hey, I found something.</dialogue>
<scene_description>Naish crawls out of the car .</scene_description>
</scene>
<scene>
<stage_direction>EXT. CHERRYPICKER ROAD - WOODS - MIDDAY</stage_direction>
<character>HUSTON</character>
<dialogue>What'd ya got there?</dialogue>
<character>NAISH</character>
<dialogue>Keys.</dialogue>
<character>HUSTON</character>
<dialogue>Well Christ boy, do n't stand there like a prize dog dick with his butthole caught up a tree.</dialogue>
<character>NAISH</character>
<dialogue>Huh?</dialogue>
<character>HUSTON</character>
<dialogue>Open up the trunk.</dialogue>
<character>NAISH</character>
<dialogue>Yes, sir.</dialogue>
<character>WYDELL</character>
<dialogue>Toss'em over here.</dialogue>
<scene_description>Naish tosses them over the car to Wydell . Wydell fishes through the keys , finds the trunk key and opens it .</scene_description>
<character>WYDELL</character>
<parenthetical>( winces . )</parenthetical>
<dialogue>God damn.</dialogue>
<character>HUSTON</character>
<dialogue>You find something, Georgie?</dialogue>
<character>WYDELL</character>
<parenthetical>( disgusted . )</parenthetical>
<dialogue>Yep, I found something.</dialogue>
<scene_description>We move around the car to see the nude body of Karen Murphy laying in the trunk . Her arms and legs are hog tied . She is dead . The word TRICK is carved into her side .</scene_description>
</scene>
<scene>
<stage_direction>INT. FARMHOUSE BASEMENT - TINY'S ROOM - LATE AFTERNOON</stage_direction>
<scene_description>Water drips down from the leaking pipes above . Scavenging rats scurry across the concrete floor . In a far corner a single light burns , a child 's Humpty Dumpty lamp , illuminating - Denise is strapped to an old wooden bed . She has been stripped of her own clothes and is now wearing a blue checked little girl 's dress . Her hair is tied in pigtails . She is cold and shivering . BOOM . The basement door opens , heavy footsteps lumber down the creaking stairs . It is Tiny . Tiny is wearing an orange T - shirt that reads , `` This is my Halloween costume '' . For the first time we see the skin on his arms , it is severely deformed from burn scars . He is holding a small tray . On the tray is a box of cereal , milk , a bowl and a spoon . Tiny goes over to Denise , sets down the tray , and proudly displays his T - shirt .</scene_description>
<character>DENISE</character>
<parenthetical>( hoarse and dry . )</parenthetical>
<dialogue>Please. Tiny, please. Let me go. help me.</dialogue>
<scene_description>Tiny sits down on a stool next to the bed , he stares down at Denise like a confused dog .</scene_description>
<character>DENISE</character>
<parenthetical>( crying . )</parenthetical>
<dialogue>Please, God please.</dialogue>
<scene_description>Tiny begins preparing her food , carefully pouring the cereal and milk into the bowl . He stirs it with the spoon . Tiny gently lifts Denise 's head and feeds her like a baby . Denise swallows the food , trying not to choke . After a few spoonfuls Tiny stands up and walks over to a dark corner of the room . He pulls a string and turns on a swinging ceiling light . In the light we see a rusty cage , inside are three rail - thin female bodies . Tiny throws the remainder of the cereal into the cage . One of the bodies moves to eat the scraps , the others do not . They are dead . Tiny turns off the overhead light .</scene_description>
</scene>
<scene>
<stage_direction>INT. POLICE CAR - LATE AFTERNOON</stage_direction>
<scene_description>Wydell and Naish are pulling into a large truck stop parking lot .</scene_description>
<character>NAISH</character>
<dialogue>You sure this guy's supposed to ride with us? Seems kind of weird.</dialogue>
<character>WYDELL</character>
<parenthetical>( scanning the parking lot . )</parenthetical>
<dialogue>Chief said pick him up and take him with us on our house to house. Guy's an ex - cop, thinks he can help.</dialogue>
<character>NAISH</character>
<dialogue>Sounds like a bad idea to me, probally just get in the way.</dialogue>
<character>WYDELL</character>
<dialogue>Yeah, well I guess it's tough to sit on the sidelines and wait when your own kid's missing. besides, ai n't no such thing as an ex - cop.</dialogue>
<character>NAISH</character>
<dialogue>I guess not.</dialogue>
<character>WYDELL</character>
<dialogue>That must be him.</dialogue>
</scene>
<scene>
<stage_direction>EXT. GAS STATION - LATE AFTERNOON</stage_direction>
<scene_description>A rundown gas station sits off to the side of the road . A filthy mechanic works on one of the many junked cars . Two fat greasy men sit in the hot sun playing cards . A Chevy Nova sits parked next to the station . Willis leans against the side of the car , drinking coffee from a styrofoam cup . A police cruiser pulls up . Wydell and Naish step from the car .</scene_description>
<character>WYDELL</character>
<dialogue>Mr. Willis?</dialogue>
<character>MR. WILLIS</character>
<dialogue>Yes, sir.</dialogue>
<character>WYDELL</character>
<dialogue>I'm Wydell. this is Naish.</dialogue>
<scene_description>Wydell extends his hand , they shake hands .</scene_description>
<character>NAISH</character>
<dialogue>Hey.</dialogue>
<character>MR. WILLIS</character>
<dialogue>George Willis.</dialogue>
<parenthetical>( to Wydell . )</parenthetical>
<dialogue>. any leads?</dialogue>
<character>WYDELL</character>
<dialogue>Well, we were on our way out to run a check on a couple farmhouses out on the edge of town. closest thing we got to a lead at this point.</dialogue>
<character>MR. WILLIS</character>
<dialogue>That's it?</dialogue>
<character>WYDELL</character>
<dialogue>Well, all we know is the kids were headed out to a spot the locals call Deadwood to play Nancy Drew with some local legend about this character everybody calls Dr. Satan.</dialogue>
<character>MR. WILLIS</character>
<dialogue>Dr. Satan?</dialogue>
<character>NAISH</character>
<dialogue>Yeah it's horseshit, just some boogieman crap that the kids like to scare each other with.</dialogue>
<character>WYDELL</character>
<dialogue>Anyway, there's not much else out that way. so, I figure maybe there's a chance the kids broke down and found their way over to one of the farms.</dialogue>
<character>MR. WILLIS</character>
<dialogue>What about the body you found?</dialogue>
<character>WYDELL</character>
<parenthetical>( slightly surprised . )</parenthetical>
<dialogue>Oh, yeah, you know about that? Hmmm, that's a strange one.</dialogue>
<character>NAISH</character>
<dialogue>Local girl, Karen Murphy, been missing for a couple months, figured for a runaway.</dialogue>
<character>MR. WILLIS</character>
<dialogue>Fit the profile?</dialogue>
<character>NAISH</character>
<dialogue>No, not really. Good kid, never been in any trouble.</dialogue>
<character>WYDELL</character>
<dialogue>Her part in this I ca n't figure. but I will.</dialogue>
<character>MR. WILLIS</character>
<parenthetical>( wipes his brow . )</parenthetical>
<dialogue>Christ, you know it's crazy.</dialogue>
<parenthetical>( gets choked up . )</parenthetical>
<dialogue>I lived through so many other people's nightmares, you know. Always cool and calm, but. but I never thought I'd be the one needing help, ya know?</dialogue>
<character>NAISH</character>
<dialogue>Do n't worry, we'll find her.</dialogue>
<character>WYDELL</character>
<dialogue>Let's hit the road, sooner we get a move on sooner we'll find her.</dialogue>
<scene_description>Willis dumps out the remaining coffee , tosses the cup into the trash and opens the back door of the police car . He gets inside . Wydell and Naish climb in . The car drives off .</scene_description>
</scene>
<scene>
<stage_direction>INT. FARMHOUSE - OTIS'S ROOM - LATE AFTERNOON</stage_direction>
<scene_description>THUMP ! CLOSE UP on a bloody , bandaged face . THUMP ! As we pull back to see Jerry , completely bandaged like a mummy , strapped to a wall . His arms and legs are spread . THUMP ! Knives stick in the wall next to the body .</scene_description>
<character>GRAMPA</character>
<parenthetical>( off screen . )</parenthetical>
<dialogue>God damn bitch, what the fuck are you waiting for. Charles Nelson Reilly do n't know shit.</dialogue>
<scene_description>We pull back further to see Otis pacing wildly back and forth in front of his TV , watching MATCH GAME . Grampa sits eating a TV dinner .</scene_description>
<character>OTIS</character>
<parenthetical>( gesturing at the TV with a knife . )</parenthetical>
<dialogue>Watch that bitch, she's thinking about that Klugman bangin' Brett Sommers, pick motherfucking Richard Dawson.</dialogue>
<scene_description>Otis throws the large hunting knife at the wall next to Jerry .</scene_description>
<character>OTIS</character>
<dialogue>He's the fucking slick jack Match Game man, mamma.</dialogue>
<character>GRAMPA</character>
<dialogue>Where do they find these people?</dialogue>
</scene>
<scene>
<stage_direction>INT. POLICE CRUISER - LATE AFTERNOON</stage_direction>
<character>MR. WILLIS</character>
<dialogue>Christ, four kids could n't just disappear.</dialogue>
<character>NAISH</character>
<dialogue>No they could n't, somebody had to see something.</dialogue>
<character>MR. WILLIS</character>
<dialogue>My Denise is a smart girl, she would n't do anything stupid, and her boyfriend, he always seemed like a good kid.</dialogue>
<character>WYDELL</character>
<dialogue>I'm sure there's a logical explanation.</dialogue>
<character>MR. WILLIS</character>
<dialogue>I pray to God there is.</dialogue>
<character>NAISH</character>
<dialogue>Turn up this road.</dialogue>
<character>MR. WILLIS</character>
<dialogue>Where we headed?</dialogue>
<character>WYDELL</character>
<dialogue>I seem to remember another farm set way back off the road where the car was found. I'm not sure if anyone lives there anymore, but it's worth a look.</dialogue>
</scene>
<scene>
<stage_direction>EXT. FARMHOUSE - LATE AFTERNOON</stage_direction>
<scene_description>Wydell 's cruiser turns up the road to the Firefly farmhouse . It moves past the scarecrows and comes to a halt . The doors swing open and Wydell , Naish and Willis get out .</scene_description>
<character>WYDELL</character>
<dialogue>I'm gon na see if anybody's home. You and Mr. Willis take a look around the grounds for any sign of anything.</dialogue>
<character>NAISH</character>
<dialogue>Right.</dialogue>
<parenthetical>( to Willis . )</parenthetical>
<dialogue>. come on.</dialogue>
<scene_description>Naish and Willis head off around the back of the house .</scene_description>
</scene>
<scene>
<stage_direction>INT. FARMHOUSE - KITCHEN - LATE AFTERNOON</stage_direction>
<scene_description>Dirty dishes overflow from the rusty metal sink onto the surrounding counters . A large cat walks across piles of food left to rot on a table . Boxes of trash and old newspapers are stacked to the ceiling . Music from a crackling radio is heard . Mother stands stirring a large pot on the stove . A LOUD knocking interrupts her cooking . She sets down her spoon and walks to the front door . Before opening the door she peeks through the curtains of a small side window . She sees Wydell and runs from the kitchen .</scene_description>
</scene>
<scene>
<stage_direction>EXT. FARMHOUSE - LATE AFTERNOON</stage_direction>
<scene_description>Wydell walks up the front steps .</scene_description>
</scene>
<scene>
<stage_direction>INT. FARMHOUSE - HALLWAY - LATE AFTERNOON</stage_direction>
<scene_description>Mother runs toward a door at the end of the hall . She swings open the door .</scene_description>
</scene>
<scene>
<stage_direction>INT. FARMHOUSE - OTIS'S ROOM - LATE AFTERNOON</stage_direction>
<scene_description>Mother bursts into the room .</scene_description>
<character>MOTHER</character>
<dialogue>Otis! Otis! Come quick, there's cops outside.</dialogue>
<character>OTIS</character>
<dialogue>What! God damn, how many?</dialogue>
<character>GRAMPA</character>
<parenthetical>( watching TV . )</parenthetical>
<dialogue>What? How many?</dialogue>
<character>OTIS</character>
<dialogue>Do n't worry about it.</dialogue>
<scene_description>Otis jumps up and goes over to an old dresser and opens a drawer and pulls out an automatic revolver .</scene_description>
<character>MOTHER</character>
<dialogue>I do n't know. I only saw one.</dialogue>
<character>OTIS</character>
<dialogue>I'm sure there's more than that. fucking pigs always travel in packs.</dialogue>
<parenthetical>( handing the gun to Mother . )</parenthetical>
<dialogue>. here, take this.</dialogue>
<character>MOTHER</character>
<parenthetical>( takes the gun . )</parenthetical>
<dialogue>What should I do?</dialogue>
<character>OTIS</character>
<dialogue>Go down stairs and play nice. I'm a gon na go ` round back and handle things like I always fucking do.</dialogue>
</scene>
<scene>
<stage_direction>EXT. FARMHOUSE - SAME</stage_direction>
<scene_description>Naish and Willis move through the cluttered back yard of garbage .</scene_description>
<character>NAISH</character>
<dialogue>Shit, do n't these packrat hillbillies throw anything away?</dialogue>
<character>MR. WILLIS</character>
<dialogue>Shhhh. you hear that?</dialogue>
<scene_description>The soft sound of moaning can be heard .</scene_description>
<character>NAISH</character>
<dialogue>Yeah, I hear it. where's it coming from?</dialogue>
<character>MR. WILLIS</character>
<dialogue>Over here, inside the smokehouse.</dialogue>
<scene_description>Naish and Willis stand in front of a brick smokehouse . The thick door is chained shut .</scene_description>
<character>NAISH</character>
<parenthetical>( knocking on door . )</parenthetical>
<dialogue>Anybody in there?</dialogue>
<scene_description>The moaning gets louder .</scene_description>
<character>MR. WILLIS</character>
<dialogue>We got ta break it open.</dialogue>
<character>NAISH</character>
<dialogue>I ai n't got a warrant.</dialogue>
<scene_description>Willis picks up a broken axe handle and begins prying open the door .</scene_description>
<character>MR. WILLIS</character>
<dialogue>Tell it to my daughter.</dialogue>
<character>NAISH</character>
<parenthetical>( grabbing hold to help . )</parenthetical>
<dialogue>Shit. fuck procedure.</dialogue>
<scene_description>Together they struggle to open the door .</scene_description>
</scene>
<scene>
<stage_direction>INT. FARMHOUSE - SAME</stage_direction>
<scene_description>Mother slowly opens the front door . The revolver is behind her back , tucked in her apron strings .</scene_description>
<character>MOTHER</character>
<parenthetical>( trying to be sexy . )</parenthetical>
<dialogue>Well hello, officer.</dialogue>
<character>WYDELL</character>
<parenthetical>( holding up his badge . )</parenthetical>
<dialogue>Excuse me, I'm sorry for disturbing you this fine afternoon.</dialogue>
<character>MOTHER</character>
<dialogue>Aw, you ai n't disturbing me, but it kind of looks like rain, do n't ya think?</dialogue>
<character>WYDELL</character>
<dialogue>My name is Lt. Wydell, I'd like to ask you a few questions.</dialogue>
<character>MOTHER</character>
<dialogue>Questions? Well, heck, I'll tell you anything you want to know.</dialogue>
<character>WYDELL</character>
<dialogue>I appreciate your cooperation. I'm looking for a missing girl.</dialogue>
<parenthetical>( holds up picture . )</parenthetical>
<dialogue>. this girl here, Denise Willis. have you seen her?</dialogue>
<character>MOTHER</character>
<dialogue>Well, I. mmmmm. no, I ai n't seen her, sorry.</dialogue>
<scene_description>She begins to close the door . Wydell stops her .</scene_description>
<character>WYDELL</character>
<dialogue>Please, could I please come in and talk to you for a minute? Maybe you could take a better look at the picture. might stir up something.</dialogue>
<character>MOTHER</character>
<dialogue>I um. no, I do n't think so.</dialogue>
<character>WYDELL</character>
<dialogue>Please, just a minute.</dialogue>
<character>MOTHER</character>
<dialogue>Oh, alright. I guess I can trust you. being a man of the law and all.</dialogue>
<scene_description>She opens the door .</scene_description>
<character>WYDELL</character>
<dialogue>Thank you.</dialogue>
<character>MOTHER</character>
<dialogue>Oh, you are very welcome. Lord knows how I love a man in uniform.</dialogue>
<scene_description>She closes the door .</scene_description>
</scene>
<scene>
<stage_direction>EXT. FARMHOUSE - SAME</stage_direction>
<scene_description>Naish and Willis bust open the door to the smokehouse . Hanging upside down inside is Mary . She hangs from ropes strapped to the ceiling . Large hunks of meat hang around her in the cramped room .</scene_description>
<character>NAISH</character>
<dialogue>Jesus Christ.</dialogue>
<character>MR. WILLIS</character>
<dialogue>Call Wydell.</dialogue>
</scene>
<scene>
<stage_direction>INT. FARMHOUSE - SAME</stage_direction>
<scene_description>Wydell and Mother sit opposite eachother at the kitchen table . Pictures of Denise and her companions are spread on the table . Wydell takes notes as Mother talks .</scene_description>
<character>WYDELL</character>
<dialogue>Think. do any of these kids look familiar in any way?</dialogue>
<character>MOTHER</character>
<dialogue>No, I ca n't say that I ever seen'em before.</dialogue>
<parenthetical>( points to the photo of Bill . )</parenthetical>
<dialogue>. he looks familiar, is he on TV?</dialogue>
<scene_description>Suddenly , Naish 's voice comes over Wydell 's walkie - talkie .</scene_description>
<character>NAISH</character>
<dialogue>Wydell.</dialogue>
<character>WYDELL</character>
<dialogue>Excuse me for a second.</dialogue>
<scene_description>Pulls walkie - talkie from his belt to respond .</scene_description>
<character>WYDELL</character>
<dialogue>Over.</dialogue>
<character>NAISH</character>
<dialogue>We found one.</dialogue>
<scene_description>Click . Mother points the gun at Wydell 's head and fires . He falls dead to the floor .</scene_description>
</scene>
<scene>
<stage_direction>EXT. FARMHOUSE - SAME</stage_direction>
<scene_description>Naish hears the commotion over his walkie - talkie .</scene_description>
<character>NAISH</character>
<parenthetical>( into walkie - talkie . )</parenthetical>
<dialogue>Wydell! Over! Wydell! Over!</dialogue>
<scene_description>No response .</scene_description>
<character>NAISH</character>
<dialogue>Fuck, go to the car. call for backup. Tell'em officer down.</dialogue>
<character>MR. WILLIS</character>
<dialogue>Right.</dialogue>
<scene_description>Willis runs to the car , he gets about halfway there before he is hit in the back by a bullet . He stumbles and falls to his knees . He kneels silent , stunned . We hold on his face and watch as his life passes before him . A quick MONTAGE , we see the following images flash by : A . A father and daughter together in happier times . B . A child 's birthday party . C . A baby crying . D. Willis and his deceased wife . Otis fires another shot . Willis falls forward into the mud , dead . Naish sees Willis fall . Before he can react a voice calls out from behind him .</scene_description>
<character>OTIS</character>
<dialogue>Hands up, bitch!</dialogue>
<scene_description>Naish raises his hands .</scene_description>
<character>OTIS</character>
<dialogue>Turn around, real slow. piggy - pie.</dialogue>
<scene_description>Naish turns around .</scene_description>
<character>OTIS</character>
<dialogue>Interlock your fingers behind your head.</dialogue>
<parenthetical>( Naish hesitates . )</parenthetical>
<dialogue>. do it!</dialogue>
<scene_description>Naish obeys .</scene_description>
<character>OTIS</character>
<dialogue>Kneel.</dialogue>
<scene_description>Naish kneels down . From a distance we see Otis standing over Naish , execution style . A white puff of smoke comes from Otis 's gun and a distant popping sound is heard . Naish falls over on his side . The scene fades to blood red .</scene_description>
</scene>
<scene>
<stage_direction>EXT. FARMHOUSE - NIGHT</stage_direction>
<scene_description>The house stands silent in the darkness . Lightning crashes , a heavy rain falls . Burning JACK - O ' - LANTERNS beam from every window . Smoke rises from the chimney . It is Halloween night .</scene_description>
</scene>
<scene>
<stage_direction>INT. FARMHOUSE - NIGHT</stage_direction>
<scene_description>CLOSE - UP TV Dr. Wolfenstein is on screen smashing pumpkins with a giant hammer .</scene_description>
<character>DR. WOLFENSTEIN</character>
<dialogue>It is midnight my little boils and ghouls, the witching hour. Time for all monsters, murderers, maniacs and madmen to go to work. so lock your doors and bolt your windows, sit back and prepare for a fright night classic.</dialogue>
<parenthetical>( lightning crashes . )</parenthetical>
<dialogue>. The House of Frankenstein.</dialogue>
<scene_description>The movie begins and we move off the TV to see : Hundreds of CANDLES are lit , illuminating everything with a flickering light . Music blares from a cheap stereo . BLACK and ORANGE PAPER STREAMERS are draped from ceiling to floor . Dead center is a LARGE OBJECT standing seven feet tall , it is completely covered in paper Halloween decorations . A long chain connects the object up into the rafters . This is the Halloween party from Hell . An intoxicated Grampa , dressed as FLASH GORDON , sits in his wheelchair watching the TV , drinking MOONSHINE from an unmarked bottle .</scene_description>
<character>GRAMPA</character>
<parenthetical>( slurred drunken yelling at the screen . )</parenthetical>
<dialogue>Get those motherfucker. those high water bitches and rocketship daisies. kill'em, kill'em.</dialogue>
<scene_description>CRASH ! CRASH ! CRASH ! Tiny stands in a corner tunelessly banging on a large oil drum . He is dressed like a low budget BATMAN , in grey long johns and a black bat mask and cape . A drunk Rufus , wearing a bloody police uniform , stands on a table SHOUTING along to the music through a POLICE MEGAPHONE . Mother and Baby , both dressed as SUPERHEROES , dance around the covered object . Both are swigging moonshine from jugs .</scene_description>
<character>RUFUS JR.</character>
<parenthetical>( shouting through megaphone . )</parenthetical>
<dialogue>Show me, show me, show me, show me!</dialogue>
<scene_description>Mother and Baby start TEARING AWAY the paper covering from the object in the middle of the room . They RIP at the paper , spinning and dancing around in a wild pagan ritual . As the shreds of colored paper fall to the floor we see : Denise , Jerry and Mary tied back to back hanging from the chain , each are dressed in a different animal costume . Denise is a pig , Jerry is a donkey and Mary is a rabbit . They are gagged . Mother and Baby laugh at their helpless victims , splashing moonshine in their faces .</scene_description>
<character>BABY</character>
<dialogue>Drink up, it's party time.</dialogue>
<character>MOTHER</character>
<dialogue>Enjoy your last night.</dialogue>
<parenthetical>( looking around . )</parenthetical>
<dialogue>. where's Otis?</dialogue>
<character>BABY</character>
<dialogue>Oh, he's coming, he got something real special this year.</dialogue>
<scene_description>Rufus jumps down , begins to spin the bound captives around and around .</scene_description>
<character>RUFUS JR.</character>
<dialogue>Otis, Otis, Otis, Otis!</dialogue>
<character>MOTHER</character>
<dialogue>Quiet, quiet, you know he wo n't come down with all this hoop - dee - doo bouncing off the walls. Now, calm down.</dialogue>
<character>GRAMPA</character>
<dialogue>I shot an elephant in my pajamas this morning. how he got in my pajamas I'll never know.</dialogue>
<character>BABY</character>
<dialogue>Grampa, shhhhhhhh.</dialogue>
<character>GRAMPA</character>
<dialogue>Then we tried to remove the tusks, but they were embedded in so firmly that we could n't budge'em.</dialogue>
<character>MOTHER</character>
<parenthetical>( gesturing at Grampa . )</parenthetical>
<dialogue>Let him finish.</dialogue>
<character>GRAMPA</character>
<dialogue>Of course, in Alabama the Tuscaloosa, but that's entirely irrelephant.</dialogue>
<scene_description>The room goes silent . All eyes are focused on the stairs . A robed figure , Otis , appears at the top of the stairs , he begins to descend . Rufus waits at the bottom of the stairs . As Otis reaches the last step Rufus hands him the megaphone . Denise , Mary and Jerry struggle to watch as they in turn rotate past the scene unfolding .</scene_description>
<character>OTIS</character>
<parenthetical>( through the megaphone . )</parenthetical>
<dialogue>I'm the one who brings the Christmas candy. now tell me.</dialogue>
<parenthetical>( pauses and raises his arms . )</parenthetical>
<dialogue>. Who's your Daddy?</dialogue>
<scene_description>Otis walks closer to the rotating captives .</scene_description>
<character>OTIS</character>
<dialogue>I'm the one who brings the devil's brandy.</dialogue>
<parenthetical>( waits . )</parenthetical>
<dialogue />
<character>MOTHER</character>
<dialogue>Who's your Daddy!</dialogue>
<character>OTIS</character>
<dialogue>Yes! I'm the one who beats you when you're bad.</dialogue>
<character>BABY</character>
<dialogue>Who's your Daddy!</dialogue>
<character>MOTHER</character>
<dialogue>Who's your Daddy!</dialogue>
<scene_description>Otis stops the spinning of his prisoners and stands directly before Denise . He drops his robe , underneath he is wearing a SUIT OF SKIN sewn together from pieces of Denise 's father . Denise stares in horror , tears stream down her cheeks , barely able to comprehend the madness around her . Otis moves in close and licks her across the face .</scene_description>
<character>OTIS</character>
<dialogue>I'm the one who loves you when you're fucking dead!</dialogue>
<scene_description>Everyone chants `` Who 's your Daddy ? ''</scene_description>
<character>OTIS</character>
<parenthetical>( imitating Willis . )</parenthetical>
<dialogue>Now, I say my little darlings.</dialogue>
<parenthetical>( rotates the chain to Mary . )</parenthetical>
<dialogue>maybe prancing around where you do n't belong ai n't such a winner of an idea.</dialogue>
<parenthetical>( slaps Mary across the face . )</parenthetical>
<dialogue />
<scene_description>Slowly turns the chain to face Jerry .</scene_description>
<character>OTIS</character>
<dialogue>And you, the great rusher of fools, what were you after.</dialogue>
<parenthetical>( slaps Jerry . )</parenthetical>
<dialogue>Huh, speak to me.</dialogue>
<parenthetical>( slaps him again . )</parenthetical>
<dialogue>Oh, that's right, Dr. Satan. everybody got to know about Dr. Satan, Jesus Christ, let the old dog rest for fuck sake, he's already got one foot in the grave and the other's tap dancing around the edge.</dialogue>
<parenthetical>( gets nose to nose with Jerry . )</parenthetical>
<dialogue>. well, I can see the disappointment on your sad little puppy face. so I'm gon na do you a favor, a big, big favor. You owe me, boy. I'm gon na let you meet the old bastard.</dialogue>
<character>GRAMPA</character>
<dialogue>That's a horse's ass alright, I told you.</dialogue>
<scene_description>Jerry 's eyes widen in fear .</scene_description>
<character>OTIS</character>
<dialogue>Baby, roll that old love machine over here, so this boy can meet his hero.</dialogue>
<scene_description>Baby rolls Grampa over to Jerry .</scene_description>
<character>OTIS</character>
<parenthetical>( lifts his skin mask . )</parenthetical>
<dialogue>You see it's all true, the boogieman is real and you found him.</dialogue>
<parenthetical>( Jerry stares in shock . )</parenthetical>
<dialogue>. why so sad? Is n't this what you begged for? There he is, the living legend himself, ta da Dr. Satan. Now, do n't get shy on me. ask your hero some questions, do n't blow this last in a lifetime opportunity.</dialogue>
<character>GRAMPA</character>
<dialogue>Zarkoff, I will conquer the sea, the air, the earth. the universe.</dialogue>
<scene_description>Mother moves in close to Jerry .</scene_description>
<character>MOTHER</character>
<dialogue>Look at the way he lights up. Grampa just loves meeting his fans.</dialogue>
<scene_description>Otis grabs Jerry 's cheeks and makes his face move like a ventriloquist dummy , provides Jerry 's voice .</scene_description>
<character>OTIS</character>
<dialogue>Aw gee whiz, I'm so excited. I really think you're the coolest. you're tops on the playground, cooler than the Fonzie.</dialogue>
<scene_description>Baby grabs Mary and does the same ventriloquist routine .</scene_description>
<character>BABY</character>
<dialogue>Oh, oh pick me, pick me. I have a question.</dialogue>
<scene_description>Baby rotates Mary around to where Gramps is seated .</scene_description>
<character>BABY</character>
<parenthetical>( squeezing Mary 's face , hard . )</parenthetical>
<dialogue>I was wondering Mr. Satan sir, do you like to kiss on the first date or is that considered slutty?</dialogue>
<character>GRAMPA</character>
<dialogue>What the fuck are you saying? Who the hell is talking to me?</dialogue>
<scene_description>Tiny , growing restless , begins banging on his metal drum . KLANG - KLANG - KLANG . Rufus joins in , clapping his hands .</scene_description>
<character>MOTHER</character>
<dialogue>Come on, my babies are getting restless.</dialogue>
<character>RUFUS JR.</character>
<dialogue>Dump in the pit, dump in the pit, dump in the pit.</dialogue>
<scene_description>Mother , Baby , Grampa join in chanting with Rufus .</scene_description>
<character>OTIS</character>
<dialogue>Alright, alright. Cut'em down, it's time they get what they came here for.</dialogue>
</scene>
<scene>
<stage_direction>EXT. FIELD - NIGHT</stage_direction>
<scene_description>The rain pounds down . A heavy fog hovers over the dense growth of the field . In the distance , silhouetted by moonlight , a gruesome caravan slowly moves through the night . Otis , lantern in hand , leads the way . Followed by Baby and Mother together under a large black umbrella . Next Rufus holds the leash connected to Jerry , Denise and Mary . Bringing up the rear , Tiny , shotgun focused on the prisoners , and Grampa . Grampa is strapped to Tiny 's back like a child . He waves a flashlight back and forth like a search beam . The group comes to a halt at a huge wooden structure .</scene_description>
<character>OTIS</character>
<parenthetical>( handing Baby the lantern . )</parenthetical>
<dialogue>Hold this. Point it over here.</dialogue>
<scene_description>Baby directs the light at Otis . We see that he is trying to unlock a huge padlock attached to an iron door embedded in the base of the wooden structure . Otis unlocks the door and swings it open . He reaches down into the blackness and pulls up an iron hook and wench , attached to the hook is a chain . Otis parts a section of the overgrown grass next to the pit to reveal a rusty metal crank . He begins to turn the crank . Slowly , from out of the pit , rises a coffin hanging from the end of the chain . Otis pulls the coffin over and lays it flat on the ground . He flips open the lid .</scene_description>
<character>OTIS</character>
<dialogue>Hey happy - boy, step your ass up here.</dialogue>
<scene_description>Rufus cuts loose Jerry , but holds him steady by the neck .</scene_description>
<character>BABY</character>
<dialogue>Take his gag out, it's more fun with the screaming.</dialogue>
<character>MOTHER</character>
<dialogue>Yeah, I like the screaming too. it's so much more exciting.</dialogue>
<scene_description>Rufus cuts loose the gag .</scene_description>
<character>JERRY</character>
<dialogue>Please do n't kill us, please do n't kill us.</dialogue>
<character>BABY</character>
<parenthetical>( imitating Jerry . )</parenthetical>
<dialogue>Please do n't kill us, please do n't kill us.</dialogue>
<character>OTIS</character>
<dialogue>Bitch, shut your mouth and get your shit in the box.</dialogue>
<character>JERRY</character>
<dialogue>Let us go, please. let the girls go.</dialogue>
<character>BABY</character>
<parenthetical>( imitating Jerry . )</parenthetical>
<dialogue>Let us go, please. let the girls go.</dialogue>
<scene_description>Otis pulls out a gun and points it at Jerry .</scene_description>
<character>OTIS</character>
<dialogue>Get in. now!</dialogue>
<character>MOTHER</character>
<dialogue>Wait, I want to say good - bye.</dialogue>
<scene_description>Mother grabs Jerry by the collar and gives him a big kiss .</scene_description>
<character>MOTHER</character>
<dialogue>Bye sweety, we could of been great together.</dialogue>
<character>JERRY</character>
<dialogue>Please, let us go, we wo n't tell anybody.</dialogue>
<character>MOTHER</character>
<dialogue>Aw, honey you know I ca n't do that.</dialogue>
<character>BABY</character>
<dialogue>We wo n't tell anybody.</dialogue>
<scene_description>Otis cocks the pistol . Jerry starts to slowly move towards the coffin .</scene_description>
<character>OTIS</character>
<dialogue>Christ, ai n't this fucking a hoot. alright mamma, I ai n't got all fucking night.</dialogue>
<character>JERRY</character>
<dialogue>Please, please this is insane. You ca n't do this.</dialogue>
<scene_description>Rufus pushes Jerry into the coffin .</scene_description>
<character>OTIS</character>
<dialogue>It is and I can. next.</dialogue>
<scene_description>Denise starts kicking and fighting with Rufus . Rufus tries to hold her steady , when suddenly Mary breaks free and starts to run .</scene_description>
<character>OTIS</character>
<parenthetical>( laughs and raises his pistol . )</parenthetical>
<dialogue>Where's she think she's a gon na get to? She's gon na run all the way home.</dialogue>
<character>BABY</character>
<dialogue>No! Let me get her.</dialogue>
<parenthetical>( turns to Mother . )</parenthetical>
<dialogue>. Ma, Otis is having all the fun. can I get her?</dialogue>
<character>MOTHER</character>
<dialogue>That's true, Otis. not that we're having a bad time, but.</dialogue>
<character>OTIS</character>
<parenthetical>( rolls his eyes . )</parenthetical>
<dialogue>Well, go get her.</dialogue>
<scene_description>Baby jumps with excitement and runs off across the field after Mary . Mary trips and falls over a small gravestone . She gets up and stumbles back into a wooden cross . She tears the gag from her mouth and gasps for air .</scene_description>
<character>BABY</character>
<parenthetical>( O.S . )</parenthetical>
<dialogue>There once was a woman who lived with her daughter in a cabbage garden.</dialogue>
<scene_description>Mary turns toward the voice but sees nothing but wooden crosses . She is in a homemade cemetery .</scene_description>
<character>BABY</character>
<parenthetical>( O.S . )</parenthetical>
<dialogue>along came a rabbit and ate up all the cabbages. The woman said.</dialogue>
<scene_description>Mary turns 360 degrees , but finds nothing .</scene_description>
<character>BABY</character>
<parenthetical>( O.S . )</parenthetical>
<dialogue>`` Go into the garden and drive out the rabbit''.</dialogue>
<scene_description>THUD ! Mary is hit from behind , she falls forward . Baby JUMPS on top of her and sits on her back . Baby is holding a large hunting knife .</scene_description>
<character>BABY</character>
<dialogue>`` Shoo! Shoo!'' said the maiden.</dialogue>
<scene_description>Mary screams in pain , as Baby PLUNGES the knife into her . Baby STABS Mary again and again and again . Mary lets out a long gurgling scream , then goes silent .</scene_description>
<character>BABY</character>
<dialogue>`` Come maiden,'' said the rabbit.</dialogue>
<parenthetical>( leans down . )</parenthetical>
<dialogue>. sit on my tail and go with me to my rabbit hutch.</dialogue>
<scene_description>Baby , covered in blood , licks the knife clean .</scene_description>
</scene>
<scene>
<stage_direction>EXT. PIT - NIGHT</stage_direction>
<scene_description>Otis shoves Denise into the coffin with Jerry and locks the lid shut . Through a CROSS - SHAPED OPENING in the coffin we see them crushed together . Rufus LOWERS the coffin into the pit . Once the coffin is inside Otis slams the door shut . Otis opens a small window in the door and lowers in a lantern and a small tape recorder playing music .</scene_description>
</scene>
<scene>
<stage_direction>INT. PIT - NIGHT</stage_direction>
<scene_description>Enter Hell . The dim light of the lantern shines off the slimy wet filth of the rotted wood walls . The stench of death and decay hangs heavy in the thin air . Denise and Jerry , cold and shivering , hang half submerged in thick maggot infested sludge . Bits of animal and human skeletons float in the muck , broken bones lay in piles along the walls .</scene_description>
</scene>
<scene>
<stage_direction>INT. COFFIN - NIGHT</stage_direction>
<scene_description>Through the dim light , we see the tightly packed forms of Jerry and Denise .</scene_description>
<character>DENISE</character>
<parenthetical>( hysterical . )</parenthetical>
<dialogue>We've got get out of here, we got get out of here.</dialogue>
<character>JERRY</character>
<dialogue>Think, think. Try to open the lid, try to kick a hole in the wood.</dialogue>
<character>DENISE</character>
<parenthetical>( crying . )</parenthetical>
<dialogue>I ca n't. I ca n't move my arms. I hurt so much.</dialogue>
<character>JERRY</character>
<dialogue>I know, but we can make it out of here. We can do it.</dialogue>
<scene_description>Boom ! A LOUD THUMP is heard against the side of the coffin .</scene_description>
<character>JERRY</character>
<dialogue>That was good babe, just keep doing that.</dialogue>
<scene_description>BOOM , BOOM , BOOM .</scene_description>
<character>DENISE</character>
<dialogue>That's not me. I did n't. I'm not doing that.</dialogue>
<character>JERRY</character>
<dialogue>Someone is out there.</dialogue>
<parenthetical>( shouting . )</parenthetical>
<dialogue>. help, we're in here!</dialogue>
<character>DENISE</character>
<dialogue>Help, help us.</dialogue>
<scene_description>Suddenly , an arm breaks through the side of the coffin . Another smashes through the top of the lid . The coffin begins to violently shake . Denise screams . Another reaches through , grabbing her feet . SMASH ! The coffin is ripped apart and Jerry is pulled away from the destruction . He lets out a quick scream before disappearing into the darkness .</scene_description>
<character>DENISE</character>
<dialogue>Jerry! Jerry! Jerry!</dialogue>
</scene>
<scene>
<stage_direction>INT. FARMHOUSE - LIVINGROOM - NIGHT</stage_direction>
<scene_description>The spastic light of TV static strobes across the sleeping face of Grampa . Beside him , Mother sleeps peacefully .</scene_description>
</scene>
<scene>
<stage_direction>EXT. BARN - NIGHT</stage_direction>
<scene_description>The rain has stopped . Tiny opens the doors to the barn . He goes inside . He exits a few moments later , dragging a huge wooden stake . He sets the stake down carefully and closes the barn doors . He then picks up the stake and drags it away .</scene_description>
</scene>
<scene>
<stage_direction>EXT. BACKYARD - NIGHT</stage_direction>
<scene_description>Behind the farmhouse is a camouflage jungle , an intricate system of ropes and netting is strung together to hide the many automobiles beneath . Rufus moves through the jungle . He stops and begins to remove the netting from a car , it is Wydell 's police cruiser . He climbs inside the car , puts on Wydell 's policeman 's hat and starts the engine . He drives off .</scene_description>
</scene>
<scene>
<stage_direction>INT. POLICE CAR - NIGHT</stage_direction>
<scene_description>Rufus is driving like a maniac through the open farmland . He turns on the overhead flashing lights .</scene_description>
</scene>
<scene>
<stage_direction>EXT. FIELDS - NIGHT</stage_direction>
<scene_description>The police cruiser twists and turns in the barren fields .</scene_description>
</scene>
<scene>
<stage_direction>INT. PIT - NIGHT</stage_direction>
<scene_description>Denise stands knee deep in the sludge . Broken bits of the coffin 's remains are scattered around her .</scene_description>
<character>DENISE</character>
<dialogue>Jerry please answer me.</dialogue>
<scene_description>A soft moaning sound is heard coming from the other end of the pit .</scene_description>
<character>DENISE</character>
<dialogue>Jerry.</dialogue>
<parenthetical>( moving slowly forward . )</parenthetical>
<dialogue>. is that you?</dialogue>
<scene_description>Denise cautiously makes her way to the bend at the end of the tunnel . As she approaches , the moaning sound gets louder . She turns the corner to see : TWO PALE FIGURES in filthy hospital gowns hunched over a shadowy object . Denise gasps . They turn towards Denise , revealing the partially devoured dead body of Jerry . The two bone - white ghouls are dripping with Jerry 's blood , they stare at Denise , then return to their prey . Denise screams in horror and runs , turning down another twist in the underground maze . She turns the corner and runs straight into SEVERAL SLOW MOVING GHOULS . The ghouls are of the same deathly white complexion , hair - less with flaked , cracking skin . Their yellow eyes shine in the darkness . They reach for her , but she breaks free and continues to run into the endless stretch of tunnels before her .</scene_description>
</scene>
<scene>
<stage_direction>EXT. GRAVEYARD - NIGHT</stage_direction>
<scene_description>Primitive wooden crosses form a circle around a burnt piece of land , approximately twenty feet in diameter . Laying flat in the center is the large stake , Mary 's body is draped across it . Tiny is securing her to the stake with rope .</scene_description>
</scene>
<scene>
<stage_direction>INT. POLICE CAR - NIGHT</stage_direction>
<scene_description>Through the windshield , we see Baby jumping and dancing in the fields with several large dogs . She is firing a gun as she dances .</scene_description>
</scene>
<scene>
<stage_direction>EXT. FIELD - NIGHT</stage_direction>
<scene_description>Baby sees the car and raises her gun . She aims it at the car driver . She waits , as the car gets closer she sees the face of Rufus behind the wheel . She lowers the gun and begins to laugh . The car stops and Baby climbs into the passenger 's seat . The car drives off .</scene_description>
</scene>
<scene>
<stage_direction>EXT. GRAVEYARD - NIGHT</stage_direction>
<scene_description>Tiny lifts the stake with Mary firmly strapped in place . He implants it into the ground . Her body hangs like a doll . Tiny opens a gasoline can and begins splashing gas onto the stake .</scene_description>
</scene>
<scene>
<stage_direction>EXT. FIELD - NIGHT</stage_direction>
<scene_description>Otis , face painted like a SKULL and wearing a priest 's robe , walks solemnly through the tall grass .</scene_description>
</scene>
<scene>
<stage_direction>INT. PIT - NIGHT</stage_direction>
<scene_description>Denise , waist high in sludge , wanders lost through the endless tunnels of the pit . In the distance she hears high pitched animal sounds . A GHOUL rises up from the sludge behind Denise . It stands silent . It reaches out a BONEY HAND with long curled fingernails and grabs her hair . Denise screams and tries to pull away . The ghoul grabs her with his other hand and pulls her closer , CLAWING at her face . Denise fights her way free , but loses her footing and falls backwards , slipping under the sludge . She quickly resurfaces and starts to run .</scene_description>
</scene>
<scene>
<stage_direction>EXT. GRAVEYARD - NIGHT</stage_direction>
<scene_description>Otis stands in front of the bound Mary , holding a pumpkin . Otis places the pumpkin over Mary 's head . Tiny stands behind him holding a lit torch .</scene_description>
</scene>
<scene>
<stage_direction>EXT. FIELD - NIGHT</stage_direction>
<scene_description>The police car drives wildly through the fields .</scene_description>
</scene>
<scene>
<stage_direction>INT. POLICE CAR - NIGHT</stage_direction>
<scene_description>Baby motions to Rufus to steer the car towards the fire .</scene_description>
</scene>
<scene>
<stage_direction>INT. PIT - NIGHT</stage_direction>
<scene_description>A beaten Denise struggles down a long tunnel . She gets to the end to find that it is a dead - end . Behind her , FIVE GHOULS move silently towards her , blocking her only exit . The ghouls slosh through the muck , moving in closer . Denise frantically looks for an escape , nailed into the wall next to her are planks of wood forming a ladder . The ghouls are only a few yards away . Denise climbs up the ladder . They move in , clawing at her legs and feet , trying to pull her down . Denise digs at the wood and mud ceiling above her , trying to break free . Denise is bleeding severely from the chunks of flesh being torn from her legs . She digs wildly at the ceiling , suddenly a board falls free and mud rains down to reveal : STARS , the sky above shines through the hole . Denise smashes her fists at the rotted wood planks , pulling free another piece . With all her might Denise grabs hold and pulls herself up through the opening .</scene_description>
</scene>
<scene>
<stage_direction>EXT. PIT - NIGHT</stage_direction>
<scene_description>Denise fights her way through the earth and pulls her body up into the night air . The cool air rushes to her lungs . She crawls free of the hole , gasping for air . She is safe . Suddenly . SMASH ! A ghoul has broken through the surface . He grabs Denise by the leg and begins to pull her back into the hole . Denise screams and begins kicking violently at the ghoul . She breaks and crawls from the ghoul 's reach .</scene_description>
</scene>
<scene>
<stage_direction>EXT. GRAVEYARD - NIGHT</stage_direction>
<scene_description>Rufus and Baby have pulled the police cruiser up by the stake . Rufus and Baby stand on the hood . Otis finishes his sermon , he raises his arm . Tiny raises the torch . Otis drops his arm , signaling Tiny . Tiny throws the torch onto the stake . The stake ignites into a huge FIREBALL .</scene_description>
</scene>
<scene>
<stage_direction>EXT. FIELD - NIGHT</stage_direction>
<scene_description>Denise pulls herself to her feet and begins to run . The flaming object burns in the distance behind her . Denise stumbles toward the road on two badly injured legs .</scene_description>
</scene>
<scene>
<stage_direction>EXT. GRAVEYARD - NIGHT</stage_direction>
<scene_description>Rufus , Tiny and Baby jump up and down in celebration , smashing the police car . Otis stands transfixed by the flames before him .</scene_description>
</scene>
<scene>
<stage_direction>EXT. ROAD - NIGHT</stage_direction>
<scene_description>Denise makes her way out onto the road . No cars are in sight . In the distance headlights break through the darkness . Denise stands in the middle of the road . The TRUCK comes into view , it is a small cube truck . Denise stands in the headlights , waving her arms for it to stop . The truck comes to a halt . She runs toward the passenger 's side door and climbs in .</scene_description>
</scene>
<scene>
<stage_direction>INT. TRUCK - NIGHT</stage_direction>
<scene_description>Behind the wheel of the truck is Captain Spaulding . Denise is shaking from shock .</scene_description>
<character>DENISE</character>
<dialogue>Go, go! Drive. drive!</dialogue>
<character>CAPT. SPAULDING</character>
<dialogue>Hold on, girly, what's the problem?</dialogue>
<character>DENISE</character>
<parenthetical>( becoming hysterical . )</parenthetical>
<dialogue>Murdering. blood and Jerry.</dialogue>
<parenthetical>( starts to cry uncontrollably . )</parenthetical>
<dialogue>. monsters. I. I. I got away.</dialogue>
<character>CAPT. SPAULDING</character>
<dialogue>Well, I do n't see what the fuck you're getting at, but I got some friends that live just up this road.</dialogue>
<scene_description>Starts to turn the truck up the road back towards the farmhouse .</scene_description>
<character>DENISE</character>
<parenthetical>( screaming . )</parenthetical>
<dialogue>No! No, that's it. that house is.</dialogue>
<parenthetical>( tries to open the truck door . )</parenthetical>
<dialogue>. I got ta get out, I got ta get out!</dialogue>
<scene_description>Boom ! The metal door leading to the back of the truck slides open . Ravelli grabs Denise and pulls her back into the back of the truck . SLAM ! The metal door shuts .</scene_description>
</scene>
<scene>
<stage_direction>EXT. ROAD - NIGHT</stage_direction>
<scene_description>The truck quietly turns onto the dirt road leading up to the farmhouse . The jack - o ' - lanterns still burn in the windows , grinning their evil grin . THE END</scene_description>
</scene>
</script>
|
INT. OLD HOUSE - LIVING ROOM - NIGHT
We see a LITTLE GIRL dancing around in a grainy super 8 home movie . A LITTLE BOY wearing a monster MASK enters the frame . He struggles to lift a double barrel shotgun . He points it at the girl and pretends to SHOOT .
GIRL
( V.O . )
( whispering slowly . )
Once I had a cat, he was the sweetest little guy. Then one day he got sick and died. My heart was broken. My whole body hurt.
She continues dancing . The little boy imitates her .
GIRL
( V.O . )
After that, I saw things differently, everything could be summed up with three simple words. fuck the world.
The camera swings over to some ugly , toothless relations watching the show . They laugh .
EXT. SPAULDING'S - NIGHT
We open on a dark , lonely stretch of two lane blacktop . Off to the side of the road we see a rundown gas station .
RADIO ANNOUNCER
( V.O . )
Hey, welcome back to 93.5 WJRC's Halloween monster weekend. I'm Jimmy Ray and I'll be bringing you the oldies, the goldies and sometimes the moldies. The good, the bad and the uglies straight from the WJRC vaults.
A weathered wooden sign proclaims CAPTAIN SPAULDING 'S WORLD OF MONSTERS AND MADMEN , sits atop the building . A smaller sign below reads FRIED CHICKEN AND GASOLINE .
RADIO ANNOUNCER
( V.O . )
Hey, kids still trying to decide on the right costume? Well why not head on down to Randall's Penny Save located on Kimball Rd. just off route 1 in Mackin County. Choose from a wide array of ghosts and ghouls, jeepers and creepers.
( scary sound effects . )
. everything you need for your Halloween needs.
SHERIFF HUSTON , a tall southern good old boy , leans against his dusty cruiser smoking a cigarette , pumping gas into his tank .
INT. CAPT. SPAULDING'S - NIGHT
Inside is a poorman 's Ripley 's Believe It or Not . Bizarre props and treasures of killers and monsters cover the dirty walls . Wax figures of JACK THE RIPPER stand guard before oil paintings by JOHN WAYNE GACY .
RADIO ANNOUNCER
( V.O . )
Alright let's get back to our monster music marathon with this classic called The Teddy Bear's Picnic.
Perched on a stool behind the counter sits CAPTAIN SPAULDING , a crusty looking old man in a filthy clown suit and smeared make - up . The word LOVE is tattooed across his right knuckles and HATE is tattooed across the left . He is reading the newspaper , crunching on crackers from a paper bag and halfheartedly listening to a small , nerdy man wearing coke bottle glasses named STUCKY . Stucky thumbs through a stack of autographed 8x10 photographs .
STUCKY
( speaking through voicebox in his throat . )
I. I got back a stack today. Some nice shots.
( holds up a picture of June Wilkinson . )
See, a good topless June Wilkinson. unfortunately she personalized it.
( looking at the photo . )
to Stucky, love June.
CAPT. SPAULDING
Hmmmmm.
STUCKY
Shit, this ai n't worth nothing now that my name gotten all over it. I was a fixin' on trading it to Jackie Cobb.
CAPT. SPAULDING
The retard over at Molly's fruit stand.
STUCKY
Yeah, he's all hot on her after he found some of his dad's old nudie books hidden in the basement. He keeps'em taped inside his school workbook.
Spaulding brushes cracker crumbs off his paper and continues reading .
CAPT. SPAULDING
Fascinating.
STUCKY
That kid is one horny retard.
CAPT. SPAULDING
Christ, ai n't they all. All them retards wan na do is fuck and eat.
STUCKY
Well, yeah. I think that if you knew him. I mean if you'd understand his urges, shit the guy's like forty or something.
CAPT. SPAULDING
Worse than a fucking rabid baboon.
STUCKY
Yeah, I guess, you know next to wacking his weasel his other favorite thing is twisting sharpened pencils in the corner of his eyes.
CAPT. SPAULDING
What?
STUCKY
Yeah, does n't hurt himself, just spins it around next to his eyeball.
CAPT. SPAULDING
I'm sure that ai n't the only place he's sticking those pencils.
STUCKY
Naw, he do n't do anything else with'em, but he did get caught once with a Planet of the Apes doll hanging out his asshole.
CAPT. SPAULDING
( laughing . )
Goddamn.
STUCKY
Had to take him to the hospital. Kid had Dr. Zaius stuck half way up his butt, could n't get it out.
CAPT. SPAULDING
I always loved that mute broad that Chuck Heston was shacking up with.
STUCKY
Nova, yeah she looked pretty sweet.
CAPT. SPAULDING
Yeah, now there's the perfect woman.
STUCKY
Can I get some stamps off ya?
( slapping down his money . )
Did you fix the toilet yet?
Opens a drawer and tears off five stamps .
CAPT. SPAULDING
Yes, I did. so do n't you go stuffin' any goddamn paper towels down that hole. I just snaked the shit out of that thing.
Spaulding SLIDES the KEY attached to a cow skull across the counter . Stucky grabs it . Spaulding hangs on .
CAPT. SPAULDING
Ya hear me? You bust that crapper and I'll beat your ass.
STUCKY
I hear ya.
He lets go of the key .
EXT. CAPT. SPAULDING'S - NIGHT
From a STRANGER 'S POV we watch through the window , Stucky EXIT for the restroom . Sheriff Huston finishes pumping his gas , gets in his cruiser and drives off .
KARL
( O.S . )
All clear. Let's go shopping.
RICH
( O.S . )
Right.
From this POV we RACE across the highway towards the front door of the MUSEUM . SLAM ! We BURST through the door .
INT. SPAULDING'S - SAME
The moment of impact . BOOM . The door SMASHES open . Spaulding 's head JERKS up to see : a masked gunman , KARL , wearing a LEATHER S+M MASK . Behind him stands a second gunman , RICH , wearing a rubber CAVEMAN MASK .
CAPT. SPAULDING
Mary fucking Moses. Get the fuck out of here.
KARL
Hold it, clowney. Keep your paws where I can see'em.
RICH
Yeah, do n't move or I'll blast a hole the size of a Kansas City melon through your ugly - ass Bozo face.
Spaulding obeys and raises his hands .
KARL
Go get that other asshole out of the shitter and drag his ass back in here.
RICH
Right.
Rich exits .
CAPT. SPAULDING
Miserable little cunts with guns. I ought to jump right over this counter and bash your fucking balls in.
Killer Karl steps up and puts his gun against Spaulding 's face .
KARL
Alright Tippy, hand over the cash box and I might leave your brains inside your skull.
Spaulding smiles wide , his teeth are yellow and rotted . CLOSE UP Spaulding 's foot kicks a red switch , triggering a silent alarm .
CAPT. SPAULDING
That's what you bitches need. A reality check courtesy of my boot in your ass. That'll be a fucking cash box you can cry to mamma about.
INT. SPAULDING'S - BACKROOM - NIGHT
A silent RED LIGHT FLASHES . In the dim glow , we see RAVELLI , a large hunched figure , sitting on the edge of a bed . The figure is heavily bandaged . Ravelli reacts to the flashing light , he RISES and puts a huge mask over his head . He EXITS the room .
INT. BATHROOM STALL - NIGHT
Stucky sits on the toilet pasting stamps on large yellow envelopes . Killer Rich KICKS OPEN the stall , GRABS Stucky by the neck and PULLS him out .
RICH
Come on, fatboy!
EXT. CAPT. SPAULDING'S - NIGHT
We move around the outside of the building watching the scene inside unfold . HEAVY BREATHING is heard . Rich DRAGS Stucky into the main room .
INT. SPAULDING'S - NIGHT
Karl grows increasingly HOSTILE , knocks a candy display over , raises his gun over his head and fires into the ceiling .
KARL
( screaming . )
That's it. I'm gon na count to ten and you're gon na hand over the cash or I'm gon na splatter your grease paint mug across the stateline. one.
CAPT. SPAULDING
Fuck your mother.
KARL
Two.
CAPT. SPAULDING
Fuck your sister.
RICH
Come on, man. Just shoot him.
STUCKY
( recognizing Rich 's voice . )
Hey, I know you. We were in high school together. Wood shop, right? Richard Wick. right?
He looks nervously at Stucky .
RICH
Shut up, shut up, shut up!
KARL
Quiet down. three.
CAPT. SPAULDING
Fuck your grandmother.
STUCKY
Yeah, I remember Mr. Alacard the shop teacher use ` ta call you Little Dick Wick. Hey, was n't there a song we made up to go with that?
RICH
( temper rising . )
Shut up!
STUCKY
( singing . )
Little Dick Wick, play with his prick Do n't his smell, just make you sick.
EXT. CAPT. SPAULDING'S - NIGHT
From Ravelli 's POV we watch through the window , as everybody inside starts SHOUTING at each other . Suddenly , Rich SHOOTS Stucky . Stucky FALLS BACKWARDS against the wall , screaming in pain . We move QUICKLY towards the entrance .
INT. CAPT. SPAULDING'S - NIGHT
Suddenly . CRASH ! Ravelli SMASHES through the front door knocking Karl to the ground . In the light we see that Ravelli is wearing an OVERSIZED CLOWN HEAD . In his hand is a sledgehammer . Rich TURNS toward the COMMOTION . The Captain quickly WHIPS OUT a GUN and FIRES . Rich falls dead . Ravelli lunges at Karl , smashing him over the head with the hammer . Ravelli 's clown head comes loose and falls to the floor . We now see that Ravelli is a bald pitbull of a man with badly scarred skin that is painted white and red . Karl hits the floor and begins CONVULSING violently . Spaulding STEPS DOWN from behind the counter , puts his foot on Karl 's throat and points his pistol at Karl 's head .
CAPT. SPAULDING
And most of all. fuck you!
BOOM ! Spaulding SHOOTS Karl in the head . The screen EXPLODES RED , then TURNS BLACK .
CAPT. SPAULDING
( V.O . )
God damn it, that motherfucker got blood all over my best clown suit.
CREDITS ROLL Strange paintings of demons , monsters and bizarre creatures fade up and move across the screen .
EXT. COUNTRY ROAD - NIGHT
We see a BILLBOARD painted on the side of an ABANDONED TRUCK . The sign reads GOD IS DEAD . We turn to face the road as a car drives by .
JERRY
Alright then, out of all of Charlie's chicks who do you think is the hottest?
INT. CAR - FRONT SEAT - NIGHT
Fast food wrappers and road maps clutter the car 's dashboard , a swinging monkey head dangles from the rear - view mirror . Behind the wheel , the driver , BILL HUDLEY , 29 , downs the last sip of coffee before crumpling the paper cup and placing it among the other trash before him .
BILL
I guess if I had to choose I'd say. mmmmmm. Sandra Good. She seemed like a nice girl, I mean in a psycho kind of way.
Beside him rides , JERRY GILMORE , 30 , slumped down in his seat , reading a magazine with a flashlight , feet hanging out the window .
JERRY
Really? Huh, I thought for sure you'd say Lynette Fromme. She's got that snooty vibe I know you dig.
BILL
Sqeaky! No way, she ai n't that hot.
JERRY
She's pretty cute.
BILL
Yeah but, she reminds me of this chick that I remember from fourth grade. called a. shit, what did we call her?
( thinks for second . )
Oh yeah, Patty Pee - pee Pants. when ever she got called on by Miss Chumski, this chick would piss in her pants and start bawling.
JERRY
( laughing . )
There always one kid with no bodily controls. We had this dude, Jeff Baxter, he was a puker. The fucker would just sit there puke all over himself.
BILL
Better than pissing. anyway so, what's your choice?
JERRY
If we're talking cute. like regular cute, I'd say Leslie Van Houton, but cute ai n't hot.
BILL
Yeah, no shit.
JERRY
As far a hot. goes I got ta go with. Ruth Ann Moorehouse.
BILL
Oh yeah, I forgot about her. She was pretty hot.
JERRY
Fuck yeah, she is. I'd join a cult to get some of that. and the best part is she did n't try to kill the President or nothing, so that baggage ai n't hanging around.
BILL
I thought she tried to murder a witness for the prosecution.
JERRY
I'll let it slide, she was only seventeen.
BILL
Dude, talk about baggage, that ai n't no carry - on shit, that's some heavy duty Samsonite shit.
JERRY
Yeah, I guess. hot chicks are always nuts.
BILL
Hot has got nothing to do with it.
EXT. COUNTRY ROAD - NIGHT
A LONE FIGURE in a cheap skull mask and white robe stands hidden behind a billboard off to the side of the road . Bill 's car drives past .
BILL
( yawning . )
Hold on, I've heard this before. but I ca n't remember the end.
JERRY
So, the guy goes to Hell and the devil says, `` do you smoke?'' The guy say, `` yeah''. the devil say, `` great cause Tuesday is cigar night, sweetest Cuban cigars you ever had.''
BILL
Shit, we really need to find some gas.
JERRY
( not listening . )
Then the devil asks, `` do you drink?'' Guy says, `` yeah''. devil say, `` wonderful, Wednesday is free drinks night, best booze you ever had. all made from the finest stuff.''
BILL
Yeah.
JERRY
Then the devil says, `` are you gay?'' Guy says, `` fuck no''. Devil says, `` Well then, I guess you're gon na hate Thursdays.''
BILL
Oh yeah, I remember now.
JERRY
Yeah, no shit I just told ya.
( looking at magazine . )
Hey, you think this place called Alien Ed's UFO Welcoming Center is still around? It says, `` Where the Fact is separated from the Fantasy.''
BILL
I dunno. we'll ask around as we get closer. Man, I really do n't want to run out of gas out here in the middle of Petticoat Junction, man.
JERRY
( sitting up . )
Do n't panic yourself, way too much caffeine guy. I see a sign.
( reading the sign . )
Captain Spaulding's Museum of Madmen and Monsters. cool. Also. fried chicken and. gasoline. next exit.
BILL
Perfect.
JERRY
I hope this place is cool. We could use something interesting to liven up chapter 12.
The car drives past . We turn and hold on the billboard . We see the happy smiling face of a young Captain Spaulding .
EXT. CAPTAIN SPAULDING'S - NIGHT
The car pulls up to one of the gas pumps . Bill and Jerry get out . Inside we see Spaulding , now in army pants and a hunting jacket , mopping the floor .
BILL
I'll pump the gas. Go inside and see if it's worth thinking about.
JERRY
( salutes . )
OK, Boss.
Jerry walks inside and immediately comes back out .
JERRY
Holy crap. You got ta see this place. It's awesome.
BILL
How awesome?
JERRY
Really fucking awesome.
BILL
Wake up the chicks and bust out the camera awesome?
JERRY
Hell yeah.
Jerry sticks his head back inside the car .
JERRY
Wakey, wakey, eggs and bakey.
INT. CAR - BACK SEAT - NIGHT
A dark haired girl , DENISE WILLIS , 27 , sleeps curled up under a blanket .
JERRY
Come on, babe. Me and Bill found a kick ass place.
She opens her eyes .
DENISE
Huh?
JERRY
Grab Mary and come inside.
Denise shakes a lump of jackets and sweaters lying next to her . She removes a sweater from the top of the pile to REVEAL the face of MARY KNOWLES , 29 .
DENISE
Come on sleeping beauty, time to go to work.
MARY
( half asleep . )
Sleeping.
DENISE
Rise and shine.
MARY
( groggy . )
No please, let me sit this one out.
DENISE
( removing the blanket . )
Let's go. You're the one who wanted to be a photographer.
MARY
I resign.
DENISE
Too late. You're in for life, let's move it out Private Shutterbug.
MARY
( opening her eyes . )
Christ, I hope this is n't more crappy folk art. It's so quaint. it's so primal. it's so crap.
DENISE
Aw, it ai n't crap. it's. cute.
( sarcastic . )
. and really who are we to judge the artistic merit of the tin - can Mona Lisa?
MARY
Aw, shit.
( exhales deeply . )
I got ta pee anyway.
INTERLUDE Grainy super 8 footage shows us an OLD MAN standing in front of a small shack . His name is Lewis Dover . The shack is painted white and covered with SIMPLISTIC RELIGIOUS WRITINGS .
LEWIS
I ai n't no rich man, but I see the truth. You do not have to go to Hell. You are in Hell. This is Hell. All American Hell.
( holds up a gun . )
. true heaven in my hands. I'm gon na blow Satan back through the door to Hell.
Surrounding the shack are strange sculptures of various half - human/half - animal creations .
INT. SPAULDING'S - NIGHT
Spaulding swabs up the last remains of blood from the floor , he drops the mop into a bucket filled with water and blood . Bill pays no attention , he is distracted by a strange object in a glass case over the counter . In the case is a shriveled up looking half human and half fish figure . It is the size of a small child . A banner above reads : AQUALINA - THE MERMAID .
BILL
How long have you been running this place?
CAPT. SPAULDING
How long is a piece of string? Too God damn long, that's how long.
Spaulding slides the mop and bucket behind the counter .
BILL
No, really.
CAPT. SPAULDING
Shit, I do n't remember exactly. I took over for my Pa just after the Duke nabbed the Oscar.
BILL
The Duke?
CAPT. SPAULDING
Yeah, my Pa was n't right in the head after that.
BILL
You mean John Wayne?
CAPT. SPAULDING
Hell, boy there some other Duke you know about?
( rolls up his sleeve to reveal a John Wayne tattoo . )
A great American.
BILL
Yeah, I was never that big of a western fan. I like science fiction.
CAPT. SPAULDING
I figured that much. Why the fuck you asking so many jackass questions for?
BILL
You see me and my friends are writing a book on offbeat roadside attractions. You know all the crazy shit you see when you drive cross country.
CAPT. SPAULDING
I do n't drive cross country.
BILL
But if you did.
CAPT. SPAULDING
I do n't.
BILL
But suppose for a second you did.
CAPT. SPAULDING
( fake hick accent . )
Y' all find us country people real funny like do n't ya. well, God damn pack up the mule and sling me some grits, I ` ze a got ta get me some schooling.
BILL
No, no I think it's really interesting.
CAPT. SPAULDING
Well fuck me Side Sally, who want to read about all that horse shit anyway.
Jerry OVERHEARS Bill 's and Spaulding 's conversation and joins in to help .
JERRY
You'd be surprised. Would it be OK if we took some pictures and included this place in our book?
CAPT. SPAULDING
Hey, knock yourself silly.
JERRY
You got some really rare stuff here.
( pointing to Aqualina . )
. dig your Feegee mermaid.
INT. SPAULDING'S - RESTROOM - NIGHT
The restroom is gray , dingy , a single exposed light bulb hangs from the ceiling . The peeling walls are plastered with newspaper clippings and faded photos . Mary is in the stall , sitting on the toilet , staring straight ahead at a poster of RHONDO HATTON , a B - MOVIE ACTOR that suffered from acromegalia . Denise standing at a tiny sink , splashes water on her face . She looks at herself in the mirror .
DENISE
( water running down her face . )
I swear I've aged five years since this trip started.
MARY
Tell me about it.
DENISE
( takes a paper towel and wipes her face . )
God, I hate falling asleep in the afternoon. Now I'll be up all night.
( stretches . )
. ugh, my back is killing me.
MARY
Yeah, hey how far do you think we are from your Dad's?
Mary flushes the toilet and exits the stall .
DENISE
I do n't know. Couple hours I think. I've got to call him.
Mary washes her hands . Denise ties up her hair .
MARY
It will be nice to have a few days off to regenerate. This trip is fun, but it's starting to get brutal.
DENISE
Yeah, I hit burn out mode back at that old stripper lady's place. Watching her dance around with those ratty - looking animals was ridiculous.
MARY
I know, that was some crazy shit. I never in a million years would have believed it if I had n't seen it.
DENISE
A decent meal every once in a while would n't hurt either, this road food is crap.
MARY
If I never eat at another Waffle House again, I can die a happy girl.
DENISE
Scattered, smothered and covered.
MARY
Exactly. well, I guess a couple more photos wo n't kill me.
INT. SPAULDING'S - MAIN ROOM - NIGHT
Jerry knees over a box of magazines labeled TRUE CRIME $ 1.00 , he flips through an issue , tosses it back . Bill leans against the wall next to him , sipping a hot cup of coffee . The girls return from the bathroom . Jerry jumps up with excitement .
JERRY
Great, you're back. Let's go. We already paid for the tickets.
DENISE
Tickets for what?
JERRY
This is n't everything. Get ready for this. there's a Museum of Murder and Mayhem.
DENISE
I do n't want to see that.
MARY
How about if we skip it and just hang out here. I can get some great shots of this stuff.
Jerry PULLS Denise over and puts his arm around her .
JERRY
Aw, come on. It will be fun.
DENISE
Oh yeah, murder museum. sounds fun.
Bill grabs Mary by the hand and kisses it .
BILL
( smiling . )
We'll need pictures of the inside too.
MARY
Alright, alright. I know. I wanted to be the photographer.
Bill and Mary kiss . Spaulding waits , unamused . He rolls his eyes .
CAPT. SPAULDING
Anytime this year, people. Alright line your asses up in front of the black door. The tour is about to begin.
Spaulding disappears through a curtain behind the counter . The kids wait . The black metal door CREAKS open . They enter the darkened room .
INT. SPAULDING'S - MUSEUM - NIGHT
Darkness . A blue light comes on . Spaulding is standing on a MOTORIZED PLATFORM . He begins the tour , speaking through a small megaphone .
CAPT. SPAULDING
Ladies and gentlemen, you are about to enter a world of darkness. A world where life and death are meaningless and pain is God.
( pointing with a cane . )
To your left you see the infamous Albert Fish.
A lifeless wax figure POPS forward with a loud metal CLANG . Mary jumps back with fright .
CAPT. SPAULDING
Sadist, masochist, child killer and most of all importantly cannibal. Born in 1870, Mr. Fish enjoyed burning himself with hot pokers, spankings with nail - studded paddles and embedding needles in his groin. On the right, notice the X - ray.
CLOSE UP - X - RAY
CAPT. SPAULDING
showing clearly 29 sewing needles inserted in to his groin. Mr. Fish was executed in 1936 at the age of 65.
Spaulding rolls backwards and continues the tour . CLOSE UP ON : a dummy face of a grizzly looking old man in hunting attire .
CAPT. SPAULDING
To your right. One of our most popular crazies, the psycho of Plainfield, Ed Gein.
Behind the figure of Gein hangs an inverted corpse of a slain woman . Mary recoils in disgust .
CAPT. SPAULDING
Murderer, cannibal and momma's little bitch boy. Mr. Gein found special pleasure in playing with the dead bodies of women, especially their sexual organs. He was quite a handy little dandy, fashioning lamp shades, jewelry and human skin suits from his victims. Mr. Gein was discovered when the decapitated body of Bernice Worden was found gutted like a deer, hanging in his barn.
A wax figure of a young man in doctor 's scrubs . He is covered in blood .
CAPT. SPAULDING
And now I would like to introduce a local hero, S. Quentin Quale, a.k.a.. The Butcher Boy, a.k.a. Nurse Nellie and most famously a.k.a. Dr. Satan.
Another wax figure , of a bloody corpse , JUMPS up .
CAPT. SPAULDING
Murderer, torturer and most of all master surgeon. Mr. Quale an intern at Willows State Mental Hospital, nicknamed Weeping Willows for its neverending cries of pain, took great pleasure in control. Through primitive brain surgery. Mr. Quale believed he could create a race of superhumans from the mentally ill, or so the story goes. His terrifying experiments continued until 1952.
Jerry stares fascinated .
CAPT. SPAULDING
At which time he was discovered and turned over to authorities for observation. Unfortunately, Mr. Quale was abducted from his cell by members of the victims' families. Vigilante justice prevailed and Dr. Satan was taken out and hanged. The next day his body was found to be missing. Some say he survived, rescued by his loyal slaves, others say they hung the wrong man. To this day no sign of Dr. Satan has ever been discovered. But who knows? Maybe he lives next door to you.
KLUNK : A big metal door opens to the outside world .
CAPT. SPAULDING
Please exit through the door.
The kids exit . SLAM ! The door shuts .
EXT. SPAULDING'S - PHONE BOOTH - NIGHT
Denise leans against the glass walls of the phone booth . Various flyers are taped to the inside : free kittens , phone sex ads and a missing poster for a girl named KAREN MURPHY . A light rain begins to fall . Denise puts some change in the phone and dials a number .
EXT. WILLIS HOUSE - NIGHT
The camera moves down a quaint quiet little street . We come to rest at a modest two - story house . The house is decorated for Halloween . Parents and their children roam from house to house , trick or treating . We hear the sound of a phone ringing .
INT. WILLIS HOUSE - KITCHEN - NIGHT
A grey haired man sits at a small table eating a ham sandwich and drinking a beer . This is DONALD WILLIS , Denise 's father . He stands up and walks to the phone hanging on the wall .
MR. WILLIS
Hello.
( brightens up . )
. hey Denise. what, what's wrong, did you break down?
EXT. SPAULDING'S - PHONE BOOTH - NIGHT
DENISE
No, nothing like that. yeah, we're gon na be a little late. We stopped for gas at this place called Capt. Spaulding's outside of Ruggsville and it turned into a whole thing, so we're kind of behind schedule.
INT. WILLIS HOUSE - NIGHT
MR. WILLIS
Oh yeah, yeah I've driven by that place before. I seem to remember a crabby old bastard in a crummy clown suit running the place.
INT. PHONE BOOTH - NIGHT
DENISE
Yeah, well he's still here. I think him and Jerry are fast becoming buddies, you know Jerry. yeah, he's got ta see everything. yeah, I know. thinks there's some unsolved mystery around every corner.
INT. WILLIS HOUSE - NIGHT
MR. WILLIS
Well, do n't take too long, the kids are already knocking down the door demanding their sugar fix. I know, I know I forgot to mention that Halloween falls on a school night, so they're trick or treating tonight. I got the joint decked out this year, built a graveyard in the front yard like when you were a kid.
EXT. SPAULDING'S - PHONE BOOTH - NIGHT
DENISE
Hopefully I can move things along here and make up the lost time by speeding all the way home. yes, Dad I'm kidding.
INT. WILLIS HOUSE - KITCHEN - NIGHT
MR. WILLIS
Well, just promise me you'll be careful. alright, alright see ya soon. good - bye.
INT. CAR - NIGHT
Bill , Jerry and Mary wait for Denise .
JERRY
I'm gon na go ask him.
MARY
Aw, come on Jerry. We've gotten all we're gon na get out of this place and its starting to rain.
JERRY
Shit, it is only sprinkling and it's worth the trouble. Hold on for two seconds.
Jerry goes back inside .
INT. PHONE BOOTH - NIGHT
Jerry knocks on the glass as he passes . Denise waves as he walks by .
DENISE
Yeah so. OK, expect us more around eleven or so. OK yeah, I will. love you, too, bye.
She hangs up the phone , opens the doors and heads back to the car .
INT. SPAULDING'S - NIGHT
JERRY
I know it's hard to understand, but I really want to see this tree.
CAPT. SPAULDING
OK, alright I'll draw you a map, but I still say it is a waste of time.
JERRY
Great.
INT. CAR - NIGHT
Through the window we see Jerry talking to Spaulding . Spaulding draws a map , explaining as he draws .
MARY
Geez, he never gets tired does he.
DENISE
Never. I swear to God he never sleeps, he goes to bed after me, wakes up before me. He's always working on 10.
MARY
Maybe he's a cyborg.
BILL
( wearily , sips his coffee . )
I like sleep.
DENISE
Here he comes.
Jerry comes bouncing out towards the car and jumps in . He is holding a map and a box of chicken .
JERRY
We hit the jackpot! Let's roll, good buddy. We got ourselves a convoy.
MARY
Huh?
DENISE
Ugh, what's that smell?
JERRY
Fried chicken.
( holds up a drumstick . )
Anybody want some?
No one responds .
EXT. WOODS - DAY
An OLD FARMER and his WIFE stare directly into the camera .
OLD MAN
I do n't know where that skunk ape sleeps. Maybe in the trees and all. all I know is he eats squirrels to survive and he had impure relations with my wife.
WIFE
That's true. He performed lurid acts upon me and my person while my husband Russell was a fix'n to our hound Clarence.
OLD MAN
If I see that thing again. I'm a gon na kill that skunk ape.
BILL
( off screen . )
What does it look like?
WIFE
It looked just like that chubby fella from McHale's Navy. Ernie Borgnine.
OLD MAN
Hold up the picture.
The wife holds up a pencil sketch of a Bigfoot like creature and a newspaper photo of Ernest Borgnine .
EXT. COUNTRY ROAD - NIGHT
Bill 's car moves past empty farmlands . A HEAVIER RAIN is now falling .
INT. CAR - NIGHT
Jerry directs Bill from Spaulding 's hand - drawn map .
JERRY
Keep straight on this road here.
BILL
How much further?
JERRY
I'm not exactly sure. it looks close. Did we pass an abandoned school bus yet?
BILL
I do n't know.
Mary and Denise sit bundled up in blankets .
MARY
Let's just skip it. It is probably nothing anyway.
DENISE
Aw Christ, Jerry. We ca n't see anything now, it's too dark. Let's forget it.
JERRY
Come on, we need something like this. It could be the real deal. It's too far out of the way to come back to.
BILL
What's that?
Through the windshield we see a LONE FIGURE hitch - hiking by the side of the road . It is a girl , BABY , 27 , in a worn cowboy hat and long fur coat . She is soaked to the bone .
JERRY
It's a hitchhiker.
BILL
Way out here?
MARY
Well, do n't even think about playing the good samaritan, there's way too many psychos wandering loose these days.
BILL
( looking closer . )
It's a girl.
JERRY
Hey, maybe she knows where this is?
DENISE
( sarcastically . )
That seems likely.
MARY
Should we stop?
BILL
We ca n't leave her out here in the rain. maybe we can just drop her at the next rest area.
MARY
She looks like a freak.
DENISE
Stick her in the front, if you want to pick her up so bad. She's soaked.
MARY
She looks like she stinks.
BILL
( imitating Mary . )
She looks like she stinks.
JERRY
( makes cat noises . )
Cat fight, cat fight.
DENISE
Hardy har, har.
The car pulls over and Baby jumps in . The car moves off .
INT. CAR - NIGHT
Once inside the car they see that the girl is a bit odd .
BABY
Whoa, thanks for stopping. I been standing out there in that toad strangling rain for like a hundred million years.
JERRY
Really, that's a long time.
BABY
Yeah, most people just whiz on by like I was invisible or something. or else they're creeps who wan na jam their slimy hands down my pants and twiddle my naughty - naughty.
JERRY
Yikes.
BABY
Yeah, icky. This one guy stops and I look in and he's got his thing out waving it around like a drunk monkey.
DENISE
Well, hitchhiking ai n't the safest way for a girl to travel.
BABY
Yeah, but it's fun.
MARY
Sounds like a magical trip through the heartland.
BILL
Where ya headed?
BABY
Aw, I was going home to my Mamma's house. yeah, I was out doing this thing.
BILL
Where's that?
BABY
Couple more miles up this road.
JERRY
Hey, you might know.
( shows her the map . )
. you know where this tree is at? It's an old hanging tree from.
The Baby PERKS UP at the mention of the tree .
BABY
Yeah, I know where that is, it's right by my house. It's Dr. Satan's tree. I can show ya.
JERRY
Really, wow, so it's really a real thing.
BABY
Yeah, it's a tree. I used to play there all the time. But, you ca n't find it without me. Outsider ca n't find no deadwood.
JERRY
Deadwood, is that what it's called? Cool, will you show us?
BABY
Maybe, maybe, maybe. hey, you know what word I hate?
JERRY
What?
BABY
Cone.
JERRY
Huh. what cone?
BABY
Any cone, yeah.
( looking out the window . )
I hate that word. sounds ugly, I do n't like crumple either.
JERRY
I always hate saying the word cheese, every time you get your picture taken. smile, say cheese.
BABY
I know I hate Swiss cheese, the holes make me nervous.
BILL
What about the tree?
BABY
Oh yeah, the tree.
MARY
This is crazy. She do n't know nothing.
Baby turns her attention toward Mary .
BABY
Oh, I know. I'll show you where it's at, sweetie. Are n't you just so cute all bundled up like a cinnamon roll of Christmas love.
JERRY
Cool.
BILL
Which way?
BABY
Go straight up about another mile. til we hit Cherrypicker Road and turn right. it ai n't far from there.
INT. MENTAL HOSPITAL
The camera FLOATS through the hallways of the Peabody Mental Institution . It is HALLOWEEN . PATIENTS wander the stark halls dressed in hospital gowns and cheap plastic masks . Some are laughing , some are screaming . We move into a private room . Where we see DOCTOR SATAN completely covered except for his eyes , hovering over a BOUND AND GAGGED PATIENT . We move off the doctor to a crayon child 's DRAWING of a JACK - O ' - LANTERN . Tortured screams fill the room .
EXT. CHERRYPICKER RD. - WOODS - NIGHT
From a STRANGER 'S POV we see the car STRUGGLING down a dirt road .
INT. CAR - SAME
Everyone rides in silence , music plays on the radio . The song ends and a NEWS REPORTER comes on .
NEWS REPORTER
( V.O . )
This is WJRC News at the top of the hour. Investigators in Clairemont County are no closer to identifying the body of a young woman found crucified to the doors of St. Mary's Church yesterday morning.
Baby lights up a cigarette and takes a drag .
MARY
Excuse me, could you not smoke in here?
Baby puts out the cigarette on the back of her hand .
NEWS REPORTER
( V.O . )
Local police and State Officials have released this report.
JERRY
What's that?
BILL
I do n't know. Looks like some kind of animal.
Bill stops the car .
EXT. CHERRYPICKER RD. - WOODS - NIGHT
Sitting dead center in the middle of the road is a HUMONGOUS DOG . The dog stares straight ahead . Long strands of drool hang from its mouth to the ground .
INT. CAR - NIGHT
MARY
Why are we stopping?
BILL
There's a dog in the road.
DENISE
Honk at him. Scare him.
BILL
( honking horn . )
He wo n't move.
MARY
Go around him.
BILL
There's not enough room.
MARY
Then run him over, he'll move.
BABY
No! He's one of God's creatures, he ca n't help it if he's dumb. I'm just crazy about animals.
MARY
( to Denise . )
The animals have got nothing to do with it.
EXT. STRANGER'S POV - SAME
A gun barrel is raised and we are looking through the sight at the car . Pop ! Pop ! Pop ! The GUN fires THREE SHOTS at the car 's rear tire . The stranger whistles and the dog moves to the side of the road .
INT. CAR - NIGHT
The SOUND of the heavy rain MASKS the gunshots .
BILL
Hey, he moved.
MARY
Let's get going before that thing tries to eat the car or something.
As the car moves past , Denise stares at the dog sitting calmly to the side of the road . The dog blankly stares back at her .
JERRY
That reminds me of a film I saw once of a guy who got out of his car at Lion Country Safari to take a picture of a lion cub and got eaten by the lions.
BILL
Oh yeah, I heard about that. I always thought it was bullshit.
JERRY
No. yeah, they ripped him to pieces while his family watched from the car. The wife is screaming, the kids are crying. Some dude in another car filmed the whole thing.
BABY
I'd like to see that.
MARY
Nice.
JERRY
The lions were totally covered in this guy's blood. I think they ate his face off, tore open his rib cage, pulled his legs off. it was a wild scene.
BABY
Things like that get a lot bloodier than ya think.
Without warning the car lunges to one side .
JERRY
What was that?
BILL
Fuck. I think we blew a tire.
MARY
Do n't even say it.
DENISE
You got to be fucking joking.
MARY
God damn it, I knew this witch - hunt was fucking bullshit.
BILL
OK, let's relax. I'll check it, maybe I'm wrong. Do n't everybody freak out just yet.
JERRY
I'll help ya.
BILL
( sarcastic . )
Gee, ya think it would n't be too much trouble.
EXT. CHERRYPICKER ROAD - WOODS - NIGHT
Bill and Jerry stare down at the blown tire sunk in the mud .
BILL
I hope you fixed the spare like I asked ya.
JERRY
Yeah, I fixed it. Well, I ai n't. um, I ca n't remember. I think I took it out to fit the bags and forgot to put it back.
BILL
Jesus Christ, Jerry.
JERRY
Well, technically I did what ya said.
BILL
You're a real fucking piece of work.
Bill stares at Jerry in disbelief .
INT. CAR - NIGHT
Baby is leaning on her chin staring at Mary and Denise . The car radio plays in the background .
MARY
Can I help you with something?
BABY
I was just wondering.
MARY
Wondering what?
BABY
Are you two gals all funny with each other?
MARY
What?
BABY
You know. a couple of queers.
MARY
Do you believe this fucking girl?
BABY
( turning her attention to Mary . )
I was just wondering, cause you got a pissy look about you. like a real pussy licking bitch.
Denise tries to QUICKLY defuse the situation .
DENISE
No. No pussy licking here, but thanks for your concern.
Bill and Jerry slide back into the car .
BILL
Well, I got some bad news and some bad news.
MARY
What?
JERRY
( fake Scottish accent . )
Tire's fucking gone crap on us, man. There's no saving it now.
BILL
And the spare is safely sitting in Jerry's garage.
DENISE
For fucking sake Jerry, what the fuck are we gon na do?
Baby starts laughing .
MARY
What the hell are you laughing about?
BABY
I just pictured the tire sitting in a chair watching TV.
MARY
Oh, wonderful.
( muttering to herself . )
Fucking psycho.
BILL
I guess I'll try to back it out on the rim. at least to the main road.
BABY
If you keep going straight you can get back on the interstate. it's easier.
MARY
Just back up.
JERRY
I think we should go straight. I mean we know for a fact there ai n't nothing back that way, right?
BABY
Oh wait! I love this song!
Baby reaches over and TURNS UP the VOLUME . She loudly sings along with the song .
BILL
Fine. I'll go straight.
MARY
What!
BILL
( over the loud music . )
Fine! I'll go straight!
The car moves forward . After about fifty yards the car HITS something hard and gets stuck in a deep mud bog .
BILL
Fuck! We are fucked!
DENISE
Turn that fucking radio off!
Bill shuts off the radio .
DENISE
Now what are we gon na do?
BABY
We can walk to my house from here. My brother's got a tow truck, he can come get your car.
A silence falls over the car .
MARY
I think I'm going fucking crazy.
DENISE
I ca n't believe.
BILL
OK, whatever. Let's go get your brother's truck. Faster we get the truck, faster we get out of here.
BABY
OK.
JERRY
I'll go. It's my fault.
MARY
You said it, not me.
BILL
Forget it. I'll just go.
MARY
Screw that, no way, I ai n't letting you go by yourself.
BILL
Do n't worry, I'll be quick. Just stay here, no sense everybody getting drenched.
JERRY
I agree.
BABY
Yeah, it wo n't take long and besides you sassy poodle girls will slow us down.
Baby jumps up and gets out of the car .
BILL
Do n't worry, I'll be right back.
BABY
Come on.
JERRY
Do n't forget the flashlight, it's pretty dark out there.
BILL
Thanks.
JERRY
No problem.
Bill kisses Mary good - bye and EXITS . Mary watches Baby and Bill head off into the WOODS . Baby turns and makes a kissy face at Mary .
EXT. MISS BUNNY'S HOLLYWOOD REVUE - DAY
A hand painted tin sign surrounded by flashing lights which reads MISS BUNNY 'S HOLLYWOOD REVUE hangs over the entrance to a small garage . Movie star portraits of JEAN HARLOW , W.C. FIELDS and CLARK GABLE adorn the walls of the garage . An over the hill ex - glamour girl , MISS BUNNY , 55 , comes into frame . She 's dressed in a sparkling red gown with feathers in her hair .
MISS BUNNY
( bad Marilyn Monroe imitation . )
Hi, I'm Miss Bunny and welcome to my Hollywood Revue.
( she giggles . )
. where the stars shine forever.
INT. MISS BUNNY'S HOLLYWOOD REVUE - DAY
Tinseltown lives . Tin foil is wrapped around everything , the walls , doors and ceiling . Fake cement handprints of movie greats cover the tiny floor . Badly sculpted statues of MARILYN MONROE , GROUCHO MARX and JOHN WAYNE stand in the corners . Dead center is a small puppet show stage .
MISS BUNNY
Hi, this is the place where the magic happens.
CLOSE UP - SQUIRREL A stuffed squirrel dressed in a gray skirt and jacket , a tilted hat sits atop its head .
MISS BUNNY
( holding up squirrel . )
This is Jenny, she is our resident Ingrid Bergman.
Miss Bunny picks up a stuffed white cat wearing a brown trenchcoat .
MISS BUNNY
This is Ronald J. Perrywinckle. our Humphrey Bogart. today we'll be doing a scene from Casablanca.
Miss Bunny begins to make the dead animal puppets interact . She provides their voices .
HUMPHREY CAT
If that plane leaves the ground and you're not with him you'll regret it. maybe not today, maybe not tomorrow but soon and for the rest of your life.
INGRID SQUIRREL
But what about us?
HUMPHREY CAT
We'll always have Paris. We did n't have, we lost it. until you came to Casablanca. We got it back last night.
INGRID SQUIRREL
When I said I would never leave you.
HUMPHREY CAT
And you never will.
EXT. WOODS - NIGHT
A single flashlight beam cuts through the darkness of the dense woods . Bill stumbles behind Baby , she is clearly in her element .
BILL
How much further?
BABY
Almost there. are you in a hurry or something?
BILL
Well, yeah, kind of.
INT. CAR - NIGHT
Jerry is stretched out across the front seat , reading a book on Freak Shows . Denise and Mary sit in the back , curled up under layers of blankets and clothes .
DENISE
Fuck, it's freezing.
JERRY
Hey, listen to this. I think this is related to our Dr. Satan.
DENISE
Oh, yeah.
JERRY
Yeah, in this book there's a chapter called Self Made Freaks about how people would mutilate themselves in order to work in a freak show. It mostly talks about tattooed people and wild men of Borneo and shit like that, but there is one mention of a single case where a woman was suspected of having her arms removed on purpose to become an arm - less wonder.
DENISE
Yeah, so how does that fit with the story of four morons with a flat tire looking for a dead tree?
JERRY
It says, `` records show that Ellie Thompson was born in 1914 of normal physical stature and lived a life of normal bearings, until such time that she was placed in the care of the Willows State Mental Facility.''
DENISE
So.
JERRY
Now she was put in the nuthouse in 1930 at the age of 16.
DENISE
Why?
JERRY
( scanning the book . )
Blah, blah, blah. it does n't say, but she was released sometime in 1937, only to reappear as Ellie Bogdan, the arm - less wonder. Says she, `` criss - crossed the United States constantly in carnivals and freak shows until her death in 1946.''
DENISE
Yeah?
JERRY
These dates perfectly correspond with the time frame of our beloved Dr. Satan working at the looney bin. I'll bet he amputated her arms.
DENISE
So what?
JERRY
I do n't know, I just thought it was interesting.
DENISE
You know what Jerry, who really cares at this point?
JERRY
I do n't.
( to himself . )
. I just thought it was weird.
MARY
( bursting in . )
God damn it, I must be fucking crazy to let him go off with that crazy fucking bitch.
JERRY
Huh?
MARY
That stupid hillbilly slut.
JERRY
Oh, do n't blow everything out of proportion.
MARY
You did n't see the look she threw me. She's up to something.
DENISE
Yeah, Jerry, she said some pretty fucked shit to us.
JERRY
When?
DENISE
When you were outside with Bill.
MARY
She said we look like pussy lickers or some shit like that.
DENISE
Yeah, she said we looked queer.
JERRY
Aw, get over it, she's just some dopey redneck, she ai n't smart enough to be up to nothing. I mean anything. chicks.
EXT. FARMHOUSE - NIGHT
An old Gothic FARMHOUSE stands atop a hill at the end of a long sloping dirt road . SCARECROWS with pumpkin heads hang CRUCIFIED on crosses lining the drive . Everything is severely overgrown . Bill and Baby enter the gates of the FARM , they walk up the main drive . Baby runs forward and begins jumping around in the huge mud puddles , then runs up onto the front porch of the old house . The front of the house is covered with strange junk art . Hundreds of dolls faces are nailed to the walls .
BABY
These are all my dolls. I use to like to chop their heads off.
Broken bottles and cans are cemented together in weird HUMAN FIGURES , ANIMAL SKINS stretched over bone armatures form a makeshift roof . Glowing down from the upper windows are grinning JACK - O ' - LANTERNS .
BABY
The door's locked. I'll got ta go around. wait here.
BILL
OK.
Baby RUNS OFF around the side of the house . Bill stands looking off into the distance at the desolate farm grounds . The rain continues to hammer down . From BILL 'S POV we see a silhouette of a LONE FIGURE walking in the distance . The shape of a large dog follows behind him . Bill JUMPS , startled by the sound of the heavy front door opening .
BILL
Christ, you scared the shit out of me.
BABY
Aw, you ai n't seen nothing yet.
BILL
Is your brother ready to go?
BABY
Oh. yeah, he already left. We'll wait inside, come on.
BILL
He left!
BABY
Yeah, come on.
Baby GRABS Bill by the arm and pulls him into the house . The heavy iron door slams shut .
INT. CAR - SAME
Denise and Mary sit facing one another , playing cards . Mary deals from a deck . Jerry naps in the front seat .
MARY
How long has it been?
DENISE
I do n't know. about half an hour.
A metal KLANG is faintly heard .
MARY
What was that?
DENISE
What? I did n't hear anything.
MARY
Wait. quiet. Turn off the radio.
Mary reaches over the front seat and turns off the radio .
DENISE
Now. listen.
They sit in silence .
MARY
I do n't hear anything.
DENISE
( whispering . )
Shhhhhh, quiet.
MARY
I still do n't.
DENISE
Turn on the headlights. See if anything is out there.
Mary turns on the headlights . Denise lets out a blood - curdling SCREAM . Jerry bolts up .
JERRY
What. what!
Standing dead center in the road is the GIANT SHAPE of a MAN holding a heavy chain with a huge hook on the end .
MARY
Lock the doors. quick, quick.
Everybody scrambles to lock the doors .
DENISE
Holy fuck, holy fuck, holy fuck.
On closer inspection , Jerry notices the chain is attached to the back of a TOW TRUCK .
JERRY
Hold on, hold on! Everybody calm down! It's the tow truck guy.
MARY
What!
DENISE
Jesus Christ.
MARY
I think I'm gon na have a fucking heart attack.
JERRY
( Scottish accent . )
OK lassies, I think it's time you get to gripping reality.
MARY
Enough with the stupid voices.
The brute man attaches the chain to the car and begins raising it with his truck . A SIGN on the side of the truck reads FIREFLY TOWING . CLOSE UP - TV SCREEN We are watching a scene from THE OLD DARK HOUSE . GLORIA STUART , RAYMOND MASSEY and MELVYN DOUGLAS are standing in the rain pounding on a huge wooden door .
GLORIA STUART
Knock again louder.
MELVYN DOUGLAS
I should of thought that was loud enough to wake the dead. that's an idea.
RAYMOND MASSEY
What is?
MELVYN DOUGLAS
Would n't it be dramatic, supposing the people inside were dead. All stretched out with the lights quietly burning about them.
GLORIA STUART
I'm sure it would be very amusing.
We pull back from the TV to see Bill 's clothes drying by the fireplace . Bill , now wearing overalls and a flannel shirt , is sitting on an old over stuffed sofa .
BILL
So, you live here alone. I mean with just your brother?
BABY
( speaking from the next room . )
No. There's a bunch a us ` round somewhere. I think Mamma's sleepin'. She sleeps a lot, now. do you want marshmallows?
BILL
Um, yeah sure, I guess.
BABY
You sure do a lot of guessing.
Baby sets down the tray , making sure to bend over close to Bill . She hands him his drink and sits down next to him .
BILL
Thank you.
BABY
You're welcome.
Baby moves closer to Bill , he begins to get nervous .
BILL
Hey, um.
( pointing to the mounted animal head over the fireplace . )
. what kind of animal is that?
BABY
A dead one.
BILL
( sipping his drink . )
Mmmmm, this is tasty.
BABY
( scoops out some marshmallow with her finger . )
Ai n't the only thing tasty in this house.
( licks it off . )
BILL
I wonder what time it is. Seems kind of late.
BABY
Do n't worry, sugar. It ai n't past my bedtime. are you flirting with me?
BILL
What? No, I'm was worried that. I was just wondering what's taking so long.
BABY
Oh. Maybe R.J. got into a crash and killed everbody?
BILL
That's not something to joke about.
BABY
( rolls her eyes . )
OK, sorry. maybe the Great Pumpkin ate'em up.
Finally , the SOUND OF A TRUCK pulling up can be HEARD . Bill jumps up and goes to the window .
BILL
Hey, great they're back.
BABY
( sarcastically . )
Whoopie fucking doo.
TV SCREEN - SAME On the B+W screen we see DR. WOLFENSTEIN , a local horror movie host . He looks like a cross between the WOLFMAN and LON CHANEY in LONDON AFTER MIDNIGHT .
DR. WOLFENSTEIN
( sounds like Wolfman Jack . )
Aaaahooooh, the Doctor is in! Do n't move, do n't scream. Stay tuned for more creature craziness from channel 68's Halloween eve movie marathon. I'm your host. your ghost host with the most, baby. Dr. Wolfenstein and will be with you until the end. Aaaaaaahooooooh!
EXT. FARMHOUSE - NIGHT
Bill stands on the front porch watching as the truck roughly jerks the car to a stop . Jerry jumps out , opens the back door and helps Denise .
JERRY
( looking at Bill . )
Hey, nice outfit Billy Bob.
DENISE
Thanks for coming to get us. Little brother almost scared us to death.
JERRY
( quietly to Bill as he passes . )
Dude, your chick's a little high strung.
Mary is the last one out of the car . She says nothing as she walks to join the others on the porch . Her look says it all as she walks by Bill and into the house .
BILL
Mary, I'm sorry but he left without me. Mary. come on, you do n't think I'd leave you stranded out there.
INT. FARMHOUSE - NIGHT
Everyone stands around at the fireplace , trying to dry off .
DENISE
Look. I got ta call my Dad and tell him we're gon na be late. Can I use your phone?
Baby sits silently watching TV .
DENISE
Excuse me, may I please use your phone?
MARY
( sarcastically . )
Bill, why do n't you ask her. she's your special friend.
A VOICE from upstairs answers .
MOTHER
Ai n't got one.
MOTHER comes into view from the darkness above . She is in her fifties , but looks younger . A sleazy white trash queen . She slowly descends the stairs .
DENISE
Huh? Oh, hi. You really do n't have a phone?
MOTHER
No, none. I had one once, back in'57 maybe. I do n't know. Really ai n't nobody we wan na be jaw flapping at around here no more.
JERRY
Hey, maybe the guy with the tow truck could drive us to a phone.
MOTHER
His name is Rufus, Rufus Jr., but we all call him R.J.
JERRY
Oh, right.
MOTHER
What do they call you, sweety?
JERRY
Um, I'm Jerry. that's Bill. Denise and Mary.
BILL
Yeah, maybe R.J. could just tow us and our car to the nearest garage.
DENISE
I mean obviously we will compensate you for your troubles.
MOTHER
Oh, you ai n't no troubles, no, no, no fuss.
( claps her hands . )
Baby. go see what Rufus Jr. is doing with these nice folks' automobile.
Baby slowly rises like a defiant child and walks out of the room .
MOTHER
In the meanwhile please make yourselves at home.
MONTAGE Gruesome crime scene photos flash across the screen .
CHILDREN
( singing , off screen . )
98 bodies in your bed, Some are green, some are red. Eat the flesh and pick the bones, Drink the blood when you get home. 99 bodies in the ground, Some are blue, some are brown. Gather ` round the people said, Where do you go when you are dead?
INT. FARMHOUSE - LIVING ROOM - NIGHT
Mother , Jerry , Denise and Mary are all seated on the sofa . Bill sits in an easy chair .
MOTHER
So, what brings you kids way out here, ai n't you got something better to do for Halloween than wander around out here in the sticks?
JERRY
Well, I thought I'd maybe take in a hoedown.
MOTHER
( flirting . )
Oh, really.
( puts her hand on Jerry 's knee and winks . )
. well, I'm a pretty good dancer if you know what I mean. I bet I got a few moves you ai n't never seen.
JERRY
I do n't doubt that.
DENISE
No, he's just joking. We do n't really have any plans other than spending the night at my Dad's house.
( glances at Jerry . )
. which is where we were headed when our car broke down.
MOTHER
That's nice.
DENISE
Yeah, I guess I'll just help him hand out candy to the trick or treaters.
JERRY
And I'm gon na help put the razor blades in the candy apples.
MOTHER
I'll bet you are. you are a naughty little thing are n't ya.
JERRY
I was just kidding.
Bill and Mary snicker at Jerry 's comments . Denise tries to keep a straight face .
MOTHER
Oh, I get it. I guess you think you're too good for the simple pleasures of Halloween.
MARY
No, just a little too old.
MOTHER
Oh really, well I hope something changes your mind some day.
Baby returns from the garage .
BABY
Tiny's home.
MOTHER
What about R.J?
BABY
Oh, he was already gone before I seen him. but Tiny saw him and said he said he was going out to the yard to get a new wheel.
BILL
The yard, what's that?
MOTHER
It's an old auto junkyard out in Baldwin.
DENISE
How long is that gon na take?
MOTHER
He should be back in a couple hours.
MARY
A couple hours!
DENISE
Ca n't Tiny drive us to a phone?
Mother and Baby laugh .
MOTHER
( laughing . )
Tiny ai n't got no car, he ai n't even got a bicycle.
DENISE
How's he get around out here?
BABY
He walks, duh.
MARY
Fucking great.
MOTHER
I know you're my guests and welcome but I'd please advise you to keep from cussing while in my house, thank you.
MARY
Sorry.
MOTHER
Well, even though I know it seems childish to you all. Tonight is Halloween eve and it special to us so you are all invited to stay for dinner.
Under the circumstances they realize they have no choice . They grin and bear it .
DENISE
Thank you.
JERRY
( imitates Elvis . )
Yes, thank you. Thank you very much.
MOTHER
( Mother touches Jerry 's shoulder suggestively . )
You're a strange one, are n't ya honey. I think you and me are get on like.
( she thinks for a second . )
. like something real good.
Camera moves over to the TV . THE END fades up on screen . Dr. Wolfenstein appears over the credits .
DR. WOLFENSTEIN
There well, who knew there was love to be found in The Old Dark House. Coming up next, do not move a muscle, an artery or a vein as we venture into another creepy classic. are you ready for THE WOLFMAN, baby?
INT. HOUSE - DINING ROOM
Bill , Jerry , Mary and Denise are now all seated around a large dining room table . A thick mountain of candles sits burning dead center on the table , giving off a warm glow . Dozens of Halloween decorations dangle from strings over the table , spiders , bats and black cats . There is a hand - made PAPER MACHE MASK sitting on each plate .
MARY
( holding up the witch mask . )
I hope to Christ she does n't expect us to wear these things.
BILL
Whatever it is just do it. The more we play along the faster we'll get the hell out of here.
DENISE
Really, now is not the time to make waves.
JERRY
Hey, I'm just waiting for Cousin Itt to show up.
DENISE
Shhhhhh.
Mother walks in holding a covered serving tray .
DENISE
You sure you do n't need any help in there?
MOTHER
No dear, I'm fine. Now what kind of host would I be if I put my guests to this kind of work.
She sets the tray and goes back in the kitchen . BOOM ! The sound of the front door SLAMMING shut is heard , followed by the POUNDING of heavy footsteps . Mother 's and Baby 's shouting is heard .
BABY
( O.S . )
Ma, Tiny's in.
MOTHER
( O.S . )
Go tell him to get your Grandpa.
INT. HOUSE - BABY'S ROOM
Baby is standing in front of her closet staring at her clothes . The walls of her room are covered with B+W photos of movie stars .
BABY
( whining . )
Ma, I ca n't, I'm busy getting dressed.
INT. HOUSE - DINING ROOM
TINY ENTERS and removes his coat . Everyone is speechless . Tiny is over SEVEN FEET TALL and weighs THREE HUNDRED POUNDS . He is wearing a black sweater with a big red skull stitched into it . A red knit ski mask covers his face . Black gloves cover his hands . Tiny sits at the table , looks down at his plate and says nothing . Mother comes to fetch Tiny . She relays a message to him with strange hand gestures . Tiny gets up and leaves the room .
MOTHER
You'll have to forgive Tiny, he ca n't hear so much.
DENISE
Oh.
MOTHER
Yeah, my poor baby. It's his Daddy's fault. I mean Earl was a good man. I mean he never hit me or nothing, but one day he just got up and went pure devil on us all.
DENISE
What happened? Oh, I'm sorry, it's none of my business.
MOTHER
He tried to burn the house down, said it was possessed by the spirits. Tiny was sleeping in the basement where the fire started. I do n't think Earl ever meant to harm us. but Tiny was badly burnt, his ears were destroyed and most of his skin.
BILL
Is that why he wears the mask?
MOTHER
Yeah, my baby boy gets shy around new people, but he'll warm up to ya. especially the ladies.
JERRY
Great. I thought I felt a certain attraction between Mary and Tiny soon as he walked in.
MOTHER
Maybe. He's a real lady killer.
JERRY
Did n't ya think, Mary?
Mary just smiles , then gives Jerry a dirty look .
MOTHER
Well, we'll see. the night is young and so are you. oh well, couple more minutes.
Mother returns to the kitchen .
DENISE
( elbows Jerry . )
Do n't be such a fucking smart ass.
MARY
Yeah, it's really your fault that we're stuck in this shithole in the first place.
JERRY
Oh, do n't worry she did n't get offended by what I said. You two got to lighten up. right, Bill?
BILL
Whatever, at this point all I care about is food. I'm starving and I got a fucking killer headache.
JERRY
Hey, I asked you if you wanted some chicken.
BILL
Did n't look like chicken to me, more like fried pussy cat.
JERRY
( shrugs . )
Tasted pretty good.
INT. FARMHOUSE - GRAMPA'S ROOM - NIGHT
In a cramped , darkened room we see the huge shape of Tiny hovering over a BED containing the hunched , fragile old body of GRAMPA . Grampa struggles to sit , then slowly slides his legs over the edge of the bed . Tiny helps him to stand .
GRAMPA
God damn it, I can do it. I can do it myself, ya big monkey. I ai n't dead yet. so do n't you and your sister start counting out my money yet.
Grampa steadies himself against Tiny . They slowly walk out of the room .
GRAMPA
God damn, my dogs are barking.
As they move into the light of the hallway , it is clear that Grampa is in his late 80 's . Grampa quickly grows tired . Tiny picks him up in his arms and carries him down the stairs to the dining room . As they move past , the camera comes to rest on a STRANGE OBJECT sitting on a shelf . A LARGE GLASS JAR containing a DEFORMED BABY . The pickled punk looks to have a small second head growing from its temple . The label on the jar reads STUFFY 1973 . The sound from the TV fades up in the background . BELA LUGOSI 'S VOICE can be heard .
BELA LUGOSI
( V.O . )
Your hands, please. Your left hand shows your past.
TV SCREEN Bela is seen as a fortune teller holding a woman 's hands . This is a scene from The Wolfman .
BELA LUGOSI
and your right hand shows your future.
CLOSE UP We see a tight shot of the woman 's palm . A pentagram appears .
INT. DENISE'S FATHER'S HOUSE - NIGHT
We PULL BACK from the TV to find Donald Willis sitting in a old easy chair . The room is modest , but comfortable . He reaches over and picks up a small alarm clock , notices the time , concerned look comes over his face . The phone rings . He quickly answers it .
MR. WILLIS
Hello, Denise?
Disappointment . He mutes the TV .
MR. WILLIS
Oh, yeah. no, Fred. I was hoping you were Denise, she's a little late.
( pausing . )
Yeah, yeah I'm sure the rain just slowed'em down. yeah. uh - huh, yeah. no, no you can keep it'til Tuesday. alright, talk to ya tomorrow, bye.
Unmutes the sound on the TV .
INT. DINING ROOM - NIGHT
The feast is on . Mother , Tiny , Grampa , Jerry , Bill , Mary and Denise are gathered around the table .
MOTHER
OK, everyone, put on your masks. We ca n't very well eat with our everyday faces exposed.
Mother puts on her mask , Tiny and Grampa follow . Jerry , Bill and Denise slowly raise up their masks , Mary hesitates .
GRAMPA
( to Mary . )
Christ kid, put it on. She ai n't letting any of us touch the grub'til you're wearing the damn thing.
Mary rolls her eyes and complies .
JERRY
I've been meaning to ask you, Mrs. Ummmm.
MOTHER
( hesitates . )
Firefly.
JERRY
Firefly. mmmmm odd name. Mrs. Firefly, do you know anything about the legend of Dr. Satan?
BILL
Here we go.
Grampa shifts his eyes onto Mother .
MOTHER
( nervously . )
Well, I'm not much for local gossip an this and that, but I've heard it mentioned in passing over the years but. I mean folks is queer and they say things, crazy things you know what I mean?
GRAMPA
It's all talk, yakty yak, like a bunch of hungry chipmunks. Christ, Dr. Satan. That takes the bull's nuts alright.
( starts laughing . )
. hey, I hear some genius up north got a hot line on the Easter Bunny for ya.
A voice from the shadows interrupts .
OTIS
( slowly . )
I know all about what you want to know about.
A PALE FIGURE creeps forward like NOSFERATU from a dark corner of the room . This is OTIS . He stands six foot , but is deathly slim . His skin is translucent , glowing in the dark . Long thin white hair covers his head . His eyes are grey . He is an ALBINO . He is holding a GLASS JAR containing a SMALL FETUS . On closer inspection we see there are two small bodies joined to one head . The label reads WOLF .
MOTHER
( happy surprise . )
Otis! I ca n't believe you decided to come down and join us. and you brought little Wolf. This really is a special night. all my babies together.
Otis sets the disturbing jar of Wolf on the table . He leans forward onto the jar , resting his chin .
OTIS
Now, I do n't know where you heard all your little fairy fables about Dr. Satan but.
BILL
From a Captain Spaulding down at some museum.
OTIS
( laughing . )
That old bitch hog do n't know shit. He tells cute little tattle - tales to sell his junk, but he do n't sell no Yankee boys no truth.
JERRY
But something happened, right? I mean the story is based on a real incident, right?
GRAMPA
( mouth full of food . )
What are you, Jimmy Olsen cub reporter for the Daily Asshole?
MOTHER
Grampa. watch the language.
OTIS
I ai n't sure that you really need to know. It's better you go home still dreaming about your kitty cats and puppy dogs.
JERRY
I really want to know.
GRAMPA
Hey, the kid wants to know. Enlighten him.
OTIS
Boy, I bet you'd stick your head in the fire if I told ya you'd see Hell. meanwhile you too stupid to realize you got a demon sticking out your ass singing, `` Holy Miss Moly, I got a live one.''
DENISE
Can we please change the subject?
The CLOCK on the wall strikes TEN .
GRAMPA
( shouting . )
Dinner's over.
( pushes his plate back and stands up . )
Ladies and Germs. it's showtime.
Grampa hobbles out of the room .
BILL
What's he so excited about?
DENISE
Yeah, showtime for what?
MOTHER
For the show. It's Halloween eve and time for our show.
JERRY
Oh, you mean on TV.
MOTHER
No, no, no it's so much more special than that. you'll see, you'll be the first to ever see. I think this is something you'll really love.
JERRY
Great.
EXT. FARMHOUSE - BARN - NIGHT
Billy , Jerry , Mary and Denise stand waiting in front of an old barn . Tiny unlocks the huge doors of the barn and swings them open . Standing inside waiting is Mother . She is all dressed up for the occasion .
MOTHER
Please, come in. how many in your party.
( she counts the heads . )
. one, two, three and four. right this way.
Mother hands each of them a folded piece of paper , which serves as a program book . Hand drawn on each is an orange pumpkin .
INT. FARMHOUSE - BARN - NIGHT
We follow Mother inside . Thousands of red Christmas lights hang down , strung through the rotting wood rafters . Crates , barrels and an odd assortment of chairs face a large quilted curtain . Filling these seats are LIFELESS DUMMIES .
MOTHER
Please be seated.
Mother motions toward four empty seats in the front row .
JERRY
( whispering . )
This is way too fucked up for words.
MARY
( loud whisper . )
I know the words. fucking psycho fucking bullshit, that's the words.
BILL
Just grin and bear it.
DENISE
That food.
( holding stomach . )
ugh, I feel like I'm gon na puke.
Jerry , Bill , Mary and Denise take their seats . Mary flips open the program . Inside , written in crayon , are the words : HALLOWEEN EXTRAVAGANZA - starring the Comedy Legend GRAMPA and the World Famous BABY .
MARY
( to Bill . )
Check this out.
BILL
Well, ya ca n't complain I never take you anyplace.
The sound of a warped crackling record fills the room . Lounge music . A small spotlight hits the quilted curtain covering the stage . Mother Firefly stands behind the controls . She is smiling proudly . The curtain clumsily parts TO REVEAL : A stage set pieced together from amusement park wreckage . A giant painted plywood devil looms over the stage , surrounded by dancing skeletons and demon girls . A microphone stands center stage .
BILL
( quietly . )
I ca n't believe what I'm seeing.
JERRY
I know, this is fucking nuts.
MARY
This is starting to make me real uncomfortable.
BILL
Just sit back and enjoy the show.
The sound of CANNED APPLAUSE fills the room . Bill begins to applaud , Jerry and Denise join in . Mary does not .
GRAMPA
( V.O . )
Ladies and gentlemen, straight from his smash six week sold out run at Tiki - Ti Club. the Stardust lounge is proud to present Mr. Sexy himself. Grampa Hugo.
Grampa walks out to center stage , mic in hand and begins to speak .
GRAMPA
Hey, let me tell ya a story. so I'm hanging out with my buddy Hal Jackowictz and I'm like, hey Hal let's go get some booze and chase the chickens. fucking Hal says no, no the old battle axe at home will break my balls. I got ta get my ass home.
The kids stare in shock at Grampa . Jerry begins to laugh .
GRAMPA
So, I tell ` im. Hal, here's the secret. Go home tonight, crawl into bed, get under the covers and eat your wife's pussy. I mean jam your face right in the bush.
Jerry starts to giggle .
DENISE
( quietly . )
What are you laughing at?
JERRY
I do n't know, I think he's funny.
DENISE
This is n't funny, it's twisted.
GRAMPA
So, Hal goes home, jumps in, starts chomping and licking away at her pussy, she's screaming and howling. totally passes out from the experience.
MARY
Dear God, let this end.
GRAMPA
Now, Hal. He's feeling pretty good, so he goes into the bathroom for a quick shave.
( pauses . )
. suddenly he lets out a horrible scream. Ahhhhhhhhhhhhhh!
The recorded crowd chuckles .
GRAMPA
Sitting there on the toilet is Hal's wife Gloria. and she says, `` Quiet down, you'll wake Grandma!''
The recorded crowd screams with laughter , as does Jerry . Bill , Denise and Mary look at him like he 's crazy .
GRAMPA
Thank you, you're too kind, too kind. stay in your seats, coming up next we got something special for you men out there.
The curtains close and the stage goes dark .
DENISE
Shit, I'm all for being a sport, but this is ridiculous.
BILL
( looking at his watch . )
Man, it's already ten thirty.
MARY
I'm with Denise, ca n't we just walk to someplace, this is getting fucking stupid.
JERRY
Negative. Shit, we are so deep in the sticks we could walk for hours and find zero.
BILL
Yeah, I'd say at this point all we can do is just wait it out. There's nothing else.
DENISE
I suppose. I mean they're obviously all bonkers, but I guess they're harmless.
MARY
I fucking hope so.
The stage lights come up . The recorded applause and music begin . Baby enters the stage . She is dressed in a home - made showgirl outfit . She begins to dance clumsily to the music . She appears to be somewhat intoxicated . The vocals come on and Baby begins to lipsync to the song .
DENISE
You got ta be kidding me. This chick is wasted.
JERRY
Shhhhhh.
MARY
How much is a person supposed to stand?
BILL
( motioning for Mary to keep her voice down . )
Quiet.
MARY
( sarcastically . )
Oh, I'm sorry, bothering you? Was I disturbing your viewing pleasure?
Baby makes her way down from stage on to floor level . She gyrates and seductively TEASES one of the dummy audience members . Baby moves over to Jerry . Stroking her hand down his face . Denise tries to look amused . Jerry smiles uncomfortably . Baby strolls past Denise and stops in front of Mary . Baby pauses and pinches Mary 's cheek and winks . Mary is FURIOUS . Baby moves over to Bill . Mary watches like a mother hawk . Baby sings and dances with all of her attention focused on Bill . Baby puts her arms around Bill 's neck and sits on his lap . Mary BOLTS FORWARD and SHOVES Baby off of Bill . Baby crashes onto the floor .
MARY
Take that, you fucking slut!
( Mary spits at Baby . )
Fucking redneck whore!
BABY
You should n't a done that.
MARY
Why? You gon na do something about it?
BABY
( standing up . )
Yeah, I'll do something.
Baby takes out a straight razor from behind her back .
BABY
I'll cut your fucking tits off and shove'em down your throat.
MOTHER
Baby! Stop!
Mrs. Firefly runs down from her position behind the spotlight and intercedes .
BABY
Come on, ma. this bitch's got it coming.
MOTHER
No, I told you.
SCREECH ! The garage door slides open . Rufus has returned .
RUFUS JR.
( interrupting . )
Car's done.
DENISE
Thank God.
MOTHER
I suggest you kids leave now.
MARY
Do n't worry, I'm gone.
EXT. FARMHOUSE - NIGHT
Bill , Jerry , Denise and Mary climb back into their car .
BILL
Do n't look back, just get in the car.
DENISE
Lock the fucking doors.
INT. CAR - NIGHT
Bill begins to pull the car down the long dirt driveway towards the road . The heavy rain makes visibility difficult .
BILL
( straining to see through the darkness . )
Almost there.
JERRY
Jesus, you think she was really gon na cut you?
MARY
( leaning her forehead on the window . )
Of course she was gon na cut me, she's a fucking nut.
( closes her eyes and takes a breath . )
I knew she was crazy from the second we picked her up.
SLAM ! Suddenly , Baby pounds her fist against Mary 's window . Mary jumps back in terror .
BABY
( screaming . )
You're in Hell, bitch! You're gon na die like a dog!
Baby disappears into the darkness .
MARY
Go! Go! Go! Get us out of here!
Bill pulls the car up to the front gate . It is chained shut with a huge padlock . LIGHTNING CRASHES , illuminating the crucified scarecrows . FLASH CLOSE - UP CUTS - of grinning jack - o - lantern faces peer down from above .
INT. CAR - NIGHT
Bill opens the car door , starts to get out .
MARY
( hysterical . )
What are you doing!
BILL
I got ta open the gate.
MARY
Drive through it!
BILL
It wo n't work.
JERRY
Holy fuck, hurry up.
Jerry , Mary and Denise watch through the windshield as Bill struggles to unlatch the thick iron gates . SUDDENLY , one of the SCARECROWS JUMPS down from his cross and SMASHES Bill over the head with a HEAVY CLUB . Bill drops to his knees .
MARY
Bill! Help him!
Jerry throws open his door to get out . He 's SHOVED BACK into the car by another , larger scarecrow outside his door . This scarecrow begins smashing the car 's windows with a METAL PIPE . Bill lays motionless , face down in the mud . His attacker turns his attention on the car . He also begins smashing the car 's windows .
EXT. CAR - NIGHT
From a distance we see Jerry pulled from the car and beaten . The girls are helplessly trapped inside the destroyed vehicle . The scarecrows continue to pound on the car . As we fade out , the sound of a BARKING DOG can be heard .
EXT. FARMHOUSE - MAGIC
From a long shot , we see the farmhouse in the early morning sunrise . All is still . The sound of an engine starting breaks the early morning silence . Rufus 's tow truck is seen pulling away from behind the house . The BEATEN REMAINS of Bill 's car are towed behind it .
EXT. WILLIS HOUSE - SUNRISE
Darkness , except for the face of an alarm clock . The time is 7:00 AM . TICK , TICK , TICK . BUZZZZZZ . The alarm goes off . A hand reaches over and turns off the alarm . We hear a deep groan . A light turns on .
INT. WILLIS'S LIVING ROOM - MORNING
Don Willis wakes up , having fallen asleep in his easy chair . He sits up and wipes the sleep from his eyes . He runs a hand across his head , smoothing out his thinning grey hair . He picks up a phone next to his bed , dials a number , waits .
MR. WILLIS
Hi. Lieutenant Broekman please. Donald Willis.
He holds .
MR. WILLIS
Hey, Phil.
( listens . )
Yeah, I'm alright. but I need you to check on something for me.
Willis stands , walks to the window , opens the shades , morning sun fills the room . shelf by the window is cluttered with framed photographs . B+W memories of Denise at the beach , RUDY the dog . High school graduations and Donald Willis in uniform with the other members of 56 Precinct . Donald is a FORMER POLICE OFFICER .
MR. WILLIS
I'm a little worried about Denise. She called me last night from the road, out by Ruggsville at some joint called Spaulding's or something like that, said she'd be here about eleven. but she never showed up.
Paces .
MR. WILLIS
Yeah, if you could run a check on up that way and see about any accidents or road closing or anything, I'd really appreciate it.
( listening . )
. yeah, yeah, I know. I'm sure nothing happened but, you know me I like to worry. thanks. bye.
Hangs up the phone .
INT. FARMHOUSE - OTIS'S ROOM - DAY
Mary opens her eyes , squinting into the light . Sunlight peers through filth on the windows , fractured by the tattered remains of rotted curtains . Peeling yellowed newspaper serves as wallpaper surrounding the window . Mary 's eyes move across the walls to a painting of a BIG EYED KITTEN . She stares at it and smiles . A look of horror begins to appear on her face . She begins to scream uncontrollably .
OTIS
( off screen . )
Shut your fucking mouth!
She is hysterical .
OTIS
I said shut your mouth!
ZOOM BACK to see Mary wearing a dunce cap , tied to a chair , facing a corner in the farmhouse 's attic . This is Otis 's art studio . Otis , standing before a large canvas , sets down his paint brush and calmly walks over to Mary . He spins her chair around , clamps her mouth shut with his hand and leans his nose against hers .
OTIS
( slow and sinister . )
Listen, you Malibu Barbie middle class piece of shit. I'm trying to work, you got me, work. you ever work?
Mary 's eyes scream with terror , she nods yes .
OTIS
Yeah, I'll bet you did. Scooping ice cream to your shitheel friends on summer break. well, I ai n't talking about white socks with Mickey Mouse on one side and Donald Duck on the other. shit, you ai n't reading no funny books, mamma.
Otis raises his paint covered hand .
OTIS
This is blood and guts, Suzy Q. Our bodies come and go, but this blood is forever.
( pulls a small book from his breast pocket . )
. let me read you something, listen and learn. you listening?
Otis pulls back his hand , ready to backhand her across the face with the book . She nods again . He lowers the book .
OTIS
( gesturing dramatically . )
And the angels, all pallid and wan, Uprising, unveiling, affirm That the play is the tragedy `` Man'' And its hero the Conqueror Worm.
( pauses . )
. you get that? Art is eternal, you get me, mamma?
Mary stares dumbfounded .
OTIS
Now, I'm gon na remove my hand. you make a sound and I swear I'll slit you open and make you eat your own fucking intestines. you get me?
She nods again . He slowly removes his hand from her mouth . Mary tries to remain calm , but starts to hyperventilate . Tears roll down her face .
MARY
( whispering . )
Why? Why are you doing this?
OTIS
Doing what? Messy up your day? Well, fuck lady there are some bigger issues at hand. than your fucking have a nice fucking day bumper sticker shit!
MARY
Where's Bill?
OTIS
( chuckling . )
Well, Bill. he's a good guy, he's been great help to me. a real blessing. I could n't have asked for a better specimen. I mean you do n't know what a dry spell I've had, total block.
( slaps his forehead . )
. total block. but Bill he's OK.
Mary looks confused , but relieved .
MARY
( softly . )
Where is he?
OTIS
Let's go see.
Otis grabs the back of the chair and drags her across the room towards a curtained off area . Whoosh ! He pulls her through the curtains . From behind the curtain we hear Mary SCREAMING and Otis LAUGHING .
MARY
( behind curtain . )
Bill? No, no, no! What have you done? Bill!
INT. CURTAIN ROOM - OTIS'S ROOM - DAY
Ugliness . Decay . Pain . Carefully arranged on a model 's platform is the severed torso of Bill sewn to a large homemade fish tail . He is lying on his ride side posing . Bill 's face is frozen in a death scream .
OTIS
Behold. The Fish - Boy!
MARY
( repeating to herself . )
This ca n't be real, this ca n't be real, this ca n't be real.
OTIS
Oh, it's real. as real as I want it to be, mamma.
( grabs his canvas and holds it in her face . )
. look, see the magic in my brush strokes.
Painted on the canvas is the gruesome scene of Bill as the Fish - Boy .
MARY
( crying . )
Fuck you, you fucking freak!
OTIS
Oh, come now. we're all creatures of God and freaks in our own way.
( twitches and shakes . )
. but if you'll notice.
( points to a blank spot in the painting . )
right here, needs a little something, heh?
Otis slowly puts down the canvas , turns and picks up a huge hunting knife .
MARY
What are you doing?
( squirming . )
. no, stop. please, please.
OTIS
You, my dear worm feeder, are about to become immortalized.
Otis draws back the knife .
MARY
( screaming . )
Noooooooooooo!
Otis swings the knife forward , directly into the camera . CLOSE UP - CLOWN FACE Ravelli 's clown head bobs back and forth . Ravelli , wearing his clown head , stands by the road side waving to passing cars .
EXT. SPAULDING'S - DAY
A police car drives past Ravelli and comes to a stop . OFFICER GEORGE WYDELL , 42 , a big , slightly paunchy man with a big mustache and mirrored sunglasses , steps from his car . Following close behind , OFFICER STEVE NAISH , 29 , tall athletic .
WYDELL
( pauses , looks around , pulls up his belt . )
Well, let's go see if the nut that runs this place can help us.
NAISH
Right.
They walk to the door .
INT. SPAULDING'S - DAY
The door swings open . Wydell enters slowly , putting on his best cowboy attitude . Naish follows suit . Wydell , hands on his belt , struts up to the counter . No one is around . A rusted bell sits on the counter , taped to it is a handwritten note , `` ring for service '' . Wydell rings it once , waits , no response . Rings it again , waits , no response .
NAISH
( looking around the room . )
Get a load of all this crap. this is one sick place.
Wydell begins ringing the bell non - stop . Spaulding shouts from the backroom .
CAPT. SPAULDING
Whoever's a jerking off on that bell better be gone when I get out there.'cause I'm gon na rip your nuts off.
Spaulding enters from behind the curtain , angry . He sees the troopers and puts on a phony grin .
CAPT. SPAULDING
Officers, officers what can I do for you today? I ai n't fried up the birds yet. if that's what you're ring a ding dinging about.
WYDELL
( pulls a paper from his pocket . )
What I need are some answers.
( unfolds the paper to reveal a picture of Denise . )
CAPT. SPAULDING
Well, I'll try but I do n't know nothing ` bout nobody. I'm a guy who likes to mind his own business, if ya get what I'm saying.
WYDELL
( holds up picture . )
You seen this girl? Say. within the last 24 hours.
Spaulding reaches out and grabs the picture .
CAPT. SPAULDING
( studies the picture . )
Yeah, yeah I seen her. Good looking kid, but not really my type.
( gesturing with his hands . )
. I like meaty, eh?
NAISH
( losing patience . )
Hey ass clown, how ` bout some answers. He ai n't interested in your love life.
WYDELL
Come on, get with the facts.
CAPT. SPAULDING
Hmmmmmmmmm?
WYDELL
What'd you see, who was she with, where were they going?
CAPT. SPAULDING
Aw, she was with some nosey, smartass high - rise kids. They were poking around. asking stupid questions.
NAISH
Questions about what?
CAPT. SPAULDING
This and that, mostly some tired Dr. Satan bullshit. they got a gander at the display back there and thought they could solve the great Deadwoods mystery.
WYDELL
And.
CAPT. SPAULDING
And I gave'em directions out there, up by the old farm row. I figured what's the harm. Stupid kids probably going out to piss up a rope and got themselves turned around backasswards and got lost as shit.
WYDELL
Is that all. think real hard.
CAPT. SPAULDING
Yeah, they were n't here but a few minutes, did n't really have time to get as up close and personal as I do with most of the assholes that wander through here.
WYDELL
How's about you give me those same directions.
CAPT. SPAULDING
Yeah, yeah, sure. You do n't have to get all True Grit all over my ass. I'll give'm to ya. you can knock yourself silly for all I care.
WYDELL
( hands him a note pad . )
Enough talk, write.
INT. TOW TRUCK - DAY
We are cruising down the road . A bobbing head skeleton toy glued to the dashboard wiggles with each bump in the road . Behind the wheel is Rufus Jr. , riding shotgun is Baby , dressed in her Sunday best . The radio is blasting .
BABY
( screaming over the music . )
We're gon na have fun tonight, bro.
RUFUS JR.
Yeah, fun.
They speed off .
EXT. CHERRYPICKER RD. - WOODS - MIDDAY
The police cruiser maneuvers down the rough dirt road .
INT. POLICE CAR - MIDDAY
Wydell and Naish scan the surrounding woods for any sign of Denise and her friends .
NAISH
Boss, the way I see it is these kids probally stop off somewhere, bought a bunch of booze and are off getting shitfaced.
WYDELL
I hope you're right, but my guts are telling me different.
NAISH
Your Spidey senses tingling.
WYDELL
Yeah.
( realizes what he just said . )
. huh, what the hell are you talking about?
NAISH
You know, your hyper sensitive Spidey senses. like Spider - man.
( pauses . )
. you know, like in the comics.
WYDELL
How old do you think I am? I know who the fuck Spider - man is. Get to your point.
NAISH
You know, his senses start tingling. when he was approaching danger and shit.
WYDELL
I always favored the Hulk.
NAISH
Hulk was dumb as shit.
WYDELL
Aw, fuck.
NAISH
What.
EXT. CHERRYPICKER RD. - WOODS - MIDDAY
Bill 's car is down in a ditch , run off the side of the road .
INT. POLICE CAR - MIDDAY
Naish checks the license plate number with his sheet .
NAISH
Plates match.
WYDELL
Call the chief. We found'em.
EXT. PINK PUSSY CAT LIQUORS - MIDDAY
A small , crummy liquor store stands next to a sleazy motel . A filthy looking hooker leads her customer to a waiting room , a homeless bum stands screaming obscenities in the parking lot .
INT. PINK PUSSY CAT LIQUORS - MIDDAY
The store is decorated for Halloween . Off to one side is a curtained room . A sign reads `` XXX 8mm loops '' , sex noises can be heard inside . Baby and Rufus stand at the counter waiting for the CASHIER , a skinny geek with glasses , to total up their purchases . The counter is loaded with bottles . The cashier is packing the bottles into cardboard boxes .
CASHIER
You all having a Halloween party tonight?
BABY
Now, what makes you think that?
CASHIER
You all sure are buying a lot of holy water for two people.
BABY
Yeah, well we like to get fucked up and do fucked up shit, you know what I mean?
CASHIER
Yeah, yeah.
( giggling . )
. I like to fuck shit up.
BABY
I'll bet you do. how much we owe ya.
( looks at his name tag . )
. Goober?
CASHIER
( looking down at his tag . )
Actually it's G. Ober. Gerry Ober, but the guys drew in the other O, fucking assholes.
BABY
( uninterested . )
Great story Goober, how much?
CASHIER
Ummmm. two hundred and eighty - five dollars.
Baby throws down three hundred dollars .
BABY
Keep the change and get yourself a new name.
CASHIER
Holy crap, thanks!
Rufus picks up the boxes from the counter . He and Baby start to walk away .
BABY
Come on, bro. Let's go.
CASHIER
( holding out a flyer . )
Hey, wait take this.
Baby stops and grabs the flyer .
BABY
What's this?
CASHIER
A missing girl. I use ` ta go to school with her, she just up and disappeared some day. real weird.
The flyer reads MISSING , KAREN MURPHY , 18 . The picture on the flyer shows the smiling chubby face of a young girl .
BABY
Now is n't she a happy little cherub. oh well.
( stuffs it in her pocket . )
. nobody just up and disappears.
RUFUS JR.
( mutters . )
Aliens.
BABY
Yeah, maybe it was fucking aliens.
EXT. PINK PUSSY CAT LIQUOR - MIDDAY
Baby and Rufus exit . Rufus loads the boxes into the back of the truck . Baby sits on the curb and lights a cigarette .
EXT. CHERRYPICKER ROAD - WOODS - MIDDAY
Bill 's car is now sitting in the middle of the road . The back is attached to a police tow truck . An additional police cruiser arrives on the scene . Sheriff Huston steps out from his cruiser .
HUSTON
What'd we here, Georgie?
WYDELL
A vehicle registered to a William S. Hudley.
HUSTON
Holy Jesus, somebody had themselves a field day beating the shit outta this thing.
WYDELL
Yeah, no mercy here.
HUSTON
Recover any bodies?
WYDELL
Not yet.
HUSTON
( inspecting the car . )
Shit, I wonder what these kids did to bring this much hell down on'em.
WYDELL
Just in the wrong place at the wrong time.
HUSTON
That's the understatement of the year.
WYDELL
Yep, I suppose it is.
INT. BILL'S CAR - WOODS - MIDDAY
Naish is digging around under the front seat .
NAISH
Hey, I found something.
Naish crawls out of the car .
EXT. CHERRYPICKER ROAD - WOODS - MIDDAY
HUSTON
What'd ya got there?
NAISH
Keys.
HUSTON
Well Christ boy, do n't stand there like a prize dog dick with his butthole caught up a tree.
NAISH
Huh?
HUSTON
Open up the trunk.
NAISH
Yes, sir.
WYDELL
Toss'em over here.
Naish tosses them over the car to Wydell . Wydell fishes through the keys , finds the trunk key and opens it .
WYDELL
( winces . )
God damn.
HUSTON
You find something, Georgie?
WYDELL
( disgusted . )
Yep, I found something.
We move around the car to see the nude body of Karen Murphy laying in the trunk . Her arms and legs are hog tied . She is dead . The word TRICK is carved into her side .
INT. FARMHOUSE BASEMENT - TINY'S ROOM - LATE AFTERNOON
Water drips down from the leaking pipes above . Scavenging rats scurry across the concrete floor . In a far corner a single light burns , a child 's Humpty Dumpty lamp , illuminating - Denise is strapped to an old wooden bed . She has been stripped of her own clothes and is now wearing a blue checked little girl 's dress . Her hair is tied in pigtails . She is cold and shivering . BOOM . The basement door opens , heavy footsteps lumber down the creaking stairs . It is Tiny . Tiny is wearing an orange T - shirt that reads , `` This is my Halloween costume '' . For the first time we see the skin on his arms , it is severely deformed from burn scars . He is holding a small tray . On the tray is a box of cereal , milk , a bowl and a spoon . Tiny goes over to Denise , sets down the tray , and proudly displays his T - shirt .
DENISE
( hoarse and dry . )
Please. Tiny, please. Let me go. help me.
Tiny sits down on a stool next to the bed , he stares down at Denise like a confused dog .
DENISE
( crying . )
Please, God please.
Tiny begins preparing her food , carefully pouring the cereal and milk into the bowl . He stirs it with the spoon . Tiny gently lifts Denise 's head and feeds her like a baby . Denise swallows the food , trying not to choke . After a few spoonfuls Tiny stands up and walks over to a dark corner of the room . He pulls a string and turns on a swinging ceiling light . In the light we see a rusty cage , inside are three rail - thin female bodies . Tiny throws the remainder of the cereal into the cage . One of the bodies moves to eat the scraps , the others do not . They are dead . Tiny turns off the overhead light .
INT. POLICE CAR - LATE AFTERNOON
Wydell and Naish are pulling into a large truck stop parking lot .
NAISH
You sure this guy's supposed to ride with us? Seems kind of weird.
WYDELL
( scanning the parking lot . )
Chief said pick him up and take him with us on our house to house. Guy's an ex - cop, thinks he can help.
NAISH
Sounds like a bad idea to me, probally just get in the way.
WYDELL
Yeah, well I guess it's tough to sit on the sidelines and wait when your own kid's missing. besides, ai n't no such thing as an ex - cop.
NAISH
I guess not.
WYDELL
That must be him.
EXT. GAS STATION - LATE AFTERNOON
A rundown gas station sits off to the side of the road . A filthy mechanic works on one of the many junked cars . Two fat greasy men sit in the hot sun playing cards . A Chevy Nova sits parked next to the station . Willis leans against the side of the car , drinking coffee from a styrofoam cup . A police cruiser pulls up . Wydell and Naish step from the car .
WYDELL
Mr. Willis?
MR. WILLIS
Yes, sir.
WYDELL
I'm Wydell. this is Naish.
Wydell extends his hand , they shake hands .
NAISH
Hey.
MR. WILLIS
George Willis.
( to Wydell . )
. any leads?
WYDELL
Well, we were on our way out to run a check on a couple farmhouses out on the edge of town. closest thing we got to a lead at this point.
MR. WILLIS
That's it?
WYDELL
Well, all we know is the kids were headed out to a spot the locals call Deadwood to play Nancy Drew with some local legend about this character everybody calls Dr. Satan.
MR. WILLIS
Dr. Satan?
NAISH
Yeah it's horseshit, just some boogieman crap that the kids like to scare each other with.
WYDELL
Anyway, there's not much else out that way. so, I figure maybe there's a chance the kids broke down and found their way over to one of the farms.
MR. WILLIS
What about the body you found?
WYDELL
( slightly surprised . )
Oh, yeah, you know about that? Hmmm, that's a strange one.
NAISH
Local girl, Karen Murphy, been missing for a couple months, figured for a runaway.
MR. WILLIS
Fit the profile?
NAISH
No, not really. Good kid, never been in any trouble.
WYDELL
Her part in this I ca n't figure. but I will.
MR. WILLIS
( wipes his brow . )
Christ, you know it's crazy.
( gets choked up . )
I lived through so many other people's nightmares, you know. Always cool and calm, but. but I never thought I'd be the one needing help, ya know?
NAISH
Do n't worry, we'll find her.
WYDELL
Let's hit the road, sooner we get a move on sooner we'll find her.
Willis dumps out the remaining coffee , tosses the cup into the trash and opens the back door of the police car . He gets inside . Wydell and Naish climb in . The car drives off .
INT. FARMHOUSE - OTIS'S ROOM - LATE AFTERNOON
THUMP ! CLOSE UP on a bloody , bandaged face . THUMP ! As we pull back to see Jerry , completely bandaged like a mummy , strapped to a wall . His arms and legs are spread . THUMP ! Knives stick in the wall next to the body .
GRAMPA
( off screen . )
God damn bitch, what the fuck are you waiting for. Charles Nelson Reilly do n't know shit.
We pull back further to see Otis pacing wildly back and forth in front of his TV , watching MATCH GAME . Grampa sits eating a TV dinner .
OTIS
( gesturing at the TV with a knife . )
Watch that bitch, she's thinking about that Klugman bangin' Brett Sommers, pick motherfucking Richard Dawson.
Otis throws the large hunting knife at the wall next to Jerry .
OTIS
He's the fucking slick jack Match Game man, mamma.
GRAMPA
Where do they find these people?
INT. POLICE CRUISER - LATE AFTERNOON
MR. WILLIS
Christ, four kids could n't just disappear.
NAISH
No they could n't, somebody had to see something.
MR. WILLIS
My Denise is a smart girl, she would n't do anything stupid, and her boyfriend, he always seemed like a good kid.
WYDELL
I'm sure there's a logical explanation.
MR. WILLIS
I pray to God there is.
NAISH
Turn up this road.
MR. WILLIS
Where we headed?
WYDELL
I seem to remember another farm set way back off the road where the car was found. I'm not sure if anyone lives there anymore, but it's worth a look.
EXT. FARMHOUSE - LATE AFTERNOON
Wydell 's cruiser turns up the road to the Firefly farmhouse . It moves past the scarecrows and comes to a halt . The doors swing open and Wydell , Naish and Willis get out .
WYDELL
I'm gon na see if anybody's home. You and Mr. Willis take a look around the grounds for any sign of anything.
NAISH
Right.
( to Willis . )
. come on.
Naish and Willis head off around the back of the house .
INT. FARMHOUSE - KITCHEN - LATE AFTERNOON
Dirty dishes overflow from the rusty metal sink onto the surrounding counters . A large cat walks across piles of food left to rot on a table . Boxes of trash and old newspapers are stacked to the ceiling . Music from a crackling radio is heard . Mother stands stirring a large pot on the stove . A LOUD knocking interrupts her cooking . She sets down her spoon and walks to the front door . Before opening the door she peeks through the curtains of a small side window . She sees Wydell and runs from the kitchen .
EXT. FARMHOUSE - LATE AFTERNOON
Wydell walks up the front steps .
INT. FARMHOUSE - HALLWAY - LATE AFTERNOON
Mother runs toward a door at the end of the hall . She swings open the door .
INT. FARMHOUSE - OTIS'S ROOM - LATE AFTERNOON
Mother bursts into the room .
MOTHER
Otis! Otis! Come quick, there's cops outside.
OTIS
What! God damn, how many?
GRAMPA
( watching TV . )
What? How many?
OTIS
Do n't worry about it.
Otis jumps up and goes over to an old dresser and opens a drawer and pulls out an automatic revolver .
MOTHER
I do n't know. I only saw one.
OTIS
I'm sure there's more than that. fucking pigs always travel in packs.
( handing the gun to Mother . )
. here, take this.
MOTHER
( takes the gun . )
What should I do?
OTIS
Go down stairs and play nice. I'm a gon na go ` round back and handle things like I always fucking do.
EXT. FARMHOUSE - SAME
Naish and Willis move through the cluttered back yard of garbage .
NAISH
Shit, do n't these packrat hillbillies throw anything away?
MR. WILLIS
Shhhh. you hear that?
The soft sound of moaning can be heard .
NAISH
Yeah, I hear it. where's it coming from?
MR. WILLIS
Over here, inside the smokehouse.
Naish and Willis stand in front of a brick smokehouse . The thick door is chained shut .
NAISH
( knocking on door . )
Anybody in there?
The moaning gets louder .
MR. WILLIS
We got ta break it open.
NAISH
I ai n't got a warrant.
Willis picks up a broken axe handle and begins prying open the door .
MR. WILLIS
Tell it to my daughter.
NAISH
( grabbing hold to help . )
Shit. fuck procedure.
Together they struggle to open the door .
INT. FARMHOUSE - SAME
Mother slowly opens the front door . The revolver is behind her back , tucked in her apron strings .
MOTHER
( trying to be sexy . )
Well hello, officer.
WYDELL
( holding up his badge . )
Excuse me, I'm sorry for disturbing you this fine afternoon.
MOTHER
Aw, you ai n't disturbing me, but it kind of looks like rain, do n't ya think?
WYDELL
My name is Lt. Wydell, I'd like to ask you a few questions.
MOTHER
Questions? Well, heck, I'll tell you anything you want to know.
WYDELL
I appreciate your cooperation. I'm looking for a missing girl.
( holds up picture . )
. this girl here, Denise Willis. have you seen her?
MOTHER
Well, I. mmmmm. no, I ai n't seen her, sorry.
She begins to close the door . Wydell stops her .
WYDELL
Please, could I please come in and talk to you for a minute? Maybe you could take a better look at the picture. might stir up something.
MOTHER
I um. no, I do n't think so.
WYDELL
Please, just a minute.
MOTHER
Oh, alright. I guess I can trust you. being a man of the law and all.
She opens the door .
WYDELL
Thank you.
MOTHER
Oh, you are very welcome. Lord knows how I love a man in uniform.
She closes the door .
EXT. FARMHOUSE - SAME
Naish and Willis bust open the door to the smokehouse . Hanging upside down inside is Mary . She hangs from ropes strapped to the ceiling . Large hunks of meat hang around her in the cramped room .
NAISH
Jesus Christ.
MR. WILLIS
Call Wydell.
INT. FARMHOUSE - SAME
Wydell and Mother sit opposite eachother at the kitchen table . Pictures of Denise and her companions are spread on the table . Wydell takes notes as Mother talks .
WYDELL
Think. do any of these kids look familiar in any way?
MOTHER
No, I ca n't say that I ever seen'em before.
( points to the photo of Bill . )
. he looks familiar, is he on TV?
Suddenly , Naish 's voice comes over Wydell 's walkie - talkie .
NAISH
Wydell.
WYDELL
Excuse me for a second.
Pulls walkie - talkie from his belt to respond .
WYDELL
Over.
NAISH
We found one.
Click . Mother points the gun at Wydell 's head and fires . He falls dead to the floor .
EXT. FARMHOUSE - SAME
Naish hears the commotion over his walkie - talkie .
NAISH
( into walkie - talkie . )
Wydell! Over! Wydell! Over!
No response .
NAISH
Fuck, go to the car. call for backup. Tell'em officer down.
MR. WILLIS
Right.
Willis runs to the car , he gets about halfway there before he is hit in the back by a bullet . He stumbles and falls to his knees . He kneels silent , stunned . We hold on his face and watch as his life passes before him . A quick MONTAGE , we see the following images flash by : A . A father and daughter together in happier times . B . A child 's birthday party . C . A baby crying . D. Willis and his deceased wife . Otis fires another shot . Willis falls forward into the mud , dead . Naish sees Willis fall . Before he can react a voice calls out from behind him .
OTIS
Hands up, bitch!
Naish raises his hands .
OTIS
Turn around, real slow. piggy - pie.
Naish turns around .
OTIS
Interlock your fingers behind your head.
( Naish hesitates . )
. do it!
Naish obeys .
OTIS
Kneel.
Naish kneels down . From a distance we see Otis standing over Naish , execution style . A white puff of smoke comes from Otis 's gun and a distant popping sound is heard . Naish falls over on his side . The scene fades to blood red .
EXT. FARMHOUSE - NIGHT
The house stands silent in the darkness . Lightning crashes , a heavy rain falls . Burning JACK - O ' - LANTERNS beam from every window . Smoke rises from the chimney . It is Halloween night .
INT. FARMHOUSE - NIGHT
CLOSE - UP TV Dr. Wolfenstein is on screen smashing pumpkins with a giant hammer .
DR. WOLFENSTEIN
It is midnight my little boils and ghouls, the witching hour. Time for all monsters, murderers, maniacs and madmen to go to work. so lock your doors and bolt your windows, sit back and prepare for a fright night classic.
( lightning crashes . )
. The House of Frankenstein.
The movie begins and we move off the TV to see : Hundreds of CANDLES are lit , illuminating everything with a flickering light . Music blares from a cheap stereo . BLACK and ORANGE PAPER STREAMERS are draped from ceiling to floor . Dead center is a LARGE OBJECT standing seven feet tall , it is completely covered in paper Halloween decorations . A long chain connects the object up into the rafters . This is the Halloween party from Hell . An intoxicated Grampa , dressed as FLASH GORDON , sits in his wheelchair watching the TV , drinking MOONSHINE from an unmarked bottle .
GRAMPA
( slurred drunken yelling at the screen . )
Get those motherfucker. those high water bitches and rocketship daisies. kill'em, kill'em.
CRASH ! CRASH ! CRASH ! Tiny stands in a corner tunelessly banging on a large oil drum . He is dressed like a low budget BATMAN , in grey long johns and a black bat mask and cape . A drunk Rufus , wearing a bloody police uniform , stands on a table SHOUTING along to the music through a POLICE MEGAPHONE . Mother and Baby , both dressed as SUPERHEROES , dance around the covered object . Both are swigging moonshine from jugs .
RUFUS JR.
( shouting through megaphone . )
Show me, show me, show me, show me!
Mother and Baby start TEARING AWAY the paper covering from the object in the middle of the room . They RIP at the paper , spinning and dancing around in a wild pagan ritual . As the shreds of colored paper fall to the floor we see : Denise , Jerry and Mary tied back to back hanging from the chain , each are dressed in a different animal costume . Denise is a pig , Jerry is a donkey and Mary is a rabbit . They are gagged . Mother and Baby laugh at their helpless victims , splashing moonshine in their faces .
BABY
Drink up, it's party time.
MOTHER
Enjoy your last night.
( looking around . )
. where's Otis?
BABY
Oh, he's coming, he got something real special this year.
Rufus jumps down , begins to spin the bound captives around and around .
RUFUS JR.
Otis, Otis, Otis, Otis!
MOTHER
Quiet, quiet, you know he wo n't come down with all this hoop - dee - doo bouncing off the walls. Now, calm down.
GRAMPA
I shot an elephant in my pajamas this morning. how he got in my pajamas I'll never know.
BABY
Grampa, shhhhhhhh.
GRAMPA
Then we tried to remove the tusks, but they were embedded in so firmly that we could n't budge'em.
MOTHER
( gesturing at Grampa . )
Let him finish.
GRAMPA
Of course, in Alabama the Tuscaloosa, but that's entirely irrelephant.
The room goes silent . All eyes are focused on the stairs . A robed figure , Otis , appears at the top of the stairs , he begins to descend . Rufus waits at the bottom of the stairs . As Otis reaches the last step Rufus hands him the megaphone . Denise , Mary and Jerry struggle to watch as they in turn rotate past the scene unfolding .
OTIS
( through the megaphone . )
I'm the one who brings the Christmas candy. now tell me.
( pauses and raises his arms . )
. Who's your Daddy?
Otis walks closer to the rotating captives .
OTIS
I'm the one who brings the devil's brandy.
( waits . )
MOTHER
Who's your Daddy!
OTIS
Yes! I'm the one who beats you when you're bad.
BABY
Who's your Daddy!
MOTHER
Who's your Daddy!
Otis stops the spinning of his prisoners and stands directly before Denise . He drops his robe , underneath he is wearing a SUIT OF SKIN sewn together from pieces of Denise 's father . Denise stares in horror , tears stream down her cheeks , barely able to comprehend the madness around her . Otis moves in close and licks her across the face .
OTIS
I'm the one who loves you when you're fucking dead!
Everyone chants `` Who 's your Daddy ? ''
OTIS
( imitating Willis . )
Now, I say my little darlings.
( rotates the chain to Mary . )
maybe prancing around where you do n't belong ai n't such a winner of an idea.
( slaps Mary across the face . )
Slowly turns the chain to face Jerry .
OTIS
And you, the great rusher of fools, what were you after.
( slaps Jerry . )
Huh, speak to me.
( slaps him again . )
Oh, that's right, Dr. Satan. everybody got to know about Dr. Satan, Jesus Christ, let the old dog rest for fuck sake, he's already got one foot in the grave and the other's tap dancing around the edge.
( gets nose to nose with Jerry . )
. well, I can see the disappointment on your sad little puppy face. so I'm gon na do you a favor, a big, big favor. You owe me, boy. I'm gon na let you meet the old bastard.
GRAMPA
That's a horse's ass alright, I told you.
Jerry 's eyes widen in fear .
OTIS
Baby, roll that old love machine over here, so this boy can meet his hero.
Baby rolls Grampa over to Jerry .
OTIS
( lifts his skin mask . )
You see it's all true, the boogieman is real and you found him.
( Jerry stares in shock . )
. why so sad? Is n't this what you begged for? There he is, the living legend himself, ta da Dr. Satan. Now, do n't get shy on me. ask your hero some questions, do n't blow this last in a lifetime opportunity.
GRAMPA
Zarkoff, I will conquer the sea, the air, the earth. the universe.
Mother moves in close to Jerry .
MOTHER
Look at the way he lights up. Grampa just loves meeting his fans.
Otis grabs Jerry 's cheeks and makes his face move like a ventriloquist dummy , provides Jerry 's voice .
OTIS
Aw gee whiz, I'm so excited. I really think you're the coolest. you're tops on the playground, cooler than the Fonzie.
Baby grabs Mary and does the same ventriloquist routine .
BABY
Oh, oh pick me, pick me. I have a question.
Baby rotates Mary around to where Gramps is seated .
BABY
( squeezing Mary 's face , hard . )
I was wondering Mr. Satan sir, do you like to kiss on the first date or is that considered slutty?
GRAMPA
What the fuck are you saying? Who the hell is talking to me?
Tiny , growing restless , begins banging on his metal drum . KLANG - KLANG - KLANG . Rufus joins in , clapping his hands .
MOTHER
Come on, my babies are getting restless.
RUFUS JR.
Dump in the pit, dump in the pit, dump in the pit.
Mother , Baby , Grampa join in chanting with Rufus .
OTIS
Alright, alright. Cut'em down, it's time they get what they came here for.
EXT. FIELD - NIGHT
The rain pounds down . A heavy fog hovers over the dense growth of the field . In the distance , silhouetted by moonlight , a gruesome caravan slowly moves through the night . Otis , lantern in hand , leads the way . Followed by Baby and Mother together under a large black umbrella . Next Rufus holds the leash connected to Jerry , Denise and Mary . Bringing up the rear , Tiny , shotgun focused on the prisoners , and Grampa . Grampa is strapped to Tiny 's back like a child . He waves a flashlight back and forth like a search beam . The group comes to a halt at a huge wooden structure .
OTIS
( handing Baby the lantern . )
Hold this. Point it over here.
Baby directs the light at Otis . We see that he is trying to unlock a huge padlock attached to an iron door embedded in the base of the wooden structure . Otis unlocks the door and swings it open . He reaches down into the blackness and pulls up an iron hook and wench , attached to the hook is a chain . Otis parts a section of the overgrown grass next to the pit to reveal a rusty metal crank . He begins to turn the crank . Slowly , from out of the pit , rises a coffin hanging from the end of the chain . Otis pulls the coffin over and lays it flat on the ground . He flips open the lid .
OTIS
Hey happy - boy, step your ass up here.
Rufus cuts loose Jerry , but holds him steady by the neck .
BABY
Take his gag out, it's more fun with the screaming.
MOTHER
Yeah, I like the screaming too. it's so much more exciting.
Rufus cuts loose the gag .
JERRY
Please do n't kill us, please do n't kill us.
BABY
( imitating Jerry . )
Please do n't kill us, please do n't kill us.
OTIS
Bitch, shut your mouth and get your shit in the box.
JERRY
Let us go, please. let the girls go.
BABY
( imitating Jerry . )
Let us go, please. let the girls go.
Otis pulls out a gun and points it at Jerry .
OTIS
Get in. now!
MOTHER
Wait, I want to say good - bye.
Mother grabs Jerry by the collar and gives him a big kiss .
MOTHER
Bye sweety, we could of been great together.
JERRY
Please, let us go, we wo n't tell anybody.
MOTHER
Aw, honey you know I ca n't do that.
BABY
We wo n't tell anybody.
Otis cocks the pistol . Jerry starts to slowly move towards the coffin .
OTIS
Christ, ai n't this fucking a hoot. alright mamma, I ai n't got all fucking night.
JERRY
Please, please this is insane. You ca n't do this.
Rufus pushes Jerry into the coffin .
OTIS
It is and I can. next.
Denise starts kicking and fighting with Rufus . Rufus tries to hold her steady , when suddenly Mary breaks free and starts to run .
OTIS
( laughs and raises his pistol . )
Where's she think she's a gon na get to? She's gon na run all the way home.
BABY
No! Let me get her.
( turns to Mother . )
. Ma, Otis is having all the fun. can I get her?
MOTHER
That's true, Otis. not that we're having a bad time, but.
OTIS
( rolls his eyes . )
Well, go get her.
Baby jumps with excitement and runs off across the field after Mary . Mary trips and falls over a small gravestone . She gets up and stumbles back into a wooden cross . She tears the gag from her mouth and gasps for air .
BABY
( O.S . )
There once was a woman who lived with her daughter in a cabbage garden.
Mary turns toward the voice but sees nothing but wooden crosses . She is in a homemade cemetery .
BABY
( O.S . )
along came a rabbit and ate up all the cabbages. The woman said.
Mary turns 360 degrees , but finds nothing .
BABY
( O.S . )
`` Go into the garden and drive out the rabbit''.
THUD ! Mary is hit from behind , she falls forward . Baby JUMPS on top of her and sits on her back . Baby is holding a large hunting knife .
BABY
`` Shoo! Shoo!'' said the maiden.
Mary screams in pain , as Baby PLUNGES the knife into her . Baby STABS Mary again and again and again . Mary lets out a long gurgling scream , then goes silent .
BABY
`` Come maiden,'' said the rabbit.
( leans down . )
. sit on my tail and go with me to my rabbit hutch.
Baby , covered in blood , licks the knife clean .
EXT. PIT - NIGHT
Otis shoves Denise into the coffin with Jerry and locks the lid shut . Through a CROSS - SHAPED OPENING in the coffin we see them crushed together . Rufus LOWERS the coffin into the pit . Once the coffin is inside Otis slams the door shut . Otis opens a small window in the door and lowers in a lantern and a small tape recorder playing music .
INT. PIT - NIGHT
Enter Hell . The dim light of the lantern shines off the slimy wet filth of the rotted wood walls . The stench of death and decay hangs heavy in the thin air . Denise and Jerry , cold and shivering , hang half submerged in thick maggot infested sludge . Bits of animal and human skeletons float in the muck , broken bones lay in piles along the walls .
INT. COFFIN - NIGHT
Through the dim light , we see the tightly packed forms of Jerry and Denise .
DENISE
( hysterical . )
We've got get out of here, we got get out of here.
JERRY
Think, think. Try to open the lid, try to kick a hole in the wood.
DENISE
( crying . )
I ca n't. I ca n't move my arms. I hurt so much.
JERRY
I know, but we can make it out of here. We can do it.
Boom ! A LOUD THUMP is heard against the side of the coffin .
JERRY
That was good babe, just keep doing that.
BOOM , BOOM , BOOM .
DENISE
That's not me. I did n't. I'm not doing that.
JERRY
Someone is out there.
( shouting . )
. help, we're in here!
DENISE
Help, help us.
Suddenly , an arm breaks through the side of the coffin . Another smashes through the top of the lid . The coffin begins to violently shake . Denise screams . Another reaches through , grabbing her feet . SMASH ! The coffin is ripped apart and Jerry is pulled away from the destruction . He lets out a quick scream before disappearing into the darkness .
DENISE
Jerry! Jerry! Jerry!
INT. FARMHOUSE - LIVINGROOM - NIGHT
The spastic light of TV static strobes across the sleeping face of Grampa . Beside him , Mother sleeps peacefully .
EXT. BARN - NIGHT
The rain has stopped . Tiny opens the doors to the barn . He goes inside . He exits a few moments later , dragging a huge wooden stake . He sets the stake down carefully and closes the barn doors . He then picks up the stake and drags it away .
EXT. BACKYARD - NIGHT
Behind the farmhouse is a camouflage jungle , an intricate system of ropes and netting is strung together to hide the many automobiles beneath . Rufus moves through the jungle . He stops and begins to remove the netting from a car , it is Wydell 's police cruiser . He climbs inside the car , puts on Wydell 's policeman 's hat and starts the engine . He drives off .
INT. POLICE CAR - NIGHT
Rufus is driving like a maniac through the open farmland . He turns on the overhead flashing lights .
EXT. FIELDS - NIGHT
The police cruiser twists and turns in the barren fields .
INT. PIT - NIGHT
Denise stands knee deep in the sludge . Broken bits of the coffin 's remains are scattered around her .
DENISE
Jerry please answer me.
A soft moaning sound is heard coming from the other end of the pit .
DENISE
Jerry.
( moving slowly forward . )
. is that you?
Denise cautiously makes her way to the bend at the end of the tunnel . As she approaches , the moaning sound gets louder . She turns the corner to see : TWO PALE FIGURES in filthy hospital gowns hunched over a shadowy object . Denise gasps . They turn towards Denise , revealing the partially devoured dead body of Jerry . The two bone - white ghouls are dripping with Jerry 's blood , they stare at Denise , then return to their prey . Denise screams in horror and runs , turning down another twist in the underground maze . She turns the corner and runs straight into SEVERAL SLOW MOVING GHOULS . The ghouls are of the same deathly white complexion , hair - less with flaked , cracking skin . Their yellow eyes shine in the darkness . They reach for her , but she breaks free and continues to run into the endless stretch of tunnels before her .
EXT. GRAVEYARD - NIGHT
Primitive wooden crosses form a circle around a burnt piece of land , approximately twenty feet in diameter . Laying flat in the center is the large stake , Mary 's body is draped across it . Tiny is securing her to the stake with rope .
INT. POLICE CAR - NIGHT
Through the windshield , we see Baby jumping and dancing in the fields with several large dogs . She is firing a gun as she dances .
EXT. FIELD - NIGHT
Baby sees the car and raises her gun . She aims it at the car driver . She waits , as the car gets closer she sees the face of Rufus behind the wheel . She lowers the gun and begins to laugh . The car stops and Baby climbs into the passenger 's seat . The car drives off .
EXT. GRAVEYARD - NIGHT
Tiny lifts the stake with Mary firmly strapped in place . He implants it into the ground . Her body hangs like a doll . Tiny opens a gasoline can and begins splashing gas onto the stake .
EXT. FIELD - NIGHT
Otis , face painted like a SKULL and wearing a priest 's robe , walks solemnly through the tall grass .
INT. PIT - NIGHT
Denise , waist high in sludge , wanders lost through the endless tunnels of the pit . In the distance she hears high pitched animal sounds . A GHOUL rises up from the sludge behind Denise . It stands silent . It reaches out a BONEY HAND with long curled fingernails and grabs her hair . Denise screams and tries to pull away . The ghoul grabs her with his other hand and pulls her closer , CLAWING at her face . Denise fights her way free , but loses her footing and falls backwards , slipping under the sludge . She quickly resurfaces and starts to run .
EXT. GRAVEYARD - NIGHT
Otis stands in front of the bound Mary , holding a pumpkin . Otis places the pumpkin over Mary 's head . Tiny stands behind him holding a lit torch .
EXT. FIELD - NIGHT
The police car drives wildly through the fields .
INT. POLICE CAR - NIGHT
Baby motions to Rufus to steer the car towards the fire .
INT. PIT - NIGHT
A beaten Denise struggles down a long tunnel . She gets to the end to find that it is a dead - end . Behind her , FIVE GHOULS move silently towards her , blocking her only exit . The ghouls slosh through the muck , moving in closer . Denise frantically looks for an escape , nailed into the wall next to her are planks of wood forming a ladder . The ghouls are only a few yards away . Denise climbs up the ladder . They move in , clawing at her legs and feet , trying to pull her down . Denise digs at the wood and mud ceiling above her , trying to break free . Denise is bleeding severely from the chunks of flesh being torn from her legs . She digs wildly at the ceiling , suddenly a board falls free and mud rains down to reveal : STARS , the sky above shines through the hole . Denise smashes her fists at the rotted wood planks , pulling free another piece . With all her might Denise grabs hold and pulls herself up through the opening .
EXT. PIT - NIGHT
Denise fights her way through the earth and pulls her body up into the night air . The cool air rushes to her lungs . She crawls free of the hole , gasping for air . She is safe . Suddenly . SMASH ! A ghoul has broken through the surface . He grabs Denise by the leg and begins to pull her back into the hole . Denise screams and begins kicking violently at the ghoul . She breaks and crawls from the ghoul 's reach .
EXT. GRAVEYARD - NIGHT
Rufus and Baby have pulled the police cruiser up by the stake . Rufus and Baby stand on the hood . Otis finishes his sermon , he raises his arm . Tiny raises the torch . Otis drops his arm , signaling Tiny . Tiny throws the torch onto the stake . The stake ignites into a huge FIREBALL .
EXT. FIELD - NIGHT
Denise pulls herself to her feet and begins to run . The flaming object burns in the distance behind her . Denise stumbles toward the road on two badly injured legs .
EXT. GRAVEYARD - NIGHT
Rufus , Tiny and Baby jump up and down in celebration , smashing the police car . Otis stands transfixed by the flames before him .
EXT. ROAD - NIGHT
Denise makes her way out onto the road . No cars are in sight . In the distance headlights break through the darkness . Denise stands in the middle of the road . The TRUCK comes into view , it is a small cube truck . Denise stands in the headlights , waving her arms for it to stop . The truck comes to a halt . She runs toward the passenger 's side door and climbs in .
INT. TRUCK - NIGHT
Behind the wheel of the truck is Captain Spaulding . Denise is shaking from shock .
DENISE
Go, go! Drive. drive!
CAPT. SPAULDING
Hold on, girly, what's the problem?
DENISE
( becoming hysterical . )
Murdering. blood and Jerry.
( starts to cry uncontrollably . )
. monsters. I. I. I got away.
CAPT. SPAULDING
Well, I do n't see what the fuck you're getting at, but I got some friends that live just up this road.
Starts to turn the truck up the road back towards the farmhouse .
DENISE
( screaming . )
No! No, that's it. that house is.
( tries to open the truck door . )
. I got ta get out, I got ta get out!
Boom ! The metal door leading to the back of the truck slides open . Ravelli grabs Denise and pulls her back into the back of the truck . SLAM ! The metal door shuts .
EXT. ROAD - NIGHT
The truck quietly turns onto the dirt road leading up to the farmhouse . The jack - o ' - lanterns still burn in the windows , grinning their evil grin . THE END
|
INT. OLD HOUSE - LIVING ROOM - NIGHT
We see a LITTLE GIRL dancing around in a grainy super 8 home movie . A LITTLE BOY wearing a monster MASK enters the frame . He struggles to lift a double barrel shotgun . He points it at the girl and pretends to SHOOT .
GIRL
( V.O . )
( whispering slowly . )
Once I had a cat, he was the sweetest little guy. Then one day he got sick and died. My heart was broken. My whole body hurt.
She continues dancing . The little boy imitates her .
GIRL
( V.O . )
After that, I saw things differently, everything could be summed up with three simple words. fuck the world.
The camera swings over to some ugly , toothless relations watching the show . They laugh .
EXT. SPAULDING'S - NIGHT
We open on a dark , lonely stretch of two lane blacktop . Off to the side of the road we see a rundown gas station .
RADIO ANNOUNCER
( V.O . )
Hey, welcome back to 93.5 WJRC's Halloween monster weekend. I'm Jimmy Ray and I'll be bringing you the oldies, the goldies and sometimes the moldies. The good, the bad and the uglies straight from the WJRC vaults.
A weathered wooden sign proclaims CAPTAIN SPAULDING 'S WORLD OF MONSTERS AND MADMEN , sits atop the building . A smaller sign below reads FRIED CHICKEN AND GASOLINE .
RADIO ANNOUNCER
( V.O . )
Hey, kids still trying to decide on the right costume? Well why not head on down to Randall's Penny Save located on Kimball Rd. just off route 1 in Mackin County. Choose from a wide array of ghosts and ghouls, jeepers and creepers.
( scary sound effects . )
. everything you need for your Halloween needs.
SHERIFF HUSTON , a tall southern good old boy , leans against his dusty cruiser smoking a cigarette , pumping gas into his tank .
INT. CAPT. SPAULDING'S - NIGHT
Inside is a poorman 's Ripley 's Believe It or Not . Bizarre props and treasures of killers and monsters cover the dirty walls . Wax figures of JACK THE RIPPER stand guard before oil paintings by JOHN WAYNE GACY .
RADIO ANNOUNCER
( V.O . )
Alright let's get back to our monster music marathon with this classic called The Teddy Bear's Picnic.
Perched on a stool behind the counter sits CAPTAIN SPAULDING , a crusty looking old man in a filthy clown suit and smeared make - up . The word LOVE is tattooed across his right knuckles and HATE is tattooed across the left . He is reading the newspaper , crunching on crackers from a paper bag and halfheartedly listening to a small , nerdy man wearing coke bottle glasses named STUCKY . Stucky thumbs through a stack of autographed 8x10 photographs .
STUCKY
( speaking through voicebox in his throat . )
I. I got back a stack today. Some nice shots.
( holds up a picture of June Wilkinson . )
See, a good topless June Wilkinson. unfortunately she personalized it.
( looking at the photo . )
to Stucky, love June.
CAPT. SPAULDING
Hmmmmm.
STUCKY
Shit, this ai n't worth nothing now that my name gotten all over it. I was a fixin' on trading it to Jackie Cobb.
CAPT. SPAULDING
The retard over at Molly's fruit stand.
STUCKY
Yeah, he's all hot on her after he found some of his dad's old nudie books hidden in the basement. He keeps'em taped inside his school workbook.
Spaulding brushes cracker crumbs off his paper and continues reading .
CAPT. SPAULDING
Fascinating.
STUCKY
That kid is one horny retard.
CAPT. SPAULDING
Christ, ai n't they all. All them retards wan na do is fuck and eat.
STUCKY
Well, yeah. I think that if you knew him. I mean if you'd understand his urges, shit the guy's like forty or something.
CAPT. SPAULDING
Worse than a fucking rabid baboon.
STUCKY
Yeah, I guess, you know next to wacking his weasel his other favorite thing is twisting sharpened pencils in the corner of his eyes.
CAPT. SPAULDING
What?
STUCKY
Yeah, does n't hurt himself, just spins it around next to his eyeball.
CAPT. SPAULDING
I'm sure that ai n't the only place he's sticking those pencils.
STUCKY
Naw, he do n't do anything else with'em, but he did get caught once with a Planet of the Apes doll hanging out his asshole.
CAPT. SPAULDING
( laughing . )
Goddamn.
STUCKY
Had to take him to the hospital. Kid had Dr. Zaius stuck half way up his butt, could n't get it out.
CAPT. SPAULDING
I always loved that mute broad that Chuck Heston was shacking up with.
STUCKY
Nova, yeah she looked pretty sweet.
CAPT. SPAULDING
Yeah, now there's the perfect woman.
STUCKY
Can I get some stamps off ya?
( slapping down his money . )
Did you fix the toilet yet?
Opens a drawer and tears off five stamps .
CAPT. SPAULDING
Yes, I did. so do n't you go stuffin' any goddamn paper towels down that hole. I just snaked the shit out of that thing.
Spaulding SLIDES the KEY attached to a cow skull across the counter . Stucky grabs it . Spaulding hangs on .
CAPT. SPAULDING
Ya hear me? You bust that crapper and I'll beat your ass.
STUCKY
I hear ya.
He lets go of the key .
EXT. CAPT. SPAULDING'S - NIGHT
From a STRANGER 'S POV we watch through the window , Stucky EXIT for the restroom . Sheriff Huston finishes pumping his gas , gets in his cruiser and drives off .
KARL
( O.S . )
All clear. Let's go shopping.
RICH
( O.S . )
Right.
From this POV we RACE across the highway towards the front door of the MUSEUM . SLAM ! We BURST through the door .
INT. SPAULDING'S - SAME
The moment of impact . BOOM . The door SMASHES open . Spaulding 's head JERKS up to see : a masked gunman , KARL , wearing a LEATHER S+M MASK . Behind him stands a second gunman , RICH , wearing a rubber CAVEMAN MASK .
CAPT. SPAULDING
Mary fucking Moses. Get the fuck out of here.
KARL
Hold it, clowney. Keep your paws where I can see'em.
RICH
Yeah, do n't move or I'll blast a hole the size of a Kansas City melon through your ugly - ass Bozo face.
Spaulding obeys and raises his hands .
KARL
Go get that other asshole out of the shitter and drag his ass back in here.
RICH
Right.
Rich exits .
CAPT. SPAULDING
Miserable little cunts with guns. I ought to jump right over this counter and bash your fucking balls in.
Killer Karl steps up and puts his gun against Spaulding 's face .
KARL
Alright Tippy, hand over the cash box and I might leave your brains inside your skull.
Spaulding smiles wide , his teeth are yellow and rotted . CLOSE UP Spaulding 's foot kicks a red switch , triggering a silent alarm .
CAPT. SPAULDING
That's what you bitches need. A reality check courtesy of my boot in your ass. That'll be a fucking cash box you can cry to mamma about.
INT. SPAULDING'S - BACKROOM - NIGHT
A silent RED LIGHT FLASHES . In the dim glow , we see RAVELLI , a large hunched figure , sitting on the edge of a bed . The figure is heavily bandaged . Ravelli reacts to the flashing light , he RISES and puts a huge mask over his head . He EXITS the room .
INT. BATHROOM STALL - NIGHT
Stucky sits on the toilet pasting stamps on large yellow envelopes . Killer Rich KICKS OPEN the stall , GRABS Stucky by the neck and PULLS him out .
RICH
Come on, fatboy!
EXT. CAPT. SPAULDING'S - NIGHT
We move around the outside of the building watching the scene inside unfold . HEAVY BREATHING is heard . Rich DRAGS Stucky into the main room .
INT. SPAULDING'S - NIGHT
Karl grows increasingly HOSTILE , knocks a candy display over , raises his gun over his head and fires into the ceiling .
KARL
( screaming . )
That's it. I'm gon na count to ten and you're gon na hand over the cash or I'm gon na splatter your grease paint mug across the stateline. one.
CAPT. SPAULDING
Fuck your mother.
KARL
Two.
CAPT. SPAULDING
Fuck your sister.
RICH
Come on, man. Just shoot him.
STUCKY
( recognizing Rich 's voice . )
Hey, I know you. We were in high school together. Wood shop, right? Richard Wick. right?
He looks nervously at Stucky .
RICH
Shut up, shut up, shut up!
KARL
Quiet down. three.
CAPT. SPAULDING
Fuck your grandmother.
STUCKY
Yeah, I remember Mr. Alacard the shop teacher use ` ta call you Little Dick Wick. Hey, was n't there a song we made up to go with that?
RICH
( temper rising . )
Shut up!
STUCKY
( singing . )
Little Dick Wick, play with his prick Do n't his smell, just make you sick.
EXT. CAPT. SPAULDING'S - NIGHT
From Ravelli 's POV we watch through the window , as everybody inside starts SHOUTING at each other . Suddenly , Rich SHOOTS Stucky . Stucky FALLS BACKWARDS against the wall , screaming in pain . We move QUICKLY towards the entrance .
INT. CAPT. SPAULDING'S - NIGHT
Suddenly . CRASH ! Ravelli SMASHES through the front door knocking Karl to the ground . In the light we see that Ravelli is wearing an OVERSIZED CLOWN HEAD . In his hand is a sledgehammer . Rich TURNS toward the COMMOTION . The Captain quickly WHIPS OUT a GUN and FIRES . Rich falls dead . Ravelli lunges at Karl , smashing him over the head with the hammer . Ravelli 's clown head comes loose and falls to the floor . We now see that Ravelli is a bald pitbull of a man with badly scarred skin that is painted white and red . Karl hits the floor and begins CONVULSING violently . Spaulding STEPS DOWN from behind the counter , puts his foot on Karl 's throat and points his pistol at Karl 's head .
CAPT. SPAULDING
And most of all. fuck you!
BOOM ! Spaulding SHOOTS Karl in the head . The screen EXPLODES RED , then TURNS BLACK .
CAPT. SPAULDING
( V.O . )
God damn it, that motherfucker got blood all over my best clown suit.
CREDITS ROLL Strange paintings of demons , monsters and bizarre creatures fade up and move across the screen .
EXT. COUNTRY ROAD - NIGHT
We see a BILLBOARD painted on the side of an ABANDONED TRUCK . The sign reads GOD IS DEAD . We turn to face the road as a car drives by .
JERRY
Alright then, out of all of Charlie's chicks who do you think is the hottest?
INT. CAR - FRONT SEAT - NIGHT
Fast food wrappers and road maps clutter the car 's dashboard , a swinging monkey head dangles from the rear - view mirror . Behind the wheel , the driver , BILL HUDLEY , 29 , downs the last sip of coffee before crumpling the paper cup and placing it among the other trash before him .
BILL
I guess if I had to choose I'd say. mmmmmm. Sandra Good. She seemed like a nice girl, I mean in a psycho kind of way.
Beside him rides , JERRY GILMORE , 30 , slumped down in his seat , reading a magazine with a flashlight , feet hanging out the window .
JERRY
Really? Huh, I thought for sure you'd say Lynette Fromme. She's got that snooty vibe I know you dig.
BILL
Sqeaky! No way, she ai n't that hot.
JERRY
She's pretty cute.
BILL
Yeah but, she reminds me of this chick that I remember from fourth grade. called a. shit, what did we call her?
( thinks for second . )
Oh yeah, Patty Pee - pee Pants. when ever she got called on by Miss Chumski, this chick would piss in her pants and start bawling.
JERRY
( laughing . )
There always one kid with no bodily controls. We had this dude, Jeff Baxter, he was a puker. The fucker would just sit there puke all over himself.
BILL
Better than pissing. anyway so, what's your choice?
JERRY
If we're talking cute. like regular cute, I'd say Leslie Van Houton, but cute ai n't hot.
BILL
Yeah, no shit.
JERRY
As far a hot. goes I got ta go with. Ruth Ann Moorehouse.
BILL
Oh yeah, I forgot about her. She was pretty hot.
JERRY
Fuck yeah, she is. I'd join a cult to get some of that. and the best part is she did n't try to kill the President or nothing, so that baggage ai n't hanging around.
BILL
I thought she tried to murder a witness for the prosecution.
JERRY
I'll let it slide, she was only seventeen.
BILL
Dude, talk about baggage, that ai n't no carry - on shit, that's some heavy duty Samsonite shit.
JERRY
Yeah, I guess. hot chicks are always nuts.
BILL
Hot has got nothing to do with it.
EXT. COUNTRY ROAD - NIGHT
A LONE FIGURE in a cheap skull mask and white robe stands hidden behind a billboard off to the side of the road . Bill 's car drives past .
BILL
( yawning . )
Hold on, I've heard this before. but I ca n't remember the end.
JERRY
So, the guy goes to Hell and the devil says, `` do you smoke?'' The guy say, `` yeah''. the devil say, `` great cause Tuesday is cigar night, sweetest Cuban cigars you ever had.''
BILL
Shit, we really need to find some gas.
JERRY
( not listening . )
Then the devil asks, `` do you drink?'' Guy says, `` yeah''. devil say, `` wonderful, Wednesday is free drinks night, best booze you ever had. all made from the finest stuff.''
BILL
Yeah.
JERRY
Then the devil says, `` are you gay?'' Guy says, `` fuck no''. Devil says, `` Well then, I guess you're gon na hate Thursdays.''
BILL
Oh yeah, I remember now.
JERRY
Yeah, no shit I just told ya.
( looking at magazine . )
Hey, you think this place called Alien Ed's UFO Welcoming Center is still around? It says, `` Where the Fact is separated from the Fantasy.''
BILL
I dunno. we'll ask around as we get closer. Man, I really do n't want to run out of gas out here in the middle of Petticoat Junction, man.
JERRY
( sitting up . )
Do n't panic yourself, way too much caffeine guy. I see a sign.
( reading the sign . )
Captain Spaulding's Museum of Madmen and Monsters. cool. Also. fried chicken and. gasoline. next exit.
BILL
Perfect.
JERRY
I hope this place is cool. We could use something interesting to liven up chapter 12.
The car drives past . We turn and hold on the billboard . We see the happy smiling face of a young Captain Spaulding .
EXT. CAPTAIN SPAULDING'S - NIGHT
The car pulls up to one of the gas pumps . Bill and Jerry get out . Inside we see Spaulding , now in army pants and a hunting jacket , mopping the floor .
BILL
I'll pump the gas. Go inside and see if it's worth thinking about.
JERRY
( salutes . )
OK, Boss.
Jerry walks inside and immediately comes back out .
JERRY
Holy crap. You got ta see this place. It's awesome.
BILL
How awesome?
JERRY
Really fucking awesome.
BILL
Wake up the chicks and bust out the camera awesome?
JERRY
Hell yeah.
Jerry sticks his head back inside the car .
JERRY
Wakey, wakey, eggs and bakey.
INT. CAR - BACK SEAT - NIGHT
A dark haired girl , DENISE WILLIS , 27 , sleeps curled up under a blanket .
JERRY
Come on, babe. Me and Bill found a kick ass place.
She opens her eyes .
DENISE
Huh?
JERRY
Grab Mary and come inside.
Denise shakes a lump of jackets and sweaters lying next to her . She removes a sweater from the top of the pile to REVEAL the face of MARY KNOWLES , 29 .
DENISE
Come on sleeping beauty, time to go to work.
MARY
( half asleep . )
Sleeping.
DENISE
Rise and shine.
MARY
( groggy . )
No please, let me sit this one out.
DENISE
( removing the blanket . )
Let's go. You're the one who wanted to be a photographer.
MARY
I resign.
DENISE
Too late. You're in for life, let's move it out Private Shutterbug.
MARY
( opening her eyes . )
Christ, I hope this is n't more crappy folk art. It's so quaint. it's so primal. it's so crap.
DENISE
Aw, it ai n't crap. it's. cute.
( sarcastic . )
. and really who are we to judge the artistic merit of the tin - can Mona Lisa?
MARY
Aw, shit.
( exhales deeply . )
I got ta pee anyway.
INTERLUDE Grainy super 8 footage shows us an OLD MAN standing in front of a small shack . His name is Lewis Dover . The shack is painted white and covered with SIMPLISTIC RELIGIOUS WRITINGS .
LEWIS
I ai n't no rich man, but I see the truth. You do not have to go to Hell. You are in Hell. This is Hell. All American Hell.
( holds up a gun . )
. true heaven in my hands. I'm gon na blow Satan back through the door to Hell.
Surrounding the shack are strange sculptures of various half - human/half - animal creations .
INT. SPAULDING'S - NIGHT
Spaulding swabs up the last remains of blood from the floor , he drops the mop into a bucket filled with water and blood . Bill pays no attention , he is distracted by a strange object in a glass case over the counter . In the case is a shriveled up looking half human and half fish figure . It is the size of a small child . A banner above reads : AQUALINA - THE MERMAID .
BILL
How long have you been running this place?
CAPT. SPAULDING
How long is a piece of string? Too God damn long, that's how long.
Spaulding slides the mop and bucket behind the counter .
BILL
No, really.
CAPT. SPAULDING
Shit, I do n't remember exactly. I took over for my Pa just after the Duke nabbed the Oscar.
BILL
The Duke?
CAPT. SPAULDING
Yeah, my Pa was n't right in the head after that.
BILL
You mean John Wayne?
CAPT. SPAULDING
Hell, boy there some other Duke you know about?
( rolls up his sleeve to reveal a John Wayne tattoo . )
A great American.
BILL
Yeah, I was never that big of a western fan. I like science fiction.
CAPT. SPAULDING
I figured that much. Why the fuck you asking so many jackass questions for?
BILL
You see me and my friends are writing a book on offbeat roadside attractions. You know all the crazy shit you see when you drive cross country.
CAPT. SPAULDING
I do n't drive cross country.
BILL
But if you did.
CAPT. SPAULDING
I do n't.
BILL
But suppose for a second you did.
CAPT. SPAULDING
( fake hick accent . )
Y' all find us country people real funny like do n't ya. well, God damn pack up the mule and sling me some grits, I ` ze a got ta get me some schooling.
BILL
No, no I think it's really interesting.
CAPT. SPAULDING
Well fuck me Side Sally, who want to read about all that horse shit anyway.
Jerry OVERHEARS Bill 's and Spaulding 's conversation and joins in to help .
JERRY
You'd be surprised. Would it be OK if we took some pictures and included this place in our book?
CAPT. SPAULDING
Hey, knock yourself silly.
JERRY
You got some really rare stuff here.
( pointing to Aqualina . )
. dig your Feegee mermaid.
INT. SPAULDING'S - RESTROOM - NIGHT
The restroom is gray , dingy , a single exposed light bulb hangs from the ceiling . The peeling walls are plastered with newspaper clippings and faded photos . Mary is in the stall , sitting on the toilet , staring straight ahead at a poster of RHONDO HATTON , a B - MOVIE ACTOR that suffered from acromegalia . Denise standing at a tiny sink , splashes water on her face . She looks at herself in the mirror .
DENISE
( water running down her face . )
I swear I've aged five years since this trip started.
MARY
Tell me about it.
DENISE
( takes a paper towel and wipes her face . )
God, I hate falling asleep in the afternoon. Now I'll be up all night.
( stretches . )
. ugh, my back is killing me.
MARY
Yeah, hey how far do you think we are from your Dad's?
Mary flushes the toilet and exits the stall .
DENISE
I do n't know. Couple hours I think. I've got to call him.
Mary washes her hands . Denise ties up her hair .
MARY
It will be nice to have a few days off to regenerate. This trip is fun, but it's starting to get brutal.
DENISE
Yeah, I hit burn out mode back at that old stripper lady's place. Watching her dance around with those ratty - looking animals was ridiculous.
MARY
I know, that was some crazy shit. I never in a million years would have believed it if I had n't seen it.
DENISE
A decent meal every once in a while would n't hurt either, this road food is crap.
MARY
If I never eat at another Waffle House again, I can die a happy girl.
DENISE
Scattered, smothered and covered.
MARY
Exactly. well, I guess a couple more photos wo n't kill me.
INT. SPAULDING'S - MAIN ROOM - NIGHT
Jerry knees over a box of magazines labeled TRUE CRIME $ 1.00 , he flips through an issue , tosses it back . Bill leans against the wall next to him , sipping a hot cup of coffee . The girls return from the bathroom . Jerry jumps up with excitement .
JERRY
Great, you're back. Let's go. We already paid for the tickets.
DENISE
Tickets for what?
JERRY
This is n't everything. Get ready for this. there's a Museum of Murder and Mayhem.
DENISE
I do n't want to see that.
MARY
How about if we skip it and just hang out here. I can get some great shots of this stuff.
Jerry PULLS Denise over and puts his arm around her .
JERRY
Aw, come on. It will be fun.
DENISE
Oh yeah, murder museum. sounds fun.
Bill grabs Mary by the hand and kisses it .
BILL
( smiling . )
We'll need pictures of the inside too.
MARY
Alright, alright. I know. I wanted to be the photographer.
Bill and Mary kiss . Spaulding waits , unamused . He rolls his eyes .
CAPT. SPAULDING
Anytime this year, people. Alright line your asses up in front of the black door. The tour is about to begin.
Spaulding disappears through a curtain behind the counter . The kids wait . The black metal door CREAKS open . They enter the darkened room .
INT. SPAULDING'S - MUSEUM - NIGHT
Darkness . A blue light comes on . Spaulding is standing on a MOTORIZED PLATFORM . He begins the tour , speaking through a small megaphone .
CAPT. SPAULDING
Ladies and gentlemen, you are about to enter a world of darkness. A world where life and death are meaningless and pain is God.
( pointing with a cane . )
To your left you see the infamous Albert Fish.
A lifeless wax figure POPS forward with a loud metal CLANG . Mary jumps back with fright .
CAPT. SPAULDING
Sadist, masochist, child killer and most of all importantly cannibal. Born in 1870, Mr. Fish enjoyed burning himself with hot pokers, spankings with nail - studded paddles and embedding needles in his groin. On the right, notice the X - ray.
CLOSE UP - X - RAY
CAPT. SPAULDING
showing clearly 29 sewing needles inserted in to his groin. Mr. Fish was executed in 1936 at the age of 65.
Spaulding rolls backwards and continues the tour . CLOSE UP ON : a dummy face of a grizzly looking old man in hunting attire .
CAPT. SPAULDING
To your right. One of our most popular crazies, the psycho of Plainfield, Ed Gein.
Behind the figure of Gein hangs an inverted corpse of a slain woman . Mary recoils in disgust .
CAPT. SPAULDING
Murderer, cannibal and momma's little bitch boy. Mr. Gein found special pleasure in playing with the dead bodies of women, especially their sexual organs. He was quite a handy little dandy, fashioning lamp shades, jewelry and human skin suits from his victims. Mr. Gein was discovered when the decapitated body of Bernice Worden was found gutted like a deer, hanging in his barn.
A wax figure of a young man in doctor 's scrubs . He is covered in blood .
CAPT. SPAULDING
And now I would like to introduce a local hero, S. Quentin Quale, a.k.a.. The Butcher Boy, a.k.a. Nurse Nellie and most famously a.k.a. Dr. Satan.
Another wax figure , of a bloody corpse , JUMPS up .
CAPT. SPAULDING
Murderer, torturer and most of all master surgeon. Mr. Quale an intern at Willows State Mental Hospital, nicknamed Weeping Willows for its neverending cries of pain, took great pleasure in control. Through primitive brain surgery. Mr. Quale believed he could create a race of superhumans from the mentally ill, or so the story goes. His terrifying experiments continued until 1952.
Jerry stares fascinated .
CAPT. SPAULDING
At which time he was discovered and turned over to authorities for observation. Unfortunately, Mr. Quale was abducted from his cell by members of the victims' families. Vigilante justice prevailed and Dr. Satan was taken out and hanged. The next day his body was found to be missing. Some say he survived, rescued by his loyal slaves, others say they hung the wrong man. To this day no sign of Dr. Satan has ever been discovered. But who knows? Maybe he lives next door to you.
KLUNK : A big metal door opens to the outside world .
CAPT. SPAULDING
Please exit through the door.
The kids exit . SLAM ! The door shuts .
EXT. SPAULDING'S - PHONE BOOTH - NIGHT
Denise leans against the glass walls of the phone booth . Various flyers are taped to the inside : free kittens , phone sex ads and a missing poster for a girl named KAREN MURPHY . A light rain begins to fall . Denise puts some change in the phone and dials a number .
EXT. WILLIS HOUSE - NIGHT
The camera moves down a quaint quiet little street . We come to rest at a modest two - story house . The house is decorated for Halloween . Parents and their children roam from house to house , trick or treating . We hear the sound of a phone ringing .
INT. WILLIS HOUSE - KITCHEN - NIGHT
A grey haired man sits at a small table eating a ham sandwich and drinking a beer . This is DONALD WILLIS , Denise 's father . He stands up and walks to the phone hanging on the wall .
MR. WILLIS
Hello.
( brightens up . )
. hey Denise. what, what's wrong, did you break down?
EXT. SPAULDING'S - PHONE BOOTH - NIGHT
DENISE
No, nothing like that. yeah, we're gon na be a little late. We stopped for gas at this place called Capt. Spaulding's outside of Ruggsville and it turned into a whole thing, so we're kind of behind schedule.
INT. WILLIS HOUSE - NIGHT
MR. WILLIS
Oh yeah, yeah I've driven by that place before. I seem to remember a crabby old bastard in a crummy clown suit running the place.
INT. PHONE BOOTH - NIGHT
DENISE
Yeah, well he's still here. I think him and Jerry are fast becoming buddies, you know Jerry. yeah, he's got ta see everything. yeah, I know. thinks there's some unsolved mystery around every corner.
INT. WILLIS HOUSE - NIGHT
MR. WILLIS
Well, do n't take too long, the kids are already knocking down the door demanding their sugar fix. I know, I know I forgot to mention that Halloween falls on a school night, so they're trick or treating tonight. I got the joint decked out this year, built a graveyard in the front yard like when you were a kid.
EXT. SPAULDING'S - PHONE BOOTH - NIGHT
DENISE
Hopefully I can move things along here and make up the lost time by speeding all the way home. yes, Dad I'm kidding.
INT. WILLIS HOUSE - KITCHEN - NIGHT
MR. WILLIS
Well, just promise me you'll be careful. alright, alright see ya soon. good - bye.
INT. CAR - NIGHT
Bill , Jerry and Mary wait for Denise .
JERRY
I'm gon na go ask him.
MARY
Aw, come on Jerry. We've gotten all we're gon na get out of this place and its starting to rain.
JERRY
Shit, it is only sprinkling and it's worth the trouble. Hold on for two seconds.
Jerry goes back inside .
INT. PHONE BOOTH - NIGHT
Jerry knocks on the glass as he passes . Denise waves as he walks by .
DENISE
Yeah so. OK, expect us more around eleven or so. OK yeah, I will. love you, too, bye.
She hangs up the phone , opens the doors and heads back to the car .
INT. SPAULDING'S - NIGHT
JERRY
I know it's hard to understand, but I really want to see this tree.
CAPT. SPAULDING
OK, alright I'll draw you a map, but I still say it is a waste of time.
JERRY
Great.
INT. CAR - NIGHT
Through the window we see Jerry talking to Spaulding . Spaulding draws a map , explaining as he draws .
MARY
Geez, he never gets tired does he.
DENISE
Never. I swear to God he never sleeps, he goes to bed after me, wakes up before me. He's always working on 10.
MARY
Maybe he's a cyborg.
BILL
( wearily , sips his coffee . )
I like sleep.
DENISE
Here he comes.
Jerry comes bouncing out towards the car and jumps in . He is holding a map and a box of chicken .
JERRY
We hit the jackpot! Let's roll, good buddy. We got ourselves a convoy.
MARY
Huh?
DENISE
Ugh, what's that smell?
JERRY
Fried chicken.
( holds up a drumstick . )
Anybody want some?
No one responds .
EXT. WOODS - DAY
An OLD FARMER and his WIFE stare directly into the camera .
OLD MAN
I do n't know where that skunk ape sleeps. Maybe in the trees and all. all I know is he eats squirrels to survive and he had impure relations with my wife.
WIFE
That's true. He performed lurid acts upon me and my person while my husband Russell was a fix'n to our hound Clarence.
OLD MAN
If I see that thing again. I'm a gon na kill that skunk ape.
BILL
( off screen . )
What does it look like?
WIFE
It looked just like that chubby fella from McHale's Navy. Ernie Borgnine.
OLD MAN
Hold up the picture.
The wife holds up a pencil sketch of a Bigfoot like creature and a newspaper photo of Ernest Borgnine .
EXT. COUNTRY ROAD - NIGHT
Bill 's car moves past empty farmlands . A HEAVIER RAIN is now falling .
INT. CAR - NIGHT
Jerry directs Bill from Spaulding 's hand - drawn map .
JERRY
Keep straight on this road here.
BILL
How much further?
JERRY
I'm not exactly sure. it looks close. Did we pass an abandoned school bus yet?
BILL
I do n't know.
Mary and Denise sit bundled up in blankets .
MARY
Let's just skip it. It is probably nothing anyway.
DENISE
Aw Christ, Jerry. We ca n't see anything now, it's too dark. Let's forget it.
JERRY
Come on, we need something like this. It could be the real deal. It's too far out of the way to come back to.
BILL
What's that?
Through the windshield we see a LONE FIGURE hitch - hiking by the side of the road . It is a girl , BABY , 27 , in a worn cowboy hat and long fur coat . She is soaked to the bone .
JERRY
It's a hitchhiker.
BILL
Way out here?
MARY
Well, do n't even think about playing the good samaritan, there's way too many psychos wandering loose these days.
BILL
( looking closer . )
It's a girl.
JERRY
Hey, maybe she knows where this is?
DENISE
( sarcastically . )
That seems likely.
MARY
Should we stop?
BILL
We ca n't leave her out here in the rain. maybe we can just drop her at the next rest area.
MARY
She looks like a freak.
DENISE
Stick her in the front, if you want to pick her up so bad. She's soaked.
MARY
She looks like she stinks.
BILL
( imitating Mary . )
She looks like she stinks.
JERRY
( makes cat noises . )
Cat fight, cat fight.
DENISE
Hardy har, har.
The car pulls over and Baby jumps in . The car moves off .
INT. CAR - NIGHT
Once inside the car they see that the girl is a bit odd .
BABY
Whoa, thanks for stopping. I been standing out there in that toad strangling rain for like a hundred million years.
JERRY
Really, that's a long time.
BABY
Yeah, most people just whiz on by like I was invisible or something. or else they're creeps who wan na jam their slimy hands down my pants and twiddle my naughty - naughty.
JERRY
Yikes.
BABY
Yeah, icky. This one guy stops and I look in and he's got his thing out waving it around like a drunk monkey.
DENISE
Well, hitchhiking ai n't the safest way for a girl to travel.
BABY
Yeah, but it's fun.
MARY
Sounds like a magical trip through the heartland.
BILL
Where ya headed?
BABY
Aw, I was going home to my Mamma's house. yeah, I was out doing this thing.
BILL
Where's that?
BABY
Couple more miles up this road.
JERRY
Hey, you might know.
( shows her the map . )
. you know where this tree is at? It's an old hanging tree from.
The Baby PERKS UP at the mention of the tree .
BABY
Yeah, I know where that is, it's right by my house. It's Dr. Satan's tree. I can show ya.
JERRY
Really, wow, so it's really a real thing.
BABY
Yeah, it's a tree. I used to play there all the time. But, you ca n't find it without me. Outsider ca n't find no deadwood.
JERRY
Deadwood, is that what it's called? Cool, will you show us?
BABY
Maybe, maybe, maybe. hey, you know what word I hate?
JERRY
What?
BABY
Cone.
JERRY
Huh. what cone?
BABY
Any cone, yeah.
( looking out the window . )
I hate that word. sounds ugly, I do n't like crumple either.
JERRY
I always hate saying the word cheese, every time you get your picture taken. smile, say cheese.
BABY
I know I hate Swiss cheese, the holes make me nervous.
BILL
What about the tree?
BABY
Oh yeah, the tree.
MARY
This is crazy. She do n't know nothing.
Baby turns her attention toward Mary .
BABY
Oh, I know. I'll show you where it's at, sweetie. Are n't you just so cute all bundled up like a cinnamon roll of Christmas love.
JERRY
Cool.
BILL
Which way?
BABY
Go straight up about another mile. til we hit Cherrypicker Road and turn right. it ai n't far from there.
INT. MENTAL HOSPITAL
The camera FLOATS through the hallways of the Peabody Mental Institution . It is HALLOWEEN . PATIENTS wander the stark halls dressed in hospital gowns and cheap plastic masks . Some are laughing , some are screaming . We move into a private room . Where we see DOCTOR SATAN completely covered except for his eyes , hovering over a BOUND AND GAGGED PATIENT . We move off the doctor to a crayon child 's DRAWING of a JACK - O ' - LANTERN . Tortured screams fill the room .
EXT. CHERRYPICKER RD. - WOODS - NIGHT
From a STRANGER 'S POV we see the car STRUGGLING down a dirt road .
INT. CAR - SAME
Everyone rides in silence , music plays on the radio . The song ends and a NEWS REPORTER comes on .
NEWS REPORTER
( V.O . )
This is WJRC News at the top of the hour. Investigators in Clairemont County are no closer to identifying the body of a young woman found crucified to the doors of St. Mary's Church yesterday morning.
Baby lights up a cigarette and takes a drag .
MARY
Excuse me, could you not smoke in here?
Baby puts out the cigarette on the back of her hand .
NEWS REPORTER
( V.O . )
Local police and State Officials have released this report.
JERRY
What's that?
BILL
I do n't know. Looks like some kind of animal.
Bill stops the car .
EXT. CHERRYPICKER RD. - WOODS - NIGHT
Sitting dead center in the middle of the road is a HUMONGOUS DOG . The dog stares straight ahead . Long strands of drool hang from its mouth to the ground .
INT. CAR - NIGHT
MARY
Why are we stopping?
BILL
There's a dog in the road.
DENISE
Honk at him. Scare him.
BILL
( honking horn . )
He wo n't move.
MARY
Go around him.
BILL
There's not enough room.
MARY
Then run him over, he'll move.
BABY
No! He's one of God's creatures, he ca n't help it if he's dumb. I'm just crazy about animals.
MARY
( to Denise . )
The animals have got nothing to do with it.
EXT. STRANGER'S POV - SAME
A gun barrel is raised and we are looking through the sight at the car . Pop ! Pop ! Pop ! The GUN fires THREE SHOTS at the car 's rear tire . The stranger whistles and the dog moves to the side of the road .
INT. CAR - NIGHT
The SOUND of the heavy rain MASKS the gunshots .
BILL
Hey, he moved.
MARY
Let's get going before that thing tries to eat the car or something.
As the car moves past , Denise stares at the dog sitting calmly to the side of the road . The dog blankly stares back at her .
JERRY
That reminds me of a film I saw once of a guy who got out of his car at Lion Country Safari to take a picture of a lion cub and got eaten by the lions.
BILL
Oh yeah, I heard about that. I always thought it was bullshit.
JERRY
No. yeah, they ripped him to pieces while his family watched from the car. The wife is screaming, the kids are crying. Some dude in another car filmed the whole thing.
BABY
I'd like to see that.
MARY
Nice.
JERRY
The lions were totally covered in this guy's blood. I think they ate his face off, tore open his rib cage, pulled his legs off. it was a wild scene.
BABY
Things like that get a lot bloodier than ya think.
Without warning the car lunges to one side .
JERRY
What was that?
BILL
Fuck. I think we blew a tire.
MARY
Do n't even say it.
DENISE
You got to be fucking joking.
MARY
God damn it, I knew this witch - hunt was fucking bullshit.
BILL
OK, let's relax. I'll check it, maybe I'm wrong. Do n't everybody freak out just yet.
JERRY
I'll help ya.
BILL
( sarcastic . )
Gee, ya think it would n't be too much trouble.
EXT. CHERRYPICKER ROAD - WOODS - NIGHT
Bill and Jerry stare down at the blown tire sunk in the mud .
BILL
I hope you fixed the spare like I asked ya.
JERRY
Yeah, I fixed it. Well, I ai n't. um, I ca n't remember. I think I took it out to fit the bags and forgot to put it back.
BILL
Jesus Christ, Jerry.
JERRY
Well, technically I did what ya said.
BILL
You're a real fucking piece of work.
Bill stares at Jerry in disbelief .
INT. CAR - NIGHT
Baby is leaning on her chin staring at Mary and Denise . The car radio plays in the background .
MARY
Can I help you with something?
BABY
I was just wondering.
MARY
Wondering what?
BABY
Are you two gals all funny with each other?
MARY
What?
BABY
You know. a couple of queers.
MARY
Do you believe this fucking girl?
BABY
( turning her attention to Mary . )
I was just wondering, cause you got a pissy look about you. like a real pussy licking bitch.
Denise tries to QUICKLY defuse the situation .
DENISE
No. No pussy licking here, but thanks for your concern.
Bill and Jerry slide back into the car .
BILL
Well, I got some bad news and some bad news.
MARY
What?
JERRY
( fake Scottish accent . )
Tire's fucking gone crap on us, man. There's no saving it now.
BILL
And the spare is safely sitting in Jerry's garage.
DENISE
For fucking sake Jerry, what the fuck are we gon na do?
Baby starts laughing .
MARY
What the hell are you laughing about?
BABY
I just pictured the tire sitting in a chair watching TV.
MARY
Oh, wonderful.
( muttering to herself . )
Fucking psycho.
BILL
I guess I'll try to back it out on the rim. at least to the main road.
BABY
If you keep going straight you can get back on the interstate. it's easier.
MARY
Just back up.
JERRY
I think we should go straight. I mean we know for a fact there ai n't nothing back that way, right?
BABY
Oh wait! I love this song!
Baby reaches over and TURNS UP the VOLUME . She loudly sings along with the song .
BILL
Fine. I'll go straight.
MARY
What!
BILL
( over the loud music . )
Fine! I'll go straight!
The car moves forward . After about fifty yards the car HITS something hard and gets stuck in a deep mud bog .
BILL
Fuck! We are fucked!
DENISE
Turn that fucking radio off!
Bill shuts off the radio .
DENISE
Now what are we gon na do?
BABY
We can walk to my house from here. My brother's got a tow truck, he can come get your car.
A silence falls over the car .
MARY
I think I'm going fucking crazy.
DENISE
I ca n't believe.
BILL
OK, whatever. Let's go get your brother's truck. Faster we get the truck, faster we get out of here.
BABY
OK.
JERRY
I'll go. It's my fault.
MARY
You said it, not me.
BILL
Forget it. I'll just go.
MARY
Screw that, no way, I ai n't letting you go by yourself.
BILL
Do n't worry, I'll be quick. Just stay here, no sense everybody getting drenched.
JERRY
I agree.
BABY
Yeah, it wo n't take long and besides you sassy poodle girls will slow us down.
Baby jumps up and gets out of the car .
BILL
Do n't worry, I'll be right back.
BABY
Come on.
JERRY
Do n't forget the flashlight, it's pretty dark out there.
BILL
Thanks.
JERRY
No problem.
Bill kisses Mary good - bye and EXITS . Mary watches Baby and Bill head off into the WOODS . Baby turns and makes a kissy face at Mary .
EXT. MISS BUNNY'S HOLLYWOOD REVUE - DAY
A hand painted tin sign surrounded by flashing lights which reads MISS BUNNY 'S HOLLYWOOD REVUE hangs over the entrance to a small garage . Movie star portraits of JEAN HARLOW , W.C. FIELDS and CLARK GABLE adorn the walls of the garage . An over the hill ex - glamour girl , MISS BUNNY , 55 , comes into frame . She 's dressed in a sparkling red gown with feathers in her hair .
MISS BUNNY
( bad Marilyn Monroe imitation . )
Hi, I'm Miss Bunny and welcome to my Hollywood Revue.
( she giggles . )
. where the stars shine forever.
INT. MISS BUNNY'S HOLLYWOOD REVUE - DAY
Tinseltown lives . Tin foil is wrapped around everything , the walls , doors and ceiling . Fake cement handprints of movie greats cover the tiny floor . Badly sculpted statues of MARILYN MONROE , GROUCHO MARX and JOHN WAYNE stand in the corners . Dead center is a small puppet show stage .
MISS BUNNY
Hi, this is the place where the magic happens.
CLOSE UP - SQUIRREL A stuffed squirrel dressed in a gray skirt and jacket , a tilted hat sits atop its head .
MISS BUNNY
( holding up squirrel . )
This is Jenny, she is our resident Ingrid Bergman.
Miss Bunny picks up a stuffed white cat wearing a brown trenchcoat .
MISS BUNNY
This is Ronald J. Perrywinckle. our Humphrey Bogart. today we'll be doing a scene from Casablanca.
Miss Bunny begins to make the dead animal puppets interact . She provides their voices .
HUMPHREY CAT
If that plane leaves the ground and you're not with him you'll regret it. maybe not today, maybe not tomorrow but soon and for the rest of your life.
INGRID SQUIRREL
But what about us?
HUMPHREY CAT
We'll always have Paris. We did n't have, we lost it. until you came to Casablanca. We got it back last night.
INGRID SQUIRREL
When I said I would never leave you.
HUMPHREY CAT
And you never will.
EXT. WOODS - NIGHT
A single flashlight beam cuts through the darkness of the dense woods . Bill stumbles behind Baby , she is clearly in her element .
BILL
How much further?
BABY
Almost there. are you in a hurry or something?
BILL
Well, yeah, kind of.
INT. CAR - NIGHT
Jerry is stretched out across the front seat , reading a book on Freak Shows . Denise and Mary sit in the back , curled up under layers of blankets and clothes .
DENISE
Fuck, it's freezing.
JERRY
Hey, listen to this. I think this is related to our Dr. Satan.
DENISE
Oh, yeah.
JERRY
Yeah, in this book there's a chapter called Self Made Freaks about how people would mutilate themselves in order to work in a freak show. It mostly talks about tattooed people and wild men of Borneo and shit like that, but there is one mention of a single case where a woman was suspected of having her arms removed on purpose to become an arm - less wonder.
DENISE
Yeah, so how does that fit with the story of four morons with a flat tire looking for a dead tree?
JERRY
It says, `` records show that Ellie Thompson was born in 1914 of normal physical stature and lived a life of normal bearings, until such time that she was placed in the care of the Willows State Mental Facility.''
DENISE
So.
JERRY
Now she was put in the nuthouse in 1930 at the age of 16.
DENISE
Why?
JERRY
( scanning the book . )
Blah, blah, blah. it does n't say, but she was released sometime in 1937, only to reappear as Ellie Bogdan, the arm - less wonder. Says she, `` criss - crossed the United States constantly in carnivals and freak shows until her death in 1946.''
DENISE
Yeah?
JERRY
These dates perfectly correspond with the time frame of our beloved Dr. Satan working at the looney bin. I'll bet he amputated her arms.
DENISE
So what?
JERRY
I do n't know, I just thought it was interesting.
DENISE
You know what Jerry, who really cares at this point?
JERRY
I do n't.
( to himself . )
. I just thought it was weird.
MARY
( bursting in . )
God damn it, I must be fucking crazy to let him go off with that crazy fucking bitch.
JERRY
Huh?
MARY
That stupid hillbilly slut.
JERRY
Oh, do n't blow everything out of proportion.
MARY
You did n't see the look she threw me. She's up to something.
DENISE
Yeah, Jerry, she said some pretty fucked shit to us.
JERRY
When?
DENISE
When you were outside with Bill.
MARY
She said we look like pussy lickers or some shit like that.
DENISE
Yeah, she said we looked queer.
JERRY
Aw, get over it, she's just some dopey redneck, she ai n't smart enough to be up to nothing. I mean anything. chicks.
EXT. FARMHOUSE - NIGHT
An old Gothic FARMHOUSE stands atop a hill at the end of a long sloping dirt road . SCARECROWS with pumpkin heads hang CRUCIFIED on crosses lining the drive . Everything is severely overgrown . Bill and Baby enter the gates of the FARM , they walk up the main drive . Baby runs forward and begins jumping around in the huge mud puddles , then runs up onto the front porch of the old house . The front of the house is covered with strange junk art . Hundreds of dolls faces are nailed to the walls .
BABY
These are all my dolls. I use to like to chop their heads off.
Broken bottles and cans are cemented together in weird HUMAN FIGURES , ANIMAL SKINS stretched over bone armatures form a makeshift roof . Glowing down from the upper windows are grinning JACK - O ' - LANTERNS .
BABY
The door's locked. I'll got ta go around. wait here.
BILL
OK.
Baby RUNS OFF around the side of the house . Bill stands looking off into the distance at the desolate farm grounds . The rain continues to hammer down . From BILL 'S POV we see a silhouette of a LONE FIGURE walking in the distance . The shape of a large dog follows behind him . Bill JUMPS , startled by the sound of the heavy front door opening .
BILL
Christ, you scared the shit out of me.
BABY
Aw, you ai n't seen nothing yet.
BILL
Is your brother ready to go?
BABY
Oh. yeah, he already left. We'll wait inside, come on.
BILL
He left!
BABY
Yeah, come on.
Baby GRABS Bill by the arm and pulls him into the house . The heavy iron door slams shut .
INT. CAR - SAME
Denise and Mary sit facing one another , playing cards . Mary deals from a deck . Jerry naps in the front seat .
MARY
How long has it been?
DENISE
I do n't know. about half an hour.
A metal KLANG is faintly heard .
MARY
What was that?
DENISE
What? I did n't hear anything.
MARY
Wait. quiet. Turn off the radio.
Mary reaches over the front seat and turns off the radio .
DENISE
Now. listen.
They sit in silence .
MARY
I do n't hear anything.
DENISE
( whispering . )
Shhhhhh, quiet.
MARY
I still do n't.
DENISE
Turn on the headlights. See if anything is out there.
Mary turns on the headlights . Denise lets out a blood - curdling SCREAM . Jerry bolts up .
JERRY
What. what!
Standing dead center in the road is the GIANT SHAPE of a MAN holding a heavy chain with a huge hook on the end .
MARY
Lock the doors. quick, quick.
Everybody scrambles to lock the doors .
DENISE
Holy fuck, holy fuck, holy fuck.
On closer inspection , Jerry notices the chain is attached to the back of a TOW TRUCK .
JERRY
Hold on, hold on! Everybody calm down! It's the tow truck guy.
MARY
What!
DENISE
Jesus Christ.
MARY
I think I'm gon na have a fucking heart attack.
JERRY
( Scottish accent . )
OK lassies, I think it's time you get to gripping reality.
MARY
Enough with the stupid voices.
The brute man attaches the chain to the car and begins raising it with his truck . A SIGN on the side of the truck reads FIREFLY TOWING . CLOSE UP - TV SCREEN We are watching a scene from THE OLD DARK HOUSE . GLORIA STUART , RAYMOND MASSEY and MELVYN DOUGLAS are standing in the rain pounding on a huge wooden door .
GLORIA STUART
Knock again louder.
MELVYN DOUGLAS
I should of thought that was loud enough to wake the dead. that's an idea.
RAYMOND MASSEY
What is?
MELVYN DOUGLAS
Would n't it be dramatic, supposing the people inside were dead. All stretched out with the lights quietly burning about them.
GLORIA STUART
I'm sure it would be very amusing.
We pull back from the TV to see Bill 's clothes drying by the fireplace . Bill , now wearing overalls and a flannel shirt , is sitting on an old over stuffed sofa .
BILL
So, you live here alone. I mean with just your brother?
BABY
( speaking from the next room . )
No. There's a bunch a us ` round somewhere. I think Mamma's sleepin'. She sleeps a lot, now. do you want marshmallows?
BILL
Um, yeah sure, I guess.
BABY
You sure do a lot of guessing.
Baby sets down the tray , making sure to bend over close to Bill . She hands him his drink and sits down next to him .
BILL
Thank you.
BABY
You're welcome.
Baby moves closer to Bill , he begins to get nervous .
BILL
Hey, um.
( pointing to the mounted animal head over the fireplace . )
. what kind of animal is that?
BABY
A dead one.
BILL
( sipping his drink . )
Mmmmm, this is tasty.
BABY
( scoops out some marshmallow with her finger . )
Ai n't the only thing tasty in this house.
( licks it off . )
BILL
I wonder what time it is. Seems kind of late.
BABY
Do n't worry, sugar. It ai n't past my bedtime. are you flirting with me?
BILL
What? No, I'm was worried that. I was just wondering what's taking so long.
BABY
Oh. Maybe R.J. got into a crash and killed everbody?
BILL
That's not something to joke about.
BABY
( rolls her eyes . )
OK, sorry. maybe the Great Pumpkin ate'em up.
Finally , the SOUND OF A TRUCK pulling up can be HEARD . Bill jumps up and goes to the window .
BILL
Hey, great they're back.
BABY
( sarcastically . )
Whoopie fucking doo.
TV SCREEN - SAME On the B+W screen we see DR. WOLFENSTEIN , a local horror movie host . He looks like a cross between the WOLFMAN and LON CHANEY in LONDON AFTER MIDNIGHT .
DR. WOLFENSTEIN
( sounds like Wolfman Jack . )
Aaaahooooh, the Doctor is in! Do n't move, do n't scream. Stay tuned for more creature craziness from channel 68's Halloween eve movie marathon. I'm your host. your ghost host with the most, baby. Dr. Wolfenstein and will be with you until the end. Aaaaaaahooooooh!
EXT. FARMHOUSE - NIGHT
Bill stands on the front porch watching as the truck roughly jerks the car to a stop . Jerry jumps out , opens the back door and helps Denise .
JERRY
( looking at Bill . )
Hey, nice outfit Billy Bob.
DENISE
Thanks for coming to get us. Little brother almost scared us to death.
JERRY
( quietly to Bill as he passes . )
Dude, your chick's a little high strung.
Mary is the last one out of the car . She says nothing as she walks to join the others on the porch . Her look says it all as she walks by Bill and into the house .
BILL
Mary, I'm sorry but he left without me. Mary. come on, you do n't think I'd leave you stranded out there.
INT. FARMHOUSE - NIGHT
Everyone stands around at the fireplace , trying to dry off .
DENISE
Look. I got ta call my Dad and tell him we're gon na be late. Can I use your phone?
Baby sits silently watching TV .
DENISE
Excuse me, may I please use your phone?
MARY
( sarcastically . )
Bill, why do n't you ask her. she's your special friend.
A VOICE from upstairs answers .
MOTHER
Ai n't got one.
MOTHER comes into view from the darkness above . She is in her fifties , but looks younger . A sleazy white trash queen . She slowly descends the stairs .
DENISE
Huh? Oh, hi. You really do n't have a phone?
MOTHER
No, none. I had one once, back in'57 maybe. I do n't know. Really ai n't nobody we wan na be jaw flapping at around here no more.
JERRY
Hey, maybe the guy with the tow truck could drive us to a phone.
MOTHER
His name is Rufus, Rufus Jr., but we all call him R.J.
JERRY
Oh, right.
MOTHER
What do they call you, sweety?
JERRY
Um, I'm Jerry. that's Bill. Denise and Mary.
BILL
Yeah, maybe R.J. could just tow us and our car to the nearest garage.
DENISE
I mean obviously we will compensate you for your troubles.
MOTHER
Oh, you ai n't no troubles, no, no, no fuss.
( claps her hands . )
Baby. go see what Rufus Jr. is doing with these nice folks' automobile.
Baby slowly rises like a defiant child and walks out of the room .
MOTHER
In the meanwhile please make yourselves at home.
MONTAGE Gruesome crime scene photos flash across the screen .
CHILDREN
( singing , off screen . )
98 bodies in your bed, Some are green, some are red. Eat the flesh and pick the bones, Drink the blood when you get home. 99 bodies in the ground, Some are blue, some are brown. Gather ` round the people said, Where do you go when you are dead?
INT. FARMHOUSE - LIVING ROOM - NIGHT
Mother , Jerry , Denise and Mary are all seated on the sofa . Bill sits in an easy chair .
MOTHER
So, what brings you kids way out here, ai n't you got something better to do for Halloween than wander around out here in the sticks?
JERRY
Well, I thought I'd maybe take in a hoedown.
MOTHER
( flirting . )
Oh, really.
( puts her hand on Jerry 's knee and winks . )
. well, I'm a pretty good dancer if you know what I mean. I bet I got a few moves you ai n't never seen.
JERRY
I do n't doubt that.
DENISE
No, he's just joking. We do n't really have any plans other than spending the night at my Dad's house.
( glances at Jerry . )
. which is where we were headed when our car broke down.
MOTHER
That's nice.
DENISE
Yeah, I guess I'll just help him hand out candy to the trick or treaters.
JERRY
And I'm gon na help put the razor blades in the candy apples.
MOTHER
I'll bet you are. you are a naughty little thing are n't ya.
JERRY
I was just kidding.
Bill and Mary snicker at Jerry 's comments . Denise tries to keep a straight face .
MOTHER
Oh, I get it. I guess you think you're too good for the simple pleasures of Halloween.
MARY
No, just a little too old.
MOTHER
Oh really, well I hope something changes your mind some day.
Baby returns from the garage .
BABY
Tiny's home.
MOTHER
What about R.J?
BABY
Oh, he was already gone before I seen him. but Tiny saw him and said he said he was going out to the yard to get a new wheel.
BILL
The yard, what's that?
MOTHER
It's an old auto junkyard out in Baldwin.
DENISE
How long is that gon na take?
MOTHER
He should be back in a couple hours.
MARY
A couple hours!
DENISE
Ca n't Tiny drive us to a phone?
Mother and Baby laugh .
MOTHER
( laughing . )
Tiny ai n't got no car, he ai n't even got a bicycle.
DENISE
How's he get around out here?
BABY
He walks, duh.
MARY
Fucking great.
MOTHER
I know you're my guests and welcome but I'd please advise you to keep from cussing while in my house, thank you.
MARY
Sorry.
MOTHER
Well, even though I know it seems childish to you all. Tonight is Halloween eve and it special to us so you are all invited to stay for dinner.
Under the circumstances they realize they have no choice . They grin and bear it .
DENISE
Thank you.
JERRY
( imitates Elvis . )
Yes, thank you. Thank you very much.
MOTHER
( Mother touches Jerry 's shoulder suggestively . )
You're a strange one, are n't ya honey. I think you and me are get on like.
( she thinks for a second . )
. like something real good.
Camera moves over to the TV . THE END fades up on screen . Dr. Wolfenstein appears over the credits .
DR. WOLFENSTEIN
There well, who knew there was love to be found in The Old Dark House. Coming up next, do not move a muscle, an artery or a vein as we venture into another creepy classic. are you ready for THE WOLFMAN, baby?
INT. HOUSE - DINING ROOM
Bill , Jerry , Mary and Denise are now all seated around a large dining room table . A thick mountain of candles sits burning dead center on the table , giving off a warm glow . Dozens of Halloween decorations dangle from strings over the table , spiders , bats and black cats . There is a hand - made PAPER MACHE MASK sitting on each plate .
MARY
( holding up the witch mask . )
I hope to Christ she does n't expect us to wear these things.
BILL
Whatever it is just do it. The more we play along the faster we'll get the hell out of here.
DENISE
Really, now is not the time to make waves.
JERRY
Hey, I'm just waiting for Cousin Itt to show up.
DENISE
Shhhhhh.
Mother walks in holding a covered serving tray .
DENISE
You sure you do n't need any help in there?
MOTHER
No dear, I'm fine. Now what kind of host would I be if I put my guests to this kind of work.
She sets the tray and goes back in the kitchen . BOOM ! The sound of the front door SLAMMING shut is heard , followed by the POUNDING of heavy footsteps . Mother 's and Baby 's shouting is heard .
BABY
( O.S . )
Ma, Tiny's in.
MOTHER
( O.S . )
Go tell him to get your Grandpa.
INT. HOUSE - BABY'S ROOM
Baby is standing in front of her closet staring at her clothes . The walls of her room are covered with B+W photos of movie stars .
BABY
( whining . )
Ma, I ca n't, I'm busy getting dressed.
INT. HOUSE - DINING ROOM
TINY ENTERS and removes his coat . Everyone is speechless . Tiny is over SEVEN FEET TALL and weighs THREE HUNDRED POUNDS . He is wearing a black sweater with a big red skull stitched into it . A red knit ski mask covers his face . Black gloves cover his hands . Tiny sits at the table , looks down at his plate and says nothing . Mother comes to fetch Tiny . She relays a message to him with strange hand gestures . Tiny gets up and leaves the room .
MOTHER
You'll have to forgive Tiny, he ca n't hear so much.
DENISE
Oh.
MOTHER
Yeah, my poor baby. It's his Daddy's fault. I mean Earl was a good man. I mean he never hit me or nothing, but one day he just got up and went pure devil on us all.
DENISE
What happened? Oh, I'm sorry, it's none of my business.
MOTHER
He tried to burn the house down, said it was possessed by the spirits. Tiny was sleeping in the basement where the fire started. I do n't think Earl ever meant to harm us. but Tiny was badly burnt, his ears were destroyed and most of his skin.
BILL
Is that why he wears the mask?
MOTHER
Yeah, my baby boy gets shy around new people, but he'll warm up to ya. especially the ladies.
JERRY
Great. I thought I felt a certain attraction between Mary and Tiny soon as he walked in.
MOTHER
Maybe. He's a real lady killer.
JERRY
Did n't ya think, Mary?
Mary just smiles , then gives Jerry a dirty look .
MOTHER
Well, we'll see. the night is young and so are you. oh well, couple more minutes.
Mother returns to the kitchen .
DENISE
( elbows Jerry . )
Do n't be such a fucking smart ass.
MARY
Yeah, it's really your fault that we're stuck in this shithole in the first place.
JERRY
Oh, do n't worry she did n't get offended by what I said. You two got to lighten up. right, Bill?
BILL
Whatever, at this point all I care about is food. I'm starving and I got a fucking killer headache.
JERRY
Hey, I asked you if you wanted some chicken.
BILL
Did n't look like chicken to me, more like fried pussy cat.
JERRY
( shrugs . )
Tasted pretty good.
INT. FARMHOUSE - GRAMPA'S ROOM - NIGHT
In a cramped , darkened room we see the huge shape of Tiny hovering over a BED containing the hunched , fragile old body of GRAMPA . Grampa struggles to sit , then slowly slides his legs over the edge of the bed . Tiny helps him to stand .
GRAMPA
God damn it, I can do it. I can do it myself, ya big monkey. I ai n't dead yet. so do n't you and your sister start counting out my money yet.
Grampa steadies himself against Tiny . They slowly walk out of the room .
GRAMPA
God damn, my dogs are barking.
As they move into the light of the hallway , it is clear that Grampa is in his late 80 's . Grampa quickly grows tired . Tiny picks him up in his arms and carries him down the stairs to the dining room . As they move past , the camera comes to rest on a STRANGE OBJECT sitting on a shelf . A LARGE GLASS JAR containing a DEFORMED BABY . The pickled punk looks to have a small second head growing from its temple . The label on the jar reads STUFFY 1973 . The sound from the TV fades up in the background . BELA LUGOSI 'S VOICE can be heard .
BELA LUGOSI
( V.O . )
Your hands, please. Your left hand shows your past.
TV SCREEN Bela is seen as a fortune teller holding a woman 's hands . This is a scene from The Wolfman .
BELA LUGOSI
and your right hand shows your future.
CLOSE UP We see a tight shot of the woman 's palm . A pentagram appears .
INT. DENISE'S FATHER'S HOUSE - NIGHT
We PULL BACK from the TV to find Donald Willis sitting in a old easy chair . The room is modest , but comfortable . He reaches over and picks up a small alarm clock , notices the time , concerned look comes over his face . The phone rings . He quickly answers it .
MR. WILLIS
Hello, Denise?
Disappointment . He mutes the TV .
MR. WILLIS
Oh, yeah. no, Fred. I was hoping you were Denise, she's a little late.
( pausing . )
Yeah, yeah I'm sure the rain just slowed'em down. yeah. uh - huh, yeah. no, no you can keep it'til Tuesday. alright, talk to ya tomorrow, bye.
Unmutes the sound on the TV .
INT. DINING ROOM - NIGHT
The feast is on . Mother , Tiny , Grampa , Jerry , Bill , Mary and Denise are gathered around the table .
MOTHER
OK, everyone, put on your masks. We ca n't very well eat with our everyday faces exposed.
Mother puts on her mask , Tiny and Grampa follow . Jerry , Bill and Denise slowly raise up their masks , Mary hesitates .
GRAMPA
( to Mary . )
Christ kid, put it on. She ai n't letting any of us touch the grub'til you're wearing the damn thing.
Mary rolls her eyes and complies .
JERRY
I've been meaning to ask you, Mrs. Ummmm.
MOTHER
( hesitates . )
Firefly.
JERRY
Firefly. mmmmm odd name. Mrs. Firefly, do you know anything about the legend of Dr. Satan?
BILL
Here we go.
Grampa shifts his eyes onto Mother .
MOTHER
( nervously . )
Well, I'm not much for local gossip an this and that, but I've heard it mentioned in passing over the years but. I mean folks is queer and they say things, crazy things you know what I mean?
GRAMPA
It's all talk, yakty yak, like a bunch of hungry chipmunks. Christ, Dr. Satan. That takes the bull's nuts alright.
( starts laughing . )
. hey, I hear some genius up north got a hot line on the Easter Bunny for ya.
A voice from the shadows interrupts .
OTIS
( slowly . )
I know all about what you want to know about.
A PALE FIGURE creeps forward like NOSFERATU from a dark corner of the room . This is OTIS . He stands six foot , but is deathly slim . His skin is translucent , glowing in the dark . Long thin white hair covers his head . His eyes are grey . He is an ALBINO . He is holding a GLASS JAR containing a SMALL FETUS . On closer inspection we see there are two small bodies joined to one head . The label reads WOLF .
MOTHER
( happy surprise . )
Otis! I ca n't believe you decided to come down and join us. and you brought little Wolf. This really is a special night. all my babies together.
Otis sets the disturbing jar of Wolf on the table . He leans forward onto the jar , resting his chin .
OTIS
Now, I do n't know where you heard all your little fairy fables about Dr. Satan but.
BILL
From a Captain Spaulding down at some museum.
OTIS
( laughing . )
That old bitch hog do n't know shit. He tells cute little tattle - tales to sell his junk, but he do n't sell no Yankee boys no truth.
JERRY
But something happened, right? I mean the story is based on a real incident, right?
GRAMPA
( mouth full of food . )
What are you, Jimmy Olsen cub reporter for the Daily Asshole?
MOTHER
Grampa. watch the language.
OTIS
I ai n't sure that you really need to know. It's better you go home still dreaming about your kitty cats and puppy dogs.
JERRY
I really want to know.
GRAMPA
Hey, the kid wants to know. Enlighten him.
OTIS
Boy, I bet you'd stick your head in the fire if I told ya you'd see Hell. meanwhile you too stupid to realize you got a demon sticking out your ass singing, `` Holy Miss Moly, I got a live one.''
DENISE
Can we please change the subject?
The CLOCK on the wall strikes TEN .
GRAMPA
( shouting . )
Dinner's over.
( pushes his plate back and stands up . )
Ladies and Germs. it's showtime.
Grampa hobbles out of the room .
BILL
What's he so excited about?
DENISE
Yeah, showtime for what?
MOTHER
For the show. It's Halloween eve and time for our show.
JERRY
Oh, you mean on TV.
MOTHER
No, no, no it's so much more special than that. you'll see, you'll be the first to ever see. I think this is something you'll really love.
JERRY
Great.
EXT. FARMHOUSE - BARN - NIGHT
Billy , Jerry , Mary and Denise stand waiting in front of an old barn . Tiny unlocks the huge doors of the barn and swings them open . Standing inside waiting is Mother . She is all dressed up for the occasion .
MOTHER
Please, come in. how many in your party.
( she counts the heads . )
. one, two, three and four. right this way.
Mother hands each of them a folded piece of paper , which serves as a program book . Hand drawn on each is an orange pumpkin .
INT. FARMHOUSE - BARN - NIGHT
We follow Mother inside . Thousands of red Christmas lights hang down , strung through the rotting wood rafters . Crates , barrels and an odd assortment of chairs face a large quilted curtain . Filling these seats are LIFELESS DUMMIES .
MOTHER
Please be seated.
Mother motions toward four empty seats in the front row .
JERRY
( whispering . )
This is way too fucked up for words.
MARY
( loud whisper . )
I know the words. fucking psycho fucking bullshit, that's the words.
BILL
Just grin and bear it.
DENISE
That food.
( holding stomach . )
ugh, I feel like I'm gon na puke.
Jerry , Bill , Mary and Denise take their seats . Mary flips open the program . Inside , written in crayon , are the words : HALLOWEEN EXTRAVAGANZA - starring the Comedy Legend GRAMPA and the World Famous BABY .
MARY
( to Bill . )
Check this out.
BILL
Well, ya ca n't complain I never take you anyplace.
The sound of a warped crackling record fills the room . Lounge music . A small spotlight hits the quilted curtain covering the stage . Mother Firefly stands behind the controls . She is smiling proudly . The curtain clumsily parts TO REVEAL : A stage set pieced together from amusement park wreckage . A giant painted plywood devil looms over the stage , surrounded by dancing skeletons and demon girls . A microphone stands center stage .
BILL
( quietly . )
I ca n't believe what I'm seeing.
JERRY
I know, this is fucking nuts.
MARY
This is starting to make me real uncomfortable.
BILL
Just sit back and enjoy the show.
The sound of CANNED APPLAUSE fills the room . Bill begins to applaud , Jerry and Denise join in . Mary does not .
GRAMPA
( V.O . )
Ladies and gentlemen, straight from his smash six week sold out run at Tiki - Ti Club. the Stardust lounge is proud to present Mr. Sexy himself. Grampa Hugo.
Grampa walks out to center stage , mic in hand and begins to speak .
GRAMPA
Hey, let me tell ya a story. so I'm hanging out with my buddy Hal Jackowictz and I'm like, hey Hal let's go get some booze and chase the chickens. fucking Hal says no, no the old battle axe at home will break my balls. I got ta get my ass home.
The kids stare in shock at Grampa . Jerry begins to laugh .
GRAMPA
So, I tell ` im. Hal, here's the secret. Go home tonight, crawl into bed, get under the covers and eat your wife's pussy. I mean jam your face right in the bush.
Jerry starts to giggle .
DENISE
( quietly . )
What are you laughing at?
JERRY
I do n't know, I think he's funny.
DENISE
This is n't funny, it's twisted.
GRAMPA
So, Hal goes home, jumps in, starts chomping and licking away at her pussy, she's screaming and howling. totally passes out from the experience.
MARY
Dear God, let this end.
GRAMPA
Now, Hal. He's feeling pretty good, so he goes into the bathroom for a quick shave.
( pauses . )
. suddenly he lets out a horrible scream. Ahhhhhhhhhhhhhh!
The recorded crowd chuckles .
GRAMPA
Sitting there on the toilet is Hal's wife Gloria. and she says, `` Quiet down, you'll wake Grandma!''
The recorded crowd screams with laughter , as does Jerry . Bill , Denise and Mary look at him like he 's crazy .
GRAMPA
Thank you, you're too kind, too kind. stay in your seats, coming up next we got something special for you men out there.
The curtains close and the stage goes dark .
DENISE
Shit, I'm all for being a sport, but this is ridiculous.
BILL
( looking at his watch . )
Man, it's already ten thirty.
MARY
I'm with Denise, ca n't we just walk to someplace, this is getting fucking stupid.
JERRY
Negative. Shit, we are so deep in the sticks we could walk for hours and find zero.
BILL
Yeah, I'd say at this point all we can do is just wait it out. There's nothing else.
DENISE
I suppose. I mean they're obviously all bonkers, but I guess they're harmless.
MARY
I fucking hope so.
The stage lights come up . The recorded applause and music begin . Baby enters the stage . She is dressed in a home - made showgirl outfit . She begins to dance clumsily to the music . She appears to be somewhat intoxicated . The vocals come on and Baby begins to lipsync to the song .
DENISE
You got ta be kidding me. This chick is wasted.
JERRY
Shhhhhh.
MARY
How much is a person supposed to stand?
BILL
( motioning for Mary to keep her voice down . )
Quiet.
MARY
( sarcastically . )
Oh, I'm sorry, bothering you? Was I disturbing your viewing pleasure?
Baby makes her way down from stage on to floor level . She gyrates and seductively TEASES one of the dummy audience members . Baby moves over to Jerry . Stroking her hand down his face . Denise tries to look amused . Jerry smiles uncomfortably . Baby strolls past Denise and stops in front of Mary . Baby pauses and pinches Mary 's cheek and winks . Mary is FURIOUS . Baby moves over to Bill . Mary watches like a mother hawk . Baby sings and dances with all of her attention focused on Bill . Baby puts her arms around Bill 's neck and sits on his lap . Mary BOLTS FORWARD and SHOVES Baby off of Bill . Baby crashes onto the floor .
MARY
Take that, you fucking slut!
( Mary spits at Baby . )
Fucking redneck whore!
BABY
You should n't a done that.
MARY
Why? You gon na do something about it?
BABY
( standing up . )
Yeah, I'll do something.
Baby takes out a straight razor from behind her back .
BABY
I'll cut your fucking tits off and shove'em down your throat.
MOTHER
Baby! Stop!
Mrs. Firefly runs down from her position behind the spotlight and intercedes .
BABY
Come on, ma. this bitch's got it coming.
MOTHER
No, I told you.
SCREECH ! The garage door slides open . Rufus has returned .
RUFUS JR.
( interrupting . )
Car's done.
DENISE
Thank God.
MOTHER
I suggest you kids leave now.
MARY
Do n't worry, I'm gone.
EXT. FARMHOUSE - NIGHT
Bill , Jerry , Denise and Mary climb back into their car .
BILL
Do n't look back, just get in the car.
DENISE
Lock the fucking doors.
INT. CAR - NIGHT
Bill begins to pull the car down the long dirt driveway towards the road . The heavy rain makes visibility difficult .
BILL
( straining to see through the darkness . )
Almost there.
JERRY
Jesus, you think she was really gon na cut you?
MARY
( leaning her forehead on the window . )
Of course she was gon na cut me, she's a fucking nut.
( closes her eyes and takes a breath . )
I knew she was crazy from the second we picked her up.
SLAM ! Suddenly , Baby pounds her fist against Mary 's window . Mary jumps back in terror .
BABY
( screaming . )
You're in Hell, bitch! You're gon na die like a dog!
Baby disappears into the darkness .
MARY
Go! Go! Go! Get us out of here!
Bill pulls the car up to the front gate . It is chained shut with a huge padlock . LIGHTNING CRASHES , illuminating the crucified scarecrows . FLASH CLOSE - UP CUTS - of grinning jack - o - lantern faces peer down from above .
INT. CAR - NIGHT
Bill opens the car door , starts to get out .
MARY
( hysterical . )
What are you doing!
BILL
I got ta open the gate.
MARY
Drive through it!
BILL
It wo n't work.
JERRY
Holy fuck, hurry up.
Jerry , Mary and Denise watch through the windshield as Bill struggles to unlatch the thick iron gates . SUDDENLY , one of the SCARECROWS JUMPS down from his cross and SMASHES Bill over the head with a HEAVY CLUB . Bill drops to his knees .
MARY
Bill! Help him!
Jerry throws open his door to get out . He 's SHOVED BACK into the car by another , larger scarecrow outside his door . This scarecrow begins smashing the car 's windows with a METAL PIPE . Bill lays motionless , face down in the mud . His attacker turns his attention on the car . He also begins smashing the car 's windows .
EXT. CAR - NIGHT
From a distance we see Jerry pulled from the car and beaten . The girls are helplessly trapped inside the destroyed vehicle . The scarecrows continue to pound on the car . As we fade out , the sound of a BARKING DOG can be heard .
EXT. FARMHOUSE - MAGIC
From a long shot , we see the farmhouse in the early morning sunrise . All is still . The sound of an engine starting breaks the early morning silence . Rufus 's tow truck is seen pulling away from behind the house . The BEATEN REMAINS of Bill 's car are towed behind it .
EXT. WILLIS HOUSE - SUNRISE
Darkness , except for the face of an alarm clock . The time is 7:00 AM . TICK , TICK , TICK . BUZZZZZZ . The alarm goes off . A hand reaches over and turns off the alarm . We hear a deep groan . A light turns on .
INT. WILLIS'S LIVING ROOM - MORNING
Don Willis wakes up , having fallen asleep in his easy chair . He sits up and wipes the sleep from his eyes . He runs a hand across his head , smoothing out his thinning grey hair . He picks up a phone next to his bed , dials a number , waits .
MR. WILLIS
Hi. Lieutenant Broekman please. Donald Willis.
He holds .
MR. WILLIS
Hey, Phil.
( listens . )
Yeah, I'm alright. but I need you to check on something for me.
Willis stands , walks to the window , opens the shades , morning sun fills the room . shelf by the window is cluttered with framed photographs . B+W memories of Denise at the beach , RUDY the dog . High school graduations and Donald Willis in uniform with the other members of 56 Precinct . Donald is a FORMER POLICE OFFICER .
MR. WILLIS
I'm a little worried about Denise. She called me last night from the road, out by Ruggsville at some joint called Spaulding's or something like that, said she'd be here about eleven. but she never showed up.
Paces .
MR. WILLIS
Yeah, if you could run a check on up that way and see about any accidents or road closing or anything, I'd really appreciate it.
( listening . )
. yeah, yeah, I know. I'm sure nothing happened but, you know me I like to worry. thanks. bye.
Hangs up the phone .
INT. FARMHOUSE - OTIS'S ROOM - DAY
Mary opens her eyes , squinting into the light . Sunlight peers through filth on the windows , fractured by the tattered remains of rotted curtains . Peeling yellowed newspaper serves as wallpaper surrounding the window . Mary 's eyes move across the walls to a painting of a BIG EYED KITTEN . She stares at it and smiles . A look of horror begins to appear on her face . She begins to scream uncontrollably .
OTIS
( off screen . )
Shut your fucking mouth!
She is hysterical .
OTIS
I said shut your mouth!
ZOOM BACK to see Mary wearing a dunce cap , tied to a chair , facing a corner in the farmhouse 's attic . This is Otis 's art studio . Otis , standing before a large canvas , sets down his paint brush and calmly walks over to Mary . He spins her chair around , clamps her mouth shut with his hand and leans his nose against hers .
OTIS
( slow and sinister . )
Listen, you Malibu Barbie middle class piece of shit. I'm trying to work, you got me, work. you ever work?
Mary 's eyes scream with terror , she nods yes .
OTIS
Yeah, I'll bet you did. Scooping ice cream to your shitheel friends on summer break. well, I ai n't talking about white socks with Mickey Mouse on one side and Donald Duck on the other. shit, you ai n't reading no funny books, mamma.
Otis raises his paint covered hand .
OTIS
This is blood and guts, Suzy Q. Our bodies come and go, but this blood is forever.
( pulls a small book from his breast pocket . )
. let me read you something, listen and learn. you listening?
Otis pulls back his hand , ready to backhand her across the face with the book . She nods again . He lowers the book .
OTIS
( gesturing dramatically . )
And the angels, all pallid and wan, Uprising, unveiling, affirm That the play is the tragedy `` Man'' And its hero the Conqueror Worm.
( pauses . )
. you get that? Art is eternal, you get me, mamma?
Mary stares dumbfounded .
OTIS
Now, I'm gon na remove my hand. you make a sound and I swear I'll slit you open and make you eat your own fucking intestines. you get me?
She nods again . He slowly removes his hand from her mouth . Mary tries to remain calm , but starts to hyperventilate . Tears roll down her face .
MARY
( whispering . )
Why? Why are you doing this?
OTIS
Doing what? Messy up your day? Well, fuck lady there are some bigger issues at hand. than your fucking have a nice fucking day bumper sticker shit!
MARY
Where's Bill?
OTIS
( chuckling . )
Well, Bill. he's a good guy, he's been great help to me. a real blessing. I could n't have asked for a better specimen. I mean you do n't know what a dry spell I've had, total block.
( slaps his forehead . )
. total block. but Bill he's OK.
Mary looks confused , but relieved .
MARY
( softly . )
Where is he?
OTIS
Let's go see.
Otis grabs the back of the chair and drags her across the room towards a curtained off area . Whoosh ! He pulls her through the curtains . From behind the curtain we hear Mary SCREAMING and Otis LAUGHING .
MARY
( behind curtain . )
Bill? No, no, no! What have you done? Bill!
INT. CURTAIN ROOM - OTIS'S ROOM - DAY
Ugliness . Decay . Pain . Carefully arranged on a model 's platform is the severed torso of Bill sewn to a large homemade fish tail . He is lying on his ride side posing . Bill 's face is frozen in a death scream .
OTIS
Behold. The Fish - Boy!
MARY
( repeating to herself . )
This ca n't be real, this ca n't be real, this ca n't be real.
OTIS
Oh, it's real. as real as I want it to be, mamma.
( grabs his canvas and holds it in her face . )
. look, see the magic in my brush strokes.
Painted on the canvas is the gruesome scene of Bill as the Fish - Boy .
MARY
( crying . )
Fuck you, you fucking freak!
OTIS
Oh, come now. we're all creatures of God and freaks in our own way.
( twitches and shakes . )
. but if you'll notice.
( points to a blank spot in the painting . )
right here, needs a little something, heh?
Otis slowly puts down the canvas , turns and picks up a huge hunting knife .
MARY
What are you doing?
( squirming . )
. no, stop. please, please.
OTIS
You, my dear worm feeder, are about to become immortalized.
Otis draws back the knife .
MARY
( screaming . )
Noooooooooooo!
Otis swings the knife forward , directly into the camera . CLOSE UP - CLOWN FACE Ravelli 's clown head bobs back and forth . Ravelli , wearing his clown head , stands by the road side waving to passing cars .
EXT. SPAULDING'S - DAY
A police car drives past Ravelli and comes to a stop . OFFICER GEORGE WYDELL , 42 , a big , slightly paunchy man with a big mustache and mirrored sunglasses , steps from his car . Following close behind , OFFICER STEVE NAISH , 29 , tall athletic .
WYDELL
( pauses , looks around , pulls up his belt . )
Well, let's go see if the nut that runs this place can help us.
NAISH
Right.
They walk to the door .
INT. SPAULDING'S - DAY
The door swings open . Wydell enters slowly , putting on his best cowboy attitude . Naish follows suit . Wydell , hands on his belt , struts up to the counter . No one is around . A rusted bell sits on the counter , taped to it is a handwritten note , `` ring for service '' . Wydell rings it once , waits , no response . Rings it again , waits , no response .
NAISH
( looking around the room . )
Get a load of all this crap. this is one sick place.
Wydell begins ringing the bell non - stop . Spaulding shouts from the backroom .
CAPT. SPAULDING
Whoever's a jerking off on that bell better be gone when I get out there.'cause I'm gon na rip your nuts off.
Spaulding enters from behind the curtain , angry . He sees the troopers and puts on a phony grin .
CAPT. SPAULDING
Officers, officers what can I do for you today? I ai n't fried up the birds yet. if that's what you're ring a ding dinging about.
WYDELL
( pulls a paper from his pocket . )
What I need are some answers.
( unfolds the paper to reveal a picture of Denise . )
CAPT. SPAULDING
Well, I'll try but I do n't know nothing ` bout nobody. I'm a guy who likes to mind his own business, if ya get what I'm saying.
WYDELL
( holds up picture . )
You seen this girl? Say. within the last 24 hours.
Spaulding reaches out and grabs the picture .
CAPT. SPAULDING
( studies the picture . )
Yeah, yeah I seen her. Good looking kid, but not really my type.
( gesturing with his hands . )
. I like meaty, eh?
NAISH
( losing patience . )
Hey ass clown, how ` bout some answers. He ai n't interested in your love life.
WYDELL
Come on, get with the facts.
CAPT. SPAULDING
Hmmmmmmmmm?
WYDELL
What'd you see, who was she with, where were they going?
CAPT. SPAULDING
Aw, she was with some nosey, smartass high - rise kids. They were poking around. asking stupid questions.
NAISH
Questions about what?
CAPT. SPAULDING
This and that, mostly some tired Dr. Satan bullshit. they got a gander at the display back there and thought they could solve the great Deadwoods mystery.
WYDELL
And.
CAPT. SPAULDING
And I gave'em directions out there, up by the old farm row. I figured what's the harm. Stupid kids probably going out to piss up a rope and got themselves turned around backasswards and got lost as shit.
WYDELL
Is that all. think real hard.
CAPT. SPAULDING
Yeah, they were n't here but a few minutes, did n't really have time to get as up close and personal as I do with most of the assholes that wander through here.
WYDELL
How's about you give me those same directions.
CAPT. SPAULDING
Yeah, yeah, sure. You do n't have to get all True Grit all over my ass. I'll give'm to ya. you can knock yourself silly for all I care.
WYDELL
( hands him a note pad . )
Enough talk, write.
INT. TOW TRUCK - DAY
We are cruising down the road . A bobbing head skeleton toy glued to the dashboard wiggles with each bump in the road . Behind the wheel is Rufus Jr. , riding shotgun is Baby , dressed in her Sunday best . The radio is blasting .
BABY
( screaming over the music . )
We're gon na have fun tonight, bro.
RUFUS JR.
Yeah, fun.
They speed off .
EXT. CHERRYPICKER RD. - WOODS - MIDDAY
The police cruiser maneuvers down the rough dirt road .
INT. POLICE CAR - MIDDAY
Wydell and Naish scan the surrounding woods for any sign of Denise and her friends .
NAISH
Boss, the way I see it is these kids probally stop off somewhere, bought a bunch of booze and are off getting shitfaced.
WYDELL
I hope you're right, but my guts are telling me different.
NAISH
Your Spidey senses tingling.
WYDELL
Yeah.
( realizes what he just said . )
. huh, what the hell are you talking about?
NAISH
You know, your hyper sensitive Spidey senses. like Spider - man.
( pauses . )
. you know, like in the comics.
WYDELL
How old do you think I am? I know who the fuck Spider - man is. Get to your point.
NAISH
You know, his senses start tingling. when he was approaching danger and shit.
WYDELL
I always favored the Hulk.
NAISH
Hulk was dumb as shit.
WYDELL
Aw, fuck.
NAISH
What.
EXT. CHERRYPICKER RD. - WOODS - MIDDAY
Bill 's car is down in a ditch , run off the side of the road .
INT. POLICE CAR - MIDDAY
Naish checks the license plate number with his sheet .
NAISH
Plates match.
WYDELL
Call the chief. We found'em.
EXT. PINK PUSSY CAT LIQUORS - MIDDAY
A small , crummy liquor store stands next to a sleazy motel . A filthy looking hooker leads her customer to a waiting room , a homeless bum stands screaming obscenities in the parking lot .
INT. PINK PUSSY CAT LIQUORS - MIDDAY
The store is decorated for Halloween . Off to one side is a curtained room . A sign reads `` XXX 8mm loops '' , sex noises can be heard inside . Baby and Rufus stand at the counter waiting for the CASHIER , a skinny geek with glasses , to total up their purchases . The counter is loaded with bottles . The cashier is packing the bottles into cardboard boxes .
CASHIER
You all having a Halloween party tonight?
BABY
Now, what makes you think that?
CASHIER
You all sure are buying a lot of holy water for two people.
BABY
Yeah, well we like to get fucked up and do fucked up shit, you know what I mean?
CASHIER
Yeah, yeah.
( giggling . )
. I like to fuck shit up.
BABY
I'll bet you do. how much we owe ya.
( looks at his name tag . )
. Goober?
CASHIER
( looking down at his tag . )
Actually it's G. Ober. Gerry Ober, but the guys drew in the other O, fucking assholes.
BABY
( uninterested . )
Great story Goober, how much?
CASHIER
Ummmm. two hundred and eighty - five dollars.
Baby throws down three hundred dollars .
BABY
Keep the change and get yourself a new name.
CASHIER
Holy crap, thanks!
Rufus picks up the boxes from the counter . He and Baby start to walk away .
BABY
Come on, bro. Let's go.
CASHIER
( holding out a flyer . )
Hey, wait take this.
Baby stops and grabs the flyer .
BABY
What's this?
CASHIER
A missing girl. I use ` ta go to school with her, she just up and disappeared some day. real weird.
The flyer reads MISSING , KAREN MURPHY , 18 . The picture on the flyer shows the smiling chubby face of a young girl .
BABY
Now is n't she a happy little cherub. oh well.
( stuffs it in her pocket . )
. nobody just up and disappears.
RUFUS JR.
( mutters . )
Aliens.
BABY
Yeah, maybe it was fucking aliens.
EXT. PINK PUSSY CAT LIQUOR - MIDDAY
Baby and Rufus exit . Rufus loads the boxes into the back of the truck . Baby sits on the curb and lights a cigarette .
EXT. CHERRYPICKER ROAD - WOODS - MIDDAY
Bill 's car is now sitting in the middle of the road . The back is attached to a police tow truck . An additional police cruiser arrives on the scene . Sheriff Huston steps out from his cruiser .
HUSTON
What'd we here, Georgie?
WYDELL
A vehicle registered to a William S. Hudley.
HUSTON
Holy Jesus, somebody had themselves a field day beating the shit outta this thing.
WYDELL
Yeah, no mercy here.
HUSTON
Recover any bodies?
WYDELL
Not yet.
HUSTON
( inspecting the car . )
Shit, I wonder what these kids did to bring this much hell down on'em.
WYDELL
Just in the wrong place at the wrong time.
HUSTON
That's the understatement of the year.
WYDELL
Yep, I suppose it is.
INT. BILL'S CAR - WOODS - MIDDAY
Naish is digging around under the front seat .
NAISH
Hey, I found something.
Naish crawls out of the car .
EXT. CHERRYPICKER ROAD - WOODS - MIDDAY
HUSTON
What'd ya got there?
NAISH
Keys.
HUSTON
Well Christ boy, do n't stand there like a prize dog dick with his butthole caught up a tree.
NAISH
Huh?
HUSTON
Open up the trunk.
NAISH
Yes, sir.
WYDELL
Toss'em over here.
Naish tosses them over the car to Wydell . Wydell fishes through the keys , finds the trunk key and opens it .
WYDELL
( winces . )
God damn.
HUSTON
You find something, Georgie?
WYDELL
( disgusted . )
Yep, I found something.
We move around the car to see the nude body of Karen Murphy laying in the trunk . Her arms and legs are hog tied . She is dead . The word TRICK is carved into her side .
INT. FARMHOUSE BASEMENT - TINY'S ROOM - LATE AFTERNOON
Water drips down from the leaking pipes above . Scavenging rats scurry across the concrete floor . In a far corner a single light burns , a child 's Humpty Dumpty lamp , illuminating - Denise is strapped to an old wooden bed . She has been stripped of her own clothes and is now wearing a blue checked little girl 's dress . Her hair is tied in pigtails . She is cold and shivering . BOOM . The basement door opens , heavy footsteps lumber down the creaking stairs . It is Tiny . Tiny is wearing an orange T - shirt that reads , `` This is my Halloween costume '' . For the first time we see the skin on his arms , it is severely deformed from burn scars . He is holding a small tray . On the tray is a box of cereal , milk , a bowl and a spoon . Tiny goes over to Denise , sets down the tray , and proudly displays his T - shirt .
DENISE
( hoarse and dry . )
Please. Tiny, please. Let me go. help me.
Tiny sits down on a stool next to the bed , he stares down at Denise like a confused dog .
DENISE
( crying . )
Please, God please.
Tiny begins preparing her food , carefully pouring the cereal and milk into the bowl . He stirs it with the spoon . Tiny gently lifts Denise 's head and feeds her like a baby . Denise swallows the food , trying not to choke . After a few spoonfuls Tiny stands up and walks over to a dark corner of the room . He pulls a string and turns on a swinging ceiling light . In the light we see a rusty cage , inside are three rail - thin female bodies . Tiny throws the remainder of the cereal into the cage . One of the bodies moves to eat the scraps , the others do not . They are dead . Tiny turns off the overhead light .
INT. POLICE CAR - LATE AFTERNOON
Wydell and Naish are pulling into a large truck stop parking lot .
NAISH
You sure this guy's supposed to ride with us? Seems kind of weird.
WYDELL
( scanning the parking lot . )
Chief said pick him up and take him with us on our house to house. Guy's an ex - cop, thinks he can help.
NAISH
Sounds like a bad idea to me, probally just get in the way.
WYDELL
Yeah, well I guess it's tough to sit on the sidelines and wait when your own kid's missing. besides, ai n't no such thing as an ex - cop.
NAISH
I guess not.
WYDELL
That must be him.
EXT. GAS STATION - LATE AFTERNOON
A rundown gas station sits off to the side of the road . A filthy mechanic works on one of the many junked cars . Two fat greasy men sit in the hot sun playing cards . A Chevy Nova sits parked next to the station . Willis leans against the side of the car , drinking coffee from a styrofoam cup . A police cruiser pulls up . Wydell and Naish step from the car .
WYDELL
Mr. Willis?
MR. WILLIS
Yes, sir.
WYDELL
I'm Wydell. this is Naish.
Wydell extends his hand , they shake hands .
NAISH
Hey.
MR. WILLIS
George Willis.
( to Wydell . )
. any leads?
WYDELL
Well, we were on our way out to run a check on a couple farmhouses out on the edge of town. closest thing we got to a lead at this point.
MR. WILLIS
That's it?
WYDELL
Well, all we know is the kids were headed out to a spot the locals call Deadwood to play Nancy Drew with some local legend about this character everybody calls Dr. Satan.
MR. WILLIS
Dr. Satan?
NAISH
Yeah it's horseshit, just some boogieman crap that the kids like to scare each other with.
WYDELL
Anyway, there's not much else out that way. so, I figure maybe there's a chance the kids broke down and found their way over to one of the farms.
MR. WILLIS
What about the body you found?
WYDELL
( slightly surprised . )
Oh, yeah, you know about that? Hmmm, that's a strange one.
NAISH
Local girl, Karen Murphy, been missing for a couple months, figured for a runaway.
MR. WILLIS
Fit the profile?
NAISH
No, not really. Good kid, never been in any trouble.
WYDELL
Her part in this I ca n't figure. but I will.
MR. WILLIS
( wipes his brow . )
Christ, you know it's crazy.
( gets choked up . )
I lived through so many other people's nightmares, you know. Always cool and calm, but. but I never thought I'd be the one needing help, ya know?
NAISH
Do n't worry, we'll find her.
WYDELL
Let's hit the road, sooner we get a move on sooner we'll find her.
Willis dumps out the remaining coffee , tosses the cup into the trash and opens the back door of the police car . He gets inside . Wydell and Naish climb in . The car drives off .
INT. FARMHOUSE - OTIS'S ROOM - LATE AFTERNOON
THUMP ! CLOSE UP on a bloody , bandaged face . THUMP ! As we pull back to see Jerry , completely bandaged like a mummy , strapped to a wall . His arms and legs are spread . THUMP ! Knives stick in the wall next to the body .
GRAMPA
( off screen . )
God damn bitch, what the fuck are you waiting for. Charles Nelson Reilly do n't know shit.
We pull back further to see Otis pacing wildly back and forth in front of his TV , watching MATCH GAME . Grampa sits eating a TV dinner .
OTIS
( gesturing at the TV with a knife . )
Watch that bitch, she's thinking about that Klugman bangin' Brett Sommers, pick motherfucking Richard Dawson.
Otis throws the large hunting knife at the wall next to Jerry .
OTIS
He's the fucking slick jack Match Game man, mamma.
GRAMPA
Where do they find these people?
INT. POLICE CRUISER - LATE AFTERNOON
MR. WILLIS
Christ, four kids could n't just disappear.
NAISH
No they could n't, somebody had to see something.
MR. WILLIS
My Denise is a smart girl, she would n't do anything stupid, and her boyfriend, he always seemed like a good kid.
WYDELL
I'm sure there's a logical explanation.
MR. WILLIS
I pray to God there is.
NAISH
Turn up this road.
MR. WILLIS
Where we headed?
WYDELL
I seem to remember another farm set way back off the road where the car was found. I'm not sure if anyone lives there anymore, but it's worth a look.
EXT. FARMHOUSE - LATE AFTERNOON
Wydell 's cruiser turns up the road to the Firefly farmhouse . It moves past the scarecrows and comes to a halt . The doors swing open and Wydell , Naish and Willis get out .
WYDELL
I'm gon na see if anybody's home. You and Mr. Willis take a look around the grounds for any sign of anything.
NAISH
Right.
( to Willis . )
. come on.
Naish and Willis head off around the back of the house .
INT. FARMHOUSE - KITCHEN - LATE AFTERNOON
Dirty dishes overflow from the rusty metal sink onto the surrounding counters . A large cat walks across piles of food left to rot on a table . Boxes of trash and old newspapers are stacked to the ceiling . Music from a crackling radio is heard . Mother stands stirring a large pot on the stove . A LOUD knocking interrupts her cooking . She sets down her spoon and walks to the front door . Before opening the door she peeks through the curtains of a small side window . She sees Wydell and runs from the kitchen .
EXT. FARMHOUSE - LATE AFTERNOON
Wydell walks up the front steps .
INT. FARMHOUSE - HALLWAY - LATE AFTERNOON
Mother runs toward a door at the end of the hall . She swings open the door .
INT. FARMHOUSE - OTIS'S ROOM - LATE AFTERNOON
Mother bursts into the room .
MOTHER
Otis! Otis! Come quick, there's cops outside.
OTIS
What! God damn, how many?
GRAMPA
( watching TV . )
What? How many?
OTIS
Do n't worry about it.
Otis jumps up and goes over to an old dresser and opens a drawer and pulls out an automatic revolver .
MOTHER
I do n't know. I only saw one.
OTIS
I'm sure there's more than that. fucking pigs always travel in packs.
( handing the gun to Mother . )
. here, take this.
MOTHER
( takes the gun . )
What should I do?
OTIS
Go down stairs and play nice. I'm a gon na go ` round back and handle things like I always fucking do.
EXT. FARMHOUSE - SAME
Naish and Willis move through the cluttered back yard of garbage .
NAISH
Shit, do n't these packrat hillbillies throw anything away?
MR. WILLIS
Shhhh. you hear that?
The soft sound of moaning can be heard .
NAISH
Yeah, I hear it. where's it coming from?
MR. WILLIS
Over here, inside the smokehouse.
Naish and Willis stand in front of a brick smokehouse . The thick door is chained shut .
NAISH
( knocking on door . )
Anybody in there?
The moaning gets louder .
MR. WILLIS
We got ta break it open.
NAISH
I ai n't got a warrant.
Willis picks up a broken axe handle and begins prying open the door .
MR. WILLIS
Tell it to my daughter.
NAISH
( grabbing hold to help . )
Shit. fuck procedure.
Together they struggle to open the door .
INT. FARMHOUSE - SAME
Mother slowly opens the front door . The revolver is behind her back , tucked in her apron strings .
MOTHER
( trying to be sexy . )
Well hello, officer.
WYDELL
( holding up his badge . )
Excuse me, I'm sorry for disturbing you this fine afternoon.
MOTHER
Aw, you ai n't disturbing me, but it kind of looks like rain, do n't ya think?
WYDELL
My name is Lt. Wydell, I'd like to ask you a few questions.
MOTHER
Questions? Well, heck, I'll tell you anything you want to know.
WYDELL
I appreciate your cooperation. I'm looking for a missing girl.
( holds up picture . )
. this girl here, Denise Willis. have you seen her?
MOTHER
Well, I. mmmmm. no, I ai n't seen her, sorry.
She begins to close the door . Wydell stops her .
WYDELL
Please, could I please come in and talk to you for a minute? Maybe you could take a better look at the picture. might stir up something.
MOTHER
I um. no, I do n't think so.
WYDELL
Please, just a minute.
MOTHER
Oh, alright. I guess I can trust you. being a man of the law and all.
She opens the door .
WYDELL
Thank you.
MOTHER
Oh, you are very welcome. Lord knows how I love a man in uniform.
She closes the door .
EXT. FARMHOUSE - SAME
Naish and Willis bust open the door to the smokehouse . Hanging upside down inside is Mary . She hangs from ropes strapped to the ceiling . Large hunks of meat hang around her in the cramped room .
NAISH
Jesus Christ.
MR. WILLIS
Call Wydell.
INT. FARMHOUSE - SAME
Wydell and Mother sit opposite eachother at the kitchen table . Pictures of Denise and her companions are spread on the table . Wydell takes notes as Mother talks .
WYDELL
Think. do any of these kids look familiar in any way?
MOTHER
No, I ca n't say that I ever seen'em before.
( points to the photo of Bill . )
. he looks familiar, is he on TV?
Suddenly , Naish 's voice comes over Wydell 's walkie - talkie .
NAISH
Wydell.
WYDELL
Excuse me for a second.
Pulls walkie - talkie from his belt to respond .
WYDELL
Over.
NAISH
We found one.
Click . Mother points the gun at Wydell 's head and fires . He falls dead to the floor .
EXT. FARMHOUSE - SAME
Naish hears the commotion over his walkie - talkie .
NAISH
( into walkie - talkie . )
Wydell! Over! Wydell! Over!
No response .
NAISH
Fuck, go to the car. call for backup. Tell'em officer down.
MR. WILLIS
Right.
Willis runs to the car , he gets about halfway there before he is hit in the back by a bullet . He stumbles and falls to his knees . He kneels silent , stunned . We hold on his face and watch as his life passes before him . A quick MONTAGE , we see the following images flash by : A . A father and daughter together in happier times . B . A child 's birthday party . C . A baby crying . D. Willis and his deceased wife . Otis fires another shot . Willis falls forward into the mud , dead . Naish sees Willis fall . Before he can react a voice calls out from behind him .
OTIS
Hands up, bitch!
Naish raises his hands .
OTIS
Turn around, real slow. piggy - pie.
Naish turns around .
OTIS
Interlock your fingers behind your head.
( Naish hesitates . )
. do it!
Naish obeys .
OTIS
Kneel.
Naish kneels down . From a distance we see Otis standing over Naish , execution style . A white puff of smoke comes from Otis 's gun and a distant popping sound is heard . Naish falls over on his side . The scene fades to blood red .
EXT. FARMHOUSE - NIGHT
The house stands silent in the darkness . Lightning crashes , a heavy rain falls . Burning JACK - O ' - LANTERNS beam from every window . Smoke rises from the chimney . It is Halloween night .
INT. FARMHOUSE - NIGHT
CLOSE - UP TV Dr. Wolfenstein is on screen smashing pumpkins with a giant hammer .
DR. WOLFENSTEIN
It is midnight my little boils and ghouls, the witching hour. Time for all monsters, murderers, maniacs and madmen to go to work. so lock your doors and bolt your windows, sit back and prepare for a fright night classic.
( lightning crashes . )
. The House of Frankenstein.
The movie begins and we move off the TV to see : Hundreds of CANDLES are lit , illuminating everything with a flickering light . Music blares from a cheap stereo . BLACK and ORANGE PAPER STREAMERS are draped from ceiling to floor . Dead center is a LARGE OBJECT standing seven feet tall , it is completely covered in paper Halloween decorations . A long chain connects the object up into the rafters . This is the Halloween party from Hell . An intoxicated Grampa , dressed as FLASH GORDON , sits in his wheelchair watching the TV , drinking MOONSHINE from an unmarked bottle .
GRAMPA
( slurred drunken yelling at the screen . )
Get those motherfucker. those high water bitches and rocketship daisies. kill'em, kill'em.
CRASH ! CRASH ! CRASH ! Tiny stands in a corner tunelessly banging on a large oil drum . He is dressed like a low budget BATMAN , in grey long johns and a black bat mask and cape . A drunk Rufus , wearing a bloody police uniform , stands on a table SHOUTING along to the music through a POLICE MEGAPHONE . Mother and Baby , both dressed as SUPERHEROES , dance around the covered object . Both are swigging moonshine from jugs .
RUFUS JR.
( shouting through megaphone . )
Show me, show me, show me, show me!
Mother and Baby start TEARING AWAY the paper covering from the object in the middle of the room . They RIP at the paper , spinning and dancing around in a wild pagan ritual . As the shreds of colored paper fall to the floor we see : Denise , Jerry and Mary tied back to back hanging from the chain , each are dressed in a different animal costume . Denise is a pig , Jerry is a donkey and Mary is a rabbit . They are gagged . Mother and Baby laugh at their helpless victims , splashing moonshine in their faces .
BABY
Drink up, it's party time.
MOTHER
Enjoy your last night.
( looking around . )
. where's Otis?
BABY
Oh, he's coming, he got something real special this year.
Rufus jumps down , begins to spin the bound captives around and around .
RUFUS JR.
Otis, Otis, Otis, Otis!
MOTHER
Quiet, quiet, you know he wo n't come down with all this hoop - dee - doo bouncing off the walls. Now, calm down.
GRAMPA
I shot an elephant in my pajamas this morning. how he got in my pajamas I'll never know.
BABY
Grampa, shhhhhhhh.
GRAMPA
Then we tried to remove the tusks, but they were embedded in so firmly that we could n't budge'em.
MOTHER
( gesturing at Grampa . )
Let him finish.
GRAMPA
Of course, in Alabama the Tuscaloosa, but that's entirely irrelephant.
The room goes silent . All eyes are focused on the stairs . A robed figure , Otis , appears at the top of the stairs , he begins to descend . Rufus waits at the bottom of the stairs . As Otis reaches the last step Rufus hands him the megaphone . Denise , Mary and Jerry struggle to watch as they in turn rotate past the scene unfolding .
OTIS
( through the megaphone . )
I'm the one who brings the Christmas candy. now tell me.
( pauses and raises his arms . )
. Who's your Daddy?
Otis walks closer to the rotating captives .
OTIS
I'm the one who brings the devil's brandy.
( waits . )
MOTHER
Who's your Daddy!
OTIS
Yes! I'm the one who beats you when you're bad.
BABY
Who's your Daddy!
MOTHER
Who's your Daddy!
Otis stops the spinning of his prisoners and stands directly before Denise . He drops his robe , underneath he is wearing a SUIT OF SKIN sewn together from pieces of Denise 's father . Denise stares in horror , tears stream down her cheeks , barely able to comprehend the madness around her . Otis moves in close and licks her across the face .
OTIS
I'm the one who loves you when you're fucking dead!
Everyone chants `` Who 's your Daddy ? ''
OTIS
( imitating Willis . )
Now, I say my little darlings.
( rotates the chain to Mary . )
maybe prancing around where you do n't belong ai n't such a winner of an idea.
( slaps Mary across the face . )
Slowly turns the chain to face Jerry .
OTIS
And you, the great rusher of fools, what were you after.
( slaps Jerry . )
Huh, speak to me.
( slaps him again . )
Oh, that's right, Dr. Satan. everybody got to know about Dr. Satan, Jesus Christ, let the old dog rest for fuck sake, he's already got one foot in the grave and the other's tap dancing around the edge.
( gets nose to nose with Jerry . )
. well, I can see the disappointment on your sad little puppy face. so I'm gon na do you a favor, a big, big favor. You owe me, boy. I'm gon na let you meet the old bastard.
GRAMPA
That's a horse's ass alright, I told you.
Jerry 's eyes widen in fear .
OTIS
Baby, roll that old love machine over here, so this boy can meet his hero.
Baby rolls Grampa over to Jerry .
OTIS
( lifts his skin mask . )
You see it's all true, the boogieman is real and you found him.
( Jerry stares in shock . )
. why so sad? Is n't this what you begged for? There he is, the living legend himself, ta da Dr. Satan. Now, do n't get shy on me. ask your hero some questions, do n't blow this last in a lifetime opportunity.
GRAMPA
Zarkoff, I will conquer the sea, the air, the earth. the universe.
Mother moves in close to Jerry .
MOTHER
Look at the way he lights up. Grampa just loves meeting his fans.
Otis grabs Jerry 's cheeks and makes his face move like a ventriloquist dummy , provides Jerry 's voice .
OTIS
Aw gee whiz, I'm so excited. I really think you're the coolest. you're tops on the playground, cooler than the Fonzie.
Baby grabs Mary and does the same ventriloquist routine .
BABY
Oh, oh pick me, pick me. I have a question.
Baby rotates Mary around to where Gramps is seated .
BABY
( squeezing Mary 's face , hard . )
I was wondering Mr. Satan sir, do you like to kiss on the first date or is that considered slutty?
GRAMPA
What the fuck are you saying? Who the hell is talking to me?
Tiny , growing restless , begins banging on his metal drum . KLANG - KLANG - KLANG . Rufus joins in , clapping his hands .
MOTHER
Come on, my babies are getting restless.
RUFUS JR.
Dump in the pit, dump in the pit, dump in the pit.
Mother , Baby , Grampa join in chanting with Rufus .
OTIS
Alright, alright. Cut'em down, it's time they get what they came here for.
EXT. FIELD - NIGHT
The rain pounds down . A heavy fog hovers over the dense growth of the field . In the distance , silhouetted by moonlight , a gruesome caravan slowly moves through the night . Otis , lantern in hand , leads the way . Followed by Baby and Mother together under a large black umbrella . Next Rufus holds the leash connected to Jerry , Denise and Mary . Bringing up the rear , Tiny , shotgun focused on the prisoners , and Grampa . Grampa is strapped to Tiny 's back like a child . He waves a flashlight back and forth like a search beam . The group comes to a halt at a huge wooden structure .
OTIS
( handing Baby the lantern . )
Hold this. Point it over here.
Baby directs the light at Otis . We see that he is trying to unlock a huge padlock attached to an iron door embedded in the base of the wooden structure . Otis unlocks the door and swings it open . He reaches down into the blackness and pulls up an iron hook and wench , attached to the hook is a chain . Otis parts a section of the overgrown grass next to the pit to reveal a rusty metal crank . He begins to turn the crank . Slowly , from out of the pit , rises a coffin hanging from the end of the chain . Otis pulls the coffin over and lays it flat on the ground . He flips open the lid .
OTIS
Hey happy - boy, step your ass up here.
Rufus cuts loose Jerry , but holds him steady by the neck .
BABY
Take his gag out, it's more fun with the screaming.
MOTHER
Yeah, I like the screaming too. it's so much more exciting.
Rufus cuts loose the gag .
JERRY
Please do n't kill us, please do n't kill us.
BABY
( imitating Jerry . )
Please do n't kill us, please do n't kill us.
OTIS
Bitch, shut your mouth and get your shit in the box.
JERRY
Let us go, please. let the girls go.
BABY
( imitating Jerry . )
Let us go, please. let the girls go.
Otis pulls out a gun and points it at Jerry .
OTIS
Get in. now!
MOTHER
Wait, I want to say good - bye.
Mother grabs Jerry by the collar and gives him a big kiss .
MOTHER
Bye sweety, we could of been great together.
JERRY
Please, let us go, we wo n't tell anybody.
MOTHER
Aw, honey you know I ca n't do that.
BABY
We wo n't tell anybody.
Otis cocks the pistol . Jerry starts to slowly move towards the coffin .
OTIS
Christ, ai n't this fucking a hoot. alright mamma, I ai n't got all fucking night.
JERRY
Please, please this is insane. You ca n't do this.
Rufus pushes Jerry into the coffin .
OTIS
It is and I can. next.
Denise starts kicking and fighting with Rufus . Rufus tries to hold her steady , when suddenly Mary breaks free and starts to run .
OTIS
( laughs and raises his pistol . )
Where's she think she's a gon na get to? She's gon na run all the way home.
BABY
No! Let me get her.
( turns to Mother . )
. Ma, Otis is having all the fun. can I get her?
MOTHER
That's true, Otis. not that we're having a bad time, but.
OTIS
( rolls his eyes . )
Well, go get her.
Baby jumps with excitement and runs off across the field after Mary . Mary trips and falls over a small gravestone . She gets up and stumbles back into a wooden cross . She tears the gag from her mouth and gasps for air .
BABY
( O.S . )
There once was a woman who lived with her daughter in a cabbage garden.
Mary turns toward the voice but sees nothing but wooden crosses . She is in a homemade cemetery .
BABY
( O.S . )
along came a rabbit and ate up all the cabbages. The woman said.
Mary turns 360 degrees , but finds nothing .
BABY
( O.S . )
`` Go into the garden and drive out the rabbit''.
THUD ! Mary is hit from behind , she falls forward . Baby JUMPS on top of her and sits on her back . Baby is holding a large hunting knife .
BABY
`` Shoo! Shoo!'' said the maiden.
Mary screams in pain , as Baby PLUNGES the knife into her . Baby STABS Mary again and again and again . Mary lets out a long gurgling scream , then goes silent .
BABY
`` Come maiden,'' said the rabbit.
( leans down . )
. sit on my tail and go with me to my rabbit hutch.
Baby , covered in blood , licks the knife clean .
EXT. PIT - NIGHT
Otis shoves Denise into the coffin with Jerry and locks the lid shut . Through a CROSS - SHAPED OPENING in the coffin we see them crushed together . Rufus LOWERS the coffin into the pit . Once the coffin is inside Otis slams the door shut . Otis opens a small window in the door and lowers in a lantern and a small tape recorder playing music .
INT. PIT - NIGHT
Enter Hell . The dim light of the lantern shines off the slimy wet filth of the rotted wood walls . The stench of death and decay hangs heavy in the thin air . Denise and Jerry , cold and shivering , hang half submerged in thick maggot infested sludge . Bits of animal and human skeletons float in the muck , broken bones lay in piles along the walls .
INT. COFFIN - NIGHT
Through the dim light , we see the tightly packed forms of Jerry and Denise .
DENISE
( hysterical . )
We've got get out of here, we got get out of here.
JERRY
Think, think. Try to open the lid, try to kick a hole in the wood.
DENISE
( crying . )
I ca n't. I ca n't move my arms. I hurt so much.
JERRY
I know, but we can make it out of here. We can do it.
Boom ! A LOUD THUMP is heard against the side of the coffin .
JERRY
That was good babe, just keep doing that.
BOOM , BOOM , BOOM .
DENISE
That's not me. I did n't. I'm not doing that.
JERRY
Someone is out there.
( shouting . )
. help, we're in here!
DENISE
Help, help us.
Suddenly , an arm breaks through the side of the coffin . Another smashes through the top of the lid . The coffin begins to violently shake . Denise screams . Another reaches through , grabbing her feet . SMASH ! The coffin is ripped apart and Jerry is pulled away from the destruction . He lets out a quick scream before disappearing into the darkness .
DENISE
Jerry! Jerry! Jerry!
INT. FARMHOUSE - LIVINGROOM - NIGHT
The spastic light of TV static strobes across the sleeping face of Grampa . Beside him , Mother sleeps peacefully .
EXT. BARN - NIGHT
The rain has stopped . Tiny opens the doors to the barn . He goes inside . He exits a few moments later , dragging a huge wooden stake . He sets the stake down carefully and closes the barn doors . He then picks up the stake and drags it away .
EXT. BACKYARD - NIGHT
Behind the farmhouse is a camouflage jungle , an intricate system of ropes and netting is strung together to hide the many automobiles beneath . Rufus moves through the jungle . He stops and begins to remove the netting from a car , it is Wydell 's police cruiser . He climbs inside the car , puts on Wydell 's policeman 's hat and starts the engine . He drives off .
INT. POLICE CAR - NIGHT
Rufus is driving like a maniac through the open farmland . He turns on the overhead flashing lights .
EXT. FIELDS - NIGHT
The police cruiser twists and turns in the barren fields .
INT. PIT - NIGHT
Denise stands knee deep in the sludge . Broken bits of the coffin 's remains are scattered around her .
DENISE
Jerry please answer me.
A soft moaning sound is heard coming from the other end of the pit .
DENISE
Jerry.
( moving slowly forward . )
. is that you?
Denise cautiously makes her way to the bend at the end of the tunnel . As she approaches , the moaning sound gets louder . She turns the corner to see : TWO PALE FIGURES in filthy hospital gowns hunched over a shadowy object . Denise gasps . They turn towards Denise , revealing the partially devoured dead body of Jerry . The two bone - white ghouls are dripping with Jerry 's blood , they stare at Denise , then return to their prey . Denise screams in horror and runs , turning down another twist in the underground maze . She turns the corner and runs straight into SEVERAL SLOW MOVING GHOULS . The ghouls are of the same deathly white complexion , hair - less with flaked , cracking skin . Their yellow eyes shine in the darkness . They reach for her , but she breaks free and continues to run into the endless stretch of tunnels before her .
EXT. GRAVEYARD - NIGHT
Primitive wooden crosses form a circle around a burnt piece of land , approximately twenty feet in diameter . Laying flat in the center is the large stake , Mary 's body is draped across it . Tiny is securing her to the stake with rope .
INT. POLICE CAR - NIGHT
Through the windshield , we see Baby jumping and dancing in the fields with several large dogs . She is firing a gun as she dances .
EXT. FIELD - NIGHT
Baby sees the car and raises her gun . She aims it at the car driver . She waits , as the car gets closer she sees the face of Rufus behind the wheel . She lowers the gun and begins to laugh . The car stops and Baby climbs into the passenger 's seat . The car drives off .
EXT. GRAVEYARD - NIGHT
Tiny lifts the stake with Mary firmly strapped in place . He implants it into the ground . Her body hangs like a doll . Tiny opens a gasoline can and begins splashing gas onto the stake .
EXT. FIELD - NIGHT
Otis , face painted like a SKULL and wearing a priest 's robe , walks solemnly through the tall grass .
INT. PIT - NIGHT
Denise , waist high in sludge , wanders lost through the endless tunnels of the pit . In the distance she hears high pitched animal sounds . A GHOUL rises up from the sludge behind Denise . It stands silent . It reaches out a BONEY HAND with long curled fingernails and grabs her hair . Denise screams and tries to pull away . The ghoul grabs her with his other hand and pulls her closer , CLAWING at her face . Denise fights her way free , but loses her footing and falls backwards , slipping under the sludge . She quickly resurfaces and starts to run .
EXT. GRAVEYARD - NIGHT
Otis stands in front of the bound Mary , holding a pumpkin . Otis places the pumpkin over Mary 's head . Tiny stands behind him holding a lit torch .
EXT. FIELD - NIGHT
The police car drives wildly through the fields .
INT. POLICE CAR - NIGHT
Baby motions to Rufus to steer the car towards the fire .
INT. PIT - NIGHT
A beaten Denise struggles down a long tunnel . She gets to the end to find that it is a dead - end . Behind her , FIVE GHOULS move silently towards her , blocking her only exit . The ghouls slosh through the muck , moving in closer . Denise frantically looks for an escape , nailed into the wall next to her are planks of wood forming a ladder . The ghouls are only a few yards away . Denise climbs up the ladder . They move in , clawing at her legs and feet , trying to pull her down . Denise digs at the wood and mud ceiling above her , trying to break free . Denise is bleeding severely from the chunks of flesh being torn from her legs . She digs wildly at the ceiling , suddenly a board falls free and mud rains down to reveal : STARS , the sky above shines through the hole . Denise smashes her fists at the rotted wood planks , pulling free another piece . With all her might Denise grabs hold and pulls herself up through the opening .
EXT. PIT - NIGHT
Denise fights her way through the earth and pulls her body up into the night air . The cool air rushes to her lungs . She crawls free of the hole , gasping for air . She is safe . Suddenly . SMASH ! A ghoul has broken through the surface . He grabs Denise by the leg and begins to pull her back into the hole . Denise screams and begins kicking violently at the ghoul . She breaks and crawls from the ghoul 's reach .
EXT. GRAVEYARD - NIGHT
Rufus and Baby have pulled the police cruiser up by the stake . Rufus and Baby stand on the hood . Otis finishes his sermon , he raises his arm . Tiny raises the torch . Otis drops his arm , signaling Tiny . Tiny throws the torch onto the stake . The stake ignites into a huge FIREBALL .
EXT. FIELD - NIGHT
Denise pulls herself to her feet and begins to run . The flaming object burns in the distance behind her . Denise stumbles toward the road on two badly injured legs .
EXT. GRAVEYARD - NIGHT
Rufus , Tiny and Baby jump up and down in celebration , smashing the police car . Otis stands transfixed by the flames before him .
EXT. ROAD - NIGHT
Denise makes her way out onto the road . No cars are in sight . In the distance headlights break through the darkness . Denise stands in the middle of the road . The TRUCK comes into view , it is a small cube truck . Denise stands in the headlights , waving her arms for it to stop . The truck comes to a halt . She runs toward the passenger 's side door and climbs in .
INT. TRUCK - NIGHT
Behind the wheel of the truck is Captain Spaulding . Denise is shaking from shock .
DENISE
Go, go! Drive. drive!
CAPT. SPAULDING
Hold on, girly, what's the problem?
DENISE
( becoming hysterical . )
Murdering. blood and Jerry.
( starts to cry uncontrollably . )
. monsters. I. I. I got away.
CAPT. SPAULDING
Well, I do n't see what the fuck you're getting at, but I got some friends that live just up this road.
Starts to turn the truck up the road back towards the farmhouse .
DENISE
( screaming . )
No! No, that's it. that house is.
( tries to open the truck door . )
. I got ta get out, I got ta get out!
Boom ! The metal door leading to the back of the truck slides open . Ravelli grabs Denise and pulls her back into the back of the truck . SLAM ! The metal door shuts .
EXT. ROAD - NIGHT
The truck quietly turns onto the dirt road leading up to the farmhouse . The jack - o ' - lanterns still burn in the windows , grinning their evil grin . THE END
| 0 | 0 |
Toy Story 3_2010
|
tt0435761
|
Toy Story 3
| 2,010 |
Andy Davis, now 17 years old, is preparing to leave for college. He has not played with his toys for years, and only Woody, Buzz Lightyear, Jessie, Bullseye, Rex, Slinky, Hamm, Mr. and Mrs. Potato Head, the Aliens, and three toy soldiers remain. Andy intends to take Woody to college, and puts the others into a trash bag to be placed in the attic; however, Andy's mother mistakes the bag for garbage. The toys escape from the garbage truck, driven by Sid, and, believing Andy deliberately threw them away, get into a donation box with Molly's old Barbie doll. Woody is unable to convince the others of Andy's real intentions and the toys get dropped off at Sunnyside Daycare. They are welcomed by Sunnyside's toys, led by Lots-O'-Huggin' Bear ("Lotso") and his assistant Big Baby. Barbie is enamored with a Ken doll. Woody attempts to return home but is taken home by Bonnie, a child from Sunnyside. When Bonnie's toys are shocked that Woody escaped Sunnyside, Chuckles, a toy clown, reveals the truth: he, Lotso, and Big Baby were owned by a girl named Daisy, but were lost during a trip. When they made it home, Lotso found out that he had been replaced. Embittered, he lied to Big Baby that Daisy replaced all of them. The toys traveled to Sunnyside, where Lotso took over, turning it into a toy prison. Woody realizes he must save his friends. At Sunnyside, Andy's toys learn that Lotso placed them in the toddlers' room, where the toddlers play roughly with the toys. Buzz asks Lotso to be moved to the older children's room but Lotso switches him to his original factory settings, causing him to believe himself to be under Lotso's command. Mrs. Potato Head, through an eye she lost in Andy's room, sees Andy searching for his toys and they realize that Woody had told the truth about Andy's intentions. Lotso's gang imprisons them. Woody reunites with his friends at Sunnyside and they escape through the trash chute but are cornered by Lotso. Woody reveals Lotso's deception to Big Baby, who angrily throws Lotso into the dumpster. He pulls Woody in with him and everyone falls into the garbage truck. Buzz returns to normal after the fall. The truck takes the toys to a landfill, where they are swept onto a conveyor belt leading to an incinerator. The group rescues Lotso from the shredder, only for him to leave them to die in the incinerator. The toys resign themselves to their fate, but the Aliens rescue them with the industrial claw. Lotso is found by Sid, who fastens him to his garbage truck's radiator grille as a decoration: an unlucky fate. Woody and his friends ride Sid's truck back to Andy's. Changing his mind about college as he wishes to be together with his friends, Woody leaves an address for Andy that turns out to be Bonnie's house. Andy introduces his toys to Bonnie and is surprised to find Woody in the box. Though hesitant, he passes Woody on to Bonnie, making her promise to take care of him. Andy and the toys share an emotional farewell as Andy leaves and they begin their new lives with Bonnie. In the epilogue, Barbie, Ken, and Big Baby have vastly improved Sunnyside and maintain contact with Bonnie's toys through letters. They also welcome the toy soldiers, who parachute into Sunnyside.
|
<script>
<scene>
<scene_description>TOY STORY 3 Story by John Lasseter Andrew Stanton Lee Unkrich Screenplay by Michael Arndt Blue sky, fluffy clouds. The TOY STORY logo. A branding iron sears a "3" into it. IMAGE bursts into FLAMES...</scene_description>
</scene>
<scene>
<stage_direction>EXT. OLD WEST - DAY</stage_direction>
<scene_description>A train races across the desert. MOVE IN on an ARMORED CAR. Suddenly, the roof blows open.</scene_description>
</scene>
<scene>
<stage_direction>EXT. TRAIN - DAY</stage_direction>
<scene_description>Money bags fly out. ONE-EYED BART (Mr. Potato Head) follows.</scene_description>
<character>ONE-EYED BART</character>
<dialogue>Money, money, money! Ha! Ha! Ha!</dialogue>
<scene_description>Bart stashes the loot. Suddenly, a lasso yanks his arm off.</scene_description>
<character>ONE-EYED BART</character>
<dialogue>Hey!</dialogue>
<scene_description>The lasso lifts him off his feet. He falls, dazed. A figure approaches -- WOODY. He pins Bart with his boot.</scene_description>
<character>WOODY</character>
<dialogue>You got a date with justice, One-Eyed Bart!</dialogue>
<character>ONE-EYED BART</character>
<dialogue>Too bad, Sheriff -- I'm a married man.</dialogue>
<scene_description>A WAR CRY. Woody looks up.</scene_description>
<character>VOICE (O.S.)</character>
<dialogue>Ai! Ai-ai-ai-ai-ai-yah!</dialogue>
<scene_description>A Ninja warrior, ONE-EYED BETTY (Mrs. Potato Head), flips down the train roof, wielding a sword and nun-chucks.</scene_description>
<character>WOODY</character>
<dialogue>One-Eyed Betty!</dialogue>
<scene_description>Woody handsprings away. He gets to the end of the Caboose. Betty hits him with her purse. He teeters, then falls.</scene_description>
<character>WOODY</character>
<dialogue>Whoa, whoa... Ahhh...!</dialogue>
<scene_description>Bart and Betty laugh, peek over the edge... GALLOPING HOOVES TILT UP to find Woody, riding BULLSEYE, JESSIE at the reins.</scene_description>
<character>JESSIE</character>
<dialogue>I believe you dropped something, Mister!</dialogue>
<character>ONE-EYED BART</character>
<dialogue>Jessie?!</dialogue>
<character>WOODY</character>
<dialogue>You've reached the end of the line, Bart.</dialogue>
<scene_description>Bart pulls out a remote detonator.</scene_description>
<character>ONE-EYED BART</character>
<dialogue>I always wanted to go out with a bang!</dialogue>
<scene_description>Ahead, a huge trestle bridge spans a canyon. ZOOM to REVEAL -- The middle of the bridge is loaded with dynamite. Bart laughs, hits the detonator. The bridge explodes. Woody, Jessie, and Bullseye gasp.</scene_description>
<character>JESSIE</character>
<dialogue>Oh no!</dialogue>
<character>WOODY</character>
<dialogue>The orphans!</dialogue>
<scene_description>WHIP PAN -- A train car of TROLLS lean out the windows. One-Eyed Bart cackles.</scene_description>
<character>ONE-EYED BART</character>
<dialogue>Hate to leave early, but our ride is here.</dialogue>
<scene_description>HONK-HONK! A pink Corvette, driven by the three ALIENS, pulls up alongside the train.</scene_description>
<character>ALIENS</character>
<dialogue>Oooooooooo!</dialogue>
<character>ONE-EYED BART</character>
<dialogue>It's me or the kiddies, Sheriff! Take your pick!</dialogue>
<scene_description>The Potato Heads leap off the train into the Corvette. They speed off. Woody looks at the out-of-control train.</scene_description>
<character>WOODY</character>
<dialogue>Ride like the wind, Bullseye!</dialogue>
<scene_description>Bullseye runs up next to the speeding locomotive.</scene_description>
<character>WOODY</character>
<dialogue>Hold him steady...</dialogue>
<scene_description>Woody stands, then leaps from Bullseye into the locomotive.</scene_description>
<character>JESSIE</character>
<dialogue>Woody, hurry!</dialogue>
<scene_description>Woody turns a gear, pulls the brake. Train wheels lock. Sparks fly. Woody looks ahead. POV -- The train skids toward the severed rails. Bullseye and Jessie skid to a stop at the canyon edge. Too late. Woody and the train plummet over the edge. Bullseye and Jessie are horrified.</scene_description>
<character>JESSIE</character>
<dialogue>No...!</dialogue>
<scene_description>From deep in the canyon, a FLASH and RUMBLE. Then, the entire train rises into the sky. Holding it from below is BUZZ LIGHTYEAR.</scene_description>
<character>BUZZ</character>
<dialogue>Glad I could catch the train!</dialogue>
<scene_description>Woody leans out the front.</scene_description>
<character>WOODY</character>
<dialogue>Now let's catch some criminals!</dialogue>
<character>BUZZ</character>
<dialogue>To Infinity... And Beyond!</dialogue>
<scene_description>CUT TO:</scene_description>
</scene>
<scene>
<stage_direction>EXT. DESERT PLAINS</stage_direction>
<scene_description>A large, hand-painted sign reads: Border Crossing One Mile Outlaws Welcome WHIP PAN -- The Corvette speeds past. The Outlaws laugh gleefully. Bart kisses his loot. The Aliens see something in the sky, point...</scene_description>
<character>ALIENS</character>
<dialogue>OooOOOOoooo!</dialogue>
<scene_description>Buzz flies out of the sun, firing his laser. The Corvette is sliced in half. The halves fall away. The Outlaws tumble into a heap. Woody and Jessie step up. Buzz lands nearby, laser poised.</scene_description>
<character>WOODY</character>
<dialogue>Reach for the sky!</dialogue>
<character>ONE-EYED BART</character>
<dialogue>You can't touch me, Sheriff! I brought my attack dog with a built-in force field!</dialogue>
<scene_description>Bart WHISTLES. From above, SLINKY springs down the canyon walls, coils crackling with energy. He circles the gang, bites his tail. An ENERGY BUBBLE forms around them.</scene_description>
<character>WOODY</character>
<dialogue>Well, I brought my dinosaur, who eats force-field dogs!</dialogue>
<character>JESSIE</character>
<dialogue>Yo-Dee-Le-Hi-HoooOOOOOOOO!</dialogue>
<scene_description>The Earth trembles. Cracks form. The ground bursts open. A giant REX emerges, BELLOWING. He leans toward Bart, lets out a fearsome ROAR. A shadow. Rex stops. An intense HUM. Everyone looks up. An enormous, pig-shaped spaceship hovers above them.</scene_description>
<character>BUZZ</character>
<dialogue>Evil Dr. Porkchop!!!</dialogue>
<scene_description>We FLY UP to...</scene_description>
</scene>
<scene>
<stage_direction>INT. SPACESHIP - DAY</stage_direction>
<scene_description>DR. PORKCHOP (Hamm) sits on the bridge, sporting a bowler.</scene_description>
<character>EVIL DR. PORKCHOP</character>
<dialogue>That's Mr. Evil Dr. Porkchop to you!</dialogue>
<scene_description>Bart, Betty, Slinky, and the Aliens are suddenly beamed up. Hamm flips open a switch. A red button: DEATH BY MONKEYS. He pushes it. The ship's belly swings open. A yellow barrel is dropped. The barrel falls. It explodes into a mushroom cloud of crazed red monkeys. Woody, Buzz and Jessie flee. The Monkeys come after them. Rex ROARS. The Monkeys swarm over him, taking him down. Woody, Buzz and Jessie are overtaken and pinned down. The spaceship's snout rotates and opens. A giant laser cannon powers up with a deafening HUM. Bart LAUGHS and reaches for a button marked with a skull and crossbones... Jessie turns away, eyes shut. Bart LAUGHS louder. Buzz turns away. Bart CACKLES -- finger on the trigger. Woody grimaces... CUT TO:</scene_description>
</scene>
<scene>
<stage_direction>INT. ANDY'S ROOM - DAY</stage_direction>
<scene_description>Andy imitates One-Eyed Bart's LAUGH. On Woody and Buzz. Andy's hands move Woody as he "talks".</scene_description>
<character>YOUNG ANDY (AS WOODY)</character>
<dialogue>Buzz! Shoot your laser at my badge!</dialogue>
<character>YOUNG ANDY (AS BUZZ)</character>
<dialogue>Woody, no! It'll kill you!</dialogue>
<character>YOUNG ANDY (AS WOODY)</character>
<dialogue>Just do it!</dialogue>
<scene_description>Andy presses Buzz's laser, makes a ricochet sound -- PSHOO! -- off Woody's badge and traces a line into the air... ...Where Hamm, the Potato Heads and the Aliens perch on a winged cardboard box, crudely fashioned into a spaceship, that dangles from the ceiling. Andy hits the carton -- PPPKOOOOOSHHH!!! The Toys tumble to pillows on the floor. CUT TO: CAMCORDER POV - HANDHELD MOM'S hand pushes open a door. Andy, 8, in his cowboy hat, jumps around making EXPLOSION NOISES. He's turned his room into a Western "set" complete with a Tinkertoy trestle bridge, a Barrel of Monkeys, etc.</scene_description>
<character>YOUNG ANDY</character>
<parenthetical>(as Woody)</parenthetical>
<dialogue>You're going to jail, Bart.</dialogue>
<scene_description>Camera ZOOMS IN. Andy looks up, stops.</scene_description>
<character>YOUNG ANDY</character>
<dialogue>Mom...!?</dialogue>
<character>MOM (O.C.)</character>
<dialogue>No, no...! Keep playing! Just pretend I'm not here.</dialogue>
<scene_description>Suddenly, MOLLY, 2, toddles in, knocking over Tinker Toys.</scene_description>
<character>MOM (O.C.)</character>
<dialogue>Oh, no! Molly...!</dialogue>
<character>YOUNG ANDY</character>
<dialogue>No, it's okay, Mom! It's... A 50- foot baby from outer space! She's on a rampage! Run for your lives!</dialogue>
<scene_description>Andy races around. Chaos, laughing. Buster enters, BARKING. The CAMERA PIVOTS UPSIDE-DOWN, revealing Mom's face.</scene_description>
<character>MOM</character>
<dialogue>Does the red light mean it's going?</dialogue>
<scene_description>The TAPE GLITCHES and we JUMP TO... BEGIN MUSIC -- "You've Got A Friend In Me"</scene_description>
</scene>
<scene>
<stage_direction>INT. ANDY'S KITCHEN - DAY - HANDHELD CAMCORDER POV</stage_direction>
<scene_description>Molly sits in a high chair, party hat on, eating cake. Camera PANS Andy's Toys, wearing party hats. End on Andy, holding Woody, stuffing cake in his mouth.</scene_description>
<character>MOM (O.C.)</character>
<dialogue>Come on, say 'Happy Birthday' to Molly...</dialogue>
<character>YOUNG ANDY</character>
<parenthetical>(mouth full)</parenthetical>
<dialogue>Happhy Brffday!</dialogue>
<character>MOM (O.C.)</character>
<dialogue>Oh, charming.</dialogue>
<scene_description>Andy holds Woody up to CAMERA, cake crumbs flying.</scene_description>
<character>YOUNG ANDY (AS WOODY)</character>
<dialogue>Happhy Brffday!!!</dialogue>
<scene_description>JUMP TO:</scene_description>
</scene>
<scene>
<stage_direction>INT. ANDY'S ROOM - DAY - HANDHELD CAMCORDER POV</stage_direction>
<scene_description>Mom pencils a line above Andy's head onto the door frame.</scene_description>
<character>MOM (O.C.)</character>
<dialogue>Look how tall you're getting!</dialogue>
<scene_description>Andy steps away and beams. JUMP TO:</scene_description>
</scene>
<scene>
<stage_direction>INT. ANDY'S ROOM - DAY - HANDHELD CAMCORDER POV</stage_direction>
<scene_description>Andy holds Woody against the door frame, marks a line above Woody's head. ZOOM OUT to reveal lines and labels for all the toys, including for "Slinky" and "Slinky's Butt". JUMP TO:</scene_description>
</scene>
<scene>
<stage_direction>EXT. FRONT YARD - DAY - HANDHELD CAMCORDER POV</stage_direction>
<scene_description>Andy gives Woody a piggyback ride. JUMP TO:</scene_description>
</scene>
<scene>
<stage_direction>INT. ANDY'S ROOM - DAY - HANDHELD CAMCORDER POV</stage_direction>
<scene_description>Andy holds Buzz towards camera, shoots his laser.</scene_description>
<character>BUZZ</character>
<dialogue>"Buzz Lightyear to the rescue!"</dialogue>
<character>ANDY (AS WOODY)</character>
<dialogue>Good work Buzz!</dialogue>
<scene_description>Andy makes Buzz and Woody high five. JUMP TO:</scene_description>
</scene>
<scene>
<stage_direction>INT. ANDY'S ROOM - NIGHT - HANDHELD CAMCORDER POV</stage_direction>
<scene_description>Andy lies in a pillow fort, surrounded by toys, eating from a huge bowl of popcorn, and watching an off-screen TV. He stuffs popcorn in Rex's mouth, turns back to the TV. His eyes widen. The popcorn tumbles out of Rex's mouth. JUMP TO:</scene_description>
</scene>
<scene>
<stage_direction>EXT. ANDY'S FRONT YARD - DAY - HANDHELD CAMCORDER POV</stage_direction>
<scene_description>Andy rockets Jessie and Bullseye around the front yard, while Mom struggles to keep him in the FRAME. JUMP TO:</scene_description>
</scene>
<scene>
<stage_direction>INT. ANDY'S ROOM - DAY - HANDHELD CAMCORDER POV</stage_direction>
<scene_description>Andy, laughing, spins around, falls on his bed, pulls his toys close -- holding Woody, Buzz and Jessie in the warm, glowing embrace of a child's innocent and boundless love. The song FADES on "Our friendship will never die..." FADE TO BLACK:</scene_description>
<character>WOODY (V.O.)</character>
<dialogue>Okay -- places, everyone! C'mon, get in position!</dialogue>
</scene>
<scene>
<stage_direction>INT. TOY CHEST, ANDY'S ROOM - DAY</stage_direction>
<scene_description>Dark, crowded. Toys crammed together. Light seeps in. Nervous, backstage jitters. They speak in HUSHED TONES.</scene_description>
<character>MRS. POTATO HEAD</character>
<dialogue>Wait -- I can't find my other eye!</dialogue>
<character>HAMM</character>
<dialogue>Someone's foot is in my face...</dialogue>
<character>MR. POTATO HEAD</character>
<dialogue>It's mine! Give it back!</dialogue>
<character>ALIENS</character>
<dialogue>You saved our lives! We are eternally grateful!</dialogue>
<scene_description>Potato Head groans. Buzz sits by the rim. Jessie climbs up.</scene_description>
<character>JESSIE</character>
<dialogue>Buzz, mind if I squeeze in next to ya?!</dialogue>
<character>BUZZ</character>
<dialogue>Yes! No! I mean...! Why would I mind?! Squeezing next to... You!</dialogue>
<scene_description>He laughs, nervous. She grins. Finally, he turns away.</scene_description>
<character>BUZZ</character>
<dialogue>Is it hot in here?</dialogue>
<character>REX (O.S.)</character>
<dialogue>Here they come!</dialogue>
<scene_description>The Toys clamber to the rim and gaze out. POV -- SARGE and two ARMY MEN slip in the room, dragging something in a gym sock. The Army Men arrive at the chest. Woody peers down.</scene_description>
<character>WOODY</character>
<dialogue>Sarge! You got it...?!</dialogue>
<character>SARGE</character>
<dialogue>Mission accomplished!</dialogue>
<scene_description>The Toys are thrilled. The Army Men hoist the sock up.</scene_description>
<character>WOODY</character>
<dialogue>Careful...! Careful!!!</dialogue>
<scene_description>Buzz turns the sock upside-down. A cell phone slides out. Toys gather around.</scene_description>
<character>WOODY</character>
<dialogue>All right, guys. We got one shot at this. Everyone ready?</dialogue>
<character>JESSIE</character>
<dialogue>We're ready, Woody! Let's do it!</dialogue>
<character>WOODY</character>
<dialogue>Buzz -- make the call.</dialogue>
<scene_description>Buzz flips open his wrist cover. A phone number is written inside. Jessie pulls out a cordless phone, leans close to Buzz. Buzz chuckles, nervous. Jessie dials the phone. Woody tosses the cell phone to Rex. Jessie gets to the last digit, hits it. Silence. Suddenly, the cell phone RINGS. Rex yelps. Buzz, Jessie and Woody peer over the rim. FOOTSTEPS on the stairs.</scene_description>
<character>BUZZ</character>
<dialogue>Target is on approach.</dialogue>
<scene_description>Woody's eyes are fixed on the door.</scene_description>
<character>WOODY</character>
<dialogue>Just like we rehearsed it, guys...</dialogue>
<scene_description>The door opens. ANDY enters but we only SEE his jean-clad legs. He scans the room, zeroes in on the toy chest. He lifts the lid REVEALING... Andy is a teenager. His hair is long and his voice deep, but he has the same kind face. He looks down, puzzled. The Toys lie, lifeless, amid sports equipment and clothing. The phone RINGS again. Andy's hand rummages. Woody hugs the cordless as Andy's fingers pass by and find the cell phone. He pulls it out. The phone is stuck in Rex's arms. Andy pulls. Rex clings. Andy finally yanks the phone loose.</scene_description>
<character>ANDY</character>
<dialogue>Hello...?</dialogue>
<scene_description>CLOSE ON -- Woody, holding the phone. He closes his eyes.</scene_description>
<character>ANDY (ON PHONE)</character>
<dialogue>Hello...?! Anyone there?</dialogue>
<scene_description>Andy hangs up, turns.</scene_description>
<character>ANDY</character>
<dialogue>Molly, stay outta my room!</dialogue>
<character>MOLLY (O.S.)</character>
<dialogue>I wasn't in your room!</dialogue>
<scene_description>Andy scoffs, looks down at Rex in his hand. Rex lies frozen, smiling -- eager to be played with. Andy drops Rex in the box, shuts the lid, heads out.</scene_description>
<character>ANDY</character>
<dialogue>Then who was messing with my stuff?</dialogue>
<character>MOLLY (O.S.)</character>
<dialogue>It wasn't me...!</dialogue>
<scene_description>He departs, closing the door -- CLICK. CREAK -- Woody and Buzz push the chest open, share a look. The other Toys climb out.</scene_description>
<character>MR. POTATO HEAD</character>
<dialogue>Well, that went well!</dialogue>
<scene_description>They spill out onto the floor. The room has changed -- rock posters, guitar, skateboard, other teen detritus.</scene_description>
<character>REX</character>
<dialogue>He held me! He actually held me!</dialogue>
<character>HAMM</character>
<dialogue>Oh, this is just sad.</dialogue>
<character>MR. POTATO HEAD</character>
<dialogue>Who are we kiddin'? The kid's seventeen years old!</dialogue>
<scene_description>Woody and Buzz jump down, exchange a glance. Buzz nods. Woody waves his arms.</scene_description>
<character>WOODY</character>
<dialogue>Guys, hey, hold up! We need a staff meeting! Everyone? A staff meeting!</dialogue>
<scene_description>GROANS of boredom.</scene_description>
<character>HAMM</character>
<dialogue>Not again...!</dialogue>
<character>WOODY</character>
<dialogue>Oh, come on! Slink? Gather everyone up!</dialogue>
<character>SLINKY</character>
<dialogue>Uh... We are gathered, Woody!</dialogue>
<scene_description>The Toy Community is a lot smaller. Woody rolls with it.</scene_description>
<character>WOODY</character>
<dialogue>Okay. First off -- we all knew Operation Playtime was a long shot...</dialogue>
<character>MR. POTATO HEAD</character>
<dialogue>More like a misfire!</dialogue>
<character>WOODY</character>
<dialogue>...But we've always said this job isn't about getting played with. It's about...</dialogue>
<character>JESSIE</character>
<dialogue>...Being there for Andy. We know.</dialogue>
<character>REX</character>
<dialogue>But we can try again, right?</dialogue>
<scene_description>Woody looks at all of them. He shakes his head.</scene_description>
<character>WOODY</character>
<dialogue>I'm callin' it, guys. We're closin' up shop.</dialogue>
<scene_description>Gasps. Everyone is crushed by this news.</scene_description>
<character>WOODY</character>
<dialogue>Andy's going to college any day now... That was our last shot.</dialogue>
<scene_description>Mrs. Potato Head begins to sniffle. Buzz steps forward.</scene_description>
<character>BUZZ</character>
<dialogue>We're going into Attic Mode, folks. Keep your accessories with you at all times -- spare parts, batteries... Anything you need for an orderly transition.</dialogue>
<scene_description>Potato Head steps up.</scene_description>
<character>MR. POTATO HEAD</character>
<dialogue>"Orderly?" Don't you get it?! We're done! Finished! Over the hill!</dialogue>
<character>WOODY</character>
<dialogue>Hey, hey, now come on, guys! We all knew this day was coming!</dialogue>
<scene_description>Buzz, in FOREGROUND, sees something off-screen, frowns. POV -- Sarge and the Army Men climb up onto Andy's desk. The other Toys keep arguing.</scene_description>
<character>HAMM (O.C.)</character>
<dialogue>Yeah, but now its here!</dialogue>
<character>WOODY (O.C.)</character>
<dialogue>Look, every toy goes through this! No one wants to see their kid leave!</dialogue>
<character>BUZZ</character>
<dialogue>Hey! Sarge! What are you doing?!</dialogue>
<scene_description>Everyone turns. Sarge and his last two Soldiers climb to the window sill.</scene_description>
<character>SARGE</character>
<dialogue>War's over, folks. Me 'n the boys are movin' on.</dialogue>
<character>WOODY</character>
<dialogue>Moving on...?!</dialogue>
<character>BUZZ</character>
<dialogue>You're going AWOL?!</dialogue>
<character>SARGE</character>
<dialogue>We done our duty. Andy's grown up.</dialogue>
<character>SOLDIER ONE</character>
<dialogue>And let's face it -- when the trash bags come out, we Army guys are the first to go.</dialogue>
<character>BUZZ</character>
<dialogue>Trash bags...?!</dialogue>
<character>WOODY</character>
<dialogue>Who said anything about trash bags?</dialogue>
<character>SARGE</character>
<dialogue>It has been an honor serving with you. Good luck, folks.</dialogue>
<scene_description>Sarge straps in tandem with Soldier One. They leap. Their parachute opens and the wind carries them off.</scene_description>
<character>SOLDIER TWO</character>
<dialogue>You're gonna need it...!</dialogue>
<scene_description>He jumps and flies off too. The Toys are stunned.</scene_description>
<character>WOODY</character>
<dialogue>No, no... Wait...! Wait! Wait!!!</dialogue>
<character>REX</character>
<dialogue>We're getting thrown away?!</dialogue>
<character>WOODY</character>
<dialogue>No! No one's getting thrown away!</dialogue>
<character>MR. POTATO HEAD</character>
<dialogue>How do you know?!</dialogue>
<scene_description>Jessie begins to panic.</scene_description>
<character>JESSIE</character>
<dialogue>We're being abandoned...!</dialogue>
<character>BUZZ</character>
<dialogue>We'll be fine, Jessie!</dialogue>
<character>HAMM</character>
<dialogue>So why did Sarge leave?!</dialogue>
<character>MRS. POTATO HEAD</character>
<dialogue>Should we leave?!</dialogue>
<character>SLINKY</character>
<dialogue>I thought we were goin' to the attic!</dialogue>
<character>REX</character>
<dialogue>Oh, I hate all this uncertainty...!</dialogue>
<scene_description>Woody turns, waves his arms.</scene_description>
<character>WOODY</character>
<dialogue>Whoa, whoa! Hold on! Quiet!!! No one's getting thrown out, okay?! We're all still here, aren't we?!</dialogue>
<parenthetical>(beat)</parenthetical>
<dialogue>I mean, yeah, we've lost friends along the way -- Wheezy and Etch and...</dialogue>
<character>REX</character>
<dialogue>Bo Peep...?</dialogue>
<scene_description>Woody nods, stoic.</scene_description>
<character>WOODY</character>
<dialogue>Even... Even Bo. All good toys who've gone on to new owners. But through every yard sale, every spring cleaning, Andy held on to us. He must care about us or we wouldn't be here. You wait -- Andy's gonna tuck us in the attic. It'll be safe and warm...</dialogue>
<character>BUZZ</character>
<dialogue>...And we'll all be together.</dialogue>
<character>WOODY</character>
<dialogue>Exactly. There's games up there, and books... And, and...</dialogue>
<character>BUZZ</character>
<dialogue>The race-car track...</dialogue>
<character>WOODY</character>
<dialogue>The race-car track. Thank you!</dialogue>
<character>SLINKY</character>
<dialogue>And the old TV...!</dialogue>
<character>WOODY</character>
<dialogue>There you go -- the old TV! And those guys from the Christmas decorations box! They're fun, right?</dialogue>
<scene_description>The Toys shrug, MURMUR in semi-agreement. Woody softens.</scene_description>
<character>WOODY</character>
<dialogue>And someday -- if we're lucky -- Andy may have kids of his own...</dialogue>
<character>REX</character>
<dialogue>And he'll play with us then, right?</dialogue>
<scene_description>Woody looks at Rex, unable to say "yes".</scene_description>
<character>WOODY</character>
<dialogue>We'll always be there for him.</dialogue>
<character>BUZZ</character>
<dialogue>Come on, guys! Let's get our parts together, get ready, and go out on a high note.</dialogue>
<scene_description>The Toys disperse.</scene_description>
<character>MRS. POTATO HEAD</character>
<dialogue>I'd better find my other eye...</dialogue>
<character>MR. POTATO HEAD</character>
<dialogue>Where'd ya leave it this time?</dialogue>
<scene_description>She puts a hand over her empty eye socket.</scene_description>
<character>MRS. POTATO HEAD</character>
<dialogue>Someplace dark. And dusty!</dialogue>
<scene_description>Hamm turns to Rex.</scene_description>
<character>HAMM</character>
<dialogue>C'mon. Let's see how much we're goin' for on eBay...</dialogue>
<scene_description>Woody watches as the Toys trudge off.</scene_description>
<character>WOODY</character>
<dialogue>Don't worry. Andy's gonna take care of us. I guarantee it.</dialogue>
<scene_description>ON THE DRESSER Woody climbs up, surveys the room -- posters, guitar, textbooks. He turns to a cork board where Andy's high school graduation photo is pinned. He lifts it to find... A SNAPSHOT shows an eight-year-old Andy wearing a cowboy hat and posing with Woody and Buzz and all of Andy's toys. Woody gazes at the halcyon past he can never return to. Buzz steps up behind him.</scene_description>
<character>BUZZ</character>
<dialogue>You guarantee it, huh...?</dialogue>
<character>WOODY</character>
<dialogue>I dunno, Buzz. What else could I say?</dialogue>
<character>BUZZ</character>
<dialogue>Whatever happens, at least we'll be together.</dialogue>
<scene_description>CLOSE ON -- The SNAPSHOT of young Andy.</scene_description>
<character>WOODY (O.C.)</character>
<dialogue>For Infinity and Beyond...</dialogue>
<scene_description>FOOTSTEPS on the stairs. Woody and Buzz turn.</scene_description>
<character>MOLLY (O.S.)</character>
<dialogue>Can I have your stereo?</dialogue>
<character>ANDY (O.S.)</character>
<dialogue>No!</dialogue>
<character>MOLLY (O.S.)</character>
<dialogue>Why not?</dialogue>
<character>ANDY (O.S.)</character>
<dialogue>'Cause I'm taking it with me!</dialogue>
<scene_description>The Toys scramble back into the toy chest. Andy enters with Molly close behind.</scene_description>
<character>MOLLY</character>
<dialogue>Can I have your computer?</dialogue>
<character>ANDY</character>
<dialogue>No!</dialogue>
<character>MOLLY</character>
<dialogue>Your video games?</dialogue>
<character>ANDY</character>
<dialogue>Forget it, Molly!</dialogue>
<scene_description>Molly sighs, walks off. Andy starts typing on his laptop. Andy's Mom enters carrying cardboard boxes and trash bags.</scene_description>
<character>MOM</character>
<dialogue>Okay, Andy, let's get to work here. Anything you're not taking to college either goes in the attic, or it's trash.</dialogue>
<scene_description>She picks up a box and writes "College" in magic marker. Andy stares at his computer.</scene_description>
<character>ANDY</character>
<dialogue>Mom, I'm not leaving 'til Friday!</dialogue>
<character>MOM</character>
<dialogue>C'mon -- it's garbage day.</dialogue>
<character>ANDY</character>
<dialogue>Mom...!</dialogue>
<scene_description>She picks up his skateboard, puts it in the "College" box.</scene_description>
<character>MOM</character>
<dialogue>Look, it's simple: Skateboard? College. Little league trophy? Probably attic. Apple core? Trash. You can do the rest.</dialogue>
<scene_description>She tosses an apple core in a trash bag, hands it to Andy. Molly opens the Toy Chest.</scene_description>
<character>MOLLY</character>
<dialogue>Why do you still have these Toys?</dialogue>
<character>ANDY</character>
<dialogue>Molly, out of my room...!</dialogue>
<character>MOLLY</character>
<dialogue>Three more days and it's mine...!</dialogue>
<scene_description>She strides out the door.</scene_description>
<character>MOM</character>
<dialogue>Molly, you're not off the hook either!</dialogue>
<scene_description>THE TOY CHEST The Toys watch as Mom picks up a box, enters Molly's room.</scene_description>
<character>MOM</character>
<dialogue>You have more toys than you know what to do with. Some of 'em could make other kids really happy...</dialogue>
<character>MOLLY</character>
<dialogue>What kids...?</dialogue>
<character>MOM</character>
<dialogue>The children at the day care. They're always asking for donations.</dialogue>
<scene_description>Rex whispers.</scene_description>
<character>REX</character>
<dialogue>What's "day care"?</dialogue>
<character>WOODY</character>
<dialogue>Shhh...!!!</dialogue>
<scene_description>Mom writes SUNNYSIDE on the box. Molly pouts.</scene_description>
<character>MOLLY</character>
<dialogue>But, Mom...</dialogue>
<character>MOM</character>
<dialogue>No "buts". You choose the toys you wanna donate. I'll drop 'em off at Sunnyside.</dialogue>
<scene_description>Mom leaves. Molly sighs -- Moms! -- surveys the room. She picks up a xylophone, a Magic 8-Ball, puts them in the box. She picks up her old Barbie. MOLLY POV -- Barbie smiles, desperately eager to please. Molly, indifferent, tosses Barbie into the box, then buries her face in a "Teen" magazine. THE TOY CHEST Across the hall, the Toys react.</scene_description>
<character>JESSIE</character>
<dialogue>Poor Barbie...!</dialogue>
<character>HAMM</character>
<dialogue>I get the Corvette.</dialogue>
</scene>
<scene>
<stage_direction>INT. ANDY'S ROOM - DAY</stage_direction>
<scene_description>Mom walks back and finds Andy still on his laptop.</scene_description>
<character>MOM</character>
<dialogue>Andy, come on -- you need to start making decisions.</dialogue>
<character>ANDY</character>
<dialogue>Like what?</dialogue>
<scene_description>She pulls open the toy chest.</scene_description>
<character>MOM</character>
<dialogue>Like, what are you gonna do with these toys? Should we donate 'em to Sunnyside?</dialogue>
<character>ANDY</character>
<dialogue>No...!</dialogue>
<character>MOM</character>
<dialogue>Maybe sell them online...?</dialogue>
<character>ANDY</character>
<dialogue>Mom -- no one's gonna want those old toys. They're junk!</dialogue>
<scene_description>THE TOYS Silently hear this bombshell. Mom lowers the lid.</scene_description>
<character>MOM</character>
<dialogue>Fine. You have 'til Friday -- anything that's not packed for college, or in the attic, is getting thrown out.</dialogue>
<character>ANDY</character>
<dialogue>"Whatever you say, Mom."</dialogue>
<scene_description>He stares at his laptop. She shakes her head, exits. Andy sighs, closes his laptop. He turns, surveys his room. He rolls his chair to the toy chest and opens the lid. Inside are the Toys -- his old friends. They lie frozen, smiling, forever eager to play. Andy gazes at them, making a decision. Abruptly, he grabs a trash bag, snaps it open. He picks up the Toys -- Rex, Potato Head, Jessie -- tosses them in. He pulls Hamm's cork, empties the change out, and dumps him, with rest of the Toys, in the trash bag. Then Andy picks up Buzz and Woody, looks at them. POV -- Buzz, grinning and heroic. Woody, smiling and loyal. TOYS POV -- Andy turns, tosses Woody in the College box. The Toys gasp. Andy drops Buzz into the garbage bag. IN THE BAG Buzz is stunned and hurt. Andy cinches the bag closed and carries it from the room. Behind him, Woody pops up from the College box, shocked. IN THE BAG It's dim and crowded.</scene_description>
<character>REX</character>
<dialogue>What's happening...?!!!</dialogue>
<character>MR. POTATO HEAD</character>
<dialogue>We're getting thrown out, you idiot! That's what's happening!!!</dialogue>
<scene_description>Woody jumps from the box, runs across the room, hides behind the door frame. Andy walks onto the hall landing, reaches up, and pulls open a trapdoor ladder that leads to the attic. Woody watches, relieved. Andy begins climbing to the attic. One rung... Two... Molly enters the hall landing, struggling with her box. It hits the door frame. A Magic 8-Ball falls out.</scene_description>
<character>ANDY</character>
<dialogue>You need a hand?</dialogue>
<character>MOLLY</character>
<dialogue>I got it...</dialogue>
<scene_description>Andy steps down, leaves the bag at the foot of the ladder, grabs the 8-Ball. He helps Molly carry her box downstairs.</scene_description>
<character>ANDY</character>
<dialogue>Here. So, you gonna miss me when I'm gone?</dialogue>
<character>MOLLY</character>
<dialogue>If I say 'no', do I still get your room?</dialogue>
<character>ANDY</character>
<dialogue>Nope.</dialogue>
<character>MOLLY</character>
<dialogue>Then, yes, I'll miss you.</dialogue>
<scene_description>They disappear. IN THE BAG The Toys are piled all over each other. Jessie is hyper- ventilating. Buzz looks around -- plotting his next move.</scene_description>
<character>JESSIE</character>
<dialogue>I can't breathe!</dialogue>
<character>REX</character>
<dialogue>This can't be happening!!!</dialogue>
<character>BUZZ</character>
<dialogue>Quiet...!!!! What's that sound?</dialogue>
<scene_description>They all listen. A faint CREAKING. ON THE LANDING The attic ladder -- spring loaded -- retracts, pushing the toy-filled trash bag out of the way. IN THE BAG The bag is tipped over. The Toys tumble over each other.</scene_description>
<character>TOYS</character>
<dialogue>Whooaaaaa...!!!</dialogue>
<scene_description>ON THE LANDING The ladder pushes free and rises to the ceiling, retracting completely. Woody tiptoes into the hall toward the bag. Suddenly, Mom enters carrying a trash bag. Woody retreats. Mom trips over the toy-filled bag, looks down -- irritated.</scene_description>
<character>MOM</character>
<dialogue>Andy...?!</dialogue>
<scene_description>No answer. Mom sighs, picks up the toy-filled bag and exits, carrying it downstairs. ANDY'S ROOM Woody -- at the door -- is electrified.</scene_description>
<character>WOODY</character>
<dialogue>That's not trash! That's not trash!!</dialogue>
<scene_description>He steps back, mind reeling.</scene_description>
<character>WOODY</character>
<dialogue>Think, Woody...! Think! Think!</dialogue>
<parenthetical>(an idea)</parenthetical>
<dialogue>Oooh!</dialogue>
<parenthetical>(whistles)</parenthetical>
<dialogue>Buster! C'mere, boy! C'mere!</dialogue>
<scene_description>Off-screen PAWS and the JINGLE of a dog collar. Buster enters -- old, saggy, panting. Woody vaults onto his back.</scene_description>
<character>WOODY</character>
<dialogue>Okay, boy! To the curb! Hyah!!!</dialogue>
<scene_description>Buster yawns and flops over, pinning Woody under him.</scene_description>
<character>WOODY</character>
<dialogue>No, Buster, no...!</dialogue>
<scene_description>Woody grabs Buster by the jowls, pulls him backwards. Finally, Buster rolls over. Woody sits up, gasping. Off-screen, a door SLAMS. Woody turns. Woody rushes to the window, gazes out. POV -- Mom drops the trash bags at the curb. WHIP PAN -- Rumbling up the street is a garbage truck. Woody gasps. IN THE BAG Mounting panic.</scene_description>
<character>JESSIE</character>
<dialogue>We're on the curb!</dialogue>
<character>MR. POTATO HEAD</character>
<dialogue>Oh, I knew it would come to this!</dialogue>
<scene_description>Buzz grabs the side of the bag, tries to tear it open.</scene_description>
<character>BUZZ</character>
<dialogue>Pull, everyone! Pull!!!</dialogue>
</scene>
<scene>
<stage_direction>EXT. ANDY'S HOUSE - DAY</stage_direction>
<scene_description>Woody grabs a pair of scissors, shoves them in his holster. He lunges for the drainpipe, slides down, hits a gutter and tumbles into the bushes below. CRASH! IN THE BAG The Toys follow Buzz's lead, pulling the sides of the bag.</scene_description>
<character>REX</character>
<dialogue>It won't rip!</dialogue>
<character>HAMM</character>
<dialogue>Ah, forget it! It's triple-ply high- density polyethylene!</dialogue>
<character>BUZZ</character>
<dialogue>There's gotta be a way out!</dialogue>
<character>MR. POTATO HEAD</character>
<dialogue>Andy doesn't want us! What's the point?</dialogue>
<character>BUZZ</character>
<parenthetical>(thinking)</parenthetical>
<dialogue>Point... Point... POINT!!!</dialogue>
<scene_description>Buzz looks at Rex's pointy tail. OUTSIDE THE BAG The truck RUMBLES closer, two driveways away. IN THE BAG The Toys follow Buzz, shoving Rex backwards.</scene_description>
<character>BUZZ</character>
<dialogue>Push! Push!!!</dialogue>
<character>REX</character>
<dialogue>I can hear the garbage truck!</dialogue>
<scene_description>OUTSIDE THE BAG The bag stretches. Rex's tail is nearly through. IN THE BAG</scene_description>
<character>REX</character>
<dialogue>It's getting closer-fffmmm!</dialogue>
<scene_description>Rex is muffled by a mouthful of plastic. IN THE YARD Woody uses the scissors to snip his way out of the bush. The garbage truck approaches Andy's driveway. Woody races out, dives behind the mail box post. The GARBAGE MAN is in head phones, playing air guitar, drumming the mail box. He empties a garbage can into the truck. Woody ducks from behind the post, plunges his scissors into a garbage bag. Garbage spills out: wrong bag. He tries another. No luck. As the Garbage Man turns, Woody ducks behind the post. The Garbage Man grabs the last bags, tosses them in the truck. He climbs on a running board, SLAPS the side. The truck shifts into gear and lurches off down the street. THE STREET As the truck rumbles off, Woody ducks from behind the mail box, runs after it. The truck pulls up at the next house. Woody hides behind a fire hydrant. The Garbage Man hops off the runner, yanks a lever. The truck's compactor lowers, scoops up the trash bags. From behind the hydrant, Woody watches in horror. The compactor retracts, CRUNCHING the bags remorselessly.</scene_description>
<character>WOODY</character>
<dialogue>Buzz...!!! Jessie...!!!</dialogue>
<scene_description>A TINKLE. Woody turns. In Andy's driveway, an upside-down recycling bin scurries on little feet into the garage. Woody sighs, relieved.</scene_description>
</scene>
<scene>
<stage_direction>INT. GARAGE - DAY</stage_direction>
<scene_description>The Toys cast off the bin. They are traumatized.</scene_description>
<character>SLINKY</character>
<dialogue>Andy threw us out...!</dialogue>
<character>HAMM</character>
<dialogue>Like we were garbage...!</dialogue>
<character>MR. POTATO HEAD</character>
<dialogue>"Junk"! He called us "junk"!</dialogue>
<character>MRS. POTATO HEAD</character>
<dialogue>How could he...?!</dialogue>
<scene_description>She SOBS on Mr. Potato Head's shoulder.</scene_description>
<character>BUZZ</character>
<parenthetical>(to himself)</parenthetical>
<dialogue>This doesn't make any sense...!</dialogue>
<scene_description>Jessie is furious.</scene_description>
<character>JESSIE</character>
<dialogue>I should'a seen this coming! It's Emily all over again!</dialogue>
<scene_description>She turns and scans the garage -- galvanized, determined.</scene_description>
<character>HAMM</character>
<dialogue>Sarge was right...!</dialogue>
<character>MR. POTATO HEAD</character>
<dialogue>Yeah! And Woody was wrong!</dialogue>
<character>BUZZ</character>
<dialogue>Wait a minute! Hold on! This is no time to be hysterical.</dialogue>
<character>HAMM</character>
<dialogue>It's the perfect time to be hysterical!</dialogue>
<character>REX</character>
<parenthetical>(hysterical)</parenthetical>
<dialogue>Should we be hysterical...?!!!</dialogue>
<character>SLINKY</character>
<dialogue>No!</dialogue>
<character>MR. POTATO HEAD</character>
<dialogue>Yes!</dialogue>
<character>BUZZ</character>
<dialogue>Maybe! But not right now!</dialogue>
<character>JESSIE (O.S.)</character>
<dialogue>Yeeeeeeeeeeeeeee--hawwwwwwwwww...!!!</dialogue>
<scene_description>Everyone turns. Jessie is smiling.</scene_description>
<character>JESSIE</character>
<dialogue>Fellas -- I know what to do!</dialogue>
<scene_description>They follow her gaze. In the hatchback of Mom's car is Molly's box of toys, marked SUNNYSIDE.</scene_description>
</scene>
<scene>
<stage_direction>EXT. ANDY'S YARD - DAY</stage_direction>
<scene_description>Woody darts from a tree to a landscape boulder, sneaking towards the garage. He peeks out from behind a flowerpot.</scene_description>
<character>WOODY</character>
<dialogue>What the heck...?!</dialogue>
<scene_description>WOODY'S POV -- The Toys clamber into the Donation Box.</scene_description>
</scene>
<scene>
<stage_direction>INT. CAR / GARAGE - DAY</stage_direction>
<scene_description>Buzz stands outside the Donation Box as the other Toys clamber in. Jessie helps the Aliens up into the box.</scene_description>
<character>JESSIE</character>
<dialogue>We should'a done this years ago!</dialogue>
<character>BUZZ</character>
<dialogue>Jessie, wait...! What about Woody?!</dialogue>
<character>JESSIE</character>
<dialogue>He's fine, Buzz! Andy's takin' him to college! Now we need to go!</dialogue>
<scene_description>Buzz looks at her and the others.</scene_description>
<character>BUZZ</character>
<dialogue>You're right. Come on!</dialogue>
<scene_description>He helps pass the Aliens up. Woody approaches, incredulous.</scene_description>
<character>WOODY</character>
<dialogue>Buzz...?</dialogue>
<character>BUZZ</character>
<dialogue>Woody...!</dialogue>
<character>WOODY</character>
<dialogue>What's going on? Don't you know this box is being donated!</dialogue>
<character>BUZZ</character>
<dialogue>It's under control! We have a plan!</dialogue>
<character>REX</character>
<dialogue>We're going to Day Care!</dialogue>
<character>WOODY</character>
<dialogue>Day Care?! What -- have you all lost your marbles?!</dialogue>
<character>MRS. POTATO HEAD</character>
<dialogue>Didn't you see? Andy threw us away!</dialogue>
<character>WOODY</character>
<dialogue>No...! No, no, no! He was putting you in the attic!</dialogue>
<character>MR. POTATO HEAD</character>
<dialogue>Attic? So how'd we end up on the curb?!</dialogue>
<character>WOODY</character>
<dialogue>That was a mistake! Andy's Mom thought you were trash!</dialogue>
<character>HAMM</character>
<dialogue>Yeah! After he put us in a trash bag!</dialogue>
<character>MRS. POTATO HEAD</character>
<dialogue>And called us "junk"!</dialogue>
<character>WOODY</character>
<dialogue>I know it looks bad but, guys, ya gotta believe me!</dialogue>
<character>MR. POTATO HEAD</character>
<dialogue>Sure thing, "College Boy"!</dialogue>
<character>JESSIE</character>
<dialogue>Andy's movin' on, Woody! It's time we did the same.</dialogue>
<scene_description>Jessie and the others duck in the box, pull the flaps shut.</scene_description>
<character>WOODY</character>
<dialogue>Okay, out of the box! Everyone, right now! Come on! Buzz -- gimme a hand. We gotta get this thing outta here!</dialogue>
<scene_description>He walks around and tries to push the box out of the car.</scene_description>
<character>BUZZ</character>
<dialogue>Woody -- wait! We need to figure out what's best for every--...</dialogue>
<scene_description>SLAM!!! The hatchback shuts. Buzz and Woody turn. Through the window, Andy's Mom walks to the driver's seat, gets in. Woody and Buzz crouch down.</scene_description>
<character>WOODY</character>
<dialogue>Oh, great! Great!!! It's gonna take us forever to get back here!</dialogue>
<scene_description>The car lurches into gear and drives off.</scene_description>
</scene>
<scene>
<stage_direction>INT. DONATION BOX / CAR - DAY</stage_direction>
<scene_description>The Toys have gathered around Barbie, who is sniffling. Mrs. Potato Head pats her shoulder.</scene_description>
<character>MRS. POTATO HEAD</character>
<dialogue>It's all right, Barbie. You'll be okay!</dialogue>
<scene_description>Barbie nods, putting on a brave front.</scene_description>
<character>BARBIE</character>
<dialogue>Well... Molly and I have been growing apart for years, it's just... I can't believe she would throw me away!</dialogue>
<scene_description>She breaks down again. Potato Head rolls his eyes.</scene_description>
<character>MR. POTATO HEAD</character>
<dialogue>Welcome to the club, Toots!</dialogue>
<scene_description>Suddenly, the box flaps open and Woody and Buzz vault in.</scene_description>
<character>WOODY</character>
<dialogue>Okay, everyone, listen up... We can get back to Andy's but we gotta move fast. We'll hide under the seats 'til we get home...</dialogue>
<scene_description>The Toys react, incensed.</scene_description>
<character>MR. POTATO HEAD</character>
<dialogue>Get it through your vinyl noggin, Woody -- Andy doesn't want us anymore!</dialogue>
<character>WOODY</character>
<dialogue>He was putting you... In the attic!!!</dialogue>
<scene_description>Jessie goes toe-to-toe with Woody.</scene_description>
<character>JESSIE</character>
<dialogue>He left us... On the curb!</dialogue>
<scene_description>Buzz intervenes.</scene_description>
<character>BUZZ</character>
<dialogue>Alright, calm down! Both of you!</dialogue>
<character>WOODY</character>
<dialogue>Okay, fine! Just wait'll you see what Day Care's like!</dialogue>
<character>REX</character>
<dialogue>Why...?! What's it like?!</dialogue>
<character>WOODY</character>
<dialogue>Day Care is a sad, lonely place for washed-up old toys who have no owners.</dialogue>
<scene_description>Abruptly, Barbie bursts into tears.</scene_description>
<character>HAMM</character>
<dialogue>Quite the charmer, aren't ya?</dialogue>
<character>WOODY</character>
<dialogue>Oh, you'll see! As soon as we get to Day Care, you'll be begging to go home.</dialogue>
<scene_description>The car hits a bump and Woody tumbles.</scene_description>
</scene>
<scene>
<stage_direction>EXT. DAY CARE, PARKING LOT - DAY</stage_direction>
<scene_description>The car pulls into a modest day care center -- Sunnyside -- a cinder block building with bright, kid-friendly murals.</scene_description>
</scene>
<scene>
<stage_direction>INT. / EXT. DONATION BOX / PARKING LOT - DAY</stage_direction>
<scene_description>Andy's Mom pulls out the box, carries it across the lot. Inside the box, the Toys peer out the hand slots.</scene_description>
<character>REX</character>
<dialogue>Can anyone see anything?</dialogue>
<character>JESSIE</character>
<dialogue>There's a playground...!</dialogue>
<scene_description>Through fencing we SEE glimpses of kids running and playing with SHOUTS and LAUGHTER. The Toys look at each other.</scene_description>
<character>JESSIE</character>
<dialogue>We hit the jackpot, Bullseye!</dialogue>
<character>HAMM</character>
<dialogue>So much for "sad and lonely", eh?</dialogue>
<character>WOODY</character>
<dialogue>Okay, calm down, guys. Let's keep this in perspective...</dialogue>
<character>MR. POTATO HEAD</character>
<dialogue>Perspective?! This place is perfect!</dialogue>
<character>REX</character>
<dialogue>Woody, it's nice! See, the door has a rainbow on it!</dialogue>
</scene>
<scene>
<stage_direction>INT. LOBBY - DAY</stage_direction>
<scene_description>Andy's Mom is BUZZED through glass doors. A RECEPTIONIST behind a counter types at a computer while a small girl on the counter plays with a toy chimp. Andy's Mom enters.</scene_description>
<character>MOM</character>
<dialogue>Hey, there!</dialogue>
<character>RECEPTIONIST</character>
<dialogue>Wow! Haven't seen you in ages...</dialogue>
<character>MOM</character>
<dialogue>Just wanted to drop these old toys off.</dialogue>
<scene_description>She puts the box on the counter.</scene_description>
<character>MOM</character>
<dialogue>Is this Bonnie?! Look how big you are!</dialogue>
<scene_description>The girl, BONNIE, looks up, then turns to her Mother, shy.</scene_description>
<character>RECEPTIONIST</character>
<dialogue>Say hi, sweetie!</dialogue>
<character>BONNIE</character>
<dialogue>Hi.</dialogue>
<character>RECEPTIONIST</character>
<dialogue>How are your kids? Molly and Andy?</dialogue>
<character>MOM</character>
<dialogue>Not kids anymore. Andy's going to college on Friday. Can you believe?</dialogue>
<scene_description>The Receptionist opens the box. Bonnie tries to look in.</scene_description>
<character>RECEPTIONIST</character>
<dialogue>You sure they won't miss these?</dialogue>
<character>MOM</character>
<dialogue>Nah, they never get played with.</dialogue>
<scene_description>Mom departs and the Receptionist folds up the box flaps.</scene_description>
</scene>
<scene>
<stage_direction>INT. DONATION BOX / HALLWAY - DAY</stage_direction>
<scene_description>The Toys peek out as they are carried down a hallway.</scene_description>
<character>MR. POTATO HEAD</character>
<dialogue>You see any kids...?</dialogue>
<character>REX</character>
<dialogue>Where's she taking us?</dialogue>
</scene>
<scene>
<stage_direction>INT. DONATION BOX / BUTTERFLY CLASSROOM - CONTINUOUS</stage_direction>
<scene_description>The Box is placed on a counter. The Receptionist departs. In the box, the Toys step up and jostle for a view.</scene_description>
<character>JESSIE</character>
<dialogue>Look...!</dialogue>
<character>MR. POTATO HEAD</character>
<dialogue>Wow!</dialogue>
<character>REX</character>
<dialogue>What?! What is it?!!!</dialogue>
<scene_description>TOYS' POV -- An idyllic day care classroom, filled with the happy bustle of four- and five-year-olds, playing with toys -- dinosaurs, a baby doll, a pink Teddy bear, a Ken doll. The Toys stare, agog. Rex jockeys for a peek.</scene_description>
<character>REX</character>
<dialogue>Aaah! I can't see!</dialogue>
<scene_description>A bell RINGS. A TEACHER opens the playground door.</scene_description>
<character>BUTTERFLY ROOM TEACHER</character>
<dialogue>Okay, everyone, recess! C'mon!</dialogue>
<scene_description>The kids CHEER and flood out on the playground. The Teacher turns off lights, shuts the door behind her. IN THE BOX Silence. The room is still. The Toys speak sotto.</scene_description>
<character>HAMM</character>
<dialogue>So, now what do we do?</dialogue>
<character>WOODY</character>
<dialogue>We go back to Andy's! Anyone see an exit?</dialogue>
<character>MR. POTATO HEAD</character>
<dialogue>Exit schmexit! Let's get played with!</dialogue>
<character>BUZZ</character>
<dialogue>Careful! These toys might be jealous of new arrivals!</dialogue>
<character>REX</character>
<dialogue>I wanna see! It's my turn!</dialogue>
<scene_description>Rex presses in. The Toys react.</scene_description>
<character>BUZZ</character>
<dialogue>Oooff...!!!</dialogue>
<character>SLINKY</character>
<dialogue>Whoa!</dialogue>
<character>HAMM</character>
<dialogue>Hey!</dialogue>
<scene_description>The whole box tilts and falls off the counter -- SPLAT!!! The Toys spill out. They look up. Around the room, all the Day Care Toys stare back. A Jack In The Box pops up.</scene_description>
<character>JACK IN THE BOX</character>
<dialogue>New Toys!</dialogue>
<scene_description>They all CHEER and burst into smiles. Jessie shakes hands with a ROCK MONSTER toy.</scene_description>
<character>JESSIE</character>
<dialogue>Well, howdy! Glad to meetcha!</dialogue>
<scene_description>Buzz extends his hand to a ROBOT toy.</scene_description>
<character>BUZZ</character>
<dialogue>Buzz Lightyear, at your service.</dialogue>
<scene_description>Hamm, Slinky and Barbie shake hands with an OCTOPUS toy.</scene_description>
<character>HAMM</character>
<dialogue>Oh boy, oh boy, oh boy!</dialogue>
<scene_description>Rex laughs, circled by adoring little dinosaurs. An Insect Man ACTION FIGURE helps Mrs. Potato Head get up.</scene_description>
<character>MRS. POTATO HEAD</character>
<dialogue>Oooh, thank you!</dialogue>
<parenthetical>(reaches for his bicep)</parenthetical>
<dialogue>Oh, may I? Ohhh!</dialogue>
<scene_description>He flexes obligingly. She feels his arm, GIGGLES. Mr. Potato Head looks on. He flexes his own arm. It sags. A Crane toy circles the Aliens. They gaze up, rapturous.</scene_description>
<character>ALIENS</character>
<dialogue>The Claw...!!!</dialogue>
<scene_description>SFX -- HONK! HONK! Everyone turns. A Tonka Truck races forward, then backs up in a quick 180 arc, revealing a large pink Teddy bear, LOTSO, in its bed. Lotso taps a Tinker Toy cane and the truck bed rises, "dumping" him out. Like Bob Hope stepping off the links in Palm Springs, Lotso exudes an easy, cheerful charisma.</scene_description>
<character>LOTSO</character>
<dialogue>Well, hello there! I thought I heard new voices! Welcome to Sunnyside, folks! I'm Lots-o'-Huggin' Bear! But, please, call me Lotso!</dialogue>
<scene_description>Buzz steps up, offers a hand.</scene_description>
<character>BUZZ</character>
<dialogue>Buzz Lightyear. We come in pea...</dialogue>
<scene_description>Lotso grabs Buzz, lifts him in a smothering hug.</scene_description>
<character>LOTSO</character>
<parenthetical>(chuckling)</parenthetical>
<dialogue>First thing you gotta know about me... I'm a hugger!!</dialogue>
<scene_description>He releases Buzz, looks at the other Toys.</scene_description>
<character>LOTSO</character>
<dialogue>Oh, look at y'all! You been through a lot today, haven't you?</dialogue>
<character>MRS. POTATO HEAD</character>
<dialogue>Oh, it's been horrible!</dialogue>
<character>LOTSO</character>
<dialogue>Well, you're safe now. We're all cast-offs here -- we been dumped, donated, yard-saled, second-handed, and just plain thrown out. But just you wait -- you'll find being donated was the best thing that ever happened to ya!</dialogue>
<scene_description>Woody scoffs, but Rex steps up excitedly.</scene_description>
<character>REX</character>
<dialogue>Mr. Lotso...? Do toys here get played with every day?</dialogue>
<character>LOTSO</character>
<dialogue>All day long. Five days a week.</dialogue>
<character>JESSIE</character>
<dialogue>But what happens when the kids grow up?</dialogue>
<scene_description>Lotso steps to a wall of day-care class photos.</scene_description>
<character>LOTSO</character>
<dialogue>Well, now, I'll tell ya -- when the kids get old, new ones come in. When they get old, new ones replace them. You'll never be outgrown or neglected. Never abandoned or forgotten. No owners means no heartbreak.</dialogue>
<scene_description>The Toys are overjoyed. Even Woody is taken by this vision.</scene_description>
<character>JESSIE</character>
<dialogue>Yeee-hawww..!!!</dialogue>
<character>MRS. POTATO HEAD</character>
<dialogue>It's a miracle!</dialogue>
<character>MR. POTATO HEAD</character>
<parenthetical>(to Woody)</parenthetical>
<dialogue>And you wanted us to stay at Andy's!</dialogue>
<character>WOODY</character>
<dialogue>Because we're Andy's toys!</dialogue>
<scene_description>Lotso puts an arm around Woody.</scene_description>
<character>LOTSO</character>
<dialogue>So you got donated by this "Andy", huh? Well, it's his loss, Sheriff! He can't hurt you no more.</dialogue>
<character>WOODY</character>
<dialogue>Whoa, whoa, whoa, whoa...</dialogue>
<scene_description>Lotso cuts him off.</scene_description>
<character>LOTSO</character>
<dialogue>Now let's get you all settled in. Ken?! Where is that boy? Ken...?! New toys!</dialogue>
<scene_description>A Ken doll appears in an upper window of a doll house.</scene_description>
<character>KEN</character>
<dialogue>Far out! Hey, hi, everybody!</dialogue>
<parenthetical>(to Lotso)</parenthetical>
<dialogue>Down in a jiff, Lotso!</dialogue>
<scene_description>He rides down in an elevator and opens the door. ON KEN -- Slip-on shoes, double-pleated shorts, and an unbuttoned animal-print shirt that reveals his ripped abs. He addresses the Toys with an air of boundless self-regard.</scene_description>
<character>KEN</character>
<dialogue>So. Who's ready for Ken's Dream Tour?</dialogue>
<character>LOTSO</character>
<dialogue>Let's show our new friends where they'll be stayin'!</dialogue>
<character>KEN</character>
<dialogue>Folks, if you wanna step right this--</dialogue>
<scene_description>He turns, sees Barbie. She looks up, sees him. Sparks fly. MUSIC swells. Destiny calls. They approach.</scene_description>
<character>KEN</character>
<dialogue>Hi! I'm Ken.</dialogue>
<character>BARBIE</character>
<dialogue>Barbie.</dialogue>
<parenthetical>(breathless)</parenthetical>
<dialogue>Have we ever me--...?</dialogue>
<character>KEN</character>
<dialogue>Huh-uh...! I would've remembered!</dialogue>
<parenthetical>(Barbie GIGGLES)</parenthetical>
<dialogue>Love your leg warmers.</dialogue>
<character>BARBIE</character>
<dialogue>Nice ascot.</dialogue>
<scene_description>Lotso breaks the spell.</scene_description>
<character>LOTSO</character>
<dialogue>C'mon, Ken! Recess don't last forever!</dialogue>
<character>KEN</character>
<dialogue>Right on, Lotso! This way everyone!</dialogue>
<scene_description>He extends a gentlemanly arm. Barbie giggles, takes it.</scene_description>
<character>LOTSO</character>
<dialogue>You got a lot to look forward to, folks -- the Little Ones love new toys!</dialogue>
<scene_description>He leads them off. Rex, Buzz, and Woody trail behind.</scene_description>
<character>BUZZ</character>
<dialogue>What a nice bear!</dialogue>
<character>REX</character>
<dialogue>And he smells like strawberries!</dialogue>
<scene_description>Woody sighs, exasperated. As they walk, Ken addresses the Toys like a tour leader.</scene_description>
<character>KEN</character>
<dialogue>Folks, if I can share, here at Sunnyside, we've got, well, just about anything a Toy could ask for.</dialogue>
<scene_description>Lotso leads them past shelves of toy supplies.</scene_description>
<character>LOTSO</character>
<dialogue>Spare parts, super glue, and enough fresh batteries to choke a Hungry- Hungry Hippo.</dialogue>
<scene_description>CLOSET DOOR Lotso flings open a utility closet, revealing a spa-like workshop in which smaller Toys fix up bigger Toys -- stitching rips, etc. The Toys gasp, impressed.</scene_description>
<character>LOTSO</character>
<dialogue>Think you're gettin' old? Well, stop your worryin'!</dialogue>
<character>KEN</character>
<dialogue>Our repair spa will keep you stuffed, puffed, and lightly buffed!</dialogue>
<scene_description>An Elephant plushie is getting his belly re-stuffed. He SNEEZES. Stuffing flies everywhere. IN THE CLASSROOM As the tour continues, Ken gestures to his Dream House.</scene_description>
<character>KEN</character>
<dialogue>And this, well, this is where I live -- Ken's Dream House. It has a disco, it's got a dune buggy... And a whole room just for trying on clothes.</dialogue>
<character>BARBIE</character>
<dialogue>You have everything!!!</dialogue>
<character>KEN</character>
<dialogue>Everything except someone to share it with.</dialogue>
<scene_description>He looks down, walks off. Barbie sighs, about to faint. Lotso reaches a bathroom door at the end of the room.</scene_description>
<character>LOTSO</character>
<dialogue>You need anything at all, you just come talk to me. Here we are...!</dialogue>
<scene_description>Lotso raps the door with his cane. It's opened by a large baby doll, BIG BABY, with a lazy, drooping eye. Big Baby COOS, peers out at the Toys. They stare up in wonder.</scene_description>
<character>LOTSO</character>
<dialogue>Well, thank you, Big Baby. Why don't you come meet our new friends?</dialogue>
<scene_description>He throws an arm around Big Baby in Toy-solidarity.</scene_description>
<character>LOTSO</character>
<dialogue>Poor Baby! We were thrown out together, me n' him. Abandoned by the same owner!</dialogue>
</scene>
<scene>
<stage_direction>INT. BATHROOM - DAY</stage_direction>
<scene_description>Lotso leads the Toys through a bathroom.</scene_description>
<character>LOTSO</character>
<dialogue>But we don't need owners here at Sunnyside! We own ourselves! We're masters of our own fate...! We control our own destiny!</dialogue>
<scene_description>Mr. Potato Head slips and falls, losing his parts.</scene_description>
<character>LOTSO</character>
<dialogue>Uh, watch out for puddles...</dialogue>
</scene>
<scene>
<stage_direction>INT. CATERPILLAR ROOM - DAY</stage_direction>
<scene_description>Lotso leads the Toys into a new classroom. The Day Care Toys here are scuffier and more toddler-appropriate.</scene_description>
<character>LOTSO</character>
<dialogue>And here's where you folks'll be staying -- the Caterpillar Room!</dialogue>
<scene_description>The Toys gaze up in awe. There's kid stuff everywhere: tiny tables and chairs, finger paintings, wood blocks, banners of the alphabet, wire cubby bins, etc. The whole beautiful, child-centric universe of day care.</scene_description>
<character>JESSIE</character>
<dialogue>Look at this place!</dialogue>
<character>BUZZ</character>
<dialogue>\[Whistles\]</dialogue>
<character>HAMM</character>
<dialogue>Holy moly, guacamole!</dialogue>
<character>MR. POTATO HEAD</character>
<dialogue>Jackpot, baby!</dialogue>
<character>SLINKY</character>
<dialogue>Whoa, puppy!</dialogue>
<character>REX</character>
<dialogue>Wow!</dialogue>
<scene_description>A TOY TRAIN weaves through the room, blowing its WHISTLE. The Potato Heads look around in wonder.</scene_description>
<character>MRS. POTATO HEAD</character>
<parenthetical>(fighting tears)</parenthetical>
<dialogue>It's so beautiful!</dialogue>
<scene_description>Woody is awestruck. Something nudges him. A RINGING.</scene_description>
<character>WOODY</character>
<dialogue>What the...?</dialogue>
<scene_description>He looks down. An old Fisher Price Chatter Telephone is bumping into him. Woody kneels down, friendly. Woody Oh, hey, little fella...</scene_description>
<character>LOTSO</character>
<dialogue>How long's it been since y'all got played with?</dialogue>
<character>SLINKY</character>
<dialogue>It's been years!</dialogue>
<character>LOTSO</character>
<dialogue>Well, just you wait. In a few minutes that bell's gonna ring and you'll get the playtime you've been dreaming of.</dialogue>
<character>REX</character>
<dialogue>Play! Real play!!! I can't wait!!!</dialogue>
<character>LOTSO</character>
<dialogue>Now, if you'll excuse us, we best be headin' back. Welcome to Sunnyside, folks!</dialogue>
<scene_description>Lotso climbs back into the Tonka Truck. The Toys wave.</scene_description>
<character>REX</character>
<dialogue>Thank you!</dialogue>
<character>HAMM</character>
<dialogue>Thank you there, Buddy Boy!</dialogue>
<character>MR. POTATO HEAD</character>
<dialogue>Take care, Pinky!</dialogue>
<character>BUZZ</character>
<dialogue>Goodbye, Mr. Lotso! Thank you!</dialogue>
<character>MRS. POTATO HEAD</character>
<dialogue>Goodbye...!</dialogue>
<scene_description>Barbie turns to Ken -- an end-of-the-first-date moment.</scene_description>
<character>BARBIE</character>
<dialogue>Will I see you again?</dialogue>
<character>KEN</character>
<dialogue>Oh, I'll see you tonight. In my dreams.</dialogue>
<scene_description>She giggles. They stare. It's like they could both spontaneously combust. At the bathroom door, Lotso waits.</scene_description>
<character>LOTSO</character>
<dialogue>Ken...! Let's get a move on!</dialogue>
<scene_description>Ken turns to Barbie, takes her hands.</scene_description>
<character>KEN</character>
<dialogue>Barbie, come with me! Live in my Dream House! I know it's crazy! I know we've just met! Aw, heck -- you don't know me from GI Joe. But when I look at you I feel like we were...</dialogue>
<character>KEN & BARBIE</character>
<dialogue>...Made for each other!</dialogue>
<scene_description>They gasp, thunderstruck. Barbie turns, gazes to the Toys. Jessie grins and winks. Mrs. Potato Head waves -- Go!</scene_description>
<character>BARBIE</character>
<dialogue>Yay!</dialogue>
<scene_description>She gives a leg kick. Ken pumps his fist.</scene_description>
<character>KEN</character>
<dialogue>Yessssssss...!!!</dialogue>
<scene_description>Lotso calls again.</scene_description>
<character>LOTSO</character>
<dialogue>Ken...!</dialogue>
<character>KEN</character>
<dialogue>Coming, Lotso!</dialogue>
<scene_description>Ken leads Barbie to the Truck and they hop in, giddy. Lotso taps his cane and the Truck roars off. Big Baby is the last to exit, closing the door -- CLICK -- behind them. Through windows, children are heard LAUGHING and PLAYING. The Toys turn and wander toward the playground door.</scene_description>
<character>HAMM</character>
<dialogue>Sounds like kids to me...!</dialogue>
<character>REX</character>
<dialogue>Oh, I wanna get played with! Why can't time go faster?!!!</dialogue>
<character>JESSIE</character>
<dialogue>How many ya reckon are out there?!</dialogue>
<character>MRS. POTATO HEAD</character>
<dialogue>Oh, they sound so sweet!</dialogue>
<scene_description>Woody looks at them, knowing he's fighting a losing battle.</scene_description>
<character>WOODY</character>
<dialogue>Look, everyone, it's nice here, I admit. But we need to go home...!</dialogue>
<scene_description>The Toys glance at each other. Jessie steps forward.</scene_description>
<character>JESSIE</character>
<dialogue>We can have a whole new life here, Woody. A chance to make kids happy again.</dialogue>
<character>SLINKY</character>
<dialogue>Why don't you stay?</dialogue>
<character>REX</character>
<dialogue>Yeah, Woody! Stay with us!</dialogue>
<character>HAMM</character>
<dialogue>Come on, Woodster!</dialogue>
<character>MR. POTATO HEAD</character>
<dialogue>You'll get played with...!</dialogue>
<character>MRS. POTATO HEAD</character>
<dialogue>Stay here!</dialogue>
<character>JESSIE</character>
<dialogue>You can make a new kid happy!</dialogue>
<character>WOODY</character>
<dialogue>I can't! No, no! Guys, really, no!</dialogue>
<scene_description>The Toys are taken aback. Woody struggles to stay calm.</scene_description>
<character>WOODY</character>
<dialogue>I have a kid. You have a kid -- Andy! And if he wants us at college, or in the attic, well, then our job is to be there for him! Now I'm going home! Anyone wants to join me is welcome! C'mon, Buzz!</dialogue>
<scene_description>He heads off. Buzz stays put. Woody turns back.</scene_description>
<character>WOODY</character>
<dialogue>Buzz...?</dialogue>
<scene_description>Buzz -- torn -- steps up to Woody, sober and gentle.</scene_description>
<character>BUZZ</character>
<dialogue>Our mission with Andy's complete, Woody.</dialogue>
<character>WOODY</character>
<dialogue>What...?!</dialogue>
<character>BUZZ</character>
<dialogue>And what's important now is we stay together.</dialogue>
<character>WOODY</character>
<dialogue>We wouldn't even be together if it weren't for Andy! Look under your boot, Buzz! You too, Jessie! Whose name is written there?</dialogue>
<scene_description>The Toys stare at the ground. Rex pipes up.</scene_description>
<character>REX</character>
<dialogue>Maybe Andy doesn't care about us any more?</dialogue>
<character>WOODY</character>
<dialogue>Of course he does! He cares about all of you! He was putting you in the attic -- I saw! You can't just turn your back on him now!</dialogue>
<scene_description>Jessie steps forward -- incensed.</scene_description>
<character>JESSIE</character>
<dialogue>Woody -- wake up! It's over! Andy is all grown up!</dialogue>
<scene_description>Woody stares, trying to contain his anger.</scene_description>
<character>WOODY</character>
<dialogue>Okay, fine! Perfect! I can't believe how selfish you all are.</dialogue>
<scene_description>Jessie glares back. No one moves.</scene_description>
<character>WOODY</character>
<dialogue>So this is it? After all we've been through?</dialogue>
<scene_description>Buzz steps forward, offers a handshake. Woody looks at Buzz. He fixes his hat, turns away. Buzz is stung. Woody walks to the hall door. Bullseye follows.</scene_description>
<character>WOODY</character>
<dialogue>Bullseye, no. You need to stay!</dialogue>
<scene_description>He moves on. Bullseye again tries to follow.</scene_description>
<character>WOODY</character>
<dialogue>Bullseye, no! I said stay!</dialogue>
<parenthetical>(softens)</parenthetical>
<dialogue>Look -- I don't want you left alone in the attic, okay? Now, stay.</dialogue>
<scene_description>Bullseye retreats. Jessie puts a consoling hand on him. KEYS in a LOCK. The Toys turn.</scene_description>
<character>BONNIE'S MOM (O.S.)</character>
<dialogue>Bonnie...? Bonnie!</dialogue>
<scene_description>Woody looks at them, doesn't know what else to say.</scene_description>
<character>WOODY</character>
<dialogue>I gotta go.</dialogue>
<scene_description>The Toys scatter. Woody hides behind the door just as Bonnie's Mom enters.</scene_description>
<character>BONNIE'S MOM</character>
<dialogue>Bonnie? You in here?</dialogue>
<scene_description>Woody sneaks out the door, into the hall. CLOSE ON -- Buzz and Jessie, watching.</scene_description>
</scene>
<scene>
<stage_direction>INT. HALLWAY</stage_direction>
<scene_description>TEACHERS CHAT at the end of the hallway. Woody peeks out from behind a garbage can, tip-toes into the hall, turns. A janitor cart approaches. Woody falls limp. The cart passes over Woody, leaving the hall empty. A whistling JANITOR pushes the cart down the hallway. TILT DOWN to FIND Woody holding the underside of the cart. WOODY POV -- He rolls through the lobby, toward the exit...</scene_description>
<character>WOODY</character>
<dialogue>C'mon, c'mon...</dialogue>
<scene_description>...and veers into a bathroom.</scene_description>
<character>WOODY</character>
<dialogue>No, no...!</dialogue>
</scene>
<scene>
<stage_direction>INT. BATHROOM - CONTINUOUS</stage_direction>
<scene_description>The Janitor cleans the sinks. Woody sneaks into a nearby stall. Looks up, sees an open window. He tears a square of toilet paper, places it on the seat, climbs up the tank lid, leaps to the toilet paper roll, jumps to the top of the stall, backs toward the window. At the sink, the Janitor looks in the mirror, starts.</scene_description>
<character>JANITOR</character>
<dialogue>What the heck?</dialogue>
<scene_description>Woody freezes. The Janitor stares at the mirror, Woody in its reflection. RACK FOCUS -- The Janitor reaches up, wipes a stain off.</scene_description>
<character>JANITOR</character>
<dialogue>That's better.</dialogue>
<scene_description>RACK BACK -- The window in the mirror. Woody's gone.</scene_description>
</scene>
<scene>
<stage_direction>EXT. PLAYGROUND - DAY</stage_direction>
<scene_description>Woody finds himself above the playground. Below, Bonnie plays hopscotch by herself. Her Mom walks over.</scene_description>
<character>BONNIE'S MOM</character>
<dialogue>Bonnie...? There you are. C'mon, honey. Time to go home.</dialogue>
<scene_description>She leads Bonnie off. Woody climbs up a drainage pipe to the roof. He runs across the roof, stops at the edge. POV, PANNING -- A high wall surrounds the day care campus. Woody frowns. A gust lifts his hat off, blows it away.</scene_description>
<character>WOODY</character>
<dialogue>Oh, no! No, no, no...!</dialogue>
<scene_description>His hat lands under a kite tangled on the roof top. Woody stares at the kite -- an idea. CUT TO: Woody runs across the roof, kite over his head. He leaps and soars across the playground and over the wall. He glides down, makes a perfect landing, and laughs, pleased. Abruptly, another gust hits, yanking him high in the air. Woody looks at the ground far below. The wind takes the kite higher still, dipping and swirling frenetically. Woody panics, wrapping himself around the kite's cross-bar. The bar snaps. The kite plummets. Woody tries desperately to flap the kite wings, but it doesn't slow his fall. He crashes into a tree, hitting branches on the way down. He falls from the tree and stops -- eyes shut -- inches above the pavement. Opens one eye. Slowly, his pull-string lifts him upward.</scene_description>
<character>WOODY</character>
<parenthetical>(voice box)</parenthetical>
<dialogue>Reach for the sky!</dialogue>
<scene_description>Woody dangles from a branch, trying to free himself. Bonnie approaches, playing hopscotch. Woody sees her, goes limp. She bumps into Woody, looks up. Looks around. She tugs Woody off the branch. His pull-string retracts.</scene_description>
<character>WOODY</character>
<parenthetical>(voice box)</parenthetical>
<dialogue>You're my favorite deputy!</dialogue>
<scene_description>She smiles. HONK HONK!</scene_description>
<character>BONNIE'S MOM (O.S.)</character>
<dialogue>Bonnie!</dialogue>
<character>BONNIE</character>
<dialogue>Coming!</dialogue>
<scene_description>She shoves Woody in her backpack, zips it up, runs off. IN THE BACKPACK Woody is trapped.</scene_description>
<character>WOODY</character>
<dialogue>Oh, great!</dialogue>
<scene_description>As Bonnie and her Mom drive off, CRANE DOWN to REVEAL... Woody's hat, lying on the ground.</scene_description>
</scene>
<scene>
<stage_direction>INT. CATERPILLAR ROOM - DAY</stage_direction>
<scene_description>Bullseye whimpers, stares at the door. Jessie consoles him.</scene_description>
<character>JESSIE</character>
<dialogue>Oh, it's gonna be okay, Bullseye.</dialogue>
<character>BUZZ</character>
<dialogue>Woody's going to college with Andy. It's what he's always wanted.</dialogue>
<character>MR. POTATO HEAD</character>
<dialogue>He's crazy! College is no place for a toy!</dialogue>
<character>MRS. POTATO HEAD</character>
<dialogue>Toys are for play time!</dialogue>
<character>HAMM</character>
<dialogue>Speaking of play time...! They're lining up out there!</dialogue>
<scene_description>Hamm, at the window, is spying on the playground.</scene_description>
<character>BUZZ</character>
<dialogue>How many?</dialogue>
<character>HAMM</character>
<dialogue>There must be dozens!</dialogue>
<character>REX</character>
<dialogue>Ohhh...! I can hardly wait!</dialogue>
<character>BUZZ</character>
<dialogue>Places, everyone!</dialogue>
<scene_description>The Toys scramble into play position. Buzz notices the Day Care Toys edging away from the door -- ducking, hiding, trembling, diving for cover. The bell RINGS. Kids SHRIEK. Footsteps THUNDER. Rex spreads his arms and runs to the playground door.</scene_description>
<character>REX</character>
<dialogue>At last! I'm gonna get played with!</dialogue>
<character>BUZZ</character>
<dialogue>Uh, Rex...?</dialogue>
<character>REX</character>
<dialogue>Come to Papa!</dialogue>
<scene_description>BOOM! The door bursts open, swatting Rex across the room. A horde of squealing, hyped-up TODDLERS enter. The Toys go limp. Buzz closes his helmet. The toddlers descend on the Toys with SHRIEKS of delight. Toys are snatched up by eager, excited hands. A Boy and Girl stretch Slinky until his coil goes haywire. A Boy smashes the Toy Train into a wall. A Girl picks up Buzz, bringing him straight to her mouth. A Girl dips Jessie's hair in paint and uses her as a brush. A Boy runs across the room, with Bullseye on top of a Corn Popper toy. Bullseye slides off, gets caught in its wheels. Hamm is bathed in glue... Then coated in green glitter. A Girl "rides" Rex, snapping his tail off. The Aliens are squashed as a Boy sits on them. A Boy picks up Mr. Potato Head's eye, shoves it up his nose. A Girl uses Buzz to hammer a square peg into a round hole. BUZZ POV -- Buzz smashes the peg. Bam, Bam, Bam! A Boy runs by, tugs the Girl's hair. She screams, tosses Buzz away. He lands on the window sill. BUZZ POV -- Across the playgound, in the Butterfly Room, a class of Four- and Five-Year-Olds play lovingly with Lotso and the other toys. Buzz frowns -- Why is it Heaven in there and Hell in here? Abruptly, a HAND grabs him, pulls him back into the fray. CUT TO:</scene_description>
<character>WOODY</character>
<parenthetical>(voicebox)</parenthetical>
<dialogue>There's a snake in my boot!</dialogue>
</scene>
<scene>
<stage_direction>INT. BONNIE'S BEDROOM - DAY</stage_direction>
<scene_description>CLOSE ON -- Woody. His string is pulled again.</scene_description>
<character>WOODY</character>
<parenthetical>(voicebox)</parenthetical>
<dialogue>I'd like to join your posse, boys, but first I'm gonna sing a little song.</dialogue>
<scene_description>Bonnie holds Woody, smiles.</scene_description>
<character>BONNIE</character>
<dialogue>A sheriff..!! Move over, Mr. Pricklepants! We have a guest!</dialogue>
<scene_description>She plunks Woody at a small table circled by other toys -- a HEDGEHOG, a UNICORN, and a TRICERATOPS.</scene_description>
<character>BONNIE</character>
<dialogue>You want some coffee?</dialogue>
<scene_description>She sets out cups, pretends to pour.</scene_description>
<character>BONNIE</character>
<dialogue>It's good for you! But don't drink too much or you'll hafta... Hafta...</dialogue>
<scene_description>She dances from foot to foot.</scene_description>
<character>BONNIE</character>
<dialogue>Be right back...!</dialogue>
<scene_description>She runs out the door. Woody comes alive, looks around. The other Toys stay frozen.</scene_description>
<character>WOODY</character>
<dialogue>Psst! Hey! Hello! Hi -- Excuse me!</dialogue>
<scene_description>The Hedgehog, MR. PRICKLEPANTS, comes alive briefly.</scene_description>
<character>MR. PRICKLEPANTS</character>
<dialogue>Shhh!</dialogue>
<character>WOODY</character>
<dialogue>Can you tell me where I am?</dialogue>
<character>MR. PRICKLEPANTS</character>
<dialogue>Shhhhhh!!!</dialogue>
<character>UNICORN</character>
<dialogue>The guy's just askin' a question!</dialogue>
<character>MR. PRICKLEPANTS</character>
<dialogue>Well, excuse me, I'm trying to stay in character!</dialogue>
<scene_description>He freezes again. The Unicorn, friendly, turns to Woody.</scene_description>
<character>UNICORN</character>
<dialogue>My name's Buttercup.</dialogue>
<character>MR. PRICKLEPANTS</character>
<dialogue>Shhhh!!!!</dialogue>
<character>TRICERATOPS</character>
<dialogue>I'm Trixie!</dialogue>
<character>MR. PRICKLEPANTS</character>
<dialogue>Shhhhh!!!!</dialogue>
<character>TRIXIE</character>
<dialogue>Shhhhhh!!!!!</dialogue>
<character>BOTH</character>
<dialogue>Shhhhhhhhhh!!!!!!</dialogue>
<character>WOODY</character>
<dialogue>Guys, hey! I don't know where I am!</dialogue>
<character>TRIXIE</character>
<dialogue>We're either in a cafe in Paris, or a coffee shop in New Jersey. I'm pretty sure I just came back from the doctor with life-changing news!</dialogue>
<scene_description>Woody is baffled.</scene_description>
<character>BUTTERCUP</character>
<dialogue>We do a lot of improv here. Just stay loose, have fun, you'll be fine.</dialogue>
<character>WOODY</character>
<dialogue>No, no, no, I...</dialogue>
<scene_description>A FLUSH. Woody gets back in his pose. Bonnie runs in.</scene_description>
<character>BONNIE</character>
<dialogue>Who wants lunch? Beep! Boop! Beep!</dialogue>
<scene_description>She pushes buttons on a toy microwave oven, opens the door, removes a plastic hamburger, plunks it in front of Woody.</scene_description>
<character>BONNIE</character>
<dialogue>It has a secret ingredient...</dialogue>
<scene_description>She lifts the top bun...</scene_description>
<character>BONNIE</character>
<dialogue>...Jellybeans!</dialogue>
<scene_description>Bonnie eats a jellybean, pulls Woody's string.</scene_description>
<character>WOODY</character>
<parenthetical>(voicebox)</parenthetical>
<dialogue>Somebody's poisoned the water hole!</dialogue>
<character>BONNIE</character>
<dialogue>Poison?!</dialogue>
<scene_description>She spits the jellybean -- it sticks to Pricklepants's head.</scene_description>
<character>BONNIE</character>
<dialogue>Who would do such a mean thing?!</dialogue>
<scene_description>She GASPS and becomes a different character.</scene_description>
<character>BONNIE</character>
<parenthetical>(as Witch)</parenthetical>
<dialogue>Hee-hee-hee-hee-hee!!</dialogue>
<scene_description>She turns. SMASH ZOOM to a DOLL on the shelf behind her.</scene_description>
<character>BONNIE</character>
<dialogue>The scary witch!!</dialogue>
<scene_description>Bonnie picks up the Doll, flies it around the room.</scene_description>
<character>BONNIE</character>
<dialogue>Look out! She's using her witch powers!</dialogue>
<scene_description>CLOSE ON -- Woody.</scene_description>
<character>BONNIE (AS WOODY)</character>
<dialogue>I know where to hide!</dialogue>
</scene>
<scene>
<stage_direction>INT. BONNIE'S BEDROOM - MOMENTS LATER</stage_direction>
<scene_description>The toy box at the foot of Bonnie's bed. It creaks open. Bonnie peeks out, grabs a Totoro, pulls it closed again.</scene_description>
</scene>
<scene>
<stage_direction>INT. TOY BOX - DAY</stage_direction>
<scene_description>Bonnie and Woody huddle in the dark.</scene_description>
<character>BONNIE</character>
<dialogue>She'll never find us in here!</dialogue>
<scene_description>Bonnie surreptitiously lifts the Doll into view.</scene_description>
<character>BONNIE</character>
<dialogue>What's wrong...?</dialogue>
<scene_description>She turns. Sees the doll, SCREAMS.</scene_description>
</scene>
<scene>
<stage_direction>INT. BONNIE'S BEDROOM - DAY</stage_direction>
<scene_description>The toy box tips over, spilling Bonnie and her Toys.</scene_description>
<character>BONNIE</character>
<dialogue>She found us! We need a spaceship to get away!</dialogue>
<scene_description>She runs off into a closet. The Toys come alive.</scene_description>
<character>TRIXIE</character>
<dialogue>You're doin' great!</dialogue>
<character>MR. PRICKLEPANTS</character>
<dialogue>Are you classically trained?</dialogue>
<character>WOODY</character>
<dialogue>Look, I just need to know how to get outta here...!</dialogue>
<character>BUTTERCUP</character>
<dialogue>There IS NO WAY OUT!!!</dialogue>
<scene_description>Woody is stunned.</scene_description>
<character>BUTTERCUP</character>
<dialogue>Just kidding. Door's right over there.</dialogue>
<scene_description>The Doll gets up, greets Woody.</scene_description>
<character>DOLL</character>
<dialogue>Well, Cowboy, you just jumped right in, didn't ya? I'm Dolly.</dialogue>
<character>WOODY</character>
<dialogue>...Uh, Woody.</dialogue>
<scene_description>They shake.</scene_description>
<character>DOLLY</character>
<dialogue>"Woody"? Really? You're gonna stick with that? 'Cuz now's your chance to change it -- new room and all. That's coming from a doll named "Dolly".</dialogue>
<scene_description>A PEA POD TOY zips open behind Woody. He turns.</scene_description>
<character>PEA #1</character>
<dialogue>Who's the new guy?</dialogue>
<character>PEA #2</character>
<dialogue>Are you a real cowboy?</dialogue>
<character>WOODY</character>
<dialogue>Well, actually, I....</dialogue>
<character>PEA #3</character>
<dialogue>'Course he's not, pea-brain! He don't even have a hat!</dialogue>
<character>WOODY</character>
<dialogue>I do too have a... My hat?!</dialogue>
<character>PEA #3</character>
<dialogue>Told 'ya!</dialogue>
<character>BONNIE (O.S.)</character>
<dialogue>I found the spaceship!!</dialogue>
<character>MR. PRICKLEPANTS</character>
<dialogue>Show time!</dialogue>
<scene_description>Woody and the Toys go lifeless as Bonnie runs out of the closet with makeshift shoebox rocket.</scene_description>
<character>BONNIE (AS WOODY)</character>
<dialogue>Quick! Fasten your seatbelts! Close your tray tables!</dialogue>
<scene_description>She stuffs the toys in the box, drops it on a bedsheet.</scene_description>
<character>BONNIE</character>
<dialogue>Hold on, it might get a little bumpy! 3... 2... 1...! BLAST-OFF!!</dialogue>
<scene_description>She pulls the sheet taut. The Toys fly into the air. SLOW MOTION -- Woody soaring. The moment is magical. Woody and the others tumble onto the bed. Bonnie flops down with them, hugging them close.</scene_description>
<character>BONNIE</character>
<dialogue>Yeee-haaaaw!!! You saved us, cowboy! You're our hero!!!</dialogue>
<scene_description>She pulls Woody to her cheek -- just like Andy once did. Woody glances at the other Toys. They smile at him. He smiles back. That was great.</scene_description>
</scene>
<scene>
<stage_direction>INT. CATERPILLAR CLASSROOM - DUSK</stage_direction>
<scene_description>The Toys come to life, groaning.</scene_description>
<character>SLINKY</character>
<dialogue>Oh, I've got a kink in my slink.</dialogue>
<scene_description>Rex staggers by, tail missing.</scene_description>
<character>REX</character>
<dialogue>My tail...! Where's my tail?!</dialogue>
<scene_description>Buzz sits up, dazed. Hamm pulls his cork. Detritus spills out. He strains. POP -- a Weeble pops out. Hamm picks up a plastic arm.</scene_description>
<character>HAMM</character>
<dialogue>Someone need a hand?</dialogue>
<scene_description>He tosses it to Mr. and Mrs. Potato Head -- their parts completely jumbled.</scene_description>
<character>MR. POTATO HEAD</character>
<dialogue>Where's my nose... Here's your arm... Honey, the moustache...?</dialogue>
<character>MRS. POTATO HEAD</character>
<dialogue>Here it is... Gimme that, that's mine...</dialogue>
<scene_description>Buzz straightens up -- back CRACKING.</scene_description>
<character>BUZZ</character>
<dialogue>I don't recall play time being quite that strenuous.</dialogue>
<scene_description>Rex pulls his tail from a peg board.</scene_description>
<character>REX</character>
<dialogue>Andy never played with us like that!</dialogue>
<scene_description>Jessie peels a decal off Bullseye's nose.</scene_description>
<character>JESSIE</character>
<dialogue>We have to make the best of it.</dialogue>
<character>MR. POTATO HEAD</character>
<dialogue>But these toddlers! They don't know how to play with us!</dialogue>
<character>REX</character>
<dialogue>They're too young!</dialogue>
<character>HAMM</character>
<dialogue>They're sticky!</dialogue>
<character>MRS. POTATO HEAD</character>
<dialogue>We should be in the Butterfly Room! With the big kids!</dialogue>
<character>MR. POTATO HEAD</character>
<dialogue>That's right!</dialogue>
<character>HAMM</character>
<dialogue>You said it!</dialogue>
<character>BUZZ</character>
<dialogue>We'll get this straightened out -- I'll go talk to Lotso about moving us to the other room.</dialogue>
<scene_description>He clambers up a table, leaps to the bathroom door knob. It doesn't move.</scene_description>
<character>BUZZ</character>
<dialogue>Blast. Try that one!</dialogue>
<scene_description>Jessie leaps to the hallway door latch.</scene_description>
<character>JESSIE</character>
<dialogue>It's locked!</dialogue>
<scene_description>At the playground door, Slinky tests the door knob.</scene_description>
<character>SLINKY</character>
<dialogue>Same here!</dialogue>
<scene_description>Buzz drops down, points.</scene_description>
<character>BUZZ</character>
<dialogue>Try the windows.</dialogue>
<scene_description>Hamm, on the sill, examines a window lock.</scene_description>
<character>HAMM</character>
<dialogue>Eh, negatory. It's a Fenster- Schneckler 380. Finest childproof lock in the world.</dialogue>
<character>MRS. POTATO HEAD</character>
<dialogue>We're trapped!</dialogue>
<character>BUZZ</character>
<dialogue>Wait! Did anyone notice the transom?</dialogue>
<character>REX</character>
<dialogue>What's a transom, Buzz?</dialogue>
<scene_description>Buzz looks up -- atop the hallway door is an open transom.</scene_description>
<character>MR. POTATO HEAD</character>
<dialogue>Oh, great! How do we get up there?!</dialogue>
<scene_description>Buzz narrows his eyes, thinking.</scene_description>
</scene>
<scene>
<stage_direction>INT. CATERPILLAR CLASSROOM - LATER</stage_direction>
<scene_description>The Toys hold a Fisher Price Corn Popper. Buzz, a loop of red yarn wrapped across his chest, stands at the rear.</scene_description>
<character>BUZZ</character>
<dialogue>All right, everyone! On three! One... Two...</dialogue>
<character>JESSIE</character>
<dialogue>Three!!!</dialogue>
<scene_description>They take off, pushing the popper at top speed.</scene_description>
<character>JESSIE</character>
<dialogue>Let go!</dialogue>
<scene_description>The Toys drop away, leaving Buzz to jump onto the handle. The popper strikes an upturned table, lofting Buzz in the air. He grabs a string that runs across the room, using it like a zip-line. As he reaches the end, Buzz leaps off, expands his wings and flies towards a display of hanging paper-mache caterpillars, using their legs to swing from one to another. On the ground, Hamm makes signal.</scene_description>
<character>HAMM</character>
<dialogue>Jump!</dialogue>
<scene_description>Bullseye and Rex jump off a shelf, catapulting a broom forward. Buzz bounces off the broom, towards the transom. He flips, twists, and lands -- safe. The Toys rejoice.</scene_description>
<character>REX</character>
<dialogue>He did it!!!</dialogue>
<character>JESSIE</character>
<dialogue>Way to go, Buzz!</dialogue>
<scene_description>Buzz casts part of his yarn down to the Toys. They run and grab it. Buzz turns to the hallway, stops. BUZZ POV -- In the hall below, a pair of tough Day Care Toys, TWITCH (Bug Man) and CHUNK (Rock Man) saunter past.</scene_description>
<character>CHUNK</character>
<dialogue>You think they had a fun playtime?</dialogue>
<character>TWITCH</character>
<dialogue>Shhh...!!! They might hear you!</dialogue>
<scene_description>Buzz frowns. O.S. GIGGLING. Buzz turns. Down the hall, Ken and Barbie say goodbye at the Butterfly Room door.</scene_description>
<character>KEN</character>
<dialogue>Okay, now you start.</dialogue>
<scene_description>I...</scene_description>
<character>KEN</character>
<dialogue>...love...</dialogue>
<character>BARBIE</character>
<dialogue>...you.</dialogue>
<character>KEN</character>
<dialogue>See?! That time I said "love". Okay, now, me first.</dialogue>
<scene_description>CLOSE ON -- Buzz. He stifles a dry heave.</scene_description>
<character>BARBIE</character>
<dialogue>Okay, okay, okay....!</dialogue>
<scene_description>I...</scene_description>
<character>BARBIE</character>
<dialogue>...love...</dialogue>
<character>KEN</character>
<dialogue>...you! See what I mean? It changes every time!</dialogue>
<character>BARBIE</character>
<dialogue>You are so smart!</dialogue>
<scene_description>As the Tough Toys pass, they drag Ken away.</scene_description>
<character>TWITCH</character>
<dialogue>C'mon, Romeo... We're late.</dialogue>
<character>BARBIE</character>
<dialogue>I'll wait up for you!</dialogue>
<character>KEN</character>
<dialogue>Kisses...!</dialogue>
</scene>
<scene>
<stage_direction>INT. HALLWAY - NIGHT</stage_direction>
<scene_description>Buzz -- using the red yarn -- rappels down into the hall. He unties the yarn and steals off down the hallway. He reaches the Teacher's Lounge, approaches cautiously.</scene_description>
</scene>
<scene>
<stage_direction>INT. TEACHERS' LOUNGE - NIGHT</stage_direction>
<scene_description>Buzz peeks in. Ken, Twitch and Chunk approach a vending machine. Ken opens the bottom flap and they all go inside. Buzz frowns. He walks to the vending machine. Suddenly -- strangely -- a cow MOOOOS. Buzz looks around, confused. Then he looks up. Silhouetted in the top of a glowing vending machine are Ken and the rest of his Gang. A Rooster crows: COCKADOODLE- DOO!! This is followed by MUFFLED LAUGHS and HUBBUB. Buzz approaches the machine. From inside come VOICES.</scene_description>
<character>GANG (O.S.)</character>
<dialogue>Yeah, all right! Let's go again!</dialogue>
<scene_description>Buzz pushes open the dispenser flap, climbs in. Above him, a pig OINKS loudly. More LAUGHS and GRIPES.</scene_description>
</scene>
<scene>
<stage_direction>INT. VENDING MACHINE - NIGHT</stage_direction>
<scene_description>Buzz climbs up rows of candy bars and potato chips. He gets to the top, sneaks towards the light. In the top of the vending machine, a Gang of toys sits around a table.</scene_description>
<character>KEN</character>
<dialogue>All right, place yer bets! Any splits? Here we go!</dialogue>
<scene_description>The Gang throws batteries, Monopoly money, other items into a pot. Stretch the Octopus pulls the cord on a Farmer Says toy. As the arrow spins, the Gang roots for their bets.</scene_description>
<character>GANG</character>
<dialogue>C'mon, Duckie, Duckie! Big Pig! Big Pig...! Turkey! Gimme the Turkey!!</dialogue>
<scene_description>Ken waves his hand over the table.</scene_description>
<character>KEN</character>
<dialogue>All right. No more bets.</dialogue>
<scene_description>The spinning arrow stops on "Duck".</scene_description>
<character>FARMER SAYS TOY</character>
<dialogue>Here is a duck: "Quack, quack".</dialogue>
<character>STRETCH</character>
<dialogue>Yes! Yes! Come to Mama!</dialogue>
<scene_description>Stretch scoops up the pile of money. The others GROAN.</scene_description>
<character>KEN</character>
<dialogue>Stretch takes the round.</dialogue>
<scene_description>The game continues, Ken presiding.</scene_description>
<character>KEN</character>
<dialogue>Okay, minimum bet, five Monopoly. Coyotes wild. Changing two double AA's.</dialogue>
<parenthetical>(as he changes money:)</parenthetical>
<dialogue>Hey, what do you guys think of the new recruits? Any Keepers?</dialogue>
<character>SPARKS</character>
<dialogue>Nah, disposable...!</dialogue>
<character>STRETCH</character>
<dialogue>Landfill!</dialogue>
<character>KEN</character>
<dialogue>Cowgirl...? Dinosaur...?</dialogue>
<character>TWITCH</character>
<dialogue>Toddler fodder!</dialogue>
<scene_description>They start placing bets again.</scene_description>
<character>KEN</character>
<dialogue>How 'bout that Spaceguy? He could be useful.</dialogue>
<scene_description>Buzz reacts, listening.</scene_description>
<character>CHUNK</character>
<dialogue>He ain't the sharpest knife in the... place where they keep the knives.</dialogue>
<character>SPARKS</character>
<dialogue>Neither are you, Chunk.</dialogue>
<scene_description>LAUGHS. Twitch teases Ken.</scene_description>
<character>TWITCH</character>
<dialogue>You got a little Keeper yourself, didn't'cha, Ken?</dialogue>
<character>KEN</character>
<dialogue>Hey! Lay off, Twitch! Barbie's different!</dialogue>
<character>STRETCH</character>
<dialogue>Mr. Softy over here...!</dialogue>
<character>CHUNK</character>
<dialogue>Whaddaya expect from a girls toy?</dialogue>
<scene_description>Ken stands, furious.</scene_description>
<character>KEN</character>
<dialogue>I'm not a girls toy! I'm not! Why do you guys keep saying that?!!!</dialogue>
<scene_description>Twitch waves a hand.</scene_description>
<character>TWITCH</character>
<dialogue>All them Toys are disposable. We'll be lucky if they last us a week!</dialogue>
<scene_description>Buzz reacts. He turns to go... And bumps into Big Baby. Big Baby tosses Buzz on the table. The Gang quickly grabs and subdues him. Ken smirks.</scene_description>
<character>KEN</character>
<dialogue>Well, well, looky who we have here.</dialogue>
<character>BUZZ</character>
<dialogue>Stop! Let me go!</dialogue>
<scene_description>He struggles. Ken narrows his eyes.</scene_description>
<character>KEN</character>
<dialogue>Take him to "The Library".</dialogue>
<character>BUZZ</character>
<dialogue>Nooooooo!</dialogue>
<scene_description>A sock puppet is pulled over Buzz's head. CUT TO:</scene_description>
</scene>
<scene>
<stage_direction>INT. BONNIE'S BEDROOM - NIGHT</stage_direction>
<scene_description>Bonnie sleeps -- toys tucked next to her. Woody carefully slips from under the covers. Bonnie stirs, moves her arm. Woody freezes, leg in the air. She settles back to sleep. Woody tiptoes across the bed, looks around the room. ZOOM IN -- Bonnie's backpack, hanging from her door handle. Woody pushes a chair to the door, climbs up, lifts a cape. The address on the backpack is revealed -- 1225 Sycamore.</scene_description>
<character>WOODY</character>
<dialogue>1225 Sycamore!</dialogue>
<character>MR. PRICKLEPANTS (O.S.)</character>
<dialogue>Woody...! What're you doing?</dialogue>
<scene_description>Woody turns. Bonnie's Toys are watching from the bed.</scene_description>
<character>WOODY</character>
<dialogue>I... I gotta get out of here!</dialogue>
<character>TRIXIE</character>
<dialogue>You're leaving?!</dialogue>
<character>BUTTERCUP</character>
<dialogue>Didn't you have fun today?</dialogue>
<character>WOODY</character>
<dialogue>Of course I did! More 'n I've had in years, but... Y'see, I belong to someone else...</dialogue>
<scene_description>He holds up his boot, where "ANDY" is written.</scene_description>
<character>BUTTERCUP</character>
<dialogue>Who's "Yid-nah"?</dialogue>
<character>MR. PRICKLEPANTS</character>
<dialogue>I believe it's pronounced "Yid-nay".</dialogue>
<character>DOLLY</character>
<dialogue>Guys -- it says "Andy"!</dialogue>
<character>WOODY</character>
<dialogue>He's my Bonnie...! And he's leaving soon. I gotta get home!</dialogue>
<character>PEA POD</character>
<dialogue>Where's home?</dialogue>
<character>WOODY</character>
<dialogue>Elm Street. 234 Elm.</dialogue>
<parenthetical>(thinking)</parenthetical>
<dialogue>You guys have a map?</dialogue>
<character>DOLLY</character>
<dialogue>We're on it, Cowboy. Trixie...?</dialogue>
<scene_description>Trixie giggles.</scene_description>
<character>TRIXIE</character>
<dialogue>I'll fire up the computer!</dialogue>
</scene>
<scene>
<stage_direction>INT. STORAGE CLOSET - NIGHT</stage_direction>
<scene_description>The sock is pulled off Buzz's head. He's tied to a toy chair in a closet lit with an overhead bulb. In shadows, Lotso's Henchmen lurk. Buzz struggles to free himself.</scene_description>
<character>BUZZ</character>
<dialogue>Unhand me, you cowards! I demand to talk to Lotso!</dialogue>
<character>KEN</character>
<dialogue>Zip it, Buck Rogers! You don't talk to Lotso 'til we say you can...</dialogue>
<scene_description>Abruptly, the door opens. Lotso stands, astonished.</scene_description>
<character>LOTSO</character>
<dialogue>Ken...?! What's going on here?! Why's this Toy tied up?</dialogue>
<character>KEN</character>
<dialogue>He... He got out, Lotso!</dialogue>
<character>LOTSO</character>
<dialogue>Got out? Oh, no, no, no! This isn't how we treat our guests!</dialogue>
<scene_description>Lotso approaches Buzz, begins untying him.</scene_description>
<character>LOTSO</character>
<dialogue>F.A.O. my Schwartz...! There you go. I'm so sorry.</dialogue>
<scene_description>He frees Buzz. Buzz stands, casting a dark look at Ken.</scene_description>
<character>BUZZ</character>
<dialogue>Lotso, there's been a mistake.</dialogue>
<character>LOTSO</character>
<dialogue>A mistake...?!!!</dialogue>
<character>BUZZ</character>
<dialogue>The children in the Caterpillar Room are not age-appropriate for me and my friends. We respectfully request a transfer to the Butterfly Room.</dialogue>
<character>LOTSO</character>
<parenthetical>(gestures grandly)</parenthetical>
<dialogue>Well, request granted!</dialogue>
<character>KEN</character>
<dialogue>But, Lotso...</dialogue>
<character>LOTSO</character>
<dialogue>Hush now, Kenneth! This Toy's shown initiative! Leadership! Why, I'd say we found ourselves a Keeper!</dialogue>
<parenthetical>(to others)</parenthetical>
<dialogue>Hear that, everyone?! We got a Keeper!</dialogue>
<scene_description>Lotso lifts Buzz's arm -- World Champion! His Gang applauds dutifully. Lotso throws his arm around Buzz.</scene_description>
<character>LOTSO</character>
<dialogue>We're callin' you up to the Big Leagues, son! From now on, you'll have anything you want!</dialogue>
<character>BUZZ</character>
<dialogue>Excellent! I'll go get my friends.</dialogue>
<scene_description>Lotso stops.</scene_description>
<character>LOTSO</character>
<dialogue>Whoa, whoa! Hold on there, Boss! Those Caterpillar kids need someone to play with...!</dialogue>
<character>BUZZ</character>
<dialogue>But my friends don't belong there!</dialogue>
<character>LOTSO</character>
<dialogue>Oh, none of us do! I agree! Which is why -- for the good of our community -- we ask the newer toys, the stronger ones, to take on the hardships the rest of us can't bear anymore.</dialogue>
<scene_description>Buzz frowns.</scene_description>
<character>BUZZ</character>
<dialogue>Well, I... I guess that makes sense.</dialogue>
<scene_description>Lotso smiles.</scene_description>
<character>BUZZ</character>
<dialogue>But I can't accept. We're a family. We stay together.</dialogue>
<scene_description>Lotso's smile fades.</scene_description>
<character>LOTSO</character>
<dialogue>Family man, eh? I understand.</dialogue>
<parenthetical>(sharply)</parenthetical>
<dialogue>Put him back in the "Time Out" chair.</dialogue>
<scene_description>Big Baby grabs Buzz and slams him into the toy chair.</scene_description>
<character>BUZZ</character>
<dialogue>What are you...? What?! Unhand me!</dialogue>
<character>LOTSO</character>
<dialogue>Bring in The Bookworm.</dialogue>
<scene_description>Ken whistles. A RUSTLING from a shelf above, where rows of files are cluttered.</scene_description>
<character>BOOKWORM (O.S.)</character>
<dialogue>Hold on... Here it is!</dialogue>
<scene_description>An aged Toy -- The Bookworm -- pushes aside files.</scene_description>
<character>BOOKWORM</character>
<dialogue>It was filed under "Lightyear".</dialogue>
<scene_description>He tosses a small booklet down to Lotso. Lotso opens the booklet, flips through it. Buzz looks close, reacts -- it's a Buzz Lightyear Instruction Manual.</scene_description>
<character>LOTSO</character>
<dialogue>Let's see here... Accessories... Maintenance... Oh, here we go!</dialogue>
<parenthetical>(reading)</parenthetical>
<dialogue>"Remove screws to access battery compartment..."</dialogue>
<scene_description>Big Baby pushes Buzz down, holding him while Sparks opens Buzz's battery compartment. Screws drop to the floor.</scene_description>
<character>BUZZ</character>
<dialogue>What are you doing?! Let go of me!</dialogue>
<character>LOTSO</character>
<parenthetical>(reading)</parenthetical>
<dialogue>"To return your Buzz Lightyear Action Figure to its original factory settings, slide the switch from PLAY to DEMO..."</dialogue>
<scene_description>Lotso looks up, nods. Twitch looks -- inside the panel is a MODE switch. He reaches for it. Buzz struggles.</scene_description>
<character>BUZZ</character>
<dialogue>Stop! No...! No...!!! NOOOOO!!!</dialogue>
</scene>
<scene>
<stage_direction>INT. CATERPILLAR ROOM - NIGHT</stage_direction>
<scene_description>The Toys sit near the door. The echo of Buzz's scream is heard. They turn.</scene_description>
<character>JESSIE</character>
<dialogue>What was that?</dialogue>
<character>HAMM</character>
<dialogue>Sounds like it came from the hall!</dialogue>
<character>MRS. POTATO HEAD</character>
<dialogue>I'll see what it was!</dialogue>
<scene_description>She marches to the door and plucks out her remaining eye. She holds it under the door, sweeping it back and forth.</scene_description>
</scene>
<scene>
<stage_direction>INT. HALLWAY - NIGHT</stage_direction>
<scene_description>Mrs. Potato Head's Eye, held by her hand, looks up and down the hallway.</scene_description>
</scene>
<scene>
<stage_direction>INT. CATERPILLAR ROOM - NIGHT</stage_direction>
<scene_description>The Toys gather around her.</scene_description>
<character>JESSIE</character>
<dialogue>Whaddaya see? Anything...?</dialogue>
<scene_description>POV, PANNING -- The hall is dark and empty. Suddenly, a VISION of Andy in his room FADES IN over the dark hallway.</scene_description>
<character>MRS. POTATO HEAD</character>
<dialogue>Nah, just a dark hallway and... Wait, wait...! I see Andy!</dialogue>
<scene_description>The other Toys look at each other, disbelieving.</scene_description>
<character>JESSIE</character>
<dialogue>What?!</dialogue>
<character>MR. POTATO HEAD</character>
<dialogue>That's impossible...!</dialogue>
<character>MRS. POTATO HEAD</character>
<dialogue>No, I really see him! In his room!</dialogue>
<parenthetical>(realizing)</parenthetical>
<dialogue>My other eye! The one I left behind!</dialogue>
<scene_description>She concentrates fiercely. TRANSITION TO:</scene_description>
</scene>
<scene>
<stage_direction>INT. ANDY'S ROOM - NIGHT - POV</stage_direction>
<scene_description>From under the bed, we SEE college boxes piled up by the open door. Andy crosses frame, carrying another box.</scene_description>
<character>MRS. POTATO HEAD (V.O)</character>
<dialogue>This is so weird...! He's packing up... Uh-oh. Oh, here comes Buster.</dialogue>
<scene_description>Buster sniffs under the bed, right toward her eye.</scene_description>
<character>MRS. POTATO HEAD (V.O.)</character>
<dialogue>Outta the way! Get away!</dialogue>
<scene_description>Buster yawns, turns, and walks out of FRAME.</scene_description>
<character>MRS. POTATO HEAD (V.O.)</character>
<dialogue>Okay, Andy's in the hall. He's looking in the attic. Wait, there's Mom. Why is he so upset?</dialogue>
<scene_description>Andy gestures -- I left the Toys right here! Mom shrugs. Andy picks up a trash bag. Then Andy's Mom remembers -- her hands fly to her face. Andy slaps his forehead.</scene_description>
<character>MRS. POTATO HEAD (V.O.)</character>
<dialogue>Oh, no! Oh, this is terrible!</dialogue>
<scene_description>TRANSITION BACK:</scene_description>
</scene>
<scene>
<stage_direction>INT. CATERPILLAR ROOM - NIGHT</stage_direction>
<scene_description>Mrs. Potato Head puts her eye back in, looks at the others.</scene_description>
<character>MRS. POTATO HEAD</character>
<dialogue>He's looking for us! Andy's looking for us!</dialogue>
<character>JESSIE</character>
<dialogue>He's looking for us?!</dialogue>
<character>REX</character>
<dialogue>So, Andy does want us! I knew it! I just knew it!!!</dialogue>
<scene_description>Rex picks up an Alien, does a happy dance.</scene_description>
<character>MRS. POTATO HEAD</character>
<dialogue>I think he did mean to put us in the attic!</dialogue>
<character>SLINKY</character>
<dialogue>Well, then Woody was telling the truth!</dialogue>
<character>MR. POTATO HEAD</character>
<dialogue>Holy cow!</dialogue>
<character>HAMM</character>
<dialogue>And you didn't believe him!</dialogue>
<character>MR. POTATO HEAD</character>
<dialogue>Hey, you didn't believe him first!</dialogue>
<scene_description>Jessie stands -- fire in her eyes.</scene_description>
<character>JESSIE</character>
<dialogue>Guys, we gotta... We gotta go home!</dialogue>
<scene_description>CREAK -- A door opens. Light spills in. The Toys turn. Lotso saunters in with his Gang.</scene_description>
<character>JESSIE</character>
<dialogue>Lotso...!</dialogue>
<character>LOTSO</character>
<dialogue>How're y'all doin' this fine evening?</dialogue>
<character>JESSIE</character>
<dialogue>Oh, thank heavens!</dialogue>
<scene_description>Jessie rushes to him. The others follow.</scene_description>
<character>JESSIE</character>
<dialogue>Have you seen Buzz?</dialogue>
<character>MRS. POTATO HEAD</character>
<dialogue>There's been a mistake! We have to go!</dialogue>
<character>LOTSO</character>
<dialogue>Go?! Why, you just got here! In the nick of time, too! We were runnin' low on volunteers for the Little Ones! They just love new Toys, now don't they?</dialogue>
<character>MR. POTATO HEAD</character>
<dialogue>Love?! We've been chewed! Kicked! Drooled on!</dialogue>
<character>MRS. POTATO HEAD</character>
<dialogue>Just look at my pocketbook!</dialogue>
<scene_description>She holds up her chewed purse. Lotso bends down, amused.</scene_description>
<character>LOTSO</character>
<dialogue>Well, here's the thing, Sweet Potato -- you ain't leavin' Sunnyside.</dialogue>
<character>MRS. POTATO HEAD</character>
<dialogue>Sweet Potato?! Who do you think you're talking to? I have over thirty accessories and I deserve more respec--</dialogue>
<scene_description>Abruptly, Lotso yanks her mouth off. Everyone is shocked.</scene_description>
<character>LOTSO</character>
<dialogue>Ahh...! That's better!</dialogue>
<scene_description>Lotso's Henchmen snicker.</scene_description>
<character>MR. POTATO HEAD</character>
<dialogue>Hey! No one takes my wife's mouth!!! Except me! Give it back, you furry air freshener!</dialogue>
<scene_description>He steps up to retrieve the mouth. Lotso holds it above him. He finally grabs it. Jessie heads for the door.</scene_description>
<character>JESSIE</character>
<dialogue>C'mon, guys -- we're going home.</dialogue>
<character>LOTSO</character>
<dialogue>Whoa, Missy! You're not going anywhere.</dialogue>
<character>JESSIE</character>
<parenthetical>(over her shoulder)</parenthetical>
<dialogue>Oh, yeah? And who's gonna stop us?</dialogue>
<scene_description>Jessie almost collides with a blank-faced Buzz, stepping from the shadows. Jessie and the others are thrilled.</scene_description>
<character>REX</character>
<dialogue>Buzz! You're back!</dialogue>
<scene_description>He runs -- arms open -- to greet him. Buzz makes a Kung-Fu sound, strikes a pose.</scene_description>
<character>REX</character>
<dialogue>Buzz...?</dialogue>
<scene_description>WHAM!!! Buzz tackles Rex, slamming him to the floor.</scene_description>
<character>JESSIE</character>
<dialogue>Hey!</dialogue>
<scene_description>Buzz leaps and kicks, spins the Toys around, and knocks their legs from under them.</scene_description>
<character>SLINKY</character>
<dialogue>Buzz!</dialogue>
<scene_description>The Toys fall to the floor, stunned. Buzz stands atop them, salutes.</scene_description>
<character>BUZZ</character>
<dialogue>Prisoners disabled, Commander Lotso!</dialogue>
<character>JESSIE</character>
<dialogue>Buzz? What are you doing...?</dialogue>
<character>BUZZ</character>
<dialogue>Silence, minions of Zurg! You're in the custody of the Galactic Alliance!</dialogue>
<character>REX</character>
<dialogue>Zurg...?</dialogue>
<character>MR. POTATO HEAD</character>
<dialogue>Galactic Alliance...?</dialogue>
<character>HAMM</character>
<dialogue>Huh-boy...!</dialogue>
<character>LOTSO</character>
<dialogue>Good work, Lightyear. Now lock 'em up!</dialogue>
<character>BUZZ</character>
<dialogue>Yes, sir!</dialogue>
<scene_description>JUMP CUTS -- Buzz and Lotso's Gang herd the Toys into the room's wire-mesh cubbies. Jessie fights back -- taking out Chunk and Sparks. Stretch grabs her from behind, puts her in a wire cubby, shuts it.</scene_description>
<character>STRETCH</character>
<dialogue>Where do you think you're going?!</dialogue>
<scene_description>Jessie reaches through the cubby wire to Buzz's shoulder.</scene_description>
<character>JESSIE</character>
<dialogue>Buzz...?! We're your friends!</dialogue>
<scene_description>He swats her hand away.</scene_description>
<character>BUZZ</character>
<dialogue>Spare me your lies, Temptress! Your Emperor is defeated. And I'm immune to your... Bewitching good looks.</dialogue>
<scene_description>He turns, ramrod straight, and walks off. Big Baby lifts Mrs. Potato Head to a cubby. Mr. Potato Head intercedes.</scene_description>
<character>MR. POTATO HEAD</character>
<dialogue>Hey, Mongo! Keep your paws off my wife!</dialogue>
<scene_description>Big Baby drops Mrs. Potato Head in the cubby, turns and picks up Mr. Potato Head.</scene_description>
<character>MR. POTATO HEAD</character>
<dialogue>Hey, what are you doing? Let go of me you drooling doofus!</dialogue>
<scene_description>Lotso steps in.</scene_description>
<character>LOTSO</character>
<dialogue>Wait! I think this Potato needs to learn himself some manners! Take him to The Box.</dialogue>
<scene_description>Big Baby hoists Potato Head up and toddles off.</scene_description>
<character>MR. POTATO HEAD</character>
<dialogue>Where're you taking me? Put me down, you moron! Bad baby! Bad baby!!!</dialogue>
<scene_description>They toddle past Barbie as she enters the room, confused.</scene_description>
<character>BARBIE</character>
<dialogue>Ken...?! What's going on?!</dialogue>
<character>KEN</character>
<dialogue>Barbie...! I told you to wait in the Dream House!</dialogue>
<scene_description>Ken puts an arm around her, leading her out.</scene_description>
<character>BARBIE</character>
<dialogue>What're you doing to my friends?</dialogue>
<scene_description>Barbie looks over her shoulder as Sparks the Robot tosses an Alien into a cubby. Twitch slams it shut.</scene_description>
<character>BARBIE</character>
<dialogue>Hmmph!</dialogue>
<scene_description>She slaps Ken's arm away and turns to join the Toys in solidarity. Ken tries to grab her.</scene_description>
<character>KEN</character>
<dialogue>Wait, Barbie!</dialogue>
<character>BARBIE</character>
<dialogue>Don't touch me! We're through!</dialogue>
<scene_description>She stalks off. Ken is devastated. Then Barbie turns, walks back to him. He smiles.</scene_description>
<character>BARBIE</character>
<dialogue>And gimme my scarf back!</dialogue>
<scene_description>She yanks the ascot off his neck.</scene_description>
<character>KEN</character>
<dialogue>Oww!</dialogue>
<scene_description>Barbie is slammed into a cubby. Lotso surveys the room.</scene_description>
<character>LOTSO</character>
<dialogue>Lightyear! Explain our overnight accommodations.</dialogue>
<character>BUZZ</character>
<dialogue>Yes, sir!</dialogue>
<scene_description>Buzz strides past the Toys, each trapped in a cubby.</scene_description>
<character>BUZZ</character>
<dialogue>Prisoners sleep in their cells! Any Prisoner caught outside their cell spends the night in The Box!</dialogue>
</scene>
<scene>
<stage_direction>EXT. PLAYGROUND - NIGHT</stage_direction>
<scene_description>Potato Head is carried to a covered sandbox. Big Baby lifts the sandbox cover, tosses Potato Head in. Potato Head reaches out, begging for mercy...</scene_description>
<character>BUZZ (O.S.)</character>
<dialogue>Roll call at dusk and dawn! Any Prisoner misses roll call spends the night in The Box!</dialogue>
<scene_description>...Big Baby lowers the lid, closing into BLACKNESS.</scene_description>
</scene>
<scene>
<stage_direction>INT. CATERPILLAR ROOM - NIGHT</stage_direction>
<scene_description>Buzz rattles off the rules. Jessie grows impatient.</scene_description>
<character>BUZZ</character>
<dialogue>Prisoners do not speak unless spoken to! Any Prisoner talks back spends the night...</dialogue>
<character>JESSIE</character>
<dialogue>...In The Box. We get it.</dialogue>
<scene_description>Buzz whips around. Lotso puts a calming hand on him.</scene_description>
<character>LOTSO</character>
<dialogue>At ease, soldier! They're neutralized! But remember: They'll say anything to make you doubt yourself!</dialogue>
<character>BUZZ</character>
<dialogue>Don't worry, Commander! Any doubt I had got pounded out of me at the Academy!</dialogue>
<scene_description>Lotso climbs on a podium of ABC blocks -- jovial, relaxed.</scene_description>
<character>LOTSO</character>
<dialogue>Listen up, folks! We got a way of doing things here at Sunnyside! If you start at the bottom, pay your dues... Life here can be a dream come true! But if you break our rules, step outta line, try to check out early? Well... You're just hurtin' yourselves.</dialogue>
<scene_description>He takes out Woody's hat, tosses it. It slides across the floor to Jessie's cubby. The Toys gasp in horror.</scene_description>
<character>JESSIE</character>
<dialogue>Woody...!</dialogue>
<parenthetical>(to Lotso)</parenthetical>
<dialogue>What'd you do to him?!</dialogue>
<scene_description>Lotso sits back in his truck bed, taps his cane.</scene_description>
<character>LOTSO</character>
<dialogue>Y'all get a good night's rest! You got a full day of play time tomorrow.</dialogue>
<scene_description>Lotso chuckles as he and his cronies drive off. Buzz remains behind, standing guard over the "cell block". The Toys grasp the bars of their cubbies -- the horrible truth of their situation hitting home.</scene_description>
</scene>
<scene>
<stage_direction>INT. KITCHEN - NIGHT</stage_direction>
<scene_description>CLOSE ON -- A computer keyboard. Woody types an address.</scene_description>
<character>WOODY</character>
<dialogue>1-2-2-5... Sy--ca--more...</dialogue>
<scene_description>BLOOP -- Suddenly, an IM WINDOW pops up on the SCREEN.</scene_description>
<character>WOODY</character>
<dialogue>Who's "VelociSTAR237"?</dialogue>
<scene_description>Trixie pushes in.</scene_description>
<character>TRIXIE</character>
<dialogue>Oh...! That's just a dinosaur toy down the street. That's nothing. Lemme just take care of that!</dialogue>
<parenthetical>(beat)</parenthetical>
<dialogue>Just a dinosaur...!</dialogue>
<scene_description>Woody finishes typing.</scene_description>
<character>WOODY</character>
<dialogue>All right. Sy--ca--more... Okay, "Enter"!</dialogue>
<scene_description>Trixie hits the Return. Slowly, a map begins to assemble.</scene_description>
<character>WOODY</character>
<dialogue>Please don't be far! Please!</dialogue>
<scene_description>The map resolves itself. The route to Andy's house is a short "Z" -- less than two blocks away. Woody is amazed.</scene_description>
<character>WOODY</character>
<dialogue>Right around the corner...?! It's right around the corner!!!</dialogue>
<scene_description>Ecstatic, he hugs Bonnie's toys, leaps off the desk, does a happy dance across the floor, strides to the kitchen door.</scene_description>
<character>WOODY</character>
<dialogue>I'm going to college! Look at me, I'm big toy on campus! Hello! Hey! I'll see you at the Sock Hop!</dialogue>
<character>DOLLY</character>
<dialogue>Okay, Potsie!</dialogue>
<scene_description>Woody starts to slip through a pet door.</scene_description>
<character>WOODY</character>
<dialogue>Oh, hey, listen -- if any of you guys ever get to Sunnyside Day Care? You tell 'em Woody made it home!</dialogue>
<scene_description>Bonnie's Toys gasp.</scene_description>
<character>DOLLY</character>
<dialogue>You came from Sunnyside?!</dialogue>
<character>TRIXIE</character>
<dialogue>But... How'd you escape?!!!</dialogue>
<character>WOODY</character>
<dialogue>It wasn't easy, I... What do you mean "escape"?</dialogue>
<scene_description>Bonnie's Toys trade glances. Pricklepants steps forward.</scene_description>
<character>MR. PRICKLEPANTS</character>
<dialogue>Sunnyside is a place of ruin and despair, ruled by an evil bear who smells of strawberries!</dialogue>
<character>WOODY</character>
<dialogue>Lotso...?!</dialogue>
<character>BUTTERCUP</character>
<dialogue>He may seem plush and huggable on the outside. But inside, he's a monster!</dialogue>
<character>WOODY</character>
<dialogue>But... How do you know that?</dialogue>
<character>MR. PRICKLEPANTS</character>
<dialogue>Chuckles... He'll tell you!</dialogue>
<scene_description>They turn -- with awe and respect -- to a toy clown, Chuckles, sitting on a sill, staring grimly out the window. Woody steps forward.</scene_description>
<character>CHUCKLES</character>
<dialogue>Yeah, I knew Lotso. He was a good toy. A friend. Me and him, we had the same kid -- Daisy...</dialogue>
</scene>
<scene>
<stage_direction>INT. DAISY'S LIVING ROOM - DAY - FLASHBACK</stage_direction>
<scene_description>A freckle-faced five-year-old, DAISY, unwraps a gift under a Christmas tree and finds a fresh, smiling Lotso inside.</scene_description>
<character>CHUCKLES (V.O.)</character>
<dialogue>I was there when Lotso got unwrapped.</dialogue>
<scene_description>She hugs him -- love at first sight.</scene_description>
<character>CHUCKLES (V.O.)</character>
<dialogue>Daisy loved us all, but Lotso... Lotso was special.</dialogue>
</scene>
<scene>
<stage_direction>INT. DAISY'S HOUSE - DAY - FLASHBACKS</stage_direction>
<scene_description>QUICK CUTS: Daisy takes Lotso everywhere -- jumping through a lawn sprinkler; pushed on a swing; in bed while she reads to him, etc. He gazes lovingly at her.</scene_description>
<character>CHUCKLES (V.O.)</character>
<dialogue>They did everything together. You never seen a kid and a toy more in love.</dialogue>
</scene>
<scene>
<stage_direction>EXT. STATION WAGON - DAY - FLASHBACK</stage_direction>
<scene_description>Daisy sits in the back of a station wagon, Lotso in her lap. Big Baby and Chuckles are buckled in beside them.</scene_description>
<character>CHUCKLES (V.O.)</character>
<dialogue>One day, we took a drive...</dialogue>
</scene>
<scene>
<stage_direction>EXT. REST STOP - DAY - FLASHBACK</stage_direction>
<scene_description>At a rest stop, Daisy's Family has lunch in the grass while Daisy plays happily with Lotso, Chuckles, and Big Baby.</scene_description>
<character>CHUCKLES (V.O.)</character>
<dialogue>Hit a rest stop, had a little play time.</dialogue>
<scene_description>Daisy's Mom waves a sandwich. Daisy puts down the Toys and runs to join her family. DISSOLVE TO: A sleeping Daisy is carried to the car.</scene_description>
<character>CHUCKLES (V.O.)</character>
<dialogue>After lunch, Daisy fell asleep.</dialogue>
<scene_description>A seat belt is clicked around the sleeping Daisy. The car drives off. Daisy's Toys sit up, their worst fears come true. DISSOLVES: Lotso peers down the road, keeping vigil as the sun sets. Days pass. Rain falls. The forgotten Toys remain.</scene_description>
<character>CHUCKLES (V.O.)</character>
<dialogue>She never came back.</dialogue>
<scene_description>CLOSE -- A heart-shaped pendant reads, "My heart belongs to..." A child's writing shows Daisy's name and address. Lotso reads the pendant, hung around Big Baby's neck. He sets off across the fields. Chuckles and Big Baby follow.</scene_description>
<character>CHUCKLES (V.O.)</character>
<dialogue>Lotso wouldn't give up. It took forever, but we finally made it back to Daisy's.</dialogue>
</scene>
<scene>
<stage_direction>EXT. DAISY'S HOUSE - DUSK</stage_direction>
<scene_description>Lotso, Chuckles and Big Baby stand in the bushes outside Daisy's window -- muddy, worn. Big Baby boosts Lotso and Chuckles to the window sill. They peer in. Through the window, Daisy lies in her bed, reading a picture book.</scene_description>
<character>CHUCKLES (V.O.)</character>
<dialogue>But by then, it was too late.</dialogue>
<scene_description>FAST ZOOM -- Tucked beside her is a brand-new Lotso Bear. TRACK IN ON -- Lotso. His Universe is shattered. Lotso drops from the window. Rain begins to fall.</scene_description>
<character>CHUCKLES (V.O.)</character>
<dialogue>Something changed that day inside Lotso. Something snapped...</dialogue>
<scene_description>Lotso's face hardens. Big Baby stares -- uncomprehending.</scene_description>
<character>LOTSO</character>
<dialogue>She replaced us. C'mon!</dialogue>
<scene_description>He turns to go, but Big Baby and Chuckles stay put.</scene_description>
<character>YOUNG CHUCKLES</character>
<dialogue>No, she only replaced yo--!</dialogue>
<scene_description>Lotso turns on Chuckles.</scene_description>
<character>LOTSO</character>
<dialogue>She replaced all of us! Didn't she?!</dialogue>
<scene_description>Chuckles shrinks back, cowed. Big Baby looks at the pendant, turns and begins climbing up towards Daisy's window. Lotso walks back to Big Baby and yanks him down.</scene_description>
<character>LOTSO</character>
<dialogue>She don't love you no more! Now come on!</dialogue>
<scene_description>He rips the pendant off, throws it away, and stalks off. Chuckles and Big Baby are left behind -- heart-broken.</scene_description>
</scene>
<scene>
<stage_direction>EXT. TRUCK BUMPER - NIGHT</stage_direction>
<scene_description>Lotso, Chuckles, and Big Baby hunch in the red, tail-lit glow of the bumper of a delivery truck as it drives through swirling rain. Their eyes are dead, hopeless.</scene_description>
<character>CHUCKLES (V.O.)</character>
<dialogue>We were lost. Cast off. Unloved. Unwanted...</dialogue>
<scene_description>The truck hits a pothole, knocking them off the bumper. They hit the pavement, tumble into a puddle in front of...</scene_description>
</scene>
<scene>
<stage_direction>EXT. SUNNYSIDE DAY CARE, FRONT ENTRANCE - NIGHT</stage_direction>
<scene_description>It's dark. Rain pours. Lotso, Chuckles, and the Baby lift their faces from the puddle. A FLASH of lightning reveals the Sunnyside Day Care Center.</scene_description>
<character>CHUCKLES</character>
<dialogue>Then we found Sunnyside. But Lotso wasn't my friend anymore...</dialogue>
<scene_description>Lotso stands, eyes narrowed. He limps towards the Day Care. Chuckles and Big Baby watch from the puddle. Lightning FLASHES. MATCH CUT:</scene_description>
</scene>
<scene>
<stage_direction>INT. KITCHEN - DAWN</stage_direction>
<scene_description>Chuckles, remembering. Woody listens, rapt.</scene_description>
<character>CHUCKLES</character>
<dialogue>...He wasn't anyone's friend. He took over Sunnyside, rigged the whole system.</dialogue>
<scene_description>He reaches in his pocket, pulls out Big Baby's pendant.</scene_description>
<character>WOODY</character>
<dialogue>So... How'd you get out?</dialogue>
<character>CHUCKLES</character>
<dialogue>I got broke. Bonnie found me, took me home. Other Toys, they weren't so lucky.</dialogue>
<parenthetical>(voice quavers)</parenthetical>
<dialogue>It ain't right, what Lotso done! New toys -- they don't stand a chance!</dialogue>
<scene_description>Woody looks up.</scene_description>
<character>WOODY</character>
<dialogue>But... My friends are in there!</dialogue>
<character>BUTTERCUP</character>
<dialogue>You can't go back! It's too dangerous!</dialogue>
<character>MR. PRICKLEPANTS</character>
<dialogue>Returning now would be suicide!</dialogue>
<character>DOLLY</character>
<dialogue>But what about your... "Andy"?</dialogue>
<character>TRIXIE</character>
<dialogue>Isn't he leaving tomorrow?</dialogue>
<scene_description>TRACK IN ON -- Woody, torn.</scene_description>
</scene>
<scene>
<stage_direction>INT. CATERPILLAR ROOM - DAWN</stage_direction>
<scene_description>The room is still. A HARMONICA plays mournfully. TRACK down the cubbies -- The Toys grip the bars, forlorn. CRANE TO REVEAL Hamm, playing the harmonica. Suddenly, Buzz pounds on Hamm's cubby.</scene_description>
<character>BUZZ</character>
<dialogue>Quiet, musical hog! Knock it off!</dialogue>
<scene_description>Hamm stops playing, sighs. Buzz moves off. Bullseye looks at Woody's hat, whimpers sadly. Jessie pats his muzzle.</scene_description>
<character>JESSIE</character>
<dialogue>Oh, Bullseye... I miss Woody, too.</dialogue>
<scene_description>She turns away, bows her head.</scene_description>
<character>JESSIE</character>
<dialogue>But he ain't ever comin' back.</dialogue>
<scene_description>Jessie lifts her boot, revealing "ANDY" written underneath. Her eyes fill with regret. The bathroom door bursts open. A Tonka truck races in the room -- Lotso in the back, his Gang hanging off the sides, WHOOPING it up. The truck comes screeching to a stop.</scene_description>
<character>LOTSO</character>
<dialogue>Rise and shine, Campers!</dialogue>
<scene_description>Buzz snaps to attention, salutes.</scene_description>
<character>BUZZ</character>
<dialogue>Commander Lotso, Sir! All quiet! Nothing to report!</dialogue>
<character>LOTSO</character>
<dialogue>Excellent, Lightyear! C'mon -- we need you back at Star Command!</dialogue>
<scene_description>Buzz hops in the back of the truck.</scene_description>
<character>MRS. POTATO HEAD</character>
<dialogue>Wait! What you have you done with my husband?!</dialogue>
<character>LOTSO</character>
<dialogue>Big Baby...?</dialogue>
<scene_description>Big Baby steps forward and tosses a dazed Mr. Potato Head into the room -- coughing, groaning, covered in sand. The Toys gasp. Mrs. Potato Head reaches out.</scene_description>
<character>MRS. POTATO HEAD</character>
<dialogue>Sweetheart...!</dialogue>
<character>MR. POTATO HEAD</character>
<dialogue>It was cold...! And dark...! Nothing but sand and a couple of Lincoln Logs...</dialogue>
<character>HAMM</character>
<dialogue>I don't think those weren't Lincoln Logs.</dialogue>
<scene_description>Lotso addresses the room.</scene_description>
<character>LOTSO</character>
<dialogue>Y'all get ready -- you got a play- date with destiny!</dialogue>
<scene_description>CUT TO: A BELL -- Ringing. Bonnie runs down the hall and enters the Butterfly Room.</scene_description>
</scene>
<scene>
<stage_direction>INT. BUTTERFLY ROOM - DAY</stage_direction>
<scene_description>The room thrums with the happy CHATTER of young kids. Bonnie drops off her backpack at the lockers, rushes off. STAY on her backpack. It unzips. Woody peers out, then surreptitiously scrambles to the top of a bookshelf.</scene_description>
</scene>
<scene>
<stage_direction>INT. CEILING CRAWL SPACE, BUTTERFLY ROOM - DAY</stage_direction>
<scene_description>Woody pushes aside an acoustic panel, climbs in the crawl space above the tiles, and slides the panel back in place. O.S. -- Children's SHRIEKS. Woody turns.</scene_description>
</scene>
<scene>
<stage_direction>INT. CEILING CRAWL SPACE, CATERPILLAR ROOM - DAY</stage_direction>
<scene_description>Crawling, Woody follows the noise, puts his ear to a tile.</scene_description>
</scene>
<scene>
<stage_direction>INT. CATERPILLAR ROOM - DAY</stage_direction>
<scene_description>Woody pulls up the ceiling tile and drops onto an empty reading loft, furnished with pillows and bean bag chairs. He creeps to the edge of the loft and scans the room. POV -- Below, a Toddler uses Rex to hammer a bongo drum. Another Toddler holds a Potato Head in each hand, then smashes them to the ground. Their pieces scatter. A child swings Jessie by her hair, releases her. Jessie slams into a wall, drops to the floor. Woody is horrified. Then, off-screen, a toy-phone bell RINGS. Woody turns. A Fisher Price Phone, The Lifer, wheels into view. He RINGS again, drops his receiver, retreats into shadows. Woody creeps to the phone, lifts the receiver.</scene_description>
<character>WOODY</character>
<dialogue>Uh... Hello...?</dialogue>
<scene_description>The Lifer's voice is hoarse and grizzled.</scene_description>
<character>LIFER</character>
<dialogue>You shouldn'a come back, Cowboy. They cracked down hard since you left. More guards. More patrols. You and your friends ain't ever gettin' outta here now.</dialogue>
<character>WOODY</character>
<dialogue>I made it out once...</dialogue>
<character>LIFER</character>
<dialogue>You got lucky once. Want my advice? Keep your heads down. You'll survive.</dialogue>
<character>WOODY</character>
<dialogue>Yeah? For how long?</dialogue>
<character>LIFER</character>
<parenthetical>(squints like Clint)</parenthetical>
<dialogue>I been here years. They'll never break me. There's only one way Toys leave this place...</dialogue>
<scene_description>The Lifer rolls forward. Through the window, the Janitor -- across the yard -- dumps the broken Toy Train into a trash chute. Woody shudders -- he's just witnessed a Toy death.</scene_description>
<character>LIFER</character>
<dialogue>Poor fella. Trash truck comes at dawn. Then it's off to The Dump...</dialogue>
<scene_description>Woody bends down, respectful.</scene_description>
<character>WOODY</character>
<dialogue>I appreciate your concern, Old Timer. But we have a kid waiting for us. Now we're leaving. If you'd help us -- one toy to another -- I'd sure be grateful.</dialogue>
<scene_description>The Lifer sighs.</scene_description>
<character>LIFER</character>
<dialogue>Well, if you're gonna get out... First thing you gotta get through's the doors.</dialogue>
<scene_description>SHOTS -- FAST TRACKING IN on knobs of the playground door; the hall door; the office door. Each door is shut and locked. Keys are left dangling on a hook in the office.</scene_description>
<character>LIFER (V.O.)</character>
<dialogue>...Locked every night, inside and out. Keys are left on a hook in the office.</dialogue>
<character>WOODY (V.O.)</character>
<dialogue>Got it. What else?</dialogue>
<scene_description>SHOTS -- Night. Toy Trucks patrol the empty halls of the Day Care. Outside, Trucks patrol the deserted playground.</scene_description>
<character>LIFER (V.O.)</character>
<dialogue>Lotso has trucks patrolling all night long. Hallway. Lobby. Playground.</dialogue>
<character>WOODY</character>
<dialogue>Yeah, yeah... What about the wall?</dialogue>
<scene_description>SHOTS -- TRACKING along the mural-covered cinder block wall.</scene_description>
<character>LIFER (V.O.)</character>
<dialogue>Eight feet high. Cinderblock. No way through it. You go over or under.</dialogue>
<scene_description>Woody frowns.</scene_description>
<character>WOODY</character>
<dialogue>That's it?! Doesn't seem so bad.</dialogue>
<character>LIFER</character>
<dialogue>It's not. Your real problem's The Monkey.</dialogue>
</scene>
<scene>
<stage_direction>INT. OFFICE - NIGHT</stage_direction>
<scene_description>A TOY CHIMP sits at the console of security monitors.</scene_description>
<character>LIFER (V.O.)</character>
<dialogue>The Monkey's the Eye in the Sky...</dialogue>
<scene_description>CLOSE ON -- THE MONKEY'S EYES The bank of monitors is reflected in them.</scene_description>
<character>LIFER (V.O.)</character>
<dialogue>He sees everything...</dialogue>
</scene>
<scene>
<stage_direction>INT. CATERPILLAR ROOM - NIGHT</stage_direction>
<scene_description>A Toy Bunny slips through the bars of his cubby, scampers toward the hallway door.</scene_description>
<character>LIFER (V.O.)</character>
<dialogue>...Classrooms...</dialogue>
</scene>
<scene>
<stage_direction>INT. OFFICE - NIGHT</stage_direction>
<scene_description>The Monkey, staring at the security monitors, sees the Bunny on screen, bares his teeth and SCREECHES, presses the PA button, and begins furiously banging his cymbals.</scene_description>
</scene>
<scene>
<stage_direction>INT. CATERPILLAR ROOM - NIGHT</stage_direction>
<scene_description>The Bunny -- busted -- freezes and looks around in a panic. The hall door opens and Lotso and his Gang step in. Big Baby lurches toward the Bunny menacingly.</scene_description>
</scene>
<scene>
<stage_direction>INT. HALLWAY - NIGHT</stage_direction>
<scene_description>A Patrol Truck passes down a dark hallway. A Toy Penguin, hidden, peeks out of a potted plant, jumps to the floor.</scene_description>
<character>LIFER (V.O.)</character>
<dialogue>...Hallways...</dialogue>
<scene_description>He waddles for the front door. ZOOM UP to a security camera at the end of the hall.</scene_description>
</scene>
<scene>
<stage_direction>INT. OFFICE - NIGHT</stage_direction>
<scene_description>The Monkey sees the Penguin, hits the PA button, and begins SCREECHING and banging cymbals.</scene_description>
</scene>
<scene>
<stage_direction>INT. HALLWAY - NIGHT</stage_direction>
<scene_description>The Penguin is surrounded by Patrol Trucks. He puts his wings up. Big Baby pushes his way through the trucks, intent on meting out prompt and thorough justice.</scene_description>
</scene>
<scene>
<stage_direction>EXT. PLAYGROUND - NIGHT</stage_direction>
<scene_description>A trio of Plushies use a dart gun to fire a dart, tied with string, over the wall. They begin scaling the wall.</scene_description>
<character>LIFER</character>
<dialogue>...Even the playground.</dialogue>
</scene>
<scene>
<stage_direction>INT. OFFICE - NIGHT</stage_direction>
<scene_description>The Monkey sees the Plushies, SCREECHES his alarm.</scene_description>
</scene>
<scene>
<stage_direction>EXT. PLAYGROUND - NIGHT</stage_direction>
<scene_description>A spotlight hits the Plushies. Within the spotlight rises the silhouette of Big Baby, arms lifted.</scene_description>
</scene>
<scene>
<stage_direction>INT. CATERPILLAR ROOM - DAY</stage_direction>
<scene_description>The Lifer lays it on the line for Woody.</scene_description>
<character>LIFER</character>
<dialogue>You can unlock doors, sneak past guards, climb the wall... But if you don't take out that Monkey, you ain't goin' nowhere. Y'wanna get outta here? Get ridda that Monkey!</dialogue>
<scene_description>SMASH TO:</scene_description>
</scene>
<scene>
<stage_direction>INT. CATERPILLAR ROOM - DAY</stage_direction>
<scene_description>A bell RINGS. The Toddlers -- playing rough -- look up.</scene_description>
<character>TEACHER</character>
<dialogue>Okay! Recess!</dialogue>
<scene_description>She opens the playground door. The Toddlers drop the Toys, rush outside. The Teacher hits the lights, closes the door. Jessie and the Toys sit up, groaning and aching.</scene_description>
<character>WOODY (O.S.)</character>
<dialogue>Pssst...! Pssst...! Hey, guys...!</dialogue>
<scene_description>They look over. From a puppet theater, Woody waves.</scene_description>
<character>JESSIE</character>
<dialogue>Woody? Woody!!!</dialogue>
<character>REX</character>
<dialogue>Woody!</dialogue>
<character>MRS. POTATO HEAD</character>
<dialogue>Thank goodness!</dialogue>
<scene_description>They quickly run and gather around him, rejoicing.</scene_description>
<character>SLINKY</character>
<dialogue>You're alive!!!</dialogue>
<character>HAMM</character>
<dialogue>Hey, Buddy!</dialogue>
<character>WOODY</character>
<dialogue>'Course I'm alive...!</dialogue>
<parenthetical>(sees Bullseye)</parenthetical>
<dialogue>Hey, my hat!!!</dialogue>
<scene_description>Woody takes his hat from Bullseye, puts it on.</scene_description>
<character>WOODY</character>
<dialogue>Wait. Where's Buzz?</dialogue>
<character>REX</character>
<dialogue>Lotso did something to him!</dialogue>
<character>SLINKY</character>
<dialogue>He thinks he's a Space Ranger again!</dialogue>
<character>WOODY</character>
<dialogue>Oh no...</dialogue>
<character>HAMM</character>
<dialogue>Oh yes. "Return of the Astro Nut!"</dialogue>
<character>JESSIE</character>
<dialogue>Oh, Woody, we were wrong to leave Andy. I... I was wrong...</dialogue>
<character>MR. POTATO HEAD</character>
<dialogue>Jessie's right, Woody -- she was wrong!</dialogue>
<character>WOODY</character>
<dialogue>No, no. It's my fault for leaving you guys. From now on, we stick together.</dialogue>
<scene_description>The Toys smile, reassured.</scene_description>
<character>SLINKY</character>
<dialogue>But... Andy's leavin' for college!</dialogue>
<character>JESSIE</character>
<dialogue>College!!! Hog-tie the mailman!!! We gotta get you home before Andy leaves tomorrow!</dialogue>
<character>HAMM</character>
<dialogue>Tomorrow...? But, that means...</dialogue>
<character>WOODY</character>
<dialogue>It means we're busting outta here tonight.</dialogue>
<character>MRS. POTATO HEAD</character>
<dialogue>What?! Impossible!</dialogue>
<character>REX</character>
<dialogue>But there's no way outta here!</dialogue>
<character>WOODY</character>
<dialogue>No, there is one way out. One way...</dialogue>
<scene_description>He turns. RACK FOCUS -- Through the window is the trash chute on the maintenance shed. Woody turns to the Toys. They huddle.</scene_description>
<character>WOODY</character>
<dialogue>Okay, here's the plan...</dialogue>
</scene>
<scene>
<stage_direction>INT. CATERPILLAR ROOM - NIGHT</stage_direction>
<scene_description>Ken, dapper in an evening robe, conducts his nightly roll call. He's trailed by Buzz. Big Baby stands guard.</scene_description>
<character>KEN</character>
<dialogue>Cowgirl...</dialogue>
<character>JESSIE</character>
<dialogue>Here.</dialogue>
<character>KEN</character>
<dialogue>Horse...</dialogue>
<scene_description>Bullseye WHINNIES.</scene_description>
<character>KEN</character>
<dialogue>Piggy bank...</dialogue>
<character>HAMM</character>
<dialogue>Yo.</dialogue>
</scene>
<scene>
<stage_direction>INT. CEILING CRAWL SPACE, CATERPILLAR ROOM - NIGHT</stage_direction>
<scene_description>From above, Woody watches through a ventilation grate.</scene_description>
<character>KEN</character>
<dialogue>Tyrannosaurus...</dialogue>
<character>REX</character>
<dialogue>Here.</dialogue>
<character>KEN</character>
<dialogue>Barbie...</dialogue>
<character>BARBIE</character>
<dialogue>Here...</dialogue>
</scene>
<scene>
<stage_direction>INT. CATERPILLAR ROOM - CONTINUOUS</stage_direction>
<scene_description>Ken strolls on.</scene_description>
<character>KEN</character>
<dialogue>Potato Head... Potato Head?</dialogue>
<scene_description>Silence. Buzz backs up, looks in the cubby.</scene_description>
<character>BUZZ</character>
<dialogue>Hey! Tuberous Root Man! Wake up!</dialogue>
<scene_description>Buzz rattles the bars. An actual potato rolls to the front of the cubby -- a dummy potato, as it were.</scene_description>
<character>BUZZ</character>
<dialogue>Impossible!</dialogue>
<scene_description>A NOISE. Ken and Buzz turn. Potato Head is at the window, struggling with the locks.</scene_description>
<character>BUZZ</character>
<dialogue>Hey!</dialogue>
<scene_description>Potato Head sees he's been spotted. He jumps off the sill and sprints to the bathroom door. Buzz and Ken run across the room. Big Baby toddles after them. As they EXIT FRAME we TILT UP to find... Woody, in a hanging light, takes out a pipe cleaner, bends it, uses it to snag the clothing line of kids' paintings. Potato Head reaches the bathroom, bangs on the door, then turns to face Buzz, Ken, and Big Baby. They surround him.</scene_description>
</scene>
<scene>
<stage_direction>INT. FRONT OFFICE - NIGHT</stage_direction>
<scene_description>The Monkey, at the security console, sees Buzz and Ken corner Potato Head. He leans in to watch.</scene_description>
<character>KEN</character>
<dialogue>Little late for a stroll, eh, Potato Head?</dialogue>
<character>MR. POTATO HEAD</character>
<dialogue>That's Mr. Potato Head to you, Smoothie!</dialogue>
<scene_description>PAN and ZOOM past the distracted Monkey to another monitor. On it, Slinky slips out of his cubby cell.</scene_description>
<character>KEN (O.S.)</character>
<dialogue>You're turning out to be quite the trouble-maker, aren't ya?</dialogue>
</scene>
<scene>
<stage_direction>INT. CATERPILLAR CLASSROOM - NIGHT</stage_direction>
<scene_description>Behind Ken and Buzz, Slinky runs to the middle of the room.</scene_description>
<character>KEN (O.C.)</character>
<dialogue>What'd you think you were gonna do? Waltz right outta here?</dialogue>
<scene_description>Woody grabs a bag of marbles, grasps the clothesline, jumps.</scene_description>
<character>MR. POTATO HEAD (O.C.)</character>
<dialogue>And I would'a got away with it too, if it weren't for you meddling Toys!</dialogue>
<scene_description>Woody lowers via the clothesline, drops the bag of marbles, grabs Slinky, and ascends back up to the ceiling.</scene_description>
<character>MR. POTATO HEAD</character>
<dialogue>Ya ascot-wearin' pink-noser! Mr. Brains-Sold-Separately!!!</dialogue>
<scene_description>He kicks Ken. Ken yelps, turns to Big Baby.</scene_description>
<character>KEN</character>
<dialogue>Take him back to The Box!</dialogue>
<scene_description>Big Baby grabs Potato Head, lifts him off the ground.</scene_description>
<character>MR. POTATO HEAD</character>
<dialogue>No! Not The Box! I'm sorry! I didn't mean it! I like ascots! Really! No... No! Noooooo!!!</dialogue>
<scene_description>They disappear through the bathroom door.</scene_description>
</scene>
<scene>
<stage_direction>INT. CEILING CRAWL SPACE - NIGHT</stage_direction>
<scene_description>Woody and Slinky watch as Potato Head is dragged off. They close the ceiling panel.</scene_description>
<character>WOODY</character>
<dialogue>Okay, check...</dialogue>
</scene>
<scene>
<stage_direction>INT. CATERPILLAR CLASSROOM - NIGHT</stage_direction>
<scene_description>Ken turns to Buzz.</scene_description>
<character>KEN</character>
<dialogue>Good work, Lightyear! Resume your, uh... Space-guy... Thing-y!</dialogue>
<character>BUZZ</character>
<dialogue>Yes, sir, Well-Groomed Man!</dialogue>
<scene_description>He salutes, departs. Ken turns to go.</scene_description>
<character>BARBIE (O.C.)</character>
<dialogue>Ken...?! Ken...!</dialogue>
<scene_description>Ken stops. Barbie waves to him. Ken looks around, then approaches warily. Barbie is tearful.</scene_description>
<character>KEN</character>
<dialogue>What do you want?</dialogue>
<character>BARBIE</character>
<dialogue>I can't take it here, Ken! I want to go to the Butterfly Room! With you!</dialogue>
<character>KEN</character>
<dialogue>Yeah, well, you should'a thought of that yesterday.</dialogue>
<character>BARBIE</character>
<dialogue>I was wrong! I want to be with you, Ken! In your Dream House! Take me away from this! Take me away!</dialogue>
<scene_description>She breaks down sobbing. Ken is torn. Finally, he gives in -- no match for a woman's tears.</scene_description>
<character>KEN</character>
<dialogue>Darn it, Barbie...!</dialogue>
<scene_description>He moves closer, speaks low.</scene_description>
<character>KEN</character>
<dialogue>Okay, but, things are complicated around here. You gotta do what I say!</dialogue>
<character>BARBIE</character>
<parenthetical>(tears of gratitude)</parenthetical>
<dialogue>I will, Ken! I promise!</dialogue>
<scene_description>Satisfied -- and a little smug -- he pulls open the cubby.</scene_description>
</scene>
<scene>
<stage_direction>INT. SANDBOX - NIGHT</stage_direction>
<scene_description>Big Baby opens the lid of the Sand Box.</scene_description>
<character>MR. POTATO HEAD</character>
<dialogue>Wait! I'll do anything...! I'll change your diapers!</dialogue>
<scene_description>Big Baby tosses Potato Head in, lowers the lid.</scene_description>
</scene>
<scene>
<stage_direction>EXT. PLAYGROUND - NIGHT</stage_direction>
<scene_description>Big Baby turns and walks off. STAY ON the sand box. TRACK IN to find a wood knot in the side of the box. It pops out, falls to the ground. Potato Head's hand emerges, clutching his eye. It looks around. One by one, Mr. Potato Head's parts fly out the hole and land on the ground, next to the sandbox.</scene_description>
</scene>
<scene>
<stage_direction>INT. FRONT OFFICE - NIGHT</stage_direction>
<scene_description>The Monkey sits motionless, staring maniacally at the security monitors. The only sound is a TICKING clock. Woody, clutching a pouch, drops into FRAME behind the Monkey as Slinky, holding Woody's ankles, lowers Woody head-first. Woody -- dangling -- begins swinging closer and closer to the Monkey. The Monkey frowns at a reflection in the monitor. The Monkey whips around, SCREECHING. Slinky slips. He and Woody land on the Monkey, knocking the mic to the ground. The Monkey HISSES, leaps off the desk, runs for the mic. Woody lunges for the Monkey, but misses. He grabs the microphone cord and whips it, tripping the Monkey. Woody grabs the Monkey. The Monkey flips himself on top of Woody and starts crashing his cymbals against Woody's head.</scene_description>
<character>WOODY</character>
<dialogue>Go... Get... The... Tape!!!</dialogue>
<scene_description>Slinky runs to a Scotch tape dispenser, grabs the tape with his teeth, heads back toward Woody. The Monkey turns, sees Slinky charging, tape in his mouth. He SCREECHES. CUT TO BLACK:</scene_description>
</scene>
<scene>
<stage_direction>INT. KEN'S DREAM HOUSE, BUTTERFLY ROOM - NIGHT</stage_direction>
<scene_description>Ken and Barbie ride the Dream House elevator to the top floor. Ken opens the door.</scene_description>
<character>KEN</character>
<dialogue>And this... Is where the magic happens.</dialogue>
<scene_description>FAST PULL BACK to REVEAL the living room of his Dream House. Racks of clothes line the walls. Barbie gasps.</scene_description>
<character>BARBIE</character>
<dialogue>Look at all your clothes!!! I can't believe you never brought me up here!</dialogue>
<scene_description>Barbie flips through the racks. Ken joins her.</scene_description>
<character>BARBIE</character>
<dialogue>Tennis whites! Mission to Mars!</dialogue>
<character>KEN</character>
<dialogue>I know, I know! Check this out -- "Kung-Fu Fighting"! "Campus Hero" with matching sports pennant, huh?!</dialogue>
<character>BARBIE</character>
<dialogue>Flower Power...!!! Oh, Ken...!</dialogue>
<scene_description>Ken pivots away, his mood turning to melancholy reflection.</scene_description>
<character>KEN</character>
<dialogue>No one appreciates clothes here, Barbie.</dialogue>
<parenthetical>(then, bitter:)</parenthetical>
<dialogue>No one.</dialogue>
<scene_description>Barbie walks up behind him.</scene_description>
<character>BARBIE</character>
<dialogue>Ken... Would you model a few outfits for me? Just a few?</dialogue>
<scene_description>Ken is stunned -- no one's ever asked this of him. Throbbing DISCO begins. FASHION MONTAGE -- QUICK CUTS Ken emerges from behind a screen, sporting some of the most insane Ken outfits ever -- '90s, '80s, '70s, even 1960s -- with matching accessories. Ken strikes just the right pose for each outfit -- slinging a jacket over his shoulder; doing "The Frug" in a fringe vest; polka-ing in Lederhosen; scuba moves; break dancing. Barbie sits watching, enthralled. She laughs, claws her hand, growls like a cat. Finally, she applauds wildly. Ken grins -- exceptionally pleased with himself.</scene_description>
</scene>
<scene>
<stage_direction>INT. OFFICE - NIGHT</stage_direction>
<scene_description>Woody and Slinky finish taping up the struggling Monkey. Slinky opens a desk drawer. Woody rolls the Monkey in. Slinky pushes it closed.</scene_description>
<character>SLINKY</character>
<dialogue>Go get the key!</dialogue>
<scene_description>Woody runs to a bulletin board above the desk.</scene_description>
<character>WOODY</character>
<dialogue>Where is it...? Where is it...? Where's the key?</dialogue>
<scene_description>He finds the keys, buried under push-pinned papers.</scene_description>
<character>WOODY</character>
<dialogue>Bingo!</dialogue>
<scene_description>Slinky toggles a security camera joystick.</scene_description>
</scene>
<scene>
<stage_direction>INT. CATERPILLAR ROOM - NIGHT</stage_direction>
<scene_description>Jessie sees the security camera panning back and forth. She turns, whispers.</scene_description>
<character>JESSIE</character>
<dialogue>Yodel-Lay-Hee-Hoooooo...!!!</dialogue>
<scene_description>A few cubbies down, Hamm and Rex share a look. ANGLE -- Buzz, patrolling...</scene_description>
<character>HAMM (O.S.)</character>
<dialogue>Hey! Whadda you think you're doin?!</dialogue>
<scene_description>Buzz stops, turns. In the cell, Hamm plugs his cork into his belly.</scene_description>
<character>HAMM</character>
<dialogue>I told you -- keep your hands off of my stuff!</dialogue>
<scene_description>Rex raises his fists, trying to sound tough.</scene_description>
<character>REX</character>
<dialogue>Make a move, Porky!</dialogue>
<scene_description>Hamm jumps Rex. They grapple. Buzz runs over.</scene_description>
<character>BUZZ</character>
<dialogue>Hey! No fighting! Break it up!</dialogue>
<scene_description>He pulls the "cell" from the cubby and they tumble out.</scene_description>
<character>HAMM</character>
<dialogue>Take that, Walnut-Brain! No wonder you're extinct!</dialogue>
<scene_description>Jessie and Bullseye steal out of their cubbies while Buzz gets between Hamm and Rex, holding them apart.</scene_description>
<character>BUZZ</character>
<dialogue>Hey, you can't hit each other! That's my job!</dialogue>
<character>JESSIE (O.C.)</character>
<dialogue>Yoo-hoo!</dialogue>
<scene_description>Buzz looks up. Jessie and Bullseye stand on a bookcase above him, holding an empty, clear plastic toy bin. They leap, slamming the bin over Buzz. Hamm and Rex leap on top of it, pinning it to the floor.</scene_description>
<character>BUZZ</character>
<parenthetical>(muffled)</parenthetical>
<dialogue>Help! Prison riot!</dialogue>
<scene_description>Buzz FIRES his laser in a circle at the side of the bin. He charges at the wall, hits it, and falls over. Jessie turns to Bullseye.</scene_description>
<character>JESSIE</character>
<dialogue>Get the tortilla!</dialogue>
<scene_description>Bullseye heads to a locker, pulls out a lunch box. Jessie opens it. Inside is a tortilla. Jessie grabs it, dashes to the door, slides it under. She knocks and runs off.</scene_description>
</scene>
<scene>
<stage_direction>EXT. PLAYGROUND - NIGHT</stage_direction>
<scene_description>The tortilla lays outside. From the shadows, one of Potato Head's arms appears, crawls over, grabs the tortilla, and drags it into the darkness. One by one, the parts implant themselves in the tortilla. The Tortilla stands unsteadily, looks around, blinks, then heads off across the playground.</scene_description>
</scene>
<scene>
<stage_direction>INT. KEN'S DREAM HOUSE, BUTTERFLY ROOM - NIGHT</stage_direction>
<scene_description>Ken -- headband on -- is behind a shoji screen.</scene_description>
<character>KEN</character>
<dialogue>Ready?</dialogue>
<character>BARBIE (O.C.)</character>
<dialogue>Ready...!</dialogue>
<scene_description>Ken leaps from behind the screen in a Karate Gi and does a series of fighting moves, kicking and punching the air.</scene_description>
<character>KEN</character>
<dialogue>Haiii-Yaaa! Wah! Whaaa-aaa-aaa --</dialogue>
<scene_description>He freezes mid-pose. Barbie isn't there.</scene_description>
<character>KEN</character>
<dialogue>Uh... Barbie?</dialogue>
<scene_description>Barbie leaps out of nowhere, tackling Ken. Ken lands on his chest. Barbie grabs his head, spins it 180 degrees.</scene_description>
<character>BARBIE</character>
<dialogue>No more games, Ken. What did Lotso do to Buzz, and how do we get him back?</dialogue>
<scene_description>Ken is secretly thrilled to have Barbie straddling his chest, talking tough. He is defiant.</scene_description>
<character>KEN</character>
<dialogue>You can't make me talk! You can't!</dialogue>
<scene_description>Barbie glares at him, eyes narrowing. Ken -- unable to contain his excitement -- blurts out:</scene_description>
<character>KEN</character>
<dialogue>...But I'd like to see you try!!!</dialogue>
</scene>
<scene>
<stage_direction>INT. HALLWAY - NIGHT</stage_direction>
<scene_description>A Security truck patrols the hall. As it passes, the office door opens. Woody peers out.</scene_description>
</scene>
<scene>
<stage_direction>INT. OFFICE - NIGHT</stage_direction>
<scene_description>Slinky is poised with a key attached to a rubber-band sling shot. Slinky pulls it back. Woody signals "Go!" Slinky releases the slingshot. It shoots the key under the door, across the hall and into the Caterpillar Room.</scene_description>
</scene>
<scene>
<stage_direction>INT. CATERPILLAR ROOM - NIGHT</stage_direction>
<scene_description>Jessie stops the key with her boot, picks it up.</scene_description>
</scene>
<scene>
<stage_direction>EXT. PLAYGROUND - NIGHT</stage_direction>
<scene_description>Mr. Potato Head hoists himself up a tricycle and onto a classroom window ledge. He peers in. Inside the Butterfly Room, Lotso is asleep. Potato Head turns and uses the trike's mirror to catch a moonbeam.</scene_description>
</scene>
<scene>
<stage_direction>INT. CATERPILLAR ROOM - NIGHT</stage_direction>
<scene_description>Mrs. Potato Head, on the sill by the door, sees the signal. She uses the key to unlock the door.</scene_description>
</scene>
<scene>
<stage_direction>EXT. PLAYGROUND - NIGHT</stage_direction>
<scene_description>The door opens. Jessie, Bullseye, Mrs. Potato Head and the Aliens slip outside. As a SPOTLIGHT sweeps past, they duck behind a traffic cone then creep off across the playground.</scene_description>
</scene>
<scene>
<stage_direction>INT. KEN'S DREAM HOUSE, BUTTERFLY ROOM - NIGHT</stage_direction>
<scene_description>Ken is tied to a paddle-ball paddle by the ball's string. He glowers as Barbie browses through his racks of clothing.</scene_description>
<character>BARBIE</character>
<dialogue>Let's see -- Hawaiian surf trunks...</dialogue>
<scene_description>She holds them up, then RIPS them apart. Ken is horrified.</scene_description>
<character>KEN</character>
<dialogue>Barbie, those were vintage!</dialogue>
<parenthetical>(steels himself)</parenthetical>
<dialogue>It's okay! Go ahead, rip 'em! They're a dime a dozen!</dialogue>
<character>BARBIE</character>
<dialogue>Oooohh! Glitter tux!</dialogue>
<scene_description>RIPPPP...! She tosses the shreds at him. Ken groans in torment, but remains defiant.</scene_description>
<character>KEN</character>
<dialogue>Who cares?! Who cares?! Sequins are tacky!</dialogue>
<scene_description>Barbie picks up a Nehru jacket. Ken gasps in horror.</scene_description>
<character>BARBIE</character>
<dialogue>Oooohh!! A Nehru jacket!</dialogue>
<character>KEN</character>
<dialogue>Barbie!!! Not the Nehru...!</dialogue>
<character>BARBIE</character>
<dialogue>This is from, what -- 1967?</dialogue>
<character>KEN</character>
<dialogue>The Gruvvy Formal Collection, yes!</dialogue>
<character>BARBIE</character>
<dialogue>What a shame...</dialogue>
<character>KEN</character>
<dialogue>Oh, no! No! No, no, no...!!!</dialogue>
<scene_description>Barbie pulls at the seams. A stitch POPS. Ken cracks.</scene_description>
<character>KEN</character>
<dialogue>There's an instruction manual! Lotso switched Buzz to Demo Mode...!</dialogue>
<scene_description>He breaks down, sobbing. Barbie, steely, grabs Ken.</scene_description>
<character>BARBIE</character>
<dialogue>Where's that manual?</dialogue>
</scene>
<scene>
<stage_direction>INT. UTILITY CLOSET - NIGHT</stage_direction>
<scene_description>A sleepy Bookworm pulls the Buzz Lightyear Manual from his stacks, hands it down to a waiting Figure in a SPACE SUIT.</scene_description>
<character>BOOKWORM</character>
<dialogue>I don't know why this can't wait til morning, Ken, but... Here ya go!</dialogue>
<scene_description>The Figure salutes, turns, walks off. The Bookworm turns away, then hears an odd CLICKING. He turns back, stares. POV -- The Space-Suited Figure is wearing pink high heels. The Bookworm rolls his eyes -- Ken! -- and turns away.</scene_description>
</scene>
<scene>
<stage_direction>INT. CLASSROOM CEILING CRAWL SPACE - NIGHT</stage_direction>
<character>SLINKY</character>
<dialogue>What's takin' so doggone long?</dialogue>
<scene_description>A KNOCK. Woody slides the ceiling panel, revealing Barbie in the Space Suit, helmet off.</scene_description>
<character>WOODY</character>
<dialogue>So how do we fix Buzz?</dialogue>
<scene_description>Barbie grins, hoists up Buzz's Instruction Manual.</scene_description>
</scene>
<scene>
<stage_direction>EXT. PLAYGROUND - NIGHT</stage_direction>
<scene_description>Potato Head, on the ledge, sees Barbie pulled up into the ceiling.</scene_description>
</scene>
<scene>
<stage_direction>INT. CLASSROOM CEILING CRAWL SPACE - NIGHT</stage_direction>
<scene_description>Woody gives Potato Head the "thumbs up". Potato Head responds with complicated baseball-catcher gestures.</scene_description>
</scene>
<scene>
<stage_direction>EXT. PLAYGROUND - NIGHT</stage_direction>
<scene_description>Potato Head turns and edges down the ledge. A FLUTTERING. He looks. His path is blocked by a Pigeon. A stare down.</scene_description>
<character>MR. POTATO HEAD</character>
<dialogue>What're you lookin' at, Feathers?</dialogue>
<scene_description>The pigeon pecks him, taking a chunk out of his tortilla.</scene_description>
<character>MR. POTATO HEAD</character>
<dialogue>Hey! Ow!</dialogue>
<scene_description>The pigeon pecks again. Potato Head slaps the pigeon. The pigeon grabs his forehead, dragging him down the ledge. Potato Head hits the pigeon with his hat, gives it a kick. The pigeon flies off. Potato Head shakes his fist.</scene_description>
<character>MR. POTATO HEAD</character>
<dialogue>Yeah, fly away, ya coward!</dialogue>
<scene_description>The tortilla rips and disintegrates.</scene_description>
<character>MR. POTATO HEAD</character>
<dialogue>Uh-oh...</dialogue>
<scene_description>In pieces, he drops off the ledge to the ground.</scene_description>
<character>MR. POTATO HEAD</character>
<dialogue>Well, that's just great!</dialogue>
<scene_description>A section of tortilla props itself up, looks around. It spots the classroom vegetable garden. The eye goes wide.</scene_description>
</scene>
<scene>
<stage_direction>INT. CATERPILLAR ROOM - NIGHT</stage_direction>
<scene_description>Buzz is still trapped in the bin, banging on the ceiling. Hamm and Rex have grown weary of his calls for help.</scene_description>
<character>BUZZ</character>
<parenthetical>(muffled)</parenthetical>
<dialogue>Help! Prison riot!</dialogue>
<character>HAMM</character>
<dialogue>Give it up. No one can hear you.</dialogue>
<character>BUZZ</character>
<parenthetical>(looking up, muffled)</parenthetical>
<dialogue>What...?</dialogue>
<character>HAMM</character>
<dialogue>I said no one can hear you!</dialogue>
<character>BUZZ</character>
<parenthetical>(confused, muffled)</parenthetical>
<dialogue>What...?!!!</dialogue>
<character>REX</character>
<parenthetical>(yelling)</parenthetical>
<dialogue>He said, "No one can...!!!"</dialogue>
<character>HAMM</character>
<dialogue>Shhhh...!!! Will you be quiet?!</dialogue>
<scene_description>He slaps a hand over Rex's mouth. A NOISE. They look up. A ceiling tile opens. Woody, Slinky, and Barbie drop in.</scene_description>
<character>REX</character>
<dialogue>Woody! You're back!</dialogue>
<scene_description>Rex and Hamm move to the front of the bin. Buzz runs to the back and jumps -- knocking Hamm and Rex off the bin. Buzz makes a break for it -- running across the floor.</scene_description>
<character>WOODY</character>
<dialogue>Stop him! Don't let him get out!</dialogue>
<character>BUZZ</character>
<parenthetical>(into wrist radio)</parenthetical>
<dialogue>Star Command, I've been taken hostage by my own prisoners!!!</dialogue>
<scene_description>Hamm and Rex tackle Buzz. Hamm, Rex, Woody and Slink keep Buzz pinned down, as Barbie rushes over with the manual.</scene_description>
<character>WOODY</character>
<dialogue>Quick, open his back! There's a switch!</dialogue>
<scene_description>They pull open Buzz's compartment, revealing the switch. Woody flips it. Buzz struggles.</scene_description>
<character>BUZZ</character>
<dialogue>Unhand me, Zurg scum! The Galactic courts will show you no mercy!</dialogue>
<scene_description>Woody flips the switch back and forth.</scene_description>
<character>WOODY</character>
<dialogue>It's not working! Why's it not working? Where's the manual?</dialogue>
<scene_description>Hamm flips through at top speed.</scene_description>
<character>HAMM</character>
<dialogue>Here we go! There should be a little hole under the Switch!</dialogue>
<character>WOODY</character>
<dialogue>Little hole. Got it!</dialogue>
<character>HAMM</character>
<parenthetical>(reading)</parenthetical>
<dialogue>"To reset your Buzz Lightyear, insert paper clip...."</dialogue>
<character>WOODY</character>
<dialogue>Rex, use your finger!</dialogue>
<character>REX</character>
<dialogue>Oh!</dialogue>
<scene_description>Rex sticks a finger in Buzz's re-set hole.</scene_description>
<character>WOODY</character>
<dialogue>Okay, now what?</dialogue>
<character>HAMM</character>
<dialogue>All right, let's see... "Caution: Do not hold button for more than five seconds."</dialogue>
<scene_description>Abruptly, Buzz BEEPS loudly, falls limp, face plants. The others all look at Rex. Rex lifts his finger.</scene_description>
<character>REX</character>
<dialogue>It's not my fault!</dialogue>
<scene_description>Suddenly, Buzz leaps up, knocking the Toys off him. He strides forward, flips his wrist radio.</scene_description>
<character>SPANISH BUZZ</character>
<dialogue>Bitácora Espacial -- Me he despertado de hipersueño en un planeta extraño. (Star Log -- I've awakened from hyper- sleep on a strange planet.)</dialogue>
<scene_description>The Toys are speechless. Hamm glares at Rex.</scene_description>
<character>HAMM</character>
<dialogue>Now what did you do?!</dialogue>
<character>REX</character>
<dialogue>I did what you told me...!</dialogue>
<scene_description>Buzz -- hyper-alert -- glances sideways, narrows his eyes.</scene_description>
<character>SPANISH BUZZ</character>
<dialogue>Estoy rodeado por criaturas extrañas y desconozco sus intenciónes!!! (I'm surrounded by alien creatures of unknown intent!!!)</dialogue>
<scene_description>He whips around -- flamboyant Latin-style -- and trains his laser on Woody's forehead.</scene_description>
<character>SPANISH BUZZ</character>
<dialogue>¿Quién anda ahí? ¿Amigo? O Enemigo? (Who goes there -- Friend? Or foe?)</dialogue>
<character>WOODY</character>
<dialogue>Uh... Amigos! We're all amigos!</dialogue>
<scene_description>Satisfied, Buzz struts forward, greeting them.</scene_description>
<character>SPANISH BUZZ</character>
<dialogue>Me debo haber estrellado, y se me borró la memoria. (I must have crash landed and had my memory erased.)</dialogue>
<scene_description>He approaches Woody, kisses both cheeks, strides off.</scene_description>
<character>SPANISH BUZZ</character>
<dialogue>Han visto a mi nave espacial? (Anyone seen my spaceship?)</dialogue>
<character>WOODY</character>
<dialogue>We gotta switch him back!</dialogue>
<character>SLINKY</character>
<dialogue>How do we do that?</dialogue>
<character>HAMM</character>
<parenthetical>(re: manual)</parenthetical>
<dialogue>I dunno! That part's in Spanish!</dialogue>
<scene_description>Patrol Truck lights pass by under the hall door.</scene_description>
<character>WOODY</character>
<dialogue>We don't have time for this! C'mon!</dialogue>
<scene_description>Woody grabs Buzz, hustles him toward the playground door.</scene_description>
<character>SPANISH BUZZ</character>
<dialogue>Mi nave. ¿Lo encontraste? !Excelente! (My spaceship? You know where it is? Excellent!)</dialogue>
<scene_description>They pass the Lifer, watching from the shadows.</scene_description>
<character>LIFER</character>
<dialogue>Good luck, Cowboy.</dialogue>
</scene>
<scene>
<stage_direction>EXT. PLAYGROUND - NIGHT</stage_direction>
<scene_description>Jessie, Bullseye, and Mrs. Potato Head wait inside a concrete pipe. Spotlights survey the playground.</scene_description>
<character>MRS. POTATO HEAD</character>
<parenthetical>(points)</parenthetical>
<dialogue>Here they come!</dialogue>
<scene_description>Woody, Hamm, Rex, Slinky, and Barbie steal across the playground. Spanish Buzz, trailing behind, does elaborate rear-guard defense poses. Woody has to grab him and pull him along. They duck into the pipe.</scene_description>
<character>JESSIE</character>
<dialogue>What took you so long?</dialogue>
<character>WOODY</character>
<dialogue>Things got complicated. Where's Potato Head?</dialogue>
<character>JESSIE</character>
<dialogue>We haven't seen him!</dialogue>
<scene_description>Woody turns and peers out on the playground. Buzz, the last to arrive, sees Jessie. She turns to greet him.</scene_description>
<character>JESSIE</character>
<dialogue>Buzz...</dialogue>
<scene_description>Buzz is struck dumb. Time slows. His heart melts. He approaches, drops to his knees, takes Jessie's hand.</scene_description>
<character>SPANISH BUZZ</character>
<dialogue>Mi florecita del desierto...! Yo nunca he visto la belleza verdadera hasta esta noche! (My desert flower...! I have never seen true beauty til this night!)</dialogue>
<scene_description>Jessie is speechless. She turns to the others.</scene_description>
<character>JESSIE</character>
<dialogue>Did you guys fix Buzz?</dialogue>
<character>HAMM</character>
<dialogue>Eh... Sort of.</dialogue>
<character>MRS. POTATO HEAD</character>
<dialogue>Jessie, behind you! Someone's coming!</dialogue>
<scene_description>The Toys turn. A tall figure looms. Mr. Cucumber Head steps into the light -- irked, agitated.</scene_description>
<character>MR. POTATO HEAD</character>
<dialogue>You would not believe...! What I've been through...! Tonight!</dialogue>
<scene_description>Mrs. Potato Head goes to him.</scene_description>
<character>MRS. POTATO HEAD</character>
<dialogue>Darling...! Are you okay?</dialogue>
<character>MR. POTATO HEAD</character>
<dialogue>I feel fresh! Healthy! It's terrible!</dialogue>
<character>MRS. POTATO HEAD</character>
<dialogue>You've lost weight! And so tall!</dialogue>
<scene_description>Bullseye nudges Potato Head's torso toward him.</scene_description>
<character>MR. POTATO HEAD</character>
<dialogue>Ahhh, you're a sight for detachable eyes!</dialogue>
<scene_description>He plucks his eyes out and plants them on the spud. TIME CUT: The Jungle Gym slide. A Patrol Truck drives by. Slinky slides down, pops out the bottom, looks both ways. At the top of the slide, Woody holds Slinky's back end. The tail wags.</scene_description>
<character>WOODY</character>
<dialogue>Okay, all clear!</dialogue>
<scene_description>ON THE PLAYGROUND The Toys shoot out the bottom of the slide, scamper off. They huddle behind the spring of an animal rocking swing.</scene_description>
<character>JESSIE</character>
<dialogue>Almost there!</dialogue>
<scene_description>Jessie darts out, with others close behind. The lights of a Patrol Truck approach.</scene_description>
<character>WOODY</character>
<dialogue>Back up, back up!</dialogue>
<scene_description>Woody backs into the shadows with Bullseye and the Aliens. The Truck pulls up and stops. Jessie looks back, sees Woody and the others still hiding. Woody gestures "We'll go around". Jessie does a thumbs-up. Woody and the Aliens ride Bullseye across the playground swing set. They stop abruptly. Big Baby is sitting on the last swing, CREAKING back and forth, gazing up at the moon. Bullseye and Woody tip-toe behind Big Baby, approach the wood siding for the swing set area. Bullseye leaps over the siding but the last Alien falls to the ground. SQUEAK. Big Baby swivels his head 180 degrees. Woody, Bullseye, et al lie low behind the siding plank -- in the shadows, amid plastic shovels and buckets. Big Baby dismounts, walks toward their hiding place. Woody looks around desperately. Big Baby reaches the wood siding, looks over. No one's there. Looks up and down. He walks off. HOLD ON an overturned plastic bucket. Woody and Bullseye peek out from underneath, share a relieved look. Jessie, watching from the bushes, sighs with relief. Abruptly, Spanish Buzz grabs her, yanks her to him. As Jessie stands awkwardly, Spanish Buzz performs a solemn, impassioned courtship dance around her. Finally, Spanish Buzz takes Jessie in his arms.</scene_description>
<character>SPANISH BUZZ</character>
<dialogue>¡Ven conmigo! ¡Te mostraré las maravillas de la galaxia, y juntos lucharemos contra el despiadado Zurg! (Come with me! I will show you the wonders of the galaxy, and together we will fight the evil Zurg!)</dialogue>
<scene_description>He plucks a dandelion, offers it to her. At that moment, Woody pushes through the bushes -- safe. Jessie leaves Buzz, runs and gives Woody an impulsive hug.</scene_description>
<character>JESSIE</character>
<dialogue>Woody! Thank goodness!</dialogue>
<character>WOODY</character>
<dialogue>C'mon! We're almost there!</dialogue>
<scene_description>He and Jessie leads the Toys off, REVEALING Spanish Buzz -- stunned and heartbroken. He throws down his dandelion.</scene_description>
<character>SPANISH BUZZ</character>
<dialogue>El Vaquero...!!!</dialogue>
<scene_description>Mad with jealousy, he narrows his eyes and runs after them.</scene_description>
</scene>
<scene>
<stage_direction>EXT. TRASH CHUTE - NIGHT</stage_direction>
<scene_description>Woody leads the Toys to the trash chute. He jumps -- trying to grab the handle -- but can't quite reach it.</scene_description>
<character>WOODY</character>
<dialogue>Buzz, c'mere, gimme a lift!</dialogue>
<scene_description>Buzz, smoldering, steps forward, dramatically pushes Woody aside. With a lovelorn glance at Jessie, he hits a button.</scene_description>
<character>SPANISH BUZZ</character>
<dialogue>Buzz Lightyear al rescate! (Buzz Lightyear to the rescue!)</dialogue>
<scene_description>Buzz steps to the chute, jumps up in a series of crazy, acrobatic moves, and grabs the handle, pulling it down.</scene_description>
<character>SPANISH BUZZ</character>
<dialogue>Abierto...!</dialogue>
<character>WOODY</character>
<dialogue>Way to go, Buzz! C'mon, everyone!</dialogue>
<scene_description>The Toys boost each other up onto the trash chute lid.</scene_description>
</scene>
<scene>
<stage_direction>INT. GARBAGE CHUTE - NIGHT</stage_direction>
<scene_description>Woody climbs in the chute with the others and peers down. POV -- The grimy metal chute recedes into blackness.</scene_description>
<character>JESSIE</character>
<dialogue>Is it safe?</dialogue>
<character>WOODY</character>
<dialogue>I guess I'll find out...</dialogue>
<scene_description>Woody begins a controlled slide down -- feet first, hand bracing. He slips and it becomes an uncontrolled slide. He scrambles for traction, eases to a stop at the bottom. He gets up, stands at the edge of the slide's precipice. ANGLE -- An alley. The trash chute cantilevers over a half- closed dumpster. Above him, stars twinkle -- freedom.</scene_description>
<character>JESSIE (O.S.)</character>
<dialogue>Woody...! You okay?</dialogue>
<character>WOODY</character>
<dialogue>Come on down. But not all at once.</dialogue>
<character>MR. POTATO HEAD (O.S.)</character>
<dialogue>What'd he say?</dialogue>
<character>HAMM (O.S.)</character>
<dialogue>I think he said, "All at once".</dialogue>
<scene_description>NOISES.</scene_description>
<character>WOODY</character>
<dialogue>No...! No! No! No! No!</dialogue>
<scene_description>Too late. The Toys slide down together.</scene_description>
<character>TOYS</character>
<dialogue>Whoa!</dialogue>
<character>REX</character>
<dialogue>Watch out!</dialogue>
<scene_description>They collide with Woody. Woody windmills his arms at the edge of the chute. Jessie grabs him, pulls him to safety.</scene_description>
<character>WOODY</character>
<dialogue>Thanks, Jess.</dialogue>
<scene_description>Spanish Buzz looks about, confused and deeply disappointed.</scene_description>
<character>SPANISH BUZZ</character>
<dialogue>Donde esta mi nave...?! (Where's my spaceship...?!)</dialogue>
<character>WOODY</character>
<dialogue>Slink...? Think you can make it?</dialogue>
<character>SLINKY</character>
<dialogue>I might be old, but I still got a spring in my step.</dialogue>
<scene_description>He backs up, then leaps over the open pit to the closed lid of the dumpster. He lands hard, clutches a metal handle.</scene_description>
<character>REX</character>
<dialogue>He did it!</dialogue>
<character>HAMM</character>
<dialogue>All right, Slinky-kins!</dialogue>
<character>SLINKY</character>
<dialogue>Okay! Climb across!</dialogue>
<scene_description>Suddenly, two pink paws step in front of Slinky. He looks up. Lotso looms over him, grinning.</scene_description>
<character>LOTSO</character>
<dialogue>You lost, li'l doggy...?</dialogue>
<scene_description>Lotso kicks Slinky's paws. He retracts, falling from the lid. The Toys pull him to safety. Behind Lotso, his Gang hops off a wall and joins him on the dumpster lid. Lotso notices Woody among the others.</scene_description>
<character>LOTSO</character>
<dialogue>Well, well...! Look who's back!</dialogue>
<scene_description>A NOISE. The Toys turn. Lotso's henchman -- Stretch, the Octopus -- clambers down the chute, blocking an escape. The Lifer Phone wheels into view -- wheels wobbling, one eye broken, frayed phone dangling. His voice is hoarse.</scene_description>
<character>LIFER</character>
<parenthetical>(via handset)</parenthetical>
<dialogue>I'm sorry, Cowboy! They broke me...!</dialogue>
<scene_description>Lotso turns to the Toys, as cheerful as ever.</scene_description>
<character>LOTSO</character>
<parenthetical>(incredulous)</parenthetical>
<dialogue>What are you doin'?! Runnin' back to your kid? He don' want you no more!</dialogue>
<character>WOODY</character>
<dialogue>That's a lie!</dialogue>
<character>LOTSO</character>
<dialogue>Is it? Tell me this, Sheriff -- if your kid loves you so much, why is he leavin'?</dialogue>
<scene_description>CLOSE ON -- Woody, fuming. He has no answer.</scene_description>
<character>LOTSO</character>
<dialogue>Y'think you're special, Cowboy? You're a piece of plastic! You were made to be thrown away!</dialogue>
<scene_description>VROOM! A garbage truck turns into the far end of the alley and RUMBLES toward them. Lotso turns.</scene_description>
<character>LOTSO</character>
<dialogue>Speak of the devil...!</dialogue>
<parenthetical>(turns back)</parenthetical>
<dialogue>Now we need toys in our Caterpillar Room. And you need to avoid that truck. Why don't you come on back, join our family again?</dialogue>
<scene_description>He smiles. Woody seethes -- at a loss for words. Jessie steps past him, eyes burning.</scene_description>
<character>JESSIE</character>
<dialogue>This isn't a family, it's a prison! You're a liar and a bully and I'd rather rot in this dumpster than join any family of yours!</dialogue>
<scene_description>Barbie steps forward.</scene_description>
<character>BARBIE</character>
<dialogue>Jessie's right! Authority should derive from the consent of the governed! Not from the threat of force!</dialogue>
<scene_description>Hamm and Potato Head share a glance -- Huh? Lotso grins.</scene_description>
<character>LOTSO</character>
<dialogue>If that's what you want...!</dialogue>
<scene_description>He bangs his cane. Stretch, the Octopus, begins to prod the Toys toward the precipice. Abruptly, Ken bursts from the shadows -- still in his underwear.</scene_description>
<character>KEN</character>
<dialogue>Barbie! Wait...!</dialogue>
<scene_description>Everyone turns. He runs to Lotso.</scene_description>
<character>KEN</character>
<dialogue>Don't do this, Lotso...!</dialogue>
<character>LOTSO</character>
<dialogue>She's a Barbie doll, Ken! There's a hundred million just like her!</dialogue>
<character>KEN</character>
<dialogue>Not to me there's not!</dialogue>
<scene_description>He glances at her. She sighs. Lotso picks up Ken.</scene_description>
<character>LOTSO</character>
<dialogue>Fine! Why don't you join her?!</dialogue>
<scene_description>He tosses Ken across the dumpster chasm. The Toys grab him, pull him to safety. Barbie hugs him.</scene_description>
<character>BARBIE</character>
<dialogue>Oh, Ken!</dialogue>
<scene_description>Ken stands and addresses Lotso's Gang, earnest and heroic.</scene_description>
<character>KEN</character>
<dialogue>Everyone! Listen! Sunnyside could be cool and groovy if we treated each other fair!</dialogue>
<parenthetical>(points)</parenthetical>
<dialogue>It's Lotso! He's made us into a pyramid and he put himself on top!</dialogue>
<scene_description>Lotso's Gang eyes each other. There's a shift in sympathy but no one wants to stick their neck out. Lotso is amused.</scene_description>
<character>LOTSO</character>
<dialogue>Anyone concur with Ken?</dialogue>
<scene_description>No one moves. The truck RUMBLES closer -- two dumpsters away. Lotso turns to the Toys. His face hardens.</scene_description>
<character>LOTSO</character>
<dialogue>I didn't throw you away. Your kid did. Ain't one kid ever loved a toy, really! Chew on that when you're at the dump!</dialogue>
<scene_description>He turns away. Woody steps forward.</scene_description>
<character>WOODY</character>
<dialogue>Wait...! What about Daisy?</dialogue>
<scene_description>Lotso keeps a steely composure.</scene_description>
<character>LOTSO</character>
<dialogue>I don't know what you're talking about.</dialogue>
<character>WOODY</character>
<dialogue>Daisy...? You used to do everything with her!</dialogue>
<character>LOTSO</character>
<dialogue>Yeah -- then she threw us out!</dialogue>
<character>WOODY</character>
<dialogue>No -- she lost you!</dialogue>
<character>LOTSO</character>
<dialogue>She replaced us!</dialogue>
<character>WOODY</character>
<parenthetical>(pointing)</parenthetical>
<dialogue>She replaced you! And if you couldn't have her, no one could! You lied to Big Baby and you been lying ever since!</dialogue>
<scene_description>Woody yanks something from his holster. It's the rusty old pendant, "My Heart Belongs To: DAISY". Lotso is stunned.</scene_description>
<character>LOTSO</character>
<dialogue>Where'd you get that...?!</dialogue>
<character>WOODY</character>
<dialogue>She loved you, Lotso...</dialogue>
<character>LOTSO</character>
<dialogue>She never loved me!</dialogue>
<character>WOODY</character>
<dialogue>...As much as any kid ever loved a toy!</dialogue>
<scene_description>Woody throws the pendant. It lands at Big Baby's feet. Big Baby stares, electrified, at the pendant -- a token of his long-lost love. He picks it up. His lip trembles.</scene_description>
<character>BIG BABY</character>
<dialogue>Mama...!</dialogue>
<scene_description>Lotso grabs the pendant. He pokes Big Baby like a bully.</scene_description>
<character>LOTSO</character>
<dialogue>What -- you want your Mommy back? She never loved you! Don't be such a baby!</dialogue>
<scene_description>He throws it down and CRUSHES it with his cane. Big Baby's face crumples. Lotso turns, yells at Stretch the Octopus.</scene_description>
<character>LOTSO</character>
<dialogue>Push 'em in! All of 'em!</dialogue>
<parenthetical>(to his Gang)</parenthetical>
<dialogue>This is what happens when you dummies try to think!</dialogue>
<scene_description>He shoves Big Baby. Big Baby shrinks back, hurt. Stretch advances on Woody and the Toys. They teeter at the edge of the precipice. Lotso faces them, sneering.</scene_description>
<character>LOTSO</character>
<dialogue>We're all just trash, waitin' to be thrown away! That's all a toy is!</dialogue>
<scene_description>Abruptly, Lotso is lifted from behind by Big Baby.</scene_description>
<character>LOTSO</character>
<dialogue>Put me down! What're you doing?</dialogue>
<scene_description>Big Baby carries him to the edge of the dumpster.</scene_description>
<character>LOTSO</character>
<dialogue>Help me! Help!</dialogue>
<scene_description>Around the dumpster, no one moves. Big Baby tosses Lotso into the dumpster. He lands in the shadows, looks up. With a CREAK, the Big Baby tugs at the open dumpster lid.</scene_description>
<character>LOTSO</character>
<dialogue>No...! Wait...!</dialogue>
<scene_description>KLOON! Big Baby watches -- blank-eyed, pitiless -- as the lid SLAMS down, shutting Lotso in. No one can believe it.</scene_description>
<character>REX</character>
<dialogue>He's gone!!!</dialogue>
<character>MR. POTATO HEAD</character>
<dialogue>Holy cow!!!</dialogue>
<character>BIG BABY</character>
<dialogue>Ah-pppbbblllmmmmmmm...!!!</dialogue>
<scene_description>He blows a RASPBERRY at Lotso. VROOOM! The Toys turn. The garbage truck is only 100 feet -- 15 seconds -- away.</scene_description>
<character>WOODY</character>
<dialogue>C'mon! Hurry!</dialogue>
<scene_description>The Toys hop on the now-closed dumpster lid, rush to the retaining wall, and help each other clamber onto it. A SQUEAK. Woody turns. At the crack between the two lids are the three Aliens. One Alien is stuck. He struggles while the other two stand around ineffectually.</scene_description>
<character>WOODY</character>
<dialogue>Oh...! For crying out loud!</dialogue>
<scene_description>Woody glances at the approaching truck, then runs back.</scene_description>
<character>JESSIE</character>
<dialogue>Woody...!</dialogue>
<scene_description>Woody yanks the Alien free. Spanish Buzz gestures.</scene_description>
<character>SPANISH BUZZ</character>
<dialogue>Vaquero, andale! (Cowboy, hurry!)</dialogue>
<scene_description>The Aliens retreat to safety. Woody tries to follow, but a pink paw grabs his leg. Woody tries to free himself, but the paw drags him slowly into the dumpster's depths. The Toys watch, horrified, as Woody disappears. The truck turns and approaches the dumpster, fork out.</scene_description>
<character>HAMM</character>
<dialogue>Oh, boy! Incoming!</dialogue>
<scene_description>BA-BOOM! The truck's forks slide into the dumpster and begin lifting it up. As it rises past the retaining wall Jessie and Buzz fearlessly jump onto the rising dumpster.</scene_description>
<character>JESSIE</character>
<dialogue>C'mon!</dialogue>
<scene_description>The other Toys follow. Barbie tries to follow too, but Ken holds her back.</scene_description>
<character>KEN</character>
<dialogue>Barbie, no...!</dialogue>
<scene_description>They all try to lift the dumpster lid. It won't budge. The dumpster rises up, up, up -- and begins to tilt. As the dumpster tilts, they start to lose their footing. As the dumpster nears vertical, the lid swings open and trash begins pouring into the truck. Woody calls out...</scene_description>
<character>WOODY</character>
<dialogue>Jess!</dialogue>
<character>JESSIE</character>
<dialogue>Woody!</dialogue>
<scene_description>Woody falls into darkness. A FLASH of pink goes by -- Lotso tumbles past. The dumpster LURCHES to a stop. All the Toys fall into the truck. Barbie -- on the wall -- reaches forward.</scene_description>
<character>BARBIE</character>
<dialogue>No...!!!</dialogue>
<scene_description>She turns away, burying her head in Ken's comforting arms.</scene_description>
</scene>
<scene>
<stage_direction>INT. GARBAGE TRUCK - NIGHT</stage_direction>
<scene_description>The Toys find themselves in darkness, awash in garbage.</scene_description>
<character>WOODY</character>
<dialogue>Can you hear me?! Is everyone okay?!!</dialogue>
<character>MR. POTATO HEAD</character>
<dialogue>Of course not, you imbecile! We're doomed!</dialogue>
<scene_description>Buzz pulls himself from a mound of garbage. He GLOWS.</scene_description>
<character>WOODY</character>
<dialogue>Everyone! Go to Buzz! C'mon!!!</dialogue>
<scene_description>The Toys begin wading toward Buzz.</scene_description>
</scene>
<scene>
<stage_direction>EXT. STREETS - NIGHT</stage_direction>
<scene_description>The garbage truck rumbles through the streets.</scene_description>
</scene>
<scene>
<stage_direction>INT. GARBAGE TRUCK - NIGHT</stage_direction>
<scene_description>The Toys congregate around Buzz.</scene_description>
<character>WOODY</character>
<dialogue>We all here? Slinky...? Rex...?</dialogue>
<scene_description>The truck lurches to a stop. The hydraulic motor STARTS. Woody looks up. A dumpster appears above them, tilting.</scene_description>
<character>WOODY</character>
<dialogue>Against the wall, everybody! Quick!</dialogue>
<scene_description>He leads the Toys to the front of the truck, seeking shelter. Buzz remains behind.</scene_description>
<character>SPANISH BUZZ</character>
<dialogue>Senorita! Senorita, donde estas...?! (Miss...! Miss, where are you...?!)</dialogue>
<character>JESSIE (O.S.)</character>
<dialogue>Buzz...!</dialogue>
<scene_description>He turns. Somewhere in the DARKNESS, her voice rings out. A trickle of garbage begins to sprinkle down from above.</scene_description>
<character>SPANISH BUZZ</character>
<dialogue>Senorita...!</dialogue>
<scene_description>Buzz runs through the falling trash until he finds her pressed against the far wall -- terrified. CLUMP! Something large falls behind them. They look up. Garbage is falling out of the dumpster directly above them. Buzz takes Jessie's hand and they run across the garbage truck bay, dodging madly while trash rains down upon them. Against the back wall, the Toys watch, aghast.</scene_description>
<character>HAMM</character>
<dialogue>They'll never make it!</dialogue>
<scene_description>Buzz grabs Jessie and carries her -- dodging and weaving. A SCRAPING sound above.</scene_description>
<character>MRS. POTATO HEAD</character>
<dialogue>Look out!</dialogue>
<scene_description>Buzz and Jessie look up. An old TV set falls towards them. Buzz lunges and tosses Jessie out of the way. She turns. CRASH!!! The TV smashes down on Buzz. A deluge of trash piles on top, burying him completely.</scene_description>
<character>JESSIE</character>
<dialogue>Buzz...!!!</dialogue>
<scene_description>As the dumpster above recedes, Jessie runs forward and begins digging. The other Toys join her.</scene_description>
<character>WOODY</character>
<dialogue>Anyone see him?!</dialogue>
<character>SLINKY</character>
<dialogue>Over here, y'all! I found him!</dialogue>
<scene_description>They rush over and drag Buzz from the pile. Buzz's eyes are closed. Jessie pops his shield, shakes him.</scene_description>
<character>JESSIE</character>
<dialogue>Buzz, you okay?! Buzz! Buzz!!!</dialogue>
<scene_description>No response. Jessie shakes him again. And again.</scene_description>
<character>JESSIE</character>
<dialogue>No...!</dialogue>
<scene_description>She hugs him, sobbing. A BEEP. Buzz jack-knifes forward, then lurches back. Jessie pulls away. Buzz sits up, eyes open -- disoriented. He sniffs the air with distaste. Then he sees the others. The Toys gape at him in open-mouthed wonder. Buzz frowns.</scene_description>
<character>BUZZ</character>
<dialogue>That wasn't me, was it?</dialogue>
<character>JESSIE</character>
<dialogue>Oh, Buzz! You're back!!! You're back, you're back, you're back!!!</dialogue>
<scene_description>She throws her arms around him, hugs him tight.</scene_description>
<character>BUZZ</character>
<dialogue>Yes, I'm back!</dialogue>
<parenthetical>(beat)</parenthetical>
<dialogue>Where've I been?</dialogue>
<character>WOODY</character>
<dialogue>Beyond Infinity, Space Ranger!</dialogue>
<character>BUZZ</character>
<dialogue>Woody!</dialogue>
<scene_description>Woody smiles -- partners again. Buzz looks around.</scene_description>
<character>BUZZ</character>
<dialogue>But... Where are we now?!</dialogue>
<character>REX</character>
<parenthetical>(excitable)</parenthetical>
<dialogue>In a garbage truck on the way to the dump!</dialogue>
<scene_description>Buzz's smile freezes.</scene_description>
</scene>
<scene>
<stage_direction>EXT. TRI-COUNTY DUMP - NIGHT</stage_direction>
<scene_description>The garbage truck drives in the entrance.</scene_description>
</scene>
<scene>
<stage_direction>INT. GARBAGE TRUCK - NIGHT</stage_direction>
<scene_description>The truck grinds to a halt. The BEEP-BEEP-BEEP backing-up alarm begins to sound. The Toys look around.</scene_description>
<character>WOODY</character>
<dialogue>Everyone -- stay together!</dialogue>
<scene_description>Everything lurches. The truck bay begins to tilt.</scene_description>
</scene>
<scene>
<stage_direction>EXT. DUMP - NIGHT</stage_direction>
<scene_description>The garbage truck tilts up -- higher and higher. Trash begins pouring out the back, onto the dump below.</scene_description>
</scene>
<scene>
<stage_direction>INT. GARBAGE TRUCK - NIGHT</stage_direction>
<scene_description>The back flap opens, allowing garbage to spill out. A trash pit is revealed below. The Toys begin sliding out.</scene_description>
<character>WOODY</character>
<dialogue>Hold on! We're going in...!</dialogue>
<character>TOYS</character>
<dialogue>Whoa...!</dialogue>
</scene>
<scene>
<stage_direction>EXT. DUMP - NIGHT</stage_direction>
<scene_description>The garbage truck extends fully, tilting 70 degrees. The stream of garbage becomes a torrent.</scene_description>
</scene>
<scene>
<stage_direction>INT. GARBAGE TRUCK - NIGHT</stage_direction>
<scene_description>The Toys cling together, screaming, as they slide out into the open night.</scene_description>
</scene>
<scene>
<stage_direction>EXT. GARBAGE PIT - NIGHT</stage_direction>
<scene_description>Woody lands on a trash heap -- Oooff! A plastic bag whips by. He sits up. He's in a vast, wind-blown landfill. Nearby, Hamm and Rex unearth themselves. Mr. Potato Head helps Mrs. Potato Head up.</scene_description>
<character>MR. POTATO HEAD</character>
<dialogue>You got all your pieces?</dialogue>
<scene_description>The Aliens pop up. One points to some heavy machinery -- with a giant claw -- in the distance.</scene_description>
<character>ALIEN</character>
<dialogue>The Cla-a-a-aw!</dialogue>
<scene_description>They toddle off toward it.</scene_description>
<character>WOODY</character>
<dialogue>Hey! Guys, no...! No!!!</dialogue>
<scene_description>Suddenly, the trio of Aliens is bathed in headlights. Before anyone can react, a bulldozer passes over them... Just like that, they're gone.</scene_description>
<character>MRS. POTATO HEAD</character>
<dialogue>My Babies...!!!</dialogue>
<scene_description>A blinding LIGHT pours over her and envelops the Toys. Woody turns. A bulldozer -- with giant, studded wheels and a massive grate -- is heading right at them. Rex SCREAMS. The Toys are pushed backward toward a trench.</scene_description>
<character>WOODY</character>
<dialogue>Hang on!</dialogue>
<scene_description>They tumble as the bulldozer pushes them over the edge.</scene_description>
</scene>
<scene>
<stage_direction>EXT. CONVEYER BELT - NIGHT</stage_direction>
<scene_description>The Toys land on a conveyor belt entering a dark tunnel.</scene_description>
</scene>
<scene>
<stage_direction>INT. CONVEYER BELT - NIGHT</stage_direction>
<scene_description>Woody sits up and watches the light receding behind them. The other Toys gather round.</scene_description>
<character>MRS. POTATO HEAD</character>
<dialogue>Woody! What do we do?</dialogue>
<character>WOODY</character>
<dialogue>We'll be okay if we stay toge--...</dialogue>
<scene_description>VWOOSH! Slinky is pulled up OUT OF FRAME.</scene_description>
<character>WOODY</character>
<dialogue>Slinky...!</dialogue>
<character>SLINKY</character>
<dialogue>Woody...!</dialogue>
<scene_description>Slinky is fixed to a fast-moving conveyor belt above them. Woody runs after him.</scene_description>
<character>WOODY</character>
<dialogue>Slinky, get down from there!</dialogue>
<scene_description>A hammer shoots up and CLANKS on the belt, narrowly missing Slinky. All around them, other pieces of metal begin FLYING UP and sticking to the ceiling belt. Jessie yells.</scene_description>
<character>JESSIE</character>
<dialogue>It's a magnet! Watch out!</dialogue>
<scene_description>High above, Slinky looks around.</scene_description>
<character>SLINKY</character>
<dialogue>Uh, you might wanna take a look at this!</dialogue>
<scene_description>The Toys scramble up a pile of debris. Ahead is a Shredder -- two fast-spinning vertical cylinders that shred everything on the belt. Buzz sees a lunch box near him starting to quiver....</scene_description>
<character>BUZZ</character>
<dialogue>Quick! Grab something metal!</dialogue>
<scene_description>He grabs it and is pulled up to the magnetic belt. Woody grabs a metal handle and flies up, sticking to the ceiling belt. Hamm dives into a nearby pot and is lifted upwards.</scene_description>
<character>HAMM</character>
<dialogue>You heard the guy...!</dialogue>
<scene_description>Each Toy grabs a metal object and lifts -- CLUNK! -- to the ceiling. Rex, the last, grabs an aluminum can, a CD, etc.</scene_description>
<character>REX</character>
<dialogue>It's not working!!!</dialogue>
<scene_description>Finally, he grabs a metal fan and sails up to safety. Suddenly, a pink paw thrusts out from the belt below.</scene_description>
<character>LOTSO (O.S.)</character>
<dialogue>Help...! Help me!!!</dialogue>
<scene_description>Woody turns. Lotso is pinned under a golf bag.</scene_description>
<character>LOTSO</character>
<dialogue>I'm stuck! Help!!! Please!</dialogue>
<scene_description>Woody looks at the approaching shredder. He lets go.</scene_description>
<character>JESSIE</character>
<dialogue>Woody...!</dialogue>
<scene_description>Woody lands on the belt, runs back to Lotso.</scene_description>
<character>LOTSO</character>
<dialogue>Thank you!</dialogue>
<character>WOODY</character>
<dialogue>Don't thank me yet.</dialogue>
<scene_description>Woody struggles to lift the bag. Buzz drops down next to Woody. Jessie eyes the approaching shredder.</scene_description>
<character>JESSIE</character>
<dialogue>Buzz...!!! Woody...?!!!</dialogue>
<scene_description>Woody and Buzz push together. They still can't move it. Woody pulls out a golf club. The magnet tugs it upward. Buzz grabs it. Together, they pull it down and jam it under the bag for leverage. The bag finally lifts...</scene_description>
<character>WOODY</character>
<dialogue>Go! Go!</dialogue>
<scene_description>...and Lotso scrambles out. Woody grabs Lotso. He and Buzz point the club skyward. They're pulled up to safety as the golf bag is pulverized. Lotso looks back at the shredder, then at Woody.</scene_description>
<character>LOTSO</character>
<dialogue>Thank you, Sheriff...!</dialogue>
<character>WOODY</character>
<dialogue>We're all in this together.</dialogue>
<parenthetical>(turns)</parenthetical>
<dialogue>Right guys...?</dialogue>
<scene_description>All the Toys have vanished.</scene_description>
<character>WOODY</character>
<dialogue>Guys?!</dialogue>
<character>JESSIE (O.S.)</character>
<dialogue>Woody! Down here!</dialogue>
<scene_description>Jessie and the others wave from a conveyer belt far below. Woody and Buzz let go and plummet.</scene_description>
</scene>
<scene>
<stage_direction>EXT. DUMP / STAIRWAY TO HEAVEN - NIGHT</stage_direction>
<scene_description>Woody, Buzz and Lotso land on the bed of a big, fast-moving conveyer belt with metal walls. The Toys gather around.</scene_description>
<character>JESSIE</character>
<dialogue>Woody!</dialogue>
<scene_description>The toothed belt begins to ascend upwards.</scene_description>
<character>REX</character>
<dialogue>Woody! Look! I can see daylight! We're gonna be okay!</dialogue>
<scene_description>Rex points to a bright amber GLOW at the top of the belt. The toys scramble forward. Woody's smile drops.</scene_description>
<character>WOODY</character>
<dialogue>I don't think that's daylight...</dialogue>
<scene_description>FAST TRACK -- At the end of the conveyer belt, garbage falls into a burning, churning vortex.</scene_description>
<character>WOODY</character>
<dialogue>Run!!!</dialogue>
<scene_description>Unable to jump off, the Toys begin running down the belt. They dodge, duck and hurdle over the coming trash, but they're no match for the speed of the rising conveyor. Lotso trips, falls. A pulsing blue LIGHT. He looks up. High on the wall ahead is an Emergency Stop button. A ladder leads to the button. Lotso leaps up, grabs the bottom rung. He can't pull himself up.</scene_description>
<character>LOTSO</character>
<dialogue>Sheriff...! The button! Help me!</dialogue>
<scene_description>The Toys look back, see Lotso. As they pass, Woody, Buzz and Jessie boost Lotso up.</scene_description>
<character>WOODY</character>
<dialogue>Go!!! Go!!! Hit the button!</dialogue>
<scene_description>Lotso scrambles up the ladder toward the glowing button. The Toys are carried up the conveyor belt toward the pit. The Toys watch Lotso -- receding -- as he climbs. Lotso stays focussed on the button above him. The Toys reach the belt's acme -- heels at the edge of the waterfall of trash cascading to a melting, churning vortex.</scene_description>
<character>WOODY</character>
<dialogue>Hurry!!!</dialogue>
<scene_description>Lotso reaches the walkway where the blue button glows. He turns and looks -- malevolent -- at the helpless Toys.</scene_description>
<character>WOODY</character>
<dialogue>Just push it! Push it!</dialogue>
<character>BUZZ</character>
<dialogue>Push it!!!</dialogue>
<scene_description>Lotso smirks, gives a salute.</scene_description>
<character>LOTSO</character>
<dialogue>Where's your kid now, Sheriff?!</dialogue>
<scene_description>He turns, runs off down the walkway.</scene_description>
<character>WOODY</character>
<dialogue>No... No...! No...!!!</dialogue>
<character>BUZZ</character>
<dialogue>Lotso...!!!</dialogue>
<scene_description>The Toys YELL as they tumble off the belt...</scene_description>
</scene>
<scene>
<stage_direction>EXT. INCINERATOR HOPPER - NIGHT</stage_direction>
<scene_description>The Toys land in a giant vortex of trash being sucked down into the glowing eye of an incinerator. It's chaos -- trash tumbles over itself as sparks and ashes fly through the air. The ROAR is overwhelming. Woody stands and starts trying to climb out. The Toys do the same, climbing desperately, fighting against the trash tumbling into the vortex of fire. They slip, fall, get up and slip again. It's a nightmare -- no matter how fast they climb, they inexorably slide backwards. Rex slides past Woody, towards the incinerator.</scene_description>
<character>REX</character>
<dialogue>Ahhhhhh!</dialogue>
<character>WOODY</character>
<dialogue>Rex!!!</dialogue>
<scene_description>Woody grabs Rex's hand, slides further toward the inferno. They are all being pulled inescapably downward. There's no way out. Jessie looks at Buzz.</scene_description>
<character>JESSIE</character>
<dialogue>Buzz...! What do we do?</dialogue>
<scene_description>Buzz looks at her. He reaches out, takes her hand. Jessie grabs Bullseye's hoof. Slinky takes Hamm's hand. Hamm reaches out to Rex. The Potato Heads hold each other. Mr. Potato Head grabs Rex. Buzz reaches out to Woody... Woody takes Buzz's hand, and the circle is complete. As they approach the vortex, heat waves blast their faces. The Toys close their eyes, turn away. Woody stares at the fire, shuts his eyes. This is the end. A LIGHT from above shines in Woody's face. He opens his eyes. A giant mechanical Claw lowers towards them. The Claw plunges into the trash around them, closing them in its grip, then raises them up. They soar into the air, away from the ROARING incinerator. Woody looks around in disbelief. The Claw spins, passing in front of the crane booth.</scene_description>
</scene>
<scene>
<stage_direction>INT. CRANE OPERATOR'S BOOTH - NIGHT</stage_direction>
<scene_description>In the booth, the Aliens man the joysticks.</scene_description>
<character>ALIENS</character>
<dialogue>The Clawwwww!!!</dialogue>
<scene_description>They lean into the joystick, steering the Claw to safety.</scene_description>
</scene>
<scene>
<stage_direction>EXT. DUMP - DAWN</stage_direction>
<scene_description>The Claw lowers and opens, dropping the Toys to earth. They spill out, COUGHING and GROANING like shipwreck survivors. Woody sits up, looks around. Rex pops up through trash.</scene_description>
<character>REX</character>
<dialogue>Whew...!</dialogue>
<scene_description>They have faced death and survived, and are profoundly shaken. Potato Head stares at the sky.</scene_description>
<character>MR. POTATO HEAD</character>
<dialogue>Y'know all that bad stuff I said about Andy's attic? I take it all back.</dialogue>
<character>SLINKY</character>
<dialogue>You're darn tootin'!</dialogue>
<character>HAMM</character>
<dialogue>You said it!</dialogue>
<scene_description>Buzz and Jessie sit up, still holding hands. She looks at him, smiles. He smiles and holds her gaze. Mrs. Potato Head takes Mr. Potato Head's hand.</scene_description>
<character>MRS. POTATO HEAD</character>
<dialogue>Oh, darling! You were so brave!</dialogue>
<scene_description>A SQUEAK. The Potato Heads turn, see the Aliens approach.</scene_description>
<character>MRS. POTATO HEAD</character>
<dialogue>You saved our lives...!</dialogue>
<character>MR. POTATO HEAD</character>
<dialogue>And we... Are eternally grateful!</dialogue>
<scene_description>Potato Head scoops them into his arms for a big, proud hug.</scene_description>
<character>MR. POTATO HEAD</character>
<dialogue>My boys...!</dialogue>
<character>ALIENS</character>
<dialogue>Daaddddyyyy...!!!</dialogue>
<scene_description>Hamm looks around.</scene_description>
<character>HAMM</character>
<dialogue>Hey! Where's that furball Lotso?</dialogue>
<character>SLINKY</character>
<dialogue>I'd like to loosen his stitching!</dialogue>
<character>WOODY</character>
<dialogue>Forget it, guys. He's not worth it.</dialogue>
</scene>
<scene>
<stage_direction>EXT. GARBAGE DUMP, ELSEWHERE - DAY</stage_direction>
<scene_description>Lotso limps toward the dump exit. A NOISE. He turns, then drops, freezing. A truck's wheels SCREECH to a halt in front of Lotso. A door OPENS and SHUTS. FOOTSTEPS. A hand picks him up.</scene_description>
<character>GARBAGE MAN ONE (O.S.)</character>
<dialogue>Hey!</dialogue>
<character>GARBAGE MAN TWO (O.S.)</character>
<dialogue>Whatcha got?</dialogue>
<character>GARBAGE MAN ONE (O.S.)</character>
<dialogue>I had me one a these when I was a kid!</dialogue>
<scene_description>He buries his nose in Lotso's tummy, inhales.</scene_description>
<character>GARBAGE MAN ONE</character>
<parenthetical>(nostalgic rapture)</parenthetical>
<dialogue>Strawberries...!</dialogue>
</scene>
<scene>
<stage_direction>EXT. GARBAGE DUMP - DAY</stage_direction>
<scene_description>The truck exits the dump -- Lotso strapped to the grill. He comes to life, panicked. On the grill are a couple of muddy, bug-spattered Plushies, including a sad-eyed FROG.</scene_description>
<character>FROG</character>
<dialogue>Hey, buddy...!</dialogue>
<parenthetical>(Lotso turns)</parenthetical>
<dialogue>...Y'might wanna keep yer mouth shut!</dialogue>
<scene_description>The others SNICKER. Lotso WHIMPERS. The truck RUMBLES off. ANGLE -- The truck passes, REVEALING the Toys, unaware of Lotso's karmic comeuppance. Jessie sees Woody lagging.</scene_description>
<character>JESSIE</character>
<dialogue>C'mon, Woody -- we gotta get you home!</dialogue>
<character>BUZZ</character>
<dialogue>That's right, "College Boy"!</dialogue>
<character>WOODY</character>
<dialogue>But... What about you guys? Maybe the attic's not such a great idea.</dialogue>
<scene_description>He glances at them, uneasy. Jessie steps to him.</scene_description>
<character>JESSIE</character>
<dialogue>We're Andy's Toys, Woody...</dialogue>
<character>BUZZ</character>
<dialogue>We'll be there for him. Together.</dialogue>
<scene_description>Woody smiles.</scene_description>
<character>WOODY</character>
<dialogue>I just hope he hasn't left yet...</dialogue>
<character>MRS. POTATO HEAD</character>
<dialogue>Wait a minute! Wait, I'll check!</dialogue>
<scene_description>She covers her good eye, concentrates.</scene_description>
<character>MRS. POTATO HEAD</character>
<dialogue>He's still packing...!</dialogue>
<character>(GASPS)</character>
<dialogue>...But he's almost done!</dialogue>
<character>HAMM</character>
<dialogue>He lives halfway across town...!</dialogue>
<character>REX</character>
<dialogue>We'll never get there in time!</dialogue>
<scene_description>The Toys glance at each other. Then, distantly, comes the air-guitar WAILING of Andy's Neighborhood Garbage Man. The Toys turn, see him a dozen yards away. They brighten.</scene_description>
</scene>
<scene>
<stage_direction>EXT. DRIVEWAY - DAY</stage_direction>
<scene_description>Andy's loading up his hatchback with boxes. Molly's on the lawn playing with Buster. As the garbage truck passes...</scene_description>
<character>MOLLY</character>
<dialogue>C'mere, boy. C'mon, Buster!</dialogue>
<character>MOM</character>
<dialogue>Is that it, honey? You got everything?</dialogue>
<character>ANDY</character>
<dialogue>Yeah, just a few more boxes in my room.</dialogue>
<scene_description>At the curb, REVEAL the Toys hiding behind a garbage can. Woody peeks around, gestures to the other Toys.</scene_description>
<character>WOODY</character>
<dialogue>Okay, c'mon!</dialogue>
</scene>
<scene>
<stage_direction>INT. BACK YARD - DAY</stage_direction>
<scene_description>TIGHT ON SPIGOT -- Woody's hand comes in, turns it. The Toys huddle while Woody hoses them off. Buzz closes his helmet. The Toys react to the cold water.</scene_description>
<character>TOYS</character>
<dialogue>Eeeaauggh...!!! Brrr...!!! Stop!!!</dialogue>
<character>HAMM</character>
<dialogue>That's enough, that's enough, that's enough!!</dialogue>
<character>WOODY</character>
<dialogue>All right, go! Go, go!</dialogue>
<scene_description>The Toys run off. Potato Head pulls off his nose, blows out a spray of water.</scene_description>
</scene>
<scene>
<stage_direction>EXT. GARAGE ROOF - DAY</stage_direction>
<scene_description>Slinky heaves himself up to the edge of the garage roof. One by one, the Toys scurry up his Slink, then make their way along the roof towards Andy's open window.</scene_description>
</scene>
<scene>
<stage_direction>INT. ANDY'S ROOM - DAY</stage_direction>
<scene_description>Buzz and Woody peer in.</scene_description>
<character>BUZZ</character>
<dialogue>All clear...!</dialogue>
<scene_description>They clamber through the window, jump to the floor. The other Toys follow, scrambling across the room. Mrs. Potato Head stops, puts a hand over her working eye. TRANSITION: POV -- Under the bed, looking out. Mrs. Potato Head's feet are in front of us, facing away.</scene_description>
<character>MRS. POTATO HEAD (V.O.)</character>
<dialogue>There you are...!</dialogue>
<scene_description>The feet turn and a hand reaches TOWARD US, GRABBING the subjective eye. TRANSITION: She pops her eye back in, blinks... And GIGGLES, tickled. The Toys climb into a box marked "Attic". Buzz helps them. On the desk is a box marked "College". Woody heads for it. He reaches the box, turns. This may be the last time he ever sees the other Toys. He scrambles back toward Buzz.</scene_description>
<character>WOODY</character>
<dialogue>Buzz...</dialogue>
<scene_description>Buzz turns. Woody offers a hand. They shake.</scene_description>
<character>WOODY</character>
<dialogue>This isn't good-bye.</dialogue>
<character>SLINKY (O.S.)</character>
<dialogue>Hey, Woody...</dialogue>
<scene_description>Woody looks up. Slinky lowers a paw.</scene_description>
<character>SLINKY</character>
<dialogue>...Have fun at college!</dialogue>
<character>HAMM</character>
<dialogue>Yeah, but not too much fun!</dialogue>
<scene_description>Woody laughs, shakes hands with Slinky.</scene_description>
<character>REX</character>
<dialogue>Woody, take care of Andy.</dialogue>
<character>MRS. POTATO HEAD</character>
<dialogue>Yeah...</dialogue>
<character>MR. POTATO HEAD</character>
<dialogue>He's a good kid. Tell him to get a haircut.</dialogue>
<character>WOODY</character>
<dialogue>I will.</dialogue>
<scene_description>Woody sees Jessie.</scene_description>
<character>WOODY</character>
<dialogue>Jessie -- you'll be okay in the attic?</dialogue>
<character>JESSIE</character>
<dialogue>'Course I will. Besides...</dialogue>
<parenthetical>(leans in)</parenthetical>
<dialogue>...I know about Buzz's "Spanish Mode".</dialogue>
<character>BUZZ</character>
<dialogue>My what...?</dialogue>
<scene_description>He turns, confused. Woody and Jessie share a smile.</scene_description>
<character>MOM (O.S.)</character>
<dialogue>Honey, you want some food for the road?</dialogue>
<character>ANDY (O.S.)</character>
<dialogue>I'll get something on the way.</dialogue>
<scene_description>Woody turns to Buzz -- there's so much he wants to say. Buzz just smiles.</scene_description>
<character>BUZZ</character>
<dialogue>You know where to find us, Cowboy.</dialogue>
<scene_description>Woody smiles. He turns, runs to the desk. Buzz climbs in the Attic box with the others. On the desk, Woody jumps on the edge of the College box, looks back at his friends. FOOTSTEPS climb the stairs. Woody gives Buzz a salute. Buzz smiles, salutes back. Woody lowers into the College box. The Toys duck in the Attic box, pull the flaps shut just as Andy and Mom enter.</scene_description>
<character>MOM</character>
<dialogue>Did you say goodbye to Molly?</dialogue>
<character>ANDY</character>
<dialogue>Mom, we've said goodbye like ten times!</dialogue>
<scene_description>Mom stops, suddenly overwhelmed. The room is empty.</scene_description>
<character>MOM</character>
<dialogue>Oh, Andy...!</dialogue>
<scene_description>Andy, beside her, is abashed.</scene_description>
<character>ANDY (O.C.)</character>
<dialogue>Mom...! It's okay...</dialogue>
<scene_description>IN THE COLLEGE BOX Woody quietly peeks out the hand holes. POV -- Woody can half-see Mom hug Andy.</scene_description>
<character>MOM</character>
<dialogue>I know, it's just... I wish I could always be with you.</dialogue>
<character>ANDY</character>
<dialogue>You will be, Mom.</dialogue>
<scene_description>ON WOODY He turns and glances off, noticing something. THE PHOTO Of young Andy, playing with Woody and the other Toys. TRACK IN ON Woody. Mom and Andy's words echo in his head. WOODY POV -- His GAZE SHIFTS from Andy-holding-Woody to Woody-with-the-other-Toys. Suddenly, Woody half-smiles -- an epiphany. Sadness and uncertainty are replaced by happiness and determination. FOOTSTEPS and collar JINGLES approach. Molly steps to the room's threshold with Buster.</scene_description>
<character>MOLLY (O.C.)</character>
<dialogue>Hey... Aren't you gonna say goodbye to Buster?</dialogue>
<scene_description>Andy and Mom step into the hallway.</scene_description>
<character>ANDY (O.S.)</character>
<dialogue>Of course I will...!</dialogue>
<parenthetical>(to Buster)</parenthetical>
<dialogue>Who's a good doggie?! Who's a good doggie?!!! I'm gonna miss you!</dialogue>
<scene_description>While Andy scratches Buster's belly, Woody jumps out of the box, grabs a pen and a sticky note. He sneaks across the room, jumps on the Attic box, starts frantically writing. Buster starts BARKING. Woody finishes writing, looks up.</scene_description>
<character>MOLLY (O.C.)</character>
<dialogue>He's telling you to go already.</dialogue>
<character>MOM (O.C.)</character>
<dialogue>C'mon, get the rest of your things.</dialogue>
<scene_description>Woody gasps, looks up at the door. TRACK IN -- THE DOOR Andy walks in. Mom and Molly stay in the hallway.</scene_description>
<character>ANDY</character>
<dialogue>Okay, Buster, don't let Molly near my stuff.</dialogue>
<scene_description>Andy turns, crouches to pick up the Attic box. He stops, noticing the yellow Post-It on the box top. He opens the flaps, finding all of his Toys.</scene_description>
<character>ANDY</character>
<dialogue>Hey...!</dialogue>
<scene_description>He digs through them -- pulling a few out, making sure they're all there -- smiling with fondness and relief. He picks up the Post-It, reads it. He calls out.</scene_description>
<character>ANDY</character>
<dialogue>Hey, Mom... So, you really think I should donate these?</dialogue>
<scene_description>Mom answers from the hallway.</scene_description>
<character>MOM (O.S.)</character>
<dialogue>It's up to you, honey. Whatever you want to do.</dialogue>
<scene_description>CUT TO:</scene_description>
</scene>
<scene>
<stage_direction>INT. CAR - DAY</stage_direction>
<scene_description>Andy cruises, looking for an address. A box with "Attic" crossed out sits in the passenger seat. The car slows.</scene_description>
</scene>
<scene>
<stage_direction>EXT. HOUSE - DAY</stage_direction>
<scene_description>Andy grabs the box and gets out. TRACK IN -- The hand slot of the College box, left behind. POV - COLLEGE BOX -- Andy crosses the street and approaches the house. Andy stops, glances at the box. On the Post-It is written: DONATE TO: Bonnie 1225 Sycamore Road TILT UP -- The address on the front gate. It matches. Andy sees Bonnie playing in the front yard, while her Mom and Dad garden nearby.</scene_description>
<character>BONNIE</character>
<dialogue>No! Don't go in there! The bakery is haunted...!!!</dialogue>
<parenthetical>(another voice:)</parenthetical>
<dialogue>Shhhhhh!!! Are you crazy?! You'll wake up all the ghosts!</dialogue>
<scene_description>Andy watches Bonnie play -- exuberant and unself-conscious.</scene_description>
<character>BONNIE</character>
<dialogue>Look out! The ghosts are throwing pies! Splat! Splat! Splat!</dialogue>
<scene_description>Bonnie notices Andy and immediately stops playing.</scene_description>
<character>BONNIE</character>
<dialogue>Mom...?</dialogue>
<scene_description>Bonnie's Mom looks over, sees Andy. She stands.</scene_description>
<character>BONNIE'S MOM</character>
<dialogue>Andy...!</dialogue>
<character>ANDY</character>
<dialogue>Hi!</dialogue>
<scene_description>Andy lets himself in the gate.</scene_description>
<character>BONNIE'S MOM</character>
<dialogue>Wow! Look at you! I hear you're off to college?!</dialogue>
<character>ANDY</character>
<dialogue>Yeah. Right now, actually.</dialogue>
<character>BONNIE'S MOM</character>
<dialogue>So, what can we do for you?</dialogue>
<scene_description>Bonnie goes and stands behind her Mom.</scene_description>
<character>ANDY</character>
<dialogue>Uhh... I have some toys here.</dialogue>
<character>BONNIE'S MOM</character>
<dialogue>Ohhh...! You hear that, Bonnie?</dialogue>
<scene_description>Bonnie peeks around her Mom, curious.</scene_description>
<character>ANDY</character>
<dialogue>So you're Bonnie?</dialogue>
<scene_description>He hunches down so he's eye to eye with her.</scene_description>
<character>ANDY</character>
<dialogue>I'm Andy. Someone told me you're really good with toys. These are mine, but I'm going away now, so I need someone really special to play with them.</dialogue>
<scene_description>Bonnie is uncertain. Andy sits in front of her, cross- legged. He opens the box, pulls out Jessie and Bullseye.</scene_description>
<character>ANDY</character>
<dialogue>This is Jessie -- the roughest, toughest cowgirl in the whole West. She loves critters, but none more'n her best pal, Bullseye.</dialogue>
<parenthetical>(whinnies; then, as Jessie)</parenthetical>
<dialogue>Yee-haw! Here.</dialogue>
<scene_description>Bonnie looks at her Mom, who nods. She walks forward. Andy gives Jessie and Bullseye to her. A smile escapes Bonnie. Andy pulls out Rex.</scene_description>
<character>ANDY</character>
<dialogue>This is Rex -- the meanest, most terrifying dinosaur who ever lived.</dialogue>
<parenthetical>(dinosaur voice)</parenthetical>
<dialogue>"Raaawwwrrrrr...!!!"</dialogue>
<scene_description>He thrusts Rex at her. Bonnie backs up, grins, takes him. Andy pulls out the Potato Heads.</scene_description>
<character>ANDY</character>
<dialogue>The Potato Heads -- Mister and Missus. You gotta keep 'em together 'cause they're madly in love.</dialogue>
<scene_description>Bonnie nods, takes them. Andy pulls out Slinky and Hamm.</scene_description>
<character>ANDY</character>
<dialogue>Now Slinky here is as loyal as any dog you could want. But Hamm? He'll keep your money safe...</dialogue>
<scene_description>He drops a quarter into Hamm's slot.</scene_description>
<character>ANDY</character>
<dialogue>...but he's also one of the most dastardly villains of all time...</dialogue>
<parenthetical>(Hamm voice)</parenthetical>
<dialogue>"...Evil Dr. Pork Chop!"</dialogue>
<scene_description>Bonnie smiles, takes them. He pulls out the three Aliens.</scene_description>
<character>ANDY</character>
<dialogue>These little dudes are from a strange, alien world -- Pizza Planet!</dialogue>
<scene_description>She smiles. He hands them to her, then pulls out Buzz.</scene_description>
<character>ANDY</character>
<dialogue>And this is Buzz Lightyear -- the coolest toy ever. Look, he can fly...</dialogue>
<parenthetical>(deploys wings)</parenthetical>
<dialogue>...And shoot lasers...</dialogue>
<parenthetical>(fires laser)</parenthetical>
<dialogue>He's sworn to protect the galaxy from the evil Emperor Zurg!</dialogue>
<scene_description>Andy hands over Buzz. Bonnie presses a button on him.</scene_description>
<character>BUZZ</character>
<dialogue>"To Infinity... And Beyond!!!"</dialogue>
<scene_description>Bonnie looks up, happily surrounded by Andy's toys.</scene_description>
<character>ANDY</character>
<dialogue>Now, you gotta promise to take good care of these guys. They mean a lot to me.</dialogue>
<scene_description>Bonnie nods. She glances in the box. Her eyes go wide.</scene_description>
<character>BONNIE</character>
<dialogue>My cowboy!</dialogue>
<scene_description>Andy looks down, sees Woody lying in the box.</scene_description>
<character>ANDY</character>
<dialogue>Woody...? What's he doing in there?</dialogue>
<scene_description>He lifts Woody out. Bonnie points.</scene_description>
<character>BONNIE</character>
<dialogue>"There's a snake in my boot!"</dialogue>
<scene_description>Andy -- amazed -- pulls Woody's pull-string.</scene_description>
<character>WOODY</character>
<parenthetical>(voice-box)</parenthetical>
<dialogue>"There's a snake in my boot!"</dialogue>
<scene_description>Bonnie giggles and reaches for him, but Andy instinctively pulls Woody away. Bonnie looks at Andy, confused. Andy looks down at Woody, makes a decision. He holds Woody out -- gentle and serious.</scene_description>
<character>ANDY</character>
<dialogue>Now, Woody -- he's been my pal as long as I can remember. He's brave, like a cowboy should be. And kind, and smart. But the thing that makes Woody special? Is he'll never give up on you -- ever. He'll be there for you, no matter what. Y'think you can take care of him for me?</dialogue>
<parenthetical>(she nods)</parenthetical>
<dialogue>Okay, then.</dialogue>
<scene_description>He hands Woody to Bonnie. She hugs him. Andy suddenly grabs Hamm.</scene_description>
<character>ANDY</character>
<dialogue>Oh, no! Dr. Pork Chop's attacking the haunted bakery! Pchoo! Pchoo!</dialogue>
<scene_description>Without missing a beat, Bonnie joins in the play.</scene_description>
<character>BONNIE</character>
<dialogue>Oh, no! The ghosts are getting away! Woody'll stop 'em!!</dialogue>
<scene_description>She swoops Woody in the air. Andy grabs Slinky and gives chase. They EXIT FRAME, laughing.</scene_description>
<character>ANDY</character>
<dialogue>Pchoo! Pchoo! Pchoo!</dialogue>
</scene>
<scene>
<stage_direction>EXT. BONNIE'S HOUSE - LATE AFTERNOON - MONTAGE</stage_direction>
<scene_description>Bonnie and Andy play together with all their Toys.</scene_description>
</scene>
<scene>
<stage_direction>EXT. BONNIE'S HOUSE - DUSK</stage_direction>
<scene_description>Andy walks to his car, turns. Bonnie stands on the porch, the Toys scattered at her feet. She clutches Woody. Bonnie makes Woody's arm wave at Andy. Andy smiles. He gets in his car. He takes one last look at all his Toys on Bonnie's porch, and Woody in Bonnie's arms...</scene_description>
<character>ANDY</character>
<dialogue>Thanks, guys.</dialogue>
<scene_description>...And pulls away.</scene_description>
<character>BONNIE</character>
<dialogue>Look, Mommy! They're all playing together!</dialogue>
<scene_description>Bonnie puts Woody down and runs to her mother's arms.</scene_description>
<character>BONNIE'S MOM (O.C.)</character>
<dialogue>C'mon -- let's get some lunch.</dialogue>
<scene_description>She scoops up Bonnie, swings her around. Mother and daughter laugh as they step into the house. On the porch, the Toys come to life, sit up. Woody watches Andy drive away.</scene_description>
<character>WOODY</character>
<dialogue>So long, partner.</dialogue>
<scene_description>Buzz puts an arm around Woody. They watch Andy drive off. The other Toys gather around, and we... CRANE UP TO</scene_description>
</scene>
<scene>
<stage_direction>..Blue sky, and fluffy clouds.</stage_direction>
<character>THE END</character>
</scene>
</script>
|
TOY STORY 3 Story by John Lasseter Andrew Stanton Lee Unkrich Screenplay by Michael Arndt Blue sky, fluffy clouds. The TOY STORY logo. A branding iron sears a "3" into it. IMAGE bursts into FLAMES...
EXT. OLD WEST - DAY
A train races across the desert. MOVE IN on an ARMORED CAR. Suddenly, the roof blows open.
EXT. TRAIN - DAY
Money bags fly out. ONE-EYED BART (Mr. Potato Head) follows.
ONE-EYED BART
Money, money, money! Ha! Ha! Ha!
Bart stashes the loot. Suddenly, a lasso yanks his arm off.
ONE-EYED BART
Hey!
The lasso lifts him off his feet. He falls, dazed. A figure approaches -- WOODY. He pins Bart with his boot.
WOODY
You got a date with justice, One-Eyed Bart!
ONE-EYED BART
Too bad, Sheriff -- I'm a married man.
A WAR CRY. Woody looks up.
VOICE (O.S.)
Ai! Ai-ai-ai-ai-ai-yah!
A Ninja warrior, ONE-EYED BETTY (Mrs. Potato Head), flips down the train roof, wielding a sword and nun-chucks.
WOODY
One-Eyed Betty!
Woody handsprings away. He gets to the end of the Caboose. Betty hits him with her purse. He teeters, then falls.
WOODY
Whoa, whoa... Ahhh...!
Bart and Betty laugh, peek over the edge... GALLOPING HOOVES TILT UP to find Woody, riding BULLSEYE, JESSIE at the reins.
JESSIE
I believe you dropped something, Mister!
ONE-EYED BART
Jessie?!
WOODY
You've reached the end of the line, Bart.
Bart pulls out a remote detonator.
ONE-EYED BART
I always wanted to go out with a bang!
Ahead, a huge trestle bridge spans a canyon. ZOOM to REVEAL -- The middle of the bridge is loaded with dynamite. Bart laughs, hits the detonator. The bridge explodes. Woody, Jessie, and Bullseye gasp.
JESSIE
Oh no!
WOODY
The orphans!
WHIP PAN -- A train car of TROLLS lean out the windows. One-Eyed Bart cackles.
ONE-EYED BART
Hate to leave early, but our ride is here.
HONK-HONK! A pink Corvette, driven by the three ALIENS, pulls up alongside the train.
ALIENS
Oooooooooo!
ONE-EYED BART
It's me or the kiddies, Sheriff! Take your pick!
The Potato Heads leap off the train into the Corvette. They speed off. Woody looks at the out-of-control train.
WOODY
Ride like the wind, Bullseye!
Bullseye runs up next to the speeding locomotive.
WOODY
Hold him steady...
Woody stands, then leaps from Bullseye into the locomotive.
JESSIE
Woody, hurry!
Woody turns a gear, pulls the brake. Train wheels lock. Sparks fly. Woody looks ahead. POV -- The train skids toward the severed rails. Bullseye and Jessie skid to a stop at the canyon edge. Too late. Woody and the train plummet over the edge. Bullseye and Jessie are horrified.
JESSIE
No...!
From deep in the canyon, a FLASH and RUMBLE. Then, the entire train rises into the sky. Holding it from below is BUZZ LIGHTYEAR.
BUZZ
Glad I could catch the train!
Woody leans out the front.
WOODY
Now let's catch some criminals!
BUZZ
To Infinity... And Beyond!
CUT TO:
EXT. DESERT PLAINS
A large, hand-painted sign reads: Border Crossing One Mile Outlaws Welcome WHIP PAN -- The Corvette speeds past. The Outlaws laugh gleefully. Bart kisses his loot. The Aliens see something in the sky, point...
ALIENS
OooOOOOoooo!
Buzz flies out of the sun, firing his laser. The Corvette is sliced in half. The halves fall away. The Outlaws tumble into a heap. Woody and Jessie step up. Buzz lands nearby, laser poised.
WOODY
Reach for the sky!
ONE-EYED BART
You can't touch me, Sheriff! I brought my attack dog with a built-in force field!
Bart WHISTLES. From above, SLINKY springs down the canyon walls, coils crackling with energy. He circles the gang, bites his tail. An ENERGY BUBBLE forms around them.
WOODY
Well, I brought my dinosaur, who eats force-field dogs!
JESSIE
Yo-Dee-Le-Hi-HoooOOOOOOOO!
The Earth trembles. Cracks form. The ground bursts open. A giant REX emerges, BELLOWING. He leans toward Bart, lets out a fearsome ROAR. A shadow. Rex stops. An intense HUM. Everyone looks up. An enormous, pig-shaped spaceship hovers above them.
BUZZ
Evil Dr. Porkchop!!!
We FLY UP to...
INT. SPACESHIP - DAY
DR. PORKCHOP (Hamm) sits on the bridge, sporting a bowler.
EVIL DR. PORKCHOP
That's Mr. Evil Dr. Porkchop to you!
Bart, Betty, Slinky, and the Aliens are suddenly beamed up. Hamm flips open a switch. A red button: DEATH BY MONKEYS. He pushes it. The ship's belly swings open. A yellow barrel is dropped. The barrel falls. It explodes into a mushroom cloud of crazed red monkeys. Woody, Buzz and Jessie flee. The Monkeys come after them. Rex ROARS. The Monkeys swarm over him, taking him down. Woody, Buzz and Jessie are overtaken and pinned down. The spaceship's snout rotates and opens. A giant laser cannon powers up with a deafening HUM. Bart LAUGHS and reaches for a button marked with a skull and crossbones... Jessie turns away, eyes shut. Bart LAUGHS louder. Buzz turns away. Bart CACKLES -- finger on the trigger. Woody grimaces... CUT TO:
INT. ANDY'S ROOM - DAY
Andy imitates One-Eyed Bart's LAUGH. On Woody and Buzz. Andy's hands move Woody as he "talks".
YOUNG ANDY (AS WOODY)
Buzz! Shoot your laser at my badge!
YOUNG ANDY (AS BUZZ)
Woody, no! It'll kill you!
YOUNG ANDY (AS WOODY)
Just do it!
Andy presses Buzz's laser, makes a ricochet sound -- PSHOO! -- off Woody's badge and traces a line into the air... ...Where Hamm, the Potato Heads and the Aliens perch on a winged cardboard box, crudely fashioned into a spaceship, that dangles from the ceiling. Andy hits the carton -- PPPKOOOOOSHHH!!! The Toys tumble to pillows on the floor. CUT TO: CAMCORDER POV - HANDHELD MOM'S hand pushes open a door. Andy, 8, in his cowboy hat, jumps around making EXPLOSION NOISES. He's turned his room into a Western "set" complete with a Tinkertoy trestle bridge, a Barrel of Monkeys, etc.
YOUNG ANDY
(as Woody)
You're going to jail, Bart.
Camera ZOOMS IN. Andy looks up, stops.
YOUNG ANDY
Mom...!?
MOM (O.C.)
No, no...! Keep playing! Just pretend I'm not here.
Suddenly, MOLLY, 2, toddles in, knocking over Tinker Toys.
MOM (O.C.)
Oh, no! Molly...!
YOUNG ANDY
No, it's okay, Mom! It's... A 50- foot baby from outer space! She's on a rampage! Run for your lives!
Andy races around. Chaos, laughing. Buster enters, BARKING. The CAMERA PIVOTS UPSIDE-DOWN, revealing Mom's face.
MOM
Does the red light mean it's going?
The TAPE GLITCHES and we JUMP TO... BEGIN MUSIC -- "You've Got A Friend In Me"
INT. ANDY'S KITCHEN - DAY - HANDHELD CAMCORDER POV
Molly sits in a high chair, party hat on, eating cake. Camera PANS Andy's Toys, wearing party hats. End on Andy, holding Woody, stuffing cake in his mouth.
MOM (O.C.)
Come on, say 'Happy Birthday' to Molly...
YOUNG ANDY
(mouth full)
Happhy Brffday!
MOM (O.C.)
Oh, charming.
Andy holds Woody up to CAMERA, cake crumbs flying.
YOUNG ANDY (AS WOODY)
Happhy Brffday!!!
JUMP TO:
INT. ANDY'S ROOM - DAY - HANDHELD CAMCORDER POV
Mom pencils a line above Andy's head onto the door frame.
MOM (O.C.)
Look how tall you're getting!
Andy steps away and beams. JUMP TO:
INT. ANDY'S ROOM - DAY - HANDHELD CAMCORDER POV
Andy holds Woody against the door frame, marks a line above Woody's head. ZOOM OUT to reveal lines and labels for all the toys, including for "Slinky" and "Slinky's Butt". JUMP TO:
EXT. FRONT YARD - DAY - HANDHELD CAMCORDER POV
Andy gives Woody a piggyback ride. JUMP TO:
INT. ANDY'S ROOM - DAY - HANDHELD CAMCORDER POV
Andy holds Buzz towards camera, shoots his laser.
BUZZ
"Buzz Lightyear to the rescue!"
ANDY (AS WOODY)
Good work Buzz!
Andy makes Buzz and Woody high five. JUMP TO:
INT. ANDY'S ROOM - NIGHT - HANDHELD CAMCORDER POV
Andy lies in a pillow fort, surrounded by toys, eating from a huge bowl of popcorn, and watching an off-screen TV. He stuffs popcorn in Rex's mouth, turns back to the TV. His eyes widen. The popcorn tumbles out of Rex's mouth. JUMP TO:
EXT. ANDY'S FRONT YARD - DAY - HANDHELD CAMCORDER POV
Andy rockets Jessie and Bullseye around the front yard, while Mom struggles to keep him in the FRAME. JUMP TO:
INT. ANDY'S ROOM - DAY - HANDHELD CAMCORDER POV
Andy, laughing, spins around, falls on his bed, pulls his toys close -- holding Woody, Buzz and Jessie in the warm, glowing embrace of a child's innocent and boundless love. The song FADES on "Our friendship will never die..." FADE TO BLACK:
WOODY (V.O.)
Okay -- places, everyone! C'mon, get in position!
INT. TOY CHEST, ANDY'S ROOM - DAY
Dark, crowded. Toys crammed together. Light seeps in. Nervous, backstage jitters. They speak in HUSHED TONES.
MRS. POTATO HEAD
Wait -- I can't find my other eye!
HAMM
Someone's foot is in my face...
MR. POTATO HEAD
It's mine! Give it back!
ALIENS
You saved our lives! We are eternally grateful!
Potato Head groans. Buzz sits by the rim. Jessie climbs up.
JESSIE
Buzz, mind if I squeeze in next to ya?!
BUZZ
Yes! No! I mean...! Why would I mind?! Squeezing next to... You!
He laughs, nervous. She grins. Finally, he turns away.
BUZZ
Is it hot in here?
REX (O.S.)
Here they come!
The Toys clamber to the rim and gaze out. POV -- SARGE and two ARMY MEN slip in the room, dragging something in a gym sock. The Army Men arrive at the chest. Woody peers down.
WOODY
Sarge! You got it...?!
SARGE
Mission accomplished!
The Toys are thrilled. The Army Men hoist the sock up.
WOODY
Careful...! Careful!!!
Buzz turns the sock upside-down. A cell phone slides out. Toys gather around.
WOODY
All right, guys. We got one shot at this. Everyone ready?
JESSIE
We're ready, Woody! Let's do it!
WOODY
Buzz -- make the call.
Buzz flips open his wrist cover. A phone number is written inside. Jessie pulls out a cordless phone, leans close to Buzz. Buzz chuckles, nervous. Jessie dials the phone. Woody tosses the cell phone to Rex. Jessie gets to the last digit, hits it. Silence. Suddenly, the cell phone RINGS. Rex yelps. Buzz, Jessie and Woody peer over the rim. FOOTSTEPS on the stairs.
BUZZ
Target is on approach.
Woody's eyes are fixed on the door.
WOODY
Just like we rehearsed it, guys...
The door opens. ANDY enters but we only SEE his jean-clad legs. He scans the room, zeroes in on the toy chest. He lifts the lid REVEALING... Andy is a teenager. His hair is long and his voice deep, but he has the same kind face. He looks down, puzzled. The Toys lie, lifeless, amid sports equipment and clothing. The phone RINGS again. Andy's hand rummages. Woody hugs the cordless as Andy's fingers pass by and find the cell phone. He pulls it out. The phone is stuck in Rex's arms. Andy pulls. Rex clings. Andy finally yanks the phone loose.
ANDY
Hello...?
CLOSE ON -- Woody, holding the phone. He closes his eyes.
ANDY (ON PHONE)
Hello...?! Anyone there?
Andy hangs up, turns.
ANDY
Molly, stay outta my room!
MOLLY (O.S.)
I wasn't in your room!
Andy scoffs, looks down at Rex in his hand. Rex lies frozen, smiling -- eager to be played with. Andy drops Rex in the box, shuts the lid, heads out.
ANDY
Then who was messing with my stuff?
MOLLY (O.S.)
It wasn't me...!
He departs, closing the door -- CLICK. CREAK -- Woody and Buzz push the chest open, share a look. The other Toys climb out.
MR. POTATO HEAD
Well, that went well!
They spill out onto the floor. The room has changed -- rock posters, guitar, skateboard, other teen detritus.
REX
He held me! He actually held me!
HAMM
Oh, this is just sad.
MR. POTATO HEAD
Who are we kiddin'? The kid's seventeen years old!
Woody and Buzz jump down, exchange a glance. Buzz nods. Woody waves his arms.
WOODY
Guys, hey, hold up! We need a staff meeting! Everyone? A staff meeting!
GROANS of boredom.
HAMM
Not again...!
WOODY
Oh, come on! Slink? Gather everyone up!
SLINKY
Uh... We are gathered, Woody!
The Toy Community is a lot smaller. Woody rolls with it.
WOODY
Okay. First off -- we all knew Operation Playtime was a long shot...
MR. POTATO HEAD
More like a misfire!
WOODY
...But we've always said this job isn't about getting played with. It's about...
JESSIE
...Being there for Andy. We know.
REX
But we can try again, right?
Woody looks at all of them. He shakes his head.
WOODY
I'm callin' it, guys. We're closin' up shop.
Gasps. Everyone is crushed by this news.
WOODY
Andy's going to college any day now... That was our last shot.
Mrs. Potato Head begins to sniffle. Buzz steps forward.
BUZZ
We're going into Attic Mode, folks. Keep your accessories with you at all times -- spare parts, batteries... Anything you need for an orderly transition.
Potato Head steps up.
MR. POTATO HEAD
"Orderly?" Don't you get it?! We're done! Finished! Over the hill!
WOODY
Hey, hey, now come on, guys! We all knew this day was coming!
Buzz, in FOREGROUND, sees something off-screen, frowns. POV -- Sarge and the Army Men climb up onto Andy's desk. The other Toys keep arguing.
HAMM (O.C.)
Yeah, but now its here!
WOODY (O.C.)
Look, every toy goes through this! No one wants to see their kid leave!
BUZZ
Hey! Sarge! What are you doing?!
Everyone turns. Sarge and his last two Soldiers climb to the window sill.
SARGE
War's over, folks. Me 'n the boys are movin' on.
WOODY
Moving on...?!
BUZZ
You're going AWOL?!
SARGE
We done our duty. Andy's grown up.
SOLDIER ONE
And let's face it -- when the trash bags come out, we Army guys are the first to go.
BUZZ
Trash bags...?!
WOODY
Who said anything about trash bags?
SARGE
It has been an honor serving with you. Good luck, folks.
Sarge straps in tandem with Soldier One. They leap. Their parachute opens and the wind carries them off.
SOLDIER TWO
You're gonna need it...!
He jumps and flies off too. The Toys are stunned.
WOODY
No, no... Wait...! Wait! Wait!!!
REX
We're getting thrown away?!
WOODY
No! No one's getting thrown away!
MR. POTATO HEAD
How do you know?!
Jessie begins to panic.
JESSIE
We're being abandoned...!
BUZZ
We'll be fine, Jessie!
HAMM
So why did Sarge leave?!
MRS. POTATO HEAD
Should we leave?!
SLINKY
I thought we were goin' to the attic!
REX
Oh, I hate all this uncertainty...!
Woody turns, waves his arms.
WOODY
Whoa, whoa! Hold on! Quiet!!! No one's getting thrown out, okay?! We're all still here, aren't we?!
(beat)
I mean, yeah, we've lost friends along the way -- Wheezy and Etch and...
REX
Bo Peep...?
Woody nods, stoic.
WOODY
Even... Even Bo. All good toys who've gone on to new owners. But through every yard sale, every spring cleaning, Andy held on to us. He must care about us or we wouldn't be here. You wait -- Andy's gonna tuck us in the attic. It'll be safe and warm...
BUZZ
...And we'll all be together.
WOODY
Exactly. There's games up there, and books... And, and...
BUZZ
The race-car track...
WOODY
The race-car track. Thank you!
SLINKY
And the old TV...!
WOODY
There you go -- the old TV! And those guys from the Christmas decorations box! They're fun, right?
The Toys shrug, MURMUR in semi-agreement. Woody softens.
WOODY
And someday -- if we're lucky -- Andy may have kids of his own...
REX
And he'll play with us then, right?
Woody looks at Rex, unable to say "yes".
WOODY
We'll always be there for him.
BUZZ
Come on, guys! Let's get our parts together, get ready, and go out on a high note.
The Toys disperse.
MRS. POTATO HEAD
I'd better find my other eye...
MR. POTATO HEAD
Where'd ya leave it this time?
She puts a hand over her empty eye socket.
MRS. POTATO HEAD
Someplace dark. And dusty!
Hamm turns to Rex.
HAMM
C'mon. Let's see how much we're goin' for on eBay...
Woody watches as the Toys trudge off.
WOODY
Don't worry. Andy's gonna take care of us. I guarantee it.
ON THE DRESSER Woody climbs up, surveys the room -- posters, guitar, textbooks. He turns to a cork board where Andy's high school graduation photo is pinned. He lifts it to find... A SNAPSHOT shows an eight-year-old Andy wearing a cowboy hat and posing with Woody and Buzz and all of Andy's toys. Woody gazes at the halcyon past he can never return to. Buzz steps up behind him.
BUZZ
You guarantee it, huh...?
WOODY
I dunno, Buzz. What else could I say?
BUZZ
Whatever happens, at least we'll be together.
CLOSE ON -- The SNAPSHOT of young Andy.
WOODY (O.C.)
For Infinity and Beyond...
FOOTSTEPS on the stairs. Woody and Buzz turn.
MOLLY (O.S.)
Can I have your stereo?
ANDY (O.S.)
No!
MOLLY (O.S.)
Why not?
ANDY (O.S.)
'Cause I'm taking it with me!
The Toys scramble back into the toy chest. Andy enters with Molly close behind.
MOLLY
Can I have your computer?
ANDY
No!
MOLLY
Your video games?
ANDY
Forget it, Molly!
Molly sighs, walks off. Andy starts typing on his laptop. Andy's Mom enters carrying cardboard boxes and trash bags.
MOM
Okay, Andy, let's get to work here. Anything you're not taking to college either goes in the attic, or it's trash.
She picks up a box and writes "College" in magic marker. Andy stares at his computer.
ANDY
Mom, I'm not leaving 'til Friday!
MOM
C'mon -- it's garbage day.
ANDY
Mom...!
She picks up his skateboard, puts it in the "College" box.
MOM
Look, it's simple: Skateboard? College. Little league trophy? Probably attic. Apple core? Trash. You can do the rest.
She tosses an apple core in a trash bag, hands it to Andy. Molly opens the Toy Chest.
MOLLY
Why do you still have these Toys?
ANDY
Molly, out of my room...!
MOLLY
Three more days and it's mine...!
She strides out the door.
MOM
Molly, you're not off the hook either!
THE TOY CHEST The Toys watch as Mom picks up a box, enters Molly's room.
MOM
You have more toys than you know what to do with. Some of 'em could make other kids really happy...
MOLLY
What kids...?
MOM
The children at the day care. They're always asking for donations.
Rex whispers.
REX
What's "day care"?
WOODY
Shhh...!!!
Mom writes SUNNYSIDE on the box. Molly pouts.
MOLLY
But, Mom...
MOM
No "buts". You choose the toys you wanna donate. I'll drop 'em off at Sunnyside.
Mom leaves. Molly sighs -- Moms! -- surveys the room. She picks up a xylophone, a Magic 8-Ball, puts them in the box. She picks up her old Barbie. MOLLY POV -- Barbie smiles, desperately eager to please. Molly, indifferent, tosses Barbie into the box, then buries her face in a "Teen" magazine. THE TOY CHEST Across the hall, the Toys react.
JESSIE
Poor Barbie...!
HAMM
I get the Corvette.
INT. ANDY'S ROOM - DAY
Mom walks back and finds Andy still on his laptop.
MOM
Andy, come on -- you need to start making decisions.
ANDY
Like what?
She pulls open the toy chest.
MOM
Like, what are you gonna do with these toys? Should we donate 'em to Sunnyside?
ANDY
No...!
MOM
Maybe sell them online...?
ANDY
Mom -- no one's gonna want those old toys. They're junk!
THE TOYS Silently hear this bombshell. Mom lowers the lid.
MOM
Fine. You have 'til Friday -- anything that's not packed for college, or in the attic, is getting thrown out.
ANDY
"Whatever you say, Mom."
He stares at his laptop. She shakes her head, exits. Andy sighs, closes his laptop. He turns, surveys his room. He rolls his chair to the toy chest and opens the lid. Inside are the Toys -- his old friends. They lie frozen, smiling, forever eager to play. Andy gazes at them, making a decision. Abruptly, he grabs a trash bag, snaps it open. He picks up the Toys -- Rex, Potato Head, Jessie -- tosses them in. He pulls Hamm's cork, empties the change out, and dumps him, with rest of the Toys, in the trash bag. Then Andy picks up Buzz and Woody, looks at them. POV -- Buzz, grinning and heroic. Woody, smiling and loyal. TOYS POV -- Andy turns, tosses Woody in the College box. The Toys gasp. Andy drops Buzz into the garbage bag. IN THE BAG Buzz is stunned and hurt. Andy cinches the bag closed and carries it from the room. Behind him, Woody pops up from the College box, shocked. IN THE BAG It's dim and crowded.
REX
What's happening...?!!!
MR. POTATO HEAD
We're getting thrown out, you idiot! That's what's happening!!!
Woody jumps from the box, runs across the room, hides behind the door frame. Andy walks onto the hall landing, reaches up, and pulls open a trapdoor ladder that leads to the attic. Woody watches, relieved. Andy begins climbing to the attic. One rung... Two... Molly enters the hall landing, struggling with her box. It hits the door frame. A Magic 8-Ball falls out.
ANDY
You need a hand?
MOLLY
I got it...
Andy steps down, leaves the bag at the foot of the ladder, grabs the 8-Ball. He helps Molly carry her box downstairs.
ANDY
Here. So, you gonna miss me when I'm gone?
MOLLY
If I say 'no', do I still get your room?
ANDY
Nope.
MOLLY
Then, yes, I'll miss you.
They disappear. IN THE BAG The Toys are piled all over each other. Jessie is hyper- ventilating. Buzz looks around -- plotting his next move.
JESSIE
I can't breathe!
REX
This can't be happening!!!
BUZZ
Quiet...!!!! What's that sound?
They all listen. A faint CREAKING. ON THE LANDING The attic ladder -- spring loaded -- retracts, pushing the toy-filled trash bag out of the way. IN THE BAG The bag is tipped over. The Toys tumble over each other.
TOYS
Whooaaaaa...!!!
ON THE LANDING The ladder pushes free and rises to the ceiling, retracting completely. Woody tiptoes into the hall toward the bag. Suddenly, Mom enters carrying a trash bag. Woody retreats. Mom trips over the toy-filled bag, looks down -- irritated.
MOM
Andy...?!
No answer. Mom sighs, picks up the toy-filled bag and exits, carrying it downstairs. ANDY'S ROOM Woody -- at the door -- is electrified.
WOODY
That's not trash! That's not trash!!
He steps back, mind reeling.
WOODY
Think, Woody...! Think! Think!
(an idea)
Oooh!
(whistles)
Buster! C'mere, boy! C'mere!
Off-screen PAWS and the JINGLE of a dog collar. Buster enters -- old, saggy, panting. Woody vaults onto his back.
WOODY
Okay, boy! To the curb! Hyah!!!
Buster yawns and flops over, pinning Woody under him.
WOODY
No, Buster, no...!
Woody grabs Buster by the jowls, pulls him backwards. Finally, Buster rolls over. Woody sits up, gasping. Off-screen, a door SLAMS. Woody turns. Woody rushes to the window, gazes out. POV -- Mom drops the trash bags at the curb. WHIP PAN -- Rumbling up the street is a garbage truck. Woody gasps. IN THE BAG Mounting panic.
JESSIE
We're on the curb!
MR. POTATO HEAD
Oh, I knew it would come to this!
Buzz grabs the side of the bag, tries to tear it open.
BUZZ
Pull, everyone! Pull!!!
EXT. ANDY'S HOUSE - DAY
Woody grabs a pair of scissors, shoves them in his holster. He lunges for the drainpipe, slides down, hits a gutter and tumbles into the bushes below. CRASH! IN THE BAG The Toys follow Buzz's lead, pulling the sides of the bag.
REX
It won't rip!
HAMM
Ah, forget it! It's triple-ply high- density polyethylene!
BUZZ
There's gotta be a way out!
MR. POTATO HEAD
Andy doesn't want us! What's the point?
BUZZ
(thinking)
Point... Point... POINT!!!
Buzz looks at Rex's pointy tail. OUTSIDE THE BAG The truck RUMBLES closer, two driveways away. IN THE BAG The Toys follow Buzz, shoving Rex backwards.
BUZZ
Push! Push!!!
REX
I can hear the garbage truck!
OUTSIDE THE BAG The bag stretches. Rex's tail is nearly through. IN THE BAG
REX
It's getting closer-fffmmm!
Rex is muffled by a mouthful of plastic. IN THE YARD Woody uses the scissors to snip his way out of the bush. The garbage truck approaches Andy's driveway. Woody races out, dives behind the mail box post. The GARBAGE MAN is in head phones, playing air guitar, drumming the mail box. He empties a garbage can into the truck. Woody ducks from behind the post, plunges his scissors into a garbage bag. Garbage spills out: wrong bag. He tries another. No luck. As the Garbage Man turns, Woody ducks behind the post. The Garbage Man grabs the last bags, tosses them in the truck. He climbs on a running board, SLAPS the side. The truck shifts into gear and lurches off down the street. THE STREET As the truck rumbles off, Woody ducks from behind the mail box, runs after it. The truck pulls up at the next house. Woody hides behind a fire hydrant. The Garbage Man hops off the runner, yanks a lever. The truck's compactor lowers, scoops up the trash bags. From behind the hydrant, Woody watches in horror. The compactor retracts, CRUNCHING the bags remorselessly.
WOODY
Buzz...!!! Jessie...!!!
A TINKLE. Woody turns. In Andy's driveway, an upside-down recycling bin scurries on little feet into the garage. Woody sighs, relieved.
INT. GARAGE - DAY
The Toys cast off the bin. They are traumatized.
SLINKY
Andy threw us out...!
HAMM
Like we were garbage...!
MR. POTATO HEAD
"Junk"! He called us "junk"!
MRS. POTATO HEAD
How could he...?!
She SOBS on Mr. Potato Head's shoulder.
BUZZ
(to himself)
This doesn't make any sense...!
Jessie is furious.
JESSIE
I should'a seen this coming! It's Emily all over again!
She turns and scans the garage -- galvanized, determined.
HAMM
Sarge was right...!
MR. POTATO HEAD
Yeah! And Woody was wrong!
BUZZ
Wait a minute! Hold on! This is no time to be hysterical.
HAMM
It's the perfect time to be hysterical!
REX
(hysterical)
Should we be hysterical...?!!!
SLINKY
No!
MR. POTATO HEAD
Yes!
BUZZ
Maybe! But not right now!
JESSIE (O.S.)
Yeeeeeeeeeeeeeee--hawwwwwwwwww...!!!
Everyone turns. Jessie is smiling.
JESSIE
Fellas -- I know what to do!
They follow her gaze. In the hatchback of Mom's car is Molly's box of toys, marked SUNNYSIDE.
EXT. ANDY'S YARD - DAY
Woody darts from a tree to a landscape boulder, sneaking towards the garage. He peeks out from behind a flowerpot.
WOODY
What the heck...?!
WOODY'S POV -- The Toys clamber into the Donation Box.
INT. CAR / GARAGE - DAY
Buzz stands outside the Donation Box as the other Toys clamber in. Jessie helps the Aliens up into the box.
JESSIE
We should'a done this years ago!
BUZZ
Jessie, wait...! What about Woody?!
JESSIE
He's fine, Buzz! Andy's takin' him to college! Now we need to go!
Buzz looks at her and the others.
BUZZ
You're right. Come on!
He helps pass the Aliens up. Woody approaches, incredulous.
WOODY
Buzz...?
BUZZ
Woody...!
WOODY
What's going on? Don't you know this box is being donated!
BUZZ
It's under control! We have a plan!
REX
We're going to Day Care!
WOODY
Day Care?! What -- have you all lost your marbles?!
MRS. POTATO HEAD
Didn't you see? Andy threw us away!
WOODY
No...! No, no, no! He was putting you in the attic!
MR. POTATO HEAD
Attic? So how'd we end up on the curb?!
WOODY
That was a mistake! Andy's Mom thought you were trash!
HAMM
Yeah! After he put us in a trash bag!
MRS. POTATO HEAD
And called us "junk"!
WOODY
I know it looks bad but, guys, ya gotta believe me!
MR. POTATO HEAD
Sure thing, "College Boy"!
JESSIE
Andy's movin' on, Woody! It's time we did the same.
Jessie and the others duck in the box, pull the flaps shut.
WOODY
Okay, out of the box! Everyone, right now! Come on! Buzz -- gimme a hand. We gotta get this thing outta here!
He walks around and tries to push the box out of the car.
BUZZ
Woody -- wait! We need to figure out what's best for every--...
SLAM!!! The hatchback shuts. Buzz and Woody turn. Through the window, Andy's Mom walks to the driver's seat, gets in. Woody and Buzz crouch down.
WOODY
Oh, great! Great!!! It's gonna take us forever to get back here!
The car lurches into gear and drives off.
INT. DONATION BOX / CAR - DAY
The Toys have gathered around Barbie, who is sniffling. Mrs. Potato Head pats her shoulder.
MRS. POTATO HEAD
It's all right, Barbie. You'll be okay!
Barbie nods, putting on a brave front.
BARBIE
Well... Molly and I have been growing apart for years, it's just... I can't believe she would throw me away!
She breaks down again. Potato Head rolls his eyes.
MR. POTATO HEAD
Welcome to the club, Toots!
Suddenly, the box flaps open and Woody and Buzz vault in.
WOODY
Okay, everyone, listen up... We can get back to Andy's but we gotta move fast. We'll hide under the seats 'til we get home...
The Toys react, incensed.
MR. POTATO HEAD
Get it through your vinyl noggin, Woody -- Andy doesn't want us anymore!
WOODY
He was putting you... In the attic!!!
Jessie goes toe-to-toe with Woody.
JESSIE
He left us... On the curb!
Buzz intervenes.
BUZZ
Alright, calm down! Both of you!
WOODY
Okay, fine! Just wait'll you see what Day Care's like!
REX
Why...?! What's it like?!
WOODY
Day Care is a sad, lonely place for washed-up old toys who have no owners.
Abruptly, Barbie bursts into tears.
HAMM
Quite the charmer, aren't ya?
WOODY
Oh, you'll see! As soon as we get to Day Care, you'll be begging to go home.
The car hits a bump and Woody tumbles.
EXT. DAY CARE, PARKING LOT - DAY
The car pulls into a modest day care center -- Sunnyside -- a cinder block building with bright, kid-friendly murals.
INT. / EXT. DONATION BOX / PARKING LOT - DAY
Andy's Mom pulls out the box, carries it across the lot. Inside the box, the Toys peer out the hand slots.
REX
Can anyone see anything?
JESSIE
There's a playground...!
Through fencing we SEE glimpses of kids running and playing with SHOUTS and LAUGHTER. The Toys look at each other.
JESSIE
We hit the jackpot, Bullseye!
HAMM
So much for "sad and lonely", eh?
WOODY
Okay, calm down, guys. Let's keep this in perspective...
MR. POTATO HEAD
Perspective?! This place is perfect!
REX
Woody, it's nice! See, the door has a rainbow on it!
INT. LOBBY - DAY
Andy's Mom is BUZZED through glass doors. A RECEPTIONIST behind a counter types at a computer while a small girl on the counter plays with a toy chimp. Andy's Mom enters.
MOM
Hey, there!
RECEPTIONIST
Wow! Haven't seen you in ages...
MOM
Just wanted to drop these old toys off.
She puts the box on the counter.
MOM
Is this Bonnie?! Look how big you are!
The girl, BONNIE, looks up, then turns to her Mother, shy.
RECEPTIONIST
Say hi, sweetie!
BONNIE
Hi.
RECEPTIONIST
How are your kids? Molly and Andy?
MOM
Not kids anymore. Andy's going to college on Friday. Can you believe?
The Receptionist opens the box. Bonnie tries to look in.
RECEPTIONIST
You sure they won't miss these?
MOM
Nah, they never get played with.
Mom departs and the Receptionist folds up the box flaps.
INT. DONATION BOX / HALLWAY - DAY
The Toys peek out as they are carried down a hallway.
MR. POTATO HEAD
You see any kids...?
REX
Where's she taking us?
INT. DONATION BOX / BUTTERFLY CLASSROOM - CONTINUOUS
The Box is placed on a counter. The Receptionist departs. In the box, the Toys step up and jostle for a view.
JESSIE
Look...!
MR. POTATO HEAD
Wow!
REX
What?! What is it?!!!
TOYS' POV -- An idyllic day care classroom, filled with the happy bustle of four- and five-year-olds, playing with toys -- dinosaurs, a baby doll, a pink Teddy bear, a Ken doll. The Toys stare, agog. Rex jockeys for a peek.
REX
Aaah! I can't see!
A bell RINGS. A TEACHER opens the playground door.
BUTTERFLY ROOM TEACHER
Okay, everyone, recess! C'mon!
The kids CHEER and flood out on the playground. The Teacher turns off lights, shuts the door behind her. IN THE BOX Silence. The room is still. The Toys speak sotto.
HAMM
So, now what do we do?
WOODY
We go back to Andy's! Anyone see an exit?
MR. POTATO HEAD
Exit schmexit! Let's get played with!
BUZZ
Careful! These toys might be jealous of new arrivals!
REX
I wanna see! It's my turn!
Rex presses in. The Toys react.
BUZZ
Oooff...!!!
SLINKY
Whoa!
HAMM
Hey!
The whole box tilts and falls off the counter -- SPLAT!!! The Toys spill out. They look up. Around the room, all the Day Care Toys stare back. A Jack In The Box pops up.
JACK IN THE BOX
New Toys!
They all CHEER and burst into smiles. Jessie shakes hands with a ROCK MONSTER toy.
JESSIE
Well, howdy! Glad to meetcha!
Buzz extends his hand to a ROBOT toy.
BUZZ
Buzz Lightyear, at your service.
Hamm, Slinky and Barbie shake hands with an OCTOPUS toy.
HAMM
Oh boy, oh boy, oh boy!
Rex laughs, circled by adoring little dinosaurs. An Insect Man ACTION FIGURE helps Mrs. Potato Head get up.
MRS. POTATO HEAD
Oooh, thank you!
(reaches for his bicep)
Oh, may I? Ohhh!
He flexes obligingly. She feels his arm, GIGGLES. Mr. Potato Head looks on. He flexes his own arm. It sags. A Crane toy circles the Aliens. They gaze up, rapturous.
ALIENS
The Claw...!!!
SFX -- HONK! HONK! Everyone turns. A Tonka Truck races forward, then backs up in a quick 180 arc, revealing a large pink Teddy bear, LOTSO, in its bed. Lotso taps a Tinker Toy cane and the truck bed rises, "dumping" him out. Like Bob Hope stepping off the links in Palm Springs, Lotso exudes an easy, cheerful charisma.
LOTSO
Well, hello there! I thought I heard new voices! Welcome to Sunnyside, folks! I'm Lots-o'-Huggin' Bear! But, please, call me Lotso!
Buzz steps up, offers a hand.
BUZZ
Buzz Lightyear. We come in pea...
Lotso grabs Buzz, lifts him in a smothering hug.
LOTSO
(chuckling)
First thing you gotta know about me... I'm a hugger!!
He releases Buzz, looks at the other Toys.
LOTSO
Oh, look at y'all! You been through a lot today, haven't you?
MRS. POTATO HEAD
Oh, it's been horrible!
LOTSO
Well, you're safe now. We're all cast-offs here -- we been dumped, donated, yard-saled, second-handed, and just plain thrown out. But just you wait -- you'll find being donated was the best thing that ever happened to ya!
Woody scoffs, but Rex steps up excitedly.
REX
Mr. Lotso...? Do toys here get played with every day?
LOTSO
All day long. Five days a week.
JESSIE
But what happens when the kids grow up?
Lotso steps to a wall of day-care class photos.
LOTSO
Well, now, I'll tell ya -- when the kids get old, new ones come in. When they get old, new ones replace them. You'll never be outgrown or neglected. Never abandoned or forgotten. No owners means no heartbreak.
The Toys are overjoyed. Even Woody is taken by this vision.
JESSIE
Yeee-hawww..!!!
MRS. POTATO HEAD
It's a miracle!
MR. POTATO HEAD
(to Woody)
And you wanted us to stay at Andy's!
WOODY
Because we're Andy's toys!
Lotso puts an arm around Woody.
LOTSO
So you got donated by this "Andy", huh? Well, it's his loss, Sheriff! He can't hurt you no more.
WOODY
Whoa, whoa, whoa, whoa...
Lotso cuts him off.
LOTSO
Now let's get you all settled in. Ken?! Where is that boy? Ken...?! New toys!
A Ken doll appears in an upper window of a doll house.
KEN
Far out! Hey, hi, everybody!
(to Lotso)
Down in a jiff, Lotso!
He rides down in an elevator and opens the door. ON KEN -- Slip-on shoes, double-pleated shorts, and an unbuttoned animal-print shirt that reveals his ripped abs. He addresses the Toys with an air of boundless self-regard.
KEN
So. Who's ready for Ken's Dream Tour?
LOTSO
Let's show our new friends where they'll be stayin'!
KEN
Folks, if you wanna step right this--
He turns, sees Barbie. She looks up, sees him. Sparks fly. MUSIC swells. Destiny calls. They approach.
KEN
Hi! I'm Ken.
BARBIE
Barbie.
(breathless)
Have we ever me--...?
KEN
Huh-uh...! I would've remembered!
(Barbie GIGGLES)
Love your leg warmers.
BARBIE
Nice ascot.
Lotso breaks the spell.
LOTSO
C'mon, Ken! Recess don't last forever!
KEN
Right on, Lotso! This way everyone!
He extends a gentlemanly arm. Barbie giggles, takes it.
LOTSO
You got a lot to look forward to, folks -- the Little Ones love new toys!
He leads them off. Rex, Buzz, and Woody trail behind.
BUZZ
What a nice bear!
REX
And he smells like strawberries!
Woody sighs, exasperated. As they walk, Ken addresses the Toys like a tour leader.
KEN
Folks, if I can share, here at Sunnyside, we've got, well, just about anything a Toy could ask for.
Lotso leads them past shelves of toy supplies.
LOTSO
Spare parts, super glue, and enough fresh batteries to choke a Hungry- Hungry Hippo.
CLOSET DOOR Lotso flings open a utility closet, revealing a spa-like workshop in which smaller Toys fix up bigger Toys -- stitching rips, etc. The Toys gasp, impressed.
LOTSO
Think you're gettin' old? Well, stop your worryin'!
KEN
Our repair spa will keep you stuffed, puffed, and lightly buffed!
An Elephant plushie is getting his belly re-stuffed. He SNEEZES. Stuffing flies everywhere. IN THE CLASSROOM As the tour continues, Ken gestures to his Dream House.
KEN
And this, well, this is where I live -- Ken's Dream House. It has a disco, it's got a dune buggy... And a whole room just for trying on clothes.
BARBIE
You have everything!!!
KEN
Everything except someone to share it with.
He looks down, walks off. Barbie sighs, about to faint. Lotso reaches a bathroom door at the end of the room.
LOTSO
You need anything at all, you just come talk to me. Here we are...!
Lotso raps the door with his cane. It's opened by a large baby doll, BIG BABY, with a lazy, drooping eye. Big Baby COOS, peers out at the Toys. They stare up in wonder.
LOTSO
Well, thank you, Big Baby. Why don't you come meet our new friends?
He throws an arm around Big Baby in Toy-solidarity.
LOTSO
Poor Baby! We were thrown out together, me n' him. Abandoned by the same owner!
INT. BATHROOM - DAY
Lotso leads the Toys through a bathroom.
LOTSO
But we don't need owners here at Sunnyside! We own ourselves! We're masters of our own fate...! We control our own destiny!
Mr. Potato Head slips and falls, losing his parts.
LOTSO
Uh, watch out for puddles...
INT. CATERPILLAR ROOM - DAY
Lotso leads the Toys into a new classroom. The Day Care Toys here are scuffier and more toddler-appropriate.
LOTSO
And here's where you folks'll be staying -- the Caterpillar Room!
The Toys gaze up in awe. There's kid stuff everywhere: tiny tables and chairs, finger paintings, wood blocks, banners of the alphabet, wire cubby bins, etc. The whole beautiful, child-centric universe of day care.
JESSIE
Look at this place!
BUZZ
\[Whistles\]
HAMM
Holy moly, guacamole!
MR. POTATO HEAD
Jackpot, baby!
SLINKY
Whoa, puppy!
REX
Wow!
A TOY TRAIN weaves through the room, blowing its WHISTLE. The Potato Heads look around in wonder.
MRS. POTATO HEAD
(fighting tears)
It's so beautiful!
Woody is awestruck. Something nudges him. A RINGING.
WOODY
What the...?
He looks down. An old Fisher Price Chatter Telephone is bumping into him. Woody kneels down, friendly. Woody Oh, hey, little fella...
LOTSO
How long's it been since y'all got played with?
SLINKY
It's been years!
LOTSO
Well, just you wait. In a few minutes that bell's gonna ring and you'll get the playtime you've been dreaming of.
REX
Play! Real play!!! I can't wait!!!
LOTSO
Now, if you'll excuse us, we best be headin' back. Welcome to Sunnyside, folks!
Lotso climbs back into the Tonka Truck. The Toys wave.
REX
Thank you!
HAMM
Thank you there, Buddy Boy!
MR. POTATO HEAD
Take care, Pinky!
BUZZ
Goodbye, Mr. Lotso! Thank you!
MRS. POTATO HEAD
Goodbye...!
Barbie turns to Ken -- an end-of-the-first-date moment.
BARBIE
Will I see you again?
KEN
Oh, I'll see you tonight. In my dreams.
She giggles. They stare. It's like they could both spontaneously combust. At the bathroom door, Lotso waits.
LOTSO
Ken...! Let's get a move on!
Ken turns to Barbie, takes her hands.
KEN
Barbie, come with me! Live in my Dream House! I know it's crazy! I know we've just met! Aw, heck -- you don't know me from GI Joe. But when I look at you I feel like we were...
KEN & BARBIE
...Made for each other!
They gasp, thunderstruck. Barbie turns, gazes to the Toys. Jessie grins and winks. Mrs. Potato Head waves -- Go!
BARBIE
Yay!
She gives a leg kick. Ken pumps his fist.
KEN
Yessssssss...!!!
Lotso calls again.
LOTSO
Ken...!
KEN
Coming, Lotso!
Ken leads Barbie to the Truck and they hop in, giddy. Lotso taps his cane and the Truck roars off. Big Baby is the last to exit, closing the door -- CLICK -- behind them. Through windows, children are heard LAUGHING and PLAYING. The Toys turn and wander toward the playground door.
HAMM
Sounds like kids to me...!
REX
Oh, I wanna get played with! Why can't time go faster?!!!
JESSIE
How many ya reckon are out there?!
MRS. POTATO HEAD
Oh, they sound so sweet!
Woody looks at them, knowing he's fighting a losing battle.
WOODY
Look, everyone, it's nice here, I admit. But we need to go home...!
The Toys glance at each other. Jessie steps forward.
JESSIE
We can have a whole new life here, Woody. A chance to make kids happy again.
SLINKY
Why don't you stay?
REX
Yeah, Woody! Stay with us!
HAMM
Come on, Woodster!
MR. POTATO HEAD
You'll get played with...!
MRS. POTATO HEAD
Stay here!
JESSIE
You can make a new kid happy!
WOODY
I can't! No, no! Guys, really, no!
The Toys are taken aback. Woody struggles to stay calm.
WOODY
I have a kid. You have a kid -- Andy! And if he wants us at college, or in the attic, well, then our job is to be there for him! Now I'm going home! Anyone wants to join me is welcome! C'mon, Buzz!
He heads off. Buzz stays put. Woody turns back.
WOODY
Buzz...?
Buzz -- torn -- steps up to Woody, sober and gentle.
BUZZ
Our mission with Andy's complete, Woody.
WOODY
What...?!
BUZZ
And what's important now is we stay together.
WOODY
We wouldn't even be together if it weren't for Andy! Look under your boot, Buzz! You too, Jessie! Whose name is written there?
The Toys stare at the ground. Rex pipes up.
REX
Maybe Andy doesn't care about us any more?
WOODY
Of course he does! He cares about all of you! He was putting you in the attic -- I saw! You can't just turn your back on him now!
Jessie steps forward -- incensed.
JESSIE
Woody -- wake up! It's over! Andy is all grown up!
Woody stares, trying to contain his anger.
WOODY
Okay, fine! Perfect! I can't believe how selfish you all are.
Jessie glares back. No one moves.
WOODY
So this is it? After all we've been through?
Buzz steps forward, offers a handshake. Woody looks at Buzz. He fixes his hat, turns away. Buzz is stung. Woody walks to the hall door. Bullseye follows.
WOODY
Bullseye, no. You need to stay!
He moves on. Bullseye again tries to follow.
WOODY
Bullseye, no! I said stay!
(softens)
Look -- I don't want you left alone in the attic, okay? Now, stay.
Bullseye retreats. Jessie puts a consoling hand on him. KEYS in a LOCK. The Toys turn.
BONNIE'S MOM (O.S.)
Bonnie...? Bonnie!
Woody looks at them, doesn't know what else to say.
WOODY
I gotta go.
The Toys scatter. Woody hides behind the door just as Bonnie's Mom enters.
BONNIE'S MOM
Bonnie? You in here?
Woody sneaks out the door, into the hall. CLOSE ON -- Buzz and Jessie, watching.
INT. HALLWAY
TEACHERS CHAT at the end of the hallway. Woody peeks out from behind a garbage can, tip-toes into the hall, turns. A janitor cart approaches. Woody falls limp. The cart passes over Woody, leaving the hall empty. A whistling JANITOR pushes the cart down the hallway. TILT DOWN to FIND Woody holding the underside of the cart. WOODY POV -- He rolls through the lobby, toward the exit...
WOODY
C'mon, c'mon...
...and veers into a bathroom.
WOODY
No, no...!
INT. BATHROOM - CONTINUOUS
The Janitor cleans the sinks. Woody sneaks into a nearby stall. Looks up, sees an open window. He tears a square of toilet paper, places it on the seat, climbs up the tank lid, leaps to the toilet paper roll, jumps to the top of the stall, backs toward the window. At the sink, the Janitor looks in the mirror, starts.
JANITOR
What the heck?
Woody freezes. The Janitor stares at the mirror, Woody in its reflection. RACK FOCUS -- The Janitor reaches up, wipes a stain off.
JANITOR
That's better.
RACK BACK -- The window in the mirror. Woody's gone.
EXT. PLAYGROUND - DAY
Woody finds himself above the playground. Below, Bonnie plays hopscotch by herself. Her Mom walks over.
BONNIE'S MOM
Bonnie...? There you are. C'mon, honey. Time to go home.
She leads Bonnie off. Woody climbs up a drainage pipe to the roof. He runs across the roof, stops at the edge. POV, PANNING -- A high wall surrounds the day care campus. Woody frowns. A gust lifts his hat off, blows it away.
WOODY
Oh, no! No, no, no...!
His hat lands under a kite tangled on the roof top. Woody stares at the kite -- an idea. CUT TO: Woody runs across the roof, kite over his head. He leaps and soars across the playground and over the wall. He glides down, makes a perfect landing, and laughs, pleased. Abruptly, another gust hits, yanking him high in the air. Woody looks at the ground far below. The wind takes the kite higher still, dipping and swirling frenetically. Woody panics, wrapping himself around the kite's cross-bar. The bar snaps. The kite plummets. Woody tries desperately to flap the kite wings, but it doesn't slow his fall. He crashes into a tree, hitting branches on the way down. He falls from the tree and stops -- eyes shut -- inches above the pavement. Opens one eye. Slowly, his pull-string lifts him upward.
WOODY
(voice box)
Reach for the sky!
Woody dangles from a branch, trying to free himself. Bonnie approaches, playing hopscotch. Woody sees her, goes limp. She bumps into Woody, looks up. Looks around. She tugs Woody off the branch. His pull-string retracts.
WOODY
(voice box)
You're my favorite deputy!
She smiles. HONK HONK!
BONNIE'S MOM (O.S.)
Bonnie!
BONNIE
Coming!
She shoves Woody in her backpack, zips it up, runs off. IN THE BACKPACK Woody is trapped.
WOODY
Oh, great!
As Bonnie and her Mom drive off, CRANE DOWN to REVEAL... Woody's hat, lying on the ground.
INT. CATERPILLAR ROOM - DAY
Bullseye whimpers, stares at the door. Jessie consoles him.
JESSIE
Oh, it's gonna be okay, Bullseye.
BUZZ
Woody's going to college with Andy. It's what he's always wanted.
MR. POTATO HEAD
He's crazy! College is no place for a toy!
MRS. POTATO HEAD
Toys are for play time!
HAMM
Speaking of play time...! They're lining up out there!
Hamm, at the window, is spying on the playground.
BUZZ
How many?
HAMM
There must be dozens!
REX
Ohhh...! I can hardly wait!
BUZZ
Places, everyone!
The Toys scramble into play position. Buzz notices the Day Care Toys edging away from the door -- ducking, hiding, trembling, diving for cover. The bell RINGS. Kids SHRIEK. Footsteps THUNDER. Rex spreads his arms and runs to the playground door.
REX
At last! I'm gonna get played with!
BUZZ
Uh, Rex...?
REX
Come to Papa!
BOOM! The door bursts open, swatting Rex across the room. A horde of squealing, hyped-up TODDLERS enter. The Toys go limp. Buzz closes his helmet. The toddlers descend on the Toys with SHRIEKS of delight. Toys are snatched up by eager, excited hands. A Boy and Girl stretch Slinky until his coil goes haywire. A Boy smashes the Toy Train into a wall. A Girl picks up Buzz, bringing him straight to her mouth. A Girl dips Jessie's hair in paint and uses her as a brush. A Boy runs across the room, with Bullseye on top of a Corn Popper toy. Bullseye slides off, gets caught in its wheels. Hamm is bathed in glue... Then coated in green glitter. A Girl "rides" Rex, snapping his tail off. The Aliens are squashed as a Boy sits on them. A Boy picks up Mr. Potato Head's eye, shoves it up his nose. A Girl uses Buzz to hammer a square peg into a round hole. BUZZ POV -- Buzz smashes the peg. Bam, Bam, Bam! A Boy runs by, tugs the Girl's hair. She screams, tosses Buzz away. He lands on the window sill. BUZZ POV -- Across the playgound, in the Butterfly Room, a class of Four- and Five-Year-Olds play lovingly with Lotso and the other toys. Buzz frowns -- Why is it Heaven in there and Hell in here? Abruptly, a HAND grabs him, pulls him back into the fray. CUT TO:
WOODY
(voicebox)
There's a snake in my boot!
INT. BONNIE'S BEDROOM - DAY
CLOSE ON -- Woody. His string is pulled again.
WOODY
(voicebox)
I'd like to join your posse, boys, but first I'm gonna sing a little song.
Bonnie holds Woody, smiles.
BONNIE
A sheriff..!! Move over, Mr. Pricklepants! We have a guest!
She plunks Woody at a small table circled by other toys -- a HEDGEHOG, a UNICORN, and a TRICERATOPS.
BONNIE
You want some coffee?
She sets out cups, pretends to pour.
BONNIE
It's good for you! But don't drink too much or you'll hafta... Hafta...
She dances from foot to foot.
BONNIE
Be right back...!
She runs out the door. Woody comes alive, looks around. The other Toys stay frozen.
WOODY
Psst! Hey! Hello! Hi -- Excuse me!
The Hedgehog, MR. PRICKLEPANTS, comes alive briefly.
MR. PRICKLEPANTS
Shhh!
WOODY
Can you tell me where I am?
MR. PRICKLEPANTS
Shhhhhh!!!
UNICORN
The guy's just askin' a question!
MR. PRICKLEPANTS
Well, excuse me, I'm trying to stay in character!
He freezes again. The Unicorn, friendly, turns to Woody.
UNICORN
My name's Buttercup.
MR. PRICKLEPANTS
Shhhh!!!!
TRICERATOPS
I'm Trixie!
MR. PRICKLEPANTS
Shhhhh!!!!
TRIXIE
Shhhhhh!!!!!
BOTH
Shhhhhhhhhh!!!!!!
WOODY
Guys, hey! I don't know where I am!
TRIXIE
We're either in a cafe in Paris, or a coffee shop in New Jersey. I'm pretty sure I just came back from the doctor with life-changing news!
Woody is baffled.
BUTTERCUP
We do a lot of improv here. Just stay loose, have fun, you'll be fine.
WOODY
No, no, no, I...
A FLUSH. Woody gets back in his pose. Bonnie runs in.
BONNIE
Who wants lunch? Beep! Boop! Beep!
She pushes buttons on a toy microwave oven, opens the door, removes a plastic hamburger, plunks it in front of Woody.
BONNIE
It has a secret ingredient...
She lifts the top bun...
BONNIE
...Jellybeans!
Bonnie eats a jellybean, pulls Woody's string.
WOODY
(voicebox)
Somebody's poisoned the water hole!
BONNIE
Poison?!
She spits the jellybean -- it sticks to Pricklepants's head.
BONNIE
Who would do such a mean thing?!
She GASPS and becomes a different character.
BONNIE
(as Witch)
Hee-hee-hee-hee-hee!!
She turns. SMASH ZOOM to a DOLL on the shelf behind her.
BONNIE
The scary witch!!
Bonnie picks up the Doll, flies it around the room.
BONNIE
Look out! She's using her witch powers!
CLOSE ON -- Woody.
BONNIE (AS WOODY)
I know where to hide!
INT. BONNIE'S BEDROOM - MOMENTS LATER
The toy box at the foot of Bonnie's bed. It creaks open. Bonnie peeks out, grabs a Totoro, pulls it closed again.
INT. TOY BOX - DAY
Bonnie and Woody huddle in the dark.
BONNIE
She'll never find us in here!
Bonnie surreptitiously lifts the Doll into view.
BONNIE
What's wrong...?
She turns. Sees the doll, SCREAMS.
INT. BONNIE'S BEDROOM - DAY
The toy box tips over, spilling Bonnie and her Toys.
BONNIE
She found us! We need a spaceship to get away!
She runs off into a closet. The Toys come alive.
TRIXIE
You're doin' great!
MR. PRICKLEPANTS
Are you classically trained?
WOODY
Look, I just need to know how to get outta here...!
BUTTERCUP
There IS NO WAY OUT!!!
Woody is stunned.
BUTTERCUP
Just kidding. Door's right over there.
The Doll gets up, greets Woody.
DOLL
Well, Cowboy, you just jumped right in, didn't ya? I'm Dolly.
WOODY
...Uh, Woody.
They shake.
DOLLY
"Woody"? Really? You're gonna stick with that? 'Cuz now's your chance to change it -- new room and all. That's coming from a doll named "Dolly".
A PEA POD TOY zips open behind Woody. He turns.
PEA #1
Who's the new guy?
PEA #2
Are you a real cowboy?
WOODY
Well, actually, I....
PEA #3
'Course he's not, pea-brain! He don't even have a hat!
WOODY
I do too have a... My hat?!
PEA #3
Told 'ya!
BONNIE (O.S.)
I found the spaceship!!
MR. PRICKLEPANTS
Show time!
Woody and the Toys go lifeless as Bonnie runs out of the closet with makeshift shoebox rocket.
BONNIE (AS WOODY)
Quick! Fasten your seatbelts! Close your tray tables!
She stuffs the toys in the box, drops it on a bedsheet.
BONNIE
Hold on, it might get a little bumpy! 3... 2... 1...! BLAST-OFF!!
She pulls the sheet taut. The Toys fly into the air. SLOW MOTION -- Woody soaring. The moment is magical. Woody and the others tumble onto the bed. Bonnie flops down with them, hugging them close.
BONNIE
Yeee-haaaaw!!! You saved us, cowboy! You're our hero!!!
She pulls Woody to her cheek -- just like Andy once did. Woody glances at the other Toys. They smile at him. He smiles back. That was great.
INT. CATERPILLAR CLASSROOM - DUSK
The Toys come to life, groaning.
SLINKY
Oh, I've got a kink in my slink.
Rex staggers by, tail missing.
REX
My tail...! Where's my tail?!
Buzz sits up, dazed. Hamm pulls his cork. Detritus spills out. He strains. POP -- a Weeble pops out. Hamm picks up a plastic arm.
HAMM
Someone need a hand?
He tosses it to Mr. and Mrs. Potato Head -- their parts completely jumbled.
MR. POTATO HEAD
Where's my nose... Here's your arm... Honey, the moustache...?
MRS. POTATO HEAD
Here it is... Gimme that, that's mine...
Buzz straightens up -- back CRACKING.
BUZZ
I don't recall play time being quite that strenuous.
Rex pulls his tail from a peg board.
REX
Andy never played with us like that!
Jessie peels a decal off Bullseye's nose.
JESSIE
We have to make the best of it.
MR. POTATO HEAD
But these toddlers! They don't know how to play with us!
REX
They're too young!
HAMM
They're sticky!
MRS. POTATO HEAD
We should be in the Butterfly Room! With the big kids!
MR. POTATO HEAD
That's right!
HAMM
You said it!
BUZZ
We'll get this straightened out -- I'll go talk to Lotso about moving us to the other room.
He clambers up a table, leaps to the bathroom door knob. It doesn't move.
BUZZ
Blast. Try that one!
Jessie leaps to the hallway door latch.
JESSIE
It's locked!
At the playground door, Slinky tests the door knob.
SLINKY
Same here!
Buzz drops down, points.
BUZZ
Try the windows.
Hamm, on the sill, examines a window lock.
HAMM
Eh, negatory. It's a Fenster- Schneckler 380. Finest childproof lock in the world.
MRS. POTATO HEAD
We're trapped!
BUZZ
Wait! Did anyone notice the transom?
REX
What's a transom, Buzz?
Buzz looks up -- atop the hallway door is an open transom.
MR. POTATO HEAD
Oh, great! How do we get up there?!
Buzz narrows his eyes, thinking.
INT. CATERPILLAR CLASSROOM - LATER
The Toys hold a Fisher Price Corn Popper. Buzz, a loop of red yarn wrapped across his chest, stands at the rear.
BUZZ
All right, everyone! On three! One... Two...
JESSIE
Three!!!
They take off, pushing the popper at top speed.
JESSIE
Let go!
The Toys drop away, leaving Buzz to jump onto the handle. The popper strikes an upturned table, lofting Buzz in the air. He grabs a string that runs across the room, using it like a zip-line. As he reaches the end, Buzz leaps off, expands his wings and flies towards a display of hanging paper-mache caterpillars, using their legs to swing from one to another. On the ground, Hamm makes signal.
HAMM
Jump!
Bullseye and Rex jump off a shelf, catapulting a broom forward. Buzz bounces off the broom, towards the transom. He flips, twists, and lands -- safe. The Toys rejoice.
REX
He did it!!!
JESSIE
Way to go, Buzz!
Buzz casts part of his yarn down to the Toys. They run and grab it. Buzz turns to the hallway, stops. BUZZ POV -- In the hall below, a pair of tough Day Care Toys, TWITCH (Bug Man) and CHUNK (Rock Man) saunter past.
CHUNK
You think they had a fun playtime?
TWITCH
Shhh...!!! They might hear you!
Buzz frowns. O.S. GIGGLING. Buzz turns. Down the hall, Ken and Barbie say goodbye at the Butterfly Room door.
KEN
Okay, now you start.
I...
KEN
...love...
BARBIE
...you.
KEN
See?! That time I said "love". Okay, now, me first.
CLOSE ON -- Buzz. He stifles a dry heave.
BARBIE
Okay, okay, okay....!
I...
BARBIE
...love...
KEN
...you! See what I mean? It changes every time!
BARBIE
You are so smart!
As the Tough Toys pass, they drag Ken away.
TWITCH
C'mon, Romeo... We're late.
BARBIE
I'll wait up for you!
KEN
Kisses...!
INT. HALLWAY - NIGHT
Buzz -- using the red yarn -- rappels down into the hall. He unties the yarn and steals off down the hallway. He reaches the Teacher's Lounge, approaches cautiously.
INT. TEACHERS' LOUNGE - NIGHT
Buzz peeks in. Ken, Twitch and Chunk approach a vending machine. Ken opens the bottom flap and they all go inside. Buzz frowns. He walks to the vending machine. Suddenly -- strangely -- a cow MOOOOS. Buzz looks around, confused. Then he looks up. Silhouetted in the top of a glowing vending machine are Ken and the rest of his Gang. A Rooster crows: COCKADOODLE- DOO!! This is followed by MUFFLED LAUGHS and HUBBUB. Buzz approaches the machine. From inside come VOICES.
GANG (O.S.)
Yeah, all right! Let's go again!
Buzz pushes open the dispenser flap, climbs in. Above him, a pig OINKS loudly. More LAUGHS and GRIPES.
INT. VENDING MACHINE - NIGHT
Buzz climbs up rows of candy bars and potato chips. He gets to the top, sneaks towards the light. In the top of the vending machine, a Gang of toys sits around a table.
KEN
All right, place yer bets! Any splits? Here we go!
The Gang throws batteries, Monopoly money, other items into a pot. Stretch the Octopus pulls the cord on a Farmer Says toy. As the arrow spins, the Gang roots for their bets.
GANG
C'mon, Duckie, Duckie! Big Pig! Big Pig...! Turkey! Gimme the Turkey!!
Ken waves his hand over the table.
KEN
All right. No more bets.
The spinning arrow stops on "Duck".
FARMER SAYS TOY
Here is a duck: "Quack, quack".
STRETCH
Yes! Yes! Come to Mama!
Stretch scoops up the pile of money. The others GROAN.
KEN
Stretch takes the round.
The game continues, Ken presiding.
KEN
Okay, minimum bet, five Monopoly. Coyotes wild. Changing two double AA's.
(as he changes money:)
Hey, what do you guys think of the new recruits? Any Keepers?
SPARKS
Nah, disposable...!
STRETCH
Landfill!
KEN
Cowgirl...? Dinosaur...?
TWITCH
Toddler fodder!
They start placing bets again.
KEN
How 'bout that Spaceguy? He could be useful.
Buzz reacts, listening.
CHUNK
He ain't the sharpest knife in the... place where they keep the knives.
SPARKS
Neither are you, Chunk.
LAUGHS. Twitch teases Ken.
TWITCH
You got a little Keeper yourself, didn't'cha, Ken?
KEN
Hey! Lay off, Twitch! Barbie's different!
STRETCH
Mr. Softy over here...!
CHUNK
Whaddaya expect from a girls toy?
Ken stands, furious.
KEN
I'm not a girls toy! I'm not! Why do you guys keep saying that?!!!
Twitch waves a hand.
TWITCH
All them Toys are disposable. We'll be lucky if they last us a week!
Buzz reacts. He turns to go... And bumps into Big Baby. Big Baby tosses Buzz on the table. The Gang quickly grabs and subdues him. Ken smirks.
KEN
Well, well, looky who we have here.
BUZZ
Stop! Let me go!
He struggles. Ken narrows his eyes.
KEN
Take him to "The Library".
BUZZ
Nooooooo!
A sock puppet is pulled over Buzz's head. CUT TO:
INT. BONNIE'S BEDROOM - NIGHT
Bonnie sleeps -- toys tucked next to her. Woody carefully slips from under the covers. Bonnie stirs, moves her arm. Woody freezes, leg in the air. She settles back to sleep. Woody tiptoes across the bed, looks around the room. ZOOM IN -- Bonnie's backpack, hanging from her door handle. Woody pushes a chair to the door, climbs up, lifts a cape. The address on the backpack is revealed -- 1225 Sycamore.
WOODY
1225 Sycamore!
MR. PRICKLEPANTS (O.S.)
Woody...! What're you doing?
Woody turns. Bonnie's Toys are watching from the bed.
WOODY
I... I gotta get out of here!
TRIXIE
You're leaving?!
BUTTERCUP
Didn't you have fun today?
WOODY
Of course I did! More 'n I've had in years, but... Y'see, I belong to someone else...
He holds up his boot, where "ANDY" is written.
BUTTERCUP
Who's "Yid-nah"?
MR. PRICKLEPANTS
I believe it's pronounced "Yid-nay".
DOLLY
Guys -- it says "Andy"!
WOODY
He's my Bonnie...! And he's leaving soon. I gotta get home!
PEA POD
Where's home?
WOODY
Elm Street. 234 Elm.
(thinking)
You guys have a map?
DOLLY
We're on it, Cowboy. Trixie...?
Trixie giggles.
TRIXIE
I'll fire up the computer!
INT. STORAGE CLOSET - NIGHT
The sock is pulled off Buzz's head. He's tied to a toy chair in a closet lit with an overhead bulb. In shadows, Lotso's Henchmen lurk. Buzz struggles to free himself.
BUZZ
Unhand me, you cowards! I demand to talk to Lotso!
KEN
Zip it, Buck Rogers! You don't talk to Lotso 'til we say you can...
Abruptly, the door opens. Lotso stands, astonished.
LOTSO
Ken...?! What's going on here?! Why's this Toy tied up?
KEN
He... He got out, Lotso!
LOTSO
Got out? Oh, no, no, no! This isn't how we treat our guests!
Lotso approaches Buzz, begins untying him.
LOTSO
F.A.O. my Schwartz...! There you go. I'm so sorry.
He frees Buzz. Buzz stands, casting a dark look at Ken.
BUZZ
Lotso, there's been a mistake.
LOTSO
A mistake...?!!!
BUZZ
The children in the Caterpillar Room are not age-appropriate for me and my friends. We respectfully request a transfer to the Butterfly Room.
LOTSO
(gestures grandly)
Well, request granted!
KEN
But, Lotso...
LOTSO
Hush now, Kenneth! This Toy's shown initiative! Leadership! Why, I'd say we found ourselves a Keeper!
(to others)
Hear that, everyone?! We got a Keeper!
Lotso lifts Buzz's arm -- World Champion! His Gang applauds dutifully. Lotso throws his arm around Buzz.
LOTSO
We're callin' you up to the Big Leagues, son! From now on, you'll have anything you want!
BUZZ
Excellent! I'll go get my friends.
Lotso stops.
LOTSO
Whoa, whoa! Hold on there, Boss! Those Caterpillar kids need someone to play with...!
BUZZ
But my friends don't belong there!
LOTSO
Oh, none of us do! I agree! Which is why -- for the good of our community -- we ask the newer toys, the stronger ones, to take on the hardships the rest of us can't bear anymore.
Buzz frowns.
BUZZ
Well, I... I guess that makes sense.
Lotso smiles.
BUZZ
But I can't accept. We're a family. We stay together.
Lotso's smile fades.
LOTSO
Family man, eh? I understand.
(sharply)
Put him back in the "Time Out" chair.
Big Baby grabs Buzz and slams him into the toy chair.
BUZZ
What are you...? What?! Unhand me!
LOTSO
Bring in The Bookworm.
Ken whistles. A RUSTLING from a shelf above, where rows of files are cluttered.
BOOKWORM (O.S.)
Hold on... Here it is!
An aged Toy -- The Bookworm -- pushes aside files.
BOOKWORM
It was filed under "Lightyear".
He tosses a small booklet down to Lotso. Lotso opens the booklet, flips through it. Buzz looks close, reacts -- it's a Buzz Lightyear Instruction Manual.
LOTSO
Let's see here... Accessories... Maintenance... Oh, here we go!
(reading)
"Remove screws to access battery compartment..."
Big Baby pushes Buzz down, holding him while Sparks opens Buzz's battery compartment. Screws drop to the floor.
BUZZ
What are you doing?! Let go of me!
LOTSO
(reading)
"To return your Buzz Lightyear Action Figure to its original factory settings, slide the switch from PLAY to DEMO..."
Lotso looks up, nods. Twitch looks -- inside the panel is a MODE switch. He reaches for it. Buzz struggles.
BUZZ
Stop! No...! No...!!! NOOOOO!!!
INT. CATERPILLAR ROOM - NIGHT
The Toys sit near the door. The echo of Buzz's scream is heard. They turn.
JESSIE
What was that?
HAMM
Sounds like it came from the hall!
MRS. POTATO HEAD
I'll see what it was!
She marches to the door and plucks out her remaining eye. She holds it under the door, sweeping it back and forth.
INT. HALLWAY - NIGHT
Mrs. Potato Head's Eye, held by her hand, looks up and down the hallway.
INT. CATERPILLAR ROOM - NIGHT
The Toys gather around her.
JESSIE
Whaddaya see? Anything...?
POV, PANNING -- The hall is dark and empty. Suddenly, a VISION of Andy in his room FADES IN over the dark hallway.
MRS. POTATO HEAD
Nah, just a dark hallway and... Wait, wait...! I see Andy!
The other Toys look at each other, disbelieving.
JESSIE
What?!
MR. POTATO HEAD
That's impossible...!
MRS. POTATO HEAD
No, I really see him! In his room!
(realizing)
My other eye! The one I left behind!
She concentrates fiercely. TRANSITION TO:
INT. ANDY'S ROOM - NIGHT - POV
From under the bed, we SEE college boxes piled up by the open door. Andy crosses frame, carrying another box.
MRS. POTATO HEAD (V.O)
This is so weird...! He's packing up... Uh-oh. Oh, here comes Buster.
Buster sniffs under the bed, right toward her eye.
MRS. POTATO HEAD (V.O.)
Outta the way! Get away!
Buster yawns, turns, and walks out of FRAME.
MRS. POTATO HEAD (V.O.)
Okay, Andy's in the hall. He's looking in the attic. Wait, there's Mom. Why is he so upset?
Andy gestures -- I left the Toys right here! Mom shrugs. Andy picks up a trash bag. Then Andy's Mom remembers -- her hands fly to her face. Andy slaps his forehead.
MRS. POTATO HEAD (V.O.)
Oh, no! Oh, this is terrible!
TRANSITION BACK:
INT. CATERPILLAR ROOM - NIGHT
Mrs. Potato Head puts her eye back in, looks at the others.
MRS. POTATO HEAD
He's looking for us! Andy's looking for us!
JESSIE
He's looking for us?!
REX
So, Andy does want us! I knew it! I just knew it!!!
Rex picks up an Alien, does a happy dance.
MRS. POTATO HEAD
I think he did mean to put us in the attic!
SLINKY
Well, then Woody was telling the truth!
MR. POTATO HEAD
Holy cow!
HAMM
And you didn't believe him!
MR. POTATO HEAD
Hey, you didn't believe him first!
Jessie stands -- fire in her eyes.
JESSIE
Guys, we gotta... We gotta go home!
CREAK -- A door opens. Light spills in. The Toys turn. Lotso saunters in with his Gang.
JESSIE
Lotso...!
LOTSO
How're y'all doin' this fine evening?
JESSIE
Oh, thank heavens!
Jessie rushes to him. The others follow.
JESSIE
Have you seen Buzz?
MRS. POTATO HEAD
There's been a mistake! We have to go!
LOTSO
Go?! Why, you just got here! In the nick of time, too! We were runnin' low on volunteers for the Little Ones! They just love new Toys, now don't they?
MR. POTATO HEAD
Love?! We've been chewed! Kicked! Drooled on!
MRS. POTATO HEAD
Just look at my pocketbook!
She holds up her chewed purse. Lotso bends down, amused.
LOTSO
Well, here's the thing, Sweet Potato -- you ain't leavin' Sunnyside.
MRS. POTATO HEAD
Sweet Potato?! Who do you think you're talking to? I have over thirty accessories and I deserve more respec--
Abruptly, Lotso yanks her mouth off. Everyone is shocked.
LOTSO
Ahh...! That's better!
Lotso's Henchmen snicker.
MR. POTATO HEAD
Hey! No one takes my wife's mouth!!! Except me! Give it back, you furry air freshener!
He steps up to retrieve the mouth. Lotso holds it above him. He finally grabs it. Jessie heads for the door.
JESSIE
C'mon, guys -- we're going home.
LOTSO
Whoa, Missy! You're not going anywhere.
JESSIE
(over her shoulder)
Oh, yeah? And who's gonna stop us?
Jessie almost collides with a blank-faced Buzz, stepping from the shadows. Jessie and the others are thrilled.
REX
Buzz! You're back!
He runs -- arms open -- to greet him. Buzz makes a Kung-Fu sound, strikes a pose.
REX
Buzz...?
WHAM!!! Buzz tackles Rex, slamming him to the floor.
JESSIE
Hey!
Buzz leaps and kicks, spins the Toys around, and knocks their legs from under them.
SLINKY
Buzz!
The Toys fall to the floor, stunned. Buzz stands atop them, salutes.
BUZZ
Prisoners disabled, Commander Lotso!
JESSIE
Buzz? What are you doing...?
BUZZ
Silence, minions of Zurg! You're in the custody of the Galactic Alliance!
REX
Zurg...?
MR. POTATO HEAD
Galactic Alliance...?
HAMM
Huh-boy...!
LOTSO
Good work, Lightyear. Now lock 'em up!
BUZZ
Yes, sir!
JUMP CUTS -- Buzz and Lotso's Gang herd the Toys into the room's wire-mesh cubbies. Jessie fights back -- taking out Chunk and Sparks. Stretch grabs her from behind, puts her in a wire cubby, shuts it.
STRETCH
Where do you think you're going?!
Jessie reaches through the cubby wire to Buzz's shoulder.
JESSIE
Buzz...?! We're your friends!
He swats her hand away.
BUZZ
Spare me your lies, Temptress! Your Emperor is defeated. And I'm immune to your... Bewitching good looks.
He turns, ramrod straight, and walks off. Big Baby lifts Mrs. Potato Head to a cubby. Mr. Potato Head intercedes.
MR. POTATO HEAD
Hey, Mongo! Keep your paws off my wife!
Big Baby drops Mrs. Potato Head in the cubby, turns and picks up Mr. Potato Head.
MR. POTATO HEAD
Hey, what are you doing? Let go of me you drooling doofus!
Lotso steps in.
LOTSO
Wait! I think this Potato needs to learn himself some manners! Take him to The Box.
Big Baby hoists Potato Head up and toddles off.
MR. POTATO HEAD
Where're you taking me? Put me down, you moron! Bad baby! Bad baby!!!
They toddle past Barbie as she enters the room, confused.
BARBIE
Ken...?! What's going on?!
KEN
Barbie...! I told you to wait in the Dream House!
Ken puts an arm around her, leading her out.
BARBIE
What're you doing to my friends?
Barbie looks over her shoulder as Sparks the Robot tosses an Alien into a cubby. Twitch slams it shut.
BARBIE
Hmmph!
She slaps Ken's arm away and turns to join the Toys in solidarity. Ken tries to grab her.
KEN
Wait, Barbie!
BARBIE
Don't touch me! We're through!
She stalks off. Ken is devastated. Then Barbie turns, walks back to him. He smiles.
BARBIE
And gimme my scarf back!
She yanks the ascot off his neck.
KEN
Oww!
Barbie is slammed into a cubby. Lotso surveys the room.
LOTSO
Lightyear! Explain our overnight accommodations.
BUZZ
Yes, sir!
Buzz strides past the Toys, each trapped in a cubby.
BUZZ
Prisoners sleep in their cells! Any Prisoner caught outside their cell spends the night in The Box!
EXT. PLAYGROUND - NIGHT
Potato Head is carried to a covered sandbox. Big Baby lifts the sandbox cover, tosses Potato Head in. Potato Head reaches out, begging for mercy...
BUZZ (O.S.)
Roll call at dusk and dawn! Any Prisoner misses roll call spends the night in The Box!
...Big Baby lowers the lid, closing into BLACKNESS.
INT. CATERPILLAR ROOM - NIGHT
Buzz rattles off the rules. Jessie grows impatient.
BUZZ
Prisoners do not speak unless spoken to! Any Prisoner talks back spends the night...
JESSIE
...In The Box. We get it.
Buzz whips around. Lotso puts a calming hand on him.
LOTSO
At ease, soldier! They're neutralized! But remember: They'll say anything to make you doubt yourself!
BUZZ
Don't worry, Commander! Any doubt I had got pounded out of me at the Academy!
Lotso climbs on a podium of ABC blocks -- jovial, relaxed.
LOTSO
Listen up, folks! We got a way of doing things here at Sunnyside! If you start at the bottom, pay your dues... Life here can be a dream come true! But if you break our rules, step outta line, try to check out early? Well... You're just hurtin' yourselves.
He takes out Woody's hat, tosses it. It slides across the floor to Jessie's cubby. The Toys gasp in horror.
JESSIE
Woody...!
(to Lotso)
What'd you do to him?!
Lotso sits back in his truck bed, taps his cane.
LOTSO
Y'all get a good night's rest! You got a full day of play time tomorrow.
Lotso chuckles as he and his cronies drive off. Buzz remains behind, standing guard over the "cell block". The Toys grasp the bars of their cubbies -- the horrible truth of their situation hitting home.
INT. KITCHEN - NIGHT
CLOSE ON -- A computer keyboard. Woody types an address.
WOODY
1-2-2-5... Sy--ca--more...
BLOOP -- Suddenly, an IM WINDOW pops up on the SCREEN.
WOODY
Who's "VelociSTAR237"?
Trixie pushes in.
TRIXIE
Oh...! That's just a dinosaur toy down the street. That's nothing. Lemme just take care of that!
(beat)
Just a dinosaur...!
Woody finishes typing.
WOODY
All right. Sy--ca--more... Okay, "Enter"!
Trixie hits the Return. Slowly, a map begins to assemble.
WOODY
Please don't be far! Please!
The map resolves itself. The route to Andy's house is a short "Z" -- less than two blocks away. Woody is amazed.
WOODY
Right around the corner...?! It's right around the corner!!!
Ecstatic, he hugs Bonnie's toys, leaps off the desk, does a happy dance across the floor, strides to the kitchen door.
WOODY
I'm going to college! Look at me, I'm big toy on campus! Hello! Hey! I'll see you at the Sock Hop!
DOLLY
Okay, Potsie!
Woody starts to slip through a pet door.
WOODY
Oh, hey, listen -- if any of you guys ever get to Sunnyside Day Care? You tell 'em Woody made it home!
Bonnie's Toys gasp.
DOLLY
You came from Sunnyside?!
TRIXIE
But... How'd you escape?!!!
WOODY
It wasn't easy, I... What do you mean "escape"?
Bonnie's Toys trade glances. Pricklepants steps forward.
MR. PRICKLEPANTS
Sunnyside is a place of ruin and despair, ruled by an evil bear who smells of strawberries!
WOODY
Lotso...?!
BUTTERCUP
He may seem plush and huggable on the outside. But inside, he's a monster!
WOODY
But... How do you know that?
MR. PRICKLEPANTS
Chuckles... He'll tell you!
They turn -- with awe and respect -- to a toy clown, Chuckles, sitting on a sill, staring grimly out the window. Woody steps forward.
CHUCKLES
Yeah, I knew Lotso. He was a good toy. A friend. Me and him, we had the same kid -- Daisy...
INT. DAISY'S LIVING ROOM - DAY - FLASHBACK
A freckle-faced five-year-old, DAISY, unwraps a gift under a Christmas tree and finds a fresh, smiling Lotso inside.
CHUCKLES (V.O.)
I was there when Lotso got unwrapped.
She hugs him -- love at first sight.
CHUCKLES (V.O.)
Daisy loved us all, but Lotso... Lotso was special.
INT. DAISY'S HOUSE - DAY - FLASHBACKS
QUICK CUTS: Daisy takes Lotso everywhere -- jumping through a lawn sprinkler; pushed on a swing; in bed while she reads to him, etc. He gazes lovingly at her.
CHUCKLES (V.O.)
They did everything together. You never seen a kid and a toy more in love.
EXT. STATION WAGON - DAY - FLASHBACK
Daisy sits in the back of a station wagon, Lotso in her lap. Big Baby and Chuckles are buckled in beside them.
CHUCKLES (V.O.)
One day, we took a drive...
EXT. REST STOP - DAY - FLASHBACK
At a rest stop, Daisy's Family has lunch in the grass while Daisy plays happily with Lotso, Chuckles, and Big Baby.
CHUCKLES (V.O.)
Hit a rest stop, had a little play time.
Daisy's Mom waves a sandwich. Daisy puts down the Toys and runs to join her family. DISSOLVE TO: A sleeping Daisy is carried to the car.
CHUCKLES (V.O.)
After lunch, Daisy fell asleep.
A seat belt is clicked around the sleeping Daisy. The car drives off. Daisy's Toys sit up, their worst fears come true. DISSOLVES: Lotso peers down the road, keeping vigil as the sun sets. Days pass. Rain falls. The forgotten Toys remain.
CHUCKLES (V.O.)
She never came back.
CLOSE -- A heart-shaped pendant reads, "My heart belongs to..." A child's writing shows Daisy's name and address. Lotso reads the pendant, hung around Big Baby's neck. He sets off across the fields. Chuckles and Big Baby follow.
CHUCKLES (V.O.)
Lotso wouldn't give up. It took forever, but we finally made it back to Daisy's.
EXT. DAISY'S HOUSE - DUSK
Lotso, Chuckles and Big Baby stand in the bushes outside Daisy's window -- muddy, worn. Big Baby boosts Lotso and Chuckles to the window sill. They peer in. Through the window, Daisy lies in her bed, reading a picture book.
CHUCKLES (V.O.)
But by then, it was too late.
FAST ZOOM -- Tucked beside her is a brand-new Lotso Bear. TRACK IN ON -- Lotso. His Universe is shattered. Lotso drops from the window. Rain begins to fall.
CHUCKLES (V.O.)
Something changed that day inside Lotso. Something snapped...
Lotso's face hardens. Big Baby stares -- uncomprehending.
LOTSO
She replaced us. C'mon!
He turns to go, but Big Baby and Chuckles stay put.
YOUNG CHUCKLES
No, she only replaced yo--!
Lotso turns on Chuckles.
LOTSO
She replaced all of us! Didn't she?!
Chuckles shrinks back, cowed. Big Baby looks at the pendant, turns and begins climbing up towards Daisy's window. Lotso walks back to Big Baby and yanks him down.
LOTSO
She don't love you no more! Now come on!
He rips the pendant off, throws it away, and stalks off. Chuckles and Big Baby are left behind -- heart-broken.
EXT. TRUCK BUMPER - NIGHT
Lotso, Chuckles, and Big Baby hunch in the red, tail-lit glow of the bumper of a delivery truck as it drives through swirling rain. Their eyes are dead, hopeless.
CHUCKLES (V.O.)
We were lost. Cast off. Unloved. Unwanted...
The truck hits a pothole, knocking them off the bumper. They hit the pavement, tumble into a puddle in front of...
EXT. SUNNYSIDE DAY CARE, FRONT ENTRANCE - NIGHT
It's dark. Rain pours. Lotso, Chuckles, and the Baby lift their faces from the puddle. A FLASH of lightning reveals the Sunnyside Day Care Center.
CHUCKLES
Then we found Sunnyside. But Lotso wasn't my friend anymore...
Lotso stands, eyes narrowed. He limps towards the Day Care. Chuckles and Big Baby watch from the puddle. Lightning FLASHES. MATCH CUT:
INT. KITCHEN - DAWN
Chuckles, remembering. Woody listens, rapt.
CHUCKLES
...He wasn't anyone's friend. He took over Sunnyside, rigged the whole system.
He reaches in his pocket, pulls out Big Baby's pendant.
WOODY
So... How'd you get out?
CHUCKLES
I got broke. Bonnie found me, took me home. Other Toys, they weren't so lucky.
(voice quavers)
It ain't right, what Lotso done! New toys -- they don't stand a chance!
Woody looks up.
WOODY
But... My friends are in there!
BUTTERCUP
You can't go back! It's too dangerous!
MR. PRICKLEPANTS
Returning now would be suicide!
DOLLY
But what about your... "Andy"?
TRIXIE
Isn't he leaving tomorrow?
TRACK IN ON -- Woody, torn.
INT. CATERPILLAR ROOM - DAWN
The room is still. A HARMONICA plays mournfully. TRACK down the cubbies -- The Toys grip the bars, forlorn. CRANE TO REVEAL Hamm, playing the harmonica. Suddenly, Buzz pounds on Hamm's cubby.
BUZZ
Quiet, musical hog! Knock it off!
Hamm stops playing, sighs. Buzz moves off. Bullseye looks at Woody's hat, whimpers sadly. Jessie pats his muzzle.
JESSIE
Oh, Bullseye... I miss Woody, too.
She turns away, bows her head.
JESSIE
But he ain't ever comin' back.
Jessie lifts her boot, revealing "ANDY" written underneath. Her eyes fill with regret. The bathroom door bursts open. A Tonka truck races in the room -- Lotso in the back, his Gang hanging off the sides, WHOOPING it up. The truck comes screeching to a stop.
LOTSO
Rise and shine, Campers!
Buzz snaps to attention, salutes.
BUZZ
Commander Lotso, Sir! All quiet! Nothing to report!
LOTSO
Excellent, Lightyear! C'mon -- we need you back at Star Command!
Buzz hops in the back of the truck.
MRS. POTATO HEAD
Wait! What you have you done with my husband?!
LOTSO
Big Baby...?
Big Baby steps forward and tosses a dazed Mr. Potato Head into the room -- coughing, groaning, covered in sand. The Toys gasp. Mrs. Potato Head reaches out.
MRS. POTATO HEAD
Sweetheart...!
MR. POTATO HEAD
It was cold...! And dark...! Nothing but sand and a couple of Lincoln Logs...
HAMM
I don't think those weren't Lincoln Logs.
Lotso addresses the room.
LOTSO
Y'all get ready -- you got a play- date with destiny!
CUT TO: A BELL -- Ringing. Bonnie runs down the hall and enters the Butterfly Room.
INT. BUTTERFLY ROOM - DAY
The room thrums with the happy CHATTER of young kids. Bonnie drops off her backpack at the lockers, rushes off. STAY on her backpack. It unzips. Woody peers out, then surreptitiously scrambles to the top of a bookshelf.
INT. CEILING CRAWL SPACE, BUTTERFLY ROOM - DAY
Woody pushes aside an acoustic panel, climbs in the crawl space above the tiles, and slides the panel back in place. O.S. -- Children's SHRIEKS. Woody turns.
INT. CEILING CRAWL SPACE, CATERPILLAR ROOM - DAY
Crawling, Woody follows the noise, puts his ear to a tile.
INT. CATERPILLAR ROOM - DAY
Woody pulls up the ceiling tile and drops onto an empty reading loft, furnished with pillows and bean bag chairs. He creeps to the edge of the loft and scans the room. POV -- Below, a Toddler uses Rex to hammer a bongo drum. Another Toddler holds a Potato Head in each hand, then smashes them to the ground. Their pieces scatter. A child swings Jessie by her hair, releases her. Jessie slams into a wall, drops to the floor. Woody is horrified. Then, off-screen, a toy-phone bell RINGS. Woody turns. A Fisher Price Phone, The Lifer, wheels into view. He RINGS again, drops his receiver, retreats into shadows. Woody creeps to the phone, lifts the receiver.
WOODY
Uh... Hello...?
The Lifer's voice is hoarse and grizzled.
LIFER
You shouldn'a come back, Cowboy. They cracked down hard since you left. More guards. More patrols. You and your friends ain't ever gettin' outta here now.
WOODY
I made it out once...
LIFER
You got lucky once. Want my advice? Keep your heads down. You'll survive.
WOODY
Yeah? For how long?
LIFER
(squints like Clint)
I been here years. They'll never break me. There's only one way Toys leave this place...
The Lifer rolls forward. Through the window, the Janitor -- across the yard -- dumps the broken Toy Train into a trash chute. Woody shudders -- he's just witnessed a Toy death.
LIFER
Poor fella. Trash truck comes at dawn. Then it's off to The Dump...
Woody bends down, respectful.
WOODY
I appreciate your concern, Old Timer. But we have a kid waiting for us. Now we're leaving. If you'd help us -- one toy to another -- I'd sure be grateful.
The Lifer sighs.
LIFER
Well, if you're gonna get out... First thing you gotta get through's the doors.
SHOTS -- FAST TRACKING IN on knobs of the playground door; the hall door; the office door. Each door is shut and locked. Keys are left dangling on a hook in the office.
LIFER (V.O.)
...Locked every night, inside and out. Keys are left on a hook in the office.
WOODY (V.O.)
Got it. What else?
SHOTS -- Night. Toy Trucks patrol the empty halls of the Day Care. Outside, Trucks patrol the deserted playground.
LIFER (V.O.)
Lotso has trucks patrolling all night long. Hallway. Lobby. Playground.
WOODY
Yeah, yeah... What about the wall?
SHOTS -- TRACKING along the mural-covered cinder block wall.
LIFER (V.O.)
Eight feet high. Cinderblock. No way through it. You go over or under.
Woody frowns.
WOODY
That's it?! Doesn't seem so bad.
LIFER
It's not. Your real problem's The Monkey.
INT. OFFICE - NIGHT
A TOY CHIMP sits at the console of security monitors.
LIFER (V.O.)
The Monkey's the Eye in the Sky...
CLOSE ON -- THE MONKEY'S EYES The bank of monitors is reflected in them.
LIFER (V.O.)
He sees everything...
INT. CATERPILLAR ROOM - NIGHT
A Toy Bunny slips through the bars of his cubby, scampers toward the hallway door.
LIFER (V.O.)
...Classrooms...
INT. OFFICE - NIGHT
The Monkey, staring at the security monitors, sees the Bunny on screen, bares his teeth and SCREECHES, presses the PA button, and begins furiously banging his cymbals.
INT. CATERPILLAR ROOM - NIGHT
The Bunny -- busted -- freezes and looks around in a panic. The hall door opens and Lotso and his Gang step in. Big Baby lurches toward the Bunny menacingly.
INT. HALLWAY - NIGHT
A Patrol Truck passes down a dark hallway. A Toy Penguin, hidden, peeks out of a potted plant, jumps to the floor.
LIFER (V.O.)
...Hallways...
He waddles for the front door. ZOOM UP to a security camera at the end of the hall.
INT. OFFICE - NIGHT
The Monkey sees the Penguin, hits the PA button, and begins SCREECHING and banging cymbals.
INT. HALLWAY - NIGHT
The Penguin is surrounded by Patrol Trucks. He puts his wings up. Big Baby pushes his way through the trucks, intent on meting out prompt and thorough justice.
EXT. PLAYGROUND - NIGHT
A trio of Plushies use a dart gun to fire a dart, tied with string, over the wall. They begin scaling the wall.
LIFER
...Even the playground.
INT. OFFICE - NIGHT
The Monkey sees the Plushies, SCREECHES his alarm.
EXT. PLAYGROUND - NIGHT
A spotlight hits the Plushies. Within the spotlight rises the silhouette of Big Baby, arms lifted.
INT. CATERPILLAR ROOM - DAY
The Lifer lays it on the line for Woody.
LIFER
You can unlock doors, sneak past guards, climb the wall... But if you don't take out that Monkey, you ain't goin' nowhere. Y'wanna get outta here? Get ridda that Monkey!
SMASH TO:
INT. CATERPILLAR ROOM - DAY
A bell RINGS. The Toddlers -- playing rough -- look up.
TEACHER
Okay! Recess!
She opens the playground door. The Toddlers drop the Toys, rush outside. The Teacher hits the lights, closes the door. Jessie and the Toys sit up, groaning and aching.
WOODY (O.S.)
Pssst...! Pssst...! Hey, guys...!
They look over. From a puppet theater, Woody waves.
JESSIE
Woody? Woody!!!
REX
Woody!
MRS. POTATO HEAD
Thank goodness!
They quickly run and gather around him, rejoicing.
SLINKY
You're alive!!!
HAMM
Hey, Buddy!
WOODY
'Course I'm alive...!
(sees Bullseye)
Hey, my hat!!!
Woody takes his hat from Bullseye, puts it on.
WOODY
Wait. Where's Buzz?
REX
Lotso did something to him!
SLINKY
He thinks he's a Space Ranger again!
WOODY
Oh no...
HAMM
Oh yes. "Return of the Astro Nut!"
JESSIE
Oh, Woody, we were wrong to leave Andy. I... I was wrong...
MR. POTATO HEAD
Jessie's right, Woody -- she was wrong!
WOODY
No, no. It's my fault for leaving you guys. From now on, we stick together.
The Toys smile, reassured.
SLINKY
But... Andy's leavin' for college!
JESSIE
College!!! Hog-tie the mailman!!! We gotta get you home before Andy leaves tomorrow!
HAMM
Tomorrow...? But, that means...
WOODY
It means we're busting outta here tonight.
MRS. POTATO HEAD
What?! Impossible!
REX
But there's no way outta here!
WOODY
No, there is one way out. One way...
He turns. RACK FOCUS -- Through the window is the trash chute on the maintenance shed. Woody turns to the Toys. They huddle.
WOODY
Okay, here's the plan...
INT. CATERPILLAR ROOM - NIGHT
Ken, dapper in an evening robe, conducts his nightly roll call. He's trailed by Buzz. Big Baby stands guard.
KEN
Cowgirl...
JESSIE
Here.
KEN
Horse...
Bullseye WHINNIES.
KEN
Piggy bank...
HAMM
Yo.
INT. CEILING CRAWL SPACE, CATERPILLAR ROOM - NIGHT
From above, Woody watches through a ventilation grate.
KEN
Tyrannosaurus...
REX
Here.
KEN
Barbie...
BARBIE
Here...
INT. CATERPILLAR ROOM - CONTINUOUS
Ken strolls on.
KEN
Potato Head... Potato Head?
Silence. Buzz backs up, looks in the cubby.
BUZZ
Hey! Tuberous Root Man! Wake up!
Buzz rattles the bars. An actual potato rolls to the front of the cubby -- a dummy potato, as it were.
BUZZ
Impossible!
A NOISE. Ken and Buzz turn. Potato Head is at the window, struggling with the locks.
BUZZ
Hey!
Potato Head sees he's been spotted. He jumps off the sill and sprints to the bathroom door. Buzz and Ken run across the room. Big Baby toddles after them. As they EXIT FRAME we TILT UP to find... Woody, in a hanging light, takes out a pipe cleaner, bends it, uses it to snag the clothing line of kids' paintings. Potato Head reaches the bathroom, bangs on the door, then turns to face Buzz, Ken, and Big Baby. They surround him.
INT. FRONT OFFICE - NIGHT
The Monkey, at the security console, sees Buzz and Ken corner Potato Head. He leans in to watch.
KEN
Little late for a stroll, eh, Potato Head?
MR. POTATO HEAD
That's Mr. Potato Head to you, Smoothie!
PAN and ZOOM past the distracted Monkey to another monitor. On it, Slinky slips out of his cubby cell.
KEN (O.S.)
You're turning out to be quite the trouble-maker, aren't ya?
INT. CATERPILLAR CLASSROOM - NIGHT
Behind Ken and Buzz, Slinky runs to the middle of the room.
KEN (O.C.)
What'd you think you were gonna do? Waltz right outta here?
Woody grabs a bag of marbles, grasps the clothesline, jumps.
MR. POTATO HEAD (O.C.)
And I would'a got away with it too, if it weren't for you meddling Toys!
Woody lowers via the clothesline, drops the bag of marbles, grabs Slinky, and ascends back up to the ceiling.
MR. POTATO HEAD
Ya ascot-wearin' pink-noser! Mr. Brains-Sold-Separately!!!
He kicks Ken. Ken yelps, turns to Big Baby.
KEN
Take him back to The Box!
Big Baby grabs Potato Head, lifts him off the ground.
MR. POTATO HEAD
No! Not The Box! I'm sorry! I didn't mean it! I like ascots! Really! No... No! Noooooo!!!
They disappear through the bathroom door.
INT. CEILING CRAWL SPACE - NIGHT
Woody and Slinky watch as Potato Head is dragged off. They close the ceiling panel.
WOODY
Okay, check...
INT. CATERPILLAR CLASSROOM - NIGHT
Ken turns to Buzz.
KEN
Good work, Lightyear! Resume your, uh... Space-guy... Thing-y!
BUZZ
Yes, sir, Well-Groomed Man!
He salutes, departs. Ken turns to go.
BARBIE (O.C.)
Ken...?! Ken...!
Ken stops. Barbie waves to him. Ken looks around, then approaches warily. Barbie is tearful.
KEN
What do you want?
BARBIE
I can't take it here, Ken! I want to go to the Butterfly Room! With you!
KEN
Yeah, well, you should'a thought of that yesterday.
BARBIE
I was wrong! I want to be with you, Ken! In your Dream House! Take me away from this! Take me away!
She breaks down sobbing. Ken is torn. Finally, he gives in -- no match for a woman's tears.
KEN
Darn it, Barbie...!
He moves closer, speaks low.
KEN
Okay, but, things are complicated around here. You gotta do what I say!
BARBIE
(tears of gratitude)
I will, Ken! I promise!
Satisfied -- and a little smug -- he pulls open the cubby.
INT. SANDBOX - NIGHT
Big Baby opens the lid of the Sand Box.
MR. POTATO HEAD
Wait! I'll do anything...! I'll change your diapers!
Big Baby tosses Potato Head in, lowers the lid.
EXT. PLAYGROUND - NIGHT
Big Baby turns and walks off. STAY ON the sand box. TRACK IN to find a wood knot in the side of the box. It pops out, falls to the ground. Potato Head's hand emerges, clutching his eye. It looks around. One by one, Mr. Potato Head's parts fly out the hole and land on the ground, next to the sandbox.
INT. FRONT OFFICE - NIGHT
The Monkey sits motionless, staring maniacally at the security monitors. The only sound is a TICKING clock. Woody, clutching a pouch, drops into FRAME behind the Monkey as Slinky, holding Woody's ankles, lowers Woody head-first. Woody -- dangling -- begins swinging closer and closer to the Monkey. The Monkey frowns at a reflection in the monitor. The Monkey whips around, SCREECHING. Slinky slips. He and Woody land on the Monkey, knocking the mic to the ground. The Monkey HISSES, leaps off the desk, runs for the mic. Woody lunges for the Monkey, but misses. He grabs the microphone cord and whips it, tripping the Monkey. Woody grabs the Monkey. The Monkey flips himself on top of Woody and starts crashing his cymbals against Woody's head.
WOODY
Go... Get... The... Tape!!!
Slinky runs to a Scotch tape dispenser, grabs the tape with his teeth, heads back toward Woody. The Monkey turns, sees Slinky charging, tape in his mouth. He SCREECHES. CUT TO BLACK:
INT. KEN'S DREAM HOUSE, BUTTERFLY ROOM - NIGHT
Ken and Barbie ride the Dream House elevator to the top floor. Ken opens the door.
KEN
And this... Is where the magic happens.
FAST PULL BACK to REVEAL the living room of his Dream House. Racks of clothes line the walls. Barbie gasps.
BARBIE
Look at all your clothes!!! I can't believe you never brought me up here!
Barbie flips through the racks. Ken joins her.
BARBIE
Tennis whites! Mission to Mars!
KEN
I know, I know! Check this out -- "Kung-Fu Fighting"! "Campus Hero" with matching sports pennant, huh?!
BARBIE
Flower Power...!!! Oh, Ken...!
Ken pivots away, his mood turning to melancholy reflection.
KEN
No one appreciates clothes here, Barbie.
(then, bitter:)
No one.
Barbie walks up behind him.
BARBIE
Ken... Would you model a few outfits for me? Just a few?
Ken is stunned -- no one's ever asked this of him. Throbbing DISCO begins. FASHION MONTAGE -- QUICK CUTS Ken emerges from behind a screen, sporting some of the most insane Ken outfits ever -- '90s, '80s, '70s, even 1960s -- with matching accessories. Ken strikes just the right pose for each outfit -- slinging a jacket over his shoulder; doing "The Frug" in a fringe vest; polka-ing in Lederhosen; scuba moves; break dancing. Barbie sits watching, enthralled. She laughs, claws her hand, growls like a cat. Finally, she applauds wildly. Ken grins -- exceptionally pleased with himself.
INT. OFFICE - NIGHT
Woody and Slinky finish taping up the struggling Monkey. Slinky opens a desk drawer. Woody rolls the Monkey in. Slinky pushes it closed.
SLINKY
Go get the key!
Woody runs to a bulletin board above the desk.
WOODY
Where is it...? Where is it...? Where's the key?
He finds the keys, buried under push-pinned papers.
WOODY
Bingo!
Slinky toggles a security camera joystick.
INT. CATERPILLAR ROOM - NIGHT
Jessie sees the security camera panning back and forth. She turns, whispers.
JESSIE
Yodel-Lay-Hee-Hoooooo...!!!
A few cubbies down, Hamm and Rex share a look. ANGLE -- Buzz, patrolling...
HAMM (O.S.)
Hey! Whadda you think you're doin?!
Buzz stops, turns. In the cell, Hamm plugs his cork into his belly.
HAMM
I told you -- keep your hands off of my stuff!
Rex raises his fists, trying to sound tough.
REX
Make a move, Porky!
Hamm jumps Rex. They grapple. Buzz runs over.
BUZZ
Hey! No fighting! Break it up!
He pulls the "cell" from the cubby and they tumble out.
HAMM
Take that, Walnut-Brain! No wonder you're extinct!
Jessie and Bullseye steal out of their cubbies while Buzz gets between Hamm and Rex, holding them apart.
BUZZ
Hey, you can't hit each other! That's my job!
JESSIE (O.C.)
Yoo-hoo!
Buzz looks up. Jessie and Bullseye stand on a bookcase above him, holding an empty, clear plastic toy bin. They leap, slamming the bin over Buzz. Hamm and Rex leap on top of it, pinning it to the floor.
BUZZ
(muffled)
Help! Prison riot!
Buzz FIRES his laser in a circle at the side of the bin. He charges at the wall, hits it, and falls over. Jessie turns to Bullseye.
JESSIE
Get the tortilla!
Bullseye heads to a locker, pulls out a lunch box. Jessie opens it. Inside is a tortilla. Jessie grabs it, dashes to the door, slides it under. She knocks and runs off.
EXT. PLAYGROUND - NIGHT
The tortilla lays outside. From the shadows, one of Potato Head's arms appears, crawls over, grabs the tortilla, and drags it into the darkness. One by one, the parts implant themselves in the tortilla. The Tortilla stands unsteadily, looks around, blinks, then heads off across the playground.
INT. KEN'S DREAM HOUSE, BUTTERFLY ROOM - NIGHT
Ken -- headband on -- is behind a shoji screen.
KEN
Ready?
BARBIE (O.C.)
Ready...!
Ken leaps from behind the screen in a Karate Gi and does a series of fighting moves, kicking and punching the air.
KEN
Haiii-Yaaa! Wah! Whaaa-aaa-aaa --
He freezes mid-pose. Barbie isn't there.
KEN
Uh... Barbie?
Barbie leaps out of nowhere, tackling Ken. Ken lands on his chest. Barbie grabs his head, spins it 180 degrees.
BARBIE
No more games, Ken. What did Lotso do to Buzz, and how do we get him back?
Ken is secretly thrilled to have Barbie straddling his chest, talking tough. He is defiant.
KEN
You can't make me talk! You can't!
Barbie glares at him, eyes narrowing. Ken -- unable to contain his excitement -- blurts out:
KEN
...But I'd like to see you try!!!
INT. HALLWAY - NIGHT
A Security truck patrols the hall. As it passes, the office door opens. Woody peers out.
INT. OFFICE - NIGHT
Slinky is poised with a key attached to a rubber-band sling shot. Slinky pulls it back. Woody signals "Go!" Slinky releases the slingshot. It shoots the key under the door, across the hall and into the Caterpillar Room.
INT. CATERPILLAR ROOM - NIGHT
Jessie stops the key with her boot, picks it up.
EXT. PLAYGROUND - NIGHT
Mr. Potato Head hoists himself up a tricycle and onto a classroom window ledge. He peers in. Inside the Butterfly Room, Lotso is asleep. Potato Head turns and uses the trike's mirror to catch a moonbeam.
INT. CATERPILLAR ROOM - NIGHT
Mrs. Potato Head, on the sill by the door, sees the signal. She uses the key to unlock the door.
EXT. PLAYGROUND - NIGHT
The door opens. Jessie, Bullseye, Mrs. Potato Head and the Aliens slip outside. As a SPOTLIGHT sweeps past, they duck behind a traffic cone then creep off across the playground.
INT. KEN'S DREAM HOUSE, BUTTERFLY ROOM - NIGHT
Ken is tied to a paddle-ball paddle by the ball's string. He glowers as Barbie browses through his racks of clothing.
BARBIE
Let's see -- Hawaiian surf trunks...
She holds them up, then RIPS them apart. Ken is horrified.
KEN
Barbie, those were vintage!
(steels himself)
It's okay! Go ahead, rip 'em! They're a dime a dozen!
BARBIE
Oooohh! Glitter tux!
RIPPPP...! She tosses the shreds at him. Ken groans in torment, but remains defiant.
KEN
Who cares?! Who cares?! Sequins are tacky!
Barbie picks up a Nehru jacket. Ken gasps in horror.
BARBIE
Oooohh!! A Nehru jacket!
KEN
Barbie!!! Not the Nehru...!
BARBIE
This is from, what -- 1967?
KEN
The Gruvvy Formal Collection, yes!
BARBIE
What a shame...
KEN
Oh, no! No! No, no, no...!!!
Barbie pulls at the seams. A stitch POPS. Ken cracks.
KEN
There's an instruction manual! Lotso switched Buzz to Demo Mode...!
He breaks down, sobbing. Barbie, steely, grabs Ken.
BARBIE
Where's that manual?
INT. UTILITY CLOSET - NIGHT
A sleepy Bookworm pulls the Buzz Lightyear Manual from his stacks, hands it down to a waiting Figure in a SPACE SUIT.
BOOKWORM
I don't know why this can't wait til morning, Ken, but... Here ya go!
The Figure salutes, turns, walks off. The Bookworm turns away, then hears an odd CLICKING. He turns back, stares. POV -- The Space-Suited Figure is wearing pink high heels. The Bookworm rolls his eyes -- Ken! -- and turns away.
INT. CLASSROOM CEILING CRAWL SPACE - NIGHT
SLINKY
What's takin' so doggone long?
A KNOCK. Woody slides the ceiling panel, revealing Barbie in the Space Suit, helmet off.
WOODY
So how do we fix Buzz?
Barbie grins, hoists up Buzz's Instruction Manual.
EXT. PLAYGROUND - NIGHT
Potato Head, on the ledge, sees Barbie pulled up into the ceiling.
INT. CLASSROOM CEILING CRAWL SPACE - NIGHT
Woody gives Potato Head the "thumbs up". Potato Head responds with complicated baseball-catcher gestures.
EXT. PLAYGROUND - NIGHT
Potato Head turns and edges down the ledge. A FLUTTERING. He looks. His path is blocked by a Pigeon. A stare down.
MR. POTATO HEAD
What're you lookin' at, Feathers?
The pigeon pecks him, taking a chunk out of his tortilla.
MR. POTATO HEAD
Hey! Ow!
The pigeon pecks again. Potato Head slaps the pigeon. The pigeon grabs his forehead, dragging him down the ledge. Potato Head hits the pigeon with his hat, gives it a kick. The pigeon flies off. Potato Head shakes his fist.
MR. POTATO HEAD
Yeah, fly away, ya coward!
The tortilla rips and disintegrates.
MR. POTATO HEAD
Uh-oh...
In pieces, he drops off the ledge to the ground.
MR. POTATO HEAD
Well, that's just great!
A section of tortilla props itself up, looks around. It spots the classroom vegetable garden. The eye goes wide.
INT. CATERPILLAR ROOM - NIGHT
Buzz is still trapped in the bin, banging on the ceiling. Hamm and Rex have grown weary of his calls for help.
BUZZ
(muffled)
Help! Prison riot!
HAMM
Give it up. No one can hear you.
BUZZ
(looking up, muffled)
What...?
HAMM
I said no one can hear you!
BUZZ
(confused, muffled)
What...?!!!
REX
(yelling)
He said, "No one can...!!!"
HAMM
Shhhh...!!! Will you be quiet?!
He slaps a hand over Rex's mouth. A NOISE. They look up. A ceiling tile opens. Woody, Slinky, and Barbie drop in.
REX
Woody! You're back!
Rex and Hamm move to the front of the bin. Buzz runs to the back and jumps -- knocking Hamm and Rex off the bin. Buzz makes a break for it -- running across the floor.
WOODY
Stop him! Don't let him get out!
BUZZ
(into wrist radio)
Star Command, I've been taken hostage by my own prisoners!!!
Hamm and Rex tackle Buzz. Hamm, Rex, Woody and Slink keep Buzz pinned down, as Barbie rushes over with the manual.
WOODY
Quick, open his back! There's a switch!
They pull open Buzz's compartment, revealing the switch. Woody flips it. Buzz struggles.
BUZZ
Unhand me, Zurg scum! The Galactic courts will show you no mercy!
Woody flips the switch back and forth.
WOODY
It's not working! Why's it not working? Where's the manual?
Hamm flips through at top speed.
HAMM
Here we go! There should be a little hole under the Switch!
WOODY
Little hole. Got it!
HAMM
(reading)
"To reset your Buzz Lightyear, insert paper clip...."
WOODY
Rex, use your finger!
REX
Oh!
Rex sticks a finger in Buzz's re-set hole.
WOODY
Okay, now what?
HAMM
All right, let's see... "Caution: Do not hold button for more than five seconds."
Abruptly, Buzz BEEPS loudly, falls limp, face plants. The others all look at Rex. Rex lifts his finger.
REX
It's not my fault!
Suddenly, Buzz leaps up, knocking the Toys off him. He strides forward, flips his wrist radio.
SPANISH BUZZ
Bitácora Espacial -- Me he despertado de hipersueño en un planeta extraño. (Star Log -- I've awakened from hyper- sleep on a strange planet.)
The Toys are speechless. Hamm glares at Rex.
HAMM
Now what did you do?!
REX
I did what you told me...!
Buzz -- hyper-alert -- glances sideways, narrows his eyes.
SPANISH BUZZ
Estoy rodeado por criaturas extrañas y desconozco sus intenciónes!!! (I'm surrounded by alien creatures of unknown intent!!!)
He whips around -- flamboyant Latin-style -- and trains his laser on Woody's forehead.
SPANISH BUZZ
¿Quién anda ahí? ¿Amigo? O Enemigo? (Who goes there -- Friend? Or foe?)
WOODY
Uh... Amigos! We're all amigos!
Satisfied, Buzz struts forward, greeting them.
SPANISH BUZZ
Me debo haber estrellado, y se me borró la memoria. (I must have crash landed and had my memory erased.)
He approaches Woody, kisses both cheeks, strides off.
SPANISH BUZZ
Han visto a mi nave espacial? (Anyone seen my spaceship?)
WOODY
We gotta switch him back!
SLINKY
How do we do that?
HAMM
(re: manual)
I dunno! That part's in Spanish!
Patrol Truck lights pass by under the hall door.
WOODY
We don't have time for this! C'mon!
Woody grabs Buzz, hustles him toward the playground door.
SPANISH BUZZ
Mi nave. ¿Lo encontraste? !Excelente! (My spaceship? You know where it is? Excellent!)
They pass the Lifer, watching from the shadows.
LIFER
Good luck, Cowboy.
EXT. PLAYGROUND - NIGHT
Jessie, Bullseye, and Mrs. Potato Head wait inside a concrete pipe. Spotlights survey the playground.
MRS. POTATO HEAD
(points)
Here they come!
Woody, Hamm, Rex, Slinky, and Barbie steal across the playground. Spanish Buzz, trailing behind, does elaborate rear-guard defense poses. Woody has to grab him and pull him along. They duck into the pipe.
JESSIE
What took you so long?
WOODY
Things got complicated. Where's Potato Head?
JESSIE
We haven't seen him!
Woody turns and peers out on the playground. Buzz, the last to arrive, sees Jessie. She turns to greet him.
JESSIE
Buzz...
Buzz is struck dumb. Time slows. His heart melts. He approaches, drops to his knees, takes Jessie's hand.
SPANISH BUZZ
Mi florecita del desierto...! Yo nunca he visto la belleza verdadera hasta esta noche! (My desert flower...! I have never seen true beauty til this night!)
Jessie is speechless. She turns to the others.
JESSIE
Did you guys fix Buzz?
HAMM
Eh... Sort of.
MRS. POTATO HEAD
Jessie, behind you! Someone's coming!
The Toys turn. A tall figure looms. Mr. Cucumber Head steps into the light -- irked, agitated.
MR. POTATO HEAD
You would not believe...! What I've been through...! Tonight!
Mrs. Potato Head goes to him.
MRS. POTATO HEAD
Darling...! Are you okay?
MR. POTATO HEAD
I feel fresh! Healthy! It's terrible!
MRS. POTATO HEAD
You've lost weight! And so tall!
Bullseye nudges Potato Head's torso toward him.
MR. POTATO HEAD
Ahhh, you're a sight for detachable eyes!
He plucks his eyes out and plants them on the spud. TIME CUT: The Jungle Gym slide. A Patrol Truck drives by. Slinky slides down, pops out the bottom, looks both ways. At the top of the slide, Woody holds Slinky's back end. The tail wags.
WOODY
Okay, all clear!
ON THE PLAYGROUND The Toys shoot out the bottom of the slide, scamper off. They huddle behind the spring of an animal rocking swing.
JESSIE
Almost there!
Jessie darts out, with others close behind. The lights of a Patrol Truck approach.
WOODY
Back up, back up!
Woody backs into the shadows with Bullseye and the Aliens. The Truck pulls up and stops. Jessie looks back, sees Woody and the others still hiding. Woody gestures "We'll go around". Jessie does a thumbs-up. Woody and the Aliens ride Bullseye across the playground swing set. They stop abruptly. Big Baby is sitting on the last swing, CREAKING back and forth, gazing up at the moon. Bullseye and Woody tip-toe behind Big Baby, approach the wood siding for the swing set area. Bullseye leaps over the siding but the last Alien falls to the ground. SQUEAK. Big Baby swivels his head 180 degrees. Woody, Bullseye, et al lie low behind the siding plank -- in the shadows, amid plastic shovels and buckets. Big Baby dismounts, walks toward their hiding place. Woody looks around desperately. Big Baby reaches the wood siding, looks over. No one's there. Looks up and down. He walks off. HOLD ON an overturned plastic bucket. Woody and Bullseye peek out from underneath, share a relieved look. Jessie, watching from the bushes, sighs with relief. Abruptly, Spanish Buzz grabs her, yanks her to him. As Jessie stands awkwardly, Spanish Buzz performs a solemn, impassioned courtship dance around her. Finally, Spanish Buzz takes Jessie in his arms.
SPANISH BUZZ
¡Ven conmigo! ¡Te mostraré las maravillas de la galaxia, y juntos lucharemos contra el despiadado Zurg! (Come with me! I will show you the wonders of the galaxy, and together we will fight the evil Zurg!)
He plucks a dandelion, offers it to her. At that moment, Woody pushes through the bushes -- safe. Jessie leaves Buzz, runs and gives Woody an impulsive hug.
JESSIE
Woody! Thank goodness!
WOODY
C'mon! We're almost there!
He and Jessie leads the Toys off, REVEALING Spanish Buzz -- stunned and heartbroken. He throws down his dandelion.
SPANISH BUZZ
El Vaquero...!!!
Mad with jealousy, he narrows his eyes and runs after them.
EXT. TRASH CHUTE - NIGHT
Woody leads the Toys to the trash chute. He jumps -- trying to grab the handle -- but can't quite reach it.
WOODY
Buzz, c'mere, gimme a lift!
Buzz, smoldering, steps forward, dramatically pushes Woody aside. With a lovelorn glance at Jessie, he hits a button.
SPANISH BUZZ
Buzz Lightyear al rescate! (Buzz Lightyear to the rescue!)
Buzz steps to the chute, jumps up in a series of crazy, acrobatic moves, and grabs the handle, pulling it down.
SPANISH BUZZ
Abierto...!
WOODY
Way to go, Buzz! C'mon, everyone!
The Toys boost each other up onto the trash chute lid.
INT. GARBAGE CHUTE - NIGHT
Woody climbs in the chute with the others and peers down. POV -- The grimy metal chute recedes into blackness.
JESSIE
Is it safe?
WOODY
I guess I'll find out...
Woody begins a controlled slide down -- feet first, hand bracing. He slips and it becomes an uncontrolled slide. He scrambles for traction, eases to a stop at the bottom. He gets up, stands at the edge of the slide's precipice. ANGLE -- An alley. The trash chute cantilevers over a half- closed dumpster. Above him, stars twinkle -- freedom.
JESSIE (O.S.)
Woody...! You okay?
WOODY
Come on down. But not all at once.
MR. POTATO HEAD (O.S.)
What'd he say?
HAMM (O.S.)
I think he said, "All at once".
NOISES.
WOODY
No...! No! No! No! No!
Too late. The Toys slide down together.
TOYS
Whoa!
REX
Watch out!
They collide with Woody. Woody windmills his arms at the edge of the chute. Jessie grabs him, pulls him to safety.
WOODY
Thanks, Jess.
Spanish Buzz looks about, confused and deeply disappointed.
SPANISH BUZZ
Donde esta mi nave...?! (Where's my spaceship...?!)
WOODY
Slink...? Think you can make it?
SLINKY
I might be old, but I still got a spring in my step.
He backs up, then leaps over the open pit to the closed lid of the dumpster. He lands hard, clutches a metal handle.
REX
He did it!
HAMM
All right, Slinky-kins!
SLINKY
Okay! Climb across!
Suddenly, two pink paws step in front of Slinky. He looks up. Lotso looms over him, grinning.
LOTSO
You lost, li'l doggy...?
Lotso kicks Slinky's paws. He retracts, falling from the lid. The Toys pull him to safety. Behind Lotso, his Gang hops off a wall and joins him on the dumpster lid. Lotso notices Woody among the others.
LOTSO
Well, well...! Look who's back!
A NOISE. The Toys turn. Lotso's henchman -- Stretch, the Octopus -- clambers down the chute, blocking an escape. The Lifer Phone wheels into view -- wheels wobbling, one eye broken, frayed phone dangling. His voice is hoarse.
LIFER
(via handset)
I'm sorry, Cowboy! They broke me...!
Lotso turns to the Toys, as cheerful as ever.
LOTSO
(incredulous)
What are you doin'?! Runnin' back to your kid? He don' want you no more!
WOODY
That's a lie!
LOTSO
Is it? Tell me this, Sheriff -- if your kid loves you so much, why is he leavin'?
CLOSE ON -- Woody, fuming. He has no answer.
LOTSO
Y'think you're special, Cowboy? You're a piece of plastic! You were made to be thrown away!
VROOM! A garbage truck turns into the far end of the alley and RUMBLES toward them. Lotso turns.
LOTSO
Speak of the devil...!
(turns back)
Now we need toys in our Caterpillar Room. And you need to avoid that truck. Why don't you come on back, join our family again?
He smiles. Woody seethes -- at a loss for words. Jessie steps past him, eyes burning.
JESSIE
This isn't a family, it's a prison! You're a liar and a bully and I'd rather rot in this dumpster than join any family of yours!
Barbie steps forward.
BARBIE
Jessie's right! Authority should derive from the consent of the governed! Not from the threat of force!
Hamm and Potato Head share a glance -- Huh? Lotso grins.
LOTSO
If that's what you want...!
He bangs his cane. Stretch, the Octopus, begins to prod the Toys toward the precipice. Abruptly, Ken bursts from the shadows -- still in his underwear.
KEN
Barbie! Wait...!
Everyone turns. He runs to Lotso.
KEN
Don't do this, Lotso...!
LOTSO
She's a Barbie doll, Ken! There's a hundred million just like her!
KEN
Not to me there's not!
He glances at her. She sighs. Lotso picks up Ken.
LOTSO
Fine! Why don't you join her?!
He tosses Ken across the dumpster chasm. The Toys grab him, pull him to safety. Barbie hugs him.
BARBIE
Oh, Ken!
Ken stands and addresses Lotso's Gang, earnest and heroic.
KEN
Everyone! Listen! Sunnyside could be cool and groovy if we treated each other fair!
(points)
It's Lotso! He's made us into a pyramid and he put himself on top!
Lotso's Gang eyes each other. There's a shift in sympathy but no one wants to stick their neck out. Lotso is amused.
LOTSO
Anyone concur with Ken?
No one moves. The truck RUMBLES closer -- two dumpsters away. Lotso turns to the Toys. His face hardens.
LOTSO
I didn't throw you away. Your kid did. Ain't one kid ever loved a toy, really! Chew on that when you're at the dump!
He turns away. Woody steps forward.
WOODY
Wait...! What about Daisy?
Lotso keeps a steely composure.
LOTSO
I don't know what you're talking about.
WOODY
Daisy...? You used to do everything with her!
LOTSO
Yeah -- then she threw us out!
WOODY
No -- she lost you!
LOTSO
She replaced us!
WOODY
(pointing)
She replaced you! And if you couldn't have her, no one could! You lied to Big Baby and you been lying ever since!
Woody yanks something from his holster. It's the rusty old pendant, "My Heart Belongs To: DAISY". Lotso is stunned.
LOTSO
Where'd you get that...?!
WOODY
She loved you, Lotso...
LOTSO
She never loved me!
WOODY
...As much as any kid ever loved a toy!
Woody throws the pendant. It lands at Big Baby's feet. Big Baby stares, electrified, at the pendant -- a token of his long-lost love. He picks it up. His lip trembles.
BIG BABY
Mama...!
Lotso grabs the pendant. He pokes Big Baby like a bully.
LOTSO
What -- you want your Mommy back? She never loved you! Don't be such a baby!
He throws it down and CRUSHES it with his cane. Big Baby's face crumples. Lotso turns, yells at Stretch the Octopus.
LOTSO
Push 'em in! All of 'em!
(to his Gang)
This is what happens when you dummies try to think!
He shoves Big Baby. Big Baby shrinks back, hurt. Stretch advances on Woody and the Toys. They teeter at the edge of the precipice. Lotso faces them, sneering.
LOTSO
We're all just trash, waitin' to be thrown away! That's all a toy is!
Abruptly, Lotso is lifted from behind by Big Baby.
LOTSO
Put me down! What're you doing?
Big Baby carries him to the edge of the dumpster.
LOTSO
Help me! Help!
Around the dumpster, no one moves. Big Baby tosses Lotso into the dumpster. He lands in the shadows, looks up. With a CREAK, the Big Baby tugs at the open dumpster lid.
LOTSO
No...! Wait...!
KLOON! Big Baby watches -- blank-eyed, pitiless -- as the lid SLAMS down, shutting Lotso in. No one can believe it.
REX
He's gone!!!
MR. POTATO HEAD
Holy cow!!!
BIG BABY
Ah-pppbbblllmmmmmmm...!!!
He blows a RASPBERRY at Lotso. VROOOM! The Toys turn. The garbage truck is only 100 feet -- 15 seconds -- away.
WOODY
C'mon! Hurry!
The Toys hop on the now-closed dumpster lid, rush to the retaining wall, and help each other clamber onto it. A SQUEAK. Woody turns. At the crack between the two lids are the three Aliens. One Alien is stuck. He struggles while the other two stand around ineffectually.
WOODY
Oh...! For crying out loud!
Woody glances at the approaching truck, then runs back.
JESSIE
Woody...!
Woody yanks the Alien free. Spanish Buzz gestures.
SPANISH BUZZ
Vaquero, andale! (Cowboy, hurry!)
The Aliens retreat to safety. Woody tries to follow, but a pink paw grabs his leg. Woody tries to free himself, but the paw drags him slowly into the dumpster's depths. The Toys watch, horrified, as Woody disappears. The truck turns and approaches the dumpster, fork out.
HAMM
Oh, boy! Incoming!
BA-BOOM! The truck's forks slide into the dumpster and begin lifting it up. As it rises past the retaining wall Jessie and Buzz fearlessly jump onto the rising dumpster.
JESSIE
C'mon!
The other Toys follow. Barbie tries to follow too, but Ken holds her back.
KEN
Barbie, no...!
They all try to lift the dumpster lid. It won't budge. The dumpster rises up, up, up -- and begins to tilt. As the dumpster tilts, they start to lose their footing. As the dumpster nears vertical, the lid swings open and trash begins pouring into the truck. Woody calls out...
WOODY
Jess!
JESSIE
Woody!
Woody falls into darkness. A FLASH of pink goes by -- Lotso tumbles past. The dumpster LURCHES to a stop. All the Toys fall into the truck. Barbie -- on the wall -- reaches forward.
BARBIE
No...!!!
She turns away, burying her head in Ken's comforting arms.
INT. GARBAGE TRUCK - NIGHT
The Toys find themselves in darkness, awash in garbage.
WOODY
Can you hear me?! Is everyone okay?!!
MR. POTATO HEAD
Of course not, you imbecile! We're doomed!
Buzz pulls himself from a mound of garbage. He GLOWS.
WOODY
Everyone! Go to Buzz! C'mon!!!
The Toys begin wading toward Buzz.
EXT. STREETS - NIGHT
The garbage truck rumbles through the streets.
INT. GARBAGE TRUCK - NIGHT
The Toys congregate around Buzz.
WOODY
We all here? Slinky...? Rex...?
The truck lurches to a stop. The hydraulic motor STARTS. Woody looks up. A dumpster appears above them, tilting.
WOODY
Against the wall, everybody! Quick!
He leads the Toys to the front of the truck, seeking shelter. Buzz remains behind.
SPANISH BUZZ
Senorita! Senorita, donde estas...?! (Miss...! Miss, where are you...?!)
JESSIE (O.S.)
Buzz...!
He turns. Somewhere in the DARKNESS, her voice rings out. A trickle of garbage begins to sprinkle down from above.
SPANISH BUZZ
Senorita...!
Buzz runs through the falling trash until he finds her pressed against the far wall -- terrified. CLUMP! Something large falls behind them. They look up. Garbage is falling out of the dumpster directly above them. Buzz takes Jessie's hand and they run across the garbage truck bay, dodging madly while trash rains down upon them. Against the back wall, the Toys watch, aghast.
HAMM
They'll never make it!
Buzz grabs Jessie and carries her -- dodging and weaving. A SCRAPING sound above.
MRS. POTATO HEAD
Look out!
Buzz and Jessie look up. An old TV set falls towards them. Buzz lunges and tosses Jessie out of the way. She turns. CRASH!!! The TV smashes down on Buzz. A deluge of trash piles on top, burying him completely.
JESSIE
Buzz...!!!
As the dumpster above recedes, Jessie runs forward and begins digging. The other Toys join her.
WOODY
Anyone see him?!
SLINKY
Over here, y'all! I found him!
They rush over and drag Buzz from the pile. Buzz's eyes are closed. Jessie pops his shield, shakes him.
JESSIE
Buzz, you okay?! Buzz! Buzz!!!
No response. Jessie shakes him again. And again.
JESSIE
No...!
She hugs him, sobbing. A BEEP. Buzz jack-knifes forward, then lurches back. Jessie pulls away. Buzz sits up, eyes open -- disoriented. He sniffs the air with distaste. Then he sees the others. The Toys gape at him in open-mouthed wonder. Buzz frowns.
BUZZ
That wasn't me, was it?
JESSIE
Oh, Buzz! You're back!!! You're back, you're back, you're back!!!
She throws her arms around him, hugs him tight.
BUZZ
Yes, I'm back!
(beat)
Where've I been?
WOODY
Beyond Infinity, Space Ranger!
BUZZ
Woody!
Woody smiles -- partners again. Buzz looks around.
BUZZ
But... Where are we now?!
REX
(excitable)
In a garbage truck on the way to the dump!
Buzz's smile freezes.
EXT. TRI-COUNTY DUMP - NIGHT
The garbage truck drives in the entrance.
INT. GARBAGE TRUCK - NIGHT
The truck grinds to a halt. The BEEP-BEEP-BEEP backing-up alarm begins to sound. The Toys look around.
WOODY
Everyone -- stay together!
Everything lurches. The truck bay begins to tilt.
EXT. DUMP - NIGHT
The garbage truck tilts up -- higher and higher. Trash begins pouring out the back, onto the dump below.
INT. GARBAGE TRUCK - NIGHT
The back flap opens, allowing garbage to spill out. A trash pit is revealed below. The Toys begin sliding out.
WOODY
Hold on! We're going in...!
TOYS
Whoa...!
EXT. DUMP - NIGHT
The garbage truck extends fully, tilting 70 degrees. The stream of garbage becomes a torrent.
INT. GARBAGE TRUCK - NIGHT
The Toys cling together, screaming, as they slide out into the open night.
EXT. GARBAGE PIT - NIGHT
Woody lands on a trash heap -- Oooff! A plastic bag whips by. He sits up. He's in a vast, wind-blown landfill. Nearby, Hamm and Rex unearth themselves. Mr. Potato Head helps Mrs. Potato Head up.
MR. POTATO HEAD
You got all your pieces?
The Aliens pop up. One points to some heavy machinery -- with a giant claw -- in the distance.
ALIEN
The Cla-a-a-aw!
They toddle off toward it.
WOODY
Hey! Guys, no...! No!!!
Suddenly, the trio of Aliens is bathed in headlights. Before anyone can react, a bulldozer passes over them... Just like that, they're gone.
MRS. POTATO HEAD
My Babies...!!!
A blinding LIGHT pours over her and envelops the Toys. Woody turns. A bulldozer -- with giant, studded wheels and a massive grate -- is heading right at them. Rex SCREAMS. The Toys are pushed backward toward a trench.
WOODY
Hang on!
They tumble as the bulldozer pushes them over the edge.
EXT. CONVEYER BELT - NIGHT
The Toys land on a conveyor belt entering a dark tunnel.
INT. CONVEYER BELT - NIGHT
Woody sits up and watches the light receding behind them. The other Toys gather round.
MRS. POTATO HEAD
Woody! What do we do?
WOODY
We'll be okay if we stay toge--...
VWOOSH! Slinky is pulled up OUT OF FRAME.
WOODY
Slinky...!
SLINKY
Woody...!
Slinky is fixed to a fast-moving conveyor belt above them. Woody runs after him.
WOODY
Slinky, get down from there!
A hammer shoots up and CLANKS on the belt, narrowly missing Slinky. All around them, other pieces of metal begin FLYING UP and sticking to the ceiling belt. Jessie yells.
JESSIE
It's a magnet! Watch out!
High above, Slinky looks around.
SLINKY
Uh, you might wanna take a look at this!
The Toys scramble up a pile of debris. Ahead is a Shredder -- two fast-spinning vertical cylinders that shred everything on the belt. Buzz sees a lunch box near him starting to quiver....
BUZZ
Quick! Grab something metal!
He grabs it and is pulled up to the magnetic belt. Woody grabs a metal handle and flies up, sticking to the ceiling belt. Hamm dives into a nearby pot and is lifted upwards.
HAMM
You heard the guy...!
Each Toy grabs a metal object and lifts -- CLUNK! -- to the ceiling. Rex, the last, grabs an aluminum can, a CD, etc.
REX
It's not working!!!
Finally, he grabs a metal fan and sails up to safety. Suddenly, a pink paw thrusts out from the belt below.
LOTSO (O.S.)
Help...! Help me!!!
Woody turns. Lotso is pinned under a golf bag.
LOTSO
I'm stuck! Help!!! Please!
Woody looks at the approaching shredder. He lets go.
JESSIE
Woody...!
Woody lands on the belt, runs back to Lotso.
LOTSO
Thank you!
WOODY
Don't thank me yet.
Woody struggles to lift the bag. Buzz drops down next to Woody. Jessie eyes the approaching shredder.
JESSIE
Buzz...!!! Woody...?!!!
Woody and Buzz push together. They still can't move it. Woody pulls out a golf club. The magnet tugs it upward. Buzz grabs it. Together, they pull it down and jam it under the bag for leverage. The bag finally lifts...
WOODY
Go! Go!
...and Lotso scrambles out. Woody grabs Lotso. He and Buzz point the club skyward. They're pulled up to safety as the golf bag is pulverized. Lotso looks back at the shredder, then at Woody.
LOTSO
Thank you, Sheriff...!
WOODY
We're all in this together.
(turns)
Right guys...?
All the Toys have vanished.
WOODY
Guys?!
JESSIE (O.S.)
Woody! Down here!
Jessie and the others wave from a conveyer belt far below. Woody and Buzz let go and plummet.
EXT. DUMP / STAIRWAY TO HEAVEN - NIGHT
Woody, Buzz and Lotso land on the bed of a big, fast-moving conveyer belt with metal walls. The Toys gather around.
JESSIE
Woody!
The toothed belt begins to ascend upwards.
REX
Woody! Look! I can see daylight! We're gonna be okay!
Rex points to a bright amber GLOW at the top of the belt. The toys scramble forward. Woody's smile drops.
WOODY
I don't think that's daylight...
FAST TRACK -- At the end of the conveyer belt, garbage falls into a burning, churning vortex.
WOODY
Run!!!
Unable to jump off, the Toys begin running down the belt. They dodge, duck and hurdle over the coming trash, but they're no match for the speed of the rising conveyor. Lotso trips, falls. A pulsing blue LIGHT. He looks up. High on the wall ahead is an Emergency Stop button. A ladder leads to the button. Lotso leaps up, grabs the bottom rung. He can't pull himself up.
LOTSO
Sheriff...! The button! Help me!
The Toys look back, see Lotso. As they pass, Woody, Buzz and Jessie boost Lotso up.
WOODY
Go!!! Go!!! Hit the button!
Lotso scrambles up the ladder toward the glowing button. The Toys are carried up the conveyor belt toward the pit. The Toys watch Lotso -- receding -- as he climbs. Lotso stays focussed on the button above him. The Toys reach the belt's acme -- heels at the edge of the waterfall of trash cascading to a melting, churning vortex.
WOODY
Hurry!!!
Lotso reaches the walkway where the blue button glows. He turns and looks -- malevolent -- at the helpless Toys.
WOODY
Just push it! Push it!
BUZZ
Push it!!!
Lotso smirks, gives a salute.
LOTSO
Where's your kid now, Sheriff?!
He turns, runs off down the walkway.
WOODY
No... No...! No...!!!
BUZZ
Lotso...!!!
The Toys YELL as they tumble off the belt...
EXT. INCINERATOR HOPPER - NIGHT
The Toys land in a giant vortex of trash being sucked down into the glowing eye of an incinerator. It's chaos -- trash tumbles over itself as sparks and ashes fly through the air. The ROAR is overwhelming. Woody stands and starts trying to climb out. The Toys do the same, climbing desperately, fighting against the trash tumbling into the vortex of fire. They slip, fall, get up and slip again. It's a nightmare -- no matter how fast they climb, they inexorably slide backwards. Rex slides past Woody, towards the incinerator.
REX
Ahhhhhh!
WOODY
Rex!!!
Woody grabs Rex's hand, slides further toward the inferno. They are all being pulled inescapably downward. There's no way out. Jessie looks at Buzz.
JESSIE
Buzz...! What do we do?
Buzz looks at her. He reaches out, takes her hand. Jessie grabs Bullseye's hoof. Slinky takes Hamm's hand. Hamm reaches out to Rex. The Potato Heads hold each other. Mr. Potato Head grabs Rex. Buzz reaches out to Woody... Woody takes Buzz's hand, and the circle is complete. As they approach the vortex, heat waves blast their faces. The Toys close their eyes, turn away. Woody stares at the fire, shuts his eyes. This is the end. A LIGHT from above shines in Woody's face. He opens his eyes. A giant mechanical Claw lowers towards them. The Claw plunges into the trash around them, closing them in its grip, then raises them up. They soar into the air, away from the ROARING incinerator. Woody looks around in disbelief. The Claw spins, passing in front of the crane booth.
INT. CRANE OPERATOR'S BOOTH - NIGHT
In the booth, the Aliens man the joysticks.
ALIENS
The Clawwwww!!!
They lean into the joystick, steering the Claw to safety.
EXT. DUMP - DAWN
The Claw lowers and opens, dropping the Toys to earth. They spill out, COUGHING and GROANING like shipwreck survivors. Woody sits up, looks around. Rex pops up through trash.
REX
Whew...!
They have faced death and survived, and are profoundly shaken. Potato Head stares at the sky.
MR. POTATO HEAD
Y'know all that bad stuff I said about Andy's attic? I take it all back.
SLINKY
You're darn tootin'!
HAMM
You said it!
Buzz and Jessie sit up, still holding hands. She looks at him, smiles. He smiles and holds her gaze. Mrs. Potato Head takes Mr. Potato Head's hand.
MRS. POTATO HEAD
Oh, darling! You were so brave!
A SQUEAK. The Potato Heads turn, see the Aliens approach.
MRS. POTATO HEAD
You saved our lives...!
MR. POTATO HEAD
And we... Are eternally grateful!
Potato Head scoops them into his arms for a big, proud hug.
MR. POTATO HEAD
My boys...!
ALIENS
Daaddddyyyy...!!!
Hamm looks around.
HAMM
Hey! Where's that furball Lotso?
SLINKY
I'd like to loosen his stitching!
WOODY
Forget it, guys. He's not worth it.
EXT. GARBAGE DUMP, ELSEWHERE - DAY
Lotso limps toward the dump exit. A NOISE. He turns, then drops, freezing. A truck's wheels SCREECH to a halt in front of Lotso. A door OPENS and SHUTS. FOOTSTEPS. A hand picks him up.
GARBAGE MAN ONE (O.S.)
Hey!
GARBAGE MAN TWO (O.S.)
Whatcha got?
GARBAGE MAN ONE (O.S.)
I had me one a these when I was a kid!
He buries his nose in Lotso's tummy, inhales.
GARBAGE MAN ONE
(nostalgic rapture)
Strawberries...!
EXT. GARBAGE DUMP - DAY
The truck exits the dump -- Lotso strapped to the grill. He comes to life, panicked. On the grill are a couple of muddy, bug-spattered Plushies, including a sad-eyed FROG.
FROG
Hey, buddy...!
(Lotso turns)
...Y'might wanna keep yer mouth shut!
The others SNICKER. Lotso WHIMPERS. The truck RUMBLES off. ANGLE -- The truck passes, REVEALING the Toys, unaware of Lotso's karmic comeuppance. Jessie sees Woody lagging.
JESSIE
C'mon, Woody -- we gotta get you home!
BUZZ
That's right, "College Boy"!
WOODY
But... What about you guys? Maybe the attic's not such a great idea.
He glances at them, uneasy. Jessie steps to him.
JESSIE
We're Andy's Toys, Woody...
BUZZ
We'll be there for him. Together.
Woody smiles.
WOODY
I just hope he hasn't left yet...
MRS. POTATO HEAD
Wait a minute! Wait, I'll check!
She covers her good eye, concentrates.
MRS. POTATO HEAD
He's still packing...!
(GASPS)
...But he's almost done!
HAMM
He lives halfway across town...!
REX
We'll never get there in time!
The Toys glance at each other. Then, distantly, comes the air-guitar WAILING of Andy's Neighborhood Garbage Man. The Toys turn, see him a dozen yards away. They brighten.
EXT. DRIVEWAY - DAY
Andy's loading up his hatchback with boxes. Molly's on the lawn playing with Buster. As the garbage truck passes...
MOLLY
C'mere, boy. C'mon, Buster!
MOM
Is that it, honey? You got everything?
ANDY
Yeah, just a few more boxes in my room.
At the curb, REVEAL the Toys hiding behind a garbage can. Woody peeks around, gestures to the other Toys.
WOODY
Okay, c'mon!
INT. BACK YARD - DAY
TIGHT ON SPIGOT -- Woody's hand comes in, turns it. The Toys huddle while Woody hoses them off. Buzz closes his helmet. The Toys react to the cold water.
TOYS
Eeeaauggh...!!! Brrr...!!! Stop!!!
HAMM
That's enough, that's enough, that's enough!!
WOODY
All right, go! Go, go!
The Toys run off. Potato Head pulls off his nose, blows out a spray of water.
EXT. GARAGE ROOF - DAY
Slinky heaves himself up to the edge of the garage roof. One by one, the Toys scurry up his Slink, then make their way along the roof towards Andy's open window.
INT. ANDY'S ROOM - DAY
Buzz and Woody peer in.
BUZZ
All clear...!
They clamber through the window, jump to the floor. The other Toys follow, scrambling across the room. Mrs. Potato Head stops, puts a hand over her working eye. TRANSITION: POV -- Under the bed, looking out. Mrs. Potato Head's feet are in front of us, facing away.
MRS. POTATO HEAD (V.O.)
There you are...!
The feet turn and a hand reaches TOWARD US, GRABBING the subjective eye. TRANSITION: She pops her eye back in, blinks... And GIGGLES, tickled. The Toys climb into a box marked "Attic". Buzz helps them. On the desk is a box marked "College". Woody heads for it. He reaches the box, turns. This may be the last time he ever sees the other Toys. He scrambles back toward Buzz.
WOODY
Buzz...
Buzz turns. Woody offers a hand. They shake.
WOODY
This isn't good-bye.
SLINKY (O.S.)
Hey, Woody...
Woody looks up. Slinky lowers a paw.
SLINKY
...Have fun at college!
HAMM
Yeah, but not too much fun!
Woody laughs, shakes hands with Slinky.
REX
Woody, take care of Andy.
MRS. POTATO HEAD
Yeah...
MR. POTATO HEAD
He's a good kid. Tell him to get a haircut.
WOODY
I will.
Woody sees Jessie.
WOODY
Jessie -- you'll be okay in the attic?
JESSIE
'Course I will. Besides...
(leans in)
...I know about Buzz's "Spanish Mode".
BUZZ
My what...?
He turns, confused. Woody and Jessie share a smile.
MOM (O.S.)
Honey, you want some food for the road?
ANDY (O.S.)
I'll get something on the way.
Woody turns to Buzz -- there's so much he wants to say. Buzz just smiles.
BUZZ
You know where to find us, Cowboy.
Woody smiles. He turns, runs to the desk. Buzz climbs in the Attic box with the others. On the desk, Woody jumps on the edge of the College box, looks back at his friends. FOOTSTEPS climb the stairs. Woody gives Buzz a salute. Buzz smiles, salutes back. Woody lowers into the College box. The Toys duck in the Attic box, pull the flaps shut just as Andy and Mom enter.
MOM
Did you say goodbye to Molly?
ANDY
Mom, we've said goodbye like ten times!
Mom stops, suddenly overwhelmed. The room is empty.
MOM
Oh, Andy...!
Andy, beside her, is abashed.
ANDY (O.C.)
Mom...! It's okay...
IN THE COLLEGE BOX Woody quietly peeks out the hand holes. POV -- Woody can half-see Mom hug Andy.
MOM
I know, it's just... I wish I could always be with you.
ANDY
You will be, Mom.
ON WOODY He turns and glances off, noticing something. THE PHOTO Of young Andy, playing with Woody and the other Toys. TRACK IN ON Woody. Mom and Andy's words echo in his head. WOODY POV -- His GAZE SHIFTS from Andy-holding-Woody to Woody-with-the-other-Toys. Suddenly, Woody half-smiles -- an epiphany. Sadness and uncertainty are replaced by happiness and determination. FOOTSTEPS and collar JINGLES approach. Molly steps to the room's threshold with Buster.
MOLLY (O.C.)
Hey... Aren't you gonna say goodbye to Buster?
Andy and Mom step into the hallway.
ANDY (O.S.)
Of course I will...!
(to Buster)
Who's a good doggie?! Who's a good doggie?!!! I'm gonna miss you!
While Andy scratches Buster's belly, Woody jumps out of the box, grabs a pen and a sticky note. He sneaks across the room, jumps on the Attic box, starts frantically writing. Buster starts BARKING. Woody finishes writing, looks up.
MOLLY (O.C.)
He's telling you to go already.
MOM (O.C.)
C'mon, get the rest of your things.
Woody gasps, looks up at the door. TRACK IN -- THE DOOR Andy walks in. Mom and Molly stay in the hallway.
ANDY
Okay, Buster, don't let Molly near my stuff.
Andy turns, crouches to pick up the Attic box. He stops, noticing the yellow Post-It on the box top. He opens the flaps, finding all of his Toys.
ANDY
Hey...!
He digs through them -- pulling a few out, making sure they're all there -- smiling with fondness and relief. He picks up the Post-It, reads it. He calls out.
ANDY
Hey, Mom... So, you really think I should donate these?
Mom answers from the hallway.
MOM (O.S.)
It's up to you, honey. Whatever you want to do.
CUT TO:
INT. CAR - DAY
Andy cruises, looking for an address. A box with "Attic" crossed out sits in the passenger seat. The car slows.
EXT. HOUSE - DAY
Andy grabs the box and gets out. TRACK IN -- The hand slot of the College box, left behind. POV - COLLEGE BOX -- Andy crosses the street and approaches the house. Andy stops, glances at the box. On the Post-It is written: DONATE TO: Bonnie 1225 Sycamore Road TILT UP -- The address on the front gate. It matches. Andy sees Bonnie playing in the front yard, while her Mom and Dad garden nearby.
BONNIE
No! Don't go in there! The bakery is haunted...!!!
(another voice:)
Shhhhhh!!! Are you crazy?! You'll wake up all the ghosts!
Andy watches Bonnie play -- exuberant and unself-conscious.
BONNIE
Look out! The ghosts are throwing pies! Splat! Splat! Splat!
Bonnie notices Andy and immediately stops playing.
BONNIE
Mom...?
Bonnie's Mom looks over, sees Andy. She stands.
BONNIE'S MOM
Andy...!
ANDY
Hi!
Andy lets himself in the gate.
BONNIE'S MOM
Wow! Look at you! I hear you're off to college?!
ANDY
Yeah. Right now, actually.
BONNIE'S MOM
So, what can we do for you?
Bonnie goes and stands behind her Mom.
ANDY
Uhh... I have some toys here.
BONNIE'S MOM
Ohhh...! You hear that, Bonnie?
Bonnie peeks around her Mom, curious.
ANDY
So you're Bonnie?
He hunches down so he's eye to eye with her.
ANDY
I'm Andy. Someone told me you're really good with toys. These are mine, but I'm going away now, so I need someone really special to play with them.
Bonnie is uncertain. Andy sits in front of her, cross- legged. He opens the box, pulls out Jessie and Bullseye.
ANDY
This is Jessie -- the roughest, toughest cowgirl in the whole West. She loves critters, but none more'n her best pal, Bullseye.
(whinnies; then, as Jessie)
Yee-haw! Here.
Bonnie looks at her Mom, who nods. She walks forward. Andy gives Jessie and Bullseye to her. A smile escapes Bonnie. Andy pulls out Rex.
ANDY
This is Rex -- the meanest, most terrifying dinosaur who ever lived.
(dinosaur voice)
"Raaawwwrrrrr...!!!"
He thrusts Rex at her. Bonnie backs up, grins, takes him. Andy pulls out the Potato Heads.
ANDY
The Potato Heads -- Mister and Missus. You gotta keep 'em together 'cause they're madly in love.
Bonnie nods, takes them. Andy pulls out Slinky and Hamm.
ANDY
Now Slinky here is as loyal as any dog you could want. But Hamm? He'll keep your money safe...
He drops a quarter into Hamm's slot.
ANDY
...but he's also one of the most dastardly villains of all time...
(Hamm voice)
"...Evil Dr. Pork Chop!"
Bonnie smiles, takes them. He pulls out the three Aliens.
ANDY
These little dudes are from a strange, alien world -- Pizza Planet!
She smiles. He hands them to her, then pulls out Buzz.
ANDY
And this is Buzz Lightyear -- the coolest toy ever. Look, he can fly...
(deploys wings)
...And shoot lasers...
(fires laser)
He's sworn to protect the galaxy from the evil Emperor Zurg!
Andy hands over Buzz. Bonnie presses a button on him.
BUZZ
"To Infinity... And Beyond!!!"
Bonnie looks up, happily surrounded by Andy's toys.
ANDY
Now, you gotta promise to take good care of these guys. They mean a lot to me.
Bonnie nods. She glances in the box. Her eyes go wide.
BONNIE
My cowboy!
Andy looks down, sees Woody lying in the box.
ANDY
Woody...? What's he doing in there?
He lifts Woody out. Bonnie points.
BONNIE
"There's a snake in my boot!"
Andy -- amazed -- pulls Woody's pull-string.
WOODY
(voice-box)
"There's a snake in my boot!"
Bonnie giggles and reaches for him, but Andy instinctively pulls Woody away. Bonnie looks at Andy, confused. Andy looks down at Woody, makes a decision. He holds Woody out -- gentle and serious.
ANDY
Now, Woody -- he's been my pal as long as I can remember. He's brave, like a cowboy should be. And kind, and smart. But the thing that makes Woody special? Is he'll never give up on you -- ever. He'll be there for you, no matter what. Y'think you can take care of him for me?
(she nods)
Okay, then.
He hands Woody to Bonnie. She hugs him. Andy suddenly grabs Hamm.
ANDY
Oh, no! Dr. Pork Chop's attacking the haunted bakery! Pchoo! Pchoo!
Without missing a beat, Bonnie joins in the play.
BONNIE
Oh, no! The ghosts are getting away! Woody'll stop 'em!!
She swoops Woody in the air. Andy grabs Slinky and gives chase. They EXIT FRAME, laughing.
ANDY
Pchoo! Pchoo! Pchoo!
EXT. BONNIE'S HOUSE - LATE AFTERNOON - MONTAGE
Bonnie and Andy play together with all their Toys.
EXT. BONNIE'S HOUSE - DUSK
Andy walks to his car, turns. Bonnie stands on the porch, the Toys scattered at her feet. She clutches Woody. Bonnie makes Woody's arm wave at Andy. Andy smiles. He gets in his car. He takes one last look at all his Toys on Bonnie's porch, and Woody in Bonnie's arms...
ANDY
Thanks, guys.
...And pulls away.
BONNIE
Look, Mommy! They're all playing together!
Bonnie puts Woody down and runs to her mother's arms.
BONNIE'S MOM (O.C.)
C'mon -- let's get some lunch.
She scoops up Bonnie, swings her around. Mother and daughter laugh as they step into the house. On the porch, the Toys come to life, sit up. Woody watches Andy drive away.
WOODY
So long, partner.
Buzz puts an arm around Woody. They watch Andy drive off. The other Toys gather around, and we... CRANE UP TO
..Blue sky, and fluffy clouds.
THE END
|
TOY STORY 3 Story by John Lasseter Andrew Stanton Lee Unkrich Screenplay by Michael Arndt Blue sky, fluffy clouds. The TOY STORY logo. A branding iron sears a "3" into it. IMAGE bursts into FLAMES...
EXT. OLD WEST - DAY
A train races across the desert. MOVE IN on an ARMORED CAR. Suddenly, the roof blows open.
EXT. TRAIN - DAY
Money bags fly out. ONE-EYED BART (Mr. Potato Head) follows.
ONE-EYED BART
Money, money, money! Ha! Ha! Ha!
Bart stashes the loot. Suddenly, a lasso yanks his arm off.
ONE-EYED BART
Hey!
The lasso lifts him off his feet. He falls, dazed. A figure approaches -- WOODY. He pins Bart with his boot.
WOODY
You got a date with justice, One-Eyed Bart!
ONE-EYED BART
Too bad, Sheriff -- I'm a married man.
A WAR CRY. Woody looks up.
VOICE (O.S.)
Ai! Ai-ai-ai-ai-ai-yah!
A Ninja warrior, ONE-EYED BETTY (Mrs. Potato Head), flips down the train roof, wielding a sword and nun-chucks.
WOODY
One-Eyed Betty!
Woody handsprings away. He gets to the end of the Caboose. Betty hits him with her purse. He teeters, then falls.
WOODY
Whoa, whoa... Ahhh...!
Bart and Betty laugh, peek over the edge... GALLOPING HOOVES TILT UP to find Woody, riding BULLSEYE, JESSIE at the reins.
JESSIE
I believe you dropped something, Mister!
ONE-EYED BART
Jessie?!
WOODY
You've reached the end of the line, Bart.
Bart pulls out a remote detonator.
ONE-EYED BART
I always wanted to go out with a bang!
Ahead, a huge trestle bridge spans a canyon. ZOOM to REVEAL -- The middle of the bridge is loaded with dynamite. Bart laughs, hits the detonator. The bridge explodes. Woody, Jessie, and Bullseye gasp.
JESSIE
Oh no!
WOODY
The orphans!
WHIP PAN -- A train car of TROLLS lean out the windows. One-Eyed Bart cackles.
ONE-EYED BART
Hate to leave early, but our ride is here.
HONK-HONK! A pink Corvette, driven by the three ALIENS, pulls up alongside the train.
ALIENS
Oooooooooo!
ONE-EYED BART
It's me or the kiddies, Sheriff! Take your pick!
The Potato Heads leap off the train into the Corvette. They speed off. Woody looks at the out-of-control train.
WOODY
Ride like the wind, Bullseye!
Bullseye runs up next to the speeding locomotive.
WOODY
Hold him steady...
Woody stands, then leaps from Bullseye into the locomotive.
JESSIE
Woody, hurry!
Woody turns a gear, pulls the brake. Train wheels lock. Sparks fly. Woody looks ahead. POV -- The train skids toward the severed rails. Bullseye and Jessie skid to a stop at the canyon edge. Too late. Woody and the train plummet over the edge. Bullseye and Jessie are horrified.
JESSIE
No...!
From deep in the canyon, a FLASH and RUMBLE. Then, the entire train rises into the sky. Holding it from below is BUZZ LIGHTYEAR.
BUZZ
Glad I could catch the train!
Woody leans out the front.
WOODY
Now let's catch some criminals!
BUZZ
To Infinity... And Beyond!
EXT. DESERT PLAINS
A large, hand-painted sign reads: Border Crossing One Mile Outlaws Welcome WHIP PAN -- The Corvette speeds past. The Outlaws laugh gleefully. Bart kisses his loot. The Aliens see something in the sky, point...
ALIENS
OooOOOOoooo!
Buzz flies out of the sun, firing his laser. The Corvette is sliced in half. The halves fall away. The Outlaws tumble into a heap. Woody and Jessie step up. Buzz lands nearby, laser poised.
WOODY
Reach for the sky!
ONE-EYED BART
You can't touch me, Sheriff! I brought my attack dog with a built-in force field!
Bart WHISTLES. From above, SLINKY springs down the canyon walls, coils crackling with energy. He circles the gang, bites his tail. An ENERGY BUBBLE forms around them.
WOODY
Well, I brought my dinosaur, who eats force-field dogs!
JESSIE
Yo-Dee-Le-Hi-HoooOOOOOOOO!
The Earth trembles. Cracks form. The ground bursts open. A giant REX emerges, BELLOWING. He leans toward Bart, lets out a fearsome ROAR. A shadow. Rex stops. An intense HUM. Everyone looks up. An enormous, pig-shaped spaceship hovers above them.
BUZZ
Evil Dr. Porkchop!!!
We FLY UP to...
INT. SPACESHIP - DAY
DR. PORKCHOP (Hamm) sits on the bridge, sporting a bowler.
EVIL DR. PORKCHOP
That's Mr. Evil Dr. Porkchop to you!
Bart, Betty, Slinky, and the Aliens are suddenly beamed up. Hamm flips open a switch. A red button: DEATH BY MONKEYS. He pushes it. The ship's belly swings open. A yellow barrel is dropped. The barrel falls. It explodes into a mushroom cloud of crazed red monkeys. Woody, Buzz and Jessie flee. The Monkeys come after them. Rex ROARS. The Monkeys swarm over him, taking him down. Woody, Buzz and Jessie are overtaken and pinned down. The spaceship's snout rotates and opens. A giant laser cannon powers up with a deafening HUM. Bart LAUGHS and reaches for a button marked with a skull and crossbones... Jessie turns away, eyes shut. Bart LAUGHS louder. Buzz turns away. Bart CACKLES -- finger on the trigger. Woody grimaces... CUT TO:
INT. ANDY'S ROOM - DAY
Andy imitates One-Eyed Bart's LAUGH. On Woody and Buzz. Andy's hands move Woody as he "talks".
YOUNG ANDY (AS WOODY)
Buzz! Shoot your laser at my badge!
YOUNG ANDY (AS BUZZ)
Woody, no! It'll kill you!
YOUNG ANDY (AS WOODY)
Just do it!
Andy presses Buzz's laser, makes a ricochet sound -- PSHOO! -- off Woody's badge and traces a line into the air... ...Where Hamm, the Potato Heads and the Aliens perch on a winged cardboard box, crudely fashioned into a spaceship, that dangles from the ceiling. Andy hits the carton -- PPPKOOOOOSHHH!!! The Toys tumble to pillows on the floor. CUT TO: CAMCORDER POV - HANDHELD MOM'S hand pushes open a door. Andy, 8, in his cowboy hat, jumps around making EXPLOSION NOISES. He's turned his room into a Western "set" complete with a Tinkertoy trestle bridge, a Barrel of Monkeys, etc.
YOUNG ANDY
(as Woody)
You're going to jail, Bart.
Camera ZOOMS IN. Andy looks up, stops.
YOUNG ANDY
Mom...!?
MOM (O.C.)
No, no...! Keep playing! Just pretend I'm not here.
Suddenly, MOLLY, 2, toddles in, knocking over Tinker Toys.
MOM (O.C.)
Oh, no! Molly...!
YOUNG ANDY
No, it's okay, Mom! It's... A 50- foot baby from outer space! She's on a rampage! Run for your lives!
Andy races around. Chaos, laughing. Buster enters, BARKING. The CAMERA PIVOTS UPSIDE-DOWN, revealing Mom's face.
MOM
Does the red light mean it's going?
The TAPE GLITCHES and we JUMP TO... BEGIN MUSIC -- "You've Got A Friend In Me"
INT. ANDY'S KITCHEN - DAY - HANDHELD CAMCORDER POV
Molly sits in a high chair, party hat on, eating cake. Camera PANS Andy's Toys, wearing party hats. End on Andy, holding Woody, stuffing cake in his mouth.
MOM (O.C.)
Come on, say 'Happy Birthday' to Molly...
YOUNG ANDY
(mouth full)
Happhy Brffday!
MOM (O.C.)
Oh, charming.
Andy holds Woody up to CAMERA, cake crumbs flying.
YOUNG ANDY (AS WOODY)
Happhy Brffday!!!
JUMP TO:
INT. ANDY'S ROOM - DAY - HANDHELD CAMCORDER POV
Mom pencils a line above Andy's head onto the door frame.
MOM (O.C.)
Look how tall you're getting!
Andy steps away and beams. JUMP TO:
INT. ANDY'S ROOM - DAY - HANDHELD CAMCORDER POV
Andy holds Woody against the door frame, marks a line above Woody's head. ZOOM OUT to reveal lines and labels for all the toys, including for "Slinky" and "Slinky's Butt". JUMP TO:
EXT. FRONT YARD - DAY - HANDHELD CAMCORDER POV
Andy gives Woody a piggyback ride. JUMP TO:
INT. ANDY'S ROOM - DAY - HANDHELD CAMCORDER POV
Andy holds Buzz towards camera, shoots his laser.
BUZZ
"Buzz Lightyear to the rescue!"
ANDY (AS WOODY)
Good work Buzz!
Andy makes Buzz and Woody high five. JUMP TO:
INT. ANDY'S ROOM - NIGHT - HANDHELD CAMCORDER POV
Andy lies in a pillow fort, surrounded by toys, eating from a huge bowl of popcorn, and watching an off-screen TV. He stuffs popcorn in Rex's mouth, turns back to the TV. His eyes widen. The popcorn tumbles out of Rex's mouth. JUMP TO:
EXT. ANDY'S FRONT YARD - DAY - HANDHELD CAMCORDER POV
Andy rockets Jessie and Bullseye around the front yard, while Mom struggles to keep him in the FRAME. JUMP TO:
INT. ANDY'S ROOM - DAY - HANDHELD CAMCORDER POV
Andy, laughing, spins around, falls on his bed, pulls his toys close -- holding Woody, Buzz and Jessie in the warm, glowing embrace of a child's innocent and boundless love. The song FADES on "Our friendship will never die..." FADE TO BLACK:
WOODY (V.O.)
Okay -- places, everyone! C'mon, get in position!
INT. TOY CHEST, ANDY'S ROOM - DAY
Dark, crowded. Toys crammed together. Light seeps in. Nervous, backstage jitters. They speak in HUSHED TONES.
MRS. POTATO HEAD
Wait -- I can't find my other eye!
HAMM
Someone's foot is in my face...
MR. POTATO HEAD
It's mine! Give it back!
ALIENS
You saved our lives! We are eternally grateful!
Potato Head groans. Buzz sits by the rim. Jessie climbs up.
JESSIE
Buzz, mind if I squeeze in next to ya?!
BUZZ
Yes! No! I mean...! Why would I mind?! Squeezing next to... You!
He laughs, nervous. She grins. Finally, he turns away.
BUZZ
Is it hot in here?
REX (O.S.)
Here they come!
The Toys clamber to the rim and gaze out. POV -- SARGE and two ARMY MEN slip in the room, dragging something in a gym sock. The Army Men arrive at the chest. Woody peers down.
WOODY
Sarge! You got it...?!
SARGE
Mission accomplished!
The Toys are thrilled. The Army Men hoist the sock up.
WOODY
Careful...! Careful!!!
Buzz turns the sock upside-down. A cell phone slides out. Toys gather around.
WOODY
All right, guys. We got one shot at this. Everyone ready?
JESSIE
We're ready, Woody! Let's do it!
WOODY
Buzz -- make the call.
Buzz flips open his wrist cover. A phone number is written inside. Jessie pulls out a cordless phone, leans close to Buzz. Buzz chuckles, nervous. Jessie dials the phone. Woody tosses the cell phone to Rex. Jessie gets to the last digit, hits it. Silence. Suddenly, the cell phone RINGS. Rex yelps. Buzz, Jessie and Woody peer over the rim. FOOTSTEPS on the stairs.
BUZZ
Target is on approach.
Woody's eyes are fixed on the door.
WOODY
Just like we rehearsed it, guys...
The door opens. ANDY enters but we only SEE his jean-clad legs. He scans the room, zeroes in on the toy chest. He lifts the lid REVEALING... Andy is a teenager. His hair is long and his voice deep, but he has the same kind face. He looks down, puzzled. The Toys lie, lifeless, amid sports equipment and clothing. The phone RINGS again. Andy's hand rummages. Woody hugs the cordless as Andy's fingers pass by and find the cell phone. He pulls it out. The phone is stuck in Rex's arms. Andy pulls. Rex clings. Andy finally yanks the phone loose.
ANDY
Hello...?
CLOSE ON -- Woody, holding the phone. He closes his eyes.
ANDY (ON PHONE)
Hello...?! Anyone there?
Andy hangs up, turns.
ANDY
Molly, stay outta my room!
MOLLY (O.S.)
I wasn't in your room!
Andy scoffs, looks down at Rex in his hand. Rex lies frozen, smiling -- eager to be played with. Andy drops Rex in the box, shuts the lid, heads out.
ANDY
Then who was messing with my stuff?
MOLLY (O.S.)
It wasn't me...!
He departs, closing the door -- CLICK. CREAK -- Woody and Buzz push the chest open, share a look. The other Toys climb out.
MR. POTATO HEAD
Well, that went well!
They spill out onto the floor. The room has changed -- rock posters, guitar, skateboard, other teen detritus.
REX
He held me! He actually held me!
HAMM
Oh, this is just sad.
MR. POTATO HEAD
Who are we kiddin'? The kid's seventeen years old!
Woody and Buzz jump down, exchange a glance. Buzz nods. Woody waves his arms.
WOODY
Guys, hey, hold up! We need a staff meeting! Everyone? A staff meeting!
GROANS of boredom.
HAMM
Not again...!
WOODY
Oh, come on! Slink? Gather everyone up!
SLINKY
Uh... We are gathered, Woody!
The Toy Community is a lot smaller. Woody rolls with it.
WOODY
Okay. First off -- we all knew Operation Playtime was a long shot...
MR. POTATO HEAD
More like a misfire!
WOODY
...But we've always said this job isn't about getting played with. It's about...
JESSIE
...Being there for Andy. We know.
REX
But we can try again, right?
Woody looks at all of them. He shakes his head.
WOODY
I'm callin' it, guys. We're closin' up shop.
Gasps. Everyone is crushed by this news.
WOODY
Andy's going to college any day now... That was our last shot.
Mrs. Potato Head begins to sniffle. Buzz steps forward.
BUZZ
We're going into Attic Mode, folks. Keep your accessories with you at all times -- spare parts, batteries... Anything you need for an orderly transition.
Potato Head steps up.
MR. POTATO HEAD
"Orderly?" Don't you get it?! We're done! Finished! Over the hill!
WOODY
Hey, hey, now come on, guys! We all knew this day was coming!
Buzz, in FOREGROUND, sees something off-screen, frowns. POV -- Sarge and the Army Men climb up onto Andy's desk. The other Toys keep arguing.
HAMM (O.C.)
Yeah, but now its here!
WOODY (O.C.)
Look, every toy goes through this! No one wants to see their kid leave!
BUZZ
Hey! Sarge! What are you doing?!
Everyone turns. Sarge and his last two Soldiers climb to the window sill.
SARGE
War's over, folks. Me 'n the boys are movin' on.
WOODY
Moving on...?!
BUZZ
You're going AWOL?!
SARGE
We done our duty. Andy's grown up.
SOLDIER ONE
And let's face it -- when the trash bags come out, we Army guys are the first to go.
BUZZ
Trash bags...?!
WOODY
Who said anything about trash bags?
SARGE
It has been an honor serving with you. Good luck, folks.
Sarge straps in tandem with Soldier One. They leap. Their parachute opens and the wind carries them off.
SOLDIER TWO
You're gonna need it...!
He jumps and flies off too. The Toys are stunned.
WOODY
No, no... Wait...! Wait! Wait!!!
REX
We're getting thrown away?!
WOODY
No! No one's getting thrown away!
MR. POTATO HEAD
How do you know?!
Jessie begins to panic.
JESSIE
We're being abandoned...!
BUZZ
We'll be fine, Jessie!
HAMM
So why did Sarge leave?!
MRS. POTATO HEAD
Should we leave?!
SLINKY
I thought we were goin' to the attic!
REX
Oh, I hate all this uncertainty...!
Woody turns, waves his arms.
WOODY
Whoa, whoa! Hold on! Quiet!!! No one's getting thrown out, okay?! We're all still here, aren't we?!
(beat)
I mean, yeah, we've lost friends along the way -- Wheezy and Etch and...
REX
Bo Peep...?
Woody nods, stoic.
WOODY
Even... Even Bo. All good toys who've gone on to new owners. But through every yard sale, every spring cleaning, Andy held on to us. He must care about us or we wouldn't be here. You wait -- Andy's gonna tuck us in the attic. It'll be safe and warm...
BUZZ
...And we'll all be together.
WOODY
Exactly. There's games up there, and books... And, and...
BUZZ
The race-car track...
WOODY
The race-car track. Thank you!
SLINKY
And the old TV...!
WOODY
There you go -- the old TV! And those guys from the Christmas decorations box! They're fun, right?
The Toys shrug, MURMUR in semi-agreement. Woody softens.
WOODY
And someday -- if we're lucky -- Andy may have kids of his own...
REX
And he'll play with us then, right?
Woody looks at Rex, unable to say "yes".
WOODY
We'll always be there for him.
BUZZ
Come on, guys! Let's get our parts together, get ready, and go out on a high note.
The Toys disperse.
MRS. POTATO HEAD
I'd better find my other eye...
MR. POTATO HEAD
Where'd ya leave it this time?
She puts a hand over her empty eye socket.
MRS. POTATO HEAD
Someplace dark. And dusty!
Hamm turns to Rex.
HAMM
C'mon. Let's see how much we're goin' for on eBay...
Woody watches as the Toys trudge off.
WOODY
Don't worry. Andy's gonna take care of us. I guarantee it.
ON THE DRESSER Woody climbs up, surveys the room -- posters, guitar, textbooks. He turns to a cork board where Andy's high school graduation photo is pinned. He lifts it to find... A SNAPSHOT shows an eight-year-old Andy wearing a cowboy hat and posing with Woody and Buzz and all of Andy's toys. Woody gazes at the halcyon past he can never return to. Buzz steps up behind him.
BUZZ
You guarantee it, huh...?
WOODY
I dunno, Buzz. What else could I say?
BUZZ
Whatever happens, at least we'll be together.
CLOSE ON -- The SNAPSHOT of young Andy.
WOODY (O.C.)
For Infinity and Beyond...
FOOTSTEPS on the stairs. Woody and Buzz turn.
MOLLY (O.S.)
Can I have your stereo?
ANDY (O.S.)
No!
MOLLY (O.S.)
Why not?
ANDY (O.S.)
'Cause I'm taking it with me!
The Toys scramble back into the toy chest. Andy enters with Molly close behind.
MOLLY
Can I have your computer?
ANDY
No!
MOLLY
Your video games?
ANDY
Forget it, Molly!
Molly sighs, walks off. Andy starts typing on his laptop. Andy's Mom enters carrying cardboard boxes and trash bags.
MOM
Okay, Andy, let's get to work here. Anything you're not taking to college either goes in the attic, or it's trash.
She picks up a box and writes "College" in magic marker. Andy stares at his computer.
ANDY
Mom, I'm not leaving 'til Friday!
MOM
C'mon -- it's garbage day.
ANDY
Mom...!
She picks up his skateboard, puts it in the "College" box.
MOM
Look, it's simple: Skateboard? College. Little league trophy? Probably attic. Apple core? Trash. You can do the rest.
She tosses an apple core in a trash bag, hands it to Andy. Molly opens the Toy Chest.
MOLLY
Why do you still have these Toys?
ANDY
Molly, out of my room...!
MOLLY
Three more days and it's mine...!
She strides out the door.
MOM
Molly, you're not off the hook either!
THE TOY CHEST The Toys watch as Mom picks up a box, enters Molly's room.
MOM
You have more toys than you know what to do with. Some of 'em could make other kids really happy...
MOLLY
What kids...?
MOM
The children at the day care. They're always asking for donations.
Rex whispers.
REX
What's "day care"?
WOODY
Shhh...!!!
Mom writes SUNNYSIDE on the box. Molly pouts.
MOLLY
But, Mom...
MOM
No "buts". You choose the toys you wanna donate. I'll drop 'em off at Sunnyside.
Mom leaves. Molly sighs -- Moms! -- surveys the room. She picks up a xylophone, a Magic 8-Ball, puts them in the box. She picks up her old Barbie. MOLLY POV -- Barbie smiles, desperately eager to please. Molly, indifferent, tosses Barbie into the box, then buries her face in a "Teen" magazine. THE TOY CHEST Across the hall, the Toys react.
JESSIE
Poor Barbie...!
HAMM
I get the Corvette.
INT. ANDY'S ROOM - DAY
Mom walks back and finds Andy still on his laptop.
MOM
Andy, come on -- you need to start making decisions.
ANDY
Like what?
She pulls open the toy chest.
MOM
Like, what are you gonna do with these toys? Should we donate 'em to Sunnyside?
ANDY
No...!
MOM
Maybe sell them online...?
ANDY
Mom -- no one's gonna want those old toys. They're junk!
THE TOYS Silently hear this bombshell. Mom lowers the lid.
MOM
Fine. You have 'til Friday -- anything that's not packed for college, or in the attic, is getting thrown out.
ANDY
"Whatever you say, Mom."
He stares at his laptop. She shakes her head, exits. Andy sighs, closes his laptop. He turns, surveys his room. He rolls his chair to the toy chest and opens the lid. Inside are the Toys -- his old friends. They lie frozen, smiling, forever eager to play. Andy gazes at them, making a decision. Abruptly, he grabs a trash bag, snaps it open. He picks up the Toys -- Rex, Potato Head, Jessie -- tosses them in. He pulls Hamm's cork, empties the change out, and dumps him, with rest of the Toys, in the trash bag. Then Andy picks up Buzz and Woody, looks at them. POV -- Buzz, grinning and heroic. Woody, smiling and loyal. TOYS POV -- Andy turns, tosses Woody in the College box. The Toys gasp. Andy drops Buzz into the garbage bag. IN THE BAG Buzz is stunned and hurt. Andy cinches the bag closed and carries it from the room. Behind him, Woody pops up from the College box, shocked. IN THE BAG It's dim and crowded.
REX
What's happening...?!!!
MR. POTATO HEAD
We're getting thrown out, you idiot! That's what's happening!!!
Woody jumps from the box, runs across the room, hides behind the door frame. Andy walks onto the hall landing, reaches up, and pulls open a trapdoor ladder that leads to the attic. Woody watches, relieved. Andy begins climbing to the attic. One rung... Two... Molly enters the hall landing, struggling with her box. It hits the door frame. A Magic 8-Ball falls out.
ANDY
You need a hand?
MOLLY
I got it...
Andy steps down, leaves the bag at the foot of the ladder, grabs the 8-Ball. He helps Molly carry her box downstairs.
ANDY
Here. So, you gonna miss me when I'm gone?
MOLLY
If I say 'no', do I still get your room?
ANDY
Nope.
MOLLY
Then, yes, I'll miss you.
They disappear. IN THE BAG The Toys are piled all over each other. Jessie is hyper- ventilating. Buzz looks around -- plotting his next move.
JESSIE
I can't breathe!
REX
This can't be happening!!!
BUZZ
Quiet...!!!! What's that sound?
They all listen. A faint CREAKING. ON THE LANDING The attic ladder -- spring loaded -- retracts, pushing the toy-filled trash bag out of the way. IN THE BAG The bag is tipped over. The Toys tumble over each other.
TOYS
Whooaaaaa...!!!
ON THE LANDING The ladder pushes free and rises to the ceiling, retracting completely. Woody tiptoes into the hall toward the bag. Suddenly, Mom enters carrying a trash bag. Woody retreats. Mom trips over the toy-filled bag, looks down -- irritated.
MOM
Andy...?!
No answer. Mom sighs, picks up the toy-filled bag and exits, carrying it downstairs. ANDY'S ROOM Woody -- at the door -- is electrified.
WOODY
That's not trash! That's not trash!!
He steps back, mind reeling.
WOODY
Think, Woody...! Think! Think!
(an idea)
Oooh!
(whistles)
Buster! C'mere, boy! C'mere!
Off-screen PAWS and the JINGLE of a dog collar. Buster enters -- old, saggy, panting. Woody vaults onto his back.
WOODY
Okay, boy! To the curb! Hyah!!!
Buster yawns and flops over, pinning Woody under him.
WOODY
No, Buster, no...!
Woody grabs Buster by the jowls, pulls him backwards. Finally, Buster rolls over. Woody sits up, gasping. Off-screen, a door SLAMS. Woody turns. Woody rushes to the window, gazes out. POV -- Mom drops the trash bags at the curb. WHIP PAN -- Rumbling up the street is a garbage truck. Woody gasps. IN THE BAG Mounting panic.
JESSIE
We're on the curb!
MR. POTATO HEAD
Oh, I knew it would come to this!
Buzz grabs the side of the bag, tries to tear it open.
BUZZ
Pull, everyone! Pull!!!
EXT. ANDY'S HOUSE - DAY
Woody grabs a pair of scissors, shoves them in his holster. He lunges for the drainpipe, slides down, hits a gutter and tumbles into the bushes below. CRASH! IN THE BAG The Toys follow Buzz's lead, pulling the sides of the bag.
REX
It won't rip!
HAMM
Ah, forget it! It's triple-ply high- density polyethylene!
BUZZ
There's gotta be a way out!
MR. POTATO HEAD
Andy doesn't want us! What's the point?
BUZZ
(thinking)
Point... Point... POINT!!!
Buzz looks at Rex's pointy tail. OUTSIDE THE BAG The truck RUMBLES closer, two driveways away. IN THE BAG The Toys follow Buzz, shoving Rex backwards.
BUZZ
Push! Push!!!
REX
I can hear the garbage truck!
OUTSIDE THE BAG The bag stretches. Rex's tail is nearly through. IN THE BAG
REX
It's getting closer-fffmmm!
Rex is muffled by a mouthful of plastic. IN THE YARD Woody uses the scissors to snip his way out of the bush. The garbage truck approaches Andy's driveway. Woody races out, dives behind the mail box post. The GARBAGE MAN is in head phones, playing air guitar, drumming the mail box. He empties a garbage can into the truck. Woody ducks from behind the post, plunges his scissors into a garbage bag. Garbage spills out: wrong bag. He tries another. No luck. As the Garbage Man turns, Woody ducks behind the post. The Garbage Man grabs the last bags, tosses them in the truck. He climbs on a running board, SLAPS the side. The truck shifts into gear and lurches off down the street. THE STREET As the truck rumbles off, Woody ducks from behind the mail box, runs after it. The truck pulls up at the next house. Woody hides behind a fire hydrant. The Garbage Man hops off the runner, yanks a lever. The truck's compactor lowers, scoops up the trash bags. From behind the hydrant, Woody watches in horror. The compactor retracts, CRUNCHING the bags remorselessly.
WOODY
Buzz...!!! Jessie...!!!
A TINKLE. Woody turns. In Andy's driveway, an upside-down recycling bin scurries on little feet into the garage. Woody sighs, relieved.
INT. GARAGE - DAY
The Toys cast off the bin. They are traumatized.
SLINKY
Andy threw us out...!
HAMM
Like we were garbage...!
MR. POTATO HEAD
"Junk"! He called us "junk"!
MRS. POTATO HEAD
How could he...?!
She SOBS on Mr. Potato Head's shoulder.
BUZZ
(to himself)
This doesn't make any sense...!
Jessie is furious.
JESSIE
I should'a seen this coming! It's Emily all over again!
She turns and scans the garage -- galvanized, determined.
HAMM
Sarge was right...!
MR. POTATO HEAD
Yeah! And Woody was wrong!
BUZZ
Wait a minute! Hold on! This is no time to be hysterical.
HAMM
It's the perfect time to be hysterical!
REX
(hysterical)
Should we be hysterical...?!!!
SLINKY
No!
MR. POTATO HEAD
Yes!
BUZZ
Maybe! But not right now!
JESSIE (O.S.)
Yeeeeeeeeeeeeeee--hawwwwwwwwww...!!!
Everyone turns. Jessie is smiling.
JESSIE
Fellas -- I know what to do!
They follow her gaze. In the hatchback of Mom's car is Molly's box of toys, marked SUNNYSIDE.
EXT. ANDY'S YARD - DAY
Woody darts from a tree to a landscape boulder, sneaking towards the garage. He peeks out from behind a flowerpot.
WOODY
What the heck...?!
WOODY'S POV -- The Toys clamber into the Donation Box.
INT. CAR / GARAGE - DAY
Buzz stands outside the Donation Box as the other Toys clamber in. Jessie helps the Aliens up into the box.
JESSIE
We should'a done this years ago!
BUZZ
Jessie, wait...! What about Woody?!
JESSIE
He's fine, Buzz! Andy's takin' him to college! Now we need to go!
Buzz looks at her and the others.
BUZZ
You're right. Come on!
He helps pass the Aliens up. Woody approaches, incredulous.
WOODY
Buzz...?
BUZZ
Woody...!
WOODY
What's going on? Don't you know this box is being donated!
BUZZ
It's under control! We have a plan!
REX
We're going to Day Care!
WOODY
Day Care?! What -- have you all lost your marbles?!
MRS. POTATO HEAD
Didn't you see? Andy threw us away!
WOODY
No...! No, no, no! He was putting you in the attic!
MR. POTATO HEAD
Attic? So how'd we end up on the curb?!
WOODY
That was a mistake! Andy's Mom thought you were trash!
HAMM
Yeah! After he put us in a trash bag!
MRS. POTATO HEAD
And called us "junk"!
WOODY
I know it looks bad but, guys, ya gotta believe me!
MR. POTATO HEAD
Sure thing, "College Boy"!
JESSIE
Andy's movin' on, Woody! It's time we did the same.
Jessie and the others duck in the box, pull the flaps shut.
WOODY
Okay, out of the box! Everyone, right now! Come on! Buzz -- gimme a hand. We gotta get this thing outta here!
He walks around and tries to push the box out of the car.
BUZZ
Woody -- wait! We need to figure out what's best for every--...
SLAM!!! The hatchback shuts. Buzz and Woody turn. Through the window, Andy's Mom walks to the driver's seat, gets in. Woody and Buzz crouch down.
WOODY
Oh, great! Great!!! It's gonna take us forever to get back here!
The car lurches into gear and drives off.
INT. DONATION BOX / CAR - DAY
The Toys have gathered around Barbie, who is sniffling. Mrs. Potato Head pats her shoulder.
MRS. POTATO HEAD
It's all right, Barbie. You'll be okay!
Barbie nods, putting on a brave front.
BARBIE
Well... Molly and I have been growing apart for years, it's just... I can't believe she would throw me away!
She breaks down again. Potato Head rolls his eyes.
MR. POTATO HEAD
Welcome to the club, Toots!
Suddenly, the box flaps open and Woody and Buzz vault in.
WOODY
Okay, everyone, listen up... We can get back to Andy's but we gotta move fast. We'll hide under the seats 'til we get home...
The Toys react, incensed.
MR. POTATO HEAD
Get it through your vinyl noggin, Woody -- Andy doesn't want us anymore!
WOODY
He was putting you... In the attic!!!
Jessie goes toe-to-toe with Woody.
JESSIE
He left us... On the curb!
Buzz intervenes.
BUZZ
Alright, calm down! Both of you!
WOODY
Okay, fine! Just wait'll you see what Day Care's like!
REX
Why...?! What's it like?!
WOODY
Day Care is a sad, lonely place for washed-up old toys who have no owners.
Abruptly, Barbie bursts into tears.
HAMM
Quite the charmer, aren't ya?
WOODY
Oh, you'll see! As soon as we get to Day Care, you'll be begging to go home.
The car hits a bump and Woody tumbles.
EXT. DAY CARE, PARKING LOT - DAY
The car pulls into a modest day care center -- Sunnyside -- a cinder block building with bright, kid-friendly murals.
INT. / EXT. DONATION BOX / PARKING LOT - DAY
Andy's Mom pulls out the box, carries it across the lot. Inside the box, the Toys peer out the hand slots.
REX
Can anyone see anything?
JESSIE
There's a playground...!
Through fencing we SEE glimpses of kids running and playing with SHOUTS and LAUGHTER. The Toys look at each other.
JESSIE
We hit the jackpot, Bullseye!
HAMM
So much for "sad and lonely", eh?
WOODY
Okay, calm down, guys. Let's keep this in perspective...
MR. POTATO HEAD
Perspective?! This place is perfect!
REX
Woody, it's nice! See, the door has a rainbow on it!
INT. LOBBY - DAY
Andy's Mom is BUZZED through glass doors. A RECEPTIONIST behind a counter types at a computer while a small girl on the counter plays with a toy chimp. Andy's Mom enters.
MOM
Hey, there!
RECEPTIONIST
Wow! Haven't seen you in ages...
MOM
Just wanted to drop these old toys off.
She puts the box on the counter.
MOM
Is this Bonnie?! Look how big you are!
The girl, BONNIE, looks up, then turns to her Mother, shy.
RECEPTIONIST
Say hi, sweetie!
BONNIE
Hi.
RECEPTIONIST
How are your kids? Molly and Andy?
MOM
Not kids anymore. Andy's going to college on Friday. Can you believe?
The Receptionist opens the box. Bonnie tries to look in.
RECEPTIONIST
You sure they won't miss these?
MOM
Nah, they never get played with.
Mom departs and the Receptionist folds up the box flaps.
INT. DONATION BOX / HALLWAY - DAY
The Toys peek out as they are carried down a hallway.
MR. POTATO HEAD
You see any kids...?
REX
Where's she taking us?
INT. DONATION BOX / BUTTERFLY CLASSROOM - CONTINUOUS
The Box is placed on a counter. The Receptionist departs. In the box, the Toys step up and jostle for a view.
JESSIE
Look...!
MR. POTATO HEAD
Wow!
REX
What?! What is it?!!!
TOYS' POV -- An idyllic day care classroom, filled with the happy bustle of four- and five-year-olds, playing with toys -- dinosaurs, a baby doll, a pink Teddy bear, a Ken doll. The Toys stare, agog. Rex jockeys for a peek.
REX
Aaah! I can't see!
A bell RINGS. A TEACHER opens the playground door.
BUTTERFLY ROOM TEACHER
Okay, everyone, recess! C'mon!
The kids CHEER and flood out on the playground. The Teacher turns off lights, shuts the door behind her. IN THE BOX Silence. The room is still. The Toys speak sotto.
HAMM
So, now what do we do?
WOODY
We go back to Andy's! Anyone see an exit?
MR. POTATO HEAD
Exit schmexit! Let's get played with!
BUZZ
Careful! These toys might be jealous of new arrivals!
REX
I wanna see! It's my turn!
Rex presses in. The Toys react.
BUZZ
Oooff...!!!
SLINKY
Whoa!
HAMM
Hey!
The whole box tilts and falls off the counter -- SPLAT!!! The Toys spill out. They look up. Around the room, all the Day Care Toys stare back. A Jack In The Box pops up.
JACK IN THE BOX
New Toys!
They all CHEER and burst into smiles. Jessie shakes hands with a ROCK MONSTER toy.
JESSIE
Well, howdy! Glad to meetcha!
Buzz extends his hand to a ROBOT toy.
BUZZ
Buzz Lightyear, at your service.
Hamm, Slinky and Barbie shake hands with an OCTOPUS toy.
HAMM
Oh boy, oh boy, oh boy!
Rex laughs, circled by adoring little dinosaurs. An Insect Man ACTION FIGURE helps Mrs. Potato Head get up.
MRS. POTATO HEAD
Oooh, thank you!
(reaches for his bicep)
Oh, may I? Ohhh!
He flexes obligingly. She feels his arm, GIGGLES. Mr. Potato Head looks on. He flexes his own arm. It sags. A Crane toy circles the Aliens. They gaze up, rapturous.
ALIENS
The Claw...!!!
SFX -- HONK! HONK! Everyone turns. A Tonka Truck races forward, then backs up in a quick 180 arc, revealing a large pink Teddy bear, LOTSO, in its bed. Lotso taps a Tinker Toy cane and the truck bed rises, "dumping" him out. Like Bob Hope stepping off the links in Palm Springs, Lotso exudes an easy, cheerful charisma.
LOTSO
Well, hello there! I thought I heard new voices! Welcome to Sunnyside, folks! I'm Lots-o'-Huggin' Bear! But, please, call me Lotso!
Buzz steps up, offers a hand.
BUZZ
Buzz Lightyear. We come in pea...
Lotso grabs Buzz, lifts him in a smothering hug.
LOTSO
(chuckling)
First thing you gotta know about me... I'm a hugger!!
He releases Buzz, looks at the other Toys.
LOTSO
Oh, look at y'all! You been through a lot today, haven't you?
MRS. POTATO HEAD
Oh, it's been horrible!
LOTSO
Well, you're safe now. We're all cast-offs here -- we been dumped, donated, yard-saled, second-handed, and just plain thrown out. But just you wait -- you'll find being donated was the best thing that ever happened to ya!
Woody scoffs, but Rex steps up excitedly.
REX
Mr. Lotso...? Do toys here get played with every day?
LOTSO
All day long. Five days a week.
JESSIE
But what happens when the kids grow up?
Lotso steps to a wall of day-care class photos.
LOTSO
Well, now, I'll tell ya -- when the kids get old, new ones come in. When they get old, new ones replace them. You'll never be outgrown or neglected. Never abandoned or forgotten. No owners means no heartbreak.
The Toys are overjoyed. Even Woody is taken by this vision.
JESSIE
Yeee-hawww..!!!
MRS. POTATO HEAD
It's a miracle!
MR. POTATO HEAD
(to Woody)
And you wanted us to stay at Andy's!
WOODY
Because we're Andy's toys!
Lotso puts an arm around Woody.
LOTSO
So you got donated by this "Andy", huh? Well, it's his loss, Sheriff! He can't hurt you no more.
WOODY
Whoa, whoa, whoa, whoa...
Lotso cuts him off.
LOTSO
Now let's get you all settled in. Ken?! Where is that boy? Ken...?! New toys!
A Ken doll appears in an upper window of a doll house.
KEN
Far out! Hey, hi, everybody!
(to Lotso)
Down in a jiff, Lotso!
He rides down in an elevator and opens the door. ON KEN -- Slip-on shoes, double-pleated shorts, and an unbuttoned animal-print shirt that reveals his ripped abs. He addresses the Toys with an air of boundless self-regard.
KEN
So. Who's ready for Ken's Dream Tour?
LOTSO
Let's show our new friends where they'll be stayin'!
KEN
Folks, if you wanna step right this--
He turns, sees Barbie. She looks up, sees him. Sparks fly. MUSIC swells. Destiny calls. They approach.
KEN
Hi! I'm Ken.
BARBIE
Barbie.
(breathless)
Have we ever me--...?
KEN
Huh-uh...! I would've remembered!
(Barbie GIGGLES)
Love your leg warmers.
BARBIE
Nice ascot.
Lotso breaks the spell.
LOTSO
C'mon, Ken! Recess don't last forever!
KEN
Right on, Lotso! This way everyone!
He extends a gentlemanly arm. Barbie giggles, takes it.
LOTSO
You got a lot to look forward to, folks -- the Little Ones love new toys!
He leads them off. Rex, Buzz, and Woody trail behind.
BUZZ
What a nice bear!
REX
And he smells like strawberries!
Woody sighs, exasperated. As they walk, Ken addresses the Toys like a tour leader.
KEN
Folks, if I can share, here at Sunnyside, we've got, well, just about anything a Toy could ask for.
Lotso leads them past shelves of toy supplies.
LOTSO
Spare parts, super glue, and enough fresh batteries to choke a Hungry- Hungry Hippo.
CLOSET DOOR Lotso flings open a utility closet, revealing a spa-like workshop in which smaller Toys fix up bigger Toys -- stitching rips, etc. The Toys gasp, impressed.
LOTSO
Think you're gettin' old? Well, stop your worryin'!
KEN
Our repair spa will keep you stuffed, puffed, and lightly buffed!
An Elephant plushie is getting his belly re-stuffed. He SNEEZES. Stuffing flies everywhere. IN THE CLASSROOM As the tour continues, Ken gestures to his Dream House.
KEN
And this, well, this is where I live -- Ken's Dream House. It has a disco, it's got a dune buggy... And a whole room just for trying on clothes.
BARBIE
You have everything!!!
KEN
Everything except someone to share it with.
He looks down, walks off. Barbie sighs, about to faint. Lotso reaches a bathroom door at the end of the room.
LOTSO
You need anything at all, you just come talk to me. Here we are...!
Lotso raps the door with his cane. It's opened by a large baby doll, BIG BABY, with a lazy, drooping eye. Big Baby COOS, peers out at the Toys. They stare up in wonder.
LOTSO
Well, thank you, Big Baby. Why don't you come meet our new friends?
He throws an arm around Big Baby in Toy-solidarity.
LOTSO
Poor Baby! We were thrown out together, me n' him. Abandoned by the same owner!
INT. BATHROOM - DAY
Lotso leads the Toys through a bathroom.
LOTSO
But we don't need owners here at Sunnyside! We own ourselves! We're masters of our own fate...! We control our own destiny!
Mr. Potato Head slips and falls, losing his parts.
LOTSO
Uh, watch out for puddles...
INT. CATERPILLAR ROOM - DAY
Lotso leads the Toys into a new classroom. The Day Care Toys here are scuffier and more toddler-appropriate.
LOTSO
And here's where you folks'll be staying -- the Caterpillar Room!
The Toys gaze up in awe. There's kid stuff everywhere: tiny tables and chairs, finger paintings, wood blocks, banners of the alphabet, wire cubby bins, etc. The whole beautiful, child-centric universe of day care.
JESSIE
Look at this place!
BUZZ
\[Whistles\]
HAMM
Holy moly, guacamole!
MR. POTATO HEAD
Jackpot, baby!
SLINKY
Whoa, puppy!
REX
Wow!
A TOY TRAIN weaves through the room, blowing its WHISTLE. The Potato Heads look around in wonder.
MRS. POTATO HEAD
(fighting tears)
It's so beautiful!
Woody is awestruck. Something nudges him. A RINGING.
WOODY
What the...?
He looks down. An old Fisher Price Chatter Telephone is bumping into him. Woody kneels down, friendly. Woody Oh, hey, little fella...
LOTSO
How long's it been since y'all got played with?
SLINKY
It's been years!
LOTSO
Well, just you wait. In a few minutes that bell's gonna ring and you'll get the playtime you've been dreaming of.
REX
Play! Real play!!! I can't wait!!!
LOTSO
Now, if you'll excuse us, we best be headin' back. Welcome to Sunnyside, folks!
Lotso climbs back into the Tonka Truck. The Toys wave.
REX
Thank you!
HAMM
Thank you there, Buddy Boy!
MR. POTATO HEAD
Take care, Pinky!
BUZZ
Goodbye, Mr. Lotso! Thank you!
MRS. POTATO HEAD
Goodbye...!
Barbie turns to Ken -- an end-of-the-first-date moment.
BARBIE
Will I see you again?
KEN
Oh, I'll see you tonight. In my dreams.
She giggles. They stare. It's like they could both spontaneously combust. At the bathroom door, Lotso waits.
LOTSO
Ken...! Let's get a move on!
Ken turns to Barbie, takes her hands.
KEN
Barbie, come with me! Live in my Dream House! I know it's crazy! I know we've just met! Aw, heck -- you don't know me from GI Joe. But when I look at you I feel like we were...
KEN & BARBIE
...Made for each other!
They gasp, thunderstruck. Barbie turns, gazes to the Toys. Jessie grins and winks. Mrs. Potato Head waves -- Go!
BARBIE
Yay!
She gives a leg kick. Ken pumps his fist.
KEN
Yessssssss...!!!
Lotso calls again.
LOTSO
Ken...!
KEN
Coming, Lotso!
Ken leads Barbie to the Truck and they hop in, giddy. Lotso taps his cane and the Truck roars off. Big Baby is the last to exit, closing the door -- CLICK -- behind them. Through windows, children are heard LAUGHING and PLAYING. The Toys turn and wander toward the playground door.
HAMM
Sounds like kids to me...!
REX
Oh, I wanna get played with! Why can't time go faster?!!!
JESSIE
How many ya reckon are out there?!
MRS. POTATO HEAD
Oh, they sound so sweet!
Woody looks at them, knowing he's fighting a losing battle.
WOODY
Look, everyone, it's nice here, I admit. But we need to go home...!
The Toys glance at each other. Jessie steps forward.
JESSIE
We can have a whole new life here, Woody. A chance to make kids happy again.
SLINKY
Why don't you stay?
REX
Yeah, Woody! Stay with us!
HAMM
Come on, Woodster!
MR. POTATO HEAD
You'll get played with...!
MRS. POTATO HEAD
Stay here!
JESSIE
You can make a new kid happy!
WOODY
I can't! No, no! Guys, really, no!
The Toys are taken aback. Woody struggles to stay calm.
WOODY
I have a kid. You have a kid -- Andy! And if he wants us at college, or in the attic, well, then our job is to be there for him! Now I'm going home! Anyone wants to join me is welcome! C'mon, Buzz!
He heads off. Buzz stays put. Woody turns back.
WOODY
Buzz...?
Buzz -- torn -- steps up to Woody, sober and gentle.
BUZZ
Our mission with Andy's complete, Woody.
WOODY
What...?!
BUZZ
And what's important now is we stay together.
WOODY
We wouldn't even be together if it weren't for Andy! Look under your boot, Buzz! You too, Jessie! Whose name is written there?
The Toys stare at the ground. Rex pipes up.
REX
Maybe Andy doesn't care about us any more?
WOODY
Of course he does! He cares about all of you! He was putting you in the attic -- I saw! You can't just turn your back on him now!
Jessie steps forward -- incensed.
JESSIE
Woody -- wake up! It's over! Andy is all grown up!
Woody stares, trying to contain his anger.
WOODY
Okay, fine! Perfect! I can't believe how selfish you all are.
Jessie glares back. No one moves.
WOODY
So this is it? After all we've been through?
Buzz steps forward, offers a handshake. Woody looks at Buzz. He fixes his hat, turns away. Buzz is stung. Woody walks to the hall door. Bullseye follows.
WOODY
Bullseye, no. You need to stay!
He moves on. Bullseye again tries to follow.
WOODY
Bullseye, no! I said stay!
(softens)
Look -- I don't want you left alone in the attic, okay? Now, stay.
Bullseye retreats. Jessie puts a consoling hand on him. KEYS in a LOCK. The Toys turn.
BONNIE'S MOM (O.S.)
Bonnie...? Bonnie!
Woody looks at them, doesn't know what else to say.
WOODY
I gotta go.
The Toys scatter. Woody hides behind the door just as Bonnie's Mom enters.
BONNIE'S MOM
Bonnie? You in here?
Woody sneaks out the door, into the hall. CLOSE ON -- Buzz and Jessie, watching.
INT. HALLWAY
TEACHERS CHAT at the end of the hallway. Woody peeks out from behind a garbage can, tip-toes into the hall, turns. A janitor cart approaches. Woody falls limp. The cart passes over Woody, leaving the hall empty. A whistling JANITOR pushes the cart down the hallway. TILT DOWN to FIND Woody holding the underside of the cart. WOODY POV -- He rolls through the lobby, toward the exit...
WOODY
C'mon, c'mon...
...and veers into a bathroom.
WOODY
No, no...!
INT. BATHROOM - CONTINUOUS
The Janitor cleans the sinks. Woody sneaks into a nearby stall. Looks up, sees an open window. He tears a square of toilet paper, places it on the seat, climbs up the tank lid, leaps to the toilet paper roll, jumps to the top of the stall, backs toward the window. At the sink, the Janitor looks in the mirror, starts.
JANITOR
What the heck?
Woody freezes. The Janitor stares at the mirror, Woody in its reflection. RACK FOCUS -- The Janitor reaches up, wipes a stain off.
JANITOR
That's better.
RACK BACK -- The window in the mirror. Woody's gone.
EXT. PLAYGROUND - DAY
Woody finds himself above the playground. Below, Bonnie plays hopscotch by herself. Her Mom walks over.
BONNIE'S MOM
Bonnie...? There you are. C'mon, honey. Time to go home.
She leads Bonnie off. Woody climbs up a drainage pipe to the roof. He runs across the roof, stops at the edge. POV, PANNING -- A high wall surrounds the day care campus. Woody frowns. A gust lifts his hat off, blows it away.
WOODY
Oh, no! No, no, no...!
His hat lands under a kite tangled on the roof top. Woody stares at the kite -- an idea. CUT TO: Woody runs across the roof, kite over his head. He leaps and soars across the playground and over the wall. He glides down, makes a perfect landing, and laughs, pleased. Abruptly, another gust hits, yanking him high in the air. Woody looks at the ground far below. The wind takes the kite higher still, dipping and swirling frenetically. Woody panics, wrapping himself around the kite's cross-bar. The bar snaps. The kite plummets. Woody tries desperately to flap the kite wings, but it doesn't slow his fall. He crashes into a tree, hitting branches on the way down. He falls from the tree and stops -- eyes shut -- inches above the pavement. Opens one eye. Slowly, his pull-string lifts him upward.
WOODY
(voice box)
Reach for the sky!
Woody dangles from a branch, trying to free himself. Bonnie approaches, playing hopscotch. Woody sees her, goes limp. She bumps into Woody, looks up. Looks around. She tugs Woody off the branch. His pull-string retracts.
WOODY
(voice box)
You're my favorite deputy!
She smiles. HONK HONK!
BONNIE'S MOM (O.S.)
Bonnie!
BONNIE
Coming!
She shoves Woody in her backpack, zips it up, runs off. IN THE BACKPACK Woody is trapped.
WOODY
Oh, great!
As Bonnie and her Mom drive off, CRANE DOWN to REVEAL... Woody's hat, lying on the ground.
INT. CATERPILLAR ROOM - DAY
Bullseye whimpers, stares at the door. Jessie consoles him.
JESSIE
Oh, it's gonna be okay, Bullseye.
BUZZ
Woody's going to college with Andy. It's what he's always wanted.
MR. POTATO HEAD
He's crazy! College is no place for a toy!
MRS. POTATO HEAD
Toys are for play time!
HAMM
Speaking of play time...! They're lining up out there!
Hamm, at the window, is spying on the playground.
BUZZ
How many?
HAMM
There must be dozens!
REX
Ohhh...! I can hardly wait!
BUZZ
Places, everyone!
The Toys scramble into play position. Buzz notices the Day Care Toys edging away from the door -- ducking, hiding, trembling, diving for cover. The bell RINGS. Kids SHRIEK. Footsteps THUNDER. Rex spreads his arms and runs to the playground door.
REX
At last! I'm gonna get played with!
BUZZ
Uh, Rex...?
REX
Come to Papa!
BOOM! The door bursts open, swatting Rex across the room. A horde of squealing, hyped-up TODDLERS enter. The Toys go limp. Buzz closes his helmet. The toddlers descend on the Toys with SHRIEKS of delight. Toys are snatched up by eager, excited hands. A Boy and Girl stretch Slinky until his coil goes haywire. A Boy smashes the Toy Train into a wall. A Girl picks up Buzz, bringing him straight to her mouth. A Girl dips Jessie's hair in paint and uses her as a brush. A Boy runs across the room, with Bullseye on top of a Corn Popper toy. Bullseye slides off, gets caught in its wheels. Hamm is bathed in glue... Then coated in green glitter. A Girl "rides" Rex, snapping his tail off. The Aliens are squashed as a Boy sits on them. A Boy picks up Mr. Potato Head's eye, shoves it up his nose. A Girl uses Buzz to hammer a square peg into a round hole. BUZZ POV -- Buzz smashes the peg. Bam, Bam, Bam! A Boy runs by, tugs the Girl's hair. She screams, tosses Buzz away. He lands on the window sill. BUZZ POV -- Across the playgound, in the Butterfly Room, a class of Four- and Five-Year-Olds play lovingly with Lotso and the other toys. Buzz frowns -- Why is it Heaven in there and Hell in here? Abruptly, a HAND grabs him, pulls him back into the fray. CUT TO:
WOODY
(voicebox)
There's a snake in my boot!
INT. BONNIE'S BEDROOM - DAY
CLOSE ON -- Woody. His string is pulled again.
WOODY
(voicebox)
I'd like to join your posse, boys, but first I'm gonna sing a little song.
Bonnie holds Woody, smiles.
BONNIE
A sheriff..!! Move over, Mr. Pricklepants! We have a guest!
She plunks Woody at a small table circled by other toys -- a HEDGEHOG, a UNICORN, and a TRICERATOPS.
BONNIE
You want some coffee?
She sets out cups, pretends to pour.
BONNIE
It's good for you! But don't drink too much or you'll hafta... Hafta...
She dances from foot to foot.
BONNIE
Be right back...!
She runs out the door. Woody comes alive, looks around. The other Toys stay frozen.
WOODY
Psst! Hey! Hello! Hi -- Excuse me!
The Hedgehog, MR. PRICKLEPANTS, comes alive briefly.
MR. PRICKLEPANTS
Shhh!
WOODY
Can you tell me where I am?
MR. PRICKLEPANTS
Shhhhhh!!!
UNICORN
The guy's just askin' a question!
MR. PRICKLEPANTS
Well, excuse me, I'm trying to stay in character!
He freezes again. The Unicorn, friendly, turns to Woody.
UNICORN
My name's Buttercup.
MR. PRICKLEPANTS
Shhhh!!!!
TRICERATOPS
I'm Trixie!
MR. PRICKLEPANTS
Shhhhh!!!!
TRIXIE
Shhhhhh!!!!!
BOTH
Shhhhhhhhhh!!!!!!
WOODY
Guys, hey! I don't know where I am!
TRIXIE
We're either in a cafe in Paris, or a coffee shop in New Jersey. I'm pretty sure I just came back from the doctor with life-changing news!
Woody is baffled.
BUTTERCUP
We do a lot of improv here. Just stay loose, have fun, you'll be fine.
WOODY
No, no, no, I...
A FLUSH. Woody gets back in his pose. Bonnie runs in.
BONNIE
Who wants lunch? Beep! Boop! Beep!
She pushes buttons on a toy microwave oven, opens the door, removes a plastic hamburger, plunks it in front of Woody.
BONNIE
It has a secret ingredient...
She lifts the top bun...
BONNIE
...Jellybeans!
Bonnie eats a jellybean, pulls Woody's string.
WOODY
(voicebox)
Somebody's poisoned the water hole!
BONNIE
Poison?!
She spits the jellybean -- it sticks to Pricklepants's head.
BONNIE
Who would do such a mean thing?!
She GASPS and becomes a different character.
BONNIE
(as Witch)
Hee-hee-hee-hee-hee!!
She turns. SMASH ZOOM to a DOLL on the shelf behind her.
BONNIE
The scary witch!!
Bonnie picks up the Doll, flies it around the room.
BONNIE
Look out! She's using her witch powers!
CLOSE ON -- Woody.
BONNIE (AS WOODY)
I know where to hide!
INT. BONNIE'S BEDROOM - MOMENTS LATER
The toy box at the foot of Bonnie's bed. It creaks open. Bonnie peeks out, grabs a Totoro, pulls it closed again.
INT. TOY BOX - DAY
Bonnie and Woody huddle in the dark.
BONNIE
She'll never find us in here!
Bonnie surreptitiously lifts the Doll into view.
BONNIE
What's wrong...?
She turns. Sees the doll, SCREAMS.
INT. BONNIE'S BEDROOM - DAY
The toy box tips over, spilling Bonnie and her Toys.
BONNIE
She found us! We need a spaceship to get away!
She runs off into a closet. The Toys come alive.
TRIXIE
You're doin' great!
MR. PRICKLEPANTS
Are you classically trained?
WOODY
Look, I just need to know how to get outta here...!
BUTTERCUP
There IS NO WAY OUT!!!
Woody is stunned.
BUTTERCUP
Just kidding. Door's right over there.
The Doll gets up, greets Woody.
DOLL
Well, Cowboy, you just jumped right in, didn't ya? I'm Dolly.
WOODY
...Uh, Woody.
They shake.
DOLLY
"Woody"? Really? You're gonna stick with that? 'Cuz now's your chance to change it -- new room and all. That's coming from a doll named "Dolly".
A PEA POD TOY zips open behind Woody. He turns.
PEA #1
Who's the new guy?
PEA #2
Are you a real cowboy?
WOODY
Well, actually, I....
PEA #3
'Course he's not, pea-brain! He don't even have a hat!
WOODY
I do too have a... My hat?!
PEA #3
Told 'ya!
BONNIE (O.S.)
I found the spaceship!!
MR. PRICKLEPANTS
Show time!
Woody and the Toys go lifeless as Bonnie runs out of the closet with makeshift shoebox rocket.
BONNIE (AS WOODY)
Quick! Fasten your seatbelts! Close your tray tables!
She stuffs the toys in the box, drops it on a bedsheet.
BONNIE
Hold on, it might get a little bumpy! 3... 2... 1...! BLAST-OFF!!
She pulls the sheet taut. The Toys fly into the air. SLOW MOTION -- Woody soaring. The moment is magical. Woody and the others tumble onto the bed. Bonnie flops down with them, hugging them close.
BONNIE
Yeee-haaaaw!!! You saved us, cowboy! You're our hero!!!
She pulls Woody to her cheek -- just like Andy once did. Woody glances at the other Toys. They smile at him. He smiles back. That was great.
INT. CATERPILLAR CLASSROOM - DUSK
The Toys come to life, groaning.
SLINKY
Oh, I've got a kink in my slink.
Rex staggers by, tail missing.
REX
My tail...! Where's my tail?!
Buzz sits up, dazed. Hamm pulls his cork. Detritus spills out. He strains. POP -- a Weeble pops out. Hamm picks up a plastic arm.
HAMM
Someone need a hand?
He tosses it to Mr. and Mrs. Potato Head -- their parts completely jumbled.
MR. POTATO HEAD
Where's my nose... Here's your arm... Honey, the moustache...?
MRS. POTATO HEAD
Here it is... Gimme that, that's mine...
Buzz straightens up -- back CRACKING.
BUZZ
I don't recall play time being quite that strenuous.
Rex pulls his tail from a peg board.
REX
Andy never played with us like that!
Jessie peels a decal off Bullseye's nose.
JESSIE
We have to make the best of it.
MR. POTATO HEAD
But these toddlers! They don't know how to play with us!
REX
They're too young!
HAMM
They're sticky!
MRS. POTATO HEAD
We should be in the Butterfly Room! With the big kids!
MR. POTATO HEAD
That's right!
HAMM
You said it!
BUZZ
We'll get this straightened out -- I'll go talk to Lotso about moving us to the other room.
He clambers up a table, leaps to the bathroom door knob. It doesn't move.
BUZZ
Blast. Try that one!
Jessie leaps to the hallway door latch.
JESSIE
It's locked!
At the playground door, Slinky tests the door knob.
SLINKY
Same here!
Buzz drops down, points.
BUZZ
Try the windows.
Hamm, on the sill, examines a window lock.
HAMM
Eh, negatory. It's a Fenster- Schneckler 380. Finest childproof lock in the world.
MRS. POTATO HEAD
We're trapped!
BUZZ
Wait! Did anyone notice the transom?
REX
What's a transom, Buzz?
Buzz looks up -- atop the hallway door is an open transom.
MR. POTATO HEAD
Oh, great! How do we get up there?!
Buzz narrows his eyes, thinking.
INT. CATERPILLAR CLASSROOM - LATER
The Toys hold a Fisher Price Corn Popper. Buzz, a loop of red yarn wrapped across his chest, stands at the rear.
BUZZ
All right, everyone! On three! One... Two...
JESSIE
Three!!!
They take off, pushing the popper at top speed.
JESSIE
Let go!
The Toys drop away, leaving Buzz to jump onto the handle. The popper strikes an upturned table, lofting Buzz in the air. He grabs a string that runs across the room, using it like a zip-line. As he reaches the end, Buzz leaps off, expands his wings and flies towards a display of hanging paper-mache caterpillars, using their legs to swing from one to another. On the ground, Hamm makes signal.
HAMM
Jump!
Bullseye and Rex jump off a shelf, catapulting a broom forward. Buzz bounces off the broom, towards the transom. He flips, twists, and lands -- safe. The Toys rejoice.
REX
He did it!!!
JESSIE
Way to go, Buzz!
Buzz casts part of his yarn down to the Toys. They run and grab it. Buzz turns to the hallway, stops. BUZZ POV -- In the hall below, a pair of tough Day Care Toys, TWITCH (Bug Man) and CHUNK (Rock Man) saunter past.
CHUNK
You think they had a fun playtime?
TWITCH
Shhh...!!! They might hear you!
Buzz frowns. O.S. GIGGLING. Buzz turns. Down the hall, Ken and Barbie say goodbye at the Butterfly Room door.
KEN
Okay, now you start.
I...
KEN
...love...
BARBIE
...you.
KEN
See?! That time I said "love". Okay, now, me first.
CLOSE ON -- Buzz. He stifles a dry heave.
BARBIE
Okay, okay, okay....!
I...
BARBIE
...love...
KEN
...you! See what I mean? It changes every time!
BARBIE
You are so smart!
As the Tough Toys pass, they drag Ken away.
TWITCH
C'mon, Romeo... We're late.
BARBIE
I'll wait up for you!
KEN
Kisses...!
INT. HALLWAY - NIGHT
Buzz -- using the red yarn -- rappels down into the hall. He unties the yarn and steals off down the hallway. He reaches the Teacher's Lounge, approaches cautiously.
INT. TEACHERS' LOUNGE - NIGHT
Buzz peeks in. Ken, Twitch and Chunk approach a vending machine. Ken opens the bottom flap and they all go inside. Buzz frowns. He walks to the vending machine. Suddenly -- strangely -- a cow MOOOOS. Buzz looks around, confused. Then he looks up. Silhouetted in the top of a glowing vending machine are Ken and the rest of his Gang. A Rooster crows: COCKADOODLE- DOO!! This is followed by MUFFLED LAUGHS and HUBBUB. Buzz approaches the machine. From inside come VOICES.
GANG (O.S.)
Yeah, all right! Let's go again!
Buzz pushes open the dispenser flap, climbs in. Above him, a pig OINKS loudly. More LAUGHS and GRIPES.
INT. VENDING MACHINE - NIGHT
Buzz climbs up rows of candy bars and potato chips. He gets to the top, sneaks towards the light. In the top of the vending machine, a Gang of toys sits around a table.
KEN
All right, place yer bets! Any splits? Here we go!
The Gang throws batteries, Monopoly money, other items into a pot. Stretch the Octopus pulls the cord on a Farmer Says toy. As the arrow spins, the Gang roots for their bets.
GANG
C'mon, Duckie, Duckie! Big Pig! Big Pig...! Turkey! Gimme the Turkey!!
Ken waves his hand over the table.
KEN
All right. No more bets.
The spinning arrow stops on "Duck".
FARMER SAYS TOY
Here is a duck: "Quack, quack".
STRETCH
Yes! Yes! Come to Mama!
Stretch scoops up the pile of money. The others GROAN.
KEN
Stretch takes the round.
The game continues, Ken presiding.
KEN
Okay, minimum bet, five Monopoly. Coyotes wild. Changing two double AA's.
(as he changes money:)
Hey, what do you guys think of the new recruits? Any Keepers?
SPARKS
Nah, disposable...!
STRETCH
Landfill!
KEN
Cowgirl...? Dinosaur...?
TWITCH
Toddler fodder!
They start placing bets again.
KEN
How 'bout that Spaceguy? He could be useful.
Buzz reacts, listening.
CHUNK
He ain't the sharpest knife in the... place where they keep the knives.
SPARKS
Neither are you, Chunk.
LAUGHS. Twitch teases Ken.
TWITCH
You got a little Keeper yourself, didn't'cha, Ken?
KEN
Hey! Lay off, Twitch! Barbie's different!
STRETCH
Mr. Softy over here...!
CHUNK
Whaddaya expect from a girls toy?
Ken stands, furious.
KEN
I'm not a girls toy! I'm not! Why do you guys keep saying that?!!!
Twitch waves a hand.
TWITCH
All them Toys are disposable. We'll be lucky if they last us a week!
Buzz reacts. He turns to go... And bumps into Big Baby. Big Baby tosses Buzz on the table. The Gang quickly grabs and subdues him. Ken smirks.
KEN
Well, well, looky who we have here.
BUZZ
Stop! Let me go!
He struggles. Ken narrows his eyes.
KEN
Take him to "The Library".
BUZZ
Nooooooo!
A sock puppet is pulled over Buzz's head. CUT TO:
INT. BONNIE'S BEDROOM - NIGHT
Bonnie sleeps -- toys tucked next to her. Woody carefully slips from under the covers. Bonnie stirs, moves her arm. Woody freezes, leg in the air. She settles back to sleep. Woody tiptoes across the bed, looks around the room. ZOOM IN -- Bonnie's backpack, hanging from her door handle. Woody pushes a chair to the door, climbs up, lifts a cape. The address on the backpack is revealed -- 1225 Sycamore.
WOODY
1225 Sycamore!
MR. PRICKLEPANTS (O.S.)
Woody...! What're you doing?
Woody turns. Bonnie's Toys are watching from the bed.
WOODY
I... I gotta get out of here!
TRIXIE
You're leaving?!
BUTTERCUP
Didn't you have fun today?
WOODY
Of course I did! More 'n I've had in years, but... Y'see, I belong to someone else...
He holds up his boot, where "ANDY" is written.
BUTTERCUP
Who's "Yid-nah"?
MR. PRICKLEPANTS
I believe it's pronounced "Yid-nay".
DOLLY
Guys -- it says "Andy"!
WOODY
He's my Bonnie...! And he's leaving soon. I gotta get home!
PEA POD
Where's home?
WOODY
Elm Street. 234 Elm.
(thinking)
You guys have a map?
DOLLY
We're on it, Cowboy. Trixie...?
Trixie giggles.
TRIXIE
I'll fire up the computer!
INT. STORAGE CLOSET - NIGHT
The sock is pulled off Buzz's head. He's tied to a toy chair in a closet lit with an overhead bulb. In shadows, Lotso's Henchmen lurk. Buzz struggles to free himself.
BUZZ
Unhand me, you cowards! I demand to talk to Lotso!
KEN
Zip it, Buck Rogers! You don't talk to Lotso 'til we say you can...
Abruptly, the door opens. Lotso stands, astonished.
LOTSO
Ken...?! What's going on here?! Why's this Toy tied up?
KEN
He... He got out, Lotso!
LOTSO
Got out? Oh, no, no, no! This isn't how we treat our guests!
Lotso approaches Buzz, begins untying him.
LOTSO
F.A.O. my Schwartz...! There you go. I'm so sorry.
He frees Buzz. Buzz stands, casting a dark look at Ken.
BUZZ
Lotso, there's been a mistake.
LOTSO
A mistake...?!!!
BUZZ
The children in the Caterpillar Room are not age-appropriate for me and my friends. We respectfully request a transfer to the Butterfly Room.
LOTSO
(gestures grandly)
Well, request granted!
KEN
But, Lotso...
LOTSO
Hush now, Kenneth! This Toy's shown initiative! Leadership! Why, I'd say we found ourselves a Keeper!
(to others)
Hear that, everyone?! We got a Keeper!
Lotso lifts Buzz's arm -- World Champion! His Gang applauds dutifully. Lotso throws his arm around Buzz.
LOTSO
We're callin' you up to the Big Leagues, son! From now on, you'll have anything you want!
BUZZ
Excellent! I'll go get my friends.
Lotso stops.
LOTSO
Whoa, whoa! Hold on there, Boss! Those Caterpillar kids need someone to play with...!
BUZZ
But my friends don't belong there!
LOTSO
Oh, none of us do! I agree! Which is why -- for the good of our community -- we ask the newer toys, the stronger ones, to take on the hardships the rest of us can't bear anymore.
Buzz frowns.
BUZZ
Well, I... I guess that makes sense.
Lotso smiles.
BUZZ
But I can't accept. We're a family. We stay together.
Lotso's smile fades.
LOTSO
Family man, eh? I understand.
(sharply)
Put him back in the "Time Out" chair.
Big Baby grabs Buzz and slams him into the toy chair.
BUZZ
What are you...? What?! Unhand me!
LOTSO
Bring in The Bookworm.
Ken whistles. A RUSTLING from a shelf above, where rows of files are cluttered.
BOOKWORM (O.S.)
Hold on... Here it is!
An aged Toy -- The Bookworm -- pushes aside files.
BOOKWORM
It was filed under "Lightyear".
He tosses a small booklet down to Lotso. Lotso opens the booklet, flips through it. Buzz looks close, reacts -- it's a Buzz Lightyear Instruction Manual.
LOTSO
Let's see here... Accessories... Maintenance... Oh, here we go!
(reading)
"Remove screws to access battery compartment..."
Big Baby pushes Buzz down, holding him while Sparks opens Buzz's battery compartment. Screws drop to the floor.
BUZZ
What are you doing?! Let go of me!
LOTSO
(reading)
"To return your Buzz Lightyear Action Figure to its original factory settings, slide the switch from PLAY to DEMO..."
Lotso looks up, nods. Twitch looks -- inside the panel is a MODE switch. He reaches for it. Buzz struggles.
BUZZ
Stop! No...! No...!!! NOOOOO!!!
INT. CATERPILLAR ROOM - NIGHT
The Toys sit near the door. The echo of Buzz's scream is heard. They turn.
JESSIE
What was that?
HAMM
Sounds like it came from the hall!
MRS. POTATO HEAD
I'll see what it was!
She marches to the door and plucks out her remaining eye. She holds it under the door, sweeping it back and forth.
INT. HALLWAY - NIGHT
Mrs. Potato Head's Eye, held by her hand, looks up and down the hallway.
INT. CATERPILLAR ROOM - NIGHT
The Toys gather around her.
JESSIE
Whaddaya see? Anything...?
POV, PANNING -- The hall is dark and empty. Suddenly, a VISION of Andy in his room FADES IN over the dark hallway.
MRS. POTATO HEAD
Nah, just a dark hallway and... Wait, wait...! I see Andy!
The other Toys look at each other, disbelieving.
JESSIE
What?!
MR. POTATO HEAD
That's impossible...!
MRS. POTATO HEAD
No, I really see him! In his room!
(realizing)
My other eye! The one I left behind!
She concentrates fiercely. TRANSITION TO:
INT. ANDY'S ROOM - NIGHT - POV
From under the bed, we SEE college boxes piled up by the open door. Andy crosses frame, carrying another box.
MRS. POTATO HEAD (V.O)
This is so weird...! He's packing up... Uh-oh. Oh, here comes Buster.
Buster sniffs under the bed, right toward her eye.
MRS. POTATO HEAD (V.O.)
Outta the way! Get away!
Buster yawns, turns, and walks out of FRAME.
MRS. POTATO HEAD (V.O.)
Okay, Andy's in the hall. He's looking in the attic. Wait, there's Mom. Why is he so upset?
Andy gestures -- I left the Toys right here! Mom shrugs. Andy picks up a trash bag. Then Andy's Mom remembers -- her hands fly to her face. Andy slaps his forehead.
MRS. POTATO HEAD (V.O.)
Oh, no! Oh, this is terrible!
TRANSITION BACK:
INT. CATERPILLAR ROOM - NIGHT
Mrs. Potato Head puts her eye back in, looks at the others.
MRS. POTATO HEAD
He's looking for us! Andy's looking for us!
JESSIE
He's looking for us?!
REX
So, Andy does want us! I knew it! I just knew it!!!
Rex picks up an Alien, does a happy dance.
MRS. POTATO HEAD
I think he did mean to put us in the attic!
SLINKY
Well, then Woody was telling the truth!
MR. POTATO HEAD
Holy cow!
HAMM
And you didn't believe him!
MR. POTATO HEAD
Hey, you didn't believe him first!
Jessie stands -- fire in her eyes.
JESSIE
Guys, we gotta... We gotta go home!
CREAK -- A door opens. Light spills in. The Toys turn. Lotso saunters in with his Gang.
JESSIE
Lotso...!
LOTSO
How're y'all doin' this fine evening?
JESSIE
Oh, thank heavens!
Jessie rushes to him. The others follow.
JESSIE
Have you seen Buzz?
MRS. POTATO HEAD
There's been a mistake! We have to go!
LOTSO
Go?! Why, you just got here! In the nick of time, too! We were runnin' low on volunteers for the Little Ones! They just love new Toys, now don't they?
MR. POTATO HEAD
Love?! We've been chewed! Kicked! Drooled on!
MRS. POTATO HEAD
Just look at my pocketbook!
She holds up her chewed purse. Lotso bends down, amused.
LOTSO
Well, here's the thing, Sweet Potato -- you ain't leavin' Sunnyside.
MRS. POTATO HEAD
Sweet Potato?! Who do you think you're talking to? I have over thirty accessories and I deserve more respec--
Abruptly, Lotso yanks her mouth off. Everyone is shocked.
LOTSO
Ahh...! That's better!
Lotso's Henchmen snicker.
MR. POTATO HEAD
Hey! No one takes my wife's mouth!!! Except me! Give it back, you furry air freshener!
He steps up to retrieve the mouth. Lotso holds it above him. He finally grabs it. Jessie heads for the door.
JESSIE
C'mon, guys -- we're going home.
LOTSO
Whoa, Missy! You're not going anywhere.
JESSIE
(over her shoulder)
Oh, yeah? And who's gonna stop us?
Jessie almost collides with a blank-faced Buzz, stepping from the shadows. Jessie and the others are thrilled.
REX
Buzz! You're back!
He runs -- arms open -- to greet him. Buzz makes a Kung-Fu sound, strikes a pose.
REX
Buzz...?
WHAM!!! Buzz tackles Rex, slamming him to the floor.
JESSIE
Hey!
Buzz leaps and kicks, spins the Toys around, and knocks their legs from under them.
SLINKY
Buzz!
The Toys fall to the floor, stunned. Buzz stands atop them, salutes.
BUZZ
Prisoners disabled, Commander Lotso!
JESSIE
Buzz? What are you doing...?
BUZZ
Silence, minions of Zurg! You're in the custody of the Galactic Alliance!
REX
Zurg...?
MR. POTATO HEAD
Galactic Alliance...?
HAMM
Huh-boy...!
LOTSO
Good work, Lightyear. Now lock 'em up!
BUZZ
Yes, sir!
JUMP CUTS -- Buzz and Lotso's Gang herd the Toys into the room's wire-mesh cubbies. Jessie fights back -- taking out Chunk and Sparks. Stretch grabs her from behind, puts her in a wire cubby, shuts it.
STRETCH
Where do you think you're going?!
Jessie reaches through the cubby wire to Buzz's shoulder.
JESSIE
Buzz...?! We're your friends!
He swats her hand away.
BUZZ
Spare me your lies, Temptress! Your Emperor is defeated. And I'm immune to your... Bewitching good looks.
He turns, ramrod straight, and walks off. Big Baby lifts Mrs. Potato Head to a cubby. Mr. Potato Head intercedes.
MR. POTATO HEAD
Hey, Mongo! Keep your paws off my wife!
Big Baby drops Mrs. Potato Head in the cubby, turns and picks up Mr. Potato Head.
MR. POTATO HEAD
Hey, what are you doing? Let go of me you drooling doofus!
Lotso steps in.
LOTSO
Wait! I think this Potato needs to learn himself some manners! Take him to The Box.
Big Baby hoists Potato Head up and toddles off.
MR. POTATO HEAD
Where're you taking me? Put me down, you moron! Bad baby! Bad baby!!!
They toddle past Barbie as she enters the room, confused.
BARBIE
Ken...?! What's going on?!
KEN
Barbie...! I told you to wait in the Dream House!
Ken puts an arm around her, leading her out.
BARBIE
What're you doing to my friends?
Barbie looks over her shoulder as Sparks the Robot tosses an Alien into a cubby. Twitch slams it shut.
BARBIE
Hmmph!
She slaps Ken's arm away and turns to join the Toys in solidarity. Ken tries to grab her.
KEN
Wait, Barbie!
BARBIE
Don't touch me! We're through!
She stalks off. Ken is devastated. Then Barbie turns, walks back to him. He smiles.
BARBIE
And gimme my scarf back!
She yanks the ascot off his neck.
KEN
Oww!
Barbie is slammed into a cubby. Lotso surveys the room.
LOTSO
Lightyear! Explain our overnight accommodations.
BUZZ
Yes, sir!
Buzz strides past the Toys, each trapped in a cubby.
BUZZ
Prisoners sleep in their cells! Any Prisoner caught outside their cell spends the night in The Box!
EXT. PLAYGROUND - NIGHT
Potato Head is carried to a covered sandbox. Big Baby lifts the sandbox cover, tosses Potato Head in. Potato Head reaches out, begging for mercy...
BUZZ (O.S.)
Roll call at dusk and dawn! Any Prisoner misses roll call spends the night in The Box!
...Big Baby lowers the lid, closing into BLACKNESS.
INT. CATERPILLAR ROOM - NIGHT
Buzz rattles off the rules. Jessie grows impatient.
BUZZ
Prisoners do not speak unless spoken to! Any Prisoner talks back spends the night...
JESSIE
...In The Box. We get it.
Buzz whips around. Lotso puts a calming hand on him.
LOTSO
At ease, soldier! They're neutralized! But remember: They'll say anything to make you doubt yourself!
BUZZ
Don't worry, Commander! Any doubt I had got pounded out of me at the Academy!
Lotso climbs on a podium of ABC blocks -- jovial, relaxed.
LOTSO
Listen up, folks! We got a way of doing things here at Sunnyside! If you start at the bottom, pay your dues... Life here can be a dream come true! But if you break our rules, step outta line, try to check out early? Well... You're just hurtin' yourselves.
He takes out Woody's hat, tosses it. It slides across the floor to Jessie's cubby. The Toys gasp in horror.
JESSIE
Woody...!
(to Lotso)
What'd you do to him?!
Lotso sits back in his truck bed, taps his cane.
LOTSO
Y'all get a good night's rest! You got a full day of play time tomorrow.
Lotso chuckles as he and his cronies drive off. Buzz remains behind, standing guard over the "cell block". The Toys grasp the bars of their cubbies -- the horrible truth of their situation hitting home.
INT. KITCHEN - NIGHT
CLOSE ON -- A computer keyboard. Woody types an address.
WOODY
1-2-2-5... Sy--ca--more...
BLOOP -- Suddenly, an IM WINDOW pops up on the SCREEN.
WOODY
Who's "VelociSTAR237"?
Trixie pushes in.
TRIXIE
Oh...! That's just a dinosaur toy down the street. That's nothing. Lemme just take care of that!
(beat)
Just a dinosaur...!
Woody finishes typing.
WOODY
All right. Sy--ca--more... Okay, "Enter"!
Trixie hits the Return. Slowly, a map begins to assemble.
WOODY
Please don't be far! Please!
The map resolves itself. The route to Andy's house is a short "Z" -- less than two blocks away. Woody is amazed.
WOODY
Right around the corner...?! It's right around the corner!!!
Ecstatic, he hugs Bonnie's toys, leaps off the desk, does a happy dance across the floor, strides to the kitchen door.
WOODY
I'm going to college! Look at me, I'm big toy on campus! Hello! Hey! I'll see you at the Sock Hop!
DOLLY
Okay, Potsie!
Woody starts to slip through a pet door.
WOODY
Oh, hey, listen -- if any of you guys ever get to Sunnyside Day Care? You tell 'em Woody made it home!
Bonnie's Toys gasp.
DOLLY
You came from Sunnyside?!
TRIXIE
But... How'd you escape?!!!
WOODY
It wasn't easy, I... What do you mean "escape"?
Bonnie's Toys trade glances. Pricklepants steps forward.
MR. PRICKLEPANTS
Sunnyside is a place of ruin and despair, ruled by an evil bear who smells of strawberries!
WOODY
Lotso...?!
BUTTERCUP
He may seem plush and huggable on the outside. But inside, he's a monster!
WOODY
But... How do you know that?
MR. PRICKLEPANTS
Chuckles... He'll tell you!
They turn -- with awe and respect -- to a toy clown, Chuckles, sitting on a sill, staring grimly out the window. Woody steps forward.
CHUCKLES
Yeah, I knew Lotso. He was a good toy. A friend. Me and him, we had the same kid -- Daisy...
INT. DAISY'S LIVING ROOM - DAY - FLASHBACK
A freckle-faced five-year-old, DAISY, unwraps a gift under a Christmas tree and finds a fresh, smiling Lotso inside.
CHUCKLES (V.O.)
I was there when Lotso got unwrapped.
She hugs him -- love at first sight.
CHUCKLES (V.O.)
Daisy loved us all, but Lotso... Lotso was special.
INT. DAISY'S HOUSE - DAY - FLASHBACKS
QUICK CUTS: Daisy takes Lotso everywhere -- jumping through a lawn sprinkler; pushed on a swing; in bed while she reads to him, etc. He gazes lovingly at her.
CHUCKLES (V.O.)
They did everything together. You never seen a kid and a toy more in love.
EXT. STATION WAGON - DAY - FLASHBACK
Daisy sits in the back of a station wagon, Lotso in her lap. Big Baby and Chuckles are buckled in beside them.
CHUCKLES (V.O.)
One day, we took a drive...
EXT. REST STOP - DAY - FLASHBACK
At a rest stop, Daisy's Family has lunch in the grass while Daisy plays happily with Lotso, Chuckles, and Big Baby.
CHUCKLES (V.O.)
Hit a rest stop, had a little play time.
Daisy's Mom waves a sandwich. Daisy puts down the Toys and runs to join her family. DISSOLVE TO: A sleeping Daisy is carried to the car.
CHUCKLES (V.O.)
After lunch, Daisy fell asleep.
A seat belt is clicked around the sleeping Daisy. The car drives off. Daisy's Toys sit up, their worst fears come true. DISSOLVES: Lotso peers down the road, keeping vigil as the sun sets. Days pass. Rain falls. The forgotten Toys remain.
CHUCKLES (V.O.)
She never came back.
CLOSE -- A heart-shaped pendant reads, "My heart belongs to..." A child's writing shows Daisy's name and address. Lotso reads the pendant, hung around Big Baby's neck. He sets off across the fields. Chuckles and Big Baby follow.
CHUCKLES (V.O.)
Lotso wouldn't give up. It took forever, but we finally made it back to Daisy's.
EXT. DAISY'S HOUSE - DUSK
Lotso, Chuckles and Big Baby stand in the bushes outside Daisy's window -- muddy, worn. Big Baby boosts Lotso and Chuckles to the window sill. They peer in. Through the window, Daisy lies in her bed, reading a picture book.
CHUCKLES (V.O.)
But by then, it was too late.
FAST ZOOM -- Tucked beside her is a brand-new Lotso Bear. TRACK IN ON -- Lotso. His Universe is shattered. Lotso drops from the window. Rain begins to fall.
CHUCKLES (V.O.)
Something changed that day inside Lotso. Something snapped...
Lotso's face hardens. Big Baby stares -- uncomprehending.
LOTSO
She replaced us. C'mon!
He turns to go, but Big Baby and Chuckles stay put.
YOUNG CHUCKLES
No, she only replaced yo--!
Lotso turns on Chuckles.
LOTSO
She replaced all of us! Didn't she?!
Chuckles shrinks back, cowed. Big Baby looks at the pendant, turns and begins climbing up towards Daisy's window. Lotso walks back to Big Baby and yanks him down.
LOTSO
She don't love you no more! Now come on!
He rips the pendant off, throws it away, and stalks off. Chuckles and Big Baby are left behind -- heart-broken.
EXT. TRUCK BUMPER - NIGHT
Lotso, Chuckles, and Big Baby hunch in the red, tail-lit glow of the bumper of a delivery truck as it drives through swirling rain. Their eyes are dead, hopeless.
CHUCKLES (V.O.)
We were lost. Cast off. Unloved. Unwanted...
The truck hits a pothole, knocking them off the bumper. They hit the pavement, tumble into a puddle in front of...
EXT. SUNNYSIDE DAY CARE, FRONT ENTRANCE - NIGHT
It's dark. Rain pours. Lotso, Chuckles, and the Baby lift their faces from the puddle. A FLASH of lightning reveals the Sunnyside Day Care Center.
CHUCKLES
Then we found Sunnyside. But Lotso wasn't my friend anymore...
Lotso stands, eyes narrowed. He limps towards the Day Care. Chuckles and Big Baby watch from the puddle. Lightning FLASHES. MATCH CUT:
INT. KITCHEN - DAWN
Chuckles, remembering. Woody listens, rapt.
CHUCKLES
...He wasn't anyone's friend. He took over Sunnyside, rigged the whole system.
He reaches in his pocket, pulls out Big Baby's pendant.
WOODY
So... How'd you get out?
CHUCKLES
I got broke. Bonnie found me, took me home. Other Toys, they weren't so lucky.
(voice quavers)
It ain't right, what Lotso done! New toys -- they don't stand a chance!
Woody looks up.
WOODY
But... My friends are in there!
BUTTERCUP
You can't go back! It's too dangerous!
MR. PRICKLEPANTS
Returning now would be suicide!
DOLLY
But what about your... "Andy"?
TRIXIE
Isn't he leaving tomorrow?
TRACK IN ON -- Woody, torn.
INT. CATERPILLAR ROOM - DAWN
The room is still. A HARMONICA plays mournfully. TRACK down the cubbies -- The Toys grip the bars, forlorn. CRANE TO REVEAL Hamm, playing the harmonica. Suddenly, Buzz pounds on Hamm's cubby.
BUZZ
Quiet, musical hog! Knock it off!
Hamm stops playing, sighs. Buzz moves off. Bullseye looks at Woody's hat, whimpers sadly. Jessie pats his muzzle.
JESSIE
Oh, Bullseye... I miss Woody, too.
She turns away, bows her head.
JESSIE
But he ain't ever comin' back.
Jessie lifts her boot, revealing "ANDY" written underneath. Her eyes fill with regret. The bathroom door bursts open. A Tonka truck races in the room -- Lotso in the back, his Gang hanging off the sides, WHOOPING it up. The truck comes screeching to a stop.
LOTSO
Rise and shine, Campers!
Buzz snaps to attention, salutes.
BUZZ
Commander Lotso, Sir! All quiet! Nothing to report!
LOTSO
Excellent, Lightyear! C'mon -- we need you back at Star Command!
Buzz hops in the back of the truck.
MRS. POTATO HEAD
Wait! What you have you done with my husband?!
LOTSO
Big Baby...?
Big Baby steps forward and tosses a dazed Mr. Potato Head into the room -- coughing, groaning, covered in sand. The Toys gasp. Mrs. Potato Head reaches out.
MRS. POTATO HEAD
Sweetheart...!
MR. POTATO HEAD
It was cold...! And dark...! Nothing but sand and a couple of Lincoln Logs...
HAMM
I don't think those weren't Lincoln Logs.
Lotso addresses the room.
LOTSO
Y'all get ready -- you got a play- date with destiny!
CUT TO: A BELL -- Ringing. Bonnie runs down the hall and enters the Butterfly Room.
INT. BUTTERFLY ROOM - DAY
The room thrums with the happy CHATTER of young kids. Bonnie drops off her backpack at the lockers, rushes off. STAY on her backpack. It unzips. Woody peers out, then surreptitiously scrambles to the top of a bookshelf.
INT. CEILING CRAWL SPACE, BUTTERFLY ROOM - DAY
Woody pushes aside an acoustic panel, climbs in the crawl space above the tiles, and slides the panel back in place. O.S. -- Children's SHRIEKS. Woody turns.
INT. CEILING CRAWL SPACE, CATERPILLAR ROOM - DAY
Crawling, Woody follows the noise, puts his ear to a tile.
INT. CATERPILLAR ROOM - DAY
Woody pulls up the ceiling tile and drops onto an empty reading loft, furnished with pillows and bean bag chairs. He creeps to the edge of the loft and scans the room. POV -- Below, a Toddler uses Rex to hammer a bongo drum. Another Toddler holds a Potato Head in each hand, then smashes them to the ground. Their pieces scatter. A child swings Jessie by her hair, releases her. Jessie slams into a wall, drops to the floor. Woody is horrified. Then, off-screen, a toy-phone bell RINGS. Woody turns. A Fisher Price Phone, The Lifer, wheels into view. He RINGS again, drops his receiver, retreats into shadows. Woody creeps to the phone, lifts the receiver.
WOODY
Uh... Hello...?
The Lifer's voice is hoarse and grizzled.
LIFER
You shouldn'a come back, Cowboy. They cracked down hard since you left. More guards. More patrols. You and your friends ain't ever gettin' outta here now.
WOODY
I made it out once...
LIFER
You got lucky once. Want my advice? Keep your heads down. You'll survive.
WOODY
Yeah? For how long?
LIFER
(squints like Clint)
I been here years. They'll never break me. There's only one way Toys leave this place...
The Lifer rolls forward. Through the window, the Janitor -- across the yard -- dumps the broken Toy Train into a trash chute. Woody shudders -- he's just witnessed a Toy death.
LIFER
Poor fella. Trash truck comes at dawn. Then it's off to The Dump...
Woody bends down, respectful.
WOODY
I appreciate your concern, Old Timer. But we have a kid waiting for us. Now we're leaving. If you'd help us -- one toy to another -- I'd sure be grateful.
The Lifer sighs.
LIFER
Well, if you're gonna get out... First thing you gotta get through's the doors.
SHOTS -- FAST TRACKING IN on knobs of the playground door; the hall door; the office door. Each door is shut and locked. Keys are left dangling on a hook in the office.
LIFER (V.O.)
...Locked every night, inside and out. Keys are left on a hook in the office.
WOODY (V.O.)
Got it. What else?
SHOTS -- Night. Toy Trucks patrol the empty halls of the Day Care. Outside, Trucks patrol the deserted playground.
LIFER (V.O.)
Lotso has trucks patrolling all night long. Hallway. Lobby. Playground.
WOODY
Yeah, yeah... What about the wall?
SHOTS -- TRACKING along the mural-covered cinder block wall.
LIFER (V.O.)
Eight feet high. Cinderblock. No way through it. You go over or under.
Woody frowns.
WOODY
That's it?! Doesn't seem so bad.
LIFER
It's not. Your real problem's The Monkey.
INT. OFFICE - NIGHT
A TOY CHIMP sits at the console of security monitors.
LIFER (V.O.)
The Monkey's the Eye in the Sky...
CLOSE ON -- THE MONKEY'S EYES The bank of monitors is reflected in them.
LIFER (V.O.)
He sees everything...
INT. CATERPILLAR ROOM - NIGHT
A Toy Bunny slips through the bars of his cubby, scampers toward the hallway door.
LIFER (V.O.)
...Classrooms...
INT. OFFICE - NIGHT
The Monkey, staring at the security monitors, sees the Bunny on screen, bares his teeth and SCREECHES, presses the PA button, and begins furiously banging his cymbals.
INT. CATERPILLAR ROOM - NIGHT
The Bunny -- busted -- freezes and looks around in a panic. The hall door opens and Lotso and his Gang step in. Big Baby lurches toward the Bunny menacingly.
INT. HALLWAY - NIGHT
A Patrol Truck passes down a dark hallway. A Toy Penguin, hidden, peeks out of a potted plant, jumps to the floor.
LIFER (V.O.)
...Hallways...
He waddles for the front door. ZOOM UP to a security camera at the end of the hall.
INT. OFFICE - NIGHT
The Monkey sees the Penguin, hits the PA button, and begins SCREECHING and banging cymbals.
INT. HALLWAY - NIGHT
The Penguin is surrounded by Patrol Trucks. He puts his wings up. Big Baby pushes his way through the trucks, intent on meting out prompt and thorough justice.
EXT. PLAYGROUND - NIGHT
A trio of Plushies use a dart gun to fire a dart, tied with string, over the wall. They begin scaling the wall.
LIFER
...Even the playground.
INT. OFFICE - NIGHT
The Monkey sees the Plushies, SCREECHES his alarm.
EXT. PLAYGROUND - NIGHT
A spotlight hits the Plushies. Within the spotlight rises the silhouette of Big Baby, arms lifted.
INT. CATERPILLAR ROOM - DAY
The Lifer lays it on the line for Woody.
LIFER
You can unlock doors, sneak past guards, climb the wall... But if you don't take out that Monkey, you ain't goin' nowhere. Y'wanna get outta here? Get ridda that Monkey!
SMASH TO:
INT. CATERPILLAR ROOM - DAY
A bell RINGS. The Toddlers -- playing rough -- look up.
TEACHER
Okay! Recess!
She opens the playground door. The Toddlers drop the Toys, rush outside. The Teacher hits the lights, closes the door. Jessie and the Toys sit up, groaning and aching.
WOODY (O.S.)
Pssst...! Pssst...! Hey, guys...!
They look over. From a puppet theater, Woody waves.
JESSIE
Woody? Woody!!!
REX
Woody!
MRS. POTATO HEAD
Thank goodness!
They quickly run and gather around him, rejoicing.
SLINKY
You're alive!!!
HAMM
Hey, Buddy!
WOODY
'Course I'm alive...!
(sees Bullseye)
Hey, my hat!!!
Woody takes his hat from Bullseye, puts it on.
WOODY
Wait. Where's Buzz?
REX
Lotso did something to him!
SLINKY
He thinks he's a Space Ranger again!
WOODY
Oh no...
HAMM
Oh yes. "Return of the Astro Nut!"
JESSIE
Oh, Woody, we were wrong to leave Andy. I... I was wrong...
MR. POTATO HEAD
Jessie's right, Woody -- she was wrong!
WOODY
No, no. It's my fault for leaving you guys. From now on, we stick together.
The Toys smile, reassured.
SLINKY
But... Andy's leavin' for college!
JESSIE
College!!! Hog-tie the mailman!!! We gotta get you home before Andy leaves tomorrow!
HAMM
Tomorrow...? But, that means...
WOODY
It means we're busting outta here tonight.
MRS. POTATO HEAD
What?! Impossible!
REX
But there's no way outta here!
WOODY
No, there is one way out. One way...
He turns. RACK FOCUS -- Through the window is the trash chute on the maintenance shed. Woody turns to the Toys. They huddle.
WOODY
Okay, here's the plan...
INT. CATERPILLAR ROOM - NIGHT
Ken, dapper in an evening robe, conducts his nightly roll call. He's trailed by Buzz. Big Baby stands guard.
KEN
Cowgirl...
JESSIE
Here.
KEN
Horse...
Bullseye WHINNIES.
KEN
Piggy bank...
HAMM
Yo.
INT. CEILING CRAWL SPACE, CATERPILLAR ROOM - NIGHT
From above, Woody watches through a ventilation grate.
KEN
Tyrannosaurus...
REX
Here.
KEN
Barbie...
BARBIE
Here...
INT. CATERPILLAR ROOM - CONTINUOUS
Ken strolls on.
KEN
Potato Head... Potato Head?
Silence. Buzz backs up, looks in the cubby.
BUZZ
Hey! Tuberous Root Man! Wake up!
Buzz rattles the bars. An actual potato rolls to the front of the cubby -- a dummy potato, as it were.
BUZZ
Impossible!
A NOISE. Ken and Buzz turn. Potato Head is at the window, struggling with the locks.
BUZZ
Hey!
Potato Head sees he's been spotted. He jumps off the sill and sprints to the bathroom door. Buzz and Ken run across the room. Big Baby toddles after them. As they EXIT FRAME we TILT UP to find... Woody, in a hanging light, takes out a pipe cleaner, bends it, uses it to snag the clothing line of kids' paintings. Potato Head reaches the bathroom, bangs on the door, then turns to face Buzz, Ken, and Big Baby. They surround him.
INT. FRONT OFFICE - NIGHT
The Monkey, at the security console, sees Buzz and Ken corner Potato Head. He leans in to watch.
KEN
Little late for a stroll, eh, Potato Head?
MR. POTATO HEAD
That's Mr. Potato Head to you, Smoothie!
PAN and ZOOM past the distracted Monkey to another monitor. On it, Slinky slips out of his cubby cell.
KEN (O.S.)
You're turning out to be quite the trouble-maker, aren't ya?
INT. CATERPILLAR CLASSROOM - NIGHT
Behind Ken and Buzz, Slinky runs to the middle of the room.
KEN (O.C.)
What'd you think you were gonna do? Waltz right outta here?
Woody grabs a bag of marbles, grasps the clothesline, jumps.
MR. POTATO HEAD (O.C.)
And I would'a got away with it too, if it weren't for you meddling Toys!
Woody lowers via the clothesline, drops the bag of marbles, grabs Slinky, and ascends back up to the ceiling.
MR. POTATO HEAD
Ya ascot-wearin' pink-noser! Mr. Brains-Sold-Separately!!!
He kicks Ken. Ken yelps, turns to Big Baby.
KEN
Take him back to The Box!
Big Baby grabs Potato Head, lifts him off the ground.
MR. POTATO HEAD
No! Not The Box! I'm sorry! I didn't mean it! I like ascots! Really! No... No! Noooooo!!!
They disappear through the bathroom door.
INT. CEILING CRAWL SPACE - NIGHT
Woody and Slinky watch as Potato Head is dragged off. They close the ceiling panel.
WOODY
Okay, check...
INT. CATERPILLAR CLASSROOM - NIGHT
Ken turns to Buzz.
KEN
Good work, Lightyear! Resume your, uh... Space-guy... Thing-y!
BUZZ
Yes, sir, Well-Groomed Man!
He salutes, departs. Ken turns to go.
BARBIE (O.C.)
Ken...?! Ken...!
Ken stops. Barbie waves to him. Ken looks around, then approaches warily. Barbie is tearful.
KEN
What do you want?
BARBIE
I can't take it here, Ken! I want to go to the Butterfly Room! With you!
KEN
Yeah, well, you should'a thought of that yesterday.
BARBIE
I was wrong! I want to be with you, Ken! In your Dream House! Take me away from this! Take me away!
She breaks down sobbing. Ken is torn. Finally, he gives in -- no match for a woman's tears.
KEN
Darn it, Barbie...!
He moves closer, speaks low.
KEN
Okay, but, things are complicated around here. You gotta do what I say!
BARBIE
(tears of gratitude)
I will, Ken! I promise!
Satisfied -- and a little smug -- he pulls open the cubby.
INT. SANDBOX - NIGHT
Big Baby opens the lid of the Sand Box.
MR. POTATO HEAD
Wait! I'll do anything...! I'll change your diapers!
Big Baby tosses Potato Head in, lowers the lid.
EXT. PLAYGROUND - NIGHT
Big Baby turns and walks off. STAY ON the sand box. TRACK IN to find a wood knot in the side of the box. It pops out, falls to the ground. Potato Head's hand emerges, clutching his eye. It looks around. One by one, Mr. Potato Head's parts fly out the hole and land on the ground, next to the sandbox.
INT. FRONT OFFICE - NIGHT
The Monkey sits motionless, staring maniacally at the security monitors. The only sound is a TICKING clock. Woody, clutching a pouch, drops into FRAME behind the Monkey as Slinky, holding Woody's ankles, lowers Woody head-first. Woody -- dangling -- begins swinging closer and closer to the Monkey. The Monkey frowns at a reflection in the monitor. The Monkey whips around, SCREECHING. Slinky slips. He and Woody land on the Monkey, knocking the mic to the ground. The Monkey HISSES, leaps off the desk, runs for the mic. Woody lunges for the Monkey, but misses. He grabs the microphone cord and whips it, tripping the Monkey. Woody grabs the Monkey. The Monkey flips himself on top of Woody and starts crashing his cymbals against Woody's head.
WOODY
Go... Get... The... Tape!!!
Slinky runs to a Scotch tape dispenser, grabs the tape with his teeth, heads back toward Woody. The Monkey turns, sees Slinky charging, tape in his mouth. He SCREECHES. CUT TO BLACK:
INT. KEN'S DREAM HOUSE, BUTTERFLY ROOM - NIGHT
Ken and Barbie ride the Dream House elevator to the top floor. Ken opens the door.
KEN
And this... Is where the magic happens.
FAST PULL BACK to REVEAL the living room of his Dream House. Racks of clothes line the walls. Barbie gasps.
BARBIE
Look at all your clothes!!! I can't believe you never brought me up here!
Barbie flips through the racks. Ken joins her.
BARBIE
Tennis whites! Mission to Mars!
KEN
I know, I know! Check this out -- "Kung-Fu Fighting"! "Campus Hero" with matching sports pennant, huh?!
BARBIE
Flower Power...!!! Oh, Ken...!
Ken pivots away, his mood turning to melancholy reflection.
KEN
No one appreciates clothes here, Barbie.
(then, bitter:)
No one.
Barbie walks up behind him.
BARBIE
Ken... Would you model a few outfits for me? Just a few?
Ken is stunned -- no one's ever asked this of him. Throbbing DISCO begins. FASHION MONTAGE -- QUICK CUTS Ken emerges from behind a screen, sporting some of the most insane Ken outfits ever -- '90s, '80s, '70s, even 1960s -- with matching accessories. Ken strikes just the right pose for each outfit -- slinging a jacket over his shoulder; doing "The Frug" in a fringe vest; polka-ing in Lederhosen; scuba moves; break dancing. Barbie sits watching, enthralled. She laughs, claws her hand, growls like a cat. Finally, she applauds wildly. Ken grins -- exceptionally pleased with himself.
INT. OFFICE - NIGHT
Woody and Slinky finish taping up the struggling Monkey. Slinky opens a desk drawer. Woody rolls the Monkey in. Slinky pushes it closed.
SLINKY
Go get the key!
Woody runs to a bulletin board above the desk.
WOODY
Where is it...? Where is it...? Where's the key?
He finds the keys, buried under push-pinned papers.
WOODY
Bingo!
Slinky toggles a security camera joystick.
INT. CATERPILLAR ROOM - NIGHT
Jessie sees the security camera panning back and forth. She turns, whispers.
JESSIE
Yodel-Lay-Hee-Hoooooo...!!!
A few cubbies down, Hamm and Rex share a look. ANGLE -- Buzz, patrolling...
HAMM (O.S.)
Hey! Whadda you think you're doin?!
Buzz stops, turns. In the cell, Hamm plugs his cork into his belly.
HAMM
I told you -- keep your hands off of my stuff!
Rex raises his fists, trying to sound tough.
REX
Make a move, Porky!
Hamm jumps Rex. They grapple. Buzz runs over.
BUZZ
Hey! No fighting! Break it up!
He pulls the "cell" from the cubby and they tumble out.
HAMM
Take that, Walnut-Brain! No wonder you're extinct!
Jessie and Bullseye steal out of their cubbies while Buzz gets between Hamm and Rex, holding them apart.
BUZZ
Hey, you can't hit each other! That's my job!
JESSIE (O.C.)
Yoo-hoo!
Buzz looks up. Jessie and Bullseye stand on a bookcase above him, holding an empty, clear plastic toy bin. They leap, slamming the bin over Buzz. Hamm and Rex leap on top of it, pinning it to the floor.
BUZZ
(muffled)
Help! Prison riot!
Buzz FIRES his laser in a circle at the side of the bin. He charges at the wall, hits it, and falls over. Jessie turns to Bullseye.
JESSIE
Get the tortilla!
Bullseye heads to a locker, pulls out a lunch box. Jessie opens it. Inside is a tortilla. Jessie grabs it, dashes to the door, slides it under. She knocks and runs off.
EXT. PLAYGROUND - NIGHT
The tortilla lays outside. From the shadows, one of Potato Head's arms appears, crawls over, grabs the tortilla, and drags it into the darkness. One by one, the parts implant themselves in the tortilla. The Tortilla stands unsteadily, looks around, blinks, then heads off across the playground.
INT. KEN'S DREAM HOUSE, BUTTERFLY ROOM - NIGHT
Ken -- headband on -- is behind a shoji screen.
KEN
Ready?
BARBIE (O.C.)
Ready...!
Ken leaps from behind the screen in a Karate Gi and does a series of fighting moves, kicking and punching the air.
KEN
Haiii-Yaaa! Wah! Whaaa-aaa-aaa --
He freezes mid-pose. Barbie isn't there.
KEN
Uh... Barbie?
Barbie leaps out of nowhere, tackling Ken. Ken lands on his chest. Barbie grabs his head, spins it 180 degrees.
BARBIE
No more games, Ken. What did Lotso do to Buzz, and how do we get him back?
Ken is secretly thrilled to have Barbie straddling his chest, talking tough. He is defiant.
KEN
You can't make me talk! You can't!
Barbie glares at him, eyes narrowing. Ken -- unable to contain his excitement -- blurts out:
KEN
...But I'd like to see you try!!!
INT. HALLWAY - NIGHT
A Security truck patrols the hall. As it passes, the office door opens. Woody peers out.
INT. OFFICE - NIGHT
Slinky is poised with a key attached to a rubber-band sling shot. Slinky pulls it back. Woody signals "Go!" Slinky releases the slingshot. It shoots the key under the door, across the hall and into the Caterpillar Room.
INT. CATERPILLAR ROOM - NIGHT
Jessie stops the key with her boot, picks it up.
EXT. PLAYGROUND - NIGHT
Mr. Potato Head hoists himself up a tricycle and onto a classroom window ledge. He peers in. Inside the Butterfly Room, Lotso is asleep. Potato Head turns and uses the trike's mirror to catch a moonbeam.
INT. CATERPILLAR ROOM - NIGHT
Mrs. Potato Head, on the sill by the door, sees the signal. She uses the key to unlock the door.
EXT. PLAYGROUND - NIGHT
The door opens. Jessie, Bullseye, Mrs. Potato Head and the Aliens slip outside. As a SPOTLIGHT sweeps past, they duck behind a traffic cone then creep off across the playground.
INT. KEN'S DREAM HOUSE, BUTTERFLY ROOM - NIGHT
Ken is tied to a paddle-ball paddle by the ball's string. He glowers as Barbie browses through his racks of clothing.
BARBIE
Let's see -- Hawaiian surf trunks...
She holds them up, then RIPS them apart. Ken is horrified.
KEN
Barbie, those were vintage!
(steels himself)
It's okay! Go ahead, rip 'em! They're a dime a dozen!
BARBIE
Oooohh! Glitter tux!
RIPPPP...! She tosses the shreds at him. Ken groans in torment, but remains defiant.
KEN
Who cares?! Who cares?! Sequins are tacky!
Barbie picks up a Nehru jacket. Ken gasps in horror.
BARBIE
Oooohh!! A Nehru jacket!
KEN
Barbie!!! Not the Nehru...!
BARBIE
This is from, what -- 1967?
KEN
The Gruvvy Formal Collection, yes!
BARBIE
What a shame...
KEN
Oh, no! No! No, no, no...!!!
Barbie pulls at the seams. A stitch POPS. Ken cracks.
KEN
There's an instruction manual! Lotso switched Buzz to Demo Mode...!
He breaks down, sobbing. Barbie, steely, grabs Ken.
BARBIE
Where's that manual?
INT. UTILITY CLOSET - NIGHT
A sleepy Bookworm pulls the Buzz Lightyear Manual from his stacks, hands it down to a waiting Figure in a SPACE SUIT.
BOOKWORM
I don't know why this can't wait til morning, Ken, but... Here ya go!
The Figure salutes, turns, walks off. The Bookworm turns away, then hears an odd CLICKING. He turns back, stares. POV -- The Space-Suited Figure is wearing pink high heels. The Bookworm rolls his eyes -- Ken! -- and turns away.
INT. CLASSROOM CEILING CRAWL SPACE - NIGHT
SLINKY
What's takin' so doggone long?
A KNOCK. Woody slides the ceiling panel, revealing Barbie in the Space Suit, helmet off.
WOODY
So how do we fix Buzz?
Barbie grins, hoists up Buzz's Instruction Manual.
EXT. PLAYGROUND - NIGHT
Potato Head, on the ledge, sees Barbie pulled up into the ceiling.
INT. CLASSROOM CEILING CRAWL SPACE - NIGHT
Woody gives Potato Head the "thumbs up". Potato Head responds with complicated baseball-catcher gestures.
EXT. PLAYGROUND - NIGHT
Potato Head turns and edges down the ledge. A FLUTTERING. He looks. His path is blocked by a Pigeon. A stare down.
MR. POTATO HEAD
What're you lookin' at, Feathers?
The pigeon pecks him, taking a chunk out of his tortilla.
MR. POTATO HEAD
Hey! Ow!
The pigeon pecks again. Potato Head slaps the pigeon. The pigeon grabs his forehead, dragging him down the ledge. Potato Head hits the pigeon with his hat, gives it a kick. The pigeon flies off. Potato Head shakes his fist.
MR. POTATO HEAD
Yeah, fly away, ya coward!
The tortilla rips and disintegrates.
MR. POTATO HEAD
Uh-oh...
In pieces, he drops off the ledge to the ground.
MR. POTATO HEAD
Well, that's just great!
A section of tortilla props itself up, looks around. It spots the classroom vegetable garden. The eye goes wide.
INT. CATERPILLAR ROOM - NIGHT
Buzz is still trapped in the bin, banging on the ceiling. Hamm and Rex have grown weary of his calls for help.
BUZZ
(muffled)
Help! Prison riot!
HAMM
Give it up. No one can hear you.
BUZZ
(looking up, muffled)
What...?
HAMM
I said no one can hear you!
BUZZ
(confused, muffled)
What...?!!!
REX
(yelling)
He said, "No one can...!!!"
HAMM
Shhhh...!!! Will you be quiet?!
He slaps a hand over Rex's mouth. A NOISE. They look up. A ceiling tile opens. Woody, Slinky, and Barbie drop in.
REX
Woody! You're back!
Rex and Hamm move to the front of the bin. Buzz runs to the back and jumps -- knocking Hamm and Rex off the bin. Buzz makes a break for it -- running across the floor.
WOODY
Stop him! Don't let him get out!
BUZZ
(into wrist radio)
Star Command, I've been taken hostage by my own prisoners!!!
Hamm and Rex tackle Buzz. Hamm, Rex, Woody and Slink keep Buzz pinned down, as Barbie rushes over with the manual.
WOODY
Quick, open his back! There's a switch!
They pull open Buzz's compartment, revealing the switch. Woody flips it. Buzz struggles.
BUZZ
Unhand me, Zurg scum! The Galactic courts will show you no mercy!
Woody flips the switch back and forth.
WOODY
It's not working! Why's it not working? Where's the manual?
Hamm flips through at top speed.
HAMM
Here we go! There should be a little hole under the Switch!
WOODY
Little hole. Got it!
HAMM
(reading)
"To reset your Buzz Lightyear, insert paper clip...."
WOODY
Rex, use your finger!
REX
Oh!
Rex sticks a finger in Buzz's re-set hole.
WOODY
Okay, now what?
HAMM
All right, let's see... "Caution: Do not hold button for more than five seconds."
Abruptly, Buzz BEEPS loudly, falls limp, face plants. The others all look at Rex. Rex lifts his finger.
REX
It's not my fault!
Suddenly, Buzz leaps up, knocking the Toys off him. He strides forward, flips his wrist radio.
SPANISH BUZZ
Bitácora Espacial -- Me he despertado de hipersueño en un planeta extraño. (Star Log -- I've awakened from hyper- sleep on a strange planet.)
The Toys are speechless. Hamm glares at Rex.
HAMM
Now what did you do?!
REX
I did what you told me...!
Buzz -- hyper-alert -- glances sideways, narrows his eyes.
SPANISH BUZZ
Estoy rodeado por criaturas extrañas y desconozco sus intenciónes!!! (I'm surrounded by alien creatures of unknown intent!!!)
He whips around -- flamboyant Latin-style -- and trains his laser on Woody's forehead.
SPANISH BUZZ
¿Quién anda ahí? ¿Amigo? O Enemigo? (Who goes there -- Friend? Or foe?)
WOODY
Uh... Amigos! We're all amigos!
Satisfied, Buzz struts forward, greeting them.
SPANISH BUZZ
Me debo haber estrellado, y se me borró la memoria. (I must have crash landed and had my memory erased.)
He approaches Woody, kisses both cheeks, strides off.
SPANISH BUZZ
Han visto a mi nave espacial? (Anyone seen my spaceship?)
WOODY
We gotta switch him back!
SLINKY
How do we do that?
HAMM
(re: manual)
I dunno! That part's in Spanish!
Patrol Truck lights pass by under the hall door.
WOODY
We don't have time for this! C'mon!
Woody grabs Buzz, hustles him toward the playground door.
SPANISH BUZZ
Mi nave. ¿Lo encontraste? !Excelente! (My spaceship? You know where it is? Excellent!)
They pass the Lifer, watching from the shadows.
LIFER
Good luck, Cowboy.
EXT. PLAYGROUND - NIGHT
Jessie, Bullseye, and Mrs. Potato Head wait inside a concrete pipe. Spotlights survey the playground.
MRS. POTATO HEAD
(points)
Here they come!
Woody, Hamm, Rex, Slinky, and Barbie steal across the playground. Spanish Buzz, trailing behind, does elaborate rear-guard defense poses. Woody has to grab him and pull him along. They duck into the pipe.
JESSIE
What took you so long?
WOODY
Things got complicated. Where's Potato Head?
JESSIE
We haven't seen him!
Woody turns and peers out on the playground. Buzz, the last to arrive, sees Jessie. She turns to greet him.
JESSIE
Buzz...
Buzz is struck dumb. Time slows. His heart melts. He approaches, drops to his knees, takes Jessie's hand.
SPANISH BUZZ
Mi florecita del desierto...! Yo nunca he visto la belleza verdadera hasta esta noche! (My desert flower...! I have never seen true beauty til this night!)
Jessie is speechless. She turns to the others.
JESSIE
Did you guys fix Buzz?
HAMM
Eh... Sort of.
MRS. POTATO HEAD
Jessie, behind you! Someone's coming!
The Toys turn. A tall figure looms. Mr. Cucumber Head steps into the light -- irked, agitated.
MR. POTATO HEAD
You would not believe...! What I've been through...! Tonight!
Mrs. Potato Head goes to him.
MRS. POTATO HEAD
Darling...! Are you okay?
MR. POTATO HEAD
I feel fresh! Healthy! It's terrible!
MRS. POTATO HEAD
You've lost weight! And so tall!
Bullseye nudges Potato Head's torso toward him.
MR. POTATO HEAD
Ahhh, you're a sight for detachable eyes!
He plucks his eyes out and plants them on the spud. TIME CUT: The Jungle Gym slide. A Patrol Truck drives by. Slinky slides down, pops out the bottom, looks both ways. At the top of the slide, Woody holds Slinky's back end. The tail wags.
WOODY
Okay, all clear!
ON THE PLAYGROUND The Toys shoot out the bottom of the slide, scamper off. They huddle behind the spring of an animal rocking swing.
JESSIE
Almost there!
Jessie darts out, with others close behind. The lights of a Patrol Truck approach.
WOODY
Back up, back up!
Woody backs into the shadows with Bullseye and the Aliens. The Truck pulls up and stops. Jessie looks back, sees Woody and the others still hiding. Woody gestures "We'll go around". Jessie does a thumbs-up. Woody and the Aliens ride Bullseye across the playground swing set. They stop abruptly. Big Baby is sitting on the last swing, CREAKING back and forth, gazing up at the moon. Bullseye and Woody tip-toe behind Big Baby, approach the wood siding for the swing set area. Bullseye leaps over the siding but the last Alien falls to the ground. SQUEAK. Big Baby swivels his head 180 degrees. Woody, Bullseye, et al lie low behind the siding plank -- in the shadows, amid plastic shovels and buckets. Big Baby dismounts, walks toward their hiding place. Woody looks around desperately. Big Baby reaches the wood siding, looks over. No one's there. Looks up and down. He walks off. HOLD ON an overturned plastic bucket. Woody and Bullseye peek out from underneath, share a relieved look. Jessie, watching from the bushes, sighs with relief. Abruptly, Spanish Buzz grabs her, yanks her to him. As Jessie stands awkwardly, Spanish Buzz performs a solemn, impassioned courtship dance around her. Finally, Spanish Buzz takes Jessie in his arms.
SPANISH BUZZ
¡Ven conmigo! ¡Te mostraré las maravillas de la galaxia, y juntos lucharemos contra el despiadado Zurg! (Come with me! I will show you the wonders of the galaxy, and together we will fight the evil Zurg!)
He plucks a dandelion, offers it to her. At that moment, Woody pushes through the bushes -- safe. Jessie leaves Buzz, runs and gives Woody an impulsive hug.
JESSIE
Woody! Thank goodness!
WOODY
C'mon! We're almost there!
He and Jessie leads the Toys off, REVEALING Spanish Buzz -- stunned and heartbroken. He throws down his dandelion.
SPANISH BUZZ
El Vaquero...!!!
Mad with jealousy, he narrows his eyes and runs after them.
EXT. TRASH CHUTE - NIGHT
Woody leads the Toys to the trash chute. He jumps -- trying to grab the handle -- but can't quite reach it.
WOODY
Buzz, c'mere, gimme a lift!
Buzz, smoldering, steps forward, dramatically pushes Woody aside. With a lovelorn glance at Jessie, he hits a button.
SPANISH BUZZ
Buzz Lightyear al rescate! (Buzz Lightyear to the rescue!)
Buzz steps to the chute, jumps up in a series of crazy, acrobatic moves, and grabs the handle, pulling it down.
SPANISH BUZZ
Abierto...!
WOODY
Way to go, Buzz! C'mon, everyone!
The Toys boost each other up onto the trash chute lid.
INT. GARBAGE CHUTE - NIGHT
Woody climbs in the chute with the others and peers down. POV -- The grimy metal chute recedes into blackness.
JESSIE
Is it safe?
WOODY
I guess I'll find out...
Woody begins a controlled slide down -- feet first, hand bracing. He slips and it becomes an uncontrolled slide. He scrambles for traction, eases to a stop at the bottom. He gets up, stands at the edge of the slide's precipice. ANGLE -- An alley. The trash chute cantilevers over a half- closed dumpster. Above him, stars twinkle -- freedom.
JESSIE (O.S.)
Woody...! You okay?
WOODY
Come on down. But not all at once.
MR. POTATO HEAD (O.S.)
What'd he say?
HAMM (O.S.)
I think he said, "All at once".
NOISES.
WOODY
No...! No! No! No! No!
Too late. The Toys slide down together.
TOYS
Whoa!
REX
Watch out!
They collide with Woody. Woody windmills his arms at the edge of the chute. Jessie grabs him, pulls him to safety.
WOODY
Thanks, Jess.
Spanish Buzz looks about, confused and deeply disappointed.
SPANISH BUZZ
Donde esta mi nave...?! (Where's my spaceship...?!)
WOODY
Slink...? Think you can make it?
SLINKY
I might be old, but I still got a spring in my step.
He backs up, then leaps over the open pit to the closed lid of the dumpster. He lands hard, clutches a metal handle.
REX
He did it!
HAMM
All right, Slinky-kins!
SLINKY
Okay! Climb across!
Suddenly, two pink paws step in front of Slinky. He looks up. Lotso looms over him, grinning.
LOTSO
You lost, li'l doggy...?
Lotso kicks Slinky's paws. He retracts, falling from the lid. The Toys pull him to safety. Behind Lotso, his Gang hops off a wall and joins him on the dumpster lid. Lotso notices Woody among the others.
LOTSO
Well, well...! Look who's back!
A NOISE. The Toys turn. Lotso's henchman -- Stretch, the Octopus -- clambers down the chute, blocking an escape. The Lifer Phone wheels into view -- wheels wobbling, one eye broken, frayed phone dangling. His voice is hoarse.
LIFER
(via handset)
I'm sorry, Cowboy! They broke me...!
Lotso turns to the Toys, as cheerful as ever.
LOTSO
(incredulous)
What are you doin'?! Runnin' back to your kid? He don' want you no more!
WOODY
That's a lie!
LOTSO
Is it? Tell me this, Sheriff -- if your kid loves you so much, why is he leavin'?
CLOSE ON -- Woody, fuming. He has no answer.
LOTSO
Y'think you're special, Cowboy? You're a piece of plastic! You were made to be thrown away!
VROOM! A garbage truck turns into the far end of the alley and RUMBLES toward them. Lotso turns.
LOTSO
Speak of the devil...!
(turns back)
Now we need toys in our Caterpillar Room. And you need to avoid that truck. Why don't you come on back, join our family again?
He smiles. Woody seethes -- at a loss for words. Jessie steps past him, eyes burning.
JESSIE
This isn't a family, it's a prison! You're a liar and a bully and I'd rather rot in this dumpster than join any family of yours!
Barbie steps forward.
BARBIE
Jessie's right! Authority should derive from the consent of the governed! Not from the threat of force!
Hamm and Potato Head share a glance -- Huh? Lotso grins.
LOTSO
If that's what you want...!
He bangs his cane. Stretch, the Octopus, begins to prod the Toys toward the precipice. Abruptly, Ken bursts from the shadows -- still in his underwear.
KEN
Barbie! Wait...!
Everyone turns. He runs to Lotso.
KEN
Don't do this, Lotso...!
LOTSO
She's a Barbie doll, Ken! There's a hundred million just like her!
KEN
Not to me there's not!
He glances at her. She sighs. Lotso picks up Ken.
LOTSO
Fine! Why don't you join her?!
He tosses Ken across the dumpster chasm. The Toys grab him, pull him to safety. Barbie hugs him.
BARBIE
Oh, Ken!
Ken stands and addresses Lotso's Gang, earnest and heroic.
KEN
Everyone! Listen! Sunnyside could be cool and groovy if we treated each other fair!
(points)
It's Lotso! He's made us into a pyramid and he put himself on top!
Lotso's Gang eyes each other. There's a shift in sympathy but no one wants to stick their neck out. Lotso is amused.
LOTSO
Anyone concur with Ken?
No one moves. The truck RUMBLES closer -- two dumpsters away. Lotso turns to the Toys. His face hardens.
LOTSO
I didn't throw you away. Your kid did. Ain't one kid ever loved a toy, really! Chew on that when you're at the dump!
He turns away. Woody steps forward.
WOODY
Wait...! What about Daisy?
Lotso keeps a steely composure.
LOTSO
I don't know what you're talking about.
WOODY
Daisy...? You used to do everything with her!
LOTSO
Yeah -- then she threw us out!
WOODY
No -- she lost you!
LOTSO
She replaced us!
WOODY
(pointing)
She replaced you! And if you couldn't have her, no one could! You lied to Big Baby and you been lying ever since!
Woody yanks something from his holster. It's the rusty old pendant, "My Heart Belongs To: DAISY". Lotso is stunned.
LOTSO
Where'd you get that...?!
WOODY
She loved you, Lotso...
LOTSO
She never loved me!
WOODY
...As much as any kid ever loved a toy!
Woody throws the pendant. It lands at Big Baby's feet. Big Baby stares, electrified, at the pendant -- a token of his long-lost love. He picks it up. His lip trembles.
BIG BABY
Mama...!
Lotso grabs the pendant. He pokes Big Baby like a bully.
LOTSO
What -- you want your Mommy back? She never loved you! Don't be such a baby!
He throws it down and CRUSHES it with his cane. Big Baby's face crumples. Lotso turns, yells at Stretch the Octopus.
LOTSO
Push 'em in! All of 'em!
(to his Gang)
This is what happens when you dummies try to think!
He shoves Big Baby. Big Baby shrinks back, hurt. Stretch advances on Woody and the Toys. They teeter at the edge of the precipice. Lotso faces them, sneering.
LOTSO
We're all just trash, waitin' to be thrown away! That's all a toy is!
Abruptly, Lotso is lifted from behind by Big Baby.
LOTSO
Put me down! What're you doing?
Big Baby carries him to the edge of the dumpster.
LOTSO
Help me! Help!
Around the dumpster, no one moves. Big Baby tosses Lotso into the dumpster. He lands in the shadows, looks up. With a CREAK, the Big Baby tugs at the open dumpster lid.
LOTSO
No...! Wait...!
KLOON! Big Baby watches -- blank-eyed, pitiless -- as the lid SLAMS down, shutting Lotso in. No one can believe it.
REX
He's gone!!!
MR. POTATO HEAD
Holy cow!!!
BIG BABY
Ah-pppbbblllmmmmmmm...!!!
He blows a RASPBERRY at Lotso. VROOOM! The Toys turn. The garbage truck is only 100 feet -- 15 seconds -- away.
WOODY
C'mon! Hurry!
The Toys hop on the now-closed dumpster lid, rush to the retaining wall, and help each other clamber onto it. A SQUEAK. Woody turns. At the crack between the two lids are the three Aliens. One Alien is stuck. He struggles while the other two stand around ineffectually.
WOODY
Oh...! For crying out loud!
Woody glances at the approaching truck, then runs back.
JESSIE
Woody...!
Woody yanks the Alien free. Spanish Buzz gestures.
SPANISH BUZZ
Vaquero, andale! (Cowboy, hurry!)
The Aliens retreat to safety. Woody tries to follow, but a pink paw grabs his leg. Woody tries to free himself, but the paw drags him slowly into the dumpster's depths. The Toys watch, horrified, as Woody disappears. The truck turns and approaches the dumpster, fork out.
HAMM
Oh, boy! Incoming!
BA-BOOM! The truck's forks slide into the dumpster and begin lifting it up. As it rises past the retaining wall Jessie and Buzz fearlessly jump onto the rising dumpster.
JESSIE
C'mon!
The other Toys follow. Barbie tries to follow too, but Ken holds her back.
KEN
Barbie, no...!
They all try to lift the dumpster lid. It won't budge. The dumpster rises up, up, up -- and begins to tilt. As the dumpster tilts, they start to lose their footing. As the dumpster nears vertical, the lid swings open and trash begins pouring into the truck. Woody calls out...
WOODY
Jess!
JESSIE
Woody!
Woody falls into darkness. A FLASH of pink goes by -- Lotso tumbles past. The dumpster LURCHES to a stop. All the Toys fall into the truck. Barbie -- on the wall -- reaches forward.
BARBIE
No...!!!
She turns away, burying her head in Ken's comforting arms.
INT. GARBAGE TRUCK - NIGHT
The Toys find themselves in darkness, awash in garbage.
WOODY
Can you hear me?! Is everyone okay?!!
MR. POTATO HEAD
Of course not, you imbecile! We're doomed!
Buzz pulls himself from a mound of garbage. He GLOWS.
WOODY
Everyone! Go to Buzz! C'mon!!!
The Toys begin wading toward Buzz.
EXT. STREETS - NIGHT
The garbage truck rumbles through the streets.
INT. GARBAGE TRUCK - NIGHT
The Toys congregate around Buzz.
WOODY
We all here? Slinky...? Rex...?
The truck lurches to a stop. The hydraulic motor STARTS. Woody looks up. A dumpster appears above them, tilting.
WOODY
Against the wall, everybody! Quick!
He leads the Toys to the front of the truck, seeking shelter. Buzz remains behind.
SPANISH BUZZ
Senorita! Senorita, donde estas...?! (Miss...! Miss, where are you...?!)
JESSIE (O.S.)
Buzz...!
He turns. Somewhere in the DARKNESS, her voice rings out. A trickle of garbage begins to sprinkle down from above.
SPANISH BUZZ
Senorita...!
Buzz runs through the falling trash until he finds her pressed against the far wall -- terrified. CLUMP! Something large falls behind them. They look up. Garbage is falling out of the dumpster directly above them. Buzz takes Jessie's hand and they run across the garbage truck bay, dodging madly while trash rains down upon them. Against the back wall, the Toys watch, aghast.
HAMM
They'll never make it!
Buzz grabs Jessie and carries her -- dodging and weaving. A SCRAPING sound above.
MRS. POTATO HEAD
Look out!
Buzz and Jessie look up. An old TV set falls towards them. Buzz lunges and tosses Jessie out of the way. She turns. CRASH!!! The TV smashes down on Buzz. A deluge of trash piles on top, burying him completely.
JESSIE
Buzz...!!!
As the dumpster above recedes, Jessie runs forward and begins digging. The other Toys join her.
WOODY
Anyone see him?!
SLINKY
Over here, y'all! I found him!
They rush over and drag Buzz from the pile. Buzz's eyes are closed. Jessie pops his shield, shakes him.
JESSIE
Buzz, you okay?! Buzz! Buzz!!!
No response. Jessie shakes him again. And again.
JESSIE
No...!
She hugs him, sobbing. A BEEP. Buzz jack-knifes forward, then lurches back. Jessie pulls away. Buzz sits up, eyes open -- disoriented. He sniffs the air with distaste. Then he sees the others. The Toys gape at him in open-mouthed wonder. Buzz frowns.
BUZZ
That wasn't me, was it?
JESSIE
Oh, Buzz! You're back!!! You're back, you're back, you're back!!!
She throws her arms around him, hugs him tight.
BUZZ
Yes, I'm back!
(beat)
Where've I been?
WOODY
Beyond Infinity, Space Ranger!
BUZZ
Woody!
Woody smiles -- partners again. Buzz looks around.
BUZZ
But... Where are we now?!
REX
(excitable)
In a garbage truck on the way to the dump!
Buzz's smile freezes.
EXT. TRI-COUNTY DUMP - NIGHT
The garbage truck drives in the entrance.
INT. GARBAGE TRUCK - NIGHT
The truck grinds to a halt. The BEEP-BEEP-BEEP backing-up alarm begins to sound. The Toys look around.
WOODY
Everyone -- stay together!
Everything lurches. The truck bay begins to tilt.
EXT. DUMP - NIGHT
The garbage truck tilts up -- higher and higher. Trash begins pouring out the back, onto the dump below.
INT. GARBAGE TRUCK - NIGHT
The back flap opens, allowing garbage to spill out. A trash pit is revealed below. The Toys begin sliding out.
WOODY
Hold on! We're going in...!
TOYS
Whoa...!
EXT. DUMP - NIGHT
The garbage truck extends fully, tilting 70 degrees. The stream of garbage becomes a torrent.
INT. GARBAGE TRUCK - NIGHT
The Toys cling together, screaming, as they slide out into the open night.
EXT. GARBAGE PIT - NIGHT
Woody lands on a trash heap -- Oooff! A plastic bag whips by. He sits up. He's in a vast, wind-blown landfill. Nearby, Hamm and Rex unearth themselves. Mr. Potato Head helps Mrs. Potato Head up.
MR. POTATO HEAD
You got all your pieces?
The Aliens pop up. One points to some heavy machinery -- with a giant claw -- in the distance.
ALIEN
The Cla-a-a-aw!
They toddle off toward it.
WOODY
Hey! Guys, no...! No!!!
Suddenly, the trio of Aliens is bathed in headlights. Before anyone can react, a bulldozer passes over them... Just like that, they're gone.
MRS. POTATO HEAD
My Babies...!!!
A blinding LIGHT pours over her and envelops the Toys. Woody turns. A bulldozer -- with giant, studded wheels and a massive grate -- is heading right at them. Rex SCREAMS. The Toys are pushed backward toward a trench.
WOODY
Hang on!
They tumble as the bulldozer pushes them over the edge.
EXT. CONVEYER BELT - NIGHT
The Toys land on a conveyor belt entering a dark tunnel.
INT. CONVEYER BELT - NIGHT
Woody sits up and watches the light receding behind them. The other Toys gather round.
MRS. POTATO HEAD
Woody! What do we do?
WOODY
We'll be okay if we stay toge--...
VWOOSH! Slinky is pulled up OUT OF FRAME.
WOODY
Slinky...!
SLINKY
Woody...!
Slinky is fixed to a fast-moving conveyor belt above them. Woody runs after him.
WOODY
Slinky, get down from there!
A hammer shoots up and CLANKS on the belt, narrowly missing Slinky. All around them, other pieces of metal begin FLYING UP and sticking to the ceiling belt. Jessie yells.
JESSIE
It's a magnet! Watch out!
High above, Slinky looks around.
SLINKY
Uh, you might wanna take a look at this!
The Toys scramble up a pile of debris. Ahead is a Shredder -- two fast-spinning vertical cylinders that shred everything on the belt. Buzz sees a lunch box near him starting to quiver....
BUZZ
Quick! Grab something metal!
He grabs it and is pulled up to the magnetic belt. Woody grabs a metal handle and flies up, sticking to the ceiling belt. Hamm dives into a nearby pot and is lifted upwards.
HAMM
You heard the guy...!
Each Toy grabs a metal object and lifts -- CLUNK! -- to the ceiling. Rex, the last, grabs an aluminum can, a CD, etc.
REX
It's not working!!!
Finally, he grabs a metal fan and sails up to safety. Suddenly, a pink paw thrusts out from the belt below.
LOTSO (O.S.)
Help...! Help me!!!
Woody turns. Lotso is pinned under a golf bag.
LOTSO
I'm stuck! Help!!! Please!
Woody looks at the approaching shredder. He lets go.
JESSIE
Woody...!
Woody lands on the belt, runs back to Lotso.
LOTSO
Thank you!
WOODY
Don't thank me yet.
Woody struggles to lift the bag. Buzz drops down next to Woody. Jessie eyes the approaching shredder.
JESSIE
Buzz...!!! Woody...?!!!
Woody and Buzz push together. They still can't move it. Woody pulls out a golf club. The magnet tugs it upward. Buzz grabs it. Together, they pull it down and jam it under the bag for leverage. The bag finally lifts...
WOODY
Go! Go!
...and Lotso scrambles out. Woody grabs Lotso. He and Buzz point the club skyward. They're pulled up to safety as the golf bag is pulverized. Lotso looks back at the shredder, then at Woody.
LOTSO
Thank you, Sheriff...!
WOODY
We're all in this together.
(turns)
Right guys...?
All the Toys have vanished.
WOODY
Guys?!
JESSIE (O.S.)
Woody! Down here!
Jessie and the others wave from a conveyer belt far below. Woody and Buzz let go and plummet.
EXT. DUMP / STAIRWAY TO HEAVEN - NIGHT
Woody, Buzz and Lotso land on the bed of a big, fast-moving conveyer belt with metal walls. The Toys gather around.
JESSIE
Woody!
The toothed belt begins to ascend upwards.
REX
Woody! Look! I can see daylight! We're gonna be okay!
Rex points to a bright amber GLOW at the top of the belt. The toys scramble forward. Woody's smile drops.
WOODY
I don't think that's daylight...
FAST TRACK -- At the end of the conveyer belt, garbage falls into a burning, churning vortex.
WOODY
Run!!!
Unable to jump off, the Toys begin running down the belt. They dodge, duck and hurdle over the coming trash, but they're no match for the speed of the rising conveyor. Lotso trips, falls. A pulsing blue LIGHT. He looks up. High on the wall ahead is an Emergency Stop button. A ladder leads to the button. Lotso leaps up, grabs the bottom rung. He can't pull himself up.
LOTSO
Sheriff...! The button! Help me!
The Toys look back, see Lotso. As they pass, Woody, Buzz and Jessie boost Lotso up.
WOODY
Go!!! Go!!! Hit the button!
Lotso scrambles up the ladder toward the glowing button. The Toys are carried up the conveyor belt toward the pit. The Toys watch Lotso -- receding -- as he climbs. Lotso stays focussed on the button above him. The Toys reach the belt's acme -- heels at the edge of the waterfall of trash cascading to a melting, churning vortex.
WOODY
Hurry!!!
Lotso reaches the walkway where the blue button glows. He turns and looks -- malevolent -- at the helpless Toys.
WOODY
Just push it! Push it!
BUZZ
Push it!!!
Lotso smirks, gives a salute.
LOTSO
Where's your kid now, Sheriff?!
He turns, runs off down the walkway.
WOODY
No... No...! No...!!!
BUZZ
Lotso...!!!
The Toys YELL as they tumble off the belt...
EXT. INCINERATOR HOPPER - NIGHT
The Toys land in a giant vortex of trash being sucked down into the glowing eye of an incinerator. It's chaos -- trash tumbles over itself as sparks and ashes fly through the air. The ROAR is overwhelming. Woody stands and starts trying to climb out. The Toys do the same, climbing desperately, fighting against the trash tumbling into the vortex of fire. They slip, fall, get up and slip again. It's a nightmare -- no matter how fast they climb, they inexorably slide backwards. Rex slides past Woody, towards the incinerator.
REX
Ahhhhhh!
WOODY
Rex!!!
Woody grabs Rex's hand, slides further toward the inferno. They are all being pulled inescapably downward. There's no way out. Jessie looks at Buzz.
JESSIE
Buzz...! What do we do?
Buzz looks at her. He reaches out, takes her hand. Jessie grabs Bullseye's hoof. Slinky takes Hamm's hand. Hamm reaches out to Rex. The Potato Heads hold each other. Mr. Potato Head grabs Rex. Buzz reaches out to Woody... Woody takes Buzz's hand, and the circle is complete. As they approach the vortex, heat waves blast their faces. The Toys close their eyes, turn away. Woody stares at the fire, shuts his eyes. This is the end. A LIGHT from above shines in Woody's face. He opens his eyes. A giant mechanical Claw lowers towards them. The Claw plunges into the trash around them, closing them in its grip, then raises them up. They soar into the air, away from the ROARING incinerator. Woody looks around in disbelief. The Claw spins, passing in front of the crane booth.
INT. CRANE OPERATOR'S BOOTH - NIGHT
In the booth, the Aliens man the joysticks.
ALIENS
The Clawwwww!!!
They lean into the joystick, steering the Claw to safety.
EXT. DUMP - DAWN
The Claw lowers and opens, dropping the Toys to earth. They spill out, COUGHING and GROANING like shipwreck survivors. Woody sits up, looks around. Rex pops up through trash.
REX
Whew...!
They have faced death and survived, and are profoundly shaken. Potato Head stares at the sky.
MR. POTATO HEAD
Y'know all that bad stuff I said about Andy's attic? I take it all back.
SLINKY
You're darn tootin'!
HAMM
You said it!
Buzz and Jessie sit up, still holding hands. She looks at him, smiles. He smiles and holds her gaze. Mrs. Potato Head takes Mr. Potato Head's hand.
MRS. POTATO HEAD
Oh, darling! You were so brave!
A SQUEAK. The Potato Heads turn, see the Aliens approach.
MRS. POTATO HEAD
You saved our lives...!
MR. POTATO HEAD
And we... Are eternally grateful!
Potato Head scoops them into his arms for a big, proud hug.
MR. POTATO HEAD
My boys...!
ALIENS
Daaddddyyyy...!!!
Hamm looks around.
HAMM
Hey! Where's that furball Lotso?
SLINKY
I'd like to loosen his stitching!
WOODY
Forget it, guys. He's not worth it.
EXT. GARBAGE DUMP, ELSEWHERE - DAY
Lotso limps toward the dump exit. A NOISE. He turns, then drops, freezing. A truck's wheels SCREECH to a halt in front of Lotso. A door OPENS and SHUTS. FOOTSTEPS. A hand picks him up.
GARBAGE MAN ONE (O.S.)
Hey!
GARBAGE MAN TWO (O.S.)
Whatcha got?
GARBAGE MAN ONE (O.S.)
I had me one a these when I was a kid!
He buries his nose in Lotso's tummy, inhales.
GARBAGE MAN ONE
(nostalgic rapture)
Strawberries...!
EXT. GARBAGE DUMP - DAY
The truck exits the dump -- Lotso strapped to the grill. He comes to life, panicked. On the grill are a couple of muddy, bug-spattered Plushies, including a sad-eyed FROG.
FROG
Hey, buddy...!
(Lotso turns)
...Y'might wanna keep yer mouth shut!
The others SNICKER. Lotso WHIMPERS. The truck RUMBLES off. ANGLE -- The truck passes, REVEALING the Toys, unaware of Lotso's karmic comeuppance. Jessie sees Woody lagging.
JESSIE
C'mon, Woody -- we gotta get you home!
BUZZ
That's right, "College Boy"!
WOODY
But... What about you guys? Maybe the attic's not such a great idea.
He glances at them, uneasy. Jessie steps to him.
JESSIE
We're Andy's Toys, Woody...
BUZZ
We'll be there for him. Together.
Woody smiles.
WOODY
I just hope he hasn't left yet...
MRS. POTATO HEAD
Wait a minute! Wait, I'll check!
She covers her good eye, concentrates.
MRS. POTATO HEAD
He's still packing...!
(GASPS)
...But he's almost done!
HAMM
He lives halfway across town...!
REX
We'll never get there in time!
The Toys glance at each other. Then, distantly, comes the air-guitar WAILING of Andy's Neighborhood Garbage Man. The Toys turn, see him a dozen yards away. They brighten.
EXT. DRIVEWAY - DAY
Andy's loading up his hatchback with boxes. Molly's on the lawn playing with Buster. As the garbage truck passes...
MOLLY
C'mere, boy. C'mon, Buster!
MOM
Is that it, honey? You got everything?
ANDY
Yeah, just a few more boxes in my room.
At the curb, REVEAL the Toys hiding behind a garbage can. Woody peeks around, gestures to the other Toys.
WOODY
Okay, c'mon!
INT. BACK YARD - DAY
TIGHT ON SPIGOT -- Woody's hand comes in, turns it. The Toys huddle while Woody hoses them off. Buzz closes his helmet. The Toys react to the cold water.
TOYS
Eeeaauggh...!!! Brrr...!!! Stop!!!
HAMM
That's enough, that's enough, that's enough!!
WOODY
All right, go! Go, go!
The Toys run off. Potato Head pulls off his nose, blows out a spray of water.
EXT. GARAGE ROOF - DAY
Slinky heaves himself up to the edge of the garage roof. One by one, the Toys scurry up his Slink, then make their way along the roof towards Andy's open window.
INT. ANDY'S ROOM - DAY
Buzz and Woody peer in.
BUZZ
All clear...!
They clamber through the window, jump to the floor. The other Toys follow, scrambling across the room. Mrs. Potato Head stops, puts a hand over her working eye. TRANSITION: POV -- Under the bed, looking out. Mrs. Potato Head's feet are in front of us, facing away.
MRS. POTATO HEAD (V.O.)
There you are...!
The feet turn and a hand reaches TOWARD US, GRABBING the subjective eye. TRANSITION: She pops her eye back in, blinks... And GIGGLES, tickled. The Toys climb into a box marked "Attic". Buzz helps them. On the desk is a box marked "College". Woody heads for it. He reaches the box, turns. This may be the last time he ever sees the other Toys. He scrambles back toward Buzz.
WOODY
Buzz...
Buzz turns. Woody offers a hand. They shake.
WOODY
This isn't good-bye.
SLINKY (O.S.)
Hey, Woody...
Woody looks up. Slinky lowers a paw.
SLINKY
...Have fun at college!
HAMM
Yeah, but not too much fun!
Woody laughs, shakes hands with Slinky.
REX
Woody, take care of Andy.
MRS. POTATO HEAD
Yeah...
MR. POTATO HEAD
He's a good kid. Tell him to get a haircut.
WOODY
I will.
Woody sees Jessie.
WOODY
Jessie -- you'll be okay in the attic?
JESSIE
'Course I will. Besides...
(leans in)
...I know about Buzz's "Spanish Mode".
BUZZ
My what...?
He turns, confused. Woody and Jessie share a smile.
MOM (O.S.)
Honey, you want some food for the road?
ANDY (O.S.)
I'll get something on the way.
Woody turns to Buzz -- there's so much he wants to say. Buzz just smiles.
BUZZ
You know where to find us, Cowboy.
Woody smiles. He turns, runs to the desk. Buzz climbs in the Attic box with the others. On the desk, Woody jumps on the edge of the College box, looks back at his friends. FOOTSTEPS climb the stairs. Woody gives Buzz a salute. Buzz smiles, salutes back. Woody lowers into the College box. The Toys duck in the Attic box, pull the flaps shut just as Andy and Mom enter.
MOM
Did you say goodbye to Molly?
ANDY
Mom, we've said goodbye like ten times!
Mom stops, suddenly overwhelmed. The room is empty.
MOM
Oh, Andy...!
Andy, beside her, is abashed.
ANDY (O.C.)
Mom...! It's okay...
IN THE COLLEGE BOX Woody quietly peeks out the hand holes. POV -- Woody can half-see Mom hug Andy.
MOM
I know, it's just... I wish I could always be with you.
ANDY
You will be, Mom.
ON WOODY He turns and glances off, noticing something. THE PHOTO Of young Andy, playing with Woody and the other Toys. TRACK IN ON Woody. Mom and Andy's words echo in his head. WOODY POV -- His GAZE SHIFTS from Andy-holding-Woody to Woody-with-the-other-Toys. Suddenly, Woody half-smiles -- an epiphany. Sadness and uncertainty are replaced by happiness and determination. FOOTSTEPS and collar JINGLES approach. Molly steps to the room's threshold with Buster.
MOLLY (O.C.)
Hey... Aren't you gonna say goodbye to Buster?
Andy and Mom step into the hallway.
ANDY (O.S.)
Of course I will...!
(to Buster)
Who's a good doggie?! Who's a good doggie?!!! I'm gonna miss you!
While Andy scratches Buster's belly, Woody jumps out of the box, grabs a pen and a sticky note. He sneaks across the room, jumps on the Attic box, starts frantically writing. Buster starts BARKING. Woody finishes writing, looks up.
MOLLY (O.C.)
He's telling you to go already.
MOM (O.C.)
C'mon, get the rest of your things.
Woody gasps, looks up at the door. TRACK IN -- THE DOOR Andy walks in. Mom and Molly stay in the hallway.
ANDY
Okay, Buster, don't let Molly near my stuff.
Andy turns, crouches to pick up the Attic box. He stops, noticing the yellow Post-It on the box top. He opens the flaps, finding all of his Toys.
ANDY
Hey...!
He digs through them -- pulling a few out, making sure they're all there -- smiling with fondness and relief. He picks up the Post-It, reads it. He calls out.
ANDY
Hey, Mom... So, you really think I should donate these?
Mom answers from the hallway.
MOM (O.S.)
It's up to you, honey. Whatever you want to do.
INT. CAR - DAY
Andy cruises, looking for an address. A box with "Attic" crossed out sits in the passenger seat. The car slows.
EXT. HOUSE - DAY
Andy grabs the box and gets out. TRACK IN -- The hand slot of the College box, left behind. POV - COLLEGE BOX -- Andy crosses the street and approaches the house. Andy stops, glances at the box. On the Post-It is written: DONATE TO: Bonnie 1225 Sycamore Road TILT UP -- The address on the front gate. It matches. Andy sees Bonnie playing in the front yard, while her Mom and Dad garden nearby.
BONNIE
No! Don't go in there! The bakery is haunted...!!!
(another voice:)
Shhhhhh!!! Are you crazy?! You'll wake up all the ghosts!
Andy watches Bonnie play -- exuberant and unself-conscious.
BONNIE
Look out! The ghosts are throwing pies! Splat! Splat! Splat!
Bonnie notices Andy and immediately stops playing.
BONNIE
Mom...?
Bonnie's Mom looks over, sees Andy. She stands.
BONNIE'S MOM
Andy...!
ANDY
Hi!
Andy lets himself in the gate.
BONNIE'S MOM
Wow! Look at you! I hear you're off to college?!
ANDY
Yeah. Right now, actually.
BONNIE'S MOM
So, what can we do for you?
Bonnie goes and stands behind her Mom.
ANDY
Uhh... I have some toys here.
BONNIE'S MOM
Ohhh...! You hear that, Bonnie?
Bonnie peeks around her Mom, curious.
ANDY
So you're Bonnie?
He hunches down so he's eye to eye with her.
ANDY
I'm Andy. Someone told me you're really good with toys. These are mine, but I'm going away now, so I need someone really special to play with them.
Bonnie is uncertain. Andy sits in front of her, cross- legged. He opens the box, pulls out Jessie and Bullseye.
ANDY
This is Jessie -- the roughest, toughest cowgirl in the whole West. She loves critters, but none more'n her best pal, Bullseye.
(whinnies; then, as Jessie)
Yee-haw! Here.
Bonnie looks at her Mom, who nods. She walks forward. Andy gives Jessie and Bullseye to her. A smile escapes Bonnie. Andy pulls out Rex.
ANDY
This is Rex -- the meanest, most terrifying dinosaur who ever lived.
(dinosaur voice)
"Raaawwwrrrrr...!!!"
He thrusts Rex at her. Bonnie backs up, grins, takes him. Andy pulls out the Potato Heads.
ANDY
The Potato Heads -- Mister and Missus. You gotta keep 'em together 'cause they're madly in love.
Bonnie nods, takes them. Andy pulls out Slinky and Hamm.
ANDY
Now Slinky here is as loyal as any dog you could want. But Hamm? He'll keep your money safe...
He drops a quarter into Hamm's slot.
ANDY
...but he's also one of the most dastardly villains of all time...
(Hamm voice)
"...Evil Dr. Pork Chop!"
Bonnie smiles, takes them. He pulls out the three Aliens.
ANDY
These little dudes are from a strange, alien world -- Pizza Planet!
She smiles. He hands them to her, then pulls out Buzz.
ANDY
And this is Buzz Lightyear -- the coolest toy ever. Look, he can fly...
(deploys wings)
...And shoot lasers...
(fires laser)
He's sworn to protect the galaxy from the evil Emperor Zurg!
Andy hands over Buzz. Bonnie presses a button on him.
BUZZ
"To Infinity... And Beyond!!!"
Bonnie looks up, happily surrounded by Andy's toys.
ANDY
Now, you gotta promise to take good care of these guys. They mean a lot to me.
Bonnie nods. She glances in the box. Her eyes go wide.
BONNIE
My cowboy!
Andy looks down, sees Woody lying in the box.
ANDY
Woody...? What's he doing in there?
He lifts Woody out. Bonnie points.
BONNIE
"There's a snake in my boot!"
Andy -- amazed -- pulls Woody's pull-string.
WOODY
(voice-box)
"There's a snake in my boot!"
Bonnie giggles and reaches for him, but Andy instinctively pulls Woody away. Bonnie looks at Andy, confused. Andy looks down at Woody, makes a decision. He holds Woody out -- gentle and serious.
ANDY
Now, Woody -- he's been my pal as long as I can remember. He's brave, like a cowboy should be. And kind, and smart. But the thing that makes Woody special? Is he'll never give up on you -- ever. He'll be there for you, no matter what. Y'think you can take care of him for me?
(she nods)
Okay, then.
He hands Woody to Bonnie. She hugs him. Andy suddenly grabs Hamm.
ANDY
Oh, no! Dr. Pork Chop's attacking the haunted bakery! Pchoo! Pchoo!
Without missing a beat, Bonnie joins in the play.
BONNIE
Oh, no! The ghosts are getting away! Woody'll stop 'em!!
She swoops Woody in the air. Andy grabs Slinky and gives chase. They EXIT FRAME, laughing.
ANDY
Pchoo! Pchoo! Pchoo!
EXT. BONNIE'S HOUSE - LATE AFTERNOON - MONTAGE
Bonnie and Andy play together with all their Toys.
EXT. BONNIE'S HOUSE - DUSK
Andy walks to his car, turns. Bonnie stands on the porch, the Toys scattered at her feet. She clutches Woody. Bonnie makes Woody's arm wave at Andy. Andy smiles. He gets in his car. He takes one last look at all his Toys on Bonnie's porch, and Woody in Bonnie's arms...
ANDY
Thanks, guys.
...And pulls away.
BONNIE
Look, Mommy! They're all playing together!
Bonnie puts Woody down and runs to her mother's arms.
BONNIE'S MOM (O.C.)
C'mon -- let's get some lunch.
She scoops up Bonnie, swings her around. Mother and daughter laugh as they step into the house. On the porch, the Toys come to life, sit up. Woody watches Andy drive away.
WOODY
So long, partner.
Buzz puts an arm around Woody. They watch Andy drive off. The other Toys gather around, and we... CRANE UP TO
..Blue sky, and fluffy clouds.
THE END
| 1 | 0 |
Mud_2012
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tt1935179
|
Mud
| 2,012 |
Ellis and Neckbone, two teenage boys living near DeWitt, Arkansas, are excited to find an abandoned boat on a small island in the Mississippi River. However, the boat is already inhabited by a man named Mud, whom the boys encounter a short time later. Mud, a disheveled but charismatic vagrant, tells the boys he grew up nearby and asks for some food, promising them the boat in exchange once he is gone. Returning with food, the boys ask Mud why he is hiding out. Mud is waiting for his girlfriend Juniper, whom he describes as beautiful, with distinctive nightingale tattoos on her hands. The boys later spot Juniper in town. Ellis falls for an older girl named May Pearl. Ellis learns that his parents are heading for divorce over his mother's desire to move into town. This threatens their old river houseboat: if no longer used as a residence by the owner, it will be demolished by the River Authority. Later, at a roadblock, Ellis finds out Mud is a wanted fugitive, but denies having seen him. The boys confront Mud over the discovery. Mud explains that he killed a man who had gotten Juniper pregnant and pushed her down a flight of stairs, causing her to lose the child. Mud now plans to use the boat to escape, and promises the boys his pistol instead for their continued assistance. Mud sends Ellis to Tom Blankenship, an older father figure from his childhood and Ellis's neighbor, for help. Tom agrees to come talk to Mud; however, upon learning Mud is in trouble over Juniper again, he refuses to help. Mud gives the boys a note for Juniper. They find her motel room where Carver—the brother of the man Mud killed—is abusing her. Ellis and Neckbone tell Mud about the man, and Mud realizes that the family of the man he killed has come for revenge. Stealing machine parts and an outboard motor from junkyards, the boys help Mud repair the boat, and coordinate a plan with Juniper to bring her to Mud so they can escape together down the river. On the designated day, Juniper does not show up. Ellis and Neck find her flirting with other men at a nearby bar, and tell Mud what has happened. Ellis brings a note from Mud to Juniper, telling her he accepts that it's over between them. Juniper tells Ellis that she loves Mud, but that he is a born liar and she cannot spend the rest of her life following his itinerant lifestyle. Ellis is deeply disillusioned by the sudden dissolution of what he believed to be a couple deeply in love. Soon after, May Pearl rejects and humiliates Ellis in front of her friends. These events seem to confirm for Ellis his father's admonishment, in the wake of the pending divorce, that women cannot be trusted. Ellis confronts Mud and calls him a liar and a coward for giving up on Juniper. Running away, Ellis falls into a pit containing cottonmouths and is bitten. Mud jumps in and rescues him, racing to get the unconscious Ellis to a clinic on the mainland. Recognizing Mud, one of the hospital employees calls the police, who tip off Carver and his father King. Evading his pursuers, Mud gets back to the island where he and Neckbone launch the repaired boat into the water. As they agreed before, Mud gives Neckbone his pistol but without ammunition. Mud wants to say goodbye to Ellis, so Neckbone takes him to Ellis's family's houseboat, where he is recovering. Mud sneaks into Ellis's room, and Ellis tells Mud he is sorry for the things he said. Mud replies Ellis was right about most of what he said, and that he is not a good man. Ellis then shares his father's advice about women. Mud disagrees, and says that Ellis is a good man and if he finds a girl half as good as he is, he'll be alright. While Mud is in Ellis's room, Carver and his posse arrive and start shooting. Tom, a former Marine marksman, fires from his boat using his old sniper rifle, killing several attackers from across the river. Mud saves Ellis and tries to get away but is shot as he dives into the river. The police arrive and find all the posse members dead. One trooper calls King to tell him that his other son is now dead. Police divers search for Mud's body all night. The morning after the shootout, Tom disappears. Ellis's parents separate. He and his mother move to an apartment in town and Ellis's father gets a new job far away. Ellis and Neckbone watch the houseboat get demolished as Ellis shares that he is uncertain of Mud's fate but still believes he was protecting Juniper. As Ellis's father departs, he tells Ellis to take care of his mother because this change is hard on her too, showing a more mature and changed attitude toward their situation. He assures Ellis he'll see him again in a week and tells Ellis he loves him, which Ellis reciprocates. Ellis sees some attractive older teenage girls in his new neighborhood - one of them waves to him and he smiles. Several days later, Mud is revealed to be alive and recovering on the repaired boat, driven by Tom. The film ends with them looking ahead at the mouth of the Mississippi River, and south of that, the Gulf of Mexico.
|
<script>
<scene>
<character>MUD</character>
<dialogue>by</dialogue>
<scene_description>Jeff Nichols Shooting Script © August 22, 2011 - draft September 16, 2011 WGA#: 1319361 All Rights Reserved</scene_description>
</scene>
<scene>
<stage_direction>INT. ELLIS' ROOM - PREDAWN</stage_direction>
<scene_description>ELLIS(14) sits fully-clothed on top of his made bed. He is a wiry young man with a few blonde hairs on his upper lip struggling desperately to be a mustache. His room, cluttered with junk, is dark, quiet and tiny. A backpack and an oversized Walkie-Talkie sit next to him. The silence is cut by a SQUAWK from the Walkie. Ellis quickly grabs it.</scene_description>
<character>ELLIS</character>
<dialogue>I'm comin' out now.</dialogue>
<scene_description>He crams the Walkie into his backpack and slings it over his shoulder. On his feet, he slides open a window at the foot of his bed. He's out in one motion.</scene_description>
</scene>
<scene>
<stage_direction>EXT. HOUSEBOAT - PREDAWN</stage_direction>
<scene_description>Ellis skirts alongside the exterior wall of his room on a two- foot-wide section of decking. He lives on a HOUSEBOAT anchored just off the bank of the Arkansas River. The "boat" is really the combination of a double wide trailer and a vinyl-sided shack fused together atop large flotilla. Ellis scurries to the mobile home section of the boat. He slips past a barbecue grill and settles underneath a lighted window. VOICES come from inside. Slowly, Ellis gets on his toes to peer through the window.</scene_description>
</scene>
<scene>
<stage_direction>INT. ELLIS' KITCHEN - CONTINUOUS</stage_direction>
<scene_description>MARY LEE(41) takes a jug of milk out of the refrigerator. SENIOR(52) sits at a small table reading a newspaper. The mobile home kitchenette is no larger than Ellis' room.</scene_description>
<character>MARY LEE</character>
<dialogue>I just want to have a conversation. I just want to talk about it.</dialogue>
<scene_description>Mary Lee sits down across from Senior, who doesn't look up from his paper. Her eyes narrow and she extends a finger toward him.</scene_description>
<character>MARY LEE</character>
<dialogue>If you don't look up from that goddamn paper...</dialogue>
<scene_description>She stops before completing the thought. After a moment, Senior lowers his paper. He stares across the table at his wife. He looks at her with true disdain. His eyes trace down her face and robe before finally settling on his cup of coffee. He picks up the cup, takes a sip, and sets it back on the table. He raises the paper up. Mary Lee's eyes soften. She bites the inside of her cheek to keep from crying. Her eyes move to the kitchen window.</scene_description>
</scene>
<scene>
<stage_direction>EXT. ELLIS' HOUSEBOAT - CONTINUOUS</stage_direction>
<scene_description>Ellis quickly ducks and mouths the word "shit." He slips under the window toward a metal carport that covers a boat, fish cleaning station, and industrial ice machine. The entire houseboat is anchored to the shore by two thick ropes tied to opposite ends of the flotilla. The ropes extend upward into the tops of enormous pine trees. Ellis sprints across a simple, wood-planked bridge to shore. His houseboat is one of several in a row along the riverbank.</scene_description>
</scene>
<scene>
<stage_direction>EXT. ELLIS' RIVERBANK - CONTINUOUS</stage_direction>
<scene_description>Ellis scurries into the treeline and arrives at a dirt path. Waiting for him there is NECKBONE(14), a scrawny kid with slicked back blonde hair wearing a FUGAZI T-shirt. He sits atop a smallish dirt bike. Ellis hops on the back.</scene_description>
<character>NECKBONE</character>
<dialogue>What the shit man?</dialogue>
<character>ELLIS</character>
<dialogue>Suck it. Drive.</dialogue>
<scene_description>The bike spits up mud as they peel out down the trail.</scene_description>
</scene>
<scene>
<stage_direction>EXT. RIVERBANK - PREDAWN</stage_direction>
<scene_description>From a distance, the single headlight of the dirt bike snakes up and down, in and out of trees along the riverbank. ON THE BIKE, The sound of the engine rips through fog and trees illuminated by the straining headlight.</scene_description>
</scene>
<scene>
<stage_direction>EXT. RIVERBANK - DAWN</stage_direction>
<scene_description>The boys emerge from behind a sand covered hill. Now on foot, they are silhouetted against a light blue, morning sky.</scene_description>
<character>NECKBONE</character>
<dialogue>How old is she?</dialogue>
<character>ELLIS</character>
<dialogue>A Junior.</dialogue>
<scene_description>At a collection of trees growing out of the water, the boys move branches away from a tarp covered boat.</scene_description>
<character>NECKBONE</character>
<dialogue>She's got nice titties. You talk to her?</dialogue>
<character>ELLIS</character>
<dialogue>Nah.</dialogue>
<character>NECKBONE</character>
<dialogue>You're gonna have to talk to her.</dialogue>
<character>ELLIS</character>
<dialogue>I know.</dialogue>
<character>NECKBONE</character>
<dialogue>Remind me when we get back to my house, Galen's got a book on that.</dialogue>
<scene_description>Neckbone takes a spot up front in the small, flat-bottom boat. Ellis, a foot on the bank and one in the boat, launches them out into the water.</scene_description>
</scene>
<scene>
<stage_direction>EXT. RIVER - MORNING</stage_direction>
<scene_description>A chunk of Neckbone's greased back hair bobs in the wind as they cruise down river. Ellis steers a small 15 horsepower motor. An orange sun is coming up now. Neckbone's eyes lock on what's in front of them. Ellis kills the motor. Neckbone stands up, a serious look on his face.</scene_description>
<character>NECKBONE</character>
<dialogue>Shit.</dialogue>
<scene_description>Ellis raises up behind him. He takes a deep breath, nods.</scene_description>
<character>NECKBONE</character>
<dialogue>Your dad'd kill us he knew we went out there.</dialogue>
<character>ELLIS</character>
<dialogue>I'm not worried about my dad killin' us.</dialogue>
<scene_description>THE MISSISSIPPI RIVER sprawls out in front of them. It's enormous. Their boat drifts at the mouth of the Arkansas, a small river by comparison. The Mississippi is a swirling mess of brown water and yellow foam six football fields wide.</scene_description>
<character>NECKBONE</character>
<dialogue>What if it sinks?</dialogue>
<character>ELLIS</character>
<dialogue>It ain't gonna sink. We gotta move if we're gonna make it back. Set your watch. We'll need a good fifteen minutes.</dialogue>
<scene_description>Neckbone sets an alarm on his fat plastic wristwatch. They take their seats. Ellis cranks the motor. The small boat slowly chugs out onto the massive river.</scene_description>
</scene>
<scene>
<stage_direction>EXT. MISSISSIPPI RIVER - MORNING</stage_direction>
<scene_description>The boat lurches through the murky, rushing water. Neckbone has both hands firmly planted on the boat's edges. Ellis tries to handle the motor which has little impact against this current. The tail end of the boat swings to the right. Ellis flinches and grabs an edge to steady himself. The front of the boat bobs toward an ISLAND in the middle of the river. Neck turns to Ellis and points.</scene_description>
<character>NECKBONE</character>
</scene>
<scene>
<stage_direction>EXT. ISLAND SHORE - DAY</stage_direction>
<scene_description>The boys splash down in ankle deep water. They take hold of the front of the boat and drag it onto the muddy shore. Neckbone jogs to a tree line in the center of the island. Ellis snatches up his backpack and follows.</scene_description>
</scene>
<scene>
<stage_direction>EXT. ISLAND WOODS - CONTINUOUS</stage_direction>
<scene_description>The island, only 60 some yards in diameter, is separated by a clump of tall trees that form a wooded area in its center. The trees make it so you can't see from one side of the island to the other.</scene_description>
<character>NECKBONE</character>
<dialogue>Galen thinks it's been here awhile. Thinks the last flood did it.</dialogue>
<scene_description>Ellis follows as Neckbone winds through the trees. They stop at a deep creek that cuts across the island. Neckbone looks to his right, then his left. Sees what he's looking for.</scene_description>
<character>NECKBONE</character>
<dialogue>It's down there.</dialogue>
<scene_description>A fallen tree trunk that straddles the creek. Ellis starts across.</scene_description>
<character>NECKBONE</character>
<dialogue>Hold it.</dialogue>
<scene_description>Neckbone picks a large stone up off the ground.</scene_description>
<character>NECKBONE</character>
<dialogue>Look.</dialogue>
<scene_description>Eight feet below the tree trunk, a nest of water moccasins curl around in the creek. Neckbone drops the stone on top of them. The snakes fan out.</scene_description>
<character>NECKBONE</character>
<dialogue>Little shits.</dialogue>
<scene_description>Their mud-caked high-tops stomp across the trunk.</scene_description>
</scene>
<scene>
<stage_direction>EXT. ISLAND WOODS - DAY</stage_direction>
<scene_description>The boys stop near the base of a large tree and stare up. Ellis cranes his neck back. Awestruck.</scene_description>
<character>NECKBONE</character>
<dialogue>So there it is.</dialogue>
<character>ELLIS</character>
<dialogue>Yeah, there it is.</dialogue>
<scene_description>A 26 Foot Long BOAT sits nestled in the tree limbs above.</scene_description>
</scene>
<scene>
<stage_direction>EXT. BOAT IN TREE - MOMENTS LATER</stage_direction>
<scene_description>The boys scale up the tree from low lying branches. Ellis, hands on the edge of the boat, gets a leg over the side and pulls himself onto the deck. He reaches down and helps to drag Neckbone on board. They get to their feet, steadying themselves on the wooden deck. It's solid. They take in their new vantage point.</scene_description>
<character>ELLIS</character>
<dialogue>It came down from up there.</dialogue>
<scene_description>Ellis points to higher limbs that have long been broken off. Neckbone walks to the back of the boat and hangs his head over. He finds a gaping hole of gutted wood.</scene_description>
<character>NECKBONE</character>
<dialogue>Motor broke off.</dialogue>
<scene_description>Ellis isn't concerned with the motor. His eyes are locked on a covered cabin at the front of the boat.</scene_description>
<character>ELLIS</character>
<dialogue>Who else knows about this?</dialogue>
<character>NECKBONE</character>
<dialogue>Just me and Galen.</dialogue>
<character>ELLIS</character>
<dialogue>What's he think?</dialogue>
<character>NECKBONE</character>
<dialogue>He don't care about it.</dialogue>
<character>ELLIS</character>
<dialogue>Good.</dialogue>
<scene_description>Ellis walks to the cabin. He pushes a vinyl door open.</scene_description>
<character>ELLIS</character>
<dialogue>'Cause this boat's ours.</dialogue>
<scene_description>Ellis has to duck down to go inside. Neckbone follows.</scene_description>
</scene>
<scene>
<stage_direction>INT. BOAT CABIN - CONTINUOUS</stage_direction>
<scene_description>Ellis, stooping over, makes his way into the tiny cabin room. Yellow floral curtains, stained with age, cover a row of windows that wrap around the top of the cabin. These provide an odd glow in an otherwise dark, wood paneled space. There is a bench with rotted out cushions to the left. To the right, a mold-covered sink and mirror. Neckbone peers over Ellis' shoulder at the front of the cabin room. A small booth sits to the right across from a miniature toilet partially shielded by an open door.</scene_description>
<character>NECKBONE</character>
<dialogue>It's got its own shitbox</dialogue>
<scene_description>Neckbone slides back a portion of floral curtain and light streams in. He starts opening small closets and drawers. Ellis plops down on the rotted bench cushions.</scene_description>
<character>ELLIS</character>
<dialogue>This is perfect.</dialogue>
<character>NECKBONE</character>
<dialogue>Ho-Lee-Shit.</dialogue>
<scene_description>Neckbone stares in an open drawer. He removes a stack of Playboys from the 1980's. Ellis smiles at him. He leans back and props his foot against the sink cabinet across from him. This is home. Neckbone opens the first Playboy. It disintegrates.</scene_description>
<character>NECKBONE</character>
<dialogue>Aw shit.</dialogue>
<scene_description>As he scrambles to gather the fallen pages, Ellis notices a dried BOOT PRINT next to his foot. He lowers his shoe from the cabinet leaving a smaller, muddy print of his own. He leans in to examine the larger print. The impression of a CROSS has been left in the heel.</scene_description>
<character>NECKBONE</character>
<dialogue>Her tits are so small.</dialogue>
<scene_description>Ellis reaches out and traces his finger in the groove of the cross marking. His eyes narrow as he re-surveys the cabin. On the table across from the toilet, he notices several empty cans of Beanie Weenie. In the booth, he sees a grocery bag. Ellis slowly raises up and goes over to it.</scene_description>
<character>ELLIS</character>
<dialogue>Neck.</dialogue>
<character>NECKBONE</character>
<dialogue>Look at that beave. You gotta see this.</dialogue>
<scene_description>Ellis reaches out for the plastic bag. His fingers pull back the edges to reveal its contents: one can of unopened Beanie Weenie and half a loaf of BREAD.</scene_description>
<character>ELLIS</character>
<dialogue>Neck.</dialogue>
<scene_description>Ellis reaches for the bread and gives it a squeeze. It's FRESH. Ellis freezes.</scene_description>
<character>NECKBONE</character>
<dialogue>What?</dialogue>
<character>ELLIS</character>
<dialogue>Someone's here.</dialogue>
<character>NECKBONE</character>
<dialogue>What?</dialogue>
<scene_description>Ellis holds the loaf of bread up to Neckbone.</scene_description>
<character>ELLIS</character>
<dialogue>Someone's livin' here.</dialogue>
<scene_description>Neckbone sees the grocery bag. His eyes widen. The boys are stone frozen. They listen for other sounds. Silence. BEEP! BEEP! BEEP! Both boys flinch at the sharp sounds. Neckbone's hand flies to cover the alarm on his wristwatch.</scene_description>
<character>NECKBONE</character>
<dialogue>Shit.</dialogue>
<character>ELLIS</character>
<dialogue>We gotta go. I can't be late.</dialogue>
</scene>
<scene>
<stage_direction>EXT. BASE OF BOAT TREE - MOMENTS LATER</stage_direction>
<scene_description>They drop out of the tree and hit the ground running.</scene_description>
</scene>
<scene>
<stage_direction>EXT. ISLAND WOODS/CREEK - MOMENTS LATER</stage_direction>
<scene_description>The boys' feet rush across the tree trunk bridging the creek.</scene_description>
</scene>
<scene>
<stage_direction>EXT. ISLAND SHORE - MOMENTS LATER</stage_direction>
<scene_description>They launch out of the treeline and sprint to their boat. Neckbone grabs the side and starts pushing the boat to the water. Ellis slings his backpack in and joins him. Suddenly, Ellis straightens up, leaving Neckbone to struggle.</scene_description>
<character>NECKBONE</character>
<dialogue>What are you doing?</dialogue>
<scene_description>Ellis stares at a muddy boot print, cross in the heel, stamped in the center of their boat. He looks back to the treeline, then down the shore. He looks to his feet. The boys' shoe prints make chaotic patterns in the mud. Larger boot prints lead off down the shoreline.</scene_description>
<character>NECKBONE</character>
<dialogue>What is it?</dialogue>
<character>ELLIS</character>
<parenthetical>(pointing)</parenthetical>
<dialogue>I saw that same boot print up in the tree. It has a cross in the heel. Somebody's been in our boat.</dialogue>
<character>NECKBONE</character>
<dialogue>Shit. Let's go.</dialogue>
<scene_description>Ellis begins following the boot prints around the shoreline.</scene_description>
<character>NECKBONE</character>
<dialogue>We gotta go if you wanna make it back.</dialogue>
<parenthetical>(no response)</parenthetical>
<dialogue>Your dad's gonna kick our ass. It'll take twice as long goin' up river.</dialogue>
<character>ELLIS</character>
<dialogue>Hold it.</dialogue>
<scene_description>Ellis stops and points ahead of them.</scene_description>
<character>ELLIS</character>
<dialogue>Up there. They stop.</dialogue>
<scene_description>Neckbone takes the lead, walking up to the last boot print. They appear to vanish.</scene_description>
<character>NECKBONE</character>
<dialogue>Where the hell'd he go?</dialogue>
<character>ELLIS</character>
<dialogue>I don't know.</dialogue>
<scene_description>Neckbone turns and freezes. A MAN has appeared in the distance behind Ellis. He stands between the boys and their boat. Ellis notices the look on Neckbone's face and turns. He flinches at the sight of the Man. MUD(38) stands near the boys' boat holding a pink, child's fishing pole with cartoon characters on it. He stares back at them and casts his fishing line into the water.</scene_description>
<character>NECKBONE</character>
<dialogue>Shit. You know that guy?</dialogue>
<character>ELLIS</character>
<dialogue>I've never seen him before.</dialogue>
<character>NECKBONE</character>
<dialogue>Shit.</dialogue>
<scene_description>Mud, not taking his eyes off the boys, slowly reels in his line. His hair is a wild mop that leads to two weeks of growth on his face. With a cigarette clinched, he cracks a smile revealing a MISSING CANINE. He holds a hand in the air as if to wave.</scene_description>
<character>NECKBONE</character>
<dialogue>Shit.</dialogue>
<scene_description>Neckbone slowly raises his hand up to wave back. Mud wears jeans and cowboy boots. His filthy button-up shirt looks like it hasn't left his body in years. He breaks his stare with the boys. Continuing to reel in his line, he walks over to them.</scene_description>
<character>MUD</character>
<dialogue>What you say?</dialogue>
<scene_description>The boys don't respond. Mud walks past them and casts again.</scene_description>
<character>MUD</character>
<dialogue>Helluva thing.</dialogue>
<character>ELLIS</character>
<dialogue>What's that?</dialogue>
<scene_description>Mud takes the cigarette from his mouth. A tattoo of a snake's head covers the top of his right hand. Two large cotton blossoms spill out of its jaws.</scene_description>
<character>MUD</character>
<dialogue>Boat in the trees. It's a helluva thing.</dialogue>
<scene_description>Mud continues walking down the shoreline, reeling in his bait. The boys follow, tentatively.</scene_description>
<character>ELLIS</character>
<dialogue>You talkin' 'bout our boat?</dialogue>
<character>MUD</character>
<dialogue>I'm talkin' about my boat.</dialogue>
<character>NECKBONE</character>
<dialogue>We found it.</dialogue>
<character>MUD</character>
<dialogue>You found it with me livin' in it. Possession is nine tenths of the law.</dialogue>
<character>NECKBONE</character>
<dialogue>So?</dialogue>
<character>MUD</character>
<dialogue>Don't tell me you boys are from Mississippi?</dialogue>
<character>ELLIS</character>
<dialogue>No.</dialogue>
<scene_description>They watch as he grabs the bait at the end of his line and spits on it. Then, tucking the pole under his arm, he ties a lock of his hair into a knot. He finishes this process with another cast.</scene_description>
<character>ELLIS</character>
<dialogue>You got crosses in your heels.</dialogue>
<character>MUD</character>
<dialogue>Nails. Shaped liked crosses.</dialogue>
<character>ELLIS</character>
<dialogue>What for?</dialogue>
<character>MUD</character>
<dialogue>Ward off evil spirits. A man I called an Indian but was Meskin said they were Seven-league boots worn by the seventh son of a seventh son. Told me it'd turn me into a werewolf but that's a lie. I don't know nothin' about that.</dialogue>
<scene_description>Ellis, confused, won't take his eyes off the man.</scene_description>
<character>MUD</character>
<dialogue>They just good luck, but so far they ain't been workin' too well.</dialogue>
<parenthetical>(missing tooth smile)</parenthetical>
<dialogue>What's your name?</dialogue>
<scene_description>Mud seems easy to smile, which softens his otherwise coarse look. His words spill from the mouth rapidly, without much thought for punctuation. Neckbone, emboldened by these facts, steps forward to answer.</scene_description>
<character>NECKBONE</character>
<dialogue>I'm Neckbone, he's Ellis, and mister you may be stone ass crazy but I know you're not the owner of that boat, not for nine tenths of nothin'.</dialogue>
<character>MUD</character>
<dialogue>Neckbone? That's a real handle son. Where ya'll from?</dialogue>
<character>NECKBONE</character>
<dialogue>What do you care where we're from?</dialogue>
<character>ELLIS</character>
<dialogue>DeWitt.</dialogue>
<scene_description>Neckbone looks at Ellis, frustrated by his friend.</scene_description>
<character>MUD</character>
<dialogue>Arkansas boys. Ya'll had me worried for a second.</dialogue>
<scene_description>Mud, pleased by this news, tucks the fishing pole under his arm and holds out a hand to shake. Ellis stares at the hand, unsure. He takes it reluctantly.</scene_description>
<character>ELLIS</character>
<dialogue>We s'posed to know you?</dialogue>
<character>MUD</character>
<dialogue>I doubt it. I grew up 'round here, but I've been gone awhile.</dialogue>
<character>ELLIS</character>
<dialogue>Where around here?</dialogue>
<character>MUD</character>
<dialogue>Different places. Spent a lot of time back up near the White.</dialogue>
<character>ELLIS</character>
<dialogue>You know Shelly's Oxbow?</dialogue>
<scene_description>Neckbone can't believe his friend is offering this up.</scene_description>
<character>NECKBONE</character>
<dialogue>Ellis. We gotta go.</dialogue>
<character>MUD</character>
<dialogue>I know it. Guy named Tom Blankenship used to live back in there.</dialogue>
<character>ELLIS</character>
<dialogue>He still does. His boat's cross from mine.</dialogue>
<scene_description>Mud smiles.</scene_description>
<character>MUD</character>
<dialogue>Ain't that somethin'.</dialogue>
<scene_description>In one motion, Mud flicks his cigarette away and grabs a pack out of his shirt pocket.</scene_description>
<character>MUD</character>
<dialogue>I like you two. You remind me of me. And seeing how you boys are from Arkansas and we know some people and sounds like we all from the same place I'd say we can make a deal here about somethin'.</dialogue>
<character>ELLIS</character>
<dialogue>A deal for what?</dialogue>
<character>MUD</character>
<dialogue>Food. Food for a boat.</dialogue>
<character>NECKBONE</character>
<dialogue>This guy's a bum Ellis. Come on.</dialogue>
<scene_description>Mud's smile vanishes. Neckbone begins to walk off but begrudgingly stops when Ellis starts back in.</scene_description>
<character>ELLIS</character>
<dialogue>Why don't you go get your own food?</dialogue>
<character>MUD</character>
<dialogue>I would if I could, but I told somebody I'd meet 'em here. So I'm stuck for now and what I got's runnin' low.</dialogue>
<scene_description>Neckbone walks back and pulls Ellis by the arm.</scene_description>
<character>NECKBONE</character>
<dialogue>He's a bum Ellis, let's go.</dialogue>
<scene_description>Mud lays a serious look down on Neckbone.</scene_description>
<character>MUD</character>
<dialogue>I'm no bum. I got money. You can call me a hobo 'cause a hobo'll work for his living and you can call me homeless 'cause that's true for now, but if you call me a bum again I'll have to teach you somethin' about respect that your daddy never did.</dialogue>
<scene_description>Neckbone's confidence recedes. Ellis stands his ground.</scene_description>
<character>ELLIS</character>
<dialogue>When they show up, you'll leave?</dialogue>
<scene_description>Mud begins fishing again.</scene_description>
<character>MUD</character>
<dialogue>Yeah.</dialogue>
<character>ELLIS</character>
<dialogue>And when you leave, that boat's ours?</dialogue>
<character>MUD</character>
<dialogue>Yeah.</dialogue>
<scene_description>Ellis studies Mud's face, clothes, tattoos. He's thinking about it. Mud pauses from fishing to make eye contact.</scene_description>
<character>MUD</character>
<dialogue>I'm in a tight spot. I just need a little help.</dialogue>
<character>ELLIS</character>
<dialogue>We gotta go.</dialogue>
<scene_description>With that, Ellis turns to leave. The boys walk briskly back to their boat. Ellis looks over his shoulder to see Mud making another cast with his fishing pole.</scene_description>
</scene>
<scene>
<stage_direction>EXT. MISSISSIPPI RIVER - MOMENTS LATER</stage_direction>
<scene_description>Ellis motors them away from the island.</scene_description>
<character>ELLIS</character>
<dialogue>You get his name?!</dialogue>
<character>NECKBONE</character>
<dialogue>No!</dialogue>
<scene_description>Ellis looks back. Mud has disappeared.</scene_description>
</scene>
<scene>
<stage_direction>EXT. ELLIS' HOUSEBOAT - DAY</stage_direction>
<scene_description>Senior heaves an enormous, white cooler into the bed of his weathered pick-up truck. The truck is parked at an angle on a concrete boat ramp next to their houseboat. The bed of the truck is jam-packed with six of the big, white coolers. The SOUND of a dirt bike rattles through the trees. Senior looks up, wiping his brow with a handkerchief. Ellis leaps out of the treeline and runs to the pick-up. His hands hit his knees, out of breath.</scene_description>
<character>ELLIS</character>
<dialogue>I'm sorry.</dialogue>
<character>SENIOR</character>
<dialogue>Where you been?</dialogue>
<character>ELLIS</character>
<dialogue>Neck and I got caught up helpin' Galen.</dialogue>
<character>SENIOR</character>
<dialogue>You're s'posed to be helpin' me. I had to load this myself.</dialogue>
<character>ELLIS</character>
<dialogue>I know, I'm sorry.</dialogue>
<character>SENIOR</character>
<dialogue>Just get in the back. Can't be later than we are.</dialogue>
<character>ELLIS</character>
<dialogue>Yessir.</dialogue>
<scene_description>Senior flips up the tailgate. Ellis hops up the wheel well and into the bed of the truck. He steadies himself on one of the coolers as his father pulls away.</scene_description>
</scene>
<scene>
<stage_direction>EXT. DEWITT/MONTAGE - DAY</stage_direction>
<scene_description>SERIES OF IMAGES: -Ellis looks around as he rides in the bed of the pick-up truck. He's propped up on a cooler against the back window. The truck works its way down a two-lane highway. A20 -Driving, they pass a marina junkyard filled with old boats A20 and sailing paraphernalia. B20 -Downtown Dewitt. A gas station. A Clinic. Rows of red B20 brick buildings, some abandoned, a small furniture store. C20 -Parked, Ellis fills a grocery sack up with Ziplock bags fullC20 of white fish and ice out of the coolers. -He hops out of the truck and runs the sack of fish to the front door of a house. An elderly black man waits there.</scene_description>
</scene>
<scene>
<stage_direction>EXT. SONIC DRIVE-IN - DAY</stage_direction>
<scene_description>Ellis sits in the bed of the truck eating a chili dog. Senior is up front wolfing down a cheeseburger. A GROUP of TEENAGERS are gathered around a CLUSTER of parked cars in the corner of the lot. They meander between the vehicles, smoking, gossiping, passing around a bottle of Boone's Farm. Ellis watches them. MAY PEARL(16) appears in the middle of the Group laughing with her GIRLFRIENDS. She's pretty and physically more mature looking than Ellis. He watches as a SKINNY KID takes his ballcap off and puts it on May Pearl's head. She sniffs the cap, gags and tosses it back at him. Her friends laugh.</scene_description>
<character>SENIOR</character>
<dialogue>Let's go son.</dialogue>
<scene_description>Ellis crumples the wrapper to his finished hotdog and jumps down from the bed of the truck.</scene_description>
</scene>
<scene>
<stage_direction>I/E. SENIOR'S TRUCK/TWO-LANE ROAD - MOVING - DAY</stage_direction>
<scene_description>Ellis rides up front with his father. Senior is a reserved man, older than Ellis' mother by several years. He's got thinning hair under the cap that only leaves his head when he sleeps. He reaches into his shirt pocket and fishes out a fold of cash. He slips out a five dollar bill and hands it to Ellis.</scene_description>
<character>ELLIS</character>
<dialogue>It's s'posed to be ten.</dialogue>
<character>SENIOR</character>
<dialogue>It's ten you do your share. I loaded this mornin'. That makes it five.</dialogue>
<scene_description>Ellis begrudgingly stuffs the five in his jeans.</scene_description>
<character>ELLIS</character>
<dialogue>You drop me at Neck's?</dialogue>
<scene_description>Senior checks his pants pockets, feels around under his seat.</scene_description>
<character>SENIOR</character>
<dialogue>Hadn't you seen enougha him today?</dialogue>
<character>ELLIS</character>
<dialogue>Said he had something for me.</dialogue>
<character>SENIOR</character>
<dialogue>You see anymore Ding Dongs over there?</dialogue>
<scene_description>Ellis checks under his seat and pulls out a half-empty box of Ding Dongs. Hands one over to his father who rips the package with his teeth.</scene_description>
<character>ELLIS</character>
<dialogue>What'd Momma wanna talk to you about?</dialogue>
<character>SENIOR</character>
<dialogue>What?</dialogue>
<character>ELLIS</character>
<dialogue>This mornin', what'd she wanna talk with you about?</dialogue>
<character>SENIOR</character>
<dialogue>You spy on me in my own house?</dialogue>
<character>ELLIS</character>
<dialogue>I wasn't spyin', just heard ya'll.</dialogue>
<character>SENIOR</character>
<dialogue>That's your mother's business.</dialogue>
<scene_description>Senior makes this his answer, eats the Ding Dong.</scene_description>
</scene>
<scene>
<stage_direction>EXT. NECKBONE'S TRAILER - DAY</stage_direction>
<scene_description>Neckbone sits on the front steps of his trailer reading a comic book. The muffled sound of the Beach Boys' "Help Me Rhonda" plays off a record inside. Senior's truck pulls away as Ellis walks up the entrance to the trailer park.</scene_description>
<character>ELLIS</character>
<dialogue>I came by for that book.</dialogue>
<character>NECKBONE</character>
<dialogue>What book?</dialogue>
<character>ELLIS</character>
<dialogue>You said Galen had a book might help me out.</dialogue>
<character>NECKBONE</character>
<dialogue>Aw, yeah. We gotta give it a minute. You hear that music?</dialogue>
<character>ELLIS</character>
<dialogue>Yeah.</dialogue>
<character>NECKBONE</character>
<dialogue>That means he's doin' it. That's his doin' it song.</dialogue>
<scene_description>Ellis takes a seat next to Neckbone. They listen to the song, slightly craning their necks to pick up on any other sounds. There are none.</scene_description>
<character>ELLIS</character>
<dialogue>You know who it is?</dialogue>
<character>NECKBONE</character>
<dialogue>Whoever's drivin' that white Dodge.</dialogue>
<scene_description>Neckbone motions to a beat up Dodge Shadow in the yard.</scene_description>
<character>ELLIS</character>
<dialogue>You tell Galen 'bout this morning?</dialogue>
<character>NECKBONE</character>
<dialogue>Nah. You tell anybody?</dialogue>
<character>ELLIS</character>
<dialogue>No.</dialogue>
<character>NECKBONE</character>
<dialogue>That guy was crazy.</dialogue>
<character>ELLIS</character>
<dialogue>Maybe. I don't know. I think he just needed some help.</dialogue>
<character>NECKBONE</character>
<dialogue>Well he can swim his ass off that island and get some.</dialogue>
<character>ELLIS</character>
<dialogue>I think I'm gonna go back, take him some food.</dialogue>
<character>NECKBONE</character>
<dialogue>Why?</dialogue>
<scene_description>Suddenly, the music from inside stops. Footsteps approaching and the trailer door flies open, almost hitting the boys. A GIRL(28) bursts out down the steps, straight to her car. She wears tight jean-shorts and is buttoning a white shirt. She stops and turns back to the boys.</scene_description>
<character>GIRL</character>
<dialogue>You're Neckbone right?</dialogue>
<character>NECKBONE</character>
<dialogue>Yeah.</dialogue>
<character>GIRL</character>
<dialogue>You look like a good enough kid. A word of advice, don't grow up to be like your shit heel uncle.</dialogue>
<scene_description>The boys can't take their eyes off her cleavage revealed under her half-buttoned shirt. A necklace with three misshapen pearls hangs from her neck.</scene_description>
<character>GIRL</character>
<dialogue>Hey!</dialogue>
<scene_description>She snaps the boys' attention up to her eyes.</scene_description>
<character>GIRL</character>
<dialogue>You hear me? You treat a woman like a princess. Got it?!</dialogue>
<character>NECKBONE</character>
<dialogue>Yeah.</dialogue>
<scene_description>The trailer door opens and GALEN(36) emerges. He's a big, lumbering guy wearing a full-body wet suit pulled halfway down. A faded mermaid tattooed in the middle of his chest.</scene_description>
<character>GALEN</character>
<dialogue>Come on baby.</dialogue>
<character>GIRL</character>
<dialogue>I'M A GODDAMN PRINCESS!!!</dialogue>
<scene_description>The Girl yanks off the necklace and hurls it at Galen. He brushes fingers through his thick mustache.</scene_description>
<character>GALEN</character>
<dialogue>That's uncalled for.</dialogue>
<scene_description>He walks out to her. She heads for the Dodge Shadow.</scene_description>
<character>GALEN</character>
<parenthetical>(trailing off)</parenthetical>
<dialogue>A lot of people are comfortable with that kind of thing in the bedroom. Some people aren't. We know that about you now...</dialogue>
<scene_description>Ellis sees one of the misshapen pearls at his feet. He picks it up and holds it to the sun.</scene_description>
<character>NECKBONE</character>
<dialogue>Pearls. Galen finds 'em in some of the mussel shells. Most of 'em ain't worth dick, but he likes to make necklaces for the girls. Come on, let's get that book.</dialogue>
<scene_description>Neckbone walks into the trailer. Ellis stands up and retrieves the other two pearls out of the dirt. He crams them in his pocket and follows Neckbone inside.</scene_description>
</scene>
<scene>
<stage_direction>INT. NECKBONE'S TRAILER - CONTINUOUS</stage_direction>
<scene_description>The trailer is decorated in the filth of a true bachelor pad. Neckbone makes his way to a bedroom. He tosses clothes and trash around to get to what he's looking for. A cardboard box. He pulls the box onto the bed and sifts through.</scene_description>
<character>NECKBONE</character>
<dialogue>I don't want you goin' back out there by yourself. That river's scary enough with two people, and I don't trust that guy.</dialogue>
<parenthetical>(finds something)</parenthetical>
<dialogue>Here it is.</dialogue>
<scene_description>He takes out a hardback book. The slip reads, "The Confident Confidant, communicating with the opposite sex."</scene_description>
<character>NECKBONE</character>
<dialogue>Galen said this really turned things around for him.</dialogue>
<character>ELLIS</character>
<dialogue>Thanks.</dialogue>
<scene_description>Ellis flips delicately through the manual.</scene_description>
</scene>
<scene>
<stage_direction>EXT. NECKBONE'S TRAILER - CONTINUOUS</stage_direction>
<scene_description>Galen watches as the Girl's Dodge Shadow pulls away. The boys step out of the trailer.</scene_description>
<character>NECKBONE</character>
<dialogue>You really going back out there?</dialogue>
<character>ELLIS</character>
<dialogue>I think it's the right thing to do.</dialogue>
<character>NECKBONE</character>
<dialogue>Well...I'll be over in the mornin' then.</dialogue>
<scene_description>Galen, his thumbs tucked under his armpits, walks back to the trailer. He passes the boys and notices the self-help book in Ellis' hands.</scene_description>
<character>GALEN</character>
<parenthetical>(without stopping)</parenthetical>
<dialogue>That's a good book. Be sure you do the worksheets in the back. Let's get some dinner Neck.</dialogue>
<scene_description>Galen's gone inside.</scene_description>
<character>NECKBONE</character>
<dialogue>I'll call 'fore I come.</dialogue>
<character>ELLIS</character>
<dialogue>All right.</dialogue>
<scene_description>Neckbone follows his uncle into the trailer. Ellis flips through his new book as he heads out of the trailer park.</scene_description>
</scene>
<scene>
<stage_direction>EXT. ELLIS' HOUSEBOAT - NIGHT</stage_direction>
<scene_description>By the time Ellis makes it to his houseboat, the sun has disappeared behind the horizon. He crosses the make-shift plank and enters through a screen door by the carport.</scene_description>
</scene>
<scene>
<stage_direction>INT. ELLIS' HOUSEBOAT - DEN - NIGHT - CONTINUOUS</stage_direction>
<scene_description>Mary Lee flinches when she sees Ellis come through the door. Her face is flushed. Senior stands toe to toe with her. They stare at Ellis, who has paused in the doorway. He doesn't say anything, just looks curiously at his parents. Senior storms past Ellis and is out the door. Ellis steps further into the den. Mary Lee tries to straighten herself, patting down her hair and dabbing at her eyes with the back of her hand.</scene_description>
<character>ELLIS</character>
<dialogue>You okay momma?</dialogue>
<character>MARY LEE</character>
<dialogue>Yes.</dialogue>
<scene_description>She walks into the kitchen keeping Ellis at her back. She turns on the sink and begins scrubbing at a dish.</scene_description>
<character>MARY LEE</character>
<dialogue>Do you need me to fix you somethin'? Have you eaten?</dialogue>
<character>ELLIS</character>
<dialogue>I'm all right.</dialogue>
<scene_description>Mary Lee shuts off the water and lets the dish rest in the sink. She turns to Ellis.</scene_description>
<character>MARY LEE</character>
<dialogue>I'm gonna turn in.</dialogue>
<character>ELLIS</character>
<dialogue>Okay momma.</dialogue>
<scene_description>Mary Lee slips past him and enters her bedroom. The door closes and Ellis is left alone in the den. It's quiet. He waits, looking at the door his mother just closed. Ellis walks into the kitchen and eases open a cabinet door. Checking over his shoulder, he zips his backpack open and fills it with CANNED FOOD.</scene_description>
</scene>
<scene>
<stage_direction>EXT. TOM BLANKENSHIP'S HOUSEBOAT - DAY</stage_direction>
<scene_description>Hands pump the stock of a high-powered pellet gun. TOM BLANKENSHIP(67), white hair cut high and tight wearing a short-sleeve button up, takes careful aim with the pellet gun. Tom sits in a lawn chair atop the roof of his houseboat. He squeezes his left eye shut. A snake's head pokes out of the water about 15 yards off his boat. The head makes for a target no bigger than a thumb. Tom's left eye snaps open and he fires. The pellet rips through the snake's head. Its body floats to the surface. Tom takes account of his shot as he pumps the air rifle. He scans the water for more targets.</scene_description>
</scene>
<scene>
<stage_direction>EXT. ELLIS' HOUSEBOAT - CONTINUOUS</stage_direction>
<scene_description>Ellis watches Tom Blankenship from across the bayou. Tom's boat sits directly opposite Ellis', separated by 30 yards of muddy brown water. Ellis leans against a post under the carport. His backpack resting at his feet, he holds the Walkie-Talkie in his hand. Senior works behind him washing utensils in the outdoor sink.</scene_description>
<character>ELLIS</character>
<dialogue>What do you know about Tom Blankenship?</dialogue>
<character>SENIOR</character>
<dialogue>What?</dialogue>
<scene_description>Senior doesn't turn around from his work at the sink.</scene_description>
<character>ELLIS</character>
<dialogue>Mr. Blankenship, what do you know about him?</dialogue>
<character>SENIOR</character>
<dialogue>Why?</dialogue>
<character>ELLIS</character>
<dialogue>I don't know. He looks lonely over there.</dialogue>
<character>SENIOR</character>
<dialogue>Some people move to this river to work on it, and some move here to be left alone.</dialogue>
<scene_description>Senior makes his way to the ice machine and begins scooping ice into a large white cooler. Mary Lee emerges from the houseboat dressed for work, a secretarial job. Senior stops what he's doing to watch her. She walks over to Ellis.</scene_description>
<character>MARY LEE</character>
<dialogue>Let's sit down for dinner tonight okay? Will you make it home by seven?</dialogue>
<character>ELLIS</character>
<dialogue>Yes ma'am.</dialogue>
<scene_description>She walks off the boat without a glance in Senior's direction. He trails her with his eyes before going back to digging in the ice. A29 Ellis looks back at Tom. The Walkie SQUAWKS out several A29 loud BEEPS. Ellis crams it in his backpack and runs off the boat.</scene_description>
<character>ELLIS</character>
<dialogue>Bye Dad.</dialogue>
<scene_description>Senior holds a hand up but never looks up from his work.</scene_description>
</scene>
<scene>
<stage_direction>EXT. ISLAND SHORE - DAY</stage_direction>
<scene_description>Water laps at the shore of the island. Ellis and Neckbone drag their boat onto the muddy bank.</scene_description>
<character>NECKBONE</character>
<dialogue>Where you think he's at?</dialogue>
<character>ELLIS</character>
<dialogue>I guess we should try the boat.</dialogue>
<scene_description>They head for the treeline.</scene_description>
</scene>
<scene>
<stage_direction>EXT. BASE OF BOAT TREE - DAY</stage_direction>
<scene_description>The boys emerge from the woods, their attention focused up to the boat hovering in the tree some twenty feet above them. Ellis notices the remnants of a fire on the ground. A log pushed up next to it for a seat. Ellis kicks at the ash.</scene_description>
<character>ELLIS</character>
<dialogue>Looks like he made camp.</dialogue>
<character>NECKBONE</character>
<parenthetical>(looking up to the boat)</parenthetical>
<dialogue>You think he's up there?</dialogue>
<character>MUD (O.S.)</character>
<dialogue>I didn't know if ya'll'd come back.</dialogue>
<scene_description>The boys spin around. They survey the woods but no one's there. Their eyes drift up to find Mud sitting in a tree, his legs dangle off a branch.</scene_description>
<character>ELLIS</character>
<dialogue>What're you doin'?</dialogue>
<scene_description>Mud bounds down, stepping from limb to trunk to the ground. It's an agile move.</scene_description>
<character>MUD</character>
<dialogue>I try to never sleep in the same place twice. What you got there?</dialogue>
<scene_description>Mud motions with his head to the backpack in Ellis' hand. Ellis holds it out to him.</scene_description>
<character>ELLIS</character>
<dialogue>I brought you some food.</dialogue>
<scene_description>Mud looks at the backpack, but doesn't move.</scene_description>
<character>ELLIS</character>
<dialogue>Go on.</dialogue>
<scene_description>Mud takes the backpack and walks over to the ashes of his campfire. He squats with his back to the boys and unzips the bag. Hunkered down, Mud's shirttail rides up over the lip of his jeans revealing a PISTOL at his backside. Ellis sees this and motions to Neckbone. The boys stand their ground, cautious.</scene_description>
<character>MUD</character>
<dialogue>I owe you boys.</dialogue>
<scene_description>Keeping the bag in hand, Mud takes a seat on the stump behind him. He pulls out a selection of canned food; pumpkin pie filling, evaporated milk, green beans. He grabs the beans.</scene_description>
<character>MUD</character>
<dialogue>I was gonna try runnin' a trot line today. See how far that'd get me.</dialogue>
<scene_description>Mud removes a good-sized folding knife from his pocket and makes short order of the can lid. He tips the can up letting the beans fall into his mouth. Juice flows down his cheeks.</scene_description>
<character>MUD</character>
<parenthetical>(a mouthful)</parenthetical>
<dialogue>I'd been rationin' what I had...green bean never tasted so good.</dialogue>
<scene_description>The can is quickly emptied, juice running down Mud's chin. He straightens his back, choking down the final swallow. He sees the boys staring at him and catches himself.</scene_description>
<character>MUD</character>
<dialogue>I appreciate it.</dialogue>
<character>ELLIS</character>
<dialogue>Yeah.</dialogue>
<character>NECKBONE</character>
<dialogue>What you got that pistol for?</dialogue>
<scene_description>Mud wipes off his chin, realizing the boys have been studying him. He closes the knife and tucks it in his pocket.</scene_description>
<character>MUD</character>
<dialogue>For protection.</dialogue>
<scene_description>Mud gets up, heads for a duffel bag tucked under a nearby tree. The boys pivot, keeping Mud in front of them. Mud notices.</scene_description>
<character>MUD</character>
<dialogue>Ya'll don't have to be afraid of me. I have two ways to protect myself out here. This shirt, and this pistol.</dialogue>
<character>MUD</character>
<dialogue>There are fierce powers at work in the world boys. Good, evil, poor luck, best luck. Men have to take advantage where they can.</dialogue>
<scene_description>Mud removes a spool of fishing line and a small plastic tackle box. He scoops up the duffel bag and heads into the woods.</scene_description>
<character>MUD</character>
<dialogue>Ya'll comin'?</dialogue>
<scene_description>Neckbone looks to Ellis, who walks after Mud into the trees.</scene_description>
<character>ELLIS</character>
<dialogue>Who's this guy you're waitin' on?</dialogue>
<character>MUD</character>
<dialogue>I'm not waitin' for a guy. I'm waitin' on my girlfriend. Juniper.</dialogue>
<character>NECKBONE</character>
<dialogue>Is she hot?</dialogue>
<character>MUD</character>
<dialogue>She's beautiful.</dialogue>
<character>NECKBONE</character>
<parenthetical>(coughing)</parenthetical>
<dialogue>Bullshit.</dialogue>
<character>MUD</character>
<dialogue>Best lookin' girl I've ever seen. Hands down. Blonde hair. Long legs. She's like a dream you don't want to wake up from. She's got birds tattooed on her hands, here.</dialogue>
<scene_description>Mud stops, points to the area on the top of his right hand, between his thumb and pointer finger.</scene_description>
<character>MUD</character>
<dialogue>Nightingales. Good luck birds.</dialogue>
<character>NECKBONE</character>
<dialogue>That a good luck snake?</dialogue>
<character>MUD</character>
<dialogue>No it is not.</dialogue>
<character>NECKBONE</character>
<dialogue>I hate snakes.</dialogue>
<character>MUD</character>
<dialogue>That's because God made them for us to fear.</dialogue>
<character>MUD</character>
<dialogue>It's a thing we knew to be afraid of before we even got into this world.</dialogue>
<scene_description>They emerge from the woods onto the downstream coast of the island. It looks different than the other shoreline. A large swath of red clay angles sharply into the water.</scene_description>
<character>MUD</character>
<dialogue>Cherokee would wrap snake skin around their pregnant women's bellies. Induce labor, scare the child out. Here.</dialogue>
<scene_description>He fetches a length of rope out of the duffel bag and tosses it to Neckbone.</scene_description>
<character>MUD</character>
<dialogue>Set that 'round your bed at night. Snake won't cross braided rope.</dialogue>
<character>NECKBONE</character>
<dialogue>Thanks.</dialogue>
<parenthetical>(nods to Mud's tattoo)</parenthetical>
<dialogue>So what's that for then?</dialogue>
<scene_description>Mud walks to a tree branch that has grown out over the bank, nearly resting in the water. He sets a trot line from it.</scene_description>
<character>MUD</character>
<dialogue>A reminder. Don't get bit. I was 10, swimmin' 'bout a mile up from here. Me and Juniper. Sonofabitch swam right up under me, bit me just below the armpit. June got me out, got me to a clinic. Doctor said I shoulda been dead in twenty minutes. Took us an hour just to get back to town.</dialogue>
<character>NECKBONE</character>
<dialogue>What'd they do?</dialogue>
<character>MUD</character>
<dialogue>Gave me antivenom. For a cotton mouth. See here.</dialogue>
<scene_description>Mud shows the tattoo on top of his right hand. He points out the two cotton blossoms bulging from the snake's mouth.</scene_description>
<character>MUD</character>
<dialogue>Problem with antivenom is they can only give it to you once. It's made from horse blood. Your body would reject it a second time. The cure ends up being more dangerous than the poison.</dialogue>
<character>ELLIS</character>
<dialogue>What happens if you get bit again?</dialogue>
<character>MUD</character>
<dialogue>I die, or just sweat it out.</dialogue>
<scene_description>Neckbone, not buying it, looks at Ellis and taps his watch.</scene_description>
<character>ELLIS</character>
<dialogue>We gotta go help Neck's uncle.</dialogue>
<character>MUD</character>
<dialogue>All right.</dialogue>
<character>ELLIS</character>
<dialogue>You never said your name.</dialogue>
<character>MUD</character>
<dialogue>Mud. You can call me Mud.</dialogue>
<character>ELLIS</character>
<dialogue>Mud?</dialogue>
<character>MUD</character>
<dialogue>M-U-D.</dialogue>
<scene_description>Neckbone tosses the braided rope back. It lands at his feet.</scene_description>
<character>NECKBONE</character>
<dialogue>Here you go, Mud. I think you need that worse than I do.</dialogue>
<character>MUD</character>
<parenthetical>(smiling)</parenthetical>
<dialogue>I'll be all right.</dialogue>
<scene_description>The boys disappear back into the trees.</scene_description>
</scene>
<scene>
<stage_direction>INT. GARY'S ELECTRIC SHOP - DAY</stage_direction>
<scene_description>A switch clicks "ON". BLINDING LIGHT emits from two FLOOD LAMPS encased in plastic shells. The switch clicks "OFF" and the lights dim to the dull orange glow of their filaments.</scene_description>
<character>GALEN</character>
<dialogue>They look bright enough.</dialogue>
<scene_description>The owner of the shop, an ELECTRICIAN(62), holds up a metal bar with the lamps affixed by bolts at either end.</scene_description>
<character>ELECTRICIAN</character>
<dialogue>Should be. I rigged DC power up through marine batteries. Makes it portable. Gave you a rigging bar to set on your shoulder.</dialogue>
<character>GALEN</character>
<dialogue>So you really think these'll work under water?</dialogue>
<character>ELECTRICIAN</character>
<dialogue>In theory.</dialogue>
</scene>
<scene>
<stage_direction>EXT. GARY'S ELECTRIC/PIGGLY WIGGLY PARKING LOT - CONTINUOUS</stage_direction>
<scene_description>Ellis and Neckbone sit on the tailgate of Galen's truck. The Gary's Electric sign hangs behind them. Neckbone focuses on a carburetor in his hand. Ellis stares across the street at the Piggly Wiggly parking lot where the roving GROUP of TEENAGERS have collected for the afternoon. The Teenagers are up to their typical gossip and minor offenses. Ellis has zeroed in on May Pearl again.</scene_description>
<character>NECKBONE</character>
<dialogue>You start datin' I bet her dad'll give you a free pick-up truck.</dialogue>
<character>ELLIS</character>
<dialogue>I don't care about that.</dialogue>
<scene_description>Ellis watches as the same Skinny Kid from before tries to flirt with her. She's not having it. He pops her bra strap before landing the final straw, a smack on her ass. She turns and swats at him. Seeing this, Ellis is on his feet and crossing the street.</scene_description>
<character>NECKBONE</character>
<dialogue>What's goin' on?</dialogue>
<scene_description>Ellis doesn't turn back. Neckbone reluctantly sets the carburetor down and follows.</scene_description>
</scene>
<scene>
<stage_direction>EXT. PIGGLY WIGGLY PARKING LOT - CONTINUOUS</stage_direction>
<character>MAY PEARL</character>
<dialogue>Stop it!</dialogue>
<scene_description>She shoves the Skinny Kid, but he continues laughing.</scene_description>
<character>ELLIS (O.S.)</character>
<dialogue>Hey.</dialogue>
<scene_description>Ellis taps the Kid on the shoulder. As he turns, Ellis PUNCHES him in the face. The Kid, completely taken off guard, stumbles and trips to the ground. Some older, tougher looking GUYS see this and begin laughing at him.</scene_description>
<character>OLDER KID</character>
<dialogue>Holy shit Pryor, get off your ass.</dialogue>
<scene_description>Pryor collects himself and gets off the ground. Ego bruised, he walks off mumbling. The Older Kids keep riding him. May Pearl sizes up Ellis.</scene_description>
<character>MAY PEARL</character>
<dialogue>You didn't have to do that.</dialogue>
<character>ELLIS</character>
<dialogue>He was messin' with you.</dialogue>
<character>MAY PEARL</character>
<dialogue>Do I know you?</dialogue>
<character>ELLIS</character>
<dialogue>I'm Ellis. That's Neck.</dialogue>
<scene_description>Neckbone waves by wagging a finger in the air.</scene_description>
<character>ELLIS</character>
<dialogue>We went to Junior High with you, before you went to High School.</dialogue>
<character>MAY PEARL</character>
<dialogue>How old are you?</dialogue>
<character>ELLIS</character>
<dialogue>Fourteen.</dialogue>
<character>MAY PEARL</character>
<dialogue>Fourteen? You know you just punched a Senior?</dialogue>
<character>ELLIS</character>
<dialogue>So?</dialogue>
<character>MAY PEARL</character>
<dialogue>You think you're pretty tough.</dialogue>
<scene_description>Ellis shrugs, not wanting to deny it.</scene_description>
<character>MAY PEARL</character>
<dialogue>I'm May Pearl.</dialogue>
<character>ELLIS</character>
<dialogue>I know.</dialogue>
<character>MAY PEARL</character>
<dialogue>What else do you know?</dialogue>
<character>ELLIS</character>
<dialogue>Nothin'.</dialogue>
<scene_description>She smiles. Something catches Neckbone's attention. He cranes his neck forward to get a better look.</scene_description>
<character>NECKBONE</character>
<dialogue>Son of a bitch...Ellis?</dialogue>
<scene_description>Ellis breaks away from his conversation with May Pearl.</scene_description>
<character>ELLIS</character>
<dialogue>What?</dialogue>
<character>NECKBONE</character>
<dialogue>Look.</dialogue>
<scene_description>Neckbone nods to a cheap motel called the EXECUTIVE INN located on the opposite side of the Piggly Wiggly parking lot. JUNIPER(35), a truly beautiful woman squeezed into tight jeans and a low cut top, makes her way from the motel parking lot to the Piggly Wiggly. She passes in front of the cluster of Teenagers. All of the boys have taken note. Some cat calls from the crowd. Juniper, without facing the Teenagers, gives them the finger.</scene_description>
<character>NECKBONE</character>
<dialogue>You ever seen that girl before?</dialogue>
<character>ELLIS</character>
<dialogue>No. Did you see her hands?</dialogue>
<character>MAY PEARL</character>
<dialogue>Hello?</dialogue>
<scene_description>Ellis catches himself and turns back to May Pearl.</scene_description>
<character>ELLIS</character>
<dialogue>Sorry. We know a guy we think might know that girl.</dialogue>
<character>MAY PEARL</character>
<dialogue>Oh.</dialogue>
<scene_description>A GIRLFRIEND(17) of May Pearl's calls out to her.</scene_description>
<character>GIRLFRIEND</character>
<dialogue>May Pearl! Let's go!</dialogue>
<character>MAY PEARL</character>
<dialogue>Okay!</dialogue>
<character>ELLIS</character>
<dialogue>I guess I'll see you.</dialogue>
<character>MAY PEARL</character>
<dialogue>If you can find my phone number, you should call it.</dialogue>
<character>ELLIS</character>
<dialogue>I can find it.</dialogue>
<scene_description>May Pearl walks over to her friend. Ellis watches her go, but then remembers Juniper. He turns to Neckbone.</scene_description>
<character>ELLIS</character>
<dialogue>Where'd she go?</dialogue>
<character>NECKBONE</character>
<dialogue>Into the Piggly Wiggly. She came from the motel.</dialogue>
<character>ELLIS</character>
<dialogue>I'm gonna go see if it's her.</dialogue>
<character>NECKBONE</character>
<dialogue>I gotta go check on Galen. We'll pick you up out front.</dialogue>
<scene_description>Ellis heads for the Piggly Wiggly. Neckbone calls after him.</scene_description>
<character>NECKBONE</character>
<dialogue>What'd she say?</dialogue>
<character>ELLIS</character>
<dialogue>Wants me to call her.</dialogue>
<character>NECKBONE</character>
<dialogue>Shit.</dialogue>
</scene>
<scene>
<stage_direction>INT. PIGGLY WIGGLY - DAY</stage_direction>
<scene_description>Ellis walks past the grocery aisles looking for the girl. He spots her by the potato chips. He tucks behind a display of stacked cans and watches. Juniper reaches for a bag of chips, birds tattooed on her hand. Ellis smiles. It's her, and she really is beautiful. She turns down the aisle, coming right for him. He pretends to peruse the canned food and notices that it's a big display of Beanie Weenie. He grabs two handfuls as she passes. Ellis takes the cans to an open register. As a CASHIER scans and bags his items, he cranes his neck looking for her. She's disappeared into another section of the store. Ellis pays in crumpled cash. A horn HONKS. He sees Galen's truck idling out front. He grabs the bag and runs out.</scene_description>
</scene>
<scene>
<stage_direction>EXT. GALEN'S TRUCK/PIGGLY WIGGLY PARKING LOT - CONTINUOUS</stage_direction>
<scene_description>Neckbone waits at the open passenger door.</scene_description>
<character>NECKBONE</character>
<dialogue>Was it her?</dialogue>
<character>ELLIS</character>
<dialogue>It's her. I saw the tattoos. He wasn't lyin'.</dialogue>
<character>NECKBONE</character>
<parenthetical>(looking back)</parenthetical>
<dialogue>No he wasn't.</dialogue>
</scene>
<scene>
<stage_direction>EXT. ELLIS' HOUSEBOAT - NIGHT</stage_direction>
<scene_description>By the time Ellis makes it back home, the sun has gone from the sky. He crosses the makeshift plank to board his house.</scene_description>
<character>SENIOR (O.S.)</character>
<dialogue>Home for dinner?</dialogue>
<scene_description>Ellis is startled by his father's voice. Senior sits in a lawn chair under the eaves of the carport. He's hidden in shadow, save for a red glow from the tip of his cigarette.</scene_description>
<character>ELLIS</character>
<dialogue>What you hidin' for?</dialogue>
<character>SENIOR</character>
<dialogue>I ain't hidin'.</dialogue>
<scene_description>He notices Senior tip back a pint of liquor and set it at his feet. Ellis opens the screen door leading inside.</scene_description>
<character>SENIOR</character>
<dialogue>Come over here.</dialogue>
<scene_description>Ellis lets the door fall shut and skulks over to a beam that supports the carport. He leans into it.</scene_description>
<character>SENIOR</character>
<dialogue>You know I love you?</dialogue>
<character>ELLIS</character>
<dialogue>Yessir. I know.</dialogue>
<character>SENIOR</character>
<dialogue>I work you hard 'cause life is work. You know that?</dialogue>
<character>ELLIS</character>
<dialogue>Yessir.</dialogue>
<character>SENIOR</character>
<dialogue>Your Mamma's been talkin' 'bout movin' in town.</dialogue>
<character>ELLIS</character>
<dialogue>What's that mean?</dialogue>
<character>SENIOR</character>
<dialogue>She seems set on it. Wants to separate. She may ask me for a divorce.</dialogue>
<scene_description>This hits Ellis like a ton of bricks. He rights himself.</scene_description>
<character>ELLIS</character>
<dialogue>What's that mean for me?</dialogue>
<character>SENIOR</character>
<dialogue>It means enjoy the river son. Enjoy it while you live on it, 'cause this way a life isn't long for this world. Game and fish's 'bout made certain of that.</dialogue>
<character>ELLIS</character>
<dialogue>But you and me can still live out here. Game and fish can't take your boat. Not while you're still in it.</dialogue>
<character>SENIOR</character>
<dialogue>The houseboat's in your mother's name. Her daddy give it to her not me. If she wants to leave it, Game and Fish has ever' right to take this boat apart board by board.</dialogue>
<character>ELLIS</character>
<dialogue>But that ain't right. You work outta here. We got the ice machine, the traps. What are we supposed to do?</dialogue>
<character>SENIOR</character>
<dialogue>Like I said, this is your mother's business.</dialogue>
<character>ELLIS</character>
<dialogue>I ain't no townie. I ain't livin' like that.</dialogue>
<scene_description>Senior takes a slow pull off the bottle. Ellis' mind races.</scene_description>
<character>SENIOR</character>
<dialogue>I've let you down. A man should be in charge of his own affairs, but I haven't worked it like that.</dialogue>
<character>ELLIS</character>
<dialogue>But ya'll are married. Ya'll are s'posed to love each other.</dialogue>
<character>SENIOR</character>
<dialogue>I don't know about that anymore.</dialogue>
<scene_description>Ellis is speechless. After a moment, he turns to go inside.</scene_description>
<character>SENIOR</character>
<dialogue>Ellis?</dialogue>
<scene_description>He stops and turns back to his father. Senior tries to express a sentiment he doesn't have the words for. Ellis continues inside.</scene_description>
</scene>
<scene>
<stage_direction>INT. ELLIS' HOUSEBOAT - DEN - CONTINUOUS</stage_direction>
<scene_description>Mary Lee sits hunched at the made dinner table. She runs her finger around the rim of a half empty glass of iced tea. It's a full spread with fried chicken, mashed potatoes, and a salad. The table is set for two. She's been waiting. Ellis lets the front door slam shut behind him. She sits up.</scene_description>
<character>MARY LEE</character>
<dialogue>You're late.</dialogue>
<scene_description>Ellis doesn't speak, he doesn't look at her. He enters his room and shuts the door. He's heard the news and she knows it. Mary Lee's face drops.</scene_description>
</scene>
<scene>
<stage_direction>INT. ELLIS' ROOM - CONTINUOUS</stage_direction>
<scene_description>Ellis slings his backpack down, pacing the small room. He stops and leans his forehead against the door. The sound of his Mother clearing the table seeps through. He kicks the door, cracking its shitty composite wood. His face flushed and his breathing heavy, he slides to a seat. On the verge of hyperventilating, he stares out the dark bedroom window trying to get control of his breathing. Ellis looks at his backpack. It has spilled open revealing a can of Beanie Weenie. Ellis studies the can. He looks back to the window. His breathing settles. Quickly, he scoops up the backpack and heads out the window.</scene_description>
</scene>
<scene>
<stage_direction>EXT. MISSISSIPPI RIVER - NIGHT</stage_direction>
<scene_description>It's pitch black. The only light comes from the moon's reflection off the surface of the water. Ellis, eyes wide, navigates the small boat through choppy black water.</scene_description>
</scene>
<scene>
<stage_direction>EXT. ISLAND SHORE - NIGHT</stage_direction>
<scene_description>Ellis struggles to pull the boat onto shore. Leaving it half in the water, Ellis looks around. No sign of Mud. He sizes up the dark woods. He removes a flashlight from his backpack and shines it down the shorelines. Still nothing. Ellis follows the beam of light into the woods.</scene_description>
</scene>
<scene>
<stage_direction>EXT. ISLAND WOODS - NIGHT</stage_direction>
<scene_description>Ellis stands at the creek that cuts through the island. He can make out a campfire glowing through trees in the distance. A RUSTLING behind him. He swings the light around. Nothing but trees. Ellis takes a deep breath. Finding the log to cross, he shines his light down into the creek. The nest of snakes show their backs.</scene_description>
</scene>
<scene>
<stage_direction>EXT. BASE OF BOAT TREE - NIGHT</stage_direction>
<scene_description>A campfire burns at the base of the tree. The firelight illuminates the belly of the boat that rests 20 feet above. Ellis, his flashlight off, crouches behind a tree and watches the campsite. There is no one there. He looks into the black forest behind him, thinks of going back. A twig snaps in the distance and he's back on guard. Ellis nervously scans the woods before finally stepping into the light of the campfire. The SOUND of a gun's hammer drawing back CLICKS behind him. Ellis freezes. Mud emerges from the trees, a .45 extended toward Ellis' back.</scene_description>
<character>MUD</character>
<dialogue>Ellis?</dialogue>
<scene_description>Ellis, still frozen, slowly turns to him. Mud huffs out a laugh and drops the pistol to his side.</scene_description>
<character>MUD</character>
<dialogue>What're you doin' out here?</dialogue>
<scene_description>Ellis slowly raises the backpack in his hand.</scene_description>
<character>ELLIS</character>
<dialogue>I got you some Beanie Weenie.</dialogue>
<scene_description>Mud tucks the pistol into his jeans and accepts the backpack.</scene_description>
<character>MUD</character>
<dialogue>I appreciate that, but I didn't expect you out here at night.</dialogue>
<scene_description>Mud takes a seat on the log and transfers the cans into his own duffel bag. He holds up a can of the Beanie Weenie.</scene_description>
<character>MUD</character>
<dialogue>Look at that. You really know how to do somebody right. I didn't wanna say anything before, but it's hard to make a meal out of pumpkin pie filling.</dialogue>
<character>ELLIS</character>
<dialogue>That's all my mom had.</dialogue>
<character>MUD</character>
<dialogue>I'm not complainin'.</dialogue>
<character>ELLIS</character>
<dialogue>Can I get one of those?</dialogue>
<character>MUD</character>
<dialogue>They're yours to begin with.</dialogue>
<scene_description>Ellis sits as Mud hands him a can. They eat.</scene_description>
<character>ELLIS</character>
<dialogue>I missed my dinner.</dialogue>
<character>MUD</character>
<dialogue>That's good right?</dialogue>
<character>ELLIS</character>
<parenthetical>(mouth full)</parenthetical>
<dialogue>You been out here too long.</dialogue>
<scene_description>Mud laughs. Finishing the can, he takes a half-smoked cigarette from his shirt pocket. He pulls a twig from the fire for a light.</scene_description>
<character>ELLIS</character>
<dialogue>The girl you're waitin' on, she's your girlfriend?</dialogue>
<character>MUD</character>
<dialogue>Juniper. Yeah.</dialogue>
<character>ELLIS</character>
<dialogue>How'd you meet her?</dialogue>
<character>MUD</character>
<dialogue>We grew up together.</dialogue>
<character>ELLIS</character>
<dialogue>Do you love her?</dialogue>
<character>MUD</character>
<dialogue>I do. The first time I saw her was on this river. Just up from here. She saved my life.</dialogue>
<character>ELLIS</character>
<dialogue>From the snake bite.</dialogue>
<character>MUD</character>
<dialogue>That's right. I was younger than you are now, but when I came to in the hospital and she was there, it was like the world split open, came back together new. Everything changed. I knew from then on I'd do anything for her.</dialogue>
<character>ELLIS</character>
<dialogue>Why aren't ya'll married?</dialogue>
<character>MUD</character>
<dialogue>I've asked. Several times. Marriage just doesn't work for some people.</dialogue>
<scene_description>Ellis thinks on this.</scene_description>
<character>ELLIS</character>
<dialogue>My dad says my parents may be gettin' a divorce.</dialogue>
<character>MUD</character>
<dialogue>I'm sorry to hear that.</dialogue>
<character>ELLIS</character>
<dialogue>If it happens, and my mom moves us off the river, they say the government can come take our boat away.</dialogue>
<character>MUD</character>
<dialogue>Who says that?</dialogue>
<character>ELLIS</character>
<dialogue>Everybody. They passed a law so you can't sell your boat. Can't rent it. If the owner leaves, they got you. Game and Fish want 'em off the river.</dialogue>
<character>MUD</character>
<dialogue>I've never been one to trust the government on matters of personal property, but if your parents love each other, there's always a chance.</dialogue>
<character>MUD</character>
<dialogue>People just sometimes forget why they fell in love in the first place.</dialogue>
<scene_description>Ellis watches Mud toke the cigarette nub. He's really getting all he can from it.</scene_description>
<character>ELLIS</character>
<dialogue>I saw Juniper today.</dialogue>
<character>MUD</character>
<dialogue>What?</dialogue>
<character>ELLIS</character>
<dialogue>I didn't talk to her, but she had the birds tattooed on her hand like you said. You were right. She's pretty.</dialogue>
<scene_description>Mud stands, surprised by the news. He walks to the other side of the fire so his back is to the boy.</scene_description>
<character>MUD</character>
<dialogue>Where'd you see her?</dialogue>
<character>ELLIS</character>
<dialogue>At the Piggly Wiggly. I think she's stayin' at a motel by there. The Executive Inn.</dialogue>
<scene_description>Mud looks at Ellis through the fire. He takes a drag and smiles at the boy. The hole from his missing tooth shows.</scene_description>
<character>MUD</character>
<dialogue>That's good news. Real good news.</dialogue>
<scene_description>Mud paces, slowly. He's thinking.</scene_description>
<character>ELLIS</character>
<dialogue>Does she know you're out here?</dialogue>
<character>MUD</character>
<dialogue>No. We picked another place to meet. Couple days from now.</dialogue>
<scene_description>Mud walks back to the log and sits.</scene_description>
<character>ELLIS</character>
<dialogue>You wanna go tonight? I can give you a ride up river.</dialogue>
<scene_description>Mud looks at Ellis, nodding.</scene_description>
<character>MUD</character>
<dialogue>Tomorrow. I'll go tomorrow.</dialogue>
<character>ELLIS</character>
<dialogue>You need me to come get you?</dialogue>
<character>MUD</character>
<dialogue>Naw. I can manage. Hell I got out here didn't I?</dialogue>
<scene_description>Ellis smiles. They sit in silence. Ellis stares up at the boat hanging over them, its peeling hull lit by the firelight. Mud pinches the ash from the end of his cigarette, places the stub back in his shirt pocket. Noticing Ellis, Mud tilts his head back to take in the boat.</scene_description>
<character>MUD</character>
<dialogue>It's a helluva thing.</dialogue>
<scene_description>Mud pauses, his mind working on something.</scene_description>
<character>MUD</character>
<dialogue>Helluva thing.</dialogue>
<scene_description>The two sit by the campfire staring up at the suspended boat.</scene_description>
</scene>
<scene>
<stage_direction>INT. ELLIS' ROOM - MORNING</stage_direction>
<scene_description>Mary Lee knocks on her way into the bedroom.</scene_description>
<character>MARY LEE</character>
<dialogue>Time to get up.</dialogue>
<scene_description>She begins picking clothes off the floor. Ellis, in bed, raises up on his elbows. He's tired from a late night.</scene_description>
<character>ELLIS</character>
<dialogue>It's Saturday.</dialogue>
<character>MARY LEE</character>
<dialogue>I'm going to Wal-Mart. I need you to come with me.</dialogue>
<character>ELLIS</character>
<parenthetical>(moaning)</parenthetical>
<dialogue>Mom.</dialogue>
<character>MARY LEE</character>
<dialogue>Come on.</dialogue>
<scene_description>She pulls the covers off of him.</scene_description>
</scene>
<scene>
<stage_direction>I/E. MARY LEE'S CAR/INTERSTATE - DAY</stage_direction>
<scene_description>The two ride in an awkward silence. Ellis stares at the farmland passing by outside as Mary Lee steers the compact Toyota down a four-lane interstate.</scene_description>
<character>MARY LEE</character>
<dialogue>Ellis I know what your father told you last night. That's not what I wanted. I wanted to sit you down and talk about it.</dialogue>
<character>ELLIS</character>
<dialogue>What do you wanna talk about? You want to leave and that means they can tear up our house.</dialogue>
<character>MARY LEE</character>
<dialogue>I've spent my whole life on that boat. I don't think it's too much to ask for your...</dialogue>
<scene_description>Mary Lee is interrupted by a line of traffic backed up in front of her. She slows to a stop.</scene_description>
<character>MARY LEE</character>
<dialogue>Oh no. I hope no one's hurt.</dialogue>
<scene_description>There are flashing police lights up ahead. Ellis tries to see what's going on but can't make anything out past the line of cars. They inch forward.</scene_description>
<character>MARY LEE</character>
<dialogue>I'm just saying there are two sides to this. I haven't made up my mind about anything because I want you to be involved in my decision, but I need a change Ellis. I deserve one.</dialogue>
<scene_description>As they approach the flashing lights, they see three State Trooper vehicles parked to funnel traffic down to one lane. The STATE TROOPERS stop each car, checking the trunks.</scene_description>
<character>MARY LEE</character>
<dialogue>I think they're searching people.</dialogue>
<scene_description>A Trooper signals Mary Lee to pull up to a stop. Two other Troopers approach her vehicle. The first begins looking in her back windows as the second leans down to speak to her. She lowers her window.</scene_description>
<character>TROOPER</character>
<dialogue>Can you open the trunk please ma'am?</dialogue>
<character>MARY LEE</character>
<dialogue>Of course.</dialogue>
<scene_description>Mary Lee pulls the lever by her knee, and the second Trooper walks around the back of the car.</scene_description>
<character>TROOPER</character>
<dialogue>Have you picked up or seen any hitchhikers today ma'am?</dialogue>
<character>MARY LEE</character>
<dialogue>No sir.</dialogue>
<scene_description>The Trooper produces a flier with a color photo on it.</scene_description>
<character>TROOPER</character>
<dialogue>Have you seen this man?</dialogue>
<character>MARY LEE</character>
<dialogue>No sir.</dialogue>
<scene_description>The Trooper leans over and holds the paper out to Ellis.</scene_description>
<character>TROOPER</character>
<dialogue>Son, have you seen this man?</dialogue>
<scene_description>Ellis looks at the photo. It's of Mud. He looks exactly the same as he did last night, down to the shirt. In the photo, Mud's smiling, revealing his missing tooth.</scene_description>
<character>ELLIS</character>
<dialogue>No.</dialogue>
<character>TROOPER</character>
<dialogue>We've had reports that he's in this area. If you see him, call 9-1-1 immediately.</dialogue>
<character>MARY LEE</character>
<dialogue>We will officer.</dialogue>
<scene_description>The Trooper pulls his head from the window.</scene_description>
<character>ELLIS</character>
<dialogue>What'd he do?!</dialogue>
<scene_description>The Trooper bends back down and looks at Ellis.</scene_description>
<character>ELLIS</character>
<parenthetical>(more calm)</parenthetical>
<dialogue>What'd he do?</dialogue>
<character>TROOPER</character>
<dialogue>Move along please.</dialogue>
<scene_description>Mary Lee pulls forward and speeds back up on the interstate.</scene_description>
<character>MARY LEE</character>
<dialogue>My lord.</dialogue>
<parenthetical>(rolls up her window)</parenthetical>
<character>MARY LEE</character>
<dialogue>How would you feel about moving into town with me?</dialogue>
<parenthetical>(no answer)</parenthetical>
<dialogue>Please don't tell your father this, but I've been looking at a couple of places. I know it would be a big adjustment for you, but it might end up being something you like. You know living on the river isn't exactly everyone's idea of the good life. Ellis?</dialogue>
<scene_description>He looks at her.</scene_description>
<character>MARY LEE</character>
<dialogue>Are you even listening to me?</dialogue>
</scene>
<scene>
<stage_direction>INT. ELLIS' ROOM - DAY</stage_direction>
<scene_description>Ellis busts through the door, grabs his backpack and is gone.</scene_description>
</scene>
<scene>
<stage_direction>EXT. HOUSEBOAT - CONTINUOUS</stage_direction>
<scene_description>Ellis is off the houseboat and running up the bank. He heads down the dirt path, grabbing the Walkie Talkie out of his backpack.</scene_description>
<character>ELLIS</character>
<parenthetical>(into the Walkie)</parenthetical>
<dialogue>Neck! Neck, pick up!</dialogue>
</scene>
<scene>
<stage_direction>EXT. RIVERBANK - DAY</stage_direction>
<scene_description>Ellis removes branches and readies the flat bottom boat to launch. The sound of Neckbone's bike arrives before he does. Neckbone crests the sand covered slope. He dismounts and starts to chain the bike up to a tree trunk.</scene_description>
<character>NECKBONE</character>
<dialogue>So what's the big deal?</dialogue>
<character>ELLIS</character>
<dialogue>My mom and I were headed to Wal- Mart on 165. There was a roadblock with state troopers. They searched our car and showed us a picture of Mud. They're lookin' for him.</dialogue>
<character>NECKBONE</character>
<dialogue>I knew it! I told you that crazy sonofabitch was trouble. Did they say what he did?</dialogue>
<character>ELLIS</character>
<dialogue>No.</dialogue>
<character>NECKBONE</character>
<dialogue>So'd you tell 'em where he is?</dialogue>
<character>ELLIS</character>
<dialogue>No. That's why I called you. We gotta warn him.</dialogue>
<character>NECKBONE</character>
<dialogue>What?</dialogue>
<character>ELLIS</character>
<dialogue>He's goin' to get Juniper today. I went out there last night and told him where we saw her. He needs to know people are lookin' for him.</dialogue>
<character>NECKBONE</character>
<dialogue>You think he doesn't know that already? Jesus Ellis, why do you think he's on that island? You don't even know what he's wanted for.</dialogue>
<scene_description>Ellis climbs in the boat and Neckbone yanks his shoulder.</scene_description>
<character>NECKBONE</character>
<dialogue>Ellis! I'm serious. We don't know who this guy is.</dialogue>
<character>ELLIS</character>
<dialogue>He loves her Neck. He told me.</dialogue>
<character>NECKBONE</character>
<dialogue>I don't give a shit who he loves.</dialogue>
<scene_description>Ellis starts the motor and waits for his friend.</scene_description>
<character>ELLIS</character>
<dialogue>He's not dangerous.</dialogue>
<scene_description>Reluctantly, Neckbone throws his leg into the boat.</scene_description>
<character>NECKBONE</character>
<dialogue>It sounds like a shitload of state troopers think different.</dialogue>
</scene>
<scene>
<stage_direction>EXT. BASE OF BOAT TREE - DAY</stage_direction>
<scene_description>Ellis and Neckbone emerge from the woods at Mud's campsite. They scan nearby tree limbs.</scene_description>
<character>NECKBONE</character>
<dialogue>No tellin' where the hell he's been sleepin'.</dialogue>
<character>ELLIS</character>
<dialogue>He may already be gone.</dialogue>
<character>MUD (O.S.)</character>
<dialogue>Hey!</dialogue>
<scene_description>The boys look straight up. Mud leans over the edge of the boat above them.</scene_description>
<character>MUD</character>
<dialogue>Up here!</dialogue>
<scene_description>Mud drops them a rope with knots tied in it. Ellis starts inching his way up. Neckbone begrudgingly follows.</scene_description>
</scene>
<scene>
<stage_direction>EXT. BOAT IN TREE - CONTINUOUS</stage_direction>
<scene_description>Ellis pulls himself over the edge of the boat. He finds Mud sitting in the swivel chair behind the steering wheel. He writes in an open spiral notebook with a black Sharpie.</scene_description>
<character>ELLIS</character>
<dialogue>What are you doin'?</dialogue>
<character>MUD</character>
<dialogue>I'm gonna have to go back on our deal for the boat. I don't feel good about it, but I don't see any other way outta what I'm into.</dialogue>
<scene_description>Neckbone makes his way on board. Mud has pulled a panel off the steering column. Exposed wires dangle.</scene_description>
<character>ELLIS</character>
<dialogue>So you know about the state troopers?</dialogue>
<scene_description>He looks up from his notebook.</scene_description>
<character>MUD</character>
<dialogue>What state troopers?</dialogue>
<character>NECKBONE</character>
<dialogue>The ones spreadin' your picture all over the place. Stoppin' cars on 165 searchin' for your ass.</dialogue>
<scene_description>Mud factors this in and then goes back to writing.</scene_description>
<character>MUD</character>
<dialogue>I didn't know about that, but it doesn't surprise me. There plenty of folks lookin' for me right now.</dialogue>
<character>ELLIS</character>
<dialogue>Why?</dialogue>
<character>MUD</character>
<dialogue>I shot a man. Killed him.</dialogue>
<scene_description>Mud stands and walks to the back of the boat. The boys' eyes follow him cautiously. Mud lifts a hatch at the back that would typically house the batteries and engine wiring. There's nothing left but a hole into the trees. He makes a note.</scene_description>
<character>MUD</character>
<dialogue>I'm sorry I didn't tell ya'll sooner, but I was hopin' to be gone before anything came of it. Didn't want you involved.</dialogue>
<scene_description>Mud turns to really face them for the first time.</scene_description>
<character>MUD</character>
<dialogue>Ya'll have been real good to me. You're the only friends I got out here. If the state troopers have 165 blocked, they'll have others blocked too. I won't get anywhere in a car. I want to try takin' this boat down, see if we can get it in the water.</dialogue>
<scene_description>Ellis and Neckbone stand their ground. They don't say anything. Mud walks back to the steering column. He drops to his knees and fiddles with the wires.</scene_description>
<character>MUD</character>
<dialogue>With a boat like this I can make it to the gulf in two days. I could get anywhere from there. But I'd need a boat at least this big to make it on open water. It's got no title, no owner, nobody lookin' for it. It's my best shot.</dialogue>
<character>NECKBONE</character>
<dialogue>Who'd you kill?</dialogue>
<character>MUD</character>
<dialogue>It was a bad piece of business. Ya'll don't need to hear about it.</dialogue>
<character>ELLIS</character>
<dialogue>I need to hear about it.</dialogue>
<scene_description>Mud sits up. He looks at Ellis, deciding how much to tell.</scene_description>
<character>MUD</character>
<dialogue>Juniper made a mistake. She hooked up with a guy. He was no good. His name was Hutchins. Family owns a chain of restaurants down in Texas.</dialogue>
<character>ELLIS</character>
<dialogue>Where were you?</dialogue>
<character>MUD</character>
<dialogue>I was around, but me and Juniper were on the outs. She met this Hutchins, he sold her on some lies. Got her pregnant. That's when he started showin' who he really was. He dropped June down a flight of stairs after whoopin' her half to death. She lost the baby. He made it so the doctors think she can't have children anymore. There're things you can get away with in this world and things you can't. I tracked him down at a motel just outside of San Antonio. He was there with another woman. That's where it happened.</dialogue>
<scene_description>Mud's done with his story. He goes back to the wiring.</scene_description>
<character>MUD</character>
<dialogue>I understand if you can't help me anymore, but I need this boat. And I need to get it in the water fast.</dialogue>
<scene_description>After a moment, he sits up and wipes sweat from his forehead.</scene_description>
<character>MUD</character>
<dialogue>I've made a list. Things we'll need. What do ya'll think?</dialogue>
<scene_description>Ellis takes time to consider everything. He looks at Neckbone, who has a disgruntled look on his face.</scene_description>
<character>ELLIS</character>
<dialogue>You did it for her? To protect her?</dialogue>
<character>MUD</character>
<dialogue>Yeah.</dialogue>
<scene_description>Ellis nods. Mud looks over at Neckbone, who still has the disgruntled look on his face.</scene_description>
<character>MUD</character>
<dialogue>What do you think?</dialogue>
<character>NECKBONE</character>
<dialogue>I think you want us to run around, stickin' our necks out, gettin' everything you need, just so you can take our boat.</dialogue>
<character>MUD</character>
<dialogue>That's about it.</dialogue>
<scene_description>Mud removes a cigarette butt and sparks it with a lighter.</scene_description>
<character>NECKBONE</character>
<dialogue>What do we get out of it?</dialogue>
<character>MUD</character>
<dialogue>What do you want?</dialogue>
<scene_description>Neckbone looks to Ellis, judging his bargaining position.</scene_description>
<character>NECKBONE</character>
<dialogue>What about that pistol?</dialogue>
<scene_description>Mud eyes the boy, pulling on the nub of cigarette.</scene_description>
<character>MUD</character>
<dialogue>I only got two things out here worth anything. This shirt...</dialogue>
<scene_description>Mud pulls the pistol from the back of his jeans. Neckbone tenses, but relaxes when Mud splays it out on an open palm.</scene_description>
<character>MUD</character>
<dialogue>And this pistol. I can't give you the shirt 'cause I need it for protection, but if you help me get this boat in the water, the pistol's yours.</dialogue>
<scene_description>Neckbone squinches his face in thought, sizing up this trade.</scene_description>
<character>NECKBONE</character>
<dialogue>What kind is it?</dialogue>
<character>MUD</character>
<dialogue>A forty five.</dialogue>
<character>NECKBONE</character>
<dialogue>I guess we could work a deal like that.</dialogue>
<scene_description>Neckbone steps forward to grab the pistol, but Mud puts it back in his jeans.</scene_description>
<character>MUD</character>
<dialogue>We get this thing floatin' first.</dialogue>
<scene_description>Neckbone looks over at Ellis, who shrugs.</scene_description>
<character>NECKBONE</character>
<dialogue>All right then.</dialogue>
<scene_description>Mud smiles, flashing his missing tooth. He spits in his palm and holds it out to Neckbone. Neckbone, not sure about taking the spit hand, reluctantly shakes. Mud rips a page from the notebook and hands it to Ellis.</scene_description>
<character>MUD</character>
<dialogue>Ya'll scrounge what you can off this list, but if we're gonna get this done right we'll need more help. Can you fetch Tom for me?</dialogue>
<character>ELLIS</character>
<dialogue>Tom Blankenship?</dialogue>
<scene_description>Mud has smoked down to the filter. He crushes the butt into his palm and puts it back in his shirt pocket.</scene_description>
<character>MUD</character>
<dialogue>I was hopin' to let that old assassin stay put, but we'll need him to get things ya'll can't. Can you find him?</dialogue>
<character>ELLIS</character>
<dialogue>I know where he lives, but I've never spoke to him.</dialogue>
<character>MUD</character>
<dialogue>Just tell him my name. He'll know you're serious.</dialogue>
<scene_description>Ellis folds the list up. He and Neckbone start down the rope as Mud goes back to the wiring.</scene_description>
<character>MUD</character>
<dialogue>Boys?</dialogue>
<parenthetical>(they pause)</parenthetical>
<dialogue>Thanks.</dialogue>
<scene_description>Ellis nods.</scene_description>
<character>NECKBONE</character>
<dialogue>Don't lose my pistol.</dialogue>
<scene_description>They continue down the rope. Mud continues his work.</scene_description>
</scene>
<scene>
<stage_direction>EXT. SHELLY'S OXBOW - DAY</stage_direction>
<scene_description>Ellis steers to the southern mouth of Shelly's Oxbow, the bend in the river that holds he and Tom Blankenship's houseboats, among others. He grounds the boat just shy of entering the Oxbow and steps over Neckbone to hop onto the bank.</scene_description>
<character>ELLIS</character>
<dialogue>You comin'?</dialogue>
<character>NECKBONE</character>
<dialogue>I'll watch the boat.</dialogue>
<scene_description>Ellis scans the woods that populate the patch of land wedged between the river and this short tributary.</scene_description>
<character>NECKBONE</character>
<dialogue>Ellis?</dialogue>
<character>ELLIS</character>
<dialogue>What?</dialogue>
<character>NECKBONE</character>
<dialogue>Be careful. Galen always said that old man's crazy.</dialogue>
<scene_description>Neckbone keeps his seat as Ellis darts into the woods</scene_description>
</scene>
<scene>
<stage_direction>EXT. TOM'S WOODS - DAY</stage_direction>
<scene_description>Ellis prowls around the small pine trees and bushes. He pauses, seeing the entrance to Tom Blankenship's boat. Something moves on the houseboat. Ellis hunkers down behind a bush. He sees Tom wrapping cable onto a metal spool. Ellis is nervous. He checks over his shoulder, nothing but woods. When he looks back to the boat, Tom is gone. In a crouch, Ellis moves closer. Taking a deep breath, Ellis steps out from the cover of the pine trees and heads up a walkway that leads onboard.</scene_description>
<character>TOM (O.S.)</character>
<dialogue>Why you huntin' me?</dialogue>
<scene_description>Ellis flinches. He turns to find Tom Blankenship standing at the edge of the boat.</scene_description>
<character>TOM</character>
<dialogue>You deaf boy? I said why're you huntin' me?</dialogue>
<character>ELLIS</character>
<dialogue>I ain't huntin you.</dialogue>
<character>TOM</character>
<dialogue>What's your business here?</dialogue>
<character>ELLIS</character>
<dialogue>I came to find you. I got a message for you.</dialogue>
<character>TOM</character>
<dialogue>You're Senior's boy.</dialogue>
<character>ELLIS</character>
<dialogue>Yessir.</dialogue>
<character>TOM</character>
<dialogue>What you got to say he can't tell me himself?</dialogue>
<scene_description>Tom, rusty on pleasantries, brushes past Ellis as he heads inside the boat.</scene_description>
<character>ELLIS</character>
<dialogue>It ain't from him.</dialogue>
<scene_description>Ellis, not wanting to follow further, shouts from the planks.</scene_description>
<character>ELLIS</character>
<dialogue>MUD SENT ME!</dialogue>
<scene_description>There is a silence. Then footsteps. Tom reappears.</scene_description>
<character>TOM</character>
<dialogue>Mud sent you.</dialogue>
<character>ELLIS</character>
<dialogue>Yessir.</dialogue>
<character>TOM</character>
<dialogue>What do you know about it?</dialogue>
<character>ELLIS</character>
<dialogue>He asked me to come get you.</dialogue>
<scene_description>Tom straightens his back. He looks into the woods, searching for something he may have missed.</scene_description>
<character>TOM</character>
<dialogue>Your daddy know this?</dialogue>
<character>ELLIS</character>
<dialogue>No sir. Mud needs your help.</dialogue>
<scene_description>Tom's mind churns on a series of facts unknown to the boy.</scene_description>
<character>TOM</character>
<dialogue>Where is he?</dialogue>
</scene>
<scene>
<stage_direction>EXT. RIVER - DAY</stage_direction>
<scene_description>Neckbone bounces in the boat as it shifts in the choppy Mississippi water. His eyes are locked on the back of Tom's head. Tom rides stone faced in the front. Neckbone turns back to Ellis and raises his eyebrows as if to ask, "What's going on?". Ellis shrugs.</scene_description>
</scene>
<scene>
<stage_direction>EXT. ISLAND SHORE - DAY</stage_direction>
<scene_description>Ellis runs the boat on shore. Tom splashes into the ankle deep water and helps the boys drag it onto the bank. Ellis takes the lead, walking ahead and scanning the treeline. Mud steps out, just past the shadow of the woods. Ellis turns to Tom and points.</scene_description>
<character>ELLIS</character>
<dialogue>There he is.</dialogue>
<scene_description>Tom spits onto the muddy bank and makes his way toward Mud. Ellis and Neckbone stay by the boat and watch. BY THE TREELINE, Mud watches Tom approaching. He corrects his posture and feebly attempts to smooth some wrinkles from his shirt. Tom stops in front of him, his eyes pinched in the sun.</scene_description>
<character>TOM</character>
<dialogue>Mud.</dialogue>
<character>MUD</character>
<dialogue>Sir.</dialogue>
<scene_description>They stare at each other for a long moment. Neither one flinching. BY THE BOAT, At this distance, the boys can't hear what is being said, but they try and size up the situation through body language.</scene_description>
<character>NECKBONE</character>
<dialogue>You think that's his dad?</dialogue>
<character>ELLIS</character>
<dialogue>I don't know.</dialogue>
<scene_description>BY THE TREELINE,</scene_description>
<character>TOM</character>
<dialogue>Where is she?</dialogue>
<character>MUD</character>
<dialogue>In town. Got here yesterday.</dialogue>
<scene_description>Tom lowers his head. Frustrated.</scene_description>
<character>TOM</character>
<dialogue>Why you out here like this?</dialogue>
<scene_description>BY THE BOAT, The boys see Mud take a seat on a nearby stump. He's explaining something. Tom listens, standing over him.</scene_description>
<character>NECKBONE</character>
<dialogue>They don't look like family.</dialogue>
<scene_description>Ellis watches Mud as he gestures and speaks. He seems different. Younger. Mud stops talking. Tom scratches a hand through his white crew cut. He begins pointing a finger at Mud. His face is flushed and the sound of his voice carries to the boys, though still unintelligible.</scene_description>
<character>NECKBONE</character>
<dialogue>He's really givin' it to him.</dialogue>
<scene_description>AT THE TREELINE, Mud's head hangs as Tom shouts at him.</scene_description>
<character>TOM</character>
<dialogue>You've spent your whole life followin' that girl! She's run you halfway cross the country and back, and for what? For this, left out on an island beggin' for help. A murderer. A thief.</dialogue>
<character>MUD</character>
<dialogue>I ain't no thief.</dialogue>
<character>TOM</character>
<dialogue>What would you call it then? Don't even mention draggin' those boys into this. Do you have any idea what you're doin'?</dialogue>
<scene_description>Waits for a response, but Mud gives none.</scene_description>
<character>TOM</character>
<dialogue>I'm ashamed of you.</dialogue>
<scene_description>Mud looks up at him.</scene_description>
<character>TOM</character>
<dialogue>Don't expect help from me. There's none to be given.</dialogue>
<scene_description>AT THE BOAT, They see Tom turn his back on Mud and head toward the boat. Mud doesn't protest; he doesn't move. Tom brushes past Ellis.</scene_description>
<character>TOM</character>
<dialogue>I'm ready.</dialogue>
<scene_description>Tom shoves the boat back into the water. Neckbone helps him. Ellis looks back at Mud, who still hasn't moved from his stump. He goes to him. Tom sees this and stops pushing.</scene_description>
<character>TOM</character>
<parenthetical>(to himself)</parenthetical>
<dialogue>Dammit.</dialogue>
<scene_description>AT THE TREELINE, Ellis stops a good six feet back from where Mud sits.</scene_description>
<character>ELLIS</character>
<dialogue>You all right?</dialogue>
<scene_description>Mud raises his head.</scene_description>
<character>MUD</character>
<dialogue>Looks like we're on our own.</dialogue>
<scene_description>He stands and takes a folded piece of paper from his shirt.</scene_description>
<character>MUD</character>
<dialogue>I didn't want you bein' the one to do this, but I can't see a way around it. I need to get this letter to Juniper. Could you take it to her for me?</dialogue>
<character>ELLIS</character>
<dialogue>Yeah.</dialogue>
<character>MUD</character>
<dialogue>You have to be careful. You can't just walk up and knock on her door, you hear me? You have to watch yourself.</dialogue>
<character>ELLIS</character>
<dialogue>I can handle it.</dialogue>
<scene_description>Ellis steps forward and Mud hands over the note. Ellis takes it and walks back to the others. AT THE BOAT, Tom stares at Ellis as he climbs on board. Tom looks back at Mud, who is watching him. He gives the boat a final shove before pulling himself in. They motor away. Tom doesn't look back.</scene_description>
</scene>
<scene>
<stage_direction>EXT. RIVER/SHELLY'S OXBOW - MOVING - DAY</stage_direction>
<character>NECKBONE</character>
<dialogue>You Mud's daddy?</dialogue>
<character>TOM</character>
<dialogue>Mud didn't have no daddy. No mother I ever knew of. He was livin' in the woods when I met him. Younger than you are now.</dialogue>
<scene_description>Tom doesn't offer anymore. Neckbone thinks on his answer. Ellis kills the engine near the mouth of Shelly's Oxbow. Tom jumps down into the knee deep river and wades onto shore. He turns back to the boys.</scene_description>
<character>TOM</character>
<dialogue>Ya'll need to watch yourselves. Don't go gettin' into something you don't have any business in. Mud's into something you don't want any part of. I suggest you forget about him.</dialogue>
<scene_description>Ellis and Neckbone don't respond. Tom, with a final admonishing look, disappears into the woods. Ellis cranks the motor and points the boat up river.</scene_description>
</scene>
<scene>
<stage_direction>EXT. RIVER - MOVING - MOMENTS LATER</stage_direction>
<scene_description>Edges of the notebook paper flap in the wind. Neckbone reads Mud's letter to Juniper. Ellis reaches the bank where they stash their boat. He shuts off the motor and let's them drift. Neckbone folds the letter back up and turns to face Ellis.</scene_description>
<character>ELLIS</character>
<dialogue>What do you think?</dialogue>
<character>NECKBONE</character>
<dialogue>He loves her. You can tell that much. You gonna take it to her?</dialogue>
<character>ELLIS</character>
<dialogue>I told him I would.</dialogue>
<scene_description>Neckbone thinks about this seriously, shakes his head.</scene_description>
<character>NECKBONE</character>
<dialogue>I don't know. Could be a lot of trouble.</dialogue>
<character>ELLIS</character>
<dialogue>You still got that trailer you made for your bike?</dialogue>
</scene>
<scene>
<stage_direction>EXT. DEWITT STREET - LATE AFTERNOON</stage_direction>
<scene_description>Neckbone rides with Ellis on the back of his dirt bike. Cars and Trucks HONK and zip by them. Their speed is topped out at about 15 miles per hour. Mostly a result of the small 3X4 metal trailer they are towing behind the bike. One of Senior's white fish coolers sits in the trailer.</scene_description>
</scene>
<scene>
<stage_direction>EXT. EXECUTIVE INN/PARKING LOT - LATE AFTERNOON</stage_direction>
<scene_description>Parked in the far corner of the lot, Ellis sits on top of the white cooler eyeing the Executive Inn. Neckbone straddles the dirt bike. A handful of cars are parked at the motel; an old Honda, a pick-up, and a BLACK LINCOLN.</scene_description>
<character>ELLIS</character>
<dialogue>I say we start at the top, work our way down.</dialogue>
<character>NECKBONE</character>
<dialogue>All right.</dialogue>
<scene_description>They each grab an end of the cooler and carry it across the lot toward a flight of stairs. ON THE SECOND FLOOR, The boys set the cooler down in front of the first room on the corner. Ellis checks over his shoulder, nothing strange. Ellis knocks. They wait. No answer. They pick the cooler up and walk to the next door. Knock. After a moment, a BLACK MAN in his late sixties opens the door wearing boxers and an undershirt.</scene_description>
<character>BLACK MAN</character>
<dialogue>What you want?</dialogue>
<character>ELLIS</character>
<dialogue>We're sellin' fish. You wanna buy some?</dialogue>
<character>BLACK MAN</character>
<dialogue>Fish?</dialogue>
<scene_description>He looks at the two boys like they are insane.</scene_description>
<character>BLACK MAN</character>
<dialogue>I don't want no damn fish.</dialogue>
<scene_description>He slams the door. They drag the cooler to the next door. As Ellis holds up his fist to knock, they hear a woman shouting a few doors down.</scene_description>
<character>STOP IT!</character>
<dialogue>Ellis heads for the room. Neckbone drags the cooler after</dialogue>
<character>STOP!</character>
<dialogue>him. Ellis reaches the motel room door, which has been left ajar. He places his hand on it and lets it fall open.</dialogue>
</scene>
<scene>
<stage_direction>INT. EXECUTIVE INN/JUNIPER'S ROOM - CONTINUOUS</stage_direction>
<character>CARVER (O.S.)</character>
<dialogue>KEEP LYIN'! KEEP LYIN' AND I'LL</dialogue>
<character>CRACK YOUR NOSE OPEN!</character>
<dialogue>The door opens to CARVER(47), a tall, slender man in a dark Western cut suit, standing over Juniper. She's crumpled up in a ball at the end of the bed. Carver swats open-handed at her head. Grabs the top of her hair.</dialogue>
<character>CARVER</character>
<dialogue>You hear me bitch? Tell me another lie.</dialogue>
<scene_description>Ellis rushes Carver with his shoulder as if he were breaking down a door. Carver is knocked off balance. He trips over the edge of the bed and crashes into the motel room wall. Carver, slightly stunned, gets to his feet and in two broad steps lands a man-sized punch across Ellis' face. It's hard. Ellis melts. He grabs the boy up by the scruff of his shirt.</scene_description>
<character>CARVER</character>
<dialogue>Who are you!? Who the hell are you!? Did he send you!?</dialogue>
<scene_description>Carver removes a piece of paper from his pocket. It's a photo copied picture of Mud, different than the State Trooper's. Carver crams the photo in the boy's face.</scene_description>
<character>CARVER</character>
<dialogue>You know this man!? Look at him! Do you know him!?</dialogue>
<scene_description>Blood trickles from a cut under Ellis' eye. He stutters under the shaking force of Carver's hands.</scene_description>
<character>ELLIS</character>
<dialogue>I don't...I...</dialogue>
<character>FISH!!!</character>
<dialogue>Neckbone is yelling at the top of his lungs, almost in a</dialogue>
<character>IT'S FISH!!!</character>
<dialogue>girl's pitch. Carver turns to him. The cooler is open behind them and Neckbone holds up two Ziplock bags of fish.</dialogue>
<character>NECKBONE</character>
<dialogue>We're just selling fish!</dialogue>
<scene_description>Carver sizes things up. It takes a moment, but he settles. He snorts out a laugh and drops Ellis on the ground. Carver turns his attention back to Juniper, who is huddled up in the corner of the motel. Carver walks over to her. Opening a good-sized knife, he gets down in her face and holds the blade uncomfortably close to her cheek.</scene_description>
<character>CARVER</character>
<dialogue>I know you know where he is. And I swear to God I'll cut through every one a you to find him.</dialogue>
<scene_description>She flinches. Standing, Carver folds up his knife.</scene_description>
<character>CARVER</character>
<dialogue>We know you came here for him, and we know he's too stupid to leave you behind. So when he pops his head out of whatever shithole he's staying in, I'll be there. You tell him that.</dialogue>
<scene_description>Carver turns, stepping over Ellis on his way out.</scene_description>
<character>CARVER</character>
<dialogue>And you need to mind your business boy.</dialogue>
<scene_description>Neckbone moves from the doorway to let him pass. Carver is gone. Neckbone shuts the door and fastens the security latch. He kneels down to check on his friend.</scene_description>
<character>NECKBONE</character>
<dialogue>You all right?</dialogue>
<character>ELLIS</character>
<dialogue>Yeah.</dialogue>
<character>NECKBONE</character>
<dialogue>He popped your eye.</dialogue>
<scene_description>Ellis holds the back of his hand up to his eye which has begun to swell. The cut trickles blood over his cheekbone. Juniper moves to the sink. Ellis sits up, staring at her back. She opens an ice bucket and wraps a handful of cubes in a towel. She turns and walks over to them, her eyes cast down. She kneels in front of Ellis, making eye contact for the first time. She touches his chin, gently pivoting it to see the wound. Her eyes are glassy.</scene_description>
<character>JUNIPER</character>
<dialogue>Thank you.</dialogue>
<scene_description>He stares back at her. He can't take his eyes off her. She holds the iced towel to his cheek. He doesn't even flinch.</scene_description>
<character>JUNIPER</character>
<dialogue>I'm so sorry.</dialogue>
<scene_description>Tears form and run down her cheeks.</scene_description>
<character>JUNIPER</character>
<dialogue>Here.</dialogue>
<scene_description>She takes his hand and places it against the towel. She gets to her feet and pulls a pocket book from a bag in the corner.</scene_description>
<character>JUNIPER</character>
<dialogue>How much is your fish? I'll buy the cooler full.</dialogue>
<scene_description>Ellis motions Neckbone to the cooler. Neckbone goes over and crams his hand into the ice. He removes a Ziplock bag containing the note that Mud sent. Neckbone hands it to Ellis. Taking the note, he sets his ice down and walks over to Juniper.</scene_description>
<character>ELLIS</character>
<dialogue>Mud sent us to give this to you.</dialogue>
<scene_description>Juniper is stunned. She looks at the bag, then at the boys.</scene_description>
<character>JUNIPER</character>
<dialogue>You've met Mud?</dialogue>
<scene_description>Ellis nods. Neckbone speaks up from the back.</scene_description>
<character>NECKBONE</character>
<dialogue>Yeah we met him.</dialogue>
<scene_description>Juniper takes the bag. She removes the letter and takes a seat on the edge of the bed to read it. Ellis watches her eyes move along the paper. She smiles, which makes Ellis smile. After a moment, she folds it up.</scene_description>
<character>JUNIPER</character>
<dialogue>He tells me to hold tight.</dialogue>
<character>NECKBONE</character>
<dialogue>Yeah, we read it.</dialogue>
<scene_description>Juniper raises her eyebrows at Neckbone.</scene_description>
<character>JUNIPER</character>
<dialogue>Well do you know how long 'hold tight' is?</dialogue>
<character>ELLIS</character>
<dialogue>I think it's a couple days. He wants to get a boat for ya'll.</dialogue>
<character>JUNIPER</character>
<dialogue>God.</dialogue>
<scene_description>Juniper shakes her head and goes to the sink. She pulls a lighter from her jeans pocket and torches Mud's note.</scene_description>
<character>JUNIPER</character>
<dialogue>Tell him I'll wait.</dialogue>
<scene_description>Running water over the ashes, she turns back to them.</scene_description>
<character>JUNIPER</character>
<dialogue>But I don't want ya'll involved. Tell him what I said and make that it. I don't want you gettin' in any trouble.</dialogue>
<character>ELLIS</character>
<dialogue>We won't.</dialogue>
<character>JUNIPER</character>
<dialogue>What do you call that?</dialogue>
<scene_description>She motions to his swelling eye. Ellis shrugs.</scene_description>
<character>ELLIS</character>
<dialogue>We'll be all right. Keep your door locked. We'll be in touch.</dialogue>
<scene_description>Ellis heads to the door as Neckbone gathers up the cooler.</scene_description>
<character>JUNIPER</character>
<dialogue>Wait.</dialogue>
<scene_description>Ellis turns back.</scene_description>
<character>JUNIPER</character>
<dialogue>What's your name?</dialogue>
<character>ELLIS</character>
<dialogue>I'm Ellis. That's Neckbone.</dialogue>
<scene_description>Juniper walks up to Ellis and puts her hands on his shoulders. She has to bend slightly to do it, but she kisses him just above his swollen eye.</scene_description>
<character>JUNIPER</character>
<dialogue>Thank you Ellis.</dialogue>
<scene_description>Ellis stares at her, infatuated.</scene_description>
<character>NECKBONE</character>
<dialogue>We gotta go.</dialogue>
<scene_description>Ellis turns and grabs one end of the cooler. Neckbone slaps back the security latch and opens the door with his free hand. They walk out.</scene_description>
</scene>
<scene>
<stage_direction>EXT. EXECUTIVE INN/JUNIPER'S ROOM - CONTINUOUS - DUSK</stage_direction>
<scene_description>Ellis, his foot on the door, looks back at Juniper.</scene_description>
<character>ELLIS</character>
<dialogue>Lock the door.</dialogue>
<scene_description>She smiles. The door slams shut. The room number, 212, stares Ellis in the face. He takes a deep breath.</scene_description>
<character>NECKBONE</character>
<dialogue>Let's go hard on.</dialogue>
<scene_description>He and Ellis wrangle the cooler down the steps. The sun set while they were inside. A blue hue hangs over everything.</scene_description>
</scene>
<scene>
<stage_direction>I/E. CARVER'S LINCOLN/PIGGLY WIGGLY PARKING LOT - CONTINUOUS</stage_direction>
<scene_description>Carver takes a drag off a cigarette from behind the steering wheel of his black Lincoln town car, conscious to blow any smoke out the open driver's window. His car, wedged between two others in the Piggly Wiggly parking lot, is pointed toward the Executive Inn. He watches as Ellis and Neckbone load the cooler onto Neckbone's bike.</scene_description>
</scene>
<scene>
<stage_direction>INT. ELLIS' HOUSEBOAT - NIGHT</stage_direction>
<scene_description>Ellis enters his houseboat. It's quiet. He sees a note on the counter next to a can of soup. It reads, "I've gone to a movie. Warm up some soup for dinner. Love, Mom". Ellis picks up the can, not thrilled. He goes to the fridge and grabs a sack of peas from the freezer. Holding the peas against his eye he takes a seat at the counter and flips through a phone book. He finds what he needs and dials a corded phone. He waits.</scene_description>
<character>ELLIS</character>
<dialogue>Hello? Is May Pearl there?...This is Ellis...Hey, it's Ellis. Hey... What?...In the phone book... from his car commercials...I think they're all right...Tomorrow? Yeah, I can meet you... Okay. Bye.</dialogue>
<scene_description>Ellis hangs up the phone. With the peas pressed firmly against his face, he smirks. CUT TO: SERIES OF IMAGES: -Neckbone's sneaker busts through a rotten plank of wood. -Inside a decrepit wooden shack, Ellis gives Neckbone a look like he's a dumbass as they proceed to take the shack apart board by board. Ellis now has a full-on BLACK EYE. A66 -Neckbone stands lookout under the carport section of Ellis' A66 houseboat. The coast clear, he gives Ellis a nod. Ellis pops open a metal locker and removes a small chainsaw and container of gas. He loads these into an empty fish cooler. B66 -Tom, sitting atop his houseboat with his pellet gun, watchesB66 as the two boys sneak the tools away. He's displeased. C66 -At Neckbone's mobile home park, Ellis heaves loops of thick C66 rope onto their mini dirt bike trailer. Neckbone stands nearby laughing with the rope's OWNER, a lanky guy with brown teeth and a Tasmanian Devil tattoo on his neck. AC66 -Ellis hoists Neckbone up by the foot allowing him to AC66 unscrew a road sign. D66 -A mop soaked in black tar slops across the flat roof of the D66 furniture store in downtown Dewitt. Neckbone and Ellis stand in the store's parking lot yelling up to the ROOFERS. -They get one's attention, and Neckbone points to a dried pile of leftover tar that has been dumped at the back of the building. The ROOFER swats a hand at the boys. They proceed to load the dried hunk onto the small trailer. E66 -From a distance, Neckbone and Ellis stand on a sailboat in E66 the middle of a fenced-in marine junkyard. Surrounded by old boat parts, the boys begin shuttling several large metal pulleys off the sailboat.</scene_description>
</scene>
<scene>
<stage_direction>EXT. ISLAND SHORE - DAY</stage_direction>
<scene_description>Mud smiles, showing his missing tooth, as he looks over the load of items the boys have stacked in their boat. Neckbone tosses a loop of rope to him.</scene_description>
<character>NECKBONE</character>
<dialogue>We've got more, but no motor.</dialogue>
<character>MUD</character>
<dialogue>This'll work for now. You get her my note?</dialogue>
<character>ELLIS</character>
<dialogue>Yeah.</dialogue>
<scene_description>Ellis turns and Mud sees his black eye for the first time.</scene_description>
<character>MUD</character>
<dialogue>Where'd you get that from?</dialogue>
<character>ELLIS</character>
<dialogue>We came up on Juniper's room. A guy was in there beatin' up on her.</dialogue>
<scene_description>Mud's face turns dark.</scene_description>
<character>NECKBONE</character>
<dialogue>Ellis rushed him. Got smacked for it.</dialogue>
<character>MUD</character>
<dialogue>What'd he look like?</dialogue>
<character>ELLIS</character>
<dialogue>I don't know. Tall. Looked like a cowboy.</dialogue>
<character>MUD</character>
<dialogue>Dark hair?</dialogue>
<character>ELLIS</character>
<dialogue>Yeah.</dialogue>
<character>MUD</character>
<dialogue>DAMMIT!</dialogue>
<scene_description>Mud slings the rope to the ground and kicks it. His face is flushed. It's the first time the boys have seen him angry.</scene_description>
<character>MUD</character>
<dialogue>GOD DAMMIT!</dialogue>
<scene_description>The boys back up. Mud takes a deep breath, tries to cool down. It takes a moment, then something occurs to him. He eyes Ellis with a look of genuine gratitude.</scene_description>
<character>MUD</character>
<dialogue>Thanks for lookin' after her.</dialogue>
<scene_description>Ellis nods. Mud picks up the rope.</scene_description>
<character>MUD</character>
<dialogue>His name's Carver. Brother of the man I shot. If he's here, then more are comin'.</dialogue>
<character>NECKBONE</character>
<dialogue>More what?</dialogue>
<scene_description>Mud gathers the supplies and heads to the treeline. The boys, with their hands full, follow him.</scene_description>
<character>MUD</character>
<dialogue>Bounty hunters. Carver's rotten, but his daddy's the one to be scared of. He'll spend all the money he has to see me dead. If it was up to me I'd put the whole family down same as the other. Not a decent man between 'em.</dialogue>
<scene_description>Mud stops and turns to lay a serious look on them.</scene_description>
<character>MUD</character>
<dialogue>Ya'll listen to me now. If you see that old man, don't get near him. He's the triple six real deal scratch you hear me?</dialogue>
<scene_description>Mud waits for nods from them both.</scene_description>
<character>MUD</character>
<dialogue>All right.</dialogue>
</scene>
<scene>
<stage_direction>EXT. MISSISSIPPI RIVER/ISLAND - CONTINUOUS</stage_direction>
<scene_description>Galen drifts in his own boat out on the Mississippi River. He stares at something in the distance. A68 FROM ACROSS THE RIVER, A68 He sees Neckbone and Ellis on the island walking with Mud. Galen, a concerned look on his face, keeps one hand on his motor and the other on a bulging net of mussel shells. His HELPER, a salty looking man in his fifties, sits at the front of the boat sipping Budweiser from the can.</scene_description>
<character>HELPER</character>
<dialogue>What you waitin' for?</dialogue>
<character>GALEN</character>
<dialogue>Shut up.</dialogue>
<scene_description>After a moment, Galen cranks the motor and speeds away.</scene_description>
</scene>
<scene>
<stage_direction>EXT. BOAT IN TREE - DAY - LATER</stage_direction>
<scene_description>Mud stands with Ellis and Neckbone on the deck of the boat. He holds a pulley in one hand and a length of rope in the other. He stares up into the trees.</scene_description>
<character>MUD</character>
<dialogue>Ellis, can you climb up that trunk and get these hung?</dialogue>
<character>ELLIS</character>
<dialogue>Yeah.</dialogue>
<character>MUD</character>
<dialogue>Take a foot of line and tie 'em off with a bowline knot. You know it?</dialogue>
<character>ELLIS</character>
<dialogue>I'm not stupid.</dialogue>
<scene_description>Ellis takes the pulley and scales the trunk without hesitation. Mud tosses his pocket knife to Neckbone.</scene_description>
<character>MUD</character>
<dialogue>Neck, start cuttin' line. Three fifteen foot sections. Count a foot long as your arm.</dialogue>
<scene_description>Mud begins threading the pulleys with rope. As Neckbone cuts rope, he sees the pistol stuck in the back of Mud's pants.</scene_description>
<character>NECKBONE</character>
<dialogue>What's so special 'bout that shirt you'd lose your pistol for it?</dialogue>
<character>MUD</character>
<dialogue>It's got a wolf's eye sewn in the sleeve. More protection than a bullet ever gave. Tom swears by it.</dialogue>
<character>NECKBONE</character>
<dialogue>He said he wasn't your daddy.</dialogue>
<character>MUD</character>
<dialogue>Tom's the closest thing I ever knew to a father.</dialogue>
<character>NECKBONE</character>
<dialogue>I never met my parents.</dialogue>
<character>MUD</character>
<dialogue>It's hard not knowin' the ones you came from.</dialogue>
<character>NECKBONE</character>
<dialogue>My uncle Galen tells me things about 'em. He's the one that takes care of me.</dialogue>
<character>MUD</character>
<dialogue>Tom did that for me.</dialogue>
<scene_description>Ellis drops down to the deck and grabs another pulley.</scene_description>
<character>ELLIS</character>
<dialogue>What'd you mean when you called Tom an assassin?</dialogue>
<character>MUD</character>
<dialogue>Tom's had lives you'd never know about. Grew up up North. Went to Yale. For a long time he was a paid killer for the C.I.A. Lived in Cuba in '63. He's probably killed more people than you've met.</dialogue>
<parenthetical>(to Neckbone)</parenthetical>
<dialogue>Hand me that line.</dialogue>
<scene_description>Neckbone tosses him an end of rope, looks to Ellis. Ellis gives a shrug before heading back up the trunk.</scene_description>
</scene>
<scene>
<stage_direction>EXT. BASE OF BOAT TREE - DAY - LATER</stage_direction>
<scene_description>Mud hangs off the tree fifteen feet up by a piece of rope tied around his waist. A series of ropes and pulleys crisscross from the boat to the trees. Neckbone and Ellis stand on the ground staring up at him. Mud holds a chainsaw and seems to be hesitating.</scene_description>
<character>NECKBONE</character>
<dialogue>Well if you're gonna do it do it!</dialogue>
<scene_description>Mud takes a deep breath and yanks the cord. Angled on one of the main branches holding up the boat, Mud begins cutting. Ellis and Neckbone step further and further back as they watch the chainsaw work through the thick limb. Suddenly, the chainsaw stops. A deep CRACKING sound. The huge branch SNAPS, tumbling off lower limbs before crashing to the ground. Mud holds onto the trunk for dear life. The branch now rests on the ground, SILENCE. The ropes and pulleys hang taught, squeaking from the weight of the boat. Mud slowly lifts his head up. He smiles at what he sees. The rigging has held.</scene_description>
<character>MUD</character>
<dialogue>One down!</dialogue>
<scene_description>Neckbone and Ellis watch as Mud scampers around the trunk to the next branch. The chainsaw cranks back on.</scene_description>
<character>NECKBONE</character>
<dialogue>This shit is crazy.</dialogue>
</scene>
<scene>
<stage_direction>I/E. MARY LEE'S CAR/PIGGLY WIGGLY PARKING LOT - LATE</stage_direction>
<scene_description>AFTERNOON Ellis looks out the car window at HIGH SCHOOL KIDS that have gathered in the Piggly Wiggly parking lot. His hair is slicked to one side, and he's wearing a collared shirt.</scene_description>
<character>MARY LEE</character>
<dialogue>You look nice.</dialogue>
<character>ELLIS</character>
<dialogue>Thanks.</dialogue>
<character>MARY LEE</character>
<dialogue>What time are you gonna be home?</dialogue>
<scene_description>Ellis shrugs. She looks at him as the car radio rambles.</scene_description>
<character>MARY LEE</character>
<dialogue>No later than eleven?</dialogue>
<scene_description>Ellis nods.</scene_description>
<character>ELLIS</character>
<dialogue>You make up your mind?</dialogue>
<character>MARY LEE</character>
<dialogue>About moving in town?</dialogue>
<character>ELLIS</character>
<dialogue>About leavin' dad.</dialogue>
<scene_description>Mary Lee thinks about how to answer, shuts off the radio.</scene_description>
<character>MARY</character>
<dialogue>You can't make Ellis. If I'm have to be the</dialogue>
<character>LEE</character>
<dialogue>other people change unhappy then I'll one to change</dialogue>
<scene_description>something. Ellis chews on the inside of his cheek and watches her avoid eye contact. He shoulders his way out of the car. Mary Lee takes a moment before driving off. As Mary Lee pulls away, Ellis takes in the scene.</scene_description>
</scene>
<scene>
<stage_direction>EXT. EXECUTIVE INN - LATE AFTERNOON - ELLIS POV</stage_direction>
<scene_description>He looks up at Juniper's motel room and sees her leaning on the railing smoking a cigarette. She doesn't see him.</scene_description>
</scene>
<scene>
<stage_direction>EXT. PIGGLY WIGGLY PARKING LOT - LATE AFTERNOON - CONTINUOUS</stage_direction>
<scene_description>He pauses, noticing a MAN to his left who ALSO stares up at Juniper. The man, early thirties with a thick mustache, is JAMES. He leans against the grill of a black Lincoln. Carver appears from inside the Piggly Wiggly. He holds a cup of coffee and is closely trailed by a fat little man, NELSON(56). They're all dressed in a similar fashion, a cross between rural farmers and rodeo stars. As Carver approaches the Lincoln, he scolds James for leaning on the grill. Carver rubs the hood with his coat sleeve and gives orders to the men.</scene_description>
<character>MAY PEARL (O.S.)</character>
<dialogue>Ellis!</dialogue>
<scene_description>Ellis turns to see May Pearl hopping down from a Ford Bronco. She leans on the door and waves Ellis into the back.</scene_description>
<character>MAY PEARL</character>
<dialogue>Come on!</dialogue>
<scene_description>Ellis takes another look at Carver and his men before running over to the Bronco.</scene_description>
</scene>
<scene>
<stage_direction>EXT. FIELD/BONFIRE - NIGHT</stage_direction>
<scene_description>A bonfire rages in the middle of an open field. A FEW DOZEN KIDS mingle between vehicles and the fire. Drinking, yelling, music blasting from car speakers. Ellis stands by himself next to the blaze with his hands in his pockets. May Pearl has vanished. Pryor, the skinny kid Ellis punched to get this date, wanders past. He makes eye contact. Ellis stares him down. Pryor glares back but then just skulks over to another group.</scene_description>
<character>MAY PEARL (O.S.)</character>
<dialogue>Try this.</dialogue>
<scene_description>A Styrofoam Sonic Cup is thrust into Ellis' hand. He turns to find May Pearl standing next to him.</scene_description>
<character>MAY PEARL</character>
<dialogue>Come on.</dialogue>
<scene_description>She leads Ellis behind one of the trucks parked nearby. May Pearl climbs onto the tailgate, a red glow across her face. No one else is around. Ellis hesitates.</scene_description>
<character>MAY PEARL</character>
<dialogue>You wanna sit down?</dialogue>
<scene_description>Ellis takes a seat next to her. She looks at him, smiling, and gestures to his black eye.</scene_description>
<character>MAY PEARL</character>
<dialogue>You must really like to fight?</dialogue>
<character>ELLIS</character>
<dialogue>Not really.</dialogue>
<scene_description>Ellis takes a sip from the Sonic cup. His face puckers.</scene_description>
<character>MAY PEARL</character>
<dialogue>But you're not scared if you have to.</dialogue>
<character>ELLIS</character>
<dialogue>I guess. You got a lot of friends.</dialogue>
<character>MAY PEARL</character>
<dialogue>They're all right. I don't know all of 'em.</dialogue>
<character>ELLIS</character>
<dialogue>I bet you're pretty popular.</dialogue>
<character>MAY PEARL</character>
<dialogue>Why do you say that?</dialogue>
<character>ELLIS</character>
<dialogue>I don't know. 'Cause you're nice to people.</dialogue>
<character>MAY PEARL</character>
<dialogue>How do you know that?</dialogue>
<character>ELLIS</character>
<dialogue>You're nice to me.</dialogue>
<character>MAY PEARL</character>
<dialogue>But I like you.</dialogue>
<scene_description>Ellis digs into his jeans pocket.</scene_description>
<character>ELLIS</character>
<dialogue>I got this for you.</dialogue>
<scene_description>He removes a bracelet made from the pearls he collected off Galen's porch. May Pearl takes it, begins putting it on.</scene_description>
<character>MAY PEARL</character>
<dialogue>A bracelet?</dialogue>
<character>ELLIS</character>
<dialogue>Neckbone's uncle caught the pearls. I thought with your name and everything...</dialogue>
<character>MAY PEARL</character>
<dialogue>Thank you.</dialogue>
<scene_description>She leans over, hugging him with a kiss on the cheek. She stays close.</scene_description>
<character>ELLIS</character>
<dialogue>You wanna be my girlfriend?</dialogue>
<scene_description>She smiles, then kisses him.</scene_description>
</scene>
<scene>
<stage_direction>EXT. ELLIS' AND TOM'S HOUSEBOATS - MORNING</stage_direction>
<scene_description>Morning fog sits on top of the water around Ellis' houseboat. Ellis steps outside and makes his way to the ice machine. A loud WHISTLE comes from across the oxbow. Ellis walks to the edge of the garage. A75 He sees Tom Blankenship seated on the roof of his houseboat. A75 He motions Ellis over. Ellis watches him, unsure of what to do. Another WHISTLE. Tom motions to him again. Ellis looks back at the house. No sign of his parents. He shoots a glance back at Tom.</scene_description>
</scene>
<scene>
<stage_direction>EXT. TOM BLANKENSHIP'S HOUSEBOAT - MOMENTS LATER</stage_direction>
<scene_description>Ellis bumps his father's boat against the side of Tom's houseboat. He steps up onto the deck and ties off. Tom, down from the roof, stands by his front door.</scene_description>
<character>TOM</character>
<dialogue>You want some coffee?</dialogue>
<scene_description>Tom disappears inside.</scene_description>
<character>ELLIS</character>
<dialogue>I don't drink coffee.</dialogue>
<scene_description>Ellis waits for a moment, but realizes this is Tom's way of inviting him inside. He enters.</scene_description>
</scene>
<scene>
<stage_direction>INT. TOM BLANKENSHIP'S HOUSEBOAT - CONTINUOUS</stage_direction>
<scene_description>This houseboat, although similar in size, is different than Ellis'. It's an actual wood shack that has been constructed atop a barge. Ellis looks at photos, books and memorabilia that cram the walls and shelves. It feels homey. Tom, his back to the boy, stands in the kitchen area pouring a cup of coffee.</scene_description>
<character>TOM</character>
<dialogue>You been seein' Mud?</dialogue>
<character>ELLIS</character>
<dialogue>No.</dialogue>
<scene_description>A collection of framed photos on a desk catches Ellis' attention. A young Tom with a pretty dark skinned girl. They seem happy. Another photo, late 60's, of Tom standing alone in a suit. He holds a LONG SUITCASE. Tom enters holding two cups of coffee.</scene_description>
<character>TOM</character>
<dialogue>You don't have to lie to me boy.</dialogue>
<scene_description>He hands Ellis a cup of coffee with a cartoon image of a dog on it. It reads, "I'm a real bitch in the morning!" Tom sits in a LazyBoy that he gently rocks in.</scene_description>
<character>TOM</character>
<dialogue>I've seen you runnin' around. Takin' things. He all right?</dialogue>
<character>ELLIS</character>
<dialogue>He's okay.</dialogue>
<character>TOM</character>
<dialogue>He get that boat down?</dialogue>
<scene_description>Ellis nods. There is an awkward moment.</scene_description>
<character>ELLIS</character>
<dialogue>He called you an assassin.</dialogue>
<scene_description>Tom snorts out a laugh, sips his coffee.</scene_description>
<character>ELLIS</character>
<dialogue>Is it true?</dialogue>
<character>TOM</character>
<dialogue>How long have you known Mud?</dialogue>
<character>ELLIS</character>
<dialogue>Few days.</dialogue>
<character>TOM</character>
<dialogue>Well that's long enough to know he's full of shit.</dialogue>
<character>ELLIS</character>
<dialogue>So it's not true.</dialogue>
<character>TOM</character>
<dialogue>I was a sharpshooter in the army. In Mud's world, that makes me an assassin. Not exactly true, right?</dialogue>
<character>ELLIS</character>
<dialogue>Yeah I guess.</dialogue>
<scene_description>Tom notices the boy's disappointment.</scene_description>
<character>TOM</character>
<dialogue>You think he's a bad ass don't you?</dialogue>
<character>ELLIS</character>
<dialogue>I don't know.</dialogue>
<character>TOM</character>
<dialogue>You know why he's stuck out on that island?</dialogue>
<character>ELLIS</character>
<dialogue>Yeah.</dialogue>
<parenthetical>(hesitates)</parenthetical>
<dialogue>He shot somebody.</dialogue>
<character>TOM</character>
<dialogue>He tell you why he shot that man?</dialogue>
<character>ELLIS</character>
<dialogue>Because he hurt Juniper.</dialogue>
<character>TOM</character>
<dialogue>Right. The real reason Mud's in the trouble he's got is because of her. He's been in love with that girl since he was your age. They used to run all around here and it was the same back then. He'd follow that girl wherever she led him. Problem is she don't care about nobody but herself. I've told him as much. She'd bed down with the meanest snake she could find, then when things went bad she'd go runnin' to Mud. Mud would take her back, then go find whatever unlucky sonofabitch last put a hand on her and beat 'em 'til they knew to never touch her again. And this time I guess he thought a beating wasn't good enough. Had to shoot that fella. I don't know for sure, but I'd put money on Juniper knowin' he'd do it. And I have a suspicion she might of even told him to. Either way, those two are set for failure. Only chance Mud has is to cut her loose. Cause I'll tell you what, Mud's no bad ass. He's runnin' scared.</dialogue>
<scene_description>Ellis can't look Tom in the eye, he's offended by the old man's remarks. Ellis sets the coffee cup on the desk.</scene_description>
<character>ELLIS</character>
<dialogue>I gotta go.</dialogue>
<scene_description>Ellis heads for the door, but stops short.</scene_description>
<character>ELLIS</character>
<dialogue>You're wrong about Juniper. They love each other and they're gonna make it. If you weren't a wore out old man you'd know it was true.</dialogue>
<scene_description>Tom eyes the boy, taking a sip from his cup. He nods a goodbye to Ellis who is already out the door.</scene_description>
</scene>
<scene>
<stage_direction>EXT. ISLAND/BASE OF BOAT TREE - DAY</stage_direction>
<scene_description>Ellis stomps out of the trees and is struck by the new position of the boat. It hangs three feet off the ground; SUSPENDED in dry dock. A clear-cut path of trees leads off toward the island's southern shore. Beside the boat, remnants of a giant fire smolder. Ellis surveys the MOUND OF ASH.</scene_description>
<character>MUD (O.S.)</character>
<dialogue>What you say Ellis?</dialogue>
<scene_description>Ellis turns to find Mud standing on the deck of the boat holding a fistful of wires. He jumps down.</scene_description>
<character>ELLIS</character>
<dialogue>I got more stuff.</dialogue>
<character>MUD</character>
<dialogue>You find a motor?</dialogue>
<character>ELLIS</character>
<dialogue>Not yet.</dialogue>
<parenthetical>(points to the ash)</parenthetical>
<dialogue>What's that?</dialogue>
<character>MUD</character>
<dialogue>I made a bonfire.</dialogue>
<scene_description>Mud enters the woods. Ellis follows.</scene_description>
<character>ELLIS</character>
<dialogue>Why?</dialogue>
<character>MUD</character>
<dialogue>Bonfire's an all purpose cure all for bad luck. I don't know where this boat's been or what kind of person had it before me. For all I know it could have some serious bad business left on it. We got too much ridin' on this thing to leave to chance. Where's Neckbone?</dialogue>
<character>ELLIS</character>
<dialogue>Helpin' his uncle with a dive.</dialogue>
</scene>
<scene>
<stage_direction>EXT. ISLAND SHORE - MOMENTS LATER</stage_direction>
<scene_description>Mud and Ellis exit the treeline heading to Ellis' boat.</scene_description>
<character>ELLIS</character>
<dialogue>Tom called me over to his place this mornin'.</dialogue>
<character>MUD</character>
<dialogue>What he say?</dialogue>
<character>ELLIS</character>
<dialogue>He was runnin' down Juniper.</dialogue>
<scene_description>Ellis looks for a response, but Mud just jumps up into the boat and starts throwing pieces of wood on shore.</scene_description>
<character>ELLIS</character>
<dialogue>I told him he was a wore out old man. Told him he couldn't know how much you loved Juniper.</dialogue>
<character>MUD</character>
<dialogue>You don't know his story.</dialogue>
<character>ELLIS</character>
<dialogue>I don't care.</dialogue>
<character>MUD</character>
<dialogue>You should. Tom loved a woman more than most men could in two lifetimes. They had a good life started together.</dialogue>
<scene_description>Mud hops down and scoops a load of wood into his arms.</scene_description>
<character>MUD</character>
<dialogue>She was pregnant with a little boy, but the birth got the better of 'em. They didn't make it. Tom's been alone ever since. Lone wolf.</dialogue>
<scene_description>Mud has begun walking back to the treeline. Ellis stays.</scene_description>
<character>ELLIS</character>
<dialogue>I gotta go help my dad.</dialogue>
<scene_description>Mud turns back but doesn't stop moving.</scene_description>
<character>MUD</character>
<dialogue>Thanks for the wood Ellis.</dialogue>
<scene_description>Ellis watches him go, thinking on what he said.</scene_description>
</scene>
<scene>
<stage_direction>EXT. UNDERWATER - RIVER - DAY</stage_direction>
<scene_description>Fully suited in diving gear, Galen toils in the murky brown water at the bottom of the river. His gear consists of a typical wet-suit, wet-socks but no gloves. His metal helmet is not typical. It's welded from half a hot water heater that's been fitted with barbell weights. A hose connected to the top runs to the surface. Galen ties off a netted sack and yanks on its line.</scene_description>
</scene>
<scene>
<stage_direction>EXT. RIVER - CONTINUOUS</stage_direction>
<scene_description>A small air compressor chugs as Neckbone stands in the middle of Galen's boat pulling in the heavy rope. At the end, the net bulging with mussel shells appears. He manages to roll the heavy load into the boat before moving over to a crank handle that feeds another line. After several cranks, Galen's steel helmet breaches the surface. He places his hands on the edge of the boat as Neckbone removes the barbell weights. The weight removed, Neckbone takes off the helmet. Galen pulls himself into the boat, out of breath.</scene_description>
<character>GALEN</character>
<dialogue>This shit never gets easy.</dialogue>
<character>NECKBONE</character>
<dialogue>That's a good haul.</dialogue>
<character>GALEN</character>
<dialogue>I've had worse.</dialogue>
<scene_description>Galen reclines as Neckbone kills the air compressor and begins organizing the gear. He watches his little nephew.</scene_description>
<character>GALEN</character>
<dialogue>You doin' all right?</dialogue>
<character>NECKBONE</character>
<dialogue>Yeah.</dialogue>
<character>GALEN</character>
<dialogue>You don't need to tell me anything?</dialogue>
<character>NECKBONE</character>
<dialogue>Tell you what?</dialogue>
<character>GALEN</character>
<dialogue>I know I'm just your uncle, not much of a parent. But you can tell me things if you need to.</dialogue>
<character>NECKBONE</character>
<dialogue>I can tell you this helmet smells like my duck butter.</dialogue>
</scene>
<scene>
<stage_direction>EXT. ELDERLY WOMAN'S HOUSE - DAY</stage_direction>
<scene_description>Ellis holds a wrought iron door open with his backside as an ELDERLY WOMAN takes the paper bag of fish from his hands. Ellis walks back to the truck. Senior watches him, looking at the black eye.</scene_description>
</scene>
<scene>
<stage_direction>I/E. SENIOR'S TRUCK/CATFISH PARLOUR - MOVING - DAY</stage_direction>
<scene_description>Ellis rides up front with Senior. Windows down, no radio.</scene_description>
<character>SENIOR</character>
<dialogue>Where'd you get that black eye?</dialogue>
<character>ELLIS</character>
<dialogue>A kid in town. He got his too.</dialogue>
<character>SENIOR</character>
<dialogue>What you fightin' for?</dialogue>
<character>ELLIS</character>
<dialogue>'Bout a girl.</dialogue>
<character>SENIOR</character>
<dialogue>What girl?</dialogue>
<character>ELLIS</character>
<dialogue>My girlfriend.</dialogue>
<character>SENIOR</character>
<dialogue>You got a girlfriend?</dialogue>
<character>ELLIS</character>
<dialogue>Yes sir.</dialogue>
<character>SENIOR</character>
<dialogue>When'd that happen?</dialogue>
<character>ELLIS</character>
<dialogue>Other day.</dialogue>
<scene_description>Senior pats his shirt pocket and finds a smoke. Lights it.</scene_description>
<character>SENIOR</character>
<dialogue>You seen your mother today?</dialogue>
<character>ELLIS</character>
<dialogue>No.</dialogue>
<character>SENIOR</character>
<dialogue>You not talkin' to me?</dialogue>
<character>ELLIS</character>
<dialogue>I'm talkin'. I'm talkin' to both of you. That's all ya'll want to do is talk.</dialogue>
<character>SENIOR</character>
<dialogue>Well, that's your mother. Would rather tongue lash a problem than step up and handle it. You'll see one day. Women are tough. They'll set you up for things. You can't trust love, Ellis. If you're not careful, it'll run out on you. You just gotta pick a woman and roll the dice. Hope you don't wake up in fifteen years hatin' each other.</dialogue>
<scene_description>Ellis keeps staring out the window as they pull into the parking lot of the Catfish Parlour Restaurant.</scene_description>
</scene>
<scene>
<stage_direction>EXT. THE CATFISH PARLOUR/THE PINES MOTEL - LATE AFTERNOON-</stage_direction>
<scene_description>CONTINUOUS Senior climbs out of the truck and enters the restaurant. Ellis pops open the tailgate and reaches for a cooler. The Catfish Parlour is one business in a strip center row. There is nothing else around save for farmland and a motel across the road. Ellis notices Carver's black LINCOLN parked in the motel lot. He walks away from the truck to get a better look. Ellis scans the FOUR OTHER VEHICLES in the lot. All Texas plates. A maroon Cadillac sails past and turns into the motel. Ellis recedes to the rear of his truck. He watches as KING(76), a fireplug of a man, emerges from the Cadillac. Cramped from a long drive, he stretches and eyes the sign for the Pines Motel. A motel room door opens and Carver walks out. He's smiling and calls out to King. They hug as a green PICK-UP pulls up. MILLER, a slick dressed man in black boots, climbs out.</scene_description>
<character>SENIOR (O.S.)</character>
<dialogue>Ellis! Let's go!</dialogue>
<scene_description>Ellis snaps around to find Senior leaning out the restaurant door. Ellis yanks the cooler down and drags it inside. He looks back over his shoulder for a final glance at the men. AT THE MOTEL,</scene_description>
<character>CARVER</character>
<dialogue>Daddy this is Miller. He's one of ours.</dialogue>
<character>KING</character>
<parenthetical>(shaking)</parenthetical>
<dialogue>How do you do? Appreciate your help.</dialogue>
<character>MILLER</character>
<dialogue>Yes sir.</dialogue>
<character>CARVER</character>
<dialogue>We'll be in in a minute.</dialogue>
<scene_description>Miller nods and enters the motel room. King turns to Carver.</scene_description>
<character>KING</character>
<dialogue>Catch me up.</dialogue>
<character>CARVER</character>
<dialogue>They work in shifts. Two outside her motel, the others either out searching or sleepin' here. I met with the county sheriff but he wasn't much help. Said they'd handle their own business, but I got two of their people on payroll and a person on the inside at the state police.</dialogue>
<character>KING</character>
<dialogue>Good. Doin' good. Who all's here?</dialogue>
<character>CARVER</character>
<dialogue>All but two now. Nelson and James are watchin' her place. I called the rest in.</dialogue>
<character>KING</character>
<dialogue>Okay. Let's meet the men.</dialogue>
<scene_description>Carver leads his father to the motel room.</scene_description>
</scene>
<scene>
<stage_direction>INT. PINES MOTEL ROOM - LATE AFTERNOON - CONTINUOUS</stage_direction>
<scene_description>Carver holds the door open as King steps inside. A door to his left connects another room which is empty. An episode of the Smurfs plays on the television. There's a MAN on each of the queen beds. Another THREE playing cards at a small table by the window. MILLER stands in the corner smoking. Empty Budweiser cans litter the room. King, unimpressed by the scene, looks at his son. Carver quickly moves in front of the television and turns it off. He stares down the men on the beds.</scene_description>
<character>CARVER</character>
<dialogue>Get up.</dialogue>
<parenthetical>(to the others)</parenthetical>
<dialogue>Ya'll pay attention.</dialogue>
<scene_description>The men get up from the beds and the others put down their cards. Everyone slowly gathers into an audience.</scene_description>
<character>CARVER</character>
<dialogue>This is my father, King. He runs the show.</dialogue>
<scene_description>Carver recedes as King steps forward. He speaks like a high school football coach.</scene_description>
<character>KING</character>
<dialogue>Men. I wanna thank you for the work you're doin'. It's important work, and I want you to know what it means to me personally. I'm grateful for it. No man should have to bury his son. It's not natural, and it's a pain I hope none of you ever have to endure.</dialogue>
<scene_description>King removes a photocopied picture of Mud from his pocket. He unfolds it, stares at it, then raises it to the men.</scene_description>
<character>KING</character>
<dialogue>This man did that to me. He took my youngest boy. And now, you're gonna help me get him.</dialogue>
<scene_description>King stares at the men, keeping the photo held high.</scene_description>
<character>KING</character>
<dialogue>Now gather 'round. Come on now, in a circle. I want ya'll to join hands.</dialogue>
<scene_description>They do it reluctantly.</scene_description>
<character>KING</character>
<dialogue>Everybody take a knee.</dialogue>
<scene_description>They do. King joins them on his knee and grabs Carver and another Man's hands.</scene_description>
<character>KING</character>
<dialogue>Bow your heads. I need you to help me pray for the death of the man that killed my son.</dialogue>
<scene_description>They all bow their heads.</scene_description>
</scene>
<scene>
<stage_direction>A85 EXT. NECKBONE'S TRAILER - MORNING A85</stage_direction>
<scene_description>A tarp is thrown back from a rusting boat trailer. Ellis and Neckbone stand by the trailer looking less than thrilled. It's covered in junk and debris.</scene_description>
<character>NECKBONE</character>
<dialogue>You touch her breast?</dialogue>
<character>ELLIS</character>
<dialogue>A little.</dialogue>
<character>NECKBONE</character>
<dialogue>That's great man.</dialogue>
<character>ELLIS</character>
<dialogue>Thanks.</dialogue>
<scene_description>Ellis walks up and knocks a stack of bricks off the trailer.</scene_description>
<character>ELLIS</character>
<dialogue>We could take it apart. Bring it out piece by piece.</dialogue>
<character>NECKBONE</character>
<dialogue>It's welded. We'd just tear it up. What if we float it out?</dialogue>
<character>ELLIS</character>
<dialogue>With what?</dialogue>
<character>NECKBONE</character>
<dialogue>Come on.</dialogue>
<scene_description>Neckbone walks to the trailer. Ellis follows.</scene_description>
</scene>
<scene>
<stage_direction>B85 INT. NECKBONE'S TRAILER - CONTINUOUS B85</stage_direction>
<scene_description>The boys open the front door and are met by a BLINDING LIGHT.</scene_description>
<character>NECKBONE</character>
<dialogue>Jesus!</dialogue>
<scene_description>They squint and shield their eyes. The light shuts off as quickly as it came on. Galen stands in front of them wearing his wet suit. The bar with the flood lights attached sits across his shoulders. The boys rub their eyeballs, seeing spots. Galen shuffles over to the couch holding a marine battery connected to the lights. He labors to take a seat.</scene_description>
<character>GALEN</character>
<dialogue>What do you think?</dialogue>
<character>NECKBONE</character>
<dialogue>That's real good Galen.</dialogue>
<parenthetical>(to Ellis)</parenthetical>
<dialogue>Gimme a minute.</dialogue>
<scene_description>Neckbone, still blinking, goes back to his room. Ellis notices Galen staring at him. Galen pats the couch.</scene_description>
<character>GALEN</character>
<dialogue>Come 'ere Ellis.</dialogue>
<scene_description>Ellis takes a seat on the other end of the couch. Galen pats the spot next to him. Ellis scoots over, uncomfortable.</scene_description>
<character>GALEN</character>
<parenthetical>(pointing up)</parenthetical>
<dialogue>You see that ceiling fan?</dialogue>
<character>ELLIS</character>
<dialogue>Yeah.</dialogue>
<character>GALEN</character>
<dialogue>I found it in the river. Works great. Best ceiling fan I've ever owned. This river brings a lotta trash down it. Some a that trash is worth a lotta money, some of it's not. You gotta know what's worth keepin' and what's worth lettin' go. You know the difference?</dialogue>
<character>ELLIS</character>
<dialogue>I think so.</dialogue>
<character>GALEN</character>
<dialogue>Neck looks up to you. Don't get my nephew into anything you can't get him out of.</dialogue>
<scene_description>Galen forces a stare with Ellis, who nods. Neckbone enters as Galen begins to remove his light rig.</scene_description>
<character>GALEN</character>
<dialogue>Help Me Rhonda's just about a guy needing to get a piece to get over a girl that put one over on him. So you get your heart broke, don't walk around with a shit look on your face. Get back in there. Get your tip wet. You hear me?</dialogue>
<character>ELLIS</character>
<dialogue>What?</dialogue>
<character>GALEN</character>
<dialogue>You know what I'm sayin'.</dialogue>
<scene_description>Ellis doesn't. Galen moves to an electric guitar leaning by a small amp in the corner.</scene_description>
<character>GALEN</character>
<dialogue>Ya'll wanna hang out? Alan's comin' over. We're gonna pump it up.</dialogue>
<character>NECKBONE</character>
<dialogue>We got stuff to do.</dialogue>
<character>GALEN</character>
<dialogue>Whatever.</dialogue>
<scene_description>The boys exit as Galen turns on the amp.</scene_description>
</scene>
<scene>
<stage_direction>C85 EXT. NECKBONE'S TRAILER - CONTINUOUS C85</stage_direction>
<scene_description>Galen pumps it up inside as Neckbone and Ellis walk to the boat trailer. Neckbone pulls a handful of long zip ties from his back pocket.</scene_description>
<character>NECKBONE</character>
<dialogue>What were ya'll talkin' about?</dialogue>
<character>ELLIS</character>
<dialogue>I don't know.</dialogue>
</scene>
<scene>
<stage_direction>EXT. ISLAND NORTHERN SHORE - DAY</stage_direction>
<scene_description>Mud's knife slices through a plastic zip tie.</scene_description>
<character>MUD</character>
<dialogue>King. That's what they call him.</dialogue>
<scene_description>A BOAT TRAILER rests atop FOUR, 55-GALLON BRIGHT YELLOW BARRELS affixed with plastic zip ties. The make-shift raft is half on shore with the back still floating in the water. The boys watch as Mud walks around the trailer cutting off the zip ties. The barrels kick out from underneath the trailer as this happens.</scene_description>
<character>MUD</character>
<dialogue>He's their father. You didn't go near him did you?</dialogue>
<character>ELLIS</character>
<dialogue>No.</dialogue>
<character>MUD</character>
<dialogue>Good. That left-handed sonofabitch is the devil himself. If he's here, then it's time. We need to get Juniper out here.</dialogue>
<character>ELLIS</character>
<dialogue>We still need a motor.</dialogue>
<character>NECKBONE</character>
<dialogue>There's a motor in the scrap yard might work.</dialogue>
<character>MUD</character>
<dialogue>I need one that runs.</dialogue>
<scene_description>Mud moves to the front of the boat trailer and begins dragging it fully onto the bank. It's heavy.</scene_description>
<character>NECKBONE</character>
<dialogue>I can get it runnin'. Tell him Ellis.</dialogue>
<character>ELLIS</character>
<dialogue>It's true. He built his own dirt bike.</dialogue>
<character>MUD</character>
<dialogue>All right then. Give it a shot.</dialogue>
<character>ELLIS</character>
<dialogue>I don't know. That motor's worth somethin'. It's not like this other junk.</dialogue>
<character>NECKBONE</character>
<dialogue>It's been there for months. Nobody's even gonna know it's gone.</dialogue>
<scene_description>Ellis hesitates. He looks to Mud.</scene_description>
<character>MUD</character>
<dialogue>We do need a motor.</dialogue>
<scene_description>Ellis thinks on it as Mud takes a deep breath and grabs the trailer again.</scene_description>
</scene>
<scene>
<stage_direction>EXT. PIGGLY WIGGLY PARKING LOT - DAY</stage_direction>
<scene_description>The supermarket is busy. Ellis stands at a pay phone out front as Neckbone kicks a vending machine nearby. Ellis looks at Juniper's motel. He scans the Piggly Wiggly parking lot and spots Carver's black Lincoln. Ellis picks up the phone and deposits some change. He dials.</scene_description>
<character>ELLIS</character>
<dialogue>I wanna talk to room 212.</dialogue>
</scene>
<scene>
<stage_direction>I/E. JUNIPER'S MOTEL ROOM/PIGGLY WIGGLY - CONTINUOUS</stage_direction>
<scene_description>Juniper watches TV (o.s) at the foot of the bed. The phone rings. She snaps up, hits mute and grabs it.</scene_description>
<character>JUNIPER</character>
<dialogue>Hello?</dialogue>
<scene_description>INTERCUT WITH ELLIS,</scene_description>
<character>ELLIS</character>
<dialogue>Juniper?</dialogue>
<character>JUNIPER</character>
<dialogue>Ellis?</dialogue>
<character>ELLIS</character>
<dialogue>It's me.</dialogue>
<character>JUNIPER</character>
<dialogue>Thank god. I've been goin' crazy in this room. Is Mud okay?</dialogue>
<character>ELLIS</character>
<dialogue>Yeah. It's time to take you out to him.</dialogue>
<character>JUNIPER</character>
<dialogue>Now?</dialogue>
<character>ELLIS</character>
<dialogue>Tomorrow. We'll come get you.</dialogue>
<character>JUNIPER</character>
<dialogue>What's goin' on?</dialogue>
<character>ELLIS</character>
<dialogue>He's got a plan for ya'll to get away. Be ready tomorrow at five. Neckbone'll be waitin' at the back of the motel with a dirt bike.</dialogue>
<character>JUNIPER</character>
<dialogue>They're watching my room.</dialogue>
<character>ELLIS</character>
<dialogue>I'll take care of that. Just be ready at five.</dialogue>
<character>JUNIPER</character>
<dialogue>Wait. Just wait. I don't know about alla this. I don't even know what he thinks we're gonna do. Where are we even gonna go? This is Mud. This is what Mud does.</dialogue>
<scene_description>Ellis hears her crying through the phone.</scene_description>
<character>ELLIS</character>
<dialogue>It's okay. He's got the boat. We helped him fix it up. It's a good plan. Just be ready.</dialogue>
<character>JUNIPER</character>
<dialogue>Why are you even doing this?</dialogue>
<character>ELLIS</character>
<dialogue>What do you mean?</dialogue>
<character>JUNIPER</character>
<dialogue>Why are you helping us?</dialogue>
<character>ELLIS</character>
<dialogue>Cause ya'll love each other.</dialogue>
<scene_description>Juniper searches for a comment. Ellis, looking out over the parking lot, sees May Pearl getting out of a car with her MOTHER and SISTER.</scene_description>
<character>ELLIS</character>
<dialogue>I'll see you tomorrow.</dialogue>
<character>JUNIPER</character>
<dialogue>Wait.</dialogue>
<scene_description>Dial Tone. Juniper holds the phone, worried.</scene_description>
</scene>
<scene>
<stage_direction>EXT. PIGGLY WIGGLY PARKING LOT - CONTINUOUS</stage_direction>
<scene_description>Ellis turns and watches May Pearl push a cart in the parking lot with her family. Neckbone bangs at the Coke machine.</scene_description>
<character>NECKBONE</character>
<dialogue>How'd it go?</dialogue>
<character>ELLIS</character>
<dialogue>We're good.</dialogue>
</scene>
<scene>
<stage_direction>I/E. CARVER'S LINCOLN/PIGGLY WIGGLY PARKING LOT - DAY</stage_direction>
<scene_description>Carver sits behind the wheel of his Lincoln. The man with the mustache, James, sits in the passenger seat next to him. Carver notices Ellis and Neckbone standing in front of the Piggly Wiggly. He climbs out. AT THE VENDING MACHINES,</scene_description>
<character>NECKBONE</character>
<dialogue>Gimme a quarter. This shit took mine.</dialogue>
<scene_description>Ellis watches May Pearl entering the grocery store. He calls out with a wave.</scene_description>
<character>ELLIS</character>
<dialogue>MAY PEARL!</dialogue>
<scene_description>Without stopping, May Pearl, along with her Sister and Mother, all turn. May Pearl sees him, but doesn't wave back. She continues inside. Ellis looks confused, then embarrassed. Neckbone notices.</scene_description>
<character>NECKBONE</character>
<dialogue>It's all right man. She's with her family. Come on. I wanna get that motor before dark.</dialogue>
<scene_description>They head to the dirt bike.</scene_description>
<character>CARVER (O.S.)</character>
<dialogue>Hey there!</dialogue>
<scene_description>Ellis turns to see Carver approaching.</scene_description>
<character>CARVER</character>
<dialogue>You remember me don't you?</dialogue>
<scene_description>Ellis nods. Carver notes the healing bruise on Ellis' face.</scene_description>
<character>CARVER</character>
<dialogue>I'm sure sorry about that. Ya'll caught me at a real bad time.</dialogue>
<scene_description>Ellis climbs on the bike. Carver walks over to them.</scene_description>
<character>CARVER</character>
<dialogue>Hold on now. One second. I don't want ya'll thinkin' I'm a bad guy. Ya'll were just trying to do a job, and I got in your way.</dialogue>
<scene_description>Carver removes a roll of twenties and peels off two.</scene_description>
<character>CARVER</character>
<dialogue>Let's just say I bought that whole batch of fish ya'll were sellin'. Would forty cover it?</dialogue>
<character>NECKBONE</character>
<dialogue>That'd bout do it.</dialogue>
<character>ELLIS</character>
<dialogue>We don't want your money.</dialogue>
<scene_description>Carver steps in close to the boys.</scene_description>
<character>CARVER</character>
<dialogue>I bet ya'll really get around this town. Probably know every hole and ditch. Have ya'll come across the man whose picture I showed you?</dialogue>
<character>ELLIS</character>
<dialogue>No.</dialogue>
<scene_description>Carver removes a flier with Mud's picture and holds it out.</scene_description>
<character>CARVER</character>
<dialogue>You sure about that? Take a look with your good eye.</dialogue>
<character>ELLIS</character>
<dialogue>I'm sure.</dialogue>
<character>CARVER</character>
<dialogue>What about that girl in the motel? The pretty one. Ya'll talk to her some more?</dialogue>
<character>ELLIS</character>
<dialogue>No.</dialogue>
<scene_description>Carver smiles. He tucks the flier and the forty dollars into Ellis' hand.</scene_description>
<character>CARVER</character>
<dialogue>There's a number on there. Ya'll let me know if you do.</dialogue>
<scene_description>Neckbone cranks the engine and backs the bike up with his feet. They pull away. Moving, Ellis looks back to see Carver watching them.</scene_description>
</scene>
<scene>
<stage_direction>EXT. CRAWFORD'S JUNKYARD - DUSK</stage_direction>
<scene_description>Neckbone pulls back a loose section of chain-link fence surrounding the marine junkyard. Ellis crouches through. INSIDE THE JUNKYARD, Ellis and Neckbone creep through piles of starboard and boat parts. They stop at a party barge with only one pontoon. At its rear hangs a big rusted motor, 200 horsepower. Neckbone quickly disassembles its attachment. The motor pops loose leaving the boys to strain against its heavy weight. They ease it to the ground.</scene_description>
<character>NECKBONE</character>
<dialogue>Jesus that's heavy.</dialogue>
<scene_description>The boys get on either side of the motor and begin half- dragging it back to the fence line. ACROSS THE YARD, A LITTLE GIRL(10) dangles her feet off a loading platform and bites at an ice cream sandwich. She watches Neckbone and Ellis from a distance.</scene_description>
</scene>
<scene>
<stage_direction>EXT. ELLIS' HOUSEBOAT - NIGHT</stage_direction>
<scene_description>Ellis walks onto the houseboat as the sound of Neckbone's bike fades in the trees. He stops, noticing a PAPER BAG sitting on the water's edge of the boat. He goes over to it. He opens the sack and takes a quick inventory. A loaf of bread, potted meats, a bottle of Jack Daniels, a roll of cash, and an Arkansas boat tag. Ellis looks around, no one. He looks over to Tom's boat. It's dark. Ellis scoops up the sack and heads inside.</scene_description>
</scene>
<scene>
<stage_direction>EXT. PIGGLY WIGGLY PARKING LOT - LATE AFTERNOON</stage_direction>
<scene_description>The digital wristwatch changes from "4:59" to "5:00". Neckbone sits on his bike parked near the vending machines at the Piggly Wiggly. Ellis, on the payphone, scans the parking lot. No sign of Carver's Lincoln. No other Bounty Hunters.</scene_description>
<character>NECKBONE</character>
<dialogue>Where are those bastards?</dialogue>
<character>ELLIS</character>
<dialogue>I don't know.</dialogue>
<parenthetical>(hangs up)</parenthetical>
<dialogue>She's not answerin'.</dialogue>
<character>NECKBONE</character>
<dialogue>What do you wanna do?</dialogue>
<character>ELLIS</character>
<dialogue>Take your bike around the side. I'll check her room. We'll just have to hope no one sees us.</dialogue>
<scene_description>Neckbone cranks the bike and speeds toward the motel. Ellis looks to the motel, then the parking lot.</scene_description>
</scene>
<scene>
<stage_direction>EXT. EXECUTIVE INN - MOMENTS LATER</stage_direction>
<scene_description>ON THE SECOND FLOOR, Ellis cautiously heads up the stairs. He eyes the parking lot at the Piggly Wiggly but still sees no sign of Carver's men. He moves quickly toward Juniper's door. Checking over his shoulder, he knocks. No answer. He knocks again. Nothing. He peeks through the window. No lights. No movement. BY THE DIRT BIKE, Neckbone gets off his bike and slips to the corner of the building. As he peeks his head out, Ellis nearly knocks him over on his way downstairs. They both flinch.</scene_description>
<character>NECKBONE</character>
<dialogue>Shit. Was she there?</dialogue>
<character>ELLIS</character>
<dialogue>Nothin'.</dialogue>
<scene_description>Ellis notices the front office</scene_description>
<character>ELLIS</character>
<dialogue>Come on.</dialogue>
</scene>
<scene>
<stage_direction>INT. EXECUTIVE INN/FRONT OFFICE - CONTINUOUS</stage_direction>
<scene_description>The MOTEL CLERK(29) doesn't look up from his issue of Lowrider as Ellis and Neckbone enter.</scene_description>
<character>ELLIS</character>
<dialogue>Scuse me, sir?</dialogue>
<character>MOTEL CLERK</character>
<dialogue>Yeah.</dialogue>
<character>ELLIS</character>
<dialogue>We're lookin' for the girl in room 212. You seen her?</dialogue>
<character>MOTEL CLERK</character>
<dialogue>I've seen her.</dialogue>
<character>ELLIS</character>
<dialogue>You see her today.</dialogue>
<character>MOTEL CLERK</character>
<dialogue>Yeah, she came down askin' for directions to the nearest bar. I told her to head out to a place on 61.</dialogue>
<scene_description>Ellis digests this. They turn to leave.</scene_description>
<character>MOTEL CLERK</character>
<dialogue>Wait a second, are ya'll the little bastards tryin' to sell fish to the guests?</dialogue>
<scene_description>They're already out the door.</scene_description>
</scene>
<scene>
<stage_direction>EXT. ROADSIDE BAR - DUSK</stage_direction>
<scene_description>Ellis and Neckbone pull into the gravel lot in front of a roadside bar. The cinder block building sits by itself just off the highway. Cars and motorcycles fill the lot.</scene_description>
<character>NECKBONE</character>
<dialogue>You think this is it?</dialogue>
<character>ELLIS</character>
<dialogue>It's gotta be.</dialogue>
</scene>
<scene>
<stage_direction>INT. ROADSIDE BAR - CONTINUOUS</stage_direction>
<scene_description>The small bar is loud and crowded. Shoulder to shoulder PATRONS bump against one another as MUSIC blares. Neckbone and Ellis press through the crowd searching for Juniper. They are a good foot shorter than anyone else. Ellis notices a man at the bar. It's Miller, the bounty hunter from King's motel. He's staring at something across the room. Ellis follows his line of sight. The crowd weaves in front of him, but then he sees her. Juniper leans against a pool table at the far end of the bar. A GUY(32) whispers in her ear and kisses her neck. She throws her head back, laughing. Ellis watches in disbelief. Nearby, the BARTENDER(46) fills a customer's shot glass. The two underage kids catch his attention. Ellis' face is frozen, locked on Juniper. Neckbone places a hand on his shoulder. Juniper's eyes drift toward the boys. She makes eye contact with Ellis, and her smile vanishes. The Guy keeps whispering in her ear. Juniper straightens her back slightly. Ellis can't take his eyes off her. Juniper stares back at him, but doesn't make a move. After a moment, Juniper's eyes fall to the floor. She turns her head back to the Guy. The crowd fills back in and the image is out of Ellis' reach.</scene_description>
<character>BARTENDER (O.S.)</character>
<dialogue>What the hell are ya'll doin'?!</dialogue>
<scene_description>The Bartender swoops in, grabbing them both by the backs of their necks and shoving them toward the door. Ellis strains against the thick hand. He tries to get another look at Juniper, but it's too crowded.</scene_description>
</scene>
<scene>
<stage_direction>EXT. ROADSIDE BAR - DUSK - CONTINUOUS</stage_direction>
<scene_description>The Bartender flings Ellis and Neckbone into the parking lot. Neckbone slides on the loose gravel.</scene_description>
<character>BARTENDER</character>
<dialogue>Ya'll stay outta here!</dialogue>
<scene_description>Ellis just stands staring at the front door. The Bartender makes a swatting motion toward them.</scene_description>
<character>BARTENDER</character>
<dialogue>I SAID GET OUTTA HERE!!!</dialogue>
<scene_description>Neckbone gathers his friend and leads him away.</scene_description>
<character>NECKBONE</character>
<dialogue>Thanks a lot asshole!</dialogue>
<parenthetical>(to Ellis)</parenthetical>
<dialogue>Come on man.</dialogue>
<scene_description>They head over to Neckbone's dirt bike. He pulls out the key and climbs on. Ellis hesitates.</scene_description>
<character>NECKBONE</character>
<dialogue>I'll take you home.</dialogue>
<character>ELLIS</character>
<dialogue>We're gonna have to tell Mud.</dialogue>
<scene_description>Neckbone drops his head, nods reluctantly.</scene_description>
</scene>
<scene>
<stage_direction>EXT. ISLAND SHORE - NIGHT</stage_direction>
<scene_description>The boys struggle to pull the heavy motor out of their boat. It hits the shoreline with a thud. They lean over it, sucking air.</scene_description>
<character>ELLIS</character>
<dialogue>Just leave it. Mud'll have to help get it.</dialogue>
<character>NECKBONE</character>
<dialogue>What're you gonna tell him?</dialogue>
<character>ELLIS</character>
<dialogue>I'll just tell him the truth.</dialogue>
</scene>
<scene>
<stage_direction>EXT. ISLAND/SOUTHERN SHORE - NIGHT</stage_direction>
<scene_description>Mud stands at the back of the boat, which now rests on the boat trailer near the water. His face is clean shaven and his hair is wetted back. His shirt, still filthy, is tucked into his pants. He whistles and works by the light of a small fire nearby. Ellis steps out from behind a tree. He's holding the grocery sack that was left on his houseboat.</scene_description>
<character>ELLIS</character>
<dialogue>MUD!</dialogue>
<scene_description>Mud, hearing the voice, quickly puts down his tools and turns to the woods. He smooths his clothes down.</scene_description>
<character>MUD</character>
<dialogue>What you say there?!</dialogue>
<scene_description>Ellis appears out of the dark, followed by Neckbone. Mud's eyes search the treeline for Juniper.</scene_description>
<character>MUD</character>
<dialogue>What you say Ellis?</dialogue>
<scene_description>Ellis can't look him in the eye.</scene_description>
<character>ELLIS</character>
<dialogue>We got that motor.</dialogue>
<character>MUD</character>
<dialogue>Is Juniper okay?</dialogue>
<character>ELLIS</character>
<dialogue>Yeah.</dialogue>
<character>MUD</character>
<dialogue>Where is she?</dialogue>
<character>ELLIS</character>
<dialogue>She didn't meet up with us.</dialogue>
<character>MUD</character>
<dialogue>What happened? Was it Carver?</dialogue>
<character>ELLIS</character>
<dialogue>It wasn't Carver.</dialogue>
<scene_description>Mud straightens up, prepares for the news.</scene_description>
<character>MUD</character>
<dialogue>What's goin' on Ellis?</dialogue>
<character>ELLIS</character>
<dialogue>She was supposed to meet us on the side of the motel. She never showed up. We went asking for her. The motel clerk told us she went to a bar out on 61.</dialogue>
<character>MUD</character>
<dialogue>What?</dialogue>
<character>ELLIS</character>
<dialogue>We tracked her down. She was there with another guy.</dialogue>
<parenthetical>(hesitates)</parenthetical>
<dialogue>They were together.</dialogue>
<scene_description>Mud's face drops. He walks to the fire and shakes a cooking pot resting in the coals. The pot bubbles with roof tar.</scene_description>
<character>MUD</character>
<dialogue>She probably thought Carver was on to her.</dialogue>
<character>ELLIS</character>
<dialogue>She knew the plan Mud. She just didn't show up.</dialogue>
<character>MUD</character>
<dialogue>What was she doin' with the other guy?</dialogue>
<scene_description>Ellis hesitates, not wanting to say. Mud pushes.</scene_description>
<character>MUD</character>
<dialogue>What were they doin' Ellis?</dialogue>
<character>ELLIS</character>
<dialogue>They were playin' pool. Drinkin'. He was close up on her. They were laughin'. He kissed her on the neck.</dialogue>
<scene_description>Mud nods.</scene_description>
<character>MUD</character>
<dialogue>And that's how it is.</dialogue>
<scene_description>He takes the pot of roofing tar over to the boat and begins pasting some of the newly replaced boards with a flat stick.</scene_description>
<character>ELLIS</character>
<dialogue>What do you want us to do?</dialogue>
<character>MUD</character>
<dialogue>Just go home Ellis.</dialogue>
<scene_description>Ellis looks at Neckbone, then sets the grocery sack on the ground.</scene_description>
<character>ELLIS</character>
<dialogue>Tom left this for you.</dialogue>
<scene_description>They slowly retreat into the woods and disappear. Mud turns back to the campfire and shoves the pot into the ashes. His eyes, soft and red, reflect the flame.</scene_description>
</scene>
<scene>
<stage_direction>EXT. MISSISSIPPI RIVER - NIGHT</stage_direction>
<scene_description>Ellis and Neckbone motor away from the island in the flat bottom boat. They look back at the shore.</scene_description>
<character>ELLIS</character>
<dialogue>You think it's all right to leave him alone?!</dialogue>
<character>NECKBONE</character>
<dialogue>I doubt it!</dialogue>
<scene_description>Neckbone sees Ellis' concern.</scene_description>
<character>NECKBONE</character>
<dialogue>I'll sleep over at your house tonight! We can check on him first thing tomorrow!</dialogue>
<scene_description>Ellis nods. As they head further up river, the island grows smaller, silhouetted by the moonlight.</scene_description>
</scene>
<scene>
<stage_direction>INT. ELLIS' ROOM - MORNING</stage_direction>
<scene_description>Neckbone snores, sprawled out on top of a sleeping bag on the floor. Ellis sits up in bed with something on his mind. He gets up and steps gingerly over Neckbone to exit the room.</scene_description>
</scene>
<scene>
<stage_direction>INT. ELLIS' HOUSEBOAT - DEN - CONTINUOUS</stage_direction>
<scene_description>The house is silent. Ellis slips into the kitchen and picks up the phone receiver mounted on the cabinet. He pulls the cord out to stand with his face in the corner. He dials, waits, and speaks softly into the receiver.</scene_description>
<character>ELLIS</character>
<dialogue>Hello? Is May Pearl there...This is Ellis...I called yesterday, you give her my message?...My name is Ellis. I'm her boyfriend...Oh, she's asleep...I said she's asleep?</dialogue>
<scene_description>The front door flies open. Senior storms headlong toward Ellis. He shouts.</scene_description>
<character>SENIOR</character>
<dialogue>MARY LEE!</dialogue>
<scene_description>Ellis turns as Senior yanks the phone by the cord. It snaps out of Ellis' hand and smashes apart on the floor. Ellis flinches at the sight of his father flying at him.</scene_description>
<character>SENIOR</character>
<dialogue>What the hell have you been doing? WHAT HAVE YOU BEEN DOIN'?!!</dialogue>
<scene_description>Senior grabs Ellis by the arms and shoves him against the den wall. Mary Lee comes running from her room.</scene_description>
<character>SENIOR!</character>
<dialogue>She slaps at her husband's arms and back.</dialogue>
<character>SENIOR DAMMIT!</character>
<dialogue>He swats her away.</dialogue>
<character>SENIOR</character>
<dialogue>You tell her. You tell her what you've been up to.</dialogue>
<character>ELLIS</character>
<dialogue>I don't know what you're sayin'.</dialogue>
<character>MARY LEE</character>
<dialogue>Take your hands off him Senior!</dialogue>
<scene_description>Senior keeps Ellis pinned to the wall with his left hand. He opens up and addresses Mary Lee with his right.</scene_description>
<character>SENIOR</character>
<dialogue>J.J. Crawford said a boat motor went missin' from his stock yard. Said his daughter saw this one and his friend haulin' it off.</dialogue>
<scene_description>This makes Mary Lee pause.</scene_description>
<character>SENIOR</character>
<dialogue>Now you tell me right now, did you steal that motor?</dialogue>
<character>ELLIS</character>
<dialogue>We didn't steal it.</dialogue>
<character>SENIOR</character>
<dialogue>Lie to me again.</dialogue>
<character>ELLIS</character>
<dialogue>We thought it was junk. We didn't think it was worth anything.</dialogue>
<character>MARY LEE</character>
<dialogue>Ellis?</dialogue>
<scene_description>A cool anger rushes over Senior's face. He releases Ellis and takes a step back.</scene_description>
<character>SENIOR</character>
<dialogue>You tell me I raised a thief?</dialogue>
<character>ELLIS</character>
<dialogue>I'm not a thief.</dialogue>
<character>SENIOR</character>
<dialogue>You take property that's not yours. Property that belongs to another man. That junk is his livelihood. I'm ashamed of you.</dialogue>
<scene_description>Ellis drops his head. His face flushed.</scene_description>
<character>MARY LEE</character>
<dialogue>Senior.</dialogue>
<character>SENIOR</character>
<parenthetical>(to Mary Lee)</parenthetical>
<dialogue>Shut your mouth. You think you can take things and not have him see it? Neither one of you has any respect for a man's livelihood. A life that puts clothes on your back and food in your stomach.</dialogue>
<character>MARY LEE</character>
<dialogue>Don't you blame this on me. One doesn't have a thing to do with the other and you know it.</dialogue>
<character>SENIOR</character>
<dialogue>Don't tell me what I know. If you can steal a man's life out from under him in front of your son and think he won't take a lesson from it than you're even dumber than you look.</dialogue>
<character>ELLIS</character>
<dialogue>Stop it dad.</dialogue>
<scene_description>Senior volleys a finger at Ellis.</scene_description>
<character>SENIOR</character>
<dialogue>She's raisin' you a snake like herself, and you can curl up with her 'fore I give a damn. You just remember this when you watch them rip this house apart board by board. You Hear Me!</dialogue>
<scene_description>Mary Lee slaps Senior hard. He turns to her, saying nothing.</scene_description>
<character>MARY LEE</character>
<dialogue>You're a man who's never had the strength to support his own life. I never asked you for a thing, and I've never took a thing from you that I couldn't provide for on my own. If they do tear my home apart the only joy I'll have in my heart is knowin' that they'll be tearing you out of my life for good.</dialogue>
<scene_description>She wipes her eyes and turns her attention to Ellis.</scene_description>
<character>MARY LEE</character>
<dialogue>Ellis. You'll return that motor from where you found it and you'll apologize in person to the man you took it from. I won't hear about anything like this again.</dialogue>
<scene_description>Mary Lee walks to the front door. She collects her purse and keys and exits quietly. Senior and Ellis stand in silence, which feels even more uncomfortable than the shouting. Ellis finally speaks.</scene_description>
<character>ELLIS</character>
<dialogue>I can't take that motor back. But I'll pay him for it. I'll pay him what he wants for it.</dialogue>
<scene_description>Senior, stoic, pivots his body away from the boy.</scene_description>
<character>SENIOR</character>
<dialogue>I don't care what you do Ellis.</dialogue>
<scene_description>Senior retreats to the bedroom. Ellis is left alone in the wake. He looks to his room. The door opens slightly and Neckbone takes a step out. Neckbone doesn't say anything. He just bites at his lip, sympathy for his friend.</scene_description>
</scene>
<scene>
<stage_direction>EXT. ISLAND SHORE LANDING - DAY</stage_direction>
<scene_description>Charred hunks of driftwood smolder in a ruined pile on the sand. They constitute the remains of a large bonfire. Neckbone and Ellis stare at the ash.</scene_description>
<character>NECKBONE</character>
<dialogue>What the hell's all this?</dialogue>
<character>ELLIS</character>
<dialogue>It's a bonfire.</dialogue>
<character>NECKBONE</character>
<dialogue>I guess he didn't care about bein' seen.</dialogue>
<scene_description>Ellis kicks at one of the burned logs. He bends down and finds the bottle of Jack Daniels, smashed.</scene_description>
<character>ELLIS</character>
<dialogue>He had something else on his mind. Come on.</dialogue>
<scene_description>Ellis leads Neckbone into the treeline.</scene_description>
</scene>
<scene>
<stage_direction>EXT. ISLAND WOODS/CREEK - DAY</stage_direction>
<scene_description>Mud's yellow shirt hangs, partially ripped, from a tree branch. Ellis pulls it off the limb. Concerned, they head deeper into the woods, over the fallen tree trunk that bridges the creek.</scene_description>
</scene>
<scene>
<stage_direction>EXT. ISLAND WOODS AND SOUTHERN SHORE - DAY</stage_direction>
<scene_description>The boys watch Mud through the trees at a distance. He's crouched on the deck of the boat fiddling with wiring. Mud, giving no sign he sees the boys, yells out to them.</scene_description>
<character>MUD</character>
<dialogue>What are ya'll hidin' for?</dialogue>
<scene_description>Mud drops the wiring and scales down to the bank. They emerge from the woods. Ellis carries the yellow shirt.</scene_description>
<character>ELLIS</character>
<dialogue>We found your shirt.</dialogue>
<scene_description>Ellis tosses it to him. Mud tosses it back.</scene_description>
<character>MUD</character>
<dialogue>Keep it. I don't need it anymore.</dialogue>
<scene_description>Mud goes to the motor at the rear to tinker with more wires.</scene_description>
<character>ELLIS</character>
<dialogue>We saw what's left of your bonfire.</dialogue>
<parenthetical>(no response)</parenthetical>
<dialogue>Somebody could've seen you.</dialogue>
<character>MUD</character>
<dialogue>I guess.</dialogue>
<character>ELLIS</character>
<dialogue>You do some drinkin' last night?</dialogue>
<character>MUD</character>
<dialogue>I did a lot of drinkin' last night.</dialogue>
<scene_description>Mud stops and walks over to address the boys. His face is pale and his manner is curt.</scene_description>
<character>MUD</character>
<dialogue>Neck I'm gonna need you here to get the motor runnin'. Ellis I need you to do something else for me.</dialogue>
<scene_description>Mud removes a folded note from his back pocket.</scene_description>
<character>MUD</character>
<dialogue>I need you to take this to Juniper.</dialogue>
<character>ELLIS</character>
<dialogue>Okay Mud.</dialogue>
<scene_description>Ellis takes the letter. Mud goes back to the boat motor. He motions to Neckbone to join him.</scene_description>
<character>MUD</character>
<dialogue>Let's go.</dialogue>
<character>ELLIS</character>
<dialogue>You still takin' Juniper?</dialogue>
<character>MUD</character>
<dialogue>I had a dream last night. I saw Juniper laying in a field with another man. They were making love. I walked out into the field. Walked toward 'em. I was so angry the tips of my ears were burnin'. That's how I knew I was gonna kill this man. But when I got up close enough, I saw that the man she was with had tattoos on his back, just like mine. I moved in closer and the guy turns his head back toward me. Hair for hair, dead truth, the guy she was with was me.</dialogue>
<scene_description>Mud ducks back under the motor. Ellis looks at Neckbone, worried.</scene_description>
<character>MUD</character>
<dialogue>I'll finish the boat, but I'd be surprised if I live long enough to sail on it. A vision of yourself is a sure sign of death. Neck can you grab me a socket wrench?</dialogue>
<scene_description>Neckbone and Ellis walk to the toolbox sitting nearby. They crouch by it, speaking quietly.</scene_description>
<character>NECKBONE</character>
<dialogue>You be all right?</dialogue>
<character>ELLIS</character>
<dialogue>Yeah. What about you?</dialogue>
<character>NECKBONE</character>
<dialogue>He'll be okay.</dialogue>
<character>ELLIS</character>
<dialogue>Can I borrow your bike?</dialogue>
<scene_description>Neckbone fishes the key out of his pocket. Hesitates.</scene_description>
<character>NECKBONE</character>
<dialogue>Don't tump it.</dialogue>
<scene_description>Ellis nods. Neckbone walks over to Mud with the toolbox. Letter in hand, Ellis gives a final look toward Mud's labor and walks back into the woods. On his way, he stops to hang Mud's shirt on a tree branch.</scene_description>
</scene>
<scene>
<stage_direction>EXT. MISSISSIPPI RIVER - DAY</stage_direction>
<scene_description>Ellis rides in the flat bottom boat alone. He stares at the letter in his hand.</scene_description>
</scene>
<scene>
<stage_direction>EXT. PIGGLY WIGGLY - DAY</stage_direction>
<scene_description>Ellis sits on the dirt bike. He scans the parking lot. No black Lincoln. His eyes stop on a green pick-up. Miller, sits inside. Ellis looks around and finds a pay phone nearby. He gets off the bike and walks toward it. Ellis removes the flier Carver gave him. He dials a phone number copied at the bottom.</scene_description>
<character>ELLIS</character>
<parenthetical>(into the phone)</parenthetical>
<dialogue>Hello. I saw the guy you're lookin' for...Yeah, he's crazy lookin'. Saw him at the Wal-mart outside of Gillet. He was buyin' some beanie weenie...'bout five minutes ago.</dialogue>
<scene_description>Ellis hangs up the phone. He walks back over to the bike, climbs on and waits. After a moment, he watches as Miller's green pick-up pulls out of the Piggly Wiggly parking lot and races away. Ellis cranks the bike.</scene_description>
</scene>
<scene>
<stage_direction>EXT. EXECUTIVE INN/JUNIPER'S ROOM - CONTINUOUS</stage_direction>
<scene_description>Ellis, at a slight crouch, keeps his eyes on the Piggly Wiggly parking lot. The green pick-up is nowhere in sight. At Juniper's door, he knocks twice, softly. The door swings opens. Juniper stands there, holding a lit cigarette.</scene_description>
<character>JUNIPER</character>
<dialogue>I was wonderin' when I'd see you.</dialogue>
<scene_description>Ellis checks over his shoulder and walks inside</scene_description>
</scene>
<scene>
<stage_direction>INT. EXECUTIVE INN/JUNIPER'S ROOM - CONTINUOUS</stage_direction>
<scene_description>The bed is unmade and the room is a bit of a mess. Ellis keeps his head down. Juniper closes the door and takes a seat on the edge of the bed. She grabs the remote control and mutes the television.</scene_description>
<character>JUNIPER</character>
<dialogue>I'm sorry about last night. I didn't plan on...</dialogue>
<scene_description>Before she can finish Ellis has fished the letter out of his pocket and holds it out to her.</scene_description>
<character>ELLIS</character>
<dialogue>I'm supposed to give this to you.</dialogue>
<scene_description>Juniper takes the letter.</scene_description>
<character>JUNIPER</character>
<dialogue>Okay.</dialogue>
<scene_description>Ellis goes to the door. He pulls the bedroom curtain back slightly to check the parking lot. The coast is clear.</scene_description>
<character>JUNIPER</character>
<dialogue>Did you read it?</dialogue>
<character>ELLIS</character>
<dialogue>No. I gotta go.</dialogue>
<character>JUNIPER</character>
<dialogue>Ellis?</dialogue>
<scene_description>He turns to her.</scene_description>
<character>JUNIPER</character>
<dialogue>I'm sorry.</dialogue>
<character>ELLIS</character>
<dialogue>All you had to do was be there.</dialogue>
<character>JUNIPER</character>
<dialogue>I couldn't.</dialogue>
<character>ELLIS</character>
<dialogue>Then why'd you even come here?</dialogue>
<character>JUNIPER</character>
<dialogue>I came here to leave with him. I really did. But now...now I guess I just came to say goodbye.</dialogue>
<scene_description>His eyes fall to the floor.</scene_description>
<character>JUNIPER</character>
<dialogue>You don't know us Ellis. We've been headin' this way for a long time.</dialogue>
<character>ELLIS</character>
<dialogue>I know he'd do anything for you.</dialogue>
<scene_description>She puts her cigarette out in a Coke can on the floor.</scene_description>
<character>JUNIPER</character>
<dialogue>You really believe that?</dialogue>
<scene_description>Ellis nods. Juniper speaks to him gently, almost smiling. It's a look of resignation.</scene_description>
<character>JUNIPER</character>
<dialogue>Mud's a born liar. That's what makes him so likable. He makes people feel good about themselves. He's a romantic. I don't think he means to hurt people. But when people get close to him, that's what happens.</dialogue>
<scene_description>Ellis watches her as she goes to the sink and wets the end of a towel. She dabs her eyes at the mirror.</scene_description>
<character>JUNIPER</character>
<dialogue>I do love him Ellis. But I can't spend the rest of my life runnin' with him. I may not know what kind of life I want, but I know that's not it.</dialogue>
<scene_description>Her back to him, Ellis watches as she unfolds the letter and begins reading. He angles himself to see her face in the mirror. He watches her eyes scanning the words. No emotion. She finishes, folds the letter back up, then turns to him.</scene_description>
<character>JUNIPER</character>
<dialogue>Tell him I understand.</dialogue>
<character>ELLIS</character>
<dialogue>What's it say?</dialogue>
<character>JUNIPER</character>
<dialogue>It says it's over. Tell him I've packed my things. Tell him I've gone.</dialogue>
<scene_description>She takes a deep breath and smiles at him.</scene_description>
<character>JUNIPER</character>
<dialogue>Bye Ellis.</dialogue>
<scene_description>Ellis turns and walks out.</scene_description>
</scene>
<scene>
<stage_direction>EXT. EXECUTIVE INN/JUNIPER'S ROOM - CONTINUOUS</stage_direction>
<scene_description>Ellis, dejected, no longer bothers to look over his shoulder. He walks to the staircase but stops there. Feeling the need to say something more, he goes back to her room. He puts his knuckle flat on the door but hesitates. He leans over and looks through the window. The sliver in the curtain gives him a glimpse. Juniper is curled up on the end of the bed. She is sobbing. Ellis watches longer than he should before pulling his head away from the window. Ellis heads back downstairs.</scene_description>
</scene>
<scene>
<stage_direction>EXT. INTERSECTION/SONIC DRIVE-IN - DAY</stage_direction>
<scene_description>Ellis, riding the dirtbike, looks to his left into the Sonic Drive-In parking lot. The high school kids have gathered there again. He notices a rust colored Ford coup. The driver, an older kid named KYLE(18), sits beside May Pearl laughing. Ellis steers into traffic and crosses the street. He pulls onto a patch of grass at the edge of the Sonic parking lot. In one motion, Ellis tumps the bike on its side and makes a b- line for the coup. INSIDE THE CAR, Kyle's hand is on May Pearl's knee.</scene_description>
<character>KYLE</character>
<dialogue>So what'd she say?</dialogue>
<character>MAY PEARL</character>
<dialogue>She said she didn't like him that much. I told her I thought he was all right.</dialogue>
<scene_description>Ellis appears with his elbows in the driver's side window. He sticks his head so far in the door that Kyle has to lean back in his seat to make room. May Pearl is surprised. Kyle snorts out a laugh.</scene_description>
<character>ELLIS</character>
<dialogue>You get my phone calls?</dialogue>
<character>MAY PEARL</character>
<dialogue>What?</dialogue>
<character>ELLIS</character>
<dialogue>I've been callin' you.</dialogue>
<parenthetical>(motions with his head)</parenthetical>
<dialogue>Who's this guy?</dialogue>
<character>KYLE</character>
<dialogue>Get your head outta my car kid.</dialogue>
<scene_description>Ellis takes his right elbow and quickly knocks Kyle in the mouth. It splits his upper lip. Kyle grabs his face.</scene_description>
<character>KYLE</character>
<dialogue>Shit!</dialogue>
<character>MAY PEARL</character>
<dialogue>Ellis!</dialogue>
<character>ELLIS</character>
<dialogue>I called you twice yesterday. Your sister didn't tell you?</dialogue>
<scene_description>Kyle slings the door open knocking Ellis to the pavement. From the ground, Ellis can see that Kyle is big and considerably tougher than the skinny kid he punched before. Kyle's friends from other cars take notice and begin to converge on them. Ellis makes a move for Kyle's legs but is kicked back to the pavement. Kyle straddles him on the ground and punches him. Another punch to Ellis' face. May Pearl is out of the car and yelling.</scene_description>
<character>MAY PEARL</character>
<dialogue>Kyle! Stop it Kyle!</dialogue>
<scene_description>May Pearl pulls Kyle by the collar. By his own will, he raises off of Ellis, keeping an eye on him. A streak of blood stretches from Ellis' nose to his ear. He gets to his feet, dazed. Ellis wipes at his nose and sees May Pearl shove Kyle. Kyle smiles and turns to his friends, who laugh. The CROWD that has collected consists of older high school guys and girls. Ellis steps toward May Pearl and is met with a shove too.</scene_description>
<character>MAY PEARL</character>
<dialogue>What the hell are you doin' here Ellis?!</dialogue>
<character>ELLIS</character>
<dialogue>What?</dialogue>
<character>MAY PEARL</character>
<dialogue>You can't just run up and punch people I'm with!</dialogue>
<character>ELLIS</character>
<dialogue>I'm sorry, I just wanted to know why you hadn't called me back. I...</dialogue>
<character>MAY PEARL</character>
<dialogue>Why would I call you back Ellis?</dialogue>
<character>ELLIS</character>
<dialogue>Because you're my girlfriend.</dialogue>
<scene_description>The crowd is watching.</scene_description>
<character>MAY PEARL</character>
<dialogue>I'm not your girlfriend! We went on one date. One!</dialogue>
<character>ELLIS</character>
<dialogue>We kissed.</dialogue>
<character>MAY PEARL</character>
<dialogue>That doesn't matter!</dialogue>
<character>ELLIS</character>
<dialogue>Yeah but...</dialogue>
<character>MAY PEARL</character>
<dialogue>But what Ellis?! What did you expect?!</dialogue>
<character>ELLIS</character>
<dialogue>I love you.</dialogue>
<character>MAY PEARL</character>
<dialogue>You're fourteen!</dialogue>
<character>ELLIS</character>
<dialogue>Don't. Wait. We can make this work. We can figure it out. I love you.</dialogue>
<character>MAY PEARL</character>
<dialogue>What?</dialogue>
<scene_description>Ellis is losing it. His eyes are red. He looks at the crowd of kids. There are smiles and some snickering. May Pearl is speechless. She just stares at him. Ellis turns and walks back to the dirt bike. May Pearl's girlfriends gather around her. She shakes her head, dumbstruck. Ellis lifts the bike off the ground. He looks back at May Pearl who appears to be shrugging off the whole affair in front of her friends. Ellis speeds off.</scene_description>
</scene>
<scene>
<stage_direction>EXT. ELLIS' HOUSEBOAT/RIVERBANK - DAY</stage_direction>
<scene_description>A fire snaps and pops on the riverbank next to Ellis' houseboat. Ellis drags a piece of particle board from a trash pile nearby. He drops the board onto the fire and stands back to watch the blaze. Neckbone's bike leans on a tree behind him. Senior's truck rattles to a stop in the gravel just down the bank. He jumps out of the cab exasperated by the fire his son has started by their home.</scene_description>
<character>SENIOR</character>
<dialogue>What the hell are you doin'?!</dialogue>
<scene_description>Ellis says nothing. He doesn't move. Senior, continuing to yell, runs and drags a hose up from the houseboat.</scene_description>
<character>SENIOR</character>
<dialogue>Ellis dammit! What the hell's wrong with you?!</dialogue>
<scene_description>The fire hisses as Senior turns the hose on it.</scene_description>
<character>SENIOR</character>
<dialogue>Ellis? Look at me.</dialogue>
<scene_description>Ellis finally looks up at his father. A phone RINGS from inside the houseboat. Senior holds the hose in front of him.</scene_description>
<character>SENIOR</character>
<dialogue>Take it. Put this damn thing out.</dialogue>
<scene_description>Ellis takes the hose as Senior stomps on board to catch the phone. Ellis drops the hose. Senior's voice, speaking into the telephone, faintly carries outside. He's yelling. Ellis turns his head to listen.</scene_description>
<character>SENIOR (O.S.)</character>
<dialogue>I don't give a shit! Fine! I don't care what you do! I'm done with it!</dialogue>
<scene_description>Ellis moves around the fire so he can see the houseboat through the flames. He hears the phone SLAM down. Senior appears at the back door. He stares at Ellis through the fire. Ellis moves to the side but realizes Senior isn't staring at him. He's staring at the fire. Senior disappears back into the house. There is a commotion. Ellis watches as Senior bursts out of the house holding an armful of woman's clothes. Senior walks up to the bonfire and begins tossing clothes on top piece by piece.</scene_description>
<character>ELLIS</character>
<dialogue>What are you doing?</dialogue>
<scene_description>Ellis watches as dresses and blouses begin to shrivel up in the flames.</scene_description>
<character>ELLIS</character>
<dialogue>Stop it! That's mom's stuff! STOP IT!</dialogue>
<scene_description>Ellis shoves at Senior. He easily counters the boy with his arm and continues tossing the clothes into the fire. Ellis is screaming and crying.</scene_description>
<character>STOP IT!</character>
<dialogue>Ellis tries yanking the remaining clothes out of his father's</dialogue>
<character>STOP!</character>
<dialogue>hands but Senior shakes him off. Ellis stumbles. He watches with tears as Senior tosses all of the clothes on. Senior watches his wife's clothes burn. Ellis backs away to the bike. He climbs on, cranks the engine and speeds off.</dialogue>
</scene>
<scene>
<stage_direction>EXT. ISLAND SHORE - DAY</stage_direction>
<scene_description>Ellis grounds the flat-bottom on shore and jumps out.</scene_description>
</scene>
<scene>
<stage_direction>EXT. ISLAND WOODS/CREEK - DAY</stage_direction>
<scene_description>Ellis thrashes through the woods. His muddy feet stomp across the fallen tree trunk that bridges the creek.</scene_description>
</scene>
<scene>
<stage_direction>EXT. ISLAND/SOUTHERN SHORE - DAY</stage_direction>
<scene_description>The boat rests on its trailer on the edge of the bank. Mud stands on board looking down at the motor. Neckbone, tools in hand, has his head buried in the motor.</scene_description>
<character>NECKBONE</character>
<dialogue>Try it now.</dialogue>
<scene_description>Mud turns a switch. No result.</scene_description>
<character>MUD</character>
<dialogue>Nothin'.</dialogue>
<character>NECKBONE</character>
<dialogue>Sonofabitch.</dialogue>
<scene_description>Ellis emerges from the treeline. Mud sees him and hops down from the boat. He walks up to him.</scene_description>
<character>MUD</character>
<dialogue>What'd she...</dialogue>
<scene_description>Ellis punches Mud with as much force as he can muster. It's barely enough to turn Mud's face, but it stuns him.</scene_description>
<character>ELLIS</character>
<dialogue>You're a liar. Makin' two kids run around doin' work you're too scared to do yourself. Makin' me tell her it's over 'cause you're too scared to do it yourself.</dialogue>
<scene_description>Mud steps back and gives the boy his space. Neckbone has made his way over and watches from behind Mud.</scene_description>
<character>ELLIS</character>
<dialogue>You said you loved her and you lied. You gave up on her and she gave up on you just like everybody else. I trusted you. Bonfires and crosses. Wolf's eye bullshit.</dialogue>
<scene_description>Mud tries to approach him but the boy explodes, shoving him.</scene_description>
<character>ELLIS</character>
<dialogue>EVERYTHING YOU'VE TOLD ME WAS A</dialogue>
<dialogue>LIE! You never cared about her. You never cared about us. Not like you said. Not enough to matter. You used us.</dialogue>
<character>MUD</character>
<dialogue>Come on Ellis.</dialogue>
<scene_description>Mud holds a hand out to him. Ellis slaps it away.</scene_description>
<character>ELLIS</character>
<dialogue>You made me a thief!</dialogue>
<scene_description>Ellis walks back into the woods. Mud exhales and turns back to Neckbone.</scene_description>
<character>NECKBONE</character>
<dialogue>Let me talk to him.</dialogue>
</scene>
<scene>
<stage_direction>EXT. ISLAND WOODS/CREEK - DAY</stage_direction>
<scene_description>Ellis walks through the woods. Neckbone follows.</scene_description>
<character>NECKBONE</character>
<dialogue>Ellis! Ellis, stop for a second!</dialogue>
<scene_description>Neckbone watches as Ellis reaches the tree trunk that bridges the creek. Ellis steps onto the log, but his muddy shoes miss a step. He SLIPS. Neckbone sees Ellis disappear down into the creek bed.</scene_description>
<character>NECKBONE</character>
<dialogue>ELLIS!</dialogue>
<scene_description>Neckbone rushes over. He cranes his neck out to peer over the edge, a solid eight foot drop into the creek. Ellis floats face up in the shallow water. He's unconscious. A wound on his head from a nearby rock. The nest of WATER MOCCASINS has been disturbed; SNAKES WRITHE AROUND ELLIS' BODY. Neckbone's eyes widen. He darts back toward the shore.</scene_description>
</scene>
<scene>
<stage_direction>EXT. ISLAND/SOUTHERN SHORE - DAY</stage_direction>
<scene_description>Mud stands at the rear of the boat massaging his jaw.</scene_description>
<character>MUD!</character>
<dialogue>Mud hears the yelling.</dialogue>
<character>MUD!</character>
<dialogue>Neckbone explodes from the trees.</dialogue>
<character>NECKBONE</character>
<dialogue>MUD! ELLIS FELL! HE FELL IN THE</dialogue>
<character>CREEK!</character>
<dialogue>Mud rushes forward.</dialogue>
<character>NECKBONE</character>
<dialogue>HE FELL INTO SNAKES! THE SNAKES!</dialogue>
<scene_description>Mud stops.</scene_description>
<character>NECKBONE</character>
<dialogue>MUD PLEASE!</dialogue>
<scene_description>Mud looks around. His shirt hangs from a tree limb nearby. He snags it and darts into the woods.</scene_description>
</scene>
<scene>
<stage_direction>EXT. ISLAND WOODS/CREEK - DAY</stage_direction>
<scene_description>Mud streaks through the woods as he gets his other arm through the shirt sleeve. He reaches the creek. Without hesitating, Mud leaps down into the water, scoops Ellis into his arms and scales up the opposite side of the creek bed. Mud sprints for the north side of the island. Neckbone chases after them.</scene_description>
</scene>
<scene>
<stage_direction>EXT. NORTHERN SHORE AND RIVER - DAY</stage_direction>
<scene_description>Mud cradles Ellis in his arms as he rushes to the flat-bottom boat. He sets Ellis gently inside. Neckbone on his heels. Mud shoves the boat into the water and hops in. Neckbone wades out and crawls up the side of the boat.</scene_description>
<character>MUD</character>
<dialogue>Get the motor started.</dialogue>
<scene_description>Neckbone cranks the motor. As they move up river, Mud searches Ellis' body. He looks at his neck, his arms, he pulls up his shirt.</scene_description>
<character>NECKBONE</character>
<dialogue>IS HE OKAY?! Is he bit?!</dialogue>
<scene_description>Mud notices Ellis' jeans leg riding up. He pulls the jeans back. A BITE in the middle of his calf. It's a bluish bruise with two distinct red dots. The skin around the bite has already begun to swell.</scene_description>
<character>MUD</character>
<dialogue>Shit.</dialogue>
<scene_description>He rips the jeans up to the thigh. Mud tears a section of cloth from the bottom of his own shirt and creates a tourniquet just below Ellis' knee.</scene_description>
<character>MUD</character>
<dialogue>What time is it?</dialogue>
<scene_description>Mud pulls a black Sharpie out of his pocket. Neckbone doesn't answer, just stares.</scene_description>
<character>MUD</character>
<dialogue>WHAT TIME IS IT?!</dialogue>
<scene_description>Neckbone checks his watch.</scene_description>
<character>NECKBONE</character>
<dialogue>It's four eighteen!</dialogue>
<scene_description>Mud draws a line on Ellis' leg just above the swollen bite. He writes, "418".</scene_description>
<character>MUD</character>
<dialogue>Yell out every 10 minutes!</dialogue>
<scene_description>Mud elevates Ellis' leg then gently cups his head. He dabs the gash on Ellis' forehead.</scene_description>
<character>NECKBONE</character>
<dialogue>Is he gonna be okay?!</dialogue>
<character>MUD</character>
<dialogue>We just need to get him to a clinic! Is there still one in town?!</dialogue>
<character>NECKBONE</character>
<dialogue>Yeah!</dialogue>
<character>MUD</character>
<dialogue>It's the closest?!</dialogue>
<character>NECKBONE</character>
<dialogue>Yeah!</dialogue>
<character>MUD</character>
<dialogue>I'm gonna need your bike!</dialogue>
<character>NECKBONE</character>
<dialogue>Are you bit?!</dialogue>
<scene_description>Mud shakes his head.</scene_description>
<character>MUD</character>
<dialogue>No.</dialogue>
<scene_description>He holds Ellis as they move steadily up river.</scene_description>
</scene>
<scene>
<stage_direction>EXT. RIVERBANK - DAY</stage_direction>
<scene_description>The flat bottom boat approaches the riverbank. Neckbone points to the sandy ridge and yells up to Mud.</scene_description>
<character>NECKBONE</character>
<dialogue>My bike should be just over that ridge!</dialogue>
<scene_description>Mud looks at Ellis' leg. The swelling has crept up his thigh. Black lines with numbers mark its progress: "428, 438, 448". Ellis' face has taken on a blue tint. The boat hasn't reached the shore, but Mud takes Ellis in his arms and jumps into the water. He wades onto the bank. AT THE BIKE, Mud straddles it, turning Ellis' body so they are face to face. He cranks the bike and speeds away. Neckbone makes it to the top of the ridge in time to see Mud disappear into the trees.</scene_description>
</scene>
<scene>
<stage_direction>EXT. TWO-LANE HIGHWAY - DAY</stage_direction>
<scene_description>Mud speeds the dirt bike down the two-lane highway. He's far too big for the bike and it's even trickier balancing Ellis. Coming up on a slow moving pick-up overloaded with junk, Mud veers into the opposing lane. ONCOMING TRAFFIC. Mud darts back to his lane in time to miss a semi.</scene_description>
</scene>
<scene>
<stage_direction>EXT. CLINIC - DAY</stage_direction>
<scene_description>A MALE NURSE(36) wheels an ELDERLY MAN through the sliding double front doors of a small clinic. Mud appears around the corner. The bike speeding toward the entrance. In a fluid motion, Mud takes Ellis in his arms and lifts his leg over the bike. The bike tilts and slides across the pavement, smacking solidly into the curb. Mud has managed to stay on his feet with the boy in his arms and rushes through the automatic front doors.</scene_description>
</scene>
<scene>
<stage_direction>INT. CLINIC - CONTINUOUS</stage_direction>
<scene_description>The reception area has a DOZEN PATIENTS sitting in it. A check-in desk to the left. Mud holds Ellis out in his arms.</scene_description>
<character>MUD</character>
<dialogue>I NEED HELP HERE!</dialogue>
<scene_description>A FEMALE NURSE rushes out of the check-in area.</scene_description>
<character>FEMALE NURSE</character>
<dialogue>Just stay calm. What's going on?</dialogue>
<character>MUD</character>
<dialogue>He's been snake bit.</dialogue>
<scene_description>ANOTHER NURSE rushes off calling for a doctor. The room becomes more frenzied. Patients talking. Nurses shouting.</scene_description>
<character>MUD</character>
<dialogue>He's snake bit. A cotton mouth. On his calf. Just under an hour.</dialogue>
<scene_description>As quickly as Mud gets this out, a GROUP of NURSES rush out of a door at the end of the room pushing a gurney. They take Ellis from Mud's arm, place him on the gurney, and speed him into the back of the clinic. The commotion gone, the reception area feels oddly still. Mud takes a deep breath. He looks to his right. Patients stare at him. He's beyond disheveled. He's crazy looking. Mud turns to his left. The Male Nurse stares at him. For the first time, Mud realizes he's out in the open.</scene_description>
<character>MALE NURSE</character>
<dialogue>Sir?</dialogue>
<scene_description>Mud slowly backs up.</scene_description>
<character>MALE NURSE</character>
<dialogue>Sir? We're gonna need some information?</dialogue>
<scene_description>Mud backs out of the automatic doors. The entire room stares at him.</scene_description>
</scene>
<scene>
<stage_direction>EXT. CLINIC - CONTINUOUS</stage_direction>
<scene_description>Mud is outside. The glass doors close. He nervously checks over his shoulders. He spots a bank of trees just down from the clinic. He heads for them. The front doors slide open and the Male Nurse walks out.</scene_description>
<character>MALE NURSE</character>
<dialogue>Sir?!</dialogue>
<scene_description>Mud hops into the bank of trees and disappears.</scene_description>
</scene>
<scene>
<stage_direction>INT. CLINIC - CONTINUOUS</stage_direction>
<scene_description>The Patients in the reception area settle back into their seats and discuss the commotion. The Male Nurse enters and walks behind the check-in window. IN THE WINDOW, The Male Nurse fingers through a pile of papers. He removes one of the fliers that Carver and his men have been showing. The Nurse studies the photo, looking back at the front doors. He picks up the phone and dials the number at the bottom.</scene_description>
</scene>
<scene>
<stage_direction>INT. PINES MOTEL - CONTINUOUS</stage_direction>
<scene_description>In the adjoining room, the phone rings. King steps through the doorway, takes a seat on the bed, and answers.</scene_description>
<character>KING</character>
<dialogue>Hello...Yes...Yessir we are...Uh huh.</dialogue>
<scene_description>King takes a pen from his shirt pocket and scribbles on a pad on the nightstand.</scene_description>
<character>KING</character>
<dialogue>Now where'd you say you were?...Okay...He's gone. Okay...But you say he left the boy?...And your name sir?</dialogue>
</scene>
<scene>
<stage_direction>EXT. EXECUTIVE INN - EVENING</stage_direction>
<scene_description>The sun has been down for awhile. Juniper leans on the railing outside her room taking long drags from a cigarette. She sees Miller's green pick-up parked below. Suddenly the headlights pop on and the truck pulls away. She watches, curious, as it speeds out of sight. A train whistle blows in the distance but is overtaken by a semi rumbling down the street. She watches the semi pass revealing the DAY/NITE Gas Station's parking lot. A130 MUD STANDS IN THE CORNER OF THE LOT. Half lit by a sodium A130 lamp, he stares up at her. Juniper raises up. Even in the dim light she knows it's him. She doesn't move. Mud holds up a hand, waves. Juniper slowly waves back. She tries to smile at him, but she's about to cry and it's hard to muster. Mud smiles. After a long moment, he turns his back and disappears in the shadows at the side of the gas station. Juniper watches after him.</scene_description>
</scene>
<scene>
<stage_direction>EXT. BLACK BAYOU - NIGHT</stage_direction>
<scene_description>The night sky is dark purple. An unnatural color. Ellis is on his back. Eyes closed. His head jostles at the SOUND of THUMPING. More THUMPING. It sounds like the hood of a car denting in. His eyes open. He stares up at an absurdly full moon. It's so bright it totally silhouettes the tree branches overhead. The THUMPING continues. Ellis puts his hands on the edge of the flat-bottom boat he's floating in and pulls himself up. He leans over the side to see what's causing the noise. The water is jet black. The entire bayou pulsates. Ellis' eyes grow wide as the THUMPING reveals itself. THE BAYOU IS FILLED TO THE BRIM WITH SNAKES. The moonlight illuminates their shiny black backs as they twist and churn in what seems like one giant ball of snakes. Ellis lies back in the boat bringing his arms close to his chest. He flinches at each THUMP. His eyes squeeze shut.</scene_description>
</scene>
<scene>
<stage_direction>INT. ELLIS' ROOM - NIGHT</stage_direction>
<scene_description>His eyes open. Ellis bolts up in bed covered in a cold sweat. Mary Lee places a palm on his chest.</scene_description>
<character>MARY LEE</character>
<dialogue>It's okay. You're okay. Just set back.</dialogue>
<scene_description>Mary Lee guides Ellis back down on the pillow. Senior stands with his arm on her shoulder. They look down at their son.</scene_description>
<character>ELLIS</character>
<dialogue>Where am I?</dialogue>
<character>MARY LEE</character>
<dialogue>You're home. We got you home.</dialogue>
<scene_description>Ellis takes a second to get his bearings. His mother lifts a glass of Sprite up to his mouth. He takes a sip.</scene_description>
<character>SENIOR</character>
<dialogue>You had us scared son.</dialogue>
<scene_description>Senior steps forward and kisses Ellis on the forehead. Staying close to his face.</scene_description>
<character>SENIOR</character>
<parenthetical>(whispers)</parenthetical>
<dialogue>I'm so glad you're okay.</dialogue>
<character>MARY LEE</character>
<dialogue>The doctors gave you some medicine. You had a snake bite.</dialogue>
<character>ELLIS</character>
<dialogue>How'd I get to the doctor?</dialogue>
<character>MARY LEE</character>
<dialogue>A man brought you in. No one knew him.</dialogue>
<scene_description>Ellis tries to sit up in bed, but his mother stops him.</scene_description>
<character>MARY LEE</character>
<dialogue>It's okay. You just need to rest up now. We can talk all about it later. Do you need anything? Are you hungry?</dialogue>
<character>ELLIS</character>
<dialogue>No.</dialogue>
<scene_description>Senior gently pats her shoulders.</scene_description>
<character>SENIOR</character>
<dialogue>Come on. Let's let him rest.</dialogue>
<scene_description>Mary Lee touches Senior's hand on her shoulder. She stands.</scene_description>
<character>MARY LEE</character>
<dialogue>I'll be back in to check on you but just try and sleep if you can.</dialogue>
<character>ELLIS</character>
<dialogue>Okay.</dialogue>
<scene_description>Senior leads Mary Lee to the door.</scene_description>
<character>ELLIS</character>
<dialogue>Mom? Dad?</dialogue>
<scene_description>They turn back.</scene_description>
<character>ELLIS</character>
<dialogue>I love ya'll.</dialogue>
<character>MARY LEE</character>
<dialogue>We love you too Ellis.</dialogue>
<scene_description>They exit the room. Ellis rests his head back on the pillow and takes a deep breath.</scene_description>
</scene>
<scene>
<stage_direction>EXT. ISLAND/SOUTHERN SHORE - NIGHT</stage_direction>
<scene_description>Mud and Neckbone shove against the back of the boat trailer. The wheels of the trailer rock at the edge of the bank's incline. Sheets of metal roofing taken from the shack Ellis and Neckbone dismantled line a runway into the water.</scene_description>
<character>MUD</character>
<parenthetical>(straining)</parenthetical>
<dialogue>Almost there.</dialogue>
<scene_description>The wheels finally turn over. The trailer rolls down the bank and splashes into the water. The boat shimmies. Mud and Neckbone follow the trailer into knee deep water and shove on the boat. A final push jettisons it into the river. They step back as the boat drifts out. A rope tied to its back becomes taught as it stretches from a tree on shore.</scene_description>
<character>MUD</character>
<dialogue>The sun does shine on a dog's ass some days.</dialogue>
<character>NECKBONE</character>
<dialogue>It ain't sunk yet.</dialogue>
<scene_description>Mud smiles. He holds out his hand, which Neckbone slaps.</scene_description>
<character>NECKBONE</character>
<dialogue>I wish Ellis could see it.</dialogue>
<character>MUD</character>
<dialogue>I know.</dialogue>
<scene_description>Mud walks back on shore and collects his duffel bag.</scene_description>
<character>MUD</character>
<dialogue>I owe you your end of the deal.</dialogue>
<scene_description>Mud removes the pistol from the back of his jeans. Neckbone's eyes light up. Mud hands it over and Neckbone immediately notices a hole where the clip is missing.</scene_description>
<character>NECKBONE</character>
<dialogue>Where the bullets?</dialogue>
<character>MUD</character>
<dialogue>The deal was for the gun, not the bullets.</dialogue>
<character>NECKBONE</character>
<dialogue>Shit.</dialogue>
<scene_description>Neckbone begrudgingly crams the pistol into the back of his pants.</scene_description>
<character>MUD</character>
<dialogue>I got one last favor to ask you.</dialogue>
<scene_description>Neckbone sucks his teeth.</scene_description>
</scene>
<scene>
<stage_direction>EXT. ELLIS' HOUSEBOAT - NIGHT</stage_direction>
<scene_description>Water gently laps at the side of Ellis' houseboat. The bayou is quiet. From the darkness, Neckbone and Mud appear in the flat-bottom boat. They paddle with their hands. Approaching in silence.</scene_description>
</scene>
<scene>
<stage_direction>INT. ELLIS' ROOM - NIGHT</stage_direction>
<scene_description>Ellis stares at the ceiling, unable to sleep. A TAP comes from the window. Ellis sits up in bed. Mud pokes his head in. He whispers.</scene_description>
<character>MUD</character>
<dialogue>Ellis?</dialogue>
<character>ELLIS</character>
<dialogue>Mud?</dialogue>
<character>MUD</character>
<dialogue>Yeah.</dialogue>
<scene_description>Mud pulls his body through the window. It's tight but he manages to make it look somewhat graceful. Mud takes a quick survey of the dark room. Ellis begins to get out of bed.</scene_description>
<character>MUD</character>
<dialogue>No, don't get up.</dialogue>
<scene_description>Mud motions him back down and pulls the chair from the desk over to the bed. They speak in hushed voices.</scene_description>
<character>ELLIS</character>
<dialogue>How'd you get here?</dialogue>
<character>MUD</character>
<dialogue>Neck brought me.</dialogue>
</scene>
<scene>
<stage_direction>EXT. ELLIS' HOUSEBOAT - CONTINUOUS</stage_direction>
<scene_description>Neckbone sits in the flat-bottom tied off at the corner. FROM THE TREELINE ON SHORE, All EIGHT of the Bounty Hunters sit hunkered in the trees. Carver squats next to a stump. He loads shotgun shells into a 12 gauge pump and motions for the others to fan out along the bank.</scene_description>
</scene>
<scene>
<stage_direction>INT. ELLIS' ROOM - CONTINUOUS</stage_direction>
<character>MUD</character>
<dialogue>We got the boat in the water.</dialogue>
<character>ELLIS</character>
<dialogue>You did?</dialogue>
<character>MUD</character>
<dialogue>Just now. Smooth sailin' from here on out.</dialogue>
<character>ELLIS</character>
<dialogue>Good.</dialogue>
<character>MUD</character>
<dialogue>Wish you coulda seen it.</dialogue>
<character>ELLIS</character>
<dialogue>Me too.</dialogue>
<character>MUD</character>
<dialogue>Didn't feel right leavin' town without sayin' goodbye.</dialogue>
<scene_description>There is an awkward moment.</scene_description>
<character>ELLIS</character>
<dialogue>I'm sorry 'bout what I said.</dialogue>
<character>MUD</character>
<dialogue>No. No. You were right to be mad. You were right about a lot of things. I'm the one that's sorry. I shoulda never gotten ya'll into all this. I just didn't see any other way around it. But I couldn't leave without you knowin' I never lied about being your friend. I never lied about that.</dialogue>
<character>ELLIS</character>
<dialogue>I know.</dialogue>
<character>MUD</character>
<dialogue>I don't traffic in the truth too often. But I did love her. I do love her.</dialogue>
<character>ELLIS</character>
<dialogue>She loves you too. She said it.</dialogue>
<scene_description>This fact still strikes Mud. He nods.</scene_description>
<character>MUD</character>
<dialogue>I just made mistakes. We both did. This is a hard life to keep up with. You can't blame her for gettin' tired of tryin'.</dialogue>
<character>ELLIS</character>
<dialogue>My dad says you can't count on women lovin' you. He says you can't trust it.</dialogue>
<character>MUD</character>
<dialogue>That's not true. Don't judge your life on all of our mistakes. You'll make plenty mistakes of your own, no need takin' on everybody else's. You're a good man Ellis. If you find a girl half as good, you'll be all right.</dialogue>
<character>ELLIS</character>
<dialogue>You're a good man too Mud.</dialogue>
<scene_description>Mud smiles.</scene_description>
<character>MUD</character>
<dialogue>No. I'm not. But maybe from here on out I can be...</dialogue>
<scene_description>A SHOTGUN BLAST rips a fist-sized hole in the flimsy interior wall. Mud, as if by reflex, yanks Ellis from the sheets and shoves him under the bed. BOOM. BOOM. Bits of sheetrock fall like snow flakes as more holes blast through the bedroom wall. Mud flinches with each shot. He covers his own head with one hand and the boy with the other.</scene_description>
<character>ELLIS</character>
<dialogue>Mud?!</dialogue>
<character>MUD</character>
<dialogue>Stay put! JUST STAY UNDER THERE!</dialogue>
<scene_description>The SOUND of shotgun shells being slipped into the chamber. Mud gets to a crouch. Through the holes in the wall, Mud makes out Nelson, the fat bounty hunter, reloading his gun. IN THE DEN, Nelson finishes reloading. The riddled bedroom wall hangs in front of him. A door opens behind him. He swivels around. Senior, in a robe, rushes from his bedroom with a pistol leveled. He's met with a shotgun blast just above his head. Pellets nick his face. Senior hits the ground and elbows his way back inside his bedroom door.</scene_description>
<character>ELLIS!</character>
<dialogue>Senior screams, his voice cracking.</dialogue>
<character>ELLIS!</character>
<dialogue>IN ELLIS' ROOM,</dialogue>
<character>SENIOR (O.S.)</character>
<parenthetical>(muffled through the wall)</parenthetical>
<character>ELLIS!</character>
<dialogue>MUD</dialogue>
<parenthetical>(whispering)</parenthetical>
<dialogue>Don't move Ellis. Just stay put. They just want me.</dialogue>
<scene_description>Through the holes Mud sees Nelson approaching Ellis' bedroom. He runs for the window at the foot of the bed. Another shotgun BLAST throws open the door as Mud leaps out.</scene_description>
</scene>
<scene>
<stage_direction>EXT. ELLIS' HOUSEBOAT - CONTINUOUS</stage_direction>
<scene_description>Mud crashes headfirst onto the edge of the houseboat grasping for anything to keep from sliding off. His hand catches a metal deck cleat. It bends under his weight but holds. Mud gets to his feet and is met by the tip of a rifle. Miller, the man from the cafe, stands poised to fire. Mud's hand slips to the back of his pants for his pistol. NOTHING. He looks to the flat-bottom tied at the far edge of the boat. No sign of Neckbone. Miller's finger curls around the trigger. SUDDENLY, a BULLET snicks through Miller's neck. Mud flinches. Miller's hand comes up to his neck but can't hold the blood running from it. He topples into the water.</scene_description>
</scene>
<scene>
<stage_direction>EXT. TOM BLANKENSHIP'S HOUSEBOAT - CONTINUOUS</stage_direction>
<scene_description>Tom Blankenship sits in the folding chair on the roof of his houseboat. He shucks an empty shell from a HIGH-POWERED RIFLE complete with scope. The long suitcase from the photo in Tom's house sits open at his feet. It has compartments for the disassembled rifle. Tom quickly raises to a new firing position. He squints an eye, searching for another target. A141 From this vantage point, Ellis' houseboat is clearly visible;</scene_description>
<character>A141</character>
<dialogue>partially lit by the two flood lights. FOUR other BOUNTY HUNTERS swarm the boat.</dialogue>
</scene>
<scene>
<stage_direction>INT. ELLIS' ROOM - CONTINUOUS</stage_direction>
<scene_description>Still under the bed, Ellis tries to hold his breath as Nelson's boots step into the room. They pause for a moment, before sluggishly struggling through the bedroom window.</scene_description>
</scene>
<scene>
<stage_direction>EXT. ELLIS' HOUSEBOAT - CONTINUOUS</stage_direction>
<scene_description>Mud rushes to untie the flat-bottom. A BULLET splinters the corner of the dock sending shards of wood into Mud's hand. He sees TWO more GUNMEN skirting toward him on the deck of the houseboat. Mud takes cover against the wall and finds the muzzle of Nelson's gun teetering out Ellis' window. He grabs the muzzle and yanks the shotgun free. Nelson, stuck in the window, looks up in time to take a rifle butt in the face. He falls back into the room unconscious.</scene_description>
<character>NECKBONE (O.S.)</character>
<scene_description>ON THE RIVERBANK, James, the man with the mustache, holds Neckbone in a headlock trying to cover his mouth. Carver stands with his shotgun leveled and fires at Mud. ON THE BOAT, Mud ducks as Carver's shot takes out a chunk of siding. The SOUND of boots rush up the side of the boat. Mud, gun in hand, jumps back through Ellis' window. ON THE RIVERBANK, Carver turns to Neckbone.</scene_description>
<character>CARVER</character>
<dialogue>Let him go.</dialogue>
<scene_description>James unhands the boy. Neckbone sprints into the woods.</scene_description>
<character>CARVER</character>
<dialogue>Come on.</dialogue>
<scene_description>They move toward the houseboat.</scene_description>
</scene>
<scene>
<stage_direction>INT. ELLIS' ROOM/HOUSEBOAT - CONTINUOUS</stage_direction>
<scene_description>Mud gets to his feet, stepping over an unconscious Nelson on his way to the bedroom door.</scene_description>
<character>MUD</character>
<dialogue>You still down there bud?</dialogue>
<character>ELLIS</character>
<dialogue>Yeah.</dialogue>
<character>MUD</character>
<dialogue>Stay put.</dialogue>
<scene_description>Mud pops out of the bedroom into the den. IN SENIOR'S BEDROOM, Mary Lee, curled under the bed, frantically dials the phone. Senior, propped against the closed door, uses his undershirt to dab the pellet wounds around his neck. Hearing footsteps, he cracks the door open. He sees Mud standing in the den. Senior cocks his pistol IN THE DEN, The front door is KICKED open. Mud dives behind a Lazy Boy as a Bounty Hunter fires through the doorway. The back of the Lazy Boy explodes in fluff and fabric. Mud raises up to return fire, forcing the Man back out the door. Mud crouches back behind the Lazy Boy. Unbeknownst to him, another MAN appears outside two sliding glass doors. The Man raises his rifle at Mud. One of Tom's bullets rips through the Man's chest and shatters the glass door. Mud flinches. Another Hunter steps into the now broken door frame. Mud FIRES the shotgun, blowing the man into the patio grill. A149 Mud can see Tom's houseboat silhouetted across the A149 bayou. A muzzle FLASH sparks from the top of Tom's boat. This makes Mud smile. The Front Door kicks open again and more pellets shatter through the den. Mud raises to return fire. ONE SHOT, TWO, the third is a dead CLICK. He drops back behind the chair, out of shells.</scene_description>
</scene>
<scene>
<stage_direction>EXT. ELLIS' HOUSEBOAT - CONTINUOUS</stage_direction>
<scene_description>Carver steps across the plank onto the houseboat followed by James. Carver motions him around back toward Ellis' window.</scene_description>
<character>CARVER</character>
<dialogue>Flush him out this way.</dialogue>
<scene_description>Carver walks to the covered carport.</scene_description>
</scene>
<scene>
<stage_direction>INT. ELLIS' HOUSEBOAT - CONTINUOUS</stage_direction>
<character>IN THE DEN,</character>
<dialogue>The Hunters at the front door continue taking pot shots at the furniture. Mud flinches at each new round fired.</dialogue>
<scene_description>IN ELLIS' ROOM, Ellis cautiously slides out from under his bed and crouches next to the bedroom door. He peeks through a crack. He sees Mud pinned behind the Lazy Boy. They make eye contact. Mud's eyes move to something behind Ellis. Ellis turns to see James passing by his bedroom window.</scene_description>
</scene>
<scene>
<stage_direction>EXT. TOM BLANKENSHIP'S HOUSEBOAT - CONTINUOUS</stage_direction>
<scene_description>Tom scans Ellis' boat through the scope on his rifle. He sees Carver creeping around the carport. He pans right to find James taking a position near the patio doors. Tom pauses, seeing Ellis appear at the corner of the boat just behind James.</scene_description>
</scene>
<scene>
<stage_direction>INT. ELLIS' HOUSEBOAT - DEN - CONTINUOUS</stage_direction>
<scene_description>The firing from the front door has stopped. Mud takes a deep breath, sets the empty shotgun on the ground, then rushes out the sliding glass doors as the men out front reload.</scene_description>
</scene>
<scene>
<stage_direction>EXT. ELLIS' HOUSEBOAT/TOM'S HOUSEBOAT - CONTINUOUS</stage_direction>
<scene_description>Mud makes it outside, his back to James' leveled rifle.</scene_description>
<character>ELLIS</character>
<dialogue>MUD!</dialogue>
<scene_description>James and Mud both turn at the sound of Ellis' voice. One of Tom's bullets drops James dead. Carver appears at the carport end of the boat. He raises his shotgun toward Mud. A156 ON TOM, A156 He snaps the bolt open and closed, but it jams. He jerks at the lever, looking up he sees Carver taking aim. ON MUD, Mud takes a running leap off the side of the boat. Carver FIRES. Mud is struck in the back by the shotgun blast. The force of the shot spins him in the air. He crashes into the water. Ellis screams.</scene_description>
<character>ELLIS</character>
<dialogue>MUD!</dialogue>
<scene_description>Carver approaches the edge of the boat. He stares down into the swirling dark water. No sign of Mud. A157 ON TOM, A157 Tom slaps open the bolt and yanks the spent cartridge out with his fingers. It BURNS.</scene_description>
<character>TOM</character>
<dialogue>DAMMIT!</dialogue>
<character>ON CARVER,</character>
<dialogue>He pumps the shotgun and fires into the murky water. The pellets pepper the surface. Still no sign of Mud. Carver pumps the shotgun a final time, but before he can get another shot off Tom's bullet rips open Carver's chest sending him sprawling through the broken patio doors. ON TOM, He exhales, shucks the bolt once more. His eyes scan the dark water.</dialogue>
<scene_description>ON THE HOUSEBOAT, Ellis runs to the edge of the boat.</scene_description>
<character>MUD!</character>
<dialogue>Senior exits the houseboat, pistol pointed.</dialogue>
<character>MUD!</character>
<dialogue>He sees Ellis</dialogue>
<scene_description>and runs to him.</scene_description>
<character>SENIOR</character>
<dialogue>ELLIS!</dialogue>
<scene_description>Senior grabs the boy, keeping his pistol up. Ellis drops to his knees and Senior crouches with him, holding him tight in his arms. Ellis cries.</scene_description>
<character>SENIOR</character>
<dialogue>It's okay. It's okay.</dialogue>
<scene_description>The two sit alone on the edge of the houseboat. The river seems especially quiet now.</scene_description>
</scene>
<scene>
<stage_direction>I/E. ELLIS' HOUSEBOAT/RIVERBANK - PREDAWN</stage_direction>
<scene_description>The sky shows faint signs of morning, a few streaks of light. ON THE RIVERBANK, The blue, red, and white lights from police cruisers and ambulances bounce up into the trees. A frenzy of Police activity swarms from the aftermath left on Ellis' houseboat. Men in wetsuits prepare a dive. Blanket covered bodies are wheeled off on gurneys. Two of the Bounty Hunters, unharmed, sit locked in the back of a state trooper vehicle. ON THE HOUSEBOAT, Ellis, Senior and Mary Lee sit huddled together under the carport. They watch the emergency workers stream past. Senior wraps his arms around them. Ellis looks across the bayou to Tom's boat. Police flashlights bob and weave throughout. No sign of Tom. INSIDE ELLIS' HOUSEBOAT, A LOCAL OFFICER strings caution tape across the broken patio doors. TWO STATE TROOPERS hover over Carver's body. The Troopers step away and the Local Officer cranes toward the body. He studies Carver's face. Stepping aside, the Officer takes a cell phone from his pocket and dials. He turns his back away from the Troopers.</scene_description>
</scene>
<scene>
<stage_direction>INT. PINES MOTEL ROOM - NIGHT</stage_direction>
<scene_description>The phone rings in the Pines Motel. King enters from the adjoining room and takes a seat on the bed. He answers.</scene_description>
<character>KING</character>
<dialogue>Hello...You're speaking to him...</dialogue>
<scene_description>King listens. His face taut.</scene_description>
<character>KING</character>
<dialogue>He's dead?</dialogue>
<parenthetical>(a long pause)</parenthetical>
<dialogue>Okay.</dialogue>
<scene_description>King hangs up the phone. He sits at the edge of the bed, overwhelmed by the news.</scene_description>
</scene>
<scene>
<stage_direction>EXT. RIVER - NIGHT</stage_direction>
<scene_description>It's dark on the river. Moonlight barely shows the ripples in the slow moving current. MUSIC from a country station slips out across the surface of the water. Galen's jambox sits next to a small lantern in his flat- bottom boat. His Helper snores, fully reclined, with an empty can of Budweiser resting on his gut. His feet are propped next to a tiny bell rigged to a line that disappears into the water. The bell RINGS.</scene_description>
</scene>
<scene>
<stage_direction>EXT. UNDERWATER - RIVER - NIGHT</stage_direction>
<scene_description>The river bed swirls inside two, distinct spots of light. Galen, using his new diving lights, scoops a final mussel shell into the net before tying it off. He tugs at the line. It's pitch black save for the shafts of light projected from Galen's shoulders. He tilts the lights toward the surface. The line leading up to the bottom of the boat dances in and out of the high beams. Then... MUD'S BODY FLOATS BY OVERHEAD. Only his backside is visible. A cloud of blood trails from the holes there. FADE TO BLACK.:</scene_description>
</scene>
<scene>
<stage_direction>EXT. ELLIS' HOUSEBOAT - DAY</stage_direction>
<scene_description>A WORKER cinches a thick strap across the deck of Ellis' houseboat. ON THE RIVERBANK, Ellis watches as WORKERS affix straps from his houseboat to a crane resting in the bed of a large truck on the bank. The SOUND of Neckbone's dirt bike rattles through the trees. He appears behind Ellis and parks.</scene_description>
<character>NECKBONE</character>
<dialogue>Hey.</dialogue>
<character>ELLIS</character>
<dialogue>You got your bike back.</dialogue>
<character>NECKBONE</character>
<dialogue>Mud dinged the shit out of it.</dialogue>
<scene_description>Neckbone takes a seat next to Ellis. They watch the workers.</scene_description>
<character>NECKBONE</character>
<dialogue>They're really doin' it.</dialogue>
<character>ELLIS</character>
<dialogue>It's the law.</dialogue>
<character>NECKBONE</character>
<dialogue>It's bullshit. They ever find Tom?</dialogue>
<scene_description>The boys focus on Tom Blankenship's boat across the bayou. It sits vacant, covered in police tape.</scene_description>
<character>ELLIS</character>
<dialogue>No. He's gone.</dialogue>
<character>NECKBONE</character>
<dialogue>Your dad not here?</dialogue>
<character>ELLIS</character>
<dialogue>Said he couldn't watch it. He's pickin' me up in a minute. Got deliveries today.</dialogue>
<scene_description>They sit in silence as the Workers exit off the houseboat.</scene_description>
<character>NECKBONE</character>
<dialogue>Heard on the news. They still hadn't found Mud's body.</dialogue>
<scene_description>Ellis nods.</scene_description>
<character>NECKBONE</character>
<dialogue>You think he's dead?</dialogue>
<character>ELLIS</character>
<dialogue>I don't know. I hope not.</dialogue>
<scene_description>The crane begins lifting up the houseboat. The metal wires tighten and the entire structure creaks. A sucking sound as the flotilla separate from the water. The boat hangs, suspended in the air. A HORN HONKS behind the boys. Ellis turns to see Senior's truck.</scene_description>
<character>ELLIS</character>
<dialogue>I gotta go. Come by the apartment. Help me set my room up.</dialogue>
<character>NECKBONE</character>
<dialogue>All right.</dialogue>
<scene_description>Neckbone watches Ellis climb into the bed of the pick-up and take his spot on the coolers. The sound of twisting metal shifts his attention back to the houseboat being swung over a flatbed semi.</scene_description>
</scene>
<scene>
<stage_direction>I/E. SENIOR'S TRUCK/RIVERBANK - CONTINUOUS</stage_direction>
<character>IN THE CAB,</character>
<dialogue>Senior glances at the houseboat being set on the flatbed. He puts the truck in reverse and pulls away. Not looking back.</dialogue>
</scene>
<scene>
<stage_direction>EXT. SENIOR'S TRUCK/IMAGES OF DEWITT - DAY</stage_direction>
<scene_description>Ellis rides in the back of the truck on top of the coolers. He watches the town pass by. A168 The marina junkyard. The Sonic. Downtown. A168</scene_description>
</scene>
<scene>
<stage_direction>B168 EXT. FLEA MARKET - DAY B168</stage_direction>
<scene_description>Ellis and his father unload a cooler at the back of a tented flea market. A WOMAN comes out to greet them.</scene_description>
</scene>
<scene>
<stage_direction>I/E. SENIOR'S TRUCK/NEW APARTMENTS - DAY</stage_direction>
<scene_description>Senior's truck pulls into the parking lot of a newly finished apartment complex. The two-story buildings are modest. The truck idles out front. INSIDE THE CAB, Ellis grabs the door handle. He turns to Senior.</scene_description>
<character>ELLIS</character>
<dialogue>I'll see you next week?</dialogue>
<character>SENIOR</character>
<dialogue>Yeah.</dialogue>
<scene_description>Ellis begins to get out but stops when Senior speaks.</scene_description>
<character>SENIOR</character>
<dialogue>Ellis? You mind your mother okay? This is a big change for her. She needs your support.</dialogue>
<character>ELLIS</character>
<dialogue>Yessir.</dialogue>
<character>SENIOR</character>
<dialogue>All right. I love you.</dialogue>
<character>ELLIS</character>
<dialogue>Love you too.</dialogue>
<scene_description>Ellis climbs out. He watches as Senior pulls away. He stands alone in front of the apartments, studying the surroundings. A busy road out front. A gas station and collection of stores. A lot of people and commotion. A compact car pulls into a parking spot one building down. Ellis watches as three COLLEGE AGE GIRLS climb out dressed in running shorts and t-shirts. Two are heavy set, the other is petite. They joke and laugh. One sees Ellis and waves. Ellis nods to her. He tracks them as they walk inside. Ellis smirks.</scene_description>
</scene>
<scene>
<stage_direction>EXT. MISSISSIPPI RIVER - DAY</stage_direction>
<scene_description>The river rushes past. A large motor churns the water. Tom stands steering Mud's salvaged boat down river. He cranes his neck, seeing something up ahead. Tom kills the motor. Looking out over the bow, he's pleased by what he sees. His eyes glint, almost a smile. He walks to the small cabin and enters. INSIDE THE CABIN, Mud rests flat on his stomach on the cushioned bench. Shirtless, gauze bandages wrap around his chest and back. He's sleeping. Tom walks in and kneels next to him. Touches his shoulder. Mud's eyes open.</scene_description>
<character>TOM</character>
<dialogue>Come on son. You need to see this.</dialogue>
<scene_description>Mud, groggy, raises up. Tom helps him to his feet, putting an arm over his shoulders. Tom practically carries Mud outside. ON DECK, Tom and Mud slowly maneuver out the door and take a place near the front of the boat. Mud pulls his head up. Looks out ahead. The sight in front of him grabs his attention. He perks up. A tributary from the Mississippi river opens up into a vast stretch of ocean. Mud smiles, showing the missing tooth. Tom and Mud stand on deck as their boat drifts slowly into the open waters of the Gulf of Mexico. The End.</scene_description>
</scene>
</script>
|
MUD
by
Jeff Nichols Shooting Script © August 22, 2011 - draft September 16, 2011 WGA#: 1319361 All Rights Reserved
INT. ELLIS' ROOM - PREDAWN
ELLIS(14) sits fully-clothed on top of his made bed. He is a wiry young man with a few blonde hairs on his upper lip struggling desperately to be a mustache. His room, cluttered with junk, is dark, quiet and tiny. A backpack and an oversized Walkie-Talkie sit next to him. The silence is cut by a SQUAWK from the Walkie. Ellis quickly grabs it.
ELLIS
I'm comin' out now.
He crams the Walkie into his backpack and slings it over his shoulder. On his feet, he slides open a window at the foot of his bed. He's out in one motion.
EXT. HOUSEBOAT - PREDAWN
Ellis skirts alongside the exterior wall of his room on a two- foot-wide section of decking. He lives on a HOUSEBOAT anchored just off the bank of the Arkansas River. The "boat" is really the combination of a double wide trailer and a vinyl-sided shack fused together atop large flotilla. Ellis scurries to the mobile home section of the boat. He slips past a barbecue grill and settles underneath a lighted window. VOICES come from inside. Slowly, Ellis gets on his toes to peer through the window.
INT. ELLIS' KITCHEN - CONTINUOUS
MARY LEE(41) takes a jug of milk out of the refrigerator. SENIOR(52) sits at a small table reading a newspaper. The mobile home kitchenette is no larger than Ellis' room.
MARY LEE
I just want to have a conversation. I just want to talk about it.
Mary Lee sits down across from Senior, who doesn't look up from his paper. Her eyes narrow and she extends a finger toward him.
MARY LEE
If you don't look up from that goddamn paper...
She stops before completing the thought. After a moment, Senior lowers his paper. He stares across the table at his wife. He looks at her with true disdain. His eyes trace down her face and robe before finally settling on his cup of coffee. He picks up the cup, takes a sip, and sets it back on the table. He raises the paper up. Mary Lee's eyes soften. She bites the inside of her cheek to keep from crying. Her eyes move to the kitchen window.
EXT. ELLIS' HOUSEBOAT - CONTINUOUS
Ellis quickly ducks and mouths the word "shit." He slips under the window toward a metal carport that covers a boat, fish cleaning station, and industrial ice machine. The entire houseboat is anchored to the shore by two thick ropes tied to opposite ends of the flotilla. The ropes extend upward into the tops of enormous pine trees. Ellis sprints across a simple, wood-planked bridge to shore. His houseboat is one of several in a row along the riverbank.
EXT. ELLIS' RIVERBANK - CONTINUOUS
Ellis scurries into the treeline and arrives at a dirt path. Waiting for him there is NECKBONE(14), a scrawny kid with slicked back blonde hair wearing a FUGAZI T-shirt. He sits atop a smallish dirt bike. Ellis hops on the back.
NECKBONE
What the shit man?
ELLIS
Suck it. Drive.
The bike spits up mud as they peel out down the trail.
EXT. RIVERBANK - PREDAWN
From a distance, the single headlight of the dirt bike snakes up and down, in and out of trees along the riverbank. ON THE BIKE, The sound of the engine rips through fog and trees illuminated by the straining headlight.
EXT. RIVERBANK - DAWN
The boys emerge from behind a sand covered hill. Now on foot, they are silhouetted against a light blue, morning sky.
NECKBONE
How old is she?
ELLIS
A Junior.
At a collection of trees growing out of the water, the boys move branches away from a tarp covered boat.
NECKBONE
She's got nice titties. You talk to her?
ELLIS
Nah.
NECKBONE
You're gonna have to talk to her.
ELLIS
I know.
NECKBONE
Remind me when we get back to my house, Galen's got a book on that.
Neckbone takes a spot up front in the small, flat-bottom boat. Ellis, a foot on the bank and one in the boat, launches them out into the water.
EXT. RIVER - MORNING
A chunk of Neckbone's greased back hair bobs in the wind as they cruise down river. Ellis steers a small 15 horsepower motor. An orange sun is coming up now. Neckbone's eyes lock on what's in front of them. Ellis kills the motor. Neckbone stands up, a serious look on his face.
NECKBONE
Shit.
Ellis raises up behind him. He takes a deep breath, nods.
NECKBONE
Your dad'd kill us he knew we went out there.
ELLIS
I'm not worried about my dad killin' us.
THE MISSISSIPPI RIVER sprawls out in front of them. It's enormous. Their boat drifts at the mouth of the Arkansas, a small river by comparison. The Mississippi is a swirling mess of brown water and yellow foam six football fields wide.
NECKBONE
What if it sinks?
ELLIS
It ain't gonna sink. We gotta move if we're gonna make it back. Set your watch. We'll need a good fifteen minutes.
Neckbone sets an alarm on his fat plastic wristwatch. They take their seats. Ellis cranks the motor. The small boat slowly chugs out onto the massive river.
EXT. MISSISSIPPI RIVER - MORNING
The boat lurches through the murky, rushing water. Neckbone has both hands firmly planted on the boat's edges. Ellis tries to handle the motor which has little impact against this current. The tail end of the boat swings to the right. Ellis flinches and grabs an edge to steady himself. The front of the boat bobs toward an ISLAND in the middle of the river. Neck turns to Ellis and points.
NECKBONE
EXT. ISLAND SHORE - DAY
The boys splash down in ankle deep water. They take hold of the front of the boat and drag it onto the muddy shore. Neckbone jogs to a tree line in the center of the island. Ellis snatches up his backpack and follows.
EXT. ISLAND WOODS - CONTINUOUS
The island, only 60 some yards in diameter, is separated by a clump of tall trees that form a wooded area in its center. The trees make it so you can't see from one side of the island to the other.
NECKBONE
Galen thinks it's been here awhile. Thinks the last flood did it.
Ellis follows as Neckbone winds through the trees. They stop at a deep creek that cuts across the island. Neckbone looks to his right, then his left. Sees what he's looking for.
NECKBONE
It's down there.
A fallen tree trunk that straddles the creek. Ellis starts across.
NECKBONE
Hold it.
Neckbone picks a large stone up off the ground.
NECKBONE
Look.
Eight feet below the tree trunk, a nest of water moccasins curl around in the creek. Neckbone drops the stone on top of them. The snakes fan out.
NECKBONE
Little shits.
Their mud-caked high-tops stomp across the trunk.
EXT. ISLAND WOODS - DAY
The boys stop near the base of a large tree and stare up. Ellis cranes his neck back. Awestruck.
NECKBONE
So there it is.
ELLIS
Yeah, there it is.
A 26 Foot Long BOAT sits nestled in the tree limbs above.
EXT. BOAT IN TREE - MOMENTS LATER
The boys scale up the tree from low lying branches. Ellis, hands on the edge of the boat, gets a leg over the side and pulls himself onto the deck. He reaches down and helps to drag Neckbone on board. They get to their feet, steadying themselves on the wooden deck. It's solid. They take in their new vantage point.
ELLIS
It came down from up there.
Ellis points to higher limbs that have long been broken off. Neckbone walks to the back of the boat and hangs his head over. He finds a gaping hole of gutted wood.
NECKBONE
Motor broke off.
Ellis isn't concerned with the motor. His eyes are locked on a covered cabin at the front of the boat.
ELLIS
Who else knows about this?
NECKBONE
Just me and Galen.
ELLIS
What's he think?
NECKBONE
He don't care about it.
ELLIS
Good.
Ellis walks to the cabin. He pushes a vinyl door open.
ELLIS
'Cause this boat's ours.
Ellis has to duck down to go inside. Neckbone follows.
INT. BOAT CABIN - CONTINUOUS
Ellis, stooping over, makes his way into the tiny cabin room. Yellow floral curtains, stained with age, cover a row of windows that wrap around the top of the cabin. These provide an odd glow in an otherwise dark, wood paneled space. There is a bench with rotted out cushions to the left. To the right, a mold-covered sink and mirror. Neckbone peers over Ellis' shoulder at the front of the cabin room. A small booth sits to the right across from a miniature toilet partially shielded by an open door.
NECKBONE
It's got its own shitbox
Neckbone slides back a portion of floral curtain and light streams in. He starts opening small closets and drawers. Ellis plops down on the rotted bench cushions.
ELLIS
This is perfect.
NECKBONE
Ho-Lee-Shit.
Neckbone stares in an open drawer. He removes a stack of Playboys from the 1980's. Ellis smiles at him. He leans back and props his foot against the sink cabinet across from him. This is home. Neckbone opens the first Playboy. It disintegrates.
NECKBONE
Aw shit.
As he scrambles to gather the fallen pages, Ellis notices a dried BOOT PRINT next to his foot. He lowers his shoe from the cabinet leaving a smaller, muddy print of his own. He leans in to examine the larger print. The impression of a CROSS has been left in the heel.
NECKBONE
Her tits are so small.
Ellis reaches out and traces his finger in the groove of the cross marking. His eyes narrow as he re-surveys the cabin. On the table across from the toilet, he notices several empty cans of Beanie Weenie. In the booth, he sees a grocery bag. Ellis slowly raises up and goes over to it.
ELLIS
Neck.
NECKBONE
Look at that beave. You gotta see this.
Ellis reaches out for the plastic bag. His fingers pull back the edges to reveal its contents: one can of unopened Beanie Weenie and half a loaf of BREAD.
ELLIS
Neck.
Ellis reaches for the bread and gives it a squeeze. It's FRESH. Ellis freezes.
NECKBONE
What?
ELLIS
Someone's here.
NECKBONE
What?
Ellis holds the loaf of bread up to Neckbone.
ELLIS
Someone's livin' here.
Neckbone sees the grocery bag. His eyes widen. The boys are stone frozen. They listen for other sounds. Silence. BEEP! BEEP! BEEP! Both boys flinch at the sharp sounds. Neckbone's hand flies to cover the alarm on his wristwatch.
NECKBONE
Shit.
ELLIS
We gotta go. I can't be late.
EXT. BASE OF BOAT TREE - MOMENTS LATER
They drop out of the tree and hit the ground running.
EXT. ISLAND WOODS/CREEK - MOMENTS LATER
The boys' feet rush across the tree trunk bridging the creek.
EXT. ISLAND SHORE - MOMENTS LATER
They launch out of the treeline and sprint to their boat. Neckbone grabs the side and starts pushing the boat to the water. Ellis slings his backpack in and joins him. Suddenly, Ellis straightens up, leaving Neckbone to struggle.
NECKBONE
What are you doing?
Ellis stares at a muddy boot print, cross in the heel, stamped in the center of their boat. He looks back to the treeline, then down the shore. He looks to his feet. The boys' shoe prints make chaotic patterns in the mud. Larger boot prints lead off down the shoreline.
NECKBONE
What is it?
ELLIS
(pointing)
I saw that same boot print up in the tree. It has a cross in the heel. Somebody's been in our boat.
NECKBONE
Shit. Let's go.
Ellis begins following the boot prints around the shoreline.
NECKBONE
We gotta go if you wanna make it back.
(no response)
Your dad's gonna kick our ass. It'll take twice as long goin' up river.
ELLIS
Hold it.
Ellis stops and points ahead of them.
ELLIS
Up there. They stop.
Neckbone takes the lead, walking up to the last boot print. They appear to vanish.
NECKBONE
Where the hell'd he go?
ELLIS
I don't know.
Neckbone turns and freezes. A MAN has appeared in the distance behind Ellis. He stands between the boys and their boat. Ellis notices the look on Neckbone's face and turns. He flinches at the sight of the Man. MUD(38) stands near the boys' boat holding a pink, child's fishing pole with cartoon characters on it. He stares back at them and casts his fishing line into the water.
NECKBONE
Shit. You know that guy?
ELLIS
I've never seen him before.
NECKBONE
Shit.
Mud, not taking his eyes off the boys, slowly reels in his line. His hair is a wild mop that leads to two weeks of growth on his face. With a cigarette clinched, he cracks a smile revealing a MISSING CANINE. He holds a hand in the air as if to wave.
NECKBONE
Shit.
Neckbone slowly raises his hand up to wave back. Mud wears jeans and cowboy boots. His filthy button-up shirt looks like it hasn't left his body in years. He breaks his stare with the boys. Continuing to reel in his line, he walks over to them.
MUD
What you say?
The boys don't respond. Mud walks past them and casts again.
MUD
Helluva thing.
ELLIS
What's that?
Mud takes the cigarette from his mouth. A tattoo of a snake's head covers the top of his right hand. Two large cotton blossoms spill out of its jaws.
MUD
Boat in the trees. It's a helluva thing.
Mud continues walking down the shoreline, reeling in his bait. The boys follow, tentatively.
ELLIS
You talkin' 'bout our boat?
MUD
I'm talkin' about my boat.
NECKBONE
We found it.
MUD
You found it with me livin' in it. Possession is nine tenths of the law.
NECKBONE
So?
MUD
Don't tell me you boys are from Mississippi?
ELLIS
No.
They watch as he grabs the bait at the end of his line and spits on it. Then, tucking the pole under his arm, he ties a lock of his hair into a knot. He finishes this process with another cast.
ELLIS
You got crosses in your heels.
MUD
Nails. Shaped liked crosses.
ELLIS
What for?
MUD
Ward off evil spirits. A man I called an Indian but was Meskin said they were Seven-league boots worn by the seventh son of a seventh son. Told me it'd turn me into a werewolf but that's a lie. I don't know nothin' about that.
Ellis, confused, won't take his eyes off the man.
MUD
They just good luck, but so far they ain't been workin' too well.
(missing tooth smile)
What's your name?
Mud seems easy to smile, which softens his otherwise coarse look. His words spill from the mouth rapidly, without much thought for punctuation. Neckbone, emboldened by these facts, steps forward to answer.
NECKBONE
I'm Neckbone, he's Ellis, and mister you may be stone ass crazy but I know you're not the owner of that boat, not for nine tenths of nothin'.
MUD
Neckbone? That's a real handle son. Where ya'll from?
NECKBONE
What do you care where we're from?
ELLIS
DeWitt.
Neckbone looks at Ellis, frustrated by his friend.
MUD
Arkansas boys. Ya'll had me worried for a second.
Mud, pleased by this news, tucks the fishing pole under his arm and holds out a hand to shake. Ellis stares at the hand, unsure. He takes it reluctantly.
ELLIS
We s'posed to know you?
MUD
I doubt it. I grew up 'round here, but I've been gone awhile.
ELLIS
Where around here?
MUD
Different places. Spent a lot of time back up near the White.
ELLIS
You know Shelly's Oxbow?
Neckbone can't believe his friend is offering this up.
NECKBONE
Ellis. We gotta go.
MUD
I know it. Guy named Tom Blankenship used to live back in there.
ELLIS
He still does. His boat's cross from mine.
Mud smiles.
MUD
Ain't that somethin'.
In one motion, Mud flicks his cigarette away and grabs a pack out of his shirt pocket.
MUD
I like you two. You remind me of me. And seeing how you boys are from Arkansas and we know some people and sounds like we all from the same place I'd say we can make a deal here about somethin'.
ELLIS
A deal for what?
MUD
Food. Food for a boat.
NECKBONE
This guy's a bum Ellis. Come on.
Mud's smile vanishes. Neckbone begins to walk off but begrudgingly stops when Ellis starts back in.
ELLIS
Why don't you go get your own food?
MUD
I would if I could, but I told somebody I'd meet 'em here. So I'm stuck for now and what I got's runnin' low.
Neckbone walks back and pulls Ellis by the arm.
NECKBONE
He's a bum Ellis, let's go.
Mud lays a serious look down on Neckbone.
MUD
I'm no bum. I got money. You can call me a hobo 'cause a hobo'll work for his living and you can call me homeless 'cause that's true for now, but if you call me a bum again I'll have to teach you somethin' about respect that your daddy never did.
Neckbone's confidence recedes. Ellis stands his ground.
ELLIS
When they show up, you'll leave?
Mud begins fishing again.
MUD
Yeah.
ELLIS
And when you leave, that boat's ours?
MUD
Yeah.
Ellis studies Mud's face, clothes, tattoos. He's thinking about it. Mud pauses from fishing to make eye contact.
MUD
I'm in a tight spot. I just need a little help.
ELLIS
We gotta go.
With that, Ellis turns to leave. The boys walk briskly back to their boat. Ellis looks over his shoulder to see Mud making another cast with his fishing pole.
EXT. MISSISSIPPI RIVER - MOMENTS LATER
Ellis motors them away from the island.
ELLIS
You get his name?!
NECKBONE
No!
Ellis looks back. Mud has disappeared.
EXT. ELLIS' HOUSEBOAT - DAY
Senior heaves an enormous, white cooler into the bed of his weathered pick-up truck. The truck is parked at an angle on a concrete boat ramp next to their houseboat. The bed of the truck is jam-packed with six of the big, white coolers. The SOUND of a dirt bike rattles through the trees. Senior looks up, wiping his brow with a handkerchief. Ellis leaps out of the treeline and runs to the pick-up. His hands hit his knees, out of breath.
ELLIS
I'm sorry.
SENIOR
Where you been?
ELLIS
Neck and I got caught up helpin' Galen.
SENIOR
You're s'posed to be helpin' me. I had to load this myself.
ELLIS
I know, I'm sorry.
SENIOR
Just get in the back. Can't be later than we are.
ELLIS
Yessir.
Senior flips up the tailgate. Ellis hops up the wheel well and into the bed of the truck. He steadies himself on one of the coolers as his father pulls away.
EXT. DEWITT/MONTAGE - DAY
SERIES OF IMAGES: -Ellis looks around as he rides in the bed of the pick-up truck. He's propped up on a cooler against the back window. The truck works its way down a two-lane highway. A20 -Driving, they pass a marina junkyard filled with old boats A20 and sailing paraphernalia. B20 -Downtown Dewitt. A gas station. A Clinic. Rows of red B20 brick buildings, some abandoned, a small furniture store. C20 -Parked, Ellis fills a grocery sack up with Ziplock bags fullC20 of white fish and ice out of the coolers. -He hops out of the truck and runs the sack of fish to the front door of a house. An elderly black man waits there.
EXT. SONIC DRIVE-IN - DAY
Ellis sits in the bed of the truck eating a chili dog. Senior is up front wolfing down a cheeseburger. A GROUP of TEENAGERS are gathered around a CLUSTER of parked cars in the corner of the lot. They meander between the vehicles, smoking, gossiping, passing around a bottle of Boone's Farm. Ellis watches them. MAY PEARL(16) appears in the middle of the Group laughing with her GIRLFRIENDS. She's pretty and physically more mature looking than Ellis. He watches as a SKINNY KID takes his ballcap off and puts it on May Pearl's head. She sniffs the cap, gags and tosses it back at him. Her friends laugh.
SENIOR
Let's go son.
Ellis crumples the wrapper to his finished hotdog and jumps down from the bed of the truck.
I/E. SENIOR'S TRUCK/TWO-LANE ROAD - MOVING - DAY
Ellis rides up front with his father. Senior is a reserved man, older than Ellis' mother by several years. He's got thinning hair under the cap that only leaves his head when he sleeps. He reaches into his shirt pocket and fishes out a fold of cash. He slips out a five dollar bill and hands it to Ellis.
ELLIS
It's s'posed to be ten.
SENIOR
It's ten you do your share. I loaded this mornin'. That makes it five.
Ellis begrudgingly stuffs the five in his jeans.
ELLIS
You drop me at Neck's?
Senior checks his pants pockets, feels around under his seat.
SENIOR
Hadn't you seen enougha him today?
ELLIS
Said he had something for me.
SENIOR
You see anymore Ding Dongs over there?
Ellis checks under his seat and pulls out a half-empty box of Ding Dongs. Hands one over to his father who rips the package with his teeth.
ELLIS
What'd Momma wanna talk to you about?
SENIOR
What?
ELLIS
This mornin', what'd she wanna talk with you about?
SENIOR
You spy on me in my own house?
ELLIS
I wasn't spyin', just heard ya'll.
SENIOR
That's your mother's business.
Senior makes this his answer, eats the Ding Dong.
EXT. NECKBONE'S TRAILER - DAY
Neckbone sits on the front steps of his trailer reading a comic book. The muffled sound of the Beach Boys' "Help Me Rhonda" plays off a record inside. Senior's truck pulls away as Ellis walks up the entrance to the trailer park.
ELLIS
I came by for that book.
NECKBONE
What book?
ELLIS
You said Galen had a book might help me out.
NECKBONE
Aw, yeah. We gotta give it a minute. You hear that music?
ELLIS
Yeah.
NECKBONE
That means he's doin' it. That's his doin' it song.
Ellis takes a seat next to Neckbone. They listen to the song, slightly craning their necks to pick up on any other sounds. There are none.
ELLIS
You know who it is?
NECKBONE
Whoever's drivin' that white Dodge.
Neckbone motions to a beat up Dodge Shadow in the yard.
ELLIS
You tell Galen 'bout this morning?
NECKBONE
Nah. You tell anybody?
ELLIS
No.
NECKBONE
That guy was crazy.
ELLIS
Maybe. I don't know. I think he just needed some help.
NECKBONE
Well he can swim his ass off that island and get some.
ELLIS
I think I'm gonna go back, take him some food.
NECKBONE
Why?
Suddenly, the music from inside stops. Footsteps approaching and the trailer door flies open, almost hitting the boys. A GIRL(28) bursts out down the steps, straight to her car. She wears tight jean-shorts and is buttoning a white shirt. She stops and turns back to the boys.
GIRL
You're Neckbone right?
NECKBONE
Yeah.
GIRL
You look like a good enough kid. A word of advice, don't grow up to be like your shit heel uncle.
The boys can't take their eyes off her cleavage revealed under her half-buttoned shirt. A necklace with three misshapen pearls hangs from her neck.
GIRL
Hey!
She snaps the boys' attention up to her eyes.
GIRL
You hear me? You treat a woman like a princess. Got it?!
NECKBONE
Yeah.
The trailer door opens and GALEN(36) emerges. He's a big, lumbering guy wearing a full-body wet suit pulled halfway down. A faded mermaid tattooed in the middle of his chest.
GALEN
Come on baby.
GIRL
I'M A GODDAMN PRINCESS!!!
The Girl yanks off the necklace and hurls it at Galen. He brushes fingers through his thick mustache.
GALEN
That's uncalled for.
He walks out to her. She heads for the Dodge Shadow.
GALEN
(trailing off)
A lot of people are comfortable with that kind of thing in the bedroom. Some people aren't. We know that about you now...
Ellis sees one of the misshapen pearls at his feet. He picks it up and holds it to the sun.
NECKBONE
Pearls. Galen finds 'em in some of the mussel shells. Most of 'em ain't worth dick, but he likes to make necklaces for the girls. Come on, let's get that book.
Neckbone walks into the trailer. Ellis stands up and retrieves the other two pearls out of the dirt. He crams them in his pocket and follows Neckbone inside.
INT. NECKBONE'S TRAILER - CONTINUOUS
The trailer is decorated in the filth of a true bachelor pad. Neckbone makes his way to a bedroom. He tosses clothes and trash around to get to what he's looking for. A cardboard box. He pulls the box onto the bed and sifts through.
NECKBONE
I don't want you goin' back out there by yourself. That river's scary enough with two people, and I don't trust that guy.
(finds something)
Here it is.
He takes out a hardback book. The slip reads, "The Confident Confidant, communicating with the opposite sex."
NECKBONE
Galen said this really turned things around for him.
ELLIS
Thanks.
Ellis flips delicately through the manual.
EXT. NECKBONE'S TRAILER - CONTINUOUS
Galen watches as the Girl's Dodge Shadow pulls away. The boys step out of the trailer.
NECKBONE
You really going back out there?
ELLIS
I think it's the right thing to do.
NECKBONE
Well...I'll be over in the mornin' then.
Galen, his thumbs tucked under his armpits, walks back to the trailer. He passes the boys and notices the self-help book in Ellis' hands.
GALEN
(without stopping)
That's a good book. Be sure you do the worksheets in the back. Let's get some dinner Neck.
Galen's gone inside.
NECKBONE
I'll call 'fore I come.
ELLIS
All right.
Neckbone follows his uncle into the trailer. Ellis flips through his new book as he heads out of the trailer park.
EXT. ELLIS' HOUSEBOAT - NIGHT
By the time Ellis makes it to his houseboat, the sun has disappeared behind the horizon. He crosses the make-shift plank and enters through a screen door by the carport.
INT. ELLIS' HOUSEBOAT - DEN - NIGHT - CONTINUOUS
Mary Lee flinches when she sees Ellis come through the door. Her face is flushed. Senior stands toe to toe with her. They stare at Ellis, who has paused in the doorway. He doesn't say anything, just looks curiously at his parents. Senior storms past Ellis and is out the door. Ellis steps further into the den. Mary Lee tries to straighten herself, patting down her hair and dabbing at her eyes with the back of her hand.
ELLIS
You okay momma?
MARY LEE
Yes.
She walks into the kitchen keeping Ellis at her back. She turns on the sink and begins scrubbing at a dish.
MARY LEE
Do you need me to fix you somethin'? Have you eaten?
ELLIS
I'm all right.
Mary Lee shuts off the water and lets the dish rest in the sink. She turns to Ellis.
MARY LEE
I'm gonna turn in.
ELLIS
Okay momma.
Mary Lee slips past him and enters her bedroom. The door closes and Ellis is left alone in the den. It's quiet. He waits, looking at the door his mother just closed. Ellis walks into the kitchen and eases open a cabinet door. Checking over his shoulder, he zips his backpack open and fills it with CANNED FOOD.
EXT. TOM BLANKENSHIP'S HOUSEBOAT - DAY
Hands pump the stock of a high-powered pellet gun. TOM BLANKENSHIP(67), white hair cut high and tight wearing a short-sleeve button up, takes careful aim with the pellet gun. Tom sits in a lawn chair atop the roof of his houseboat. He squeezes his left eye shut. A snake's head pokes out of the water about 15 yards off his boat. The head makes for a target no bigger than a thumb. Tom's left eye snaps open and he fires. The pellet rips through the snake's head. Its body floats to the surface. Tom takes account of his shot as he pumps the air rifle. He scans the water for more targets.
EXT. ELLIS' HOUSEBOAT - CONTINUOUS
Ellis watches Tom Blankenship from across the bayou. Tom's boat sits directly opposite Ellis', separated by 30 yards of muddy brown water. Ellis leans against a post under the carport. His backpack resting at his feet, he holds the Walkie-Talkie in his hand. Senior works behind him washing utensils in the outdoor sink.
ELLIS
What do you know about Tom Blankenship?
SENIOR
What?
Senior doesn't turn around from his work at the sink.
ELLIS
Mr. Blankenship, what do you know about him?
SENIOR
Why?
ELLIS
I don't know. He looks lonely over there.
SENIOR
Some people move to this river to work on it, and some move here to be left alone.
Senior makes his way to the ice machine and begins scooping ice into a large white cooler. Mary Lee emerges from the houseboat dressed for work, a secretarial job. Senior stops what he's doing to watch her. She walks over to Ellis.
MARY LEE
Let's sit down for dinner tonight okay? Will you make it home by seven?
ELLIS
Yes ma'am.
She walks off the boat without a glance in Senior's direction. He trails her with his eyes before going back to digging in the ice. A29 Ellis looks back at Tom. The Walkie SQUAWKS out several A29 loud BEEPS. Ellis crams it in his backpack and runs off the boat.
ELLIS
Bye Dad.
Senior holds a hand up but never looks up from his work.
EXT. ISLAND SHORE - DAY
Water laps at the shore of the island. Ellis and Neckbone drag their boat onto the muddy bank.
NECKBONE
Where you think he's at?
ELLIS
I guess we should try the boat.
They head for the treeline.
EXT. BASE OF BOAT TREE - DAY
The boys emerge from the woods, their attention focused up to the boat hovering in the tree some twenty feet above them. Ellis notices the remnants of a fire on the ground. A log pushed up next to it for a seat. Ellis kicks at the ash.
ELLIS
Looks like he made camp.
NECKBONE
(looking up to the boat)
You think he's up there?
MUD (O.S.)
I didn't know if ya'll'd come back.
The boys spin around. They survey the woods but no one's there. Their eyes drift up to find Mud sitting in a tree, his legs dangle off a branch.
ELLIS
What're you doin'?
Mud bounds down, stepping from limb to trunk to the ground. It's an agile move.
MUD
I try to never sleep in the same place twice. What you got there?
Mud motions with his head to the backpack in Ellis' hand. Ellis holds it out to him.
ELLIS
I brought you some food.
Mud looks at the backpack, but doesn't move.
ELLIS
Go on.
Mud takes the backpack and walks over to the ashes of his campfire. He squats with his back to the boys and unzips the bag. Hunkered down, Mud's shirttail rides up over the lip of his jeans revealing a PISTOL at his backside. Ellis sees this and motions to Neckbone. The boys stand their ground, cautious.
MUD
I owe you boys.
Keeping the bag in hand, Mud takes a seat on the stump behind him. He pulls out a selection of canned food; pumpkin pie filling, evaporated milk, green beans. He grabs the beans.
MUD
I was gonna try runnin' a trot line today. See how far that'd get me.
Mud removes a good-sized folding knife from his pocket and makes short order of the can lid. He tips the can up letting the beans fall into his mouth. Juice flows down his cheeks.
MUD
(a mouthful)
I'd been rationin' what I had...green bean never tasted so good.
The can is quickly emptied, juice running down Mud's chin. He straightens his back, choking down the final swallow. He sees the boys staring at him and catches himself.
MUD
I appreciate it.
ELLIS
Yeah.
NECKBONE
What you got that pistol for?
Mud wipes off his chin, realizing the boys have been studying him. He closes the knife and tucks it in his pocket.
MUD
For protection.
Mud gets up, heads for a duffel bag tucked under a nearby tree. The boys pivot, keeping Mud in front of them. Mud notices.
MUD
Ya'll don't have to be afraid of me. I have two ways to protect myself out here. This shirt, and this pistol.
MUD
There are fierce powers at work in the world boys. Good, evil, poor luck, best luck. Men have to take advantage where they can.
Mud removes a spool of fishing line and a small plastic tackle box. He scoops up the duffel bag and heads into the woods.
MUD
Ya'll comin'?
Neckbone looks to Ellis, who walks after Mud into the trees.
ELLIS
Who's this guy you're waitin' on?
MUD
I'm not waitin' for a guy. I'm waitin' on my girlfriend. Juniper.
NECKBONE
Is she hot?
MUD
She's beautiful.
NECKBONE
(coughing)
Bullshit.
MUD
Best lookin' girl I've ever seen. Hands down. Blonde hair. Long legs. She's like a dream you don't want to wake up from. She's got birds tattooed on her hands, here.
Mud stops, points to the area on the top of his right hand, between his thumb and pointer finger.
MUD
Nightingales. Good luck birds.
NECKBONE
That a good luck snake?
MUD
No it is not.
NECKBONE
I hate snakes.
MUD
That's because God made them for us to fear.
MUD
It's a thing we knew to be afraid of before we even got into this world.
They emerge from the woods onto the downstream coast of the island. It looks different than the other shoreline. A large swath of red clay angles sharply into the water.
MUD
Cherokee would wrap snake skin around their pregnant women's bellies. Induce labor, scare the child out. Here.
He fetches a length of rope out of the duffel bag and tosses it to Neckbone.
MUD
Set that 'round your bed at night. Snake won't cross braided rope.
NECKBONE
Thanks.
(nods to Mud's tattoo)
So what's that for then?
Mud walks to a tree branch that has grown out over the bank, nearly resting in the water. He sets a trot line from it.
MUD
A reminder. Don't get bit. I was 10, swimmin' 'bout a mile up from here. Me and Juniper. Sonofabitch swam right up under me, bit me just below the armpit. June got me out, got me to a clinic. Doctor said I shoulda been dead in twenty minutes. Took us an hour just to get back to town.
NECKBONE
What'd they do?
MUD
Gave me antivenom. For a cotton mouth. See here.
Mud shows the tattoo on top of his right hand. He points out the two cotton blossoms bulging from the snake's mouth.
MUD
Problem with antivenom is they can only give it to you once. It's made from horse blood. Your body would reject it a second time. The cure ends up being more dangerous than the poison.
ELLIS
What happens if you get bit again?
MUD
I die, or just sweat it out.
Neckbone, not buying it, looks at Ellis and taps his watch.
ELLIS
We gotta go help Neck's uncle.
MUD
All right.
ELLIS
You never said your name.
MUD
Mud. You can call me Mud.
ELLIS
Mud?
MUD
M-U-D.
Neckbone tosses the braided rope back. It lands at his feet.
NECKBONE
Here you go, Mud. I think you need that worse than I do.
MUD
(smiling)
I'll be all right.
The boys disappear back into the trees.
INT. GARY'S ELECTRIC SHOP - DAY
A switch clicks "ON". BLINDING LIGHT emits from two FLOOD LAMPS encased in plastic shells. The switch clicks "OFF" and the lights dim to the dull orange glow of their filaments.
GALEN
They look bright enough.
The owner of the shop, an ELECTRICIAN(62), holds up a metal bar with the lamps affixed by bolts at either end.
ELECTRICIAN
Should be. I rigged DC power up through marine batteries. Makes it portable. Gave you a rigging bar to set on your shoulder.
GALEN
So you really think these'll work under water?
ELECTRICIAN
In theory.
EXT. GARY'S ELECTRIC/PIGGLY WIGGLY PARKING LOT - CONTINUOUS
Ellis and Neckbone sit on the tailgate of Galen's truck. The Gary's Electric sign hangs behind them. Neckbone focuses on a carburetor in his hand. Ellis stares across the street at the Piggly Wiggly parking lot where the roving GROUP of TEENAGERS have collected for the afternoon. The Teenagers are up to their typical gossip and minor offenses. Ellis has zeroed in on May Pearl again.
NECKBONE
You start datin' I bet her dad'll give you a free pick-up truck.
ELLIS
I don't care about that.
Ellis watches as the same Skinny Kid from before tries to flirt with her. She's not having it. He pops her bra strap before landing the final straw, a smack on her ass. She turns and swats at him. Seeing this, Ellis is on his feet and crossing the street.
NECKBONE
What's goin' on?
Ellis doesn't turn back. Neckbone reluctantly sets the carburetor down and follows.
EXT. PIGGLY WIGGLY PARKING LOT - CONTINUOUS
MAY PEARL
Stop it!
She shoves the Skinny Kid, but he continues laughing.
ELLIS (O.S.)
Hey.
Ellis taps the Kid on the shoulder. As he turns, Ellis PUNCHES him in the face. The Kid, completely taken off guard, stumbles and trips to the ground. Some older, tougher looking GUYS see this and begin laughing at him.
OLDER KID
Holy shit Pryor, get off your ass.
Pryor collects himself and gets off the ground. Ego bruised, he walks off mumbling. The Older Kids keep riding him. May Pearl sizes up Ellis.
MAY PEARL
You didn't have to do that.
ELLIS
He was messin' with you.
MAY PEARL
Do I know you?
ELLIS
I'm Ellis. That's Neck.
Neckbone waves by wagging a finger in the air.
ELLIS
We went to Junior High with you, before you went to High School.
MAY PEARL
How old are you?
ELLIS
Fourteen.
MAY PEARL
Fourteen? You know you just punched a Senior?
ELLIS
So?
MAY PEARL
You think you're pretty tough.
Ellis shrugs, not wanting to deny it.
MAY PEARL
I'm May Pearl.
ELLIS
I know.
MAY PEARL
What else do you know?
ELLIS
Nothin'.
She smiles. Something catches Neckbone's attention. He cranes his neck forward to get a better look.
NECKBONE
Son of a bitch...Ellis?
Ellis breaks away from his conversation with May Pearl.
ELLIS
What?
NECKBONE
Look.
Neckbone nods to a cheap motel called the EXECUTIVE INN located on the opposite side of the Piggly Wiggly parking lot. JUNIPER(35), a truly beautiful woman squeezed into tight jeans and a low cut top, makes her way from the motel parking lot to the Piggly Wiggly. She passes in front of the cluster of Teenagers. All of the boys have taken note. Some cat calls from the crowd. Juniper, without facing the Teenagers, gives them the finger.
NECKBONE
You ever seen that girl before?
ELLIS
No. Did you see her hands?
MAY PEARL
Hello?
Ellis catches himself and turns back to May Pearl.
ELLIS
Sorry. We know a guy we think might know that girl.
MAY PEARL
Oh.
A GIRLFRIEND(17) of May Pearl's calls out to her.
GIRLFRIEND
May Pearl! Let's go!
MAY PEARL
Okay!
ELLIS
I guess I'll see you.
MAY PEARL
If you can find my phone number, you should call it.
ELLIS
I can find it.
May Pearl walks over to her friend. Ellis watches her go, but then remembers Juniper. He turns to Neckbone.
ELLIS
Where'd she go?
NECKBONE
Into the Piggly Wiggly. She came from the motel.
ELLIS
I'm gonna go see if it's her.
NECKBONE
I gotta go check on Galen. We'll pick you up out front.
Ellis heads for the Piggly Wiggly. Neckbone calls after him.
NECKBONE
What'd she say?
ELLIS
Wants me to call her.
NECKBONE
Shit.
INT. PIGGLY WIGGLY - DAY
Ellis walks past the grocery aisles looking for the girl. He spots her by the potato chips. He tucks behind a display of stacked cans and watches. Juniper reaches for a bag of chips, birds tattooed on her hand. Ellis smiles. It's her, and she really is beautiful. She turns down the aisle, coming right for him. He pretends to peruse the canned food and notices that it's a big display of Beanie Weenie. He grabs two handfuls as she passes. Ellis takes the cans to an open register. As a CASHIER scans and bags his items, he cranes his neck looking for her. She's disappeared into another section of the store. Ellis pays in crumpled cash. A horn HONKS. He sees Galen's truck idling out front. He grabs the bag and runs out.
EXT. GALEN'S TRUCK/PIGGLY WIGGLY PARKING LOT - CONTINUOUS
Neckbone waits at the open passenger door.
NECKBONE
Was it her?
ELLIS
It's her. I saw the tattoos. He wasn't lyin'.
NECKBONE
(looking back)
No he wasn't.
EXT. ELLIS' HOUSEBOAT - NIGHT
By the time Ellis makes it back home, the sun has gone from the sky. He crosses the makeshift plank to board his house.
SENIOR (O.S.)
Home for dinner?
Ellis is startled by his father's voice. Senior sits in a lawn chair under the eaves of the carport. He's hidden in shadow, save for a red glow from the tip of his cigarette.
ELLIS
What you hidin' for?
SENIOR
I ain't hidin'.
He notices Senior tip back a pint of liquor and set it at his feet. Ellis opens the screen door leading inside.
SENIOR
Come over here.
Ellis lets the door fall shut and skulks over to a beam that supports the carport. He leans into it.
SENIOR
You know I love you?
ELLIS
Yessir. I know.
SENIOR
I work you hard 'cause life is work. You know that?
ELLIS
Yessir.
SENIOR
Your Mamma's been talkin' 'bout movin' in town.
ELLIS
What's that mean?
SENIOR
She seems set on it. Wants to separate. She may ask me for a divorce.
This hits Ellis like a ton of bricks. He rights himself.
ELLIS
What's that mean for me?
SENIOR
It means enjoy the river son. Enjoy it while you live on it, 'cause this way a life isn't long for this world. Game and fish's 'bout made certain of that.
ELLIS
But you and me can still live out here. Game and fish can't take your boat. Not while you're still in it.
SENIOR
The houseboat's in your mother's name. Her daddy give it to her not me. If she wants to leave it, Game and Fish has ever' right to take this boat apart board by board.
ELLIS
But that ain't right. You work outta here. We got the ice machine, the traps. What are we supposed to do?
SENIOR
Like I said, this is your mother's business.
ELLIS
I ain't no townie. I ain't livin' like that.
Senior takes a slow pull off the bottle. Ellis' mind races.
SENIOR
I've let you down. A man should be in charge of his own affairs, but I haven't worked it like that.
ELLIS
But ya'll are married. Ya'll are s'posed to love each other.
SENIOR
I don't know about that anymore.
Ellis is speechless. After a moment, he turns to go inside.
SENIOR
Ellis?
He stops and turns back to his father. Senior tries to express a sentiment he doesn't have the words for. Ellis continues inside.
INT. ELLIS' HOUSEBOAT - DEN - CONTINUOUS
Mary Lee sits hunched at the made dinner table. She runs her finger around the rim of a half empty glass of iced tea. It's a full spread with fried chicken, mashed potatoes, and a salad. The table is set for two. She's been waiting. Ellis lets the front door slam shut behind him. She sits up.
MARY LEE
You're late.
Ellis doesn't speak, he doesn't look at her. He enters his room and shuts the door. He's heard the news and she knows it. Mary Lee's face drops.
INT. ELLIS' ROOM - CONTINUOUS
Ellis slings his backpack down, pacing the small room. He stops and leans his forehead against the door. The sound of his Mother clearing the table seeps through. He kicks the door, cracking its shitty composite wood. His face flushed and his breathing heavy, he slides to a seat. On the verge of hyperventilating, he stares out the dark bedroom window trying to get control of his breathing. Ellis looks at his backpack. It has spilled open revealing a can of Beanie Weenie. Ellis studies the can. He looks back to the window. His breathing settles. Quickly, he scoops up the backpack and heads out the window.
EXT. MISSISSIPPI RIVER - NIGHT
It's pitch black. The only light comes from the moon's reflection off the surface of the water. Ellis, eyes wide, navigates the small boat through choppy black water.
EXT. ISLAND SHORE - NIGHT
Ellis struggles to pull the boat onto shore. Leaving it half in the water, Ellis looks around. No sign of Mud. He sizes up the dark woods. He removes a flashlight from his backpack and shines it down the shorelines. Still nothing. Ellis follows the beam of light into the woods.
EXT. ISLAND WOODS - NIGHT
Ellis stands at the creek that cuts through the island. He can make out a campfire glowing through trees in the distance. A RUSTLING behind him. He swings the light around. Nothing but trees. Ellis takes a deep breath. Finding the log to cross, he shines his light down into the creek. The nest of snakes show their backs.
EXT. BASE OF BOAT TREE - NIGHT
A campfire burns at the base of the tree. The firelight illuminates the belly of the boat that rests 20 feet above. Ellis, his flashlight off, crouches behind a tree and watches the campsite. There is no one there. He looks into the black forest behind him, thinks of going back. A twig snaps in the distance and he's back on guard. Ellis nervously scans the woods before finally stepping into the light of the campfire. The SOUND of a gun's hammer drawing back CLICKS behind him. Ellis freezes. Mud emerges from the trees, a .45 extended toward Ellis' back.
MUD
Ellis?
Ellis, still frozen, slowly turns to him. Mud huffs out a laugh and drops the pistol to his side.
MUD
What're you doin' out here?
Ellis slowly raises the backpack in his hand.
ELLIS
I got you some Beanie Weenie.
Mud tucks the pistol into his jeans and accepts the backpack.
MUD
I appreciate that, but I didn't expect you out here at night.
Mud takes a seat on the log and transfers the cans into his own duffel bag. He holds up a can of the Beanie Weenie.
MUD
Look at that. You really know how to do somebody right. I didn't wanna say anything before, but it's hard to make a meal out of pumpkin pie filling.
ELLIS
That's all my mom had.
MUD
I'm not complainin'.
ELLIS
Can I get one of those?
MUD
They're yours to begin with.
Ellis sits as Mud hands him a can. They eat.
ELLIS
I missed my dinner.
MUD
That's good right?
ELLIS
(mouth full)
You been out here too long.
Mud laughs. Finishing the can, he takes a half-smoked cigarette from his shirt pocket. He pulls a twig from the fire for a light.
ELLIS
The girl you're waitin' on, she's your girlfriend?
MUD
Juniper. Yeah.
ELLIS
How'd you meet her?
MUD
We grew up together.
ELLIS
Do you love her?
MUD
I do. The first time I saw her was on this river. Just up from here. She saved my life.
ELLIS
From the snake bite.
MUD
That's right. I was younger than you are now, but when I came to in the hospital and she was there, it was like the world split open, came back together new. Everything changed. I knew from then on I'd do anything for her.
ELLIS
Why aren't ya'll married?
MUD
I've asked. Several times. Marriage just doesn't work for some people.
Ellis thinks on this.
ELLIS
My dad says my parents may be gettin' a divorce.
MUD
I'm sorry to hear that.
ELLIS
If it happens, and my mom moves us off the river, they say the government can come take our boat away.
MUD
Who says that?
ELLIS
Everybody. They passed a law so you can't sell your boat. Can't rent it. If the owner leaves, they got you. Game and Fish want 'em off the river.
MUD
I've never been one to trust the government on matters of personal property, but if your parents love each other, there's always a chance.
MUD
People just sometimes forget why they fell in love in the first place.
Ellis watches Mud toke the cigarette nub. He's really getting all he can from it.
ELLIS
I saw Juniper today.
MUD
What?
ELLIS
I didn't talk to her, but she had the birds tattooed on her hand like you said. You were right. She's pretty.
Mud stands, surprised by the news. He walks to the other side of the fire so his back is to the boy.
MUD
Where'd you see her?
ELLIS
At the Piggly Wiggly. I think she's stayin' at a motel by there. The Executive Inn.
Mud looks at Ellis through the fire. He takes a drag and smiles at the boy. The hole from his missing tooth shows.
MUD
That's good news. Real good news.
Mud paces, slowly. He's thinking.
ELLIS
Does she know you're out here?
MUD
No. We picked another place to meet. Couple days from now.
Mud walks back to the log and sits.
ELLIS
You wanna go tonight? I can give you a ride up river.
Mud looks at Ellis, nodding.
MUD
Tomorrow. I'll go tomorrow.
ELLIS
You need me to come get you?
MUD
Naw. I can manage. Hell I got out here didn't I?
Ellis smiles. They sit in silence. Ellis stares up at the boat hanging over them, its peeling hull lit by the firelight. Mud pinches the ash from the end of his cigarette, places the stub back in his shirt pocket. Noticing Ellis, Mud tilts his head back to take in the boat.
MUD
It's a helluva thing.
Mud pauses, his mind working on something.
MUD
Helluva thing.
The two sit by the campfire staring up at the suspended boat.
INT. ELLIS' ROOM - MORNING
Mary Lee knocks on her way into the bedroom.
MARY LEE
Time to get up.
She begins picking clothes off the floor. Ellis, in bed, raises up on his elbows. He's tired from a late night.
ELLIS
It's Saturday.
MARY LEE
I'm going to Wal-Mart. I need you to come with me.
ELLIS
(moaning)
Mom.
MARY LEE
Come on.
She pulls the covers off of him.
I/E. MARY LEE'S CAR/INTERSTATE - DAY
The two ride in an awkward silence. Ellis stares at the farmland passing by outside as Mary Lee steers the compact Toyota down a four-lane interstate.
MARY LEE
Ellis I know what your father told you last night. That's not what I wanted. I wanted to sit you down and talk about it.
ELLIS
What do you wanna talk about? You want to leave and that means they can tear up our house.
MARY LEE
I've spent my whole life on that boat. I don't think it's too much to ask for your...
Mary Lee is interrupted by a line of traffic backed up in front of her. She slows to a stop.
MARY LEE
Oh no. I hope no one's hurt.
There are flashing police lights up ahead. Ellis tries to see what's going on but can't make anything out past the line of cars. They inch forward.
MARY LEE
I'm just saying there are two sides to this. I haven't made up my mind about anything because I want you to be involved in my decision, but I need a change Ellis. I deserve one.
As they approach the flashing lights, they see three State Trooper vehicles parked to funnel traffic down to one lane. The STATE TROOPERS stop each car, checking the trunks.
MARY LEE
I think they're searching people.
A Trooper signals Mary Lee to pull up to a stop. Two other Troopers approach her vehicle. The first begins looking in her back windows as the second leans down to speak to her. She lowers her window.
TROOPER
Can you open the trunk please ma'am?
MARY LEE
Of course.
Mary Lee pulls the lever by her knee, and the second Trooper walks around the back of the car.
TROOPER
Have you picked up or seen any hitchhikers today ma'am?
MARY LEE
No sir.
The Trooper produces a flier with a color photo on it.
TROOPER
Have you seen this man?
MARY LEE
No sir.
The Trooper leans over and holds the paper out to Ellis.
TROOPER
Son, have you seen this man?
Ellis looks at the photo. It's of Mud. He looks exactly the same as he did last night, down to the shirt. In the photo, Mud's smiling, revealing his missing tooth.
ELLIS
No.
TROOPER
We've had reports that he's in this area. If you see him, call 9-1-1 immediately.
MARY LEE
We will officer.
The Trooper pulls his head from the window.
ELLIS
What'd he do?!
The Trooper bends back down and looks at Ellis.
ELLIS
(more calm)
What'd he do?
TROOPER
Move along please.
Mary Lee pulls forward and speeds back up on the interstate.
MARY LEE
My lord.
(rolls up her window)
MARY LEE
How would you feel about moving into town with me?
(no answer)
Please don't tell your father this, but I've been looking at a couple of places. I know it would be a big adjustment for you, but it might end up being something you like. You know living on the river isn't exactly everyone's idea of the good life. Ellis?
He looks at her.
MARY LEE
Are you even listening to me?
INT. ELLIS' ROOM - DAY
Ellis busts through the door, grabs his backpack and is gone.
EXT. HOUSEBOAT - CONTINUOUS
Ellis is off the houseboat and running up the bank. He heads down the dirt path, grabbing the Walkie Talkie out of his backpack.
ELLIS
(into the Walkie)
Neck! Neck, pick up!
EXT. RIVERBANK - DAY
Ellis removes branches and readies the flat bottom boat to launch. The sound of Neckbone's bike arrives before he does. Neckbone crests the sand covered slope. He dismounts and starts to chain the bike up to a tree trunk.
NECKBONE
So what's the big deal?
ELLIS
My mom and I were headed to Wal- Mart on 165. There was a roadblock with state troopers. They searched our car and showed us a picture of Mud. They're lookin' for him.
NECKBONE
I knew it! I told you that crazy sonofabitch was trouble. Did they say what he did?
ELLIS
No.
NECKBONE
So'd you tell 'em where he is?
ELLIS
No. That's why I called you. We gotta warn him.
NECKBONE
What?
ELLIS
He's goin' to get Juniper today. I went out there last night and told him where we saw her. He needs to know people are lookin' for him.
NECKBONE
You think he doesn't know that already? Jesus Ellis, why do you think he's on that island? You don't even know what he's wanted for.
Ellis climbs in the boat and Neckbone yanks his shoulder.
NECKBONE
Ellis! I'm serious. We don't know who this guy is.
ELLIS
He loves her Neck. He told me.
NECKBONE
I don't give a shit who he loves.
Ellis starts the motor and waits for his friend.
ELLIS
He's not dangerous.
Reluctantly, Neckbone throws his leg into the boat.
NECKBONE
It sounds like a shitload of state troopers think different.
EXT. BASE OF BOAT TREE - DAY
Ellis and Neckbone emerge from the woods at Mud's campsite. They scan nearby tree limbs.
NECKBONE
No tellin' where the hell he's been sleepin'.
ELLIS
He may already be gone.
MUD (O.S.)
Hey!
The boys look straight up. Mud leans over the edge of the boat above them.
MUD
Up here!
Mud drops them a rope with knots tied in it. Ellis starts inching his way up. Neckbone begrudgingly follows.
EXT. BOAT IN TREE - CONTINUOUS
Ellis pulls himself over the edge of the boat. He finds Mud sitting in the swivel chair behind the steering wheel. He writes in an open spiral notebook with a black Sharpie.
ELLIS
What are you doin'?
MUD
I'm gonna have to go back on our deal for the boat. I don't feel good about it, but I don't see any other way outta what I'm into.
Neckbone makes his way on board. Mud has pulled a panel off the steering column. Exposed wires dangle.
ELLIS
So you know about the state troopers?
He looks up from his notebook.
MUD
What state troopers?
NECKBONE
The ones spreadin' your picture all over the place. Stoppin' cars on 165 searchin' for your ass.
Mud factors this in and then goes back to writing.
MUD
I didn't know about that, but it doesn't surprise me. There plenty of folks lookin' for me right now.
ELLIS
Why?
MUD
I shot a man. Killed him.
Mud stands and walks to the back of the boat. The boys' eyes follow him cautiously. Mud lifts a hatch at the back that would typically house the batteries and engine wiring. There's nothing left but a hole into the trees. He makes a note.
MUD
I'm sorry I didn't tell ya'll sooner, but I was hopin' to be gone before anything came of it. Didn't want you involved.
Mud turns to really face them for the first time.
MUD
Ya'll have been real good to me. You're the only friends I got out here. If the state troopers have 165 blocked, they'll have others blocked too. I won't get anywhere in a car. I want to try takin' this boat down, see if we can get it in the water.
Ellis and Neckbone stand their ground. They don't say anything. Mud walks back to the steering column. He drops to his knees and fiddles with the wires.
MUD
With a boat like this I can make it to the gulf in two days. I could get anywhere from there. But I'd need a boat at least this big to make it on open water. It's got no title, no owner, nobody lookin' for it. It's my best shot.
NECKBONE
Who'd you kill?
MUD
It was a bad piece of business. Ya'll don't need to hear about it.
ELLIS
I need to hear about it.
Mud sits up. He looks at Ellis, deciding how much to tell.
MUD
Juniper made a mistake. She hooked up with a guy. He was no good. His name was Hutchins. Family owns a chain of restaurants down in Texas.
ELLIS
Where were you?
MUD
I was around, but me and Juniper were on the outs. She met this Hutchins, he sold her on some lies. Got her pregnant. That's when he started showin' who he really was. He dropped June down a flight of stairs after whoopin' her half to death. She lost the baby. He made it so the doctors think she can't have children anymore. There're things you can get away with in this world and things you can't. I tracked him down at a motel just outside of San Antonio. He was there with another woman. That's where it happened.
Mud's done with his story. He goes back to the wiring.
MUD
I understand if you can't help me anymore, but I need this boat. And I need to get it in the water fast.
After a moment, he sits up and wipes sweat from his forehead.
MUD
I've made a list. Things we'll need. What do ya'll think?
Ellis takes time to consider everything. He looks at Neckbone, who has a disgruntled look on his face.
ELLIS
You did it for her? To protect her?
MUD
Yeah.
Ellis nods. Mud looks over at Neckbone, who still has the disgruntled look on his face.
MUD
What do you think?
NECKBONE
I think you want us to run around, stickin' our necks out, gettin' everything you need, just so you can take our boat.
MUD
That's about it.
Mud removes a cigarette butt and sparks it with a lighter.
NECKBONE
What do we get out of it?
MUD
What do you want?
Neckbone looks to Ellis, judging his bargaining position.
NECKBONE
What about that pistol?
Mud eyes the boy, pulling on the nub of cigarette.
MUD
I only got two things out here worth anything. This shirt...
Mud pulls the pistol from the back of his jeans. Neckbone tenses, but relaxes when Mud splays it out on an open palm.
MUD
And this pistol. I can't give you the shirt 'cause I need it for protection, but if you help me get this boat in the water, the pistol's yours.
Neckbone squinches his face in thought, sizing up this trade.
NECKBONE
What kind is it?
MUD
A forty five.
NECKBONE
I guess we could work a deal like that.
Neckbone steps forward to grab the pistol, but Mud puts it back in his jeans.
MUD
We get this thing floatin' first.
Neckbone looks over at Ellis, who shrugs.
NECKBONE
All right then.
Mud smiles, flashing his missing tooth. He spits in his palm and holds it out to Neckbone. Neckbone, not sure about taking the spit hand, reluctantly shakes. Mud rips a page from the notebook and hands it to Ellis.
MUD
Ya'll scrounge what you can off this list, but if we're gonna get this done right we'll need more help. Can you fetch Tom for me?
ELLIS
Tom Blankenship?
Mud has smoked down to the filter. He crushes the butt into his palm and puts it back in his shirt pocket.
MUD
I was hopin' to let that old assassin stay put, but we'll need him to get things ya'll can't. Can you find him?
ELLIS
I know where he lives, but I've never spoke to him.
MUD
Just tell him my name. He'll know you're serious.
Ellis folds the list up. He and Neckbone start down the rope as Mud goes back to the wiring.
MUD
Boys?
(they pause)
Thanks.
Ellis nods.
NECKBONE
Don't lose my pistol.
They continue down the rope. Mud continues his work.
EXT. SHELLY'S OXBOW - DAY
Ellis steers to the southern mouth of Shelly's Oxbow, the bend in the river that holds he and Tom Blankenship's houseboats, among others. He grounds the boat just shy of entering the Oxbow and steps over Neckbone to hop onto the bank.
ELLIS
You comin'?
NECKBONE
I'll watch the boat.
Ellis scans the woods that populate the patch of land wedged between the river and this short tributary.
NECKBONE
Ellis?
ELLIS
What?
NECKBONE
Be careful. Galen always said that old man's crazy.
Neckbone keeps his seat as Ellis darts into the woods
EXT. TOM'S WOODS - DAY
Ellis prowls around the small pine trees and bushes. He pauses, seeing the entrance to Tom Blankenship's boat. Something moves on the houseboat. Ellis hunkers down behind a bush. He sees Tom wrapping cable onto a metal spool. Ellis is nervous. He checks over his shoulder, nothing but woods. When he looks back to the boat, Tom is gone. In a crouch, Ellis moves closer. Taking a deep breath, Ellis steps out from the cover of the pine trees and heads up a walkway that leads onboard.
TOM (O.S.)
Why you huntin' me?
Ellis flinches. He turns to find Tom Blankenship standing at the edge of the boat.
TOM
You deaf boy? I said why're you huntin' me?
ELLIS
I ain't huntin you.
TOM
What's your business here?
ELLIS
I came to find you. I got a message for you.
TOM
You're Senior's boy.
ELLIS
Yessir.
TOM
What you got to say he can't tell me himself?
Tom, rusty on pleasantries, brushes past Ellis as he heads inside the boat.
ELLIS
It ain't from him.
Ellis, not wanting to follow further, shouts from the planks.
ELLIS
MUD SENT ME!
There is a silence. Then footsteps. Tom reappears.
TOM
Mud sent you.
ELLIS
Yessir.
TOM
What do you know about it?
ELLIS
He asked me to come get you.
Tom straightens his back. He looks into the woods, searching for something he may have missed.
TOM
Your daddy know this?
ELLIS
No sir. Mud needs your help.
Tom's mind churns on a series of facts unknown to the boy.
TOM
Where is he?
EXT. RIVER - DAY
Neckbone bounces in the boat as it shifts in the choppy Mississippi water. His eyes are locked on the back of Tom's head. Tom rides stone faced in the front. Neckbone turns back to Ellis and raises his eyebrows as if to ask, "What's going on?". Ellis shrugs.
EXT. ISLAND SHORE - DAY
Ellis runs the boat on shore. Tom splashes into the ankle deep water and helps the boys drag it onto the bank. Ellis takes the lead, walking ahead and scanning the treeline. Mud steps out, just past the shadow of the woods. Ellis turns to Tom and points.
ELLIS
There he is.
Tom spits onto the muddy bank and makes his way toward Mud. Ellis and Neckbone stay by the boat and watch. BY THE TREELINE, Mud watches Tom approaching. He corrects his posture and feebly attempts to smooth some wrinkles from his shirt. Tom stops in front of him, his eyes pinched in the sun.
TOM
Mud.
MUD
Sir.
They stare at each other for a long moment. Neither one flinching. BY THE BOAT, At this distance, the boys can't hear what is being said, but they try and size up the situation through body language.
NECKBONE
You think that's his dad?
ELLIS
I don't know.
BY THE TREELINE,
TOM
Where is she?
MUD
In town. Got here yesterday.
Tom lowers his head. Frustrated.
TOM
Why you out here like this?
BY THE BOAT, The boys see Mud take a seat on a nearby stump. He's explaining something. Tom listens, standing over him.
NECKBONE
They don't look like family.
Ellis watches Mud as he gestures and speaks. He seems different. Younger. Mud stops talking. Tom scratches a hand through his white crew cut. He begins pointing a finger at Mud. His face is flushed and the sound of his voice carries to the boys, though still unintelligible.
NECKBONE
He's really givin' it to him.
AT THE TREELINE, Mud's head hangs as Tom shouts at him.
TOM
You've spent your whole life followin' that girl! She's run you halfway cross the country and back, and for what? For this, left out on an island beggin' for help. A murderer. A thief.
MUD
I ain't no thief.
TOM
What would you call it then? Don't even mention draggin' those boys into this. Do you have any idea what you're doin'?
Waits for a response, but Mud gives none.
TOM
I'm ashamed of you.
Mud looks up at him.
TOM
Don't expect help from me. There's none to be given.
AT THE BOAT, They see Tom turn his back on Mud and head toward the boat. Mud doesn't protest; he doesn't move. Tom brushes past Ellis.
TOM
I'm ready.
Tom shoves the boat back into the water. Neckbone helps him. Ellis looks back at Mud, who still hasn't moved from his stump. He goes to him. Tom sees this and stops pushing.
TOM
(to himself)
Dammit.
AT THE TREELINE, Ellis stops a good six feet back from where Mud sits.
ELLIS
You all right?
Mud raises his head.
MUD
Looks like we're on our own.
He stands and takes a folded piece of paper from his shirt.
MUD
I didn't want you bein' the one to do this, but I can't see a way around it. I need to get this letter to Juniper. Could you take it to her for me?
ELLIS
Yeah.
MUD
You have to be careful. You can't just walk up and knock on her door, you hear me? You have to watch yourself.
ELLIS
I can handle it.
Ellis steps forward and Mud hands over the note. Ellis takes it and walks back to the others. AT THE BOAT, Tom stares at Ellis as he climbs on board. Tom looks back at Mud, who is watching him. He gives the boat a final shove before pulling himself in. They motor away. Tom doesn't look back.
EXT. RIVER/SHELLY'S OXBOW - MOVING - DAY
NECKBONE
You Mud's daddy?
TOM
Mud didn't have no daddy. No mother I ever knew of. He was livin' in the woods when I met him. Younger than you are now.
Tom doesn't offer anymore. Neckbone thinks on his answer. Ellis kills the engine near the mouth of Shelly's Oxbow. Tom jumps down into the knee deep river and wades onto shore. He turns back to the boys.
TOM
Ya'll need to watch yourselves. Don't go gettin' into something you don't have any business in. Mud's into something you don't want any part of. I suggest you forget about him.
Ellis and Neckbone don't respond. Tom, with a final admonishing look, disappears into the woods. Ellis cranks the motor and points the boat up river.
EXT. RIVER - MOVING - MOMENTS LATER
Edges of the notebook paper flap in the wind. Neckbone reads Mud's letter to Juniper. Ellis reaches the bank where they stash their boat. He shuts off the motor and let's them drift. Neckbone folds the letter back up and turns to face Ellis.
ELLIS
What do you think?
NECKBONE
He loves her. You can tell that much. You gonna take it to her?
ELLIS
I told him I would.
Neckbone thinks about this seriously, shakes his head.
NECKBONE
I don't know. Could be a lot of trouble.
ELLIS
You still got that trailer you made for your bike?
EXT. DEWITT STREET - LATE AFTERNOON
Neckbone rides with Ellis on the back of his dirt bike. Cars and Trucks HONK and zip by them. Their speed is topped out at about 15 miles per hour. Mostly a result of the small 3X4 metal trailer they are towing behind the bike. One of Senior's white fish coolers sits in the trailer.
EXT. EXECUTIVE INN/PARKING LOT - LATE AFTERNOON
Parked in the far corner of the lot, Ellis sits on top of the white cooler eyeing the Executive Inn. Neckbone straddles the dirt bike. A handful of cars are parked at the motel; an old Honda, a pick-up, and a BLACK LINCOLN.
ELLIS
I say we start at the top, work our way down.
NECKBONE
All right.
They each grab an end of the cooler and carry it across the lot toward a flight of stairs. ON THE SECOND FLOOR, The boys set the cooler down in front of the first room on the corner. Ellis checks over his shoulder, nothing strange. Ellis knocks. They wait. No answer. They pick the cooler up and walk to the next door. Knock. After a moment, a BLACK MAN in his late sixties opens the door wearing boxers and an undershirt.
BLACK MAN
What you want?
ELLIS
We're sellin' fish. You wanna buy some?
BLACK MAN
Fish?
He looks at the two boys like they are insane.
BLACK MAN
I don't want no damn fish.
He slams the door. They drag the cooler to the next door. As Ellis holds up his fist to knock, they hear a woman shouting a few doors down.
STOP IT!
Ellis heads for the room. Neckbone drags the cooler after
STOP!
him. Ellis reaches the motel room door, which has been left ajar. He places his hand on it and lets it fall open.
INT. EXECUTIVE INN/JUNIPER'S ROOM - CONTINUOUS
CARVER (O.S.)
KEEP LYIN'! KEEP LYIN' AND I'LL
CRACK YOUR NOSE OPEN!
The door opens to CARVER(47), a tall, slender man in a dark Western cut suit, standing over Juniper. She's crumpled up in a ball at the end of the bed. Carver swats open-handed at her head. Grabs the top of her hair.
CARVER
You hear me bitch? Tell me another lie.
Ellis rushes Carver with his shoulder as if he were breaking down a door. Carver is knocked off balance. He trips over the edge of the bed and crashes into the motel room wall. Carver, slightly stunned, gets to his feet and in two broad steps lands a man-sized punch across Ellis' face. It's hard. Ellis melts. He grabs the boy up by the scruff of his shirt.
CARVER
Who are you!? Who the hell are you!? Did he send you!?
Carver removes a piece of paper from his pocket. It's a photo copied picture of Mud, different than the State Trooper's. Carver crams the photo in the boy's face.
CARVER
You know this man!? Look at him! Do you know him!?
Blood trickles from a cut under Ellis' eye. He stutters under the shaking force of Carver's hands.
ELLIS
I don't...I...
FISH!!!
Neckbone is yelling at the top of his lungs, almost in a
IT'S FISH!!!
girl's pitch. Carver turns to him. The cooler is open behind them and Neckbone holds up two Ziplock bags of fish.
NECKBONE
We're just selling fish!
Carver sizes things up. It takes a moment, but he settles. He snorts out a laugh and drops Ellis on the ground. Carver turns his attention back to Juniper, who is huddled up in the corner of the motel. Carver walks over to her. Opening a good-sized knife, he gets down in her face and holds the blade uncomfortably close to her cheek.
CARVER
I know you know where he is. And I swear to God I'll cut through every one a you to find him.
She flinches. Standing, Carver folds up his knife.
CARVER
We know you came here for him, and we know he's too stupid to leave you behind. So when he pops his head out of whatever shithole he's staying in, I'll be there. You tell him that.
Carver turns, stepping over Ellis on his way out.
CARVER
And you need to mind your business boy.
Neckbone moves from the doorway to let him pass. Carver is gone. Neckbone shuts the door and fastens the security latch. He kneels down to check on his friend.
NECKBONE
You all right?
ELLIS
Yeah.
NECKBONE
He popped your eye.
Ellis holds the back of his hand up to his eye which has begun to swell. The cut trickles blood over his cheekbone. Juniper moves to the sink. Ellis sits up, staring at her back. She opens an ice bucket and wraps a handful of cubes in a towel. She turns and walks over to them, her eyes cast down. She kneels in front of Ellis, making eye contact for the first time. She touches his chin, gently pivoting it to see the wound. Her eyes are glassy.
JUNIPER
Thank you.
He stares back at her. He can't take his eyes off her. She holds the iced towel to his cheek. He doesn't even flinch.
JUNIPER
I'm so sorry.
Tears form and run down her cheeks.
JUNIPER
Here.
She takes his hand and places it against the towel. She gets to her feet and pulls a pocket book from a bag in the corner.
JUNIPER
How much is your fish? I'll buy the cooler full.
Ellis motions Neckbone to the cooler. Neckbone goes over and crams his hand into the ice. He removes a Ziplock bag containing the note that Mud sent. Neckbone hands it to Ellis. Taking the note, he sets his ice down and walks over to Juniper.
ELLIS
Mud sent us to give this to you.
Juniper is stunned. She looks at the bag, then at the boys.
JUNIPER
You've met Mud?
Ellis nods. Neckbone speaks up from the back.
NECKBONE
Yeah we met him.
Juniper takes the bag. She removes the letter and takes a seat on the edge of the bed to read it. Ellis watches her eyes move along the paper. She smiles, which makes Ellis smile. After a moment, she folds it up.
JUNIPER
He tells me to hold tight.
NECKBONE
Yeah, we read it.
Juniper raises her eyebrows at Neckbone.
JUNIPER
Well do you know how long 'hold tight' is?
ELLIS
I think it's a couple days. He wants to get a boat for ya'll.
JUNIPER
God.
Juniper shakes her head and goes to the sink. She pulls a lighter from her jeans pocket and torches Mud's note.
JUNIPER
Tell him I'll wait.
Running water over the ashes, she turns back to them.
JUNIPER
But I don't want ya'll involved. Tell him what I said and make that it. I don't want you gettin' in any trouble.
ELLIS
We won't.
JUNIPER
What do you call that?
She motions to his swelling eye. Ellis shrugs.
ELLIS
We'll be all right. Keep your door locked. We'll be in touch.
Ellis heads to the door as Neckbone gathers up the cooler.
JUNIPER
Wait.
Ellis turns back.
JUNIPER
What's your name?
ELLIS
I'm Ellis. That's Neckbone.
Juniper walks up to Ellis and puts her hands on his shoulders. She has to bend slightly to do it, but she kisses him just above his swollen eye.
JUNIPER
Thank you Ellis.
Ellis stares at her, infatuated.
NECKBONE
We gotta go.
Ellis turns and grabs one end of the cooler. Neckbone slaps back the security latch and opens the door with his free hand. They walk out.
EXT. EXECUTIVE INN/JUNIPER'S ROOM - CONTINUOUS - DUSK
Ellis, his foot on the door, looks back at Juniper.
ELLIS
Lock the door.
She smiles. The door slams shut. The room number, 212, stares Ellis in the face. He takes a deep breath.
NECKBONE
Let's go hard on.
He and Ellis wrangle the cooler down the steps. The sun set while they were inside. A blue hue hangs over everything.
I/E. CARVER'S LINCOLN/PIGGLY WIGGLY PARKING LOT - CONTINUOUS
Carver takes a drag off a cigarette from behind the steering wheel of his black Lincoln town car, conscious to blow any smoke out the open driver's window. His car, wedged between two others in the Piggly Wiggly parking lot, is pointed toward the Executive Inn. He watches as Ellis and Neckbone load the cooler onto Neckbone's bike.
INT. ELLIS' HOUSEBOAT - NIGHT
Ellis enters his houseboat. It's quiet. He sees a note on the counter next to a can of soup. It reads, "I've gone to a movie. Warm up some soup for dinner. Love, Mom". Ellis picks up the can, not thrilled. He goes to the fridge and grabs a sack of peas from the freezer. Holding the peas against his eye he takes a seat at the counter and flips through a phone book. He finds what he needs and dials a corded phone. He waits.
ELLIS
Hello? Is May Pearl there?...This is Ellis...Hey, it's Ellis. Hey... What?...In the phone book... from his car commercials...I think they're all right...Tomorrow? Yeah, I can meet you... Okay. Bye.
Ellis hangs up the phone. With the peas pressed firmly against his face, he smirks. CUT TO: SERIES OF IMAGES: -Neckbone's sneaker busts through a rotten plank of wood. -Inside a decrepit wooden shack, Ellis gives Neckbone a look like he's a dumbass as they proceed to take the shack apart board by board. Ellis now has a full-on BLACK EYE. A66 -Neckbone stands lookout under the carport section of Ellis' A66 houseboat. The coast clear, he gives Ellis a nod. Ellis pops open a metal locker and removes a small chainsaw and container of gas. He loads these into an empty fish cooler. B66 -Tom, sitting atop his houseboat with his pellet gun, watchesB66 as the two boys sneak the tools away. He's displeased. C66 -At Neckbone's mobile home park, Ellis heaves loops of thick C66 rope onto their mini dirt bike trailer. Neckbone stands nearby laughing with the rope's OWNER, a lanky guy with brown teeth and a Tasmanian Devil tattoo on his neck. AC66 -Ellis hoists Neckbone up by the foot allowing him to AC66 unscrew a road sign. D66 -A mop soaked in black tar slops across the flat roof of the D66 furniture store in downtown Dewitt. Neckbone and Ellis stand in the store's parking lot yelling up to the ROOFERS. -They get one's attention, and Neckbone points to a dried pile of leftover tar that has been dumped at the back of the building. The ROOFER swats a hand at the boys. They proceed to load the dried hunk onto the small trailer. E66 -From a distance, Neckbone and Ellis stand on a sailboat in E66 the middle of a fenced-in marine junkyard. Surrounded by old boat parts, the boys begin shuttling several large metal pulleys off the sailboat.
EXT. ISLAND SHORE - DAY
Mud smiles, showing his missing tooth, as he looks over the load of items the boys have stacked in their boat. Neckbone tosses a loop of rope to him.
NECKBONE
We've got more, but no motor.
MUD
This'll work for now. You get her my note?
ELLIS
Yeah.
Ellis turns and Mud sees his black eye for the first time.
MUD
Where'd you get that from?
ELLIS
We came up on Juniper's room. A guy was in there beatin' up on her.
Mud's face turns dark.
NECKBONE
Ellis rushed him. Got smacked for it.
MUD
What'd he look like?
ELLIS
I don't know. Tall. Looked like a cowboy.
MUD
Dark hair?
ELLIS
Yeah.
MUD
DAMMIT!
Mud slings the rope to the ground and kicks it. His face is flushed. It's the first time the boys have seen him angry.
MUD
GOD DAMMIT!
The boys back up. Mud takes a deep breath, tries to cool down. It takes a moment, then something occurs to him. He eyes Ellis with a look of genuine gratitude.
MUD
Thanks for lookin' after her.
Ellis nods. Mud picks up the rope.
MUD
His name's Carver. Brother of the man I shot. If he's here, then more are comin'.
NECKBONE
More what?
Mud gathers the supplies and heads to the treeline. The boys, with their hands full, follow him.
MUD
Bounty hunters. Carver's rotten, but his daddy's the one to be scared of. He'll spend all the money he has to see me dead. If it was up to me I'd put the whole family down same as the other. Not a decent man between 'em.
Mud stops and turns to lay a serious look on them.
MUD
Ya'll listen to me now. If you see that old man, don't get near him. He's the triple six real deal scratch you hear me?
Mud waits for nods from them both.
MUD
All right.
EXT. MISSISSIPPI RIVER/ISLAND - CONTINUOUS
Galen drifts in his own boat out on the Mississippi River. He stares at something in the distance. A68 FROM ACROSS THE RIVER, A68 He sees Neckbone and Ellis on the island walking with Mud. Galen, a concerned look on his face, keeps one hand on his motor and the other on a bulging net of mussel shells. His HELPER, a salty looking man in his fifties, sits at the front of the boat sipping Budweiser from the can.
HELPER
What you waitin' for?
GALEN
Shut up.
After a moment, Galen cranks the motor and speeds away.
EXT. BOAT IN TREE - DAY - LATER
Mud stands with Ellis and Neckbone on the deck of the boat. He holds a pulley in one hand and a length of rope in the other. He stares up into the trees.
MUD
Ellis, can you climb up that trunk and get these hung?
ELLIS
Yeah.
MUD
Take a foot of line and tie 'em off with a bowline knot. You know it?
ELLIS
I'm not stupid.
Ellis takes the pulley and scales the trunk without hesitation. Mud tosses his pocket knife to Neckbone.
MUD
Neck, start cuttin' line. Three fifteen foot sections. Count a foot long as your arm.
Mud begins threading the pulleys with rope. As Neckbone cuts rope, he sees the pistol stuck in the back of Mud's pants.
NECKBONE
What's so special 'bout that shirt you'd lose your pistol for it?
MUD
It's got a wolf's eye sewn in the sleeve. More protection than a bullet ever gave. Tom swears by it.
NECKBONE
He said he wasn't your daddy.
MUD
Tom's the closest thing I ever knew to a father.
NECKBONE
I never met my parents.
MUD
It's hard not knowin' the ones you came from.
NECKBONE
My uncle Galen tells me things about 'em. He's the one that takes care of me.
MUD
Tom did that for me.
Ellis drops down to the deck and grabs another pulley.
ELLIS
What'd you mean when you called Tom an assassin?
MUD
Tom's had lives you'd never know about. Grew up up North. Went to Yale. For a long time he was a paid killer for the C.I.A. Lived in Cuba in '63. He's probably killed more people than you've met.
(to Neckbone)
Hand me that line.
Neckbone tosses him an end of rope, looks to Ellis. Ellis gives a shrug before heading back up the trunk.
EXT. BASE OF BOAT TREE - DAY - LATER
Mud hangs off the tree fifteen feet up by a piece of rope tied around his waist. A series of ropes and pulleys crisscross from the boat to the trees. Neckbone and Ellis stand on the ground staring up at him. Mud holds a chainsaw and seems to be hesitating.
NECKBONE
Well if you're gonna do it do it!
Mud takes a deep breath and yanks the cord. Angled on one of the main branches holding up the boat, Mud begins cutting. Ellis and Neckbone step further and further back as they watch the chainsaw work through the thick limb. Suddenly, the chainsaw stops. A deep CRACKING sound. The huge branch SNAPS, tumbling off lower limbs before crashing to the ground. Mud holds onto the trunk for dear life. The branch now rests on the ground, SILENCE. The ropes and pulleys hang taught, squeaking from the weight of the boat. Mud slowly lifts his head up. He smiles at what he sees. The rigging has held.
MUD
One down!
Neckbone and Ellis watch as Mud scampers around the trunk to the next branch. The chainsaw cranks back on.
NECKBONE
This shit is crazy.
I/E. MARY LEE'S CAR/PIGGLY WIGGLY PARKING LOT - LATE
AFTERNOON Ellis looks out the car window at HIGH SCHOOL KIDS that have gathered in the Piggly Wiggly parking lot. His hair is slicked to one side, and he's wearing a collared shirt.
MARY LEE
You look nice.
ELLIS
Thanks.
MARY LEE
What time are you gonna be home?
Ellis shrugs. She looks at him as the car radio rambles.
MARY LEE
No later than eleven?
Ellis nods.
ELLIS
You make up your mind?
MARY LEE
About moving in town?
ELLIS
About leavin' dad.
Mary Lee thinks about how to answer, shuts off the radio.
MARY
You can't make Ellis. If I'm have to be the
LEE
other people change unhappy then I'll one to change
something. Ellis chews on the inside of his cheek and watches her avoid eye contact. He shoulders his way out of the car. Mary Lee takes a moment before driving off. As Mary Lee pulls away, Ellis takes in the scene.
EXT. EXECUTIVE INN - LATE AFTERNOON - ELLIS POV
He looks up at Juniper's motel room and sees her leaning on the railing smoking a cigarette. She doesn't see him.
EXT. PIGGLY WIGGLY PARKING LOT - LATE AFTERNOON - CONTINUOUS
He pauses, noticing a MAN to his left who ALSO stares up at Juniper. The man, early thirties with a thick mustache, is JAMES. He leans against the grill of a black Lincoln. Carver appears from inside the Piggly Wiggly. He holds a cup of coffee and is closely trailed by a fat little man, NELSON(56). They're all dressed in a similar fashion, a cross between rural farmers and rodeo stars. As Carver approaches the Lincoln, he scolds James for leaning on the grill. Carver rubs the hood with his coat sleeve and gives orders to the men.
MAY PEARL (O.S.)
Ellis!
Ellis turns to see May Pearl hopping down from a Ford Bronco. She leans on the door and waves Ellis into the back.
MAY PEARL
Come on!
Ellis takes another look at Carver and his men before running over to the Bronco.
EXT. FIELD/BONFIRE - NIGHT
A bonfire rages in the middle of an open field. A FEW DOZEN KIDS mingle between vehicles and the fire. Drinking, yelling, music blasting from car speakers. Ellis stands by himself next to the blaze with his hands in his pockets. May Pearl has vanished. Pryor, the skinny kid Ellis punched to get this date, wanders past. He makes eye contact. Ellis stares him down. Pryor glares back but then just skulks over to another group.
MAY PEARL (O.S.)
Try this.
A Styrofoam Sonic Cup is thrust into Ellis' hand. He turns to find May Pearl standing next to him.
MAY PEARL
Come on.
She leads Ellis behind one of the trucks parked nearby. May Pearl climbs onto the tailgate, a red glow across her face. No one else is around. Ellis hesitates.
MAY PEARL
You wanna sit down?
Ellis takes a seat next to her. She looks at him, smiling, and gestures to his black eye.
MAY PEARL
You must really like to fight?
ELLIS
Not really.
Ellis takes a sip from the Sonic cup. His face puckers.
MAY PEARL
But you're not scared if you have to.
ELLIS
I guess. You got a lot of friends.
MAY PEARL
They're all right. I don't know all of 'em.
ELLIS
I bet you're pretty popular.
MAY PEARL
Why do you say that?
ELLIS
I don't know. 'Cause you're nice to people.
MAY PEARL
How do you know that?
ELLIS
You're nice to me.
MAY PEARL
But I like you.
Ellis digs into his jeans pocket.
ELLIS
I got this for you.
He removes a bracelet made from the pearls he collected off Galen's porch. May Pearl takes it, begins putting it on.
MAY PEARL
A bracelet?
ELLIS
Neckbone's uncle caught the pearls. I thought with your name and everything...
MAY PEARL
Thank you.
She leans over, hugging him with a kiss on the cheek. She stays close.
ELLIS
You wanna be my girlfriend?
She smiles, then kisses him.
EXT. ELLIS' AND TOM'S HOUSEBOATS - MORNING
Morning fog sits on top of the water around Ellis' houseboat. Ellis steps outside and makes his way to the ice machine. A loud WHISTLE comes from across the oxbow. Ellis walks to the edge of the garage. A75 He sees Tom Blankenship seated on the roof of his houseboat. A75 He motions Ellis over. Ellis watches him, unsure of what to do. Another WHISTLE. Tom motions to him again. Ellis looks back at the house. No sign of his parents. He shoots a glance back at Tom.
EXT. TOM BLANKENSHIP'S HOUSEBOAT - MOMENTS LATER
Ellis bumps his father's boat against the side of Tom's houseboat. He steps up onto the deck and ties off. Tom, down from the roof, stands by his front door.
TOM
You want some coffee?
Tom disappears inside.
ELLIS
I don't drink coffee.
Ellis waits for a moment, but realizes this is Tom's way of inviting him inside. He enters.
INT. TOM BLANKENSHIP'S HOUSEBOAT - CONTINUOUS
This houseboat, although similar in size, is different than Ellis'. It's an actual wood shack that has been constructed atop a barge. Ellis looks at photos, books and memorabilia that cram the walls and shelves. It feels homey. Tom, his back to the boy, stands in the kitchen area pouring a cup of coffee.
TOM
You been seein' Mud?
ELLIS
No.
A collection of framed photos on a desk catches Ellis' attention. A young Tom with a pretty dark skinned girl. They seem happy. Another photo, late 60's, of Tom standing alone in a suit. He holds a LONG SUITCASE. Tom enters holding two cups of coffee.
TOM
You don't have to lie to me boy.
He hands Ellis a cup of coffee with a cartoon image of a dog on it. It reads, "I'm a real bitch in the morning!" Tom sits in a LazyBoy that he gently rocks in.
TOM
I've seen you runnin' around. Takin' things. He all right?
ELLIS
He's okay.
TOM
He get that boat down?
Ellis nods. There is an awkward moment.
ELLIS
He called you an assassin.
Tom snorts out a laugh, sips his coffee.
ELLIS
Is it true?
TOM
How long have you known Mud?
ELLIS
Few days.
TOM
Well that's long enough to know he's full of shit.
ELLIS
So it's not true.
TOM
I was a sharpshooter in the army. In Mud's world, that makes me an assassin. Not exactly true, right?
ELLIS
Yeah I guess.
Tom notices the boy's disappointment.
TOM
You think he's a bad ass don't you?
ELLIS
I don't know.
TOM
You know why he's stuck out on that island?
ELLIS
Yeah.
(hesitates)
He shot somebody.
TOM
He tell you why he shot that man?
ELLIS
Because he hurt Juniper.
TOM
Right. The real reason Mud's in the trouble he's got is because of her. He's been in love with that girl since he was your age. They used to run all around here and it was the same back then. He'd follow that girl wherever she led him. Problem is she don't care about nobody but herself. I've told him as much. She'd bed down with the meanest snake she could find, then when things went bad she'd go runnin' to Mud. Mud would take her back, then go find whatever unlucky sonofabitch last put a hand on her and beat 'em 'til they knew to never touch her again. And this time I guess he thought a beating wasn't good enough. Had to shoot that fella. I don't know for sure, but I'd put money on Juniper knowin' he'd do it. And I have a suspicion she might of even told him to. Either way, those two are set for failure. Only chance Mud has is to cut her loose. Cause I'll tell you what, Mud's no bad ass. He's runnin' scared.
Ellis can't look Tom in the eye, he's offended by the old man's remarks. Ellis sets the coffee cup on the desk.
ELLIS
I gotta go.
Ellis heads for the door, but stops short.
ELLIS
You're wrong about Juniper. They love each other and they're gonna make it. If you weren't a wore out old man you'd know it was true.
Tom eyes the boy, taking a sip from his cup. He nods a goodbye to Ellis who is already out the door.
EXT. ISLAND/BASE OF BOAT TREE - DAY
Ellis stomps out of the trees and is struck by the new position of the boat. It hangs three feet off the ground; SUSPENDED in dry dock. A clear-cut path of trees leads off toward the island's southern shore. Beside the boat, remnants of a giant fire smolder. Ellis surveys the MOUND OF ASH.
MUD (O.S.)
What you say Ellis?
Ellis turns to find Mud standing on the deck of the boat holding a fistful of wires. He jumps down.
ELLIS
I got more stuff.
MUD
You find a motor?
ELLIS
Not yet.
(points to the ash)
What's that?
MUD
I made a bonfire.
Mud enters the woods. Ellis follows.
ELLIS
Why?
MUD
Bonfire's an all purpose cure all for bad luck. I don't know where this boat's been or what kind of person had it before me. For all I know it could have some serious bad business left on it. We got too much ridin' on this thing to leave to chance. Where's Neckbone?
ELLIS
Helpin' his uncle with a dive.
EXT. ISLAND SHORE - MOMENTS LATER
Mud and Ellis exit the treeline heading to Ellis' boat.
ELLIS
Tom called me over to his place this mornin'.
MUD
What he say?
ELLIS
He was runnin' down Juniper.
Ellis looks for a response, but Mud just jumps up into the boat and starts throwing pieces of wood on shore.
ELLIS
I told him he was a wore out old man. Told him he couldn't know how much you loved Juniper.
MUD
You don't know his story.
ELLIS
I don't care.
MUD
You should. Tom loved a woman more than most men could in two lifetimes. They had a good life started together.
Mud hops down and scoops a load of wood into his arms.
MUD
She was pregnant with a little boy, but the birth got the better of 'em. They didn't make it. Tom's been alone ever since. Lone wolf.
Mud has begun walking back to the treeline. Ellis stays.
ELLIS
I gotta go help my dad.
Mud turns back but doesn't stop moving.
MUD
Thanks for the wood Ellis.
Ellis watches him go, thinking on what he said.
EXT. UNDERWATER - RIVER - DAY
Fully suited in diving gear, Galen toils in the murky brown water at the bottom of the river. His gear consists of a typical wet-suit, wet-socks but no gloves. His metal helmet is not typical. It's welded from half a hot water heater that's been fitted with barbell weights. A hose connected to the top runs to the surface. Galen ties off a netted sack and yanks on its line.
EXT. RIVER - CONTINUOUS
A small air compressor chugs as Neckbone stands in the middle of Galen's boat pulling in the heavy rope. At the end, the net bulging with mussel shells appears. He manages to roll the heavy load into the boat before moving over to a crank handle that feeds another line. After several cranks, Galen's steel helmet breaches the surface. He places his hands on the edge of the boat as Neckbone removes the barbell weights. The weight removed, Neckbone takes off the helmet. Galen pulls himself into the boat, out of breath.
GALEN
This shit never gets easy.
NECKBONE
That's a good haul.
GALEN
I've had worse.
Galen reclines as Neckbone kills the air compressor and begins organizing the gear. He watches his little nephew.
GALEN
You doin' all right?
NECKBONE
Yeah.
GALEN
You don't need to tell me anything?
NECKBONE
Tell you what?
GALEN
I know I'm just your uncle, not much of a parent. But you can tell me things if you need to.
NECKBONE
I can tell you this helmet smells like my duck butter.
EXT. ELDERLY WOMAN'S HOUSE - DAY
Ellis holds a wrought iron door open with his backside as an ELDERLY WOMAN takes the paper bag of fish from his hands. Ellis walks back to the truck. Senior watches him, looking at the black eye.
I/E. SENIOR'S TRUCK/CATFISH PARLOUR - MOVING - DAY
Ellis rides up front with Senior. Windows down, no radio.
SENIOR
Where'd you get that black eye?
ELLIS
A kid in town. He got his too.
SENIOR
What you fightin' for?
ELLIS
'Bout a girl.
SENIOR
What girl?
ELLIS
My girlfriend.
SENIOR
You got a girlfriend?
ELLIS
Yes sir.
SENIOR
When'd that happen?
ELLIS
Other day.
Senior pats his shirt pocket and finds a smoke. Lights it.
SENIOR
You seen your mother today?
ELLIS
No.
SENIOR
You not talkin' to me?
ELLIS
I'm talkin'. I'm talkin' to both of you. That's all ya'll want to do is talk.
SENIOR
Well, that's your mother. Would rather tongue lash a problem than step up and handle it. You'll see one day. Women are tough. They'll set you up for things. You can't trust love, Ellis. If you're not careful, it'll run out on you. You just gotta pick a woman and roll the dice. Hope you don't wake up in fifteen years hatin' each other.
Ellis keeps staring out the window as they pull into the parking lot of the Catfish Parlour Restaurant.
EXT. THE CATFISH PARLOUR/THE PINES MOTEL - LATE AFTERNOON-
CONTINUOUS Senior climbs out of the truck and enters the restaurant. Ellis pops open the tailgate and reaches for a cooler. The Catfish Parlour is one business in a strip center row. There is nothing else around save for farmland and a motel across the road. Ellis notices Carver's black LINCOLN parked in the motel lot. He walks away from the truck to get a better look. Ellis scans the FOUR OTHER VEHICLES in the lot. All Texas plates. A maroon Cadillac sails past and turns into the motel. Ellis recedes to the rear of his truck. He watches as KING(76), a fireplug of a man, emerges from the Cadillac. Cramped from a long drive, he stretches and eyes the sign for the Pines Motel. A motel room door opens and Carver walks out. He's smiling and calls out to King. They hug as a green PICK-UP pulls up. MILLER, a slick dressed man in black boots, climbs out.
SENIOR (O.S.)
Ellis! Let's go!
Ellis snaps around to find Senior leaning out the restaurant door. Ellis yanks the cooler down and drags it inside. He looks back over his shoulder for a final glance at the men. AT THE MOTEL,
CARVER
Daddy this is Miller. He's one of ours.
KING
(shaking)
How do you do? Appreciate your help.
MILLER
Yes sir.
CARVER
We'll be in in a minute.
Miller nods and enters the motel room. King turns to Carver.
KING
Catch me up.
CARVER
They work in shifts. Two outside her motel, the others either out searching or sleepin' here. I met with the county sheriff but he wasn't much help. Said they'd handle their own business, but I got two of their people on payroll and a person on the inside at the state police.
KING
Good. Doin' good. Who all's here?
CARVER
All but two now. Nelson and James are watchin' her place. I called the rest in.
KING
Okay. Let's meet the men.
Carver leads his father to the motel room.
INT. PINES MOTEL ROOM - LATE AFTERNOON - CONTINUOUS
Carver holds the door open as King steps inside. A door to his left connects another room which is empty. An episode of the Smurfs plays on the television. There's a MAN on each of the queen beds. Another THREE playing cards at a small table by the window. MILLER stands in the corner smoking. Empty Budweiser cans litter the room. King, unimpressed by the scene, looks at his son. Carver quickly moves in front of the television and turns it off. He stares down the men on the beds.
CARVER
Get up.
(to the others)
Ya'll pay attention.
The men get up from the beds and the others put down their cards. Everyone slowly gathers into an audience.
CARVER
This is my father, King. He runs the show.
Carver recedes as King steps forward. He speaks like a high school football coach.
KING
Men. I wanna thank you for the work you're doin'. It's important work, and I want you to know what it means to me personally. I'm grateful for it. No man should have to bury his son. It's not natural, and it's a pain I hope none of you ever have to endure.
King removes a photocopied picture of Mud from his pocket. He unfolds it, stares at it, then raises it to the men.
KING
This man did that to me. He took my youngest boy. And now, you're gonna help me get him.
King stares at the men, keeping the photo held high.
KING
Now gather 'round. Come on now, in a circle. I want ya'll to join hands.
They do it reluctantly.
KING
Everybody take a knee.
They do. King joins them on his knee and grabs Carver and another Man's hands.
KING
Bow your heads. I need you to help me pray for the death of the man that killed my son.
They all bow their heads.
A85 EXT. NECKBONE'S TRAILER - MORNING A85
A tarp is thrown back from a rusting boat trailer. Ellis and Neckbone stand by the trailer looking less than thrilled. It's covered in junk and debris.
NECKBONE
You touch her breast?
ELLIS
A little.
NECKBONE
That's great man.
ELLIS
Thanks.
Ellis walks up and knocks a stack of bricks off the trailer.
ELLIS
We could take it apart. Bring it out piece by piece.
NECKBONE
It's welded. We'd just tear it up. What if we float it out?
ELLIS
With what?
NECKBONE
Come on.
Neckbone walks to the trailer. Ellis follows.
B85 INT. NECKBONE'S TRAILER - CONTINUOUS B85
The boys open the front door and are met by a BLINDING LIGHT.
NECKBONE
Jesus!
They squint and shield their eyes. The light shuts off as quickly as it came on. Galen stands in front of them wearing his wet suit. The bar with the flood lights attached sits across his shoulders. The boys rub their eyeballs, seeing spots. Galen shuffles over to the couch holding a marine battery connected to the lights. He labors to take a seat.
GALEN
What do you think?
NECKBONE
That's real good Galen.
(to Ellis)
Gimme a minute.
Neckbone, still blinking, goes back to his room. Ellis notices Galen staring at him. Galen pats the couch.
GALEN
Come 'ere Ellis.
Ellis takes a seat on the other end of the couch. Galen pats the spot next to him. Ellis scoots over, uncomfortable.
GALEN
(pointing up)
You see that ceiling fan?
ELLIS
Yeah.
GALEN
I found it in the river. Works great. Best ceiling fan I've ever owned. This river brings a lotta trash down it. Some a that trash is worth a lotta money, some of it's not. You gotta know what's worth keepin' and what's worth lettin' go. You know the difference?
ELLIS
I think so.
GALEN
Neck looks up to you. Don't get my nephew into anything you can't get him out of.
Galen forces a stare with Ellis, who nods. Neckbone enters as Galen begins to remove his light rig.
GALEN
Help Me Rhonda's just about a guy needing to get a piece to get over a girl that put one over on him. So you get your heart broke, don't walk around with a shit look on your face. Get back in there. Get your tip wet. You hear me?
ELLIS
What?
GALEN
You know what I'm sayin'.
Ellis doesn't. Galen moves to an electric guitar leaning by a small amp in the corner.
GALEN
Ya'll wanna hang out? Alan's comin' over. We're gonna pump it up.
NECKBONE
We got stuff to do.
GALEN
Whatever.
The boys exit as Galen turns on the amp.
C85 EXT. NECKBONE'S TRAILER - CONTINUOUS C85
Galen pumps it up inside as Neckbone and Ellis walk to the boat trailer. Neckbone pulls a handful of long zip ties from his back pocket.
NECKBONE
What were ya'll talkin' about?
ELLIS
I don't know.
EXT. ISLAND NORTHERN SHORE - DAY
Mud's knife slices through a plastic zip tie.
MUD
King. That's what they call him.
A BOAT TRAILER rests atop FOUR, 55-GALLON BRIGHT YELLOW BARRELS affixed with plastic zip ties. The make-shift raft is half on shore with the back still floating in the water. The boys watch as Mud walks around the trailer cutting off the zip ties. The barrels kick out from underneath the trailer as this happens.
MUD
He's their father. You didn't go near him did you?
ELLIS
No.
MUD
Good. That left-handed sonofabitch is the devil himself. If he's here, then it's time. We need to get Juniper out here.
ELLIS
We still need a motor.
NECKBONE
There's a motor in the scrap yard might work.
MUD
I need one that runs.
Mud moves to the front of the boat trailer and begins dragging it fully onto the bank. It's heavy.
NECKBONE
I can get it runnin'. Tell him Ellis.
ELLIS
It's true. He built his own dirt bike.
MUD
All right then. Give it a shot.
ELLIS
I don't know. That motor's worth somethin'. It's not like this other junk.
NECKBONE
It's been there for months. Nobody's even gonna know it's gone.
Ellis hesitates. He looks to Mud.
MUD
We do need a motor.
Ellis thinks on it as Mud takes a deep breath and grabs the trailer again.
EXT. PIGGLY WIGGLY PARKING LOT - DAY
The supermarket is busy. Ellis stands at a pay phone out front as Neckbone kicks a vending machine nearby. Ellis looks at Juniper's motel. He scans the Piggly Wiggly parking lot and spots Carver's black Lincoln. Ellis picks up the phone and deposits some change. He dials.
ELLIS
I wanna talk to room 212.
I/E. JUNIPER'S MOTEL ROOM/PIGGLY WIGGLY - CONTINUOUS
Juniper watches TV (o.s) at the foot of the bed. The phone rings. She snaps up, hits mute and grabs it.
JUNIPER
Hello?
INTERCUT WITH ELLIS,
ELLIS
Juniper?
JUNIPER
Ellis?
ELLIS
It's me.
JUNIPER
Thank god. I've been goin' crazy in this room. Is Mud okay?
ELLIS
Yeah. It's time to take you out to him.
JUNIPER
Now?
ELLIS
Tomorrow. We'll come get you.
JUNIPER
What's goin' on?
ELLIS
He's got a plan for ya'll to get away. Be ready tomorrow at five. Neckbone'll be waitin' at the back of the motel with a dirt bike.
JUNIPER
They're watching my room.
ELLIS
I'll take care of that. Just be ready at five.
JUNIPER
Wait. Just wait. I don't know about alla this. I don't even know what he thinks we're gonna do. Where are we even gonna go? This is Mud. This is what Mud does.
Ellis hears her crying through the phone.
ELLIS
It's okay. He's got the boat. We helped him fix it up. It's a good plan. Just be ready.
JUNIPER
Why are you even doing this?
ELLIS
What do you mean?
JUNIPER
Why are you helping us?
ELLIS
Cause ya'll love each other.
Juniper searches for a comment. Ellis, looking out over the parking lot, sees May Pearl getting out of a car with her MOTHER and SISTER.
ELLIS
I'll see you tomorrow.
JUNIPER
Wait.
Dial Tone. Juniper holds the phone, worried.
EXT. PIGGLY WIGGLY PARKING LOT - CONTINUOUS
Ellis turns and watches May Pearl push a cart in the parking lot with her family. Neckbone bangs at the Coke machine.
NECKBONE
How'd it go?
ELLIS
We're good.
I/E. CARVER'S LINCOLN/PIGGLY WIGGLY PARKING LOT - DAY
Carver sits behind the wheel of his Lincoln. The man with the mustache, James, sits in the passenger seat next to him. Carver notices Ellis and Neckbone standing in front of the Piggly Wiggly. He climbs out. AT THE VENDING MACHINES,
NECKBONE
Gimme a quarter. This shit took mine.
Ellis watches May Pearl entering the grocery store. He calls out with a wave.
ELLIS
MAY PEARL!
Without stopping, May Pearl, along with her Sister and Mother, all turn. May Pearl sees him, but doesn't wave back. She continues inside. Ellis looks confused, then embarrassed. Neckbone notices.
NECKBONE
It's all right man. She's with her family. Come on. I wanna get that motor before dark.
They head to the dirt bike.
CARVER (O.S.)
Hey there!
Ellis turns to see Carver approaching.
CARVER
You remember me don't you?
Ellis nods. Carver notes the healing bruise on Ellis' face.
CARVER
I'm sure sorry about that. Ya'll caught me at a real bad time.
Ellis climbs on the bike. Carver walks over to them.
CARVER
Hold on now. One second. I don't want ya'll thinkin' I'm a bad guy. Ya'll were just trying to do a job, and I got in your way.
Carver removes a roll of twenties and peels off two.
CARVER
Let's just say I bought that whole batch of fish ya'll were sellin'. Would forty cover it?
NECKBONE
That'd bout do it.
ELLIS
We don't want your money.
Carver steps in close to the boys.
CARVER
I bet ya'll really get around this town. Probably know every hole and ditch. Have ya'll come across the man whose picture I showed you?
ELLIS
No.
Carver removes a flier with Mud's picture and holds it out.
CARVER
You sure about that? Take a look with your good eye.
ELLIS
I'm sure.
CARVER
What about that girl in the motel? The pretty one. Ya'll talk to her some more?
ELLIS
No.
Carver smiles. He tucks the flier and the forty dollars into Ellis' hand.
CARVER
There's a number on there. Ya'll let me know if you do.
Neckbone cranks the engine and backs the bike up with his feet. They pull away. Moving, Ellis looks back to see Carver watching them.
EXT. CRAWFORD'S JUNKYARD - DUSK
Neckbone pulls back a loose section of chain-link fence surrounding the marine junkyard. Ellis crouches through. INSIDE THE JUNKYARD, Ellis and Neckbone creep through piles of starboard and boat parts. They stop at a party barge with only one pontoon. At its rear hangs a big rusted motor, 200 horsepower. Neckbone quickly disassembles its attachment. The motor pops loose leaving the boys to strain against its heavy weight. They ease it to the ground.
NECKBONE
Jesus that's heavy.
The boys get on either side of the motor and begin half- dragging it back to the fence line. ACROSS THE YARD, A LITTLE GIRL(10) dangles her feet off a loading platform and bites at an ice cream sandwich. She watches Neckbone and Ellis from a distance.
EXT. ELLIS' HOUSEBOAT - NIGHT
Ellis walks onto the houseboat as the sound of Neckbone's bike fades in the trees. He stops, noticing a PAPER BAG sitting on the water's edge of the boat. He goes over to it. He opens the sack and takes a quick inventory. A loaf of bread, potted meats, a bottle of Jack Daniels, a roll of cash, and an Arkansas boat tag. Ellis looks around, no one. He looks over to Tom's boat. It's dark. Ellis scoops up the sack and heads inside.
EXT. PIGGLY WIGGLY PARKING LOT - LATE AFTERNOON
The digital wristwatch changes from "4:59" to "5:00". Neckbone sits on his bike parked near the vending machines at the Piggly Wiggly. Ellis, on the payphone, scans the parking lot. No sign of Carver's Lincoln. No other Bounty Hunters.
NECKBONE
Where are those bastards?
ELLIS
I don't know.
(hangs up)
She's not answerin'.
NECKBONE
What do you wanna do?
ELLIS
Take your bike around the side. I'll check her room. We'll just have to hope no one sees us.
Neckbone cranks the bike and speeds toward the motel. Ellis looks to the motel, then the parking lot.
EXT. EXECUTIVE INN - MOMENTS LATER
ON THE SECOND FLOOR, Ellis cautiously heads up the stairs. He eyes the parking lot at the Piggly Wiggly but still sees no sign of Carver's men. He moves quickly toward Juniper's door. Checking over his shoulder, he knocks. No answer. He knocks again. Nothing. He peeks through the window. No lights. No movement. BY THE DIRT BIKE, Neckbone gets off his bike and slips to the corner of the building. As he peeks his head out, Ellis nearly knocks him over on his way downstairs. They both flinch.
NECKBONE
Shit. Was she there?
ELLIS
Nothin'.
Ellis notices the front office
ELLIS
Come on.
INT. EXECUTIVE INN/FRONT OFFICE - CONTINUOUS
The MOTEL CLERK(29) doesn't look up from his issue of Lowrider as Ellis and Neckbone enter.
ELLIS
Scuse me, sir?
MOTEL CLERK
Yeah.
ELLIS
We're lookin' for the girl in room 212. You seen her?
MOTEL CLERK
I've seen her.
ELLIS
You see her today.
MOTEL CLERK
Yeah, she came down askin' for directions to the nearest bar. I told her to head out to a place on 61.
Ellis digests this. They turn to leave.
MOTEL CLERK
Wait a second, are ya'll the little bastards tryin' to sell fish to the guests?
They're already out the door.
EXT. ROADSIDE BAR - DUSK
Ellis and Neckbone pull into the gravel lot in front of a roadside bar. The cinder block building sits by itself just off the highway. Cars and motorcycles fill the lot.
NECKBONE
You think this is it?
ELLIS
It's gotta be.
INT. ROADSIDE BAR - CONTINUOUS
The small bar is loud and crowded. Shoulder to shoulder PATRONS bump against one another as MUSIC blares. Neckbone and Ellis press through the crowd searching for Juniper. They are a good foot shorter than anyone else. Ellis notices a man at the bar. It's Miller, the bounty hunter from King's motel. He's staring at something across the room. Ellis follows his line of sight. The crowd weaves in front of him, but then he sees her. Juniper leans against a pool table at the far end of the bar. A GUY(32) whispers in her ear and kisses her neck. She throws her head back, laughing. Ellis watches in disbelief. Nearby, the BARTENDER(46) fills a customer's shot glass. The two underage kids catch his attention. Ellis' face is frozen, locked on Juniper. Neckbone places a hand on his shoulder. Juniper's eyes drift toward the boys. She makes eye contact with Ellis, and her smile vanishes. The Guy keeps whispering in her ear. Juniper straightens her back slightly. Ellis can't take his eyes off her. Juniper stares back at him, but doesn't make a move. After a moment, Juniper's eyes fall to the floor. She turns her head back to the Guy. The crowd fills back in and the image is out of Ellis' reach.
BARTENDER (O.S.)
What the hell are ya'll doin'?!
The Bartender swoops in, grabbing them both by the backs of their necks and shoving them toward the door. Ellis strains against the thick hand. He tries to get another look at Juniper, but it's too crowded.
EXT. ROADSIDE BAR - DUSK - CONTINUOUS
The Bartender flings Ellis and Neckbone into the parking lot. Neckbone slides on the loose gravel.
BARTENDER
Ya'll stay outta here!
Ellis just stands staring at the front door. The Bartender makes a swatting motion toward them.
BARTENDER
I SAID GET OUTTA HERE!!!
Neckbone gathers his friend and leads him away.
NECKBONE
Thanks a lot asshole!
(to Ellis)
Come on man.
They head over to Neckbone's dirt bike. He pulls out the key and climbs on. Ellis hesitates.
NECKBONE
I'll take you home.
ELLIS
We're gonna have to tell Mud.
Neckbone drops his head, nods reluctantly.
EXT. ISLAND SHORE - NIGHT
The boys struggle to pull the heavy motor out of their boat. It hits the shoreline with a thud. They lean over it, sucking air.
ELLIS
Just leave it. Mud'll have to help get it.
NECKBONE
What're you gonna tell him?
ELLIS
I'll just tell him the truth.
EXT. ISLAND/SOUTHERN SHORE - NIGHT
Mud stands at the back of the boat, which now rests on the boat trailer near the water. His face is clean shaven and his hair is wetted back. His shirt, still filthy, is tucked into his pants. He whistles and works by the light of a small fire nearby. Ellis steps out from behind a tree. He's holding the grocery sack that was left on his houseboat.
ELLIS
MUD!
Mud, hearing the voice, quickly puts down his tools and turns to the woods. He smooths his clothes down.
MUD
What you say there?!
Ellis appears out of the dark, followed by Neckbone. Mud's eyes search the treeline for Juniper.
MUD
What you say Ellis?
Ellis can't look him in the eye.
ELLIS
We got that motor.
MUD
Is Juniper okay?
ELLIS
Yeah.
MUD
Where is she?
ELLIS
She didn't meet up with us.
MUD
What happened? Was it Carver?
ELLIS
It wasn't Carver.
Mud straightens up, prepares for the news.
MUD
What's goin' on Ellis?
ELLIS
She was supposed to meet us on the side of the motel. She never showed up. We went asking for her. The motel clerk told us she went to a bar out on 61.
MUD
What?
ELLIS
We tracked her down. She was there with another guy.
(hesitates)
They were together.
Mud's face drops. He walks to the fire and shakes a cooking pot resting in the coals. The pot bubbles with roof tar.
MUD
She probably thought Carver was on to her.
ELLIS
She knew the plan Mud. She just didn't show up.
MUD
What was she doin' with the other guy?
Ellis hesitates, not wanting to say. Mud pushes.
MUD
What were they doin' Ellis?
ELLIS
They were playin' pool. Drinkin'. He was close up on her. They were laughin'. He kissed her on the neck.
Mud nods.
MUD
And that's how it is.
He takes the pot of roofing tar over to the boat and begins pasting some of the newly replaced boards with a flat stick.
ELLIS
What do you want us to do?
MUD
Just go home Ellis.
Ellis looks at Neckbone, then sets the grocery sack on the ground.
ELLIS
Tom left this for you.
They slowly retreat into the woods and disappear. Mud turns back to the campfire and shoves the pot into the ashes. His eyes, soft and red, reflect the flame.
EXT. MISSISSIPPI RIVER - NIGHT
Ellis and Neckbone motor away from the island in the flat bottom boat. They look back at the shore.
ELLIS
You think it's all right to leave him alone?!
NECKBONE
I doubt it!
Neckbone sees Ellis' concern.
NECKBONE
I'll sleep over at your house tonight! We can check on him first thing tomorrow!
Ellis nods. As they head further up river, the island grows smaller, silhouetted by the moonlight.
INT. ELLIS' ROOM - MORNING
Neckbone snores, sprawled out on top of a sleeping bag on the floor. Ellis sits up in bed with something on his mind. He gets up and steps gingerly over Neckbone to exit the room.
INT. ELLIS' HOUSEBOAT - DEN - CONTINUOUS
The house is silent. Ellis slips into the kitchen and picks up the phone receiver mounted on the cabinet. He pulls the cord out to stand with his face in the corner. He dials, waits, and speaks softly into the receiver.
ELLIS
Hello? Is May Pearl there...This is Ellis...I called yesterday, you give her my message?...My name is Ellis. I'm her boyfriend...Oh, she's asleep...I said she's asleep?
The front door flies open. Senior storms headlong toward Ellis. He shouts.
SENIOR
MARY LEE!
Ellis turns as Senior yanks the phone by the cord. It snaps out of Ellis' hand and smashes apart on the floor. Ellis flinches at the sight of his father flying at him.
SENIOR
What the hell have you been doing? WHAT HAVE YOU BEEN DOIN'?!!
Senior grabs Ellis by the arms and shoves him against the den wall. Mary Lee comes running from her room.
SENIOR!
She slaps at her husband's arms and back.
SENIOR DAMMIT!
He swats her away.
SENIOR
You tell her. You tell her what you've been up to.
ELLIS
I don't know what you're sayin'.
MARY LEE
Take your hands off him Senior!
Senior keeps Ellis pinned to the wall with his left hand. He opens up and addresses Mary Lee with his right.
SENIOR
J.J. Crawford said a boat motor went missin' from his stock yard. Said his daughter saw this one and his friend haulin' it off.
This makes Mary Lee pause.
SENIOR
Now you tell me right now, did you steal that motor?
ELLIS
We didn't steal it.
SENIOR
Lie to me again.
ELLIS
We thought it was junk. We didn't think it was worth anything.
MARY LEE
Ellis?
A cool anger rushes over Senior's face. He releases Ellis and takes a step back.
SENIOR
You tell me I raised a thief?
ELLIS
I'm not a thief.
SENIOR
You take property that's not yours. Property that belongs to another man. That junk is his livelihood. I'm ashamed of you.
Ellis drops his head. His face flushed.
MARY LEE
Senior.
SENIOR
(to Mary Lee)
Shut your mouth. You think you can take things and not have him see it? Neither one of you has any respect for a man's livelihood. A life that puts clothes on your back and food in your stomach.
MARY LEE
Don't you blame this on me. One doesn't have a thing to do with the other and you know it.
SENIOR
Don't tell me what I know. If you can steal a man's life out from under him in front of your son and think he won't take a lesson from it than you're even dumber than you look.
ELLIS
Stop it dad.
Senior volleys a finger at Ellis.
SENIOR
She's raisin' you a snake like herself, and you can curl up with her 'fore I give a damn. You just remember this when you watch them rip this house apart board by board. You Hear Me!
Mary Lee slaps Senior hard. He turns to her, saying nothing.
MARY LEE
You're a man who's never had the strength to support his own life. I never asked you for a thing, and I've never took a thing from you that I couldn't provide for on my own. If they do tear my home apart the only joy I'll have in my heart is knowin' that they'll be tearing you out of my life for good.
She wipes her eyes and turns her attention to Ellis.
MARY LEE
Ellis. You'll return that motor from where you found it and you'll apologize in person to the man you took it from. I won't hear about anything like this again.
Mary Lee walks to the front door. She collects her purse and keys and exits quietly. Senior and Ellis stand in silence, which feels even more uncomfortable than the shouting. Ellis finally speaks.
ELLIS
I can't take that motor back. But I'll pay him for it. I'll pay him what he wants for it.
Senior, stoic, pivots his body away from the boy.
SENIOR
I don't care what you do Ellis.
Senior retreats to the bedroom. Ellis is left alone in the wake. He looks to his room. The door opens slightly and Neckbone takes a step out. Neckbone doesn't say anything. He just bites at his lip, sympathy for his friend.
EXT. ISLAND SHORE LANDING - DAY
Charred hunks of driftwood smolder in a ruined pile on the sand. They constitute the remains of a large bonfire. Neckbone and Ellis stare at the ash.
NECKBONE
What the hell's all this?
ELLIS
It's a bonfire.
NECKBONE
I guess he didn't care about bein' seen.
Ellis kicks at one of the burned logs. He bends down and finds the bottle of Jack Daniels, smashed.
ELLIS
He had something else on his mind. Come on.
Ellis leads Neckbone into the treeline.
EXT. ISLAND WOODS/CREEK - DAY
Mud's yellow shirt hangs, partially ripped, from a tree branch. Ellis pulls it off the limb. Concerned, they head deeper into the woods, over the fallen tree trunk that bridges the creek.
EXT. ISLAND WOODS AND SOUTHERN SHORE - DAY
The boys watch Mud through the trees at a distance. He's crouched on the deck of the boat fiddling with wiring. Mud, giving no sign he sees the boys, yells out to them.
MUD
What are ya'll hidin' for?
Mud drops the wiring and scales down to the bank. They emerge from the woods. Ellis carries the yellow shirt.
ELLIS
We found your shirt.
Ellis tosses it to him. Mud tosses it back.
MUD
Keep it. I don't need it anymore.
Mud goes to the motor at the rear to tinker with more wires.
ELLIS
We saw what's left of your bonfire.
(no response)
Somebody could've seen you.
MUD
I guess.
ELLIS
You do some drinkin' last night?
MUD
I did a lot of drinkin' last night.
Mud stops and walks over to address the boys. His face is pale and his manner is curt.
MUD
Neck I'm gonna need you here to get the motor runnin'. Ellis I need you to do something else for me.
Mud removes a folded note from his back pocket.
MUD
I need you to take this to Juniper.
ELLIS
Okay Mud.
Ellis takes the letter. Mud goes back to the boat motor. He motions to Neckbone to join him.
MUD
Let's go.
ELLIS
You still takin' Juniper?
MUD
I had a dream last night. I saw Juniper laying in a field with another man. They were making love. I walked out into the field. Walked toward 'em. I was so angry the tips of my ears were burnin'. That's how I knew I was gonna kill this man. But when I got up close enough, I saw that the man she was with had tattoos on his back, just like mine. I moved in closer and the guy turns his head back toward me. Hair for hair, dead truth, the guy she was with was me.
Mud ducks back under the motor. Ellis looks at Neckbone, worried.
MUD
I'll finish the boat, but I'd be surprised if I live long enough to sail on it. A vision of yourself is a sure sign of death. Neck can you grab me a socket wrench?
Neckbone and Ellis walk to the toolbox sitting nearby. They crouch by it, speaking quietly.
NECKBONE
You be all right?
ELLIS
Yeah. What about you?
NECKBONE
He'll be okay.
ELLIS
Can I borrow your bike?
Neckbone fishes the key out of his pocket. Hesitates.
NECKBONE
Don't tump it.
Ellis nods. Neckbone walks over to Mud with the toolbox. Letter in hand, Ellis gives a final look toward Mud's labor and walks back into the woods. On his way, he stops to hang Mud's shirt on a tree branch.
EXT. MISSISSIPPI RIVER - DAY
Ellis rides in the flat bottom boat alone. He stares at the letter in his hand.
EXT. PIGGLY WIGGLY - DAY
Ellis sits on the dirt bike. He scans the parking lot. No black Lincoln. His eyes stop on a green pick-up. Miller, sits inside. Ellis looks around and finds a pay phone nearby. He gets off the bike and walks toward it. Ellis removes the flier Carver gave him. He dials a phone number copied at the bottom.
ELLIS
(into the phone)
Hello. I saw the guy you're lookin' for...Yeah, he's crazy lookin'. Saw him at the Wal-mart outside of Gillet. He was buyin' some beanie weenie...'bout five minutes ago.
Ellis hangs up the phone. He walks back over to the bike, climbs on and waits. After a moment, he watches as Miller's green pick-up pulls out of the Piggly Wiggly parking lot and races away. Ellis cranks the bike.
EXT. EXECUTIVE INN/JUNIPER'S ROOM - CONTINUOUS
Ellis, at a slight crouch, keeps his eyes on the Piggly Wiggly parking lot. The green pick-up is nowhere in sight. At Juniper's door, he knocks twice, softly. The door swings opens. Juniper stands there, holding a lit cigarette.
JUNIPER
I was wonderin' when I'd see you.
Ellis checks over his shoulder and walks inside
INT. EXECUTIVE INN/JUNIPER'S ROOM - CONTINUOUS
The bed is unmade and the room is a bit of a mess. Ellis keeps his head down. Juniper closes the door and takes a seat on the edge of the bed. She grabs the remote control and mutes the television.
JUNIPER
I'm sorry about last night. I didn't plan on...
Before she can finish Ellis has fished the letter out of his pocket and holds it out to her.
ELLIS
I'm supposed to give this to you.
Juniper takes the letter.
JUNIPER
Okay.
Ellis goes to the door. He pulls the bedroom curtain back slightly to check the parking lot. The coast is clear.
JUNIPER
Did you read it?
ELLIS
No. I gotta go.
JUNIPER
Ellis?
He turns to her.
JUNIPER
I'm sorry.
ELLIS
All you had to do was be there.
JUNIPER
I couldn't.
ELLIS
Then why'd you even come here?
JUNIPER
I came here to leave with him. I really did. But now...now I guess I just came to say goodbye.
His eyes fall to the floor.
JUNIPER
You don't know us Ellis. We've been headin' this way for a long time.
ELLIS
I know he'd do anything for you.
She puts her cigarette out in a Coke can on the floor.
JUNIPER
You really believe that?
Ellis nods. Juniper speaks to him gently, almost smiling. It's a look of resignation.
JUNIPER
Mud's a born liar. That's what makes him so likable. He makes people feel good about themselves. He's a romantic. I don't think he means to hurt people. But when people get close to him, that's what happens.
Ellis watches her as she goes to the sink and wets the end of a towel. She dabs her eyes at the mirror.
JUNIPER
I do love him Ellis. But I can't spend the rest of my life runnin' with him. I may not know what kind of life I want, but I know that's not it.
Her back to him, Ellis watches as she unfolds the letter and begins reading. He angles himself to see her face in the mirror. He watches her eyes scanning the words. No emotion. She finishes, folds the letter back up, then turns to him.
JUNIPER
Tell him I understand.
ELLIS
What's it say?
JUNIPER
It says it's over. Tell him I've packed my things. Tell him I've gone.
She takes a deep breath and smiles at him.
JUNIPER
Bye Ellis.
Ellis turns and walks out.
EXT. EXECUTIVE INN/JUNIPER'S ROOM - CONTINUOUS
Ellis, dejected, no longer bothers to look over his shoulder. He walks to the staircase but stops there. Feeling the need to say something more, he goes back to her room. He puts his knuckle flat on the door but hesitates. He leans over and looks through the window. The sliver in the curtain gives him a glimpse. Juniper is curled up on the end of the bed. She is sobbing. Ellis watches longer than he should before pulling his head away from the window. Ellis heads back downstairs.
EXT. INTERSECTION/SONIC DRIVE-IN - DAY
Ellis, riding the dirtbike, looks to his left into the Sonic Drive-In parking lot. The high school kids have gathered there again. He notices a rust colored Ford coup. The driver, an older kid named KYLE(18), sits beside May Pearl laughing. Ellis steers into traffic and crosses the street. He pulls onto a patch of grass at the edge of the Sonic parking lot. In one motion, Ellis tumps the bike on its side and makes a b- line for the coup. INSIDE THE CAR, Kyle's hand is on May Pearl's knee.
KYLE
So what'd she say?
MAY PEARL
She said she didn't like him that much. I told her I thought he was all right.
Ellis appears with his elbows in the driver's side window. He sticks his head so far in the door that Kyle has to lean back in his seat to make room. May Pearl is surprised. Kyle snorts out a laugh.
ELLIS
You get my phone calls?
MAY PEARL
What?
ELLIS
I've been callin' you.
(motions with his head)
Who's this guy?
KYLE
Get your head outta my car kid.
Ellis takes his right elbow and quickly knocks Kyle in the mouth. It splits his upper lip. Kyle grabs his face.
KYLE
Shit!
MAY PEARL
Ellis!
ELLIS
I called you twice yesterday. Your sister didn't tell you?
Kyle slings the door open knocking Ellis to the pavement. From the ground, Ellis can see that Kyle is big and considerably tougher than the skinny kid he punched before. Kyle's friends from other cars take notice and begin to converge on them. Ellis makes a move for Kyle's legs but is kicked back to the pavement. Kyle straddles him on the ground and punches him. Another punch to Ellis' face. May Pearl is out of the car and yelling.
MAY PEARL
Kyle! Stop it Kyle!
May Pearl pulls Kyle by the collar. By his own will, he raises off of Ellis, keeping an eye on him. A streak of blood stretches from Ellis' nose to his ear. He gets to his feet, dazed. Ellis wipes at his nose and sees May Pearl shove Kyle. Kyle smiles and turns to his friends, who laugh. The CROWD that has collected consists of older high school guys and girls. Ellis steps toward May Pearl and is met with a shove too.
MAY PEARL
What the hell are you doin' here Ellis?!
ELLIS
What?
MAY PEARL
You can't just run up and punch people I'm with!
ELLIS
I'm sorry, I just wanted to know why you hadn't called me back. I...
MAY PEARL
Why would I call you back Ellis?
ELLIS
Because you're my girlfriend.
The crowd is watching.
MAY PEARL
I'm not your girlfriend! We went on one date. One!
ELLIS
We kissed.
MAY PEARL
That doesn't matter!
ELLIS
Yeah but...
MAY PEARL
But what Ellis?! What did you expect?!
ELLIS
I love you.
MAY PEARL
You're fourteen!
ELLIS
Don't. Wait. We can make this work. We can figure it out. I love you.
MAY PEARL
What?
Ellis is losing it. His eyes are red. He looks at the crowd of kids. There are smiles and some snickering. May Pearl is speechless. She just stares at him. Ellis turns and walks back to the dirt bike. May Pearl's girlfriends gather around her. She shakes her head, dumbstruck. Ellis lifts the bike off the ground. He looks back at May Pearl who appears to be shrugging off the whole affair in front of her friends. Ellis speeds off.
EXT. ELLIS' HOUSEBOAT/RIVERBANK - DAY
A fire snaps and pops on the riverbank next to Ellis' houseboat. Ellis drags a piece of particle board from a trash pile nearby. He drops the board onto the fire and stands back to watch the blaze. Neckbone's bike leans on a tree behind him. Senior's truck rattles to a stop in the gravel just down the bank. He jumps out of the cab exasperated by the fire his son has started by their home.
SENIOR
What the hell are you doin'?!
Ellis says nothing. He doesn't move. Senior, continuing to yell, runs and drags a hose up from the houseboat.
SENIOR
Ellis dammit! What the hell's wrong with you?!
The fire hisses as Senior turns the hose on it.
SENIOR
Ellis? Look at me.
Ellis finally looks up at his father. A phone RINGS from inside the houseboat. Senior holds the hose in front of him.
SENIOR
Take it. Put this damn thing out.
Ellis takes the hose as Senior stomps on board to catch the phone. Ellis drops the hose. Senior's voice, speaking into the telephone, faintly carries outside. He's yelling. Ellis turns his head to listen.
SENIOR (O.S.)
I don't give a shit! Fine! I don't care what you do! I'm done with it!
Ellis moves around the fire so he can see the houseboat through the flames. He hears the phone SLAM down. Senior appears at the back door. He stares at Ellis through the fire. Ellis moves to the side but realizes Senior isn't staring at him. He's staring at the fire. Senior disappears back into the house. There is a commotion. Ellis watches as Senior bursts out of the house holding an armful of woman's clothes. Senior walks up to the bonfire and begins tossing clothes on top piece by piece.
ELLIS
What are you doing?
Ellis watches as dresses and blouses begin to shrivel up in the flames.
ELLIS
Stop it! That's mom's stuff! STOP IT!
Ellis shoves at Senior. He easily counters the boy with his arm and continues tossing the clothes into the fire. Ellis is screaming and crying.
STOP IT!
Ellis tries yanking the remaining clothes out of his father's
STOP!
hands but Senior shakes him off. Ellis stumbles. He watches with tears as Senior tosses all of the clothes on. Senior watches his wife's clothes burn. Ellis backs away to the bike. He climbs on, cranks the engine and speeds off.
EXT. ISLAND SHORE - DAY
Ellis grounds the flat-bottom on shore and jumps out.
EXT. ISLAND WOODS/CREEK - DAY
Ellis thrashes through the woods. His muddy feet stomp across the fallen tree trunk that bridges the creek.
EXT. ISLAND/SOUTHERN SHORE - DAY
The boat rests on its trailer on the edge of the bank. Mud stands on board looking down at the motor. Neckbone, tools in hand, has his head buried in the motor.
NECKBONE
Try it now.
Mud turns a switch. No result.
MUD
Nothin'.
NECKBONE
Sonofabitch.
Ellis emerges from the treeline. Mud sees him and hops down from the boat. He walks up to him.
MUD
What'd she...
Ellis punches Mud with as much force as he can muster. It's barely enough to turn Mud's face, but it stuns him.
ELLIS
You're a liar. Makin' two kids run around doin' work you're too scared to do yourself. Makin' me tell her it's over 'cause you're too scared to do it yourself.
Mud steps back and gives the boy his space. Neckbone has made his way over and watches from behind Mud.
ELLIS
You said you loved her and you lied. You gave up on her and she gave up on you just like everybody else. I trusted you. Bonfires and crosses. Wolf's eye bullshit.
Mud tries to approach him but the boy explodes, shoving him.
ELLIS
EVERYTHING YOU'VE TOLD ME WAS A
LIE! You never cared about her. You never cared about us. Not like you said. Not enough to matter. You used us.
MUD
Come on Ellis.
Mud holds a hand out to him. Ellis slaps it away.
ELLIS
You made me a thief!
Ellis walks back into the woods. Mud exhales and turns back to Neckbone.
NECKBONE
Let me talk to him.
EXT. ISLAND WOODS/CREEK - DAY
Ellis walks through the woods. Neckbone follows.
NECKBONE
Ellis! Ellis, stop for a second!
Neckbone watches as Ellis reaches the tree trunk that bridges the creek. Ellis steps onto the log, but his muddy shoes miss a step. He SLIPS. Neckbone sees Ellis disappear down into the creek bed.
NECKBONE
ELLIS!
Neckbone rushes over. He cranes his neck out to peer over the edge, a solid eight foot drop into the creek. Ellis floats face up in the shallow water. He's unconscious. A wound on his head from a nearby rock. The nest of WATER MOCCASINS has been disturbed; SNAKES WRITHE AROUND ELLIS' BODY. Neckbone's eyes widen. He darts back toward the shore.
EXT. ISLAND/SOUTHERN SHORE - DAY
Mud stands at the rear of the boat massaging his jaw.
MUD!
Mud hears the yelling.
MUD!
Neckbone explodes from the trees.
NECKBONE
MUD! ELLIS FELL! HE FELL IN THE
CREEK!
Mud rushes forward.
NECKBONE
HE FELL INTO SNAKES! THE SNAKES!
Mud stops.
NECKBONE
MUD PLEASE!
Mud looks around. His shirt hangs from a tree limb nearby. He snags it and darts into the woods.
EXT. ISLAND WOODS/CREEK - DAY
Mud streaks through the woods as he gets his other arm through the shirt sleeve. He reaches the creek. Without hesitating, Mud leaps down into the water, scoops Ellis into his arms and scales up the opposite side of the creek bed. Mud sprints for the north side of the island. Neckbone chases after them.
EXT. NORTHERN SHORE AND RIVER - DAY
Mud cradles Ellis in his arms as he rushes to the flat-bottom boat. He sets Ellis gently inside. Neckbone on his heels. Mud shoves the boat into the water and hops in. Neckbone wades out and crawls up the side of the boat.
MUD
Get the motor started.
Neckbone cranks the motor. As they move up river, Mud searches Ellis' body. He looks at his neck, his arms, he pulls up his shirt.
NECKBONE
IS HE OKAY?! Is he bit?!
Mud notices Ellis' jeans leg riding up. He pulls the jeans back. A BITE in the middle of his calf. It's a bluish bruise with two distinct red dots. The skin around the bite has already begun to swell.
MUD
Shit.
He rips the jeans up to the thigh. Mud tears a section of cloth from the bottom of his own shirt and creates a tourniquet just below Ellis' knee.
MUD
What time is it?
Mud pulls a black Sharpie out of his pocket. Neckbone doesn't answer, just stares.
MUD
WHAT TIME IS IT?!
Neckbone checks his watch.
NECKBONE
It's four eighteen!
Mud draws a line on Ellis' leg just above the swollen bite. He writes, "418".
MUD
Yell out every 10 minutes!
Mud elevates Ellis' leg then gently cups his head. He dabs the gash on Ellis' forehead.
NECKBONE
Is he gonna be okay?!
MUD
We just need to get him to a clinic! Is there still one in town?!
NECKBONE
Yeah!
MUD
It's the closest?!
NECKBONE
Yeah!
MUD
I'm gonna need your bike!
NECKBONE
Are you bit?!
Mud shakes his head.
MUD
No.
He holds Ellis as they move steadily up river.
EXT. RIVERBANK - DAY
The flat bottom boat approaches the riverbank. Neckbone points to the sandy ridge and yells up to Mud.
NECKBONE
My bike should be just over that ridge!
Mud looks at Ellis' leg. The swelling has crept up his thigh. Black lines with numbers mark its progress: "428, 438, 448". Ellis' face has taken on a blue tint. The boat hasn't reached the shore, but Mud takes Ellis in his arms and jumps into the water. He wades onto the bank. AT THE BIKE, Mud straddles it, turning Ellis' body so they are face to face. He cranks the bike and speeds away. Neckbone makes it to the top of the ridge in time to see Mud disappear into the trees.
EXT. TWO-LANE HIGHWAY - DAY
Mud speeds the dirt bike down the two-lane highway. He's far too big for the bike and it's even trickier balancing Ellis. Coming up on a slow moving pick-up overloaded with junk, Mud veers into the opposing lane. ONCOMING TRAFFIC. Mud darts back to his lane in time to miss a semi.
EXT. CLINIC - DAY
A MALE NURSE(36) wheels an ELDERLY MAN through the sliding double front doors of a small clinic. Mud appears around the corner. The bike speeding toward the entrance. In a fluid motion, Mud takes Ellis in his arms and lifts his leg over the bike. The bike tilts and slides across the pavement, smacking solidly into the curb. Mud has managed to stay on his feet with the boy in his arms and rushes through the automatic front doors.
INT. CLINIC - CONTINUOUS
The reception area has a DOZEN PATIENTS sitting in it. A check-in desk to the left. Mud holds Ellis out in his arms.
MUD
I NEED HELP HERE!
A FEMALE NURSE rushes out of the check-in area.
FEMALE NURSE
Just stay calm. What's going on?
MUD
He's been snake bit.
ANOTHER NURSE rushes off calling for a doctor. The room becomes more frenzied. Patients talking. Nurses shouting.
MUD
He's snake bit. A cotton mouth. On his calf. Just under an hour.
As quickly as Mud gets this out, a GROUP of NURSES rush out of a door at the end of the room pushing a gurney. They take Ellis from Mud's arm, place him on the gurney, and speed him into the back of the clinic. The commotion gone, the reception area feels oddly still. Mud takes a deep breath. He looks to his right. Patients stare at him. He's beyond disheveled. He's crazy looking. Mud turns to his left. The Male Nurse stares at him. For the first time, Mud realizes he's out in the open.
MALE NURSE
Sir?
Mud slowly backs up.
MALE NURSE
Sir? We're gonna need some information?
Mud backs out of the automatic doors. The entire room stares at him.
EXT. CLINIC - CONTINUOUS
Mud is outside. The glass doors close. He nervously checks over his shoulders. He spots a bank of trees just down from the clinic. He heads for them. The front doors slide open and the Male Nurse walks out.
MALE NURSE
Sir?!
Mud hops into the bank of trees and disappears.
INT. CLINIC - CONTINUOUS
The Patients in the reception area settle back into their seats and discuss the commotion. The Male Nurse enters and walks behind the check-in window. IN THE WINDOW, The Male Nurse fingers through a pile of papers. He removes one of the fliers that Carver and his men have been showing. The Nurse studies the photo, looking back at the front doors. He picks up the phone and dials the number at the bottom.
INT. PINES MOTEL - CONTINUOUS
In the adjoining room, the phone rings. King steps through the doorway, takes a seat on the bed, and answers.
KING
Hello...Yes...Yessir we are...Uh huh.
King takes a pen from his shirt pocket and scribbles on a pad on the nightstand.
KING
Now where'd you say you were?...Okay...He's gone. Okay...But you say he left the boy?...And your name sir?
EXT. EXECUTIVE INN - EVENING
The sun has been down for awhile. Juniper leans on the railing outside her room taking long drags from a cigarette. She sees Miller's green pick-up parked below. Suddenly the headlights pop on and the truck pulls away. She watches, curious, as it speeds out of sight. A train whistle blows in the distance but is overtaken by a semi rumbling down the street. She watches the semi pass revealing the DAY/NITE Gas Station's parking lot. A130 MUD STANDS IN THE CORNER OF THE LOT. Half lit by a sodium A130 lamp, he stares up at her. Juniper raises up. Even in the dim light she knows it's him. She doesn't move. Mud holds up a hand, waves. Juniper slowly waves back. She tries to smile at him, but she's about to cry and it's hard to muster. Mud smiles. After a long moment, he turns his back and disappears in the shadows at the side of the gas station. Juniper watches after him.
EXT. BLACK BAYOU - NIGHT
The night sky is dark purple. An unnatural color. Ellis is on his back. Eyes closed. His head jostles at the SOUND of THUMPING. More THUMPING. It sounds like the hood of a car denting in. His eyes open. He stares up at an absurdly full moon. It's so bright it totally silhouettes the tree branches overhead. The THUMPING continues. Ellis puts his hands on the edge of the flat-bottom boat he's floating in and pulls himself up. He leans over the side to see what's causing the noise. The water is jet black. The entire bayou pulsates. Ellis' eyes grow wide as the THUMPING reveals itself. THE BAYOU IS FILLED TO THE BRIM WITH SNAKES. The moonlight illuminates their shiny black backs as they twist and churn in what seems like one giant ball of snakes. Ellis lies back in the boat bringing his arms close to his chest. He flinches at each THUMP. His eyes squeeze shut.
INT. ELLIS' ROOM - NIGHT
His eyes open. Ellis bolts up in bed covered in a cold sweat. Mary Lee places a palm on his chest.
MARY LEE
It's okay. You're okay. Just set back.
Mary Lee guides Ellis back down on the pillow. Senior stands with his arm on her shoulder. They look down at their son.
ELLIS
Where am I?
MARY LEE
You're home. We got you home.
Ellis takes a second to get his bearings. His mother lifts a glass of Sprite up to his mouth. He takes a sip.
SENIOR
You had us scared son.
Senior steps forward and kisses Ellis on the forehead. Staying close to his face.
SENIOR
(whispers)
I'm so glad you're okay.
MARY LEE
The doctors gave you some medicine. You had a snake bite.
ELLIS
How'd I get to the doctor?
MARY LEE
A man brought you in. No one knew him.
Ellis tries to sit up in bed, but his mother stops him.
MARY LEE
It's okay. You just need to rest up now. We can talk all about it later. Do you need anything? Are you hungry?
ELLIS
No.
Senior gently pats her shoulders.
SENIOR
Come on. Let's let him rest.
Mary Lee touches Senior's hand on her shoulder. She stands.
MARY LEE
I'll be back in to check on you but just try and sleep if you can.
ELLIS
Okay.
Senior leads Mary Lee to the door.
ELLIS
Mom? Dad?
They turn back.
ELLIS
I love ya'll.
MARY LEE
We love you too Ellis.
They exit the room. Ellis rests his head back on the pillow and takes a deep breath.
EXT. ISLAND/SOUTHERN SHORE - NIGHT
Mud and Neckbone shove against the back of the boat trailer. The wheels of the trailer rock at the edge of the bank's incline. Sheets of metal roofing taken from the shack Ellis and Neckbone dismantled line a runway into the water.
MUD
(straining)
Almost there.
The wheels finally turn over. The trailer rolls down the bank and splashes into the water. The boat shimmies. Mud and Neckbone follow the trailer into knee deep water and shove on the boat. A final push jettisons it into the river. They step back as the boat drifts out. A rope tied to its back becomes taught as it stretches from a tree on shore.
MUD
The sun does shine on a dog's ass some days.
NECKBONE
It ain't sunk yet.
Mud smiles. He holds out his hand, which Neckbone slaps.
NECKBONE
I wish Ellis could see it.
MUD
I know.
Mud walks back on shore and collects his duffel bag.
MUD
I owe you your end of the deal.
Mud removes the pistol from the back of his jeans. Neckbone's eyes light up. Mud hands it over and Neckbone immediately notices a hole where the clip is missing.
NECKBONE
Where the bullets?
MUD
The deal was for the gun, not the bullets.
NECKBONE
Shit.
Neckbone begrudgingly crams the pistol into the back of his pants.
MUD
I got one last favor to ask you.
Neckbone sucks his teeth.
EXT. ELLIS' HOUSEBOAT - NIGHT
Water gently laps at the side of Ellis' houseboat. The bayou is quiet. From the darkness, Neckbone and Mud appear in the flat-bottom boat. They paddle with their hands. Approaching in silence.
INT. ELLIS' ROOM - NIGHT
Ellis stares at the ceiling, unable to sleep. A TAP comes from the window. Ellis sits up in bed. Mud pokes his head in. He whispers.
MUD
Ellis?
ELLIS
Mud?
MUD
Yeah.
Mud pulls his body through the window. It's tight but he manages to make it look somewhat graceful. Mud takes a quick survey of the dark room. Ellis begins to get out of bed.
MUD
No, don't get up.
Mud motions him back down and pulls the chair from the desk over to the bed. They speak in hushed voices.
ELLIS
How'd you get here?
MUD
Neck brought me.
EXT. ELLIS' HOUSEBOAT - CONTINUOUS
Neckbone sits in the flat-bottom tied off at the corner. FROM THE TREELINE ON SHORE, All EIGHT of the Bounty Hunters sit hunkered in the trees. Carver squats next to a stump. He loads shotgun shells into a 12 gauge pump and motions for the others to fan out along the bank.
INT. ELLIS' ROOM - CONTINUOUS
MUD
We got the boat in the water.
ELLIS
You did?
MUD
Just now. Smooth sailin' from here on out.
ELLIS
Good.
MUD
Wish you coulda seen it.
ELLIS
Me too.
MUD
Didn't feel right leavin' town without sayin' goodbye.
There is an awkward moment.
ELLIS
I'm sorry 'bout what I said.
MUD
No. No. You were right to be mad. You were right about a lot of things. I'm the one that's sorry. I shoulda never gotten ya'll into all this. I just didn't see any other way around it. But I couldn't leave without you knowin' I never lied about being your friend. I never lied about that.
ELLIS
I know.
MUD
I don't traffic in the truth too often. But I did love her. I do love her.
ELLIS
She loves you too. She said it.
This fact still strikes Mud. He nods.
MUD
I just made mistakes. We both did. This is a hard life to keep up with. You can't blame her for gettin' tired of tryin'.
ELLIS
My dad says you can't count on women lovin' you. He says you can't trust it.
MUD
That's not true. Don't judge your life on all of our mistakes. You'll make plenty mistakes of your own, no need takin' on everybody else's. You're a good man Ellis. If you find a girl half as good, you'll be all right.
ELLIS
You're a good man too Mud.
Mud smiles.
MUD
No. I'm not. But maybe from here on out I can be...
A SHOTGUN BLAST rips a fist-sized hole in the flimsy interior wall. Mud, as if by reflex, yanks Ellis from the sheets and shoves him under the bed. BOOM. BOOM. Bits of sheetrock fall like snow flakes as more holes blast through the bedroom wall. Mud flinches with each shot. He covers his own head with one hand and the boy with the other.
ELLIS
Mud?!
MUD
Stay put! JUST STAY UNDER THERE!
The SOUND of shotgun shells being slipped into the chamber. Mud gets to a crouch. Through the holes in the wall, Mud makes out Nelson, the fat bounty hunter, reloading his gun. IN THE DEN, Nelson finishes reloading. The riddled bedroom wall hangs in front of him. A door opens behind him. He swivels around. Senior, in a robe, rushes from his bedroom with a pistol leveled. He's met with a shotgun blast just above his head. Pellets nick his face. Senior hits the ground and elbows his way back inside his bedroom door.
ELLIS!
Senior screams, his voice cracking.
ELLIS!
IN ELLIS' ROOM,
SENIOR (O.S.)
(muffled through the wall)
ELLIS!
MUD
(whispering)
Don't move Ellis. Just stay put. They just want me.
Through the holes Mud sees Nelson approaching Ellis' bedroom. He runs for the window at the foot of the bed. Another shotgun BLAST throws open the door as Mud leaps out.
EXT. ELLIS' HOUSEBOAT - CONTINUOUS
Mud crashes headfirst onto the edge of the houseboat grasping for anything to keep from sliding off. His hand catches a metal deck cleat. It bends under his weight but holds. Mud gets to his feet and is met by the tip of a rifle. Miller, the man from the cafe, stands poised to fire. Mud's hand slips to the back of his pants for his pistol. NOTHING. He looks to the flat-bottom tied at the far edge of the boat. No sign of Neckbone. Miller's finger curls around the trigger. SUDDENLY, a BULLET snicks through Miller's neck. Mud flinches. Miller's hand comes up to his neck but can't hold the blood running from it. He topples into the water.
EXT. TOM BLANKENSHIP'S HOUSEBOAT - CONTINUOUS
Tom Blankenship sits in the folding chair on the roof of his houseboat. He shucks an empty shell from a HIGH-POWERED RIFLE complete with scope. The long suitcase from the photo in Tom's house sits open at his feet. It has compartments for the disassembled rifle. Tom quickly raises to a new firing position. He squints an eye, searching for another target. A141 From this vantage point, Ellis' houseboat is clearly visible;
A141
partially lit by the two flood lights. FOUR other BOUNTY HUNTERS swarm the boat.
INT. ELLIS' ROOM - CONTINUOUS
Still under the bed, Ellis tries to hold his breath as Nelson's boots step into the room. They pause for a moment, before sluggishly struggling through the bedroom window.
EXT. ELLIS' HOUSEBOAT - CONTINUOUS
Mud rushes to untie the flat-bottom. A BULLET splinters the corner of the dock sending shards of wood into Mud's hand. He sees TWO more GUNMEN skirting toward him on the deck of the houseboat. Mud takes cover against the wall and finds the muzzle of Nelson's gun teetering out Ellis' window. He grabs the muzzle and yanks the shotgun free. Nelson, stuck in the window, looks up in time to take a rifle butt in the face. He falls back into the room unconscious.
NECKBONE (O.S.)
ON THE RIVERBANK, James, the man with the mustache, holds Neckbone in a headlock trying to cover his mouth. Carver stands with his shotgun leveled and fires at Mud. ON THE BOAT, Mud ducks as Carver's shot takes out a chunk of siding. The SOUND of boots rush up the side of the boat. Mud, gun in hand, jumps back through Ellis' window. ON THE RIVERBANK, Carver turns to Neckbone.
CARVER
Let him go.
James unhands the boy. Neckbone sprints into the woods.
CARVER
Come on.
They move toward the houseboat.
INT. ELLIS' ROOM/HOUSEBOAT - CONTINUOUS
Mud gets to his feet, stepping over an unconscious Nelson on his way to the bedroom door.
MUD
You still down there bud?
ELLIS
Yeah.
MUD
Stay put.
Mud pops out of the bedroom into the den. IN SENIOR'S BEDROOM, Mary Lee, curled under the bed, frantically dials the phone. Senior, propped against the closed door, uses his undershirt to dab the pellet wounds around his neck. Hearing footsteps, he cracks the door open. He sees Mud standing in the den. Senior cocks his pistol IN THE DEN, The front door is KICKED open. Mud dives behind a Lazy Boy as a Bounty Hunter fires through the doorway. The back of the Lazy Boy explodes in fluff and fabric. Mud raises up to return fire, forcing the Man back out the door. Mud crouches back behind the Lazy Boy. Unbeknownst to him, another MAN appears outside two sliding glass doors. The Man raises his rifle at Mud. One of Tom's bullets rips through the Man's chest and shatters the glass door. Mud flinches. Another Hunter steps into the now broken door frame. Mud FIRES the shotgun, blowing the man into the patio grill. A149 Mud can see Tom's houseboat silhouetted across the A149 bayou. A muzzle FLASH sparks from the top of Tom's boat. This makes Mud smile. The Front Door kicks open again and more pellets shatter through the den. Mud raises to return fire. ONE SHOT, TWO, the third is a dead CLICK. He drops back behind the chair, out of shells.
EXT. ELLIS' HOUSEBOAT - CONTINUOUS
Carver steps across the plank onto the houseboat followed by James. Carver motions him around back toward Ellis' window.
CARVER
Flush him out this way.
Carver walks to the covered carport.
INT. ELLIS' HOUSEBOAT - CONTINUOUS
IN THE DEN,
The Hunters at the front door continue taking pot shots at the furniture. Mud flinches at each new round fired.
IN ELLIS' ROOM, Ellis cautiously slides out from under his bed and crouches next to the bedroom door. He peeks through a crack. He sees Mud pinned behind the Lazy Boy. They make eye contact. Mud's eyes move to something behind Ellis. Ellis turns to see James passing by his bedroom window.
EXT. TOM BLANKENSHIP'S HOUSEBOAT - CONTINUOUS
Tom scans Ellis' boat through the scope on his rifle. He sees Carver creeping around the carport. He pans right to find James taking a position near the patio doors. Tom pauses, seeing Ellis appear at the corner of the boat just behind James.
INT. ELLIS' HOUSEBOAT - DEN - CONTINUOUS
The firing from the front door has stopped. Mud takes a deep breath, sets the empty shotgun on the ground, then rushes out the sliding glass doors as the men out front reload.
EXT. ELLIS' HOUSEBOAT/TOM'S HOUSEBOAT - CONTINUOUS
Mud makes it outside, his back to James' leveled rifle.
ELLIS
MUD!
James and Mud both turn at the sound of Ellis' voice. One of Tom's bullets drops James dead. Carver appears at the carport end of the boat. He raises his shotgun toward Mud. A156 ON TOM, A156 He snaps the bolt open and closed, but it jams. He jerks at the lever, looking up he sees Carver taking aim. ON MUD, Mud takes a running leap off the side of the boat. Carver FIRES. Mud is struck in the back by the shotgun blast. The force of the shot spins him in the air. He crashes into the water. Ellis screams.
ELLIS
MUD!
Carver approaches the edge of the boat. He stares down into the swirling dark water. No sign of Mud. A157 ON TOM, A157 Tom slaps open the bolt and yanks the spent cartridge out with his fingers. It BURNS.
TOM
DAMMIT!
ON CARVER,
He pumps the shotgun and fires into the murky water. The pellets pepper the surface. Still no sign of Mud. Carver pumps the shotgun a final time, but before he can get another shot off Tom's bullet rips open Carver's chest sending him sprawling through the broken patio doors. ON TOM, He exhales, shucks the bolt once more. His eyes scan the dark water.
ON THE HOUSEBOAT, Ellis runs to the edge of the boat.
MUD!
Senior exits the houseboat, pistol pointed.
MUD!
He sees Ellis
and runs to him.
SENIOR
ELLIS!
Senior grabs the boy, keeping his pistol up. Ellis drops to his knees and Senior crouches with him, holding him tight in his arms. Ellis cries.
SENIOR
It's okay. It's okay.
The two sit alone on the edge of the houseboat. The river seems especially quiet now.
I/E. ELLIS' HOUSEBOAT/RIVERBANK - PREDAWN
The sky shows faint signs of morning, a few streaks of light. ON THE RIVERBANK, The blue, red, and white lights from police cruisers and ambulances bounce up into the trees. A frenzy of Police activity swarms from the aftermath left on Ellis' houseboat. Men in wetsuits prepare a dive. Blanket covered bodies are wheeled off on gurneys. Two of the Bounty Hunters, unharmed, sit locked in the back of a state trooper vehicle. ON THE HOUSEBOAT, Ellis, Senior and Mary Lee sit huddled together under the carport. They watch the emergency workers stream past. Senior wraps his arms around them. Ellis looks across the bayou to Tom's boat. Police flashlights bob and weave throughout. No sign of Tom. INSIDE ELLIS' HOUSEBOAT, A LOCAL OFFICER strings caution tape across the broken patio doors. TWO STATE TROOPERS hover over Carver's body. The Troopers step away and the Local Officer cranes toward the body. He studies Carver's face. Stepping aside, the Officer takes a cell phone from his pocket and dials. He turns his back away from the Troopers.
INT. PINES MOTEL ROOM - NIGHT
The phone rings in the Pines Motel. King enters from the adjoining room and takes a seat on the bed. He answers.
KING
Hello...You're speaking to him...
King listens. His face taut.
KING
He's dead?
(a long pause)
Okay.
King hangs up the phone. He sits at the edge of the bed, overwhelmed by the news.
EXT. RIVER - NIGHT
It's dark on the river. Moonlight barely shows the ripples in the slow moving current. MUSIC from a country station slips out across the surface of the water. Galen's jambox sits next to a small lantern in his flat- bottom boat. His Helper snores, fully reclined, with an empty can of Budweiser resting on his gut. His feet are propped next to a tiny bell rigged to a line that disappears into the water. The bell RINGS.
EXT. UNDERWATER - RIVER - NIGHT
The river bed swirls inside two, distinct spots of light. Galen, using his new diving lights, scoops a final mussel shell into the net before tying it off. He tugs at the line. It's pitch black save for the shafts of light projected from Galen's shoulders. He tilts the lights toward the surface. The line leading up to the bottom of the boat dances in and out of the high beams. Then... MUD'S BODY FLOATS BY OVERHEAD. Only his backside is visible. A cloud of blood trails from the holes there. FADE TO BLACK.:
EXT. ELLIS' HOUSEBOAT - DAY
A WORKER cinches a thick strap across the deck of Ellis' houseboat. ON THE RIVERBANK, Ellis watches as WORKERS affix straps from his houseboat to a crane resting in the bed of a large truck on the bank. The SOUND of Neckbone's dirt bike rattles through the trees. He appears behind Ellis and parks.
NECKBONE
Hey.
ELLIS
You got your bike back.
NECKBONE
Mud dinged the shit out of it.
Neckbone takes a seat next to Ellis. They watch the workers.
NECKBONE
They're really doin' it.
ELLIS
It's the law.
NECKBONE
It's bullshit. They ever find Tom?
The boys focus on Tom Blankenship's boat across the bayou. It sits vacant, covered in police tape.
ELLIS
No. He's gone.
NECKBONE
Your dad not here?
ELLIS
Said he couldn't watch it. He's pickin' me up in a minute. Got deliveries today.
They sit in silence as the Workers exit off the houseboat.
NECKBONE
Heard on the news. They still hadn't found Mud's body.
Ellis nods.
NECKBONE
You think he's dead?
ELLIS
I don't know. I hope not.
The crane begins lifting up the houseboat. The metal wires tighten and the entire structure creaks. A sucking sound as the flotilla separate from the water. The boat hangs, suspended in the air. A HORN HONKS behind the boys. Ellis turns to see Senior's truck.
ELLIS
I gotta go. Come by the apartment. Help me set my room up.
NECKBONE
All right.
Neckbone watches Ellis climb into the bed of the pick-up and take his spot on the coolers. The sound of twisting metal shifts his attention back to the houseboat being swung over a flatbed semi.
I/E. SENIOR'S TRUCK/RIVERBANK - CONTINUOUS
IN THE CAB,
Senior glances at the houseboat being set on the flatbed. He puts the truck in reverse and pulls away. Not looking back.
EXT. SENIOR'S TRUCK/IMAGES OF DEWITT - DAY
Ellis rides in the back of the truck on top of the coolers. He watches the town pass by. A168 The marina junkyard. The Sonic. Downtown. A168
B168 EXT. FLEA MARKET - DAY B168
Ellis and his father unload a cooler at the back of a tented flea market. A WOMAN comes out to greet them.
I/E. SENIOR'S TRUCK/NEW APARTMENTS - DAY
Senior's truck pulls into the parking lot of a newly finished apartment complex. The two-story buildings are modest. The truck idles out front. INSIDE THE CAB, Ellis grabs the door handle. He turns to Senior.
ELLIS
I'll see you next week?
SENIOR
Yeah.
Ellis begins to get out but stops when Senior speaks.
SENIOR
Ellis? You mind your mother okay? This is a big change for her. She needs your support.
ELLIS
Yessir.
SENIOR
All right. I love you.
ELLIS
Love you too.
Ellis climbs out. He watches as Senior pulls away. He stands alone in front of the apartments, studying the surroundings. A busy road out front. A gas station and collection of stores. A lot of people and commotion. A compact car pulls into a parking spot one building down. Ellis watches as three COLLEGE AGE GIRLS climb out dressed in running shorts and t-shirts. Two are heavy set, the other is petite. They joke and laugh. One sees Ellis and waves. Ellis nods to her. He tracks them as they walk inside. Ellis smirks.
EXT. MISSISSIPPI RIVER - DAY
The river rushes past. A large motor churns the water. Tom stands steering Mud's salvaged boat down river. He cranes his neck, seeing something up ahead. Tom kills the motor. Looking out over the bow, he's pleased by what he sees. His eyes glint, almost a smile. He walks to the small cabin and enters. INSIDE THE CABIN, Mud rests flat on his stomach on the cushioned bench. Shirtless, gauze bandages wrap around his chest and back. He's sleeping. Tom walks in and kneels next to him. Touches his shoulder. Mud's eyes open.
TOM
Come on son. You need to see this.
Mud, groggy, raises up. Tom helps him to his feet, putting an arm over his shoulders. Tom practically carries Mud outside. ON DECK, Tom and Mud slowly maneuver out the door and take a place near the front of the boat. Mud pulls his head up. Looks out ahead. The sight in front of him grabs his attention. He perks up. A tributary from the Mississippi river opens up into a vast stretch of ocean. Mud smiles, showing the missing tooth. Tom and Mud stand on deck as their boat drifts slowly into the open waters of the Gulf of Mexico. The End.
|
MUD
by
Jeff Nichols Shooting Script © August 22, 2011 - draft September 16, 2011 WGA#: 1319361 All Rights Reserved
INT. ELLIS' ROOM - PREDAWN
ELLIS(14) sits fully-clothed on top of his made bed. He is a wiry young man with a few blonde hairs on his upper lip struggling desperately to be a mustache. His room, cluttered with junk, is dark, quiet and tiny. A backpack and an oversized Walkie-Talkie sit next to him. The silence is cut by a SQUAWK from the Walkie. Ellis quickly grabs it.
ELLIS
I'm comin' out now.
He crams the Walkie into his backpack and slings it over his shoulder. On his feet, he slides open a window at the foot of his bed. He's out in one motion.
EXT. HOUSEBOAT - PREDAWN
Ellis skirts alongside the exterior wall of his room on a two- foot-wide section of decking. He lives on a HOUSEBOAT anchored just off the bank of the Arkansas River. The "boat" is really the combination of a double wide trailer and a vinyl-sided shack fused together atop large flotilla. Ellis scurries to the mobile home section of the boat. He slips past a barbecue grill and settles underneath a lighted window. VOICES come from inside. Slowly, Ellis gets on his toes to peer through the window.
INT. ELLIS' KITCHEN - CONTINUOUS
MARY LEE(41) takes a jug of milk out of the refrigerator. SENIOR(52) sits at a small table reading a newspaper. The mobile home kitchenette is no larger than Ellis' room.
MARY LEE
I just want to have a conversation. I just want to talk about it.
Mary Lee sits down across from Senior, who doesn't look up from his paper. Her eyes narrow and she extends a finger toward him.
MARY LEE
If you don't look up from that goddamn paper...
She stops before completing the thought. After a moment, Senior lowers his paper. He stares across the table at his wife. He looks at her with true disdain. His eyes trace down her face and robe before finally settling on his cup of coffee. He picks up the cup, takes a sip, and sets it back on the table. He raises the paper up. Mary Lee's eyes soften. She bites the inside of her cheek to keep from crying. Her eyes move to the kitchen window.
EXT. ELLIS' HOUSEBOAT - CONTINUOUS
Ellis quickly ducks and mouths the word "shit." He slips under the window toward a metal carport that covers a boat, fish cleaning station, and industrial ice machine. The entire houseboat is anchored to the shore by two thick ropes tied to opposite ends of the flotilla. The ropes extend upward into the tops of enormous pine trees. Ellis sprints across a simple, wood-planked bridge to shore. His houseboat is one of several in a row along the riverbank.
EXT. ELLIS' RIVERBANK - CONTINUOUS
Ellis scurries into the treeline and arrives at a dirt path. Waiting for him there is NECKBONE(14), a scrawny kid with slicked back blonde hair wearing a FUGAZI T-shirt. He sits atop a smallish dirt bike. Ellis hops on the back.
NECKBONE
What the shit man?
ELLIS
Suck it. Drive.
The bike spits up mud as they peel out down the trail.
EXT. RIVERBANK - PREDAWN
From a distance, the single headlight of the dirt bike snakes up and down, in and out of trees along the riverbank. ON THE BIKE, The sound of the engine rips through fog and trees illuminated by the straining headlight.
EXT. RIVERBANK - DAWN
The boys emerge from behind a sand covered hill. Now on foot, they are silhouetted against a light blue, morning sky.
NECKBONE
How old is she?
ELLIS
A Junior.
At a collection of trees growing out of the water, the boys move branches away from a tarp covered boat.
NECKBONE
She's got nice titties. You talk to her?
ELLIS
Nah.
NECKBONE
You're gonna have to talk to her.
ELLIS
I know.
NECKBONE
Remind me when we get back to my house, Galen's got a book on that.
Neckbone takes a spot up front in the small, flat-bottom boat. Ellis, a foot on the bank and one in the boat, launches them out into the water.
EXT. RIVER - MORNING
A chunk of Neckbone's greased back hair bobs in the wind as they cruise down river. Ellis steers a small 15 horsepower motor. An orange sun is coming up now. Neckbone's eyes lock on what's in front of them. Ellis kills the motor. Neckbone stands up, a serious look on his face.
NECKBONE
Shit.
Ellis raises up behind him. He takes a deep breath, nods.
NECKBONE
Your dad'd kill us he knew we went out there.
ELLIS
I'm not worried about my dad killin' us.
THE MISSISSIPPI RIVER sprawls out in front of them. It's enormous. Their boat drifts at the mouth of the Arkansas, a small river by comparison. The Mississippi is a swirling mess of brown water and yellow foam six football fields wide.
NECKBONE
What if it sinks?
ELLIS
It ain't gonna sink. We gotta move if we're gonna make it back. Set your watch. We'll need a good fifteen minutes.
Neckbone sets an alarm on his fat plastic wristwatch. They take their seats. Ellis cranks the motor. The small boat slowly chugs out onto the massive river.
EXT. MISSISSIPPI RIVER - MORNING
The boat lurches through the murky, rushing water. Neckbone has both hands firmly planted on the boat's edges. Ellis tries to handle the motor which has little impact against this current. The tail end of the boat swings to the right. Ellis flinches and grabs an edge to steady himself. The front of the boat bobs toward an ISLAND in the middle of the river. Neck turns to Ellis and points.
NECKBONE
EXT. ISLAND SHORE - DAY
The boys splash down in ankle deep water. They take hold of the front of the boat and drag it onto the muddy shore. Neckbone jogs to a tree line in the center of the island. Ellis snatches up his backpack and follows.
EXT. ISLAND WOODS - CONTINUOUS
The island, only 60 some yards in diameter, is separated by a clump of tall trees that form a wooded area in its center. The trees make it so you can't see from one side of the island to the other.
NECKBONE
Galen thinks it's been here awhile. Thinks the last flood did it.
Ellis follows as Neckbone winds through the trees. They stop at a deep creek that cuts across the island. Neckbone looks to his right, then his left. Sees what he's looking for.
NECKBONE
It's down there.
A fallen tree trunk that straddles the creek. Ellis starts across.
NECKBONE
Hold it.
Neckbone picks a large stone up off the ground.
NECKBONE
Look.
Eight feet below the tree trunk, a nest of water moccasins curl around in the creek. Neckbone drops the stone on top of them. The snakes fan out.
NECKBONE
Little shits.
Their mud-caked high-tops stomp across the trunk.
EXT. ISLAND WOODS - DAY
The boys stop near the base of a large tree and stare up. Ellis cranes his neck back. Awestruck.
NECKBONE
So there it is.
ELLIS
Yeah, there it is.
A 26 Foot Long BOAT sits nestled in the tree limbs above.
EXT. BOAT IN TREE - MOMENTS LATER
The boys scale up the tree from low lying branches. Ellis, hands on the edge of the boat, gets a leg over the side and pulls himself onto the deck. He reaches down and helps to drag Neckbone on board. They get to their feet, steadying themselves on the wooden deck. It's solid. They take in their new vantage point.
ELLIS
It came down from up there.
Ellis points to higher limbs that have long been broken off. Neckbone walks to the back of the boat and hangs his head over. He finds a gaping hole of gutted wood.
NECKBONE
Motor broke off.
Ellis isn't concerned with the motor. His eyes are locked on a covered cabin at the front of the boat.
ELLIS
Who else knows about this?
NECKBONE
Just me and Galen.
ELLIS
What's he think?
NECKBONE
He don't care about it.
ELLIS
Good.
Ellis walks to the cabin. He pushes a vinyl door open.
ELLIS
'Cause this boat's ours.
Ellis has to duck down to go inside. Neckbone follows.
INT. BOAT CABIN - CONTINUOUS
Ellis, stooping over, makes his way into the tiny cabin room. Yellow floral curtains, stained with age, cover a row of windows that wrap around the top of the cabin. These provide an odd glow in an otherwise dark, wood paneled space. There is a bench with rotted out cushions to the left. To the right, a mold-covered sink and mirror. Neckbone peers over Ellis' shoulder at the front of the cabin room. A small booth sits to the right across from a miniature toilet partially shielded by an open door.
NECKBONE
It's got its own shitbox
Neckbone slides back a portion of floral curtain and light streams in. He starts opening small closets and drawers. Ellis plops down on the rotted bench cushions.
ELLIS
This is perfect.
NECKBONE
Ho-Lee-Shit.
Neckbone stares in an open drawer. He removes a stack of Playboys from the 1980's. Ellis smiles at him. He leans back and props his foot against the sink cabinet across from him. This is home. Neckbone opens the first Playboy. It disintegrates.
NECKBONE
Aw shit.
As he scrambles to gather the fallen pages, Ellis notices a dried BOOT PRINT next to his foot. He lowers his shoe from the cabinet leaving a smaller, muddy print of his own. He leans in to examine the larger print. The impression of a CROSS has been left in the heel.
NECKBONE
Her tits are so small.
Ellis reaches out and traces his finger in the groove of the cross marking. His eyes narrow as he re-surveys the cabin. On the table across from the toilet, he notices several empty cans of Beanie Weenie. In the booth, he sees a grocery bag. Ellis slowly raises up and goes over to it.
ELLIS
Neck.
NECKBONE
Look at that beave. You gotta see this.
Ellis reaches out for the plastic bag. His fingers pull back the edges to reveal its contents: one can of unopened Beanie Weenie and half a loaf of BREAD.
ELLIS
Neck.
Ellis reaches for the bread and gives it a squeeze. It's FRESH. Ellis freezes.
NECKBONE
What?
ELLIS
Someone's here.
NECKBONE
What?
Ellis holds the loaf of bread up to Neckbone.
ELLIS
Someone's livin' here.
Neckbone sees the grocery bag. His eyes widen. The boys are stone frozen. They listen for other sounds. Silence. BEEP! BEEP! BEEP! Both boys flinch at the sharp sounds. Neckbone's hand flies to cover the alarm on his wristwatch.
NECKBONE
Shit.
ELLIS
We gotta go. I can't be late.
EXT. BASE OF BOAT TREE - MOMENTS LATER
They drop out of the tree and hit the ground running.
EXT. ISLAND WOODS/CREEK - MOMENTS LATER
The boys' feet rush across the tree trunk bridging the creek.
EXT. ISLAND SHORE - MOMENTS LATER
They launch out of the treeline and sprint to their boat. Neckbone grabs the side and starts pushing the boat to the water. Ellis slings his backpack in and joins him. Suddenly, Ellis straightens up, leaving Neckbone to struggle.
NECKBONE
What are you doing?
Ellis stares at a muddy boot print, cross in the heel, stamped in the center of their boat. He looks back to the treeline, then down the shore. He looks to his feet. The boys' shoe prints make chaotic patterns in the mud. Larger boot prints lead off down the shoreline.
NECKBONE
What is it?
ELLIS
(pointing)
I saw that same boot print up in the tree. It has a cross in the heel. Somebody's been in our boat.
NECKBONE
Shit. Let's go.
Ellis begins following the boot prints around the shoreline.
NECKBONE
We gotta go if you wanna make it back.
(no response)
Your dad's gonna kick our ass. It'll take twice as long goin' up river.
ELLIS
Hold it.
Ellis stops and points ahead of them.
ELLIS
Up there. They stop.
Neckbone takes the lead, walking up to the last boot print. They appear to vanish.
NECKBONE
Where the hell'd he go?
ELLIS
I don't know.
Neckbone turns and freezes. A MAN has appeared in the distance behind Ellis. He stands between the boys and their boat. Ellis notices the look on Neckbone's face and turns. He flinches at the sight of the Man. MUD(38) stands near the boys' boat holding a pink, child's fishing pole with cartoon characters on it. He stares back at them and casts his fishing line into the water.
NECKBONE
Shit. You know that guy?
ELLIS
I've never seen him before.
NECKBONE
Shit.
Mud, not taking his eyes off the boys, slowly reels in his line. His hair is a wild mop that leads to two weeks of growth on his face. With a cigarette clinched, he cracks a smile revealing a MISSING CANINE. He holds a hand in the air as if to wave.
NECKBONE
Shit.
Neckbone slowly raises his hand up to wave back. Mud wears jeans and cowboy boots. His filthy button-up shirt looks like it hasn't left his body in years. He breaks his stare with the boys. Continuing to reel in his line, he walks over to them.
MUD
What you say?
The boys don't respond. Mud walks past them and casts again.
MUD
Helluva thing.
ELLIS
What's that?
Mud takes the cigarette from his mouth. A tattoo of a snake's head covers the top of his right hand. Two large cotton blossoms spill out of its jaws.
MUD
Boat in the trees. It's a helluva thing.
Mud continues walking down the shoreline, reeling in his bait. The boys follow, tentatively.
ELLIS
You talkin' 'bout our boat?
MUD
I'm talkin' about my boat.
NECKBONE
We found it.
MUD
You found it with me livin' in it. Possession is nine tenths of the law.
NECKBONE
So?
MUD
Don't tell me you boys are from Mississippi?
ELLIS
No.
They watch as he grabs the bait at the end of his line and spits on it. Then, tucking the pole under his arm, he ties a lock of his hair into a knot. He finishes this process with another cast.
ELLIS
You got crosses in your heels.
MUD
Nails. Shaped liked crosses.
ELLIS
What for?
MUD
Ward off evil spirits. A man I called an Indian but was Meskin said they were Seven-league boots worn by the seventh son of a seventh son. Told me it'd turn me into a werewolf but that's a lie. I don't know nothin' about that.
Ellis, confused, won't take his eyes off the man.
MUD
They just good luck, but so far they ain't been workin' too well.
(missing tooth smile)
What's your name?
Mud seems easy to smile, which softens his otherwise coarse look. His words spill from the mouth rapidly, without much thought for punctuation. Neckbone, emboldened by these facts, steps forward to answer.
NECKBONE
I'm Neckbone, he's Ellis, and mister you may be stone ass crazy but I know you're not the owner of that boat, not for nine tenths of nothin'.
MUD
Neckbone? That's a real handle son. Where ya'll from?
NECKBONE
What do you care where we're from?
ELLIS
DeWitt.
Neckbone looks at Ellis, frustrated by his friend.
MUD
Arkansas boys. Ya'll had me worried for a second.
Mud, pleased by this news, tucks the fishing pole under his arm and holds out a hand to shake. Ellis stares at the hand, unsure. He takes it reluctantly.
ELLIS
We s'posed to know you?
MUD
I doubt it. I grew up 'round here, but I've been gone awhile.
ELLIS
Where around here?
MUD
Different places. Spent a lot of time back up near the White.
ELLIS
You know Shelly's Oxbow?
Neckbone can't believe his friend is offering this up.
NECKBONE
Ellis. We gotta go.
MUD
I know it. Guy named Tom Blankenship used to live back in there.
ELLIS
He still does. His boat's cross from mine.
Mud smiles.
MUD
Ain't that somethin'.
In one motion, Mud flicks his cigarette away and grabs a pack out of his shirt pocket.
MUD
I like you two. You remind me of me. And seeing how you boys are from Arkansas and we know some people and sounds like we all from the same place I'd say we can make a deal here about somethin'.
ELLIS
A deal for what?
MUD
Food. Food for a boat.
NECKBONE
This guy's a bum Ellis. Come on.
Mud's smile vanishes. Neckbone begins to walk off but begrudgingly stops when Ellis starts back in.
ELLIS
Why don't you go get your own food?
MUD
I would if I could, but I told somebody I'd meet 'em here. So I'm stuck for now and what I got's runnin' low.
Neckbone walks back and pulls Ellis by the arm.
NECKBONE
He's a bum Ellis, let's go.
Mud lays a serious look down on Neckbone.
MUD
I'm no bum. I got money. You can call me a hobo 'cause a hobo'll work for his living and you can call me homeless 'cause that's true for now, but if you call me a bum again I'll have to teach you somethin' about respect that your daddy never did.
Neckbone's confidence recedes. Ellis stands his ground.
ELLIS
When they show up, you'll leave?
Mud begins fishing again.
MUD
Yeah.
ELLIS
And when you leave, that boat's ours?
MUD
Yeah.
Ellis studies Mud's face, clothes, tattoos. He's thinking about it. Mud pauses from fishing to make eye contact.
MUD
I'm in a tight spot. I just need a little help.
ELLIS
We gotta go.
With that, Ellis turns to leave. The boys walk briskly back to their boat. Ellis looks over his shoulder to see Mud making another cast with his fishing pole.
EXT. MISSISSIPPI RIVER - MOMENTS LATER
Ellis motors them away from the island.
ELLIS
You get his name?!
NECKBONE
No!
Ellis looks back. Mud has disappeared.
EXT. ELLIS' HOUSEBOAT - DAY
Senior heaves an enormous, white cooler into the bed of his weathered pick-up truck. The truck is parked at an angle on a concrete boat ramp next to their houseboat. The bed of the truck is jam-packed with six of the big, white coolers. The SOUND of a dirt bike rattles through the trees. Senior looks up, wiping his brow with a handkerchief. Ellis leaps out of the treeline and runs to the pick-up. His hands hit his knees, out of breath.
ELLIS
I'm sorry.
SENIOR
Where you been?
ELLIS
Neck and I got caught up helpin' Galen.
SENIOR
You're s'posed to be helpin' me. I had to load this myself.
ELLIS
I know, I'm sorry.
SENIOR
Just get in the back. Can't be later than we are.
ELLIS
Yessir.
Senior flips up the tailgate. Ellis hops up the wheel well and into the bed of the truck. He steadies himself on one of the coolers as his father pulls away.
EXT. DEWITT/MONTAGE - DAY
SERIES OF IMAGES: -Ellis looks around as he rides in the bed of the pick-up truck. He's propped up on a cooler against the back window. The truck works its way down a two-lane highway. A20 -Driving, they pass a marina junkyard filled with old boats A20 and sailing paraphernalia. B20 -Downtown Dewitt. A gas station. A Clinic. Rows of red B20 brick buildings, some abandoned, a small furniture store. C20 -Parked, Ellis fills a grocery sack up with Ziplock bags fullC20 of white fish and ice out of the coolers. -He hops out of the truck and runs the sack of fish to the front door of a house. An elderly black man waits there.
EXT. SONIC DRIVE-IN - DAY
Ellis sits in the bed of the truck eating a chili dog. Senior is up front wolfing down a cheeseburger. A GROUP of TEENAGERS are gathered around a CLUSTER of parked cars in the corner of the lot. They meander between the vehicles, smoking, gossiping, passing around a bottle of Boone's Farm. Ellis watches them. MAY PEARL(16) appears in the middle of the Group laughing with her GIRLFRIENDS. She's pretty and physically more mature looking than Ellis. He watches as a SKINNY KID takes his ballcap off and puts it on May Pearl's head. She sniffs the cap, gags and tosses it back at him. Her friends laugh.
SENIOR
Let's go son.
Ellis crumples the wrapper to his finished hotdog and jumps down from the bed of the truck.
I/E. SENIOR'S TRUCK/TWO-LANE ROAD - MOVING - DAY
Ellis rides up front with his father. Senior is a reserved man, older than Ellis' mother by several years. He's got thinning hair under the cap that only leaves his head when he sleeps. He reaches into his shirt pocket and fishes out a fold of cash. He slips out a five dollar bill and hands it to Ellis.
ELLIS
It's s'posed to be ten.
SENIOR
It's ten you do your share. I loaded this mornin'. That makes it five.
Ellis begrudgingly stuffs the five in his jeans.
ELLIS
You drop me at Neck's?
Senior checks his pants pockets, feels around under his seat.
SENIOR
Hadn't you seen enougha him today?
ELLIS
Said he had something for me.
SENIOR
You see anymore Ding Dongs over there?
Ellis checks under his seat and pulls out a half-empty box of Ding Dongs. Hands one over to his father who rips the package with his teeth.
ELLIS
What'd Momma wanna talk to you about?
SENIOR
What?
ELLIS
This mornin', what'd she wanna talk with you about?
SENIOR
You spy on me in my own house?
ELLIS
I wasn't spyin', just heard ya'll.
SENIOR
That's your mother's business.
Senior makes this his answer, eats the Ding Dong.
EXT. NECKBONE'S TRAILER - DAY
Neckbone sits on the front steps of his trailer reading a comic book. The muffled sound of the Beach Boys' "Help Me Rhonda" plays off a record inside. Senior's truck pulls away as Ellis walks up the entrance to the trailer park.
ELLIS
I came by for that book.
NECKBONE
What book?
ELLIS
You said Galen had a book might help me out.
NECKBONE
Aw, yeah. We gotta give it a minute. You hear that music?
ELLIS
Yeah.
NECKBONE
That means he's doin' it. That's his doin' it song.
Ellis takes a seat next to Neckbone. They listen to the song, slightly craning their necks to pick up on any other sounds. There are none.
ELLIS
You know who it is?
NECKBONE
Whoever's drivin' that white Dodge.
Neckbone motions to a beat up Dodge Shadow in the yard.
ELLIS
You tell Galen 'bout this morning?
NECKBONE
Nah. You tell anybody?
ELLIS
No.
NECKBONE
That guy was crazy.
ELLIS
Maybe. I don't know. I think he just needed some help.
NECKBONE
Well he can swim his ass off that island and get some.
ELLIS
I think I'm gonna go back, take him some food.
NECKBONE
Why?
Suddenly, the music from inside stops. Footsteps approaching and the trailer door flies open, almost hitting the boys. A GIRL(28) bursts out down the steps, straight to her car. She wears tight jean-shorts and is buttoning a white shirt. She stops and turns back to the boys.
GIRL
You're Neckbone right?
NECKBONE
Yeah.
GIRL
You look like a good enough kid. A word of advice, don't grow up to be like your shit heel uncle.
The boys can't take their eyes off her cleavage revealed under her half-buttoned shirt. A necklace with three misshapen pearls hangs from her neck.
GIRL
Hey!
She snaps the boys' attention up to her eyes.
GIRL
You hear me? You treat a woman like a princess. Got it?!
NECKBONE
Yeah.
The trailer door opens and GALEN(36) emerges. He's a big, lumbering guy wearing a full-body wet suit pulled halfway down. A faded mermaid tattooed in the middle of his chest.
GALEN
Come on baby.
GIRL
I'M A GODDAMN PRINCESS!!!
The Girl yanks off the necklace and hurls it at Galen. He brushes fingers through his thick mustache.
GALEN
That's uncalled for.
He walks out to her. She heads for the Dodge Shadow.
GALEN
(trailing off)
A lot of people are comfortable with that kind of thing in the bedroom. Some people aren't. We know that about you now...
Ellis sees one of the misshapen pearls at his feet. He picks it up and holds it to the sun.
NECKBONE
Pearls. Galen finds 'em in some of the mussel shells. Most of 'em ain't worth dick, but he likes to make necklaces for the girls. Come on, let's get that book.
Neckbone walks into the trailer. Ellis stands up and retrieves the other two pearls out of the dirt. He crams them in his pocket and follows Neckbone inside.
INT. NECKBONE'S TRAILER - CONTINUOUS
The trailer is decorated in the filth of a true bachelor pad. Neckbone makes his way to a bedroom. He tosses clothes and trash around to get to what he's looking for. A cardboard box. He pulls the box onto the bed and sifts through.
NECKBONE
I don't want you goin' back out there by yourself. That river's scary enough with two people, and I don't trust that guy.
(finds something)
Here it is.
He takes out a hardback book. The slip reads, "The Confident Confidant, communicating with the opposite sex."
NECKBONE
Galen said this really turned things around for him.
ELLIS
Thanks.
Ellis flips delicately through the manual.
EXT. NECKBONE'S TRAILER - CONTINUOUS
Galen watches as the Girl's Dodge Shadow pulls away. The boys step out of the trailer.
NECKBONE
You really going back out there?
ELLIS
I think it's the right thing to do.
NECKBONE
Well...I'll be over in the mornin' then.
Galen, his thumbs tucked under his armpits, walks back to the trailer. He passes the boys and notices the self-help book in Ellis' hands.
GALEN
(without stopping)
That's a good book. Be sure you do the worksheets in the back. Let's get some dinner Neck.
Galen's gone inside.
NECKBONE
I'll call 'fore I come.
ELLIS
All right.
Neckbone follows his uncle into the trailer. Ellis flips through his new book as he heads out of the trailer park.
EXT. ELLIS' HOUSEBOAT - NIGHT
By the time Ellis makes it to his houseboat, the sun has disappeared behind the horizon. He crosses the make-shift plank and enters through a screen door by the carport.
INT. ELLIS' HOUSEBOAT - DEN - NIGHT - CONTINUOUS
Mary Lee flinches when she sees Ellis come through the door. Her face is flushed. Senior stands toe to toe with her. They stare at Ellis, who has paused in the doorway. He doesn't say anything, just looks curiously at his parents. Senior storms past Ellis and is out the door. Ellis steps further into the den. Mary Lee tries to straighten herself, patting down her hair and dabbing at her eyes with the back of her hand.
ELLIS
You okay momma?
MARY LEE
Yes.
She walks into the kitchen keeping Ellis at her back. She turns on the sink and begins scrubbing at a dish.
MARY LEE
Do you need me to fix you somethin'? Have you eaten?
ELLIS
I'm all right.
Mary Lee shuts off the water and lets the dish rest in the sink. She turns to Ellis.
MARY LEE
I'm gonna turn in.
ELLIS
Okay momma.
Mary Lee slips past him and enters her bedroom. The door closes and Ellis is left alone in the den. It's quiet. He waits, looking at the door his mother just closed. Ellis walks into the kitchen and eases open a cabinet door. Checking over his shoulder, he zips his backpack open and fills it with CANNED FOOD.
EXT. TOM BLANKENSHIP'S HOUSEBOAT - DAY
Hands pump the stock of a high-powered pellet gun. TOM BLANKENSHIP(67), white hair cut high and tight wearing a short-sleeve button up, takes careful aim with the pellet gun. Tom sits in a lawn chair atop the roof of his houseboat. He squeezes his left eye shut. A snake's head pokes out of the water about 15 yards off his boat. The head makes for a target no bigger than a thumb. Tom's left eye snaps open and he fires. The pellet rips through the snake's head. Its body floats to the surface. Tom takes account of his shot as he pumps the air rifle. He scans the water for more targets.
EXT. ELLIS' HOUSEBOAT - CONTINUOUS
Ellis watches Tom Blankenship from across the bayou. Tom's boat sits directly opposite Ellis', separated by 30 yards of muddy brown water. Ellis leans against a post under the carport. His backpack resting at his feet, he holds the Walkie-Talkie in his hand. Senior works behind him washing utensils in the outdoor sink.
ELLIS
What do you know about Tom Blankenship?
SENIOR
What?
Senior doesn't turn around from his work at the sink.
ELLIS
Mr. Blankenship, what do you know about him?
SENIOR
Why?
ELLIS
I don't know. He looks lonely over there.
SENIOR
Some people move to this river to work on it, and some move here to be left alone.
Senior makes his way to the ice machine and begins scooping ice into a large white cooler. Mary Lee emerges from the houseboat dressed for work, a secretarial job. Senior stops what he's doing to watch her. She walks over to Ellis.
MARY LEE
Let's sit down for dinner tonight okay? Will you make it home by seven?
ELLIS
Yes ma'am.
She walks off the boat without a glance in Senior's direction. He trails her with his eyes before going back to digging in the ice. A29 Ellis looks back at Tom. The Walkie SQUAWKS out several A29 loud BEEPS. Ellis crams it in his backpack and runs off the boat.
ELLIS
Bye Dad.
Senior holds a hand up but never looks up from his work.
EXT. ISLAND SHORE - DAY
Water laps at the shore of the island. Ellis and Neckbone drag their boat onto the muddy bank.
NECKBONE
Where you think he's at?
ELLIS
I guess we should try the boat.
They head for the treeline.
EXT. BASE OF BOAT TREE - DAY
The boys emerge from the woods, their attention focused up to the boat hovering in the tree some twenty feet above them. Ellis notices the remnants of a fire on the ground. A log pushed up next to it for a seat. Ellis kicks at the ash.
ELLIS
Looks like he made camp.
NECKBONE
(looking up to the boat)
You think he's up there?
MUD (O.S.)
I didn't know if ya'll'd come back.
The boys spin around. They survey the woods but no one's there. Their eyes drift up to find Mud sitting in a tree, his legs dangle off a branch.
ELLIS
What're you doin'?
Mud bounds down, stepping from limb to trunk to the ground. It's an agile move.
MUD
I try to never sleep in the same place twice. What you got there?
Mud motions with his head to the backpack in Ellis' hand. Ellis holds it out to him.
ELLIS
I brought you some food.
Mud looks at the backpack, but doesn't move.
ELLIS
Go on.
Mud takes the backpack and walks over to the ashes of his campfire. He squats with his back to the boys and unzips the bag. Hunkered down, Mud's shirttail rides up over the lip of his jeans revealing a PISTOL at his backside. Ellis sees this and motions to Neckbone. The boys stand their ground, cautious.
MUD
I owe you boys.
Keeping the bag in hand, Mud takes a seat on the stump behind him. He pulls out a selection of canned food; pumpkin pie filling, evaporated milk, green beans. He grabs the beans.
MUD
I was gonna try runnin' a trot line today. See how far that'd get me.
Mud removes a good-sized folding knife from his pocket and makes short order of the can lid. He tips the can up letting the beans fall into his mouth. Juice flows down his cheeks.
MUD
(a mouthful)
I'd been rationin' what I had...green bean never tasted so good.
The can is quickly emptied, juice running down Mud's chin. He straightens his back, choking down the final swallow. He sees the boys staring at him and catches himself.
MUD
I appreciate it.
ELLIS
Yeah.
NECKBONE
What you got that pistol for?
Mud wipes off his chin, realizing the boys have been studying him. He closes the knife and tucks it in his pocket.
MUD
For protection.
Mud gets up, heads for a duffel bag tucked under a nearby tree. The boys pivot, keeping Mud in front of them. Mud notices.
MUD
Ya'll don't have to be afraid of me. I have two ways to protect myself out here. This shirt, and this pistol.
MUD
There are fierce powers at work in the world boys. Good, evil, poor luck, best luck. Men have to take advantage where they can.
Mud removes a spool of fishing line and a small plastic tackle box. He scoops up the duffel bag and heads into the woods.
MUD
Ya'll comin'?
Neckbone looks to Ellis, who walks after Mud into the trees.
ELLIS
Who's this guy you're waitin' on?
MUD
I'm not waitin' for a guy. I'm waitin' on my girlfriend. Juniper.
NECKBONE
Is she hot?
MUD
She's beautiful.
NECKBONE
(coughing)
Bullshit.
MUD
Best lookin' girl I've ever seen. Hands down. Blonde hair. Long legs. She's like a dream you don't want to wake up from. She's got birds tattooed on her hands, here.
Mud stops, points to the area on the top of his right hand, between his thumb and pointer finger.
MUD
Nightingales. Good luck birds.
NECKBONE
That a good luck snake?
MUD
No it is not.
NECKBONE
I hate snakes.
MUD
That's because God made them for us to fear.
MUD
It's a thing we knew to be afraid of before we even got into this world.
They emerge from the woods onto the downstream coast of the island. It looks different than the other shoreline. A large swath of red clay angles sharply into the water.
MUD
Cherokee would wrap snake skin around their pregnant women's bellies. Induce labor, scare the child out. Here.
He fetches a length of rope out of the duffel bag and tosses it to Neckbone.
MUD
Set that 'round your bed at night. Snake won't cross braided rope.
NECKBONE
Thanks.
(nods to Mud's tattoo)
So what's that for then?
Mud walks to a tree branch that has grown out over the bank, nearly resting in the water. He sets a trot line from it.
MUD
A reminder. Don't get bit. I was 10, swimmin' 'bout a mile up from here. Me and Juniper. Sonofabitch swam right up under me, bit me just below the armpit. June got me out, got me to a clinic. Doctor said I shoulda been dead in twenty minutes. Took us an hour just to get back to town.
NECKBONE
What'd they do?
MUD
Gave me antivenom. For a cotton mouth. See here.
Mud shows the tattoo on top of his right hand. He points out the two cotton blossoms bulging from the snake's mouth.
MUD
Problem with antivenom is they can only give it to you once. It's made from horse blood. Your body would reject it a second time. The cure ends up being more dangerous than the poison.
ELLIS
What happens if you get bit again?
MUD
I die, or just sweat it out.
Neckbone, not buying it, looks at Ellis and taps his watch.
ELLIS
We gotta go help Neck's uncle.
MUD
All right.
ELLIS
You never said your name.
MUD
Mud. You can call me Mud.
ELLIS
Mud?
MUD
M-U-D.
Neckbone tosses the braided rope back. It lands at his feet.
NECKBONE
Here you go, Mud. I think you need that worse than I do.
MUD
(smiling)
I'll be all right.
The boys disappear back into the trees.
INT. GARY'S ELECTRIC SHOP - DAY
A switch clicks "ON". BLINDING LIGHT emits from two FLOOD LAMPS encased in plastic shells. The switch clicks "OFF" and the lights dim to the dull orange glow of their filaments.
GALEN
They look bright enough.
The owner of the shop, an ELECTRICIAN(62), holds up a metal bar with the lamps affixed by bolts at either end.
ELECTRICIAN
Should be. I rigged DC power up through marine batteries. Makes it portable. Gave you a rigging bar to set on your shoulder.
GALEN
So you really think these'll work under water?
ELECTRICIAN
In theory.
EXT. GARY'S ELECTRIC/PIGGLY WIGGLY PARKING LOT - CONTINUOUS
Ellis and Neckbone sit on the tailgate of Galen's truck. The Gary's Electric sign hangs behind them. Neckbone focuses on a carburetor in his hand. Ellis stares across the street at the Piggly Wiggly parking lot where the roving GROUP of TEENAGERS have collected for the afternoon. The Teenagers are up to their typical gossip and minor offenses. Ellis has zeroed in on May Pearl again.
NECKBONE
You start datin' I bet her dad'll give you a free pick-up truck.
ELLIS
I don't care about that.
Ellis watches as the same Skinny Kid from before tries to flirt with her. She's not having it. He pops her bra strap before landing the final straw, a smack on her ass. She turns and swats at him. Seeing this, Ellis is on his feet and crossing the street.
NECKBONE
What's goin' on?
Ellis doesn't turn back. Neckbone reluctantly sets the carburetor down and follows.
EXT. PIGGLY WIGGLY PARKING LOT - CONTINUOUS
MAY PEARL
Stop it!
She shoves the Skinny Kid, but he continues laughing.
ELLIS (O.S.)
Hey.
Ellis taps the Kid on the shoulder. As he turns, Ellis PUNCHES him in the face. The Kid, completely taken off guard, stumbles and trips to the ground. Some older, tougher looking GUYS see this and begin laughing at him.
OLDER KID
Holy shit Pryor, get off your ass.
Pryor collects himself and gets off the ground. Ego bruised, he walks off mumbling. The Older Kids keep riding him. May Pearl sizes up Ellis.
MAY PEARL
You didn't have to do that.
ELLIS
He was messin' with you.
MAY PEARL
Do I know you?
ELLIS
I'm Ellis. That's Neck.
Neckbone waves by wagging a finger in the air.
ELLIS
We went to Junior High with you, before you went to High School.
MAY PEARL
How old are you?
ELLIS
Fourteen.
MAY PEARL
Fourteen? You know you just punched a Senior?
ELLIS
So?
MAY PEARL
You think you're pretty tough.
Ellis shrugs, not wanting to deny it.
MAY PEARL
I'm May Pearl.
ELLIS
I know.
MAY PEARL
What else do you know?
ELLIS
Nothin'.
She smiles. Something catches Neckbone's attention. He cranes his neck forward to get a better look.
NECKBONE
Son of a bitch...Ellis?
Ellis breaks away from his conversation with May Pearl.
ELLIS
What?
NECKBONE
Look.
Neckbone nods to a cheap motel called the EXECUTIVE INN located on the opposite side of the Piggly Wiggly parking lot. JUNIPER(35), a truly beautiful woman squeezed into tight jeans and a low cut top, makes her way from the motel parking lot to the Piggly Wiggly. She passes in front of the cluster of Teenagers. All of the boys have taken note. Some cat calls from the crowd. Juniper, without facing the Teenagers, gives them the finger.
NECKBONE
You ever seen that girl before?
ELLIS
No. Did you see her hands?
MAY PEARL
Hello?
Ellis catches himself and turns back to May Pearl.
ELLIS
Sorry. We know a guy we think might know that girl.
MAY PEARL
Oh.
A GIRLFRIEND(17) of May Pearl's calls out to her.
GIRLFRIEND
May Pearl! Let's go!
MAY PEARL
Okay!
ELLIS
I guess I'll see you.
MAY PEARL
If you can find my phone number, you should call it.
ELLIS
I can find it.
May Pearl walks over to her friend. Ellis watches her go, but then remembers Juniper. He turns to Neckbone.
ELLIS
Where'd she go?
NECKBONE
Into the Piggly Wiggly. She came from the motel.
ELLIS
I'm gonna go see if it's her.
NECKBONE
I gotta go check on Galen. We'll pick you up out front.
Ellis heads for the Piggly Wiggly. Neckbone calls after him.
NECKBONE
What'd she say?
ELLIS
Wants me to call her.
NECKBONE
Shit.
INT. PIGGLY WIGGLY - DAY
Ellis walks past the grocery aisles looking for the girl. He spots her by the potato chips. He tucks behind a display of stacked cans and watches. Juniper reaches for a bag of chips, birds tattooed on her hand. Ellis smiles. It's her, and she really is beautiful. She turns down the aisle, coming right for him. He pretends to peruse the canned food and notices that it's a big display of Beanie Weenie. He grabs two handfuls as she passes. Ellis takes the cans to an open register. As a CASHIER scans and bags his items, he cranes his neck looking for her. She's disappeared into another section of the store. Ellis pays in crumpled cash. A horn HONKS. He sees Galen's truck idling out front. He grabs the bag and runs out.
EXT. GALEN'S TRUCK/PIGGLY WIGGLY PARKING LOT - CONTINUOUS
Neckbone waits at the open passenger door.
NECKBONE
Was it her?
ELLIS
It's her. I saw the tattoos. He wasn't lyin'.
NECKBONE
(looking back)
No he wasn't.
EXT. ELLIS' HOUSEBOAT - NIGHT
By the time Ellis makes it back home, the sun has gone from the sky. He crosses the makeshift plank to board his house.
SENIOR (O.S.)
Home for dinner?
Ellis is startled by his father's voice. Senior sits in a lawn chair under the eaves of the carport. He's hidden in shadow, save for a red glow from the tip of his cigarette.
ELLIS
What you hidin' for?
SENIOR
I ain't hidin'.
He notices Senior tip back a pint of liquor and set it at his feet. Ellis opens the screen door leading inside.
SENIOR
Come over here.
Ellis lets the door fall shut and skulks over to a beam that supports the carport. He leans into it.
SENIOR
You know I love you?
ELLIS
Yessir. I know.
SENIOR
I work you hard 'cause life is work. You know that?
ELLIS
Yessir.
SENIOR
Your Mamma's been talkin' 'bout movin' in town.
ELLIS
What's that mean?
SENIOR
She seems set on it. Wants to separate. She may ask me for a divorce.
This hits Ellis like a ton of bricks. He rights himself.
ELLIS
What's that mean for me?
SENIOR
It means enjoy the river son. Enjoy it while you live on it, 'cause this way a life isn't long for this world. Game and fish's 'bout made certain of that.
ELLIS
But you and me can still live out here. Game and fish can't take your boat. Not while you're still in it.
SENIOR
The houseboat's in your mother's name. Her daddy give it to her not me. If she wants to leave it, Game and Fish has ever' right to take this boat apart board by board.
ELLIS
But that ain't right. You work outta here. We got the ice machine, the traps. What are we supposed to do?
SENIOR
Like I said, this is your mother's business.
ELLIS
I ain't no townie. I ain't livin' like that.
Senior takes a slow pull off the bottle. Ellis' mind races.
SENIOR
I've let you down. A man should be in charge of his own affairs, but I haven't worked it like that.
ELLIS
But ya'll are married. Ya'll are s'posed to love each other.
SENIOR
I don't know about that anymore.
Ellis is speechless. After a moment, he turns to go inside.
SENIOR
Ellis?
He stops and turns back to his father. Senior tries to express a sentiment he doesn't have the words for. Ellis continues inside.
INT. ELLIS' HOUSEBOAT - DEN - CONTINUOUS
Mary Lee sits hunched at the made dinner table. She runs her finger around the rim of a half empty glass of iced tea. It's a full spread with fried chicken, mashed potatoes, and a salad. The table is set for two. She's been waiting. Ellis lets the front door slam shut behind him. She sits up.
MARY LEE
You're late.
Ellis doesn't speak, he doesn't look at her. He enters his room and shuts the door. He's heard the news and she knows it. Mary Lee's face drops.
INT. ELLIS' ROOM - CONTINUOUS
Ellis slings his backpack down, pacing the small room. He stops and leans his forehead against the door. The sound of his Mother clearing the table seeps through. He kicks the door, cracking its shitty composite wood. His face flushed and his breathing heavy, he slides to a seat. On the verge of hyperventilating, he stares out the dark bedroom window trying to get control of his breathing. Ellis looks at his backpack. It has spilled open revealing a can of Beanie Weenie. Ellis studies the can. He looks back to the window. His breathing settles. Quickly, he scoops up the backpack and heads out the window.
EXT. MISSISSIPPI RIVER - NIGHT
It's pitch black. The only light comes from the moon's reflection off the surface of the water. Ellis, eyes wide, navigates the small boat through choppy black water.
EXT. ISLAND SHORE - NIGHT
Ellis struggles to pull the boat onto shore. Leaving it half in the water, Ellis looks around. No sign of Mud. He sizes up the dark woods. He removes a flashlight from his backpack and shines it down the shorelines. Still nothing. Ellis follows the beam of light into the woods.
EXT. ISLAND WOODS - NIGHT
Ellis stands at the creek that cuts through the island. He can make out a campfire glowing through trees in the distance. A RUSTLING behind him. He swings the light around. Nothing but trees. Ellis takes a deep breath. Finding the log to cross, he shines his light down into the creek. The nest of snakes show their backs.
EXT. BASE OF BOAT TREE - NIGHT
A campfire burns at the base of the tree. The firelight illuminates the belly of the boat that rests 20 feet above. Ellis, his flashlight off, crouches behind a tree and watches the campsite. There is no one there. He looks into the black forest behind him, thinks of going back. A twig snaps in the distance and he's back on guard. Ellis nervously scans the woods before finally stepping into the light of the campfire. The SOUND of a gun's hammer drawing back CLICKS behind him. Ellis freezes. Mud emerges from the trees, a .45 extended toward Ellis' back.
MUD
Ellis?
Ellis, still frozen, slowly turns to him. Mud huffs out a laugh and drops the pistol to his side.
MUD
What're you doin' out here?
Ellis slowly raises the backpack in his hand.
ELLIS
I got you some Beanie Weenie.
Mud tucks the pistol into his jeans and accepts the backpack.
MUD
I appreciate that, but I didn't expect you out here at night.
Mud takes a seat on the log and transfers the cans into his own duffel bag. He holds up a can of the Beanie Weenie.
MUD
Look at that. You really know how to do somebody right. I didn't wanna say anything before, but it's hard to make a meal out of pumpkin pie filling.
ELLIS
That's all my mom had.
MUD
I'm not complainin'.
ELLIS
Can I get one of those?
MUD
They're yours to begin with.
Ellis sits as Mud hands him a can. They eat.
ELLIS
I missed my dinner.
MUD
That's good right?
ELLIS
(mouth full)
You been out here too long.
Mud laughs. Finishing the can, he takes a half-smoked cigarette from his shirt pocket. He pulls a twig from the fire for a light.
ELLIS
The girl you're waitin' on, she's your girlfriend?
MUD
Juniper. Yeah.
ELLIS
How'd you meet her?
MUD
We grew up together.
ELLIS
Do you love her?
MUD
I do. The first time I saw her was on this river. Just up from here. She saved my life.
ELLIS
From the snake bite.
MUD
That's right. I was younger than you are now, but when I came to in the hospital and she was there, it was like the world split open, came back together new. Everything changed. I knew from then on I'd do anything for her.
ELLIS
Why aren't ya'll married?
MUD
I've asked. Several times. Marriage just doesn't work for some people.
Ellis thinks on this.
ELLIS
My dad says my parents may be gettin' a divorce.
MUD
I'm sorry to hear that.
ELLIS
If it happens, and my mom moves us off the river, they say the government can come take our boat away.
MUD
Who says that?
ELLIS
Everybody. They passed a law so you can't sell your boat. Can't rent it. If the owner leaves, they got you. Game and Fish want 'em off the river.
MUD
I've never been one to trust the government on matters of personal property, but if your parents love each other, there's always a chance.
MUD
People just sometimes forget why they fell in love in the first place.
Ellis watches Mud toke the cigarette nub. He's really getting all he can from it.
ELLIS
I saw Juniper today.
MUD
What?
ELLIS
I didn't talk to her, but she had the birds tattooed on her hand like you said. You were right. She's pretty.
Mud stands, surprised by the news. He walks to the other side of the fire so his back is to the boy.
MUD
Where'd you see her?
ELLIS
At the Piggly Wiggly. I think she's stayin' at a motel by there. The Executive Inn.
Mud looks at Ellis through the fire. He takes a drag and smiles at the boy. The hole from his missing tooth shows.
MUD
That's good news. Real good news.
Mud paces, slowly. He's thinking.
ELLIS
Does she know you're out here?
MUD
No. We picked another place to meet. Couple days from now.
Mud walks back to the log and sits.
ELLIS
You wanna go tonight? I can give you a ride up river.
Mud looks at Ellis, nodding.
MUD
Tomorrow. I'll go tomorrow.
ELLIS
You need me to come get you?
MUD
Naw. I can manage. Hell I got out here didn't I?
Ellis smiles. They sit in silence. Ellis stares up at the boat hanging over them, its peeling hull lit by the firelight. Mud pinches the ash from the end of his cigarette, places the stub back in his shirt pocket. Noticing Ellis, Mud tilts his head back to take in the boat.
MUD
It's a helluva thing.
Mud pauses, his mind working on something.
MUD
Helluva thing.
The two sit by the campfire staring up at the suspended boat.
INT. ELLIS' ROOM - MORNING
Mary Lee knocks on her way into the bedroom.
MARY LEE
Time to get up.
She begins picking clothes off the floor. Ellis, in bed, raises up on his elbows. He's tired from a late night.
ELLIS
It's Saturday.
MARY LEE
I'm going to Wal-Mart. I need you to come with me.
ELLIS
(moaning)
Mom.
MARY LEE
Come on.
She pulls the covers off of him.
I/E. MARY LEE'S CAR/INTERSTATE - DAY
The two ride in an awkward silence. Ellis stares at the farmland passing by outside as Mary Lee steers the compact Toyota down a four-lane interstate.
MARY LEE
Ellis I know what your father told you last night. That's not what I wanted. I wanted to sit you down and talk about it.
ELLIS
What do you wanna talk about? You want to leave and that means they can tear up our house.
MARY LEE
I've spent my whole life on that boat. I don't think it's too much to ask for your...
Mary Lee is interrupted by a line of traffic backed up in front of her. She slows to a stop.
MARY LEE
Oh no. I hope no one's hurt.
There are flashing police lights up ahead. Ellis tries to see what's going on but can't make anything out past the line of cars. They inch forward.
MARY LEE
I'm just saying there are two sides to this. I haven't made up my mind about anything because I want you to be involved in my decision, but I need a change Ellis. I deserve one.
As they approach the flashing lights, they see three State Trooper vehicles parked to funnel traffic down to one lane. The STATE TROOPERS stop each car, checking the trunks.
MARY LEE
I think they're searching people.
A Trooper signals Mary Lee to pull up to a stop. Two other Troopers approach her vehicle. The first begins looking in her back windows as the second leans down to speak to her. She lowers her window.
TROOPER
Can you open the trunk please ma'am?
MARY LEE
Of course.
Mary Lee pulls the lever by her knee, and the second Trooper walks around the back of the car.
TROOPER
Have you picked up or seen any hitchhikers today ma'am?
MARY LEE
No sir.
The Trooper produces a flier with a color photo on it.
TROOPER
Have you seen this man?
MARY LEE
No sir.
The Trooper leans over and holds the paper out to Ellis.
TROOPER
Son, have you seen this man?
Ellis looks at the photo. It's of Mud. He looks exactly the same as he did last night, down to the shirt. In the photo, Mud's smiling, revealing his missing tooth.
ELLIS
No.
TROOPER
We've had reports that he's in this area. If you see him, call 9-1-1 immediately.
MARY LEE
We will officer.
The Trooper pulls his head from the window.
ELLIS
What'd he do?!
The Trooper bends back down and looks at Ellis.
ELLIS
(more calm)
What'd he do?
TROOPER
Move along please.
Mary Lee pulls forward and speeds back up on the interstate.
MARY LEE
My lord.
(rolls up her window)
MARY LEE
How would you feel about moving into town with me?
(no answer)
Please don't tell your father this, but I've been looking at a couple of places. I know it would be a big adjustment for you, but it might end up being something you like. You know living on the river isn't exactly everyone's idea of the good life. Ellis?
He looks at her.
MARY LEE
Are you even listening to me?
INT. ELLIS' ROOM - DAY
Ellis busts through the door, grabs his backpack and is gone.
EXT. HOUSEBOAT - CONTINUOUS
Ellis is off the houseboat and running up the bank. He heads down the dirt path, grabbing the Walkie Talkie out of his backpack.
ELLIS
(into the Walkie)
Neck! Neck, pick up!
EXT. RIVERBANK - DAY
Ellis removes branches and readies the flat bottom boat to launch. The sound of Neckbone's bike arrives before he does. Neckbone crests the sand covered slope. He dismounts and starts to chain the bike up to a tree trunk.
NECKBONE
So what's the big deal?
ELLIS
My mom and I were headed to Wal- Mart on 165. There was a roadblock with state troopers. They searched our car and showed us a picture of Mud. They're lookin' for him.
NECKBONE
I knew it! I told you that crazy sonofabitch was trouble. Did they say what he did?
ELLIS
No.
NECKBONE
So'd you tell 'em where he is?
ELLIS
No. That's why I called you. We gotta warn him.
NECKBONE
What?
ELLIS
He's goin' to get Juniper today. I went out there last night and told him where we saw her. He needs to know people are lookin' for him.
NECKBONE
You think he doesn't know that already? Jesus Ellis, why do you think he's on that island? You don't even know what he's wanted for.
Ellis climbs in the boat and Neckbone yanks his shoulder.
NECKBONE
Ellis! I'm serious. We don't know who this guy is.
ELLIS
He loves her Neck. He told me.
NECKBONE
I don't give a shit who he loves.
Ellis starts the motor and waits for his friend.
ELLIS
He's not dangerous.
Reluctantly, Neckbone throws his leg into the boat.
NECKBONE
It sounds like a shitload of state troopers think different.
EXT. BASE OF BOAT TREE - DAY
Ellis and Neckbone emerge from the woods at Mud's campsite. They scan nearby tree limbs.
NECKBONE
No tellin' where the hell he's been sleepin'.
ELLIS
He may already be gone.
MUD (O.S.)
Hey!
The boys look straight up. Mud leans over the edge of the boat above them.
MUD
Up here!
Mud drops them a rope with knots tied in it. Ellis starts inching his way up. Neckbone begrudgingly follows.
EXT. BOAT IN TREE - CONTINUOUS
Ellis pulls himself over the edge of the boat. He finds Mud sitting in the swivel chair behind the steering wheel. He writes in an open spiral notebook with a black Sharpie.
ELLIS
What are you doin'?
MUD
I'm gonna have to go back on our deal for the boat. I don't feel good about it, but I don't see any other way outta what I'm into.
Neckbone makes his way on board. Mud has pulled a panel off the steering column. Exposed wires dangle.
ELLIS
So you know about the state troopers?
He looks up from his notebook.
MUD
What state troopers?
NECKBONE
The ones spreadin' your picture all over the place. Stoppin' cars on 165 searchin' for your ass.
Mud factors this in and then goes back to writing.
MUD
I didn't know about that, but it doesn't surprise me. There plenty of folks lookin' for me right now.
ELLIS
Why?
MUD
I shot a man. Killed him.
Mud stands and walks to the back of the boat. The boys' eyes follow him cautiously. Mud lifts a hatch at the back that would typically house the batteries and engine wiring. There's nothing left but a hole into the trees. He makes a note.
MUD
I'm sorry I didn't tell ya'll sooner, but I was hopin' to be gone before anything came of it. Didn't want you involved.
Mud turns to really face them for the first time.
MUD
Ya'll have been real good to me. You're the only friends I got out here. If the state troopers have 165 blocked, they'll have others blocked too. I won't get anywhere in a car. I want to try takin' this boat down, see if we can get it in the water.
Ellis and Neckbone stand their ground. They don't say anything. Mud walks back to the steering column. He drops to his knees and fiddles with the wires.
MUD
With a boat like this I can make it to the gulf in two days. I could get anywhere from there. But I'd need a boat at least this big to make it on open water. It's got no title, no owner, nobody lookin' for it. It's my best shot.
NECKBONE
Who'd you kill?
MUD
It was a bad piece of business. Ya'll don't need to hear about it.
ELLIS
I need to hear about it.
Mud sits up. He looks at Ellis, deciding how much to tell.
MUD
Juniper made a mistake. She hooked up with a guy. He was no good. His name was Hutchins. Family owns a chain of restaurants down in Texas.
ELLIS
Where were you?
MUD
I was around, but me and Juniper were on the outs. She met this Hutchins, he sold her on some lies. Got her pregnant. That's when he started showin' who he really was. He dropped June down a flight of stairs after whoopin' her half to death. She lost the baby. He made it so the doctors think she can't have children anymore. There're things you can get away with in this world and things you can't. I tracked him down at a motel just outside of San Antonio. He was there with another woman. That's where it happened.
Mud's done with his story. He goes back to the wiring.
MUD
I understand if you can't help me anymore, but I need this boat. And I need to get it in the water fast.
After a moment, he sits up and wipes sweat from his forehead.
MUD
I've made a list. Things we'll need. What do ya'll think?
Ellis takes time to consider everything. He looks at Neckbone, who has a disgruntled look on his face.
ELLIS
You did it for her? To protect her?
MUD
Yeah.
Ellis nods. Mud looks over at Neckbone, who still has the disgruntled look on his face.
MUD
What do you think?
NECKBONE
I think you want us to run around, stickin' our necks out, gettin' everything you need, just so you can take our boat.
MUD
That's about it.
Mud removes a cigarette butt and sparks it with a lighter.
NECKBONE
What do we get out of it?
MUD
What do you want?
Neckbone looks to Ellis, judging his bargaining position.
NECKBONE
What about that pistol?
Mud eyes the boy, pulling on the nub of cigarette.
MUD
I only got two things out here worth anything. This shirt...
Mud pulls the pistol from the back of his jeans. Neckbone tenses, but relaxes when Mud splays it out on an open palm.
MUD
And this pistol. I can't give you the shirt 'cause I need it for protection, but if you help me get this boat in the water, the pistol's yours.
Neckbone squinches his face in thought, sizing up this trade.
NECKBONE
What kind is it?
MUD
A forty five.
NECKBONE
I guess we could work a deal like that.
Neckbone steps forward to grab the pistol, but Mud puts it back in his jeans.
MUD
We get this thing floatin' first.
Neckbone looks over at Ellis, who shrugs.
NECKBONE
All right then.
Mud smiles, flashing his missing tooth. He spits in his palm and holds it out to Neckbone. Neckbone, not sure about taking the spit hand, reluctantly shakes. Mud rips a page from the notebook and hands it to Ellis.
MUD
Ya'll scrounge what you can off this list, but if we're gonna get this done right we'll need more help. Can you fetch Tom for me?
ELLIS
Tom Blankenship?
Mud has smoked down to the filter. He crushes the butt into his palm and puts it back in his shirt pocket.
MUD
I was hopin' to let that old assassin stay put, but we'll need him to get things ya'll can't. Can you find him?
ELLIS
I know where he lives, but I've never spoke to him.
MUD
Just tell him my name. He'll know you're serious.
Ellis folds the list up. He and Neckbone start down the rope as Mud goes back to the wiring.
MUD
Boys?
(they pause)
Thanks.
Ellis nods.
NECKBONE
Don't lose my pistol.
They continue down the rope. Mud continues his work.
EXT. SHELLY'S OXBOW - DAY
Ellis steers to the southern mouth of Shelly's Oxbow, the bend in the river that holds he and Tom Blankenship's houseboats, among others. He grounds the boat just shy of entering the Oxbow and steps over Neckbone to hop onto the bank.
ELLIS
You comin'?
NECKBONE
I'll watch the boat.
Ellis scans the woods that populate the patch of land wedged between the river and this short tributary.
NECKBONE
Ellis?
ELLIS
What?
NECKBONE
Be careful. Galen always said that old man's crazy.
Neckbone keeps his seat as Ellis darts into the woods
EXT. TOM'S WOODS - DAY
Ellis prowls around the small pine trees and bushes. He pauses, seeing the entrance to Tom Blankenship's boat. Something moves on the houseboat. Ellis hunkers down behind a bush. He sees Tom wrapping cable onto a metal spool. Ellis is nervous. He checks over his shoulder, nothing but woods. When he looks back to the boat, Tom is gone. In a crouch, Ellis moves closer. Taking a deep breath, Ellis steps out from the cover of the pine trees and heads up a walkway that leads onboard.
TOM (O.S.)
Why you huntin' me?
Ellis flinches. He turns to find Tom Blankenship standing at the edge of the boat.
TOM
You deaf boy? I said why're you huntin' me?
ELLIS
I ain't huntin you.
TOM
What's your business here?
ELLIS
I came to find you. I got a message for you.
TOM
You're Senior's boy.
ELLIS
Yessir.
TOM
What you got to say he can't tell me himself?
Tom, rusty on pleasantries, brushes past Ellis as he heads inside the boat.
ELLIS
It ain't from him.
Ellis, not wanting to follow further, shouts from the planks.
ELLIS
MUD SENT ME!
There is a silence. Then footsteps. Tom reappears.
TOM
Mud sent you.
ELLIS
Yessir.
TOM
What do you know about it?
ELLIS
He asked me to come get you.
Tom straightens his back. He looks into the woods, searching for something he may have missed.
TOM
Your daddy know this?
ELLIS
No sir. Mud needs your help.
Tom's mind churns on a series of facts unknown to the boy.
TOM
Where is he?
EXT. RIVER - DAY
Neckbone bounces in the boat as it shifts in the choppy Mississippi water. His eyes are locked on the back of Tom's head. Tom rides stone faced in the front. Neckbone turns back to Ellis and raises his eyebrows as if to ask, "What's going on?". Ellis shrugs.
EXT. ISLAND SHORE - DAY
Ellis runs the boat on shore. Tom splashes into the ankle deep water and helps the boys drag it onto the bank. Ellis takes the lead, walking ahead and scanning the treeline. Mud steps out, just past the shadow of the woods. Ellis turns to Tom and points.
ELLIS
There he is.
Tom spits onto the muddy bank and makes his way toward Mud. Ellis and Neckbone stay by the boat and watch. BY THE TREELINE, Mud watches Tom approaching. He corrects his posture and feebly attempts to smooth some wrinkles from his shirt. Tom stops in front of him, his eyes pinched in the sun.
TOM
Mud.
MUD
Sir.
They stare at each other for a long moment. Neither one flinching. BY THE BOAT, At this distance, the boys can't hear what is being said, but they try and size up the situation through body language.
NECKBONE
You think that's his dad?
ELLIS
I don't know.
BY THE TREELINE,
TOM
Where is she?
MUD
In town. Got here yesterday.
Tom lowers his head. Frustrated.
TOM
Why you out here like this?
BY THE BOAT, The boys see Mud take a seat on a nearby stump. He's explaining something. Tom listens, standing over him.
NECKBONE
They don't look like family.
Ellis watches Mud as he gestures and speaks. He seems different. Younger. Mud stops talking. Tom scratches a hand through his white crew cut. He begins pointing a finger at Mud. His face is flushed and the sound of his voice carries to the boys, though still unintelligible.
NECKBONE
He's really givin' it to him.
AT THE TREELINE, Mud's head hangs as Tom shouts at him.
TOM
You've spent your whole life followin' that girl! She's run you halfway cross the country and back, and for what? For this, left out on an island beggin' for help. A murderer. A thief.
MUD
I ain't no thief.
TOM
What would you call it then? Don't even mention draggin' those boys into this. Do you have any idea what you're doin'?
Waits for a response, but Mud gives none.
TOM
I'm ashamed of you.
Mud looks up at him.
TOM
Don't expect help from me. There's none to be given.
AT THE BOAT, They see Tom turn his back on Mud and head toward the boat. Mud doesn't protest; he doesn't move. Tom brushes past Ellis.
TOM
I'm ready.
Tom shoves the boat back into the water. Neckbone helps him. Ellis looks back at Mud, who still hasn't moved from his stump. He goes to him. Tom sees this and stops pushing.
TOM
(to himself)
Dammit.
AT THE TREELINE, Ellis stops a good six feet back from where Mud sits.
ELLIS
You all right?
Mud raises his head.
MUD
Looks like we're on our own.
He stands and takes a folded piece of paper from his shirt.
MUD
I didn't want you bein' the one to do this, but I can't see a way around it. I need to get this letter to Juniper. Could you take it to her for me?
ELLIS
Yeah.
MUD
You have to be careful. You can't just walk up and knock on her door, you hear me? You have to watch yourself.
ELLIS
I can handle it.
Ellis steps forward and Mud hands over the note. Ellis takes it and walks back to the others. AT THE BOAT, Tom stares at Ellis as he climbs on board. Tom looks back at Mud, who is watching him. He gives the boat a final shove before pulling himself in. They motor away. Tom doesn't look back.
EXT. RIVER/SHELLY'S OXBOW - MOVING - DAY
NECKBONE
You Mud's daddy?
TOM
Mud didn't have no daddy. No mother I ever knew of. He was livin' in the woods when I met him. Younger than you are now.
Tom doesn't offer anymore. Neckbone thinks on his answer. Ellis kills the engine near the mouth of Shelly's Oxbow. Tom jumps down into the knee deep river and wades onto shore. He turns back to the boys.
TOM
Ya'll need to watch yourselves. Don't go gettin' into something you don't have any business in. Mud's into something you don't want any part of. I suggest you forget about him.
Ellis and Neckbone don't respond. Tom, with a final admonishing look, disappears into the woods. Ellis cranks the motor and points the boat up river.
EXT. RIVER - MOVING - MOMENTS LATER
Edges of the notebook paper flap in the wind. Neckbone reads Mud's letter to Juniper. Ellis reaches the bank where they stash their boat. He shuts off the motor and let's them drift. Neckbone folds the letter back up and turns to face Ellis.
ELLIS
What do you think?
NECKBONE
He loves her. You can tell that much. You gonna take it to her?
ELLIS
I told him I would.
Neckbone thinks about this seriously, shakes his head.
NECKBONE
I don't know. Could be a lot of trouble.
ELLIS
You still got that trailer you made for your bike?
EXT. DEWITT STREET - LATE AFTERNOON
Neckbone rides with Ellis on the back of his dirt bike. Cars and Trucks HONK and zip by them. Their speed is topped out at about 15 miles per hour. Mostly a result of the small 3X4 metal trailer they are towing behind the bike. One of Senior's white fish coolers sits in the trailer.
EXT. EXECUTIVE INN/PARKING LOT - LATE AFTERNOON
Parked in the far corner of the lot, Ellis sits on top of the white cooler eyeing the Executive Inn. Neckbone straddles the dirt bike. A handful of cars are parked at the motel; an old Honda, a pick-up, and a BLACK LINCOLN.
ELLIS
I say we start at the top, work our way down.
NECKBONE
All right.
They each grab an end of the cooler and carry it across the lot toward a flight of stairs. ON THE SECOND FLOOR, The boys set the cooler down in front of the first room on the corner. Ellis checks over his shoulder, nothing strange. Ellis knocks. They wait. No answer. They pick the cooler up and walk to the next door. Knock. After a moment, a BLACK MAN in his late sixties opens the door wearing boxers and an undershirt.
BLACK MAN
What you want?
ELLIS
We're sellin' fish. You wanna buy some?
BLACK MAN
Fish?
He looks at the two boys like they are insane.
BLACK MAN
I don't want no damn fish.
He slams the door. They drag the cooler to the next door. As Ellis holds up his fist to knock, they hear a woman shouting a few doors down.
STOP IT!
Ellis heads for the room. Neckbone drags the cooler after
STOP!
him. Ellis reaches the motel room door, which has been left ajar. He places his hand on it and lets it fall open.
INT. EXECUTIVE INN/JUNIPER'S ROOM - CONTINUOUS
CARVER (O.S.)
KEEP LYIN'! KEEP LYIN' AND I'LL
CRACK YOUR NOSE OPEN!
The door opens to CARVER(47), a tall, slender man in a dark Western cut suit, standing over Juniper. She's crumpled up in a ball at the end of the bed. Carver swats open-handed at her head. Grabs the top of her hair.
CARVER
You hear me bitch? Tell me another lie.
Ellis rushes Carver with his shoulder as if he were breaking down a door. Carver is knocked off balance. He trips over the edge of the bed and crashes into the motel room wall. Carver, slightly stunned, gets to his feet and in two broad steps lands a man-sized punch across Ellis' face. It's hard. Ellis melts. He grabs the boy up by the scruff of his shirt.
CARVER
Who are you!? Who the hell are you!? Did he send you!?
Carver removes a piece of paper from his pocket. It's a photo copied picture of Mud, different than the State Trooper's. Carver crams the photo in the boy's face.
CARVER
You know this man!? Look at him! Do you know him!?
Blood trickles from a cut under Ellis' eye. He stutters under the shaking force of Carver's hands.
ELLIS
I don't...I...
FISH!!!
Neckbone is yelling at the top of his lungs, almost in a
IT'S FISH!!!
girl's pitch. Carver turns to him. The cooler is open behind them and Neckbone holds up two Ziplock bags of fish.
NECKBONE
We're just selling fish!
Carver sizes things up. It takes a moment, but he settles. He snorts out a laugh and drops Ellis on the ground. Carver turns his attention back to Juniper, who is huddled up in the corner of the motel. Carver walks over to her. Opening a good-sized knife, he gets down in her face and holds the blade uncomfortably close to her cheek.
CARVER
I know you know where he is. And I swear to God I'll cut through every one a you to find him.
She flinches. Standing, Carver folds up his knife.
CARVER
We know you came here for him, and we know he's too stupid to leave you behind. So when he pops his head out of whatever shithole he's staying in, I'll be there. You tell him that.
Carver turns, stepping over Ellis on his way out.
CARVER
And you need to mind your business boy.
Neckbone moves from the doorway to let him pass. Carver is gone. Neckbone shuts the door and fastens the security latch. He kneels down to check on his friend.
NECKBONE
You all right?
ELLIS
Yeah.
NECKBONE
He popped your eye.
Ellis holds the back of his hand up to his eye which has begun to swell. The cut trickles blood over his cheekbone. Juniper moves to the sink. Ellis sits up, staring at her back. She opens an ice bucket and wraps a handful of cubes in a towel. She turns and walks over to them, her eyes cast down. She kneels in front of Ellis, making eye contact for the first time. She touches his chin, gently pivoting it to see the wound. Her eyes are glassy.
JUNIPER
Thank you.
He stares back at her. He can't take his eyes off her. She holds the iced towel to his cheek. He doesn't even flinch.
JUNIPER
I'm so sorry.
Tears form and run down her cheeks.
JUNIPER
Here.
She takes his hand and places it against the towel. She gets to her feet and pulls a pocket book from a bag in the corner.
JUNIPER
How much is your fish? I'll buy the cooler full.
Ellis motions Neckbone to the cooler. Neckbone goes over and crams his hand into the ice. He removes a Ziplock bag containing the note that Mud sent. Neckbone hands it to Ellis. Taking the note, he sets his ice down and walks over to Juniper.
ELLIS
Mud sent us to give this to you.
Juniper is stunned. She looks at the bag, then at the boys.
JUNIPER
You've met Mud?
Ellis nods. Neckbone speaks up from the back.
NECKBONE
Yeah we met him.
Juniper takes the bag. She removes the letter and takes a seat on the edge of the bed to read it. Ellis watches her eyes move along the paper. She smiles, which makes Ellis smile. After a moment, she folds it up.
JUNIPER
He tells me to hold tight.
NECKBONE
Yeah, we read it.
Juniper raises her eyebrows at Neckbone.
JUNIPER
Well do you know how long 'hold tight' is?
ELLIS
I think it's a couple days. He wants to get a boat for ya'll.
JUNIPER
God.
Juniper shakes her head and goes to the sink. She pulls a lighter from her jeans pocket and torches Mud's note.
JUNIPER
Tell him I'll wait.
Running water over the ashes, she turns back to them.
JUNIPER
But I don't want ya'll involved. Tell him what I said and make that it. I don't want you gettin' in any trouble.
ELLIS
We won't.
JUNIPER
What do you call that?
She motions to his swelling eye. Ellis shrugs.
ELLIS
We'll be all right. Keep your door locked. We'll be in touch.
Ellis heads to the door as Neckbone gathers up the cooler.
JUNIPER
Wait.
Ellis turns back.
JUNIPER
What's your name?
ELLIS
I'm Ellis. That's Neckbone.
Juniper walks up to Ellis and puts her hands on his shoulders. She has to bend slightly to do it, but she kisses him just above his swollen eye.
JUNIPER
Thank you Ellis.
Ellis stares at her, infatuated.
NECKBONE
We gotta go.
Ellis turns and grabs one end of the cooler. Neckbone slaps back the security latch and opens the door with his free hand. They walk out.
EXT. EXECUTIVE INN/JUNIPER'S ROOM - CONTINUOUS - DUSK
Ellis, his foot on the door, looks back at Juniper.
ELLIS
Lock the door.
She smiles. The door slams shut. The room number, 212, stares Ellis in the face. He takes a deep breath.
NECKBONE
Let's go hard on.
He and Ellis wrangle the cooler down the steps. The sun set while they were inside. A blue hue hangs over everything.
I/E. CARVER'S LINCOLN/PIGGLY WIGGLY PARKING LOT - CONTINUOUS
Carver takes a drag off a cigarette from behind the steering wheel of his black Lincoln town car, conscious to blow any smoke out the open driver's window. His car, wedged between two others in the Piggly Wiggly parking lot, is pointed toward the Executive Inn. He watches as Ellis and Neckbone load the cooler onto Neckbone's bike.
INT. ELLIS' HOUSEBOAT - NIGHT
Ellis enters his houseboat. It's quiet. He sees a note on the counter next to a can of soup. It reads, "I've gone to a movie. Warm up some soup for dinner. Love, Mom". Ellis picks up the can, not thrilled. He goes to the fridge and grabs a sack of peas from the freezer. Holding the peas against his eye he takes a seat at the counter and flips through a phone book. He finds what he needs and dials a corded phone. He waits.
ELLIS
Hello? Is May Pearl there?...This is Ellis...Hey, it's Ellis. Hey... What?...In the phone book... from his car commercials...I think they're all right...Tomorrow? Yeah, I can meet you... Okay. Bye.
Ellis hangs up the phone. With the peas pressed firmly against his face, he smirks. CUT TO: SERIES OF IMAGES: -Neckbone's sneaker busts through a rotten plank of wood. -Inside a decrepit wooden shack, Ellis gives Neckbone a look like he's a dumbass as they proceed to take the shack apart board by board. Ellis now has a full-on BLACK EYE. A66 -Neckbone stands lookout under the carport section of Ellis' A66 houseboat. The coast clear, he gives Ellis a nod. Ellis pops open a metal locker and removes a small chainsaw and container of gas. He loads these into an empty fish cooler. B66 -Tom, sitting atop his houseboat with his pellet gun, watchesB66 as the two boys sneak the tools away. He's displeased. C66 -At Neckbone's mobile home park, Ellis heaves loops of thick C66 rope onto their mini dirt bike trailer. Neckbone stands nearby laughing with the rope's OWNER, a lanky guy with brown teeth and a Tasmanian Devil tattoo on his neck. AC66 -Ellis hoists Neckbone up by the foot allowing him to AC66 unscrew a road sign. D66 -A mop soaked in black tar slops across the flat roof of the D66 furniture store in downtown Dewitt. Neckbone and Ellis stand in the store's parking lot yelling up to the ROOFERS. -They get one's attention, and Neckbone points to a dried pile of leftover tar that has been dumped at the back of the building. The ROOFER swats a hand at the boys. They proceed to load the dried hunk onto the small trailer. E66 -From a distance, Neckbone and Ellis stand on a sailboat in E66 the middle of a fenced-in marine junkyard. Surrounded by old boat parts, the boys begin shuttling several large metal pulleys off the sailboat.
EXT. ISLAND SHORE - DAY
Mud smiles, showing his missing tooth, as he looks over the load of items the boys have stacked in their boat. Neckbone tosses a loop of rope to him.
NECKBONE
We've got more, but no motor.
MUD
This'll work for now. You get her my note?
ELLIS
Yeah.
Ellis turns and Mud sees his black eye for the first time.
MUD
Where'd you get that from?
ELLIS
We came up on Juniper's room. A guy was in there beatin' up on her.
Mud's face turns dark.
NECKBONE
Ellis rushed him. Got smacked for it.
MUD
What'd he look like?
ELLIS
I don't know. Tall. Looked like a cowboy.
MUD
Dark hair?
ELLIS
Yeah.
MUD
DAMMIT!
Mud slings the rope to the ground and kicks it. His face is flushed. It's the first time the boys have seen him angry.
MUD
GOD DAMMIT!
The boys back up. Mud takes a deep breath, tries to cool down. It takes a moment, then something occurs to him. He eyes Ellis with a look of genuine gratitude.
MUD
Thanks for lookin' after her.
Ellis nods. Mud picks up the rope.
MUD
His name's Carver. Brother of the man I shot. If he's here, then more are comin'.
NECKBONE
More what?
Mud gathers the supplies and heads to the treeline. The boys, with their hands full, follow him.
MUD
Bounty hunters. Carver's rotten, but his daddy's the one to be scared of. He'll spend all the money he has to see me dead. If it was up to me I'd put the whole family down same as the other. Not a decent man between 'em.
Mud stops and turns to lay a serious look on them.
MUD
Ya'll listen to me now. If you see that old man, don't get near him. He's the triple six real deal scratch you hear me?
Mud waits for nods from them both.
MUD
All right.
EXT. MISSISSIPPI RIVER/ISLAND - CONTINUOUS
Galen drifts in his own boat out on the Mississippi River. He stares at something in the distance. A68 FROM ACROSS THE RIVER, A68 He sees Neckbone and Ellis on the island walking with Mud. Galen, a concerned look on his face, keeps one hand on his motor and the other on a bulging net of mussel shells. His HELPER, a salty looking man in his fifties, sits at the front of the boat sipping Budweiser from the can.
HELPER
What you waitin' for?
GALEN
Shut up.
After a moment, Galen cranks the motor and speeds away.
EXT. BOAT IN TREE - DAY - LATER
Mud stands with Ellis and Neckbone on the deck of the boat. He holds a pulley in one hand and a length of rope in the other. He stares up into the trees.
MUD
Ellis, can you climb up that trunk and get these hung?
ELLIS
Yeah.
MUD
Take a foot of line and tie 'em off with a bowline knot. You know it?
ELLIS
I'm not stupid.
Ellis takes the pulley and scales the trunk without hesitation. Mud tosses his pocket knife to Neckbone.
MUD
Neck, start cuttin' line. Three fifteen foot sections. Count a foot long as your arm.
Mud begins threading the pulleys with rope. As Neckbone cuts rope, he sees the pistol stuck in the back of Mud's pants.
NECKBONE
What's so special 'bout that shirt you'd lose your pistol for it?
MUD
It's got a wolf's eye sewn in the sleeve. More protection than a bullet ever gave. Tom swears by it.
NECKBONE
He said he wasn't your daddy.
MUD
Tom's the closest thing I ever knew to a father.
NECKBONE
I never met my parents.
MUD
It's hard not knowin' the ones you came from.
NECKBONE
My uncle Galen tells me things about 'em. He's the one that takes care of me.
MUD
Tom did that for me.
Ellis drops down to the deck and grabs another pulley.
ELLIS
What'd you mean when you called Tom an assassin?
MUD
Tom's had lives you'd never know about. Grew up up North. Went to Yale. For a long time he was a paid killer for the C.I.A. Lived in Cuba in '63. He's probably killed more people than you've met.
(to Neckbone)
Hand me that line.
Neckbone tosses him an end of rope, looks to Ellis. Ellis gives a shrug before heading back up the trunk.
EXT. BASE OF BOAT TREE - DAY - LATER
Mud hangs off the tree fifteen feet up by a piece of rope tied around his waist. A series of ropes and pulleys crisscross from the boat to the trees. Neckbone and Ellis stand on the ground staring up at him. Mud holds a chainsaw and seems to be hesitating.
NECKBONE
Well if you're gonna do it do it!
Mud takes a deep breath and yanks the cord. Angled on one of the main branches holding up the boat, Mud begins cutting. Ellis and Neckbone step further and further back as they watch the chainsaw work through the thick limb. Suddenly, the chainsaw stops. A deep CRACKING sound. The huge branch SNAPS, tumbling off lower limbs before crashing to the ground. Mud holds onto the trunk for dear life. The branch now rests on the ground, SILENCE. The ropes and pulleys hang taught, squeaking from the weight of the boat. Mud slowly lifts his head up. He smiles at what he sees. The rigging has held.
MUD
One down!
Neckbone and Ellis watch as Mud scampers around the trunk to the next branch. The chainsaw cranks back on.
NECKBONE
This shit is crazy.
I/E. MARY LEE'S CAR/PIGGLY WIGGLY PARKING LOT - LATE
AFTERNOON Ellis looks out the car window at HIGH SCHOOL KIDS that have gathered in the Piggly Wiggly parking lot. His hair is slicked to one side, and he's wearing a collared shirt.
MARY LEE
You look nice.
ELLIS
Thanks.
MARY LEE
What time are you gonna be home?
Ellis shrugs. She looks at him as the car radio rambles.
MARY LEE
No later than eleven?
Ellis nods.
ELLIS
You make up your mind?
MARY LEE
About moving in town?
ELLIS
About leavin' dad.
Mary Lee thinks about how to answer, shuts off the radio.
MARY
You can't make Ellis. If I'm have to be the
LEE
other people change unhappy then I'll one to change
something. Ellis chews on the inside of his cheek and watches her avoid eye contact. He shoulders his way out of the car. Mary Lee takes a moment before driving off. As Mary Lee pulls away, Ellis takes in the scene.
EXT. EXECUTIVE INN - LATE AFTERNOON - ELLIS POV
He looks up at Juniper's motel room and sees her leaning on the railing smoking a cigarette. She doesn't see him.
EXT. PIGGLY WIGGLY PARKING LOT - LATE AFTERNOON - CONTINUOUS
He pauses, noticing a MAN to his left who ALSO stares up at Juniper. The man, early thirties with a thick mustache, is JAMES. He leans against the grill of a black Lincoln. Carver appears from inside the Piggly Wiggly. He holds a cup of coffee and is closely trailed by a fat little man, NELSON(56). They're all dressed in a similar fashion, a cross between rural farmers and rodeo stars. As Carver approaches the Lincoln, he scolds James for leaning on the grill. Carver rubs the hood with his coat sleeve and gives orders to the men.
MAY PEARL (O.S.)
Ellis!
Ellis turns to see May Pearl hopping down from a Ford Bronco. She leans on the door and waves Ellis into the back.
MAY PEARL
Come on!
Ellis takes another look at Carver and his men before running over to the Bronco.
EXT. FIELD/BONFIRE - NIGHT
A bonfire rages in the middle of an open field. A FEW DOZEN KIDS mingle between vehicles and the fire. Drinking, yelling, music blasting from car speakers. Ellis stands by himself next to the blaze with his hands in his pockets. May Pearl has vanished. Pryor, the skinny kid Ellis punched to get this date, wanders past. He makes eye contact. Ellis stares him down. Pryor glares back but then just skulks over to another group.
MAY PEARL (O.S.)
Try this.
A Styrofoam Sonic Cup is thrust into Ellis' hand. He turns to find May Pearl standing next to him.
MAY PEARL
Come on.
She leads Ellis behind one of the trucks parked nearby. May Pearl climbs onto the tailgate, a red glow across her face. No one else is around. Ellis hesitates.
MAY PEARL
You wanna sit down?
Ellis takes a seat next to her. She looks at him, smiling, and gestures to his black eye.
MAY PEARL
You must really like to fight?
ELLIS
Not really.
Ellis takes a sip from the Sonic cup. His face puckers.
MAY PEARL
But you're not scared if you have to.
ELLIS
I guess. You got a lot of friends.
MAY PEARL
They're all right. I don't know all of 'em.
ELLIS
I bet you're pretty popular.
MAY PEARL
Why do you say that?
ELLIS
I don't know. 'Cause you're nice to people.
MAY PEARL
How do you know that?
ELLIS
You're nice to me.
MAY PEARL
But I like you.
Ellis digs into his jeans pocket.
ELLIS
I got this for you.
He removes a bracelet made from the pearls he collected off Galen's porch. May Pearl takes it, begins putting it on.
MAY PEARL
A bracelet?
ELLIS
Neckbone's uncle caught the pearls. I thought with your name and everything...
MAY PEARL
Thank you.
She leans over, hugging him with a kiss on the cheek. She stays close.
ELLIS
You wanna be my girlfriend?
She smiles, then kisses him.
EXT. ELLIS' AND TOM'S HOUSEBOATS - MORNING
Morning fog sits on top of the water around Ellis' houseboat. Ellis steps outside and makes his way to the ice machine. A loud WHISTLE comes from across the oxbow. Ellis walks to the edge of the garage. A75 He sees Tom Blankenship seated on the roof of his houseboat. A75 He motions Ellis over. Ellis watches him, unsure of what to do. Another WHISTLE. Tom motions to him again. Ellis looks back at the house. No sign of his parents. He shoots a glance back at Tom.
EXT. TOM BLANKENSHIP'S HOUSEBOAT - MOMENTS LATER
Ellis bumps his father's boat against the side of Tom's houseboat. He steps up onto the deck and ties off. Tom, down from the roof, stands by his front door.
TOM
You want some coffee?
Tom disappears inside.
ELLIS
I don't drink coffee.
Ellis waits for a moment, but realizes this is Tom's way of inviting him inside. He enters.
INT. TOM BLANKENSHIP'S HOUSEBOAT - CONTINUOUS
This houseboat, although similar in size, is different than Ellis'. It's an actual wood shack that has been constructed atop a barge. Ellis looks at photos, books and memorabilia that cram the walls and shelves. It feels homey. Tom, his back to the boy, stands in the kitchen area pouring a cup of coffee.
TOM
You been seein' Mud?
ELLIS
No.
A collection of framed photos on a desk catches Ellis' attention. A young Tom with a pretty dark skinned girl. They seem happy. Another photo, late 60's, of Tom standing alone in a suit. He holds a LONG SUITCASE. Tom enters holding two cups of coffee.
TOM
You don't have to lie to me boy.
He hands Ellis a cup of coffee with a cartoon image of a dog on it. It reads, "I'm a real bitch in the morning!" Tom sits in a LazyBoy that he gently rocks in.
TOM
I've seen you runnin' around. Takin' things. He all right?
ELLIS
He's okay.
TOM
He get that boat down?
Ellis nods. There is an awkward moment.
ELLIS
He called you an assassin.
Tom snorts out a laugh, sips his coffee.
ELLIS
Is it true?
TOM
How long have you known Mud?
ELLIS
Few days.
TOM
Well that's long enough to know he's full of shit.
ELLIS
So it's not true.
TOM
I was a sharpshooter in the army. In Mud's world, that makes me an assassin. Not exactly true, right?
ELLIS
Yeah I guess.
Tom notices the boy's disappointment.
TOM
You think he's a bad ass don't you?
ELLIS
I don't know.
TOM
You know why he's stuck out on that island?
ELLIS
Yeah.
(hesitates)
He shot somebody.
TOM
He tell you why he shot that man?
ELLIS
Because he hurt Juniper.
TOM
Right. The real reason Mud's in the trouble he's got is because of her. He's been in love with that girl since he was your age. They used to run all around here and it was the same back then. He'd follow that girl wherever she led him. Problem is she don't care about nobody but herself. I've told him as much. She'd bed down with the meanest snake she could find, then when things went bad she'd go runnin' to Mud. Mud would take her back, then go find whatever unlucky sonofabitch last put a hand on her and beat 'em 'til they knew to never touch her again. And this time I guess he thought a beating wasn't good enough. Had to shoot that fella. I don't know for sure, but I'd put money on Juniper knowin' he'd do it. And I have a suspicion she might of even told him to. Either way, those two are set for failure. Only chance Mud has is to cut her loose. Cause I'll tell you what, Mud's no bad ass. He's runnin' scared.
Ellis can't look Tom in the eye, he's offended by the old man's remarks. Ellis sets the coffee cup on the desk.
ELLIS
I gotta go.
Ellis heads for the door, but stops short.
ELLIS
You're wrong about Juniper. They love each other and they're gonna make it. If you weren't a wore out old man you'd know it was true.
Tom eyes the boy, taking a sip from his cup. He nods a goodbye to Ellis who is already out the door.
EXT. ISLAND/BASE OF BOAT TREE - DAY
Ellis stomps out of the trees and is struck by the new position of the boat. It hangs three feet off the ground; SUSPENDED in dry dock. A clear-cut path of trees leads off toward the island's southern shore. Beside the boat, remnants of a giant fire smolder. Ellis surveys the MOUND OF ASH.
MUD (O.S.)
What you say Ellis?
Ellis turns to find Mud standing on the deck of the boat holding a fistful of wires. He jumps down.
ELLIS
I got more stuff.
MUD
You find a motor?
ELLIS
Not yet.
(points to the ash)
What's that?
MUD
I made a bonfire.
Mud enters the woods. Ellis follows.
ELLIS
Why?
MUD
Bonfire's an all purpose cure all for bad luck. I don't know where this boat's been or what kind of person had it before me. For all I know it could have some serious bad business left on it. We got too much ridin' on this thing to leave to chance. Where's Neckbone?
ELLIS
Helpin' his uncle with a dive.
EXT. ISLAND SHORE - MOMENTS LATER
Mud and Ellis exit the treeline heading to Ellis' boat.
ELLIS
Tom called me over to his place this mornin'.
MUD
What he say?
ELLIS
He was runnin' down Juniper.
Ellis looks for a response, but Mud just jumps up into the boat and starts throwing pieces of wood on shore.
ELLIS
I told him he was a wore out old man. Told him he couldn't know how much you loved Juniper.
MUD
You don't know his story.
ELLIS
I don't care.
MUD
You should. Tom loved a woman more than most men could in two lifetimes. They had a good life started together.
Mud hops down and scoops a load of wood into his arms.
MUD
She was pregnant with a little boy, but the birth got the better of 'em. They didn't make it. Tom's been alone ever since. Lone wolf.
Mud has begun walking back to the treeline. Ellis stays.
ELLIS
I gotta go help my dad.
Mud turns back but doesn't stop moving.
MUD
Thanks for the wood Ellis.
Ellis watches him go, thinking on what he said.
EXT. UNDERWATER - RIVER - DAY
Fully suited in diving gear, Galen toils in the murky brown water at the bottom of the river. His gear consists of a typical wet-suit, wet-socks but no gloves. His metal helmet is not typical. It's welded from half a hot water heater that's been fitted with barbell weights. A hose connected to the top runs to the surface. Galen ties off a netted sack and yanks on its line.
EXT. RIVER - CONTINUOUS
A small air compressor chugs as Neckbone stands in the middle of Galen's boat pulling in the heavy rope. At the end, the net bulging with mussel shells appears. He manages to roll the heavy load into the boat before moving over to a crank handle that feeds another line. After several cranks, Galen's steel helmet breaches the surface. He places his hands on the edge of the boat as Neckbone removes the barbell weights. The weight removed, Neckbone takes off the helmet. Galen pulls himself into the boat, out of breath.
GALEN
This shit never gets easy.
NECKBONE
That's a good haul.
GALEN
I've had worse.
Galen reclines as Neckbone kills the air compressor and begins organizing the gear. He watches his little nephew.
GALEN
You doin' all right?
NECKBONE
Yeah.
GALEN
You don't need to tell me anything?
NECKBONE
Tell you what?
GALEN
I know I'm just your uncle, not much of a parent. But you can tell me things if you need to.
NECKBONE
I can tell you this helmet smells like my duck butter.
EXT. ELDERLY WOMAN'S HOUSE - DAY
Ellis holds a wrought iron door open with his backside as an ELDERLY WOMAN takes the paper bag of fish from his hands. Ellis walks back to the truck. Senior watches him, looking at the black eye.
I/E. SENIOR'S TRUCK/CATFISH PARLOUR - MOVING - DAY
Ellis rides up front with Senior. Windows down, no radio.
SENIOR
Where'd you get that black eye?
ELLIS
A kid in town. He got his too.
SENIOR
What you fightin' for?
ELLIS
'Bout a girl.
SENIOR
What girl?
ELLIS
My girlfriend.
SENIOR
You got a girlfriend?
ELLIS
Yes sir.
SENIOR
When'd that happen?
ELLIS
Other day.
Senior pats his shirt pocket and finds a smoke. Lights it.
SENIOR
You seen your mother today?
ELLIS
No.
SENIOR
You not talkin' to me?
ELLIS
I'm talkin'. I'm talkin' to both of you. That's all ya'll want to do is talk.
SENIOR
Well, that's your mother. Would rather tongue lash a problem than step up and handle it. You'll see one day. Women are tough. They'll set you up for things. You can't trust love, Ellis. If you're not careful, it'll run out on you. You just gotta pick a woman and roll the dice. Hope you don't wake up in fifteen years hatin' each other.
Ellis keeps staring out the window as they pull into the parking lot of the Catfish Parlour Restaurant.
EXT. THE CATFISH PARLOUR/THE PINES MOTEL - LATE AFTERNOON-
CONTINUOUS Senior climbs out of the truck and enters the restaurant. Ellis pops open the tailgate and reaches for a cooler. The Catfish Parlour is one business in a strip center row. There is nothing else around save for farmland and a motel across the road. Ellis notices Carver's black LINCOLN parked in the motel lot. He walks away from the truck to get a better look. Ellis scans the FOUR OTHER VEHICLES in the lot. All Texas plates. A maroon Cadillac sails past and turns into the motel. Ellis recedes to the rear of his truck. He watches as KING(76), a fireplug of a man, emerges from the Cadillac. Cramped from a long drive, he stretches and eyes the sign for the Pines Motel. A motel room door opens and Carver walks out. He's smiling and calls out to King. They hug as a green PICK-UP pulls up. MILLER, a slick dressed man in black boots, climbs out.
SENIOR (O.S.)
Ellis! Let's go!
Ellis snaps around to find Senior leaning out the restaurant door. Ellis yanks the cooler down and drags it inside. He looks back over his shoulder for a final glance at the men. AT THE MOTEL,
CARVER
Daddy this is Miller. He's one of ours.
KING
(shaking)
How do you do? Appreciate your help.
MILLER
Yes sir.
CARVER
We'll be in in a minute.
Miller nods and enters the motel room. King turns to Carver.
KING
Catch me up.
CARVER
They work in shifts. Two outside her motel, the others either out searching or sleepin' here. I met with the county sheriff but he wasn't much help. Said they'd handle their own business, but I got two of their people on payroll and a person on the inside at the state police.
KING
Good. Doin' good. Who all's here?
CARVER
All but two now. Nelson and James are watchin' her place. I called the rest in.
KING
Okay. Let's meet the men.
Carver leads his father to the motel room.
INT. PINES MOTEL ROOM - LATE AFTERNOON - CONTINUOUS
Carver holds the door open as King steps inside. A door to his left connects another room which is empty. An episode of the Smurfs plays on the television. There's a MAN on each of the queen beds. Another THREE playing cards at a small table by the window. MILLER stands in the corner smoking. Empty Budweiser cans litter the room. King, unimpressed by the scene, looks at his son. Carver quickly moves in front of the television and turns it off. He stares down the men on the beds.
CARVER
Get up.
(to the others)
Ya'll pay attention.
The men get up from the beds and the others put down their cards. Everyone slowly gathers into an audience.
CARVER
This is my father, King. He runs the show.
Carver recedes as King steps forward. He speaks like a high school football coach.
KING
Men. I wanna thank you for the work you're doin'. It's important work, and I want you to know what it means to me personally. I'm grateful for it. No man should have to bury his son. It's not natural, and it's a pain I hope none of you ever have to endure.
King removes a photocopied picture of Mud from his pocket. He unfolds it, stares at it, then raises it to the men.
KING
This man did that to me. He took my youngest boy. And now, you're gonna help me get him.
King stares at the men, keeping the photo held high.
KING
Now gather 'round. Come on now, in a circle. I want ya'll to join hands.
They do it reluctantly.
KING
Everybody take a knee.
They do. King joins them on his knee and grabs Carver and another Man's hands.
KING
Bow your heads. I need you to help me pray for the death of the man that killed my son.
They all bow their heads.
A85 EXT. NECKBONE'S TRAILER - MORNING A85
A tarp is thrown back from a rusting boat trailer. Ellis and Neckbone stand by the trailer looking less than thrilled. It's covered in junk and debris.
NECKBONE
You touch her breast?
ELLIS
A little.
NECKBONE
That's great man.
ELLIS
Thanks.
Ellis walks up and knocks a stack of bricks off the trailer.
ELLIS
We could take it apart. Bring it out piece by piece.
NECKBONE
It's welded. We'd just tear it up. What if we float it out?
ELLIS
With what?
NECKBONE
Come on.
Neckbone walks to the trailer. Ellis follows.
B85 INT. NECKBONE'S TRAILER - CONTINUOUS B85
The boys open the front door and are met by a BLINDING LIGHT.
NECKBONE
Jesus!
They squint and shield their eyes. The light shuts off as quickly as it came on. Galen stands in front of them wearing his wet suit. The bar with the flood lights attached sits across his shoulders. The boys rub their eyeballs, seeing spots. Galen shuffles over to the couch holding a marine battery connected to the lights. He labors to take a seat.
GALEN
What do you think?
NECKBONE
That's real good Galen.
(to Ellis)
Gimme a minute.
Neckbone, still blinking, goes back to his room. Ellis notices Galen staring at him. Galen pats the couch.
GALEN
Come 'ere Ellis.
Ellis takes a seat on the other end of the couch. Galen pats the spot next to him. Ellis scoots over, uncomfortable.
GALEN
(pointing up)
You see that ceiling fan?
ELLIS
Yeah.
GALEN
I found it in the river. Works great. Best ceiling fan I've ever owned. This river brings a lotta trash down it. Some a that trash is worth a lotta money, some of it's not. You gotta know what's worth keepin' and what's worth lettin' go. You know the difference?
ELLIS
I think so.
GALEN
Neck looks up to you. Don't get my nephew into anything you can't get him out of.
Galen forces a stare with Ellis, who nods. Neckbone enters as Galen begins to remove his light rig.
GALEN
Help Me Rhonda's just about a guy needing to get a piece to get over a girl that put one over on him. So you get your heart broke, don't walk around with a shit look on your face. Get back in there. Get your tip wet. You hear me?
ELLIS
What?
GALEN
You know what I'm sayin'.
Ellis doesn't. Galen moves to an electric guitar leaning by a small amp in the corner.
GALEN
Ya'll wanna hang out? Alan's comin' over. We're gonna pump it up.
NECKBONE
We got stuff to do.
GALEN
Whatever.
The boys exit as Galen turns on the amp.
C85 EXT. NECKBONE'S TRAILER - CONTINUOUS C85
Galen pumps it up inside as Neckbone and Ellis walk to the boat trailer. Neckbone pulls a handful of long zip ties from his back pocket.
NECKBONE
What were ya'll talkin' about?
ELLIS
I don't know.
EXT. ISLAND NORTHERN SHORE - DAY
Mud's knife slices through a plastic zip tie.
MUD
King. That's what they call him.
A BOAT TRAILER rests atop FOUR, 55-GALLON BRIGHT YELLOW BARRELS affixed with plastic zip ties. The make-shift raft is half on shore with the back still floating in the water. The boys watch as Mud walks around the trailer cutting off the zip ties. The barrels kick out from underneath the trailer as this happens.
MUD
He's their father. You didn't go near him did you?
ELLIS
No.
MUD
Good. That left-handed sonofabitch is the devil himself. If he's here, then it's time. We need to get Juniper out here.
ELLIS
We still need a motor.
NECKBONE
There's a motor in the scrap yard might work.
MUD
I need one that runs.
Mud moves to the front of the boat trailer and begins dragging it fully onto the bank. It's heavy.
NECKBONE
I can get it runnin'. Tell him Ellis.
ELLIS
It's true. He built his own dirt bike.
MUD
All right then. Give it a shot.
ELLIS
I don't know. That motor's worth somethin'. It's not like this other junk.
NECKBONE
It's been there for months. Nobody's even gonna know it's gone.
Ellis hesitates. He looks to Mud.
MUD
We do need a motor.
Ellis thinks on it as Mud takes a deep breath and grabs the trailer again.
EXT. PIGGLY WIGGLY PARKING LOT - DAY
The supermarket is busy. Ellis stands at a pay phone out front as Neckbone kicks a vending machine nearby. Ellis looks at Juniper's motel. He scans the Piggly Wiggly parking lot and spots Carver's black Lincoln. Ellis picks up the phone and deposits some change. He dials.
ELLIS
I wanna talk to room 212.
I/E. JUNIPER'S MOTEL ROOM/PIGGLY WIGGLY - CONTINUOUS
Juniper watches TV (o.s) at the foot of the bed. The phone rings. She snaps up, hits mute and grabs it.
JUNIPER
Hello?
INTERCUT WITH ELLIS,
ELLIS
Juniper?
JUNIPER
Ellis?
ELLIS
It's me.
JUNIPER
Thank god. I've been goin' crazy in this room. Is Mud okay?
ELLIS
Yeah. It's time to take you out to him.
JUNIPER
Now?
ELLIS
Tomorrow. We'll come get you.
JUNIPER
What's goin' on?
ELLIS
He's got a plan for ya'll to get away. Be ready tomorrow at five. Neckbone'll be waitin' at the back of the motel with a dirt bike.
JUNIPER
They're watching my room.
ELLIS
I'll take care of that. Just be ready at five.
JUNIPER
Wait. Just wait. I don't know about alla this. I don't even know what he thinks we're gonna do. Where are we even gonna go? This is Mud. This is what Mud does.
Ellis hears her crying through the phone.
ELLIS
It's okay. He's got the boat. We helped him fix it up. It's a good plan. Just be ready.
JUNIPER
Why are you even doing this?
ELLIS
What do you mean?
JUNIPER
Why are you helping us?
ELLIS
Cause ya'll love each other.
Juniper searches for a comment. Ellis, looking out over the parking lot, sees May Pearl getting out of a car with her MOTHER and SISTER.
ELLIS
I'll see you tomorrow.
JUNIPER
Wait.
Dial Tone. Juniper holds the phone, worried.
EXT. PIGGLY WIGGLY PARKING LOT - CONTINUOUS
Ellis turns and watches May Pearl push a cart in the parking lot with her family. Neckbone bangs at the Coke machine.
NECKBONE
How'd it go?
ELLIS
We're good.
I/E. CARVER'S LINCOLN/PIGGLY WIGGLY PARKING LOT - DAY
Carver sits behind the wheel of his Lincoln. The man with the mustache, James, sits in the passenger seat next to him. Carver notices Ellis and Neckbone standing in front of the Piggly Wiggly. He climbs out. AT THE VENDING MACHINES,
NECKBONE
Gimme a quarter. This shit took mine.
Ellis watches May Pearl entering the grocery store. He calls out with a wave.
ELLIS
MAY PEARL!
Without stopping, May Pearl, along with her Sister and Mother, all turn. May Pearl sees him, but doesn't wave back. She continues inside. Ellis looks confused, then embarrassed. Neckbone notices.
NECKBONE
It's all right man. She's with her family. Come on. I wanna get that motor before dark.
They head to the dirt bike.
CARVER (O.S.)
Hey there!
Ellis turns to see Carver approaching.
CARVER
You remember me don't you?
Ellis nods. Carver notes the healing bruise on Ellis' face.
CARVER
I'm sure sorry about that. Ya'll caught me at a real bad time.
Ellis climbs on the bike. Carver walks over to them.
CARVER
Hold on now. One second. I don't want ya'll thinkin' I'm a bad guy. Ya'll were just trying to do a job, and I got in your way.
Carver removes a roll of twenties and peels off two.
CARVER
Let's just say I bought that whole batch of fish ya'll were sellin'. Would forty cover it?
NECKBONE
That'd bout do it.
ELLIS
We don't want your money.
Carver steps in close to the boys.
CARVER
I bet ya'll really get around this town. Probably know every hole and ditch. Have ya'll come across the man whose picture I showed you?
ELLIS
No.
Carver removes a flier with Mud's picture and holds it out.
CARVER
You sure about that? Take a look with your good eye.
ELLIS
I'm sure.
CARVER
What about that girl in the motel? The pretty one. Ya'll talk to her some more?
ELLIS
No.
Carver smiles. He tucks the flier and the forty dollars into Ellis' hand.
CARVER
There's a number on there. Ya'll let me know if you do.
Neckbone cranks the engine and backs the bike up with his feet. They pull away. Moving, Ellis looks back to see Carver watching them.
EXT. CRAWFORD'S JUNKYARD - DUSK
Neckbone pulls back a loose section of chain-link fence surrounding the marine junkyard. Ellis crouches through. INSIDE THE JUNKYARD, Ellis and Neckbone creep through piles of starboard and boat parts. They stop at a party barge with only one pontoon. At its rear hangs a big rusted motor, 200 horsepower. Neckbone quickly disassembles its attachment. The motor pops loose leaving the boys to strain against its heavy weight. They ease it to the ground.
NECKBONE
Jesus that's heavy.
The boys get on either side of the motor and begin half- dragging it back to the fence line. ACROSS THE YARD, A LITTLE GIRL(10) dangles her feet off a loading platform and bites at an ice cream sandwich. She watches Neckbone and Ellis from a distance.
EXT. ELLIS' HOUSEBOAT - NIGHT
Ellis walks onto the houseboat as the sound of Neckbone's bike fades in the trees. He stops, noticing a PAPER BAG sitting on the water's edge of the boat. He goes over to it. He opens the sack and takes a quick inventory. A loaf of bread, potted meats, a bottle of Jack Daniels, a roll of cash, and an Arkansas boat tag. Ellis looks around, no one. He looks over to Tom's boat. It's dark. Ellis scoops up the sack and heads inside.
EXT. PIGGLY WIGGLY PARKING LOT - LATE AFTERNOON
The digital wristwatch changes from "4:59" to "5:00". Neckbone sits on his bike parked near the vending machines at the Piggly Wiggly. Ellis, on the payphone, scans the parking lot. No sign of Carver's Lincoln. No other Bounty Hunters.
NECKBONE
Where are those bastards?
ELLIS
I don't know.
(hangs up)
She's not answerin'.
NECKBONE
What do you wanna do?
ELLIS
Take your bike around the side. I'll check her room. We'll just have to hope no one sees us.
Neckbone cranks the bike and speeds toward the motel. Ellis looks to the motel, then the parking lot.
EXT. EXECUTIVE INN - MOMENTS LATER
ON THE SECOND FLOOR, Ellis cautiously heads up the stairs. He eyes the parking lot at the Piggly Wiggly but still sees no sign of Carver's men. He moves quickly toward Juniper's door. Checking over his shoulder, he knocks. No answer. He knocks again. Nothing. He peeks through the window. No lights. No movement. BY THE DIRT BIKE, Neckbone gets off his bike and slips to the corner of the building. As he peeks his head out, Ellis nearly knocks him over on his way downstairs. They both flinch.
NECKBONE
Shit. Was she there?
ELLIS
Nothin'.
Ellis notices the front office
ELLIS
Come on.
INT. EXECUTIVE INN/FRONT OFFICE - CONTINUOUS
The MOTEL CLERK(29) doesn't look up from his issue of Lowrider as Ellis and Neckbone enter.
ELLIS
Scuse me, sir?
MOTEL CLERK
Yeah.
ELLIS
We're lookin' for the girl in room 212. You seen her?
MOTEL CLERK
I've seen her.
ELLIS
You see her today.
MOTEL CLERK
Yeah, she came down askin' for directions to the nearest bar. I told her to head out to a place on 61.
Ellis digests this. They turn to leave.
MOTEL CLERK
Wait a second, are ya'll the little bastards tryin' to sell fish to the guests?
They're already out the door.
EXT. ROADSIDE BAR - DUSK
Ellis and Neckbone pull into the gravel lot in front of a roadside bar. The cinder block building sits by itself just off the highway. Cars and motorcycles fill the lot.
NECKBONE
You think this is it?
ELLIS
It's gotta be.
INT. ROADSIDE BAR - CONTINUOUS
The small bar is loud and crowded. Shoulder to shoulder PATRONS bump against one another as MUSIC blares. Neckbone and Ellis press through the crowd searching for Juniper. They are a good foot shorter than anyone else. Ellis notices a man at the bar. It's Miller, the bounty hunter from King's motel. He's staring at something across the room. Ellis follows his line of sight. The crowd weaves in front of him, but then he sees her. Juniper leans against a pool table at the far end of the bar. A GUY(32) whispers in her ear and kisses her neck. She throws her head back, laughing. Ellis watches in disbelief. Nearby, the BARTENDER(46) fills a customer's shot glass. The two underage kids catch his attention. Ellis' face is frozen, locked on Juniper. Neckbone places a hand on his shoulder. Juniper's eyes drift toward the boys. She makes eye contact with Ellis, and her smile vanishes. The Guy keeps whispering in her ear. Juniper straightens her back slightly. Ellis can't take his eyes off her. Juniper stares back at him, but doesn't make a move. After a moment, Juniper's eyes fall to the floor. She turns her head back to the Guy. The crowd fills back in and the image is out of Ellis' reach.
BARTENDER (O.S.)
What the hell are ya'll doin'?!
The Bartender swoops in, grabbing them both by the backs of their necks and shoving them toward the door. Ellis strains against the thick hand. He tries to get another look at Juniper, but it's too crowded.
EXT. ROADSIDE BAR - DUSK - CONTINUOUS
The Bartender flings Ellis and Neckbone into the parking lot. Neckbone slides on the loose gravel.
BARTENDER
Ya'll stay outta here!
Ellis just stands staring at the front door. The Bartender makes a swatting motion toward them.
BARTENDER
I SAID GET OUTTA HERE!!!
Neckbone gathers his friend and leads him away.
NECKBONE
Thanks a lot asshole!
(to Ellis)
Come on man.
They head over to Neckbone's dirt bike. He pulls out the key and climbs on. Ellis hesitates.
NECKBONE
I'll take you home.
ELLIS
We're gonna have to tell Mud.
Neckbone drops his head, nods reluctantly.
EXT. ISLAND SHORE - NIGHT
The boys struggle to pull the heavy motor out of their boat. It hits the shoreline with a thud. They lean over it, sucking air.
ELLIS
Just leave it. Mud'll have to help get it.
NECKBONE
What're you gonna tell him?
ELLIS
I'll just tell him the truth.
EXT. ISLAND/SOUTHERN SHORE - NIGHT
Mud stands at the back of the boat, which now rests on the boat trailer near the water. His face is clean shaven and his hair is wetted back. His shirt, still filthy, is tucked into his pants. He whistles and works by the light of a small fire nearby. Ellis steps out from behind a tree. He's holding the grocery sack that was left on his houseboat.
ELLIS
MUD!
Mud, hearing the voice, quickly puts down his tools and turns to the woods. He smooths his clothes down.
MUD
What you say there?!
Ellis appears out of the dark, followed by Neckbone. Mud's eyes search the treeline for Juniper.
MUD
What you say Ellis?
Ellis can't look him in the eye.
ELLIS
We got that motor.
MUD
Is Juniper okay?
ELLIS
Yeah.
MUD
Where is she?
ELLIS
She didn't meet up with us.
MUD
What happened? Was it Carver?
ELLIS
It wasn't Carver.
Mud straightens up, prepares for the news.
MUD
What's goin' on Ellis?
ELLIS
She was supposed to meet us on the side of the motel. She never showed up. We went asking for her. The motel clerk told us she went to a bar out on 61.
MUD
What?
ELLIS
We tracked her down. She was there with another guy.
(hesitates)
They were together.
Mud's face drops. He walks to the fire and shakes a cooking pot resting in the coals. The pot bubbles with roof tar.
MUD
She probably thought Carver was on to her.
ELLIS
She knew the plan Mud. She just didn't show up.
MUD
What was she doin' with the other guy?
Ellis hesitates, not wanting to say. Mud pushes.
MUD
What were they doin' Ellis?
ELLIS
They were playin' pool. Drinkin'. He was close up on her. They were laughin'. He kissed her on the neck.
Mud nods.
MUD
And that's how it is.
He takes the pot of roofing tar over to the boat and begins pasting some of the newly replaced boards with a flat stick.
ELLIS
What do you want us to do?
MUD
Just go home Ellis.
Ellis looks at Neckbone, then sets the grocery sack on the ground.
ELLIS
Tom left this for you.
They slowly retreat into the woods and disappear. Mud turns back to the campfire and shoves the pot into the ashes. His eyes, soft and red, reflect the flame.
EXT. MISSISSIPPI RIVER - NIGHT
Ellis and Neckbone motor away from the island in the flat bottom boat. They look back at the shore.
ELLIS
You think it's all right to leave him alone?!
NECKBONE
I doubt it!
Neckbone sees Ellis' concern.
NECKBONE
I'll sleep over at your house tonight! We can check on him first thing tomorrow!
Ellis nods. As they head further up river, the island grows smaller, silhouetted by the moonlight.
INT. ELLIS' ROOM - MORNING
Neckbone snores, sprawled out on top of a sleeping bag on the floor. Ellis sits up in bed with something on his mind. He gets up and steps gingerly over Neckbone to exit the room.
INT. ELLIS' HOUSEBOAT - DEN - CONTINUOUS
The house is silent. Ellis slips into the kitchen and picks up the phone receiver mounted on the cabinet. He pulls the cord out to stand with his face in the corner. He dials, waits, and speaks softly into the receiver.
ELLIS
Hello? Is May Pearl there...This is Ellis...I called yesterday, you give her my message?...My name is Ellis. I'm her boyfriend...Oh, she's asleep...I said she's asleep?
The front door flies open. Senior storms headlong toward Ellis. He shouts.
SENIOR
MARY LEE!
Ellis turns as Senior yanks the phone by the cord. It snaps out of Ellis' hand and smashes apart on the floor. Ellis flinches at the sight of his father flying at him.
SENIOR
What the hell have you been doing? WHAT HAVE YOU BEEN DOIN'?!!
Senior grabs Ellis by the arms and shoves him against the den wall. Mary Lee comes running from her room.
SENIOR!
She slaps at her husband's arms and back.
SENIOR DAMMIT!
He swats her away.
SENIOR
You tell her. You tell her what you've been up to.
ELLIS
I don't know what you're sayin'.
MARY LEE
Take your hands off him Senior!
Senior keeps Ellis pinned to the wall with his left hand. He opens up and addresses Mary Lee with his right.
SENIOR
J.J. Crawford said a boat motor went missin' from his stock yard. Said his daughter saw this one and his friend haulin' it off.
This makes Mary Lee pause.
SENIOR
Now you tell me right now, did you steal that motor?
ELLIS
We didn't steal it.
SENIOR
Lie to me again.
ELLIS
We thought it was junk. We didn't think it was worth anything.
MARY LEE
Ellis?
A cool anger rushes over Senior's face. He releases Ellis and takes a step back.
SENIOR
You tell me I raised a thief?
ELLIS
I'm not a thief.
SENIOR
You take property that's not yours. Property that belongs to another man. That junk is his livelihood. I'm ashamed of you.
Ellis drops his head. His face flushed.
MARY LEE
Senior.
SENIOR
(to Mary Lee)
Shut your mouth. You think you can take things and not have him see it? Neither one of you has any respect for a man's livelihood. A life that puts clothes on your back and food in your stomach.
MARY LEE
Don't you blame this on me. One doesn't have a thing to do with the other and you know it.
SENIOR
Don't tell me what I know. If you can steal a man's life out from under him in front of your son and think he won't take a lesson from it than you're even dumber than you look.
ELLIS
Stop it dad.
Senior volleys a finger at Ellis.
SENIOR
She's raisin' you a snake like herself, and you can curl up with her 'fore I give a damn. You just remember this when you watch them rip this house apart board by board. You Hear Me!
Mary Lee slaps Senior hard. He turns to her, saying nothing.
MARY LEE
You're a man who's never had the strength to support his own life. I never asked you for a thing, and I've never took a thing from you that I couldn't provide for on my own. If they do tear my home apart the only joy I'll have in my heart is knowin' that they'll be tearing you out of my life for good.
She wipes her eyes and turns her attention to Ellis.
MARY LEE
Ellis. You'll return that motor from where you found it and you'll apologize in person to the man you took it from. I won't hear about anything like this again.
Mary Lee walks to the front door. She collects her purse and keys and exits quietly. Senior and Ellis stand in silence, which feels even more uncomfortable than the shouting. Ellis finally speaks.
ELLIS
I can't take that motor back. But I'll pay him for it. I'll pay him what he wants for it.
Senior, stoic, pivots his body away from the boy.
SENIOR
I don't care what you do Ellis.
Senior retreats to the bedroom. Ellis is left alone in the wake. He looks to his room. The door opens slightly and Neckbone takes a step out. Neckbone doesn't say anything. He just bites at his lip, sympathy for his friend.
EXT. ISLAND SHORE LANDING - DAY
Charred hunks of driftwood smolder in a ruined pile on the sand. They constitute the remains of a large bonfire. Neckbone and Ellis stare at the ash.
NECKBONE
What the hell's all this?
ELLIS
It's a bonfire.
NECKBONE
I guess he didn't care about bein' seen.
Ellis kicks at one of the burned logs. He bends down and finds the bottle of Jack Daniels, smashed.
ELLIS
He had something else on his mind. Come on.
Ellis leads Neckbone into the treeline.
EXT. ISLAND WOODS/CREEK - DAY
Mud's yellow shirt hangs, partially ripped, from a tree branch. Ellis pulls it off the limb. Concerned, they head deeper into the woods, over the fallen tree trunk that bridges the creek.
EXT. ISLAND WOODS AND SOUTHERN SHORE - DAY
The boys watch Mud through the trees at a distance. He's crouched on the deck of the boat fiddling with wiring. Mud, giving no sign he sees the boys, yells out to them.
MUD
What are ya'll hidin' for?
Mud drops the wiring and scales down to the bank. They emerge from the woods. Ellis carries the yellow shirt.
ELLIS
We found your shirt.
Ellis tosses it to him. Mud tosses it back.
MUD
Keep it. I don't need it anymore.
Mud goes to the motor at the rear to tinker with more wires.
ELLIS
We saw what's left of your bonfire.
(no response)
Somebody could've seen you.
MUD
I guess.
ELLIS
You do some drinkin' last night?
MUD
I did a lot of drinkin' last night.
Mud stops and walks over to address the boys. His face is pale and his manner is curt.
MUD
Neck I'm gonna need you here to get the motor runnin'. Ellis I need you to do something else for me.
Mud removes a folded note from his back pocket.
MUD
I need you to take this to Juniper.
ELLIS
Okay Mud.
Ellis takes the letter. Mud goes back to the boat motor. He motions to Neckbone to join him.
MUD
Let's go.
ELLIS
You still takin' Juniper?
MUD
I had a dream last night. I saw Juniper laying in a field with another man. They were making love. I walked out into the field. Walked toward 'em. I was so angry the tips of my ears were burnin'. That's how I knew I was gonna kill this man. But when I got up close enough, I saw that the man she was with had tattoos on his back, just like mine. I moved in closer and the guy turns his head back toward me. Hair for hair, dead truth, the guy she was with was me.
Mud ducks back under the motor. Ellis looks at Neckbone, worried.
MUD
I'll finish the boat, but I'd be surprised if I live long enough to sail on it. A vision of yourself is a sure sign of death. Neck can you grab me a socket wrench?
Neckbone and Ellis walk to the toolbox sitting nearby. They crouch by it, speaking quietly.
NECKBONE
You be all right?
ELLIS
Yeah. What about you?
NECKBONE
He'll be okay.
ELLIS
Can I borrow your bike?
Neckbone fishes the key out of his pocket. Hesitates.
NECKBONE
Don't tump it.
Ellis nods. Neckbone walks over to Mud with the toolbox. Letter in hand, Ellis gives a final look toward Mud's labor and walks back into the woods. On his way, he stops to hang Mud's shirt on a tree branch.
EXT. MISSISSIPPI RIVER - DAY
Ellis rides in the flat bottom boat alone. He stares at the letter in his hand.
EXT. PIGGLY WIGGLY - DAY
Ellis sits on the dirt bike. He scans the parking lot. No black Lincoln. His eyes stop on a green pick-up. Miller, sits inside. Ellis looks around and finds a pay phone nearby. He gets off the bike and walks toward it. Ellis removes the flier Carver gave him. He dials a phone number copied at the bottom.
ELLIS
(into the phone)
Hello. I saw the guy you're lookin' for...Yeah, he's crazy lookin'. Saw him at the Wal-mart outside of Gillet. He was buyin' some beanie weenie...'bout five minutes ago.
Ellis hangs up the phone. He walks back over to the bike, climbs on and waits. After a moment, he watches as Miller's green pick-up pulls out of the Piggly Wiggly parking lot and races away. Ellis cranks the bike.
EXT. EXECUTIVE INN/JUNIPER'S ROOM - CONTINUOUS
Ellis, at a slight crouch, keeps his eyes on the Piggly Wiggly parking lot. The green pick-up is nowhere in sight. At Juniper's door, he knocks twice, softly. The door swings opens. Juniper stands there, holding a lit cigarette.
JUNIPER
I was wonderin' when I'd see you.
Ellis checks over his shoulder and walks inside
INT. EXECUTIVE INN/JUNIPER'S ROOM - CONTINUOUS
The bed is unmade and the room is a bit of a mess. Ellis keeps his head down. Juniper closes the door and takes a seat on the edge of the bed. She grabs the remote control and mutes the television.
JUNIPER
I'm sorry about last night. I didn't plan on...
Before she can finish Ellis has fished the letter out of his pocket and holds it out to her.
ELLIS
I'm supposed to give this to you.
Juniper takes the letter.
JUNIPER
Okay.
Ellis goes to the door. He pulls the bedroom curtain back slightly to check the parking lot. The coast is clear.
JUNIPER
Did you read it?
ELLIS
No. I gotta go.
JUNIPER
Ellis?
He turns to her.
JUNIPER
I'm sorry.
ELLIS
All you had to do was be there.
JUNIPER
I couldn't.
ELLIS
Then why'd you even come here?
JUNIPER
I came here to leave with him. I really did. But now...now I guess I just came to say goodbye.
His eyes fall to the floor.
JUNIPER
You don't know us Ellis. We've been headin' this way for a long time.
ELLIS
I know he'd do anything for you.
She puts her cigarette out in a Coke can on the floor.
JUNIPER
You really believe that?
Ellis nods. Juniper speaks to him gently, almost smiling. It's a look of resignation.
JUNIPER
Mud's a born liar. That's what makes him so likable. He makes people feel good about themselves. He's a romantic. I don't think he means to hurt people. But when people get close to him, that's what happens.
Ellis watches her as she goes to the sink and wets the end of a towel. She dabs her eyes at the mirror.
JUNIPER
I do love him Ellis. But I can't spend the rest of my life runnin' with him. I may not know what kind of life I want, but I know that's not it.
Her back to him, Ellis watches as she unfolds the letter and begins reading. He angles himself to see her face in the mirror. He watches her eyes scanning the words. No emotion. She finishes, folds the letter back up, then turns to him.
JUNIPER
Tell him I understand.
ELLIS
What's it say?
JUNIPER
It says it's over. Tell him I've packed my things. Tell him I've gone.
She takes a deep breath and smiles at him.
JUNIPER
Bye Ellis.
Ellis turns and walks out.
EXT. EXECUTIVE INN/JUNIPER'S ROOM - CONTINUOUS
Ellis, dejected, no longer bothers to look over his shoulder. He walks to the staircase but stops there. Feeling the need to say something more, he goes back to her room. He puts his knuckle flat on the door but hesitates. He leans over and looks through the window. The sliver in the curtain gives him a glimpse. Juniper is curled up on the end of the bed. She is sobbing. Ellis watches longer than he should before pulling his head away from the window. Ellis heads back downstairs.
EXT. INTERSECTION/SONIC DRIVE-IN - DAY
Ellis, riding the dirtbike, looks to his left into the Sonic Drive-In parking lot. The high school kids have gathered there again. He notices a rust colored Ford coup. The driver, an older kid named KYLE(18), sits beside May Pearl laughing. Ellis steers into traffic and crosses the street. He pulls onto a patch of grass at the edge of the Sonic parking lot. In one motion, Ellis tumps the bike on its side and makes a b- line for the coup. INSIDE THE CAR, Kyle's hand is on May Pearl's knee.
KYLE
So what'd she say?
MAY PEARL
She said she didn't like him that much. I told her I thought he was all right.
Ellis appears with his elbows in the driver's side window. He sticks his head so far in the door that Kyle has to lean back in his seat to make room. May Pearl is surprised. Kyle snorts out a laugh.
ELLIS
You get my phone calls?
MAY PEARL
What?
ELLIS
I've been callin' you.
(motions with his head)
Who's this guy?
KYLE
Get your head outta my car kid.
Ellis takes his right elbow and quickly knocks Kyle in the mouth. It splits his upper lip. Kyle grabs his face.
KYLE
Shit!
MAY PEARL
Ellis!
ELLIS
I called you twice yesterday. Your sister didn't tell you?
Kyle slings the door open knocking Ellis to the pavement. From the ground, Ellis can see that Kyle is big and considerably tougher than the skinny kid he punched before. Kyle's friends from other cars take notice and begin to converge on them. Ellis makes a move for Kyle's legs but is kicked back to the pavement. Kyle straddles him on the ground and punches him. Another punch to Ellis' face. May Pearl is out of the car and yelling.
MAY PEARL
Kyle! Stop it Kyle!
May Pearl pulls Kyle by the collar. By his own will, he raises off of Ellis, keeping an eye on him. A streak of blood stretches from Ellis' nose to his ear. He gets to his feet, dazed. Ellis wipes at his nose and sees May Pearl shove Kyle. Kyle smiles and turns to his friends, who laugh. The CROWD that has collected consists of older high school guys and girls. Ellis steps toward May Pearl and is met with a shove too.
MAY PEARL
What the hell are you doin' here Ellis?!
ELLIS
What?
MAY PEARL
You can't just run up and punch people I'm with!
ELLIS
I'm sorry, I just wanted to know why you hadn't called me back. I...
MAY PEARL
Why would I call you back Ellis?
ELLIS
Because you're my girlfriend.
The crowd is watching.
MAY PEARL
I'm not your girlfriend! We went on one date. One!
ELLIS
We kissed.
MAY PEARL
That doesn't matter!
ELLIS
Yeah but...
MAY PEARL
But what Ellis?! What did you expect?!
ELLIS
I love you.
MAY PEARL
You're fourteen!
ELLIS
Don't. Wait. We can make this work. We can figure it out. I love you.
MAY PEARL
What?
Ellis is losing it. His eyes are red. He looks at the crowd of kids. There are smiles and some snickering. May Pearl is speechless. She just stares at him. Ellis turns and walks back to the dirt bike. May Pearl's girlfriends gather around her. She shakes her head, dumbstruck. Ellis lifts the bike off the ground. He looks back at May Pearl who appears to be shrugging off the whole affair in front of her friends. Ellis speeds off.
EXT. ELLIS' HOUSEBOAT/RIVERBANK - DAY
A fire snaps and pops on the riverbank next to Ellis' houseboat. Ellis drags a piece of particle board from a trash pile nearby. He drops the board onto the fire and stands back to watch the blaze. Neckbone's bike leans on a tree behind him. Senior's truck rattles to a stop in the gravel just down the bank. He jumps out of the cab exasperated by the fire his son has started by their home.
SENIOR
What the hell are you doin'?!
Ellis says nothing. He doesn't move. Senior, continuing to yell, runs and drags a hose up from the houseboat.
SENIOR
Ellis dammit! What the hell's wrong with you?!
The fire hisses as Senior turns the hose on it.
SENIOR
Ellis? Look at me.
Ellis finally looks up at his father. A phone RINGS from inside the houseboat. Senior holds the hose in front of him.
SENIOR
Take it. Put this damn thing out.
Ellis takes the hose as Senior stomps on board to catch the phone. Ellis drops the hose. Senior's voice, speaking into the telephone, faintly carries outside. He's yelling. Ellis turns his head to listen.
SENIOR (O.S.)
I don't give a shit! Fine! I don't care what you do! I'm done with it!
Ellis moves around the fire so he can see the houseboat through the flames. He hears the phone SLAM down. Senior appears at the back door. He stares at Ellis through the fire. Ellis moves to the side but realizes Senior isn't staring at him. He's staring at the fire. Senior disappears back into the house. There is a commotion. Ellis watches as Senior bursts out of the house holding an armful of woman's clothes. Senior walks up to the bonfire and begins tossing clothes on top piece by piece.
ELLIS
What are you doing?
Ellis watches as dresses and blouses begin to shrivel up in the flames.
ELLIS
Stop it! That's mom's stuff! STOP IT!
Ellis shoves at Senior. He easily counters the boy with his arm and continues tossing the clothes into the fire. Ellis is screaming and crying.
STOP IT!
Ellis tries yanking the remaining clothes out of his father's
STOP!
hands but Senior shakes him off. Ellis stumbles. He watches with tears as Senior tosses all of the clothes on. Senior watches his wife's clothes burn. Ellis backs away to the bike. He climbs on, cranks the engine and speeds off.
EXT. ISLAND SHORE - DAY
Ellis grounds the flat-bottom on shore and jumps out.
EXT. ISLAND WOODS/CREEK - DAY
Ellis thrashes through the woods. His muddy feet stomp across the fallen tree trunk that bridges the creek.
EXT. ISLAND/SOUTHERN SHORE - DAY
The boat rests on its trailer on the edge of the bank. Mud stands on board looking down at the motor. Neckbone, tools in hand, has his head buried in the motor.
NECKBONE
Try it now.
Mud turns a switch. No result.
MUD
Nothin'.
NECKBONE
Sonofabitch.
Ellis emerges from the treeline. Mud sees him and hops down from the boat. He walks up to him.
MUD
What'd she...
Ellis punches Mud with as much force as he can muster. It's barely enough to turn Mud's face, but it stuns him.
ELLIS
You're a liar. Makin' two kids run around doin' work you're too scared to do yourself. Makin' me tell her it's over 'cause you're too scared to do it yourself.
Mud steps back and gives the boy his space. Neckbone has made his way over and watches from behind Mud.
ELLIS
You said you loved her and you lied. You gave up on her and she gave up on you just like everybody else. I trusted you. Bonfires and crosses. Wolf's eye bullshit.
Mud tries to approach him but the boy explodes, shoving him.
ELLIS
EVERYTHING YOU'VE TOLD ME WAS A
LIE! You never cared about her. You never cared about us. Not like you said. Not enough to matter. You used us.
MUD
Come on Ellis.
Mud holds a hand out to him. Ellis slaps it away.
ELLIS
You made me a thief!
Ellis walks back into the woods. Mud exhales and turns back to Neckbone.
NECKBONE
Let me talk to him.
EXT. ISLAND WOODS/CREEK - DAY
Ellis walks through the woods. Neckbone follows.
NECKBONE
Ellis! Ellis, stop for a second!
Neckbone watches as Ellis reaches the tree trunk that bridges the creek. Ellis steps onto the log, but his muddy shoes miss a step. He SLIPS. Neckbone sees Ellis disappear down into the creek bed.
NECKBONE
ELLIS!
Neckbone rushes over. He cranes his neck out to peer over the edge, a solid eight foot drop into the creek. Ellis floats face up in the shallow water. He's unconscious. A wound on his head from a nearby rock. The nest of WATER MOCCASINS has been disturbed; SNAKES WRITHE AROUND ELLIS' BODY. Neckbone's eyes widen. He darts back toward the shore.
EXT. ISLAND/SOUTHERN SHORE - DAY
Mud stands at the rear of the boat massaging his jaw.
MUD!
Mud hears the yelling.
MUD!
Neckbone explodes from the trees.
NECKBONE
MUD! ELLIS FELL! HE FELL IN THE
CREEK!
Mud rushes forward.
NECKBONE
HE FELL INTO SNAKES! THE SNAKES!
Mud stops.
NECKBONE
MUD PLEASE!
Mud looks around. His shirt hangs from a tree limb nearby. He snags it and darts into the woods.
EXT. ISLAND WOODS/CREEK - DAY
Mud streaks through the woods as he gets his other arm through the shirt sleeve. He reaches the creek. Without hesitating, Mud leaps down into the water, scoops Ellis into his arms and scales up the opposite side of the creek bed. Mud sprints for the north side of the island. Neckbone chases after them.
EXT. NORTHERN SHORE AND RIVER - DAY
Mud cradles Ellis in his arms as he rushes to the flat-bottom boat. He sets Ellis gently inside. Neckbone on his heels. Mud shoves the boat into the water and hops in. Neckbone wades out and crawls up the side of the boat.
MUD
Get the motor started.
Neckbone cranks the motor. As they move up river, Mud searches Ellis' body. He looks at his neck, his arms, he pulls up his shirt.
NECKBONE
IS HE OKAY?! Is he bit?!
Mud notices Ellis' jeans leg riding up. He pulls the jeans back. A BITE in the middle of his calf. It's a bluish bruise with two distinct red dots. The skin around the bite has already begun to swell.
MUD
Shit.
He rips the jeans up to the thigh. Mud tears a section of cloth from the bottom of his own shirt and creates a tourniquet just below Ellis' knee.
MUD
What time is it?
Mud pulls a black Sharpie out of his pocket. Neckbone doesn't answer, just stares.
MUD
WHAT TIME IS IT?!
Neckbone checks his watch.
NECKBONE
It's four eighteen!
Mud draws a line on Ellis' leg just above the swollen bite. He writes, "418".
MUD
Yell out every 10 minutes!
Mud elevates Ellis' leg then gently cups his head. He dabs the gash on Ellis' forehead.
NECKBONE
Is he gonna be okay?!
MUD
We just need to get him to a clinic! Is there still one in town?!
NECKBONE
Yeah!
MUD
It's the closest?!
NECKBONE
Yeah!
MUD
I'm gonna need your bike!
NECKBONE
Are you bit?!
Mud shakes his head.
MUD
No.
He holds Ellis as they move steadily up river.
EXT. RIVERBANK - DAY
The flat bottom boat approaches the riverbank. Neckbone points to the sandy ridge and yells up to Mud.
NECKBONE
My bike should be just over that ridge!
Mud looks at Ellis' leg. The swelling has crept up his thigh. Black lines with numbers mark its progress: "428, 438, 448". Ellis' face has taken on a blue tint. The boat hasn't reached the shore, but Mud takes Ellis in his arms and jumps into the water. He wades onto the bank. AT THE BIKE, Mud straddles it, turning Ellis' body so they are face to face. He cranks the bike and speeds away. Neckbone makes it to the top of the ridge in time to see Mud disappear into the trees.
EXT. TWO-LANE HIGHWAY - DAY
Mud speeds the dirt bike down the two-lane highway. He's far too big for the bike and it's even trickier balancing Ellis. Coming up on a slow moving pick-up overloaded with junk, Mud veers into the opposing lane. ONCOMING TRAFFIC. Mud darts back to his lane in time to miss a semi.
EXT. CLINIC - DAY
A MALE NURSE(36) wheels an ELDERLY MAN through the sliding double front doors of a small clinic. Mud appears around the corner. The bike speeding toward the entrance. In a fluid motion, Mud takes Ellis in his arms and lifts his leg over the bike. The bike tilts and slides across the pavement, smacking solidly into the curb. Mud has managed to stay on his feet with the boy in his arms and rushes through the automatic front doors.
INT. CLINIC - CONTINUOUS
The reception area has a DOZEN PATIENTS sitting in it. A check-in desk to the left. Mud holds Ellis out in his arms.
MUD
I NEED HELP HERE!
A FEMALE NURSE rushes out of the check-in area.
FEMALE NURSE
Just stay calm. What's going on?
MUD
He's been snake bit.
ANOTHER NURSE rushes off calling for a doctor. The room becomes more frenzied. Patients talking. Nurses shouting.
MUD
He's snake bit. A cotton mouth. On his calf. Just under an hour.
As quickly as Mud gets this out, a GROUP of NURSES rush out of a door at the end of the room pushing a gurney. They take Ellis from Mud's arm, place him on the gurney, and speed him into the back of the clinic. The commotion gone, the reception area feels oddly still. Mud takes a deep breath. He looks to his right. Patients stare at him. He's beyond disheveled. He's crazy looking. Mud turns to his left. The Male Nurse stares at him. For the first time, Mud realizes he's out in the open.
MALE NURSE
Sir?
Mud slowly backs up.
MALE NURSE
Sir? We're gonna need some information?
Mud backs out of the automatic doors. The entire room stares at him.
EXT. CLINIC - CONTINUOUS
Mud is outside. The glass doors close. He nervously checks over his shoulders. He spots a bank of trees just down from the clinic. He heads for them. The front doors slide open and the Male Nurse walks out.
MALE NURSE
Sir?!
Mud hops into the bank of trees and disappears.
INT. CLINIC - CONTINUOUS
The Patients in the reception area settle back into their seats and discuss the commotion. The Male Nurse enters and walks behind the check-in window. IN THE WINDOW, The Male Nurse fingers through a pile of papers. He removes one of the fliers that Carver and his men have been showing. The Nurse studies the photo, looking back at the front doors. He picks up the phone and dials the number at the bottom.
INT. PINES MOTEL - CONTINUOUS
In the adjoining room, the phone rings. King steps through the doorway, takes a seat on the bed, and answers.
KING
Hello...Yes...Yessir we are...Uh huh.
King takes a pen from his shirt pocket and scribbles on a pad on the nightstand.
KING
Now where'd you say you were?...Okay...He's gone. Okay...But you say he left the boy?...And your name sir?
EXT. EXECUTIVE INN - EVENING
The sun has been down for awhile. Juniper leans on the railing outside her room taking long drags from a cigarette. She sees Miller's green pick-up parked below. Suddenly the headlights pop on and the truck pulls away. She watches, curious, as it speeds out of sight. A train whistle blows in the distance but is overtaken by a semi rumbling down the street. She watches the semi pass revealing the DAY/NITE Gas Station's parking lot. A130 MUD STANDS IN THE CORNER OF THE LOT. Half lit by a sodium A130 lamp, he stares up at her. Juniper raises up. Even in the dim light she knows it's him. She doesn't move. Mud holds up a hand, waves. Juniper slowly waves back. She tries to smile at him, but she's about to cry and it's hard to muster. Mud smiles. After a long moment, he turns his back and disappears in the shadows at the side of the gas station. Juniper watches after him.
EXT. BLACK BAYOU - NIGHT
The night sky is dark purple. An unnatural color. Ellis is on his back. Eyes closed. His head jostles at the SOUND of THUMPING. More THUMPING. It sounds like the hood of a car denting in. His eyes open. He stares up at an absurdly full moon. It's so bright it totally silhouettes the tree branches overhead. The THUMPING continues. Ellis puts his hands on the edge of the flat-bottom boat he's floating in and pulls himself up. He leans over the side to see what's causing the noise. The water is jet black. The entire bayou pulsates. Ellis' eyes grow wide as the THUMPING reveals itself. THE BAYOU IS FILLED TO THE BRIM WITH SNAKES. The moonlight illuminates their shiny black backs as they twist and churn in what seems like one giant ball of snakes. Ellis lies back in the boat bringing his arms close to his chest. He flinches at each THUMP. His eyes squeeze shut.
INT. ELLIS' ROOM - NIGHT
His eyes open. Ellis bolts up in bed covered in a cold sweat. Mary Lee places a palm on his chest.
MARY LEE
It's okay. You're okay. Just set back.
Mary Lee guides Ellis back down on the pillow. Senior stands with his arm on her shoulder. They look down at their son.
ELLIS
Where am I?
MARY LEE
You're home. We got you home.
Ellis takes a second to get his bearings. His mother lifts a glass of Sprite up to his mouth. He takes a sip.
SENIOR
You had us scared son.
Senior steps forward and kisses Ellis on the forehead. Staying close to his face.
SENIOR
(whispers)
I'm so glad you're okay.
MARY LEE
The doctors gave you some medicine. You had a snake bite.
ELLIS
How'd I get to the doctor?
MARY LEE
A man brought you in. No one knew him.
Ellis tries to sit up in bed, but his mother stops him.
MARY LEE
It's okay. You just need to rest up now. We can talk all about it later. Do you need anything? Are you hungry?
ELLIS
No.
Senior gently pats her shoulders.
SENIOR
Come on. Let's let him rest.
Mary Lee touches Senior's hand on her shoulder. She stands.
MARY LEE
I'll be back in to check on you but just try and sleep if you can.
ELLIS
Okay.
Senior leads Mary Lee to the door.
ELLIS
Mom? Dad?
They turn back.
ELLIS
I love ya'll.
MARY LEE
We love you too Ellis.
They exit the room. Ellis rests his head back on the pillow and takes a deep breath.
EXT. ISLAND/SOUTHERN SHORE - NIGHT
Mud and Neckbone shove against the back of the boat trailer. The wheels of the trailer rock at the edge of the bank's incline. Sheets of metal roofing taken from the shack Ellis and Neckbone dismantled line a runway into the water.
MUD
(straining)
Almost there.
The wheels finally turn over. The trailer rolls down the bank and splashes into the water. The boat shimmies. Mud and Neckbone follow the trailer into knee deep water and shove on the boat. A final push jettisons it into the river. They step back as the boat drifts out. A rope tied to its back becomes taught as it stretches from a tree on shore.
MUD
The sun does shine on a dog's ass some days.
NECKBONE
It ain't sunk yet.
Mud smiles. He holds out his hand, which Neckbone slaps.
NECKBONE
I wish Ellis could see it.
MUD
I know.
Mud walks back on shore and collects his duffel bag.
MUD
I owe you your end of the deal.
Mud removes the pistol from the back of his jeans. Neckbone's eyes light up. Mud hands it over and Neckbone immediately notices a hole where the clip is missing.
NECKBONE
Where the bullets?
MUD
The deal was for the gun, not the bullets.
NECKBONE
Shit.
Neckbone begrudgingly crams the pistol into the back of his pants.
MUD
I got one last favor to ask you.
Neckbone sucks his teeth.
EXT. ELLIS' HOUSEBOAT - NIGHT
Water gently laps at the side of Ellis' houseboat. The bayou is quiet. From the darkness, Neckbone and Mud appear in the flat-bottom boat. They paddle with their hands. Approaching in silence.
INT. ELLIS' ROOM - NIGHT
Ellis stares at the ceiling, unable to sleep. A TAP comes from the window. Ellis sits up in bed. Mud pokes his head in. He whispers.
MUD
Ellis?
ELLIS
Mud?
MUD
Yeah.
Mud pulls his body through the window. It's tight but he manages to make it look somewhat graceful. Mud takes a quick survey of the dark room. Ellis begins to get out of bed.
MUD
No, don't get up.
Mud motions him back down and pulls the chair from the desk over to the bed. They speak in hushed voices.
ELLIS
How'd you get here?
MUD
Neck brought me.
EXT. ELLIS' HOUSEBOAT - CONTINUOUS
Neckbone sits in the flat-bottom tied off at the corner. FROM THE TREELINE ON SHORE, All EIGHT of the Bounty Hunters sit hunkered in the trees. Carver squats next to a stump. He loads shotgun shells into a 12 gauge pump and motions for the others to fan out along the bank.
INT. ELLIS' ROOM - CONTINUOUS
MUD
We got the boat in the water.
ELLIS
You did?
MUD
Just now. Smooth sailin' from here on out.
ELLIS
Good.
MUD
Wish you coulda seen it.
ELLIS
Me too.
MUD
Didn't feel right leavin' town without sayin' goodbye.
There is an awkward moment.
ELLIS
I'm sorry 'bout what I said.
MUD
No. No. You were right to be mad. You were right about a lot of things. I'm the one that's sorry. I shoulda never gotten ya'll into all this. I just didn't see any other way around it. But I couldn't leave without you knowin' I never lied about being your friend. I never lied about that.
ELLIS
I know.
MUD
I don't traffic in the truth too often. But I did love her. I do love her.
ELLIS
She loves you too. She said it.
This fact still strikes Mud. He nods.
MUD
I just made mistakes. We both did. This is a hard life to keep up with. You can't blame her for gettin' tired of tryin'.
ELLIS
My dad says you can't count on women lovin' you. He says you can't trust it.
MUD
That's not true. Don't judge your life on all of our mistakes. You'll make plenty mistakes of your own, no need takin' on everybody else's. You're a good man Ellis. If you find a girl half as good, you'll be all right.
ELLIS
You're a good man too Mud.
Mud smiles.
MUD
No. I'm not. But maybe from here on out I can be...
A SHOTGUN BLAST rips a fist-sized hole in the flimsy interior wall. Mud, as if by reflex, yanks Ellis from the sheets and shoves him under the bed. BOOM. BOOM. Bits of sheetrock fall like snow flakes as more holes blast through the bedroom wall. Mud flinches with each shot. He covers his own head with one hand and the boy with the other.
ELLIS
Mud?!
MUD
Stay put! JUST STAY UNDER THERE!
The SOUND of shotgun shells being slipped into the chamber. Mud gets to a crouch. Through the holes in the wall, Mud makes out Nelson, the fat bounty hunter, reloading his gun. IN THE DEN, Nelson finishes reloading. The riddled bedroom wall hangs in front of him. A door opens behind him. He swivels around. Senior, in a robe, rushes from his bedroom with a pistol leveled. He's met with a shotgun blast just above his head. Pellets nick his face. Senior hits the ground and elbows his way back inside his bedroom door.
ELLIS!
Senior screams, his voice cracking.
ELLIS!
IN ELLIS' ROOM,
SENIOR (O.S.)
(muffled through the wall)
ELLIS!
MUD
(whispering)
Don't move Ellis. Just stay put. They just want me.
Through the holes Mud sees Nelson approaching Ellis' bedroom. He runs for the window at the foot of the bed. Another shotgun BLAST throws open the door as Mud leaps out.
EXT. ELLIS' HOUSEBOAT - CONTINUOUS
Mud crashes headfirst onto the edge of the houseboat grasping for anything to keep from sliding off. His hand catches a metal deck cleat. It bends under his weight but holds. Mud gets to his feet and is met by the tip of a rifle. Miller, the man from the cafe, stands poised to fire. Mud's hand slips to the back of his pants for his pistol. NOTHING. He looks to the flat-bottom tied at the far edge of the boat. No sign of Neckbone. Miller's finger curls around the trigger. SUDDENLY, a BULLET snicks through Miller's neck. Mud flinches. Miller's hand comes up to his neck but can't hold the blood running from it. He topples into the water.
EXT. TOM BLANKENSHIP'S HOUSEBOAT - CONTINUOUS
Tom Blankenship sits in the folding chair on the roof of his houseboat. He shucks an empty shell from a HIGH-POWERED RIFLE complete with scope. The long suitcase from the photo in Tom's house sits open at his feet. It has compartments for the disassembled rifle. Tom quickly raises to a new firing position. He squints an eye, searching for another target. A141 From this vantage point, Ellis' houseboat is clearly visible;
A141
partially lit by the two flood lights. FOUR other BOUNTY HUNTERS swarm the boat.
INT. ELLIS' ROOM - CONTINUOUS
Still under the bed, Ellis tries to hold his breath as Nelson's boots step into the room. They pause for a moment, before sluggishly struggling through the bedroom window.
EXT. ELLIS' HOUSEBOAT - CONTINUOUS
Mud rushes to untie the flat-bottom. A BULLET splinters the corner of the dock sending shards of wood into Mud's hand. He sees TWO more GUNMEN skirting toward him on the deck of the houseboat. Mud takes cover against the wall and finds the muzzle of Nelson's gun teetering out Ellis' window. He grabs the muzzle and yanks the shotgun free. Nelson, stuck in the window, looks up in time to take a rifle butt in the face. He falls back into the room unconscious.
NECKBONE (O.S.)
ON THE RIVERBANK, James, the man with the mustache, holds Neckbone in a headlock trying to cover his mouth. Carver stands with his shotgun leveled and fires at Mud. ON THE BOAT, Mud ducks as Carver's shot takes out a chunk of siding. The SOUND of boots rush up the side of the boat. Mud, gun in hand, jumps back through Ellis' window. ON THE RIVERBANK, Carver turns to Neckbone.
CARVER
Let him go.
James unhands the boy. Neckbone sprints into the woods.
CARVER
Come on.
They move toward the houseboat.
INT. ELLIS' ROOM/HOUSEBOAT - CONTINUOUS
Mud gets to his feet, stepping over an unconscious Nelson on his way to the bedroom door.
MUD
You still down there bud?
ELLIS
Yeah.
MUD
Stay put.
Mud pops out of the bedroom into the den. IN SENIOR'S BEDROOM, Mary Lee, curled under the bed, frantically dials the phone. Senior, propped against the closed door, uses his undershirt to dab the pellet wounds around his neck. Hearing footsteps, he cracks the door open. He sees Mud standing in the den. Senior cocks his pistol IN THE DEN, The front door is KICKED open. Mud dives behind a Lazy Boy as a Bounty Hunter fires through the doorway. The back of the Lazy Boy explodes in fluff and fabric. Mud raises up to return fire, forcing the Man back out the door. Mud crouches back behind the Lazy Boy. Unbeknownst to him, another MAN appears outside two sliding glass doors. The Man raises his rifle at Mud. One of Tom's bullets rips through the Man's chest and shatters the glass door. Mud flinches. Another Hunter steps into the now broken door frame. Mud FIRES the shotgun, blowing the man into the patio grill. A149 Mud can see Tom's houseboat silhouetted across the A149 bayou. A muzzle FLASH sparks from the top of Tom's boat. This makes Mud smile. The Front Door kicks open again and more pellets shatter through the den. Mud raises to return fire. ONE SHOT, TWO, the third is a dead CLICK. He drops back behind the chair, out of shells.
EXT. ELLIS' HOUSEBOAT - CONTINUOUS
Carver steps across the plank onto the houseboat followed by James. Carver motions him around back toward Ellis' window.
CARVER
Flush him out this way.
Carver walks to the covered carport.
INT. ELLIS' HOUSEBOAT - CONTINUOUS
IN THE DEN,
The Hunters at the front door continue taking pot shots at the furniture. Mud flinches at each new round fired.
IN ELLIS' ROOM, Ellis cautiously slides out from under his bed and crouches next to the bedroom door. He peeks through a crack. He sees Mud pinned behind the Lazy Boy. They make eye contact. Mud's eyes move to something behind Ellis. Ellis turns to see James passing by his bedroom window.
EXT. TOM BLANKENSHIP'S HOUSEBOAT - CONTINUOUS
Tom scans Ellis' boat through the scope on his rifle. He sees Carver creeping around the carport. He pans right to find James taking a position near the patio doors. Tom pauses, seeing Ellis appear at the corner of the boat just behind James.
INT. ELLIS' HOUSEBOAT - DEN - CONTINUOUS
The firing from the front door has stopped. Mud takes a deep breath, sets the empty shotgun on the ground, then rushes out the sliding glass doors as the men out front reload.
EXT. ELLIS' HOUSEBOAT/TOM'S HOUSEBOAT - CONTINUOUS
Mud makes it outside, his back to James' leveled rifle.
ELLIS
MUD!
James and Mud both turn at the sound of Ellis' voice. One of Tom's bullets drops James dead. Carver appears at the carport end of the boat. He raises his shotgun toward Mud. A156 ON TOM, A156 He snaps the bolt open and closed, but it jams. He jerks at the lever, looking up he sees Carver taking aim. ON MUD, Mud takes a running leap off the side of the boat. Carver FIRES. Mud is struck in the back by the shotgun blast. The force of the shot spins him in the air. He crashes into the water. Ellis screams.
ELLIS
MUD!
Carver approaches the edge of the boat. He stares down into the swirling dark water. No sign of Mud. A157 ON TOM, A157 Tom slaps open the bolt and yanks the spent cartridge out with his fingers. It BURNS.
TOM
DAMMIT!
ON CARVER,
He pumps the shotgun and fires into the murky water. The pellets pepper the surface. Still no sign of Mud. Carver pumps the shotgun a final time, but before he can get another shot off Tom's bullet rips open Carver's chest sending him sprawling through the broken patio doors. ON TOM, He exhales, shucks the bolt once more. His eyes scan the dark water.
ON THE HOUSEBOAT, Ellis runs to the edge of the boat.
MUD!
Senior exits the houseboat, pistol pointed.
MUD!
He sees Ellis
and runs to him.
SENIOR
ELLIS!
Senior grabs the boy, keeping his pistol up. Ellis drops to his knees and Senior crouches with him, holding him tight in his arms. Ellis cries.
SENIOR
It's okay. It's okay.
The two sit alone on the edge of the houseboat. The river seems especially quiet now.
I/E. ELLIS' HOUSEBOAT/RIVERBANK - PREDAWN
The sky shows faint signs of morning, a few streaks of light. ON THE RIVERBANK, The blue, red, and white lights from police cruisers and ambulances bounce up into the trees. A frenzy of Police activity swarms from the aftermath left on Ellis' houseboat. Men in wetsuits prepare a dive. Blanket covered bodies are wheeled off on gurneys. Two of the Bounty Hunters, unharmed, sit locked in the back of a state trooper vehicle. ON THE HOUSEBOAT, Ellis, Senior and Mary Lee sit huddled together under the carport. They watch the emergency workers stream past. Senior wraps his arms around them. Ellis looks across the bayou to Tom's boat. Police flashlights bob and weave throughout. No sign of Tom. INSIDE ELLIS' HOUSEBOAT, A LOCAL OFFICER strings caution tape across the broken patio doors. TWO STATE TROOPERS hover over Carver's body. The Troopers step away and the Local Officer cranes toward the body. He studies Carver's face. Stepping aside, the Officer takes a cell phone from his pocket and dials. He turns his back away from the Troopers.
INT. PINES MOTEL ROOM - NIGHT
The phone rings in the Pines Motel. King enters from the adjoining room and takes a seat on the bed. He answers.
KING
Hello...You're speaking to him...
King listens. His face taut.
KING
He's dead?
(a long pause)
Okay.
King hangs up the phone. He sits at the edge of the bed, overwhelmed by the news.
EXT. RIVER - NIGHT
It's dark on the river. Moonlight barely shows the ripples in the slow moving current. MUSIC from a country station slips out across the surface of the water. Galen's jambox sits next to a small lantern in his flat- bottom boat. His Helper snores, fully reclined, with an empty can of Budweiser resting on his gut. His feet are propped next to a tiny bell rigged to a line that disappears into the water. The bell RINGS.
EXT. UNDERWATER - RIVER - NIGHT
The river bed swirls inside two, distinct spots of light. Galen, using his new diving lights, scoops a final mussel shell into the net before tying it off. He tugs at the line. It's pitch black save for the shafts of light projected from Galen's shoulders. He tilts the lights toward the surface. The line leading up to the bottom of the boat dances in and out of the high beams. Then... MUD'S BODY FLOATS BY OVERHEAD. Only his backside is visible. A cloud of blood trails from the holes there. FADE TO BLACK.:
EXT. ELLIS' HOUSEBOAT - DAY
A WORKER cinches a thick strap across the deck of Ellis' houseboat. ON THE RIVERBANK, Ellis watches as WORKERS affix straps from his houseboat to a crane resting in the bed of a large truck on the bank. The SOUND of Neckbone's dirt bike rattles through the trees. He appears behind Ellis and parks.
NECKBONE
Hey.
ELLIS
You got your bike back.
NECKBONE
Mud dinged the shit out of it.
Neckbone takes a seat next to Ellis. They watch the workers.
NECKBONE
They're really doin' it.
ELLIS
It's the law.
NECKBONE
It's bullshit. They ever find Tom?
The boys focus on Tom Blankenship's boat across the bayou. It sits vacant, covered in police tape.
ELLIS
No. He's gone.
NECKBONE
Your dad not here?
ELLIS
Said he couldn't watch it. He's pickin' me up in a minute. Got deliveries today.
They sit in silence as the Workers exit off the houseboat.
NECKBONE
Heard on the news. They still hadn't found Mud's body.
Ellis nods.
NECKBONE
You think he's dead?
ELLIS
I don't know. I hope not.
The crane begins lifting up the houseboat. The metal wires tighten and the entire structure creaks. A sucking sound as the flotilla separate from the water. The boat hangs, suspended in the air. A HORN HONKS behind the boys. Ellis turns to see Senior's truck.
ELLIS
I gotta go. Come by the apartment. Help me set my room up.
NECKBONE
All right.
Neckbone watches Ellis climb into the bed of the pick-up and take his spot on the coolers. The sound of twisting metal shifts his attention back to the houseboat being swung over a flatbed semi.
I/E. SENIOR'S TRUCK/RIVERBANK - CONTINUOUS
IN THE CAB,
Senior glances at the houseboat being set on the flatbed. He puts the truck in reverse and pulls away. Not looking back.
EXT. SENIOR'S TRUCK/IMAGES OF DEWITT - DAY
Ellis rides in the back of the truck on top of the coolers. He watches the town pass by. A168 The marina junkyard. The Sonic. Downtown. A168
B168 EXT. FLEA MARKET - DAY B168
Ellis and his father unload a cooler at the back of a tented flea market. A WOMAN comes out to greet them.
I/E. SENIOR'S TRUCK/NEW APARTMENTS - DAY
Senior's truck pulls into the parking lot of a newly finished apartment complex. The two-story buildings are modest. The truck idles out front. INSIDE THE CAB, Ellis grabs the door handle. He turns to Senior.
ELLIS
I'll see you next week?
SENIOR
Yeah.
Ellis begins to get out but stops when Senior speaks.
SENIOR
Ellis? You mind your mother okay? This is a big change for her. She needs your support.
ELLIS
Yessir.
SENIOR
All right. I love you.
ELLIS
Love you too.
Ellis climbs out. He watches as Senior pulls away. He stands alone in front of the apartments, studying the surroundings. A busy road out front. A gas station and collection of stores. A lot of people and commotion. A compact car pulls into a parking spot one building down. Ellis watches as three COLLEGE AGE GIRLS climb out dressed in running shorts and t-shirts. Two are heavy set, the other is petite. They joke and laugh. One sees Ellis and waves. Ellis nods to her. He tracks them as they walk inside. Ellis smirks.
EXT. MISSISSIPPI RIVER - DAY
The river rushes past. A large motor churns the water. Tom stands steering Mud's salvaged boat down river. He cranes his neck, seeing something up ahead. Tom kills the motor. Looking out over the bow, he's pleased by what he sees. His eyes glint, almost a smile. He walks to the small cabin and enters. INSIDE THE CABIN, Mud rests flat on his stomach on the cushioned bench. Shirtless, gauze bandages wrap around his chest and back. He's sleeping. Tom walks in and kneels next to him. Touches his shoulder. Mud's eyes open.
TOM
Come on son. You need to see this.
Mud, groggy, raises up. Tom helps him to his feet, putting an arm over his shoulders. Tom practically carries Mud outside. ON DECK, Tom and Mud slowly maneuver out the door and take a place near the front of the boat. Mud pulls his head up. Looks out ahead. The sight in front of him grabs his attention. He perks up. A tributary from the Mississippi river opens up into a vast stretch of ocean. Mud smiles, showing the missing tooth. Tom and Mud stand on deck as their boat drifts slowly into the open waters of the Gulf of Mexico. The End.
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